Roland Xp 30 Users Manual 30_e

Roland Corporation XP-30 Owner's Manual xp-30_om Roland Corporation - XP-30 - Owner's Manual

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Roland Corporation XP-30 Owner's Manual xp-30_om Roland Corporation - XP-30 - Owner's Manual

2015-02-02

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Thank you, and congratulations on your choice of the Roland XP-30 64 Voice Expandable
Synthesizer.
* Apple is a registered trademark of Apple Computer, Inc.
* Macintosh is a registered trademark of Apple Computer, Inc.
* IBM is a registered trademark of International Business Machines Corporation.
* IBM PC is a registered trademark of International Business Machines Corporation.
* SmartMedia is a trademark of Toshiba Corporation.
Copyright © 1999 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT
NOTES” (p. 5). These sections provide important information concerning the proper
operation of the unit. Additionally, in order to feel assured that you have gained a good
grasp of every feature provided by your new unit, Owner’s manual should be read in
its entirety. The manual should be saved and kept on hand as a convenient reference.
OWNER’S MANUAL
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. When the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
CAUTION: Danger of explosion if battery is incorrectly replaced.
Replace only with same or equivalent type.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified by the
manufacturer.
12. Never use with a cart, stand, tripod, bracket,
or table except as specified by the
manufacturer, or sold with the apparatus.
When a cart is used, use caution when
moving the cart/apparatus combination to
avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
NEUTRAL
LIVE
For the U.K.
2
3
001
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
002b
•Do not open or perform any internal modifications
on the unit. (The only exception would be where
this manual provides specific instructions which
should be followed in order to put in place user-
installable options; see p. 17, 21.)
..........................................................................................................
006
• When using the unit with a rack or stand recom-
mended by Roland, the rack or stand must be
carefully placed so it is level and sure to remain
stable. If not using a rack or stand, you still need to
make sure that any location you choose for placing
the unit provides a level surface that will properly
support the unit, and keep it from wobbling.
..........................................................................................................
008e
• Use only the attached power-supply cord.
..........................................................................................................
009
• Avoid damaging the power cord. Do not bend it
excessively, step on it, place heavy objects on it,
etc. A damaged cord can easily become a shock or
fire hazard. Never use a power cord after it has
been damaged.
..........................................................................................................
013
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
015
•Do not force the 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.
..........................................................................................................
022a
• Always turn the unit off and unplug the power
cord before attempting installation of the circuit
board (SR-JV80 series).
..........................................................................................................
023
• DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
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.
4
USING THE UNIT SAFELY
102b
•Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
104
•Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
•Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107b
•Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
108a
•Before moving the unit, disconnect the power plug
from the outlet, and pull out all cords from
external devices.
..........................................................................................................
109a
•Before cleaning the unit, turn off the power and
unplug the power cord from the outlet.
..........................................................................................................
110a
•Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
115a
•Install only the specified circuit board(s) (SR-JV80
series). Remove only the specified screws (p. 17,
21).
..........................................................................................................
5
Important Notes
In addition to the items listed under “IMPORTANT SAFETY
INSTRUCTIONS” and “USING THE UNIT SAFELY” on
pages 2 and 3, please read and observe the following:
Power Supply
•Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
•Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
•Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To
alleviate the problem, change the orientation of this unit;
or move it farther away from the source of interference.
•This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
•Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
•To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
Maintenance
•For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to
wipe the unit thoroughly with a soft, dry cloth.
•Never use benzine, thinners, alcohol or solvents of any kind,
to avoid the possibility of discoloration and/or deformation.
Repairs and Data
•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 memory
card, 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.
Memory Backup
•This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have
the battery replaced with a fresh one as soon as possible
to avoid the loss of all data in memory. To have the
battery replaced, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
“Battery Low”
Additional Precautions
•Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory on a memory card.
•Unfortunately, it may be impossible to restore the
contents of data that was stored in the unit’s memory, a
memory card or another MIDI device (e.g., a sequencer)
once it has been lost. Roland Corporation assumes no
liability concerning such loss of data.
•Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its
jacks and connectors. Rough handling can lead to
malfunctions.
•Never strike or apply strong pressure to the display.
•When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
•A small amount of heat will radiate from the unit during
normal operation.
•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).
•When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
•Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
Before Using Memory Cards
Using Memory Cards
•Carefully insert the Memory card all the way in—until it
is firmly in place.
•Never touch the terminals of the Memory card. Also,
avoid getting the terminals dirty.
Handling CD-ROMs
•Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
6
How to Read This Owner’s Manual
This owner’s manual is organized as follows.
Quick Start
This section is intended for those using the XP-30 for the first
time, and explains how to use various functions in a simple
way. Please read Quick Start and follow along by actually
operating the XP-30. This will help you understand most of
what you need to know for basic operations. More advanced
ways of using the XP-30 or details of other operations are
explained the Advanced Use section.
Advanced Use
The Advanced Use section is divided into 6 chapters. But
before you start reading it, we’d like to suggest going
through the Quick Start section.
Chapter 1. Overview of the XP-30
This chapter covers XP-30 sound source section
configurations, as well as basic operation. Please be sure to
read this chapter in order to fully understand the XP-30.
Chapter 2. Playing
This chapter explains how to use the XP-30 in Patch,
Performance and Rhythm Set modes. Reading it is essential
for understanding XP-30 operational procedures.
Chapter 3. Creating Your Own Sounds
This chapter covers creating sounds, the parameters that make
up a Patch, Performance, or Rhythm Set, and the System
parameters that determine global XP-30 operation, as well as
their functions. Comprehending the information in the
chapter is an essential prerequisite before creating your own
sounds.
Chapter 4. Memory Settings
(Utility/Card Mode)
This chapter goes over the various Utility functions such as
storing Patch, Performance or Rhythm Set data, clearing the
internal memory, etc. Being familiar with these will
streamline operation procedures.
Chapter 5. Using the XP-30 as the GM
Sound Module
This chapter explains needed procedures and parameters for
using the XP-30 as a General MIDI System-compatible sound
source. Read this chapter before attempting to play back
commercial General MIDI System score data.
Chapter 6. Getting the Full Potential of
the XP-30
This chapter includes various techniques that expand the XP-
30’s operational scope. It includes use with external MIDI
devices, live performance applications and others.
Appendices
This chapter contains a troubleshooting section for use when
the XP-30 is not functioning as expected. There is also a list of
error messages that you can refer to if an error message
appears on the display. A list of parameters and MIDI
implementation chart are also provided.
■Notation Used in This Owner’s
Manual
To make operation procedures easy to understand, the
following notation system is adopted:
Characters and numbers in square brackets [ ] indicate
buttons on the front panel. For example, [PATCH] represents
the PATCH button and [ENTER] the ENTER button.
An asterisk (*) at the beginning of a paragraph indicates a
note or precaution. These should not be ignored. In the Quick
Start section, such material is indicated by ( ).
(p. **) refers to pages within the manual.
In this manual, when any particular parameter is referred to,
the name of the parameter is given, and this is then followed
(in parenthesis) by information detailing its mode, display
group, and display. For example: Key Mode parameter
(PERFORM/COMMON/PERFORM COMMON).
* The display screens printed in this owner’s manual are based on
the factory settings. However, please be aware that in some cases
they may differ from the actual factory settings.
7
Contents
Main Features........................................................................................11
Front and Rear Panel............................................................................12
Quick Start........................................................15
Getting Ready........................................................................................16
Installing the Wave Expansion Board...................................................................................................16
Cautions When Installing an Wave Expansion Board.............................................................16
Installation de la carte d’extension Wave (French language for Canadian Safety Standard).......20
Precautions lors de l’installation de la carte d’extension Wave.............................................20
Making Connections................................................................................................................................24
Turning On the Power.............................................................................................................................26
Turning Off the Power.................................................................................................................26
Reset to Default Factory Settings (Factory Reset)................................................................................27
Listening to the Demo Song ................................................................28
Profile of the Composer ...............................................................................................................29
Playing the Sounds...............................................................................30
Selecting Patches and Playing the Sounds............................................................................................30
Selecting Wave Expansion Patches........................................................................................................31
Selecting Patches by Category (Patch Search Function).....................................................................32
Auditioning the Patches (Phrase Preview)...........................................................................................33
Try Out Performance Functions.............................................................................................................34
Velocity/Aftertouch.....................................................................................................................34
Pitch Bend/Modulation Lever....................................................................................................34
C1–C4 Slider...................................................................................................................................34
Hold Pedal......................................................................................................................................35
Expression Pedal...........................................................................................................................35
Solo..................................................................................................................................................35
Portamento.....................................................................................................................................35
Sound Palette.................................................................................................................................36
Play Arpeggios (Arpeggiator)................................................................................................................36
Play Percussion Sounds from the Keyboard........................................................................................38
Advanced Use ...................................................39
Chapter 1. Overview of the XP-30........................................................40
XP-30 Configuration.................................................................................................................................40
Basic Configuration.......................................................................................................................40
Classification of XP-30 Sound Types..........................................................................................40
Number of Simultaneous Voices................................................................................................42
Basic Operation.........................................................................................................................................42
Switching Modes...........................................................................................................................42
About the Function Buttons ........................................................................................................43
About the Cursor Buttons............................................................................................................44
Modifying a Value ........................................................................................................................45
Assigning a Name.........................................................................................................................46
8
Contents
Chapter 2. Playing.................................................................................47
Playing in Patch Mode.............................................................................................................................47
Selecting a Patch............................................................................................................................47
Using Phrase Preview to Play Patches.......................................................................................49
Making a Patch Sound Thick or Thin (Turning a Tone On/Off)...........................................50
Playing Single Notes (Solo) .........................................................................................................50
Creating Smooth Pitch Changes (Portamento).........................................................................50
Using the Sliders to Modify the Sound in Realtime (Sound Palette Function)....................50
Playing in Performance Mode................................................................................................................51
Selecting a Performance...............................................................................................................51
Playing Fatter and Richer Sounds by Combining Patches (Layer)........................................52
Splitting the Keyboard to Play Separate Patches in Different Sections (Split).....................52
Playing Along with a Song Playback (XP-30 Used as a Multitimbral Sound Source)........53
Assigning a Different Patch to a Part.........................................................................................54
Using the Sliders to Modify the Sound in Realtime (Sound Palette Function)....................54
Playing in Rhythm Set Mode..................................................................................................................55
Selecting a Rhythm Set.................................................................................................................55
Playing Percussion Instruments .................................................................................................56
Playing an Arpeggio................................................................................................................................56
Playing an Arpeggio Over a Preset Keyboard Area................................................................57
Holding an Arpeggio....................................................................................................................58
Simulating a Guitar Cutting Technique.....................................................................................58
Playing an Arpeggio from an External MIDI Device...............................................................58
Creating an Arpeggio Pattern.....................................................................................................58
Convenient Functions for Performance................................................................................................59
Transposing the Keyboard in Octave Units (Octave Shift).....................................................59
Transposing the Keyboard in Semitone Steps (Transpose)....................................................60
If “Stuck” Notes Occur or a Note Does Not Sound (Panic)....................................................60
Chapter 3. Creating Your Own Sounds...............................................61
Regarding Effects......................................................................................................................................61
How Effects Units Work in Different Modes............................................................................61
Turning Effects On/Off................................................................................................................62
Sound Editing Procedures.......................................................................................................................62
Editing a Patch...............................................................................................................................62
Editing a Performance..................................................................................................................65
Editing a Rhythm Set....................................................................................................................66
Keeping Edited Sound.............................................................................................................................67
Memory and Data Storage...........................................................................................................67
Storing a Sound You Modify into User Memory .....................................................................68
Functions of Patch Parameters...............................................................................................................68
Settings Common to the Entire Patch (COMMON).................................................................68
Setting Effects for a Patch (EFFECTS)........................................................................................71
Using Controllers to Change How Sounds Are Played (CONTROL)...................................73
Modifying Waveform (WAVE)...................................................................................................76
Modulating Sounds (LFO)...........................................................................................................78
Modifying Pitch (PITCH).............................................................................................................79
Modifying the Brightness of Sound with a Filter (TVF)..........................................................80
Changing the Sound’s Volume and Stereo Location (TVA)...................................................81
Functions of Performance Parameters...................................................................................................83
Settings Common to the Entire Performance (COMMON)....................................................83
Setting Effects for a Performance (EFFECTS) ...........................................................................84
Making MIDI Settings for a Part (MIDI)....................................................................................86
Making Settings for Each Part (PART).......................................................................................87
Confirming MIDI Information for Each Part (INFO) ..............................................................87
Functions of Rhythm Set Parameters ....................................................................................................88
Naming a Rhythm Set (COMMON)...........................................................................................88
9
Contents
Setting Effects for a Rhythm Tone (EFFECTS)..........................................................................88
Controlling How a Rhythm Tone will Sound with Controllers (CONTROL).....................90
Modifying Waveform of a Rhythm Tone (WAVE)..................................................................90
Modifying Pitch of a Rhythm Tone (PITCH)............................................................................91
Changing the Tone (Filter) of a Rhythm Tone (TVF)...............................................................91
Changing the Volume and Stereo Location of a Rhythm Tone (TVA)..................................92
Multi-Effects Types (EFX Parameter)....................................................................................................93
XP-30 Operating Environment Setup (System Parameters and Their Functions)........................108
Display Screen Contrast and Clock Settings (SETUP)...........................................................108
Arpeggio Settings (ARPEGGIO)...............................................................................................108
Keyboard and Controllers Settings (CONTROL)...................................................................110
MIDI Settings (MIDI)..................................................................................................................112
Phrase Preview Settings (PREVIEW).......................................................................................113
Adjusting Tuning (TUNE).........................................................................................................113
Program Change (PGM CHNG)...............................................................................................114
Checking Things Such as the Installation Status of Wave Expansion Boards (INFO)......114
Chapter 4. Memory Settings (Utility/Card Mode) .............................115
About Utility/Card Mode.....................................................................................................................115
Basic Procedure in Utility/Card Mode...............................................................................................115
Storing Sound Data in User Memory (WRITE)..................................................................................116
Performance Write......................................................................................................................116
Patch Write...................................................................................................................................116
Rhythm Set Write........................................................................................................................116
Copying Sound Source Settings (COPY) ............................................................................................117
Performance Copy ......................................................................................................................117
Patch Copy...................................................................................................................................117
Rhythm Set Copy........................................................................................................................118
Initializing Sound Source Settings (INIT)...........................................................................................119
Performance Initialize.................................................................................................................119
Patch Initialize.............................................................................................................................119
Rhythm Set Initialize ..................................................................................................................119
Transmitting Sound Settings (XFER)...................................................................................................119
Transmitting Data to an External MIDI Device......................................................................119
Transmitting Data to User Memory.........................................................................................120
Preventing User Memory Writing Operation (PROTECT)..............................................................121
Memory Card-Related Settings (CARD).............................................................................................121
Formatting the Memory Card for the XP-30 (FORMAT)......................................................122
Renaming a File (RENAME)......................................................................................................122
Deleting Unwanted Files (DELETE).........................................................................................122
Checking the Contents Memory Card (INFO)........................................................................122
Loading a File from Memory Card into the XP-30 (LOAD).............................................................122
Saving Data to Memory Card (SAVE).................................................................................................122
Recalling Factory Default Settings (FACTORY RESET)...................................................................123
Chapter 5. Using the XP-30 as the GM Sound Module....................124
Entering GM Mode.................................................................................................................................124
Initializing the Sound Source for GM System Basic Settings ...............................................124
Playing Back a GM Score...........................................................................................................124
Modifying GM Mode Settings..............................................................................................................125
Making Effects Settings in GM Mode (EFFECTS)..................................................................125
Setting a Part (PART)..................................................................................................................127
Confirming MIDI Information of Each Part (INFO)..............................................................127
Convenient Functions in GM Mode (GM Utility) .............................................................................127
Copying Effects Settings (COPY)..............................................................................................128
Initializing GM Mode (INIT).....................................................................................................128
Transmitting GM Mode Settings (XFER).................................................................................128
10
Contents
Chapter 6. Getting the Full Potential of the XP-30...........................129
Techniques for Using Patches...............................................................................................................129
Reinforcing Filter Characteristics .............................................................................................129
Making the Up-Beat Note Sound at the Same Time You Play a Down-Beat Note ...........129
Holding a Note with Modulation Retained............................................................................129
Syncing the LFO Cycle to System Tempo ...............................................................................129
Modifying Multi-Effects to Match the System’s Tempo........................................................130
Using a Pedal Switch to Modify the Rotary Speed of the Rotary Effect.............................130
Playing Phrase Loops at a System’s Tempo............................................................................130
Using the Slider to Pan Sounds in Real Time .........................................................................131
Using the XP-30 to Play Live ................................................................................................................131
Changing Multiple Sounds of an External MIDI Device Simultaneously..........................131
Changing Sounds with a Pedal Switch....................................................................................131
Using External MIDI Devices...............................................................................................................132
Using the XP-30 to Control External MIDI Devices...............................................................132
Playing the XP-30’s Sound Source from an External MIDI Device .....................................132
Selecting XP-30 Sounds from an External MIDI Device........................................................132
Enjoying Desktop Music .......................................................................................................................134
Connecting to Your Computer..................................................................................................134
Disconnecting the Keyboard from the Internal Sound Source (Local OFF).......................137
Appendices......................................................139
Troubleshooting..................................................................................140
Error Messages...................................................................................142
Quick Reference of Procedures ........................................................143
Parameter List.....................................................................................147
Waveform List .....................................................................................160
Patch List.............................................................................................168
Rhythm Set List...................................................................................177
Performance List.................................................................................181
Arpeggio Style List .............................................................................182
MIDI Implementation...........................................................................183
Specifications......................................................................................207
Computer Cable Wiring Diagrams.....................................................208
Index.....................................................................................................209
11
Main Features
■High-Performance Synthesizer
Sound Source
64-Voice Polyphony and 16-Part
Multitimbrality
The XP-30 is a 16-part multitimbral sound source that
produces up to 64 simultaneous polyphonic notes.
Effectively used with an external sequencer or computer, the
XP-30’s true creative potential for music production becomes
apparent (p. 41).
Powerful Onboard Effects
Advanced DSP (Digital Signal Processor) technology
provides a wide array of studio quality effects. In addition to
the Multi-Effects (EFX) section that features 40 different
types of effects, the XP-30 also features an independent
chorus unit and reverb unit (p. 61).
Extensive Tone Structure Range
Ten different Structures are available for combining basic
sound elements for more flexible sound making. A ring
modulator and booster enhance creating sounds (p. 70).
An Array of Arpeggio and Cutting
Options
With the [ARPEGGIO] on, you can create various arpeggios
and simulate cutting techniques simply by pressing a chord.
You can even specify the rhythmical “feel” you want (p. 56).
General MIDI System Compatibility
The XP-30 provides a mode compatible with the General
MIDI System, the standard format for desktop music (DTM)
systems, and can play back commercially available General
MIDI System compatible song data (p. 124).
■Expandability
Allows Two Wave Expansion Boards
to be Installed at the Same Time
Up to two SR-JV80 series Wave Expansion Boards can be
installed simultaneously, allowing you to expand the range
of available sounds (p. 16, 20).
Data from Popular Wave Expansion
Boards Already Onboard
The data of the three popular Wave Expansion Boards, the
SR-JV80-02 “Orchestral,” SR-JV80-09 “Session,” and SR-JV80-
11 “Techno Collection” is onboard.
This means that for practical purposes, you can have
simultaneous access to the sounds of up to five Wave
Expansion Boards, and can draw on a vast quantity of
waveform data as material for creating your sounds.
■Quick and Intuitive Operation
Enhanced Operational Ease
Dedicated buttons are provided for each function to simplify
operation. The group of function buttons located below the
display allow intuitive editing (p. 43).
Featuring the Patch Search and Phrase
Preview Functions that were Popular
on the JV-2080
The Patch Search function (p. 32, 48) lets you rapidly find the
patch you want simply by specifying a patch category. By
pressing [PHRASE PREVIEW], you can then hear the
selected patch play a phrase suitable for that type of patch.
(Phrase Preview function, p. 33, 49)
Use the Sound Palette Sliders to Make
Quick Changes in the Sound
The four sliders in the PALETTE section let you make
realtime changes in tone and volume while you play (p. 36,
50, 54).
■Computer Interface Connector
A special computer cable makes it easy for you to connect the
XP-30 to your computer, so that you can enjoy ensemble
playing (p. 134).
General MIDI System
The General MIDI system is a set of recommendations
which seeks to provide a way to go beyond the
limitations of proprietary designs, and standardize the
MIDI capabilities of sound generating devices. Sound
generating devices and music files that meets the
General MIDI standard bears the General MIDI logo
( ). Music files bearing the General MIDI logo can be
played back using any General MIDI sound generating
unit to produce essentially the same musical
performance.
12
BA
H
C D FE
Front and Rear Panel
■Front Panel
A
Volume Slider
This slider adjusts the overall volume that is output from the
rear panel OUTPUT jacks and PHONES jack. →p. 26
B PALETTE Section
Use the four sliders to modify sounds in real time.
[FILTER/ENV]
Press this button ON when modifying filter and/or envelope
settings in real time using the four sliders (CUTOFF/RESO./
ATTACK/DECAY). →p. 36, 51, 54
[LEVEL]
Press this button ON when adjusting volume balance in real
time using the four sliders (1/2/3/4). →p. 36, 51, 54
[CONTROLLER]
Can be switched on when you wish to assign various
parameters to the four sliders, and modify the sound as you
play (C1/C2/C3/C4). →p. 34
C KEY EFFECTS Section
The buttons in this section allow you to assign various
functions to the keys of the XP-30’s keyboard.
[PORTAMENTO]
Switches Portamento on/off. →p. 35, 50
[SOLO]
Specifies playing a single note at a time. →p. 35, 50
[TRANSPOSE]
Specifies transposing the keyboard in semitone steps. →p. 60
[ARPEGGIO]
Switches Arpeggiator on/off. →p. 36, 56
[+OCT], [-OCT]
These buttons adjust the pitch of the keyboard in octave steps.
→
p. 59
Pressing either of these buttons while holding down [TRANSPOSE]
allows you to set the desired amount of transposition.
→
p. 60
D MODE Section
The buttons in this section select modes. The button indicator
of the selected mode will light. →p. 42
[PERFORM]/[GM]
Pressed to get into Performance mode. Hold down [SHIFT]
while you press [PERFORM] to select GM mode. →p. 51, 124
[PATCH]/[PART]
Pressed to get into Patch mode. By holding down [PERFORM]
and pressing [PATCH], you can modify the settings of the patch
that is assigned to each part of the performance.
→
p. 47, 54, 66
[SYSTEM]
This selects System mode. →p. 108
[RHYTHM]
This selects Rhythm Set mode. →p. 55
[UTIL/CARD]
This selects Utility/Card mode. →p. 115
[EFFECTS ON/OFF]
This button turns the internal effects (Multi-Effects, Chorus,
Reverb) on/off. →p. 62
E
Display
Shows various information for the currently selected
function or operation.
[PHRASE PREVIEW]
Press this when you wish to use phrases to audition a patch.
→p. 33, 49
13
Front and Rear Panel
[EDIT]
Press this button when you wish to adjust various settings.
Use the function buttons to select the display screen for the
parameter you wish to modify.
Function Buttons
The function of these buttons will depend on the operational
mode and the status of the [EDIT] indicator. →p. 43
[1–8/9–16]
Use this button to select the group (1–8/9–16) of Parts to be
selected by the function buttons. →p. 43
[EXIT]/[PANIC]
EXIT:
Press this button when you wish to return to the Play
display of a mode, or to cancel an operation without executing.
PANIC: If for some reason notes are stuck and continue
sounding, hold down the SHIFT button and press this button
to clear the stuck notes. →p. 60
[UNDO/COMPARE]
The function of these buttons will depend on the operation
being performed.
UNDO: Press this button to restore a modified value to the
original value. →p. 63, 65, 66
COMPARE:
When saving or copying Tone settings, press this to check
the sound at the save destination, or at the copy source.
→
p. 116, 118
[PALETTE EDIT]
Press this button when you wish to use the Palette display to
modify Patch or Performance settings. →p. 63, 65
F
VALUE Dial
This dial is used to modify values. If you hold down [SHIFT]
as you turn the VALUE dial, the value will change in greater
increments. →p. 45
[INC], [DEC]
Use these buttons to modify values. If you keep on holding
down one button and pressing the other, the value change
accelerates. If you press one of these buttons while holding down
[SHIFT], the value will change in bigger increments.
→
p. 45
[ ], [ ] (Cursor Buttons)
Move the cursor (underline) with these.
[ ], [ ] (Page Buttons)
When the left edge of the display shows a or symbol,
use these buttons to move to other parameter displays
[0]–[9] (Numeric Keys)
Use these to set a value. They can be used to enter numeric
values as well as alphabetical characters. →p. 45
When [CATEGORY] is on, this becomes the button for choosing
a category group using the Patch Search function.
→
p. 32, 48
[SHIFT]
This is used in combination with other buttons. Some buttons
on the front panel include grey-printed characters. They
indicate the button’s function when [SHIFT] is held down.
[ENTER]/[DIGIT HOLD]
ENTER:
Use this button to finalize a value or execute an operation.
DIGIT HOLD:
Press this button while holding down [SHIFT] to turn
the Digit Hold function on/off. With the Digit Hold on, the 100’s
place and 10’s place will be fixed and only the 1’s place will change.
This means that you can select Patches simply by pressing the
numeric key for the 1’s place, without having to press [ENTER]. The
same applies when selecting Performances or Rhythm set.
→
p. 48
[CATEGORY]/[DEMO]
CATEGORY: Use the Patch Search function to select a patch.
→p. 32, 48
DEMO: To hear the demo playback, hold down [SHIFT] and
press this button. →p. 28
G WAVE EXPANSION Section
Here you can select sounds from a Wave Expansion. →p. 31
[EXP A], [EXP B], [EXP C]
Select sounds from the internal Wave Expansion.
EXP-A: “Session”
EXP-B: “Orchestral”
EXP-C: “Techno Collection”
[EXP D], [EXP E]
Select sounds from the Wave Expansion Board slots (EXP-D and E).
H
Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato.
Depending on the settings, other specified parameters can
also be controlled. →p. 34, 75
GFE
14
Front and Rear Panel
■Rear Panel
Power Switch
Press to turn the power on/off. →p. 26
AC Inlet
Connect the AC power cable (included) to this inlet. →p. 24
* With units rated for 117V operation, the AC cable is already
connected to the unit.
fig.0-02a
MEMORY CARD Slot
An optional memory card (SmartMedia) can be inserted here.
→p. 115
fig.0-02b
MIDI Connectors (IN, OUT, THRU)
These connectors can be connected to other MIDI devices to
receive and transmit MIDI messages. →p. 24, 119, 132
fig.0-02c
COMPUTER Switch
Set this switch depending on the type of computer connected
to Computer connector, or the software you are using. Turn
the power off before changing the setting of this switch. If
you wish to use the MIDI connectors, set this switch to MIDI.
→p. 134
COMPUTER Connector
A special Computer cable (sold separately) can be connected
here. The type of cable required will depend on your computer.
When the Computer switch located at the left is set to MIDI,
this connector cannot be used. →p. 134
fig.0-02d
CONTROL PEDAL Jack
You can connect optional expression pedals to these jacks. By
assigning a desired function to a pedal, you can use it to
select or modify sound or perform various other control. You
can also connect optional pedal switches to sustain sound.
→p. 24, 110
HOLD PEDAL Jack
An optional pedal switch can be connected to this jack for
use as a hold pedal. →p. 24, 110
fig.0-02e
OUTPUT Jacks (L (MONO), R)
These jacks output the audio signal to the connected mixer/
amplifier system in stereo. For mono output, use the L jack.
→p. 24
PHONES Jack
An optional set of headphones can be connected to this jack.
→p. 24
fig.0-02f
15
Quick Start
Quick Start
16
Getting Ready
Installing the Wave Expansion Board
Up to two Wave Expansion Boards (SR-JV80 series; sold separately) can be
installed in EXP-D and E Slots in the XP-30. Wave Expansion Boards contain
Wave data, as well as Patches and Rhythm Sets that use this Wave data,
which can be called directly into the temporary area and played.
■Cautions When Installing an Wave Expansion Board
●To avoid the risk of damage to internal components that can be caused by
static electricity, please carefully observe the following whenever you
handle the board.
•Before you touch the board, always first grasp a metal object (such as
a water pipe), so you are sure that any static electricity you might
have been carrying has been discharged.
•When handling the board, grasp it only by its edges. Avoid touching
any of the electronic components or connectors.
•Save the bag in which the board was originally shipped, and put the
board back into it whenever you need to store or transport it.
●Use a Philips screwdriver that is suitable for the size of the screw (a
number 2 screwdriver). If an unsuitable screwdriver is used, the head of
the screw may be stripped.
●To remove a screw, rotate the screwdriver
counter-clockwise. To tighten a screw, rotate
the screwdriver clockwise.
●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
XP-30.
●Do not leave the bottom cover in a detached state. Be sure to reattach it
after the Wave Expansion Boards have been installed.
●Do not touch any of the printed circuit pathways or connection terminals.
●Be careful not to cut your hand on the edge of the installation bay.
●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.
●When circuit board installation is complete, double-check your work.
To install an optional Wave Expansion Board (SR-JV80 series; sold
separately), the unit’s bottom cover must be removed. There are two slots
(EXP-D and E) into which a board can be installed. Slots EXP-D and E
correspond to the group (XP-D and E) you need to select in order to use a
Wave, Patch or Rhythm Set from the Wave Expansion Board.
When playing a Patch or
Rhythm Set that use the
Wave data from a Wave
Expansion Board, the
appropriate Wave
Expansion Board must be
installed in the XP-30 for
the sound to play correctly.
tightenloosen
17
Getting Ready
Quick Start
1Before installing the Wave Expansion Board, turn off the
power of the XP-30 and all connected devices, and disconnect
all cables from the XP-30.
2Turn the XP-30 on its back, and remove only the screws shown
in the following diagram.
fig.Q-02a.e
3Inside, there are two connectors and six board holders. Insert
the connectors of the Wave Expansion Board into the internal
connectors, and simultaneously insert the board holders into
the holes of the Wave Expansion Board.
fig.Q-02b.e
If the same type of Wave
Expansion Board is
installed in the EXP-D slot
and the EXP-E slot, it will
only be possible to select
data from the Wave
Expansion Board that was
installed in the EXP-D slot.
Also, the XP-30 already
contains the data of the
following three Wave
Expansion Boards, so if one
of these Wave Expansion
Boards is installed, only the
internal data (XP-A–C) can
b
e selected.
SR-JV80-09 “Session”
(XP-A)
SR-JV80-02 “Orchestral”
(XP-B)
SR-JV80-11 “Techno
Collection” (XP-C)
Screws to be removed
Wave Expansion Board
Connector
Board holder
EXP D
EXP E
18
Getting Ready
4Use 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.
fig.Q-02c.e
5Use the screws that you removed in step 2 to fasten the cover
back in place.
This completes installation of the Wave Expansion Board.
6Connect the cables that you disconnected earlier.
7Turn on the power, as described in “Turning On the Power” (p.
26).
8Press [PATCH] to access the PATCH PLAY display.
fig.Q-03
Installation tool LOCK
19
Getting Ready
Quick Start
9Press [EXP D] or [EXP E], and verify that you can select
patches from Wave Expansion Boards D or E. [EXP D] or [EXP
E] indicator will light, and the following display will appear.
fig.Q-04
The example here depicts
what you would see if the
SR-JV80-13 “Vocal
Collection” Wave
Expansion Board were
installed in the EXP-D slot.
If you can’t choose any
Wave Expansion Board
patches, it’s possible that
the installed Wave
Expansion Board is not
b
eing recognized correctly.
Turn off the power as
described in “Turning Off
the Power” (p. 26), and
re-install the Wave
Expansion Board correctly.
20
Getting Ready
Installation de la carte d’extension Wave
(French language for Canadian Safety Standard)
Vous pouvez installer jusqu’à 2 cartes d’extension Wave (en option dans la
série SR-JV80) dans les créneaux EXP-D et E du XP-30. Les cartes d’exten-
sion Wave contiennent des données Wave, aussi bien que des morceaux
musicaux et des ensembles rythmiques utilisant ces données, auxquelles on
peut directement accéder dans la zone temporaire et les faire jouer.
■Precautions lors de l’installation de la carte
d’extension Wave
●Pour éviter tout dommage des composants internes pouvant provenir de
l’électricité statique, veuillez suivre les conseils suivants quand vous
installez la carte.
•Avant de toucher la carte, saisissez toujours un objet métallique
(tuyau d’eau ou autre) pour être sûr que l’électricité statique se
décharge.
•Quand vous saisissez la carte, prenez-la par les bords. Evitez de
toucher les composants électroniques ou les connecteurs.
•Conservez le sac dans lequel la carte était emballée et remettez la carte
dedans pour l’expédier ou l’entreposer.
●Utiliser un tournevis cruciforme correspondant à la taille de la vis (un
tournevis numéro 2). En cas d’utilisation d’un tournevis inapproprié, la
tête de la vis pourrait être endommagée.
●Pour enlever les vis, tourner le tournevis
dans le sens contraire des aiguilles d’une
montre. Pour resserrer, tourner dans le
sens des aiguilles d’une montre.
●Lors de l’insertion de la carte d’extension Wave, enlevez seulement les vis
indiquées dans les instructions.
●Veillez à ne pas laisser tomber de vis dans le châssis du XP-30.
●Ne pas laisser le panneau de protection avant détaché. S’assurer de
l’avoir rattacher après avoir installé le disque dur.
●Ne touchez aucun des circuits imprimés ni les bornes de connexion.
●Veillez à ne pas vous couper les doitgs sur le bord de l’ouverture
d’installation.
●Ne jamais forcer quand vous installez une carte de circuits. Si la carte ne
rentre pas correctement, ressortez-la et ressayez.
●Quand la carte est installée, vérifiez si l’installation est correcte.
Pour installer une carte d’extension Wave optionnelle (série SR-JV80), le
panneau du bas de l’appareil doit être enlevé. Vous trouverez 2 créneaux
(EXP-D et E) dans lesquels vous pourrez installer une carte. Les créneaux
EXP-D et E correspondent au groupe (XP-D et E) que vous devez
sélectionner pour pouvoir utiliser une donnée Wave, un morceau musical
ou un ensemble rythmique de la carte d’extension.
Quand vous faites jouer un
morceau ou un ensemble
rythmique qui utilise des
données Wave de la carte
d’extension, une carte
d’extension appropriée doit
être installée dans le XP-30
afin que le son sorte
correctement.
resserrerdesserrer
21
Getting Ready
Quick Start
1Éteindre le XP-30 et tous les appareils qui y sont reliés et
débrancher tous les câbles du XP-30.
2Retournez le XP-30 et enlevez seulement les vis indiquées sur
la figure.
fig.Q-02a.f
3À l’intérieur, il y a 2 connecteurs et 6 supports à carte. Insérer
les connecteurs de la carte d’extension Wave dans les
connecteurs internes tout en insérant simultanément les
supports à carte dans les trous de celle-ci.
fig.Q-02b.f
Si la même sorte de carte
d’extension Wave est
installée dans les créneaux
EXP-D et EXP-E, il ne sera
possible de sélectionner
que les données de la carte
d’extension Wave installée
dans le créneau EXP-D. De
plus, le XP-30 contient déjà
les données des 3 cartes
d’extension Wave
suivantes si bien que si une
de ces 3 cartes est installée,
seules les données internes
(XP-A–C) pourront être
sélectionnées.
SR-JV80-09 “Session”
(XP-A)
SR-JV80-02 “Orchestral”
(XP-B)
SR-JV80-11 “Techno
Collection” (XP-C)
Vis à enlever
Carte d'extension Wave
Connecteur
Support à carte
EXP D
EXP E
22
Getting Ready
4Pour tourner les supports en position LOCK (verrouillé),
utilisez l’outil d’installation de la carte d’extension fournie à
cet effet. De cette façon, la carte sera bien fixée à sa place.
fig.Q-02c.f
5Reposez le couvercle en remettant les vis enlevées (comme
spécifié) à l’étape 2.
L’installation de la carte d’extension Wave est terminée.
6Rabranchez les câbles.
7Mettez le XP-30 sous tension en procédant comme indiqué
dans “Turning On the Power” (p. 26).
8Appuyer sur [PATCH] pour accéder à la page PATCH PLAY.
fig.Q-03
Outil d'installation LOCK
23
Getting Ready
Quick Start
9Appuyer sur [EXP D] ou [EXP E] et vérifier si vous pouvez
sélectionner les morceaux musicaux des cartes d’extension
Wave D ou E. L’indicateur [EXP D] ou [EXP E] s’allumera et
l’affichage suivant apparaîtra.
fig.Q-04
Ceci est un exemple
d’affichage lorsque la carte
d’extension Wave SR-JV80-
13 “Vocal Collection” est
installée dans le créneau
EXP-D.
Si vous ne pouvez choisir
aucun des morceaux
musicaux de la carte
d’extension Wave, il est
possible que la carte
installée ne soit pas
reconnue correctement.
Éteignez l’appareil comme
indiqué dans “Turning
Off the Power” (p. 26) et
réinstaller la carte
correctement.
24
Getting Ready
Making Connections
The XP-30 does not contain an amp or speakers. In order to hear sound, you
will need to connect it to a keyboard amp, audio system, or headphones.
Refer to the following diagram and connect the XP-30 to the external
equipment you are using.
fig.Q-05.e
1Before you make connections, make sure that power is turned
off for all devices.
to Power outlet
Expression pedal (EV-5) or pedal switch
Pedal switch
External MIDI device
Stereo headphones
Stereo set, etc. Speaker with built-in amp,
keyboard amp, etc.
Roland
To prevent malfunction
and/or damage to speakers
or other devices, always
turn down the volume, and
turn off the power on all
devices before making any
connections.
25
Getting Ready
Quick Start
2Connect supplied AC power cable to the XP-30, and plug the
other end into an AC power outlet.
3Connect audio cables and MIDI cables as shown in the
diagram. If you are using headphones, plug them into the
PHONES jack. Connect pedal switches or expression pedals as
necessary.
On 117V models the AC
cable is permanently
attached to the unit.
In order to take full
advantage of the XP-30’s
performance, we
recommend using a stereo
amp/speaker system, If
you are using a mono
system, make you
connections to the
OUTPUT jack L (MONO).
For information on making
the connection with the
computer, take a look at
“Connecting to Your
Computer” (p. 134).
CONTROL PEDAL jack
can also accommodate
pedal switches.
Use only the specified
expression pedal (EV-5;
sold separately). By
connecting any other
expression pedals, you risk
causing malfunction and/
or damage to the unit.
26
Getting Ready
Turning On the Power
1Before you turn the power on, check to make sure that:
•All external devices are correctly connected to the XP-30.
•The volume controls of the XP-30 and the amp/mixer system are turned
down all the way.
2Turn on the power switch located on the rear panel of the XP-
30.
fig.Q-06
3Turn the power on of your amp or audio system.
4Play the XP-30 and gradually raise the volume controls of the
XP-30, your amp or mixer to an appropriate volume level.
fig.Q-07
■Turning Off the Power
1Before you turn power off, check to make sure that:
•The volume controls of the XP-30 and the amp/mixer system are turned
down all the way.
•Important data has been saved to a memory card (p. 122).
2Turn off your amp/mixer system.
3Turn off the XP-30 power.
Once the connections have
b
een completed (p. 24),
turn on power to your
various devices in the order
specified. By turning on
devices in the wrong order,
you risk causing
malfunction and/or
damage to speakers and
other devices.
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
b
efore the unit will operate
normally.
Be careful not to raise the
VOLUME slider of the XP-
30 too much. Excessive
volume may damage your
amp/speaker system or
could cause hearing
27
Getting Ready
Quick Start
Reset to Default Factory Settings
(Factory Reset)
Before using XP-30 for the first time, reset it to its default factory settings
using Factory Reset. Different settings may result in unexpected effects.
fig.Q-08
1Press [UTIL/CARD] to make the indicator blink.
The UTIL 1 display will appear.
fig.Q-09
2Press [ ].
The UTIL 2 display will appear.
fig.Q-09a
3Press the numeric key [4].
The FACTORY RESET display will appear.
fig.Q-10
4Press [ENTER].
If “Internal Write Protect= ON” message is displayed, press [DEC] to turn
the setting OFF. After pressing [ENTER] to clear the message, press
[ENTER] again to reset to the factory preset settings.
Factory Reset operation
resets all data in the
internal memory and user
memory to factory presets.
Save any important data to
a memory card before
executing this operation (p.
122).
1 2 3 4
For more information
about the Internal Write
Protect, please refer to
“Preventing User
Memory Writing
Operation (PROTECT)”
(p. 121).
28
Listening to the Demo Song
The XP-30 contains 9 demo songs and you use Demo Play to play it. It’s the
easiest introduction to the XP-30’s exceptional sounds and effects.
Demo Song Composer/Copyright
TRANSFERENCE Scott Tibbs © 1999 Roland Corporation
CHANTERELLE Scott Tibbs © 1999 Roland Corporation
VECTORIAL Scott Tibbs © 1999 Roland Corporation
All In Good Time Scott Wilkie © 1999 Scott Wilkie Media (ASCAP)
TEKKNO MILLENNIUM MASA © 1999 COPYRIGHT CONTROL
A Shadow’s March Steve Lu © 1999 Stephen Lu
Guitars Forever Gundy Keller © 1999 Gundy Keller / A-TOWN recordings
Rude99 Hans-Joerg Scheffler © 1999 Hans Scheffler
Overtime Hans-Joerg Scheffler © 1999 Hans Scheffler
fig.Q-11
1Hold down [SHIFT] and press [CATEGORY].
The DEMO PLAY display will appear.
fig.Q-12
2Turn the VALUE dial or press [INC]/[DEC] to select the song
that you wish to hear.
If you select “CHAIN-PLAY,” the songs will playback successively,
beginning from the first.
3Press [ENTER] to start demo song playback.
When a demo song plays all the way to the end, it automatically returns to
the start of the song, and playback is repeated. To interrupt playback, press
[EXIT].
fig.Q-13
4To return to the previous display, press [EXIT].
All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
1 324
No data for the music that
is played will be output
from MIDI OUT.
29
Listening to the Demo Song
Quick Start
■Profile of the Composer
Scott Tibbs
Scott Tibbs has performed and conducted for several orchestral groups, including the Atlanta Symphony
Orchestra, throughout the United States, Canada, Latin America, and Japan. His diverse compositional output
ranges from numerous film, theater and television projects to the symphonic concert stage. For the past four years,
he has been teaching music composition and theory at UCLA where he has received a Ph.D. degree in composition.
He has performed with well-known artists Dizzy Gillespie, Bill Cosby, Jerry Sienfeld, and Bobby Shew, amongst
numerous others.
Gundy Keller
Gundy Keller, a Germany-based guitarist, songwriter and producer, has been an international demonstrator for
Roland since 1986. Gundy focuses mainly on the GR synthesizers and the V-Guitar, for international music
conventions as well as recording sessions requesting completely unusual guitar sounds. Besides creating his own
production company, he’s the founder and director of Rocksound Music School, a private institute for music
instruction. Check out some of his other work on the Roland VG-8 Demo CD, or the Roland GR-30 Video.
Steve Lu
Steve Lu is a recent graduate of Berklee College of Music, majoring in Music Production & Engineering. His recent
musical efforts include a soundtrack album, featuring synthesized re-creations of movie themes such as “Titanic”
and “The Rock,” as well as production and arrangements for saxophonist Jimmy Reid’s self-titled album. He is
currently working with artists Brandy and Ray-J on future projects.
Scott Wilkie
Scott Wilkie is a contemporary jazz recording artist, based in southern California. He tours frequently with his own
band, and also appears as an artist for Roland in the U.S., Japan, Europe and South America. His debut solo album,
Boundless, was released worldwide in 1999 on Narada/Virgin Records. You can find him on-line at
www.scottwilkie.com.
Hans-Joerg Scheffler
Born and raised in the Ruhr valley, the biggest industrial area in Germany, Hans’s attraction to noise and rhythm
came naturally.
Today he runs his own company, DIGITAL AUDIO DESIGN, which produces sampling CDs and CD ROMs.
He works for Roland as a pro audio product specialist, as a sound designer for expansion boards, and as a
composer of demo songs. He has released several CDs that use the Roland RSS system.
Soundclips of his work can be downloaded at: http://www.united-sound.com/usmaster/cell2downde.htm
MASA
Masa has performed live, mainly at psychedelic-trance parties since the early 90’s.
In the spring of 1996, he released the album “Just Inside” from East-West. Interest in his work is increasing, and
new releases are appearing under a variety of labels, including Tokyo Tekno Tribe Records and Psy-Harmonics.
Web site: www.ifnet.or.jp/~masa-k/
30
Playing the Sounds
Selecting Patches and Playing the Sounds
The XP-30 contains a large number of sounds ready for you to play. The
sounds that you select and play on the XP-30 are generally called Patches.
Here’s how to select and play Patches.
fig.Q-14
1Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2Play the keyboard and listen to the sound.
3To select a different Patch, turn the VALUE dial or press
[INC]/[DEC].
4To change the Patch Group, hold down [SHIFT] and press any
key from [1] through [6] on the numeric keypad.
[SHIFT] + [1]: PR-A (Preset A)
[SHIFT] + [2]: PR-B (Preset B)
[SHIFT] + [3]: PR-C (Preset C)
[SHIFT] + [4]: PR-D (GM (General MIDI))
[SHIFT] + [5]: PR-E (Preset E)
[SHIFT] + [6]: USER (User)
134
By using the Phrase
Preview function, you can
audition patches by
listening to a preset phrase
suitable for the selected
type of patch (p. 33).
31
Playing the Sounds
Quick Start
Selecting Wave Expansion Patches
The XP-30 contains the patches of the following popular Wave Expansion
Boards:
•SR-JV80-09 “Session”
•SR-JV80-02 “Orchestral”
•SR-JV80-11 “Techno Collection”
Here’s how to select and play these patches.
fig.Q-16
1Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2Press [EXP A]–[EXP C] to select the Wave Expansion Patch
that you wish to hear.
[EXP A]: “Session”
[EXP B]: “Orchestral”
[EXP C]: “Techno Collection”
fig.Q-17
3Play the keyboard and listen to the sound.
4To select a different Patch, turn the VALUE dial or press
[INC]/[DEC].
142
When a Wave Expansion
Board of the SR-JV80 series
(sold separately) is
installed in the EXP-D or
EXP-E Wave Expansion
Board slot, you can press
[EXP D] or [EXP E] to
choose the corresponding
patches.
By using the Phrase
Preview function, you can
audition patches by
listening to a preset phrase
suitable for the selected
type of patch (p. 33).
32
Playing the Sounds
Selecting Patches by Category
(Patch Search Function)
The JV-2080 provides a Patch Search Function that allows you to quickly
find Patches of the specified type (Category). The 38 categories are
organized into 10 groups.
Here’s an example of how to find organ-type Patches.
fig.Q-18
1Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2Press [CATEGORY] to make the indicator light.
The Patch Search function will be turned on, and the patch number display
will change to the category display.
fig.Q-19
3Select the category. Hold down [CATEGORY] and press [2
(KEY&ORG)].
fig.Q-20
4For this example, select the Organ category (ORG) by pressing
numeric key [4].
Organ-type patches can now be selected.
152,6 3 4
Now you can select patches
within the specified
category, either by rotating
the VALUE dial, or by
using [INC] or [DEC]. To
change the category group,
use the numeric keys.
For details on the
categories you can select,
refer to page 49.
33
Playing the Sounds
Quick Start
5Turn the VALUE dial or press [INC]/[DEC] to select a patch.
6Press [CATEGORY] to make the indicator go dark.
The Patch Search function will be turned off, and the normal PATCH PLAY
display will reappear.
Auditioning the Patches (Phrase Preview)
The XP-30 allows you to preview Patches by hearing a phrase appropriate
for each type of Patch.
fig.Q-21
1Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2Press and hold [PHRASE PREVIEW].
If the factory settings have just been restored, the USER: 001 Temple of XP
Patch will sound.
3Release your finger from [PHRASE PREVIEW], and the phrase
will stop playing.
By using the Phrase
Preview function, you can
audition patches by
listening to a preset phrase
suitable for the selected
type of patch (p. 33).
1 2,3
You can change the phrase
that is played by the Phrase
Preview, and modify the
way in which the phrase is
played. For details, refer to
“Using Phrase Preview
to Play Patches” (p. 49),
and “Phrase Preview
Settings (PREVIEW)”
(p. 113).
34
Playing the Sounds
Try Out Performance Functions
The XP-30 provides various controllers that can modify the sound. While
playing patches, try out these controllers and listen to effects they can
produce.
■Velocity/Aftertouch
The force with which you play the keyboard (velocity) can affect the volume
or timbre of the sound. Aftertouch (pressure you apply to a key after playing
a note) can also affect the sound.
■Pitch Bend/Modulation Lever
While playing the keyboard, move the lever to the left to lower the pitch, or
to the right to raise the pitch. This is known as Pitch Bend. You can also
apply vibrato by manipulating the lever away from you. This is known as
Modulation.
If you move the lever away from you and at the same time move it to the
right or left, you can apply both effects simultaneously.
fig.Q-22.e
■C1–C4 Slider
By moving the sliders up and down while fingering the keyboard, you can
control the various functions assigned to the sliders.
To control them, press [CONTROLLER] to make the indicators light up,
then move the sliders.
Additionally, if you hold down [CONTROLLER] while moving one of the
C1–C4 sliders, you can go to the ASSIGN display for that slider. There you
can check and make settings for the function that is to be controlled with the
slider. Make changes in the settings while holding down [CONTROLLER].
fig.Q-23
The effect that the
controllers have will
depend on the settings of
the selected Patch. If the
effects of the controllers are
difficult to detect, select
another Patch.
Pitch Bend
Modulation
How sound varies depends
on the current setting. For
details, refer to “C1/C2/
C3/C4 ASSIGN (C1/C2/
C3/C4 Slider Assign)”
(p. 111).
At the factory default
settings, you can use the C1
through C4 sliders to
control the functions
described below.
C1: AFTERTAUCH
C2: BREATH
C3: PORTA-TIME
(Portamento time)
C4: MODULATION
35
Playing the Sounds
Quick Start
■Hold Pedal
If an optional pedal switch is connected to the rear panel HOLD PEDAL
jack, pressing the pedal switch will sustain (hold) the sound even if the keys
are released.
■Expression Pedal
If an optional expression pedal is connected to any of the rear panel
CONTROL PEDAL jack, you can use the pedal to control the volume or
timbre of sound.
■Solo
You can play using single notes, by pressing [SOLO] (indicator lights). This
function is especially effective when playing a sax, flute or other
monophonic instrument.
Using [PORTAMENTO] with [SOLO] ON allows you to simulate
performance techniques like violin glissandos.
fig.Q-24
■Portamento
As you play the keyboard, you can make pitch slide smoothly from one key
to another, by pressing [PORTAMENTO] (indicator lights).
fig.Q-25
How sound varies depends
on the current setting. For
details, refer to
“CONTROL
PEDAL”
(p. 110).
For details, refer to
“Playing Single Notes
(Solo)” (p. 50).
For details, refer to
“Creating Smooth
Pitch Changes
(Portamento)” (p. 50).
36
Playing the Sounds
■Sound Palette
While playing the keyboard, you can move the sliders up or down to modify
volume level or sound character.
To change sound character, press [FILTER/ENV] to light the indicator and
move the sliders.
To change the volume level, press [LEVEL] to light the indicator and move
the sliders.
fig.Q-26
Play Arpeggios (Arpeggiator)
You can play a broken chord (arpeggio) automatically, by simply pressing a
chord. For example, if you press a C major chord, the XP-30 plays an
arpeggio such as C → E → G → C → E → G...
fig.Q-27
1Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2Press [ARPEGGIO] to make the indicator light.
For details, refer to “Using
the Sliders to Modify
the Sound in Realtime
(Sound Palette
Function)” (p. 50, 54).
516 2,4,5,7
37
Playing the Sounds
Quick Start
3Play a chord.
XP-30 will play an arpeggio, according to the notes forming the chord you
have just voiced.
4Continue holding down [ARPEGGIO], and the ARP SELECT
display will appear.
fig.Q-28
In this page you can change the Style, Accent Rate, Octave Range and
Tempo of the arpeggio. Here’s how to change the Style.
5Hold down [ARPEGGIO], and press [ ] or [ ] to move the
cursor (underline) to the Style parameter. Then rotate the
VALUE dial to select various settings.
Depending on the value you enter, the way arpeggios play will vary.
6Hold down [ARPEGGIO] and press [TRANSPOSE]. The
[ARPEGGIO] indicator will begin blinking, and the arpeggio
will continue sounding even after you take your hand off the
keyboard (Hold).
To stop the arpeggio from being sounded by the Hold function, hold down
[ARPEGGIO] again and press [TRANSPOSE]. The indicator changes from
blinking to lit.
7To finish playing arpeggios, press [ARPEGGIO] again so the
indicator turns off.
For details regarding
playing arpeggios, refer to
“Playing an Arpeggio”
(p. 56) and “Arpeggio
Settings (ARPEGGIO)”
(p. 108).
38
Playing the Sounds
Play Percussion Sounds from the Keyboard
The XP-30’s Rhythm Sets contain a wide variety of percussion sounds and
special effects. Here’s how to select a Rhythm Set and play percussion
sounds.
fig.Q-29
1Press [RHYTHM] to make the indicator light.
The RHYTHM PLAY display will appear.
fig.Q-30
2Press different keys to play different percussion instruments.
The display will indicate the last-pressed key (Note name) and the
percussion instrument name (Rhythm Tone name) assigned to that key.
3To select another Rhythm Set, turn the VALUE dial or press
[INC]/[DEC].
31
The percussion instrument
played by each key will
depend on the selected
Rhythm Set. For details,
refer to “Rhythm Set
List” (p. 177).
39
Chapter 1Chapter 2Chapter 3Chapter 4Chapter 5Chapter 6
Advanced Use
40
Chapter 1. Overview of the XP-30
XP-30 Configuration
■Basic Configuration
The XP-30 consists of a sound source and controllers.
fig.1-01.e
Sound Source
The XP-30 sound source produces sound by responding to
commands in the form of MIDI messages received from its
controllers. It will also produce sound by responding to
commands received from various external devices it can be
connected to.
Controllers
Controllers include the keyboard, front panel sliders and
pedals which are connected to their respective rear panel
jacks. Adjusting these controllers enable you to produce or
modify sound.
■Classification of XP-30 Sound
Types
XP-30 sounds are made up of the following types:
Tones
In the XP-30, the Tone is the smallest class of sound. Each
Tone consists of one sound. But when you play the XP-30
you will mostly play a Patch, which is made up of several
Tones. Tones therefore are the elements which collectively
form a Patch.
Tone configuration:
fig.1-02.e
WG (Wave Generator)
Using the Wave Generator, you select a waveform and set its
pitch.
TVF (Time Variant Filter)
With the Time Variant Filter, you modify the waveform’s
frequency characteristics.
TVA (Time Variant Amplifier)
With the Time Variant Amplifier, you set volume level and
set 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 the WG (pitch), TVF
(filter) and TVA (volume). For example, to modify a sound’s
attack and decay time, you would use TVA Envelope to
adjust volume changes to the sound over time.
LFO (Low Frequency Oscillator)
Use the LFO to create cyclic changes (modulation) in a
sound. The XP-30 has two LFOs. Either one or both can be
applied to effect the WG (pitch), TVF (filter) and/or TVA
(volume). To illustrate this control’s action, you can apply an
LFO to modify the WG (pitch) to create vibrato. If the LFO is
used to modify the TVA (volume), you’ll get tremolo.
Controller section (controllers such as
keyboard, pitch bend lever, etc.)
Sound source
section
Play
WG
Pitch
Envelope
TVF
TVF
Envelope TVA
Envelope
TVA
LFO 1 LFO 2
control signal
Tone
audio signal
41
Chapter 1. Overview of the XP-30
Chapter 1
Patches
Patches are the basic sound configurations that you play
during a performance. Each Patch can be configured by
combining up to four Tones. How the four Tones are
combined is determined on the STRUCT display (PATCH/
COMMON).
fig.1-03.e
Performances
The next level in sound configuration. A single Performance
groups 15 Patches and one Rhythm Set so that they can be
combined to play ensembles or produce fabulously rich,
thick sounds. One Performance allows a single XP-30 to
control up to 16 instrument sounds. Because the XP-30 sound
source can control multiple sounds (instruments) it is called a
“multitimbral sound source.”
fig.1-04.e
Rhythm Sets
A Rhythm Set is a grouping of percussion instruments
(Rhythm Tones). Since percussion instruments generally do
not play melodies, there is no need for a percussion
instrument sound to be able to play a scale on the keyboard.
It is however, more important that as many as possible
percussion instruments be available to you at the same time.
Therefore, each key (Note number) of a Rhythm Set will
produce a different percussion instrument.
fig.1-05.e
Parts
When the XP-30 is used as a multitimbral sound source,
another sound configuration called a Part comes into play. A
Part contains a Patch or Rhythm Set. For multitimbral
applications, the Performance consists of 16 Parts. A specific
Patch can be assigned to each Part except Part 10 because
Part 10 is universally set as the Drum Part to which a Rhythm
Set (discussed above) is assigned. In a multitimbral context, it
helps to think of a Performance as an orchestra, each Part in
it being a musician, and the Patch or Rhythm Set that
musician’s instrument.
For details regarding following items, please refer to each
corresponding page.
About the Memory (p. 67)
About the Effects (p. 61)
Patch
Tone 4
Tone 3
Tone 2
Tone 1
WG
Pitch
Envelope
TVF
TVF
Envelope TVA
Envelope
TVA
LFO 1 LFO 2
Performance
Patch
Rhythm Set
Part 10 (MIDI receive ch.)
Part 11 (MIDI receive ch.)
Part 16 (MIDI receive ch.)
Patch
Part 1 (MIDI receive ch.)
Part 9 (MIDI receive ch.)
Key-
board,
MIDI Sound
Note Number 98 (D7)
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
Rhythm Set
WG
Pitch
Envelope
TVF
TVF
Envelope TVA
Envelope
TVA
42
Chapter 1. Overview of the XP-30
■
Number of Simultaneous Voices
The XP-30 is able to produce up to 64 voices simultaneously.
The following paragraphs discuss what this means, and what
will happen when more than 64 simultaneous voices are
requested from the XP-30.
Calculating the Number of Voices
Being Used
The XP-30 is able to produce up to 64 simultaneous voices.
However this number is not simply the number of notes
being played, but depends on the number of Tones used in
each Patch. If you are playing one Patch which uses 4 Tones,
you will be able to play 16 simultaneous notes. If you are
using the XP-30 in Performance mode to play an ensemble,
count the total number of Tones used by all the Parts using
the following formula.
(currently sounding notes) x (number of Tones used in the
Patch being played)
How a Patch Uses Notes
When the XP-30 is requested to play more than 64 voices
simultaneously, a currently-sounding note will be turned off
to make room for the newly requested note. The note with
the lowest priority will be turned off first. The order of
priority is determined by the Voice Priority setting.
Voice Priority can be set either to Last or Loudest. When Last
is selected, a newly requested note that exceeds the 64 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.
Normally you will set Voice Priority to Last.
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.
When a note within a Patch needs to be turned off to make room
for a new note, the Voice Priority setting of the Patch will apply.
Voice Reserve
The XP-30 has a Voice Reserve function that lets you reserve
a minimum number of notes that will always be available for
each Part. For example if Voice Reserve is set to 10 for Part
16, Part 16 will always have 10 notes of sound-producing
capacity available to it even if a total of more than 64 notes
(total for all Parts) are being requested. When you make
Voice Reserve settings, you need to take into account the
number of notes you want to play on each Part as well as the
number of Tones used by the selected Patch.
* It is not possible to make Voice Reserve settings that would
cause the total of all Parts to be greater than 64 voices.
Basic Operation
■Switching Modes
The XP-30 contains a large number of functions. In order to
organize these functions for easy access, they are grouped
into the following modes. The mode that is selected will
affect the way in which the sound source operates, how data
is shown in the display, and how the function buttons work.
Use the Mode buttons to select the mode. The indicator of the
selected button will light/blink, and the display will change
according to the selected mode.
fig.1-06
Sound Source
Selecting Patch mode, Performance mode, Rhythm Set mode,
and GM mode will determine sound source operation. One
mode always has to be selected.
Patch Mode
In this mode, you can play an individual Patch from the
keyboard or modify Patch settings. If you’re using an
external MIDI device to control the XP-30 in this mode, it will
function as a single-patch sound source.
Performance Mode
This mode makes the XP-30 function as a multitimbral sound
source, and Performance settings can be modified. If you’re
using an external MIDI device to control the XP-30 in this
mode, it will function as a multitimbral sound source.
To modify the settings of a Patch that’s assigned to a Part,
hold down [PERFORM] and press [PATCH]. Both button
indicators will light.
Rhythm Set Mode
This is how you can play a Rhythm Set from the keyboard
and modify the Rhythm Set settings. In this mode, the
keyboard will play the Rhythm Set, but the XP-30 continues
to function as a multitimbral sound source. So your effects
settings of the currently selected Performance will be heard
as you play the Rhythm Set. Rhythm Sets are assigned to Part
10 of the Performance. If you’re using an external MIDI
device to control the XP-30 in this mode, it will still function
as a multitimbral sound source.
43
Chapter 1. Overview of the XP-30
Chapter 1
GM Mode
This special mode makes the XP-30 function as a GM
compatible sound source. You should select this mode when
you want to play back a GM score (music files created for
GM sound source).
To set GM mode, hold down [SHIFT] and press [PERFORM].
[PERFORM], [PATCH] and [RHYTHM] indicators will not
light.
System Mode
This mode is for determining global XP-30 settings such as
tuning, display contrast and how MIDI messages are
received.
* Some System mode parameters relate to an entire Patch or an
entire Performance. To set these parameters, press [SYSTEM]
in the selected mode (Patch or Performance).
Utility/Card Mode
Here you can save and transmit settings for the sound
generator, and make settings related to memory cards.
* Some Utility/Card mode parameters relate to an entire Patch,
Performance or Rhythm Set. To set these parameters, press
[UTIL/CARD] in the selected mode (Patch, Performance or
Rhythm Set).
■About the Function Buttons
Function buttons are buttons that perform a variety of
functions. The function they perform will depend on the
current mode, and on whether [EDIT] is on (lit) or off (dark).
[EDIT] will turn on or off each time you press it.
fig.1-07
* [EDIT] switches the function of the function buttons, but
pressing [EDIT] will not make the display change. If you wish
to modify a setting, press the [EDIT] to make the indicator light,
and then press a function button to select the display group and
switch the display. When you finish making settings, press
[EXIT] or a mode button to switch the display.
In Performance Mode
([EDIT] Indicator is Dark)
fig.1-08
The function buttons will act as Part buttons ([PART]) that
switch Parts on (lit) or off (dark). Since 16 Parts are being
controlled using only 8 buttons, use [1-8/9-16] to select
which set of Parts you are controlling. When [1-8/9-16]
indicator is dark, you can switch Parts 1–8 on/off. When it is
lit, you can switch Parts 9–16 on/off.
If the [EDIT] indicator is turned off in the Part setting
display, the function buttons will act as PART buttons that
select the Part to be edited.
* The function of the Part on/off setting will depend on the setting
of the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) (p. 83).
44
Chapter 1. Overview of the XP-30
In Patch Mode ([EDIT] Indicator is Dark)
fig.1-09
The function buttons will act as Tone Switch buttons ([TONE
SWITCH]) and Tone Select buttons ([TONE SELECT]).
[TONE SWITCH] allow you to turn each Tone in the Patch
on (lit) or off (dark). When a Tone is turned on, it can be
heard.
Use [TONE SELECT] to select the Tone you wish to modify.
To select a Tone to modify, turn off [EDIT] indicator in the
Tone setting display. To select two or more Tones
simultaneously, hold down one of [TONE SELECT] and
press the other [TONE SELECT]. In this case, the numbers of
Tones other than the first-selected Tone will be displayed as *
symbols.
In Rhythm Set Mode
([EDIT] Indicator is Dark)
fig.1-10
The function buttons (TONE SELECT section) will select the
key shown in the display.
If the [EDIT] indicator is turned off in the Rhythm Set setting
display (the setting display for individual keys), the function
buttons will select the key to be edited.
[TONE SELECT 1]: move to an octave lower key
[TONE SELECT 2]: move to the semitone below
[TONE SELECT 3]: move to the semitone above
[TONE SELECT 4]: move to an octave higher key
When [EDIT] Indicator is Lit
Each mode contains a large number of settable items, and
these items are organized into groups. When [EDIT]
indicator is lit, the function buttons are used to select display
groups. The displays that appear will depend on the current
mode. The groups that can be selected in each mode are
printed on the front panel above the buttons.
fig.1-11
* For information on what the function buttons do in GM mode,
please see “Chapter 5. Using the XP-30 as the GM Sound
Module” (p. 124).
■About the Cursor Buttons
The cursor buttons are used to move between display pages
or to move the cursor.
fig.1-12
Moving Between Display Pages
The various displays are grouped by function button, and
each group contains several display pages. Use the cursor
buttons to move between these display pages and groups.
Moving Between Pages
An upward-pointing arrow ( ) shown in the display
indicates that one or more pages exist before this page. A
downward-pointing arrow ( ) shown in the display
indicates that one or more pages exist after this page. Press
[ ] to move to the previous page, or [ ] to move to the next
page. Pressing [ ] while holding [SHIFT] will jump to the
first page. Pressing [ ] while holding [SHIFT] will jump to
the last page.
fig.1-13
Moving Between Groups
From one of the Play displays, hold down [SHIFT] and press
[ ] to access the left-most function button group display.
In group displays that you select using the function buttons,
you can hold down [SHIFT] and press [ ] to move to the
group of the function button to the left, or hold down
[SHIFT] and press [ ] to move to the group of the function
button to the right.
Whenever you are in any group display, you can move to
another group even if [EDIT] indicator is dark. In other
words, this procedure allows you to move to a different
group without having to turn on [EDIT] indicator, and is a
faster and more efficient way to get around.
45
Chapter 1. Overview of the XP-30
Chapter 1
Moving the Cursor (underline)
When two or more items are shown in a single display page,
move the cursor (underline) to the item whose value you
wish to set. Press [ ] to move the cursor to the left, or [ ]
to move it to the right.
fig.1-14
A symbol appearing in the upper right of the display
indicates that there are other items in this page that the
screen has no room to show. Press [ ] to see these items,
and press [ ] to return to the previous display.
fig.1-15
■Modifying a Value
To modify a value, use the VALUE dial, [INC]/[DEC] or [0]–
[9] (numeric keys).
fig.1-16
* Each parameter has a specific range, so you cannot set any value
smaller than the minimum value or greater than the maximum
value.
VALUE Dial
Rotating the VALUE dial clockwise increases the value,
counterclockwise decreases the value. Holding down
[SHIFT] as you move the VALUE dial increases value
increments so you can make large value changes faster.
[INC] and [DEC]
Pressing [INC] increases the value, and [DEC] decreases it.
Keep [INC] or [DEC] pressed for continuous adjustment. For
faster value increases, keep [INC] pressed down and press
[DEC]. For decreasing value faster, keep [DEC] pressed
down and press [INC].
If you press [INC] or [DEC] while holding down [SHIFT], the
value increments will get bigger.
[0]–[9] (Numeric Keys)
[0]–[9] (Numeric Keys) lets you directly specify a numerical
value. When you enter the number, the value will blink. This
indicates that the value has not yet been finalized. To finalize
the value press the ENTER button. To reverse the sign of the
number (+/-), hold down [SHIFT] and press [0].
* Some parameters do not require you to press [ENTER] to
finalize the value.
< Example 1: To enter a value of 38 >
Press [3] → press [8] → press [ENTER]
< Example 2: To enter a value of -60 >
While holding down [SHIFT] press [0] → press [6] → press
[0] → press [ENTER]
* You can switch from a positive to negative numerical value
anytime before you press [ENTER].
Special Functions of the Numeric Keys
You can use the numeric keys to specify non-numerical
settings for some parameters.
* For the procedure of using the Numeric Keys to enter the
characters or symbols in a name, refer to “Assigning a
Name” (p. 46).
Performance/Patch/Rhythm Set Group
In the PLAY displays of Performance mode/Patch mode/
Rhythm Set mode, you can use the numeric keys to specify
groups. To specify the group, hold down [SHIFT] and press
numeric keys to specify groups.
Buttons Group
[SHIFT]+[1] PR-A (preset A)
[SHIFT]+[2] PR-B (preset B)
[SHIFT]+[3] PR-C (preset C)
[SHIFT]+[4] PR-D (GM (General MIDI))
[SHIFT]+[5] PR-E (preset E)
[SHIFT]+[6] USER (user)
Restoring a Previous Value (Undo)
If you wish to restore a value to its immediate previous
value, press [UNDO/COMPARE] to return the value to its
pre-modified state.
The Undo function can be used when modifying sound
source settings.
46
Chapter 1. Overview of the XP-30
■Assigning a Name
The XP-30 lets you assign names to Patches, Performances, and
Rhythm Sets. The procedure is the same for any type of data.
To assign a name, use [ ]/[ ] to move the cursor to the
location where you wish to input a character. Then use the
VALUE dial or [INC]/[DEC] or the Numeric Keys to input a
character.
Available characters/symbols:
space, A—Z, a—z, 0—9, + - * / | = ! ? < > ( ) [ ] : ; . , “ ‘ ` # %
& $ ¥ @ ^ _
Using the Numeric Keys
The numeric keys are used to input the numerals printed on
each key as well as the characters assigned to each key (see
the table below). Each time you press a numeric key, the
display will cycle through the numeral and characters
printed above the key. To specify a lowercase character, hold
down [SHIFT] as you press the numeric key.
Numeric Key Character
[1] A B C
[2] D E F
[3] G H I
[4] J K L
[5] M N O
[6] P Q R
[7] S T U
[8] V W X
[9] Y Z !
[0] space
Convenient Functions
While you are holding down [SHIFT], the screen will show
three functions that are convenient when entering a name. To
use each function, hold down [SHIFT] and press the
appropriate function button.
fig.1-17
Aa:switch between uppercase/lowercase characters
INS: insert a space at the cursor location
DEL: delete the character at the cursor location
47
Chapter 2
Chapter 2. Playing
Playing in Patch Mode
Patches are what you normally play during a performance.
Select a Patch before playing.
■Selecting a Patch
The 768 patches of the XP-30 are organized into six groups of
128 patches: User, and Preset A–E. In addition, the patches of
three popular Wave Expansion Boards (“Session,”
“Orchestral,” and “Techno Collection”) are also stored
onboard. Furthermore, you can install up to two separately
available Wave Expansion Boards, which will allow you to
choose from as many as 2044 patches.
USER
The XP-30’s user memory contains 128 Patches that can be
rewritten to create your own Patches.
PR-A–C, E (Presets A–C, E)
The XP-30 includes 512 preset Patches that are not user-
rewritable. But you can call up preset Patch settings into the
temporary area, modify them, and then store them in User
memory.
PR-D (GM (General MIDI))
GM Patches are for instruments compatible with the GM
System. The aim of this system is to standardize MIDI
specifications among different equipment makers or models.
The XP-30 contains 128 GM Patches that are not user-
rewritable. But you can call up GM Patch settings into the
temporary area, modify them, and then store them in User
memory.
XP-A–C (Internal Wave Expansion)
The patches of three Wave Expansion Boards (766 patches)
are already built into the XP-30, and cannot be rewritten.
However you may modify the settings of the currently
selected patch, and then store the modified patch in User
memory.
XP-D, E (Wave Expansion Boards installed in
EXP-D, E Slots)
The Patches included in optional Wave Expansion Boards are
not user-rewritable. But you can call up those Patch settings
into the temporary area, modify them, and then store them in
User memory.
* A Patch XP-D, E cannot be accessed if the Wave Expansion
Board it belongs to has not been installed.
1. Press [PATCH] to call up the PATCH PLAY display.
fig.2-01.e
2. Rotate the VALUE dial or press [INC]/[DEC] to select a
Patch.
Selecting a Patch Using Numeric Keys
You can use numeric keys to directly select a desired Patch.
1. Press [PATCH] to call up the PATCH PLAY display.
2. Press the following buttons to select a Patch group.
Button Patch Group
[SHIFT] + [1] PR-A (Preset A)
[SHIFT] + [2] PR-B (Preset B)
[SHIFT] + [3] PR-C (Preset C)
[SHIFT] + [4] PR-D (GM (General MIDI))
[SHIFT] + [5] PR-E (Preset E)
[SHIFT] + [6] USER (User)
[EXP A] XP-A (“Session”)
[EXP B] XP-B (“Orchestral”)
[EXP C] XP-C (“Techno Collection”)
[EXP D] XP-D (Wave Expansion Board D)
[EXP E] XP-E (Wave Expansion Board E)
3. Use numeric keys to input a Patch number.
The patch number and name will blink. At this time, the
Patch selection has not yet been finalized.
4. Press [ENTER] to finalize the entry.
48
Chapter 2. Playing
Selecting Patches by Category
(Patch Search Function)
The XP-30 provides a Patch Search function which allows
you to specify a type (category) of Patch so that you can
quickly find the desired Patch. There are a total of 38
categories.
1. Press [PATCH] to call up the PATCH PLAY display.
2. Press [CATEGORY] to turn the Patch Search function is
on.
The patch number display will change to the category
display.
* Now you can select patches within the currently selected
category either by rotating the VALUE dial or by using [INC]/
[DEC]. To change the category group, use the numeric keys.
If you wish to select patches from a different category,
continue with the following procedure.
3. Hold down [CATEGORY] and press a key [0]–[9]
(numeric keys) to select the category group.
fig.2-03
4. Rotate the VALUE dial or press [INC]/[DEC] to select a
Category.
The selected category display will blink. At this time, the
selected category has not yet been finalized.
* Now if you press [ ] the following display will appear, and you
can select patches while viewing the number of patches (a)
included in the currently selected category, and the order of this
patch among the patches (b) that were selected after the search.
To change the category, use the numeric keys.
fig.2-04
5. Press [ENTER] to finalize the entry.
* In step 4, you can also select a category directly by pressing the
corresponding numeric key.
6. Rotate the VALUE dial or press [INC]/[DEC] to select a
Patch.
7. Press [CATEGORY] to turn the Patch Search function is
off.
You will return to the normal PATCH PLAY screen.
Express Patch Select (Digit Hold)
With the Digit Hold function turned on, the 100’s
position and 10’s position will be fixed when the
numeric keys are used to select a Patch. This means that
the numeric keys will only change the 1’s position, and
you won’t have to press [ENTER] for each selection.
The same applies to selecting Performances and
Rhythm Sets.
1. Hold down [SHIFT] and press [ENTER] to turn on
Digit Hold.
fig.2-02
The numbers in the 100’s position and 10’s position will
be displayed in a smaller size to indicate Digit Hold is
on.
2. When you enter a numeric key number, the 1’s
position will change immediately without having
to press [ENTER].
3. To turn off Digit Hold, hold down [SHIFT] and
press [ENTER] once again.
49
Chapter 2. Playing
Chapter 2
The following categories can be selected.
Category
Group Category Contents
--- NO ASSIGN No assign
Piano PNO AC.PIANO Acoustic Piano
EP EL.PIANO Electric Piano
Keys&OrganKEY 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
Guitar AGT AC.GUITAR Acoustic Guitar
EGT EL.GUITAR Electric Guitar
DGT DIST.GUITAR Distortion Guitar
Bass BS BASS Acoustic & Electric Bass
SBS SYNTH BASS Synth Bass
Orchestral STR STRINGS Strings
ORC ORCHESTRA Orchestra Ensemble
HIT HIT&STAB Orchestra Hit, Hit
WND WIND Winds (Oboe, Clarinet etc.)
FLT FLUTE Flute, Piccolo
Brass BRS AC.BRASS Acoustic Brass
SBR SYNTH BRASS Synth Brass
SAX SAX Sax
Synth HLD HARD LEAD Hard Synth Lead
SLD SOFT LEAD Soft Synth Lead
TEK TECHNO SYNTH Techno Synth
PLS PULSATING Pulsating Synth
FX SYNTH FX Synth FX (Noise etc.)
SYN OTHER SYNTH Poly Synth
Pad BPD BRIGHT PAD Bright Pad Synth
SPD SOFT PAD Soft Pad Synth
VOX VOX Vox, Choir
Ethnic PLK PLUCKED Plucked (Harp etc.)
ETH ETHNIC Other Ethnic
FRT FRETTED Fretted Inst
(Mandolin etc.)
Rhythm&SFX
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
■Using Phrase Preview to Play
Patches
The XP-30 allows you to preview Patches by hearing a
phrase appropriate for each type of Patch.
1. Select a Patch (p. 47).
2. Press and hold [PHRASE PREVIEW].
* When a Performance is selected, the Patch of the Part for which
settings are being made will sound. When a Rhythm Set is
selected, a drum phrase will sound.
* Patches of the USER group or from an optional Wave
Expansion Board (SR-JV80 series) may not sound at the
appropriate pitch range. In this case, use [+OCT] or [-OCT]
(the Octave Shift function) to set an appropriate pitch range.
* If the range of the phrase is wider than the range of the Tones
within the Patch (p. 70), or wider than the range of the Parts
within the Performance (p. 83), the portion of the phrase that
exceeds the range will not sound.
3. The phrase will stop playing when you take your finger
off [PHRASE PREVIEW].
4. Hold down [SHIFT] and press [PHRASE PREVIEW], and
the PREVIEW SELECT display will appear. Here you can
specify how the phrase will be played (Mode), and select
the phrase that will play (Patch Category).
fig.2-05
5. To specify how the phrase will be played, use the cursor
buttons to move the cursor to the Mode parameter.
6. Rotate the VALUE dial or press [INC]/[DEC] to make
the setting.
Mode (Preview Sound Mode)
SINGLE: The notes specified by Note 1–4 parameter
(SYSTEM/PREVIEW/PREVIEW KEY) will
sound successively one by one.
CHORD: The notes specified by Note 1–4 parameter
(SYSTEM/PREVIEW/PREVIEW KEY) will
sound simultaneously.
PHRASE: The phrase prepared for the Patch type (category)
will sound.
* This setting is linked with the Mode parameter (SYSTEM/
PREVIEW/PREVIEW MODE).
7. If you set the Mode parameter to PHRASE, you can
specify the phrase that will sound. Use the cursor
buttons to move the cursor to the Patch Category
parameter.
* If a rhythm set is selected, this will be fixed at DRUMS, and it
will not be possible to change the phrase that is played.
50
Chapter 2. Playing
8. Rotate the VALUE dial or press [INC]/[DEC] to make
the setting. For details on the available categories, refer to
page 49.
* This setting is linked with the Category parameter (PATCH/
COMMON/PATCH CATEGORY).
■Making a Patch Sound Thick or
Thin (Turning a Tone On/Off)
Since a Patch is a combination of up to four Tones, you can
switch unwanted (Tones out of the four) off and get just the
sound of a specific Tone.
* This setting is linked with the Switch parameter (PATCH/
WAVE/WAVE). If you want just one or two Tones to sound in
a Patch, turn the others off and store that setting on a Patch.
This cuts nonessential use of the XP-30’s simultaneous voices.
1. Make sure that the PATCH PLAY display is showing.
2. Make sure that [EDIT] indicator is dark. If it is lit, press
[EDIT].
At this time, the on/off setting of each Tone in the displayed
Patch will be shown by the indicators of TONE SWITCH [1]–
[4]. Those that are lit are on, and those that are dark are off.
3. Use TONE SWITCH [1]–[4] to switch Tones on/off.
■Playing Single Notes (Solo)
Normally, the XP-30 allows you to play chords. Pressing
[SOLO] allows performance using single notes. This function
is effective when performing a solo using single-note Patches
like sax and flute.
1. Make sure that the PATCH PLAY display is showing.
2. Press [SOLO] so its indicator lights.
Now you can play a solo.
* This setting is linked with the Assign parameter (PATCH/
CONTROL/KEY MODE & BENDER). When the [SOLO]
indicator is turned on, the Assign parameter will be set to
SOLO. When the indicator is dark, it will be set to POLY.
3. Play the XP-30 keyboard.
* If you press [SOLO] when Single Performance is selected, the
Solo function can be switched on or off for the current Part.
When Layer Performance is selected, the Solo function can be
switched on or off for the Parts with the Local parameter
(PERFORM/MIDI/MIDI) set ON. If a Rhythm Set is selected,
[SOLO] cannot be turned on.
■Creating Smooth Pitch Changes
(Portamento)
Portamento ensures a smooth pitch changeover from one
note to the next note played. When [SOLO] is on (indicator
lights), you can simulate techniques like violin glissandos.
1. Make sure that the PATCH PLAY display is showing.
2. Press [PORTAMENTO]. Its indicator lights.
You’re ready to play portamento.
* This setting is linked with the Sw parameter (PATCH/
CONTROL/PORTAMENTO).
3. To change the portamento settings, press [EDIT] to make
the indicator light. Then press the [CONTROL] function
button, and press [ ] or [ ] to access the
PORTAMENTO display.
fig.2-06
4. Move the cursor over to Time, Mode, Type or Start
parameter.
See p. 73 for each parameter’s functions.
5. Rotate the VALUE dial or press [INC]/[DEC] to get the
value you want.
6. Press [EXIT] to return to the PATCH PLAY display and
play.
* If you press [PORTAMENTO] when Single Performance is
selected, the Portamento function can be switched on or off for
the current Part. When Layer Performance is selected, the
Portamento function can be switched on or off for the Parts with
the Local parameter (PERFORM/MIDI/MIDI) set ON. If a
Rhythm Set is selected, [PORTAMENTO] cannot be turned on.
■Using the Sliders to Modify the
Sound in Realtime
(Sound Palette Function)
With the four sliders in the PALETTE section, you can create
sound variations or volume changes in real time.
* Sound variations or volume changes made with the Sound
Palette affect only the performance. They have no effect on
current Patch settings. Change the Patch and these Sound
Palette settings will be lost.
* The sound character and volume changes created using the
Sound Palette will also be transmitted to the external MIDI
devices.
51
Chapter 2. Playing
Chapter 2
Changing Sound Characters
1. Make sure that the PATCH PLAY display is showing.
2. Press [FILTER/ENV] and its indicator lights.
3. Move the sliders while you play to vary the sound.
To modify the brightness, move the CUTOFF slider.
To change resonance, move the RESO. slider.
To change attack time, move the ATTACK slider.
To change decay time, move the DECAY slider.
Changing the Volume of Each Tone
1. Make sure that the PATCH PLAY display is showing.
2. Press [LEVEL] and its indicator lights.
3. Move the LEVEL slider as you play the keyboard to
adjust volume as desired.
Sliders 1, 2, 3, and 4 are used to change the volume of Tones
1, 2, 3, and 4, respectively.
Playing in Performance Mode
There are two types of performances: Layer performances
and Single performances. The upper right of the display
will indicate “LAYER p* “ (* is the part number) for a layer
performance, and “part=* “ (* is the part number) for a single
performance.
Layer Performance allows playing two or more Parts
simultaneously on the keyboard. Select Layer Performance if
you want fat, rich sounds of two or more Patches, or play
different Patches in a split keyboard’s different sections.
Single Performance plays only the Part shown in the display
(current Part). Select Single Performance for playing a song
using two or more instruments.
* Make your Performance type selection with the Key Mode
parameter (PERFORM/COMMON/PERFORM COMMON).
The Key Mode parameter determines how the XP-30 keyboard
will play the internal sound source. It has no effect on how the
XP-30 sound source is played from the built-in sequencer or an
external MIDI device.
* You can toggle between SINGLE and LAYER directly from the
PERFORM PLAY display by pressing [SOLO] while holding
down [SHIFT].
■Selecting a Performance
The XP-30 offers three groups of Performances (User, Presets
A and B) with each group having 32 Performances. A total of
96 Performances is available.
USER
The XP-30 user memory includes 32 Performances that can
be rewritten to produce your own Performances.
PR-A–B (Preset A–B)
The XP-30 contains 64 preset Performances that cannot be
rewritten. But you can call up preset Performance settings
into the temporary area, modify them, and then store them in
user memory.
1. Press [PERFORM] to call up the 52
PERFORM PLAY display.
fig.2-07.e
2. Rotate the VALUE dial or press [INC]/[DEC] to select a
Performance.
Selecting a Performance Using
Numeric Keys
You can choose a Performance with direct numeric key
input.
1. Press [PERFORM] to call up the PERFORM PLAY
display.
2. Use the following buttons to select the Performance
group.
Button Performance Group
[SHIFT] + [1] PR-A (Preset A)
[SHIFT] + [2] PR-B (Preset B)
[SHIFT] + [6] USER (User)
3. Use numeric keys to input the Performance number.
The performance number and name will blink. At this time
the Performance has not yet been finalized.
4. Press [ENTER] to finalize the entry.
* Using Digit Hold, a Performance can be selected simply by
specifying the 1’s place number (p. 48).
52
Chapter 2. Playing
■Playing Fatter and Richer
Sounds by Combining Patches
(Layer)
If a Layer Performance is selected, you can play all Parts with
the Local parameter ON. Combining the Parts will produce,
thicker, fatter sounds.
fig.2-08.e
1. Make sure that PERFORM PLAY display is showing.
2. Make sure that the upper right of the display indicates
“LAYER p* ”(* is the part number). If the display
indicates “part=* ” (* is the part number), the
performance is a “single performance,” so hold down
[SHIFT] and press [SOLO] to change to a layer
performance.
