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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USING THE UNIT SAFELY
IMPORTANT NOTES
Contents
Main Features
User Guide
MIDI Sound Module
Audio Connections
Using the plug-in version of SonicCell Editor
SMF/Audio File Player
- Playing back songs
Other Settings
Appendices

07-07-1N04564834

* 04564834 - 01*

USING THE UNIT SAFELY

001

• Before using this unit, make sure to read the instruc-

tions 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

• 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.

..........................................................................................................

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.

..........................................................................................................

Used for instructions intended to alert the

user to the risk of injury or material

damage should the unit be used

improperly.

* Material damage refers to damage or

other adverse effects caused with

respect to the home and all its

furnishings, as well to domestic animals

or pets.

Used for instructions intended to alert the

user to the risk of death or severe injury

should the unit be used improperly.

The ● symbol alerts the user to things that must be

carried out. The specific thing that must be done is

indicated by the design contained within the circle. In

the case of the symbol at left, it means that the power-

cord plug must be unplugged from the outlet.

The symbol alerts the user to important instructions or

warnings.The specific meaning of the symbol is

determined by the design contained within the triangle.

In the case of the symbol at left, it is used for general

cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never

be carried out (are forbidden). The specific thing that

must not be done is indicated by the design contained

within the circle. In the case of the symbol at left, it

means that the unit must never be disassembled.

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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.

..........................................................................................................

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 micro-

phones 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)

..........................................................................................................

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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

301

• 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 initi-

ating 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.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or

one that has been slightly dampened with water. To remove

stubborn dirt, use a cloth impregnated with a mild, non-

abrasive detergent. Afterwards, be sure to wipe the unit

thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any

kind, to avoid the possibility of discoloration and/or defor-

mation.

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.

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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.

851

• Recording, duplication, distribution, sale, lease, perfor-

mance, 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 techno-

logical 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

bility whatsoever with regard to any infringements of third-

party 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 trade-

marks or registered trademarks of their respective owners.

233

* VST is a trademark of Steinberg Media Technologies AG.

add

* MatrixQuest™ 2007 TEPCO UQUEST, LTD.

The SonicCell’s USB functionality uses Matrix-

Quest 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 Multi-

media Corporation.

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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

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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

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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

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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

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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

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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 USB-

memory is perfect for the gig

• Build playlists of any file-type combination using the playlist editor

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User Guide

SonicCell_e.book 13 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

Panel Descriptions

fig.kakubu-topPanel.eps

Top Panel

Display

Various information is shown

here according to your operations.

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.

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.

EXIT Button

Press this button to cancel

an operation.

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

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

(Play/Pause) Button

Plays/pauses the song data.

SRX Slot

You can install SRX series wave

expansion boards here.

•

Installation

→

p. 46

•

Selecting a wave

→

p. 98

SonicCell_e.book 14 ページ２００７年７月２日　月曜日　午後３時５０分

Panel Descriptions

■ USER`S GUIDE

■

Playing the Demo Songs

fig.disp-plylstslct-demo.eps

Press [SMF/AUDIO PLAYER].

fig.disp-demosongs.eps

Press [ ].

Playback will start from the ﬁrst song.

* 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

violation of applicable laws.

982

* No data for the music that is played will be output from MIDI OUT.

No. Title Composer Copyright

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

EFFECTS Button

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

PART VIEW 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.

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

USB AUDIO Button

Press this button when you

want to apply an effect to the

audio signal from the connected

computer, or to make

output-related settings.

• USB AUDIO → p. 140

MIDI INST Button

Press this button when you

want to use the SonicCell as

a MIDI sound module.

• MIDI connections → p. 22, p. 54

• Performance → p. 22, p. 58

• Patch → p. 23, p. 82

SonicCell_e.book 15 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

fig.kakubu-rearPanel.eps

Rear and Front Panels

Rear Panel

Front Panel

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

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

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.

POWER Switch

Turns the power on/off

(p. 18).

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

Security Slot

http://www.kensington.com

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.

MASTER VOLUME Dial

This adjusts the volume of the

signals output from the PHONES

jack and OUTPUT jacks (p. 19).

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.

SonicCell_e.book 16 ページ２００７年７月２日　月曜日　午後３時５０分

Panel Descriptions

■ USER`S GUIDE

INPUT LEVEL Knob

Adjusts the input level of the

signal received at INPUT.

• Adjusting the input level → p. 42

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

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

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.

INPUT/OUTPUT Jacks

These jacks input or output audio signals.

Switch

LINE

GUITAR

Dynamic

MIC

Condenser

Plug/connector accepted

1/4“ phone plug (unbalanced)

(High impedance supported)

1/4“ phone plug (balanced or unbalanced),

XLR connector

* Switch OFF “Phantom Power“ in the INPUT screen.

XLR connector (48 V phantom power supported)

Connecting a phantom-powered condenser mic

→In the INPUT screen, turn “Phantom Power” on (p.142)

Nominal input level

-30 – -10 dBu

-50 – -30 dBu

SonicCell_e.book 17 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

Turning the Power On/Off

■

Connecting the AC Adaptor

Make sure that the [POWER] switch is off.

Connect the included power cord to the included AC adaptor.

Connect the AC adaptor to the SonicCell’s DC IN connector, and plug the power cord into an AC

outlet.

fig.AC-setsuzoku.eps

fig.AC-setchi.eps

* Depending on the circumstances of a particular

setup, you may experience a discomforting sensa-

tion, or perceive that the surface feels gritty to the

touch when you touch this device, microphones

connected to it, or the metal portions of other

objects, such as guitars. This is due to an inﬁnitesi-

mal electrical charge, which is absolutely harm-

less. 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 particu-

lars of your installation. If you are unsure of the

connection method, contact the nearest Roland

Service Center, or an authorized Roland distribu-

tor, 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.

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 Adaptor

(PSB-1U)

AC Outlet

Power Cord

Lamp

Ground

Terminal

SonicCell Bottom Panel

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

■

Turning the Power On

fig.PowerOn.eps

Minimize the volume of the SonicCell and of your con-

nected audio equipment.

Turn on the [POWER] switch.

* This unit is equipped with a protection circuit. A brief interval

(a few seconds) after power up is required before the unit will

operate normally.

Use the [MASTER VOLUME] knob to adjust the volume.

■

Turning the Power Off

Minimize the volume of the SonicCell and of your connected audio equipment.

Turn off the power of your connected audio equipment.

Turn off the [POWER] switch.

The indications in the display will disappear, and the power will turn off.

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 dam-

age to speakers and other devices.

MASTER VOLUME Knob

POWER Switch

Rear Panel

Front Panel

SonicCell_e.book 19 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

Basic Operation of the SonicCell

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].

Moving the Cursor

The cursor will move when you turn [CURSOR/VALUE].

cursor.eps

Moving Between Screens

fig.dispCursor3.eps

Turn [CURSOR/VALUE] to move the cursor to [PATCH].

fig.cursor-push-eps

Press [CURSOR/VALUE].

fig.disp-PatchEdit.eps

The Patch Edit screen will appear.

fig.exit-push.eps

Press [EXIT].

fig.disp-cursor.eps

You’ll return to the Part View screen.

About the display and [CURSOR/VALUE]

Cursor

the Name of

the display

Turn

Cursor

Press

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

Editing a Value

fig.dispCursorValue1

Let’s try changing the patch number.

Turn [CURSOR/VALUE] to move the cursor

to the patch number.

fig.cursor-push-eps

Press [CURSOR/VALUE].

fig.dispCursorValue2

fig.cursor-turn.eps

The patch number will be highlighted.

Turn [CURSOR/VALUE].

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.

Saving perfoemances

➝

Refer to “Performance Write (p. 73 ).”

fig.disp-cursorValue4.eps

Press [CURSOR/VALUE] once more.

The cursor will return to its original state.

Cursor

Patch Number

Press

The value at the

cursor is

highlighted

Turn

The value

will change

Shown when you

edit the value

SonicCell_e.book 21 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

Using the SonicCell as a MIDI Sound Module

■

Connections

fig.setsuzoku-MIDI.eps

■

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 .

■

Selecting a Performance

fig.button-MIDI-INST-Lite.epsfig.disp-MIDIINST.eps

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

fig.dispMIDIInst1.eps

Move the Cursor to the Performance Number.

Press [CURSOR/VALUE].

The value at the cursor will be highlighted.

For details on using [CURSOR/VALUE], refer to p. 20 .

fig.dispMIDIPrfmNum2.eps

Turn [CURSOR/VALUE] to change the performance number.

The sound will change.

Press [CURSOR/VALUE].

MIDI Keyboard

MIDI IN OUTPUT

MIDI OUT

Monitor Amplifier etc.

NOTE

To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-

ume, and turn off the power on all devices before making any connections.

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.

Playing the

SonicCell in Performance Mode

Performance Number

SonicCell_e.book 22 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

■

Selecting Patch Mode

fig.button-MIDI-PART.eps/fig.disp-PatchPlay.eps

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 Perfor-

mance mode, and the MIDI INST screen will

appear.

■

Setting the MIDI channel

fig.dispPtchPlyRxch.eps

In the Patch Play screen, turn [CURSOR/VALUE] to move

the cursor to “RxCh.”

Press [CURSOR/VALUE].

The RxCh value will be highlighted.

Turn [CURSOR/VALUE] to set the “RxCh” value to match

the transmit channel of the connected equipment.

■

Selecting Sounds

fig.dispPtchSelect.eps

In the Patch Play screen, turn [CURSOR/VALUE] to move

the cursor to the patch number.

Press [CURSOR/VALUE].

Turn [CURSOR/VALUE] to change the patch number.

The sound will change.

Playing the SonicCell in Patch Mode

SonicCell_e.book 23 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

In the Patch Play screen, turn [CURSOR/VALUE] to move the

cursor to the patch group.

Press [CURSOR/VALUE].

fig.dispPtchSlct02.eps

Turn [CURSOR/VALUE] to select “PR-C,” then press [CURSOR/

VALUE].

fig.dispPtchSlct03.eps

Turn [CURSOR/VALUE] to move the cursor to the patch num-

ber, then press [CURSOR/VALUE].

The patch number will be highlighted.

Turn [CURSOR/VALUE] to select “037” as the patch number.

“Violin” will be selected.

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

In the Patch Play screen, use [CURSOR/VALUE] to move the cor-

sor to the “EDIT.”

Press [CURSOR/VALUE].

The Patch Edit screen will appear.

fig.dispPtchEdtTVA.eps

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.

Patch Group

Modifying the Sound (editing a patch)

SonicCell_e.book 24 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

Turn [CURSOR/VALUE] to move the cursor to “A-Env Time1.”

Press [CURSOR/VALUE].

The value will be highlighted.

Turn [CURSOR/VALUE] to change the value, then press [CUR-

SOR/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.

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

Turn [CURSOR/VALUE] to move the cursor to “A-Env Time4.”

Press [CURSOR/VALUE].

The value will be highlighted.

Turn [CURSOR/VALUE] to change the value, then press [CUR-

SOR/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.

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

For details on amp envelope, refer to p. 107 .

If you want to save the patch you modiﬁed, refer to p. 116 .

T1(when you press a key)

T4 (when you release a key)

MEMO

SonicCell_e.book 25 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

In the Patch Play screen, turn [CURSOR/VALUE] to move the cur-

sor to the “EDIT.”

Press [CURSOR/VALUE].

The Patch Edit screen will appear.

fig.dispPtchEdtTVF.eps

Turn [CURSOR/VALUE] to move the cursor to the “TVF.”

Press [CURSOR/VALUE].

The Patch TVF screen will appear.

fig.disp-PatchTVF1.eps

Turn [CURSOR/VALUE] to move the cursor the “Cutoff Fre-

quency.”

Press [CURSOR/VALUE].

The value will be highlighted.

fig.disp-PatchTVF-Cutoff.eps

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.

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 char-

acter of the sound simply by changing the effect.

fig.button-EFFECTS.epsfig.disp-EfxRouting.eps

In the Patch Play screen, press [EFFECTS].

The Effect Routing screen will appear.

fig.dispEfxRtF1.eps

Turn [CURSOR/VALUE] to move the cursor “MFX.”

fig.dispMFX.eps

MEMO

SonicCell_e.book 26 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

Press [CURSOR/VALUE].

fig.disp-MFX.eps

The MFX screen will appear.

Use [CURSOR/VALUE] to select the MFX type.

Press [CURSOR/VALUE].

The MFX type indication will be highlighted.

Use [CURSOR/VALUE] to change the MFX type.

Press [CURSOR/VALUE].

If you press [EXIT] you’ll return to the preceding screen.

For details on effect editing, refer to p. 132 .

If you want to save the patch you modiﬁed, refer to p. 116 .

Connections

fig.setsuzoku-MIDI-editor.eps

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.

MFX Type

MEMO

Using the Editor and Librarian

To USB Connector

of Computer

USB COMPUTER

USB cable

Computer

SonicCell_e.book 27 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

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

* 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.

■

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

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

Press [SMF/AUDIO PLAYER].

The Playlist Select screen will appear.

fig.disp-PlyLstSlct-Root.eps

Turn [CURSOR/VALUE] to move the cursor to the “USB Memory.”

* Save the song data in

the root directory of

your USB memory.

OUTPUT

USB

MEMORY

SMF, WAV,

AIFF, MP3

Monitor Amplifier etc.

NOTE

To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-

ume, and turn off the power on all devices before making any connections.

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.

Playback Procedure

SonicCell_e.book 28 ページ２００７年７月２日　月曜日　午後３時５０分

Playing Songs (Portable Backing Machine)

■ USER`S GUIDE

Press [CURSOR/VALUE].

fig.disp-PlayListC.eps

A list of the songs in the USB memory will appear.

fig.disp-PlayListSong.eps

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

Press [ ].

The selected song will play.

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 [SAM-

PLING RATE] switch on the front panel.

Songs whose sampling rate differs from the Sonic-

Cell’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.

Change the setting of the [SAMPLING RATE] switch.

Switch off the SonicCell’s power, then turn it back on.

SAMPLING RATE

SWITCH

SonicCell_e.book 29 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

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

■

Connections

fig.setsuzoku-pbm-MIDI.epsfig.setsuzoku-pds10.eps

PDS-10 BKT-S

Creating a Playlist

Performing via MIDI while a Song Plays

*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.

By using the separately

available PDS-10 and

BKT-S, you can set up the

SonicCell as shown in the

illustration.

USB

MEMORY

MIDI Keyboard

MIDI IN OUTPUT

MIDI OUT Monitor Amplifier etc.

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

Connecting the SonicCell to Your Computer

You can use the SonicCell as an external sound module for your DAW or sequencer software.

■

Example Connections and Preparations for Installation

fig.setsuzoku-DAW.eps

NOTE

You must install the driver before you connect the SonicCell to your computer.

Rear Panel

Front Panel

MIDI Keyboard

MIDI IN OUTPUT

MIDI OUT

To USB Connector

of Computer

USB COMPUTER

USB cable

Computer

Set the sampling rate to

44.1 kHz

In the System screen,

turn USB MIDI THRU

“ON” (p. 173)

Power off

Disconnect

Monitor Amplifier etc.

NOTE

To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-

ume, and turn off the power on all devices before making any connections.

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 duplica-

tion is forbidden by law.

SonicCell_e.book 31 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

dousa.eps

■

Installation Procedure

Windows XP users................................... p. 33

Windows Vista users ............................... p. 35

Mac OS users........................................... p. 37

Installing SONAR LE .............................. p. 152

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 can-

not guarantee that it will work with all host applications.

SonicCell Editor System Requirements

*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.

Windows OS Mac OS

Windows : 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

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

Speciﬁcations of the dedicated plug-in version of the editor

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Connecting the SonicCell to Your Computer

■ USER`S GUIDE

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.

Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, if

used).

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.

Close all applications.

Also close any anti-virus or system-monitoring software.

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder | XP

folder, and double-click Setup.exe.

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.

The message “To begin installation, click [Next]” will appear. Proceed with the driver installation

as directed by the instructions in the screen.

Windows XP users

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 trouble-

shooting tips. Be sure to read this file before using the software.

Installing the Driver

SonicCell_e.book 33 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

■

System Settings

These settings will prevent problems with the sound being interrupted when you play back audio from your

computer.

Open “Control Panel” and double-click “System.”

* If you don’t see the above icon, click “Performance and Maintenance,” then click “System.”

Click the “Advanced” tab, and then in the Performance section click [Settings].

Click the “Advanced” tab.

Choose “Background services” and click [OK].

Click [OK] to close “System Properties.”

■

Settings for Using the Media Player Included with Win-

dows

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.”

Click [OK] to close “Sounds and Audio Devices Properties.”

Start up Windows Media Player, play back an audio ﬁle and a MIDI ﬁle, and verify that you hear

the sound correctly.

Insert the “SonicCell Driver CD-ROM” into your CD-ROM drive, navigate to the Editor folder, and

double-click Setup.exe.

The “Welcome” screen will appear. Click [Next].

Follow the on-screen directions to install SonicCell Editor.

When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librar-

ian, SonicCell Playlist Editor, and online manuals for each editor will be installed.

Windows Settings

Installing SonicCell Editor

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.

SonicCell_e.book 34 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

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.

Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, if

used).

Close all applications.

Also close any anti-virus or system-monitoring software.

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.

A User Account Control screen will appear; click [Continue].

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.

The message “Click [Next] to begin the installation” will appear. Proceed with the driver installa-

tion as directed by the instructions in the screen.

Windows Vista Users

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

SonicCell_e.book 35 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

■

Settings for using the Media Player included with Windows

Open “Control Panel,” click “Hardware and Sounds,” then click “Sounds.”

* If you’ve chosen the Classic View, double-click “Sounds.”

In “Playback,” choose Roland SonicCell’s “OUT” and click “Set Default.”

Click [OK] to close “Sounds.”

Start up Windows Media Player, play back an audio ﬁle, and verify that sound is produced cor-

rectly.

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Editor folder, and

double-click Setup.exe.

The screen will indicate “An unidentiﬁed program is requesting access to this computer”; click

[Allow].

A User Account Control screen will appear; click [Continue].

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 Librar-

ian, SonicCell Playlist Editor, and online manuals for each editor will be installed.

Windows Settings

Installing SonicCell Editor

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.

SonicCell_e.book 36 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

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.

* If an “Authentication” dialog box appears during the installation, enter your password and click [OK].

Start up your computer with all USB cables disconnected (except for the keyboard and mouse).

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder, and

double-click “SonicCellUSBDriver.pkg.”

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].

A message will indicate “Welcome to Roland SonicCell Driver installer.”

Click [Continue].

A message will indicate “Select a Destination.”

Click to select the drive in which the system is installed, and then click [Continue].

A message will indicate “Easy install.”

Click either [Install] or [Upgrade].

A message will indicate “Installing this software requires you to restart...” Click [Continue with

installation].

A message will indicate “The software was successfully installed” will appear. Click [Restart] to

restart your computer.

Mac OS X Users

Installing the Driver

SonicCell_e.book 37 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

In the “SonicCell Editor CD-ROM,” navigate to the Editor folder and double-click “SonicCell Edi-

torInstaller.mpkg.”

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.

■

Mac OS X Audio Input/Output Settings

Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power.

In “System Preference,” click “Sounds.”

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

Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power.

In the “Applications - Utilities” folder, double-click “Audio MIDI Setup” to start it up.

Click the “MIDI Devices” tab.

Installing SonicCell Editor

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

SonicCell_e.book 38 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

In the “Audio MIDI Setup” dialog box, verify that “SonicCell” is shown.

* 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.

Click “Add Device.” A “New External Device” item will appear.

Click added “New External Device” that was added, and then click “View Information.”

Enter the following names in the “Device Name” ﬁeld of each “New External Device.”

First new external device SonicCell

Drag with the mouse so that the up/down arrows indicating the input/output ports are con-

nected as follows.

• Connect the ﬁrst up/down arrow of “SonicCell” to the up/down arrow of the added “Sonic-

Cell”

Verify that MIDI transmission and reception is occurring normally.

• Click “Test Settings.” The mouse cursor will change to the shape of a musical note.

Click the added external device. If you hear sound from the sound module, the settings are cor-

rect.

Click ”Test Setup” once again to end the test.

Close the “Audio MIDI Settings” dialog box. This completes the settings.

■

Before You Use the SonicCell with Your Software

Use a USB cable to connect the SonicCell to your computer before you start up your software.

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.)

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.

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USER‘S GUIDE

Recording a Mic or Guitar

(USB/Audio Interface)

■

Connections

fig.setsuzoku-Input.eps

INPUT

LINE (R)

LINE (L)

GUITAR (Hi-Z)

MIC

(DC 48 V/10mA)

OUTPUT

USB COMPUTER

USB cable

Keyboard

To USB Connector

of Computer

Dynamic Mic Acoustic Guitar etc.

Condenser Mic

Guitar

Computer

Set the INPUT LEVEL knob to “MIN”

before making connections

Monitor Amplifier etc.

NOTE

* To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-

ume, and turn off the power on all devices before making any connections.

* 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 bal-

anced (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.

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 (USB/Audio Interface)

■ USER`S GUIDE

fig.setsuzoku-input-Mic.eps

Settings Required

INPUT SOURCE switch

➝

Set to “MIC”

When connecting a condenser mic that requires

phantom power

➝

Turn phantom power on (p. 142 )

fig.setsuzoku-input-guitar.eps

Settings Required

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”

If you want to apply an effect

➝

Refer to p. 144

Connecting a Mic

L/GUITAR/MIC

Dynamic Mic

Acoustic Guitar etc.

Condenser

Mic

Input Source

Switch

Connecting a Guitar

L/GUITAR/MIC

Guitar

Input Source

Switch

SonicCell_e.book 41 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

fig.setsuzoku-input-Line.eps

Settings Required

INPUT SOURCE switch

➝

Set to “LINE”

If you’re inputting in mono (one cable)

➝

Connect to L (MONO)

If you want to apply an effect

➝

Refer to p. 144

Checking the Volume Level

fig.dispInputLvmtr.eps

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

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

Using the Line Input

OUTPUT

Keyboard

LINE (R) L/GUITAR/MIC

Input Source

Switch

Adjusting the Input Volume

INPUT

LEVEL

SonicCell_e.book 42 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

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

■

Settings Required

Press [INPUT] so it’s lit.

The Input screen will appear.

Routing the Sound Through InputFX (input effect)

fig.disp-Input-Assign.eps

Turn [CURSOR/VALUE] to move the cursor to the “Assign.”

Press [CURSOR/VALUE].

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

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.

Turn [CURSOR/VALUE] to move the cursor to “To Com.”

Press [CURSOR/VALUE].

The To Computer screen will appear.

Input Effect Settings

Reverb,

Chorus,

Mastering

Effect

Input FX

Input

SonicCell

Patch,

Performance

Computer

Mic

Monitor Amplifier etc.

SonicCell_e.book 43 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

Turn [CURSOR/VALUE] to move the cursor to the “Type.”

Press [CURSOR/VALUE].

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.”

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

■

Settings Required

Press [INPUT] so it’s lit.

The Input screen will appear.

fig.disp-Input-Assign.eps

Routing the Sound Through InputFX (input effect)

Turn [CURSOR/VALUE] to move the cursor to the “Assign.”

Press [CURSOR/VALUE].

MEMO

Computer

Mic

Reverb,

Chorus,

Mastering

Effect

Input FX

Input

SonicCell

Patch,

Performance

Monitor Amplifier etc.

SonicCell_e.book 44 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

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

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.

Turn [CURSOR/VALUE] to move the cursor to “To Com.”

Press [CURSOR/VALUE].

The To Computer screen will appear.

fig.disp-ToComputer.eps

Turn [CURSOR/VALUE] to move the cursor to the “Type.”

Press [CURSOR/VALUE].

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.”

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

MEMO

SonicCell_e.book 45 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

Installing the Wave Expansion Board

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.

●

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.

●

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.

NOTE

Installing a Wave Expansion Board increases the patches and drum sets for Parts, but the num-

ber of Parts doesn’t change. The Wave Expansion Board can be installed by removing the top

cover.

Cautions When Installing an Wave

Expansion Board

tightenloosen

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

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.

Before installing the Wave Expansion Board, turn off the power of the SonicCell and all con-

nected devices, and disconnect all cables, including the Power cable, from the SonicCell.

fig.SRX-Install0-e.eps

From the SonicCell, remove only the

screws shown in the following diagram,

and detach the top panel cover.

fig.SRX-Install3-e.eps

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

type, only one board will be detected.

fig.SRX-Install4-e.eps

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.

Use the screws that you removed in step 2

to fasten the cover back in place.

How to Install a Wave Expansion Board

Screws to be removed

Allen Wrench

(2mm)

Board holder

Position them as shown

before you install the board.

Connector

Wave Expansion Board

(SRX series)

Installation tool LOCK

SonicCell_e.book 47 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

After installation of the Wave Expansion Boards has been completed, check to conﬁrm that the installed

boards are being recognized correctly.

Turn on the power, as described in “Turning the Power On” (p. 19 ).

fig.disp-Menu-left-Snd.eps

Press [MENU].

The Menu screen will appear.

fig.disp-menu-right-info.eps

Turn [CURSOR/VALUE] to select “SRX Info.”

fig.disp-SysSRXInfo.eps

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.

Press [EXIT] to exit the System screen.

Checking the Installed Wave

Expansion Boards

NOTE

If “- - - - - - - ” appears next to the installed slot name, it’s possible that the installed Wave Expan-

sion Board is not being recognized correctly. Re-install the Wave Expansion Board correctly.

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

Installation de la carte d’extension Wave

(French language for Canadian Safety Standard)

fig.French_CSA

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.

●

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

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.

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

resserrerdesserrer

SonicCell_e.book 49 ページ２００７年７月２日　月曜日　午後３時５０分

USER‘S GUIDE

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’expan-

sion Wave (XP-A- XP-B) lorsque l’expansion Wave, les correctifs et rythmes sont utilises.

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’alimenta-

tion.

fig.SRX-Install0-f.eps

Retirer du SonicCell, uniquement les vis mon-

trees dans le diagramme ci-dessous et

detacher le couvercle superieur.

fig.SRX-Install3-f.eps

Comme le montre l’illustration ci-dessous,

branchez le connecteur de la carte d’expan-

sion 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.

* Si plusieurs cartes d’expansion du meme

type sont installees, une seule sera detectee.

fig.SRX-Install4-f.eps

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.

Installation d’une carte d’expansion Wave

Clé hexagonale

(2 mm)

Vis à enlever

Support à carte

Connecteur

Carte d’extension Wave

(serie SRX)

Avant l’installation,

orienter les supports à carte

tel qu’indiqué sur le schéma.

Outil d’installation LOCK

SonicCell_e.book 50 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

Lorsque l’installation des cartes d’extension audio est terminee, proceder a une veriﬁcation pour s’assurer

que l’ordinateur les identiﬁe correctement.

Mettre sous tension de la facon decrite sous “Turning the Power On” (p. 19 ).

fig.disp-Menu-left-Snd.eps

Appuyer sur [MENU].

L'écran Menu s'afﬁchera à l'écran.

fig.disp-menu-right-info.eps

Tourner [CURSEUR/VALEUR] pour sélectionner “SRX Info.”

fig.disp-SysSRXInfo.eps

Appuyer sur [CURSOR/VALUE].

L’ecran System Edit s’afﬁche. Veriﬁez que le nom de la carte

d’expansion Wave installee s’est afﬁche.

Appuyer sur [EXIT] pour quitter la fenetre du systeme.

Veriﬁcation des cartes d’extension

audio apres installation

NOTE

Si “- - - - - - -” est affiche a cote du nom de la fente dans laquelle la carte est installee, il est pos-

sible que la carte d’extension audio installee ne soit pas reconnue correctement. Reinstaller cor-

rectement la carte d’extension audio.

SonicCell_e.book 51 ページ２００７年７月２日　月曜日　午後３時５０分

MEMO

SonicCell_e.book 52 ページ２００７年７月２日　月曜日　午後３時５０分

MIDI Sound Module

SonicCell_e.book 53 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

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.

With the factory settings, Performance mode is selected.

■

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.

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.

■

Part

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.

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.

■

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.

WG (Wave Generator)

Specifies the PCM waveform (wave) that is the basis of the

Performance Mode and Patch Mode

How a Performance is structured

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

Performance

Part 16

Part 1

Patch/

Rhythm Set

How a Patch is structured

Tone

Patch

Example 1: A Patch consisting of only one Tone

(Tones 2–4 are turned off).

Tone

Patch

Example 2: A Patch consisting of four Tones.

Pitch

Envelope

TVF

Envelope TVA

Envelope

TVA

LFO 1 LFO 2

Tone

control signal

audio signal

SonicCell_e.book 54 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.

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.

* 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 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

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 sound-

producing 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.

How a Rhythm Set is structured

Note number 98 (D7)

Note number 97 (C#7)

Note number 36 (C2)

Note number 35 (B1)

Rhythm Tone (Percussion instrument sound)

Rhythm Set

Pitch

Envelope

TVF

Envelope TVA

Envelope

TVA

Calculating the Number of Voices Being

Used

SonicCell_e.book 55 ページ２００７年７月２日　月曜日　午後３時５０分

Overview

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 multi-

effect can be used simultaneously; these are referred to as

MFX1, MFX2, and MFX3. In Patch mode, you can use one

multi-effect.

■

Chorus

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.

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.

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.

About the Effects

Effects in Performance Mode

Effects in Patch Mode

Performance

Part 16

Chorus

Reverb

Multi-Effects

Tone

Patch

Part 1

Tone

Rhythm

Tone

Rhythm Set

Patch

Chorus

Reverb

Chorus

Reverb

Multi-Effects

SonicCell_e.book 56 ページ２００７年７月２日　月曜日　午後３時５０分

Overview

Patch and performance settings are stored in what is referred

to as memory. There are three kind of memory: temporary,

rewritable, and non-rewritable.

■

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.

■

System Memory

System memory stores system parameter settings that

determine how the SonicCell functions.

To store system parameters, execute System Write (p. 176, p.

150).

■

User Memory

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.

■

Preset memory

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.

About Memory

Preset

Preset G (PR-G)

Temporary Area

User

System

Rhythm Set

Patch

256

Performance

Wave Expansion Board

USB Memory

Patch

256

System

Rhythm Set

Performance

EXP A slot

Patch

Rhythm Set

EXP B slot

Patch

Rhythm Set

Preset F (PR-F)

Preset E (PR-E)

Preset D (PR-D)

Preset C (PR-C)

Preset B (PR-B)

Preset A (PR-A)

Performance

Rhythm Set

Patch

128

BackupRestore

Song

SMF

Audio File

GM (GM2)

Patch

256

Rhythm Set

SelectSelect

Select Select Select Write

Temporary Memory

Rewritable Memory

Non-Rewritable memory

SonicCell_e.book 57 ページ２００７年７月２日　月曜日　午後３時５０分

Using the SonicCell in Performance Mode

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

fig.disp-MIDI-top01

* 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.

Turn [CURSOR/VALUE] to move the cursor to the

parameter you want to edit.

Press [CURSOR/VALUE] to highlight the value.

fig.disp-MIDI-top02

Turn [CURSOR/VALUE] to edit the value.

When you’ve finished editing, press [CURSOR/VALUE].

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Viewing the MIDI INST (MIDI sound module) screen

(1)(

(3)

Parameter Value Explanation

(1) Performance group

USER, PRST

Selects the performance group.

USER:

User

PRST:

Preset

(2) Performance

number/name

01–64

Selects the performance.

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

(3) Settings for each

part

-, M, S, *

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)

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

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.

Turn [CURSOR/VALUE] to move the cursor to the item you want to edit.

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).

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

This specifies the mode of the MIDI sound generator.

The current mode is highlighted.

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.

fig.disp-PerformanceTop

In the Perform MIDI Filter screen you can edit the following parameters for each part.

Switching the sound mode (Sound Mode screen)

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)

Parameter Value Explanation

(Receive Program Change Switch)

_, O Determines, on an individual part basis, whether MIDI program change mes-

sages will be received (O) or not received (_).

(Receive Bank Select Switch)

_, O Determines, on an individual part basis, whether MIDI bank select messages

will be received (O) or not received (_).

(Receive Pitch Bend Switch)

_, O Determines, on an individual part basis, whether MIDI pitch bend messages

will be received (O) or not received (_).

(Receive Polyphonic Key Pressure Switch)

_, O Determines, on an individual part basis, whether MIDI polyphonic key pres-

sure messages will be received (O) or not received (_).

(Receive Channel Pressure Switch)

_, O Determines, on an individual part basis, whether MIDI channel pressure mes-

sages will be received (O) or not received (_).

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

■

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.

(Receive Modulation Switch)

_, O Determines, on an individual part basis, whether MIDI modulation messages

will be received (O) or not received (_).

(Receive Volume Switch)

_, O Determines, on an individual part basis, whether MIDI volume messages will

be received (O) or not received (_).

(Receive Pan Switch)

_, O Determines, on an individual part basis, whether MIDI pan messages will be

received (O) or not received (_).

(Receive Expression Switch)

_, O Determines, on an individual part basis, whether MIDI expression messages

will be received (O) or not received (_).

(Receive Hold 1 Switch)

_, O Determines, on an individual part basis, whether MIDI hold 1 messages will

be received (O) or not received (_).

(Phase Lock Switch)

_, O

Set Phase Lock to “O” when you want to suppress discrepancies in timing of

parts played on the same MIDI channel.

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 Type)

_, 1–4

Velocity Curve selects for each MIDI channel one of the four following Veloc-

ity 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.

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.

Parameter Value Explanation

2134

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

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

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.

fig.disp-PartView-01

If in Performance mode you’ve set the current part’s patch type to “Patch,” the following screen will appear.

fig.disp-PartView-p

Viewing the part settings (Part View screen)

If the patch type is Patch

Parameter 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 insert-

ed 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.

(5) Category lock

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.

(6) Patch category

- - - –CMB Switches the category.

(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 cur-

rent part (p. 88).

(10) Preview

If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview

sound played by that patch.

The system Preview setting (p. 179) lets you specify how the preview will be

sounded.

(1)

(7)

(2) (3)

(8) (9) (10)

(4)

(5)(

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

■

Patch Category

Category Contents

- - -

No Assign No assign

PNO

AC.Piano Acoustic Piano

EL.Piano Electric Piano

KEY

Keyboards Other Keyboards (Clav, Harpsichord etc.)

BEL

Bell Bell, Bell Pad

MLT

Mallet Mallet

ORG

Organ Electric and Church Organ

ACD

Accordion Accordion

HRM

Harmonica Harmonica, Blues Harp

AGT

AC.Guitar Acoustic Guitar

EGT

EL.Guitar Electric Guitar

DGT

DIST.Guitar Distortion Guitar

Bass Acoustic & Electric Bass

SBS

Synth Bass Synth Bass

STR

Strings Strings

ORC

Orchestra Orchestra Ensemble

HIT

Hit&Stab Orchestra Hit, Hit

WND

Wind Winds (Oboe, Clarinet etc.)

FLT

Flute Flute, Piccolo

BRS

AC.Brass Acoustic Brass

SBR

Synth Brass Synth Brass

SAX

Sax Sax

HLD

Hard Lead Hard Synth Lead

SLD

Soft Lead Soft Synth Lead

TEK

Techno Synth Techno Synth

PLS

Pulsating Pulsating Synth

Synth FX Synth FX (Noise etc.)

SYN

Other Synth Poly Synth

BPD

Bright Pad Bright Pad Synth

SPD

Soft Pad Soft Pad Synth

VOX

Vox Vox, Choir

PLK

Plucked Plucked (Harp etc.)

ETH

Ethnic Other Ethnic

FRT

Fretted Fretted Inst (Mandolin etc.)

PRC

Percussion Percussion

SFX

Sound FX Sound FX

BTS

Beat&Groove Beat and Groove

DRM

Drums Drum Set

CMB

Combination Other patches which use Split and Layer

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

If in Performance mode you’ve set the current part’s patch type to “Rhythm,” the following screen will appear.

fig.disp-PartView-r

If the patch type is Rhythm Set

Parameter Value Explanation

(1) Rhythm Set group

USER, PRST,

GM, XP-A, XP-B

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 Within the currently selected rhythm set, selects the key that you’ll be editing.

(6) LIST

Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 67).

(7) PART

Press [CURSOR/VALUE] to access the Part Edit screen (p. 68).

(8) RHY

Press [CURSOR/VALUE] to access the edit screen for the rhythm set used by the

current part (p. 117).

(9) Preview

If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview sound

played by that rhythm set.

The system Preview setting (p. 179) lets you specify how the preview will be

sounded.

(1)

(6)

(2) (3)

(7) (8) (9)

(4)

(5)

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

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.

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

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.

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.

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.

Selecting patches from a patch list by category (Patch List (Ctg) screen)

Parameter Explanation

PNO, KBD, GTR, BAS, ORC,

BRS, SYN, VCL, WLD

Changes the category (major classification) and returns to the patch list screen organized by cate-

gory.

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

Category

PNO:

AC.Piano, EL.Piano

KBD:

Keyboards, Bell, Mallet, Organ, Accordion, Harmonica

GTR:

AC.Guitar, EL.Guitar, Dist.Guitar

BAS:

Bass, Synth Bass

ORC:

Strings, Orchestra, Hit&Stab

BRS:

Wind, Flute, AC.Brass, Synth Brass, Sax

SYN:

Hard Lead, Soft Lead, Techno Synth, Pulsating, Synth FX, Other Synth

VCL:

Bright Pad, Soft Pad, Vox

WLD:

Plucked, Ethnic, Fretted, Percussion, Sound FX, Beat&Groove, Drums, Combination

GROUP LIST

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.

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

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.

Display the Patch Play screen.

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 5.

Press [MENU] to access the Category Select screen.

Choose “GROUP LIST” and press [CURSOR/VALUE].

The Patch List (Grp) screen will appear.

fig.disp-PatchL-Grp

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.

Selecting patches from a patch list by group (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 corre-

sponding 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.

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

If the patch type is “Rhythm,” you can choose a rhythm set from a list.

Display the Patch Play screen.

Select “LIST” and press [CURSOR/VALUE].

Rhythm Set List screen will appear.

fig.disp-RhythmList

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.

■

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.

Selecting a rhythm set from a list (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 corre-

sponding slot.

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

Press [MIDI INST].

[MIDI INST] and [PART VIEW] will light, and the Patch

Play screen will appear.

Turn [CURSOR/VALUE] to select “PATCH,” then press

[CURSOR/VALUE].

The Patch Edit screen will appear.

fig.disp-PatchEdit01

Turn [CURSOR/VALUE] to select the item you want to edit,

then press [CURSOR/VALUE].

The editing screen for the selected item will appear.

Turn [CURSOR/VALUE] to select the parameter you want

to edit, then press [CURSOR/VALUE].

The value of the selected parameter will be highlighted.

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.

Editing patches (Patch Edit screen)

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).

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

■

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.

* If the Str Type (p. 93) is set to any value other than 1, two screens will be shown for WG–OUT.

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.

Edits waveform-related settings.

Press [CURSOR/VALUE] to access the Patch WG screen (p. 98).

(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).

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

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).

Pan

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

Priority

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)

Strech Tune

(Strech Tune

Depth)

OFF, 1–3

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 pro-

duce 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.

Analog Feel

(Analog Feel

Depth)

0–127

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

-63–+63

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).

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.

OFF

High note range

Pitch difference from

equal temperament Parameter value

Low note range

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

Resonance

Offset

-63–+63

Resonance Offset alters the resonance of the overall patch, while preserving the relative dif-

ferences 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 char-

acter 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 differ-

ences 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)

-63–+63

Release Offset alters the release time of the overall patch, while preserving the relative dif-

ferences between the release time values set for each tone in the A-Env Time 4 (p. 107), F-

Env 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.

Velocity Sens

(Velocity Sensi-

tivity Offset)

-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 param-

eters 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

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.

Legato Switch

OFF, ON

This setting specifies whether the Legato Switch will

be used (ON) or not (OFF).

Legato Switch is valid when the Mono/Poly parame-

ter is set to “MONO.” With the Legato Switch “ON,”

pressing a key while continuing to press a previous

key causes the note to change pitch to the pitch of the

most recently pressed key, sounding all the while.

This creates a smooth transition between notes, which

is effective when you wish to simulate the hammering-

on and pulling-off techniques used by a guitarist.

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.”

Legato Retriger

(Retrigger)

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 anoth-

er 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 key-

board sound.

Parameter Value Explanation

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

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 sim-

ulate 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.

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.

Part Mod Sw

(Part Modulation

Depth Switch)

OFF, ON Specifies whether the part’s modulation depth range setting (the value specified by RPN) will

be enabled (ON) or disabled (OFF).

Parameter Value Explanation

press D4 key

Pitch

Time

press C4 key

press C5 key

press D4 key

Pitch

Time

press C4 key

press C5 key

PITCH:

Starts a new portamento when another key is pressed while the pitch

is changing.

NOTE:

Portamento will begin anew from the pitch where the current change

would end.

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

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.

Booster

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.

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.

This type stacks the two filters together to intensify the characteristics of the fil-

ters. The TVA for tone 1 (or 3) controls the volume balance between the two

tones.

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.

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.

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.

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.

