Roland Xv 88 Users Manual 88_r_e
Roland Corporation XV-88 Owner's Manual xv-88_om Roland Corporation - XV-88 - Owner's Manual
XV-88 XV-88_OM
XV-88 to the manual b63a23d2-f289-4d04-88f7-592aa72c0273
Roland Corporation XV-88 Owner's Manual xv-88_om Roland Corporation - XV-88 - Owner's Manual
2015-02-02
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OWNER’S MANUAL
Thank you, and congratulations on your choice of the Roland XV-88 128-Voice Expandable
Synthesizer.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (Owner’s manual p. 2), “USING THE UNIT SAFELY” (Owner’s
manual p. 3), and “IMPORTANT NOTES” (Owner’s manual 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, Quick start, Owner’s manual, and Q & A should
be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
*
*
*
*
*
*
Windows is a registered trademark of Microsoft Corporation.
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 © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without
the written permission of ROLAND CORPORATION.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
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 all the instructions before using the product.
2. Do not use this product near water — for example, near a
bathtub, washbowl, kitchen sink, in a wet basement, or near
a swimming pool, or the like.
3. This product should be used only with a cart or stand that is
recommended by the manufacturer.
4. This product, either alone or in combination with an amplifier
and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do
not operate for a long period of time at a high volume level
or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should consult an
audiologist.
5. The product should be located so that its location or position
does not interfere with its proper ventilation.
6. The product should be located away from heat sources such
as radiators, heat registers, or other products that produce
heat.
7. The product should be connected to a power supply only of
the type described in the operating instructions or as marked
on the product.
8. The power-supply cord of the product should be unplugged
from the outlet when left unused for a long period of time.
9. Care should be taken so that objects do not fall and liquids
are not spilled into the enclosure through openings.
10.The product should be serviced by qualified service
personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled into the
product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate normally or
exhibits a marked change in performance; or
E. The product has been dropped, or the enclosure
damaged.
11.Do not attempt to service the product beyond that described
in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.
For the USA
This product may be equipped with a polarized line plug (one blade wider than the other) . This is a safety feature. If you
are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety
purpose of the plug.
For Canada
For Polarized Line Plug
CAUTION:
ATTENTION:
TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
POUR ÉVITER LES CHOCS ÉLECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE
DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
2
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
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.
to damage or
caused with
and all its
to domestic
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
001
015
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• 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.
..........................................................................................................
..........................................................................................................
002b
• Do not open or perform any internal modifications
on the unit. (The only exception would be where
this manual provides specific instructions which
should be followed in order to put in place userinstallable options; see Quick Start; p. 4, p. 10.)
..........................................................................................................
006
• When using the unit with a rack or stand recommended by Roland, the rack or stand must be
carefully placed so it is level and sure to remain
stable. If not using a rack or stand, you still need to
make sure that any location you choose for placing
the unit provides a level surface that will properly
support the unit, and keep it from wobbling.
..........................................................................................................
008e
• Use only the attached power-supply cord.
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/SRX Series; Quick Start; p. 19).
..........................................................................................................
..........................................................................................................
009
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can damage
the cord, producing severed elements and short
circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
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!)
..........................................................................................................
3
USING THE UNIT SAFELY
102a
• Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from an
outlet.
..........................................................................................................
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.
..........................................................................................................
107a
• Never handle the power cord or its plug with wet
hands when plugging into, or unplugging from, an
outlet.
..........................................................................................................
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 (Quick
Start; p. 19).
..........................................................................................................
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/
SRX Series). Remove only the specified screws
(Quick Start; p. 4, p. 10).
..........................................................................................................
4
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
• 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.
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
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.
• Carefully insert the DATA card all the way in—until it is
firmly in place.
fig.00-01.e
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.
Insert with the surface with the gold connector facing up
• Never touch the terminals of the DATA card. Also, avoid
getting the terminals dirty.
“Battery Low”
5
How to Use This Manual
This owner’s manual is organized as follows. But before you
start reading it, we’d like to suggest going through the Quick
Start manual. The separate volume Q & A contains
frequently asked questions about the XV-88, along with
answers to those questions. Please refer to this booklet as
needed.
Chapter 1. Overview of the XV-88
This chapter covers XV-88 sound generator section
configurations, as well as basic operation. Reading it is
essential for understanding XV-88 operational procedures.
Chapter 8. Saving Sounds
This chapter describes how the XV-88’s memory is arranged,
and explains how tones are saved. Read this chapter when
you wish to save created sounds.
Chapter 9. Getting More Familiar with
the XV-88 (System Functions)
This chapter describes how the System parameters that
determine the XV-88’s operation environment work and how
these parameters are organized. Refer to it as necessary.
Chapter 2. Playing
Chapter 10. Memory Settings
(Utility Mode)
This chapter explains how to play in Patch, Performance, and
Rhythm Set modes, and how to use the XV-88’s many
different performance functions. Reading it is essential for
understanding XV-88 operational procedures.
This chapter goes over the various Utility functions such as
storing Patch, Performance or Rhythm Set data, clearing the
internal memory, etc. Refer to it as necessary.
Chapter 3. Creating Performances
Chapter 11. Using the XV-88 as a GM
Sound Module (GM Mode)
This chapter explains how to create Performances, and
describes what the Performance parameters do and how they
are composed. Read this chapter when you wish to create
Performances.
Chapter 4. Zone Settings
This chapter explains how to make Zone settings for
Performance mode, and describes what the Zone parameters
do and how they are composed. Read this chapter when you
wish to make Zone settings.
Chapter 5. Creating Patches
This chapter explains how to create Patches, and describes
what the Patch parameters do and how they are composed.
Read this chapter when you wish to create Patches.
Chapter 6. Creating Rhythm Sets
This chapter explains how to create Rhythm Sets, and
describes what the Rhythm Set parameters do and how they
are composed. Read this chapter when you wish to create
Rhythm Sets.
Chapter 7. Adding Effects
This chapter explains how to make settings for the XV-88’s
onboard effects, and describes the type and operation of each
effect. Be sure to read this when adding effects to Patches
and Performances.
6
This chapter explains needed procedures and parameters for
using the XV-88 as a General MIDI/General MIDI 2 Systemcompatible sound generator. Read this chapter when you
want to play back commercially available General MIDI
scores (music files created for General MIDI sound
generators).
Chapter 12. Realizing the Potential of
the XV-88
This chapter includes various techniques that expand the XV88’s operational scope. It includes use with external MIDI
devices, live performance applications and others. Refer to it
as necessary.
Appendices
This chapter contains a troubleshooting section for use when
the XV-88 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 a MIDI
implementation chart are also provided.
How to Use This Manual
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] stands for the ENTER
button.
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.
In addition, “[A] + [B]” indicates “press [B] while holding
down [A]”; “[A] → [B]” means “press [B] after first pressing
(and releasing) [A].”
(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: Output Assign parameter
(PERFORM/EFFECTS/OUTPUT).
Below are the meanings of the symbols preceding certain
sentences in the text.
These alert you to cautions or similar important
information. Be sure to read these.
These are reference memos. Read as needed.
These are hints for operating the XV-88. Read as needed.
These provide information from related reference pages.
Read as needed.
7
Contents
Main Features........................................................................................13
Front and Rear Panel............................................................................14
Front Panel................................................................................................................................................. 14
Rear Panel .................................................................................................................................................. 17
Chapter 1. Overview of the XV-88........................................................19
How the XV-88 Is Organized.................................................................................................................. 19
Basic Structure ............................................................................................................................... 19
Classification of XV-88 Sound Types ......................................................................................... 20
Number of Voices.......................................................................................................................... 23
Basic Operations on the XV-88 ............................................................................................................... 24
Switching Modes........................................................................................................................... 24
About the Function Buttons ........................................................................................................ 25
About the Cursor Buttons............................................................................................................ 26
Modifying a Value ........................................................................................................................ 27
Assigning a Name ......................................................................................................................... 28
Chapter 2. Playing.................................................................................29
Playing in Patch Mode............................................................................................................................. 29
Selecting a Patch ............................................................................................................................ 29
Selecting Favorite Patches from the Favorite List .................................................................... 31
Using Phrase Preview to Play Patches....................................................................................... 32
Making a Patch Sound Thick or Thin (Turning a Tone On/Off) ........................................... 32
Playing Single Notes (Solo) ......................................................................................................... 33
Creating Smooth Pitch Changes (Portamento) ......................................................................... 33
Using the Sliders to Modify the Sound in Realtime................................................................. 34
Playing in Performance Mode ................................................................................................................ 34
Selecting a Performance ............................................................................................................... 35
Playing Fatter and Richer Sounds by Combining Patches (Layer)........................................ 36
Splitting the Keyboard to Play Separate Patches in Different Sections (Split)..................... 36
Playing Along with Song Playback (XV-88 Used as a Multi-timbral Sound Generator) .... 37
Assigning a Different Patch to a Part ......................................................................................... 38
Using the Sliders to Modify the Sound in Realtime................................................................. 38
Playing in Rhythm Set Mode .................................................................................................................. 39
Selecting a Rhythm Set ................................................................................................................. 39
Selecting Favorite Rhythm Sets from the Favorite List ........................................................... 40
Playing Percussion Instruments ................................................................................................. 41
Playing Arpeggios (Arpeggiator)........................................................................................................... 41
Playing an Arpeggio Over a Preset Keyboard Area ................................................................ 43
Holding an Arpeggio.................................................................................................................... 43
Simulating a Rhythm Guitar ....................................................................................................... 44
Playing an Arpeggio from an External MIDI Device............................................................... 44
Creating an Arpeggio Pattern ..................................................................................................... 44
Moving Your Hand Above the D Beam Controller to Apply Effects (D Beam Controller) .......... 45
Convenient Functions for Performance ................................................................................................ 47
Transposing the Keyboard in Octave Units (Octave Shift)..................................................... 47
Transposing the Keyboard in Semitone Steps (Transpose) .................................................... 48
If “Stuck” Notes Occur (Panic).................................................................................................... 48
8
Contents
Chapter 3. Creating Performances......................................................49
How a Performance Is Organized.......................................................................................................... 49
How to Make the Performance Settings................................................................................................ 49
Making Settings While Comparing Parts (Palette Edit) .......................................................... 50
Copying the Settings of Another Part (Part Copy)................................................................... 50
Functions of Performance Parameters................................................................................................... 51
Settings Common to the Entire Performance (COMMON) .................................................... 51
Setting Effects for a Performance (EFFECTS) ........................................................................... 52
Making Settings for Receiving MIDI (MIDI)............................................................................. 52
Making Settings for Each Part (PART)....................................................................................... 53
Confirming MIDI Information for Each Part (INFO) .............................................................. 56
Changing the Settings of the Patch/Rhythm Set Assigned to a Part................................................ 56
Chapter 4. Zone Settings......................................................................57
How to Make the Zone Settings ............................................................................................................. 57
Making Settings While Comparing Zones (Palette Edit) ........................................................ 58
Functions of Zone Parameters ................................................................................................................ 58
Settings Common to the Entire Zone (COMMON) ................................................................. 58
Setting the Keyboard Range (KEY RANGE)............................................................................. 59
Making Settings for Transmitting MIDI (MIDI)....................................................................... 59
Controlling External Sound Module (EXT CONTROL).......................................................... 60
Arpeggiator Settings (ARPEGGIO) ............................................................................................ 61
Setting the D Beam Controller (D BEAM) ................................................................................. 63
Confirming the Settings for Each Zone (INFO) ........................................................................ 64
Chapter 5. Creating Patches ................................................................65
How a Patch Is Organized ...................................................................................................................... 65
How a Tone Is Organized ............................................................................................................ 65
How to Make the Patch Settings ............................................................................................................ 66
Making Settings While Comparing Tones (Palette Edit) ........................................................ 67
Copying the Settings of Another Tone (Tone Copy) ............................................................... 68
Cautions When Selecting a Waveform ...................................................................................... 68
Functions of Patch Parameters ............................................................................................................... 69
Settings Common to the Entire Patch (COMMON)................................................................. 69
Setting Effects for a Patch (EFFECTS) ........................................................................................ 75
Using Controllers to Change How Sounds Are Played (CONTROL)................................... 76
Modifying Waveforms (WAVE) ................................................................................................. 81
Modulating Sounds (LFO) ........................................................................................................... 83
Modifying Pitch (PITCH)............................................................................................................. 86
Modifying the Brightness of a Sound with a Filter (TVF)....................................................... 87
Adjusting the Volume and Pan (TVA)....................................................................................... 90
Chapter 6. Creating Rhythm Sets........................................................93
How a Rhythm Set Is Organized............................................................................................................ 93
How to Make the Rhythm Set Settings ................................................................................................. 93
Making Settings While Comparing Waveforms (Palette Edit)............................................... 94
Copying the Settings of Another Rhythm Tone (Rhythm Tone Copy)................................. 94
Cautions When Selecting a Waveform ...................................................................................... 95
Functions of Rhythm Set Parameters .................................................................................................... 96
Settings Common to the Entire Rhythm Set (COMMON)...................................................... 96
Setting Effects for a Rhythm Set (EFFECTS) ............................................................................. 97
Controlling How a Rhythm Tone will Sound with Controllers (CONTROL) ..................... 97
Modifying Waveform of a Rhythm Tone (WAVE) .................................................................. 98
Modifying Pitch of a Rhythm Tone (PITCH) .......................................................................... 100
Changing the Tone (Filter) of a Rhythm Tone (TVF)............................................................. 101
Adjusting the Volume and Pan of a Rhythm Tone (TVA) .................................................... 103
9
Contents
Chapter 7. Adding Effects ..................................................................105
About the Onboard Effects ................................................................................................................... 105
Effect Types.................................................................................................................................. 105
Turning Effects On/Off.............................................................................................................. 105
Applying Effects in Patch Mode or Rhythm Set Mode..................................................................... 106
Selecting the Way the Direct Sound is Output ....................................................................... 108
The Settings for Each Tone/Rhythm Tone.............................................................................. 109
Applying Effects in Performance Mode.............................................................................................. 111
Selecting the Way the Direct Sound is Output ....................................................................... 113
Making Multi-Effects Settings .............................................................................................................. 114
Setting Procedure ........................................................................................................................ 114
Functions of Parameters............................................................................................................. 114
Multi-Effects Types ..................................................................................................................... 117
Making Chorus Settings ........................................................................................................................ 156
Setting Procedure ........................................................................................................................ 156
Functions of Parameters............................................................................................................. 156
Making Reverb Settings......................................................................................................................... 158
Setting Procedure ........................................................................................................................ 158
Functions of Parameters............................................................................................................. 159
Copying Another Effect Setting (Effects Copy) ................................................................................. 161
Chapter 8. Saving Sounds .................................................................162
About Memory........................................................................................................................................ 162
Temporary Memory.................................................................................................................... 163
Rewritable Memory .................................................................................................................... 163
Non-Rewritable Memory ........................................................................................................... 163
Saving to Internal Memory ................................................................................................................... 164
Comparing with the Save Destination Patch (Compare Function) ..................................... 164
Registering Favorite Patches/Rhythm Sets in the Favorite List .......................................... 165
Saving to an External MIDI Device...................................................................................................... 166
Saving a Group of Tones to a Memory Card...................................................................................... 167
Chapter 9. Getting More Familiar with the XV-88 (System Functions) ... 168
How to Make the System Function Settings....................................................................................... 168
Functions of System Parameters .......................................................................................................... 168
Display Screen Contrast and Clock Settings (SETUP)........................................................... 168
MIDI Settings (MIDI).................................................................................................................. 169
Keyboard and Controllers Settings (CONTROL)................................................................... 171
Adjusting Tuning (TUNE) ......................................................................................................... 173
Arpeggiator Settings (ARPEGGIO) .......................................................................................... 174
Setting the D Beam Controller (D BEAM) ............................................................................... 176
Phrase Preview Settings (PREVIEW) ....................................................................................... 177
Checking the Installation of the Wave Expansion Board
and Controlling External MIDI Devices (INFO) .................................. 178
Chapter 10. Memory Settings (Utility Mode).....................................179
About Utility Mode ................................................................................................................................ 179
Basic Procedure in Utility Mode .......................................................................................................... 179
Storing Sound Data in User Memory (WRITE).................................................................................. 180
Saving a Performance ................................................................................................................. 180
Saving a Patch.............................................................................................................................. 181
Saving a Rhythm Set................................................................................................................... 181
Copying Sound Generator Settings (COPY)....................................................................................... 182
Copying a Performance.............................................................................................................. 182
Copying a Patch .......................................................................................................................... 183
Copying a Rhythm Set................................................................................................................ 184
10
Contents
Initializing Sound Generator Settings (INIT) ..................................................................................... 185
Initializing a Performance.......................................................................................................... 185
Initializing a Patch ...................................................................................................................... 185
Initializing a Rhythm Set............................................................................................................ 185
Transmitting Sound Settings (XFER)................................................................................................... 185
Transmitting Data to an External MIDI Device...................................................................... 185
Transmitting Data to the XV-88 ................................................................................................ 186
Protecting the Internal Memory (PROTECT) ..................................................................................... 188
Memory Card-Related Settings (CARD)............................................................................................. 188
Formatting the Memory Card for the XV-88 (FORMAT)...................................................... 189
Renaming a File (RENAME)...................................................................................................... 189
Deleting Unwanted Files (DELETE)......................................................................................... 189
Copying Files Between Memory Cards (FILE COPY) ........................................................... 189
Checking the Contents of a Memory Card (INFO) ................................................................ 190
Loading a File from Memory Card into the XV-88 (LOAD) ............................................................ 190
Saving Data to Memory Card (SAVE)................................................................................................. 190
Recalling Factory Default Settings (FACTORY RESET) ................................................................... 191
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode).. 192
Entering GM Mode................................................................................................................................. 192
Initializing the Sound Generator for General MIDI System Basic Settings ........................ 192
Playing Back GM Scores............................................................................................................. 192
Modifying GM Mode Settings .............................................................................................................. 193
Making Effects Settings in GM Mode (EFFECTS) .................................................................. 194
Making Settings for Receiving MIDI (MIDI)........................................................................... 195
Making Settings for Each Part (PART)..................................................................................... 196
Confirming MIDI Information for Each Part (INFO) ............................................................ 197
Convenient Functions in GM Mode (GM Utility) ............................................................................. 198
Initializing GM Mode (INIT) ..................................................................................................... 198
Transmitting GM Mode Settings (XFER)................................................................................. 198
Chapter 12. Realizing the Potential of the XV-88 .............................199
Techniques for Using Patches............................................................................................................... 199
Reinforcing Filter Characteristics ............................................................................................. 199
Using the Slider to Change the Pan in Realtime..................................................................... 199
Using a Pedal Switch to Modify the Speed of the Rotary Effect .......................................... 199
Changing the Speed of the Rotary Effect to Synchronize It to the LFO Cycle ................... 200
Changing the Tone Produced with the Modulation Lever................................................... 200
Syncing the LFO Cycle to System Tempo ............................................................................... 200
Modifying Multi-Effects to Match the System’s Tempo........................................................ 201
Playing Phrase Loops in Sync with the System Tempo ........................................................ 201
Synchronizing the Timing at Which Tones Play to the System Tempo .............................. 202
Using the XV-88 to Play Live ................................................................................................................ 202
Changing Multiple Sounds of an External MIDI Device Simultaneously.......................... 202
Changing Sounds with a Pedal Switch .................................................................................... 203
Controlling an External MIDI Sequencer with the D Beam Controller .............................. 203
Using External MIDI Devices ............................................................................................................... 203
Playing an External MIDI Sound Module from the XV-88 ................................................... 203
Controlling an External MIDI Sequencer from the XV-88 .................................................... 204
Playing the XV-88’s Sound Generator from an External MIDI Device ............................... 205
Changing the Tone Settings from an External MIDI Device in Realtime ........................... 205
Changing the Multi-Effects Settings From an External MIDI Device in Realtime ............ 206
Selecting XV-88 Sounds from an External MIDI Device ....................................................... 206
Enjoying Desktop Music ....................................................................................................................... 208
Connecting to Your Computer.................................................................................................. 208
Disconnecting the Keyboard from the Internal Sound Generator (Local OFF) ................. 211
How MIDI Messages Are Exchanged with a Computer....................................................... 212
11
Contents
Appendices ................................ 213
Troubleshooting..................................................................................214
Error Messages ...................................................................................218
Quick Reference of Procedures ........................................................220
Parameter List .....................................................................................230
Performance List.................................................................................252
Patch List.............................................................................................253
Rhythm Set List...................................................................................258
Waveform List .....................................................................................263
Arpeggio Style List .............................................................................268
About MIDI ...........................................................................................269
MIDI Implementation...........................................................................270
Specifications......................................................................................298
Computer Cable Wiring Diagrams.....................................................299
Index.....................................................................................................300
12
Main Features
128-Voice Polyphony
Equipped with COMPUTER Connector
The previous maximum number of 64 simultaneous voices has
been expanded to 128, providing ample expression capabilities,
even with tones composed of a number of combined tones.
A special computer cable makes it easy for you to connect the XV-88
to your computer, so that you can enjoy ensemble playing (p. 208).
Compatible with the New “SRX
Series” Wave Expansion Boards
You can easily perform arpeggios, and use “rhythm guitar,”
simply by pressing a few chords. You can even specify the
rhythmical “feel” you want (p. 41).
The XV-88 features two expansion slots for the new “SRX
Series” Wave Expansion boards, each of which provides the
waveform capacity of four “SR-JV80” boards. Of course, since
the XV-88 is also equipped with an additional two slots for
previous-generation “SR-JV80” Wave Expansion boards, you
can also install such boards that you now may be using in the
XV-88 as well. Thus, with a Wave Expansion board installed in
every slot, you can get massive waveforms equaling even those
obtainable with samplers, all of which are ready to use as soon
as you turn on the instrument, with no loading from any
sequencer or other external recording device required (Quick
Start; p. 4, p. 10).
Powerful Array of Effects
While including, of course, all of the algorithms of the JV2080, the XV-88’s effects comprise a huge collection of
Roland’s digital signal processing technology, 3D DELAY
that makes full use of RSS (Roland Sound Space technology),
Lo-Fi processing from Roland’s MC-505 groovebox, the SRV330’s popular REVERB, along with a newly designed RING
MODULATOR, and more, for a total of 63 different
algorithms (p. 117).
General MIDI- and General MIDI 2Compatible
The XV-88 is compatible with both General MIDI and
General MIDI 2 standards. When working with music data
that conforms to General MIDI and/or General MIDI 2 (GM
scores), you can combine the XV-88 with a computer or
sequencer, and use the XV-88 to play back the data (p. 192).
88-Key Piano Keyboard Features
Hammer Action with Aftertouch
The XV-88 is equipped with a full 88-key piano keyboard
utilizing a hammer action system for rich expressiveness,
with aftertouch provided as well. The XV-88 gives you both
the pure, unspoiled expression you get with a piano, and the
dynamic play of a synthesizer, all in a single instrument.
Sophisticated User Interface
The XV-88 also features the Roland XP-30’s popular Patch
Search function and Phrase Preview function. The Patch Finder
function (p. 30) 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, p. 32).
Arpeggiator Included
Equipped with D Beam Controller
The XV-88 also comes with the D Beam Controller which allows
you to change the sound dynamically as you perform, according
to the position of your hand as you move it over the controller.
By moving your hand above the panel, you can control even
subtle changes in tones, effects, and pitches that are difficult to
make using bender and aftertouch, all in realtime, bringing your
live performances to a whole new level (p. 45).
The D Beam Controller is provided under license from
Interactive Light, Inc.
General MIDI
General MIDI 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 meet the General
MIDI standard bear 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.
General MIDI 2
The upwardly compatible General MIDI 2 (
)
recommendations pick up where the original General
MIDI left off, offering enhanced expressive capabilities,
and even greater compatibility. Issues that were not
covered by the original General MIDI recommendations,
such as how sounds are to be edited, and how effects
should be handled, have now been precisely defined.
Moreover, the available sounds have been expanded.
General MIDI 2 compliant sound generators are capable
of reliably playing back music files that carry either the
General MIDI or General MIDI 2 logo.
In some cases, the conventional form of General MIDI,
which does not include the new enhancements, is
referred to as “General MIDI 1” as a way of
distinguishing it from General MIDI 2.
13
Front and Rear Panel
Front Panel
fig.00-02
1
2
3
5
4
1 D BEAM CONTROLLER Section
7
6
4 KEY EFFECTS Section
You can apply a variety of effects to sounds simply by
moving your hand. → (p. 45)
The buttons in this section allow you to assign various
functions to the keys of the XV-88’s keyboard.
[ON]
[PORTAMENTO]
Switches the D Beam controller on/off.
Switches Portamento on/off. → (p. 33)
2
Volume Slider
Adjusts the overall volume that is output from the rear panel
OUTPUT jacks and PHONES jack. → (Quick Start; p. 18)
3 PALETTE Section
Use the four sliders to modify sounds in realtime.
[FILTER/ENV]
Press this button ON when modifying filter and/or envelope
settings in realtime using the four sliders (CUTOFF/
RESONANCE/ATTACK/RELEASE). → (p. 34, p. 38)
[LEVEL]
Press this button ON when adjusting volume balance in
realtime using the four sliders (1/2/3/4). → (p. 34, p. 39)
[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). → (Quick Start; p. 66)
[SOLO]
Specifies playing a single note at a time. → (p. 33)
[TRANSPOSE]
Specifies transposing the keyboard in semitone steps.
→ (p. 48)
[ARPEGGIO]
Switches Arpeggiator on/off. → (p. 41)
[+OCT], [-OCT]
These buttons adjust the pitch of the keyboard in octave
steps. → (p. 47)
Pressing either of these buttons while holding down
[TRANSPOSE] allows you to set the desired amount of
transposition. → (p. 48)
5 MODE Section
The buttons in this section select modes. The button indicator
of the selected mode will light/blink. → (p. 24)
[PERFORM]/[GM]
Pressed to get into Performance mode. Hold down [SHIFT]
while you press [PERFORM] to select GM mode.
→ (p. 34, p. 192)
[PATCH]/[PART]
Pressed to get into Patch mode. By holding down
[PERFORM] and pressing [PATCH], you can modify the
settings of the Patch and Rhythm Set that is assigned to each
part of the performance. → (p. 29, p. 38, p. 56)
14
Front and Rear Panel
fig.00-03
8
10
LOCAL/TX: When the indicator for this button is
extinguished, the Local switch can be switched on/off. When
the indicator is lit, the Transmit switch can be switched on/
off. Functions buttons are employed for this purpose.
→ (p. 25)
[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.
9
11
Function Buttons
[RHYTHM]
The function of these buttons will depend on the operational
mode and the status of the [EDIT] indicator. → (p. 25)
Selects Rhythm Set mode. → (p. 39)
[1-8/9-16]
[ZONE]
When the XV-88 is in Performance mode, this switches it to
the Zone mode. → (p. 57)
[SYSTEM]
Selects System mode. → (p. 168)
[UTILITY]
Selects Utility mode. → (p. 179)
6 EFFECTS Section
Used to switch on and off the onboard effects (Multi-effects,
Chorus, Reverb). When on, the button indicator for the effect
is lighted. → (p. 105)
[MULTI]
Turns Multi-effects on/off.
[CHORUS]
Turns Chorus on/off.
[REVERB]
Turns Reverb on/off.
7
Display
Shows various information for the currently selected
function or operation.
[PALETTE EDIT]/[LOCAL/TX]
Use this button to select the group (1–8/9–16) of Parts or
Zones to be selected by the function buttons. → (p. 25)
[EXIT]/[PANIC]
EXIT: Press this button when you wish to return to the Play
page of each mode, or to cancel an operation without
executing.
PANIC: If for some reason notes are stuck and continue
sounding, hold down [SHIFT] and press this button to clear
the stuck notes. → (p. 48)
[UNDO/COMPARE]
UNDO: Press this button to restore a modified value to the
original value. → (p. 27, p. 49, p. 57, p. 67, p. 94)
COMPARE: When saving or copying Tone settings, press
this to check the sound at the save destination, or at the copy
source. → (p. 164, p. 181, p. 183, p. 184)
8
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. 27)
CURSOR Buttons
Press these to switch pages and to move the cursor (the
underline). → (p. 26)
In the Play page of each mode, pressing the CURSOR buttons
while holding down [SHIFT] allows the remote control of
external sequencers. → (p. 26, p. 204)
PALETTE EDIT: Press this when you want to make changes
to Patch or Performance settings using the Palette page.
→ (p. 50, p. 58, p. 67, p. 94)
15
Front and Rear Panel
9
10 GROUP Section
[PHRASE PREVIEW]/[DEMO]
Selects sound groups. → (p. 29, p. 35, p. 39)
PHRASE PREVIEW: Press this when you wish to use
phrases to audition a patch. → (p. 32)
[USER]
DEMO: To hear the demo playback, hold down [SHIFT] and
press this button. → (Quick Start; p. 21)
[PATCH FINDER]/[FAVORITE LIST]
PATCH FINDER: Selects a patch by using the Patch Finder
function. → (p. 30)
FAVORITE LIST: When you press this button while holding
down [SHIFT], you can register the favorite Patch to the list
and choose the Patch from the list. → (p. 31, p. 40, p. 165)
Selects a sound from the user group.
[CARD]
Selects a sound from a memory card.
[PRESET]
Selects a sound from the preset group.
[EXP]
Selects a sound from a Wave Expansion Board (sold
separately).
[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. 27)
[0]–[9] (Numeric Keys)
Use these buttons to modify values. They can be used to
enter numeric values as well as alphabetical characters.
→ (p. 27, p. 28)
When [PATCH FINDER] is on, this becomes the button for
choosing a category group using the Patch Finder function.
→ (p. 30)
Press [0] 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 sets. → (p. 30)
[SHIFT]
This is used in combination with other buttons. Some buttons
on the front panel include black-printed characters. They
indicate the button’s function when [SHIFT] is held down.
[ENTER]/[REGISTRY]
ENTER: Use this button to finalize a value or execute an
operation.
REGISTRY: When you press this button while holding down
[SHIFT], you can directly register the favorite Patch or
Rhythm Set to the Favorite List. → (p. 165)
16
11 BANK Section
Selects a bank for sounds. → (p. 29, p. 35, p. 39)
[A]–[H]
Press these buttons to select tones from Preset Groups A–F
and H, Memory Cards A–H, and Wave Expansion Boards A–
D.
fig.00-04
Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato.
→ (Quick Start; p. 65)
Depending on the settings, other specified parameters can
also be controlled. → (p. 78, p. 115, p. 173)
Front and Rear Panel
Rear Panel
fig.00-05
fig.00-06
Power Switch
Press to turn the power on/off. → (Quick Start; p. 18)
AC Inlet
Connect the included power cord to this inlet.
→ (Quick Start; p. 16)
fig.00-09
COMPUTER Switch
Sets 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. 208, p. 209)
COMPUTER Connector
With units rated for 117V operation, the AC cable is
already connected to the unit.
A special Computer cable can be connected here. The type of
cable required will depend on your computer. When the
COMPUTER switch is set to MIDI, this connector cannot be
used. → (p. 209)
fig.00-07
fig.00-10
CTL 1, CTL 2 PEDAL Jack
MEMORY CARD Slot
A memory card (SmartMedia) can be inserted here.
→ (p. 167, p. 179)
fig.00-08
MIDI Connectors (IN, OUT, THRU)
These connectors can be connected to other MIDI devices to
receive and transmit MIDI messages.
→ (p. 203, p. 269, Quick Start; p. 16)
You can connect optional expression pedals (EV-5, etc.) 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 (DP-2,
DP-6, etc.) to sustain sound.
→ (p. 172, Quick Start; p. 16, p. 69)
HOLD PEDAL Jack
An optional pedal switch (DP-2, DP-6, etc.) can be connected
to this jack for use as a hold pedal. → (p. 43, p. 172, Quick
Start; p. 16, 69)
This can also be set so it supports the use of half-pedaling
techniques. So, after connecting an optional expression pedal
(EV-5, etc.), you can employ pedal work to achieve even finer
control in performances in which piano tones are used.
→ (p. 172)
17
Front and Rear Panel
fig.00-11
fig.00-12
OUTPUT A (MIX) 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.
→ (Quick Start; p. 16)
OUTPUT B Jacks (L, R)
These jacks output the audio signal to the connected mixer/
amplifier system in stereo.
INDIVIDUAL 1–4 Jacks
These jacks output audio signals in mono to an amp or
mixer.
The setting determining whether these jacks are used as
stereo OUTPUT jacks or monaural INDIVIDUAL jacks is
made with the Output Assign setting (p. 70, p. 96, p. 108,
p. 109, p. 113).
PHONES Jack
This is the jack for connecting headphones (sold separately).
→ (Quick Start; p. 16)
18
Wave Expansion Board Installation Slot
Remove the cover to reveal the slots for installation of
optional Wave Expansion Boards (SR-JV80 Series, SRX
Series). → (Quick Start; p. 4, 10)
How the XV-88 Is Organized
Basic Structure
The XV-88 can be broadly divided into two sections: a
keyboard controller section and a sound generator
section. The two sections are connected internally by means
of MIDI.
fig.01-01.e
Sound
Generator
Section
Play
About the Local Switch
The switch that connects and disconnects the MIDI
connection between the keyboard controller section and the
sound generator section is called the Local switch. Since
essential information describing what is being played on the
keyboard won’t reach the sound generator if the Local switch
is set to OFF, the Local switch should normally be left ON.
However, if while performing you want to send that
performance data to an external sequencer as MIDI messages
to be recorded, you then perform with the externally
connected MIDI sequencer set to MIDI Thru (whereby data
received from MIDI IN is then output from the MIDI OUT
with no changes made to the data), the XV-88’s Local switch
to OFF, and the MIDI Transmit switch and MIDI Receive
switch to ON.
fig.01-02.e
Recording
Keyboard Controller Section (controllers
such as keyboard, pitch bend lever, etc.)
Keyboard Controller Section
This section consists of the keyboard, pitch bend/modulation
lever, panel sliders, and D Beam controller. It also includes
any pedals that may be connected to the rear panel. Actions
such as pressing and releasing of keys on the keyboard,
depressing a pedal, and so forth, are converted to MIDI
messages and sent to the sound generator section, or to an
external MIDI device.
When playing in Performance mode, the settings for the
MIDI connections between the keyboard controller
section and the sound generator section or external MIDI
device are made in Zone mode (p. 57).
Sound Generator Section
The sound generator section produces the sound. Here, MIDI
messages received from the keyboard controller section or
external MIDI device are converted to musical signals, which
are then output as analog signals from the OUTPUT and
PHONES jacks.
Chapter 1
Chapter 1. Overview of the XV-88
Sequencer
MIDI Thru: On
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
Transmit
Switch:
On
Receive Switch: On
Local Switch: Off
Sound
Generator
Section
Keyboard Controller
Section
XV-88
In this case, the data sent over two paths, i.e., the data sent
directly from the keyboard controller section and the data
sent from the keyboard controller section via the external
sequencer, ends up being sent to the sound generator section
simultaneously. Thus, for example, even when you play a
“C” key only once, the note “C” cannot be sounded correctly,
as the sound is played by the sound generator section twice.
19
Chapter 1. Overview of the XV-88
Classification of XV-88 Sound
Types
When using the XV-88, you will notice that a variety of
different categories come into play when handling sounds.
What follows is a simple explanation of each sound category.
Envelope
You use Envelope to initiate changes to occur to a sound over
time. There are separate envelopes for Pitch, TVF (filter), and
TVA (volume). For example if you wish to modify the way in
which the sound attacks or decays over time, you would
adjust the TVA envelope.
Tones
LFO (Low Frequency Oscillator)
In the XV-88, the Tone is the smallest class of sound.
However, it is not possible to play a Tone by itself. The Patch
is the unit of sound which can be played, and the Tones are
the basic building blocks which make up the Patch.
Use the LFO to create cyclic changes (modulation) in a
sound. The XV-88 has two LFOs. Either one or both can be
applied to effect the WG (pitch), TVF (filter) and/or TVA
(volume). When an LFO is applied to the WG pitch, a vibrato
effect is produced. When an LFO is applied to the TVF cutoff
frequency, a wah effect is produced. When an LFO is applied
to the TVA volume, a tremolo effect is produced.
fig.01-03.e
Tone
LFO 1
LFO 2
LFO is not included in the Rhythm Tones (percussion
instrument sounds).
WG
TVF
TVA
Patches
Pitch
Envelope
TVF
Envelope
audio signal
TVA
Envelope
control signal
Tones consist of the following five components.
WG (Wave Generator)
Specifies the PCM waveform (wave) that is the basis of the
sound, and determines how the pitch of the sound will
change.
The XV-88 has 1,083 different waveforms (p. 263). All Patches
built into the XV-88 consist of combinations of Tones which
are created based on these waveforms.
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 page (PATCH/
COMMON) (p. 73).
fig.01-04.e
Patch
Tone 4
Tone 3
Tone 2
Tone 1
LFO 1
LFO 2
There are four wave generators for each Rhythm Tone
(percussion instrument sounds).
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
TVF (Time Variant Filter)
Specifies how the frequency components of the sound will
change.
TVA (Time Variant Amplifier)
Specifies the volume changes and the sound’s position in a
stereo soundfield.
20
Chapter 1
Chapter 1. Overview of the XV-88
Rhythm Sets
Performances
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 percussion
instruments as possible be available to you at the same time.
Therefore, each key (note number) of a Rhythm Set will
produce a different percussion instrument.
A Performance is a collective set of assignments of the
sixteen different Patches and Rhythm Sets. Since a
Performance can simultaneously handle 16 different sounds,
it allows you to play multiple Patches simultaneously (layer)
or to play different Patches in different areas of the keyboard
(split), and to create ensembles.
fig.01-05.e
Because the XV-88 sound generator can control multiple
sounds (instruments) it is called a Multi-timbral sound
generator.
fig.01-06.e
Rhythm Set
Performance
Note Number 98 (D7)
Part 16
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
Part 1
Patch/
Rhythm Set
Percussion instrument (Rhythm Tone) consists of the
following four elements. (For details, refer to the
explanations for “Tones.”)
WG (Wave Generator)
Parts
TVF (Time Variant Filter)
Parts are the “sites” to which the Patches and Rhythm Sets
used by the XV-88 as sound material are assigned. A single
Performance comprises sixteen Parts, with a Patch or
Rhythm Set being assigned to each Part.
TVA (Time Variant Amplifier)
Envelope
In the relationship between Performances and Parts, the
Performance is like an orchestra, the Parts the performers,
and the Patches and Rhythm Sets the instruments.
21
Chapter 1. Overview of the XV-88
Setting the MIDI Connection
(Zone and Part)
Although the XV-88’s keyboard controller section and sound
generator section are connected internally using a MIDI
connection, in Layer Performance mode, you can then make
even more detailed settings affecting the way the connection
works between the keyboard controller section and the
sound generator section, as well as with an external MIDI
device.
At the factory settings, shown below, there is a one-to-one
correspondence between the Zone, the MIDI Transmit/
Receive channel, and the Part.
However, in this arrangement, the data for the performance
in the right hand ends up being recorded after overlapping
on MIDI Channels 1 and 2. Although normally there is no
particular problem with recording overlapped data, because
of the limit on the number of notes that can be recorded
using an external sequencer, along with other certain issues,
the external sequencer’s memory may overflow, and you
may then be unable to record all the way to the end of your
performance.
Therefore, change the settings to those shown below
(changes indicated in underline).
fig.01-09.e
Sequencer
fig.01-07.e
Zone 16 (MIDI transmit channel 16)
Part 16 (MIDI receive channel 16)
Zone 1 (not transmitted)
Part 3 (MIDI receive channel 2)
ch.2
Zone 2 (MIDI transmit channel 2)
Bass
Part 2 (MIDI receive channel 2)
Zone 1 (MIDI transmit channel 1)
Part 1 (MIDI receive channel 1)
Patch/
Rhythm Set
Zone 2 (MIDI transmit channel 2)
Part 2 (MIDI receive channel 1)
Strings
Under these conditions, you could simply consider that “each
of the Zones from 1 to 16 is linked in a one-to-one
relationship with its numerical counterpart among Parts
1 to 16”. In other words, you can use Zone 1 when controlling
Part 1, Zone 2 is when controlling Part 2, and so on.
We recommend that under normal circumstances you
use the default factory settings.
In advances uses, where the factory settings would not be
used, the following examples of settings might be employed.
When recording to an external sequencer while playing the
bass part in the left hand and the layered piano and string
tones in the right hand, the following is what results when
the factory settings are used.
fig.01-08.e
Sequencer
Zone 3 (MIDI transmit channel 3)
Part 3 (MIDI receive channel 3)
ch.3
Bass
L
Zone 2 (MIDI transmit channel 2)
Part 2 (MIDI receive channel 2)
ch.2
Strings
L
Zone 1 (MIDI transmit channel 1)
Part 1 (MIDI receive channel 1)
Piano
ch.1
R
With the above settings, the data for the performance in the
right hand is sent only on MIDI Channel 1, so there is no
overlapping of the performance data when recording to the
sequencer. Accordingly, even performances that cause
overflow when factory settings are used can still be recorded
all the way to the end.
In this manner, by trying out changes in the one-to-one
connections between the Zones, MIDI Transmit and Receive
channels, and Parts, you can obtain even more advanced use
of the instrument. However, you must remain aware at all
times of the MIDI channel to which each Zone is set and the
channel each Part is using to receive MIDI messages, lest you
run into problems such as tones other than the intended
tones being played or absence of sound even when the
keys are played.
R
Zone 1 (MIDI transmit channel 1)
Part 1 (MIDI receive channel 1)
ch.1
Piano
R
22
In this manual, the expression “the Zone and Part are
linked” refers to the condition whereby a Zone’s MIDI
transmit channel and a Part’s MIDI receive channel are
matched in this one-to-one relationship.
Chapter 1
Chapter 1. Overview of the XV-88
Number of Voices
Voice Reserve
The XV-88 is able to play up to 128 notes simultaneously. The
following paragraphs discuss what this means, and what will
happen when more than 128 simultaneous voices are
requested from the XV-88.
The XV-88 has a Voice Reserve function that lets you
reserve a minimum number of notes that will always be
available for each Part. For example if Voice Reserve is set to
10 for Part 16, Part 16 will always have 10 notes of soundproducing capacity available to it even if a total of more than
128 notes (total for all Parts) are being requested. When you
make Voice Reserve settings, you need to take into account
the number of notes you want to play on each Part as well as
the number of Tones used by the selected Patch. (p. 53)
Calculating the Number of Voices
Being Used
The XV-88 is able to play up to 128 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer
only to the number of sounds actually being played, but
changes according to the number of tones used in the
Patches, and the number of Waves used in the tones. The
following method is used to calculate the number of sounds
used for one Patch being played.
It is not possible to make Voice Reserve settings that
would cause the total of all Parts to be greater than 64
voices.
(Number of Sounds Being Played) x (Number of Tones Used by
Patches Being Played) x (Number of Waves Used in the Tones)
For example, with a Patch combining four tones, each of
which uses two Waves, the actual number of sounds being
played comes to 16. If you are using the XV-88 in
Performance mode to play an ensemble, count the total
number of Tones used by all the Parts using the following
formula.
How a Patch Sounds
When the XV-88 is requested to play more than 128 voices
simultaneously, currently sounding notes will be turned off
to make room for newly requested notes. The note with the
lowest priority will be turned off first. The order of priority is
determined by the Voice Priority setting.
Voice Priority can be set either to LAST or LOUDEST. When
LAST is selected, a newly requested note that exceeds the 128
voice limit will cause the first-played of the currently
sounding notes to be turned off. When LOUDEST is selected,
the quietest of the currently sounding notes will be turned
off. 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.
23
Chapter 1. Overview of the XV-88
Basic Operations on the XV-88
Zone Mode
Switching Modes
This mode is used for a number of settings, such as those
determining the way the sound generator produces sounds
in response to the keyboard when played in a Performance
and the way MIDI messages are sent, and for the
Arpeggiator and D Beam Controller functions.
The XV-88 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 generator 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.01-10
To switch to Zone mode, press [ZONE] while in Performance
mode.
Rhythm Set Mode
This is how you can play a Rhythm Set from the keyboard
and modify the Rhythm Set settings. In this mode, you can
play percussion instruments (Rhythm Tones) on the
keyboard. The XV-88 can also be used in this mode as a
sound module for managing individual Rhythm Sets when
controlled from an external MIDI device.
GM Mode
This special mode makes the XV-88 function as a GM
compatible sound generator. You should select this mode
when you want to play back a GM score (music files created
for General MIDI sound generator).
Sound Generator
Selecting Patch mode, Performance mode, Rhythm Set mode,
and GM mode will determine sound generator 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 XV-88 in this mode, it
will function as a single-patch sound generator.
Performance Mode
In this mode, the XV-88 functions as a multi-timbral sound
generator, and Performance settings can be modified. If
you’re using an external MIDI device to control the XV-88 in
this mode, it will function as a multi-timbral sound
generator.
To modify the settings of a Patch or Rhythm Set that’s
assigned to a Part, hold down [PERFORM] and press
[PATCH]. At this time, if a Patch is assigned to the Part, the
[PERFORM] and [Patch] indicators will light. If a Rhythm Set
is assigned to the Part, the [PERFORM] and [RHYTHM]
indicators will light.
24
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 XV-88 settings such as
tuning, display contrast and how MIDI messages are
received.
Utility Mode
Here you can save and transmit settings for the sound
generator, and make settings related to memory cards.
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
(extinguished). [EDIT] will turn on or off each time you press
it.
fig.01-11
Chapter 1
Chapter 1. Overview of the XV-88
In Patch Mode
([EDIT] Indicator is Extinguished)
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 (extinguished). 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 page. 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.
[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 Rhythm Set Mode
([EDIT] Indicator is Extinguished)
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
page (the setting page for individual keys), the function
buttons will select the key to be edited.
TONE SELECT [1]: move to an octave lower key
In Performance Mode
([EDIT] Indicator is Extinguished)
The Function buttons work as [ZONE SELECT] buttons that
switch each Zone’s Local switch and Transmit switch on (lit)
and off (extinguished).
When the [LOCAL/TX] indicator is extinguished, the switch
has the linked Part for each Zone play (lit) or not play
(extinguished).
When the [LOCAL/TX] indicator is lit, the switch allows the
data describing all actions using the keyboard controller
section for each Zone to be sent (lit) or prevents it from being
sent (extinguished).
Since 16 Zones are being controlled using only 8 buttons, use
[1-8/9-16] to select the set of Zones you want to control.
When the [1-8/9-16] indicator is out, you can switch Zones
1–8 on/off. When it is lit, you can switch Zones 9–16 on/off.
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
In GM Mode
([EDIT] Indicator is Extinguished)
The Function buttons work as [PART SELECT] buttons that
switch the reception of Note messages on (lit) and off
(extinguished).
Since 16 Parts are being controlled using only 8 buttons, use
[1-8/9-16] to select the set of Parts you want to control. When
the [1-8/9-16] indicator is out, 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 page,
the function buttons will act as PART Select buttons ([PART
SELECT]) that select the Part to be edited.
If the [EDIT] indicator is turned off in the Part setting page,
the function buttons will act as PART Select buttons ([PART
SELECT]) that select the Part to be edited.
25
Chapter 1. Overview of the XV-88
When [EDIT] Indicator is Lit
Moving the Cursor (underline)
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 page
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.
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.
About the Cursor Buttons
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 page.
The Cursor buttons are pressed to switch pages and move
the cursor, and are used for remote control of external
sequencers.
fig.01-14
fig.01-15
fig.01-12
Moving Between Display Pages
The various pages 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 page indicates
that one or more pages exist after this page. Press
to
move to the previous page, or
to move to the next page.
Press
while holding down [SHIFT] to jump to the first
page. Press
while holding down [SHIFT] to jump to the
last page.
Remote Control of External Sequencers
When any PLAY page is displayed, then by pressing the
different CURSOR buttons while holding down [SHIFT], you
can have remote start, stop, and other control functions of
external sequencers connected to the XV-88. This is a useful
and extremely convenient function to have in situations such
as when playing ensemble using an external sequencer.
[SHIFT] +
(NEXT SONG): Selects the next song.
[SHIFT] +
(PREV SONG): Selects the previous song.
[SHIFT] +
(RESET): Returns to the beginning of the song.
[SHIFT] +
of the song.
(START/STOP): Starts and stops performance
fig.01-13
Moving Between Groups
In group pages 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 page, you can move to
another group even if [EDIT] indicator is out. 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.
26
When [SHIFT] is held down while
(or
) is
pressed, the song either before (or after) the Song
Number set with the Song Number parameter
(SYSTEM/INFO/TRANSMIT SONG SEL) is selected (p.
178).
Some sequencers cannot be started or stopped without
receiving the MIDI Clock (F8h), and settings on certain
sequencers also cannot be changed. Please use a
sequencer able to perform START/STOP without
requiring reception of the MIDI Clock (F8h). For more
detailed information, refer to the owner’s manual for
your sequencer.
Modifying a Value
< Example 1: To enter a value of 38 >
To modify a value, use the VALUE dial, [INC/+]/[DEC/-] or
[0]–[9] (numeric keys).
< Example 2: To enter a value of -60 >
fig.01-16
Chapter 1
Chapter 1. Overview of the XV-88
Press [3] → press [8] → press [ENTER]
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].
Restoring a Previous Value (Undo)
Each parameter has a specific range, so you cannot set
any value smaller than the minimum value or greater
than the maximum value.
If, after you change a value you decide that you want to go
back to its original value (before you made the change), press
[UNDO/COMPARE]. You can also put your change back in
again by pressing the button once more. The Undo function
can be used when making changes to settings in the sound
generator section. This is convenient when you want to undo
changes or when you want to compare the sound before and
after a change is made.
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 the button 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.
27
Chapter 1. Overview of the XV-88
Assigning a Name
Convenient Functions
The XV-88 lets you assign names to Patches, Performances,
and Rhythm Sets. The procedure is the same for any type of
data.
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.
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.
fig.01-17
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]
ABC
[2]
DEF
[3]
GHI
[4]
JKL
[5]
MNO
[6]
PQR
[7]
STU
[8]
VWX
[9]
YZ!
[0]
space
28
A
a: switch between uppercase/lowercase characters
INS: insert a space at the cursor location
DEL: delete the character at the cursor location
Playing in Patch Mode
XP-A, B (Wave Expansion Boards installed in
EXP-A, B Slots)
The sounds used for an ordinary performance are called
Patches. Select a Patch before playing.
These are the groups of Patches from Wave Expansion
Boards (optional SR-JV80 Series) installed in the EXP-A and
B slots, and cannot be overwritten. However, you can modify
the settings of the currently selected Patch, and then save the
modified settings in User memory or a memory card. The
number of onboard Patches depends on the specific Wave
Expansion Boards installed.
Selecting a Patch
The XV-88 has eight Patch groups, including the User group
and Preset Groups A–F and H, with each group storing 128
Patches (256 in Preset H), for a total of 1,152 Patches. In
addition to these, you can also select Patches stored on
memory cards (SmartMedia). What’s more, you can further
expand your options by installing up to four optional Wave
Expansion boards (two SR-JV80, two SRX Series), enabling
you to select from a huge assortment of available Patches.
USER
This is the group inside the XV-88 which can be rewritten.
Patches you yourself create can be stored in this group. The
XV-88 includes 128 preset Patches (p. 253).
CD-A–H (Memory Card A–H)
This is the group to accessed when using Patches stored on
memory cards (SmartMedia) inserted in the MEMORY
CARD slot. You can also rewrite Patches you create. Each
bank A–H holds 128 Patches, meaning you can select from a
maximum of 1,024 Patches.
Patches in CD-A–H cannot be selected if no memory
card (SmartMedia) is inserted in the MEMORY CARD
slot.
XP-A, B Patches can be selected only if a Wave
Expansion Board (SR-JV80 Series) is installed in the
corresponding slot.
XP-C, D (Wave Expansion Boards installed in
EXP-C, D Slots)
These are the groups of Patches from Wave Expansion
Boards (optional SRX Series) installed in the EXP-C and D
slots, and cannot be overwritten. However, you can modify
the settings of the currently selected Patch, and then save the
modified settings in User memory or a memory card. The
number of onboard Patches depends on the specific Wave
Expansion Boards installed.
XP-C, D Patches can be selected only if a Wave Expansion
Board (SRX Series) is installed in the corresponding slot.
1. Press [PATCH] to call up the PATCH PLAY page.
fig.02-01.e
Patch number
Patch group
Patch name
PR-A–F (Preset A–F)
These are groups inside the XV-88 which cannot be
rewritten. However, you can modify the settings of the
currently selected Patch, and then save the modified settings
in User memory or a memory card. Banks A–F already
contain 128 prepared Patches each, for a total of 768 Patches
(p. 253).
PR-H (GM2)
This is an internal group of Patches compatible with General
MIDI 2, a system of MIDI function specifications designed to
transcend differences between makers and types of devices;
these Patches cannot be overwritten. Furthermore, settings of
currently selected Patches from this group cannot be
changed. The XV-88 includes 256 preset Patches.
2. Select a Patch group or a bank.
USER
Press [USER] to make the indicator light.
CD-A–H
Press [CARD], and then press [A]–[H] to make the
indicator light.
PR-A–F
Press [PRESET], and then press [A]–[F] to make the
indicator light.
PR-H (GM2)
Press [PRESET], and then press [H] to make the indicator
light.
XP-A–D
Press [EXP], and then press [A]–[D] to make the
indicator light.
29
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
3. Select the Patch number. Rotate the VALUE dial or press
[INC/+]/[DEC/-] to select a Patch.
You can also select the Patch number by using the
numeric keys. In this case, after specifying the number
using the numeric keys, press [ENTER]. Also, Using the
Digit Hold function, a Patch number can be selected
simply by specifying the 1’s place number.
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 [0] (numeric key).
The Digit Hold function is now turned on.
fig.02-02
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
[0] once again.
Selecting Patches by Category
(Patch Finder)
The XV-88 provides a “Patch Search function” (Patch Finder)
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 page.
2. Press [PATCH FINDER] to turn the Patch Finder
function on.
The patch number display will change to the category
display.
fig.02-03
3. Press
or
to select the desired category.
Here, you can change the Category group by pressing
the numeric keys.
4. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
choose a Patch in the currently selected category.
5. Press [PATCH FINDER] to turn the Patch Search
function off.
You will return to the normal PATCH PLAY page.
In Step 3, the CATEGORY SELECT page is displayed by
holding down [PATCH FINDER] and pressing the
numeric keys. In this page, you can select the desired
Category from a list of Categories belonging to each
Category group.
fig.02-04
Rotate the VALUE dial or press [INC/+]/[DEC/-] to
select a category, and then press [ENTER] to confirm the
selection. You can also select a category directly by
pressing the corresponding numeric key.
30
The following categories can be selected.
Category
Group
Category
Contents
NO ASSIGN
No assign
PNO
AC.PIANO
Acoustic Piano
EP
EL.PIANO
Electric Piano
KEYBOARDS
Other Keyboards
(Clav, Harpsichord etc.)
--Piano
Keys&Organ
KEY
BEL
MLT
BELL
Bell, Bell Pad
MALLET
Mallet
ORG
ORGAN
Electric and Church Organ
ACD
ACCORDION
Accordion
HRM
HARMONICA
Harmonica, Blues Harp
AGT
AC.GUITAR
Acoustic Guitar
EGT
EL.GUITAR
Electric Guitar
DGT
DIST.GUITAR
Distortion Guitar
Guitar
Bass
BS
SBS
BASS
Acoustic & Electric Bass
SYNTH BASS
Synth Bass
Orchestral
STR
ORC
HIT
STRINGS
Strings
ORCHESTRA
Orchestra Ensemble
HIT&STAB
Orchestra Hit, Hit
WND
WIND
Winds (Oboe, Clarinet etc.)
FLT
FLUTE
Flute, Piccolo
BRS
AC.BRASS
Acoustic Brass
SBR
SYNTH BRASS
Synth Brass
SAX
SAX
Sax
HLD
HARD LEAD
Hard Synth Lead
Selecting Favorite Patches from
the Favorite List
On the XV-88, you can bring together your favorite and most
frequently used Patches in one place by registering them in
the Favorite List. The Favorite List gives you immediate
access to your favorite Patches wherever they are stored,
whether in the XV-88 itself, on Wave Expansion Boards, or
on memory cards.
If you have saved Patches located on Wave Expansion
Boards or memory cards onto the Favorite List, and then
attempt to select one of the saved Patches without
having the corresponding Wave Expansion Board
installed, or the relevant memory card inserted, “No
media” appears in the display, and the selected Patch
cannot be played.
For instructions on how to register to the Favorite List,
refer to “Registering Favorite Patches/Rhythm Sets
in the Favorite List” (p. 165).
1. Press [PATCH] to call up the PATCH PLAY page.
2. While holding down [SHIFT], press [PATCH FINDER].
The FAVORITE LIST page will appear.
Brass
Synth
SLD
SOFT LEAD
Soft Synth Lead
TEK
TECHNO SYNTH
Techno Synth
PLS
PULSATING
Pulsating Synth
FX
SYNTH FX
Synth FX (Noise etc.)
OTHER SYNTH
Poly Synth
BPD
BRIGHT PAD
Bright Pad Synth
SPD
SOFT PAD
Soft Pad Synth
VOX
VOX
Vox, Choir
Plucked (Harp etc.)
SYN
fig.02-05
3. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
select a Patch.
4. When you press [ENTER], the Patch is selected and you
are returned to the PATCH PLAY page.
Pad
Ethnic
PLK
PLUCKED
ETH
ETHNIC
Other Ethnic
FRT
FRETTED
Fretted Inst
(Mandolin etc.)
PERCUSSION
Percussion
Rhythm&SFX
PRC
SFX
SOUND FX
Sound FX
BTS
BEAT&GROOVE
Beat and Groove
DRM
DRUMS
Drum Set
CMB
COMBINATION
Other Patches which
use Split and Layer
31
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
Using Phrase Preview to Play
Patches
The XV-88 allows you to preview Patches by hearing a
phrase appropriate for each type of Patch.
1. Select a Patch (p. 29).
7. If you set the Preview Mode parameter to PHRASE in
step 5, you can specify the phrase that will sound. After
pressing [EDIT] to make the indicator light up, press the
[COMMON] function button, and press
or
to
display the PATCH CATEGORY page.
fig.05-08
2. Press and hold [PHRASE PREVIEW].
• In Performance mode, only the Patches of the currently
selected Part (current Part) will sound. In Rhythm Set
mode, a drum phrase will sound.
• Patches of the USER group or from an optional Wave
Expansion Board (SR-JV80 Series and SRX Series) may
not sound at the appropriate pitch range. If this occurs,
press [+OCT] or [-OCT] to select the desired pitch range
(Octave Shift p. 47).
• If the pitch range of a Phrase is wider than the range of
the Tones within a Patch (p. 73), or wider than the range
of a Part within a Performance (p. 51), any notes in the
Phrase that fall outside that range will not be heard.
8. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
make the setting. For details on the available categories,
refer to (p. 31).
The Patch Finder function uses this setting.
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.
1. Make sure that the PATCH PLAY page is displayed.
3. Release your finger from [PHRASE PREVIEW], and the
phrase will stop playing.
2. Make sure that [EDIT] indicator is extinguished. If it is
lit, press [EDIT].
4. To change the way in which the phrase is played, press
[SYSTEM] to make the indicator light. Then press the
[PREVIEW] function button, and press
or
to
access the SYSTEM PREVIEW page.
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]. Lit is on, and dark is off.
fig.09-21
The PATCH PLAY page indicates the Tones that are on
as follows. Tones that are off are shown as -.
fig.02-06
5. Rotate the VALUE dial, or press [INC/+]/[DEC/-] to
make the setting.
3. Use TONE SWITCH [1]–[4] to switch Tones on/off.
Preview 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 associated with the Patch’s type/
category is played.
For details on the Note 1–4 parameter settings, refer to
“Phrase Preview Settings (PREVIEW)” (p. 177).
6. Press [EXIT] to return to the PATCH PLAY page.
32
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
XV-88’s simultaneous voices.
Playing Single Notes (Solo)
Normally, the XV-88 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.
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 page is displayed.
1. Make sure that the PATCH PLAY page is displayed.
2. Press [SOLO] so its indicator lights.
2. Press [PORTAMENTO]. Its indicator lights.
Now you can play a solo.
3. Play the XV-88 keyboard.
During Layer Performance, the [SOLO] indicator goes
out each time you change the Performance. Also, the
[SOLO] indicator does not reflect Mono/Poly modeswitching information received from an external MIDI
device.
You’re ready to play 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 PATCH
PORTAMNT page.
fig.05-34
4. Press the cursor buttons to move the cursor over to
“Time,” “Mode,” “Type” or “Start.”
See (p. 76) 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 page and
play.
During Layer Performance, the [PORTAMENTO]
indicator goes out each time you change the
Performance. Also, the [PORTAMENTO] indicator does
not reflect Portamento on/off-switching information
received from an external MIDI device.
33
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
Using the Sliders to Modify the
Sound in Realtime
With the four sliders (Palette Slider) in the PALETTE section,
you can create sound variations or volume changes in
realtime.
The sound character and volume changes created using
the sliders can be transmitted to the external MIDI
devices (p. 170).
Changing Sound Characters
1. Make sure that the PATCH PLAY page is displayed.
2. Press [FILTER/ENV] to light its indicator.
3. Move the sliders while you play the XV-88’s keyboard to
vary the sound.
To modify the brightness, move the [CUTOFF] slider.
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.
About the MIDI Connection Settings
(Zone and Part)
Although the XV-88’s keyboard controller section and
sound generator section are connected internally using a
MIDI connection, in Layer Performance mode, you can
then make even more detailed settings affecting the way
the connection works between the keyboard controller
section and the sound generator section, as well as with
an external MIDI device.
To change attack time, move the [ATTACK] slider.
At the factory settings, shown below, there is a one-toone correspondence between the Zone, the MIDI
Transmit/Receive channel, and the Part.
To change release time, move the [RELEASE] slider.
To change resonance, move the [RESONANCE] slider.
fig.01-07.e
Changing the Volume of Each Tone
1. Make sure that the PATCH PLAY page is displayed.
Zone 16 (MIDI transmit channel 16)
Zone 2 (MIDI transmit channel 2)
Zone 1 (MIDI transmit channel 1)
2. Press [LEVEL] to light its indicator.
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.
Part 16 (MIDI receive channel 16)
Part 2 (MIDI receive channel 2)
Part 1 (MIDI receive channel 1)
Patch/
Rhythm Set
Under these conditions, you could simply consider that
“each of the Zones from 1 to 16 is linked in a one-toone relationship with its numerical counterpart
among Parts 1 to 16”. In other words, you can use Zone
1 when controlling Part 1, Zone 2 is when controlling
Part 2, and so on.
We recommend that under normal circumstances
you use the default factory settings.
In this manual, the expression “the Zone and Part
are linked” refers to the condition whereby a Zone’s
MIDI transmit channel and a Part’s MIDI receive
channel are matched in this one-to-one relationship.
The explanations in this section describe how to play
Performances using the factory Zone settings.
34
CD-A–H (Memory Card A–H)
In a Layer Performance, you can select multiple Zones, and
play those Zones and their linked Parts simultaneously.
Select Layer Performance if you want fat, rich sounds of two
or more Patches, or want to play different Patches in a split
keyboard’s different sections.
This is the group to accessed when using Performances
stored on memory cards (SmartMedia) inserted in the
MEMORY CARD slot. You can also rewrite Performances
you create. Each bank A–H holds 64 Performances, meaning
you can select from a maximum of 512 Performances.
With a Single Performance, you can play the currently
selected Part (current Part). This means that you can use it to
do things like playing just a single part in a song that uses a
number of instruments. Zone settings are ignored. Also, if
another Part is set to the same MIDI Receive channel as the
currently selected Part, that Part is also played.
The Single Performance and Layer Performance settings
are selected with the Key Mode parameter (ZONE/
COMMON/ZONE COMMON). The Key Mode
parameter determines how the XV-88 keyboard will play
the internal sound generator. It has no effect on how the
XV-88 sound generator is played from an external MIDI
device.
You can toggle between SINGLE and LAYER directly
from the PERFORM PLAY page by pressing [SOLO]
while holding down [SHIFT].
Performances in CD-A–H cannot be selected if no
memory card (SmartMedia) is inserted in the MEMORY
CARD slot.
PR-A, B (Preset A, B)
These are groups inside the XV-88 which cannot be
rewritten. However, you can modify the settings of the
currently selected Performance, and then save the modified
settings in User memory or a memory card. Banks A and B
already contain 32 prepared Performances each, for a total of
64 Performances (p. 252).
1. Press [PERFORM] to call up the PERFORM PLAY page.
fig.02-07.e
Performance number
Performance number
Performance group
2. Select a Performance group or Bank.
USER
Press [USER] to make the indicator light.
Selecting a Performance
The XV-88 has three Performance groups, including the User
group and Preset Groups A, B, with 64 Performances in the
User group and 32 each in Presets A and B, for a total of 128
Performances. In addition to these, you can also select
Performances stored on memory cards (SmartMedia).
USER
This is the group inside the XV-88 which can be rewritten.
Performances you yourself create can be stored in this group.
The XV-88 contains 64 preset Performances (p. 252).
CD-A–H
Press [CARD], and then press [A]–[H] to make the
indicator light.
PR-A, B
Press [PRESET], and then press [A] or [B] to make the
indicator light.
3. Select the Performance number. Select by either rotating
the VALUE dial or by pressing [INC/+]/[DEC/-].
You can also select the Performance number by using the
numeric keys. In this case, after specifying the number
using the numeric keys, press [ENTER]. Also, Using the
Digit Hold function, a Performance number can be
selected simply by specifying the 1’s place number (p.
30).
35
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
Playing Fatter and Richer Sounds
by Combining Patches (Layer)
In a Layer Performance, the Zones whose Local switches are
set to ON along with all linked Parts can be played.
Combining the Parts will produce, thicker, fatter sounds.
fig.02-08.e
Part 1
(Rx ch.1)
Part 2
(Rx ch.2)
Part 15
(Rx ch.15)
Part 16
(Rx ch.16)
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 Zone can be
specified individually, you can split the keyboard into a
maximum of 16 sections.
For instance, you can play strings in the lower range, piano
in the upper range, and both sounds in the middle range.
fig.02-09.e
Local Switch: On
Zone 1 (Tx ch.1)
Part 1: Strings
Part 1 + Part 2:
(Strings + Piano)
Zone 2 (Tx ch.2)
Part 2: Piano
Zone 15 (Tx ch.15)
Zone 16 (Tx ch.16)
1. Make sure the PERFORM PLAY page is displayed.
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
(ZONE/COMMON/ZONE COMMON) (p. 58).
3. Confirm that the [EDIT] and [LOCAL/TX] indicators are
extinguished, and, press a Function button to select the
Zone linked to the Part you want played, lighting the
button’s indicator. When the [1-8/9-16] indicator is out,
zones 1–8 can be selected, and when the [1-8/9-16]
indicator is lit, zones 9–16 can be selected.
The Local Switch for the selected zone will be turned
ON.
At the factory settings, there is a one-to-one
correspondence between each of the Zones 1–16 and
Parts 1–16.
The setting here is linked to the setting at the Local
parameter (ZONE/MIDI/MIDI) (p. 60).
4. Repeat Step 3 to set the Local switch to ON for all Zones
linked to the Parts you want to have play.
36
• If a Patch key range is set in the KEY RANG page
(PATCH/COMMON), sounds are produced in the
overlapping sections between the key ranges specified
for the Patch and Performance.
fig.02-10.e
Key range specified for Performance
Key range specified for Patch
The range in which notes will play
• Although you can set the key range of each Part in the
KEY RANG page (PERFORM/COMMON) (p. 51), when
performing with the XV-88’s keyboard, we recommend
setting the key range of each Zone, as explained here,
rather than setting the key range for each Part.
1. Make sure the PERFORM PLAY page is displayed.
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
(ZONE/COMMON/ZONE COMMON) (p. 58).
3. Confirm that the [EDIT] and [LOCAL/TX] indicators are
extinguished, and, press a Function button to select the
Zone linked to the Part you want played, lighting the
button’s indicator. When the [1-8/9-16] indicator is out,
zones 1–8 can be selected, and when the [1-8/9-16]
indicator is lit, zones 9–16 can be selected.
The Local Switch for the selected zone will be turned
ON.
Playing Along with Song
Playback (XV-88 Used as a
Multi-timbral Sound Generator)
In a Single Performance, you can sound the single specified
Part (current Part), making this convenient in such situations
as when performing along with songs.
fig.02-11.e
Part 1
(Rx ch.1)
Part 2
(Rx ch.2)
Part 15
(Rx ch.15)
Part 16
(Rx ch.16)
At the factory settings, there is a one-to-one
correspondence between each of the Zones 1–16 and
Parts 1–16.
The setting here is linked to the setting at the Local
parameter (ZONE/MIDI/MIDI) (p. 60).
4. Repeat Step 3 to set the Local switch to ON for all Zones
linked to the Parts you want to have play.
5. Press [ZONE], getting the indicator to light, and then
press the [KEY RANGE] function button to access the
KEY RANG page.
fig.04-07
(Tx ch.1)
Selecting a Part You Want to Play on
the Keyboard
If a Single Performance is selected, press Function button to
select the Part you want to play. The selected Part is called
the Current Part.
1. Make sure the PERFORM PLAY page is displayed.
6. Turn off the [EDIT] indicator, and press a Function
button to select the Zone whose Local switch is set to
ON. When the [1-8/9-16] indicator is out, zones 1–8 can
be selected, and when the [1-8/9-16] indicator is lit,
zones 9–16 can be selected.
7. Specifies the keyboard range for the Zone. Use the cursor
buttons to move the cursor to “Lower” and set the lowest
note of the range. Move the cursor to “Upper” and set the
highest note of the range.
2. Confirm that the [EDIT] indicator is extinguished, and
press the Function button to select the Part you want to
play using the keyboard. When the [1-8/9-16] indicator
is out, Parts 1–8 can be selected, and when the [1-8/9-16]
indicator is lit, Parts 9–16 can be selected.
The Part number shown in the upper right of the display
will change.
fig.02-12
8. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
specify the range of notes.
• You can also select the Part by pressing
By specifying sections for different Zones so that they
overlap each other, you can combine two or more
Patches only in a specific section.
or
.
• The keyboard controller’s performance data will be
transmitted on the same MIDI channel as the MIDI
Receive channel that is set for the current Part.
9. When you are finished making settings, press [EXIT] to
return to the PERFORM PLAY page, and begin playing.
37
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
Muting a Specific Part
(Turning Receive Switch 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 extinguished. If it is
lit, press [EDIT].
In this case, by holding down [SHIFT], you can check
Function button indicators to see the ON/OFF status of
each Part’s Receive switch. When [1-8/9-16] indicator is
out, 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 the Receive switch on/off.
This setting is linked with the Rx Sw parameter
(PERFORM/MIDI/MIDI) (p. 52).
Assigning a Different Patch to a
Part
The Patch assigned to each Part can be stored as a
Performance parameter.
• Using the Patch Finder function, you can rapidly find the
desired Patch (p. 30).
• By using the Phrase Preview function, you can audition
patches by listening to a preset phrase suitable for the
selected type of patch (p. 32).
5. Press [PERFORM] or [EXIT] to return to the PERFORM
PLAY page.
By pressing [RHYTHM] in Step 4, you can substitute a
Rhythm Set for the Patch assigned to the Part.
Using the Sliders to Modify the
Sound in Realtime
With the four sliders in the PALETTE section (the Palette
sliders), you can change the sound qualities of the Patches
assigned to the Parts and adjust the volume level of each
Part.
The sound character and volume changes created using
the sliders can be transmitted to the external MIDI
devices (p. 59).
Changing Sound Characters
1. Make sure the PERFORM PLAY page is displayed.
2. While holding down [PERFORM], press [PATCH] to call
up the PLAY page (PART PLAY) of the Patch assigned to
a specific Part.
fig.02-13
When selecting a Single Performance, the effect is
applied to the single specified Part (current Part). When
a Layer Performance is selected, the effect is applied to
all Zones with Local switches set to ON and their linked
Parts.
1. Make sure the PERFORM PLAY page is displayed.
The upper right of the display will indicate the number
of the currently selected part.
3. Press
or
to choose the Part to which the selected
Patch is assigned.
4. Use the same procedure as in Patch mode to select a
Patch (p. 29).
2. Press [FILTER/ENV] and its indicator lights.
3. Move the sliders while you play the XV-88’s keyboard to
vary the sound.
To modify the brightness, move the [CUTOFF] slider.
To change resonance, move the [RESONANCE] slider.
To change attack time, move the [ATTACK] slider.
To change release time, move the [RELEASE] slider.
This setting is linked with the Group and Number
parameter (PERFORM/PART/PATCH) (p. 53).
38
Chapter 2. Playing
1. Make sure the PERFORM PLAY page is displayed.
2. Press [LEVEL] and its indicator lights.
3. Press
or
to select the Part whose 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.
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 XV-88 has eight Rhythm Set groups, including the User
group and Preset Groups A–F and H, with 4 Rhythm Sets in
the User group, 2 each in Presets A–F, and 9 Rhythm Sets in
Preset H, for a total of 25 Rhythm Sets. In addition to these,
you can also select Rhythm Sets stored on memory cards
(SmartMedia). What’s more, you can further expand your
options by installing up to four optional Wave Expansion
boards (two SR-JV80, two SRX Series), enabling you to select
from a large selection of Rhythm Sets.
USER
If the MIDI Receive channels for multiple Parts are set to
the same value, the volume levels of several Parts could
change at the same time.
This is the group inside the XV-88 which can be rewritten.
Rhythm Sets you yourself create can be stored in this group.
The XV-88 includes four preset Rhythm Sets (p. 258).
CD-A–H (Memory Card A–H)
This is the group to accessed when using Rhythm Sets stored
on memory cards (SmartMedia) inserted in the MEMORY
CARD slot. You can also rewrite Rhythm Sets you create.
Each bank A–H holds 4 Rhythm Sets, meaning you can select
from a maximum of 32 Rhythm Sets.
Rhythm Sets in CD-A–H cannot be selected if no
memory card (SmartMedia) is inserted in the MEMORY
CARD slot.
PR-A–F (Presets A–F)
These are groups inside the XV-88 which cannot be
rewritten. However, you can modify the settings of the
currently selected Rhythm Set, and then save the modified
settings in User memory or a memory card. Banks A–F
already contain 2 prepared Rhythm Sets each, for a total of 12
Rhythm Sets (p. 258).
PR-H (GM2)
This is an internal group of Rhythm Sets compatible with
General MIDI 2, a system of MIDI function specifications
designed to transcend differences between makers and types
of devices; these Rhythm Sets cannot be overwritten.
Furthermore, settings of currently selected Rhythm Sets from
this group cannot be changed. The XV-88 includes 9 preset
Rhythm Sets.
39
Chapter 2
Adjusting the Volume Balance
Between Parts
Chapter 2. Playing
XP-A, B (Wave Expansion Boards installed in
EXP-A, B Slots)
These are the groups of Rhythm Sets from Wave Expansion
Boards (optional SR-JV80 Series) installed in the EXP-A and
B slots, and cannot be overwritten. However, you can modify
the settings of the currently selected Rhythm Set, and then
save the modified settings in User memory or a memory
card. The number of onboard Rhythm Sets depends on the
specific Wave Expansion Boards installed.
XP-A, B Rhythm Sets can be selected only if a Wave
Expansion Board (SR-JV80 Series) is installed in the
corresponding slot.
XP-C, D (Wave Expansion Boards installed in
EXP-C, D Slots)
These are the groups of Rhythm Sets from Wave Expansion
Boards (optional SRX Series) installed in the EXP-C and D
slots, and cannot be overwritten. However, you can modify
the settings of the currently selected Rhythm Set, and then
save the modified settings in User memory or a memory
card. The number of onboard Rhythm Sets depends on the
specific Wave Expansion Boards installed.
XP-C, D Rhythm Sets can be selected only if a Wave
Expansion Board (SRX Series) is installed in the
corresponding slot.
1. Press [RHYTHM] to call up the RHYTHM PLAY page.
fig.02-14.e
Rhythm Set number
Rhythm Set name
Rhythm Set group
2. Select a Rhythm Set group or Bank.
USER
Press [USER] to make the indicator light.
CD-A–H
Press [CARD], and then press [A]–[H] to make the
indicator light.
XP-A–D
Press [EXP], and then press [A]–[D] to make the
indicator light.
3. Select the Rhythm Set number. Rotate the VALUE dial or
press [INC/+]/[DEC/-] to select the number.
You can also select the Rhythm Set number by using the
numeric keys. In this case, after specifying the number
using the numeric keys, press [ENTER]. Also, Using the
Digit Hold function, a Rhythm Set number can be
selected simply by specifying the 1’s place number (p.
30).
Selecting Favorite Rhythm Sets
from the Favorite List
On the XV-88, you can bring together your favorite and most
frequently used Rhythm Sets in one place by registering
them in the Favorite List. The Favorite List gives you
immediate access to your favorite Rhythm Sets wherever
they are stored, whether in the XV-88 itself, on Wave
Expansion Boards, or on memory cards.
If you have saved Rhythm Sets located on Wave
Expansion Boards or memory cards onto the Favorite
List, and then attempt to select one of the saved Rhythm
Sets without having the corresponding Wave Expansion
Board installed, or the relevant memory card inserted,
“No media” appears in the display, and the selected
Rhythm Set cannot be played.
For instructions on how to register to the Favorite List,
refer to “Registering Favorite Patches/Rhythm Sets
in the Favorite List” (p. 165).
1. Press [PATCH] to call up the RHYTHM PLAY page.
2. While holding down [SHIFT], press [PATCH FINDER].
The FAVORITE LIST page will appear.
fig.02-05
PR-A–F
Press [PRESET], and then press [A]–[F] to make the
indicator light.
3. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
select a Rhythm Set.
PR-H (GM2)
Press [PRESET], and then press [H] to make the indicator
light.
40
4. When you press [ENTER], the Rhythm Set is selected and
you are returned to the RHYTHM PLAY page.
Playing Percussion Instruments
1. Press [RHYTHM] to call up the RHYTHM PLAY page.
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) will be displayed
below the Rhythm Set name.
fig.02-15.e
Playing Arpeggios
(Arpeggiator)
The Arpeggiator provides for the play of the various notes in
chords. The XV-88’s Arpeggiator lets you produce an
arpeggio (broken chord) simply by playing a chord. In
addition to normal arpeggios, you can also accurately
simulate rhythm guitar 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 XV-88 keyboard.
Note name
Rhythm Tone name
You can also select a key to be displayed by using TONE
SELECT [1]–[4].
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
If you press [ARPEGGIO] to turn this function on when
a Single Performance is selected, the single specified Part
(current Part) will play arpeggios. When a Layer
Performance is selected, an arpeggio will sound for the
Zone specified by the Zone parameter (ZONE/
ARPEGGIO/ARPEGGIO).
TONE SELECT [4]: move to an octave higher key
The arpeggios played by the arpeggiator can be
transmitted from the MIDI OUT connector to external
MIDI devices (p. 59).
1. Make sure that the PLAY page of the sound generator
mode (PERFORM, PATCH, RHYTHM, or 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 page,
move the cursor to “Style,” and change the setting.
fig.02-16
This setting is linked with the Style parameter.
In Patch/Rhythm Set/GM Mode
Style parameter (SYSTEM/ARPEGGIO/ARPEGGIO) (p.
174)
In Performance Mode
Style parameter (ZONE/ARPEGGIO/ARPEGGIO) (p.
61)
41
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
There are 45 arpeggio styles available. For selection, refer to
the following guideline.
Playing an Arpeggio According to the Timing
Interval of a Note
5. To change the range in which the arpeggio is played,
hold down [ARPEGGIO] to access the ARP SELECT
page, move the cursor to “Oct,” and change the setting.
fig.02-18
1/4–1/32
Playing a Glissando
GLISSANDO
Playing a Bass Part
SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS
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.
Playing a Guitar
RHYTHM GTR 1–5, 3 FINGER, STRUM GTR DOWN,
STRUM GTR UP, STRUM GTR UP&DN
This setting is linked with the Octave Range parameter.
Playing a Keyboard Instrument
Octave Range parameter (SYSTEM/ARPEGGIO/
ARPEGGIO) (p. 175)
PIANO BACKING, CLAVI CHORD
Playing a Waltz
WALTZ, SWING WALTZ
Playing in Reggae Style
REGGAE
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
“Arpeggiator Settings (ARPEGGIO)” (p. 61, p. 174).
4. To change the “groove” feel of the arpeggio, hold down
[ARPEGGIO] to access the ARP SELECT page, move the
cursor to “Accent,” and change the setting.
fig.02-17
In Patch/Rhythm Set/GM Mode
In Performance Mode
Octave Range parameter (ZONE/ARPEGGIO/
ARPEGGIO) (p. 61)
6. To change the tempo in which the arpeggio is played,
hold down [ARPEGGIO] to access the ARP SELECT
display, move the cursor to “Tempo,” and change the
setting.
fig.02-19
This setting is linked with the Tempo parameter.
In Patch/Rhythm Set/GM Mode
Tempo parameter (SYSTEM/ARPEGGIO/ARPEGGIO)
(p. 176)
In Performance Mode
Tempo parameter (ZONE/ARPEGGIO/ARPEGGIO) (p.
63)
7. Play a chord to produce an arpeggio.
A setting of 100% will produce the most pronounced
groove feel.
8. To stop the arpeggio, press [ARPEGGIO], extinguishing
the indicator.
This setting is linked with the Accent Rate parameter.
In Patch/Rhythm Set/GM Mode
Accent Rate parameter (SYSTEM/ARPEGGIO/
ARPEGGIO) (p. 176)
In Performance Mode
Accent Rate parameter (ZONE/ARPEGGIO/
ARPEGGIO) (p. 62)
42
If you hold down [SHIFT] when you press [ARPEGGIO],
the ARP SELECT page 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 page.
2. If you have selected a Single Performance, set the Key
Mode parameter (ZONE/COMMON/ZONE
COMMON) to LAYER (p. 58).
3. Set the Local switch of the Zone linked to the Part you
want played to ON (p. 36).
4. After pressing [ZONE] to make the indicator light up,
press the [ARPEGGIO] function button followed
by
to display the ARPEGGIO page like the one
shown below.
fig.04-14
11. Set the key range of the Zones linked to the Parts other
than the Part for which arpeggios are played so that this
range does not overlap with the key range over which
the arpeggios are played.
12. When you are finished making settings, press [EXIT] to
return to the PERFORM PLAY page, and begin playing.
If you play arpeggios using a Layer Performance
without setting the key range, then with Parts other than
the Part linked to the Zone specified by the Zone
parameter (ZONE/ARPEGGIO/ARPEGGIO), only the
sound for the key being pressed is played.
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.
5. Use the cursor buttons to move the cursor to “Zone.”
6. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
select the Zone linked to the Part for which arpeggios are
to be played.
7. Press [KEY RANGE] in the Function buttons to display
the KEY RANG page.
fig.04-07
4. To cancel Arpeggio Hold, hold down [ARPEGGIO] and
press [TRANSPOSE] simultaneously once again.
When 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 (DP-2, DP-6, etc.) to the
HOLD PEDAL jack.
8. Set the key range (expression range) for the Zone. Use
the cursor buttons to move the cursor to “Lower” and set
the lowest note of the range. Move the cursor to “Upper”
and set the highest note of the range.
9. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
specify the range of notes.
2. Press [ARPEGGIO] to turn the Arpeggiator on.
3. Play a chord while pressing the hold pedal.
4. To play another chord, release the pedal, press it again as
you play the next chord.
10. Turn off the [EDIT] indicator, and press a Function
button to select a Zone linked to a Part other than the one
for which arpeggios are played. When the [1-8/9-16]
indicator is out, you can select zones 1–8. When the [1-8/
9-16] indicator is lit, you can select zones 9–16.
43
Chapter 2
Chapter 2. Playing
Chapter 2. Playing
Simulating a Rhythm Guitar
Creating an Arpeggio Pattern
You can simulate a rhythm guitar by following the procedure
below. By using the Palette Slider, it is also possible to apply
a wah effect as you play.
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.
1. Select a guitar Patch.
2. Press [ARPEGGIO] to turn the Arpeggiator on.
3. Set the Style parameter (SYSTEM/ARPEGGIO/
ARPEGGIO) to one of RHYTHM GTR 2–5.
4. Press [FILTER/ENV] to make the indicator light.
5. Move the [CUTOFF] slider or [RESONANCE] slider
while you play a chord.
Playing an Arpeggio from an
External MIDI Device
The XV-88 can also produce arpeggios with incoming Note
messages from an external MIDI device.
1. Use a MIDI cable to connect the MIDI IN connector of the
XV-88 to the MIDI OUT connector of the external MIDI
device.
2. Press [PATCH] to access the PATCH PLAY page.
3. Press [ARPEGGIO] to turn the Arpeggiator on.
4. Press [SYSTEM] to make the indicator lit, press the
[MIDI] function button, and then press
to access the
PATCH MIDI page.
fig.09-06
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 parameters such as Octave Range and Key Velocity.
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.
• When you make the settings in Patch/Rhythm Set/GM
mode, Motif, Beat Pattern, Accent Rate and Shuffle Rate
parameter settings will be lost if you select another style
and then turn the power off. However, in Performance
mode, you can save them to each Performance as the
Performance parameters.
• 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.
1. Access the ARPEGGIO page.
In Patch/Rhythm Set/GM Mode
Press [SYSTEM], getting the indicator to light, and then
press the [ARPEGGIO] function button.
In Performance Mode
5. Use the cursor buttons to move the cursor to “Remote.”
6. Rotate the VALUE dial or press [INC/+]/[DEC/-] to
turn the setting ON.
7. Play the external MIDI device.
Press [ZONE], getting the indicator to light, and then
press the [ARPEGGIO].
fig.04-11
* Here is what appears in the first page of the ARPEGGIO page.
For details regarding each parameter, refer to
“Arpeggiator Settings (ARPEGGIO)” (p. 61, p. 174).
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.
44
Chapter 2. Playing
The available choices depend on the Style parameter
setting. For details, refer to “Arpeggio Style List” (p.
268).
5. Move the cursor to “Beat Pattern,” then change the
rhythm.
The available choices depend on the Style parameter
setting. For details, refer to “Arpeggio Style List” (p.
268).
6. Press
, move the cursor to “Accent Rate,” and
specify the groove ratio.
A setting of 100% will produce 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.
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. When playing in Layer Performance, move the cursor to
“Zone” and specify the Zone linked to the part playing
arpeggios.
Moving Your Hand Above
the D Beam Controller to
Apply Effects
(D Beam Controller)
Chapter 2
4. Press
, move the cursor to “Motif,” and specify the
order in which the notes of the chord will be sounded.
The D Beam Controller is an easy-to-use controller you can
operate just by moving your hand over it. By changing the
function assigned to the controller, you can add a variety of
different effects to the sound. The controller lets you add
effects such as instantaneous changes in tone that are
impossible to do with knobs and sliders.
The D Beam Controller is provided under license from
Interactive Light, Inc.
When selecting a Single Performance, the effect is
applied to the single specified Part (current Part). When
a Layer Performance is selected, the effect is applied to
all Zones with Local switches set to ON and their linked
Parts.
Tone changes made with the D Beam controller can also
be sent to an external MIDI device (p. 59).
1. Make sure that the PLAY page of the sound generator
mode (PERFORM, PATCH, RHYTHM, or GM) is
displayed.
2. Press D BEAM CONTROLLER [ON] to turn on the D
Beam Controller.
3. When changing the function to be controlled with the D
Beam Controller, hold down [ON] to display the D
BEAM CONTROL page, move the cursor to “Assign,”
then make the setting.
fig.04-16
Arpeggios will be played only in the Zone and linked
Part specified here. Chords will sound exactly as played
in other Zones.
10. Move the cursor to “Tempo” and specify the speed of an
arpeggio.
This setting is linked with the Assign parameter.
11. After you finish making settings, press [EXIT].
Assign parameter (SYSTEM/D BEAM/D BEAM
CONTROL) (p. 176)
In Patch/Rhythm Set/GM Mode
In Performance Mode
Assign parameter (ZONE/D BEAM/D BEAM
CONTROL) (p. 63)
For more detailed information on the functions that can
be controlled, refer to (p. 63, p. 176).
45
Chapter 2. Playing
4. When changing the sound generator to be controlled
with the D Beam Controller, hold down [ON] to display
the D BEAM CONTROL page, move the cursor to
“Output,” then make the setting.
fig.02-20
Set the output to INT when controlling only the internal
sound generator, to MIDI when controlling an external
sound generator, or BOTH when you want to control
both internal and external sound generators. When
controlling neither the internal nor any external sound
generator, set this to OFF.
This setting is linked with the Output parameter.
In Patch/Rhythm Set/GM Mode
Output parameter (SYSTEM/D BEAM/D BEAM
CONTROL) (p. 176)
It is not possible to set the lower limit value above the
upper limit, nor can you set the upper limit value below
the lower limit.
This setting is linked with the Lower, Upper parameter.
In Patch/Rhythm Set/GM Mode
Lower, Upper parameter (SYSTEM/D BEAM/D BEAM
RANGE) (p. 177)
In Performance Mode
Lower, Upper parameter (ZONE/D BEAM/D BEAM
RANGE) (p. 64)
7. When changing the sensitivity of the D Beam Controller,
hold down [ON] and press
to display the D BEAM
SENS page, then make the setting.
fig.04-18
In Performance Mode
Output parameter (ZONE/D BEAM/D BEAM
CONTROL) (p. 63)
5. When changing the D Beam Controller’s polarity, hold
down [ON] to display the D BEAM CONTROL page,
move the cursor to “Polarity,” then make the setting.
fig.02-21
With a setting of REVERSE, the direction of control for
the D Beam controller will be inverted.
This setting is linked with the Polarity parameter.
In Patch/Rhythm Set/GM Mode
Polarity parameter (SYSTEM/D BEAM/D BEAM
CONTROL) (p. 177)
In Performance Mode
Polarity parameter (ZONE/D BEAM/D BEAM
CONTROL) (p. 63)
6. When changing the range to be controlled by the D Beam
Controller, hold down [ON] and press
to display
the D BEAM RANGE page, move the cursor to “Lower”
or “Upper,” then make the setting.
fig.04-17
Set the lower limit for the range with the Lower
parameter, and the upper limit for the range with the
Upper parameter.
46
The higher the value set, the more readily the D Beam
Controller goes into effect. Ordinarily, this is set to 5.
This setting is linked with the D Beam Sensitivity
parameter.
In Patch/Rhythm Set/GM Mode
D Beam Sensitivity parameter (SYSTEM/D BEAM/D
BEAM SENS) (p. 177)
In Performance Mode
D Beam Sensitivity parameter (ZONE/D BEAM/D
BEAM SENS) (p. 64)
8. You operate the D Beam Controller by moving your
hand over it, as you produce sounds by playing the
keyboard.
9. To turn off the D Beam Controller, press D BEAM
CONTROLLER [ON] once again, extinguishing the
indicator.
By holding down [SHIFT] and pressing D BEAM
CONTROLLER [ON], you can display each of the
settings pages without having to hold down [ON]. To
return to the original window, press [EXIT].
Chapter 2. Playing
The effective range of the D Beam Controller is as shown
in the following diagram. Hand movement outside of
this area will have no effect.
Chapter 2
The effective range of the D Beam
Controller
Convenient Functions for
Performance
Transposing the Keyboard in
Octave Units (Octave Shift)
fig.02-22
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.
Pressing [-OCT] once will lower the keyboard 1 octave.
The effective range of the D Beam controller will
decrease in locations of strong direct sunlight. Be
aware of this when using the D Beam controller
outdoors.
The specified Octave Shift setting will be shown in the
“kbd=C 4” indication of each PLAY page. For example if
you press [+OCT] once to raise the keyboard one octave,
the display will indicate “kbd=C 5.” This means that
when you press the C4 key, the C5 note will sound.
fig.02-23
There is only one Octave Shift setting in the XV-88, 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
indicator will go off.
47
Chapter 2. Playing
Transposing the Keyboard in
Semitone Steps (Transpose)
If “Stuck” Notes Occur (Panic)
Transpose changes keyboard pitch in units of semitones (-5–
+6 semitones).
If some operation causes sounds from the XV-88, or sounds
from an external sound generator connected with a MIDI
cable to fail to stop playing, use the Panic function.
This function is useful when you play transposed
instruments such as trumpet or clarinet following a printed
score.
When Sounds from the XV-88 Do Not
Stop Playing
1. Press [TRANSPOSE] to light indicator.
1. Hold down [SHIFT] and press [EXIT].
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
“kbd=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.
48
Sounds from the XV-88 stop playing.
2. The display will indicate “Panic! Now Muting.” while
the Panic function is being executed. When this message
goes off, you can start playing.
What to Do When an External Sound
Generator Fails to Stop Sounding
1. Hold down [SHIFT] and press [EXIT] for more than a
second.
MIDI messages for All Sounds Off, Reset All Controllers,
Hold 1 (0), Hold 2 (0), and Sostenuto (0) will be
transmitted to all MIDI channels (Parts).
2. The display will indicate “Panic! Now Transmitting.”
while the Panic function is being executed. When this
message goes away, you can start playing.
Chapter 3. Creating Performances
How a Performance Is
Organized
A Performance is a collective set of assignments of the
sixteen different Patches and Rhythm Sets. Since a
Performance can simultaneously handle 16 different sounds,
it allows you to play multiple Patches simultaneously (layer)
or to play different Patches in different areas of the keyboard
(split), and to create ensembles.
fig.01-06.e
Performance
3. Use the function buttons to select a display group.
The indicator for the button of the selected display group
begins blinking.
fig.03-01
4. Use
or
Chapter 3
With the XV-88, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter.
When you change the values of parameters, you are doing
what is referred to as Editing. This chapter explains the
procedures used in creating Performances, and the functions
of the Performance parameters.
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 upper left of the
display. To edit a different Part, press [EDIT] to
temporarily turn off the indicator, and use ZONE/PART
SELECT [1/9]–[8/16] to select a Part. When the [1-8/916] indicator is extinguished, Parts 1–8 are selected, and
when the [1-8/9-16] indicator is lit, Parts 9–16 are
selected.
fig.03-02
Part 16
6. Use
or
to move the cursor to the parameter you
wish to modify.
7. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to modify the parameter value.
Part 1
Patch/
Rhythm Set
How to Make the
Performance Settings
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
or Rhythm Set to assign to each of 16 Parts.
1. Press [PERFORM] to access the PERFORM PLAY page,
and select the Performance whose settings you wish to
modify (p. 35).
If you’ve made a mistake in setting a parameter value, or
you have second thoughts about the changes, 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 the [EDIT] indicator is dark, it is a faster
way to get around because you don’t have to turn on the
[EDIT] indicator each time.
9. Repeat steps 3–8 to complete a Performance.
If you want to create all your Performances from the
ground up, rather than the Performances that have
already been prepared, carry out the Initialize operation
(p. 185).
2. Press [EDIT] to make the indicator light.
49
Chapter 3. Creating Performances
10. When you finish making settings, press [EXIT] or
[PERFORM] to return to the PERFORM PLAY page.
An asterisk * appears at the left of the Performance
group on the display. This shows Performance settings
have been modified.
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 exit the Palette page, press [PALETTE EDIT], thus
extinguishing the button’s indicator.
fig.03-03
If you select another Performance in the group with an
asterisk *, the modified Performance settings will be lost.
To keep these modified settings, perform the save
operation (p. 164).
Making Settings While
Comparing Parts (Palette Edit)
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 called the Palette page.
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 page.
fig.03-04
Copying the Settings of Another
Part (Part Copy)
Part settings from any desired Performance can be copied to
any desired Part of the currently selected Performance. This
function can help you save time.
1. Make sure a Performance is selected.
2. Press [UTILITY], getting its indicator to start blinking.
3. Press the numeric key [2], then
PERFORM PART CPY page.
or
to call up the
fig.10-09.e
Copy source Performance
(group, number)
Copy source
Performance name
Copy source Part
Copy destination Part
4. Press the cursor buttons to move the cursor to the
parameter you wish to set.
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
• To specify the currently selected Performance as the
copy source, set Source to TEMP.
3. Press
or
to choose the Part to modify.
The Part number and the Patch or Rhythm Set name
assigned to the Part will appear.
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 the numeric
keys to change the parameter value.
If you’ve made a mistake in setting a parameter value, or
you have second thoughts about the changes, press
[UNDO/COMPARE] to restore the value to what it was.
50
• When the cursor is located at Source, you can also use
[USER], [PRESET], [A], and [B] to select a Performance
group, and then use numeric keys to specify the
Performance number.
• When the cursor is located at Part, you can also use [1-8/
9-16] and ZONE/PART SELECT [1/9]–[8/16] to select
the Part.
6. Press [ENTER] to execute the Copy operation.
When the Copy operation is executed, an * symbol will
be displayed in front of the copy-destination Part.
7. Press [UTILITY] to return to the previous page.
Chapter 3. Creating Performances
Functions of Performance
Parameters
Chapter 3
This section explains the functions the different Performance
parameters have, as well as the composition of these
parameters.
When the Key Range (p. 73) is set for each individual
Tone in a Patch, sounds are produced in the range where
the Key Range of each Tone and the Key Range for the
Part overlap.
fig.02-10.e
Key range specified for Performance
fig.03-01
Key range specified for Patch
The range in which notes will play
Settings Common to the Entire
Performance (COMMON)
If you attempt to raise the lower key higher than the
upper key, or to lower the upper key below the lower
key, the other value will be automatically modified to
the same setting.
Common settings include those used for naming
Performances, Key Range, and so on.
PERFORM NAME (Performance Name)
fig.03-05
You can assign a name to the Performance of up to 12
characters.
For details on assigning names, refer to “Assigning a
Name” (p. 28).
