O W N ER’S MAN UAL
Thank you, and congratulations on your choice of the Roland XV-2020.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p.
5). These sections provide important information concerning the proper operation of the
unit. Additionally, in order to feel assured that you have gained a good grasp of every
feature provided by your new unit, Owner’s Manual should be read in its entirety. The
manual should be saved and kept on hand as a convenient reference.
Liste n in g to th e De m o So n g s
fig.Cover
2 , 3 , 4
1
1. Turn [CATEGORY/BANK] to choose DEMO.
“ALL” flashes on the display.
2. Turn [VALUE] to choose the song you want to hear.
3. Press [VALUE].
The display shows “PLy” and Demo Play starts.
4. Press [VALUE] once more to stop the Performance.
* No data for the music that is played will be output from MIDI OUT.
* MIDI messages received from external instruments are ignored while the Demo Play screen is displayed.
* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is
a violation of applicable laws.
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
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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
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USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
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 injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
006
•
When using the unit with a rack or stand recom-
mended by Roland, the rack or stand must be
carefully placed so it is level and sure to remain
stable. If not using a rack or stand, you still need
to make sure that any location you choose for
placing the unit provides a level surface that will
properly support the unit, and keep it from
wobbling.
001
•
Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
002d
•
Do not open or perform any internal modifica-
tions on the unit or its AC adaptor. (The only
exception would be where this manual provides
specific instructions which should be followed in
order to put in place user-installable options; see
..........................................................................................................
008c
•
Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
003
•
Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
..........................................................................................................
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!
distributor, as listed on the “Information” page.
..........................................................................................................
004
•
Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
..........................................................................................................
010
•
This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
..........................................................................................................
011
•
005
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
This unit should be used only with a rack or stand
that is recommended by Roland.
..........................................................................................................
3
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104
•
012b
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.
•
Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” page when:
..........................................................................................................
106
•
Never climb on top of, nor place heavy objects on
the unit.
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
..........................................................................................................
107d
• Objects have fallen into, or liquid has been
spilled onto the unit; or
•
Never handle the AC adaptor body, or its output
plugs, with wet hands when plugging into, or
unplugging from, an outlet or this unit.
• The unit has been exposed to rain (or otherwise
has become wet); or
..........................................................................................................
108b
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
•
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
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.
..........................................................................................................
108c
•
Disconnect all cords coming from external devices
before moving the unit.
..........................................................................................................
..........................................................................................................
014
109b
•
Protect the unit from strong impact.
(Do not drop it!)
•
Before cleaning the unit, turn off the power and
..........................................................................................................
..........................................................................................................
015
110b
•
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
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
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.
..........................................................................................................
115a
•
Install only the specified circuit board(s) (SRX
..........................................................................................................
118
..........................................................................................................
016
•
Should you remove screws and rubber feet, make
sure to put them in a safe place out of children's
reach, so there is no chance of them being
swallowed accidentally.
•
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.
..........................................................................................................
204
* Microsoft and Windows are registered trademarks of
..........................................................................................................
022b
Microsoft Corporation.
•
Always turn the unit off and unplug the AC
adaptor before attempting installation of the
206c
* Windows® 98 is known officially as: “Microsoft®
..........................................................................................................
023
Windows® 98 operating system.”
•
DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
206e
* Screen shots in this documents are reprinted with
permission from Microsoft Corporation.
206f
* Windows® 2000 is known officially as: “Microsoft®
\\
Windows® 2000 operating system.”
206g
* Windows® Me is known officially as: “Microsoft®
101b
Windows® Millennium Edition operating system.”
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102d
207
* Apple and Macintosh are registered trademark of Apple
Computer, Inc.
209
•
Always grasp only the output plug or the body of
the AC adaptor when plugging into, or
unplugging from, this unit or an outlet.
* MacOS is a trademark of Apple Computer, Inc.
220
* All product names mentioned in this document are trade-
..........................................................................................................
103b
marks or registered trademarks of their respective owners.
•
Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
231
* OMS is a registered trademark of Opcode Systems, Inc.
..........................................................................................................
232
* FreeMIDI is a trademark of Mark of the Unicorn, Inc.
4
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IMPO RTAN T N O TES
291a
556
Po w e r Su p p ly
•
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.
301
•
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).
558a
•
To avoid disturbing your neighbors, try to keep the unit’s volume
302
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).
•
The AC adaptor will begin to generate heat after long hours of
consecutive use. This is normal, and is not a cause for concern.
307
559a
•
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.
•
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.
924
Pla ce m e n t
•
To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the power
cord using the cord hook, as shown in the illustration.
351
•
Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To
alleviate the problem, change the orientation of this unit; or move
it farther away from the source of interference.
352a
•
This device may interfere with radio and television reception. Do
not use this device in the vicinity of such receivers.
352b
•
Noise may be produced if wireless communications devices, such
To the Power Outlet
Cord Hook
as cell phones, are operated in the vicinity of this unit. Such noise
could occur when receiving or initiating a call, or while
conversing. Should you experience such problems, you should
relocate such wireless devices so they are at a greater distance
from this unit, or switch them off.
355
The cord of
the supplied AC Adaptor
•
To avoid possible breakdown, do not use the unit in a wet area,
such as an area exposed to rain or other moisture.
Ma in te n a n ce
927
•
In some cases, depending on the environment in which the unit is
installed, the surface of the panel may sometimes feel rough and
grainy. This is due to an infinitesimal electrical charge, which is
absolutely harmless. However, if you are concerned about this,
connect the ground terminal (see figure) with an external ground.
When the unit is grounded, a slight hum may occur, depending
on the particulars of your installation. If you are unsure of the
connection method, contact the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the “Information”
page.
401a
•
For everyday cleaning wipe the unit with a soft, dry cloth or one
that has been slightly dampened with water. To remove stubborn
dirt, use a cloth impregnated with a mild, non-abrasive detergent.
Afterwards, be sure to wipe the unit thoroughly with a soft, dry
cloth.
402
•
Never use benzine, thinners, alcohol or solvents of any kind, to
avoid the possibility of discoloration and/ or deformation.
Ha n d lin g CD-RO Ms
801
•
Avoid touching or scratching the shiny underside (encoded
surface) of the disc. Damaged or dirty CD-ROM discs may not be
read properly. Keep your discs clean using a commercially
available CD cleaner.
Ground Terminal
Ad d itio n a l Pre ca u tio n s
551
Unsuitable places for connection
•
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 in another
MIDI device (e.g., a sequencer).
-
-
-
Water pipes (may result in shock or electrocution)
Gas pipes (may result in fire or explosion)
Telephone-line ground or lightning rod (may be dangerous in
the event of lightning)
552
•
Unfortunately, it may be impossible to restore the contents of
data that was stored in another MIDI device (e.g., a sequencer)
once it has been lost. Roland Corporation assumes no liability
concerning such loss of data.
553
•
Use a reasonable amount of care when using the unit’s buttons,
sliders, or other controls; and when using its jacks and
connectors. Rough handling can lead to malfunctions.
5
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Co n te n ts
IMPORTANT NOTES ..................................................................................................5
Features......................................................................................................................8
Front and Rear Panel.................................................................................................9
Getting Ready to Play..............................................................................................10
Attaching the Rubber Feet ........................................................................................................................................ 10
Turning the Power On/ Off ....................................................................................................................................... 12
For Those Using a Computer..................................................................................13
Settings and checking ................................................................................................................................................ 21
Installing & Setup the Driver (Macintosh) ............................................................................................................. 24
Connecting with MIDI Connectors ......................................................................................................................... 30
About Patches and Performances..........................................................................31
Playing Sounds........................................................................................................34
Playing a Patch on the XV-2020 from an External MIDI Device (MIDI Keyboard) ......................................... 34
Choosing Patches ....................................................................................................................................................... 35
Choosing a Performance ........................................................................................................................................... 38
Switching the Mode (Patch, Performance) ............................................................................................................. 39
Creating a Patch.......................................................................................................44
How a Patch Is Organized ........................................................................................................................................ 44
Tips for Creating a Patch........................................................................................................................................... 45
Confirming Tones ...................................................................................................................................................... 45
Tips for Choosing a Waveform ................................................................................................................................ 52
Adjusting Effect Settings ........................................................................................................................................... 61
Saving Patches You Create ....................................................................................................................................... 61
Creating a Rhythm Set.............................................................................................62
How Percussion Instruments Are Organized ........................................................................................................ 62
Confirming Tones ...................................................................................................................................................... 62
Rhythm Set Parameters ............................................................................................................................................. 63
Tips for Choosing Rhythm Tone Waveforms ........................................................................................................ 63
Rhythm Parameter ..................................................................................................................................................... 64
Adjusting Effect Settings........................................................................................................................................... 69
Saving Rhythm Sets You Create .............................................................................................................................. 69
Creating a Performance...........................................................................................70
How a Performance Is Organized ........................................................................................................................... 70
Basic Ways to Use Performances ............................................................................................................................. 70
Switching Parts........................................................................................................................................................... 71
Turning a Tone On or Off ......................................................................................................................................... 71
Confirming Tones ...................................................................................................................................................... 71
Performance Parameters ........................................................................................................................................... 71
6
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Co n te n ts
Adjusting Effect Settings ........................................................................................................................................... 75
Saving Performances You Create ............................................................................................................................. 75
Using the XV-2020 Effects.......................................................................................76
Turning Effects On/ Off ............................................................................................................................................. 76
Patch/ Rhythm Set Mode Settings ........................................................................................................................... 77
Multi-Effects Parameter ............................................................................................................................................ 80
Saving a Sound You Create ....................................................................................92
Saving Edits to the XV-2020’s Internal Memory (WRITE).................................................................................... 92
Transmitting Sound Settings (XFER) ....................................................................................................................... 93
Other Settings ..........................................................................................................95
Making USB-Related Settings ................................................................................................................................... 95
Checking the Program Version ................................................................................................................................ 95
Entering GM Mode .................................................................................................................................................... 96
Initializing the Sound Generator for General MIDI System Basic Settings ....................................................... 96
Playing Back a GM Score .......................................................................................................................................... 96
Controlling the XV-2020 in real time Using an External MIDI Device ............................................................... 99
Installing a Wave Expansion Board .....................................................................106
Installation de la carte d’extension Wave
Troubleshooting.....................................................................................................110
Problems when using the XV-2020 ........................................................................................................................ 110
Problems related to the USB driver ....................................................................................................................... 111
Error Messages......................................................................................................116
Waveform List ........................................................................................................121
Patch List................................................................................................................124
Rhythm Set List......................................................................................................130
Performance List....................................................................................................135
Demo Song List......................................................................................................135
MIDI Implementation..............................................................................................136
Specifications.........................................................................................................162
INDEX......................................................................................................................163
7
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Fe a tu re s
6 4 -Vo ice Po ly p h o n y a n d 1 6 -Pa rt Mu ltitim b ra lity
The XV-2020 is a 16-part multitimbral sound generator that produces up to 64
simultaneous polyphonic voices. It provides ample polyphony, even with Patches
containing multiple Tones.
Cre a te Am a zin g ly Ex p re ssive To n e s
With Patches combining four tones using stereo waves, stereo four-wave rhythm
tones, and more, you can create even more advanced and complex Patches.
XV-5 0 8 0 / 5 0 5 0 W a ve Da ta In clu d e d
With 512 preset Patches and 256 GM2 Patches, you get a total of 768 internal Patches.
The XV-2020 also comes equipped with 40 different types of Multi-Effects (MFX).
Acce p ts SRX Se rie s W a ve Ex p a n sio n Bo a rd s
You can install up to two SRX Series Wave Expansion Boards, allowing you to create
sounds built on large volumes of wave data.
Eq u ip p e d w ith a USB Co n n e cto r
The XV-2020 has a USB connector on its front panel, so that you can easily connect
your computer.
Su p p o rts Ge n e ra l MIDI sy ste m Le ve l 2
The XV-2020 provides a mode compatible with General MIDI System Level 2, the
standard format for desktop music (DTM) systems. The upwardly compatible
General MIDI 2 standards pick up where the original General MIDI standard left off,
offering enhanced expressive capabilities and even greater compatibility. You can
play back commercially available General MIDI-compatible song data.
Ea sy -to -u n d e rsta n d , Ea sy -to -u se O p e ra tio n s a n d
O th e r Use fu l Fe a tu re s
You can use the CATEGORY/ BANK knob to choose sounds by category.
There is a Phrase Preview that lets you audition patches through phrases, using just
the XV-2020.
Ed itin g So ftw a re In clu d e d
The XV Editor software allows you to edit the XV-2020’s Patches, Rhythms, and
Performances on your computer. You can assign parameters to knobs and sliders for
intuitive operation as you freely create sounds with your computer.
8
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Fro n t a n d Re a r Pa n e l
9. CATEGORY/BANK Knob
Fro n t Pa n e l
Used to switch the sound selection range.
fig.00-01
In the Edit mode, it is used to select the parameter to be set. For more
information about the CATEGORY/ BANK knob’s functions in Edit
mode, refer to the EDIT PARAMETER SELECT chart on the XV-
2020’s top panel.
fig.00-01a
1
2
3
4
5
6
7
8
9
10
1. USB Connector
Use this for connecting a computer to the XV-2020 using a USB cable
2. PHONES Jack
This is the jack for connecting headphones (sold separately).
10. POWER Switch
*
Use headphones with an impedance of 8 to 150 Ohms.
Pressed to switch the power on and off.
3. VOLUME Knob
This adjusts the volume level for the OUTPUT jack and the PHONES
jack. You can also check out a sound using the XV-2020 alone by
VALUE knob while holding down the VOLUME knob switches you
to the Edit mode.
Re a r Pa n e l
fig.00-02
4. PART Knob
4
2
1
3
4
In the Patch mode, it changes the receive channel. In the
Performance mode or the GM mode, it selects the Part to which
settings are to be applied.
1. AC Adaptor Jack
Accepts connection of the supplied AC adaptor.
5. Display
2. Cord Hook
Displays a variety of information about the operation being
performed.
To prevent the inadvertent disruption of power to your unit (should
the plug be pulled out accidentally), and to avoid applying undue
stress to the AC adaptor jack, anchor the power cord using the cord
hook.
6. MIDI Indicator
Lights up when MIDI messages are received.
3. MIDI Connectors (IN, OUT, THRU)
7. MODE Indicators
These connectors are used to connect the XV-2020 with other devices
for sending and receiving MIDI messages.
The indicator for the currently active mode lights up.
8. VALUE Knob
This changes the setting values for parameters. Turning the knob
rapidly makes the value change in larger increments. Pressing the
knob switches the mode. Pressing the VALUE knob while holding
down the VOLUME knob switches you to the Edit mode.
MIDI IN:
This receives information from other MIDI
instruments.
MIDI OUT:
This sends information from the XV-2020.
MIDI THRU: This sends out, unaltered, information received from
MIDI IN.
4. OUTPUT Jacks (L (MONO), R)
These are for stereo (L/ R) output of audio signals to an amp or a
mixer. For monaural output, connect to the left (L) jack.
Two types of jacks are provided for the OUTPUT jacks, 1/ 4” phone
jacks (L (MONO), R) and RCA phono jacks (L, R).
9
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Ge ttin g Re a d y to Pla y
Atta ch in g th e Ru b b e r Fe e t
If you will not be using the separately available RAD-50 rack-mount adaptor, attach
the rubber feet that were supplied with the XV-2020, as shown in the figure. Use the
small holes on the bottom as a guide for positioning the rubber feet when attaching
them.
fig.00-03e
A
D
A
E
P
B
1
U
T
O
S
2
S
O
R
S
5
C
I N
A
O
B
N
L
A
A
Y
V
R
0
0
m
J
V
- 1
0
1
0
T
H
R
U
O
M
U
T
I D
I
I N
affix the supplied rubber feet onto the bottom of the unit
In sta llin g o n th e Ra ck -Mo u n t Ad a p to r
When installing on the rack-mount adaptor (RAD-50; sold separately), use the screw
(M4 x 8) included with the rack-mount adaptor.
fig.00-04e
When mounting the unit
using the rack-mount
adaptor, install it onto the
rack-mount adaptor
without attaching the
rubber feet.
Screw (M4 x 8)
1 0
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Ge ttin g Re a d y to Pla y
Co n n e ctin g to MIDI De vice s a n d Au d io Eq u ip m e n t
The XV-2020 is not equipped with an internal amp or speakers. To hear sound, you
will need to connect it to a keyboard amp or audio system, or connect headphones.
Refer to the following figure when connecting the XV-2020 with external devices.
If using the XV-2020 with a computer, also refer to the following pages.
•
•
•
USB connection (Windows)
USB connection (Macintosh)
Connection with MIDI cable
fig.00-05e
Headphones
USB cable
Computer
AC adaptor
DC IN
MIDI IN
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.
MIDI OUT
MIDI keyboard
MIDI sequencer etc.
Power amp
Monitor speakers
(powered)
Mixer etc.
Stereo set etc.
1 . Before making any connections, confirm that power to all devices has
been turned off.
We recommend using a
stereo connection in order
to get the maximum
2 . Connect the included AC adaptor to the AC adaptor jack and plug the
adaptor into a power outlet.
performance from the XV-
2020, but for monaural use,
make the connection to the
L (MONO) OUTPUT jack.
3 . Connect audio and MIDI cables as shown in the diagram. If
connecting headphones, plug the headphones into the PHONES jack.
1 1
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Ge ttin g Re a d y to Pla y
Tu rn in g th e Po w e r O n / O ff
Tu rn in g O n th e Po w e r
the order specified. By turning on devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
1 . Before turning on the power, confirm the following.
•
•
Are all devices connected properly?
Are the volume levels on the XV-2020 and any amp or mixer that is connected
turned down to the lowest settings?
2 . Press XV-2020’s [POWER] to turn on the power.
3 . Turn on the power to connected external devices.
Tu rn in g O ff th e Po w e r
1 . Before turning off the power, confirm the following.
•
Are the volume levels on the XV-2020 and any amp or mixer that is connected
turned down to the lowest settings?
•
2 . Turn off the power to connected external devices.
3 . Press XV-2020’s [POWER] to turn off the power.
Re sto rin g th e Fa cto ry Se ttin g s (Fa cto ry Re se t)
When using the XV-2020 for the first time, start by returning the settings to their
factory defaults so that the XV-2020 operates as described in the procedures in the
owner’s manual.
If there is important data
you’ve created that’s stored
in memory, all such data is
discarded, and everything
is returned to the factory
defaults when a Factory
Reset is performed. If you
have data that you want to
keep, choose [Save SVD
File...] from the File menu
in XV Editor (included with
the XV-2020). Alternatively,
you could use an external
MIDI device to send a
This returns all settings stored in memory in the XV-2020 to the values they had
when the unit was shipped from the factory.
fig.00-06
1
1 , 3 , 4 , 5
2
message requesting all data
1 . While holding down [VOLUME], press [VALUE].
The indication in the display begins flashing, and the mode changes.
2 . Turn [CATEGORY/BANK] to choose PIANO (UTILITY).
3 . Rotate [VALUE] until “Fct” appears in the display.
You cannot carry out this
procedure when “DEMO”
is selected with the
[CATEGORY/ BANK]
knob.
4 . Press [VALUE]; “Sur” flashes in the display, and a confirmation
screen appears.
5 . Press [VALUE] once more to execute the factory reset.
* To cancel the procedure, while holding down [VOLUME] and pressing [VALUE].
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If you are using music software running on a computer, you can use the computer
to operate the XV-2020’s controls. Not only can you create and play back song data,
you can also have Tones switch automatically.
What’s more, you can use the included XV Editor software to create Tones using the
computer.
Which type of connection?
You can either use the USB cable, or use the MIDI cable to make a MIDI connection.
Depending on the type of connection you are using, install the appropriate driver
and make the appropriate settings.
•
•
•
USB connection (Windows)
USB connection (Macintosh)
Connecting with MIDI cables
In sta llin g & Se tu p th e Drive r (W in d o w s)
What is a driver?
fig.USB-00.e
Application
USB port
Driver
USB cable
XV-2020
Computer
A “driver” is software that transfers data between the XV-2020 and application
software running on your computer, when your computer and the XV-2020 are
connected by a USB cable. The driver sends data from your application to the XV-
2020, and from the XV-2020 to your application.
The following items are required for connections and installation. Please have the
following items ready.
•
•
•
•
XV-2020
AC adaptor
USB cable
XV Editor CD-ROM
The installation procedure will differ depending on your system.
Please proceed to one of the following sections, depending on the system you use.
•
•
•
Windows XP users
Windows 2000 users
Windows Me/ 98 users
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W in d o w s XP u se rs
If you are using Windows
XP Professional, you must
log on using a user name
with an administrative
account type (e.g.,
1 . With the XV-2020 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2 . Open the System Properties dialog box.
1. Click the Windows Start menu, and from the menu, select Control Panel.
2. In “Pick a category,” click “Performance and Maintenance.”
3. In “or pick a Control Panel icon,” click the System icon.
Administrator). For details
on user accounts, please
consult the system
administrator of your
computer.
fig.2-1_50
3 . Open the Driver Signing Options
dialog box.
Click the Hardware tab, and then click
[Driver Signing].
Depending on how your
system is set up, the
System icon may be
displayed directly in the
Control Panel (the Classic
display). In this case,
double-click the System
icon.
fig.2-2_45
If you changed “What
action do you want
Windows to take?” in step
4, you must restore the
previous setting after you
have installed the driver.
4 . Make sure that “What action do you
want Windows to take?” is set to
“Ignore.”
If it is set to “Ignore”, simply click [OK].
If it is not set to “Ignore”, make a note of
the current setting (“Warn” or
“Block”). Then change the setting to
“Ignore” and click [OK]
5 . Close the System Properties dialog
box.
In this manual, the location
of folders and files is given
in terms of the file path,
using \ as the delimiter.
For example,
Click [OK].
6 . Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be
sure to exit it as well.
XV-2020\SETUPINF.EXE
indicates the
7 . Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive of your computer.
SETUPINF.EXE file found
in the XV-2020 folder.