TONE 1 (3)

TONE 2 (4)

TVATVF

WG TVF TVA

Type 1

TONE 1 (3)

TONE 2 (4)

TVA TVF

WG TVF TVA

Type 2

TONE 1 (3)

TONE 2 (4)

TVA TVF

WG TVF TVA

Type 3

TONE 1 (3)

TONE 2 (4)

TVA TVF

WG TVF TVA

Type 4

TONE 1 (3)

TONE 2 (4)

Type 5

TVA TVF

WG TVF TVA

TONE 1 (3)

TONE 2 (4)

Type 6

TVA TVF

WG TVF TVA

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

This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to

create new overtones.

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.

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.

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 ring-

modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the

amount of the ring-modulated sound.

• 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 oth-

er, 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 gen-

erated.) 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

The Booster is used to distort the incoming signal.

In addition to using this to create distortion, you can use the wave-

form (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).

Parameter Value Explanation

TONE 1 (3)

TONE 2 (4)

TVATVF

WG TVF TVA

Type 7

TONE 1 (3)

TONE 2 (4)

Type 8

TVATVF

WG TVF TVA

TONE 1 (3)

TONE 2 (4)

TVATVF

WG TVF TVA

Type 9

TONE 1 (3)

TONE 2 (4)

TVATVF

WG TVF TVA

Type 10

Booster level

TVA

WG1

WG2

Booster

Adds to WG1

Shift in waveform by WG1

Distorted area of the

Waveform changes

WG2

Uses WG1 as LFO Adjusts WG1 output

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Using the SonicCell in Patch Mode

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).

Settings for matrix control (Patch Mtrx Ctrl1–4 screens)

Parameter Value Explanation

Src

(Control Source)

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

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.

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Using the SonicCell in Patch Mode

Dest

(Control Destination)

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 Ma-

trix 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:

Changes the pitch.

●

Opening and Closing the Filter

CUTOFF:

Changes the cutoff frequency.

RESONANCE:

Emphasizes the overtones in the region of the cutoff frequency, adding

character to the sound.

●

Changing the Volume and Pan

LEVEL:

Changes the volume level.

PAN:

Changes the pan.

●

Changing How the Effects Are Applied

OUTPUT LEVEL:

Changes the volume of output levels.

CHORUS SEND:

Changes the amount of chorus.

REVERB SEND:

Changes the amount of reverb.

●

Applying LFO to Modulate Sounds

LFO1/LFO2 PCH DEPTH:

Changes the vibrato depth.

LFO1/LFO2 TVF DEPTH:

Changes the wah depth.

LFO1/LFO2 TVA DEPTH:

Changes the tremolo depth.

LFO1/LFO2 PAN DEPTH:

Changes the effect that the LFO will have on pan.

LFO1/LFO2 RATE:

Changes the LFO cycle rate. Changes the speed of the LFO cycles.

The speed will not change if LFO Rate is set to “note.”

●

Changing the Pitch Envelope

PIT ENV A-TIME:

Changes the Env Time 1 of the pitch envelope.

PIT ENV D-TIME:

Changes the Env Time 2 and Env Time 3 of the pitch envelope.

PIT ENV R-TIME:

Changes the Env Time 4 of the pitch envelope.

●

Changing the TVF Envelope

TVF ENV A-TIME:

Changes the Env Time 1 of the TVF envelope.

TVF ENV D-TIME:

Changes the Env Time 2 and Env Time 3 of the TVF envelope.

TVF ENV R-TIME:

Changes the Env Time 4 of the TVF envelope.

●

Changing the TVF Envelope

TVA ENV A-TIME:

Changes the Env Time 1 of the TVA envelope.

TVA ENV D-TIME:

Changes the Env Time 2 and Env Time 3 of the TVA envelope.

TVA ENV R-TIME:

Changes the Env Time 4 of the TVA envelope.

●

Splitting 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.

Parameter Value Explanation

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Using the SonicCell in Patch Mode

Dest

(Control Destination)

●

Changing the Depth of Frequency Modulation for FXM

FXM DEPTH

●

Changing 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)

-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 val-

ues will allow greater amounts of change.

Set this to “0” if you don’t want to apply the effect.

Sw1-T1–T4–Sw4-T1–T4

(Tone Control Switch T1–T4)

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.

Parameter Value Explanation

■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.

One-shot:

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.

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.

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.

Cautions When Using a Loop Waveform

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.

TVA ENV for looped

Organ waveform

(sustain portion)

Note off Time

Level

Resulting TVA ENV

change

TVA ENV for one-shot

Key-click waveform

(attack portion)

Note off

Tone change stored

with the wave

Envelope

for the TVF filter

Resulting

tone change

Looped portion

Time

Level

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Using the SonicCell in Patch Mode

■

Patch WG screen..........................................................................................................

Waveform-related settings (Patch WG/Patch Pitch Env screen)

Parameter Value Explanation

Wave Group

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.

Wave Bank

A, B

- - -

Selects the wave bank when the wave group is set to “EXP.”

Wave Expansion Board A

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.

Wave No. L (MONO)

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.

Wave No. R

Wave Gain

-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 Tempo Sync

OFF, ON

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.

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 cer-

tain 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.”

FXM Switch

OFF, ON

This sets whether FXM will be used (ON) or not (OFF).

FXM

FXM (Frequency Cross Modulation) uses a specified waveform to apply fre-

quency modulation to the currently selected waveform, creating complex

overtones. This is useful for creating dramatic sounds or sound effects.

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Using the SonicCell in Patch Mode

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)

Tone Delay Mode

NORM, HOLD,

OFFN, OFFD

Selects the type of tone delay.

Tone Delay

This produces a time delay between the moment a key is pressed (or re-

leased), 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 per-

form arpeggio-like passages just by pressing one key.

You can also synchronize the tone delay time to the tempo of the external

MIDI sequencer.

• 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.

Parameter Value Explanation

Note off

Delay time

Note on

No Tone Delay

Note off

Delay time

Note on

No sound

played

Note off

Delay time

Note on

Note off

Delay time

Note on

NORM:

The tone begins to play after the time specified in the Delay Time pa-

rameter 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 spec-

ified in the Delay Time parameter has elapsed, the tone is not played.

OFFN:

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.

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. 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.

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100

Using the SonicCell in Patch Mode

*1 Note values

Tone Delay Time

0127,

Note (* 1)

Specifies the time from when the key is pressed (or if the Delay Mode pa-

rameter is set to “OFF-N” or “OFF-D,” the time from when the key is re-

leased) 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.

(Example)

For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

(half note) 1 second (60/60= 1 (second))

(quarter note) 0.5 seconds (60/120= 0.5 (seconds))

(eighth note) 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 oc-

taves).

★

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).

Pitch Keyfollow

-200–+200

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.

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 po-

sition.

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.

Parameter Value Explanation

C4C3C2C1 C5 C6 C7

+50

+100

+200

-50

-100-200 Key

Pitch

Double note

Dotted whole note

Dotted half note

Dotted thirty-second note

Whole note Double-note triplet

Sixteenth-note triplet

Thirty-second note

Sixty-fourth-note triplet

Sixty-fourth note

Thirty-second-note triplet

Dotted eighth noteQuarter-note tripletEighth note

Half-note tripletQuarter note Dotted quarter note Whole-note triplet

Half note

Sixteenth note Eighth-note triplet

Dotted sixteenth note

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101

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 Sensi-

tivity)

-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 param-

eter 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.

P-Env Time KF

(Pitch Envelope Time Keyfollow)

-100–+100

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 increas-

ingly shorter times, and negative (-) settings will cause them to have increas-

ingly longer times. Larger settings will produce greater change.

P-Env Time 1–4

★

(Pitch Envelope Time 1–4)

0–127

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.)

★

You can use matrix control to modify this. (p. 95)

C4C3C2C1 C5 C6 C7

+50

+100

-50

-100

Key

Time

T1 T2 T3 T4

Note off

Pitch Time

Note on

T: Time L: Level

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Using the SonicCell in Patch Mode

■

Patch TVF screen ..........................................................................................................

P-Env Level 0–4

(Pitch Envelope Level 0–4)

-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)

Parameter Value Explanation

Filter Type

Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sound’s bright-

ness, 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)

Parameter Value Explanation

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Using the SonicCell in Patch Mode

Resonance

★

0–127

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).

★

You can use matrix control to modify this. (p. 95)

Cutoff Freq KF

(Cutoff Frequency

keyfollow)

-200–+200

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), pos-

itive (+) 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 V-Curve

(Cutoff Frequency Velocity

Curve)

FIXED, 1–7

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.

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.

To edit the overall patch while preserving the relative differences in the Cutoff V-

Sens values set for each tone, set the Velocity Sens (p. 91). However, this setting

is shared by the Level V-Sens (p. 105).

Resonance V-Sens

(Resonance Velocity Sensi-

tivity)

-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.

Parameter Value Explanation

LPF BPF HPF PKG

parameter value

Level

Cutoff frequency

Frequency

High

Low

C4C3C2C1 C5 C6 C7

+50

+100

+200

-50

-100-200

-1

-2

Cutoff frequency

(Octave)

Key

1234567

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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)

FIX, 1–7

Selects one of the following 7 curves that will determine how keyboard play-

ing 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.

F-Env V-Sens

(TVF Envelope Velocity Sensi-

tivity)

-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.

F-Env T1 V-Sens

(TVF Envelope Time 1 Velocity

Sensitivity)

-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 param-

eter to a positive (+) value. If you want it to be slowed down, set this to a

negative (-) value.

F-Env T4 V-Sens

(TVF 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 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.

F-Env Time KF

(TVF Envelope Time Keyfol-

low)

-100–+100

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.

1234567

C4C3C2C1 C5 C6 C7

+50

+100

-50

-100

Key

Time

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Using the SonicCell in Patch Mode

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Patch TVA screen..........................................................................................................

F-Env Time1–4

★

(TVF Envelope Time 1–4)

0–127

Specify the TVF envelope times (Time 1–Time 4). Higher settings will length-

en 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.)

★

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).

Parameter Value Explanation

T1 T2 T3 T4

L0 L2 L4

Note off

Cutoff

Frequency Time

Note on

T: Time L: Level

TVA settings (Patch TVA/Patch TVA Env 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)

FIX, 1–7

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.”

Level V-Sens

(TVA Level Velocity Sensitivity)

-63–+63

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.

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Using the SonicCell in Patch Mode

Bias Direction

LOWER, UPPER,

LO&UP, ALL

Selects the direction in which change will occur starting from the Bias Posi-

tion.

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.

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.

Tone Pan

★

L64–0–63R 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)

Pan Keyfollow

-100–+100

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 increas-

ingly further toward the right, and negative (-) settings will cause notes high-

er than C4 key (center C) to be panned toward the left. Larger settings will

produce greater change.

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.

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 be-

tween left and right. For example if two tones are set to “L” and “R” respec-

tively, the panning of the two tones will alternate each time they are played.

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.

Parameter Value Explanation

C-1 G9

–

C-1 G9

–

LOWER UPPER

Bias Position

Level Level

Key Key

Bias Position C-1 G9

–

C-1 G9

–

LO&UP ALL

Level Level

Key Key

Bias Position Bias Position

C4C3C2C1 C5 C6 C7

+50

+100

+200

-50

-100-200 Key

Pitch

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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 param-

eter 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 quick-

ly 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 Time KF

(TVA Envelope Time Keyfol-

low)

-100–+100

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.

A-Env Time1–4

★

(TVA Envelope Time 1–4)

0–127

Specify the TVA envelope times (Time 1– Time 4). Higher settings will length-

en 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)

A-Env Level1–3

(TVA Envelope Level 1–3)

0–127

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).

C4C3C2C1 C5 C6 C7

+50

+100

-50

-100

Key

Time

T1 T2 T3 T4

L1 L2 Note off

Level Time

Note on T: Time L: Level

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Using the SonicCell in Patch Mode

Patch/Tone output-related settings (Patch Output screen)

Parameter Value Explanation

Pat Out Assign

(Patch Output Assign)

MFX, L+R,

L, R, TONE

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 OUT-

PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-

PUT 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 OUT-

PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-

PUT 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.

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Using the SonicCell in Patch Mode

■

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.

LFO settings (Patch LFO1, 2/Patch Step LFO screen)

Parameter Value Explanation

Waveform

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.

Rate

★

0–127,

Note

(Refer to p. 100 for

available note val-

ues.)

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.

(Example)

For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Setting LFO Rate

(half note) 1 second (60/60= 1 (second))

(quarter note) 0.5 seconds (60/120= 0.5 (seconds))

(eighth note) 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

0–127 LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parame-

ter) each time a key is pressed. Higher settings will cause greater change.

This parameter is invalid when Rate is set to “note.”

Offset

-100, -50, 0, +50,

+100

Raises or lowers the LFO waveform relative to the central value (pitch or cut-

off frequency). Positive (+) settings will move the waveform so that modula-

tion will occur from the central value upward. Negative (-) settings will move

the waveform so that modulation will occur from the central value down-

ward.

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110

Using the SonicCell in Patch Mode

Delay Time

0–127

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).

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.

Delay Time KF (Keyfollow)

-100–100

Adjusts the value for the Delay Time parameter depending on the key posi-

tion, relative to the C4 key (center C). To decrease the time that elapses be-

fore 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.”

Fade Mode

ON <, ON >,

OFF <, OFF >

Specifies how the LFO will be applied.

After referring to “How to Apply the LFO” (p. 111), change the setting until

the desired effect is achieved.

Fade Time

0–127

Specifies the time over which the LFO amplitude will reach the maximum

(minimum).

After referring to “How to Apply the LFO” (p. 111), change the setting until

the desired effect is achieved.

Parameter Value Explanation

C4C3C2C1 C5 C6 C7

+50

+100

-50

-100

Key

Time

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111

Using the SonicCell in Patch Mode

How to Apply the LFO

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)

Pan Depth

★

-63–+63

Specifies how deeply the LFO will affect the pan.

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)

Parameter Value Explanation

Note on

high (more)

low (less)

Pitch

Cutoff Frequency

Level

Pan

Delay

Time Fade Time

Depth

Note

high (more)

low (less)

Delay Time Fade Time

Depth

Pitch

Cutoff Frequency

Level

Pan

high (more)

low (less)

Delay

Time Fade Time

Depth

Note

off

Note

Pitch

Cutoff Frequency

Level

Pan

Note on

high (more)

low (less)

Delay

Time Fade Time

Depth

Note off

Pitch

Cutoff Frequency

Level

Pan

●Apply the LFO gradually after the key is pressed

Fade Mode: ON <

Delay Time: The time from when the keyboard is played

until the LFO begins to be applied.

Fade Time: The time over which the LFO amplitude will

reach the maximum after the Delay Time has

elapsed.

●Apply the LFO immediately when the key is pressed,

and then gradually begin to decrease the effect

Fade Mode: ON >

Delay Time: The time that the LFO will continue after the

keyboard is played.

Fade Time: The time over which the LFO amplitude will

reach the minimum after the Delay Time has

elapsed.

●Apply the LFO gradually after the key is released

Fade Mode: OFF <

Delay Time: The time from when the keyboard is released

until the LFO begins to be applied.

Fade Time: The time over which the LFO amplitude will

reach the maximum after the Delay Time has

elapsed.

●

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: OFF >

Delay Time: The time that the LFO will continue after the

keyboard is released.

Fade Time: The time over which the LFO amplitude will

reach the minimum after the Delay Time has

elapsed.

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112

Using the SonicCell in Patch Mode

■

Patch Step LFO 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

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)

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.”

TMT Ctrl Switch

(TMT Control Switch)

OFF, ON

Use the Matrix Control to enable (ON), or disable (OFF) sounding of differ-

ent tones.

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.

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Using the SonicCell in Patch Mode

Key (Keyboard) Range Upper

Lower–G9

Specifies the highest note that the tone will sound for each tone.

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.

Key Fade Upper

(Keyboard Fade Width Upper)

0–127

This determines what will happen to the tone’s level when a note that’s high-

er than the tone’s specified keyboard range is played. Higher settings pro-

duce 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.”

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 dif-

ferent strengths.

Velo (Velocity) Range upper

LOWER–127

This sets the highest velocity at which the tone will sound. Make these set-

tings when you want different tones 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.

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 pro-

duce 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.”

Parameter Value Explanation

Range Lower Range Upper

Fade Lower Fade Upper

Level

Pitch

Range Lower Range Upper

Fade Lower Fade Upper

Level

Velocity

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114

Using the SonicCell in Patch Mode

Controller-related settings (Patch Ctrl screen)

Parameter Value Explanation

Tone Env (Envelope) Mode

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 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.

Tone Rx Pan Mode

(Tone Receive Pan Mode)

CONT, K-ON

For each tone, specify how pan messages will be received.

CONT:

Whenever Pan messages are received, the stereo position of

the tone will be changed.

K-ON:

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)

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 be-

fore 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 func-

tion is effective for piano sounds.

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115

Using the SonicCell in Patch Mode

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.

Select the copy-source tone and copy-destination tone.

* The copy-destination patch is the patch that’s selected in

the temporary area (p. 57).

Move the cursor to “COPY” and press [CURSOR/VALUE].

A confirmation message will appear.

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 current patch settings to their initial values.

From the Patch Edit menu screen (p. 88), select “Patch Init.”

A confirmation message will appear.

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.

Tone Copy

Parameter

(1)

Group of the copy-source patch

(2)

Copy-source patch

(3)

Copy-source tone

(4)

Copy-destination tone

(1)

(3)(2)

(4)

Patch Initialize

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Using the SonicCell in Patch Mode

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.

Move the cursor to the location where you want to enter a

character, and press [CURSOR/VALUE].

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.

Repeat steps 1 and 2 as many times as necessary.

When you’ve finished entering the patch name, move the

cursor to “WRITE” and press [CURSOR/VALUE].

The Patch Write screen will appear.

Turn [CURSOR/VALUE] to select the save-destination

patch, then press [CURSOR/VALUE].

A confirmation message will appear.

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.

Patch Write

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; subse-

quent characters will move forward.

UNDO

Revert to the unedited patch name.

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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.”

Turn [CURSOR/VALUE] to select “EDIT,” then press

[CURSOR/VALUE].

The Rhythm Edit screen will appear.

fig.disp-RhythmEdit01

Turn [CURSOR/VALUE] to select the item you want to edit,

then press [CURSOR/VALUE].

The editing screen for the selected item will appear.

Turn [CURSOR/VALUE] to select the parameter you want

to edit, then press [CURSOR/VALUE].

The value of the selected parameter will be highlighted.

Turn [CURSOR/VALUE] to edit the value, then press

[CURSOR/VALUE].

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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.

Editing rhythm sets (Rhythm Edit screen)

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).

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Rhythm Edit screen .......................................................................................................

Parameter Explanation

General

Edits overall settings for the entire rhythm set.

Press [CURSOR/VALUE] to access the Rhythm General screen.

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

Rhythm Level

(Rhythm Set Level)

0–127

Sets the volume of the rhythm set.

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).

Assign Type

MULTI, SINGLE

Specifies how sounds are to be produced when you press the same key suc-

cessively.

MULTI:

New sounds will be layered onto the currently playing

sounds.

SINGLE:

The currently playing sound will be stopped before the new

sound begins.

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Mute Group

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.”

Env Mode

(Rhythm Tone Envelope Mode)

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 Expres-

sion Switch)

OFF, ON For each rhythm tone, specify whether MIDI Expression messages will be re-

ceived (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 re-

ceived (ON), or not (OFF).

If “NO-SUS” is selected for Env Mode, this setting will have no effect.

Rx Pan

(Rhythm Tone Receive Pan

Mode)

CONTINUOUS,

KEY-ON

For each rhythm tone, specify how pan messages will be received.

CONTINUOUS:

Whenever Pan messages are received, the stereo

position of the tone will be changed.

KEY-ON:

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

OFF, ON 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.

Relative Level

-64–+63

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.

Rhythm Tone Name

12 characters

You can assign a name of up to twelve characters to the currently selected

rhythm tone.

Move the cursor to the location at which you want to enter a character,

then press [CURSOR/VALUE].

Turn [CURSOR/VALUE] to select the character you want to enter, then

press [CURSOR/VALUE].

Parameter Value Explanation

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Waveform-related settings (Rhythm Wave screen)

Parameter Value Explanation

Wave Group

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.

Wave Bank

A, B

- - -

Selects the wave bank when the wave group is set to “EXP.”

Wave Expansion Board A

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.

Wave No. L (MONO)

1–1401

This selects the Waves comprising the rhythm tone. You can choose a sep-

arate 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.

Wave No. R

Wave Gain

-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 Tempo Sync

OFF, ON

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.

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 cer-

tain 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.”

FXM Switch

OFF, ON

This sets whether FXM will be used (ON) or not (OFF).

FXM

FXM (Frequency Cross Modulation) uses a specified waveform to apply fre-

quency modulation to the currently selected waveform, creating complex

overtones. This is useful for creating dramatic sounds or sound effects.

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.

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FXM Depth

0–16

Specifies the depth of the modulation produced by FXM.

When the Tempo Sync is set to “ON,” settings related to Pitch (p. 122)

and FXM are disabled.

Wave Coarse Tune

-48–+48

Adjusts the pitch of the waveform’s sound up or down in semitone steps (+/

-4 octaves).

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).

Wave Level

0–127

You can set the volume of the waveform.

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).

Wave Pan

L64–0–63R This specifies the pan of the waveform. “L64” is far left, “0” is center, and

“63R” is far right.

Wave Rnd Pan Sw

(Wave Random Pan Switch)

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).

Alter Pan Sw

(Wave Alternate Pan Switch)

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.”

Parameter Value Explanation

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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).”

■

Rhythm Pitch screen......................................................................................................

Specifying how a rhythm tone will be heard (Rhythm WMT screen)

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 ran-

domly, 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 ve-

locity 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 differ-

ent 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 differ-

ent 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 ve-

locity range to not be sounded at all, set this to “0.”

Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen)

Parameter Value Explanation

Tone Coarse Tune

(Rhythm Tone Coarse Tune)

C-1–G9

Selects the pitch at which a rhythm tone sounds.

Set the coarse tuning for Waves comprising the rhythm tones with the

Wave Coarse Tune (p. 121).

Range Lower Range Upper

Fade Lower Fade Upper

Level

Velocity

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Rhythm Pch Env screen .................................................................................................

Tone Fine Tune

(Rhythm Tone Fine Tune)

-50–+50

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).

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 Sensi-

tivity)

-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 Veloci-

ty 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 param-

eter 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 Veloci-

ty 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.

P-Env Time 1–4

(Pitch Envelope Time 1–4)

0–127

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.)

P-Env Level 0–4

(Pitch Envelope Level 0–4)

-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.

Parameter Value Explanation

T1 T2 T3 T4

Note off

Pitch Time

Note on

T: Time L: Level

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Rhythm TVF screen .......................................................................................................

TVF settings (Rhythm TVF/Rhythm TVF Env screen)

Parameter Value Explanation

Filter Type

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

0–127

Selects the frequency at which the filter begins to have an effect on the wave-

form’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.

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Resonance

0–127

Emphasizes the portion of the sound in the region of the cutoff frequency,

adding character to the sound. Excessively high settings can produce oscil-

lation, causing the sound to distort.

Cutoff V-Curve

(Cutoff Frequency Velocity

Curve)

FIXED, 1–7

Selects one of the following seven curves that determine how keyboard play-

ing 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.

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 (-) set-

tings.

Resonance V-Sens

(Resonance Velocity Sensitivi-

ty)

-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 pa-

rameter to positive (+) settings. If you want strongly played notes to have less

Resonance, use negative (-) settings.

Parameter Value Explanation

LPF BPF HPF PKG

parameter value

Level

Cutoff frequency

Frequency

High

Low

1234567

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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)

FIX, 1–7

Selects one of the following 7 curves that will determine how keyboard play-

ing 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.

F-Env V-Sens

(TVF Envelope Velocity Sensi-

tivity)

-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.

F-Env T1 V-Sens

(TVF Envelope Time 1 Velocity

Sensitivity)

-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 param-

eter to a positive (+) value. If you want it to be slowed down, set this to a

negative (-) value.

F-Env T4 V-Sens

(TVF 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 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.

F-Env Time1–4

(TVF Envelope Time 1–4)

0–127

Specify the TVF envelope times (Time 1–Time 4). Higher settings will length-

en 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.)

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).

1234567

T1 T2 T3 T4

L0 L2 L4

Note off

Cutoff

Frequency Time

Note on

T: Time L: Level

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Rhythm TVA screen.......................................................................................................

TVA settings (Rhythm TVA/Rhythm TVA Env screen)

Parameter Value Explanation

Tone Level

0–127

Sets the volume of the rhythm tone. This setting is useful primarily for adjust-

ing the volume balance between rhythm tones.

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)

FIX, 1–7

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.”

Level V-Sens

(TVA Level Velocity Sensitivity)

-63–+63

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.

Tone Pan

L64–0–63R

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far

right.

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 be-

tween left and right. For example if two tones are set to “L” and “R” respec-

tively, 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.

1234567

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Using the SonicCell in Patch Mode

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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 param-

eter 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 quick-

ly 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 length-

en 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.)

A-Env Level1–3

(TVA Envelope Level 1–3)

0–127

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 T3 T4

L1 L2 Note off

Level Time

Note on T: Time L: Level

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Using the SonicCell in Patch Mode

Output-related settings for the rhythm set and rhythm tones (Rhythm Output screen)

Parameter Value Explanation

Rhy Out Assign

(Rhythm Output Assign)

MFX, L+R,

L, R, TONE

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 OUT-

PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-

PUT 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 OUT-

PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-

PUT 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.

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Using the SonicCell in Patch Mode

Copies the settings of a rhythm tone to a rhythm tone in the cur-

rently selected rhythm set.

From the Rhythm Edit menu screen (p. 117), select “TON

COPY.” The Rhythm Tone Copy screen will appear.

Select the copy-source tone and copy-destination tone.

* The copy-destination rhythm set is the rhythm set that's

selected in the temporary area (p. 57).

Move the cursor to “COPY” and press [CURSOR/VALUE].

A confirmation message will appear.

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 just a specific key in the current rhythm

set to their initial values

From the Rhythm Edit menu screen (p. 117), select “TON

INIT.” The Rhythm Tone Init screen will appear.

Turn [CURSOR/VALUE] to select the key (A0–C8) that you

want to initialize.

Move the cursor to “INIT” and press [CURSOR/VALUE].

A confirmation message will appear.

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.

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.

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 Tone Copy

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)

(3)(2)

(4)

Rhythm Tone Initialize

Rhythm Set Initialize

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Using the SonicCell in Patch Mode

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.

Move the cursor to the location where you want to enter a

character, and press [CURSOR/VALUE].

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.

Repeat steps 1 and 2 as many times as necessary.

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.

Turn [CURSOR/VALUE] to select the save-destination

rhythm set, then press [CURSOR/VALUE].

A confirmation message will appear.

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.

Rhythm Set Write

Function Explanation

INSERT

Press [CURSOR/VALUE] to insert a space

(blank) at the cursor location.

DELETE

Press [CURSOR/VALUE] to delete the char-

acter at the cursor location; subsequent

characters will move forward.

UNDO

Revert to the unedited rhythm set name.

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Using the SonicCell in Patch Mode

In Patch mode you can use multi-effects, chorus, and reverb.

■

Signal flow...................................................................................................................

Editing the effects (Patch/Rhythm Set)

–

If the patch type is Patch, make these settings in the Patch Output screen.

: Tone Out Level, : Cho Send (MFX) / Cho Send (non MFX),

: Rev Send (MFX) / Rev Send (non MFX), : Pat Out Assign, : Tone Out Assign

p. 108

If the patch type is Rhythm, make these settings in the Rhythm Output screen.

: Tone Out Level, : Cho Send (MFX) / Cho Send (non MFX),

: Rev Send (MFX) / Rev Send (non MFX), : Rhy Out Assign, : Tone Out Assign

p. 129

Make these settings in the MFX screen.

• Select the multi-effect type and edit the parameters. p. 134

–Make these settings in the MFX Output screen.

: Output Level, : Chorus Send Level, : Reverb Send Level p. 135

Make these settings in the Chorus screen.

• Select the chorus type and edit the parameters. p. 135

–Make these settings in the Chorus Output screen.

: Output Level, : Output Select p. 135

Make these settings in the Reverb screen.

• Select the reverb type and edit the parameters. p. 136

Make these settings in the Reverb Output screen.

• Output Level p. 136

Tone 2

Tone 3

Tone 4

Patch (Rhythm) Output

Chorus Output

Reverb

Output

MFX Output

Chorus

Reverb

MAIN

REV

MFX

Tone1

Mastering

Effect

OUTPUT

1 2

4 5

366 8 97

10 11 12

13 14

1 5

3 4 5

7 9 7 8 9

11 12 11 12

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Using the SonicCell in Patch Mode

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Procedure ....................................................................................................................

In the Patch Edit screen, press [EFFECTS].

The [EFFECTS] indicator will light, and the Effect Routing

screen will appear.

Turn [CURSOR/VALUE] to move the cursor to the

parameter you want to edit.

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.

Turn [CURSOR/VALUE] to edit the value, then press

[CURSOR/VALUE].

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).

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Using the SonicCell in Patch Mode

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MFX screen ..................................................................................................................

Selecting the item to edit (Effect Routing screen)

Parameter Explanation

Tone (Tone Output)

* Patch Type: Patch

Edits output-related settings for the patch/tone.

By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Patch Output

screen (p. 108).

Key (Rhythm Output)

* Patch Type: Rhythm

Edits output-related settings for the rhythm set/rhythm tone.

By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm Output

screen (p. 129).

MFX

Edits multi-effect settings.

Press [CURSOR/VALUE] to access the MFX screen (p. 134).

MFX

(MFX Output)

Edits settings for the multi-effect output.

By moving the cursor to and pressing [CURSOR/VALUE] you can move to the MFX Output

screen (p. 135).

CHO

(Chorus)

Edits chorus settings.

Press [CURSOR/VALUE] to access the Chorus screen (p. 135).

CHO

(Chorus Output)

Edits settings for the chorus output.

By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Chorus Output

screen (p. 135).

REV

(Reverb)

Edits reverb settings.

Press [CURSOR/VALUE] to access the Reverb screen (p. 136).

REV

(Reverb Output)

Edits settings for the reverb output.

By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Reverb Output

screen (p. 136).

(Mastering Effect)

Edits mastering effect settings.

Press [CURSOR/VALUE] to access the Mastering Effect screen (p. 181).

Multi-effect settings (MFX/MFX Output 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).

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Using the SonicCell in Patch Mode

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MFX Output screen .......................................................................................................

■

Chorus screen...............................................................................................................

■

Chorus 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)

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).

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.

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Using the SonicCell in Patch Mode

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Reverb screen...............................................................................................................

■

Reverb Output screen ...................................................................................................

Reverb settings (Reverb/Reverb Output screens)

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).

Parameter Value Explanation

Output Level

0–127 Adjusts the volume of the sound that has passed through reverb.

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Using the SonicCell in Patch Mode

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 Multi-

effects 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 multi-

effects in realtime.

Controlling the multi-effects via MIDI (MFX Control screen)

Parameter Value Explanation

Control 1–4

Src (Source)

OFF,

CC01–CC31,

CC33–95,

PITCH BEND,

AFTERTOUCH,

SYS CTRL1–4

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:

Controller numbers 1–31, 33–95

PITCH BEND:

Pitch Bend

AFTERTOUCH:

Aftertouch

SYS CTRL1–4:

Use the System Control setting (p. 179).

Control 1–4

Dest (Destination)

Refer to

“Multi-Effects Pa-

rameter” (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

-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 (+) val-

ue. 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 (-) val-

ue. Higher numbers produce a greater amount of change.

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MEMO

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Audio Connections

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Using the SonicCell with your computer (USB AUDIO)

Press [USB AUDIO] so its indicator is lit.

The USB Audio screen will appear.

fig.disp-USB-top01

Turn [CURSOR/VALUE] to move the cursor to the

parameter you want to edit.

Press [CURSOR/VALUE] to highlight the value.

Turn [CURSOR/VALUE] to edit the value.

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).

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.

Basic operation

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.

Assign

To Output, To Input FX

Specifies where the input signal is to be sent.

To Output:

Sent to OUTPUT.

To Input FX:

Sent to the input effect.

Use the “In/Out Routing” (p. 144) to specify how the signal that has

passed through the input effect will be output.

OUTPUT

USB

Audio

Input

Effect

OUTPUT

Input

Effect

USB

Audio

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Using the SonicCell with your computer (USB AUDIO)

From the USB Audio screen, press [MENU] to access the Menu screen.

Press [MENU] once again to return to the USB Audio screen.

Accessing the Menu 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).

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Inputting sound from an external device (INPUT)

Press [INPUT] so its indicator is lit.

The Input screen will appear.

fig.disp-Input-top01

Turn [CURSOR/VALUE] to move the cursor to the

parameter you want to edit.

Press [CURSOR/VALUE] to highlight the value.

fig.disp-Input-top02

Turn [CURSOR/VALUE] to edit the value.

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).

Basic operation

Parameter Value Explanation

Phantom Power

OFF, ON

Turns phantom power on/off.

Turn this “ON” if you’ve connected a phantom-powered condenser mic to

the MIC INPUT jack.

• 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.

Assign

To COM+Output,

To COM, To Input FX

Specifies where the input signal is to be sent.

To COM+ Output:

Sent to computer and OUTPUT.

To COM:

Output to the computer.

INPUT

OUTPUT

Computer

Input

Effect

INPUT

OUTPUT

Computer

Input

Effect

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Inputting sound from an external device (INPUT)

From the Input screen, press [MENU] to access the Menu screen.

Press [MENU] once again to return to the Input screen.

Assign

To COM+Output,

To COM, To Input FX

To Input FX:

Sent to the input effect.

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

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).

Parameter Value Explanation

INPUT

OUTPUT

Computer

Input

Effect

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144

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 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)

Settings

INPUT: Assign (p. 142) = To COM

USB Audio: Assign (p. 140) = To Output

The sound that's received at INPUT or USB can be sent directly out without change, or processed by a dedicated “input effect.”

(Example)

Settings

INPUT: Assign (p. 142) = To COM+ Output Assign (p. 142) = To Input FX

Input Effect (p. 147)

You can use your computer to apply an effect to the audio received via INPUT

Use an “input effect” that’s dedicated to INPUT/USB

OUTPUT

Computer

INPUT

Assign: To COM USB Audio

Assign: To Output

INPUT

USB

INPUT

OUTPUT

Computer

INPUT

OUTPUT

Computer

Input

Effect

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Input/output and effect settings (In/Out Routing)

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)

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)

Listen to the effect-processed sound from your speakers, while recording the

unprocessed sound on your computer

Applying an effect such as distortion to the sound of a guitar connected to INPUT

Tone

Generator

(TG)

MFX1

MFX3

MFX2

Reverb

INPUT

OUTPUT

Computer

Input

Effect

Settings

Tone Generator: Performance mode

INPUT: Assign (p. 142) = To Input FX

To Computer: Type (p. 148) = Input FX

Input Effect (p. 147)

MFX1–3 (p. 78)

Reverb (p. 79)

MFX1

MFX2

MFX3

Reverb

INPUT

OUTPUT

Computer

Input

Effect

Tone

Generator

(TG)

Settings

Tone Generator: Performance mode

INPUT: Assign (p. 142) = To Input FX

To Computer: Type (p. 148) = Input FX

MFX3 Location: Type (p. 149) = TG

Input Effect (p. 147)

MFX1–3 (p. 78)

Reverb (p. 79)

MFX1

MFX2 Reverb

INPUT

OUTPUT

Computer

Input

Effect MFX3

Tone

Generator

(TG)

Settings

Tone Generator: Performance mode

INPUT: Assign (p. 142) = To Input FX

To Computer: Type (p. 148) = Input FX

MFX3 Location: Type (p. 149) = Input FX

Input Effect (p. 147)

MFX1–3 (p. 78)

Reverb (p. 79)

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Input/output and effect settings (In/Out Routing)

■

Procedure ....................................................................................................................

Press [INPUT] or [USB AUDIO] so its indicator is lit.

The Input screen or USB Audio screen will appear.

Press [EFFECTS] so its indicator is lit.

The In/Out Routing screen will appear.

(Performance mode)

(Patch mode)

Turn [CURSOR/VALUE] to move the cursor to the

parameter you want to edit.

Turn [CURSOR/VALUE] to move the cursor to the

parameter you want to edit.

Press [CURSOR/VALUE] to highlight the value.

Turn [CURSOR/VALUE] to edit the value.

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).

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147

Input/output and effect settings (In/Out Routing)

■

Input Effect screen.........................................................................................................

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).

(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)

Parameter Value Explanation

Input effect type

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

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).

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148

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

Type

MIX, Input FX

Selects the signal sent to your computer.

MIX:

The signals of the internal tone generator and external input

(USB audio, INPUT) will be sent.

Input FX:

The external input signal (USB audio, INPUT) unprocessed

by the chorus/reverb/mastering effects will be sent.

*1 If you’re in Patch mode, this will be only MFX.

OUTPUT

Computer

USB

Audio

INPUT

Input

Effect

MFX1

MFX3

MFX2

Chorus

Mastering

Reverb

Tone

Generator

(TG)

OUTPUT

Computer

USB

Audio

INPUT

Input

Effect

MFX1

MFX3

MFX2

Chorus

Mastering

Reverb

Tone

Generator

(TG)

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149

Input/output and effect settings (In/Out Routing)

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)

Specifies how MFX3 will be used (MFX3 Location screen)

Parameter Value Explanation

Type

TG, Input FX

Specifies how MFX3 will be used.

TG:

MFX3 will be used as the effect applied to the SonicCell’s

tone generator (TG).

Input FX:

MFX3 will be connected following the input effect. You'll be

able to use MFX3 on the audio input via INPUT and USB.

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 se-

lected performance.

Saving the MFX3 settings

This screen won’t appear in Patch mode.

USB

Audio

INPUT

Input

Effect

MFX1

MFX3

MFX2

Tone

Generator

(TG)

USB

Audio

INPUT

Input

Effect

MFX1

MFX3

MFX2

Tone

Generator

(TG)

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150

Input/output and effect settings (In/Out Routing)

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.

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.

System Write

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151

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

To Monitor Amplifier etc.

MIDI Keyboad

To USB connector

of your computer

MIDI IN OUT PUT

USB

COMPUTER

MIDI OUT

USB Cable

Computer

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152

SONAR LE

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.

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.

Place the SONAR LE installation CD-ROM into your CD-

ROM 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.

From the Windows Start menu, choose “My

Computer.”

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.

After installing SONAR LE, right-click the “SONAR LE” icon

that was created on your desktop, and choose

“Properties” from the menu that appears.

Click the “Compatibility” tab to open the Compatibility

page.

In the “Privilege level” area, select “Run this program as

an administrator.”

Click “OK” to close Properties.

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.

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.

Close all currently running software.

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].

Proceed with the installation as directed by the on-screen

instructions.

When the update is complete, the “Wrap VST Plugins” will

run automatically.

In this case, click [Cancel] to exit the wizard.

Double-click the SONAR LE icon on your desktop to start

up SONAR LE.

The “Wave Profiler (WDM Kemel Streaming)” dialog box

will appear.

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)].

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.

The “Tip of the Day” will appear; click [Close] to close the

dialog box.

Installing the driver and SonicCell

Editor

Installing SONAR LE

Updating the VST Adapter

Initial MIDI and audio device

settings for SONAR LE

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SONAR LE

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.

In the MIDI Devices dialog box, click to make only the

following items highlighted.

Once you’ve made the above selections, click [OK] to close

the dialog box.

The “Quick Start” dialog box will open; click “Close.”

SONAR LE has now started up. Next, you need to make

the audio device settings.

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.

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.

For details about registering a plug-in in SONAR LE, refer to

the online help for Cakewalk VST Adapter.

Open the “Cakewalk VST Configuration Wizard: Search

Paths” dialog box.

Windows XP users

From the Start menu, choose “All Programs” - “Cakewalk”

- “Cakewalk VST Adapter 4” - “Cakewalk VST Adapter

4,” and click [Next].

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].

Click [Add], add “(the folder to which you copied the plug-

in)\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].

When the “Cakewalk VST Configuration Wizard: Plugin

Configuration” dialog box opens, click [Next].

fig.VST01.eps

When the “Cakewalk VST Configuration Wizard:

Finished” dialog box appears, click [Finish].

fig.VST02.eps

Input Output

Roland SonicCell Roland SonicCell

Registering the plug-in in

SONAR LE

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154

SONAR LE

Use a USB cable to connect the SonicCell to your computer.

If necessary, use a MIDI cable to connect your MIDI

keyboard to the SonicCell.

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.

* Don’t disconnect the USB cable connected to the

SonicCell while SONAR LE is running.

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.

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.

Start up SONAR LE.

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.

From the menu, choose “Options” - “Global” to open the

“Global Options” dialog box.

Select the “General” tab.

Select the “Always Echo Current MIDI Track” check box,

and click [OK].

Start up SONAR LE.

From the menu, choose “File” - “Close” to close the project

that was loaded at start-up.

From the menu, choose “File” - “New” to open the “New

Project File” dialog box.

Choose “Blank (no tracks or buses)” as the template, and

click [OK].

From the menu, choose “Insert” - “Audio Track” to add an

audio track.

Right-click the FX field located at the right of the Track

Pane of the audio track.

From the menu that appears, choose “DXi Synth” - “VST

SonicCell Editor VST.”

The plug-in version of SonicCell Editor will start up.