* The setting here is linked to the Key Mode parameter
(PERFORM/COMMON/PERFORM COMMON).
3. Press the function button for the part that you wish to
play, to make the indicator light. When the [1-8/9-16]
indicator is dark, parts 1–8 can be selected, and when the
[1-8/9-16] indicator is lit, parts 9–16 can be selected.
The Local parameter of the selected part will be ON.
* This setting is linked with the Local parameter (PERFORM/
MIDI/MIDI).
4. Repeat step 3 to turn the Local parameter ON for each
part that you wish to play.
■Splitting the Keyboard to Play
Separate Patches in Different
Sections (Split)
If you’ve selected a Layer Performance, you can split the
keyboard to play separate Patches with different sections of
the keyboard. As the note range that plays each Part can be
specified individually, you can split the keyboard into a
maximum of 16 sections.
For instance, you can play strings in the lower note section,
piano in the higher note section and both sounds in the
middle note section.
fig.2-09.e
* If a KEY RANG display (PATCH/COMMON) has been set,
sounds are produced in the overlapping sections between the key
ranges specified for the Patch and Performance.
1. Make sure that the PERFORM PLAY display is showing.
2. Make sure that the upper right of the display indicates
“LAYER p* ”(* is the part number). If the display
indicates “part=* ” (* is the part number), the
performance is a “single performance,” so hold down
[SHIFT] and press [SOLO] to change to a layer
performance.
* The setting here is linked to the Key Mode parameter
(PERFORM/COMMON/PERFORM COMMON).
3. Press the function button for the part that you wish to
play, to make the indicator light. When the [1-8/9-16]
indicator is dark, parts 1–8 can be selected, and when the
[1-8/9-16] indicator is lit, parts 9–16 can be selected.
The Local parameter of the selected part will be ON.
* This setting is linked with the Local parameter (PERFORM/
MIDI/MIDI).
4. Repeat step 3 to turn the Local parameter ON for each
part that you wish to play.
5. Press [EDIT] to make the indicator light. Then press the
[COMMON] function button, and press [ ] or [ ] to
access the PERFORM COMMON display.
Part 1 Part 2 Part 15 Part 16
Local parameters
Part 1: Strings
Part 1 + Part 2:
(Strings + Piano) Part 2: Piano
53
Chapter 2. Playing
Chapter 2
6. Make sure that the Key Range parameter is ON. If it is
OFF, use the cursor buttons to move the cursor to the
Key Range parameter, and rotate the VALUE dial or
press [INC]/[DEC] to turn it ON.
* If the Key Range parameter is OFF, the keyboard cannot be split
even when you set the key range.
7. Press [ ] to access the KEY RANG display.
fig.2-10
8. Press [EDIT] to make the indicator go dark.
9. Press a function button to select the part whose Local
parameter you wish to turn ON. When the [1-8/9-16]
indicator is dark, you can select parts 1–8. When the [1-
8/9-16] indicator is lit, you can select parts 9–16.
10.Specify the range of notes for which the part will sound.
Use the cursor buttons to move the cursor to the Lower
parameter and set the lowest note of the range. Move the
cursor to the Upper parameter and set the highest note of
the range.
11.Rotate the VALUE dial or press [INC]/[DEC] to specify
the range of notes.
* By specifying sections for different Parts so that they overlap
each other, you can combine two or more Patches only in a
specific section.
12.When you are finished making settings, press [EXIT] to
return to the PERFORM PLAY display, and begin
playing.
■Playing Along with a Song
Playback (XP-30 Used as a
Multitimbral Sound Source)
When a Single Performance is selected, the XP-30’s keyboard
will play only the Part you selected from the keyboard,
convenient when you play the keyboard along with a song
playback.
fig.2-11.e
Selecting a Part You Want to Play on
the Keyboard
If a Single Performance is selected, press [ ] or [ ] to
select the Part you want to play. The selected Part is called
the Current Part.
1. Make sure that the PERFORM PLAY display is showing.
2. Press [ ] or [ ] to choose the Part to be played.
The part number shown in the upper right of the display will
change.
fig.2-12
* You can also press a function button to select the part that you
wish to play. At this time, the function button indicator of the
selected part will light.
Muting a Specific Part
(Turning Receive Channel On/Off)
While you play along with the playback of a song, you can
turn on/off any specific Part. This allows you to turn off the
melody Part for karaoke applications or for practicing the
muted Part.
1. Make sure that [EDIT] indicator is dark. If it is lit, press
[EDIT] to turn it off.
At this time, the function button indicators will indicate the on/
off status of each Part. When [1-8/9-16] indicator is dark, the
function button indicators will indicate the status of Parts 1-8.
When [1-8/9-16] indicator is lit, the function button indicators
will indicate the status of Parts 9-16. Lit is on, and dark is off.
2. Hold down [SHIFT] and press the function button to
switch Parts on/off.
* This setting is linked with the Rx parameter (PERFORM/
MIDI/MIDI).
Part 1 Part 2 Part 15 Part 16
54
Chapter 2. Playing
■Assigning a Different Patch to a
Part
The Patch assigned to each Part can be stored as a
Performance parameter.
1. Make sure that the PERFORM PLAY display is showing.
2. Press [ ] or [ ] to choose the Part to which you want
to assign a different Patch.
3. While holding down [PERFORM], press [PATCH] to call
up the PLAY display (PART PLAY) of the Patch assigned
to a specific Part.
fig.2-13
The upper right of the display will indicate the number of the
currently selected part (the current part).
4. Use the same procedure as in Patch mode to select a
Patch (p. 47).
* This setting is linked with the Group parameter and Number
parameter (PERFORM/PART/PATCH).
5. Press [PERFORM] or [EXIT] to return to the PERFORM
PLAY display.
■Using the Sliders to Modify the
Sound in Realtime
(Sound Palette Function)
Using the Sound Palette function, you can modify sound
characters of the Patch assigned to a Part or adjust the
volume level of each Part.
* Sound variations or volume changes made with the Sound
Palette function affect only the performance. They have no effect
on the currently selected Performance, so the Sound Palette
settings cannot be saved. If you change the Performance, these
settings will be lost.
* The sound character and volume changes created using the
Sound Palette will also be transmitted to the external MIDI
devices.
Changing Sound Characters
* If Single Performance is selected, the effect applies only to the
current Part. With Layer Performance selected, this affects only
the Parts with Local parameter (PERFORM/MIDI/MIDI) set
ON.
1. Make sure that the PERFORM PLAY display is showing.
2. Press [FILTER/ENV] to light its indicator.
3. Move the sliders while you play the XP-30’s keyboard to
vary the sound.
To change brightness, move the CUTOFF slider.
To change resonance, move the RESO slider.
To change attack time, move the ATTACK slider.
To change decay time, move the DECAY slider.
Changing the Level (Volume) of Each Part
1. Make sure that the PERFORM PLAY display is showing.
2. Press [LEVEL] to light its indicator.
3. Press [ ] or [ ] to select the Part whose level (volume)
you want to change.
If you’ve selected any of Parts 1–4, sliders 1, 2, 3, and 4 adjust
Parts 1, 2, 3, and 4, respectively.
If you’ve selected any of Parts 5–8, sliders 1, 2, 3, and 4 adjust
Parts 5, 6, 7, and 8, respectively.
If you’ve selected any of Parts 9–12, sliders 1, 2, 3, and 4
adjust Parts 9, 10, 11, and 12, respectively.
If you’ve selected any of Parts 13–16, sliders 1, 2, 3, and 4
adjust Parts 13, 14, 15, and 16, respectively.
4. Move the slider as you play to adjust the level (volume)
of each Part as desired.
55
Chapter 2. Playing
Chapter 2
Playing in Rhythm Set Mode
In Rhythm Set mode, you can play percussion instruments
(Rhythm Tones) on the keyboard. As the Rhythm Tone
assigned to each key varies by the Rhythm Set selected, you
can play a wide range of percussion instruments.
■Selecting a Rhythm Set
The XP-30 contains a total of twelve rhythm sets, organized
into six groups (User and Preset A–E) with two rhythm sets
in each group. In addition, the rhythm sets of two popular
Wave Expansion Boards (“Session” and “Techno Collection”)
are onboard. Furthermore, you can install up to two
separately sold Wave Expansion Boards, giving you access to
an even larger number of percussion instruments.
USER
The XP-30’s user memory contains two Rhythm Sets that can
be rewritten to make up your own Rhythm Sets.
PR-A–C, E (Preset A–C, E)
The XP-30 includes eight preset Rhythm Sets that are not
user-rewritable. But you can call up preset Rhythm Set
settings into the temporary area, modify them, and then store
them in user memory.
PR-D (GM (General MIDI))
GM Rhythm Sets are for instruments compatible with the
General MIDI System intended to standardize MIDI
specifications among different equipment makers or models.
The XP-30 offers two GM Rhythm Sets that are not user-
rewritable. But you can call up GM Rhythm Set settings into
the temporary area, modify them, and then store them in
user memory.
XP-A and C (Internal Wave Expansion)
The rhythm sets of two Wave Expansion Boards (16 rhythm
sets) are already built-in, and cannot be rewritten. However,
you can modify the settings of the currently selected rhythm
set, and then save the modified settings in User memory.
XP-D, E (Wave Expansion Boards installed in
EXP-D, E Slots)
These Rhythm Sets are included in optional Wave Expansion
Boards and are not user-rewritable. But you can call up
Rhythm Set settings into the temporary area, modify them,
and then store them in user memory.
* A Patch XP-D, E cannot be accessed if the Wave Expansion
Board it belongs to has not been installed.
1. Press [RHYTHM] to call up the RHYTHM PLAY display.
fig.2-14.e
2. Rotate the VALUE dial or press [INC]/[DEC] to select a
Rhythm Set.
* Here, pressing [0] (on the numeric key) while holding down
[CATEGORY] takes you to the display shown below, where you
can verify the total number of selectable Rhythm Sets (a), and
the number within the sequence of the currently selected
Rhythm Set (b), and choose a Rhythm Set.
fig.2-14a
Selecting a Rhythm Set Using Numeric
Keys
Using numeric keys, you can direct input a desired Rhythm
Set.
1. Press [RHYTHM] to call up the RHYTHM PLAY display.
2. Press the following buttons to select a Rhythm Set group.
Button Rhythm Set Group
[SHIFT] + [1] PR-A (Preset A)
[SHIFT] + [2] PR-B (Preset B)
[SHIFT] + [3] PR-C (Preset C)
[SHIFT] + [4] PR-D (GM (General MIDI))
[SHIFT] + [5] PR-E (Preset E)
[SHIFT] + [6] USER (User)
[EXP A] XP-A (“Session”)
[EXP C] XP-C (“Techno Collection”)
[EXP D] XP-D (Wave Expansion Board D)
[EXP E] XP-E (Wave Expansion Board E)
3. Use numeric keys to input a Rhythm Set number.
The rhythm set number and name will blink. At this point
the Rhythm Set has not yet been finalized.
4. Press [ENTER] to finalize the entry.
* Using Digit Hold, a Rhythm Set can be selected simply by
specifying the 1’s place number (p. 48).
56
Chapter 2. Playing
■Playing Percussion Instruments
1. Press [RHYTHM] to call up the RHYTHM PLAY display.
2. Select a desired Rhythm Set.
3. Press a key on the keyboard to play a percussion
instrument.
The key (Note name) you press and its percussion
instrument name (Rhythm Tone name, the same as the Wave
it uses) will be displayed below the Rhythm Set name.
fig.2-15.e
You can also use the TONE SELECT buttons to select the
displayed key.
[TONE SELECT 1]: move to an octave lower key
[TONE SELECT 2]: move to the semitone below
[TONE SELECT 3]: move to the semitone above
[TONE SELECT 4]: move to an octave higher key
* When you want to play the percussive instrument sound
assigned to the B1 key, first push [-OCT] once, then press the
B2 key. Similarly, push [+OCT] once then press the C#6 or D6
key to play the percussive instrument sound assigned to the C#7
or D7 key. (On the XP-30, the leftmost white key is C2, and
rightmost white key is C7.)
For details, refer to “Transposing the Keyboard in Octave
Units (Octave Shift)” (p. 59).
Playing an Arpeggio
The XP-30’s Arpeggiator lets you produce an arpeggio
(broken chord) simply by playing a chord. In addition to
normal arpeggios, you can also accurately simulate guitar
cutting or strumming techniques depending on the
Arpeggiator settings. The Arpeggiator can in fact be used as
a handy automatic arranger.
By pressing [ARPEGGIO], the indicator lights and allows
playing arpeggios from the XP-30 keyboard.
* If you press [ARPEGGIO] to turn this function on when Single
Performance is selected, the current Part will play arpeggios.
When a Layer Performance is selected, an arpeggio will sound
for the Part specified by the Part parameter (SYSTEM/
ARPEGGIO/ARPEGGIO).
* The arpeggios played by the arpeggiator are also transmitted
from the MIDI OUT connector to external MIDI devices.
1. Make sure that the PLAY display of the sound source
mode (PERFORM, PATCH, RHYTHM, GM) is
displayed.
2. Press [ARPEGGIO] to turn the Arpeggiator on.
3. If you wish to change how the arpeggio is played, hold
down [ARPEGGIO] to access the ARP SELECT display,
move the cursor to the Style parameter, and change the
setting.
fig.2-16
* The selection you make here will also affect the Style parameter
(SYSTEM/ARPEGGIO/ARPEGGIO) settings.
There are 43 arpeggio styles available. For selection, refer to
the following guideline.
Playing an Arpeggio According to the Timing
Interval of a Note
1/4–1/32
Playing a Glissando
GLISSANDO
Playing a Bass Part
SYNTH BASS, SLAP BASS A, SLAP BASS B, WALK BASS
Playing a Guitar
RHYTHM GTR A, RHYTHM GTR B, RHYTHM GTR C,
RHYTHM GTR D, RHYTHM GTR E, 3FINGER GTR,
STRUMMING GTR
Playing a Keyboard Instrument
KBD COMPING A, KBD COMPING B
Playing a Waltz
KBD COMPING C, KBD COMPING D
Note name Rhythm Tone name
57
Chapter 2. Playing
Chapter 2
Playing in Reggae Style
KBD COMPING E
Playing Percussion Instruments
PERCUSSION
* There are also other styles besides the above, including those
used for random play and for creating your own styles. For
details regarding each style, refer to “Arpeggio Settings
(ARPEGGIO)” (p. 108).
4. To change the “groove” feel of the arpeggio, hold down
[ARPEGGIO] to access the ARP SELECT display, move the
cursor to the Accent parameter, and change the setting.
fig.2-16a
A setting of 100% will produce the most pronounced groove
feel.
* This setting will also affect the Accent Rate parameter
(SYSTEM/ARPEGGIO/ARPEGGIO) settings.
5. To change the range in which the arpeggio is played,
hold down [ARPEGGIO] to access the ARP SELECT
display, move the cursor to the Oct parameter, and
change the setting.
fig.2-17
If you want the arpeggio to sound using only the notes that
you actually play, set this to 0. With a +1 setting, arpeggio will
take place over a range up to 1 octave higher than the notes
you play. A -1 setting will result in arpeggio occurring over
the range down to 1 octave lower than the notes you play.
* This setting will also affect the Octave Range parameter
(SYSTEM/ARPEGGIO/ARPEGGIO) settings.
6. To change the tempo in which the arpeggio is played,
hold down [ARPEGGIO] to access the ARP SELECT
display, move the cursor to the Tempo parameter, and
change the setting.
fig.2-17a
* This setting will also affect the Tempo parameter (SYSTEM/
ARPEGGIO/ARPEGGIO) settings.
7. Play a chord to produce an arpeggio.
8. To stop the arpeggio, press [ARPEGGIO] to turn off the
indicator.
* If you hold down [SHIFT] when you press [ARPEGGIO], the
ARP SELECT display will continue being displayed, without
you having to hold down [ARPEGGIO]. To go back to the
previous display, press [EXIT].
■Playing an Arpeggio Over a
Preset Keyboard Area
As soon as you press [ARPEGGIO] to turn the Arpeggiator
on, the keyboard will be set to play arpeggios so
conventional keyboard playing is no longer possible.
If you split the keyboard into two different areas, you can use
one area for normal playing and the other for playing
arpeggios. This setting, for instance, allows you to play
arpeggios with the left hand and a melody with the right
hand.
1. Press [PERFORM] to call up the PERFORM PLAY
display.
2. If you have selected a Single Performance, set the Key
Mode parameter (PERFORM/COMMON/PREFROM
COMMON) to LAYER (p. 52).
3. Make sure that the Key Range parameter (PERFORM/
COMMON/PERFORM COMMON) is ON. If it is OFF,
turn it ON (p. 53).
4. Set the Local parameter (PERFORM/MIDI/MIDI) ON
for the Part you want to hear (p. 52).
5. After pressing [SYSTEM] to make the indicator light up,
press the [ARPEGGIO] function button followed by [ ]
to display an Arpeggio screen like the one shown below.
fig.2-18
6. Use the cursor buttons to move the cursor to the Part
parameter.
7. Rotate the VALUE dial or press [INC]/[DEC] to set the
part that will play the arpeggio.
8. Set the Lower or Upper parameter (PERFORM/
COMMON/KEY RANG) to specify the note range of the
part that will play the arpeggio (p. 53).
9. Set the key range of parts other than the arpeggio part so
that they do not overlap the range in which the arpeggio
is played.
10.After you finish settings, press [EXIT] to call up the
PERFORM PLAY display again and play a chord.
* If you play an arpeggio using Layer Performance but without
setting key range, the chords will sound for all Parts except for
the specified Part.
58
Chapter 2. Playing
■Holding an Arpeggio
If you hold down [ARPEGGIO] and press [TRANSPOSE],
and get the indicator to start blinking, the arpeggio will
continue to be played even if you release the chord.
1. Hold down [ARPEGGIO] and press [TRANSPOSE] to
make the indicator blink.
2. Play a chord.
3. If you play a different chord or notes while the arpeggio
is being held, the arpeggio will change accordingly.
4. To cancel Arpeggio Hold, hold down [ARPEGGIO] and
press [TRANSPOSE] simultaneously once again.
Using a Hold Pedal
If you play an arpeggio while pressing the hold pedal, the
arpeggio will continue to be played even if you release the
chord.
1. Connect an optional pedal switch to the HOLD PEDAL
jack.
2. Play a chord while pressing the hold pedal.
3. To play another chord, release the pedal, press it again as
you play the next chord.
■Simulating a Guitar Cutting
Technique
You can simulate a guitar cutting technique by following the
procedure below. By using the Sound Palette, it is also
possible to apply a wah effect as you play.
1. Select a guitar Patch.
2. Set the Style parameter (SYSTEM/ARPEGGIO/
ARPEGGIO) to RHYTHM GTR B, RHYTHM GTR C,
RHYTHM GTR D or RHYTHM GTR E.
3. Press [FILTER/ENV] so the indicator lights.
4. Move the CUTOFF slider or RESO slider while you play
a chord.
■Playing an Arpeggio from an
External MIDI Device
The XP-30 can also produce arpeggios with incoming Note
messages from an external MIDI device.
1. Connect the XP-30’s MIDI IN connector and the MIDI
OUT connector of an external MIDI device with a MIDI
cable.
2. Press [PERFORM] to call up the PERFORM PLAY
display.
3. Press [SYSTEM] to make the indicator lit, press the
[MIDI] function button, and then press [ ] to access the
PERFORM MIDI display.
fig.2-19
4. Use the cursor buttons to move the cursor to the Remote
parameter.
5. Rotate the VALUE dial or press [INC]/[DEC] to turn the
setting ON.
6. Play the external MIDI device.
■Creating an Arpeggio Pattern
There are a total of 9 parameters that can be set for the
Arpeggiator, but the most important is the Style parameter
setting. The arpeggio pattern is largely determined by this
setting.
When you set the Style parameter, the Motif, Beat Pattern,
Accent Rate and Shuffle Rate parameters will automatically
be set to optimum settings. After selecting the style, you can
also set Octave Range and Key Velocity parameters, etc.
If this selection does not provide the pattern you want,
modify the settings of the Motif, Beat Pattern, Accent Rate
and Shuffle Rate parameters to add variations to the style as
desired.
* Motif, Beat Pattern, Accent Rate and Shuffle Rate settings will
be lost if you select another style and then turn the power off.
* The values you can set with the Motif or Beat Pattern
parameters are normally limited by the selected style. Only
when the Style parameter is set to LIMITLESS will all values be
acceptable.
59
Chapter 2. Playing
Chapter 2
1. Press [SYSTEM] to make the indicator lit, and then press
the [ARPEGGIO] function button to access the
ARPEGGIO display.
fig.2-20
* For details regarding each parameter, refer to “Arpeggio
Settings (ARPEGGIO)” (p. 108)
2. Move the cursor to “Style” and specify the style you
want.
3. Move the cursor to “Octave Range” and specify the key
range over which you want arpeggio.
4. Press [ ], move the cursor to “Motif,” and specify the
order in which the notes of the chord will be sounded.
* The available choices depend on the Style parameter setting. For
details, refer to “Arpeggio Style List” (p. 182).
5. Move the cursor to “Beat Pattern” to change the beat
(rhythm).
* The available choices depend on the Style parameter setting. For
details, refer to “Arpeggio Style List” (p. 182).
6. Press [ ], move the cursor to “Accent Rate,” and specify
the groove ratio.
A 100% setting will result in the most pronounced “groove”
feel.
7. Move the cursor to “Shuffle Rate” and specify the swing
rate.
With a setting of 50%, the notes will be spaced evenly. As the
value increases, the note timing will have more of a “swing”
feel.
8. Press [ ], move the cursor to “Key Velocity,” and specify
the strength with which the notes of the chord will be
sounded.
Move the cursor to “Key Velocity” and specify the force of
the chord.
When REAL is selected, the velocity at which the notes are
actually played will be used. With a setting of 1–127, the
specified velocity value will be used regardless of the force
with which you play the chord.
9. If you want to play an arpeggio using Layer
Performance, move the cursor to “Part” and specify the
Part for which you want arpeggio.
* Parts other than that specified here will not sound as arpeggios,
and the notes of the chord will sound as you play.
10.Move the cursor to “Tempo” and specify the speed of an
arpeggio.
11.After you finish settings, press [EXIT].
Convenient Functions for
Performance
■Transposing the Keyboard in
Octave Units (Octave Shift)
The Octave Shift function transposes the pitch of the
keyboard in 1 octave units (-3– +3 octaves).
For playing a bass part more easily using your right hand,
transpose the keyboard down by 1 or 2 octaves.
1. Press [+OCT] or [-OCT] and its indicator will light.
Pressing [+OCT] once will raise the keyboard 1 octave and
pressing [-OCT] once will lower it 1 octave.
The specified Octave Shift setting will be shown in the
“center=C4” indication of each Play screen. For example if
you press [+OCT] once to raise the keyboard one octave, the
display will indicate “center=C5.” This means that when you
press the C4 key, the C5 note will sound.
fig.2-21
* There is only one Octave Shift setting in the XP-30 so it remain
valid even if you select a different Patch, Performance or
Rhythm Set or turn power off.
2. To turn off the Octave Shift function, press the other
button [+OCT] or [-OCT] of that pressed in step 1 the
same number of times. The indicator will go off.
60
Chapter 2. Playing
■Transposing the Keyboard in
Semitone Steps (Transpose)
Transpose changes keyboard pitch in units of semitones (-5–
+6 semitones).
This function is useful when you play transposed
instruments such as trumpet or clarinet following a printed
score.
1. Press [TRANSPOSE] to light indicator.
This turns Transpose on.
2. While holding down [TRANSPOSE], press [+OCT] or [-
OCT] to transpose the keyboard.
Pressing [+OCT] once while holding down [TRANSPOSE]
will raise the keyboard one semitone. Pressing [-OCT] once
while holding down [TRANSPOSE] will lower the keyboard
one semitone.
The specified Transpose setting will be added to the Octave
Shift value. For example, if you hold down [TRANSPOSE]
and press [+OCT] once to raise the keyboard a semitone, the
display will indicate “center=C#4.” So when C4 is pressed,
the C#4 note will sound.
3. To turn off Transpose, press [TRANSPOSE] once again
so that its indicator goes off.
The Transpose setting you make will be maintained.
* The Transpose setting you make here will also change the
Transpose parameter (SYSTEM/CONTROL/KEYBOARD).
* The setting you make will be maintained even if you select a
different Patch, Performance or Rhythm Set, or turn the power
off.
■If “Stuck” Notes Occur or a
Note Does Not Sound (Panic)
If a note played on the XP-30 or from an external device
“locks” or keeps sounding and you can’t shut it off, hit the
Panic button. Do the same if a note does not sound.
When “Stuck” Notes Occur
1. Hold down [SHIFT] and press [EXIT].
MIDI messages for Note Off and Hold Off will be
transmitted to the Parts (MIDI channels) receiving Note On/
Hold On messages.
2. The display will indicate “Panic! Now Muting.” while
the Panic function is being executed. When this message
goes off, you can start playing.
When a Note Does Not Sound
1. Hold down [SHIFT] and press [EXIT] for more than a
second.
MIDI messages for Volume (127), All Note Off, Pitch Bend
(center), Channel Aftertouch (0), Modulation (0), and Hold 1
(0) will be transmitted to all Parts (MIDI channels).
2. The display will indicate “Panic! Now Transmitting.”
while the Panic function is being executed. When this
message goes off, you can start playing.
61
Chapter 3
Chapter 3. Creating Your Own Sounds
Regarding Effects
The XP-30 contains three independent effects units.
Multi-Effects (EFX)
The Multi-Effects offers 40 different effects ranging from
single effects such as distortion and delay to powerful
combination effects. The Multi-Effects also includes chorus
and reverb effects which are independent of the Chorus and
Reverb outlined below.
Chorus
Chorus adds depth and spaciousness to the sound.
Reverb
Reverb adds reverberation characteristics of hall or
auditorium ambiences.
Connection of the three effects units depend on the mode
you’ve selected.
■How Effects Units Work in
Different Modes
In Patch Mode
The Multi-Effects, Chorus and Reverb effects can be set
individually for each Patch. Adjusting the signal level to be
sent to each effects unit (Send Level) provides control over
the effect intensity that’s applied to each Tone.
fig.3-01
In Performance Mode/GM Mode
The Multi-Effects, Chorus and Reverb effects can be set
individually for each Performance and GM mode. The
intensity of each effect will be set for each Part (Fig. 1), but
the Send Level setting for each Tone can also influence effect
intensity (Fig. 2). Effects settings of the Patch assigned to
each Part will be ignored, but Multi-Effects applied to a Patch
assigned to a given Part can also be applied to the entire
Performance.
fig.3-02.e
fig.3-03.e
In Rhythm Set Mode
Because in Rhythm Set mode, only Part 10 of a Performance
is called up, the effects settings of a Performance in the
temporary area will be used.
Chorus
Reverb
TONE Multi-Effects
Patch
Performance
Part16
Chorus
Reverb
TONE Multi-Effects
Patch
Part 1
Fig.1 – When Output Assign is set to “EFX” in the Performance
mode (the output settings for Tone are ignored)
Performance
Part16
Fig.2 – When Output Assign is set to “PATCH” in the Performance
mode (the output settings for Tone are valid)
TONE
Patch
Part 1
Chorus
Reverb
Multi-Effects
62
Chapter 3. Creating Your Own Sounds
■Turning Effects On/Off
Built-in effects units (Multi-Effects, Chorus and Reverb) can
be turned on/off for the XP-30 as a whole. Turn them off if
you want to edit sound while listening to the original sound
or if you want to use external effects units.
1. Press [EFFECTS ON/OFF] to call up the EFFECTS ON/
OFF display.
fig.3-04
2. Press [ ] or [ ] to move the cursor to the effect that
you wish to modify.
3. Rotate the VALUE dial or press [INC]/[DEC] to switch it
on/off.
4. When you finish making settings, press [EFFECTS ON/
OFF] or [EXIT] to return to the previous display.
* When the EFX (multi-effects), Chorus, and Reverb processors
are all off, the [EFFECTS ON/OFF] indicator goes out, showing
that the onboard effects processors are not used.
Sound Editing Procedures
With the XP-30, you have total control over various settings.
Each item to be set is a parameter. Editing refers to
modifying any parameter value. This section goes over
editing procedures for Patches, Performances and Rhythm
Sets.
■Editing a Patch
Start by editing a preexisting Patch to create a new one. Since
a Patch is a combination of up to any four Tones, you should
listen to how the individual Tones sound before you edit.
Four Tips for Editing Patches
Start with a Patch that’s somewhat familiar sounding
It’s hard to create a new sound that’s exactly what you
want if you just select a Patch and modify its
parameters at random. It makes sense to start with a
Patch whose sound is related to what you have in mind.
Deciding on the Tone to use
When creating a Patch, deciding on the Tones you’ll use
is crucial. For each Tone, use the TONE SWITCH [1]–[4]
to decide whether to turn it on (have it sound) or off.
Turn off Tones you don’t need to avoid using more
voices than required. A Tone switches on/off each time
its respective button is pressed. When a Tone’s
indicator lights, it’ll sound.
Check the Structure setting
The important Type parameter (PATCH/COMMON/
STRUCT) determines how the four Tones combine.
Before editing Tones, make sure you really understand
how they work together.
Turn off effects
Since XP-30 effects really influence the sound, turn
them off to listen to the sound itself so you can better
evaluate the changes you’re making. Sometimes just
changing effects settings can give you the sound you
want.
63
Chapter 3. Creating Your Own Sounds
Chapter 3
1. Press [PATCH] to access the PATCH PLAY display, and
select the Patch whose settings you wish to modify (p.
47).
2. Press [EDIT] to make the indicator light.
3. Use the function buttons to select the display group.
The button indicator of the selected display group will blink.
fig.3-05
4. Use [ ] or [ ] to select a display page.
5. If you have selected a parameter display that can be set
independently for each Tone, the number of the Tone
selected for editing will be shown in the display. To
select a different Tone, press [EDIT] to temporarily turn
off the indicator, and use TONE SELECT [1]–[4] (located
in the row of function buttons) to select a Part.
fig.3-06
For simultaneously modifying the same parameter for two or
more Tones, hold down one of TONE SELECT [1]–[4]
buttons and press another TONE SELECT [1]–[4] button,
then another if so desired. An asterisk (*) will be indicated for
Tones other than the first-selected Tone.
* To switch Tones on/off, turn off [EDIT] indicator and then use
the TONE SWITCH [1]–[4] located in the row of function
buttons.
6. Use [ ] or [ ] to move the cursor to the parameter
you wish to modify.
7. Use the VALUE dial, [INC]/[DEC] or numeric keys and
modify the parameter value.
* If you’ve selected two or more Tones, your editing will modify
the parameter values for all selected Tones by the same amount.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
8. If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
9. Repeat steps 3–8 to complete a Patch.
10.When you finish making settings, press [EXIT] or
[PATCH] to return to the PATCH PLAY display.
An asterisk (*) will be displayed at the left of the Patch group.
This shows Patch settings have been modified.
fig.3-07
* If you select another Patch in the group with an asterisk (*), the
modified Patch settings will be lost. If you wish to keep these
modified settings, you must write them into user memory (p. 68).
Editing Patches Using the Palette Display
When editing a Tone in a Patch, the parameter values of the
four Tones can be displayed together on a single display called
the
Palette display
. Use it when you want to modify
parameter values as you compare the settings of the four Tones.
1. When modifying a Tone, use [ ] or [ ] to move the
cursor to the parameter you wish to modify.
2. Press [PALETTE EDIT] to call up the Palette display.
fig.3-08
3. Press a TONE SELECT [1]–[4] buttons, [ ] or [ ] to
choose the Tone to modify.
The button indicator for the selected Tone will light and the
Tone number and Wave name appear in the display.
For modifying the same parameter of two or more Tones
simultaneously, hold down one of TONE SELECT [1]–[4]
buttons and press another.
4. Use the VALUE dial, [INC]/[DEC] or numeric keys to
change the parameter value.
If you’ve selected two or more Tones, your editing will
modify the parameter values for all selected Tones by the
same amount.
If you want to set all selected Tones to the same value, select
the Tone having that value by pressing [ ] or [ ] and
while holding down [SHIFT], press [ENTER].
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, press [UNDO/COMPARE] to restore
the value to what it was.
5. If you wish to edit other parameters, press [ ] or [ ] to
select the parameter that you wish to edit.
6. Repeat steps 3–5 to complete a Patch.
7. To cancel the palette display, press [PALETTE EDIT] to
make the button indicator go dark.
64
Chapter 3. Creating Your Own Sounds
Note on Tone Editing
Because the XP-30 is designed to create wholly realistic
sounds, editing necessarily affects the complex PCM
waveforms sound are based on. So if you try to create a
sound which is totally different from the original waveform,
the results may not be what you want. XP-30 waveforms are
divided into:
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 XP-30’s
one-shot waveforms are sounds that are
complete in themselves, such as percussive
instrument sounds. The XP-30, however,
contains many other one-shot waveforms that
are only partial elements of sounds. These
include attack components such as piano
hammer sounds and guitar fret noises.
Looped: These waveforms contain sounds with long
decays or sustained sounds. With looped
waveforms, the latter part of the sound is
generated repeatedly over a specified portion of
the waveform for as long as the note is held
(allowing wave memory to be used more
efficiently). The XP-30’s looped waveforms
include such sound components as piano string
vibrations and hollow sounds of brass
instruments.
The following diagram shows an example of sound (electric
organ) that combines one-shot and looped waveforms.
fig.3-09.e
Notes for Editing One-Shot Waveforms
An envelope cannot be used for giving a one-shot waveform
a longer decay than the original waveform’s, or make it a
sustaining sound. Even if you were to make such envelope
settings, you would simply be controlling a non-existent
portion of the sound, so such settings would have no
meaning.
Notes for Editing Looped Waveforms
With many acoustic instruments like piano and sax, radical
timbral changes occur during the first few moments of the
note. This initial attack is what defines much of the
instrument’s character. The XP-30 provides a variety of
waveforms containing realistic acoustic instrument attacks.
To obtain the maximum realism when using these
waveforms, it is best to leave the filter wide open during the
attack. This way, all the complex timbral changes can be
heard. For the decay portion of the sound, you can use the
envelope to produce the desired changes. If you use the
envelope to modify the attack portion as well, the natural
attack contained in the waveform itself will not be heard to
full advantage, and you may not achieve the result you want.
fig.3-10.e
If you try to make just the attack brighter and subdue just the
decay using the TVF filter, you need to keep in mind the
timbral characters of the original waveform. And particularly
if you’re making a part of the sound brighter than the
original waveform, you should first generate upper
harmonics (not present in the original waveform) using
Color and Depth parameters (PATCH/WAVE/FXM) before
filtering. If you don’t, the results will be disappointing. To
make the entire sound brighter than the original waveform,
try adjusting effects such as enhancer and equalizer before
modifying the TVF parameter (PATCH/TVF).
TVA ENV for looped Organ
waveform (sustain portion)
Key-off
Resulting TVA ENV change
TVA ENV for one-shot Key-
click waveform (attack portion)
Key-off
+=
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting tone change
Looped Portion
65
Chapter 3. Creating Your Own Sounds
Chapter 3
■Editing a Performance
Start with an existing Performance and edit it to create a new
Performance. But before you do, try to envision what the
entire Performance will sound like and decide which Patch to
assign to each of 16 Parts.
1. Press [PERFORM] to access the PERFORM PLAY
display, and select the Performance whose settings you
wish to modify (p. 51).
2. Press [EDIT] to make the indicator light.
3. Use the function buttons to select the display group.
The button indicator of the selected display group will blink.
fig.3-11
4. Use [ ] or [ ] to select a display page.
5. If you have selected a parameter display that can be set
independently for each Part, the number of the Part
selected for editing will be shown in the display. To
select a different Part, press [EDIT] to temporarily turn
off the indicator, and use [1-8/9-16] and the function
buttons to select a Part.
fig.3-12
6. Use [ ] or [ ] to move the cursor to the parameter
you wish to modify.
7. Use the VALUE dial, [INC]/[DEC] or numeric keys and
modify the parameter value.
* If you’ve selected two or more Tones, your editing will modify
the parameter values for all selected Tones by the same amount.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
8. If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
9. Repeat steps 3–8 to complete a Performance.
10.When you finish making settings, press [EXIT] or
[PERFORM] to return to the PERFORM PLAY display.
An asterisk (*) will be displayed at the left of the Performance
group. This shows Performance settings have been modified.
fig.3-13
* If you select another Performance in the group with an asterisk
(*), the modified Performance settings will be lost. If you wish to
keep these modified settings, you must write them into user
memory (p. 68).
Editing Performance Using the Palette
Display
You can also edit a Performance using the Palette display in
Performance mode. When modifying Part settings for a
Performance, the values for eight Parts (Part 1–8 or Part 9–16)
will be displayed together on a single display. This is useful
when you wish to change parameter values while comparing
each Part settings.
1. When modifying a Part, use [ ] or [ ] to move the
cursor to the parameter you wish to modify.
2. Press [PALETTE EDIT] to call up the Palette display.
fig.3-14
3. Press [ ] or [ ] to choose the Part to modify.
The Part number and the Patch name assigned to the Part
will be shown in the display.
* To switch between the palette page for parts 1–8 and the palette
page for parts 9–16, press [1-8/9-16].
4. Use the VALUE dial, [INC]/[DEC] or numeric keys to
change the parameter value.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, press [UNDO/COMPARE] to restore
the value to what it was.
5. If you wish to edit other parameters, press [ ] or [ ] to
select the parameter that you wish to edit.
6. Repeat steps 3–5 to complete a Performance.
7. To cancel the palette display, press [PALETTE EDIT] to
make the button indicator go dark.
66
Chapter 3. Creating Your Own Sounds
Modifying the Patch Assigned to a Part
When using Patches in Performance mode, some settings
such as effects settings will be affected by Performance
settings. If you wish to edit a Patch while hearing how it will
sound in the Performance, use this procedure:
1. Make sure that the PERFORM PLAY display is showing.
2. Press [ ] or [ ] to select the Part to which the selected
Patch is assigned.
3. While holding down [PERFORM], press [PATCH].
Both button indicators will light. This will call up the PLAY
display of the Patch assigned to the currently selected Part.
fig.3-15
4. The following steps are the same as when you modify a
Patch in Patch mode.
5. When you finish making settings, press [EXIT] to call up
the PLAY display of the Patch assigned to the Part.
An asterisk (*) will be displayed at the left of the Patch group.
This indicates the Patch settings have been modified.
6. To return to the PERFORM PLAY display, press
[PERFORM] or [EXIT].
* If you select another Patch in the group with an asterisk (*), the
modified Patch settings will be lost. To keep these modified
settings, you must write them into user memory (p. 68).
■Editing a Rhythm Set
You can change the percussion instrument assigned to each
key. As each percussion instrument consists of a single
Rhythm Tone, there is no Palette display.
1. Press [RHYTHM] to access the RHYTHM PLAY display,
and select the Rhythm Set whose settings you wish to
modify (p. 55).
2. Press [EDIT] to make the indicator light.
3. Use the function buttons to select the display group.
The button indicator of the selected display group will blink.
fig.3-16
* Since Rhythm Sets do not have an LFO, it will not be possible to
select the LFO group.
4. Use [ ] or [ ] to select a display page.
5. If you have selected a parameter display that can be set
independently for each key, the key selected for editing
will be shown in the display. To select a different key,
play the desired key on the keyboard.
fig.3-17
* If [EDIT] indicator is turned off, you can also use the TONE
SELECT [1]–[4] (located in the row of function buttons) to
select the displayed key.
TONE SELECT [1]: move to an octave lower key
TONE SELECT [2]: move to the semitone below
TONE SELECT [3]: move to the semitone above
TONE SELECT [4]: move to an octave higher key
6. Use [ ] or [ ] to move the cursor to the parameter
you wish to modify.
7. Use the VALUE dial, [INC]/[DEC] or numeric keys and
modify the parameter value.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
8. If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
9. Repeat steps 3–8 to complete a Rhythm Set.
10.When you finish making settings, press [EXIT] or
[RHYTHM] to return to the RHYTHM PLAY display.
An asterisk (*) will be displayed at the left of the Rhythm Set
group. This shows Rhythm Set settings have been modified.
fig.3-18
* If you select another Rhythm Set in the group with an asterisk
(*), the modified Rhythm Set settings will be lost. If you wish to
keep these modified settings, you must write them into user
memory (p. 68).
67
Chapter 3. Creating Your Own Sounds
Chapter 3
Keeping Edited Sound
■Memory and Data Storage
The location where Patch and Performance settings, etc. are
stored is Memory. There are three memory types: temporary
memory, rewritable memory and non-rewritable memory.
fig.3-19.e
Temporary Memory
Temporary Area
This area holds data for the Performance, Patch, and Rhythm
Set you select using the front panel buttons, etc. When you
play the keyboard or play back an external sequence, sound
is produced based on data in the temporary area. When you
modify a Performance, Patch or Rhythm Set, you are
modifying the data that has been called into the temporary
area instead of the data in memory.
Settings in the temporary area are temporary, and will be lost
when the power is turned off or when you select another
Performance/Patch/Rhythm Set. To keep the settings you
have modified, you must write them into rewritable
memory.
Rewritable Memory
System Memory
System memory stores system parameter settings that
determine how the XP-30 functions. When you modify these
settings, the system memory settings are rewritten directly.
These settings are non-volatile, being retained even when the
power is turned off.
User Memory
User memory contains data for 32 Performances, 128 Patches
and two Rhythm Sets.
Memory Card (optional: SmartMedia)
These are read/write cards which can store data from
internal system memory and user memory. You can use
memory cards to store data for which there is no room in
internal user memory, or data which you wish to use on
another XP-30.
Before a memory card can be used, it must be formatted (p.
122).
* Either “S2M-5” or “S4M-5” memory cards can be used.
Memory cards are not included, but may be purchased from
your dealer.
Non-Rewritable Memory
Preset Memory
Data in Preset memory (Patch: PR-A–C, E, GM, XP-A–C,
Performance: PR-A, B, Rhythm Set: PR-A–C, E, GM, XP-A, C)
cannot be rewritten. However, you can call up settings from
preset memory into the temporary area, modify them and
then store the modified data in rewritable memory.
Wave Expansion Boards
(optional: SR-JV80 Series)
Up to four Wave Expansion Boards can be installed in EXP-
D, E Slots in the XP-30. Wave Expansion Boards contain
Wave data, as well as Patches and Rhythm Sets that use this
Wave data, which can be called directly into the temporary
area and played.
Preset E (PR-E)
EXP-E Slot (XP-E)
EXP-D Slot (XP-D)
Patch
Rhythm Set
XP-30 Sound
Preset D (GM)
Preset C (PR-C)
Preset B (PR-B)
Preset A (PR-A)
Temporary Area
Performance
32
Patch
128
Rhythm Set
2
XP-C
XP-B
XP-A
Patch
Rhythm Set
User (USER)
Performance
32
Patch
128
Rhythm Set
2
Write
Expansion Board
Load Save
Memory Card
Data File (.SVD)
Performance
32
Patch
128
Rhythm Set
2
System
68
Chapter 3. Creating Your Own Sounds
■Storing a Sound You Modify
into User Memory
The modified settings you make are only temporary, and will
be lost if you turn the power off or select another Patch,
Performance or Rhythm Set. To keep the modified settings,
you must write them into user memory.
1. In Patch mode (when storing a Patch), Performance
mode (when storing a Performance) or in Rhythm Set
mode (when storing a Rhythm Set), press [UTIL/CARD].
The UTIL 1 display will appear.
fig.3-20
2. Use [ ] or [ ] to make “1: WRITE” blink. Then press
[ENTER].
The WRITE display will appear.
fig.3-21.e
3. Use the VALUE dial, [INC]/[DEC] or numeric keys to
specify the Patch, Performance or Rhythm Set number of
the destination of writing.
4. Press [ENTER].
If Internal Write Protect is turned off, the specified writing
destination Patch, Performance or Rhythm Set will be
overwritten.
5. If Internal Write Protect (p. 121) is turned on, the
following display will appear. Change the ON setting to
OFF, and press [ENTER]. Internal Write Protect will be
turned off, and you will return to the display of step 2.
Press [ENTER] once again and the selected Patch will be
overwritten.
fig.3-22
* Internal Write Protect is automatically turned ON when the
XP-30’s power is turned on.
Functions of Patch Parameters
fig.3-05
■Settings Common to the Entire
Patch (COMMON)
On this display you can assign a name to a Patch and set the
volume and pan of the entire Patch.
PATCH NAME
You can assign a name of up to 12 characters to the Patch.
* For details on assigning names, refer to “Assigning a Name”
(p. 46).
PATCH CATEGORY
Category
Specify the type (category) of the Patch.
The Patch Search function uses this setting. This setting also
determines the phrase that will be sounded by the Phrase
Preview function.
* For details on the category names, refer to p. 49.
PATCH CLOCK
Some parameters allow you to set a time value in terms of a
note length which is determined by a tempo setting or tempo
source you specify; Rate parameters (PATCH/ LFO/ LFO1,
2), Time parameter (PATCH/WAVE/TONE DELAY), and
some Multi-Effects parameters. This Patch Clock setting sets
the tempo which can be used by these parameters.
* When using a Patch in Performance mode, the setting of this
parameter will be ignored, and the setting of the PERFORM
CLOCK display (PERFORM/COMMON) will be used instead.
Source (Patch Clock Source)
Select the source of the Patch Clock.
PATCH: Synchronize to the Patch Tempo setting.
SYSTEM: Synchronize to the tempo clock of the sequencer.
* The Patch Clock does not transmit clock messages from MIDI
OUT connector.
Tempo (Patch Tempo)
Set the Patch Tempo setting.
* When Source (Patch Clock Source) is set to SYSTEM,
synchronization will be according to the tempo clock of the
system, so it will not be possible to set the tempo value. The
tempo of the system will be displayed in parentheses ( ).
PATCH COMMON
Level
Adjust the volume level of the Patch.
Writing destination
69
Chapter 3. Creating Your Own Sounds
Chapter 3
Pan
Adjust the stereo position of the Patch. A setting of L64 is far
left, 0 is center, and 63R is far right.
Analog Feel (Analog Feel Depth)
Adjust the depth at which 1/f modulation is applied to the Patch.
Octave (Octave Shift)
Specify the transposition of the Patch when played on the
keyboard, in units of one octave (-3–+3 octaves).
Stretch (Stretch Tuning Depth)
Select the stretch tuning curve. The selected curve will affect the
way in which notes of a chord sound with each other. The diagram
below shows the tuning curves which can be selected. In the
“tuning curve,” the horizontal axis represents the scale, and the
vertical axis represents pitch difference relative to equal
temperament. When OFF is selected for this parameter, the notes of
the keyboard will be in mathematically equal temperament. With a
setting of 3, the high and low note ranges will be stretched the most.
fig.3-23.e
Priority (Voice Priority)
Specify which currently-sounding notes will take priority
when notes are turned off to make room for newly-requested
notes that would exceed the limit of 64 simultaneous voices.
LAST: Notes played later will take priority. When the
65th voice is requested, the first-played of the
currently sounding notes will be turned off.
LOUDEST: Louder notes will take priority. When the 65th
voice is requested, the softest of the currently
sounding notes will be turned off.
VelRang (Velocity Range Switch)
Specify whether the Velocity Range setting (see following
display) will be used or not. The Velocity Range setting will
be used when the VelRange parameter is ON.
VELOCITY (Velocity Range)
These parameters specify the range of velocities that will
play the Tone. This can be used to make notes of different
strengths play different Tones.
* To make Velocity Range settings, the Velocity Range Switch in
the previous display must be turned ON.
Lower (Velocity Range Lower)
Specify the lower velocity limit. Although it also depends on
the Cross Fade settings, notes played softer than this limit will
not sound the Tone, or will produce extremely quiet sounds.
Upper (Velocity Range Upper)
Specify the upper velocity limit. Although it also depends on
the Cross Fade settings, notes played more strongly than this
limit will not sound the Tone, or will produce extremely
quiet sounds.
* It is not possible to set Lower to a value greater than Upper, nor
Upper to a value less than Lower. If you attempt to do so, the
two values will change together.
Cross Fade (Velocity Cross Fade)
Specify the way in which the volume of the Tone will change
when the velocity of a note falls outside of the specified Velocity
Range. Higher settings will result in a more gradual change in
volume. If you do not want the Tone to sound at all for
velocities outside the specified range, set this parameter to 0.
fig.3-24.e
1/f Modulation
“1/f” is a mathematical ratio that expresses the amount
of “predictable randomness” occurring in natural
sounds that the human ear finds pleasing, such as soft
breezes or gentle brooks. The XP-30 is able to modulate
the pitch and volume of sounds by this ratio to create
the warmth characteristic of early analog synthesizers.
1
2
3
OFF
2
1
OFF
3
High note range
Pitch difference from
equal temperament Parameter value
Low note range
Stretched Tuning
Acoustic pianos are normally tuned so that the high note
range is a bit sharper and the low note range is a bit flatter
than a mathematically calculated equal temperament (i.e.,
where each octave would be precisely double the
frequency of the previous octave). This is done simply
because pianos sound better when tuned this way.
1
parameter value
Level
Velocity
Lower Upper
parameter value
70
Chapter 3. Creating Your Own Sounds
KEY RANG (Key Range)
These parameters specify the range of notes that will play the
Tone. This can be used to make notes in different areas of the
keyboard play different Tones.
Lower (Key Range Lower)
Specify the lowest note that will play the Tone.
Upper (Key Range Upper)
Specify the highest note that will play the Tone.
* It is not possible to set Lower to a value greater than Upper, nor
Upper to a value less than Lower. If you attempt to do so, the
two values will change together.
* If you have used Octave Shift (System) or the Transpose
parameter (SYSTEM/CONTROL/KEYBOARD) to transpose
the pitch of the XP-30’s keyboard, the keyboard area specified by
Key Range will also be shifted.
STRUCT (Structure)
Type (Structure Type)
The Structure parameter determines how Tones 1 and 2 (and
3 and 4) are connected.
fig.3-25a
fig.3-25b
fig.3-25c
fig.3-25d
fig.3-25e
fig.3-25f
fig.3-25g
fig.3-25h
fig.3-25i
fig.3-25j
TONE 1 (3)
TONE 2 (4)
TVATVF
WG
WG TVF TVA
TYPE 1
TONE 1 (3)
TONE 2 (4)
TVA TVF
WG
WG TVF TVA
TYPE 2
TONE 1 (3)
TONE 2 (4)
TVA TVF
WG
WG TVF TVA
B
TYPE 3
TONE 1 (3)
TONE 2 (4)
TVA TVF
WG
WG TVF TVA
B
TYPE 4
71
Chapter 3. Creating Your Own Sounds
Chapter 3
The display will graphically indicate the selected Structure.
The symbols displayed have the following meanings.
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1), A2
(TVA2), B (booster), R (ring modulator)
* If you select a Tone while in the Structure display, the Tone that
is paired with the selected Tone will also be selected.
* If a Structure 2–10 is selected, turning off one Tone will cause
the other Tone to be connected in the simple order of WG/TVF/
TVA.
Booster (Booster Gain)
If the Type parameter has been set to 3 or 4, you can adjust
how strongly the Booster will function. The Booster amplifies
the incoming signal, causing it to distort. This creates an
effect similar to the distortion often used on an electric
guitar.
■Setting Effects for a Patch
(EFFECTS)
This group contains settings for the Multi-Effects/Chorus/
Reverb effects used by a Patch.
* If an “x” mark is displayed at the right of the display name, the
effect for that display has been turned off. Turn the
corresponding effect on before you make settings (p. 62).
OUTPUT
These parameters specify how the output of each Tone will
be sent to the effects.
* When the Type parameter (PATCH/COMMON/STRUCT) has
a setting of 2–10, the outputs of Tones 1 (3) and 2 (4) will be
combined with Tone 2 (4). This means that the setting for Tone
1 (3) will be ignored.
Output Assign (Output Assign/Output Level)
Select whether or not the output of each Tone will be sent
through Multi-Effects, and adjust the volume of each Tone.
MIX: Output the Tone to the OUTPUT jack without passing
through Multi-Effects.
EFX: Output the Tone to the OUTPUT jack through Multi-
Effects.
* If you select MIX, the settings in the PATCH EFX OUT
display (PATCH/EFFECTS) will be ignored.
Chorus (Chorus Send Level)
Adjust the amount of Chorus for each Tone.
Reverb (Reverb Send Level)
Adjust the amount of Reverb for each Tone.
PATCH EFX TYPE
Specify the Patch Multi-Effects.
Type (EFX Type)
Select the type of Multi-Effects. For details refer to “Multi-
Effects Types (EFX Parameter)” (p. 93).
PATCH EFX PRM (Patch EFX Parameters)
Set the various parameters of the selected EFX type. For
details refer to “Multi-Effects Types (EFX Parameter)” (p.
93).
Ring Modulator
The Ring Modulator multiplies two Tones together,
creating a new sound that includes overtones
(inharmonic overtones) that were not present in either
of the two original Tones. Since the pitch difference
between the two Tones will change the overtone
structure, the result will be an unpitched metallic
sound. This is especially suitable for creating bells and
other metallic sounds.
fig.3-26
72
Chapter 3. Creating Your Own Sounds
PATCH EFX OUT (Patch EFX Output)
These parameters specify the output for the Tone for which
EFX was selected in Output Assign.
* For Tones which have an Output Assign setting of MIX, the
settings of this display will be ignored.
Mix Out (EFX Output Level)
Adjust the volume level of the original sound and the Multi-
Effects sound.
Chorus (Chorus Send Level)
Adjust the amount of Chorus for the sound that passes
through Multi-Effects.
Reverb (Reverb Send Level)
Adjust the amount of Reverb for the sound that passes
through Multi-Effects.
PATCH EFX CTRL (Patch EFX Control)
Use this setting when you wish to use a specific controller to
control an EFX parameter. The EFX parameters available for
control will depend on the selected EFX type. For details
refer to “Multi-Effects Types (EFX Parameter)” (p. 93). The
upper line of the display will show the EFX parameters that
can be controlled. For each EFX parameter, you can specify
the EFX Control Source and the EFX Control Depth.
EFX Control Source 1, 2
The following MIDI controllers can be used. If you wish to
use a controller that will apply to all Patches, or a controller
that cannot be directly specified here, select SYS-CTRL1 or
SYS-CTRL2, and then select the controller using the Control
1/2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN).
OFF: controller not used
SYS-CTRL1: System controller (control 1)
SYS-CTRL2: System controller (control 2)
MODULATION: Modulation (MIDI controller number 1)
BREATH: Breath (MIDI controller number 2)
FOOT: Foot (MIDI controller number 4)
VOLUME: Volume (MIDI controller number 7)
PAN: Pan (MIDI controller number 10)
EXPRESSION: Expression (MIDI controller number 11)
BENDER: Pitch bend
AFTERTOUCH: Aftertouch
EFX Control Depth 1, 2
Adjust the amount of change that will occur in response to
controller movements. Higher settings will result in greater
change. Negative (-) settings will reverse the direction of
change.
PATCH CHORUS
These parameters control the Chorus effect of the Patch.
Rate (Chorus Rate)
Adjust the speed of modulation for the Chorus effect.
Depth (Chorus Depth)
Adjust the depth of modulation for the Chorus effect.
Delay (Chorus Pre Delay)
Adjust the time delay after the original sound begins until
the Chorus effect begins to apply. Higher settings result in a
more spacious effect.
Fbk (Chorus Feedback Level)
Adjust the amount of sound from the Chorus output that is
returned (fed back) to the Chorus. Higher settings result in a
more intense effect.
Level (Chorus Level)
Adjust the volume of the Chorus effect.
Out (Chorus Output Assign)
Select the way in which the Chorus and Reverb are
connected.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
REV:Apply reverb to the chorus sound.
fig.3-28.e
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
fig.3-29.e
OUTPUT
Reverb
Chorus input
Chorus
Reverb input
OUTPUT
Reverb
input
Chorus
input Chorus Reverb
OUTPUT
Reverb
input
Chorus
input
Chorus Reverb
73
Chapter 3. Creating Your Own Sounds
Chapter 3
PATCH REVERB
These parameters control the Reverb effect of the Patch.
Type (Reverb/Delay Type)
Select the type of Reverb effect.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
DELAY: a conventional delay
PAN-DLY: a delay with echoes that move left and right
Time (Reverb/Delay Time)
Adjust the time of reverberation. If you have selected DELAY
or PAN-DLY, this parameter will adjust the time delay from
the original sound until the first echo will sound.
Fbk (Delay Feedback Level)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay
repeats.
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
HF Damp (Reverb/Delay HF Damp)
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
Level (Reverb/Delay Level)
Adjust the volume of the reverberant (or delayed) sound.
■
Using Controllers to Change How
Sounds Are Played (CONTROL)
The parameters in this group determine how the controllers
will function.
KEY MODE & BENDER
(Key Assign Mode & Bender)
Assign (Key Assign Mode)
Specify how notes will be played. When playing a solo instrument
Patch (such as sax or flute) it is effective to use a setting of SOLO.
POLY: Two or more notes can be played simultaneously.
SOLO: Only one note will sound at a time.
Legato (Solo Legato Switch)
Turn this parameter ON when you use Solo Legato, and OFF when
you do not. Solo Legato is a function that works only when the Key
Assign Mode is SOLO. When Solo Legato is ON, pressing a key
while a previous key is already pressed will cause the note to
change pitch to the pitch of the newly pressed key while continuing
to sound. This is effective when you wish to simulate performance
techniques such as a guitarist’s hammering on and pulling off.
Bend Range
Specify the amount of pitch change that will occur when you
move the Pitch Bend Lever. The left value specifies the pitch
change that will occur when the lever is moved fully left. The
right value specifies the pitch change that will occur when the
lever is moved fully right. The left value has a range of -48–0 (-4–
0 octaves), and the right value has a range of 0–+12 (0–1 octaves).
PORTAMENTO
Portamento is a function that causes the pitch to change
smoothly from one note to the next played note. When the
Key Assign Mode is SOLO, this is effective when simulating
performance techniques such as a violinist’s glissando.
Sw (Portamento Switch)
Set this to ON when you wish to use Portamento.
Time (Portamento Time)
Adjust the time over which the pitch will change to the new pitch.
Mode (Portamento Mode)
Select the way in which Portamento will be applied.
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only for notes played
legato (i.e., when you press the next key before
releasing the previous key.
Type (Portamento Type)
Select the way in which the pitch difference between the two
notes will be related to the time of movement.
RATE: Time of movement will change in relation to the
pitch difference.
TIME: Time of movement will be constant, regardless of the
pitch difference.
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Chapter 3. Creating Your Own Sounds
Start (Portamento Start Pitch)
Portamento will begin anew if you press another key during
a pitch movement. This setting specifies how the new
portamento will start.
PITCH: Pitch will begin changing when the new key is
pressed.
fig.3-30.e
NOTE: Pitch will begin changing from the destination of the
current movement.
fig.3-31.e
RxSWITCH (Receive Switch)
These parameters determine how Volume/Pan/Pitch Bend
MIDI messages will be received by each Tone.
* In general, Volume messages control the volume, Pan messages
control the stereo location, and Pitch Bend messages control the
pitch of. However the XP-30 allows you to use these MIDI
messages to control other parameters that you specify. Thus, if
you are using a message to control another (i.e., a non-standard)
parameter, you should turn off reception for that MIDI message.
If reception is turned on, that MIDI message will control its
standard function in addition to the special assignment you
have made.
Volume (Receive Volume Switch)
If you want Volume messages to be received, turn this
parameter ON. If not, turn it OFF.
Pan (Receive Pan Control Switch)
Specify how Pan messages will be received.
OFF: Not received.
CONT: Whenever a Pan message is received, it will
immediately change the stereo location of the
sound.
KEY-ON: The stereo location of the sound will be changed
when the next note is played. If a Pan message is
received while a note is sounding, the current
stereo location will not change until the next note.
In this case, the stereo location will change only
for the note played later, and the currently
sounding note will not move.
Pitch Bend (Receive Pitch Bend Switch)
If you want Pitch Bend messages to be received, turn this
parameter ON. If not, turn it OFF.
DAMPER
Specify how Hold 1 (sustain pedal) messages will be received
by each Tone.
Hold-1 RxSwitch (Receive Hold 1 Switch)
If you want Hold 1 messages to be received, turn this
parameter ON. If not, turn it OFF.
Redamper (Redamper Switch)
If a Hold 1 message is received during the time between a
note-off (when you release the key) until when the sound
disappears, the currently sounding sounds will be sustained
if this Redamper setting is ON. If you use this function, you
must also turn on the Receive Hold 1 switch.
PEAK & HOLD
Hold messages (Hold 1, Hold 2, Sostenuto, Soft) are used to
sustain the sound. The XP-30 allows you to use these Hold
messages to hold the values of specific parameters.
* If you use this function, you must also turn on the Receive Hold
1 switch for the Patch (previous screen).
* If you select HOLD for the following parameters, you must also
set the Hold parameter (SYSTEM/CONTROL/CONTROL
SOURCE) to the type of Hold message being controlled.
* If you select PEAK for the following parameters, you must also
set the Peak parameter (SYSTEM/CONTROL/CONTROL
SOURCE) to the type of Hold message being controlled.
C5
D4
C4
press D4 key
Pitch
Time
press C4 key
press C5 key
C5
D4
C4
press D4 key
Pitch
Time
press C4 key
press C5 key
75
Chapter 3. Creating Your Own Sounds
Chapter 3
EfxCtrl (EFX Control Peak/Hold)
Specify how Hold messages will affect the parameters you
specify in the PATCH EFX CTRL display (PATCH/
EFFECTS).
OFF: Parameter values will not be held even if Hold
messages are received.
HOLD: Parameter values will be held when Hold messages
are received.
PEAK: Parameter values will be held when Hold messages
are received. However if a parameter value higher
than the current one is received while Hold is still
on, that new value will be held.
Ctrl 1 (Control 1 Peak/Hold)
Specify how Hold messages will affect the parameters
controlled by Control Source 1 (Modulation: MIDI controller
number 1). The settings are the same as for EFX Control.
Ctrl 2 (Control 2 Peak/Hold)
This parameter specifies the way in which Hold messages
will control the parameter selected as Control Source 2 in the
following display. The range of values is the same as for EFX
control.
Ctrl 3 (Control 3 Peak/Hold)
This parameter specifies the way in which Hold messages
will control the parameter selected as Control Source 3 in the
following display. The range of values is the same as for EFX
control.
CONTROL SOURCE
If you wish to use controllers to control a specific Tone
parameter, select the controller in this display. Each Patch
can have up to 3 control source assigned to it, but the
function of control source 1 is fixed at Modulation (MIDI
controller number 1).
Control 2 (Control Source 2)
Assign one of the following controllers to Control Source 2. If
you want to use a controller that will be common to all
Patches, or to use a controller that is not available for
selection here, first select SYS-CTRL 1 or SYS-CTRL 2 then set
the Control 1/2 parameter (SYSTEM/CONTROL/SYS-CTRL
ASSIGN) to select the controller.
OFF: a controller will not be used
SYS-CTRL1: System controller (Control 1)
SYS-CTRL2: System controller (Control 2)
MODULATION: Modulation (MIDI controller number 1)
BREATH: Breath (MIDI controller number 2)
FOOT: Foot (MIDI controller number 4)
VOLUME: Volume (MIDI controller number 7)
PAN: Pan (MIDI controller number 10)
EXPRESSION: Expression (MIDI controller number 11)
BENDER: Pitch bend
AFTERTOUCH: Aftertouch
LFO1: LFO1 rate
LFO2: LFO2 rate
VELOCITY: Velocity
KEYFOLLOW:
Key follow (adjust the parameter value
depending on the keyboard location, relative
to a standard value (0) at the C4 key)
PLAYMATE: Playmate (adjust the parameter value
depending on the time length that the key is
pressed)
Control 3 (Control Source 3)
Assign a controller to Control Source 3. The controllers
available for selection are the same as for Control Source 2.
CONTROL 1–3
Specify the parameters to be controlled by Control Sources 1–3
and the depth of each parameter. The upper line of the display
will show the Control Source selected in the previous display.
* From the PATCH PLAY display you can switch directly to the
CONTROL1 display by pressing [CONTROLLER] while
holding down [SHIFT].
Destination 1–4
Select the parameters to be controlled. Up to four parameters can
be specified for each controller, and controlled simultaneously.
OFF: no control
PCH: WG Pitch
CUT: TVF Cutoff Frequency
RES: TVF Resonance
LEV: TVA Level
PAN: TVA Pan
MIX: Output level of Tone
CHO: Chorus Send level of Tone
REV: Reverb Send level of Tone
PL1: LFO1 depth of WG Pitch
PL2: LFO2 depth of WG Pitch
FL1: LFO1 depth of TVF Cutoff Frequency
FL2: LFO2 depth of TVF Cutoff Frequency
AL1: LFO1 depth of TVA Level
AL2: LFO2 depth of TVA Level
pL1: LFO1 depth of TVA Pan
pL2: LFO2 depth of TVA Pan
L1R: LFO1 rate
L2R: LFO2 rate
Depth 1–4
Adjust the amount of change that will occur in response to
controller movement. Higher value will cause greater
change. Negative (-) values will reverse the direction of the
change. For LFO rates, negative (-) values will lengthen the
period (causing slower modulation), and positive (+) values
will shorten the period (causing faster modulation).
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Chapter 3. Creating Your Own Sounds
■Modifying Waveform (WAVE)
This group contains parameters related to the basic
waveform (Wave) of the Tone.
WAVE
Group (Wave Group)
Select the Group of the Wave.
INT-A, B: Internal A, B
EXP-A–E: Wave Expansion Boards A–E
* It is not possible to select a Group of a Wave Expansion Board
that is not installed.
Number (Wave Number)
Select the Wave number. The name of the Wave will be
displayed in parentheses ( ).
Gain (Wave Gain)
Adjust the gain (volume boost) of the Wave. The setting
range is -6–+12 dB, in steps of 6 dB. An increase of 6 dB
doubles the gain. When using the Booster to distort the
sound, it is effective to use the maximum Gain setting.
Switch (Tone Switch)
When you wish to use the Tone, set this ON. When not using
the Tone, set this OFF. In order to make best use of the
available number of simultaneous voices, unused Tones
should be turned off.
* When you use TONE SWITCH [1]–[4] to turn Tones on/off,
this is the parameter that is being set.
FXM (Frequency cross modulation)
FXM is a function that uses frequency modulation to add
new harmonic components to the sound. It can be used as a
simple ring modulator in order to add a metallic flavor.
Switch (FXM Switch)
When you wish to use FXM turn this ON. If not, turn it OFF.
Color (FXM Color)
Select one of four ways in which FXM will use frequency
modulation.
Depth (FXM Depth)
Adjust the depth of the frequency modulation created by
FXM.
TONE DELAY
This parameter produces a time delay from the moment the
key is pressed (or released) until when the Tone begins to
sound. Since you can adjust the timing of each Tone, you can
create effects in which pressing a single key produces two or
more sounds at different times.
* If you do not wish to use Tone Delay, set Mode to NORMAL
and Delay Time to 0.
Mode (Tone Delay Mode)
Select the way in which the Tone will sound.
NORMAL: The Tone will sound after the specified
Delay Time.
fig.3-32.e
HOLD:
If the key is pressed for longer than the
specified Delay Time, the Tone will sound after
the Delay Time. If the key is released earlier
than the Delay Time, the Tone will not sound.
fig.3-33.e
PLAYMATE:
If 2 seconds or more pass before the next key is
pressed, the Tone will sound after the Delay
Time. If less than 2 seconds pass before the next
key is pressed, that interval will become the
Delay Time after which the Tone will sound.
CLOCK-SYNC:
Synchronize the Delay Time to either the Patch
Tempo (PATCH/COMMON/PATCH
CLOCK), the Performance Tempo
(PERFORM/COMMON/PERFORM CLOCK),
or the tempo clock of the XP-30’s system.
If you want to use a fixed tempo in Patch
mode (Tempo parameter setting), set the
Source parameter (PATCH/COMMON/
PATCH CLOCK) to PATCH and set the
desired tempo.
If you want to use the system’s tempo clock
in Patch mode, set the Source parameter
(PATCH/COMMON/PATCH CLOCK) to
SYSTEM.
If you want to use a fixed tempo in
Performance mode (Tempo parameter
setting), set the Source parameter
(PERFORM/COMMON/PERFORM
CLOCK) to PERFORM and set the desired
tempo.
If you want to use the system’s tempo clock
in Performance mode, set the Source
parameter (PERFORM/COMMON/
PERFORM CLOCK) to SYSTEM.
release key
Delay Time
press key
release key
Delay Time Tone does
not sound
press key release key press key
Delay
Time
77
Chapter 3. Creating Your Own Sounds
Chapter 3
KEY-OFF-N: The Tone will not sound while the key is
being pressed, but will sound after the
Delay Time when the key is released.
fig.3-34.e
KEY-OFF-D: The Tone will not sound while the key is
being pressed, but will sound after the
Delay Time when the key is released.
However for this setting, the TVA envelope
of the Tone will begin when the key is
pressed, so in most cases only the decay
portion of the sound will be heard.
fig.3-35.e
* If you have selected a Wave that is a decay-type sound (i.e., a
sound that fades away naturally even if the key is not released),
selecting KEY-OFF-N or KEY-OFF-D may result in no sound
being heard.
TEMPO-SYNC: If you select a Wave with tempo (BPM)
being displayed, the Tone will synchronize
to the tempo clock of the system regardless
of which key is pressed. This is most
effective when playing phrase loops in sync
with the tempo of a song (p. 130).
If you want to sync to the tempo of a system
in Patch mode, set the Source parameter
(PATCH/COMMON/PATCH CLOCK) to
SYSTEM.
If you want to sync to the tempo of a system
in Performance mode, set the Source
parameter (PERFORM/COMMON/
PERFORM CLOCK) to SYSTEM.
* When TEMPO-SYNC is selected, pitch and FXM settings will
be ignored.
* When selecting TEMPO-SYNC, also set the Time parameter to
0. If other values are set, Tone Delay will be activated.
Time (Tone Delay Time)
Specify the time after when the Tone will sound when using
Tone Delay.
If PLAYMATE has been selected in Tone Delay mode, a
setting of 64 will mean that the delay time will be set to the
interval between the previous Note On and the current Note
On. A setting of 127 will result in a time that is twice as long
as for a setting of 64, and a setting of 32 will result in a time
that is 1/2 as long.
If the Tone Delay Mode is set to CLOCK-SYNC, the setting
will be in quarter-note steps, and the corresponding note
value symbol will also be displayed. This lets you specify the
delay time in note lengths relative to the synchronization
tempo.
* If the Type parameter (PATCH/COMMON/STRUCT) is set to
a selection of 2–10, the outputs of Tone 1 (3) and 2 (4) will be
combined into Tone 2 (4). This means that the settings of Tone 1
(3) will be ignored.
release key
Delay
Time
press key
release key
Delay
Time
press key
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Chapter 3. Creating Your Own Sounds
■Modulating Sounds (LFO)
The LFO (Low Frequency Oscillator) creates cyclic change.
Each Tone has two LFOs, and these can be used to apply
change to the WG Pitch/TVF Cutoff Frequency/TVA Level/
TVA Pan.
LFO1/LFO2
Since both LFOs have the same parameters, there are
explained here together.
Form (LFO Form)
Select the waveform of the LFO.
fig.3-36.e
Key Sync (LFO Key Sync)
Specifies whether you want the LFO cycle to start in sync
with the timing of a key press (ON) or not (OFF).
Rate (LFO Rate)
Adjust the modulation rate of the LFO.
* If you have set the External Sync value to CLOCK, this
parameter will indicate a note value in multiples of a quarter
note, and the corresponding note value symbol will also be
displayed. This allows you to set the LFO rate in terms of a note
length in the synchronization tempo.
* The Chaos waveform has no wavelength. When the Chaos
waveform is selected, the Rate setting has no effect.
ExtSync (LFO External Sync)
Select how the LFO will be synchronized.
OFF: Unsynchronized
CLOCK: Synchronize the LFO to the Patch Tempo,
Performance Tempo, or the tempo clock of the XP-
30’s system.
If you want to use a fixed tempo in Patch mode
(Tempo parameter setting), set the Source
parameter (PATCH/COMMON/PATCH
CLOCK) to PATCH and set the desired tempo.
If you want to use the system’s tempo clock in
Patch mode, set the Source parameter (PATCH/
COMMON/PATCH CLOCK) to SYSTEM.
If you want to use a fixed tempo in Performance
mode (Tempo parameter setting), set the Source
parameter (PERFORM/COMMON/PERFORM
CLOCK) to PERFORM and set the desired tempo.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter
(PERFORM/COMMON/PERFORM CLOCK) to
SYSTEM.
Mode (LFO Fade Mode)
Select how the LFO will be applied.
ON-IN: The LFO will fade in after the key is pressed.
fig.3-37.e
ON-OUT: The LFO will be immediately applied when the
key is pressed, and will then fade out.
fig.3-38.e
OFF-IN: The LFO will fade in after the key is released.
fig.3-39.e
How to Use the LFO
Applying LFO to the Pitch creates vibrato, applying it to
TVF Cutoff Frequency creates wah, and applying it to TVA
Level creates tremolo. When LFO is applied to the TVA
Pan, the stereo location of the sound will change cyclically.
Depending on the settings, LFO can be used to cyclically
exchange two Tones. For example if you wish to shift
back and forth between Tones 1 and 2, select the same
LFO settings for both, but make LFO Depth settings of
opposite polarity (+/-) for their TVA Level settings.
TRI SIN SAW SQR
TRP S&H RND CHS
chaos wave
triangle wave sine wave sawtooth wave square wave
trapezoidal wave sample &
hold wave random wave
key is
pressed
high (more)
low (less)
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Delay
Time Fade
Time Depth
79
Chapter 3. Creating Your Own Sounds
Chapter 3
OFF-OUT:The LFO will be immediately applied when the
key is pressed, and will begin fading out when the
key is released.
fig.3-40.e
Delay (LFO Delay Time)
Adjust the time from when the key is pressed (or released)
until the LFO begins to take effect. (Refer to the diagrams for
Fade Mode.)
Fade (LFO Fade Time)
Adjust the time over which the LFO rises to its full effect (or
diminishes). (Refer to the diagrams for Fade Mode.)
Offset (LFO Offset)
Adjust the basic value of the LFO waveform upward or
downward.
LFO DEPTH 1:2
These parameters adjust the way in which the LFO affects
each parameter. Two values are displayed for each
parameter. The left one is for LFO1, and the right one is for
LFO2.
Pitch (Pitch LFO Depth 1, 2)
Adjust how much the LFO will affect the WG Pitch.
TVF (TVF LFO Depth 1, 2)
Adjust how much the LFO will affect the TVF Cutoff
Frequency.
TVA (TVA LFO Depth 1, 2)
Adjust how much the LFO will affect the TVA Level.
Pan (Pan LFO Depth 1, 2)
Adjust how much the LFO will affect the TVA Pan.
■Modifying Pitch (PITCH)
The parameters in this group affect the WG Pitch of each
Tone.
PITCH
Specify the basic pitch of each Tone.
Coarse (Coarse Tune)
Adjust the pitch in semitone steps (-4–+4 octaves).
Fine (Fine Tune)
Adjust the pitch in 1-cent steps (-50–+50 cents).
* One cent is 1/100th of a semitone.
Random (Random Pitch Depth)
If you want the pitch of the Tone to change randomly each
time the key is pressed, set the desired amount of pitch
change here. If you do not want the pitch to change
randomly, set this to 0. The value is in units of 1 cent.
Keyfollow (Pitch Key Follow)
This parameter sets the amount of pitch change that will
occur when you move one octave on the keyboard. If you
want the pitch to change 1 octave when the keyboard position
rises 1 octave (as on normal keyboard instruments), set this
parameter to +100. If you want the pitch to rise 2 octaves
when the keyboard position rises 1 octave, set this parameter
to +200. Negative (-) settings will make the pitch become
lower as you play up the keyboard. If you want all keys of the
keyboard to produce the same pitch, set this parameter to 0.
fig.3-41.e
PCH ENVELOPE (Pitch Envelope)
These parameters determine how the Pitch Envelope affects
the pitch.
Envelope Depth (Pitch Envelope Depth)
Adjust the amount of the Pitch Envelope. Higher settings
will result in greater change. Negative (-) settings will invert
the direction of the envelope.
key is
pressed
high (more)
low (less)
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Delay
Time Fade
Time
Depth
key is
released
C2 C3 C4 C5 C6 C7
–100
–70
–50
–30
–10
0
+10
+20
+30
+40
+50
+70
+100
+120
+150+200
Pitch
Keyboard position
80
Chapter 3. Creating Your Own Sounds
Velocity Sens (Pitch Envelope Velocity Sensitivity)
Set this parameter when you want your keyboard playing dynamics
to affect the amount of pitch change. For higher settings, there will
be a greater difference between softly and strongly played notes.
Negative (-) settings will invert the direction of change.
PCH TIME ENV (Pitch Time Envelope)
These parameters determine how keyboard playing
dynamics will affect the times of the Pitch Envelope.
V-T1 (Pitch Envelope Time 1 Velocity Sensitivity)
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (time) of the Pitch Envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. For positive (+) settings,
keyboard velocity will speed up the T1 time. For negative (-)
settings, keyboard velocity will slow down the T1 time.
V-T4 (Pitch Envelope Time 4 Velocity Sensitivity)
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (time) of the Pitch Envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. For positive (+) settings,
keyboard velocity will speed up the T4 time. For negative (-)
settings, keyboard velocity will slow down the T4 time.
Time Keyfollow (Pitch Envelope Time Key Follow)
Use this parameter when you want the keyboard location of the
note to affect the times (T2–T4) of the Pitch Envelope. Higher
settings of this parameter will cause greater time change
relative to the envelope time at middle C (C4). Positive (+)
settings will cause the time change to become shorter for notes
to the right of middle C. Negative (-) settings will cause the
time change to become longer for notes to the right of middle C.
PCH ENVELOPE (Pitch Envelope)
These parameters set the Pitch Envelope (the shape of the
pitch change over time).
fig.3-42.e
T1–4 (Pitch Envelope Time 1–4)
Set the times over which the pitch will change from one point
to the next.
L1–L4 (Pitch Envelope Level 1–4)
Set the amount of pitch change (relative to the basic pitch) for
each point.
■Modifying the Brightness of
Sound with a Filter (TVF)
The parameters in this group allow you to use the TVF (Time
Variant Filter) to modify the frequency characteristics of the sound.
FILTER
These parameters are the TVF filter settings.
Type (Filter Type)
Select the filter type.
OFF: filter not used.
LPF (Low Pass Filter): Cut the frequencies above the
Cutoff Frequency. This is the most
common type of filter used in
synthesizers.
BPF (Band Pass Filter): Pass only the frequencies in the
area of the Cutoff Frequency.
HPF (High Pass Filter): Cut the frequencies below the
Cutoff Frequency.
PKG (Peaking Filter): Emphasize the frequencies in the
area of the Cutoff Frequency.
Cut (Cutoff Frequency)
Set the frequency of the filter.
Res (Resonance)
Emphasize the frequencies in the area of the Cutoff
Frequency. For some settings, excessive levels can cause
oscillation and distortion.
fig.3-43.e
Keyfollow (Cutoff Frequency Key Follow)
Use this parameter when you want the Cutoff Frequency to
be affected by the keyboard position.
Higher values will result in greater change relative to middle
C (C4). Positive (+) settings will make the Cutoff Frequency
rise as you play further the right of the keyboard. Negative (-
) settings will make the Cutoff Frequency fall.
EnvDepth (TVF Envelope Depth)
Adjust the depth of the TVF envelope. Higher settings will
result in greater change. Negative (-) values will invert the
envelope.
T1 T2 T3 T4
L3
L4
L2
L1
key is
released
Pitch Time
key is
pressed
LPF BPF HPF PKG
parameter value
Level
Cutoff frequency
Frequency
High
Low
81
Chapter 3. Creating Your Own Sounds
Chapter 3
TVF VELOCITY
These parameters determine how keyboard velocity will
affect TVF Envelope/Cutoff Frequency/Resonance.
V-Sens (TVF Envelope Velocity Sensitivity)
Use this parameter when you want velocity to affect the TVF
Envelope. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
V-Curve (TVF Envelope Velocity Curve)
Select one of 7 types of curve with which velocity will affect
the Cutoff Frequency. The curve is displayed graphically at
the right of the value.
V-Resonance (Resonance Velocity Sensitivity)
Use this parameter when you want velocity to affect the
Resonance. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
TVF TIME ENV (TVF Time Envelope)
These parameters determine how keyboard velocity will
affect the times of the TVF envelope.
V-T1 (TVF Envelope Time 1 Velocity Sensitivity)
Use this parameter when you want velocity to affect T1
(time) of the TVF envelope. Higher settings will result in a
greater difference between strongly and softly played notes.
If you want higher keyboard velocities to speed up the T1
time, use positive (+) settings. To slow down the T1 time, use
negative (-) settings.
V-T4 (TVF Envelope Time 4 Velocity Sensitivity)
Use this parameter when you want Key Off Velocity (the
speed at which you release a key) to affect T4 (time) of the
TVF envelope. Higher settings will result in a greater
difference between quickly and slowly released notes. If you
want a quicker release to speed up the T4 time, use positive
(+) settings. To slow down the T4 time, use negative (-)
settings.
Time Keyfollow (TVF Envelope Time Key Follow)
Use this parameter when you want keyboard position to
affect the times (T2–T4) of the TVF envelope. Higher settings
will result in greater changes relative to middle C (C4).
Positive (+) settings will result in shorter times as you play
toward the right of the keyboard. Negative (-) settings will
conversely result in longer times.
TVF ENVELOPE
These parameters set the TVF envelope (the way in which the
cutoff frequency will change over time).
fig.3-44.e
T1–T4 (TVF Envelope Time 1–4)
Set the times over which the cutoff frequency will move from
one point to the next.
L1–L4 (TVF Envelope Level 1–4)
Set the cutoff frequency levels for each point, relative to the
basic
cutoff frequency.
■Changing the Sound’s Volume
and Stereo Location (TVA)
The TVA (Time Variant Amplifier) controls volume changes
and stereo location.
TVA
Level
Adjust the basic volume of the Tone. Use this parameter to
adjust the volume balance between Tones.
Pan
Adjust the pan (stereo location) of the Tone. L64 is full left, 0
is center, and 63R is full right.
V-Sens (TVA Envelope Velocity Sensitivity)
Use this parameter when you want keyboard velocity to
affect the amount of change produced by the TVA envelope.
Higher settings will result in a greater difference between
strongly and softly played notes. Negative (-) settings will
invert the effect.
V-Curve (TVA Envelope Velocity Curve)
Select one of 7 curves that will determine how keyboard
playing dynamics will affect the TVA envelope. The selected
curve will be displayed at the right of the numerical value.
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Chapter 3. Creating Your Own Sounds
BIAS
Use the Bias parameter when you want keyboard position to
affect the TVA level.
fig.3-45.e
Bias (Bias Level)
Adjust the angle of the volume change that will occur in the
selected Bias Direction. Higher settings will result in greater
change. Negative (-) values will invert the change.
Point (Bias Point)
Select the key at which the volume will begin to change.
Direction (Bias Direction)
Select the direction in which change will occur starting from
the Bias Point.
LOWER: the range below the Bias Point
UPPER: the range above the Bias Point
LOWER&UPPER: the ranges both above and below the Bias
Point
ALL: the entire keyboard will be biased at the
angle determined by the Bias Level,
relative to the Bias Point
PAN MODULATE
Use these parameters to affect the location of the TVA Pan.
Keyfollow (Pan Key Follow)
Use this parameter when you want the keyboard position to
change the stereo location. Higher values will result in
greater change relative to middle C (C4). Positive (+) settings
will cause notes played toward the right of the keyboard to
be panned right. Negative (-) settings will cause the opposite.
Random (Random Pan Depth)
Use this parameter when you want the stereo location to
change randomly each time you press a key. Higher values
will result in a greater width of change.
Alternate (Alternate Pan Depth)
Use this parameter when you want the stereo location to
alternate between left and right each time you press a key.
Higher values will result in a greater width of change.
L or R values can be set, and this will reverse the left/right
order of the panning. If you want to alternate the pan
position of two Tones, set them to opposite L and R settings.
TVA TIME ENV (TVA Time Envelope)
These parameters determine how the keyboard will affect the
time changes of the TVA envelope.
V-T1 (TVF Envelope Time 1 Velocity Sensitivity)
Use this parameter when you want velocity to affect T1
(time) of the TVA envelope. Higher settings will result in a
greater difference between strongly and softly played notes.
If you want higher velocities to speed up T1 time, use
positive (+) values. If you want higher velocities to slow
down T1 time, use negative (-) values.
V-T4 (TVA Envelope Time 4 Velocity Sensitivity)
Use this parameter when you want Key Off Velocity (the
speed at which you release a key) to affect T4 (time) of the
TVA envelope. Higher settings will result in a greater
difference between quickly and slowly released notes. If you
want a quicker release to speed up the T4 time, use positive
(+) settings. If you want a quicker release to slow down the
T4 time, use negative (-) settings.
Time Keyfollow (TVA Envelope Time Key Follow)
Use this parameter when you want keyboard position to
affect TVA envelope times (T2–T4). Higher values will result
in a greater change relative to middle C (C4). Positive (+)
settings will result in shorter times as you play toward the
right of the keyboard. Negative (-) settings will result in
longer times as you play toward the right of the keyboard.