8 . Open the “Run...” dialog box.
Click the Windows start button. From the menu that appears, select “Run...”
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fig.2-3_40
9 . In the dialog box that appears, input the
following into the “Open” field, and click
[OK].
If a message of “The driver
is already installed”
appears, you can connect
the XV-2020 to your
E:\Win2000\XV-2020\SETUPINF.EXE
* The drive name “E:” may be different for
your system. Specify the drive name of your
CD-ROM drive.
computer and use it.
fig.2-4_30
1 0 . The SetupInf dialog box will appear.
You are now ready to install the driver.
* Do not click [OK] at this time.
1 1 . Connect the XV-2020.
1. With the XV-2020’s power switch
turned off, connect it to the AC
adaptor.
2. Plug the AC adaptor into an AC power
This unit is equipped with
protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
outlet.
3. Use the USB cable to connect the XV-
2020 to your computer.
1 2 . Set the XV-2020’s power switch to the ON position.
Near the task bar, your computer will indicate “Found New Hardware.” Please
wait.
fig.2-6_30
1 3 . The Found New Hardware wizard will
appear.
Make sure that the screen indicates
“ROLAND XV-2020,” select “Install from
a list or specific location (Advanced),”
and click [Next].
fig.2-7_30
1 4 . The screen will indicate “Please choose
your search and installation options.”
Select “Don’t search. I will choose the
driver to install,” and click [Next].
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fig.2-8_30
1 5 . Make sure that the “Model” field indicates
“ROLAND XV-2020,” and click [Next].
Driver installation will begin.
fig.2-9_35
1 6 . The Insert Disk dialog box will appear.
Click [OK].
fig.2-10_35
1 7 . The Files Needed dialog box will appear.
In the “Copy files from” area, type
“E:\Win2000\XV-2020” and click [OK].
fig.2-11_30
1 8 . The Found New Hardware wizard will
appear.
Make sure that the display indicates
“ROLAND XV-2020,” and click [Finish].
Wait until “Found New Hardware”
appears near the taskbar.
1 9 . Restart Windows.
When driver installation has been
completed, the System Setting Change dialog box will appear. Click [Yes].
If you changed “What action do you want Windows to take?”
If you changed the What action do you want Windows to take? setting in step 4,
restore the original setting after Windows restarts.
1 . If you are using Windows XP Professional, log on to Windows using the user
name of an administrative account (e.g., Administrator).
2 . Click the Windows start menu, and from the menu, select Control Panel.
3 . In “Pick a category,” click “Performance and Maintenance.”
4 . In “or pick a Control Panel icon,” click the System icon. The System
Properties dialog box will appear.
5 . Click the Hardware tab, and then click [Driver Signing]. The Driver Signing
Options dialog box will appear.
6 . Return the What action do you want Windows to take? setting to the original
setting (either “Warn” or “Block”), and click [OK].
7 . Click [OK]. The System properties dialog box will close.
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If in step 4 the “What action do you want Windows to take?” setting was not set
to “Ignore”, a “Digital signature not found” dialog box will appear.
fig.2-5_35
If “What action do you want Windows to
take?” is set to “Warn,”
1 . Click [Continue Anyway].
2 . Continue the installation.
fig.2-5a_35
If “What action do you want Windows to
take?” is set to “Block”
1 . Click [OK].
2 . When the “Found New Hardware
Wizard” appears, click [Finish].
3 . Perform the installation as described in
the “Troubleshooting” section on
Next, you need to make the driver settings.
W in d o w s 2 0 0 0 u se rs
1 . With the XV-2020 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2 . Log on to Windows as a user with administrative privileges (such as
Administrator).
3 . Open the System Properties dialog box.
Click the Windows Start button, and from the menu that appears, select Settings |
Control Panel. In Control Panel, double-click the System icon.
fig.2-12_50
4 . Open the Driver Signing Options dialog
box.
Click the Hardware tab, and then click
[Driver Signing].
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fig.2-13_55
5 . Make sure that “File signature
If you changed the “File
signature verification”
setting in step 5, restore the
original setting after
verification” is set to “Ignore.”
If it is set to “Ignore”, simply click [OK].
If it is not set to “Ignore”, make a note of the
current setting (“Warn” or “Block”). Then
change the setting to “Ignore” and click
[OK].
6 . Close the System Properties dialog box.
Click [OK].
7 . Exit all currently running software
(applications).
Also close any open windows. If you are using virus checking or similar software, be
sure to exit it as well.
8 . Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive of your computer.
9 . Open the “Run...” dialog box.
In this manual, the location
of folders and files is given
in terms of the file path,
using \ as the delimiter.
For example,
Click the Windows Start button. From the menu that appears, select “Run...”
fig.2-14_55
1 0 . In the dialog box that appears, input the
following into the “Open” field, and click
[OK].
XV-2020\SETUPINF.EXE
indicates the
E:\Win2000\XV-2020\SETUPINF.EXE
SETUPINF.EXE file found
in the XV-2020 folder.
* The drive name “E:” may be different for
your system. Specify the drive name of your
CD-ROM drive.
fig.2-15_40
1 1 . The SETUPINF dialog box will appear.
You are now ready to install the driver.
This unit is equipped with
protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
* Do not click [OK] at this time.
1 2 . Connect the XV-2020.
1.With the XV-2020’s power switch
turned off, connect it to the AC
adaptor.
2.Plug the AC adaptor into an AC power
outlet.
3.Use the USB cable to connect the XV-2020 to your computer.
If the Insert disk dialog box
does not appear, please
read The The “Insert Disk”
1 3 . Set the XV-2020’s power switch to the ON position.
fig.2-17_45
1 4 . The Insert Disk dialog box will appear.
Click [OK].
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fig.2-18_50
1 5 . The Files Needed dialog box will
appear.
In the “Copy files from” area, type
“E:\Win2000\XV-2020” and click [OK].
* The drive name “E:” may be different
for your system. Specify the drive name
of your CD-ROM drive.
fig.2-17b_40
1 6 . The “Found New Hardware Wizard” may
be displayed.
Verify that “ROLAND XV-2020” is
displayed, and click [Finish].
1 7 . Restart Windows.
The System Settings Change dialog box
may appear. Click [Yes]. Windows will
restart automatically.
If in step 5 the “File signature verification” setting was not set to “Ignore”, a
“Digital signature not found” dialog box will appear.
fig.2-16_40
If “File signature verification” is set to
“Warn,”
1 . Click [Yes].
2 . Continue the installation.
fig.2-16a_40
If “File signature verification” is set to
“Block”
1 . Click [OK].
2 . When the “New hardware
detection wizard” appears, click
[Finish].
3 . Perform the installation as described
in the “Troubleshooting” section on
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If you changed “File signature verification”
If you changed the “File signature verification” setting in step 5, restore the
original setting after Windows restarts.
1 . After Windows restarts, log in to Windows as a user with administrative
privileges, (such as Administrator).
2 . In the Windows desktop, right-click the My Computer icon, and from the
menu that appears, select Properties. The System Properties dialog box will
appear.
3 . Click the Hardware tab, and then click [Driver signature]. The Driver Signing
Options dialog box will appear.
4 . Return the “File signature verification” setting to the original setting (either
“Warn” or “Block”), and click [OK].
5 . Click [OK]. The System properties dialog box will close.
Next, you need to make the driver settings.
W in d o w s Me / 9 8 u se rs
1 . With the XV-2020 disconnected, start up Windows.
Disconnect all USB cables except for a USB keyboard and USB mouse (if used).
2 . Exit all currently running software (applications).
Also close any open windows. If you are using virus checking or similar software, be
sure to exit it as well.
In this manual, the location
of folders and files is given
in terms of the file path,
using \ as the delimiter.
For example,
3 . Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive of your computer.
4 . Open the “Run...” dialog box.
Click the Windows Start button.
Win98\SETUPINF.EXE
indicates the
From the menu that appears, select “Run...”
fig.2-19a_50
SETUPINF.EXE file found
in the Win98 folder.
5 . In the dialog box that appears, input the
following into the “Open” field, and click [OK].
E:\Win98\XV-2020\SETUPINF.EXE
* The drive name “E:” may be different for your
system. Specify the drive name of your CD-ROM drive.
fig.2-19_40
6 . The SETUPINF dialog box will appear.
You are now ready to install the driver.
* Do not click [OK] at this time.
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7 . Connect the XV-2020.
1. With the XV-2020’s power switch turned off, connect it to the AC adaptor.
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
2. Plug the AC adaptor into an AC power outlet.
3. Use the USB cable to connect the XV-2020 to your computer.
8 . Set the XV-2020’s power switch to the ON position.
fig.2-20_40
9 . If you are using Windows 98, an Insert
Disk dialog box will appear.
If you are using Windows
98 and the Insert Disk
dialog box dose not appear,
please read The “Insert
Disk” dialog box does not
Click [OK].
fig.2-21a_50
1 0 . The New Hardware Found dialog box will
appear.
In the “Copy files from” area, type
“E:\Win98\XV-2020” and click [OK].
If the New Hardware
1 1 . Once the driver has been installed, New
Found dialog box does not
appear, re-install the driver
using the same procedure
as described in The “Insert
Hardware Found dialog box will close.
In the SETUPINF dialog box, click [OK]. The SETUPINF dialog box will close.
Next, you need to make the driver settings.
Se ttin g s a n d ch e ck in g
Sp e cify in g th e O u tp u t De stin a tio n fo r MIDI Da ta
Windows XP/2000/Me users
1 . Open Control Panel.
Depending on how your
system is set up, the
Click the Windows Start button, and from the menu that appears, select Settings |
Control Panel.
Sounds and Audio
Devices icon may be
displayed directly in the
Control Panel (the Classic
display). In this case,
•
Windows XP
Click the Windows start button, and from the menu that appears, select Control
Panel.
double-click the Sounds
and Audio Devices icon.
2 . Open the Sounds and Multimedia Properties dialog box (or in Windows XP,
Sounds and Audio Devices Properties).
•
•
Windows 2000/Me
In Control Panel, double-click the Sounds and Multimedia icon to open the
“Sounds and Multimedia Properties” dialog box.
Windows XP
In “Pick a category,” click “Sound, Speech, and Audio Devices.” Next, in “or
pick a Control Panel icon,” click the sounds and Audio Devices icon.
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3 . Click the Audio tab.
fig.2-28_40
4 . For MIDI music playback, click the
located at the right of [Preferred device]
(or in Windows XP, [Default device]), and
select the ROLAND XV-2020.
5 . Click OK to complete the settings.
Proceed to the following page.
•
•
Windows XP users
Windows 2000/ Me users
-> The settings are completed.
Windows 98 users
1 . Open Control Panel.
Click the Windows Start button, and from the menu that appears, select Settings |
Control Panel.
fig.2-29_50
2 . Open the Multimedia Properties dialog box.
In Control Panel, double-click the
Multimedia icon to open the “Multimedia
Properties” dialog box.
3 . Click the MIDI tab.
4 . Set “MIDI output.”
Select [Single instrument], and choose the
ROLAND XV-2020.
5 . Click OK to complete the settings.
The settings are completed.
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En a b lin g b a ck g ro u n d se rvice s
In Windows XP, perform these settings to make MIDI processing occur more
smoothly. These settings are unavailable in Windows 2000/ Me/ 98.
1 . Click the Windows start button, and from the menu that appears, select Control
Panel.
2 . In “Pick a category,” click “Performance and Maintenance.”
3 . In “or pick a Control Panel icon,” click the System icon.
fig.2-30_40
4 . Click the Advanced tab.
5 . At the right of the Performance field, click
[Settings]. The Performance Options
dialog box will appear.
6 . Click the Advanced tab.
7 . In the Processor Scheduling field, select
“Background services,” and click [OK].
8 . In the System Properties dialog box, click
[OK].
The System Properties dialog box will
close.
De le tin g th e USB MIDI Drive r
If you were not able to install the XV-2020 driver according to the procedure, or if
you are unable to use the XV-2020 even after installing the driver, you must delete
the driver.
After deleting the driver, use the procedure described in “Installing & Setup the
For details on how to delete the driver, refer to the explanation provided in the on-
line manual within the XV Editor CD-ROM.
•
•
Windows XP/2000 users
In the XV Editor CD-ROM folder Win2000, open the README_E.HTM file and read
“To uninstall.”
Windows 98 / Me users
In the XV Editor CD-ROM folder Win98, open the README_E.HTM file and read
“To uninstall.”
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In sta llin g & Se tu p th e Drive r (Ma cin to sh )
What is a driver?
fig.USB-00.e
Application
USB port
Driver
USB cable
XV-2020
Computer
A “driver” is software that transfers data between the XV-2020 and application
software running on your computer, when your computer and the XV-2020 are
connected by a USB cable. The driver sends data from your application to the XV-
2020, and from the XV-2020 to your application.
The following items are required for connections and installation. Please have the
following items ready.
•
•
•
•
XV-2020
AC adaptor
USB cable
XV Editor CD-ROM
1 . Turn off the power of the Macintosh and all peripheral devices connected to the
Macintosh.
2 . With the XV-2020’s power switch turned off, connect it to the AC adaptor.
3 . Plug the AC adaptor into an AC power outlet.
4 . Use the USB cable to connect the XV-2020 to your computer.
5 . Turn on the peripheral devices connected to the Macintosh, except for the XV-2020.
Then turn on the power of the Macintosh itself.
* Do not turn on the power of the XV-2020 at this time.
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If the power of the XV-2020 is turned on, a message like the following will appear
when the Macintosh is started up. Perform the steps described below as appropriate
for the message that is displayed.
If the screen indicates:
“Driver required for USB device `unknown device’ is not available. Search for
driver on the Internet?”
-> click [Cancel].
If the screen indicates:
“Software required for using device `unknown device’ cannot be found. Please
refer to the manual included with the device, and install the necessary
software.”
-> click [OK].
Use either OMS or FreeMIDI as the MIDI driver.
•
•
If you are using OMS
If you are using FreeMIDI
* Either OMS or FreeMIDI must be installed in your Macintosh, as appropriate for
the sequencer software you are using.
* Install OMS if using the XV Editor software included with the unit.
In sta llin g th e XV-2 0 2 0 d rive r (O MS)
Use the following procedure to install the XV-2020 driver.
The included XV-2020 OMS driver is an add-on module for using the XV-2020 with
OMS. In order for you to use it, OMS must already be installed on the hard disk
from which you started up.
OMS can be found in the
OMS2.3.8 folder within the
OMS folder of the CD-
ROM.
If you would like to learn more about OMS, refer to OMS_2.3_Mac.pdf (online
manual) in the OMS2.3.8 folder within the OMS folder of the CD-ROM.
About detailed information
for OMS, refer to the
* Disconnect the XV-2020 from the Macintosh before you perform the installation.
Owner’s Manual of OMS.
1 . Exit all currently running software (applications).
If you are using a virus checker or similar software, be sure to exit this as well.
You will need the Adobe
Acrobat Reader in order to
view OMS_2.3_Mac.pdf.
The latest version of Adobe
Acrobat Reader can be
downloaded from the
Adobe website.
2 . Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive.
fig.3-1_40
3 . Double-click the OMS-E icon (found in the XV-2020 folder - XV Driver E
folder of the CD-ROM) to start up the installer.
4 . Verify the installation location, and click [Install].
http:/ / www.adobe.com
(This URL may change
without notice.)
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fig.3-2_35
5 . If a message like the following is displayed,
click [Continue].
The other currently running applications will
exit, and installation will continue.
6 . A dialog box will indicate Installation completed.
Click [Restart] to restart your Macintosh.
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
7 . Use the USB cable to connect the XV-2020 to your computer.
1. With the XV-2020’s power switch turned off, connect it to the AC adaptor.
2. Plug the AC adaptor into an AC power outlet.
3. Use the USB cable to connect the XV-2020 to your computer.
8 . Set the XV-2020’s power switch to the ON position.
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.
O MS se ttin g s
1 . Use the USB cable to connect the XV-2020 and your Macintosh.
fig.USB-02.e
Computer
USB cable
XV-2020
If you are using the XV-
2020 with a sequencer, do
not disconnect the MIDI
cable connected to the XV-
2020 while a song is
fig.oms-05_50
2 . Double-click the “OMS Setup” icon.
playing back.
fig.oms-06.e_70
3 . If the “Apple Talk” dialog box appears,
click [Turn It Off].
Then, in the dialog box that appears next,
click [OK].
If the “Create a New
Studio setup” dialog box
does not appear, click [New
Studio setup] in the [File]
menu.
fig.oms-07.e_75
4 . The “Create a New Studio setup” dialog
box appears.
Click [OK].
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fig.oms-08.e_60
5 . The “OMS Driver Search” dialog box
appears.
Click [Search].
fig.oms-09.e_65
6 . After the search has been completed,
make sure that “Roland XV-2020” is
listed in the “OMS Driver Setup” dialog
box, and click [OK].
fig.oms-10.e_65
7 . After making sure that the XV-2020 is
listed in the “OMS MIDI Device Setup”
dialog box, click the check box for XV-
2020, and click [OK].
fig.oms-14.e_70
8 . Change the name of the keyboard icon to
“Port 1” or any other names except “XV-
2020.”
fig.oms-11.e_70
9 . The “Save” dialog box appears.
Input the desired file name, and click
[Save].
fig.oms-12.e_75
1 0 . Select [Test Studio] in the [Studio Menu] and check it in
order to verify whether sound is produced.
1 1 . In the “My Studio Setup Window,” click the keyboard
icon.
When you move the mouse pointer near the keyboard
icon, the pointer will change to the shape of an eighth
note. Verify that you can hear sound from your XV-2020.
1 2 . After you have finished the above check, exit OMS Setup.
This completes driver settings.
This completes connections for the XV-2020 and Macintosh, and installation of the
MIDI driver. Now, MIDI data can be input and output (recorded and played).
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In sta llin g th e XV-2 0 2 0 d rive r (Fre e MIDI)
Use the following procedure to install the XV-2020 driver. The included XV-2020
FreeMIDI driver is an add-on module for using the XV-2020 with FreeMIDI. In order
to use it, FreeMIDI must be installed on the hard disk from which you started up.
* Exit all applications before you begin installing the driver.
* Install OMS if using the XV Editor software included with the unit.
* The XV-2020 FreeMIDI Driver included on the disc is provided as an additional
module that allows the XV-2020 to be used with FreeMIDI. In order to use it,
FreeMIDI must already be installed on the start-up hard disk.
* Disconnect the XV-2020 from the Macintosh before beginning the installation.
1 . Exit all currently running software (applications).
If you are using a virus checker or similar software, be sure to exit this as well.
2 . Prepare the CD-ROM.
Insert the CD-ROM into the CD-ROM drive.
fig.3-3_50
3 . Double-click the FM-E icon (found in the XV-2020 folder - XV Driver E
folder of the CD-ROM) to start up the installer.
4 . Verify the installation location, and click [Install].
fig.3-2_40
5 . If a message like the following is
displayed, click [Continue].
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
The other currently running applications
will exit, and installation will continue.
6 . A dialog box will indicate Installation
completed. Click [Restart] to restart your Macintosh.
7 . Use the USB cable to connect the XV-2020 to your computer.
1. With the XV-2020’s power switch turned off, connect it to the AC adaptor.
2. Plug the AC adaptor into an AC power outlet.
3. Use the USB cable to connect the XV-2020 to your computer.
8 . Switch ON the XV-2020’s Power switch.
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Fo r Th o se Usin g a Co m p u te r
Fre e MIDI se ttin g s
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.
1 . Use the USB cable to connect the XV-2020 and your Macintosh.
fig.USB-02.e
Computer
USB cable
XV-2020
fig.fm-03.e.eps_50
If you are using the XV-
2020 with a sequencer, do
not disconnect the MIDI
cable connected to the XV-
2020 while a song is
2 . Open the “FreeMIDI Applications” folder, and double-click the
“FreeMIDI Setup” icon.
3 . The first time FreeMIDI is started up, a “Welcome to FreeMIDI!” dialog box will
appear. Click [Continue].
playing back.
If this is the second or later time, select “FreeMIDI Preferences” from the File menu.
fig.fm-04_60
4 . In the “FreeMIDI Preferences” dialog box,
check “XV-2020 Port” which is located
below XV-2020 Driver in MIDI
There will be a version
number following
“FreeMIDI Setup” as the
actual icon name.
Configuration, and click [OK].
fig.fm-05_65
If the dialog box does not
show “XV-2020 Driver,”
check whether the XV-2020
is connected correctly, and
start up FreeMIDI Setup
once again.
5 . The About Quick Setup dialog box appears.
Click [Continue].
fig.fm-06_60
6 . In the dialog box that appears, select the “XV-
2020” in “Studio Location,” and click
[>>Add>>].
If the “About Quick
Setup” dialog box is not
displayed, select “Quick
Setup...” from the
“Configuration” menu.
fig.fm-07.e.eps_70
7 . When settings are complete, click [Done].
A setting window like the following appears.
fig.fm-08_70
8 . From the File menu, select [Save], and save your settings.
This completes connections for the XV-2020 and Macintosh, and installation of the
MIDI driver. Now, MIDI data can be input and output (recorded and played).
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Fo r Th o se Usin g a Co m p u te r
Co n n e ctin g w ith MIDI Co n n e cto rs
A MIDI interface is required for making MIDI connections with a computer. The
MIDI interface is connected to the computer, and two MIDI cables connect the MIDI
connectors of the MIDI interface to the XV-2020’s MIDI connectors.
fig.MIDI-01.e
Computer without
XV-2020 rear panel
a USB connector
MIDI
Interface
Macintosh IIci
MIDI OUT
MIDI IN
MIDI cable
In sta llin g th e In clu d e d Ed ito r So ftw a re
To help you get more out of your XV-2020, it comes with XV Editor software. Use XV
Editor to freely create your own original sounds.
Detailed instructions on installing the software can be found in the online manual
contained on the XV Editor CD-ROM.
•
•
Windows users
In the XV Editor CD-ROM, open the Readme_E.txt.
Macintosh users
In the XV Editor CD-ROM, open the ReadMe.