If a message indicates “MIDI devices aren’t set up

correctly,” click [OK].

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.

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.

From the menu, choose “Insert” - “MIDI Track” to add a

MIDI track.

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.”

Click the record-enable button in the track view.

Connections and settings

Settings for the SonicCell

Settings for SONAR LE

Starting up SonicCell Editor

Adding a MIDI track

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155

SONAR LE

If using Performance mode:

In the upper part of SonicCell Editor’s main window, click

“PART” [n (number of the part to record)].

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

If using Patch mode:

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

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.

fig.Routing-SONARLE.eps

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.

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.

Click the record button in the Transport Toolbar, and play

your MIDI keyboard.

Click the stop button in the Transport Toolbar to stop

recording.

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.

From the menu, choose “File” - “Save.”

Selecting a patch

Editing patch parameters

Editor

SonicCell

Output

SonicCell

Input

Controllers

USB-MIDI Thru=ON

Keyboard

MIDI OUT

MIDI IN

SonicCell

USB

OUT

USB

Track 1

In: SonicCell

Out:SonicCell

Thru

Sound

Generator

SONAR LE

Recording MIDI data

Saving the project file

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156

SONAR LE

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:

Close SONAR LE.

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.

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:

Close SONAR LE.

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.

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.

If you’re using Performance mode, you can edit and save the

parameters for multiple SonicCell parts.

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)

Finally, execute “Save the project file” to save the multiple

SonicCell parts along with the musical data.

Opening a project file

Recording multiple parts

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157

SONAR 6.2

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.

For details about registering a plug-in in SONAR 6.2, refer to

the SONAR 6.2 owner’s manual.

Start up SONAR 6.2.

From the menu, choose “Tools” - “Cakewalk Plug-in

Manager” to open the “Cakewalk Plug-in Manager”

dialog box.

In the “VST Configuration” group box, click [Options] to

open the “Cakewalk VST Scan Paths” dialog box.

Click [Add], and add “(the folder to which you copied the

plug-in)\Roland.”

Normally, this will be C:\Program Files\Roland.

Click [OK] to close the [Cakewalk VST Scan Paths] dialog

box.

In the “VST Settings” group box, click [Scan VST Plug-ins]

to register the plug-in version of SonicCell Editor. Then

click [Close].

Use a USB cable to connect the SonicCell to your computer.

If necessary, use a MIDI cable to connect your MIDI

keyboard to the SonicCell.

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.

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.

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.

Start up SONAR 6.2.

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.

From the menu, choose “Options” - “Global” to open the

“Global Options” dialog box.

Select the “General” tab.

Select the “Always Echo Current MIDI Track” check box,

and click [OK].

Start up SONAR 6.2.

From the menu, choose “File” - “New” to open the “New

Project File” dialog box.

Choose “Blank (no tracks or buses)” as the template,

assign a name, and click [OK].

From the menu, choose “Insert” - “Audio Track” to add an

audio track.

Right-click the FX field located at the right of the Track

Pane of the audio track.

From the menu that appears, choose “Soft Synths” -

“roland” - “SonicCell Editor VST.”

If a message indicates “MIDI devices aren’t set up

correctly.,” click [OK].

In SonicCell Editor, select the menu button “Setup” - “Set

Up MIDI Devices” to open the “Set Up MIDI Devices”

dialog box.

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.

Installing the driver and SonicCell

Editor

Registering the plug-in in

SONAR 6.2

Connections and settings

Settings for the SonicCell

Settings for SONAR 6.2

Starting up SonicCell Editor

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158

SONAR 6.2

From the menu, choose “Insert” - “MIDI Track” to add a

MIDI track.

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.”

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.”

Click the record-enable button in the track view.

If using Performance mode:

In the upper part of SonicCell Editor’s main window, click

“PART” [n (number of the part to record)].

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

If using Patch mode:

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

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

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.

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.

Click the record button in the Transport Toolbar, and play

your MIDI keyboard.

Click the stop button in the Transport Toolbar to stop

recording.

Adding a MIDI track

Selecting a patch

Editing patch parameters

Recording MIDI data

Editor

SonicCell

Output

SonicCell

Input

Controllers

USB-MIDI Thru=ON

Keyboard

MIDI OUT

MIDI IN

SonicCell

USB

OUT

USB

Track 1

In: SonicCell

Out:SonicCell

Thru

Sound

Generator

SONAR 6.2

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159

SONAR 6.2

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.”

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.

If using Performance mode:

Close SONAR 6.2.

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.

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:

Close SONAR 6.2.

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.

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.

If you’re using Performance mode, you can edit and save the

parameters for multiple SonicCell parts.

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)

Finally, execute “Save the project file” to save the multiple

SonicCell parts along with the musical data.

Saving the project file

Opening a project file

Recording multiple parts

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160

Cubase 4

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.

For details about registering a plug-in in Cubase 4, refer to the

owner’s manual of Cubase 4.

Windows:

Start up Cubase 4.

From the menu, choose “Devices” - “Plug-in Information”

to open the “Plug-in Information” window.

Select the “VST PlugIns” tab.

Click “VST 2.x Plug-in Paths” to open the [VST 2.x Plug-in

Paths] dialog box.

Click [Add], add “(folder to which you copied the plug-

in)\Roland”), and click [OK].

Normally, this will be C:\Program Files\Roland.

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.

Use a USB cable to connect the SonicCell to your computer.

If necessary, use a MIDI cable to connect your MIDI

keyboard to the SonicCell.

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.

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.

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.

Start up Cubase 4.

Specify the SonicCell as the USB-MIDI interface for Cubase

For details on how to make this setting, refer to the

Cubase 4 owner’s manual.

Open the “Preferences” dialog box.

Windows:

From the menu, choose “File” - “Preferences.”

Mac:

From the menu, choose “Cubase” - “Preferences.”

In the list at left, choose “MIDI” to see the MIDI

preferences.

Select the “MIDI Thru Active” check box, and click [OK].

Installing the driver and SonicCell

Editor

Registering the plug-in in

Cubase 4

Connections and settings

Settings for the SonicCell

Settings for Cubase 4

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161

Cubase 4

Start up Cubase 4.

From the menu, choose “File” - “New Project” to open the

“New Project” dialog box.

Select “Empty” as the template, and click [OK].

The “Set Project Folder” dialog box will open.

Specify the desired project folder and click [OK].

From the menu, choose “Devices” - “VST Instruments” to

open the “VST Instruments” window.

Click the first slot and select “SonicCell Editor VST.”

If a message indicates “MIDI devices aren’t set up

correctly.,” click [OK].

If a message asks “Do you want to create a MIDI track

assigned to plugin “SonicCell Editor VST”?”, click [Cancel].

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.

* 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.

From the menu, choose “Project” - “Add Track” - “MIDI” to

add a MIDI track.

Select “Roland SonicCell” as the input/output of the MIDI

track.

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.

If using Performance mode:

In the upper part of SonicCell Editor’s main window, click

“PART” [n (number of the part to record)].

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

If using Patch mode:

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

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

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.

Starting up SonicCell Editor

Adding a MIDI track

Selecting a patch

Editing patch parameters

Editor

SonicCell

Output

SonicCell

Input

Controllers

USB-MIDI Thru=ON

Keyboard

MIDI OUT

MIDI IN

SonicCell

USB

OUT

USB

Track 1

In: SonicCell

Out:SonicCell

Thru

Sound

Generator

Cubase 4

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162

Cubase 4

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.

Click the record button in the Transport Panel, and play

your MIDI keyboard.

Click the stop button in the Transport Panel to stop

recording.

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.

From the menu, choose “File” - “Save” to open the “Save

As” dialog box.

Assign the desired name, and click [Save].

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:

Close Cubase 4.

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.

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:

Close Cubase 4.

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.

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.

If you’re using Performance mode, you can edit and save the

parameters for multiple SonicCell parts.

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)

Finally, execute “Save the project file” to save the multiple

SonicCell parts along with the musical data.

Recording MIDI data

Saving the project file

Opening a project file

Recording multiple parts

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163

Logic Pro 7.2

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.

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.

Use a USB cable to connect the SonicCell to your computer.

If necessary, use a MIDI cable to connect your MIDI

keyboard to the SonicCell.

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.

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.

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.

Start up Logic Pro 7.2.

From the menu, choose “File” - “Close” to close the song

that was loaded at start-up.

From the menu, choose “File” - “New” to open the “New”

dialog box, and turn the “Use song template” check box

[ON].

As the template, choose “Power Book 15” - “Basic

Production” and click [OK].

Click (select) track “Inst 1.”

An “audio instrument” object is assigned to track “Inst 1.”

From the Arrange window’s sub-menu, choose “Track” -

“Delete Unused.”

Only the track “Inst 1” will remain.

In the channel strip at the lower left of the Arrange

window, click the [I/O] button.

From the menu that appears, choose “Stereo” - “AU

Instruments” - “Roland” - “SonicCell Editor AU.”

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.

Installing the driver and SonicCell

Editor

Registering the plug-in in

Logic Pro 7.2

Connections and settings

Settings for the SonicCell

Settings for Logic Pro 7.2

Starting up SonicCell Editor

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164

Logic Pro 7.2

From the menu, choose “Windows” - “Environment” to

open the Environment window.

In the layer list at the left of the Environment window,

choose the “MIDI Instr.” layer.

Choose the following menu item.

If using Performance mode:

From the Environment window’s sub-menu, choose “New”

- “Multi Instrument.”

If using Patch mode:

From the Environment window’s sub-menu, choose “New”

- “Instrument.”

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.”

If using Patch mode:

In the left side of the Environment window, click

“(Instrument)” in “

▼

(Instrument),” and rename it to

“SonicCell.”

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.

From the Arrange window’s sub-menu, choose “Track” -

“Create.”

An identical track “Inst 1” will be added below the track

“Inst 1.”

Click and hold near the added track “Inst 1” icon.

Specify the channel of the MIDI track.

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.

Select the port.

If using Performance mode:

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.

If using Patch mode:

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 Performance mode:

In the upper part of SonicCell Editor’s main window, click

“PART” [n (number of the part to record)].

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

If using Patch mode:

In the upper part of SonicCell Editor’s main window, click

“PATCH NAME” [

▼

Choose the desired patch from the menu that appears.

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

You can edit the values by clicking (and dragging) the buttons,

sliders, and knobs.

Adding a MIDI track

Selecting a patch

Editing patch parameters

Editor

SonicCell

Output

SonicCell

Input

Controllers

USB-MIDI Thru=ON

Keyboard

MIDI OUT

MIDI IN

SonicCell

USB

OUT

USB

Track 1

In: SonicCell

Out:SonicCell

Thru

Sound

Generator

Logic Pro 7.2

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165

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.”

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.

Click the record button in the Transport window, and play

your MIDI keyboard.

Click the stop button in the Transport window to stop

recording.

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.”

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:

Close Logic Pro 7.2.

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.

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:

Close Logic Pro 7.2.

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.

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.

If you’re using Performance mode, you can edit and save the

parameters for multiple SonicCell parts.

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)

Finally, execute “Save the song file” to save the multiple

SonicCell parts along with the musical data.

Recording MIDI data

Saving the song file

Opening a song file

Recording multiple parts

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MEMO

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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.

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.

1Copy your data to USB Memory

USB Memory

Connect your USB Memory

to the SonicCell

USB Memory

SMF, WAV, AIFF, MP3 files

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Playing back songs

• 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.)

Connect the USB memory containing play lists and songs

to SonicCell.

Press [SMF/AUDIO PLAYER].

The button’s indicator will light, and the Playlist Select

screen will appear.

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.

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).

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.

If you want to stop song playback, press [ ].

The next time you press [ ], playback will start from

the point at which you stopped.

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 Sampling Rate

44.1/48/96kHz

Bit depth

8/16/24 bits

MP3

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

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Playing back songs

■

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.

Indication Content

(1)

Name of the currently playing song

(2)

SMF: Currently-playing measure, Audio file: Playback time * This is displayed correctly only if you cre-

ated the playlist using Playlist Editor.

(3)

Length of the currently-playing song

(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.

(8)

Move the cursor here and press [CURSOR/VALUE] to view the current playback volume. Turn [CURSOR/VALUE] to

adjust the volume.

Range: 0--127

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)

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).

(4) (6) (7)(8) (5)

(2) (3)

(1)

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Playing back songs

■

Playlist Information screen ............................................................................................

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].

Indication Content

Name

The name of the playlist.

Playback Mode

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.

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 time (minutes: seconds) of the songs in the playlist

* This item will not appear for a playlist that has the indication at the left of the name.

Total Meas (Measure)

The total number of measures in the playlist.

* This item will not appear for a playlist that has the indication at the left of the name.

Memo

A comment, etc.

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Playing back songs

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.

Move the cursor to the song that you want to play, and

press [CURSOR/VALUE].

The player screen will appear.

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.

Selecting and playing a song from within a playlist

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).

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Playing back songs

■

Song Information screen ...............................................................................................

Song Info (Level) screen

For an SMF song For an audio file song

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].

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.

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.

Part 1–16 Level

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.

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.

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Playing back songs

Here’s how to write the current playlist settings.

From the Song Menu screen (p. 171), choose “Write” to

access the following screen.

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.

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.

Turn [CURSOR/VALUE] to specify the desired position of

the currently selected song.

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.

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.

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.

Playlist Write

Changing the song order

Deleting a song from the playlist

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MEMO

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Other Settings

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176

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.

In the Menu screen, move the cursor to “SYSTEM” and

press [CURSOR/VALUE].

The System screen will appear.

Turn [CURSOR/VALUE] to select the parameter you want

to edit, then press [CURSOR/VALUE].

The value of the selected parameter will be highlighted.

If the value field shows the “SELECT” indication, you can

press [CURSOR/VALUE] to move to the setting screen for

that parameter.

Turn [CURSOR/VALUE] to edit the value, then press

[CURSOR/VALUE].

When you’ve finished editing, press [MENU] to write the

system settings.

The following message will appear.

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.

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.

Patch Remain

(Patch Remain Switch)

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 con-

trollers will be inherited.

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

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.

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177

System Settings

System Tempo

5–300

Sets the system tempo.

* When Sync Mode is set to “SLAVE,” the tempo will synchronize to the clock mes-

sages received from an external MIDI device, so the tempo value will be ig-

nored.

* 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 param-

eter to match the Device ID number of the other MIDI device.

Perform Ctrl Ch

(Performance Control

Channel)

1–16, OFF

Performance Ctrl Ch selects the MIDI receive channel used during switching of per-

formances 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.

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.

Patch Rx Ch

(Patch Mode Receive Channel)

1–16 Specifies the channel used to receive MIDI messages in Patch mode.

USB-MIDI Thru

(USB-MIDI Thru Switch)

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.

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).

Parameter Value Explanation

MIDI OUT MIDI IN

SonicCell

USB OUT USB IN

USB-MIDI Thru=OFF

MIDI OUT MIDI IN

SonicCell

USB OUT USB IN

USB-MIDI Thru=ON

Sound

Generator

Section

Sound

Generator

Section

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178

System 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.

Patch Scale Tune settings

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 third-

the 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.

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

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179

System Settings

Settings for the Preview function (System Preview screen)

Parameter Value Explanation

Preview Mode

SINGLE, CHORD,

PHRASE

SINGLE:

The notes specified by Note Number 1–4 parameter will

sound successively one by one.

CHORD:

The notes specified by Note Number 1–4 parameter will

sound simultaneously.

PHRASE:

The Phrase associated with the patch’s type/category is

played.

Preview 1–4 Note

(Preview 1–4 Note Number)

C-1–G9

Specify the pitch of the four notes that will sound when the Preview Mode

parameter is set to “SINGLE” or “CHORD.”

If “PHRASE” is selected for the Preview Mode, these settings will have no

effect.

Preview 1–4 Velo

(Preview 1–4 Note Velocity)

OFF, 0–127

Specify the velocity of the four notes that will sound when the Preview Mode

parameter is set to “SINGLE” or “CHORD.”

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

Src 1–4

(System Control 1–4 Source)

OFF,

CC01–31,

33–95,

PITCH BEND

AFTERTOUCH

System Control Assign selects the MIDI message used as the System Control.

OFF:

The system control knob will not be used.

CC01–31, 33–95:

Controller numbers 1–31, 33–95

PITCH BEND:

Pitch Bend

AFTERTOUCH:

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 con-

trolled in real time, use “Matrix Control” (p. 95) or “Multi-effects Control” (p. 81, p. 137).

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System Settings

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.

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 trans-

mitted (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)

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181

System Settings

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.

■

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.

Editing the mastering effect (Mastering Effect screen)

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.

Low/Mid/High Threshold

-36–0 dB

Specifies the volume levels at

which compression will begin

for the low-frequency (Low), mid-

frequency (Mid), and high-fre-

quency (High) ranges.

About THRESHOLD and RATIO

As shown in the diagram below, these parameters

determine how the volume is to be compressed.

Low/Mid/High Ratio

1.00:1–

INF:1

(INF: infinity)

Specifies the compression ratios

for the low-frequency (Low), mid-

frequency (Mid), and high-fre-

quency (High) ranges.

Low/Mid/High Level

0–24 dB Specifies the output volume for the low-frequency (Low), mid-frequency (Mid), and

high-frequency (High) ranges.

1:1

2:1

4:1

INF:1

THRESHOLD

Input Level

Output Level

RATIO

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.

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182

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.

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.

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.

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.

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.

Switch off the SonicCell’s power, then switch it on again.

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)

Restoring backed-up data into the

SonicCell (User Restore)

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183

Utility functions

You can return all of SonicCell’s settings to the factory-set

state. This is called “Factory Reset.”

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.

In the Utility screen, choose “Factory Reset” to access the

following screen.

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.

Switch off the SonicCell’s power, then switch it on again.

Here’s how to initialize the USB memory. This operation is

called “USB Memory Format.”

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.

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.

Returning to the factory settings

(Factory Reset)

Initializing USB memory

(USB Memory Format)

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184

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).

Get the indicators for [MIDI INST], [USB AUDIO], and

[INPUT] to all go out.

The Master EQ screen will appear.

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.

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.

When you’ve finished editing, press [MENU] to write the

settings.

Choose “Write,” and press [CURSOR/VALUE].

The following message will appear.

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.

Parameter Value Explanation

LOW

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.

MID

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.

HIGH

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.

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).

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185

Appendices

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186

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).

The power does not turn on.

Make sure that the SonicCell’s AC adaptor is correctly

connected to the AC outlet and to the SonicCell itself. (p.

18)

Moving the SAMPLING RATE switch does not change the

sampling rate

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)

There is no sound.

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).

A specific Part does not sound

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)

Specific pitch ranges do not sound

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)

Audio signals from the computer are not heard

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.

The sound is distorted.

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).

Pitch is incorrect.

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?

Problems Concerning the Entire

SonicCell

Issues Related to Sound

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187

Troubleshooting

• Have the Coarse Tune or Fine Tune been set for specific

Parts?

Check the Coarse Tune and Fine Tune settings (p. 69).

The sound is interrupted.

Sounds will be interrupted if more than 128 voices are

used simultaneously.

• Reduce the number of Tones that you are using.

• Increase the Voice Reserve setting for parts that must not

drop out. (p. 71)

The sound cuts off when I switch Patches in Patch mode.

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.

When switching Patches in Patch mode, the volume and

other parameters set with Control Changes end up being

reset.

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.

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?

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.

Even when I set the Pan for a Patch completely to one

side, sound still comes from the other channel.

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.

Sometimes, when playing legato, the pitch won’t rise.

Why is this?

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.”

The notes sound strange in the upper registers of the

keyboard.

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.

Although the same Patch is selected, it sounds different

when I listen to it in the Performance.

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.

The volume level of the instrument connected to SonicCell’s

INPUT is too low.

Could you be using a connection cable that contains a

resistor?

Use a connection cable that does not contain a resistor.

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188

Troubleshooting

Effects not applied.

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)

• Are the various effect settings correct? (p. 75, p. 132, p.

144)

• If the send level of each effect is set to 0, the effect will not

be applied. Check the settings.

• 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 Multi-

effects 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.

The Modulation or other controller is always on.

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.

Raising the chorus or reverb send level for each part of a

performance still does not cause the effect to be applied

sufficiently.

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.

Using the Matrix Control or other such means to control

the LFO results in noise when the Pan is changed

suddenly.

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.

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?

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.

I’ve saved (written) the effect settings of a performance,

but they don’t seem to be applied.

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).

The Performance sounds different than when it was

written.

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.)

Patches sound different than when written.

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.)

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.

Issues Related to Effects

Issues Related to Saving Data

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Troubleshooting

Performances of the external sequencer are sluggish, or

have interruptions.

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.

• 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.

• 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.

Can’t receive MIDI messages correctly.

Check the following points.

Is the SonicCell set to receive MIDI messages?

• Performance mode

The performance part’s Receive Channel (p. 71)

The performance part’s Receive Switch (p. 72)

• Patch mode

Patch Rx Ch (p. 177)

Exclusive messages are not received.

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).

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?

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.

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.

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.

Issues Related to MIDI and

External Devices

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190

Troubleshooting

The device connected to INPUT is inaudible or is not loud

enough

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.

No sound from the mic

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.”

USB memory is not detected.

The files are not shown.

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.

Can’t back up to USB memory

Check the following points.

• Could the USB memory be write protected?

• Is there sufficient free space on the USB memory?

Playlists are not shown

This may be due to the following reasons.

• 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.

Songs are not shown

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.

Songs won’t play

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.

Can’t hear the playback sound

Is the playback volume set correctly?

Adjust the playback volume in the player screen. (p. 169)

The SonicCell is not recognized by my computer

You must connect the SonicCell to a computer whose USB

port supports USB 2.0 Hi-Speed connections.

Issues related to external input

Issues related to USB memory

Issues related to songs

Issues related to USB connection

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191

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.

Read Error!

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.

Write Error!

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. Alter-

natively, use a different USB memory device, one

that has more free space available.

The file or the USB memory itself is write pro-

tected. Make sure that the file or the USB memory is not

write protected.

Incorrect File/

Sampling Rate.

This is a file that the SonicCell is unable to

play. Do not use this file.

This song has not been transferred from Play-

list 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 mem-

ory 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 ex-

clusive 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 be-

ing 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.

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192

Effects List

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”).

Multi-Effects Parameter (MFX1–3, MFX)

FILTER (10 types)

EQUALIZER P.194

SPECTRUM P.194

ISOLATOR P.194

LOW BOOST P.194

SUPER FILTER P.195

STEP FILTER P.195

ENHANCER P.195

AUTO WAH P.196

HUMANIZER P.196

SPEAKER SIMULATOR P.196

MODULATION (12 types)

PHASER P.197

STEP PHASER P.197

MLT STAGE PHASER P.197

INFINITE PHASER P.198

RING MODULATOR P.198

STEP RING MOD P.198

TREMOLO P.198

AUTO PAN P.199

STEP PAN P.199

SLICER P.199

ROTARY P.200

VK ROTARY P.200

CHORUS (12 types)

CHORUS P.200

FLANGER P.201

STEP FLANGER P.201

HEXA-CHORUS P.201

TREMOLO CHORUS P.202

SPACE-D P.202

3D CHORUS P.202

3D FLANGER P.203

3D STEP FLANGER P.203

2BAND CHORUS P.203

2BAND FLANGER P.204

2BAND STEP FLNGR P.204

DYNAMICS (8 types)

OVERDRIVE P.205

DISTORTION P.205

VS OVERDRIVE P.205

VS DISTORTION P.205

GUITAR AMP SIMULATOR P.205

COMPRESSOR P.206

LIMITER P.206

GATE P.206

DELAY (13 types)

DELAY P.207

LONG DELAY P.207

SERIAL DELAY P.208

MODULATION DELAY P.208

3TAP PAN DELAY P.209

4TAP PAN DELAY P.209

MULTI TAP DELAY P.209

REVERSE DELAY P.210

SHUFFLE DELAY P.210

3D DELAY P.211

TIME CTRL DELAY P.211

LONG T CTL DELAY P.211

TAPE ECHO P.212

LO-FI (5 types)

LOFI NOISE P.212

LOFI COMPRESS P.213

LOFI RADIO P.213

TELEPHONE P.213

PHONOGRAPH P.213

PITCH (3 types)

PITCH SHIFTER P.214

2VOI PCH SHIFTER P.214

STEP PCH SHIFTER P.214

REVERB (2 types)

REVERB P.215

GATED REVERB P.215

COMBINATION (12 types)

OD → CHORUS P.215

67 OD → FLANGER P.215

68 OD → DELAY P.216

69 DST → CHORUS P.216

70 DST → FLANGER P.216

71 DST → DELAY P.216

72 ENH → CHORUS P.216

73 ENH → FLANGER P.217

74 ENH → DELAY P.217

75 CHORUS → DELAY P.217

76 FLANGER → DELAY P.217

77 CHORUS → FLANGER P.218

PIANO (1 type)

78 SYMPATHETIC RESO P.218

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193

Effects List

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.”

* 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

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.

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

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.

06: STEP FILTER

16: STEP RING MOD

19: STEP PAN

20: SLICER

63: 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.

About Note

num/note switch

Double note

Dotted whole note

Dotted half note

Dotted thirty-second note

Whole note Double-note triplet

Sixteenth-note triplet

Thirty-second note

Sixty-fourth-note triplet

Sixty-fourth note

Thirty-second-note triplet

Dotted eighth noteQuarter-note tripletEighth note

Half-note tripletQuarter note Dotted quarter note

Whole-note triplet

Half note

Sixteenth note Eighth-note triplet

Dotted sixteenth note

When Using 3D Effects

About the STEP RESET function

30˚ 30˚

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194

Effects List

This is a four-band stereo equalizer (low, mid x 2, high).

fig.MFX-01

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

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

Boosts the volume of the lower range, creating powerful lows.

fig.MFX-04

01: EQUALIZER

Parameter Value Description

Low Freq

200, 400 Hz Frequency of the low range

Low Gain #

-15– +15 dB Gain of the low range

Mid1 Freq

200–8000 Hz Frequency of the middle range 1

Mid1 Gain

-15– +15 dB Gain of the middle range 1

Mid1 Q

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 1

Set a higher value for Q to

narrow the range to be affect-

ed.

Mid2 Freq

200–8000 Hz Frequency of the middle range 2

Mid2 Gain

-15– +15 dB Gain of the middle range 2

Mid2 Q

0.5, 1.0, 2.0, 4.0, 8.0

Width of the middle range 2

Set a higher value for Q to

narrow the range to be affect-

ed.

High Freq

2000, 4000, 8000 Hz Frequency of the high range

High Gain #

-15– +15 dB Gain of the high range

Level #

0–127 Output Level

02: SPECTRUM

Parameter Value Description

Band1 (250Hz)

-15– +15 dB Gain of each frequency band

Band2 (500Hz)

Band3 (1000Hz)

Band4 (1250Hz)

Band5 (2000Hz)

Band6 (3150Hz)

Band7 (4000Hz)

Band8 (8000Hz)

0.5, 1.0, 2.0, 4.0,

8.0

Simultaneously adjusts the width of

the adjusted ranges for all the fre-

quency bands.

Level #

0–127 Output Level

L in

R in

L out

R out

4-Band EQ

L in

R in

L out

R out

Spectrum

03: ISOLATOR

Parameter Value Description

Boost/

Cut Low #

-60– +4 dB

These boost and cut each of the High,

Middle, and Low frequency ranges.

At -60 dB, the sound becomes inaudi-

ble. 0 dB is equivalent to the input lev-

el of the sound.

Boost/

Cut Mid #

Boost/

Cut High #

Anti Phase Low

OFF, ON

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.

Anti Phase Low

Level

0–127

Adjusts the level settings for the Low fre-

quency ranges.

Adjusting this level for certain fre-

quencies allows you to lend emphasis

to specific parts. (This is effective only

for stereo source.)

Anti Phase Mid

OFF, ON Settings of the Anti-Phase function for the

Middle frequency ranges

The parameters are the same as for

the Low frequency ranges.

Anti Phase Mid

Level

0–127

Low Boost Sw

OFF, ON Turns Low Booster on/off.

This emphasizes the bottom to create

a heavy bass sound.

Low Boost Level

0–127

Increasing this value gives you a heavier

low end.

* Depending on the Isolator and filter

settings this effect may be hard to dis-

tinguish.

Level

0–127 Output Level

04: LOW BOOST

Parameter Value Description

Boost

Frequency #

50–125 Hz Center frequency at which the lower

range will be boosted

Boost Gain #

0– +12 dB Amount by which the lower range will

be boosted

Boost Width

WIDE, MID,

NARROW Width of the lower range that will be

boosted

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Level

0–127 Output level

L in

R in

L out

R out

Isolator

Low Boost

Isolator

L in

R in

L out

R out

Low Boost

2-Band EQ

Low Boost

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195

Effects List

This is a filter with an extremely sharp slope. The cutoff

frequency can be varied cyclically.

fig.MFX-05

This is a filter whose cutoff frequency can be modulated in

steps. You can specify the pattern by which the cutoff frequency

will change.

fig.MFX-06

You can use multi-effect control to make the step sequence play

again from the beginning (p. 193).

Controls the overtone structure of the high frequencies, adding

sparkle and tightness to the sound.

fig.MFX-07

05: SUPER FILTER

Parameter Value Description

Filter Type

LPF, BPF, HPF,

NOTCH

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 re-

gion of the cutoff

Filter Slope

-12, -24, -36 dB

Amount of attenuation per octave

-36 dB:

extremely steep

-24 dB:

steep

-12 dB:

gentle

Filter

Cutoff #

0–127 Cutoff frequency of the filter

Increasing this value will raise the cutoff

frequency.

Filter

Resonance #

0–127 Filter resonance level

Increasing this value will emphasize the

region near the cutoff frequency.

Filter Gain

0– +12 dB Amount of boost for the filter output

Modulation Sw

OFF,ON On/off switch for cyclic change

Modulation

Wave

TRI, SQR, SIN,

SAW1, SAW2

How the cutoff frequency will be modulated

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1:

sawtooth wave (upward)

SAW2:

sawtooth wave (downward)

Rate #

0.05–10.00 Hz,

note Rate of modulation

Depth

0–127 Depth of modulation

Attack #

0–127

Speed at which the cutoff frequency will

change

This is effective if Modulation Wave is

SQR, SAW1, or SAW2.

Level

0–127 Output level

L in

R in

L out

R out

Super Filter

SAW1 SAW2

06: STEP FILTER

Parameter Value Description

Step 01–16

0–127 Cutoff frequency at each step

Rate #

0.05–10.00 Hz,

note Rate of modulation

Attack #

0–127 Speed at which the cutoff frequency

changes between steps

Filter Type

LPF, BPF, HPF,

NOTCH

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 re-

gion of the cutoff

Filter Slope

-12, -24, -36 dB

Amount of attenuation per octave

-12 dB:

gentle

-24 dB:

steep

-36 dB:

extremely steep

Filter

Resonance #

0–127 Filter resonance level

Increasing this value will emphasize the

region near the cutoff frequency.

Filter Gain

0– +12 dB Amount of boost for the filter output

Level

0–127 Output level

07: ENHANCER

Parameter Value Description

Sens #

0–127 Sensitivity of the enhancer

Mix #

0–127 Level of the overtones generat-

ed by the enhancer

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

L in

R in

L out

R out

Step Filter

L in

R in

L out

R out

Mix

Enhancer

Enhancer 2-Band

2-Band

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196

Effects List

Cyclically controls a filter to create cyclic change in timbre.

fig.MFX-08

Adds a vowel character to the sound, making it similar to a

human voice.

fig.MFX-09

Simulates the speaker type and mic settings used to record the

speaker sound.

fig.MFX-10

Specifications of each Speaker Type

The speaker column indicates the diameter of each speaker

unit (in inches) and the number of units.

08: AUTO WAH

Parameter Value Description

Filter Type

LPF, BPF

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.

Manual #

0–127 Adjusts the center frequency at which the

effect is applied.

Peak

0–127

Adjusts the amount of the wah effect that

will occur in the range of the center fre-

quency.

Set a higher value for Q to narrow the

range to be affected.

Sens #

0–127 Adjusts the sensitivity with which the filter

is controlled.

Polarity

UP, DOWN

Sets the direction in which the frequency

will change when the auto-wah filter is

modulated.

UP:

The filter will change toward a high-

er frequency.

DOWN:

The filter will change toward a

lower frequency.

Rate #

0.05–10.00 Hz,

note Frequency of modulation

Depth #

0–127 Depth of modulation

Phase #

0–180 deg Adjusts the degree of phase shift of the left

and right sounds when the wah effect is

applied.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

09: HUMANIZER

Parameter Value Description

Drive Sw

OFF, ON Turns Drive on/off.

Drive #

0–127 Degree of distortion

Also changes the volume.

Vowel1

a, e, i, o, u Selects the vowel.

Vowel2

a, e, i, o, u

Rate #

0.05–10.00 Hz,

note Frequency at which the two vowels switch

Depth #

0–127 Effect depth

Input Sync

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

L in

R in

L out

R out

Auto Wah

2-Band EQ

Auto Wah

Formant 2-Band

L in

R in

Overdrive

L out

R ou

Pan R

Pan L

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 du-

ration.

51 or more:

Vowel 2 will have a longer

duration.

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Pan #

L64–63R Stereo location of the output

Level

0–127 Output level

10: SPEAKER SIMULATOR

Parameter Value Description

Speaker Type

(See the table right.) Type of speaker

Mic Setting

1, 2, 3

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.

Mic Level #

0–127 Volume of the microphone

Direct Level #

0–127 Volume of the direct sound

Level #

0–127 Output Level

Type Cabinet Speaker Micro-

phone

SMALL 1

small open-back enclosure 10 dynamic

SMALL 2

small open-back enclosure 10 dynamic

MIDDLE

open back enclosure 12 x 1 dynamic

JC-120

open back enclosure 12 x 2 dynamic

BUILT-IN 1

open back enclosure 12 x 2 dynamic

BUILT-IN 2

open back enclosure 12 x 2 condenser

BUILT-IN 3

open back enclosure 12 x 2 condenser

BUILT-IN 4

open back enclosure 12 x 2 condenser

BUILT-IN 5

open back enclosure 12 x 2 condenser

BG STACK 1

sealed enclosure 12 x 2 condenser

BG STACK 2

large sealed enclosure 12 x 2 condenser

MS STACK 1

large sealed enclosure 12 x 4 condenser

MS STACK 2

large sealed enclosure 12 x 4 condenser

METAL STACK

large double stack 12 x 4 condenser

2-STACK

large double stack 12 x 4 condenser

3-STACK

large triple stack 12 x 4 condenser

Parameter Value Description

L in

R in

L out

R out

Speaker

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Effects List

A phase-shifted sound is added to the original sound and

modulated.

fig.MFX-11

The phaser effect will be varied gradually.

fig.MFX-12

Extremely high settings of the phase difference produce a

deep phaser effect.

fig.MFX-13

11: PHASER

Parameter Value Description

Mode

4-STAGE, 8-STAGE, 12-

STAGE Number of stages in the phaser

Manual #

0–127 Adjusts the basic frequency from

which the sound will be modulat-

ed.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Polarity

INVERSE,

SYNCHRO

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.

Resonance #

0–127 Amount of feedback

Cross

Feedback

-98– +98%

Adjusts the proportion of the

phaser sound that is fed back

into the effect. Negative (-) set-

tings will invert the phase.

Mix #

0–127 Level of the phase-shifted sound

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

12: STEP PHASER

Parameter Value Description

Mode

4-STAGE, 8-STAGE, 12-

STAGE Number of stages in the phaser

Manual #

0–127 Adjusts the basic frequency from

which the sound will be modulat-

ed.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

R in R out

L in L out

Phaser

Mix

2-Band

Phaser 2-Band

Mix

R in R out

L in L out

Step Phaser

Mix

2-Band

Step Phaser 2-Band

Mix

Polarity

INVERSE,

SYNCHRO

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.

Resonance #

0–127 Amount of feedback

Cross

Feedback

-98– +98%

Adjusts the proportion of the

phaser sound that is fed back

into the effect. Negative (-) set-

tings will invert the phase.

Step Rate #

0.10–20.00 Hz, note Rate of the step-wise change in

the phaser effect

Mix #

0–127

Level of the phase-shifted sound

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

13: MLT STAGE PHASER

(MULTI STAGE PHASER)

Parameter Value Description

Mode

4-STAGE, 8-STAGE,

12-STAGE, 16-STAGE,

20-STAGE, 24-STAGE Number of phaser stages

Manual #

0–127 Adjusts the basic frequency

from which the sound will be

modulated.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Resonance #

0–127 Amount of feedback

Mix #

0–127 Level of the phase-shifted sound

Pan #

L64–63R Stereo location of the output

sound

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

Parameter Value Description

Resonance

Mix

L in

R in

L out

R out

Pan R

Pan L

2-Band

Multi Stage

Phaser

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Effects List

A phaser that continues raising/lowering the frequency at

which the sound is modulated.

fig.MFX-14

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

This is a ring modulator that uses a 16-step sequence to vary

the frequency at which modulation is applied.

fig.MFX-16

You can use multi-effect control to make the step sequence play

again from the beginning (p. 193).

Cyclically modulates the volume to add tremolo effect to the

sound.

fig.MFX-17a

14: INFINITE PHASER

Parameter Range Explanation

Mode

1, 2, 3, 4 Higher values will produce a

deeper phaser effect.

Speed #

-100– +100

Speed at which to raise or lower

the frequency at which the sound

is modulated

(+: upward / -: downward)

Resonance #

0–127 Amount of feedback

Mix #

0–127 Volume of the phase-shifted

sound

Pan #

L64–63R Panning of the output sound

Low Gain

-15– +15 dB Amount of boost/cut for the low-

frequency range

High Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

Level

0–127 Output volume

15: RING MODULATOR

Parameter Value Description

Frequency #

0–127 Adjusts the frequency at which modulation is

applied.

Sens #

0–127 Adjusts the amount of frequency modulation

applied.

Polarity

UP, DOWN Determines whether the frequency modula-

tion moves towards higher frequencies (

)

or lower frequencies (

DOWN

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

Infinite Phaser 2-Band EQ

L in

R in

L out

R out

Pan R

Pan L

L in

R in

L out

R out

Ring Mod

2-Band EQ

Ring Mod

16: STEP RING MOD

(STEP RING MODULATOR)

Parameter Range Explanation

Step 01–16

0–127 Frequency of ring modulation at

each step

Rate #

0.05–10.00 Hz, note Rate at which the 16-step sequence

will cycle

Attack #

0–127 Speed at which the modulation fre-

quency changes between steps

Low Gain

-15– +15 dB Amount of boost/cut for the low-

frequency range

High Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and effect sound (W)

Level

0–127 Output volume

17: TREMOLO

Parameter Value Description

Mod Wave

TRI, SQR, SIN, SAW1,

SAW2

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1/2:

sawtooth wave

Rate #

0.05–10.00 Hz, note Frequency of the change

Depth #

0–127 Depth to which the effect is applied

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

L in

R in

L out

R out

Step Ring Mod

2-Band EQ

Step Ring Mod

L in

R in

L out

R out

Tremolo

2-Band EQ

Tremolo

SAW1 SAW2

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Effects List

Cyclically modulates the stereo location of the sound.

fig.MFX-18a

This uses a 16-step sequence to vary the panning of the sound.

fig.MFX-19

You can use multi-effect control to make the step sequence play

again from the beginning (p. 193).

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

You can use multi-effect control to make the step sequence play

again from the beginning (p. 193).

18: AUTO PAN

Parameter Value Description

Mod Wave

TRI, SQR, SIN, SAW1,

SAW2

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1/2:

sawtooth wave

Rate #

0.05–10.00 Hz, note Frequency of the change

Depth #

0–127 Depth to which the effect is applied

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level

0–127 Output Level

19: STEP PAN

Parameter Range Explanation

Step 01–16

L64–63R Pan at each step

Rate #

0.05–10.00 Hz, note Rate at which the 16-step sequence

will cycle

Attack #

0–127 Speed at which the pan changes

between steps

Input Sync Sw

OFF, ON

Specifies whether an input note

will cause the sequence to resume

from the first step of the sequence

(ON) or not (OFF)

Input Sync

Threshold

0–127 Volume at which an input note will

be detected

Level

0–127 Output volume

L in

R in

L out

R out

Auto Pan

2-Band EQ

Auto Pan

SAW1 SAW2

L in

R in

L out

R out

Step Pan

20: SLICER

Parameter Value Description

Step 01–16

L64–63R Level at each step

Rate #

0.05–10.00

Hz, note Rate at which the 16-step sequence will cy-

cle

Attack #

0–127 Speed at which the level changes between

steps

Input Sync Sw

OFF, ON Specifies whether an input note will cause

the sequence to resume from the first step of

the sequence (ON) or not (OFF)

Input Sync

Threshold

0–127 Volume at which an input note will be detect-

Mode

LEGATO,

SLASH

Sets the manner in which the volume chang-

es 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.

Shuffle #

0–127

Timing of volume changes in levels for even-

numbered steps (step 2, step 4, step 6...).

The higher the value, the later the beat

progresses.

Level

0–127 Output level

L in

R in

L out

R out

Slicer

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Effects List

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

This type provides modified response for the rotary speaker,

with the low end boosted further.

This effect features the same specifications as the VK-7’s built-

in rotary speaker.

fig.MFX-22

This is a stereo chorus. A filter is provided so that you can

adjust the timbre of the chorus sound.

fig.MFX-23

21: ROTARY

Parameter Value Description

Speed #

SLOW, FAST

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.