L.Fade (Key Fade Width Lower)
U.Fade (Key Fade Width Upper)
L.Fade and U.Fade set the range within which the volume
gradually fades as the velocity approaches the limits of the
Key Range set in the Lower and Upper parameters. Use this
setting when, for example, you want to have adjacent Parts
in Split mode switched smoothly. The higher the values set,
the smoother the switch is between the Tones. When you
want the Tones to be switched instantly, set these to 0.
fig.03-07.e
Level
KEY RANG (Key Range)
Pitch
fig.03-06
Set the keyboard 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)
Upper (Key Range Upper)
L.Fade
Lower
Upper
U.Fade
PERFORM MFX CH
(Performance MFX Channel)
fig.03-08
Specify the lower (Lower) and upper (Upper) limits in which
each Part will sound.
MFX Control Channel
(Multi-effects Control Channel)
This determines the channel that will be used for reception
when using the Multi-effects Controller to modify multieffects parameters in real time, when the multi-effects Source
parameter (PERFORM/EFFECTS/MFX TYPE) (p. 114) is set
to PERFORM.
For details on the Multi-effects Controller, refer to (p.
115).
51
Chapter 3. Creating Performances
Setting Effects for a Performance
(EFFECTS)
For details regarding effect settings, refer to the pages
shown below.
• “Applying Effects in Performance Mode” (p. 111)
Mute Sw (Mute Switch)
Mute Sw temporarily mutes (MUTE) or releases the mute
(OFF) for the performance of each Part.
Use this setting when, for example, you want to use the
instrument for karaoke by muting the Part playing the
melody, or when you want to play something using a
separate sound module.
• “Making Multi-Effects Settings” (p. 114)
• “Making Chorus Settings” (p. 156)
• “Making Reverb Settings” (p. 158)
Making Settings for Receiving
MIDI (MIDI)
These parameters determine how each Part will transmit and
receive MIDI messages.
The Mute Sw parameter does not turn the Part off, but
rather mutes the sound by setting the volume to 0.
Therefore, MIDI messages are still received.
RxSWITCH (Receive Switch)
fig.03-10
fig.03-11
MIDI
fig.03-09
Channel (MIDI Receive Channel)
Sets the MIDI receive channel for 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 parameter to a
different setting (p. 169).
Rx Sw (Receive Switch)
Specifies whether each Part will receive MIDI messages
(ON), or not (OFF) from external MIDI devices.
When set to OFF, the Part will respond to the keyboard, but
not to the external MIDI devices. Normally, you should leave
this ON, but you can turn it OFF when you do not want a
specific Part to be playing during song playback.
You can also set the Rx Sw parameter on the PERFORM
PLAY page. Hold down [SHIFT] and press ZONE/
PART SELECT [1/9]–[8/16]; Rx Sw is on when the
indicator is lit, and off when the indicator is
extinguished. When the [1-8/9-16] indicator is
extinguished, Parts 1–8 are switched on and off, and
when the [1-8/9-16] indicator is lit, Parts 9–16 are
switched on and off (p. 38).
52
RxSWITCH determines whether MIDI messages for the
following parameters in each MIDI channel are received
(ON), or not received (OFF).
Bank Select (Receive Bank Select Switch)
Program Change
(Receive Program Change Switch)
Vol (Receive Volume Switch)
Pan (Receive Pan Switch)
Exp (Receive Expression Switch)
Hld (Receive Hold 1 Switch)
Bnd (Receive Pitch Bend Switch)
Mod (Receive Modulation Switch)
Caf (Receive Channel Aftertouch Switch)
Paf (Receive Polyphonic Aftertouch Switch)
Chapter 3. Creating Performances
VELO CRV (Velocity Curve)
XP-A–D: Wave Expansion Board A–D
• Patches/Rhythm Sets of CD-A–H cannot be accessed
unless a memory card (SmartMedia) is inserted into the
MEMORY CARD slot.
Velocity Curve
Velocity Curve selects for each MIDI channel one of the four
following Velocity Curve types that best matches the touch
of the connected MIDI keyboard. Set this to OFF if you are
using the MIDI keyboard’s own velocity curve.
fig.03-13
1
2
3
4
Phase Lock (Phase Lock Switch)
Set Phase Lock to ON when you want to suppress
discrepancies in timing of Parts played on the same MIDI
channel, or to OFF when you want to leave the expression
timing unchanged.
• XP-A, B Patches/Rhythm Sets can be selected only if a
Wave Expansion Board (SR-JV80 Series) is installed in
the corresponding slot.
• XP-C, D Patches/Rhythm Sets can be selected only if a
Wave Expansion Board (SRX Series) is installed in the
corresponding slot.
Number (Patch/Rhythm Set Number)
Selects the desired Patch or Rhythm Set by its number. The
name of the selected Patch/Rhythm Set appears in
parentheses.
SETTING
fig.03-15
When the Phase Lock parameter is set to ON, Parts on
the same MIDI channel are put in a condition in which
their timing is matched, enabling them to be played at
the same time. Accordingly, a certain amount of time
may elapse between reception of the Note messages and
playing of the sounds. Turn this setting to ON only as
needed.
Making Settings for Each Part
(PART)
Here you can select the Patch/Rhythm Set assigned to each
Part, and set the volume, pan, pitch, and polyphony of each
Part.
Level (Part Level)
Adjusts the volume of an individual Part. This setting’s main
purpose is to adjust the volume balance between Parts.
Pan (Part Pan)
Adjusts the pan of each Part. L64 is far left, 0 is center, and
63R is far right.
When the Pan is set for each Patch or Rhythm Set, this
Pan setting moves the position only in reference to those
settings values made in the respective Patch or Rhythm
Set.
PATCH
Voice Reserve
fig.03-14
This setting specifies the number of voices that will be
reserved for each Part when more than 128 voices are played
simultaneously.
Type (Part Type)
Sets the assignment of a Patch (PAT) or Rhythm Set (RHY) to
each of the Parts.
Group (Patch/Rhythm Set Group)
Selects the group to which the desired Patch or Rhythm Set
belongs.
It is not possible for the settings of all Parts to total an
amount greater than 64. The remaining number of
available voices will be displayed at (rest= ). Pay
attention to this readout as you make set the Voice
Reserve parameter.
USER: User
CD-A–H: Memory card A–H
PR-A–F, GM: Preset A–F, GM
53
Chapter 3
fig.03-12
Chapter 3. Creating Performances
Calculating the Number of Voices Being
Used
The XV-88 is able to play up to 128 notes simultaneously.
The polyphony, or the number of voices (sounds) does
not refer only to the number of sounds actually being
played, but changes according to the number of tones
used in the Patches, and the number of Waves used in
the tones. The following method is used to calculate the
number of sounds used for one Patch being played.
(Number of Sounds Being Played) x (Number of Tones
Used by Patches Being Played) x (Number of Waves
Used in the Tones)
MODIFY
fig.03-16
Cut (Part Cutoff Frequency Offset)
Adjusts the cutoff frequency for the Patch or Rhythm Set
assigned to a Part.
Patches also have a Cutoff Frequency Offset setting (p.
71). The final Cutoff frequency value is the sum of the
Tone Cutoff Frequency value and the Patch and Part
Cutoff Frequency Offset values. If the Tone’s cutoff
frequency is already set to 127 (maximum), there will be
no change produced by setting the Cutoff Frequency
Offset to a positive value.
Patches also contain the Attack Time Offset setting (p.
71). The final TVA Envelope attack time value is
therefore the sum of the Tone’s TVA Envelope T1
setting, the Patch’s Attack Time Offset, and the Part’s
Attack Time Offset. If the Tone’s T1 parameter is already
set to 127 (maximum), there will be no change produced
by setting the Attack Time Offset to a positive value.
Rel (Part Release Time Offset)
Adjusts the TVA Envelope Release Time for the Patch or
Rhythm Set assigned to a Part.
Patches also contain a Release Time Offset setting (p. 72).
The final TVA Envelope release time value is therefore
the sum of the Tone’s TVA Envelope T4 setting, the
Patch’s Release Time Offset, and the Part’s Release Time
Offset. If the tone’s T4 parameter is set to 127
(maximum), there will be no change in the Release Time
Offset, even when this is set to a positive value.
Velocity Sens (Part velocity Sensitivity Offset)
This changes the volume and cutoff frequency for each part
according to the velocity with which the keys are pressed. If
you want strongly played notes to raise the volume/cutoff
frequency, set this parameter to positive (+) settings. If you
want strongly played notes to lower the volume/cutoff
frequency, use negative (-) settings. Set Velocity Sensitivity to
0 when you want sounds played at a fixed volume and cutoff
frequency, regardless of the force with which the keys are
played.
Res (Part Resonance Offset)
Adjusts the Resonance for the Patch or Rhythm Set assigned
to a Part.
Patches also have a Resonance Offset setting (p. 71). The
final Resonance value is the sum of the Tone Resonance
value and the Patch and Part Resonance Offset values. If
the Tone’s resonance is already set to 127 (maximum),
there will be no change produced by setting the
resonance offset to a positive value.
Patches also contain a Velocity Sensitivity Offset setting
(p. 72). The ultimate Velocity Sensitivity Offset value is
the sum of the part’s and the Patch’s Velocity Sensitivity
Offsets. Accordingly, if the Patch’s Velocity Sensitivity
Offset T1 parameter is set to 127 (maximum), there will
be no change in the part’s Velocity Sensitivity Offset,
even when this is set to a positive value.
PITCH
fig.03-17
Atk (Part Attack Time Offset)
Adjusts the TVA Envelope Attack Time for the Patch or
Rhythm Set assigned to a Part.
Octave (Part Octave Shift)
Adjusts the pitch of the Part’s sound up or down in units of
an octave (+/-3 octaves).
54
Chapter 3. Creating Performances
Coarse (Part Coarse Tune)
MONO/POL (Mono/Poly)
Adjusts the pitch of the Part’s sound up or down in semitone
steps (+/-4 octaves).
fig.03-18
Adjusts the pitch of the Part’s sound up or down in 1-cent
steps (+/-50 cents).
One cent is 1/100th of a semitone.
Coarse Tune and Octave Shift
The Coarse and Fine parameters, along with the Octave
parameter, can all be seen as doing the same thing to the
sound, i.e., changing the pitch of the sound. For example,
if C4 (Middle C) is played with the Coarse parameter set
to +12, the note produced is C5 (one octave above C4).
However, if C4 (Middle C) is played with the Octave
parameter set to +1, again, the note produced is C5 (one
octave above C4).
However, internally these function very differently.
When the Coarse parameter is set to +12, the pitch itself
is raised one octave. On the other hand, when the Octave
parameter is set to +1, it is the same as pressing the keys
one octave up. In other words, use the Coarse parameter
when changing the pitch, and the Octave parameter
when you want to shift the entire keyboard, for example,
when the number of keys is insufficient.
Note that when a Rhythm Set is assigned to a Part, if
the Octave parameter is set, the Rhythm Tone that is
played also changes.
BendRng (Bend Range)
Specifies the amount of pitch change in semitones (2 octaves)
that will occur when the Pitch Bend Lever is moved. The
amount of change when the lever is tilted is set to the same
value for both left and right sides. When using the setting of
the Patch assigned to each Part (p. 78), set this to PATCH.
Mno/Pol (Part Mono/Poly)
Set Mno/Pol to MONO when the Patch assigned to the Part
is to be played monophonically, or to POLY when the Patch
is to be played polyphonically. When using the setting of the
Patch assigned to each Part (p. 76), set this to PATCH.
For the Part to which the Rhythm Set is assigned, this
setting is ignored.
Legato (Part Legato Switch)
You can add legato when performing monophonically.
Legato is a playing style in which the spaces between notes
are smoothed, creating a flowing feel with no borders
between the notes. This allows you to simulate the
hammering-on and pulling-off playing techniques of a
guitarist.
Turn this parameter ON when you want to use the Legato
feature and OFF when you don’t. When using the setting of
the Patch assigned to each Part (p. 76), set this to PATCH.
For the Part to which the Rhythm Set is assigned, this
setting is ignored.
Portament Sw:Tm
(Part Portamento Switch:Time)
Portamento makes a smooth pitch transition from one note to
the next note played. Also, when playing monophonically,
you can apply portamento to simulate the slide performance
technique sometimes used on instruments such as violin.
You can determine whether the Portamento effect will be
applied or not using Portamento switch (Sw). Turn this
parameter ON when you want to apply Portamento and OFF
when you don’t. When using the setting of the Patch
assigned to each Part (p. 76), set this to PATCH.
The Portamento Time (Tm) setting adjusts the time over
which the pitch will change. Higher settings will cause the
pitch change to the next note to take more time. When using
the setting of the Patch assigned to each Part (p. 76), set this
to PATCH.
For the Part to which the Rhythm Set is assigned, this
setting is ignored.
55
Chapter 3
Fine (Part Fine Tune)
Chapter 3. Creating Performances
Confirming MIDI Information for
Each Part (INFO)
INFO (Part Information)
fig.03-19
fig.03-20
The displays 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 generator
is responding correctly to messages from the keyboard or
external MIDI controller.
Mod (Modulation Information)
Breath (Breath Information)
Foot (Foot Information)
Vol (Volume Information)
Changing the Settings of the
Patch/Rhythm Set 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/Rhythm Set while
hearing how it will sound in the Performance, use this
procedure:
* Here we explain how to change the setting of a Patch assigned
to a Part. The procedure for changing the settings of Rhythm
Sets is the same. Substitute “Rhythm Set” wherever “Patch”
appears in a sentence.
1. Make sure the PERFORM PLAY page is displayed.
2. While holding down [PERFORM], press [PATCH].
Both button indicators will light. This will call up the
PLAY page of the Patch assigned to the currently
selected Part.
fig.03-21
Pan (Pan Information)
Exp (Expression Information)
Hld (Hold 1 Information)
Bnd (Pitch Bend Information)
Aft (Aftertouch Information)
Sy1–4 (System Control 1–4 Information)
The MIDI message specified as the Control 1–4 parameter
(SYSTEM/CONTROL/SYS CTRL ASSIGN 1, 2)
Vo (Voice Information)
3. Press
or
to select the Part to which the selected
Patch is assigned.
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 page 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.
The number of voices used
When a value (except Vo) is changed in the INFO page, a
MIDI message for the changed value is sent to the
internal sound generator and the external MIDI device
over the MIDI channel set for that Part.
56
If you select another Patch or Performance in the group
with an asterisk *, the modified Patch settings will be
lost. To keep these modified settings, perform the save
operation (p. 164).
6. To return to the PERFORM PLAY page, press
[PERFORM] or [EXIT].
Chapter 4. Zone Settings
You cannot switch to Zone mode from any mode other
than Performance mode.
This section explains the procedures for making Zone
settings and describes the functions of the different Zone
parameters.
How to Make the Zone
Settings
1. Press [PERFORM] to display the PERFORM PLAY page,
and select the Performance with Zone settings you want
to change (p. 35).
2. Press [ZONE] to make the indicator light.
The [EDIT] indicator lights simultaneously, and the XV88 is put into Zone mode. If the [EDIT] indicator is not
lit, press [EDIT] to get the indicator to light.
7. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to modify the parameter value.
If you’ve made a mistake in setting a parameter value,
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 the [EDIT] indicator is dark, it is a faster
way to get around because you don’t have to turn on the
[EDIT] indicator each time.
9. Repeat steps 3–8 to make settings for the Zone.
10. When you finish making settings, press [EXIT] or
[PERFORM] to return to the PERFORM PLAY page.
An asterisk * appears at the left of the Performance
group on the display. This shows Performance settings
have been modified.
fig.03-03
3. Use the function buttons to select a display group.
The indicator for the button of the selected display group
begins blinking.
fig.04-01
4. Use
or
to select a display page.
Zone settings can be saved individually for each
Performance, as part of the Performance settings.
If you select another Performance in the group with an
asterisk *, the modified Zone settings will be lost. To
keep these modified settings, perform the save operation
(p. 164).
5. If you have selected a parameter display that can be set
independently for each Zone, the number of the Zone
selected for editing will be shown in the upper left of the
display. To edit a different Zone, press [EDIT] to
temporarily turn off the indicator, and use ZONE/PART
SELECT [1/9]–[8/16] to select a Zone. When the [1-8/916] indicator is extinguished, Zones 1–8 are selected, and
when the [1-8/9-16] indicator is lit, Zones 9–16 are
selected.
fig.04-02
6. Use
or
to move the cursor to the parameter you
wish to modify.
57
Chapter 4
Pressing [ZONE] while in Performance mode switches you
to Zone mode. In Zone mode, you can make settings
affecting the way the sound module plays sounds in
response to Performances played on the keyboard, the way
MIDI messages are sent, the Arpeggiator and D Beam
functions, and more.
Chapter 4. Zone Settings
Making Settings While
Comparing Zones (Palette Edit)
When modifying Zone settings for a Performance, the values
for eight Zones (Zone 1–8 or Zone 9–16) will be displayed
together on a single display. This is called the Palette page.
This is useful when you wish to change parameter values
while comparing each Zone settings.
Functions of Zone Parameters
This section explains the functions the different Zone
parameters have, as well as the composition of these
parameters.
fig.04-01
1. When editing parameters that can be set individually in
each Zone, press
or
to move the cursor to the
parameter to be edited.
2. Press [PALETTE EDIT] to call up the Palette page.
fig.04-03
Settings Common to the Entire
Zone (COMMON)
ZONE COMMON
fig.04-04
Key Mode
3. Press
or
to choose the Zone to modify.
When the Zone number is displayed, and that Zone’s
Local Switch is set to ON, you can check which Parts are
linked. Parts 1–16 are shown in order from left to right,
and Parts for which the Zone’s MIDI transmit channel
and the Part’s MIDI receive channel are matched are
indicated by a o for the Part.
To switch between the palette page for Zones 1–8 and
the palette page for Zones 9–16, press [1-8/9-16].
The Key Mode determines how the XV-88 will sound when
its keyboard is played.
LAYER: When the keys are pressed, all Zones whose Local
switches (Local parameter) are set to ON and the sounds for
the linked (where the MIDI channels coincide) Parts are
played. Transmission of MIDI messages from the keyboard
controller section to external MIDI devices will be
determined by the Transmit switch (Tx parameter) setting of
each Zone.
fig.04-05.e
Part 1
(Rx ch.1)
Part 2
(Rx ch.2)
Part 15
(Rx ch.15)
Part 16
(Rx ch.16)
4. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to change the parameter value.
If you’ve made a mistake in setting the parameter value,
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.
Local Switch
Transmit Switch
MIDI OUT
Zone 1 (Tx ch.1)
Zone 2 (Tx ch.2)
Zone 15 (Tx ch.15)
6. Repeat steps 3–5 to make the settings for the Zone.
7. To exit the Palette page, press [PALETTE EDIT], thus
extinguishing the button’s indicator.
58
Zone 16 (Tx ch.16)
Chapter 4. Zone Settings
SINGLE: When the keys are pressed, the single specified Part
(current Part) are played. Zone settings are ignored.
Transmission of MIDI messages from the keyboard controller
section to external MIDI devices will be determined by the
Receive switch (Rx Sw parameter) setting for the current Part
fig.04-06.e
When the Key Range (p. 73) is set for each individual
Tone in a Patch, sounds are produced in the range where
the Key Range of each Tone and the Key Range for the
Zone overlap.
fig.02-10.e
Part 2
(Rx ch.2)
Part 15
(Rx ch.15)
Part 16
(Rx ch.16)
Key range specified for Performance
Chapter 4
Part 1
(Rx ch.1)
Key range specified for Patch
The range in which notes will play
MIDI OUT
(Tx ch.1)
If you attempt to raise the lower key higher than the
upper key, or to lower the upper key below the lower
key, the other value will be automatically modified to
the same setting.
If you have selected a LAYER-type Performance, the
upper right of the PERFORM PLAY page will indicate
“LAYER p *” (* is the Part number). If you have selected
a SINGLE-type Performance, “part= *” (* is the Part
number) will be displayed.
Making Settings for Transmitting
MIDI (MIDI)
You can also set the Key Mode parameter on the
PERFORM PLAY page. By holding down [SHIFT] and
pressing [SOLO], you can switch between SINGLE and
LAYER.
When a Single Performance is selected, this setting is
disabled.
These parameters determine how each Zone will transmit
MIDI messages.
MIDI
Setting the Keyboard Range
(KEY RANGE)
fig.04-08
Channel (MIDI Transmit Channel)
When a Single Performance is selected, this setting is
disabled.
Specifies the MIDI transmit channel for each Zone.
Tx (Transmit Switch)
KEY RANG (Key Range)
fig.04-07
These parameters set the key range that will be transmitted
from the keyboard for each Zone. Use this when you wish to
play different Patches in different areas of the keyboard.
Determines, for each Zone, whether or not data generated by
the keyboard controller section is sent as MIDI messages
from the MIDI OUT connector.
Normally you will leave this ON, but you can turn it OFF
when you do not want the XV-88 to control external sound
generators.
Lower (Key Range Lower)
Specify the lower limit of the range.
Upper (Key Range Upper)
Specify the upper limit of the range.
59
Chapter 4. Zone Settings
P.C# (External Program Change Number)
You can also set the transmit switch settings on the
PERFORM PLAY page. When the [EDIT] indicator is
extinguished and the [LOCAL/TX] indicator is lit, press
ZONE/PART SELECT [1/9]–[8/16] to make settings. A
Layer Performance is on when the indicator is lit, and off
when the indicator is extinguished. When the [1-8/9-16]
indicator is extinguished, Zones 1–8 are switched on and
off, and when the [1-8/9-16] indicator is lit, Zones 9–16
are switched on and off.
Local (Local Switch)
Specifies, for each Zone, whether or not the keyboard
controller section will be connected to the internal sound
generator.
Normally you will leave this ON, but you can turn it OFF
when you want to use the XV-88 only to control an external
sound generator.
Selects the Program Change number you wish to transmit. If
you do not want this message to be transmitted, set this to
NO-SEND.
Bank Select MSB/LSB
(External Bank Select MSB/LSB)
Selects the Bank Select number MSB (Controller number 0)
and LSB (Controller number 32) you want to transmit.
Information on the XV-88 Tone Group/Bank
corresponding to the Bank Select message sent is
displayed in parentheses.
EXT CTRL (External Control)
fig.04-10
Volume (External Volume)
You can also set the Local switch setting on the
PERFORM PLAY page. When the [EDIT] indicator and
the [LOCAL/TX] indicator is extinguished, press
ZONE/PART SELECT [1/9]–[8/16] to make settings. A
Layer Performance is on when the indicator is lit, and off
when the indicator is extinguished. When the [1-8/9-16]
indicator is extinguished, Zones 1–8 are switched on and
off, and when the [1-8/9-16] indicator is lit, Zones 9–16
are switched on and off.
Controlling External Sound
Module (EXT CONTROL)
When a Single Performance is selected, this setting is
disabled.
EXT P.C (External Program Change)
fig.04-09
When switching Performances, send MIDI messages
(Program Change/Bank Select) to each Zone to switch the
Tones corresponding to the external sound module.
After setting each value, you can transmit it by pressing
[ENTER].
The data of the Zone for which the Transmit switch is
turned off will not be transmitted.
60
If you want Volume messages to also be transmitted when
you select a Performance, specify the desired value (0–127)
for the Zone. Turn this parameter NO-SEND if you do not
want this data to be transmitted.
The data of the Zone for which the Transmit switch is
turned off will not be transmitted.
Pan (External Pan)
If you want Pan messages to also be transmitted when you
select a Performance, specify the desired value (0–127) for the
Zone. Turn this parameter NO-SEND if you do not want this
data to be transmitted.
The data of the Zone for which the Transmit switch is
turned off will not be transmitted.
Chapter 4. Zone Settings
Arpeggiator Settings (ARPEGGIO)
This is where the settings used in performing arpeggios in
Performance mode are made.
HARP: A style simulating harp playing.
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.
ARPEGGIO
BOSSA NOVA: A style with bossanova rhythm guitar. 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.
fig.04-11
MAMBO: Typical mambo style. Hold 3–4 notes for best
results.
fig.04-12
LATIN PERCUSSION: A rhythm style with Latin percussion
instruments such as Clave, Cowbell, Clap, Bongo, Conga,
Agogo etc.
fig.04-13
SAMBA: Typical samba style. Use for rhythm patterns or
bass lines.
fig.04-14
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.
Style (Arpeggio Style)
Specifies the basic way in which the arpeggio will be played.
Select one of the following 45 types.
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, HEAVY SLAP, LIGHT SLAP, WALK BASS:
Styles appropriate for bass playing.
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. 268).
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 1 octave
lower.
RHYTHM GTR 1–5: Styles for rhythm guitar. Styles 2–5 are
effective when 3–4 notes are held.
3 FINGER: Three-finger guitar style.
STRUM GTR UP, STRUM GTR DOWN, STRUM GTR
UP&DW: Guitar chords strummed both up and down.
Effective when five or six notes are held.
PIANO BACKING, CLAVI CHORD: Styles for keyboard
instrument backing.
WALTZ, SWING WALTZ: Styles in triple meter.
REGGAE: A reggae-type style. Effective when three notes
are held.
PERCUSSION: A style suitable for percussive instrument.
61
Chapter 4
When arpeggios are performed in Patch/Rhythm Set/
GM mode, the arpeggio settings are made in System
mode (p. 174).
Chapter 4. Zone Settings
Motif
Sets the order in which notes of the chord will sound.
TOP+UP 1–6: The highest of the notes you play will sound,
and the remaining notes will be arpeggiated.
BASS+UP+TOP: The highest and the lowest of the notes you
play will sound, and the remaining notes will be arpeggiated.
Some settings will not be available depending on the
Style parameter setting. For details on the possible
values, refer to “Arpeggio Style List” (p. 268).
SINGLE UP: Notes you press will be sounded individually,
beginning from low to high.
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).
SINGLE DOWN: Notes you press will be sounded
individually, from high to low.
SINGLE UP&DOWN: Notes you press will be sounded
individually, from low to high, and then back down from
high to low.
SINGLE RANDOM: Notes you press will be sounded
individually, in random order.
DUAL UP: Notes you press will be sounded two at a time,
beginning from low to high.
DUAL DOWN: Notes you press will be sounded two at a
time, beginning from high to low.
Some settings will not be available depending on the
Style parameter setting. For details on the possible
values, refer to “Arpeggio Style List” (p. 268).
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,
REGGAE 1, 2, REFRAIN 1, 2, PERC 1–4, WALKBS, HARP,
BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO
1–2, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO
1–4, HOUSE 1, 2
DUAL UP&DOWN: Notes you press will be sounded two at a
time, from low to high, and then back down from high to
low.
If “PORTA-A 01–11, PORTA-B 01–15” is selected as the
Beat Pattern, the Time parameter (PATCH/CONTROL/
PATCH PORTAMNT) will control the speed of
portamento (p. 76). Adjust the portamento time as
appropriate for the playback tempo. (It is not necessary
to turn portamento switch on.)
DUAL RANDOM: Notes you press will be sounded two at a
time, 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 you press will be sounded in the order
in which you pressed them. By pressing the notes in the
appropriate order you can produce melody lines. Up to 128
notes will be remembered.
GLISSANDO: Each chromatic step between the highest and
lowest notes you press will sound in succession, repeating
upward and downward. Press only the lowest and the
highest notes.
CHORD: All notes you press will sound simultaneously.
Accent Rate
Modifies the strength of accents and the length of the notes to
adjust the “groove” feel of the arpeggio. A 100% setting will
result in the most pronounced “groove” feel.
Shuffle Rate
This setting lets you modify the note timing to create shuffle
rhythms.
With a setting of 50%, the notes will sound at equal spacing.
As this value is increased, the notes will become more
“bouncy,” as if they were dotted notes.
fig.04-15
Shuffle Rate = 50%
50
50
50
Shuffle Rate = 90%
50
90
10
90
10
BASS+CHORD 1–5: The lowest of the notes you play will
sound, and the remaining notes will sound as a chord.
BASS+UP 1–8: The lowest of the notes you play will sound,
and the remaining notes will be arpeggiated.
BASS+RND 1–3: The lowest of the notes you play will
sound, and the remaining notes will sound in random order.
62
If the Beat Pattern setting is 1/4, shuffle will not be
applied even if you increase the Shuffle Rate setting.
Chapter 4. Zone Settings
Specifies the loudness of the notes that you play.
If you want the velocity value to change according to how
strongly you played each note, set this to REAL. If you want
each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired
value (1–127).
Zone (Arpeggio Zone)
Arpeggio Zone sets the Zone for playing an Arpeggio
performance when a Layer Performance is being selected.
The Arpeggio performance corresponding to the Part
connected to the Zone set here is played.
When a Single Performance is selected, this setting is
disabled, and the single specified Part (current Part) will
play arpeggios.
Tempo (Arpeggio Tempo)
Setting the D Beam Controller
(D BEAM)
This is where the settings are made for applying effects to the
sound by moving your hand over the D Beam controller in
Performance mode.
When using the D Beam controller in Patch/Rhythm
Set/GM mode, the settings are made in System mode (p.
176).
D BEAM CONTROL
fig.04-16
Assign (D Beam Assign)
Specifies the function controlled by the D Beam controller.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Sets the speed of the arpeggio.
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.
For more information about Control Change messages,
please refer to “MIDI Implementation” (p. 270).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
OCT DOWN: Lowers the key range in octave steps (up to 3
octaves lower).
START/STOP: Starts/Stops the external sequencer.
TAP TEMPO: Tap tempo (a tempo specified by the interval
at which you move your hand over the D Beam controller).
Output (D Beam Output)
Selects the sound generator(s) (the internal sound generator
and/or external sound generators connected to MIDI OUT
connector) to be controlled by the D Beam controller.
OFF: Neither will be controlled.
INT: Only the internal sound generator will be controlled.
MIDI: Only external sound generators will be controlled.
BOTH: Both the internal sound generator and external sound
generators will be controlled.
Polarity (D Beam Polarity)
Switches the polarity of the D Beam controller.
With a setting of REVERSE, the direction of control for the D
Beam controller will be inverted.
63
Chapter 4
Key Velocity
Chapter 4. Zone Settings
D BEAM RANGE
fig.04-17
Lower (D Beam Range Lower)
Specifies the lower limit of the range of the D Beam
controller. Values below this setting will not be output.
Upper (D Beam Range Upper)
Confirming the Settings for Each
Zone (INFO)
When a Single Performance is selected, this information
is disabled.
INFO (Zone Information)
fig.04-19
Specifies the upper limit of the range of the D Beam
controller. Values above this setting will not be output.
In this screen, you can check the following information for
each Zone.
It is not possible to set the lower limit value above the
upper limit, nor can you set the upper limit value below
the lower limit.
D BEAM SENS
fig.04-18
D Beam Sensitivity
This sets the D Beam Controller’s sensitivity. The higher the
value set, the more readily the D Beam Controller goes into
effect. Ordinarily, this is set to 5.
The D Beam Controller sensitivity is a System setting,
and as such cannot be saved as a Performance setting.
64
• MIDI transmit channel (ch): 1–16
• Transmit switch status (tx): On/Off
• Part connection status (part):
When the Local switch for the currently selected Zone is
set to ON, you can check that Zone and the linked Part.
Parts 1–16 are shown in order from left to right, and
Parts for which the Zone’s MIDI transmit channel and
the Part’s MIDI receive channel coincide are indicated by
a o or a *. For Parts indicated by a *, you can check the
group, number, and name of the Patch or Rhythm Set
assigned to that Part in the lower part of the display.
When linked to multiple Parts, by pressing
or
,
you can move the * and change the Part being checked.
Chapter 5. Creating Patches
With the XV-88, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter.
When you change the values of parameters, you are doing
what is referred to as Editing. This chapter explains the
procedures used in creating Patches, and the functions of the
Patch parameters.
How a Patch Is Organized
The type of sound most commonly played on the XV-88 is
called a Patch. Each Patch can be configured by combining
up to four Tones.
Tones consist of the following five components.
WG (Wave Generator)
Specifies the PCM waveform (wave) that is the basis of the
sound, and determines how the pitch of the sound will
change.
The XV-88 has 1,083 different waveforms (p. 263). All Patches
built into the XV-88 consist of combinations of Tones which
are created based on these waveforms.
TVF (Time Variant Filter)
Specifies how the frequency components of the sound will
change.
TVA (Time Variant Amplifier)
Patch
Specifies the volume changes and the sound’s position in a
stereo soundfield.
Tone 4
Tone 3
Tone 2
Tone 1
Envelope
LFO 1
LFO 2
You use Envelope to initiate changes to occur to a sound over
time. There are separate envelopes for Pitch, TVF (filter), and
TVA (volume). For example if you wish to modify the way in
which the sound attacks or decays over time, you would
adjust the TVA envelope.
LFO (Low Frequency Oscillator)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
How a Tone Is Organized
Use the LFO to create cyclic changes (modulation) in a
sound. The XV-88 has two LFOs. Either one or both can be
applied to effect the WG (pitch), TVF (filter) and/or TVA
(volume). When an LFO is applied to the WG pitch, a vibrato
effect is produced. When an LFO is applied to the TVF cutoff
frequency, a wah effect is produced. When an LFO is applied
to the TVA volume, a tremolo effect is produced.
In the XV-88, the Tone is the smallest class of sound.
However, it is not possible to play a Tone by itself. The Patch
is the unit of sound which can be played, and the Tones are
the basic building blocks which make up the Patch.
fig.01-03.e
Tone
LFO 1
LFO 2
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
audio signal
control signal
65
Chapter 5
fig.01-04.e
Chapter 5. Creating Patches
How to Make the Patch
Settings
Start with an existing Patch and edit it to create a new Patch.
Each Patch can contain up to four Tones. you should listen to
how the individual Tones sound before you edit.
Four Tips for Editing Patches
Select a Patch that is similar to the sound you wish
to create (p. 29).
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.
1. Press [PATCH] to access the PATCH PLAY page, and
select the Patch whose settings you wish to modify (p.
29).
You cannot edit the Patches in the PR-H (GM2) group.
If you want to create all your Patches from the ground
up, rather than the Patches that have already been
prepared, carry out the Initialize operation (p. 185).
2. Press [EDIT] to make the indicator light.
3. Use the function buttons to select a display group.
The indicator for the button of the selected display group
begins blinking.
fig.05-01
Decide which Tones will sound (p. 32, p. 81).
When creating a Patch, it is important to decide which
Tones you are going to use. For each Tone, use the TONE
SWITCH [1]–[4] to decide whether to turn it on (have it
sound) or off. It is also important to turn off unused
Tones to avoid wasting voices, unnecessarily reducing
the number of simultaneous notes you can play. 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 (p. 73).
The important Type parameter (PATCH/COMMON/
STRUCT) determines how the four Tones combine.
Before you select new Tones, make sure you understand
how the currently selected Tones are affecting each
other.
Turn Effects off (p. 105).
Since the XV-88 effects have such a profound impact on
its sounds. Turn them off to listen to the sound itself so
you can better evaluate the changes you’re making. Since
you will hear the original sound of the Patch itself when
the effects are turned off, the results of your
modifications will be easier to hear. Actually, sometimes
just changing effects settings can give you the sound you
want.
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 upper left of the
display. To edit a different Tone, press [EDIT] to
temporarily turn off the indicator, and use TONE
SELECT [1]–[4] to select a Tone.
fig.05-02
• For simultaneously modifying the same parameter for
two or more Tones, hold down one of the TONE
SELECT [1]–[4] buttons and press another TONE
SELECT [1]–[4] button, then another if so desired. Tone
numbers other than the first-specified one will be
indicated by an * symbol.
• To switch Tones on/off, turn off the [EDIT] indicator
and then press TONE SWITCH [1]–[4].
6. Use
or
to move the cursor to the parameter you
wish to modify.
7. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to 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.
66
Chapter 5. Creating Patches
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 the [EDIT] indicator is dark, it is a faster
way to get around because you don’t have to turn on the
[EDIT] indicator each time.
When modifying Tone settings for a Patch, the values for
four Tones will be displayed together on a single display.
This is called the Palette page. 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 page.
fig.05-04
Chapter 5
If you’ve made a mistake in setting a parameter value, or
you have second thoughts about the changes, press
[UNDO/COMPARE] to restore the value to what it was.
Making Settings While
Comparing Tones (Palette Edit)
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 page.
An asterisk * will be displayed at the left of the Patch
group. This shows patch settings have been modified.
If you select another Patch in the group with an asterisk
*, the modified Patch settings will be lost. To keep these
modified settings, perform the save operation (p. 164).
fig.05-03
3. Press TONE SELECT [1]–[4],
Tone to modify.
or
to choose the
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 the TONE SELECT
[1]–[4] buttons and press another.
4. Use the VALUE dial, [INC/+]/[DEC/-], or the 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 a parameter value, or
you have second thoughts about 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 exit the Palette page, press [PALETTE EDIT], thus
extinguishing the button’s indicator.
67
Chapter 5. Creating Patches
Copying the Settings of Another
Tone (Tone Copy)
Cautions When Selecting a
Waveform
Tone settings from any desired Patch can be copied to any
desired Tone of the currently selected Patch. This function
can help you save time.
The sounds of the XV-88 are based on complex PCM
waveforms, and if you attempt to make settings that are
contrary to the type of the original waveform, the results will
not be as you expect.
1. Make sure that a Patch is selected.
2. Press [UTILITY], getting its indicator to start blinking.
3. Press the numeric key [2], then
PATCH TONE CPY page.
or
to call up the
fig.10-13.e
Copy source Patch name
Copy destination Tone
Copy source Tone
Copy source Patch
(group, number)
4. Press the cursor buttons to move the cursor to the
parameter you wish to set.
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
• To specify the currently selected Patch as the copy
source, set Source to TEMP.
• When the cursor is located at Source, you can also use
[USER], [PRESET], and [A]–[F] to select a Patch group,
and then use numeric keys to specify the Patch number.
The XV-88’s internal waveforms fall into the following two
groups.
One-shot: These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise and fall
of the sound. Some of the XV-88’s one-shot waveforms are
sounds that are complete in themselves, such as percussive
instrument sounds. The XV-88 also contains many other oneshot waveforms that are elements of other sounds. These
include attack components such as piano-hammer sounds
and guitar fret noises.
Looped: These waveforms include sounds with long decays
as well as sustained sounds. Loop waveforms repeatedly
play back (loop) the portion of the waveform after the sound
has reached a relatively steady state. The XV-88’s looped
waveforms also include components of other sounds, such as
piano-string resonant vibrations and the hollow sounds of
brass instruments.
The following diagram shows an example of sound (electric
organ) that combines one-shot and looped waveforms.
fig.05-05.e
TVA ENV for looped Organ
waveform (sustain portion)
When the Copy operation is executed, an * symbol will
be displayed in front of the copy-destination Tone.
7. Press [UTILITY] to return to the previous page.
68
Resulting TVA ENV
change
Level
• By using TONE SWITCH [1]–[4], you can also select the
copy source Tone. By using TONE SELECT [1]–[4], you
can select the copy destination Tone.
6. Press [ENTER] to execute the Copy operation.
TVA ENV for one-shot Key
-click waveform (attack portion)
+
Note off
Time
=
Note off
Chapter 5. Creating Patches
Cautions When Using a One-shot
Waveform
It is not possible to use the envelope to modify a one-shot
waveform to create a decay that is longer than the original
waveform, or to turn it into a sustaining sound. If you were
to program such an envelope, you would be attempting to
shape a portion of the sound that simply doesn’t exist, and
the envelope would have no effect.
Functions of Patch
Parameters
This section explains the functions the different Patch
parameters have, as well as the composition of these
parameters.
fig.05-01
With many acoustic instruments such as piano and sax,
extreme timbral changes occur during the first few moments
of each note. This initial attack is what defines much of the
instrument’s character. For such waveforms, it is best to use
the complex tonal changes of the attack portion of the
waveform just as they are, and to use the envelope only to
modify the decay portion. If you attempt to use the envelope
to modify the attack portion as well, the characteristics of the
original waveform may prevent you from getting the sound
that you intend.
fig.05-06.e
Level
Parameters marked with a ★ can be controlled using
specified MIDI messages (Matrix Controller). Settings in
the Matrix Control page will determine how these
parameters are controlled (p. 78, p. 79).
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.
Looped portion
Tone change stored
with the wave
PATCH NAME
fig.05-07
Time
Envelope
for the TVF filter
You can assign a name of up to 12 characters to the Patch.
For details on assigning names, refer to “Assigning a
Name” (p. 28).
Resulting
tone change
PATCH CATEGORY
fig.05-08
Category (Patch Category)
Specifies the type (category) of the Patch.
The Patch Finder function uses this setting. It also determines
the phrase that will be sounded when using the Phrase
Preview function.
For details on the possible category names, refer to (p.
31).
69
Chapter 5
Cautions When Using a Loop
Waveform
Chapter 5. Creating Patches
PATCH LVL&PAN (Patch level & Pan)
fig.05-09
Level (Patch Level)
Specifies the volume of the Patch.
You can specify the level of each Tone in a Patch using
the Level parameter (PATCH/TVA/TVA) (p. 90).
Pan (Patch Pan)
Specifies the pan of the Patch. A setting of L64 is far left, 0 is
center, and 63R is far right.
You can specify the pan setting for each Tone using the
Pan parameter (PATCH/TVA/TVA) (p. 90).
You can specify the fine tune of each Tone using the Fine
parameter (PATCH/PITCH/PITCH) (p. 86).
Stretch (Stretch Tuning Depth)
This setting allows you to apply “stretched tuning” to the Patch.
(Stretched tuning is a system by which acoustic pianos are
normally tuned, causing the lower range to be lower and the
higher range to be higher than the mathematical tuning ratios
would otherwise dictate.) With a setting of OFF, the Patch’s
tuning will be equal temperament. A setting of 3 will produce
the greatest difference in the pitch of the low and high ranges.
The diagram shows the pitch change relative to equal
temperament that will occur in the low and high ranges. This
setting will have a subtle effect on the way in which chords
resonate.
fig.05-11.e
Pitch difference from
equal temperament
Parameter value
Analog Feel (Analog Feel Depth)
3
Specifies the depth of 1/f modulation that is to be applied to
the Patch. (1/f modulation is a pleasant and naturallyoccurring ratio of modulation that occurs in a babbling brook
or rustling wind.)
2
By adding this “1/f modulation,” you can simulate the
natural instability characteristic of an analog synthesizer.
PATCH OCT&TUNE
(Patch Octave & Tune)
fig.05-10
1
OFF
OFF
1
2
3
Low note range
High note range
PATCH COMMON
Octave (Octave Shift)
fig.05-12
Adjusts the pitch of the Patch’s sound up or down in units of
an octave (+/-3 octaves).
Coarse (Coarse Tune)
Adjusts the pitch of the Patch’s sound up or down in
semitone steps (+/-4 octaves).
You can specify the coarse tune of each Tone using the
Coarse parameter (PATCH/PITCH/PITCH) (p. 86).
Fine (Fine Tune)
Adjusts the pitch of the Patch’s sound up or down in 1-cent
steps (+/-50 cents).
Priority (Voice Priority)
This determines how notes will be managed when the XV88’s maximum polyphony limit is exceeded (128 voices).
LAST: The last-played voices will be given priority, and
currently sounding notes will be turned off in order,
beginning with the first-played note.
LOUDEST: The voices with the loudest volume will be given
priority, and currently sounding notes will be turned off,
beginning with the lowest-volume voice.
Output Assign
Specifies for each Patch how the direct sound will be output.
One cent is 1/100th of a semitone.
70
MFX: Output in stereo through Multi-Effects. You can also
apply Chorus or Reverb to the sound that passes through
Multi-effects.
Chapter 5. Creating Patches
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo
without passing through Multi-effects.
PATCH MODIFY
fig.05-14
OUTPUT B: Output to the OUTPUT B (MIX) jacks in stereo
without passing through Multi-effects.
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without
passing through Multi-effects.
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without
passing through Multi-effects.
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without
passing through Multi-effects.
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without
passing through Multi-effects.
Cut (Cutoff Frequency Offset)
Cutoff Frequency Offset alters the cutoff frequency of the
overall Patch, while preserving the relative differences
between the cutoff frequency values set for each Tone in the
Cutoff parameters (PATCH/TVF/TVF FILTER) (p. 88).
* Cutoff Frequency: the frequency at which the filter begins
to have an effect on the waveform’s frequency components.
• When outputting in mono, the Pan setting is disabled.
• When the settings are such that signals are split and
output from the INDIVIDUAL 1 jack and INDIVIDUAL
2 jack, and no plug is inserted in the INDIVIDUAL 2
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL
2 are mixed together, then output from the
INDIVIDUAL 1 jack. This sound comprises the sounds
from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
PATCH TEMPO
fig.05-13
Clock Source (Patch Clock Source)
The LFO cycle, Multi-effects changes, Phrase Loop, and Tone
Delay time can be synchronized to a clock (tempo). When
this is used by the Patch, this Clock Source setting
determines the clock which will be used.
PATCH: Synchronize to the Patch Tempo setting.
SYSTEM: The global System Tempo or clock messages
received from an external sequencer will be used.
For details on using clock (tempo), refer to (p. 200).
Tempo (Patch Tempo)
When Clock Source (Patch Clock Source) is set to PATCH,
this setting value is effective.
Since the values for the Cutoff parameters for each Tone
are added to the values made in this setting, if the Cutoff
parameters are set to 127 (maximum), then no further
changes are made, even when a positive value is used for
this setting.
Res (Resonance Offset)
Resonance Offset alters the resonance of the overall Patch,
while preserving the relative differences between the
resonance values set for each Tone in the Resonance
parameter (PATCH/TVF/TVF FILTER) (p. 88).
* Resonance: emphasizes the overtones in the region of the
cutoff frequency, adding character to the sound.
Since the values for the Resonance parameters for each
Tone are added to the values made in this setting, if the
Resonance parameters are set to 127 (maximum), then no
further changes are made, even when a positive value is
used for this setting.
Atk (Attack Time Offset)
Attack Time Offset alters the attack time of the overall Patch,
while preserving the relative differences between the attack
time values set for each Tone in the T1 parameters (PATCH/
TVA/TVA ENVELOPE) (p. 92).
* Attack Time: The time it takes for a sound to reach maximum
volume after the key is pressed and sound begun
Since the values for the T1 parameters for each Tone are
added to the values made in this setting, if the T1
parameters are set to 127 (maximum), then no further
changes are made, even when a positive value is used for
this setting.
The Patch Tempo Clock does not transmit clock
messages from the MIDI OUT connector.
71
Chapter 5
TONE: Outputs according to the settings for each Tone.
Chapter 5. Creating Patches
Rel (Release Time Offset)
Release Time Offset alters the release time of the overall
Patch, while preserving the relative differences between the
release time values set for each Tone in the T4 parameters
(PATCH/TVA/TVA ENVELOPE) (p. 92).
* Release Time: The time from when you take your finger off
the key until the sound disappears
Instead of using Velocity, you can also have Tones
substituted using the Matrix Controller (p. 80). However,
the keyboard velocity and the Matrix Controller cannot
be used simultaneously to switch Tones. When using the
Matrix Controller to switch Tones, set the TMT Velocity
Control to OFF.
TMT VEL RANG (TMT Velocity Range)
Since the values for the T4 parameters for each Tone are
added to the values made in this setting, if the T4 parameters
are set to 127 (maximum), then no further changes are made,
even when a positive value is used for this setting.
Velocity Sens (Velocity Sensitivity Offset)
Velocity Sensitivity Offset alters the Velocity Sensitivity of
the overall Patch while preserving the relative differences
between the Velocity Sensitivity values set for each Tone in
the parameters below.
• V-Cutoff parameter (PATCH/TVF/TVF VELOCITY) (p.
89)
• V-Sens parameter (PATCH/TVA/TVA) (p. 90)
fig.05-16
Specifies the range of playing dynamics (key velocity) which
will sound the Tone. Make these settings when you want
different Tones to sound in response to notes played at
different strengths.
When the TMT Velocity Control parameter (PATCH/
COMMON/TMT VELO CONTROL) is set to OFF, you
cannot change the tone that is played according to the
force with which the keys are played (velocity).
* Velocity: Pressure with which the key is pressed
Since this settings value is added to the V-Cutoff and VSens parameter values for each Tone, if the V-Cutoff and
V-Sens parameter values are set to +63 (maximum), then
no further changes are made, even when a positive value
is used for this setting.
TMT VELO CONTROL
(TMT Velocity Control)
fig.05-15
You can have the XV-88’s keyboard produce different
tones according to the register, the force with which the
keys are played, or a variety of different MIDI messages.
The group of settings affecting this is called the TMT
(Tone Mix Table).
TMT Velocity Control
(TMT Velocity Control Switch)
TMT Velocity Control determines whether a different Tone is
played (ON) or not (OFF) depending on the force with which
the key is played (velocity).
When set to RANDOM, the Patch’s constituent Tones will
sound randomly, regardless of any Velocity messages.
72
When using the Matrix Controller to have different
Tones played, set the range within which the Tone is to
be sounded according to the value of the MIDI message
used.
Lower (Velocity Range Lower)
Upper (Velocity Range Upper)
For each Tone, specify the lower (Lower) and upper (Upper)
limit of the key velocities that will sound the Tone. When a
key is played more softly than the lower limit, or more
strongly than the upper limit, the sound will either not be
heard at all or will be extremely weak.
If you attempt to set the Lower velocity limit above the
Upper, or the Upper below the Lower, the other value
will automatically be adjusted to the same setting.
When using the Matrix Controller to have different
Tones played, set the lowest value (Lower) and highest
value (Upper) of the value of the MIDI message used.
Chapter 5. Creating Patches
L.Fade (Velocity Fade Width Lower)
STRUCT (Structure)
U.Fade (Velocity Fade Width Upper)
fig.05-19
L.Fade and U.Fade set the range within which the volume
gradually fades as the velocity approaches the limits of the
Velocity Range as set by the Lower and Upper parameters.
Use this setting when, for example, you want to have
adjacent Tones in Split mode switched smoothly (Velocity
Crossfade). The higher the values set, the smoother the
switch is between the Tones. When you want the Tones to be
switched instantly, set these to 0.
Type (Structure Type)
Determines how Tone 1 and 2, or Tone 3 and 4 are connected.
The following 10 different Types of combination are
available.
Level
Velocity
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1),
A2 (TVA2), B (booster), R (ring modulator)
fig.05-20
L.Fade
Lower
Upper
U.Fade
TYPE 1
TMT KEY RANG (TMT Key Range)
TONE 1 (3)
WG
TVF
TVA
TONE 2 (4)
WG
TVF
TVA
fig.05-18
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)
With this type, Tones 1 and 2 (or 3 and 4) are independent.
Use this type when you want to preserve PCM sounds or
create and combine sounds for each Tone.
fig.05-21
Upper (Key Range Upper)
TYPE 2
Specify the lower (Lower) and upper (Upper) limits in which
each Tone will sound.
TONE 1 (3)
WG
TONE 2 (4)
WG
If you attempt to raise the lower key higher than the upper
key, or to lower the upper key below the lower key, the other
value will be automatically modified to the same setting.
L.Fade (Key Fade Width Lower)
TVA
TVF
TVF
TVA
This type stacks the two filters together to intensify the
characteristics of the filters. The TVA for Tone 1 (or 3)
controls the volume balance between the two Tones.
fig.05-22
U.Fade (Key Fade Width Upper)
TYPE 3
L.Fade and U.Fade set the range within which the volume
gradually fades as the velocity approaches the limits of the
Key Range set in the Lower and Upper parameters. Use this
setting when, for example, you want to have adjacent Tones
in Split mode switched smoothly. The higher the values set,
the smoother the switch is between the Tones. When you
want the Tones to be switched instantly, set these to 0.
fig.03-07.e
TONE 1 (3)
WG
TVA
TVF
B
TONE 2 (4)
WG
TVF
TVA
This type mixes the sound of tone 1 (3) and tone 2 (4), applies
a filter, and then applies a booster to distort the waveform.
Level
Pitch
L.Fade
Lower
Upper
U.Fade
73
Chapter 5
The display will show how the Tones are combined. The
displayed symbols have the following meanings.
fig.05-17.e
Chapter 5. Creating Patches
fig.05-23
fig.05-27
TYPE 4
TONE 1 (3)
TYPE 8
WG
TVA
TONE 1 (3)
TVF
WG
TVF
TVA
R
B
TONE 2 (4)
WG
TVF
TVA
This type applies a booster to distort the waveform, and then
combines the two filters. The TVA for Tone 1 (or 3) controls
the volume balance between the two Tones and adjusts
booster level.
TONE 2 (4)
WG
TVF
TVA
This type sends the filtered Tone 1 (3) and Tone 2 (4) through
a ring modulator, and then mixes in the sound of Tone 2 (4)
and applies a filter to the result.
fig.05-28
TYPE 9
fig.05-24
TYPE 5
TONE 1 (3)
TONE 1 (3)
WG
TVA
TVF
TVA
TVF
R
R
TONE 2 (4)
WG
TONE 2 (4)
WG
TVF
WG
TVF
TVA
TVA
This type uses a ring modulator to create new overtones, and
combines the two filters. The Tone 1 (3) TVA will control the
volume balance of the two Tones, adjusting the depth of ring
modulator.
This type passes the filtered sound of each tone through a
ring modulator to create new overtones. The TVA for Tone 1
(or 3) controls the volume balance between the two Tones
and adjusts ring modulation depth.
fig.05-29
TYPE 10
fig.05-25
TYPE 6
TONE 1 (3)
TONE 1 (3)
WG
TVA
TVF
TONE 2 (4)
WG
TVA
R
R
TONE 2 (4)
WG
TVF
TVF
WG
TVF
TVA
TVA
This type uses a ring modulator to create new overtones, and
in addition mixes in the sound of tone 2 (4) and stacks the
two filters. Since the ring-modulated sound can be mixed
with Tone 2 (4), Tone 1 (3) TVA can adjust the amount of the
ring-modulated sound.
This type passes the filtered sound of each tone through a
ring modulator to create new overtones, and also mixes in
the sound of tone 2 (4). Since the ring-modulated sound can
be mixed with Tone 2 (4), Tone 1 (3) TVA can adjust the
amount of the ring-modulated sound.
fig.05-26
• If you select a Tone while on the STRUCT page, the Tone
paired with the selected Tone will also be selected.
TYPE 7
TONE 1 (3)
WG
TVF
TVA
R
TONE 2 (4)
WG
TVF
TVA
This type applies a filter to tone 1 (3) and ring-modulates it
with tone 2 (4) to create new overtones.
• When TYPE 2–10 is selected and one Tone of a pair is
turned off, the other Tone will be sounded as TYPE 1
regardless of the displayed setting.
• If you limit the keyboard area in which a Tone will
sound (Key Range p. 73) or limit the range of velocities
for which it will sound (Velocity Range p. 72), the result
in areas or ranges where the Tone does not sound is just
as if the Tone had been turned off. This means that if
TYPE 2–10 is selected and you create a keyboard area or
velocity range in which one Tone of a pair does not
sound, notes played in that area or range will be
sounded by the other Tone as TYPE 1 regardless of the
displayed setting.
74
Chapter 5. Creating Patches
Booster (Booster Gain)
When a Structure Type of TYPE 3 or TYPE 4 is selected, you
can adjust the depth of the booster. The booster increases the
input signal in order to distort the sound. This creates the
distortion effect frequently used with electric guitars. Higher
settings will produce more distortion.
What is a Booster?
The Booster is used to distort the incoming signal.
fig.05-30.e
Booster level
What is a Ring Modulator?
A ring modulator multiplies the waveforms of two
Tones with each other, generating many new overtones
(inharmonic partials) which were not present in either
waveform. (Unless one of the waveforms is a sine wave,
evenly-spaced frequency components will not usually be
generated.)
As the pitch difference between the two waveforms
changes the harmonic structure, the result will be an
unpitched metallic sound. This function is suitable for
creating metallic sounds such as bells.
In addition to using this to create distortion, you can use
the waveform (WG1) of one of the Tones as an LFO
which shifts the other waveform (WG2) upward or
downward to create modulation similar to PWM (pulse
width modulation). This parameter works best when
you use it in conjunction with the Gain parameter
(PATCH/WAVE/WAVE) (p. 81).
fig.05-31.e
Uses WG1 as LFO
WG1
Chapter 5
fig.05-32
Setting Effects for a Patch
(EFFECTS)
Adjusts WG1 output
For details regarding effect settings, refer to the pages
shown below.
TVA
Booster
• “Applying Effects in Patch Mode or Rhythm Set
Mode” (p. 106)
• “Making Multi-Effects Settings” (p. 114)
WG2
• “Making Chorus Settings” (p. 156)
• “Making Reverb Settings” (p. 158)
WG2
Adds to WG1
Distorted area of the
Waveform changes
Shift in waveform by WG1
75
Chapter 5. Creating Patches
Using Controllers to Change How
Sounds Are Played (CONTROL)
PATCH PORTAMNT (Patch Portamento)
fig.05-34
The parameters in this group determine how various
controllers will affect the Patch and its Tones.
PATCH KEY MODE
(Patch Key Assign Mode)
fig.05-33
Assign (Key Assign)
Specifies whether the Patch will play polyphonically (POLY)
or monophonically (MONO). The MONO setting is effective
when playing a solo instrument Patch such as sax or flute.
POLY: Two or more notes can be played simultaneously.
MONO: Only the last-played note will sound.
What is Portamento?
Portamento is a function that causes the Patch’s pitch to
change smoothly from one note to the next note played.
With the Assign parameter set to MONO, portamento is
especially effective when simulating playing techniques
such as a violin glissandos. Portamento can also be
applied when Key Assign is polyphonic (POLY).
Sw (Portamento Switch)
Specifies whether the portamento effect will be applied (ON)
or not (OFF).
Legato (Solo Legato Switch)
Solo Legato is valid when the Assign parameter is set to
MONO. This setting specifies whether the Solo Legato
function will be used (ON) or not (OFF).
When the Legato parameter is ON, pressing one key when
another is already pressed causes the currently playing
note’s pitch to change to that of the newly pressed key while
continuing to sound. This can be effective when you wish to
simulate performance techniques such as a guitarist’s
hammering on and pulling off strings.
Legato Retrigger (Legato Retrigger Switch)
Legato Retrigger is enabled when the Assign parameter is set
to MONO, and the Legato parameter to ON. The setting
determines whether sounds are replayed (ON) or not (OFF)
when performing legato. This is normally set to ON. When
OFF, when one key is held down and another key is then
pressed, only the pitch changes, without the attack of the
latter key being played. Set this to OFF when performing
wind and string phrases or when using modulation with the
mono synth keyboard sound.
When the Sw parameter is set to OFF, all of the following
Portamento settings are disabled.
Time (Portamento Time)
When portamento is used, this specifies the time over which
the pitch will change. Higher settings will cause the pitch
change to the next note to take more time.
Mode (Portamento Mode)
Specifies the performance conditions for 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 a second key before releasing the
first.
Type (Portamento Type)
Specifies the type of portamento effect.
RATE: The time it takes will depend on the distance between
the two pitches.
TIME: The time it takes will be constant, regardless of how
far apart in pitch the notes are.
76
Chapter 5. Creating Patches
Start (Portamento Start Pitch)
PITCH: When another key is pressed while the pitch is
moving, portamento will begin anew from the pitch that had
been reached at that moment.
fig.05-35.e
Pitch
C5
• Generally, pitch bend messages control the pitch of the
currently sounding note, expression messages control
the volume. In addition to this, the XV-88 allows these
MIDI messages to be used to control Tone settings or
Multi-effects settings as well (p. 78, p. 115). If you are
using this capability, turn reception of these MIDI
messages OFF. If the receive switch is ON for these
messages, they will control their usual function (in
addition to their special function).
• When assigning (and playing) a Patch to a Part in a
Performance, check the MIDI message settings for each
MIDI channel (p. 52). If the MIDI channels for that part
are set not to receive MIDI messages, then the MIDI
messages will not be received.
D4
C4
Time
press D4 key
press C5 key
press C4 key
Bender (Receive Pitch Bend Switch)
Specifies whether Pitch Bend messages will be received (ON)
or not (OFF).
NOTE: Portamento will begin anew from the pitch where the
current change would end.
fig.05-36.e
Pitch
Expression (Receive Expression Switch)
Specifies whether Expression messages will be received (ON)
or not (OFF).
Pan Mode (Receive Pan Mode)
C5
Specifies how Pan messages will be received.
CONTINUOUS: Whenever Pan messages are received, the
stereo position of the Tone will be changed.
D4
C4
Time
press D4 key
press C5 key
press C4 key
CTRL Rx MIDI (Control Receive MIDI)
fig.05-37
KEY-ON: The pan of the Tone will be changed only when the
next note is played. If a pan message is received while a note
is sounding, the panning will not change until the next key is
pressed.
The channels cannot be set so as not to receive Pan
messages.
Hold-1 (Receive Hold 1 Switch)
fig.05-38
Here you can specify for each Tone how MIDI messages such
as pitch bend, expression and pan will be received.
Specifies whether Hold 1 messages will be received (ON) or
not (OFF).
If NO SUSTAIN is selected for Envelope Mode
parameter (PATCH/CONTROL/CTRL Rx MIDI), this
setting will have no effect.
77
Chapter 5
Portamento will begin anew if you press another key during
a pitch movement. This setting specifies the pitch at which
the change will begin.
Chapter 5. Creating Patches
Redamper (Redamper Switch)
When a Hold 1 message is received after a key was released
but before the sound has completely decayed, this setting
specifies whether or not the sound will be sustained at that
level. If you want to sustain the sound, set this ON. When
using this function, also set the Hold-1 parameter ON. This
function is effective for piano sounds.
Envelope Mode
When a loop-type waveform (p. 68) is selected, it will
normally continue to sound as long as a key is pressed. If you
want a note to decay naturally even when the key remains
pressed, set this to NO SUSTAIN.
If a one-shot type Wave (p. 68) is selected, it will not
sustain even if this parameter is set to SUSTAIN.
TMT CTRL&BENDER
(TMT Control & Bender)
fig.05-39
TMT Ctrl Sw (TMT Control Switch)
Use the Matrix Controller to enable (ON), or disable (OFF)
sounding of different tones.
You can also cause different tones to sound in response
to notes played at different strengths (velocity) on the
keyboard. However, the Matrix Controller and the
keyboard velocity cannot be used simultaneously to
make different Tones to sound. When you want to make
the different Tones to sound, set the TMT Velocity
Control parameter (PATCH/COMMON/TMT VELO
CONTROL) to OFF.
Bend Range
Specifies the amount of pitch change (in semitones) that will
occur when the Pitch Bend Lever is moved (-4– +4 octaves).
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. For example, if the right value is set to 12, the pitch will
rise one octave when the bender lever is moved to the rightmost position.
MATRIX CTRL SRC
(Matrix Control Source)
fig.05-40
What is the Matrix Controller?
Ordinarily, if you wanted to change Tone parameters
using an external MIDI device, you would need to send
System Exclusive messages—MIDI messages
designed exclusively for the XV-88. However, System
Exclusive messages tend to be complicated, and the
amount of data that needs to be transmitted can get quite
large.
For that reason, a number of the more typical of the XV88’s Tone parameters have been designed so they accept
the use of Control Change (or other) MIDI messages for
the purpose of making changes in their values. This
provides you with a variety of means of changing the
way Patches are played. For example, you can use the
Pitch Bend lever to change the LFO cycle rate, or use the
keyboard’s touch to open and close a filter.
The function which allows you use MIDI messages to
make these changes in realtime to the Tone parameters is
called the Matrix Controller. Up to four Matrix
Controllers can be used in a single Patch.
When the Matrix Controller is used, you can select the
amount of control (Sns parameter) applied, the
parameter selected (Dest parameter), the MIDI message
used to transmit the effect (Control 1–4 parameter), and
the Tone to which the effect is applied (Tone parameter).
Control 1–4 (Matrix Control Source 1–4)
Sets the MIDI message used to change the Tone parameter
with the Matrix Controller. Set this to OFF when the Matrix
Controller is not being used.
The following are MIDI messages that can be used as Matrix
Controllers.
• Controller Numbers 01–31, 33–95 (CC01–CC31, CC33–
CC95)
For more information about Control Change messages,
please refer to “MIDI Implementation” (p. 270).
• Pitch Bend (PITCH BEND)
• Aftertouch (AFTERTOUCH)
• System Controller 1–4 (SYS-CTRL1–SYS-CTRL4): MIDI
messages used as global Matrix Controllers
78
Chapter 5. Creating Patches
• Velocity (VELOCITY): Pressure you press a key with
• Tempo (TEMPO): The specified tempo (Patch Tempo/
System Tempo) or MIDI sequencer’s tempo (external
tempo)
• LFO 1 (LFO1): LFO 1 cycle rate
• LFO 2 (LFO2): LFO 2 cycle rate
• Pitch Envelope (PITCH ENV)
• TVF Envelope (TVF ENV)
• TVA Envelope (TVA ENV)
Velocity and Keyfollow correspond to Note messages.
• You can use the tempo as a Matrix Controller. This lets
you change the Tone settings in realtime according to
changes in the Tempo.
When synchronizing to the Patch tempo, set the Clock
Source parameter (PATCH/COMMON/PATCH
TEMPO) to PATCH, and specify the Patch tempo with
the TEMPO parameter (PATCH/COMMON/PATCH
TEMPO).
When synchronizing to the System tempo, set the Clock
Source parameter (PATCH/COMMON/PATCH
TEMPO) to SYSTEM, set the Clock Source parameter
(SYSTEM/COMMON/SYSTEM SETUP) to INT, and
specify the System tempo with the System Tempo
parameter (SYSTEM/COMMON/SYSTEM SETUP).
When synchronizing to the tempo of the connected MIDI
sequencer, set the Clock Source parameter (PATCH/
COMMON/PATCH TEMPO) to SYSTEM, and set the
Clock Source parameter (SYSTEM/COMMON/SYSTEM
SETUP) to MIDI.
• Although there are no MIDI messages for LFO 1 through
TVA Envelope, they can be used as Matrix Controllers.
In this case, you can change the Tone settings in realtime
by playing Patches.
• Select SYS-CTRL1–4 if you want to use the controllers
globally for the entire XV-88. MIDI messages used as
System Controllers 1–4 are set with the Control 1–4
parameters (SYSTEM/CONTROL/SYS CTRL ASSIGN 1,
2) (p. 173).
• There are parameters that determine whether or not
Pitch Bend, Controller Number 11 (Expression) and
Controller Number 64 (Hold 1) are received (p. 77).
When these settings are ON, and the MIDI messages are
received, then when any change is made in the settings
of the desired parameter, the Pitch Bend, Expression,
and Hold 1 settings also change simultaneously. If you
want to change the targeted parameters only, then set
these to OFF.
• There are parameters that determine whether or not
specific MIDI messages are received for each MIDI
channel (p. 52). When a Patch with Matrix Control
settings is assigned to a part, confirm that any MIDI
messages used for the Matrix Controller will be received.
If the XV-88 is set up such that reception of MIDI
messages is disabled, then the Matrix Controller will not
function.
MATRIX CONTROL 1–4
fig.05-41
Dest (Matrix Control Destination)
Matrix Control Destination selects the Tone parameter that is
to be controlled when using the Matrix Controller. The
following parameters can be controlled. When not
controlling parameters with the Matrix Controller, set this to
OFF. Up to four parameters (DEST1–4) can be specified for
each Matrix Controller, and controlled simultaneously.
In this manual, Parameters that can be controlled using
the Matrix Controller are marked with a ★.
● Opening and Closing the Filter
CUTOFF: Changes the cutoff frequency.
RESONANCE: Emphasizes the overtones in the region of the
cutoff frequency, adding character to the sound.
● Changing the Volume, Pan, and Pitch
LEVEL: Changes the volume level.
PAN: Changes the pan.
PITCH: Changes the pitch.
79
Chapter 5
• Keyfollow (KEYFOLLOW): Keyboard position with C4
as 0
Chapter 5. Creating Patches
● Changing How the Effects Are Applied
DRY LEVEL: Changes the volume of dry sounds.
CHORUS SEND: Changes the amount of Chorus.
REVERB SEND: Changes the amount of Reverb.
● Applying LFO to Modulate Sounds
• When you want to use the Matrix Controller to make the
switch between Tones more smoothly, set the L.Fade and
U.Fade parameters (PATCH/COMMON/TMT VELO
RANG) (p. 73). The higher the values set, the smoother
the switch is between the Tones.
LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.
● Changing the Depth of Frequency
Modulation for FXM
LFO1/LFO2 TVF DEPTH: Changes the wah depth.
FXM DEPTH
LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.
LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO
will have on pan.
LFO1/LFO2 RATE: Changes the speed of the LFO cycles.
● Changing Specific Multi-Effects Parameters
MFX CTRL1: The specified parameter is changed by the MFX
CTRL1 Destination parameter.
● Changing the Pitch Envelope
MFX CTRL2: The specified parameter is changed by the MFX
CTRL2 Destination parameter.
PIT ENV A-TIME: Changes the T1 parameter of the pitch
envelope.
MFX CTRL3: The specified parameter is changed by the MFX
CTRL3 Destination parameter.
PIT ENV D-TIME: Changes the T2 and T3 parameters of the
pitch envelope.
MFX CTRL4: The specified parameter is changed by the MFX
CTRL4 Destination parameter.
PIT ENV R-TIME: Changes the T4 parameter of the pitch
envelope.
● Changing the TVF Envelope
TVF ENV A-TIME: Changes the T1 parameter of the TVF
envelope.
TVF ENV D-TIME: Changes the T2 and T3 parameters of the
TVF envelope.
TVF ENV R-TIME: Changes the T4 parameter of the TVF
envelope.
● Changing the TVA Envelope
TVA ENV A-TIME: Changes the T1 parameter of the TVA
envelope.
TVA ENV D-TIME: Changes the T2 and T3 parameters of the
TVA envelope.
No effects are available, even with the Matrix Controller,
when the settings are such that no Multi-effects are
applied.
Sns (Matrix Control Sensitivity)
Sets the amount of the Matrix Controller’s effect that is
applied. To make an increase in the currently selected value
(to get higher values, move to the right, increase rates, and so
on), select a positive value; to make a decrease in the
currently selected value (to get lower values, move to the left,
decrease rates, and so on), select a negative value. When both
positive and negative are selected, the changes are greater as
the value increases. To have no effect applied, select 0.
Tone (Matrix Control Tone)
TVA ENV R-TIME: Changes the T4 parameter of the TVA
envelope.
Matrix Control Tone selects the Tone to which the effect is
applied when using the Matrix Controller.
● Splitting Tones That Are Played
Indicated from left to right are Tones 1, 2, 3, and 4. Tones to
which effects are applied are indicated by a circle (o) for the
setting; Tones to which no effects are applied are indicated
by an underline (_). With a setting of R, the effect will be
inverted.
TMT
• If the Matrix Controller is used to split Tones, set the
TMT Velocity Control parameter (PATCH/COMMON/
TMT VELO CONTROL) to OFF, and the TMT Ctrl Sw
parameter (PATCH/CONTROL/CONTROL&BENDER)
to ON (p. 72, p. 78).
• If the Matrix Controller is used to split Tones, we
recommend setting the Sns to +63. Selecting a lower
value may prevent switching of the Tones. Furthermore,
if you want to reverse the effect, set the value to -63.
80
Chapter 5. Creating Patches
Modifying Waveforms (WAVE)
Select the PCM waveform that is to be the basis of the Tone,
and apply effects to the waveform.
WAVE
fig.05-42
Wave Tempo Sync
When you wish to synchronize a Phrase Loop to the clock
(tempo), set this to ON. This is valid only when an optional
Wave Expansion Board, such as “SR-JV80-10:
BASS&DRUMS,” is installed, and you have selected a Tone
which uses a waveform that displays tempo (BPM). For
details, refer to “Playing Phrase Loops in Sync with the
System Tempo” (p. 201).
fig.05-43
Selects the group for the waveform that is to be the basis of
the Tone.
INT: Waveforms stored in internal memory
XP-A–D: Waveform stored in a Wave Expansion Board
installed in EXP A–D slots.
• When the Wave Tempo Sync parameter is set to ON, set
the Time parameter (PATCH/WAVE/TONE DELAY) to
0. With other settings, a delay effect will be applied, and
you will be not be able to play as you expect.
What is a Phrase Loop?
You cannot select a waveform group of a Wave
Expansion Board that is not installed.
Number (Wave Number)
Selects the basic waveform for a Tone. Along with the Wave
number, the Wave name appears at the right of the display.
When in monaural mode, only the left side (L) is specified.
When in stereo, the right side (R) is also specified.
A Phrase Loop is a portion of a song that is excerpted
with a sampler or by other means, and then played back
repeatedly. One technique involving the use of Phrase
Loops is the excerpting of a Phrase from a pre-existing
song in a certain genre, for example dance music, and
then creating a new song with that Phrase used as the
basic motif. This is referred to as “Break Beats.”
FXM (Frequency Cross Modulation)
The Wave numbers can be divided and set in the first
two and last two digits.
Gain (Wave Gain)
Specifies the gain (amplitude) of the waveform. The value
changes in 6 dB (decibel) steps—an increase of 6 dB doubles
the waveform’s gain. If you intend to use the Booster to
distort the waveform’s sound, set this parameter to its
maximum value (p. 75).
Switch (Tone Switch)
Determines whether or not the Tone will be heard in the
Patch. In order to make best use of the available number of
simultaneous voices, unused Tones should be turned off.
You can also set the Switch parameter on the PATCH
PLAY page. Press TONE SWITCH [1]–[4] to switch the
setting to ON (indicator lighted), or OFF (indicator
extinguished) (p. 32).
fig.05-44
FXM (Frequency Cross Modulation) uses a specified
waveform to apply frequency modulation to the currently
selected waveform, creating complex overtones. This can be
useful when creating wilder sounds or sound effects.
Switch (FXM Switch)
This sets whether FXM will be used (ON) or not (OFF).
Color (FXM Color)
Specifies how FXM will perform frequency modulation.
Higher settings result in a grainier sound, while lower
settings result in a more metallic sound.
Depth (FXM Depth) ★
Specifies the depth of the modulation produced by FXM.
81
Chapter 5
Group (Wave Group)
• When the Wave Tempo Sync parameter is set to ON,
settings related to Pitch (p. 86) and FXM (p. 81) are
disabled.
Chapter 5. Creating Patches
TONE DELAY
HOLD: Although the Tone begins to play after the time
specified in the Time parameter has elapsed, if the key is
released before the time specified in the Time parameter has
elapsed, the Tone is not played.
fig.05-45
This produces a time delay between the moment a key is
pressed (or released), and the moment the Tone actually
begins to sound. You can also make settings that shift the
timing at which each Tone is sounded. This differs from the
Delay in the internal effects, in that by changing the sound
qualities of the delayed Tones and changing the pitch for
each Tone, you can also perform arpeggio-like passages just
by pressing one key.
In addition, you can synchronize the tempo that specifies the
Tone Delay time and the tempo set in a connected sequencer
(external tempo).
• If you are not going to use Tone Delay, set the Mode
parameter (discussed below) to NORMAL and Time
parameter to 0.
• When the Type parameter (PATCH/COMMON/
STRUCT) has a setting of Type 2–10, the outputs of
Tones 1 and 2 will be combined with Tone 2, and the
outputs of Tones 3 and 4 will be combined with Tone 4.
For this reason, Tone 1 will follow the settings of Tone 2,
and Tone 3 will follow the settings of Tone 4 (p. 73).
fig.05-48.e
HOLD
No sound
played
Delay time
Note on
Note off
KEY-OFF-NORMAL: Rather than being played while the key
is pressed, the Tone begins to play once the period of time
specified in the Time parameter has elapsed after release of
the key. This is effective in situations such as when
simulating noises from guitars and other instruments.
fig.05-49.e
KEY-OFF-NORMAL
Delay time
Mode (Tone Delay Mode)
Selects the type of tone delay.
fig.05-46.e
No Tone Delay
Note on
Note off
NORMAL: The Tone begins to play after the time specified in
the Time parameter has elapsed.
fig.05-47.e
Note on
Note off
KEY-OFF-DECAY: Rather than being played while the key is
pressed, the Tone begins to play as soon as the period of time
specified for the Time parameter has elapsed after release of
the key. Here, however, changes in the TVA Envelope begin
while the key is pressed, which in many cases means that
only the sound from the release portion of the envelope is
heard.
fig.05-50.e
KEY-OFF-DECAY
NORMAL
Delay time
Note on
Delay time
Note on
82
Note off
Note off
If you have selected a waveform that is a decay-type
sound (i.e., a sound that fades away naturally even if the
key is not released), selecting KEY-OFF-NORMAL or
KEY-OFF-DECAY may result in no sound being heard.
Chapter 5. Creating Patches
Time (Tone Delay Time)
Specifies the time from when the key is pressed (or if the
Mode parameter is set to KEY-OFF-NORMAL or KEY-OFFDECAY, the time from when the key is released) until when
the Tone will sound.
Tone Delay Time specifies the beat length for the
synchronized tempo when the tempo that specifies the
elapsed time until the Tone is sounded (Patch Tempo) is
synchronized with the tempo set in a connected sequencer
(external tempo).
: Once the decay of the waveform output by the LFO
is allowed to develop in standard fashion, the waveform then
continues without further change.
: Trapezoidal wave
: Sample and Hold wave (LFO value is changed
one time per cycle)
: Chaos wave
When setting
or
, set the KeySync
parameter to ON. If this is OFF, it will have no effect.
For a tempo of 120 (120 quarter notes occur in 1 minute (60
seconds))
Ofset (LFO Level Offset)
(half note)
1 second (60 / 60 =1 (second))
(quarter note)
0.5 seconds (60 / 120= 0.5 (seconds))
Adjusts the LFO waveform up or down from the center value
(pitch or cutoff frequency). Positive (+) settings will move the
waveform up from the center value. Negative (-) settings will
move it down from the center value.
(eighth note)
0.25 seconds (60 / 240= 0.25 (seconds))
Rate (LFO Rate) ★
Setting
Delay time
Adjusts the modulation rate, or speed, of the LFO.
Modulating Sounds (LFO)
An LFO (Low Frequency Oscillator) causes change over a
cycle in a sound. Each Tone has two LFOs (LFO1/LFO2), and
these can be used to cyclically change the pitch, cutoff
frequency and volume to create modulation-type effects such
as vibrato, wah and tremolo. Since both LFOs have the same
parameters, the following explanation will cover both of
them.
LFO1/LFO2 WAVE
fig.05-51
LFO Rate sets the beat length for the synchronized tempo
when the tempo that specifies the LFO cycle (Patch Tempo) is
synchronized with the tempo set in a connected sequencer
(external tempo).
For a tempo of 120 (120 quarter notes occur in 1 minute (60
seconds))
Setting
Delay time
(half note)
1 second (60 / 60 =1 (second))
(quarter note)
0.5 seconds (60 / 120= 0.5 (seconds))
(eighth note)
0.25 seconds (60 / 240= 0.25 (seconds))
Form (LFO Waveform)
Specifies the LFO waveform.
: Sine wave
When
is selected for the Form parameter, this
setting will be ignored.
: Triangle wave
Detune (LFO Rate Detune)
: Sawtooth wave
LFO Part Detune makes subtle changes in the LFO cycle rate
(Rate parameter) each time a key is pressed. Higher settings
will cause greater change.
: Sawtooth wave (negative polarity)
: Square wave
: Random wave
: Once the attack of the waveform output by the LFO
is allowed to develop in standard fashion, the waveform then
continues without further change.
KeySync (LFO Key Sync)
Sets whether you want the LFO cycle to start in sync with the
timing of a key press (ON) or not (OFF).
83
Chapter 5
Chapter 5. Creating Patches
LFO1/LFO2 FADE
Delay Keyfollow (LFO Delay Time Keyfollow)
fig.05-52
Adjusts the value for the Delay Time parameter depending
on the key position, relative to the C4 key (center C). To
decrease the time that elapses before the LFO effect is applied
(the effect is continuous) with each higher key that is pressed
in the upper registers, select a positive value; to increase the
elapsed time, select a negative value. Higher settings
produce more change. If you do not want the elapsed time
before the LFO effect is applied (the effect is continuous) to
change according to the key pressed, set this to 0.
Fade Mode (LFO Fade Mode)
Specifies how the LFO will be applied.
After referring to “How to Apply the LFO” (p. 84),
change the setting until the desired effect is achieved.
fig.05-54.e
Fade Time (LFO Fade Time)
Time
Specifies the time over which the LFO amplitude will reach
the maximum (minimum).
+100
+50
After referring to “How to Apply the LFO” (p. 84),
change the setting until the desired effect is achieved.
0
-50
LFO1/LFO2 DELAY
fig.05-53
C1
Delay Time (LFO Delay Time)
Delay Time (LFO Delay Time) specifies the time elapsed
before the LFO effect is applied (the effect continues) after
the key is pressed (or released).
C2
C3
C4
C5
C6
-100
C7
Key
How to Apply the LFO
● LFO is gradually added after the key is
pressed.
fig.05-55.e
After referring to “How to Apply the LFO” (p. 84),
change the setting until the desired effect is achieved.
When using violin, wind, or certain other instrument
sounds in a performance, rather than having vibrato
added immediately after the sounds are played, it can be
effective to add the vibrato after the note is drawn out
somewhat. When the Delay Time parameter is set
together with other parameters such as the Pitch
parameter (PATCH/LFO/LFO DEPTH1:2) and the Rate
parameter (PATCH/LFO/LFO1, 2 WAVE), vibrato is
added automatically once a fixed time has elapsed after
the key is pressed. This effect is called Delay Vibrato.
84
high (more)
Pitch
Cutoff Frequency
Level
Pan
Delay
Time
Fade Time
Depth
Note on
low (less)
Fade Mode: ON-IN
Fade Time: The time over which the LFO amplitude will
reach the maximum after the Delay Time has elapsed.
Delay Time: The time from when the keyboard is played
until the LFO begins to be applied.
Chapter 5. Creating Patches
● LFO is immediately added after the key is
pressed, after which the effect gradually
fades.
LFO DEPTH 1:2
fig.05-59
fig.05-56.e
high (more)
Delay Time
For each item, specify the amount of the LFO effect.
Fade Time
Depth
• The effect produced by modulating the pitch is known as
vibrato.
Note on
• The effect produced by modulating the cutoff frequency
is known as wah.
low (less)
Fade Mode: ON-OUT
Fade Time: The time over which the LFO amplitude will
reach the minimum after the Delay Time has elapsed.
Delay Time The time that the LFO will continue after the
keyboard is played.
● LFO is gradually added after the key is
released.
• The effect produced by modulating the volume is known
as tremolo.
Two values are displayed for each parameter listed
below. The left one is for LFO1, and the right one is for
LFO2.
Pitch (Pitch LFO Depth 1, 2) ★
fig.05-57.e
Delay
Time
high (more)
Pitch
Cutoff Frequency
Level
Pan
Specifies how deeply the LFO will affect pitch.
Fade Time
Depth
Note
on
TVF (TVF LFO Depth 1, 2) ★
Specifies how deeply the LFO will affect the cutoff
frequency.
Note
off
low (less)
Fade Mode: OFF-IN
TVA (TVA LFO Depth 1, 2) ★
Fade Time: The time over which the LFO amplitude will
reach the maximum after the Delay Time has elapsed.
Specifies how deeply the LFO will affect the volume.
Delay Time: The time from when the keyboard is released
until the LFO begins to be applied.
● LFO is added from the time the key is
pressed to the time it is released, after
which the effect gradually fades.
fig.05-58.e
Delay
Time
high (more)
Pitch
Cutoff Frequency
Level
Pan
low (less)
Fade Time
Depth
Note on
Note off
Fade Mode: OFF-OUT
Fade Time: The time over which the LFO amplitude will
reach the minimum after the Delay Time has elapsed.
Delay Time: The time that the LFO will continue after the
keyboard is released.
Pan (Pan LFO Depth 1, 2) ★
Specifies how deeply the LFO will affect the pan.
Positive (+) and negative (-) settings for the Depth
parameter result in differing kinds of change in pitch
and volume. For example, if you set the Depth
parameter to a positive (+) value for one Tone, and set
another Tone to the same numerical value, but make it
negative (-), the modulation phase for the two Tones will
be the reverse of each other. This allows you to shift back
and forth between two different Tones, or combine it
with the Pan setting to cyclically change the location of
the sound image.
When any value from Type 2–10 is selected for the Type
parameter (PATCH/COMMON/STRUCT) in the Pan
parameter settings, the output of Tones 1 and 2 are
joined in Tone 2, and the output of Tones 3 and 4 are
joined in Tone 4. For this reason, the setting of Tone 1
will follow the setting of Tone 2, and the setting of Tone
3 will follow the setting of Tone 4 (p. 73).
85
Chapter 5
Pitch
Cutoff Frequency
Level
Pan
Chapter 5. Creating Patches
Modifying Pitch (PITCH)
Keyfollow (Pitch Keyfollow)
You can set the WG pitch of each Tone.
Sets the amount of pitch change that will occur per octave on
the keyboard.
PITCH
fig.05-60
Coarse (Coarse Tune) ★
Adjusts the pitch of the Tone’s sound up or down in
semitone steps (+/-4 octaves).
For a conventional keyboard pitch change of 1 octave when
keyboard position goes up 1 octave, set this parameter to
+100. For a 2 octave pitch changes when keyboard position
goes up 1 octave, set this parameter to +200. Negative (-)
values will lower pitch even as you go up the keyboard. If
you want the same pitch to sound regardless of what key is
pressed, set this parameter to 0.
fig.05-61.e
Pitch
+200
The overall coarse tune of the Patch is set by the Coarse
parameter (PATCH/COMMON/PATCH OCT&TUNE)
(p. 70).
+100
+50
0
Fine (Fine Tune) ★
-50
Adjusts the pitch of the Tone’s sound up or down in 1-cent
steps (+/-50 cents).
C1
C2
C3
C4
C5
-200
C6
-100
C7
Key
One cent is 1/100th of a semitone.
PCH ENVELOPE (Pitch Envelope)
The overall fine tune of the Patch is set by the Fine
parameter (PATCH/COMMON/PATCH OCT&TUNE)
(p. 70).
fig.05-62
fig.05-63
Random (Random Pitch Depth)
Specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to
change randomly, set this to 0. The setting is adjustable in
units of 1 cent (1/100th of a semitone).
fig.05-64
Here you can make pitch envelope settings (changes in pitch
over time).
Depth (Pitch Envelope Depth)
Adjusts the effect of the Pitch Envelope. Higher settings will
cause the pitch envelope to produce greater change.
Negative (-) settings will invert the shape of the envelope.
V-Sens (Pitch Envelope Velocity Sensitivity)
Keyboard playing dynamics can be used to control the depth
of the pitch envelope. If you want the pitch envelope to have
more effect for strongly played notes, set this parameter to a
positive (+) value. If you want the pitch envelope to have less
effect for strongly played notes, set this to a negative (-)
value.
86
Chapter 5. Creating Patches
Time Keyfollow
(Pitch Envelope Time Keyfollow)
L1–L4 (Pitch Envelope Level 1–4)
Use this parameter when you want the keyboard location of
notes to affect times T2–T4 of the pitch envelope. Based on
the pitch envelope times for the C4 key, positive (+) settings
will cause notes higher than C4 to have increasingly shorter
times, and negative (-) settings will cause them to have
increasingly longer times. Higher settings result in more
change.
Set the level (L1–L4) for the Pitch Envelope. It determines
how much the pitch changes from the reference pitch (the
value set with Coarse Tune or Fine Tune on the PITCH page)
at each point. Positive (+) settings will cause the pitch to be
higher than the standard pitch, and negative (-) settings will
cause it to be lower.
fig.05-65.e
T1
T2
T3
T4
fig.05-54.e
Time
+100
Pitch L0
L1
Note off
Note on
0
L2
-50
C1
C2
C3
C4
C5
C6
-100
C7
Key
V-T1
(Pitch Envelope Time 1 Velocity Sensitivity)
Time
L3
L4
Modifying the Brightness of a
Sound with a Filter (TVF)
Here you can make settings for the TVF (Time Variant Filter).
This allows you to modify the brightness or thickness of the
sound, changing the timbre of the Tone.
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the pitch
envelope. Positive (+) settings will cause T1 to speed up for
strongly played notes, and negative (-) settings will cause it
to slow down.
TVF FILTER
V-T4
(Pitch Envelope Time 4 Velocity Sensitivity)
Selects the filter type. A filter is a function that cuts off a
specific frequency band to change a sounds brightness,
thickness, and other qualities.
Use this parameter when you want key release speed to
impact on T4 (Time 4) value of the pitch envelope. If you
want T4 time to be speeded up for quickly released notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
L0 (Pitch Envelope Level 0)
Specifies the pitch envelope level (L0). Pitch Envelope Level
0 determines the degree to which the pitch of the sound at
the instant the key is pressed is altered relative to the
reference pitch (the Coarse Tune or Fine Tune value set in the
PITCH page). Positive (+) settings will cause the pitch to be
higher than the standard pitch, and negative (-) settings will
cause it to be lower.
T1–T4 (Pitch Envelope Time 1–4) ★
Specify the pitch envelope times (T1–T4). Larger values
result in longer times until the next pitch is reached (for
instance, T2 controls the time from L1 until L2 is reached).
Chapter 5
+50
fig.05-66
Type (Filter Type)
OFF: No filter is used.
LPF: A Low Pass Filter reduces the volume of frequencies
above the Cutoff frequency (Cutoff parameter) in order to
round off, or un-brighten, the sound. This is the most
common filter used in synthesizers.
BPF: A Band pass filter reduces the volume of frequencies
below and above the cutoff frequency range. This can be
useful when creating distinctive sounds.
HPF: A High Pass Filter reduces the volume of the
frequencies below the cutoff frequency. This is suitable for
creating percussive sounds emphasizing their higher ones.
PKG: A Peaking Filter emphasizes frequencies around the
cutoff frequency by raising their level. You can use this to
create wah-wah effects by employing an LFO to change the
cutoff frequency cyclically.
87
Chapter 5. Creating Patches
LPF3: Low Pass Filter 3. Although frequency components
above the Cutoff frequency (Cutoff parameter) are cut, the
sensitivity of this filter changes according to the Cutoff
frequency. While this filter is also good for use with
simulated acoustic instrument sounds, the nuance it exhibits
differs from that of the LPF2, even with the same TVF
Envelope settings.
If you set LPF2 or LPF3, the setting for the Resonance
parameter will be ignored.
Cutoff (Cutoff Frequency) ★
Selects the frequency at which the filter begins to have an
effect on the waveform’s frequency components.
fig.05-67.e
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
parameter value
LPF2: Low Pass Filter 2. Although frequency components
above the Cutoff frequency (Cutoff parameter) are cut, the
sensitivity of this filter is half that of the LPF. This makes it a
comparatively warmer low pass filter. This filter is good for
use with simulated instrument sounds such as the acoustic
piano.
Low
Keyfollow (Cutoff Frequency Keyfollow)
Use this parameter if you want the cutoff frequency to
change according to the key that is pressed. Relative to the
cutoff frequency at the C4 key (center C), positive (+) settings
will cause the cutoff frequency to rise for notes higher than
C4, and negative (-) settings will cause the cutoff frequency
to fall for notes higher than C4. Higher settings produce
more change.
fig.05-68.e
With LPF/LPF2/LPF3 selected for the Type parameter,
lower cutoff frequency settings reduce a Tone’s upper
harmonics for a more rounded, warmer sound. Higher
settings make it sound brighter.
When the Type parameter is BPF, the cutoff frequency
setting determines the range of frequencies within the Tone
that will be heard. This can be useful when creating
distinctive sounds.
When the Type parameter is HPF, higher settings of the
cutoff frequency decrease the level of the Tone’s low
frequencies, preserving its brighter qualities.
With PKG selected, the harmonics to be emphasized will
vary depending on Cutoff Frequency setting.
To edit the overall Patch while preserving the relative
differences in the Cutoff Frequency values set for each
Tone, set the Cut parameter (PATCH/COMMON/
PATCH MODIFY) (p. 71).
Resonance ★
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high
settings can produce oscillation, causing the sound to distort.
To edit the overall Patch while preserving the relative
differences in the Resonance values set for each Tone, set
the Res parameter (PATCH/COMMON/PATCH
MODIFY) (p. 71).
88
Cutoff frequency
(Octave)
+200
+100
+2
+50
+1
0
o
-1
-50
-2
C1
C2
C3
C4
C5
-200
C6
-100
C7
Key
Chapter 5. Creating Patches
TVF VELOCITY
Depth (TVF Envelope Depth)
fig.05-69
Specifies the depth of the TVF envelope. Higher settings will
cause the TVF envelope to produce greater change. Negative
(-) settings will invert the shape of the envelope.
V-Cutoff (Cutoff Frequency Velocity Sensitivity)
V-Sens (TVF Envelope Velocity Sensitivity)
Use this parameter when changing the cutoff frequency to be
applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this
parameter to positive (+) settings. If you want strongly
played notes to lower the cutoff frequency, use negative (-)
settings.
Specifies how keyboard playing dynamics will affect the
depth of the TVF envelope. Positive (+) settings will cause
the TVF envelope to have a greater effect for strongly played
notes, and negative (-) settings will cause the effect to be less.
Selects one of the following 7 curves that will determine how
keyboard playing dynamics will affect the TVF envelope. Set
this to FIXED when the amount of TVF Envelope applied is
not to be changed according to the force with which the keys
are pressed.
fig.05-70
1
V-Curve (Cutoff Frequency Velocity Curve)
Selects one of the following seven curves that determine how
keyboard playing dynamics (velocity) influence the cutoff
frequency. Set this to FIXED when the Cutoff frequency is
not to be changed according to the force with which the keys
are pressed.
fig.05-70
1
2
3
4
5
6
7
V-Resonance (Resonance Velocity Sensitivity)
2
3
4
5
6
7
Time KF (TVF Envelope Time Keyfollow)
Use this parameter when you want the keyboard location of
notes to affect times T2–T4 of the TVF envelope. Based on the
TVF envelope times for the C4 key (center C), positive (+)
settings will cause notes higher than C4 to have increasingly
shorter times, and negative (-) settings will cause them to
have increasingly longer times. Higher settings produce
more change.
fig.05-54.e
Time
+100
This allows keyboard velocity to modify the amount of
Resonance. If you want strongly played notes to have a
greater Resonance effect, set this parameter to positive (+)
settings. If you want strongly played notes to have less
Resonance, use negative (-) settings.
+50
0
-50
TVF ENVELOPE
fig.05-71
fig.05-72
fig.05-73
This is used for setting TVF envelope (how cutoff frequency
changes over time).
C1
C2
C3
C4
C5
C6
-100
C7
Key
V-T1 (TVF Envelope Time 1 Velocity Sensitivity)
Use this parameter when you want velocity to affect T1
(Time 1) of the TVF envelope. If you want T1 time to be
speeded up for strongly played notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this
to a negative (-) value.
89
Chapter 5
To edit the overall Patch while preserving the relative
differences in the Cutoff Frequency Velocity Sensitivity
values set for each Tone, set the Velocity Sens parameter
(PATCH/COMMON/PATCH MODIFY) (p. 72).
However, this setting is shared by the V-Sens parameter
(PATCH/TVA/TVA) (p. 90).
V-Curve (TVF Envelope Velocity Curve)
Chapter 5. Creating Patches
V-T4 (TVF Envelope Time 4 Velocity Sensitivity)
The parameter to use when you want key release speed to
control the T4 (Time 4) value of the TVF envelope. If you
want T4 time to be speeded up for quickly released notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Adjusting the Volume and Pan
(TVA)
Here you can make settings for the TVA (Time Variant
Amplifier). This specifies the volume change and pan of the
Tone.
L0 (TVF Envelope Level 0)
TVA
Sets the TVF envelope level (L0). TVF Envelope Level 0
determines the degree to which the Cutoff frequency for the
sound at the instant the key is pressed is altered relative to
the reference Cutoff frequency (the Cutoff frequency value
set in the TVF FILTER page).
fig.05-75
T1–T4 (TVF Envelope Time 1–4) ★
Specify the TVF envelope times (T1–T4). Larger values result
in longer times until the next cutoff frequency is reached (for
instance, T2 controls the time from L1 until L2 is reached).
L1–L4 (TVF Envelope Level 1–4)
Specify the TVF envelope levels (L1–L4). These settings
specify how the cutoff frequency will change at each point,
relative to the standard cutoff frequency (the cutoff
frequency value specified in the TVF FILTER page).
fig.05-74.e
T1
T2
T3
Level (Tone Level) ★
Sets the volume of the Tone. This setting is useful primarily
for adjusting the volume balance between Tones.
The overall volume of the Patch is set by the Level
parameter (PATCH/COMMON/PATCH LVL&PAN),
and the Tone level setting is multiplied to this setting (p.
70).
Pan (Tone Pan) ★
Sets the pan of the Tone. A setting of L64 is far left, 0 is
center, and 63R is far right.
T4
The overall panning of the entire Patch is set by the Pan
parameter (PATCH/COMMON/PATCH LVL&PAN),
and the Tone Pan setting is added to this setting (p. 70).
Cutoff
Frequency L0
L1
Note on
L2
L3
L4
Time
Note off
When any value from Type 2–10 is selected for the Type
parameter (PATCH/COMMON/STRUCT) in the Pan
parameter settings, the output of Tones 1 and 2 are
joined in Tone 2, and the output of Tones 3 and 4 are
joined in Tone 4. This means that the setting of Tone 1
will follow the setting of Tone 2, and the setting of Tone
3 will follow the setting of Tone 4 (p. 73).
V-Sens (TVA Envelope Velocity Sensitivity)
Specifies how keyboard playing dynamics will affect the
depth of the TVA envelope. Positive (+) settings will cause
the TVA envelope to have a greater effect for strongly played
notes, and negative (-) settings will cause the effect to be less.
To edit the overall Patch while preserving the relative
differences in the TVA Envelope Velocity Sensitivity
values set for each Tone, set the Velocity Sens parameter
(PATCH/COMMON/PATCH MODIFY) (p. 72).
However, this setting is shared by the V-Cutoff
parameter (PATCH/TVF/TVF VELOCITY) (p. 89).
90
Chapter 5. Creating Patches
V-Curve (TVA Envelope Velocity Curve)
PAN MODULATE
Selects one of the following seven curves to specify how
keyboard dynamics will affect the TVA envelope. Set this to
FIXED when the amount of TVA Envelope applied is not to be
changed according to the force with which the keys are pressed.
fig.05-78
fig.05-70
1
2
3
4
5
6
7
BIAS
fig.05-76
Keyfollow (Pan Keyfollow)
Use this parameter if you want key position to affect
panning. Positive (+) settings will cause notes higher than C4
key (center C) to be panned increasingly further toward the
right, and negative (-) settings will cause notes higher than
C4 key (center C) to be panned toward the left. Higher
settings result in more change.
fig.05-79.e
Bias causes the volume to be affected by the keyboard
position. This is useful for changing volume through
keyboard position (pitch) when playing acoustic instruments.