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Ab o u t Pa tch e s a n d Pe rfo rm a n ce s
On the XV-2020, sounds are organized according to units called Tones, Patches,
Rhythm Sets, and Performances. This section describes the relationship between
a Patch and a Performance.
W h a t is a Pa tch ?
The type of sound most commonly played on the XV-2020 is called a Patch. A Patch
is a combination of Tones, which are the smallest units of sound. Each Patch can
contain up to four Tones. If we use the analogy of an orchestra, then Patches are the
musical instruments of the performers.
fig.00-08e
Patch
Tone
1
Tone
2
Tone
3
Tone
4
* You can turn the Tones in a Patch on or off. Only Tones that are turned on are heard when
W h a t is a Pe rfo rm a n ce ?
It may be easiest to think of a Performance as being the orchestra itself.
To continue the orchestra analogy, a Performance is made up of the parts assigned
to the respective instruments (called, naturally enough, “Parts”). You can enjoy
ensemble play by combining a total of 16 Patches or Rhythm Sets into one such Part.
fig.00-10e
Patch
Part 16
Part 10
Part 1
Performance
Rhythm set
Patch
In other words, a Performance allows you to produce sixteen separate sounds with
a single XV-2020.
If You’re Playing Back Song Data Using an External MIDI
Instrument or Sequencing Program
Now let’s select an XV-2020 Performance and play back some song data!
Press [VALUE] on the XV-2020 a number of times until the “PERFORM” indicator
while in the Patch mode, only the sound of one Part is played.
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Pla y in g So u n d s
The XV-2020 comes with a rich palette of onboard sounds, called Patches. Let’s
listen to some Patches in Patch mode.
Pla y in g Pa tch e s (Ph ra se Pre vie w )
Even when there’s no MIDI keyboard or sequencer connected, the XV-2020 allows
you to audition sounds.
1 . Press [VALUE] to make the PATCH indicator lights up.
fig.01-01
2 . Press and hold down [VOLUME].
The Patch plays while [VOLUME] is depressed.
At this time, the currently selected bank USr (USER) and the patch number appear
in alternation on the display.
fig.01-08e
Patch number
Bank
3 . Rotate [VALUE] to reselect the Patch, and check out the sounds of
other patches.
Pla y in g a Pa tch o n th e XV-2 0 2 0 fro m a n
Ex te rn a l MIDI De vice (MIDI Ke y b o a rd )
The XV-2020 produces sound in response to MIDI messages it receives from an
external MIDI device such as a MIDI keyboard or sequencer.
Try connecting your MIDI keyboard and playing sounds on the XV-2020.
Co n n e ctin g th e MIDI Ke y b o a rd
Connect the MIDI keyboard as shown in the following.
fig.01-02e
XV-2020
MIDI IN
MIDI OUT
MIDI keyboard
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Pla y in g So u n d s
Ma tch in g MIDI Ch a n n e ls
In order for the XV-2020 to respond to MIDI data sent by an external MIDI device,
both devices must be set to use the same MIDI channel or channels.
Here, in Patch mode, let’s set both devices so that they use MIDI Channel 1.
fig.01-03
3
2
1 . Set the send channel of the MIDI keyboard to “1.”
Refer to the keyboard’s owner’s manual for instructions.
2 . Press [VALUE] to make the PATCH indicator lights up.
fig.01-01
* Immediately after Factory Reset is executed, the Receive channel is set to the channel selected
with the [PART] knob.
3 . Turn [PART] to choose “1.”
Here, 1 becomes the XV-2020’s receive channel.
4 . Play the MIDI keyboard to hear the currently selected XV-2020 Patch.
MIDI message indicator will lights when a MIDI message is received via MIDI
connector or USB connector.
fig.01-05
Ch o o sin g Pa tch e s
You can use either of two methods to choose a patch: choosing by bank (display with
white text) or choosing by category (display in blue text).
Ch o o sin g Pa tch e s b y Ba n k
Although the XV-2020 contains many Patches, these are organized into eight banks.
You can easily switch banks and select Patches using [CATEGORY/ BANK].
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Pla y in g So u n d s
fig.01-06e
USER
PST-A
PST-B
PST-C
PST-D
GM
Patch
Patch
Patch
Patch
EXP-A
EXP-B
Patch Patch
Patch
Patch
3
1
2
64
Patch number
Bank
page
Description
USER
There are 128 patches stored in memory, which you can overwrite with patches you create your-
self.
PSTA/ B/ C/ D (PRESET)
There are 512 patches (with 128 Patches in a single bank) stored in memory, which cannot be
overwritten
GM (General MIDI)
EXP-A/ B
These are patches for the General MIDI System, which is designed to standardize the specifica-
tions for MIDI functions for all manufacturers and models. There are 128 patches stored in mem-
ory, which cannot be overwritten.
---
These are banks for use with Wave Expansion Boards installed in the slots. Patches are stored in
memory on the separately available Wave Expansion Board, and cannot be overwritten.
Pro ce d u re
fig.01-07
2
1 , 3
1 . Press [VALUE] to make the PATCH indicator lights up.
You cannot select EXP-A or
EXP-B unless a Wave
Expansion Board is
installed into the
Press the knob several times, until the PATCH indicator lights up.
2 . Turn [CATEGORY/BANK] to choose the bank (USER, PST-A/B/C/D,
corresponding slot.
GM, EXP-A/B)
3 . Turn [VALUE] to choose a Patch.
Turning [VALUE] rapidly
makes the value change in
large increments.
* You can listen to the selected patch sound by holding down [VOLUME]. At this time, the
currently selected preset bank USr (USER) and the patch number appear in alternation on
the display.
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Pla y in g So u n d s
Ch o o sin g Pa tch e s b y Ca te g o ry
On the XV-2020, Patches are grouped into categories, such as “piano” and “guitar.”
You can easily change to the category you like and select Patches with the
[CATEGORY/ BANK] knob.
Pro ce d u re
fig.01-09
The indicator at the lower
right of the patch number
lights up when the first
patch in any category is
called up.
2
1 , 3
1 . Press [VALUE], so the PATCH indicator lights up
Press [VALUE] several times, until the PATCH indicator lights up.
When you select a category
group, the Patches are
shown in the order PST-A–
D, GM, EXP-A, EXP-B, and
USER.
2 . Rotate the [CATEGORY/BANK] knob to select the Patch category group.
fig.01-10
3 . Turn [VALUE] to choose the Patch.
Turning the [VALUE]
rapidly makes the value
change in large increments.
Also, you can go to the first
patch of each category by
pressing in [VALUE] while
you rotate it.
* You can listen to the selected patch sound by holding down [VOLUME].
At this time, the currently selected bank and the patch number appear in alternation on the
display.
You can select the following categories.
Category
Group
XV Editor
Display
PNO
EP
Category
Contents
PIANO
AC.PIANO
EL.PIANO
KEYBOARDS
BELL
Acoustic Piano
Electric Piano
KEY&ORGAN
KEY
BEL
Other Keyboards (Clav, Harpsichord, etc.)
Bell, Bell Pad
MLT
ORG
ACD
HRM
AGT
EGT
DGT
BS
MALLET
Mallet
ORGAN
Electric and Church Organ
Accordion
ACCORDION
HARMONICA
AC.GUITAR
EL.GUITAR
DIST.GUITAR
BASS
Harmonica, Blues Harp
Acoustic Guitar
Electric Guitar
GTR/ BS
Distortion Guitar
Acoustic and Electric Bass
Synth Bass
SBS
SYNTH BASS
STRINGS
OCH/ BRS
STR
Strings
OCH
HIT
ORCHESTRA
HIT&STAB
WIND
Orchestra Ensemble
Orchestra Hit, Hit
Winds (Oboe, Clarinet, etc.)
Flute, Piccolo
WND
FLT
FLUTE
BRS
AC.BRASS
SYNTH BRASS
SAX
Acoustic Brass
SBR
Synth Brass
SAX
Sax
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Pla y in g So u n d s
Category
Group
XV Editor
Display
HLD
SLD
Category
Contents
SYN/ PAD
HARD LEAD
SOFT LEAD
TECHNO SYNTH
PULSATING
SYNTH FX
Hard Synth Lead
Soft Synth Lead
Techno Synth
TEK
PLS
Pulsating Synth
Synth FX (Noise, etc.)
Poly Synth
FX
SYN
OTHER SYNTH
BRIGHT PAD
SOFT PAD
BPD
Bright Pad Synth
Soft Pad Synth
SPD
VOX
PLK
VOX
Vox, Choir
ETHNIC
PLUCKED
Plucked (Harp, etc.)
Other Ethnic
ETH
ETHNIC
FRT
FRETTED
Fretted Inst (Mandolin, etc.)
Percussion
RHYTHM&SFX
PRC
PERCUSSION
SOUND FX
BEAT&GROOVE
DRUMS
SFX
Sound FX
BTS
Beat and Groove
Drum Set
DRM
CMB
COMBINATION
Other Patches which use Split and Layer
Ch o o sin g a Pe rfo rm a n ce
The collected assignment of Patches or Rhythm Sets to the XV-2020’s sixteen Parts is
referred to as a “Performance.”
fig.00-10e
Patch
Part 16
Part 10
Part 1
Performance
Rhythm set
Patch
Se le ctin g Pe rfo rm a n ce s a n d Pa rts
1 . Press [VALUE], so the PERFORM indicator lights up.
* Only the PERFORM indicator should be lit.
Performances can only be
selected when the
2 . Turn [VALUE] to choose the Performance.
[CATEGORY/ BANK]
knob is pointed at either
USER, PST-A, or PST-B. So,
if you're unable to switch
Performances, check the
position of the knob.
3 . Rotate [PART] to change the Part for the currently selected
Performance.
* Rotating [PART] while in Performance Play mode switches you to Performance Part Play mode.
Assig n in g a N e w Pa tch to a Pa rt
Here’s how to change the Patch assigned to a Part in a Performance.
1 . Press [VALUE] a number of times until both the PERFORM and the
PATCH indicators light up.
2 . Turn [PART] to choose the part.
3 . Rotate [CATEGORY/BANK] to switch the bank, then rotate [VALUE] to
select the Patch.
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Pla y in g So u n d s
Sw itch in g th e Mo d e (Pa tch , Pe rfo rm a n ce )
The XV-2020’s parameters are organized into ten different modes. You can easily
switch modes using the [VALUE] knob or [VOLUME] knob.
fig.01-13e
Patch Edit Mode
Patch Play Mode
Choose this mode when changing Patch settings.
Choose this mode when playing a single Patch from a keyboard.
Performance Part Play Mode
This is the mode in which Patches (Rhythm Sets) assigned to
the Performance parts are played.
Performance Edit Mode
Choose this mode when changing Performance settings.
You can switch between
Play modes
by pressing VALUE.
Performance Play Mode
Choose this mode when using the XV-2020 as a multitimbral
sound module.
Rhythm Edit Mode
Choose this mode when changing Rhythm Set settings.
XV-2020 Rhythm Sets can be used in any Part
in a Performance. You can also select the desired
multi-effects for a Rhythm Set.
Rhythm Play Mode
Choose this mode when playing Rhythm Sets from a keyboard.
GM Play Mode
GM Edit Mode
Choose this mode when using the XV-2020 as a General MIDI 2
compatible sound module
Choose this mode when changing GM2 settings.
To change to Edit mode...
DEMO Mode
Choose this mode when listening the DEMO songs.
While holding down [VOLUME],
press [VALUE].
Rotate the CATEGORY/BANK
knob to the DEMO position.
*
*
Rotating [PART] while in Performance Play mode switches you to Performance Part Play mode.
The Patch, Performance, or Rhythm Set in use when the power was last turned off is automatically called
up again the next time you turn on the power.
In Edit mode, select the parameters to be edited with the [CATEGORY/ BANK]
knob. For more on the parameters, refer to the EDIT PARAMETER SELECT table on
the XV-2020's upper panel.
General MIDI is a set of recommendations that standardizes the MIDI capabilities of
sound modules. Sound modules and music files that adhere to 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 module with essentially the
same musical results.
The upwardly compatible General MIDI 2 (
) recommendations pick up where General
MIDI leaves off, offering enhanced expressive capabilities and even greater compatibility.
Issues not covered by the original General MIDI standard - such as how sounds are
to be edited, and how effects should be handled - are precisely defined in General
MIDI 2. Moreover, the available sounds have been expanded. General MIDI 2
compliant sound modules 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.
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Pla y in g So u n d s
Usin g a n Ex te rn a l MIDI De vice to Se le ct
Pa tch e s a n d Ch a n g e O th e r Se ttin g s
Se le ctin g Pa tch e s a n d Rh y th m Se ts
You can change Patches – including the Patches in each Part of a Performance – and
Rhythm Sets on the XV-2020 via MIDI Part.
In this example, after setting the send channel for the external MIDI device and the
message from the external MIDI device to select the XV-2020 Patch “PB018 (Preset B,
No.18”
1 . Use a MIDI cable to connect the MIDI OUT connector on the external
MIDI device to the XV-2020’s MIDI IN connector.
2 . Press [VALUE] to make the PATCH indicator lights up.
The XV-2020 reverts to Patch play mode.
3 . Set the channel used for transmission by the external MIDI device and
* Immediately after Factory Reset is executed, the Receive channel is set to the channel selected
with the [PART] knob.
4 . Send a Bank Select MSB (Control Number 0) value of “87” to the XV-
2020.
* If you want to select a Rhythm Set, send a value of “86.”
5 . Next, send a Bank Select LSB (Control Number 32) value of “65.”
6 . Send a Program Change with a value of “18.”
The Patch number appearing in the display changes to “18.”
Each Patch or Rhythm Set has a corresponding Bank Select number and Program
number, as shown below.
Patches
Bank Select number
Program
number
Bank
Number
001–128
001–128
001–128
001–128
001–128
001–256
001–
MSB
87
LSB
00
USER
001–128
001–128
001–128
001–128
001–128
001–128
001–
PST-A (PRESET A)
PST-B (PRESET B)
PST-C (PRESET C)
PST-D (PRESET D)
GM (GM2)
87
64
87
65
87
66
87
67
121
93
0–
EXP-A(EXPENSION A)
EXP-B (EXPENSION B)
0–
001–
93
0–
001–
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Pla y in g So u n d s
Rhythm Sets
Bank Select number
Program
number
Bank
Number
001–004
001–004
001–004
001–009
001–
MSB
86
LSB
00
USER
001–004
001–004
001–004
001–057
001–
PST-A (PRESET A)
PST-B (PRESET B)
GM (GM2)
86
64
86
65
120
92
00
EXP-A(EXPENSION A)
EXP-B (EXPENSION B)
0–
001–
92
0–
001–
Se le ctin g Pe rfo rm a n ce s
To switch Performances, after matching the send channel for the external MIDI
number and Program Change messages.
Upon execution of Factory Reset, Performance Ctrl-Ch is set to “16.” Here, set the
external MIDI device’s send channel to “16,” then try switching the Performance to
“PB029 (Preset B, No.29”.
1 . Use a MIDI cable to connect the MIDI OUT connector on the external
MIDI device to the XV-2020’s MIDI IN connector.
2 . Press [VALUE] to make the PERFORM indicator lights up.
The XV-2020 reverts to Performance play mode.
3 . Set the external MIDI device’s send channel to “16.”
For instructions on making this setting, refer to the owner’s manual for the external
MIDI device.
4 . Send a Bank Select MSB (Control Number 0) with a value of “85” to
the XV-2020.
5 . Next, send a Bank Select LSB (Control Number 32) with a value of
“65.”
6 . Send a Program Change with a value of “29.”
The Performance number appearing in the display changes to “29.”
Each Performance has a corresponding Bank Select number and Program number,
as shown below.
Performances
Bank
Bank Select number
Number
001–064
001–032
001–032
MSB
85
USER
PST-A (PRESET A)
PST-B (PRESET B)
85
85
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Ad va n ce d Use
Using the XV Editor software included with the XV-2020 together with your computer gives you
more control in editing parameters, and even greater freedom in creating sounds.
You cannot edit every parameter using the XV-2020 alone. For details regarding the parameters that
you can edit using only this device, refer to the “List of Parameters That Can Be Affected Using
Connecting the XV-2020 to your computer with a USB cable requires installation of the USB driver.
The mode indicators change from solidly lit to flashing whenever a parameter is edited.
If you turn off the power or choose another Patch (Rhythm set/ Performance) while the indicator is
blinked, you new Patch (Rhythm set/ Performance) settings will be lost. If you wish to preserve
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Cre a tin g a Pa tch
Ho w a Pa tch Is O rg a n ize d
The type of sound most commonly played on the XV-2020 is called a Patch. Each Patch can contain up to
four Tones.
fig.1-01.e
Tone
1
Tone
2
Tone
3
Tone
4
Tone
1
Tone
2
Tone
3
Tone
4
Example 2: A Patch consisting of four Tones.
Example 1:A Patch consisting of only one Tone
(Tones 2–4 are turned off).
You can turn the Tones in a Patch on or off. Only Tones that are turned on are heard when you play the
You can also set the structure of a Patch to specify how Tones 1 and 2 and Tones 3 and 4 are combined. (p.
Ho w a To n e Is O rg a n ize d
Tones are the smallest programmable unit of sound on the XV-2020, and are the basic building blocks that
make up a Patch. You can’t play a Tone by itself—it can only be played as part of a Patch or Rhythm Set.
A Tone consists of the following five components.
fig.1-02.e
To n e
LFO 1
LFO 2
WG
TVF
TVA
Pitch
TVF
TVA
Envelope
Envelope
Envelope
control signal
audio signal
WG (Wave Generator)
This selects the PCM waveform material that provides the basis of the Tone. Two waveforms can be
assigned to each Tone.
All Patches built into the XV-2020 consist of combinations of Tones based on these waveforms.
TVF (Time Variant Filter)
This specifies how the frequency components of the Tone change.
TVA (Time Variant Amplifier)
This determines how the volume and panning of the Tone change.
Envelope
An envelope applies changes to the Tone over time. There are separate envelopes for pitch, TVF (filter) and
TVA (volume). For example, you would use the TVA Envelope to modify the way in which the Tone
attacks and decays.
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Cre a tin g a Pa tch
LFO (Low Frequency Oscillator)
Use the LFO to create cyclical changes—or cyclical “modulation”—in a Tone. Each Tone has two LFOs.
An LFO can be applied to the Tone’s pitch settings, TVF (filter), and TVA (volume). When an LFO is
applied to pitch, a vibrato effect is produced. When an LFO is applied to the TVF cutoff frequency, a wah-
wah effect is produced. When an LFO is applied to the TVA volume, a tremolo effect is produced.
Tip s fo r Cre a tin g a Pa tch
•
•
•
•
Choose a Patch that’s similar to the sound you wish to create.
When you want to create a new sound, it’s a good idea to begin with a Patch that’s close to the sound that
you have in mind. Starting with a Patch that bears no resemblance to the one you want to create is likely
Decide which Tones will sound
When creating a Patch, it’s important to decide which Tones you want to use. It’s also important to turn
off unused Tones to avoid wasting voices, unnecessarily reducing the number of simultaneous notes you
Check the way in which the Tones are combined
Structure Type 1&2 and 3&4 are important parameters that determine how the four Tones are combined.
Before you select new Tones, make sure you understand how the currently selected Tones are affecting
Turn off effects
Since the XV-2020 effects have such a profound impact on its sounds, turn off a Patch’s effects during
programming so you can more clearly hear the changes you’re making. Actually, sometimes just changing
Ch o o sin g th e To n e s Th a t So u n d (To n e O n / O ff)
Here’s how to turn on the Tones that you want to hear in a Patch. You can also use the on/ off technique
described in this section to audition an individual Tone by turning off all the other Tones in a Patch.
When using the editing software included with the XV-2020, make the settings in the following screen.
fig.01-14
Co n firm in g To n e s
You can confirm Tones you have selected by pressing the VOLUME knob (p. 34). You can also confirm the
Tones using the Tone editor (XV editor) included with the unit.
fig.01-15e
Click and drag KEYBOARD CH to select the Patch's MIDI Transmit channel.
Click the keyboard to play the XV-2020's sounds.
Click and drag KEYBOARD VEL to set the keyboard velocity.
Click OCT to change the pitch of the sound played in one-octave units.
The PATCH indicator change from solidly lit to flashing whenever a parameter is
edited.If you turn off the power or choose another Patch while the indicator is
blinked, you new Patch settings will be lost. If you wish to preserve them, save the
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Cre a tin g a Pa tch
Pa tch Pa ra m e te r
To n e -Re la te d Se ttin g s
Parameter
Value
Description
TONE SWITCH
OFF, ON
Here’s how to turn on the Tones that you want to hear in a Patch. You can also use the on/ off tech-
nique described in this section to audition an individual Tone by turning off all the other Tones in a
Patch.
TONE SELECT
OFF, ON
Selects the Tone to be edited.
PATCH CO MMO N (Se ttin g s Co m m o n to th e En tire Pa tch )
Parameter
Value
Description
PATCH NAME
space, A–Z, a–z, 0–9,
! “ # $ % & ‘ ( ) * + , - .
/ : ; < = > ? @ [ ¥ ] ^ _
` |
You can give a Patch a name of up to 12 characters. When using the XV editor,
click
on the left side to name the Tone.
CATEGORY
(Patch Category)
PIANO, KEY&ORG,
GTR/ BS, OCH/ BRS,
SYN/ PAD,
Specifies the type, or “category” of the Patch. The Patch Finder uses this setting.
ETHNIC, RHY&SFX
LEVEL
0–127
Specifies the volume of the Patch.
(Patch Level)
* You can specify the level of each Tone in a Patch using the Tone Level parameter
PAN
(Patch Pan)
L64–63R
Sets the stereo position of the Patch. L64 pans the Patch all the way to the left, 0
is center and 63R pans it hard right.
* You can specify the pan setting for each Tone in a Patch using the Tone Pan param-
* While each Tone in a Patch has its own Pan position, the Patch pan setting shifts the
entire Patch—including all of its Tones—leftward or rightward
OUTPUT ASSIGN
MFX, A, 1, 2, TONE
Specifies the output destination for the Patch.