Wf Slow Speed

0.05–10.00 Hz Slow speed (SLOW) of the low fre-

quency rotor

Wf Fast Speed

0.05–10.00 Hz Fast speed (FAST) of the low fre-

quency rotor

Wf Acceleration

0–15

Adjusts the time it takes the low fre-

quency rotor to reach the newly se-

lected speed when switching from

fast to slow (or slow to fast) speed.

Lower values will require longer

times.

Wf Level

0–127 Volume of the low frequency rotor

Tw Slow Speed

0.05–10.00 Hz Settings of the high frequency rotor

The parameters are the same as

for the low frequency rotor

Tw Fast Speed

0.05–10.00 Hz

Tw Acceleration

0–15

Tw Level

0–127

Separation

0–127 Spatial dispersion of the sound

Level #

0–127 Output Level

22: VK ROTARY

Parameter Value Description

Speed #

SLOW, FAST Rotational speed of the rotating

speaker

Brake #

OFF, ON

Switches the rotation of the rota-

ry speaker.

When this is turned on, the ro-

tation will gradually stop.

When it is turned off, the rota-

tion will gradually resume.

Wf Slow Speed

0.05–10.00 Hz Low-speed rotation speed of the

woofer

Wf Fast Speed

0.05–10.00 Hz High-speed rotation speed of the

woofer

Rotary

L out

R out

L in

R in

L out

R out

L in

R in

Rotary

2-Band EQ

Wf Trans Up

0–127

Adjusts the rate at which the

woofer rotation speeds up when

the rotation is switched from

Slow to Fast.

Wf Trans Down

0–127

Adjusts the rate at which the

woofer rotation speeds up when

the rotation is switched from Fast

to Slow.

Wf Level

0–127 Volume of the woofer

Tw Slow Speed

0.05–10.00 Hz

Settings of the tweeter

The parameters are the same

as for the woofer.

Tw Fast Speed

0.05–10.00 Hz

Tw Trans Up

0–127

Tw Trans Down

0–127

Tw Level

0–127

Spread

0–10 Sets the rotary speaker stereo im-

age. The higher the value set, the

wider the sound is spread out.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level #

0–127 Output Level

23: CHORUS

Parameter 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 di-

rect sound until the chorus sound

is heard.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Phase

0–180 deg Spatial spread of the sound

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W

Volume balance between the direct

sound (D) and the chorus sound (W)

Level

0–127 Output Level

Parameter Value Description

L in

R in

Chorus

L out

R out

2-Band

Balance W

Balance D

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Effects List

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

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.

fig.MFX-25

Uses a six-phase chorus (six layers of chorused sound) to give

richness and spatial spread to the sound.

fig.MFX-26

24: FLANGER

Parameter 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 when

the direct sound begins until the

flanger sound is heard.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Phase

0–180 deg Spatial spread of the sound

Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W

Volume balance between the direct

sound (D) and the flanger sound (W)

Level

0–127 Output Level

25: STEP FLANGER

Parameter 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

R in R out

L in L out

Flanger

Feedback

Flanger

Balance W

Balance D

Balance W

Balance D

2-Band

R in R out

L in L out

Feedback

Balance W

Balance D

Balance W

Balance D

2-Band

Step Flanger

Cutoff Freq

200–8000 Hz Basic frequency of the filter

Pre Delay

0.0–100.0 ms Adjusts the delay time from when

the direct sound begins until the

flanger sound is heard.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Phase

0–180 deg Spatial spread of the sound

Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Step Rate #

0.10–20.00 Hz, note Rate (period) of pitch change

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the flanger

sound (W)

Level

0–127 Output Level

26: HEXA-CHORUS

Parameter Value Description

Pre Delay

0.0–100.0 ms Adjusts the delay time from the di-

rect sound until the chorus sound is

heard.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Pre Delay

Deviation

0–20 Adjusts the differences in Pre Delay

between each chorus sound.

Depth

Deviation

-20– +20 Adjusts the difference in modulation

depth between each chorus sound.

Pan Deviation

0–20

Adjusts the difference in stereo loca-

tion between each chorus sound.

All chorus sounds will be in the

center.

20:

Each chorus sound will be

spaced at 60 degree intervals

relative to the center.

Balance #

D100:0W–D0:100W Volume balance between the direct

sound (D) and the chorus sound (W)

Level

0–127 Output Level

Parameter Value Description

Balance W

L in

R in

L out

R out

Hexa Chorus

Balance D

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Effects List

This is a chorus effect with added Tremolo (cyclic modulation

of volume).

fig.MFX-27

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

This applies a 3D effect to the chorus sound. The chorus sound

will be positioned 90 degrees left and 90 degrees right.

fig.MFX-29

27: TREMOLO CHORUS

Parameter Value Description

Pre Delay

0.0–100.0 ms Adjusts the delay time from the di-

rect sound until the chorus sound

is heard.

Chorus Rate #

0.05–10.00 Hz, note Modulation frequency of the cho-

rus effect

Chorus Depth

0–127 Modulation depth of the chorus ef-

fect

Tremolo Rate #

0.05–10.00 Hz, note Modulation frequency of the trem-

olo effect

Tremolo

Separation

0–127 Spread of the tremolo effect

Tremolo Phase

0–180 deg Spread of the tremolo effect

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the tremolo

chorus sound (W)

Level

0–127 Output Level

28: SPACE-D

Parameter Value Description

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 Depth of modulation

Phase

0–180 deg Spatial spread of the sound

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the

direct sound (D) and the chorus

sound (W)

Level

0–127 Output Level

Tremolo Chorus

L in

R in

L out

R out

Balance D

Balance W

L in

R in

Space D

L out

R out

2-Band

Balance W

Balance D

29: 3D CHORUS

Parameter 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 di-

rect sound until the chorus sound is

heard.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Modulation depth of the chorus ef-

fect

Phase

0–180 deg Spatial spread of the sound

Output Mode

SPEAKER, PHONES

Adjusts the method that will be

used to hear the sound that is out-

put to the OUTPUT jacks. The opti-

mal 3D effect will be achieved if

you select

SPEAKER

when using

speakers, or

PHONES

when using

headphones.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the chorus

sound (W)

Level

0–127 Output Level

3D Chorus

2-Band

EQ R out

L out

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Effects List

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

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

A chorus effect that lets you apply an effect independently to

the low-frequency and high-frequency ranges.

fig.MFX-32

30: 3D FLANGER

Parameter 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 when

the direct sound begins until the

flanger sound is heard.

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Phase

0–180 deg Spatial spread of the sound

Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Output Mode

SPEAKER, PHONES

Adjusts the method that will be

used to hear the sound that is out-

put to the OUTPUT jacks. The op-

timal 3D effect will be achieved if

you select

SPEAKER

when using

speakers, or

PHONES

when using

headphones.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the flanger

sound (W)

Level

0–127 Output Level

31: 3D STEP FLANGER

Parameter 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 when

the direct sound begins until the

flanger sound is heard.

3D Flanger

2-Band

EQ R out

L out

3D Step Flanger

2-Band

EQ R out

L out

Rate #

0.05–10.00 Hz, note Frequency of modulation

Depth

0–127 Depth of modulation

Phase

0–180 deg Spatial spread of the sound

Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Step Rate #

0.10–20.00 Hz, note Rate (period) of pitch change

Output Mode

SPEAKER, PHONES

Adjusts the method that will be

used to hear the sound that is out-

put to the OUTPUT jacks. The op-

timal 3D effect will be achieved if

you select

SPEAKER

when using

speakers, or

PHONES

when using

headphones.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the flanger

sound (W)

Level

0–127 Output Level

32: 2BAND CHORUS

Parameter Range Explanation

Split Freq

200–8000 Hz Frequency at which the low and

high ranges will be divided

Low Pre Delay

0.0–100.0 ms Delay time from when the origi-

nal sound is heard to when the

low-range chorus sound is heard

Low Rate #

0.05–10.00 Hz, note Rate at which the low-range cho-

rus sound is modulated

Low Depth

0–127 Modulation depth for the low-

range chorus sound

Low Phase

0–180 deg Spaciousness of the low-range

chorus sound

High Pre Delay

0.0–100.0 ms

Delay time from when the origi-

nal sound is heard to when the

high-range chorus sound is

heard

High Rate #

0.05–10.00 Hz, note Rate at which the low-range cho-

rus sound is modulated

High Depth

0–127 Modulation depth for the high-

range chorus sound

High Phase

0–180 deg Spaciousness of the high-range

chorus sound

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and chorus sound (W)

Level

0–127 Output volume

Parameter Value Description

R in R out

L in L out

Split

High Band Chorus

Low Band Chorus

High Band Chorus

Low Band Chorus

Split

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Effects List

A flanger that lets you apply an effect independently to the

low-frequency and high-frequency ranges.

fig.MFX-33

A step flanger that lets you apply an effect independently to

the low-frequency and high-frequency ranges.

fig.MFX-34

33: 2BAND FLANGER

Parameter Range Explanation

Split Freq

200–8000 Hz Frequency at which the low and

high ranges will be divided

Low Pre Delay

0.0–100.0 ms Delay time from when the origi-

nal sound is heard to when the

low-range flanger sound is heard

Low Rate #

0.05–10.00 Hz, note Rate at which the low-range

flanger sound is modulated

Low Depth

0–127 Modulation depth for the low-

range flanger sound

Low Phase

0–180 deg Spaciousness of the low-range

flanger sound

Low

Feedback #

-98– +98%

Proportion of the low-range

flanger sound that is to be re-

turned to the input (negative val-

ues invert the phase)

High Pre Delay

0.0–100.0 ms

Delay time from when the origi-

nal sound is heard to when the

high-range flanger sound is

heard

High Rate #

0.05–10.00 Hz, note Rate at which the high-range

flanger sound is modulated

High Depth

0–127 Modulation depth for the high-

range flanger sound

High Phase

0–180 deg Spaciousness of the high-range

flanger sound

High

Feedback #

-98– +98%

Proportion of the high-range

flanger sound that is to be re-

turned to the input (negative val-

ues invert the phase)

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and flanger sound (W)

Level

0–127 Output volume

R in R out

L in L out

Split

High Band Flanger

Low Band Flanger

High Band Flanger

Low Band Flanger

Split

Low Band Feedback

High Band Feedback

Low Band Feedback

34: 2BAND STEP FLNGR

(2BAND STEP FLANGER)

Parameter Range Explanation

Split Freq

200–8000 Hz Frequency at which the low and

high ranges will be divided

Low Pre Delay

0.0–100.0 ms Delay time from when the origi-

nal sound is heard to when the

low-range flanger sound is heard

Low Rate #

0.05–10.00 Hz, note Rate at which the low-range

flanger sound is modulated

Low Depth

0–127 Modulation depth for the low-

range flanger sound

Low Phase

0–180 deg Spaciousness of the low-range

flanger sound

Low

Feedback #

-98– +98%

Proportion of the low-range

flanger sound that is to be re-

turned to the input (negative val-

ues invert the phase)

Low Step

Rate #

0.10–20.00 Hz, note Rate at which the steps will cycle

for the low-range flanger sound

High Pre Delay

0.0–100.0 ms

Delay time from when the origi-

nal sound is heard to when the

high-range flanger sound is

heard

High Rate #

0.05–10.00 Hz, note Rate at which the high-range

flanger sound is modulated

High Depth

0–127 Modulation depth for the high-

range flanger sound

High Phase

0–180 deg Spaciousness of the high-range

flanger sound

High

Feedback #

-98– +98%

Proportion of the high-range

flanger sound that is to be re-

turned to the input (negative val-

ues invert the phase)

High Step

Rate #

0.10–20.00 Hz, note Rate at which the steps will cycle

for the high-range flanger sound

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and flanger sound (W)

Level

0–127 Output volume

R in R out

L in L out

Split

High Band Step Flanger

Split

Low Band Feedback

High Band Feedback

Low Band Feedback

Low Band Step Flanger

High Band Step Flanger

Low Band Step Flanger

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Effects List

Creates a soft distortion similar to that produced by vacuum

tube amplifiers.

fig.MFX-35

Produces a more intense distortion than Overdrive. The

parameters are the same as for “35: OVERDRIVE.”

fig.MFX-36

This is an overdrive that provides heavy distortion.

fig.MFX-37

This is a distortion effect that provides heavy distortion. The

parameters are the same as for “37: VS OVERDRIVE.”

fig.MFX-38

This is an effect that simulates the sound of a guitar amplifier.

fig.MFX-39

35: OVERDRIVE

Parameter Value Description

Drive #

0–127 Degree of distortion

Also changes the volume.

Amp Type

SMALL, BUILT-IN,

2-STACK, 3-STACK

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

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Pan #

L64–63R Stereo location of the output

sound

Level

0–127 Output Level

36: DISTORTION

37: VS OVERDRIVE

Parameter Value Description

Drive #

0–127 Degree of distortion

Also changes the volume.

Tone #

0–127 Sound quality of the Overdrive effect

Amp Sw

OFF, ON Turns the Amp Simulator on/off.

Amp Type

SMALL, BUILT-IN, 2-

STACK, 3-STACK

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

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Pan #

L64–63R Stereo location of the output sound

Level

0–127 Output Level

Amp

Simulator

2-Band

L in

R in

Over

drive

L out

R out

Pan R

Pan L

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

Distortion

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

Overdrive

38: VS DISTORTION

39: GUITAR AMP SIMULATOR

Parameter Value Description

Pre Amp Sw

OFF, ON Turns the amp switch on/off.

Pre Amp Type

JC-120,

CLEAN TWIN, MATCH

DRIVE,

BG LEAD, MS1959I,

MS1959II, MS1959I+II,

SLDN LEAD,

METAL5150,

METAL LEAD, OD-1, OD-

2 TURBO,

DISTORTION, FUZZ

Type of guitar amp

Pre Amp

Volume #

0–127 Volume and amount of distortion

of the amp

Pre Amp

Master #

0–127 Volume of the entire pre-amp

Pre Amp Gain

LOW, MIDDLE, HIGH Amount of pre-amp distortion

Pre Amp Bass

0–127

Tone of the bass/mid/treble fre-

quency range

* Middle cannot be set if “Match

Drive” is selected as the Pre

Amp Type.

Pre Amp Mid-

dle

Pre Amp Treble

Pre Amp

Presence

0–127 Tone for the ultra-high frequency

range

Pre Amp Bright

OFF, ON

Turning this “On” produces a

sharper and brighter sound.

* This parameter applies to the

“JC-120,” “Clean Twin,” and

“BG Lead” Pre Amp Types.

Speaker Sw

OFF, ON Determines whether the signal

passes through the speaker (ON),

or not (OFF).

Speaker Type

(See the table below.) Type of speaker

Mic Setting

1, 2, 3

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.

Mic Level

0–127 Volume of the microphone

Direct Level

0–127 Volume of the direct sound

Pan #

L64–63R Stereo location of the output

Level #

0–127 Output level

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

Distortion

L in

R in

L out

R out

Pan R

Pan L

Pre Amp Speaker

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Effects List

Specifications for each Speaker Type

The speaker column indicates the diameter of each speaker

unit (in inches) and the number of units.

Flattens out high levels and boosts low levels, smoothing out

fluctuations in volume.

fig.MFX-40

Compresses signals that exceed a specified volume level,

preventing distortion from occurring.

fig.MFX-41

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

Type Cabinet Speak-

Micro-

phone

SMALL 1

small open-back enclosure 10 dynamic

SMALL 2

small open-back enclosure 10 dynamic

MIDDLE

open back enclosure 12 x 1 dynamic

JC-120

open back enclosure 12 x 2 dynamic

BUILT-IN 1

open back enclosure 12 x 2 dynamic

BUILT-IN 2

open back enclosure 12 x 2 condenser

BUILT-IN 3

open back enclosure 12 x 2 condenser

BUILT-IN 4

open back enclosure 12 x 2 condenser

BUILT-IN 5

open back enclosure 12 x 2 condenser

BG STACK 1

sealed enclosure 12 x 2 condenser

BG STACK 2

large sealed enclosure 12 x 2 condenser

MS STACK 1

large sealed enclosure 12 x 4 condenser

MS STACK 2

large sealed enclosure 12 x 4 condenser

METAL STACK

large double stack 12 x 4 condenser

2-STACK

large double stack 12 x 4 condenser

3-STACK

large triple stack 12 x 4 condenser

40: COMPRESSOR

Parameter Value Description

Attack #

0–127 Sets the speed at which compression starts

Threshold #

0–127 Adjusts the volume at which compression

begins

Post Gain

0– +18 dB Adjusts the output gain.

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Level #

0–127 Output level

L in

R in

L out

R out

Compressor

2-Band EQ

Compressor

41: LIMITER

Parameter Value Description

Release #

0–127 Adjusts the time after the signal volume falls

below the Threshold Level until compression

is no longer applied.

Threshold #

0–127 Adjusts the volume at which compression

begins

Ratio

1.5:1, 2:1,

4:1,

100:1 Compression ratio

Post Gain

0– +18 dB Adjusts the output gain.

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Level #

0–127 Output level

42: GATE

Parameter Value Description

Threshold #

0–127

Volume level at which the gate begins to close

Mode

GATE,

DUCK

Type of gate

GATE:

The gate will close when the vol-

ume of the original sound decreases, cut-

ting the original sound.

DUCK (Ducking):

The gate will close when

the volume of the original sound increas-

es, cutting the original sound.

Attack

0–127 Adjusts the time it takes for the gate to fully

open after being triggered.

Hold

0–127 Adjusts the time it takes for the gate to start

closing after the source sound falls beneath

the Threshold.

Release

0–127 Adjusts the time it takes the gate to fully

close after the hold time.

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

L in

R in

L out

R out

Limiter

2-Band EQ

Limiter

L in

R in

L out

R out

Gate

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Effects List

This is a stereo delay.

When Feedback Mode is NORMAL:

fig.MFX-43a

When Feedback Mode is CROSS:

fig.MFX-43b

A delay that provides a long delay time.

fig.MFX-44

43: DELAY

Parameter Value Description

Delay Left

0–1300 ms,

note Adjusts the time until the delay sound is

heard.

Delay Right

Phase Left

NORMAL,

INVERSE Phase of the delay sound

Phase Right

Feedback

Mode

NORMAL,

CROSS Selects the way in which delay sound is fed

back into the effect. (See the figures above.)

Feedback #

-98– +98% Adjusts the amount of the delay sound that’s

fed back into the effect. Negative

(-) settings invert the phase.

HF Damp

200–8000 Hz,

BYPASS

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.

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the delay sound (W)

Level

0–127 Output level

R in R out

L in L out

Feedback

Balance W

Balance D

Balance W

Balance D

2-Band

Delay

R in R out

L in L out

Feedback

Balance W

Balance D

Balance W

Balance D

2-Band

Delay

44: LONG DELAY

Parameter Range Explanation

Delay Time

0–2600 ms, note Delay time from when the origi-

nal sound is heard to when the

delay sound is heard

Phase

NORMAL, INVERSE Phase of the delay (NORMAL:

non-inverted, INVERT: inverted)

Feedback #

-98– +98% Proportion of the delay sound

that is to be returned to the input

(negative values invert the phase)

HF Damp

200–8000 Hz,

BYPASS

Frequency at which the high-fre-

quency content of the delayed

sound will be cut (BYPASS: no

cut)

Pan #

L64–63R Panning of the delay sound

Low Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

High Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and delay sound (W)

Level

0–127 Output volume

L in

R in

L out

R out

2-Band

Pan R

Pan L

2-Band

Feedback

Long Delay

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Effects List

This delay connects two delay units in series. Feedback can be

applied independently to each delay unit, allowing you to

produce complex delay sounds.

fig.MFX-45

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

fig.MFX-46a

When Feedback Mode is CROSS:

fig.MFX-46b

45: SERIAL DELAY

Parameter Range Explanation

Delay1 Time

0–1300 ms, note Delay time from when sound is

input to delay 1 until the delay

sound is heard

Delay1

Feedback #

-98– +98%

Proportion of the delay sound

that is to be returned to the input

of delay 1 (negative values invert

the phase)

Delay1 HF Damp

200–8000 Hz,

BYPASS

Frequency at which the high-fre-

quency content of the delayed

sound of delay 1 will be cut (BY-

PASS: no cut)

Delay2 Time

0–1300 ms, note Delay time from when sound is

input to delay 2 until the delay

sound is heard

Delay2

Feedback #

-98– +98%

Proportion of the delay sound

that is to be returned to the input

of delay 2 (negative values invert

the phase)

Delay2 HF Damp

200–8000 Hz,

BYPASS

Frequency at which the high-fre-

quency content of the delayed

sound of delay 2 will be cut (BY-

PASS: no cut)

Pan #

L64–63R Panning of the delay sound

Low Gain

-15– +15 dB Amount of boost/cut for the low-

frequency range

High Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and delay sound (W)

Level

0–127 Output volume

R in R out

L in L out

Feedback 1

Pan L

Pan R

Delay 1

Feedback 2

Delay 2

46: MODULATION DELAY

Parameter Value Description

Delay Left

0–1300 ms,

note Adjusts the time until the delay sound is

heard.

Delay Right

Feedback

Mode

NORMAL,

CROSS Selects the way in which delay sound is fed

back into the effect (See the figures above.)

Feedback #

-98– +98% Adjusts the amount of the delay sound

that’s fed back into the effect. Negative (-)

settings invert the phase.

HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above which sound

fed back to the effect is filtered out. If you

don’t want to filter out any high frequen-

cies, set this parameter to BYPASS.

Rate #

0.05–10.00 Hz,

note Frequency of modulation

Depth

0–127 Depth of modulation

Phase

0-180 deg Spatial spread of the sound

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the delay sound (W)

Level

0–127 Output level

R in R out

L in L out

Feedback

Balance W

Balance D

Balance W

Balance D

2-Band

Delay

Modulation

R in R out

L in L out

Feedback

Balance W

Balance D

Balance W

Balance D

2-Band

Delay

Modulation

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Effects List

Produces three delay sounds; center, left and right.

fig.MFX-47

This effect has four delays.

fig.MFX-48a

fig.MFX-48b

Stereo location of each delay

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

47: 3TAP PAN DELAY

Parameter Value Description

Delay Left/

Right/Center

0–2600 ms,

note Adjusts the time until the delay sound is

heard.

Center

Feedback #

-98– +98% Adjusts the amount of the delay sound

that’s fed back into the effect. Negative (-)

settings invert the phase.

HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above which sound

fed back to the effect is filtered out. If you

do not want to filter out any high frequen-

cies, set this parameter to BYPASS.

Left/Right/

Center Level

0–127 Volume of each delay

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the delay sound (W)

Level

0–127 Output level

48: 4TAP PAN DELAY

Parameter Value Description

Delay 1–4 Time

0–2600 ms,

note Adjusts the time until the delay sound is

heard.

Delay 1 Feed-

back #

-98– +98% Adjusts the amount of the delay sound

that’s fed back into the effect. Negative (-)

settings invert the phase.

HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above which sound

fed back to the effect is filtered out. If you

do not want to filter out any high frequen-

cies, set this parameter to BYPASS.

Delay 1–4 Level

0–127 Volume of each delay

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the delay sound (W)

Level

0–127 Output level

L in

R in

L out

R out

Left Tap

Right Tap

Triple Tap Delay

2-Band

Balance W

Balance D

Balance W

Balance D

Feedback

Center Tap

L in

R in

L out

R out

Quadruple Tap Delay

Balance W

Balance D

Balance W

Balance D

Delay 1

Delay 2

Delay 3

Delay 4

Feedback

49: MULTI TAP DELAY

Parameter Value Description

Delay 1–4 Time

0–2600 ms,

note Adjusts the time until Delays 1–4 are

heard.

Delay 1 Feed-

back #

-98– +98% Adjusts the amount of the delay sound

that’s fed back into the effect. Negative (-)

settings invert the phase.

HF Damp

200–8000 Hz,

BYPASS

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 fre-

quencies, set this parameter to BYPASS.

Delay 1–4 Pan

L64–63R Stereo location of Delays 1–4

Delay 1–4 Level

0–127 Output level of Delays 1–4

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

L in

R in

L out

R out

Multi Tap Delay

Balance W

Balance D

Balance W

Balance D

Delay 1

Delay 3

Delay 4

Delay 2

Feed

back

2-Band

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Effects List

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.

fig.MFX-50

Adds a shuffle to the delay sound, giving the sound a bouncy

delay effect with a swing feel.

fig.MFX-51

50: REVERSE DELAY

Parameter Range Explanation

Threshold

0–127 Volume at which the reverse de-

lay will begin to be applied

Rev Dly Time

0–1300 ms, note Delay time from when sound is

input into the reverse delay until

the delay sound is heard

Rev Dly Feedback #

-98– +98%

Proportion of the delay sound

that is to be returned to the input

of the reverse delay (negative

values invert the phase)

Rev Dly HF Damp

200–8000 Hz,

BYPASS

Frequency at which the high-fre-

quency content of the reverse-de-

layed sound will be cut (BYPASS:

no cut)

Rev Dly Pan

L64–63R Panning of the reverse delay

sound

Rev Dly Level

0–127 Volume of the reverse delay

sound

Delay 1 – 3 Time

0–1300 ms, note Delay time from when sound is

input into the tap delay until the

delay sound is heard

Delay 3 Feedback #

-98– +98%

Proportion of the delay sound

that is to be returned to the input

of the tap delay (negative values

invert the phase)

Delay HF Damp

200–8000 Hz, BYPASS

Frequency at which the low-fre-

quency content of the tap delay

sound will be cut (BYPASS: no

cut)

Delay 1 Pan’,

‘Delay 2 Pan

L64–63R Panning of the tap delay sounds

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 low-

frequency range

High Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and delay sound (W)

Level

0–127 Output volume

Feedback

L in

R in

Rev. Delay

L out

R out

2-Band

Rev

Delay

51: SHUFFLE DELAY

Parameter Value Description

Delay Time #

0–2600 ms,

note Adjusts the time until the delay sound is

heard.

Shuffle

Rate #

0–100%

Adjusts the ratio (as a percentage) of the

time that elapses before Delay B sounds rel-

ative to the time that elapses before the De-

lay A sounds.

When set to 100%, the delay times are

the same.

Acceleration

0–15 Adjusts the speed which the Delay Time

changes from the current setting to its speci-

fied new setting.

Feedback #

-98– +98% Adjusts the amount of the delay that’s fed

back into the effect. Negative (-) settings in-

vert the phase.

HF Damp

200–8000 Hz,

BYPASS

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.

Pan A/B

0–127 Stereo location of Delay A/B

Level A/B

0–127 Volume of delay A/B

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

Feedback

L in

R in

Delay

L out

R out

2-Band

Delay A

Delay B

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Effects List

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

A stereo delay in which the delay time can be varied

smoothly.

fig.MFX-53

A delay in which the delay time can be varied smoothly, and

allowing an extended delay to be produced.

fig.MFX-54

52: 3D DELAY

Parameter Value Description

Delay Left

0–2600 ms, note Adjusts the delay time from the

direct sound until the delay

sound is heard.

Delay Right

Delay Center

Center

Feedback #

-98– +98%

Adjusts the proportion of the de-

lay sound that is fed back into the

effect. Negative (-) settings will

invert the phase.

HF Damp

200–8000 Hz, BYPASS

Adjusts the frequency above

which sound fed back to the ef-

fect will be cut. If you do not want

to cut the high frequencies, set

this parameter to BYPASS.

Left Level

0–127 Output level of the delay sound

Right Level

Center Level

Output Mode

SPEAKER, PHONES

Adjusts the method that will be

used to hear the sound that is out-

put to the OUTPUT jacks. The opti-

mal 3D effect will be achieved if

you select

SPEAKER

when using

speakers, or

PHONES

when using

headphones.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W

Volume balance between the direct

sound (D) and the effect sound (W)

Level

0–127 Output Level

53: TIME CTRL DELAY

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.

3D Delay L

3D Delay R

3D Delay C

Level

Feedback

2-Band

L out

R out

R in R out

L in L out

Feedback

Pan L

Pan R

Time Ctrl Delay

2-Band EQ

Feedback #

-98– +98% Adjusts the amount of the delay

that’s fed back into the effect. Neg-

ative (-) settings invert the phase.

HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above which

sound fed back to the effect is fil-

tered out. If you do not want to filter

out any high frequencies, set this

parameter to BYPASS.

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct

sound (D) and the delay sound (W)

Level

0–127 Output level

54: LONG T CTL DELAY

(LONG TIME CONTROL DELAY)

Parameter Value Description

Delay Time #

0–2600 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 speci-

fied new setting.

The rate of change for the Delay Time di-

rectly affects the rate of pitch change.

Feedback #

-98– +98% Adjusts the amount of the delay that’s fed

back into the effect. Negative (-) settings in-

vert the phase.

HF Damp

200–8000 Hz,

BYPASS

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.

Pan #

L64–63R Stereo location of the delay

Low Gain

-15– +15 dB Gain of the low frequency range

High Gain

-15– +15 dB Gain of the high frequency range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the delay sound (W)

Level

0–127 Output level

Parameter Value Description

L in

R in

L out

R out

2-Band

Balance W

Balance D

2-Band

Feedback

Time Control Delay

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Effects List

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

55: TAPE ECHO

Parameter Value Description

Mode

S, M, L, S+M,

S+L, M+L,

S+M+L

Combination of playback heads to use

Select from three different heads with dif-

ferent delay times.

short,

middle,

long

Repeat Rate #

0–127 Tape speed

Increasing this value will shorten the spac-

ing of the delayed sounds.

Intensity #

0–127 Amount of delay repeats

Bass

-15– +15 dB

Boost/cut for the lower range of the echo sound

Treble

-15– +15 dB

Boost/cut for the upper range of the echo sound

Head S Pan

L64–63R Independent panning for the short, middle,

and long playback heads

Head M Pan

Head L Pan

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 in-

crease the distortion.

Wow/Flutter

Rate

0–127 Speed of wow/flutter (complex variation in

pitch caused by tape wear and rotational ir-

regularity)

Wow/Flutter

Depth

0–127 Depth of wow/flutter

Echo Level #

0–127 Volume of the echo sound

Direct Level #

0–127 Volume of the original sound

Level

0–127 Output level

Echo Level

L in

R in

L out

R out

Tape Echo

Direct Level

56: LOFI NOISE

Parameter Value Description

LoFi Type

1–9

Degrades the sound quality. The sound quali-

ty grows poorer as this value is increased.

Filter Type

OFF, LPF,

HPF

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range above the

Cutoff

HPF:

cuts the frequency range below the

Cutoff

Filter Cutoff

200–8000 Hz Center frequency of the filter

W/P Noise

Type

WHITE, PINK Switch between white noise and pink noise.

W/P Noise

LPF

200–8000 Hz,

BYPASS

Center frequency of the low pass filter applied

to the white/pink noise (BYPASS: no cut)

W/P Noise

Level #

0–127 Volume of the white/pink noise

Disc Noise

Type

LP, EP, SP,

RND

Type of record noise

The frequency at which the noise is heard

depends on the selected type.

Disc Noise

LPF

200–8000 Hz,

BYPASS

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.

Disc Noise

Level #

0–127 Volume of the record noise

Hum Noise

Type

50 Hz, 60 Hz Frequency of the hum noise

Hum Noise

LPF

200–8000 Hz,

BYPASS Center frequency of the low pass filter ap-

plied to the hum noise (BYPASS: no cut)

Hum Noise

Level #

0–127 Volume of the hum noise

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

R in R out

L in L out

Lo-Fi

Noise Gen.

2-Band

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Effects List

This is an effect that intentionally degrades the sound quality

for creative purposes.

fig.MFX-57

In addition to a Lo-Fi effect, this effect also generates radio

noise.

fig.MFX-58

fig.MFX-59

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

57: LOFI COMPRESS

Parameter 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 Degrades the sound quality. The sound qual-

ity grows poorer as this value is increased.

Post Fil Type

OFF, LPF, HPF

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range above the

Cutoff

HPF:

cuts the frequency range below the

Cutoff

Post Fil Cutoff

200–8000 Hz Basic frequency of the Post Filter

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level #

0–127 Output level

58: LOFI RADIO

Parameter Value Description

LoFi Type

1–9 Degrades the sound quality. The sound qual-

ity grows poorer as this value is increased.

Filter Type

OFF, LPF,

HPF

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range above the

Cutoff

HPF:

cuts the frequency range below the

Cutoff

Filter Cutoff

200–8000 Hz Basic frequency of the Post Filter

Radio

Detune #

0–127 Simulates the tuning noise of a radio. As this

value is raised, the tuning drifts further.

Radio Noise

Level #

0–127 Volume of the radio noise

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

L in

R in

L out

R out

Compressor

Lo-Fi

Compressor

2-Band

R in R out

L in L out

Lo-Fi

Radio

2-Band

59: TELEPHONE

Parameter Value Description

Voice

Quality #

0–15 Audio quality of the telephone voice

Treble

-15– +15 dB Bandwidth of the telephone voice

Balance #

D100:0–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

60: PHONOGRAPH

Parameter Value Description

Signal

Distortion

0–127 Depth of distortion

Frequency

Range

0–127

Frequency response of the playback system

Decreasing this value will produce the im-

pression of an old system with a poor fre-

quency response.

Disc Type

LP, EP, SP Rotational speed of the turntable

This will affect the frequency of the

scratch noise.

Scratch

Noise

Level

0–127 Amount of noise due to scratches on the

record

Dust Noise Lev-

0–127 Volume of noise due to dust on the record

Hiss Noise Lev-

0–127 Volume of continuous “hiss”

Total Noise Lev-

el #

0–127 Volume of overall noise

Wow

0–127 Depth of long-cycle rotational irregularity

Flutter

0–127 Depth of short-cycle rotational irregularity

Random

0–127 Depth of indefinite-cycle rotational irregular-

ity

Total Wow/

Flutter #

0–127 Depth of overall rotational irregularity

Balance #

D100:0W–

D0:100W Volume balance between the direct sound

(D) and the effect sound (W)

Level

0–127 Output level

L in

R in

L out

R out

Telephone

L in

R in

Phonograph

L out

R out

Balance W

Balance D

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Effects List

A stereo pitch shifter.

fig.MFX-61

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

A pitch shifter in which the amount of pitch shift is varied by a

16-step sequence.

fig.MFX-63

You can use multi-effect control to make the step sequence play

again from the beginning (p. 193).

61: PITCH SHIFTER

(Feedback Pitch Shifter)

Parameter Value Description

Coarse #1

-24– +12 semi Adjusts the pitch of the pitch shift-

ed sound in semitone steps.

Fine #1

-100– +100 cent Adjusts the pitch of the pitch shift-

ed sound in 2-cent steps.

Delay Time

0–1300 ms, note Adjusts the delay time from the

direct sound until the pitch shifted

sound is heard.

Feedback #

-98– +98%

Adjusts the proportion of the

pitch shifted sound that is fed

back into the effect. Negative (-)

settings will invert the phase.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the pitch shift-

ed sound (W)

Level

0–127 Output Level

62: 2VOI PCH SHIFTER

(2VOICE PITCH SHIFTER)

Parameter Value Description

Pitch 1:

Coarse #1

-24-+12 semi Adjusts the pitch of Pitch Shift 1

in semitone steps.

Pitch 1:Fine #1

-100-+100 cent Adjusts the pitch of Pitch Shift

Pitch 1 in 2-cent steps.

Pitch 1:Delay

0–1300 ms, note Adjusts the delay time from the

direct sound until the Pitch Shift 1

sound is heard.

Pitch 1:Feedback #

-98– +98%

Adjusts the proportion of the

pitch shifted sound that is fed

back into the effect. Negative (-)

settings will invert the phase.

Pitch 1:Pan #

L64-63R Stereo location of the Pitch Shift

1 sound

Pitch 1:Level

0–127 Volume of the Pitch Shift1 sound

L in

R in

Pitch Shifter

L out

R out

2-Band EQ

L in

R in

L out

R out

2Voice Pitch Shifter

Level 1

Balance W

Balance D

Balance W

Balance D

Level 1 Pan 2 R

Pan 1 L

Pan 1 R

Pan 2 L

Pitch 2:

Coarse #2

-24-+12 semi

Settings of the Pitch Shift 2

sound.

The parameters are the same as

for the Pitch Shift 1 sound.

Pitch 2:Fine #2

-100-+100 cent

Pitch 2:Delay

0–1300 ms, note

Pitch 2:Feedback

-98– +98%

Pitch 2:Pan #

L64-63R

Pitch 2:Level

0–127

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Level Balance

A100:0B-A0:100B Volume balance between the

Pitch Shift 1 and Pitch Shift 2

sounds

Balance

D100:0W-D0:100W Volume balance between the di-

rect sound (D) and the pitch shift-

ed sound (W)

Level

0-127 Output Level

63: STEP PCH SHIFTER

(STEP PITCH SHIFTER)

Parameter Range Explanation

Step 01–16

-24–+12 semi Amount of pitch shift at each step

(semitone units)

Rate #

0.05–10.00 Hz, note Rate at which the 16-step se-

quence will cycle

Attack #

0–127

Speed at which the amount of

pitch shift changes between steps

Gate Time #

0–127 Duration of the pitch shifted

sound at each step

Fine

-100– +100 cent Pitch shift adjustment for all steps

(2-cent units)

Delay Time

0–1300 ms, note Delay time from the original

sound until the pitch-shifted

sound is heard

Feedback #

-98– +98%

Proportion of the pitch-shifted

sound that is to be returned to the

input (negative values invert the

phase)

Low Gain

-15– +15 dB Amount of boost/cut for the low-

frequency range

High Gain

-15– +15 dB Amount of boost/cut for the high-

frequency range

Balance #

D100:0W–D0:100W Volume balance of the original

sound (D) and pitch-shifted sound

(W)

Level

0–127 Output volume

Parameter Value Description

L in

R in

Step Pitch Shifter

L out

R out

2-Band

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Effects List

Adds reverberation to the sound, simulating an acoustic space.

fig.MFX-64

This is a special type of reverb in which the reverberant sound

is cut off before its natural length.

fig.MFX-65

fig.MFX-66

fig.MFX-67

64: REVERB

Parameter Value Description

Type

ROOM1, ROOM2,

STAGE1, STAGE2,

HALL1, HALL2

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 rever-

berance

HALL2:

reverb with rich rever-

berance

Pre Delay

0.0–100.0 ms Adjusts the delay time from the di-

rect sound until the reverb sound

is heard.

Time #

0–127 Time length of reverberation

HF Damp

200–8000 Hz,

BYPASS

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 pa-

rameter to BYPASS.

Low Gain

-15– +15 dB Gain of the low range

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W

Volume balance between the direct

sound (D) and the reverb sound (W)

Level

0–127 Output Level

65: GATED REVERB

Parameter Value Description

Type

NORMAL, REVERSE,

SWEEP1, SWEEP2

Type of reverb

NORMAL:

conventional gat-

ed reverb

REVERSE:

backwards reverb

SWEEP1:

the reverberant

sound moves from right to left

SWEEP2:

the reverberant

sound moves from left to right

Pre Delay

0.0–100.0 ms Adjusts the delay time from the

direct sound until the reverb

sound is heard.

Gate Time

5–500 ms

Adjusts the time from when the re-

verb is heard until it disappears.

Low Gain

-15– +15 dB Gain of the low range

L in

R in

L out

R out

Reverb

2-Band

Balance W

Balance D

2-Band

L in

R in

L out

R out

Gated Reverb

2-Band

Balance W

Balance D

2-Band

High Gain

-15– +15 dB Gain of the high range

Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the reverb

sound (W)

Level #

0–127 Output Level

66: OD

→

CHORUS

(OVERDRIVE

→

CHORUS)

Parameter Value Description

Od Drive #

0–127 Degree of distortion

Also changes the volume.

Od Pan #

L64–63R Stereo location of the overdrive

sound

Cho Pre Delay

0.0–100.0 ms Adjusts the delay time from the di-

rect sound until the chorus sound is

heard.

Cho Rate #

0.05–10.00 Hz, note Frequency of modulation

Cho Depth

0–127 Depth of modulation

Cho Balance #

D100:0W–D0:100W

Adjusts the volume balance be-

tween the sound that is sent

through the chorus (W) and the

sound that is not sent through the

chorus (D).

Level

0–127 Output Level

67: OD

→

FLANGER

(OVERDRIVE

→

FLANGER)

Parameter Value Description

Od Drive #

0–127 Degree of distortion

Also changes the volume.

Od Pan #

L64–63R Stereo location of the overdrive

sound

Fln Pre Delay

0.0–100.0 ms Adjusts the delay time from when

the direct sound begins until the

flanger sound is heard.

Fln Rate #

0.05–10.00 Hz, note Frequency of modulation

Fln Depth

0–127 Depth of modulation

Fln Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Fln Balance #

D100:0W–D0:100W

Adjusts the volume balance be-

tween the sound that is sent

through the flanger (W) and the

sound that is not sent through the

flanger (D).

Level

0–127 Output Level

Parameter Value Description

L in

R in

Chorus

Overdrive

L out

R out

Balance W

Balance D

L in

R in

Flanger

Overdrive

L out

R out

Balance W

Balance D

Feedback

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216

Effects List

fig.MFX-68

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

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-70

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

fig.MFX-72

68: OD

→

DELAY

(OVERDRIVE

→

DELAY)

Parameter Value Description

Od Drive #

0–127 Degree of distortion

Also changes the volume.