TVA ENVELOPE (TVA Envelope)
These parameters make settings for the TVA envelope
(changes over time in the TVA level).
fig.3-46.e
T1–T4 (TVA Envelope 1–4)
Adjust the time over which the volume changes from one
point to the next.
L1–L3 (TVA Envelope 1–3)
Adjust the volume level of each point relative to the basic
TVA level.
C-1 G9
+
0
–
C-1 G9
+
0
–
C-1 G9
+
0
–
C-1 G9
+
0
–
+
0
–
+
0
–
LOWER&UPPER
LOWER UPPER
ALL
Bias Point
Level
Level
Level
Level
Key
Key
Key
Key
Bias Point
Bias Point
Bias Point
83
Chapter 3. Creating Your Own Sounds
Chapter 3
Functions of Performance
Parameters
fig.3-11
■Settings Common to the Entire
Performance (COMMON)
This display is used when setting parameters that are not part of
other groups. These include Performance Name and Key Mode.
PERFORM NAME (Performance Name)
You can assign a name to the Performance of up to 12 characters.
* For details on assigning names, refer to “Assigning a Name”
(p. 46).
PERFORM CLOCK
Some parameters allow you to set a time value in terms of a
note length which is determined by a specified tempo; Rate
parameters (PATCH/LFO/LFO1, 2), Time parameter
(PATCH/WAVE/TONE DELAY), and some Multi-Effects
parameters. The specified tempo used by these parameters
can be set for each Patch. However when a Patch is used in
Performance mode, the Patch settings will be ignored, and
the settings of this display will be used instead.
Source (Performance Clock Source)
Select the source of the Performance Clock.
PERFORM: Synchronize to the Performance Tempo setting.
SYSTEM: Synchronize to the tempo clock of the ststem.
* The Performance Clock does not transmit clock messages from
MIDI OUT connector.
Tempo (Performance Tempo)
Set the Performance Tempo setting.
* When Source (Performance Clock Source) is set to SYSTEM,
synchronization will be according to the tempo clock of the
system, so it will not be possible to set the tempo value. The
tempo of the system will be displayed in parentheses ( ).
PERFORM COMMON
Key Mode
This parameter determines how the sound source will be
played from the XP-30’s keyboard.
LAYER:
When you play the keyboard, all Parts whose Local
parameter (PERFORM/MIDI/MIDI) is turned on
will sound. Transmission of MIDI messages from
the controller section to external MIDI devices will
be determined by the Tx parameter setting
(PERFORM/MIDI/MIDI) of each Part.
SINGLE: When you play the keyboard, only the specified
Part (the Part shown in the display) will sound.
MIDI messages will be transmitted from the
controller section to the external MIDI devices
even if the Local parameter and Tx parameter
settings for each Part (PERFORM/MIDI/MIDI)
are turned off.
* If you have selected a Layer-type Performance, the upper right of
the PERFORM PLAY display will indicate “LAYER p*” (* is
the part number). If you have selected a Single-type
Performance, the number of the Part that can be played from the
keyboard will be displayed.
* If LAYER has been selected and you try to play Patches of all
Parts, you probably won’t be able to play many simultaneous
voices. When layering Patches, be aware of the number of voices
available and turn off unnecessary Parts. Making Key Range
settings for each Part allows you to split the keyboard to play
different Parts in separate sections.
* To switch between SINGLE and LAYER from the PERFORM
PLAY display, hold down [SHIFT] while you press [SOLO].
Key Range (Key Range Switch)
This parameter determines whether or not the Key Range
settings (next display) will be applied or not. If you want
them to be applied, turn this ON.
KEY RANG (Key Range)
Set the range in which each Part will sound. Use this when
you wish to play different Patches in different areas of the
keyboard.
Lower (Key Range Lower)
Set the lowest note that the Part will play.
Upper (Key Range Upper)
Set the highest note that the Part will play.
* If Key Range settings have been made for the Patch, only the
notes for which the Key Range settings of the Patch and
Performance overlap will play.
* It is not possible to set Lower to a value greater than Upper, nor
Upper to a value less than Lower. If you attempt to do so, both
values will change together.
* If you have used Octave Shift (System) or the Transpose
parameter (SYSTEM/CONTROL/KEYBOARD) to transpose
the pitch of the XP-30’s keyboard, the keyboard area specified by
Key Range will also be shifted.
KEYBOARD
Octave Shift
This parameter adjusts the pitch of each Part in units of an
octave (-3–+3 octaves).
84
Chapter 3. Creating Your Own Sounds
■Setting Effects for a
Performance (EFFECTS)
This group contains settings for the Multi-Effects/Chorus/
Reverb effects used by a Performance.
OUTPUT
Specify how each Part will be output.
Output Assign (Output Assign/Output Level)
Select whether the output of each Part will be sent through
Multi-Effects, and adjust the volume level of each Part.
MIX: output to the OUTPUT jack without passing
through Multi-Effects.
EFX: output to the OUTPUT jack through Multi-Effects.
PATCH: use the Output Assign settings (for each Tone) of
the Patch assigned to each Part.
* If you select MIX or EFX, the setting of the Output Assign
parameter (PATCH/EFFECTS/OUTPUT) will be ignored.
Chorus (Chorus Send Level)
Adjust the amount of Chorus that is applied to each Part.
Reverb (Reverb Send Level)
Adjust the amount of Reverb that is applied to each Part.
PERFORM EFX TYPE
(Performance EFX TYPE)
These parameters set the Performance Multi-Effects.
* If EFX Source has been set to use the EFX settings of the Patch
assigned to one of the Parts, the Part number will be shown in
the upper left of the display.
fig.3-47
Type (EFX Type)
Select the type of Multi-Effects. For details refer to “Multi-
Effects Types (EFX Parameter)” (p. 93).
* If you have selected the EFX parameter settings of one of the
Patches assigned to a Part as the EFX Source, the EFX Type of
that Patch will be displayed.
Source (EFX Source)
Select the EFX parameter settings that will be used by the
Performance. If you wish to use the EFX parameter settings
of the Performance, select PERFORM. If you wish to use the
EFX parameter settings of the Patch assigned to one of the
Parts, select the Part number. Since the Rhythm Set does not
have EFX parameter settings, it is not possible to select Part
10.
PERFORM EFX PRM
(Performance EFX Parameters)
The EFX parameters for the selected EFX Type will be
displayed. For details refer to “Multi-Effects Types (EFX
Parameter)” (p. 93).
* If EFX Source has been set to use the EFX parameter settings of
the Patch assigned to one of the Parts, the Part number will be
shown in the upper left of the display.
PERFORM EFX OUT
(Performance EFX Output)
These parameters specify the output for the Part for which
EFX was selected in Output Assign.
* For Parts which have an Output Assign setting of MIX, the
settings of this display will be ignored.
* For Parts which have an Output Assign setting of PATCH, the
Output Assign settings of each Tone of the Patch will be used.
In other words, the settings of this display will apply only to
Tones for which EFX is selected.
Mix Out (EFX Output Level)
Adjust the volume of the direct sound and Multi-Effects sound.
Chorus (Chorus Send Level)
Adjust the amount of Chorus applied to the sound that
passes through Multi-Effects.
Reverb (Reverb Send Level)
Adjust the amount of Reverb applied to the sound that
passes through Multi-Effects.
PERFORM EFX CTRL
(Performance EFX Control)
Use this parameter when you wish to use a specific controller
to control an EFX parameter. The types of EFX parameters
available for control will depend on the EFX type. For details
refer to “Multi-Effects Types (EFX Parameter)” (p. 93).
The upper line of the display will show the EFX parameter to
be controlled. For each EFX parameter you can specify the
EFX Control Source and the EFX Control Depth.
When the EFX Parameter Settings of a
Patch Are Selected
When the EFX parameter settings of a Patch are
selected, those settings will be displayed in the EFX
parameter setting display of the Performance, and you
will be able to modify them. If you wish to keep the
Patch EFX parameter settings that you modify, rewrite
the Patch settings. The modified Patch EFX parameter
settings will be lost if you select a different Patch.
85
Chapter 3. Creating Your Own Sounds
Chapter 3
EFX Control Source 1, 2
The MIDI controllers that can be used are shown below. If
you wish to use a controller that is common to all Patches, or
a controller that cannot be selected here, first select SYS-
CTRL1 or SYS-CTRL2, and then use the Control 1/2
parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) to
select the controller.
OFF: a controller will not be used
SYS-CTRL1: System controller (Control 1)
SYS-CTRL2: System controller (Control 2)
MODULATION: Modulation (MIDI controller number 1)
BREATH: Breath (MIDI controller number 2)
FOOT: Foot (MIDI controller number 4)
VOLUME: Volume (MIDI controller number 7)
PAN: Pan (MIDI controller number 10)
EXPRESSION: Expression (MIDI controller number 11)
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
EFX Control Depth 1, 2
Adjust the amount of change that will occur in response to
controller movement. Higher values will result in greater
change. Negative (-) values will invert the direction of the
change.
PERFORM CHORUS
Make settings for the Chorus effect of the Performance.
* In Performance mode, the Chorus settings of the Patches used
by each Part will be ignored (except for the Send Level
parameter).
Rate (Chorus Rate)
Adjust the speed of modulation for the chorus.
Depth (Chorus Depth)
Adjust the depth of modulation for the chorus.
Delay (Chorus Pre Delay)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard. Higher values will create a
more spacious sound.
Fbk (Chorus Feedback Level)
Adjust the amount of chorus sound that is returned (fed
back) into the chorus. Higher values will create a more
intense effect.
Level (Chorus Level)
Adjust the volume level of the chorus sound.
Out (Chorus Output Assign)
Select the way in which the Chorus and Reverb are
connected.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
REV:Apply reverb to the chorus sound.
fig.3-28.e
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
fig.3-29.e
PERFORM REVERB
Make settings for the Reverb effect of the Performance.
* In Performance mode, the Reverb settings of the Patches used by
each Part will be ignored (except for the Send Level parameter).
Type (Reverb/Delay Type)
Select the type of Reverb effect.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
DELAY: a conventional delay
PAN-DLY: a delay with echoes that move left and right
Time (Reverb/Delay Time)
Adjust the time of reverberation. If you have selected DELAY
or PAN-DLY, this parameter will adjust the time delay from
the original sound until the first echo will sound.
OUTPUT
Reverb
Chorus input
Chorus
Reverb input
OUTPUT
Reverb
input
Chorus
input Chorus Reverb
OUTPUT
Reverb
input
Chorus
input
Chorus Reverb
86
Chapter 3. Creating Your Own Sounds
Fbk (Delay Feedback Level)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay repeats.
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
HF Damp (Reverb/Delay HF Damp)
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
Level (Reverb/Delay Level)
Adjust the volume of the reverberant (or delayed) sound.
■Making MIDI Settings for a Part
(MIDI)
MIDI
These parameters determine how each Part will transmit and
receive MIDI messages.
Channel (MIDI Channel)
Set the MIDI channel of each Part.
* If this is set to the same channel as the Control Channel
parameter (SYSTEM/MIDI/PERFORM MIDI), attempting to
use MIDI messages (Program Change and Bank Select) from an
external device to select Patches will select Performances
instead. If you want to select Patches, change the Control
Channel to a different setting.
Rx (Receive Switch)
Specify whether or not you want each Part to receive MIDI
messages from the external MIDI devices.
Normally you will leave this ON, but you can turn it OFF
when you do not want a specific Part to be playing during a
song playback.
* To switch between ON and OFF from the PERFORM PLAY
display, hold down [SHIFT] while you press the function button
for the Part you want to alter.
Tx (Transmit Switch)
This determines, for each Part, whether or not data generated
by the controller section is sent as MIDI messages from the
MIDI OUT connector when the Key Mode parameter
(PERFORM/COMMON/PERFORM COMMON) is set to
LAYER.
Normally you will leave this ON, but you can turn it OFF when
you do not want the XP-30 to control external sound sources.
* When the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) is set to SINGLE, the setting for the
Tx parameter is deactivated, and only the MIDI messages of the
current Part are sent from the MIDI OUT connector.
Local (Local Switch)
Specify for each Part whether or not you want to disconnect
the controller section from the internal sound source when
the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) is set to LAYER..
Normally you will leave this ON, but you can turn it OFF
when you want to use the XP-30 only to control an external
sound source.
* To switch between ON and OFF from the PERFORM PLAY
display, press the function button for the Part you want to alter.
* When the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) is at SINGLE, the setting for the
Local parameter is deactivated, and when you finger the
keyboard, only the patch for the current Part sounds.
RxSWITCH (Receive Switch)
Specify whether each Part will receive certain MIDI messages
or not.
Volume (Receive Volume Switch)
If you want the Part to receive Volume messages, turn this
ON. If not, turn this OFF.
Hold-1 (Receive Hold 1 Switch)
If you want the Part to receive Hold 1 messages, turn this
ON. If not, turn this OFF.
Program Change
(Receive Program Change Switch)
If you want the Part to receive Program Change messages,
turn this ON. If not, turn this OFF.
* If you want a Part to receive Program Change messages, you
must also turn the Program Change parameter ON (SYSTEM/
MIDI/RECEIVE MIDI).
TRANSMIT (Transmit Bank Select)
BankSelectGroup (Transmit Bank Select Group)
When you select a Performance, Bank Select and Program
Change messages will be transmitted for the Patch or Rhythm
Set assigned to each Part as determined by this setting.
PATCH: When you select a Performance, Bank Select
messages and Program Change messages for the
Patch/Rhythm Set that is assigned to each Part will
not be transmitted.
BS1-7: When you select a Performance, Bank Select and
Program Change messages will be transmitted for
the Patch/Rhythm Set that is assigned to each Part.
In this case, the Bank Select Number that is
transmitted will be determined by the Bank Select
Group (BS1–7) setting. In the BANK SEL GROUP
display (SYSTEM/MIDI) you can set the Bank
Select number for each Bank Select Group.
87
Chapter 3. Creating Your Own Sounds
Chapter 3
* Bank Select and Program Change messages will not be
transmitted for Parts whose Tx parameter (PERFORM/MIDI/
MIDI) is turned off.
Transmit Volume
If you want Volume messages to also be transmitted when you
select a Performance, specify the desired volume here. If you do
not want Volume messages to be transmitted, set this to OFF.
■Making Settings for Each Part
(PART)
PATCH
Select the Patch for each Part.
Group (Patch Group)
Select the group of the Patch (or Rhythm Set for Part 10).
USER: User memory
PR-A–C, E: Preset memory A–C, E
GM: Preset memory GM
XP-A–E: Wave Expansion Board A–E
* It is not possible to select a group for a Wave Expansion Board
that has not been installed.
Number (Patch Number)
Specify the number of the Patch. The Patch name will be
displayed in parentheses ( ).
SETTING
Make volume, pan, and pitch settings for each Part.
Level
Adjust the volume of each Part. Use this parameter to adjust
the volume balance between Parts.
Pan
Adjust the stereo location of the Part. L64 is full left, 0 is
center, and 63R is full right.
Coarse (Coarse Tune)
Adjust the pitch of the Part in semitone steps (-4–+4 octaves).
Fine (Fine Tune)
Adjust the pitch of the Part in 1-cent steps (-50–+50 cents).
* One cent is 1/100th of a semitone.
RESERVE (Voice Reserve)
Voice Reserve
This setting determine how many voices will be reserved for
each Part when more than 64 simultaneous voices are
requested.
* It is not possible to make Voice Reserve settings that would cause
the total of all Parts to be greater than 64 voices. The number of
remaining voices available is indicated at the right of the
parameter name (rest=). Keep this in mind as you make settings.
■Confirming MIDI Information
for Each Part (INFO)
INFO (Part Information)
The displays in this group allow you to check various
settings such as MIDI message reception status for each Part.
This is convenient when you need to check that the sound
source is responding correctly to messages from the
keyboard or external MIDI controller.
Mod (Modulation Information)
Breath (Breath Information)
Foot (Foot Information)
Vol (Volume Information)
Pan (Pan Information)
Exp (Expression Information)
Hold (Hold 1 Information)
Bend (Bender Information)
Aft (Aftertouch Information)
Sys1 (System Controller 1 Information)
The MIDI message specified as the Control 1 parameter
(SYSTEM/CONTROL/SYS-CTRL ASSIGN)
Sys2 (System Controller 2 Information)
The MIDI message specified as the Control 2 parameter
(SYSTEM/CONTROL/SYS-CTRL ASSIGN)
Voices (Voice Information)
The number of voices used
MIDI Message Transmission
When you modify a value (other than Voice) in the
INFO display, the MIDI message of the modified value
will be transmitted to the internal sound source and to
external MIDI devices. The way in which the message
will be transmitted will depend on the settings of the
currently selected Performance.
If you have selected a Single-type Performance, the
MIDI message will be transmitted to the specified Part,
and will simultaneously be transmitted to external
MIDI devices on the MIDI channel of that Part.
If you have selected a Layer-type Performance, the
MIDI message will be transmitted to all Parts whose Tx
parameter (PERFORM/MIDI/MIDI) is turned on, and
will also be transmitted to external MIDI devices on the
MIDI channel of each of these Parts.
88
Chapter 3. Creating Your Own Sounds
Functions of Rhythm Set
Parameters
fig.3-16
■Naming a Rhythm Set
(COMMON)
RHYTHM NAME (Rhythm Set Name)
You can assign a name of up to 12 characters to a Rhythm
Set.
* For details on assigning names, refer to “Assigning a Name”
(p. 46).
■
Setting Effects for a Rhythm Tone
(EFFECTS)
* Rhythm Sets use the effect settings of the Performance currently
selected in Performance mode. You can modify the Performance
effect settings from inside Rhythm Set mode, but they are not
stored as Rhythm Set settings. If you wish to keep the effect
settings, you need to store them as Performance settings.
OUTPUT
Specify the output for each key.
Output Assign (Output Assign/Output Level)
For the output of each key, specify whether or not it will be
sent through Multi-Effects, and adjust the volume level.
MIX: output to the OUTPUT jack without passing through
Multi-Effects.
EFX: output to the OUTPUT jack after passing through
Multi-Effects.
Chorus (Chorus Send Level)
Adjust the amount of Chorus for each key.
Reverb (Reverb Send Level)
Adjust the amount of Reverb for each key.
PERFORM EFX TYPE
(Performance EFX Type)
* If EFX Source has been set to use the EFX parameter settings of
the Patch assigned to one of the Parts, the Part number will be
shown in the upper left of the display.
Type (EFX Type)
Select the type of EFX. For details refer to “Multi-Effects
Types (EFX Parameter)” (p. 93).
* If you have selected the EFX parameter settings of one of the
Patches assigned to a Part as the EFX Source, the EFX Type of
that Patch will be displayed.
Source (EFX Source)
Select the EFX parameter settings that will be used by the
Performance. If you wish to use the EFX parameter settings
of the Performance, select PERFORM. If you wish to use the
EFX parameter settings of the Patch assigned to one of the
Parts, select the Part number.
PERFORM EFX PRM
(Performance EFX Parameters)
The EFX parameters for the selected EFX Type will be
displayed. For details refer to “Multi-Effects Types (EFX
Parameter)” (p. 93).
* If EFX Source has been set to use the EFX parameter settings of
the Patch assigned to one of the Parts, the Part number will be
shown in the upper left of the display.
PERFORM EFX OUT
(Performance EFX Output)
These parameters specify the output for the keys for which
EFX was selected in Output Assign.
* For keys which have an Output Assign setting of MIX, the
settings of this display will be ignored.
Mix Out (EFX Output Level)
Adjust the volume of the direct sound and Multi-Effects
sound.
Chorus (Chorus Send Level)
Adjust the amount of Chorus applied to the sound that
passes through Multi-Effects.
Reverb (Reverb Send Level)
Adjust the amount of Reverb applied to the sound that
passes through Multi-Effects.
When the EFX Parameter Settings of a
Patch Are Selected
When the EFX parameter settings of a Patch are
selected, those settings will be displayed in the EFX
parameter setting display of the Performance, and you
will be able to modify them. If you wish to keep the
Patch EFX parameter settings that you modify, rewrite
the Patch settings. The modified Patch EFX parameter
settings will be lost if you select a different Patch.
89
Chapter 3. Creating Your Own Sounds
Chapter 3
PERFORM EFX CTRL
(Performance EFX control)
Use this parameter when you wish to use a specific controller
to control an EFX parameter. The types of EFX parameters
available for control will depend on the EFX type. For details
refer to “Multi-Effects Types (EFX Parameter)” (p. 93).
The upper line of the display will show the EFX parameter to
be controlled. For each EFX parameter you can specify the
EFX Control Source and the EFX Control Depth.
EFX Control Source 1, 2
The MIDI controllers that can be used are shown below. If
you wish to use a controller that is common to all Patches, or
a controller that cannot be selected here, first select SYS-
CTRL1 or SYS-CTRL2, and then use the Control 1/2
parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) to
select the controller.
OFF: a controller will not be used
SYS-CTRL1: System controller (Control 1)
SYS-CTRL2: System controller (Control 2)
MODULATION: Modulation (MIDI controller number 1)
BREATH: Breath (MIDI controller number 2)
FOOT: Foot (MIDI controller number 4)
VOLUME: Volume (MIDI controller number 7)
PAN: Pan (MIDI controller number 10)
EXPRESSION: Expression (MIDI controller number 11)
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
EFX Control Depth 1, 2
Adjust the amount of change that will occur in response to
controller movement. Higher values will result in greater
change. Negative (-) values will invert the direction of the
change.
PERFORM CHORUS
Make settings for the Chorus effect of the Performance.
Rate (Chorus Rate)
Adjust the speed of modulation for the chorus.
Depth (Chorus Depth)
Adjust the depth of modulation for the chorus.
Delay (Chorus Pre Delay)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard. Higher values will create a
more spacious sound.
Fbk (Chorus Feedback Level)
Adjust the amount of chorus sound that is returned (fed back)
into the chorus. Higher values will create a more intense
effect.
Level (Chorus Level)
Adjust the volume level of the chorus sound.
Out (Chorus Output Assign)
Select the way in which the Chorus and Reverb are
connected.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
REV:Apply reverb to the chorus sound.
fig.3-28.e
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
fig.3-29.e
PERFORM REVERB
Make settings for the Reverb effect of the Performance.
Type (Reverb/Delay Type)
Select the type of Reverb effect.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
DELAY: a conventional delay
PAN-DLY: a delay with echoes that move left and right
Time (Reverb/Delay Time)
Adjust the time of the reverberation. If you have selected
DELAY or PAN-DLY, this parameter will adjust the time
delay from the original sound until the first echo will sound.
OUTPUT
Reverb
Chorus input
Chorus
Reverb input
OUTPUT
Reverb
input
Chorus
input Chorus Reverb
OUTPUT
Reverb
input
Chorus
input
Chorus Reverb
90
Chapter 3. Creating Your Own Sounds
Fbk (Delay Feedback Level)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay repeats.
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
HF Damp (Reverb/Delay HF Damp)
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
Level (Reverb/Delay Level)
Adjust the volume of the reverberant (or delayed) sound.
■Controlling How a Rhythm
Tone will Sound with
Controllers (CONTROL)
The parameters in this group determine how the controllers
function and how instruments in a Rhythm Set will sound.
CONTROL
These parameters determine how each note is controlled.
Bend Range
Specify the amount of pitch change (in semitones) that will occur
when the Pitch Bend Lever is moved (maximum +1 octave).
Env Mode (Envelope Mode)
When a loop-type Wave is selected, it will normally continue
to sound as long as the key is pressed. If you want it to decay
naturally even if the key remains pressed, set this to NO-SUS.
* If a one-shot type Wave is selected, it will not sustain even if
this parameter is set to SUSTAIN.
Mute Group
The Mute Group function lets you specify that certain Rhythm
Tones not be allowed to sound simultaneously. Taking the
example of an acoustic drum set, it is obviously impossible for
an open hi-hat and a closed hi-hat sound to occur
simultaneously. To simulate this type of situation on the XP-
30, set each hi-hat sound to the same Mute Group number.
Up to 31 Mute Groups can be used. If you do not want a
Rhythm Tone to use a Mute Group, turn it OFF.
RxSWITCH (Receive Switch)
These parameters determine how each key will receive
Volume / Pan / Hold 1 MIDI messages.
Volume (Receive Volume Switch)
If you want Volume messages to be received, turn this
parameter ON. If not, turn it OFF.
* In order for Volume messages to be received, the Volume
parameter (PERFORM/MIDI/RxSWITCH) must also be
turned ON for Part 10 of the currently selected Performance.
Pan (Receive Pan Control Switch)
Specify how Pan messages will be received.
OFF: Not received.
CONT:
Whenever a Pan message is received, it will
immediately change the stereo location of the sound.
KEY-ON: The stereo location of the sound will be changed
when the next note is played. If a Pan message is
received while a note is sounding, the current
stereo location will not change until the next note.
In this case, the stereo location will change only
for the note played later, and the currently
sounding note will not move.
Hold-1 (Receive Hold 1 Switch)
If you want Hold 1 messages to be received, turn this
parameter ON. If not, turn it OFF.
* In order for Hold 1 messages to be received, the Hold-1
parameter (PERFORM/MIDI/RxSWITCH) must also be
turned ON for Part 10 of the currently selected Performance.
■Modifying Waveform of a
Rhythm Tone (WAVE)
Make settings for the basic waveform (Wave) of the Rhythm
Tone assigned to each key.
WAVE
Group (Wave Group)
Select the Group of the Wave.
INT-A, B: Internal A, B
EXP-A–E: Wave Expansion Boards A–E
* It is not possible to select a Group of a Wave Expansion Board
that is not installed.
Number (Wave Number)
Select the Wave number. The name of the Wave will be
displayed in parentheses ( ).
Gain (Wave Gain)
Adjust the gain (volume boost) of the Wave. The setting
range is -6–+12 dB, in steps of 6 dB. An increase of 6 dB
doubles the gain.
Switch (Key Switch)
Turn this ON for keys you wish to sound, and OFF for keys
you do not wish to sound.
91
Chapter 3. Creating Your Own Sounds
Chapter 3
■Modifying Pitch of a Rhythm
Tone (PITCH)
This group contains parameters that affect the pitch of the
Rhythm Tone for each key.
PITCH
Specify the basic pitch for the Rhythm Tone.
Coarse (Coarse Tune)
Select the key corresponding to the pitch at which you wish
to sound the Rhythm Tone.
Fine (Fine Tune)
Adjust the pitch in 1-cent steps (-50–+50 cents).
* One cent is 1/100th of a semitone.
Random (Random Pitch Depth)
If you want the pitch to change randomly each time you
press a key, specify the width of the change. If you do not
want random pitch change, set this parameter to 0. The value
is in units of 1 cent.
Env Depth (Pitch Envelope Depth)
Adjust the effect of the Pitch Envelope. Higher settings will result
in greater change. Negative (-) settings will invert the envelope.
PCH VELOCITY
Specify how key velocity will change the effect of the Pitch
Envelope.
Velocity Sens (Pitch Envelope Velocity Sensitivity)
Use this parameter if you want key velocity to change the
effect of the Pitch Envelope. Higher settings will result in a
greater difference between strongly and softly played notes.
Negative (-) settings will invert the change.
Velocity Time
(Pitch Envelope Time Velocity Sensitivity)
Use this parameter if you want key velocity to change the
overall time of the Pitch Envelope. Higher settings will result
in a greater time difference between strongly and softly
played notes. Negative (-) settings will invert the change.
PCH ENVELOPE
Make settings for the Pitch Envelope (changes in pitch over time).
fig.3-42.e
T1–4 (Pitch Envelope Time 1–4)
Specify the time over which the pitch will change from one
point to the next.
L1–4 (Pitch Envelope Level 1–4)
Specify the pitch change for each point relative to the basic
pitch.
■Changing the Tone (Filter) of a
Rhythm Tone (TVF)
The TVF (Time Variant Filter) uses a filter to modify the
frequency characteristics of the sound.
FILTER
Make TVF filter settings.
Type (Filter Type)
Select the filter type.
OFF: filter not used.
LPF (Low Pass Filter): Cut the frequencies above the
Cutoff Frequency. This is the most
common type of filter used in
synthesizers.
BPF (Band Pass Filter): Pass only the frequencies in the
area of the Cutoff Frequency.
HPF (High Pass Filter): Cut the frequencies below the
Cutoff Frequency.
PKG (Peaking Filter): Emphasize the frequencies in the
area of the Cutoff Frequency.
Cutoff (Cutoff Frequency)
Set the basic frequency of the filter.
Resonance
Emphasize the frequencies in the area of the Cutoff
Frequency. For some settings, excessive levels can cause
oscillation and distortion.
fig.3-43.e
Env Depth (TVF Envelope Depth)
Adjust the depth of the TVF envelope. Higher settings will
result in greater change. Negative (-) values will invert the
envelope.
T1 T2 T3 T4
L3
L4
L2
L1
key is
released
Pitch Time
key is
pressed
LPF BPF HPF PKG
parameter value
Level
Cutoff frequency
Frequency
High
Low
92
Chapter 3. Creating Your Own Sounds
TVF VELOCITY
V-Sens (TVF Envelope Velocity Sensitivity)
Use this parameter when you want velocity to affect the TVF
Envelope. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
V-Time (TVF Envelope Time Velocity Sensitivity)
Use this parameter when you want velocity to affect the time
of the TVF envelope. Higher settings will result in a greater
time difference between strongly and softly played notes.
Negative (-) settings will invert the effect.
V-Resonance (Resonance Velocity Sensitivity)
Use this parameter when you want velocity to affect the
Resonance. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
TVF ENVELOPE
These parameters set the TVF envelope (the way in which the
cutoff frequency will change over time).
fig.3-44.e
T1–T4 (TVF Envelope Time 1–4)
Set the times over which the cutoff frequency will move from
one point to the next.
L1–L4 (TVF Envelope Level 1–4)
Set the cutoff frequency levels for each point, relative to the
basic cutoff frequency.
■Changing the Volume and
Stereo Location of a Rhythm
Tone (TVA)
The TVA (Time Variant Amplifier) controls volume changes
and stereo location.
TVA
Level
Adjust the basic volume of the Rhythm Tone. Use this
parameter to adjust the volume balance between Rhythm
Tones.
Pan
Adjust the pan (stereo location) of the Rhythm Tone. L64 is
full left, 0 is center, and 63R is full right.
Random (Random Pan Depth)
Use this parameter when you want the stereo location to
change randomly each time you press a key. If you do not
want the stereo location to change randomly, set this to 0.
Alternate (Alternate Pan Depth)
Use this parameter when you want the stereo location to
alternate between left and right each time you press a key.
Higher values will result in a greater width of change. L or R
values can be set, and this will reverse the left/right order of
the panning. If you want to alternate the pan position of two
Rhythm Tones, set them to opposite L and R settings.
TVA VELOCITY
Specify how keyboard velocity will affect the time of the
TVA envelope.
Velocity Sens (TVA Envelope Velocity Sensitivity)
Use this parameter when you want velocity to affect the TVA
Envelope. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
Velocity Time
(TVA Envelope Time Velocity Sensitivity)
Use this parameter when you want velocity to affect the time
of the TVA envelope. Higher settings will result in a greater
time difference between strongly and softly played notes.
Negative (-) settings will invert the effect.
TVA ENVELOPE
These parameters make settings for the TVA envelope
(changes over time in the TVA level).
fig.3-46.e
T1–T4 (TVA Envelope Time 1–4)
Adjust the time over which the volume changes from one
point to the next.
L1–L3 (TVA Envelope Level 1–3)
Adjust the volume level of each point relative to the basic
TVA level.
T1 T2 T3 T4
L3
L1
L2
L4
key is released
Cutoff
Frequency
Time
key is pressed
93
Chapter 3. Creating Your Own Sounds
Chapter 3
Multi-Effects Types
(EFX Parameter)
Multi-Effects provides 40 types of effect. Some of these
consist of two different effects connected in series or parallel.
* Parameters marked with a sharp “#” can be controlled using a
specified controller (Two setting items will change
simultaneously for “#1” and “#2”). Settings in the Patch or
Performance EFX Control display (PATCH/EFFECTS/PATCH
EFX CTRL or PERFORM/EFFECTS/PERFORM EFX CTRL)
will determine how these parameters are controlled.
1: STEREO-EQ (Stereo Equalizer)
This is a four-band stereo equalizer (low, mid x 2, high).
fig.3-48
LowFreq (Low Frequency)
Select the frequency of the low range (200 Hz/400 Hz).
LowGain (Low Gain)
Adjust the gain of the low frequency.
Hi Freq (High Frequency)
Select the frequency of the high range (4000 Hz/8000 Hz).
Hi Gain (High Gain)
Adjust the gain of the high frequency.
P1 Freq (Peaking 1 Frequency)
Adjust the frequency of Peaking 1 (mid range).
P1 Q (Peaking 1 Q)
This parameter adjusts the width of the area around the
Peaking 1 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
P1 Gain (Peaking 1 Gain)
Adjust the gain for the area specified by the Peaking 1
Frequency and Q settings.
P2 Freq (Peaking 2 Frequency)
Adjust the frequency of Peaking 2 (mid range).
P2 Q (Peaking 2 Q)
This parameter adjusts the width of the area around the
Peaking 2 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
P2 Gain (Peaking 2 Gain)
Adjust the gain for the area specified by the Peaking 2
Frequency and Q settings.
Level (Output Level) #
Adjust the output level.
2: OVERDRIVE
This effect creates a soft distortion similar to that produced
by vacuum tube amplifiers.
fig.3-49
Drive #
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Level (Output Level)
Adjust the output level.
LowGain (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High Gain)
Adjust the gain of the high frequency range.
Amp Type (Amp Simulator Type)
Select the 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
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
3: DISTORTION
This effect produces a more intense distortion than
Overdrive.
fig.3-50
Drive #
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Level (Output Level)
Adjust the output level.
LowGain (Low Gain)
Adjust the gain of the low frequency range.
L in
R in
L out
R out
4-Band EQ
4-Band EQ
Amp
Simulator 2-Band
EQ
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
EQ
Distortion
94
Chapter 3. Creating Your Own Sounds
Hi Gain (High Gain)
Adjust the gain of the high frequency range.
Amp Type (Amp Simulator Type)
Select the 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
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
4: PHASER
A phaser adds a phase-shifted sound to the original sound,
producing a twisting modulation that creates spaciousness
and depth.
fig.3-51
Manual #
Adjust the basic frequency from which the sound will be
modulated.
Rate #
Adjust the frequency (period) of modulation.
Depth
Adjust the depth of modulation.
Res (Resonance)
Adjust the amount of feedback for the phaser.
Mix (Mix Level)
Adjust the ratio with which the phase-shifted sound is
combined with the direct sound.
Pan (Output Pan)
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Level (Output Level)
Adjust the output level.
5: SPECTRUM
Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies. It is
similar to an equalizer, but has 8 frequency points fixed at
locations most suitable for adding character to the sound.
fig.3-52
Band 1 (Band 1 Gain)
Adjust the 250 Hz level.
Band 2 (Band 2 Gain)
Adjust the 500 Hz level.
Band 3 (Band 3 Gain)
Adjust the 1000 Hz level.
Band 4 (Band 4 Gain)
Adjust the 1250 Hz level.
Band 5 (Band 5 Gain)
Adjust the 2000 Hz level.
Band 6 (Band 6 Gain)
Adjust the 3150 Hz level.
Band 7 (Band 7 Gain)
Adjust the 4000 Hz level.
Band 8 (Band 8 Gain)
Adjust the 8000 Hz level.
Q
Simultaneously adjust the width of the adjusted areas for all
the frequency bands.
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Level (Output Level) #
Adjust the output level.
6: ENHANCER
The Enhancer controls the overtone structure of the high
frequencies, adding sparkle and tightness to the sound.
fig.3-53
Sens (Sensitivity) #
Adjust the sensitivity of the enhancer.
Phaser
Resonance
Mix
L in
R in
L out
R out
Pan R
Pan L
Spectrum
L out
R out
Pan R
Pan L
L in
R in
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer 2-Band
EQ
2-Band
EQ
95
Chapter 3. Creating Your Own Sounds
Chapter 3
Mix (Mix Level) #
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
LowGain (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High Gain)
Adjust the gain of the high frequency range.
Level (Output Level)
Adjust the output level.
7: AUTO-WAH
The Auto Wah cyclically controls a filter to create cyclic
change in timbre.
fig.3-54
Filter (Filter Type)
Select the type of filter.
LPF: The wah effect will be applied over a wide frequency
range.
BPF: The wah effect will be applied over a narrow
frequency range.
Sens
Adjust the sensitivity with which the filter is controlled.
Manual #
Adjust the center frequency from which the effect is applied.
Peak
Adjust the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will cause the
effect to be applied in a broad area around the center
frequency. Higher settings will cause the effect to be applied
in a more narrow range.
Rate #
Adjust the frequency of the modulation.
Depth
Adjust the depth of the modulation.
Level (Output Level)
Adjust the output level.
8: ROTARY
The Rotary effect simulates the sound of the rotary speakers
often used with the electric organs of the past. Since the
movement of the high range and low range rotors can be set
independently, the unique type of modulation characteristic
of these speakers can be simulated quite closely. This effect is
most suitable for electric organ Patches.
fig.3-55
LowSlow (Low Frequency Slow Rate)
Adjust the slow speed (SLOW) of the low frequency rotor.
LowFast (Low Frequency Fast Rate)
Adjust the fast speed (FAST) of the low frequency rotor.
LowAccl (Low Frequency Acceleration)
Adjust the time it takes the low frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Low Lvl (Low Frequency Level)
Adjust the volume of the low frequency rotor.
Hi Slow (High Frequency Slow Rate)
Adjust the slow speed (SLOW) of the high frequency rotor.
Hi Fast (High Frequency Fast Rate)
Adjust the fast speed (FAST) of the high frequency rotor.
Hi Accl (High Frequency Acceleration)
Adjust the time it takes the high frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Hi Lvl (High Frequency Level)
Adjust the volume of the high frequency rotor.
Separation
Adjust the spatial dispersion of the sound.
Speed #
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
SLOW: Slow down the rotation to the specified speed (the
Low Slow / Hi Slow values).
FAST: Speed up the rotation to the specified speed (the
Low Fast / Hi Fast values).
Level (Output Level) #
Adjust the output level.
Auto Wah
L out
R out
L in
R in
L out
R out
L in
R in
Rotary
96
Chapter 3. Creating Your Own Sounds
9: COMPRESSOR
The Compressor flattens out high levels and boosts low
levels, smoothing out unevenness in volume.
fig.3-56
Attack
Adjust the attack time of an input sound.
Sustain
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
Post Gain
Adjust the output gain.
LowGain
Adjust the low frequency gain.
Hi Gain
Adjust the high frequency gain.
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Level (Output Level) #
Adjust the output level.
10: LIMITER
The Limiter compresses signals that exceed a specified
volume level, preventing distortion from occurring.
fig.3-57
Thresh (Threshold Level)
Adjust the volume at which compression will begin.
Ratio (Compression Ratio)
Adjust the compression ratio.
Release (Release Time)
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Gain (Post Gain)
Adjust the output gain.
LowGain
Adjust the low frequency gain.
Hi Gain
Adjust the high frequency gain.
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Level (Output Level) #
Adjust the output level.
11: HEXA-CHORUS
Hexa-chorus uses a six-phase chorus (six layers of chorused
sound) to give richness and spatial spread to the sound.
fig.3-58
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Dly Dev (Pre Delay Deviation)
Pre Delay determines the time from when the direct sound
begins until the processed sound is heard. Pre Delay
Deviation adjusts the differences in Pre Delay between each
chorus sound.
Dpt Dev (Depth Deviation)
Adjust the difference in modulation depth between each
chorus sound.
Pan Dev (Pan Deviation)
Adjust the difference in stereo location between each chorus
sound. With a setting of 0, all chorus sounds will be in the
center. With a setting of 20, each chorus sound will be spaced
at 60 degree intervals relative to the center.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Level (Output Level)
Adjust the output level.
L in
R in
L out
R out
Pan R
Pan L
Compressor 2-Band
EQ
L in
R in
L out
R out
Pan R
Pan L
Limiter 2-Band
EQ
Balance W
Balance W
L in
R in
L out
R out
Hexa Chorus
Balance D
Balance D
97
Chapter 3. Creating Your Own Sounds
Chapter 3
12: TREMOLO-CHORUS
Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
fig.3-59
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
ChoRate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
ho Dpt (Chorus Depth)
Adjust the modulation depth of the chorus effect.
Phase (Tremolo Phase)
Adjust the spread of the tremolo effect.
TrmRate (Tremolo Rate) #
Adjust the modulation speed of the tremolo effect.
Trm Sep (Tremolo Separation)
Adjust the spread of the tremolo effect.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
tremolo chorus sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the tremolo chorus sound will be output.
Level (Output Level)
Adjust the output level.
13: SPACE-D
Space-D is a multiple chorus that applies two-phase
modulation in stereo. It gives no impression of modulation,
but produces a transparent chorus effect.
fig.3-60
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Phase
Adjust the spatial spread of the sound.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Level (Output Level)
Adjust the output level.
14: STEREO-CHORUS
This is a stereo chorus. A filter is provided so that you can
adjust the timbre of the chorus sound.
fig.3-61
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Phase
Adjust the spatial spread of the sound.
Filter (Filter Type)
Select the type of filter.
OFF: a filter will not be used
LPF: cut the frequency range above the cutoff frequency
HPF: cut the frequency range below the cutoff frequency
Cutoff (Cutoff Frequency)
Adjust the basic frequency of the filter.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Tremolo Chorus
L in
R in
L out
R out
Balance D
Balance D
Balance W
Balance W
L in
R in
Space D
Space D
L out
R out
2-Band
EQ
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
L in
R in
Chorus
Chorus
L out
R out
2-Band
EQ
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
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Chapter 3. Creating Your Own Sounds
Level (Output Level)
Adjust the output level.
15: STEREO-FLANGER
This is a stereo flanger. (The LFO has the same phase for left
and right.) It produces a metallic resonance that rises and falls
like a jet airplane taking off or landing. A filter is provided so
that you can adjust the timbre of the flanged sound.
fig.3-62
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Fbk (Feedback Level) #
Adjust the amount (%) of the processed sound that is
returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will
return the sound in reverse phase.
Phase
Adjust the spatial spread of the sound.
Filter Type
Select the type of filter.
OFF: a filter will not be used
LPF: cut the frequency range above the cutoff frequency
HPF: cut the frequency range below the cutoff frequency
Cutoff (Cutoff Frequency)
Adjust the basic frequency of the filter.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance)
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
flanger sound will be output.
Level (Output Level)
Adjust the output level.
16: STEP-FLANGER
The Step Flanger effect is a flanger in which the flanger pitch
changes in steps. The speed at which the pitch changes can
also be specified in terms of a note-value of a specified tempo.
fig.3-62a
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Rate
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Fbk (Feedback Level) #
Adjust the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Phase
Adjust the spatial spread of the sound.
Step Rate #
Adjust the rate (period) of pitch change. This parameter can
be set as a note-value of a specified tempo. In this case,
specify the value of the desired note.
R in R out
L in L out
Flanger
Feedback
Feedback
Flanger
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
R in R out
L in L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Step Flanger
Step Flanger
When Step Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo, Performance Tempo, or the tempo clock of the
XP-30’s system.
If you want to use a fixed tempo in Patch mode (Tempo
parameter setting), set the Source parameter (PATCH/
COMMON/PATCH CLOCK) to PATCH and set the
desired tempo.
If you want to use the system’s tempo clock in Patch
mode, set the Source parameter (PATCH/COMMON/
PATCH CLOCK) to SYSTEM.
If you want to use a fixed tempo in Performance mode
(Tempo parameter setting), set the Source parameter
(PERFORM/COMMON/PERFORM CLOCK) to
PERFORM and set the desired tempo.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter (PERFORM/
COMMON/PERFORM CLOCK) to SYSTEM.
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Chapter 3. Creating Your Own Sounds
Chapter 3
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance)
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Level (Output Level)
Adjust the output level.
17: STEREO-DELAY
This is a stereo delay.
When Feedback Mode is NORMAL:
fig.3-63a
When Feedback Mode is CROSS:
fig.3-63b
Delay L (Delay Time Left)
Adjust the time from the original sound until when the left
delay sound is heard.
Delay R (Delay Time Right)
Adjust the time from the original sound until when the right
delay sound is heard.
Fbk (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Mode (Feedback Mode)
Select the way in which delay sound is fed back into the
effect.
NORMAL:
The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS:
The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
Phase L (Feedback Phase Left)
Select the phase of the left delay sound.
NORMAL: Phase is not changed.
INVERT: Phase is inverted.
Phase R (Feedback Phase Right)
Select the phase of the right delay sound.
NORMAL: Phase is not changed.
INVERT: Phase is inverted.
HF Damp
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Level (Output Level)
Adjust the output level.
18: MODULATION-DELAY
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
When Feedback Mode is NORMAL:
fig.3-63c
When Feedback Mode is CROSS:
fig.3-63d
Delay L (Delay Time Left)
Adjust the time from the original sound until when the left
delay sound is heard.
R in R out
L in L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
R in R out
L in L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
R in R out
L in L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
Modulation
Modulation
R in R out
L in L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
2-Band
EQ
2-Band
EQ
Delay
Delay
Modulation
Modulation
100
Chapter 3. Creating Your Own Sounds
Delay R (Delay Time Right)
Adjust the time from the original sound until when the right
delay sound is heard.
Fbk (Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Mode (Feedback Mode)
Select the way in which delay sound is fed back into the
effect.
NORMAL:
The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS:
The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
Rate #
Adjust the speed of the modulation.
Depth
Adjust the depth of the modulation.
Phase
Adjust the spatial spread of the sound.
HF Damp
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
modulation delay sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the modulation delay sound will be output.
Level (Output Level)
Adjust the output level.
19: TRIPLE-TAP-DELAY
The Triple Tap Delay produces three delay sounds; center,
left and right. The center delay time can be specified as a note
value of a specified tempo.
fig.3-64
Delay C (Delay Time Center)
Delay L (Delay Time Left)
Delay R (Delay Time Right)
Adjust the time delay from the direct sound until when the
delay sound is heard. This parameter can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
Fbk (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Level C (Center Level)
Level L (Left Level)
Level R (Right Level)
Adjust the volume of each delay sound.
HF Damp
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
L in
R in
L out
R out
Left Tap
Right Tap
Triple Tap Delay
2-Band
EQ
2-Band
EQ
Balance W
Balance D
Balance W
Balance D
Feedback
Center Tap
When Step Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo, Performance Tempo, or the tempo clock of the
XP-30’s system.
If you want to use a fixed tempo in Patch mode (Tempo
parameter setting), set the Source parameter (PATCH/
COMMON/PATCH CLOCK) to PATCH and set the
desired tempo.
If you want to use the system’s tempo clock in Patch
mode, set the Source parameter (PATCH/COMMON/
PATCH CLOCK) to SYSTEM.
If you want to use a fixed tempo in Performance mode
(Tempo parameter setting), set the Source parameter
(PERFORM/COMMON/PERFORM CLOCK) to
PERFORM and set the desired tempo.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter
(PERFORM/COMMON/PERFORM CLOCK) to
SYSTEM.
101
Chapter 3. Creating Your Own Sounds
Chapter 3
Level (Output Level)
Adjust the output level.
20: QUADRUPLE-TAP-DELAY
The Quadruple Tap Delay has four delays. Each of the Delay
Time parameters can be specified as a note length of the
selected tempo.
fig.3-65a
The stereo location of each delay sound is as follows.
fig.3-65b
Delay 1 (Delay Time 1)
Delay 2 (Delay Time 2)
Delay 3 (Delay Time 3)
Delay 4 (Delay Time 4)
Adjust the time delay from the direct sound until when each
delay sound is heard. These parameters can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
Level 1
Level 2
Level 3
Level 4
Adjust the volume of each delay sound.
Fbk (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
HF Damp
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Level (Output Level)
Adjust the output level.
21: TIME-CONTROL-DELAY
This effect allows you to use a specified controller (the
controller selected in EFX Control Source) to control the
delay time and pitch in realtime. Lengthening the delay will
lower the pitch, and shortening it will raise the pitch.
fig.3-66
Delay (Delay time) #
Adjust the time delay from the direct sound until when each
delay sound is heard.
Accel (Acceleration)
This parameter adjusts the time over which the Delay Time
will change from the current setting to a newly specified
setting. The rate of change for the Delay Time directly affects
the rate of pitch change.
Fbk (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
HF Damp
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Pan (Output Pan)
Adjust the stereo location of the delay sound. L64 is far left, 0
is center, and 63R is far right.
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
1
23
4
LR
When Step Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo, Performance Tempo, or the tempo clock of the
XP-30’s system.
If you want to use a fixed tempo in Patch mode (Tempo
parameter setting), set the Source parameter (PATCH/
COMMON/PATCH CLOCK) to PATCH and set the
desired tempo.
If you want to use the system’s tempo clock in Patch
mode, set the Source parameter (PATCH/COMMON/
PATCH CLOCK) to SYSTEM.
If you want to use a fixed tempo in Performance mode
(Tempo parameter setting), set the Source parameter
(PERFORM/COMMON/PERFORM CLOCK) to
PERFORM and set the desired tempo.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter
(PERFORM/COMMON/PERFORM CLOCK) to
SYSTEM.
L in
R in
L out
R out
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
Feedback
Time Control Delay
102
Chapter 3. Creating Your Own Sounds
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance)
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Level (Output Level)
Adjust the output level.
22: 2VOICE-PITCH-SHIFTER
A Pitch Shifter shifts the pitch of the original sound. This 2-
voice pitch shifter has two pitch shifters, and can add two
pitch shifted sounds to the original sound.
fig.3-67
CoarseA (Coarse Pitch A) #1
Adjust the pitch of Pitch Shift A in semitone steps (-2–+1
octaves).
Fine A (Fine Pitch A) #1
Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100–+100 cents).
* One cent is 1/100th of a semitone.
Pan A (Output Pan A)
Adjust the stereo location of the Pitch Shift A sound. L64 is
far left, 0 is center, and 63R is far right.
PreDlyA (Pre Delay Time A)
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
CoarseB (Coarse Pitch B) #2
Adjust the pitch of Pitch Shift B in semitone steps (-2–+1
octaves).
Fine B (Fine Pitch B) #2
Make fine adjustments to the pitch of Pitch Shift B in 2-cent
steps (-100–+100 cents).
* One cent is 1/100th of a semitone.
Pan B (Output Pan B)
Adjust the stereo location of the Pitch Shift B sound. L64 is
far left, 0 is center, and 63R is far right.
PreDlyB (Pre Delay Time B)
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Mode (Pitch Shifter Mode)
Higher settings of this parameter will result in slower
response, but steadier pitch.
Lvl Bal (Level Balance)
Adjust the volume balance between the Pitch Shift A and
Pitch Shift B sounds.
Balance (Effect Balance)
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
Level (Output Level)
Adjust the output level.
23: FBK-PITCH-SHIFTER
(Feedback Pitch Shifter)
This pitch shifter allows the pitch shifted sound to be fed
back into the effect.
fig.3-68
Coarse (Coarse Pitch) #1
Adjust the pitch of the pitch shifted sound in semitone steps
(-2–+1 octaves).
Fine (Fine Pitch) #1
Make fine adjustments to the pitch of the pitch shifted sound
in 2-cent steps (-100–+100 cents).
* One cent is 1/100th of a semitone.
Fbk (Feedback Level) #
Adjust the proportion (%) of the processed sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the pitch shifted sound is heard.
Mode (Pitch Shifter Mode)
Higher settings of this parameter will result in slower
response, but steadier pitch.
Pan (Output Pan)
Adjust the stereo location of the pitch shifted sound. L64 is
far left, 0 is center, and 63R is far right.
LowGain
Adjust the gain of the low frequency range.
L in
R in
L out
R out
2Voice Pitch Shifter
Level Balance A Balance W
Balance D
Balance W
Balance D
Level Balance B PanB R
PanA L
PanA R
PanB L
L in
R in
L out
R out
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
Feedback
Pitch Shifter
103
Chapter 3. Creating Your Own Sounds
Chapter 3
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance)
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
Level (Output Level)
Adjust the output level.
24: REVERB
The Reverb effect adds reverberation to the sound,
simulating an acoustic space.
fig.3-69
Type (Reverb Type)
Select the type of Reverb effect.
ROOM1:dense reverb with short decay
ROOM2:sparse reverb with short decay
STAGE1:reverb with greater late reverberation
STAGE2:reverb with strong early reflections
HALL1:reverb with clear reverberance
HALL2:reverb with rich reverberance
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the reverb sound is heard.
Time (Reverb Time) #
Adjust the time length of reverberation.
HF Damp
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
Level (Output Level)
Adjust the output level.
25: GATE-REVERB
Gate Reverb is a special type of reverb in which the
reverberant sound is cut off before its natural length.
fig.3-70
Type (Gate Reverb Type)
Select the type of reverb.
NORMAL: conventional gate reverb
REVERSE: backwards reverb
SWEEP1: the reverberant sound moves from right to left
SWEEP2: the reverberant sound moves from left to right
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the reverb sound is heard.
Gate Time
Adjust the time from when the reverb is heard until when it
disappears.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
Level (Output Level) #
Adjust the output level.
26: OVERDRIVE→CHORUS
This effect connects an overdrive and a chorus in series.
fig.3-71
OD Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
OD Pan (Overdrive Pan) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Cho Dly (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
L in
R in
L out
R out
Reverb
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
L in
R in
L out
R out
Gate Reverb
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
L in
R in
Chorus
Overdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
104
Chapter 3. Creating Your Own Sounds
ChoRate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
Chorus Depth
Adjust the modulation depth of the chorus effect.
Chorus Balance #
Adjust the volume balance between the overdrive sound that
is sent through the chorus and the overdrive sound that is
not sent through the chorus. With a setting of “D100: 0W,”
only the overdrive sound will be output. With a setting of
“D0: 100W,” only the overdrive sound that is sent through
the chorus will be output.
Level (Output Level)
Adjust the output level.
27: OVERDRIVE→FLANGER
This effect connects an overdrive and a flanger in series.
fig.3-72
OD Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
OD Pan (Overdrive Pan) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Flg Dly (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
FlgRate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Flg Dpt (Flanger Depth)
Adjust the modulation depth of the flanger effect.
Flg Fbk (Flanger Feedback Level)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Flanger Balance #
Adjust the volume balance between the overdrive sound that
is sent through the flanger and the overdrive sound that is
not sent through the flanger. With a setting of “D100: 0W,”
only the overdrive sound will be output. With a setting of
“D0: 100W,” only the overdrive sound that is sent through
the flanger will be output.
Level (Output Level)
Adjust the output level.
28: OVERDRIVE→DELAY
This effect connects an overdrive and a delay in series.
fig.3-73
OD Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
OD Pan (Overdrive Pan) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
DlyTime (Delay Time)
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Delay HF Damp
Adjust the frequency above which delayed sound fed back to
the effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Delay Balance (Delay Balance) #
Adjust the volume balance between the overdrive sound that
is sent through the delay and the overdrive sound that is not
sent through the delay. With a setting of “D100: 0W,” only
the overdrive sound will be output. With a setting of “D0:
100W,” only the overdrive sound that is sent through the
delay will be output.
Level (Output Level)
Adjust the output level.
29: DISTORTION→CHORUS
This effect connects distortion and chorus in series. The
parameters are essentially the same as “26:
OVERDRIVE→CHORUS,” with the exception of the
following two.
OD Drive →Dist Drive (Specify the amount of distortion.)
OD Pan →Dist Pan (Specify the stereo location of the
distortion sound.)
fig.3-74
L in
R in
Flanger
Overdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
Delay
Overdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
Chorus
Distortion
L out
R out
Balance W
Balance W
Balance D
Balance D
105
Chapter 3. Creating Your Own Sounds
Chapter 3
30: DISTORTION→FLANGER
This effect connects distortion and flanger in series. The
parameters are essentially the same as in “27:
OVERDRIVE→FLANGER,” with the exception of the
following two.
OD Drive →Dist Drive (Specify the amount of distortion.)
OD Pan →Dist Pan (Specify the stereo location of the
distortion sound.)
fig.3-75
31: DISTORTION→DELAY
This effect connects distortion and delay in series. The
parameters are essentially the same as in “28:
OVERDRIVE→DELAY,” with the exception of the following
two.
OD Drive →Dist Drive (Specify the amount of distortion.)
OD Pan →Dist Pan (Specify the stereo location of the
distortion sound.)
fig.3-76
32: ENHANCER→CHORUS
This effect connects an enhancer and a chorus in series.
fig.3-77
Enhancer Sens #
Adjust the sensitivity of the enhancer.
Enhancer Mix (Enhancer Mix Level)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Cho Dly (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
ChoRate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
Chorus Depth
Adjust the modulation depth of the chorus effect.
Chorus Balance #
Adjust the volume balance between the enhancer sound that
is sent through the chorus and the enhancer sound that is not
sent through the chorus. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
chorus will be output.
Level (Output Level)
Adjust the output level.
33: ENHANCER→FLANGER
This effect connects an enhancer and a flanger in series.
fig.3-78
Enhancer Sens #
Adjust the sensitivity of the enhancer.
Enhancer Mix (Enhancer Mix Level)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Flg Dly (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
FlgRate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Flg Dpt (Flanger Depth)
Adjust the modulation depth of the flanger effect.
Flg Fbk (Flanger Feedback Level)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Flanger Balance #
Adjust the volume balance between the enhancer sound that
is sent through the flanger and the enhancer sound that is not
sent through the flanger. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
flanger will be output.
Level (Output Level)
Adjust the output level.
L in
R in
Flanger
Distortion
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
Delay
Distortion
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
Chorus
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Feedback
Flanger
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
106
Chapter 3. Creating Your Own Sounds
34: ENHANCER→DELAY
This effect connects an enhancer and a delay in series.
fig.3-79
Enhancer Sens #
Adjust the sensitivity of the enhancer.
Enhancer Mix (Enhancer Mix Level)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
DlyTime (Delay Time)
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
Delay HF Damp
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to BYPASS.
Delay Balance #
Adjust the volume balance between the enhancer sound that
is sent through the delay and the enhancer sound that is not
sent through the delay. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
delay will be output.
Level (Output Level)
Adjust the output level.
35: CHORUS→DELAY
This effect connects a chorus and a delay unit in series.
fig.3-80
Cho Dly (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
ChoRate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
Cho Dpt (Chorus Depth)
Adjust the modulation depth of the chorus effect.
Cho Bal (Chorus Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
chorus sound will be output.
DlyTime (Delay Time)
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
Delay HF Damp
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Delay Balance #
Adjust the volume balance between the chorus sound that is
sent through the delay and the chorus sound that is not sent
through the delay. With a setting of “D100: 0W,” only the
chorus sound will be output. With a setting of “D0: 100W,” only
the chorus sound that is sent through the delay will be output.
Level (Output Level)
Adjust the output level.
36: FLANGER→DELAY
This effect connects a flanger and a delay in series.
fig.3-81
Flg Dly (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
FlgRate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Flg Dpt (Flanger Depth)
Adjust the modulation depth of the flanger effect.
Flg Fbk (Flanger Feedback Level)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Flg Bal (Flanger Balance) #
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
flanger sound will be output.
DlyTime (Delay Time)
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Feedback
Delay
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Chorus
Balance W
Balance W
Balance D
Balance D
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Flanger
Balance W
Balance W
Balance D
Balance D
Feedback
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Chapter 3. Creating Your Own Sounds
Chapter 3
Dly Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
HF Damp
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to BYPASS.
Delay Balance #
Adjust the volume balance between the flanger sound that is
sent through the delay and the flanger sound that is not sent
through the delay. With a setting of “D100: 0W,” only the
flanger sound will be output. With a setting of “D0: 100W,” only
the flanger sound that is sent through the delay will be output.
Level (Output Level)
Adjust the output level.
37: CHORUS→FLANGER
This effect connects a chorus and a flanger in series.
fig.3-82
Cho Dly (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
ChoRate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
Cho Dpt (Chorus Depth)
Adjust the modulation depth of the chorus effect.
Cho Bal (Chorus Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
chorus sound will be output.
Flg Dly (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
FlgRate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Flg Dpt (Flanger Depth)
Adjust the modulation depth of the flanger effect.
Flg Fbk (Flanger Feedback Level)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Flanger Balance #
Adjust the volume balance between the chorus sound and
the chorus sound that is passed through the flanger. With a
setting of “D100: 0W,” only the chorus sound will be output.
With a setting of “D0: 100W,” only the chorus sound that
passes through the flanger will be output.
Level (Output Level)
Adjust the output level.
38: CHORUS/DELAY
This effect connects a chorus and a delay in parallel. The
parameters are the same as for “35: CHORUS→DELAY.”
However, the Delay Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
fig.3-83
39: FLANGER/DELAY
This effect connects a flanger and a delay in parallel. The
parameters are the same as for “36: FLANGER→DELAY.”
However, the Delay Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
fig.3-84
40: CHORUS/FLANGER
This effect connects a chorus and a flanger in parallel. The
parameters are the same as for “37: CHORUS→FLANGER.”
However, the Flanger Balance parameter adjusts the volume
balance between the direct sound and the flanger sound.
fig.3-85
Feedback
Flanger
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Chorus
Balance W
Balance W
Balance D
Balance D R in R out
L in L out
Feedback
Balance W
Balance D
Balance W
Balance D
Chorus
Delay
R in R out
L in L out
Feedback
Feedback
Balance W
Balance D
Balance W
Balance D
Flanger
Delay
R in R out
L in L out
Feedback
Balance W
Balance D
Balance W
Balance D
Chorus
Flanger
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Chapter 3. Creating Your Own Sounds
XP-30 Operating Environment
Setup (System Parameters
and Their Functions)
fig.3-86
■Display Screen Contrast and
Clock Settings (SETUP)
SYSTEM SETUP
LCD Contrast
Adjust the contrast (brighthess) of the display.
Power Up Mode
Select the condition that the XP-30 will be in when the power
is turned on.
LAST-SET: The XP-30 will be in the condition it was in
when power was last turned off.
DEFAULT: The XP-30 will be ready to play Patch
“USER:001.”
Patch Remain (Patch Remain Switch)
If you want currently-sounding notes to be turned off when a
new Patch (Rhythm Set) is selected, set this parameter OFF.
* 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.
Clock Source
Specify the tempo clock of the system.
INT: The internal clock will be the tempo clock for the
system.
MIDI: An external clock will be the tempo clock for the
system.
System Tempo
Set the system tempo.
* When Clock Source is set to MIDI, the tempo will synchronize
to the clock messages received from an external MIDI device, so
it will not be possible to set the tempo value. The tempo of the
external clock will be displayed in parentheses.
Category Select Mode
When searching for patches, specify the patch that will be
selected when you press the numeric key.
LAST-SET: The patch last-selected during the previous
patch search will be selected.
DEFAULT: The patch specified as the factory default will be
selected.
■Arpeggio Settings (ARPEGGIO)
This is where to set Arpeggiator parameters.
ARPEGGIO
Style
Sets the style of the arpeggio. Select from the following 43
options. For creating your own style, choose LIMITLESS.
1/4: The rhythm will be divided in quarter notes.
1/6: The rhythm will be divided in quarter note triplets.
1/8: The rhythm will be divided in eighth notes.
1/12: The rhythm will be divided in eighth note triplets.
1/16: The rhythm will be divided in 16th notes.
1/32: The rhythm will be divided in 32nd notes.
PORTAMENTO A, B: A style using the portamento effect.
GLISSANDO: A glissando style.
SEQUENCE A–D: Styles for sequenced patterns.
ECHO: An echo-like style.
SYNTH BASS, SLAP BASS A, SLAP BASS B, WALK BASS:
Styles appropriate for bass playing.
RHYTHM GTR A–E: Styles for guitar cutting. Styles B–E are
effective when 3–4 notes are held.
3 FINGER GTR: Three-finger guitar style.
STRUMMING GTR: A style simulating a guitar chord
strummed upward (downward).
Effective when 5–6 notes are held.
KBD COMPING A, B: Styles for keyboard instrument
backing.
KBD COMPING C, D: Styles in triple meter.
KBD COMPING E: A reggae-type style. Effective when 3
notes are held.
PERCUSSION: A style suitable for percussive instrument
sounds.
HARP: The playing style of a harp.
SHAMISEN: The playing style of a Shamisen.
BOUND BALL: A style suggestive of a bouncing ball.
RANDOM:
A style in which the notes sound in random order.
BOSSANOVA: A style with bossanova guitar cutting. Hold
3–4 notes for best results. You can increase
the tempo and use this as a Samba.
SALSA: Typical salsa style. Hold 3–4 notes for best results.
MAMBO: Typical mambo style. Hold 3–4 notes for best
results.
LATIN PERCUSION: A rhythm style with Latin percussion
instruments such as Clave, Cowbell,
Clap, Bongo, Conga, Agogo etc.
SAMBA: Typical samba style. Use for rhythm patterns or
bass lines.
TANGO: Typical tango rhythm style. Hold the root, 3rd and
5th of a triad etc. for best results.
HOUSE: A style for house piano backing. Hold 3–4 notes for
best results.
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Chapter 3. Creating Your Own Sounds
Chapter 3
LIMITLESS: The settings of all parameters can be freely
combined without restriction.
* Choices can be set for the Motif, Beat Pattern, Shuffle Rate and
Accent Rate parameters for each style. Refer to the “Arpeggio
Style List” (p. 182).
Octave Range
Sets the key range in octaves over which arpeggio will take
place. If you want the arpeggio to sound using only the notes
that you actually play, set this parameter to 0. To have the
arpeggio sound using the notes you play and notes 1 octave
higher, set this parameter to +1. A setting of -1 will make the
arpeggio sound using the notes you play and notes l octave
lower.
Motif
Sets the order in which notes of the chord will sound. Some
settings will not be available depending on the Style
parameter setting.
SINGLE UP: Notes will sound singly, starting
from the lowest key pressed.
SINGLE DOWN: Notes will sound singly, starting
from the highest key pressed.
SINGLE UP&DOWN: Notes will sound singly, starting
from the lowest key pressed, going
up and then back down.
SINGLE RANDOM: Notes will sound singly in random
order.
DUAL UP: Notes will sound in pairs, starting
from the lowest key pressed.
DUAL DOWN: Notes will sound in pairs, starting
from the highest key pressed.
DUAL UP&DOWN: Notes will sound in pairs, starting
from the lowest key pressed, going
up and then back down.
DUAL RANDOM: Notes will sound in pairs, in random
order.
TRIPLE UP: Notes you press will sound three at a
time, from low to high.
TRIPLE DOWN: Notes you press will sound three at a
time, from high to low.
TRIPLE UP&DOWN: Notes you press will sound three at a
time, from low to high and then back
down from high to low.
TRIPLE RANDOM: Notes you press will sound three at a
time, in random order.
NOTE ORDER: Notes will sound in the order that
they were pressed. Up to 32 notes can
be stored, so you can create melody
lines by pressing keys in the
appropriate order.
GLISSANDO: Notes will be played in an ascending
and descending chromatic scale
between the lowest and the highest
keys that are pressed. Simply press
two notes, the lowest and highest.
CHORD: All notes that are pressed will sound
simultaneously.
BASS+CHORD1–5: The lowest note that is pressed and
other notes will sound as a chord.
BASS+UP1–8: The lowest note that is pressed and
other notes will sound as an
arpeggio.
BASS+RANDOM1–3: The lowest note that is pressed and
other notes will sound randomly.
TOP+UP1–6: The highest note that is pressed and
other notes will sound as an
arpeggio.
BASS+UP+TOP: Simulated fingering of folk guitar’s
three-finger picking technique.
Beat Pattern
Select the beat pattern from the choices below. This setting
will affect the location of the accent and length of the notes to
determine the beat (rhythm).
Some settings will not be available depending on the Style
parameter setting.
1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A 01–11,
PORTA-B 01–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1–2,
SEQ-D 1–8, ECHO 1–3, MUTE 01–16, STRUM1–8,
REGGAE1–2, REFRAIN1–2, PERC1–4, WALKBS, HARP,
BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO
1–2, CLAVE, REV CLA, GUIRO, AGOGO, SAMBA, TANGO
1–4, HOUSE 1–2
Accent Rate
Modifies the strength of accents and the length of the notes to
adjust the “groove” feel of the arpeggio. A setting of 100%
will produce the most pronounced groove feel.
Shuffle Rate
This parameter allows you to modify the timing of an up-
beat between two down-notes next to each other, to create
shuffle rhythms. With a setting of 50%, the notes will be
spaced evenly. Higher values will give more of a “dotted”
(shuffle) feel.
Key Velocity
Sets the force of the chord. If you wish to use the velocity at
which the notes are actually played, set this parameter to
REAL. To use a constant velocity regardless of the force with
which you play the keyboard, choose a desired value from 1–
127.
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Chapter 3. Creating Your Own Sounds
Part (Arpeggio Part)
When using a Layer performance, you can use this parameter
to specify the Part for playing an arpeggio. Parts other than
that you specify will sound as you play on the keyboard.
* This setting will be invalid if Single performance, Patch mode or
Rhythm Set mode is selected.
Tempo
Sets the speed of the arpeggio. This setting is the same as the
tempo of the song. Changing this setting will also affect the
song’s playback tempo.
When the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to INT, the display will indicate
Tempo(=SYS), and this will be the same value as the system
tempo. With a setting of MIDI, the display will indicate
Tempo(=EXT), and you will be synchronized to the clock of
the external MIDI device.
■Keyboard and Controllers
Settings (CONTROL)
KEYBOARD
Transpose (Transpose Switch/Value)
If you wish to transpose the range of the keyboard, turn this
switch ON and set the desired amount of transposition (in
semitone steps). Tonic is indicated in parentheses ( ).
* The transposed note name will be shown in the lower right of the
Performance/Patch/Rhythm Set play display.
* When transposing the keyboard range, press [TRANSPOSE]
and indicator lights.
* To change transpose amount on a PLAY display, hold down
[TRANSPOSE] and press [-OCT] or [+OCT].
Sens (Keyboard Sensitivity)
Select the keyboard sensitivity.
LIGHT: light
MEDIUM: normal
HEAVY: heavy
Vel (Keyboard Velocity)
Specify the velocity value that will be transmitted when you
play the keyboard. If you want the actual keyboard velocity
to be transmitted, set this to REAL. If you want a fixed
velocity value to be transmitted regardless of how you play,
specify the desired value.
Aft (Aftertouch Sensitivity)
Specify the Aftertouch sensitivity. Higher values will allow
Aftertouch to be applied more easily. Normally you should
leave this set to 100.
HOLD PEDAL
Set the function of the pedal connected to the HOLD PEDAL
jack.
Output (Pedal Output)
Select the sound source(s) (the internal sound source and/or
external sound sources connected to MIDI OUT connector)
which will be controlled by the pedal.
OFF: Neither will be controlled.
INT: Only the internal sound source will be controlled.
MIDI: Only external sound sources will be controlled.
BOTH: Both the internal sound source and external sound
sources will be controlled.
Polarity (Pedal Polarity)
This parameter switches the polarity of the Hold pedal. On
some pedals, the electrical signal output by the pedal when it
is pressed or released is the opposite of other pedals. If your
pedal has an effect opposite of what you expect, set this
parameter to
REVERSE
. If you are using a Roland pedal (that
has no polarity switch), set this parameter to
STANDARD
.
CONTROL PEDAL
Assign the function of the pedals connected to the
CONTROL PEDAL jack.
Assign (Pedal Assign)
Select the function controlled by the pedal.
CC01–95:
Controller numbers 1–95 (except for 6, 32–63).
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
PROG-UP: Every press of the pedal selects the next
Performance number, Patch number, or
Rhythm Set.
PROG-DOWN: Every press of the pedal selects the
previous Performance number, Patch
number, or Rhythm Set.
TAP-TEMPO: Tap tempo (a tempo specified by the
interval at which you press the pedal).
OCT-UP: Each pedal press raises the key range in
octave steps (up to 3 octaves higher).
OCT-DOWN: Each pedal press lowers the key range in
octave steps (up to 3 octaves lower).
Output (Pedal Output)
Select the sound source(s) (the internal sound source and/or
external sound sources connected to MIDI OUT connector)
which will be controlled by the pedals.
OFF: Neither will be controlled.
INT: Only the internal sound source will be controlled.
MIDI: Only external sound sources will be controlled.
BOTH: Both the internal sound source and external sound
sources will be controlled.
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Chapter 3. Creating Your Own Sounds
Chapter 3
Polarity (Pedal Polarity)
This parameter switches the polarity of the pedals. On some
pedals, the electrical signal output by the pedal when it is
pressed or released is the opposite of other pedals. If your
pedal has an effect opposite of what you expect, set this
parameter to
REVERSE
. If you are using a Roland pedal (that
has no polarity switch), set this parameter to
STANDARD
.
C1/C2/C3/C4 ASSIGN
(C1/C2/C3/C4 Slider Assign)
These parameters set the functions controlled by the C1–C4
sliders.
Assign (C1/C2/C3/C4 Slider Assign)
Select the function controlled by each slider.
CC01–95:
Controller numbers 1–95 (except for 6, 32–63).
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
* Depending on the functions being controlled, the value may
remain unchanged when the slider is moved, even if the Patch or
Performance is switched.
Output (C1/C2/C3/C4 Slider Output)
Select the sound source(s) (the internal sound source and/or
external sound sources connected to MIDI OUT connector)
which will be controlled by the sliders.
OFF: Neither will be controlled.
INT: Only the internal sound source will be controlled.
MIDI: Only external sound sources will be controlled.
BOTH: Both the internal sound source and external sound
sources will be controlled.
SYS-CTRL ASSIGN (System Control Assign)
Control 1/2 (System Control Assign 1/2)
These settings allow you to choose two controllers for
common use when controlling the parameters of a Patch or
Performance. The settings in each Patch (or Performance)
will determine whether the two controllers you choose here
will actually be used. You will also need to specify for each
Patch (or Performance) the parameters that will be
controlled.
CC01–95:
Controller numbers 1–95 (except for 6, 32–63).
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
* To use the selected controllers, you need to make System
settings and Patch/Performance settings so that the MIDI
messages transmitted by the selected controllers will be received.
* For many control change messages, the function performed by
each number is defined in the MIDI specification. These settings
allow you to use control change messages without regard to
their officially defined function, so please be aware of what you
are doing.
CONTROL SOURCE
Select the type of MIDI message that will be used to control
each of the following functions.
Hold (Hold Control Source)
Select the type of pedal message that will be used to hold the
current parameter values.
OFF: not used
HOLD1: Hold 1 (controller number 64)
SOST: Sostenuto (controller number 66)
SOFT: Soft pedal (controller number 67)
HOLD2: Hold 2 (controller number 69)
Peak (Peak Control Source)
Select the type of pedal message that will used to hold the
highest received parameter values.
OFF: not used
HOLD1: Hold 1 (controller number 64)
SOST: Sostenuto (controller number 66)
SOFT: Soft pedal (controller number 67)
HOLD2: Hold 2 (controller number 69)
Volume (Volume Control Source)
Specify whether or not Expression messages (controller
number 11) will affect the volume of a Patch or Part as well
as Volume messages (controller number 7).
VOLUME: Only Volume messages and not Expression
messages will affect the volume.
VOL&EXP: Both Volume messages and Expression
messages will affect the volume.
Aftertouch (Aftertouch Control Source)
Specify the type(s) of aftertouch message that will affect the
internal sound source.
CHANNEL: Channel pressure
(the aftertouch that applies equally to all keys)
POLY: Polyphonic key pressure (the aftertouch that
applies independently to each key)
CH&POLY: Channel pressure and Polyphonic key pressure
* The XP-30’s keyboard is not able to transmit Polyphonic Key
Pressure messages.
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Chapter 3. Creating Your Own Sounds
■MIDI Settings (MIDI)
These parameters determine MIDI channel settings and how
exclusive data is handled.
* The first display of the MIDI group will be different depending
on the mode you were in when you pressed [SYSTEM] (Patch
mode/Performance mode/GM mode).
PERFORM MIDI (Performance MIDI)
Make MIDI settings for Performance mode. To make these
settings, press [SYSTEM] when you are in Performance mode,
and then press [MIDI] located in the row of function buttons.
Control Channel (Performance Control Channel)
Select the receive channel used for selecting Performances via
MIDI (Program Change and Bank Select messages). If you do
not wish to use MIDI messages to select Performances, turn
this OFF. If you set this to the same channel as the receive
channel of a Part, Performance selection will take priority and
it will not be possible to select Patches on that Part via MIDI.
* The MIDI Receive Channel of each Part is set independently for
each Performance.
Local (Local Switch)
Specify whether or not the controller section will be
connected to the internal sound source (all Parts). Normally
you will leave this ON, but if you wish to use the XP-30’s
keyboard and controllers to control only external sound
sources, turn this OFF.
* If you want the keyboard controller section to be disconnected
only from a specific Part or Parts, use the Local parameter
(PERFORM/MIDI/MIDI).
Remote (Remote Keyboard Switch)
Turn this parameter on when you want to use an external
MIDI keyboard in place of the XP-30’s keyboard. In this case,
the transmit channel of the external MIDI keyboard can be set
to any channel. Normally you will leave this parameter off.
* Set this parameter ON if you want performance using the
Arpeggiator to be controlled by an external MIDI device.
* When the Remote keyboard switch is on, all messages that arrive
at MIDI IN are output from MIDI OUT.
PATCH MIDI
Make MIDI settings for Patch mode. To make these settings,
press [SYSTEM] when you are in Patch mode, and then press
[MIDI] located in the row of function buttons.
Rx-Ch (Patch Mode Receive Channel)
Select the channel on which MIDI messages will be received
in Patch mode.
Tx-Ch (Patch Mode Transmit Channel)
This parameter selects the transmit channel for MIDI
messages in Patch mode. If you do not want to transmit
MIDI messages to external MIDI devices, turn this parameter
off. If you want the transmit channel to always match the
Patch Mode Receive Channel, set this parameter to Rx-Ch.
Local (Local Switch)
Specify whether or not the controller section will be
connected to the internal sound source (all Parts). Normally
you will leave this ON, but if you wish to use the XP-30’s
keyboard and controllers to control only external sound
sources, turn this OFF.
Remote (Remote Keyboard Switch)
Turn this parameter on when you want to use an external
MIDI keyboard in place of the XP-30’s keyboard. In this case,
the transmit channel of the external MIDI keyboard can be
set to any channel. Normally you will leave this parameter
off.
GM MIDI
Make MIDI settings for GM mode. To make these settings,
press [SYSTEM] when you are in GM mode, and then press
[MIDI] located in the row of function buttons.
Local (Local Switch)
Specify whether or not the controller section will be
connected to the internal sound source (all Parts). Normally
you will leave this ON, but if you wish to use the XP-30’s
keyboard and controllers to control only external sound
sources, turn this OFF.
RECEIVE MIDI
Select whether or not to receive MIDI messages to select
Patches, Rhythm Sets, or Performances.
Program Change
(Receive Program Change Switch)
If you want Program Change messages to be received, turn
this ON. If not, turn it OFF.
Bank Select (Receive Bank Select Switch)
If you want Bank Select messages to be received, turn this
ON. If not, turn it OFF.
TRANSMIT MIDI
Specify how MIDI messages will be transmitted.
Program (Transmit Program Change Switch)
If you want Program Change messages to be transmitted,
turn this ON. If not, turn it OFF.
Bank Sel (Transmit Bank Select Switch)
If you want Bank Select messages to be transmitted, turn this
ON. If not, turn it OFF.
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Chapter 3. Creating Your Own Sounds
Chapter 3
Active Sensing (Transmit Active Sensing Switch)
If you want Active Sensing messages to be transmitted, turn
this ON. If not, turn it OFF.
SYS-EXC MIDI (Exclusive MIDI)
Specify how Exclusive messages will be transmitted and
received.
Device# (Exclusive Device ID Number)
When you want to transmit or receive Exclusive messages,
set this parameter to match the Device ID number of the
other MIDI device.
Rx.Exc (Receive Exclusive Switch)
If you want Exclusive messages to be received, turn this ON.
If not, turn it OFF.
Tx.Edit (Transmit Edit Data Switch)
If you want Exclusive messages to be transmitted for each
change you make while editing a Patch, Performance, or
Rhythm Set, turn this ON. If not, turn it OFF.
Rx.GM (Receive GM Exclusive Switch)
If you want GM-related Exclusive messages to be received,
turn this ON. If not, turn it OFF.
* For details on the GM MIDI messages, refer to “Chapter 5.
Using the XP-30 as the GM Sound Module” (p. 124).
BANK-SEL GROUP (Bank Select Group)
Each Performance has a Bank Select Group setting
(PERFORM/MIDI/TRANSMIT). The Bank Select Group
parameter of each Performance specifies how Bank Select
messages are transmitted when the Performance is selected.
Here, you can specify the actual Bank Select Number that is
transmitted for each of the BS1–7 selections that were made
in Performance mode.
Number (Bank Select Group Number)
Select the Bank select group you wish to set. The contents of
each BS number are determined by the following settings for
Switch, MSB and LSB.
Switch (Back Select Transmit Switch)
If you want the selected Bank select group to transmit its
assigned Bank Select number, turn this ON. If you do not
want the selected BS number to transmit a Bank Select
message, turn this OFF.
MSB (Bank Select MSB)
Specify the MSB of the Bank Select number transmitted by
the selected BS number.
LSB (Bank Select LSB)
Specify the LSB of the Bank Select number transmitted by the
selected BS number.
■Phrase Preview Settings
(PREVIEW)
Specify how the phrase will play when you press [PHRASE
PREVIEW].
PREVIEW MODE
Mode (Preview Sound Mode)
SINGLE: The notes specified by Note 1–4 will sound
successively one by one.
CHORD: The notes specified by Note 1–4 will sound
simultaneously.
PHRASE: The phrase prepared for the Patch type (category)
will sound.
PREVIEW KEY
Note 1–4 (Preview Note Set 1–4)
Specify the pitch (C-1–G9) of the four notes that will sound
when Mode (Preview Sound Mode) is set to either SINGLE
or CHORD.
* If PHRASE is selected for Mode, these settings will have no
effect.
PREVIEW VELOCITY
Specify the velocity (0–127) of the four notes that will sound
when Mode (Preview Sound Mode) is set to either SINGLE
or CHORD.
* If PHRASE is selected for Mode, these settings will have no
effect.
■Adjusting Tuning (TUNE)
Parameters in this group adjust the tuning of the internal
sound source, or change the temperament of the keyboard.
* The SCALE display of TUNE group will be different depending
on the mode you were in when you pressed [SYSTEM].
TUNE
Master (Master Tune)
This parameter tunes the internal sound source. The
displayed value indicates the pitch (frequency) of the A4 key.
Key Shift
Adjust the pitch of the internal sound source in semitone
steps.
Scale Tune (Scale Tune Switch)
Turn this ON when you wish to play a scale other than equal
temperament. You can specify one scale for Patch mode and
one scale for Performance mode/GM mode. To set the tuning
of each note in the scale, use the following SCALE display.
* The selected scale is used even for MIDI messages received from
an external MIDI device.
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Chapter 3. Creating Your Own Sounds
PATCH SCALE
KEY SCALE
If you wish to define a scale for use in Patch mode, press
[SYSTEM] while in Patch mode, and then press [TUNE] located
in the row of function buttons. to access the PATCH SCALE
display. If you wish to define a scale for use in Performance
mode/GM mode, press [SYSTEM] while in Performance mode,
and then press [TUNE] located in the row of function buttons
to access the KEY SCALE display. To make settings for another
Part, use the cursor buttons to select the desired Part.
Define a scale by specifying how much the pitch will differ
from the equal tempered pitch (in steps of 1 cent). In Patch
mode there are separate screens for the white keys and black
keys, and the settings for one octave (C–G) will determine
the tuning for all octaves. In Performance mode/GM mode,
you can make settings for each key in each Part.
* One cent is 1/100th of a semitone.
■Program Change (PGM CHNG)
TRANSMIT P.C
(Transmit Program Change)
When you want to transmit MIDI messages (Program
Change and Bank Select) to select sounds on an external
MIDI device, make settings in this display and then press the
ENTER button.
Channel (Transmit MIDI Channel)
Select the channel on which the MIDI message will be
transmitted.
P.C# (Transmit Program Change)
Select the Program Number you wish to transmit.
Bnk-MSB (Transmit Bank Select MSB)
Select the MSB (control number 0) of the Bank Select number
you wish to transmit.
Bnk-LSB (Transmit Bank Select LSB)
Select the LSB (control number 32) of the Bank Select number
you wish to transmit.
■Checking Things Such as the
Installation Status of Wave
Expansion Boards (INFO)
INFO EXP (Information Expansion Board)
The names of Wave Expansion Boards installed in slots EXP-
D and E are displayed. Slots without any boards installed are
indicated “----------------.”
* If for both Expansion D: and Expansion E: an identically named
Wave Expansion Board is displayed, it will be possible to select
data only from the Wave Expansion Board installed in the EXP-
D slot. Also, the XP-30 already contains the data of the three
Wave Expansion Boards listed below, and if the names of any of
these Wave Expansion Boards are displayed, it will be possible
to select only the onboard data (XP-A–C).
- SR-JV80-09 “Session” (XP-A)
- SR-JV80-02 “Orchestral” (XP-B)
- SR-JV80-11 “Techno Collection” (XP-C)
BATTERY CHECK
The XP-30 contains a battery that backs up the data in
internal memory. This display allows you to check the
battery voltage. If the display indicates OK, there is sufficient
battery voltage. If the display indicates LOW, the battery
voltage has run down. Contact your nearby Roland service
station to have the battery replaced.