Chapter 5
Pan
+100
R
+50
fig.05-77.e
LOWER
+
Level
UPPER
Level
0
0
–
C-1
0
o
+
–
Key
G9
Bias Point
C-1
-50
Key
G9
Bias Point
L
C1
LOWER&UPPER
+
Level
C-1
+
0
0
–
–
Bias Point
ALL
Level
–
G9
0
+
Key
C-1
–
Bias Point
C3
C4
C5
C6
-100
C7
Key
Random (Random Pan Depth)
+
0
C2
Key
G9
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)
Bias (Bias Level)
Adjusts the angle of the volume change that will occur in the
selected Bias Direction. Higher values will result in more
change. Negative (-) values will invert the change direction.
Point (Bias Point)
Specifies the key relative to which the volume will be
modified.
Direction (Bias Direction)
Selects the direction in which change will occur starting from
the Bias Point.
LOWER: The volume will be modified for the keyboard area
below the Bias Point.
UPPER: The volume will be modified for the keyboard area
above the Bias Point.
This setting causes panning to be alternated between left and
right each time a key is pressed. Higher values will result in a
greater width of change. This can be set either to L or R,
which will invert the order in which the panning is moved
between left and right. For example if two Tones are set to L
and R respectively, the panning of the two Tones will
alternate each time they are played.
When any value from Type 2–10 is selected for the Type
parameter (PATCH/COMMON/STRUCT) in the
Keyfollow, Random, Alternate parameter settings, the
output of Tones 1 and 2 are joined in Tone 2, and the
output of Tones 3 and 4 are joined in Tone 4. For this
reason, Tone 1 will follow the settings of Tone 2, and
Tone 3 will follow the settings of Tone 4 (p. 73).
LOWER&UPPER: The volume will be modified
symmetrically toward the left and right of the Bias Point.
ALL: The volume changes linearly with the bias point at the
center.
91
Chapter 5. Creating Patches
TVA TIME ENV (TVA Time Envelope)
TVA ENVELOPE
fig.05-80
fig.05-81
Here you can make settings for the TVA envelope (timevariant changes in volume).
T1–T4 (TVA Envelope Time 1–4) ★
V-T1 (TVA Envelope Time 1 Velocity Sensitivity)
Specify the TVA envelope times (T1–T4). Larger values result
in longer times until the next volume is reached (for instance,
T2 controls the time from L1 until L2 is reached).
Use this parameter when you want keyboard playing
(velocity) to affect T1 (Time 1) of the TVA envelope. If you
want T1 time to be speeded up for strongly played notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
V-T4 (TVA Envelope Time 4 Velocity Sensitivity)
Use this parameter when you want key-release speed to
influence the T4 (Time 4) value of the TVA envelope. If you
want T4 time to be speeded up for quickly released notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Time Keyfollow
(TVA Envelope Time Keyfollow)
Use this parameter when you want keyboard position to
affect TVA envelope times (T2–T4). Based on the TVA
envelope times for the C4 key (center C), positive (+) settings
will cause notes higher than C4 to have increasingly shorter
times, and negative (-) settings will cause them to have
increasingly longer times. Higher values will cause more
change.
To edit the overall Patch while preserving the relative
differences in the T1 parameter (Attack Time) values set
for each Tone, set the Atk parameter (PATCH/
COMMON/PATCH MODIFY) (p. 71). Similarly, to edit
the overall Patch while preserving the relative
differences in the T4 parameter (Release Time) values set
for each Tone, set the Rel parameter (PATCH/
COMMON/PATCH MODIFY) (p. 72).
L1–L3 (TVA Envelope Level 1–3)
Specify the TVA envelope levels (L1–L3). These settings
specify how the volume will change at each point, relative to
the standard volume (the Tone Level value specified in the
TVA page).
fig.05-82.e
T1
T2
Time
Time
L1 L2
Note on
+100
+50
0
-50
92
T4
Level
fig.05-54.e
C1
T3
C2
C3
C4
C5
C6
-100
C7
Key
L3
Note off
Chapter 6. Creating Rhythm Sets
With the XV-88, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter.
When you change the values of parameters, you are doing
what is referred to as Editing. This chapter explains the
procedures used in creating Rhythm Sets, and the functions
of the Rhythm Set parameters.
How a Rhythm Set Is
Organized
A Rhythm Set is a grouping of percussion instruments
(Rhythm Tones).
How to Make the Rhythm
Set Settings
Start with an existing Rhythm Set and edit it to create a new
Rhythm Set. Rhythm Sets are created from a collection of
multiple Rhythm Tones (percussion instruments). You can
change the assignments of the Rhythm Tones for each key
with Rhythm Set Edit.
1. Press [RHYTHM] to access the RHYTHM PLAY page,
and select the Rhythm Set whose settings you wish to
modify (p. 39).
fig.01-05.e
Note Number 98 (D7)
If you want to create all your Rhythm Sets from the
ground up, rather than the Rhythm Sets that have already
been prepared, carry out the Initialize operation (p. 185).
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
2. Press [EDIT] to make its indicator light.
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
3. Use the function buttons to select a display group.
The indicator for the button of the selected display group
begins blinking.
fig.06-01
A percussion instrument (Rhythm Tones) consists of the
following four elements.
WG (Wave Generator)
Specifies the PCM waveform (wave) that is the basis of the
sound, and determines how the pitch of the sound will change.
The XV-88 has 1,083 different waveforms (p. 263). All
Rhythm Sets built into the XV-88 consist of combinations of
Rhythm Tones based on these waveforms.
Since Rhythm Sets do not have an LFO, it will not be
possible to select the LFO group.
4. Use
A Rhythm Tone (percussion instrument) has four wave
generators.
TVF (Time Variant Filter)
Specifies how the frequency components of the sound will
change.
or
to select a display page.
5. If you have selected a parameter display that can be set
independently for each key (Rhythm Tone), the key
selected for editing will be shown in the upper left of the
display. To select a different key (Rhythm Tone), play the
desired key on the keyboard.
fig.06-02
TVA (Time Variant Amplifier)
Specifies the volume changes and the sound’s position in a
stereo soundfield.
Envelope
You use Envelope to initiate changes to occur to a sound over
time. There are separate envelopes for Pitch, TVF (filter), and
TVA (volume). For example if you wish to modify the way in
which the sound attacks or decays over time, you would
adjust the TVA envelope.
If the [EDIT] indicator is turned off, you can also use
TONE SELECT [1]–[4] 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
93
Chapter 6
You cannot edit the Rhythm Sets in the PR-H (GM2) group.
Rhythm Set
Chapter 6. Creating Rhythm Sets
6. Use
or
to move the cursor to the parameter you
wish to modify.
7. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to modify the parameter value.
If you’ve made a mistake in setting a parameter value, or
you have second thoughts about the changes, 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 its indicator light, and use the function
buttons.
Making Settings While
Comparing Waveforms
(Palette Edit)
When modifying Wave settings for a Rhythm Set, the values
for four Waves will be displayed together on a single display.
This is called the Palette page. Use it when you want to
modify parameter values as you compare the settings of the
four Waves.
1. When modifying a Wave, use
or
to move the
cursor to the parameter you wish to modify.
2. Press [PALETTE EDIT] to call up the Palette page.
fig.06-04
You can also move to another display group by holding
down [SHIFT] and using
or
. Since this can be
done even when the [EDIT] indicator is dark, it is a faster
way to get around because you don’t have to turn on the
[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 page.
An asterisk * will be displayed at the left of the Rhythm
Set group. This indicates that the Rhythm Set settings
have been modified.
fig.06-03
If you select another Rhythm Set in the group with an
asterisk *, the modified Rhythm Set settings will be lost.
To keep these modified settings, perform the save
operation (p. 164).
3. Press TONE SELECT [1]–[4],
Wave to modify.
or
to choose the
The Wave number and Wave name appear in the
display.
4. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to change the parameter value.
If you’ve made a mistake in setting a parameter value, or
you have second thoughts about 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 Rhythm Tone.
7. To exit the Palette page, press [PALETTE EDIT], thus
extinguishing the button’s indicator.
Copying the Settings of Another
Rhythm Tone
(Rhythm Tone Copy)
Rhythm Tone (percussion instrument) settings from any
desired Rhythm Set can be copied to any desired key of the
currently selected Rhythm Set. This function can help you
save time.
1. Make sure a Rhythm Set is selected.
94
Chapter 6. Creating Rhythm Sets
3. Press the numeric key [2], then
RHYTHM KEY COPY page.
or
to call up the
fig.10-17.e
Copy source Rhythm Set
(group, number)
Copy source
Rhythm Set name
Copy source Key
Copy destination Key
4. Press the cursor buttons to move the cursor to the
parameter you want to set.
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
• To specify the currently selected Rhythm Set as the copy
source, set Source to TEMP.
• When the cursor is located at Source, you can also use
[USER], [PRESET], and [A]–[F] to select a Rhythm Set
group, and then use numeric keys to specify the Rhythm
Set number.
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 XV-88’s one-shot waveforms are
sounds that are complete in themselves, such as percussive
instrument sounds. The XV-88 also contains many other oneshot waveforms that are elements of other sounds. These
include attack components such as piano-hammer sounds
and guitar fret noises.
Looped: These waveforms include sounds with long decays
as well as sustained sounds. Loop waveforms repeatedly
play back (loop) the portion of the waveform after the sound
has reached a relatively steady state. The XV-88’s looped
waveforms also include components of other sounds, such as
piano-string resonant vibrations and the hollow sounds of
brass instruments.
Cautions When Using a One-shot
Waveform
• When the cursor is located at Key, you can also press the
keyboard to select the key.
It is not possible to use the envelope to modify a one-shot
waveform to create a decay that is longer than the original
waveform, or to turn it into a sustaining sound. If you were
to program such an envelope, you would be attempting to
shape a portion of the sound that simply doesn’t exist, and
the envelope would have no effect.
• By using TONE SELECT [1]–[4], you can also select the
copy source key. By using TONE SWITCH [1]–[4], you
can select the copy destination key.
Cautions When Using a Loop
Waveform
TONE SELECT/SWITCH [1]: move to an octave lower
key
TONE SELECT/SWITCH [2]: move to the semitone
below
TONE SELECT/SWITCH [3]: move to the semitone
above
TONE SELECT/SWITCH [4]: move to an octave higher
key
6. Press [ENTER] to execute the copy operation.
When the Copy operation is executed, an * symbol will
be displayed in front of the copy-destination Part.
With many acoustic instruments such as piano and sax,
extreme timbral changes occur during the first few moments
of each note. This initial attack is what defines much of the
instrument’s character. For such waveforms, it is best to use
the complex tonal changes of the attack portion of the
waveform just as they are, and to use the envelope only to
modify the decay portion. If you attempt to use the envelope
to modify the attack portion as well, the characteristics of the
original waveform may prevent you from getting the sound
that you intend.
fig.05-06.e
Level
Looped portion
7. Press [UTILITY] to return to the previous page.
Cautions When Selecting a
Waveform
The sounds of the XV-88 are based on complex PCM
waveforms, and if you attempt to make settings that are
contrary to the type of the original waveform, the results will
not be as you expect.
The XV-88’s internal waveforms fall into the following two
groups.
Tone change stored
with the wave
Time
Envelope
for the TVF filter
Resulting
tone change
95
Chapter 6
2. Press [UTILITY], getting its indicator to start blinking.
Chapter 6. Creating Rhythm Sets
Functions of Rhythm Set
Parameters
This section explains the functions the different Rhythm Set
parameters have, as well as the composition of these
parameters.
fig.06-01
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo
without passing through Multi-effects.
OUTPUT B: Output to the OUTPUT B jacks in stereo without
passing through Multi-effects.
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without
passing through Multi-effects.
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without
passing through Multi-effects.
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without
passing through Multi-effects.
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without
passing through Multi-effects.
Settings Common to the Entire
Rhythm Set (COMMON)
You can assign a name to a Rhythm Set and set the volume of
the entire Rhythm Set.
RHYTHM NAME (Rhythm Set Name)
fig.06-05
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. 28).
RHYTHM COMMON
(Rhythm Set Common)
TONE: Outputs according to the settings for each Rhythm Tone.
• When outputting in mono, the Pan setting is disabled.
• When the settings are such that signals are split and
output from the INDIVIDUAL 1 jack and INDIVIDUAL
2 jack, and no plug is inserted in the INDIVIDUAL 2
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL
2 are mixed together, then output from the
INDIVIDUAL 1 jack. This sound comprises the sounds
from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
RHYTHM TEMPO (Rhythm Set Tempo)
fig.06-07
fig.06-06
Level (Rhythm Set Level)
Sets the volume of the Rhythm Set.
The volume level of the overall Rhythm Tone is set with
the Level parameter (RHYTHM/TVA/TVA) (p. 103); the
volume levels of the Waves from which the Rhythm
Tone is composed is set with the Level parameter
(RHYTHM/WAVE/WMT WAVE) (p. 98).
Clock Source (Rhythm Set Clock Source)
The Multi-effects changes and Phrase Loop can be
synchronized to a clock (tempo). The Clock Source setting
selects the timing reference to be used by the Rhythm Set.
RHYTHM: Synchronize to the Rhythm Set Tempo setting.
SYSTEM: The global System Tempo or clock messages
received from an external sequencer will be used.
For details on using clock (tempo), refer to (p. 200).
Output Assign
Tempo (Rhythm Set Tempo)
Specifies for each Rhythm Set how the direct sound will be
output.
When Clock Source (Patch Clock Source) is set to RHYTHM,
this setting value is effective.
MFX: Output in stereo through Multi-effects. You can also
apply Chorus or Reverb to the sound that passes through
Multi-effects.
96
The Rhythm Set Tempo Clock does not transmit clock
messages from the MIDI OUT connector.
Chapter 6. Creating Rhythm Sets
Setting Effects for a Rhythm Set
(EFFECTS)
For details regarding effect settings, refer to the pages
shown below.
• “Applying Effects in Patch Mode or Rhythm Set
Mode” (p. 106)
• “Making Multi-Effects Settings” (p. 114)
Mute Group
On an actual acoustic drum set, an open hi-hat and a closed
hi-hat sound can never occur simultaneously. To reproduce
the reality of this situation, you can set up a Mute Group.
The Mute Group function allows you to designate two or
more Rhythm Tones that are not allowed to sound
simultaneously. Up to 31 Mute Groups can be used. Rhythm
Tones that are not belong to any such group should be set to
OFF.
• “Making Chorus Settings” (p. 156)
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 Rhythm Tone is
controlled.
fig.06-08
fig.06-09
Assign Type
Assign Type sets the way sounds are played when the same
key is pressed a number of times.
MULTI: The sounds produced by pressing the same key are
layered. Even with continuous sounds where the sound
plays for an extended time, such as with crash cymbals, the
sounds are layered, without previously played sounds being
eliminated.
SINGLE: Only one sound can be played at a time when the
same key is pressed. With continuous sounds where the
sound plays for an extended time, the previous sound is
stopped when the following sound is played.
Rx MIDI (Receive MIDI)
These parameters determine how each Rhythm Tone will
respond to received Expression/Pan/Hold 1 MIDI messages.
fig.06-10
Bend Range
Specifies the amount of pitch change in semitones (4 octaves)
that will occur when the Pitch Bend Lever is moved. The
amount of change when the lever is tilted is set to the same
value for both left and right sides.
Envelope Mode
Usually when a looped Wave (p. 95) is selected, sound will
continue as long as a key remains pressed. Select NO
SUSTAIN if you want sound to decay naturally even if the
key is not released.
If a one-shot waveform (p. 95) is selected, it will not
sustain even if this parameter is set to SUSTAIN.
Expression (Receive Expression Switch)
Specifies whether Expression messages will be received (ON)
or not (OFF).
Pan (Receive Pan Mode)
Specifies how Pan messages will be received.
CONTINUOUS: Pan messages will be responded to
immediately, instantly changing the stereo position of the
Tone.
KEY-ON: The stereo location of the Rhythm Tone will be
changed only when the next note is played. If a Pan message
is received while a note is sounding, its stereo location will
not change.
The channels cannot be set so as not to receive Pan
messages.
Hold-1 (Receive Hold 1 Switch)
Specifies whether Hold 1 messages will be received (ON) or
not (OFF).
97
Chapter 6
• “Making Reverb Settings” (p. 158)
Chapter 6. Creating Rhythm Sets
Number (Wave Number)
If NO SUSTAIN is selected for Envelope Mode
parameter (RHYTHM/CONTROL/CONTROL), this
setting will have no effect.
Modifying Waveform of a
Rhythm Tone (WAVE)
This set of parameters allows you to select the waveform that
serves as the basis for the currently selected Rhythm Tone
(percussion instrument), apply effects to the waveform, and
set its pitch.
With Rhythm Tones, sounds are created by combining up to
four Waves (eight for stereo).
Tips on Creating a Rhythm Tone
The Waves for the bass drum, snare, hi-hat, toms, and
other percussion instruments are each assigned to one
Rhythm Tone. When adding 3D effects to the sound, make
the Pan settings for each Rhythm Tone individually.
TONE NAME (Rhythm Tone Name)
fig.06-11
You can assign a name to the Rhythm Tone of up to 12
characters.
For details on assigning names, refer to “Assigning a
Name” (p. 28).
WMT WAVE
fig.06-12
fig.06-13
Group (Wave Group)
Select the groups containing the Waves comprising the
Rhythm Tone.
INT: Waveforms stored in internal memory
XP-A–D: Waveform stored in a Wave Expansion Board
installed in EXP A–D slots.
You cannot select a waveform group of a Wave
Expansion Board that is not installed.
98
This selects the Waves comprising the Rhythm Tone. Along
with the Wave number, the Wave name appears at the right
of the display.
When in monaural mode, only the left side (L) is specified.
When in stereo, the right side (R) is also specified.
The Wave numbers can be divided and set in the first
two and last two digits.
Gain (Wave Gain)
Specifies the gain (amplitude) of the waveform. The value
changes in 6 dB (decibel) steps—an increase of 6 dB doubles
the waveform’s gain.
Level (Wave Level)
You can set the volume of the waveform.
The volume level of the overall Rhythm Tone is set with
the Level parameter (RHYTHM/TVA/TVA) (p. 103); the
volume levels of the entire Rhythm Set is set with the
Level parameter (RHYTHM/COMMON/RHYTHM
COMMON) (p. 96).
Sw (Wave Switch)
This setting determines whether the Rhythm Tone’s
constituent Waves are played (ON) or not (OFF). In order to
make best use of the available number of simultaneous
voices, unused waveforms should be turned off.
Tempo Sync (Wave Tempo Sync)
When you wish to synchronize a Phrase Loop to the clock
(tempo), set this to ON. This is valid only when an optional
Wave Expansion Board, such as “SR-JV80-10:
BASS&DRUMS,” is installed, and you have selected a Tone
which uses a waveform that displays tempo (BPM). For
details, refer to “Playing Phrase Loops in Sync with the
System Tempo” (p. 201).
When the Tempo Sync parameter is set to ON, settings
related to Pitch (p. 100) and FXM (p. 100) are disabled.
Chapter 6. Creating Rhythm Sets
VELO CONTROL
(Velocity Control)
What is a Phrase Loop?
A Phrase Loop is a portion of a song that is excerpted
with a sampler or by other means, and then played back
repeatedly. One technique involving the use of Phrase
Loops is the excerpting of a Phrase from a pre-existing
song in a certain genre, for example dance music, and
then creating a new song with that Phrase used as the
basic motif. This is referred to as “Break Beats.”
WMT VEL RANG (WMT Velocity Range)
fig.06-14
fig.06-15
WMT Velocity Control
(WMT Velocity Control Switch)
WMT Velocity Control determines whether a different
Rhythm Tone is played (ON) or not (OFF) depending on the
force with which the key is played (velocity).
When set to RANDOM, the Rhythm Set’s constituent
Rhythm Tones will sound randomly, regardless of any
Velocity messages.
WMT PAN
Lower (Velocity Range Lower)
fig.06-16
Pan (Wave Pan)
This specifies the pan of the waveform. A setting of L64 is far
left, 0 is center, and 63R is far right.
Upper (Velocity Range Upper)
Velocity Range sets the lower limit (Lower) and upper limit
(Upper) for the velocity in each of the Waves comprising the
Rhythm Tone. When a key is played more softly than the
lower limit, or more strongly than the upper limit, the sound
will either not be heard at all or will be extremely weak.
If you attempt to set the Lower velocity limit above the
Upper, or the Upper below the Lower, the other value
will automatically be adjusted to the same setting.
The pan of the entire Rhythm Tone is set by the Pan
parameter (RHYTHM/TVA/TVA) (p. 103).
Random (Random Pan Switch)
Use this setting to cause the waveform’s panning to change
randomly each time a key is pressed (ON) or not (OFF).
The range of the panning change is set by the Random
parameter (RHYTHM/TVA/TVA) (p. 103).
L.Fade (Velocity Fade Width Lower)
Alternate (Alternate Pan Switch)
U.Fade (Velocity Fade Width Upper)
This setting causes panning of the waveform to be alternated
between left and right each time a key is pressed. Set
Alternate Pan Switch to ON to pan the Wave according to the
Alternate parameter (RHYTHM/TVA/TVA) (p. 103)
settings, or to REVERSE when you want the panning
reversed. If you do not want the panning to change each time
a key is pressed, set this to OFF.
L.Fade and U.Fade set the range within which the volume
gradually fades as the velocity approaches the limits of the
Velocity Range as set by the Lower and Upper parameters.
Use this setting when, for example, you want to have
adjacent waveforms in Split mode switched smoothly
(Velocity Crossfade). The higher the values set, the smoother
the switch is between the Tones. When you want the Tones
to be switched instantly, set these to 0.
fig.05-17.e
Level
Velocity
L.Fade
Lower
Upper
U.Fade
99
Chapter 6
Specifies the range of playing dynamics (key velocity) which
will sound the waveform. Make these settings when you
want different waveforms to sound in response to notes
played at different strengths.
Chapter 6. Creating Rhythm Sets
WMT TUNE (WMT Tune)
fig.06-17
Modifying Pitch of a Rhythm
Tone (PITCH)
You can set the Rhythm Tone pitch of each key.
Coarse (Coarse Tune)
Adjusts the pitch of the waveform’s sound up or down in
semitone steps (+/-4 octaves).
The Coarse Tune of the entire Rhythm Tone is set by the
Coarse parameter (RHYTHM/PITCH/PITCH) (p. 100).
PITCH
fig.06-18
Coarse (Coarse Tune)
Selects the pitch at which a Rhythm Tone sounds.
Fine (Fine Tune)
Adjusts the pitch of the waveform’s sound up or down in 1cent steps (+/-50 cents).
One cent is 1/100th of a semitone.
The Fine Tune of the entire Rhythm Tone is set by the
Fine parameter (RHYTHM/PITCH/PITCH) (p. 100).
Set the coarse tuning for Waves comprising the Rhythm
Tones with the Coarse parameter (RHYTHM/WAVE/
WMT TUNE) (p. 100).
Fine (Fine Tune)
Adjusts the pitch of the Rhythm Tone’s sound up or down in
1-cent steps (+/-50 cents).
One cent is 1/100th of a semitone.
WMT FXM
(WMT Frequency Cross Modulation)
fig.06-17a
FXM (Frequency Cross Modulation) uses a specified
waveform to apply frequency modulation to the currently
selected waveform, creating complex overtones. This can be
useful when creating wilder sounds or sound effects.
Switch (FXM Switch)
This sets whether FXM will be used (ON) or not (OFF).
Color (FXM Color)
Specifies how FXM will perform frequency modulation.
Higher settings result in a grainier sound, while lower
settings result in a more metallic sound.
Set the fine tuning for Waves comprising the Rhythm
Tones with the Fine parameter (RHYTHM/WAVE/
WMT TUNE) (p. 100).
Random (Random Pitch Depth)
Specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to
change randomly, set this to 0. The setting is adjustable in
units of 1 cent (1/100th of a semitone).
PCH ENVELOPE (Pitch Envelope)
fig.06-19
fig.06-20
Depth (FXM Depth)
Specifies the depth of the modulation produced by FXM.
Here you can make pitch envelope settings (changes in pitch
over time).
Depth (Pitch Envelope Depth)
Adjusts the effect of the pitch envelope. Higher settings will
cause the pitch envelope to produce greater change.
Negative (-) settings will invert the shape of the envelope.
100
Chapter 6. Creating Rhythm Sets
Keyboard playing dynamics can be used to control the depth
of the pitch envelope. If you want the pitch envelope to have
more effect for strongly played notes, set this parameter to a
positive (+) value. If you want the pitch envelope to have less
effect for strongly played notes, set this to a negative (-) value.
V-T1
(Pitch Envelope Time 1 Velocity Sensitivity)
Use this parameter when you want keyboard playing dynamics
(velocity) to affect T1 (Time 1) of the pitch envelope. Positive (+)
settings will cause T1 time to speed up for strongly played
notes, and negative (-) settings will cause it to slow down.
V-T4
(Pitch Envelope Time 4 Velocity Sensitivity)
Changing the Tone (Filter) of a
Rhythm Tone (TVF)
Here you can make settings for the TVF (Time Variant Filter).
This allows you to change a Rhythm Tone’s timbral content
by altering its brightness or thickness.
TVF FILTER
fig.06-21
Type (Filter Type)
Selects the filter type. A filter is a function that cuts off a
specific frequency band to change a sounds brightness,
thickness, and other qualities.
Use this parameter when you want key release speed to
impact on T4 (Time 4) value of the pitch envelope. If you
want T4 time to be speeded up for quickly released notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
OFF: No filter is used.
L0 (Pitch Envelope Level 0)
BPF: A Band pass filter reduces the volume of frequencies
below and above the cutoff frequency range. This can be
useful when creating distinctive sounds.
Specifies the pitch envelope level (L0). Pitch Envelope Level
0 determines the degree to which the pitch of the sound at
the instant the key is pressed is altered relative to the
reference pitch (the Coarse Tune or Fine Tune value set in the
PITCH page). Positive (+) settings will cause the pitch to be
higher than the standard pitch, and negative (-) settings will
cause it to be lower.
LPF: A Low Pass Filter reduces the volume of frequencies
above the Cutoff frequency (Cutoff parameter) in order to
round off, or un-brighten, the sound. This is the most
common filter used in synthesizers.
HPF: A High Pass Filter reduces the volume of the
frequencies below the cutoff frequency. This is suitable for
creating percussive sounds emphasizing their higher ones.
T1–T4 (Pitch Envelope Time 1–4)
PKG: A Peaking Filter emphasizes frequencies around the
cutoff frequency by raising their level. You can use this to
create wah-wah effects by employing an LFO to change the
cutoff frequency cyclically.
Specify the pitch envelope times (T1–T4). Larger values
result in longer times until the next pitch is reached (for
instance, T2 controls the time from L1 until L2 is reached).
LPF2: Low Pass Filter 2. Although frequency components
above the Cutoff frequency (Cutoff parameter) are cut, the
sensitivity of this filter is half that of the LPF. This makes it a
L1–L4 (Pitch Envelope Level 1–4)
Set the level (L1–L4) for the pitch envelope. It determines
how much the pitch changes from the reference pitch (the
value set with Coarse Tune or Fine Tune on the PITCH page)
at each point. Positive (+) settings will cause the pitch to be
higher than the standard pitch, and negative (-) settings will
cause it to be lower.
fig.05-65.e
T1
T2
T3
T4
Pitch L0
L1
Time
L3
comparatively warmer low pass filter. This filter is good for
use with simulated instrument sounds such as the acoustic
piano.
LPF3: Low Pass Filter 3. Although frequency components
above the Cutoff frequency (Cutoff parameter) are cut, the
sensitivity of this filter changes according to the Cutoff
frequency. While this filter is also good for use with
simulated acoustic instrument sounds, the nuance it exhibits
differs from that of the LPF2, even with the same TVF
Envelope settings.
If you set LPF2 or LPF3, the setting for the Resonance
parameter will be ignored.
Note off
Note on
L2
L4
101
Chapter 6
V-Sens (Pitch Envelope Velocity Sensitivity)
Chapter 6. Creating Rhythm Sets
Cutoff (Cutoff Frequency)
V-Curve (Cutoff Frequency Velocity Curve)
Selects the frequency at which the filter begins to have an
effect on the waveform’s frequency components.
Selects one of the following seven curves that determine how
keyboard playing dynamics (velocity) influence the cutoff
frequency. Set this to FIXED when the Cutoff frequency is
not to be changed according to the force with which the keys
are pressed.
With LPF/LPF2/LPF3 selected for the Type parameter,
lower cutoff frequency settings reduce a Tone’s upper
harmonics for a more rounded, warmer sound. Higher
settings make it sound brighter.
When the Type parameter is BPF, the cutoff frequency
setting determines the range of frequencies within the Tone
that will be heard. This can be useful when creating
distinctive sounds.
When the Type parameter is HPF, higher settings of the
cutoff frequency decrease the level of the Tone’s low
frequencies, preserving its brighter qualities.
With PKG selected, the harmonics to be emphasized will
vary depending on Cutoff Frequency setting.
fig.05-70
1
2
3
4
5
6
7
V-Resonance (Resonance Velocity Sensitivity)
This allows keyboard velocity to modify the amount of
Resonance. If you want strongly played notes to have a
greater Resonance effect, set this parameter to positive (+)
settings. If you want strongly played notes to have less
Resonance, use negative (-) settings.
TVF ENVELOPE
Resonance
Emphasizes the portion of the sound in the region of the
cutoff frequency, adding character to the sound. Excessively
high settings can produce oscillation, causing the sound to
distort.
fig.06-23
fig.06-24
fig.05-67.e
LPF
BPF
HPF
PKG
Level
High
fig.06-25
parameter value
Frequency
Cutoff frequency
Low
TVF VELOCITY
fig.06-22
This is used for setting TVF envelope (how cutoff frequency
changes over time).
Depth (TVF Envelope Depth)
Specifies the depth of the TVF envelope. Higher settings will
cause the TVF envelope to produce greater change. Negative
(-) settings will invert the shape of the envelope.
V-Sens (TVF Envelope Velocity Sensitivity)
Specifies how keyboard playing dynamics will affect the
depth of the TVF envelope. Positive (+) settings will cause
the TVF envelope to have a greater effect for strongly played
notes, and negative (-) settings will cause the effect to be less.
V-Cutoff (Cutoff Frequency Velocity Sensitivity)
V-Curve (TVF Envelope Velocity Curve)
Use this parameter when changing the cutoff frequency to be
applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this
parameter to positive (+) settings. If you want strongly
played notes to lower the cutoff frequency, use negative (-)
settings.
Selects one of the following 7 curves that will determine how
keyboard playing dynamics will affect the TVF envelope. Set
this to FIXED when the amount of TVF Envelope applied is
not to be changed according to the force with which the keys
are pressed.
fig.05-70
1
102
2
3
4
5
6
7
Chapter 6. Creating Rhythm Sets
Use this parameter when you want velocity to affect T1
(Time 1) of the TVF envelope. If you want T1 time to be
speeded up for strongly played notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this
to a negative (-) value.
Adjusting the Volume and Pan of
a Rhythm Tone (TVA)
Here you can make settings for the TVA (Time Variant
Amplifier). This sets the volume change and pan of the
Rhythm Tone.
V-T4 (TVF Envelope Time 4 Velocity Sensitivity)
TVA
The parameter to use when you want key release speed to
control the T4 (Time 4) value of the TVF envelope. If you
want T4 time to be speeded up for quickly released notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
fig.06-26
L0 (TVF Envelope Level 0)
Sets the TVF envelope level (L0). TVF Envelope Level 0
determines the degree to which the Cutoff frequency for the
sound at the instant the key is pressed is altered relative to
the reference Cutoff frequency (the Cutoff frequency value
set in the TVF FILTER page).
T1–T4 (TVF Envelope Time 1–4)
Specify the TVF envelope times (T1–T4). Larger values result
in longer times until the next cutoff frequency is reached (for
instance, T2 controls the time from L1 until L2 is reached).
L1–L4 (TVF Envelope Level 1–4)
Specify the TVF envelope levels (L1–L4). These settings
specify how the cutoff frequency will change at each point,
relative to the standard cutoff frequency (the cutoff
frequency value specified in the TVF FILTER page).
fig.05-74.e
T1
T2
T3
T4
Level (Rhythm Tone Level)
Sets the volume of the Rhythm Tone. Use this parameter to
adjust the volume balance between Rhythm Tones.
The volume level of the overall Rhythm Set is set with
the Level parameter (RHYTHM/COMMON/RHYTHM
COMMON) (p. 96); the volume levels of the Waves from
which the Rhythm Tone is composed is set with the
Level parameter (RHYTHM/WAVE/WMT WAVE) (p.
98).
Pan (Rhythm Tone Pan)
Sets the pan for the Rhythm Tone. A setting of L64 is far left,
0 is center, and 63R is far right.
Set the Pan for Waves comprising the Rhythm Tones
with the Pan parameter (RHYTHM/WAVE/WMT PAN)
(p. 99).
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.
Cutoff
Frequency L0
L1
Note on
L2
L3
L4
Note off
Time
Alternate (Alternate Pan Depth)
This setting causes panning to be alternated between left and
right each time a key is pressed. Higher values will result in a
greater width of change. This can be set either to L or R,
which will invert the order in which the panning is moved
between left and right. For example if two Rhythm Tones are
set to L and R respectively, the panning of the two Rhythm
Tones will alternate each time they are played.
103
Chapter 6
V-T1 (TVF Envelope Time 1 Velocity Sensitivity)
Chapter 6. Creating Rhythm Sets
TVA VELOCITY
TVA ENVELOPE
fig.06-27
fig.06-29
Velocity Sens
(TVA Envelope Velocity Sensitivity)
T1–T4 (TVA Envelope Time 1–4)
Specifies how keyboard playing dynamics will affect the
depth of the TVA envelope. Positive (+) settings will cause
the TVA envelope to have a greater effect for strongly played
notes, and negative (-) settings will cause the effect to be less.
Velocity Curve (TVA Envelope Velocity Curve)
Selects one of the following seven curves to specify how
keyboard dynamics will affect the TVA envelope. Set this to
FIXED when the amount of TVA Envelope applied is not to
be changed according to the force with which the keys are
pressed.
Specify the TVA envelope times (T1–T4). Larger values result
in longer times until the next volume is reached (for instance,
T2 controls the time from L1 until L2 is reached).
L1–L3 (TVA Envelope Level 1–3)
Specify the TVA envelope levels (L1–L3). These settings
specify how the volume will change at each point, relative to
the standard volume (the Rhythm Tone Level value specified
in the TVA page).
fig.05-82.e
T1
T2
T3
T4
fig.05-70
1
2
3
4
5
6
7
Level
Time
L1 L2
TVA TIME ENV (TVA Time Envelope)
fig.06-28
Here you can make settings for the TVA envelope (timevariant changes in volume).
V-T1 (TVA Envelope Time 1 Velocity Sensitivity)
Use this parameter when you want keyboard playing
(velocity) to affect T1 (Time 1) of the TVA envelope. If you
want T1 time to be speeded up for strongly played notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
V-T4 (TVA Envelope Time 4 Velocity Sensitivity)
Use this parameter when you want key-release speed to
influence the T4 (Time 4) value of the TVA envelope. If you
want T4 time to be speeded up for quickly released notes, set
this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
104
Note on
L3
Note off
Chapter 7. Adding Effects
For information about the application of effects in GM
mode, refer to “Making Effects Settings in GM Mode
(EFFECTS)” (p. 194).
About the Onboard Effects
Effect Types
The XV-88 has the following three onboard effect processors,
and settings can be made independently for each.
Multi-Effects
The Multi-effects are multi-purpose effects that completely
change the sound type by changing the sound itself.
Contained are 63 different effects types; select and use the
type that suits your aims. In addition to effects types
composed of simple effects such as Distortion, Flanger, and
other such effects, you can also set up a wide variety of other
effects, even connecting effects in series or in parallel.
Furthermore, while chorus and reverb can be found among
the Multi-effects types, the following chorus and reverb are
handled with a different system.
Turning Effects On/Off
The XV-88’s onboard effects can be turned on/off as a whole.
Turn these settings OFF when you wish to listen to the
unprocessed sound as you create a sound, or when you wish
to use external effects processors instead of the built-in
effects.
• When the XV-88 is put in a status wherein the internal
effects are not in use, then no effects are applied, even
when effects settings are made. In this case, an x mark
appears to the right of the settings screen for the effect
set to OFF.
fig.07-01
• Effect ON/OFF settings are global XV-88 settings. These
settings cannot be made for each Patch or Performance
individually.
1. Press [MULTI] [CHORUS] [REVERB] to turn the effects
processor on (indicator lighted) or off (indicator
extinguished).
Chapter 7
This chapter explains how effects are applied in Patch/
Rhythm Set mode or Performance mode.
fig.07-02
[MULTI]: Switches the Multi-effects on/off.
In GM mode, you cannot use Multi-effects.
Chorus
Chorus adds depth and spaciousness to the sound. You can
select whether to use this as a chorus effect or a delay effect.
[CHORUS]: Switches Chorus on/off.
[REVERB]: Switches Reverb on/off.
Since the Multi-effects cannot be used in GM mode,
nothing happens when [MULTI] is pressed in this mode.
A GM-exclusive Chorus can be used in GM mode.
Reverb
Reverb adds the reverberation characteristics of halls or
auditoriums. Four different types are offered, so you can
select and use the type that suits your purpose.
A GM-exclusive Reverb is used in GM mode.
105
Chapter 7. Adding Effects
Applying Effects in Patch
Mode or Rhythm Set Mode
Only one Multi-effect, Chorus, or Reverb effect can be set for
each Patch or Rhythm Set. You cannot apply differing types
of Multi-effects, Chorus, or Reverb to each of the Tones or
Rhythm Tones comprising the Patch or Rhythm Set.
Basic Process of Making Effects Settings
When applying effects in Patch/Rhythm Set mode, the
following procedure is used to make the settings.
1. Setting the Output Method of the Direct
Sound (Output Assign)
Settings determining whether or not the signal passes
through the Multi-effects, the jack used to output the sound,
and the type of output (stereo or mono) are made for each
individual Patch or Rhythm Set, or each Tone or Rhythm
Tone. → (p. 108, p. 109)
2. Setting the Amount of Each Effect Applied
(Send Level)
Set the level (volume) of each effect signal to be sent for each
Tone or Rhythm Tone. → (p. 110)
3. Making Multi-Effects Settings
Select the type of Multi-effects to be used, and set the
parameters for the selected Multi-effect. → (p. 114, p. 115)
4. Setting the Multi-Effects Controller
When using MIDI messages to change the Multi-effects
parameters in realtime, select the Multi-effects controller. →
(p. 115)
5. Setting the Output Destination and Volume
for the Sounds Passing Through the MultiEffects
Select the output jack and set the output level (volume) of the
sounds passing through the Multi-effects. You can also apply
Chorus or Reverb to the sound that passes through Multieffects. → (p. 116)
106
6. Making Chorus Settings
Select the Chorus type to be used, and set each of the
parameters for the selected Chorus. → (p. 156, p. 157)
7. Setting the Output Destination and Volume
for the Sounds Passing Through the Chorus
Select the output jack and set the output level (volume) of the
sounds passing through the Chorus. You can also apply
Reverb to the sound that passes through Chorus. → (p. 158)
8. Making Reverb Settings
Select the Reverb type to be used, and set each of the
parameters for the selected Reverb. → (p. 159)
9. Setting the Output Destination and Volume
for the Sounds Passing Through the Reverb
Select the output jack and set the output level (volume) of the
sounds passing through the Reverb. → (p. 160)
Chapter 7. Adding Effects
Audio Signal Flow
The audio path of direct sounds or sounds that have been passed through the effects in Patch/Rhythm Set mode is shown in the
figure below.
fig.07-03.e
Patch/Rhythm Set
stereo signal
mono signal
Tone/
Rhythm Tone
4
5
3
2
TONE
MFX
A/1/2
B/3/4
Chorus
MFX
A/1/2
Chapter 7
1
B/3/4
13
14
REV
MAIN
M+R
MultiEffects
Reverb
11
7
8
1
Output Assign (p. 108)
2
Output Assign (p. 109)
3
Output Level (p. 109)
4
Chorus Send Level (p. 110)
5
Reverb Send Level (p. 110)
6
Multi-effects Output Assign (p. 116)
7
Multi-effects Dry Send Level (p. 116)
8
Multi-effects Chorus Send Level (p. 116)
9
Multi-effects Reverb Send Level (p. 116)
10 Reverb Output Assign (p. 160)
9
11 Reverb Level (p. 160)
12 Chorus Output Assign (p. 158)
10
12
A
B
A
6
B
13 Chorus Level (p. 158)
A
B
14 Chorus Output Select (p. 158)
107
Chapter 7. Adding Effects
Selecting the Way the Direct
Sound is Output
Here, set the way the direct sound is output for each Patch or
Rhythm Set. The settings made here determine whether or
not the signal passes through the Multi-effects, the jack used
to output the sound, and the type of output (stereo or mono).
Output Assign
Specifies for each Patch/Rhythm Set how the direct sound
will be output.
MFX: Output in stereo through Multi-effects. You can also
apply Chorus or Reverb to the sound that passes through
Multi-effects.
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo
without passing through Multi-effects.
You can select the way the direct sound is output for
each Tone or Rhythm Tone individually (p. 109).
About the Output Jacks
The XV-88 is equipped with four OUTPUT jacks. Patch
and Rhythm Set sounds are output from any of these
jacks. Each jack can of course output sounds monaurally,
and by using two jacks as a pair, you can output sounds
in stereo (left/right).
Additionally, you can change the jacks used to output
the sounds for each of the Tones and Rhythm Tones
individually. For example, when playing a Rhythm Set,
you can output the snare drum in stereo from the
OUTPUT A (MIX) jacks, the bass drum in mono from the
INDIVIDUAL 3 jack, and the hi-hat in mono from the
INDIVIDUAL 4 jack. With this arrangement, you can
process each of the Rhythm Tones with a different effect.
1. After confirming that you are in Patch/Rhythm Set
mode, select the desired Patch/Rhythm Set (p. 29, p. 39).
2. After pressing [EDIT] to make the indicator light up,
press the [COMMON] function button, and
press
or
to display the PATCH COMMON
page.
fig.05-12
When a Rhythm Set is selected, display the RHYTHM
COMMON page.
3. Press
or
to move the cursor to “Output Assign.”
4. Rotate the VALUE dial, or press [INC/+]/[DEC/-] to
specify how the direct sound will be output.
OUTPUT B: Output to the OUTPUT B jacks in stereo without
passing through Multi-effects.
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without
passing through Multi-effects.
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without
passing through Multi-effects.
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without
passing through Multi-effects.
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without
passing through Multi-effects.
TONE: Output according to the settings for each Tone/
Rhythm Tone.
• When outputting in mono, the Pan setting is disabled.
• When the settings are such that signals are split and
output from the INDIVIDUAL 1 jack and INDIVIDUAL
2 jack, and no plug is inserted in the INDIVIDUAL 2
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL
2 are mixed together, then output from the
INDIVIDUAL 1 jack. This sound comprises the sounds
from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
• When setting the MFX, set the output destination with
the Output parameter (PATCH/EFFECTS/PATCH MFX
OUT)/(RHYTHM/EFFECTS/RHYTHM MFX OUT) for
the sound after it has passed through the Multi-effects
(p. 116).
• When set to TONE, the Output Assign parameter
(PATCH/EFFECTS/OUTPUT)/(RHYTHM/EFFECTS/
OUTPUT) is set for each Tone or Rhythm Tone (p. 109).
• Chorus and Reverb are output in mono at all times.
108
Chapter 7. Adding Effects
• The output destination of the signal after passing
through the chorus is set with Output Assign parameter
or Select parameter (PATCH/EFFECTS/PATCH CHO
OUT)/(RHYTHM/EFFECTS/RHYTHM CHO OUT) (p.
158).
• The output destination of the signal after passing
through the Reverb is set with the Output Assign
parameter (PATCH/EFFECTS/PATCH REV OUT)/
(RHYTHM/EFFECTS/RHYTHM REV OUT) (p. 160).
For more on how to set each effect, refer to the pages
shown below.
The Settings for Each Tone/
Rhythm Tone
You can set the direct sound’s output method and the
amount of effect applied for each Tone or Rhythm Tone
individually.
1. After confirming you are in Patch/Rhythm Set mode,
select the desired Patch or Rhythm Set (p. 29, p. 39).
2. Press [EDIT] to make the indicator light up, press the
[EFFECTS] function button, and press
or
to
display the OUTPUT page.
fig.07-04
• Multi-effects → (p. 114)
• Chorus → (p. 156)
5. Press [EXIT] to return to the PATCH PLAY/RHYTHM
PLAY page.
An asterisk * will be displayed at the left of the Patch/
Rhythm Set group. This indicates that the Patch/Rhythm
Set settings have been modified.
If you select another Patch/Rhythm Set in the group
with an asterisk *, the modified Patch/Rhythm Set
settings will be lost. To keep these modified settings,
perform the save operation (p. 164).
3. Choose the Tone/Rhythm Tone for which you want to
make settings.
When Selecting a Tone
After turning off the [EDIT] indicator, use TONE SELECT
[1]–[4] to select the tone.
When Selecting a Rhythm Tone
Press the key that accesses the Rhythm Tone you wish to set.
After turning off the [EDIT] indicator, you can also use
TONE SELECT [1]–[4] to select the following setting.
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
4. Press
or
to move the cursor to the parameter
you’re going to modify.
Output Assign (Output Assign/Output Level★)
Sets the direct sound’s output method and volume for each
Tone or Rhythm Tone.
MFX: Output in stereo through Multi-effects. You can also
apply Chorus or Reverb to the sound that passes through
Multi-effects.
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo
without passing through Multi-effects.
OUTPUT B: Output to the OUTPUT B jacks in stereo without
passing through Multi-effects.
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without
passing through Multi-effects.
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without
passing through Multi-effects.
109
Chapter 7
• Reverb → (p. 158)
Chapter 7. Adding Effects
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without
passing through Multi-effects.
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without
passing through Multi-effects.
The value on the right sets the volume of the Tone or Rhythm
Tone. When Multi-effects are being applied, this sets the
amount of the effect that is applied; when Multi-effects are
not applied, this sets the volume of the direct sound.
For more on how to set each effect, refer to the pages
shown below.
• Multi-effects → (p. 114)
• Chorus → (p. 156)
• Reverb → (p. 158)
Chorus (Chorus Send Level) ★
Sets the chorus depth for individual Tone/Rhythm Tone. If
you don’t want to add the Chorus effect, set it to 0.
• When the Output Assign parameter (PATCH/
COMMON/PATCH COMMON)/(RHYTHM/
COMMON/RHYTHM COMMON) is set to anything
but TONE, the setting made here has no effect (p. 108).
• When the Type parameter (PATCH/COMMON/
STRUCT) has a setting of Type 2–10, the outputs of
Tones 1 and 2 will be combined with Tone 2, and the
outputs of Tones 3 and 4 will be combined with Tone 4.
For this reason, the setting of Tone 1 will follow the
setting of Tone 2, and the setting of Tone 3 will follow
the setting of Tone 4 (p. 73).
• When outputting in mono, the Pan setting is disabled.
• When the settings are such that signals are split and
output from the INDIVIDUAL 1 jack and INDIVIDUAL
2 jack, and no plug is inserted in the INDIVIDUAL 2
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL
2 are mixed together, then output from the
INDIVIDUAL 1 jack. This sound comprises the sounds
from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
• When setting the MFX, set the output destination with
the Output parameter (PATCH/EFFECTS/PATCH MFX
OUT)/(RHYTHM/EFFECTS/RHYTHM MFX OUT) for
the sound after it has passed through the Multi-effects
(p. 116).
• Chorus and Reverb are output in mono at all times.
• The output destination of the signal after passing
through the chorus is set with Output Assign parameter
or Select parameter (PATCH/EFFECTS/PATCH CHO
OUT)/(RHYTHM/EFFECTS/RHYTHM CHO OUT) (p.
158).
• The output destination of the signal after passing
through the reverb is set with Output Assign parameter
(PATCH/EFFECTS/PATCH REV OUT)/(RHYTHM/
EFFECTS/RHYTHM REV OUT) (p. 160).
110
Reverb (Reverb Send Level) ★
Sets the reverb depth for individual Tone/Rhythm Tone. If
you don’t want to add the Reverb effect, set it to 0.
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
6. Press [EXIT] to return to the PATCH PLAY/RHYTHM
PLAY page.
An asterisk * will be displayed at the left of the Patch/
Rhythm Set group. This indicates that the Patch/Rhythm
Set settings have been modified.
If you select another Patch/Rhythm Set in the group
with an asterisk *, the modified Patch/Rhythm Set
settings will be lost. To keep these modified settings,
perform the save operation (p. 164).
Chapter 7. Adding Effects
Applying Effects in
Performance Mode
Only one Multi-effect, Chorus, or Reverb effect can be set for
each Performance. You cannot apply differing types of Multieffects, Chorus, or Reverb to each of the Parts comprising the
Performance.
When adding effects in Performance mode, the settings for
the Patches or Rhythm Sets assigned to the Parts are
disabled, and the effect settings for the Performance go into
effect. Thus, the effects for the same Patch or Rhythm Set
may differ when played in Patch/Rhythm Set mode and in
Performance mode. However, depending on the settings,
you can have effect settings for a Patch or Rhythm Set
assigned to a Part applied to the entire Performance (p. 114).
Basic Process of Making Effects Settings
6. Making Chorus Settings
Select the Chorus type to be used, and set each of the
parameters for the selected Chorus. → (p. 156, p. 157)
7. Setting the Output Destination and Volume
for the Sounds Passing Through the Chorus
Select the output jack and set the output level (volume) of the
sounds passing through the Chorus. You can also apply
Reverb to the sound that passes through Chorus. → (p. 158)
8. Making Reverb Settings
Select the Reverb type to be used, and set each of the
parameters for the selected Reverb. → (p. 159)
9. Setting the Output Destination and Volume
for the Sounds Passing Through the Reverb
Select the output jack and set the output level (volume) of the
sounds passing through the Reverb. → (p. 160)
When applying effects in Performance mode, the following
procedure is used to make the settings.
Chapter 7
1. Setting the Output Method Used by the
Direct Sound (Output Assign)
Settings determining whether or not the signal passes
through the Multi-effects, the jack used to output the sound,
and the type of output (stereo or mono) for each Part. You
can also settings for a Patch or Rhythm Set assigned to a Part.
→ (p. 113)
2. Setting the Amount of Each Effect Applied
(Send Level)
Sets the level (volume) of each effect signal to be sent for each
Part. → (p. 113)
3. Making Multi-Effects Settings
Select the type of Multi-effects to be used, and set the
parameters for the selected Multi-effect. You can also Multieffects settings for a Patch or Rhythm Set assigned to a Part.
→ (p. 114, p. 115)
4. Setting the Multi-Effects Controller
When using MIDI messages to change the Multi-effects
parameters in realtime, select the Multi-effects controller. →
(p. 115)
5. Setting the Output Destination and Volume
for the Sounds Passing Through the MultiEffects
Select the output jack and set the output level (volume) of the
sounds passing through the Multi-effects. You can also apply
Chorus or Reverb to the sound that passes through Multieffects. → (p. 116)
111
Chapter 7. Adding Effects
Audio Signal Flow
The audio path of direct sounds or sounds that have been passed through the effects in Performance mode is shown in the figure
below.
fig.07-05.e
Performance
stereo signal
mono signal
Part
Patch/
Rhythm Set
3
4
2
1
MFX
A/1/2
B/3/4
PATCH
The Output Assign settings of the Patch/Rhythm Set
assigned to the Part will be used (p. 108).
Chorus
12
13
REV
MAIN
M+R
MultiEffects
Reverb
10
6
7
1
Output Assign (p. 113)
2
Output Level (p. 113)
3
Chorus Send Level (p. 113)
4
Reverb Send Level (p. 113)
5
Multi-effects Output Assign (p. 116) *
6
Multi-effects Dry Send Level (p. 116) *
7
Multi-effects Chorus Send Level (p. 116) *
8
Multi-effects Reverb Send Level (p. 116) *
9
Reverb Output Assign (p. 160) *
10 Reverb Level (p. 160) *
11 Chorus Output Assign (p. 158) *
8
12 Chorus Level (p. 158) *
13 Chorus Output Select (p. 158) *
9
11
A
112
B
5
A
B
A
B
* The settings for a Patch or Rhythm Set assigned to a Part
depends on which of the Parts 1–16 the Source parameter
in each effect is set to (p. 114, p. 156, p. 159).
Chapter 7. Adding Effects
Here, set the way the direct sound is output and the amount
of each effect to be applied. The settings made here
determine whether or not the signal passes through the
Multi-effects, the jack used to output the sound, and the type
of output (stereo or mono).
The way the direct sound is output can also use the
settings of a Patch/Rhythm Set assigned to a Part.
1. After confirming that you are in Performance mode,
select the desired Performance (p. 35).
2. Press [EDIT] to make the indicator light up, press the
[EFFECTS] function button, and press
or
to
display the OUTPUT page.
fig.07-06
3. Choose the Part for which you want to make settings.
Turn off the [EDIT] indicator, and then use [1-8/9-16]
and ZONE/PART SELECT [1/9]–[8/16] to select a Part.
4. Press
or
to move the cursor to the parameter
you’re going to modify.
Output Assign (Output Assign/Output Level)
Sets the direct sound’s output method and volume for each Part.
MFX: Output in stereo through Multi-effects. You can also
apply Chorus or Reverb to the sound that passes through
Multi-effects.
• When outputting in mono, the Pan setting is disabled.
• When the settings are such that signals are split and
output from the INDIVIDUAL 1 jack and INDIVIDUAL
2 jack, and no plug is inserted in the INDIVIDUAL 2
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL
2 are mixed together, then output from the
INDIVIDUAL 1 jack. This sound comprises the sounds
from the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
• When setting the MFX, set the output destination with
the Output parameter (PERFORM/EFFECTS/MFX
OUT) for the sound after it has passed through the
Multi-effects (p. 116).
• Chorus and Reverb are output in mono at all times.
• The output destination of the signal after passing
through the Chorus is set with the Output Assign
parameter and the Select parameter (PERFORM/
EFFECTS/CHO OUT) (p. 158).
• The output destination of the signal after passing
through the Reverb is set with the Output Assign
parameter (PERFORM/EFFECTS/REV OUT) (p. 160).
For more on how to set each effect, refer to the pages
shown below.
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo
without passing through Multi-effects.
• Multi-effects → (p. 114)
OUTPUT B: Output to the OUTPUT B jacks in stereo without
passing through Multi-effects.
• Reverb → (p. 158)
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without
passing through Multi-effects.
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without
passing through Multi-effects.
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without
passing through Multi-effects.
• Chorus → (p. 156)
Chorus (Chorus Send Level)
Adjusts the amount of Chorus for each Part. If you don’t
want to add the Chorus effect, set it to 0.
Reverb (Reverb Send Level)
Adjusts the amount of Reverb for each Part. If you don’t
want to add the Reverb effect, set it to 0.
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without
passing through Multi-effects.
PATCH: The Part’s output destination is determined by the
settings of the Patch or Rhythm Set assigned to the Part.
The value on the right sets the Part volume. When Multieffects are being applied, this sets the amount of the effect
that is applied; when Multi-effects are not applied, this sets
the volume of the direct sound.
When the Output Assign parameter is set to PATCH, the
output level settings for the Patch or Rhythm Set as well
as the Part go into effect. If you want the various level
settings of the Patch/Rhythm Set to be reflected as they
are, set the various Part levels to 127 (maximum).
113
Chapter 7
Selecting the Way the Direct
Sound is Output
Chapter 7. Adding Effects
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
6. Press [EXIT] to return to the PERFORM PLAY page.
An asterisk * appears at the left of the Performance
group on the display. This shows Performance settings
have been modified.
If you select another Performance in the group with an
asterisk *, the modified Performance settings will be lost.
To keep these modified settings, perform the save
operation (p. 164).
Making Multi-Effects Settings
You can make the settings for Multi-Effects used by Patches/
Rhythm Sets/Performances.
Setting Procedure
1. After confirming that you are in Patch/Rhythm Set/
Performance mode, select the desired Patch/Rhythm
Set/Performance (p. 29, p. 35, p. 39).
2. Press [EDIT], getting the indicator to light, and then
press the [EFFECTS] function button.
3. Press
or
The functions of Multi-effects parameters are explained
according to the display arrangement.
MFX TYPE
fig.07-07
Type (Multi-Effects Type)
Use this parameter to select from among the 63 available
Multi-effects. For details on Multi-effects parameters, refer to
“Multi-Effects Types” (p. 117).
Source (Multi-Effects Source)
Selects the Multi-effects parameter settings that will be used
by the Performance. If you wish to use the Performance
settings, select PERFORM. If you wish to use the settings of
the Patch/Rhythm Set assigned to one of the Parts, select the
Part number.
If you have selected the Part number here, the Part
number will be displayed in the upper left of the MFX
parameter setting display of Performances.
fig.07-08
to display the desired Edit page.
4. Press
or
to move the cursor to the parameter
you’re going to modify.
5. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to change the parameter value.
6. When you finish making settings, press [EXIT] to return
to the previous PLAY page.
An asterisk * will be displayed at the left of the Patch/
Rhythm Set/Performance group. This indicates that the
Patch/Rhythm Set/Performance settings have been
modified.
If you select another Patch/Rhythm Set/Performance in
the group with an asterisk *, the modified Patch/
Rhythm Set/Performance settings will be lost. To keep
these modified settings, perform the save operation (p.
164).
114
Functions of Parameters
This parameter is not available when a Patch or Rhythm
Set is being selected.
When Patch or Rhythm Set Settings Are
Selected
When the Patch or Rhythm Set’s Multi-effects settings
are selected, those settings are shown in each of the
Performance’s MFX settings pages, and the settings can
be then be changed as well. Changes to Patch or Rhythm
Set Multi-effects parameter settings are lost when
another Patch or Rhythm Set is selected. To keep the
modified settings, save the Patch/Rhythm Set settings
(p. 164).
Chapter 7. Adding Effects
MFX PRM (MFX Parameter)
MFX Parameter sets the parameters for the Multi-effects
selected by the Multi-effects type. For more detailed
information on the parameters that can be set in each Multieffect, please refer to “Multi-Effects Types” (p. 117).
When the Type parameter in the MFX TYPE page is set
to 00:THROUGH, the MFX PRM page will not be
displayed.
MFX CTRL (MFX Control)
fig.07-10
Use this when you want to change the Multi-effects
parameters in realtime using the specified MIDI messages.
• When the Type parameter in the MFX TYPE page is set
to 00:THROUGH, the MFX CTRL page will not be
displayed.
• In Performance mode, when the Source parameter in the
MFX TYPE page is set to PERFORM, you cannot use the
Multi-effects controller if the MFX Control Channel
parameter (PERFORM/COMMON/PERFORM MFX
CH) is set to OFF (p. 51).
What is the Multi-Effects Controller?
If you wanted to change the volume of Multi-effects
sounds, the delay time of Delay, and the like, using an
external MIDI device, you would need to send System
Exclusive messages—MIDI messages designed
exclusively for the XV-88. However, System Exclusive
messages tend to be complicated, and the amount of
data that needs to be transmitted can get quite large.
For that reason, a number of the more typical of the XV88’s Multi-effects parameters have been designed so they
accept the use of Control Change (or other) MIDI
messages for the purpose of making changes in their
values. For example, you can use the Pitch Bend lever to
change the amount of distortion, or use the keyboard’s
touch to change the delay time of Delay. The parameters
that can be changed are predetermined for each type of
multi-effect; among the parameters described in “MultiEffects Types” (p. 117), these are indicated by a #.
The function that allows you use MIDI messages to make
these changes in realtime to the Multi-effects parameters
is called the Multi-effects Controller. Up to four Multieffects Controllers can be used in a single Patch/Rhythm
Set/Performance.
When the Multi-effects Controller is used, you can select
the amount of control (Sens parameter) applied, the
parameter selected (Destination parameter), and the
MIDI message used (Source parameter).
By using the Matrix Controller instead of the MultiEffects controller, you can also change the
parameters of some popular Multi-effects in realtime
(p. 80).
115
Chapter 7
fig.07-09
Chapter 7. Adding Effects
Source (Multi-Effects Control Source)
Destination (Multi-Effects Control Destination)
Sets the MIDI message used to change the Multi-effects
parameter with the Multi-effects Controller. Set this to OFF
when the Multi-effects Controller is not being used.
Sets the Multi-effects parameters to be controlled with the
Multi-effects Controller. The Multi-effects parameters
available for control will depend on the Multi-effects type.
For details, refer to “Multi-Effects Types” (p. 117).
The following are MIDI messages that can be used as Multieffects Controllers.
• Controller numbers 01–31, 33–95 (CC01–CC31, CC33–
CC95)
Sens (Multi-Effects Control Sensitivity)
• Aftertouch (AFTERTOUCH)
Sets the amount of the Multi-effects Controller’s effect that is
applied. To make an increase in the currently selected value
(to get higher values, move to the right, increase rates, and so
on), select a positive value; to make a decrease in the
currently selected value (to get lower values, move to the left,
decrease rates, and so on), select a negative value. When both
positive and negative are selected, the changes are greater as
the value increases. To have no effect applied, select 0.
• System Controller 1–4 (SYS-CTRL1–SYS-CTRL4): MIDI
messages used as global Multi-effects Controllers
MFX OUT (MFX Output)
For more detailed information about Control Change
messages, please refer to “MIDI Implementation” (p.
270).
• Pitch Bend (PITCH BEND)
fig.07-11
Select SYS-CTRL1–4 if you want to use the controllers
globally for the entire XV-88. MIDI messages used as
System Controllers 1–4 are set with the Control 1–4
parameters (SYSTEM/CONTROL/SYS CTRL ASSIGN 1,
2) (p. 173).
Output (Multi-Effects Output Assign)
Adjusts the output destination of the sound that has passed
through the Multi-effects.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
• In Patch/Rhythm Set mode, there are parameters that
determine, for each Tone/Rhythm Tone, whether or not
Pitch Bend, Controller Number 11 (Expression) and
Controller Number 64 (Hold 1) are received (p. 77, p. 97).
When these settings are ON, and the MIDI messages are
received, then when any change is made in the settings
of the desired parameter, the Pitch Bend, Expression,
and Hold1 settings also change simultaneously. If you
want to change the targeted parameters only, then set
these to OFF.
• There are parameters that determine whether or not
specific MIDI messages are received for each MIDI
channel (p. 52). When using the Multi-effects Controller,
confirm that any MIDI messages used for the Multieffects Controller will be received. If the XV-88 is set up
such that reception of MIDI messages is disabled, then
the Multi-effects Controller will not function.
116
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
Dry (Multi-Effects Dry Send Level)
Adjusts the volume of the sound that has passed through the
Multi-effects.
Chorus (Multi-Effects Chorus Send Level)
Adjusts the amount of Chorus for the sound that passes
through Multi-effects. If you don’t want to add the Chorus
effect, set it to 0.
Reverb (Multi-Effects Reverb Send Level)
Adjusts the amount of Reverb for the sound that passes
through Multi-effects. If you don’t want to add the Reverb
effect, set it to 0.
Multi-Effects Types
Multi-Effects provides 63 types of effect. This section
explains the features of each Multi-effects, and the functions
of the parameters.
Parameters marked with a # can be controlled using
specified MIDI messages (Multi-effects Controller). (*
Two setting items will change simultaneously for #1 and
#2.) Settings in the MFX CTRL page will determine how
these parameters are controlled (p. 115).
33: ENHANCER→FLANGER
(p. 136)
34: ENHANCER→DELAY
(p. 137)
35: CHORUS→DELAY
(p. 137)
36: FLANGER→DELAY
(p. 138)
37: CHORUS→FLANGER
(p. 138)
38: CHORUS/DELAY
(p. 139)
39: FLANGER/DELAY
(p. 139)
40: CHORUS/FLANGER
(p. 139)
41: STEREO PHASER
(p. 139)
42: KEYSYNC FLANGER
(p. 140)
43: FORMANT FILTER
(p. 141)
Explanations for each Multi-effects Type are given on the
following pages.
44: RING MODULATOR
(p. 142)
45: MULTI TAP DELAY
(p. 143)
01: STEREO EQ
(p. 119)
46: REVERSE DELAY
(p. 144)
02: OVERDRIVE
(p. 119)
47: SHUFFLE DELAY
(p. 145)
03: DISTORTION
(p. 120)
48: 3D DELAY
(p. 146)
04: PHASER
(p. 120)
49: PITCH SHIFTER
(p. 147)
05: SPECTRUM
(p. 121)
50: LOFI COMPRESS
(p. 147)
06: ENHANCER
(p. 121)
51: LOFI NOISE
(p. 148)
07: AUTO WAH
(p. 122)
52: SPEAKER SIMULATOR
(p. 148)
08: ROTARY
(p. 122)
53: OVERDRIVE 2
(p. 149)
09: COMPRESSOR
(p. 123)
54: DISTORTION 2
(p. 149)
10: LIMITER
(p. 123)
55: STEREO COMPRESSOR
(p. 150)
11: HEXA-CHORUS
(p. 124)
56: STEREO LIMITER
(p. 150)
12: TREMOLO CHORUS
(p. 124)
57: GATE
(p. 151)
13: SPACE-D
(p. 125)
58: SLICER
(p. 151)
14: STEREO CHORUS
(p. 125)
59: ISOLATOR
(p. 152)
15: STEREO FLANGER
(p. 126)
60: 3D CHORUS
(p. 152)
16: STEP FLANGER
(p. 126)
61: 3D FLANGER
(p. 153)
17: STEREO DELAY
(p. 127)
62: TREMOLO
(p. 154)
18: MODULATION DELAY
(p. 128)
63: AUTO PAN
(p. 155)
19: TRIPLE TAP DELAY
(p. 129)
20: QUADRUPLE TAP DELAY
(p. 130)
21: TIME CONTROL DELAY
(p. 131)
22: 2VOICE PITCH SHIFTER
(p. 131)
23: FBK PITCH SHIFTER
(p. 132)
24: REVERB
(p. 133)
25: GATED REVERB
(p. 133)
26: OVERDRIVE→CHORUS
(p. 134)
27: OVERDRIVE→FLANGER
(p. 134)
28: OVERDRIVE→DELAY
(p. 135)
29: DISTORTION→CHORUS
(p. 135)
30: DISTORTION→FLANGER
(p. 135)
31: DISTORTION→DELAY
(p. 135)
32: ENHANCER→CHORUS
(p. 136)
Chapter 7
Chapter 7. Adding Effects
117
Chapter 7. Adding Effects
Selecting Multi-Effects by Category
29: DISTORTION→CHORUS
Pressing [PATCH FINDER] in the MFX TYPE page switches
the display to the following page, where each Multi-effect
type is displayed in order, by category (effect sound). This
allows you to quickly select the Multi-effects you wish to use.
30: DISTORTION→FLANGER
fig.MFX FINDER.e
Category
31: DISTORTION→DELAY
52: SPEAKER SIMULATOR
53: OVERDRIVE 2
54: DISTORTION 2
■ Compressor (Effects in which the loudness
becomes difficult to change)
09: COMPRESSOR
■ Modulation
(Effects that modulate the sound)
04: PHASER
07: AUTO WAH
41: STEREO PHASER
10: LIMITER
55: STEREO COMPRESSOR
56: STEREO LIMITER
57: GATE
58: SLICER
42: KEYSYNC FLANGER
43: FORMANT FILTER
■ Chorus (Effects that broaden the sound)
44: RING MODULATOR
11: HEXA-CHORUS
■ Delay (Effects that delay the sound)
17: STEREO DELAY
18: MODULATION DELAY
19: TRIPLE TAP DELAY
20: QUADRUPLE TAP DELAY
21: TIME CONTROL DELAY
22: 2VOICE PITCH SHIFTER
23: FBK PITCH SHIFTER
34: ENHANCER→DELAY
45: MULTI TAP DELAY
46: REVERSE DELAY
47: SHUFFLE DELAY
48: 3D DELAY
49: PITCH SHIFTER
■ Keyboard (Effects useful for the keyboard)
08: ROTARY
12: TREMOLO CHORUS
13: SPACE-D
14: STEREO CHORUS
15: STEREO FLANGER
16: STEP FLANGER
32: ENHANCER→CHORUS
33: ENHANCER→FLANGER
35: CHORUS→DELAY
36: FLANGER→DELAY
37: CHORUS→FLANGER
38: CHORUS/DELAY
39: FLANGER/DELAY
40: CHORUS/FLANGER
60: 3D CHORUS
61: 3D FLANGER
■ Dimension (Effects that control the location
of the sound)
■ LoFi (Effects that intentionally degrades the
sound quality)
62: TREMOLO
50: LOFI COMPRESS
■ Filter
(Effects that modify the sound character)
51: LOFI NOISE
63: AUTO PAN
■ Guitar&Bass
(Effects useful for the Guitar and Bass)
01: STEREO EQ
02: OVERDRIVE
06: ENHANCER
03: DISTORTION
59: ISOLATOR
26: OVERDRIVE→CHORUS
■ Reverb (Effects that reverberate the sound)
27: OVERDRIVE→FLANGER
28: OVERDRIVE→DELAY
118
05: SPECTRUM
24: REVERB
25: GATE REVERB
Chapter 7. Adding Effects
01: STEREO EQ (Stereo Equalizer)
02: OVERDRIVE
This is a four-band stereo equalizer (low, mid x 2, high).
This effect creates a soft distortion similar to that produced
by vacuum tube amplifiers.
L in
4-Band EQ
L out
fig.MFX-02
L in
R in
4-Band EQ
R out
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.
Mid1 Freq (Middle 1 Frequency)
Adjust the frequency of Middle 1 (mid range).
Mid1 Q (Middle 1 Q)
This parameter adjusts the width of the area around the
Middle 1 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Mid1 Gain (Middle1 Gain)
Adjust the gain for the area specified by the Middle 1
Frequency and Q settings.
L out
Over
drive
Amp
Simulator
2-Band
EQ
R in
Pan L
Pan R
R out
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.
Chapter 7
fig.MFX-01
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.
Mid2 Freq (Middle 2 Frequency)
Adjust the frequency of Middle 2 (mid range).
Mid2 Q (Middle 2 Q)
This parameter adjusts the width of the area around the
Middle 2 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Mid2 Gain (Middle 2 Gain)
Adjust the gain for the area specified by the Middle 2
Frequency and Q settings.
Lev (Output Level) #
Adjust the output level.
119
Chapter 7. Adding Effects
03: DISTORTION
04: PHASER
This effect produces a more intense distortion than
Overdrive.
A phaser adds a phase-shifted sound to the direct sound,
producing a twisting modulation that creates spaciousness
and depth.
fig.MFX-03
L in
L out
Distortion
Amp
Simulator
2-Band
EQ
R in
Pan L
fig.MFX-04
L in
Pan R
Phaser
R out
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.
L out
Pan L
Mix
R in
Resonance
Pan R
R out
Manual #
Adjust the basic frequency from which the sound will be
modulated.
Rate #
Adjust the frequency (period) of modulation.
Depth
Adjust the depth of modulation.
Res (Resonance)
Adjust the amount of feedback for the phaser.
Mix (Mix Level)
BUILT-IN: single-unit type amp
Adjust the ratio with which the phase-shifted sound is
combined with the direct sound.
2-STACK: large double stack amp
Pan (Output Pan)
3-STACK: large triple stack amp
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
SMALL: small amp
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
120
Level (Output Level)
Adjust the output level.
Chapter 7. Adding Effects
05: SPECTRUM
06: ENHANCER
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.
The Enhancer controls the overtone structure of the high
frequencies, adding sparkle and tightness to the sound.
fig.MFX-06
L in
fig.MFX-05
L in
2-Band
EQ
L out
Mix
2-Band
EQ
R out
Mix
Enhancer
L out
Pan L
Spectrum
R in
Enhancer
Pan R
R in
R out
Band 1 (Band 1 Gain)
Adjust the 250 Hz level.
Band 2 (Band 2 Gain)
Sens (Sensitivity) #
Adjust the sensitivity of the enhancer.
Mix (Mix Level) #
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Band 3 (Band 3 Gain)
LowGain (Low Gain)
Adjust the 1000 Hz level.
Adjust the gain of the low frequency range.
Band 4 (Band 4 Gain)
Hi Gain (High Gain)
Adjust the 1250 Hz level.
Adjust the gain of the high frequency range.
Band 5 (Band 5 Gain)
Level (Output Level)
Adjust the 2000 Hz level.
Adjust the output level.
Chapter 7
Adjust the 500 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.
121
Chapter 7. Adding Effects
07: AUTO WAH
08: ROTARY
The Auto Wah cyclically controls a filter to create cyclic
change in timbre.
The Rotary effect simulates the sound of the rotary speakers
often used with the electric organs of the past. Since the
movement of the high range and low range rotors can be set
independently, the unique type of modulation characteristic
of these speakers can be simulated quite closely. This effect is
most suitable for electric organ Patches.
fig.MFX-07
L in
L out
Auto Wah
R in
R out
Filter (Filter Type)
fig.MFX-08
L in
Rotary
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.
L out
R in
R out
LowSlow (Low Frequency Slow Rate)
Adjust the slow speed (SLOW) of the low frequency rotor.
Sens (Sensitivity)
LowFast (Low Frequency Fast Rate)
Adjust the sensitivity with which the filter is controlled.
Adjust the fast speed (FAST) of the low frequency rotor.
Manual #
LowAccl (Low Frequency Acceleration)
Adjust the center frequency from which the effect is applied.
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.
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.
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).
For details refer to “Using a Pedal Switch to Modify the
Speed of the Rotary Effect” (p. 199).
122
Chapter 7. Adding Effects
Level (Output Level) #
10: LIMITER
Adjust the output level.
The Limiter compresses signals that exceed a specified
volume level, preventing distortion from occurring.
09: COMPRESSOR
fig.MFX-10
The Compressor flattens out high levels and boosts low
levels, smoothing out unevenness in volume.
fig.MFX-09
L in
L out
Limiter
2-Band
EQ
R in
L in
Pan L
Pan R
R out
L out
2-Band
EQ
R in
Pan L
Thresh (Threshold Level)
Pan R
Adjust the volume at which compression will begin.
R out
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 (Low Gain)
Adjust the low frequency gain.
Hi Gain (High 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.
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 (Low Gain)
Adjust the low frequency gain.
Chapter 7
Compressor
Hi Gain (High 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.
123
Chapter 7. Adding Effects
11: HEXA-CHORUS
12: TREMOLO CHORUS
Hexa-chorus uses a six-phase chorus (six layers of chorused
sound) to give richness and spatial spread to the sound.
Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
fig.MFX-11
fig.MFX-12
L in
L out
L in
Balance D
L out
Balance D
Balance W
Balance W
Tremolo Chorus
Hexa-Chorus
Balance W
Balance W
R in
R out
Balance D
R in
R out
Balance D
Pre Dly (Pre Delay Time)
Pre Dly (Pre Delay Time)
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Rate #
ChoRate (Chorus Rate)
Adjust the rate of modulation.
Adjust the modulation speed of the chorus effect.
Depth
Cho Dpt (Chorus Depth)
Adjust the depth of modulation.
Adjust the modulation depth of the chorus effect.
Dly Dev (Pre Delay Deviation)
Phase (Tremolo Phase)
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.
Adjust the spread of the tremolo effect.
Dpt Dev (Depth Deviation)
Trm Sep (Tremolo Separation)
Adjust the difference in modulation depth between each
chorus sound.
Adjust the spread of the tremolo effect.
Pan Dev (Pan Deviation)
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.
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.
124
TrmRate (Tremolo Rate) #
Adjust the modulation speed of the tremolo effect.
Balance (Effect Balance) #
Level (Output Level)
Adjust the output level.
Chapter 7. Adding Effects
13: SPACE-D
14: STEREO CHORUS
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.
This is a stereo chorus. A filter is provided so that you can
adjust the timbre of the chorus sound.
fig.MFX-14
Balance D
fig.MFX-13
2-Band
EQ
L in
2-Band
EQ
L in
Space-D
Balance W
Space-D
Balance W
R in
Balance D
2-Band
EQ
L out
Chorus
Balance W
Chorus
Balance W
R in
Balance D
R out
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.
2-Band
EQ
L out
R out
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.
Chapter 7
Balance D
Filter Type
LowGain (Low Gain)
Select the type of filter.
Adjust the gain of the low frequency range.
OFF: a filter will not be used
Hi Gain (High Gain)
LPF: cut the frequency range above the cutoff frequency
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.
HPF: cut the frequency range below the cutoff frequency
Cutoff (Cutoff Frequency)
Adjust the basic frequency of the filter.
LowGain (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High 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.
125
Chapter 7. Adding Effects
15: STEREO FLANGER
Balance (Effect Balance)
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.
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.
fig.MFX-15
Balance D
L in
Flanger
2-Band
EQ
Adjust the output level.
L out
16: STEP FLANGER
Balance W
The Step Flanger effect is a flanger in which the flanger pitch
changes in steps.
Feedback
Feedback
Flanger
R in
Balance D
Level (Output Level)
fig.MFX-16
Balance W
2-Band
EQ
Balance D
R out
L in
Step Flanger
Pre Dly (Pre Delay Time)
Step Flanger
R in
Balance D
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.
L out
Balance W
Feedback
Feedback
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Rate #
2-Band
EQ
Balance W
2-Band
EQ
R out
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.
Phase
Fbk (Feedback Level) #
Adjust the spatial spread of the sound.
Adjust the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Filter Type
Select the type of filter.
OFF: a filter will not be used
Phase
LPF: cut the frequency range above the cutoff frequency
Adjust the spatial spread of the sound.
HPF: cut the frequency range below the cutoff frequency
Step Rate #
Cutoff (Cutoff Frequency)
Adjust the rate (period) of pitch change.
Adjust the basic frequency of the filter.
LowGain (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High Gain)
Adjust the gain of the high frequency range.
126
Step Rate parameter can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
Chapter 7. Adding Effects
Delay R (Delay Time Right)
When Step Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
LowGain (Low Gain)
Adjust the time from the direct 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)
Adjust the gain of the low frequency range.
Select the way in which delay sound is fed back into the
effect.
Hi Gain (High Gain)
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
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.
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.
Level (Output Level)
INVERT: Phase is inverted.
Adjust the output level.
17: STEREO DELAY
Select the phase of the right delay sound.
This is a stereo delay.
NORMAL: Phase is not changed.
When Feedback Mode is NORMAL:
INVERT: Phase is inverted.
Chapter 7
Phase R (Feedback Phase Right)
fig.MFX-17a
Balance D
2-Band
EQ
L in
Delay
HF Damp
L out
Balance W
Feedback
Feedback
Delay
LowGain (Low Gain)
Balance W
2-Band
EQ
R in
Balance D
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.
Adjust the gain of the low frequency range.
R out
Hi Gain (High Gain)
When Feedback Mode is CROSS:
Adjust the gain of the high frequency range.
fig.MFX-17b
Balance D
L in
Delay
2-Band
EQ
L out
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.
Balance W
Feedback
Feedback
Delay
R in
Balance D
Balance W
2-Band
EQ
Balance (Effect Balance) #
R out
Level (Output Level)
Adjust the output level.
Delay L (Delay Time Left)
Adjust the time from the direct sound until when the left
delay sound is heard.
127
Chapter 7. Adding Effects
18: MODULATION DELAY
HF Damp
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
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.
When Feedback Mode is NORMAL:
fig.MFX-18a
LowGain (Low Gain)
Balance D
2-Band
EQ
L in
Delay
Modulation
L out
Balance W
Hi Gain (High Gain)
Feedback
Feedback
Delay
Adjust the gain of the high frequency range.
Modulation
Balance (Effect Balance) #
Balance W
R in
Balance D
2-Band
EQ
R out
2-Band
EQ
L out
When Feedback Mode is CROSS:
fig.MFX-18b
Balance D
L in
Delay
Modulation
Balance W
Modulation
Balance W
R in
Balance D
2-Band
EQ
R out
Delay L (Delay Time Left)
Adjust the time from the direct sound until when the left
delay sound is heard.
Delay R (Delay Time Right)
Adjust the time from the direct 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.
128
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.
Feedback
Feedback
Delay
Adjust the gain of the low frequency range.
Chapter 7. Adding Effects
19: TRIPLE TAP DELAY
HF Damp
The Triple Tap Delay produces three delay sounds; center,
left and right.
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.
fig.MFX-19
Balance D
2-Band
EQ
L in
Left Tap
Triple Tap Delay
Feedback
L out
Balance W
Adjust the gain of the low frequency range.
Hi Gain (High Gain)
Center Tap
Right Tap
LowGain (Low Gain)
Adjust the gain of the high frequency range.
Balance W
R in
Balance D
2-Band
EQ
R out
Balance (Effect Balance) #
Adjust the time delay from the direct sound until when the
center delay sound is heard.
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Delay L (Delay Time Left)
Level (Output Level)
Adjust the time delay from the direct sound until when the
left delay sound is heard.
Adjust the output level.
Delay C (Delay Time Center)
Delay R (Delay Time Right)
Chapter 7
Adjust the time delay from the direct sound until when the
right delay sound is heard.
Delay C, Delay L and Delay R parameters can be set as a
note-value of a specified tempo. In this case, specify the
value of the desired note.
When Delay C, Delay L and Delay R are Set
as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
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)
Adjust the volume of the center delay sound.
Level L (Left Level)
Adjust the volume of the left delay sound.
Level R (Right Level)
Adjust the volume of the right delay sound.
129
Chapter 7. Adding Effects
20: QUADRUPLE TAP DELAY
Level 4
The Quadruple Tap Delay has four delays.
Adjust the volume of delay 4 sound.
fig.MFX-20a
Fbk (Feedback Level) #
Balance D
L in
L out
Delay 1
Balance W
Feedback
Delay 2
Quadruple Tap Delay
HF Damp
Delay 3
Balance W
Delay 4
R in
R out
Balance D
The stereo location of each delay sound is as follows.
fig.MFX-20b
2
3
4
1
L
R
Delay 1 (Delay Time 1)
Adjust the time delay from the direct sound until when delay
1 sound is heard.
Delay 2 (Delay Time 2)
Adjust the time delay from the direct sound until when delay
2 sound is heard.
Delay 3 (Delay Time 3)
Adjust the time delay from the direct sound until when delay
3 sound is heard.
Delay 4 (Delay Time 4)
Adjust the time delay from the direct sound until when delay
4 sound is heard.
Delay 1–4 parameters can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
When Delay 1–4 are Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Level 1
Adjust the volume of delay 1 sound.
Level 2
Adjust the volume of delay 2 sound.
Level 3
Adjust the volume of delay 3 sound.
130
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
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.
Chapter 7. Adding Effects
21: TIME CONTROL DELAY
22: 2VOICE PITCH SHIFTER
This effect allows you to use a specified controller (the
controller selected in Multi-effects Control Source) to control
the delay time and pitch in realtime (Multi-effects Controller
p. 115). Lengthening the delay will lower the pitch, and
shortening it will raise the pitch.
A Pitch Shifter shifts the pitch of the direct sound. This 2voice pitch shifter has two pitch shifters, and can add two
pitch shifted sounds to the direct sound.
fig.MFX-22
Balance D
L in
L out
Level Balance A
fig.MFX-21
Balance D
2-Band
EQ
PanA L
2Voice Pitch Shifter
Balance W
Time Control Delay
PanA R
PanB L
Balance W
Feedback
R in
Balance D
2-Band
EQ
Balance W
L out
Level Balance B
R out
PanB R
R in
Balance W
R out
Balance D
Delay (Delay time) #
CoarseA (Coarse Pitch A) #1
Adjust the time delay from the direct sound until when each
delay sound is heard.
Adjust the pitch of Pitch Shift A in semitone steps (-2–+1
octaves).
Accel (Acceleration)
Fine A (Fine Pitch A) #1
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.
Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100–+100 cents).
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.
LowGain (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High 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.
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.
131
Chapter 7
L in
Chapter 7. Adding Effects
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.MFX-23
L in
Balance D
2-Band
EQ
L out
Balance W
Pitch Shifter
Balance W
Feedback
R in
Balance D
2-Band
EQ
R out
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 (-2–+1 octaves).
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 (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High 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.
132
Chapter 7. Adding Effects
24: REVERB
25: GATED REVERB
The Reverb effect adds reverberation to the sound,
simulating an acoustic space.
Gate Reverb is a special type of reverb in which the
reverberant sound is cut off before its natural length.
fig.MFX-24
fig.MFX-25
Balance D
L out
L in
2-Band
EQ
Balance D
Balance W
L out
Balance W
Reverb
Gated Reverb
Balance W
R in
Balance D
2-Band
EQ
Balance W
R out
R in
Balance D
2-Band
EQ
R out
Type (Reverb Type)
Type (Gated Reverb Type)
Select the type of Reverb effect.
Select the type of reverb.
ROOM1: dense reverb with short decay
NORMAL: conventional gate reverb
ROOM2: sparse reverb with short decay
REVERSE: backwards reverb
STAGE1: reverb with greater late reverberation
SWEEP1: the reverberant sound moves from right to left
STAGE2: reverb with strong early reflections
SWEEP2: the reverberant sound moves from left to right
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) #
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.
Adjust the time length of reverberation.
LowGain (Low Gain)
HF Damp
Adjust the gain of the low frequency range.
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.
Hi Gain (High Gain)
LowGain (Low Gain)
Adjust the gain of the low frequency range.
Hi Gain (High Gain)
Adjust the gain of the high frequency range.
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.
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.
133
Chapter 7
L in
2-Band
EQ
Chapter 7. Adding Effects
26: OVERDRIVE→CHORUS
27: OVERDRIVE→FLANGER
This effect connects an overdrive and a chorus in series.
This effect connects an overdrive and a flanger in series.
fig.MFX-26
fig.MFX-27
Balance D
L out
L in
Balance D
L out
L in
Balance W
Overdrive
Feedback
Chorus
Overdrive
Balance W
Balance D
Balance W
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.
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.
Adjust the output level.
Balance D
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.
134
R out
R in
OD Drive
Level (Output Level)
Flanger
R out
R in
Balance W
Chapter 7. Adding Effects
28: OVERDRIVE→DELAY
29: DISTORTION→CHORUS
This effect connects an overdrive and a delay in series.
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.
fig.MFX-28
L out
L in
Balance D
Balance W
Overdrive
Delay
Balance W
OD Drive → Dist Drive (Specify the amount of distortion.)
OD Pan
Feedback
R out
R in
Balance D
→ Dist Pan (Specify the stereo location of the
distortion sound.)
fig.MFX-29
OD Drive
OD Pan (Overdrive Pan) #
L out
L in
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Balance D
Balance W
Distortion
Chorus
Balance W
R out
R in
Balance D
DlyTime (Delay Time)
30: DISTORTION→FLANGER
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
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.
Dly Fbk (Delay Feedback Level)
OD Drive → Dist Drive (Specify the amount of distortion.)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
OD Pan
→ Dist Pan (Specify the stereo location of the
distortion sound.)
fig.MFX-30
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.
Balance D
L out
L in
Feedback
Distortion
Balance W
Flanger
Balance W
R out
R in
Balance D
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.
Level (Output Level)
OD Drive → Dist Drive (Specify the amount of distortion.)
Adjust the output level.
OD Pan
→ Dist Pan (Specify the stereo location of the
distortion sound.)
fig.MFX-31
L out
L in
Balance D
Balance W
Distortion
Delay
Balance W
Feedback
R out
R in
Balance D
135
Chapter 7
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Chapter 7. Adding Effects
32: ENHANCER→CHORUS
33: ENHANCER→FLANGER
This effect connects an enhancer and a chorus in series.
This effect connects an enhancer and a flanger in series.
fig.MFX-32
fig.MFX-33
L in
Balance D
L out
Enhancer
Mix
L in
Balance D
L out
Enhancer
Mix
Balance W
Feedback
Balance W
Chorus
Flanger
Balance W
Balance W
R in
R out
Enhancer
Mix
Balance D
R in
R out
Enhancer
Mix
Enhancer Sens (Enhancer Sensitivity) #
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.
Enhancer Sens (Enhancer Sensitivity) #
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.
136
Balance D
Chapter 7. Adding Effects
34: ENHANCER→DELAY
35: CHORUS→DELAY
This effect connects an enhancer and a delay in series.
This effect connects a chorus and a delay unit in series.
fig.MFX-34
fig.MFX-35
Balance D
L out
Enhancer
Mix
L in
Balance D
L out
Balance D
Balance W
Balance W
Delay
Feedback
R in
Balance W
R out
Enhancer
Mix
Balance D
Balance W
Delay
Chorus
Balance W
Balance W
Feedback
R in
R out
Balance D
Enhancer Sens (Enhancer Sensitivity) #
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.
Balance D
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.
Level (Output Level)
Delay Balance #
Adjust the output level.
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.
137
Chapter 7
L in
Chapter 7. Adding Effects
36: FLANGER→DELAY
Level (Output Level)
This effect connects a flanger and a delay in series.
Adjust the output level.
fig.MFX-36
Balance D
L in
L out
Balance D
Feedback
Flanger
Balance W
Balance W
Balance W
37: CHORUS→FLANGER
This effect connects a chorus and a flanger in series.
fig.MFX-37
Delay
Feedback
R in
L in
L out
R out
Balance D
Balance D
Balance D
Balance W
Balance W
Balance D
Chorus
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
Balance W
Flanger
Balance W
Balance W
R in
R out
Balance D
Balance D
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)
Dly Fbk (Delay Feedback Level)
Adjust the modulation speed of the flanger effect.
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the
phase.
Flg Dpt (Flanger Depth)
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.
138
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.
Chapter 7. Adding Effects
38: CHORUS/DELAY
41: STEREO PHASER
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.
This is a stereo phaser. With the Step effects, you can also
make stepped changes in the pitch of sounds to which the
Phaser effect is applied.
fig.MFX-41
fig.MFX-38
Balance D
L in
L in
Phaser
L out
Chorus
2-Band
EQ
L out
2-Band
EQ
R out
Balance W
Mix
Feedback
Delay
Mix
Phaser
R in
Balance W
R in
R out
Balance D
Type (Phaser Type)
Selects the type of Phaser.
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.MFX-39
Selects the number of stages in the phaser (4/8).
Balance W
Selects whether the left and right phase of the modulation
will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When
using a mono source, this spreads the sound.
Feedback
Feedback
Balance W
R in
R out
Balance D
SYNCHRO: The left and right phase will be the same. Select
this when inputting a stereo source.
Man (Manual) #
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.
Adjusts the center frequency to which the phase effect is
applied.
Rate (Phaser Rate) #
Adjust the frequency of modulation.
fig.MFX-40
Balance D
L in
L out
Chorus
Balance W
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
Feedback
Flanger
R in
Balance W
R out
Balance D
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Depth (Phaser Depth)
Adjust the depth of modulation.
Res (Phaser Resonance)
Adjust the amount of feedback for the phaser. Higher
settings will give the sound a stronger character.
139
Chapter 7
L out
Delay
Mode
Pol (Polarity)
Balance D
L in
Flanger
Type 2 adds more of the Phaser effect to the high frequencies
than Type 1.
Chapter 7. Adding Effects
X-Fbk (Cross Feedback Level)
42: KEYSYNC FLANGER
Adjust the proportion (%) of the phaser sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Keysync FLanger controls the Flanger by resetting the effect
at the volume of the sound input to the effects device,
restarting from the same pitch each time the Flanger is reset.
Step Rate (Step Rate Switch/Step Rate #)
This parameter lets your playing dynamics on the keyboard
control the flanger effect.
fig.MFX-42
Adjust the frequency of pitch change.
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
L in
2-Band
EQ
L out
2-Band
EQ
R out
Flanger
Feedback
Feedback
Step Rate parameter can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
Flanger
R in
Pre Dly (Pre Delay Time)
When Step Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Adjust the time delay from the direct sound until the flanger
sound is heard.
Rate (LFO Rate) #
Adjust the modulation frequency of the flanger sound.
Mix (Mix Level)
Adjust the volume of the phase-shifted sound, relative to the
direct sound.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Depth (LFO Depth)
Positive (+) settings will emphasize (boost) the high
frequency range.
Adjust the modulation depth of the flanger sound.
Level (Output Level)
Adjust the output level.
Fbk (Feedback) #
Adjust the proportion (%) of the flanger sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase. Higher settings will
produce a more distinctive sound.
Phase
Adjust the spaciousness of the flanger sound.
Filter (Filter Type)
OFF: A filter will not be used.
LPF: he frequency region above the Cutoff Freq setting will
be cut.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
140
Chapter 7. Adding Effects
Cutoff (Cutoff Frequency)
43: FORMANT FILTER
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
This adds a vowel character to the sound, making it similar
to a human voice.
Step Rate (Step Rate Switch/Step Rate #)
fig.MFX-43
L in
L out
Adjust the frequency of pitch change.
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
Overdrive
Formant
2-Band
EQ
R in
Pan L
Pan R
R out
Drive #
Step Rate parameter can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
Turns Drive on/off.
Specifies the depth of distortion. The volume will change
together with the degree of distortion.
Vowel
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Keysync (Keysync Switch)
Determines whether the Flanger LFO is reset according to the
input sound (ON) or not (OFF).
Thre (Keysync Threshold)
Adjust the volume level for which reset will be applied.
Keysync Phase
Sets the LFO phase when the LFO is reset.
LowGain (Low Gain)
Adjust the low frequency range gain (amount of boost or
cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Selects the vowel. The left setting is the vowel 1. The right
setting is the vowel 2.
Rate #
Sets the frequency at which the two vowels will be switched.
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Depth #
Sets the effect depth.
Keysync (KeySync Switch)
Determines whether the LFO for switching the vowels is
reset according to the input sound (ON) or not (OFF).
Adjust the high frequency gain (amount of boost or cut).
Threshold (Keysync Threshold)
Positive (+) settings will emphasize (boost) the high
frequency range.
Specifies the volume level for which reset will be applied.
Balance #
Adjusts 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 the flanger sound will
be output.
Manual #
Sets the point at which the two vowels will be switched.
When set to 50, Vowels 1 and 2 switched in the same amount
of time. Setting this higher than 50 increases the time for
Vowel 1; setting this lower than 50 decreases the time for
Vowel 1.
Level (Output Level)
Adjust the output level.
141
Chapter 7
When Step Rate is Set as a Note Value
Chapter 7. Adding Effects
LowGain (Low Gain)
44: RING MODULATOR
Specifies the low frequency gain (amount of boost or cut).
Ring Modulator is an effect which applies amplitude
modulation (AM) to the input signal, producing bell-like
sounds.
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
You can also change the modulation frequency according to
the volume of the sound input to the effects device.
Specifies the high frequency gain (amount of boost or cut).
fig.MFX-44
Positive (+) settings will emphasize (boost) the high
frequency range.
L in
Ring Mod
2-Band EQ
L out
Pan (Output Pan)
R in
Ring Mod
2-Band EQ
R out
Specifies the stereo location of the output sound. L64 is far
left, 0 is center, and 63R is far right.
Freq (Frequency) #
Sets the frequency at which modulation will be applied.
Level (Output Level)
Specifies the output volume.
Mod (Modulator)
Selects the input of the direct sound for the envelope
controlling the modulation.
When set to SRC, the frequency is modulated according to
the envelope of the sound input to the multi-effects.
Mon (Modulator Monitor)
Determines whether the input sound used as the modulator
is output (ON) or not (OFF).
Sens (Sensitivity) #
Sets the amount of frequency modulation applied.
Pol (Polarity)
Determines whether the frequency modulation moves
towards higher frequencies (UP) or lower frequencies
(DOWN).
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W the effect sound will
be output.
Level (Output Level)
Adjust the output level.
142
Chapter 7. Adding Effects
45: MULTI TAP DELAY
setting of L64 is far left, 0 is center, and 63R is far right.
The Multi Tap Delay has four delays. Each of the Delay Time
parameters can be specified as a note length of the selected
tempo. You can also set the panning and level of each delay
sound.
Pan 4 (Output Pan 4)
fig.MFX-45
Level 1
Balance D
L in
Delay 1
Delay 3
2-Band
EQ
L out
Adjust the output level of delay 1.
Level 2
Balance W
Adjust the output level of delay 2.
Multi Tap Delay
Balance W
Delay 4
Level 3
Delay 2
R in
Balance D
2-Band
EQ
R out
Adjust the output level of delay 3.
Delay 1 (Delay Time 1)
Level 4
Adjust the delay time from the direct sound until the delay 1
sound is heard.
Adjust the output level of delay 4.
Delay 2 (Delay Time 2)
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Adjust the delay time from the direct sound until the delay 2
sound is heard.
Delay 3 (Delay Time 3)
Adjust the delay time from the direct sound until the delay 3
sound is heard.
Delay 4 (Delay Time 4)
Adjust the delay time from the direct sound until the delay 4
sound is heard.
Fbk (Feedback) #
HF Damp
Adjust the frequency at which the high frequency range of
the delayed sound returned to the input will be cut.
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
LoG (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Delay 1–4 parameters can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
Positive (+) settings will emphasize (boost) the low
frequency range.
HiG (High Gain)
When Delay 1–4 are Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Pan 1 (Output Pan 1)
Sets the stereo position of the delay sound (Delay 1). A
setting of L64 is far left, 0 is center, and 63R is far right.
Pan 2 (Output Pan 2)
Sets the stereo position of the delay sound (Delay 2). A
setting of L64 is far left, 0 is center, and 63R is far right.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Lev (Output Level)
Adjust the output level.
Pan 3 (Output Pan 3)
Sets the stereo position of the delay sound (Delay 3). A
143
Chapter 7
Feed
back
Sets the stereo position of the delay sound (Delay 4). A
setting of L64 is far left, 0 is center, and 63R is far right.
Chapter 7. Adding Effects
46: REVERSE DELAY
Thr (Threshold Level)
Reverse Delay is a delay effect that adds the reverse of the
input sound as the delay sound.