Od Pan #

L64–63R Stereo location of the overdrive

sound

Delay Time

0–2600 ms, note Adjusts the delay time from the

direct sound until the delay

sound is heard.

Delay

Feedback #

-98– +98%

Adjusts the proportion of the de-

lay sound that is fed back into the

effect. Negative (-) settings will

invert the phase.

Delay HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above

which sound fed back to the ef-

fect will be cut. If you do not want

to cut the high frequencies, set

this parameter to BYPASS.

Delay Balance #

D100:0W–D0:100W

Adjusts the volume balance be-

tween the sound that is sent

through the delay (W) and the

sound that is not sent through the

delay (D).

Level

0–127 Output Level

69: DST

→

CHORUS

(DISTORTION

→

CHORUS)

L in

R in

Delay

Overdrive

L out

R out

Balance W

Balance D

Feedback

L in

R in

Chorus

Distortion

L out

R out

Balance W

Balance D

70: DST

→

FLANGER

(DISTORTION

→

FLANGER)

71: DST

→

DELAY

(DISTORTION

→

DELAY)

72: ENH

→

CHORUS

(ENHANCER

→

CHORUS)

Parameter Value Description

Enh Sens #

0–127 Sensitivity of the enhancer

Enh Mix #

0–127 Level of the overtones generated

by the enhancer

Cho Pre Delay

0.0–100.0 ms Adjusts the delay time from the di-

rect sound until the chorus sound is

heard.

Cho Rate #

0.05–10.00 Hz,

note Frequency of modulation

Cho Depth

0–127 Depth of modulation

Cho Balance #

D100:0W–

D0:100W

Adjusts the volume balance between

the sound that is sent through the cho-

rus (W) and the sound that is not sent

through the chorus (D).

Level

0–127 Output Level

L in

R in

Flanger

Distortion

L out

R out

Balance W

Balance D

Feedback

L in

R in

Delay

Distortion

L out

R out

Balance W

Balance D

Feedback

Chorus

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

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217

Effects List

fig.MFX-73

fig.MFX-74

fig.MFX-75

fig.MFX-76

73: ENHANCER

→

FLANGER

(ENH

→

FLANGER)

Parameter Value Description

Enh Sens #

0–127 Sensitivity of the enhancer

Enh Mix #

0–127 Level of the overtones generated

by the enhancer

Fln Pre Delay

0.0–100.0 ms Adjusts the delay time from when

the direct sound begins until the

flanger sound is heard.

Fln Rate #

0.05–10.00 Hz,

note Frequency of modulation

Fln Depth

0–127 Depth of modulation

Fln Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Fln Balance #

D100:0W–

D0:100W

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).

Level

0–127 Output Level

74: ENH

→

DELAY

(ENHANCER

→

DELAY)

Parameter Value Description

Enh Sens #

0–127 Sensitivity of the enhancer

Enh Mix #

0–127 Level of the overtones generated

by the enhancer

Delay Time

0–2600 ms, note Adjusts the delay time from the

direct sound until the delay

sound is heard.

Delay

Feedback #

-98– +98%

Adjusts the proportion of the de-

lay sound that is fed back into the

effect. Negative (-) settings will

invert the phase.

Delay HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above

which sound fed back to the ef-

fect will be cut. If you do not want

to cut the high frequencies, set

this parameter to BYPASS.

Delay Balance #

D100:0W–D0:100W

Adjusts the volume balance be-

tween the sound that is sent

through the delay (W) and the

sound that is not sent through the

delay (D).

Level

0–127 Output Level

Feedback

Flanger

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

Feedback

Delay

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

75: CHORUS

→

DELAY

Parameter Value Description

Cho Pre Delay

0.0–100.0 ms Adjusts the delay time from the di-

rect sound until the chorus sound is

heard.

Cho Rate #

0.05–10.00 Hz, note Frequency of modulation

Cho Depth

0–127 Depth of modulation

Cho Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the chorus

sound (W)

Delay Time

0–2600 ms, note Adjusts the delay time from the di-

rect sound until the delay sound is

heard.

Delay

Feedback #

-98– +98%

Adjusts the proportion of the delay

sound that is fed back into the ef-

fect. Negative (-) settings will invert

the phase.

Delay HF Damp

200–8000 Hz,

BYPASS

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 parame-

ter to BYPASS.

Delay

Balance #

D100:0W–D0:100W

Adjusts the volume balance be-

tween the sound that is sent

through the delay (W) and the

sound that is not sent through the

delay (D).

Level

0–127 Output Level

76: FLANGER

→

DELAY

Parameter Value Description

Fln Pre Delay

0.0–100.0 ms Adjusts the delay time from when

the direct sound begins until the

flanger sound is heard.

Fln Rate #

0.05–10.00 Hz, note Frequency of modulation

Fln Depth

0–127 Depth of modulation

Fln Feedback #

-98– +98%

Adjusts the proportion of the

flanger sound that is fed back into

the effect. Negative (-) settings will

invert the phase.

Fln Balance #

D100:0W–D0:100W Volume balance between the di-

rect sound (D) and the flanger

sound (W)

Delay Time

0–2600 ms, note Adjusts the delay time from the di-

rect sound until the delay sound is

heard.

Feedback

Delay

L in

R in

L out

R out

Balance W

Balance D

Chorus

Balance W

Balance D

Feedback

Delay

L in

R in

L out

R out

Balance W

Balance D

Flanger

Balance W

Balance D

Feedback

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Effects List

fig.MFX-77

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.

fig.MFX-78

Delay

Feedback #

-98– +98%

Adjusts the proportion of the de-

lay sound that is fed back into the

effect. Negative (-) settings will in-

vert the phase.

Delay HF Damp

200–8000 Hz,

BYPASS

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.

Delay

Balance #

D100:0W–D0:100W

Adjusts the volume balance between

the sound that is sent through the de-

lay (W) and the sound that is not sent

through the delay (D).

Level

0–127 Output Level

77: CHORUS

→

FLANGER

Parameter Value Description

Cho Pre Delay

0.0–100.0 ms

Adjusts the delay time from the direct

sound until the chorus sound is heard.

Cho Rate #

0.05–10.00 Hz, note Modulation frequency of the chorus

effect

Cho Depth

0–127

Modulation depth of the chorus effect

Cho Balance #

D100:0W–D0:100W

Volume balance between the direct

sound (D) and the chorus sound (W)

Fln Pre Delay

0.0–100.0 ms Adjusts the delay time from when

the direct sound begins until the

flanger sound is heard.

Fln Rate #

0.05–10.00 Hz, note Modulation frequency of the flanger

effect

Fln Depth

0–127

Modulation depth of the flanger effect

Fln Feedback #

-98– +98%

Adjusts the proportion of the flanger

sound that is fed back into the ef-

fect. Negative (-) settings will invert

the phase.

Fln Balance #

D100:0W–D0:100W

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).

Level

0–127 Output Level

Parameter Value Description

Feedback

Flanger

L in

R in

L out

R out

Balance W

Balance D

Chorus

Balance W

Balance D

78: SYMPATHETIC RESO (SYMPATHETIC

RESONANCE)

Parameter Range Explanation

Depth #

0–127 Depth of the effect

Damper #

0–127 Depth to which the damper pedal is

pressed (controls the resonant

sound)

Pre LPF

16–15000 Hz,

BYPASS

Frequency of the filter that cuts the

high-frequency content of the input

sound (BYPASS: no cut)

Pre HPF

BYPASS,

16–15000 Hz

Frequency of the filter that cuts the

low-frequency content of the input

sound (BYPASS: no cut)

Peaking Freq

200–8000 Hz Frequency of the filter that boosts/

cuts a specific frequency region of

the input sound

Peaking Gain

-15– +15 dB Amount of boost/cut produced by

the filter at the specified frequency

region of the input sound

Peaking Q

0.5, 1.0, 2.0, 4.0,

8.0

Width of the frequency region

boosted/cut by the ‘Peaking Gain’

parameter (larger values make the

region narrower)

HF Damp

16–15000 Hz,

BYPASS

Frequency at which the high-fre-

quency content of the resonant

sound will be cut (BYPASS: no cut)

LF Damp

BYPASS,

16–15000 Hz

Frequency at which the low-frequen-

cy content of the resonant sound will

be cut (BYPASS: no cut)

Lid

1–6

This simulates the actual changes in

sound that occur when the lid of a

grand piano is set at different

heights.

EQ Low Freq

200, 400 Hz Frequency of the low-range EQ

EQ Low Gain

-15– +15 dB Amount of low-range boost/cut

EQ Mid Freq

200–8000 Hz Frequency of the midrange EQ

EQ Mid Gain

-15– +15 dB Amount of midrange boost/cut

EQ Mid Q

0.5, 1.0, 2.0, 4.0,

8.0 Width of midrange (larger values

make the region narrower)

EQ High Freq

2000, 4000, 8000

Hz Frequency of the high-range EQ

EQ High Gain

-15–+15 dB Amount of high-range boost/cut

Level

0–127 Output Level

L in

R in

L out

R out

Sym. Resonance

3-Band

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219

Effects List

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.

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

Chorus Parameters

Parameter Value Description

Chorus Type

0 (OFF),

1 (CHORUS),

2 (DELAY),

3 (GM2 CHORUS)

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 Frequency of modulation

Depth

0–127 Depth of modulation

Pre Delay

0.0–100.0 ms

Adjusts the delay time from the direct

sound until the chorus sound is heard.

Feedback

0–127

Adjusts the amount of the chorus sound

that is fed back into the effect.

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 be-

low the Cutoff Freq

Cutoff Freq

200–8000 Hz Basic frequency of the filter

Phase

0–180˚ Spatial spread of the sound

02: DELAY

Delay Left

0–1000 ms, note Adjusts the delay time from the direct

sound until the delay sound is heard.

Delay Right

Delay Center

Center Feed-

back

-98–+98%

Adjusts the proportion of the delay

sound that is fed back into the effect.

Negative (-) settings will invert the

phase.

HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above which

sound fed back to the effect will be cut.

If you do not want to cut the high fre-

quencies, set this parameter to BY-

PASS.

Left Level

0–127 Volume of each delay sound

Right Level

Center Level

03: GM2 CHORUS

Pre-LPF

0–7

Cuts the high frequency range of the

sound coming into the chorus.

Higher values will cut more of the

high frequencies.

Level

0–127 Volume of the chorus sound

Feedback

0–127

Adjusts the amount of the chorus sound

that is fed back into the effect.

Delay

0–127 Adjusts the delay time from the direct

sound until the chorus sound is heard.

Rate

0–127 Frequency of modulation

Depth

0–127 Depth of modulation

Send Level To

Reverb

0–127

Adjusts the amount of chorus sound

that will be sent to the reverb.

Double note

Dotted whole note

Dotted half note

Dotted thirty-second note

Whole note Double-note triplet

Sixteenth-note triplet

Thirty-second note

Sixty-fourth-note triplet

Sixty-fourth note

Thirty-second-note triplet

Dotted eighth noteQuarter-note tripletEighth note

Half-note tripletQuarter note Dotted quarter note

Whole-note triplet

Half note

Sixteenth note Eighth-note triplet

Dotted sixteenth note

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220

Effects List

These settings allow you to select the desired type of reverb, and its characteristics.

Reverb Parameters

Parameter

Value Description

Reverb

Type

0 (OFF),

1 (REVERB),

2 (SRV ROOM),

3 (SRV HALL),

4 (SRV PLATE),

5 (GM2 REVERB)

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

01: REVERB

Type

ROOM1,

ROOM2,

STAGE1,

STAGE2, HALL1,

HALL2, DELAY,

PAN-DELAY

Type of reverb/delay

ROOM1: short reverb with high density

ROOM2: short reverb with low density

STAGE1: reverb with greater late reverber-

ation

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

0–127

Time length of reverberation

(Type: ROOM1–HALL2)

Delay time

(Type: DELAY, PAN-DELAY)

HF Damp

200–8000 Hz,

BYPASS

Adjusts the frequency above which the high-fre-

quency 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.

Delay

Feedback

0–127

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

0.0–100.0 ms

Adjusts the delay time from the direct sound until

the reverb sound is heard.

Time

0–127 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 high-

frequency content of the reverb will be re-

duced. If you do not want to reduce the high

frequencies, set this parameter to BYPASS.

Density

0–127 Density of reverb

Diffusion

0–127

Adjusts the change in the density of the reverb over

time. The higher the value, the more the density in-

creases with time. (The effect of this setting is most

pronounced with long reverb times.)

LF Damp

Freq

50–4000 Hz Adjusts the frequency below which the low-fre-

quency content of the reverb sound will be re-

duced, or “damped.”

LF Damp

Gain

-36–0 dB

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.

HF Damp

Freq

4000 Hz–12.5

kHz

Adjusts the frequency above which the high-

frequency content of the reverb sound will be

reduced, or “damped.”

HF Damp

Gain

-36–0 dB

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.

Parameter

Value Description

05: GM2 REVERB

Character

0–7 Type of reverb

0–5: reverb

6, 7: delay

Pre-LPF

0–7

Cuts the high frequency range of the sound

coming into the reverb.

Higher values will cut more of the high fre-

quencies.

Level

0–127 Output level of reverberation

Time

0–127 Time length of reverberation

Delay

Feedback

0–127 Adjusts the amount of the delay sound that is

fed back into the effect when the Reverb Char-

acter setting is 6 or 7.

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221

Effects List

Selects the type of effect that will be applied to the external input source.

Adjusts the tone of the low-frequency and high-frequency

ranges.

Modifies the harmonic content of the high-frequency range to

add sparkle to the sound.

Restrains high levels and boosts low levels to make the overall

volume more consistent.

Compresses the sound when it exceeds a specified volume, to

keep distortion from occurring.

Suppresses noise during periods of silence.

Removes the sounds that are localized at the center of the

stereo input. This is a convenient way to eliminate a vocal.

Input Effect Parameters

01: EQUALIZER

Parameter

Range Explanation

Low Freq

200, 400 Hz Center frequency of the low-frequency

range

Low Gain

-15–+15 dB Amount of low-frequency boost/cut

High Freq

2000, 4000,

8000 Hz Center frequency of the high-frequency

range

High Gain

-15–+15 dB Amount of high-frequency boost/cut

02: ENHANCER

Parameter

Range Explanation

Sens

0–127 Depth of the enhancer effect

Mix

0–127

Volume of the harmonics that are generated

03: COMPRESSOR

Parameter

Range Explanation

Attack

0–127 Time from when the input exceeds the

Threshold until the volume begins to be

compressed

Threshold

0–127 Volume level at which compression will be-

gin

Post Gain

0–+18 dB Level of the output sound

04: LIMITER

Parameter

Range Explanation

Release

0–127 Time from when the input falls below the

Threshold until compression ceases

Threshold

0–127 Volume level at which compression will be-

gin

Post Gain

0–+18 dB Level of the output sound

05: NOISE SUPPRESSOR

Parameter

Range Explanation

Threshold

0–127 Volume at which noise suppression will be-

gin

Release

0–127 Time from when noise suppression begins

until the volume reaches zero.

06: CENTER CANCELER

Parameter

Range Explanation

Ch Balance

-50– +50 Volume balance of the L (left) and R (right)

channels for removing the sound

Range Low

16–15000 Hz Lower frequency limit of the band to be re-

moved

Range High

16–15000 Hz Upper frequency limit of the band to be re-

moved

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222

Performance List

USER (USER GROUP) PRST

(PRESET GROUP)

No Name

1 Seq:Template

2 Seq:Temp 2

3 Seq:Temp 3

4 Seq:Temp 4

5 Seq:Temp 5

6 Seq:Temp 6

7 Seq:Temp 7

8 Seq:Temp 8

9 Seq:Temp 9

10 Seq:Temp 10

11 Seq:Temp 11

12 Seq:Temp 12

13 Seq:Temp 13

14 Seq:Temp 14

15 Seq:Temp 15

16 Seq:Temp 16

17 Seq:Temp 17

18 Seq:Temp 18

19 Seq:Temp 19

20 Seq:Temp 20

21 Seq:Temp 21

22 Seq:Temp 22

23 Seq:Temp 23

24 Seq:Temp 24

25 Seq:Temp 25

26 Seq:Temp 26

27 Seq:Temp 27

28 Seq:Temp 28

29 Seq:Temp 29

30 Seq:Temp 30

31 Seq:Temp 31

32 Seq:Temp 32

No Name

33 GM2 Template

34 SuperRichPNO

35 Bs/Piano

36 Brite Piano

37 CrystalGrand

38 SuperPhaseEP

39 D50 Memories

40 RockOrg

41 Delicate

42 SuperStrings

43 Braves

44 Orchestral

45 Sonic

46 Pole

47 Twilight

48 3AM

49 Ocean

50 Jupiters

51 Blizzard

52 Horizon

53 Buzz

54 80s

55 TripTo80s

56 80s Stack

57 AutoNoise

58 World Lead

59 XyloSawLead

60 WoodyFltLd

61 Saturn

62 Tale

63 Synchronize

64 Gramophone

No Name

1 Seq:Template

2 Seq:Temp 2

3 Seq:Temp 3

4 Seq:Temp 4

5 Seq:Temp 5

6 Seq:Temp 6

7 Seq:Temp 7

8 Seq:Temp 8

9 Seq:Temp 9

10 Seq:Temp 10

11 Seq:Temp 11

12 Seq:Temp 12

13 Seq:Temp 13

14 Seq:Temp 14

15 Seq:Temp 15

16 Seq:Temp 16

17 Seq:Temp 17

18 Seq:Temp 18

19 Seq:Temp 19

20 Seq:Temp 20

21 Seq:Temp 21

22 Seq:Temp 22

23 Seq:Temp 23

24 Seq:Temp 24

25 Seq:Temp 25

26 Seq:Temp 26

27 Seq:Temp 27

28 Seq:Temp 28

29 Seq:Temp 29

30 Seq:Temp 30

31 Seq:Temp 31

32 Seq:Temp 32

No Name

33 GM2 Template

34 SuperRichPNO

35 Bs/Piano

36 Brite Piano

37 CrystalGrand

38 SuperPhaseEP

39 D50 Memories

40 RockOrg

41 Delicate

42 SuperStrings

43 Braves

44 Orchestral

45 Sonic

46 Pole

47 Twilight

48 3AM

49 Ocean

50 Jupiters

51 Blizzard

52 Horizon

53 Buzz

54 80s

55 TripTo80s

56 80s Stack

57 AutoNoise

58 World Lead

59 XyloSawLead

60 WoodyFltLd

61 Saturn

62 Tale

63 Synchronize

64 Gramophone

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223

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

1 Rich Grand AC.PIANO 2

2 JD-800 Piano AC.PIANO 1

3 Stage Phazer EL.PIANO 2

4 Lounge Kit COMBINATION 2

5 SC Trem Wuly EL.PIANO 1

6 FM-777 EL.PIANO 5

7 SA EPiano EL.PIANO 3

8 HardRockORG1 ORGAN 4

9 Rocky Organ ORGAN 2

10 FullStop Org ORGAN 3

11 R&B Organ 2 ORGAN 4

12 X Perc Organ ORGAN 3

13 Smoky Organ ORGAN 1

14 Crummy Organ ORGAN 2

15 Chapel Organ ORGAN 2

16 Mid Pipe Org ORGAN 4

17 VntgClav KEYBOARDS 3

18 Phase Clavi KEYBOARDS 2

19 Funky Line KEYBOARDS 2

20 Harpsy Clavi KEYBOARDS 2

21 SonicStrings STRINGS 8

22 String Ens STRINGS 3

23 Wind & Str 1 ORCHESTRA 7

24 Soft Orch 2 ORCHESTRA 7

25 SC Hollow SOFT PAD 4

26 Heaven Pad SOFT PAD 3

27 Soft OB Pad SOFT PAD 3

28 Reso Pad SOFT PAD 3

29 Slow Saw Str SOFT PAD 2

30 JP Strings 2 SOFT PAD 5

31 Cell Comb BRIGHT PAD 3

32 Super SynStr BRIGHT PAD 2

33 80s Str BRIGHT PAD 8

34 Polar Night BRIGHT PAD 4

35 Distant Sun BRIGHT PAD 4

36 SC Brt Brass AC.BRASS 4

37 Horny Sax SAX 2

38 80s Brass 1 SYNTH BRASS 6

39 Juno-106 Brs SYNTH BRASS 1

40 Poly Brass SYNTH BRASS 2

No Name Category Voice

41 JP8000 Brass SYNTH BRASS 6

42 Sonic Brass SYNTH BRASS 4

43 SuperSawSlow OTHER SYNTH 2

44 Cell Trance OTHER SYNTH 3

45 Trancy Synth OTHER SYNTH 2

46 Stacc Heaven OTHER SYNTH 4

47 Sugar Synth OTHER SYNTH 5

48 Himalaya Ice BELL 2

49 Wine Glass BELL 4

50 Synergy MLT MALLET 2

51 AirPluck MALLET 4

52 SC Marimba MALLET 1

53 Cmp'd Fng Bs BASS 3

54 FingerMaster BASS 2

55 Return2Base! BASS 1

56 Chicken Bass BASS 3

57 SC Fretnot 1 BASS 2

58 Got Pop? BASS 1

59 Sonic Ac Bs BASS 1

60 Low Bass SYNTH BASS 3

61 Foundation SYNTH BASS 2

62 SC Rubber Bs SYNTH BASS 3

63 Punch MG 2 SYNTH BASS 2

64 SC GarageBs2 SYNTH BASS 2

65 SC AcidPunch SYNTH BASS 2

66 Loco Voco SYNTH BASS 2

67 VirtualHuman PULSATING 4

68 Strobot PULSATING 2

69 SC Strobe PULSATING 4

70 HPF Slicer PULSATING 3

71 Choir Aahs 1 VOX 4

72 Choir Aahs 2 VOX 4

73 Angels Choir VOX 4

74 Syn Opera VOX 4

75 Choir&Str VOX 7

76 Terra Nostra SOFT PAD 8

77 Aah Vox VOX 2

78 Cell SquLead SOFT LEAD 4

79 Howards Lead SOFT LEAD 3

80 Windy Synth SOFT LEAD 3

No Name Category Voice

81 Sinetific SOFT LEAD 2

82 SoloNzPeaker SOFT LEAD 1

83 Juno SftLd SOFT LEAD 1

84 R&B TriLead SOFT LEAD 1

85 X-Pulse Lead SOFT LEAD 2

86 Theramax SOFT LEAD 1

87 GR Lead SOFT LEAD 2

88 Chubby Lead SOFT LEAD 2

89 Shaku Lead SOFT LEAD 5

90 Porta SoloLd HARD LEAD 2

91 Wind Syn Ld HARD LEAD 2

92 Follow Me HARD LEAD 2

93 SC Saw Ld 1 HARD LEAD 2

94 Sync Ld Mono HARD LEAD 1

95 SC Brt Nylon AC.GUITAR 1

96 So good ! AC.GUITAR 2

97 SC 12str Gtr AC.GUITAR 3

98 Jazz Guitar EL.GUITAR 1

99 Strat Gtr EL.GUITAR 1

100 Trem-o-Vibe DIST.GUITAR 2

101 Searing COSM DIST.GUITAR 2

102 Larsen /Aft DIST.GUITAR 2

103 SC Loud Gtr DIST.GUITAR 3

104 Sitar on C PLUCKED 6

105 Pat is away PLUCKED 5

106 Bosporus PLUCKED 3

107 Aerial Harp PLUCKED 2

108 Nice Kalimba PLUCKED 1

109 SC Flute FLUTE 2

110 Andes Mood FLUTE 1

111 LongDistance ETHNIC 1

112 Ambi Shaku ETHNIC 3

113 Soprano Sax SAX 1

114 Solo AltoSax SAX 1

115 XP TnrBrethy SAX 1

116 Good Old Day WIND 3

117 BluesHrp V/S HARMONICA 1

118 Squeeze Me! ACCRDION 4

119 Solo Tp AC.BRASS 2

120 SC Violin STRINGS 1

No PatchName PatchCategory Voice

121 SC Cello STRINGS 1

122 Juno-D Maj7 TECHNO SYNTH 4

123 Sweet House TECHNO SYNTH 4

124 ElectroDisco BEAT&GROOVE 5

125 Groove 007 BEAT&GROOVE 4

126 Autotrance BEAT&GROOVE 4

127 Compusonic 2 BEAT&GROOVE 4

128 Passing by SYNTH FX 4

User129–256: “INIT PATCH”

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224

Patch List

PR-A (Preset A Group)

(CC#0 = 87, CC#32 = 64)

No Name Category Voice (Preset#)

1 Rich Grand AC.PIANO 2 PR-A001

2 88ConcertPno AC.PIANO 2 PR-A002

3 UltimatGrand AC.PIANO 2 PR-A003

4 X Pure Grand AC.PIANO 2 PR-A004

5 So true... AC.PIANO 2 PR-A005

6 ConcertPiano AC.PIANO 3 PR-A006

7 Warm Piano AC.PIANO 2 PR-A007

8 ConcertGrand AC.PIANO 2 PR-A008

9 Hall Concert AC.PIANO 2 PR-A009

10 Bright Tune AC.PIANO 2 PR-A010

11 Mellow Tune AC.PIANO 2 PR-A011

12 Studio Grand AC.PIANO 2 PR-A012

13 DryStudio88 AC.PIANO 4 PR-A013

14 First Choice AC.PIANO 2 PR-A014

15 Rokkin' pF AC.PIANO 2 PR-A015

16 Dark Grand AC.PIANO 4 PR-A016

17 SC Grand+Pad AC.PIANO 4 PR-A017

18 Warm Pad Pno AC.PIANO 4 PR-A018

19 SC Grand+Vox AC.PIANO 4 PR-A019

20 Cicada Piano AC.PIANO 4 PR-A020

21 X Piano +Str AC.PIANO 4 PR-A021

22 Warm Str Pno AC.PIANO 6 PR-A022

23 Grand Hall AC.PIANO 5 PR-A023

24 Rapsody AC.PIANO 7 PR-A024

25 JD-800 Piano AC.PIANO 1 PR-A025

26 SA Dance Pno AC.PIANO 2 PR-A026

27 SC E-Grand AC.PIANO 4 PR-A027

28 Back E-Grand AC.PIANO 2 PR-A028

29 SC Grand+FM AC.PIANO 4 PR-A029

30 SC Blend Pno AC.PIANO 5 PR-A030

31 Piano Oz AC.PIANO 4 PR-A031

32 FX Piano AC.PIANO 4 PR-A032

33 AmbientPiano AC.PIANO 4 PR-A033

34 SC Pure EP EL.PIANO 1 PR-A034

35 SC Trem EP EL.PIANO 1 PR-A035

36 SC Phase EP EL.PIANO 1 PR-A036

37 PhaseEPLayer EL.PIANO 3 PR-A037

38 SC E.Piano EL.PIANO 5 PR-A038

39 StageEP Trem EL.PIANO 2 PR-A039

40 Back2the60s EL.PIANO 2 PR-A040

41 Stage EP EL.PIANO 4 PR-A041

42 Stage Phazer EL.PIANO 2 PR-A042

43 StageCabinet EL.PIANO 2 PR-A043

44 Tine EP EL.PIANO 1 PR-A044

45 LEO EP EL.PIANO 4 PR-A045

46 LonesomeRoad EL.PIANO 2 PR-A046

47 Age'n'Tines EL.PIANO 2 PR-A047

48 Brill TremEP EL.PIANO 2 PR-A048

49 Crystal EP EL.PIANO 2 PR-A049

50 Vintage Tine EL.PIANO 1 PR-A050

51 Celestial EP EL.PIANO 4 PR-A051

52 Psycho EP EL.PIANO 4 PR-A052

53 Mk2 Stg phsr EL.PIANO 3 PR-A053

54 Dreaming EP EL.PIANO 4 PR-A054

55 Balladeer EL.PIANO 3 PR-A055

56 Remember EL.PIANO 2 PR-A056

57 Vibe EP EL.PIANO 1 PR-A057

58 sin(EP) EL.PIANO 2 PR-A058

59 SC Pure Wuly EL.PIANO 1 PR-A059

60 SC Trem Wuly EL.PIANO 1 PR-A060

61 Super Wurly EL.PIANO 3 PR-A061

62 Wurly Trem EL.PIANO 3 PR-A062

63 VelSpdWurly EL.PIANO 2 PR-A063

64 Fonky Fonky EL.PIANO 2 PR-A064

No Name Category Voice (Preset#)

65 FM EP mix EL.PIANO 6 PR-A065

66 FM-777 EL.PIANO 5 PR-A066

67 FM EPad EL.PIANO 3 PR-A067

68 EP Stack EL.PIANO 4 PR-A068

69 EP Belle EL.PIANO 3 PR-A069

70 80s EP EL.PIANO 4 PR-A070

71 SA EPiano EL.PIANO 3 PR-A071

72 BrillClav DB KEYBOARDS 2 PR-A072

73 Cell Clav KEYBOARDS 1 PR-A073

74 VntgClav KEYBOARDS 3 PR-A074

75 Cutter Clavi KEYBOARDS 2 PR-A075

76 Funky D KEYBOARDS 2 PR-A076

77 Phase Clavi KEYBOARDS 2 PR-A077

78 BPF Clavi Ph KEYBOARDS 2 PR-A078

79 Pulse Clavi KEYBOARDS 2 PR-A079

80 PWM Clav KEYBOARDS 1 PR-A080

81 Funky Line KEYBOARDS 2 PR-A081

82 Biting Clav KEYBOARDS 2 PR-A082

83 Analog Clavi KEYBOARDS 1 PR-A083

84 Reso Clavi KEYBOARDS 2 PR-A084

85 Snappy Clav KEYBOARDS 2 PR-A085

86 Over-D6 KEYBOARDS 3 PR-A086

87 Harpsy Clavi KEYBOARDS 2 PR-A087

88 SC Harpsi KEYBOARDS 4 PR-A088

89 Amadeus KEYBOARDS 8 PR-A089

90 SC Celesta KEYBOARDS 1 PR-A090

91 Himalaya Ice BELL 2 PR-A091

92 FM Syn Bell BELL 4 PR-A092

93 D-50 Fantsia BELL 3 PR-A093

94 Wine Glass BELL 4 PR-A094

95 MuBox Pad BELL 4 PR-A095

96 SC Bell 1 BELL 4 PR-A096

97 FM Heaven BELL 4 PR-A097

98 SC Glocken BELL 1 PR-A098

99 Music Bells BELL 2 PR-A099

100 SC Musicbox BELL 1 PR-A100

101 Music Box 2 BELL 2 PR-A101

102 Kalimbells BELL 2 PR-A102

103 Step Ice BELL 4 PR-A103

104 SC Bell 2 BELL 2 PR-A104

105 Candy Bell BELL 2 PR-A105

106 SC Chime BELL 1 PR-A106

107 Bell Ring BELL 4 PR-A107

108 Tubular Bell BELL 1 PR-A108

109 5th Key BELL 2 PR-A109

110 Bell Monitor BELL 2 PR-A110

111 TubyRuesday BELL 2 PR-A111

112 Vibrations MALLET 2 PR-A112

113 SC Vibe MALLET 1 PR-A113

114 Ringy Vibes MALLET 2 PR-A114

115 Airie Vibez MALLET 4 PR-A115

116 SC Marimba MALLET 1 PR-A116

117 FM Wood MALLET 4 PR-A117

118 SC Xylo MALLET 1 PR-A118

119 Ethno Keys MALLET 2 PR-A119

120 Synergy MLT MALLET 2 PR-A120

121 Icy Keys MALLET 4 PR-A121

122 Steel Drums MALLET 2 PR-A122

123 50`SteelDrms MALLET 4 PR-A123

124 Xylosizer MALLET 2 PR-A124

125 Toy Box MALLET 3 PR-A125

126 AirPluck MALLET 4 PR-A126

127 HardRockORG1 ORGAN 4 PR-A127

128 HardRockORG2 ORGAN 5 PR-A128

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Patch List

PR-B (Preset B Group)

(CC#0 = 87, CC#32 = 65)

No Name Category Voice (Preset#)

129 SuperDistORG ORGAN 4 PR-B001

130 SuperDistLd2 ORGAN 4 PR-B002

131 FullDraw Org ORGAN 3 PR-B003

132 StakDraw Org ORGAN 4 PR-B004

133 FullStop Org ORGAN 3 PR-B005

134 SC Perc Org ORGAN 4 PR-B006

135 VKHold4Speed ORGAN 4 PR-B007

136 X Perc Organ ORGAN 3 PR-B008

137 Rocky Organ ORGAN 2 PR-B009

138 Euro Organ ORGAN 2 PR-B010

139 Rhythm'n'B ORGAN 4 PR-B011

140 Phono Organ ORGAN 2 PR-B012

141 LoFi PercOrg ORGAN 1 PR-B013

142 Rochno Org ORGAN 4 PR-B014

143 R&B Organ 1 ORGAN 2 PR-B015

144 R&B Organ 2 ORGAN 4 PR-B016

145 SC Dist Bee ORGAN 1 PR-B017

146 60's Org 1 ORGAN 2 PR-B018

147 60's Org 2 ORGAN 2 PR-B019

148 Smoky Organ ORGAN 1 PR-B020

149 SC SoapOpera ORGAN 1 PR-B021

150 Crummy Organ ORGAN 2 PR-B022

151 Chapel Organ ORGAN 2 PR-B023

152 Grand Pipe ORGAN 3 PR-B024

153 Pipe Org/Mod ORGAN 6 PR-B025

154 Masked Opera ORGAN 6 PR-B026

155 Mid Pipe Org ORGAN 4 PR-B027

156 Vodkakordion ACCRDION 3 PR-B028

157 Squeeze Me! ACCRDION 4 PR-B029

158 Guinguette ACCRDION 3 PR-B030

159 HarWonderca HARMONICA 2 PR-B031

160 BluesHrp V/S HARMONICA 1 PR-B032

161 Green Bullet HARMONICA 2 PR-B033

162 SC Brt Nylon AC.GUITAR 1 PR-B034

163 SoftNyln Gtr AC.GUITAR 2 PR-B035

164 SC Nylon Gt AC.GUITAR 2 PR-B036

165 Wet Nyln Gtr AC.GUITAR 3 PR-B037

166 Pre Mass Hum AC.GUITAR 4 PR-B038

167 Thick Steel AC.GUITAR 2 PR-B039

168 Uncle Martin AC.GUITAR 2 PR-B040

169 Wide Ac Gtr AC.GUITAR 4 PR-B041

170 Comp Stl Gtr AC.GUITAR 2 PR-B042

171 Stl Gtr Duo AC.GUITAR 2 PR-B043

172 SC 12str Gtr AC.GUITAR 3 PR-B044

173 So good ! AC.GUITAR 2 PR-B045

174 StratSeq'nce EL.GUITAR 3 PR-B046

175 Jazz Guitar EL.GUITAR 1 PR-B047

176 DynoJazz Gtr EL.GUITAR 1 PR-B048

177 Clean Gtr EL.GUITAR 1 PR-B049

178 Crimson Gtr EL.GUITAR 2 PR-B050

179 Plug n' Gig EL.GUITAR 1 PR-B051

180 Kinda Kurt EL.GUITAR 2 PR-B052

181 Nice Oct Gtr EL.GUITAR 2 PR-B053

182 Strat Gtr EL.GUITAR 1 PR-B054

183 Touch Drive DIST.GUITAR 1 PR-B055

184 SC Chunk DIST.GUITAR 4 PR-B056

185 Trem-o-Vibe DIST.GUITAR 2 PR-B057

186 LP Dist DIST.GUITAR 2 PR-B058

187 Hurtling Gtr DIST.GUITAR 3 PR-B059

188 Searing COSM DIST.GUITAR 2 PR-B060

189 SC Loud Gtr DIST.GUITAR 3 PR-B061

190 SC Plugged!! DIST.GUITAR 1 PR-B062

191 Punker 1 DIST.GUITAR 2 PR-B063

192 SC PowerChd DIST.GUITAR 2 PR-B064

No Name Category Voice (Preset#)

193 Punker 2 DIST.GUITAR 2 PR-B065

194 Larsen /Aft DIST.GUITAR 2 PR-B066

195 Rockin' Dly DIST.GUITAR 3 PR-B067

196 Sonic Ac Bs BASS 1 PR-B068

197 Ulti Ac Bass BASS 2 PR-B069

198 Downright Bs BASS 3 PR-B070

199 Cmp'd Fng Bs BASS 3 PR-B071

200 Sonic Fng Bs BASS 3 PR-B072

201 Ultimo Bass BASS 2 PR-B073

202 Roomy Bass BASS 2 PR-B074

203 FingerMaster BASS 2 PR-B075

204 All Round Bs BASS 2 PR-B076

205 R&B Bs/Slide BASS 2 PR-B077

206 Sonic Pck Bs BASS 3 PR-B078

207 Thumb Up! BASS 1 PR-B079

208 Tubby Mute BASS 2 PR-B080

209 Chicken Bass BASS 3 PR-B081

210 Snug Bass BASS 2 PR-B082

211 Return2Base! BASS 1 PR-B083

212 Chorus Bass BASS 2 PR-B084

213 A Big Pick BASS 3 PR-B085

214 Basement BASS 1 PR-B086

215 SC Fretnot 1 BASS 2 PR-B087

216 SC Fretnot 2 BASS 3 PR-B088

217 RichFretless BASS 2 PR-B089

218 NewAge Frtls BASS 3 PR-B090

219 SlapBass1 BASS 1 PR-B091

220 Slap2 w/Fx BASS 1 PR-B092

221 Got Pop? BASS 1 PR-B093

222 JBass v/Thmb BASS 2 PR-B094

223 SC Slap Bass BASS 2 PR-B095

224 X Slap Bass BASS 3 PR-B096

225 Low Bass SYNTH BASS 3 PR-B097

226 Mini Like! SYNTH BASS 2 PR-B098

227 MC-404 Bass SYNTH BASS 2 PR-B099

228 SC Rubber Bs SYNTH BASS 3 PR-B100

229 SH-101 Bs 1 SYNTH BASS 2 PR-B101

230 SC Syn Bass1 SYNTH BASS 3 PR-B102

231 Juno-106 Bs SYNTH BASS 2 PR-B103

232 Smooth Bass SYNTH BASS 2 PR-B104

233 SC Flat Bs SYNTH BASS 3 PR-B105

234 Foundation SYNTH BASS 2 PR-B106

235 Punch MG 2 SYNTH BASS 2 PR-B107

236 Electro Rubb SYNTH BASS 2 PR-B108

237 R&B Bass 1 SYNTH BASS 2 PR-B109

238 Enorjizor SYNTH BASS 2 PR-B110

239 LowFat Bass SYNTH BASS 3 PR-B111

240 Doze Bass SYNTH BASS 1 PR-B112

241 DCO Bass SYNTH BASS 4 PR-B113

242 Virtual RnBs SYNTH BASS 2 PR-B114

243 Saw&MG Bass SYNTH BASS 4 PR-B115

244 MG+SubOsc Bs SYNTH BASS 2 PR-B116

245 R&B Bass 2 SYNTH BASS 1 PR-B117

246 R&B Bass 3 SYNTH BASS 2 PR-B118

247 Not a Bass SYNTH BASS 2 PR-B119

248 ResoSyn Bs 1 SYNTH BASS 2 PR-B120

249 SH-1 Bass SYNTH BASS 2 PR-B121

250 SH-101 Bs 2 SYNTH BASS 2 PR-B122

251 Punch MG 1 SYNTH BASS 2 PR-B123

252 MKS-50 SynBs SYNTH BASS 1 PR-B124

253 Gashed Bass SYNTH BASS 2 PR-B125

254 Q Bass SYNTH BASS 3 PR-B126

255 Super-G DX SYNTH BASS 3 PR-B127

256 Kickin' Bass SYNTH BASS 2 PR-B128

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226

Patch List

PR-C (Preset C Group)

(CC#0 = 87, CC#32 = 66)

No Name Category Voice (Preset#)