Equal Temperament
This scale divides an octave into 12 equal parts for the
tuning system that is most widely used in Western
music. The XP-30 employs equal temperament when
the Scale Tune Switch is set OFF.
Pure Temperament (Tonic is C)
With this tuning, the three fundamental chords sound richer
compared to equal temperament. This effect only applies to
one key, and transposition makes the chord ambiguous.
Arabian Scale
In this scale, E and B are a quarter-note lower and C#, F#
and G# are quarter-note higher compared to equal
temperament. The intervals between G and B, C and E, F
and G#, A# and C#, and D# and F# have a natural third (the
interval between a major third and a minor third). With the
XP-30, you can play Arabian scale in G, C and F keys.
<Examples>
Note Equal Pure temperament Arabian scale
name temperament (tonic C)
C0 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
115
Chapter 4
Chapter 4. Memory Settings (Utility/Card Mode)
The Utility mode allows you to store Patch/Performance/
Rhythm Set settings (Write), and transmit data (Data
Transfer), as well as other global XP-30 memory settings.
About Utility/Card Mode
The XP-30 goes into Utility/Card mode if you press [UTIL/
CARD]. The indicator will blink.
Utility/Card mode offers nine functions categorized into two
groups—UTIL 1 and UTIL 2.
UTIL 1 (Utility 1)
fig.3-20
WRITE
This function writes Patch, Performance or Rhythm Set
settings you’ve modified into user memory (p. 116).
COPY
This function copies data from a Patch, Performance or
Rhythm Set into the current Patch, Performance or Rhythm
Set (p. 117).
INIT (Initialize)
This resets parameters of the current Patch, Performance or
Rhythm Set to default factory settings (p. 119).
XFER (Data Transfer)
This function transmits Patch, Performance, Rhythm Set or
System settings to an external MIDI device (p. 119).
PROTECT (User Memory Protect)
This function prevents user memory from being accidentally
rewritten (p. 121).
UTIL 2 (Utility 2)
fig.4-01
CARD
Here you can make settings related to memory cards (p. 121).
LOAD
This function loads data from memory card into the XP-30’s
memory (p. 122).
SAVE
This function saves data to memory card (p. 122).
FACTORY RESET
This function resets all the settings stored in the XP-30 to the
factory default settings (p. 123).
Basic Procedure in Utility/
Card Mode
* In order to use a memory card, you must first turn off the
power, and then insert a memory card into the card slot.
fig.4-02
1. Press [UTIL/CARD] so its indicator blinks.
The XP-30 will switch to Utility/Card mode.
fig.3-20
* The type of data that will be written, copied and initialize
depends on the mode you are in when you press [UTIL/CARD].
2. Press [ ] or [ ] to select the group (UTIL 1, UTIL 2)
containing the function you want.
3. Use [ ] or [ ] to select the desired function (the
function name will blink), and press [ENTER].
The display of the function you’ve selected will appear.
* You can also access the desired function display by using the
numeric keys or function buttons to specify the number of the
function.
* If you selected the UTIL 2 group function “1: CARD,” the
CARD display will appear. Here you can once again select the
desired function.
4. Set parameters as necessary on each function’s display.
* To cancel the operation, press [EXIT].
5. Press [ENTER] to execute the function.
When the operation is completed, the display will briefly
indicate “COMPLETED.”
6. To return to the UTIL 1 or UTIL 2 displays, press [EXIT].
To return to the display of the previous mode, press
[UTIL/CARD] to make the indicator go dark.
116
Chapter 4. Memory Settings (Utility/Card Mode)
Storing Sound Data in User
Memory (WRITE)
If you turn the power off or select another Patch,
Performance, or Rhythm Set after you have modified a Patch,
Performance, or Rhythm Set settings, the modified data will
be lost. If you wish to keep the data, store it into user
memory.
■Performance Write
The settings of the current Performance will be written into
user memory. Press [UTIL/CARD] in Performance mode,
and perform Write operation.
fig.4-03.e
* By holding down [SHIFT] and pressing [UTIL/CARD], you
can move directly to the PERFORM WRITE display.
■Patch Write
The settings of the current Patch will be written into user
memory. Press [UTIL/CARD] in Patch mode, then perform
Write operation.
fig.4-04.e
* By holding down [SHIFT] and pressing [UTIL/CARD], you
can move directly to the PATCH WRITE display.
■Rhythm Set Write
The settings of the current Rhythm Set will be written into
user memory. Press [UTIL/CARD] in Rhythm Set mode,
then perform Write operation.
fig.4-06.e
* By holding down [SHIFT] and pressing [UTIL/CARD], you
can move directly to the RHYTHM WRITE display.
Internal Write Protect
An Internal Write Protect setting is provided to
prevent the settings in user memory from being
overwritten accidentally. When rewriting user memory
settings, you need to turn off Internal Write Protect. If
you attempt to write data when Internal Write Protect is
on, the following display will appear.
fig.3-22
Change the displayed ON to OFF and press [ENTER] to
turn Internal Write Protect off. Press [ENTER] once
again, and the data will be written into user memory.
Once you turn Internal Write Protect off, it will remain
off until the XP-30’s power is turned off.
Writing destination Performance (group, number, name)
Writing destination Patch (group, number, name)
The Compare Function
The Compare function allows you to play the Patch
currently occupying the writing destination, so that you
can check whether you really want to overwrite it. To
play the Patch of the writing destination, press
[UNDO/COMPARE] to access the PATCH COMPARE
display. You can select the writing destination Patch in
this display as well. After selecting the writing
destination Patch, press [EXIT] to return to the previous
display.
fig.4-05.e[
* Please be aware that when the Compare function is used to
play a Patch, it may sound slightly different than when it
is played normally.
Writing destination Patch (group, number, name)
The Compare Function
The Compare function allows you to play the Rhythm
Set currently occupying the writing destination, so that
you can check whether you really want to overwrite it.
To play the Rhythm Set of the writing destination, press
[UNDO/COMPARE] to access the RHYTHM
COMPARE display. You can select the writing
destination Rhythm Set in this display as well. After
selecting the writing destination Rhythm Set, press
[EXIT] to return to the previous display.
fig.4-07.e
* Please be aware that when the Compare function is used to
play a Rhythm Set, it may sound slightly different than
when it is played normally.
Writing destination Rhythm Set (group, number, name)
117
Chapter 4. Memory Settings (Utility/Card Mode)
Chapter 4
Copying Sound Source
Settings (COPY)
This function lets you copy data of any Patch, Performance,
or Rhythm Set into the current Patch, Performance, or
Rhythm Set. Using this function effectively makes editing
easier.
■Performance Copy
To copy the settings of a Performance, press [UTIL/CARD]
in Performance mode, then perform Copy operation.
Performance Part Copy
The Part settings of a Performance will be copied to the Part
you specify of the current Performance.
fig.4-08.e
* To specify the currently selected Performance as the copy source,
set Source to TEMP.
* When the Copy operation is executed, an “*” will be displayed
in front of the copy-destination part name.
Performance Effects Copy
The effects settings of a Performance or Patch will be copied
to the current Performance.
fig.4-09.e
Press [ ] to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.4-10.e
ALL: Multi-effects, chorus, and reverb settings
EFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
CHO&REV: Chorus and reverb settings
Performance Name Copy
The name of a Performance will be copied to the current
Performance.
fig.4-11.e
■Patch Copy
When you want to copy Patch settings to the current Patch,
press [UTIL/CARD] in Patch mode and perform Copy
operation.
Patch Tone Copy
Tone settings of a Patch will be copied to the Tone you
specify of the current Patch.
fig.4-12.e
* To specify the currently selected Patch as the copy source, set
Source to TEMP.
* When the Copy operation is executed, an “*” will be displayed
in front of the copy-destination tone.
Patch Effects Copy
The effects settings of a Patch or Performance will be copied
to the current Patch.
fig.4-13.e
Press [ ] to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.4-14.e
ALL: Multi-effects, chorus, and reverb settings
EFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
CHO&REV: Chorus and reverb settings
Copy source Performance
(group, number) Copy source
Performance name
Copy source Part Copy destination Part
Copy source Patch/Performance
(group, number, name)
Copy source
Copy type
118
Chapter 4. Memory Settings (Utility/Card Mode)
Patch Name Copy
The name of a Patch will be copied to the current Patch.
fig.4-16.e
■Rhythm Set Copy
When you want to copy Rhythm Set settings to the current
Rhythm Set, press [UTIL/CARD] in Rhythm Set mode and
perform Copy operation.
Rhythm Key Copy
Individual key settings in a Rhythm Set will be copied to
each key in the current Rhythm Set.
fig.4-17.e
* The copy source and copy destination Key parameters can also
be set by pressing a key on the keyboard.
* When the Copy operation is executed, an “*” will be displayed
in front of the copy-destination key.
Rhythm Set Name Copy
The name of a Rhythm Set will be copied to the current
Rhythm Set.
fig.4-19.e
The Compare Function
For the Patch Tone Copy and Patch Effect Copy
operations, you can use the Compare function.
The Compare function allows you to play the Patch
currently occupying the copy source. To play the Patch
of the copy source, press [UNDO/COMPARE] to access
the PATCH COMPARE display. The copy-source Patch
can be changed in this display as well, but it is not
possible to select patches from XP-A–E. After selecting
the copy source Patch, press [EXIT] to return to the
previous display.
fig.4-15.e
* The Compare function cannot be used with Patch Tone
Copy if either TEMP or an XP-A–E patch is selected as
the copy source patch (Source).
* The Compare function cannot be used with Patch Effect
Copy if PERFORM is selected as the copy source (Source).
* Please be aware that when the Compare function is used to
play a Patch, it may sound slightly different than when it
is played normally.
Copy source Patch (group, number, name)
Copy source Patch (group, number, name)
The Compare Function
The Compare function can be used during the Rhythm
Key Copy operation.
The Compare function allows you to play the Rhythm
Set currently occupying the copy source. To play the
Rhythm Set of the copy source, press [UNDO/
COMPARE] to access the RHYTHM COMPARE
display. The copy-source Rhythm Set can be changed in
this display as well, but it is not possible to select
patches from XP-A–E. After selecting the copy source
Rhythm Set, press [EXIT] to return to the previous
display.
fig.4-18.e
* If one of the XP-A–E Rhythm Sets is selected as the copy-
source Rhythm Set (Source), the Compare function is not
available.
* Please be aware that when the Compare function is used to
play a Rhythm Set, it may sound slightly different than
when it is played normally.
Copy source Rhythm Set (group, number, name)
119
Chapter 4. Memory Settings (Utility/Card Mode)
Chapter 4
Initializing Sound Source
Settings (INIT)
This function resets settings of the current Patch,
Performance, or Rhythm Set to a standard value or to factory
default settings.
* Only current data will be initialized, and data resident in user
memory will not be rewritten. To reset all settings to factory
defaults, execute Factory Reset (UTILITY/UTIL 2/FACTORY
RESET).
Data can be initialized in two ways depending on the
application.
Mode (Initialize Mode)
DEFAULT: Resets current data to the standard values called
“Initial data” (INIT PATCH, INIT PERFORM or
INIT SET). This mode is selected when creating
sound from scratches.
PRESET: Resets the current data in user memory to the
factory settings.
* If the current data is a Patch, Performance or Rhythm Set in
preset memory (PR-A–PR-C, E, GM), and initialization is
performed with PRESET specified, the data will be reset to the
value of the correspondingly numbered user memory.
■Performance Initialize
To initialize Performance settings, press [UTIL/CARD] in
Performance mode and execute initialization.
fig.4-20
■Patch Initialize
To initialize Patch settings, press [UTIL/CARD] in Patch
mode and execute initialization.
fig.4-21
■Rhythm Set Initialize
To initialize Rhythm Set settings, press [UTIL/CARD] in
Rhythm Set mode and execute initialization.
The Rhythm Set Initialize operation can also be used to
initialize the settings of only an individual percussion
instrument sound (key) that you specify. In this case, move
the cursor to Key, and select the percussion instrument
sound that you wish to initialize. You can specify the
percussion instrument sound either from the keyboard, or by
pressing TONE SELECT [1]–[4].
fig.4-22
Transmitting Sound Settings
(XFER)
This function lets you transmit sound source or System
settings that are in the XP-30’s memory or stored on memory
card to an external MIDI device or User memory.
■Transmitting Data to an
External MIDI Device
The process of transmitting Patch, Performance, Rhythm Set
or System data to an external MIDI device is called Bulk
dump. This process is used when two XP-30s with the same
Patch, Performance and/or Rhythm Set settings are
connected for performance or when recording Patch,
Performance, Rhythm Set or System data into an external
MIDI device as a backup for accidental data deletion.
fig.4-23.e
While data is being transmitted, the following display will
appear.
fig.4-24
* To cancel data transmission, press [EXIT].
* If you expect to successfully use settings that stipulate the use of
XP-A/B/C waves and patches after they’ve been sent to another
unit (XP-50/60/80; or JV-1010/1080/2080), you first need to
make sure that the relevant Wave Expansion Boards are
installed in the other unit.
120
Chapter 4. Memory Settings (Utility/Card Mode)
Specifies the data to be transmitted through the combinations
as shown below.
For example, if you wish to transmit the USER group Patches
001–020, you would specify “PATCH USER:001-020.”
Type Block
ALL USER
TEMP
PERFORM USER 01–32
TEMP -PATCH *1
+PATCH *2
CTRL
PATCH USER 001–128
TEMP
RHYTHM USER 001–002
TEMP
SYSTEM USER
*1 The current Performance
*2 The current Performance and the Patch or Rhythm Set
assigned to each Part of the Performance
Type (Data Type)
Specify the type of data to be transmitted.
ALL: Performance, Patch, and Rhythm Set
PERFORM: Performance
PATCH: Patch
RHYTHM: Rhythm Set
SYSTEM: System
Block (Source Block)
Specify the source of the data to be transmitted.
USER: Transmit the data from user memory.
TEMP: Transmit the data from the temporary area.
CTRL: Transmit messages for Performance bank select,
Performance program change, and Volume and Pan
messages for the Parts whose Rx parameter
(PERFORM/MIDI/MIDI) is turned ON.
Destination
Set the transmission destination to MIDI.
■Transmitting Data to User
Memory
You can transmit Patch, Performance or Rhythm Set settings
to the user memory and System settings to the system
memory. By loading sound data from memory card or Wave
Expansion Boards to user memory, you can add many
different sounds to your performance.
fig.4-27.e
Specifies the data to be transmitted through the combinations
as shown below.
For example if you wish to transmit only the PR-A group
Patch 001, specify “PATCH PR-A:001-001”
* If the specified data will not fit completely into the transmission
destination, as much of the data as will fit will be transmitted,
starting at the first number of the specified transmission
destination.
(Example)
Block PATCH PR-A:001—005
Destination User:127
If the above settings are made and transmission is
executed, only the two PR-A group Patches 01 and 02 will
be transmitted to USER group Patches 127 and 128.
Type Block
ALL PR-A
PR-B
PERFORM USER 01–32
PR-A, B 01–32
CARD ** *1
PATCH USER 001–128
PR-A–C, GM, PR-E 001–128
XP-A, B 001–255
XP-C 001–256
XP-D, E 001–*** *2
CARD ** *1
RHYTHM USER 001–002
PR-A–C, GM, PR-E 001–002
XP-A, C 001–008
XP-D, E 001–*** *2
CARD ** *1
SYSTEM Card ** *1
*1 Specified by file number
*2 Depends on the Wave Expansion Board installed
Type (Data Type)
Specify the type of data to be transmitted.
ALL: Performance, Patch, and Rhythm Set
PERFORM: Performance
PATCH: Patch
RHYTHM: Rhythm Set
SYSTEM: System (other than sequencer section)
Data type
Source block
Destination
121
Chapter 4. Memory Settings (Utility/Card Mode)
Chapter 4
Block (Source Block)
Specify the source of the data to be transmitted.
USER: Data from user memory will be transmitted.
PR-A–C, E: Preset A/B/C/E data will be transmitted.
GM: GM data will be transmitted.
XP-A–E: Data from an Wave Expansion Board will be
transmitted.
* XP-D, E can be selected only if the corresponding Wave
Expansion Board is installed.
CARD: Performance/Patch/Rhythm Set/System data
stored on memory card will be transmitted.
fig.4-29.e
Destination
Set the transmission destination to USER.
* If the Type parameter has been set to PERFORM, PATCH, or
RHYTHM, specify the first number of the transmission
destination.
Preventing User Memory
Writing Operation (PROTECT)
This function prevents user memory from being rewritten to
ensure Patch, Performance or Rhythm Set data will not
accidentally be lost.
fig.4-30
Internal (Internal Write Protect)
The Internal write Protect setting prevents the Write
operation from rewriting user memory. When this setting is
ON, the data cannot be rewritten. When this is OFF, the data
can be rewritten. When the XP-30’s power is turned on, this
setting is always turned ON, so you will need to turn it OFF
before rewriting user memory settings. It is also possible to
turn this setting OFF as part of the Write procedure.
Exclusive (Exclusive Protect)
The Exclusive Protect setting prevents System Exclusive
messages received from an external MIDI device from
rewriting user memory settings. When this setting is ON, the
data cannot be rewritten. When this is OFF, the data can be
rewritten by an incoming exclusive message, even if the
Internal Write Protect setting is ON.
Memory Card-Related
Settings (CARD)
XP-30 can use an optional memory card (S2M-5 (2MByte) or
S4M-5 (4MByte)).
Use this card when you wish to save data for which there is
no more space in the internal USER group, or so that the data
you created can be used on another XP-30.
Memory card must be formatted before they can be used.
* When you select “1: CARD” in the UTIL 2 group, the following
CARD display will appear. Select the function you wish to
execute.
fig.4-31
Before Using a Memory Card
* The power of the XP-30 must be turned off before inserting or
removing a memory card. If a memory card is inserted when the
power is turned on, the data in the memory card may be
destroyed, or the memory card may become unusable.
* Be sure to insert the memory card all the way into the slot.
* Do not touch the contacts of the memory card, or allow them to
become soiled.
* Never remove the memory card or turn off the power while an
operation (formatting, or data read/write) is being performed on
the memory card. Doing so will destroy the data in the memory
card and/or render the memory card unusable.
* If you affix the write protect label to the write protect area of the
memory card, it will be impossible to format the card or write
data to it. If you wish to format the card or write data to it, do so
without the label affixed. For details on the write protect label,
refer to the instruction included with your memory card.
If you attempt to format the card or write data to it when the
write protect label is affixed, the following message will
appear.
fig.4-32
File nameFile number
122
Chapter 4. Memory Settings (Utility/Card Mode)
■Formatting the Memory Card
for the XP-30 (FORMAT)
This function initializes (formats) a memory card so that XP-
30 data can be saved to it. Before a new memory card or a
memory card used on another device can be used on the XP-
30, it must be formatted on the XP-30.
* Please be aware that formatting will erase all the data already
resident on the memory card.
fig.4-33
■Renaming a File (RENAME)
This function changes the name of a file on the memory card.
* A file name of up to eight characters can be assigned. For details
on assigning a name, refer to “Assigning a Name” (p. 46).
* File name extensions cannot be changed.
fig.4-34.e
■Deleting Unwanted Files
(DELETE)
Use this function to delete unwanted files from memory
card.
fig.4-35
■Checking the Contents Memory
Card (INFO)
This function displays the number of files on the memory
card, the free area of the disk, and the size of each file.
fig.4-36.e
Loading a File from Memory
Card into the XP-30 (LOAD)
A data file containing Patch, Performance, Rhythm Set
settings and System settings will be loaded into internal
memory.
* Loading a new file will rewrite data currently resident in
memory. To keep existing data, save it to memory card before
loading new data.
fig.4-38
* If you wish to load only a portion of data from the file, refer to
“Transmitting Data to User Memory” (p. 120).
Saving Data to Memory Card
(SAVE)
The Patch, Performance, Rhythm Set, and System settings in
internal memory will be saved as a single file to memory
card, with the name you specify.
To overwrite a previously existing file on the memory card,
select the file number of that file.
fig.4-39
* Data files contain an entire set of parameter settings for the
sound source. It is not possible to save individual Patches or
Performances to memory card.
* A file name of up to eight characters can be assigned. For details
on assigning a name, refer to “Assigning a Name” (p. 46).
The number of files that can be saved will depend on the
memory card you use.
S2M-5 (2MB type): approximately 29 files
S4M-5 (4MB type): approximately 59 files
Original file name
New file name
File name File size
Number of files on memory card Free area
File number
123
Chapter 4. Memory Settings (Utility/Card Mode)
Chapter 4
Recalling Factory Default
Settings (FACTORY RESET)
This operation will restore all the data in the XP-30 to the
factory settings.
* If the XP-30 internal memory already contains important data
that you have created, this operation will cause all of this data to
be lost. If you wish to keep the data, you must save it on an
optional memory card (p. 122) or on an external MIDI
sequencer (p. 119).
fig.4-40
* If Internal Write Protect is turned ON, the following display
will appear, and the Factory Reset operation will not be
executed.
fig.3-22
Change the displayed ON to OFF and press [ENTER] to turn
Internal Write Protect off.
“Are You Sure?” will be displayed, press [ENTER].
124
Chapter 5. Using the XP-30 as the GM Sound Module
The XP-30 features a GM mode—a convenient way to play
back or create GM score data (music files for GM sound
module). You’re able to play back commercial GM score data
releases and even modify various parameter settings for
enhanced musical expression.
Entering GM Mode
Use GM mode to place the XP-30’s sound source in GM
System compatible mode. Basically GM mode is similar to a
special kind of Performance in which a GM System Rhythm
Set is assigned to Part 10, and GM System Patches are
assigned to other Parts. But however, you can’t store GM
mode settings in user memory.
fig.5-01.e
The GM PLAY display shows a Patch or Rhythm Set
assigned to each Part. Each time you enter GM mode, the GM
Drum Set is assigned to Part 10, and Piano 1 is assigned to
other Parts. You can also select other GM Patches and GM
Drum Sets for each Part to match the performance.
1. Hold down [SHIFT] and press [PERFORM] to call up the
GM PLAY display.
When you switch the XP-30 into GM mode, the sound source
initializes itself for basic GM System settings.
2. To change the current Part, press [ ] or [ ].
3. To change the GM Patch or GM Rhythm Set assigned to
the Part, perform the same procedure as you do when
you select a Patch or Rhythm Set.
■Initializing the Sound Source
for GM System Basic Settings
To play back a GM score correctly, the sound source must
first be initialized to basic GM system settings. The XP-30’s
sound source is initialized in the following situations:
- When the XP-30 is switched to GM mode
- When it receives a GM System On message from an
external MIDI device
- When a GM System On message is encountered in the
song data being played back
At power on
- When you execute the GM Initialize function (p. 128).
* Because effects settings are not defined in the GM System, they
will not initialize to factory settings unless the GM Initialize
(DEFAULT) or Factory Reset is executed.
■Playing Back a GM Score
When the XP-30 is in GM mode, it plays back GM scores
correctly. But beyond this, the XP-30 provides many
extended features not defined in GM System specifications,
and if you create music files using these extended features,
your song may not play back correctly on other GM-
compatible sound modules.
* The XP-30 is not compatible with the GS format (standard
format for multitimbral sound sources advocated by Roland).
Music files bearing the GS logo (GS music data) may therefore
not play back correctly on the XP-30.
* The beginning of a GM score normally contains a GM System
On message. So if you play back a GM score starting in the top
of a song, XP-30 will switch itself to GM mode. But if you play
back a GM score starting in the middle of a song, XP-30 may
not switch itself to GM mode, and the GM score may not play
back correctly. So to be safe, it’s recommended to manually set
the XP-30 to GM mode before playing back a GM score.
Muting a Specific Part
When you switch over to GM mode, all Parts will be set to
receive MIDI messages. To turn off a specific Part so that it
will not sound, set the Recieve Switch to OFF for the Part.
1. Make sure that [EDIT] indicator is dark. If it is lit, press
[EDIT] to turn it off.
At this time, the function button indicators will indicate the
on/off status of each Part. When [1-8/9-16] indicator is dark,
the function button indicators will indicate the status of Parts
1-8. When [1-8/9-16] indicator is lit, the function button
indicators will indicate the status of Parts 9-16. Lit is on, and
dark is off.
2. Press the function button to switch Parts on/off.
GM Patch/Rhythm Set (number, group) Part number
GM System On Message
The GM System On message puts the unit in a state that
conforms to the GM System and initializes a GM-
compatible sound module.
* If the Rx GM parameter (SYSTEM/MIDI/SYS-EXC
MIDI) is set OFF, GM System On messages cannot be
received.
125
Chapter 5. Using the XP-30 as the GM Sound Module
Chapter 5
Modifying GM Mode Settings
GM mode also offers parameters that you can modify for
each Part. You can modify settings like effects, pan and level
to customize a GM score playback to your preference.
* When GM mode is initialized (p. 128), all these settings will be
lost.
1. Hold down [SHIFT] and press [PERFORM] to call up the
GM PLAY display.
2. Press [EDIT] to make the indicator light.
3. Use the function buttons to select a display group.
The button indicator of the selected display group will blink.
fig.5-02
* In GM mode, you can press the function buttons [2/
10(EFFECTS)], [4/12(PART)], and [8/16(INFO)].
4. Use [ ] or [ ] to select a display page.
5. If you have selected a parameter display that can be set
independently for each Part, the number of the Part
selected for editing will be shown in the display. To
select a different Part, press [EDIT] to temporarily turn
off the indicator, and use [1-8/9-16] and the function
buttons to select a Part.
6. Use [ ] or [ ] to move the cursor to the parameter
you wish to modify.
7. Use the VALUE dial, [INC]/[DEC] or numeric keys and
modify the parameter value.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
8. If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
9. Repeat steps 3–8 to complete a GM mode settings.
10.When you finish making settings, press [EXIT] to return
to the GM PLAY display.
* You can also use the Palette display in the same manner when
you edit in Performance mode (p. 65).
■Making Effects Settings in GM
Mode (EFFECTS)
Parameter configurations of GM effects and Performance
effects are almost the same. For details refer to “Setting
Effects for a Performance (EFFECTS)” (p. 84).
Make settings for the Multi-Effects/Chorus/Reverb effects
used in GM mode.
* If an “x” mark is displayed at the right of the display name, the
effect for that display has been turned off. Turn the
corresponding effect on before you make settings (p. 62).
OUTPUT
Make settings to specify how each Part will be output.
Output Assign (Output Assign/Output Level)
When the Output Assign parameter is set to MIX, the output
of each Part will be sent to the OUTPUT jacks without
passing through Multi-Effects. If this parameter is set to EFX,
the output will be passed through Multi-Effects. If PATCH is
selected, the output assign settings of the GM Patch assigned
to the Part will be used.
The Output Level parameter adjusts the volume of each Part.
Chorus (Chorus Send Level)
Adjust the amount of chorus for each Part.
Reverb (Reverb Send Level)
Adjust the amount of reverb for each Part.
GM EFX TYPE (EFX Type)
Specify the type of Multi-Effects that will be used in GM mode.
Type (EFX Type)
Select the type of Multi-Effects. For details refer to “Multi-
Effects Types (EFX Parameter)” (p. 93).
GM EFX PRM (GM EFX Parameters)
Make parameter settings for the EFX type selected by the
Type parameter. For details refer to “Multi-Effects Types
(EFX Parameter)” (p. 93).
GM EFX OUT (GM EFX Output)
Specify the output routing for Parts whose Output Assign is
set to EFX.
* The settings in this display have no effect on Parts whose
Output Assign is set to MIX.
Mix Out (EFX Output Level)
Adjust the volume balance of the direct sound and the Multi-
Effects sound.
Chorus (Chorus Send Level)
Adjust the amount of chorus applied to the sound that
passed through Multi-Effects.
126
Chapter 5. Using the XP-30 as the GM Sound Module
Reverb (Reverb Send Level)
Adjust the amount of reverb applied to the sound that
passed through Multi-Effects.
GM CHORUS
Make settings for the chorus effect used in GM mode.
* In GM mode, the chorus effect settings for the GM Patch assigned
to each Part will be ignored (except for the Send Level parameter).
Rate (Chorus Rate)
Adjust the speed of modulation for the chorus sound.
Depth (Chorus Depth)
Adjust the depth of modulation for the chorus sound.
Delay (Chorus Pre Delay)
Adjust the time delay from the original sound until when the
chorus sound is heard. Higher settings will create a more
spacious sound.
Fbk (Chorus Feedback Level)
Adjust the amount of sound from the chorus that is returned
(fed back) to the input of the chorus. Higher settings will
result in a more intense effect.
Level (Chorus Level)
Adjust the volume of the chorus sound.
Out (Chorus Output Assign)
Select the way in which the Chorus and Reverb are connected.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
REV: Apply reverb to the chorus sound.
fig.3-28.e
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
fig.3-29.e
GM REVERB
Make GM mode reverb settings.
* In GM mode, the reverb effect settings for the GM Patch
assigned to each Part will be ignored (except for the Send Level
parameter).
Type (Reverb/Delay Type)
Select the type of Reverb effect.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
DELAY: a conventional delay
PAN-DLY: a delay with echoes that move left and right
Time (Reverb/Delay Time)
Adjust the time of reverberation. If the Type parameter is set
to DELAY or PAN-DLY, this parameter will adjust the time
delay from the original sound until when the first echo will
sound.
Fbk (Delay Feedback Level)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay
repeats.
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
HF Damp (Reverb/Delay HF Damp)
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
Level (Reverb/Delay Level)
Adjust the volume of the reverberant (or delayed) sound.
OUTPUT
Reverb
Chorus input
Chorus
Reverb input
OUTPUT
Reverb
input
Chorus
input Chorus Reverb
OUTPUT
Reverb
input
Chorus
input
Chorus Reverb
About Effects for GM-Compatible Sound
Modules
Most GM-compatible sound sources provide effects
such as reverb and chorus, but the use of effects is not
included in the GM System Level 1 guidelines. This
means that song data created for the XP-30’s GM mode
that uses Multi-Effects/Reverb/Chorus may not
playback correctly on other GM-compatible sound
sources.
127
Chapter 5. Using the XP-30 as the GM Sound Module
Chapter 5
■Setting a Part (PART)
PATCH
Select the GM Patch assigned to each Part.
Number (GM Patch Number)
Select the number (001–128) of the GM Patch.
* In GM mode it is not possible to select USER or PRESET A/B/
C/E Patches.
SETTING
Make settings for the volume, pan, and pitch of each Part.
Volume
Adjust the volume of each Part.
Pan
Adjust the stereo position of each Part. L64 is full left, 0 is
center, and 63R is full right.
* If you modify the settings of the Volume parameter or Pan parameter,
they will be reflected in the following INFO group displays.
Coarse (Coarse Tune)
Adjust the pitch of each Part in semitone steps (-4–+4 octaves).
Fine (Fine Tune)
Make fine adjustments in 1-cent steps to the pitch specified in
Coarse Tune. (-50–+50 cents)
* 1 cent is 1/100th of a semitone.
■Confirming MIDI Information of
Each Part (INFO)
In this display you can check the receive status of various
types of MIDI message for each Part. This is a convenient
way to check that the sound source is responding correctly to
messages from the keyboard or external MIDI controllers.
For items other than Voice, you may modify the values.
When you do so, a MIDI message will be transmitted, and
can be recorded on the sequencer, etc.
Mod (Modulation Information)
Breath (Breath Information)
Foot (Foot Information)
Vol (Volume Information)
Pan (Pan Information)
Exp (Expression Information)
Hold (Hold 1 Information)
Bend (Pitch Bend Information)
Aftertouch (Aftertouch Information)
Voices (Voice Information)
The number of voices used.
Convenient Functions in GM
Mode (GM Utility)
In the GM mode, you can copy effects settings, initialize GM
mode, and transmit GM mode settings, using the Utility
functions.
Basic Procedure
1. In the GM mode, press [UTIL/CARD] so its indicator
blinks.
The XP-30 will switch to Utility/Card mode.
2. Press [ ] or [ ] to select the UTIL 1 group.
fig.5-03
* The functions of the UTIL 2 group can also be executed from
GM mode. The operation is the same as in other modes.
3. Press [ ] or [ ] to select the desired function (the
function name will blink), and press [ENTER].
The display of the function you’ve selected will appear.
* You can also access the desired function display by using the
numeric keys or function buttons to specify the number of the
function.
4. Set parameters as necessary on each function’s display.
* To cancel the operation, press [EXIT].
5. Press [ENTER] to execute the function.
When the operation is completed, the display will briefly
indicate “COMPLETED.”
6. To return to the UTIL 1 display, press [EXIT]. To return
to the GM PLAY display, press [UTIL/CARD] to make
the indicator go dark.
128
Chapter 5. Using the XP-30 as the GM Sound Module
■Copying Effects Settings (COPY)
This function copies effects settings from a Patch or
Performance to the GM mode.
fig.5-04.e
Press [ ] to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.5-05.e
ALL: Multi-effects, chorus, and reverb settings
EFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
CHO&REV: Chorus and reverb settings
■Initializing GM Mode (INIT)
fig.5-06
* As GM Initialize initializes only GM mode data, data stored in
user memory will not be initialized. To initialize all settings to
factory settings, use Factory Reset (UTILITY/UTIL 2/
FACTORY RESET) (p. 27).
There are two initialize methods.
GM-ON: Initializes GM mode settings using a GM System
On message.
DEFAULT: Initializes all GM mode settings including effects
settings to factory settings.
■Transmitting GM Mode Settings
(XFER)
fig.5-07
It is not possible to store GM mode settings in user memory.
If you wish to keep your GM mode settings, you can transmit
them as a MIDI message to an external MIDI device.
Prepare the external MIDI device to record data, and press
[ENTER].
The following GM mode settings for each Part are
transmitted.
- Program number of the GM Patch
- Volume (control number 7)
- Pan (control number 10)
- Reverb send level (control number 91)
- Chorus send level (control number 93)
- Pitch bend sensitivity
- Fine tune
- Coarse tune
* If you do not want the settings of a specific Part to be
transmitted, turn off the Recieve Switch for that Part (p. 124).
Copy source Patch/Performance
(group, number, name)
Copy source
Copy type
129
Chapter 6
Chapter 6. Getting the Full Potential of the XP-30
This section discusses various techniques for effectively
using the XP-30 for specific applications. The more you use
the XP-30, the faster you’ll appreciate the real power of this
unit.
Techniques for Using Patches
■
Reinforcing Filter Characteristics
If you want to reinforce filter characteristics, set the Type
parameter (PATCH/COMMON/STRUCT) to 2, and series-
connect the TVFs of Tones 1 and 2.
This example shows how to boost the effectiveness of the
filter for “PR-C:014 MKS-80 Brass.”
1. Select PR-C:014 MKS-80 Brass on the Play display
(PATCH).
2. Press [FILTER/ENV] to light the indicator.
3. Move the CUTOFF and RESO. sliders while you play
notes and hear how sound changes.
4. Set the Type parameter (PATCH/COMMON/STRUCT)
to 2.
5. Again, move the CUTOFF and RESO. sliders and hear
how the sound changes.
Notice the effectiveness of the filter has changed.
* If the result is difficult to hear, press [EFFECTS ON/OFF] to
turn off each effect unit (Multi-Effects, Chorus, Reverb) (p. 62).
■Making the Up-Beat Note
Sound at the Same Time You
Play a Down-Beat Note
1. Select PR-A:087 Music Bells on the PATCH PLAY
display and listen to the sound.
2. Call up the TONE DELAY display (PATCH/WAVE).
3. Select Tone 1.
4. Set Tone 1’s Mode parameter to PLAYMATE and the
Time parameter to 32.
5. Play the XP-30’s keyboard keeping a constant tempo.
Tones 1 and 2 sound alternately. Tone 1 will sound at the
timing point exactly between a note you press and the
following note. Try various settings, for instance use
different wave or modify the pitch.
* Tone 1 will not sound if the two keys are pressed at an interval
of 2 seconds or longer.
■Holding a Note with
Modulation Retained
In general, pressing the Hold pedal makes a note continue to
sound. However, other effects will go off. To keep other
effects effective as well, perform the following procedure.
1. Connect an optional pedal switch to the HOLD PEDAL
jack.
2. Select a Patch (PR-C:110 Crash Pad, etc.) to which an
effect will be applied when the modulation lever is
moved on the PATCH PLAY display.
3. Set the Hold parameter (SYSTEM/CONTROL/
CONTROL SOURCE) to HOLD1.
4. Call up the PEAK & HOLD display (PATCH/
CONTROL) and set Ctrl 1 parameter to HOLD.
5. Press a note and press the pedal switch as you move the
modulation lever forward.
6. When the note and modulation lever are released, both
the note and the effect produced by the modulation lever
will be held.
■Syncing the LFO Cycle to
System Tempo
1. Select PR-B:052 Blade Racer on the PATCH PLAY
display.
2. Set the Source parameter (PATCH/COMMON/PATCH
CLOCK) to SYSTEM.
3. Make sure that each Tone’s EXTSync parameter
(PATCH/LFO/LFO 1, 2) is set to CLOCK. If not, reset.
4. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT.
* When the Clock Source parameter is set to MIDI, you can
achieve synchronization with the tempo of an external MIDI
device.
5. Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP)
to various values.
6. Set the modulation depth as desired using LFO
DEPTH1:2 display (PATCH/LFO) of each Tone.
* When you have selected PR-B:047, 049, 051–056, 069, PR-
C:034, 093, 097, 099, or 123, it is also possible to synchronize
the LFO to the system’s tempo clock by setting the Source
parameter (PATCH/COMMON/PATCH CLOCK) to
SYSTEM. Try it.
130
Chapter 6. Getting the Full Potential of the XP-30
■Modifying Multi-Effects to
Match the System’s Tempo
1. Select PR-C:094 Albion on the PATCH PLAY display.
2. Set the Source parameter (PATCH/COMMON/PATCH
CLOCK) to SYSTEM.
3. Make sure that the Type parameter (PATCH/EFFECTS/
PATCH EFX TYPE) is set to STEP-FLANGER. If not, reset.
4. Make sure that the Step Rate parameter (PATCH/
EFFECTS/PATCH EFX PRM) is set as a note value. If
not, reset using a note value.
5. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT.
6. Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP)
to various values.
You’ll notice that the tempo of the Patch’s modulation
changes in accordance to the tempo clock of the XP-30’s
system.
You can modify EFX parameter values in accordance to the
system’s tempo clock, when you have selected the following
types for the EFX Type parameter.
Type EFX Parameter
16: STEP-FLANGER Step Rate parameter
19: TRIPLE-TAP-DELAY Delay L–R parameter
20: QUADRUPLE-TAP-DELAY Delay 1–4 parameter
* When you have selected PR-B:057, 065, 068, PR-C:094, 096, and
098, it is also possible to sync the EFX parameter variations of the
sequencer’s tempo clock by setting the Source parameter (PATCH/
COMMON/PATCH CLOCK) to SYSTEM. Try it and see.
■Using a Pedal Switch to Modify
the Rotary Speed of the Rotary
Effect
1. Call up the CONTROL PEDAL display (SYSTEM/
CONTROL) and set the Assign parameter to
CC04:FOOT-TYPE.
2. Select PR-A:054 Rocker Spin on the PATCH PLAY
display.
This Patch uses ROTARY as the EFX type.
3. Call up the PATCH EFX CTRL display (PATCH/
EFFECTS), then set the Speed parameter to FOOT:+63.
4. Connect an optional pedal switch to the CONTROL
PEDAL jack.
5. When you wish to speed up the rotary effect, press the
pedal switch. Releasing the pedal switch will slow down
the rotary effect.
■Playing Phrase Loops at a
System’s Tempo
The internal wave expansion XP-C group contains Patches
derived from waveforms with tempo (BPM) indication
(phrase loops). You can play these phrase loops in sync with
the system’s tempo.
1. Select XP-C:001 Teknoperator on the PATCH PLAY
display.
2. Set the Source parameter (PATCH/COMMON/PATCH
CLOCK) to SYSTEM.
3. Call up the WAVE display (PATCH/WAVE).
4. Change the Tone by pressing TONE SELECT [1]–[4] and
look for the Tone that uses waveforms with BPM
indication.
The wave name will appear in parentheses ( ) below the
Number parameter. You’ll notice that for this example, Patch
Tone 1 uses a phrase loop called 132:Detroit.
5. Call up the TONE DELAY display (PATCH/WAVE).
6. Set the Tone 1’s Mode parameter to TEMPO-SYNC.
7. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT.
8. Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP)
to various values.
The phrase loop speed will change in accordance to the
system’s tempo clock.
* The phrase loop will sound with the system’s tempo regardless
of which key you press. The settings for pitch and FXM will be
ignored.
131
Chapter 6. Getting the Full Potential of the XP-30
Chapter 6
■Using the Slider to Pan Sounds
in Real Time
You can assign various functions to the C1 slider. In this
example, the stereo location (pan position) of a Patch will
change by moving the C1 sliders up or down.
1. Call up the C1 ASSIGN display (SYSTEM/CONTROL).
2. Set the Assign parameter to CC10:PANPOT.
* With other Assign parameter settings, you can try different
variations.
3. Select a Patch on the PATCH PLAY display.
4. Press [CONTROLLER] to light the indicator.
5. Move the C1 slider while you play the keyboard.
You’ll notice that sound will pan right and left.
* If the stereo location of the sound is difficult to hear, press
[EFFECTS ON/OFF] to turn off each effect unit (Multi-Effects,
Chorus, Reverb) (p. 62).
Using the XP-30 to Play Live
■Changing Multiple Sounds of
an External MIDI Device
Simultaneously
When a different Performance is selected, the sound
corresponding to the Bank Select number and Program
number of the selected Performance will usually be chosen
on the external MIDI device.
Once you have set the Bank Select number and Program
number for each Part to match the desired sound of the
external MIDI device, you can select several sounds on the
external MIDI device by changing the Performance.
1. Select the Part to be used to control the external MIDI
device.
2. Call up the BANK-SEL GROUP display (SYSTEM/
MIDI).
3. Set the Number parameter to select the appropriate bank
select group to match the bank select of your external
MIDI device, turn the Switch parameter ON for that
group, and set the LSB and MSB parameters.
4. After switching to the MIDI display (PERFORM/MIDI)
for the part that will control the external MIDI device, set
the Channel parameter to match the receive channel of
the external MIDI device, and turn the Tx parameter ON.
5. Select the TRANSMIT (PERFORM/MIDI) display, and
set the Bank Select Group parameter to the bank select
group that you selected in step 3.
6. Call up the PATCH display (PERFORM/PART) and set
the Number parameter to the same number as the
Program number of the sound you wish to play from the
external MIDI device.
* If the Program number of the external MIDI device reads 0–127,
set the P.C Number parameter by adding 1 to the external MIDI
device’s value.
7. Save the Performance.
8. Try changing from another Performance to the
Performance just saved, and see if the sound of the
external MIDI device changes to what you want. If not,
check your settings and the external MIDI device.
■Changing Sounds with a Pedal
Switch
You can change Patch/Performance/Rhythm Set in
succession using a pedal switch.
1. Connect a pedal switch to a CONTROL PEDAL jack.
2. Call up the CONTROL PEDAL display (SYSTEM/
CONTROL) and set the Assign parameter to 98:PROG-
UP.
3. Call up the PLAY display of a sound source.
4. Each time you press the pedal, you call up the next Patch,
Performance or Rhythm Set.
132
Chapter 6. Getting the Full Potential of the XP-30
Using External MIDI Devices
■Using the XP-30 to Control
External MIDI Devices
1. Use a MIDI cable to connect the MIDI OUT connector of the
XP-30 to the MIDI IN connector of the external MIDI device.
fig.6-01.e
2. Set the XP-30’s transmit channel to match the external
MIDI device’s receive channel.
The transmit channel is determined by the following
parameters.
- Patch mode
Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI)
- Performance mode
Channel parameter (PERFORM/MIDI/MIDI)
Turn the Tx parameter (PERFORM/MIDI/MIDI) to ON.
3. If you want to play only the sound source of the external
MIDI device, set the Local parameter (SYSTEM/MIDI/
PATCH MIDI) / (SYSTEM/MIDI/PERFORM MIDI) to OFF.
If you wish to connect two or more external MIDI devices,
use the MIDI THRU connector of the external MIDI device.
fig.6-02.e
* If you “daisy-chain” three or more MIDI devices using IN
→
THRU
→
IN
→
THRU ..., the MIDI signal may become
garbled, and data errors may occur. In such cases, use a MIDI
Thru Box. MIDI Thru Boxes are devices that allow a single
stream of MIDI data to be sent to a large number of MIDI
devices without causing data errors.
■Playing the XP-30’s Sound
Source from an External MIDI
Device
1. Use a MIDI cable to connect the external MIDI device’s
MIDI OUT connector to the XP-30’s MIDI IN connector.
fig.6-03.e
2. Set the XP-30’s receive channel to match the external
MIDI device’s transmit channel.
The receive channel is determined by the following
parameters.
- Patch mode
Rx-Ch parameter (SYSTEM/MIDI/PATCH MIDI)
- Performance mode
Channel parameter (PERFORM/MIDI/MIDI)
Turn the Rx parameter (PERFORM/MIDI/MIDI) to ON.
■Selecting XP-30 Sounds from
an External MIDI Device
By transmitting Bank Select messages (controller number 0
and 32) and Program Change messages from the external
MIDI device to the XP-30, you can select Patches,
Performances, or Rhythm Sets. In other words, when you
select sounds on an external MIDI keyboard, the
corresponding MIDI message will be transmitted to the XP-
30, causing the XP-30 to select the appropriate Patch, etc.
* If the XP-30 receives only Program Change messages without
receiving Bank Select messages, it will select sounds only from
the currently selected group such as PR-A or USER.
MIDI OUT
MIDI IN
XP-30
MIDI Keyboard
MIDI IN MIDI
THRU
MIDI IN
MIDI Keyboard
MIDI Keyboard
MIDI OUT
XP-30
MIDI IN
MIDI OUT
XP-30
MIDI Keyboard
133
Chapter 6. Getting the Full Potential of the XP-30
Chapter 6
Selecting Patches
The MIDI messages transmitted by the external MIDI device
will be received by the XP-30 to select Patches as shown in
the following table.
Group Number Bank Select Program Number
MSB LSB
USER 1–128 80 0 1–128
PR-A 1–128 81 0 1–128
PR-B 1–128 81 1 1–128
PR-C 1–128 81 2 1–128
PR-D (GM) 1–128 81 3 1–128
PR-E 1–128 81 4 1–128
XP-A 1–128 84 0 1–128
XP-A 129–255 84 1 1–127
XP-B 1–128 84 2 1–128
XP-B 129–255 84 3 1–127
XP-C 1–128 84 4 1–128
XP-C 129–256 84 5 1–128
XP-D 1–128 84 6 1–128
XP-D 129–256 84 7 1–128
XP-E 1–128 84 8 1–128
XP-E 129–256 84 9 1–128
<Example>
Selecting PR-B Patch number 10 from an external MIDI
device
Transmit data to the XP-30 in the following order. (Values
are in decimal.)
Controller number 0 (Bank Select MSB button), value 81
Controller number 32 (Bank Select LSB button), value 1
Program number 10
Selecting Performances
The MIDI messages transmitted by the external MIDI device
will be received by the XP-30 to select Performances as
shown in the following table.
Group Number Bank Select Program Number
MSB LSB
USER 1–32 80 0 1–32
PR-A 1–32 81 0 1–32
PR-B 1–32 81 1 1–32
In order to select a Performance, the MIDI channel of the
transmitting device must match the XP-30’s Control Channel
parameter (SYSTEM/MIDI/PERFORM MIDI). In order to
select the Patch or Rhythm Set of a Part, the transmit channel
must match the receive channel of the Part. However if the
Control Channel parameter and the receive channel of a Part
have the same setting, the Control Channel parameter setting
will take priority so that messages received on this channel
will select Performances.
Selecting Rhythm Sets
The MIDI messages transmitted by the external MIDI device
will be received by the XP-30 to select Rhythm Sets as shown
in the following table.
Group Number Bank Select Program Number
MSB LSB
USER 1, 2 80 0 1, 2
PR-A 1, 2 81 0 1, 2
PR-B 1, 2 81 1 1, 2
PR-C 1, 2 81 2 1, 2
PR-D (GM) 1, 2 81 3 1, 2
PR-E 1, 2 81 4 1, 2
XP-A 1–8840 1–8
XP-C 1–8844 1–8
XP-D 1–128 84 6 1–128
XP-D 129–256 84 7 1–128
XP-E 1–128 84 8 1–128
XP-E 129–256 84 9 1–128
In order to select Rhythm Sets, the MIDI channel of the
transmitting device must match the receive channel of Part
10 of the Performance. When the XP-30 is shipped, Part 10 is
set to MIDI channel 10.
134
Chapter 6. Getting the Full Potential of the XP-30
Enjoying Desktop Music
The XP-30 can be controlled by music software running on a
computer. This will allow you to create your own songs, and
also to select sounds or edit sounds from the computer
display. The features available to you when using a
computer will vary greatly, depending on the software you
use, so it is important that you choose software suited to
your needs.
■Connecting to Your Computer
Two Connection Methods
There are two ways to connect the XP-30 to your computer:
by means of the Computer connector, or by using the MIDI
connectors.
To make connections via the Computer connector, use a
Computer cable to connect the serial port (RS-232C
connector) of your computer to the Computer connector of
the XP-30.
To make connections via MIDI, you will need a MIDI
interface (such as the Roland Super MPU64, etc.). Use MIDI
cables to connect the XP-30’s MIDI connectors to the MIDI
connectors of the MIDI interface, after it has been connected
to your computer.
Connect the XP-30 to your computer using the method that is
appropriate for your setup.
If you are making connections using MIDI, read from p. (p.
135).
Connecting with Computer Connector
1. Turn off the XP-30, your computer and all peripheral
devices.
* To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
2. Set the COMPUTER switch on the rear panel of the XP-30
as the following figure.
In general, set the switch to PC-2 for PC, and to Mac for
Apple Macintosh series.
fig.6-04.e
* Before changing the setting of the Computer switch, you must
first turn off the power on the XP-30.
* This setting determines the transmission speed (baud rate)
between your computer and the MIDI sound module (the XP-
30), and the setting used by the computer must match the
setting on the XP-30. Here we explained how to make the
setting on the XP-30. To make settings on your computer, you
will need to make settings for your software. If you are using
Windows, settings may be different than the above, depending
on your driver settings. If so, carefully read the owner’s manual
that was included with your driver.
* The PC-1 baud rate is 31.25 (kbit/sec), and the PC-2 baud rate is
38.4 (kbit/sec).
In step 3, the connections will be slightly different depending
on the type of computer you are using, so read the section
(3a, 3b) that applies to you.
3a.If you’re using a PC, connect the computer cable to the
serial port (RS-232C) connector on the rear of the
computer.
Computer cable: RSC-15AT (sold separately)
This is a 9 pin cable. If you need a 25 pin cable, refer to
“Computer Cable Wiring Diagrams” (p. 208) and purchase
an appropriate cable.
3b.If you’re using an Apple Macintosh computer, connect
the computer cable to the modem port or printer port on
the rear of the computer.
Computer cable: RSC-15APL (sold separately)
Apple Macintosh PC
135
Chapter 6. Getting the Full Potential of the XP-30
Chapter 6
4. Connect the other end of the Computer cable to the COMPUTER connector on the left side of the
XP-30.
fig.6-05.e
* In order to hear the sounds of the XP-30, you will also need to connect an AC cord, and audio cables or
headphones. If you have not yet made connections, please read “Making Connections” (p. 24). If you are
finished making connections, read from the “Turning On the Power” (p. 26).
Connecting with MIDI Connectors
If a MIDI interface (Roland Super MPU64, etc.) is connected to your computer, or if a MIDI interface
adaptor is connected, you can use the MIDI connectors to make connections.
* For details on how to install the MIDI interface, refer to the owner’s manual for your MIDI interface.
1. Turn off the XP-30, your computer and all peripheral devices.
* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn
off the power on all devices before making any connections.
2. Set the COMPUTER switch on the rear panel of the XP-30 to MIDI.
fig.6-06
* Before changing the setting of the Computer switch, you must first turn off the power on the XP-30.
Serial Port (|O|O|)
Apple Macintosh
Optional computer cable
RSC-15APL
PC
Optional computer cable
RSC-15AT
XP-30 Rear Panel
Modem Port or
Printer Port
136
Chapter 6. Getting the Full Potential of the XP-30
3. Use a MIDI cable (sold separately) to connect the MIDI OUT connector of the MIDI interface to
the MIDI IN connector of the XP-30.
4. Use a MIDI cable to connect the MIDI IN connector on the MIDI interface to the MIDI OUT
connector on the XP-30.
* This connection is necessary in order to use the controller section (keyboard section) of the XP-30.
fig.6-07.e
Modem or
Printer Port
MIDI Interface Adapter
IN
MIDI
OUT
The setting
is MIDI
Apple Macintosh
PC Super MPU64
USB
Cable
USB
Connector
XP-30 Rear Panel
The setting
is MIDI
XP-30 Rear Panel
137
Chapter 6. Getting the Full Potential of the XP-30
Chapter 6
■Disconnecting the Keyboard
from the Internal Sound Source
(Local OFF)
The XP-30 contains a controller section (keyboard section)
and sound generating section, packaged as a single unit. This
means that you can make a setting (Local Control) that
specifies whether or not the performance data from the
keyboard will be transmitted directly to the sound source.
When you use the XP-30 by itself, you will normally set it to
Local ON. However, when you are using it as a sound
generator for a DTM (desktop music) system, you should set
the Local parameter (SYSTEM/MIDI/PERFORM MIDI) to
OFF so that the keyboard will be disconnected from the
internal sound generator.
fig.6-08.e
Turn on the Thru Function of Your
Sequencer Software
In order for the musical data received by the computer from
the XP-30 to be transmitted back to the XP-30, the Thru
function of the sequencing program must be turned on.
When the Thru function of the sequencing program is turned
on, MIDI messages received at MIDI IN will be re-
transmitted without change from MIDI OUT.
For details on whether or not your sequencing program has a
Thru function, and how to set the Thru function, refer to the
owner’s manual for your sequencing program.
* If your sequencing program does not have a Thru function, set
the XP-30’s Local Control to ON.
* For some sequencing programs, System Exclusive messages are
not transmitted by the Thru function. If you are using such
software and wish to record System Exclusive messages, turn
the XP-30’s Local Control setting ON.
While at this setting,
the XP-30’s keyboard
and controllers are
disconnected from
the sound generating
section, so they will not
directly control it.
All performance data
that arrives at MIDI IN
will be output from
MIDI OUT.
Recording
XP-30
Sequencer
MIDI IN MIDI OUT
MIDI OUT MIDI IN
Set to
Local Off.
Set to Thru
Function On.
Keyboard Controller
Section
Sound Generating
Section
138
139
Appendices
Appendices
140
Troubleshooting
If the this unit does not function in the way you expect, first
check the following points. If this does not resolve the
problem, consult your dealer or a nearby Roland Service
Station (listed at the end of this manual).
* If a message appears during operation, consult the following
section “Error Messages” (p. 142)
Cannot Turn the Power On
- Is the power cable correctly plugged into an outlet?
No Sound
- Is the power turned on for the other devices connected to
the this unit?
- Is the VOLUME slider turned all the way down?
- Are the connections correct?
When using the XP-30 by itself, connect audio cables or
headphones (p. 24).
When using the XP-30 with a computer, use a Computer
cable or MIDI cables to connect it to the computer (p. 134).
You will also need to connect audio cables or headphones (p.
24).
- Can you hear sound through headphones?
If you can hear sound through headphones, the problem may
be that the audio cable transmitting the sound to the other
devices is broken or incorrectly connected, or that there is a
problem with your mixer/amp/speaker system.
- If you do not hear sound when you play the keyboard,
check whether the Local Switch, a System parameter, is
turned OFF.
Set the Local parameter (SYSTEM/MIDI/PATCH MIDI,
PERFORM MIDI, GM MIDI) to ON (p. 112).
- If a layer-type performance is selected, has the Local
switch of the part been turned off?
Set the Local parameter (PERFORM/MIDI/MIDI) to ON (p.
86).
- Have all tones in the patch been turned off?
Press the TONE SWITCH [1]–[4] buttons to make the
indicators light.
- If you have selected settings that use an XP-D or E Wave,
Patch, or Rhythm Set, is the specified Wave Expansion
Board installed correctly? (p. 16, 20)
- Has the volume been lowered by pedal operations or by
MIDI messages (volume messages or expression
messages) received from an external MIDI device?
Use the Panic function to raise the volume (p. 60).
If you are in Performance mode, access the INFO display
(PERFORM/INFO) to check the settings of the Volume
message (Vol) and Expression message (Exp) parameters,
and make the appropriate settings.
- Is the rear panel COMPUTER switch set to the correct
position?
If you are using the XP-30 while connected to a computer,
make settings as appropriate for the connection method, the
type of computer, and the settings of the driver (p. 134).
* Turn off the XP-30’s power before changing the position of the
COMPUTER switch.
Song Does Not Playback Correctly
- Are you playing a GS format song?
The XP-30 is compatible with the General MIDI System, but
not with the GS format, so a GS format song will not play
back correctly on the XP-30.
- When playing back a GM score, is the sound source set to
GM mode?
Enter GM Mode (p. 124).
- Has the Receive GM Exclusive switch been turned ON?
Set the Rx.GM parameter (SYSTEM/MIDI/SYS-EXC MIDI)
to ON (p. 113).
A Specific Part Does Not Sound
- Has the volume level of the part been lowered?
Adjust the Level parameter (PERFORM/PART/SETTING) to
raise the volume of the part that is not heard (p. 87).
- Is the instrument set to receive MIDI messages?
Set the Rx parameter (PERFORM/MIDI/MIDI) to ON (p.
86).
- Does the MIDI Receive channel of the Part match the
MIDI Transmit channel of the connected MIDI device?
Set the Channel parameter (PERFORM/MIDI/MIDI) to
specify the MIDI receive channel (p. 86).
No Sound from Connected MIDI Device
- Is the instrument set to transmit MIDI messages?
In the Patch mode, make the setting for the Tx-Ch parameter
(SYSTEM/MIDI/PATCH MIDI) (p. 112).
In the Performance mode, set the Tx parameter (PERFORM/
MIDI/MIDI) to ON (p. 86).
141
Troubleshooting
Appendices
- Does the MIDI send channel for the XP-30’s controller
match the MIDI receive channel for the connected MIDI
instrument?
In the Patch mode, make the setting for the Tx-Ch parameter
(SYSTEM/MIDI/PATCH MIDI) (p. 112).
In the Performance mode, set the MIDI send channel with the
Channel parameter (PERFORM/MIDI/MIDI) (p. 86).
A Specific Keyboard Area Does 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 and performance in the KEY
RANG display (PATCH/COMMON) and KEY RANG
display (PERFORM/COMMON). If both key ranges have
been set, only the notes specified in both settings will sound.
Sound Is Distorted
- Is an effect which distorts the sound being applied? (p. 93)
- If the sound is distorted for specific patches or parts,
lower the volume level of those patches or parts (p. 81, 87).
- If all sounds are distorted, use the VOLUME slider to
lower the volume level.
Pitch Is Incorrect
- Is the tuning of the XP-30 incorrect?
Check the Master parameter (SYSTEM/TUNE/TUNE) (p.
113).
- Has the pitch been changed by pedal operations or by
pitch change messages received from an external MIDI
device?
Use the Panic function to reset the original values (p. 60).
If you are in Performance mode, access the INFO display
(PERFORM/INFO) to check the settings of the Pitch Bend
Message parameter (Bend), and make the appropriate
settings (p. 87).
- Have the Coarse Tune or Fine Tune parameters been set
for specific parts?
Check the Coarse parameter and Fine parameter
(PERFORM/PART/SETTING) (p. 87).
Effects Do Not Apply
- Is the effect switch turned OFF for Multi-Effects, Chorus,
or Reverb?
To check these settings, press [EFFECTS ON/OFF] (p. 62).
Sounds Are Interrupted
- If you attempt to play more than 64 voices at once, sounds
will be interrupted (p. 42).
Reduce the number of Tones that you are using (p. 50, 76).
Increase the Voice Reserve setting for parts that must not
drop out (p. 87).
Exclusive Messages Are Not Received
- Does the Device ID number of the transmitted exclusive
message match the Device ID number of this unit?
Check the Device# parameter (SYSTEM/MIDI/SYS-EXC
MIDI) (p. 113).
This Unit Does Not Transmit MIDI Data
- If you wish to transmit this unit data via the Computer
connector, set the COMPUTER switch to PC-1, PC-2 or
Mac, depending on the computer or software you are
using (p. 134).
- When the rear panel COMPUTER switch is set to MIDI,
this unit will not transmit data from the COMPUTER
connector. In this case, data will be transmitted from the
MIDI OUT connector.
When Using Sequencing Software,
Operating the Sliders or Other
Controls Does Not Affect the Sound
- Some sequencer software does not “soft-thru” system
exclusive messages. If you are using this type of sequencer
software and wish to record system exclusive messages,
turn the XP-30’s Local parameter ON (p. 112).
142
Error Messages
If there has been a mistake in operation, or if the XP-30 is
unable to continue processing as you directed, an error
message will appear in the display. Take the appropriate
action for the displayed error message. This section gives the
error messages in alphabetical order.
Battery Low
Situation: The internal backup battery that is preserving
the contents of user memory has run down.
Action: Consult your dealer or a nearby Roland service
station to have the battery replaced.
File Format Error
Situation: The XP-30 cannot handle this file.
File I/O Error
Situation: It was not possible to save/load a file.
Action: Try the operation once again. If the same
message appears, that file has been damaged.
Delete the damaged file.
File Name Duplicate
Situation: A file of the same name exists on the memory
card.
Action: Use a different file name.
File Name Format Error
Situation: A file name has not been assigned.
Action: Assign a file name.
File not Found
Situation: The specified file was not found.
Action: Insert the memory card that contains the
specified file, and try the operation once again.
Memory Card Full
Situation: There is insufficient space available on the
memory card to save the data.
Action: Either insert a different memory card, or delete
unnecessary data and try the operation once
again.
Memory Card I/O Error
Situation: It is possible that the memory card has been
scratched or otherwise damaged.
Action: If the memory card has been damaged, do not
use that memory card. If the same error message
appears repeatedly, consult your dealer or a
nearby Roland service station.
Memory Card not Ready
Situation: A memory card is not inserted in the MEMORY
CARD slot.
Action: Turn off the power, and insert a memory card.
Memory Card Write Protected
Situation: Since a write protect sticker is affixed to the
memory card, data cannot be saved to the card
bank.
Action: Remove the write protect sticker from the
memory card.
MIDI Buffer Full
Situation: Due to an inordinate volume of MIDI messages
received, the XP-30 has failed to process them
properly.
Action: Reduce the amount of MIDI messages to be
transmitted.
MIDI Communication Error
Situation: A problem has occurred with the MIDI cable
connections.
Action: Check that MIDI cables are not broken or pulled
out.
Receive Data Error
Situation: A MIDI message was received incorrectly.
Action: If the same error message is displayed
repeatedly, there is a problem with the MIDI
messages that are being transmitted to the XP-
30.
Unformatted Memory Card
Situation: This memory card cannot be used by the XP-30.
Action: Format the memory card on the XP-30.
User Memory Damaged
Situation: The data in user memory has been lost.
Action: Use the Factor Reset function (UTILITY/UTIL
2/FACTORY RESET) to initialize the memory to
the factory settings.
User Memory Write Protected
Situation 1: The Internal parameter (UTILITY/UTIL 1/
PROTECT/WRITE PROTECT) is turned ON.
Action 1: Turn the Internal parameter OFF.
Situation 2: The Exclusive parameter (UTILITY/UTIL 1/
PROTECT/WRITE PROTECT) is turned ON,
and Exclusive messages cannot be received.
Action 2: Turn the Exclusive parameter OFF.
143
Appendices
Quick Reference of Procedures
The XP-30 has a large number of functions. This section gives
the procedures for using some of the frequently-used
functions. For functions that are used simply by setting the
applicable parameter, only the “Parameter name (mode/
display group/display)” is listed.
* “[A] + [B]” indicates that you are to hold down [A] and press
[B].
■Patch Mode
Selecting the Patch Mode PLAY Display
Press [PATCH].
Selecting a Patch
Use the VALUE dial, [INC]/[DEC], or numeric keys to select.
Using the Numeric Keys to Select the
Patch Group
Press [SHIFT] + numeric keys.
Selecting Patches Using the Digit Hold
Function
1. Press [SHIFT] + [ENTER] (turn on the Digit Hold
function).
2. Use the numeric keys to specify the number of the one’s
place.
* To turn off the Digit Hold function, press [SHIFT] + [ENTER]
once again.
Transposing the Keyboard by Octave
Press [-OCT] or [+OCT].
Transposing the Keyboard in Semitone
Steps
Transpose on/off: press [TRANSPOSE]
Lower the keyboard: press [TRANSPOSE] + [-OCT]
Raise the keyboard: press [TRANSPOSE] + [+OCT]
Modifying a Patch (basic procedure)
1. Make the [EDIT] indicator light.
2. Use the function buttons to select the display group.
3. Use [ ]/[ ] to select the desired display page.
4. Turn off the [EDIT] indicator.
5. Use TONE SELECT [1]–[4] (function buttons) to select
the Tone.
6. Use [ ]/[ ] to select a parameter.
7. Use the VALUE dial, [INC]/[DEC], or the numeric keys
to modify the value.
* If you wish to move to a different parameter group, turn on the
[EDIT] indicator.
Changing the Patch Assigned to a
Performance
1. Press [PERFORM] + [PATCH].
2. Use [ ]/[ ] to select a Part.
3. Use the VALUE dial, [INC]/[DEC], or the numeric keys
to select a Patch.
The rest is the same as for the basic procedure listed above.
Simultaneously Modifying the Values
of Two or More Tones
In a Tone setting display, hold down the TONE SELECT [1]–
[4] (function button) for one Tone, and press the button(s) for
the other Tone(s) you want to edit.
Adjusting the Volume of a Patch
Level parameter (PATCH/COMMON/PATCH COMMON)
Adjusting the Pan Position of a Patch
Pan parameter (PATCH/COMMON/PATCH COMMON)
■Performance Mode
Selecting the Performance Mode PLAY
Display
Press [PERFORM].
Selecting a Part to Play from the
Keyboard (for a Single-Type
Performance)
Use [ ]/[ ].
Changing the Patch/Rhythm Set
Assigned to a Part
1. Press [PERFORM] + [PATCH].
2. Use [ ]/[ ] to select a Part.
3. Use the VALUE dial, [INC]/[DEC], or the numeric keys
to select a Patch or Rhythm Set.
Using the Numeric Keys to Select the
Performance/Patch/Rhythm Set Group
Press [SHIFT] + numeric keys.
144
Quick Reference of Procedures
Selecting Performances Using the Digit
Hold Function
1. Press [SHIFT] + [ENTER] (turn on the Digit Hold
function).
2. Use the numeric keys to specify the number of the one’s
place.
* To turn off the Digit Hold function, press [SHIFT] + [ENTER]
once again.
Modifying a Performance (basic
procedure)
1. Make the [EDIT] indicator light.
2. Use the function buttons to select the display group.
3. Use [ ]/[ ] to select the desired display page.
4. Turn off the [EDIT] indicator.
5. Use [PART] (function button) to select the Tone.
6. Use [ ]/[ ] to select a parameter.
7. Use the VALUE dial, [INC]/[DEC], or the numeric keys
to modify the value.
* If you wish to move to a different parameter group, turn on the
[EDIT] indicator.
Adjusting the Volume of a Part
1. Turn on the [EDIT] indicator.
2. Press [PART] (function button).
3. Use [ ]/[ ] to select the PART SETTING display.
4. Set the Level parameter.
Adjusting the Pan Position of a Part
1. Turn on the [EDIT] indicator.
2. Press [PART] (function button).
3. Use [ ]/[ ] to select the PART SETTING display.
4. Set the Pan parameter.
Modifying a Rhythm Set (basic
procedure)
1. Press [PERFORM] + [PATCH].
2. Use [ ]/[ ] to select Part 10.
3. Use the VALUE dial, [INC]/[DEC], or the numeric keys
to select a Rhythm Set.
4. Make the [EDIT] indicator light.
5. Use the function buttons to select the parameter group.
6. Use [ ]/[ ] to select the desired display page.
7. Use [ ]/[ ] to select a parameter.
8. Use the keyboard to select a rhythm instrument.
9. Use the VALUE dial, [INC]/[DEC], or the numeric keys
to modify the value.
■Controller Settings
Changing the Range of the Pitch Bend
Lever (for each Patch)
Bend Range parameter (PATCH/CONTROL/KEY
MODE&BENDER)
Selecting the MIDI Messages
Controlled by the C1–C4 Sliders
Assign parameter (SYSTEM/CONTROL/C1–C4 ASSIGN)
Selecting the MIDI Messages
Controlled by the CONTROL PEDAL
Polarity parameter (SYSTEM/CONTROL/CONTROL PEDAL)
Reversing the Polarity of CONTROL
PEDAL (when using a pedal of another
manufacturer whose polarity is
reversed)
Polarity parameter (SYSTEM/CONTROL/CONTROL PEDAL)
Controlling Patch Parameters with a
Slider or Pedal
You can specify up to three control sources (MIDI messages
used for control). However control source 1 is fixed at
“modulation”. For each control source, you can specify up to
four control destinations (parameters to be controlled).
1. Specify the MIDI message to be controlled by each
controller (C1–C4, CONTROL PEDAL) (see above).
2. Select the control source.
Control 2/3 parameter (PATCH/CONTROL/CONTROL
SOURCE)
3. Specify the control destination (the parameter to be
controlled).
Destination parameter (PATCH/CONTROL/CONTROL1–3)
* If you do not need to set different control sources for each Patch,
set the Control 2/3 parameters (PPATCH/CONTROL/
CONTROL SOURCE) to “SYS-CTRL1” or “SYS-CTRL2,”
and set the Control 1/2 parameters (SYSTEM/CONTROL/
SYS-CTRL ASSIGN) to the MIDI messages that you wish to
use for control.
145
Quick Reference of Procedures
Appendices
Adjusting the Keyboard Response
Sens parameter (SYSTEM/CONTROL/KEYBOARD)
Set the Keyboard to Produce a Fixed
Velocity
Vel parameter (SYSTEM/CONTROL/KEYBOARD)
■Saving and Loading Data
* After completing these procedures, press [UTIL/CARD] to
return to the PLAY display.
Formatting a Memory Card
1. Press [UTIL/CARD].
2. Select “1: CARD” on the UTIL 2 display.
3. Select “1: FORMAT.”
4. Press [ENTER].
Saving Patch Settings
1. In Patch mode, press [UTIL/CARD].
2. Select “1: WRITE” on the UTIL 1 display.
3. Specify the writing destination.
4. Press [ENTER].
If a message of “Internal Write Protect=ON” appears, change
it to “OFF” and press [ENTER] twice.
* If you wish to hear the sound of the Patch in the selected writing
destination, press [UNDO/COMPARE]. Press it once again to
return to the previous display.
Saving Performance Settings
1. In Performance mode, press [UTIL/CARD].
2. Select “1: WRITE” on the UTIL 1 display.
3. Specify the writing destination.
4. Press [ENTER].
If a message of “Internal Write Protect=ON” appears, change
it to “OFF” and press [ENTER] twice.
Saving Rhythm Set Settings
1. In Rhythm Set mode, press [UTIL/CARD].
2. Select “1: WRITE” on the UTIL 1 display.
3. Specify the writing destination.
4. Press [ENTER].
If a message of “Internal Write Protect=ON” appears, change
it to “OFF” and press [ENTER] twice.
Saving User Memory Settings and System
Settings to Memory Card as a Unit
1. Press [UTIL/CARD].
2. Select “3: SAVE” on the UTIL 2 display.
3. Assign a file name.
4. Press [ENTER].
Deleting a File from Memory Card
1. Press [UTIL/CARD].
2. Select “1: CARD” on the UTIL 2 display.
3. Select “3: DELETE.”
4. Select the file that you wish to delete.
5. Press [ENTER].
Checking the Free Area of a Memory
Card, etc.
1. Press [UTIL/CARD].
2. Select “1: CARD” on the UTIL 2 display.
3. Select “4: INFO.”
■Controlling External MIDI
Devices
Changing the Transmit Channel for
Patch Mode
Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI)
Changing the Transmit Channel for
Performance Mode (for each Part)
Channel parameter (PERFORM/MIDI/MIDI)
* Keyboard and controller movements (MIDI messages) from the
controller section are transmitted differently depending on
whether a single-type Performance or a layer-type Performance
is selected. If a single-type Performance is selected, MIDI
messages will be transmitted on the MIDI channel of the Part
that is being played by the keyboard. If a layer-type Performance
is selected, MIDI messages will be transmitted on the MIDI
channel of the Parts whose Tx parameter (PERFORM/MIDI/
MIDI) is turned ON.
146
Quick Reference of Procedures
Turning Off Transmission of Program
Change/Bank Select MIDI Messages
(System)
TRANSMIT MIDI display (SYSTEM/MIDI)
Transmitting Bank Select Messages for
the Patch Assigned to a Specific Part
when a Performance is Selected
1. Set the Bank Select Group parameter (PERFORM/MIDI/
TRANSMIT) to the desired Bank Select Group number
(BS1–BS7).
2. Save the Performance.
3. In the BANK SEL-GROUP display (SYSTEM/MIDI/
BANK SEL-GROUP), select the Bank Select Group that
you specified in step 1.
4. Turn the Switch parameter ON, and specify the MSB and
LSB.
■Controlling the XP-30 from an
External MIDI Device
Changing the Receive Channel on
which Performances will be Selected
Control Channel parameter (SYSTEM/MIDI/PERFORM
MIDI)
Changing the Receive Channel of a
Part (Performance)
Channel parameter (PERFORM/MIDI/MIDI)
Changing the Receive Channel (Patch)
Rx-Ch parameter (SYSTEM/MIDI/PATCH MIDI)
Turning Off Reception of Program
Change/Bank Select MIDI Messages
(System)
RECEIVE MIDI display (SYSTEM/MIDI)
Turning Reception of Volume/Hold 1/
Program Change MIDI Messages ON/
OFF for Each Part (Performance)
Rx SWITCH display (PERFORM/MIDI)
Turning Reception of Volume/Pan/Pitch
Bend/Hold 1/Redamper MIDI Messages
ON/OFF for Each Tone (Patch)
Rx SWITCH/DAMPER display (PATCH/CONTROL)
Checking the MIDI Message Reception
Status (Performance mode)
INFO display (PERFORM/INFO)
■Other
Using the Panic Function
Press [SHIFT] + [PANIC].
Adjusting the Tuning
Master parameter (SYSTEM/TUNE/TUNE)
Adjusting the Display Contrast
LCD Contrast parameter (SYSTEM/SETUP/SYSTEM
SETUP)
Restoring the Temporary
Performance/Patch/Rhythm Set to the
Factory Setting
1. Select a Performance, Patch, or Rhythm Set.
2. Press [UTIL/CARD].
3. Select “3: INIT” on the UTIL 1 display.
4. Select “PRESET”.
5. Press [ENTER].
Restoring the XP-30 to the Factory
Settings
1. Select a Performance, Patch, or Rhythm Set.
2. Press [UTIL/CARD].
3. Select “4: FACTORY RESET” on the UTIL 2 display.
4. Press [ENTER].
147
Appendices
Parameter List
■Patch Parameters
* Parameters that can be set independently for each Tone are indicated by “T.”
COMMON Group (p. 68)
Display Parameter Value
PATCH NAME —Patch name ASCII Characters (max. 12)
PATCH CATEGORY Category Patch category (*1)
PATCH CLOCK Source Patch clock source PATCH, SYSETEM
Tempo Patch tempo 20–250
PATCH COMMON Level Level 0–127
Pan Pan L64–0–63R
Analog Feel Analog feel depth 0–127
Octave Octave shift -3–0–+3
Stretch Stretch tune depth OFF, 1, 2, 3
Priority Voice priority LAST, LOUDEST
VelRang Velocity range switch OFF, ON
VELOCITY Lower Velocity range lower 1–Upper T
Upper Velocity range upper Lower–127 T
Cross Fade Velocity cross fade 0–127 T
KEY RANG Lower Key range lower C-1–Upper T
Upper Key range upper Lower–G9 T
STRUCT Type Structure type 1–10 T
Booster Booster gain 0, +6, +12, +18 dB T
*1: NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS,
SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH,
PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE,
DRUMS, COMBINATION
EFFECTS Group (p. 71)
Display Parameter Value
OUTPUT Output Assign Output assign MIX, EFX T
Output level 0–127 T
Chorus Chorus send level 0–127 T
Reverb Reverb send level 0–127 T
PATCH EFX TYPE Type EFX type (*1)
PATCH EFX PRM (*1) Patch EFX parameter
PATCH EFX OUT Mix Out EFX output level 0–127
Chorus Chorus send level 0–127
Reverb Reverb send level 0–127
PATCH EFX CTRL —EFX control source1, 2 (*2)
—EFX control depth1, 2 -63–+63
PATCH CHORUS Rate Chorus rate 0–127
Depth Chorus depth 0–127
Delay Chorus pre delay 0–127
Fbk Chorus feedback level 0–127
Level Chorus level 0–127
Out Chorus output assign MIX, REV, M+R
PATCH REVERB Type Reverb/Delay type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
Time Reverb/Delay time 0–127
Fbk Delay feedback level 0–127
HF Damp Reverb/Delay HF damp (*3)
Level Reverb/Delay level 0–127
*1: Refer to EFX parameters.
*2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
148
Parameter List
CONTROL Group (p. 73)
Display Parameter Value
KEY MODE&BENDER Assign Key assign mode POLY, SOLO
Legato Solo legato switch OFF, ON
Bend Range Bend range down -48–0 semitone
Bend range up 0–+12 semitone
PORTAMENTO Sw Portamento switch OFF, ON
Time Portamento time 0–127
Mode Portamento mode NORMAL, LEGATO
Type Portamento type RATE, TIME
Start Portamento start pitch PITCH, NOTE
RxSWITCH Volume Receive volume switch OFF, ON T
Pan Receive pan control switch OFF, CONT, KEY-ON T
Pitch Bend Receive pitch bend switch OFF, ON T
DAMPER Hold-1 RxSwitch Receive hold-1 switch OFF, ON T
Redamper Redamper switch OFF, ON T
PEAK & HOLD EfxCtrl EFX control peak/hold OFF, HOLD, PEAK
Ctrl 1 Control1 peak/hold OFF, HOLD, PEAK
Ctrl 2 Control2 peak/hold OFF, HOLD, PEAK
Ctrl 3 Control3 peak/hold OFF, HOLD, PEAK
CONTROL SOURCE Control 2 Control source 2 (*1)
Control 3 Control source 3 (*1)
CONTROL 1 Destination Control destination 1–4 (*2) T
Depth Control depth 1–4 -63–+63 T
CONTROL 2 Destination Control destination 1–4 (*2) T
Depth Control depth 1–4 -63–+63 T
CONTROL 3 Destination Control destination 1–4 (*2) T
Depth Control depth 1–4 -63–+63 T
*1: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH, LFO1, LFO2, VELOCITY,
KEYFOLLOW, PLAYMATE
*2: OFF, PCH, CUT, RES, LEV, PAN, MIX, CHO, REV, PL1, PL2, FL1, FL2, AL1, AL2, pL1, pL2, L1R, L2R
WAVE Group (p. 76)
Display Parameter Value
WAVE Group Wave group INT-A, INT-B, XP-A, XP-B, XP-C, XP-D, XP-E T
Number Wave number 001–255 T
Gain Wave gain -6, 0, +6, +12 dB T
Switch Tone switch OFF, ON T
FXM Switch Frequency cross modulation switch OFF, ON T
Color Frequency cross modulation color 1–4T
Depth Frequency cross modulation depth 1–16 T
TONE DELAY Mode Tone delay mode (*1) T
Time Tone delay time 0–127/0–880/0–5000 (*2) T
*1: NORMAL, HOLD, PLAYMATE, CLOCK-SYNC, KEY-OFF-N, KEY-OFF-D, TEMPO-SYNC
*2: When the Tone Delay Mode parameter is set to “CLOCK-SYNC” this is set as a Note value.
LFO Group (p. 78)
Display Parameter Value
LFO1 Form LFO form TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS T
Key Sync LFO key Sync OFF, ON T
Rate LFO rate 0–127, 0–880 (*1) T
ExtSync LFO external sync OFF, CLOCK T
Mode LFO fade mode ON-IN, ON-OUT, OFF-IN, OFF-OUT T
Delay LFO delay time 0–127 T
Fade LFO fade time 0–127 T
Offset LFO offset -100, -50, 0, +50, +100 T
LFO2 (*2) T
LFO DEPTH1:2 Pitch Pitch LFO depth 1, 2 -63–+63 T
TVF TVF LFO depth 1, 2 -63–+63 T
TVA TVA LFO depth 1, 2 -63–+63 T
Pan Pan LFO depth 1, 2 -63–+63 T
*1: When the LFO External Sync parameter is set to “CLOCK” this is set as a Note value.
*2: Same as LFO1.
149
Parameter List
Appendices
PITCH Group (p. 79)
Display Parameter Value
PITCH Coarse Coarse tune -48–+48 semitone T
Fine Fine tune -50–+50 cent T
Random Random pitch depth 0–1200 cent (*1) T
Keyfollow Pitch keyfollow -100–+200 (*2) T
PCH ENVELOPE Envelope Depth Pitch envelope depth -12–+12 T
Velocity Sens Pitch envelope velocity sens -100–+150 T
PCH TIME ENV V-T1 Pitch envelope time1 velocity sens -100–+100 (*3) T
V-T4 Pitch envelope time4 velocity sens -100–+100 (*3) T
Time Keyfollow Pitch envelope time keyfollow -100–+100 (*3) T
PCH ENVELOPE T1, T2, T3, T4 Pitch envelope time 1–40–127 T
L1, L2, L3, L4 Pitch envelope level 1–4 -63–+63 T
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
*2: -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
*3: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVF Group (p. 80)
Display Parameter Value
FILTER Type Filter type OFF, LPF, BPF, HPF, PKG T
Cut Cutoff frequency 0–127 T
Res Resonance 0–127 T
Keyfollow Cutoff frequency keyfollow -100–+200 (*1) T
Env Depth TVF envelope depth -63–+63 T
TVF VELOCITY V-Sens TVF envelope velocity sens -100–+150 T
V-Curve TVF envelope velocity curve 1–7T
V-Resonance Resonance velocity sens -100–+150 T
TVF TIME ENV V-T1 TVF envelope time1 velocity sens -100–+100 (*2) T
V-T4 TVF envelope time4 velocity sens -100–+100 (*2) T
Time Keyfollow TVF envelope time keyfollow -100–+100 (*2) T
TVF ENVELOPE T1, T2, T3, T4 TVF envelope time 1–40–127 T
L1, L2, L3, L4 TVF envelope level 1–40–127 T
*1:-100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVA Group (p. 81)
Display Parameter Value
TVA Level Level 0–127 T
Pan Pan L64–0–63R T
V-Sens TVA envelope velocity sens -100–+150 T
V-Curve TVA envelope velocity curve 1–7T
BIAS Bias Bias level -100–+100 (*1) T
Point Bias point C-1–G9 T
Direction Bias direction LOWER, UPPER, LOWER&UPPER, ALL T
PAN MODULATE Keyfollow Pan keyfollow -100–+100 (*1) T
Random Random pan depth 0–63 T
Alternate Alternate pan depth L63–0–63R T
TVA TIME ENV V-T1 TVA envelope time1 velocity sens -100–+100 (*1) T
V-T4 TVA envelope time4 velocity sens -100–+100 (*1) T
Time Keyfollow TVA envelope time keyfollow -100–+100 (*1) T
TVA ENVELOPE T1, T2, T3, T4 TVA envelope time 1–40–127 T
L1, L2, L3 TVA envelope level 1–30–127 T
*1: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
150
Parameter List
■Performance Parameters
* Parameters that can be set independently for each Part are indicated by “P.”
COMMON Group (p. 83)
Display Parameter Value
PERFORM NAME —Performance name ASCII Characters (max. 12)
PERFORM CLOCK Source Performance clock source PERFORM, SYSTEM
Tempo Performance tempo 20–250
PERFORM COMMON Key Mode Key mode LAYER, SINGLE
Key Range key range switch OFF, ON
KEY RANG Lower Key range lower C-1–Upper P
Upper Key range upper Lower–G9 P
KEYBOARD Octave Shift Octave shift -3–+3 P
EFFECTS Group (p. 84)
Display Parameter Value
OUTPUT Output Assign Output assign MIX, EFX, PATCH P
Output level 0–127 P
Chorus Chorus send level 0–127 P
Reverb Reverb send level 0–127 P
PERFORM EFX TYPE Type EFX type (*1)
Source EFX source PERFORM, 1–9, 11–16
PERFORM EFX PRM (*1) Performance EFX parameters
PERFORM EFX OUT Mix Out EFX output level 0–127
Chorus Chorus send level 0–127
Reverb Reverb send level 0–127
PERFORM EFX CTRL EFX control source 1 (*2)
EFX control depth 1 -63–+63
EFX control source 2 (*2)
EFX control depth 2 -63–+63
PERFORM CHORUS Rate Chorus rate 0–127
Depth Chorus depth 0–127
Delay Chorus pre delay 0–127
Fbk Chorus feedback level 0–127
Level Chorus level 0–127
Out Chorus output assign MIX, REV, M+R
PERFORM REVERB Type Reverb/Delay type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
Time Reverb/Delay time 0–127
Fbk Delay feedback level 0–127
HF Damp Reverb/Delay HF damp (*3)
Level Reverb/Delay level 0–127
*1: Refer to EFX parameters.