Specify the volume level at which the reverse delay will
begin to apply.
fig.MFX-46
L in
Feedback
1
D1
D2
Rev. Delay
Delay
D4
R in
2-Band
EQ
L out
2-Band
EQ
R out
Adjust the pan of delay sound (Delay 1–3). A setting of L64 is
far left, 0 is center, and 63R is far right.
2
D3
3
Pan 1:2:3 (Output Pan 1:2:3)
Level 1:2:3
Delay 1 (Delay Time 1)
Adjust the delay time from the direct sound until the delay 1
sound is heard.
Delay 2 (Delay Time 2)
Adjust the output level of delay 1, 2 and 3.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Adjust the delay time from the direct sound until the delay 2
sound is heard.
Hi Gain (High Gain)
Delay 3 (Delay Time 3)
Positive (+) settings will emphasize (boost) the high
frequency range.
Adjust the delay time from the direct sound until the delay 3
sound is heard.
Delay 4 (Delay Time 4)
Adjust the delay time from the direct sound until the delay 4
sound is heard.
Delay 1–4 parameters can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
When Delay 1–4 are Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Feedback 1:4 #
Adjust the proportion (%) of the delay 1 and 4 sound that is
fed back into the effect. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
HF Damp 1:4
Adjust the frequency above which delayed sound (Delay 1,
4) 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.
144
Adjust the high frequency gain (amount of boost or cut).
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Level (Output Level)
Adjust the output level.
Chapter 7. Adding Effects
47: SHUFFLE DELAY
Pan A
Shuffle Delay adds a shuffle to the delay sound, giving the
sound a bouncy delay effect with a swing feel.
Adjust the pan of the delay A sound.
fig.MFX-47
2-Band
EQ
L in
Feedback
Delay 1
1
Delay 2
2
L out
Pan B
Adjust the pan of the delay B sound.
Level Balance
Delay
Sets the balance for the levels of the delay A and the delay B.
2-Band
EQ
R in
R out
Delay (Delay Time) #
Adjust the delay time from the direct sound until the delay
sound is heard.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
When Delay is Set as a Note Value
Balance (Effect Balance) #
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Sets the volume balance between the direct sound and the
effect sound.
Shuffle (Shuffle Rate) #
Sets the ratio (as a percentage) of the time that elapses before
the sound plays in Delay B relative to the time that elapses
before the sound plays in Delay A. When set to 100%, the
delay times are the same.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Level (Output Level)
Adjust the output level.
Accel (Acceleration)
Adjust 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) #
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted 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
feedback, set this parameter to BYPASS.
145
Chapter 7
Delay parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
Chapter 7. Adding Effects
48: 3D DELAY
HF Damp
This applies a 3D effect to the delay sound. The delay sound
will be positioned 90 degrees left and 90 degrees right.
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
fig.MFX-48
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
L
3D Delay L
Level
2-Band
EQ
Out (Output Mode)
3D Delay C
3D Delay R
2-Band
EQ
R
Adjust the method that will be used to hear the sound that is
output to the OUTPUT jacks. The optimal 3D effect will be
achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
Delay C (Delay Time Center)
Lo G (Low Gain)
Adjust the delay time from the direct sound until the center
delay sound is heard.
Adjust the low frequency gain (amount of boost or cut).
Delay L (Delay Time Left)
Positive (+) settings will emphasize (boost) the low
frequency range.
Adjust the delay time from the direct sound until the left
delay sound is heard.
Hi G (High Gain)
Delay R (Delay Time Right)
Positive (+) settings will emphasize (boost) the high
frequency range.
Adjust the delay time from the direct sound until the right
delay sound is heard.
Delay C, Delay L and Delay R parameters can be set as a
note-value of a specified tempo. In this case, specify the
value of the desired note.
When Delay C, Delay L and Delay R are Set
as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Fbk (Feedback) #
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Level C (Level Center)
Adjust the volume of the center delay sound.
Level L (Level Left)
Adjust the volume of the left delay sound.
Level R (Level Right)
Adjust the volume of the right delay sound.
146
Adjust the high frequency gain (amount of boost or cut).
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Level (Output Level)
Adjust the output level.
Chapter 7. Adding Effects
49: PITCH SHIFTER
50: LOFI COMPRESS
A Pitch Shifter shifts the pitch of the direct sound. This 3voice pitch shifter has three pitch shifters, and can add three
pitch shifted sounds to the direct sound.
This is an effect that intentionally degrades the sound quality.
fig.MFX-50
L in
fig.MFX-49
L out
Lo-Fi
L out
Pitch 1
1
Pitch 2
2
Pitch 3
R out
Type (LoFi Type)
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
3
R
Pan R
R in
R out
Coarse 1:2:3 (Coarse Pitch 1:2:3)
Pre Filter (Pre Filter Type)
Specify the pitch in semitones for pitch shift 1–3.
Adjust the type of filter that will be applied before the sound
passes through the Lo-Fi effect.
Fine 1:2:3 (Fine Pitch 1:2:3)
Post Filter 1 (Post Filter 1 Type)
Make fine adjustments to the pitch of the pitch shift 1–3 in 2cent steps.
Adjust the type of filter that will be applied after the sound
passes through the Lo-Fi effect.
Pre Delay 1:2:3 (Pre Delay Time 1:2:3)
Post Filter 2 (Post Filter 2 Type/Cutoff Frequency)
Specify the time delay from the direct sound until the pitch
shift 1–3 sound is heard.
OFF: A post filter 2 will not be used.
Fbk 1:2:3 (Feedback Level 1:2:3)
Adjust the proportion (%) of the pitch shift 1–3 sound that is
fed back into the effect.
Pan 1:2:3 (Output Pan 1:2:3)
LPF: The frequency region above the Cutoff Freq setting will
be cut.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Specify the stereo location of the pitch shift 1–3 sound. L64 is
far left, 0 is center, and 63R is far right.
LowGain (Low Gain)
Level 1:2:3 (Level 1:2:3)
Positive (+) settings will emphasize (boost) the low
frequency range.
Specify the volume of the pitch shift 1–3.
Mode (Pitch Shifter Mode)
Higher settings of this parameter will result in slower
response, but steadier pitch.
Balance (Effect Balance)
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W the effect sound will
be output.
Level (Output Level)
Specifies the output volume.
Adjust the low frequency gain (amount of boost or cut).
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Pan (Output Pan)
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
Level (Output Level)
Adjust the output level.
147
Chapter 7
L
2-Band
EQ
Pan L
Chapter 7. Adding Effects
51: LOFI NOISE
Balance (Effect Balance) #
In addition to a Lo-Fi effect, this effect also generates various
types of noise, such as radio noise and disc noise.
Sets the volume balance between the direct sound and the
effect sound.
fig.MFX-51
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
2-Band
EQ
L in
L out
Lo-Fi
Radio
Pan (Output Pan)
Noise Gen.
Adjust the stereo position of the delay sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
Lo-Fi
R in
2-Band
EQ
R out
Level (Output Level)
Type (LoFi Type)
Adjust the output level.
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
52: SPEAKER SIMULATOR
Post Fltr (Post Filter Type/Cutoff Frequency)
Speaker Simulator is an effect that simulates the speaker type
and mic settings used to record the speaker sound.
OFF: A filter will not be used.
fig.MFX-52
LPF: The frequency region above the Cutoff Freq setting will
be cut.
L in
Speaker
L out
HPF: The frequency region below the Cutoff Freq setting will
be cut.
R in
Speaker
R out
And adjust the frequency at which the filter will begin
cutting.
Speaker Type
Radio Detune
(Radio Detune#/Radio Noise Level)
Select the type of speaker. The specifications of each type are
as follows. The speaker column indicates the diameter of
each speaker unit (in inches) and the number of units.
Simulates the tuning noise of a radio. As this value is raised,
the tuning will drift further.
Type
Cabinet
SMALL 1
small open-back enclosure 10
dynamic mic
And adjust the volume of the radio noise.
SMALL 2
small open-back enclosure 10
dynamic mic
MIDDLE
open back enclosure
12 x 1
dynamic mic
Disc:LPF:Lev (Disc Noise Type:Disc Noise
LPF:Disc Noise Level)
JC-120
open back enclosure
12 x 2
dynamic mic
BUILT IN 1
open back enclosure
12 x 2
dynamic mic
Disc: Selects the type of record noise. The frequency at which
the noise is heard will depend on the selected type.
BUILT IN 2
open back enclosure
12 x 2
condenser mic
BUILT IN 3
open back enclosure
12 x 2
condenser mic
BUILT IN 4
open back enclosure
12 x 2
condenser mic
BUILT IN 5
open back enclosure
12 x 2
condenser mic
BG STACK 1
sealed enclosure
12 x 4
condenser mic
BG STACK 2
large sealed enclosure
12 x 4
condenser mic
MS STACK 1
large sealed enclosure
12 x 4
condenser mic
MS STACK 2
large sealed enclosure
12 x 4
condenser mic
LPF: Adjust the cutoff frequency of the low pass filter that is
applied to the record noise.
Level: Adjust the volume of the record noise.
LowGain (Low Gain)
Speaker Microphone
Adjust the low frequency gain (amount of boost or cut).
METAL STACK large double stack
12 x 4
condenser mic
Positive (+) settings will emphasize (boost) the low
frequency range.
2-STACK
large sealed enclosure
12 x 4
condenser mic
3-STACK
large sealed enclosure
12 x 4
condenser mic
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Mic Set (Mic Setting)
Adjust the location of the mic that is recording the sound of
the speaker. This can be adjusted in three steps, with the mic
becoming more distant in the order of 1, 2, and 3.
Mic:Dir (Mic Level:Direct Level) #
Mic: Adjust the volume of the microphone.
Dir: Adjust the volume of the direct sound.
148
Chapter 7. Adding Effects
Level (Output Level) #
54: DISTORTION 2
Adjust the output level.
This is a distortion effect that provides heavy distortion.
fig.MFX-54
53: OVERDRIVE 2
L in
L out
Distortion
This is an overdrive that provides heavy distortion.
fig.MFX-53
Amp
Simulator
2-Band
EQ
Pan L
Pan R
R in
L in
R out
L out
Amp
Simulator
2-Band
EQ
Pan L
Drive #
Pan R
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
R in
R out
Drive #
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
Level (Output Level)
Adjust the output level.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Level (Output Level)
Adjust the output level.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Chapter 7
Overdrive
Amp Type (Amp Simulator Switch/Type)
Turns the Amp Simulator on/off.
And adjust the type of guitar amp.
Amp Type (Amp Simulator Switch/Type)
SMALL: small amp
Turns the Amp Simulator on/off.
BUILT-IN: single-unit type amp
And adjust the type of guitar amp.
2-STACK: large double stack amp
SMALL: small amp
3-STACK: large triple stack amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Tone
Adjust the sound quality of the Overdrive effect.
Tone
Adjust the sound quality of the Overdrive effect.
Pan (Output Pan) #
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
Pan (Output Pan) #
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
149
Chapter 7. Adding Effects
55: STEREO COMPRESSOR
56: STEREO LIMITER
fig.MFX-55
fig.MFX-56
L in
Compressor
2-Band EQ
L out
L in
Limiter
2-Band EQ
L out
R in
Compressor
2-Band EQ
R out
R in
Limiter
2-Band EQ
R out
Sustain
Thre (Threshold Level)
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
Adjust the volume at which compression will begin.
Attack (Attack Time)
Release (Release Time)
Adjust the attack time of an input sound.
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Post Gain
Ratio (Compression Ratio)
Adjust the output gain.
Adjust the compression ratio.
LowGain (Low Gain)
Gain (Post Gain)
Adjust the low frequency gain.
Adjust the output gain.
Hi Gain (High Gain)
LowGain (Low Gain)
Adjust the high frequency gain.
Adjust the low frequency gain.
Level (Output Level) #
Hi Gain (High Gain)
Adjust the output level.
Adjust the high frequency gain.
Level (Output Level) #
Adjust the output level.
150
Chapter 7. Adding Effects
57: GATE
Level (Output Level)
The Gate effect cuts the reverb’s delay according to the
volume of the sound input to the effects device. Use this in
situations such as when you want to force a decrease in the
decay sound.
Adjust the output level.
fig.MFX-57
L in
Gate
L out
R in
Gate
R out
58: SLICER
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as
a backing phrase. This is especially effective when applied to
sustain-type sounds.
fig.MFX-58
L in
Slicer
L out
R in
Slicer
R out
Key
Selects the input of the sound that acts as the trigger closing
the gate.
When set to SOURCE, the gate is closed by the sound input
to the Multi-effects.
Thre (Key Threshold)
Beat 1-1–4-4
For a single measure containing four quarter notes, this sets
the level of each sixteenth-note when the measure is divided
into sixteenth notes. When set to 0, no sound is output.
Sets the volume level at which the gate begins to close.
Rate #
Determines the cycle for one measure.
Determines whether the sound used as the gate trigger is
output (ON) or not (OFF).
Mode
GATE: Gate Reverb. When the source volume falls below a
certain level, the gate closes, giving the effect of the reverb
sound being cut with a gate reverb.
DUCK: Ducking Reverb. When the source volume gets high
enough, the gate closes, which gives a ducking reverb-type
effect. Stop the reverb sound only when input loud sound so
that prevent the play sound become unclear.
Atk (Attack Time)
Sets the time it takes the gate fully opens after being
triggered.
Hold (Hold Time)
Sets the time it takes the gate starts closing after the instant
the direct sound goes under the threshold level.
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Attack
Sets the speed at which the volume changes between beats.
The higher the value, the faster the volume changes.
Reset #
Selects the input of the sound that acts as the trigger resetting
the one-measure pattern.
Rel (Release Time)
When set to OFF, the pattern is not reset, even if the input is
present.
Sets the time it takes the gate fully closes after passes by the
hold time.
When set to SRC, the pattern is reset by the sound input to
the multi-effects.
Balance (Effect Balance) #
Thre (Reset Threshold)
Sets the volume balance between the direct sound and the
effect sound.
Sets the volume level at which the reset begins.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Mon (Reset Monitor Switch)
Determines whether the sound used as the reset trigger is
output (ON) or not (OFF). This parameter is disabled when
Reset parameter is set to OFF or SRC.
151
Chapter 7
Monitor (Key Monitor)
Chapter 7. Adding Effects
Mode
Anti Phase Low (Anti Phase Low Switch/Level)
Sets the manner in which the volume changes as one beat
progresses to the next.
This turns the Anti-Phase function on and off and sets the
level settings for the Low frequency ranges. When turned on,
the counter-channel of stereo sound is inverted and added to
the signal. Adjusting these levels for certain frequencies
allows you to lend emphasis to specific parts. (This is
effective only for stereo source.)
LEGATO: The change in volume from one beat’s level to the
next remains unaltered. If the level of a following beat is the
same as the one preceding it, then there is no change in
volume.
SLASH: The level is momentarily set to 0 before progressing
to the level for the next beat. This change in volume occurs
even if the level of a following beat is the same as the one
preceding it.
Shuffle #
Sets the timing of volume changes in levels for evennumbered Beats (Beat 1-2/Beat 1-4/Beat 2-2/...). The higher
the value selected, the later the timing with which the beat
progresses.
Low Boost (Low Booster Switch/Level)
Adjust whether Low Booster will be used (ON) or not (OFF).
This emphasizes the bottom to create a heavy bass sound.
And adjust the level. Increasing this value gives you a
heavier low end. (Depending on the Isolator and filter
settings this effect may be hard to distinguish.)
Level (Output Level)
Adjust the output level.
Level (Output Level)
60: 3D CHORUS
Adjust the output level.
This applies a 3D effect to the chorus sound. The chorus
sound will be positioned 90 degrees left and 90 degrees right.
59: ISOLATOR
fig.MFX-60
An equalizer which cuts the volume greatly, allowing you to
add a special effect to the sound by cutting the volume in
varying ranges.
fig.MFX-59
L in
Isolator
Low Boost
L out
R in
Isolator
Low Boost
R out
L
2-Band
EQ
L out
2-Band
EQ
R out
3D Chorus
R
Pre Dly (Pre Delay Time)
Adjust the delay time from the direct sound until when the
chorus sound is heard.
High (Level High) #
Rate (LFO Rate) #
Middle (Level Middle) #
Adjust the modulation frequency of the chorus sound.
Low (Level Low) #
These boost and cut each of the High, Middle, and Low
frequency ranges. At -60 dB, the sound becomes inaudible. 0
dB is equivalent to the input level of the sound.
Anti Phase Mid
(Anti Phase Middle Switch/Level)
This turns the Anti-Phase function on and off and sets the
level settings for the Middle frequency ranges. When turned
on, the counter-channel of stereo sound is inverted and
added to the signal. Adjusting these levels for certain
frequencies allows you to lend emphasis to specific parts.
(This is effective only for stereo source.)
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Depth (LFO Depth)
Adjust the modulation depth of the chorus sound.
Phase
Adjust the spaciousness of the chorus sound.
152
Chapter 7. Adding Effects
Filter Type
61: 3D FLANGER
OFF: A filter will not be used.
This applies a 3D effect to the flanger sound. The flanger
sound will be positioned 90 degrees left and 90 degrees right.
fig.MFX-61
2-Band
EQ
L out
2-Band
EQ
R out
HPF: The frequency region below the Cutoff Freq setting will
be cut.
L
Cutoff (Cutoff Frequency)
R
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Pre Dly (Pre Delay Time)
Out (Output Mode)
Adjust the time delay from the direct sound until the flanger
sound is heard.
Adjust the method that will be used to hear the sound that is
output to the OUTPUT jacks. The optimal 3D effect will be
achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
Lo G (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi G (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
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.
Lev (Output Level)
Adjust the output level.
3D Flanger
Rate (LFO Rate) #
Adjust the modulation speed of the flanger sound.
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Depth (LFO Depth)
Adjust the modulation depth of the flanger sound.
Fbk (Feedback) #
Adjust the proportion (%) of the flanger sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase. Higher settings will
produce a more distinctive sound.
Phase
Adjust the spaciousness of the flanger sound.
Filter (Filter Type)
OFF: No filter is used.
LPF: The frequency region above the Cutoff Freq setting will
be cut.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Cutoff (Cutoff Frequency)
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
153
Chapter 7
LPF: The frequency region above the Cutoff Freq setting will
be cut.
Chapter 7. Adding Effects
Step Rate (Step Rate Switch/Step Rate #)
62: TREMOLO
Determines whether the pitch is changed in a stepped
fashion (ON) or not (OFF).
Tremolo cyclically modulates the volume to add tremolo
effect to the sound.
And adjust the rate at which the pitch will change.
fig.MFX-62a
Step Rate parameter can be set as a note-value of a
specified tempo. In this case, specify the value of the
desired note.
L in
Tremolo
2-Band EQ
L out
R in
Tremolo
2-Band EQ
R out
Mod Wave (Modulation Wave)
TRI: The sound will be modulated like a triangle wave.
When Step Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
SQR: The sound will be modulated like a square wave.
SIN: The sound will be modulated like a sine wave.
SAW1/2: The sound will be modulated like a sawtooth wave.
The teeth in SAW1 and SAW2 point at opposite directions.
fig.MFX-62b
Out (Output Mode)
Adjust the method that will be used to hear the sound that is
output to the OUTPUT jacks. The optimal 3D effect will be
achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
SAW1
SAW2
Rate #
Adjust the frequency (speed) of the change.
Lo G (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
Hi G (High Gain)
When Rate is Set as a Note Value
Adjust the high frequency gain (amount of boost or cut).
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Positive (+) settings will emphasize (boost) the high
frequency range.
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.
Lev (Output Level)
Adjust the output level.
Depth #
Sets the depth to which the effect is applied.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Level (Output Level)
Adjust the output level.
154
Chapter 7. Adding Effects
63: AUTO PAN
The Auto Pan effect cyclically modulates the stereo location
of the sound.
fig.MFX-63
L in
Auto Pan
2-Band EQ
L out
R in
Auto Pan
2-Band EQ
R out
When Using 3D Effects
The following three 3D effects utilize RSS (Roland Sound
Space) technology to create a spaciousness that cannot be
produced by delay, reverb, chorus, etc.
48: 3D DELAY
Mod Wave (Modulation Wave)
TRI: The sound will be modulated like a triangle wave.
SQR: The sound will be modulated like a square wave.
SIN: The sound will be modulated like a sine wave.
SAW1/2: The sound will be modulated like a sawtooth wave.
The teeth in SAW1 and SAW2 point at opposite directions.
60: 3D CHORUS
61: 3D FLANGER
When using these effects, we recommend that you place
your speakers as follows. Also, make sure that the
speakers are at a sufficient distance from the walls on
either side.
fig.RSS
fig.MFX-62b
SAW1
SAW2
30˚
30˚
Rate #
Rate parameter can be set as a note-value of a specified
tempo. In this case, specify the value of the desired note.
When Rate is Set as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Depth #
If the left and right speakers are too far apart, or if there
is too much reverberation, the full 3D effect may not
appear.
Each of these effects has an Out (Output Mode)
parameter. If the sound from the OUTPUT jacks is to be
heard through speakers, set this parameter to SPEAKER.
If the sound is to be heard through headphones, set it to
PHONES. This will ensure that the optimal 3D effect will
be heard. If this parameter is not set correctly, the full 3D
effect may not appear.
Sets the depth to which the effect is applied.
LowGain (Low Gain)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi Gain (High Gain)
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Level (Output Level)
Adjust the output level.
155
Chapter 7
Adjust the frequency (speed) of the change.
Chapter 7. Adding Effects
Making Chorus Settings
You can make the settings for Chorus used by Patches/
Rhythm Sets/Performances.
Setting Procedure
1. After confirming that you are in Patch/Rhythm Set/
Performance mode, select the desired Patch/Rhythm
Set/Performance (p. 29, p. 35, p. 39).
Functions of Parameters
The functions of Chorus parameters are explained according
to the display arrangement.
CHO TYPE
fig.07-12
Type (Chorus Type)
2. Press [EDIT], getting the indicator to light, and then
press the [EFFECTS] function button.
Selects either Chorus or Delay.
3. Press
CHORUS: Chorus is used.
or
to display the desired Edit page.
4. Press
or
to move the cursor to the parameter
you’re going to modify.
5. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to change the parameter value.
6. When you finish making settings, press [EXIT] to return
to the previous PLAY page.
An asterisk * will be displayed at the left of the Patch/
Rhythm Set/Performance group. This indicates that the
Patch/Rhythm Set/Performance settings have been
modified.
OFF: Neither Chorus or Delay is used.
DELAY: Delay is used.
Source (Chorus Source)
Selects the Chorus parameter settings that will be used by the
Performance. If you wish to use the Performance settings,
select PERFORM. If you wish to use the settings of the
Patch/Rhythm Set assigned to one of the Parts, select the
Part number.
If you have selected the Part number here, the Part
number will be displayed in the upper left of the CHO
parameter setting display of Performances.
fig.07-13
If you select another Patch/Rhythm Set/Performance in
the group with an asterisk *, the modified Patch/
Rhythm Set/Performance settings will be lost. To keep
these modified settings, perform the save operation (p.
164).
This parameter is not available when a Patch or Rhythm
Set is being selected.
When Patch or Rhythm Set Settings Are
Selected
When the Patch or Rhythm Set’s Chorus settings are
selected, those settings are shown in each of the
Performance’s CHO settings pages, and the settings can
be then be changed as well. Changes to Patch or Rhythm
Set Chorus parameter settings are lost when another
Patch or Rhythm Set is selected. To keep the modified
settings, save the Patch/Rhythm Set settings (p. 164).
156
Chapter 7. Adding Effects
CHO PRM (CHO Parameter)
● For Type: DELAY
fig.07-14
Delay C (Delay Center)
Sets the parameter for the Chorus selected by the Chorus
type. The parameters that can be set differ according to
whether chorus or delay is used.
When the Type parameter in the CHO TYPE page is set
to 00:OFF, the CHO PRM page will not be displayed.
● For Type: CHORUS
This sets the delay time for the delay located at the center of
the stereo field.
Delay L (Delay Left)
This sets the delay time for the delay located at the left side of
the stereo field.
Delay R (Delay Right)
This sets the delay time for the delay located at the right side
of the stereo field.
Pre Dly (Chorus Pre Delay)
This specifies the delay between when the direct sound is
heard and when chorusing begins.
Delay C, Delay L and Delay R parameters can be set as a
note-value of a specified tempo. In this case, specify the
value of the desired note.
Rate (Chorus Rate)
Depth (Chorus Depth)
This specifies the modulation depth of the chorus effect.
Fbk (Chorus Feedback)
This specifies the amount of the chorus effect’s output to be
returned - fed back - to its input. Higher settings create more
complex chorusing.
Phase
This specifies the spaciousness of the chorus effect.
Filter Type
This specifies the type of filter to be used by the chorus effect.
OFF: No filter is used.
LPF: Frequencies higher than the selected cutoff frequency
value are eliminated.
When Delay C, Delay L and Delay R are Set
as a Note Value
As the specified tempo, you may use either the Patch
Tempo (p. 71) or the tempo clock of the XV-88’s system
(p. 169).
Fbk (Feedback)
This adjusts the amount of delay feedback, controlling the
number of times the delay repeats. Higher values result in
more repeats. With negative (-) values, the phase of the
repeated delays is inverted.
Level C (Delay Center Level)
This sets the volume level of the delay located at the center of
the stereo field.
Level L (Delay Left Level)
HPF: Frequencies lower than the selected cutoff frequency
value are eliminated.
This sets the volume level of the delay located at the left side
of the stereo field.
Cutoff (Cutoff Frequency)
Level R (Delay Right Level)
This sets the cutoff frequency at which the LPF or HPF begin
to work.
This sets the volume level of the delay located at the right
side of the stereo field.
HF Damp
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays—frequencies above
the selected value will be damped. If you do not wish to
damp the high-frequency content of the feedback delays, set
this parameter to BYPASS.
157
Chapter 7
This specifies the modulation frequency of the chorus effect.
Chapter 7. Adding Effects
CHO OUT (Chorus Output)
Making Reverb Settings
fig.07-15
You can make the settings for Reverb used by Patches/
Rhythm Sets/Performances.
Output Assign (Chorus Output Assign)
Selects the pair of OUTPUT jacks to which the Chorus sound
is routed when Chorus Output Select is set to MAIN or
MAIN+REV.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
Setting Procedure
1. After confirming that you are in Patch/Rhythm Set/
Performance mode, select the desired Patch/Rhythm
Set/Performance (p. 29, p. 35, p. 39).
2. Press [EDIT], getting the indicator to light, and then
press the [EFFECTS] function button.
When Chorus Output Select is set to REV, this setting
will have no effect.
3. Press
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
5. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to change the parameter value.
Level (Chorus Level)
Adjusts the volume of the sound that has passed through
chorus.
Select (Chorus Output Select)
or
to display the desired Edit page.
4. Press
or
to move the cursor to the parameter
you’re going to modify.
6. When you finish making settings, press [EXIT] to return
to the previous PLAY page.
An asterisk * will be displayed at the left of the Patch/
Rhythm Set/Performance group. This indicates that the
Patch/Rhythm Set/Performance settings have been
modified.
Specifies how the sound routed through Chorus will be
output.
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to Reverb in mono.
MAIN+REV: Output to the OUTPUT jacks in stereo, and to
Reverb in mono.
When set to MAIN or MAIN+REV, the OUTPUT jack
from which the sound is output is set in Chorus Output
Assign.
158
If you select another Patch/Rhythm Set/Performance in
the group with an asterisk *, the modified Patch/
Rhythm Set/Performance settings will be lost. To keep
these modified settings, perform the save operation (p.
164).
Chapter 7. Adding Effects
The functions of Reverb parameters are explained according
to the display arrangement.
REV TYPE
fig.07-16
Type (Reverb Type)
Selects the type of Reverb.
REV PRM (REV Parameter)
fig.07-18
Sets the parameter for the Reverb selected by the Reverb
type. The parameters that can be set depend on Reverb
you’ve selected.
When the Type parameter in the REV TYPE page is set to
00:OFF, the REV PRM page will not be displayed.
OFF: Reverb is not used.
● For Type: REVERB
REVERB: Normal Reverb
Type (Reverb/Delay Type)
SRV ROOM: This reverb simulates typical room acoustic
reflections.
SRV HALL: This reverb simulates typical concert hall
acoustic reflections.
SRV PLATE: This reverb simulates a reverb plate, a popular
type of artificial reverb unit that derives its sound from the
vibration of a metallic plate. You can also achieve unusual
metallic-sounding reverbs using SRV PLATE.
Source (Reverb Source)
Selects the Reverb parameter settings that will be used by the
Performance. If you wish to use the Performance settings,
select PERFORM. If you wish to use the settings of the
Patch/Rhythm Set assigned to one of the Parts, select the
Part number.
If you have selected the Part number here, the Part
number will be displayed in the upper left of the REV
parameter setting display of Performances.
fig.07-17
This selects a type of reverb or delay.
ROOM1: This is a short reverb with high density
ROOM2: This is a short reverb with low density.
STAGE1: This is a long reverb.
STAGE2: This is a reverb with strong early reflections.
HALL1: This is a very clear-sounding reverb.
HALL2: This is a rich reverb.
DELAY: This is a conventional delay effect.
PAN-DLY: This is a delay effect with echoes that pan left and
right.
Time (Reverb/Delay Time)
When the Type parameter setting is ROOM1–HALL2, this
adjusts the length of reverberation. When the Type
parameter setting is DELAY or PAN-DLY, this adjusts the
delay time.
Higher settings produce a more spacious ambience.
HF Damp (Reverb/Delay HF Damp)
This specifies the frequency above which the high-frequency
content of the reverb sound will be cut, or “damped.”
This parameter is not available when a Patch or Rhythm
Set is being selected.
When Patch or Rhythm Set Settings Are
Selected
When the Patch or Rhythm Set’s Reverb settings are
selected, those settings are shown in each of the
Performance’s REV settings pages, and the settings can
be then be changed as well. Changes to Patch or Rhythm
Set Reverb parameter settings are lost when another
Patch or Rhythm Set is selected. To keep the modified
settings, save the Patch/Rhythm Set settings (p. 164).
Lower values cause a greater range of high frequencies to be
cut, producing a softer reverb sound.
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
Fbk (Delay Feedback)
When the Type parameter setting is DELAY or PAN-DLY,
this adjust the amount of delay feedback, controlling the
number of delay repeats.
Higher values result in more repeats.
159
Chapter 7
Functions of Parameters
Chapter 7. Adding Effects
● For Type: SRV ROOM/SRV HALL/SRV PLATE
REV OUT (REV Output)
Pre Delay (Pre Delay Time)
fig.07-19
This specifies the time between when the direct sound is
heard and the moment at which the reverb is first heard.
Time (Reverb Time)
Output Assign (Reverb Output Assign)
This sets the reverb length.
Specifies how the sound routed through Reverb will be
output.
Size
A: Output to the OUTPUT A (MIX) jacks in stereo.
This adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
B: Output to the OUTPUT B jacks in stereo.
High Cut (High Cut Frequency)
This sets the frequency above which the high-frequency
content of the reverb will be reduced. If you do not want to
reduce the brightness of the reverb, set this parameter to
BYPASS.
Diffusion (Reverb Diffusion)
This adjusts the change in the density of the reverb over time.
The higher the value, the more the density increases with
time. The effect of this setting is most pronounced with long
reverb times.
Density (Reverb Density)
This adjusts the density of reverb. Higher values result in
greater density.
LF Damp (LF Damp Frequency)
This specifies the frequency below which the low-frequency
content of the reverb sound will be reduced, or “damped.”
LF Gain (LF Damp Gain)
This adjusts the amount of damping applied to the frequency
range selected with LF Damp. With a setting of 0, there will
be no reduction of the reverb’s low-frequency content.
HF Damp (HF Damp Frequency)
This specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
HF Gain (HF Damp Gain)
This adjusts the amount of damping applied to the frequency
range selected with HF Damp. With a setting of 0, there will
be no reduction of the reverb’s high-frequency content.
160
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
Level (Reverb Level)
Adjusts the volume of the sound that has passed through
Reverb.
Chapter 7. Adding Effects
Copying Another Effect
Setting (Effects Copy)
This function lets you copy data of any Performance, Patch,
or Rhythm Set into the currently selected Performance,
Patch, or Rhythm Set. This function can help you save time.
1. Make sure that a Patch, Rhythm Set, or Performance is
selected.
2. Press [UTILITY], getting its indicator to start blinking.
3. Press the numeric key [2], then
or
to call up the
PATCH/RHYTHM/PERFORM FX COPY page.
fig.10-14.e
Copy source
Copy source Performance/
Patch/Rhythm Set
(group, number, name)
4. Press the cursor buttons to move the cursor to the
parameter you wish to set.
Chapter 7
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
When the cursor is located at Number, you can also use
[USER], [PRESET], and [A]–[F] to select a group, and
then use the numeric keys to choose the number.
6. Press
to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.10-15.e
Copy type
7. Either by rotating the VALUE dial or by pressing [INC/
+]/[DEC/-], set the value.
ALL: Multi-effects, Chorus, and Reverb settings
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
CHO&REV: Chorus and Reverb settings
8. Press [ENTER] to execute the Copy operation.
9. Press [UTILITY] to return to the previous page.
161
Chapter 8. Saving Sounds
Modifications you make to a sound are temporary, and will
be lost when the power is turned off, or when another
Performance, Patch or Rhythm Set is selected. If you wish to
keep the modified Tones, perform the Save operation.
If the settings of a Performance, Patch, or Rhythm Set have
been modified, a * symbol will appear at the left of the group
in the corresponding PLAY page, indicating that the data has
been modified. After you save the data to the XV-88 (user
memory), the * symbol will disappear.
fig.03-03
About Memory
Patch and Performance settings are stored in what is referred
to as memory. There are three kind of memory: temporary,
rewritable, and non-rewritable.
fig.08-01.e
XV-88
Preset F (PR-F)
System
Preset E (PR-E)
Preset D (PR-D)
Preset C (PR-C)
Preset B (PR-B)
There are three methods for saving Tones.
Saving to Internal Memory → (p. 164)
Saving to an External MIDI Device →
(p. 166)
Preset A (PR-A)
User (USER)
Performance
32 * 1
Preset H (GM2)
Performance
64
Patch
128
Patch
256
Patch
128
Rhythm Set
2
Rhythm Set
9
Rhythm Set
4
Select
Saving a Group of Tones to a Memory
Card → (p. 167)
Select * 2
Select
Write
Temporary Area
Select
EXP D Slot (XP-D)
Select * 3
Data File (.SVD)
EXP C Slot (XP-C)
Performance
64
Load
EXP A Slot (XP-A)
Patch
128
Save
Patch
Rhythm Set
4
Rhythm Set
System
EXP B Slot (XP-B)
Expansion Board
Memory Card
* 1 Only in PR-A and B
* 2 The selected Patches/Rhythm Sets cannot be changed.
* 3 Only the Performances/Patches/Rhythm Sets in the CD-A--H
group can be selected.
162
Chapter 8. Saving Sounds
Temporary Memory
Non-Rewritable Memory
Temporary Area
Preset Memory
This area holds data for the Performance, Patch, and Rhythm
Set you select using the front panel buttons.
Data in Preset memory (Patch: PR-A–F, H, Performance: PRA, B, Rhythm Set: PR-A–F, H) 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 (except PR-H).
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.
Wave Expansion Boards
(optional: SR-JV80/SRX Series)
The XV-88 can be equipped with up to four Wave Expansion
Boards (two SR-JV80 Series, two SRX Series). Wave
Expansion Boards contain Wave data, as well as Patches and
Rhythm Sets that use this Wave data, which can be called
directly into the temporary area and played.
Rewritable Memory
System Memory
Chapter 8
System memory stores system parameter settings that
determine how the XV-88 functions. Any time you make
changes in the system parameters, such changes are
automatically stored in system memory (you don’t need to
perform a save). These settings are non-volatile, so they are
retained even while the power is turned off.
User Memory
User memory is where you normally store the data you need.
User memory is capable of storing the data for 64
Performances, 128 Patches, and four Rhythm Sets.
Memory Card (SmartMedia)
Memory cards are read/write cards that allow you to save
the Patch, Performance, Rhythm Set, System and Favorite
List settings stored in the internal memory as one file (Save),
and return them as needed to the XV-88 (Load). 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 XV-88.
Memory cards are not included. They are available from
your retailer.
163
Chapter 8. Saving Sounds
Saving to Internal Memory
This function writes sound settings you’ve modified into
internal USER group (user memory).
6. If Internal Write Protect (p. 188) 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 3.
Press [ENTER] once again to execute the save operation.
fig.10-03
When you perform the save procedure, the data that
previously occupied the save destination will be lost.
However, the factory setting data can be recovered by
performing the Initialization procedure (p. 185).
1. Make sure the Performance, Patch or Rhythm Set that
you wish to save is selected.
2. Press [UTILITY], getting its indicator to start blinking.
The UTIL 1 page will appear.
fig.10-01
If the UTIL 2 page appears, press
UTIL 1 page.
to display the
3. Use
or
to get “1. WRITE” to start blinking, then
press [ENTER].
The WRITE page for each mode appears.
fig.08-02.e
Internal Write Protect is automatically turned ON when
the XV-88’s power is turned on.
When Changing the Settings for the Patch
or Rhythm Set Assigned to a Part in a
Performance
After changing the settings for the Patch or Rhythm Set
assigned to a Part in a Performance, if you then try to
save the Performance without first saving the changes in
the settings, the following display appears.
fig.08-02a
If you want to keep the Patch or Rhythm Set settings,
press [ENTER] (the PATCH WRITE or RHYTHM WRITE
page is displayed), then after saving the Patch or
Rhythm Set (the PERFORM WRITE page is displayed),
save the Performance.
Writing destination
By holding down [SHIFT] and pressing [UTILITY], you
can move directly to the WRITE page.
4. Use the VALUE dial, [INC/+]/[DEC/-] or numeric keys
to specify the Performance Patch, or Rhythm Set number
of the destination of writing.
When saving the Patch or Rhythm Set, you can check the
save destination Patch or Rhythm Set (the Compare
function p. 164).
5. Press [ENTER].
If Internal Write Protect is turned off, the save operation
will be executed.
164
Comparing with the Save
Destination Patch
(Compare Function)
Before you save a Patch, you can audition the Patch which
currently occupies the save destination to make sure that it is
one you don’t mind overwriting. This can help prevent
important Patches from being accidentally overwritten and
lost.
When saving the Rhythm Set, you can use the Compare
function in the same way.
1. Follow the procedure “Saving to Internal Memory” up to
step 4 to select the save destination.
Chapter 8. Saving Sounds
The PATCH COMPARE page appears, making it
possible to sound the save destination Patch.
fig.08-03.e
Writing destination
3. Play the keyboard to sound the save destination Patch,
then check whether you really want to overwrite it.
The Patch auditioned using the Compare function may
sound slightly different than when it is played normally.
4. If you want to change the save destination, use the
VALUE dial, [INC/+]/[DEC/-] or numeric keys to
specify the save destination Patch number.
5. Press [UNDO/COMPARE] once again to return to the
PATCH WRITE page.
6. Press [ENTER] to execute the save operation.
Registering Favorite Patches/
Rhythm Sets in the Favorite List
You can keep the Patches and Rhythm Sets that you like to
use all in one place by registering them on the Favorite List.
This list allows you immediate access to your favorite
Patches and Rhythm Sets, whether they are stored internally,
on Wave Expansion Boards, or on memory cards. Up to a
total of 64 Patches and Rhythm Sets can be registered on the
Favorite List.
1. Make sure that the Patch or Rhythm Set you wish to
register is selected.
• You can press
number.
or
to search for a registered
• By holding down [SHIFT] and pressing
or
,
you can find the empty number to which no data is
registered. If no empty number can be found, “Favorite
List Full” appears in the display.
4. Continue holding down [SHIFT], and the following
display will appear.
fig.08-05
5. Hold down [SHIFT] and press [ENTER] to execute the
registration.
Registering Data Without Displaying the
Favorite List
You can register data to the Favorite List directly from
the PATCH PLAY and RHYTHM PLAY pages. This
makes it simple to register data, without having to bring
up the FAVORITE LIST page or specify a destination
number for the registration.
1. Make sure that the Patch or Rhythm Set you wish to
save is selected.
2. Continue holding down [SHIFT], and the following
display will appear.
fig.08-06
3. Hold down [SHIFT] and press [ENTER] to execute
the registration and the display will briefly indicate
“COMPLETED.”
Here, the data is registered to the lowest of the
empty numbers to which no data is registered.
2. Hold down [SHIFT] and press [PATCH FINDER].
The FAVORITE LIST page will appear.
fig.08-04
If there is no empty number to which data can be
registered, “Favorite List Full” appears in the
display, and the data cannot be registered.
3. Use the VALUE dial, [INC/+]/[DEC/-] or numeric keys
and specify the save-destination number.
No data is registered at the factory settings.
• By holding down [SHIFT] and pressing [UNDO/
COMPARE], you can cancel the registration of the Patch
and Rhythm Set that is registered to the currently
specified number.
165
Chapter 8
2. Press [UNDO/COMPARE].
Chapter 8. Saving Sounds
Saving to an External MIDI
Device
When Saving a Performance
fig.08-08
You can save data by transmitting it to an external MIDI
device (MIDI sequencer, etc.).
Connect the XV-88 and external MIDI device as shown in the
diagram.
If you have modified the settings of a Patch or Rhythm
Set assigned to a Part, select “+PATCH.”
fig.08-07.e
When Saving a Patch
MIDI IN
fig.08-09
When Saving a Rhythm Set
fig.08-10
MIDI Sequencer
MIDI OUT
“TEMP” indicates the temporary area, meaning that the
currently selected data will be transmitted.
XV-88
1. Press [UTILITY], getting its indicator to start blinking.
4. Get the external MIDI device ready for the reception of
data, then press [ENTER] to initiate the data
transmission.
While the data is being transmitted, the display will
indicate “Executing...” When “COMPLETED” is
displayed, the transmission has been completed.
The UTIL 1 page will appear.
fig.10-01
• To halt during transmission, press [EXIT].
If the UTIL 2 page appears, press
UTIL 1 page.
to display the
• Before data that was saved on an external MIDI device
can be transmitted back to the XV-88, the Device ID
parameter (SYSTEM/MIDI/SYSTEM MIDI) must be set
to the value that it had when the data was saved, and the
Rx Sys.Excl parameter (SYSTEM/MIDI/SYSTEM MIDI)
must be turned ON (p. 171). At the factory settings, the
Device ID parameter is set to 17 and the Rx Sys.Excl
parameter is set to ON.
2. Use
or
to get “4. XFER” to start blinking, then
press [ENTER].
The TRANSFER TO MIDI page will appear.
fig.10-25.e
Data type
Source block
Destination
If the TRANSFER TO USER page appears, press
display the TRANSFER TO MIDI page.
to
3. Press
or
to move the cursor to the item for which
you wish to make settings, and either rotate the VALUE
dial or use [INC/+]/[DEC/-] to set the value as follows.
166
Chapter 8. Saving Sounds
Saving a Group of Tones to
a Memory Card
The Performances, Patches, Rhythm Sets, System and
Favorite List settings in internal memory can be saved as a
single file onto a memory card.
• Data files contain an entire set of parameter settings for
the sound generator. It is not possible to save individual
Patches or Performances to a memory card.
• In order to use a memory card, you must first turn off
the power, and then insert a memory card into the
MEMORY CARD slot as follows.
fig.00-01.e
5. When saving to a new memory card, the data is saved to
File Number: 01, Bank: A. Afterwards, up to File
Number: 08, the next saved file is assigned automatically
to the subsequent Bank B–H.
To overwrite a previously existing file, select the file
number of that file.
The Banks A–H assigned here correspond to the Card
Group Banks A–H, but in this case you can select
Performances, Patches, and Rhythm Sets directly, rather
than having to use the Load operation to read files on
memory cards into the XV-88 (p. 190).
To change and delete assignments to the Banks A–H, use
the CARD INFO page (p. 190).
6. When necessary, change the file name. You can assign
the file a name of up to eight characters.
For details on assigning names, refer to “Assigning a
Name” (p. 28).
Insert with the surface with the gold connector facing up
Before a memory card can be used, it must be formatted
(p. 189).
1. Make sure that the write protect seal has been removed
from the memory card being inserted into the MEMORY
CARD slot.
You cannot save data to a memory card to which the
write protect seal is still affixed.
The number of files that can be saved on a card will
depend on the memory capacity of the card itself.
If you attempt to save to a memory card that still has the
write protect seal affixed to it, the message “Memory
Card Write Protected” appears in the display. First turn
off the XV-88’s power, then after peeling off the write
protect seal, try saving the data once more.
fig.err10
2. Press [UTILITY], getting its indicator to start blinking.
The UTIL 1 page will appear.
3. Press
to call up the UTIL 2 page.
fig.10-02
Load data saved to memory cards back to the XV-88 in
the LOAD page (p. 190) or the TRANSFER TO USER
page (p. 186).
4. Press
or
to get “3. SAVE” to start blinking, then
press [ENTER].
The SAVE page will appear.
fig.08-11.e
File name
File number
Bank
167
Chapter 8
7. Press [ENTER] to execute the save operation.
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
Functions related to the XV-88’s overall operating
environment, including the display contrast, tuning, the way
MIDI messages are received, and so on, are called System
functions. This section explains how to make settings for the
System functions and describes the functions of the different
System parameters.
Functions of System
Parameters
This section explains what the different System parameters
do, and also how these parameters are organized.
fig.09-01
How to Make the System
Function Settings
1. Press [SYSTEM] to make the indicator light.
The [EDIT] indicator lights simultaneously, and the XV88 is put into System mode.
2. Use the function buttons to select a display group.
The indicator for the button of the selected display group
begins blinking.
Display Screen Contrast and
Clock Settings (SETUP)
SYSTEM SETUP
fig.09-02
fig.09-01
fig.09-03
fig.09-04
3. Use
or
to select a display page.
4. Use
or
to move the cursor to the parameter you
wish to modify.
5. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to modify the parameter value.
If you’ve made a mistake in setting the parameter value,
press [UNDO/COMPARE] to restore the value to what
it was.
LCD (LCD Contrast)
Adjusts the contrast (brightness) of the display. Increasing
this value will increase the contrast of the display.
Power Up Mode
Specifies the condition that the XV-88 will be in when the
power is turned on.
LAST-SET: Reinstates the Patch and Performance selected at
the time the XV-88 was last turned off.
6. Repeat steps 2–5 to make the settings for the System
function.
DEFAULT: The XV-88 will be ready to play Patch
“USER:001.”
7. When you finish making settings, press [EXIT] or
[SYSTEM] to return to the previous page.
Master Level
Adjusts the volume of the entire XV-88.
Clock Source (System Clock Source)
System function settings are saved the instant a change is
made in any of the parameter values. Therefore, no
changes to the settings are lost, even when the power is
turned off, and no other save procedures are necessary.
The LFO cycle, Multi-effects changes, Phrase Loop, and Tone
Delay time can be synchronized to a clock (tempo). When
synchronizing these to the System’s Tempo Clock, either
synchronize to the internal clock (INT) or to an external clock
(MIDI).
For details on using clock (tempo), refer to (p. 200).
168
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
System Tempo sets the tempo value when the System Tempo
Clock is set to the internal clock (INT).
When Clock Source (System Clock Source) is set to MIDI,
the tempo will synchronize to the clock messages
received from an external MIDI device, so this setting is
disabled.
Mix/Parallel
Specifies how the sound of the entire XV-88 will be output.
MIX: Set this to have the collective output of all sounds
output from the OUTPUT A (MIX) jacks. When you want to
check the final overall sound being output, set to MIX.
Sounds which are set in the respective Output Assign to
be output from the INDIVIDUAL 3 jack are output from
the left OUTPUT A (MIX) jack; sounds which are set to
be output from the INDIVIDUAL 4 jack are output from
the right OUTPUT A (MIX) jack.
Sounds output from the PHONES jack are the same as
those output from the OUTPUT A (MIX) jacks.
Therefore, any sounds set with Output Assign to be
output from the OUTPUT B jacks is not output from the
PHONES jack. Be sure to have any sound you want to
hear through the headphones set to MIX.
PARALLEL: Output according to each Output Assign
settings.
Patch Remain (Patch Remain Switch)
Specifies whether currently sounding notes will continue
sounding when another Patch or Rhythm Set is selected
(ON), or not (OFF).
In addition, when ON is selected, the Volume and Pan data,
and the Key Mode and other settings received via MIDI (CC
5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLY ON),
and the sound character and volume changes created using
the Palette Sliders are passed on.
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.
MIDI Settings (MIDI)
These parameters determine the MIDI channel settings, and
how exclusive messages are handled.
The first display of the MIDI group will be different
depending on the mode you were in when you pressed
[SYSTEM] (Performance mode, Patch/Rhythm Set
mode, or GM mode).
PERFORM MIDI (Performance MIDI)
fig.09-05
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)
Performance Control Channel selects the MIDI receive
channel used during switching of Performances when MIDI
messages (Program Change/Bank Select) are sent from an
external MIDI device. Set this to OFF if Performances are not
to be switched from an external MIDI device.
For more details, refer to “Selecting XV-88 Sounds from an
External MIDI Device” (p. 206).
If the Control Channel parameter settings overlap with a
Part’s MIDI receive channel, switching of the
Performance is given priority.
Local (Local Switch)
The Local Switch determines whether the internal sound
generator is disconnected (OFF) from the keyboard controller
section (keyboard, pitch bend/modulation lever, sliders, D
Beam controller, pedal, and so on); or not disconnected (ON).
Normally this is left ON, but if you wish to use the XV-88’s
keyboard and controllers to control only external sound
generators, set it to OFF.
When a Layer Performance is selected, if you want the
keyboard controller section to be disconnected only from
a specific Part or Parts, use the Local parameter (ZONE/
MIDI/MIDI) (p. 60).
169
Chapter 9
System Tempo
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
Remote (Remote Keyboard Switch)
GM MIDI
Set this parameter ON when you want to use an external
MIDI keyboard instead of the XV-88’s keyboard. In this case,
the MIDI transmit channel of the external MIDI keyboard can
be set to any channel. Normally you will leave this parameter
OFF.
fig.09-07
Set this parameter ON if you want performance using
the Arpeggiator to be controlled by an external MIDI
device (p. 44).
PATCH MIDI
fig.09-06
Make MIDI settings for Patch/Rhythm Set mode. To make
these settings, press [SYSTEM] when you are in Patch/
Rhythm Set mode, and then press [MIDI] located in the row
of function buttons.
Rx Ch (Patch/Rhythm Set Receive Channel)
Specifies the receive channel of MIDI messages in Patch/
Rhythm Set mode.
Tx Ch (Patch/Rhythm Set Transmit Channel)
Specifies the transmit channel of MIDI messages in Patch/
Rhythm Set 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
Receive Channel, set this parameter to Rx Ch.
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 Switch
The Local Switch determines whether the internal sound
generator is disconnected (OFF) from the keyboard controller
section (keyboard, pitch bend/modulation lever, sliders, D
Beam controller, pedal, and so on); or not disconnected (ON).
Normally this is left ON, but if you wish to use the XV-88’s
keyboard and controllers to control only external sound
generators, set it to OFF.
Remote (Remote Keyboard Switch)
Set this parameter ON when you want to use an external
MIDI keyboard instead of the XV-88’s keyboard. In this case,
the MIDI 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 (p. 44).
RECEIVE MIDI
fig.09-08
Local (Local Switch)
The Local Switch determines whether the internal sound
generator is disconnected (OFF) from the keyboard controller
section (keyboard, pitch bend/modulation lever, sliders, D
Beam controller, pedal, and so on); or not disconnected (ON).
Normally this is left ON, but if you wish to use the XV-88’s
keyboard and controllers to control only external sound
generators, set it to OFF.
Select whether or not to receive MIDI messages to select
Performances, Patches, or Rhythm Sets.
Remote (Remote Keyboard Switch)
Bank Select (Receive Bank Select Switch)
Set this parameter ON when you want to use an external
MIDI keyboard instead of the XV-88’s keyboard. In this case,
the MIDI transmit channel of the external MIDI keyboard can
be set to any channel. Normally you will leave this parameter
OFF.
Specifies whether Bank Select messages will be received
(ON) or not (OFF).
Set this parameter ON if you want performance using
the Arpeggiator to be controlled by an external MIDI
device (p. 44).
170
Program Change
(Receive Program Change Switch)
Specifies whether Program Change messages will be
received (ON) or not (OFF).
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
TRANSMIT MIDI
Tx Edit (Transmit Edit Data Switch)
fig.09-09
When Performance, Patch or Rhythm Set settings are
modified, specify whether the modified settings will be
transmitted as system exclusive messages (ON) or not (OFF).
Specify how MIDI messages will be transmitted.
Program (Transmit Program Change Switch)
Specifies whether Program Change messages will be
transmitted (ON) or not (OFF).
Bank Sel (Transmit Bank Select Switch)
Keyboard and Controllers
Settings (CONTROL)
KEYBOARD
fig.09-12
Specifies whether Bank Select messages will be transmitted
(ON) or not (OFF).
Active Sensing
(Transmit Active Sensing Switch)
Specifies whether Active Sensing messages will be
transmitted (ON) or not (OFF).
SYSTEM MIDI
fig.09-10
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.
fig.09-11
Rx GM On
(Receive General MIDI System On Switch)
• To change transpose amount on a PLAY display, hold
down [TRANSPOSE] and press [-OCT] or [+OCT].
Sens (Keyboard Sensitivity)
Specifies whether General MIDI System On messages will be
received (ON) or not (OFF).
Adjusts the keyboard’s touch.
Rx GM2 On
(Receive General MIDI 2 System On Switch)
MEDIUM: Standard
Specifies whether General MIDI 2 System On messages will
be received (ON) or not (OFF).
FULL: Full concert ground piano simulation
Rx GS Reset (Receive GS Reset Switch)
Specifies whether GS Reset messages will be received (ON)
or not (OFF).
Device ID (Device ID Number)
When you want to transmit or receive System Exclusive
messages, set this parameter to match the Device ID number
of the other MIDI device.
Rx Sys.Excl (Receive System Exclusive Switch)
Chapter 9
Specify how Exclusive messages will be transmitted and
received.
• When transposing the keyboard range on a PLAY
display, press [TRANSPOSE] and indicator lights.
LIGHT: Light weight synthesizer keyboard like
HEAVY: Acoustic piano simulation
Vel (Keyboard Velocity)
Specifies the velocity value that will be transmitted when
you play the keyboard. If you want 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 (1–127).
Aft (Aftertouch Sensitivity)
Specifies the Aftertouch sensitivity. Higher values will allow
Aftertouch to be applied more easily. Normally you should
leave this set to 100.
Specifies whether System Exclusive messages will be
received (ON) or not (OFF).
171
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
HOLD PEDAL
fig.09-13
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).
Sets the function of the pedal connected to the HOLD
PEDAL jack.
Continuous (Continuous Switch)
This setting determines whether the HOLD PEDAL jack will
provide support for half-pedaling (ON), or not (OFF). When
this is set to support use of half-pedaling techniques, you can
then connect an optional expression pedal (EV-5, etc.), and
employ pedal work to achieve even finer control in
performances in which piano tones are used.
Output (Pedal Output)
Selects the sound generator(s) (the internal sound generator
and/or external sound generators connected to MIDI OUT
connector) to be controlled by the pedal.
START/STOP: Starts/Stops the external sequencer.
TAP TEMPO: Tap tempo (a tempo specified by the interval
at which you press the pedal).
PROG UP: Every press of the pedal selects the next
Performance number, Patch number, or Rhythm Set number.
PROG DOWN: Every press of the pedal selects the previous
Performance number, Patch number, or Rhythm Set number.
Output (Pedal 1, 2 Output)
Selects the sound generator(s) (the internal sound generator
and/or external sound generators connected to MIDI OUT
connector) which will be controlled by the pedals.
OFF: Neither will be controlled.
INT: Only the internal sound generator will be controlled.
OFF: Neither will be controlled.
MIDI: Only external sound generators will be controlled.
INT: Only the internal sound generator will be controlled.
BOTH: Both the internal sound generator and external sound
generators will be controlled.
MIDI: Only external sound generators will be controlled.
BOTH: Both the internal sound generator and external sound
generators will be controlled.
Polarity (Pedal Polarity)
Select the polarity of the 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.
Polarity (Pedal 1, 2 Polarity)
Selects the polarity of the 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.
C1–C4 ASSIGN (C1–C4 Slider Assign)
fig.09-14a
CONTROL PEDAL 1, 2
fig.09-14
These parameters set the functions controlled by the C1–C4
sliders.
This specifies the function of each pedal connected to the
CTL 1, CTL 2 PEDAL jacks.
Assign (C1–C4 Slider Assign)
Assign (Pedal 1, 2 Assign)
CC01–31, 33–95: Controller numbers 1–31, 33–95
Specifies the function controlled by each slider.
Specifies the function controlled by the pedal.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more detailed information about Control Change
messages, please refer to “MIDI Implementation” (p.
270).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
172
For more detailed information about Control Change
messages, please refer to “MIDI Implementation” (p.
270).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
C1–C4 Output (C1–C4 Slider Output)
Selects the sound generator(s) (the internal sound generator
and/or external sound generators connected to MIDI OUT
connector) to be controlled by each slider.
Adjusting Tuning (TUNE)
Parameters in this group adjust the tuning of the internal
sound generator, or change the temperament of the
keyboard.
OFF: Neither will be controlled.
INT: Only the internal sound generator will be controlled.
SYSTEM TUNE
MIDI: Only external sound generators will be controlled.
fig.09-16
BOTH: Both the internal sound generator and external sound
generators will be controlled.
SYS CTRL ASSIGN 1, 2
(System Control Assign 1, 2)
Master (Master Tune)
Adjusts the overall tuning of the XV-88. The display shows
the frequency of the A4 note (center A).
fig.09-15
Key Shift (Master Key Shift)
Shifts the overall pitch of the XV-88 in semitone steps.
Normally, the Matrix Controller is used for making Patch
settings, and the Multi-effects Controller for making settings
to Performances, Patches, and Rhythm Sets. However, if the
MIDI messages used as Matrix Controllers or Multi-effects
Controllers need not be changed for each individual
Performance, Patch, or Rhythm Set, or if you want to use
specific MIDI messages for Matrix Controllers or Multieffects Controllers, make the settings for the System
Controller. In other words, you could call the System
Controllers global Matrix Controllers/Multi-effects
Controllers for the entire XV-88.
You can use up to four System Controllers.
Control 1–4 (System Control Assign 1–4)
Scale Tune (Scale Tune Switch)
Turn this ON when you wish to use a tuning scale other than
equal temperament.
One set of Scale Tune settings can be created in Patch mode.
In Performance mode and GM mode, each Part can have its
own Scale Tune settings.
The XV-88 allows you to play the keyboard using
temperaments other than equal temperament. The pitch is
specified in one-cent units relative to the equal tempered pitch.
• One-cent is 1/100th of a semitone.
• The selected scale applies to MIDI messages received
from an external MIDI device.
The SCALE page, in which the tuning settings are made,
varies depending on the mode selected before [SYSTEM]
is pressed.
System Control Assign selects the MIDI message used as the
System Controller.
PATCH SCALE
CC01–31, 33–95: Controller numbers 1–31, 33–95
fig.09-17
For more detailed information about Control Change
messages, please refer to “MIDI Implementation” (p.
270).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
fig.09-18
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 page.
In Patch mode there are separate screens for the white keys
and black keys, and the settings for one octave (C–B) will
determine the tuning for all octaves.
173
Chapter 9
This function, which departs from previously used methods,
and instead allows you to use MIDI messages to change Tone
settings in realtime, is called the Matrix Controller (p. 78).
Similarly, the function allowing you to use MIDI messages to
change Multi-effects settings in realtime is called the Multieffects Controller (p. 115).
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
KEY SCALE
fig.09-19
Arpeggiator Settings (ARPEGGIO)
This is where the settings used in performing arpeggios in
Patch/Rhythm Set/GM mode are made.
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 page.
In Performance mode/GM mode, make the scale settings for
each key in each Part. To make settings for another Part, use
When arpeggios are performed in Performance mode,
the arpeggio settings are made in Zone mode (p. 61).
ARPEGGIO
fig.04-11
the cursor buttons to select the desired Part.
fig.04-12
Equal Temperament
This scale divides an octave into 12 equal parts using the
tuning system that is most widely used in Western
music. The XV-88 employs equal temperament when the
Scale Tune Switch is set to OFF.
fig.04-13
fig.09-20
Just Temperament (Tonic of C)
With this tuning, the three fundamental chords sound
richer compared to equal temperament. This effect only
applies to one key, and transposition can produce lesspleasing results.
Style (Arpeggio Style)
Specifies the basic way in which the arpeggio will be played.
Select one of the following 45 types.
1/4: The rhythm will be divided in quarter notes.
Arabian Scale
1/6: The rhythm will be divided in quarter note triplets.
In this scale, E and B are a quarter note lower and C#, F#
and G# are a quarter-note higher compared to equal
temperament. The intervals between G and B, C and E, F
and G#, Bb and C#, and Eb and F# have a natural third—
the interval between a major third and a minor third. On
the XV-88, you can use Arabian temperament in the
three keys of G, C and F.
1/8: The rhythm will be divided in eighth notes.
SEQUENCE A–D: Styles for sequenced patterns.
Note
name
C
C#
D
Eb
E
F
F#
G
G#
A
Bb
B
ECHO: An echo-like style.
Equal
Just Temperament Arabian Scale
temperament
(tonic C)
0
0
-6
0
-8
+45
0
+4
-2
0
+16
-12
0
-14
-51
0
-2
-8
0
-10
+43
0
+2
-4
0
+14
+47
0
-16
0
0
+14
-10
0
-12
-49
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.
SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS:
Styles appropriate for bass playing.
RHYTHM GTR 1–5: Styles for rhythm guitar. Styles 2–5 are
effective when 3–4 notes are held.
3 FINGER: Three-finger guitar style.
STRUM GTR UP, STRUM GTR DOWN, STRUM GTR
UP&DW: Guitar chords strummed both up and down.
Effective when five or six notes are held.
PIANO BACKING, CLAVI CHORD: Styles for keyboard
instrument backing.
WALTZ, SWING WALTZ: Styles in triple meter.
REGGAE: A reggae-type style. Effective when three notes
are held.
PERCUSSION: A style suitable for percussive instrument.
HARP: A style simulating harp playing.
174
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
BOUND BALL: A style suggestive of a bouncing ball.
SINGLE RANDOM: Notes you press will be sounded
individually, in random order.
RANDOM: A style in which the notes sound in random
order.
DUAL UP: Notes you press will be sounded two at a time,
beginning from low to high.
BOSSA NOVA: A style with bossanova rhythm guitar. Hold
3–4 notes for best results. You can increase the tempo and use
this as a Samba.
DUAL DOWN: Notes you press will be sounded two at a
time, beginning from high to low.
SALSA: Typical salsa style. Hold 3–4 notes for best results.
MAMBO: Typical mambo style. Hold 3–4 notes for best
results.
LATIN PERCUSSION: A rhythm style with Latin percussion
instruments such as Clave, Cowbell, Clap, Bongo, Conga,
Agogo etc.
DUAL UP&DOWN: Notes you press will be sounded two at a
time, from low to high, and then back down from high to
low.
DUAL RANDOM: Notes you press will be sounded two at a
time, in random order.
TRIPLE UP: Notes you press will sound three at a time, from
low to high.
SAMBA: Typical samba style. Use for rhythm patterns or
bass lines.
TRIPLE DOWN: Notes you press will sound three at a time,
from high to low.
TANGO: Typical tango rhythm style. Hold the root, 3rd and
5th of a triad etc. for best results.
time, from low to high and then back down from high to low.
HOUSE: A style for house piano backing. Hold 3–4 notes for
best results.
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. 268).
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 1 octave
lower.
Motif
Sets the order in which notes of the chord will sound.
TRIPLE UP&DOWN: Notes you press will sound three at a
TRIPLE RANDOM: Notes you press will sound three at a
time, in random order.
NOTE ORDER: Notes you press will be sounded in the order
in which you pressed them. By pressing the notes in the
appropriate order you can produce melody lines. Up to 128
notes will be remembered.
GLISSANDO: Each chromatic step between the highest and
lowest notes you press will sound in succession, repeating
upward and downward. Press only the lowest and the
highest notes.
CHORD: All notes you press will sound simultaneously.
BASS+CHORD 1–5: The lowest of the notes you play will
sound, and the remaining notes will sound as a chord.
BASS+UP 1–8: The lowest of the notes you play will sound,
and the remaining notes will be arpeggiated.
BASS+RND 1–3: The lowest of the notes you play will
sound, and the remaining notes will sound in random order.
TOP+UP 1–6: The highest of the notes you play will sound,
and the remaining notes will be arpeggiated.
BASS+UP+TOP: The highest and the lowest of the notes you
play will sound, and the remaining notes will be arpeggiated.
Some settings will not be available depending on the
Style parameter setting. For details on the possible
values, refer to “Arpeggio Style List” (p. 268).
SINGLE UP: Notes you press will be sounded individually,
beginning from low to high.
SINGLE DOWN: Notes you press will be sounded
individually, from high to low.
SINGLE UP&DOWN: Notes you press will be sounded
individually, from low to high, and then back down from
high to low.
175
Chapter 9
SHAMISEN: The playing style of a Shamisen.
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
Beat Pattern
Tempo (Arpeggio Tempo)
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).
Sets the speed of the arpeggio.
Some settings will not be available depending on the
Style parameter setting. For details on the possible
values, refer to “Arpeggio Style List” (p. 268).
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,
REGGAE 1, 2, REFRAIN 1, 2, PERC 1–4, WALKBS, HARP,
BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO
1–2, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO
1–4, HOUSE 1, 2
If “PORTA-A 01–11, PORTA-B 01–15” is selected as the
Beat Pattern, the Time parameter (PATCH/CONTROL/
PATCH PORTAMNT) will control the speed of
portamento (p. 76). Adjust the portamento time as
appropriate for the playback tempo. (It is not necessary
to turn portamento switch on.)
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.
Setting the D Beam Controller
(D BEAM)
This is where the settings are made for applying effects to the
sound by moving your hand over the D Beam controller in
Patch/Rhythm Set/GM mode.
When using the D Beam controller in Performance
mode, the settings are made in Zone mode (p. 63).
D BEAM CONTROL
fig.04-16
Accent Rate
Assign (D Beam Assign)
Modifies the strength of accents and the length of the notes to
adjust the “groove” feel of the arpeggio. A 100% setting will
result in the most pronounced “groove” feel.
Specifies the function controlled by the D Beam controller.
Shuffle Rate
This setting lets you modify the note timing to create shuffle
rhythms.
With a setting of 50%, the notes will sound at equal spacing.
As this value is increased, the notes will become more
“bouncy,” as if they were dotted notes.
fig.04-15
Shuffle Rate = 50%
Shuffle Rate = 90%
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages,
please refer to “MIDI Implementation” (p. 270).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
OCT DOWN: Lowers the key range in octave steps (up to 3
octaves lower).
START/STOP: Starts/Stops the external sequencer.
50
50
50
50
90
10
90
10
If the Beat Pattern setting is 1/4, shuffle will not be
applied even if you increase the Shuffle Rate setting.
Key Velocity
Specifies the loudness of the notes that you play.
If you want the velocity value to change according to how
strongly you played each note, set this to REAL. If you want
each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired
value (1–127).
176
TAP TEMPO: Tap tempo (a tempo specified by the interval
at which you move your hand over the D Beam controller).
Output (D Beam Output)
Selects the sound generator(s) (the internal sound generator
and/or external sound generators connected to MIDI OUT
connector) to be controlled by the D Beam controller.
OFF: Neither will be controlled.
INT: Only the internal sound generator will be controlled.
MIDI: Only external sound generators will be controlled.
BOTH: Both the internal sound generator and external sound
generators will be controlled.
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
Polarity (D Beam Polarity)
Switches the polarity of the D Beam controller.
With a setting of REVERSE, the direction of control for the D
Beam controller will be inverted.
D BEAM RANGE
Phrase Preview Settings
(PREVIEW)
Specifies how the phrase will play when you press [PHRASE
PREVIEW].
SYSTEM PREVIEW
fig.04-17
fig.09-21
Lower (D Beam Range Lower)
Specifies the lower limit of the range of the D Beam
controller. Values below this setting will not be output.
Upper (D Beam Range Upper)
Specifies the upper limit of the range of the D Beam
controller. Values above this setting will not be output.
It is not possible to set the lower limit value above the
upper limit, nor can you set the upper limit value below
the lower limit.
D BEAM SENS
Preview 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 associated with the Patch’s type/
category is played.
PREVIEW KEY
fig.09-22
Note 1–4 (Preview Note Set 1–4)
fig.04-18
Specify the pitch (C-1–G9) of the four notes that will sound
when the Preview Mode parameter is set to either SINGLE or
CHORD.
This sets the D Beam Controller’s sensitivity. The higher the
value set, the more readily the D Beam Controller goes into
effect. Ordinarily, this is set to 5.
If PHRASE is selected for the Preview Mode parameter,
these settings will have no effect.
PREVIEW VELOCITY
fig.09-23
Note 1–4 (Preview Velocity)
Specify the velocity (0–127) of the four notes that will sound
when the Preview Mode parameter is set to either SINGLE or
CHORD.
If PHRASE is selected for the Preview Mode parameter,
these settings will have no effect.
177
Chapter 9
D Beam Sensitivity
Chapter 9. Getting More Familiar with the XV-88 (System Functions)
Checking the Installation of the
Wave Expansion Board and
Controlling External MIDI Devices
(INFO)
INFO EXP
(Information Expansion Board)
fig.09-24
TRANSMIT SONG SEL
(Transmit Song Select)
fig.09-27
This transmits a MIDI message (Song Select) to the external
MIDI device in order to change the song.
Song Number (Transmit Song Select Number)
Selects the Song Select number you wish to transmit.
The display shows the names of Wave Expansion Boards
installed in slots EXP A–D.
Slots without any boards installed are shown as “----------------.”
BATTERY CHECK
fig.09-25
The XV-88 contains a battery that retains the data in its
internal memory when the unit’s power is turned off. This
display allows you to check the battery voltage. If the display
says “OK,” there is sufficient voltage. If the display says
“LOW,” the battery’s voltage is getting low. Contact the
nearest Roland Service Center as soon as possible, and have
the battery replaced.
TRANSMIT P.C
(Transmit Program Change)
fig.09-26
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 [ENTER].
Ch (Transmit MIDI Channel)
Selects the channel on which the MIDI message will be
transmitted.
P.C# (Transmit Program Change Number)
Selects the Program Change number you wish to transmit.
Bank Select MSB/LSB
(Transmit Bank Select MSB/LSB)
Selects the Bank Select number MSB (Controller number 0)
and LSB (Controller number 32) you want to transmit.
Information on the XV-88 Tone Group/Bank
corresponding to the Bank Select message sent is
displayed in parentheses.
178
Holding down [SHIFT] while pressing
(or
) in
a PLAY page selects the song before (or after) the Song
Number set with the Song Number parameter.
Chapter 10. Memory Settings (Utility Mode)
The Utility mode allows you to store Performance/Patch/
Rhythm Set settings (Write), and transmit data (Data
Transfer), as well as other global XV-88 memory settings.
UTIL 2 (Utility 2)
About Utility Mode
CARD
The XV-88 goes into Utility mode if you press [UTILITY].
The indicator will blink.
Utility mode offers nine functions categorized into two
groups—UTIL 1 and UTIL 2.
UTIL 1 (Utility 1)
fig.10-01
fig.10-02
Here you can make settings related to memory cards. → (p.
188)
LOAD
This function loads data from memory card into the XV-88’s
memory. → (p. 190)
SAVE
This function saves data to memory card. → (p. 190)
FACTORY RESET
WRITE
This function writes Performance, Patch or Rhythm Set
settings you’ve modified into internal memory (user
memory). → (p. 180)
COPY
This function copies data from a Performance, Patch or
Rhythm Set into the current Performance, Patch or Rhythm
Set. → (p. 182)
INIT (Initialize)
This resets parameters of the current Performance, Patch or
Rhythm Set to default factory settings. → (p. 185)
This function resets all the XV-88’s settings to their factory
default values. → (p. 191)
Basic Procedure in Utility
Mode
In order to use a memory card, you must first turn off
the power, and then insert a memory card into the
MEMORY CARD slot as follows.
fig.00-01.e
XFER (Data Transfer)
PROTECT (User Memory Protect)
This function prevents internal memory (user memory) from
being accidentally rewritten. → (p. 188)
Insert with the surface with the gold connector facing up
1. Press [UTILITY], getting its indicator to start blinking.
The XV-88 will switch to Utility mode.
The data handled in the Save, Copy, and Initialize
procedures differs depending on the sound generator
mode. Press [UTILITY] from within the desired sound
generator mode.
2. Press
or
to select the group (UTIL 1, UTIL 2)
containing the function you want.
179
Chapter 10
This function transmits Performance, Patch, Rhythm Set or
System settings to an external MIDI device. → (p. 185)
Chapter 10. Memory Settings (Utility Mode)
3. Use
or
to select the desired function (the function
name will blink), and press [ENTER].
The display for the desired function will appear.
• You can also access the desired function page 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 page will appear. Here you can once again
select the desired function.
4. When parameters in the different function page are to be
set, you can use the VALUE dial, [INC/+]/[DEC/-], or
the numeric keys to make the settings.
To cancel the operation, press [EXIT].
Storing Sound Data in User
Memory (WRITE)
If you turn the power off or select another Performance,
Patch, or Rhythm Set after you have modified a Performance,
Patch, or Rhythm Set, the changes you have made will be
lost. If you wish to keep the data, store it into internal
memory (user memory).
Internal Write Protect
The Internal Write Protect setting is provided to help
prevent the accidental overwriting of data in the user
memory. When saving new data to the user memory,
you must turn off Internal Write Protect. If you attempt
to save data when it is on, the following display will
appear.
fig.10-03
5. Press [ENTER] to execute the function.
When the operation is completed, the display will briefly
indicate “COMPLETED.”
When certain functions are executed, you are then
returned to the original mode page.
6. To return to the UTIL 1 or UTIL 2 page, press [EXIT]. To
return to the display of the previous mode, press
[UTILITY] to make the indicator go dark.
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 the user memory.
Once you disable Internal Write Protect, it will remain
disabled until the XV-88’s power is turned off. When the
power is turned on once again, it will be reset to ON.
Saving a Performance
The settings of the current Performance will be written into
user memory. Press [UTILITY] in Performance mode, and
perform Write operation.
fig.10-04.e
Writing destination Performance (group, number, name)
By holding down [SHIFT] and pressing [UTILITY], you
can move directly to the PERFORM WRITE page.
For more detailed information and instructions for this
procedure, refer to “Saving to Internal Memory” (p.
164).
180
Chapter 10. Memory Settings (Utility Mode)
Saving a Patch
Saving a Rhythm Set
The settings of the current Patch will be written into user
memory. Press [UTILITY] in Patch mode, then perform Write
operation.
The settings of the current Rhythm Set will be written into
user memory. Press [UTILITY] in Rhythm Set mode, then
perform Write operation.
fig.10-05.e
fig.10-07.e
Writing destination Rhythm Set (group, number, name)
By holding down [SHIFT] and pressing [UTILITY], you
can move directly to the PATCH WRITE page.
By holding down [SHIFT] and pressing [UTILITY], you
can move directly to the RHYTHM WRITE page.
For more detailed information and instructions for this
procedure, refer to “Saving to Internal Memory” (p.
164).
For more detailed information and instructions for this
procedure, refer to “Saving to Internal Memory” (p.
164).
The Compare Function
The Compare Function
The Compare function allows you to play the Patch
currently stored in the selected memory location so that
you can make sure you really want to overwrite it. To
play the Patch of the writing destination, press [UNDO/
COMPARE] to access the PATCH COMPARE page. You
can select the writing destination Patch in this display as
well. After selecting the desired Patch, return to the
previous page by pressing [UNDO/COMPARE] or
[EXIT].
The Compare function allows you to play the Rhythm
Set currently stored in the selected memory location so
that you can make sure you really want to overwrite it.
To play the Rhythm Set of the writing destination, press
[UNDO/COMPARE] to access the RHYTHM
COMPARE page. You can select the writing destination
Rhythm Set in this display as well. After selecting the
Rhythm Set, return to the previous page by pressing
[UNDO/COMPARE] or [EXIT].
fig.10-06.e
fig.10-08.e
Writing destination Patch (group, number, name)
The Patch auditioned using the Compare function
may sound slightly different than when it is played
normally.
Writing destination Rhythm Set (group, number, name)
The Rhythm Set auditioned using the Compare
function may sound slightly different than when it is
played normally.
181
Chapter 10
Writing destination Patch (group, number, name)
Chapter 10. Memory Settings (Utility Mode)
Copying Sound Generator
Settings (COPY)
Performance Effects Copy
This function lets you copy data of any Performance, Patch,
or Rhythm Set into the current Performance, Patch, or
Rhythm Set. You can use this feature to make the editing
process faster and easier.
fig.10-10.e
Copying a Performance
To copy the settings of a Performance, press [UTILITY] in
Performance mode, then perform Copy operation.
You can copy the effect settings from any Performance, Patch
or Rhythm Set into the currently selected Performance.
Copy source
Copy source Performance/
Patch/Rhythm Set
(group, number, name)
Press
to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.10-11.e
Performance Part Copy
The Part settings of a Performance will be copied to the Part
you specify of the current Performance.
fig.10-09.e
Copy type
ALL: Multi-effects, Chorus, and Reverb settings
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
Copy source Performance
(group, number)
Copy source
Performance name
Copy source Part
CHO&REV: Chorus and Reverb settings
Copy destination Part
To specify the currently selected Performance as the
copy source, set Source to TEMP.
When the Copy operation is executed, an * symbol will be
displayed in front of the copy-destination Part.
For more detailed information and instructions for this
procedure, refer to “Copying the Settings of Another
Part (Part Copy)” (p. 50).
For more detailed information and instructions for this
procedure, refer to “Copying Another Effect Setting
(Effects Copy)” (p. 161).
Performance Name Copy
You can copy the name from a Performance to the current
Performance.
fig.10-12.e
Copy source Performance (group, number, name)
182
Chapter 10. Memory Settings (Utility Mode)
Copying a Patch
To copy the settings of a Patch, press [UTILITY] in Patch
mode, then perform Copy operation.
Patch Tone Copy
Tone settings of a Patch will be copied to the Tone you
specify of the current Patch.
fig.10-13.e
Copy source Patch name
Copy destination Tone
Copy source Tone
Copy source Patch
(group, number)
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 copysource Patch. To play the Patch of the copy source, press
[UNDO/COMPARE] to access the PATCH COMPARE
page. The new Patch can also be selected from this
page—however, it is not possible to select Patches from
CD-A–H or XP-A–D. After selecting the desired Patch,
return to the previous page by pressing [UNDO/
COMPARE] or [EXIT].
fig.10-06a.e
To specify the currently selected Patch as the copy
source, set Source to TEMP.
When the Copy operation is executed, an * symbol will be
displayed in front of the copy-destination Tone.
For more detailed information and instructions for this
procedure, refer to “Copying the Settings of Another
Tone (Tone Copy)” (p. 68).
Patch Effects Copy
You can copy the effect settings from any Performance, Patch
or Rhythm Set into the currently selected Patch.
Copy source Patch (group, number, name)
• The Compare function cannot be used with Patch
Tone Copy if either TEMP, a CD-A–H or XP-A–D
patch is selected as the copy-source Patch.
• The Compare function cannot be used with Patch
Effect Copy if PERFORM is selected as the copy
source.
• The Patch auditioned using the Compare function
may sound slightly different than when it is played
normally.
fig.10-14.e
Patch Name Copy
Copy source Performance/
Patch/Rhythm Set
(group, number, name)
Press
to move to the next display, and then select the
contents of the effect that you wish to copy.
You can copy the name of a Patch to the current Patch.
fig.10-16.e
Chapter 10
Copy source
Copy source Patch (group, number, name)
fig.10-15.e
Copy type
ALL: Multi-effects, Chorus, and Reverb settings
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
CHO&REV: Chorus and Reverb settings
For more detailed information and instructions for this
procedure, refer to “Copying Another Effect Setting
(Effects Copy)” (p. 161).
183
Chapter 10. Memory Settings (Utility Mode)
Copying a Rhythm Set
To copy the Rhythm Set settings, press [UTILITY] in Rhythm
Set mode and perform Copy operation.
For more detailed information and instructions for this
procedure, refer to “Copying Another Effect Setting
(Effects Copy)” (p. 161).
Rhythm Tone Copy
Individual Rhythm Tone (percussion sound) settings
assigned to each key will be copied to each key in the current
Rhythm Set.
fig.10-17.e
Copy source Rhythm Set
(group, number)
Copy source
Rhythm Set name
Copy source Key
Copy destination Key
The copy source and copy destination Key parameters
can also be set by pressing a key on the keyboard.
The Compare Function
For the Rhythm Tone Copy and Rhythm Set Effect Copy
operations, you can use the Compare function.
The Compare function allows you to play the copysource Rhythm Set. To play the Rhythm Set of the copy
source, press [UNDO/COMPARE] to access the
RHYTHM COMPARE page. The new Rhythm Set can
also be selected from this page—however, it is not
possible to select patches from CD-A–H or XP-A–D.
After selecting the Rhythm Set, return to the previous
page by pressing [UNDO/COMPARE] or [EXIT].
fig.10-08a.e
When the Copy operation is executed, an * symbol will be
displayed in front of the copy-destination key.
For more detailed information and instructions for this
procedure, refer to “Copying the Settings of Another
Rhythm Tone (Rhythm Tone Copy)” (p. 94).
Rhythm Set Effects Copy
You can copy the effect settings from any Performance, Patch
or Rhythm Set into the currently selected Rhythm Set.
fig.10-18.e
Copy source Rhythm Set (group, number, name)
• The Compare function cannot be used with Rhythm
Tone Copy if either TEMP, a CD-A–H/XP-A–D
Rhythm Set is selected as the copy-source Rhythm
Set.
• The Compare function cannot be used with Rhythm
Set Effect Copy if PERFORM is selected as the copy
source.
• The Rhythm Set auditioned using the Compare
function may sound slightly different than when it is
played normally.
Copy source
Copy source Performance/
Patch/Rhythm Set
(group, number, name)
Press
to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.10-19.e
Rhythm Set Name Copy
You can copy the name of a Rhythm Set to the current
Rhythm Set.
fig.10-20.e
Copy type
ALL: Multi-effects, Chorus, and Reverb settings
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
CHO&REV: Chorus and Reverb settings
184
Copy source Rhythm Set (group, number, name)
Chapter 10. Memory Settings (Utility Mode)
Initializing Sound Generator
Settings (INIT)
This function resets settings of the current Performance,
Patch, or Rhythm Set to a standard value or to factory default
settings.
The Initialize operation affects only the currently
selected data; no data stored in the user memory is
initialized. If you wish to restore all of the XV-88’s
settings to their factory values, perform a Factory Reset
(p. 191).
Initializing a Rhythm Set
To initialize Rhythm Set settings, press [UTILITY] in Rhythm
Set mode and execute initialization.
The Rhythm Set Initialize operation can also be used to
initialize the settings of only an individual Rhythm Tone
(percussion instrument sound) that you specify. In this case,
move the cursor to “Key,” and select the Rhythm Tone that
you wish to initialize. You can specify the key (Rhythm
Tone) to be initialized via the keyboard or by pressing TONE
SELECT [1]–[4].
When Initializing a Rhythm Tone
fig.10-23
Mode (Initialize Mode)
DEFAULT: Resets the current data to the standard values
called “Initial data” (INIT PATCH, INIT PERFORM or INIT
RHYTHM). Use this setting when you wish to create a sound
from scratch.
PRESET: Resets the current data in user memory to the
factory settings.
If the current data is a Performance, Patch or Rhythm Set
in preset memory (PR-A–F), and initialization is
performed with PRESET specified, the data will be reset
to the value of the correspondingly numbered user
memory.
Initializing a Performance
To initialize Performance settings, press [UTILITY] in
Performance mode and execute initialization.
fig.10-21
When Initializing a Rhythm Set
fig.10-24
Transmitting Sound Settings
(XFER)
You can transmit sound generator or System settings that are
in the XV-88’s memory, or are stored on a memory card to an
external MIDI device or to the XV-88’s user memory.
Transmitting Data to an External
MIDI Device
The process of transmitting Performance, Patch, Rhythm Set
or System data to an external MIDI device is called a bulk
dump. You can perform a bulk dump when two XV-88s are
connected to each other, or when you wish to store Patch,
Performance, Rhythm Set or System data on an external
MIDI device as a safety backup of your XV-88 data.
fig.10-25.e
Initializing a Patch
To initialize Patch settings, press [UTILITY] in Patch mode
and execute initialization.
Data type
Source block
Destination
fig.10-22
While data is being transmitted, the following display will
appear.
fig.10-26
To interrupt the transmission of data, press [EXIT].
185
Chapter 10
There are two initialize methods. Select either of them
depending on the application.
Chapter 10. Memory Settings (Utility Mode)
You can specify the data to be transmitted by selecting the
appropriate combination 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
You can transmit Performance, Patch or Rhythm Set settings
to the user memory and System settings to the System
memory. By loading sound data from a memory card or
Wave Expansion Boards to user memory, you can bring new
sounds into a Performance.
fig.10-27.e
TEMP
PERFORM
Transmitting Data to the XV-88
USER
01–64
TEMP
-PATCH
*1
+PATCH
*2
Data type
Source block
CTRL
PATCH
USER
001–128
TEMP
RHYTHM
USER
001–004
TEMP
SYSTEM
Destination
USER
*1
Only the current Performance settings will be transmitted.
*2
The current Performance settings and the setting of a Patch
or Rhythm Set assigned to the Part will be transmitted.
• If the XV-88 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 a memory card (p. 190) or on an external
MIDI device (p. 185).
• If Internal Write Protect is turned ON, the following
display will appear, and the Data Transfer operation will
not be executed.
fig.10-03
Type (Data Type)
Specifies 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)
Specifies the source of the data to be transmitted.
USER: Data from user memory will be transmitted.
TEMP: Data in Temporary area will be transmitted.
CTRL: The status of Performances, including Performance
Bank Selects and Program Changes, are not sent as Exclusive
messages, but rather as MIDI Channel messages.
For more on the messages that are transmitted, refer to
“MIDI Implementation” (p. 270).
Destination
This is the Transmission destination. It is set with MIDI.
186
Change the displayed ON to OFF and press [ENTER] to
turn Internal Write Protect off. Press [ENTER] once
again.
Chapter 10. Memory Settings (Utility Mode)
You can specify the data to be transmitted by selecting the
appropriate combination shown below.
Type (Data Type)
For example, if you wish to transmit only the PR-A group
Patch 001, specify “PATCH PR-A:001-001.”
ALL: Performance, Patch, and Rhythm Set
Specifies the type of data to be transmitted.
PERFORM: Performance
PATCH: Patch
If the selected data is too large to 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)
RHYTHM: Rhythm Set
SYSTEM: System
F-LIST: Favorite List
Block (Source Block)
Type
PATCH
Specifies the source of the data to be transmitted.
Block
PR-A:001–005
USER: Data from user memory will be transmitted.
Destination User:127
PR-A–F: Preset A–F data will be transmitted.
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.
XP-A–D: Data from an Wave Expansion Board will be
transmitted.
Type
Block
ALL
PR-A, B
*1
PERFORM
USER
01–64
*2
PR-A, B
01–32
*1
CARD
**
*3
USER
001–128
*2
PATCH
XP-A–D can be selected only if the corresponding Wave
Expansion Board is installed.
CARD: Performance/Patch/Rhythm Set/Favorite List data
stored on memory card will be transmitted.
fig.10-28.e
PR-A–F
001–128
*4
XP-A–D
001–***
*5
CARD
**
*3
Destination
USER
001–004
*2
This is the Transmission destination. It is set with User.
PR-A–F
001–002
*4
XP-A–D
001–***
*5
CARD
**
*3
SYSTEM
Card
**
*6
F-LIST
Card
**
*6
*1
There are no Performances except in PR-A and B; no
selection is available.
*2
Data is moved within the User Memory as a block, and
Performances, Patches, and Rhythm Sets are overwritten.
*3
After specifying a file number, set the range of the block to be
transmitted.
*4
Data in PR-H is GM data, and so cannot be transmitted.
*5
Depends on the Wave Expansion Board installed.
*6
Specify a file number.
File name
If the Type parameter has been set to PERFORM,
PATCH, or RHYTHM, you must specify the first
memory location number of the transmission
destination.
Chapter 10
RHYTHM
File number
187
Chapter 10. Memory Settings (Utility Mode)
Protecting the Internal
Memory (PROTECT)
Memory Card-Related
Settings (CARD)
This feature helps prevent the accidental overwriting of user
memory to ensure that Performance, Patch or Rhythm Set
data is not accidentally erased.
The XV-88 can use memory cards (SmartMedia).
fig.10-29
Internal (Internal Write Protect)
The Internal Write Protect setting prevents the Write
operation from accidentally overwriting user memory
locations. When this is set to ON, the data cannot be
rewritten. Data can be rewritten when it is at OFF. When the
XV-88’s power is turned on, this setting is automatically
turned on. You will need to turn it off before writing data to
the user memory. It is also possible to turn this setting off
during the Write procedure.
Be aware that if Exclusive Protect is set to OFF, User
memory can be overwritten by System Exclusive
messages received from an external MIDI device, even if
Internal Write Protect is set to ON. To prevent
inadvertent overwriting of User memory, it is
recommended that both Internal Write Protect and
Exclusive Protect be set to ON.
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.
Use memory cards when you wish to save data for which
there is no more room in the internal USER group, or so that
the data can be loaded into another XV-88.
When you select “1. CARD” in the UTIL 2 group, the
following CARD page will appear. Select the function you
wish to execute.
fig.10-30
Before Using a Memory Card
• The XV-88 can use either the 3.3 or 5 V memory cards
(SmartMedia).
• SmartMedia can be purchased at computer stores and
vendors handling digital cameras.
• Except while performing the File Copy operation (p.
189), be sure to turn off the power before inserting or
removing a 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.
• Insert memory cards completely and securely, with the
side showing the gold contacts facing upward.
• 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 any operation involving the memory card (such as
loading or saving data, or formatting) is in process.
Doing so can destroy the data on the memory card and/
or render the memory card itself unusable.
• If you affix the write protect seal to the write protect area
of the memory card, you will not be able to format the
card or save data to it. If you wish to format the card or
save data to it, do so without the seal affixed. For details
on the write protect seal, refer to the instructions
included with your memory card.
• If you attempt to format a card, or save data to it when
the write protect seal is affixed, the “Memory Card Write
Protected” message will appear.
fig.err10
188
Chapter 10. Memory Settings (Utility Mode)
Formatting the Memory Card for
the XV-88 (FORMAT)
Copying Files Between Memory
Cards (FILE COPY)
This function initializes (formats) a memory card so that XV88 data can be saved to it. Before a new memory card or a
memory card used on another device can be used on the XV88, it must be formatted on the XV-88.
Use FILE COPY to copy files stored on one memory card to
another memory card.
• The copy destination memory card must already be
formatted (p. 189).
fig.10-31
Please be aware that formatting will erase all the data
currently stored on the memory card.
Renaming a File (RENAME)
• Insert and remove memory cards used in the FILE COPY
procedure only as directed by the on-display
instructions. Using other procedures can damage the
memory cards, rendering them unusable.
1. Select “4. FILE COPY” in the CARD page to display a
screen like the following.
fig.10-34
This operation allows you to change the name of a file
already stored on the memory card.
fig.10-32.e
Original file name
2. Insert the memory card containing the file you want to
copy in the MEMORY CARD slot and press [ENTER].
3. Use the VALUE dial, [INC/+]/[DEC/-] or numeric keys
to select the file you want to copy, then press [ENTER].
New file name
You can assign the file a name of up to eight characters.
For details on assigning names, refer to “Assigning a
Name” (p. 28).
The following display will appear.
fig.10-35
4. Insert the copy destination card and press [ENTER].
The following display will appear.
fig.10-36.e
Copy source (file number : file name)
The file name extension (.SVD) cannot be changed.
Use this operation to delete unwanted files from a memory
card.
fig.10-33
Copy destination (file number : file name)
5. Specify the number of copy destination file. When
necessary, change the name of copy destination file. You
can assign the file a name of up to eight characters.
For details on assigning names, refer to “Assigning a
Name” (p. 28).
6. Press [ENTER] to execute the File Copy, and the
following display will appear.
fig.10-37
To continue on, and copy more files, press [ENTER]. To
exit the operation, press [EXIT].
189
Chapter 10
Deleting Unwanted Files (DELETE)
Chapter 10. Memory Settings (Utility Mode)
Loading a File from Memory
Card into the XV-88 (LOAD)
Checking the Contents of a
Memory Card (INFO)
You can view the number of files on a memory card, its
remaining free memory, and the size of each file. In addition,
you can also change and delete assignments to the CARD
Group Banks A–H.
fig.10-38.e
File name
File number
This function loads data files from memory card into the XV88’s memory. A data file contains a set of data for
Performances, Patches, Rhythm Sets, System, and Favorite
List settings.
fig.10-40
Bank
File size
Free area
Number of files on memory card
Pressing [A]–[H] in this page displays the files to which the
applicable bank A–H is assigned. The display does not
change if there is no data assigned to the bank corresponding
to the button pressed.
Press [SHIFT] to display the following page.
fig.10-39
• When changing the Bank assignment, select that file,
then hold down [SHIFT] and press one of the buttons
[A]–[H].
• To delete the Bank assignment, select that file, hold
down [SHIFT] and press [UNDO/COMPARE].
The assigned bank will be indicated by an * symbol.
If the XV-88 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 a memory card (p. 190) or on an external
MIDI device (p. 185).
If you wish to load only a specific portion of the data file,
refer to “Transmitting Data to the XV-88” (p. 186).
Saving Data to Memory Card
(SAVE)
The Performances, Patches, Rhythm Sets, System, and
Favorite List settings in internal memory can be saved as a
single file onto a memory card.
To overwrite a previously saved file on the memory card,
select its file number.
fig.10-41
Data files contain an entire set of parameter settings for
the sound generator. It is not possible to save individual
Patches or Performances to a memory card.
The number of files that can be saved on a card will
depend on the memory capacity of the card itself.
For more detailed information and instructions for this
procedure, refer to “Saving a Group of Tones to a
Memory Card” (p. 167).
190
Chapter 10. Memory Settings (Utility Mode)
Recalling Factory Default
Settings (FACTORY RESET)
You can restore all settings stored in the XV-88 to their
factory values (Factory Reset).
fig.10-42
• If the XV-88 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 a memory card (p. 190) or on an external
MIDI device (p. 185).
• If Internal Write Protect is turned ON, the following
display will appear, and the Factory Reset operation will
not be executed.
fig.10-03
Chapter 10
Change the displayed ON to OFF and press [ENTER] to
turn Internal Write Protect off. “Are You Sure?” will be
displayed, press [ENTER].
191
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
The XV-88 features a GM mode—a convenient way to play
back or create GM score data (music files for General MIDI
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
GM mode can be likened to a Performance for which the
sound generator has been set to comply with General MIDI
system, and to which GM-compliant Patches and Rhythm
Sets have been assigned.
fig.11-01.e
General MIDI/General MIDI 2 System On
Message
The General MIDI/General MIDI 2 System On messages
put the unit in a state that conforms to the General MIDI
System and initializes a General MIDI-compatible sound
generator.
If the Rx GM On/Rx GM2 On parameter (SYSTEM/
MIDI/SYSTEM MIDI) is set OFF, General MIDI/
General MIDI 2 System On messages cannot be
received.
GM Patch/Rhythm Set (number, group)
Part number
Playing Back GM Scores
The GM PLAY page shows the Patch or Rhythm Set assigned
to each Part.
Each time you enter GM mode, the GM2 STANDARD 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 page.
When you switch the XV-88 into GM mode, the sound
generator initializes itself for basic General MIDI
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 Generator for
General MIDI System Basic Settings
To play back a GM score correctly, the sound generator must
first be initialized to basic General MIDI system settings. The
XV-88’s sound generator is initialized in the General MIDI
settings.
• When Switching to GM Mode
• When it receives a General MIDI/General MIDI 2
System On message from an external MIDI device
• When the music data being played back on an external
MIDI device contains a General MIDI/General MIDI 2
System On message
• When the XV-88’s power is turned on
• When you execute the GM/GM2 Initialize function (p. 198)
192
When the XV-88 is in GM mode, it plays back GM scores
correctly. But beyond this, the XV-88 provides extended
features not defined in General MIDI specifications, and if
you create music files using these extended features, your
song may not play back correctly on other General MIDIcompatible sound modules.
General MIDI/General MIDI 2 System On messages are
normally placed at the beginning of a GM score. This
means that if a GM score is played back from the middle
of the song, the XV-88 will not switch to GM mode, and
playback may not be correct. So to be safe, it’s
recommended to manually set the XV-88 to GM mode
before playing back a GM score.
When the XV-88 receives a GS Reset message, the XV-88
is enabled for the GS format (a shared set of
specifications proposed by Roland for standardization of
multi-timbral sound modules). This permits playback of
music data bearing the GS logo (GS music data).
However, Roland’s Sound Canvas Series (including the
SC-8850 and SC-8820 models) feature a different sound
module format and expanded tone map, so data created
exclusively for the Sound Canvas Series may not play
back properly on the XV-88.
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
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 Receive Switch to OFF for the Part.
1. Make sure the [EDIT] indicator is extinguished. If it is lit,
press [EDIT].
At this time, the function button indicators will indicate
the on/off status of each Part. When the [1-8/9-16]
indicator is out, the function button indicators will
indicate the status of Parts 1–8. When the [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.
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 the playback of GM scores to your liking.
• When GM mode is initialized (p. 198), all these settings
will be lost.
• You cannot store GM mode settings in internal memory
(user memory). If you want to preserve the GM mode
settings, save the settings to an external MIDI device by
transmitting them as MIDI messages (p. 198).