MFX: Sends the Patch into the Multi-Effects. The output destination is deter-
mined by the Multi-Effects output setting.
A: Output from OUTPUT.
1: Output from L.
2: Output from R.
TONE: Sends each Tone in the Patch to its programmed output destination.
OCTAVE SHIFT
COARSE TUNE
-3–+3
Sets the pitch of the Patch in units of an octave.
-48–+48
Adjusts the pitch of all of the Patch’s Tones simultaneously in semitone steps
over a range of +/ -4 octaves.
FINE TUNE
-50–+50
Adjusts the pitch of all of the Patch’s Tones simultaneously in 1-cent steps (1/
100th of a semitone) over a range of 1/ 2 semitones up or down.
STRETCH TUNE DEPTH
OFF, 1, 2, 3
This setting allows you to apply “stretch tuning” to the Patch. Acoustic pianos
typically use stretch tuning, with their lower range slightly flatter and their
higher range slightly sharper than the actual mathematical tuning ratios dic-
tate. Stretch is therefore useful when programming a Patch intended to sound
like a real piano. With a setting of OFF, the Patch’s tuning is equal tempera-
ment. A setting of 3 produces the greatest difference in the pitch of the low and
high ranges. This diagram shows the pitch change relative to equal tempera-
ment that occurs in the low and high ranges. Stretch has a subtle effect on the
way in which chords resonate.
Pitch difference from
Parameter value
equal temperament
3
2
1
OFF
OFF
1
2
3
High note range
Low note range
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Parameter
Value
Description
ANALOG FEEL
(Analog Feel Depth)
0–127
Specifies the depth of Analog Feel that is applied to the Patch. Traditional ana-
log synthesizers often exhibited a degree of instability in their tuning. The XV-
2020’s Analog Feel feature can simulate this characteristic.
CLOCK SOURCE
(Patch Clock Source)
PATCH, SYSTEM
Selects the timing reference to be used by the Patch. The LFO cycle, M-FX
changes, phrase loop (break beats), and Tone delay time can be synchronized
to a clock, or tempo.
PATCH: Uses the Patch Tempo.
SYSTEM: Uses the global System Tempo or clock messages received from an
external sequencer.
TEMPO
20–250
Establishes the Patch’s tempo when Clock Source is set to “PATCH.”
(Patch Tempo)
* Clock messages for the Patch Tempo are not transmitted from the MIDI OUT con-
nector.
CUTOFF OFFSET
-63–+63
Simultaneously lowers or raises the individual TVF cutoff frequency values of
the Tones in the Patch.
RES OFFSET
(Resonance Offset)
-63–+63
Simultaneously lowers or raises the individual TVF Resonance values of the
Tones in the Patch.
ATTACK TIME OFFSET
RELEASE TIME OFFSET
VELOCITY SENS OFFSET
-63–+63
Simultaneously lowers or raises the individual TVA ENVELOPE T1 values of
the Tones in the Patch.
-63–+63
Simultaneously lowers or raises the individual TVA ENVELOPE T4 values of
the Tones in the Patch.
-63–+63
Simultaneously lowers or raises the individual TVF VELOCITY V-Cutoff and
TVA V-Sens values of the Tones in the Patch.
PRIORITY
(Voice Priority)
LAST, LOUDEST
Determines how notes are managed when the XV-2020’s maximum polyphony
limit is exceeded (64 voices).
LAST: Gives priority to the last-played voices. Currently-sounding notes are
turned off in order, beginning with the first-played note.
LOUDEST: Gives priority to the voices with the loudest volume. Currently-
sounding notes are turned off beginning with the lowest-volume voice.
MONO/ POLY
(Key Mode Assign)
MONO, POLY
OFF, ON
Sets how the Patch’s notes are played. The MONO setting is effective when
playing a solo instrument Patch such as sax or flute.
MONO: Only one note sounds at a time
POLY: Two or more notes can be played simultaneously.
LEGATO SW
(Legato Switch)
Turn this parameter on when you want to use the Legato feature and off when
you don’t. Legato is a function that works only when the Key Assign Mode is
MONO. When Legato is ON, pressing one key when another is already pressed
causes the currently playing note’s pitch to change to that of the newly pressed
key while continuing to sound. This can be effective when you wish to simulate
performance techniques such as a guitarist’s hammering on and pulling off
strings.
LEGATO RETRIGGER
OFF, ON
The setting determines whether sounds are replayed or not when performing
legato. Normally you will leave this parameter “ON.” When Delay Key follow
is set to OFF, if one key is pressed while another key is held down, only the
pitch changes, which with some waveforms may result in an unnatural sound.
Set this to “OFF” when performing wind and string phrases or when using
modulation with the mono synth keyboard sound.
* If the Legato Switch is “OFF,” this setting is ignored.
PITCH BEND RANGE UP
0–48
Specifies the pitch change that occurs when the Pitch Bend lever is moved fully
to the right (or up on some MIDI controllers).
PITCH BEND RANGE DOWN
-48–0
Specifies the amount of pitch change that’s applied to the Patch’s pitch when
the Pitch Bend lever is moved fully left (or down on some MIDI controllers).
PORTAMENTO SW
(Portamento Switch)
OFF, ON
Portamento is a function that causes the Patch’s pitch to change smoothly from
one note to the next note played. When the Key Mode Assign is MONO, this
can be effective in simulating performance techniques such as a violinist’s glis-
sando. Turn this switch on when you wish to use.
PORTAMENTO MODE
PORTAMENTO TYPE
NORMAL, LEGATO
RATE, TIME
Chooses the way in which Portamento is applied.
NORMAL: Portamento is always applied.
LEGATO: Portamento is applied only for notes played legato (i.e., when you
press a second key before releasing the first.)
Determines the way in which the pitch difference between the two notes affects
the time it takes to glide from one note to the next.
RATE: The time it takes depends on the distance between the two pitches.
TIME: The time it takes is constant, regardless of how far apart in pitch the
notes are.
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Parameter
Value
Description
PORTAMENTO START
PITCH, NOTE
Portamento begins anew if you press another key during a pitch movement.
This setting specifies how the new portamento starts.
PITCH: The pitch begins changing immediately to the new note’s pitch when
its key is pressed.
NOTE: The pitch begins changing to the new note’s pitch only after it has
first reached its original pitch destination.
PORTAMENTO TIME
0–127
Sets the time over which one pitch glides to the next.
PATCH STRUCTURE
Parameter
Value
Description
TYPE
Determines how Tone 1 and 2, and Tone 3 and 4
are connected.
(Structure Type 1&2, 3&4)
1–10
* If Type 2–10 is selected, turning off one Tone will
TYPE 1
TYPE 2
cause the other Tone to be connected in the simple or-
der of WG/TVF/TVA.
The displayed symbols have the following mean-
ings.
TVF
TVF
TONE 1 (3) WG
TONE 2 (4) WG
TVA
WG
WG
TVF
TONE 1 (3)
TVA
TVA
TVF TVA
TONE 2 (4)
TYPE 3
TYPE 4
B: Booster, R: Ring Modulator
TONE 1 (3) WG
TONE 1 (3)
TVA
TVF
TVA
WG
WG
TVF
[What is a Booster?]
B
B
A Booster amplifies the incoming signal, causing it
to distort. This creates an effect similar to the dis-
tortion often used on an electric guitar.
WG
TONE 2 (4)
TVF TVA
TVF TVA
TONE 2 (4)
TYPE 5
TYPE 6
[What is a Ring Modulator?]
TONE 1 (3)
WG TVA
TVF
TONE 1 (3)
TVA
TVF
WG
WG
A Ring Modulator mathematically multiplies two
Tones, creating a new sound that includes inhar-
monic overtones that were not present in either of
the two original Tones.
Since the difference in pitch between the two
Tones changes the overtone structure, an un-
pitched “metallic” sound often results. Ring mod-
ulation is therefore especially suitable for creating
bells and other metallic sounds.
R
R
TONE 2 (4) WG
TYPE 7
TVF TVA
TONE 2 (4)
TVF TVA
TYPE 8
TONE 1 (3)
TONE 2 (4)
WG
WG
TVA
TVF
TONE 1 (3)
TVF TVA
WG
WG
R
R
TVF TVA
TONE 2 (4)
TVF TVA
TYPE 9
TYPE 10
TVF TVA
TVF
TONE 1 (3) WG
TONE 2 (4) WG
TONE 1 (3)
TVF TVA
TVF
WG
WG
R
R
TVA
TONE 2 (4)
TVA
BOOSTER
(Booster Gain 1&2, 3&4)
0, +6, +12, +18 dB
Sets the Booster strength when Structure Type has
been set to 3 or 4.
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PATCH & VELO CITY KEY RAN GE
PATCH VELOCITY RANGE
*
Parameters that can be set independently for each Tone are indicated by “#.”
Parameter
Value
Description
VELOCITY CONTROL
(TMT Velocity Control)
OFF, ON, RANDOM
Determines whether Velocity messages from a MIDI keyboard or sequenc-
er are recognized (ON), or ignored (OFF). When set to RND, the Patch’s
constituent Tones sound randomly, regardless of any Velocity messages.
TMT CONTROL SW
(TMT Control Switch)
OFF, ON
This setting determines whether or not the TMT is controlled by the Ma-
trix Control. When TMT Velocity Control is set to OFF, turning this pa-
rameter on and off is a simple way to switch between playing all Tones or
controlling them with the Matrix Control, making this an effective tool for
auditioning Tones.
[What is a TMT?]
With the XV-2020, you can set each Tone’s expression range, or “key
range.” You can also change the way the Tone responds to the force, or
“velocity,” with which a key is pressed. These settings are collectively re-
ferred to as the TMT.
FADE LOWER#
(TMT Velocity Fade Width Lower)
0–127
Determines what happens to the Tone’s level when the Tone is played at
a velocity lower than its specified velocity range. Higher settings result in
a more gradual change in volume. If you don’t want notes played below
the specified velocity range to be heard at all, set this to 0.
LOWER#
1–UPPER
Sets the lowest velocity at which the Tone sounds.
(TMT Velocity Range Lower)
UPPER#
LOWER–127
Sets the highest velocity at which the Tone sounds.
(TMT Velocity Range Upper)
* It is not possible to set the Lower value higher than the Upper value, or the Up-
per value below the Lower value.
FADE UPPER#
(TMT Velocity Fade Width Upper)
0–127
Determines what happens to the Tone’s level when the Tone is played at
a velocity greater than its specified velocity range. Higher settings result
in a more gradual change in volume. If you don’t want notes played above
the specified velocity range to be heard at all, set this to 0.
Level
Velocity
1
Lower
L.Fade value
Upper
U.Fade value
PATCH KEY RANGE
*
Parameters that can be set independently for each Tone are indicated by “#.”
Parameter
Value
Description
FADE LOWER#
(TMT Key Fade Width Lower)
0–127
Determines what happens to the Tone’s level when a note that’s lower than the Tone’s
specified keyboard range is played. Higher settings result in a more gradual change in
volume. If you don’t want the Tone to sound at all when a note below the keyboard
range is played, set this parameter to 0.
LOWER#
(TMT Key Range Lower)
C-1–UPPER
LOWER–G9
0–127
Specifies the lowest note that causes the Tone to sound.
UPPER#
(TMT Key Range Upper)
Specifies the highest note that causes the Tone to sound.
* The Lower value cannot be set to a value greater than Upper value, or vice versa.
FADE UPPER#
(TMT Key Fade Width Upper)
Determines what happens to the Tone’s level when a note that’s higher than the Tone’s
specified keyboard range is played. Higher settings result in a more gradual change in
volume. If you don’t want the Tone to sound at all when a note above the keyboard
range is played, set this parameter to 0.
Level
Key number
0
127
Lower
L.Fade value
Upper
U.Fade value
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MATRIX CTRL (Pa tch Ma trix Co n tro l)
This selects the parameters to be controlled by Matrix Control Source 1–4 and the Sens settings, as well as
the specific Tones whose parameters you wish to control. Up to four destination parameters can be
selected for each controller and controlled simultaneously.
*
Parameters that can be set independently for each Tone are indicated by “#.”
Parameter
Value
Description
SOURCE1–4
(Matrix Control
Source1–4)
OFF, CC01–31, CC33–95, BEND, AF-
TER, SYS1–4, VELOCITY,
KEYFOLLOW, TEMPO, LFO1, LFO2,
PIT-ENV, TVF-ENV, TVA-ENV
Assign one of the following controllers to Control Source 1–4. If you wish
to use a controller that will apply to all Patches, or a controller that cannot
be directly selected here, select SYS-CTRL1–4, and then select the control-
ler using the Control Source 1–4 parameters (SYSTEM COMMON).
DESTINATION1–4
(Matrix Control
Destination 1–4)
OFF, PITCH, CUTOFF, RESONANCE
LEV,EL PAN, DRY LEVEL, CHORUS
SEND, REVERB SEND, LFO1/ 2 PCH
DEPTH, LFO1/ 2 TVF DEPTH, LFO1/
2 TVA DEPTH, LFO1 PAN DEPTH,
LFO1/ 2 RATE, PCH ENV A/ D/ R-
TIME, TVF ENV A/ D/ R-TIME, TVA
ENV A/ D/ R-TIME, TMT, FXM
Selects a parameter to be controlled.
DEPTH, MFX-CTRL1/ 4
SENS1–4
(Matrix Control
Sens 1–4)
-63–+63
Adjusts the amount of change that occurs in response to controller chang-
es. Negative (-) values invert the change. For LFO rates, negative (-) values
slow down the LFO, and positive (+) values speed it up.
TONE1–4#
OFF, ON, REV
Selects the Tone to which the two previous parameter settings are ap-
plied. “ON” turns signifies that the Tone is selected for control, “OFF”
that it’s not selected, and “REV (REVERSE)” that the change being ap-
plied is inverted when applied to this Tone.
(Matrix Control
Tone Control
Switch 1–4)
PATCH CO N TRO L SW ITCH
These settings determine each Tone’s response to received Pitch Bend, Expression, Pan, Hold1, Damper,
and Envelope Mode MIDI messages.
*
Parameters that can be set independently for each Tone are indicated by “#.”
Parameter
Value
Description
RCV BENDER#
(Tone Receive Bender Switch)
OFF, ON
If you want the Tone to respond to Pitch Bend messages, turn this parameter
on. If not, turn it off.
RCV EXP#
(Tone Receive Expression Switch)
OFF, ON
OFF, ON
If you want the Tone to respond to Expression messages, turn this on. If not,
turn it off.
RCV HOLD-1#
(Tone Receive Hold 1 Switch)
Set this to ON if you wish the tone to respond to Hold1 messages—these mes-
sages cause sounds to continue playing when a sustain/ damper pedal is
pressed. Set this to OFF when you don’t want the Tone to respond to Hold1
messages.
REDAMPER#
(Tone Redamper Switch)
OFF, ON
If a Hold 1 message is received during the time between a note-off—when you
release the key—and the time at which the note actually disappears, any cur-
rently sounding notes will be sustained if Redamper is set to ON. To take ad-
vantage of this feature, you must also turn on the Tone Receive Hold 1 setting.
RCV PAN MODE#
(Tone Receive Pan Mode)
CONTINUOUS,
KEY-ON
CONTINUOUS: Pan messages are responded to immediately, instantly
changing the stereo position of the Tone.
KEY-ON: The stereo location of the Tone is changed only when the next note
is played. If a Pan message is received while a note is sounding, its stereo lo-
cation will not change.
ENV MODE#
(Tone Envelope Mode)
NO-SUS, SUSTAIN
When a loop-type waveform is selected, it normally continues 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-SUS.”
* If a one-shot type Wave is selected, it will not sustain even if this parameter is set
to “SUSTAIN.”
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PATCH SCALE TUN E
One set of Scale Tune settings can be created in Patch mode.
The selected scale applies to MIDI messages received from an external MIDI device as well as to local sound
generation.
*
Parameter
Value
Description
SCALE TUNE SWITCH
OFF, ON
Turn this on when you wish to use a tuning scale other than equal temperament. The XV-
2020 allows you to use temperaments other than equal temperament.
KEY C–B SCALE
(Key Scale C–B)
-64–+63
Adjusts the pitch of each note in one-cent steps (1/ 100th of a semitone) relative to its
equal-tempered pitch.
•
•
•
Equal Temperament
This scale divides an octave into 12 equal parts using the tuning system that is most widely used in
Western music.
Pure Temperament (Tonic is C)
With this tuning, the three fundamental chords sound richer compared to equal temperament. This
effect only applies to one key, and transposition can produce less-pleasing results.
Arabian Scale
In this scale, E and B are a quarter note lower, and C#, F# and G# are a quarter-note higher compared
to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F#
have a natural third-the interval between a major third and a minor third. On the XV-2020, you can
use Arabian temperament in the three keys of G, C and F.
•
Example: Tonic C
Note name
Equal tem-
perament
Pure
(tonic C)
Arabian scale
temperament
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
-8
+4
Eb
E
+16
-14
-2
-12
-51
-8
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
Mo re Ad va n ce d Ed itin g o f To n e s
You can edit the Tones in a Patch with a tremendous degree of detail. Editable parameters are separated
into parameter groups as follows.
•
•
•
•
•
WG
LFO
TVF
TVA
MFX
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Tip s fo r Ch o o sin g a W a ve fo rm
Because the XV-2020 is designed to create highly realistic sounds, the success of the editing process
depends to a large degree on the PCM waveforms upon which Tones are based. Therefore, if you try to
create a sound that’s totally different from the waveform(s) you’re working with, the desired result may
be difficult or impossible to achieve.
The XV-2020’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 its sound. Some of the XV-2020’s one-shot waveforms are sounds that are
complete in themselves, such as percussive instrument sounds. The XV-2020 also contains
many other one-shot waveforms that are elements of other sounds. These include attack
components such as piano-hammer sounds and guitar fret noises.
Looped: These waveforms include sounds with long decays as well as sustained sounds. With looped
waveforms, the latter part of the sound plays over and over for as long as the note is held,
allowing wave memory to be used more efficiently. The XV-2020’s looped waveforms also
include components of other sounds, such as piano-string resonant vibrations and the hollow
overtones of brass instruments.
The following diagram shows an example of a sound—an electric organ—that combines one-shot and
looped waveforms.
fig.1-09.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key-
click waveform (attack portion)
Resulting TVA ENV change
+
=
Key-off
Key-off
Notes for editing one-shot waveforms
You cannot give a one-shot waveform a longer decay—or make it into a sustaining sound—by using an
envelope. 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.
Notes for editing looped waveforms
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. The XV-2020
provides a variety of waveforms containing realistic acoustic instrument attacks. To obtain the maximum
realism when using these waveforms, it’s best to leave the filter wide-open during the attack so that all of
these important timbral changes are heard. If you use an envelope to modify the attack portion, you may not
achieve the result you want. Use enveloping to produce the desired changes in the decay portion of the sound.
fig.1-10.e
Looped Portion
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting tone change
If you try to make a waveform’s attack seem brighter by lowering the high-frequency content of its decay
using the TVF filter, consider the original timbral character of the waveform. If you’re making a part of the
sound brighter than the original waveform, you should first generate new upper harmonics not present in
the original waveform by using the Wave FXM Color and Wave FXM Depth parameters before filtering.
This will help you achieve the desired result. To make an entire waveform brighter, try applying an effect
such as an enhancer and equalizer before modifying the TVF parameter.
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PATCH W G (Pa tch W a ve Gro u p )
This set of parameters allows you to select the PCM waveform that serves as the basis for the currently
selected Tone, apply effects to the waveform, and control its pitch.
Parameter
Value
Description
WAVE GROUP
(Wave Group)
INT, EXP-A, EXP-B
Chooses the desired waveform’s group.
INT: Internal
EXP-A, B: Wave Expansion Boards A, B
* It’s not possible to select EXP-A, B unless a wave expansion board
is inserted into the corresponding slot.
WAVE NUMBER L
(Wave Number Left)
0001–1083
Chooses the desired waveform. You can choose a separate
waveform for the XV-2020’s left and right channels.
WAVE NUMBER R
(Wave Number Right)
* For monaural tones, assign a waveform to the L channel. No
sound will be heard if a waveform is set for only the R channel.
TONE DELAY
This produces a time delay between the moment a key is pressed (or released) and the moment the Tone
actually begins to sound. Since you can adjust the timing of each Tone in a Patch, you can create effects in
which pressing a single key produces two or more sounds occurring at different times. If you don’t wish to
use Tone Delay, set Tone Dly to NORMAL and Tone Delay Time to 0.
TONE DELAY MODE
NORMAL, HOLD, KEY-OFF-NOR,
KEY-OFF-DCY
Sets the manner in which the Tone sounds.
* If you’ve selected a Wave that is a decay-type sound (i.e., a sound
that fades away naturally even if the key is not released), selecting
KEY-OFF-NOR or KEY-OFF-DCY may result in no sound being
heard.
NORMAL: The Tone sounds after the
specified Delay Time.
HOLD: The Tone will only sound if the key is held for longer
than the specified Delay Time. If the key is released before the
Delay Time has elapsed, the Tone will not sound.
Tone does
not sound
Delay
Time
Delay Time
Delay Time
press key
release key
press key
release key press key
release key
KEY-OFF-NOR: The Tone doesn’t
sound while the key is being pressed, but
sounds after the specified Delay Time
when the key is released.
KEY-OFF-DCY: The Tone doesn’t sound while the key is be-
ing pressed, but sounds after the specified Delay Time when
the key is released. However, for this setting—unlike KEY-
OFF-NOR—the TVA envelope of the Tone begins when the
key is first pressed. As a result, in most cases, only the decay
portion of the sound is heard.
Delay
Time
Delay
Time
press key
release key
press key
release key
TONE DELAY TIME
0–127, note
Specifies the time after which the Tone sounds when using
Tone Delay. When the Structure Type parameter has a setting
of 2–10, the outputs of Tones 1 (3) and 2 (4) are combined with
Tone 2 (4). Tone 1 (or 3) settings are ignored.