*2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
MIDI Group (p. 86)
Display Parameter Value
MIDI Channel MIDI channel 1–16 P
Rx Receive switch OFF, ON P
Tx Transmit switch OFF, ON P
Local Local switch OFF, ON P
RxSWITCH Volume Receive volume switch OFF, ON P
Hold-1 Receive hold-1 switch OFF, ON P
Program Change Receive program change switch OFF, ON P
TRANSMIT BankSelectGroup Transmit bank select group PATCH, BS1–BS7 P
Transmit Volume Transmit volume 0–127, OFF P
151
Parameter List
Appendices
PART Group (p. 87)
Display Parameter Value
PATCH Group Patch group USER, PR-A, PR-B, PR-C, GM, PR-E,
XP-A, XP-B, XP-C, XP-D, XP-E P
Number Patch number 001–256 P
SETTING Level Level 0–127 P
Pan Pan L64–0–63R P
Coarse Coarse tune -48–+48 semitone P
Fine Fine tune -50–+50 cent P
RESERVE Voice Reserve Voice reserve 0–64 P
INFORMATION Group (p. 87)
Display Parameter Value
INFO Mod Modulation information 0–127 P
Breath Breath information 0–127 P
Foot Foot information 0–127 P
Vol Volume information 0–127 P
Pan Pan information L64–0–63R P
Exp Expression information 0–127 P
Hold Hold1 information 0–127 P
Bend Pitch bend information -128–+127 P
Aft Aftertouch information 0–127 P
Sys1 System control 1 information 0–127/-128–+127 P
Sys2 System control 2 information 0–127/-128–+127 P
Voices Voice information 0–64 P
■Rhythm Set Parameters
COMMON Group (p. 88)
Display Parameter Value
RHYTHM NAME —Rhythm set name ASCII Characters (max. 12)
EFFECTS Group (p. 88)
Display Parameter Value
OUTPUT Output Assign Output assign MIX, EFX
Output level 0–127
Chorus Chorus send level 0–127
Reverb Reverb send level 0–127
PERFORM EFX TYPE Type EFX type (*1)
Source EFX source PERFORM, 1–9, 11–16
PERFORM EFX PRM (*1) Performance EFX parameters
PERFORM EFX OUT Mix Out EFX output level 0–127
Chorus Chorus send level 0–127
Reverb Reverb send level 0–127
PERFORM EFX CTRL EFX control source 1 (*2)
EFX control depth 1 -63–+63
EFX control source 2 (*2)
EFX control depth 2 -63–+63
PERFORM CHORUS Rate Chorus rate 0–127
Depth Chorus depth 0–127
Delay Chorus pre delay 0–127
Fbk Chorus feedback level 0–127
Level Chorus level 0–127
Out Chorus output assign MIX, REV, M+R
PERFORM REVERB Type Reverb/Delay type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
Time Reverb/Delay time 0–127
Fbk Delay feedback level 0–127
HF Damp Reverb/Delay HF damp (*3)
Level Reverb/Delay level 0–127
*1: Refer to EFX parameters.
*2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
152
Parameter List
CONTROL Group (p. 90)
Display Parameter Value
CONTROL Bend Range Bend range 0–12
Env Mode Envelope mode NO-SUS, SUSTAIN
Mute Group Mute group OFF, 1–31
RxSWITCH Volume Receive volume switch OFF, ON
Pan Receive pan control switch OFF, CONT, KEY-ON
Hold-1 Receive hold-1 switch OFF, ON
WAVE Group (p. 90)
Display Parameter Value
WAVE Group Wave group INT-A, INT-B, XP-A, XP-B, XP-C, XP-D, XP-E
Number Wave number 001–255
Gain Wave gain -6, 0, +6, +12 dB
Switch Key switch OFF, ON
PITCH Group (p. 91)
Display Parameter Value
PITCH Coarse Coarse tune C-1–G9
Fine Fine tune -50–+50 cent
Random Random pitch depth 0–1200 cent (*1)
Env Depth Pitch envelope depth -12–+12
PCH VELOCITY Velocity Sens Pitch envelope velocity sens -100–+150
Velocity Time Pitch envelope time velocity sens -100–+100 (*2)
PCH ENVELOPE T1, T2, T3, T4 Pitch envelope time 1–40–127
L1, L2, L3, L4 Pitch envelope level 1–4 -63–+63
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVF Group (p. 91)
Display Parameter Value
FILTER Type Filter type OFF, LPF, BPF, HPF, PKG
Cutoff Cutoff frequency 0–127
Resonance Resonance 0–127
Env Depth TVF Envelope depth -63–+63
TVF VELOCITY V-Sens TVF envelope velocity sens -100–+150
V-Time TVF envelope time velocity sens -100–+100 (*1)
V-Resonance Resonance velocity sens -100–+150
TVF ENVELOPE T1–4 TVF envelope time 1–40–127
L1–4 TVF envelope level 1–40–127
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVA Group (p. 92)
Display Parameter Value
TVA Level Level 0–127
Pan Pan L64–0–63R
Random Random pan depth 0–63
Alternate Alternate pan depth L63–0–63R
TVA VELOCITY Velocity Sens TVA envelope velocity sens -100–+150
Velocity Time TVA envelope time velocity sens -100–+100 (*1)
TVA ENVELOPE T1–4 TVA envelope time 1–40–127
L1–3 TVA envelope level 1–30–127
*1: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
153
Parameter List
Appendices
■GM Mode Parameters
* Parameters that can be set independently for each Part are indicated by “P.”
EFFECTS Group (p. 125)
Display Parameter Value
OUTPUT Output Assign Output assign MIX, EFX P
Output level 0–127 P
Chorus Chorus send level 0–127 P
Reverb Reverb send level 0–127 P
GM EFX TYPE Type EFX type (*1)
GM EFX PRM (*1) GM EFX parameters
GM EFX OUT Mix Out EFX output level 0–127
Chorus Chorus send level 0–127
Reverb Reverb send level 0–127
GM CHORUS Rate Chorus rate 0–127
Depth Chorus depth 0–127
Delay Chorus pre delay time 0–127
Fbk Chorus feedback level 0–127
Level Chorus level 0–127
Out Chorus output assign MIX, REV, M+R
GM REVERB Type Reverb/Delay type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
Time Reverb/Delay time 0–127
Fbk Delay Feedback level 0–127
HF Damp Reverb/Delay HF damp (*2)
Level Reverb/Delay level 0–127
*1: Refer to EFX parameters.
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
PART Group (p. 127)
Display Parameter Value
PATCH Number GMPatch number 001–128 P
SETTING Volume Volume 0–127 P
Pan Pan L64–0–63R P
Coarse Coarse tune -48–+48 semitone P
Fine Fine tune -50–+50 cent P
INFORMATION Group (p. 127)
Display Parameter Value
INFO Mod Modulation information 0–127 P
Breath Breath information 0–127 P
Foot Foot information 0–127 P
Vol Volume information 0–127 P
Pan Pan information L64–0–63R P
Exp Expression information 0–127 P
Hold Hold1 information 0–127 P
Bend Pitch bend information -128–+127 P
Aftertouch Aftertouch information 0–127 P
Voices Voice information 0–64 P
154
Parameter List
■EFX Parameters
1: STEREO-EQ (p. 93)
Parameter Value
LowFreq Low frequency 200, 400 Hz
LowGain Low gain -15–+15 dB
Hi Freq High frequency 4000, 8000 Hz
Hi Gain Hi gain -15–+15 dB
P1 Freq Peaking1 frequency 200–8000Hz (*1)
P1 Q Peaking1 Q 0.5, 1.0, 2.0, 4.0, 8.0
P1 Gain Peaking1 gain -15–+15 dB
P2 Freq Peaking2 frequency 200–8000 Hz (*1)
P2 Q Peaking2 Q 0.5, 1.0, 2.0, 4.0, 8.0
P2 Gain Peaking2 gain -15–+15 dB
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
2: OVERDRIVE (p. 93)
Parameter Value
Drive Drive 0–127
Level Output level 0–127
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
AmpType Amp simulator type SMALL, BUILT-IN,
2-STACK, 3-STACK
Pan Output pan L64–0–63R
3: DISTORTION (p. 93)
Parameter Value
Drive Drive 0–127
Level Output level 0–127
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
AmpType Amp simulator type SMALL, BUILT-IN,
2-STACK, 3-STACK
Pan Output pan L64–0–63R
4: PHASER (p. 94)
Parameter Value
Manual Manual 100–8000 Hz
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Res Resonance 0–127
Mix Mix level 0–127
Pan Output pan L64–0–63R
Level Output level 0–127
5: SPECTRUM (p. 94)
Parameter Value
Band 1 Band1 gain -15–+15 dB
Band 2 Band2 gain -15–+15 dB
Band 3 Band3 gain -15–+15 dB
Band 4 Band4 gain -15–+15 dB
Band 5 Band5 gain -15–+15 dB
Band 6 Band6 gain -15–+15 dB
Band 7 Band7 gain -15–+15 dB
Band 8 Band8 gain -15–+15 dB
Q Q 0.5, 1.0, 2.0, 4.0, 8.0
Pan Output pan L64–0–63R
Level Output level 0–127
6: ENHANCER (p. 94)
Parameter Value
Sens Sens 0–127
Mix Mix level 0–127
Low Gain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Level Output level 0–127
7: AUTO-WAH (p. 95)
Parameter Value
Filter Filter type LPF, BPF
Sens Sens 0–127
Manual Manual 0–127
Peak Peak 0–127
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Level Output level 0–127
8: ROTARY (p. 95)
Parameter Value
LowSlow Low frequency slow rate 0.05–10.00 Hz
LowFast Low frequency fast rate 0.05–10.00 Hz
LowAccl Low frequency acceleration 0–15
Low Lvl Low frequency level 0–127
Hi Slow High frequency slow rate 0.05–10.00 Hz
Hi Fast High frequency fast rate 0.05–10.00 Hz
Hi Accl High frequency acceleration 0–15
Hi Lvl High frequency level 0–127
Separation Separation 0–127
Speed Speed SLOW, FAST
Level Output level 0–127
9: COMPRESSOR (p. 96)
Parameter Value
Attack Attack 0–127
Sustain Sustain 0–127
Post Gain Post gain 0, +6, +12, +18 dB
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Pan Output pan L64–0–63R
Level Output level 0–127
10: LIMITER (p. 96)
Parameter Value
Thresh Threshold level 0–127
Ratio Compression ratio 1.5:1, 2:1, 4:1, 100:1
Release Release time 0–127
Gain Post gain 0, +6, +12, +18 dB
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Pan Output pan L64–0–63R
Level Output level 0–127
11: HEXA-CHORUS (p. 96)
Parameter Value
Pre Dly Pre delay time 0.0–100.0 ms
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Dly Dev Pre delay deviation 0–20
Dpt Dev Depth deviation -20–+20
Pan Dev Pan deviation 0–20
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
155
Parameter List
Appendices
12: TREMOLO-CHORUS (p. 97)
Parameter Value
Pre Dly Pre delay time 0.0–100.0 ms
ChoRate Chorus rate 0.05–10.00 Hz
Cho Dpt Chorus depth 0–127
Phase Tremolo phase 0–180 degree
TrmRate Tremolo rate 0.05–10.00 Hz
Trm Sep Tremolo separation 0–127
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
13: SPACE-D (p. 97)
Parameter Value
Pre Dly Pre delay time 0.0–100.0 ms
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Phase Phase 0–180 degree
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
14: STEREO-CHORUS (p. 97)
Parameter Value
Pre Dly Pre delay time 0.0–100.0 ms
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Phase Phase 0–180 degree
Filter Type Filter type OFF, LPF, HPF
Cutoff Cutoff frequency 200–8000 Hz (*1)
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
15: STEREO-FLANGER (p. 98)
Parameter Value
Pre Dly Pre delay time 0.0–100.0 ms
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Fbk Feedback level -98–+98%
Phase Phase 0–180 degree
Filter Type Filter type OFF, LPF, HPF
Cutoff Cutoff frequency 200–8000 Hz (*1)
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
16: STEP-FLANGER (p. 98)
Parameter Value
Pre Dly Pre delay time 0.0–100.0 ms
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Fbk Feedback level -98–+98%
Phase Phase 0–180 degree
Step Rate Step rate 0.10–20.00 Hz, note
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
17: STEREO-DELAY (p. 99)
Parameter Value
Delay L Delay time left 0.0–500.0 ms
Delay R Delay time right 0.0–500.0 ms
Fbk Feedback level -98–+98%
Mode Feedback mode NORMAL, CROSS
Phase L Feedback phase left NORMAL, INVERT
Phase R Feedback phase right NORMAL, INVERT
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
18: MODULATION-DELAY (p. 99)
*ParameterValue
Delay L Delay time left 0.0–500.0 ms
Delay R Delay time right 0.0–500.0 ms
Fbk Feedback level -98–+98%
Mode Feedback mode NORMAL, CROSS
Rate Rate 0.05–10.00 Hz
Depth Depth 0–127
Phase Phase 0–180 degree
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
19: TRIPLE-TAP-DELAY (p. 100)
Parameter Value
Delay C Delay time center 200–1000 ms, note
Delay L Delay time left 200–1000 ms, note
Delay R Delay time right 200–1000 ms, note
Fbk Feedback level -98–+98%
Level C Center level 0–127
Level L Left level 0–127
Level R Right level 0–127
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
156
Parameter List
20: QUADRUPLE-TAP-DELAY (p. 101)
Parameter Value
Delay 1 Delay time 1 200–1000 ms, note
Delay 2 Delay time 2 200–1000 ms, note
Delay 3 Delay time 3 200–1000 ms, note
Delay 4 Delay time 4 200–1000 ms, note
Level 1 Level 1 0–127
Level 2 Level 2 0–127
Level 3 Level 3 0–127
Level 4 Level 4 0–127
Fbk Feedback level -98–+98%
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
21: TIME-CONTROL-DELAY (p. 101)
Parameter Value
Delay Delay time 200–1000 ms
Accel Acceleration 0–15
Fbk Feedback level -98–+98%
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
Pan Output pan L64–0–63R
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
22: 2 VOICE-PITCH-SHIFTER (p. 102)
Parameter Value
CoarseA Coarse pitch A -24–+12 semitone
Fine A Fine pitch A -100–+100 cent
Pan A Output pan A L64–0–63R
PreDlyA Pre delay time A 0.0–500.0 ms
CoarseB Coarse pitch B -24–+12 semitone
Fine B Fine pitch B -100–+100 cent
Pan B Output pan B L64–0–63R
PreDlyB Pre delay time B 0.0–500.0 ms
Mode Pitch shifter mode 1, 2, 3, 4, 5
Lvl Bal Level balance A100:0B–A0:100B
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
23: FBK-PITCH-SHIFTER (p. 102)
Parameter Value
Coarse Coarse pitch -24–+12 semitone
Fine Fine pitch -100–+100 cent
Fbk Feedback level -98–+98%
Pre Dly Pre delay time 0.0–500.0 ms
Mode Pitch shifter mode 1, 2, 3, 4, 5
Pan Output pan L64–0–63R
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
24: REVERB (p. 103)
Parameter Value
Type Reverb type ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
Pre Dly Pre delay time 0.0–100.0 ms
Time Gate time 0–127
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
25: GATE-REVERB (p. 103)
Parameter Value
Type Gate-Reverb type NORMAL, REVERSE,
SWEEP1, SWEEP2
Pre Dly Pre delay time 0.0–100.0 ms
Gate Time Gate time 5–500 ms
LowGain Low gain -15–+15 dB
Hi Gain High gain -15–+15 dB
Balance Effect balance D100:0W–D0:100W
Level Output level 0–127
26: OVERDRIVE→CHORUS (p. 103)
Parameter Value
OD Drive Drive 0–127
OD Pan Over drive pan L64–0–63R
Cho Dly Chorus pre delay time 0.0–100.0 ms
ChoRate Chorus Rate 0.05–10.00 Hz
Chorus Depth Chorus depth 0–127
Chorus Balance Chorus balance D100:0W–D0:100W
Level Output level 0–127
27: OVERDRIVE→FLANGER (p. 104)
Parameter Value
OD Drive Drive 0–127
OD Pan Over drive pan L64–0–63R
Flg Dly Flanger pre delay time 0.0–100.0 ms
FlgRate Flanger rate 0.05–10.00 Hz
Flg Dpt Flanger depth 0–127
Flg Fbk Flanger feedback level -98–+98%
Flanger Balance Flanger balance D100:0W–D0:100W
Level Output level 0–127
28: OVERDRIVE→DELAY (p. 104)
Parameter Value
OD Drive Drive 0–127
OD Pan Over drive pan L64–0–63R
DlyTime Delay time 0.0–500.0 ms
Dly Fbk Delay feedback level -98–+98%
Delay HF Damp Delay HF damp 200–8000 Hz,
BYPASS (*1)
Delay Balance Delay balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
157
Parameter List
Appendices
29: DISTORTION→CHORUS (p. 104)
The parameters are essentially the same as "26: OVERDRIVE →CHORUS,"
with the exception of the following two.
OD Drive→Dist Drive, OD Pan→Dist Pan
30: DISTORTION→FLANGER (p. 105)
The parameters are essentially the same as "27: OVERDRIVE →FLANGER,"
with the exception of the following two.
OD Drive→Dist Drive, OD Pan→Dist Pan
31: DISTORTION→DELAY (p. 105)
The parameters are essentially the same as "28: OVERDRIVE →DELAY," with
the exception of the following two.
OD Drive→Dist Drive, OD Pan→Dist Pan
32: ENHANSER→CHORUS (p. 105)
Parameter Value
Enhancer Sens Enhancer sens 0–127
Enhancer Mix Enhancer mix level 0–127
Cho Dly Chorus pre delay time 0.0–100.0 ms
ChoRate Chorus rate 0.05–10.00 Hz
Chorus Depth Chorus depth 0–127
Chorus Balance Chorus balance D100:0W–D0:100W
Level Output level 0–127
33: ENHANSER→FLANGER (p. 105)
Parameter Value
Enhancer Sens Enhancer sens 0–127
Enhancer Mix Enhancer mix level 0–127
Flg Dly Flanger pre delay time 0.0–100.0 ms
FlgRate Flanger rate 0.05–10.00 Hz
Flg Dpt Flanger depth 0–127
Flg Fbk Flanger feedback level -98–+98%
Flanger Balance Flanger balance D100:0W–D0:100W
Level Output level 0–127
34: ENHANSER→DELAY (p. 106)
Parameter Value
Enhancer Sens Enhancer sens 0–127
Enhancer Mix Enhancer mix level 0–127
Delay Delay time 0.0–500.0 ms
Dly Fb Delay feedback level -98–+98%
Delay HF Damp Delay HF damp 200–8000 Hz,
BYPASS (*1)
Delay Balance Delay balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
35: CHORUS→DELAY (p. 106)
Parameter Value
Cho Dly Chorus pre delay time 0.0–100.0 ms
ChoRate Chorus rate 0.05–10.00 Hz
Cho Dpt Chorus depth 0–127
Cho Bal Chorus balance D100:0W–D0:100W
DlyTime Delay time 0.0–500.0 ms
Dly Fbk Delay Feedback level -98–+98%
Delay HF Damp Delay HF damp 200–8000 Hz,
BYPASS (*1)
Delay Balance Delay balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
36: FLANGER→DELAY (p. 106)
Parameter Value
Flg Dly Flanger pre delay time 0.0–100.0 ms
FlgRate Flanger rate 0.05–10.00 Hz
Flg Dpt Flanger depth 0–127
Flg Fbk Flanger feedback level -98–+98%
Flg Bal Flanger balance D100:0W–D0:100W
DlyTime Delay time 0.0–500.0 ms
Dly Fbk Delay feedback level -98–+98%
HF Damp HF damp 200–8000 Hz,
BYPASS (*1)
Delay Balance Delay balance D100:0W–D0:100W
Level Output level 0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
37: CHORUS→FLANGER (p. 107)
Parameter Value
Cho Dly Chorus pre delay time 0.0–100.0 ms
ChoRate Chorus rate 0.05–10.00 Hz
Cho Dpt Chorus depth 0–127
Cho Bal Chorus balance D100:0W–D0:100W
Flg Dly Flanger pre delay time 0.0–100.0 ms
FlgRate Flanger rate 0.05–10.00 Hz
Flg Dpt Flanger depth 0–127
Flg Fbk Flanger feedback level -98–+98%
Flanger Balance Flanger balance D100:0W–D0:100W
Level Output level 0–127
38: CHORUS/DELAY (p. 107)
Refer to “35: CHORUS→DELAY.”
39: FLANGER/DELAY (p. 107)
Refer to “36: FLANGER→DELAY.”
40: CHORUS/FLANGER (p. 107)
Refer to “37: CHORUS→FLANGER.”
158
Parameter List
■System Parameters
SETUP Group (p. 108)
Display Parameter Value
SYSTEM SETUP LCD LCD contrast 1–10
Power Up Mode Power up mode LAST-SET, DEFAULT
Patch Remain Patch remain switch OFF, ON
Clock Source Clock source INT, MIDI
System Tempo System tempo 20–250
Category Select Mode Category select mode LAST-SET, DEFAULT
ARPEGGIO Group (p. 108)
Display Parameter Value
ARPEGGIO Style Style (*1)
Octave Range Octave range -3–+3
Motif Motif (*2)
Beat Pattern Beat pattern (*3)
Accent Rate Accent rate 0–100%
Shuffle Rate Shuffle rate 50–90%
Key Velocity Key velocity REAL, 1–127
Part Arpeggio part 1–16
Tempo Tempo 20–250
*1: 1/4, 1/6, 1/8, 1/12, 1/16, 1/32, PORTAMENTO A, PORTAMENTO B, GLISSANDO, SEQUENCE A, SEQUENCE B, SEQUENCE C, SEQUENCE D, ECHO, SYNTH
BASS, SLAP BASS A, SLAP BASS B, WALK BASS, RHYTHM GTR A, RHYTHM GTR B, RHYTHM GTR C, RHYTHM GTR D, RHYTHM GTR E, 3 FINGER GTR,
STRUMMING GTR, KBD COMPING A, KBD COMPING B, KBD COMPING C, KBD COMPING D, KBD COMPING E, PERCUSSION, HARP, SHAMISEN, BOUND
BALL, RANDOM, BOSSA NOVA, SALSA, MAMBO, LATIN PERCUSSION, SAMBA, TANGO, HOUSE, LIMITLESS
*2: SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, TRIPLE UP, TRIPLE
DOWN, TRIPLE UP&DOWN, TRIPLE RANDOM, NOTE ORDER, GLISSANDO, CHORD, BASS+CHORD1–5, BASS+UP1–8, BASS+RANDOM1–3, TOP+UP1–6,
BASS+UP+TOP
*3: 1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A 01–11, PORTA-B 01–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1–2, SEQ-D 1–8, ECHO 1–3, MUTE 01–16, STRUM
1–8, REGGAE1–2, REFRAIN 1–2, PERC1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUIRO,
AGOGO, SAMBA, TANGO 1–4, HOUSE 1–2
CONTROL Group (p. 110)
Display Parameter Value
KEYBOARD Transpose Transpose switch OFF, ON
Transpose value -5 (G)–+6 (F#)
Sens Keyboard sens LIGHT, MEDIUM, HEAVY
Vel Keyboard velocity REAL, 1–127
Aft Aftertouch sens 0–100
HOLD PEDAL Output Pedal output OFF, INT, MIDI, BOTH
Polarity Pedal polarity STANDARD, REVERSE
CONTROL PEDAL Assign Pedal assign (*1)
Output Pedal output OFF, INT, MIDI, BOTH
Polarity Pedal polarity STANDARD, REVERSE
C1/2/3/4 ASSIGN Assign C1/C2/C3/C4 slider assign (*2)
Output C1/C2/C3/C4 slider output OFF, INT, MIDI, BOTH
SYS-CTRL ASSIGN Control 1/2 System control assign 1/2 (*2)
CONTROL SOURCE Hold Hold control source OFF, HOLD1, SOST, SOFT, HOLD2
Peak Peak control source OFF, HOLD1, SOST, SOFT, HOLD2
Volume Volume control source VOLUME, VOL&EXP
Aftertouch Aftertouch control source CHANNEL, POLY, CH&POLY
*1: CC00–95 (except for 6, 32-63), PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, TAP-TEMPO, OCT-UP, OCT-DOWN
*2: CC00–95 (except for 6, 32-63), PITCH BEND, AFTERTOUCH
159
Parameter List
Appendices
MIDI Group (p. 112)
Display Parameter Value
PERFORM MIDI Control Channel Performance control channel 1–16, OFF
Local Local switch OFF, ON
Remote Remote keyboard switch OFF, ON
PATCH MIDI Rx-Ch Patch mode receive channel 1–16
Tx-Ch Patch mode transmit channel 1–16, Rx-Ch, OFF
Local Local switch OFF, ON
Remote Remote keyboard switch OFF, ON
GM MIDI Local Switch Local switch OFF, ON
RECEIVE MIDI Program Change Receive program change switch OFF, ON
Bank Select Receive bank select switch OFF, ON
TRANSMIT MIDI Program Transmit program change switch OFF, ON
Bank Sel Transmit bank select switch OFF, ON
Active Sensing Transmit active sensing switch OFF, ON
SYS-EXC MIDI Device# Exclusive device ID number 17–32
Rx.Exc Receive exclusive switch OFF, ON
Tx.Edit Transmit edit data switch OFF, ON
Rx.GM Receive GM exclusive switch OFF, ON
BANK-SEL GROUP Number Bank select group number 1–7
Switch Bank select transmit switch OFF, ON
MSB Bank select MSB 0–127
LSB Bank select LSB 0–127
PREVIEW Group (p. 113)
Display Parameter Value
PREVIEW MODE Mode Preview sound mode SINGLE, CHORD, PHRASE
PREVIEW KEY Note 1–4 Preview Note Set 1–4 C-1–G9
PREVIEW VELOCITY Note 1–4 Preview velocity 0–127
TUNE Group (p. 113)
Display Parameter Value
TUNE Master Master tune 427.4–452.6 Hz
Key Shift Key shift -12–+12 semitone
Scale Tune Scale tune switch OFF, ON
PATCH SCALE C–B Scale tune C–B -64–+63 cent
KEY SCALE C–B Scale tune C–B -64–+63 cent
PGM CHNG Group (p. 114)
Display Parameter Value
TRANSMIT P.C Channel Transmit MIDI channel 1–16
P.C# Transmit program change 1–128
Bnk-MSB Transmit bank select MSB 0–127
Bnk-LSB Transmit bank select LSB 0–127
INFO Group (p. 114)
Display Parameter Value
INFO EXP Expansion D Expansion board name D
Expansion E Expansion board name E
BATTERY CHECK Internal Battery Battery check LOW, OK
160
Waveform List
INT-A (Internal A)
No. Name
001 Ac Piano1 A
002 Ac Piano1 B
003 Ac Piano1 C
004 Ac Piano2 pA
005 Ac Piano2 pB
006 Ac Piano2 pC
007 Ac Piano2 fA *
008 Ac Piano2 fB *
009 Ac Piano2 fC *
010 Piano Thump *
011 Piano Up TH *
012 MKS-20 P3 A
013 MKS-20 P3 B
014 MKS-20 P3 C
015 SA Rhodes 1A
016 SA Rhodes 1B
017 SA Rhodes 1C
018 SA Rhodes 2A
019 SA Rhodes 2B
020 SA Rhodes 2C
021 E.Piano 1A
022 E.Piano 1B
023 E.Piano 1C
024 E.Piano 2A
025 E.Piano 2B
026 E.Piano 2C
027 E.Piano 3A
028 E.Piano 3B
029 E.Piano 3C
030 MK-80 EP A
031 MK-80 EP B
032 MK-80 EP C
033 D-50 EP A
034 D-50 EP B
035 D-50 EP C
036 Celesta
037 Music Box
038 Clav 1A
039 Clav 1B
040 Clav 1C
041 Organ 1
042 Jazz Organ 1
043 Jazz Organ 2
044 Organ 2
045 Organ 3
046 Organ 4
047 Rock Organ
048 Dist. Organ
049 Rot.Org Slw
050 Rot.Org Fst
051 Pipe Organ
No. Name
052 Nylon Gtr A
053 Nylon Gtr B
054 Nylon Gtr C
055 6-Str Gtr A
056 6-Str Gtr B
057 6-Str Gtr C
058 Gtr Harm A
059 Gtr Harm B
060 Gtr Harm C
061 Comp Gtr A
062 Comp Gtr B
063 Comp Gtr C
064 Comp Gtr A+
065 Mute Gtr 1
066 Mute Gtr 2A
067 Mute Gtr 2B
068 Mute Gtr 2C
069 Pop Strat A
070 Pop Strat B
071 Pop Strat C
072 Jazz Gtr A
073 Jazz Gtr B
074 Jazz Gtr C
075 JC Strat A
076 JC Strat B
077 JC Strat C
078 JC Strat A+
079 JC Strat B+
080 JC Strat C+
081 Clean Gtr A
082 Clean Gtr B
083 Clean Gtr C
084 Stratus A
085 Stratus B
086 Stratus C
087 OD Gtr A
088 OD Gtr B
089 OD Gtr C
090 OD Gtr A+
091 Heavy Gtr A
092 Heavy Gtr B
093 Heavy Gtr C
094 Heavy Gtr A+
095 Heavy Gtr B+
096 Heavy Gtr C+
097 PowerChord A
098 PowerChord B
099 PowerChord C
100 EG Harm
101 Gt.FretNoise *
102 Syn Gtr A
No. Name
103 Syn Gtr B
104 Syn Gtr C
105 Harp 1A
106 Harp 1B
107 Harp 1C
108 Banjo A
109 Banjo B
110 Banjo C
111 Sitar A
112 Sitar B
113 Sitar C
114 Dulcimer A
115 Dulcimer B
116 Dulcimer C
117 Shamisen A
118 Shamisen B
119 Shamisen C
120 Koto A
121 Koto B
122 Koto C
123 Pick Bass A
124 Pick Bass B
125 Pick Bass C
126 Fingerd Bs A
127 Fingerd Bs B
128 Fingerd Bs C
129 E.Bass
130 Fretless A
131 Fretless B
132 Fretless C
133 UprightBs 1
134 UprightBs 2A
135 UprightBs 2B
136 UprightBs 2C
137 Slap Bass 1
138 Slap & Pop
139 Slap Bass 2
140 Slap Bass 3
141 Jz.Bs Thumb
142 Jz.Bs Slap 1
143 Jz.Bs Slap 2
144 Jz.Bs Slap 3
145 Jz.Bs Pop
146 Syn Bass A
147 Syn Bass C
148 Mini Bs 1A
149 Mini Bs 1B
150 Mini Bs 1C
151 Mini Bs 2
152 Mini Bs 2+
153 MC-202 Bs A
No. Name
154 MC-202 Bs B
155 MC-202 Bs C
156 Flute 1A
157 Flute 1B
158 Flute 1C
159 Blow Pipe
160 Bottle
161 Shakuhachi
162 Clarinet A
163 Clarinet B
164 Clarinet C
165 Oboe mf A
166 Oboe mf B
167 Oboe mf C
168 Sop.Sax mf A
169 Sop.Sax mf B
170 Sop.Sax mf C
171 Alto Sax 1A
172 Alto Sax 1B
173 Alto Sax 1C
174 Tenor Sax A
175 Tenor Sax B
176 Tenor Sax C
177 Bari.Sax f A
178 Bari.Sax f B
179 Bari.Sax f C
180 Harmonica A
181 Harmonica B
182 Harmonica C
183 Chanter
184 Tpt Sect. A
185 Tpt Sect. B
186 Tpt Sect. C
187 Trumpet 1A
188 Trumpet 1B
189 Trumpet 1C
190 Trumpet 2A
191 Trumpet 2B
192 Trumpet 2C
193 HarmonMute1A
194 HarmonMute1B
195 HarmonMute1C
196 Trombone 1
197 French 1A
198 French 1C
199 F.Horns A
200 F.Horns B
201 F.Horns C
202 Violin A
203 Violin B
204 Violin C
No. Name
205 Cello A
206 Cello B
207 Cello C
208 ST.Strings-R
209 ST.Strings-L
210 MonoStringsA
211 MonoStringsC
212 Pizz *
213 JP Strings1A
214 JP Strings1B
215 JP Strings1C
216 JP Strings2A
217 JP Strings2B
218 JP Strings2C
219 Soft Pad A
220 Soft Pad B
221 Soft Pad C
222 Fantasynth A
223 Fantasynth B
224 Fantasynth C
225 D-50 HeavenA
226 D-50 HeavenB
227 D-50 HeavenC
228 Fine Wine
229 D-50 Brass A
230 D-50 Brass B
231 D-50 Brass C
232 D-50 BrassA+
233 DualSquare A
234 DualSquare C
235 DualSquareA+
236 Pop Voice
237 Syn Vox 1
238 Syn Vox 2
239 Voice Aahs A
240 Voice Aahs B
241 Voice Aahs C
242 Voice Oohs1A
243 Voice Oohs1B
244 Voice Oohs1C
245 Voice Oohs2A
246 Voice Oohs2B
247 Voice Oohs2C
248 Voice Breath
249 Male Ooh A
250 Male Ooh B
251 Male Ooh C
252 Org Vox A
253 Org Vox B
254 Org Vox C
255 Vox Noise
*: Waveform marked “*” are One-shot type waveforms (non-sustaining).
161
Waveform List
Appendices
INT-B (Internal B)
No. Name
001 Kalimba
002 Marimba Wave
003 Log Drum
004 Vibes
005 Bottle Hit
006 Glockenspiel
007 Tubular
008 Steel Drums
009 Fanta Bell A
010 Fanta Bell B
011 Fanta Bell C
012 FantaBell A+
013 Org Bell
014 Agogo
015 DIGI Bell 1
016 DIGI Bell 1+
017 DIGI Chime
018 Wave Scan
019 Wire String
020 2.2 Bellwave
021 2.2 Vibwave
022 Spark VOX
023 MMM VOX
024 Lead Wave
025 Synth Reed
026 Synth Saw 1
027 Synth Saw 2
028 Syn Saw 2inv
029 Synth Saw 3
030 JP-8 Saw A
031 JP-8 Saw B
032 JP-8 Saw C
033 P5 Saw A
034 P5 Saw B
035 P5 Saw C
036 D-50 Saw A
037 D-50 Saw B
038 D-50 Saw C
039 Synth Square
040 JP-8 SquareA
041 JP-8 SquareB
042 JP-8 SquareC
043 Synth Pulse1
044 Synth Pulse2
045 Triangle
046 Sine
047 Org Click *
048 White Noise
049 Pink Noise
050 Metal Wind
051 Wind Agogo
No. Name
052 Feedbackwave
053 Spectrum
054 BreathNoise *
055 Rattles
056 Ice Rain
057 Tin Wave
058 Anklungs
059 Wind Chimes
060 Orch. Hit *
061 Tekno Hit *
062 Back Hit *
063 Philly Hit *
064 Scratch 1 *
065 Scratch 2
066 Scratch 3 *
067 Natural SN1 *
068 Natural SN2 *
069 Piccolo SN *
070 Ballad SN *
071 SN Roll *
072 808 SN *
073 Brush Slap *
074 Brush Swish *
075 Brush Roll
076 Dry Stick *
077 Side Stick *
078 Lite Kick *
079 Hybrid Kick1 *
080 Hybrid Kick2 *
081 Old Kick *
082 Verb Kick *
083 Round Kick *
084 808 Kick
085 Verb Tom Hi *
086 Verb Tom Lo *
087 Dry Tom Hi
088 Dry Tom Lo
089 Cl HiHat 1 *
090 Cl HiHat 2 *
091 Op HiHat
092 Pedal HiHat *
093 606 HiHat Cl *
094 606 HiHat Op
095 808 Claps *
096 Hand Claps *
097 Finger Snaps *
098 Ride 1
099 Ride 2
100 Ride Bell 1
101 Crash 1
102 China Cym
No. Name
103 Cowbell 1 *
104 Wood Block *
105 Claves *
106 Bongo Hi *
107 Bongo Lo *
108 Cga Open Hi *
109 Cga Open Lo *
110 Cga Mute Hi *
111 Cga Mute Lo *
112 Cga Slap *
113 Timbale *
114 Cabasa Up *
115 Cabasa Down *
116 Cabasa Cut *
117 Maracas *
118 Long Guiro *
119 Tambourine *
120 Open Triangl
121 Cuica *
122 Vibraslap
123 Timpani
124 Applause
125 REV Orch.Hit *
126 REV TeknoHit *
127 REV Back Hit *
128 REV PhillHit *
129 REV Steel DR
130 REV Tin Wave
131 REV NatrlSN1 *
132 REV NatrlSN2 *
133 REV PiccloSN *
134 REV BalladSN *
135 REV Side Stk *
136 REV SN Roll *
137 REV Brush 1 *
138 REV Brush 2 *
139 REV Brush 3
140 REV LiteKick *
141 REV HybridK1 *
142 REV HybridK2 *
143 REV Old Kick *
144 REV Timpani *
145 REV VerbTomH *
146 REV VerbTomL *
147 REV DryTom H
148 REV DryTom M
149 REV ClHiHat1 *
150 REV ClHiHat2 *
151 REV Op HiHat *
152 REV Pedal HH *
153 REV 606HH Cl *
No. Name
154 REV 606HH Op *
155 REV Ride
156 REV Cup
157 REV Crash 1 *
158 REV China *
159 REV DrySick *
160 REV RealCLP *
161 REV FingSnap *
162 REV Cowbell *
163 REV WoodBlck *
164 REV Clve *
165 REV Conga *
166 REV Tamb *
167 REV Maracas *
168 REV Guiro *
169 REV Cuica *
170 REV Metro *
171 Loop 1
172 Loop 2
173 Loop 3
174 Loop 4
175 Loop 5
176 Loop 6
177 Loop 7
178 R8 Click *
179 Metronome 1
180 Metronome 2 *
181 MC500 Beep 1 *
182 MC500 Beep 2 *
183 Low Saw
184 Low Saw inv
185 Low P5 Saw
186 Low Pulse 1
187 Low Pulse 2
188 Low Square
189 Low Sine
190 Low Triangle
191 Low White NZ
192 Low Pink NZ
193 DC
*: Waveform marked “*” are One-shot type waveforms (non-sustaining).
162
Waveform List
XP-A (WAVE EXPANSION A: Session)
No. Name
001 StGrand L pA
002 StGrand L pB
003 StGrand L pC
004 StGrand R pA
005 StGrand R pB
006 StGrand R pC
007 StGrand L fA
008 StGrand L fB
009 StGrand L fC
010 StGrand R fA
011 StGrand R fB
012 StGrand R fC
013 OrcStrings A
014 OrcStrings B
015 OrcStrings C
016 Choir Aah A
017 Choir Aah B
018 Choir Aah C
019 Choir Mmh A
020 Choir Mmh B
021 Choir Mmh C
022 D.Solo Gtr A
023 D.Solo Gtr B
024 D.Solo Gtr C
025 D.MuteGt p A
026 D.MuteGt p B
027 D.MuteGt p C
028 D.MuteGt mpA
029 D.MuteGt mpB
030 D.MuteGt mpC
031 D.MuteGt mfA
032 D.MuteGt mfB
033 D.MuteGt mfC
034 Clean TC 1 A
035 Clean TC 1 B
036 Clean TC 1 C
037 Clean TC2 pA
038 Clean TC2 pB
039 Clean TC2 pC
040 Clean TC2 fA
041 Clean TC2 fB
042 Clean TC2 fC
No. Name
043 NylonGt2 p A
044 NylonGt2 p B
045 NylonGt2 p C
046 NylonGt2 mfA
047 NylonGt2 mfB
048 NylonGt2 mfC
049 NylonGt2 f A
050 NylonGt2 f B
051 NylonGt2 f C
052 P.Bass 3 A
053 P.Bass 3 B
054 P.Bass 3 C
055 Jazz Bass3 A
056 Jazz Bass3 B
057 Jazz Bass3 C
058 Muted Bass A
059 Muted Bass B
060 Muted Bass C
061 Blow Sax A
062 Blow Sax B
063 Blow Sax C
064 T.Sax hrd A
065 T.Sax hrd B
066 T.Sax hrd C
067 Flute Vib A
068 Flute Vib B
069 Flute Vib C
070 R&R Horns A
071 R&R Horns B
072 R&R Horns C
073 Solo Tpt. A
074 Solo Tpt. B
075 Solo Tpt. C
076 F.AccordionA
077 F.AccordionB
078 F.AccordionC
079 Vibraphone A
080 Vibraphone B
081 Vibraphone C
082 VocalWave2 A
083 VocalWave2 B
084 VocalWave2 C
No. Name
085 JP Hollo A
086 JP Hollo B
087 JP Hollo C
088 Hard 5ths A
089 Hard 5ths B
090 Hard 5ths C
091 Blaster A
092 Blaster B
093 Blaster C
094 Juno Rave A
095 Juno Rave B
096 Juno Rave C
097 Wah Gtr MENU *
098 Wah Down 1
099 Wah Up 1
100 Wah Down 2
101 Wah Up 2
102 Gtr FX MENU *
103 Gtr Feedback
104 Gtr Scrap
105 Gtr Slid Nz
106 Gtr Cut Nz
107 Gtr Slap
108 FX MENU *
109 Sm.Club
110 Sm.Club fw
111 Sm.Club lp
112 FX Bell 1
113 FX Bell 1fw
114 FX Bell 2
115 FX Bell 2fw
116 Auhvox
117 Tekno Hit 2
118 Tekno Hit 3
119 Tekno Loop
120 FX Bomb
121 Kick MENU *
122 Deep Kick 3
123 TD7 Kick
124 Dance Kick 2
125 Dance Kick 3
126 Mix Kick
No. Name
127 Kick Ghost
128 Snr&Tom MENU *
129 Loose Snr
130 Ring Snr
131 808 Snr 2
132 909 Snr 2
133 909 Snr 3
134 90’s Snare
135 Solo Snr
136 Rap Snr
137 Talk Snr
138 Jingle Snr
139 House Snr
140 Snr Buzz
141 Tiny Snr 2
142 Mute Snr
143 909 Rim 2
144 909 Tom 2
145 Clp&Snp MENU *
146 909 Claps 2
147 HC2 Claps 1
148 707 Claps
149 HC2 Claps 2
150 FingerSnaps2
151 FingerSnap 3
152 Bongo3 MENU *
153 Bongo3 Low
154 Bongo3 High
155 Tambrin MENU *
156 Tamb.Short
157 Tamb.Long
158 CR78 Tamb.
159 Shaker MENU2 *
160 626 Shaker
161 Shaker 3
162 Shaker 4
163 Shaker 5
164 REV Gt Scrap
165 REV Gt SldNz
166 REV Gt CutNz
167 REV Gt Slap
168 REV TeknHit2
No. Name
169 REV TeknHit3
170 REV Deep K 3
171 REV TD7 Kick
172 REV Dance K2
173 REV Dance K3
174 REV Mix Kick
175 REV K.Ghost
176 REV LooseSnr
177 REV Ring Snr
178 REV 808 Snr2
179 REV 909 Snr2
180 REV 909 Snr3
181 REV 90’s Snr
182 REV Solo Snr
183 REV Rap Snr
184 REV Talk Snr
185 REV JinglSnr
186 REV HouseSnr
187 REV Snr Buzz
188 REV TinySnr2
189 REV Mute Snr
190 REV 909 Rim2
191 REV 909 Tom2
192 REV 909 Clp2
193 REV HC2 Clp1
194 REV 707 Clps
195 REV HC2 Clp2
196 REV F.Snaps2
197 REV F.Snap 3
198 REV Bongo3 L
199 REV Bongo3 H
200 REV Tamb.Sht
201 REV Tamb.Lng
202 REV CR78Tamb
203 REV 626Shakr
204 REV Shaker 3
205 REV Shaker 4
206 REV Shaker 5
*:These are Menu Waveforms. Many different Waveforms are provided, each one assigned to a different key.
163
Waveform List
Appendices
● XP-A Menu Waveforms
Menu Waveforms provide multiple Waveforms, with each one assigned to a different key.
Key No. Name
C 4 98 Wah Down 1
D 4 99 Wah Up 1
E 4 100 Wah Down 2
F 4 101 Wah Up 2
Key No. Name
C 4 103 Gtr Feedback
D 4 104 Gtr Scrap
E 4 105 Gtr Slid Nz
F 4 106 Gtr Cut Nz
G 4 107 Gtr Slap
Key No. Name
C 4 116 Auhvox
D 4 109 Sm.Club
E 4 110 Sm.Club fw
F 4 111 Sm.Club lp
G 4 112 FX Bell 1
A 4 113 FX Bell 1fw
B 4 114 FX Bell 2
C 5 115 FX Bell 2fw
D 5 117 Tekno Hit 2
E 5 118 Tekno Hit 3
F 5 119 Tekno Loop
G 5 120 FX Bomb
Key No. Name
C 4 122 Deep Kick 3
D 4 123 TD7 Kick
E 4 124 Dance Kick 2
F 4 125 Dance Kick 3
G 4 126 Mix Kick
A 4 127 Kick Ghost
Key No. Name
C 4 129 Loose Snr
D 4 130 Ring Snr
E 4 131 808 Snr 2
F 4 132 909 Snr 2
G 4 133 909 Snr 3
A 4 134 90’s Snare
B 4 135 Solo Snr
C 5 136 Rap Snr
D 5 137 Talk Snr
E 5 138 Jingle Snr
F 5 139 House Snr
G 5 140 Snr Buzz
A 5 141 Tiny Snr 2
B 5 142 Mute Snr
C 6 143 909 Rim 2
D 6 144 909 Tom 2
Key No. Name
C 4 146 909 Claps 2
D 4 147 HC2 Claps 1
E 4 148 707 Claps
F 4 149 HC2 Claps 2
G 4 150 FingerSnaps2
A 4 151 FingerSnap 3
Key No. Name
C 4 153 Bongo3 Low
D 4 154 Bongo3 High
Key No. Name
C 4 156 Tamb.Short
D 4 157 Tamb.Long
E 4 158 CR78 Tamb.
Key No. Name
C 4 160 626 Shaker
D 4 161 Shaker 3
E 4 162 Shaker 4
F 4 163 Shaker 5
97 Wah Gtr MENU
102 Gtr FX MENU
108 FX MENU
121 Kick MENU
128 Snr&Tom MENU
145 Clp&Snp MENU
152 Bongo3 MENU
155 Tambrin MENU
159 Shaker MENU2
164
Waveform List
XP-B (WAVE EXPANSION B: Orchestral)
No. Name
001 Vl Sect A
002 Vl Sect B
003 Vl Sect C
004 Va Sect A
005 Va Sect B
006 Va Sect C
007 Vc Sect A
008 Vc Sect B
009 Vc Sect C
010 Cb Sect
011 Multi STR A
012 Multi STR B
013 Multi STR C
014 Vl Sect Lp
015 Va Sect Lp
016 Vc Sect Lp
017 Cb Sect Lp
018 Multi STR Lp
019 Vl Solo A
020 Vl Solo B
021 Vl Solo C
022 Va Solo A
023 Va Solo B
024 Va Solo C
025 Vc Solo A
026 Vc Solo B
027 Vc Solo C
028 Cb Solo
029 Multi Solo 1
030 Multi Solo 2
031 Vls Spicc A
032 Vls Spicc B
033 Vls Spicc C
034 Vas Spicc A
035 Vas Spicc B
No. Name
036 Vas Spicc C
037 Vcs Spicc A
038 Vcs Spicc B
039 Vcs Spicc C
040 Cbs Spicc A
041 Cbs Spicc B
042 Cbs Spicc C
043 Multi Spicc
044 VlSolo Spicc
045 VcSolo Spicc
046 MultSl Spicc
047 STR Attack
048 Pizzicato 1
049 Pizzicato 2
050 Piccolo
051 Oboe 1A
052 Oboe 1B
053 Oboe 1C
054 Oboe 2A
055 Oboe 2B
056 Oboe 2C
057 Eng.Horn A
058 Eng.Horn B
059 Eng.Horn C
060 Clarinet
061 Bs Clarinet
062 Multi Cla
063 Bassoon
064 Multi Reed
065 Tnr.Recorder
066 F.Horn Solo
067 F.Horn Sect1
068 F.Horn Sect2
069 F.Horn Mute
070 Trumpet 2
No. Name
071 Flugelhorn
072 Cornet
073 HarmonMute2A
074 HarmonMute2B
075 HarmonMute2C
076 Solo Tb A
077 Solo Tb B
078 Solo Tb C
079 Bass Tb
080 Tb Sect
081 Tuba
082 BRS Ensemble
083 Brass ff
084 Full Orch.
085 Orch Hit Maj
086 Orch Hit Min
087 Orch Hit Dim
088 Choir A
089 Choir B
090 Choir C
091 F.Hrn Sc1 Lp
092 F.Hrn Sc2 Lp
093 F.Hrn MuteLp
094 Tb Sect Lp
095 BRS Ens Lp
096 ff Brass Lp
097 Full Orch Lp
098 Breath Wind
099 Breath Atack
100 Breath Whisl
101 Breath Hrmon
102 EuroPiano pA
103 EuroPiano pB
104 EuroPiano pC
105 EuroPiano fA
No. Name
106 EuroPiano fB
107 EuroPiano fC
108 Harpsichord
109 Celesta A
110 Celesta B
111 Celesta C
112 Harp A
113 Harp B
114 Harp C
115 Glockenspiel
116 Xylophone
117 Bass Marimba
118 TubularBells
119 Church Bells
120 Timpani p
121 Timpani f
122 Timp Roll p
123 Timp Roll f
124 Concert SNR1
125 Concert SNR2
126 Concert SNR3
127 SNR Roll
128 Concert BD 1
129 Concert BD 2
130 Concert BD 3
131 BD Roll
132 Crash Cymbal
133 Crash Cym Lp
134 Cymbal Hit
135 Tam Tam
136 Gong
137 Perc Hit 1
138 Perc Hit 2
139 Triangle
140 Castanets 1
No. Name
141 Castanets 2
142 Slapstick
143 Ratchet
144 Sleigh Bell
145 Tambourine
146 Wind Chime 2
147 REV Hit Maj
148 REV Hit Min
149 REV Hit Dim
150 REV Bell
151 REV Timp 1
152 REV Timp 2
153 REV SNR 1
154 REV SNR 2
155 REV SNR 3
156 REV BD 1
157 REV BD 2
158 REV BD 3
159 REV BD Roll
160 REV Crash
161 REV Cym Hit
162 REV Tam Tam
163 REV Gong
164 REV PercHit1
165 REV PercHit2
166 REV Casta 1
167 REV Casta 2
168 REV S.Stick
169 REV Sleigh
170 REV Tamb
171 SNR Set
172 Perc Set 1
173 Perc Set 2
174 Perc Set 3
165
Waveform List
Appendices
XP-C (WAVE EXPANSION C: Techno Collection)
No. Name
001 PHRASE MENU *
002 120:House 1 **
003 120:House 2 **
004 120:House 3 **
005 120:TeknoBNG **
006 144:Tekno BD **
007 144:TeknoHAT **
008 160:Drum’nBs **
009 184:Gabba **
010 132:Detroit **
011 132:Agogo **
012 116:Elect’80 **
013 120:Electro1 **
014 138:Electro2 **
015 TB Dst Saw
016 TB Dst Sqr 1
017 TB Dst Sqr 2
018 TB Reso Sqr1
019 TB Reso Sqr2
020 TB Reso Sqr3
021 TB Saw
022 TB Solid Saw
023 TB Reso Saw
024 TB Square 1
025 TB Square 2
026 TB Square 3
027 Octa Bass
028 Rave Bass
029 FM Pluck Bs
030 FM Slide Bs
031 Solid Bass
032 JUNO-60 Bass
033 SH-5 Bass
034 Dirty Bass
035 Sub Bass
036 Jungle Bass
037 JP8000 Saw 1
038 JP8000 Saw 2
039 JP-6 Saw
040 Techno Saw
041 SH-1 Square
042 SH-1 Pulse
043 JP8000 PWM
044 JP8000 FBK
045 260 Sub OSC
046 Dist Synth
047 Dist Square
048 P5 Pipe
049 FM Garage
050 JUNO Pluck
051 Funky Synth
No. Name
052 JUNO Bowing
053 JUNO Synth
054 JX Synth
055 Alpha Wave
056 Killer
057 Detuned Saw
058 Fat JP-6
059 Euro Dance
060 Noisy 101
061 Daft Wave
062 Pizzy Techno
063 Organ Pizz
064 Garage Org
065 FM Club Org
066 Org Chord
067 Dist TekGtr1
068 Dist TekGtr2
069 GTR FX MENU *
070 JP Siren
071 Cold Dress
072 HIT MENU 1 *
073 HIT MENU 2 *
074 Beam HiQ
075 Analog Bird
076 ElectronFall
077 Retro UFO
078 Jungle Beep
079 PC-2 Machine
080 Dr.Beat
081 Mental Perc
082 May Day Perc
083 PC-2 Spacers
084 Techno Scene
085 Pure Psycho
086 TAO Hit
087 Thin Beef
088 Organ Hit 2
089 INDUST. MENU *
090 PCM Press
091 ElectricDunk
092 Thrill
093 Drill Hit
094 MachineShout
095 Air Gun
096 Emergency
097 Buzzer
098 Tonality
099 Aah Formant
100 Eeh Formant
101 Iih Formant
102 Ooh Formant
No. Name
103 Uuh Formant
104 Dist Ooh Vox
105 Talkbox
106 VOCODER MENU *
107 TOM MENU *
108 TR909 Tom
109 TR909 DstTom
110 TR808 Tom
111 TR606 Tom
112 TR606 CmpTom
113 TR707 Tom
114 TR707 CmpTom
115 Deep Tom
116 Kick Tom
117 Natural Tom
118 Can Tom
119 PERCUSS MENU *
120 TR808 Conga1
121 TR808 Conga2
122 Surdo mute
123 Surdo open
124 TMB&SKR MENU *
125 Tambourine 2
126 Rattle Tamb
127 TechnoShaker
128 Dance Shaker
129 COW&RIM MENU *
130 TR808Cowbell
131 TR707Cowbell
132 CR78 Cowbell
133 TR727 Agogo
134 TR909 Rim
135 TR808 Rim
136 TR808 RimLng
137 TR808 Claves
138 CHH MENU 1 *
139 CHH MENU 2 *
140 TR909 CHH 1
141 TR909 CHH 2
142 TR909 CHH 3
143 TR808 CHH 1
144 TR808 CHH 2
145 TR606 CHH
146 TR707 CHH
147 CR78 CHH
148 Pop CHH
149 Bristol CHH
150 PHH MENU *
151 TR909 PHH 1
152 TR909 PHH 2
153 TR808 PHH
No. Name
154 TR606 PHH
155 TR707 PHH
156 OHH MENU *
157 TR909 OHH 1
158 TR909 OHH 2
159 TR909 OHH 3
160 TR909 DstOHH
161 TR808 OHH
162 TR606 DstOHH
163 TR707 OHH
164 CR78 OHH
165 R8 OHH
166 Cym OHH
167 CYMBAL MENU *
168 TR606 Cym 1
169 TR606 Cym 2
170 TR606 DstCym
171 TR909 Ride
172 TR909DstRide
173 TR707 Ride
174 TR909 Crash
175 TR909DsCrash
176 CLAP MENU *
177 TR909 Clap
178 TS Clap
179 Clap Stop
180 TR707 Clap
181 HC2 Dry Clap
182 Scratch Clap
183 Comp Clap
184 Claptail
185 SNR MENU 1 *
186 SNR MENU 2 *
187 SNR MENU 3 *
188 SNR MENU 4 *
189 SNR MENU 5 *
190 TR909 Snr 1
191 TR909 Snr 2
192 TR909 Snr 3
193 TR909 Snr 4
194 TR909 Snr 5
195 TR909 Snr 6
196 TR909 Snr 7
197 TR808 Snr 1
198 TR808 Snr 2
199 TR808 Snr 3
200 TR808 Snr 4
201 TR606 Snr 1
202 TR606 Snr 2
203 TR606 Snr 3
204 TR707 Snr 1
No. Name
205 TR707 Snr 2
206 CR78 Snare
207 Headz Snare
208 Deep Snare
209 Fat Snare
210 Antigua Snr
211 MC Snare
212 DJ Snare
213 Macho Snare
214 Clap Snare
215 Rage Snare
216 Indus Snare
217 TekRok Snare
218 Jungle Snr 1
219 Jungle Snr 2
220 Jungle Snr 3
221 Jungle Snr 4
222 SideStiker
223 Ragga Snr 2
224 Lo-Fi Snare
225 Jungle Snr 5
226 Urban Snare
227 Sim Snare
228 Roll Snare
229 KICK MENU 1 *
230 KICK MENU 2 *
231 TR909 Kick 1
232 TR909 Kick 2
233 Plastic BD 1
234 Plastic BD 2
235 TR808 Kick 1
236 TR808 Kick 2
237 TR808 Kick 3
238 TR606 Kick 1
239 TR606 Kick 2
240 TR707 Kick 1
241 TR707 Kick 2
242 Culture Kick
243 Optic Kick
244 Lo-Fi BD
245 Wet Kick
246 Video Kick
247 JungleKick 1
248 Street Kick
249 Turbo Kick
250 JungleKick 2
251 Tekno Kick
252 Sim Kick
253 Amsterdam BD
254 TR909 Dst BD
255 Roll Kick
*: These are Menu Waveforms. Many different Waveforms are provided, each one assigned to a different key.
**: These are the phrase loop waveforms. The numbers (116–184) included in the wave name represent the B.P.M. (tempo) when played at the C4 key. And these
waveforms can be synchronized to a device such as a sequencer.
166
Waveform List
● XP-C Menu Waveforms
Menu Waveforms provide multiple Waveforms, with each one assigned to a different key.
*: This waveform is used only in the MENU WAVEFORM.
Key No. Name
C 4 2 120:House 1
C# 4 3 120:House 2
D 4 4 120:House 3
D# 4 5 120:TeknoBNG
E 4 6 144:Tekno BD
F 4 7 144:TeknoHat
F# 4 8 160:Drum’nBs
G 4 9 184:Gabba
G# 4 10 132:Detroit
A 4 11 132:Agogo
A# 4 12 116:Elect’80
B 4 13 120:Electro1
C 5 14 138:Electro2
Key No. Name
C 4 GTR FX 1 *
C# 4 GTR FX 2 *
Key No. Name
C 4 74 Beam Hiq
C# 4 Noise Click *
D 4 Electro Prc *
D# 4 75 Anaolog Bird
E 4 76 ElectronFall
F 4 77 Retro UFO
F# 4 78 Jungle Beep
G 4 79 PC-2 Machine
G# 4 Dance Prc *
A 4 80 Dr.Beat
A# 4 CR78 Beat *
B 4 81 Mental Perc
C 5 82 May Day Perc
# 5 83 PC-2 Spacers
Key No. Name
C 4 84 Techno Scene
C# 1 85 Pure Psycho
D 4 86 TAO Hit
D# 4 87 Thin Beef
E 4 Techno Tone *
F 4 88 Organ Hit 2
F# 4 Scratch 4 *
G 4 Scratch PUSH *
G# 4 Scratch PULL *
A 4 Tape RWD *
A# 4 Reel Stop *
Key No. Name
C 4 Indust Bomb *
C# 4 Door Comp *
D 4 90 PCM Press
D# 4 91 ElectricDunk
E 4 92 Thrill
F 4 93 Drill Hit
F# 4 94 MachineShout
G 4 95 Air Gun
G# 4 Swish *
A 4 96 Emergency
A# 4 97 Buzzer
B 4 TB reso *
C 5 98 Tonality
Key No. Name
C 4 VP “ei”*
C# 4 VP “ii”*
D 4 VP “ai”*
D# 4 VP “ou”*
E 4 VP “ju”*
F 4 VP “one”*
F# 4 VP “two”*
G 4 VP “three”*
G# 4 VP “four”*
A 4 VP “music”*
A# 4 VP “techno”*
B 4 VP “groove”*
C 5 VP “dance”*
C# 5 VP “funky”*
D 5 VP “rhythm”*
D# 5 VP “machine”*
Key No. Name
C 4 108 TR909 Tom
C# 4 109 TR909 DstTom
D 4 110 TR808 Tom
D# 4 111 TR606 Tom
E 4 112 TR606
CmpTom
F 4 113 TR707 Tom
F# 4 114 TR707
CmpTom
G 4 115 Deep Tom
G# 4 116 Kick Tom
A 4 117 Natural Tom
A# 4 118 Can Tom
Key No. Name
C 4 120 TR808 Conga1
C# 4 TR808 Conga3*
D 4 121 TR808 Conga2
D# 4 Hi Bongo L.F *
E 4 Lo Bongo L.F *
F 4 Mute CGA L.F *
F# 4 Hi Conga L.F *
G 4 Lo Conga L.F *
G# 4 122 Surdo mute
A 4 123 Surdo open
A# 4 H Timbal L.F *
B 4 L Timbal L.F *
C 5 Tabla Comp *
Key No. Name
C 4 125 Tambourine 2
C# 4 126 Battle Tamb
D 4 127 TechnoShaker
D# 4 128 Dance Shaker
E 4 TR808 Maracas
*
F 4 CR78 Guiro *
Key No. Name
C 4 130 TR808Cowbell
C# 4 131 TR707Cowbell
D 4 132 CR78 Cowbell
D# 4 133 TR727 Agogo
E 4 134 TR909 Rim
F 4 TR909 Dst Rim*
F# 4 135 TR808 Rim
G 4 136 TR808 RimLng
G# 4 TR707 Rim *
A 4 Ragga Rim *
A# 4 137 TR808 Claves
Key No. Name
C 4 140 TR909 CHH 1
C# 4 141 TR909 CHH 2
D 4 142 TR909 CHH 3
D# 4 143 TR808 CHH 1
E 4 TR808 CHH 3 *
F 4 144 TR808 CHH 2
F# 4 TR808 CHH 3 *
G 4 145 TR606 CHH
G# 4 TR606 CHH 2 *
A 4 TR606 CHH 3 *
A# 4 146 TR707 CHH
B 4 147 CR78 CHH
C 5 DM CHH *
Key No. Name
C 4 148 Pop CHH
C# 4 Pop CHH 2 *
D 4 149 Bristol CHH
D# 4 Lithe CHH *
E 4 R8 CHH *
Key No. Name
C 4 151 TR909 PHH 1
C# 4 152 TR909 PHH 2
D 4 153 TR808 PHH
D# 4 TR808 PHH 2 *
E 4 154 TR606 PHH
F 4 TR606 PHH 2 *
F# 4 155 TR707 PHH
G 4 HH Pedal *
1 PHRASE MENU
69 GTR FX MENU
72 HIT MENU 1
73 HIT MENU 2
89 INDUST MENU
106 VOCODER MENU
107 TOM MENU
119 PERCUSS MENU
124 TMB&SKR MENU
129 COW&RIM MENU
138 CHH MENU 1
139 CHH MENU 2
150 PHH MENU
167
Waveform List
Appendices
Key No. Name
C 4 157 TR909 OHH 1
C# 4 158 TR909 OHH 2
D 4 TR909 OHH 4 *
D# 4 159 TR909 OHH 3
E 4 160 TR909 DstOHH
F 4 TR808 OHH 2 *
F# 4 161 TR808 OHH
G 4 TR808 OHH 3 *
G# 4 162 TR606 DstOHH
A 4 TR707 HH *
A# 4 163 TR707 OHH
B 4 164 CR78 OHH
C 5 DM OHH *
C# 5 Hop OHH *
D 5 165 R8 OHH
D# 5 166 Cym OHH
Key No. Name
C 4 168 TR606 Cym 1
C# 4 169 TR606 Cym 2
D 4 170 TR606 DstCym
D# 4 171 TR909 Ride
E 4 172 TR909DstRide
F 4 173 TR707 Ride
F# 4 174 TR909 Crash
G 4 175 TR909DsCrash
Key No. Name
C 4 177 TR909 Clap
C# 4 178 TS Clap
D 4 TR909 Clap 2 *
D# 4 179 Clap Stop
E 4 808 Comp Clp *
F 4 180 TR707 Clap
F# 4 181 HC2 Dry Clap
G 4 DM Clap *
G# 4 182 Scratch Clap
A 4 Real Clap *
A# 4 Groove Clap *
B 4 183 Comp Clap
C 5 184 Claptail
C# 5 909 Clp Fuzz *
Key No. Name
C 4 190 TR909 Snr 1
C# 4 191 TR909 Snr 2
D 4 192 TR909 Snr 3
D# 4 193 TR909 Snr 4
E 4 194 TR909 Snr 5
F 4 TR909 Snr 8 *
F# 4 195 TR909 Snr 6
G 4 196 TR909 Snr 7
G# 4 909 Snr Dst *
A 4 909 Snr Fuzz *
A# 4 TR808 Snr 5 *
B 4 197 TR808 Snr 1
C 5 198 TR808 Snr 2
C# 5 199 TR808 Snr 3
D 5 200 TR808 Snr 4
D# 5 TR808 Snr 6 *
Key No. Name
C 4 201 TR606 Snr 1
C# 4 202 TR606 Snr 2
D 4 606 Snr Dst *
D# 4 203 TR606 Snr 3
E 4 204 TR707 Snr 1
F 4 TR707 Snr 3 *
F# 4 205 TR707 snr 2
G 4 206 CR78 Snare
G# 4 Clap Snare 2 *
A 4 Jungle Snr 9 *
A# 4 Rage Snare 2 *
B 4 Clap Snare 3 *
C 5 Clap Snare 4 *
Key No. Name
C 4 207 Headz Snare
C# 4 208 Deep Snare
D 4 209 Fat Snare
D# 4 R&B Snare *
E 4 210 Antigua Snr
F 4 211 MC Snare
F# 4 212 DJ Snare
G 4 213 Macro Snare
G# 4 Lofi Snare *
A 4 Pistol Snr *
A# 4 214 Clap Snare
B 4 215 Rage Snare
C 5 216 Indus Snare
C# 5 217 TekRok Snare
D 5 Indus Snare *
Key No. Name
C 4 218 Jungle Snr 1
C# 4 219 Jungle Snr 2
D 4 220 Jungle Snr 3
D# 4 Jungle Snr 6 *
E 4 221 Jungle Snr 4
F 4 Jungle Snr 7 *
F# 4 222 SideStickr
G 4 Cross Snr *
G# 4 Jungle Rim *
A 4 223 Ragga Snr 2
A# 4 224 Lo-fi Snare
Key No. Name
C 4 Jungle Snr 10 *
C# 4 225 Jungle Snr 5
D 4 Jungle Snr 8 *
D# 4 226 Urban Snare
E 4 Lite Snare *
F 4 227 Sim Snare
F# 4 Electro Snr *
G 4 228 Roll Snare
Key No. Name
C 4 231 TR909 Kick 1
C# 4 232 TR909 Kick 2
D 4 TR909 Kick 3 *
D# 4 233 Plastic BD 1
E 4 234 Plastic BD 2
F 4 TR909 Kick 4 *
F# 4 235 TR808 Kick 1
G 4 236 TR808 Kick 2
G# 4 237 TR808 Kick 3
A 4 238 TR606 Kick 1
A# 4 239 TR606 Kick 2
B 4 606 Dst Kick *
C 5 240 TR707 Kick 1
C# 5 241 TR707 Kick 1
D 5 242 Culture Kick
Key No. Name
C 4 Hop Kick *
C# 4 243 Optic Kick
D 4 244 Lo-Fi BD
D# 4 245 Wet Kick
E 4 DR Cmp Kick *
F 4 246 Video Kick
F# 4 247 JungleKick 1
G 4 248 Street Kick
G# 4 249 Turbo Kick
A 4 250 JungleKick 2
A# 4 251 Tekno KIck
B 4 252 Sim Kick
C 5 Dance Kick 2 *
C# 5 253 Amsterdam BD
D 5 254 TR909 Dst BD
D# 5 255 Roll Kick
156 OHH MENU
167 CYMBAL MENU
176 CLAP MENU
185 SNR MENU 1
186 SNR MENU 2
187 SNR MENU 3
188 SNR MENU 4
189 SNR MENU 5
229 KICK MENU 1
230 KICK MENU 2
168
Patch List
USER (User Group) PR-A (Preset A Group)
No. Name Voice Key Assign
001 Temple of XP 4 POLY
002 Power Split 4 POLY
003 Symphonique2 4 POLY
004 Robot Voice 4 POLY
005 St.Concert 4 POLY
006 ViennaStrgs2 4 POLY
007 R&R Brass 3 POLY
008 Disto Stack 4 POLY
009 Tone Wh.Solo 3 POLY
010 Combing Slow 3 POLY
011 SessionNyln2 3 POLY
012 Celestial 2 4 POLY
013 Poly Brs 4 POLY
014 DanceStack 1 3 POLY
015 303 Ow Bass 1 SOLO
016 Flying Waltz 4 POLY
017 Silky Way 2 POLY
018 Simply June 1 POLY
019 Solo Vln 1 / 4 POLY
020 Super Tenor 3 POLY
021 Metal Solo 4 POLY
022 Creator 3 POLY
023 Amsterdamer 2 POLY
024 Techno Pizz 1 POLY
025 SA Rhodes 3 3 POLY
026 Dim Hit 1 4 POLY
027 Pan Pipes 2 POLY
028 JP-8 Str 1 2 POLY
029 Pretty Bells 2 POLY
030 Aurora 4 POLY
031 Breathy Humz 2 POLY
032 Full Orch.2 4 POLY
033 Clean Tele 4 POLY
034 Dunes 4 POLY
035 Cyber-Trance 3 POLY
036 RiversOfTime 4 POLY
037 F.Hrn Sect5/ 3 POLY
038 DreamVoices2 2 POLY
039 HeavenlyPad 2 POLY
040 Sop.Sax mf 2 POLY
041 Sweep Clav 2 3 POLY
042 Cold JX 1 POLY
043 Solo Vc 1 / 3 POLY
044 RichStrings2 4 POLY
045 Techno Dream 3 POLY
046 StateXLChord 4 SOLO
047 Delicate EP 2 POLY
048 Bassic Needs 2 SOLO
049 Perky B 2 POLY
050 SquareLead 2 2 POLY
051 Earth Blow 2 POLY
052 BassMarimba1 2 POLY
053 Morning Lite 2 POLY
054 Raggatronic 4 POLY
055 Brass ff 1 2 POLY
056 Acc.de Paris 2 POLY
057 Oboe 1 2 POLY
058 Velo Power 4 POLY
059 Vintage Call 4 POLY
060 Steel Away 3 POLY
061 Spectrum Mod 4 POLY
062 Raverborg 4 POLY
063 Poly Saws 4 POLY
064 Adrenaline 4 POLY
No. Name Voice Key Assign
065 Heirborne 4 POLY
066 Trumpet 2 POLY
067 Glistening 4 POLY
068 Banded Jupe 1 POLY
069 Singing’Mini 1 SOLO
070 Chamber Ens2 2 POLY
071 DanceStack 5 4 POLY
072 SA Rhodes 4 4 POLY
073 Breathy Brs 3 POLY
074 Atmos Harp 4 POLY
075 303 Bass 2 POLY
076 Flute 1 POLY
077 Perc Hit 2 / 4 POLY
078 Oldies Organ 2 POLY
079 Dulcimer 2 POLY
080 Warmer Pad 2 2 POLY
081 ARPsychea 4 POLY
082 Choir 1 3 POLY
083 Agitato Str2 4 POLY
084 Pure Tibet 1 POLY
085 Flugelhorn 1 2 POLY
086 D-50 Stack 4 POLY
087 Noiz Mania 4 POLY
088 Slap Bass 2 1 SOLO
089 Amazing Echo 4 POLY
090 Moving Glass 1 POLY
091 BluesHarp 1 POLY
092 Tria Bells 4 POLY
093 DirtyOrgan 2 2 POLY
094 Dawn 2 Dusk 3 POLY
095 Just Lovely 1 POLY
096 SquareKeys 2 1 POLY
097 Natural Vlns 2 POLY
098 Arasian Morn 4 POLY
099 Euro-Dance 2 3 POLY
100 5th Pad 4 POLY
101 Liquid Sky 4 POLY
102 Sci-Fi Bells 3 POLY
103 Nomad Perc 3 POLY
104 Orn.Recorder 3 POLY
105 FXM Saw Lead 4 SOLO
106 Atlantis 2 4 POLY
107 Taj Mahal 1 POLY
108 X-hale 4 POLY
109 Stacc.Heaven 4 POLY
110 Altamira 2 POLY
111 Hit House 4 POLY
112 Solo F.Horn1 1 POLY
113 Celesta 1 1 POLY
114 ORBit Pad 2 POLY
115 SessionBrass 4 POLY
116 Sugar Bell 4 POLY
117 ChristmasFlt 2 POLY
118 Strobe Mode 4 POLY
119 Cave 4 POLY
120 TenorExprss2 2 POLY
121 Impact 4 POLY
122 X-Tronic Jam 4 SOLO
123 WarmViolins2 4 POLY
124 Rain Forest 4 POLY
125 Brass Ens 4 3 POLY
126 Perelandra 4 POLY
127 Teknoperator 4 POLY
128 Crowds 4 POLY
No. Name Voice Key Assign
001 64voicePiano 1 POLY
002 Bright Piano 1 POLY
003 Classique 2 POLY
004 Nice Piano 3 POLY
005 Piano Thang 3 POLY
006 Power Grand 3 POLY
007 House Piano 2 POLY
008 E.Grand 1 POLY
009 MIDIed Grand 3 POLY
010 Piano Blend 3 POLY
011 West Coast 4 POLY
012 PianoStrings 4 POLY
013 Bs/Pno+Brs 4 POLY
014 Waterhodes 2 POLY
015 S.A.E.P. 3 POLY
016 SA Rhodes 1 4 POLY
017 SA Rhodes 2 2 POLY
018 Stiky Rhodes 3 POLY
019 Dig Rhodes 2 POLY
020 Nylon EPiano 4 POLY
021 Nylon Rhodes 4 POLY
022 Rhodes Mix 3 POLY
023 PsychoRhodes 2 POLY
024 Tremo Rhodes 4 POLY
025 MK-80 Rhodes 1 POLY
026 MK-80 Phaser 1 POLY
027 Delicate EP 2 POLY
028 Octa Rhodes1 4 POLY
029 Octa Rhodes2 4 POLY
030 JV Rhodes+ 4 POLY
031 EP+Mod Pad 4 POLY
032 Mr.Mellow 4 POLY
033 Comp Clav 1 POLY
034 Klavinet 4 POLY
035 Winger Clav 4 POLY
036 Phaze Clav 1 2 POLY
037 Phaze Clav 2 1 POLY
038 Phuzz Clav 2 POLY
039 Chorus Clav 1 POLY
040 Claviduck 2 POLY
041 Velo-Rez Clv 1 POLY
042 Clavicembalo 4 POLY
043 Analog Clav1 1 POLY
044 Analog Clav2 1 POLY
045 Metal Clav 3 POLY
046 Full Stops 2 POLY
047 Ballad B 3 POLY
048 Mellow Bars 4 POLY
049 AugerMentive 3 POLY
050 Perky B 2 POLY
051 The Big Spin 3 POLY
052 Gospel Spin 3 POLY
053 Roller Spin 3 POLY
054 Rocker Spin 3 POLY
055 Tone Wh.Solo 3 POLY
056 Purple Spin 4 POLY
057 60’s LeadORG 2 POLY
058 Assalt Organ 3 POLY
059 D-50 Organ 2 POLY
060 Cathedral 4 POLY
061 Church Pipes 4 POLY
062 Poly Key 3 POLY
063 Poly Saws 4 POLY
064 Poly Pulse 4 POLY
No. Name Voice Key Assign
065 Dual Profs 3 POLY
066 Saw Mass 4 POLY
067 Poly Split 4 POLY
068 Poly Brass 3 POLY
069 Stackoid 4 POLY
070 Poly Rock 4 POLY
071 D-50 Stack 4 POLY
072 Fantasia JV 4 POLY
073 Jimmee Dee 4 POLY
074 Heavenals 4 POLY
075 Mallet Pad 4 POLY
076 Huff N Stuff 3 POLY
077 Puff 1080 2 POLY
078 BellVox 1080 4 POLY
079 Fantasy Vox 4 POLY
080 Square Keys 2 POLY
081 Childlike 4 POLY
082 Music Box 3 POLY
083 Toy Box 2 POLY
084 Wave Bells 4 POLY
085 Tria Bells 4 POLY
086 Beauty Bells 4 POLY
087 Music Bells 2 POLY
088 Pretty Bells 2 POLY
089 Pulse Key 3 POLY
090 Wide Tubular 4 POLY
091 AmbienceVibe 4 POLY
092 Warm Vibes 2 POLY
093 Dyna Marimba 1 POLY
094 Bass Marimba 4 POLY
095 Nomad Perc 3 POLY
096 Ethno Metals 4 POLY
097 Islands Mlt 4 POLY
098 Steelin Keys 3 POLY
099 Steel Drums 1 POLY
100 Voicey Pizz 3 POLY
101 Sitar 2 POLY
102 Drone Split 4 POLY
103 Ethnopluck 4 POLY
104 Jamisen 2 POLY
105 Dulcimer 2 POLY
106 East Melody 2 POLY
107 MandolinTrem 4 POLY
108 Nylon Gtr 1 POLY
109 Gtr Strings 3 POLY
110 Steel Away 3 POLY
111 Heavenly Gtr 4 POLY
112 12str Gtr 1 2 POLY
113 12str Gtr 2 3 POLY
114 Jz Gtr Hall 1 POLY
115 LetterFrmPat 4 POLY
116 Jazz Scat 3 POLY
117 Lounge Gig 3 POLY
118 JC Strat 1 POLY
119 Twin Strats 3 POLY
120 JV Strat 2 POLY
121 Syn Strat 2 POLY
122 Rotary Gtr 2 POLY
123 Muted Gtr 1 POLY
124 SwitchOnMute 2 POLY
125 Power Trip 2 POLY
126 Crunch Split 4 POLY
127 Rezodrive 2 SOLO
128 RockYurSocks 4 SOLO
Voice: number of voice
169
Patch List
Appendices
PR-B (Preset B Group) PR-C (Preset C Group)
No. Name Voice Key Assign
001 Dist Gtr 1 3 POLY
002 Dist Gtr 2 3 POLY
003 R&R Chunk 4 POLY
004 Phripphuzz 1 SOLO
005 Grungeroni 3 POLY
006 Black Widow 4 POLY
007 Velo-Wah Gtr 1 POLY
008 Mod-Wah Gtr 2 POLY
009 Pick Bass 1 SOLO
010 Hip Bass 2 POLY
011 Perc.Bass 3 SOLO
012 Homey Bass 2 SOLO
013 Finger Bass 1 SOLO
014 Nylon Bass 2 POLY
015 Ac.Upright 1 SOLO
016 Wet Fretls 1 SOLO
017 Fretls Dry 2 POLY
018 Slap Bass 1 2 POLY
019 Slap Bass 2 1 SOLO
020 Slap Bass 3 1 SOLO
021 Slap Bass 4 2 POLY
022 4 Pole Bass 1 SOLO
023 Tick Bass 4 SOLO
024 House Bass 3 SOLO
025 Mondo Bass 3 SOLO
026 Clk AnalogBs 2 SOLO
027 Bass In Face 2 POLY
028 101 Bass 2 SOLO
029 Noiz Bass 2 SOLO
030 Super Jup Bs 2 POLY
031 Occitan Bass 3 POLY
032 Hugo Bass 4 SOLO
033 Multi Bass 2 POLY
034 Moist Bass 2 SOLO
035 BritelowBass 4 SOLO
036 Untamed Bass 3 SOLO
037 Rubber Bass 3 SOLO
038 Stereoww Bs 3 SOLO
039 Wonder Bass 3 SOLO
040 Deep Bass 2 POLY
041 Super JX Bs 2 SOLO
042 W<RED>-Bass 4 POLY
043 HI-Ring Bass 3 POLY
044 Euro Bass 2 SOLO
045 SinusoidRave 1 SOLO
046 Alternative 2 SOLO
047 Acid Line 1 SOLO
048 Auto TB-303 3 SOLO
049 Hihat Tekno 2 POLY
050 Velo Tekno 1 3 SOLO
051 Raggatronic 4 POLY
052 Blade Racer 4 POLY
053 S&H Pad 1 POLY
054 Syncrosonix 3 POLY
055 Fooled Again 1 POLY
056 Alive 3 POLY
057 Velo Tekno 2 2 POLY
058 Rezoid 4 POLY
059 Raverborg 4 POLY
060 Blow Hit 4 POLY
061 Hammer Bell 3 POLY
062 Seq Mallet 2 POLY
063 Intentions 3 POLY
064 Pick It 3 POLY
No. Name Voice Key Assign
065 Analog Seq 2 POLY
066 Impact Vox 4 POLY
067 TeknoSoloVox 2 POLY
068 X-Mod Man 2 POLY
069 Paz <==> Zap 1 SOLO
070 4 Hits 4 You 4 POLY
071 Impact 4 POLY
072 Phase Hit 3 POLY
073 Tekno Hit 1 2 POLY
074 Tekno Hit 2 2 POLY
075 Tekno Hit 3 4 POLY
076 Reverse Hit 3 POLY
077 SquareLead 1 3 POLY
078 SquareLead 2 2 POLY
079 You and Luck 2 SOLO
080 Belly Lead 4 POLY
081 WhistlinAtom 2 POLY
082 Edye Boost 2 SOLO
083 MG Solo 4 SOLO
084 FXM Saw Lead 4 SOLO
085 Sawteeth 3 SOLO
086 Smoothe 2 SOLO
087 MG Lead 2 SOLO
088 MG Interval 4 SOLO
089 Pulse Lead 1 3 POLY
090 Pulse Lead 2 4 SOLO
091 Little Devil 4 SOLO
092 Loud SynLead 4 SOLO
093 Analog Lead 2 SOLO
094 5th Lead 2 SOLO
095 Flute 2 POLY
096 Piccolo 1 POLY
097 VOX Flute 4 POLY
098 Air Lead 2 POLY
099 Pan Pipes 2 POLY
100 Airplaaane 4 POLY
101 Taj Mahal 1 POLY
102 Raya Shaku 3 POLY
103 Oboe mf 1 POLY
104 Oboe Express 2 POLY
105 Clarinet mp 1 POLY
106 ClariExpress 2 POLY
107 Mitzva Split 4 POLY
108 ChamberWinds4 POLY
109 ChamberWoods3 POLY
110 Film Orch 4 POLY
111 Sop.Sax mf 2 POLY
112 Alto Sax 3 POLY
113 AltoLead Sax 3 POLY
114 Tenor Sax 3 POLY
115 Baritone Sax 3 POLY
116 Take A Tenor 4 POLY
117 Sax Section 4 POLY
118 Bigband Sax 4 POLY
119 Harmonica 2 POLY
120 Harmo Blues 2 POLY
121 BluesHarp 1 POLY
122 Hillbillys 4 POLY
123 French Bags 4 POLY
124 Majestic Tpt 1 SOLO
125 Voluntare 2 POLY
126 2Trumpets 2 POLY
127 Tpt Sect 4 POLY
128 Mute TP mod 4 POLY
No. Name Voice Key Assign
001 Harmon Mute 1 POLY
002 Tp&Sax Sect 4 POLY
003 Sax+Tp+Tb 3 POLY
004 Brass Sect 4 POLY
005 Trombone 1 POLY
006 Hybrid Bones 4 POLY
007 Noble Horns 4 POLY
008 Massed Horns 3 POLY
009 Horn Swell 4 POLY
010 Brass It! 4 POLY
011 Brass Attack 3 POLY
012 Archimede 3 POLY
013 Rugby Horn 3 POLY
014 MKS-80 Brass 2 POLY
015 True ANALOG 2 POLY
016 Dark Vox 2 POLY
017 RandomVowels4 POLY
018 Angels Sing 2 POLY
019 Pvox Oooze 3 POLY
020 Longing... 3 POLY
021 Arasian Morn 4 POLY
022 Beauty Vox 3 POLY
023 Mary-AnneVox4 POLY
024 Belltree Vox 4 POLY
025 Vox Panner 2 POLY
026 Spaced Voxx 4 POLY
027 Glass Voices 3 POLY
028 Tubular Vox 4 POLY
029 Velo Voxx 2 POLY
030 Wavox 3 POLY
031 Doos 1 POLY
032 Synvox Comps 4 POLY
033 Vocal Oohz 3 POLY
034 LFO Vox 1 POLY
035 St.Strings 2 POLY
036 Warm Strings 4 POLY
037 Somber Str 4 POLY
038 Marcato 2 POLY
039 Bright Str 2 POLY
040 String Ens 4 POLY
041 TremoloStrng 2 POLY
042 Chambers 3 POLY
043 ViolinCello 4 POLY
044 Symphonique 4 POLY
045 Film Octaves 4 POLY
046 Film Layers 4 POLY
047 Bass Pizz 4 POLY
048 Real Pizz 3 POLY
049 Harp On It 3 POLY
050 Harp 2 POLY
051 JP-8 Str 1 2 POLY
052 JP-8 Str 2 3 POLY
053 E-Motion Pad 4 POLY
054 JP-8 Str 3 4 POLY
055 Vintage Orch 4 POLY
056 JUNO Strings 3 POLY
057 Gigantalog 4 POLY
058 PWM Strings 3 POLY
059 Warmth 2 POLY
060 ORBit Pad 2 POLY
061 Deep Strings 2 POLY
062 Pulsify 4 POLY
063 Pulse Pad 4 POLY
064 Greek Power 4 POLY
No. Name Voice Key Assign
065 Harmonicum 2 POLY
066 D-50 Heaven 2 POLY
067 Afro Horns 3 POLY
068 Pop Pad 4 POLY
069 Dreamesque 4 POLY
070 Square Pad 4 POLY
071 JP-8 Hollow 4 POLY
072 JP-8Haunting 4 POLY
073 Heirborne 4 POLY
074 Hush Pad 4 POLY
075 Jet Pad 1 2 POLY
076 Jet Pad 2 2 POLY
077 Phaze Pad 3 POLY
078 Phaze Str 4 POLY
079 Jet Str Ens 2 POLY
080 Pivotal Pad 4 POLY
081 3D Flanged 1 POLY
082 Fantawine 4 POLY
083 Glassy Pad 3 POLY
084 Moving Glass 1 POLY
085 Glasswaves 3 POLY
086 Shiny Pad 4 POLY
087 ShiftedGlass 2 POLY
088 Chime Pad 3 POLY
089 Spin Pad 2 POLY
090 Rotary Pad 4 POLY
091 Dawn 2 Dusk 3 POLY
092 Aurora 4 POLY
093 Strobe Mode 4 POLY
094 Albion 2 POLY
095 Running Pad 4 POLY
096 Stepped Pad 4 POLY
097 Random Pad 4 POLY
098 SoundtrkDANC 4 POLY
099 Flying Waltz 4 POLY
100 Vanishing 1 POLY
101 5th Sweep 4 POLY
102 Phazweep 4 POLY
103 Big BPF 4 POLY
104 MG Sweep 4 POLY
105 CeremonyTimp 3 POLY
106 Dyno Toms 4 POLY
107 Sands ofTime 4 POLY
108 Inertia 4 POLY
109 Vektogram 4 POLY
110 Crash Pad 4 POLY
111 Feedback VOX4 POLY
112 Cascade 1 POLY
113 Shattered 2 POLY
114 NextFrontier 2 POLY
115 Pure Tibet 1 POLY
116 Chime Wash 4 POLY
117 Night Shade 4 POLY
118 Tortured 4 POLY
119 Dissimilate 4 POLY
120 Dunes 4 POLY
121 Ocean Floor 1 POLY
122 Cyber Space 3 POLY
123 Biosphere 2 POLY
124 Variable Run 4 POLY
125 Ice Hall 2 POLY
126 ComputerRoom 4 POLY
127 Inverted 4 POLY
128 Terminate 3 POLY
Voice: number of voice
170
Patch List
PR-D (GM Group) PR-E (Preset E Group)
No. Name Voice Key Assign
001 Piano 1 2 POLY *1
002 Piano 2 2 POLY *2
003 Piano 3 2 POLY
004 Honky-tonk 2 POLY
005 E.Piano 1 2 POLY
006 E.Piano 2 4 POLY
007 Harpsichord 1 POLY *2
008 Clav. 2 POLY
009 Celesta 1 POLY *2
010 Glockenspiel 2 POLY *2
011 Music Box 1 POLY
012 Vibraphone 1 POLY
013 Marimba 1 POLY *2
014 Xylophone 2 POLY *2
015 Tubular-bell 2 POLY *2
016 Santur 2 POLY
017 Organ 1 1 POLY
018 Organ 2 1 POLY
019 Organ 3 2 POLY
020 Church Org.1 2 POLY
021 Reed Organ 1 POLY
022 Accordion Fr 1 POLY *1
023 Harmonica 1 POLY
024 Bandoneon 2 POLY
025 Nylon-str.Gt 1 POLY *1
026 Steel-str.Gt 1 POLY
027 Jazz Gt. 1 POLY
028 Clean Gt. 1 POLY *1
029 Muted Gt. 1 POLY
030 Overdrive Gt 1 POLY
031 DistortionGt 1 POLY *1
032 Gt.Harmonics 3 POLY
033 Acoustic Bs. 3 POLY
034 Fingered Bs. 1 POLY
035 Picked Bs. 1 POLY *1
036 Fretless Bs. 1 POLY
037 Slap Bass 1 1 POLY
038 Slap Bass 2 2 POLY
039 Synth Bass 1 1 POLY
040 Synth Bass 2 1 POLY
041 Violin 1 POLY *2
042 Viola 2 POLY *2
043 Cello 2 POLY *2
044 Contrabass 2 POLY *2
045 Tremolo Str 1 POLY
046 PizzicatoStr 1 POLY *2
047 Harp 1 POLY *2
048 Timpani 2 POLY *2
049 Strings 2 POLY
050 Slow Strings 1 POLY
051 Syn.Strings1 2 POLY
052 Syn.Strings2 2 POLY
053 Choir Aahs 1 POLY *1
054 Voice Oohs 1 POLY
055 SynVox 1 POLY
056 OrchestraHit 2 POLY *2
057 Trumpet 1 POLY *1
058 Trombone 2 POLY *2
059 Tuba 2 POLY *2
060 MutedTrumpet 1 POLY *2
061 French Horn 2 POLY *2
062 Brass 1 1 POLY *2
063 Synth Brass1 1 POLY
064 Synth Brass2 2 POLY
No. Name Voice Key Assign
065 Soprano Sax 1 POLY
066 Alto Sax 1 POLY
067 Tenor Sax 1 POLY *1
068 Baritone Sax 2 POLY
069 Oboe 1 POLY *2
070 English Horn 1 POLY *2
071 Bassoon 2 POLY *2
072 Clarinet 1 POLY
073 Piccolo 1 POLY *2
074 Flute 1 POLY
075 Recorder 2 POLY *2
076 Pan Flute 2 POLY
077 Bottle Blow 2 POLY
078 Shakuhachi 1 POLY
079 Whistle 1 POLY
080 Ocarina 2 POLY
081 Square Wave 2 POLY
082 Saw Wave 2 POLY
083 Syn.Calliope 2 POLY
084 Chiffer Lead 2 POLY
085 Charang 3 POLY
086 Solo Vox 2 POLY
087 5th Saw Wave 3 POLY
088 Bass & Lead 2 POLY
089 Fantasia 3 POLY
090 Warm Pad 2 POLY
091 Polysynth 2 POLY
092 Space Voice 2 POLY
093 Bowed Glass 3 POLY
094 Metal Pad 2 POLY
095 Halo Pad 3 POLY
096 Sweep Pad 2 POLY
097 Ice Rain 2 POLY
098 Soundtrack 2 POLY
099 Crystal 2 POLY
100 Atmosphere 2 POLY
101 Brightness 3 POLY
102 Goblin 2 POLY
103 Echo Drops 2 POLY
104 Star Theme 2 POLY
105 Sitar 1 POLY
106 Banjo 1 POLY
107 Shamisen 2 POLY
108 Koto 1 POLY
109 Kalimba 1 POLY
110 Bag Pipe 3 POLY
111 Fiddle 1 POLY
112 Shanai 1 POLY
113 Tinkle Bell 4 POLY
114 Agogo 1 POLY
115 Steel Drums 1 POLY
116 Woodblock 1 POLY
117 Taiko 4 POLY
118 Melo. Tom 1 2 POLY
119 Synth Drum 2 POLY
120 Reverse Cym. 1 POLY *2
121 Gt.FretNoise 1 POLY
122 Breath Noise 2 POLY
123 Seashore 3 POLY
124 Bird 4 POLY
125 Telephone 1 1 POLY
126 Helicopter 2 POLY
127 Applause 4 POLY
128 Gun Shot 2 POLY
No. Name Voice Key Assign
001 Echo Piano 3 POLY
002 Upright Pno 3 POLY
003 RD-1000 3 POLY
004 Player’s EP 2 POLY
005 D-50 Rhodes 4 POLY
006 Innocent EP 2 POLY
007 Echo Rhodes 4 POLY
008 See-Thru EP 3 POLY
009 FM BellPiano 3 POLY
010 Ring E.Piano 4 POLY
011 Soap Opera 1 POLY
012 Dirty Organ 3 POLY
013 Surf’s Up! 2 POLY
014 Organesque 3 POLY
015 pp Harmonium 1 POLY
016 PieceOfCheez 1 POLY
017 Harpsy Clav 2 POLY
018 Exotic Velo 4 POLY
019 HolidayCheer 4 POLY
020 Morning Lite 2 POLY
021 Prefab Chime 3 POLY
022 Belfry Chime 3 POLY
023 Stacc.Heaven 4 POLY
024 2.2 Bell Pad 4 POLY
025 Far East 4 POLY
026 Wire Pad 3 POLY
027 PhaseBlipper 2 POLY
028 Sweep Clav 3 POLY
029 Glider 2 POLY
030 Solo Steel 4 POLY
031 DesertCrystl 4 POLY
032 Clear Guitar 3 POLY
033 Solo Strat 3 POLY
034 Feed Me! 4 POLY
035 Tube Smoke 2 POLY
036 Creamy 2 POLY
037 Blusey OD 2 POLY
038 Grindstone 2 POLY
039 OD 5ths 3 POLY
040 East Europe 2 POLY
041 Dulcitar 4 POLY
042 Atmos Harp 4 POLY
043 Pilgrimage 4 POLY
044 202 Rude Bs 2 SOLO
045 2pole Bass 2 SOLO
046 4pole Bass 2 SOLO
047 Phaser MC 2 POLY
048 Miniphaser 2 POLY
049 Acid TB 1 SOLO
050 Full Orchest 4 POLY
051 Str + Winds 4 POLY
052 Flute 2080 2 POLY
053 Scat Flute 2 POLY
054 Sax Choir 4 POLY
055 Ballad Trump 4 POLY
056 Sm.Brass Grp 4 POLY
057 Royale 4 POLY
058 Brass Mutes 2 POLY
059 Breathy Brs 3 POLY
060 3 Osc Brass 3 POLY
061 P5 Polymod 2 POLY
062 Triumph Brs 3 POLY
063 Techno Dream 3 POLY
064 Organizer 3 POLY
No. Name Voice Key Assign
065 Civilization 3 POLY
066 Mental Chord 4 SOLO
067 House Chord 4 SOLO
068 Sequalog 4 POLY
069 Booster Bips 2 POLY
070 VintagePlunk 4 SOLO
071 Plik-Plok 2 POLY
072 RingSequence 4 POLY
073 Cyber Swing 4 POLY
074 Keep :-) 2 POLY
075 Resojuice 2 SOLO
076 B’on d’moov! 3 POLY
077 Dist TB-303 2 SOLO
078 Temple of JV 4 POLY
079 Planet Asia 4 POLY
080 Afterlife 3 POLY
081 Trancing Pad 2 POLY
082 Pulsatronic 3 POLY
083 Cyber Dreams 3 POLY
084 Warm Pipe 1 SOLO
085 Pure Pipe 2 POLY
086 SH-2000 2 SOLO
087 X..? Whistle 3 POLY
088 Jay Vee Solo 3 POLY
089 Progresso Ld 4 SOLO
090 Adrenaline 4 POLY
091 Enlighten 4 POLY
092 Glass Blower 3 POLY
093 Earth Blow 2 POLY
094 JX SqrCarpet 2 POLY
095 Dimensional 2 POLY
096 Jupiterings 2 POLY
097 Analog Drama 3 POLY
098 Rich Dynapad 4 POLY
099 Silky Way 2 POLY
100 Gluey Pad 3 POLY
101 BandPass Mod 2 POLY
102 Soundtraque 2 POLY
103 Translucence 4 POLY
104 Darkshine 4 POLY
105 D’light 2 POLY
106 December Sky 4 POLY
107 Octapad 3 POLY
108 JUNO Power! 4 POLY
109 Spectrum Mod 4 POLY
110 Stringsheen 3 POLY
111 GR500 TmpDly 2 POLY
112 Mod DirtyWav 3 POLY
113 Silicon Str 4 POLY
114 D50FantaPerc 3 POLY
115 Rotodreams 3 POLY
116 Blue Notes 4 POLY
117 RiversOfTime 4 POLY
118 Phobos 2 POLY
119 2 0 8 0 4 POLY
120 Unearthly 4 POLY
121 Glistening 4 POLY
122 Sci-Fi Str 3 POLY
123 Shadows 4 POLY
124 Helium Queen 4 SOLO
125 Sci-Fi FX x4 1 POLY
126 Perky Noize 3 POLY
127 Droplet 3 POLY
128 Rain Forest 4 POLY
Voice: number of voice
*1: Uses XP-A (Session) waves.