257 OilDrum Bass SYNTH BASS 3 PR-C001

258 Dust Bass SYNTH BASS 4 PR-C002

259 Glide-iator SYNTH BASS 2 PR-C003

260 SC AcidPunch SYNTH BASS 2 PR-C004

261 TBasic SYNTH BASS 1 PR-C005

262 SC Unison Bs SYNTH BASS 2 PR-C006

263 Detune Bass SYNTH BASS 2 PR-C007

264 Lo Bass SYNTH BASS 3 PR-C008

265 SC GarageBs1 SYNTH BASS 3 PR-C009

266 SC GarageBs2 SYNTH BASS 2 PR-C010

267 Sub Sonic SYNTH BASS 4 PR-C011

268 SC Jungle Bs SYNTH BASS 2 PR-C012

269 R&B Bass 4 SYNTH BASS 1 PR-C013

270 Simply Basic SYNTH BASS 2 PR-C014

271 Beepin Bass SYNTH BASS 2 PR-C015

272 MC-TB Bass SYNTH BASS 2 PR-C016

273 Acdg Bass SYNTH BASS 2 PR-C017

274 Loco Voco SYNTH BASS 2 PR-C018

275 Unplug it! SYNTH BASS 1 PR-C019

276 S&H Bass SYNTH BASS 2 PR-C020

277 Destroyed Bs SYNTH BASS 2 PR-C021

278 SC Acid Bs SYNTH BASS 2 PR-C022

279 Lo-Fi TB SYNTH BASS 1 PR-C023

280 Drop Bass SYNTH BASS 3 PR-C024

281 Big Mini SYNTH BASS 3 PR-C025

282 Muffled MG SYNTH BASS 2 PR-C026

283 Intrusive Bs SYNTH BASS 2 PR-C027

284 Alpha SynBs SYNTH BASS 2 PR-C028

285 TransistorBs SYNTH BASS 3 PR-C029

286 Juno-60 Bass SYNTH BASS 2 PR-C030

287 Storm Bass SYNTH BASS 4 PR-C031

288 Alpha ResoBs SYNTH BASS 2 PR-C032

289 SH-101 Vibe SYNTH BASS 4 PR-C033

290 Fazee Bass SYNTH BASS 4 PR-C034

291 Hi-Energy Bs SYNTH BASS 2 PR-C035

292 SC Violin STRINGS 1 PR-C036

293 Violin STRINGS 1 PR-C037

294 Viola STRINGS 3 PR-C038

295 SC Cello STRINGS 1 PR-C039

296 Cello STRINGS 1 PR-C040

297 Contrabass STRINGS 4 PR-C041

298 Dolce Qrt STRINGS 2 PR-C042

299 Chamber Str STRINGS 3 PR-C043

300 Small Str STRINGS 7 PR-C044

301 Marcato STRINGS 2 PR-C045

302 Bright Str STRINGS 2 PR-C046

303 String Ens STRINGS 3 PR-C047

304 SonicStrings STRINGS 8 PR-C048

305 Stringz 101 STRINGS 2 PR-C049

306 Crossed Bows STRINGS 5 PR-C050

307 Warm Strings STRINGS 5 PR-C051

308 Stacc mp Str STRINGS 4 PR-C052

309 Movie Scene STRINGS 4 PR-C053

310 Hybrid Str 1 STRINGS 6 PR-C054

311 Gang Strangs STRINGS 6 PR-C055

312 Clustered!?! STRINGS 8 PR-C056

313 Full Strings STRINGS 4 PR-C057

314 X StrSection STRINGS 4 PR-C058

315 Oct Strings STRINGS 6 PR-C059

316 Sahara Str STRINGS 4 PR-C060

317 Random Mood STRINGS 6 PR-C061

318 X Hall Str STRINGS 8 PR-C062

319 SC Slow Str STRINGS 8 PR-C063

320 Hybrid Str 2 STRINGS 7 PR-C064

No Name Category Voice (Preset#)

321 Biggie Bows STRINGS 6 PR-C065

322 Staccato VS STRINGS 4 PR-C066

323 So Staccato STRINGS 4 PR-C067

324 DelicatePizz STRINGS 4 PR-C068

325 Vls PizzHall STRINGS 8 PR-C069

326 Orch Pizz STRINGS 4 PR-C070

327 Pizz'Stac VS STRINGS 6 PR-C071

328 Mellow Tron STRINGS 3 PR-C072

329 Tronic Str STRINGS 2 PR-C073

330 Tape Memory STRINGS 2 PR-C074

331 Wind & Str 1 ORCHESTRA 7 PR-C075

332 Wind & Str 2 ORCHESTRA 5 PR-C076

333 Farewell ORCHESTRA 6 PR-C077

334 Orch & Horns ORCHESTRA 5 PR-C078

335 Soft Orch 1 ORCHESTRA 4 PR-C079

336 Soft Orch 2 ORCHESTRA 7 PR-C080

337 Henry IX ORCHESTRA 4 PR-C081

338 Ending Scene ORCHESTRA 4 PR-C082

339 Symphonika ORCHESTRA 8 PR-C083

340 Mix Hit 2 HIT&STAB 4 PR-C084

341 Cheezy Movie HIT&STAB 4 PR-C085

342 Philly Hit HIT&STAB 1 PR-C086

343 Smear Hit 1 HIT&STAB 2 PR-C087

344 Smear Hit 2 HIT&STAB 2 PR-C088

345 Good Old Hit HIT&STAB 4 PR-C089

346 Mix Hit 1 HIT&STAB 4 PR-C090

347 Lo-Fi Hit HIT&STAB 4 PR-C091

348 2ble Action HIT&STAB 2 PR-C092

349 In da Cave HIT&STAB 2 PR-C093

350 Housechord HIT&STAB 3 PR-C094

351 Mod Chord HIT&STAB 2 PR-C095

352 Dance Steam HIT&STAB 2 PR-C096

353 Good Old Day WIND 3 PR-C097

354 SC WindWood WIND 3 PR-C098

355 Clarence.net WIND 2 PR-C099

356 SC Oboe WIND 1 PR-C100

357 Hall Oboe WIND 1 PR-C101

358 English Horn WIND 1 PR-C102

359 Bassoon WIND 1 PR-C103

360 SC Flute FLUTE 2 PR-C104

361 Piccolo FLUTE 2 PR-C105

362 Andes Mood FLUTE 1 PR-C106

363 HimalayaPipe FLUTE 4 PR-C107

364 Solo Tp AC.BRASS 2 PR-C108

365 Horn Chops AC.BRASS 2 PR-C109

366 Flugel Horn AC.BRASS 1 PR-C110

367 Spit Flugel AC.BRASS 3 PR-C111

368 Mute Tp /Mod AC.BRASS 3 PR-C112

369 Harmon Mute AC.BRASS 1 PR-C113

370 Soft Tb AC.BRASS 2 PR-C114

371 Solo Tb AC.BRASS 1 PR-C115

372 Solo Bone AC.BRASS 2 PR-C116

373 XP Horn AC.BRASS 1 PR-C117

374 Grande Tuba AC.BRASS 2 PR-C118

375 SC Tuba AC.BRASS 1 PR-C119

376 StackTp Sect AC.BRASS 4 PR-C120

377 Tb Section AC.BRASS 5 PR-C121

378 TpTb Sect. AC.BRASS 2 PR-C122

379 SC Brt Brass AC.BRASS 4 PR-C123

380 SC BrsSect 1 AC.BRASS 7 PR-C124

381 SC BrsSect 2 AC.BRASS 8 PR-C125

382 Tpts & Tmbs AC.BRASS 2 PR-C126

383 Brass & Sax AC.BRASS 5 PR-C127

384 BrassPartOut AC.BRASS 6 PR-C128

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Patch List

PR-D (Preset D Group)

(CC#0 = 87, CC#32 = 67)

No Name Category Voice (Preset#)

385 Simple Tutti AC.BRASS 2 PR-D001

386 F.Horns Sect AC.BRASS 3 PR-D002

387 Full sForza AC.BRASS 4 PR-D003

388 Stereo Brass AC.BRASS 4 PR-D004

389 Wide SynBrss SYNTH BRASS 2 PR-D005

390 DetuneSawBrs SYNTH BRASS 2 PR-D006

391 J-Pop Brass SYNTH BRASS 6 PR-D007

392 80s Brass 1 SYNTH BRASS 6 PR-D008

393 80s Brass 2 SYNTH BRASS 4 PR-D009

394 Ana Brass SYNTH BRASS 5 PR-D010

395 Soft Brass SYNTH BRASS 3 PR-D011

396 JP8000 Brass SYNTH BRASS 6 PR-D012

397 Sonic Brass SYNTH BRASS 4 PR-D013

398 Syn Brass SYNTH BRASS 4 PR-D014

399 Syn Brass 2 SYNTH BRASS 4 PR-D015

400 Xpand Brass SYNTH BRASS 2 PR-D016

401 Xpand Brass2 SYNTH BRASS 4 PR-D017

402 Super Saw SYNTH BRASS 4 PR-D018

403 SoftSynBrass SYNTH BRASS 2 PR-D019

404 Silky JP SYNTH BRASS 2 PR-D020

405 Silk Brs Pad SYNTH BRASS 1 PR-D021

406 80s Brass 3 SYNTH BRASS 8 PR-D022

407 X-Saw Brass1 SYNTH BRASS 2 PR-D023

408 Cheesy Brass SYNTH BRASS 4 PR-D024

409 Dual Saw Brs SYNTH BRASS 2 PR-D025

410 Juno-106 Brs SYNTH BRASS 1 PR-D026

411 Poly Brass SYNTH BRASS 2 PR-D027

412 Stacked Brs SYNTH BRASS 4 PR-D028

413 Soprano Sax SAX 1 PR-D029

414 Solo Sop Sax SAX 1 PR-D030

415 Alto mp SAX 1 PR-D031

416 Alto Sax SAX 1 PR-D032

417 Solo AltoSax SAX 1 PR-D033

418 AltoLead Sax SAX 1 PR-D034

419 XP TnrBrethy SAX 1 PR-D035

420 Tenor Sax SAX 2 PR-D036

421 Fat TenorSax SAX 3 PR-D037

422 Baritone Sax SAX 1 PR-D038

423 Sax Sect. 1 SAX 3 PR-D039

424 Sax Sect. 2 SAX 4 PR-D040

425 Horny Sax SAX 2 PR-D041

426 FXM Alto Sax SAX 1 PR-D042

427 Porta SoloLd HARD LEAD 2 PR-D043

428 Porta Lead HARD LEAD 2 PR-D044

429 Wind Syn Ld HARD LEAD 2 PR-D045

430 SC Saw Ld 1 HARD LEAD 2 PR-D046

431 SC Saw Ld 2 HARD LEAD 2 PR-D047

432 Juno Lead HARD LEAD 2 PR-D048

433 Follow Me HARD LEAD 2 PR-D049

434 DC Triangle HARD LEAD 2 PR-D050

435 Sqr-Seqence HARD LEAD 1 PR-D051

436 Pure Square HARD LEAD 2 PR-D052

437 Griggley HARD LEAD 2 PR-D053

438 SC LegatoSaw HARD LEAD 2 PR-D054

439 Lone Prophat HARD LEAD 1 PR-D055

440 Dual Profs HARD LEAD 2 PR-D056

441 Gwyo Press HARD LEAD 2 PR-D057

442 "Q" DualSaws HARD LEAD 2 PR-D058

443 Mogulator Ld HARD LEAD 2 PR-D059

444 DirtyVoltage HARD LEAD 2 PR-D060

445 Clean? HARD LEAD 2 PR-D061

446 Distortion HARD LEAD 4 PR-D062

447 SC Syn Ld HARD LEAD 2 PR-D063

448 SynLead 0322 HARD LEAD 2 PR-D064

No Name Category Voice (Preset#)

449 X-Sink Delay HARD LEAD 3 PR-D065

450 Destroyed Ld HARD LEAD 2 PR-D066

451 Synchro Lead HARD LEAD 2 PR-D067

452 Sync Ld Mono HARD LEAD 1 PR-D068

453 SyncModulate HARD LEAD 3 PR-D069

454 Distorted MG HARD LEAD 1 PR-D070

455 SonicVampire HARD LEAD 2 PR-D071

456 Blue Meanie HARD LEAD 2 PR-D072

457 SC Dist Lead HARD LEAD 2 PR-D073

458 Ringmod Lead HARD LEAD 4 PR-D074

459 Stimulation HARD LEAD 4 PR-D075

460 BodyElectric HARD LEAD 3 PR-D076

461 Classic Lead HARD LEAD 4 PR-D077

462 Feat Lead HARD LEAD 2 PR-D078

463 Wire Sync HARD LEAD 3 PR-D079

464 Epic Lead HARD LEAD 2 PR-D080

465 Bag Lead HARD LEAD 3 PR-D081

466 Wezcoast HARD LEAD 2 PR-D082

467 HyperJupiter HARD LEAD 3 PR-D083

468 Vintagolizer HARD LEAD 4 PR-D084

469 C64 Lead HARD LEAD 2 PR-D085

470 303 NRG HARD LEAD 2 PR-D086

471 Cell SquLead SOFT LEAD 4 PR-D087

472 SC Sqr Lead SOFT LEAD 2 PR-D088

473 SH Sqr Lead SOFT LEAD 2 PR-D089

474 Round SQR SOFT LEAD 2 PR-D090

475 Windy Synth SOFT LEAD 3 PR-D091

476 Sqr Diamond SOFT LEAD 2 PR-D092

477 Sinetific SOFT LEAD 2 PR-D093

478 PeakArpSine SOFT LEAD 1 PR-D094

479 Howards Lead SOFT LEAD 3 PR-D095

480 SoloNzPeaker SOFT LEAD 1 PR-D096

481 Juno SftLd SOFT LEAD 1 PR-D097

482 R&B TriLead SOFT LEAD 1 PR-D098

483 R&B Tri Ld2 SOFT LEAD 1 PR-D099

484 Jupiter Lead SOFT LEAD 1 PR-D100

485 Dig-n-Duke SOFT LEAD 2 PR-D101

486 SC SoftLead SOFT LEAD 2 PR-D102

487 Mid Saw Ld SOFT LEAD 4 PR-D103

488 X-Pulse Lead SOFT LEAD 2 PR-D104

489 Mild 2-SawLd SOFT LEAD 2 PR-D105

490 Mew Lead SOFT LEAD 1 PR-D106

491 Shy Soloist SOFT LEAD 1 PR-D107

492 Theramax SOFT LEAD 1 PR-D108

493 Therasqu SOFT LEAD 1 PR-D109

494 GR Lead SOFT LEAD 2 PR-D110

495 SH-2 Lead SOFT LEAD 2 PR-D111

496 SC ResoLead SOFT LEAD 3 PR-D112

497 Modulated Ld SOFT LEAD 1 PR-D113

498 Synthi Fizz SOFT LEAD 2 PR-D114

499 Waspy Lead SOFT LEAD 1 PR-D115

500 Pulstar Ld SOFT LEAD 1 PR-D116

501 Naked Lead SOFT LEAD 1 PR-D117

502 Alpha Spit SOFT LEAD 1 PR-D118

503 Vliolin Lead SOFT LEAD 2 PR-D119

504 Mod Lead SOFT LEAD 4 PR-D120

505 JP Saw Lead SOFT LEAD 2 PR-D121

506 Tristar SOFT LEAD 2 PR-D122

507 Chubby Lead SOFT LEAD 2 PR-D123

508 Sneaky Leady SOFT LEAD 2 PR-D124

509 Shaku Lead SOFT LEAD 5 PR-D125

510 Legato Tkno SOFT LEAD 1 PR-D126

511 SCResoSaw Ld SOFT LEAD 2 PR-D127

512 SliCed Lead SOFT LEAD 2 PR-D128

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228

Patch List

PR-E (Preset E Group)

(CC#0 = 87, CC#32 = 68)

No Name Category Voice (Preset#)

513 Mini Growl SOFT LEAD 2 PR-E001

514 Evangelized SOFT LEAD 2 PR-E002

515 Air Lead SOFT LEAD 4 PR-E003

516 Juno-D Maj7 TECHNO SYNTH 4 PR-E004

517 Sweet House TECHNO SYNTH 4 PR-E005

518 Periscope TECHNO SYNTH 4 PR-E006

519 5th Voice TECHNO SYNTH 6 PR-E007

520 HPF Sweep TECHNO SYNTH 2 PR-E008

521 BPF Saw TECHNO SYNTH 4 PR-E009

522 Moon Synth TECHNO SYNTH 2 PR-E010

523 DelyResoSaws TECHNO SYNTH 2 PR-E011

524 R-Trance TECHNO SYNTH 7 PR-E012

525 Braatz... TECHNO SYNTH 6 PR-E013

526 AllinOneRiff TECHNO SYNTH 7 PR-E014

527 YZ Again TECHNO SYNTH 7 PR-E015

528 Flazzy Lead TECHNO SYNTH 8 PR-E016

529 Coffee Bee TECHNO SYNTH 2 PR-E017

530 SC-303 TECHNO SYNTH 1 PR-E018

531 Dance Saws TECHNO SYNTH 8 PR-E019

532 AluminmWires TECHNO SYNTH 3 PR-E020

533 Fred&Barney TECHNO SYNTH 6 PR-E021

534 Electrostars TECHNO SYNTH 4 PR-E022

535 LoFiSequence TECHNO SYNTH 2 PR-E023

536 MelodicDrums TECHNO SYNTH 2 PR-E024

537 TB Wah TECHNO SYNTH 1 PR-E025

538 Waving TB303 TECHNO SYNTH 3 PR-E026

539 Digi Seq TECHNO SYNTH 3 PR-E027

540 Seq Saw TECHNO SYNTH 1 PR-E028

541 Reso Seq Saw TECHNO SYNTH 1 PR-E029

542 DetuneSeqSaw TECHNO SYNTH 2 PR-E030

543 Technotribe TECHNO SYNTH 2 PR-E031

544 Teethy Grit TECHNO SYNTH 3 PR-E032

545 Repertition TECHNO SYNTH 4 PR-E033

546 Killerbeez TECHNO SYNTH 4 PR-E034

547 Acid Lead TECHNO SYNTH 2 PR-E035

548 Tranceformer TECHNO SYNTH 1 PR-E036

549 Anadroid TECHNO SYNTH 1 PR-E037

550 Shroomy TECHNO SYNTH 3 PR-E038

551 Noize R us TECHNO SYNTH 2 PR-E039

552 Beep Melodie TECHNO SYNTH 4 PR-E040

553 Morpher TECHNO SYNTH 8 PR-E041

554 Uni-G TECHNO SYNTH 2 PR-E042

555 Power Synth TECHNO SYNTH 4 PR-E043

556 Hoover Again TECHNO SYNTH 4 PR-E044

557 Alpha Said.. TECHNO SYNTH 2 PR-E045

558 Ravers Awake TECHNO SYNTH 2 PR-E046

559 Tekno Gargle TECHNO SYNTH 2 PR-E047

560 Tranceiver TECHNO SYNTH 4 PR-E048

561 Techno Dream TECHNO SYNTH 4 PR-E049

562 Techno Pizz TECHNO SYNTH 4 PR-E050

563 VirtualHuman PULSATING 4 PR-E051

564 Strobot PULSATING 2 PR-E052

565 SC Strobe PULSATING 4 PR-E053

566 Strobe X PULSATING 5 PR-E054

567 Rhythmic 5th PULSATING 4 PR-E055

568 Cell Pad PULSATING 3 PR-E056

569 DarknessSide PULSATING 6 PR-E057

570 Shape of X PULSATING 5 PR-E058

571 Sonic Dance PULSATING 5 PR-E059

572 ShapeURMusic PULSATING 5 PR-E060

573 Synth Force PULSATING 4 PR-E061

574 Trance Split PULSATING 2 PR-E062

575 Step Trance PULSATING 1 PR-E063

576 Chop Synth PULSATING 2 PR-E064

No Name Category Voice (Preset#)

577 Euro Teuro PULSATING 6 PR-E065

578 Auto Trance PULSATING 2 PR-E066

579 Eureggae PULSATING 2 PR-E067

580 Sorry4theDLY PULSATING 2 PR-E068

581 Beat Pad PULSATING 3 PR-E069

582 TMT Seq Pad PULSATING 4 PR-E070

583 ForYourBreak PULSATING 4 PR-E071

584 HPF Slicer PULSATING 3 PR-E072

585 Sliced Choir PULSATING 6 PR-E073

586 Digi-Doo PULSATING 2 PR-E074

587 PanningFrmnt PULSATING 2 PR-E075

588 Dirty Beat PULSATING 7 PR-E076

589 Electrons PULSATING 1 PR-E077

590 Protons PULSATING 2 PR-E078

591 Brisk Vortex PULSATING 3 PR-E079

592 SC Throbulax PULSATING 2 PR-E080

593 SC Lonizer PULSATING 4 PR-E081

594 diGital Pad PULSATING 4 PR-E082

595 StepPitShift PULSATING 2 PR-E083

596 Pad Pulses PULSATING 3 PR-E084

597 Seq-Pad 2 PULSATING 8 PR-E085

598 DSP Chaos PULSATING 1 PR-E086

599 Dancefloor PULSATING 4 PR-E087

600 Minor Thirds PULSATING 2 PR-E088

601 FX World PULSATING 2 PR-E089

602 Mr. Fourier PULSATING 3 PR-E090

603 Nu Trance X PULSATING 2 PR-E091

604 Auto 5thSaws PULSATING 4 PR-E092

605 Cross Talk PULSATING 1 PR-E093

606 Reanimation PULSATING 2 PR-E094

607 VoX Chopper PULSATING 2 PR-E095

608 Trevor's Pad PULSATING 4 PR-E096

609 Fantomas Pad PULSATING 5 PR-E097

610 Jazzy Arps PULSATING 4 PR-E098

611 Keep Running PULSATING 4 PR-E099

612 Step In PULSATING 4 PR-E100

613 Echo Echo PULSATING 8 PR-E101

614 Keep going PULSATING 4 PR-E102

615 Arposphere PULSATING 4 PR-E103

616 Voco Riff PULSATING 4 PR-E104

617 Pulsator PULSATING 4 PR-E105

618 Motion Bass PULSATING 2 PR-E106

619 Sine Magic PULSATING 3 PR-E107

620 Juno-D Slice PULSATING 3 PR-E108

621 Pulsatron PULSATING 4 PR-E109

622 Mega Sync PULSATING 2 PR-E110

623 Passing by SYNTH FX 4 PR-E111

624 Lazer Points SYNTH FX 2 PR-E112

625 Retro Sci-Fi SYNTH FX 4 PR-E113

626 Magic Chime SYNTH FX 4 PR-E114

627 SC Try This! SYNTH FX 3 PR-E115

628 New Planetz SYNTH FX 4 PR-E116

629 Jet Noise SYNTH FX 4 PR-E117

630 Chaos 2003 SYNTH FX 4 PR-E118

631 Control Room SYNTH FX 4 PR-E119

632 OutOf sortz SYNTH FX 5 PR-E120

633 Scatter SYNTH FX 7 PR-E121

634 Low Beat-S SYNTH FX 5 PR-E122

635 WaitnOutside SYNTH FX 2 PR-E123

636 Breath Echo SYNTH FX 1 PR-E124

637 SoundStrange SYNTH FX 3 PR-E125

638 Cosmic Pulse SYNTH FX 2 PR-E126

639 Faked Piano SYNTH FX 4 PR-E127

640 SC Crystal SYNTH FX 2 PR-E128

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229

Patch List

PR-F (Preset F Group)

(CC#0 = 87, CC#32 = 69)

No Name Category Voice (Preset#)

641 ResoSweep Dn SYNTH FX 1 PR-F001

642 Zap B3 & C4 SYNTH FX 1 PR-F002

643 PolySweep Nz SYNTH FX 4 PR-F003

644 Strange Land SYNTH FX 6 PR-F004

645 S&H Voc SYNTH FX 2 PR-F005

646 12th Planet SYNTH FX 2 PR-F006

647 Scare SYNTH FX 7 PR-F007

648 Hillside SYNTH FX 1 PR-F008

649 Mod Scanner SYNTH FX 2 PR-F009

650 SoundOnSound SYNTH FX 1 PR-F010

651 Gasp SYNTH FX 8 PR-F011

652 ResoSweep Up SYNTH FX 1 PR-F012

653 Magic Wave SYNTH FX 2 PR-F013

654 Shangri-La SYNTH FX 5 PR-F014

655 CerealKiller SYNTH FX 1 PR-F015

656 Cosmic Drops SYNTH FX 1 PR-F016

657 Space Echo SYNTH FX 4 PR-F017

658 Robot Sci-Fi SYNTH FX 4 PR-F018

659 Stacc Heaven OTHER SYNTH 4 PR-F019

660 Juno Poly OTHER SYNTH 4 PR-F020

661 DigitalDream OTHER SYNTH 2 PR-F021

662 Jucy Saw OTHER SYNTH 3 PR-F022

663 Cue Tip OTHER SYNTH 1 PR-F023

664 Waspy Synth OTHER SYNTH 2 PR-F024

665 TB-Sequence OTHER SYNTH 1 PR-F025

666 Europe Xpres OTHER SYNTH 2 PR-F026

667 Squeepy OTHER SYNTH 1 PR-F027

668 DOC Stack OTHER SYNTH 2 PR-F028

669 Sweep Lead OTHER SYNTH 2 PR-F029

670 80s Saws 1 OTHER SYNTH 8 PR-F030

671 80s Saws 2 OTHER SYNTH 6 PR-F031

672 80s Saws 3 OTHER SYNTH 5 PR-F032

673 Digitaless OTHER SYNTH 2 PR-F033

674 Flip Pad OTHER SYNTH 3 PR-F034

675 Short Detune OTHER SYNTH 2 PR-F035

676 forSequence OTHER SYNTH 2 PR-F036

677 Memory Pluck OTHER SYNTH 2 PR-F037

678 Metalic Bass OTHER SYNTH 2 PR-F038

679 Aqua OTHER SYNTH 2 PR-F039

680 Big Planet OTHER SYNTH 2 PR-F040

681 Wet Atax OTHER SYNTH 2 PR-F041

682 Houze Clavi OTHER SYNTH 2 PR-F042

683 SuperSawSlow OTHER SYNTH 2 PR-F043

684 Cell Trance OTHER SYNTH 3 PR-F044

685 Trancy X OTHER SYNTH 4 PR-F045

686 Trancy Synth OTHER SYNTH 2 PR-F046

687 Juno Trnce OTHER SYNTH 4 PR-F047

688 Saw Stack OTHER SYNTH 2 PR-F048

689 Frgile Saws OTHER SYNTH 2 PR-F049

690 Steamed Sawz OTHER SYNTH 2 PR-F050

691 RAVtune OTHER SYNTH 2 PR-F051

692 Bustranza OTHER SYNTH 2 PR-F052

693 AftTch Ji-n OTHER SYNTH 2 PR-F053

694 JP OctAttack OTHER SYNTH 2 PR-F054

695 Oct Unison OTHER SYNTH 6 PR-F055

696 Xtatic OTHER SYNTH 4 PR-F056

697 Dirty Combo OTHER SYNTH 2 PR-F057

698 FM's Attack OTHER SYNTH 3 PR-F058

699 Digi-vox Syn OTHER SYNTH 1 PR-F059

700 Fairy Factor OTHER SYNTH 6 PR-F060

701 Tempest OTHER SYNTH 2 PR-F061

702 X-Racer OTHER SYNTH 2 PR-F062

703 TB Booster OTHER SYNTH 2 PR-F063

704 Syn-Orch/Mod OTHER SYNTH 4 PR-F064

No Name Category Voice (Preset#)

705 Pressyn OTHER SYNTH 2 PR-F065

706 High Five OTHER SYNTH 2 PR-F066

707 4DaCommonManOTHER SYNTH 4 PR-F067

708 Orgaenia OTHER SYNTH 5 PR-F068

709 Sleeper OTHER SYNTH 4 PR-F069

710 Sugar Synth OTHER SYNTH 5 PR-F070

711 Ice Palace OTHER SYNTH 4 PR-F071

712 Story Harp OTHER SYNTH 7 PR-F072

713 LostParadise OTHER SYNTH 5 PR-F073

714 Magnetic 5th OTHER SYNTH 2 PR-F074

715 DigimaX OTHER SYNTH 2 PR-F075

716 Exhale OTHER SYNTH 2 PR-F076

717 X-panda OTHER SYNTH 2 PR-F077

718 Saw Keystep OTHER SYNTH 2 PR-F078

719 4mant Cycle OTHER SYNTH 1 PR-F079

720 Modular OTHER SYNTH 2 PR-F080

721 Angel Pipes OTHER SYNTH 2 PR-F081

722 Wired Synth OTHER SYNTH 8 PR-F082

723 Analog Dream OTHER SYNTH 3 PR-F083

724 DCO Bell Pad OTHER SYNTH 4 PR-F084

725 Cell Fanta OTHER SYNTH 3 PR-F085

726 Juno 5th OTHER SYNTH 2 PR-F086

727 DoubleBubble OTHER SYNTH 4 PR-F087

728 Cell Comb BRIGHT PAD 3 PR-F088

729 Super SynStr BRIGHT PAD 2 PR-F089

730 80s Str BRIGHT PAD 8 PR-F090

731 PhaseStrings BRIGHT PAD 2 PR-F091

732 Voyager BRIGHT PAD 4 PR-F092

733 Cosmic Rays BRIGHT PAD 4 PR-F093

734 Stringship BRIGHT PAD 4 PR-F094

735 Fat Stacks BRIGHT PAD 4 PR-F095

736 Strings R Us BRIGHT PAD 2 PR-F096

737 Electric Pad BRIGHT PAD 3 PR-F097

738 Neo RS-202 BRIGHT PAD 2 PR-F098

739 OB Rezo Pad BRIGHT PAD 3 PR-F099

740 Synthi Ens BRIGHT PAD 4 PR-F100

741 Giant Sweep BRIGHT PAD 2 PR-F101

742 Mod Dare BRIGHT PAD 4 PR-F102

743 Cell Space BRIGHT PAD 4 PR-F103

744 Digi-Swell BRIGHT PAD 3 PR-F104

745 Sonic Surfer BRIGHT PAD 2 PR-F105

746 New Year Day BRIGHT PAD 4 PR-F106

747 Polar Morn BRIGHT PAD 4 PR-F107

748 Distant Sun BRIGHT PAD 4 PR-F108

749 PG Chimes BRIGHT PAD 4 PR-F109

750 Saturn Rings BRIGHT PAD 4 PR-F110

751 Brusky BRIGHT PAD 4 PR-F111

752 "2 Point 2" BRIGHT PAD 7 PR-F112

753 2.2 Pad BRIGHT PAD 7 PR-F113

754 two.two Pad BRIGHT PAD 4 PR-F114

755 SaturnHolida BRIGHT PAD 2 PR-F115

756 Neuro-Drone BRIGHT PAD 7 PR-F116

757 In The Pass BRIGHT PAD 3 PR-F117

758 Polar Night BRIGHT PAD 4 PR-F118

759 Cell 5th BRIGHT PAD 3 PR-F119

760 MistOver5ths BRIGHT PAD 4 PR-F120

761 Gritty Pad BRIGHT PAD 1 PR-F121

762 India Garden BRIGHT PAD 6 PR-F122

763 BillionStars BRIGHT PAD 4 PR-F123

764 Sand Pad BRIGHT PAD 2 PR-F124

765 ReverseSweep BRIGHT PAD 2 PR-F125

766 HugeSoundMod BRIGHT PAD 4 PR-F126

767 Metal Swell BRIGHT PAD 5 PR-F127

768 NuSoundtrack BRIGHT PAD 4 PR-F128

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230

Patch List

PR-G (Preset G Group)

(CC#0 = 87, CC#32 = 70)

No Name Category Voice (Preset#)

769 Phat Strings BRIGHT PAD 4 PR-G001

770 Soft OB Pad SOFT PAD 3 PR-G002

771 SC Hollow SOFT PAD 4 PR-G003

772 SC Sqr Pad SOFT PAD 4 PR-G004

773 Silk Pad SOFT PAD 3 PR-G005

774 WarmReso Pad SOFT PAD 2 PR-G006

775 SC Soft Pad SOFT PAD 3 PR-G007

776 Air Pad SOFT PAD 4 PR-G008

777 Soft Breeze SOFT PAD 2 PR-G009

778 JP Strings 1 SOFT PAD 3 PR-G010

779 JP Strings 2 SOFT PAD 5 PR-G011

780 DelayStrings SOFT PAD 3 PR-G012

781 NorthStrings SOFT PAD 4 PR-G013

782 SC Syn Str SOFT PAD 5 PR-G014

783 Slow Saw Str SOFT PAD 2 PR-G015

784 Syn Strings SOFT PAD 2 PR-G016

785 OB Slow Str SOFT PAD 2 PR-G017

786 Strings Pad SOFT PAD 2 PR-G018

787 R&B SoftPad SOFT PAD 2 PR-G019

788 Reso Pad SOFT PAD 3 PR-G020

789 Phat Pad SOFT PAD 2 PR-G021

790 SC PhaserPad SOFT PAD 2 PR-G022

791 Mystic Str SOFT PAD 5 PR-G023

792 Glass Organ SOFT PAD 3 PR-G024

793 Wind Pad SOFT PAD 4 PR-G025

794 Combination SOFT PAD 4 PR-G026

795 HumanKindnes SOFT PAD 4 PR-G027

796 BeautyPad SOFT PAD 4 PR-G028

797 Atmospherics SOFT PAD 2 PR-G029

798 Terra Nostra SOFT PAD 8 PR-G030

799 OB Aaahs SOFT PAD 4 PR-G031

800 Vulcano Pad SOFT PAD 5 PR-G032

801 Cloud #9 SOFT PAD 3 PR-G033

802 Organic Pad SOFT PAD 3 PR-G034

803 Hum Pad SOFT PAD 4 PR-G035

804 Vox Pad SOFT PAD 4 PR-G036

805 Digital Aahs SOFT PAD 3 PR-G037

806 Tri 5th Pad SOFT PAD 4 PR-G038

807 SC MovinPad SOFT PAD 8 PR-G039

808 Seq-Pad 1 SOFT PAD 8 PR-G040

809 Follow SOFT PAD 2 PR-G041

810 Consolament SOFT PAD 3 PR-G042

811 Spacious Pad SOFT PAD 4 PR-G043

812 JD Pop Pad SOFT PAD 3 PR-G044

813 JP-8 Phase SOFT PAD 4 PR-G045

814 Nu Epic Pad SOFT PAD 2 PR-G046

815 Forever SOFT PAD 5 PR-G047

816 Flange Dream SOFT PAD 4 PR-G048

817 Evolution X SOFT PAD 2 PR-G049

818 Heaven Pad SOFT PAD 3 PR-G050

819 Angelis Pad SOFT PAD 4 PR-G051

820 Juno-106 Str SOFT PAD 1 PR-G052

821 JupiterMoves SOFT PAD 2 PR-G053

822 Oceanic Pad SOFT PAD 2 PR-G054

823 Fairy's Song SOFT PAD 4 PR-G055

824 Borealis SOFT PAD 2 PR-G056

825 JX Warm Pad SOFT PAD 2 PR-G057

826 Analog Bgrnd SOFT PAD 3 PR-G058

827 Choir Aahs 1 VOX 4 PR-G059

828 Choir Aahs 2 VOX 4 PR-G060

829 ChoirOoh/Aft VOX 4 PR-G061

830 Angels Choir VOX 4 PR-G062

831 Angelique VOX 4 PR-G063

832 Gospel Oohs VOX 2 PR-G064

No Name Category Voice (Preset#)

833 Choir&Str VOX 7 PR-G065

834 Aah Vox VOX 2 PR-G066

835 Synvox VOX 2 PR-G067

836 Uhmmm VOX 8 PR-G068

837 Morning Star VOX 3 PR-G069

838 Syn Opera VOX 4 PR-G070

839 BeautifulOne VOX 4 PR-G071

840 Ooze VOX 2 PR-G072

841 Aerial Choir VOX 4 PR-G073

842 3D Vox VOX 3 PR-G074

843 Film Cue VOX 4 PR-G075

844 Paradise VOX 4 PR-G076

845 Sad ceremony VOX 8 PR-G077

846 Lost Voices VOX 4 PR-G078

847 Jazz Doos VOX 4 PR-G079

848 Beat Vox VOX 1 PR-G080

849 Talk 2 Me VOX 2 PR-G081

850 FM Vox VOX 4 PR-G082

851 Let's Talk! VOX 3 PR-G083

852 Nice Kalimba PLUCKED 1 PR-G084

853 Quiet River PLUCKED 4 PR-G085

854 Teky Drop PLUCKED 4 PR-G086

855 Pat is away PLUCKED 5 PR-G087

856 SC Sitar 1 PLUCKED 4 PR-G088

857 SC Sitar 2 PLUCKED 5 PR-G089

858 Sitar on C PLUCKED 6 PR-G090

859 Sitar Baby PLUCKED 1 PR-G091

860 Elec Sitar PLUCKED 3 PR-G092

861 Neo Sitar PLUCKED 2 PR-G093

862 SaraswatiRvr PLUCKED 3 PR-G094

863 Bosporus PLUCKED 3 PR-G095

864 Santur Stack PLUCKED 4 PR-G096

865 Aerial Harp PLUCKED 2 PR-G097

866 Harpiness PLUCKED 2 PR-G098

867 Skydiver PLUCKED 2 PR-G099

868 TroubadorEns PLUCKED 4 PR-G100

869 Jamisen PLUCKED 2 PR-G101

870 Koto PLUCKED 8 PR-G102

871 Monsoon PLUCKED 4 PR-G103

872 Bend Koto PLUCKED 2 PR-G104

873 LongDistance ETHNIC 1 PR-G105

874 Ambi Shaku ETHNIC 3 PR-G106

875 SC Lochscape ETHNIC 2 PR-G107

876 SC PipeDream ETHNIC 4 PR-G108

877 SC Far East ETHNIC 4 PR-G109

878 Banjo FRETTED 2 PR-G110

879 Timpani+Low PERCUSSION 4 PR-G111

880 Timpani Roll PERCUSSION 2 PR-G112

881 Bass Drum PERCUSSION 4 PR-G113

882 Ambidextrous SOUND FX 2 PR-G114

883 En-co-re SOUND FX 4 PR-G115

884 Mobile Phone SOUND FX 1 PR-G116

885 ElectroDisco BEAT&GROOVE 5 PR-G117

886 Groove 007 BEAT&GROOVE 4 PR-G118

887 In Da Groove BEAT&GROOVE 4 PR-G119

888 Sweet 80s BEAT&GROOVE 4 PR-G120

889 Autotrance BEAT&GROOVE 4 PR-G121

890 Juno Pop BEAT&GROOVE 4 PR-G122

891 Compusonic 1 BEAT&GROOVE 4 PR-G123

892 Compusonic 2 BEAT&GROOVE 4 PR-G124

893 80s Combo COMBINATION 3 PR-G125

894 Analog Days COMBINATION 3 PR-G126

895 Techno Craft COMBINATION 3 PR-G127

896 Lounge Kit COMBINATION 2 PR-G128

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231

Patch List

GM (GM2 Group)