Sixty-fourth-note
triplet
Thirty-second-note
triplet
Sixty-fourth note
Thirty-second note
Sixteenth-note
triplet
Dotted thirty-second
note
Eighth-note triplet
Dotted eighth note
Half note
Sixteenth note
Quarter-note
triplet
Dotted sixteenth
note
Eighth note
Quarter note
Half-note triplet
Dotted half note
Whole note
Whole-note triplet
Double-note triplet
Dotted half note
Double note
Dotted whole
note
GAIN
(Wave Gain)
-6, 0, +6, +12 dB
Specifies the gain (or amplitude) of the waveform. 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 highest value.
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Parameter
Value
Description
FXM ON
OFF, ON
Sets whether FXM will be used (ON) or not (OFF).
(Wave FXM Switch)
[FXM (Frequency Cross Modulation)]
FXM uses a specified waveform to apply frequency modula-
tion to the currently selected waveform, creating complex
overtones. This can be useful when creating wilder sounds or
sound effects.
TEMPO SYNC
(Wave Tempo Sync)
OFF, ON
1–4
Determines whether the waveform is synchronized (ON) or
not synchronized (OFF) to the Patch’s tempo.
FXM COLOR
(Wave FXM Color)
Specifies how FXM will perform its frequency modulation.
Higher settings result in a grainier sound, while lower settings
result in a more metallic sound.
FXM DEPTH
0–16
Specifies the depth of the modulation produced by FXM.
(Wave FXM Depth)
COARSE TUNE
(Tone Coarse Tune)
-48–+48
-50–+50
0–1200
Adjusts the pitch of the Tone in semitone steps over a range of
+/ -4 octaves.
FINE TUNE
(Tone Fine Tune)
Adjusts the pitch of the Tone in 1-cent steps (1/ 100th of a semi-
tone) over a range of half a semitone up or down.
RANDOM PITCH
(Tone Random Pitch Depth)
Specifies the width of random pitch deviation that occurs each
time a key is pressed. If you don’t want a random pitch
change, set this parameter to 0. The setting is adjustable in
units of 1 cent (1/ 100th of a semitone).
PITCH KF
(Wave Pitch Key follow)
-200–+200
Sets the amount of pitch change that occurs per octave on the
keyboard. If you want the pitch to change by one octave for
each 12 keys on the keyboard—as on traditional keyboard in-
struments—set this parameter to +100. For a two-octave pitch
change over the span of 12 keys, set this parameter to +200.
Negative (-) values cause the Tone’s pitch to go down as you
go up the keyboard. If you want the same pitch to sound re-
gardless of what key is pressed, set this parameter to 0.
+200
Pitch
+100
+50
0
-50
-200
C6
-100
C7
Key
C1
C2
C3
C4
C5
PITCH ENVELOPE
T1
T2
L1
T3
T4
These parameters determine the amount of pitch enveloping—changes
to your basic pitch settings that occur over time—the effect of velocity on
the pitch envelope, and the basic characteristics of the pitch envelope it-
self.
L0
L3
Pitch
Time
key is
pressed
key is
released
L2
L4
ENV DEPTH
(Pitch Envelope Depth)
-12–+12
Determines the amount of pitch enveloping to be used—high-
er settings result in more extreme enveloping. Negative (-) set-
tings invert the direction of the changes made by the Pitch.
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Parameter
Value
Description
ENV TIME KF
(Pitch Envelope Time Key-
follow)
-100–+100
Use this parameter when you want the keyboard location of
notes to affect times T2–T4 of the pitch envelope. Higher val-
ues for this parameter cause more extreme changes to the T2–
T4 settings as you play further away from Middle C (C4)—at
Middle C itself, your original T2–T4 settings are in effect. Pos-
itive (+) settings cause the times to be shortened for notes
above Middle C. Negative (-) settings cause the times to be
lengthened for notes above Middle C.
Time
+100
+50
0
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
ENV VEL SENS
(Pitch Envelope Velocity
Sensitivity)
-63–+63
Adjust this parameter when you want your keyboard playing
dynamics (velocity) to affect the amount of pitch enveloping.
With higher settings, there is a greater difference in the
amount of enveloping when notes are played softly or when
they’re played hard. Negative (-) settings reverse the direction
of change.
ENV T1 SENS
(Pitch Envelope Time 1
Velocity Sensitivity)
-63–+63
-63–+63
Use this parameter when you want keyboard playing dynam-
ics to affect T1 (Time 1) of the pitch envelope. If you want T1
to be sped 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.
ENV T4 SENS
(Pitch Envelope Time 4
Velocity Sensitivity)
Use this parameter when you want key release speed to affect
T4 (Time 4) of the pitch envelope. If you want T4 to be sped 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.
ENV T1–T4
(Pitch Envelope Time1–4)
0–127
Specify the pitch envelope times. Higher settings lengthen the
time until the next pitch is reached. (For example, T2 is the
time over which the pitch changes from L1 to L2.)
ENV L0–L4
(Pitch Envelope Level 0–4)
-63–+63
Specify the pitch envelope levels. They determine how much
the pitch changes from the reference pitch (the value set with
Coarse Tune and Fine Tune) at each point. Positive (+) settings
cause the pitch to be higher than the standard pitch, and neg-
ative (-) settings cause it to be lower.
PATCH LFO (Ap p ly in g Vib ra to o r Tre m o lo )
The LFO (Low Frequency Oscillator) can alter various Tone settings in a back-and-forth, cyclic manner.
Each Tone has two LFOs, and each can apply the desired amount of repetitive change to the Tone’s Pitch,
TVF cutoff frequency, TVA Level and TVA Pan settings. This can be used as the Matrix Control source (p.
How to Use the LFO
Applying an LFO to the Tone’s Pitch settings creates vibrato, applying it to its TVF cutoff frequency creates
a wah-wah, and applying it to its TVA Level creates tremolo. When an LFO is applied to the Tone’s TVA
Pan, the sound moves back and forth, from one side to another, in the stereo field.
Depending on your settings, an LFO can also be used to cyclically exchange two Tones. For example, if
you wish to shift back and forth between Tones 1 and 2, select the same LFO settings for both, but set their
LFO TVA Depth settings to opposite polarities—set one to a + value, and the other to a - value.
*
LFO Since both LFOs have the same parameters, the following explanations apply to both.
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Parameter
Value
Description
LFO1(2) WAVEFORM
(LFO Waveform)
SIN, TRI, SAW-UP, SAW-DW, SQR, RND,
BEND-UP, BEND-DW, TRP, S&H, CHS
Chooses the waveform the LFO is to use.
SIN: sine wave, TRI: triangle wave, SAW-UP: sawtooth
wave,
SAW-DW: sawtooth wave (negative polarity),
SQR: square wave, RND: random wave,
BEND-UP: Once the attack of the waveform output by the
LFO is allowed to develop in standard fashion, the wave-
form then continues without further change.
BEND-DW: Once the decay of the waveform output by the
LFO is allowed to develop in standard fashion, the wave-
form then continues without further change.
TRP: trapezoidal wave,
S&H: sample & hold wave (LFO value is changed one time
per cycle),
CHS: chaos wave
* When setting BEND-UP or BEND-DW, set the Key Sync pa-
rameter to “ON.” If this is “OFF,” BEND-UP and BEND-DW
will have no effect.
LFO1(2) OFFSET
-100–+100
Adjusts the basic width of the LFO waveform.
LFO1(2) RATE VALUE
0–127, note
Adjusts the basic modulation rate, or speed, of the LFO.
* The Chaos waveform has no wavelength. When the Chaos wave-
form is selected, the Rate setting has no effect.
Sixty-fourth-note
triplet
Thirty-second-note
triplet
Sixty-fourth note
Thirty-second note
Eighth-note triplet
Dotted eighth note
Half note
Sixteenth-note
triplet
Dotted thirty-second
note
Sixteenth note
Quarter-note
triplet
Dotted sixteenth
note
Eighth note
Quarter note
Half-note triplet
Dotted half note
Whole note
Whole-note triplet
Double-note triplet
Dotted half note
Double note
Dotted whole
note
LFO1(2) RATE DETUNE
(LFO1 Rate Detune)
0–127
This setting allows you to adjust the tuning of the LFO wave-
form.
LFO1(2) DELAY TIME
(LFO Delay Time)
0–127
Adjusts the time over which the LFO rises to its full effect or
fades away. (Refer to the diagrams for Fade Mode.)
LFO1(2) DELAY KEY
FOLLOW
(LFO Delay Keyfollow)
-100–+100
Adjusts the value for the LFO1/ LFO2 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 in-
crease the elapsed time, select a negative value. Higher values
result in greater change. If you don’t want the elapsed time
before the LFO effect is applied to change according to the
key pressed, set this to “0.”
* Refer to the diagrams for Pitch Envelope Time Keyfollow.)
LFO1(2) FADE MODE
(LFO Fade Mode)
ON-IN, ON-OUT, OFF-IN, OFF-OUT
Sets how the LFO is applied.
ON-IN: The LFO fades in after the key is
ON-OUT: The LFO is immediately applied when the key is
pressed.
pressed, and then fades out.
Delay
Time
Fade
Time
high (more)
Delay Time
Fade Time
high (more)
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Depth
key is
pressed
key is
pressed
low (less)
low (less)
OFF-IN: The LFO fades in after the key is
OFF-OUT: The LFO is immediately applied when the key is
released.
pressed, and begins fading out when the key is released.
Delay
Time
Fade
Time
Delay
Time
Fade
Time
high (more)
high (more)
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
WG Pitch /
F Cutoff Frequency /
TVA Level / TVA Pan
key is
key is
key is
pressed
key is
released
pressed released
low (less)
low (less)
LFO1(2) FADE TIME
(LFO Fade Time)
0–127
Adjusts the time over which the LFO rises to its full effect or
fades away. (Refer to the diagrams for Fade Mode.)
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Parameter
Value
Description
LFO1(2) KEY SYNC
(LFO Key Sync)
OFF, ON
Sets whether you want the LFO cycle to start in sync with the
timing of a key press (ON) or not (OFF).
LFO1(2) PITCH DEPTH
LFO1(2) TVF DEPTH
-63–+63
-63–+63
Adjusts how much the LFO affects the Tone’s pitch.
Adjusts how much the LFO affects the Tone’s TVF cutoff fre-
quency.
LFO1(2) TVA DEPTH
LFO1(2) PAN DEPTH
-63–+63
-63–+63
Adjusts how much the LFO affects the Tone’s TVA Level.
Adjusts how much the LFO affects the Tone’s TVA Pan.
*
Noise may result from making the LFO PAN DEPTH too deep. To prevent noise, you can either lower the value
for the PAN DEPTH, or lower the LFO Rate.
PATCH TVF (Ch a n g in g th e Brig h tn e ss w ith a Filte r)
The settings for the TVF (Time Variant Filter) allow you to change a Tone’s timbral content by altering its
brightness or thickness.
Parameter
Value
Description
FILTER TYPE
OFF, LPF, BPF,
HPF, PKG,
LPF2, LPF3
Selects a filter type. A filter typically reduces, or attenuates, a specific frequency
range within a Tone in order to accentuate its other frequencies.
OFF: No filter is used.
LPF: A Low Pass Filter reduces the volume of frequencies above the cutoff fre-
quency in order to 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 is most effective when creating sounds with a
strong character since it can accentuate a desired range of frequencies anywhere
in the sound.
HPF: A High Pass Filter reduces the volume of the frequencies below the cutoff
frequency. This is suitable for creating percussive sounds by rolling of their low-
er frequencies, thus 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.
LPF2: Low Pass Filter 2. This reduces the volume of all frequencies above the
cutoff frequency. This differs from LPF in that you can control the amount of the
reduction using the TVF ENVELOPE settings while still maintaining a fixed cut-
off frequency. This can be very effective with acoustic-instrument-based Tones,
since nothing is done to weaken the power and energy of the sound.
* This disables the Resonance setting.
LPF3: Low Pass Filter 3 reduces the volume of frequencies above the cutoff fre-
quency. While similar to LPF2, it reduces the frequencies more gently than LPF2.
This can also be effective with acoustic-instrument-based Tones.
* This disables the Resonance setting.
CUTOFF
(Cutoff Frequency)
0–127
Adjusts the frequency at which the filter begins to have an effect on the waveform’s
frequency components. With LPF/LPF2/LPF3 selected for the Filter Type param-
eter, lower cutoff frequency settings reduce a Tone’s upper harmonics for a more
rounded, warmer sound. Higher settings make it sound brighter. When Filter Type
is BPF, the cutoff frequency setting determines the range of frequencies within the
Tone that will be heard. This can be useful when creating sounds that need to stand
out. When Filter Type is HPF, higher settings of the cutoff frequency decrease the
level of the Tone’s low frequencies, preserving its brighter qualities. When Filter
Type is PKG, the cutoff frequency setting determines the range of frequencies to be
emphasized.
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Parameter
Value
Description
RES
(Resonance)
0–127
Increases the level of the cutoff frequency itself to add a popular classic synth char-
acter to the sound. Excessively high settings can produce oscillation, causing the
sound to distort.
High
LPF
BPF
HPF
PKG
Level
Frequency
Cutoff frequency
Low
RES VEL SENS
(TVF resonance velocity
sensitivity)
-63–+63
Use this parameter when you want velocity to affect the amount of Resonance.
With higher settings, there is a greater difference in the amount of Resonance be-
tween softly and strongly played notes. Negative (-) values reverse the direction of
the change.
CUTOFF KF
(Cutoff Key follow)
-200–+200
Use this parameter if you want the cutoff frequency to change according to the key
that’s pressed. At Middle C (C4), the original Cutoff value is used. Positive (+) set-
tings cause the cutoff frequency to rise for notes higher than Middle C, and nega-
tive (-) settings cause the cutoff frequency to fall for notes higher than Middle C.
Higher settings produce greater amounts of change to the original Cutoff setting.
Cutoff frequency
+200
+100
+50
0
(Octave)
+2
+1
o
-1
-2
-50
-200
C6
-100
C1
C2
C3
C4
C5
C7
Key
VEL CURVE
(Cutoff Frequency Velocity
Curve)
FIXED, 1–7
Chooses one of seven curves that determine how keyboard playing dynamics (ve-
locity) influence the Tone’s cutoff frequency. When V-Curve is set to “FIXED,” the
cutoff frequency remains unchanged regardless of how hard or soft the keys are
played.
1
2
3
4
5
6
7
VEL SENS
(Cutoff Frequency Velocity Sensi-
tivity)
-63–+63
Sets the amount of change to the Cutoff setting to be applied as a result of changes
in playing velocity. With higher settings, there is a greater amount of change be-
tween softly and strongly played notes. Negative (-) settings reverse the direction
of change.
TVF ENVELOPE
T1
T2
L1
T3
T4
L0
L3
L2
L4
Cutoff
Frequency
Time
key is
pressed
key is
released
ENV DEPTH
(TVF envelope depth)
-63–+63
This adjusts the amount of filter enveloping. Higher settings produce more change.
Negative (-) values invert the effect of the TVF envelope.
ENV TIME KF
(TVF Envelope Time Key follow)
-100–+100
Use this parameter when you want a note’s keyboard position to affect times T2–
T4 of the TVF envelope. Higher settings change the times by a greater amount as
you move away from Middle C (C4) - at Middle C, the original T1-T4 settings are
in effect. Positive (+) settings cause the times to shorten as you play above Middle
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Parameter
Value
Description
ENV VEL CURVE
(TVF envelope velocity curve)
FIXED, 1–7
This selects one of seven velocity curves that determine how velocity will affect the
depth of the TVF Envelope. When set to “FIXED,” the TVF envelope depth remains
unchanged, regardless of how hard or soft you play.
ENV VEL SENS
(TVF envelope velocity
sensitivity)
-63–+63
-63–+63
-63–+63
Use this parameter when you want keyboard playing dynamics (velocity) to affect
the depth of the TVF Envelope. With higher settings, there is a greater difference
in the TVF envelope depth when you play softly or hard. Negative (-) settings re-
verse the direction of change.
ENV T1 SENS
(TVF Envelope Time 1 Velocity
Sensitivity)
Use this parameter when you want keyboard playing dynamics to affect T1 (Time
1) of the TVF envelope. If you want T1 to be sped 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.
ENV T4 SENS
(TVF Envelope Time 4 Velocity
Sensitivity)
Use this parameter when you want key release speed to affect T4 (Time 4) of the
TVF envelope. If you want T4 to be sped up for quickly released notes, set this pa-
rameter to a positive (+) value. If you want it to be slowed down, set this to a neg-
ative (-) value.
ENV T1–T4
(TVF Envelope Time 1–4)
0–127
0–127
Specify the TVF envelope times. Higher settings lengthen the time until the next
cutoff frequency level is reached. (For example, T2 is the time over which L1 chang-
es to L2.)
ENV L0–L4
(TVF Envelope Level 0–4)
Specify the TVF envelope levels. These settings specify how the cutoff frequency
changes at each point, relative to the standard cutoff frequency.
PATCH TVA (Ch a n g in g th e Vo lu m e )
The TVA (Time Variant Amplifier) controls volume changes to the Tone, as well as its stereo positioning.
Parameter
Value
Description
LEVEL
(Tone Level)
0–127
Sets the Tone’s basic volume. This setting is useful primarily for adjusting the volume
balance between Tones in a Patch.
ting, raising or lowering the Tone level settings of its individual Tones by the selected
amount.
VEL CURVE
(TVA Level Velocity Curve)
FIXED, 1–7
Chooses one of seven curves that determine how keyboard playing dynamics (veloc-
ity) influence the Tone’s volume. When set to “FIXED,” the Tone’s volume not affect-
ed by the force with which the keyboard is played.
1
2
3
4
5
6
7
VEL SENS
(TVA Level Velocity Sensitivity)
-63–+63
Use this setting when you want keyboard touch (velocity) to affect the Tone volume.
Set this to a positive value to have the changes in tone volume increase the more force-
fully the keys are played; to make the Tone play more softly as you play harder, set
this to a negative value.
BIAS
Use the Bias parameter when you want the position of notes on a keyboard to affect the TVA level.
LOWER
LOWER&UPPER
UPPER
Level
ALL
Level
–
0
+
0
–
+
0
–
+
+
0
–
+
0
–
Level
Level
0
–
+
Key
Key
Key
Key
C-1
G9
C-1
G9
C-1
G9
C-1
G9
Bias Point
Bias Point
Bias Point
Bias Point
BIAS LEVEL
BIAS POINT
-100–+100
C-1–G9
Adjusts the slope of the volume change that occurs in the selected Bias Direction.
Higher settings produce greater amounts of change to the Tone’s volume. Negative (-
) settings reverse the direction of the change.
Chooses the MIDI key at which the Tone’s volume begins to change.
BIAS DIRECTION
LOWER,
UPPER,
LO&UP,
ALL
Determines whether the volume of notes above or below the Bias point—or both—
changes according to their distance from the Bias Point.
LOWER: Notes below the Bias Point are affected.
UPPER: Notes above the Bias Point are affected.
LO&UP: Notes below and above the Bias Point are affected.
ALL: The volume of notes across the entire keyboard are biased according to the
Bias Level slope, based on their distance from the Bias Point.
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Parameter
Value
Description
PAN
(Tone Pan)
L64–63R
Specifies the stereo position of the Tone. L64 places the Tone hard left, 0 puts it dead-
center and 63R pans it hard right.
* The overall panning of the entire Patch is set by the Patch Pan parameter (PATCH COM-
the selected amount.
PAN KF
(Tone Pan Key follow)
-100–+100
Use this parameter when you want each note’s keyboard position to affect its stereo
location. Higher settings cause a greater shifting of the Tone’s original pan position as
you move further away from Middle C (C4), where the original stereo TVA Pan value
remains in effect. Positive (+) settings cause notes above Middle C to be panned right-
ward. Negative (-) settings cause them to be panned leftward.
Pan
+100
+50
0
R
o
-50
-100
C7
L
Key
C1
C2
C3
C4
C5
C6
RANDOM PAN DEPTH
(Tone Random Pan Depth)
0–63
Use this parameter to activate random panning, note-by-note. Higher values result in
more extreme fluctuations in the Tone’s stereo placement.
ALT PAN DEPTH
(Tone Alternate Pan Depth)
L63–63R
This setting causes panning to be alternated between left and right each time a key is
pressed. Higher values result in a greater left/ right width. You can select the stereo
placement of the first key using this parameter—its opposite is used for the second
note, and so on back and forth. If you want to alternate the pan position of two Tones,
set them to the exact opposite L and R settings.
TVA ENVELOPE
This specifies the manner in which keyboard ve-
locity affects the times of the TVA envelope.
T1 T2
T3
T4
Level
L1
L2
L3
Time
key is pressed
key is released
ENV TIME KF
(TVA Envelope Time Key follow)
-100–+100
Use this parameter when you want a note’s keyboard position to affect times T2–T4 of
the TVA envelope. Higher settings change the times by a greater amount as you move
away from Middle C (C4)—at Middle C, the original T1–T4 settings are in effect. Pos-
itive (+) settings cause the times to shorten as you play above Middle C. Negative (-)
ENV T1 SENS
(TVA Envelope Time 1 Velocity
Sensitivity)
-63–+63
-63–+63
Use this parameter when you want keyboard playing dynamics to affect T1 (Time 1)
of the TVA envelope. If you want T1 to be sped up for strongly played notes, set this
parameter to a positive (+) value. If you want it to be slowed down, set this to a nega-
tive (-) value.
ENV T4 SENS
(TVA Envelope Time 4 Velocity
Sensitivity)
se this parameter when you want key release speed to affect T4 (Time 4) of the TVA
envelope. If you want T4 to be sped 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.
ENV T1–T4
(TVA Envelope Time 1–4)
0–127
0–127
Specify the TVA envelope times. Higher settings lengthen the time until the next vol-
ume level is reached. (For example, T2 is the time over which L1 changes to L2.)