*2: Uses XP-B (Orchestral) waves.
171
Patch List
Appendices
XP-A (WAVE EXPANSION A: Session)
No. Name Voice
001 St.Concert 4
002 9ft.Grand 1 4
003 9ft.Grand 2 4
004 Euro Classic 2
005 St.Pno & Str 4
006 Compress Pno 1
007 LA Session 4
008 Water Piano 4
009 Vibra Rhodes 3
010 Stack Rhodes 4
011 ArcoEnsemble 2
012 Vienna Strgs 3
013 Str Adagio 2
014 Oct Strings 3
015 Silky Filter 2
016 Soft Strings 2
017 SlowStr.Sect 2
018 GiantStrings 4
019 Str+Choir 1 4
020 Str+Choir 2 4
021 Str+Choir 3 4
022 Breathy Humz 2
023 Dream Voices 2
024 Mmmms 2
025 Chorale 1
026 Space Men 3
027 Choir Mm+Aah 4
028 Ivory Mist 4
029 PercussiVox 4
030 Mysteriouso 3
031 Phase Mmhs 3
032 AmbientStory 4
033 Venus 3
034 SessionBrass 4
035 Port.Tpts 2
036 R&R Brass 3
037 Echo Brass 4
038 E.Coast Brs 4
039 Bop Soli 2
040 Soft Saxes 4
041 Orchestral 4
042 Octalog Hrn 2
043 Tpt Soloist 1
044 Legato Tpt 2
045 Dyno Trumpet 2
046 Ethno-Trumps 2
047 Super Tenor 3
048 TenorExpress 2
049 T.Sax f 1
050 Legato Flute 2
051 Touch Flute 2
052 NewAge Flute 1
053 Flute inMist 2
054 Hybrid Flute 2
055 Flute & Cla 3
056 ChristmasFlt 2
057 Fifth Flute 2
058 Cosmic Flute 2
059 Acc.de Paris 2
060 Paris 50’s4
061 Musette Ens 4
062 Montmartre 2
063 Sad Akordion 3
064 Fr.Accordion 1
No. Name Voice
065 Fr.Accord 2 2
066 Troubadour 3
067 SessionNylon 3
068 Solo Nylon 1 3
069 Solo Nylon 2 2
070 Nylon & Str 4
071 Nylon & Flt 3
072 Nylon Chord 3
073 Stratar 2
074 Clean Tele 4
075 Nashville 1
076 Super Trem 4
077 SpaghettiGtr 2
078 Duanne’sTone 2
079 Big Hair Ld 2
080 Metal Solo 4
081 Crunch Tone 1
082 Overdriven 1
083 Blues Tele 4
084 Tube Double 2
085 Neil’s Rust 4
086 Short Crunch 4
087 X-Fade Metal 4
088 Velo Power 4
089 Phazy Chunk 4
090 Reso Tele 1
091 Wah Wah BPM 4
092 Rock P.Bass1 1
093 Rock P.Bass2 2
094 Rock P.Bass3 4
095 Big Jazz Bs 3
096 BriteJazz Bs 1
097 Ch.Jazz Bs 2
098 Mellow Jz Bs 2
099 Mute E.Bs 1
100 Octabahn Bs 4
101 Slobbery Bs 2
102 Phase Worm 2
103 Euro Rave Bs 2
104 Pumpin’ Bs 3
105 Tech NoBase 2
106 Bad Acid Bs 2
107 CheepEcho Bs 3
108 Manic Bs 4
109 JP6 Sqr Key 2
110 Square drops 1
111 Celestial 3
112 Heavenly Eko 4
113 JD-800 Nomad 3
114 Vibrolater 4
115 MartianChime 4
116 Big Wet Blip 4
117 Amazing Echo 4
118 DelaySession 4
119 Deletex 4
120 Tarlia 3
121 Mahoroba 4
122 Eurotek Clav 2
123 Dope Resoclv 1
124 Tekno Juno 2
125 Buzzzzzzzzzz 2
126 Slop-a-rama 2
127 Isn’t Pretty 3
128 Polywasp 1
No. Name Voice
129 Quixelate 4
130 Trangoa Wave 2
131 Spiked Cheez 3
132 Glassy Cheez 3
133 Super 808Cow 4
134 Arpeggiatoid 4
135 Euro Hit 1 4
136 Euro Hit 2 2
137 Rave Slice 1
138 Str Torture 2
139 Juno Harpsi 3
140 Big Mess Pad 4
141 Harpsichoir 4
142 Echo Juno 3
143 Phazerave 2
144 DanceStack 1 3
145 DanceStack 2 4
146 DanceStack 3 4
147 DanceStack 4 3
148 DanceStack 5 4
149 DanceStack 6 3
150 DanceStack 7 4
151 DanceStack 8 4
152 Eurotek Brs 4
153 Synergy Brs 4
154 PortaSynthex 3
155 Razor VCOs 4
156 Big PWM 2
157 Flutey Stack 2
158 Wobbly 5th 4
159 Tekno Square 3
160 Trance VoXxX 4
161 Random Rave 3
162 Raver Circus 4
163 Resorave 2
164 Flangomatic 2
165 O-Zu-Nu 4
166 Sub Divided 1
167 Ancient Sqr 2
168 Fat Flange 2
169 Phaze NRG 1
170 Phase Vox 3
171 Systekno 4
172 On the move! 2
173 XP’ration 2
174 Big Ensemble 4
175 Lazerette 3
176 Fazed String 4
177 Combing Slow 3
178 Jet Stack 4
179 Phazeslopad 4
180 Rize Mass 3
181 Portent 2
182 DCO Sweeper 3
183 Sweep Rain 4
184 Sweep Stack 3
185 Big Vectors 4
186 Poly Swell 2
187 Alchemy 3
188 Soli-na 2
189 90s Str Mach 4
190 Ultra Cheez 2
191 Juno-60 Pad 3
192 Progressive 2
No. Name Voice
193 Build-Up Syn 3
194 Atlantis 2 4
195 Perelandra 4
196 Plutonium 4
197 Nautilus 2
198 Metal Dreams 2
199 Glass Clouds 4
200 Harmonicloud 4
201 Shining Veil 3
202 Ethereal JX 2
203 Striking 5th 4
204 Meow 5ths 2
205 Stepflanger 3
206 Happy LFOs 4
207 Aero Insect 3
208 Beat Sweeper 2
209 Wormy Lead 3
210 Atmo Lead 3
211 Caliolead 3
212 Tweedles 2
213 Raw PWM 2
214 Voc Solo 5th 4
215 Dirty Lead 2
216 Boostweeper1 2
217 Boostweeper2 2
218 B3 Filth 4
219 Phazed Organ 3
220 VSw Vibrafon 3
221 SA Vibe 1
222 Rich Vibes 2
223 SpaceGamelan 4
224 Toy Vibe 3
225 Analog Bomb 2
226 Seashore 2 4
227 Creation 4
228 Cyberjunkie 4
229 Sci-Fi Bells 3
230 Shine on 1
231 DEMO Piano1 4
232 DEMO Piano2 4
233 DEMO PnoVox 3
234 DEMO Str 1 2
235 DEMO Str 2 2
236 DEMO Str 3 2
237 DEMO SynPuls 2
238 DEMO 5thPad 4
239 DEMO Choir 2
240 DEMO Brass 1
241 DEMO Tenor 3
242 DEMO Tpt 1
243 DEMO Flute 2
244 DEMO Nylon 4
245 DEMO PhaseGt 4
246 DEMO DistGt1 4
247 DEMO DistGt2 3
248 DEMO Strat 3
249 DEMO SlapBs 2
250 DEMO P.Bass 1
251 DEMO SynBs 2
252 DEMO SynLead 4
253 DEMO Insect 4
254 DEMO Buzzzzz 2
255 DEMO Crowd 4
Voice: number of voice
172
Patch List
XP-B (WAVE EXPANSION B: Orchestral)
No. Name Voice
001 Warm Violins 3
002 Slow Vlns 1 3
003 Vlns+Vlas 1 4
004 Vl Sect mono 2
005 Arco Violins 4
006 Marcato Vls1 4
007 Vlns+Vlas 2 2
008 Agitato Vls1 4
009 Rosin Pad 1 2
010 Dry Mid-High 4
011 Natural Vlns 2
012 Sad Vln Sect 2
013 Marcato Vas 2
014 Arco Violas 2
015 Thick Violas 2
016 Va Sect f 1
017 Va Small Sec 3
018 Agitato Vas1 4
019 Sad Violas 2
020 Fast Cellos1 4
021 Vcs Legato 1 1
022 Marcato Vcs1 3
023 Small Vc Sec 2
024 Agitato Vcs1 4
025 Small Cellos 1
026 Sad CelloSec 2
027 Cb Sect ff 4
028 Wide Basses 2
029 mf Basses 1
030 Agitato Cbs1 4
031 Vcs+Cbs 2
032 2 Basses 2
033 Euro Strings 4
034 Rich Strings 4
035 Multi Strs 1 2
036 VlsVasVcsCbs 4
037 Bright Strs 4
038 Classicl Str 3
039 Full Strings 4
040 Med Str Sec 2
041 Small Strngs 1
042 Strings Arco 4
043 Vivace Strs 4
044 Agitato STR1 4
045 LowSTR Attak 4
046 Bad Guy STR 3
047 Ominous 4
048 Lo Express 4
049 DramaStrings 4
050 Solo Vln 1 / 4
051 Solo Vln 2 2
052 Chorus Vln 2
053 Stereo Vln 3
054 Agitato Vln1 2
055 Solo Vla 1 / 3
056 Solo Vla 2 2
057 Chorus Viola 2
058 Stereo Viola 3
059 Agitato Vla 2
060 Solo Vc 1 / 3
061 Solo Vc 2 2
062 Stereo Cello 3
063 Chorus Cello 2
064 Marcato Vc 1 1
No. Name Voice
065 Solo Cb 1 / 3
066 Solo Cb 2 2
067 Marcato Cb 1 1
068 Chamber Ens1 1
069 Chamber Ens2 2
070 Vln+Vla Dble 2
071 Vln+Vc Dbl1 2
072 Vla+Vc Dbl2 2
073 Vla+Vc Dble 2
074 Pizzicato 1 3
075 Mono Pizz 1
076 Pizzicato 2 2
077 Room Pizz 1
078 Hall Pizz 4
079 Tight Pizz 3
080 Short Pizz 2
081 STR Marcato1 2
082 Oct Marcato 4
083 Lower Marc!! 4
084 Big Marc! 4
085 STR Spiccato 3
086 Fast Attacks 4
087 Flute 1
088 Flute V-Sw 4
089 Piccolo 1
090 Piccolo Flt 2
091 Recorder 1
092 Oboe 1 2
093 Oboe 2 2
094 Oboe 3 2
095 Oboe 4 2
096 Oboe 5 2
097 English Hrn1 1
098 English Hrn2 1
099 English Hrn3 1
100 Bassoon 1 1
101 Bassoon 2 1
102 Clarinet 1 1
103 Clarinet 2 2
104 Bs Clarinet1 2
105 Bs Clarinet2 2
106 Trumpet 1 1
107 Trumpet 2 3
108 Trumpet 3 2
109 Flugelhorn 1 2
110 Flugelhorn 2 1
111 Cornet 1 1
112 Cornet 2 2
113 Solo Tb 1 1
114 Solo Tb 2 1
115 Solo Tb 3 / 4
116 Solo Tb 4 / 2
117 Bs Tb 1 1
118 Bs Tb 2 / 2
119 Harmon Mute1 1
120 Harmon Mute2 2
121 Tuba 1 2
122 Tuba 2 2
123 Solo F.Horn1 1
124 Solo F.Horn2 1
125 Sml F.Hrn sc 3
126 Horn Sect 1/ 4
127 F.Horn sc x4 1
128 Fr.Horn sfz 2
No. Name Voice
129 F.Hrn Sect2/ 2
130 F.Hrn Sect3 2
131 F.Hrn Sect4 4
132 F.Hrn Sect5/ 3
133 F.Hrn Sect6 2
134 F.Hrn Sect7 4
135 F.Hrn Sect8 2
136 MuteHrn Sect 1
137 Horn+Wood 1 4
138 Horn+Wood 2 4
139 Horn+Wood 3 3
140 Wood Sect 1 3
141 Wood Sect 2 4
142 Wood Sect 3 3
143 Wood Sect 4 3
144 2 Oboes 2
145 Oboe + Cla 2
146 Flt + Piccl 2
147 Flute + Cla 2
148 Bassoon+EHrn 3
149 Hi Woodwinds 4
150 WoodwindSplt 2
151 Multi Reed 1
152 4Trombones 2
153 Tb Sect 1 3
154 Tb + Tp 2
155 4Trumpets 4
156 3 Trumpets 3
157 Brass ff 1 2
158 Brass ff 2 3
159 Brass ff 3 4
160 McArthur Brs 4
161 Big Bones 4
162 BassBoneSect 3
163 Brass Swell1 3
164 Full Brs 1 4
165 Brass Sect1/ 4
166 Brass Ens 1 3
167 Brass Ens 2 3
168 Brass Ens 3 3
169 Brass Ens 4 3
170 Brass Ens 5 3
171 Brass Ens 6 3
172 Brass Ens 7 3
173 Brass Ens 8 3
174 Horn Strings 4
175 Full Orch.1 2
176 Full Orch.2 4
177 Full Orch.3 4
178 Full Orch.4 4
179 Maj Hit 1 4
180 Min Hit 1 4
181 Dim Hit 1 4
182 Major Stab! 4
183 Maj Hit 2 4
184 Min Hit 2 4
185 Classical Gt 3
186 Harp 1 1
187 Harp 2 2
188 Plucked Harp 3
189 Harp StrumMj 4
190 Harp StrumMn 4
191 Water Harp 3
192 ClasclPiano1 2
No. Name Voice
193 ClasclPiano2 3
194 ClasclPiano3 2
195 ClasclPiano4 2
196 Harpsichord1 2
197 Harpsichord2 3
198 Harpsichord3 4
199 Harpsichord4 3
200 Celesta 1 1
201 Celesta 2 2
202 Celesta 3 1
203 Glockenleste 2
204 Marimba 1
205 BassMarimba1 2
206 BassMarimba2 1
207 Vibe 1
208 Xylophone 1 2
209 Xylophone 2 3
210 Xylophone 3 1
211 Glocken 1 1
212 Glocken 2 1
213 ChurchBells1 3
214 ChurchBells2 4
215 ChurchBells3 3
216 TubulaBells1 2
217 TubulaBells2 2
218 Big Tubulars 4
219 Dawning 4
220 MalletStack1 4
221 MalletStack2 3
222 MalletStack3 4
223 MalletStack4 4
224 MalletStack5 4
225 MalletStack6 4
226 MalletStack7 4
227 Choir 1 3
228 Choir 2 1
229 Snare Drum 2
230 ConcertSNR1/ 4
231 ConcertSNR2/ 3
232 SNR Roll / 4
233 Concert BD1 3
234 Concert BD2/ 3
235 BD Roll / 3
236 Timpani 1 / 2
237 Timpani 2 / 4
238 Timpani 3 4
239 Timpani 4 / 3
240 Tam Tam 2
241 Gong 2
242 Piatti!! 2
243 Sleigh Bells 1
244 Slapstick / 3
245 Wind Chimes1 1
246 Wind Chimes2 3
247 Tambourine / 2
248 Castanets / 2
249 Rhythm Set 3
250 Perc Hit 1 4
251 Perc Hit 2 / 4
252 Perc Hit 3 3
253 Presenting! 4
254 Presto! 4
255 Christmas!!! 3
Voice: number of voice
173
Patch List
Appendices
XP-C (WAVE EXPANSION C: Techno Collection)
No. Name Voice
001 Teknoperator(132) 4
002 Transmission(144) 4
003 X-Tronic Jam(120) 4
004 Dirt Jungle(160) 2
005 DJ Spinnin(151) 4
006 Zipper Beat(151) 4
007 Tribal House(151) 3
008 Obsession(144) 4
009 Sonic Empire(144) 4
010 Double Dutch(140) 4
011 E-tronicBoom(116) 3
012 Chillout =->(116) 4
013 MecaTrip-Hop( 90) 4
014 Hero Beat( 90) 4
015 Hit House(120) 4
016 Voco Groove(122) 4
017 Hell Fire(151) 4
018 Lo:BD Hi:HH(144) 2
019 Detroit+Perc(132) 2
020 Crossfader(120) 2
021 Soft & Hard(120) 2
022 Space Shake(130) 4
023 Under Ether( 85) 2
024 Confusion(147) 4
025 Amsterdamer(184) 2
026 House that?(120) 4
027 Phrase Menu 1
028 Cyber-Trance 3
029 Creator 3
030 Etherality 4
031 Unplugged 4
032 Acid Melt 3
033 Brain Waves 4
034 1Shot Groove 1
035 FirstContact 2
036 Ambient S/H 4
037 Deep Machine 2
038 Big Blue 2
039 TeeBee V/Sw 4
040 303 Agressor 2
041 TB or not TB 3
042 HiLo303ModSw 2
043 2Square Bass 2
044 303 HollowBS 2
045 303 Bass 2
046 TB Saw Bass 1
047 303 Ow Bass 1
048 TB Square 1 2
049 TB Square 2 2
050 TB Square 3 2
051 Solid Bass 1 2
052 Solid Bass 2 1
053 FM Tube Bass 3
054 Drum’n’Bass 3
055 Sub Bass 1
056 Dirty Bass 2
057 Gate Me Buzz 1
058 Comprex Bass 1
059 Bass Invader 2
060 Ovdrive Bass 1
061 Housy Bella 4
062 Bassic Needs 2
063 Raver Bass 1 2
064 Raver Bass 2 2
No. Name Voice
065 Jericho Bass 2
066 Slippy Bass 2
067 Rise Bass 2
068 Cyber Bass 2
069 SH-2000 Bass 2
070 FM Bass 1
071 Razor Bass 2
072 SquelchyBass 2
073 RaversBass 4
074 Compu Bass 2
075 Jump Bass 2
076 VocoBass 2
077 Vocoder Menu 1
078 1.2.3.4. BPM 4
079 TeknoMusic 3
080 Retrocoder 2
081 u/i/e/o V/Sw 4
082 Talk Box 1 3
083 Talk Box 2 1
084 VT Vox 2
085 Artificial 4
086 BariVoise 1
087 After D ! 4
088 ARPsychea 4
089 Vintage Call 4
090 HarmoChimer 2
091 Ring Bell 2
092 260 & JUNO 3
093 260 MIDI 1
094 SquareKeys 2 1
095 Pure Sine 1
096 Ambient ORG 2
097 JX Planet 1
098 Clavi-Club 2
099 Sweep Clav 2 3
100 SquareTek 2
101 Retro Party 3
102 Rave Nature 2
103 Alias Square 2
104 Dirty Stack 1
105 Phenomena 4
106 Music Hi 1
107 Euro-Dance 1 3
108 Euro-Dance 2 3
109 Dance Stack 4
110 Raver Blade 4
111 White Gloves 1
112 Touchdown 4
113 Rave Station 2
114 Time Warp 3
115 Thin Rave 4
116 Igor Circus 3
117 Alpha Zone 4
118 Stars March 4
119 JP Velo-Saw 2
120 Rich Teeth 4
121 After Saw 4
122 Saw Cocktail 3
123 Poly Message 2
124 Xpressive 4
125 Earblower 3
126 Cutting Edge 4
127 Stalactica 4
128 LA Heaven 4
No. Name Voice
129 Euforia 3
130 Labo-Feedbak 4
131 Banded Jupe 1
132 Killer Pad 1
133 Mystic Pad 4
134 D-Mention 4
135 X-hale 4
136 Sirena 4
137 After’s Pad 3
138 Warmer Pad 2
139 Phatt Pad 2
140 OB Sweep Pad 3
141 Murk Pad 4
142 Dense Floor 4
143 SecretMelody 4
144 Vaporish 4
145 Vintage Revo 3
146 Liquid Sky 4
147 Exploration 3
148 Drama Pad 4
149 Vapor Style 4
150 JP-6 Stack 1
151 Obilator 1
152 Glamour 3
153 Medium Solo 3
154 Singing’Mini 1
155 Analog Flute 1
156 SH-5 Bs/Lead 2
157 Classy Pulse 1
158 Jupiter-6 Ld 2
159 Just Lovely 1
160 DJ Devil 1
161 Simply June 1
162 Mr.Raw SAW 1
163 Crispy Lead 4
164 Dirty Lead 2 3
165 Disto Stack 4
166 Velo Cheese 3
167 Noiz Mania 4
168 Power Mutes 2
169 V-Beep 1
170 Freaky Fry 1
171 SQ Formule 1
172 DirtyOrgan 2 2
173 Oldies Organ 2
174 Edgy Organ 4
175 Juno Organ 2
176 Space Org X 3
177 Cabin Organ 2
178 Dream Organ 3
179 Club Organ 2
180 Perc. Organ 2
181 Organ Stabs 2
182 Techno Pizz 1
183 Captain Pizz 4
184 Pizzatek 2
185 Sleepless 4
186 Mega 5th 2 2
187 Chord maj7th 4
188 Chord min7th 4
189 5thDimension 4
190 StateXLChord 4
191 Sixth Sense 4
192 Garage Chord 4
No. Name Voice
193 Chordmaj7/5- 4
194 Planet EKNO 3
195 Optimum Rave 4
196 Arpege Me 2
197 VTransformer 4
198 Analog Attax 4
199 Maxi Fuzzy ! 2
200 Only by FXM 3
201 Hit & Run 4
202 Photon Attak 4
203 Predator 4
204 Village Hit 4
205 Hardcore Hit 4
206 Short Chord 4
207 ShortCircuit 4
208 SonofaPitch 4
209 Flutish SQUR 4
210 FazzyCow 808 3
211 Blurpy 3
212 Static Hit 3
213 Hi Attack 3
214 TonalTension 4
215 Jungle Stabs 2
216 Buzz Machine 2
217 Zapper 1
218 Blip 1
219 Iron Hit 2
220 Headz Direct 1
221 Scratchy Hit 2
222 Hit&IndsMenu 3
223 GTR FX Menu 1
224 GTR Power 1 1
225 GTR Power 2 1
226 Snr Menu 1 3
227 Snr Menu 2 2
228 Kick Menu 2
229 Hi Hat Menu 4
230 Perc Menu 4
231 Tom&Cym Menu 2
232 Metal Dream 4
233 System D 4
234 Mayday Ring 2
235 Industrial 4
236 Tranceporter 3
237 Acid Copter 1
238 Roll Over 4
239 Gimme aBreak 4
240 RadicalAbuse 2
241 Echodrome 1
242 Trance Chime 2
243 Altamira 2
244 Locko Motif 1
245 SpaceFactory 2
246 Get Busy 4
247 Ayers Rock 4
248 Altern Saw 1
249 JP-6 Sync 1
250 Cold JX 1
251 Fancy Pad 1
252 Tune Breath 2
253 OrchestraGTR 2
254 Gtr Sweep 2
255 Trilly 2
256 Good Bye Spk 4
Voice: number of voice
* The numbers in parenthesis following the Patch name represent the B.P.M. (tempo) when played at the C4 key.
* Note that the Release Time has been set to a fairly long value for some of the patches. As a result, if your sound generator has been set
so “Patch Remain” is “ON,” the release portion of a previously sounding patch may continue to be heard even after switching to a new
174
Patch List
■B.P.M. CONVERSION TABLE
By changing the pitch, you can change the B.P.M. (tempo).
The B.P.M. used when sampling the original (Original B.P.M.) is reproduced by
the C4 key when both “c.t.” (Coarse Tune) and “f.t.” (Fine Tune) are at “0.”
If you want to obtain twice the tempo of the original B.P.M., either play the C5 key
(key one octave above), or set “c.t.” (Coarse Tune) to +12 and play the C4 key.
For specifics, refer to the separate B.P.M. Conversion Table.
How to Read the Table
● B.P.M. Conversion When Creating Patches
The Original B.P.M. is the B.P.M. obtained when the Waveform is played by the
C4 key (when both Coarse and Fine Tune are at “0”).
(Marked with in table.)
For example, to play a B.P.M. 116 Waveform at B.P.M. 120:
dst key c.t f.t
116 C 4 00 00
:: : :
120 C# 4 +01 -41
Method 1: Look up the “f.t.” (Fine Tune) parameter in the table, and you will see
that the setting for “f.t.” should be -41 and that the C#4 key should be
played.
Method 2: Look up the “c.t.”(Coarse Tune) and “f.t.” (Fine Tune) parameters in
the table, and you will see that the setting for “c.t.”should be +1, and
that for “f.t.” should be -41, and that the C4 key should be played.
So, as you can see from the above example, the settings you should make
change depending on whether you want to play using the same key or not.
● B.P.M. Conversion When Creating Rhythm Sets
Given that the Original Pitch for the Rhythm Set is C4, you need to set
“c.t.”(Coarse Tune) for the range C-1 through G9.
To play a Phrase Loop Waveform at the Original B.P.M., set “c.t.” (Coarse Tune)
to C4, and “f.t.” (Fine Tune) to “0.”
To change the B.P.M. for a Phrase Loop Waveform in a Rhythm Set, look up
“key” and “f.t.” (Fine Tune) in the table, and make the necessary settings.
dst key c.t f.t
41 F# 2 -18 -01
42 F# 2 -18 +41
43 G 2 -17 -18
44 G 2 -17 +22
45 G# 2 -16 -39
46 G# 2 -16 -01
47 G# 2 -16 +36
48 A 2 -15 -28
49 A 2 -15 +08
50 A 2 -15 +43
51 A# 2 -14 -23
52 A# 2 -14 +11
53 A# 2 -14 +44
54 B 2 -13 -24
55 B 2 -13 +08
56 B 2 -13 +39
57 C 3 -12 -30
58 C 3 -12 00
59 C 3 -12 +30
60 C# 3 -11 -41
61 C# 3 -11 -13
62 C# 3 -11 +15
63 C# 3 -11 +43
64 D 3 -10 -30
65 D 3 -10 -03
66 D 3 -10 +24
67 D 3 -10 +50
68 D# 3 -09 -25
69 D# 3 -09 +01
70 D# 3 -09 +26
71 E 3 -08 -50
72 E 3 -08 -26
73 E 3 -08 -02
74 E 3 -08 +22
75 E 3 -08 +45
76 F 3 -07 -32
77 F 3 -07 -09
78 F 3 -07 +13
79 F 3 -07 +35
80 F# 3 -06 -43
81 F# 3 -06 -22
82 F# 3 -06 -01
83 F# 3 -06 +20
84 F# 3 -06 +41
85 G 3 -05 -38
86 G 3 -05 -18
87 G 3 -05 +02
88 G 3 -05 +22
89 G 3 -05 +41
90 G# 3 -04 -39
91 G# 3 -04 -20
92 G# 3 -04 -01
93 G# 3 -04 +17
94 G# 3 -04 +36
95 A 3 -03 -46
96 A 3 -03 -28
97 A 3 -03 -10
98 A 3 -03 +08
99 A 3 -03 +26
100 A 3 -03 +43
101 A# 3 -02 -40
102 A# 3 -02 -23
103 A# 3 -02 -06
104 A# 3 -02 +11
105 A# 3 -02 +28
106 A# 3 -02 +44
107 B 3 -01 -40
108 B 3 -01 -24
109 B 3 -01 -08
110 B 3 -01 +08
111 B 3 -01 +24
112 B 3 -01 +39
113 C 4 00 -45
114 C 4 00 -30
115 C 4 00 -15
117 C 4 00 +15
118 C 4 00 +30
119 C 4 00 +44
120 C# 4 +01 -41
121 C# 4 +01 -27
122 C# 4 +01 -13
123 C# 4 +01 +01
124 C# 4 +01 +15
125 C# 4 +01 +29
126 C# 4 +01 +43
127 D 4 +02 -43
128 D 4 +02 -30
129 D 4 +02 -16
130 D 4 +02 -03
131 D 4 +02 +11
132 D 4 +02 +24
133 D 4 +02 +37
134 D 4 +02 +50
135 D# 4 +03 -37
136 D# 4 +03 -25
137 D# 4 +03 -12
138 D# 4 +03 +01
139 D# 4 +03 +13
140 D# 4 +03 +26
dst key c.t f.t
141 D# 4 +03 +38
142 E 4 +04 -50
143 E 4 +04 -38
144 E 4 +04 -26
145 E 4 +04 -14
146 E 4 +04 -02
147 E 4 +04 +10
148 E 4 +04 +22
149 E 4 +04 +33
150 E 4 +04 +45
151 F 4 +05 -43
152 F 4 +05 -32
153 F 4 +05 -21
154 F 4 +05 -09
155 F 4 +05 +02
156 F 4 +05 +13
157 F 4 +05 +24
158 F 4 +05 +35
159 F 4 +05 +46
160 F# 4 +06 -43
161 F# 4 +06 -32
162 F# 4 +06 -22
163 F# 4 +06 -11
164 F# 4 +06 -01
165 F# 4 +06 +10
166 F# 4 +06 +20
167 F# 4 +06 +31
168 F# 4 +06 +41
169 G 4 +07 -49
170 G 4 +07 -38
171 G 4 +07 -28
172 G 4 +07 -18
173 G 4 +07 -08
174 G 4 +07 +02
175 G 4 +07 +12
176 G 4 +07 +22
177 G 4 +07 +32
178 G 4 +07 +41
179 G# 4 +08 -49
180 G# 4 +08 -39
181 G# 4 +08 -30
182 G# 4 +08 -20
183 G# 4 +08 -11
184 G# 4 +08 -01
185 G# 4 +08 +08
186 G# 4 +08 +17
187 G# 4 +08 +27
188 G# 4 +08 +36
189 G# 4 +08 +45
190 A 4 +09 -46
191 A 4 +09 -37
192 A 4 +09 -28
193 A 4 +09 -19
194 A 4 +09 -10
195 A 4 +09 -01
196 A 4 +09 +08
197 A 4 +09 +17
198 A 4 +09 +26
199 A 4 +09 +34
200 A 4 +09 +43
201 A# 4 +10 -48
202 A# 4 +10 -40
203 A# 4 +10 -31
204 A# 4 +10 -23
205 A# 4 +10 -14
206 A# 4 +10 -06
207 A# 4 +10 +03
208 A# 4 +10 +11
209 A# 4 +10 +19
210 A# 4 +10 +28
211 A# 4 +10 +36
212 A# 4 +10 +44
213 B 4 +11 -48
214 B 4 +11 -40
215 B 4 +11 -32
216 B 4 +11 -24
217 B 4 +11 -16
218 B 4 +11 -08
219 B 4 +11 00
220 B 4 +11 +08
221 B 4 +11 +16
222 B 4 +11 +24
223 B 4 +11 +32
224 B 4 +11 +39
225 B 4 +11 +47
226 C 5 +12 -45
227 C 5 +12 -38
228 C 5 +12 -30
229 C 5 +12 -23
230 C 5 +12 -15
231 C 5 +12 -07
232 C 5 +12 00
233 C 5 +12 +07
234 C 5 +12 +15
235 C 5 +12 +22
236 C 5 +12 +30
237 C 5 +12 +37
238 C 5 +12 +44
239 C# 5 +13 -49
240 C# 5 +13 -41
Original B.P.M. 116
116 C 4 00 00
175
Patch List
Appendices
dst key c.t f.t
41 F 2 -19 +41
42 F# 2 -18 -17
43 F# 2 -18 +23
44 G 2 -17 -37
45 G 2 -17 +02
46 G 2 -17 +40
47 G# 2 -16 -23
48 G# 2 -16 +14
49 G# 2 -16 +49
50 A 2 -15 -16
51 A 2 -15 +19
52 A# 2 -14 -48
53 A# 2 -14 -15
54 A# 2 -14 +18
55 A# 2 -14 +49
56 B 2 -13 -19
57 B 2 -13 +11
58 B 2 -13 +41
59 C 3 -12 -29
60 C 3 -12 00
61 C 3 -12 +29
62 C# 3 -11 -43
63 C# 3 -11 -16
64 C# 3 -11 +12
65 C# 3 -11 +39
66 D 3 -10 -35
67 D 3 -10 -09
68 D 3 -10 +17
69 D 3 -10 +42
70 D# 3 -09 -33
71 D# 3 -09 -09
72 D# 3 -09 +16
73 D# 3 -09 +40
74 E 3 -08 -37
75 E 3 -08 -14
76 E 3 -08 +09
77 E 3 -08 +32
78 F 3 -07 -46
79 F 3 -07 -24
80 F 3 -07 -02
81 F 3 -07 +20
82 F 3 -07 +41
83 F# 3 -06 -38
84 F# 3 -06 -17
85 F# 3 -06 +03
86 F# 3 -06 +23
87 F# 3 -06 +43
88 G 3 -05 -37
89 G 3 -05 -17
90 G 3 -05 +02
91 G 3 -05 +21
92 G 3 -05 +40
93 G# 3 -04 -41
94 G# 3 -04 -23
95 G# 3 -04 -04
96 G# 3 -04 +14
97 G# 3 -04 +32
98 G# 3 -04 +49
99 A 3 -03 -33
100 A 3 -03 -16
101 A 3 -03 +02
102 A 3 -03 +19
103 A 3 -03 +36
104 A# 3 -02 -48
105 A# 3 -02 -31
106 A# 3 -02 -15
107 A# 3 -02 +01
108 A# 3 -02 +18
109 A# 3 -02 +34
110 A# 3 -02 +49
111 B 3 -01 -35
112 B 3 -01 -19
113 B 3 -01 -04
114 B 3 -01 +11
115 B 3 -01 +26
116 B 3 -01 +41
117 C 4 00 -44
118 C 4 00 -29
119 C 4 00 -14
121 C 4 00 +14
122 C 4 00 +29
123 C 4 00 +43
124 C# 4 +01 -43
125 C# 4 +01 -29
126 C# 4 +01 -16
127 C# 4 +01 -02
128 C# 4 +01 +12
129 C# 4 +01 +25
130 C# 4 +01 +39
131 D 4 +02 -48
132 D 4 +02 -35
133 D 4 +02 -22
134 D 4 +02 -09
135 D 4 +02 +04
136 D 4 +02 +17
137 D 4 +02 +29
138 D 4 +02 +42
139 D# 4 +03 -46
140 D# 4 +03 -33
dst key c.t f.t
141 D# 4 +03 -21
142 D# 4 +03 -09
143 D# 4 +03 +04
144 D# 4 +03 +16
145 D# 4 +03 +28
146 D# 4 +03 +40
147 E 4 +04 -49
148 E 4 +04 -37
149 E 4 +04 -25
150 E 4 +04 -14
151 E 4 +04 -02
152 E 4 +04 +09
153 E 4 +04 +21
154 E 4 +04 +32
155 E 4 +04 +43
156 F 4 +05 -46
157 F 4 +05 -35
158 F 4 +05 -24
159 F 4 +05 -13
160 F 4 +05 -02
161 F 4 +05 +09
162 F 4 +05 +20
163 F 4 +05 +30
164 F 4 +05 +41
165 F# 4 +06 -49
166 F# 4 +06 -38
167 F# 4 +06 -28
168 F# 4 +06 -17
169 F# 4 +06 -07
170 F# 4 +06 +03
171 F# 4 +06 +13
172 F# 4 +06 +23
173 F# 4 +06 +33
174 F# 4 +06 +43
175 G 4 +07 -47
176 G 4 +07 -37
177 G 4 +07 -27
178 G 4 +07 -17
179 G 4 +07 -08
180 G 4 +07 +02
181 G 4 +07 +12
182 G 4 +07 +21
183 G 4 +07 +31
184 G 4 +07 +40
185 G 4 +07 +49
186 G# 4 +08 -41
187 G# 4 +08 -32
188 G# 4 +08 -23
189 G# 4 +08 -14
190 G# 4 +08 -04
191 G# 4 +08 +05
192 G# 4 +08 +14
193 G# 4 +08 +23
194 G# 4 +08 +32
195 G# 4 +08 +41
196 G# 4 +08 +49
197 A 4 +09 -42
198 A 4 +09 -33
199 A 4 +09 -24
200 A 4 +09 -16
201 A 4 +09 -07
202 A 4 +09 +02
203 A 4 +09 +10
204 A 4 +09 +19
205 A 4 +09 +27
206 A 4 +09 +36
207 A 4 +09 +44
208 A# 4 +10 -48
209 A# 4 +10 -39
210 A# 4 +10 -31
211 A# 4 +10 -23
212 A# 4 +10 -15
213 A# 4 +10 -07
214 A# 4 +10 +01
215 A# 4 +10 +10
216 A# 4 +10 +18
217 A# 4 +10 +26
218 A# 4 +10 +34
219 A# 4 +10 +41
220 A# 4 +10 +49
221 B 4 +11 -43
222 B 4 +11 -35
223 B 4 +11 -27
224 B 4 +11 -19
225 B 4 +11 -12
226 B 4 +11 -04
227 B 4 +11 +04
228 B 4 +11 +11
229 B 4 +11 +19
230 B 4 +11 +26
231 B 4 +11 +34
232 B 4 +11 +41
233 B 4 +11 +49
234 C 5 +12 -44
235 C 5 +12 -36
236 C 5 +12 -29
237 C 5 +12 -22
238 C 5 +12 -14
239 C 5 +12 -07
240 C 5 +12 00
dst key c.t f.t
41 E 2 -20 -24
42 E 2 -20 +18
43 F 2 -19 -42
44 F 2 -19 -02
45 F 2 -19 +37
46 F# 2 -18 -25
47 F# 2 -18 +12
48 F# 2 -18 +49
49 G 2 -17 -16
50 G 2 -17 +19
51 G# 2 -16 -46
52 G# 2 -16 -13
53 G# 2 -16 +20
54 A 2 -15 -47
55 A 2 -15 -16
56 A 2 -15 +16
57 A 2 -15 +46
58 A# 2 -14 -24
59 A# 2 -14 +06
60 A# 2 -14 +35
61 B 2 -13 -36
62 B 2 -13 -08
63 B 2 -13 +19
64 B 2 -13 +47
65 C 3 -12 -26
66 C 3 -12 00
67 C 3 -12 +26
68 C# 3 -11 -48
69 C# 3 -11 -23
70 C# 3 -11 +02
71 C# 3 -11 +26
72 D 3 -10 -49
73 D 3 -10 -25
74 D 3 -10 -02
75 D 3 -10 +21
76 D 3 -10 +44
77 D# 3 -09 -33
78 D# 3 -09 -11
79 D# 3 -09 +11
80 D# 3 -09 +33
81 E 3 -08 -45
82 E 3 -08 -24
83 E 3 -08 -03
84 E 3 -08 +18
85 E 3 -08 +38
86 F 3 -07 -42
87 F 3 -07 -22
88 F 3 -07 -02
89 F 3 -07 +18
90 F 3 -07 +37
91 F# 3 -06 -44
92 F# 3 -06 -25
93 F# 3 -06 -06
94 F# 3 -06 +12
95 F# 3 -06 +31
96 F# 3 -06 +49
97 G 3 -05 -33
98 G 3 -05 -16
99 G 3 -05 +02
100 G 3 -05 +19
101 G 3 -05 +37
102 G# 3 -04 -46
103 G# 3 -04 -29
104 G# 3 -04 -13
105 G# 3 -04 +04
106 G# 3 -04 +20
107 G# 3 -04 +36
108 A 3 -03 -47
109 A 3 -03 -31
110 A 3 -03 -16
111 A 3 -03 00
112 A 3 -03 +16
113 A 3 -03 +31
114 A 3 -03 +46
115 A# 3 -02 -39
116 A# 3 -02 -24
117 A# 3 -02 -09
118 A# 3 -02 +06
119 A# 3 -02 +21
120 A# 3 -02 +35
121 A# 3 -02 +49
122 B 3 -01 -36
123 B 3 -01 -22
124 B 3 -01 -08
125 B 3 -01 +06
126 B 3 -01 +19
127 B 3 -01 +33
128 B 3 -01 +47
129 C 4 00 -40
130 C 4 00 -26
131 C 4 00 -13
133 C 4 00 +13
134 C 4 00 +26
135 C 4 00 +39
136 C# 4 +01 -48
137 C# 4 +01 -36
138 C# 4 +01 -23
139 C# 4 +01 -11
140 C# 4 +01 +02
dst key c.t f.t
141 C# 4 +01 +14
142 C# 4 +01 +26
143 C# 4 +01 +39
144 D 4 +02 -49
145 D 4 +02 -37
146 D 4 +02 -25
147 D 4 +02 -14
148 D 4 +02 -02
149 D 4 +02 +10
150 D 4 +02 +21
151 D 4 +02 +33
152 D 4 +02 +44
153 D# 4 +03 -44
154 D# 4 +03 -33
155 D# 4 +03 -22
156 D# 4 +03 -11
157 D# 4 +03 00
158 D# 4 +03 +11
159 D# 4 +03 +22
160 D# 4 +03 +33
161 D# 4 +03 +44
162 E 4 +04 -45
163 E 4 +04 -35
164 E 4 +04 -24
165 E 4 +04 -14
166 E 4 +04 -03
167 E 4 +04 +07
168 E 4 +04 +18
169 E 4 +04 +28
170 E 4 +04 +38
171 E 4 +04 +48
172 F 4 +05 -42
173 F 4 +05 -32
174 F 4 +05 -22
175 F 4 +05 -12
176 F 4 +05 -02
177 F 4 +05 +08
178 F 4 +05 +18
179 F 4 +05 +27
180 F 4 +05 +37
181 F 4 +05 +47
182 F# 4 +06 -44
183 F# 4 +06 -34
184 F# 4 +06 -25
185 F# 4 +06 -16
186 F# 4 +06 -06
187 F# 4 +06 +03
188 F# 4 +06 +12
189 F# 4 +06 +21
190 F# 4 +06 +31
191 F# 4 +06 +40
192 F# 4 +06 +49
193 G 4 +07 -42
194 G 4 +07 -33
195 G 4 +07 -24
196 G 4 +07 -16
197 G 4 +07 -07
198 G 4 +07 +02
199 G 4 +07 +11
200 G 4 +07 +19
201 G 4 +07 +28
202 G 4 +07 +37
203 G 4 +07 +45
204 G# 4 +08 -46
205 G# 4 +08 -38
206 G# 4 +08 -29
207 G# 4 +08 -21
208 G# 4 +08 -13
209 G# 4 +08 -04
210 G# 4 +08 +04
211 G# 4 +08 +12
212 G# 4 +08 +20
213 G# 4 +08 +28
214 G# 4 +08 +36
215 G# 4 +08 +45
216 A 4 +09 -47
217 A 4 +09 -39
218 A 4 +09 -31
219 A 4 +09 -24
220 A 4 +09 -16
221 A 4 +09 -08
222 A 4 +09 00
223 A 4 +09 +08
224 A 4 +09 +16
225 A 4 +09 +23
226 A 4 +09 +31
227 A 4 +09 +39
228 A 4 +09 +46
229 A# 4 +10 -46
230 A# 4 +10 -39
231 A# 4 +10 -31
232 A# 4 +10 -24
233 A# 4 +10 -16
234 A# 4 +10 -09
235 A# 4 +10 -01
236 A# 4 +10 +06
237 A# 4 +10 +13
238 A# 4 +10 +21
239 A# 4 +10 +28
240 A# 4 +10 +35
dst key c.t f.t
41 D# 2 -21 -01
42 D# 2 -21 +41
43 E 2 -20 -19
44 E 2 -20 +21
45 F 2 -19 -40
46 F 2 -19 -02
47 F 2 -19 +35
48 F# 2 -18 -28
49 F# 2 -18 +07
50 F# 2 -18 +42
51 G 2 -17 -23
52 G 2 -17 +10
53 G 2 -17 +43
54 G# 2 -16 -24
55 G# 2 -16 +07
56 G# 2 -16 +39
57 A 2 -15 -31
58 A 2 -15 -01
59 A 2 -15 +29
60 A# 2 -14 -42
61 A# 2 -14 -13
62 A# 2 -14 +15
63 A# 2 -14 +43
64 B 2 -13 -30
65 B 2 -13 -03
66 B 2 -13 +23
67 B 2 -13 +49
68 C 3 -12 -25
69 C 3 -12 00
70 C 3 -12 +25
71 C 3 -12 +49
72 C# 3 -11 -26
73 C# 3 -11 -02
74 C# 3 -11 +21
75 C# 3 -11 +44
76 D 3 -10 -33
77 D 3 -10 -10
78 D 3 -10 +12
79 D 3 -10 +34
80 D# 3 -09 -44
81 D# 3 -09 -22
82 D# 3 -09 -01
83 D# 3 -09 +20
84 D# 3 -09 +41
85 E 3 -08 -39
86 E 3 -08 -19
87 E 3 -08 +01
88 E 3 -08 +21
89 E 3 -08 +41
90 F 3 -07 -40
91 F 3 -07 -21
92 F 3 -07 -02
93 F 3 -07 +17
94 F 3 -07 +35
95 F# 3 -06 -46
96 F# 3 -06 -28
97 F# 3 -06 -10
98 F# 3 -06 +07
99 F# 3 -06 +25
100 F# 3 -06 +42
101 G 3 -05 -40
102 G 3 -05 -23
103 G 3 -05 -06
104 G 3 -05 +10
105 G 3 -05 +27
106 G 3 -05 +43
107 G# 3 -04 -40
108 G# 3 -04 -24
109 G# 3 -04 -08
110 G# 3 -04 +07
111 G# 3 -04 +23
112 G# 3 -04 +39
113 A 3 -03 -46
114 A 3 -03 -31
115 A 3 -03 -16
116 A 3 -03 -01
117 A 3 -03 +14
118 A 3 -03 +29
119 A 3 -03 +44
120 A# 3 -02 -42
121 A# 3 -02 -28
122 A# 3 -02 -13
123 A# 3 -02 +01
124 A# 3 -02 +15
125 A# 3 -02 +29
126 A# 3 -02 +43
127 B 3 -01 -44
128 B 3 -01 -30
129 B 3 -01 -17
130 B 3 -01 -03
131 B 3 -01 +10
132 B 3 -01 +23
133 B 3 -01 +36
134 B 3 -01 +49
135 C 4 00 -38
136 C 4 00 -25
137 C 4 00 -13
139 C 4 00 +12
140 C 4 00 +25
dst key c.t f.t
141 C 4 00 +37
142 C 4 00 +49
143 C# 4 +01 -38
144 C# 4 +01 -26
145 C# 4 +01 -14
146 C# 4 +01 -02
147 C# 4 +01 +09
148 C# 4 +01 +21
149 C# 4 +01 +33
150 C# 4 +01 +44
151 D 4 +02 -44
152 D 4 +02 -33
153 D 4 +02 -21
154 D 4 +02 -10
155 D 4 +02 +01
156 D 4 +02 +12
157 D 4 +02 +23
158 D 4 +02 +34
159 D 4 +02 +45
160 D# 4 +03 -44
161 D# 4 +03 -33
162 D# 4 +03 -22
163 D# 4 +03 -12
164 D# 4 +03 -01
165 D# 4 +03 +09
166 D# 4 +03 +20
167 D# 4 +03 +30
168 D# 4 +03 +41
169 E 4 +04 -49
170 E 4 +04 -39
171 E 4 +04 -29
172 E 4 +04 -19
173 E 4 +04 -09
174 E 4 +04 +01
175 E 4 +04 +11
176 E 4 +04 +21
177 E 4 +04 +31
178 E 4 +04 +41
179 F 4 +05 -50
180 F 4 +05 -40
181 F 4 +05 -30
182 F 4 +05 -21
183 F 4 +05 -11
184 F 4 +05 -02
185 F 4 +05 +07
186 F 4 +05 +17
187 F 4 +05 +26
188 F 4 +05 +35
189 F 4 +05 +44
190 F# 4 +06 -46
191 F# 4 +06 -37
192 F# 4 +06 -28
193 F# 4 +06 -19
194 F# 4 +06 -10
195 F# 4 +06 -01
196 F# 4 +06 +07
197 F# 4 +06 +16
198 F# 4 +06 +25
199 F# 4 +06 +34
200 F# 4 +06 +42
201 G 4 +07 -49
202 G 4 +07 -40
203 G 4 +07 -32
204 G 4 +07 -23
205 G 4 +07 -15
206 G 4 +07 -06
207 G 4 +07 +02
208 G 4 +07 +10
209 G 4 +07 +19
210 G 4 +07 +27
211 G 4 +07 +35
212 G 4 +07 +43
213 G# 4 +08 -49
214 G# 4 +08 -40
215 G# 4 +08 -32
216 G# 4 +08 -24
217 G# 4 +08 -16
218 G# 4 +08 -08
219 G# 4 +08 00
220 G# 4 +08 +07
221 G# 4 +08 +15
222 G# 4 +08 +23
223 G# 4 +08 +31
224 G# 4 +08 +39
225 G# 4 +08 +46
226 A 4 +09 -46
227 A 4 +09 -38
228 A 4 +09 -31
229 A 4 +09 -23
230 A 4 +09 -16
231 A 4 +09 -08
232 A 4 +09 -01
233 A 4 +09 +07
234 A 4 +09 +14
235 A 4 +09 +22
236 A 4 +09 +29
237 A 4 +09 +36
238 A 4 +09 +44
239 A# 4 +10 -49
240 A# 4 +10 -42
Original B.P.M. 120 Original B.P.M. 132 Original B.P.M. 138
120 C 4 00 00
132 C 4 00 00
138 C 4 00 00
176
Patch List
dst key c.t f.t
41 D 2 -22 +25
42 D# 2 -21 -33
43 D# 2 -21 +08
44 D# 2 21 +47
45 E 2 -20 -14
46 E 2 -20 +24
47 F 2 -19 -38
48 F 2 -19 -02
49 F 2 -19 +34
50 F# 2 -18 -31
51 F# 2 -18 +03
52 F# 2 -18 +37
53 G 2 -17 -30
54 G 2 -17 +02
55 G 2 -17 +34
56 G# 2 -16 -35
57 G# 2 -16 -04
58 G# 2 -16 +26
59 A 2 -15 -45
60 A 2 -15 -16
61 A 2 -15 +13
62 A 2 -15 +41
63 A# 2 -14 -31
64 A# 2 -14 -04
65 A# 2 -14 +23
66 A# 2 -14 +49
67 B 2 -13 -25
68 B 2 -13 +01
69 B 2 -13 +26
70 C 3 -12 -49
71 C 3 -12 -24
72 C 3 -12 00
73 C 3 -12 +24
74 C 3 -12 +47
75 C# 3 -11 -29
76 C# 3 -11 -06
77 C# 3 -11 +16
78 C# 3 -11 +39
79 D 3 -10 -39
80 D 3 -10 -18
81 D 3 -10 +04
82 D 3 -10 +25
83 D 3 -10 +46
84 D# 3 -09 -33
85 D# 3 -09 -13
86 D# 3 -09 +08
87 D# 3 -09 +28
88 D# 3 -09 +47
89 E 3 -08 -33
90 E 3 -08 -14
91 E 3 -08 +05
92 E 3 -08 +24
93 E 3 -08 +43
94 F 3 -07 -38
95 F 3 -07 -20
96 F 3 -07 -02
97 F 3 -07 +16
98 F 3 -07 +34
99 F# 3 -06 -49
100 F# 3 -06 -31
101 F# 3 -06 -14
102 F# 3 -06 +03
103 F# 3 -06 +20
104 F# 3 -06 +37
105 G 3 -05 -47
106 G 3 -05 -30
107 G 3 -05 -14
108 G 3 -05 +02
109 G 3 -05 +18
110 G 3 -05 +34
111 G 3 -05 +49
112 G# 3 -04 -35
113 G# 3 -04 -20
114 G# 3 -04 -04
115 G# 3 -04 +11
116 G# 3 -04 +26
117 G# 3 -04 +41
118 A 3 -03 -45
119 A 3 -03 -30
120 A 3 -03 -16
121 A 3 -03 -01
122 A 3 -03 +13
123 A 3 -03 +27
124 A 3 -03 +41
125 A# 3 -02 -45
126 A# 3 -02 -31
127 A# 3 -02 -17
128 A# 3 -02 -04
129 A# 3 -02 +10
130 A# 3 -02 +23
131 A# 3 -02 +36
132 A# 3 -02 +49
133 B 3 -01 -38
134 B 3 -01 -25
135 B 3 -01 -12
136 B 3 -01 +01
137 B 3 -01 +14
138 B 3 -01 +26
139 B 3 -01 +39
140 C 4 00 -49
dst key c.t f.t
141 C 4 00 -36
142 C 4 00 -24
143 C 4 00 -12
145 C 4 00 +12
146 C 4 00 +24
147 C 4 00 +36
148 C 4 00 +47
149 C# 4 +01 -41
150 C# 4 +01 -29
151 C# 4 +01 -18
152 C# 4 +01 -06
153 C# 4 +01 +05
154 C# 4 +01 +16
155 C# 4 +01 +27
156 C# 4 +01 +39
157 C# 4 +01 +50
158 D 4 +02 -39
159 D 4 +02 -28
160 D 4 +02 -18
161 D 4 +02 -07
162 D 4 +02 +04
163 D 4 +02 +15
164 D 4 +02 +25
165 D 4 +02 +36
166 D 4 +02 +46
167 D# 4 +03 -43
168 D# 4 +03 -33
169 D# 4 +03 -23
170 D# 4 +03 -13
171 D# 4 +03 -02
172 D# 4 +03 +08
173 D# 4 +03 +18
174 D# 4 +03 +28
175 D# 4 +03 +38
176 D# 4 +03 +47
177 E 4 +04 -43
178 E 4 +04 -33
179 E 4 +04 -23
180 E 4 +04 -14
181 E 4 +04 -04
182 E 4 +04 +05
183 E 4 +04 +15
184 E 4 +04 +24
185 E 4 +04 +34
186 E 4 +04 +43
187 F 4 +05 -48
188 F 4 +05 -38
189 F 4 +05 -29
190 F 4 +05 -20
191 F 4 +05 -11
192 F 4 +05 -02
193 F 4 +05 +07
194 F 4 +05 +16
195 F 4 +05 +25
196 F 4 +05 +34
197 F 4 +05 +43
198 F# 4 +06 -49
199 F# 4 +06 -40
200 F# 4 +06 -31
201 F# 4 +06 -23
202 F# 4 +06 -14
203 F# 4 +06 -06
204 F# 4 +06 +03
205 F# 4 +06 +11
206 F# 4 +06 +20
207 F# 4 +06 +28
208 F# 4 +06 +37
209 F# 4 +06 +45
210 G 4 +07 -47
211 G 4 +07 -39
212 G 4 +07 -30
213 G 4 +07 -22
214 G 4 +07 -14
215 G 4 +07 -06
216 G 4 +07 +02
217 G 4 +07 +10
218 G 4 +07 +18
219 G 4 +07 +26
220 G 4 +07 +34
221 G 4 +07 +42
222 G 4 +07 +49
223 G# 4 +08 -43
224 G# 4 +08 -35
225 G# 4 +08 -27
226 G# 4 +08 -20
227 G# 4 +08 -12
228 G# 4 +08 -04
229 G# 4 +08 +03
230 G# 4 +08 +11
231 G# 4 +08 +18
232 G# 4 +08 +26
233 G# 4 +08 +33
234 G# 4 +08 +41
235 G# 4 +08 +48
236 A 4 +09 -45
237 A 4 +09 -37
238 A 4 +09 -30
239 A 4 +09 -23
240 A 4 +09 -16
dst key c.t f.t
41 C 2 -24 +43
42 C# 2 -23 -16
43 C# 2 -23 +25
44 D 2 -22 -35
45 D 2 -22 +04
46 D 2 -22 +42
47 D# 2 -21 -21
48 D# 2 -21 +16
49 E 2 -20 -49
50 E 2 -20 -14
51 E 2 -20 +21
52 F 2 -19 -46
53 F 2 -19 -13
54 F 2 -19 +20
55 F# 2 -18 -49
56 F# 2 -18 -17
57 F# 2 -18 +13
58 F# 2 -18 +43
59 G 2 -17 -27
60 G 2 -17 +02
61 G 2 -17 +31
62 G# 2 -16 -41
63 G# 2 -16 -14
64 G# 2 -16 +14
65 G# 2 -16 +41
66 A 2 -15 -33
67 A 2 -15 -07
68 A 2 -15 +19
69 A 2 -15 +44
70 A# 2 -14 -31
71 A# 2 -14 -07
72 A# 2 -14 +18
73 A# 2 -14 +41
74 B 2 -13 -35
75 B 2 -13 -12
76 B 2 -13 +11
77 B 2 -13 +34
78 C 3 -12 -44
79 C 3 -12 -22
80 C 3 -12 00
81 C 3 -12 +22
82 C 3 -12 +43
83 C# 3 -11 -36
84 C# 3 -11 -16
85 C# 3 -11 +05
86 C# 3 -11 +25
87 C# 3 -11 +45
88 D 3 -10 -35
89 D 3 -10 -15
90 D 3 -10 +04
91 D 3 -10 +23
92 D 3 -10 +42
93 D# 3 -09 -39
94 D# 3 -09 -21
95 D# 3 -09 -02
96 D# 3 -09 +16
97 D# 3 -09 +34
98 E 3 -08 -49
99 E 3 -08 -31
100 E 3 -08 -14
101 E 3 -08 +04
102 E 3 -08 +21
103 E 3 -08 +37
104 F 3 -07 -46
105 F 3 -07 -29
106 F 3 -07 -13
107 F 3 -07 +03
108 F 3 -07 +20
109 F 3 -07 +36
110 F# 3 -06 -49
111 F# 3 -06 -33
112 F# 3 -06 -17
113 F# 3 -06 -02
114 F# 3 -06 +13
115 F# 3 -06 +28
116 F# 3 -06 +43
117 G 3 -05 -42
118 G 3 -05 -27
119 G 3 -05 -13
120 G 3 -05 +02
121 G 3 -05 +16
122 G 3 -05 +31
123 G 3 -05 +45
124 G# 3 -04 -41
125 G# 3 -04 -27
126 G# 3 -04 -14
127 G# 3 -04 00
128 G# 3 -04 +14
129 G# 3 -04 +27
130 G# 3 -04 +41
131 A 3 -03 -46
132 A 3 -03 -33
133 A 3 -03 -20
134 A 3 -03 -07
135 A 3 -03 +06
136 A 3 -03 +19
137 A 3 -03 +31
138 A 3 -03 +44
139 A# 3 -02 -44
140 A# 3 -02 -31
dst key c.t f.t
141 A# 3 -02 -19
142 A# 3 -02 -07
143 A# 3 -02 +06
144 A# 3 -02 +18
145 A# 3 -02 +30
146 A# 3 -02 +41
147 B 3 -01 -47
148 B 3 -01 -35
149 B 3 -01 -23
150 B 3 -01 -12
151 B 3 -01 00
152 B 3 -01 +11
153 B 3 -01 +23
154 B 3 -01 +34
155 B 3 -01 +45
156 C 4 00 -44
157 C 4 00 -33
158 C 4 00 -22
159 C 4 00 -11
161 C 4 00 +11
162 C 4 00 +22
163 C 4 00 +32
164 C 4 00 +43
165 C# 4 +01 -47
166 C# 4 +01 -36
167 C# 4 +01 -26
168 C# 4 +01 -16
169 C# 4 +01 -05
170 C# 4 +01 +05
171 C# 4 +01 +15
172 C# 4 +01 +25
173 C# 4 +01 +35
174 C# 4 +01 +45
175 D 4 +02 -45
176 D 4 +02 -35
177 D 4 +02 -25
178 D 4 +02 -15
179 D 4 +02 -06
180 D 4 +02 +04
181 D 4 +02 +14
182 D 4 +02 +23
183 D 4 +02 +33
184 D 4 +02 +42
185 D# 4 +03 -49
186 D# 4 +03 -39
187 D# 4 +03 -30
188 D# 4 +03 -21
189 D# 4 +03 -12
190 D# 4 +03 -02
191 D# 4 +03 +07
192 D# 4 +03 +16
193 D# 4 +03 +25
194 D# 4 +03 +34
195 D# 4 +03 +42
196 E 4 +04 -49
197 E 4 +04 -40
198 E 4 +04 -31
199 E 4 +04 -22
200 E 4 +04 -14
201 E 4 +04 -05
202 E 4 +04 +04
203 E 4 +04 +12
204 E 4 +04 +21
205 E 4 +04 +29
206 E 4 +04 +37
207 E 4 +04 +46
208 F 4 +05 -46
209 F 4 +05 -37
210 F 4 +05 -29
211 F 4 +05 -21
212 F 4 +05 -13
213 F 4 +05 -05
214 F 4 +05 +03
215 F 4 +05 +12
216 F 4 +05 +20
217 F 4 +05 +28
218 F 4 +05 +36
219 F 4 +05 +43
220 F# 4 +06 -49
221 F# 4 +06 -41
222 F# 4 +06 -33
223 F# 4 +06 -25
224 F# 4 +06 -17
225 F# 4 +06 -10
226 F# 4 +06 -02
227 F# 4 +06 +06
228 F# 4 +06 +13
229 F# 4 +06 +21
230 F# 4 +06 +28
231 F# 4 +06 +36
232 F# 4 +06 +43
233 G 4 +07 -49
234 G 4 +07 -42
235 G 4 +07 -34
236 G 4 +07 -27
237 G 4 +07 -20
238 G 4 +07 -13
239 G 4 +07 -05
240 G 4 +07 +02
dst key c.t f.t
41 A# 1 -26 +01
42 A# 1 -26 +43
43 B 1 -25 -17
44 B 1 -25 +23
45 C 2 -24 -38
46 C 2 -24 00
47 C 2 -24 +37
48 C# 2 -23 -26
49 C# 2 -23 +09
50 C# 2 -23 +44
51 D 2 -22 -21
52 D 2 -22 +12
53 D 2 -22 +45
54 D# 2 -21 -22
55 D# 2 -21 +09
56 D# 2 -21 +41
57 E 2 -20 -29
58 E 2 -20 +01
59 E 2 -20 +31
60 F 2 -19 -40
61 F 2 -19 -11
62 F 2 -19 +17
63 F 2 -19 +44
64 F# 2 -18 -28
65 F# 2 -18 -01
66 F# 2 -18 +25
67 G 2 -17 -49
68 G 2 -17 -23
69 G 2 -17 +02
70 G 2 -17 +27
71 G# 2 -16 -49
72 G# 2 -16 -24
73 G# 2 -16 00
74 G# 2 -16 +23
75 G# 2 -16 +46
76 A 2 -15 -31
77 A 2 -15 -08
78 A 2 -15 +14
79 A 2 -15 +36
80 A# 2 -14 -42
81 A# 2 -14 -20
82 A# 2 -14 +01
83 A# 2 -14 +22
84 A# 2 -14 +43
85 B 2 -13 -37
86 B 2 -13 -17
87 B 2 -13 +03
88 B 2 -13 +23
89 B 2 -13 +43
90 C 3 -12 -38
91 C 3 -12 -19
92 C 3 -12 00
93 C 3 -12 +19
94 C 3 -12 +37
95 C# 3 -11 -44
96 C# 3 -11 -26
97 C# 3 -11 -08
98 C# 3 -11 +09
99 C# 3 -11 +27
100 C# 3 -11 +44
101 D 3 -10 -38
102 D 3 -10 -21
103 D 3 -10 -04
104 D 3 -10 +12
105 D 3 -10 +29
106 D 3 -10 +45
107 D# 3 -09 -39
108 D# 3 -09 -22
109 D# 3 -09 -06
110 D# 3 -09 +09
111 D# 3 -09 +25
112 D# 3 -09 +41
113 E 3 -08 -44
114 E 3 -08 -29
115 E 3 -08 -14
116 E 3 -08 +01
117 E 3 -08 +16
118 E 3 -08 +31
119 E 3 -08 +46
120 F 3 -07 -40
121 F 3 -07 -26
122 F 3 -07 -11
123 F 3 -07 +03
124 F 3 -07 +17
125 F 3 -07 +31
126 F 3 -07 +44
127 F# 3 -06 -42
128 F# 3 -06 -28
129 F# 3 -06 -15
130 F# 3 -06 -01
131 F# 3 -06 +12
132 F# 3 -06 +25
133 F# 3 -06 +38
134 G 3 -05 -49
135 G 3 -05 -36
136 G 3 -05 -23
137 G 3 -05 -11
138 G 3 -05 +02
139 G 3 -05 +14
140 G 3 -05 +27
dst key c.t f.t
141 G 3 -05 +39
142 G# 3 -04 -49
143 G# 3 -04 -36
144 G# 3 -04 -24
145 G# 3 -04 -12
146 G# 3 -04 00
147 G# 3 -04 +11
148 G# 3 -04 +23
149 G# 3 -04 +35
150 G# 3 -04 +46
151 A 3 -03 -42
152 A 3 -03 -31
153 A 3 -03 -19
154 A 3 -03 -08
155 A 3 -03 +03
156 A 3 -03 +14
157 A 3 -03 +25
158 A 3 -03 +36
159 A 3 -03 +47
160 A# 3 -02 -42
161 A# 3 -02 -31
162 A# 3 -02 -20
163 A# 3 -02 -10
164 A# 3 -02 +01
165 A# 3 -02 +11
166 A# 3 -02 +22
167 A# 3 -02 +32
168 A# 3 -02 +43
169 B 3 -01 -47
170 B 3 -01 -37
171 B 3 -01 -27
172 B 3 -01 -17
173 B 3 -01 -07
174 B 3 -01 +03
175 B 3 -01 +13
176 B 3 -01 +23
177 B 3 -01 +33
178 B 3 -01 +43
179 C 4 00 -48
180 C 4 00 -38
181 C 4 00 -28
182 C 4 00 -19
183 C 4 00 -09
185 C 4 00 +09
186 C 4 00 +19
187 C 4 00 +28
188 C 4 00 +37
189 C 4 00 +46
190 C# 4 +01 -44
191 C# 4 +01 -35
192 C# 4 +01 -26
193 C# 4 +01 -17
194 C# 4 +01 -08
195 C# 4 +01 +01
196 C# 4 +01 +09
197 C# 4 +01 +18
198 C# 4 +01 +27
199 C# 4 +01 +36
200 C# 4 +01 +44
201 D 4 +02 -47
202 D 4 +02 -38
203 D 4 +02 -30
204 D 4 +02 -21
205 D 4 +02 -13
206 D 4 +02 -04
207 D 4 +02 +04
208 D 4 +02 +12
209 D 4 +02 +21
210 D 4 +02 +29
211 D 4 +02 +37
212 D 4 +02 +45
213 D# 4 +03 -47
214 D# 4 +03 -39
215 D# 4 +03 -30
216 D# 4 +03 -22
217 D# 4 +03 -14
218 D# 4 +03 -06
219 D# 4 +03 +01
220 D# 4 +03 +09
221 D# 4 +03 +17
222 D# 4 +03 +25
223 D# 4 +03 +33
224 D# 4 +03 +41
225 D# 4 +03 +48
226 E 4 +04 -44
227 E 4 +04 -36
228 E 4 +04 -29
229 E 4 +04 -21
230 E 4 +04 -14
231 E 4 +04 -06
232 E 4 +04 +01
233 E 4 +04 +09
234 E 4 +04 +16
235 E 4 +04 +24
236 E 4 +04 +31
237 E 4 +04 +38
238 E 4 +04 +46
239 F 4 +05 -47
240 F 4 +05 -40
Original B.P.M. 144 Original B.P.M. 160 Original B.P.M. 184
144 C 4 00 00
160 C 4 00 00
184 C 4 00 00
177
Appendices
35
39
40
41
43
45
47
42
44
46
36
38
37
87
88
84
86
85
51
52
53
55
57
59
54
56
58
48
50
49
63
64
65
67
69
71
66
68
70
60
62
61
75
76
77
79
81
83
78
80
82
72
74
73
C2
C3
C4
C5
C6
Note No.
89
91
93
95
90
92
94
96
98 97
C7
Rhythm Set List
USER (User) PR-A (Preset A Group) PR-B (Preset B Group)
001
HouseDrumSet 1
Scratch 1
808 SN
Dry Stick
808 SN
808 Claps
808 SN
808 Kick
606 HiHat Cl
808 SN
606 HiHat Cl
808 Kick
606 HiHat Op
808 SN
808 Kick
Crash 1
808 SN
Ride 2
REV Crash 1
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Cut
Maracas
Soft Pad B
Soft Pad A
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Tambourine
Old Kick
Scratch 1
Piccolo SN
Scratch 3
White Noise
Synth Saw 1
Synth Pulse1
Back Hit
Tekno Hit
Orch. Hit
Philly Hit
REV Back Hit
MC500 Beep 1
R8 Click
MC500 Beep 2
002
JazzDrumSet1
Hybrid Kick2
Hybrid Kick1
Side Stick
Ballad SN
Brush Slap
Brush Swish
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad B
Soft Pad A
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Lite Kick
Hybrid Kick2
Old Kick
808 Kick
Natural SN1
Natural SN2
SN Roll
Natural SN2
Metronome 2
R8 Click
Metronome 1
001
PopDrumSet 1
Verb Kick
Hybrid Kick1
Side Stick
Natural SN2
808 Claps
SN Roll
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat
Anklungs
Op HiHat
Metronome 2
R8 Click
Metronome 1
002
PopDrumSet 2
Hybrid Kick1
Round Kick
Dry Stick
Piccolo SN
Hand Claps
Piccolo SN
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Cabasa Down
Cabasa Cut
808 Kick
808 SN
DIGI Bell 1
808 SN
808 Kick
Spectrum
808 Kick
Spectrum
808 Kick
Spectrum
808 Kick
808 Kick
Feedbackwave
808 Kick
Feedbackwave
Pop Voice
Pop Voice
Wind Agogo
Pop Voice
Wind Agogo
Op HiHat
Anklungs
Op HiHat
Metronome 2
R8 Click
Metronome 1
001
PowerDrumSet
Verb Kick
Round Kick
Dry Stick
Piccolo SN
808 Claps
Natural SN2
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Maracas
Ice Rain
Wind Chimes
Claves
808 SN
Verb Tom Hi
Piccolo SN
Scratch 3
Tin Wave
Spectrum
REV Steel DR
REV Tin Wave
REV PiccloSN
REV Crash 1
Metronome 2
R8 Click
Metronome 1
002
RaveDrumSet
808 Kick
Round Kick
Side Stick
808 SN
808 Claps
808 SN
808 Kick
606 HiHat Cl
Tekno Hit
606 HiHat Cl
808 Kick
606 HiHat Op
Tekno Hit
808 Kick
Crash 1
Tekno Hit
Voice Breath
MC500 Beep 1
MC500 Beep 2
R8 Click
Pizz
DIGI Bell 1
Rattles
Ride Bell 1
REV Tamb
2.2 Vibwave
Low Pink NZ
Kalimba
Metal Wind
Lead Wave
Tin Wave
Agogo
Lite Kick
Agogo
Lite Kick
Agogo
Gtr Harm A
Gtr Harm A
Piano Thump
Natural SN1
Hand Claps
Natural SN1
808 SN
PowerChord B
Hybrid Kick2
PowerChord B
Gt.FretNoise
Banjo B
Slap Bass 1
Oboe mf A
Shakuhachi
Pizz
Syn Vox 1
Voice Aahs A
Voice Oohs2A
Pop Voice
Male Ooh A
Voice Breath
Org Vox C
Vox Noise
Vox Noise
Applause
R8 Click
Metronome 2
178
Rhythm Set List
35
39
40
41
43
45
47
42
44
46
36
38
37
87
88
84
86
85
51
52
53
55
57
59
54
56
58
48
50
49
63
64
65
67
69
71
66
68
70
60
62
61
75
76
77
79
81
83
78
80
82
72
74
73
C2
C3
C4
C5
C6
Note No.