1. Hold down [SHIFT] and press [PERFORM] to call up the
GM PLAY 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 upper left of the
display. To edit a different Part, press [EDIT] to
temporarily turn off the indicator, and use ZONE/PART
SELECT [1/9]–[8/16] to select a Part. When the [1-8/916] indicator is extinguished, Parts 1–8 are selected, and
when the [1-8/9-16] indicator is lit, Parts 9–16 are
selected.
fig.11-02a
6. Use
or
to move the cursor to the parameter you
wish to modify.
7. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric
keys to modify the parameter value.
If you’ve made a mistake in setting a parameter value, or
you have second thoughts about the changes, 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 the [EDIT] indicator is dark, it is a faster
way to get around because you don’t have to turn on the
[EDIT] indicator each time.
2. Press [EDIT] to make the indicator light.
9. Repeat steps 3–8 to make settings for GM mode.
3. Use the function buttons to select a display group.
10. When you finish making settings, press [EXIT] to return
to the GM PLAY page.
The indicator for the button of the selected display group
begins blinking.
You can also use the Palette display in the same manner
when you edit in Performance mode (p. 50).
In GM mode, you can press the function buttons [2/10
(EFFECTS)], [3/11 (MIDI)], [4/12 (PART)], and [8/16
(INFO)].
4. Use
or
to select a display page.
193
Chapter 11
fig.11-02
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
Making Effects Settings in GM
Mode (EFFECTS)
OUTPUT
fig.11-03
In GM mode, a GM-exclusive Chorus and Reverb can be
used. Chorus and Reverb can be set independently.
Chorus: Adds depth and spaciousness to the sound.
Reverb: Adds the reverberation characteristics of halls or
auditoriums.
Output Assign (Output Assign/Output Level)
Sets the direct sound’s output method and volume for each
Part.
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo.
OUTPUT B: Output to the OUTPUT B jacks in stereo.
In GM mode, you cannot use Multi-effects.
The XV-88’s onboard effects can be turned on/off as a
whole. For details, refer to “Turning Effects On/Off” (p.
105).
The value on the right sets the Part volume.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
Basic Process of Making Effects Settings
When applying effects in GM mode, the following procedure
is used to make the settings.
1. Setting the Output Method of the Direct
Sound (Output Assign)
The settings made here determine for each Part whether or
not the jack used to output the sound, and the type of output
(stereo or mono). → (p. 194)
2. Setting the Amount of Each Effect Applied
(Send Level)
Sets the level (volume) of each effect signal to be sent for each
Part. → (p. 194)
3. Making Chorus Settings
Select the Chorus type to be used, and set each of the
parameters for the selected Chorus. → (p. 195)
4. Setting the Output Destination for the
Sounds Passing Through the Chorus
Select the output jack from which the sounds passing
through the Chorus will be output. You can also apply
Reverb to the sound that passes through Chorus. → (p. 195)
5. Making Reverb Settings
Select the Reverb type to be used, and set each of the
parameters for the selected Reverb. → (p. 195)
6. Setting the Output Destination for the
Sounds Passing Through the Reverb
Select the output jack from which the sounds passing
through the Reverb will be output. → (p. 195)
194
• Chorus and Reverb are output in mono at all times.
• The output destination of the signal after passing
through the Chorus is set with the Out parameter (GM/
EFFECTS/GM CHORUS) (p. 195).
• The output destination of the signal after passing
through the Reverb is set with the Out parameter (GM/
EFFECTS/GM REVERB) (p. 195).
Chorus (Chorus Send Level)
Adjusts the amount of Chorus for each Part. If you don’t
want to add the Chorus effect, set it to 0.
Reverb (Reverb Send Level)
Adjusts the amount of Reverb for each Part. If you don’t
want to add the Reverb effect, set it to 0.
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
GM CHORUS
GM REVERB
fig.11-04
fig.11-05
Type (Chorus Type)
Type (Reverb Type)
Selects the type of Chorus.
Selects the type of Reverb.
CHORUS 1–4: Chorus 1–4
SMALL ROOM: Reverb resembling that obtained in a small
room.
FB CHORUS: Feedback Chorus
FLANGER: Flanger
Rate (Chorus Rate)
Specifies the modulation frequency of the Chorus sound.
Dpth (Chorus Depth)
Sets the depth of the undulations of the Chorus sound.
Fbk (Chorus Feedback Level)
Adjusts the amount of Chorus sound that is returned (fed
back) to the Chorus. Higher settings will create a more
complex Chorus effect.
MEDIUM ROOM: Reverb resembling that obtained in a
somewhat larger room.
LARGE ROOM: Reverb resembling that obtained in a large
room.
MEDIUM HALL: Reverb resembling that obtained in a
medium-sized concert hall.
LARGE HALL: Reverb resembling that obtained in a large
concert hall.
PLATE: Plate-type reverb effect.
Time (Reverb Time)
Adjusts the length of the Reverb time.
Rev (Chorus Reverb Send Level)
Adjusts the amount of Reverb to be applied to the sound
routed through Chorus. If you don’t want to add the Reverb
effect, set it to 0.
Out (Chorus Output Assign)
Out (Reverb Output Assign)
Specifies how the sound routed through Reverb will be
output.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
Specifies how the sound routed through Chorus will be
output.
B: Output to the OUTPUT B jacks in stereo.
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
If the Mix/Parallel parameter (SYSTEM/SETUP/
SYSTEM SETUP) is set to MIX, all sounds are output
from the OUTPUT A (MIX) jacks in stereo (p. 169).
Making Settings for Receiving
MIDI (MIDI)
These parameters determine how each Part will transmit and
receive MIDI messages.
Chapter 11
A: Output to the OUTPUT A (MIX) jacks in stereo.
MIDI
fig.11-06
Channel (MIDI Receive Channel)
Sets the MIDI receive channel for each Part. If you do not
want to receive MIDI messages, turn this parameter OFF.
195
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
Rx Sw (Receive Switch)
SETTING
Specifies whether each Part will receive Note messages (ON),
or not (OFF).
fig.11-08
You can also set the Rx Sw parameter on the GM PLAY
page. Press ZONE/PART SELECT [1/9]–[8/16] to
switch the setting to ON (indicator lighted), or OFF
(indicator extinguished). When the [1-8/9-16] indicator
is extinguished, Parts 1–8 are switched on and off, and
when the [1-8/9-16] indicator is lit, Parts 9–16 are
switched on and off (p. 25).
Mute Sw (Mute Switch)
Mute Sw temporarily mutes (ON) or releases the mute (OFF)
for the performance of each Part.
Use this setting when, for example, you want to use the
instrument for karaoke by muting the Part playing the
melody, or when you want to play something using a
separate sound module.
Volume (Part Volume)
Adjusts the volume of an individual Part. This setting’s main
purpose is to adjust the volume balance between Parts.
Pan (Part Pan)
Adjusts the pan of each Part. L64 is far left, 0 is center, and
63R is far right.
If you modify the settings of the Volume parameter or
Pan parameter, they will be reflected in the INFO page
(p. 197).
Coarse (Part Coarse Tune)
Adjusts the pitch of the Part’s sound up or down in semitone
steps (+/-4 octaves).
Fine (Part Fine Tune)
The Mute Sw parameter does not turn the Part off, but
rather mutes the sound by setting the volume to 0.
Therefore, MIDI messages are still received.
Making Settings for Each Part
(PART)
Here you can select the GM Patch/Rhythm Set assigned to
each Part, and set the volume, pan, and pitch of each Part.
PATCH
fig.11-07
Type (Part Type)
Sets the assignment of a GM Patch (PAT) or GM Rhythm Set
(RHY) to each of the Parts.
Number (GM Patch/Rhythm Set Number)
Selects the desired GM Patch or Rhythm Set by its number.
The name of the selected GM Patch/Rhythm Set appears in
parentheses.
In GM mode, Patches or Rhythm Sets other than the GM
Patches and Rhythm Sets in PR-H cannot be selected.
Furthermore, GM Patches and Rhythm Sets cannot be
edited.
196
Adjusts the pitch of the Part’s sound up or down in 1-cent
steps (+/-50 cents).
One cent is 1/100th of a semitone.
MODIFY
fig.11-09
Cutoff (Part Cutoff Frequency Offset)
Adjusts the cutoff frequency for the GM Patch or Rhythm Set
assigned to a Part.
Resonance (Part Resonance Offset)
Adjusts the Resonance for the GM Patch or Rhythm Set
assigned to a Part.
Attack (Part Attack Time Offset)
Adjusts the TVA Envelope Attack Time for the GM Patch or
Rhythm Set assigned to a Part.
Release (Part Release Time Offset)
Adjusts the TVA Envelope Release Time for the GM Patch or
Rhythm Set assigned to a Part.
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
CONTROL
fig.11-10
Confirming MIDI Information for
Each Part (INFO)
INFO (Part Information)
BendRng (Bend Range)
fig.11-11
Specifies the amount of pitch change in semitones (2 octaves)
that will occur when the Pitch Bend Lever is moved. The
amount of change when the lever is tilted is set to the same
value for both left and right sides.
fig.11-12
Mno/Poly (Part Mono/Poly)
Set Mno/Pol to MONO when the GM Patch assigned to the
Part is to be played monophonically, or to MONO when the
GM Patch is to be played polyphonically.
For the Part to which the GM Rhythm Set is assigned,
this setting will be ignored.
Porta Sw:Time (Part Portamento Switch:Time)
The displays 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 generator
is responding correctly to messages from the keyboard or
external MIDI controller.
For items other than Voices, you can modify the values.
When you do so, MIDI messages will be transmitted, and
they can be recorded by a sequencer or other device.
Mod (Modulation Information)
Portamento makes a smooth pitch transition from one note to
the next note played. Also, when playing monophonically,
you can apply portamento to simulate the slide performance
technique sometimes used on instruments such as violin.
Breath (Breath Information)
You can determine whether the Portamento effect will be
applied or not using Portamento switch (Sw). Turn this
parameter ON when you want to apply Portamento and OFF
when you don’t.
Pan (Pan Information)
The Portamento Time (Time) setting adjusts the time over
which the pitch will change. Higher settings will cause the
pitch change to the next note to take more time.
Foot (Foot Information)
Vol (Volume Information)
Exp (Expression Information)
Hold (Hold 1 Information)
Bend (Pitch Bend Information)
Aftertouch (Aftertouch Information)
Voices (Voice Information)
The number of voices used
Chapter 11
For the Part to which the GM Rhythm Set is assigned,
this setting is ignored.
197
Chapter 11. Using the XV-88 as a GM Sound Module (GM Mode)
Convenient Functions in GM
Mode (GM Utility)
Initializing GM Mode (INIT)
fig.11-14
In the GM mode, you can initialize GM mode, and transmit
GM mode settings, using the Utility functions.
Basic Procedure
1. In the GM mode, press [UTILITY] so its indicator blinks.
The XV-88 will switch to Utility mode.
2. Press
or
to select the UTIL 1 group.
The GM Initialize operation affects only GM mode data;
no data stored in the user memory is initialized. If you
wish to restore all of the XV-88’s settings to their factory
values, perform a Factory Reset (p. 191).
Mode (Initialize Mode)
fig.11-13
There are two initialize methods. Select either of them
depending on the application.
GM: Makes the basic General MIDI system settings using a
General MIDI System On message.
The functions of the UTIL 2 group can also be executed
from GM mode. The operation is the same as in other
modes (p. 179).
3. Use
or
to select the desired function (the function
name will blink), and press [ENTER].
The display for the desired function will appear.
GM2: Makes the basic General MIDI 2 system settings using
a General MIDI 2 System On message.
Transmitting GM Mode Settings
(XFER)
fig.11-15
You can also access the desired function page by using
the numeric keys or function buttons to specify the
number of the function.
4. When parameters in the different function page are to be
set, you can use the VALUE dial, [INC/+]/[DEC/-], or
the numeric keys to make the settings.
To cancel the operation, press [EXIT].
5. Press [ENTER] to execute the function.
When the operation is completed, the display will briefly
indicate “COMPLETED.”
When certain functions are executed, you are then
returned to the original mode page.
6. To return to the UTIL 1 page, press [EXIT]. To return to
the GM PLAY page, press [UTILITY] to make the
indicator go dark.
198
You cannot store GM mode settings in internal memory (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].
For more on GM mode settings to be transmitted, refer to
“MIDI Implementation” (p. 270).
If you do not want the settings of a specific Part to be
transmitted, turn off the Receive Switch for that Part (p.
196).
Chapter 12. Realizing the Potential of the XV-88
This section discusses various techniques for effectively
using the XV-88 for specific applications. The more you use
the XV-88, the faster you’ll appreciate the real power of this
unit.
Techniques for Using Patches
If you hold down [CONTROLLER] and move the C1
slider in the PATCH PLAY page, you can go to the C1
ASSIGN page directly. There you can make settings for
the Assign parameter.
4. Move the C1 slider while you play the keyboard.
You’ll notice that sound will pan right and left.
Reinforcing Filter Characteristics
If you want to reinforce filter characteristics, set Structure
Type to 2, and series-connect the TVFs of Tones 1 and 2. This
example shows how to boost the effectiveness of the filter for
the Patch PR-C: 014 MKS-80 Brass.
1. Select the Patch PR-C: 014 MKS-80 Brass on the
PATCH PLAY page.
2. Press [FILTER/ENV], getting its indicator to light.
3. Move the CUTOFF and RESONANCE sliders while you
play notes and hear how sound changes.
4. Set the Type parameter (PATCH/COMMON/STRUCT)
to 2 (p. 73).
5. Again, move the CUTOFF and RESONANCE sliders and
hear how the sound changes.
Notice the effectiveness of the filter has changed.
If the result is difficult to hear, turn off each effect unit
(Multi-effects, Chorus, Reverb) (p. 105).
Using the Slider to Change the
Pan in Realtime
You can assign the C1–C4 sliders to a variety of the functions
to change sounds in realtime. In this example, the pan (stereo
location) will change by moving the C1 slider up or down.
If the result is difficult to hear, turn off each effect unit
(Multi-effects, Chorus, Reverb) (p. 105).
Using a Pedal Switch to Modify
the Speed of the Rotary Effect
The function that allows you use MIDI messages to make
these changes in realtime to the Multi-effects parameters is
called the Multi-effects Controller (p. 115). Here, using an
effects controller, try using a pedal switch to switch the
speed of the rotary effect.
1. Connect an optional pedal switch (DP-2, DP-6, etc.) to the
CTL 1 PEDAL jack.
2. Select the Patch PR-A: 054 Rocker Spin on the PATCH
PLAY page.
This Patch uses ROTARY as the Multi-effects type.
3. Set the Assign parameter (SYSTEM/CONTROL/
CONTROL PEDAL 1) to CC04:FOOT TYPE (p. 172).
4. Call up the PATCH MFX CTRL page (PATCH/
EFFECTS), then set the parameters as follows (p. 115).
• Source: FOOT TYPE
• Destination: SPEED
• Sens: +63
5. Press the pedal switch while you play the keyboard.
This will speed up the rotary effect. Releasing the pedal
switch will slow down the rotary effect.
At the factory default settings, the C1 through C4 sliders
are assigned to the functions described below.
C1 slider: AFTERTOUCH
Chapter 12
C2 slider: BREATH
C3 slider: PORTA TIME (Portamento time)
C4 slider: MODULATION
1. Select a Patch on the PATCH PLAY page.
2. Press [CONTROLLER], getting the indicator to light.
3. Set the Assign parameter (SYSTEM/CONTROL/C1
ASSIGN) to CC10:PANPOT (p. 172).
199
Chapter 12. Realizing the Potential of the XV-88
Changing the Speed of the
Rotary Effect to Synchronize It to
the LFO Cycle
When you want to switch between Tones more
smoothly, set the L.Fade or U.Fade parameters. The
higher the values set, the smoother the switch is between
the Tones.
Instead of using an effects controller, you can use the Matrix
Controller (p. 78) to change Multi-effect parameters. Here,
try changing the speed of the rotary effect to synchronize it to
the LFO cycle.
5. Set the TMT Ctrl Sw parameter (PATCH/CONTROL/
CONTROL&BENDER) to ON (p. 78).
1. Select the Patch PR-A: 054 Rocker Spin on the PATCH
PLAY page.
6. Set the Control 1 parameter (PATCH/CONTROL/
MATRIX CTRL SRC) to CC01:MODULATION (p. 78).
This Patch uses ROTARY as the Multi-effects type.
7. Call up the MATRIX CONTROL1 page (PATCH/
CONTROL), then set the parameters as follows (p. 79).
2. Call up the PATCH MFX CTRL page (PATCH/
EFFECTS), then set the parameters as follows (p. 115).
• Dest: TMT
• Source: OFF
• Sns: +63
• Destination: SPEED
• Tone: oo_ _ (applied to Tone 1 and 2)
• Sens: 0
8. While playing the keyboard, move the Modulation lever.
3. Set the Control 1 parameter (PATCH/CONTROL/
MATRIX CTRL SRC) to 105:LFO1 (p. 78).
4. Call up the MATRIX CONTROL1 page (PATCH/
CONTROL), then set the parameters as follows (p. 79).
• Dest: MFX CTRL1
• Sns: +63
• Tone: ooo_ (applied to Tone 1–3)
5. Play the keyboard.
The speed of the rotary effect is synchronized to the LFO
cycle.
Changing the Tone Produced
with the Modulation Lever
While using the Matrix Controller check out how you can get
sounds of two different Tones by moving the Modulation
lever to the left and right.
1. Select a Patch on the PATCH PLAY page.
2. On the WAVE page (PATCH/WAVE), select the
waveforms for the two Tones (Tone 1 and Tone 2) you
want to have played (p. 81).
3. Set the TMT Velocity Control parameter (PATCH/
COMMON/TMT VELO CONTROL) to OFF (p. 72).
4. Call up the TMT VEL RANG page (PATCH/
COMMON), then set the parameters for Tone 1 and Tone
2 as follows (p. 72).
Tone 1
Tone 2
• Lower:
1
64
• Upper:
63
127
200
By moving the Modulation lever to the other side, you
can switch from Tone 1 to Tone 2.
Syncing the LFO Cycle to System
Tempo
You can synchronize the LFO cycle to a specified tempo or an
external MIDI device. In the following example, we will
synchronize the LFO cycle to the system tempo.
1. Select the Patch PR-B: 052 Blade Racer on the PATCH
PLAY page.
2. Set the Clock Source parameter (PATCH/COMMON/
PATCH TEMPO) to SYSTEM (p. 71).
3. Set the Rate parameter (PATCH/LFO/LFO 1, 2 WAVE)
of each Tone to the beat length for the tempo you are
synchronizing (p. 83).
4. At the LFO DEPTH1:2 page (PATCH/LFO), set the
modulation depth for each Tone (p. 85).
5. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT (p. 168).
When the Clock Source parameter is set to MIDI, you can
achieve synchronization with the tempo of an external
MIDI device.
6. Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP)
to various values (p. 169).
You’ll notice that the tempo of the Patch’s modulation
changes in accordance to the tempo clock of the XV-88’s
system.
Chapter 12. Realizing the Potential of the XV-88
In the following example, we will synchronize the Step Rate
parameter of STEP FLANGER to the system tempo.
1. Select the Patch PR-C: 094 Albion on the PATCH PLAY
page.
This Patch uses STEP FLANGER as the Multi-effects
type.
2. Set the Clock Source parameter (PATCH/COMMON/
PATCH TEMPO) to SYSTEM (p. 71).
3. Set the Step Rate parameter (PATCH/EFFECTS/PATCH
MFX PRM) of each Tone to the beat length for the tempo
you are synchronizing (p. 126).
4. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT (p. 168).
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 (p. 169).
You’ll notice that the tempo of the Patch’s modulation
changes in accordance to the tempo clock of the XV-88’s
system.
You can modify Multi-effects parameter values in time
with a specified tempo or the tempo of an external MIDI
device when you have selected the following values for
the Type parameter of Multi-effects (PATCH/EFFECTS/
PATCH MFX TYPE).
Multi-effects Type
16: STEP FLANGER
19: TRIPLE TAP DELAY
20: QUADRUPLE TAP DELAY
41: STEREO PHASER
42: KEYSYNC FLANGER
43: FORMANT FILTER
45: MULTI TAP DELAY
46: REVERSE DELAY
47: SHUFFLE DELAY
48: 3D DELAY
58: SLICER
60: 3D CHORUS
61: 3D FLANGER
62: TREMOLO
63: AUTO PAN
Parameter synchronized
to tempo
Step Rate parameter
Delay C, L, R parameter
Delay1–4 parameter
Rate, Step Rate parameter
Rate, Step Rate parameter
Rate parameter
Delay1–4 parameter
Delay1–4 parameter
Delay parameter
Delay C, L, R parameter
Rate parameter
Rate parameter
Rate, Step Rate parameter
Rate parameter
Rate parameter
Playing Phrase Loops in Sync
with the System Tempo
Samples of drum, percussion, or other such phrases are
called Phrase Loops. Normally, to play a Phrase Loop at an
altered tempo, the pitch has to be adjusted. This is because of
the nature of Phrase Loops, that is, when the tempo of a
Phrase Loop is increased, the pitch rises, and the pitch falls
when the tempo is decreased. To give an example, if a record
is spun faster than normal, the pitch is higher than when
normally played, and if spun more slowly than normal, the
pitch is lower than when played normally. Such adjustments
in pitch when playing a Phrase Loop at a changed tempo
consumes a lot of time and effort.
Certain Patches on “SR-JV80-10: BASS&DRUMS” and other
commercially available Wave Expansion Boards use Waves
(Phrase Loops) for which the tempo (BPM) is indicated. With
the XV-88, you can synchronize performances to a
designated tempo in a Phrase Loop or the tempo set by an
external MIDI device merely with a simple setting. Here, let’s
synchronize a Phrase Loop to the System tempo.
201
Chapter 12
Modifying Multi-Effects to Match
the System’s Tempo
Chapter 12. Realizing the Potential of the XV-88
1. On the PATCH PLAY page, select a Patch that uses a
Phrase Loop.
2. Set the Clock Source parameter (PATCH/COMMON/
PATCH TEMPO) to SYSTEM (p. 71).
2. Set the Clock Source parameter (PATCH/COMMON/
PATCH TEMPO) to SYSTEM (p. 71).
3. Set the Time parameter (PATCH/WAVE/TONE
DELAY) of Tone 1 to the beat length for the tempo you
are synchronizing (p. 83).
3. Call up the WAVE page (PATCH/WAVE) (p. 81).
4. Press a TONE SELECT [1]–[4] button, and choose the
Tone that uses Phrase Loops.
The Phrase Loop is the Wave indicated by the Wave
name along with the tempo (BPM) to the right of the
Wave number.
5. Set the Wave Tempo Sync parameter (PATCH/WAVE/
WAVE) to ON (p. 81).
6. Set the Time parameter (PATCH/WAVE/TONE
DELAY) to 0 (p. 83).
4. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT (p. 168).
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 (p. 169).
The Tone Delay time will change in accordance to the
system’s tempo clock.
If you select a value other than 0, a delay will be applied,
and you will not be able to play the Patch normally.
7. Set the Clock Source parameter (SYSTEM/SETUP/
SYSTEM SETUP) to INT (p. 168).
When the Clock Source parameter is set to MIDI, you can
achieve synchronization with the tempo of an external
MIDI device.
8. Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP)
to various values (p. 169).
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. In this case, the pitch
setting (p. 86) and the FXM setting (p. 81) will be
ignored.
Synchronizing the Timing at Which
Tones Play to the System Tempo
Using the XV-88 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
Change number of the selected Performance will usually be
chosen on the external MIDI device.
With the XV-88, you can set the Bank Select and Program
Change number for each individual Zone so as to match the
Tones of the desired external MIDI device. This way, you can
switch Tones on multiple external MIDI devices all at once
just by switching the Performance.
1. Select the Zone to be used to control the external MIDI
device.
2. Set the receive channel on the external MIDI device to
match the transmit channel for the Zone to be used. Set
the transmit channel of the Zone with the Channel
parameter (ZONE/MIDI/MIDI) (p. 59).
Setting back the time at which a Tone is played is referred to
as Tone Delay. The length of time for this Tone Delay can be
synchronized to a specified tempo or to the System tempo.
Here, let’s synchronize the Tone Delay time to a specified
System tempo.
3. Set the Tx parameter (ZONE/MIDI/MIDI) of the Zone to
be used to ON (p. 59).
1. Select the Patch PR-D: 073 Cyber Swing on the PATCH
PLAY page.
5. Set the Bank Select MSB/LSB parameter to match the
Bank Select of the external MIDI device.
202
4. Call up the EXT P.C page (ZONE/EXT CONTROL) (p.
60).
Chapter 12. Realizing the Potential of the XV-88
6. Set the P.C# parameter to match the Program Change
number for the Tone you want the external MIDI device
to select.
7. Save the Performance (p. 164).
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 the sounds such as a Patch in succession
using a pedal switch.
1. Connect an optional pedal switch (DP-2, DP-6, etc.) to the
CTL 1 PEDAL jack.
Using External MIDI Devices
Playing an External MIDI Sound
Module from the XV-88
1. Set the COMPUTER switch on the XV-88’s rear panel to
MIDI.
The new setting of the COMPUTER switch will take
effect when the power is turned on. Before changing the
setting of the COMPUTER switch, you must first turn off
the power on the XV-88.
2. Use a MIDI cable to connect the MIDI OUT connector of
the XV-88 to the MIDI IN connector of the external MIDI
device.
fig.12-01.e
2. Set the Assign parameter (SYSTEM/CONTROL/
CONTROL PEDAL 1) to 102:PROG UP (p. 172).
MIDI IN
3. Call up the PLAY page of the sound generator mode
(PERFORM, PATCH, RHYTHM, GM).
4. Each time you press the pedal, you call up the next
number of Performance, Patch, or Rhythm Set.
MIDI Sound Module
MIDI OUT
Controlling an External MIDI
Sequencer with the D Beam
Controller
You can start and stop an external MIDI sequencer by
placing your hand above the D Beam controller.
1. Use a MIDI cable to connect the XV-88’s MIDI OUT
connector to the MIDI IN connector of the external MIDI
sequencer.
XV-88
3. Set the XV-88’s transmit channel to match the external
MIDI sound module’s receive channel.
The XV-88’s transmit channel is determined by the
following parameters.
In Patch/Rhythm Set Mode
In Patch/Rhythm Set Mode
Assign parameter (SYSTEM/D BEAM/D BEAM
CONTROL) (p. 176)
In Performance Mode
Assign parameter (ZONE/D BEAM/D BEAM
CONTROL) (p. 63)
3. Press D BEAM CONTROLLER [ON] to turn on the D
Beam Controller.
Tx Ch parameter (SYSTEM/MIDI/PATCH MIDI) (p.
170)
In Performance Mode
Channel parameter (ZONE/MIDI/MIDI) (p. 59)
Set the Tx parameter (ZONE/MIDI/MIDI) to ON (p. 59).
For instructions on how to set the receive channel of the
external MIDI sound module, refer to the owner’s
manual for your external MIDI sound module.
4. When you place your hand over the D Beam Controller,
the external MIDI sequencer begins playing. Moving
your hand over the controller again stops the external
MIDI sequencer.
203
Chapter 12
2. Set the D Beam Controller’s Assign parameter setting to
100:START/STOP.
Chapter 12. Realizing the Potential of the XV-88
4. If you wish to play only the external MIDI sound
module, set the Local Switch to off.
The Local Switch is determined by the following
parameters.
In Patch/Rhythm Set Mode
Local parameter (SYSTEM/MIDI/PATCH MIDI) (p.
170)
In Performance Mode
Local parameter (SYSTEM/MIDI/PERFORM MIDI) (p.
169)
The new setting of the COMPUTER switch will take
effect when the power is turned on. Before changing the
setting of the COMPUTER switch, you must first turn off
the power on the XV-88.
2. Use a MIDI cable to connect the XV-88’s MIDI OUT
connector to the MIDI IN connector of the external MIDI
sequencer.
fig.08-07.e
MIDI IN
5. When playing the XV-88’s keyboard, the external MIDI
sound module will sound.
When you want to connect two or more external MIDI
devices, use the MIDI THRU connector of the external
MIDI devices.
MIDI Sequencer
MIDI OUT
fig.12-02.e
MIDI IN
MIDI
THRU
XV-88
MIDI Keyboard
MIDI IN
3. Call up the PLAY page of the sound generator mode
(PERFORM, PATCH, RHYTHM, GM).
4. Pressing the following buttons allows the remote control
of external sequencers.
MIDI Keyboard
MIDI OUT
[SHIFT] +
(NEXT SONG): Selects the next song.
[SHIFT] +
(PREV SONG): Selects the previous song.
[SHIFT] +
song.
(RESET): Returns to the beginning of the
[SHIFT] +
(START/STOP): Starts and stops
performance of the song.
XV-88
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.
Controlling an External MIDI
Sequencer from the XV-88
1. Set the COMPUTER switch on the XV-88’s rear panel to
MIDI.
204
Holding down [SHIFT] while pressing
(or
) in
a PLAY page selects the song before (or after) the Song
Number set with the Song Number parameter (p. 178).
Some sequencers cannot be started or stopped without
receiving the MIDI Clock (F8h), and settings on certain
sequencers also cannot be changed. Please use a
sequencer able to perform START/STOP without
requiring reception of the MIDI Clock (F8h). For more
detailed information, refer to the owner’s manual for
your sequencer.
Chapter 12. Realizing the Potential of the XV-88
Playing the XV-88’s Sound
Generator from an External MIDI
Device
1. Set the COMPUTER switch on the XV-88’s rear panel to
MIDI.
The new setting of the COMPUTER switch will take
effect when the power is turned on. Before changing the
setting of the COMPUTER switch, you must first turn off
the power on the XV-88.
2. Use a MIDI cable to connect the MIDI IN connector of the
XV-88 to the MIDI OUT connector of the external MIDI
device.
For instructions on how to set the transmit channel of the
external MIDI device, refer to the owner’s manual for
your external MIDI device.
4. When playing the external MIDI device, the XV-88’s
sound generator will sound.
Changing the Tone Settings from
an External MIDI Device in
Realtime
The Tone settings can be controlled using specified MIDI
messages from an external MIDI device (Matrix Controller;
p. 78).
fig.12-03.e
MIDI OUT
MIDI Keyboard
MIDI IN
In this manual, Parameters that can be controlled using
the Matrix Controller are marked with a ★.
For instructions on how to connect up, and set the MIDI
receive channel, refer to “Playing the XV-88’s Sound
Generator from an External MIDI Device” (p. 205).
1. Select the Patch you wish to use.
2. Use the Control 1–4 parameters (PATCH/CONTROL/
MATRIX CTRL SRC) to specify which MIDI message
will be used for control (p. 78).
XV-88
3. Set the XV-88’s receive channel to match the external
MIDI device’s transmit channel.
The XV-88’s receive channel is determined by the
following parameters.
In Patch/Rhythm Set Mode
Rx Ch parameter (SYSTEM/MIDI/PATCH MIDI) (p.
170)
In Performance Mode
Channel parameter (PERFORM/MIDI/MIDI) (p. 52)
Set the Rx Sw parameter (PERFORM/MIDI/MIDI) to
3. Call up the MATRIX CONTROL 1–4 pages (PATCH/
CONTROL), then set the following parameters (p. 79).
• Dest: Sets which parameter is controlled.
• Sns: Specifies how deeply the parameter is to be
controlled.
• Tone: Sets the Tone you wish to apply the effect.
4. When the MIDI message set with the Control 1–4
parameter is sent from an external MIDI device to the
XV-88, the Tone parameter set with the Dest parameter
changes according to the Tone set in the Tone parameter
when at the same level as that set in the Sns parameter.
ON (p. 52).
In GM Mode
Chapter 12
Channel parameter (GM/MIDI/MIDI) (p. 195)
When the Remote parameter (SYSTEM/MIDI/PATCH
MIDI, PERFORM MIDI, GM MIDI) is ON, it makes no
difference what transmit channel is selected for the MIDI
keyboard (p. 170).
205
Chapter 12. Realizing the Potential of the XV-88
Changing the Multi-Effects
Settings From an External MIDI
Device in Realtime
The Multi-effects settings can be controlled using specified
MIDI messages from an external MIDI device in realtime
(Multi-effects Controller; p. 115).
The parameters that can be changed are predetermined
for each type of Multi-effects; among the parameters
described in “Multi-Effects Types” (p. 117), these are
indicated by a #.
For instructions on how to connect up, and set the MIDI
receive channel in Patch/Rhythm Set mode, refer to
“Playing the XV-88’s Sound Generator from an
External MIDI Device” (p. 205).
1. Select the Patch, Rhythm Set or Performance you wish to
use.
2. When a Performance is selected, and the Source
parameter (PERFORM/EFFECTS/MFX TYPE) (p. 114) is
set to PERFORM, the MIDI receive channel is set with the
MFX Control Channel parameter (PERFORM/
COMMON/PERFORM MFX CH) (p. 51).
3. Call up the MFX CTRL page (PATCH, RHYTHM,
PERFORM/EFFECTS), then set the following parameters
(p. 115).
• Source: Specifies the MIDI message which is used for
control.
Selecting XV-88 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 XV-88, you can select Performances,
Patches, or Rhythm Sets. In other words, when you select
sounds on an external MIDI device, the corresponding MIDI
message will be transmitted to the XV-88, causing the XV-88
to select the appropriate Patch, etc.
For instructions on how to connect up, and set the MIDI
receive channel in Patch/Rhythm Set mode, refer to
“Playing the XV-88’s Sound Generator from an
External MIDI Device” (p. 205).
• If the Program Change numbers on your external MIDI
device are referenced as values from 0 to 127, find the
appropriate number by subtracting 1 from the number in
the following correspondence chart.
• On the XV-88, when just a Program Change message is
received without receiving a Bank Select message, only
sounds within a group (such as USER or PR-A) are
changed.
Selecting Performances
The MIDI messages transmitted by the external MIDI device
will be received by the XV-88 to select Performances as
shown in the following table.
Group
Number
• Destination: Sets which parameter is controlled.
Bank Select
MSB LSB
Program Change
Number
• Sens: Specifies how deeply the parameter is to be
controlled.
USER
001–064
85
00
001–064
CD-A
001–064
85
32
001–064
4. When the MIDI message set by the Source parameter is
sent from the external MIDI device to the XV-88, the
Multi-Effects parameter set with the Destination
parameter changes at the level set in the Sns parameter.
:
:
:
:
:
CD-H
001–064
85
39
001–064
PR-A
001–032
85
64
001–032
PR-B
001–032
85
65
001–032
In order to select a Performance, the MIDI channel of the
transmitting device must match the XV-88’s Control Channel
parameter (SYSTEM/MIDI/PERFORM MIDI) (p. 169). 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.
206
Chapter 12. Realizing the Potential of the XV-88
Selecting Patches
Selecting Rhythm Sets
The MIDI messages transmitted by the external MIDI device
will be received by the XV-88 to select Patches as shown in
the following table.
The MIDI messages transmitted by the external MIDI device
will be received by the XV-88 to select Rhythm Sets as shown
in the following table.
Group
Program Change
Number
Group
Number
Bank Select
MSB LSB
Number
Bank Select
MSB LSB
Program Change
Number
USER
001–128
87
00
001–128
USER
001–004
86
00
001–004
CD-A
001–128
87
32
001–128
CD-A
001–004
86
32
001–004
:
:
:
:
:
:
:
:
:
:
CD-H
001–128
87
39
001–128
CD-H
001–004
86
39
001–004
PR-A
001–128
87
64
001–128
PR-A
001, 002
86
64
001, 002
PR-B
001–128
87
65
001–128
PR-B
001, 002
86
65
001, 002
PR-C
001–128
87
66
001–128
PR-C
001, 002
86
66
001, 002
PR-D
001–128
87
67
001–128
PR-D
001, 002
86
67
001, 002
PR-E
001–128
87
68
001–128
PR-E
001, 002
86
68
001, 002
PR-F
001–128
87
69
001–128
PR-F
001, 002
86
69
001, 002
XP-A
*1
*2
*1
XP-A
*1
*2
*1
:
:
:
:
:
:
:
:
XP-D
*1
*2
*1
XP-D
*1
*2
*1
*1
Depends on the Wave Expansion Board installed.
*1
Depends on the Wave Expansion Board installed.
*2
Fixed Bank Select numbers are assigned to the Wave
Expansion Board itself.
*2
Fixed Bank Select numbers are assigned to the Wave
Expansion Board itself.
SR-JV80 Number
Series
Bank Select
MSB LSB
Program Change
Number
SR-JV80 Number
Series
Bank Select
MSB LSB
Program Change
Number
SR-JV80-01
001–128
89
00
001–128
SR-JV80-01
001–128
88
00
001–128
SR-JV80-01
129–256
89
01
001–128
SR-JV80-01
129–256
88
01
001–128
SR-JV80-02
001–128
89
02
001–128
SR-JV80-02
001–128
88
02
001–128
SR-JV80-02
129–256
89
03
001–128
SR-JV80-02
129–256
88
03
001–128
:
:
:
:
:
:
:
:
:
:
SR-JV80-65
001–128
91
00
001–128
SR-JV80-65
001–128
90
00
001–128
SR-JV80-65
129–256
91
01
001–128
SR-JV80-65
129–256
90
01
001–128
:
:
:
:
:
:
:
:
:
:
SR-JV80-99
001–128
91
68
001–128
SR-JV80-99
001–128
90
68
001–128
SR-JV80-99
129–256
91
69
001–128
SR-JV80-99
129–256
90
69
001–128
For details on the SRX Series, refer to the owner’s
manual for the SRX Series Wave Expansion Board.
For details on the SRX Series, refer to the owner’s
manual for the SRX Series Wave Expansion Board.
Chapter 12
Selecting PR-B Patch number 10 from an external MIDI
device
Transmit data to the XV-88 in the following order.
(Numbers are given in decimal.)
Controller number 0 (Bank Select MSB) value: 87
Controller number 32 (Bank Select LSB) value: 65
Program Change number: 10
207
Chapter 12. Realizing the Potential of the XV-88
Enjoying Desktop Music
The XV-88 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. This type of system is know as DTM (desktop
music). 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 methods that can be used to connect the XV-88
to a computer, connecting to the COMPUTER connector
and connecting with MIDI connectors.
Connecting with COMPUTER Connector
1. Turn off the XV-88, 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 XV-88’s rear panel to
match the type of computer to be connected as described
below.
In general, set the switch to Mac for Apple Macintosh
series, and to PC for PC.
fig.12-04.e
Apple Macintosh series
PC
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 XV-88.
To make connections via MIDI, you will need a MIDI
interface (such as the Roland Super MPU64, etc.). In this case,
the MIDI interface is connected to the computer, and a MIDI
cable is used to connect the MIDI connectors of the MIDI
interface to the XV-88’s MIDI connectors.
Connect the XV-88 to your computer using the method that
is appropriate for your setup.
If connecting using the MIDI connectors, please read the
related information starting on (p. 209).
• The new setting of the COMPUTER switch will take
effect when the power is turned on. Before changing the
setting of the COMPUTER switch, you must first turn off
the power on the XV-88.
• This setting determines the transmission speed (baud
rate) between your computer and the MIDI sound
generator (the XV-88), and the setting used by the
computer must match the setting on the XV-88. This
setting determines the baud rate for the XV-88. When
setting your computer, it may be necessary to make
settings in the software as well. If you are using
Windows, settings may be different than the above,
depending on your driver settings. In such cases,
carefully read the manual included with the driver, and
then make the necessary settings.
• The PC baud rate is 38.4 (kbit/sec). You cannot use the
computer which the baud rate can be set to only 31.25
(kbit/sec).
3. 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. If you’re using a PC, connect
the computer cable to the serial port (RS-232C) connector
on the rear of the computer.
For the Computer cable, refer to “Computer Cable
Wiring Diagrams” (p. 299) and obtain an appropriate
cable for your computer.
208
Chapter 12. Realizing the Potential of the XV-88
4. Connect the other end of the Computer cable to the COMPUTER connector on the left side of the
XV-88.
fig.12-05.e
Apple Macintosh series
Modem Port or
Printer Port
PC
Computer cable
XV-88 Rear Panel
Serial Port
Computer cable
When you record the performance data of the keyboard controller section to sequence software,
you need to set the Local Switch to off, and set the Thru function of your software to on (p. 211).
Connecting with MIDI Connectors
If a MIDI interface (Roland Super MPU64, etc.) or a MIDI interface adaptor is connected to your
computer, 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 XV-88, 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 XV-88’s rear panel to MIDI.
Chapter 12
fig.12-06
The new setting of the COMPUTER switch will take effect when the power is turned on. Before
changing the setting of the COMPUTER switch, you must first turn off the power on the XV-88.
209
Chapter 12. Realizing the Potential of the XV-88
3. Use a MIDI cable to connect the MIDI OUT connector of the MIDI interface to the MIDI IN
connector of the XV-88.
4. Use a MIDI cable to connect the MIDI IN connector of the MIDI interface with the XV-88’s MIDI
OUT connector.
fig.12-07.e
Apple Macintosh series
IN
MI
DI
Modem or
Printer Port
OU
T
XV-88 Rear Panel
MIDI Interface Adapter
PC
Super MPU64
The setting
is MIDI
XV-88 Rear Panel
USB
Connector
The setting
is MIDI
USB
Cable
The connection in Step 4 is not required when producing sounds only with the sound generator
section of the XV-88, such as when playing back song data. This connection does become
necessary when performance data from the XV-88’s keyboard controller section is to be recorded
with sequencer software. However, in this case you must also turn the XV-88’s Local switch to
OFF, and the Thru function of your software to ON (p. 211).
210
Chapter 12. Realizing the Potential of the XV-88
Disconnecting the Keyboard from
the Internal Sound Generator
(Local OFF)
The XV-88 contains a keyboard controller section and sound
generating section, packaged as a single unit. This means that
you can make a setting (Local Switch on/off) that specifies
whether or not the performance data from the XV-88’s
keyboard will be transmitted directly to the sound generator.
When you use the XV-88 by itself, you will normally set the
Local Switch to ON. However, when you use it with a
computer, you should set the Local Switch to OFF so that the
performance data of the keyboard controller section will be
disconnected from the internal sound generator section.
In this case, the data sent over two paths, i.e., the data sent
directly from the keyboard controller section and the data
sent from the keyboard controller section via the computer,
ends up being sent to the sound generator section
simultaneously. Thus, for example, even when you play a
“C” key only once, the note “C” cannot be sounded correctly,
as the sound is played by the sound generator section twice.
fig.01-02.e
Recording
Sequencer
Turn on the MIDI Thru Function of Your
Sequencer Software
In order for the musical data received by the computer from
the XV-88 to be transmitted back to the XV-88, the MIDI Thru
function of the sequencing program must be turned on.
When the MIDI Thru function of the sequencing program is
turned on, MIDI messages received at MIDI IN will be retransmitted without change from MIDI OUT.
For details on whether or not your sequencing program
has a MIDI Thru function, and how to set the MIDI Thru
function, refer to the owner’s manual for your
sequencing program.
• If your sequencing program does not have a MIDI Thru
function, set the XV-88’s Local Switch 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 XV-88’s Local Control
setting ON.
MIDI Thru: On
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
Transmit
Switch:
On
Receive Switch: On
Local Switch: Off
Sound
Generator
Section
Keyboard Controller
Section
Chapter 12
XV-88
Turn the Local Switch on/off by the following parameters.
In Patch/Rhythm Set Mode
Local parameter (SYSTEM/MIDI/PATCH MIDI) (p. 170)
In Performance Mode
Local parameter (SYSTEM/MIDI/PERFORM MIDI) (p. 169)
211
Chapter 12. Realizing the Potential of the XV-88
How MIDI Messages Are
Exchanged with a Computer
When the COMPUTER Switch Is Set to
MIDI
fig.12-09.e
Depending on the setting of the COMPUTER switch, MIDI
data flow will be different as follows.
MIDI Thru Function: On
When the COMPUTER Switch Is Set to
Mac or PC
fig.12-08.e
MIDI Thru Function: On
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
COMPUTER
COMPUTER
Sound
Generator
Section
Keyboard Controller
Section
Sound
Generator
Section
Local Switch: Off
Keyboard Controller
Section
Local Switch: Off
212
XV-88
XV-88
Appendices
213
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.
* If a message appears during operation, consult the following
section “Error Messages” (p. 218).
Cannot Turn the Power On
Is the XV-88’s AC cord properly connected to
the AC outlet and the XV-88? (Quick Start; p.
16)
No Sound
Is the power turned on for the other devices
connected to the this unit? Is the volume level
turned down?
Is the VOLUME slider turned all the way
down?
Have connections been made correctly?
• When using the XV-88 by itself, connect audio cables or
headphones (Quick Start; p. 16).
• If using the XV-88 connected to a computer, use a
computer cable or MIDI cable to make the connection to
the computer (p. 208). Then, connect audio cables or
headphones (Quick Start; p. 16).
Can you hear sound through headphones?
• If there is sound in the headphones, it is possible that the
connection cables are broken, or that the amp or mixer is
malfunctioning. Check the connection cables and other
devices once again.
If you do not hear sound when you play the
keyboard, check whether the Local Switch is
turned OFF.
In Layer Performance mode, does the MIDI
transmit channel match the MIDI receive
channel?
• Check that the MIDI transmit channel (Channel
parameter (ZONE/MIDI/MIDI)) of the Zone matches
the MIDI receive channel (Channel parameter
(PERFORM/MIDI/MIDI)) of the Part (p. 52, p. 59).
Have all tones in the patch been turned off?
• Press TONE SWITCH [1]–[4], getting the indicators to
light (p. 32).
Are the Tone, Patch and Part level settings
excessively low?
• Check the level settings of each Tone, Patch and Part
with the following parameters.
Tone level
Level parameter (PATCH/TVA/TVA) (p. 90)
Patch level
Level parameter (PATCH/COMMON/PATCH
LVL&PAN) (p. 70)
Part level
Level parameter (PERFORM/PART/SETTING) (p. 53)
Are the effect settings correct?
• Check the Effect settings ON or OFF (p. 105), in the
Effect Balance or Level.
Are the output destination settings correct?
• Check the Output Assign settings (p. 108, p. 109, p. 113,
p. 116, p. 158, p. 160, p. 194, p. 195).
Is the Wave Expansion Board properly
installed?
• When selecting the settings that stipulate the use of XPA–D waves, Patches, or Rhythm Sets, check that the
specified Wave Expansion Board is installed properly in
the specified slot (Quick Start; p. 4, p. 10).
• Turn the Local Switch on by the following parameter.
In Patch/Rhythm Set Mode
Local parameter (SYSTEM/MIDI/PATCH MIDI) (p.
170)
In Performance Mode
Local parameter (SYSTEM/MIDI/PERFORM MIDI) (p.
169)
Local parameter (ZONE/MIDI/MIDI) (p. 60)
214
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. 48).
• 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 (p. 56).
Troubleshooting
Is the rear panel COMPUTER switch set to the
correct position?
• If you are using the XV-88 while connected to a
computer, make settings as appropriate for the
connection method, the type of computer, and the
settings of the driver (p. 208).
* Before changing the setting of the Computer switch, you must
first turn off the power on the XV-88.
Song Data Does Not Play Back
Correctly
When playing back a GM score, is the sound
generator set to GM mode?
• Switch to GM mode (p. 192).
Has the Receive General MIDI/General MIDI 2
System On Switch been turned ON?
• Set the Rx GM On/Rx GM2 On parameter (SYSTEM/
MIDI/SYSTEM MIDI) to ON (p. 171).
Are you playing back from the middle of the
song?
• The beginning of a GM score song contains a General
MIDI/General MIDI 2 System On message. In some
cases, a GM Score cannot be played back correctly unless
this message is received.
Are you playing back GS format song data?
When the XV-88 receives a GS Reset message, the XV-88 is
enabled for the GS format. This permits playback of music
data bearing the GS logo (GS music data). However, data
created exclusively for the Sound Canvas Series may not play
back properly on the XV-88.
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 of the Part (p. 52).
No Sound from Connected MIDI
Device
Is the instrument set to transmit MIDI
messages?
• In the Patch/Rhythm Set mode, set the Tx Ch parameter
(SYSTEM/MIDI/PATCH MIDI) (p. 170).
• In the Performance mode, set the Tx parameter (ZONE/
MIDI/MIDI) to ON (p. 59).
Does the MIDI transmit channel for the XV88’s keyboard controller section match the
MIDI receive channel for the connected MIDI
device?
• In the Patch/Rhythm Set mode, set the Tx Ch parameter
(SYSTEM/MIDI/PATCH MIDI) (p. 170).
• In the Performance mode, set the MIDI transmit channel
with the Channel parameter (Zone/MIDI/MIDI) (p. 59).
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 Tone, the Performance Part,
and the Zone in the following KEY RANG pages.
Tone Key Range
TMT KEY RANG page (PATCH/COMMON) (p. 73)
A Specific Part Does Not Sound
Has the volume level of the part been
lowered?
Part Key Range
KEY RANG page (PERFORM/COMMON) (p. 51)
Zone Key Range
KEY RANG page (ZONE/KEY RANGE) (p. 59)
Adjust the Level parameter (PERFORM/PART/SETTING) to
raise the volume of the part that is not heard (p. 53).
Is the instrument set to receive MIDI
messages?
Appendices
• Set the Rx Sw parameter (PERFORM/MIDI/MIDI) to
ON (p. 52).
215
Troubleshooting
Sound Is Distorted
• Is an effect which distorts the sound being applied? (p.
117)
Sounds Are Interrupted
If you attempt to play more than 128 voices at
once, sounds will be interrupted (p. 23).
• If the sound is distorted for specific Patches or parts, lower
the volume level of those Patches or Parts (p. 70, p. 53).
• Reduce the number of Tones that you are using (p. 32, p.
81).
• If all sounds are distorted, use the VOLUME slider to
lower the volume level.
• Increase the Voice Reserve setting for Parts that must not
drop out (p. 53).
Pitch Is Incorrect
Is the tuning of the XV-88 incorrect?
• Check the Master parameter (SYSTEM/TUNE/SYSTEM
TUNE) setting (p. 173).
Has the pitch been changed by pedal
operations or by Pitch Bend messages
received from an external MIDI device?
• Use the Panic function to reset the original values (p. 48).
• If you are in Performance mode, access the INFO display
(PERFORM/INFO) to check the settings of the Pitch
Bend Message parameter (Bnd), and make the
appropriate settings (p. 56).
Have the Coarse Tune or Fine Tune
parameters been set for specific Parts?
• Check the Coarse parameter and Fine parameter
(PERFORM/PART/PITCH) settings (p. 55).
When You Play the Keyboard,
Notes Do Not Stop
Is the pedal polarity of the Hold Pedal
reversed?
• Check the Polarity parameter (SYSTEM/CONTROL/
HOLD PEDAL) setting (p. 172).
Exclusive Messages Are Not
Received
Is the instrument set to receive Exclusive
messages?
• Set the Rx Sys.Excl parameter (SYSTEM/MIDI/SYSTEM
MIDI) to ON (p. 171).
Does the Device ID number of the transmitting
device match the Device ID number of the XV88?
Effects Do Not Apply
• Check the Device ID parameter (SYSTEM/MIDI/
SYSTEM MIDI) (p. 171).
Are [MULTI], [CHORUS], and [REVERB] turned
off?
* If you wish to rewrite the User memory settings by System
Exclusive messages, turn Exclusive Protect off (p. 188).
• Press each button, getting the indicator to light (p. 105).
Are the various effect settings correct?
• If the send levels to each effect are at 0, effects are not
applied. Check each setting (p. 110, p. 113, p. 116, p. 194).
• Even with send levels to each effect set at 0, effects are
not applied if the Multi-effects Dry Send Level (p. 116),
the Chorus Level (p. 158), or the Reverb Level (p. 160) is
set to 0. Check each setting.
• If Output Assign is set to other than MFX, the Multieffects sound will not be output (p. 108, p. 109, p. 113).
• If Output Assign is set to PATCH for each Part of the
Performance, the sound will be output according to the
Output Assign settings of the Patch (for each Tone)
which is assigned to those Parts (p. 113). This means that
if Output Assign for the Patch (each Tone) is set to other
than MFX, the Multi-effects sound will not be output (p.
109).
216
The XV-88 Does Not Transmit
MIDI Data
Is the rear panel COMPUTER switch set to the
correct position?
• If you wish to transmit this unit data via the
COMPUTER connector, set the COMPUTER switch to
Mac or PC, depending on the computer or software you
are using (p. 208).
• When the COMPUTER switch is set to MIDI, the XV-88
will not transmit data from the COMPUTER connector.
In this case, data will be transmitted from the MIDI OUT
connector.
Troubleshooting
When Using Sequencing
Software, Operating the Sliders
or Other Controls Does Not Affect
the Sound
• 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 XV-88’s Local Control
switch ON by the following parameter.
In Patch/Rhythm Set Mode
Local parameter (SYSTEM/MIDI/PATCH MIDI) (p.
170)
In Performance Mode
Local parameter (SYSTEM/MIDI/PERFORM MIDI) (p.
169)
Local parameter (ZONE/MIDI/MIDI) (p. 60)
Cannot Use Memory Cards
Is the memory card (SmartMedia) formatted?
Appendices
• You cannot use an unformatted memory card. Perform
the Format procedure (p. 189).
217
Error Messages
If there has been a mistake in operation, or if the XV-88 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.
fig.err01
Situation:
Action:
The internal backup battery of the XV-88 (a
battery that maintains data in the user memory)
has run down.
Consult your dealer or a nearby Roland service
station to have the battery replaced.
fig.err02
Situation:
fig.err07
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.
fig.err08
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.
The XV-88 cannot handle this file.
fig.err09
fig.err03
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.
Situation:
A memory card is not inserted in the MEMORY
CARD slot.
Action:
Turn off the power, and insert a memory card.
fig.err10
fig.err04
Situation:
A file of the same name exists on the memory
card.
Action:
Use a different file name.
Situation:
Since a write protect seal is affixed to the
memory card, data cannot be saved to the card
bank.
Action:
Remove the write protect seal from the memory
card.
fig.err05
fig.err11
Situation:
A file name has not been assigned.
Action:
Assign a file name.
fig.err06
Situation:
The specified file was not found.
Action:
Insert the memory card that contains the
specified file, and try the operation once again.
218
Situation:
Due to an inordinate volume of MIDI messages
received, the XV-88 has failed to process them
properly.
Action:
Reduce the amount of MIDI messages to be
transmitted.
Error Messages
fig.err12
fig.err17
Situation:
A problem has occurred with the MIDI cable
connections.
Situation:
The PR-H (GM2) group Patch/Rhythm Set
cannot be edited.
Action:
Check that MIDI cables are not broken or pulled
out.
Action:
Select a Patch/Rhythm Set from another group
(USER, CD-A–H, PR-A–F, XP-A–D) and edit.
fig.err13
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 XV88.
fig.err14
Situation:
This memory card cannot be used by the XV-88.
Action:
Format the memory card on the XV-88.
fig.err15
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.
fig.err16
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.
Turn the Exclusive parameter OFF.
Appendices
Action 2:
219
Quick Reference of Procedures
The XV-88 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 “press [B] while holding down [A]”; “[A] → [B]” means “press [B] after first
pressing (and releasing) [A].”
Performance Mode
Selecting the Performance
Mode PLAY Page
Press [PERFORM].
Selecting a Performance
Use the VALUE dial, [INC/+], [DEC/-], or numeric keys to
select.
Selecting a Performance
Group
USER: Press [USER].
CD-A–H: Press [CARD] → [A]–[H].
PR-A, B: Press [PRESET] → [A], [B].
Selecting Performances
Using the Digit Hold
Function
1. Press [SHIFT] + numeric key [0] (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] + [0] once
again.
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.
Modifying Performance
Settings
(basic procedure)
1. Turn on the [EDIT] indicator.
2. Use the function buttons to select the display group.
3. Use
/
to select the desired setting page.
4. Turn off the [EDIT] indicator.
5. Use [ZONE/PART SELECT] (function button) to select
the Part.
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 display group, turn on the
[EDIT] indicator.
220
Adjusting the Volume of
Each Part
Level parameter (PERFORM/PART/SETTING)
Adjusting the Pan of
Each Part
Pan parameter (PERFORM/PART/SETTING)
Quick Reference of Procedures
Modifying Zone Settings
(basic procedure)
1. Turn on the [ZONE] indicator.
2. Use the function buttons to select the display group.
3. Use
/
to select the desired setting page.
4. Turn off the [EDIT] indicator.
5. Use [ZONE/PART SELECT] (function button) to select
the Zone.
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 display group, turn on the
[EDIT] indicator.
Patch Mode
Selecting the Patch
Mode PLAY Page
Press [PATCH].
Selecting a Patch
Use the VALUE dial, [INC/+], [DEC/-], or numeric keys to
select.
Selecting a Patch Group
USER: Press [USER].
CD-A–H: Press [CARD] → [A]–[H].
PR-A–F, H: Press [PRESET] → [A]–[F], [H].
XP-A–D: Press [EXP] → [A]–[D].
Selecting Patches Using
the Digit Hold Function
1. Press [SHIFT] + numeric key [0] (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] + [0] 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].
Appendices
Raise the keyboard:press [TRANSPOSE] + [+OCT]
221
Quick Reference of Procedures
Modifying Patch Settings
(basic procedure)
1. Turn on the [EDIT] indicator.
2. Use the function buttons to select the display group.
3. Use
/
to select the desired setting 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 display group, turn on the
[EDIT] indicator.
Changing the Patch
Assigned to a
Performance Part
1. Press [PERFORM] + [PATCH].
2. Use
/
to select a Part.
3. Use the VALUE dial, [INC/+], [DEC/-], or the numeric
keys to choose the Patch.
The rest procedure 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 LVL&PAN)
Adjusting the Pan of a
Patch
Pan parameter (PATCH/COMMON/PATCH LVL&PAN)
Rhythm Set Mode
Selecting the Rhythm Set
Mode PLAY Page
Press [RHYTHM].
Selecting a Rhythm Set
Use the VALUE dial, [INC/+], [DEC/-], or the numeric keys
to choose a Rhythm Set.
Selecting a Rhythm Set
Group
USER: Press [USER].
CD-A–H: Press [CARD] → [A]–[H].
PR-A–F, H: Press [PRESET] → [A]–[F], [H].
XP-A–D: Press [EXP] → [A]–[D].
Selecting Rhythm Sets
Using the Digit Hold
Function
1. Press [SHIFT] + numeric key [0] (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] + [0] once
again.
222
Quick Reference of Procedures
Modifying Rhythm Set
Settings
(basic procedure)
1. Turn on the [EDIT] indicator.
2. Use the function buttons to select the display group.
3. Use
/
to select the desired setting page.
4. Use the keyboard to choose a Rhythm Tone (percussion
sound).
5. Use
/
to select a Parameter.
6. Use the VALUE dial, [INC/+], [DEC/-], or the numeric
keys to modify the value.
Changing the Rhythm
Set Assigned to a
Performance Part
1. Press [PERFORM] + [PATCH].
2. Use
/
to select a Part.
3. Use the VALUE dial, [INC/+], [DEC/-], or the numeric
keys to choose the Rhythm Set.
The rest procedure is the same as for the basic procedure listed
above.
Adjusting the Volume of
Rhythm Sets
Level parameter (RHYTHM/COMMON/RHYTHM
COMMON)
Controller Settings
Changing the Range of
the Pitch Bend Lever
(for each Patch)
Bend Range parameter (PATCH/CONTROL/TMT
CTRL&BENDER)
Selecting the MIDI
Messages Controlled by
the C1–C4 Sliders
Assign parameters (SYSTEM/CONTROL/C1–C4 ASSIGN)
Selecting the MIDI
Messages Controlled by
the Control Pedal
Assign parameter (SYSTEM/CONTROL/CONTROL PEDAL
1, 2)
Reversing the Polarity of
Control Pedal (when
using a pedal of another
manufacturer whose
polarity is reversed)
Polarity parameter (SYSTEM/CONTROL/CONTROL PEDAL
1, 2)
Selecting the MIDI
Messages Controlled by
the D Beam Controller
In Performance Mode
Assign parameter (ZONE/D BEAM/D BEAM CONTROL)
In Patch/Rhythm Set Mode
Appendices
Assign parameter (SYSTEM/D BEAM/D BEAM CONTROL)
223
Quick Reference of Procedures
Controlling Tone
Parameters of the Patch
by the Slider or Pedal
(Matrix Controller)
For each Patch, you can specify up to four control sources
(MIDI messages for controlling). For each control source, you
can specify up to four control destinations (parameters to be
controlled).
1. Specify the MIDI messages to be controlled by each
controller (the C1–C4 slider, control pedal etc.) (see
previous).
2. Choose a control source (MIDI messages used for control).
Control 1–4 parameters (PATCH/CONTROL/MATRIX
CTRL SRC)
* If you do not need to set different control sources for each Patch,
select SYS-CTRL 1–4, and use the Control 1–4 parameters
(SYSTEM/CONTROL/SYS CTRL ASSIGN 1–4) to choose the
MIDI messages that you wish to use for control.
3. Specify the control destination (the parameter to be
controlled).
Dest parameter (PATCH/CONTROL/MATRIX
CONTROL 1–4)
4. Set the Control Sensitivity (the amount of the effect that is
applied).
Sns parameter (PATCH/CONTROL/MATRIX
CONTROL 1–4)
5. Select the Control Tone (the Tone to which the effect is
applied).
Tone parameter (PATCH/CONTROL/MATRIX
CONTROL 1–4)
224
Quick Reference of Procedures
Controlling Multi-effects
Parameters by the Slider
or Pedal
(Multi-effects Controller)
Up to four Multi-effects Controllers can be used in a single
Performance/Patch/Rhythm Set.
1. Specify the MIDI messages to be controlled by each
controller (the C1–C4 slider, control pedal etc.) (see
previous).
2. The multi-effects Source parameter (PERFORM/
EFFECTS/MFX TYPE) is set to PERFORM, set the Control
channel (the receive channel of control destination) (only
Performance).
MFX Control Channel parameter (PERFORM/
COMMON/PERFORM MFX CH)
3. Choose a control source (MIDI messages used for control).
Source parameter (PERFORM, PATCH, RHYTHM/
EFFECTS/MFX CTRL 1–4)
* If you do not need to set different control sources for each
Performance/Patch/Rhythm Set, select SYS-CTRL 1–4, and use
the Control 1–4 parameters (SYSTEM/CONTROL/SYS CTRL
ASSIGN 1–4) to choose the MIDI messages that you wish to
use for control.
4. Specify the control destination (the parameter to be
controlled).
Destination parameter (PERFORM, PATCH, RHYTHM/
EFFECTS/MFX CTRL 1–4)
5. Set the Control Sensitivity (the amount of the effect that is
applied).
Sens parameter (PERFORM, PATCH, RHYTHM/
EFFECTS/MFX CTRL 1–4)
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
1. In Performance mode, press [UTILITY].
2. Select “1. WRITE” on the UTIL 1 page.
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.
Appendices
Saving Performance
Settings
225
Quick Reference of Procedures
Saving Patch Settings
1. In Patch mode, press [UTILITY].
2. Select “1. WRITE” on the UTIL 1 page.
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 page.
Saving Rhythm Set
Settings
1. In Rhythm Set mode, press [UTILITY].
2. Select “1. WRITE” on the UTIL 1 page.
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 Rhythm Set in the selected
writing destination, press [UNDO/COMPARE]. Press it once
again to return to the previous page.
Saving Patches and
Rhythm Sets You Like on
the Favorite List
1. Select the Patch or Rhythm Set you wish to save.
2. Hold down [SHIFT] and press [PATCH FINDER].
3. Specify the number of saving destination.
4. Press [SHIFT] + [ENTER].
Formatting a Memory
Card
1. Press [UTILITY].
2. Select “1. CARD” on the UTIL 2 page.
3. Select “1. FORMAT.”
4. Press [ENTER].
Saving User Memory
Settings and System
Settings to Memory Card
as a Unit
1. Press [UTILITY].
2. Select “3. SAVE” on the UTIL 2 page.
3. Assign a file name.
4. Press [ENTER].
Loading a File from
Memory Card into the
XV-88
1. Press [UTILITY].
2. Select “2. LOAD” on the UTIL 2 page.
3. Select the file you want to load.
4. Press [ENTER].
226
Quick Reference of Procedures
Deleting a File from
Memory Card
1. Press [UTILITY].
2. Select “1. CARD” on the UTIL 2 page.
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 [UTILITY].
2. Select “1. CARD” on the UTIL 2 page.
3. Select “5. INFO.”
Controlling External MIDI Devices
Setting the MIDI
Transmit Channel for
Performance Mode
(for each Zone)
Channel parameter (ZONE/MIDI/MIDI)
Turning the MIDI
Transmit Switch On/Off
for Performance Mode
(for each Zone)
Tx parameter (ZONE/MIDI/MIDI)
Setting the MIDI
Transmit Channel for
Patch/Rhythm Set Mode
Tx Ch parameter (SYSTEM/MIDI/PATCH MIDI)
Turning On/Off the
Transmit Switch of
Program Change
Message
Program parameter (SYSTEM/MIDI/TRANSMIT MIDI)
Turning On/Off the
Transmit Switch of Bank
Select Messages
Bank Sel parameter (SYSTEM/MIDI/TRANSMIT MIDI)
Switching Multiple Tones
on External MIDI Devices
at Once When Switching
the Performance
1. Set the Tx parameter (ZONE/MIDI/MIDI) of the Zone to
be used to ON.
2. Set the Bank Select MSB/LSB parameter (ZONE/EXT
CONTROL/EXT PC) to match the Bank Select of the
external MIDI device.
3. Set the P.C# parameter (ZONE/EXT CONTROL/EXT
P.C) to match the Program Change number for the Tone
you want the external MIDI device to select.
4. Save the Performance.
Appendices
5. Switch to the saved Performance from other
Performances.
227
Quick Reference of Procedures
Controlling the XV-88 from an External MIDI Device
228
Setting the MIDI Receive
Channel for
Performance Mode
(for each Part)
Channel parameter (PERFORM/MIDI/MIDI)
Turning On/Off the MIDI
Receive Switch in
Performance Mode
(for each Part)
Rx Sw parameter (PERFORM/MIDI/MIDI)
Setting the Receive
Channel on which
Performances will be
Selected
Control Channel parameter (SYSTEM/MIDI/PERFORM
MIDI)
Turning On/Off the
Receive Switch of the
MIDI Messages in
Performance Mode
(for each Part)
RxSWITCH page (PERFORM/MIDI)
Confirming the Receive
Status of MIDI Messages
in Performance Mode
(for each Part)
INFO page (PERFORM/INFO)
Setting the MIDI Receive
Channel for Patch/
Rhythm Set Mode
Rx Ch parameter (SYSTEM/MIDI/PATCH MIDI)
Turning On/Off the
Receive Switch of
Program Change
Message
Program Change parameter (SYSTEM/MIDI/RECEIVE MIDI)
Turning On/Off the
Receive Switch of Bank
Select Messages
Bank Select parameter (SYSTEM/MIDI/RECEIVE MIDI)
Turning On/Off the
Receive Switch of the
MIDI Messages in Patch/
Rhythm Set Mode
(for each Tone)
CTRL Rx MIDI page (PATCH/CONTROL)
Quick Reference of Procedures
Others
Using the Panic Function
Press [SHIFT] + [EXIT].
Adjusting the Tuning
Master parameter (SYSTEM/TUNE/SYSTEM TUNE)
Adjusting the Display
Contrast
LCD 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 [UTILITY].
3. Select “3. INIT” on the UTIL 1 page.
4. Select “PRESET.”
5. Press [ENTER].
1. Press [UTILITY].
2. Select “4. FACTORY RESET” on the “UTIL 2” page.
3. Press [ENTER].
If a message of “Internal Write Protect= ON” appears,
change it to OFF and press [ENTER] three times.
Appendices
Restoring the XV-88 to
the Factory Settings
229
Parameter List
Performance Parameters
* Parameters that can be set independently for each Part are indicated by “P.”
COMMON Group (p. 51)
Display
Parameter
PERFORM NAME
PART KEY RANG
---L.Fade
Lower
Upper
U.Fade
MFX Control Channel
PERFORM MFX CH
Value
Performance name
Key fade width lower
Key range lower
Key range upper
Key fade width upper
Multi-effects control channel
ASCII Characters (max. 12)
0–127
C-1–G9
C-1–G9
0–127
1–16, OFF
P
P
P
P
P
EFFECTS Group (p. 52)
Display
Parameter
OUTPUT
Output Assign
Chorus
Reverb
PERFORM MFX TYPE Type
Source
PERFORM MFX PRM (*1)
PERFORM MFX CTRL Source
Destination
Sens
PERFORM MFX OUT
Output
Dry
Chorus
Reverb
PERFORM CHO TYPE Type
Source
PERFORM CHO PRM (*4)
PERFORM CHO OUT Output Assign
Level
Select
PERFORM REV TYPE Type
Source
PERFORM REV PRM
(*5)
PERFORM REV OUT
Output Assign
Level
Value
Output assign
Output level
Chorus send level
Reverb send level
Multi-effects type
Multi-effects source
Multi-effects parameters
Multi-effects control source 1, 2, 3, 4
Multi-effects control destination 1, 2, 3, 4
Multi-effects control sensitivity 1, 2, 3, 4
Multi-effects output assign
Multi-effects dry send level
Multi-effects chorus send level
Multi-effects reverb send level
Chorus type
Chorus source
Chorus parameters
Chorus output assign
Chorus level
Chorus output select
Reverb type
Reverb source
Reverb parameters
Reverb output assign
Reverb level
MFX, OUTPUT A/B, INDIV 1–4, PATCH
0–127
0–127
0–127
(*1)
PERFORM, PART 1–16
(*2)
(*3)
-63– +63
A, B
0–127
0–127
0–127
OFF, CHORUS, DELAY
PERFORM, PART 1–16
A, B
0–127
MAIN, REV, MAIN+REV
OFF, REVERB, SRV ROOM, SRV HALL, SRV PLATE
PERFORM, PART 1–16
A, B
0–127
*1: Refer to “Multi-Effects Parameters” (p. 241).
*2: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4
*3: Refer to “Multi-Effects Types” (p. 117).
*4: Refer to “Chorus Parameters” (p. 248).
*5: Refer to “Reverb Parameters” (p. 249).
230
P
P
P
P
Parameter List
MIDI Group (p. 52)
Display
Parameter
MIDI
Channel
Rx Sw
Mute Sw
Bank Select
Program Change
Vol
Pan
Exp
Hld
Bnd
Mod
Caf
Paf
Velocity Curve
Phase Lock
RxSWITCH
VELO CRV
Value
MIDI receive channel
Receive switch
Mute switch
Receive bank select switch
Receive program change switch
Receive volume switch
Receive pan switch
Receive expression switch
Receive hold 1 switch
Receive pitch bend switch
Receive modulation switch
Receive channel aftertouch switch
Receive polyphonic aftertouch switch
Velocity curve
Phase lock switch
1–16
OFF, ON
OFF, MUTE
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, 1, 2, 3, 4
OFF, ON
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
PAT, RHY
USER, CD-A, CD-B, CD-C, CD-D, CD-E, CD-F,
CD-G, CD-H, PR-A, PR-B, PR-C, PR-D, PR-E, PR-F,
GM, XP-A, XP-B, XP-C, XP-D
001–***
0–127
L64–0–63R
0–63, FULL
-64– +63
-64– +63
-64– +63
-64– +63
-63– +63
-3– +3
-48– +48 semitone
-50– +50 cent
0–24, PATCH
MONO, POLY, PATCH
OFF, ON, PATCH
OFF, ON:0–127, PATCH
PART Group (p. 53)
Display
Parameter
PATCH
Type
Group
type
Patch/Rhythm Set group
Number
Level
Pan
Voice Reserve
Cut
Res
Atk
Rel
Velocity Sens
Octave
Coarse
Fine
BendRng
Mno/Pol
Legato
Portament Sw:Tm
Patch/Rhythm Set number
Part level
Part pan
Voice reserve
Part cutoff frequency offset
Part resonance offset
Part attack time offset
Part release time offset
Part velocity sensitivity offset
Part octave shift
Part coarse tune
Part fine tune
Bend range
Part mono/poly
Legato switch
Portamento switch:time
SETTING
MODIFY
PITCH
MONO/POL
Value
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
INFORMATION Group (p. 56)
Parameter
INFO
Mod
Breath
Foot
Vol
Pan
Exp
Hld
Bnd
Aft
Sy1
Sy2
Sy3
Sy4
Vo
Value
Modulation information
Breath information
Foot information
Volume information
Pan information
Expression information
Hold 1 information
Pitch bend information
Aftertouch information
System control 1 information
System control 2 information
System control 3 information
System control 4 information
Voice information
0–127
0–127
0–127
0–127
L64–0–63R
0–127
0–127
-128– +127
0–127
0–127/-128– +127
0–127/-128– +127
0–127/-128– +127
0–127/-128– +127
0–128
P
P
P
P
P
P
P
P
P
P
P
P
P
P
Appendices
Display
231
Parameter List
Zone Parameters
* Parameters that can be set independently for each Tone are indicated by “Z.”
COMMON Group (p. 58)
Display
Parameter
ZONE COMMON
Key Mode
Value
Key mode
LAYER, SINGLE
KEY RANGE Group (p. 59)
Display
Parameter
KEY RANG
Lower
Upper
Value
Key range lower
Key range upper
C-1–G9
C-1–G9
Z
Z
MIDI Group (p. 59)
Display
Parameter
MIDI
Channel
Tx
Local
Value
MIDI transmit channel
Transmit switch
Local switch
1–16
OFF, ON
OFF, ON
Z
Z
Z
EXT CONTROL Group (p. 60)
Display
Parameter
EXT P.C
P.C#
Bank Select MSB
Bank Select LSB
Volume
Pan
EXT CTRL
Value
External program change number
External bank select MSB
External bank select LSB
External volume
External pan
1–128, NO-SEND
0–127
0–127
0–127, NO-SEND
0–127, NO-SEND
Z
Z
Z
Z
Z
ARPEGGIO Group (p. 61)
Display
Parameter
ARPEGGIO
Style
Octave Range
Motif
Beat Pattern
Accent Rate
Shuffle Rate
Key Velocity
Zone
Tempo
Value
Arpeggio style
Octave range
Motif
Beat pattern
Accent rate
Shuffle rate
Key velocity
Arpeggio zone
Arpeggio tempo
(*1)
-3– +3
(*2)
(*3)
0–100%
50–90%
REAL, 1–127
1–16
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, HEAVY SLAP, LIGHT SLAP, WALK BASS, RHYTHM GTR 1, RHYTHM GTR 2, RHYTHM GTR 3, RHYTHM GTR 4, RHYTHM GTR 5, 3 FINGER, STRUM
GTR UP, STRUM GTR DOWN, STRUM GTR UP&DW, PIANO BACKING, CLAVI CHORD, WALTZ, SWING WALTZ, REGGAE, 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+RND1–3, 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, REGGAE 1–2, REFRAIN 1–2, PERC 1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUILO,
AGOGO, SAMBA, TANGO 1–4, HOUSE 1–2
232
Parameter List
D BEAM Group (p. 63)
Display
Parameter
D BEAM CONTROL
Assign
Output
Polarity
Lower
Upper
D Beam Sensitivity
D BEAM RANGE
D BEAM SENS
Value
D Beam assign
D Beam output
D Beam polarity
D Beam range lower
D Beam range upper
D Beam sensitivity
(*1)
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
0–127
0–127
1–10
*1: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, TAP TEMPO
INFO Group (p. 64)
Display
Parameter
INFO
ch
tx
part
Value
MIDI transmit channel
Transmit switch status
Part connection status
----------
Patch Parameters
* Parameters that can be set independently for each Tone are indicated by “T.”
COMMON Group (p. 69)
Display
Parameter
PATCH NAME
PATCH CATEGORY
PATCH LVL&PAN
---Category
Level
Pan
Analog Feel
Octave
Coarse
Fine
Stretch
Priority
Output Assign
Clock Source
Tempo
Cut
Res
Atk
Rel
Velocity Sens
TMT Velocity Control
L.Fade
Lower
Upper
U.Fade
L.Fade
Lower
Upper
U.Fade
Type
Booster
PATCH OCT&TUNE
PATCH COMMON
PATCH TEMPO
PATCH MODIFY
TMT VELO CONTROL
TMT VEL RANG
TMT KEY RANG
STRUCT
Value
Patch name
Patch category
Patch level
Patch pan
Analog feel depth
Octave shift
Coarse tune
Fine tune
Stretch tuning depth
Voice priority
Output assign
Patch clock source
Patch tempo
Cutoff frequency offset
Resonance offset
Attack time offset
Release time offset
Velocity sensitivity offset
TMT Velocity control switch
Velocity fade width lower
Velocity range lower
Velocity range upper
Velocity fade width upper
Key fade width lower
Key range lower
Key range upper
Key fade width upper
Structure type
Booster gain
ASCII Characters (max. 12)
(*1)
0–127
L64–0–63R
0–127
-3– +3
-48– +48
-50– +50
OFF, 1, 2, 3
LAST, LOUDEST
MFX, OUTPUT A/B, INDIV 1–4, TONE
PATCH, SYSTEM
20–250
-63– +63
-63– +63
-63– +63
-63– +63
-63– +63
OFF, ON, RANDOM
0–127
1–127
1–127
0–127
0–127
C-1–G9
C-1–G9
0–127
1–10
0, +6, +12, +18 dB
T
T
T
T
T
T
T
T
T
T
Appendices
*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
233
Parameter List
EFFECTS Group (p. 75)
Display
Parameter
OUTPUT
Output Assign
PATCH MFX TYPE
PATCH MFX PRM
PATCH MFX CTRL
PATCH MFX OUT
PATCH CHO TYPE
PATCH CHO PRM
PATCH CHO OUT
PATCH REV TYPE
PATCH REV PRM
PATCH REV OUT
Chorus
Reverb
Type
(*1)
Source
Destination
Sens
Output
Dry
Chorus
Reverb
Type
(*4)
Output Assign
Level
Select
Type
(*5)
Output Assign
Level
Value
Output assign
Output level
Chorus send level
Reverb send level
Multi-effects type
Multi-effects parameters
Multi-effects control source 1, 2, 3, 4
Multi-effects control destination 1, 2, 3, 4
Multi-effects control sensitivity 1, 2, 3, 4
Multi-effects output assign
Multi-effects dry send level
Multi-effects chorus send level
Multi-effects reverb send level
Chorus type
Chorus parameters
Chorus output assign
Chorus level
Chorus output select
Reverb type
Reverb parameters
Reverb output assign
Reverb level
MFX, OUTPUT A/B, INDIV 1–4
0–127
0–127
0–127
(*1)
(*2)
(*3)
-63– +63
A, B
0–127
0–127
0–127
OFF, CHORUS, DELAY
A, B
0–127
MAIN, REV, MAIN+REV
OFF, REVERB, SRV ROOM, SRV HALL, SRV PLATE
A, B
0–127
*1: Refer to “Multi-Effects Parameters” (p. 241).
*2: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4
*3: Refer to “Multi-Effects Types” (p. 117).
*4: Refer to “Chorus Parameters” (p. 248).
*5: Refer to “Reverb Parameters” (p. 249).
234
T
T
T
T
Parameter List
CONTROL Group (p. 76)
Display
Parameter
PATCH KEY MODE
Assign
Legato
Legato Retrigger
Sw
Time
Mode
Type
Start
Bender
Expression
Pan Mode
Hold-1
Redamper
Envelope Mode
TMT Ctrl Sw
Bend Range
PATCH PORTAMNT
CTRL Rx MIDI
TMT CTRL&BENDER
MATRIX CTRL SRC
Value
Key assign
Solo legato switch
Legato retrigger switch
Portamento switch
Portamento time
Portamento mode
Portamento type
Portamento start pitch
Receive pitch bend switch
Receive expression switch
Receive pan mode
Receive hold 1 switch
Redamper switch
Envelope mode
TMT control switch
Bend range down
Bend range up
Matrix control source 1
Matrix control source 2
Matrix control source 3
Matrix control source 4
Matrix control 1 destination 1, 2, 3, 4
Matrix control 1 sensitivity 1, 2, 3, 4
Matrix Control 1 tone 1, 2, 3, 4
Matrix control 2 destination 1, 2, 3, 4
Matrix control 2 sensitivity 1, 2, 3, 4
Matrix Control 2 tone 1, 2, 3, 4
Matrix control 3 destination 1, 2, 3, 4
Matrix control 3 sensitivity 1, 2, 3, 4
Matrix Control 3 tone 1, 2, 3, 4
Matrix control 4 destination 1, 2, 3, 4
Matrix control 4 sensitivity 1, 2, 3, 4
Matrix Control 4 tone 1, 2, 3, 4
Control 1
Control 2
Control 3
Control 4
Dest
Sns
Tone
Dest
Sns
Tone
Dest
Sns
Tone
Dest
Sns
Tone
MATRIX CONTROL1
MATRIX CONTROL2
MATRIX CONTROL3
MATRIX CONTROL4
POLY, MONO
OFF, ON
OFF, ON
OFF, ON
0–127
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
OFF, ON
OFF, ON
CONTINUOUS, KEY-ON
OFF, ON
OFF, ON
NO SUSTAIN, SUSTAIN
OFF, ON
-48–0 semitone
0– +48 semitone
(*1)
(*1)
(*1)
(*1)
(*2)
-63– +63
OFF, ON, R
(*2)
-63– +63
OFF, ON, R
(*2)
-63– +63
OFF, ON, R
(*2)
-63– +63
OFF, ON, R
T
T
T
T
T
T
T
T
T
T
*1: OFF, CC01-95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1,
LFO2, PITCH ENV, TVF ENV, TVA ENV
*2: OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, LFO2 PCH DEPTH, LFO1 TVF DEPTH,
LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT ENV D-TIME,
PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM DEPTH, MFX
CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4
WAVE Group (p. 81)
Display
Parameter
WAVE
Group
Number
Gain
Switch
Wave Tempo Sync
Switch
Color
Depth
Mode
Wave group
Wave number (L, R)
Wave gain
Tone switch
Wave tempo sync
FXM switch
FXM color
FXM depth
Tone delay mode
Time
Tone delay time
FXM
TONE DELAY
Value
INT, XP-A, XP-B, XP-C, XP-D
0001–1083
-6, 0, +6, +12 dB
OFF, ON
OFF, ON
OFF, ON
1–4
1–17
NORMAL, HOLD, KEY-OFF-NORMAL,
KEY-OFF-DECAY
0–127(*1)
T
T
T
T
T
T
T
T
T
T
*1: It can also be set in terms of notes.
fig.note value.e
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Dotted quarter note),
(Half note),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Whole-note triplet),
(Thirty-second note),
(Eighth note),
(Dotted half note),
(Sixteenth-note triplet),
(Quarter-note triplet),
(Whole note),
(Dotted eighth note),
(Double-note triplet),
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
Appendices
(Sixty-fourth-note triplet),
235
Parameter List
LFO Group (p. 83)
Display
Parameter
LFO1 WAVE
Form
LFO waveform
Ofset
Rate
Detune
KeySync
Fade Mode
Fade Time
Delay Time
Delay Keyfollow
(*3)
Pitch
TVF
TVA
Pan
LFO Level offset
LFO rate
LFO rate detune
LFO key sync
LFO fade mode
LFO fade time
LFO delay time
LFO delay time keyfollow
SIN,TRI, SAW-UP, SAW-DW, SQR, RND, UP, DW,
TRP, S&H, CHS
-100, -50, 0, +50, +100
0–127(*1)
0–127
OFF, ON
ON-IN, ON-OUT, OFF-IN, OFF-OUT
0–127
0–127
-100– +100(*2)
Pitch LFO depth1, 2
TVF LFO depth 1, 2
TVA LFO depth 1, 2
Pan LFO depth 1, 2
-63– +63
-63– +63
-63– +63
-63– +63
LFO1 FADE
LFO1 DELAY
LFO2
LFO DEPTH1:2
Value
T
T
T
T
T
T
T
T
T
T
T
T
T
T
*1: It can also be set in terms of notes.
fig.note value.e
(Sixty-fourth-note triplet),
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Thirty-second note),
(Eighth note),
(Sixteenth-note triplet),
(Quarter-note triplet),
(Dotted eighth note),
(Dotted quarter note),
(Half note),
(Whole-note triplet),
(Dotted half note),
(Whole note),
(Double-note triplet),
*2: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
*3: Same as LFO1.
PITCH Group (p. 86)
Display
Parameter
PITCH
Coarse
Fine
Random
Keyfollow
Depth
V-Sens
Time Keyfollow
V-T1
V-T4
L0
T1, T2, T3, T4
L1, L2, L3, L4
PCH ENVELOPE
Value
Coarse tune
Fine tune
Random pitch depth
Pitch keyfollow
Pitch envelope depth
Pitch envelope velocity sensitivity
Pitch envelope time keyfollow
Pitch envelope time 1 velocity sensitivity
Pitch envelope time 4 velocity sensitivity
Pitch envelope level 0
Pitch envelope time 1, 2, 3, 4
Pitch envelope level 1, 2, 3, 4
-48– +48 semitone
-50– +50 cent
0–1200 cent (*1)
-200– +200 (*2)
-12– +12
-63– +63
-100– +100 (*3)
-63– +63
-63– +63
-63– +63
0–127
-63– +63
T
T
T
T
T
T
T
T
T
T
T
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: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110,
+120, +130, +140, +150, +160, +170, +180, +190, +200
*3: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
236
Parameter List
TVF Group (p. 87)
Display
Parameter
TVF FILTER
Type
Cutoff
Resonance
Keyfollow
V-Cutoff
V-Curve
V-Resonance
Depth
V-Sens
V-Curve
Time KF
V-T1
V-T4
L0
T1, T2, T3, T4
L1, L2, L3, L4
TVF VELOCITY
TVF ENVELOPE
Value
Filter type
Cutoff frequency
Resonance
Cutoff frequency keyfollow
Cutoff frequency velocity sensitivity
Cutoff frequency velocity curve
Resonance velocity sensitivity
TVF envelope depth
TVF envelope velocity sensitivity
TVF envelope velocity curve
TVF envelope time keyfollow
TVF envelope time 1 velocity sensitivity
TVF envelope time 4 velocity sensitivity
TVF envelope level 0
TVF envelope time 1, 2, 3, 4
TVF envelope level 1, 2, 3, 4
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3
0–127
0–127
-200– +200 (*1)
-63– +63
FIXED, 1–7
-63– +63
-63– +63
-63– +63
FIXED, 1–7
-100– +100 (*2)
-63– +63
-63– +63
0–127
0–127
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
*1: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110,
+120, +130, +140, +150, +160, +170, +180, +190, +200
*2: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
TVA Group (p. 90)
Display
Parameter
TVA
Level
Pan
V-Sens
V-Curve
Bias
Point
Direction
Keyfollow
Random
Alternate
V-T1
V-T4
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3
BIAS
PAN MODULATE
TVA TIME ENV
TVA ENVELOPE
Value
Tone level
Tone pan
TVA envelope velocity sensitivity
TVA envelope velocity curve
Bias level
Bias point
Bias direction
Pan keyfollow
Random pan depth
Alternate pan depth
TVA envelope time 1 velocity sensitivity
TVA envelope time 4 velocity sensitivity
TVA envelope time keyfollow
TVA envelope time 1, 2, 3, 4
TVA envelope level 1, 2, 3
0–127
L64–0–63R
-63– +63
FIXED, 1–7
-100– +100 (*1)
C-1–G9
LOWER, UPPER, LOWER&UPPER, ALL
-100– +100 (*1)
0–63
L63–0–63R
-63– +63
-63– +63
-100– +100 (*1)
0–127
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
*1: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
Rhythm Set Parameters
* Parameters that can be set independently for each Rhythm Tone are indicated by “T.”
* Parameters that can be set independently for each Wave comprising the Rhythm Tone are indicated by “W.”
COMMON Group (p. 96)
Parameter
RHYTHM NAME
RHYTHM COMMON
---Level
Output Assign
Clock Source
Tempo
RHYTHM TEMPO
Value
Rhythm set name
Rhythm set level
Output assign
Rhythm set clock source
Rhythm set tempo
ASCII Characters (max. 12)
0–127
MFX, OUTPUT A/B, INDIV 1–4, TONE
RHYTHM, SYSTEM
20–250
Appendices
Display
237
Parameter List
EFFECTS Group (p. 97)
Display
Parameter
OUTPUT
Output Assign
RHYTHM MFX TYPE
RHYTHM MFX PRM
RHYTHM MFX CTRL
RHYTHM MFX OUT
RHYTHM CHO TYPE
RHYTHM CHO PRM
RHYTHM CHO OUT
RHYTHM REV TYPE
RHYTHM REV PRM
RHYTHM REV OUT
Chorus
Reverb
Type
(*1)
Source
Destination
Sens
Output
Dry
Chorus
Reverb
Type
(*4)
Output Assign
Level
Select
Type
(*5)
Output Assign
Level
Value
Output assign
Output level
Chorus send level
Reverb send level
Multi-effects type
Multi-effects parameters
Multi-effects control source 1, 2, 3, 4
Multi-effects control destination 1, 2, 3, 4
Multi-effects control sensitivity 1, 2, 3, 4
Multi-effects output assign
Multi-effects dry send level
Multi-effects chorus send level
Multi-effects reverb send level
Chorus type
Chorus parameters
Chorus output assign
Chorus level
Chorus output select
Reverb type
Reverb parameters
Reverb output assign
Reverb level
MFX, OUTPUT A/B, INDIV 1–4
0–127
0–127
0–127
(*1)
T
T
T
T
(*2)
(*3)
-63– +63
A, B
0–127
0–127
0–127
OFF, CHORUS, DELAY
A, B
0–127
MAIN, REV, MAIN+REV
OFF, REVERB, SRV ROOM, SRV HALL, SRV PLATE
A, B
0–127
*1: Refer to “Multi-Effects Parameters” (p. 241).
*2: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4
*3: Refer to “Multi-Effects Types” (p. 117).
*4: Refer to “Chorus Parameters” (p. 248).
*5: Refer to “Reverb Parameters” (p. 249).
CONTROL Group (p. 97)
Display
Parameter
CONTROL
Bend Range
Envelope Mode
Mute Group
Assign Type
Expression
Pan
Hold-1
Rx MIDI
Value
Bend range
Envelope mode
Mute group
Assign type
Receive expression switch
Receive pan mode
Receive hold 1 switch
0–48
NO-SUS, SUSTAIN
OFF, 1–31
MULTI, SINGLE
OFF, ON
CONTINUOUS, KEY-ON
OFF, ON
T
T
T
T
T
T
T
WAVE Group (p. 98)
Display
Parameter
TONE NAME
WMT WAVE
---Group
Number
Gain
Level
Sw
Tempo Sync
L.Fade
Lower
Upper
U.Fade
WMT Velocity Control
Pan
Random
Alternate
Coarse
Fine
Switch
Color
Depth
WMT VEL RANG
VELO CONTROL
WMT PAN
WMT TUNE
WMT FXM
238
Value
Tone name
Wave group
Wave number (L, R)
Wave gain
Wave level
Wave switch
Wave tempo sync
Velocity fade width lower
Velocity range lower
Velocity range upper
Velocity fade width upper
WMT velocity control switch
Wave pan
Random pan switch
Alternate pan switch
Coarse tune
Fine tune
FXM switch
FXM color
FXM depth
ASCII Characters (max. 12)
INT, XP-A, XP-B, XP-C, XP-D
0001–1083
-6, 0, 6, 12 dB
0–127
OFF, ON
OFF, ON
0–127
1–127
1–127
0–127
OFF, ON, RANDOM
L64–0–63R
OFF, ON
OFF, ON
-48– +48 semitone
-50– +50 cent
OFF, ON
1–4
1–17
T
T
W
W
W
W
W
W
W
W
W
T
W
W
W
W
W
W
W
W
Parameter List
PITCH Group (p. 100)
Display
Parameter
PITCH
Coarse
Fine
Random
Depth
V-Sens
V-T1
V-T4
L0
T1, T2, T3, T4
L1, L2, L3, L4
PCH ENVELOPE
Value
Coarse tune
Fine tune
Random pitch depth
Pitch envelope depth
Pitch envelope velocity sensitivity
Pitch envelope time 1 velocity sensitivity
Pitch envelope time 4 velocity sensitivity
Pitch envelope level 0
Pitch envelope time 1, 2, 3, 4
Pitch envelope level 1, 2, 3, 4
-48– +48 semitone
-50– +50 cent
0–1200 cent (*1)
-12– +12
-63– +63
-63– +63
-63– +63
-63– +63
0–127
-63– +63
T
T
T
T
T
T
T
T
T
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
TVF Group (p. 101)
Display
Parameter
TVF FILTER
Type
Cutoff
Resonance
V-Cutoff
V-Curve
V-Resonance
Depth
V-Sens
V-Curve
V-T1
V-T4
L0
T1, T2, T3, T4
L1, L2, L3, L4
TVF VELOCITY
TVF ENVELOPE
Value
Filter type
Cutoff frequency
Resonance
Cutoff frequency velocity sensitivity
Cutoff frequency velocity curve
Resonance velocity sensitivity
TVF Envelope depth
TVF envelope velocity sensitivity
TVF envelope velocity curve
TVF envelope time 1 velocity sensitivity
TVF envelope time 4 velocity sensitivity
TVF envelope level 0
TVF envelope time 1, 2, 3, 4
TVF envelope level 1, 2, 3, 4
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3
0–127
0–127
-63– +63
FIXED, 1–7
-63– +63
-63– +63
-63– +63
FIXED, 1–7
-63– +63
-63– +63
0–127
0–127
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
TVA Group (p. 103)
Parameter
TVA
Level
Pan
Random
Alternate
Velocity Sens
Velocity Curve
V-T1
V-T4
T1, T2, T3, T4
L1, L2, L3
TVA VELOCITY
TVA TIME ENV
TVA ENVELOPE
Value
Rhythm tone level
Rhythm tone pan
Random pan depth
Alternate pan depth
TVA envelope velocity sensitivity
TVA envelope velocity curve
TVA envelope time 1 velocity sensitivity
TVA envelope time 4 velocity sensitivity
TVA envelope time 1, 2, 3, 4
TVA envelope level 1, 2, 3
0–127
L64–0–63R
0–63
L63–0–63R
-63– +63
FIXED, 1–7
-63– +63
-63– +63
0–127
0–127
T
T
T
T
T
T
T
T
T
T
Appendices
Display
239
Parameter List
GM Mode Parameters
* Parameters that can be set independently for each Part are indicated by “P.”