ENV L1–L3
(TVA Envelope Level 1–3)
Specify the TVA envelope levels. These settings specify how the volume changes at
each point, relative to the standard volume.
EFFECTS
SEND LEVEL DRY
(Dry Send Level)
SEND LEVEL CHO
(Tone Chorus Send Level)
SEND LEVEL REV
(Tone Reverb Send Level)
OUTPUT ASSIGN
(Tone Output Assign)
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PATCH MFX (Pa tch Mu lti-Effe cts)
Parameter
Description
TYPE
(Multi-Effects Type)
SEND LEVEL DRY
(Multi-Effects Dry Send Level)
SEND LEVEL CHO
(Multi-Effects Chorus Send Level)
SEND LEVEL REV
(Multi-Effects Reverb Send Level)
OUTPUT ASSIGN
(Multi-Effects Output Assign)
CONTROL SOURCE 1–4
(Multi-Effects Control Source 1–4)
DESTINATION 1–4
(Multi-Effects Control Destination 1–4)
SENS 1–4
(Multi-Effects Control Sensitivity 1-4)
PATCH CHO RUS
Parameter
Description
TYPE
(Chorus Type)
LEVEL
(Chorus Level)
OUTPUT SELECT
(Chorus Output Select)
PATCH REVERB
Parameter
Description
TYPE
(Reverb Type)
LEVEL
(Reverb Level)
Ad ju stin g Effe ct Se ttin g s
Sa vin g Pa tch e s Yo u Cre a te
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Cre a tin g a Rh y th m Se t
Ho w Pe rcu ssio n In stru m e n ts Are O rg a n ize d
A Rhythm Set is a collection of Rhythm Tones, each of which represents a percussion instrument played
on a single key. An instrument consists of the following four elements.
fig.2-01.e
Rhythm Set
Note Number 98 (D7)
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
TVF
TVA
Envelope
Envelope
Envelope
WG (Wave Generator)
This specifies the PCM waveform (or “wave”) that forms the basis of the Rhythm Tone - four waveforms
can be assigned to each Rhythm Tone. You can also determine how the pitch of the Rhythm Tone will
change.
All Rhythm Sets built into the XV-2020 consist of Rhythm Tones based on these waveforms.
TVF (Time Variant Filter)
This sets how the frequency characteristics of the Rhythm Tone will change.
TVA (Time Variant Amplifier)
This sets how the Rhythm Tone’s volume and stereo positioning will change.
Envelope
An envelope applies changes to the Rhythm Tone over time. There are separate envelopes for pitch, TVF
(filter) and TVA (volume). For example, you would use the TVA Envelope to modify the way in which the
Rhythm Tone attacks and decays.
Ch o o sin g th e To n e s Th a t So u n d (To n e O n / O ff)
Co n firm in g To n e s
The RHYTHM indicator change from solidly lit to flashing whenever a parameter
is edited.If you turn off the power or choose another Rhythm set while the
indicator is blinked, you new Rhythm sets settings will be lost. If you wish to
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Cre a tin g a Rh y th m Se t
Rh y th m Se t Pa ra m e te rs
RHYTHM CO MMO N (Se ttin g s Co m m o n to th e En tire Rh y th m Se t)
Parameter
Value
Description
RHYTHM NAME
(Rhythm set name)
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ (
) * + , - . / : ; < = > ? @ [ ¥ ] ^ _ ` |
You can name a Rhythm Set using up to 12 alphanumeric characters.
When using the XV editor, click
on the left side to name the Tone.
KEY NAME
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ (
You can name a percussion sound (key) using up to 12 alphanumeric
) * + , - . / : ; < = > ? @ [ ¥ ] ^ _ ` |
characters. When using the XV editor, click
the Tone.
on the left side to name
LEVEL
0–127
This sets the overall volume of the Rhythm Set.
(Rhythm set level)
OUTPUT ASSGIN
(Rhythm output assign)
MFX, A, 1, 2, TONE
This sets the output destination of the Rhythm Set.
MFX: The Rhythm Set is sent into the Multi-Effects.
A: Output from OUTPUT.
1: Output from L.
2: Output from R.
TONE: Each Rhythm Tone in the Rhythm Set is sent to its pro-
grammed output destination.
CLOCK SOURCE
(Rhythm set clock source)
RHYTHM, SYSTEM
The LFO cycle, M-FX changes, phrase loop (break beats), and Tone de-
lay time can be synchronized to a clock, or tempo. The Clock Source set-
ting selects the timing reference to be used by the Rhythm Set.
RHYTHM: The Rhythm Set Tempo will be used.
SYSTEM: The global System Tempo or clock messages received
from an external sequencer will be used.
TEMPO
(Rhythm set tempo)
20–250
When Clock Source is set to “RHYTHM,” this setting establishes the
Rhythm Set’s tempo.
* Clock messages for the Rhythm Tempo are not transmitted from the MIDI
OUT jack.
Se ttin g u p In d ivid u a l Rh y th m To n e s
Parameters that can be set for each of the percussion instruments (Rhythm Tones) in Rhythm Sets are
organized into the Parameter Groups listed below.
•
•
•
•
•
•
EFFECTS:
RHYTHM CONTROL:
PITCH:
TVF:
TVA:
Tip s fo r Ch o o sin g Rh y th m To n e W a ve fo rm s
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Cre a tin g a Rh y th m Se t
Rh y th m Pa ra m e te r
RHYTHM KEY VELO CITY RAN GE
*
Parameters that can be set independently for each Waveform are indicated by “#.”
Parameter
Value
Description
VELOCITY CONTROL
OFF, ON,
RANDOM
This determines whether Velocity range settings will be recognized (ON), or ignored
(OFF). When set to RND, the Rhythm Set’s constituent Waves will sound randomly, re-
gardless of any Velocity messages.
FADE LOWER#
(Velocity Fade Width Lower)
0–127
This determines what will happen to the waveform’s level when it is played at a velocity
lower than its specified velocity range. Higher settings produce a more gradual change in
volume. If you don’t want notes played outside the specified velocity range to be heard at
all, set this to 0.
LOWER#
(Velocity Range Lower)
1–UPPER
This sets the lowest velocity at which the waveform will sound. This feature is useful
when you want different waveforms to be heard depending on how hard you play the
Rhythm Set.
UPPER#
(Velocity Range Upper)
LOWER–127
This sets the highest velocity at which the waveform will sound. This feature is useful
when you want different waveforms to be heard depending on how hard you play the
Rhythm Set.
* It is not possible to set the Lower value higher than the Upper value, or the Upper value below
the Lower value.
FADE UPPER#
0–127
This determines what will happen to the waveform’s level when it is played at a velocity
(Velocity Fade Width Upper)
upper than its specified velocity range. Higher settings produce a more gradual change in
volume. If you don’t want notes played outside the specified velocity range to be heard at
all, set this to 0.
Level
Velocity
1
Lower
L.Fade value
Upper
U.Fade value
RHYTHM KEY W MT (W a ve Mix Ta b le )
With the XV-2020, up to four stereo Waves can be assigned to a single Rhythm Tone. You can select the
way tones sound according to the force with which the keys are played, thus allowing you to create
Rhythm Tones featuring great expressive power. This function is called (Wave Mix Table).
*
Parameters that can be set independently for each Waveform are indicated by “#.”
Parameter
Value
Description
WAVE GROUP#
INT, EXP-A,
EXP-B
This selects the desired waveform’s group.
INT: Internal
EXP-A, B: Wave Expansion Board A, B
* It is not possible to select a Group of a Wave Expansion Board that is not installed.
WAVE NUMBER L#
(Wave number left)
0001–1083
This selects the desired waveform by its number. You can choose a separate waveform
for each of the XV-2020’s left and right channels.
WAVE NUMBER R#
(Wave number right)
* For monaural tones, assign a waveform to the L channel. No sound will be heard if a waveform
is set for only the R channel.
TEMPO SYNC#
(Wave tempo sync)
OFF, ON
This determines whether the waveform is synchronized (ON) or not synchronized
(OFF) to the Rhythm Set’s tempo.
GAIN#
(Wave gain)
-6, 0, +6, +12 dB This specifies the gain (or amplitude) of the waveform. The value changes in 6 dB (deci-
bel) 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.
LEVEL#
(Wave level)
0–127
This adjusts the volume of each of the Rhythm Tone’s waveforms to establish the de-
sired volume balance between the waves.
* The overall volume of each waveform is determined by the Rhythm Tone Level setting (TVA
PAN#
(Wave pan)
L64–63R
This establishes the stereo location of the waveform. L64 places it hard left, 0 outs it
dead-center and 63R pans it hard right.
offsetting the WMT Wave Pan value.
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Parameter
Value
Description
RANDOM PAN#
(Wave random pan switch)
OFF, ON
Use this setting to cause the waveform’s panning to change randomly each time a key
is pressed (ON) or not (OFF). The range of the panning change is set by the Tone Ran-
ALT PAN#
(Wave alternate pan switch)
OFF, ON, REV
tings, or to REVERSE when you want the panning reversed. If you do not want the pan-
ning to change each time a key is pressed, set this to OFF.
COARSE TUNE#
(Wave coarse tune)
-48–+48
-50–+50
OFF, ON
This adjusts the pitch of Rhythm Tone in semitone steps (-4– +4 octaves).
FINE TUNE#
(Wave fine tune)
This adjusts the pitch of the Rhythm Tone in 1-cent steps (1/ 100th of a semitone) over a
range of half a semitone up or down.
FXM ON#
This sets whether FXM will be used (ON) or not (OFF).
(Wave FXM switch)
[FXM (Frequency Cross Modulation)]
FXM uses a specified waveform to apply frequency modulation to the currently select-
ed waveform, creating complex overtones. This can be useful when creating wilder
sounds or sound effects.
FXM COLOR#
(Wave FXM color)
1–4
This specifies how FXM will perform its frequency modulation. Higher settings result
in a grainier sound, while lower settings result in a more metallic sound.
FXM DEPTH#
0–16
This specifies the depth of the modulation produced by FXM.
(Wave FXM depth)
RHYTHM KEY PITCH (Ch a n g in g Pitch )
Parameter
Value
Description
COARSE TUNE
C-1–G9
This selects the basic pitch at which the Rhythm Tone will play.
(Rhythm tone coarse tune)
FINE TUNE
(Rhythm tone fine tune)
-50–+50
0–1200
This adjusts the pitch of the percussion instrument sound in 1-cent steps (1/ 100th of
a semitone) over a range of half a semitone up or down.
RANDOM PITCH
(Random pitch depth)
This specifies the width of random pitch deviation that will occur each time a key is
pressed. If you don’t want random pitch changes, set it to 0. The parameter can be ad-
justed in units of 1 cent (1/ 100th of a semitone).
PITCH ENVELOPE
These parameters determine the amount of pitch
enveloping—changes to your basic pitch settings
that occur over time—the effect of velocity on the
pitch envelope, and the basic characteristics of the
pitch envelope itself.
T1
T2
L1
T3
T4
L0
Pitch
L3
Time
key is
pressed
key is
released
L2
L4
ENV DEPTH
(Pitch envelope depth)
-12–+12
-63–+63
This determines the amount of pitch enveloping to be used—higher settings result in
more extreme enveloping. Negative (-) settings invert the direction of the changes
made by the Pitch Envelope.
ENV VEL SENS
(Pitch envelope velocity sensitivity)
Adjust this parameter when you want your keyboard playing dynamics (velocity) to
affect the amount of pitch enveloping. With higher settings, there will be a greater dif-
ference in the amount of enveloping when notes are played softly or when they’re
played hard. Negative (-) settings will reverse the direction of change.
ENV T1 SENS
(Pitch envelope time 1 velocity sen-
sitivity)
-63–+63
-63–+63
Use this parameter when you want keyboard playing dynamics (velocity) to affect T1
(Time 1) of the pitch envelope. With higher settings, the T1 value will change more
significantly depending on whether you play softly or with greater force. With posi-
tive (+) settings, greater keyboard velocity will reduce the T1 setting. With negative (-
) settings, greater keyboard velocity will increase the T1 setting.
ENV T4 SENS
(Pitch envelope time 4 velocity sen-
sitivity)
Use this parameter when you want key-off velocity—the speed at which you release
a key—to affect T4 (Time 4) of the pitch envelope. With higher settings, the T4 value
will change more significantly depending on whether you release the key slowly or
quickly. With positive (+) settings, faster key-off velocity will reduce the T4 setting.
With negative (-) settings, faster key-off velocity will increase the T4 setting.
ENV T1–T4
(Pitch envelope time 1–4)
0–127
Specify the pitch envelope times. Higher settings lengthen the time until the next pitch
is reached. (For example, T2 is the time over which the pitch changes from L1 to L2.)
ENV L0–L4
(Pitch envelope level 0–4)
-63–+63
Specify the pitch envelope levels. They determine how much the pitch changes from
the reference pitch (the value set with Coarse Tune and Fine Tune) at each point. Pos-
itive (+) settings cause the pitch to be higher than the standard pitch, and negative (-)
settings cause it to be lower.
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RHYTHM KEY TVF (Mo d ify in g th e Brig h tn e ss o f a So u n d w ith a Filte r)
The settings for the TVF (Time Variant Filter) allow you to change a Rhythm Tone’s timbral content by
altering its brightness or thickness.
Parameter
Value
Description
FILTER TYPE
(Filter type)
OFF, LPF,
BPF, HPF,
PKG,
This selects a filter type. A filter typically reduces, or attenuates, a specific frequency
range within a Tone in order to accentuate its other frequencies.
OFF: No filter is used.
LPF2,
LPF3
LPF: A Low Pass Filter reduces the volume of frequencies above the cutoff frequency
in order to round off, or un-brighten, the sound. This is the most common filter used
in synthesizers.
BPF: A Band Pass Filter reduces the volume of frequencies below and above the cutoff
frequency range. This is most effective when creating sounds with strong characteris-
tics since it can accentuate a desired range of frequencies anywhere in the sound.
HPF: A High Pass Filter reduces the volume of the frequencies below the cutoff fre-
quency. This is suitable for creating percussive sounds by rolling of their lower fre-
quencies, thus 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.
LPF2: Low Pass Filter 2. This reduces the volume of all frequencies above the cutoff
frequency. This differs from LPF in that you can control the amount of the reduction
using the TVF ENVELOPE settings while still maintaining a fixed cutoff frequency.
This can be very effective with acoustic-instrument-based Tones, since nothing is done
to weaken the power and energy of the sound.
* This disables the Resonance setting.
LPF3: Low Pass Filter 3 reduces the volume of frequencies above the cutoff frequency.
While similar to LPF2, it filter reduces the frequencies more gently than LPF2. This can
be very effective with acoustic-instrument-based Tones, since nothing is done to weak-
en the power and energy of the sound.
* This disables the Resonance setting.
CUTOFF
(Cutoff frequency)
0–127
This selects the frequency at which the filter begins to have an effect on the waveform’s
frequency components. With LPF/LPF2/LPF3 selected for the Filter Type parameter,
lower cutoff frequency settings reduce a Rhythm Tone’s upper harmonics for a more
rounded, warmer sound. Higher settings make it sound brighter.
When Filter Type is BPF, the cutoff frequency setting determines the range of frequencies
within the Rhythm Tone that will be heard. This can be useful when creating distinctive
sounds. When Filter Type is HPF, higher settings of the cutoff frequency decrease the lev-
el of the Rhythm Tone’s low frequencies, preserving its brighter qualities. When Filter
Type is PKG, the cutoff frequency setting determines the range of frequencies to be em-
phasized.
RES
0–127
This increases the level of the cutoff frequency to add a popular classic synth character
(Resonance)
to the sound. Excessively high settings can produce oscillation, causing the sound to dis-
tort.
High
LPF
BPF
HPF
PKG
Level
Frequency
Cutoff frequency
Low
TVF VELOCITY
This sets the amount of change to the original cutoff frequency in response to differences in velocity, as well as the velocity response curve
and velocity’s effect on Resonance.
RES VEL SENS
(TVF resonance velocity
sensitivity)
-63–+63
Use this parameter when you want velocity to affect the amount of Resonance. With
higher settings, there is a greater difference in the amount of Resonance between softly
and strongly played notes. Negative (-) values reverse the direction of the change.
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Parameter
Value
Description
VEL CURVE
(TVF cutoff velocity curve)
FIXED, 1–7
This selects one of seven curves that determine how keyboard playing dynamics (veloc-
ity) influence the Rhythm Tone’s cutoff frequency. When V-Curve is set to “FIXED,” the
cutoff frequency remains unchanged regardless of how hard or soft the keys are played.
1
2
3
4
5
6
7
VEL SENS
(TVF cutoff velocity sensitivity)
-63–+63
This sets the amount of change to the Cutoff setting to be applied as a result of changes
in playing velocity. With higher settings, there is a greater amount of change between
softly and strongly played notes. Negative (-) settings reverse the direction of change.
TVF ENVELOPE
These parameters determine the amount of filter enveloping—changes to your original
cutoff frequency setting that occur over time—the effect of velocity on the TVF envelope,
and the basic characteristics of the TVF envelope itself.
T1
T2
L1
T3
T4
L0
L3
L2
Cutoff
L4
Frequency
Time
key is
pressed
key is
released
ENV DEPTH
(TVF envelope depth)
-63–+63
This adjusts the amount of filter enveloping. Higher settings produce more change. Neg-
ative (-) values invert the effect of the TVF envelope.
ENV VEL CURVE
(TVF envelope velocity curve)
FIXED, 1–7
This selects one of seven velocity curves that determine how velocity will affect the depth
of the TVF Envelope. The selected curve is displayed graphically to the right of its value.
When set to “FIXED,” the TVF envelope depth remains unchanged, regardless of how
hard or soft you play.
ENV VEL SENS
(TVF envelope velocity
sensitivity)
-63–+63
-63–+63
Use this parameter when you want keyboard playing dynamics (velocity) to affect the depth
of the TVF Envelope. With higher settings, there is a greater difference in the TVF envelope
depth when you play softly or hard. Negative (-) settings reverse the direction of change.
ENV T1 SENS
(TVF envelope time 1 velocity
sensitivity)
Use this parameter when you want keyboard playing dynamics (velocity) to affect T1
(Time 1) of the TVF envelope. With higher settings, the T1 value will change more signif-
icantly depending on whether you play softly or with greater force. With positive (+) set-
tings, greater keyboard velocity will reduce the T1 setting. With negative (-) settings,
greater keyboard velocity will increase the T1 setting. Use this parameter when you want
velocity to affect T1 (time) of the TVF envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. For positive (+) settings, keyboard
velocity will speed up the T1 time. For negative (-) settings, keyboard velocity will slow
down the T1 time.
ENV T4 SENS
(TVF envelope time 4 velocity
sensitivity)
-63–+63
Use this parameter when you want key-off velocity—the speed at which you release a
key—to affect T4 (Time 4) of the TVF envelope. With higher settings, the T4 value will
change more significantly depending on whether you release the key slowly or quickly.
With positive (+) settings, faster key-off velocity will reduce the T4 setting. With negative
(-) settings, faster key-off velocity will increase the T4 setting.
ENV T1–T4
(TVF envelope time 1–4)
0–127
0–127
Specify the TVF envelope times. Higher settings lengthen the time until the next cutoff
frequency level is reached. (For example, T2 is the time over which L1 changes to L2.)
ENV L0–L4
(TVF envelope level 0–4)
Specify the TVF envelope levels. These settings specify how the cutoff frequency changes
at each point, relative to the standard cutoff frequency.
RHYTHM KEY TVA (Ma k in g th e Vo lu m e Ch a n g e )
The TVA (Time Variant Amplifier) controls the Rhythm Tone’s volume changes and stereo positioning.
Parameter
Value
Description
LEVEL
(Rhythm tone level)
0–127
This sets the Rhythm Tone’s basic volume. This setting is useful primarily for adjusting
the volume balance between Rhythm Tones in a Rhythm Set.
raising or lowering the Tone level settings of its individual Rhythm Tones by the selected
amount.
VEL CURVE
(TVA level velocity curve)
FIXED, 1–7
This setting allows you to select from seven velocity curves that determine how the
force with which the keyboard is played is to affect the Rhythm Tone’s volume. When
set to “FIXED,” the Rhythm Tone’s volume will not be affected by the force with which
the keyboard is played.
1
2
3
4
5
6
7
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Parameter
Value
Description
VEL SENS
(TVA level velocity sensitivity)
-63–+63
Use this setting when you want keyboard touch (velocity) to affect the Rhythm Tone
volume. Set this to a positive value to have the changes in tone volume increase the
more forcefully the keys are played; to make the Rhythm Tone play more softly as you
play harder, set this to a negative value.
PAN
(Rhythm tone pan)
L64–63R
0–63
This specifies the stereo position of the Rhythm Tone. L64 places the Rhythm Tone
hard left, 0 puts it dead-center and 63R pans it hard right.
RANDOM PAN DEPTH
Use this parameter to activate random panning, note-by-note. Higher values result in
more extreme fluctuations in the Rhythm Tone’s stereo placement.
ALT. PAN DEPTH
(Alternate pan depth)
L63–63R
This setting causes panning to be alternated between left and right each time a key is
pressed. Higher values result in a greater left/ right width. You can select the stereo
placement of the first key using this parameter—its opposite will be used for the sec-
ond note, and so on back and forth. If you want to alternate the pan position of two
Rhythm Tones, set them to the exact opposite L and R settings.
TVA ENVELOPE
This specifies the manner in which keyboard ve-
locity will affect the times of the TVA envelope.
T1 T2
L1
T3
T4
Level
L2
L3
Time
key is pressed
key is released
ENV T1 SENS
(TVA envelope time 1 velocity
sensitivity)
-63–+63
-63–+63
Use this parameter when you want keyboard playing dynamics (velocity) to affect T1
(Time 1) of the TVA envelope. With higher settings, the T1 value will change more sig-
nificantly depending on whether you play softly or with greater force. With positive
(+) settings, greater keyboard velocity will reduce the T1 setting. With negative (-) set-
tings, greater keyboard velocity will increase the T1 setting.