89
91
93
95
90
92
94
96
98 97
C7
PR-C (Preset C Group) PR-D (GM Group) PR-E (Preset E Group)
001
JazzDrumSet2
Round Kick
Old Kick
Side Stick
Ballad SN
Hand Claps
SN Roll
Verb Tom Lo
Cl HiHat 2
Dry Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
Dry Tom Lo
Verb Tom Hi
Crash 1
Dry Tom Hi
Ride 2
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Brush Swish
Long Guiro
Long Guiro
Claves
Wood Block
Metronome 2
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Lite Kick
Hybrid Kick2
Old Kick
Natural SN2
Natural SN1
Brush Swish
Brush Roll
Brush Slap
Metronome 2
R8 Click
Metronome 1
002
OrchDrumSet
Old Kick
Round Kick
Side Stick
Ballad SN
808 Claps
SN Roll
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Crash 1
Cowbell 1
Crash 1
Ride 1
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Applause
Hybrid Kick2
Cl HiHat 1
Round Kick
Pedal HiHat
Natural SN2
Op HiHat
Brush Slap
Brush Swish
Brush Roll
SN Roll
001
GM Drum Set
Verb Kick
Hybrid Kick1
Side Stick
Ballad SN
808 Claps
Piccolo SN
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Lite Kick
Hybrid Kick2
Old Kick
808 Kick
Natural SN1
Natural SN2
808 SN
Brush Slap
Brush Swish
Brush Roll
SN Roll
002
BrushDrumSet
Hybrid Kick2
Hybrid Kick1
Side Stick
Brush Swish
Brush Slap
Brush Roll
Dry Tom Lo
Cl HiHat 1
Dry Tom Lo
Pedal HiHat
Dry Tom Hi
Op HiHat
Dry Tom Hi
Dry Tom Hi
Crash 1
Dry Tom Hi
Ride 2
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 2
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Lite Kick
Hybrid Kick2
Old Kick
808 Kick
Natural SN1
Natural SN2
SN Roll
Brush Slap
Metronome 2
R8 Click
Metronome 1
001
PowerDrmSet2
Verb Kick
Round Kick
Dry Stick
Piccolo SN
808 Claps
SN Roll
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Maracas
Ice Rain
Wind Chimes
Claves
808 SN
Verb Tom Hi
Piccolo SN
Scratch 3
Tin Wave
Spectrum
REV Steel DR
REV Tin Wave
REV PiccloSN
REV Crash 1
Metronome 2
R8 Click
Metronome 1
002
PowerRaveSet
Verb Kick
Round Kick
Dry Stick
Piccolo SN
808 Claps
Natural SN2
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell 1
Tambourine
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Agogo
Maracas
606 HiHat Cl
606 HiHat Cl
606 HiHat Op
Long Guiro
Claves
Wood Block
Wood Block
Pizz
Syn Vox 1
Voice Aahs A
Voice Oohs2A
Male Ooh A
Ice Rain
808 SN
808 SN
808 SN
Hand Claps
Voice Breath
Scratch 3
Tin Wave
Crash 1
Ride Bell 1
REV Tin Wave
DIGI Bell 1
Metal Wind
Applause
R8 Click
Metronome 1
179
Rhythm Set List
Appendices
35
39
40
41
43
45
47
42
44
46
36
38
37
87
88
84
86
85
51
52
53
55
57
59
54
56
58
48
50
49
63
64
65
67
69
71
66
68
70
60
62
61
75
76
77
79
81
83
78
80
82
72
74
73
C2
C3
C4
C5
C6
Note No.
89
91
93
95
90
92
94
96
98 97
C7
XP-A (WAVE EXPANSION A: Session)
001
SessionSet 1
Deep Kick 3
Mix Kick
Side Stick
Solo Snr
HC2 Claps 1
90’s Snare
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
Tamb.Long
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Shaker 4
Shaker 5
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
FX Bell 2fw
FX Bell 1fw
FX Bomb
Sm.Club fw
HC2 Claps 2
Gtr Scrap
707 Claps
Gtr Slid Nz
Gtr Cut Nz
R8 Click
Gtr Slap
002
SessionSet 2
Mix Kick
Deep Kick 3
Side Stick
Loose Snr
HC2 Claps 1
Ring Snr
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
Tamb.Long
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Shaker 4
Shaker 5
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Gtr Feedback
Gtr Scrap
Gtr Slid Nz
Gtr Cut Nz
Gtr Slap
Wah Down 1
Wah Up 1
Wah Down 2
Wah Up 2
Sm.Club
Sm.Club fw
FX Bell 1fw
FX Bell 2fw
R8 Click
REV Snr Buzz
003
SessionSet 3
Deep Kick 3
TD7 Kick
Side Stick
Rap Snr
707 Claps
House Snr
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
Tamb.Long
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Shaker 4
Shaker 5
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
REV Gt Scrap
REV Gt SldNz
REV Gt CutNz
REV Gt Slap
REV TeknHit2
REV TeknHit3
REV Dance K3
REV 909 Snr2
REV 909 Snr3
REV Rap Snr
REV Talk Snr
REV JinglSnr
REV HouseSnr
REV Mute Snr
R8 Click
REV 909 Rim2
004
SessionSet 4
Dance Kick 2
Dance Kick 3
909 Rim 2
909 Snr 2
909 Claps 2
808 Snr 2
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Op
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Shaker 4
Shaker 5
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
FX Bell 2fw
FX Bell 1fw
FX Bomb
Sm.Club fw
HC2 Claps 2
FingerSnaps2
707 Claps
626 Shaker
Tamb.Short
R8 Click
Tamb.Long
005
SessionSet 5
Kick Ghost
Dance Kick 3
909 Rim 2
909 Snr 3
HC2 Claps 2
Talk Snr
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Op
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
626 Shaker
Shaker 4
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
REV Dance K3
REV TeknHit3
REV TeknHit3
REV TeknHit2
REV TeknHit2
REV 808 Snr2
REV 909 Snr2
REV 909 Snr3
REV HC2 Clp1
R8 Click
REV 707 Clps
006
SessionSet 6
Dance Kick 3
Dance Kick 2
Mute Snr
Jingle Snr
HC2 Claps 2
Tiny Snr 2
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Op
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
626 Shaker
Shaker 4
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
Tekno Loop
REV TeknHit3
REV TeknHit3
REV TeknHit2
REV TeknHit2
Blaster A
Juno Rave A
Hard 5ths A
CR78 Tamb.
R8 Click
FingerSnap 3
007
SessionSet 7
Deep Kick 3
Mix Kick
Side Stick
Solo Snr
707 Claps
Ring Snr
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Cl
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
626 Shaker
Shaker 4
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Open Triangl
Open Triangl
Cabasa Cut
REV Shaker 5
REV Shaker 4
REV Shaker 3
REV 626Shakr
REV CR78Tamb
REV Tamb.Lng
REV Tamb.Sht
REV Bongo3 H
REV Bongo3 L
REV F.Snap 3
REV F.Snaps2
REV HC2 Clp2
REV 707 Clps
REV HC2 Clp1
R8 Click
REV 909 Clp2
008
Demo Drum
Old Kick
Hybrid Kick1
Side Stick
Loose Snr
Tambrin MENU
Natural SN2
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Hi
Op HiHat
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell 1
Tamb.Long
Crash 1
Cowbell 1
Crash 1
Vibraslap
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
Agogo
Agogo
Cabasa Up
Maracas
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Wood Block
Wood Block
Shaker 3
Cuica
606 HiHat Cl
Open Triangl
606 HiHat Op
Ride 2
Dance Kick 2
Dance Kick 2
House Snr
Tiny Snr 2
Tiny Snr 2
Hybrid Kick2
Old Kick
Dance Kick 2
Loose Snr
Natural SN2
Tiny Snr 2
Wind Chimes
Dry Tom Lo
Piccolo SN
Dry Tom Lo
180
Rhythm Set List
35
39
40
41
43
45
47
42
44
46
36
38
37
87
88
84
86
85
51
52
53
55
57
59
54
56
58
48
50
49
63
64
65
67
69
71
66
68
70
60
62
61
75
76
77
79
81
83
78
80
82
72
74
73
C2
C3
C4
C5
C6
Note No.
89
91
93
95
90
92
94
96
98 97
C7
XP-C (WAVE EXPANSION C: Techno Collection)
001
TR-909 SET
Plastic BD 1
TR909 Kick 1
TR909 Rim
TR909 Snr 5
TR909 Clap
TR909 Snr 1
TR909 DstTom
TR909 CHH 3
TR909 Tom
TR909 OHH 3
TR909 DstTom
TR909 OHH 3
TR909 Tom
TR909 DstTom
TR909 Crash
TR909 Tom
TR909 Ride
TR909 Crash
TR909 Ride
Tambourine 2
TR909DsCrash
TR808Cowbell
TR606 Cym 1
PC-2 Machine
TR707 Ride
Mental Perc
Dr.Beat
Cga Open Hi
Cga Mute Hi
Cga Open Lo
Timbale
PC-2 Spacers
TR727 Agogo
TR727 Agogo
TMB&SKR MENU
TMB&SKR MENU
Plastic BD 2
TR909 Kick 2
TR808 Rim
TR909 Snr 1
CLAP MENU
TR909 Snr 6
TR707 Tom
TR909 CHH 3
TR707 Tom
TR909 PHH 2
TR707 Tom
TR909 OHH 1
Beam HiQ
HIT MENU 1
May Day Perc
Techno Scene
Air Gun
Tekno Hit
Organ Hit 2
Analog Bird
Retro UFO
ElectronFall
JP8000 FBK
SNR MENU 2
TR808 Kick 1
KICK MENU 2
MC500 Beep 1
MC500 Beep 2
002
TR-808 SET
TR808 Kick 1
TR808 Kick 1
TR808 Rim
TR808 Snr 1
Clap Stop
TR808 Snr 3
TR808 Tom
TR808 CHH 1
TR808 Tom
TR808 CHH 2
TR808 Tom
OHH MENU
TR808 Tom
TR808 Tom
TR606 Cym 1
TR808 Tom
TR606 Cym 1
TR909 Crash
TR909 Ride
Tambourine 2
TR909 Crash
TR808Cowbell
TR606 Cym 1
TMB&SKR MENU
TR707 Ride
Mental Perc
Dr.Beat
Cga Open Hi
Cga Mute Hi
Cga Open Lo
Timbale
PC-2 Spacers
TR727 Agogo
TR727 Agogo
Cabasa Up
TMB&SKR MENU
TR808 Kick 3
TR808 Kick 2
TR808 RimLng
TR808 Snr 2
Clap Stop
TR808 Snr 4
TR606 Tom
TR808 CHH 2
TR606 Tom
PHH MENU
TR606 Tom
OHH MENU
Beam HiQ
HIT MENU 1
May Day Perc
Techno Scene
Air Gun
Tekno Hit
White Noise
ElectricDunk
TR808 PHH
SNR MENU 2
JP8000 FBK
VOCODER MENU
TR808 Kick 1
KICK MENU 2
MC500 Beep 1
MC500 Beep 2
003
TR-606 SET
KICK MENU 1
TR606 Kick 1
TR808 Rim
TR606 Snr 2
HC2 Dry Clap
TR606 Snr 1
TR606 Tom
TR606 CHH
TR606 Tom
PHH MENU
TR606 Tom
TR606 DstOHH
TR606 Tom
TR606 Tom
TR606 Cym 2
TR606 Tom
TR909 Ride
TR606 Cym 1
TR707 Ride
Tambourine
TR909 Crash
TR808Cowbell
TR909 Crash
TMB&SKR MENU
TR707 Ride
Mental Perc
Dr.Beat
Cga Open Hi
Cga Mute Hi
Cga Open Lo
Timbale
PC-2 Spacers
TR727 Agogo
TR727 Agogo
Cabasa Up
TMB&SKR MENU
Plastic BD 1
Culture Kick
TR808 Rim
CR78 Snare
TS Clap
TR606 Snr 3
TR606 CmpTom
CR78 CHH
TR606 CmpTom
TR606 PHH
TR606 CmpTom
CR78 OHH
Beam HiQ
HIT MENU 1
May Day Perc
Techno Scene
Air Gun
Tekno Hit
Organ Hit 2
Analog Bird
Retro UFO
ElectronFall
JP8000 FBK
SNR MENU 2
TR808 Kick 1
KICK MENU 2
MC500 Beep 1
MC500 Beep 2
004
Techno SET
Plastic BD 1
TR909 Kick 1
TR909 Rim
TR909 Snr 5
CLAP MENU
TR909 Snr 6
TR909 Tom
TR909 CHH 1
TR909 Tom
TR909 PHH 2
TR909 Tom
OHH MENU
TR909 Tom
TR909 Tom
TR909 Crash
TR909 Tom
TR707 Ride
TR909 Crash
China Cym
Tambourine 2
TR909 Crash
TR707Cowbell
TR606 Cym 1
TR808Cowbell
TR606 Cym 1
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
HIT MENU 1
HIT MENU 1
TechnoShaker
Dance Shaker
TR909 Kick 2
Plastic BD 2
COW&RIM MENU
TR909 Snr 3
TR909 Clap
TR909 Snr 4
TR909 DstTom
TR909 CHH 3
TR909 DstTom
TR909 PHH 1
TR909 DstTom
TR909 OHH 3
Air Gun
VOCODER MENU
Beam HiQ
VOCODER MENU
May Day Perc
VOCODER MENU
VOCODER MENU
Techno Scene
VOCODER MENU
Analog Bird
VOCODER MENU
144:TeknoHAT
144:Tekno BD
120:TeknoBNG
MC500 Beep 1
MC500 Beep 2
005
House SET
TR909 Kick 1
Tekno Kick
TR909 Rim
DJ Snare
TR909 Clap
TR909 Snr 5
TR707 Tom
TR909 CHH 1
TR707 Tom
TR909 PHH 1
TR707 Tom
OHH MENU
TR707 Tom
TR707 Tom
TR909 Crash
TR707 Tom
TR909 Ride
TR909 Crash
Rattle Tamb
Tambourine 2
TR909 Crash
TR707Cowbell
Crash 1
TR808Cowbell
TR606 Cym 1
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
HIT MENU 1
HIT MENU 1
Cabasa Up
TechnoShaker
Wet Kick
Plastic BD 2
TR808 Rim
SNR MENU 2
CLAP MENU
SNR MENU 1
TR808 Tom
TR707 CHH
TR808 Tom
TR707 PHH
TR808 Tom
OHH MENU
Beam HiQ
GTR FX MENU
Org Chord
GTR FX MENU
Noisy 101
Claptail
VOCODER MENU
VOCODER MENU
VOCODER MENU
VOCODER MENU
120:House 1
120:House 2
120:House 3
120:TeknoBNG
MC500 Beep 1
MC500 Beep 2
006
Jungle SET
Tekno Kick
JungleKick 2
Lo-Fi Snare
Urban Snare
SNR MENU 5
Jungle Snr 4
TR606 CmpTom
CHH MENU 2
TR606 CmpTom
Rattle Tamb
TR606 CmpTom
TR909 DstOHH
TR606 CmpTom
TR606 CmpTom
R8 OHH
TR606 CmpTom
TR707 Ride
TR909 Crash
China Cym
Tambourine 2
TR606 Cym 1
Cowbell 1
TR909 Crash
MachineShout
TR606 DstOHH
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
Surdo open
Surdo mute
TechnoShaker
Dance Shaker
KICK MENU 1
JungleKick 1
SideStiker
MC Snare
Comp Clap
Ragga Snr 2
Jungle Snr 5
TR909 CHH 3
Jungle Snr 5
Tambourine 2
Jungle Snr 5
Cym OHH
Beam HiQ
HIT MENU 1
Thin Beef
Analog Bird
HIT MENU 2
Scratch Clap
Emergency
TR808Cowbell
Talkbox
Jungle Beep
TR808 Kick 1
Roll Snare
Roll Kick
160:Drum’nBs
MC500 Beep 1
MC500 Beep 2
007
Gabba SET
Amsterdam BD
TR909 Dst BD
TR808 RimLng
SNR MENU 1
Comp Clap
SNR MENU 1
TR909 DstTom
TR909 PHH 1
TR909 DstTom
TR909 PHH 2
TR909 DstTom
TR909 DstOHH
TR909 DstTom
TR909 DstTom
TR909 Crash
TR909 DstTom
TR707 Ride
TR909DsCrash
China Cym
CR78 CHH
Crash 1
TR808Cowbell
TR909DsCrash
MachineShout
TR606 Cym 2
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
TR727 Agogo
TR727 Agogo
TechnoShaker
Dance Shaker
TR909 Dst BD
KICK MENU 2
SideStiker
Jungle Snr 4
CLAP MENU
TR909 Snr 5
TR606 CmpTom
TR909 CHH 3
TR606 CmpTom
TR909 PHH 1
TR606 CmpTom
TR909 OHH 1
Beam HiQ
Air Gun
ElectricDunk
Thin Beef
Drill Hit
TAO Hit
Daft Wave
Thrill
Emergency
Dist TekGtr1
Dist Synth
120:House 1
120:House 3
184:Gabba
MC500 Beep 1
MC500 Beep 2
008
Indust. SET
INDUST. MENU
INDUST. MENU
Thrill
PCM Press
Air Gun
PCM Press
TekRok Snare
TR909 CHH 3
TekRok Snare
TR909 PHH 1
TekRok Snare
TR909 DstOHH
TekRok Snare
TekRok Snare
Indus Snare
TekRok Snare
TR909 Ride
Drill Hit
ElectricDunk
PCM Press
TR606 Cym 1
PC-2 Machine
TR909 Crash
Crash 1
TR606 DstCym
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
Analog Bird
Analog Bird
TechnoShaker
Dance Shaker
TR909 Dst BD
Turbo Kick
Drill Hit
SNR MENU 3
INDUST. MENU
Rage Snare
Can Tom
HIT MENU 1
Can Tom
Beam HiQ
Can Tom
TR909 DstOHH
Beam HiQ
VOCODER MENU
TR606 Cym 1
VOCODER MENU
CLAP MENU
VOCODER MENU
VOCODER MENU
Roll Kick
Organ Hit 2
Roll Snare
TR909 DstOHH
Roll Kick
TR909DsCrash
CLAP MENU
MC500 Beep 1
MC500 Beep 2
181
Appendices
Performance List
USER (User Group) PR-A (Preset A Group) PR-B (Preset B Group)
No. Name Key Mode
01 EasternSplit LAYER
02 Opening Orch LAYER
03 Feedback EP LAYER
04 Humming Vox LAYER
05 Tekno Loop 1 LAYER
06 Fr.Horn Sect LAYER
07 SpaceCarrier LAYER
08 Orchestral LAYER
09 Nebular Vox LAYER
10 Terminator LAYER
11 Flying Jazz LAYER
12 Sweeper LAYER
13 Rave Split LAYER
14 Multi Sax LAYER
15 Cosmic Dawn LAYER
16 Bass / Lead LAYER
17 S&H / Pad LAYER
18 AcPiano+Pad LAYER
19 Kicks Attack LAYER
20 Step Brass LAYER
21 Drone / Pipe LAYER
22 Chime Dreams LAYER
23 Tekno Loop 2 LAYER
24 Big Band LAYER
25 Labyrinth LAYER
26 White Hole LAYER
27 Cyber Sweep LAYER
28 Tekno Asia LAYER
29 1080 Fantasy LAYER
30 Pop Ballad LAYER
31 Rhythmatic LAYER
32 Power JV LAYER
No. Name Key Mode
01 House Set SINGLE
02 Analectro SINGLE
03 Anatronic SINGLE
04 Tekno Pop 1 SINGLE
05 Tekno Pop 2 SINGLE
06 Hard Core SINGLE
07 Hi Energy SINGLE
08 Pop Dance SINGLE
09 Acid Set SINGLE
10 Ambient Set SINGLE
11 Electro Pop SINGLE
12 Pop Set 1 SINGLE
13 Pop Set 2 SINGLE
14 Pop Set 3 SINGLE
15 Pop Set 4 SINGLE
16 L.A. Ballad SINGLE
17 Hip Hop Set SINGLE
18 Funk Rock SINGLE
19 Funk Fusion SINGLE
20 Heavy Metal SINGLE
21 Heavy Kids LAYER
22 Latin Set SINGLE
23 BrazilianSet SINGLE
24 New Age 1 SINGLE
25 New Age 2 SINGLE
26 Orchestra SINGLE
27 Concerto SINGLE
28 Film Score 1 SINGLE
29 Film Score 2 SINGLE
30 Symphonic SINGLE
31 Chamber Set SINGLE
32 Baroque Set SINGLE
No. Name Key Mode
01 Africa SINGLE
02 World Ethnic SINGLE
03 Asian Ethnic SINGLE
04 Asian Band SINGLE
05 60’s Set SINGLE
06 Blues Band SINGLE
07 Country Band SINGLE
08 Folk Set SINGLE
09 Reggae Band SINGLE
10 FunkWah Band SINGLE
11 Funkin’Phaze SINGLE
12 Zydeco Band SINGLE
13 New Orleans SINGLE
14 Dixieland SINGLE
15 Big Band Set SINGLE
16 Cont.Jazz 1 SINGLE
17 Cont.Jazz 2 SINGLE
18 Ac.Jazz Set SINGLE
19 Gospel Set SINGLE
20 All Strings SINGLE
21 All Brass SINGLE
22 All Piano 1 SINGLE
23 All Piano 2 SINGLE
24 All Keyboard SINGLE
25 All Organ SINGLE
26 All Winds SINGLE
27 All Bells LAYER
28 Mlt & Perc SINGLE
29 All Seq SINGLE
30 All Bass SINGLE
31 All Pad SINGLE
32 All FX SINGLE
182
Arpeggio Style List
Style Motif Beat Pattern Accent Rate Shuffle Rate
1/4 all 1/ 4 0–100% 50–90%
1/6 all 1/ 6 0–100% 50–90%
1/8 all 1/ 8 0–100% 50–90%
1/12 all 1/12 0–100% 50–90%
1/16 all 1/16 1–30–100% 50–90%
1/32 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, 1/32 1–30–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
PORTAMENTO A all PORTA-A 01–11 0–100% 50–90%
PORTAMENTO B all PORTA-B 01–15 0–100% 50–90%
GLISSANDO GLISSANDO 1/16 1–3, 1/32 1–30–100% 50–90%
SEQUENCE A all SEQ-A 1–70–100% 50–90%
SEQUENCE B all SEQ-B 1–50–100% 50–90%
SEQUENCE C SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SEQ-C 1–20–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
SEQUENCE D all SEQ-D 1–80–100% 50–90%
ECHO SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, ECHO 1–30–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER
SYNTH BASS BASS+UP 2 SEQ-A 1, SEQ-C 1 0–100% 50–90%
SLAP BASS A BASS+UP 5, TOP+UP 5 MUTE 02, 03 0–100% 50–90%
SLAP BASS B BASS+UP 5, TOP+UP 5 MUTE 02, 03 0–100% 50–90%
WALK BASS SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, WALKBS, REFRAIN 1 0–100% 50–90%
SINGLE RANDOM, NOTE ORDER, GLISSANDO
RHYTHM GTR A SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, MUTE 01,04 0–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
RHYTHM GTR B CHORD MUTE 07, 13, 14 0–100% 50–90%
RHYTHM GTR C CHORD MUTE 08, 12, 15 0–100% 50–90%
RHYTHM GTR D CHORD MUTE 09, 10, 11, 16 0–100% 50–90%
RHYTHM GTR E SINGLE UP, SINGLE DOWN STRUM 1–60–100% 50–90%
3 FINGER GTR BASS+UP+TOP SEQ-A 7 0–100% 50–90%
STRUMMING GTR SINGLE UP, SINGLE DOWN STRUM 7, 8 0–100% 50–90%
KBD COMPING A CHORD MUTE 12, REFRAIN 2 0–100% 50–90%
KBD COMPING B BASS+CHORD 4, BASS+CHORD 5 MUTE 05, 06 0–100% 50–90%
KBD COMPING C BASS+CHORD 2, BASS+UP 2, BASS+RANDOM 2, TOP+UP 2 1/ 6, 1/12 0–100% 50–90%
KBD COMPING D BASS+CHORD 2, BASS+UP 2, BASS+RANDOM 2, TOP+UP 2 1/16 1–30–100% 50–90%
KBD COMPING E CHORD, BASS+CHORD 1 REGGAE1–20–100% 50–90%
PERCUSSION SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, PERC1–40–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
HARP SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO HARP 0–100% 50–90%
SHAMISEN TOP+UP 4–6 SEQ-A 2 0–100% 50–90%
BOUND BALL SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, BOUND 0–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
RANDOM SINGLE RANDOM, DUAL RANDOM, BASS+RANDOM 1–3 1/ 4, 1/6, 1/8, 1/12, 1/16 1–3, 0–100% 50–90%
1/32 1–3, RANDOM
BOSSA NOVA all BOSSA NOVA 0–100% 50–90%
SALSA all SALSA 1–40–100% 50–90%
MAMBO all MAMBO 1–20–100% 50–90%
LATIN PERCUSSION SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, CLAVE, REV CLA, GUIRO, AGOGO 0–100% 50–90%
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
SAMBA all SAMBA 0–100% 50–90%
TANGO all TANGO 1–40–100% 50–90%
HOUSE all HOUSE 1–20–100% 50–90%
LIMITLESS all all 0–100% 50–90%
all: there is no restriction on the value which can be set
183
Appendices
MIDI Implementation
Model: XP-30 (64 Voice Expandable Synthesizer)
Version: 1.00
Date: Jan. 18 1999
1. Data Reception (sound source section)
■Channel Voice Messages
●Note Off
status 2nd byte 3rd byte
8nH kkH vvH
9nH kkH 00H
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
kk=note number: 00H - 7FH (0 - 127)
vv=Note Off velocity: 00H - 7FH (0 - 127)
* Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
* Not received by the Rhythm Part (Part 10) when the Env Mode parameter (RHYTHM/
CONTROL/CONTROL) is NO-SUS.
●Note On
status 2nd byte 3rd byte
9nH kkH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
kk=note number: 00H - 7FH (0 - 127)
vv=Note On velocity: 01H - 7FH (1 - 127)
* Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
●Polyphonic Aftertouch
status 2nd byte 3rd byte
AnH kkH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
kk=note number: 00H - 7FH (0 - 127)
vv=Aftertouch: 00H - 7FH (0 - 127)
* This message is received if the Aftertouch parameter (SYSTEM/CONTROL/CONTROL
SOURCE) is POLY or CH&POLY.
* Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
* Not received in GM mode.
●Control Change
* If the corresponding Controller number is selected for the Control 2 or Control 3
parameter (PATCH/CONTROL/CONTROL SOURCE), the corresponding effect will
occur.
* If a Controller number that corresponds to the Control 1 parameter or Control 2
parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) is selected, the specified effect
will apply if Control 2 parameter or Control 3 parameter (PATCH/CONTROL/
CONTROL SOURCE) is set to SYS-CTRL1 or SYS-CTRL2.
* Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) or
the Control Change Receive Switch is OFF.
❍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 - ch.16)
mm,ll=Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)
* Not received when the Program Change parameter or Bank Select parameter (SYSTEM/
MIDI/RECEIVE MIDI) is OFF.
* Not received in GM mode.
* The Patches corresponding to each Bank Select are as follows.
Bank Select | Program No | Group Patch No.
MSB | LSB | |
——————+—————+————————————+————————————————————————————————————————
80 | 0 | 0 - 127 | User 1 - 128
81 | 0 | 0 - 127 | PR-A 1 - 128
81 | 1 | 0 - 127 | PR-B 1 - 128
81 | 2 | 0 - 127 | PR-C 1 - 128
81 | 3 | 0 - 127 | GM 1 - 128
81 | 4 | 0 - 127 | PR-E 1 - 128
84 | 0 | 0 - 127 | XP-A (Session) 1 - 128
84 | 1 | 0 - 126 | XP-A 129 - 255
84 | 2 | 0 - 127 | XP-B (Orchestral) 1 - 128
84 | 3 | 0 - 126 | XP-B 129 - 255
84 | 4 | 0 - 127 | XP-C (Techno Collection) 1 - 128
84 | 5 | 0 - 127 | XP-C 129 - 256
84 | 6 | 0 - 127 | XP-D 1 - 128
84 | 7 | 0 - 127 | XP-D 129 - 256
84 | 8 | 0 - 127 | XP-E 1 - 128
84 | 9 | 0 - 127 | XP-E 129 - 256
* The Performance corresponding to each Bank Select are as follows.
Bank Select | Program No | Group Performance No.
MSB | LSB | |
——————+—————+————————————+————————————————————————————————————————
80 | 0 | 0 - 31 | User 1 - 32
81 | 0 | 0 - 31 | PR-A 1 - 32
81 | 1 | 0 - 31 | PR-B 1 - 32
* The Rhythm set corresponding to each Bank Select are as follows.
Bank Select | Program No | Group Rhythm set No.
MSB | LSB | |
——————+—————+————————————+————————————————————————————————————————
80 | 0 | 0 - 1 | User 1 - 2
81 | 0 | 0 - 1 | PR-A 1 - 2
81 | 1 | 0 - 1 | PR-B 1 - 2
81 | 2 | 0 - 1 | PR-C 1 - 2
81 | 3 | 0 - 1 | GM 1 - 2
81 | 4 | 0 - 1 | PR-E 1 - 2
84 | 0 | 0 - 7 | XP-A (Session) 1 - 8
84 | 4 | 0 - 7 | XP-C (Techno Collection) 1 - 8
84 | 6 | 0 - 127 | XP-D 1 - 128
84 | 7 | 0 - 127 | XP-D 129 - 256
84 | 8 | 0 - 127 | XP-E 1 - 128
84 | 9 | 0 - 127 | XP-E 129 - 256
❍Modulation (Controller number 1)
status 2nd byte 3rd byte
BnH 01H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Modulation depth: 00H - 7FH (0 - 127)
❍Breath Type (Controller number 2)
status 2nd byte 3rd byte
BnH 02H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.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 - ch.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 - ch.16)
vv=Portamento Time: 00H - 7FH (0 - 127)
* The Time parameter (PATCH/CONTROL/PORTAMENTO) 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 - ch.16)
mm,ll= the value of the parameter specified by RPN/NRPN
mm=MSB, ll=LSB
❍Volume (Controller number 7)
status 2nd byte 3rd byte
BnH 07H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Volume: 00H - 7FH (0 - 127)
184
MIDI Implementation
❍Balance (Controller number 8)
status 2nd byte 3rd byte
BnH 08H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.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 - ch.16)
vv=Panpot: 00H - 40H - 7FH (left - center - right)
* Adjust the stereo location over 128 steps, where 0 is far left, 64 is center, and 127 is far
right. However this is not received when the Pan parameter (PATCH/CONTROL/
RxSWITCH) is OFF.
❍Expression (Controller number 11)
status 2nd byte 3rd byte
BnH 0BH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Expression: 00H - 7FH (0 - 127)
* If the Volume parameter (SYSTEM/CONTROL/CONTROL SOURCE) is set to
VOL&EXP, the volume of the Part corresponding to the MIDI channel of the received
message will be adjusted. However this is not received if the Volume parameter
(PATCH/CONTROL/RxSWITCH) is OFF.
* In GM mode, the volume can always be controlled.
❍Hold 1 (Controller number 64)
status 2nd byte 3rd byte
BnH 40H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
* Not received when the Hold-1 RxSwitch parameter (PATCH/CONTROL/DAMPER) is
OFF.
❍Portamento (Controller number 65)
status 2nd byte 3rd byte
BnH 41H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
* The Sw parameter (PATCH/CONTROL/PORTAMENTO) will change.
❍Sostenuto (Controller number 66)
status 2nd byte 3rd byte
BnH 42H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.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 - ch.16)
vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
❍Hold 2 (Controller number 69)
status 2nd byte 3rd byte
BnH 45H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 7FH (0 - 127)
* A hold movement isn't done.
❍Sound Controller 2 (Controller number 71)
status 2nd byte 3rd byte
BnH 47H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The Res parameter (PATCH/TVF/FILTER) will change relatively.
❍Sound Controller 3 (Controller number 72)
status 2nd byte 3rd byte
BnH 48H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The T2–4 parameter (PATCH/TVF/TVF ENVELOPE), The T2–4 parameter (PATCH/
TVA/TVA ENVELOPE) will change relatively.
❍Sound Controller 4 (Controller number 73)
status 2nd byte 3rd byte
BnH 49H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The T1 parameter (PATCH/TVF/TVF ENVELOPE), The T1 parameter (PATCH/TVA/
TVA ENVELOPE) will change relatively.
❍Sound Controller 5 (Controller number 74)
status 2nd byte 3rd byte
BnH 4AH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-64 - 0 - +63)
* The Cut parameter (PATCH/TVF/FILTER) will change relatively.
❍General Purpose Controller 5 (Controller number 80)
status 2nd byte 3rd byte
BnH 50H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 1 will change relatively.
❍General Purpose Controller 6 (Controller number 81)
status 2nd byte 3rd byte
BnH 51H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 2 will change relatively.
❍General Purpose Controller 7 (Controller number 82)
status 2nd byte 3rd byte
BnH 52H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 3 will change relatively.
❍General Purpose Controller 8 (Controller number 83)
status 2nd byte 3rd byte
BnH 53H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
* The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 4 will change relatively.
❍Portamento Control (Controller number 84)
status 2nd byte 3rd byte
BnH 54H kkH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
kk=source note number: 00H - 7FH (0 - 127)
* A Note On message received immediately after a Portamento control will be sounded
with the pitch changing smoothly from the source note number. If a voice is already
sounding at the same note number as the source note number, that voice will change
pitch to the pitch of the newly received Note On, and continue sounding (i.e., will be
played legato).
* The speed of the pitch change caused by Portamento is determined by the Time
parameter (PATCH/CONTROL/PORTAMENTO) value.
185
MIDI Implementation
Appendices
❍Effect 1 (Reverb Send Level) (Controller number 91)
status 2nd byte 3rd byte
BnH 5BH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Reverb Send Level: 00H - 7FH (0 - 127)
* In Performance mode, the Reverb Send Level parameter of each Part 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 - ch.16)
vv=Chorus Send Level: 00H - 7FH (0 - 127)
* In Performance mode, the Chorus Send Level parameter of each Part will change.
❍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 - ch.16)
mm=MSB of the parameter number specified by RPN
ll=LSB of the parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended
parameters whose function is defined in the MIDI specification.
When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any
order) is transmitted to specify the parameter you wish to control. Then, Data Entry
messages (Controller numbers 6 and 38) are used to set the value of the specified parameter.
Once a RPN parameter has been specified, all further Data Entry messages on that channel
are considered to apply to that specified parameter. In order to prevent accidents, when the
desired setting has been made for the parameter, it is recommended that RPN be set to Null.
This device receives the following RPNs.
RPN Data entry
MSB LSB MSB LSB Notes
00H 00H mmH - Pitch Bend Sensitivity
mm : 00H - 0CH (0 - 12 semitones)
ll : ignored (processed as 00H)
Up to 1 octave can be specified in semitone steps.
*The Bend Range parameter (PATCH/
CONTROL/KEY MODE & BENDER) will
also be changed.
*Not received by the Rhythm Part (Part 10).
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 Patch mode, the Master parameter
(SYSTEM/TUNE/TUNE) will change.
*In Performance mode, the Fine parameter
(PERFORM/PART/SETTING) of each Part
will change. When received on the Control
channel, the Master parameter (SYSTEM/
TUNE/TUNE) will change.
00H 02H mmH - Channel Coarse Tuning
mm : 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll : ignored (processed as 00H)
*Not received in Patch mode.
*In Performance mode, the Coarse parameter
(PERFORM/PART/SETTING) of each Part
will change.
7FH 7FH - - RPN null
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
Data Entry messages will be ignored. (It is not
necessary to transmit Data Entry for RPN Null
settings.
Parameter values that were previously set will
not change.
mm, ll: ignored
●Program Change
status 2nd byte
CnH ppH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
pp=Program number: 00H - 7FH (prog.1 - prog.128)
*Not received when the Program Change parameter (SYSTEM/MIDI/RECEIVE MIDI) is
OFF.
*When received on the Control channel, the Performance will change.
*Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
●Channel Aftertouch
status 2nd byte
DnH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Channel Aftertouch: 00H - 7FH (0 - 127)
*Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
●Pitch Bend Change
status 2nd byte 3rd byte
EnH llH mmH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
mm,ll=Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
*Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
■Channel Mode Messages
●All Sound Off (Controller number 120)
status 2nd byte 3rd byte
BnH 78H 00H
n=MIDI channel: 0H - FH (ch.1 - ch.16)
*When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
*Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
●Reset All Controllers (Controller number 121)
status 2nd byte 3rd byte
BnH 79H 00H
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
*Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is
OFF.
*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 (minimum)
Expression 127 (maximum)
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.
System General purpose controller 10 (minimum)
System General purpose controller 20 (minimum)
186
MIDI Implementation
●All Note Off (Controller number 123)
status 2nd byte 3rd byte
BnH 7BH 00H
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
* When All Note Off is received, all currently sounding notes of the corresponding
channel will be turned off. However if Hold 1 or Sostenuto are on, the sound will be held
until these are turned off.
* Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF.
●Omni Off (Controller number 124)
status 2nd byte 3rd byte
BnH 7CH 00H
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
* The same processing as when All Note Off is received will be done.
* Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF.
●Omni On (Controller number 125)
status 2nd byte 3rd byte
BnH 7DH 00H
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
* The same processing as when All Note Off is received will be done. The instrument will
not be set to OMNI ON.
* Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF.
●Mono (Controller number 126)
status 2nd byte 3rd byte
BnH 7EH mmH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
mm=Mono number: 00H - 10H (0 - 16)
* The same processing as when All Note Off is received will be done, and the Assign
parameter (PATCH/CONTROL/KEY MODE & BENDER) will be set to SOLO.
* Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF.
●Poly (Controller number 127)
status 2nd byte 3rd byte
BnH 7FH 00H
n=MIDI channel number:0H - FH (ch.1 - ch.16)
* The same processing as when All Note Off is received will be done, and the Assign
parameter (PATCH/CONTROL/KEY MODE & BENDER) will be set to POLY.
* Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF.
■System Realtime Messages
●Timing Clock
status
F8H
* This message will be received if the Clock Source parameter (SYSTEM/SETUP/SYSTEM
SETUP) is MIDI (p. 129).
●Active Sensing
status
FEH
* When an Active Sensing message is received, the unit will begin monitoring the interval
at which MIDI messages are received. During monitoring, if more than 420 ms passes
without a message being received, the same processing will be done as when All Sound
Off, All Note Off, and Reset All Controllers messages are received. Then monitoring will
be halted.
■System Exclusive Messages
status data byte status
F0H iiH, ddH, ......, eeH F7H
F0H: System Exclusive message status
ii = ID number: This is the ID number (manufacturer ID) that specifies the
manufacturer whose exclusive message this is. Roland's manufacturer
ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the
MIDI standard as Universal Non-realtime messages (7EH) and
Universal Realtime Messages (7FH).
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
When this message is received, Identity Reply message (p. 189) will be transmitted.
status data byte status
F0H 7EH, dev, 06H, 01H F7H
Byte Remarks
F0H Exclusive status
7EH ID number (Universal Non-realtime message)
dev device ID (dev: 10H - 1FH)
06H sub ID#1 (General Information)
01H sub ID#2 (Identity Request)
F7H EOX (End Of Exclusive)
* The “dev” is own device number or 7FH (Broadcast).
❍GM System On
“GM System On” is a command message that resets the internal settings of the instrument
to the GM initial state (General MIDI System - Level 1). A GM instrument that receives this
message will automatically enter a state in which it can correctly perform a GM score.
status data byte status
F0H 7EH, 7FH, 09H, 01H F7H
Byte Remarks
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 On)
F7H EOX (End Of Exclusive)
* Not received when the Rx.GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF.
❍GM System Off
When this messages is received, this instrument will return to the performance mode.
status data byte status
F0H 7EH, 7FH, 09H, 02H F7H
Byte Remarks
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)
* Not received when the Rx.GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF.
187
MIDI Implementation
Appendices
●Universal Realtime System Exclusive messages
❍Master Volume
status data byte status
F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H
Byte Remarks
F0H Exclusive status
7FH ID number (Universal Realtime message)
7FH device ID (Broadcast)
04H sub ID#1 (Device Control Message)
01H sub ID#2 (Master Volume)
llH LSB of Master Volume
mmH MSB of Master Volume
F7H EOX (End Of Exclusive)
* LSB of Master Volume (llH) is processed as 00H.
* This message is not received if the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is
OFF.
* This message is not received in GM mode.
●Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
The model ID of the exclusive messages used by this instrument is 6AH.
❍Data Request 1 RQ1
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, 6AH, 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)
6AH model ID (XP-30)
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. 190).
* For the checksum, refer to (p. 204).
* This message is not received if the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is
OFF.
* This message is not received in GM mode.
❍Data Set 1 DT1
This message transmits the actual data, and is used when you wish to set the data of the
receiving device.
status data byte status
F0H 41H, dev, 6AH, 12H, aaH, bbH, F7H
ccH, ddH, eeH, ... ffH, sum
Byte Remarks
F0H Exclusive status
41H ID number (Roland)
dev device ID (dev: 10H - 1FH)
6AH model ID (XP-30)
12H command ID (DT1)
aaH address MSB
bbH address
ccH address
ddH address LSB
eeH data: The actual data to be transmitted. Multi-byte
data is transmitted in the order of the address.
::
ffH data
sum checksum
F7H EOX (End Of Exclusive)
* The amount of data that is transmitted at one time is fixed for the type of data, and only
data of the fixed starting address and size will be transmitted. Refer to the address and
size given in “Parameter Address Map” (p. 190).
* Data whose size is greater than 128 bytes should be divided into packets of 128 bytes or
less and transmitted. Successive “Data Set 1” messages should have at least 20 ms of
time interval between them.
* For the checksum, refer to (p. 204).
* This message is not received if Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is
OFF.
* This message is not received in GM mode.
This device is able to receive GS Exclusive messages only for Scale Tune settings.
❍Data Set 1 DT1
This message transmits the actual data, and is used when you wish to set the data of the
receiving device.
status data byte status
F0H 41H, dev, 42H, 12H, aaH, bbH, F7H
ccH, ddH, ... eeH, sum
Byte Remarks
F0H Exclusive status
41H ID number (Roland)
dev device ID (dev: 10H - 1FH)
42H model ID (GS)
12H command ID (DT1)
aaH address MSB
bbH address middle byte
ccH address LSB
ddH data: The actual data to be transmitted. Multi-byte
data is transmitted in the address order.
::
eeH data
sum checksum
F7H EOX (End Of Exclusive)
* This message is not received when the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC
MIDI) is OFF.
* This message is not received in GM mode.
188
MIDI Implementation
2. Data transmission (sound source section)
■Channel Voice Messages
●Note Off
status 2nd byte 3rd byte
8nH kkH vvH
n=MIDI channel: 0H - FH (ch.1 - ch.16)
kk=Note Number: 00H - 7FH (0 - 127)
vv=Note Off Velocity: 00H - 7FH (0 - 127)
●Note On
status 2nd byte 3rd byte
9nH kkH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
kk=note number: 00H - 7FH (0 - 127)
vv=Note On velocity: 01H - 7FH (1 - 127)
●Control Change
* By selecting a controller number that corresponds to the setting of the Assign parameter
(SYSTEM/CONTROL/CONTROL PEDAL) or each Assign parameter of C1–4 Slider
(SYSTEM/CONTROL/ASSIGN), you can transmit any desired control change.
❍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 - ch.16)
mm,ll=Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)
* This message is not transmitted if Program parameter (SYSTEM/MIDI/TRANSMIT
MIDI) or Bank Sel parameter (SYSTEM/MIDI/TRANSMIT MIDI) is OFF.
* For the Bank Select that corresponds to each Patch, refer to section 1.
* This message is not transmitted in GM mode
❍Modulation (Controller number 1)
status 2nd byte 3rd byte
BnH 01H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Modulation Depth: 00H - 7FH (0 - 127)
❍Breath type (Controller number 2)
status 2nd byte 3rd byte
BnH 02H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.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 - ch.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 - ch.16)
vv=Portamento Time: 00H - 7FH (0 - 127)
❍Volume (Controller number 7)
status 2nd byte 3rd byte
BnH 07H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Volume: 00H - 7FH (0 - 127)
❍Balance (Controller number 8)
status 2nd byte 3rd byte
BnH 08H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.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 - ch.16)
vv=panpot: 00H - 40H - 7FH (left - center - right)
❍Expression (Controller number 11)
status 2nd byte 3rd byte
BnH 0BH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Expression: 00H - 7FH (0 - 127)
❍Hold 1 (Controller number 64)
status 2nd byte 3rd byte
BnH 40H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
❍Portamento (Controller number 65)
status 2nd byte 3rd byte
BnH 41H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
❍Sostenuto (Controller number 66)
status 2nd byte 3rd byte
BnH 42H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.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 - ch.16)
vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
❍ Hold 2 (Controller number 69)
status 2nd byte 3rd byte
BnH 45H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 7FH (0 - 127)
❍Sound Controller 2 (Controller number 71)
status 2nd byte 3rd byte
BnH 47H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
❍Sound Controller 3 (Controller number 72)
status 2nd byte 3rd byte
BnH 48H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
❍Sound Controller 4 (Controller number 73)
status 2nd byte 3rd byte
BnH 49H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
❍Sound Controller 5 (Controller number 74)
status 2nd byte 3rd byte
BnH 4AH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-64 - 0 - +63)
❍General Purpose Controller 5 (Controller number 80)
status 2nd byte 3rd byte
BnH 50H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
189
MIDI Implementation
Appendices
❍General Purpose Controller 6 (Controller number 81)
status 2nd byte 3rd byte
BnH 51H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
❍General Purpose Controller 7 (Controller number 82)
status 2nd byte 3rd byte
BnH 52H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
❍General Purpose Controller 8 (Controller number 83)
status 2nd byte 3rd byte
BnH 53H vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=control value: 00H - 40H - 7FH (-128 - 0 - +126)
❍Portamento Control (Controller number 84)
status 2nd byte 3rd byte
BnH 54H kkH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
kk=source note number: 00H - 7FH (0 - 127)
❍Effect 1 (Reverb Send Level) (Controller number 91)
status 2nd byte 3rd byte
BnH 5BH vvH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
vv=Reverb Send Level: 00H - 7FH (0 - 127)
❍Effect 3 (Chorus Send Level) (Controller number 93)
status 2nd byte 3rd byte
BnH 5DH vvH
n=MIDI channel: 0H - FH (ch.1 - ch.16)
vv=Chorus Send Level: 00H - 7FH (0 - 127)
❍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 - ch.16)
mm=MSB of the parameter number specified by RPN
ll=LSB of the parameter number specified by RPN
This device transmits the following RPNs.
RPN Data entry
MSB LSB MSB LSB Notes
00H 00H mmH - Pitch Bend Sensitivity
mm : 00H - 0CH (0 - 12 semitones)
ll : 00H
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 )
00H 02H mmH - Channel Coarse Tuning
mm : 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll : 00H
●Program Change
status 2nd byte
CnH ppH
n=MIDI channel: 0H - FH (ch.1 - ch.16)
pp=Program number: 00H - 7FH (prog.1 - prog.128)
* This message is not transmitted when the Program parameter (SYSTEM/MIDI/
TRANSMIT MIDI) is OFF.
●Channel Aftertouch
status 2nd byte
DnH vvH
n=MIDI channel: 0H - FH (ch.1 - ch.16)
vv=Channel Aftertouch: 00H - 7FH (1 - 128)
●Pitch Bend Change
status 2nd byte 3rd byte
EnH llH mmH
n=MIDI channel number: 0H - FH (ch.1 - ch.16)
mm,ll=Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
■System Realtime Messages
●Active Sensing
status
FEH
* Transmitted at intervals of approximately 250ms.
*Not transmitted if the Active Sensing parameter (SYSTEM/MIDI/TRANSMIT MIDI) is
OFF.
■System Exclusive Messages
There is a kind of the Universal Non-realtime messages and the Data Set (DT1) messages in
the System Exclusive messages transmitted by this device.
●Universal Non-realtime System Exclusive Messages
❍Identity Reply Message
When Identity Request message (p. 186) is received, this message will be transmitted.
status data byte status
F0H 7EH, dev, 06H, 02H, 41H, 6AH, 00H, F7H
04H, 00H, 00H, 01H, 00H, 00H
Byte Remarks
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)
6AH 00H Device family code
04H 00H Device family number code
00H 01H 00H 00H Software revision level
F7H EOX (End Of Exclusive)
●Data Transmission
❍Data Set1 DT1
status data byte status
F0H 41H, dev, 6AH, 12H, aaH, bbH, F7H
ccH, ddH, eeH, ... ffH, sum
Byte Remarks
F0H Exclusive status
41H ID number (Roland)
dev device ID (dev: 10H - 1FH)
6AH model ID (XP-30)
12H command ID (DT1)
aaH address MSB
bbH address
ccH address
ddH address LSB
eeH data: The actual data to be transmitted. Multi-byte
data is transmitted in the address order.
::
ffH data
sum checksum
F7H EOX (End Of Exclusive)
*The amount of data transmitted at one time is fixed for the type of data, and the data will
be transmitted with the fixed starting address and size. Refer to the address and size
given in “Parameter Address Map” (p. 190).
*Large amounts of data must be divided into packets of 128 bytes or less, and transmitted
at intervals of approximately 20 ms.
* For the checksum, refer to (p. 204).
190
MIDI Implementation
3. Parameter Address Map
1. XP-30 (Model ID=6AH)
* For addresses marked by a #, the data must be divided into 2 parts for transmission. For example, data with the hexadecimal value ABH would be divided into 0AH and 0BH, and transmitted
in that order.
* Parameter values enclosed in < > are for the JV-1010 / JV-1080 / JV-2080 / XP-50 / XP-60 / XP-80, and will be ignored if received by the XP-30.
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 00 | System 1-1 |
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Temporary Performance 1-2 |
| 02 00 00 00 | Performance Mode Temporary Patch(part 1) 1-3 |
| 02 01 00 00 | Performance Mode Temporary Patch(part 2) |
| : | |
| 02 08 00 00 | Performance Mode Temporary Patch(part 9) |
| 02 09 00 00 | Temporary Rhythm Setup 1-4 |
| 02 0A 00 00 | Performance Mode Temporary Patch(part 11) 1-3 |
| : | |
| 02 0F 00 00 | Performance Mode Temporary Patch(part 16) |
| 03 00 00 00 | Patch Mode Temporary Patch 1-3 |
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | User Performance USER:01 1-2 |
| 10 01 00 00 | User Performance USER:02 |
| : | |
| 10 1F 00 00 | User Performance USER:32 |
| 10 40 00 00 | User Rhythm Setup USER:1 1-4 |
| 10 41 00 00 | User Rhythm Setup USER:2 |
| 11 00 00 00 | User Patch USER:001 1-3 |
| 11 01 00 00 | User Patch USER:002 |
| : | |
| 11 7F 00 00 | User Patch USER:128 |
+——————————————————————————————————————————————————————————————————————————————+
●1-1.System
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | System Common 1-1-1 |
| 10 00 | Part 1 Scale Tune 1-1-2 |
| 11 00 | Part 2 Scale Tune |
| : | |
| 1F 00 | Part 16 Scale Tune |
| 20 00 | Patch Mode Scale Tune 1-1-2 |
+——————————————————————————————————————————————————————————————————————————————+
●1-1-1.System Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 00aa | Sound Mode 0 - 2 *1 |
| 00 01 | 0aaa aaaa | Performance Number 0 - 127 *2 | +———————————————————————————————————————————————————————————+
| 00 02 | 0000 00aa | Patch Group Type 0 - 2 *3 -> | | Patch Group | Group Type | Group ID | Number (value) |
| 00 03 | 0aaa aaaa | Patch Group ID 0 - 127 -> | |—————————————+————————————+——————————+—————————————————————|
|# 00 04 | 0000 aaaa | Patch Number 0 - 255 -> | | USER | 0 | 1 | 0 - 127 (001 - 128) |
| | 0000 bbbb | (001 - 256) | | <CARD | 0 | 2 | 0 - 127 (001 - 128)>|
| 00 06 | 0aaa aaaa | Master Tune 0 - 126 *4 | | PR-A | 0 | 3 | 0 - 127 (001 - 128) |
| 00 07 | 0000 000a | Scale Tune Switch 0 - 1 (OFF,ON) | | PR-B | 0 | 4 | 0 - 127 (001 - 128) |
| 00 08 | 0000 000a | EFX Switch 0 - 1 (OFF,ON) | | PR-C | 0 | 5 | 0 - 127 (001 - 128) |
| 00 09 | 0000 000a | Chorus Switch 0 - 1 (OFF,ON) | | PR-D | 0 | 6 | 0 - 127 (001 - 128) |
| 00 0A | 0000 000a | Reverb Switch 0 - 1 (OFF,ON) | | PR-E | 0 | 7 | 0 - 127 (001 - 128) |
| 00 0B | 0000 000a | Patch Remain 0 - 1 (OFF,ON) | | <PCM | 1 | 1 - 127 | 0 - 127 (001 - 128)>|
| 00 0C | 0000 000a | Clock Source 0 - 1 (INT,MIDI) | |XP-A(Session)| 2 | 9 | 0 - 254 (001 - 255) |
| 00 0D | 0000 0aaa | TAP Control Source 0 - 4 *5 | | XP-B(Orch.) | 2 | 2 | 0 - 254 (001 - 255) |
| 00 0E | 0000 0aaa | Hold Control Source 0 - 4 *6 | | XP-C(Techno)| 2 | 11 | 0 - 255 (001 - 256) |
| 00 0F | 0000 0aaa | Peak Control Source 0 - 4 *6 | | XP-D | 2 | 1 - 127 | 0 - 255 (001 - 256) |
| 00 10 | 0000 000a | Volume Control Source 0 - 1 *7 | | XP-E | 2 | 1 - 127 | 0 - 255 (001 - 256) |
| 00 11 | 0000 00aa | Aftertouch Source 0 - 2 *8 | +-----------------------------------------------------------+
| 00 12 | 0aaa aaaa | System Control Source 1 1 - 97 *9 |
| 00 13 | 0aaa aaaa | System Control Source 2 1 - 97 *9 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 14 | 0000 000a | Receive Program Change 0 - 1 (OFF,ON) |
| 00 15 | 0000 000a | Receive Bank Select 0 - 1 (OFF,ON) |
| 00 16 | 0000 000a | Receive Control Change 0 - 1 (<OFF,ON>) |
| 00 17 | 0000 000a | Receive Modulation 0 - 1 (<OFF,ON>) |
| 00 18 | 0000 000a | Receive Volume 0 - 1 (<OFF,ON>) |
| 00 19 | 0000 000a | Receive Hold-1 0 - 1 (<OFF,ON>) |
| 00 1A | 0000 000a | Receive Pitch Bend 0 - 1 (<OFF,ON>) |
| 00 1B | 0000 000a | Receive Aftertouch 0 - 1 (<OFF,ON>) |
| 00 1C | 000a aaaa | Control Channel 0 - 16 (1 - 16,OFF)|
| 00 1D | 0000 aaaa | Patch Receive Channel 0 - 15 (1 - 16) |
| 00 1E | 0000 000a | Rhythm Edit Source 0 - 1 *10 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1F | 0000 00aa | Preview Sound Mode 0 - 2 *11 |
| 00 20 | 0aaa aaaa | Preview Note Set 1 0 - 127 (C-1 - G9) |
| 00 21 | 0aaa aaaa | Preview Velocity Set 1 0 - 127 *12 |
| 00 22 | 0aaa aaaa | Preview Note Set 2 0 - 127 (C-1 - G9) |
| 00 23 | 0aaa aaaa | Preview Velocity Set 2 0 - 127 *12 |
| 00 24 | 0aaa aaaa | Preview Note Set 3 0 - 127 (C-1 - G9) |
| 00 25 | 0aaa aaaa | Preview Velocity Set 3 0 - 127 *12 |
| 00 26 | 0aaa aaaa | Preview Note Set 4 0 - 127 (C-1 - G9) |
| 00 27 | 0aaa aaaa | Preview Velocity Set 4 0 - 127 *12 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 28 | 0000 000a | Transmit Program Change 0 - 1 (OFF,ON) |
| 00 29 | 0000 000a | Transmit Bank Select 0 - 1 (OFF,ON) |
| 00 2A | 000a aaaa | Patch Transmit Channel 0 - 17 *13 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 2B | 0000 000a | Transpose Switch 0 - 1 (OFF,ON) |
| 00 2C | 0000 aaaa | Transpose Value 0 - 11 (-5 - +6) |
| 00 2D | 0000 0aaa | Octave Shift 0 - 6 (-3 - +3) |
| 00 2E | 0aaa aaaa | Keyboard Velocity 0 - 127 *14 |
| 00 2F | 0000 00aa | Keyboard Sens 0 - 2 *15 |
| 00 30 | 0aaa aaaa | Aftertouch Sens 0 - 100 |
| 00 31 | 0aaa aaaa | Pedal(1) Assign 1 - 104 *16 |
| 00 32 | 0000 00aa | Pedal(1) Output Mode 0 - 3 *18 |
191
MIDI Implementation
Appendices
| 00 33 | 0000 000a | Pedal(1) Polarity 0 - 1 *20 |
| 00 34 | 0aaa aaaa | Pedal2 Assign 1 - 104 *17 |
| 00 35 | 0000 00aa | Pedal2 Output Mode 0 - 3 *19 |
| 00 36 | 0000 000a | Pedal2 Polarity 0 - 1 *21 |
| 00 37 | 0aaa aaaa | C1 Assign 1 - 97 *9 |
| 00 38 | 0000 00aa | C1 Output Mode 0 - 3 *18 |
| 00 39 | 0aaa aaaa | C2 Assign 1 - 97 *9 |
| 00 3A | 0000 00aa | C2 Output Mode 0 - 3 *18 |
| 00 3B | 0000 00aa | Hold Pedal Output Mode 0 - 3 *18 |
| 00 3C | 0000 000a | Hold Pedal Polarity 0 - 1 *20 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3D | 0000 000a | Bank Select Group1 Switch 0 - 1 (OFF,ON) |
| 00 3E | 0aaa aaaa | Bank Select Group1 MSB 0 - 127 |
| 00 3F | 0aaa aaaa | Bank Select Group1 LSB 0 - 127 |
| 00 40 | 0000 000a | Bank Select Group2 Switch 0 - 1 (OFF,ON) |
| 00 41 | 0aaa aaaa | Bank Select Group2 MSB 0 - 127 |
| 00 42 | 0aaa aaaa | Bank Select Group2 LSB 0 - 127 |
| 00 43 | 0000 000a | Bank Select Group3 Switch 0 - 1 (OFF,ON) |
| 00 44 | 0aaa aaaa | Bank Select Group3 MSB 0 - 127 |
| 00 45 | 0aaa aaaa | Bank Select Group3 LSB 0 - 127 |
| 00 46 | 0000 000a | Bank Select Group4 Switch 0 - 1 (OFF,ON) |
| 00 47 | 0aaa aaaa | Bank Select Group4 MSB 0 - 127 |
| 00 48 | 0aaa aaaa | Bank Select Group4 LSB 0 - 127 |
| 00 49 | 0000 000a | Bank Select Group5 Switch 0 - 1 (OFF,ON) |
| 00 4A | 0aaa aaaa | Bank Select Group5 MSB 0 - 127 |
| 00 4B | 0aaa aaaa | Bank Select Group5 LSB 0 - 127 |
| 00 4C | 0000 000a | Bank Select Group6 Switch 0 - 1 (OFF,ON) |
| 00 4D | 0aaa aaaa | Bank Select Group6 MSB 0 - 127 |
| 00 4E | 0aaa aaaa | Bank Select Group6 LSB 0 - 127 |
| 00 4F | 0000 000a | Bank Select Group7 Switch 0 - 1 (OFF,ON) |
| 00 50 | 0aaa aaaa | Bank Select Group7 MSB 0 - 127 |
| 00 51 | 0aaa aaaa | Bank Select Group7 LSB 0 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 52 | 0aaa aaaa | Pedal3 Assign 1 - 104 *17 |
| 00 53 | 0000 00aa | Pedal3 Output Mode 0 - 3 *19 |
| 00 54 | 0000 000a | Pedal3 Polarity 0 - 1 *21 |
| 00 55 | 0aaa aaaa | Pedal4 Assign 1 - 104 *17 |
| 00 56 | 0000 00aa | Pedal4 Output Mode 0 - 3 *19 |
| 00 57 | 0000 000a | Pedal4 Polarity 0 - 1 *21 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 58 | 00aa aaaa | Arpeggio Style 0 - 42 (1 - 43) |
| 00 59 | 00aa aaaa | Arpeggio Motif 0 - 37 (1 - 38) |
| 00 5A | 0aaa aaaa | Arpeggio Beat Pattern 0 - 114 (1 - 115) |
| 00 5B | 0aaa aaaa | Arpeggio Accent Rate 0 - 100 |
| 00 5C | 0aaa aaaa | Arpeggio Shuffle Rate 50 - 90 |
| 00 5D | 0aaa aaaa | Arpeggio Keyboard Velocity 0 - 127 *14 |
| 00 5E | 0000 0aaa | Arpeggio Octave Range 0 - 6 (-3 - +3) |
| 00 5F | 0000 aaaa | Arpeggio Part Number 0 - 15 *22 |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 60 | 0000 aaaa | System Tempo 20 - 250 |
| | 0000 bbbb | |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 62 | 0aaa aaaa | C3 Assign 1 - 97 *9 |
| 00 63 | 0000 00aa | C3 Output Mode 0 - 3 *18 |
| 00 64 | 0aaa aaaa | C4 Assign 1 - 97 *9 |
| 00 65 | 0000 00aa | C4 Output Mode 0 - 3 *18 |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 66 |
+——————————————————————————————————————————————————————————————————————————————+
*1 PERFORMANCE, PATCH, GM
*2 USER:01–USER:32, <CARD:01–CARD:32>, PR-A:01–PR-A:32, PR-B:01–PR-B:32
*3 USER&PRESET, <PCM>, EXP
*4 427.4–452.6
*5 <OFF, HOLD-1, SOSTENUTO, SOFT, HOLD-2>
*6 OFF, HOLD-1, SOSTENUTO, SOFT, HOLD-2
*7 VOLUME, VOLUME&EXPRESSION
*8 CHANNEL, POLY, CH&POLY
*9 CC01–CC05, CC07–CC31, CC64–CC95, PITCH BEND, AFTERTOUCH
*10 <PANEL, PANEL&MIDI>
*11 SINGLE, CHORD, PHRASE
*12 OFF, 1–127
*13 1–16, RX-CH, OFF
*14 REAL, 1–127
*15 LIGHT, MEDIUM, HEAVY
*16 CC01–CC05, CC07–CC31, CC64–CC95, PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, <START/STOP>, <PUNCH-IN/OUT>, TAP-TEMPO, OCTAVE-UP, OCTAVE-DOWN
*17 <CC01–CC05, CC07–CC31, CC64–CC95, PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, <START/STOP>, <PUNCH-IN/OUT>, TAP-TEMPO, OCTAVE-UP, OCTAVE-DOWN>
*18 OFF, INT, MIDI, INT&MIDI
*19 <OFF, INT, MIDI, INT&MIDI>
*20 STANDARD, REVERSE
*21 <STANDARD, REVERSE>
*22 PART1–PART16
●1-1-2.Scale Tune
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Scale Tune for C 0 - 127 (-64 - +63)|
| 00 01 | 0aaa aaaa | Scale Tune for C# 0 - 127 (-64 - +63)|
| 00 02 | 0aaa aaaa | Scale Tune for D 0 - 127 (-64 - +63)|
| 00 03 | 0aaa aaaa | Scale Tune for D# 0 - 127 (-64 - +63)|
| 00 04 | 0aaa aaaa | Scale Tune for E 0 - 127 (-64 - +63)|
| 00 05 | 0aaa aaaa | Scale Tune for F 0 - 127 (-64 - +63)|
| 00 06 | 0aaa aaaa | Scale Tune for F# 0 - 127 (-64 - +63)|
| 00 07 | 0aaa aaaa | Scale Tune for G 0 - 127 (-64 - +63)|
| 00 08 | 0aaa aaaa | Scale Tune for G# 0 - 127 (-64 - +63)|
| 00 09 | 0aaa aaaa | Scale Tune for A 0 - 127 (-64 - +63)|
| 00 0A | 0aaa aaaa | Scale Tune for A# 0 - 127 (-64 - +63)|
| 00 0B | 0aaa aaaa | Scale Tune for B 0 - 127 (-64 - +63)|
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 0C |
+——————————————————————————————————————————————————————————————————————————————+
192
MIDI Implementation
●1-2.Performance
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | Performance Common 1-2-1 |
| 10 00 | Performance Part 1 1-2-2 |
| 11 00 | Performance Part 2 |
| : | |
| 1F 00 | Performance Part 16 |
+——————————————————————————————————————————————————————————————————————————————+
●1-2-1.Performance Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Performance Name 1 32 - 127 |
| 00 01 | 0aaa aaaa | Performance Name 2 32 - 127 |
| 00 02 | 0aaa aaaa | Performance Name 3 32 - 127 |
| 00 03 | 0aaa aaaa | Performance Name 4 32 - 127 |
| 00 04 | 0aaa aaaa | Performance Name 5 32 - 127 |
| 00 05 | 0aaa aaaa | Performance Name 6 32 - 127 |
| 00 06 | 0aaa aaaa | Performance Name 7 32 - 127 |
| 00 07 | 0aaa aaaa | Performance Name 8 32 - 127 |
| 00 08 | 0aaa aaaa | Performance Name 9 32 - 127 |
| 00 09 | 0aaa aaaa | Performance Name 10 32 - 127 |
| 00 0A | 0aaa aaaa | Performance Name 11 32 - 127 |
| 00 0B | 0aaa aaaa | Performance Name 12 32 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0000 aaaa | EFX Source 0 - 15 *1 |
| 00 0D | 00aa aaaa | EFX Type 0 - 39 (1 - 40) |
| 00 0E | 0aaa aaaa | EFX Parameter 1 0 - 127 |
| 00 0F | 0aaa aaaa | EFX Parameter 2 0 - 127 |
| 00 10 | 0aaa aaaa | EFX Parameter 3 0 - 127 |
| 00 11 | 0aaa aaaa | EFX Parameter 4 0 - 127 |
| 00 12 | 0aaa aaaa | EFX Parameter 5 0 - 127 |
| 00 13 | 0aaa aaaa | EFX Parameter 6 0 - 127 |
| 00 14 | 0aaa aaaa | EFX Parameter 7 0 - 127 |
| 00 15 | 0aaa aaaa | EFX Parameter 8 0 - 127 |
| 00 16 | 0aaa aaaa | EFX Parameter 9 0 - 127 |
| 00 17 | 0aaa aaaa | EFX Parameter 10 0 - 127 |
| 00 18 | 0aaa aaaa | EFX Parameter 11 0 - 127 |
| 00 19 | 0aaa aaaa | EFX Parameter 12 0 - 127 |
| 00 1A | 0000 00aa | EFX Output Assign 0 - 2 *2 |
| 00 1B | 0aaa aaaa | EFX Mix Out Send Level 0 - 127 |
| 00 1C | 0aaa aaaa | EFX Chorus Send Level 0 - 127 |
| 00 1D | 0aaa aaaa | EFX Reverb Send Level 0 - 127 |
| 00 1E | 0000 aaaa | EFX Control Source 1 0 - 10 *3 |
| 00 1F | 0aaa aaaa | EFX Control Depth 1 0 - 126 (-63 - +63)|
| 00 20 | 0000 aaaa | EFX Control Source 2 0 - 10 *3 |
| 00 21 | 0aaa aaaa | EFX Control Depth 2 0 - 126 (-63 - +63)|
| 00 22 | 0aaa aaaa | Chorus Level 0 - 127 |
| 00 23 | 0aaa aaaa | Chorus Rate 0 - 127 |
| 00 24 | 0aaa aaaa | Chorus Depth 0 - 127 |
| 00 25 | 0aaa aaaa | Chorus Pre-Delay 0 - 127 |
| 00 26 | 0aaa aaaa | Chorus Feedback 0 - 127 |
| 00 27 | 0000 00aa | Chorus Output 0 - 2 *4 |
| 00 28 | 0000 0aaa | Reverb Type 0 - 7 *5 |
| 00 29 | 0aaa aaaa | Reverb Level 0 - 127 |
| 00 2A | 0aaa aaaa | Reverb Time 0 - 127 |
| 00 2B | 000a aaaa | Reverb HF Damp 0 - 17 *6 |
| 00 2C | 0aaa aaaa | Delay Feedback 0 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 2D | 0000 aaaa | Performance Tempo 20 - 250 |
| | 0000 bbbb | |
| 00 2F | 0000 000a | Keyboard Range Switch 0 - 1 (OFF,ON) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 30 | 0aaa aaaa | Voice Reserve 1 0 - 64 |
| 00 31 | 0aaa aaaa | Voice Reserve 2 0 - 64 |
| 00 32 | 0aaa aaaa | Voice Reserve 3 0 - 64 |
| 00 33 | 0aaa aaaa | Voice Reserve 4 0 - 64 |
| 00 34 | 0aaa aaaa | Voice Reserve 5 0 - 64 |
| 00 35 | 0aaa aaaa | Voice Reserve 6 0 - 64 |
| 00 36 | 0aaa aaaa | Voice Reserve 7 0 - 64 |
| 00 37 | 0aaa aaaa | Voice Reserve 8 0 - 64 |
| 00 38 | 0aaa aaaa | Voice Reserve 9 0 - 64 |
| 00 39 | 0aaa aaaa | Voice Reserve 10 0 - 64 |
| 00 3A | 0aaa aaaa | Voice Reserve 11 0 - 64 |
| 00 3B | 0aaa aaaa | Voice Reserve 12 0 - 64 |
| 00 3C | 0aaa aaaa | Voice Reserve 13 0 - 64 |
| 00 3D | 0aaa aaaa | Voice Reserve 14 0 - 64 |
| 00 3E | 0aaa aaaa | Voice Reserve 15 0 - 64 |
| 00 3F | 0aaa aaaa | Voice Reserve 16 0 - 64 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 40 | 0000 000a | Keyboard Mode 0 - 1 *7 |
| 00 41 | 0000 000a | Clock Source 0 - 1 *8 |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 42 |
+——————————————————————————————————————————————————————————————————————————————+
*1 PERFORM, 1–9, 11–16
*2 MIX, <DIRECT-1>, <DIRECT-2>
*3 OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*4 MIX, REV, MIX+REV
*5 ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
*6 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
*7 LAYER, SINGLE
*8 PERFORMANCE, SYSTEM
193
MIDI Implementation
Appendices
●1-2-2.Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Receive Switch 0 - 1 (OFF,ON) |
| 00 01 | 0000 aaaa | MIDI Channel 0 - 15 (1 - 16) |
|—————————————+———————————+————————————————————————————————————————————————————| +———————————————————————————————————————————————————————————+
| 00 02 | 0000 00aa | Patch Group Type 0 - 2 *1 -> | | Patch Group | Group Type | Group ID | Number (value) |
| 00 03 | 0aaa aaaa | Patch Group ID 0 - 127 -> | |—————————————+————————————+——————————+—————————————————————|
|# 00 04 | 0000 aaaa | Patch Number 0 - 255 -> | | USER | 0 | 1 | 0 - 127 (001 - 128) |
| | 0000 bbbb | (001 - 256)| | <CARD | 0 | 2 | 0 - 127 (001 - 128)>|
| 00 06 | 0aaa aaaa | Part Level 0 - 127 | | PR-A | 0 | 3 | 0 - 127 (001 - 128) |
| 00 07 | 0aaa aaaa | Part Pan 0 - 127 (L64 - 63R)| | PR-B | 0 | 4 | 0 - 127 (001 - 128) |
| 00 08 | 0aaa aaaa | Part Coarse Tune 0 - 96 (-48 - +48)| | PR-C | 0 | 5 | 0 - 127 (001 - 128) |
| 00 09 | 0aaa aaaa | Part Fine Tune 0 - 100 (-50 - +50)| | PR-D | 0 | 6 | 0 - 127 (001 - 128) |
| 00 0A | 0000 0aaa | Output Assign 0 - 4 *2 | | PR-E | 0 | 7 | 0 - 127 (001 - 128) |
| 00 0B | 0aaa aaaa | Mix/EFX Send Level 0 - 127 | | <PCM | 1 | 1 - 127 | 0 - 127 (001 - 128)>|
| 00 0C | 0aaa aaaa | Chorus Send Level 0 - 127 | |XP-A(Session)| 2 | 9 | 0 - 254 (001 - 255) |
| 00 0D | 0aaa aaaa | Reverb Send Level 0 - 127 | | XP-B(Orch.) | 2 | 2 | 0 - 254 (001 - 255) |
| 00 0E | 0000 000a | Receive Program Change Switch 0 - 1 (OFF,ON) | | XP-C(Techno)| 2 | 11 | 0 - 255 (001 - 256) |
| 00 0F | 0000 000a | Receive Volume Switch 0 - 1 (OFF,ON) | | XP-D | 2 | 1 - 127 | 0 - 255 (001 - 256) |
| 00 10 | 0000 000a | Receive Hold-1 Switch 0 - 1 (OFF,ON) | | XP-E | 2 | 1 - 127 | 0 - 255 (001 - 256) |
| 00 11 | 0aaa aaaa | Keyboard Range Lower 0 - 127 *3 | +———————————————————————————————————————————————————————————+
| 00 12 | 0aaa aaaa | Keyboard Range Upper 0 - 127 *4 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 13 | 0000 0aaa | Octave Shift 0 - 6 (-3 - +3) |
| 00 14 | 0000 000a | Local Switch 0 - 1 (OFF,ON) |
| 00 15 | 0000 000a | Transmit Switch 0 - 1 (OFF,ON) |
| 00 16 | 0000 0aaa | Transmit Bank Select Group 0 - 7 *5 |
|# 00 17 | 0000 aaaa | Transmit Volume 0 - 128 |
| | 0000 bbbb | (0 - 127,OFF) |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 19 |
+——————————————————————————————————————————————————————————————————————————————+
*1 USER&PRESET, <PCM>, EXP
*2 MIX, EFX, <DIRECT-1>, <DIRECT-2>, PATCH
*3 C-1–Upper
*4 Lower–G9
*5 PATCH, GROUP1–GROUP7
●1-3.Patch
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | Patch Common 1-3-1 |
| 10 00 | Patch Tone 1 1-3-2 |
| 12 00 | Patch Tone 2 |
| 14 00 | Patch Tone 3 |
| 16 00 | Patch Tone 4 |
+——————————————————————————————————————————————————————————————————————————————+
●1-3-1.Patch Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Patch Name 1 32 - 127 |
| 00 01 | 0aaa aaaa | Patch Name 2 32 - 127 |
| 00 02 | 0aaa aaaa | Patch Name 3 32 - 127 |
| 00 03 | 0aaa aaaa | Patch Name 4 32 - 127 |
| 00 04 | 0aaa aaaa | Patch Name 5 32 - 127 |
| 00 05 | 0aaa aaaa | Patch Name 6 32 - 127 |
| 00 06 | 0aaa aaaa | Patch Name 7 32 - 127 |
| 00 07 | 0aaa aaaa | Patch Name 8 32 - 127 |
| 00 08 | 0aaa aaaa | Patch Name 9 32 - 127 |
| 00 09 | 0aaa aaaa | Patch Name 10 32 - 127 |
| 00 0A | 0aaa aaaa | Patch Name 11 32 - 127 |
| 00 0B | 0aaa aaaa | Patch Name 12 32 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 00aa aaaa | EFX Type 0 - 39 (1 - 40) |
| 00 0D | 0aaa aaaa | EFX Parameter 1 0 - 127 |
| 00 0E | 0aaa aaaa | EFX Parameter 2 0 - 127 |
| 00 0F | 0aaa aaaa | EFX Parameter 3 0 - 127 |
| 00 10 | 0aaa aaaa | EFX Parameter 4 0 - 127 |
| 00 11 | 0aaa aaaa | EFX Parameter 5 0 - 127 |
| 00 12 | 0aaa aaaa | EFX Parameter 6 0 - 127 |
| 00 13 | 0aaa aaaa | EFX Parameter 7 0 - 127 |
| 00 14 | 0aaa aaaa | EFX Parameter 8 0 - 127 |
| 00 15 | 0aaa aaaa | EFX Parameter 9 0 - 127 |
| 00 16 | 0aaa aaaa | EFX Parameter 10 0 - 127 |
| 00 17 | 0aaa aaaa | EFX Parameter 11 0 - 127 |
| 00 18 | 0aaa aaaa | EFX Parameter 12 0 - 127 |
| 00 19 | 0000 00aa | EFX Output Assign 0 - 2 *1 |
| 00 1A | 0aaa aaaa | EFX Mix Out Send Level 0 - 127 |
| 00 1B | 0aaa aaaa | EFX Chorus Send Level 0 - 127 |
| 00 1C | 0aaa aaaa | EFX Reverb Send Level 0 - 127 |
| 00 1D | 0000 aaaa | EFX Control Source 1 0 - 10 *2 |
| 00 1E | 0aaa aaaa | EFX Control Depth 1 0 - 126 (-63 - +63)|
| 00 1F | 0000 aaaa | EFX Control Source 2 0 - 10 |
| 00 20 | 0aaa aaaa | EFX Control Depth 2 0 - 126 (-63 - +63)|
| 00 21 | 0aaa aaaa | Chorus Level 0 - 127 |
| 00 22 | 0aaa aaaa | Chorus Rate 0 - 127 |
| 00 23 | 0aaa aaaa | Chorus Depth 0 - 127 |
| 00 24 | 0aaa aaaa | Chorus Pre-Delay 0 - 127 |
| 00 25 | 0aaa aaaa | Chorus Feedback 0 - 127 |
| 00 26 | 0000 00aa | Chorus Output 0 - 2 *3 |
| 00 27 | 0000 0aaa | Reverb Type 0 - 7 *4 |
| 00 28 | 0aaa aaaa | Reverb Level 0 - 127 |
| 00 29 | 0aaa aaaa | Reverb Time 0 - 127 |
| 00 2A | 000a aaaa | Reverb HF Damp 0 - 17 *5 |
| 00 2B | 0aaa aaaa | Delay Feedback 0 - 127 |
194
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 2C | 0000 aaaa | Patch Tempo 20 - 250 |
| | 0000 bbbb | |
| 00 2E | 0aaa aaaa | Patch Level 0 - 127 |
| 00 2F | 0aaa aaaa | Patch Pan 0 - 127 (L64 - 63R)|
| 00 30 | 0aaa aaaa | Analog Feel 0 - 127 |
| 00 31 | 0000 aaaa | Bend Range Up 0 - 12 |
| 00 32 | 00aa aaaa | Bend Range Down 0 - 48 (0 - -48) |
| 00 33 | 0000 000a | Key Assign Mode 0 - 1 (POLY,SOLO)|
| 00 34 | 0000 000a | Solo Legato 0 - 1 (OFF,ON) |
| 00 35 | 0000 000a | Portamento Switch 0 - 1 (OFF,ON) |
| 00 36 | 0000 000a | Portamento Mode 0 - 1 *6 |
| 00 37 | 0000 000a | Portamento Type 0 - 1 (RATE,TIME)|
| 00 38 | 0000 000a | Portamento Start 0 - 1 *7 |
| 00 39 | 0aaa aaaa | Portamento Time 0 - 127 |
| 00 3A | 0000 aaaa | Patch Control Source 2 0 - 15 *8 |
| 00 3B | 0000 aaaa | Patch Control Source 3 0 - 15 *8 |
| 00 3C | 0000 00aa | EFX Control Hold/Peak 0 - 2 *9 |
| 00 3D | 0000 00aa | Control 1 Hold/Peak 0 - 2 *9 |
| 00 3E | 0000 00aa | Control 2 Hold/Peak 0 - 2 *9 |
| 00 3F | 0000 00aa | Control 3 Hold/Peak 0 - 2 *9 |
| 00 40 | 0000 000a | Velocity Range Switch 0 - 1 (OFF,ON) |
| 00 41 | 0000 0aaa | Octave Shift 0 - 6 (-3 - +3) |
| 00 42 | 0000 00aa | Stretch Tune Depth 0 - 3 (OFF,1 - 3)|
| 00 43 | 0000 000a | Voice Priority 0 - 1 *10 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 44 | 0000 aaaa | Structure Type 1&2 0 - 9 (1 - 10) |
| 00 45 | 0000 00aa | Booster 1&2 0 - 3 *11 |
| 00 46 | 0000 aaaa | Structure Type 3&4 0 - 9 (1 - 10) |
| 00 47 | 0000 00aa | Booster 3&4 0 - 3 *11 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 48 | 0000 000a | Clock Source 0 - 1 *12 |
| 00 49 | 0aaa aaaa | Patch Category 0 - 127 *13 |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 4A |
+——————————————————————————————————————————————————————————————————————————————+
*1 MIX, <DIRECT-1>, <DIRECT-2>
*2 OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3 MIX, REV, MIX+REV
*4 ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
*5 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
*6 NORMAL, LEGATO
*7 PITCH, NOTE
*8 OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH, LFO1, LFO2, VELOCITY, KEYFOLLOW, PLAYMATE
*9 OFF, HOLD, PEAK
*10 LAST, LOUDEST
*11 0, +6, +12, +18
*12 PATCH, SYSTEM
*13 NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS, SYNTH BASS, STRINGS,
ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH, PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD,
SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE, DRUMS, COMBINATION (0–38)
●1-3-2.Patch Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Tone Switch 0 - 1 (OFF,ON) | +———————————————————————————————————————————————————————————+
| 00 01 | 0000 00aa | Wave Group Type 0 - 2 *1 -> | | Wave Group | Group Type | Group ID | Number (value) |
| 00 02 | 0aaa aaaa | Wave Group ID 0 - 127 -> | |—————————————+————————————+——————————+—————————————————————|
|# 00 03 | 0000 aaaa | Wave Number 0 - 254 -> | | INT-A | 0 | 1 | 0 - 254 (001 - 255) |
| | 0000 bbbb | (001 - 255)| | INT-B | 0 | 2 | 0 - 192 (001 - 193) |
| 00 05 | 0000 00aa | Wave Gain 0 - 3 *2 | | <PCM | 1 | 1 - 127 | 0 - 254 (001 - 255)>|
| 00 06 | 0000 000a | FXM Switch 0 - 1 (OFF,ON) | |XP-A(Session)| 2 | 9 | 0 - 205 (001 - 206) |
| 00 07 | 0000 00aa | FXM Color 0 - 3 (1 - 4) | | XP-B(Orch.) | 2 | 2 | 0 - 173 (001 - 174) |
| 00 08 | 0000 aaaa | FXM Depth 0 - 15 (1 - 16) | | XP-C(Techno)| 2 | 11 | 0 - 254 (001 - 255) |
| 00 09 | 0000 0aaa | Tone Delay Mode 0 - 7 *3 | | XP-D | 2 | 1 - 127 | 0 - 254 (001 - 255) |
| 00 0A | 0aaa aaaa | Tone Delay Time 0 - 127 | | XP-E | 2 | 1 - 127 | 0 - 254 (001 - 255) |
|—————————————+———————————+————————————————————————————————————————————————————| +———————————————————————————————————————————————————————————+
| 00 0B | 0aaa aaaa | Velocity Cross Fade 0 - 127 |
| 00 0C | 0aaa aaaa | Velocity Range Lower 1 - 127 *4 |
| 00 0D | 0aaa aaaa | Velocity Range Upper 1 - 127 *5 |
| 00 0E | 0aaa aaaa | Keyboard Range Lower 0 - 127 *6 |
| 00 0F | 0aaa aaaa | Keyboard Range Upper 0 - 127 *7 |
| 00 10 | 0000 000a | Redamper Control Switch 0 - 1 (OFF,ON) |
| 00 11 | 0000 000a | Volume Control Switch 0 - 1 (OFF,ON) |
| 00 12 | 0000 000a | Hold-1 Control Switch 0 - 1 (OFF,ON) |
| 00 13 | 0000 000a | Pitch Bend Control Switch 0 - 1 (OFF,ON) |
| 00 14 | 0000 00aa | Pan Control Switch 0 - 2 *8 |
| 00 15 | 000a aaaa | Controller 1 Destination 1 0 - 18 *9 |
| 00 16 | 0aaa aaaa | Controller 1 Depth 1 0 - 126 (-63 - +63)|
| 00 17 | 000a aaaa | Controller 1 Destination 2 0 - 18 *9 |
| 00 18 | 0aaa aaaa | Controller 1 Depth 2 0 - 126 (-63 - +63)|
| 00 19 | 000a aaaa | Controller 1 Destination 3 0 - 18 *9 |
| 00 1A | 0aaa aaaa | Controller 1 Depth 3 0 - 126 (-63 - +63)|
| 00 1B | 000a aaaa | Controller 1 Destination 4 0 - 18 *9 |
| 00 1C | 0aaa aaaa | Controller 1 Depth 4 0 - 126 (-63 - +63)|
| 00 1D | 000a aaaa | Controller 2 Destination 1 0 - 18 *9 |
| 00 1E | 0aaa aaaa | Controller 2 Depth 1 0 - 126 (-63 - +63)|
| 00 1F | 000a aaaa | Controller 2 Destination 2 0 - 18 *9 |
| 00 20 | 0aaa aaaa | Controller 2 Depth 2 0 - 126 (-63 - +63)|
| 00 21 | 000a aaaa | Controller 2 Destination 3 0 - 18 *9 |
| 00 22 | 0aaa aaaa | Controller 2 Depth 3 0 - 126 (-63 - +63)|
| 00 23 | 000a aaaa | Controller 2 Destination 4 0 - 18 *9 |
| 00 24 | 0aaa aaaa | Controller 2 Depth 4 0 - 126 (-63 - +63)|
| 00 25 | 000a aaaa | Controller 3 Destination 1 0 - 18 *9 |
| 00 26 | 0aaa aaaa | Controller 3 Depth 1 0 - 126 (-63 - +63)|
| 00 27 | 000a aaaa | Controller 3 Destination 2 0 - 18 *9 |
| 00 28 | 0aaa aaaa | Controller 3 Depth 2 0 - 126 (-63 - +63)|
| 00 29 | 000a aaaa | Controller 3 Destination 3 0 - 18 *9 |
| 00 2A | 0aaa aaaa | Controller 3 Depth 3 0 - 126 (-63 - +63)|
| 00 2B | 000a aaaa | Controller 3 Destination 4 0 - 18 *9 |
| 00 2C | 0aaa aaaa | Controller 3 Depth 4 0 - 126 (-63 - +63)|
195
MIDI Implementation
Appendices
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 2D | 0000 0aaa | LFO1 Waveform 0 - 7 *10 |
| 00 2E | 0000 000a | LFO1 Key Sync 0 - 1 (OFF,ON) |
| 00 2F | 0aaa aaaa | LFO1 Rate 0 - 127 |
| 00 30 | 0000 0aaa | LFO1 Offset 0 - 4 *11 |
| 00 31 | 0aaa aaaa | LFO1 Delay Time 0 - 127 |
| 00 32 | 0000 00aa | LFO1 Fade Mode 0 - 3 *12 |
| 00 33 | 0aaa aaaa | LFO1 Fade Time 0 - 127 |
| 00 34 | 0000 00aa | LFO1 External Sync 0 - 2 *13 |
| 00 35 | 0000 0aaa | LFO2 Waveform 0 - 7 *10 |
| 00 36 | 0000 000a | LFO2 Key Sync 0 - 1 (OFF,ON) |
| 00 37 | 0aaa aaaa | LFO2 Rate 0 - 127 |
| 00 38 | 0000 0aaa | LFO2 Offset 0 - 4 *11 |
| 00 39 | 0aaa aaaa | LFO2 Delay Time 0 - 127 |
| 00 3A | 0000 00aa | LFO2 Fade Mode 0 - 3 *12 |
| 00 3B | 0aaa aaaa | LFO2 Fade Time 0 - 127 |
| 00 3C | 0000 00aa | LFO2 External Sync 0 - 2 *13 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3D | 0aaa aaaa | Coarse Tune 0 - 96 (-48 - +48)|
| 00 3E | 0aaa aaaa | Fine Tune 0 - 100 (-50 - +50)|
| 00 3F | 000a aaaa | Random Pitch Depth 0 - 30 *14 |
| 00 40 | 0000 aaaa | Pitch Keyfollow 0 - 15 *15 |
| 00 41 | 000a aaaa | Pitch Envelope Depth 0 - 24 (-12 - +12)|
| 00 42 | 0aaa aaaa | Pitch Envelope Velocity Sens 0 - 125 *16 |
| 00 43 | 0000 aaaa | Pitch Envelope Velocity Time1 0 - 14 *17 |
| 00 44 | 0000 aaaa | Pitch Envelope Velocity Time4 0 - 14 *17 |
| 00 45 | 0000 aaaa | Pitch Envelope Time Keyfollow 0 - 14 *17 |
| 00 46 | 0aaa aaaa | Pitch Envelope Time 1 0 - 127 |
| 00 47 | 0aaa aaaa | Pitch Envelope Time 2 0 - 127 |
| 00 48 | 0aaa aaaa | Pitch Envelope Time 3 0 - 127 |
| 00 49 | 0aaa aaaa | Pitch Envelope Time 4 0 - 127 |
| 00 4A | 0aaa aaaa | Pitch Envelope Level 1 0 - 126 (-63 - +63)|
| 00 4B | 0aaa aaaa | Pitch Envelope Level 2 0 - 126 (-63 - +63)|
| 00 4C | 0aaa aaaa | Pitch Envelope Level 3 0 - 126 (-63 - +63)|
| 00 4D | 0aaa aaaa | Pitch Envelope Level 4 0 - 126 (-63 - +63)|
| 00 4E | 0aaa aaaa | Pitch LFO1 Depth 0 - 126 (-63 - +63)|
| 00 4F | 0aaa aaaa | Pitch LFO2 Depth 0 - 126 (-63 - +63)|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 50 | 0000 0aaa | Filter Type 0 - 4 *18 |
| 00 51 | 0aaa aaaa | Cutoff Frequency 0 - 127 |
| 00 52 | 0000 aaaa | Cutoff Keyfollow 0 - 15 *15 |
| 00 53 | 0aaa aaaa | Resonance 0 - 127 |
| 00 54 | 0aaa aaaa | Resonance Velocity Sens 0 - 125 *16 |
| 00 55 | 0aaa aaaa | Filter Envelope Depth 0 - 126 (-63 - +63)|
| 00 56 | 0000 0aaa | Filter Envelope Velocity Curve 0 - 6 (1 - 7) |
| 00 57 | 0aaa aaaa | Filter Envelope Velocity Sens 0 - 125 *16 |
| 00 58 | 0000 aaaa | Filter Envelope Velocity Time1 0 - 14 *17 |
| 00 59 | 0000 aaaa | Filter Envelope Velocity Time4 0 - 14 *17 |
| 00 5A | 0000 aaaa | Filter Envelope Time Keyfollow 0 - 14 *17 |
| 00 5B | 0aaa aaaa | Filter Envelope Time 1 0 - 127 |
| 00 5C | 0aaa aaaa | Filter Envelope Time 2 0 - 127 |
| 00 5D | 0aaa aaaa | Filter Envelope Time 3 0 - 127 |
| 00 5E | 0aaa aaaa | Filter Envelope Time 4 0 - 127 |
| 00 5F | 0aaa aaaa | Filter Envelope Level 1 0 - 127 |
| 00 60 | 0aaa aaaa | Filter Envelope Level 2 0 - 127 |
| 00 61 | 0aaa aaaa | Filter Envelope Level 3 0 - 127 |
| 00 62 | 0aaa aaaa | Filter Envelope Level 4 0 - 127 |
| 00 63 | 0aaa aaaa | Filter LFO1 Depth 0 - 126 (-63 - +63)|
| 00 64 | 0aaa aaaa | Filter LFO2 Depth 0 - 126 (-63 - +63)|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 65 | 0aaa aaaa | Tone Level 0 - 127 |
| 00 66 | 0000 00aa | Bias Direction 0 - 3 *19 |
| 00 67 | 0aaa aaaa | Bias Position 0 - 127 (C-1 - G9) |
| 00 68 | 0000 aaaa | Bias Level 0 - 14 *17 |
| 00 69 | 0000 0aaa | Level Envelope Velocity Curve 0 - 6 (1 - 7) |
| 00 6A | 0aaa aaaa | Level Envelope Velocity Sens 0 - 125 *16 |
| 00 6B | 0000 aaaa | Level Envelope Velocity Time1 0 - 14 *17 |
| 00 6C | 0000 aaaa | Level Envelope Velocity Time4 0 - 14 *17 |
| 00 6D | 0000 aaaa | Level Envelope Time Keyfollow 0 - 14 *17 |
| 00 6E | 0aaa aaaa | Level Envelope Time 1 0 - 127 |
| 00 6F | 0aaa aaaa | Level Envelope Time 2 0 - 127 |
| 00 70 | 0aaa aaaa | Level Envelope Time 3 0 - 127 |
| 00 71 | 0aaa aaaa | Level Envelope Time 4 0 - 127 |
| 00 72 | 0aaa aaaa | Level Envelope Level 1 0 - 127 |
| 00 73 | 0aaa aaaa | Level Envelope Level 2 0 - 127 |
| 00 74 | 0aaa aaaa | Level Envelope Level 3 0 - 127 |
| 00 75 | 0aaa aaaa | Level LFO1 Depth 0 - 126 (-63 - +63)|
| 00 76 | 0aaa aaaa | Level LFO2 Depth 0 - 126 (-63 - +63)|
| 00 77 | 0aaa aaaa | Tone Pan 0 - 127 (L64 - 63R)|
| 00 78 | 0000 aaaa | Pan Keyfollow 0 - 14 *17 |
| 00 79 | 00aa aaaa | Random Pan Depth 0 - 63 |
| 00 7A | 0aaa aaaa | Alternate Pan Depth 1 - 127 (L63 - 63R)|
| 00 7B | 0aaa aaaa | Pan LFO1 Depth 0 - 126 (L63 - 63R)|
| 00 7C | 0aaa aaaa | Pan LFO2 Depth 0 - 126 (L63 - 63R)|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 7D | 0000 00aa | Output Assign 0 - 3 *20 |
| 00 7E | 0aaa aaaa | Mix/EFX Send Level 0 - 127 |
| 00 7F | 0aaa aaaa | Chorus Send Level 0 - 127 |
| 01 00 | 0aaa aaaa | Reverb Send Level 0 - 127 |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 01 01 |
+——————————————————————————————————————————————————————————————————————————————+
*1 INT, <PCM>, EXP
*2 -6, 0, +6, +12
*3 NORMAL, HOLD, PLAYMATE, CLOCK-SYNC, <TAP-SYNC>, KEY-OFF-N, KEY-OFF-D, TEMPO-SYNC
*4 1–Upper
*5 Lower–127
*6 C-1–Upper
*7 Lower–G9
*8 OFF, CONTINUOUS, KEY-ON
*9 OFF, PCH, CUT, RES, LEV, PAN, MIX, CHO, REV, PL1, PL2, FL1, FL2, AL1, AL2, pL1, pL2, L1R, L2R
*10 TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS
*11 -100, -50, 0, +50, +100
*12 KEY-ON-IN, KEY-ON-OUT, KEY-OFF-IN, KEY-OFF-OUT
*13 OFF, CLOCK, <TAP>
*14 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
*15 -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
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MIDI Implementation
*16 -100–+150
*17 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
*18 OFF, LPF, BPF, HPF, PKG
*19 LOWER, UPPER, LOWER&UPPER, ALL
*20 MIX, EFX, <DIRECT-1>, <DIRECT-2>
●1-4.Rhythm Setup
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | Rhythm Common 1-4-1 |
| 23 00 | Rhythm Note for Key# 35 1-4-2 |
| 24 00 | Rhythm Note for Key# 36 |
| : | |
| 62 00 | Rhythm Note for Key# 98 |
+——————————————————————————————————————————————————————————————————————————————+
●1-4-1.Rhythm Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Rhythm Name 1 32 - 127 |
| 00 01 | 0aaa aaaa | Rhythm Name 2 32 - 127 |
| 00 02 | 0aaa aaaa | Rhythm Name 3 32 - 127 |
| 00 03 | 0aaa aaaa | Rhythm Name 4 32 - 127 |
| 00 04 | 0aaa aaaa | Rhythm Name 5 32 - 127 |
| 00 05 | 0aaa aaaa | Rhythm Name 6 32 - 127 |
| 00 06 | 0aaa aaaa | Rhythm Name 7 32 - 127 |
| 00 07 | 0aaa aaaa | Rhythm Name 8 32 - 127 |
| 00 08 | 0aaa aaaa | Rhythm Name 9 32 - 127 |
| 00 09 | 0aaa aaaa | Rhythm Name 10 32 - 127 |
| 00 0A | 0aaa aaaa | Rhythm Name 11 32 - 127 |
| 00 0B | 0aaa aaaa | Rhythm Name 12 32 - 127 |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 0C |
+——————————————————————————————————————————————————————————————————————————————+
●1-4-2.Rhythm Note
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Size | Description Data (Value) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Tone Switch 0 - 1 (OFF,ON) | +———————————————————————————————————————————————————————————+
| 00 01 | 0000 00aa | Wave Group Type 0 - 2 *1 -> | | Wave Group | Group Type | Group ID | Number (value) |
| 00 02 | 0aaa aaaa | Wave Group ID 0 - 127 -> | |—————————————+————————————+——————————+—————————————————————|
|# 00 03 | 0000 aaaa | Wave Number 0 - 254 -> | | INT-A | 0 | 1 | 0 - 254 (001 - 255) |
| | 0000 bbbb | (001 - 255) | | INT-B | 0 | 2 | 0 - 192 (001 - 193) |
| 00 05 | 0000 00aa | Wave Gain 0 - 3 *2 | | <PCM | 1 | 1 - 127 | 0 - 254 (001 - 255)>|
| 00 06 | 0000 aaaa | Bend Range 0 - 12 | |XP-A(Session)| 2 | 9 | 0 - 205 (001 - 206) |
| 00 07 | 000a aaaa | Mute Group 0 - 31 (OFF,1 - 31)| | XP-B(Orch.) | 2 | 2 | 0 - 173 (001 - 174) |
| 00 08 | 0000 000a | Envelope Mode 0 - 1 *3 | | XP-C(Techno)| 2 | 11 | 0 - 254 (001 - 255) |
| 00 09 | 0000 000a | Volume Control Switch 0 - 1 (OFF,ON) | | XP-D | 2 | 1 - 127 | 0 - 254 (001 - 255) |
| 00 0A | 0000 000a | Hold-1 Control Switch 0 - 1 (OFF,ON) | | XP-E | 2 | 1 - 127 | 0 - 254 (001 - 255) |
| 00 0B | 0000 00aa | Pan Control Switch 0 - 2 *4 | +———————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Coarse Tune 0 - 127 (C-1 - G9) |
| 00 0D | 0aaa aaaa | Fine Tune 0 - 100 (-50 - +50)|
| 00 0E | 000a aaaa | Random Pitch Depth 0 - 30 *5 |
| 00 0F | 000a aaaa | Pitch Envelope Depth 0 - 24 (-12 - +12)|
| 00 10 | 0aaa aaaa | Pitch Envelope Velocity Sens 0 - 125 *6 |
| 00 11 | 0000 aaaa | Pitch Envelope Velocity Time 0 - 14 *7 |
| 00 12 | 0aaa aaaa | Pitch Envelope Time 1 0 - 127 |
| 00 13 | 0aaa aaaa | Pitch Envelope Time 2 0 - 127 |
| 00 14 | 0aaa aaaa | Pitch Envelope Time 3 0 - 127 |
| 00 15 | 0aaa aaaa | Pitch Envelope Time 4 0 - 127 |
| 00 16 | 0aaa aaaa | Pitch Envelope Level 1 0 - 126 (-63 - +63)|
| 00 17 | 0aaa aaaa | Pitch Envelope Level 2 0 - 126 (-63 - +63)|
| 00 18 | 0aaa aaaa | Pitch Envelope Level 3 0 - 126 (-63 - +63)|
| 00 19 | 0aaa aaaa | Pitch Envelope Level 4 0 - 126 (-63 - +63)|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1A | 0000 0aaa | Filter Type 0 - 4 *8 |
| 00 1B | 0aaa aaaa | Cutoff Frequency 0 - 127 |
| 00 1C | 0aaa aaaa | Resonance 0 - 127 |
| 00 1D | 0aaa aaaa | Resonance Velocity Sens 0 - 125 *6 |
| 00 1E | 0aaa aaaa | Filter Envelope Depth 0 - 126 (-63 - +63)|
| 00 1F | 0aaa aaaa | Filter Envelope Velocity Sens 0 - 125 *6 |
| 00 20 | 0000 aaaa | Filter Envelope Velocity Time 0 - 14 *7 |
| 00 21 | 0aaa aaaa | Filter Envelope Time 1 0 - 127 |
| 00 22 | 0aaa aaaa | Filter Envelope Time 2 0 - 127 |
| 00 23 | 0aaa aaaa | Filter Envelope Time 3 0 - 127 |
| 00 24 | 0aaa aaaa | Filter Envelope Time 4 0 - 127 |
| 00 25 | 0aaa aaaa | Filter Envelope Level 1 0 - 127 |
| 00 26 | 0aaa aaaa | Filter Envelope Level 2 0 - 127 |
| 00 27 | 0aaa aaaa | Filter Envelope Level 3 0 - 127 |
| 00 28 | 0aaa aaaa | Filter Envelope Level 4 0 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 29 | 0aaa aaaa | Tone Level 0 - 127 |
| 00 2A | 0aaa aaaa | Level Envelope Velocity Sens 0 - 125 *6 |
| 00 2B | 0000 aaaa | Level Envelope Velocity Time 0 - 14 *7 |
| 00 2C | 0aaa aaaa | Level Envelope Time 1 0 - 127 |
| 00 2D | 0aaa aaaa | Level Envelope Time 2 0 - 127 |
| 00 2E | 0aaa aaaa | Level Envelope Time 3 0 - 127 |
| 00 2F | 0aaa aaaa | Level Envelope Time 4 0 - 127 |
| 00 30 | 0aaa aaaa | Level Envelope Level 1 0 - 127 |
| 00 31 | 0aaa aaaa | Level Envelope Level 2 0 - 127 |
| 00 32 | 0aaa aaaa | Level Envelope Level 3 0 - 127 |
| 00 33 | 0aaa aaaa | Tone Pan 0 - 127 (L64 - 63R)|
| 00 34 | 00aa aaaa | Random Pan Depth 0 - 63 |
| 00 35 | 0aaa aaaa | Alternate Pan Depth 1 - 127 (L63 - 63R)|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 36 | 0000 00aa | Output Assign 0 - 3 *9 |
| 00 37 | 0aaa aaaa | Mix/EFX Send Level 0 - 127 |
| 00 38 | 0aaa aaaa | Chorus Send Level 0 - 127 |
| 00 39 | 0aaa aaaa | Reverb Send Level 0 - 127 |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 3A |
+——————————————————————————————————————————————————————————————————————————————+
197
MIDI Implementation
Appendices
*1 INT, <PCM>, EXP
*2 -6, 0, +6, +12
*3 NO-SUS, SUSTAIN
*4 OFF, CONTINUOUS, KEY-ON
*5 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
*6 -100–+150
*7 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
*8 OFF, LPF, BPF, HPF, PKG
*9 MIX, EFX, <DIRECT-1>, <DIRECT-2>
■Address Block Map
The following is an outline of the address map for Exclusive messages.