No Name Category Voices LSB PC

1 Piano 1 AC.PIANO 2 0 1

2 Piano 1w AC.PIANO 2 1

3 European Pf AC.PIANO 2 2

4 Piano 2 AC.PIANO 2 0 2

5 Piano 2w AC.PIANO 2 1

6 Piano 3 AC.PIANO 2 0 3

7 Piano 3w AC.PIANO 2 1

8 Honky-tonk AC.PIANO 2 0 4

9 Honky-tonk 2 AC.PIANO 2 4

10 E.Piano 1 EL.PIANO 1 0 5

11 St.Soft EP EL.PIANO 3 1

12 FM+SA EP EL.PIANO 3 2

13 Wurly EL.PIANO 1 3

14 E.Piano 2 EL.PIANO 4 0 6

15 Detuned EP 2 EL.PIANO 4 1

16 St.FM EP EL.PIANO 4 2

17 EP Legend EL.PIANO 4 3

18 EP Phase EL.PIANO 2 4

19 Harpsichord KEYBOARDS 2 0 7

20 Coupled Hps. KEYBOARDS 7 1

21 Harpsi.w KEYBOARDS 2 2

22 Harpsi.o KEYBOARDS 4 3

23 Clav. KEYBOARDS 2 0 8

24 Pulse Clav KEYBOARDS 2 1

25 Celesta KEYBOARDS 1 0 9

26 Glockenspiel BELL 1 0 10

27 Music Box BELL 2 0 11

28 Vibraphone MALLET 1 0 12

29 Vibraphone w MALLET 1 1

30 Marimba MALLET 1 0 13

31 Marimba w MALLET 1 1

32 Xylophone MALLET 1 0 14

33 Tubular-bell BELL 1 0 15

34 Church Bell BELL 1 1

35 Carillon BELL 4 2

36 Santur PLUCKED 4 0 16

37 Organ 1 ORGAN 3 0 17

38 Trem. Organ ORGAN 2 1

39 60's Organ 1 ORGAN 1 2

40 70's E.Organ ORGAN 2 3

41 Organ 2 ORGAN 3 0 18

42 Chorus Or.2 ORGAN 3 1

43 Perc. Organ ORGAN 4 2

44 Organ 3 ORGAN 4 0 19

45 Church Org.1 ORGAN 2 0 20

46 Church Org.2 ORGAN 4 1

47 Church Org.3 ORGAN 6 2

48 Reed Organ ORGAN 3 0 21

49 Puff Organ ORGAN 1 1

50 Accordion Fr ACCRDION 3 0 22

51 Accordion It ACCRDION 3 1

52 Harmonica HARMONICA 2 0 23

53 Bandoneon ACCRDION 3 0 24

54 Nylon-str.Gt AC.GUITAR 1 0 25

55 Ukulele AC.GUITAR 1 1

56 Nylon Gt.o AC.GUITAR 2 2

57 Nylon Gt.2 AC.GUITAR 1 3

58 Steel-str.Gt AC.GUITAR 4 0 26

59 12-str.Gt AC.GUITAR 3 1

60 Mandolin AC.GUITAR 2 2

61 Steel + Body AC.GUITAR 4 3

62 Jazz Gt. EL.GUITAR 1 0 27

63 Pedal Steel EL.GUITAR 1 1

64 Clean Gt. EL.GUITAR 1 0 28

No Name Category Voices LSB PC

65 Chorus Gt. EL.GUITAR 2 1

66 Mid Tone GTR EL.GUITAR 1 2

67 Muted Gt. EL.GUITAR 1 0 29

68 Funk Pop EL.GUITAR 1 1

69 Funk Gt.2 EL.GUITAR 1 2

70 Jazz Man EL.GUITAR 1 3

71 Overdrive Gt DIST.GUITAR 2 0 30

72 Guitar Pinch DIST.GUITAR 1 1

73 DistortionGt DIST.GUITAR 1 0 31

74 Feedback Gt. DIST.GUITAR 2 1

75 Dist Rtm GTR DIST.GUITAR 2 2

76 Gt.Harmonics EL.GUITAR 2 0 32

77 Gt. Feedback EL.GUITAR 1 1

78 Acoustic Bs. BASS 1 0 33

79 Fingered Bs. BASS 3 0 34

80 Finger Slap BASS 3 1

81 Picked Bass BASS 3 0 35

82 Fretless Bs. BASS 2 0 36

83 Slap Bass 1 BASS 2 0 37

84 Slap Bass 2 BASS 3 0 38

85 Synth Bass 1 SYNTH BASS 1 0 39

86 SynthBass101 SYNTH BASS 1 1

87 Acid Bass SYNTH BASS 1 2

88 Clavi Bass SYNTH BASS 2 3

89 Hammer SYNTH BASS 2 4

90 Synth Bass 2 SYNTH BASS 3 0 40

91 Beef FM Bass SYNTH BASS 2 1

92 RubberBass 2 SYNTH BASS 2 2

93 Attack Pulse SYNTH BASS 1 3

94 Violin STRINGS 1 0 41

95 Slow Violin STRINGS 1 1

96 Viola STRINGS 1 0 42

97 Cello STRINGS 1 0 43

98 Contrabass STRINGS 1 0 44

99 Tremolo Str STRINGS 4 0 45

100 PizzicatoStr STRINGS 4 0 46

101 Harp PLUCKED 2 0 47

102 Yang Qin PLUCKED 3 1

103 Timpani PERCUSSION 4 0 48

104 Strings STRINGS 4 0 49

105 Orchestra ORCHESTRA 7 1

106 60s Strings STRINGS 4 2

107 Slow Strings STRINGS 4 0 50

108 Syn.Strings1 STRINGS 3 0 51

109 Syn.Strings3 STRINGS 3 1

110 Syn.Strings2 SOFT PAD 2 0 52

111 Choir Aahs VOX 4 0 53

112 Chorus Aahs VOX 4 1

113 Voice Oohs VOX 4 0 54

114 Humming VOX 4 1

115 SynVox VOX 4 0 55

116 Analog Voice VOX 2 1

117 OrchestraHit HIT&STAB 2 0 56

118 Bass Hit HIT&STAB 2 1

119 6th Hit HIT&STAB 2 2

120 Euro Hit HIT&STAB 2 3

121 Trumpet AC.BRASS 2 0 57

122 Dark Trumpet AC.BRASS 1 1

123 Trombone AC.BRASS 1 0 58

124 Trombone 2 AC.BRASS 2 1

125 Bright Tb AC.BRASS 2 2

126 Tuba AC.BRASS 1 0 59

127 MutedTrumpet AC.BRASS 3 0 60

128 MuteTrumpet2 AC.BRASS 1 1

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232

Patch List

No Name Category Voices LSB PC

129 French Horns AC.BRASS 3 0 61

130 Fr.Horn 2 AC.BRASS 1 1

131 Brass 1 AC.BRASS 4 0 62

132 Brass 2 AC.BRASS 4 1

133 Synth Brass1 SYNTH BRASS 4 0 63

134 JP Brass SYNTH BRASS 4 1

135 Oct SynBrass SYNTH BRASS 4 2

136 Jump Brass SYNTH BRASS 3 3

137 Synth Brass2 SYNTH BRASS 3 0 64

138 SynBrass sfz SYNTH BRASS 2 1

139 Velo Brass 1 SYNTH BRASS 2 2

140 Soprano Sax SAX 1 0 65

141 Alto Sax SAX 1 0 66

142 Tenor Sax SAX 1 0 67

143 Baritone Sax SAX 1 0 68

144 Oboe WIND 3 0 69

145 English Horn WIND 1 0 70

146 Bassoon WIND 1 0 71

147 Clarinet WIND 2 0 72

148 Piccolo FLUTE 2 0 73

149 Flute FLUTE 2 0 74

150 Recorder FLUTE 1 0 75

151 Pan Flute FLUTE 1 0 76

152 Bottle Blow FLUTE 2 0 77

153 Shakuhachi ETHNIC 2 0 78

154 Whistle FLUTE 2 0 79

155 Ocarina FLUTE 3 0 80

156 Square Wave HARD LEAD 2 0 81

157 MG Square HARD LEAD 1 1

158 2600 Sine HARD LEAD 1 2

159 Saw Wave HARD LEAD 2 0 82

160 OB2 Saw HARD LEAD 1 1

161 Doctor Solo HARD LEAD 2 2

162 Natural Lead HARD LEAD 2 3

163 SequencedSaw HARD LEAD 2 4

164 Syn.Calliope SOFT LEAD 2 0 83

165 Chiffer Lead SOFT LEAD 2 0 84

166 Charang HARD LEAD 2 0 85

167 Wire Lead HARD LEAD 2 1

168 Solo Vox SOFT LEAD 2 0 86

169 5th Saw Wave HARD LEAD 2 0 87

170 Bass & Lead HARD LEAD 2 0 88

171 Delayed Lead HARD LEAD 2 1

172 Fantasia OTHER SYNTH 4 0 89

173 Warm Pad SOFT PAD 1 0 90

174 Sine Pad SOFT PAD 2 1

175 Polysynth OTHER SYNTH 2 0 91

176 Space Voice VOX 4 0 92

177 Itopia VOX 3 1

178 Bowed Glass SOFT PAD 3 0 93

179 Metal Pad BRIGHT PAD 4 0 94

180 Halo Pad BRIGHT PAD 3 0 95

181 Sweep Pad SOFT PAD 3 0 96

182 Ice Rain OTHER SYNTH 3 0 97

183 Soundtrack SOFT PAD 5 0 98

184 Crystal BELL 2 0 99

185 Syn Mallet BELL 2 1

186 Atmosphere AC.GUITAR 3 0 100

187 Brightness OTHER SYNTH 4 0 101

188 Goblin PULSATING 3 0 102

189 Echo Drops BRIGHT PAD 2 0 103

190 Echo Bell BRIGHT PAD 3 1

191 Echo Pan BRIGHT PAD 2 2

192 Star Theme BRIGHT PAD 3 0 104

No Name Category Voices LSB PC

193 Sitar PLUCKED 2 0 105

194 Sitar 2 PLUCKED 5 1

195 Banjo FRETTED 2 0 106

196 Shamisen PLUCKED 2 0 107

197 Koto PLUCKED 4 0 108

198 Taisho Koto PLUCKED 3 1

199 Kalimba PLUCKED 1 0 109

200 Bagpipe ETHNIC 3 0 110

201 Fiddle STRINGS 1 0 111

202 Shanai ETHNIC 2 0 112

203 Tinkle Bell BELL 3 0 113

204 Agogo PERCUSSION 1 0 114

205 Steel Drums MALLET 2 0 115

206 Woodblock PERCUSSION 1 0 116

207 Castanets PERCUSSION 1 1

208 Taiko PERCUSSION 3 0 117

209 Concert BD PERCUSSION 4 1

210 Melo. Tom 1 PERCUSSION 1 0 118

211 Melo. Tom 2 PERCUSSION 1 1

212 Synth Drum PERCUSSION 1 0 119

213 808 Tom PERCUSSION 1 1

214 Elec Perc PERCUSSION 1 1

215 Reverse Cym. PERCUSSION 1 0 120

216 Gt.FretNoise AC.GUITAR 1 0 121

217 Gt.Cut Noise AC.GUITAR 1 1

218 String Slap AC.GUITAR 1 2

219 Breath Noise SYNTH FX 1 0 122

220 Fl.Key Click SYNTH FX 1 1

221 Seashore SOUND FX 2 0 123

222 Rain SOUND FX 2 1

223 Thunder SOUND FX 1 2

224 Wind SOUND FX 2 3

225 Stream SOUND FX 2 4

226 Bubble SOUND FX 2 5

227 Bird SOUND FX 2 0 124

228 Dog SOUND FX 1 1

229 Horse-Gallop SOUND FX 1 2

230 Bird 2 SOUND FX 1 3

231 Telephone 1 SOUND FX 1 0 125

232 Telephone 2 SOUND FX 1 1

233 DoorCreaking SOUND FX 1 2

234 Door SOUND FX 1 3

235 Scratch SOUND FX 1 4

236 Wind Chimes SOUND FX 2 5

237 Helicopter SOUND FX 1 0 126

238 Car-Engine SOUND FX 1 1

239 Car-Stop SOUND FX 1 2

240 Car-Pass SOUND FX 1 3

241 Car-Crash SOUND FX 2 4

242 Siren SOUND FX 1 5

243 Train SOUND FX 1 6

244 Jetplane SOUND FX 3 7

245 Starship SOUND FX 4 8

246 Burst Noise SOUND FX 2 9

247 Applause SOUND FX 2 0 127

248 Laughing SOUND FX 1 1

249 Screaming SOUND FX 1 2

250 Punch SOUND FX 1 3

251 Heart Beat SOUND FX 1 4

252 Footsteps SOUND FX 1 5

253 Gun Shot SOUND FX 1 0 128

254 Machine Gun SOUND FX 1 1

255 Lasergun SOUND FX 1 2

256 Explosion SOUND FX 2 3

SonicCell_e.book 232 ページ２００７年７月２日　月曜日　午後３時５０分

233

Rhythm Set List

USER (User Group)

* Rhthm Set are common to Preset Group

and User Group.

PRST (Preset Group) GM (GM Group)

No Name

1 SonicCellKit

2 WD Std Kit

3 LD Std Kit

4 TY Std Kit

5 StandardKit1

6 StandardKit2

7 StandardKit3

8 Rock Kit 1

9 Rock Kit 2

10 Brush Jz Kit

11 Orch Kit

12 909 808 Kit

13 Limiter Kit

14 HipHop Kit 1

15 R&B Kit

16 HiFi R&B Kit

17 Machine Kit1

18 Kit-Euro:POP

19 House Kit

20 Nu Technica

21 Machine Kit2

22 ArtificalKit

23 Noise Kit

24 Kick Menu

25 Snare Menu

26 Snr/Rim Menu

27 HiHat Menu

28 Tom Menu

29 Clp&Cym&Hit

30 FX/SFX Menu

31 Percussion

32 Scrh&Voi&Wld

No Name

1 SonicCellKit

2 WD Std Kit

3 LD Std Kit

4 TY Std Kit

5 StandardKit1

6 StandardKit2

7 StandardKit3

8 Rock Kit 1

9 Rock Kit 2

10 Brush Jz Kit

11 Orch Kit

12 909 808 Kit

13 Limiter Kit

14 HipHop Kit 1

15 R&B Kit

16 HiFi R&B Kit

17 Machine Kit1

18 Kit-Euro:POP

19 House Kit

20 Nu Technica

21 Machine Kit2

22 ArtificalKit

23 Noise Kit

24 Kick Menu

25 Snare Menu

26 Snr/Rim Menu

27 HiHat Menu

28 Tom Menu

29 Clp&Cym&Hit

30 FX/SFX Menu

31 Percussion

32 Scrh&Voi&Wld

No Name

1 GM2 STANDARD

2 GM2 ROOM

3 GM2 POWER

4 GM2 ELECTRIC

5 GM2 ANALOG

6 GM2 JAZZ

7 GM2 BRUSH

8 GM2 ORCHSTRA

9 GM2 SFX

SonicCell_e.book 233 ページ２００７年７月２日　月曜日　午後３時５０分

234

Rhythm Set List

100

101

103

102

Prst:

User:

Note No.

USER (User Group)/PRS (Preset Group)

1 23456

SonicCellKit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2

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

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

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

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

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

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

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235

Rhythm Set List

100

101

103

102

Prst:

User:

Note No.

7 8 9 101112

StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 Kit

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

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

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

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

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

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

SonicCell_e.book 235 ページ２００７年７月２日　月曜日　午後３時５０分

236

Rhythm Set List

100

101

103

102

Prst:

User:

Note No.

13 14 15 16 17 18

Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POP

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

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

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

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

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

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 236 ページ２００７年７月２日　月曜日　午後３時５０分

237

Rhythm Set List

100

101

103

102

Prst:

User:

Note No.

19 20 21 22 23 24

House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick Menu

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

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

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

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

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

-----

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

-----

SonicCell_e.book 237 ページ２００７年７月２日　月曜日　午後３時５０分

238

Rhythm Set List

100

101

103

102

Prst:

User:

Note No.

25 26 27 28 29 30

Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX 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

-----

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

-----

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

-----

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

-----

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

-----

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 238 ページ２００７年７月２日　月曜日　午後３時５０分

239

Rhythm Set List

100

101

103

102

Prst:

User:

Note No.

31 32

Percussion Scrh&Voi&Wld

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

-----

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

-----

SonicCell_e.book 239 ページ２００７年７月２日　月曜日　午後３時５０分

240

Rhythm Set List

Note No.

GM (GM2 Group)

1(PC: 1) 2(PC: 9) 3(PC: 17) 4(PC: 25) 5(PC: 26) 6(PC: 33)

GM2 STANDARD GM2 ROOM GM2 POWER GM2 ELECTRIC GM2 ANALOG GM2 JAZZ

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

-----

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

-----

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

-----

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

-----

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

-----

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 240 ページ２００７年７月２日　月曜日　午後３時５０分

241

Rhythm Set List

Note No.

7(PC: 41) 8(PC: 49) 9(PC: 57)