ENV T4 SENS
(TVA envelope time 4 velocity
sensitivity)
Use this parameter when you want key-off velocity—the speed at which you release a
key—to affect T4 (Time 4) of the TVA envelope. With higher settings, the T4 value will
change more significantly depending on whether you release the key slowly or quick-
ly. With positive (+) settings, faster key-off velocity will reduce the T4 setting. With
negative (-) settings, faster key-off velocity will increase the T4 setting.
ENV T1–T4
(TVA envelope time 1–4)
0–127
0–127
Specify the TVA envelope times. Higher settings lengthen the time until the next vol-
ume level is reached. (For example, T2 is the time over which L1 changes to L2.)
ENV L1–L3
(TVA envelope level1–3)
Specify the TVA envelope levels. These settings specify how the volume changes at
each point, relative to the standard volume.
SEND LEVEL DRY
(Dry Send Level)
SEND LEVEL CHO
(Tone Chorus Send Level)
SEND LEVEL REV
(Tone Reverb Send Level)
OUTPUT ASSIGN
(Tone Output Assign)
RHYTHM CO N TRO L (O th e r Se ttin g s)
Parameter
Value
Description
PITCH BEND RANGE
(Rhythm tone pitch bend range)
0–48
Specifies the amount of pitch change that will occur when you move the Pitch
Bend Lever.
MUTE GROUP
OFF, 1–31
The Mute Group function allows you to designate two or more Rhythm Tones
that are not allowed to sound simultaneously. For example, in a real-world
acoustic drum set, an open hi-hat and a closed hi-hat sound will never occur
simultaneously, since they’re produced by the same instrument. To simulate
this behavior on the XV-2020, you can set the open and closed hi-hat Rhythm
Tones to the same Mute Group. You can have up to 31 Mute Groups per
Rhythm Set. If you do not want a Rhythm Tone to use a Mute Group, turn the
feature off.
ASSIGN TYPE
(Assign type)
MULTI, SINGLE
This setting determines whether a Rhythm Tone note that is playing is
stopped when the same note is played again (SINGLE), or whether it will con-
tinue to play, layered with the new note.
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Parameter
Value
Description
ENV MODE
(Rhythm tone envelope mode)
NO-SUS, SUSTAIN
When a loop-type waveform 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 is selected, it will not sustain even if this parameter is set
to “SUSTAIN.”
RCV EXP
(Rhythm tone receive expression
switch)
OFF, ON
OFF, ON
If you want the Rhythm Tone to respond to Expression messages, turn this pa-
rameter on. If not, turn it off.
RCV HOLD-1
(Rhythm tone receive hold 1
switch)
If you want the Tone to respond to Hold 1 messages, turn this parameter on.
If not, turn it off.
RCV PAN MODE
(Rhythm tone receive pan mode)
CONTINUOUS,
KEY-ON
CONTINUOUS: Pan messages will be responded to immediately, instantly
changing the stereo position of the Rhythm Tone. KEY-ON: The stereo loca-
tion 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.
RHYTHM MFX (Rh y th m Mu lti-Effe cts)
Parameter
Description
TYPE
(Multi-Effects Type)
SEND LEVEL DRY
(Multi-Effects Dry Send Level)
SEND LEVEL CHO
(Multi-Effects Chorus Send Level)
SEND LEVEL REV
(Multi-Effects Reverb Send Level)
CONTROL SOURCE 1–4
(Multi-Effects Control Source 1–4)
DESTINATION 1–4
(Multi-Effects Control Destination 1–4)
SENS 1–4
(Multi-Effects Control Sensitivity 1–4)
RHYTHM CHO RUS
Parameter
Description
TYPE
(Chorus Type)
LEVEL
(Chorus Level)
OUTPUT SELECT
(Chorus Output Select)
RHYTHM REVERB
Parameter
Description
TYPE
(Reverb Type)
LEVEL
(Reverb Level)
Ad ju stin g Effe ct Se ttin g s
Sa vin g Rh y th m Se ts Yo u Cre a te
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Cre a tin g a Pe rfo rm a n ce
Ho w a Pe rfo rm a n ce Is O rg a n ize d
In the XV-2020’s Performance mode, you can play and control up to 16 instrument sounds at the same
time, including Patches and/ or Rhythm Sets. Such a set of sounds, as well as an effect setup, can be saved
as a “Performance.” Each Performance is comprised of 16 “Parts,” each of which controls one of its sounds.
Because the XV-2020 sound generator can play multiple sounds at the same time, it’s called a
“multitimbral sound module.”
fig.Performance.e
Part 16
Performance
Part11
Patch/
Rhythm set
Part10
Patch/
Rhythm set
Part 9
Part 1
Patch/
Rhythm set
Ba sic W a y s to Use Pe rfo rm a n ce s
There are three basic ways to use Performances.
Playing Multiple Layered Patches (Layer)
You can set a number of Parts to the same MIDI reception channel so that their Patches sound at the same
time. This type of Performance is referred to as a Layer.
fig.01-11e
Performance
Part 16
Receive Channel : 16 Patch
MIDI data (Channel:1)
Part 2
Part 1
Receive Channel : 1
Receive Channel : 1
Patch
Patch
Playing Different Patches In Different Areas of the Keyboard (Split)
In a Performance, you can divide the keyboard into separate ranges and assign a different Patch to each
range. This can be done by selecting the same MIDI reception channel for multiple Parts and then
changing the pitch range over which each Part plays. This type of keyboard setup is referred to as a Split.
A split is like a layer in which the Parts’ pitch ranges don’t overlap (Playing Multiple Layered Patches).
fig.01-12e
Performance
Part 16
Receive Channel : 16 Patch
MIDI data
(Channel:1)
Part 2
Part 1
Receive Channel : 1
Receive Channel : 1
Patch
Patch
B3 C4
BASS
PIANO
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Cre a tin g a Pe rfo rm a n ce
Using the XV-2020 as a Multitimbral Sound Module
In Performance mode, you can use the XV-2020 as a 16-part multitimbral sound module. Let’s try choosing
some Parts and their sounds, and then play the multiple Parts together as a Performance.
The basic steps for doing this include:
•
•
•
After you’ve completed setting up your Performance, try playing a sequence from your computer or
sequencer using the Performance’s sounds.
Sw itch in g Pa rts
You can switch parts by rotating [PART] in Performance Part Play mode or Performance Play mode
(numerals correspond to the part numbers).
Tu rn in g a To n e O n o r O ff
Co n firm in g To n e s
The PERFORM indicator change from solidly lit to flashing whenever a parameter
is edited.If you turn off the power or choose another Performance while the
indicator is blinked, you new Performance settings will be lost. If you wish to
Pe rfo rm a n ce Pa ra m e te rs
PERFO RM CO MMO N (Esta b lish in g Se ttin g s fo r a n En tire Pe rfo rm a n ce )
Parameter
Value
Description
PERFORM NAME
(Performance Name)
space, A–Z, a–z, 0–9, ! “
# $ % & ‘ ( ) * + , - . / : ;
< = > ? @ [ ¥ ] ! ^ _ ` |
You can give a Performance a name of up to 12 characters. When using the
XV editor, click
on the left side to name the Tone.
SOLO PART SELECT
OFF, 1–16
Select the Part whose sound you want to hear. Parts other than the Part you
choose here will not sound.
MFX CTRL CH
1–16, OFF
Sets the channel that controls Multi-effects assigned to the Performance.
(Multi-Effects Control Channel)
SOURCE MFX
(Multi-Effects Source)
CHORUS
(Chorus Source)
REVERB
(Reverb Source)
PERFO RM PART ALL
*
Parameters that can be set independently for each Tone are indicated by “#.”
Parameter
Value
Description
MUTE#
OFF, MUTE
This silences, or “mutes,” the Part when set to MUTE.
(Mute Switch)
* Although the Part’s sound is muted, the Part still receives MIDI messages. Thus,
even when the Part’s sound is switched on or off during playback of a song, the Part
continues to keep up with the latest received MIDI data.
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Cre a tin g a Pe rfo rm a n ce
Parameter
Value
Description
SOLO
Refer to the Performance Common column
(Solo Part Select)
Parameter
Value
Description
TYPE
PAT, RHY
Select the type of sound the Part plays.
(Part Type)
GROUP
(Part Group)
USER, PR-A–D, GM,
EXP-A, EXP-B
Chooses the group (Bank) to which the desired Patch or Rhythm Set belongs.
* It is not possible to choose EXP-A, EXP-B unless a wave expansion board is insert-
NUMBER
(Patch/ Rhythm Set Number)
Chooses the Rhythm set number to which the desired Patch or Rhythm Set be-
longs.
LEVEL
(Part Level)
0–127
Sets the volume of the Part. This setting’s main purpose is to adjust the volume
balance between Parts.
PAN
(Part Pan)
L64–63R
-63–+63
-3–+3
Specifies the stereo position of the Part’s sound. L64 pans the sound hard left,
0 puts it dead-center and 63R pans it hard right.
VEL SENS
(Part Velocity Sensitivity)
Raises or lowers the VELOCITY V-Cutoff and the TVA V-Sens settings for
each of the Tones in the Part’s sound.
OCT SHIFT
(Part Octave Shift)
Adjusts the pitch of the Part’s sound up or down in units of an octave (+/ -3
octaves).
COARSE TUNE
(Part Coarse Tune)
-48–+48
-50–+50
Adjusts the pitch of the Part’s sound up or down in semitone steps over a
range of +/ -4 octaves.
FINE TUNE
(Part Fine Tune)
Adjusts the pitch of the Part’s sound up or down in 1-cent steps (1/ 100th of a
semitone) over a range of half a semitone up or down.
Parameter
Value
Description
PB RANGE
(Part Pitch Bend Range)
0–24, PAT
Specifies the amount of pitch change that occurs when you move the Pitch Bend Le-
ver. This overrides the sound’s own pitch-bend settings. The amount of pitch change
downward or upward that occurs when the lever is moved is the same for both its left
and right directions (or down and up on some MIDI controllers). When PATCH is
chosen, the bend range settings for the assigned Patch take effect.
MONO/ POLY
(Part Mono/ Poly)
MONO, POLY, PAT
Sets how the Patch’s notes play. The MONO setting is effective when playing a solo
instrument Patch such as sax or flute.
MONO: Only one note sounds at a time.
POLY: Two or more notes can be played simultaneously.
PAT: The Part uses the Patch’s Mono/ Poly setting.
LEGATO
(Part Legato Switch)
OFF, ON, PAT
Turn this parameter ON when you want to use the Legato feature and OFF when you
don’t. Legato is a feature that works only when the Key Assign Mode is MONO. When
Legato is ON, pressing one key when another is already pressed causes the currently
playing note’s pitch to change to that of the newly pressed key while continuing to
sound. This can be effective when you wish to simulate performance techniques such
as a guitarist’s hammering on and pulling off strings. When PAT is selected, the
Patch’s own settings take effect.
PORTAMENT SW
OFF, ON, PAT
Specifies whether the portamento effect is applied (ON) or not (OFF). When PAT is se-
(Part Portamento Switch)
lected, the settings for the assigned Patch take effect.
[What is Portamento?]
Portamento is an effect that smoothly changes the pitch from the first-played key to
the next-played key. When Key Assign is MONO, applying portamento produces an
effect similar to the slide performance technique of a violinist. Portamento can also be
applied when Key Assign is polyphonic (POLY).
PORTAMENT TIME
(Part Portamento Time)
0–127, PAT
Specifies the time over which the pitch changes. Higher settings cause the pitch
change to the next note to take more time. When PAT is chosen, the settings for the
assigned Patch take effect.
VIBRATO RATE
(Part Vibrato Rate)
-64–+63
-64–+63
-64–+63
Adjusts the vibrato speed (the rate at which the pitch is modulated). The pitch will be
modulated more rapidly for higher settings and more slowly with lower settings.
VIBRATO DEPTH
(Part Vibrato Depth)
Adjusts the depth of the vibrato effect (the depth at which the pitch is modulated). The
pitch will be modulated more greatly for higher settings, and less with lower settings.
VIBRATO DELAY
(Part Vibrato Delay)
Adjusts the delay time until the vibrato (pitch modulation) effect begins. Higher set-
tings will produce a longer delay time before vibrato begins, while lower settings pro-
duce a shorter time.
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Cre a tin g a Pe rfo rm a n ce
Parameter
Value
Description
SEND LEVEL DRY
(Part Output Level)
SEND LEVEL CHO
(Part Chorus Send Level)
SEND LEVEL REV
(Part Reverb Send Level)
OUTPUT ASGN
(Part Output Assign)
OUTPUT SELECT
(Part Output MFX Select)
Parameter
Value
Description
VOICE RESERVE
0–63, FULL
Specifies the number of voices that reserved for each Part when more than 64 voices are
played simultaneously.
* It is not possible for the settings of all Parts to total an amount greater than 64.
[Calculating the Number of Voices Being Used]
The number of notes, or “voices,” that the XV-2020 can sound simultaneously depends on
the number of Tones in the Patches you’re using and the number of keys being pressed.
For example, if you play one note using a Patch that consists of only one Tone, you’ll use
up one voice of polyphony. XV-2020 Tones may use two Waveforms. If a Patch’s Tone uses
two Waveforms, the number of voices it requires is doubled. If two keys are pressed with
a Patch that has four Tones, and each Tone uses two Waveforms, a total of sixteen voices
are used.
This number is obtained by performing the following calculation. Count the number of
Tones with two Waveforms and multiply this number by 2. Add the number of Tones that
use one Waveform. Multiply this total by the number of keys pressed.
The XV-2020 can play up to 64 Tones simultaneously. When you’re using the XV-2020
multitimbrally, keep this in mind, and adjust your Voice Reserve settings so that each Part
is guaranteed at least the minimum number of voices it requires.
OFFSET
You can determine how a Part plays a sound by setting it to modify the sound’s programmed cutoff frequen-
cy, Resonance and TVF and TVA Envelope attack and release time settings.
OFFSET COF
(Part Cutoff Offset)
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
0–127
Raises or lowers the TVF cutoff frequency settings for each of the Tones in the Part’s
sound.
OFFSET RES
(Part Resonance Offset)
Raises or lowers the TVF Resonance settings for each of the Tones in the Part’s sound.
OFFSET ATK
(Part Attack Time Offset)
Raises or lowers the TVF/ TVA attack time (T1) settings for each of the Tones in the Part’s
sound.
OFFSET DCY
(Part Decay Time Offset)
Raises or lowers the TVF/ TVA attack time (T2 and T3) settings for each of the Tones in the
Part’s sound.
OFFSET REL
(Part Release Time Offset)
Raises or lowers the TVF/ TVA release time (T4) settings for each of the Tones in the Part’s
sound.
FADE LOWER#
(Part Keyboard Fade Width
Lower)
Determines what happens to the Part’s level when a note that’s lower than its specified
keyboard range is played. Higher settings result in a more gradual change in volume. If
you don’t want the Part to sound at all when a note below the keyboard range is played,
set this parameter to 0.
LOWER#
(Part Keyboard Range
Lower)
C-1–UPPER
LOWER–G9
0–127
Specifies the lowest note that causes the Part to play its sound.
UPPER#
(Part Keyboard Range
Upper)
Specifies the highest note that causes the Part to play its sound.
* It is not possible to set Lower to a value greater than the Upper value, or Upper to a value
less than the Lower value.
FADE UPPER#
(Part Keyboard Fade Width
Upper)
Determines what happens to the Part’s level when a note that’s higher than its specified
keyboard range is played. Higher settings result in a more gradual change in volume. If
you don’t want the Part to sound at all when a note above the keyboard range is played,
set this parameter to 0.
Level
Key number
0
127
Lower
L.Fade value
Upper
U.Fade value
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Cre a tin g a Pe rfo rm a n ce
PERFO RM MIDI SETTIN G (Esta b lish in g a Pa rt’s MIDI Se ttin g s)
*
Parameters that can be set independently for each Tone are indicated by “#.”
*
Parameters that can be set independently for each MIDI channel are indicated by “+.”
Parameter
Value
Description
RCV CHANNEL#
(Receive Channel)
1–16
Sets the MIDI channel to which the Part responds.
RCV MIDI#
(Receive Switch)
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
This enables (ON) or disables (OFF) the Part’s response to received MIDI messages.
RCV PC+
(Receive Program Change Switch)
Sets whether the Part responds to received MIDI Program Change messages (ON) or
not (OFF).
RCV BS+
(Receive Bank Select Switch)
Sets whether the Part responds to received MIDI Bank Select messages (ON) or not
(OFF).
RCV PB+
(Receive Pitch Bend Switch)
Sets whether the Part responds to received MIDI Bender messages (ON) or not (OFF).
RCV CH PRESS+
(Receive Channel Pressure Switch)
Sets whether the Part responds to received MIDI Aftertouch messages (ON) or not
(OFF).
RCV POLY PRESS+
(Receive Polyphonic Pressure Switch)
Sets whether the Part responds to received MIDI Polyphonic Aftertouch messages
(ON) or not (OFF).
RCV MOD+
(Receive Modulation Switch)
Sets whether the Part responds to received MIDI Modulation messages (ON) or not
(OFF).
RCV VOLUME+
(Receive Volume Switch)
Sets whether the Part responds to received MIDI Volume messages (ON) or not
(OFF).
RCV PAN+
(Receive Pan Switch)
Sets whether the Part responds to received MIDI Pan messages (ON) or not (OFF).
RCV EXP+
(Receive Expression Switch)
Sets whether the Part responds to received MIDI Expression messages (ON) or not
(OFF).
RCV HOLD-1+
(Receive Hold 1 Switch)
Sets whether the Part responds to received MIDI Hold 1 messages (ON) or not (OFF).
PHASE LOCK+
(Phase Lock Switch)
This setting activates (ON) or de-activates (OFF) synchronization of the timing of
Parts that share a common MIDI channel.
* When Part sounds are layered on top of each other as a result of sharing a MIDI channel,
there may be a discrepancy in their timing. The Phase Lock feature can synchronize the
sounds so that they start precisely at the same time. However, since this delays the sounds
slightly in order to line them up, turn this feature off when it’s not needed.
VELOCITY CURVE TYPE+
OFF, 1–4
For each Part, you can select from among four velocity curves to find the one that best
matches the touch of the MIDI keyboard connected to the XV-2020. Set this to “OFF”
if you’re using the MIDI keyboard’s own velocity curve.
1
2
3
4
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Cre a tin g a Pe rfo rm a n ce
PART SCALE TUN E
One set of Scale Tune settings can be created in Performance mode.
The selected scale applies to MIDI messages received from an external MIDI device as well as to local sound
generation.
*
Parameter
Value
Description
SCALE TUNE SWITCH
OFF, ON
The XV-2020 allows you to use temperaments other than equal temperament. Turn this on when
you wish to use a tuning scale other than equal temperament.
KEY C–B SCALE
-64–+63
Adjusts the pitch of each note in one-cent steps (1/ 100th of a semitone) relative to its equal-tem-
pered pitch.
PERFO RM MFX (Pe rfo rm a n ce Mu lti-e ffe cts)
Parameter
Value
TYPE
(Multi-Effects Type)
SEND LEVEL DRY
(Multi-Effects Dry Send Level)
SEND LEVEL CHO
(Multi-Effects Chorus Send Level)
SEND LEVEL REV
(Multi-Effects Reverb Send Level)
CONTROL SOURCE 1–4
(Multi-Effects Control Source1–4)
DESTINATION 1–4
(Multi-Effects Control Destination 1–4)
SENS 1–4
(Multi-Effects Control Sensitivity 1–4)
PERFO RM CHO RUS (Pe rfo rm a n ce Ch o ru s)
Parameter
Description
TYPE
(Chorus Type)
LEVEL
(Chorus Level)
OUTPUT SELECT
(Chorus Output Assign)
SOURCE
(Multi-Effects Source)
PERFO RM REVERB (Pe rfo rm a n ce Re ve rb )
Parameter
Description
TYPE
(Reverb Type)
LEVEL
(Reverb Level)
SOURCE
(Multi-Effects Source)
Ad ju stin g Effe ct Se ttin g s
Sa vin g Pe rfo rm a n ce s Yo u Cre a te
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Usin g th e XV-2 0 2 0 Effe cts
This chapter explains how effects are applied in Patch/ Rhythm Set mode or Performance mode.
*
For information about the application of effects in GM mode, refer to “Making Effects Settings in GM Mode
Effect Types
The XV-2020 has the following four onboard effect processors, and settings can be made independently
for each.
MFX (Multi-Effects)
The Multi-effects are multi-purpose effects that completely change the sound type by changing the sound
itself. Contained are 40 different effects types; select and use the type that suits your aims. In addition to
effects types composed of simple effects such as Distortion, Flanger, and other such effects, you can also
set up a wide variety of other effects, even connecting effects in series or in parallel. Furthermore, while
chorus and reverb can be found among the Multi-effects types, the following chorus and reverb are
handled with a different system.
In GM mode, you cannot use Multi-effects.
Chorus
Reverb
Chorus adds fatness and breadth to the sound.
A GM-exclusive Chorus can be used in GM mode.
Reverb adds an ambience to sounds so they seem to be playing in an actual physical space.
A GM-exclusive Reverb is used in GM mode.
*
The XV-2020 does not have a built-in equalizer.
Tu rn in g Effe cts O n / O ff
The XV-2020’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 using XV Editor, included with the XV-2020, make the settings in the following screen.
You can also select the effect parameters from the same screen.
fig.06-01
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Usin g th e XV-2 0 2 0 Effe cts
Pa tch / Rh y th m Se t Mo d e Se ttin g s
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 .
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.
2 .
3 .
4 .
Set the level (volume) of each effect signal to be sent for each Tone or Rhythm Tone.
Select the type of Multi-effects to be used, and set the parameters for the selected Multi-effect.
When using MIDI messages to change the Multi-effects parameters in realtime, select the Multi-effects
controller.
5 .
Setting the Output Destination and Volume for the Sounds Passing Through the Multi-Effects (-> p. 80)
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 Multi-effects.
6 .
7 .