EFFECTS Group (p. 194)
Display
Parameter
PART OUTPUT
Output Assign
GM CHORUS
GM REVERB
Value
Chorus
Reverb
Type
Rate
Dpth
Fbk
Rev
Out
Type
Output assign
Output level
Chorus send level
Reverb send level
Chorus type
Chorus rate
Chorus depth
Chorus feedback level
Chorus reverb send level
Chorus output assign
Reverb type
Time
Out
Reverb time
Reverb output assign
OUTPUT A/B
0–127
0–127
0–127
CHORUS 1–4, FB CHORUS, FLANGER
0–127
0–127
0–127
0–127
A, B
SMALL ROOM, MEDIUM ROOM, LARGE ROOM,
MEDIUM HALL, LARGE HALL, PLATE
0–127
A, B
P
P
P
P
MIDI Group (p. 195)
Display
Parameter
PART MIDI
Channel
Rx Sw
Mute Sw
Value
MIDI receive channel
Receive switch
Mute switch
1–16, OFF
OFF, ON
OFF, MUTE
Part type
GM patch/rhythm set number
Part volume
Part pan
Part coarse tune
Part fine tune
Part cutoff frequency offset
Part resonance offset
Part attack time offset
Part release time offset
Bend range
Part mono/poly
Part portamento switch:time
PAT, RHY
001–256/001–009
0–127
L64–0–63R
-48– +48 semitone
-50– +50 cent
-64– +63
-64– +63
-64– +63
-64– +63
0–24
MONO, POLY
OFF, ON : 0–127
P
P
P
PART Group (p. 196)
Display
Parameter
PATCH
Type
Number
Volume
Pan
Coarse
Fine
Cutoff
Resonance
Attack
Release
BendRng
Mono/Poly
Porta Sw:Time
SETTING
MODIFY
CONTROL
Value
P
P
P
P
P
P
P
P
P
P
P
P
INFO Group (p. 197)
Display
Parameter
INFO
Mod
Breath
Foot
Vol
Pan
Exp
Hold
Bend
Aftertouch
Voices
240
Value
Modulation information
Breath information
Foot information
Volume information
Pan information
Expression information
Hold 1 information
Pitch bend information
Aftertouch information
Voice information
0–127
0–127
0–127
0–127
L64–0–63R
0–127
0–127
-128– +127
0–127
0–128
P
P
P
P
P
P
P
P
P
P
Parameter List
Multi-Effects Parameters
06: ENHANCER (p. 121)
Parameter
01: STEREO EQ (p. 119)
Parameter
LowFreq
LowGain
Hi Freq
Hi Gain
Mid1 Freq
Mid1 Q
Mid1 Gain
Mid2 Freq
Mid2 Q
Mid2 Gain
Lev
Value
Low frequency
Low gain
High frequency
High gain
Middle 1 frequency
Middle 1 Q
Middle 1 gain
Middle 2 frequency
Middle 2 Q
Middle 2 gain
Output level
200, 400 Hz
-15– +15 dB
4000, 8000 Hz
-15– +15 dB
200–8000Hz (*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15– +15 dB
200-8000 Hz (*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15– +15 dB
0–127
Sens
Mix
LowGain
Hi Gain
Level
Value
Sensitivity
Mix level
Low gain
High gain
Output level
07: AUTO WAH (p. 122)
Parameter
Value
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Filter
Sens
Manual
Peak
Rate
Depth
Level
02: OVERDRIVE (p. 119)
08: ROTARY (p. 122)
Parameter
Drive
Level
LowGain
Hi Gain
Amp Type
Drive
Output level
Low gain
High gain
Amp simulator type
Pan
Output pan
Value
Parameter
0–127
0–127
-15– +15 dB
-15– +15 dB
SMALL, BUILT-IN,
2-STACK, 3-STACK
L64–0–63R
LowSlow
LowFast
LowAccl
Low Lvl
Hi Slow
Hi Fast
Hi Accl
Hi Lvl
Separation
Speed
Level
03: DISTORTION (p. 120)
Parameter
Value
Drive
Level
LowGain
Hi Gain
Amp Type
Drive
Output level
Low gain
High gain
Amp simulator type
Pan
Output pan
0–127
0–127
-15– +15 dB
-15– +15 dB
SMALL, BUILT-IN,
2-STACK, 3-STACK
L64–0–63R
04: PHASER (p. 120)
Parameter
Manual
Rate
Depth
Res
Mix
Pan
Level
Value
Manual
Rate
Depth
Resonance
Mix level
Output pan
Output level
0–127
0–127
-15– +15 dB
-15– +15 dB
0–127
Filter type
Sensitivity
Manual
Peak
Rate
Depth
Output level
LPF, BPF
0–127
0–127
0–127
0.05–10.00 Hz
0–127
0–127
Value
Low frequency slow rate
Low frequency fast rate
Low frequency acceleration
Low frequency level
High frequency slow rate
High frequency fast rate
High frequency acceleration
High frequency level
Separation
Speed
Output level
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
0–127
SLOW, FAST
0–127
09: COMPRESSOR (p. 123)
Parameter
Attack
Sustain
Post Gain
LowGain
Hi Gain
Pan
Level
Value
Attack time
Sustain
Post gain
Low gain
High gain
Output pan
Output level
0–127
0–127
0, +6, +12, +18 dB
-15– +15 dB
-15– +15 dB
L64–0–63R
0–127
100–8000 Hz
0.05–10.00 Hz
0–127
0–127
0–127
L64–0–63R
0–127
05: SPECTRUM (p. 121)
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Q
Pan
Level
Value
Band 1 gain
Band 2 gain
Band 3 gain
Band 4 gain
Band 5 gain
Band 6 gain
Band 7 gain
Band 8 gain
Q
Output pan
Output level
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
L64–0–63R
0–127
Appendices
Parameter
241
Parameter List
10: LIMITER (p. 123)
Parameter
Thresh
Ratio
Release
Gain
LowGain
Hi Gain
Pan
Level
Threshold level
Compression ratio
Release time
Post gain
Low gain
High gain
Output pan
Output level
15: STEREO FLANGER (p. 126)
Value
Parameter
0–127
1.5:1, 2:1, 4:1, 100:1
0–127
0, +6, +12, +18 dB
-15– +15 dB
-15– +15 dB
L64–0–63R
0–127
Pre Dly
Rate
Depth
Fbk
Phase
Filter Type
Cutoff
LowGain
Hi Gain
Balance
Level
11: HEXA-CHORUS (p. 124)
Parameter
Pre Dly
Rate
Depth
Dly Dev
Dpt Dev
Pan Dev
Balance
Level
Value
Pre delay time
Rate
Depth
Pre delay deviation
Depth deviation
Pan deviation
Effect balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
0–20
-20– +20
0-20
D100:0W–D0:100W
0–127
12: TREMOLO CHORUS (p. 124)
Parameter
Pre Dly
ChoRate
Cho Dpt
Phase
TrmRate
Trm Sep
Balance
Level
Value
Pre delay time
Chorus rate
Chorus depth
Tremolo phase
Tremolo rate
Tremolo separation
Effect balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
0–180 degree
0.05–10.00 Hz
0–127
D100:0W–D0:100W
0–127
13: SPACE-D (p. 125)
Parameter
Pre Dly
Rate
Depth
Phase
LowGain
Hi Gain
Balance
Level
Value
Pre delay time
Rate
Depth
Phase
Low gain
High gain
Effect balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
0–180 degree
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
14: STEREO CHORUS (p. 125)
Parameter
Pre Dly
Rate
Depth
Phase
Filter Type
Cutoff
LowGain
Hi Gain
Balance
Level
Value
Pre delay time
Rate
Depth
Phase
Filter type
Cutoff frequency
Low gain
High gain
Effect balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
242
Value
Pre delay time
Rate
Depth
Feedback level
Phase
Filter type
Cutoff frequency
Low gain
High gain
Effect balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
-98– +98%
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
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. 126)
Parameter
Pre Dly
Rate
Depth
Fbk
Phase
Step Rate
LowGain
Hi Gain
Balance
Level
Value
Pre delay time
Rate
Depth
Feedback level
Phase
Step rate
Low gain
High gain
Effect balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
-98– +98%
0–180 degree
0.10–20.00 Hz, note
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
17: STEREO DELAY (p. 127)
Parameter
Value
Delay L
Delay R
Fbk
Mode
Phase L
Phase R
HF Damp
Delay time left
Delay time right
Feedback level
Feedback mode
Feedback phase left
Feedback phase right
HF damp
LowGain
Hi Gain
Balance
Level
Low gain
High gain
Effect balance
Output level
0.0–500.0 ms
0.0–500.0 ms
-98– +98%
NORMAL, CROSS
NORMAL, INVERT
NORMAL, INVERT
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Parameter List
18: MODULATION DELAY (p. 128)
21: TIME CONTROL DELAY (p. 131)
Parameter
Value
Parameter
0.0–500.0 ms
0.0–500.0 ms
-98– +98%
NORMAL, CROSS
0.05–10.00 Hz
0–127
0–180 degree
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Delay
Accel
Fbk
HF Damp
Delay time
Acceleration
Feedback level
HF damp
Pan
LowGain
Hi Gain
Balance
Level
Output pan
Low gain
High gain
Effect balance
Output level
Delay time left
Delay time right
Feedback level
Feedback mode
Rate
Depth
Phase
HF damp
LowGain
Hi Gain
Balance
Level
Low gain
High gain
Effect balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Value
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
22: 2VOICE PITCH SHIFTER (p. 131)
Parameter
19: TRIPLE TAP DELAY (p. 129)
Parameter
Value
Delay C
Delay L
Delay R
Fbk
Level C
Level L
Level R
HF Damp
Delay time center
Delay time left
Delay time right
Feedback level
Center level
Left level
Right level
HF damp
LowGain
Hi Gain
Balance
Level
Low gain
High gain
Effect balance
Output level
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
-98– +98%
0–127
0–127
0–127
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
20: QUADRUPLE TAP DELAY (p. 130)
Parameter
Value
Delay 1
Delay 2
Delay 3
Delay 4
Level 1
Level 2
Level 3
Level 4
Fbk
HF Damp
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Level 1
Level 2
Level 3
Level 4
Feedback level
HF damp
Balance
Level
Effect balance
Output level
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
0–127
0–127
0–127
0–127
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
200–1000 ms
0–15
-98– +98%
200–8000 Hz,
BYPASS (*1)
L64–0–63R
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
CoarseA
Fine A
Pan A
PreDlyA
CoarseB
Fine B
Pan B
PreDlyB
Mode
Lvl Bal
Balance
Level
Value
Coarse pitch A
Fine pitch A
Output pan A
Pre delay time A
Coarse pitch B
Fine pitch B
Output pan B
Pre delay time B
Pitch shifter mode
Level balance
Effect balance
Output level
-24– +12 semitone
-100– +100 cent
L64–0–63R
0.0–500.0 ms
-24– +12 semitone
-100– +100 cent
L64–0–63R
0.0–500.0 ms
1, 2, 3, 4, 5
A100:0B–A0:100B
D100:0W–D0:100W
0–127
23: FBK PITCH SHIFTER (p. 132)
Parameter
Coarse
Fine
Fbk
Pre Dly
Mode
Pan
LowGain
Hi Gain
Balance
Level
Value
Coarse pitch
Fine pitch
Feedback level
Pre delay time
Pitch shifter mode
Output pan
Low gain
High gain
Effect balance
Output level
-24– +12 semitone
-100– +100 cent
-98– +98%
0.0-500.0 ms
1, 2, 3, 4, 5
L64–0–63R
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
24: REVERB (p. 133)
Parameter
Value
Type
Reverb type
Pre Dly
Time
HF Damp
Pre delay time
Reverb time
HF damp
LowGain
Hi Gain
Balance
Level
Low gain
High gain
Effect balance
Output level
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
0.0–100.0 ms
0–127
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Appendices
Delay L
Delay R
Fbk
Mode
Rate
Depth
Phase
HF Damp
243
Parameter List
25: GATED REVERB (p. 133)
31: DISTORTION→DELAY (p. 135)
Parameter
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
OD Drive→Dist Drive, OD Pan→Dist Pan
Value
Type
Gated Reverb type
Pre Dly
Gate Time
LowGain
Hi Gain
Balance
Level
Pre delay time
Gate time
Low gain
High gain
Effect balance
Output level
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0–100.0 ms
5–500 ms
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
26: OVERDRIVE→CHORUS (p. 134)
Parameter
OD Drive
OD Pan
Cho Dly
ChoRate
Chorus Depth
Chorus Balance
Level
Value
Drive
Overdrive pan
Chorus pre delay time
Chorus Rate
Chorus depth
Chorus balance
Output level
0–127
L64–0–63R
0.0–100.0 ms
0.05–10.00 Hz
0–127
D100:0W-D0:100W
0–127
27: OVERDRIVE→FLANGER (p. 134)
Parameter
OD Drive
OD Pan
Flg Dly
FlgRate
Flg Dpt
Flg Fbk
Flanger Balance
Level
Value
Drive
Overdrive pan
Flanger pre delay time
Flanger rate
Flanger depth
Flanger feedback level
Flanger balance
Output level
0–127
L64–0–63R
0.0–100.0 ms
0.05–10.00 Hz
0–127
-98– +98%
D100:0W–D0:100W
0–127
28: OVERDRIVE→DELAY (p. 135)
Parameter
Value
OD Drive
OD Pan
DlyTime
Dly Fbk
Delay HF Damp
Drive
Overdrive pan
Delay time
Delay feedback level
Delay HF damp
Delay Balance
Level
Delay balance
Output level
0–127
L64–0–63R
0.0-500.0 ms
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
29: DISTORTION→CHORUS (p. 135)
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
OD Drive→Dist Drive, OD Pan→Dist Pan
30: DISTORTION→FLANGER (p. 135)
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
OD Drive→Dist Drive, OD Pan→Dist Pan
244
32: ENHANSER→CHORUS (p. 136)
Parameter
Enhancer Sens
Enhancer Mix
Cho Dly
ChoRate
Chorus Depth
Chorus Balance
Level
Value
Enhancer sensitivity
Enhancer mix level
Chorus pre delay time
Chorus rate
Chorus depth
Chorus balance
Output level
0–127
0–127
0.0-100.0 ms
0.05–10.00 Hz
0–127
D100:0W–D0:100W
0–127
33: ENHANSER→FLANGER (p. 136)
Parameter
Enhancer Sens
Enhancer Mix
Flg Dly
FlgRate
Flg Dpt
Flg Fbk
Flanger Balance
Level
Value
Enhancer sensitivity
Enhancer mix level
Flanger pre delay time
Flanger rate
Flanger depth
Flanger feedback level
Flanger balance
Output level
0–127
0–127
0.0–100.0 ms
0.05–10.00 Hz
0–127
-98– +98%
D100:0W–D0:100W
0–127
34: ENHANSER→DELAY (p. 137)
Parameter
Value
Enhancer Sens
Enhancer Mix
Delay
Dly Fbk
Delay HF Damp
Enhancer sensitivity
Enhancer mix level
Delay time
Delay feedback level
Delay HF damp
Delay Balance
Level
Delay balance
Output level
0–127
0–127
0.0–500.0 ms
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
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. 137)
Parameter
Value
Cho Dly
ChoRate
Cho Dpt
Cho Bal
DlyTime
Dly Fbk
Delay HF Damp
Chorus pre delay time
Chorus rate
Chorus depth
Chorus balance
Delay time
Delay Feedback level
Delay HF damp
Delay Balance
Level
Delay balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
D100:0W–D0:100W
0.0–500.0 ms
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Parameter List
36: FLANGER→DELAY (p. 138)
42: KEYSYNC FLANGER (p. 140)
Parameter
Value
Parameter
0.0–100.0 ms
0.05–10.00 Hz
0–127
-98– +98%
D100:0W–D0:100W
0.0–500.0 ms
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Pre Dly
Rate
Depth
Fbk
Phase
Filter
Cutoff
Step Rate
Pre delay time
LFO rate
LFO depth
Feedback
Phase
Filter type
Cutoff frequency
Step rate switch:Step rate
Keysync
Thre
Keysync Phase
LowGain
Hi Gain
Balance
Level
Keysync switch
Keysync threshold
Keysync phase
Low gain
High gain
Balance
Output level
Flanger pre delay time
Flanger rate
Flanger depth
Flanger feedback level
Flanger balance
Delay time
Delay feedback level
HF damp
Delay Balance
Level
Delay balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
37: CHORUS→FLANGER (p. 138)
Parameter
Value
Cho Dly
ChoRate
Cho Dpt
Cho Bal
Flg Dly
FlgRate
Flg Dpt
Flg Fbk
Flanger Balance
Level
Chorus pre delay time
Chorus rate
Chorus depth
Chorus balance
Flanger pre delay time
Flanger rate
Flanger depth
Flanger feedback level
Flanger balance
Output level
0.0–100.0 ms
0.05–10.00 Hz
0–127
D100:0W–D0:100W
0.0–100.0 ms
0.05–10.00 Hz
0–127
-98– +98%
D100:0W–D0:100W
0–127
38: CHORUS/DELAY (p. 139)
Refer to “35: CHORUS→DELAY.”
39: FLANGER/DELAY (p. 139)
Value
0.0–100 ms
0.05–10.00 Hz, note
0–127
-98– +98%
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
OFF, ON:0.1–20.0 Hz,
note
OFF, ON
0–127
0–360 degree
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
43: FORMANT FILTER (p. 141)
Parameter
Drive
Vowel
Rate
Depth
Keysync
Threshold
Manual
LowGain
Hi Gain
Pan
Level
Value
Drive
Vowel 1:2
Rate
Depth
Keysync switch
Keysync threshold
Manual
Low gain
High gain
Output pan
Output level
OFF, ON:0–127
a, e, i, o, u
0.05–10.00 Hz, note
0–127
OFF, ON
0–127
0–100
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Refer to “36: FLANGER→DELAY.”
44: RING MODULATOR (p. 142)
40: CHORUS/FLANGER (p. 139)
Parameter
Refer to “37: CHORUS→FLANGER.”
41: STEREO PHASER (p. 139)
Parameter
Value
Type
Mode
Pol
Man
Rate
Depth
Res
X-Fbk
Step Rate
Phaser type
Mode
Polarity
Manual
Phaser rate
Phaser depth
Phaser resonance
Cross feedback level
Step rate switch:Step rate
Mix
LowGain
Hi Gain
Level
Mix level
Low gain
High gain
Output level
1, 2
4-STAGE, 8-STAGE
INVERSE, SYNCHRO
0–127
0.05–10.00 Hz, note
0–127
0–127
-98– +98%
OFF, ON:0.1–20.0 Hz,
note
0–127
-15– +15 dB
-15– +15 dB
0–127
Freq
Mod
Mon
Sens
Pol
LowGain
Hi Gain
Balance
Level
Value
Frequency
Modulator
Modulator monitor
Sensitivity
Polarity
Low gain
High gain
Effect balance
Output level
0–127
OFF, SRC, A, B
OFF, ON
0–127
UP, DOWN
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Appendices
Flg Dly
FlgRate
Flg Dpt
Flg Fbk
Flg Bal
DlyTime
Dly Fbk
HF Damp
245
Parameter List
45: MULTI TAP DELAY (p. 143)
48: 3D DELAY (p. 146)
Parameter
Value
Parameter
0–1800 ms, note
0–1800 ms, note
0–1800 ms, note
0–1800 ms, note
L64–63R
L64–63R
L64–63R
L64–63R
0–127
0–127
0–127
0–127
-98– +98%
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Delay C
Delay L
Delay R
Fbk
Level C
Level L
Level R
HF Damp
Delay time center
Delay time left
Delay time right
Feedback
Level center
Level left
Level right
HF Damp
Out
Lo G
Hi G
Balance
Lev
Output mode
Low gain
High gain
Effect balance
Output level
Delay 1
Delay 2
Delay 3
Delay 4
Pan 1
Pan 2
Pan 3
Pan 4
Level 1
Level 2
Level 3
Level 4
Fbk
HF Damp
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Output pan 1
Output pan 2
Output pan 3
Output pan 4
Level 1
Level 2
Level 3
Level 4
Feedback
HF Damp
LoG
HiG
Balance
Lev
Low gain
High gain
Effect balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
46: REVERSE DELAY (p. 144)
Parameter
Value
Delay 1
Delay 2
Delay 3
Delay 4
Feedback 1:4
HF Damp 1:4
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Feedback 1:4
HF Damp 1:4
Thr
Pan 1:2:3
Level 1:2:3
LowGain
Hi Gain
Balance
Level
Threshold level
Output pan 1:2:3
Level 1:2:3
Low gain
High gain
Effect balance
Output level
0–900 ms, note
0–900 ms, note
0–900 ms, note
0–900 ms, note
-98– +98%
200–8000 Hz,
BYPASS (*1)
0–127
L64–63R
0–127
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
47: SHUFFLE DELAY (p. 145)
Parameter
Value
Delay
Shuffle
Accel
Fbk
HF Damp
Delay time
Shuffle rate
Acceleration
Feedback
HF Damp
Pan A
Pan B
Level Balance
LowGain
Hi Gain
Balance
Level
Pan A
Pan B
Level balance
Low gain
High gain
Effect balance
Output level
0–1800 ms, note
0–100%
0–15
-98– +98%
200–8000 Hz,
BYPASS (*1)
L64–63R
L64–63R
A100:0B–A0:100B
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
246
Value
0–1800 ms, note
0–1800 ms, note
0–1800 ms, note
-98– +98%
0–127
0–127
0–127
200–8000 Hz,
BYPASS (*1)
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
49: PITCH SHIFTER (p. 147)
Parameter
Value
Coarse 1:2:3
Fine 1:2:3
Pre Delay 1:2:3
Fbk 1:2:3
Pan 1:2:3
Level 1:2:3
Mode
Balance
Level
Coarse pitch 1:2:3
Fine pitch 1:2:3
Pre Delay time 1:2:3
Feedback level1:2:3
Output pan 1:2:3
Level 1:2:3
Pitch shifter mode
Effect balance
Output level
-24– +12
-100– +100 cent
0.0–500 ms
-98– +98%
L64–63R
0–127
1, 2, 3, 4, 5
D100:0W–D0:100W
0–127
50: LOFI COMPRESS (p. 147)
Parameter
Type
Pre Filter
Post Filter 1
Post Filter 2
LowGain
Hi Gain
Balance
Pan
Level
Value
LoFi type
Pre filter type
Post filter 1 type
Post filter 2 type
Low gain
High gain
Effect balance
Output pan
Output level
1–9
TYPE1–6
TYPE1–6
OFF, LPF, HPF:(*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
L64–63R
0–127
*1: Post filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
Parameter List
Parameter
Type
Post Fltr
Radio Detune
Disc:LPF:Lev
LowGain
Hi Gain
Balance
Pan
Level
LoFi type
Post Filter type
Radio detune
Disc:LPF:Level
Low gain
High gain
Effect balance
Output pan
Output level
55: STEREO COMPRESSOR (p. 150)
Value
Parameter
1–9
OFF, LPF, HPF:(*1)
0–127:0–127 (*2)
*3:*4:*5
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
L64–63R
0–127
Sustain
Attack
Post Gain
LowGain
Hi Gain
Level
*1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
*2: Radio detune:Radio noise level
*3: Disc noise type:LP, EP, SP, RND
*4: Disc noise LPF:200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPS
*5: Disc noise level:0–127
Value
Sustain
Attack time
Post gain
Low gain
High gain
Output level
56: STEREO LIMITER (p. 150)
Parameter
Thre
Release
Ratio
Gain
LowGain
Hi Gain
Level
Value
Threshold level
Release time
Compression ratio
Post gain
Low gain
High gain
Output level
52: SPEAKER SIMULATOR (p. 148)
57: GATE (p. 151)
Parameter
Value
Parameter
(*1)
1, 2, 3
0–127:0–127
0–127
Key
Thre
Monitor
Mode
Atk
Hold
Rel
Balance
Level
Speaker Type
Mic Set
Mic:Dir
Level
Speaker type
Mic setting
Mic level:Direct level
Output level
*1: SMALL 1, SMALL 2, MIDDLE, JC-120, BUILT IN 1, BUILT IN 2, BUILT IN
3, BUILT IN 4, BUILT IN 5, BG STACK 1, BG STACK 2, MS STACK 1, MS
STACK 2, METAL STACK, 2-STACK, 3-STACK
53: OVERDRIVE 2 (p. 149)
Parameter
Value
Drive
Level
LowGain
Hi Gain
Amp Type
Drive
Output level
Low gain
High gain
Amp simulator switch:
Amp simulator type
Tone
Pan
Tone
Output pan
0–127
0–127
-15– +15 dB
-15– +15 dB
OFF, ON:
SMALL, BUILT-IN,
2-STACK, 3-STACK
0–127
L64–63R
54: DISTORTION 2 (p. 149)
Parameter
Value
Drive
Level
LowGain
Hi Gain
Amp Type
Drive
Output level
Low gain
High gain
Amp simulator switch:
Amp simulator type
Tone
Pan
Tone
Output pan
0–127
0–127
-15– +15 dB
-15– +15 dB
OFF, ON:
SMALL, BUILT-IN,
2-STACK, 3-STACK
0–127
L64–63R
0–127
0–127
0, +6, +12, +18
-15– +15
-15– +15
0–127
0–127
0–127
1.5:1, 2:1, 4:1, 100:1
0, +6, +12, +18
-15– +15
-15– +15
0–127
Value
Key
Key threshold
Key monitor
Mode
Attack time
Hold time
Release time
Effect balance
Output level
SOURCE, A, B
0–127
OFF, ON
GATE, DUCK
0–127
0–127
0–127
D100:0W–D0:100W
0–127
58: SLICER (p. 151)
Parameter
Beat 1-1–4-4
Rate
Attack
Reset
Thre
Mon
Mode
Shuffle
Level
Value
Beat 1-1–4-4
Rate
Attack
Reset
Reset threshold
Reset monitor switch
Mode
Shuffle
Output level
0–127
0.05–10.0 Hz, note
0–127
OFF, SRC, A, B
0–127
OFF, ON
LEGATO, SLASH
0–127
0–127
59: ISOLATOR (p. 152)
Parameter
High
Middle
Low
Anti Phase Mid
Anti Phase Low
Low Boost
Level
Value
Level high
Level middle
Level low
Anti phase middle switch:level
Anti phase low switch:level
Low Booster switch:level
Output level
-60– +4 dB
-60– +4 dB
-60– +4 dB
OFF, ON:0–127
OFF, ON:0–127
OFF, ON:0–127
0–127
Appendices
51: LOFI NOISE (p. 148)
247
Parameter List
Chorus Parameters
60: 3D CHORUS (p. 152)
Parameter
Pre Dly
Rate
Depth
Phase
Filter Type
Cutoff
Out
Lo G
Hi G
Balance
Lev
Value
Pre delay time
LFO rate
LFO depth
Phase
Filter Type
Cutoff frequency
Output mode
Low gain
High gain
Balance
Output level
0.0–100 ms
0.05–10.00 Hz, note
0–127
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Pre delay time
LFO rate
LFO depth
Feedback
Phase
Filter Type
Cutoff frequency
Step rate switch:Step rate
Out
Lo G
Hi G
Balance
Lev
Output mode
Low gain
High gain
Balance
Output level
0.0–100 ms
0.05–10.00 Hz, note
0–127
-98– +98%
0–180 degree
OFF, LPF, HPF
200-8000 Hz (*1)
OFF, ON:0.1–20.0 Hz,
note
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
62: TREMOLO (p. 154)
Parameter
Value
Mod Wave
Modulation wave
Rate
Depth
LowGain
Hi Gain
Level
Rate
Depth
Low gain
High gain
Output level
TRI, SQR, SIN, SAW1,
SAW2
0.05–10.0 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
63: AUTO PAN (p. 155)
Parameter
Value
Mod Wave
Modulation wave
Rate
Depth
LowGain
Hi Gain
Level
Rate
Depth
Low gain
High gain
Output level
248
Pre Dly
Rate
Depth
Fbk
Phase
Filter Type
Cutoff
Value
Chorus pre delay
Chorus rate
Chorus depth
Chorus Feedback
Phase
Filter type
Cutoff frequency
0.0–100 ms
0.05–10.00 Hz
0–127
0–127
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Parameter
Value
Pre Dly
Rate
Depth
Fbk
Phase
Filter
Cutoff
Step Rate
Parameter
DELAY (p. 157)
61: 3D FLANGER (p. 153)
Parameter
CHORUS (p. 157)
TRI, SQR, SIN, SAW1,
SAW2
0.05–10.0 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Delay C
Delay L
Delay R
Fbk
Level C
Level L
Level R
HF Damp
Value
Delay center
Delay left
Delay right
Feedback
Delay center level
Delay left level
(Delay right level
HF damp
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
-98– +98%
0–127
0–127
0–127
200–8000 Hz,
BYPASS (*1)
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Parameter List
Reverb Parameters
REVERB (p. 159)
Parameter
Value
Type
Reverb/Delay type
Time
HF Damp
Reverb/Delay time
Reverb/Delay HF damp
Fbk
Delay feedback
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
DELAY, PAN-DLY
0–127
200–8000 Hz,
BYPASS (*1)
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
SRV ROOM/SRV HALL/SRV PLATE
(p. 160)
Parameter
Value
Pre Delay
Time
Size
High Cut
Pre delay time
Reverb time
Size
High cut frequency
Diffusion
Density
LF Damp
LF Gain
HF Damp
Reverb diffusion
Reverb density
LF damp frequency
LF damp gain
HF damp frequency
HF Gain
HF damp gain
0.0–100.0 ms
0–127
1–8
160–12500 Hz,
BYPASS (*1)
0–127
0–127
50–4000 Hz (*2)
-36–0 dB
4000, 5000, 6400,
8000, 10000, 12500 Hz
-36–0 dB
*1: 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500,
3200, 4000, 5000, 6400, 8000, 10000, 12500 Hz, BYPASS
Appendices
*2: 50, 64, 80, 100, 125, 160, 200, 250, 320, 1600, 2000, 2500, 3200, 4000 Hz
249
Parameter List
System Parameters
SETUP Group (p. 168)
Display
Parameter
SYSTEM SETUP
LCD
Power Up Mode
Master Level
Clock Source
System Tempo
Mix/Parallel
Patch Remain
Value
LCD contrast
Power up mode
Master level
System clock source
System tempo
Mix/Parallel
Patch remain switch
1–10
LAST-SET, DEFAULT
0–127
INT, MIDI
20–250
MIX, PARALLEL
OFF, ON
MIDI Group (p. 169)
Display
Parameter
PERFORM MIDI
Control Channel
Local
Remote
Rx Ch
Tx Ch
Local
Remote
Local Switch
Remote
Program Change
Bank Select
Program
Bank Sel
Active Sensing
Rx GM On
Rx GM2 On
Rx GS Reset
Device ID
Rx Sys.Excl
Tx Edit
PATCH MIDI
GM MIDI
RECEIVE MIDI
TRANSMIT MIDI
SYSTEM MIDI
Value
Performance control channel
Local switch
Remote keyboard switch
Patch/Rhythm set receive channel
Patch/Rhythm set transmit channel
Local switch
Remote keyboard switch
Local switch
Remote keyboard switch
Receive program change switch
Receive bank select switch
Transmit program change switch
Transmit bank select switch
Transmit active sensing switch
Receive general MIDI system on switch
Receive general MIDI 2 system on switch
Receive GS reset switch
Device ID number
Receive system exclusive switch
Transmit edit data switch
1–16, OFF
OFF, ON
OFF, ON
1–16
1–16, Rx Ch, OFF
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
17–32
OFF, ON
OFF, ON
CONTROL Group (p. 171)
Display
Parameter
KEYBOARD
Transpose
HOLD PEDAL
CONTROL PEDAL 1
CONTROL PEDAL 2
C1 ASSIGN
C2 ASSIGN
C3 ASSIGN
C4 ASSIGN
SYS CTRL ASSIGN 1
SYS CTRL ASSIGN 2
Sens
Vel
Aft
Continuous
Output
Polarity
Assign
Output
Polarity
Assign
Output
Polarity
Assign
Output
Assign
Output
Assign
Output
Assign
Output
Control 1, 2
Control 3, 4
Value
Transpose switch
Transpose value
Keyboard sensitivity
Keyboard velocity
Aftertouch sensitivity
Continuous switch
Pedal output
Pedal polarity
Pedal 1 assign
Pedal 1 output
Pedal 1 polarity
Pedal 2 assign
Pedal 2 output
Pedal 2 polarity
C1 slider assign
C1 slider output
C2 slider assign
C2 slider output
C3 slider assign
C3 slider output
C4 slider assign
C4 slider output
System control assign 1, 2
System control assign 3, 4
OFF, ON
-5 (G)– +6 (F#)
LIGHT, MEDIUM, HEAVY, FULL
REAL, 1–127
0–100
OFF, ON
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
(*1)
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
(*1)
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
(*2)
OFF, INT, MIDI, BOTH
(*2)
OFF, INT, MIDI, BOTH
(*2)
OFF, INT, MIDI, BOTH
(*2)
OFF, INT, MIDI, BOTH
(*2)
(*2)
*1: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, TAP TEMPO, PROG UP, PROG DOWN
*2: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH
250
Parameter List
TUNE Group (p. 173)
Display
Parameter
SYSTEM TUNE
Master
Key Shift
Scale Tune
C–B
C–B
PATCH SCALE
KEY SCALE
Value
Master tune
Master key shift
Scale tune switch
Scale tune C–B
Scale tune C–B
415.3–466.2 Hz
-24– +24 semitone
OFF, ON
-64– +63 cent
-64– +63 cent
ARPEGGIO Group (p. 174)
Display
Parameter
ARPEGGIO
Style
Octave Range
Motif
Beat Pattern
Accent Rate
Shuffle Rate
Key Velocity
Tempo
Value
Arpeggio style
Octave range
Motif
Beat pattern
Accent rate
Shuffle rate
Key velocity
Arpeggio tempo
(*1)
-3– +3
(*2)
(*3)
0–100%
50–90%
REAL, 1–127
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, HEAVY SLAP, LIGHT SLAP, WALK BASS, RHYTHM GTR 1, RHYTHM GTR 2, RHYTHM GTR 3, RHYTHM GTR 4, RHYTHM GTR 5, 3 FINGER, STRUM
GTR UP, STRUM GTR DOWN, STRUM GTR UP&DW, PIANO BACKING, CLAVI CHORD, WALTZ, SWING WALTZ, REGGAE, 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+RND1–3, 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, REGGAE 1–2, REFRAIN 1–2, PERC 1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUILO,
AGOGO, SAMBA, TANGO 1–4, HOUSE 1–2
D BEAM Group (p. 176)
Display
Parameter
D BEAM CONTROL
Assign
Output
Polarity
Lower
Upper
D Beam Sensitivity
D BEAM RANGE
D BEAM SENS
Value
D Beam assign
D Beam output
D Beam polarity
D Beam range lower
D Beam range upper
D Beam sensitivity
(*1)
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
0–127
0–127
1–10
*1: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, TAP TEMPO
PREVIEW Group (p. 177)
Display
Parameter
SYSTEM PREVIEW
PREVIEW KEY
PREVIEW VELOCITY
Preview Mode
Note 1, 2, 3, 4
Note 1, 2, 3, 4
Value
Preview sound mode
Preview note set 1, 2, 3, 4
Preview velocity
SINGLE, CHORD, PHRASE
C-1–G9
0–127
INFO Group (p. 178)
INFO EXP
Parameter
Expansion A
Expansion B
Expansion C
Expansion D
BATTERY CHECK
Internal Battery
TRANSMIT P.C
Ch
P.C#
Bank Select MSB/LSB
TRANSMIT SONG SEL Song Number
Value
Wave expansion board name A
Wave expansion board name B
Wave expansion board name C
Wave expansion board name D
Battery check
Transmit MIDI channel
Transmit program change number
Transmit bank select MSB/LSB
Transmit song select number
------------1–16
LOW, OK
1–128
0–127
0–127
Appendices
Display
251
Performance List
USER
(User Group)
No.
Name
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
Andreas Cave
XV Piano&Bs
BigOrchestra
SlicingSvox+
Arp BellsPad
Soaring Saws
Heirborne XV
BrassBand 1+
MIDI Rhodes1
SweepPad 88
Humanizer
FullStrings1
SearingLd/Bs
80s Sample88
PianoRhodes
Blistering88
SuiteCombo+
Springy 88
Jupiter2000
Cultivate 88
XV SyncLead+
SlicingPad88
Synth Brs 88
Arp Bells
MinIncidnt88
Windy
RevDlySaws88
Predator+
XV Rust Kit
SlicedTrance
CrystalVoxXV
Pumping/Ld
Key Mode
No.
Name
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
BellPad 88
Chamber Str
Slicing Saws
Orcstrl Brs
Lo-Fi Lead
Jet Flanger
SabbathDay
OrganSplit 1
Orc.Ensemble
Blue Sky 88
MIDI Rhodes2
LoFiTrance88
6 x Hits
Mix Piano
FullStrings2
XV Pipe
MIDI Strings
BlowPad 88
BrassBand 2
Lo-Fi Str
DynoRhs&Bs
PhsDyno&Bs
PhsClavi&Bs
SynClavi&Bs
XV StlGtr&Bs
Nylocato&Bs
OrganSplit 2
OrganSplit 3
XV Pop Kit
XV Jazz Kit
XV Rock Kit
Seq:Temp XV
PR-A
(Preset A Group)
PR-B
(Preset B Group)
Key Mode
No.
Name
Key Mode
No.
Name
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
SINGLE
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
Seq:Template
Seq:Pop
Seq:LABallad
Seq:Fusion
Seq:FunkRock
Seq:HardRock
Seq:H.Metal
Seq:Blues
Seq:Cont.Jz
Seq:Ac.Jazz
Seq:Country
Seq:Folk
Seq:Dixie
Seq:BigBand
Seq:Latin
Seq:Africa
Seq:World
Seq:Zydeco
Seq:60's
Seq:Gospel
Seq:PopDance
Seq:TeknoPop
Seq:House
Seq:Hip Hop
Seq:HardCore
Seq:Acid
Seq:Ambient
Seq:New Age
Seq:Orch
Seq:Film
Seq:Chamber
Seq:Baroque
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
Dulcimar&Gtr
DulcitarStk
Tekno Loop 2
Rave Attack
SpaceCarrier
Terminator
Symphony JV
Nebular Vox
Humming Vox
Cosmic Dawn
Labyrinth
Sweeper
Stack Pad
Strobe Pad 2
Rhythmatic
Voyage
S&H Pad
Cyclic Pad
White Hole
EasternSplit
Tekno Asia
TeknoSplit 1
TeknoSplit 2
TknoPopSplit
ChildrenSplt
Purple Split
PulsingSplit
Pad / Lead
Organ / Lead
Bass / Lead
S&H / Pad
Drone / Pipe
Key Mode
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
The PR-B groups contain split and layered Performances.
The PR-A group contains Performances designed for use
when creating songs.
In particular, PR-A: 01 Seq:Template has the following
settings to make it easy for you to create your own desired
settings.
252
Parts 1, 3–9, 11–16:
PR-A: 001 128voicePno
Part 2:
PR-B: 013 Finger Bass
Part 10:
PR-A: 001 PopDrumSet1
Patch List
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
Y2K Concerto 8
XV SteelGt 1 4
Shapeshifter
4
Trance Fair
8
MOVE!
6
VoyagerBrass 3
Rholitzer
3
Grand XV
4
Pianomonics 4
Nylozzicato
3
Searing Lead 3
Square Roots 2
Winky
8
Atmospherics 4
Soft Perky
5
NewR&RBrass 8
Lunar Strngs 4
LegatoBamboo 4
West End Bs 5
Marcato Str
4
Henry VIII
8
Chime Bells
4
Morph Pad
8
Dirty Hit
4
Soaring Hrns 6
XV Ac.Bass
4
Grounded Bs 2
Severe Ow Bs 4
Celtic Harp
2
XV Strings
3
Air Pad
3
Hit Rhodes
3
The Beast
6
SteppingPhsr 3
LivingInSync
2
PhazeWahClav 6
Rippling
1
Rhodes Trem 2
Rocker Org
6
Cutter>ModWh 2
Queen V
6
Flyin' High
3
Soft Nylon
4
Don't Jump
8
RockPiano Ch 3
St. Choir
4
Galactic
8
Phaser Dyno 3
Andreas Cave 4
ChmbrQuartet 4
Plug n' Play
2
Agent X
7
Lo-fi Sweep
2
2ndRateChord 4
Creamy Bass 2
Phunky DC
2
Suite Combo 6
JupiterHorns
2
Talking Box
3
Piano+SftPad 4
8VCO MonoSyn8
Double Steel 8
Cutter Clav
2
Prelude
4
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PR-A (Preset A Group)
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
Wurlie
TB Squelch
The Ganges
British B
Power Stack
Predator 2
Moonchimes
Ooh)Aah Mod
PercInterval
Vocals: Boys
Fat Strings
Str&Brs Orch
ChamberPlyrs
Glass Orbit
The Andes
ClassicJPpad
FullSt Brass
Punker
Pop Bass
Solo SoprSax
Fat Rhodes
X-mod Sweep
XV DynoTenor
Hybrid Nylon
SquareBounce
8-str F'less
Big Bubbles
SampleThe80s
BOG
96 Years
LookMaNoFret
X-mod Reso
SkinnyBounce
Tap Bass
Brite Vox 1
Brass Tubes
80s Retrosyn
MountainFolk
Soaring Sync
Analogical
MinorIncidnt
Slap Timps
Comp'Steel
Reel Slam
Adrenaline
Choir Bounce
Jet Voxs
Halographix
3PartInventn
Retro Rhodes
Slap Bass 3
Guttural
Blades
Nasal Spray
Synergistic
Dragnet
5th Atm /Aft
AmbiPizza
GR700 Pad
Tape Strings
Soaring Saws
Temple of JV
Alternative
Sun Dive
2
2
3
4
3
8
3
4
8
6
3
7
4
3
1
2
5
2
1
1
3
1
3
3
3
2
3
2
3
1
3
1
2
1
4
4
2
2
4
4
4
4
4
4
4
4
3
2
4
3
1
8
4
2
2
4
2
5
3
2
6
4
2
7
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No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
128voicePno
Bright Piano
Classique
Nice Piano
Piano Thang
Power Grand
House Piano
E.Grand
MIDIed Grand
Piano Blend
West Coast
PianoStrings
Bs/Pno+Brs
Waterhodes
S.A.E.P.
SA Rhodes 1
SA Rhodes 2
Stiky Rhodes
Dig Rhodes
Nylon EPiano
Nylon Rhodes
Rhodes Mix
PsychoRhodes
Tremo Rhodes
MK-80 Rhodes
MK-80 Phaser
Delicate EP
Octa Rhodes1
Octa Rhodes2
JV Rhodes+
EP+Mod Pad
Mr.Mellow
Comp Clav
Klavinet
Winger Clav
Phaze Clav 1
Phaze Clav 2
Phuzz Clav
Chorus Clav
Claviduck
Velo-Rez Clv
Clavicembalo
Analog Clav1
Analog Clav2
Metal Clav
Full Stops
Ballad B
Mellow Bars
AugerMentive
Perky B
The Big Spin
Gospel Spin
Roller Spin
Rocker Spin
Tone Wh.Solo
Purple Spin
60's LeadORG
Assalt Organ
D-50 Organ
Cathedral
Church Pipes
Poly Key
Poly Saws
Poly Pulse
1
1
2
3
3
3
2
1
3
3
4
4
4
2
3
4
2
3
2
4
4
3
2
4
1
1
2
4
4
4
4
4
1
4
4
2
1
2
1
2
1
4
1
1
3
2
3
4
3
2
3
3
3
3
3
4
2
3
2
4
4
3
4
4
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No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
Dual Profs
Saw Mass
Poly Split
Poly Brass
Stackoid
Poly Rock
D-50 Stack
Fantasia JV
Jimmee Dee
Heavenals
Mallet Pad
Huff N Stuff
Puff 1080
BellVox 1080
Fantasy Vox
Square Keys
Childlike
Music Box
Toy Box
Wave Bells
Tria Bells
Beauty Bells
Music Bells
Pretty Bells
Pulse Key
Wide Tubular
AmbienceVibe
Warm Vibes
Dyna Marimba
Bass Marimba
Nomad Perc
Ethno Metals
Islands Mlt
Steelin Keys
Steel Drums
Voicey Pizz
Sitar
Drone Split
Ethnopluck
Jamisen
Dulcimer
East Melody
MandolinTrem
Nylon Gtr
Gtr Strings
Steel Away
Heavenly Gtr
12str Gtr 1
12str Gtr 2
Jz Gtr Hall
LetterFrmPat
Jazz Scat
Lounge Gig
JC Strat
Twin Strats
JV Strat
Syn Strat
Rotary Gtr
Muted Gtr
SwitchOnMute
Power Trip
Crunch Split
Rezodrive
RockYurSocks
3
4
4
3
4
4
4
4
4
4
4
3
2
4
4
2
4
3
2
4
4
4
2
2
3
4
4
2
1
4
3
4
4
3
1
3
2
4
4
2
2
2
4
1
3
3
4
2
3
1
4
3
3
1
3
2
2
2
1
2
2
4
2
4
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Voice: number of voice
253
Appendices
USER (User Group)
Patch List
PR-B (Preset B Group)
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
Dist Gtr 1
Dist Gtr 2
R&R Chunk
Phripphuzz
Grungeroni
Black Widow
Velo-Wah Gtr
Mod-Wah Gtr
Pick Bass
Hip Bass
Perc.Bass
Homey Bass
Finger Bass
Nylon Bass
Ac.Upright
Wet Fretls
Fretls Dry
Slap Bass 1
Slap Bass 2
Slap Bass 3
Slap Bass 4
4 Pole Bass
Tick Bass
House Bass
Mondo Bass
Clk AnalogBs
Bass In Face
101 Bass
Noiz Bass
Super Jup Bs
Occitan Bass
Hugo Bass
Multi Bass
Moist Bass
BritelowBass
Untamed Bass
Rubber Bass
Stereoww Bs
Wonder Bass
Deep Bass
Super JX Bs
W-Bass
HI-Ring Bass
Euro Bass
SinusoidRave
Alternative
Acid Line
Auto TB-303
Hihat Tekno
Velo Tekno 1
Raggatronic
Blade Racer
S&H Pad
Syncrosonix
Fooled Again
Alive
Velo Tekno 2
Rezoid
Raverborg
Blow Hit
Hammer Bell
Seq Mallet
Intentions
Pick It
3
3
4
1
3
4
1
2
1
2
3
2
1
2
1
1
2
2
1
1
2
1
4
3
3
2
2
2
2
2
3
4
2
2
4
3
3
3
3
2
2
4
3
2
1
2
1
3
2
3
4
4
1
3
1
3
2
4
4
4
3
2
3
3
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PR-C (Preset C Group)
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
Analog Seq
2
Impact Vox
4
TeknoSoloVox 2
X-Mod Man
2
Paz <==> Zap 1
4 Hits 4 You
4
Impact
4
Phase Hit
3
Tekno Hit 1
2
Tekno Hit 2
2
Tekno Hit 3
4
Reverse Hit
3
SquareLead 1 3
SquareLead 2 2
You and Luck 2
Belly Lead
4
WhistlinAtom 2
Edye Boost
2
MG Solo
4
FXM Saw Lead 4
Sawteeth
3
Smoothe
2
MG Lead
2
MG Interval
4
Pulse Lead 1 3
Pulse Lead 2 4
Little Devil
4
Loud SynLead 4
Analog Lead
2
5th Lead
2
Flute
2
Piccolo
1
VOX Flute
4
Air Lead
2
Pan Pipes
2
Airplaaane
4
Taj Mahal
1
Raya Shaku
3
Oboe mf
1
Oboe Express 2
Clarinet mp
1
ClariExpress
2
Mitzva Split
4
ChamberWinds 4
ChamberWoods3
Film Orch
4
Sop.Sax mf
2
Alto Sax
3
AltoLead Sax 3
Tenor Sax
3
Baritone Sax 3
Take A Tenor 4
Sax Section
4
Bigband Sax
4
Harmonica
2
Harmo Blues 2
BluesHarp
1
Hillbillys
4
French Bags
4
Majestic Tpt
1
Voluntare
2
2Trumpets
2
Tpt Sect
4
Mute TP mod 4
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No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
Harmon Mute 1
Tp&Sax Sect 4
Sax+Tp+Tb
3
Brass Sect
4
Trombone
1
Hybrid Bones 4
Noble Horns
4
Massed Horns 3
Horn Swell
4
Brass It!
4
Brass Attack
3
Archimede
3
Rugby Horn
3
MKS-80 Brass 2
True ANALOG 2
Dark Vox
2
RandomVowels 4
Angels Sing
2
Pvox Oooze
3
Longing...
3
Arasian Morn 4
Beauty Vox
3
Mary-AnneVox 4
Belltree Vox
4
Vox Panner
2
Spaced Voxx 4
Glass Voices 3
Tubular Vox
4
Velo Voxx
2
Wavox
3
Doos
1
Synvox Comps 4
Vocal Oohz
3
LFO Vox
1
St.Strings
2
Warm Strings 4
Somber Str
4
Marcato
2
Bright Str
2
String Ens
4
TremoloStrng 2
Chambers
3
ViolinCello
4
Symphonique 4
Film Octaves 4
Film Layers
4
Bass Pizz
4
Real Pizz
3
Harp On It
3
Harp
2
JP-8 Str 1
2
JP-8 Str 2
3
E-Motion Pad 4
JP-8 Str 3
4
Vintage Orch 4
JUNO Strings 3
Gigantalog
4
PWM Strings 3
Warmth
2
ORBit Pad
2
Deep Strings 2
Pulsify
4
Pulse Pad
4
Greek Power 4
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No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
Harmonicum
2
D-50 Heaven 2
Afro Horns
3
Pop Pad
4
Dreamesque 4
Square Pad
4
JP-8 Hollow
4
JP-8Haunting 4
Heirborne
4
Hush Pad
4
Jet Pad 1
2
Jet Pad 2
2
Phaze Pad
3
Phaze Str
4
Jet Str Ens
2
Pivotal Pad
4
3D Flanged
1
Fantawine
4
Glassy Pad
3
Moving Glass 1
Glasswaves
3
Shiny Pad
4
ShiftedGlass
2
Chime Pad
3
Spin Pad
2
Rotary Pad
4
Dawn 2 Dusk 3
Aurora
4
Strobe Mode 4
Albion
2
Running Pad 4
Stepped Pad 4
Random Pad 4
SoundtrkDANC 4
Flying Waltz
4
Vanishing
1
5th Sweep
4
Phazweep
4
Big BPF
4
MG Sweep
4
CeremonyTimp 3
Dyno Toms
4
Sands ofTime 4
Inertia
4
Vektogram
4
Crash Pad
4
Feedback VOX 4
Cascade
1
Shattered
2
NextFrontier
2
Pure Tibet
1
Chime Wash 4
Night Shade
4
Tortured
4
Dissimilate
4
Dunes
4
Ocean Floor
1
Cyber Space 3
Biosphere
2
Variable Run 4
Ice Hall
2
ComputerRoom 4
Inverted
4
Terminate
3
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Voice: number of voice
254
Patch List
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
Echo Piano
Upright Pno
RD-1000
Player's EP
D-50 Rhodes
Innocent EP
Echo Rhodes
See-Thru EP
FM BellPiano
Ring E.Piano
Soap Opera
Dirty Organ
Surf's Up!
Organesque
pp Harmonium
PieceOfCheez
Harpsy Clav
Exotic Velo
HolidayCheer
Morning Lite
Prefab Chime
Belfry Chime
Stacc.Heaven
2.2 Bell Pad
Far East
Wire Pad
PhaseBlipper
Sweep Clav
Glider
Solo Steel
DesertCrystl
Clear Guitar
Solo Strat
Feed Me!
Tube Smoke
Creamy
Blusey OD
Grindstone
OD 5ths
East Europe
Dulcitar
Atmos Harp
Pilgrimage
202 Rude Bs
2pole Bass
4pole Bass
Phaser MC
Miniphaser
Acid TB
Full Orchest
Str + Winds
Flute 2080
Scat Flute
Sax Choir
Ballad Trump
Sm.Brass Grp
Royale
Brass Mutes
Breathy Brs
3 Osc Brass
P5 Polymod
Triumph Brs
Techno Dream
Organizer
3
3
3
2
4
2
4
3
3
4
1
3
2
3
1
1
2
4
4
2
3
3
4
4
4
3
2
3
2
4
4
3
3
4
2
2
2
2
3
2
4
4
4
2
2
2
2
2
1
4
4
2
2
4
4
4
4
2
3
3
2
3
3
3
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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POLY
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POLY
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POLY
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POLY
POLY
POLY
POLY
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POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
MONO
POLY
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MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
PR-E (Preset E Group)
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
Civilization
Mental Chord
House Chord
Sequalog
Booster Bips
VintagePlunk
Plik-Plok
RingSequence
Cyber Swing
Keep :-)
Resojuice
B'on d'moov!
Dist TB-303
Temple of JV
Planet Asia
Afterlife
Trancing Pad
Pulsatronic
Cyber Dreams
Warm Pipe
Pure Pipe
SH-2000
X..? Whistle
Jay Vee Solo
Progresso Ld
Adrenaline
Enlighten
Glass Blower
Earth Blow
JX SqrCarpet
Dimensional
Jupiterings
Analog Drama
Rich Dynapad
Silky Way
Gluey Pad
BandPass Mod
Soundtraque
Translucence
Darkshine
D'light
December Sky
Octapad
JUNO Power!
Spectrum Mod
Stringsheen
GR500 TmpDly
Mod DirtyWav
Silicon Str
D50FantaPerc
Rotodreams
Blue Notes
RiversOfTime
Phobos
2 0 8 0
Unearthly
Glistening
Sci-Fi Str
Shadows
Helium Queen
Sci-Fi FX x4
Perky Noize
Droplet
Rain Forest
3
4
4
4
2
4
2
4
4
2
2
3
2
4
4
3
2
3
3
1
2
2
3
3
4
4
4
3
2
2
2
2
3
4
2
3
2
2
4
4
2
4
3
4
4
3
2
3
4
3
3
4
4
2
4
4
4
3
4
4
1
3
3
4
POLY
MONO
MONO
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
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POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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POLY
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POLY
MONO
POLY
POLY
POLY
POLY
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
Grand XV
4
Contemplate
2
Rock Piano
2
RockPiano Ch 3
Pianomonics 4
Piano+SftPad 4
WarmVoxPiano 4
Y2K Concerto 8
Piano+AirPad 5
ChoraLeader 8
SparklePiano 6
Retro Rhodes 3
Fat Rhodes
3
Rhodes Trem 2
Phaser Dyno 3
Hit Rhodes
3
Sweet Tynes 4
Pluk Rhodes
3
Rhodes Trip
2
AmbiRhodes 4
Rholitzer
3
Wurlie
2
FM Delight
2
Cutter Clav
2
Mute Clav D6 3
PhazeWahClav 6
St.Harpsichd 4
3PartInventn
4
Soft Perky
5
Fullness
5
Paleface 1
2
Paleface 2
4
Soft B
2
British B
4
Rocker Org
6
Split B
6
PercInterval
8
Happy 60s
2
96 Years
1
Glory Us Rok 2
Church Harmn 4
Cathdr Harmn 5
Morph Pad
8
Air Pad
3
Soft Padding 2
Warmth Pad
2
ClassicJPpad 2
Jupiter Str
2
Fat Pad
4
GR700 Pad
3
Paradise
3
Moonchimes
3
SusPed Swap 4
PhasingPad
2
Ethereal Str
4
Velcropad
4
NothrnLights
4
Sun Dive
7
Brite Vox 1
4
Brite Vox 2
4
Ooh)Aah Mod 4
Vocals: Ooh
4
Vocals: Scat
6
Vocals: Boys 6
POLY
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POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
St. Choir
4
SampleThe80s 2
Sacred Tree
2
VP330 OctEko 2
XV Strings
3
Fat Strings
3
Dolce p/m/f
6
Sad Strings
6
Lush Strings
4
Strings4Film
6
Marcato Str
4
End Titles
4
ChmbrQuartet 4
ChamberSect. 4
FullChmbrStr 6
Tape Strings
2
Henry VIII
8
Prelude
4
Str&Brs Orch 7
Hornz
5
TudorFanfare 4
ChamberPlyrs 4
Flute/Clari
2
Orch Reeds
3
Dual Flutes
3
Jazzer Flute
2
LegatoBamboo 4
Ambience Flt 4
The Andes
1
Deja Vlute
4
Simply Brass 2
FullSt Brass
5
Dragnet
4
NewR&RBrass 8
Tower Trumps 5
BigBrassBand 5
Lil'BigHornz
6
VoyagerBrass 3
Symph Horns 3
Trombone Atm 3
XV Trombone 2
XV Trumpet
3
JupiterHorns
2
Solo SoprSax 1
Solo AltoSax 2
XV DynoTenor 3
Honker Bari
2
Full Saxz
7
Soaring Hrns 6
Glass Orbit
3
5th Atm /Aft
2
Lo-fi Sweep
2
Modular Life
4
Oscillations
4
Combing
2
Rolling 5ths
4
Analogue Str 4
Lunar Strngs 4
BPFsweep Mod 3
Queen V
6
SkinnyBounce 2
SquareBounce 3
Galactic
8
Powerwiggle
3
POLY
POLY
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POLY
POLY
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POLY
POLY
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POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
Voice: number of voice
255
Appendices
PR-D (Preset D Group)
Patch List
PR-F (Preset F Group)
No. Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Voice Key Assign
80s Retrosyn 2
Power Stack
3
Don't Jump
8
Big Bubbles
3
X-mod Sweep 1
Bag O' Bones 6
AirSoThin
2
Analogical
4
Waspy Pulse 2
Soaring Saws 6
Square Roots 2
BOG
3
Talking Box
3
Retro Lead
2
LivingInSync
2
Leads United 4
Dirty Sync
2
DistortaSync
1
Blistering
2
Guttural
8
Flyin' High
3
Soft Tooth
2
Soaring Sqr
4
Soaring Sync 4
Nasal Spray
2
Lamb Lead
2
Creamer
2
Sine System
4
Soft Nylon
4
Nylozzicato
3
Mutezzicato
3
Hybrid Nylon 3
XV SteelGt 1 4
XV SteelGt 2 4
Comp'Steel
4
Double Steel 8
Folk Guitar
4
SpanishNight 5
Plug n' Play
2
Fab 4 Guitar
4
Searing Lead 3
Punker
2
LouderPlease 3
XV Upright
1
XV Ac.Bass
4
LookMaNoFret 3
XV Fretless
1
Basic F'less
1
8-str F'less
2
Tap Bass
1
Pop Bass
1
P.Bs Chorus
4
TremCho Bs
2
Creamy Bass 2
Buster Bass
2
TB Squelch
2
Ticker Bass
4
Muscle Bass
2
Grounded Bs 2
West End Bs 5
Snap Bass
2
700 Bassboy 3
8VCO MonoSyn8
ResoMoist Bs 4
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
MONO
POLY
MONO
MONO
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice Key Assign
Kickin' Bass
2
Sub Zero
4
Liquid Bass
2
Hefty Bass
2
Severe Ow Bs 4
Chime Bells
4
Celestabox
1
Brass Tubes
4
Dreams East 3
Synergistic
2
Andreas Cave 4
AmbiPizza
5
Voxy Nylon
3
EastrnEurope 3
Celtic Harp
2
Reso Sitar
2
The Ganges
3
MountainFolk 2
Byzantine
4
AsiaPlectrum 8
VelHarp)Harm 3
Pluckaphone 4
Slap Timps
4
Suite Combo 6
Jet Voxs
3
Dirty Hit
4
MOVE!
6
Reel Slam
4
OffTheRecord 4
2ndRateChord 4
RageInYouth 3
MinorIncidnt
4
Phunky DC
2
Agent X
7
Winky
8
Looney 2nz
8
Shortrave
2
DeeperBeeper 2
Percolator
4
Filter Morph
4
Choir Bounce 4
Rippling
1
SteppingPhsr 3
Trance Fair
8
GermanBounce 4
Acid JaZZ
5
Cutter>ModWh 2
Blades
4
Mad Bender
6
Shapeshifter
4
ForestMoon
8
Predator 2
8
Dark Side
8
The Beast
6
X-mod Reso
1
Planet Meta
7
Nexus
8
Halographix
2
Moon Rise
8
Gruvacious
5
Windy Dunes 4
Ice Blasts
4
Ringy Thingy 8
Atmospherics 4
MONO
MONO
MONO
MONO
MONO
POLY
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POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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POLY
MONO
POLY
POLY
MONO
POLY
MONO
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
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POLY
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POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
Voice: number of voice
256
Patch List
PR-H (GM2 Group)
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Piano 1
Piano 1w
European Pf
Piano 2
Piano 2w
Piano 3
Piano 3w
Honky-tonk
Honky-tonk 2
E.Piano 1
St.Soft EP
FM+SA EP
Wurly
E.Piano 2
Detuned EP 2
St.FM EP
EP Legend
EP Phase
Harpsichord
Coupled Hps.
Harpsi.w
Harpsi.o
Clav.
Pulse Clav
Celesta
Glockenspiel
Music Box
Vibraphone
Vibraphone w
Marimba
Marimba w
Xylophone
Tubular-bell
Church Bell
Carillon
Santur
Organ 1
Trem. Organ
60's Organ 1
70's E.Organ
Organ 2
Chorus Or.2
Perc. Organ
Organ 3
Church Org.1
Church Org.2
Church Org.3
Reed Organ
Puff Organ
Accordion Fr
Accordion It
Harmonica
Bandoneon
Nylon-str.Gt
Ukulele
Nylon Gt.o
Nylon Gt.2
Steel-str.Gt
12-str.Gt
Mandolin
Steel + Body
Jazz Gt.
Pedal Steel
Clean Gt.
Voice
LSB
4
2
1
4
1
1
1
2
2
2
2
2
2
2
2
2
2
2
1
2
1
2
1
1
1
1
1
2
2
1
1
1
1
1
1
1
2
2
1
2
2
2
2
2
1
2
2
1
2
2
2
1
2
1
1
2
2
1
2
2
2
1
1
1
0
1
2
0
1
0
1
0
1
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
1
0
1
0
0
1
2
0
0
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
0
1
2
3
0
1
2
3
0
1
0
PC
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
No. Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Voice
Chorus Gt.
Mid Tone GTR
Muted Gt.
Funk Pop
Funk Gt.2
Jazz Man
Overdrive Gt
Guitar Pinch
DistortionGt
Feedback Gt.
Dist Rtm GTR
Gt.Harmonics
Gt. Feedback
Acoustic Bs.
Fingered Bs.
Finger Slap
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
SynthBass101
Acid Bass
Clavi Bass
Hammer
Synth Bass 2
Beef FM Bass
RubberBass 2
Attack Pulse
Violin
Slow Violin
Viola
Cello
Contrabass
Tremolo Str
PizzicatoStr
Harp
Yang Qin
Timpani
Strings
Orchestra
60s Strings
Slow Strings
Syn.Strings1
Syn.Strings3
Syn.Strings2
Choir Aahs
Chorus Aahs
Voice Oohs
Humming
SynVox
Analog Voice
OrchestraHit
Bass Hit
6th Hit
Euro Hit
Trumpet
Dark Trumpet
Trombone
Trombone 2
Bright Tb
Tuba
MutedTrumpet
MuteTrumpet2
Voice: number of voice
2
1
1
1
2
2
2
2
2
2
2
1
1
1
1
2
1
1
1
2
1
1
1
2
2
2
2
2
1
1
1
1
1
1
1
1
1
2
1
2
3
2
1
2
2
2
2
2
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
LSB
1
2
0
1
2
3
0
1
0
1
2
0
1
0
0
1
0
0
0
0
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
0
0
1
0
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
0
1
0
1
2
0
0
1
PC
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
No. Name
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
Voice
French Horns
Fr.Horn 2
Brass 1
Brass 2
Synth Brass1
Pro Brass
Oct SynBrass
Jump Brass
Synth Brass2
SynBrass sfz
Velo Brass 1
Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
Oboe
English Horn
Bassoon
Clarinet
Piccolo
Flute
Recorder
Pan Flute
Bottle Blow
Shakuhachi
Whistle
Ocarina
Square Wave
MG Square
2600 Sine
Saw Wave
OB2 Saw
Doctor Solo
Natural Lead
SequencedSaw
Syn.Calliope
Chiffer Lead
Charang
Wire Lead
Solo Vox
5th Saw Wave
Bass & Lead
Delayed Lead
Fantasia
Warm Pad
Sine Pad
Polysynth
Space Voice
Itopia
Bowed Glass
Metal Pad
Halo Pad
Sweep Pad
Ice Rain
Soundtrack
Crystal
Syn Mallet
Atmosphere
Brightness
Goblin
Echo Drops
Echo Bell
Echo Pan
Star Theme
LSB: Bank Select LSB, MSB is all 121
2
2
3
2
2
2
2
3
2
2
2
1
1
2
1
2
1
1
1
1
1
1
1
2
2
1
2
2
1
1
2
1
2
2
2
2
2
2
2
2
2
2
2
2
1
2
2
2
2
3
3
2
1
2
2
2
1
2
2
2
1
2
2
2
LSB
PC
No. Name
0
1
0
1
0
1
2
3
0
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
0
0
1
0
0
1
0
0
0
0
0
0
0
1
0
0
0
0
1
2
0
61
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
Sitar
Sitar 2
Banjo
Shamisen
Koto
Taisho Koto
Kalimba
Bagpipe
Fiddle
Shanai
Tinkle Bell
Agogo
Steel Drums
Woodblock
Castanets
Taiko
Concert BD
Melo. Tom 1
Melo. Tom 2
Synth Drum
808 Tom
Elec Perc
Reverse Cym.
Gt.FretNoise
Gt.Cut Noise
String Slap
Breath Noise
Fl.Key Click
Seashore
Rain
Thunder
Wind
Stream
Bubble
Bird
Dog
Horse-Gallop
Bird 2
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Gun Shot
Machine Gun
Lasergun
Explosion
PC: Program Change Number
Voice
LSB
PC
1
2
1
1
2
1
1
2
1
1
3
1
1
1
1
3
2
1
1
2
2
1
1
1
1
1
1
1
1
1
1
1
2
2
2
1
1
1
1
1
1
1
2
2
2
1
1
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
2
0
1
0
0
0
1
0
0
0
0
0
0
0
0
1
0
1
0
1
0
1
2
0
0
1
2
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Key Assign: all POLY
257
Appendices
No. Name
Rhythm Set List
USER (User Group)
Note No.
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
258
PR-A (Preset A Group)
001
XV Pop Kit
002
XV Rock Kit
003
XV Jazz Kit
004
XV Rust Kit
001
PopDrumSet 1
002
PopDrumSet 2
Dance Kick
Dry Kick
Rock Roll
Hybrid Kick
Rock PdHH
Round Kick
Hand Claps
Hybrid Kick2
Old Kick
Side Stick
Wet SN
Snare Ghost
AmbientSN
Maple Tom 3
Rock ClHH2
Rock Flm L2
Rock ClHH1
Maple Tom 2
Rock OpHH
Rock Flm M
Maple Tom 1
Crash Cymbal
Rock Flm H
Rock RdCym1
Crash 1
Rock RdCym2
Tambourine 2
Rock CrCym2
Cowbell Lo
Crash 1
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Finger Snaps
Dance Kick
Round Kick
Rock Roll
Jazz Kick
Rock PdHH
Verb Kick
Hand Claps
Maple Kick
Rock Kick
RockStick
Rock SN
Rock Gst
Rock Rim
Rock TomL2
Rock ClHH2
Rock Flm L2
Rock ClHH1
Rock Tom M
Rock OpHH
Rock Flm M
Rock Tom H
Rock CrCym1
Rock Flm H
Rock RdCym1
Rock China
Rock RdCym2
Tambourine 2
Rock CrCym2
Cowbell Lo
Crash 1
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Finger Snaps
JazzDry Kick
Pillow Kick
Jazz Swish
Hybrid Kick2
Jazz PdHH
MplLmtr Kick
Hand Claps
JazzDry Kick
Jazz Kick
Dry Stick 2
Jazz SN
Snare Ghost
Jazz Rim
Jazz Tom L
Jazz ClHH1
Jazz Flm L
Jazz ClHH2
Jazz Tom M
Jazz OpHH
Jazz Flm M
Jazz Tom H
Jazz CrCym
Jazz Flm H
Jazz RdCym
Rock RdCym1
Rock RdCym2
Tambourine 1
Crash 1
Cowbell Lo
Crash 2
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Finger Snaps
70s Kick 2
Old Kick
Rock Roll
909 Kick 2
Rock PdHH
909 Kick 1
808 Claps
808 Kick
Dance Kick
RockStick
Old Fill SN
Rock Gst
Rock SN
Elec.Tom L2
Rock ClHH1
Elec.Tom L1
Rock ClHH2
Elec.Tom M
Rock OpHH
Elec.Tom M
Elec.Tom H
Rock CrCym1
Elec.Tom H
Rock RdCym1
Rock CrCym2
Rock RdCym2
Tambourine 1
Rock Splash
Cowbell
China Cym
Vibraslap
70s Kick 2
70s Kick 1
Dry Stick
70s SN
Finger Snaps
HumanClapsEQ
JD Cowbell
70s Cl HiHat
AgogoBells
70s Cl HiHat
909 NZ HiHat
70s Op HiHat
Cabasa Up
Long Whistle
REV RkOpHH f
Tambourine 2
REV JzOpHH f
Scratch 2
Mute Triangl
909 Cl HiHat
Open Triangl
909 Cl HiHat
Cabasa
909 Op HiHat
Spectrum
Maple Kick
Woody Stick
Maple SN
SN Roll
Maple Tom 3
909 Kick 1
Old Kick
808 Kick
909 SN 2
909 SN 1
808 SN
Dance Kick
REV Timp3
R8 Click
Metronome 2
Finger Snaps
----------------------------Verb Kick
Hybrid Kick
Side Stick
Natural SN2
808 Claps
SN Roll
Verb Tom Lo
Cl HiHat 4
Verb Tom Lo
Cl HiHat 5
Verb Tom Hi
Op HiHat 2
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 2
China Cym
Ride Bell
Tambourine 1
Crash 1
Cowbell
Crash 1
Cowbell
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
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 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
-----
----------------------------Hybrid Kick
Round Kick
Dry Stick 2
Piccolo SN
Hand Claps
Piccolo SN
Verb Tom Lo
Cl HiHat 4
Verb Tom Lo
Cl HiHat 5
Verb Tom Hi
Op HiHat 2
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell
Tambourine 1
Crash 1
Cowbell
Crash 1
Cowbell
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
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 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
-----
Rhythm Set List
Note No.
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
PR-C (Preset C Group)
PR-D (Preset D Group)
001
PowerDrumSet
002
RaveDrumSet
001
JazzDrumSet2
002
OrchDrumSet
001
PowerDrmSet2
002
PowerRaveSet
----------------------------Verb Kick
Round Kick
Dry Stick 2
Piccolo SN
808 Claps
Natural SN2
Verb Tom Lo
Cl HiHat 4
Verb Tom Lo
Pedal HiHat2
Verb Tom Lo
Op HiHat 2
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell
Tambourine 1
Crash 1
Cowbell
Crash 1
Vibraslap
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
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
-----
----------------------------808 Kick
Round Kick
Side Stick
808 SN
808 Claps
808 SN
808 Kick
606 Cl HiHat
Tekno Hit
606 Cl HiHat
808 Kick
606 Op HiHat
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
REV Tamb 1
2.2 Vibwave
Low Pink NZ
Kalimba
Metal Wind
Lead Wave
Tin Wave
AgogoBells
Lite Kick
AgogoBells
Lite Kick
AgogoBells
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
-----
----------------------------Round Kick
Old Kick
Side Stick
Ballad SN
Hand Claps
SN Roll
Verb Tom Lo
Cl HiHat 5
Dry Tom Lo
Pedal HiHat2
Verb Tom Lo
Op HiHat 2
Dry Tom Lo
Verb Tom Hi
Crash 1
Dry Tom Hi
Ride 2
China Cym
Ride Bell
Tambourine 1
Crash 1
Cowbell
Crash 1
Vibraslap
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
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
-----
----------------------------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 1
Crash 1
Cowbell
Crash 1
Ride 1
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
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 4
Round Kick
Pedal HiHat2
Natural SN2
Op HiHat 2
Brush Slap
Brush Swish
Brush Roll
SN Roll
-----
----------------------------Verb Kick
Round Kick
Dry Stick 2
Piccolo SN
808 Claps
SN Roll
Verb Tom Lo
Cl HiHat 4
Verb Tom Lo
Pedal HiHat2
Verb Tom Lo
Op HiHat 2
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell
Tambourine 1
Crash 1
Cowbell
Crash 1
Vibraslap
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
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
-----
----------------------------Verb Kick
Round Kick
Dry Stick 2
Piccolo SN
808 Claps
Natural SN2
Verb Tom Lo
Cl HiHat 4
Verb Tom Lo
Pedal HiHat2
Verb Tom Lo
Op HiHat 2
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Hi
Ride 1
China Cym
Ride Bell
Tambourine 1
Crash 1
Cowbell
Crash 1
Vibraslap
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
AgogoBells
Maracas
606 Cl HiHat
606 Cl HiHat
606 Op HiHat
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
REV Tin Wave
DIGI Bell 1
Metal Wind
Applause
R8 Click
Metronome 1
-----
Appendices
PR-B (Preset B Group)
259
Rhythm Set List
PR-E (Preset E Group)
Note No.
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
260
PR-F (Preset F Group)
001
XV Pop Kit
002
XV Rock Kit
001
XV Jazz Kit
002
XV Rust Kit
Dance Kick
Dry Kick
Rock Roll
Hybrid Kick
Snare Ghost
Round Kick
Rock PdHH
Hybrid Kick2
Old Kick
Side Stick
Wet SN
Snare Ghost
AmbientSN
Maple Tom 3
Rock ClHH2
Rock Flm L2
Rock ClHH1
Maple Tom 2
Rock OpHH
Rock Flm M
Maple Tom 1
Crash Cymbal
Rock Flm H
Rock RdCym1
Crash 1
Rock RdCym2
Tambourine 2
Rock CrCym2
Cowbell Lo
Crash 1
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Dance Kick
Round Kick
Rock Roll
Jazz Kick
Rock Gst
Verb Kick
Rock PdHH
Maple Kick
Rock Kick
RockStick
Rock SN
Rock Gst
Rock Rim
Rock TomL2
Rock ClHH2
Rock Flm L2
Rock ClHH1
Rock Tom M
Rock OpHH
Rock Flm M
Rock Tom H
Rock CrCym1
Rock Flm H
Rock RdCym1
Rock China
Rock RdCym2
Tambourine 2
Rock CrCym2
Cowbell Lo
Crash 1
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
JazzDry Kick
Pillow Kick
Jazz Swish
Hybrid Kick2
Snare Ghost
MplLmtr Kick
Jazz PdHH
JazzDry Kick
Jazz Kick
Dry Stick 2
Jazz SN
Snare Ghost
Jazz Rim
Jazz Tom L
Jazz ClHH1
Jazz Flm L
Jazz ClHH2
Jazz Tom M
Jazz OpHH
Jazz Flm M
Jazz Tom H
Jazz CrCym
Jazz Flm H
Jazz RdCym
Rock RdCym1
Rock RdCym2
Tambourine 1
Crash 1
Cowbell Lo
Crash 2
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
70s Kick 2
Old Kick
Rock Roll
909 Kick 2
Rock Gst
909 Kick 1
Rock PdHH
808 Kick
Dance Kick
RockStick
Old Fill SN
Rock Gst
Rock SN
Elec.Tom L2
Rock ClHH1
Elec.Tom L1
Rock ClHH2
Elec.Tom M
Rock OpHH
Elec.Tom M
Elec.Tom H
Rock CrCym1
Elec.Tom H
Rock RdCym1
Rock CrCym2
Rock RdCym2
Tambourine 1
Rock Splash
Cowbell
China Cym
Vibraslap
70s Kick 2
70s Kick 1
Dry Stick
70s SN
Finger Snaps
HumanClapsEQ
JD Cowbell
70s Cl HiHat
AgogoBells
70s Cl HiHat
909 NZ HiHat
70s Op HiHat
Cabasa Up
Long Whistle
REV RkOpHH f
Tambourine 2
REV JzOpHH f
Scratch 2
Mute Triangl
909 Cl HiHat
Open Triangl
909 Cl HiHat
Cabasa
909 Op HiHat
Spectrum
Maple Kick
Woody Stick
Maple SN
SN Roll
Maple Tom 3
909 Kick 1
Old Kick
808 Kick
909 SN 2
909 SN 1
808 SN
Dance Kick
REV Timp3
R8 Click
Metronome 2
808 Claps
Rhythm Set List
PR-H (GM2 Group)
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
001
(PC: 1)
GM2 STANDARD
002
(PC: 9)
GM2 ROOM
003
(PC: 17)
GM2 POWER
004
(PC: 25)
GM2 ELECTRIC
005
(PC: 26)
GM2 ANALOG
006
(PC: 33)
GM2 JAZZ
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Room Tom 5
Close HiHat2
Room Tom 5
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Room Tom 2
Crash Cym.1
Room Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Power Kick1
Side Stick
Dance Snare1
909 HandClap
Elec Snare 3
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Elec Kick 1
Side Stick
Elec. Snare
909 HandClap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
TR-808 Kick
808 Rimshot
808 Snare 1
909 HandClap
Elec Snare 3
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
808clave
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
PC: Program Change Number
Bank Select MSB is all 120, LSB is all 0
Appendices
Note No.
261
Rhythm Set List
PR-H (GM2 Group)
Note No.
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
007
(PC: 41)
GM2 BRUSH
008
(PC: 49)
GM2 ORCHSTRA
009
GM2 SFX
(PC: 57)
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
Close HiHat2
Pedal HiHat2
Open HiHat2
Ride Cymbal
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
ConcertBD Mt
Side Stick
Concert Snr
Castanets
Concert Snr
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause
------------------------------------------------High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise
Gt.CutNoise
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
-----------------
PC: Program Change Number
262
Bank Select MSB is all 120, LSB is all 0
Waveform List
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
0001
0002
0003
0004
0005
0006
0007
0008
0009
0010
0011
0012
0013
0014
0015
0016
0017
0018
0019
0020
0021
0022
0023
0024
0025
0026
0027
0028
0029
0030
0031
0032
0033
0034
0035
0036
0037
0038
0039
0040
0041
0042
0043
0044
0045
0046
0047
0048
0049
0050
StGrand pA L
StGrand pA R
StGrand pB L
StGrand pB R
StGrand pC L
StGrand pC R
StGrand fA L
StGrand fA R
StGrand fB L
StGrand fB R
StGrand fC L
StGrand fC R
Ac Piano2 pA
Ac Piano2 pB
Ac Piano2 pC
Ac Piano2 fA
Ac Piano2 fB
Ac Piano2 fC
Ac Piano1 A
Ac Piano1 B
Ac Piano1 C
Piano Thump
Piano Up TH
Piano Atk
MKS-20 P3 A
MKS-20 P3 B
MKS-20 P3 C
SA Rhodes 1A
SA Rhodes 1B
SA Rhodes 1C
SA Rhodes 2A
SA Rhodes 2B
SA Rhodes 2C
Dyn Rhd mp A
Dyn Rhd mp B
Dyn Rhd mp C
Dyn Rhd mf A
Dyn Rhd mf B
Dyn Rhd mf C
Dyn Rhd ff A
Dyn Rhd ff B
Dyn Rhd ff C
Wurly soft A
Wurly soft B
Wurly soft C
Wurly hard A
Wurly hard B
Wurly hard C
E.Piano 1A
E.Piano 1B
0051
0052
0053
0054
0055
0056
0057
0058
0059
0060
0061
0062
0063
0064
0065
0066
0067
0068
0069
0070
0071
0072
0073
0074
0075
0076
0077
0078
0079
0080
0081
0082
0083
0084
0085
0086
0087
0088
0089
0090
0091
0092
0093
0094
0095
0096
0097
0098
0099
0100
E.Piano 1C
E.Piano 2A
E.Piano 2B
E.Piano 2C
E.Piano 3A
E.Piano 3B
E.Piano 3C
MK-80 EP A
MK-80 EP B
MK-80 EP C
EP Hard
EP Distone
Clear Keys
D-50 EP A
D-50 EP B
D-50 EP C
Celesta
Music Box
Music Box 2
Clav 1A
Clav 1B
Clav 1C
Clav 2A
Clav 2B
Clav 2C
Clav 3A
Clav 3B
Clav 3C
Clav 4A
Clav 4B
Clav 4C
Clav Wave
MIDI Clav
HarpsiWave A
HarpsiWave B
HarpsiWave C
Jazz Organ 1
Jazz Organ 2
Organ 1
Organ 2
Organ 3
Organ 4
60's Organ1
60's Organ2
60's Organ3
60's Organ4
Full Organ
Full Draw
Rock Organ
RockOrg1 A L
0101
0102
0103
0104
0105
0106
0107
0108
0109
0110
0111
0112
0113
0114
0115
0116
0117
0118
0119
0120
0121
0122
0123
0124
0125
0126
0127
0128
0129
0130
0131
0132
0133
0134
0135
0136
0137
0138
0139
0140
0141
0142
0143
0144
0145
0146
0147
0148
0149
0150
RockOrg1 A R
RockOrg1 B L
RockOrg1 B R
RockOrg1 C L
RockOrg1 C R
RockOrg2 A L
RockOrg2 A R
RockOrg2 B L
RockOrg2 B R
RockOrg2 C L
RockOrg2 C R
RockOrg3 A L
RockOrg3 A R
RockOrg3 B L
RockOrg3 B R
RockOrg3 C L
RockOrg3 C R
Dist. Organ
Rot.Org Slw
Rot.Org Fst
Pipe Organ
Soft Nylon A
Soft Nylon B
Soft Nylon C
Nylon Gtr A
Nylon Gtr B
Nylon Gtr C
Nylon Str
6-Str Gtr A
6-Str Gtr B
6-Str Gtr C
StlGtr mp A
StlGtr mp B
StlGtr mp C
StlGtr mf A
StlGtr mf B
StlGtr mf C
StlGtr ff A
StlGtr ff B
StlGtr ff C
StlGtr sld A
StlGtr sld B
StlGtr sld C
StlGtr Hrm A
StlGtr Hrm B
StlGtr Hrm C
Gtr Harm A
Gtr Harm B
Gtr Harm C
Jazz Gtr A
0151
0152
0153
0154
0155
0156
0157
0158
0159
0160
0161
0162
0163
0164
0165
0166
0167
0168
0169
0170
0171
0172
0173
0174
0175
0176
0177
0178
0179
0180
0181
0182
0183
0184
0185
0186
0187
0188
0189
0190
0191
0192
0193
0194
0195
0196
0197
0198
0199
0200
Jazz Gtr B
Jazz Gtr C
LP Rear A
LP Rear B
LP Rear C
Rock lead 1
Rock lead 2
Comp Gtr A
Comp Gtr B
Comp Gtr C
Comp Gtr A+
Mute Gtr 1
Mute Gtr 2A
Mute Gtr 2B
Mute Gtr 2C
Muters
Pop Strat A
Pop Strat B
Pop Strat C
JC Strat A
JC Strat B
JC Strat C
JC Strat A+
JC Strat B+
JC Strat C+
Clean Gtr A
Clean Gtr B
Clean Gtr C
Stratus A
Stratus B
Stratus C
Scrape Gut
Strat Sust
Strat Atk
OD Gtr A
OD Gtr B
OD Gtr C
OD Gtr A+
Heavy Gtr A
Heavy Gtr B
Heavy Gtr C
Heavy Gtr A+
Heavy Gtr B+
Heavy Gtr C+
PowerChord A
PowerChord B
PowerChord C
EG Harm
Gt.FretNoise
Syn Gtr A
0201
0202
0203
0204
0205
0206
0207
0208
0209
0210
0211
0212
0213
0214
0215
0216
0217
0218
0219
0220
0221
0222
0223
0224
0225
0226
0227
0228
0229
0230
0231
0232
0233
0234
0235
0236
0237
0238
0239
0240
0241
0242
0243
0244
0245
0246
0247
0248
0249
0250
Syn Gtr B
Syn Gtr C
Harp 1A
Harp 1B
Harp 1C
Harp Harm
Pluck Harp
Banjo A
Banjo B
Banjo C
Sitar A
Sitar B
Sitar C
E.Sitar A
E.Sitar B
E.Sitar C
Santur A
Santur B
Santur C
Dulcimer A
Dulcimer B
Dulcimer C
Shamisen A
Shamisen B
Shamisen C
Koto A
Koto B
Koto C
Taishokoto A
Taishokoto B
Taishokoto C
Pick Bass A
Pick Bass B
Pick Bass C
Fingerd Bs A
Fingerd Bs B
Fingerd Bs C
E.Bass
P.Bass 1
P.Bass 2
Stick
Fretless A
Fretless B
Fretless C
Fretless 2A
Fretless 2B
Fretless 2C
UprightBs 1
UprightBs 2A
UprightBs 2B
Appendices
No.
263
Waveform List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
0251
0252
0253
0254
0255
0256
0257
0258
0259
0260
0261
0262
0263
0264
0265
0266
0267
0268
0269
0270
0271
0272
0273
0274
0275
0276
0277
0278
0279
0280
0281
0282
0283
0284
0285
0286
0287
0288
0289
0290
0291
0292
0293
0294
0295
0296
0297
0298
0299
0300
UprightBs 2C
Ac.Bass A
Ac.Bass B
Ac.Bass C
Slap Bass 1
Slap & Pop
Slap Bass 2
Slap Bass 3
Jz.Bs Thumb
Jz.Bs Slap 1
Jz.Bs Slap 2
Jz.Bs Slap 3
Jz.Bs Pop
Funk Bass1
Funk Bass2
Syn Bass A
Syn Bass C
Syn Bass
Syn Bass 2 A
Syn Bass 2 B
Syn Bass 2 C
Mini Bs 1A
Mini Bs 1B
Mini Bs 1C
Mini Bs 2
Mini Bs 2+
MC-202 Bs A
MC-202 Bs B
MC-202 Bs C
Hollow Bs
Flute 1A
Flute 1B
Flute 1C
Jazz Flute A
Jazz Flute B
Jazz Flute C
Flute Tone
Piccolo A
Piccolo B
Piccolo C
Blow Pipe
Pan Pipe
BottleBlow
Rad Hose
Shakuhachi
Shaku Atk
Flute Push
Clarinet A
Clarinet B
Clarinet C
0301
0302
0303
0304
0305
0306
0307
0308
0309
0310
0311
0312
0313
0314
0315
0316
0317
0318
0319
0320
0321
0322
0323
0324
0325
0326
0327
0328
0329
0330
0331
0332
0333
0334
0335
0336
0337
0338
0339
0340
0341
0342
0343
0344
0345
0346
0347
0348
0349
0350
Oboe mf A
Oboe mf B
Oboe mf C
Oboe f A
Oboe f B
Oboe f C
E.Horn A
E.Horn B
E.Horn C
Bassoon A
Bassoon B
Bassoon C
T_Recorder A
T_Recorder B
T_Recorder C
Sop.Sax A
Sop.Sax B
Sop.Sax C
Sop.Sax mf A
Sop.Sax mf B
Sop.Sax mf C
Alto mp A
Alto mp B
Alto mp C
Alto Sax 1A
Alto Sax 1B
Alto Sax 1C
T.Breathy A
T.Breathy B
T.Breathy C
SoloSax A
SoloSax B
SoloSax C
Tenor Sax A
Tenor Sax B
Tenor Sax C
T.Sax mf A
T.Sax mf B
T.Sax mf C
Bari.Sax f A
Bari.Sax f B
Bari.Sax f C
Bari.Sax A
Bari.Sax B
Bari.Sax C
Syn Sax
Chanter
Harmonica A
Harmonica B
Harmonica C
0351
0352
0353
0354
0355
0356
0357
0358
0359
0360
0361
0362
0363
0364
0365
0366
0367
0368
0369
0370
0371
0372
0373
0374
0375
0376
0377
0378
0379
0380
0381
0382
0383
0384
0385
0386
0387
0388
0389
0390
0391
0392
0393
0394
0395
0396
0397
0398
0399
0400
OrcUnisonA L
OrcUnisonA R
OrcUnisonB L
OrcUnisonB R
OrcUnisonC L
OrcUnisonC R
BrassSectA L
BrassSectA R
BrassSectB L
BrassSectB R
BrassSectC L
BrassSectC R
Tpt Sect. A
Tpt Sect. B
Tpt Sect. C
Tb Sect A
Tb Sect B
Tb Sect C
T.Sax Sect A
T.Sax Sect B
T.Sax Sect C
Flugel A
Flugel B
Flugel C
FlugelWave
Trumpet 1A
Trumpet 1B
Trumpet 1C
Trumpet 2A
Trumpet 2B
Trumpet 2C
HarmonMute1A
HarmonMute1B
HarmonMute1C
Trombone 1
Trombone 2 A
Trombone 2 B
Trombone 2 C
Tuba A
Tuba B
Tuba C
French 1A
French 1C
F.Horns A
F.Horns B
F.Horns C
Violin A
Violin B
Violin C
Violin 2 A
0401
0402
0403
0404
0405
0406
0407
0408
0409
0410
0411
0412
0413
0414
0415
0416
0417
0418
0419
0420
0421
0422
0423
0424
0425
0426
0427
0428
0429
0430
0431
0432
0433
0434
0435
0436
0437
0438
0439
0440
0441
0442
0443
0444
0445
0446
0447
0448
0449
0450
Violin 2 B
Violin 2 C
Cello A
Cello B
Cello C
Cello 2 A
Cello 2 B
Cello 2 C
Cello Wave
Pizz
STR Attack A
STR Attack B
STR Attack C
DolceStr.A L
DolceStr.A R
DolceStr.B L
DolceStr.B R
DolceStr.C L
DolceStr.C R
JV Strings L
JV Strings R
JV Strings A
JV Strings C
JP Strings1A
JP Strings1B
JP Strings1C
JP Strings2A
JP Strings2B
JP Strings2C
PWM
Pulse Mod
Soft Pad A
Soft Pad B
Soft Pad C
Fantasynth A
Fantasynth B
Fantasynth C
D-50 HeavenA
D-50 HeavenB
D-50 HeavenC
Fine Wine
D-50 Brass A
D-50 Brass B
D-50 Brass C
D-50 BrassA+
Doo
Pop Voice
Syn Vox 1
Syn Vox 2
Voice Aahs A
0451
0452
0453
0454
0455
0456
0457
0458
0459
0460
0461
0462
0463
0464
0465
0466
0467
0468
0469
0470
0471
0472
0473
0474
0475
0476
0477
0478
0479
0480
0481
0482
0483
0484
0485
0486
0487
0488
0489
0490
0491
0492
0493
0494
0495
0496
0497
0498
0499
0500
Voice Aahs B
Voice Aahs C
Voice Oohs1A
Voice Oohs1B
Voice Oohs1C
Voice Oohs2A
Voice Oohs2B
Voice Oohs2C
Choir 1A
Choir 1B
Choir 1C
Oohs Chord L
Oohs Chord R
Male Ooh A
Male Ooh B
Male Ooh C
Org Vox A
Org Vox B
Org Vox C
Org Vox
ZZZ Vox
Bell VOX
Kalimba
JD Kalimba
Klmba Atk
Wood Crak
Block
Gamelan 1
Gamelan 2
Gamelan 3
Log Drum
Hooky
Tabla
Marimba Wave
Xylo
Xylophone
Vibes
Bottle Hit
Glockenspiel
Tubular
Steel Drums
Pole lp
Fanta Bell A
Fanta Bell B
Fanta Bell C
FantaBell A+
Org Bell
AgogoBells
FingerBell
DIGI Bell 1
264
Waveform List
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
0501
0502
0503
0504
0505
0506
0507
0508
0509
0510
0511
0512
0513
0514
0515
0516
0517
0518
0519
0520
0521
0522
0523
0524
0525
0526
0527
0528
0529
0530
0531
0532
0533
0534
0535
0536
0537
0538
0539
0540
0541
0542
0543
0544
0545
0546
0547
0548
0549
0550
DIGI Bell 1+
JD Cowbell
Bell Wave
Chime
Crystal
2.2 Bellwave
2.2 Vibwave
Digiwave
DIGI Chime
JD DIGIChime
BrightDigi
Can Wave 1
Can Wave 2
Vocal Wave
Wally Wave
Brusky lp
Wave Scan
Wire String
Nasty
Wave Table
Klack Wave
Spark VOX
JD Spark VOX
Cutters
EML 5th
MMM VOX
Lead Wave
Synth Reed
Synth Saw 1
Synth Saw 2
Syn Saw 2inv
Synth Saw 3
JD Syn Saw 2
FAT Saw
JP-8 Saw A
JP-8 Saw B
JP-8 Saw C
P5 Saw A
P5 Saw B
P5 Saw C
P5 Saw2 A
P5 Saw2 B
P5 Saw2 C
D-50 Saw A
D-50 Saw B
D-50 Saw C
Synth Square
JP-8 SquareA
JP-8 SquareB
JP-8 SquareC
0551
0552
0553
0554
0555
0556
0557
0558
0559
0560
0561
0562
0563
0564
0565
0566
0567
0568
0569
0570
0571
0572
0573
0574
0575
0576
0577
0578
0579
0580
0581
0582
0583
0584
0585
0586
0587
0588
0589
0590
0591
0592
0593
0594
0595
0596
0597
0598
0599
0600
DualSquare A
DualSquare C
DualSquareA+
JD SynPulse1
JD SynPulse2
JD SynPulse3
JD SynPulse4
Synth Pulse1
Synth Pulse2
JD SynPulse5
Sync Sweep
Triangle
JD Triangle
Sine
Metal Wind
Wind Agogo
Feedbackwave
Spectrum
CrunchWind
ThroatWind
Pitch Wind
JD Vox Noise
Vox Noise
BreathNoise
Voice Breath
White Noise
Pink Noise
Rattles
Ice Rain
Tin Wave
Anklungs
Wind Chimes
Orch. Hit
Tekno Hit
Back Hit
Philly Hit
Scratch 1
Scratch 2
Scratch 3
Shami
Org Atk 1
Org Atk 2
Sm Metal
StrikePole
Thrill
Switch
Tuba Slap
Plink
Plunk
EP Atk
0601
0602
0603
0604
0605
0606
0607
0608
0609
0610
0611
0612
0613
0614
0615
0616
0617
0618
0619
0620
0621
0622
0623
0624
0625
0626
0627
0628
0629
0630
0631
0632
0633
0634
0635
0636
0637
0638
0639
0640
0641
0642
0643
0644
0645
0646
0647
0648
0649
0650
TVF_Trig
Org Click
Cut Noiz
Bass Body
Flute Click
Gt&BsNz MENU
Ac.BassNz 1
Ac.BassNz 2
El.BassNz 1
El.BassNz 2
DistGtrNz 1
DistGtrNz 2
DistGtrNz 3
DistGtrNz 4
SteelGtrNz 1
SteelGtrNz 2
SteelGtrNz 3
SteelGtrNz 4
SteelGtrNz 5
SteelGtrNz 6
SteelGtrNz 7
Sea
Thunder
Windy
Stream
Bubble
Bird
Dog Bark
Horse
Telephone 1
Telephone 2
Creak
Door Slam
Engine
Car Stop
Car Pass
Crash
Gun Shot
Siren
Train
Jetplane
Starship
Breath
Laugh
Scream
Punch
Heart
Steps
Machine Gun
Laser
0651
0652
0653
0654
0655
0656
0657
0658
0659
0660
0661
0662
0663
0664
0665
0666
0667
0668
0669
0670
0671
0672
0673
0674
0675
0676
0677
0678
0679
0680
0681
0682
0683
0684
0685
0686
0687
0688
0689
0690
0691
0692
0693
0694
0695
0696
0697
0698
0699
0700
Thunder 2
AmbientSN pL
AmbientSN pR
AmbientSN fL
AmbientSN fR
Wet SN p L
Wet SN p R
Wet SN f L
Wet SN f R
Dry SN p
Dry SN f
Sharp SN
Piccolo SN
Maple SN
Old Fill SN
70s SN
SN Roll
Natural SN1
Natural SN2
Ballad SN
Rock SN p L
Rock SN p R
Rock SN mf L
Rock SN mf R
Rock SN f L
Rock SN f R
Rock Rim p L
Rock Rim p R
Rock Rim mfL
Rock Rim mfR
Rock Rim f L
Rock Rim f R
Rock Gst L
Rock Gst R
Snare Ghost
Jazz SN p L
Jazz SN p R
Jazz SN mf L
Jazz SN mf R
Jazz SN f L
Jazz SN f R
Jazz SN ff L
Jazz SN ff R
Jazz Rim p L
Jazz Rim p R
Jazz Rim mfL
Jazz Rim mfR
Jazz Rim f L
Jazz Rim f R
Jazz Rim ffL
0701
0702
0703
0704
0705
0706
0707
0708
0709
0710
0711
0712
0713
0714
0715
0716
0717
0718
0719
0720
0721
0722
0723
0724
0725
0726
0727
0728
0729
0730
0731
0732
0733
0734
0735
0736
0737
0738
0739
0740
0741
0742
0743
0744
0745
0746
0747
0748
0749
0750
Jazz Rim ffR
Brush Slap
Brush Swish
Jazz Swish p
Jazz Swish f
909 SN 1
909 SN 2
808 SN
Rock Roll L
Rock Roll R
Jazz Roll
Brush Roll
Dry Stick
Dry Stick 2
Side Stick
Woody Stick
RockStick pL
RockStick pR
RockStick fL
RockStick fR
Dry Kick
Maple Kick
Rock Kick p
Rock Kick mf
Rock Kick f
Jazz Kick p
Jazz Kick mf
Jazz Kick f
Jazz Kick
Pillow Kick
JazzDry Kick
Lite Kick
Old Kick
Hybrid Kick
Hybrid Kick2
Verb Kick
Round Kick
MplLmtr Kick
70s Kick 1
70s Kick 2
Dance Kick
808 Kick
909 Kick 1
909 Kick 2
Rock TomL1 p
Rock TomL2 p
Rock Tom M p
Rock Tom H p
Rock TomL1 f
Rock TomL2 f
Appendices
No.