GM2 BRUSH GM2 ORCHSTRA GM2 SFX

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

-----

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

-----

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

-----

SonicCell_e.book 241 ページ２００７年７月２日　月曜日　午後３時５０分

242

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

1 Ult.P*mp A L

2 Ult.P*mp A R

3 Ult.P*mp B L

4 Ult.P*mp B R

5 Ult.P*mp C L

6 Ult.P*mp C R

7 Ult.P* f A L

8 Ult.P* f A R

9 Ult.P* f B L

10 Ult.P* f B R

11 Ult.P* f C L

12 Ult.P* f C R

13 Ult.P*ff A L

14 Ult.P*ff A R

15 Ult.P*ff B L

16 Ult.P*ff B R

17 Ult.P*ff C L

18 Ult.P*ff C R

19 XPr.P*mp A L

20 XPr.P*mp A R

21 XPr.P*mp B L

22 XPr.P*mp B R

23 XPr.P*mp C L

24 XPr.P*mp C R

25 XPr.P* f A L

26 XPr.P* f A R

27 XPr.P* f B L

28 XPr.P* f B R

29 XPr.P* f C L

30 XPr.P* f C R

31 XPr.P*ff A L

32 XPr.P*ff A R

33 XPr.P*ff B L

34 XPr.P*ff B R

35 XPr.P*ff C L

36 XPr.P*ff C R

37 Ult.P mp A L

38 Ult.P mp A R

39 Ult.P mp B L

40 Ult.P mp B R

41 Ult.P mp C L

42 Ult.P mp C R

43 Ult.P f A L

44 Ult.P f A R

45 Ult.P f B L

46 Ult.P f B R

47 Ult.P f C L

48 Ult.P f C R

49 Ult.P ff A L

50 Ult.P ff A R

51 Ult.P ff B L

52 Ult.P ff B R

53 Ult.P ff C L

54 Ult.P ff C R

55 XPr.P mp A L

56 XPr.P mp A R

57 XPr.P mp B L

58 XPr.P mp B R

59 XPr.P mp C L

60 XPr.P mp C R

61 XPr.P f A L

62 XPr.P f A R

63 XPr.P f B L

64 XPr.P f B R

65 XPr.P f C L

66 XPr.P f C R

67 XPr.P ff A L

68 XPr.P ff A R

69 XPr.P ff B L

70 XPr.P ff B R

No. Name

71 XPr.P ff C L

72 XPr.P ff C R

73 Ac.Pno p A L

74 Ac.Pno p A R

75 Ac.Pno p B L

76 Ac.Pno p B R

77 Ac.Pno p C L

78 Ac.Pno p C R

79 Ac.Pno f A L

80 Ac.Pno f A R

81 Ac.Pno f B L

82 Ac.Pno f B R

83 Ac.Pno f C L

84 Ac.Pno f C R

85 JD Piano A

86 JD Piano B

87 JD Piano C

88 Piano Atk Nz

89 MKS Piano A

90 MKS Piano B

91 MKS Piano C

92 Vint.EP pp A

93 Vint.EP pp B

94 Vint.EP pp C

95 Vint.EP mp A

96 Vint.EP mp B

97 Vint.EP mp C

98 Vint.EP f A

99 Vint.EP f B

100 Vint.EP f C

101 Vint.EP ff A

102 Vint.EP ff B

103 Vint.EP ff C

104 Stage EP p A

105 Stage EP p B

106 Stage EP p C

107 Stage EP f A

108 Stage EP f B

109 Stage EP f C

110 Tine EP p A

111 Tine EP p B

112 Tine EP p C

113 Tine EP mf A

114 Tine EP mf B

115 Tine EP mf C

116 Tine EP ff A

117 Tine EP ff B

118 Tine EP ff C

119 Dyno EP mp A

120 Dyno EP mp B

121 Dyno EP mp C

122 Dyno EP mf A

123 Dyno EP mf B

124 Dyno EP mf C

125 Dyno EP ff A

126 Dyno EP ff B

127 Dyno EP ff C

128 Wurly DI p A

129 Wurly DI p B

130 Wurly DI p C

131 Wurly DI f A

132 Wurly DI f B

133 Wurly DI f C

134 Wurly DI ffA

135 Wurly DI ffB

136 Wurly DI ffC

137 Wurly mp A

138 Wurly mp B

139 Wurly mp C

140 Wurly mf A

No. Name

141 Wurly mf B

142 Wurly mf C

143 Wurly ff A

144 Wurly ff B

145 Wurly ff C

146 Soft SA EP A

147 Soft SA EP B

148 Soft SA EP C

149 Hard SA EP A

150 Hard SA EP B

151 Hard SA EP C

152 SA E.Piano A

153 SA E.Piano B

154 SA E.Piano C

155 80's E.Pno 1

156 80's E.Pno 2

157 80's E.Pno1f

158 80's E.Pno2f

159 Hard E.Pno

160 Celesta

161 Music Box

162 ClavDB Brt A

163 ClavDB Brt B

164 ClavDB Brt C

165 Reg.Clav A

166 Reg.Clav B

167 Reg.Clav C

168 Retro Clav A

169 Retro Clav B

170 Retro Clav C

171 Tight Clav A

172 Tight Clav B

173 Tight Clav C

174 Hard Clav A

175 Hard Clav B

176 Hard Clav C

177 ClvMtRs DB f

178 Harpsi A

179 Harpsi B

180 Harpsi C

181 JLOrg Slow L

182 JLOrg Slow R

183 JLOrg Fast L

184 JLOrg Fast R

185 JD Full Draw

186 Org Basic 1

187 Org Basic 2

188 Ballad Org

189 3rd Perc Org

190 Perc Organ

191 Rock Organ A

192 Rock Organ B

193 Rock Organ C

194 RtryOrg1 A L

195 RtryOrg1 A R

196 RtryOrg1 B L

197 RtryOrg1 B R

198 RtryOrg1 C L

199 RtryOrg1 C R

200 RtryOrg2 A L

201 RtryOrg2 A R

202 RtryOrg2 B L

203 RtryOrg2 B R

204 RtryOrg2 C L

205 RtryOrg2 C R

206 LoFi RtryOrg

207 Vint.Org 1

208 Vint.Org 2

209 Vint.Org 3

210 Vint.Org 4

No. Name

211 Positive '8

212 Pipe Organ

213 Cathedrl Org

214 BrtN.Gtr p A

215 BrtN.Gtr p B

216 BrtN.Gtr p C

217 BrtN.Gtr mfA

218 BrtN.Gtr mfB

219 BrtN.Gtr mfC

220 BrtN.Gtr ffA

221 BrtN.Gtr ffB

222 BrtN.Gtr ffC

223 BrtN.GtrSldA

224 BrtN.GtrSldB

225 BrtN.GtrSldC

226 Nylon Gtr1 A

227 Nylon Gtr1 B

228 Nylon Gtr1 C

229 Nylon Gtr2 A

230 Nylon Gtr2 B

231 Nylon Gtr2 C

232 Bright Gtr A

233 Bright Gtr B

234 Bright Gtr C

235 Ac.Gtr mp A

236 Ac.Gtr mp B

237 Ac.Gtr mp C

238 Ac.Gtr mf A

239 Ac.Gtr mf B

240 Ac.Gtr mf C

241 Ac.Gtr ff A

242 Ac.Gtr ff B

243 Ac.Gtr ff C

244 Ac.Gtr Sld A

245 Ac.Gtr Sld B

246 Ac.Gtr Sld C

247 Ac.Gtr Hrm A

248 Ac.Gtr Hrm B

249 Ac.Gtr Hrm C

250 Jazz Gtr A

251 Jazz Gtr B

252 Jazz Gtr C

253 Clean Gtr A

254 Clean Gtr B

255 Clean Gtr C

256 Clr Mt Gtr A

257 Clr Mt Gtr B

258 Clr Mt Gtr C

259 E.Gtr Ld

260 Brt Strat A

261 Brt Strat B

262 Brt Strat C

263 FstPick70s A

264 FstPick70s B

265 FstPick70s C

266 Funk Gtr A

267 Funk Gtr B

268 Funk Gtr C

269 Funk MtGtr A

270 Funk MtGtr B

271 Funk MtGtr C

272 Nasty Gtr

273 Overdrive A

274 Overdrive C

275 Distortion A

276 Distortion B

277 Distortion C

278 Dist Chord A

279 Dist Chord B

280 Dist Chord C

No. Name

281 E.Gtr Harm

282 Harp A

283 Harp B

284 Harp C

285 Banjo A

286 Banjo B

287 Banjo C

288 Sitar A

289 Sitar B

290 Sitar C

291 Sitar Drn A

292 Sitar Drn B

293 Sitar Drn C

294 E.Sitar A

295 E.Sitar B

296 E.Sitar C

297 Santur A

298 Santur B

299 Santur C

300 Dulcimer A

301 Dulcimer B

302 Dulcimer C

303 Shamisen A

304 Shamisen B

305 Shamisen C

306 Koto A

307 Koto B

308 Koto C

309 FatAc.Bs p A

310 FatAc.Bs p B

311 FatAc.Bs p C

312 FatAc.Bs f A

313 FatAc.Bs f B

314 FatAc.Bs f C

315 Ac.Bass A

316 Ac.Bass B

317 Ac.Bass C

318 Fng.EB1 mf A

319 Fng.EB1 mf B

320 Fng.EB1 mf C

321 Fng.EB1 ff A

322 Fng.EB1 ff B

323 Fng.EB1 ff C

324 Fng.EB2 mf A

325 Fng.EB2 mf B

326 Fng.EB2 mf C

327 Fng.EB2 f A

328 Fng.EB2 f B

329 Fng.EB2 f C

330 FngrCmp Bs A

331 FngrCmp Bs B

332 FngrCmp Bs C

333 Finger Bs A

334 Finger Bs B

335 Finger Bs C

336 Precision Bs

337 ThumbMtBs pA

338 ThumbMtBs pB

339 ThumbMtBs pC

340 Fretlss Bs A

341 Fretlss Bs B

342 Fretlss Bs C

343 Fretlss SftA

344 Fretlss SftB

345 Fretlss SftC

346 Pick EB f A

347 Pick EB f B

348 Pick EB f C

349 Pick Bass

350 Slp.E.BassA

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243

Waveform List

No. Name

351 Slp.E.BassB

352 Slp.E.BassC

353 Slp.EB HO A

354 Slp.EB HO B

355 Slp.EB HO C

356 Pul.E.BassA

357 Pul.E.BassB

358 Pul.E.BassC

359 Pul.EB HO A

360 Pul.EB HO B

361 Pul.EB HO C

362 Slap Bass

363 Slap +Pull 1

364 Slap +Pull 2

365 Slap +Pull 3

366 Jz Slap Bass

367 Jz Slp+Pull1

368 Jz Slp+Pull2

369 Jz Slp+Pull3

370 Jungle Bass

371 Garage Bass

372 SH-101 Bs A

373 SH-101 Bs B

374 SH-101 Bs C

375 Organ Bass

376 MG Bass 1 A

377 MG Bass 1 B

378 MG Bass 1 C

379 MG Bass 2

380 MG Bass 3

381 MC Bass A

382 MC Bass B

383 MC Bass C

384 Atk Syn Bass

385 Flute A

386 Flute B

387 Flute C

388 Piccolo A

389 Piccolo B

390 Piccolo C

391 Pan Flute

392 Shakuhachi

393 JD Fl Push

394 Clarinet A

395 Clarinet B

396 Clarinet C

397 Oboe Mezzo A

398 Oboe Mezzo B

399 Oboe Mezzo C

400 Oboe Forte A

401 Oboe Forte B

402 Oboe Forte C

403 E.Horn A

404 E.Horn B

405 E.Horn C

406 Bassoon A

407 Bassoon B

408 Bassoon C

409 Recorder A

410 Recorder B

411 Recorder C

412 SopranoSax A

413 SopranoSax B

414 SopranoSax C

415 Alto Sax Vib

416 Soft Alto A

417 Soft Alto B

418 Soft Alto C

419 Wide Sax A

420 Wide Sax B

No. Name

421 Wide Sax C

422 BreathySax A

423 BreathySax B

424 BreathySax C

425 TenorBreathy

426 Tenor Sax A

427 Tenor Sax B

428 Tenor Sax C

429 Bari.Sax 1 A

430 Bari.Sax 1 B

431 Bari.Sax 1 C

432 Bari.Sax 2 A

433 Bari.Sax 2 B

434 Bari.Sax 2 C

435 Musette

436 Accord 4' A

437 Accord 4' B

438 Accord 4' C

439 Accord 8' A

440 Accord 8' B

441 Accord 8' C

442 Accord PadNz

443 Harmonica A

444 Harmonica B

445 Harmonica C

446 Blues G-harp

447 Flugel A

448 Flugel B

449 Flugel C

450 Trumpet A

451 Trumpet B

452 Trumpet C

453 Wide Tp A

454 Wide Tp B

455 Wide Tp C

456 Mute Tp A

457 Mute Tp B

458 Mute Tp C

459 Trombone A

460 Trombone B

461 Trombone C

462 Tbn mf A

463 Tbn mf B

464 Tbn mf C

465 Tuba A

466 Tuba B

467 Tuba C

468 Sft F.Horn A

469 Sft F.Horn B

470 Sft F.Horn C

471 French Hrn A

472 French Hrn C

473 XP Horn A

474 XP Horn B

475 F.HornSect A

476 F.HornSect B

477 F.HornSect C

478 Tp Section A

479 Tp Section B

480 Tp Section C

481 OctBrs p A L

482 OctBrs p A R

483 OctBrs p B L

484 OctBrs p B R

485 OctBrs p C L

486 OctBrs p C R

487 OctBrs f A L

488 OctBrs f A R

489 OctBrs f B L

490 OctBrs f B R

No. Name

491 OctBrs f C L

492 OctBrs f C R

493 XP Brass

494 OrchUnis A L

495 OrchUnis A R

496 OrchUnis B L

497 OrchUnis B R

498 OrchUnis C L

499 OrchUnis C R

500 Violin f A

501 Violin f B

502 Violin f C

503 Violin Vib A

504 Violin Vib B

505 Violin Vib C

506 Cello f A

507 Cello f B

508 Cello f C

509 Cello Vib A

510 Cello Vib B

511 Cello Vib C

512 Vl Sect. A L

513 Vl Sect. A R

514 Vl Sect. B L

515 Vl Sect. B R

516 Vl Sect. C L

517 Vl Sect. C R

518 Vc Sect. A L

519 Vc Sect. A R

520 Vc Sect. B L

521 Vc Sect. B R

522 Vc Sect. C L

523 Vc Sect. C R

524 Full Str A L

525 Full Str A R

526 Full Str B L

527 Full Str B R

528 Full Str C L

529 Full Str C R

530 JV Strings L

531 JV Strings R

532 JV Strings A

533 JV Strings C

534 F.Str mf A L

535 F.Str mf A R

536 F.Str mf B L

537 F.Str mf B R

538 F.Str mf C L

539 F.Str mf C R

540 F.Str mf lpL

541 F.Str mf lpR

542 F.Str ff A L

543 F.Str ff A R

544 F.Str ff B L

545 F.Str ff B R

546 F.Str ff C L

547 F.Str ff C R

548 F.Str ff lpL

549 F.Str ff lpR

550 F.StrStacA L

551 F.StrStacA R

552 F.StrStacB L

553 F.StrStacB R

554 F.StrStacC L

555 F.StrStacC R

556 ChmbrStrAtkA

557 ChmbrStrAtkB

558 ChmbrStrAtkC

559 ChmbrStrRevA

560 ChmbrStrRevB

No. Name

561 ChmbrStrRevC

562 Vls Pizz A

563 Vls Pizz B

564 Vls Pizz C

565 VlsPizzRev A

566 VlsPizzRev B

567 VlsPizzRev C

568 Vcs Pizz A

569 Vcs Pizz B

570 Vcs Pizz C

571 Unison Saw A

572 Unison Saw B

573 Unison Saw C

574 Super Saw A

575 Super Saw B

576 Super Saw C

577 Trance Saw A

578 Trance Saw B

579 Trance Saw C

580 Warm Pad A

581 Warm Pad B

582 Warm Pad C

583 OB2 Pad 1 A

584 OB2 Pad 1 B

585 OB2 Pad 1 C

586 OB2 Pad 2 A

587 OB2 Pad 2 B

588 OB2 Pad 2 C

589 D-50 HeavenA

590 D-50 HeavenB

591 D-50 HeavenC

592 SBF Vox A

593 SBF Vox B

594 SBF Vox C

595 Syn Vox 1 A

596 Syn Vox 1 B

597 Syn Vox 1 C

598 Syn Vox 2 A

599 Syn Vox 2 B

600 Syn Vox 2 C

601 Female Ahs A

602 Female Ahs B

603 Female Ahs C

604 Female Oos A

605 Female Oos B

606 Female Oos C

607 Male Aahs A

608 Male Aahs B

609 Male Aahs C

610 Jazz Doos A

611 Jazz Doos B

612 Jazz Doos C

613 Jz Doos Lp A

614 Jz Doos Lp B

615 Jz Doos Lp C

616 Gospel Hum A

617 Gospel Hum B

618 Gospel Hum C

619 Soprano Vox

620 Kalimba

621 JD Klmba Atk

622 JD Wood Crak

623 JD Gamelan 1

624 JD Gamelan 2

625 JD Log Drum

626 JD Xylo

627 Marimba

628 Vibraphone

629 Glocken

630 Steel Drums

No. Name

631 D-50 Bell A

632 D-50 Bell B

633 D-50 Bell C

634 D-50 Bell Lp

635 Agogo Bell

636 Agogo 2 Hi

637 Agogo 2 Low

638 Finger Bell

639 JD Cowbell

640 Tubular Bell

641 Church Bell

642 Mild CanWave

643 JD Crystal

644 Bell Organ

645 Old DigiBell

646 JD Bell Wave

647 TinyBellWave

648 Vib Wave

649 JD Brt Digi

650 Bagpipe

651 Digital Vox

652 JD WallyWave

653 JD Brusky Lp

654 Bright Form

655 JD Nasty

656 JD Spark Vox

657 JD Cutters

658 SBF Hrd Ld

659 JD EML 5th

660 Juno Saw HD

661 TB303 Saw HD

662 Custm Saw HD

663 MG Saw HD

664 DigitalSawHD

665 P5 Saw HD

666 Calc.Saw

667 Calc.Saw inv

668 Synth Saw

669 JD Syn Saw

670 JD Fat Saw

671 JP-8 Saw

672 D-50 Saw

673 SH-1000 Saw

674 SH-2 Saw

675 LA-Saw

676 Air Wave

677 GR-300 Saw 1

678 GR-300 Saw 2

679 TB Dst Saw A

680 TB Dst Saw B

681 TB Dst Saw C

682 Juno Sqr HD

683 P5 Sqr HD

684 Fat Square

685 JP-8 Square

686 SH-2 Square

687 TB303 Sqr HD

688 LA-Square

689 TB DstSqr 1A

690 TB DstSqr 1B

691 TB DstSqr 1C

692 Dist SquareA

693 Dist SquareB

694 Dist SquareC

695 Juno Pls HD

696 JP8 Pls 10HD

697 JP8 Pls 15HD

698 JP8 Pls 25HD

699 JP8 Pls 30HD

700 JP8 Pls 40HD

SonicCell_e.book 243 ページ２００７年７月２日　月曜日　午後３時５０分

244

Waveform List

No. Name

701 JP8 Pls 45HD

702 Syn Pulse 1

703 Syn Pulse 2

704 SH-1000 Puls

705 700 Triangle

706 Syn Triangle

707 JD Triangle

708 VS-Triangle

709 Mild Form

710 VS-Ramp

711 Sync Sweep

712 Sine

713 JD Fine Wine

714 Digi Loop

715 JD MetalWind

716 Atmosphere

717 DigiSpectrum

718 JD Vox Noise

719 SynVox Noise

720 Shaku Noise

721 Digi Breath

722 Agogo Noise

723 Vinyl Noise

724 White Noise

725 Pink Noise

726 Aah Formant

727 Eeh Formant

728 Iih Formant

729 Ooh Formant

730 Uuh Formant

731 Metal Vox W1

732 Metal Vox L1

733 Metal Vox W2

734 Metal Vox L2

735 Metal Vox W3

736 Metal Vox L3

737 JD Rattles

738 Xylo Seq.

739 JD Anklungs

740 JD Shami

741 SynBassClick

742 JD EP Atk

743 Key On Click

744 Org Click 1

745 Org Click 2

746 Org Click 3

747 Org Click 4

748 Org Click 5

749 JD Sm Metal

750 Ice Crash

751 JD Switch

752 JD Tuba Slap

753 JD Plink

754 JD Plunk

755 TVF Trigger

756 Hi Q

757 Slap

758 Stick

759 Click

760 Cutting Nz

761 Ac.Bass Body

762 Flute Pad Nz

763 Applause

764 River

765 Thunder

766 Monsoon

767 Stream

768 Bubble

769 Bird Song

770 Dog Bark

No. Name

771 Gallop

772 Vint.Phone

773 Office Phone

774 Mobile Phone

775 Door Creak

776 Door Slam

777 Car Engine

778 Car Slip

779 Car Pass

780 Crash Seq.

781 Gun Shot

782 Siren

783 Train Pass

784 Airplane

785 Helicopter

786 Space Voyage

787 Blow Loop

788 Laugh

789 Scream

790 Punch

791 Heartbeat

792 Footsteps

793 Machine Gun

794 Laser

795 Thunder Lp

796 Ac.Bass Nz

797 E.Bass Nz 1

798 E.Bass Nz 2

799 E.Bass Slide

800 Fng.EB2 Sld

801 DistGtr Nz 1

802 DistGtr Nz 2

803 DistGtr Nz 3

804 Gtr Fret Nz1

805 Gtr Fret Nz2

806 ClassicHseHt

807 Narrow Hit 1

808 Narrow Hit 2

809 Euro Hit

810 Dist Hit

811 Thin Beef

812 Tao Hit

813 Smear Hit 1

814 Smear Hit 2

815 LoFi Min Hit

816 Orch. Hit

817 Punch Hit

818 O'Skool Hit

819 Philly Hit

820 Scratch 1

821 Scratch 2

822 Scratch 3

823 Scratch 4

824 Scratch 5

825 Scratch 6

826 Scratch 7

827 Scratch 9

828 Scratch 10

829 Scratch Push

830 Scratch Pull

831 MG Zap 1

832 MG Zap 2

833 MG Zap 3

834 MG Zap 4

835 MG Zap 5

836 MG Zap 6

837 MG Zap 7

838 MG Zap 8

839 MG Zap 9

840 MG Zap 10

No. Name

841 MG Zap 11

842 MG Blip

843 Beam HiQ

844 MG Attack

845 Syn Low Atk1

846 Syn Low Atk2

847 Syn Hrd Atk1

848 Syn Hrd Atk2

849 Syn Hrd Atk3

850 Syn Hrd Atk4

851 Syn Mtl Atk1

852 Syn Mtl Atk2

853 Syn Swt Atk1

854 Syn Swt Atk2

855 Syn Swt Atk3

856 Syn Swt Atk4

857 Syn Swt Atk5

858 Syn Swt Atk6

859 Syn Swt Atk7

860 WD Kick mf L

861 WD Kick mf R

862 WD Kick f L

863 WD Kick f R

864 WD Kick ff L

865 WD Kick ff R

866 LD Kick mf L

867 LD Kick mf R

868 LD Kick f L

869 LD Kick f R

870 LD Kick ff L

871 LD Kick ff R

872 TY Kick mf L

873 TY Kick mf R

874 TY Kick f L

875 TY Kick f R

876 TY Kick ff L

877 TY Kick ff R

878 SF Kick 1 L

879 SF Kick 1 R

880 SF Kick 2 L

881 SF Kick 2 R

882 Reg.Kick p L

883 Reg.Kick p R

884 Reg.Kick f L

885 Reg.Kick f R

886 Reg.Kick ffL

887 Reg.Kick ffR

888 Rock Kick p

889 Rock Kick f

890 Jazz Kick p

891 Jazz Kick mf

892 Jazz Kick f

893 Dry Kick 1

894 Tight Kick

895 Old Kick

896 Jz Dry Kick

897 Dry Kick 2

898 Dry Kick 3

899 Power Kick

900 R&B Kick L

901 R&B Kick R

902 Rk CmpKick L

903 Rk CmpKick R

904 MaxLow Kick1

905 MaxLow Kick2

906 Dist Kick

907 FB Kick

908 Rough Kick1

909 Rough Kick2

910 Rough Kick3

No. Name

911 PlasticKick1

912 70's Kick

913 Dance Kick

914 HipHop Kick1

915 HipHop Kick2

916 AnalogKick 1

917 PlasticKick2

918 PlasticKick3

919 TR909 Kick 1

920 TR909 Kick 2

921 AnalogKick 2

922 TR909 Kick 3

923 AnalogKick 3

924 AnalogKick 4

925 AnalogKick 5

926 AnalogKick 6

927 TR606DstKick

928 TR808 Kick

929 TR909 Kick 4

930 TR909 Kick 5

931 SH32 Kick

932 TR707 Kick

933 TR909 Kick 6

934 Mix Kick 1 L

935 Mix Kick 1 R

936 Mix Kick 2 L

937 Mix Kick 2 R

938 Mix Kick 3

939 Mix Kick 4

940 Mix Kick 5

941 Dry Kick 4

942 Small Kick

943 Vint Kick

944 Sweep Bass

945 WD Snr p L

946 WD Snr p R

947 WD Snr mf L

948 WD Snr mf R

949 WD Snr f L

950 WD Snr f R

951 WD Snr ff L

952 WD Snr ff R

953 WD Rim p L

954 WD Rim p R

955 WD Rim mf L

956 WD Rim mf R

957 WD Rim f L

958 WD Rim f R

959 WD Rim ff L

960 WD Rim ff R

961 LD Snr p L

962 LD Snr p R

963 LD Snr mf L

964 LD Snr mf R

965 LD Snr f L

966 LD Snr f R

967 LD Snr ff L

968 LD Snr ff R

969 LD Rim mf L

970 LD Rim mf R

971 LD Rim f L

972 LD Rim f R

973 LD Rim ff L

974 LD Rim ff R

975 TY Snr p L

976 TY Snr p R

977 TY Snr mf L

978 TY Snr mf R

979 TY Snr f L

980 TY Snr f R

No. Name

981 TY Snr ff L

982 TY Snr ff R

983 TY Rim p L

984 TY Rim p R

985 TY Rim mf L

986 TY Rim mf R

987 TY Rim f L

988 TY Rim f R

989 TY Rim ff L

990 TY Rim ff R

991 SF Snr p L

992 SF Snr p R

993 SF Snr mf L

994 SF Snr mf R

995 SF Snr f L

996 SF Snr f R

997 SF Snr ff L

998 SF Snr ff R

999 SF Rim p L

1000 SF Rim p R

1001 SF Rim mf L

1002 SF Rim mf R

1003 SF Rim f L

1004 SF Rim f R

1005 SF Rim ff L

1006 SF Rim ff R

1007 Reg.Snr1 p L

1008 Reg.Snr1 p R

1009 Reg.Snr1mf L

1010 Reg.Snr1mf R

1011 Reg.Snr1 f L

1012 Reg.Snr1 f R

1013 Reg.Snr1ff L

1014 Reg.Snr1ff R

1015 Reg.Snr2 p L

1016 Reg.Snr2 p R

1017 Reg.Snr2 f L

1018 Reg.Snr2 f R

1019 Reg.Snr2ff L

1020 Reg.Snr2ff R

1021 Amb.Snr1 p L

1022 Amb.Snr1 p R

1023 Amb.Snr1 f L

1024 Amb.Snr1 f R

1025 Amb.Snr2 p L

1026 Amb.Snr2 p R

1027 Amb.Snr2 f L

1028 Amb.Snr2 f R

1029 Piccolo Snr

1030 Maple Snr

1031 Light Snr ff

1032 Click Snr p

1033 Click Snr ff

1034 SF SnrGst1 L

1035 SF SnrGst1 R

1036 SF SnrGst2 L

1037 SF SnrGst2 R

1038 Reg.SnrGst L

1039 Reg.SnrGst R

1040 Sft Snr Gst

1041 Jazz Snr p

1042 Jazz Snr mf

1043 Jazz Snr f

1044 Jazz Rim p

1045 Jz Brsh Slap

1046 Jz Brsh Swsh

1047 Swish&Turn p

1048 Swish&Turn f

1049 Snr Roll Lp

1050 BrushRoll Lp

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245

Waveform List

No. Name

1051 Soft Jz Roll

1052 Concert SD

1053 GoodOld Snr1

1054 GoodOld Snr2

1055 GoodOld Snr3

1056 GoodOld Snr4

1057 GoodOld Snr5

1058 GoodOld Snr6

1059 Dirty Snr 1

1060 Dirty Snr 2

1061 Dirty Snr 3

1062 Dirty Snr 4

1063 Dirty Snr 5

1064 Dirty Snr 6

1065 Dirty Snr 7

1066 Grit Snr 1

1067 Grit Snr 2

1068 Grit Snr 3

1069 LoBit SnrFlm

1070 Lo-Bit Snr 1

1071 Lo-Bit Snr 2

1072 MrchCmp Snr

1073 Reggae Snr

1074 DR660 Snr

1075 Jngl pkt Snr

1076 Pocket Snr

1077 Flange Snr

1078 Analog Snr 1

1079 Analog Snr 2

1080 Analog Snr 3

1081 Tiny Snare

1082 R&B ShrtSnr1

1083 TR909 Snr 1

1084 TR909 Snr 2

1085 TR909 Snr 3

1086 TR909 Snr 4

1087 TR909 Snr 5

1088 TR909 Snr 6

1089 TR808 Snr 1

1090 TR808 Snr 2

1091 TR808 Snr 3

1092 TR808 Snr 4

1093 Lite Snare

1094 TR808 Snr 5

1095 TR808 Snr 6

1096 TR606 Snr 1

1097 TR606 Snr 2

1098 CR78 Snare

1099 Urbn Sn Roll

1100 Vint Snr 1

1101 Vint Snr 2

1102 Vint Snr 3

1103 Vint Snr 4

1104 Dist Snr

1105 Short Snr1

1106 Short Snr2

1107 WD CStk mf L

1108 WD CStk mf R

1109 WD CStk f L

1110 WD CStk f R

1111 LD CStk mf L

1112 LD CStk mf R

1113 LD CStk f L

1114 LD CStk f R

1115 TY CStk mf L

1116 TY CStk mf R

1117 TY CStk f L

1118 TY CStk f R

1119 SF CStk p L

1120 SF CStk p R

No. Name

1121 SF CStk f L

1122 SF CStk f R

1123 Reg.Stick L

1124 Reg.Stick R

1125 Soft Stick

1126 Hard Stick

1127 Wild Stick

1128 Lo-Bit Stk 1

1129 Lo-Bit Stk 2

1130 Dry Stick 1

1131 Dry Stick 2

1132 Dry Stick 3

1133 R8 Comp Rim

1134 R&B ShrtRim1

1135 R&B ShrtRim2

1136 TR909 Rim

1137 TR808 Rim

1138 LD L.Tom mf

1139 LD L.Tom f

1140 LD L.Tom ff

1141 LD M.Tom mf

1142 LD M.Tom f

1143 LD M.Tom ff

1144 LD H.Tom mf

1145 LD H.Tom f

1146 LD H.Tom ff

1147 TY L.Tom mf

1148 TY L.Tom f

1149 TY L.Tom ff

1150 TY M.Tom mf

1151 TY M.Tom f

1152 TY M.Tom ff

1153 TY H.Tom mf

1154 TY H.Tom f

1155 TY H.Tom ff

1156 RR F.Tom mp

1157 RR F.Tom f

1158 RR F.Tom ff

1159 SF L.Tom mf

1160 SF L.Tom ff

1161 SF M.Tom mf

1162 SF M.Tom f

1163 SF M.Tom ff

1164 SF H.Tom mf

1165 SF H.Tom f

1166 SF H.Tom ff

1167 RR FT Flm ff

1168 SF LT Flm ff

1169 SF MT Flm f

1170 SF HT Flm p

1171 SF HT Flm f

1172 SF HT Flm ff

1173 Reg.F.Tom p

1174 Reg.F.Tom f

1175 Reg.L.Tom p

1176 Reg.L.Tom f

1177 Reg.M.Tom p

1178 Reg.M.Tom f

1179 Reg.H.Tom p

1180 Reg.H.Tom f

1181 Reg.L.TomFlm

1182 Reg.M.TomFlm

1183 Reg.H.TomFlm

1184 Jazz Lo Tom

1185 Jazz Mid Tom

1186 Jazz Hi Tom

1187 Jazz Lo Flm

1188 Jazz Mid Flm

1189 Jazz Hi Flm

1190 Sharp Lo Tom

No. Name

1191 Sharp Hi Tom

1192 Dry Lo Tom

1193 TR909 Tom

1194 TR909 DstTom

1195 TR808 Tom

1196 TR606 Tom

1197 Deep Tom

1198 Reg.CHH 1 p

1199 Reg.CHH 1 mf

1200 Reg.CHH 1 f

1201 Reg.CHH 1 ff

1202 Reg.CHH 2 mf

1203 Reg.CHH 2 f

1204 Reg.CHH 2 ff

1205 Reg.PHH mf

1206 Reg.PHH f

1207 Reg.OHH mf

1208 Reg.OHH f

1209 Reg.OHH ff

1210 Rock CHH1 mf

1211 Rock CHH1 f

1212 Rock CHH2 mf

1213 Rock CHH2 f

1214 Rock OHH

1215 Lo-Bit CHH 1

1216 Lo-Bit CHH 2

1217 Lo-Bit CHH 3

1218 Lo-Bit CHH 4

1219 Lo-Bit CHH 5

1220 HipHop CHH

1221 TR909 CHH 1

1222 TR909 CHH 2

1223 TR808 CHH 1

1224 TR808 CHH 2

1225 TR606 CHH 1

1226 TR606 CHH 2

1227 TR606 DstCHH

1228 Lite CHH

1229 CR78 CHH

1230 Dance CHH

1231 Noise CHH

1232 Hip PHH

1233 TR909 PHH 1

1234 TR909 PHH 2

1235 TR808 PHH

1236 TR606 PHH 1

1237 TR606 PHH 2

1238 Lo-Bit PHH

1239 Lo-Bit OHH 1

1240 Lo-Bit OHH 2

1241 Lo-Bit OHH 3

1242 HipHop OHH

1243 TR909 OHH 1

1244 TR909 OHH 2

1245 TR808 OHH 1

1246 TR808 OHH 2

1247 TR606 OHH

1248 Lite OHH

1249 CR78 OHH

1250 Noise OHH

1251 Noise OHH 2

1252 Crash Cym1 p

1253 Crash Cym1 f

1254 Crash Cym 2

1255 Rock Crash 1

1256 Rock Crash 2

1257 Splash Cym

1258 Jazz Crash

1259 TR909 Crash

1260 TR909 Crash2

No. Name

1261 TR808 Cym

1262 TR606 Cym 2

1263 Ride Cymbal

1264 Ride Bell

1265 Rock Rd Cup

1266 Rock Rd Edge

1267 Jazz Ride p

1268 Jazz Ride mf

1269 TR909 Ride

1270 China Cymbal

1271 Concert Cym

1272 Concert Cym2

1273 Hand Clap

1274 Club Clap

1275 Real Clap

1276 Bright Clap

1277 R8 Clap

1278 Gospel Clap

1279 Amb Clap

1280 Hip Clap

1281 Funk Clap

1282 Claptail

1283 TR808 Clap 1

1284 Disc Clap

1285 Dist Clap

1286 Dist Clap 2

1287 Old Clap

1288 TR909 Clap 1

1289 TR909 Clap 2

1290 TR808 Clap 2

1291 TR707 Clap

1292 Cheap Clap

1293 Mix Clap 1 L

1294 Mix Clap 1 R

1295 Mix Clap 2 L

1296 Mix Clap 2 R

1297 Mix Clap 3

1298 Mix Clap 4

1299 Finger Snap

1300 Club FinSnap

1301 Snap

1302 Group Snap

1303 Cowbell

1304 Cowbell Mute

1305 Cowbell2 Lng

1306 Cowbell2 Edg

1307 Cowbell3 mf

1308 Cowbell3 f

1309 TR808Cowbell

1310 Wood Block

1311 Wood Block2H

1312 Wood Block2L

1313 Claves

1314 Claves 2

1315 TR808 Claves

1316 CR78 Beat

1317 Castanet

1318 Whistle

1319 Whistle Long

1320 Whistle Shrt

1321 Bongo Hi Mt

1322 Bongo Hi Slp

1323 Bongo Hi Op

1324 Bongo Lo Op

1325 Bongo Lo Slp

1326 Conga Hi Mt

1327 Conga Lo Mt

1328 Conga Hi Slp

1329 Conga Lo Slp

1330 Conga Hi Op

No. Name

1331 Conga Lo Op

1332 Conga Slp Op

1333 Conga Efx

1334 Conga Thumb

1335 Conga 2H Op

1336 Conga 2H Mt

1337 Conga 2H Slp

1338 Conga 2L Op

1339 Conga 2L Mt

1340 TR808 Conga1

1341 TR808 Conga2

1342 Timbale 1

1343 Timbale 2

1344 Timbare 3

1345 Timbare 4

1346 Cabasa Up

1347 Cabasa Down

1348 Cabasa Cut

1349 Cabasa 2

1350 Cabasa 2 Cut

1351 Maracas

1352 808 Maracas

1353 R8 Shaker

1354 Shaker 1

1355 Shaker 2

1356 Shaker 3

1357 Guiro 1

1358 Guiro 2

1359 Guiro Long

1360 Guiro 2 Up

1361 Guiro 2 Down

1362 Guiro 2 Fast

1363 Vibraslap

1364 Tamborine 1

1365 Tamborine 2

1366 Tamborine 3

1367 Tamborine4 p

1368 Tamborine4 f

1369 CR78 Tamb

1370 Cajon 1

1371 Cajon 2

1372 Cajon 3

1373 Cajon 4

1374 SprgDrm Hit

1375 Cuica

1376 Cuica 2 Hi

1377 Cuica 2 Low

1378 Timpani p

1379 Timpani f

1380 Timpani Roll

1381 Timpani Lp

1382 ConcertBD p

1383 ConcertBD f

1384 ConcertBD ff

1385 ConcertBD Lp

1386 Triangle 1

1387 Triangle 2

1388 Tibet Cymbal

1389 Slight Bell

1390 Wind Chime

1391 Crotale

1392 R8 Click

1393 Metro Bell

1394 Metro Click

1395 MC500 Beep 1

1396 MC500 Beep 2

1397 DR202 Beep

1398 Low Square

1399 Low Sine

1400 DC

1401 Reverse Cym

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246

Model: SonicCell

Date: 2007.6.15

Version: 1.00

MIDI Implementation

1. Receive data

■

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 00H

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

kk = note number: 00H - 7FH (0 - 127)

vv = note off velocity: 00H - 7FH (0 - 127)

* Not received when the Tone Env Mode parameter (Patch Ctrl and

Rhythm General) is NO-SUS.

●

Note on

Status 2nd byte 3rd byte

9nH kkH vvH

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

kk = note number: 00H - 7FH (0 - 127)

vv = note on velocity: 01H - 7FH (1 - 127)

●

Polyphonic Key Pressure

Status 2nd byte 3rd byte

AnH kkH vvH

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

kk = note number: 00H - 7FH (0 - 127)

vv = Polyphonic Key Pressure: 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 3rd byte

BnH 00H mmH

BnH 20H llH

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

mm, ll = Bank number:

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.

* The SRX series corresponding to each Bank Select are to see the

SRX series owner's manual.

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)

Status 2nd byte 3rd byte

BnH 01H vvH

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

vv = Modulation depth: 00H - 7FH (0 - 127)

* Not received in Performance mode when the Receive Modulation

parameter (Performance MIDI) is OFF.

❍

Breath type (Controller number 2)

Status 2nd byte 3rd byte

BnH 02H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

❍

Foot type (Controller number 4)

Status 2nd byte 3rd byte

BnH 04H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

❍

Portamento Time (Controller number 5)

Status 2nd byte 3rd byte

BnH 05H vvH

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

vv = Portamento Time: 00H - 7FH (0 - 127)

* In Performance mode the Part Portament Time parameter (Part

Edit) will change.

❍

Data Entry (Controller number 6, 38)

Status 2nd byte 3rd byte

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

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247

MIDI Implementation

❍

Volume (Controller number 7)

Status 2nd byte 3rd byte

BnH 07H vvH

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

vv = Volume: 00H - 7FH (0 - 127)

* Not received in Performance mode when the Receive Volume

parameter (Performance MIDI) is OFF.

* In Performance mode the Part Level parameter (Part Edit) will

change.

❍

Balance (Controller number 8)

Status 2nd byte 3rd byte

BnH 08H vvH

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

vv = Balance: 00H - 7FH (0 - 127)

❍

Panpot (Controller number 10)

Status 2nd byte 3rd byte

BnH 0AH vvH

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

vv = Panpot:

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.

❍

Expression (Controller number 11)

Status 2nd byte 3rd byte

BnH 0BH vvH

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

vv = Expression: 00H - 7FH (0 - 127)

* 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.

❍

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)

vv = Control value:

00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

* In Performance mode the Part Portamento Switch parameter (Part

Edit) will change.

❍

Sostenuto (Controller number 66)

Status 2nd byte 3rd byte

BnH 42H vvH

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

vv = Control value:

00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

❍

Soft (Controller number 67)

Status 2nd byte 3rd byte

BnH 43H vvH

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

vv = Control value:

00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

❍

Legato Foot Switch (Controller number 68)

Status 2nd byte 3rd byte

BnH 44H vvH

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

vv = Control value:

00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

* In Performance mode the Part Legato Switch parameter (Part Edit)

will change.

❍

Hold-2 (Controller number 69)

Status 2nd byte 3rd byte

BnH 45H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

* A hold movement isn't done.

❍

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)

* In Performance mode the Part Resonance Offset parameter (Part

Edit) will change.

❍

Release Time (Controller number 72)

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.

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248

MIDI Implementation

❍

Cutoff (Controller number 74)

Status 2nd byte 3rd byte

BnH 4AH vvH

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

vv = Cutoff value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

* In Performance mode the Part Cutoff Offset parameter (Part Edit)

will change.

❍

Decay Time (Controller number 75)

Status 2nd byte 3rd byte

BnH 4BH vvH

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

vv = Decay Time value (relative change)

: 00H - 40H - 7FH (-64 - 0 - +63)

* In Performance mode the Part Decay Offset parameter (Part Edit)

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 3rd byte

BnH 4EH vvH

n = MIDI channel number: 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 3rd byte

BnH 50H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (Patch TVA) of Tone 1 will change.

❍

General Purpose Controller 6 (Controller number 81)

Status 2nd byte 3rd byte

BnH 51H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (Patch TVA) of Tone 2 will change.

❍

General Purpose Controller 7 (Controller number 82)

Status 2nd byte 3rd byte

BnH 52H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (Patch TVA) of Tone 3 will change.

❍

General Purpose Controller 8 (Controller number 83)

Status 2nd byte 3rd byte

BnH 53H vvH

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

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (Patch TVA) of Tone 4 will change.

❍

Portamento control (Controller number 84)

Status 2nd byte 3rd byte

BnH 54H kkH

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

kk = source note number: 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 3rd byte

BnH 5BH vvH

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

vv = Reverb Send Level: 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 3rd byte

BnH 5DH vvH

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

vv = Chorus Send Level: 00H - 7FH (0 - 127)

* In Performance mode the Part Chorus Send Level parameter (Part

Edit) will change.

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249

MIDI Implementation

❍

RPN MSB/LSB (Controller number 100, 101)

Status 2nd byte 3rd byte

BnH 65H mmH

BnH 64H llH

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

<<< 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 Data entry

MSB, LSB MSB, LSB Notes

00H, 00H mmH, llH 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 mmH, llH 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 mmH, llH 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

●

Program Change

Status 2nd byte

CnH ppH

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

pp = Program number: 00H - 7FH (prog.1 - prog.128)

* Not received in Performance mode when the Receive Program

Change parameter (Performance MIDI) is OFF.

●

Channel Pressure

Status 2nd byte

DnH vvH

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

vv = Channel Pressure: 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 3rd byte

EnH llH mmH

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

mm, ll = Pitch Bend value:

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)

* When this message is received, all notes currently sounding on the

corresponding channel will be turned off.

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250

MIDI Implementation

●

Reset All Controllers (Controller number 121)

Status 2nd byte 3rd byte

BnH 79H 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.

Controller Reset value

Pitch Bend Change +/-0 (center)

Polyphonic Key Pressure 0 (off)

Channel Pressure 0 (off)

Modulation 0 (off)

Breath Type 0 (min)

Expression 127 (max) However the controller

will be at minimum.

Hold 1 0 (off)

Sostenuto 0 (off)

Soft 0 (off)

Hold 2 0 (off)

RPN

unset; previously set data will not change

NRPN

unset; previously set data will not change

●

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.

●

MONO (Controller number 126)

Status 2nd byte 3rd byte

BnH 7EH mmH

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

mm = mono number: 00H - 10H (0 - 16)

* The same processing will be carried out as when All Notes Off is

received.

* In Performance mode, the Part Mono/Poly parameter (Part Edit)

will change.

●

POLY (Controller number 127)

Status 2nd byte 3rd byte

BnH 7FH 00H

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

* The same processing will be carried out as when All Notes Off is

received.

* In Performance mode, the Part Mono/Poly parameter (Part Edit)

will change.

■

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.

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251

MIDI Implementation

■

System Exclusive Message

Status Data byte Status

F0H iiH, ddH, ......,eeH 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: 00H - 7FH (0 - 127)

F7H: EOX (End Of Exclusive)

Of the System Exclusive messages received by this device, the

Universal Non-realtime messages and the Universal Realtime

messages and the Data Request (RQ1) messages and the Data Set

(DT1) messages will be set automatically.

●

Universal Non-realtime System Exclusive

Messages

❍

Identity Request Message

Status Data byte Status

F0H 7EH, dev, 06H, 01H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

dev Device ID (dev: 10H - 1FH, 7FH)

06H Sub ID#1 (General Information)

01H 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 Data byte Status

F0H 7EH, 7FH, 09H, 01H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

01H Sub ID#2 (General MIDI 1 On)

F7H EOX (End Of Exclusive)

* 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.

❍

GM2 System On

Status Data byte Status

F0H 7EH 7FH 09H 03H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

03H Sub ID#2 (General MIDI 2 On)

F7H 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

(System MIDI) is OFF.

❍

GM System Off

Status Data byte Status

F0H 7EH, 7F, 09H, 02H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

02H Sub ID#2 (General MIDI Off)

F7H 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 Data byte Status

F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

01H Sub ID#2 (Master Volume)

llH Master Volume lower byte

mmH Master Volume upper byte

F7H EOX (End Of Exclusive)

* The lower byte (llH) of Master Volume will be handled as 00H.

* The Master Level parameter (System) will change.

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252

MIDI Implementation

❍

Master Fine Tuning

Status Data byte Status

F0H 7FH, 7FH, 04H, 03H, llH, mmH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

03H Sub ID#2 (Master Fine Tuning)

llH Master Fine Tuning LSB

mmH Master Fine Tuning MSB

F7H EOX (End Of Exclusive)

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 Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

04H Sub ID#2 (Master Coarse Tuning)

llH Master Coarse Tuning LSB

mmH Master Coarse Tuning MSB

F7H EOX (End Of Exclusive)

llH: ignored (processed as 00H)

mmH: 28H - 40H - 58H (-24 - 0 - +24 [semitones])

* The Master Key Shift parameter (System) will change.

●

Global Parameter Control

* Not received in Patch mode.

❍

Reverb Parameters

Status Data byte Status

F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H

01H, 01H, 01H, ppH, vvH

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

05H Sub ID#2 (Global Parameter Control)

01H Slot path length

01H Parameter ID width

01H Value width

01H Slot path MSB

01H Slot path LSB (Effect 0101: Reverb)

ppH Parameter to be controlled.

vvH Value for the parameter.

pp=0 Reverb Type

vv = 00H Small Room

vv = 01H Medium Room

vv = 02H Large Room

vv = 03H Medium Hall

vv = 04H Large Hall

vv = 08H Plate

pp=1 Reverb Time

vv = 00H - 7FH 0 - 127

F7H EOX (End Of Exclusive)

❍

Chorus Parameters

Status Data byte Status

F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H

01H, 01H, 02H, ppH, vvH

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

05H Sub ID#2 (Global Parameter Control)

01H Slot path length

01H Parameter ID width

01H Value width

01H Slot path MSB

02H Slot path LSB (Effect 0102: Chorus)

ppH Parameter to be controlled.

vvH Value for the parameter.

pp=0 Chorus Type

vv=0 Chorus1

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

F7H EOX (End Of Exclusive)

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MIDI Implementation

❍

Channel Pressure

Status Data byte Status

F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

09H Sub ID#1 (Controller Destination Setting)

01H Sub ID#2 (Channel Pressure)

0nH MIDI Channel (00 - 0F)

ppH Controlled parameter

rrH 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%

F7H EOX (End Of Exclusive)

❍

Controller

Status Data byte Status

F0H 7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

09H Sub ID#1 (Controller Destination Setting)

03H Sub ID#2 (Control Change)

0nH MIDI Channel (00 - 0F)

ccH Controller number (01 - 1F, 40 - 5F)

ppH Controlled parameter

rrH 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%

F7H EOX (End Of Exclusive)

❍

Scale/Octave Tuning Adjust

Status Data byte Status

F0H 7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

08H Sub ID#1 (MIDI Tuning Standard)

08H Sub ID#2 (scale/octave tuning 1-byte form)

ffH Channel/Option byte 1

bits 0 to 1 = channel 15 to 16

bit 2 to 6 = Undefined

ggH Channel byte 2

bits 0 to 6 = channel 8 to 14

hhH Channel byte 3

bits 0 to 6 = channel 1 to 7

ssH 12 byte tuning offset of 12 semitones from C to B

00H = -64 [cents]

40H = 0 [cents] (equal temperament)

7FH = +63 [cents]

F7H EOX (End Of Exclusive)

❍

Key-based Instrument Controllers

Status Data byte Status

F0H

7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH

F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

0AH Sub ID#1 (Key-Based Instrument Control)

01H Sub ID#2 (Controller)

0nH MIDI Channel (00 - 0FH)

kkH Key Number

nnH Control Number

vvH 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)

F7 EOX (End Of Exclusive)

* 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.

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254

MIDI Implementation

❍

Data Request 1 RQ1 (11H)

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)

message. If the conditions are not met, nothing is transmitted.

status data byte status

F0H 41H, dev, 00H, 00H, 25H, 11H, aaH, bbH, F7H

ccH, ddH, ssH, ttH, uuH, vvH, sum

Byte Remarks

F0H Exclusive status

41H ID number (Roland)

dev device ID (dev: 10H - 1FH, 7FH)

00H model ID #1 (SonicCell)

00H model ID #2 (SonicCell)

25H model ID #3 (SonicCell)

11H command ID (RQ1)

aaH address MSB

bbH address

ccH address

ddH address LSB

ssH size MSB

ttH size

uuH size

vvH size LSB

sum checksum

F7H EOX (End Of Exclusive)

* 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.

❍

Data set 1 DT1 (12H)

Status Data byte Status

F0H 41H, dev, 00H, 00H, 25H, 12H, aaH, bbH, F7H

ccH, ddH, eeH, ... ffH, sum

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (dev: 00H - 1FH, 7FH)

00H Model ID #1 (SonicCell)

00H Model ID #2 (SonicCell)

25H Model ID #3 (SonicCell)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of

the data to be sent

bbH Address: upper middle byte of the starting

address of the data to be sent

ccH Address: lower middle byte of the starting

address of the data to be sent

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

order starting from the address.

: :

ffH Data

sum Checksum

F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends

on the type of data, and data will be transmitted from the

specified starting address and size. Refer to the address and size

given in “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.

Status Data byte Status

F0H 41H, dev, 42H, 12H, aaH, bbH, F7H

ccH, ddH, ... eeH, sum

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (dev: 10H - 1FH, 7FH)

42H Model ID (GS)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of

the transmitted data

bbH Address: middle byte of the starting address

of the transmitted data

ccH Address LSB: lower byte of the starting address of

the transmitted data

ddH Data: the actual data to be transmitted.

Multiple bytes of data are

transmitted starting from the

address.

: :

eeH Data

sum Checksum

F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends

on the type of data, and data will be transmitted from the

specified starting address and size. Refer to the address and size

given in “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.

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MIDI Implementation

2. Data Transmission

Messages (except System Common and System Realtime Messages)

that are received are then sent out when Soft Thru parameter

(System MIDI) is switched to ON.

■

Channel Voice Messages

●

Note off

Status 2nd byte 3rd byte

8nH kkH vvH

9nH kkH 00H

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

kk = note number: 00H - 7FH (0 - 127)

vv = note off velocity: 00H - 7FH (0 - 127)

* This message is transmitted from SMF Player.

●

Note on

Status 2nd byte 3rd byte

9nH kkH vvH

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

kk = note number: 00H - 7FH (0 - 127)

vv = note on velocity: 01H - 7FH (1 - 127)

* This message is transmitted from SMF Player.

●

Polyphonic Key Pressure

Status 2nd byte 3rd byte

AnH kkH vvH

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

kk = note number: 00H - 7FH (0 - 127)

vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)

* This message is transmitted from SMF Player.

●

Control Change

BnH kkH vvH

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

kk = Controller number: 00H - 77H (0 - 119)

vv = Control value: 00H - 7FH (0 - 127)

* This message is transmitted from SMF Player.

●

Program Change

Status 2nd byte

CnH ppH

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

pp = Program number: 00H - 7FH (prog.1 - prog.128)

* This message is transmitted from SMF Player.

●

Channel Pressure

Status 2nd byte

DnH vvH

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

vv = Channel Pressure: 00H - 7FH (0 - 127)

* This message is transmitted from SMF Player.

●

Pitch Bend Change

Status 2nd byte 3rd byte

EnH llH mmH

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

mm, ll = Pitch Bend value:

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

* This message is transmitted from SMF Player.

■

Channel Mode Messages

●

All Sounds Off (Controller number 120)

Status 2nd byte 3rd byte

BnH 78H 00H

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

* This message is transmitted from SMF Player.

●

Reset All Controllers (Controller number 121)

Status 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 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 3rd byte

BnH 7EH mmH

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

mm = mono number: 00H - 10H (0 - 16)

* 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.

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256

MIDI Implementation

■

System Realtime Messages

●

Active Sensing

Status

FEH

* This message is transmitted at intervals of approximately 250

msec.

■

System Exclusive Message

Status Data byte Status

F0H iiH, ddH, ......,eeH 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: 00H - 7FH (0 - 127)

F7H: 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, F7H

00H, 00H, 00H, 00H, 00H, 00H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

dev Device ID (dev: 10H - 1FH)

06H Sub ID#1 (General Information)

02H Sub ID#2 (Identity Reply)

41H ID number (Roland)

25H 02H Device family code

00H 00H Device family number code

00H 00H 00H 00H

Software revision level

F7H EOX (End of Exclusive)

●

Data Transmission

❍

Data set 1 DT1 (12H)

Status Data byte Status

F0H 41H, dev, 00H, 00H, 25H, 12H, aaH, bbH, F7H

ccH, ddH, eeH, ... ffH, sum

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (dev: 00H - 1FH, 7FH)

00H Model ID #1 (SonicCell)

00H Model ID #2 (SonicCell)

25H Model ID #3 (SonicCell)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of

the data to be sent

bbH Address: upper middle byte of the starting

address of the data to be sent

ccH Address: lower middle byte of the starting

address of the data to be sent

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

order starting from the address.

: :

ffH Data

sum Checksum

F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends

on the type of data, and data will be transmitted from the

specified starting address and size. Refer to the address and size

given in “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.

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257

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) <*> |

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258

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, |

| | | -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 | |

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| | 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) |

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| | | |

| 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) |

| | | -20000 - +20000 |

|# 00 29 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 7 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 2D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 8 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 31 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 9 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 35 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 10 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 39 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 11 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 3D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 12 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 41 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 13 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 45 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 14 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 49 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 15 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 4D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 16 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 51 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 17 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 55 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 18 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 59 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 19 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 5D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 20 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 61 | 0000 aaaa | |

| | 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 | |

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| | 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 | |

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| | 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 |

|-------------+-----------+----------------------------------------------------|

| 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 |

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263

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) |

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264

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, |

| | | 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, |

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| | | 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 | |

| | 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 | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 8 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 31 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 9 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 35 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 10 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 39 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 11 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 3D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 12 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 41 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 13 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 45 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 14 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 49 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 15 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 4D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 16 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 51 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 17 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 55 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 18 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 59 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 19 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 5D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 20 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 61 | 0000 aaaa | |

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| | 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 | |

| | 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 |

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|# 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) |

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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 |

| 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) |

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| | | 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 | |

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| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 8 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 31 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 9 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 35 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 10 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 39 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 11 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 3D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 12 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 41 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 13 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 45 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 14 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 49 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 15 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 4D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 16 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 51 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 17 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 55 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 18 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 59 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 19 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 5D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | MFX Parameter 20 (12768 - 52768) |

| | | -20000 - +20000 |

|# 00 61 | 0000 aaaa | |

| | 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 |

+------------------------------------------------------------------------------+

* 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 | |

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| | 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 |

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| 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 | |

| | 0000 dddd | WMT2 Wave Number L (Mono) (0 - 16384) |

| | | OFF, 1 - 16384 |

|# 00 48 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT2 Wave Number R (0 - 16384) |

| | | OFF, 1 - 16384 |

| 00 4C | 0000 00aa | WMT2 Wave Gain (0 - 3) |

| | | -6, 0, +6, +12 [dB] |

| 00 4D | 0000 000a | WMT2 Wave FXM Switch (0 - 1) |

| | | OFF, ON |

| 00 4E | 0000 00aa | WMT2 Wave FXM Color (0 - 3) |

| | | 1 - 4 |

| 00 4F | 000a aaaa | WMT2 Wave FXM Depth (0 - 16) |

| 00 50 | 0000 000a | WMT2 Wave Tempo Sync (0 - 1) |

| | | OFF, ON |

| 00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune (16 - 112) |

| | | -48 - +48 |

| 00 52 | 0aaa aaaa | WMT2 Wave Fine Tune (14 - 114) |

| | | -50 - +50 |

| 00 53 | 0aaa aaaa | WMT2 Wave Pan (0 - 127) |

| | | L64 - 63R |

| 00 54 | 0000 000a | WMT2 Wave Random Pan Switch (0 - 1) |

| | | OFF, ON |

| 00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch (0 - 2) |

| | | OFF, ON, REVERSE |

| 00 56 | 0aaa aaaa | WMT2 Wave Level (0 - 127) |

| 00 57 | 0aaa aaaa | WMT2 Velocity Range Lower (1 - 127) |

| | | 1 - UPPER |

| 00 58 | 0aaa aaaa | WMT2 Velocity Range Upper (1 - 127) |

| | | LOWER - 127 |

| 00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower (0 - 127) |

| 00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper (0 - 127) |

| 00 5B | 0000 000a | WMT3 Wave Switch (0 - 1) |

| | | OFF, ON |

| 00 5C | 0000 00aa | WMT3 Wave Group Type (0 - 1) |

| | | INT, SRX |

|# 00 5D | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT3 Wave Group ID (0 - 16384) |

| | | OFF, 1 - 16384 |

|# 00 61 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT3 Wave Number L (Mono) (0 - 16384) |

| | | OFF, 1 - 16384 |

|# 00 65 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT3 Wave Number R (0 - 16384) |

| | | OFF, 1 - 16384 |

| 00 69 | 0000 00aa | WMT3 Wave Gain (0 - 3) |

| | | -6, 0, +6, +12 [dB] |

| 00 6A | 0000 000a | WMT3 Wave FXM Switch (0 - 1) |

| | | OFF, ON |

| 00 6B | 0000 00aa | WMT3 Wave FXM Color (0 - 3) |

| | | 1 - 4 |

| 00 6C | 000a aaaa | WMT3 Wave FXM Depth (0 - 16) |

| 00 6D | 0000 000a | WMT3 Wave Tempo Sync (0 - 1) |

| | | OFF, ON |

| 00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune (16 - 112) |

| | | -48 - +48 |

| 00 6F | 0aaa aaaa | WMT3 Wave Fine Tune (14 - 114) |

| | | -50 - +50 |

| 00 70 | 0aaa aaaa | WMT3 Wave Pan (0 - 127) |

| | | L64 - 63R |

| 00 71 | 0000 000a | WMT3 Wave Random Pan Switch (0 - 1) |

| | | OFF, ON |

| 00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch (0 - 2) |

| | | OFF, ON, REVERSE |

| 00 73 | 0aaa aaaa | WMT3 Wave Level (0 - 127) |

| 00 74 | 0aaa aaaa | WMT3 Velocity Range Lower (1 - 127) |

| | | 1 - UPPER |

| 00 75 | 0aaa aaaa | WMT3 Velocity Range Upper (1 - 127) |

| | | LOWER - 127 |

| 00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower (0 - 127) |

| 00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper (0 - 127) |

| 00 78 | 0000 000a | WMT4 Wave Switch (0 - 1) |

| | | OFF, ON |

| 00 79 | 0000 00aa | WMT4 Wave Group Type (0 - 1) |

| | | INT, SRX |

|# 00 7A | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT4 Wave Group ID (0 - 16384) |

| | | OFF, 1 - 16384 |

|# 00 7E | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT4 Wave Number L (Mono) (0 - 16384) |

| | | OFF, 1 - 16384 |

|# 01 02 | 0000 aaaa | |

| | 0000 bbbb | |

| | 0000 cccc | |

| | 0000 dddd | WMT4 Wave Number R (0 - 16384) |

| | | OFF, 1 - 16384 |

| 01 06 | 0000 00aa | WMT4 Wave Gain (0 - 3) |

| | | -6, 0, +6, +12 [dB] |

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273

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

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274

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 4-

bit units. A value expressed as a 2-byte nibble 0a 0bH has the

value of a x 16+b.

<Example 1> What is the decimal expression of 5AH?

From the preceding table, 5AH = 90

<Example 2> 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

<Example 3> 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 =

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

<Example 4> What is the nibbled expression of the decimal value

1258?

16 ) 1258

16 ) 78 ...10

16 ) 4 ...14

0 ... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 =

0AH, the result is: 00 04 0E 0AH.

■

Examples of Actual MIDI Messages

<Example 1> 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.

<Example 2> 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.

<Example 3> 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.

<Example 4> 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.

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275

MIDI Implementation

B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H

(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H

(B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH

(B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H

(B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH

(B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH

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.

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

<Example 4>. 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.

aa + bb + cc + dd + ee + ff = sum

sum ÷ 128 = quotient ... remainder

128 - remainder = checksum

<Example> 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;

10 00 00 00H

04 00H

+) 00 00H

10 00 04 00H

DELAY has the value of 02H.

So the system exclusive message should be sent is;

F0 41 10 00 00 25 12 10 00 04 00 02 ?? F7

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

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276

MIDI Implementation

Example Settings

Note name Equal Just Temperament Arabian Scale

Temperament(Key-tone C)

C00 -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

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.

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277

MIDI Implementation Chart

Function...

Basic

Channel

Pitch Bend

Program

Change

System Exclusive

System

Common

System

Realtime

Aux

Messages

Notes

Transmitted Recognized Remarks

Default

Changed

: True Number

: Song Position

: Song Select

: Tune

: Clock

: Command

: All Sound Off

: Reset All Controllers

: Local ON/OFF

: All Note Off

: Active Sensing

: System Reset

1–16

O *4

**************

O *3 *4

O *4

1–16

Velocity Note ON

Note OFF

O *4

Aftertouch Key's

Channel's

O *4

O *1

0–127

O *1

O (123–127)

* 1 O X is selectable.

* 2 Recognized as M=1 even if M≠1.

* 3 Transmitted when Tx Edit Data is ON, or when RQ1 is received.

* 4 Transmitted from SMF Player.

Model: SonicCell

Date : June. 15, 2007

Version : 1.00

MIDI Implementation Chart

Note

Number : True Voice

0–127 0–127

0–127

**************

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O : Yes

X : No

Mode

Default

Messages

Altered

Mode 3

Mode 3, 4 (M = 1)

**************

* 2

Program Number 1–128

Control

Change

0, 32

6, 38

1–31, 33–95

96, 97

98, 99

100, 101

102–119

O (Tone 1 Level)

O (Tone 2 Level)

O (Tone 3 Level)

O (Tone 4 Level)

O (Reverb)

O (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

SonicCell_e.book 277 ページ２００７年７月２日　月曜日　午後３時５０分

278

Specifications

SonicCell: 128 Voices Sound Module with Audio Interface (Conforms to General MIDI 2 System)

■

Sound Generator Section

Parts

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

External Memory

USB Memory

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

■

Others

Display

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

800 mA

Dimensions

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 278 ページ２００７年７月２日　月曜日　午後３時５０分

279

Index

Numerics

3D Effects

........................................................................ 193

AC Adaptor

....................................................................... 18

AIFF

................................................................................. 168

Amp Envelope

................................................................... 24

Audio File

........................................................................ 168

Backup

............................................................................ 182

BKT-S

................................................................................. 30

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

Delay

............................................................................... 219

Delete

Playlist

....................................................................... 173

Demo Songs

...................................................................... 15

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

Factory Reset

................................................................... 183

Format

............................................................................. 183

Group Select screen

.............................................. 66–67, 87

Guitar

................................................................................ 41

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

LFO (Low Frequency Oscillator)

......................................... 55

Librarian

............................................................................ 27

Line

.................................................................................... 42

Logic Pro 7.2

................................................................... 163

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

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

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280

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

Note priority

...................................................................... 55

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

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

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

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 280 ページ２００７年７月２日　月曜日　午後３時５０分

281

Index

System Control screen

..................................................... 179

System Memory

................................................................. 57

System MIDI screen

......................................................... 180

System Preview screen

..................................................... 179

System screen

.................................................................. 176

System Settings

................................................................ 176

System SRX Info screen

.................................................... 180

System Version Info screen

.............................................. 180

System Write

................................................................... 150

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

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

Voice Reserve

.................................................................... 55

Volume Level

..................................................................... 42

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

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282

For EU Countries

For China

SonicCell_e.book 282 ページ２００７年７月２日　月曜日　午後３時５０分

283

This product complies with the requirements of European Directive 89/336/EEC.

For EU Countries

For Canada

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

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

NOTICE

AVIS

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 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

SonicCell_e.book 283 ページ２００７年７月２日　月曜日　午後３時５０分

284

As of May 1, 2007 (ROLAND)

Information

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

distributor in your country as shown below.

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

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

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

INDONESIA

PT Citra IntiRama

Jl. Cideng Timur No. 15J-15O

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA

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

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

SINGAPORE

SWEE LEE MUSIC

COMPANY PTE. LTD.

150 Sims Drive,

SINGAPORE 387381

TEL: 6846-3676

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

AUSTRALIA/

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

For Australia

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, Colombia

TEL: (574)3812529

COSTA RICA

JUAN Bansbach Instrumentos

Musicales

Ave.1. Calle 11, Apartado

10237,

San Jose, COSTA RICA

TEL: 258-0211

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

TEL:(593-4)2302364

EL SALVADOR

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

Musique & Son

Z.I.Les Mangle

97232 Le Lamantin

Martinique F.W.I.

TEL: 596 596 426860

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

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

UL. Gibraltarska 4.

PL-03 664 Warszawa

POLAND

TEL: (022) 679 4419

PORTUGAL

Roland Iberia, S.L.

Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

TEL: (266) 364 609

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18.

SK - 940 01 Nové Zámky

TEL: (035) 6424 330

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a.

Nedecey Str. 30

UA - 89600 Mukachevo,

UKRAINE

TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

UNITED KINGDOM

TEL: (01792) 702701

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha

Building Road 3931, Manama

339 BAHRAIN

TEL: 17 813 942

IRAN

MOCO INC.

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

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha'alia Hashnia St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa

1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales

Allegro,C.A.

Av.las industrias edf.Guitar

import

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

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

JORDAN

MUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine

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

5857

Beirut, LEBANON

TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

QATAR

Al Emadi Co. (Badie Studio &

Stores)

P.O. Box 62, Doha, QATAR

TEL: 4423-554

SAUDI ARABIA

aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

31952 SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

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

Damascus, SYRIA

TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Ground Floor, Dubai,

U.A.E.

TEL: (04) 3360715

CANADA

Roland Canada Ltd.

(Head Office)

5480 Parkwood Way

Richmond B. C., V6V 2M4

CANADA

TEL: (604) 270 6626

Roland Canada Ltd.

(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (323) 890 3700

ASIA

AFRICA

AUSTRALIA/

NEW ZEALAND

EUROPE

CENTRAL/LATIN

AMERICA

MIDDLE EAST

NORTH AMERICA

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SonicCell_r_e Roland Corporation Sonic Cell Owner's Manual Soniccell Om

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