Address(H) Block Sub Block Reference
=========== ==================== =========================== =========
00 00 00 00 +——————————————————+......................................+———————+
| System common | | 1-1-1 |
+——————————————————+......................................+———————+
+——————————————————+.....+——————————+.....................+———————+
|Scale tune | | Part 1 | | 1-1-2 |
+——————————————————+. +——————————+.....................+———————+
: : . | : |
: : . +——————————+
: : . | Part 16 |
: : . +——————————+
: : . +——————————+
: : . | Patch |
: : .+——————————+
01 00 00 00 +——————————————————+.....+——————————+.....................+———————+
| Temporary | | Common | | 1-2-1 |
| performance | +——————————+.....................+———————+
+——————————————————+. +——————————+.....................+———————+
: : . | Part 1 | | 1-2-2 |
: : . +——————————+.....................+———————+
: : . | : |
: : . +——————————+
: : . | Part 16 |
: : .+——————————+
02 00 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| Performance mode | | Part 1 | | Common | | 1-3-1 |
| temporary patch | +——————————+. +——————————+....+———————+
+——————————————————+.. | : | . +——————————+....+———————+
: : . +——————————+ . | Tone 1 | | 1—3—2 |
: : . | Part 9 | . +——————————+....+———————+
: : .+——————————+ . | : |
: : . +——————————+
: : . | Tone 4 |
: : .+——————————+
02 09 00 00 +——————————————————+.....+——————————+.....................+———————+
| Temporary | | Common | | 1-4-1 |
| rhythm setup | +——————————+.....................+———————+
+——————————————————+. +——————————+.....................+———————+
: : . | Note# 35 | | 1-4-2 |
: : . +——————————+.....................+———————+
: : . | : |
: : . +——————————+
: : . | Note# 98 |
: : .+——————————+
02 0A 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| Performance mode | | Part 11 | | Common | | 1-3-1 |
| temporary patch | +——————————+. +——————————+....+———————+
+——————————————————+.. | : | . +——————————+....+———————+
: : . +——————————+ . | Tone 1 | | 1—3—2 |
: : . | Part 16 | . +——————————+....+———————+
: : .+——————————+ . | : |
: : . +——————————+
: : . | Tone 4 |
: : .+——————————+
03 00 00 00 +——————————————————+.....+——————————+.....................+———————+
| Patch mode | | Common | | 1-3-1 |
| temporary patch | +——————————+.....................+———————+
+——————————————————+. +——————————+.....................+———————+
: : . | Tone 1 | | 1-3-2 |
: : . +——————————+.....................+———————+
: : . | : |
: : . +——————————+
: : . | Tone 4 |
: : .+——————————+
10 00 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| User | | USER:01 | | Common | | 1-2-1 |
| performance | +——————————+. +——————————+....+———————+
+——————————————————+.. | : | . +——————————+....+———————+
: : . +——————————+ . | Part 1 | | 1—2—2 |
: : . | USER:32 | . +——————————+....+———————+
: : .+——————————+ . | : |
: : . +——————————+
: : . | Part 16 |
: : .+——————————+
10 40 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| User | | USER:1 | | Common | | 1-4-1 |
| rhythm setup | +——————————+. +——————————+....+———————+
+——————————————————+... +——————————+ . +——————————+....+———————+
: : . | USER:2 | . | Note# 35 | | 1-4-2 |
: : +——————————+ . +——————————+....+———————+
: : . | : |
: : . +——————————+
: : . | Note# 98 |
: : .+——————————+
11 00 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| User | | USER:001 | | Common | | 1-3-1 |
| patch | +——————————+. +——————————+....+———————+
+——————————————————+.. | : | . +——————————+....+———————+
: : . +——————————+ . | Tone 1 | | 1—3—2 |
: : . | USER:128 | . +——————————+....+———————+
: : .+——————————+ . | : |
: : . +——————————+
: : . | Tone 4 |
: : .+——————————+
198
MIDI Implementation
2. GS (Model ID = 42H)
+—————————————————————————————————————————————————————————————————————————————+
| Start | |
| address | Description |
|—————————————+———————————————————————————————————————————————————————————————|
| 40 10 00 | Scale Tune Part10 2-1 |
| 40 11 00 | : Part1 |
| 40 12 00 | : Part2 |
| 40 13 00 | : Part3 |
| 40 14 00 | : Part4 |
| 40 15 00 | : Part5 |
| 40 16 00 | : Part6 |
| 40 17 00 | : Part7 |
| 40 18 00 | : Part8 |
| 40 19 00 | : Part9 |
| 40 1A 00 | : Part11 |
| 40 1B 00 | : Part12 |
| 40 1C 00 | : Part13 |
| 40 1D 00 | : Part14 |
| 40 1E 00 | : Part15 |
| 40 1F 00 | : Part16 |
+—————————————————————————————————————————————————————————————————————————————+
●2-1.Scale Tune
+—————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+———————————————————————————————————————————————————————————————|
| 40 | 0aaa aaaa | Scale Tune for C 0 - 127 |
| | | (-64 - +63) |
| 41 | 0aaa aaaa | Scale Tune for C# 0 - 127 |
| | | (-64 - +63) |
| 42 | 0aaa aaaa | Scale Tune for D 0 - 127 |
| | | (-64 - +63) |
| 43 | 0aaa aaaa | Scale Tune for D# 0 - 127 |
| | | (-64 - +63) |
| 44 | 0aaa aaaa | Scale Tune for E 0 - 127 |
| | | (-64 - +63) |
| 45 | 0aaa aaaa | Scale Tune for F 0 - 127 |
| | | (-64 - +63) |
| 46 | 0aaa aaaa | Scale Tune for F# 0 - 127 |
| | | (-64 - +63) |
| 47 | 0aaa aaaa | Scale Tune for G 0 - 127 |
| | | (-64 - +63) |
| 48 | 0aaa aaaa | Scale Tune for G# 0 - 127 |
| | | (-64 - +63) |
| 49 | 0aaa aaaa | Scale Tune for A 0 - 127 |
| | | (-64 - +63) |
| 4A | 0aaa aaaa | Scale Tune for A# 0 - 127 |
| | | (-64 - +63) |
| 4B | 0aaa aaaa | Scale Tune for B 0 - 127 |
| | | (-64 - +63) |
|—————————————+———————————————————————————————————————————————————————————————|
|Total Size | 00 00 0C |
+—————————————————————————————————————————————————————————————————————————————+
* In order for a GS Exclusive message to be correctly received by the XP-30, the starting address of the message must be the Start address of each Part (the address of Scale Tune C, i.e., offset 40).
199
MIDI Implementation
Appendices
4. Supplementary Material
■Correspondence of the EFX Algorithm and
Exclusive Address (EFX Parameter 1–12)
EFX | Parameter | Value
———————+————————————————————————————————+———————————————————————
●Type01: STEREO-EQ
———————+————————————————————————————————+———————————————————————
prm1 | Low Frequency | 0 - 1
prm2 | Low Gain | 0 - 30
prm3 | High Frequency | 0 - 1
prm4 | High Gain | 0 - 30
prm5 | Peaking1 Frequency | 0 - 16
prm6 | Peaking1 Q | 0 - 4
prm7 | Peaking1 Gain | 0 - 30
prm8 | Peaking2 Frequency | 0 - 16
prm9 | Peaking2 Q | 0 - 4
prm10 | Peaking2 Gain | 0 - 30
prm11 | Level | 0 - 127
●Type02: OVERDRIVE
———————+————————————————————————————————+———————————————————————
prm1 | Drive | 0 - 127
prm2 | Output Pan | 0 - 127
prm3 | Amp Simulator Type | 0 - 3
prm4 | Low Gain | 0 - 30
prm5 | High Gain | 0 - 30
prm6 | Output Level | 0 - 127
●Type03: DISTORTION
———————+————————————————————————————————+———————————————————————
prm1 | Drive | 0 - 127
prm2 | Output Pan | 0 - 127
prm3 | Amp Simulator Type | 0 - 3
prm4 | Low Gain | 0 - 30
prm5 | High Gain | 0 - 30
prm6 | Output Level | 0 - 127
●Type04: PHASER
———————+————————————————————————————————+———————————————————————
prm1 | Manual | 0 - 125
prm2 | Rate | 0 - 125
prm3 | Depth | 0 - 127
prm4 | Resonance | 0 - 127
prm5 | Mix Level | 0 - 127
prm6 | Output Pan | 0 - 127
prm7 | Output Level | 0 - 127
●Type05: SPECTRUM
———————+————————————————————————————————+———————————————————————
prm1 | Band1 Gain | 0 - 30
prm2 | Band2 Gain | 0 - 30
prm3 | Band3 Gain | 0 - 30
prm4 | Band4 Gain | 0 - 30
prm5 | Band5 Gain | 0 - 30
prm6 | Band6 Gain | 0 - 30
prm7 | Band7 Gain | 0 - 30
prm8 | Band8 Gain | 0 - 30
prm9 | Q | 0 - 4
prm10 | Output Pan | 0 - 127
prm11 | Output Level | 0 - 127
●Type06: ENHANCER
———————+————————————————————————————————+———————————————————————
prm1 | Sens | 0 - 127
prm2 | Mix Level | 0 - 127
prm3 | Low Gain | 0 - 30
prm4 | High Gain | 0 - 30
prm5 | Output Level | 0 - 127
●Type07: AUTO-WAH
———————+————————————————————————————————+———————————————————————
prm1 | Filter Type | 0 - 1
prm2 | Rate | 0 - 125
prm3 | Depth | 0 - 127
prm4 | Sens | 0 - 127
prm5 | Manual | 0 - 127
prm6 | Peak | 0 - 127
prm7 | Output Level | 0 - 127
●Type08: ROTARY
———————+————————————————————————————————+———————————————————————
prm1 | High Frequency Slow Rate | 0 - 125
prm2 | Low Frequency Slow Rate | 0 - 125
prm3 | High Frequency Fast Rate | 0 - 125
prm4 | Low Frequency Fast Rate | 0 - 125
prm5 | Speed | 0 - 1
prm6 | High Frequency Acceleration | 0 - 15
prm7 | Low Frequency Acceleration | 0 - 15
prm8 | High Frequency Level | 0 - 127
prm9 | Low Frequency Level | 0 - 127
prm10 | Separation | 0 - 127
prm11 | Output Level | 0 - 127
●Type09: COMPRESSOR
———————+————————————————————————————————+———————————————————————
prm1 | Sustain | 0 - 127
prm2 | Attack | 0 - 127
prm3 | Output Pan | 0 - 127
prm4 | Post Gain | 0 - 3
prm5 | Low Gain | 0 - 30
prm6 | HiGH Gain | 0 - 30
prm7 | Output Level | 0 - 127
●Type10: LIMITER
———————+————————————————————————————————+———————————————————————
prm1 | Threshold Level | 0 - 127
prm2 | Release Time | 0 - 127
prm3 | Compression Ratio | 0 - 3
prm4 | Output Pan | 0 - 127
prm5 | Post Gain | 0 - 3
prm6 | Low Gain | 0 - 30
prm7 | High Gain | 0 - 30
prm8 | Output Level | 0 - 127
●Type11: HEXA-CHORUS
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time | 0 - 125
prm2 | Rate | 0 - 125
prm3 | Depth | 0 - 127
prm4 | Pre Delay Deviation | 0 - 20
prm5 | Depth Deviation | 0 - 40
prm6 | Pan Deviation | 0 - 20
prm7 | Effect Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type12: TREMOLO-CHORUS
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time | 0 - 125
prm2 | Chorus Rate | 0 - 125
prm3 | Chorus Depth | 0 - 127
prm4 | Tremolo Rate | 0 - 125
prm5 | Tremolo Separation | 0 - 127
prm6 | Tremolo Phase | 0 - 90
prm7 | Effect Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type13: SPACE-D
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time | 0 - 125
prm2 | Rate | 0 - 125
prm3 | Depth | 0 - 127
prm4 | Phase | 0 - 90
prm5 | Low Gain | 0 - 30
prm6 | High Gain | 0 - 30
prm7 | Effect Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type14: STEREO-CHORUS
———————+————————————————————————————————+———————————————————————
prm1 | Filter Type | 0 - 2
prm2 | Cutoff Frequency | 0 - 16
prm3 | Pre Delay Time | 0 - 125
prm4 | Rate | 0 - 125
prm5 | Depth | 0 - 127
prm6 | Phase | 0 - 90
prm7 | (not used) |
prm8 | Low Gain | 0 - 30
prm9 | High Gain | 0 - 30
prm10 | Effect Balance | 0 - 100
prm11 | Output Level | 0 - 127
●Type15: STEREO-FLANGER
———————+————————————————————————————————+———————————————————————
prm1 | Filter Type | 0 - 2
prm2 | Cutoff Frequency | 0 - 16
prm3 | Pre Delay Time | 0 - 125
prm4 | Rate | 0 - 125
prm5 | Depth | 0 - 127
prm6 | Phase | 0 - 90
prm7 | Feedback Level | 0 - 98
prm8 | Low Gain | 0 - 30
prm9 | High Gain | 0 - 30
prm10 | Effect Balance | 0 - 100
prm11 | Output Level | 0 - 127
●Type16: STEP-FLANGER
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time | 0 - 125
prm2 | Rate | 0 - 125
prm3 | Depth | 0 - 127
prm4 | Feedback Level | 0 - 98
prm5 | Step Rate | 0 - 125
prm6 | Phase | 0 - 90
prm7 | Low Gain | 0 - 30
prm8 | High Gain | 0 - 30
prm9 | Effect Balance | 0 - 100
prm10 | Output Level | 0 - 127
200
MIDI Implementation
●Type17: STEREO-DELAY
———————+————————————————————————————————+———————————————————————
prm1 | Feedback Mode | 0 - 1
prm2 | Delay Time Left | 0 - 126
prm3 | Delay Time Right | 0 - 126
prm4 | Feedback Phase Left | 0 - 1
prm5 | Feedback Phase Right | 0 - 1
prm6 | Feedback Level | 0 - 98
prm7 | HF Damp | 0 - 17
prm8 | Low Gain | 0 - 30
prm9 | High Gain | 0 - 30
prm10 | Effect Balance | 0 - 100
prm11 | Output Level | 0 - 127
●Type18: MODULATION-DELAY
———————+————————————————————————————————+———————————————————————
prm1 | Feedback Mode | 0 - 1
prm2 | Delay Time Left | 0 - 126
prm3 | Delay Time Right | 0 - 126
prm4 | Feedback Level | 0 - 98
prm5 | HF Damp | 0 - 17
prm6 | Rate | 0 - 125
prm7 | Depth | 0 - 127
prm8 | Phase | 0 - 90
prm9 | Low Gain | 0 - 30
prm10 | High Gain | 0 - 30
prm11 | Effect Balance | 0 - 100
prm12 | Output Level | 0 - 127
●Type19: TRIPLE-TAP-DELAY
———————+————————————————————————————————+———————————————————————
prm1 | Delay Time Left | 0 - 125
prm2 | Delay Time Right | 0 - 125
prm3 | Delay Time Center | 0 - 125
prm4 | Feedback Level | 0 - 98
prm5 | HF Damp | 0 - 17
prm6 | Left Level | 0 - 127
prm7 | Right Level | 0 - 127
prm8 | Center Level | 0 - 127
prm9 | Low Gain | 0 - 30
prm10 | High Gain | 0 - 30
prm11 | Effect Balance | 0 - 100
prm12 | Output Level | 0 - 127
●Type20: QUADRUPLE-TAP-DELAY
———————+————————————————————————————————+———————————————————————
prm1 | Delay Time 1 | 0 - 125
prm2 | Delay Time 2 | 0 - 125
prm3 | Delay Time 3 | 0 - 125
prm4 | Delay Time 4 | 0 - 125
prm5 | Level 1 | 0 - 127
prm6 | Level 2 | 0 - 127
prm7 | Level 3 | 0 - 127
prm8 | Level 4 | 0 - 127
prm9 | Feedback Level | 0 - 98
prm10 | HF Damp | 0 - 17
prm11 | Effect Balance | 0 - 100
prm12 | Output Level | 0 - 127
●Type21: TIME-CONTROL-DELAY
———————+————————————————————————————————+———————————————————————
prm1 | Delay Time | 0 - 120
prm2 | Feedback Level | 0 - 98
prm3 | Acceleration | 0 - 15
prm4 | HF Damp | 0 - 17
prm5 | Output Pan | 0 - 127
prm6 | Low Gain | 0 - 30
prm7 | High Gain | 0 - 30
prm8 | Effect Balance | 0 - 100
prm9 | Output Level | 0 - 127
●Type22: 2VOICE-PITCH-SHIFTER
———————+————————————————————————————————+———————————————————————
prm1 | Pitch Shifter Mode | 0 - 4
prm2 | Coarse Pitch A | 0 - 36
prm3 | Coarse Pitch B | 0 - 36
prm4 | Fine Pitch A | 0 - 100
prm5 | Fine Pitch B | 0 - 100
prm6 | Pre Delay Time A | 0 - 126
prm7 | Pre Delay Time B | 0 - 126
prm8 | Output Pan A | 0 - 127
prm9 | Output Pan B | 0 - 127
prm10 | Level Balance | 0 - 100
prm11 | Effect Balance | 0 - 100
prm12 | Output Level | 0 - 127
●Type23: FBK-PITCH-SHIFTER
———————+————————————————————————————————+———————————————————————
prm1 | Pitch Shifter Mode | 0 - 4
prm2 | Coarse Pitch | 0 - 36
prm3 | Fine Pitch | 0 - 100
prm4 | Pre Delay Time | 0 - 126
prm5 | Feedback Level | 0 - 98
prm6 | Output Pan | 0 - 127
prm7 | Low Gain | 0 - 30
prm8 | High Gain | 0 - 30
prm9 | Effect Balance | 0 - 100
prm10 | Output Level | 0 - 127
●Type24: REVERB
———————+————————————————————————————————+———————————————————————
prm1 | Reverb Type | 0 - 5
prm2 | Pre Delay Time | 0 - 125
prm3 | Gate Time | 0 - 127
prm4 | HF Damp | 0 - 17
prm5 | Low Gain | 0 - 30
prm6 | High Gain | 0 - 30
prm7 | Effect Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type25: GATE-REVERB
———————+————————————————————————————————+———————————————————————
prm1 | Gate-Reverb Type | 0 - 3
prm2 | Pre Delay Time | 0 - 125
prm3 | Gate Time | 0 - 99
prm4 | Low Gain | 0 - 30
prm5 | High Gain | 0 - 30
prm6 | Effect Balance | 0 - 100
prm7 | Output Level | 0 - 127
●Type26: OVERDRIVE→CHORUS
———————+————————————————————————————————+———————————————————————
prm1 | Drive | 0 - 127
prm2 | Over Drive Pan | 0 - 127
prm3 | Chorus Pre Delay Time | 0 - 125
prm4 | Chorus Rate | 0 - 125
prm5 | Chorus Depth | 0 - 127
prm6 | (not used) |
prm7 | Chorus Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type27: OVERDRIVE→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Drive | 0 - 127
prm2 | Over Drive Pan | 0 - 127
prm3 | Flanger Pre Delay Time | 0 - 125
prm4 | Flanger Rate | 0 - 125
prm5 | Flanger Depth | 0 - 127
prm6 | Flanger Feedback Level | 0 - 98
prm7 | Flanger Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type28: OVERDRIVE→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Drive | 0 - 127
prm2 | Over Drive Pan | 0 - 127
prm3 | Delay Time | 0 - 126
prm4 | Delay Feedback Level | 0 - 98
prm5 | Delay HF Damp | 0 - 17
prm6 | Delay Balance | 0 - 100
prm7 | Output Level | 0 - 127
●Type29: DISTORTION→CHORUS (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Distortion Drive | 0 - 127
prm2 | Distortion Pan | 0 - 127
prm3 | Chorus Pre Delay Time | 0 - 125
prm4 | Chorus Rate | 0 - 125
prm5 | Chorus Depth | 0 - 127
prm6 | (not used) |
prm7 | Chorus Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type30: DISTORTION→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Distortion Drive | 0 - 127
prm2 | Distortion Pan | 0 - 127
prm3 | Flanger Pre Delay Time | 0 - 125
prm4 | Flanger Rate | 0 - 125
prm5 | Flanger Depth | 0 - 127
prm6 | Flanger Feedback Level | 0 - 98
prm7 | Flanger Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type31: DISTORTION→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Distortion Drive | 0 - 127
prm2 | Distortion Pan | 0 - 127
prm3 | Delay Time | 0 - 126
prm4 | Delay Feedback Level | 0 - 98
prm5 | Delay HF Damp | 0 - 17
prm6 | Delay Balance | 0 - 100
prm7 | Output Level | 0 - 127
●Type32: ENHANCER→CHORUS (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Enhancer Sens | 0 - 127
prm2 | Enhancer Mix Level | 0 - 127
prm3 | Chorus Pre Delay Time | 0 - 125
prm4 | Chorus Rate | 0 - 125
prm5 | Chorus Depth | 0 - 127
prm6 | (not used) |
prm7 | Chorus Balance | 0 - 100
prm8 | Output Level | 0 - 127
201
MIDI Implementation
Appendices
●Type33: ENHANCER→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Enhancer Sens | 0 - 127
prm2 | Enhancer Mix Level | 0 - 127
prm3 | Flanger Pre Delay Time | 0 - 125
prm4 | Flanger Rate | 0 - 125
prm5 | Flanger Depth | 0 - 127
prm6 | Flanger Feedback Level | 0 - 98
prm7 | Flanger Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type34: ENHANCER→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Enhancer Sens | 0 - 127
prm2 | Enhancer Mix Level | 0 - 127
prm3 | Delay Time | 0 - 126
prm4 | Delay Feedback Level | 0 - 98
prm5 | Delay HF Damp | 0 - 17
prm6 | (not used) |
prm7 | Delay Balance | 0 - 100
prm8 | Output Level | 0 - 127
●Type35: CHORUS→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time | 0 - 125
prm2 | Chorus Rate | 0 - 125
prm3 | Chorus Depth | 0 - 127
prm4 | (not used) |
prm5 | Chorus Balance | 0 - 100
prm6 | Delay Time | 0 - 126
prm7 | Delay Feedback Level | 0 - 98
prm8 | Delay HF Damp | 0 - 17
prm9 | Delay Balance | 0 - 100
prm10 | Output Level | 0 - 127
●Type36: FLANGER→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Flanger Pre Delay Time | 0 - 125
prm2 | Flanger Rate | 0 - 125
prm3 | Flanger Depth | 0 - 127
prm4 | Flanger Feedback Level | 0 - 98
prm5 | Flanger Balance | 0 - 100
prm6 | Delay Time | 0 - 126
prm7 | Delay Feedback Level | 0 - 98
prm8 | Delay HF Damp | 0 - 17
prm9 | Delay Balance | 0 - 100
prm10 | Output Level | 0 - 127
●Type37: CHORUS→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time | 0 - 125
prm2 | Chorus Rate | 0 - 125
prm3 | Chorus Depth | 0 - 127
prm4 | Chorus Balance | 0 - 100
prm5 | Flanger Pre Delay Time | 0 - 125
prm6 | Flanger Rate | 0 - 125
prm7 | Flanger Depth | 0 - 127
prm8 | Flanger Feedback Level | 0 - 98
prm9 | Flanger Balance | 0 - 100
prm10 | Output Level | 0 - 127
●Type38: CHORUS/DELAY (parallel)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time | 0 - 125
prm2 | Chorus Rate | 0 - 125
prm3 | Chorus Depth | 0 - 127
prm4 | (not used) |
prm5 | Chorus Balance | 0 - 100
prm6 | Delay Time | 0 - 126
prm7 | Delay Feedback Level | 0 - 98
prm8 | Delay HF Damp | 0 - 17
prm9 | Delay Balance | 0 - 100
prm10 | Output Level | 0 - 127
●Type39: FLANGER/DELAY (parallel)
———————+————————————————————————————————+———————————————————————
prm1 | Flanger Pre Delay Time | 0 - 125
prm2 | Flanger Rate | 0 - 125
prm3 | Flanger Depth | 0 - 127
prm4 | Flanger Feedback Level | 0 - 98
prm5 | Flanger Balance | 0 - 100
prm6 | Delay Time | 0 - 126
prm7 | Delay Feedback Level | 0 - 98
prm8 | Delay HF Damp | 0 - 17
prm9 | Delay Balance | 0 - 100
prm10 | Output Level | 0 - 127
●Type40: CHORUS/FLANGER (parallel)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time | 0 - 125
prm2 | Chorus Rate | 0 - 125
prm3 | Chorus Depth | 0 - 127
prm4 | Chorus Balance | 0 - 100
prm5 | Flanger Pre Delay Time | 0 - 125
prm6 | Flanger Rate | 0 - 125
prm7 | Flanger Depth | 0 - 127
prm8 | Flanger Feedback Level | 0 - 98
prm9 | Flanger Balance | 0 - 100
prm10 | Output Level | 0 - 127
202
MIDI Implementation
■List of the Arpeggio Parameter
●Arpeggio Style
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter |value| parameter |value| parameter |
+—————————————————————————+—————————————————————————+—————————————————————————+
| 0 | 1/ 4 | 15 | RHYTHM GTR A | 30 | BOUND BOLL |
| 1 | 1/ 6 | 16 | RHYTHM GTR B | 31 | RANDOM |
| 2 | 1/ 8 | 17 | RHYTHM GTR C | 32 | LIMITLESS |
| 3 | 1/12 | 18 | RHYTHM GTR D | 33 | PORTAMENTO A |
| 4 | 1/16 | 19 | RHYTHM GTR E | 34 | PORTAMENTO B |
| 5 | 1/32 | 20 | 3 FINGER GTR | 35 | SEQUENCE D |
| 6 | GLISSANDO | 21 | STRUMMING GTR | 36 | BOSSA NOVA |
| 7 | SEQUENCE A | 22 | KBD COMPING A | 37 | SALSA |
| 8 | SEQUENCE B | 23 | KBD COMPING B | 38 | MAMBO |
| 9 | SEQUENCE C | 24 | KBD COMPING C | 39 | LATIN PERCUSSION |
| 10 | ECHO | 25 | KBD COMPING D | 40 | SAMBA |
| 11 | SYNTH BASS | 26 | KBD COMPING E | 41 | TANGO |
| 12 | SLAP BASS A | 27 | PERCUSSION | 42 | HOUSE |
| 13 | SLAP BASS B | 28 | HARP | | |
| 14 | WALK BASS | 29 | SHAMISEN | | |
+—————————————————————————+—————————————————————————+—————————————————————————+
●Arpeggio Motif
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter |value| parameter |value| parameter |
+—————————————————————————+—————————————————————————+—————————————————————————+
| 0 | SINGLE UP | 13 | BASS+CHORD 3 | 26 | BASS+RANDOM 3 |
| 1 | SINGLE DOWN | 14 | BASS+CHORD 4 | 27 | TOP+UP 1 |
| 2 | SINGLE UP&DOWN | 15 | BASS+CHORD 5 | 28 | TOP+UP 2 |
| 3 | SINGLE RANDOM | 16 | BASS+UP 1 | 29 | TOP+UP 3 |
| 4 | DUAL UP | 17 | BASS+UP 2 | 30 | TOP+UP 4 |
| 5 | DUAL DOWN | 18 | BASS+UP 3 | 31 | TOP+UP 5 |
| 6 | DUAL UP&DOWN | 19 | BASS+UP 4 | 32 | TOP+UP 6 |
| 7 | DUAL RANDOM | 20 | BASS+UP 5 | 33 | BASS+UP+TOP |
| 8 | NOTE ORDER | 21 | BASS+UP 6 | 34 | TRIPLE UP |
| 9 | GLISSANDO | 22 | BASS+UP 7 | 35 | TRIPLE DOWN |
| 10 | CHORD | 23 | BASS+UP 8 | 36 | TRIPLE UP&DOWN |
| 11 | BASS+CHORD 1 | 24 | BASS+RANDOM 1 | 37 | TRIPLE RANDOM |
| 12 | BASS+CHORD 2 | 25 | BASS+RANDOM 2 | | |
+—————————————————————————+—————————————————————————+—————————————————————————+
●Arpeggio Beat Pattern
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter |value| parameter |value| parameter |
+—————————————————————————+—————————————————————————+—————————————————————————+
| 0 | 1/ 4 | 40 | MUTE 15 | 80 | PORTA-B 09 |
| 1 | 1/ 6 | 41 | MUTE 16 | 81 | PORTA-B 10 |
| 2 | 1/ 8 | 42 | STRUM 1 | 82 | PORTA-B 11 |
| 3 | 1/12 | 43 | STRUM 2 | 83 | PORTA-B 12 |
| 4 | 1/16 1 | 44 | STRUM 3 | 84 | PORTA-B 13 |
| 5 | 1/16 2 | 45 | STRUM 4 | 85 | PORTA-B 14 |
| 6 | 1/16 3 | 46 | STRUM 5 | 86 | PORTA-B 15 |
| 7 | 1/32 1 | 47 | STRUM 6 | 87 | SEQ-B 5 |
| 8 | 1/32 2 | 48 | STRUM 7 | 88 | SEQ-D 1 |
| 9 | 1/32 3 | 49 | STRUM 8 | 89 | SEQ-D 2 |
| 10 | SEQ-A 1 | 50 | REGGAE1 | 90 | SEQ-D 3 |
| 11 | SEQ-A 2 | 51 | REFRAIN1 | 91 | SEQ-D 4 |
| 12 | SEQ-A 3 | 52 | REFRAIN2 | 92 | SEQ-D 5 |
| 13 | SEQ-A 4 | 53 | PERC1 | 93 | SEQ-D 6 |
| 14 | SEQ-A 5 | 54 | PERC2 | 94 | SEQ-D 7 |
| 15 | SEQ-A 6 | 55 | PERC3 | 95 | SEQ-D 8 |
| 16 | SEQ-A 7 | 56 | PERC4 | 96 | REGGAE2 |
| 17 | SEQ-B 1 | 57 | WALKBS | 97 | BOSSA NOVA |
| 18 | SEQ-B 2 | 58 | HARP | 98 | SALSA 1 |
| 19 | SEQ-B 3 | 59 | BOUND | 99 | SALSA 2 |
| 20 | SEQ-B 4 | 60 | RANDOM | 100 | SALSA 3 |
| 21 | SEQ-C 1 | 61 | PORTA-A 01 | 101 | SALSA 4 |
| 22 | SEQ-C 2 | 62 | PORTA-A 02 | 102 | MAMBO 1 |
| 23 | ECHO 1 | 63 | PORTA-A 03 | 103 | MAMBO 2 |
| 24 | ECHO 2 | 64 | PORTA-A 04 | 104 | CLAVE |
| 25 | ECHO 3 | 65 | PORTA-A 05 | 105 | REV CLA |
| 26 | MUTE 01 | 66 | PORTA-A 06 | 106 | GUIRO |
| 27 | MUTE 02 | 67 | PORTA-A 07 | 107 | AGOGO |
| 28 | MUTE 03 | 68 | PORTA-A 08 | 108 | SAMBA |
| 29 | MUTE 04 | 69 | PORTA-A 09 | 109 | TANGO 1 |
| 30 | MUTE 05 | 70 | PORTA-A 10 | 110 | TANGO 2 |
| 31 | MUTE 06 | 71 | PORTA-A 11 | 111 | TANGO 3 |
| 32 | MUTE 07 | 72 | PORTA-B 01 | 112 | TANGO 4 |
| 33 | MUTE 08 | 73 | PORTA-B 02 | 113 | HOUSE 1 |
| 34 | MUTE 09 | 74 | PORTA-B 03 | 114 | HOUSE 2 |
| 35 | MUTE 10 | 75 | PORTA-B 04 | | |
| 36 | MUTE 11 | 76 | PORTA-B 05 | | |
| 37 | MUTE 12 | 77 | PORTA-B 06 | | |
| 38 | MUTE 13 | 78 | PORTA-B 07 | | |
| 39 | MUTE 14 | 79 | PORTA-B 08 | | |
+—————————————————————————+—————————————————————————+—————————————————————————+
203
MIDI Implementation
Appendices
■Decimal/Hexadecimal Table (hexadecimal values
are indicated by a following “H”)
MIDI uses 7-bit hexadecimal values to indicate data values and the address and size of
exclusive messages. The following table shows the correspondence between decimal and
hexadecimal 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 expressions such as used for MIDI channel, Bank Select, and Program Change
will be the value 1 greater than the decimal value given in the above table.
* Since each MIDI byte carries 7 significant data bits, each byte can express a maximum of
128 different values. Data for which higher resolution is required must be transmitted
using two or more bytes. For example a value indicated as a two-byte value of aa bbH
would have a value of aa x 128 + bb.
* For a signed number (+/-), 00H = -64, 40H = +/-0, and 7FH = +63. I.e., the decimal
equivalent will be 64 less than the decimal value given in the above table. For a two-byte
signed number, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example the
decimal expression of aa bbH would be aa bbH - 40 00H = (aa x 128 + bb - 64 x 128.
* Hexadecimal notation in two 4-bit units is used for data indicated as “nibbled”. The
nibbled two-byte value of 0a 0b H would be a x 16 + b.
<Example 1> What is the decimal equivalent of 5AH?
From the above table, 5AH = 90.
<Example 2> What is the decimal equivalent of the 7-bit hexadecimal values 12 34H?
From the above table, 12H = 18 and 34H = 52
Thus, 18 x 128 + 52 = 2356
<Example 3> What is the decimal equivalent of the nibbled expression 0A 03 09 0DH?
From the above table, 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
Thus, the result is ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example 4> What is the nibbled equivalent of the decimal number 1258?
16 ) 1258
16 ) 78...10
16 ) 4...14
0... 4
From the above table, 0=00H, 4=04H, 14=0EH, 10=0AH
Thus the result is 00 04 0E 0AH
■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 of MIDI CH = 3, note number 62 (note name 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 of MIDI CH = 15, Program number 74 (in the
GS sound map, Flute).
<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 of the Pitch Bend value, and the 3rd byte (28H=40) is the MSB. However
since the Pitch Bend is a signed number with 0 at 40 00H ( = 64 x 128 + 0 = 8192), the Pitch
Bend value in this case is
28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072
If we assume that the Pitch Bend Sensitivity is set to two semitones, the pitch will change
only -200 cents for a Pitch Bend value of -8192 (00 00H). Thus, this message is specifying a
Pitch Bend of -200 x (-3072) / (-8192) = -75 cents on MIDI CH = 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. In Control Change
messages, the 2nd byte is the controller number, and the 3rd byte is the parameter value.
MIDI allows what is known as “running status,” when if messages of the the same status
follow each other, it is permitted to omit the second and following status bytes. In the
message above, running status is being used, meaning that the message has the following
content.
B3 64 00 MIDI CH = 4, RPN parameter number LSB: 00H
(B3) 65 00 MIDI CH = 4, RPN parameter number MSB: 00H
(B3) 06 0C MIDI CH = 4, parameter value MSB: 0CH
(B3) 26 00 MIDI CH = 4, parameter value LSB: 00H
(B3) 64 7F MIDI CH = 4, RPN parameter number LSB: 7FH
(B3) 65 7F MIDI CH = 4, RPN parameter number MSB: 7FH
Thus, this message transmits a parameter value of 0C 00H to RPN parameter number 00
00H on MIDI CH = 4, and then sets the RPN parameter number to 7F 7FH.
The function assigned to RPN parameter number 00 00H is Pitch Bend Sensitivity, and the
MSB of the parameter value indicates semitone steps. Since the MSB of this parameter value
is 0CH = 12, the maximum width of pitch bend is being set to [+-]12 semitones (1 octave)
(GS sound sources ignore the LSB of Pitch Bend Sensitivity, but it is best to transmit the LSB
(parameter value 0) as well, so that the message can be correctly received by any device.
Once the parameter number has been set for RPN or NRPN, all subsequent Data Entry
messages on that channel will be effective. Thus, it is recommended that after you have
made the change you want, you set the parameter number to 7F 7FH (an “unset” or “null”
setting). The final (B3) 64 7F (B3) 65 7F is for this purpose.
It is not a good idea to store many events within the data of a song (e.g., a Standard MIDI
File song) using running status as shown in <Example 4>. When the song is paused, fast-
forwarded or rewound, the sequencer may not be able to transmit the proper status, causing
the sound source to misinterpret the data. It is best to attach the proper status byte to all
events.
It is also important to transmit RPN or NRPN parameter number settings and parameter
values in the correct order. In some sequencers, data events recorded in the same clock (or a
nearby clock) can sometimes be transmitted in an order other than the order in which they
were recorded. It is best to record such events at an appropriate interval (1 tick at TPQN=96,
or 5 ticks at TPQN=480).
* TPQN: Ticks Per Quarter Note (i.e., the time resolution of the sequencer)
204
MIDI Implementation
■Examples of Exclusive Messages and
Calculating the Checksum
Roland exclusive messages (RQ1, DT1) are transmitted with a checksum at the end of the
data (before F7) to check that the data was received correctly. The value of the checksum is
determined by the address and data (or size) of the exclusive message.
●How to Calculate the Checksum
(hexadecimal values are indicated by a “H”)
The checksum consists of a value whose lower 7 bits are 0 when the address, size and
checksum itself are added.
The following formula shows how to calculate the checksum when the exclusive message to
be transmitted has an address of aa bb cc ddH, and data or size of ee ffH.
aa + bb + cc + dd + ee + ff = total
total / 128 = quotient ... remainder
128 - remainder = checksum
<Example 1> Setting the Performance Common REVERB TYPE to DELAY (DT1)
The “Parameter address map” indicates that the starting address of the Temporary
Performance is 01 00 00 00H, that the Performance Common offset address is 00 00H, and
that the REVERB TYPE address is 00 28H. Thus, the address is:
01 00 00 00H
00 00H
+) 00 28H
01 00 00 28H
Since DELAY is parameter value 06H,
F0 41 10 6A 12 01 00 00 28 06 ?? F7
(1) (2) (3) (4) (5) address data checksum (6)
(1) Exclusive status (2) ID number (Roland) (3) Device ID (17)
(4) Model ID (XP-30) (5) Command ID (DT1) (6) EOX
Next we calculate the checksum.
01H + 00H + 00H + 28H + 06H = 1 + 0 + 0 + 40 + 6 = 47 (sum)
47 (total) / 128 = 0 (quotient) ... 47 (remainder)
checksum = 128 - 47 (quotient) = 81 = 51H
This means that the message transmitted will be F0 41 10 6A 12 01 00 00 28 06 51 F7.
<Example 2> Retrieving data for USER:03 Performance Part 3 (RQ1)
The “Parameter Address Map” indicates that the starting address of USER:03 is 10 02 00
00H, and that the offset address of Performance Part 3 is 12 00H. Thus, the address is:
10 02 00 00H
+) 12 00H
10 02 12 00H
Since the size of the Performance Part is 00 00 00 19H,
F0 41 10 6A 11 10 02 12 00 00 00 00 19 ?? F7
(1) (2) (3) (4) (5) address size checksum (6)
(1) Exclusive status (2) ID number (Roland) (3) Device ID (17)
(4) Model ID (XP-30) (5) Command ID (RQ1) (6) EOX
Next we calculate the checksum.
10H + 02H + 12H + 00H + 00H + 00H + 00H + 19H =
16 + 2 + 18 + 0 + 0 + 0 + 0 + 25 = 61 (sum)
61 (total) / 128 = 0 (product) ... 61 (remainder)
checksum = 128 - 61 (remainder) = 67 = 43H
Thus, a message of F0 41 10 6A 11 10 02 12 00 00 00 00 19 43 F7 would be transmitted.
<Example 3> Retrieving data for Temporary Performance (RQ1)
* When a data transfer is executed in Utility mode, data that is accessed will be the same
as that which is transmitted when the Type parameter is set to PERFORM and the Source
parameter is set to TEMP: -PATCH
The “Parameter Address Map” gives the following start addresses for Temporary
Performance data.
01 00 00 00H Temporary Performance Common
01 00 10 00H Temporary Performance Part 1
:
01 00 1F 00H Temporary Performance Part 16
Since Performance Part has a size of 00 00 00 19H, we add that size to the start address of the
Temporary Performance Part 16, resulting in:
01 00 1F 00H
+) 00 00 00 19H
01 00 1F 19H
Thus, the Size for the retrieved data will be:
01 00 1F 19H
-) 01 00 00 00H
00 00 1F 19H
F0 41 10 6A 11 01 00 00 00 00 00 1F 19 ?? F7
(1) (2) (3) (4) (5) address size checksum (6)
(1) Exclusive status (2) ID number (Roland) (3) Device ID (17)
(4) Model ID (XP-30) (5) Command ID (RQ1) (6) EOX
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01
00 00 00 00 00 1F 19 47 F7 to be transmitted.
<Example 4> Retrieving the Temporary Performance data together with all Temporary
Part and Rhythm Set data (RQ1)
* When a data transfer is executed in Utility mode, the data that is accessed will be the
same as that which is transmitted when the Type parameter is set to PERFORM and the
Source parameter is set to TEMP: +PATCH
The “Parameter Address Map” gives the following start addresses for Temporary
Performance, Performance Mode Temporary Patch and Performance Mode Temporary
Rhythm.
01 00 00 00H Temporary Performance
02 00 00 00H Performance Mode Temporary Patch(part 1)
:
02 08 00 00H Performance Mode Temporary Patch(part 9)
02 09 00 00H Temporary Rhythm Setup
02 0A 00 00H Performance Mode Temporary Patch(part 11)
:
02 0F 00 00H Performance Mode Temporary Patch(part 16)
The Patch offset addresses are as follows.
00 00H Patch Common
10 00H Patch Tone 1
:
16 00H Patch Tone 4
Since Patch Tone has a size of 00 00 01 01H, we add this size to the start address of
Performance Mode Temporary Patch (Part 16) Tone 4, to get:
02 0F 00 00H
16 00H
+) 00 00 01 01H
02 0F 17 01H
Thus, the size of the retrieved data will be:
02 0F 17 01H
-) 01 00 00 00H
01 0F 17 01H
F0 41 10 6A 11 01 00 00 00 01 0F 17 01 ?? F7
(1) (2) (3) (4) (5) address size checksum (6)
(1) Exclusive status (2) ID number (Roland) (3) Device ID (17)
(4) Model ID (XP-30) (5) Command ID (RQ1) (6) EOX
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01
00 00 00 01 0F 17 01 57 F7 to be transmitted.
205
MIDI Implementation
Appendices
■Scale Tune Function
(Model ID : 42H (GS), address: 40 1x 40H)
Scale Tune is a function that makes fine adjustments to the pitch of each note C-B. Settings
are made for one octave, and applied to the notes of all octaves. By making Scale Tune
settings you can use tunings and temperaments other than the standard Equal
Temperament. Here we give three types of settings as examples.
* Scale tune messages for any parts are recognized in the patch mode.
❍Equal Temperament
This temperament divides the octave into 12 equal steps, and is the temperament most
frequently used today, especially in western music. Initially, the Scale Tune function of this
instrument is set to Equal Temperament.
❍Just Intonation (tonic of C)
The primary triads sound more beautiful in just intonation than in equal temperament.
However, this applies only in one key, and chords will be discordant if you play in a
different key. The settings here are for a tonic of C.
❍Arabian-type Scale
The Scale Tune function allow you to use various tunings of ethnic music. Here is one of the
Arabian scales.
Setting Examples
Note Equal Temp. Just (in C) Arabian-type Scale
C0 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
The values in the above table are in units of 1 cent. Convert these values to hexadecimal,
and transmit them as exclusive data. For example to set the Scale Tune of Part 1 to an
Arabian-type scale, transmit the following data.
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
■ASCII Code Table
On the XP-30, the following ASCII code set is used for processing data such as the Patch
Name and the Performance Name.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| 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
Note: SP indicates “space”.
206
Function...
Basic
Channel
Mode
Note
Number :
Velocity
After
Touch
Pitch Bend
Control
Change
Program
Change
System Exclusive
System
Common
System
Real Time
Aux
Messages
Notes
Transmitted Recognized Remarks
Default
Changed
Default
Messages
Altered
True Voice
Note On
Note Off
Key's
Channel's
0, 32
1
2
4
5
6, 38
7
8
10
11
64
65
66
67
69
71
72
73
74
80
81
82
83
84
91
93
1–5, 7–31, 64–95 *3
1–5, 7–31, 64–95 *3
98, 99
100, 101
: True Number
: Song Position
: Song Select
: Tune Request
: Clock
: Commands
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
X
X
X
X
O
O
0
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O (Resonance)
O (Decay Time)
O (Attack Time)
O (Cutoff)
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
O (Reverb)
O (Chorus)
O
O
X
O
O *1
**************
O
X
X
X
X
X
X
X
X
X
O *1
X
1–16
1–16
Mode 3
Mode 3, 4 (M = 1)
O
O
0–127
0–127
O *1
O *1
O *1
O *1
0–127
O *1
X
X
X
O *1
X
O (120, 126, 127)
O
X
O (123–127)
O
X
Bank select
Modulation
Breath type
Foot type
Portamento time
Data entry
Volume
Balance
Panpot
Expression
Hold 1
Portamento
Sostenuto
Soft
Hold 2
Sound Controller 2
Sound Controller 3
Sound Controller 4
Sound Controller 5
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General purpose effects 1
General purpose effects 3
CC1 (General purpose controller 1)
CC2 (General purpose controller 2)
NRPN LSB, MSB
RPN LSB, MSB
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 Can be changed settings.
64 Voice Expandable Synthesizer
Model XP-30
Date : Jan. 18, 1999
Version : 1.00
MIDI Implementation Chart
**************
**************
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO O : Yes
X : No
* 2
Program No. 1–128
*1 *1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
207
Specifications
XP-30: 64 Voice Expandable Synthesizer(Conforms to General MIDI System)
● Keyboard
61 keys (with velocity, channel aftertouch)
● Number of Parts
16 (Part 10 is Rhythm Part)
● Maximum Polyphony
64 voices
● Effects
EFX: 40 sets
Reverb: 1 set (8 types)
Chorus: 1 set
● Preset Memory
Patches: 1406 (640 same as the JV-2080 + 766 from “Session,”
“Orchestral” and “Techno Collection”)
Performances: 64
Rhythm Sets: 26 (10 same as the JV-2080 + 16 from “Session”
and “Techno Collection”")
● User Memory
Patches: 128
Performances: 32
Rhythm Sets: 2
● Wave Expansion Boards (sold separately)
Max. 2 Boards (D, E)
* Each Wave Expansion Board includes Patches / Rhythm Sets
that make use of the waves on the board.
● Arpeggiator
43 Styles
● Display
40 characters, 2 lines (backlit LCD)
● Connectors
Output Jacks (L (MONO), R)
Headphones Jack
MIDI Connectors (IN, OUT, THRU)
Computer Connector (Mac, PC-1, PC-2, MIDI)
Hold Pedal Jack
Control Pedal Jack
Memory Card Slot
● Power Supply
AC 117 V, AC 230 V, AC 240 V
● Power Consumption
10 W (AC 117 V), 10 W (AC 230 V), 10 W (AC 240 V)
● Dimensions
1011 (W) x 289 (D) x 88 (H) mm
39-13/16 (W) x 11-7/16 (D) x 3-1/2 (H) inches
● Weight
7.8 kg / 17 lbs 4 oz (except Power cord)
● Accessories
Owner’s Manual
Power Cable (Not included with XP-30 designed for 117 V
power supply)
CD-ROM (SoundDiver JV/XP)
● Options
Wave Expansion Boards: SR-JV80 series
SmartMedia: S2M-5 (2M bytes), S4M-5 (4M bytes)
*In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
208
Computer Cable Wiring Diagrams
678
345
12
678
345
12
678
345
12
mini DIN, 8-pin, male mini DIN, 8-pin, male
mini DIN, 8-pin, male
D-sub, 25-pin, female
mini DIN, 8-pin, male mini DIN, 8-pin, male
1 HSKo
2 HSKi
3 TXD-
4 GND
5 RXD-
6 TXD+
7 GPi
8 RXD+
HSKo 1
HSKi 2
TXD- 3
GND 4
RXD- 5
TXD+ 6
GPi 7
RXD+ 8
678
345
12
mini DIN, 8-pin, male
D-sub, 9-pin, female
mini DIN, 8-pin, male D-sub, 9-pin, female
HSKo 1
HSKi 2
TXD- 3
GND 4
RXD- 5
7 RTS
8 CTS
3 TXD
5 GND
2 RXD
51
96
13 1
25 14
For Apple Macintosh (Sold separately: RSC-15APL)
For PC (9-pin) (Sold separately: RSC-15AT)
For PC (25-pin)
mini DIN, 8-pin, male D-sub, 25-pin, female
HSKo 1
HSKi 2
TXD- 3
GND 4
RXD- 5
4 RTS
5 CTS
2 TXD
7 GND
3 RXD
209
Index
Symbols
[+OCT] .......................................................................12, 59
[-OCT] ........................................................................12, 59
Numerics
[1–8/9–16] ........................................................................13
2VOICE-PITCH-SHIFTER ..........................................102
A
AC inlet ............................................................................14
AC power cable ..............................................................25
Accent rate .....................................................................109
Aftertouch .......................................................................34
Aftertouch control source ...........................................111
Aftertouch information .........................................87, 127
Aftertouch sens .............................................................110
Alternate pan depth .................................................82, 92
Analog feel depth ...........................................................69
Arabian scale .................................................................114
ARP SELECT display ...............................................37, 56
Arpeggiator ...............................................................36, 56
[ARPEGGIO] .......................................................12, 36, 56
Arpeggio ..................................................................36, 108
arpeggio ...........................................................................56
ARPEGGIO display .......................................................59
Arpeggio part ................................................................110
Arpeggio style ...............................................................182
Audio cable .....................................................................25
AUTO-WAH ...................................................................95
B
Back select transmit switch .........................................113
Bank select group number ..........................................113
Bank select LSB .............................................................113
Bank select MSB ............................................................113
Battery check .................................................................114
Beat pattern ...................................................................109
Bend range ................................................................73, 90
Bender information ........................................................87
Bias direction ..................................................................82
Bias level ..........................................................................82
Bias point .........................................................................82
Booster gain .....................................................................71
Breath information .................................................87, 127
Bulk dump .....................................................................119
C
C1/C2/C3/C4 slider assign .......................................111
C1/C2/C3/C4 slider output ......................................111
C1–C4 slider ....................................................................34
Card ................................................................................115
[CATEGORY] ......................................................13, 32, 48
Category ...............................................................32, 48–49
Category group ...............................................................32
Category select mode ...................................................108
Chorus ..............................................................................61
Chorus depth ..............................................72, 85, 89, 126
Chorus feedback level ................................72, 85, 89, 126
Chorus level ................................................72, 85, 89, 126
Chorus output assign .................................72, 85, 89, 126
Chorus pre delay ........................................72, 85, 89, 126
Chorus rate ..................................................72, 85, 89, 126
Chorus send level .................................71–72, 84, 88, 125
CHORUS/DELAY .......................................................107
CHORUS/FLANGER ..................................................107
CHORUS→DELAY ......................................................106
CHORUS→FLANGER ................................................107
Clock source ..................................................................108
Coarse tune ..................................................79, 87, 91, 127
Compare function .................................................116, 118
COMPRESSOR ...............................................................96
Computer .......................................................................134
Computer cable .....................................................134, 208
COMPUTER connector ..........................................14, 135
COMPUTER switch .......................................14, 134–135
Connection ..............................................................24, 134
Control 1 peak/hold ......................................................75
Control 2 peak/hold ......................................................75
Control 3 peak/hold ......................................................75
CONTROL PEDAL jack ................................................14
Control source 2 ..............................................................75
Control source 3 ..............................................................75
[CONTROLLER] .......................................................12, 34
Controller .........................................................................40
Copy ...............................................................................115
Copying .................................................................117, 128
Current part .....................................................................53
Cursor ..............................................................................45
Cursor button ............................................................13, 44
Cutoff frequency .......................................................80, 91
Cutoff frequency key follow .........................................80
210
Index
D
Data transfer .................................................................115
Data type .......................................................................120
[DEC] ..........................................................................13, 45
Delay feedback level ..................................73, 86, 90, 126
[DEMO] ...........................................................................13
Demo play .......................................................................28
DEMO PLAY display ....................................................28
Demo song ......................................................................28
Depth 1–4 .........................................................................75
Desktop music ..............................................................134
Destination ............................................................120–121
Destination 1–4 ...............................................................75
[DIGIT HOLD] ................................................................13
Digit hold .........................................................................48
DISTORTION ..................................................................93
DISTORTION→CHORUS ..........................................104
DISTORTION→DELAY ..............................................105
DISTORTION→FLANGER ........................................105
E
[EDIT] ...............................................................................13
Effects ...............................................................................61
[EFFECTS ON/OFF] ................................................12, 62
EFFECTS ON/OFF display ..........................................62
EFX control depth 1, 2 .......................................72, 85, 89
EFX control peak/hold ..................................................75
EFX control source 1, 2 ......................................72, 85, 89
EFX output level .........................................72, 84, 88, 125
EFX parameter ........................................................93, 154
EFX source .................................................................84, 88
EFX type ..............................................................71, 84, 88
ENHANCER ...................................................................94
ENHANCER→CHORUS ............................................105
ENHANCER→DELAY ...............................................106
ENHANCER→FLANGER ..........................................105
[ENTER] ...........................................................................13
Envelope mode ...............................................................90
Equal temperament ......................................................114
Error message ...............................................................142
Exclusive device ID number .......................................113
Exclusive protect ..........................................................121
[EXIT] ...............................................................................13
[EXP A] ......................................................................13, 31
[EXP B] .......................................................................13, 31
[EXP C] .......................................................................13, 31
[EXP D] ......................................................................13, 31
[EXP E] .......................................................................13, 31
Expression information .........................................87, 127
Expression pedal ......................................................25, 35
External MIDI device ...........................................131–132
F
Factory default settings ...............................................123
Factory reset ....................................................27, 115, 123
FACTORY RESET display ............................................27
FBK-PITCH-SHIFTER ..................................................102
Filter type ...................................................................80, 91
[FILTER/ENV] .............................................12, 36, 51, 54
Fine tune ......................................................79, 87, 91, 127
FLANGER/DELAY .....................................................107
FLANGER→DELAY ....................................................106
Foot information .....................................................87, 127
Format ............................................................................122
Front panel ......................................................................12
Function button ........................................................13, 43
FXM color ........................................................................76
FXM depth .......................................................................76
FXM switch ......................................................................76
G
GATE-REVERB .............................................................103
General MIDI system .....................................................11
[GM] .................................................................................12
GM initialize ..................................................................128
GM mode .................................................................43, 124
GM mode parameter ....................................................153
GM patch number ........................................................127
GM PLAY display ........................................................124
GM score data ...............................................................124
GM sound module .......................................................124
GM system on message ...............................................124
H
Headphones ....................................................................25
HEXA-CHORUS .............................................................96
Hold 1 information .................................................87, 127
Hold control source ......................................................111
Hold pedal .................................................................35, 58
HOLD PEDAL jack ........................................................14
I
[INC] ...........................................................................13, 45
Initial data ......................................................................119
Initialize .........................................................................115
Initialize mode ..............................................................119
Initializing .............................................................119, 128
Internal write protect .....................................68, 116, 121
211
Index
K
Key assign mode ............................................................73
KEY EFFECTS section ....................................................12
Key mode .........................................................................83
Key range lower .......................................................70, 83
Key range switch ............................................................83
Key range upper .......................................................70, 83
Key scale ........................................................................114
Key shift .........................................................................113
Key switch .......................................................................90
Key velocity ...................................................................109
Keyboard sensitivity ....................................................110
Keyboard velocity ........................................................110
L
Layer ................................................................................52
Layer performance .........................................................51
LCD contrast .................................................................108
[LEVEL] .........................................................12, 36, 51, 54
Level ...............................................................68, 81, 87, 92
LFO ...................................................................................78
LFO delay time ...............................................................79
LFO external sync ...........................................................78
LFO fade mode ...............................................................78
LFO fade time .................................................................79
LFO form .........................................................................78
LFO key sync ..................................................................78
LFO offset ........................................................................79
LFO rate ...........................................................................78
LIMITER ..........................................................................96
Load ................................................................................115
Local OFF ......................................................................137
Local switch ............................................................86, 112
Looped .............................................................................64
M
Master tune ...................................................................113
Memory ...................................................................67, 115
Memory card ...................................................67, 115, 121
MEMORY CARD slot ....................................................14
MIDI ...............................................................................112
MIDI cable .......................................................................25
MIDI channel ..................................................................86
MIDI connectors (IN, OUT, THRU) ............................14
MIDI information .........................................................127
MIDI interface ...............................................................135
MODE section .................................................................12
Modulation ......................................................................34
Modulation information ........................................87, 127
MODULATION-DELAY ...............................................99
Motif ...............................................................................109
Multi-effects ..............................................................61, 93
Multitimbral sound source .....................................41, 53
Mute group .....................................................................90
N
Name ................................................................................46
Number of simultaneous voices ..................................42
Numeric Key .............................................................13, 45
O
Octave range .................................................................109
Octave shift ..........................................................59, 69, 83
One-shot ...........................................................................64
Operating environment ...............................................108
Orchestral ..................................................................31, 47
Output assign/Output level .....................71, 84, 88, 125
OUTPUT jacks (L (MONO), R) .....................................14
OVERDRIVE ...................................................................93
OVERDRIVE→DELAY ...............................................104
OVERDRIVE→FLANGER ..........................................104
P
Page button .....................................................................13
Palette display ...........................................................63, 65
[PALETTE EDIT] ................................................13, 63, 65
PALETTE section ............................................................12
Pan ..........................................................69, 81, 87, 92, 127
Pan information ......................................................87, 127
Pan key follow ................................................................82
Pan LFO depth 1, 2 .........................................................79
[PANIC] ...........................................................................13
Panic .................................................................................60
Parameter .......................................................................147
[PART] .............................................................................12
Part ...................................................................................41
Part button .......................................................................43
[PATCH] ..............................................................12, 30, 47
Patch .............................................................30, 41, 47, 168
Patch category .................................................................68
Patch clock source ..........................................................68
Patch copy .....................................................................117
Patch effects copy .........................................................117
Patch group .....................................................................87
Patch initialize ...............................................................119
Patch mode ................................................................42, 47
Patch mode receive channel ........................................112
Patch mode transmit channel .....................................112
Patch name ......................................................................68
Patch name copy ...........................................................118
Patch number ..................................................................87
Patch parameter ......................................................68, 147
PATCH PLAY display .............................................30, 47
Patch remain switch .....................................................108
Patch scale .....................................................................114
Patch search function ...............................................32, 48
Patch tempo .....................................................................68
Patch tone copy .............................................................117
Patch write .....................................................................116
Peak control source ......................................................111
Pedal assign ...................................................................110
Pedal output ..................................................................110
Pedal polarity ........................................................110–111
212
Index
Pedal switch ............................................................25, 131
[PERFORM] ...............................................................12, 51
PERFORM NAME ..........................................................83
PERFORM PLAY display ..............................................51
Performance ......................................................41, 51, 181
Performance clock source .............................................83
Performance control channel ......................................112
Performance copy ........................................................117
Performance effects copy ............................................117
Performance initialize ..................................................119
Performance mode ...................................................42, 51
Performance name .........................................................83
Performance name copy ..............................................117
Performance parameter .........................................83, 150
Performance part copy ................................................117
Performance tempo ........................................................83
Performance write ........................................................116
PHASER ...........................................................................94
PHONES jack ..................................................................14
[PHRASE PREVIEW] .........................................12, 33, 49
Phrase preview .................................................33, 49, 113
Pitch bend ........................................................................34
Pitch bend information ................................................127
Pitch bend/Modulation lever .................................13, 34
Pitch envelope depth ...............................................79, 91
Pitch envelope level 1–4 ..........................................80, 91
Pitch envelope time 1 velocity sensitivity ..................80
Pitch envelope time 1–4 ...........................................80, 91
Pitch envelope time 4 velocity sensitivity ..................80
Pitch envelope time key follow ....................................80
Pitch envelope time velocity sensitivity .....................91
Pitch envelope velocity sensitivity ........................80, 91
Pitch key follow ..............................................................79
Pitch LFO depth 1, 2 ......................................................79
[PORTAMENTO] ...............................................12, 35, 50
Portamento ................................................................35, 50
Portamento mode ...........................................................73
Portamento start pitch ...................................................74
Portamento switch .........................................................73
Portamento time .............................................................73
Portamento type .............................................................73
Power switch .............................................................14, 26
Power up mode ............................................................108
Preset memory ................................................................67
Preview note set 1–4 ....................................................113
PREVIEW SELECT display ...........................................49
Preview sound mode .............................................49, 113
Preview velocity ...........................................................113
Program change ............................................................114
Pure temperament ........................................................114
Q
QUADRUPLE-TAP-DELAY .......................................101
R
Random pan depth ..................................................82, 92
Random pitch depth ................................................79, 91
Rear panel ........................................................................14
Receive bank select switch ..........................................112
Receive exclusive switch .............................................113
Receive GM exclusive switch .....................................113
Receive hold 1 switch ........................................74, 86, 90
Receive pan control switch .....................................74, 90
Receive pitch bend switch .............................................74
Receive program change switch ..........................86, 112
Receive switch ...........................................................86, 90
Receive volume switch ......................................74, 86, 90
Redamper switch ............................................................74
Remote keyboard switch .............................................112
Resonance ..................................................................80, 91
Resonance velocity sensitivity ................................81, 92
REVERB .........................................................................103
Reverb ..............................................................................61
Reverb send level .........................71–72, 84, 88, 125–126
Reverb/Delay HF damp ...........................73, 86, 90, 126
Reverb/Delay level ....................................73, 86, 90, 126
Reverb/Delay time ....................................73, 85, 89, 126
Reverb/Delay type .....................................73, 85, 89, 126
[RHYTHM] ..........................................................12, 38, 55
Rhythm key copy .........................................................118
RHYTHM PLAY display .........................................38, 55
Rhythm set ..................................................38, 41, 55, 177
Rhythm set copy ...........................................................118
Rhythm set initialize ....................................................119
Rhythm set mode .....................................................42, 55
Rhythm set name ............................................................88
Rhythm set name copy ................................................118
Rhythm set parameter ...........................................88, 151
Rhythm set write ..........................................................116
Ring modulator ...............................................................71
ROTARY ..........................................................................95
213
Index
S
Save ................................................................................115
Scale tune switch ..........................................................113
Session ..................................................................31, 47, 55
[SHIFT] .............................................................................13
Shuffle rate ....................................................................109
Single performance ........................................................51
Slots EXP-D and E ..................................................16, 114
SmartMedia .....................................................................67
[SOLO] .................................................................12, 35, 50
Solo .............................................................................35, 50
Solo legato switch ...........................................................73
Sound palette ..................................................................36
Sound palette function ............................................50, 54
Sound source .............................................................40, 42
Source block ..........................................................120–121
SPACE-D .........................................................................97
SPECTRUM .....................................................................94
Split ..................................................................................52
SR-JV80 series ...........................................................16, 67
STEP-FLANGER .............................................................98
STEREO-CHORUS .........................................................97
STEREO-DELAY ............................................................99
STEREO-EQ ....................................................................93
STEREO-FLANGER .......................................................98
Storing ............................................................................116
Stretch tuning depth ......................................................69
Stretched tuning .............................................................69
Structure ..........................................................................70
Structure type .................................................................70
Style ................................................................................108
[SYSTEM] ........................................................................12
System control assign 1/2 ...........................................111
System controller 1 information ...................................87
System controller 2 information ...................................87
System memory ..............................................................67
System mode ...................................................................43
System parameter .................................................108, 158
System tempo ................................................................108
T
Techno ..............................................................................47
Techno Collection ...............................................31, 47, 55
Tempo ............................................................................110
Temporary area ..............................................................67
Thru function ................................................................137
TIME-CONTROL-DELAY ..........................................101
Tone ............................................................................40, 50
Tone delay mode ............................................................76
Tone delay time ..............................................................77
[TONE SELECT] .............................................................44
Tone select button ..........................................................44
[TONE SWITCH] ............................................................44
Tone switch .....................................................................76
Tone switch button .........................................................44
Transmit active sensing switch ..................................113
Transmit bank select group ..........................................86
Transmit bank select LSB ............................................114
Transmit bank select MSB ...........................................114
Transmit bank select switch ........................................112
Transmit edit data switch ............................................113
Transmit MIDI channel ...............................................114
Transmit program change ...........................................114
Transmit program change switch ..............................112
Transmit switch ..............................................................86
Transmit volume ............................................................87
Transmitting ..........................................................119, 128
[TRANSPOSE] ..........................................................12, 60
Transpose .........................................................................60
Transpose switch/value ..............................................110
TREMOLO-CHORUS ....................................................97
TRIPLE-TAP-DELAY ...................................................100
Tuning ............................................................................113
TVA ............................................................................81, 92
TVA envelope 1–3 ..........................................................82
TVA envelope 1–4 ..........................................................82
TVA envelope level 1–3 .................................................92
TVA envelope time 1–4 .................................................92
TVA envelope time 4 velocity sensitivity ...................82
TVA envelope time key follow .....................................82
TVA envelope time velocity sensitivity ......................92
TVA envelope velocity curve .......................................81
TVA envelope velocity sensitivity .........................81, 92
TVA LFO depth 1, 2 .......................................................79
TVF .............................................................................80, 91
TVF envelope depth .................................................80, 91
TVF envelope level 1–4 ............................................81, 92
TVF envelope time 1 velocity sensitivity ..............81–82
TVF envelope time 1–4 ............................................81, 92
TVF envelope time 4 velocity sensitivity ....................81
TVF envelope time key follow .....................................81
TVF envelope time velocity sensitivity .......................92
TVF envelope velocity curve ........................................81
TVF envelope velocity sensitivity ..........................81, 92
TVF LFO depth 1, 2 ........................................................79
214
Index
U
Undo .................................................................................45
[UNDO/COMPARE] ..............................13, 45, 116, 118
User memory ....................................................67–68, 116
User memory protect ...................................................115
UTIL 1 display ..........................................................27, 68
UTIL 2 display ................................................................27
[UTIL/CARD] ............................................12, 27, 68, 115
Utility/Card mode .................................................43, 115
V
VALUE dial ...............................................................13, 45
Velocity ............................................................................34
Velocity cross fade .........................................................69
Velocity range lower ......................................................69
Velocity range switch ....................................................69
Velocity range upper .....................................................69
Voice information ...................................................87, 127
Voice priority ..................................................................69
Voice reserve .............................................................42, 87
Volume ...........................................................................127
Volume control source ................................................111
Volume information ..............................................87, 127
VOLUME slider ..............................................................26
Volume slider ..................................................................12
W
Wave ................................................................................47
Wave expansion board ........................16, 47, 55, 67, 114
WAVE EXPANSION section ........................................13
Wave gain ..................................................................76, 90
Wave group ...............................................................76, 90
Wave number ...........................................................76, 90
Waveform ......................................................................160
Write ...............................................................................115
WRITE display ................................................................68
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For EU Countries
For EU Countries
Apparatus containing
Lithium batteries
ADVARSEL!
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
Levér det brugte batteri tilbage til
leverandøren.
VARNING
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Kassera använt batteri enligt
fabrikantens instruktion.
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
ADVARSEL
Eksplosjonsfare ved feilaktig skifte av
batteri.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
VAROITUS
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
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
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
As of December 1, 2002 (Roland)
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
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
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
VENEZUELA
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
AUSTRALIA
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
TEL: (02) 9982 8266
NEW ZEALAND
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: (022) 2493 9051
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
SINGAPORE
Swee Lee Company
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 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 211 005
VIETNAM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
JORDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
KUWAIT
Easa Husain Al Yousifi Est.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
TEL: (01) 20-1441
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,
SAUDI ARABIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (022) 66-9426
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
FRANCE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
FINLAND
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (0)9 68 24 020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
TEL: (040) 52 60090
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
NORWAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
POLAND
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/9-1 Dto
4050-465 PORTO
PORTUGAL
TEL: (022) 608 00 60
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
TEL: (93) 308 1000
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 700139
KOREA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/HOLLAND/
LUXEMBOURG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
AFRICA
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
EUROPE
AUSTRALIA/
NEW ZEALAND
ASIA
CENTRAL/LATIN
AMERICA
NORTH AMERICA
MIDDLE EAST
AFRICA
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo ,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
ROMANIA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
COSTA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
ISRAEL
Halilit P. Greenspoon &
Sons Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
SYRIA
Technical Light & Sound
Center
Khaled Ebn Al Walid St.
Bldg. No. 47, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing,
CHINA
TEL: (010) 6426-5050
01783690 ’03-2-A2-81N

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