265
Waveform List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
0751
0752
0753
0754
0755
0756
0757
0758
0759
0760
0761
0762
0763
0764
0765
0766
0767
0768
0769
0770
0771
0772
0773
0774
0775
0776
0777
0778
0779
0780
0781
0782
0783
0784
0785
0786
0787
0788
0789
0790
0791
0792
0793
0794
0795
0796
0797
0798
0799
0800
Rock Tom M f
Rock Tom H f
Rock Flm L1
Rock Flm L2
Rock Flm M
Rock Flm H
Jazz Tom L p
Jazz Tom M p
Jazz Tom H p
Jazz Tom L f
Jazz Tom M f
Jazz Tom H f
Jazz Flm L
Jazz Flm M
Jazz Flm H
Maple Tom 1
Maple Tom 2
Maple Tom 3
Maple Tom 4
808 Tom
Verb Tom Hi
Verb Tom Lo
Dry Tom Hi
Dry Tom Lo
Rock ClHH1 p
Rock ClHH1mf
Rock ClHH1 f
Rock ClHH2 p
Rock ClHH2mf
Rock ClHH2 f
Jazz ClHH1 p
Jazz ClHH1mf
Jazz ClHH1 f
Jazz ClHH2 p
Jazz ClHH2mf
Jazz ClHH2 f
Cl HiHat 1
Cl HiHat 2
Cl HiHat 3
Cl HiHat 4
Cl HiHat 5
Rock OpHH p
Rock OpHH f
Jazz OpHH p
Jazz OpHH mf
Jazz OpHH f
Op HiHat
Op HiHat 2
Rock PdHH p
Rock PdHH f
0801
0802
0803
0804
0805
0806
0807
0808
0809
0810
0811
0812
0813
0814
0815
0816
0817
0818
0819
0820
0821
0822
0823
0824
0825
0826
0827
0828
0829
0830
0831
0832
0833
0834
0835
0836
0837
0838
0839
0840
0841
0842
0843
0844
0845
0846
0847
0848
0849
0850
Jazz PdHH p
Jazz PdHH f
Pedal HiHat
Pedal HiHat2
Dance Cl HH
909 NZ HiHat
70s Cl HiHat
70s Op HiHat
606 Cl HiHat
606 Op HiHat
909 Cl HiHat
909 Op HiHat
808 Claps
HumanClapsEQ
Tight Claps
Hand Claps
Finger Snaps
Rock RdCym1p
Rock RdCym1f
Rock RdCym2p
Rock RdCym2f
Jazz RdCym p
Jazz RdCymmf
Jazz RdCym f
Ride 1
Ride 2
Ride Bell
Rock CrCym1p
Rock CrCym1f
Rock CrCym2p
Rock CrCym2f
Rock Splash
Jazz CrCym p
Jazz CrCym f
Crash Cymbal
Crash 1
Rock China
China Cym
Cowbell
Wood Block
Claves
Bongo Hi
Bongo Lo
Cga Open Hi
Cga Open Lo
Cga Mute Hi
Cga Mute Lo
Cga Slap
Timbale
Cabasa Up
0851
0852
0853
0854
0855
0856
0857
0858
0859
0860
0861
0862
0863
0864
0865
0866
0867
0868
0869
0870
0871
0872
0873
0874
0875
0876
0877
0878
0879
0880
0881
0882
0883
0884
0885
0886
0887
0888
0889
0890
0891
0892
0893
0894
0895
0896
0897
0898
0899
0900
Cabasa Down
Cabasa Cut
Maracas
Long Guiro
Tambourine 1
Tambourine 2
Open Triangl
Cuica
Vibraslap
Timpani
Timp3 pp
Timp3 mp
Applause
Syn FX Loop
Loop 1
Loop 2
Loop 3
Loop 4
Loop 5
Loop 6
Loop 7
R8 Click
Metronome 1
Metronome 2
MC500 Beep 1
MC500 Beep 2
Low Saw
Low Saw inv
Low P5 Saw
Low Pulse 1
Low Pulse 2
Low Square
Low Sine
Low Triangle
Low White NZ
Low Pink NZ
DC
REV Orch.Hit
REV TeknoHit
REV Back Hit
REV PhillHit
REV Steel DR
REV Tin Wave
REV AmbiSNpL
REV AmbiSNpR
REV AmbiSNfL
REV AmbiSNfR
REV Wet SNpL
REV Wet SNpR
REV Wet SNfL
0901
0902
0903
0904
0905
0906
0907
0908
0909
0910
0911
0912
0913
0914
0915
0916
0917
0918
0919
0920
0921
0922
0923
0924
0925
0926
0927
0928
0929
0930
0931
0932
0933
0934
0935
0936
0937
0938
0939
0940
0941
0942
0943
0944
0945
0946
0947
0948
0949
0950
REV Wet SNfR
REV Dry SN
REV PiccloSN
REV Maple SN
REV OldFilSN
REV 70s SN
REV SN Roll
REV NatrlSN1
REV NatrlSN2
REV BalladSN
REV RkSNpL
REV RkSNpR
REV RkSNmfL
REV RkSNmfR
REV RkSNfL
REV RkSNfR
REV RkRimpL
REV RkRimpR
REV RkRimmfL
REV RkRimmfR
REV RkRimfL
REV RkRimfR
REV RkGstL
REV RkGstR
REV SnareGst
REV JzSNpL
REV JzSNpR
REV JzSNmfL
REV JzSNmfR
REV JzSNfL
REV JzSNfR
REV JzSNffL
REV JzSNffR
REV JzRimpL
REV JzRimpR
REV JzRimmfL
REV JzRimmfR
REV JzRimfL
REV JzRimfR
REV JzRimffL
REV JzRimffR
REV Brush 1
REV Brush 2
REV Brush 3
REV JzSwish1
REV JzSwish2
REV 909 SN 1
REV 909 SN 2
REV RkRoll L
REV RkRoll R
0951
0952
0953
0954
0955
0956
0957
0958
0959
0960
0961
0962
0963
0964
0965
0966
0967
0968
0969
0970
0971
0972
0973
0974
0975
0976
0977
0978
0979
0980
0981
0982
0983
0984
0985
0986
0987
0988
0989
0990
0991
0992
0993
0994
0995
0996
0997
0998
0999
1000
REV JzRoll
REV Dry Stk
REV DrySick
REV Side Stk
REV Wdy Stk
REV RkStk1L
REV RkStk1R
REV RkStk2L
REV RkStk2R
REV Thrill
REV Dry Kick
REV Mpl Kick
REV RkKik p
REV RkKik mf
REV RkKik f
REV JzKik p
REV JzKik mf
REV JzKik f
REV Jaz Kick
REV Pillow K
REV Jz Dry K
REV LiteKick
REV Old Kick
REV Hybrid K
REV HybridK2
REV 70s K 1
REV 70s K 2
REV Dance K
REV 909 K 2
REV RkTomL1p
REV RkTomL2p
REV RkTomM p
REV RkTomH p
REV RkTomL1f
REV RkTomL2f
REV RkTomM f
REV RkTomH f
REV RkFlmL1
REV RkFlmL2
REV RkFlm M
REV RkFlm H
REV JzTomL p
REV JzTomM p
REV JzTomH p
REV JzTomL f
REV JzTomM f
REV JzTomH f
REV JzFlm L
REV JzFlm M
REV JzFlm H
266
No.
Wave Name
No.
Wave Name
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
REV MplTom2
REV MplTom4
REV 808Tom
REV VerbTomH
REV VerbTomL
REV DryTom H
REV DryTom M
REV RkClH1 p
REV RkClH1mf
REV RkClH1 f
REV RkClH2 p
REV RkClH2mf
REV RkClH2 f
REV JzClH1 p
REV JzClH1mf
REV JzClH1 f
REV JzClH2 p
REV JzClH2mf
REV JzClH2 f
REV Cl HH 1
REV Cl HH 2
REV Cl HH 3
REV Cl HH 4
REV Cl HH 5
REV RkOpHH p
REV RkOpHH f
REV JzOpHH p
REV JzOpHHmf
REV JzOpHH f
REV Op HiHat
REV OpHiHat2
REV RkPdHH p
REV RkPdHH f
REV JzPdHH p
REV JzPdHH f
REV PedalHH
REV PedalHH2
REV Dance HH
REV 70s ClHH
REV 70s OpHH
REV 606 ClHH
REV 606 OpHH
REV 909 NZHH
REV 909 OpHH
REV HClapsEQ
REV TghtClps
REV FingSnap
REV RealCLP
REV RkRCym1p
REV RkRCym1f
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
REV RkRCym2p
REV RkRCym2f
REV JzRCym p
REV JzRCymmf
REV JzRCym f
REV Ride 1
REV Ride 2
REV RideBell
REV RkCCym1p
REV RkCCym1f
REV RkCCym2p
REV RkCCym2f
REV RkSplash
REV JzCCym p
REV JzCCym f
REV CrashCym
REV Crash 1
REV RkChina
REV China
REV Cowbell
REV WoodBlck
REV Claves
REV Conga
REV Timbale
REV Maracas
REV Guiro
REV Tamb 1
REV Tamb 2
REV Cuica
REV Timpani
REV Timp3 pp
REV Timp3 mp
REV Metro
Appendices
Waveform List
267
Arpeggio Style List
Style
Motif
Beat Pattern
1/4
1/6
1/8
1/12
1/16
1/32
all
all
all
all
all
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
all
all
GLISSANDO
all
all
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
all
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER
BASS+UP 2
BASS+UP 5, TOP+UP 5
BASS+UP 5, TOP+UP 5
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, NOTE ORDER, GLISSANDO
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
CHORD
CHORD
CHORD
SINGLE UP, SINGLE DOWN
BASS+UP+TOP
SINGLE UP
SINGLE DOWN
SINGLE UP&DOWN
CHORD
BASS+CHORD 4, BASS+CHORD 5
BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2
BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2
CHORD, BASS+CHORD 1
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO
TOP+UP 4–6
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
SINGLE RANDOM, DUAL RANDOM, BASS+RND 1–3
1/ 4
1/ 6
1/ 8
1/12
1/16 1–3
1/32 1–3
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
PORTA-A 01–11
PORTA-B 01–15
1/16 1–3, 1/32 1–3
SEQ-A 1–7
SEQ-B 1–5
SEQ-C 1–2
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
SEQ-D 1–8
ECHO 1–3
0–100%
0–100%
50–90%
50–90%
SEQ-A 1, SEQ-C 1
MUTE 02, 03
MUTE 02, 03
WALKBS, REFRAIN 1
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
MUTE 01, 04
0–100%
50–90%
MUTE 07, 13, 14
MUTE 08, 12, 15
MUTE 09, 10, 11, 16
STRUM 1–6
SEQ-A 7
STRUM 7–8
STRUM 7–8
STRUM 7–8
MUTE 12, REFRAIN 2
MUTE 05, 06
1/ 6, 1/12
1/16 1–3
REGGAE 1–2
PERC 1–4
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
HARP
SEQ-A 2
BOUND
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
1/ 4, 1/6, 1/8, 1/12, 1/16 1–3,
1/32 1–3, RANDOM
BOSSA NOVA
SALSA 1–4
MAMBO 1–2
CLAVE, REV CLA, GUIRO, AGOGO
0–100%
50–90%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
SAMBA
TANGO 1–4
HOUSE 1–2
all
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
PORTAMENTO A
PORTAMENTO B
GLISSANDO
SEQUENCE A
SEQUENCE B
SEQUENCE C
SEQUENCE D
ECHO
SYNTH BASS
HEAVY SLAP
LIGHT SLAP
WALK BASS
RHYTHM GTR 1
RHYTHM GTR 2
RHYTHM GTR 3
RHYTHM GTR 4
RHYTHM GTR 5
3 FINGER GTR
STRUM GTR UP
STRUM GTR DOWN
STRUM GTR UP&DW
PIANO BACKING
CLAVI CHORD
WALTZ
SWING WALTZ
REGGAE
PERCUSSION
HARP
SHAMISEN
BOUND BALL
RANDOM
BOSSA NOVA
SALSA
MAMBO
LATIN PERCUSSION
SAMBA
TANGO
HOUSE
LIMITLESS
all
all
all
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
all
all
all
all
all: there is no restriction on the value which can be set
268
Accent Rate Shuffle Rate
About MIDI
MIDI (Musical Instruments Digital Interface) is a standard
specification that allows musical data to be exchanged
between electronic musical instruments and computers.
MIDI With a MIDI cable connecting MIDI devices that are
equipped with MIDI connectors, you can play multiple
instruments with a single keyboard, have multiple MIDI
instruments perform in ensemble, program the settings to
change automatically to match the performance as the song
progresses, and more.
If you mainly use the XV-88 as a standalone keyboard
instrument, you may really not need to know much at all
about MIDI.
However, the following MIDI-related information is
provided so you can play the XV-88 using an external MIDI
device, or master other advanced techniques.
About MIDI Connectors
The XV-88 is equipped with the three types of MIDI
connectors, each which works differently.
MIDI Channels and Multi-timbral
Sound Generators
MIDI transmits many types of data over a single MIDI cable.
This is made possible by the concept of MIDI channels. MIDI
channels allow messages intended for a given instrument to
be distinguished from messages intended for another
instrument. In some ways, MIDI channels are similar to
television channels. By changing the channel on a television
set, you can view the programs that are being broadcast by
different stations. In the same way, MIDI also allows a device
to select the information intended for that device out of the
variety of information that is being transmitted to it.
fig.midi-01.e
The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
Station C
The TV is set to the channel of the station
you wish to watch.
fig.00-08
MIDI uses sixteen channels; 1 through 16. Set the receiving
device so that it will receive only the channel that it needs to
receive.
MIDI IN Connector
Example:
This connector receives MIDI messages that are transmitted
from external MIDI devices. The XV-88 can receive these
messages to play notes or select sounds, etc.
Set the XV-88 to send Channel 1 and Channel 2, then set
sound module A to receive only Channel 1 and sound
module B only Channel 2. With this setup, you can get an
ensemble performance, with, for example, a guitar sound
from sound module A and bass from sound module B.
MIDI OUT Connector
fig.midi-01.e
MIDI OUT
MIDI THRU Connector
MIDI messages received at MIDI IN are re-transmitted
without change from this connector to an external MIDI
device. Use this in situations such as when you use multiple
MIDI devices simultaneously.
Transmit channel: 1, 2
MIDI keyboard
MIDI IN
Sound
Module
A
MIDI THRU
Receive channel: 1
Sound Receive channel: 2
Module
B
MIDI IN
When used as a sound module, the XV-88 can receive on up
to sixteen MIDI channels. Sound modules like the XV-88
which can receive multiple MIDI channels simultaneously to
play different sounds on each channel are called multitimbral sound modules.
Appendices
This connector transmits MIDI messages to external MIDI
devices. The XV-88’s MIDI OUT connector is used for
sending the performance data of the keyboard controller
section as well as data used for saving various settings and
patterns (Bulk Dump; p. 185).
269
MIDI Implementation
Model:
Date:
Version:
XV-88 (128-Voice Expandable Synthesizer)
Feb. 15, 2000
1.00
1. Receive data
■Channel Voice Messages
*
Not received in Performance mode when the Rx Sw parameter (PERFORM/MIDI/
MIDI) is OFF.
● Note off
Status
2nd byte
3rd byte
8nH
kkH
vvH
9nH
kkH
00H
n = MIDI channel number:
0H - FH (ch.1 - 16)
kk = note number:
00H - 7FH (0 - 127)
vv = note off velocity:
00H - 7FH (0 - 127)
*
Not received when the Envelope Mode parameter (PATCH/CONTROL/CTRL RxMIDI
and RHYTHM/CONTROL/CONTROL) is NO-SUS.
● Note on
Status
2nd byte
3rd byte
9nH
kkH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
kk = note number:
00H - 7FH (0 - 127)
vv = note on velocity:
01H - 7FH (1 - 127)
*
*
The Performances, Rhythms, and Patches corresponding to each Bank Select are as
follows.
The SRX series corresponding to each Bank Select are to see the SRX series owner's
manual.
BANK SELECT
| PROGRAM
| GROUP
| NUMBER
MSB | LSB
| NUMBER
|
|
—————+———————————+———————————+——————————————————————+———————————
000 |
| 001 - 128 | GM Patch
|
: |
|
|
|
032 |
| 001 - 128 | GM Patch
|
085 | 000
| 001 - 064 | User Performance
| 001 - 064
| 032
| 001 - 064 | Card Performance A
| 001 - 064
| 033
| 001 - 064 | Card Performance B
| 001 - 064
| :
|
| :
|
| 064
| 001 - 032 | Preset Performance A | 001 - 032
| 065
| 001 - 032 | Preset Performance B | 001 - 032
| :
|
| :
|
086 | 000
| 001 - 004 | User Rhythm
| 001 - 004
| 032
| 001 - 004 | Card Rhythm A
| 001 - 004
| 033
| 001 - 004 | Card Rhythm B
| 001 - 004
| :
|
| :
|
| 064
| 001 - 002 | Preset Rhythm A
| 001 - 002
| 065
| 001 - 002 | Preset Rhythm B
| 001 - 002
| :
|
| :
|
087 | 000
| 001 - 128 | User Patch
| 001 - 128
| 032
| 001 - 128 | Card Patch A
| 001 - 128
| 033
| 001 - 128 | Card Patch B
| 001 - 128
| :
|
| :
|
| 064
| 001 - 128 | Preset Patch A
| 001 - 128
| 065
| 001 - 128 | Preset Patch B
| 001 - 128
| :
|
| :
|
088 | 000 - 001 | 001 - 128 | SR-JV80-01 Rhythm
| 001 - 256
| 002 - 003 | 001 - 128 | SR-JV80-02 Rhythm
| 001 - 256
| :
|
| :
|
089 | 000 - 001 | 001 - 128 | SR-JV80-01 Patch
| 001 - 256
| 002 - 003 | 001 - 128 | SR-JV80-02 Patch
| 001 - 256
| :
|
| :
|
092 | 000 | 001 | SRX Rhythm
| 001 | :
|
| :
|
093 | 000 | 001 | SRX Patch
| 001 | :
|
| :
|
120 |
| 001 - 057 | GM Rhythm
| 001 - 009
121 | 000 - 009 | 001 - 128 | GM Patch
| 001 - 256
● Polyphonic Key Pressure
❍ Modulation (Controller number 1)
Status
2nd byte
AnH
kkH
n = MIDI channel number:
kk = note number:
vv = Polyphonic Key Pressure:
Status
2nd byte
3rd byte
BnH
01H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Modulation depth:
00H - 7FH (0 - 127)
3rd byte
vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
*
*
Not received in Performance mode when the Paf parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
Not received in Performance mode when the Mod parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
❍ Breath type (Controller number 2)
● Control Change
*
*
If the corresponding Controller number is selected for the Control 1, 2, 3 or 4 parameter
(PATCH/CONTROL/MATRIX CTRL SRC), the corresponding effect will occur.
If a Controller number that corresponds to the Control 1, 2, 3 or 4 parameter (SYSTEM/
CONTROL/SYS CTRL ASSIGN 1, 2, 3, 4) is selected, the specified effect will apply if
Control 1, 2, 3 or 4 parameter (PATCH/CONTROL/MATRIX CTRL SRC) is set to SYSCTRL1, SYS-CTRL2, SYS-CTRL3 or SYS-CTRL4.
❍ Bank Select (Controller number 0, 32)
Status
2nd byte
3rd byte
BnH
00H
mmH
BnH
20H
llH
n = MIDI channel number:
0H - FH (ch.1 - 16)
mm, ll = Bank number:
00 00H - 7F 7FH (bank.1 - bank.16384)
*
Not received in Performance mode when the BankSelect (PERFORM/MIDI/
RxSWITCH) is OFF.
Status
2nd byte
3rd byte
BnH
02H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
❍ Foot type (Controller number 4)
Status
2nd byte
3rd byte
BnH
04H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
❍ Portamento Time (Controller number 5)
Status
2nd byte
3rd byte
BnH
05H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Portamento Time:
00H - 7FH (0 - 127)
*
In Performance mode the Portament Tm parameter (PERFORM/PART/MONO/POL)
will change.
❍ Data Entry (Controller number 6, 38)
Status
2nd byte
3rd byte
BnH
06H
mmH
BnH
26H
llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
270
MIDI Implementation
❍ Volume (Controller number 7)
❍ Legato Foot Switch (Controller number 68)
Status
2nd byte
3rd byte
BnH
07H
vvH
n = MIDI channel number:0H - FH (ch.1 - 16)
vv = Volume:
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
BnH
44H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
*
*
Not received in Performance mode when the Vol parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
In Performance mode the Level parameter (PERFORM/PART/SETTING) will change.
In Performance mode the Legato parameter (PERFORM/PART/MONO/POL) will
change.
❍ Hold-2 (Controller number 69)
❍ Balance (Controller number 8)
Status
2nd byte
3rd byte
BnH
08H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Balance:
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
BnH
45H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
*
A hold movement isn't done.
❍ Panpot (Controller number 10)
Status
2nd byte
3rd byte
BnH
0AH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Panpot:
00H - 40H - 7FH (Left - Center - Right),
*
*
Not received in Performance mode when the Pan parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
In Performance mode the pan parameter (PERFORM/PART/SETTING) will change.
❍ Resonance (Controller number 71)
Status
2nd byte
BnH
47H
n = MIDI channel number:
vv= Resonance value (relative change):
*
3rd byte
vvH
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63),
In Performance mode the Res parameter (PERFORM/PART/MODIFY) will change.
❍ Release Time (Controller number 72)
❍ Expression (Controller number 11)
Status
2nd byte
3rd byte
BnH
0BH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Expression:
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
BnH
48H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Release Time value (relative change):
00H - 7FH (-64 - 0 - +63),
*
*
*
Not received when Expression parameter (PATCH/CONTROL/CTRL Rx MIDI or
RHYTHM/CONTROL/Rx MIDI) is OFF.
Not received in Performance mode when Exp parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
❍ Hold 1 (Controller number 64)
Status
2nd byte
3rd byte
BnH
40H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
*
Not received when Hold-1 parameter (PATCH/CONTROL/CTRL Rx MIDI or
RHYTHM/CONTROL/Rx MIDI) is OFF.
Not received in Performance mode when Hld parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
In Performance mode the Rel parameter (PERFORM/PART/MODIFY) will change.
❍ Attack time (Controller number 73)
Status
2nd byte
3rd byte
BnH
49H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change):
00H - 7FH (-64 - 0 - +63),
*
In Performance mode the Atk parameter (PERFORM/PART/MODIFY) will change.
❍ Cutoff (Controller number 74)
Status
2nd byte
BnH
4AH
n = MIDI channel number:
vv = Cutoff value (relative change):
*
3rd byte
vvH
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63)
In Performance mode the Cut parameter (PERFORM/PART/MODIFY) will change.
❍ Portamento (Controller number 65)
*
In Performance mode the Portamento Sw parameter (PERFORM/PART/MONO/POL)
will change.
❍ Decay Time (Controller number 75)
Status
2nd byte
3rd byte
BnH
4BH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Decay Time value (relative change):
00H - 7FH (-64 - 0 - +63)
*
The decay time will change in GM mode.
❍ Sostenuto (Controller number 66)
❍ Vibrato Rate (Controller number 76)
Status
2nd byte
3rd byte
BnH
42H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Status
2nd byte
3rd byte
BnH
4CH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Rate value (relative change):
00H - 7FH (-64 - 0 - +63)
❍ Soft (Controller number 67)
*
Status
2nd byte
3rd byte
BnH
43H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
The vibrato rate will change in GM mode.
❍ Vibrato Depth (Controller number 77)
Status
2nd byte
3rd byte
BnH
4DH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Depth Value (relative change):
00H - 7FH (-64 - 0 - +63)
*
Appendices
Status
2nd byte
3rd byte
BnH
41H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
The vibrato depth will change in GM mode.
271
MIDI Implementation
❍ Vibrato Delay (Controller number 78)
❍ RPN MSB/LSB (Controller number 100, 101)
Status
2nd byte
3rd byte
BnH
4EH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Delay value (relative change):
00H - 7FH (-64 - 0 - +63)
Status
2nd byte
3rd byte
BnH
65H
mmH
BnH
64H
llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
*
The vibrato delay will change in GM mode.
❍ General Purpose Controller 5 (Controller number 80)
Status
2nd byte
3rd byte
BnH
50H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
*
The Level parameter (PATCH/TVA/TVA) of Tone 1 will change.
❍ General Purpose Controller 6 (Controller number 81)
Status
2nd byte
3rd byte
BnH
51H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
*
The Level parameter (PATCH/TVA/TVA) of Tone 2 will change.
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to
make any mistakes, transmitting RPN Null is recommended after setting parameters you
need.
This device receives the following RPNs.
RPN
MSB, LSB
00H, 00H
Data entry
MSB, LSB
mmH, llH
00H, 01H
mmH, llH
Channel Fine Tuning
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
* In Performance mode, the Fine parameter
(PERFORM/PART/PITCH) will change.
00H, 02H
mmH, llH
Channel Coarse Tuning
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
* In Performance mode, the Coarse parameter
(PERFORM/PART/PITCH) will change.
00H, 05H
mmH, llH
Modularion Depth Range
mm: 00 00H - 06 00H
(0 - 16384 x 600 / 16384 cent)
* Not received in Performance mode or Patch
mode.
7FH, 7FH
---, ---
RPN null
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
Parameter values that were previously set will
not change.
mm, ll: ignored
❍ General Purpose Controller 7 (Controller number 82)
Status
2nd byte
3rd byte
BnH
52H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
*
The Level parameter (PATCH/TVA/TVA) of Tone 3 will change.
❍ General Purpose Controller 8 (Controller number 83)
Status
2nd byte
3rd byte
BnH
53H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
*
The Level parameter (PATCH/TVA/TVA) of Tone 4 will change.
❍ Portamento control (Controller number 84)
Status
2nd byte
3rd byte
BnH
54H
kkH
n = MIDI channel number:
0H - FH (ch.1 - 16)
kk = source note number:
00H - 7FH (0 - 127)
*
*
*
A Note-on received immediately after a Portamento Control message will change
continuously in pitch, starting from the pitch of the Source Note Number.
If a voice is already sounding for a note number identical to the Source Note Number,
this voice will continue sounding (i.e., legato) and will, when the next Note-on is
received, smoothly change to the pitch of that Note-on.
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
❍ Effect 1 (Reverb Send Level) (Controller number 91)
Status
2nd byte
3rd byte
BnH
5BH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Reverb Send Level:
00H - 7FH (0 - 127)
*
In Performance mode the Reverb parameter (PERFORM/EFFECTS/OUTPUT) will
change.
❍ Effect 3 (Chorus Send Level) (Controller number 93)
Status
2nd byte
3rd byte
BnH
5DH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Chorus Send Level:
00H - 7FH (0 - 127)
*
In Performance mode the Chorus parameter (PERFORM/EFFECTS/OUTPUT) will
change.
Notes
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
* In Performance mode, the BendRng parameter
(PERFORM/PART/PITCH) will change.
● Program Change
Status
2nd byte
CnH
ppH
n = MIDI channel number:
0H - FH (ch.1 - 16)
pp = Program number:
00H - 7FH (prog.1 - prog.128)
*
Not received in Performance mode when the Program Change parameter (PERFORM/
MIDI/RxSWITCH) is OFF.
● Channel Pressure
Status
2nd byte
DnH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Channel Pressure:
00H - 7FH (0 - 127)
*
Not received in Performance mode when the Caf parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
● Pitch Bend Change
Status
2nd byte
3rd byte
EnH
llH
mmH
n = MIDI channel number:
0H - FH (ch.1 - 16)
272
MIDI Implementation
mm, ll = Pitch Bend value:
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
* Not received when the Bender parameter (PATCH/CONTROL/CTRL RxMIDI) is OFF.
* Not received in Performance mode when the Bnd parameter (PERFORM/MIDI/
RxSWITCH) is OFF.
■Channel Mode Messages
*
● POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
*
Not received in Performance mode when the Rx Sw parameter (PERFORM/MIDI/
MIDI) is OFF.
● All Sounds Off (Controller number 120)
The same processing will be carried out as when All Notes Off is received.
In Performance mode, the Mno/Pol parameter (PERFORM/PART/MONO/POL) will
change.
■System Realtime Message
Status
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
● Timing Clock
*
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
Status
F8H
This message will be received if the Clock Source parameter (SYSTEM/SETUP/SYSTEM
SETUP) is MIDI.
● Reset All Controllers (Controller number 121)
● Active Sensing
Status
2nd byte
3rd byte
BnH
79H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
Status
FEH
*
When this message is received, the following controllers will be set to their reset values.
Controller
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
Breath Type
Expression
Hold 1
Sostenuto
Soft
Hold 2
RPN
NRPN
Reset value
+/-0 (center)
0 (off)
0 (off)
0 (off)
0 (min)
127 (max)
0 (off)
0 (off)
0 (off)
0 (off)
unset; previously set data will not change
unset; previously set data will not change
● All Notes Off (Controller number 123)
Status
2nd byte
3rd byte
BnH
7BH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
■System Exclusive Message
Status
F0H
Data byte
iiH, ddH, ......,eeH
F0H:
ii = ID number:
System Exclusive Message status
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland's manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
dd,...,ee = data:
F7H:
Status
F7H
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
● Universal Non-realtime System Exclusive Messages
❍ Identity Request Message
Status
2nd byte
3rd byte
BnH
7CH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
The same processing will be carried out as when All Notes Off is received.
● OMNI ON (Controller number 125)
Status
2nd byte
3rd byte
BnH
7DH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
● MONO (Controller number 126)
Status
2nd byte
3rd byte
BnH
7EH
mmH
n = MIDI channel number:
0H - FH (ch.1 - 16)
mm = mono number:
00H - 10H (0 - 16)
*
*
The same processing will be carried out as when All Notes Off is received.
In Performance mode, the Mno/Pol parameter (PERFORM/PART/MONO/POL) will
change.
Status
F0H
Data byte
Status
7EH, dev, 06H, 01H F7H
Byte
F0H
7EH
dev
06H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
*
When this message is received, Identity Reply message (p. 278) will be transmitted.
❍ GM1 System On
Status
F0H
Data byte
Status
7EH, 7FH, 09H, 01H F7H
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
*
*
When this messages is received, this instrument will turn to the GM1 mode.
Not received when the Rx GM On parameter (SYSTEM/MIDI/SYSTEM MIDI) is OFF.
273
Appendices
● OMNI OFF (Controller number 124)
MIDI Implementation
❍ GM2 System On
Status
F0H
Data byte
7EH 7FH 09H 03H
Status
F7H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
mmH
F7H
Master Coarse Tuning MSB
EOX (End Of Exclusive)
llH:
mmH:
ignored (processed as 00H)
28H - 40H - 58H (-24 - 0 - +24 [semitones])
*
The Key Shift parameter (SYSTEM/TUNE/SYSTEM TUNE) will change.
● Global Parameter Control
*
Not received in Performance mode and Patch mode.
❍ Reverb Parameters
*
*
When this messages is received, this instrument will turn to the GM2 mode.
Not received when the Rx GM2 On parameter (SYSTEM/MIDI/SYSTEM MIDI) is OFF.
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp=0 Reverb Type
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
vv = 03H Medium Hall
vv = 04H Large Hall
vv = 08H Plate
pp=1 Reverb Time
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
❍ GM System Off
Status
F0H
Data byte
7EH, 7F, 09H, 02H
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
*
Status
F7H
When this messages is received, this instrument will return to the Performance mode.
● Universal Realtime System Exclusive Messages
❍ Master Volume
Status
F0H
Data byte
7FH, 7FH, 04H, 01H, llH, mmH
Byte
F0H
7FH
7FH
04H
01H
llH
mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control messages)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
*
*
Status
F7H
F7H
❍ Chorus Parameters
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (SYSTEM/SETUP/SYSTEM SETUP) will change.
❍ Master Fine Tuning
Status
F0H
Data byte
7FH, 7FH, 04H, 03H, llH, mmH
Byte
F0H
7FH
7FH
04H
03H
llH
mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
Status
F7H
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H
ppH
vvH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type
vv=0 Chorus1
vv=1 Chorus2
vv=2 Chorus3
vv=3 Chorus4
vv=4 FB Chorus
vv=5 Flanger
pp=1 Mod Rate
vv= 00H - 7FH 0 - 127
pp=2 Mod Depth
vv = 00H - 7FH 0 - 127
pp=3 Feedback
vv = 00H - 7FH 0 - 127
pp=4 Send To Reverb
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
*
The Master parameter (SYSTEM/TUNE/SYSTEM TUNE) will change.
❍ Master Coarse Tuning
Status
F0H
Data byte
7FH, 7FH, 04H, 04H, llH, mmH
Byte
F0H
7FH
7FH
04H
04H
llH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
274
Status
F7H
Status
F7
F7H
Status
F7H
MIDI Implementation
❍ Channel Pressure
Status
F0H
Data byte
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Controlled range
pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450 [cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
pp=3 LFO Pitch Depth
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
Status
F0H
Data byte
Status
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Controlled range
pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450 [cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
pp=3 LFO Pitch Depth
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
❍ Scale/Octave Tuning Adjust
Status
F0H
Data byte
Status
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte 1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
Channel byte 2
bits 0 to 6 = channel 8 to 14
Channel byte 3
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
EOX (End Of Exclusive)
ggH
hhH
ssH
F7H
Data byte
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0F)
Key Number
Control Number
Value
nn=07H Level
vv = 00H - 7FH
0 - 200% (Relative)
nn=0AH
Pan
vv = 00H - 7FH
Left - Right (Absolute)
nn=5BH
Reverb Send
vv = 00H - 7FH
0 - 127 (Absolute)
nn=5D
Chorus Send
vv = 00H - 7FH
0 - 127 (Absolute)
:
EOX (End Of Exclusive)
:
F7
*
Status
F7H
This parameter affects drum instruments only.
● Data Transmission
❍ Controller
F7H
Status
F0H
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
The model ID of the exclusive messages used by this instrument is 00H 10H.
❍ Data Request 1RQ1 (11H)
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
status
F0H
data byte
status
41H, dev, 00H, 10H, 11H, aaH, bbH, ccH, F7H
ddH, ssH, ttH, uuH, vvH, sum
Byte
F0H
41H
dev
00H
10H
11H
aaH
bbH
ccH
ddH
ssH
ttH
uuH
vvH
sum
F7H
Remarks
Exclusive status
ID number (Roland)
devdevice ID (dev: 10H - 1FH, 7FH)
model ID #1 (XV-88)
model ID #2 (XV-88)
command ID (RQ1)
address MSB
address
address
address LSB
size MSB
size
size
size LSB
checksum
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. 279).
For the checksum, refer to (p. 294).
Not received when the Rx Sys.Excl parameter (SYSTEM/MIDI/SYSTEM MIDI) is OFF.
Appendices
F7H
❍ Key-based Instrument Controllers
Status
F7H
275
MIDI Implementation
❍ Data set 1DT1 (12H)
Status
F0H
Data byte
41H, dev, 00H, 10H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
00H
10H
12H
aaH
bbH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, Initial value is 10H)
Model ID #1 (XV-88)
Model ID #2 (XV-88)
Command ID (DT1)
Address MSB: upper byte of the starting address of the data to be sent
Address: upper middle byte of the starting address of the data to be
sent
Address: lower middle byte of the starting address of the data to be
sent
Address LSB: lower byte of the starting address of the data to be sent.
Data: the actual data to be sent. Multiple bytes of data are transmitted
in order starting from the address.
:
Data
Checksum
EOX (End Of Exclusive)
ccH
ddH
eeH
:
ffH
sum
F7H
*
*
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 279).
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
Regarding the checksum, please refer to (p. 294)
Not received when the Rx Sys.Excl parameter (SYSTEM/MIDI/SYSTEM MIDI) is OFF.
Status
F0H
Byte
F0H
41H
dev
42H
12H
aaH
bbH
ccH
ddH
:
eeH
sum
F7H
*
*
*
*
Status
F7H
Data byte
41H, dev, 42H, 12H, aaH, bbH, ccH,
ddH, ... eeH, sum
Status
F7H
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 10H)
Model ID (GS)
Command ID (DT1)
Address MSB:
upper byte of the starting address of the
transmitted data
Address:
middle byte of the starting address of the
transmitted data
Address LSB:
lower byte of the starting address of the
transmitted data
Data:
the actual data to be transmitted. Multiple bytes
of data are transmitted starting from the address.
:
Data
Checksum
EOX (End Of Exclusive)
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 279).
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
Regarding the checksum, please refer to (p. 294)
Not received when the Rx Sys.Excl parameter (SYSTEM/MIDI/SYSTEM MIDI) is OFF.
2. Data Transmission
■Channel Voice Messages
● Note off
Status
2nd byte
3rd byte
8nH
kkH
vvH
9nH
kkH
00H
n = MIDI channel number:
0H - FH (ch.1 - 16)
kk = note number:
00H - 7FH (0 - 127)
vv = note off velocity:
00H - 7FH (0 - 127)
● Note on
Status
2nd byte
3rd byte
9nH
kkH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
kk = note number:
00H - 7FH (0 - 127)
vv = note on velocity:
01H - 7FH (1 - 127)
● Control Change
*
By selecting a controller number that corresponds to the setting of parameters of
controllers (C1–C4 Assign, and so on), the XV-88 can transmit any control change
message.
❍ Bank Select (Controller number 0, 32)
Status
2nd byte
3rd byte
BnH
00H
mmH
BnH
20H
llH
n = MIDI channel number:
0H - FH (ch.1 - 16)
mm, ll = Bank number:
00 00H - 7F 7FH (bank.1 - bank.16384)
*
*
*
*
These messages are transmitted when Performance, Patch or Rhythm set is selected. But
not transmitted when Program or Bank Sel parameter (SYSTEM/MIDI/TRANSMIT
MIDI) is OFF.
In Performance (Zone) mode, these messages are not transmitted when Bank Select MSB
or P.C# parameter (ZONE/EXT CONTROL/EXT P.C) is NO-SEND.
Although with the XV-88 you can select the Bank Select messages to be transmitted, be
sure to refer to the Program Change Map on (p. 270) for the Bank Select messages
transmitted when the XV-88 is select a Performance, Patch, or Rhythm Set.
The Bank Select Numbers corresponding to SRX series should be referred to the SRX
series owner's manual.
❍ Modulation (Controller number 1)
Status
2nd byte
3rd byte
BnH
01H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Modulation depth:
00H - 7FH (0 - 127)
❍ Breath type (Controller number 2)
Status
2nd byte
3rd byte
BnH
02H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
❍ Portamento Time (Controller number 5)
Status
2nd byte
3rd byte
BnH
05H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Portamento Time:
00H - 7FH (0 - 127)
❍ Data Entry (Controller number 6, 38)
Status
2nd byte
3rd byte
BnH
06H
mmH
BnH
26H
llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
*
276
When execute the GM Data Transfer, Data Entry messages will transmit.
MIDI Implementation
❍ Volume (Controller number 7)
❍ General Purpose Controller 7 (Controller number 82)
Status
2nd byte
3rd byte
BnH
07H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Volume:
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
BnH
52H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
*
❍ General Purpose Controller 8 (Controller number 83)
❍ Panpot (Controller number 10)
Status
2nd byte
3rd byte
BnH
0AH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Panpot:
00H - 40H - 7FH (Left - Center - Right),
*
In Performance (Zone) mode, these messages are not transmitted when Pan parameter
(ZONE/EXT CONTROL/EXT CTRL) is NO-SEND.
Status
2nd byte
3rd byte
BnH
53H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
❍ Portamento control (Controller number 84)
Status
2nd byte
3rd byte
BnH
54H
kkH
n = MIDI channel number:
0H - FH (ch.1 - 16)
kk = source note number:
00H - 7FH (0 - 127)
❍ Expression (Controller number 11)
❍ RPN MSB/LSB (Controller number 100, 101)
Status
2nd byte
3rd byte
BnH
0BH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Expression:
00H - 7FH (0 - 127)
❍ Hold 1 (Controller number 64)
Status
2nd byte
3rd byte
BnH
65H
mmH
BnH
64H
llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
Status
2nd byte
3rd byte
BnH
40H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
<<< RPN >>>
When execute the GM Data Transfer, Program Change, Data Entry, and following RPN
messages will transmit.
*
When Continuous parameter (SYSTEM/CONTROL/HOLD PEDAL) is OFF, just only
00H (0FF) and 40H (0N) can be send as the control value.
Status
2nd byte
3rd byte
BnH
41H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to
make any mistakes, transmitting RPN Null is recommended after setting parameters you
need.
❍ Resonance (Controller number 71)
This device transmits the following RPNs.
Status
2nd byte
BnH
47H
n = MIDI channel number:
vv= Resonance value (relative change):
RPN
MSB, LSB
00H, 00H
Data entry
MSB, LSB
mmH, llH
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, llH
Channel Coarse Tuning
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
00H, 05H
mmH, llH
Modulation Depth Range
mm, ll: 00 00H - 06 00H
(0 - 16384 x 600 / 16384 cent)
7FH, 7FH
---, ---
RPN null
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
❍ Portamento (Controller number 65)
3rd byte
vvH
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63)
❍ Release Time (Controller number 72)
Status
2nd byte
3rd byte
BnH
48H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Release Time value (relative change):
00H - 7FH (-64 - 0 - +63)
❍ Attack time (Controller number 73)
Status
2nd byte
3rd byte
BnH
49H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change):
00H - 7FH (-64 - 0 - +63)
❍ Cutoff (Controller number 74)
Status
2nd byte
BnH
4AH
n = MIDI channel number:
vv = Cutoff value (relative change):
3rd byte
vvH
0H - FH (ch.1 - 16)
00H - 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 - 16)
vv = Control value:
00H - 7FH (0 - 127)
❍ General Purpose Controller 6 (Controller number 81)
Status
2nd byte
3rd byte
BnH
51H
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Control value:
00H - 7FH (0 - 127)
Notes
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
● Program Change
Status
2nd byte
CnH
ppH
n = MIDI channel number:
0H - FH (ch.1 - 16)
pp = Program number:
00H - 7FH (prog.1 - prog.128)
*
*
These messages are transmitted when Performance, Patch or Rhythm set is selected. But
not transmitted when Program parameter (SYSTEM/MIDI/TRANSMIT MIDI) is OFF.
In Performance (Zone) mode, these messages are not transmitted when P.C# parameter
(ZONE/EXT CONTROL/EXT P.C) is NO-SEND.
277
Appendices
In Performance (Zone) mode, these messages are not transmitted when Volume
parameter (ZONE/EXT CONTROL/EXT CTRL) is NO-SEND.
MIDI Implementation
● Channel Pressure
● Active Sensing
Status
2nd byte
DnH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Channel Pressure:
00H - 7FH (0 - 127)
Status
FEH
*
*
● Pitch Bend Change
Status
2nd byte
3rd byte
EnH
llH
mmH
n = MIDI channel number:
0H - FH (ch.1 - 16)
mm, ll = Pitch Bend value:
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
■Channel Mode Messages
This message is transmitted at intervals of approximately 250 msec.
This message is not sent when Active Sensing parameter (SYSTEM/MIDI/TRANSMIT
MIDI) is OFF.
■System Exclusive Messages
Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the XV-88.
● Universal Non-realtime System Exclusive Message
❍ Identity Reply Message
● All Sounds Off (Controller number 120)
Receiving Identity Request Message, the XV-88 send this message.
Status
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
Status
Data byte
Status
F0H
7EH, dev, 06H, 02H, 41H, 10H, 01H,
00H, 00H, 00H, 00H, 00H, 00H
F7H
Byte
F0H
7EH
dev
06H
02H
41H
10H 01H
00H 00H
01H 01H 00H 00H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (use the same as the device ID of Roland)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
Device family code (XV-3080/5080/88)
Device family number code (XV-3080/88)
Software revision level
EOX (End of Exclusive)
*
This message is sent on Panic operation.
● Reset All Controllers (Controller number 121)
Status
2nd byte
3rd byte
BnH
79H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
This message is sent on Panic operation.
● MONO (Controller number 126)
Status
2nd byte
3rd byte
BnH
7EH
mmH
n = MIDI channel number:
0H - FH (ch.1 - 16)
mm = mono number:
00H - 10H (0 - 16)
● POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
■System Common Messages
● Song Position Pointer
Status
F2H
*
2nd byte
00H
3rd byte
00H
This message is sent on NEXT, PREV, or RESET operation in the external sequencer
control function.
● Song Select
Status
2nd byte
F3H
ssH
ss = Song number: 0H - 7FH (0 - 127)
● Data Transmission
❍ Data set 1DT1 (12H)
Status
F0H
Data byte
41H, dev, 00H, 10H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
00H
10H
12H
aaH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, Initial value is 10H)
Model ID #1 (XV-88)
Model ID #2 (XV-88)
Command ID (DT1)
Address MSB:
upper byte of the starting address of the data to
be sent
Address:
upper middle byte of the starting address of the
data to be sent
Address:
lower middle byte of the starting address of the
data to be sent
Address LSB:
lower byte of the starting address of the data to
be sent.
Data:
the actual data to be sent. Multiple bytes of data
are transmitted in order starting from the
address.
:
Data
Checksum
EOX (End Of Exclusive)
bbH
ccH
ddH
eeH
*
This message is sent on NEXT, or PREV operation in the external sequencer control
function.
■System Realtime Messages
● Continue
Status
FBH
*
This message is sent on START operation in the external sequencer control function.
● Stop
Status
FCH
*
This message is sent on STOP operation in the external sequencer control function.
278
:
ffH
sum
F7H
*
*
Status
F7H
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 279).
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
MIDI Implementation
*
Transmission of “#” marked address is divided to some packets. For example, ABH in
hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this
order.
1. XV-88 (Model ID = 00H 10H)
*
“< >” marked address, valid on the XV-3080/5080, are ignored when the XV-88 receive
them.
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 00 | System
1-1 |
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | Temporary Performance
1-2 |
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)
1-3 |
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)
|
|
: |
|
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16)
|
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode)
|
|—————————————+————————————————————————————————————————————————————————————————|
| 20 00 00 00 | User Performance (01)
1-2 |
| 20 01 00 00 | User Performance (02)
|
|
: |
|
| 20 3F 00 00 | User Performance (64)
|
|—————————————+————————————————————————————————————————————————————————————————|
| 30 00 00 00 | User Patch (001)
1-3-1 |
| 30 01 00 00 | User Patch (002)
|
|
: |
|
| 30 7F 00 00 | User Patch (128)
|
|—————————————+————————————————————————————————————————————————————————————————|
| 40 00 00 00 | User Rhythm (001)
1-3-2 |
| 40 10 00 00 | User Rhythm (002)
|
| 40 20 00 00 | User Rhythm (003)
|
| 40 30 00 00 | User Rhythm (004)
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-1 System
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | System Common
1-1-1 |
|
00 10 00 | System Part (Part 1)
1-1-2 |
|
00 11 00 | System Part (Part 2)
|
|
: |
|
|
00 1F 00 | System Part (Part 16)
|
|
00 20 00 | System Part (Part 17)
|
|
00 21 00 | System Part (Part 18)
|
|
: |
|
|
00 2F 00 | System Part (Part 32)
|
|
00 40 00 | System Keyboard
1-1-3 |
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3 Temporary Patch/Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Temporary Patch
1-3-1 |
|
10 00 00 | Temporary Rhythm
1-3-2 |
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2 Performance
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Performance Common
1-2-1 |
|
00 02 00 | Performance Common MFX
1-2-2 |
|
00 04 00 | Performance Common Chorus
1-2-3 |
|
00 06 00 | Performance Common Reverb
1-2-4 |
|
00 10 00 | Performance MIDI (Channel 1)
1-2-5 |
|
00 11 00 | Performance MIDI (Channel 2)
|
|
: |
|
|
00 1F 00 | Performance MIDI (Channel 16)
|
|
00 20 00 | Performance Part (Part 1)
1-2-6 |
|
00 21 00 | Performance Part (Part 2)
|
|
: |
|
|
00 2F 00 | Performance Part (Part 16)
|
|
00 30 00 | Performance Part (Part 17)
|
|
00 31 00 | Performance Part (Part 18)
|
|
: |
|
|
00 3F 00 | Performance Part (Part 32)
|
|
00 40 00 | Performance Keyboard
1-2-7 |
|
00 50 00 | Performance Zone (Channel 1)
1-2-8 |
|
00 51 00 | Performance Zone (Channel 2)
|
|
: |
|
|
00 5F 00 | Performance Zone (Channel 16)
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-1 Patch
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Patch Common
1-3-1-1 |
|
00 02 00 | Patch Common MFX
1-3-1-2 |
|
00 04 00 | Patch Common Chorus
1-3-1-3 |
|
00 06 00 | Patch Common Reverb
1-3-1-4 |
|
00 10 00 | Patch TMT (Tone Mix Table)
1-3-1-5 |
|
00 20 00 | Patch Tone (Tone 1)
1-3-1-6 |
|
00 22 00 | Patch Tone (Tone 2)
|
|
00 24 00 | Patch Tone (Tone 3)
|
|
00 26 00 | Patch Tone (Tone 4)
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-2 Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Rhythm Common
1-3-2-1 |
|
00 02 00 | Rhythm Common MFX
1-3-2-2 |
|
00 04 00 | Rhythm Common Chorus
1-3-2-3 |
|
00 06 00 | Rhythm Common Reverb
1-3-2-4 |
|
00 10 00 | Rhythm Tone (Key # 21)
1-3-2-5 |
|
00 12 00 | Rhythm Tone (Key # 22)
|
|
: |
|
|
01 3E 00 | Rhythm Tone (Key # 108)
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-1-1 System Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 0aaa | Sound Mode
(0 - 4) |
|
|
|
PERFORM, PATCH, GM1, GM2, GS |
|#
00 01 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
|
-100.0 - 100.0 [cent] |
|
00 05 | 00aa aaaa | Master Key Shift
(40 - 88) |
|
|
|
-24 - +24 |
|
00 06 | 0aaa aaaa | Master Level
(0 - 127) |
|
00 07 | 0000 000a | Scale Tune Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 08 | 0000 000a | Patch Remain
(0 - 1) |
|
|
|
OFF, ON |
|
00 09 | 0000 000a | Mix/Parallel
(0 - 1) |
|
|
|
MIX, PARALLEL |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0A | 0000 000a | MFX Switch
(0 - 1) |
|
|
|
BYPASS, ON |
|
00 0B | 0000 000a | Chorus Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 0C | 0000 000a | Reverb Switch
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0D | 000a aaaa | Performance Control Channel
(0 - 16) |
|
|
|
1 - 16, OFF |
|
00 0E | 0aaa aaaa | Performance Bank Select MSB (CC# 0)
(0 - 127) |
|
00 0F | 0aaa aaaa | Performance Bank Select LSB (CC# 32)
(0 - 127) |
|
00 10 | 0aaa aaaa | Performance Program Number (PC)
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 11 | 0000 aaaa | Patch Receive Channel
(0 - 15) |
|
|
|
1 - 16 |
|
00 12 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
(0 - 127) |
|
00 13 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
(0 - 127) |
|
00 14 | 0aaa aaaa | Patch Program Number (PC)
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 15 | 0000 000a | System Clock Source
(0 - 1) |
|
|
|
INT, MIDI |
|#
00 16 | 0000 aaaa |
|
|
| 0000 bbbb | System Tempo
(20 - 250) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 18 | 0aaa aaaa | System Control 1 Source
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 19 | 0aaa aaaa | System Control 2 Source
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 1A | 0aaa aaaa | System Control 3 Source
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 1B | 0aaa aaaa | System Control 4 Source
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 1C | 0000 000a | Receive Program Change
(0 - 1) |
|
|
|
OFF, ON |
|
00 1D | 0000 000a | Receive Bank Select
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1E | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-1-2 System Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
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 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
Appendices
3. Parameter Address Map
279
MIDI Implementation
❍ 1-1-3 System Keyboard
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 000a | Transmit Program Change
(0 - 1) |
|
|
|
OFF, ON |
|
00 01 | 0000 000a | Transmit Bank Select
(0 - 1) |
|
|
|
OFF, ON |
|
00 02 | 0000 000a | Transpose Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 03 | 0000 aaaa | Transpose Value
(59 - 70) |
|
|
|
-5 - +6 |
|
00 04 | 0000 0aaa | Octave Shift
(61 - 67) |
|
|
|
-3 - +3 |
|
00 05 | 0aaa aaaa | Keyboard Velocity
(0 - 127) |
|
|
|
REAL, 1 - 127 |
|
00 06 | 0000 00aa | Keyboard Sens
(0 - 3) |
|
|
|
LIGHT, MEDIUM, HEAVY, FULL |
|
00 07 | 0aaa aaaa | Aftertouch Sens
(0 - 100) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 08 | 000a aaaa | Patch Transmit Channel
(0 - 17) |
|
|
|
1 - 16, Rx Ch, OFF |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 09 | 0aaa aaaa | Slider 1 Assign
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 0A | 0000 00aa | Slider 1 Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 0B | 0aaa aaaa | Slider 2 Assign
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 0C | 0000 00aa | Slider 2 Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 0D | 0aaa aaaa | Slider 3 Assign
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 0E | 0000 00aa | Slider 3 Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 0F | 0aaa aaaa | Slider 4 Assign
(0 - 97) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH |
|
00 10 | 0000 00aa | Slider 4 Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 11 | 0000 00aa | Hold Pedal Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 12 | 0000 000a | Hold Pedal Polarity
(0 - 1) |
|
|
|
STANDARD, REVERSE |
|
00 13 | 0000 000a | Continuous Hold Pedal
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 14 | 0aaa aaaa | Pedal 1 Assign
(0 - 103) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |
|
|
|
START/STOP, TAP TEMPO, PROG UP, PROG DOWN |
|
00 15 | 0000 00aa | Pedal 1 Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 16 | 0000 000a | Pedal 1 Polarity
(0 - 1) |
|
|
|
STANDARD, REVERSE |
|
00 17 | 0aaa aaaa | Pedal 2 Assign
(0 - 103) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |
|
|
|
START/STOP, TAP TEMPO, PROG UP, PROG DOWN |
|
00 18 | 0000 00aa | Pedal 2 Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 19 | 0000 000a | Pedal 2 Polarity
(0 - 1) |
|
|
|
STANDARD, REVERSE |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 1A | 0000 000a | Arpeggio Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 1B | 0000 000a | Beam Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 1C | 0000 aaaa | Beam Sens
(1 - 10) |
|
|
|
1 - 10 |
|-------------+-----------+----------------------------------------------------|
|
00 1D | 00aa aaaa | Arpeggio Style
(0 - 44) |
|
|
|
1 - 45 |
|
00 1E | 00aa aaaa | Arpeggio Motif
(0 - 37) |
|
|
|
1 - 38 |
|
00 1F | 0aaa aaaa | Arpeggio Beat Pattern
(0 - 114) |
|
|
|
1 - 115 |
|
00 20 | 0aaa aaaa | Arpeggio Accent Rate
(0 - 100) |
|
00 21 | 0aaa aaaa | Arpeggio Shuffle Rate
(50 - 90) |
|
00 22 | 0aaa aaaa | Arpeggio Keyboard Velocity
(0 - 127) |
|
|
|
REAL, 1 - 127 |
|
00 23 | 0000 0aaa | Arpeggio Octave Range
(61 - 67) |
|
|
|
-3 - +3 |
|-------------+-----------+----------------------------------------------------|
|
00 24 | 0aaa aaaa | Beam Assign
(0 - 103) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |
|
|
|
START/STOP, TAP TEMPO |
|
00 25 | 0000 00aa | Beam Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 26 | 0000 000a | Beam Polarity
(0 - 1) |
|
|
|
STANDARD, REVERSE |
|
00 27 | 0aaa aaaa | Beam Range Lower
(0 - 127) |
|
00 28 | 0aaa aaaa | Beam Range Upper
(0 - 127) |
|-------------+----------------------------------------------------------------|
| 00 00 00 29 | Total Size
|
+------------------------------------------------------------------------------+
❍ 1-2-1 Performance Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | Performance Name 1
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 01 | 0aaa aaaa | Performance Name 2
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 02 | 0aaa aaaa | Performance Name 3
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 03 | 0aaa aaaa | Performance Name 4
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 04 | 0aaa aaaa | Performance Name 5
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 05 | 0aaa aaaa | Performance Name 6
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 06 | 0aaa aaaa | Performance Name 7
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 07 | 0aaa aaaa | Performance Name 8
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 08 | 0aaa aaaa | Performance Name 9
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 09 | 0aaa aaaa | Performance Name 10
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0A | 0aaa aaaa | Performance Name 11
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0B | 0aaa aaaa | Performance Name 12
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
280
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0C | 00aa aaaa | Solo Part Select
(0 - 32) |
|
|
|
OFF, 1 - 16, 17 - 32 |
|
00 0D | 000a aaaa | MFX Control Channel
(0 - 16) |
|
|
|
1 - 16, OFF |
|
00 0E | 0000 000a | MFX Control MIDI1
(0 - 1) |
|
|
|
OFF, ON |
|
00 0F | 0000 000a | MFX Control MIDI2
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 10 | 0aaa aaaa | Voice Reserve 1
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 11 | 0aaa aaaa | Voice Reserve 2
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 12 | 0aaa aaaa | Voice Reserve 3
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 13 | 0aaa aaaa | Voice Reserve 4
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 14 | 0aaa aaaa | Voice Reserve 5
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 15 | 0aaa aaaa | Voice Reserve 6
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 16 | 0aaa aaaa | Voice Reserve 7
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 17 | 0aaa aaaa | Voice Reserve 8
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 18 | 0aaa aaaa | Voice Reserve 9
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 19 | 0aaa aaaa | Voice Reserve 10
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 1A | 0aaa aaaa | Voice Reserve 11
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 1B | 0aaa aaaa | Voice Reserve 12
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 1C | 0aaa aaaa | Voice Reserve 13
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 1D | 0aaa aaaa | Voice Reserve 14
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 1E | 0aaa aaaa | Voice Reserve 15
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 1F | 0aaa aaaa | Voice Reserve 16
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 20 | 0aaa aaaa | Voice Reserve 17
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 21 | 0aaa aaaa | Voice Reserve 18
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 22 | 0aaa aaaa | Voice Reserve 19
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 23 | 0aaa aaaa | Voice Reserve 20
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 24 | 0aaa aaaa | Voice Reserve 21
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 25 | 0aaa aaaa | Voice Reserve 22
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 26 | 0aaa aaaa | Voice Reserve 23
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 27 | 0aaa aaaa | Voice Reserve 24
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 28 | 0aaa aaaa | Voice Reserve 25
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 29 | 0aaa aaaa | Voice Reserve 26
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 2A | 0aaa aaaa | Voice Reserve 27
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 2B | 0aaa aaaa | Voice Reserve 28
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 2C | 0aaa aaaa | Voice Reserve 29
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 2D | 0aaa aaaa | Voice Reserve 30
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 2E | 0aaa aaaa | Voice Reserve 31
(0 - 64) |
|
|
|
0 - 63, FULL |
|
00 2F | 0aaa aaaa | Voice Reserve 32
(0 - 64) |
|
|
|
0 - 63, FULL |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 30 | 00aa aaaa | MFX(1) Source
(0 - 32) |
|
|
|
PERFORM, 1 - 16, 17 - 32 |
|
00 31 | 00aa aaaa | MFX2 Source
(0 - 32) |
|
|
|
PERFORM, 1 - 16, 17 - 32 |
|
00 32 | 00aa aaaa | MFX3 Source
(0 - 32) |
|
|
|
PERFORM, 1 - 16, 17 - 32 |
|
00 33 | 00aa aaaa | Chorus Source
(0 - 32) |
|
|
|
PERFORM, 1 - 16, 17 - 32 |
|
00 34 | 00aa aaaa | Reverb Source
(0 - 32) |
|
|
|
PERFORM, 1 - 16, 17 - 32 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 35 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-2 Performance Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
|
00 01 | 0aaa aaaa | MFX Dry Send Level
(0 - 127) |
|
00 02 | 0aaa aaaa | MFX Chorus Send Level
(0 - 127) |
|
00 03 | 0aaa aaaa | MFX Reverb Send Level
(0 - 127) |
|
00 04 | 0000 00aa | MFX Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|#
00 11 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
MIDI Implementation
00 15 |
|
|
|
|
00 19 |
|
|
|
|
00 1D |
|
|
|
|
00 21 |
|
|
|
|
00 25 |
|
|
|
|
00 29 |
|
|
|
|
00 2D |
|
|
|
|
00 31 |
|
|
|
|
00 35 |
|
|
|
|
00 39 |
|
|
|
|
00 3D |
|
|
|
|
00 41 |
|
|
|
|
00 45 |
|
|
|
|
00 49 |
|
|
|
|
00 4D |
|
|
|
|
00 51 |
|
|
|
|
00 55 |
|
|
|
|
00 59 |
|
|
|
|
00 5D |
|
|
|
|
00 61 |
|
|
|
|
00 65 |
|
|
|
|
00 69 |
|
|
|
|
00 6D |
|
|
|
|
00 71 |
|
|
|
|
00 75 |
|
|
|
|
00 79 |
|
|
|
|
00 7D |
|
|
|
|
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
0000
0000
0000
0000
aaaa
bbbb
cccc
dddd
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
MFX Parameter 2
(12768 - 52768)
-20000 - +20000
MFX Parameter 3
(12768 - 52768)
-20000 - +20000
MFX Parameter 4
(12768 - 52768)
-20000 - +20000
MFX Parameter 5
(12768 - 52768)
-20000 - +20000
MFX Parameter 6
(12768 - 52768)
-20000 - +20000
MFX Parameter 7
(12768 - 52768)
-20000 - +20000
MFX Parameter 8
(12768 - 52768)
-20000 - +20000
MFX Parameter 9
(12768 - 52768)
-20000 - +20000
MFX Parameter 10
(12768 - 52768)
-20000 - +20000
MFX Parameter 11
(12768 - 52768)
-20000 - +20000
MFX Parameter 12
(12768 - 52768)
-20000 - +20000
MFX Parameter 13
(12768 - 52768)
-20000 - +20000
MFX Parameter 14
(12768 - 52768)
-20000 - +20000
MFX Parameter 15
(12768 - 52768)
-20000 - +20000
MFX Parameter 16
(12768 - 52768)
-20000 - +20000
MFX Parameter 17
(12768 - 52768)
-20000 - +20000
MFX Parameter 18
(12768 - 52768)
-20000 - +20000
MFX Parameter 19
(12768 - 52768)
-20000 - +20000
MFX Parameter 20
(12768 - 52768)
-20000 - +20000
MFX Parameter 21
(12768 - 52768)
-20000 - +20000
MFX Parameter 22
(12768 - 52768)
-20000 - +20000
MFX Parameter 23
(12768 - 52768)
-20000 - +20000
MFX Parameter 24
(12768 - 52768)
-20000 - +20000
MFX Parameter 25
(12768 - 52768)
-20000 - +20000
MFX Parameter 26
(12768 - 52768)
-20000 - +20000
MFX Parameter 27
(12768 - 52768)
-20000 - +20000
MFX Parameter 28
(12768 - 52768)
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
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|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
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|
|
|
|
|
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|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
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|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|#
01 01 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 05 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 09 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 0D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-3 Performance Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 2) |
|
00 01 | 0aaa aaaa | Chorus Level
(0 - 127) |
|
00 02 | 0000 00aa | Chorus Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
|
|
MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 04 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 08 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 10 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 14 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 18 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 20 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 24 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 28 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 30 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-4 Performance Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
|
00 01 | 0aaa aaaa | Reverb Level
(0 - 127) |
|
00 02 | 0000 00aa | Reverb Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 03 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 07 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 13 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
281
Appendices
|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
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|#
|
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|
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|#
|
|
|
|
MIDI Implementation
|#
00 17 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 23 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 27 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 33 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 37 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 43 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 47 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-5 Performance MIDI
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 000a | Receive Program Change
(0 - 1) |
|
|
|
OFF, ON |
|
00 01 | 0000 000a | Receive Bank Select
(0 - 1) |
|
|
|
OFF, ON |
|
00 02 | 0000 000a | Receive Bender
(0 - 1) |
|
|
|
OFF, ON |
|
00 03 | 0000 000a | Receive Polyphonic Key Pressure
(0 - 1) |
|
|
|
OFF, ON |
|
00 04 | 0000 000a | Receive Channel Pressure
(0 - 1) |
|
|
|
OFF, ON |
|
00 05 | 0000 000a | Receive Modulation
(0 - 1) |
|
|
|
OFF, ON |
|
00 06 | 0000 000a | Receive Volume
(0 - 1) |
|
|
|
OFF, ON |
|
00 07 | 0000 000a | Receive Pan
(0 - 1) |
|
|
|
OFF, ON |
|
00 08 | 0000 000a | Receive Expression
(0 - 1) |
|
|
|
OFF, ON |
|
00 09 | 0000 000a | Receive Hold-1
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0A | 0000 000a | Phase Lock
(0 - 1) |
|
|
|
OFF, ON |
|
00 0B | 0000 0aaa | Velocity Curve Type
(0 - 4) |
|
|
|
OFF, 1 - 4 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-6 Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Receive Channel
(0 - 15) |
|
|
|
1 - 16 |
|
00 01 | 0000 000a | Receive Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 02 | 0000 000a | Receive MIDI1
(0 - 1) |
|
|
|
OFF, ON |
|
00 03 | 0000 000a | Receive MIDI2
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
(0 - 127) |
|
00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
(0 - 127) |
|
00 06 | 0aaa aaaa | Patch Program Number (PC)
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 07 | 0aaa aaaa | Part Level (CC# 7)
(0 - 127) |
|
00 08 | 0aaa aaaa | Part Pan (CC# 10)
(0 - 127) |
|
|
|
L64 - 63R |
282
|
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)
(16 - 112) |
|
|
|
-48 - +48 |
|
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)
(14 - 114) |
|
|
|
-50 - +50 |
|
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)
(0 - 2) |
|
|
|
MONO, POLY, PATCH |
|
00 0C | 0000 00aa | Part Legato Switch (CC# 68)
(0 - 2) |
|
|
|
OFF, ON, PATCH |
|
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)
(0 - 25) |
|
|
|
0 - 24, PATCH |
|
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)
(0 - 2) |
|
|
|
OFF, ON, PATCH |
|#
00 0F | 0000 aaaa |
|
|
| 0000 bbbb | Part Portamento Time (CC# 5)
(0 - 128) |
|
|
|
0 - 127, PATCH |
|
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)
(0 - 127) |
|
|
|
-64 - +63 |
|
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)
(0 - 127) |
|
|
|
-64 - +63 |
|
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)
(0 - 127) |
|
|
|
-64 - +63 |
|
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)
(0 - 127) |
|
|
|
-64 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 15 | 0000 0aaa | Part Octave Shift
(61 - 67) |
|
|
|
-3 - +3 |
|
00 16 | 0aaa aaaa | Part Velocity Sens Offset
(1 - 127) |
|
|
|
-63 - +63 |
|
00 17 | 0aaa aaaa | Keyboard Range Lower
(0 - 127) |
|
|
|
C-1 - UPPER |
|
00 18 | 0aaa aaaa | Keyboard Range Upper
(0 - 127) |
|
|
|
LOWER - G9 |
|
00 19 | 0aaa aaaa | Keyboard Fade Width Lower
(0 - 127) |
|
00 1A | 0aaa aaaa | Keyboard Fade Width Upper
(0 - 127) |
|
00 1B | 0000 000a | Mute Switch
(0 - 1) |
|
|
|
OFF, MUTE |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 1C | 0aaa aaaa | Part Dry Send Level
(0 - 127) |
|
00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93)
(0 - 127) |
|
00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91)
(0 - 127) |
|
00 1F | 0000 aaaa | Part Output Assign
(0 - 13) |
|
|
|
MFX, A, B, C, D, |
|
|
|
1, 2, 3, 4, 5, 6, |
|
|
|
7, 8, PATCH |
|
00 20 | 0000 00aa | Part Output MFX Select
(0 - 2) |
|
|
|
MFX1, MFX2, MFX3 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 21 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-7 Performance Keyboard
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 000a | Keyboard Mode
(0 - 1) |
|
|
|
LAYER, SINGLE |
|
00 01 | 0000 aaaa | Arpeggio Zone Number
(0 - 15) |
|
|
|
ZONE1 - ZONE16 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 02 | 00aa aaaa | Arpeggio Style
(0 - 44) |
|
|
|
1 - 45 |
|
00 03 | 00aa aaaa | Arpeggio Motif
(0 - 37) |
|
|
|
1 - 38 |
|
00 04 | 0aaa aaaa | Arpeggio Beat Pattern
(0 - 114) |
|
|
|
1 - 115 |
|
00 05 | 0aaa aaaa | Arpeggio Accent Rate
(0 - 100) |
|
00 06 | 0aaa aaaa | Arpeggio Shuffle Rate
(50 - 90) |
|
00 07 | 0aaa aaaa | Arpeggio Keyboard Velocity
(0 - 127) |
|
|
|
REAL, 1 - 127 |
|
00 08 | 0000 0aaa | Arpeggio Octave Range
(61 - 67) |
|
|
|
-3 - +3 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 09 | 0aaa aaaa | Beam Assign
(0 - 103) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |
|
|
|
START/STOP, TAP TEMPO |
|
00 0A | 0000 00aa | Beam Output Mode
(0 - 3) |
|
|
|
OFF, INT, MIDI, BOTH |
|
00 0B | 0000 000a | Beam Polarity
(0 - 1) |
|
|
|
STANDARD, REVERSE |
|
00 0C | 0aaa aaaa | Beam Range Lower
(0 - 127) |
|
00 0D | 0aaa aaaa | Beam Range Upper
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0E | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-2-8 Performance Zone
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Transmit Channel
(0 - 15) |
|
|
|
1 - 16 |
|
00 01 | 0000 000a | Internal Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 02 | 0000 000a | External Switch
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 03 | 0000 aaaa |
|
|
| 0000 bbbb | External Bank Select MSB (CC# 0)
(0 - 128) |
|
|
|
0 - 127, NO-SEND |
|
00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32)
(0 - 127) |
|#
00 06 | 0000 aaaa |
|
|
| 0000 bbbb | External Program Number (PC)
(0 - 128) |
|
|
|
0 - 127, NO-SEND |
|#
00 08 | 0000 aaaa |
|
|
| 0000 bbbb | External Volume (CC# 7)
(0 - 128) |
|
|
|
0 - 127, NO-SEND |
|#
00 0A | 0000 aaaa |
|
|
| 0000 bbbb | External Pan (CC# 10)
(0 - 128) |
|
|
|
L64 - 63R, NO-SEND |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0C | 0aaa aaaa | Keyboard Range Lower
(0 - 127) |
|
|
|
C-1 - UPPER |
|
00 0D | 0aaa aaaa | Keyboard Range Upper
(0 - 127) |
|
|
|
LOWER - G9 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0E | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-1-1 Patch Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | Patch Name 1
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 01 | 0aaa aaaa | Patch Name 2
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 02 | 0aaa aaaa | Patch Name 3
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 03 | 0aaa aaaa | Patch Name 4
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 04 | 0aaa aaaa | Patch Name 5
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 05 | 0aaa aaaa | Patch Name 6
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 06 | 0aaa aaaa | Patch Name 7
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 07 | 0aaa aaaa | Patch Name 8
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 08 | 0aaa aaaa | Patch Name 9
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 09 | 0aaa aaaa | Patch Name 10
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0A | 0aaa aaaa | Patch Name 11
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0B | 0aaa aaaa | Patch Name 12
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0C | 0aaa aaaa | Patch Category
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0D | 0000 000a | Tone Type
(0 - 1) |
|
|
|
4TONES, MULTI-PARTIAL |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0E | 0aaa aaaa | Patch Level
(0 - 127) |
|
00 0F | 0aaa aaaa | Patch Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
00 10 | 0000 000a | Patch Priority
(0 - 1) |
|
|
|
LAST, LOUDEST |
|
00 11 | 0aaa aaaa | Patch Coarse Tune
(16 - 112) |
|
|
|
-48 - +48 |
|
00 12 | 0aaa aaaa | Patch Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
00 13 | 0000 0aaa | Octave Shift
(61 - 67) |
|
|
|
-3 - +3 |
|
00 14 | 0000 00aa | Stretch Tune Depth
(0 - 3) |
|
|
|
OFF, 1 - 3 |
|
00 15 | 0aaa aaaa | Analog Feel
(0 - 127) |
|
00 16 | 0000 000a | Mono/Poly
(0 - 1) |
|
|
|
MONO, POLY |
|
00 17 | 0000 000a | Legato Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 18 | 0000 000a | Legato Retrigger
(0 - 1) |
|
|
|
OFF, ON |
|
00 19 | 0000 000a | Portamento Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 1A | 0000 000a | Portamento Mode
(0 - 1) |
|
|
|
NORMAL, LEGATO |
|
00 1B | 0000 000a | Portamento Type
(0 - 1) |
|
|
|
RATE, TIME |
|
00 1C | 0000 000a | Portamento Start
(0 - 1) |
|
|
|
PITCH, NOTE |
|
00 1D | 0aaa aaaa | Portamento Time
(0 - 127) |
|
00 1E | 0000 000a | Patch Clock Source
(0 - 1) |
|
|
|
PATCH, SYSTEM |
|#
00 1F | 0000 aaaa |
|
|
| 0000 bbbb | Patch Tempo
(20 - 250) |
|
00 21 | 0000 000a | One Shot Mode
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 22 | 0aaa aaaa | Cutoff Offset
(1 - 127) |
|
|
|
-63 - +63 |
|
00 23 | 0aaa aaaa | Resonance Offset
(1 - 127) |
|
|
|
-63 - +63 |
|
00 24 | 0aaa aaaa | Attack Time Offset
(1 - 127) |
|
|
|
-63 - +63 |
|
00 25 | 0aaa aaaa | Release Time Offset
(1 - 127) |
|
|
|
-63 - +63 |
|
00 26 | 0aaa aaaa | Velocity Sens Offset
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 27 | 0000 aaaa | Patch Output Assign
(0 - 13) |
|
|
|
MFX, A, B, C, D, |
|
|
|
1, 2, 3, 4, 5, 6, |
|
|
|
7, 8, TONE |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 28 | 0000 000a | TMT Control Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 29 | 00aa aaaa | Pitch Bend Range Up
(0 - 48) |
|
00 2A | 00aa aaaa | Pitch Bend Range Down
(0 - 48) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 2B | 0aaa aaaa | Matrix Control 1 Source
(0 - 109) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |
|
|
|
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
|
PITCH ENV, TVF ENV, TVA ENV |
|
00 2C | 00aa aaaa | Matrix Control 1 Destination 1
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1
(1 - 127) |
|
|
|
-63 - +63 |
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2
(1 - 127) |
|
|
|
-63 - +63 |
|
00 30 | 00aa aaaa | Matrix Control 1 Destination 3
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3
(1 - 127) |
|
|
|
-63 - +63 |
|
00 32 | 00aa aaaa | Matrix Control 1 Destination 4
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 34 | 0aaa aaaa | Matrix Control 2 Source
(0 - 109) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |
|
|
|
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
|
PITCH-ENV, TVF-ENV, TVA-ENV |
|
00 35 | 00aa aaaa | Matrix Control 2 Destination 1
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1
(1 - 127) |
|
|
|
-63 - +63 |
|
00 37 | 00aa aaaa | Matrix Control 2 Destination 2
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2
(1 - 127) |
|
|
|
-63 - +63 |
|
00 39 | 00aa aaaa | Matrix Control 2 Destination 3
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3
(1 - 127) |
|
|
|
-63 - +63 |
|
00 3B | 00aa aaaa | Matrix Control 2 Destination 4
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 3D | 0aaa aaaa | Matrix Control 3 Source
(0 - 109) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |
|
|
|
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
|
PITCH-ENV, TVF-ENV, TVA-ENV |
|
00 3E | 00aa aaaa | Matrix Control 3 Destination 1
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1
(1 - 127) |
|
|
|
-63 - +63 |
|
00 40 | 00aa aaaa | Matrix Control 3 Destination 2
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2
(1 - 127) |
|
|
|
-63 - +63 |
|
00 42 | 00aa aaaa | Matrix Control 3 Destination 3
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3
(1 - 127) |
|
|
|
-63 - +63 |
|
00 44 | 00aa aaaa | Matrix Control 3 Destination 4
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4
(1 - 127) |
|
|
|
-63 - +63 |
283
Appendices
MIDI Implementation
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 46 | 0aaa aaaa | Matrix Control 4 Source
(0 - 109) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |
|
|
|
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
|
PITCH-ENV, TVF-ENV, TVA-ENV |
|
00 47 | 00aa aaaa | Matrix Control 4 Destination 1
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1
(1 - 127) |
|
|
|
-63 - +63 |
|
00 49 | 00aa aaaa | Matrix Control 4 Destination 2
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2
(1 - 127) |
|
|
|
-63 - +63 |
|
00 4B | 00aa aaaa | Matrix Control 4 Destination 3
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3
(1 - 127) |
|
|
|
-63 - +63 |
|
00 4D | 00aa aaaa | Matrix Control 4 Destination 4
(0 - 33) |
|
|
|
OFF, |
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |
|
|
|
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |
|
|
|
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |
|
|
|
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |
|
|
|
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |
|
|
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |
|
|
|
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |
|
|
|
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |
|
|
|
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |
|
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 4F | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-1-2 Patch Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
|
|
|
0 - 72 |
|
00 01 | 0aaa aaaa | MFX Dry Send Level
(0 - 127) |
|
00 02 | 0aaa aaaa | MFX Chorus Send Level
(0 - 127) |
|
00 03 | 0aaa aaaa | MFX Reverb Send Level
(0 - 127) |
|
00 04 | 0000 00aa | MFX Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|#
00 11 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 15 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 19 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 21 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 25 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
284
|#
00 29 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 31 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 35 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 39 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 41 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 45 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 49 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 51 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 55 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 59 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 5D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 61 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 65 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 69 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 6D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 71 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 75 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 79 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 7D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 01 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 05 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 09 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 0D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
MIDI Implementation
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 2) |
|
00 01 | 0aaa aaaa | Chorus Level
(0 - 127) |
|
00 02 | 0000 00aa | Chorus Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
|
|
MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 04 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 08 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 10 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 14 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 18 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 20 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 24 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 28 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 30 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-1-4 Patch Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
|
00 01 | 0aaa aaaa | Reverb Level
(0 - 127) |
|
00 02 | 0000 00aa | Reverb Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 03 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 07 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 13 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 17 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 23 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 27 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 33 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 37 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 43 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 47 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-1-5 Patch TMT (Tone Mix Table)
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Structure Type 1 & 2
(0 - 9) |
|
|
|
1 - 10 |
|
00 01 | 0000 00aa | Booster 1 & 2
(0 - 3) |
|
|
|
0, +6, +12, +18 [dB] |
|
00 02 | 0000 aaaa | Structure Type 3 & 4
(0 - 9) |
|
|
|
1 - 10 |
|
00 03 | 0000 00aa | Booster 3 & 4
(0 - 3) |
|
|
|
0, +6, +12, +18 [dB] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 04 | 0000 00aa | TMT Velocity Control
(0 - 2) |
|
|
|
OFF, ON, RANDOM |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 05 | 0000 000a | TMT1 Tone Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower
(0 - 127) |
|
|
|
C-1 - UPPER |
|
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper
(0 - 127) |
|
|
|
LOWER - G9 |
|
00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower
(0 - 127) |
|
00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper
(0 - 127) |
|
00 0A | 0aaa aaaa | TMT1 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower
(0 - 127) |
|
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0E | 0000 000a | TMT2 Tone Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower
(0 - 127) |
|
|
|
C-1 - UPPER |
|
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper
(0 - 127) |
|
|
|
LOWER - G9 |
|
00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower
(0 - 127) |
|
00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper
(0 - 127) |
|
00 13 | 0aaa aaaa | TMT2 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower
(0 - 127) |
|
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 17 | 0000 000a | TMT3 Tone Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower
(0 - 127) |
|
|
|
C-1 - UPPER |
|
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper
(0 - 127) |
|
|
|
LOWER - G9 |
|
00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower
(0 - 127) |
|
00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper
(0 - 127) |
|
00 1C | 0aaa aaaa | TMT3 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower
(0 - 127) |
|
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 20 | 0000 000a | TMT4 Tone Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower
(0 - 127) |
|
|
|
C-1 - UPPER |
|
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper
(0 - 127) |
|
|
|
LOWER - G9 |
|
00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower
(0 - 127) |
|
00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper
(0 - 127) |
|
00 25 | 0aaa aaaa | TMT4 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower
(0 - 127) |
|
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 29 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
285
Appendices
❍ 1-3-1-3 Patch Common Chorus
MIDI Implementation
❍ 1-3-1-6 Patch Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | Tone Level
(0 - 127) |
|
00 01 | 0aaa aaaa | Tone Coarse Tune
(16 - 112) |
|
|
|
-48 - +48 |
|
00 02 | 0aaa aaaa | Tone Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
00 03 | 000a aaaa | Tone Random Pitch Depth
(0 - 30) |
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
|
|
|
10, 20, 30, 40, 50, 60, 70, 80, |
|
|
|
90, 100, 200, 300, 400, 500, |
|
|
|
600, 700, 800, 900, 1000, 1100, |
|
|
|
1200 |
|
00 04 | 0aaa aaaa | Tone Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
00 05 | 000a aaaa | Tone Pan Keyfollow
(54 - 74) |
|
|
|
-100 - +100 |
|
00 06 | 00aa aaaa | Tone Random Pan Depth
(0 - 63) |
|
00 07 | 0aaa aaaa | Tone Alternate Pan Depth
(1 - 127) |
|
|
|
L63 - 63R |
|
00 08 | 0000 000a | Tone Env Mode
(0 - 1) |
|
|
|
NO-SUS, SUSTAIN |
|
00 09 | 0000 00aa | Tone Delay Mode
(0 - 3) |
|
|
|
NORMAL, HOLD, KEY-OFF-NORMAL, |
|
|
|
KEY-OFF-DECAY |
|#
00 0A | 0000 aaaa |
|
|
| 0000 bbbb | Tone Delay Time
(0 - 149) |
|
|
|
0 - 127, MUSICAL-NOTES |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0C | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
|
00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX)
(0 - 127) |
|
00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX)
(0 - 127) |
|
00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX)
(0 - 127) |
|
00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX)
(0 - 127) |
|
00 11 | 0000 aaaa | Tone Output Assign
(0 - 12) |
|
|
|
MFX, A, B, C, D, |
|
|
|
1, 2, 3, 4, 5, 6, |
|
|
|
7, 8 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 12 | 0000 000a | Tone Receive Bender
(0 - 1) |
|
|
|
OFF, ON |
|
00 13 | 0000 000a | Tone Receive Expression
(0 - 1) |
|
|
|
OFF, ON |
|
00 14 | 0000 000a | Tone Receive Hold-1
(0 - 1) |
|
|
|
OFF, ON |
|
00 15 | 0000 000a | Tone Receive Pan Mode
(0 - 1) |
|
|
|
CONTINUOUS, KEY-ON |
|
00 16 | 0000 000a | Tone Redamper Switch
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 18 | 0000 00aa | Tone Control 1 Switch 2
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 19 | 0000 00aa | Tone Control 1 Switch 3
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 1A | 0000 00aa | Tone Control 1 Switch 4
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 1B | 0000 00aa | Tone Control 2 Switch 1
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 1C | 0000 00aa | Tone Control 2 Switch 2
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 1D | 0000 00aa | Tone Control 2 Switch 3
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 1E | 0000 00aa | Tone Control 2 Switch 4
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 1F | 0000 00aa | Tone Control 3 Switch 1
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 20 | 0000 00aa | Tone Control 3 Switch 2
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 21 | 0000 00aa | Tone Control 3 Switch 3
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 22 | 0000 00aa | Tone Control 3 Switch 4
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 23 | 0000 00aa | Tone Control 4 Switch 1
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 24 | 0000 00aa | Tone Control 4 Switch 2
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 25 | 0000 00aa | Tone Control 4 Switch 3
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 26 | 0000 00aa | Tone Control 4 Switch 4
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 27 | 0000 00aa | Wave Group Type
(0 - 3) |
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
SAMPLE |
|#
00 28 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Wave Group ID
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 2C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Wave Number L (Mono)
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 30 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Wave Number R
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|
00 34 | 0000 00aa | Wave Gain
(0 - 3) |
|
|
|
-6, 0, +6, +12 [dB] |
|
00 35 | 0000 000a | Wave FXM Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 36 | 0000 00aa | Wave FXM Color
(0 - 3) |
|
|
|
1 - 4 |
|
00 37 | 000a aaaa | Wave FXM Depth
(0 - 16) |
|
00 38 | 0000 000a | Wave Tempo Sync
(0 - 1) |
|
|
|
OFF, ON |
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow
(44 - 84) |
|
|
|
-200 - +200 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 3A | 000a aaaa | Pitch Env Depth
(52 - 76) |
|
|
|
-12 - +12 |
|
00 3B | 0aaa aaaa | Pitch Env Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 3E | 000a aaaa | Pitch Env Time Keyfollow
(54 - 74) |
|
|
|
-100 - +100 |
|
00 3F | 0aaa aaaa | Pitch Env Time 1
(0 - 127) |
|
00 40 | 0aaa aaaa | Pitch Env Time 2
(0 - 127) |
|
00 41 | 0aaa aaaa | Pitch Env Time 3
(0 - 127) |
|
00 42 | 0aaa aaaa | Pitch Env Time 4
(0 - 127) |
|
00 43 | 0aaa aaaa | Pitch Env Level 0
(1 - 127) |
|
|
|
-63 - +63 |
|
00 44 | 0aaa aaaa | Pitch Env Level 1
(1 - 127) |
|
|
|
-63 - +63 |
|
00 45 | 0aaa aaaa | Pitch Env Level 2
(1 - 127) |
|
|
|
-63 - +63 |
286
|
00 46 | 0aaa aaaa | Pitch Env Level 3
(1 - 127) |
|
|
|
-63 - +63 |
|
00 47 | 0aaa aaaa | Pitch Env Level 4
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 48 | 0000 0aaa | TVF Filter Type
(0 - 6) |
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
|
|
LPF3 |
|
00 49 | 0aaa aaaa | TVF Cutoff Frequency
(0 - 127) |
|
00 4A | 00aa aaaa | TVF Cutoff Keyfollow
(44 - 84) |
|
|
|
-200 - +200 |
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve
(0 - 7) |
|
|
|
FIXED, 1 - 7 |
|
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 4D | 0aaa aaaa | TVF Resonance
(0 - 127) |
|
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 4F | 0aaa aaaa | TVF Env Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
00 50 | 0000 0aaa | TVF Env Velocity Curve
(0 - 7) |
|
|
|
FIXED, 1 - 7 |
|
00 51 | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 54 | 000a aaaa | TVF Env Time Keyfollow
(54 - 74) |
|
|
|
-100 - +100 |
|
00 55 | 0aaa aaaa | TVF Env Time 1
(0 - 127) |
|
00 56 | 0aaa aaaa | TVF Env Time 2
(0 - 127) |
|
00 57 | 0aaa aaaa | TVF Env Time 3
(0 - 127) |
|
00 58 | 0aaa aaaa | TVF Env Time 4
(0 - 127) |
|
00 59 | 0aaa aaaa | TVF Env Level 0
(0 - 127) |
|
00 5A | 0aaa aaaa | TVF Env Level 1
(0 - 127) |
|
00 5B | 0aaa aaaa | TVF Env Level 2
(0 - 127) |
|
00 5C | 0aaa aaaa | TVF Env Level 3
(0 - 127) |
|
00 5D | 0aaa aaaa | TVF Env Level 4
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 5E | 000a aaaa | Bias Level
(54 - 74) |
|
|
|
-100 - +100 |
|
00 5F | 0aaa aaaa | Bias Position
(0 - 127) |
|
|
|
C-1 - G9 |
|
00 60 | 0000 00aa | Bias Direction
(0 - 3) |
|
|
|
LOWER, UPPER, LOWER&UPPER, ALL |
|
00 61 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
|
|
FIXED, 1 - 7 |
|
00 62 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 65 | 000a aaaa | TVA Env Time Keyfollow
(54 - 74) |
|
|
|
-100 - +100 |
|
00 66 | 0aaa aaaa | TVA Env Time 1
(0 - 127) |
|
00 67 | 0aaa aaaa | TVA Env Time 2
(0 - 127) |
|
00 68 | 0aaa aaaa | TVA Env Time 3
(0 - 127) |
|
00 69 | 0aaa aaaa | TVA Env Time 4
(0 - 127) |
|
00 6A | 0aaa aaaa | TVA Env Level 1
(0 - 127) |
|
00 6B | 0aaa aaaa | TVA Env Level 2
(0 - 127) |
|
00 6C | 0aaa aaaa | TVA Env Level 3
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 6D | 0000 aaaa | LFO1 Wave Form
(0 - 10) |
|
|
|
SIN, TRI, SAW-UP, SAW-DW, SQR, |
|
|
|
RND, BEND-UP, BEND-DW, TRP, S&H |
|
|
|
CHS |
|#
00 6E | 0000 aaaa |
|
|
| 0000 bbbb | LFO1 Rate
(0 - 149) |
|
|
|
0 - 127, MUSICAL-NOTES |
|
00 70 | 0000 0aaa | LFO1 Offset
(0 - 4) |
|
|
|
-100, -50, 0, +50, +100 |
|
00 71 | 0aaa aaaa | LFO1 Rate Detune
(0 - 127) |
|
00 72 | 0aaa aaaa | LFO1 Delay Time
(0 - 127) |
|
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow
(54 - 74) |
|
|
|
-100 - +100 |
|
00 74 | 0000 00aa | LFO1 Fade Mode
(0 - 3) |
|
|
|
ON-IN, ON-OUT, |
|
|
|
OFF-IN, OFF-OUT |
|
00 75 | 0aaa aaaa | LFO1 Fade Time
(0 - 127) |
|
00 76 | 0000 000a | LFO1 Key Trigger
(0 - 1) |
|
|
|
OFF, ON |
|
00 77 | 0aaa aaaa | LFO1 Pitch Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
00 78 | 0aaa aaaa | LFO1 TVF Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
00 79 | 0aaa aaaa | LFO1 TVA Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
00 7A | 0aaa aaaa | LFO1 Pan Depth
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 7B | 0000 aaaa | LFO2 Wave Form
(0 - 10) |
|
|
|
SIN, TRI, SAW-UP, SAW-DW, SQR, |
|
|
|
RND, BEND-UP, BEND-DW, TRP, S&H |
|
|
|
CHS |
|#
00 7C | 0000 aaaa |
|
|
| 0000 bbbb | LFO2 Rate
(0 - 149) |
|
|
|
0 - 127, MUSICAL-NOTES |
|
00 7E | 0000 0aaa | LFO2 Offset
(0 - 4) |
|
|
|
-100, -50, 0, +50, +100 |
|
00 7F | 0aaa aaaa | LFO2 Rate Detune
(0 - 127) |
|
01 00 | 0aaa aaaa | LFO2 Delay Time
(0 - 127) |
|
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow
(54 - 74) |
|
|
|
-100 - +100 |
|
01 02 | 0000 00aa | LFO2 Fade Mode
(0 - 3) |
|
|
|
ON-IN, ON-OUT, |
|
|
|
OFF-IN, OFF-OUT |
|
01 03 | 0aaa aaaa | LFO2 Fade Time
(0 - 127) |
|
01 04 | 0000 000a | LFO2 Key Trigger
(0 - 1) |
|
|
|
OFF, ON |
|
01 05 | 0aaa aaaa | LFO2 Pitch Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
01 06 | 0aaa aaaa | LFO2 TVF Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
01 07 | 0aaa aaaa | LFO2 TVA Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
01 08 | 0aaa aaaa | LFO2 Pan Depth
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 09 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
MIDI Implementation
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | Rhythm Name 1
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 01 | 0aaa aaaa | Rhythm Name 2
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 02 | 0aaa aaaa | Rhythm Name 3
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 03 | 0aaa aaaa | Rhythm Name 4
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 04 | 0aaa aaaa | Rhythm Name 5
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 05 | 0aaa aaaa | Rhythm Name 6
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 06 | 0aaa aaaa | Rhythm Name 7
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 07 | 0aaa aaaa | Rhythm Name 8
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 08 | 0aaa aaaa | Rhythm Name 9
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 09 | 0aaa aaaa | Rhythm Name 10
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0A | 0aaa aaaa | Rhythm Name 11
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0B | 0aaa aaaa | Rhythm Name 12
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0C | 0aaa aaaa | Rhythm Level
(0 - 127) |
|
00 0D | 0000 000a | Rhythm Clock Source
(0 - 1) |
|
|
|
RHYTHM, SYSTEM |
|#
00 0E | 0000 aaaa |
|
|
| 0000 bbbb | Rhythm Tempo
(20 - 250) |
|
00 10 | 0000 000a | One Shot Mode
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 11 | 0000 aaaa | Rhythm Output Assign
(0 - 13) |
|
|
|
MFX, A, B, C, D, |
|
|
|
1, 2, 3, 4, 5, 6, |
|
|
|
7, 8, TONE |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-2-2 Rhythm Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
|
|
|
0 - 72 |
|
00 01 | 0aaa aaaa | MFX Dry Send Level
(0 - 127) |
|
00 02 | 0aaa aaaa | MFX Chorus Send Level
(0 - 127) |
|
00 03 | 0aaa aaaa | MFX Reverb Send Level
(0 - 127) |
|
00 04 | 0000 00aa | MFX Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16 |
|#
00 11 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 15 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 19 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 21 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 25 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 29 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 31 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 35 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 39 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 41 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 45 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 49 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 51 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 55 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 59 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 5D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 61 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 65 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 69 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 6D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 71 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 75 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 79 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 7D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 01 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 05 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 09 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
01 0D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
Appendices
❍ 1-3-2-1 Rhythm Common
287
MIDI Implementation
❍ 1-3-2-3 Rhythm Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 2) |
|
00 01 | 0aaa aaaa | Chorus Level
(0 - 127) |
|
00 02 | 0000 00aa | Chorus Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
|
|
MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 04 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 08 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 10 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 14 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 18 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 20 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 24 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 28 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2C | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 30 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-2-4 Rhythm Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
|
00 01 | 0aaa aaaa | Reverb Level
(0 - 127) |
|
00 02 | 0000 00aa | Reverb Output Assign
(0 - 3) |
|
|
|
A, B, C, D |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
00 03 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 07 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 0F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 13 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 17 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 1F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 23 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 27 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000 |
288
|#
00 2B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 2F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 33 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 37 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 3F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 43 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 47 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|#
00 4F | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
❍ 1-3-2-5 Rhythm Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 | 0aaa aaaa | Tone Name 1
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 01 | 0aaa aaaa | Tone Name 2
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 02 | 0aaa aaaa | Tone Name 3
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 03 | 0aaa aaaa | Tone Name 4
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 04 | 0aaa aaaa | Tone Name 5
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 05 | 0aaa aaaa | Tone Name 6
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 06 | 0aaa aaaa | Tone Name 7
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 07 | 0aaa aaaa | Tone Name 8
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 08 | 0aaa aaaa | Tone Name 9
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 09 | 0aaa aaaa | Tone Name 10
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0A | 0aaa aaaa | Tone Name 11
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
00 0B | 0aaa aaaa | Tone Name 12
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0C | 0000 000a | Assign Type
(0 - 1) |
|
|
|
MULTI, SINGLE |
|
00 0D | 000a aaaa | Mute Group
(0 - 31) |
|
|
|
OFF, 1 - 31 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0E | 0aaa aaaa | Tone Level
(0 - 127) |
|
00 0F | 0aaa aaaa | Tone Coarse Tune
(0 - 127) |
|
|
|
C-1 - G9 |
|
00 10 | 0aaa aaaa | Tone Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
00 11 | 000a aaaa | Tone Random Pitch Depth
(0 - 30) |
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
|
|
|
10, 20, 30, 40, 50, 60, 70, 80, |
|
|
|
90, 100, 200, 300, 400, 500, |
|
|
|
600, 700, 800, 900, 1000, 1100, |
|
|
|
1200 |
|
00 12 | 0aaa aaaa | Tone Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
00 13 | 00aa aaaa | Tone Random Pan Depth
(0 - 63) |
|
00 14 | 0aaa aaaa | Tone Alternate Pan Depth
(1 - 127) |
|
|
|
L63 - 63R |
|
00 15 | 0000 000a | Tone Env Mode
(0 - 1) |
|
|
|
NO-SUS, SUSTAIN |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 16 | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
|
00 17 | 0aaa aaaa | Tone Chorus Send Level
(0 - 127) |
|
00 18 | 0aaa aaaa | Tone Reverb Send Level
(0 - 127) |
|
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)
(0 - 127) |
|
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)
(0 - 127) |
|
00 1B | 0000 aaaa | Tone Output Assign
(0 - 12) |
|
|
|
MFX, A, B, C, D, |
|
|
|
1, 2, 3, 4, 5, 6, |
|
|
|
7, 8 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range
(0 - 48) |
|
00 1D | 0000 000a | Tone Receive Expression
(0 - 1) |
|
|
|
OFF, ON |
|
00 1E | 0000 000a | Tone Receive Hold-1
(0 - 1) |
|
|
|
OFF, ON |
|
00 1F | 0000 000a | Tone Receive Pan Mode
(0 - 1) |
|
|
|
CONTINUOUS, KEY-ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 20 | 0000 00aa | WMT Velocity Control
(0 - 2) |
|
|
|
OFF, ON, RANDOM |
MIDI Implementation
|
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower
(0 - 127) |
|
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 78 | 0000 000a | WMT4 Wave Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 79 | 0000 00aa | WMT4 Wave Group Type
(0 - 3) |
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
SAMPLE |
|#
00 7A | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT4 Wave Group ID
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 7E | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT4 Wave Number L (Mono)
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
01 02 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT4 Wave Number R
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|
01 06 | 0000 00aa | WMT4 Wave Gain
(0 - 3) |
|
|
|
-6, 0, +6, +12 [dB] |
|
01 07 | 0000 000a | WMT4 Wave FXM Switch
(0 - 1) |
|
|
|
OFF, ON |
|
01 08 | 0000 00aa | WMT4 Wave FXM Color
(0 - 3) |
|
|
|
1 - 4 |
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth
(0 - 16) |
|
01 0A | 0000 000a | WMT4 Wave Tempo Sync
(0 - 1) |
|
|
|
OFF, ON |
|
01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune
(16 - 112) |
|
|
|
-48 - +48 |
|
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
01 0D | 0aaa aaaa | WMT4 Wave Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch
(0 - 1) |
|
|
|
OFF, ON |
|
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
01 10 | 0aaa aaaa | WMT4 Wave Level
(0 - 127) |
|
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower
(0 - 127) |
|
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
01 15 | 000a aaaa | Pitch Env Depth
(52 - 76) |
|
|
|
-12 - +12 |
|
01 16 | 0aaa aaaa | Pitch Env Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 19 | 0aaa aaaa | Pitch Env Time 1
(0 - 127) |
|
01 1A | 0aaa aaaa | Pitch Env Time 2
(0 - 127) |
|
01 1B | 0aaa aaaa | Pitch Env Time 3
(0 - 127) |
|
01 1C | 0aaa aaaa | Pitch Env Time 4
(0 - 127) |
|
01 1D | 0aaa aaaa | Pitch Env Level 0
(1 - 127) |
|
|
|
-63 - +63 |
|
01 1E | 0aaa aaaa | Pitch Env Level 1
(1 - 127) |
|
|
|
-63 - +63 |
|
01 1F | 0aaa aaaa | Pitch Env Level 2
(1 - 127) |
|
|
|
-63 - +63 |
|
01 20 | 0aaa aaaa | Pitch Env Level 3
(1 - 127) |
|
|
|
-63 - +63 |
|
01 21 | 0aaa aaaa | Pitch Env Level 4
(1 - 127) |
|
|
|
-63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
01 22 | 0000 0aaa | TVF Filter Type
(0 - 6) |
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
|
|
LPF3 |
|
01 23 | 0aaa aaaa | TVF Cutoff Frequency
(0 - 127) |
|
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve
(0 - 7) |
|
|
|
FIXED, 1 - 7 |
|
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 26 | 0aaa aaaa | TVF Resonance
(0 - 127) |
|
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 28 | 0aaa aaaa | TVF Env Depth
(1 - 127) |
|
|
|
-63 - +63 |
|
01 29 | 0000 0aaa | TVF Env Velocity Curve Type
(0 - 7) |
|
|
|
FIXED, 1 - 7 |
|
01 2A | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 2D | 0aaa aaaa | TVF Env Time 1
(0 - 127) |
|
01 2E | 0aaa aaaa | TVF Env Time 2
(0 - 127) |
|
01 2F | 0aaa aaaa | TVF Env Time 3
(0 - 127) |
|
01 30 | 0aaa aaaa | TVF Env Time 4
(0 - 127) |
|
01 31 | 0aaa aaaa | TVF Env Level 0
(0 - 127) |
|
01 32 | 0aaa aaaa | TVF Env Level 1
(0 - 127) |
|
01 33 | 0aaa aaaa | TVF Env Level 2
(0 - 127) |
|
01 34 | 0aaa aaaa | TVF Env Level 3
(0 - 127) |
|
01 35 | 0aaa aaaa | TVF Env Level 4
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
01 36 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
|
|
FIXED, 1 - 7 |
|
01 37 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
(1 - 127) |
|
|
|
-63 - +63 |
|
01 3A | 0aaa aaaa | TVA Env Time 1
(0 - 127) |
|
01 3B | 0aaa aaaa | TVA Env Time 2
(0 - 127) |
|
01 3C | 0aaa aaaa | TVA Env Time 3
(0 - 127) |
|
01 3D | 0aaa aaaa | TVA Env Time 4
(0 - 127) |
|
01 3E | 0aaa aaaa | TVA Env Level 1
(0 - 127) |
|
01 3F | 0aaa aaaa | TVA Env Level 2
(0 - 127) |
|
01 40 | 0aaa aaaa | TVA Env Level 3
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 41 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
Appendices
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 21 | 0000 000a | WMT1 Wave Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 22 | 0000 00aa | WMT1 Wave Group Type
(0 - 3) |
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
SAMPLE |
|#
00 23 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT1 Wave Group ID
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 27 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT1 Wave Number L (Mono)
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 2B | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT1 Wave Number R
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|
00 2F | 0000 00aa | WMT1 Wave Gain
(0 - 3) |
|
|
|
-6, 0, +6, +12 [dB] |
|
00 30 | 0000 000a | WMT1 Wave FXM Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 31 | 0000 00aa | WMT1 Wave FXM Color
(0 - 3) |
|
|
|
1 - 4 |
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth
(0 - 16) |
|
00 33 | 0000 000a | WMT1 Wave Tempo Sync
(0 - 1) |
|
|
|
OFF, ON |
|
00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune
(16 - 112) |
|
|
|
-48 - +48 |
|
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
00 36 | 0aaa aaaa | WMT1 Wave Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
00 37 | 0000 000a | WMT1 Wave Random Pan Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 39 | 0aaa aaaa | WMT1 Wave Level
(0 - 127) |
|
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower
(0 - 127) |
|
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 3E | 0000 000a | WMT2 Wave Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 3F | 0000 00aa | WMT2 Wave Group Type
(0 - 3) |
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
SAMPLE |
|#
00 40 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT2 Wave Group ID
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 44 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT2 Wave Number L (Mono)
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 48 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT2 Wave Number R
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|
00 4C | 0000 00aa | WMT2 Wave Gain
(0 - 3) |
|
|
|
-6, 0, +6, +12 [dB] |
|
00 4D | 0000 000a | WMT2 Wave FXM Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 4E | 0000 00aa | WMT2 Wave FXM Color
(0 - 3) |
|
|
|
1 - 4 |
|
00 4F | 000a aaaa | WMT2 Wave FXM Depth
(0 - 16) |
|
00 50 | 0000 000a | WMT2 Wave Tempo Sync
(0 - 1) |
|
|
|
OFF, ON |
|
00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune
(16 - 112) |
|
|
|
-48 - +48 |
|
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
00 53 | 0aaa aaaa | WMT2 Wave Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
00 54 | 0000 000a | WMT2 Wave Random Pan Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 56 | 0aaa aaaa | WMT2 Wave Level
(0 - 127) |
|
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower
(1 - 127) |
|
|
|
1 - UPPER |
|
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper
(1 - 127) |
|
|
|
LOWER - 127 |
|
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower
(0 - 127) |
|
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 5B | 0000 000a | WMT3 Wave Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 5C | 0000 00aa | WMT3 Wave Group Type
(0 - 3) |
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
SAMPLE |
|#
00 5D | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT3 Wave Group ID
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 61 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT3 Wave Number L (Mono)
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|#
00 65 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | WMT3 Wave Number R
(0 - 16384) |
|
|
|
OFF, 1 - 16384 |
|
00 69 | 0000 00aa | WMT3 Wave Gain
(0 - 3) |
|
|
|
-6, 0, +6, +12 [dB] |
|
00 6A | 0000 000a | WMT3 Wave FXM Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 6B | 0000 00aa | WMT3 Wave FXM Color
(0 - 3) |
|
|
|
1 - 4 |
|
00 6C | 000a aaaa | WMT3 Wave FXM Depth
(0 - 16) |
|
00 6D | 0000 000a | WMT3 Wave Tempo Sync
(0 - 1) |
|
|
|
OFF, ON |
|
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune
(16 - 112) |
|
|
|
-48 - +48 |
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune
(14 - 114) |
|
|
|
-50 - +50 |
|
00 70 | 0aaa aaaa | WMT3 Wave Pan
(0 - 127) |
|
|
|
L64 - 63R |
|
00 71 | 0000 000a | WMT3 Wave Random Pan Switch
(0 - 1) |
|
|
|
OFF, ON |
|
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch
(0 - 2) |
|
|
|
OFF, ON, REVERSE |
|
00 73 | 0aaa aaaa | WMT3 Wave Level
(0 - 127) |
289
MIDI Implementation
2. GS (Model ID = 42H)
❍ System Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
40 00 00 | 0000 aaaa |
|
|
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
|
-100.0 - 100.0 [cent] |
|
40 00 04 | 0aaa aaaa | Master Volume
(0 - 127) |
|
40 00 05 | 0aaa aaaa | Master Key Shift
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|
40 00 06 | 0aaa aaaa | Master Pan
(1 - 127) |
|
|
|
L63 - 63R |
|—————————————+————————————————————————————————————————————————————————————————|
|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
|
|
|
GS-RESET, GS-EXIT |
|—————————————+————————————————————————————————————————————————————————————————|
❍ Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1
(0 - 24) |
|
40 01 11 | 0aaa aaaa | Voice Reserve 2
(0 - 24) |
|
40 01 12 | 0aaa aaaa | Voice Reserve 3
(0 - 24) |
|
40 01 13 | 0aaa aaaa | Voice Reserve 4
(0 - 24) |
|
40 01 14 | 0aaa aaaa | Voice Reserve 5
(0 - 24) |
|
40 01 15 | 0aaa aaaa | Voice Reserve 6
(0 - 24) |
|
40 01 16 | 0aaa aaaa | Voice Reserve 7
(0 - 24) |
|
40 01 17 | 0aaa aaaa | Voice Reserve 8
(0 - 24) |
|
40 01 18 | 0aaa aaaa | Voice Reserve 9
(0 - 24) |
|
40 01 19 | 0aaa aaaa | Voice Reserve 10
(0 - 24) |
|
40 01 1A | 0aaa aaaa | Voice Reserve 11
(0 - 24) |
|
40 01 1B | 0aaa aaaa | Voice Reserve 12
(0 - 24) |
|
40 01 1C | 0aaa aaaa | Voice Reserve 13
(0 - 24) |
|
40 01 1D | 0aaa aaaa | Voice Reserve 14
(0 - 24) |
|
40 01 1E | 0aaa aaaa | Voice Reserve 15
(0 - 24) |
|
40 01 1F | 0aaa aaaa | Voice Reserve 16
(0 - 24) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 - 7) |
|
40 01 31 | 0aaa aaaa | Reverb Character
(0 - 7) |
|
40 01 32 | 0aaa aaaa | Reverb Pre-LPF
(0 - 7) |
|
40 01 33 | 0aaa aaaa | Reverb Level
(0 - 127) |
|
40 01 34 | 0aaa aaaa | Reverb Time
(0 - 127) |
|
40 01 35 | 0aaa aaaa | Reverb Delay Feedback
(0 - 127) |
|
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 01 38 | 0aaa aaaa | Chorus Macro
(0 - 7) |
|
40 01 39 | 0aaa aaaa | Chorus Pre-LPF
(0 - 7) |
|
40 01 3A | 0aaa aaaa | Chorus Level
(0 - 127) |
|
40 01 3B | 0aaa aaaa | Chorus Feedback
(0 - 127) |
|
40 01 3C | 0aaa aaaa | Chorus Delay
(0 - 127) |
|
40 01 3D | 0aaa aaaa | Chorus Rate
(0 - 127) |
|
40 01 3E | 0aaa aaaa | Chorus Depth
(0 - 127) |
|
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
❍ Part Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
(0 - 127) |
|
| 0aaa aaaa | Tone Number PC Value
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 1x 02 | 0aaa aaaa | Rx. Channel
(0 - 16) |
|
|
|
1 - 16, OFF |
|
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 04 | 0000 000a | Rx. Channel Pressure
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 05 | 0000 000a | Rx. Program Change
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 06 | 0000 000a | Rx. Control Change
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 07 | 0000 000a | Rx. Poly Pressure
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 08 | 0000 000a | Rx. Note Message
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 09 | 0000 000a | Rx. RPN
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 0A | 0000 000a | Rx. NRPN
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 0B | 0000 000a | Rx. Modulation
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 0C | 0000 000a | Rx. Volume
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 0D | 0000 000a | Rx. Panpot
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 0E | 0000 000a | Rx. Expression
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 0F | 0000 000a | Rx. Hold-1
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 10 | 0000 000a | Rx. Portamento
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 11 | 0000 000a | Rx. Sostenuto
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 12 | 0000 000a | Rx. Soft
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 - 1) |
|
|
|
MODE, POLY |
|
40 1x 14 | 0aaa aaaa | Assign Mode
(0 - 2) |
|
|
|
SINGLE, LIMITED-MULTI, |
|
|
|
FULL-MULTI |
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
(0 - 2) |
|
|
|
OFF, MAP1, MAP2 |
290
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 1x 16 | 0aaa aaaa | Pitch Key Shift
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|#
40 1x 17 | 0000 aaaa |
|
|
| 0000 bbbb | Pitch Offset Fine
(8 - 248) |
|
|
|
-12.0 - +12.0 [Hz] |
|
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)
(0 - 127) |
|
40 1x 1A | 0aaa aaaa | Velocity Sens Depth
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)
(0 - 127) |
|
|
|
RANDOM, L63 - 63R |
|
40 1x 1D | 0aaa aaaa | Keyboard Range Low
(0 - 127) |
|
40 1x 1E | 0aaa aaaa | Keyboard Range High
(0 - 127) |
|
40 1x 1F | 0aaa aaaa | CC1 Controller Number
(0 - 95) |
|
40 1x 20 | 0aaa aaaa | CC2 Controller Number
(0 - 95) |
|
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)
(0 - 127) |
|
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)
(0 - 127) |
|
40 1x 23 | 0000 000a | Rx. Bank Select
(0 - 1) |
|
|
|
OFF, ON |
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB
(0 - 1) |
|
|
|
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)
(0 - 127) |
|
|
|
-64 - +63 |
|
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
(0 - 127) |
|
|
|
-64 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 - 127) |
|
|
|
-64 - +63 [cent] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 2x 00 | 0aaa aaaa | Mod Pitch Control
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control
(0 - 127) |
|
|
|
-9600 - +9600 [cent] |
|
40 2x 02 | 0aaa aaaa | Mod Amplitude Control
(0 - 127) |
|
|
|
-100.0 - +100.0 [%] |
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 - 88) |
|
|
|
0 - 24 [semitone] |
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 - 127) |
|
|
|
-9600 - +9600 [cent] |
|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 - 127) |
|
|
|
-100.0 - +100.0 [%] |
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 - 127) |
|
|
|
-9600 - +9600 [cent] |
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 - 127) |
|
|
|
-100.0 - +100.0 [%] |
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 2x 30 | 0aaa aaaa | PAf Pitch Control
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control
(0 - 127) |
|
|
|
-9600 - +9600 [cent] |
|
40 2x 32 | 0aaa aaaa | PAf Amplitude Control
(0 - 127) |
|
|
|
-100.0 - +100.0 [%] |
|
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|
40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 - 127) |
|
|
|
-9600 - +9600 [cent] |
|
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 - 127) |
|
|
|
-100.0 - +100.0 [%] |
|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 - 88) |
|
|
|
-24 - +24 [semitone] |
|
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 - 127) |
|
|
|
-9600 - +9600 [cent] |
|
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 - 127) |
|
|
|
-100.0 - +100.0 [%] |
|
40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
|
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 - 127) |
|
|
|
-10.0 - +10.0 [Hz] |
|
40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 - 127) |
|
|
|
0 - 600 [cent] |
|
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 - 127) |
|
|
|
0 - 2400 [cent] |
|
40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 - 127) |
|
|
|
0 - 100.0 [%] |
+——————————————————————————————————————————————————————————————————————————————+
❍ Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
Address |
Description
|
|—————————————+————————————————————————————————————————————————————————————————|
|
41 m0 00 | 0aaa aaaa | Drum Map Name 1
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 01 | 0aaa aaaa | Drum Map Name 2
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 02 | 0aaa aaaa | Drum Map Name 3
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 03 | 0aaa aaaa | Drum Map Name 4
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 04 | 0aaa aaaa | Drum Map Name 5
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 05 | 0aaa aaaa | Drum Map Name 6
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 06 | 0aaa aaaa | Drum Map Name 7
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 07 | 0aaa aaaa | Drum Map Name 8
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 08 | 0aaa aaaa | Drum Map Name 9
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 09 | 0aaa aaaa | Drum Map Name 10
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 0A | 0aaa aaaa | Drum Map Name 11
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|
41 m0 0B | 0aaa aaaa | Drum Map Name 12
(32 - 127) |
|
|
|
32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
|
41 m1 rr | 0aaa aaaa | Play Note Number
(0 - 127) |
|
41 m2 rr | 0aaa aaaa | Level
(0 - 127) |
|
41 m3 rr | 0aaa aaaa | Assign Group Number
(0 - 127) |
|
|
|
NON, 1 - 127 |
|
41 m4 rr | 0aaa aaaa | Panpot
(0 - 127) |
|
|
|
RANDOM, L63 - 63R |
|
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 - 127) |
|
|
|
0.0 - 1.0 |
|
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 - 127) |
|
|
|
0.0 - 1.0 |
|
41 m7 rr | 0000 000a | Rx. Note Off
(0 - 1) |
|
|
|
OFF, ON |
|
41 m8 rr | 0000 000a | Rx. Note On
(0 - 1) |
|
|
|
OFF, ON |
+——————————————————————————————————————————————————————————————————————————————+
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H-7FH)
Appendices
x: BLOCK NUMBER (0-F)
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
:
: :
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
:
: :
Part16 (MIDI ch = 16) x = F
291
MIDI Implementation
■Arpeggio Parameter List
● Arpeggio Style
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
+—————————————————————————+—————————————————————————+—————————————————————————+
|
0 | 1/ 4
| 15 | HEAVY SLAP
| 30 | SWING WALTZ
|
|
1 | 1/ 6
| 16 | LIGHT SLAP
| 31 | REGGAE
|
|
2 | 1/ 8
| 17 | WALK BASS
| 32 | PERCUSSION
|
|
3 | 1/12
| 18 | RHYTHM GTR 1
| 33 | HARP
|
|
4 | 1/16
| 19 | RHYTHM GTR 2
| 34 | SHAMISEN
|
|
5 | 1/32
| 20 | RHYTHM GTR 3
| 35 | BOUND BALL
|
|
6 | PORTAMENTO A
| 21 | RHYTHM GTR 4
| 36 | RANDOM
|
|
7 | PORTAMENTO B
| 22 | RHYTHM GTR 5
| 37 | BOSSA NOVA
|
|
8 | GLISSANDO
| 23 | 3 FINGER
| 38 | SALSA
|
|
9 | SEQUENCE A
| 24 | STRUM GTR UP
| 39 | MAMBO
|
| 10 | SEQUENCE B
| 25 | STRUM GTR DOWN
| 40 | LATIN PERCUSSION |
| 11 | SEQUENCE C
| 26 | STRUM GTR UP&DW
| 41 | SAMBA
|
| 12 | SEQUENCE D
| 27 | PIANO BACKING
| 42 | TANGO
|
| 13 | ECHO
| 28 | CLAVI CHORD
| 43 | HOUSE
|
| 14 | SYNTH BASS
| 29 | WALTZ
|
|
|
+—————————————————————————+—————————————————————————+—————————————————————————+
● Arpeggio Motif
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
+—————————————————————————+—————————————————————————+—————————————————————————+
|
0 | SINGLE UP
| 13 | GLISSANDO
| 26 | BASS+UP 7
|
|
1 | SINGLE DOWN
| 14 | CHORD
| 27 | BASS+UP 8
|
|
2 | SINGLE UP&DOWN
| 15 | BASS+CHORD 1
| 28 | BASS+RND 1
|
|
3 | SINGLE RANDOM
| 16 | BASS+CHORD 2
| 29 | BASS+RND 2
|
|
4 | DUAL UP
| 17 | BASS+CHORD 3
| 30 | BASS+RND 3
|
|
5 | DUAL DOWN
| 18 | BASS+CHORD 4
| 31 | TOP+UP 1
|
|
6 | DUAL UP&DOWN
| 19 | BASS+CHORD 5
| 32 | TOP+UP 2
|
|
7 | DUAL RANDOM
| 20 | BASS+UP 1
| 33 | TOP+UP 3
|
|
8 | TRIPLE UP
| 21 | BASS+UP 2
| 34 | TOP+UP 4
|
|
9 | TRIPLE DOWN
| 22 | BASS+UP 3
| 35 | TOP+UP 5
|
| 10 | TRIPLE UP&DOWN
| 23 | BASS+UP 4
| 36 | TOP+UP 6
|
| 11 | TRIPLE RANDOM
| 24 | BASS+UP 5
| 37 | BASS+UP+TOP
|
| 12 | NOTE ORDER
| 25 | BASS+UP 6
|
|
|
+—————————————————————————+—————————————————————————+—————————————————————————+
● Arpeggio Beat Pattern
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
+—————————————————————————+—————————————————————————+—————————————————————————+
|
0 | 1/ 4
| 40 | SEQ-A 5
| 80 | STRUM 4
|
|
1 | 1/ 6
| 41 | SEQ-A 6
| 81 | STRUM 5
|
|
2 | 1/ 8
| 42 | SEQ-A 7
| 82 | STRUM 6
|
|
3 | 1/12
| 43 | SEQ-B 1
| 83 | STRUM 7
|
|
4 | 1/16 1
| 44 | SEQ-B 2
| 84 | STRUM 8
|
|
5 | 1/16 2
| 45 | SEQ-B 3
| 85 | REGGAE 1
|
|
6 | 1/16 3
| 46 | SEQ-B 4
| 86 | REGGAE 2
|
|
7 | 1/32 1
| 47 | SEQ-B 5
| 87 | REFRAIN 1
|
|
8 | 1/32 2
| 48 | SEQ-C 1
| 88 | REFRAIN 2
|
|
9 | 1/32 3
| 49 | SEQ-C 2
| 89 | PERC 1
|
| 10 | PORTA-A 01
| 50 | SEQ-D 1
| 90 | PERC 2
|
| 11 | PORTA-A 02
| 51 | SEQ-D 2
| 91 | PERC 3
|
| 12 | PORTA-A 03
| 52 | SEQ-D 3
| 92 | PERC 4
|
| 13 | PORTA-A 04
| 53 | SEQ-D 4
| 93 | WALKBS
|
| 14 | PORTA-A 05
| 54 | SEQ-D 5
| 94 | HARP
|
| 15 | PORTA-A 06
| 55 | SEQ-D 6
| 95 | BOUND
|
| 16 | PORTA-A 07
| 56 | SEQ-D 7
| 96 | RANDOM
|
| 17 | PORTA-A 08
| 57 | SEQ-D 8
| 97 | BOSSA NOVA
|
| 18 | PORTA-A 09
| 58 | ECHO 1
| 98 | SALSA 1
|
| 19 | PORTA-A 10
| 59 | ECHO 2
| 99 | SALSA 2
|
| 20 | PORTA-A 11
| 60 | ECHO 3
| 100 | SALSA 3
|
| 21 | PORTA-B 01
| 61 | MUTE 01
| 101 | SALSA 4
|
| 22 | PORTA-B 02
| 62 | MUTE 02
| 102 | MAMBO 1
|
| 23 | PORTA-B 03
| 63 | MUTE 03
| 103 | MAMBO 2
|
| 24 | PORTA-B 04
| 64 | MUTE 04
| 104 | CLAVE
|
| 25 | PORTA-B 05
| 65 | MUTE 05
| 105 | REV CLA
|
| 26 | PORTA-B 06
| 66 | MUTE 06
| 106 | GUIRO
|
| 27 | PORTA-B 07
| 67 | MUTE 07
| 107 | AGOGO
|
| 28 | PORTA-B 08
| 68 | MUTE 08
| 108 | SAMBA
|
| 29 | PORTA-B 09
| 69 | MUTE 09
| 109 | TANGO 1
|
| 30 | PORTA-B 10
| 70 | MUTE 10
| 110 | TANGO 2
|
| 31 | PORTA-B 11
| 71 | MUTE 11
| 111 | TANGO 3
|
| 32 | PORTA-B 12
| 72 | MUTE 12
| 112 | TANGO 4
|
| 33 | PORTA-B 13
| 73 | MUTE 13
| 113 | HOUSE 1
|
| 34 | PORTA-B 14
| 74 | MUTE 14
| 114 | HOUSE 2
|
| 35 | PORTA-B 15
| 75 | MUTE 15
|
|
|
| 36 | SEQ-A 1
| 76 | MUTE 16
|
|
|
| 37 | SEQ-A 2
| 77 | STRUM 1
|
|
|
| 38 | SEQ-A 3
| 78 | STRUM 2
|
|
|
| 39 | SEQ-A 4
| 79 | STRUM 3
|
|
|
+—————————————————————————+—————————————————————————+—————————————————————————+
292
MIDI Implementation
■Decimal and Hexadecimal Table
(An “H” is appended to the end of numbers in
hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
+——————+——————++——————+——————++——————+——————++——————+——————+
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
|
0 | 00H ||
32 | 20H ||
64 | 40H ||
96 | 60H |
|
1 | 01H ||
33 | 21H ||
65 | 41H ||
97 | 61H |
|
2 | 02H ||
34 | 22H ||
66 | 42H ||
98 | 62H |
|
3 | 03H ||
35 | 23H ||
67 | 43H ||
99 | 63H |
|
4 | 04H ||
36 | 24H ||
68 | 44H || 100 | 64H |
|
5 | 05H ||
37 | 25H ||
69 | 45H || 101 | 65H |
|
6 | 06H ||
38 | 26H ||
70 | 46H || 102 | 66H |
|
7 | 07H ||
39 | 27H ||
71 | 47H || 103 | 67H |
|
8 | 08H ||
40 | 28H ||
72 | 48H || 104 | 68H |
|
9 | 09H ||
41 | 29H ||
73 | 49H || 105 | 69H |
|
10 | 0AH ||
42 | 2AH ||
74 | 4AH || 106 | 6AH |
|
11 | 0BH ||
43 | 2BH ||
75 | 4BH || 107 | 6BH |
|
12 | 0CH ||
44 | 2CH ||
76 | 4CH || 108 | 6CH |
|
13 | 0DH ||
45 | 2DH ||
77 | 4DH || 109 | 6DH |
|
14 | 0EH ||
46 | 2EH ||
78 | 4EH || 110 | 6EH |
|
15 | 0FH ||
47 | 2FH ||
79 | 4FH || 111 | 6FH |
|
16 | 10H ||
48 | 30H ||
80 | 50H || 112 | 70H |
|
17 | 11H ||
49 | 31H ||
81 | 51H || 113 | 71H |
|
18 | 12H ||
50 | 32H ||
82 | 52H || 114 | 72H |
|
19 | 13H ||
51 | 33H ||
83 | 53H || 115 | 73H |
|
20 | 14H ||
52 | 34H ||
84 | 54H || 116 | 74H |
|
21 | 15H ||
53 | 35H ||
85 | 55H || 117 | 75H |
|
22 | 16H ||
54 | 36H ||
86 | 56H || 118 | 76H |
|
23 | 17H ||
55 | 37H ||
87 | 57H || 119 | 77H |
|
24 | 18H ||
56 | 38H ||
88 | 58H || 120 | 78H |
|
25 | 19H ||
57 | 39H ||
89 | 59H || 121 | 79H |
|
26 | 1AH ||
58 | 3AH ||
90 | 5AH || 122 | 7AH |
|
27 | 1BH ||
59 | 3BH ||
91 | 5BH || 123 | 7BH |
|
28 | 1CH ||
60 | 3CH ||
92 | 5CH || 124 | 7CH |
|
29 | 1DH ||
61 | 3DH ||
93 | 5DH || 125 | 7DH |
|
30 | 1EH ||
62 | 3EH ||
94 | 5EH || 126 | 7EH |
|
31 | 1FH ||
63 | 3FH ||
95 | 5FH || 127 | 7FH |
+——————+——————++——————+——————++——————+——————++——————+——————+
D: decimal
H: hexadecimal
*
*
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above chart. In
the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if
aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x
128.
Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
What is the decimal expression of the value 12 34H given as
hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
What is the decimal expression of the nibbled value 0A 03 09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
78 ...10
16 )
4 ...14
0 ... 4
■Examples of Actual MIDI Messages
92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute
in GS).
EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to
change -200 cents, so in this case -200 x (-3072) ÷ (-8192) = -75 cents of Pitch Bend is being
applied to MIDI channel 11.
B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
“running status” which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
B3
(B3)
(B3)
(B3)
(B3)
(B3)
64 00
65 00
06 0C
26 00
64 7F
65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
(MIDI ch.4) lower byte of parameter value:
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
00H
00H
0CH
00H
7FH
7FH
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be
correct on any device.)
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in . This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
*
TPQN: Ticks Per Quarter Note
Appendices
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
293
MIDI Implementation
■Example of an Exclusive Message and
Calculating a Checksum
According to the “Parameter Address Map” (p. 279), the start address of Temporary
Performance is assigned as following:
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
● How to calculate the checksum
(hexadecimal numbers are indicated by “H”)
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
Here's an example of how the checksum is calculated. We will assume that in the Exclusive
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ffH.
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
10 00 00
04
00
10 00 04
00H
00H
00H
00H
41
(2)
10
(3)
(1) Exclusive Status
(4) Model ID (XV-88)
00 10
(4)
12
(5)
10 00 04 00
address
(2) ID (Roland)
(5) Command ID (DT1)
02
data
??
checksum
As the data size of Performance Part is 00 00 00 21H, summation of the size and the start
address of Part 16 at Temporary Performance will be;
10 00 2F 00H
+) 00 00 00 21H
10 00 2F 21H
10 00 2F 21H
-) 10 00 00 00H
00 00 2F 21H
Therefore the system exclusive message should be sent is;
F0
(1)(2)
(3) Device ID (17)
(6) End of Exclusive
Getting the data (RQ1) of Performance Part 3 in USER:03
According to the “Parameter Address Map” (p. 279), the start address of USER:03 is 20 02
00 00H, and the offset address of Performance Part 3 is 00 22 00H.
Therefore the start address of Performance Part 3 in USER:03 is;
10 00 00 00H
11 20 00 00H
11 30 00 00H
:
14 60 00 00H
14 70 00 00H
(1) Exclusive Status
(4) Model ID (XV-88)
11
(5)
20 02 22 00
address
(2) ID (Roland)
(5) Command ID (RQ1)
10 00 00 00
data
(2) ID (Roland)
(5) Command ID (RQ1)
00 00 2F 21
checksum
??
(6)
F7
(3) Device ID (17)
(6) End of Exclusive
00 00 00 21
data
??
checksum
Temporary Performance
Temporary Patch (Performance Mode Part 1)
Temporary Rhythm (Performance Mode Part 1)
Temporary Patch (Performance Mode Part 16)
Temporary Rhythm (Performance Mode Part 16)
00 00 00H
:
00 10 00H
:
01 3E 00H
As the size of Performance Part is 00 00 00 21H, the system exclusive message should be
sent is;
00 10
(4)
00 10
11
(5) address
The offset address of Rhythm is also assigned as follows:
20 02 00 00H
00 22 00H
20 02 22 00H
10
(3)
10
(4)
According to the “Parameter Address Map” (p. 279), the start address of the
above all parameters is assigned as following:
This means that F0 41 10 00 10 12 10 00 04 00 02 6A F7 is the message should be sent.
41
(2)
41
(3)
Getting data (RQ1) at once;
Temporary Performance data,
Temporary Patch data of whole part in Performance mode,
Temporary Rhythm data of whole part in Performance mode.
cf.) This operation is the same as Data Transfer function in Utility mode with “PERFORM”
(Type parameter) and “TEMP: +PATCH” (Source parameter) options.
F7
(6)
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)
checksum = 128 - 22 (remainder) = 106 = 6AH
F0
(1)
Temporary Performance Part 16
Calculating the checksum as shown in , we get a message of F0 41 10 00 10 11
10 00 00 00 00 00 2F 21 20 F7 to be transmitted.
Then calculate the checksum.
+)
Temporary Performance Part 1
(1) Exclusive Status
(4) Model ID (XV-88)
DELAY has the value of 02H.
So the system exclusive message should be sent is;
F0
(1)
Temporary Performance Common
And the size that have to be got should be;
Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1)
According to the “Parameter Address Map” (p. 279), the start address of Temporary
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON
is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS
TYPE of PERFORMANCE COMMON is;
+)
10 00 00 00H
:
10 00 20 00H
:
10 00 2F 00H
F7
(6)
(3) Device ID (17)
(6) End of Exclusive
Then calculate the checksum.
20H + 02H + 22H + 00H + 00H + 00H + 00H + 21H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 33
= 101 (sum)
101 (sum) ÷ 128 = 0 (quotient) ... 101 (remainder)
checksum = 128 - 101 (remainder) = 27 = 1BH
This means that F0 41 10 00 10 11 20 02 22 00 00 00 00 21 1B F7 is the message should be sent.
Getting Temporary Performance data (RQ1)
cf.) This operation is the same as Data Transfer function in Utility mode with “PERFORM”
(Type parameter) and “TEMP: -PATCH” (Source parameter) options.
Rhythm Common
Rhythm Tone 1
Rhythm Tone 4
As the data size of Rhythm Tone is 00 00 01 41H, summation of the size and the
start address of Tone 4 of Part 16 at Temporary Patch in Performance mode will be;
14 70 00
01 3E
+) 00 00 01
14 71 3F
00H
00H
41H
41H
And the size that have to be got should be;
14 71 3F 41H
-) 10 00 00 00H
04 71 3F 41H
Therefore the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
(1) Exclusive Status
(4) Model ID (XV-88)
00 10
(4)
11
(5)
10 00 00 00
address
(2) ID (Roland)
(5) Command ID (RQ1)
04 71 3F 41
data
??
checksum
F7
(6)
(3) Device ID (17)
(6) End of Exclusive
Calculating the checksum as shown in , we get a message of F0 41 10 00 10 11
10 00 00 00 04 71 3F 41 7B F7 to be transmitted.
294
MIDI Implementation
■The Scale Tune Feature (address: 40 1x 40)
■ASCII Code Table
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
Patch Name and Performance Name, etc., of MIDI data are described the ASCII
code in the table below.
❍ Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the XV-88, the default settings for
the Scale Tune feature produce equal temperament.
❍ Just Temperament (Tonic of C)
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
❍ Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
Example Settings
Note name
Equal Temperament
C
C#
D
Eb
E
F
F#
G
G#
A
Bb
B
0
0
0
0
0
0
0
0
0
0
0
0
Just Temperament (Key-tone C)
0
-8
+4
+16
-14
-2
-10
+2
+14
-16
+14
-12
Arabian Scale
-6
+45
-2
-12
-51
-8
+43
-4
+47
0
-10
-49
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| D
| H
| Char || D
| H
| Char || D
| H
| Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
32 | 20H | SP ||
64 | 40H |
@ ||
96 | 60H |
` |
|
33 | 21H |
! ||
65 | 41H |
A ||
97 | 61H |
a |
|
34 | 22H |
" ||
66 | 42H |
B ||
98 | 62H |
b |
|
35 | 23H |
# ||
67 | 43H |
C ||
99 | 63H |
c |
|
36 | 24H |
$ ||
68 | 44H |
D || 100 | 64H |
d |
|
37 | 25H |
% ||
69 | 45H |
E || 101 | 65H |
e |
|
38 | 26H |
& ||
70 | 46H |
F || 102 | 66H |
f |
|
39 | 27H |
` ||
71 | 47H |
G || 103 | 67H |
g |
|
40 | 28H |
( ||
72 | 48H |
H || 104 | 68H |
h |
|
41 | 29H |
) ||
73 | 49H |
I || 105 | 69H |
i |
|
42 | 2AH |
* ||
74 | 4AH |
J || 106 | 6AH |
j |
|
43 | 2BH |
+ ||
75 | 4BH |
K || 107 | 6BH |
k |
|
44 | 2CH |
, ||
76 | 4CH |
L || 108 | 6CH |
l |
|
45 | 2DH |
- ||
77 | 4DH |
M || 109 | 6DH |
m |
|
46 | 2EH |
. ||
78 | 4EH |
N || 110 | 6EH |
n |
|
47 | 2FH |
/ ||
79 | 4FH |
O || 111 | 6FH |
o |
|
48 | 30H |
0 ||
80 | 50H |
P || 112 | 70H |
p |
|
49 | 31H |
1 ||
81 | 51H |
Q || 113 | 71H |
q |
|
50 | 32H |
2 ||
82 | 52H |
R || 114 | 72H |
r |
|
51 | 33H |
3 ||
83 | 53H |
S || 115 | 73H |
s |
|
52 | 34H |
4 ||
84 | 54H |
T || 116 | 74H |
t |
|
53 | 35H |
5 ||
85 | 55H |
U || 117 | 75H |
u |
|
54 | 36H |
6 ||
86 | 56H |
V || 118 | 76H |
v |
|
55 | 37H |
7 ||
87 | 57H |
W || 119 | 77H |
w |
|
56 | 38H |
8 ||
88 | 58H |
X || 120 | 78H |
x |
|
57 | 39H |
9 ||
89 | 59H |
Y || 121 | 79H |
y |
|
58 | 3AH |
: ||
90 | 5AH |
Z || 122 | 7AH |
z |
|
59 | 3BH |
; ||
91 | 5BH |
[ || 123 | 7BH |
{ |
|
60 | 3CH |
< ||
92 | 5CH |
\ || 124 | 7CH |
| |
|
61 | 3DH |
= ||
93 | 5DH |
] || 125 | 7DH |
} |
|
62 | 3EH |
> ||
94 | 5EH |
^ ||——————+——————+——————+
|
63 | 3FH |
? ||
95 | 5FH |
_ |
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
*
“SP” is space.
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
Appendices
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
295
296
0, 32
1
2
4
5
6, 38
7
8
10
11
16
17
18
19
64
65
66
67
68
69
70
71
0–127
*1
O
O
O
O
O
O
O
O
O
O
X
O
O
X
X
X
X
O
O
O
O
O
O
X
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
Key's
Channel's
After
Touch
Control
Change
Pitch Bend
O
O
O
O
0–127
0–127
Note On
Note Off
**************
Velocity
Note
Number : True Voice
Mode 3
Mode 3, 4 (M = 1)
Mode 3
Mono, Poly
Default
Messages
Altered
Mode
**************
1–16
1–16
1–16
1–16
Recognized
Default
Changed
Transmitted
*1
*1
*1
*1
*1
*1
*1
*1
*1
MIDI Implementation Chart
Basic
Channel
Function...
Model XV-88
[128-Voice Expandable Synthesizer]
Bank select
Modulation
Breath type
Foot type
Portamento time
Data entry
Volume
Balance
Panpot
Expression
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
Portamento
Sostenuto
Soft
Legato foot switch
Hold 2
Sound variation
Resonance
*2
Memorized
Remarks
Version: 1.00
Date: Feb. 15, 2000
MIDI Implementation
Appendices
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Notes
*1
*1
*1
*4
*4
*4
*4
Program No. 1–128
O : Yes
X : No
Release time
Attack Time
Cuttoff
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
Portamento control
General purpose effects 1
Tremolo
General purpose effects 3
Celeste
Phaser
CC1/2 (General purpose controller 1/2)
CC3/4 (General purpose controller 3/4)
NRPN LSB, MSB
RPN LSB, MSB
O X is selectable.
Recognized as M=1 even if M≠1.
Transmits when Data Transfer is executed or RQ1 received.
GM Mode only.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
*1
*2
*3
*4
*1
O (120, 126, 127)
O
X
O (123–127)
O
X
O
X
X
O
: Clock
System
Real Time : Commands
O
: All Sound Off
: Reset All Controllers O
Aux
X
: Local On/Off
Messages : All Notes Off
X
O
: Active Sensing
X
: System Reset
X
X
X
O
O
X
O
: Song Position
System
: Song Select
Common
: Tune Request
*3
*1
O
0–127
**************
O
O
: True Number
O
O
O
O
O
O
O
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
O (Reverb)
X
O (Chorus)
X
X
O
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
System Exclusive
Program
Change
72
73
74
75
76
77
78
80
81
82
83
84
91
92
93
94
95
1–31, 64–95
1–31, 64–95
98, 99
100, 101
MIDI Implementation
297
Specifications
XV-88: 128-Voice Expandable Synthesizer (Conforms to General MIDI 2 System)
● Keyboard
● Display
88 keys (Full-weighted with velocity and channel aftertouch)
40 characters, 2 lines (Backlit LCD)
● Part
● Connectors
16
A (MIX) Output Jacks (L (MONO), R)
● Maximum Polyphony
128 voices
B Output Jacks (L, R)
(Individual Jacks 1--4)
Headphones Jack
● Wave Memory
MIDI Connectors (IN, OUT, THRU)
64 M bytes (16-bit linear equivalent)
Computer Connector (Mac, PC, MIDI)
● Expansion Slot
Hold Pedal Jack
Wave Expansion Board SR-JV80 Series: 2 slots
Control Pedal Jacks 1/2
Wave Expansion Board SRX Series: 2 slots
● Power Supply
● Preset Memory
AC 117 V, AC 230 V, AC 240 V
Patches: 768 (128 x 6 banks) + 256 (General MIDI 2 Patches)
● Power Consumption
Performances: 64 (32 x 2 banks)
16 W
Rhythm Sets: 12 (2 x 6 banks) + 9 (General MIDI 2 Rhythm
Sets)
● Dimensions
1,408 (W) x 415 (D) x 142 (H) mm
● User Memory
Patches: 128
Performances: 64
Rhythm Sets: 4
● External Memory
SmartMedia Card: 1 slot
55-7/16 (W) x 16-3/8 (D) x 5-5/8 (H) inches
● Weight
26 kg / 57 lbs 6 oz
● Accessories
Quick Start
Owner's Manual
● Effects
Multi-Effects: 63 types
Reverb: 4 types
Chorus: 2 types
Q&A
Power Cable (Not included with XV-88 designed for 117 V
power supply)
● Options
● Arpeggiator
Wave Expansion Board (SRX Series, SR-JV80 Series)
45 styles
Pedal Switch (DP-2/6)
● Controllers
Foot Switch (FS-5U)
D Beam Controller
Expression Pedal (EV-5)
Pitch Bend/Modulation Lever
Control Sliders (C1/C2/C3/C4)
Channel Aftertouch
External Sequencer Controller
In the interest of product improvement, the
specifications and/or appearance of this unit are subject
to change without prior notice.
298
Computer Cable Wiring Diagrams
For Apple Macintosh
mini DIN, 8-pin, male
6 78
3 4 5
1 2
mini DIN, 8-pin, male
mini DIN, 8-pin, male
HSKo
HSKi
TXDGND
RXDTXD+
GPi
RXD+
1
2
3
4
5
6
7
8
mini DIN, 8-pin, male
1
2
3
4
5
6
7
8
6 7 8
HSKo
HSKi
TXDGND
RXDTXD+
GPi
RXD+
3 4 5
1 2
For PC (9-pin)
mini DIN, 8-pin, male
6 78
mini DIN, 8-pin, male
3 4 5
HSKo
HSKi
TXDGND
RXD-
1
2
3
4
5
D-sub, 9-pin, female
7 RTS
8 CTS
3 TXD
5 GND
2 RXD
D-sub, 9-pin, female
5
9
1 2
1
6
For PC (25-pin)
mini DIN, 8-pin, male
6 78
3 4 5
1 2
HSKo
HSKi
TXDGND
RXD-
1
2
3
4
5
D-sub, 25-pin, female
4 RTS
5 CTS
2 TXD
7 GND
3 RXD
D-sub, 25-pin, female
13
1
25
14
Appendices
mini DIN, 8-pin, male
299
Index
[0]–[9] (Numeric Keys) ................................................................... 16, 27
[1-8/9-16] .......................................................................................... 15, 25
Attack time offset
GM Part .......................................................................................... 196
Part ................................................................................................... 54
Patch ................................................................................................. 71
Audio signal flow
Patch/Rhythm Set mode ............................................................. 107
Performance mode ....................................................................... 112
A
B
[A]–[H] .................................................................................................... 16
AC inlet ................................................................................................... 17
Accent
Accent Rate (System) ..................................................................... 42
Accent Rate (Zone) ......................................................................... 42
Accent Rate
System ...................................................................................... 42, 176
Zone ............................................................................................ 42, 62
Active Sensing ..................................................................................... 171
Aft
Aftertouch information (Part) ...................................................... 56
Aftertouch sensitivity .................................................................. 171
Aftertouch ............................................................................................ 197
Aftertouch sensitivity ......................................................................... 171
Alternate
Alternate pan depth (Rhythm Tone) ......................................... 103
Alternate pan depth (Tone) .......................................................... 91
Alternate pan switch ...................................................................... 99
Alternate pan depth
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 91
Alternate pan switch ............................................................................. 99
Analog Feel ............................................................................................ 70
Analog feel depth .................................................................................. 70
Arabian scale ........................................................................................ 174
ARP SELECT .......................................................................................... 41
Arpeggiator ............................................................................................ 41
[ARPEGGIO] .................................................................................... 14, 41
ARPEGGIO ............................................................................................ 44
System ............................................................................................ 174
Zone .................................................................................................. 61
Arpeggio ................................................................................................. 41
ARPEGGIO group
System ............................................................................................ 174
Zone .................................................................................................. 61
Arpeggio hold ........................................................................................ 43
Arpeggio style
Arpeggio style list ........................................................................ 268
System ...................................................................................... 41, 174
Zone ............................................................................................ 41, 61
Arpeggio tempo
System ...................................................................................... 42, 176
Zone .................................................................................................. 42
Arpeggio zone ....................................................................................... 63
Assign
C1–C4 slider assign ...................................................................... 172
D Beam assign (System) ........................................................ 45, 176
D Beam assign (Zone) .............................................................. 45, 63
Key assign ....................................................................................... 76
Pedal 1, 2 assign ............................................................................ 172
Assign Type ........................................................................................... 97
Assigning a name .................................................................................. 28
Patch ................................................................................................. 69
Performance .................................................................................... 51
Rhythm Set ...................................................................................... 96
Rhythm Tone .................................................................................. 98
Atk
Attack time offset (Part) ................................................................ 54
Attack time offset (Patch) .............................................................. 71
[ATTACK] ........................................................................................ 34, 39
Attack
Attack time offset (GM Part) ...................................................... 196
Bank Sel ................................................................................................. 171
Bank Select
Receive bank select switch (Part) ................................................. 52
Receive bank select switch (System) ......................................... 170
Bank Select MSB/LSB
External bank select MSB/LSB ..................................................... 60
Transmit bank select MSB/LSB ................................................. 178
BATTERY CHECK .............................................................................. 178
Beat Pattern
System ............................................................................................ 176
Zone .................................................................................................. 62
Bend ....................................................................................................... 197
Bend Range
Rhythm Tone .................................................................................. 97
Tone .................................................................................................. 78
Bend range
GM Part .......................................................................................... 197
Part ................................................................................................... 55
Bender ..................................................................................................... 77
BendRng
Bend range (GM Part) .................................................................. 197
Bend range (Part) ............................................................................ 55
BIAS ......................................................................................................... 91
Bias .......................................................................................................... 91
Bias direction .......................................................................................... 91
Bias level ................................................................................................. 91
Bias point ................................................................................................ 91
Block .............................................................................................. 186–187
Bnd
Pitch bend information (Part) ....................................................... 56
Receive pitch bend switch (Part) .................................................. 52
Booster .................................................................................................... 75
Booster gain ............................................................................................ 75
Breath
Breath information (GM Part) .................................................... 197
Breath information (Part) .............................................................. 56
Symbols
[+OCT] .............................................................................................. 14, 47
[-OCT] ............................................................................................... 14, 47
Numerics
300
C
C1–C4 ASSIGN .................................................................................... 172
C1–C4 Output ...................................................................................... 173
C1–C4 slider assign ............................................................................. 172
C1–C4 slider output ............................................................................ 173
C1–C4 sliders ....................................................................................... 199
Caf ............................................................................................................ 52
[CARD] ................................................................................................... 16
CARD .................................................................................................... 188
CARD FORMAT .................................................................................. 189
CARD INFO ......................................................................................... 190
Category ................................................................................................. 69
Ch ........................................................................................................... 178
Channel
MIDI receive channel (GM Part) ................................................ 195
MIDI receive channel (Part) .......................................................... 52
MIDI transmit channel (Zone) ...................................................... 59
CHO OUT ............................................................................................. 158
CHO PRM ............................................................................................. 157
CHO TYPE ........................................................................................... 156
[CHORUS] ...................................................................................... 15, 105
Index
Chorus
Chorus parameters ....................................................................... 248
Chorus send level (GM Part) ...................................................... 194
Chorus send level (Part) .............................................................. 113
Chorus send level (Rhythm Tone) ............................................. 110
Chorus send level (Tone) ............................................................ 110
Multi-effects chorus send level .................................................. 116
Chorus level ......................................................................................... 158
Chorus output assign .......................................................................... 158
GM .................................................................................................. 195
Chorus output select ........................................................................... 158
Chorus send level
GM Part ......................................................................................... 194
Part ................................................................................................. 113
Rhythm Tone ................................................................................ 110
Tone ................................................................................................ 110
Chorus source ...................................................................................... 156
Chorus type .......................................................................................... 156
GM .................................................................................................. 195
Clock Source
Patch clock source .......................................................................... 71
Rhythm Set clock source ............................................................... 96
System clock source ..................................................................... 168
Coarse
Coarse tune (GM Part) ................................................................. 196
Coarse tune (Part) .......................................................................... 55
Coarse tune (Patch) ........................................................................ 70
Coarse tune (Rhythm Tone) ........................................................ 100
Coarse tune (Rhythm Wave) ...................................................... 100
Coarse tune (Tone) ......................................................................... 86
Coarse tune
GM Part ......................................................................................... 196
Part ................................................................................................... 55
Patch ................................................................................................. 70
Rhythm Tone ................................................................................ 100
Rhythm Wave ............................................................................... 100
Tone .................................................................................................. 86
Color
FXM color (Rhythm Wave) ......................................................... 100
FXM color (Tone) ........................................................................... 81
COMMON group
Patch ................................................................................................. 69
Performance .................................................................................... 51
Rhythm Set ...................................................................................... 96
Zone .................................................................................................. 58
COMPUTER connector ................................................................ 17, 208
COMPUTER switch ...................................................... 17, 208–209, 212
Connecting with computer ................................................................ 208
Computer cable .................................................................... 209, 299
Continuous ........................................................................................... 172
Continuous switch .............................................................................. 172
CONTROL
GM Part ......................................................................................... 197
Rhythm Tone .................................................................................. 97
Control 1–4
Matrix control source 1–4 .............................................................. 78
System control assign 1–4 ........................................................... 173
Control Channel .................................................................................. 169
CONTROL group
Patch ................................................................................................. 76
Rhythm Set ...................................................................................... 97
System ............................................................................................ 171
CONTROL PEDAL 1, 2 ...................................................................... 172
[CONTROLLER] ................................................................................... 14
COPY ..................................................................................................... 182
Copy
Compare function ................................................................ 183–184
Effects ............................................................................................. 161
Effects (Patch) ............................................................................... 183
Effects (Performance) ................................................................... 182
Effects (Rhythm Set) ..................................................................... 184
Name (Patch) ................................................................................ 183
Name (Performance) .................................................................... 182
Name (Rhythm Set) ...................................................................... 184
Part ........................................................................................... 50, 182
Rhythm Tone .......................................................................... 94, 184
Tone .......................................................................................... 68, 183
CTL 1, CTL 2 PEDAL jack .................................................................... 17
CTRL Rx MIDI ....................................................................................... 77
Cursor button ................................................................................... 15, 26
Cut
Cutoff frequency offset (Part) ....................................................... 54
Cutoff frequency offset (Patch) .................................................... 71
[CUTOFF] ......................................................................................... 34, 39
Cutoff
Cutoff frequency (Rhythm Tone) ............................................... 102
Cutoff frequency (Tone) ................................................................ 88
Cutoff frequency offset (GM Part) ............................................. 196
Cutoff frequency
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 88
Cutoff frequency keyfollow ................................................................. 88
Cutoff frequency offset
GM Part .......................................................................................... 196
Part ................................................................................................... 54
Patch ................................................................................................. 71
Cutoff frequency velocity curve
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
Cutoff frequency velocity sensitivity
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
D
D Beam assign
System ...................................................................................... 45, 176
Zone ............................................................................................ 45, 63
D BEAM CONTROL ............................................................................. 45
System ............................................................................................ 176
Zone .................................................................................................. 63
D Beam controller .................................................................................. 45
D BEAM group
System ............................................................................................ 176
Zone .................................................................................................. 63
D Beam output
System ...................................................................................... 46, 176
Zone ............................................................................................ 46, 63
D Beam polarity
System ...................................................................................... 46, 177
Zone ............................................................................................ 46, 63
D BEAM RANGE .................................................................................. 46
System ............................................................................................ 177
Zone .................................................................................................. 64
D Beam range lower
System ...................................................................................... 46, 177
Zone ............................................................................................ 46, 64
D Beam range upper
System ...................................................................................... 46, 177
Zone ............................................................................................ 46, 64
D BEAM SENS ....................................................................................... 46
System ............................................................................................ 177
Zone .................................................................................................. 64
D Beam Sensitivity
System ...................................................................................... 46, 177
Zone ............................................................................................ 46, 64
Data type ....................................................................................... 186–187
[DEC/-] ............................................................................................. 16, 27
Delay Keyfollow .................................................................................... 84
301
Index
Delay Time ............................................................................................. 84
DELETE ................................................................................................ 189
[DEMO] ................................................................................................... 16
Depth
FXM depth (Rhythm Wave) ....................................................... 100
FXM depth (Tone) .......................................................................... 81
Pitch envelope depth (Rhythm Tone) ....................................... 100
Pitch envelope depth (Tone) ......................................................... 86
TVF envelope depth (Rhythm Tone) ......................................... 102
TVF envelope depth (Tone) .......................................................... 89
Desktop music ..................................................................................... 208
Dest .......................................................................................................... 79
Destination ........................................................................................... 116
Detune ..................................................................................................... 83
Device ID .............................................................................................. 171
Device ID number ............................................................................... 171
Digit hold function ................................................................................ 30
Direction ................................................................................................. 91
Dry ......................................................................................................... 116
DTM ...................................................................................................... 208
E
[EDIT] .......................................................................................... 15, 25–26
Effects
Chorus ............................................................................................ 105
Multi-effects .................................................................................. 105
Reverb ............................................................................................ 105
Turning effects on/off ................................................................. 105
EFFECTS group
GM .................................................................................................. 194
Patch ................................................................................................. 75
Performance .................................................................................... 52
Rhythm Set ...................................................................................... 97
[ENTER] .................................................................................................. 16
Envelope Mode
Rhythm Tone .................................................................................. 97
Tone .................................................................................................. 78
Equal temperament ............................................................................. 174
Error message ...................................................................................... 218
Exclusive ............................................................................................... 188
Exclusive protect ................................................................................. 188
[EXIT] ...................................................................................................... 15
[EXP] ....................................................................................................... 16
Exp
Expression information (GM Part) ............................................ 197
Expression information (Part) ...................................................... 56
Receive expression switch (Part) ................................................. 52
Expression
Receive expression switch (Rhythm Tone) ................................. 97
Receive expression switch (Tone) ................................................ 77
EXT CONTROL group ......................................................................... 60
EXT CTRL ............................................................................................... 60
EXT P.C ................................................................................................... 60
External bank select MSB/LSB ............................................................ 60
External MIDI device .................................................................. 202–203
External pan ........................................................................................... 60
External program change number ...................................................... 60
External volume .................................................................................... 60
F
FACTORY RESET ............................................................................... 191
Fade Mode .............................................................................................. 84
Fade Time ............................................................................................... 84
[FAVORITE LIST] ................................................................................. 16
FAVORITE LIST ...................................................................... 31, 40, 165
Favorite list
Registering Patches/Rhythm Sets in the favorite list ............. 165
Selecting Patches from the favorite list ....................................... 31
Selecting Rhythm Sets from the favorite list .............................. 40
FILE COPY ........................................................................................... 189
Filter type
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
302
[FILTER/ENV] ................................................................................ 14, 34
Fine
Fine tune (GM Part) ..................................................................... 196
Fine tune (Part) ............................................................................... 55
Fine tune (Patch) ............................................................................. 70
Fine tune (Rhythm Tone) ............................................................ 100
Fine tune (Rhythm Wave) ........................................................... 100
Fine tune (Tone) .............................................................................. 86
Fine tune
GM Part .......................................................................................... 196
Part ................................................................................................... 55
Patch ................................................................................................. 70
Rhythm Tone ................................................................................ 100
Rhythm Wave ............................................................................... 100
Tone .................................................................................................. 86
Foot
Foot information (GM Part) ........................................................ 197
Foot information (Part) .................................................................. 56
Form ........................................................................................................ 83
FORMAT .............................................................................................. 189
Function button ............................................................................... 15, 25
FXM ......................................................................................................... 81
FXM color
Rhythm Wave ............................................................................... 100
Tone .................................................................................................. 81
FXM depth
Rhythm Wave ............................................................................... 100
Tone .................................................................................................. 81
FXM switch
Rhythm Wave ............................................................................... 100
Tone .................................................................................................. 81
G
Gain
Wave gain (Rhythm Wave) ........................................................... 98
Wave gain (Tone) ........................................................................... 81
General MIDI ......................................................................................... 13
General MIDI 2 ...................................................................................... 13
General MIDI/General MIDI 2 system on message ...................... 192
[GM] ........................................................................................................ 14
GM CHORUS ....................................................................................... 195
GM INIT ............................................................................................... 198
GM MIDI .............................................................................................. 170
GM mode ........................................................................................ 24, 192
GM mode parameters .................................................................. 240
GM mode settings ............................................................................... 193
GM Patch/Rhythm Set number ........................................................ 196
GM PLAY ............................................................................................. 192
GM score ............................................................................................... 192
GM utility ............................................................................................. 198
Group
Patch/Rhythm Set group .............................................................. 53
Wave group (Rhythm Wave) ....................................................... 98
Wave group (Tone) ........................................................................ 81
GS format .............................................................................................. 192
H
Hld
Hold 1 information (Part) ............................................................. 56
Receive hold 1 switch (Part) ......................................................... 52
Hold ....................................................................................................... 197
HOLD PEDAL ..................................................................................... 172
HOLD PEDAL jack ............................................................................... 17
Hold-1
Receive hold 1 switch (Rhythm Tone) ........................................ 97
Receive hold 1 switch (Tone) ........................................................ 77
I
[INC/+] ............................................................................................. 16, 27
INDIVIDUAL 1–4 jacks ........................................................................ 18
Index
INFO
GM Part ......................................................................................... 197
Memory card ................................................................................. 190
Part ................................................................................................... 56
Zone .................................................................................................. 64
INFO EXP ............................................................................................. 178
INFO group
GM .................................................................................................. 197
Performance .................................................................................... 56
System ............................................................................................ 178
Zone .................................................................................................. 64
Information
Aftertouch (GM Part) ................................................................... 197
Aftertouch (Part) ............................................................................ 56
Breath (GM Part) .......................................................................... 197
Breath (Part) .................................................................................... 56
Expression (GM Part) .................................................................. 197
Expression (Part) ............................................................................ 56
Foot (GM Part) .............................................................................. 197
Foot (Part) ........................................................................................ 56
Hold 1 (GM Part) .......................................................................... 197
Hold 1 (Part) .................................................................................... 56
Modulation (GM Part) ................................................................. 197
Modulation (Part) ........................................................................... 56
Pan (GM Part) ............................................................................... 197
Pan (Part) ......................................................................................... 56
Pitch bend (GM Part) ................................................................... 197
Pitch bend (Part) ............................................................................. 56
System control 1–4 ......................................................................... 56
Voice (GM Part) ............................................................................ 197
Voice (Part) ...................................................................................... 56
Volume (GM Part) ........................................................................ 197
Volume (Part) .................................................................................. 56
INIT ....................................................................................................... 185
Initialize ................................................................................................ 185
GM mode ....................................................................................... 198
Patch ............................................................................................... 185
Performance .................................................................................. 185
Rhythm Set .................................................................................... 185
Initialize mode ..................................................................................... 185
Initialize mode (GM) ........................................................................... 198
Internal .................................................................................................. 188
Internal write protect .................................................. 180, 186, 188, 191
J
Just temperament ................................................................................ 174
K
Key assign ............................................................................................... 76
Key fade width lower
Part ................................................................................................... 51
Tone .................................................................................................. 73
Key fade width upper
Part ................................................................................................... 51
Tone .................................................................................................. 73
Key Mode ............................................................................................... 58
KEY RANG
Part ................................................................................................... 51
Zone .................................................................................................. 59
KEY RANGE group .............................................................................. 59
Key range lower
Part ................................................................................................... 51
Tone .................................................................................................. 73
Zone .................................................................................................. 59
Key range upper
Part ................................................................................................... 51
Tone .................................................................................................. 73
Zone .................................................................................................. 59
KEY SCALE .......................................................................................... 174
Key Shift ............................................................................................... 173
Key Velocity
System ............................................................................................ 176
Zone .................................................................................................. 63
KEYBOARD ......................................................................................... 171
Keyboard controller section ................................................................. 19
Keyboard sensitivity ........................................................................... 171
Keyboard velocity ............................................................................... 171
Keyfollow
Cutoff frequency keyfollow .......................................................... 88
Pan keyfollow ................................................................................. 91
Pitch keyfollow ............................................................................... 86
KeySync .................................................................................................. 83
L
L.Fade
Key fade width lower (Part) ......................................................... 51
Key fade width lower (Tone) ........................................................ 73
Velocity fade width lower (Rhythm Wave) ............................... 99
Velocity fade width lower (Tone) ................................................ 73
L0
Pitch envelope level 0 (Rhythm Tone) ...................................... 101
Pitch envelope level 0 (Tone) ........................................................ 87
TVF envelope level 0 (Rhythm Tone) ........................................ 103
TVF envelope level 0 (Tone) ......................................................... 90
L1–L3
TVA envelope level 1–3 (Rhythm Tone) ................................... 104
TVA envelope level 1–3 (Tone) .................................................... 92
L1–L4
Pitch envelope level 1–4 (Rhythm Tone) .................................. 101
Pitch envelope level 1–4 (Tone) .................................................... 87
TVF envelope level 1–4 (Rhythm Tone) .................................... 103
TVF envelope level 1–4 (Tone) ..................................................... 90
LCD ....................................................................................................... 168
LCD contrast ........................................................................................ 168
Legato
Part legato switch ........................................................................... 55
Solo legato switch ........................................................................... 76
Legato Retrigger .................................................................................... 76
Legato retrigger switch ......................................................................... 76
[LEVEL] ............................................................................................ 14, 34
Level
Chorus level .................................................................................. 158
Part level .......................................................................................... 53
Patch level ....................................................................................... 70
Reverb level ................................................................................... 160
Rhythm Set level ............................................................................. 96
Rhythm Tone level ....................................................................... 103
Tone level ........................................................................................ 90
Wave level ....................................................................................... 98
LFO delay time ...................................................................................... 84
LFO delay time keyfollow .................................................................... 84
LFO DEPTH 1:2 ..................................................................................... 85
LFO fade mode ...................................................................................... 84
LFO fade time ........................................................................................ 84
LFO group .............................................................................................. 83
LFO key sync .......................................................................................... 83
LFO level offset ...................................................................................... 83
LFO rate .................................................................................................. 83
LFO rate detune ..................................................................................... 83
LFO waveform ....................................................................................... 83
LFO1/LFO2 DELAY ............................................................................. 84
LFO1/LFO2 FADE ................................................................................ 84
LFO1/LFO2 WAVE .............................................................................. 83
LOAD .................................................................................................... 190
Local
Local switch (System) .......................................................... 169–170
Local switch (Zone) ........................................................................ 60
Local off ................................................................................................ 211
Local Switch ................................................................................... 19, 170
System .................................................................................... 169–170
Zone .................................................................................................. 60
[LOCAL/TX] .................................................................................... 15, 25
Loop waveform ............................................................................... 68, 95
303
Index
Lower
D Beam range lower (System) .............................................. 46, 177
D Beam range lower (Zone) .................................................... 46, 64
Key range lower (Part) .................................................................. 51
Key range lower (Tone) ................................................................. 73
Key range lower (Zone) ................................................................. 59
Velocity range lower (Rhythm Wave) ......................................... 99
Velocity range lower (Tone) ......................................................... 72
M
Master ................................................................................................... 173
Master key shift ................................................................................... 173
Master Level ......................................................................................... 168
Master tune .......................................................................................... 173
MATRIX CONTROL 1–4 ...................................................................... 79
Matrix control destination ................................................................... 79
Matrix control sensitivity ..................................................................... 80
Matrix control source 1–4 ..................................................................... 78
Matrix control tone ................................................................................ 80
Matrix controller .................................................................................... 78
MATRIX CTRL SRC .............................................................................. 78
Memory ................................................................................................ 162
Memory card ................................................................................. 163
Preset memory .............................................................................. 163
System memory ............................................................................ 163
Temporary area ............................................................................ 163
User memory ................................................................................ 163
Wave expansion board ................................................................ 163
Memory backup ...................................................................................... 5
Memory card ............................................................................ 5, 179, 188
Copying files ................................................................................. 189
Format ............................................................................................ 189
Loading a file into the XV-88 ...................................................... 190
Saving to a memory card ............................................................ 190
MEMORY CARD slot ................................................................... 17, 179
MFX Control Channel ........................................................................... 51
MFX CTRL ............................................................................................ 115
MFX OUT ............................................................................................. 116
MFX PRM ............................................................................................. 115
MFX TYPE ............................................................................................ 114
MIDI ...................................................................................................... 269
GM Part ......................................................................................... 195
Part ................................................................................................... 52
Zone .................................................................................................. 59
MIDI channel ....................................................................................... 269
MIDI connector .............................................................................. 17, 269
MIDI data flow .................................................................................... 212
MIDI group
GM .................................................................................................. 195
Performance .................................................................................... 52
System ............................................................................................ 169
Zone .................................................................................................. 59
MIDI interface ...................................................................................... 209
MIDI receive channel
GM Part ......................................................................................... 195
Part ................................................................................................... 52
MIDI THRU connector ....................................................................... 204
MIDI thru function .............................................................................. 211
MIDI transmit channel ......................................................................... 59
Mix/Parallel ......................................................................................... 169
Mno/Pol ................................................................................................. 55
Mno/Poly ............................................................................................. 197
Mod
Modulation information (GM Part) ........................................... 197
Modulation information (Part) ..................................................... 56
Receive modulation switch ........................................................... 52
Mode
Initialize mode .............................................................................. 185
Initialize mode (GM) ................................................................... 198
Portamento mode ........................................................................... 76
Tone delay mode ............................................................................ 82
304
MODIFY
GM Part .......................................................................................... 196
Part ................................................................................................... 54
MONO/POL .......................................................................................... 55
Motif
System ............................................................................................ 175
Zone .................................................................................................. 62
[MULTI] .......................................................................................... 15, 105
Multi-effects
Category ........................................................................................ 118
Multi-effects parameters ............................................................. 241
Multi-effects settings .................................................................... 114
Multi-effects types ........................................................................ 117
Multi-effects chorus send level .......................................................... 116
Multi-effects control channel ............................................................... 51
Multi-effects control destination ....................................................... 116
Multi-effects control sensitivity ......................................................... 116
Multi-effects control source ............................................................... 116
Multi-effects controller ....................................................................... 115
Multi-effects dry send level ............................................................... 116
Multi-effects output assign ................................................................ 116
Multi-effects reverb send level .......................................................... 116
Multi-effects source ............................................................................. 114
Multi-effects type ................................................................................ 114
01: STEREO EQ ............................................................................. 119
02: OVERDRIVE ........................................................................... 119
03: DISTORTION .......................................................................... 120
04: PHASER ................................................................................... 120
05: SPECTRUM ............................................................................. 121
06: ENHANCER ........................................................................... 121
07: AUTO WAH ........................................................................... 122
08: ROTARY .................................................................................. 122
09: COMPRESSOR ....................................................................... 123
10: LIMITER .................................................................................. 123
11: HEXA-CHORUS ..................................................................... 124
12: TREMOLO CHORUS ............................................................ 124
13: SPACE-D ................................................................................. 125
14: STEREO CHORUS ................................................................. 125
15: STEREO FLANGER ............................................................... 126
16: STEP FLANGER ..................................................................... 126
17: STEREO DELAY ..................................................................... 127
18: MODULATION DELAY ....................................................... 128
19: TRIPLE TAP DELAY ............................................................. 129
20: QUADRUPLE TAP DELAY ................................................. 130
21: TIME CONTROL DELAY ..................................................... 131
22: 2VOICE PITCH SHIFTER ..................................................... 131
23: FBK PITCH SHIFTER ............................................................ 132
24: REVERB ................................................................................... 133
25: GATED REVERB .................................................................... 133
26: OVERDRIVE→CHORUS ...................................................... 134
27: OVERDRIVE→FLANGER .................................................... 134
28: OVERDRIVE→DELAY ......................................................... 135
29: DISTORTION→CHORUS .................................................... 135
30: DISTORTION→FLANGER .................................................. 135
31: DISTORTION→DELAY ........................................................ 135
32: ENHANCER→CHORUS ...................................................... 136
33: ENHANCER→FLANGER .................................................... 136
34: ENHANCER→DELAY ......................................................... 137
35: CHORUS→DELAY ................................................................ 137
36: FLANGER→DELAY .............................................................. 138
37: CHORUS→FLANGER .......................................................... 138
38: CHORUS/DELAY ................................................................. 139
39: FLANGER/DELAY ............................................................... 139
40: CHORUS/FLANGER ............................................................ 139
41: STEREO PHASER .................................................................. 139
42: KEYSYNC FLANGER ........................................................... 140
43: FORMANT FILTER ............................................................... 141
44: RING MODULATOR ............................................................ 142
45: MULTI TAP DELAY .............................................................. 143
46: REVERSE DELAY .................................................................. 144
47: SHUFFLE DELAY .................................................................. 145
48: 3D DELAY ............................................................................... 146
49: PITCH SHIFTER ..................................................................... 147
Index
50: LOFI COMPRESS ................................................................... 147
51: LOFI NOISE ............................................................................ 148
52: SPEAKER SIMULATOR ....................................................... 148
53: OVERDRIVE 2 ........................................................................ 149
54: DISTORTION 2 ....................................................................... 149
55: STEREO COMPRESSOR ....................................................... 150
56: STEREO LIMITER .................................................................. 150
57: GATE ........................................................................................ 151
58: SLICER ..................................................................................... 151
59: ISOLATOR .............................................................................. 152
60: 3D CHORUS ........................................................................... 152
61: 3D FLANGER ......................................................................... 153
62: TREMOLO ............................................................................... 154
63: AUTO PAN ............................................................................. 155
Multi-timbral sound generator ................................................... 21, 269
Mute Group ............................................................................................ 97
Mute Sw
Mute switch (GM Part) ................................................................ 196
Mute switch (Part) .......................................................................... 52
Mute switch
GM Part ......................................................................................... 196
Part ................................................................................................... 52
N
Note 1–4
Preview note set 1–4 .................................................................... 177
Preview velocity ........................................................................... 177
Number
GM Patch/Rhythm Set number ................................................. 196
Patch/Rhythm Set number ........................................................... 53
Wave number (Rhythm Wave) .................................................... 98
Wave number (Tone) ..................................................................... 81
Number of voices .................................................................... 23, 56, 197
O
Oct
Octave range (System) ................................................................... 42
Octave range (Zone) ...................................................................... 42
Octave
Octave shift (Part) .......................................................................... 54
Octave shift (Patch) ........................................................................ 70
Octave Range
System ...................................................................................... 42, 175
Zone ............................................................................................ 42, 61
Octave shift ............................................................................................ 47
Part ................................................................................................... 54
Patch ................................................................................................. 70
Ofset ........................................................................................................ 83
[ON] ................................................................................................... 14, 45
One-shot waveform ........................................................................ 68, 95
Out
Chorus output assign (GM) ........................................................ 195
Reverb output assign (GM) ........................................................ 195
OUTPUT
GM Part ......................................................................................... 194
Output
D Beam output (System) ....................................................... 46, 176
D Beam output (Zone) ............................................................. 46, 63
Multi-effects output assign ......................................................... 116
Pedal 1, 2 output ........................................................................... 172
Pedal output .................................................................................. 172
OUTPUT A (MIX) jacks ........................................................................ 18
Output Assign
Chorus output assign .................................................................. 158
GM Part ......................................................................................... 194
Part ................................................................................................. 113
Patch ......................................................................................... 70, 108
Reverb output assign ................................................................... 160
Rhythm Set .............................................................................. 96, 108
Rhythm Tone ................................................................................ 109
Tone ................................................................................................ 109
OUTPUT B jacks .................................................................................... 18
Output level
GM Part .......................................................................................... 194
Part ................................................................................................. 113
Rhythm Tone ................................................................................ 109
Tone ................................................................................................ 109
P
P.C#
External program change number ............................................... 60
Transmit program change number ............................................ 178
Paf ............................................................................................................ 52
[PALETTE EDIT] ........................................................... 15, 50, 58, 67, 94
Palette edit
Part ................................................................................................... 50
Rhythm Wave ................................................................................. 94
Tone .................................................................................................. 67
Zone .................................................................................................. 58
Palette slider
Adjusting the volume balance between Parts ............................ 39
Changing the volume of Tone ...................................................... 34
Modify the sound in realtime ................................................. 34, 38
Pan
External pan .................................................................................... 60
Pan information (GM Part) ......................................................... 197
Pan information (Part) ................................................................... 56
Pan LFO depth 1, 2 ......................................................................... 85
Part pan ............................................................................................ 53
Part pan (GM) ............................................................................... 196
Patch pan ......................................................................................... 70
Receive pan mode (Rhythm Tone) .............................................. 97
Receive pan switch (Part) .............................................................. 52
Rhythm Tone pan ......................................................................... 103
Tone pan .......................................................................................... 90
Wave pan ......................................................................................... 99
Pan keyfollow ........................................................................................ 91
Pan LFO depth 1, 2 ................................................................................ 85
Pan Mode ................................................................................................ 77
PAN MODULATE ................................................................................ 91
[PANIC] .................................................................................................. 15
Panic ........................................................................................................ 48
[PART] .................................................................................................... 14
Part .......................................................................................................... 21
Current Part .................................................................................... 37
PART group
GM .................................................................................................. 196
Performance .................................................................................... 53
Part legato switch .................................................................................. 55
Part level ................................................................................................. 53
Part mono/poly ..................................................................................... 55
Part mono/poly (GM) ........................................................................ 197
Part pan
GM Part .......................................................................................... 196
Part ................................................................................................... 53
PART PLAY ........................................................................................... 56
Part portamento switch:time ............................................................... 55
Part portamento switch:time (GM) ................................................... 197
Part type
GM Part .......................................................................................... 196
Part ................................................................................................... 53
Part volume .......................................................................................... 196
[PATCH] ........................................................................................... 14, 29
PATCH
GM Part .......................................................................................... 196
Part ................................................................................................... 53
Patch
Category .......................................................................................... 31
How a Patch is organized ....................................................... 20, 65
Patch group ..................................................................................... 29
Patch list ......................................................................................... 253
Patch parameters .................................................................... 69, 233
Patch settings .................................................................................. 66
Selecting a Patch ............................................................................. 29
305
Index
PATCH CATEGORY ............................................................................ 69
Patch category ........................................................................................ 69
Patch clock source ................................................................................. 71
PATCH COMMON ............................................................................... 70
PATCH COMPARE ............................................................ 165, 181, 183
[PATCH FINDER] ........................................................................... 16, 30
Patch finder ............................................................................................ 30
PATCH FX COPY ................................................................................ 183
PATCH INIT ........................................................................................ 185
PATCH KEY MODE ............................................................................. 76
Patch level .............................................................................................. 70
PATCH LVL&PAN ............................................................................... 70
PATCH MIDI ....................................................................................... 170
Patch mode ............................................................................................. 24
Applying effects in Patch mode ................................................. 106
Playing in Patch mode ................................................................... 29
PATCH MODIFY .................................................................................. 71
PATCH NAME ...................................................................................... 69
PATCH NAME CPY ........................................................................... 183
PATCH OCT&TUNE ............................................................................ 70
Patch pan ................................................................................................ 70
PATCH PLAY ........................................................................................ 29
PATCH PORTAMNT ........................................................................... 76
Patch Remain ....................................................................................... 169
Patch remain switch ............................................................................ 169
PATCH SCALE .................................................................................... 173
PATCH TEMPO .................................................................................... 71
Patch tempo ............................................................................................ 71
PATCH TONE CPY ...................................................................... 68, 183
PATCH WRITE .................................................................................... 181
Patch/Rhythm Set group ..................................................................... 53
Patch/Rhythm Set number .................................................................. 53
Patch/Rhythm Set receive channel .................................................. 170
Patch/Rhythm Set transmit channel ................................................ 170
PCH ENVELOPE
Rhythm Tone ................................................................................ 100
Tone .................................................................................................. 86
Pedal 1, 2 assign ................................................................................... 172
Pedal 1, 2 output .................................................................................. 172
Pedal 1, 2 polarity ................................................................................ 172
Pedal output ......................................................................................... 172
Pedal polarity ....................................................................................... 172
Pedal switch (DP-2, DP-6) .......................................................... 199, 203
[PERFORM] ...................................................................................... 14, 35
PERFORM FX COPY .......................................................................... 182
PERFORM INIT ................................................................................... 185
PERFORM MFX CH ............................................................................. 51
PERFORM MIDI .................................................................................. 169
PERFORM NAME ................................................................................. 51
PERFORM NAME CPY ...................................................................... 182
PERFORM PART CPY .................................................................. 50, 182
PERFORM PLAY ................................................................................... 35
PERFORM WRITE .............................................................................. 180
Performance
How a Performance is organized ........................................... 21, 49
Layer Performance ................................................................... 36, 58
Performance group ........................................................................ 35
Performance list ............................................................................ 252
Performance parameters ....................................................... 51, 230
Performance settings ..................................................................... 49
Selecting a Performance ................................................................ 35
Single Performance .................................................................. 37, 59
Split Performance ........................................................................... 36
Performance control channel ............................................................. 169
Performance mode ................................................................................ 24
Applying effects in Performance mode .................................... 111
Playing in Performance mode ...................................................... 34
Phase Lock .............................................................................................. 53
Phase lock switch .................................................................................. 53
PHONES jack ......................................................................................... 18
Phrase loop ............................................................................... 81, 99, 201
[PHRASE PREVIEW] ...................................................................... 16, 32
306
Phrase Preview
Using phrase preview to play Patches ........................................ 32
PITCH
Part ................................................................................................... 54
Rhythm Tone ................................................................................ 100
Tone .................................................................................................. 86
Pitch ......................................................................................................... 85
Pitch bend/Modulation lever .............................................................. 16
Pitch envelope depth
Rhythm Tone ................................................................................ 100
Tone .................................................................................................. 86
Pitch envelope level 0
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
Pitch envelope level 1–4
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
Pitch envelope time 1 velocity sensitivity
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
Pitch envelope time 1–4
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
Pitch envelope time 4 velocity sensitivity
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
Pitch envelope time keyfollow ............................................................ 87
Pitch envelope velocity sensitivity
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 86
PITCH group
Patch ................................................................................................. 86
Rhythm Set .................................................................................... 100
Pitch keyfollow ...................................................................................... 86
Pitch LFO depth 1, 2 .............................................................................. 85
Point ........................................................................................................ 91
Polarity
D Beam polarity (System) ..................................................... 46, 177
D Beam polarity (Zone) ........................................................... 46, 63
Pedal 1, 2 polarity ......................................................................... 172
Pedal polarity ................................................................................ 172
Porta Sw:Time ...................................................................................... 197
Portament Sw:Tm .................................................................................. 55
[PORTAMENTO] ............................................................................ 14, 33
Portamento ....................................................................................... 33, 76
Portamento mode .................................................................................. 76
Portamento start pitch .......................................................................... 77
Portamento switch ................................................................................ 76
Portamento time .................................................................................... 76
Portamento type .................................................................................... 76
Power switch .......................................................................................... 17
Power Up Mode .................................................................................. 168
[PRESET] ................................................................................................. 16
PREVIEW group .................................................................................. 177
PREVIEW KEY ..................................................................................... 177
Preview Mode ................................................................................ 32, 177
Preview note set 1–4 ............................................................................ 177
Preview sound mode .................................................................... 32, 177
PREVIEW VELOCITY ........................................................................ 177
Preview velocity .................................................................................. 177
Priority .................................................................................................... 70
Program ................................................................................................ 171
Program Change
Receive program change switch (Part) ....................................... 52
Receive program change switch (System) ................................ 170
PROTECT ............................................................................................. 188
Index
R
Random
Random pan depth (Rhythm Tone) .......................................... 103
Random pan depth (Tone) ............................................................ 91
Random pan switch ....................................................................... 99
Random pitch depth (Rhythm Tone) ........................................ 100
Random pitch depth (Tone) .......................................................... 86
Random pan depth
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 91
Random pan switch .............................................................................. 99
Random pitch depth
Rhythm Tone ................................................................................ 100
Tone .................................................................................................. 86
Rate .......................................................................................................... 83
Recalling factory default settings ...................................................... 191
RECEIVE MIDI .................................................................................... 170
Receive pan mode
Rhythm Tone .................................................................................. 97
Tone .................................................................................................. 77
Receive switch ....................................................................................... 38
Bank select (Part) ............................................................................ 52
Bank select (System) .................................................................... 170
Channel aftertouch ......................................................................... 52
Expression (Part) ............................................................................ 52
Expression (Rhythm Tone) ........................................................... 97
Expression (Tone) ........................................................................... 77
General MIDI 2 system on .......................................................... 171
General MIDI system on ............................................................. 171
GM Part ......................................................................................... 196
GS reset .......................................................................................... 171
Hold 1 (Part) .................................................................................... 52
Hold 1 (Rhythm Tone) ................................................................... 97
Hold 1 (Tone) .................................................................................. 77
Modulation ...................................................................................... 52
Pan .................................................................................................... 52
Part ................................................................................................... 52
Pitch Bend (Part) ............................................................................. 52
Pitch bend (Tone) ........................................................................... 77
Polyphonic aftertouch ................................................................... 52
Program change (Part) ................................................................... 52
Program change (System) ........................................................... 170
System exclusive .......................................................................... 171
Volume ............................................................................................. 52
Redamper ............................................................................................... 78
Redamper switch ................................................................................... 78
[REGISTRY] ............................................................................................ 16
Rel
Release time offset (Part) ............................................................... 54
Release time offset (Patch) ............................................................ 72
[RELEASE] ....................................................................................... 34, 39
Release
Release time offset (GM Part) ..................................................... 196
Release time offset
GM Part ......................................................................................... 196
Part ................................................................................................... 54
Patch ................................................................................................. 72
Remote ............................................................................................ 44, 170
Remote controlling an external MIDI sequencer ...................... 26, 204
Remote keyboard switch .............................................................. 44, 170
RENAME .............................................................................................. 189
Res
Resonance offset (Part) .................................................................. 54
Resonance offset (Patch) ................................................................ 71
[RESONANCE] ................................................................................ 34, 39
Resonance
Resonance offset (GM Part) ........................................................ 196
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 88
Resonance offset
GM Part .......................................................................................... 196
Part ................................................................................................... 54
Patch ................................................................................................. 71
Resonance velocity sensitivity
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
REV OUT .............................................................................................. 160
REV PRM .............................................................................................. 159
REV TYPE ............................................................................................. 159
[REVERB] ........................................................................................ 15, 105
Reverb
Multi-effects reverb send level ................................................... 116
Reverb parameters ....................................................................... 249
Reverb send level (GM Part) ....................................................... 194
Reverb send level (Part) .............................................................. 113
Reverb send level (Rhythm Tone) ............................................. 110
Reverb send level (Tone) ............................................................. 110
Reverb level .......................................................................................... 160
Reverb output assign .......................................................................... 160
GM .................................................................................................. 195
Reverb send level
GM Part .......................................................................................... 194
Part ................................................................................................. 113
Rhythm Tone ................................................................................ 110
Tone ................................................................................................ 110
Reverb source ....................................................................................... 159
Reverb type .......................................................................................... 159
GM .................................................................................................. 195
[RHYTHM] ....................................................................................... 15, 40
RHYTHM COMMON ........................................................................... 96
RHYTHM COMPARE ................................................................ 181, 184
RHYTHM FX COPY ............................................................................ 184
RHYTHM INIT .................................................................................... 185
RHYTHM KEY COPY .................................................................. 95, 184
RHYTHM KEY INIT ........................................................................... 185
RHYTHM NAME .................................................................................. 96
RHYTHM NAME CPY ....................................................................... 184
RHYTHM PLAY .................................................................................... 40
Rhythm Set
How a Rhythm Set is organized ............................................ 21, 93
Rhythm Set group .......................................................................... 39
Rhythm Set list .............................................................................. 258
Rhythm Set parameters ......................................................... 96, 237
Rhythm Set settings ....................................................................... 93
Selecting a Rhythm Set .................................................................. 39
Rhythm Set clock source ...................................................................... 96
Rhythm Set level .................................................................................... 96
Rhythm Set mode .................................................................................. 24
Applying effects in Rhythm Set mode ...................................... 106
Playing in Rhythm Set mode ........................................................ 39
Rhythm Set tempo ................................................................................. 96
RHYTHM TEMPO ................................................................................ 96
Rhythm Tone level .............................................................................. 103
Rhythm Tone pan ................................................................................ 103
RHYTHM WRITE ................................................................................ 181
Ring modulator ...................................................................................... 75
Rx Ch ..................................................................................................... 170
Rx GM On ............................................................................................. 171
Rx GM2 On ........................................................................................... 171
Rx GS Reset .......................................................................................... 171
Rx MIDI .................................................................................................. 97
Rx Sw
Receive switch (GM Part) ............................................................ 196
Receive switch (Part) ..................................................................... 52
Rx Sys.Excl ............................................................................................ 171
RxSWITCH ............................................................................................. 52
307
Index
S
SAVE ............................................................................................. 167, 190
Save
Compare function ................................................................ 164, 181
Saving to a memory card .................................................... 167, 190
Saving to an external MIDI device ............................................ 166
Saving to internal memory ................................................. 164, 180
Scale tune .............................................................................................. 173
Scale tune switch ................................................................................. 173
Select ...................................................................................................... 158
Sens
Keyboard sensitivity .................................................................... 171
Multi-effects control sensitivity ................................................. 116
SETTING
GM Part ......................................................................................... 196
Part ................................................................................................... 53
SETUP group ....................................................................................... 168
[SHIFT] .................................................................................................... 16
Shuffle Rate
System ............................................................................................ 176
Zone .................................................................................................. 62
SmartMedia .......................................................................................... 188
Sns ............................................................................................................ 80
[SOLO] .............................................................................................. 14, 33
Solo .......................................................................................................... 33
Solo legato switch .................................................................................. 76
Song Number ....................................................................................... 178
Sound generator section ....................................................................... 19
Source
Chorus source ............................................................................... 156
Multi-effects control source ........................................................ 116
Multi-effects source ...................................................................... 114
Reverb source ............................................................................... 159
Source block ................................................................................. 186–187
Start ......................................................................................................... 77
Stretch ..................................................................................................... 70
Stretch tuning depth ............................................................................. 70
STRUCT .................................................................................................. 73
Structure type ........................................................................................ 73
Style
Arpeggio style (System) ........................................................ 41, 174
Arpeggio style (Zone) .............................................................. 41, 61
Sw
Portamento switch ......................................................................... 76
Wave switch .................................................................................... 98
Switch
FXM switch (Rhythm Wave) ...................................................... 100
FXM switch (Tone) ......................................................................... 81
Tone switch ..................................................................................... 81
SYS CTRL ASSIGN 1, 2 ...................................................................... 173
Sy1–4 ....................................................................................................... 56
[SYSTEM] ....................................................................................... 15, 168
System clock source ............................................................................ 168
System control assign 1–4 .................................................................. 173
System function ................................................................................... 168
System function settings ............................................................. 168
System parameters ............................................................... 168, 250
SYSTEM MIDI ...................................................................................... 171
System mode .......................................................................................... 24
SYSTEM PREVIEW ............................................................................. 177
SYSTEM SETUP ................................................................................... 168
System Tempo ..................................................................................... 169
SYSTEM TUNE .................................................................................... 173
T
T1–T4
Pitch envelope time 1–4 (Rhythm Tone) ................................... 101
Pitch envelope time 1–4 (Tone) .................................................... 87
TVA envelope time 1–4 (Rhythm Tone) ................................... 104
TVA envelope time 1–4 (Tone) ..................................................... 92
TVF envelope time 1–4 (Rhythm Tone) .................................... 103
TVF envelope time 1–4 (Tone) ...................................................... 90
308
Tempo
Arpeggio tempo (System) ..................................................... 42, 176
Arpeggio tempo (Zone) ................................................................. 42
Patch tempo ..................................................................................... 71
Rhythm Set tempo .......................................................................... 96
Tempo Sync ............................................................................................ 98
Time
Portamento time ............................................................................. 76
Tone delay time .............................................................................. 83
Time Keyfollow
Pitch envelope time keyfollow ..................................................... 87
TVA envelope time keyfollow ..................................................... 92
Time KF ................................................................................................... 89
TMT control switch ............................................................................... 78
TMT Ctrl Sw ........................................................................................... 78
TMT CTRL&BENDER .......................................................................... 78
TMT KEY RANG ................................................................................... 73
TMT VEL RANG ................................................................................... 72
TMT VELO CONTROL ........................................................................ 72
TMT Velocity Control ........................................................................... 72
TMT velocity control switch ................................................................ 72
Tone ......................................................................................................... 80
How a Tone is organized ........................................................ 20, 65
turning a Tone on/off .................................................................... 32
TONE DELAY ........................................................................................ 82
Tone delay mode ................................................................................... 82
Tone delay time ..................................................................................... 83
Tone level ............................................................................................... 90
TONE NAME ......................................................................................... 98
Tone pan ................................................................................................. 90
[TONE SELECT] .................................................................................... 25
[TONE SWITCH] ................................................................................... 25
Tone switch ............................................................................................ 81
Transfer ................................................................................................. 185
GM mode ....................................................................................... 198
Transmitting data to an external MIDI device ......................... 185
Transmitting data to the XV-88 .................................................. 186
TRANSFER TO MIDI .......................................................... 166, 185, 198
TRANSFER TO USER ......................................................................... 186
Transmit bank select MSB/LSB ........................................................ 178
TRANSMIT MIDI ................................................................................ 171
Transmit MIDI channel ...................................................................... 178
TRANSMIT P.C ................................................................................... 178
Transmit program change number ................................................... 178
TRANSMIT SONG SEL ...................................................................... 178
Transmit song select number ............................................................. 178
Transmit switch ..................................................................................... 59
Active sensing ............................................................................... 171
Bank select ..................................................................................... 171
Edit data ......................................................................................... 171
Program change ............................................................................ 171
[TRANSPOSE] ................................................................................. 14, 48
Transpose ............................................................................................... 48
Transpose switch .......................................................................... 171
Transpose value ............................................................................ 171
Transpose switch ................................................................................. 171
Transpose value ................................................................................... 171
TUNE group ......................................................................................... 173
TVA
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 90
TVA ENVELOPE
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 92
TVA envelope level 1–3
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 92
TVA envelope time 1 velocity sensitivity
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 92
TVA envelope time 1–4
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 92
Index
TVA envelope time 4 velocity sensitivity
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 92
TVA envelope time keyfollow ............................................................. 92
TVA envelope velocity curve
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 91
TVA envelope velocity sensitivity
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 90
TVA group
Patch ................................................................................................. 90
Rhythm Set .................................................................................... 103
TVA LFO depth 1, 2 .............................................................................. 85
TVA TIME ENV
Rhythm Tone ................................................................................ 104
Tone .................................................................................................. 92
TVA VELOCITY .................................................................................. 104
TVF ENVELOPE
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
TVF envelope depth
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
TVF envelope level 0
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 90
TVF envelope level 1–4
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 90
TVF envelope time 1 velocity sensitivity
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 89
TVF envelope time 1–4
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 90
TVF envelope time 4 velocity sensitivity
Rhythm Tone ................................................................................ 103
Tone .................................................................................................. 90
TVF envelope time keyfollow ............................................................. 89
TVF envelope velocity curve
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
TVF envelope velocity sensitivity
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
TVF FILTER
Rhythm Tone ................................................................................ 101
Tone .................................................................................................. 87
TVF group
Patch ................................................................................................. 87
Rhythm Set .................................................................................... 101
TVF LFO depth 1, 2 ............................................................................... 85
TVF VELOCITY
Rhythm Tone ................................................................................ 102
Tone .................................................................................................. 89
Tx ............................................................................................................. 59
Tx Ch ..................................................................................................... 170
Tx Edit ................................................................................................... 171
Type
Chorus type ................................................................................... 156
Chorus type (GM) ........................................................................ 195
Data type ............................................................................... 186–187
Filter type (Rhythm Tone) .......................................................... 101
Filter type (Tone) ............................................................................ 87
Multi-effects type ......................................................................... 114
Part type .......................................................................................... 53
Part type (GM) .............................................................................. 196
Portamento type ............................................................................. 76
Reverb type ................................................................................... 159
Reverb type (GM) ......................................................................... 195
Structure type ................................................................................. 73
U
U.Fade
Key fade width upper (Part) ......................................................... 51
Key fade width upper (Tone) ....................................................... 73
Velocity fade width upper (Rhythm Wave) ............................... 99
Velocity fade width upper (Tone) ................................................ 73
Undo ........................................................................................................ 27
[UNDO/COMPARE] ............................................ 15, 165, 181, 183–184
Upper
D Beam range upper (System) ............................................. 46, 177
D Beam range upper (Zone) ................................................... 46, 64
Key range upper (Part) .................................................................. 51
Key range upper (Tone) ................................................................ 73
Key range upper (Zone) ................................................................ 59
Velocity range upper (Rhythm Wave) ........................................ 99
Velocity range upper (Tone) ......................................................... 72
[USER] ..................................................................................................... 16
UTIL 1 ........................................................................... 164, 166, 179, 198
UTIL 2 ........................................................................................... 167, 179
[UTILITY] ....................................................... 15, 164, 166–167, 179, 198
Utility mode ................................................................................... 24, 179
V
VALUE dial ...................................................................................... 15, 27
V-Curve
Cutoff frequency velocity curve (Rhythm Tone) ..................... 102
Cutoff frequency velocity curve (Tone) ...................................... 89
TVA envelope velocity curve (Tone) ........................................... 91
TVF envelope velocity curve (Rhythm Tone) .......................... 102
TVF envelope velocity curve (Tone) ............................................ 89
V-Cutoff
Cutoff frequency velocity sensitivity (Rhythm Tone) ............ 102
Cutoff frequency velocity sensitivity (Tone) .............................. 89
Vel .......................................................................................................... 171
VELO CONTROL .................................................................................. 99
VELO CRV ............................................................................................. 53
Velocity Curve
Part ................................................................................................... 53
Rhythm Tone ................................................................................ 104
Velocity fade width lower
Rhythm Wave ................................................................................. 99
Tone .................................................................................................. 73
Velocity fade width upper
Rhythm Wave ................................................................................. 99
Tone .................................................................................................. 73
Velocity range lower
Rhythm Wave ................................................................................. 99
Tone .................................................................................................. 72
Velocity range upper
Rhythm Wave ................................................................................. 99
Tone .................................................................................................. 72
Velocity Sens
TVA envelope velocity sensitivity (Rhythm Tone) ................. 104
Velocity sensitivity offset (Part) ................................................... 54
Velocity sensitivity offset (Patch) ................................................. 72
Velocity sensitivity offset
Part ................................................................................................... 54
Patch ................................................................................................. 72
Vo ............................................................................................................. 56
Voice priority ......................................................................................... 70
Voice Reserve ......................................................................................... 53
Voice reserve .......................................................................................... 23
Voices .................................................................................................... 197
Vol
Receive volume switch (Part) ....................................................... 52
Volume information (GM Part) .................................................. 197
Volume information (Part) ............................................................ 56
Volume
External volume ............................................................................. 60
Part volume (GM) ........................................................................ 196
Volume slider ......................................................................................... 14
309
Index
V-Resonance
Resonance velocity sensitivity (Rhythm Tone) ........................ 102
Resonance velocity sensitivity (Tone) ......................................... 89
V-Sens
Pitch envelope velocity sensitivity (Rhythm Tone) ................ 101
Pitch envelope velocity sensitivity (Tone) .................................. 86
TVA envelope velocity sensitivity (Tone) .................................. 90
TVF envelope velocity sensitivity (Rhythm Tone) .................. 102
TVF envelope velocity sensitivity (Tone) ................................... 89
V-T1
Pitch envelope time 1 velocity sensitivity (Rhythm Tone) .... 101
Pitch envelope time 1 velocity sensitivity (Tone) ...................... 87
TVA envelope time 1 velocity sensitivity (Rhythm Tone) ..... 104
TVA envelope time 1 velocity sensitivity (Tone) ...................... 92
TVF envelope time 1 velocity sensitivity (Rhythm Tone) ...... 103
TVF envelope time 1 velocity sensitivity (Tone) ....................... 89
V-T4
Pitch envelope time 4 velocity sensitivity (Rhythm Tone) .... 101
Pitch envelope time 4 velocity sensitivity (Tone) ...................... 87
TVA envelope time 4 velocity sensitivity (Rhythm Tone) ..... 104
TVA envelope time 4 velocity sensitivity (Tone) ...................... 92
TVF envelope time 4 velocity sensitivity (Rhythm Tone) ...... 103
TVF envelope time 4 velocity sensitivity (Tone) ....................... 90
W
WAVE ..................................................................................................... 81
Wave expansion board
SR-JV80 series ........................................................................... 29, 40
SRX series ........................................................................................ 40
Wave expansion board installation slot ............................................. 18
Wave gain
Rhythm Wave ................................................................................. 98
Tone .................................................................................................. 81
WAVE group
Patch ................................................................................................. 81
Rhythm Set ...................................................................................... 98
Wave group
Rhythm Wave ................................................................................. 98
Tone .................................................................................................. 81
Wave level .............................................................................................. 99
Wave number
Rhythm Wave ................................................................................. 98
Tone .................................................................................................. 81
Wave pan ................................................................................................ 99
Wave switch ........................................................................................... 98
Wave Tempo Sync
Rhythm Wave ................................................................................. 98
Tone .................................................................................................. 81
Waveform list ....................................................................................... 263
WMT FXM ............................................................................................ 100
WMT PAN .............................................................................................. 99
WMT TUNE ......................................................................................... 100
WMT VEL RANG .................................................................................. 99
WMT Velocity Control ......................................................................... 99
WMT velocity control switch .............................................................. 99
WMT WAVE .......................................................................................... 98
WRITE ........................................................................................... 164, 180
WRITE PROTECT ............................................... 164, 180, 186, 188, 191
Write protect seal ........................................................................ 167, 188
X
XFER ...................................................................................................... 185
Z
[ZONE] ............................................................................................. 15, 57
Zone ......................................................................................................... 63
Zone and Part ................................................................................. 22
Zone parameters ..................................................................... 58, 232
Zone settings ................................................................................... 57
ZONE COMMON ................................................................................. 58
Zone mode .............................................................................................. 24
[ZONE/PART SELECT] ....................................................................... 25
310
For EU Countries
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
Apparatus containing
Lithium batteries
ADVARSEL!
VARNING
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
Levér det brugte batteri tilbage til
leverandøren.
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Kassera använt batteri enligt
fabrikantens instruktion.
ADVARSEL
VAROITUS
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.
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
AFRICA
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
PANAMA
ITALY
ISRAEL
SUPRO MUNDIAL, S.A.
Roland Italy S. p. A.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Sons Ltd.
CRISTOFORI MUSIC PTE
LTD
PARAGUAY
NORWAY
SINGAPORE
Swee Lee Company
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
URUGUAY
POLAND
Easa Husain Al-Yousifi
Todo Musica S.A.
P. P. H. Brzostowicz
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
Theera Music Co. , Ltd.
VENEZUELA
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
Musicland Digital C.A.
Tecnologias Musica e Audio,
Roland Portugal, S.A.
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
That Other Music Shop
(PTY) Ltd.
THAILAND
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
ASIA
CHINA
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
Shanghai Xingtong Acoustics
Equipment CO.,Ltd.
5F. No.1500 Pingliang Road
New East Club Plaza, Shanghai,
CHINA
TEL: (021) 5580-0800
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) 493 9051
INDONESIA
VIETNAM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
AUSTRALIA/
NEW ZEALAND
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
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
Cosmos Corporation
CHILE
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Comercial Fancy
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
AUSTRIA
S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo ,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
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
PORTUGAL
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: (039)16 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
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: (061) 043-5400
HUNGARY
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
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
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
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
SYRIA
Technical Light & Sound
Center
Khaled Ebn Al Walid St.
Bldg. No. 47, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
SWITZERLAND
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
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
MIDDLE EAST
BAHRAIN
Moon Stores
IRELAND
CYPRUS
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
TURKEY
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
Roland Ireland
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
TEL: (01) 20-1441
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 211 005
Intermusica Ltd.
Chahine S.A.L.
Al Emadi Co. (Badie Studio
& Stores)
MuTek
DENMARK
LEBANON
ROMANIA
RUSSIA
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
QATAR
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/HOLLAND/
LUXEMBOURG
Roland Benelux N. V.
KUWAIT
Cais Das Pedras, 8/9-1 Dto
4050-465 PORTO
PORTUGAL
TEL: (022) 608 00 60
Roland Austria GES.M.B.H.
Roland Brasil Ltda
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
BENTLEY MUSIC SDN BHD
EUROPE
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
BRAZIL
COSTA RICA
MALAYSIA
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
Roland Scandinavia As,
Filial Finland
PT Citra IntiRama
KOREA
JORDAN
AMMAN Trading Agency
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 273 0074
SOUTH AFRICA
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
Roland Scandinavia Avd.
Kontor Norge
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: (02) 2561 3339
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
Distribuidora De
Instrumentos Musicales
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (02) 66-9426
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
NORTH AMERICA
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
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
As of May 1, 2002 (Roland)
02019189
’02-5-C2-71K
Source Exif Data:
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