Select the Chorus type to be used, and set each of the parameters for the selected 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.
8 .
9 .
Select the Reverb type to be used, and set each of the parameters for the selected Reverb.
Select the output jack and set the output level (volume) of the sounds passing through the Reverb.
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.4-01
Output Assign
OUTPUT
TONE/
RHYTHM
TONE
M-FX
CHO
REV
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Usin g th e XV-2 0 2 0 Effe cts
PATCH/ RHYTHM KEY TVA
Parameter
Value
Description
SEND LEVEL DRY
(Dry Send Level)
0–127
Sets the direct sound’s volume for each 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.
SEND LEVEL CHO
(Tone Chorus Send Level)
0–127
Sets the chorus depth for individual Tone/ Rhythm Tone. If you don’t want to add the Chorus
effect, set it to 0.
SEND LEVEL REV
(Tone Reverb Send Level)
0–127
Sets the reverb depth for individual Tone/ Rhythm Tone. If you don’t want to add the Reverb
effect, set it to 0.
OUTPUT ASSIGN
(Tone Output Assign)
MFX, A, 1, 2
Sets the direct sound’s output method 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.
A: Output from OUTPUT.
1: Output from L.
2: Output from R.
•
•
•
When outputting in mono, the Pan setting is disabled.
Chorus and Reverb are output in mono at all times.
When the STRUCTURE (PATCH:COMMON) parameter 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. 48).
For more on how to set each effect, refer to the pages shown below.
• Chorus
• Reverb
Pe rfo rm a n ce Mo d e Se ttin g s
The Multi-effect can be used in a Performance.
While you set the amount of effect applied separately to each individual part, depending on the settings,
you can also make the amount of the Tone applied more effective. Furthermore, you can take the Multi-
effects you have applied to a Patch in a Part and apply them to the entire Performance, or just part of the
Performance.
*
On the XV-2020, only the MFX-A settings are valid in Performance mode.
Basic Process of Making Effects Settings
When applying effects in Performance mode, the following procedure is used to make the settings.
1 .
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.
2 .
3 .
Sets the level (volume) of each effect signal to be sent for each Part.
Select the type of Multi-effects to be used, and set the parameters for the selected Multi-effect. You can also
Multi-effects settings for a Patch or Rhythm Set assigned to a Part.
4 .
5 .
When using MIDI messages to change the Multi-effects parameters in realtime, select the Multi-effects
controller.
Setting the Output Destination and Volume for the Sounds Passing Through the Multi-Effects (-> p. 80)
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 Multi-effects.
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Usin g th e XV-2 0 2 0 Effe cts
6 .
7 .
Select the Chorus type to be used, and set each of the parameters for the selected 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.
8 .
9 .
Select the Reverb type to be used, and set each of the parameters for the selected Reverb.
Select the output jack and set the output level (volume) of the sounds passing through the Reverb.
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.4-02
Output Assign
OUTPUT
PART
M-FX
CHO
REV
PERFO RM PART ALL (Pe rfo rm a n ce Pa rt All Pa ra m e te r)
Parameter
Value
Description
SEND LEVEL DRY
(Part Dry Send Level))
0–127
Sets the direct sound’s volume for each Part. When Multi-effects are being applied, this sets the
amount of the effect that is applied; when Multi-effects are not applied, this sets the volume of
the direct sound.
SEND LEVEL CHO
(Part Chorus Send Level)
0–127
0–127
Adjusts the amount of Chorus for each Part. If you don’t want to add the Chorus effect, set it to 0.
SEND LEVEL REV
Adjusts the amount of Reverb for each Part. If you don’t want to add the Reverb effect, set it to 0.
(Part Reverb Send Level)
OUTPUT ASSIGN
(Output Assign)
MFX, A,
1, 2, PAT
Sets the direct sound’s output method 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.
A: Output to the OUTPUT jacks in stereo without passing through Multi-effects.
1: Output from L.
2: Output from R.
PAT: The Part’s output destination is determined by the settings of the Patch or Rhythm Set
assigned to the Part.
When outputting in mono, the Pan setting is disabled.
•
•
Chorus and Reverb are output in mono at all times.
When the settings are such that signals are split and output from the L jack and R jack, and no plug is inserted
in the R jack, the sounds from L and R are mixed together, then output from the L jack. This sound comprises
the sounds from the L and 2 jacks.
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).
For more on how to set each effect, refer to the pages shown below.
•
•
•
Chorus
Reverb
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Usin g th e XV-2 0 2 0 Effe cts
Mu lti-Effe cts Pa ra m e te r
PATCH/ RHYTHM MFX, PERFO RM MFX (Mu lti-Effe cts Se ttin g s)
Parameter
Value
Description
TYPE
00 (THROUGH) –40
Use this parameter to select from among the 40 available Multi-effects.
(Multi-Effects Type)
SEND LEVEL DRY
(Multi-Effects Dry Send Level)
0–127
0–127
0–127
Adjusts the volume of the sound that has passed through the Multi-effects.
SEND LEVEL CHO
(Multi-Effects Chorus Send Level)
Adjusts the amount of Chorus for the sound that passes through Multi-ef-
fects. If you don’t want to add the Chorus effect, set it to 0.
SEND LEVEL REV
(Multi-Effects Reverb Send Level)
Adjusts the amount of Reverb for the sound that passes through Multi-ef-
fects. If you don’t want to add the Reverb effect, set it to 0.
CONTROL SOURCE 1–4
(Multi-Effects Control Source)
OFF, CC01–31,
CC33–95, BEND,
AFTER, SYS1–4
Selects the Control Source to be used for changing the Multi-effects param-
eters.
DESTINATION 1–4
(Multi-Effects Control Destination
1–4)
Selects the Multi-effects parameter to be controlled using Ctrl Src 1–4. The
parameters that can be selected depend on which type of Multi-effects is
set to MFX Type.
SENS 1–4
(Multi-Effects Control Sensitivity
1–4)
-63–+63
If you wish to modify the selected parameter in a positive (+) direction—
i.e., a higher value, toward the right, or faster, etc.—from its current set-
ting, select a positive (+) value. If you wish to modify the selected param-
eter in a negative (-) direction—i.e., a lower value, toward the left, or
slower, etc.—from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
SOURCE MFX
(Multi-Effects Source)
PERFORM, PART 1–16
Selects the Multi-effects parameter settings that will be used by the Perfor-
mance. 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. (When using the XV Editor, you can
PATCH/ PERFO RMAN CE CHO RUS (Ch o ru s Se ttin g s)
Parameter
Value
Description
TYPE
OFF, CHORUS
This determines whether or not chorus is used.
(Chorus Type)
LEVEL
0–127
Adjusts the volume of the sound that has passed through chorus.
(Chorus Level)
OUTPUT SELECT
(Chorus Output Select)
MAIN, REV,
MAIN+REV
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.
* Used in Performance mode.
CHORUS
(Chorus Source)
PERFORM,
PART 1–16
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.
* Used in Performance mode.
PATCH/ PERFO RMAN CE REVERB (Re ve rb Se ttin g s)
Parameter
Value
Description
TYPE
OFF, REVERB
This determines whether or not reverb is used.
(Reverb Type)
LEVEL
0–127
Adjusts the volume of the sound that has passed through Reverb.
(Reverb Level)
REVERB
(Reverb Source)
PERFORM,
PART 1–16
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.
* Used in Performance mode.
8 0
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Usin g th e XV-2 0 2 0 Effe cts
PATCH/ RHYTHM/ PERFO RM CHO RUS (Ch o ru s Pa ra m e te rs)
Parameter
RATE
Value
Description
0.05–10.00 Hz
0–127
Frequency of modulation
Depth of modulation
DEPTH
PRE-DELAY
FEEDBACK
FILTER TYPE
0.0–100.0 ms
0–127
Adjusts the time until the chorus is heard.
Adjusts the amount of the chorus sound that’s fed back into the effect.
Type of filter
OFF, LPF, HPF
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter.
CUTOFF
PHASE
200-8000 Hz
0-180 deg
Spatial spread of the sound.
PATCH/ RHYTHM/ PERFO RM REVERB (Re ve rb Pa ra m e te rs)
These settings allow you to select the desired type of reverb and its characteristics.
Parameter
Value
Description
TYPE
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1,
HALL2,
DELAY,
PAN-DELAY
Type of reverb/ delay
ROOM1: short reverb with high density
ROOM2: short reverb with low density
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: very clear-sounding reverb
HALL2: rich reverb
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes that pan left and right
TIME
0–127
Time length of reverberation
(Type: ROOM1–HALL2)
Delay time
(Type: DELAY, PAN-DELAY)
HF DAMP
200–8000 Hz, BYPASS
0–127
Adjusts the frequency above which the high-frequency content of the reverb
sound is cut, or “damped.” If you don’t want to damp the high frequencies, set
this parameter to BYPASS.
FEEDBACK
Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-
DELAY.
8 1
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Usin g th e XV-2 0 2 0 Effe cts
1 : STEREO EQ (Ste re o Eq u a lize r)
Mu lti-Effe cts Pa ra m e te rs
This is a four-band stereo equalizer (low, mid x 2, high).
fig.02-001m
The multi-effects feature 90 different kinds of effects. Some of the
effects consist of two or more different effects connected in series or
in parallel.
L in
L out
R out
4-Band EQ
Parameters marked with a sharp “#” can be simultaneously
controlled using the selected controller.
R in
4-Band EQ
1:
STEREO EQ
Parameter
Value
Description
2:
OVERDRIVE
Low Freq
Low Gain
Mid1 Freq
Mid1 Gain
Mid1 Q
200, 400 Hz
-15-+15 dB
200-8000 Hz
-15-+15 dB
0.5, 1.0, 2.0, 4.0,
8.0
Frequency of the low range
Gain of the low frequency range
Frequency of Middle Range 1
Gain of Middle Range 1
Width of Middle Range 1
Select a higher Q value to narrow
Middle Range 1.
3:
DISTORTION
4:
PHASER
5:
SPECTRUM
6:
ENHANCER
Mid2 Freq
Mid2 Gain
Mid2 Q
200-8000 Hz
-15-+15 dB
0.5, 1.0, 2.0, 4.0,
8.0
Frequency of Middle Range 2
Gain of Middle Range 2
Width of Middle Range 2
Select a higher Q value to narrow
Middle Range 2.
7:
AUTO WAH
8:
ROTARY
9:
COMPRESSOR
High Freq
2000, 4000, 8000
Hz
-15-+15 dB
0-127
Frequency of the high range
10:
11:
12:
13:
14:
15:
16:
17:
18:
19:
20:
21:
22:
23:
24:
25:
26:
27:
28:
29:
30:
31:
32:
33:
34:
35:
36:
37:
38:
39:
40:
LIMITER
HEXA-CHORUS
High Gain
Level #
Gain of the high frequency range
Output level
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
2 : O VERDRIVE
Creates a soft distortion similar to that produced by vacuum tube
amplifiers.
fig.02-002m
STEREO DELAY
L in
MODULATION DELAY
TRIPLE TAP DELAY
QUADRUPLE TAP DELAY
TIME CONTROL DELAY
2 VOICE PITCH SHIFTER
FB PITCH SHIFTER
REVERB
L out
Pan L
Over
drive
Amp
2-Band
EQ
Simulator
Pan R
R in
R out
Parameter
Drive #
Value
0-127
Description
Amount of distortion
Also changes the volume.
Amp Type
SMALL,
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double-stack amp
3-STACK: large triple-stack amp
GATED REVERB
BUILT-IN,
2-STACK,
3-STACK
OVERDRIVE -> CHORUS
OVERDRIVE -> FLANGER
OVERDRIVE -> DELAY
DISTORTION -> CHORUS
DISTORTION -> FLANGER
DISTORTION -> DELAY
ENHANCER -> CHORUS
ENHANCER -> FLANGER
ENHANCER -> DELAY
CHORUS -> DELAY
FLANGER -> DELAY
CHORUS -> FLANGER
CHORUS/ DELAY
FLANGER/ DELAY
CHORUS/ FLANGER
Low Gain
High Gain
Level
-15-+15 dB
-15-+15 dB
0-127
Gain of the low frequency range
Gain of the high frequency range
Output level
Stereo location of the OVERDRIVE
output
Pan #
L64-63R
3 : DISTO RTIO N
Produces a more intense distortion than Overdrive. The parameters
are the same as for “2: OVERDRIVE.”
fig.02-003m
L in
L out
Pan L
Amp
2-Band
EQ
Distortion
Simulator
Pan R
R in
R out
8 2
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Usin g th e XV-2 0 2 0 Effe cts
4 : PHASER
7 : AUTO W AH
Adds a phase-shifted sound to the original sound, producing a
A filter that turns on and off to create a cyclical change in timbre.
fig.02-007m
swirling modulation that creates spaciousness and depth.
fig.02-004m
L in
L out
L in
L out
Pan L
Auto Wah
Phaser
R in
R out
Mix
Pan R
R in
Resonance
R out
Parameter
Value
Description
Filter Type
LPF, BPF
Type of filter
LPF: The wah effect is applied over a
wide frequency range.
BPF: The wah effect is applied over a
narrow frequency range
Parameter
Manual #
Value
100-8000 Hz
Description
Adjusts the basic frequency at which
the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Output Level
Rate #
Depth
Resonance
Mix Level
Level
0.05-10.00 Hz
0-127
0-127
0-127
0-127
Sens
0-127
0-127
0-127
Adjusts the sensitivity with which
the filter is controlled.
Adjusts the center frequency at
which the effect is applied.
Adjusts the amount of the wah effect
that occurs in the range of the center
Manual #
Peak
Pan
L64-63R
Stereo location of the PHASER output
frequency.
Set a higher value for Q to narrow the
range to be affected.
5 : SPECTRUM
Rate #
Depth
Level
0.05-10.00 Hz
0-127
0-127
Frequency of modulation
Depth of modulation
Output level
This is a type of filter that modifies the timbre by boosting or cutting
the level of specific frequencies. It is similar to an equalizer, but has
eight frequency points fixed at locations most useful for adding
character to the sound.
fig.02-005m
8 : RO TARY
The Rotary effect simulates the sound of the rotary speakers often
used with the classic electric organs. Since the movement of the high-
range and low-range rotors can be set independently, the unique
characteristics of these speakers can be simulated quite accurately.
L in
L out
Pan L
Spectrum
Pan R
R in
R out
This effect is most suitable for electric organ Patches.
fig.02-008m
Parameter
Value
-15-+15 dB
Description
Gain of each frequency band
L in
L out
250Hz Gain
500Hz Gain
1000Hz Gain
1250Hz Gain
2000Hz Gain
3150Hz Gain
4000Hz Gain
8000Hz Gain
Band Width Q
Rotary
R in
R out
Parameter
Speed #
Value
SLOW, FAST
Description
Simultaneously switches the ro-
tational speed of the low fre-
quency rotor and high frequency
0.5, 1.0, 2.0, 4.0,
8.0
Simultaneously adjusts the width
of the adjusted ranges for all of the
frequency bands.
Output level
Stereo location of the SPECTRUM
output
rotor.
Level #
Pan #
0-127
L64-63R
SLOW: Slows down the speed to
the Slow Rate.
FAST: Speeds up the speed to the
Fast Rate.
Low Slow
Low Fast
Low Accel
0.05-10.00 Hz
0.05-10.00 Hz
0-15
Slow speed (SLOW) of the low-
frequency rotor
Fast speed (FAST) of the low-fre-
quency rotor
Adjusts the time it takes the low
frequency rotor to reach the new-
ly selected speed when switch-
ing between fast and slow
speeds. Lower values result in
longer transitions.
6 : EN HAN CER
Controls the overtone structure of the high frequencies, adding
sparkle and brightness to the sound.
fig.02-006m
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
Mix
Mix
Low Level
0-127
Volume of the low frequency ro-
tor
Settings for the high-frequency
2-Band
EQ
High Slow
High Fast
High Accel
High Level
0.05-10.00 Hz
0.05-10.00 Hz
0-15
R in
rotor
The parameters are the same as for
the low-frequency rotor
0-127
Parameter
Sens #
Value
0-127
Description
Sensitivity of the enhancer
Level of the overtones generated by the
Separation
Level #
0-127
0-127
Stereo width of the sound
Output level
Mix #
0-127
enhancer
Low Gain
High Gain
Level
-15-+15 dB
Gain of the low frequency range of fre-
quencies
Gain of the high frequency range of fre-
quencies
-15-+15 dB
0-127
Output level
8 3
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Usin g th e XV-2 0 2 0 Effe cts
9 : CO MPRESSO R
1 1 : HEXA-CHO RUS
Flattens out high levels and boosts low levels, smoothing out
Uses a six-phase chorus (six layers of chorused sound) to give
fluctuations in volume.
richness and spaciousness to the sound.
fig.02-009m
fig.02-011m
L in
L in
L out
L out
Pan L
Balance D
2-Band
EQ
Balance W
Compressor
Hexa Chorus
Pan R
R in
Balance W
R out
R in
R out
Balance D
Parameter
Value
Description
Attack
0-127
Sets the speed at which compression
starts
Parameter
Rate #
Depth
Depth Deviation
Value
0.05-10.00 Hz
0-127
-20-+20
Description
Frequency of modulation
Depth of modulation
Sustain
0-127
Sets the duration of the compression.
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Post Gain
Low Gain
High Gain
Level #
0, +6, +12, +18 dB
-15-+15 dB
-15-+15 dB
0-127
Adjusts the difference in modula-
tion depth between each chorus
layer.
Adjusts the time until chorusing
is heard.
Adjusts the differences in Pre De-
lay between each chorus layer.
Adjusts the difference in stereo lo-
cation between each chorus layer.
0: All chorus layers are in the center.
20: The chorus layers are spaced at
60-degree intervals relative to the
center.
Pan #
L64-63R
Stereo location of the COMPRES-
SOR output
Pre Delay
0.0-100.0 ms
0-20
Delay Deviation
Pan Deviation
1 0 : LIMITER
0-20
Compresses signals that exceed a specified volume level, preventing
distortion from occurring.
fig.02-010m
Balance #
Level
D100:0W-
D0:100W
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
L in
L out
Pan L
2-Band
EQ
Limiter
0-127
Output level
Pan R
R in
R out
1 2 : TREMO LO CHO RUS
Parameter
Threshold
Value
0-127
Description
Adjusts the volume at which com-
pression begins
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
Ratio
Release
1.5:1, 2:1, 4:1, 100:1
0-127
Compression ratio
fig.02-012m
Adjusts the time after the signal
volume falls below the Threshold
Level until compression is no long-
er applied.
L in
L out
Balance D
Balance W
Tremolo Chorus
Post Gain
Low Gain
High Gain
Level #
0, +6, +12, +18 dB
-15-+15 dB
-15-+15 dB
0-127
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Stereo location of the LIMITER
output
Balance W
R in
R out
Balance D
Pan #
L64-63R
Parameter
Value
Description
Cho Rate
0.05-10.00 Hz
Modulation frequency of the
chorus effect
Chorus Depth
Pre Delay
Treml Rate #
Phase
0-127
Modulation depth of the cho-
rus effect
Adjusts the time until the cho-
rus sound is heard.
Modulation frequency of the
tremolo effect
Depth of the tremolo effect
Spread of the tremolo effect
Volume balance between the
direct sound (D) and the trem-
olo chorus sound (W)
Output level
0.0-100.0 ms
0.05-10.00 Hz
0-180 deg
0-127
D100:0W-
D0:100W
Treml Separation
Balance #
Level
0-127
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Usin g th e XV-2 0 2 0 Effe cts
1 3 : SPACE-D
1 5 : STEREO FLAN GER
This is a multiple chorus that applies two-phase modulation in
stereo. It creates no audible modulation, yet produces a transparent
This is a stereo flanger. (The LFO has the same phase for left and
right.) It produces a metallic resonance that rises and falls somewhat
like a jet airplane taking off or landing. A filter is provided so that
chorus effect.
fig.02-013m
you can adjust the timbre of the flanged sound.
Balance D
2-Band
fig.02-015m
L in
L out
R out
Balance D
2-Band
EQ
L in
L out
Balance W
EQ
Space D
Space D
Flanger
Balance W
Balance W
2-Band
Feedback
Feedback
R in
EQ
Balance D
Balance W
Flanger
Parameter
Value
0.05-10.00 Hz
0-127
0-180 deg
0.0-100.0 ms
Description
Frequency of modulation
Depth of modulation
2-Band
EQ
R in
R out
Cho Rate #
Cho Depth
Cho Phase
Pre Delay
Balance D
Spatial spread of the sound
Adjusts the time until the chorus
sound is heard.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the chorus sound (W)
Output level
Parameter
Rate #
Depth
Feedback #
Value
Description
Frequency of modulation
0.05-10.00 Hz
0-127
Depth of modulation
Low Gain
High Gain
Balance #
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
-98-+98%
Adjusts the amount of the flanger sound
that’s fed back into the effect. Negative (-)
settings invert the phase.
0-180 deg
Spatial spread of the sound
Phase
Pre Delay
Level
0.0-100.0 ms
Adjusts the time until the flanger sound is
heard.
OFF, LPF, HPF
Type of filter
Filter Type
OFF: no filter is used
LPF: cuts the frequency range above the
Cutoff Freq
HPF: cuts the frequency range below the
Cutoff Freq
1 4 : STEREO CHO RUS
This is a stereo chorus. A filter is provided so that you can adjust the
timbre of the chorused sound.
fig.02-014m
200-8000 Hz
-15-+15 dB
-15-+15 dB
Basic frequency of the filter
Cutoff Freq
Low Gain
High Gain
Balance
Gain of the low frequency range
Gain of the high frequency range
Balance D
2-Band
L in
L out
R out
D100:0W-
D0:100W
0-127
Volume balance between the direct sound
(D) and the flanger sound (W)
Output level
EQ
Balance W
Level
Chorus
Chorus
Balance W
1 6 : STEP FLAN GER
2-Band
EQ
R in
This is a flanger in which the flanger pitch changes in steps. The
speed at which the pitch changes can also be specified in terms of a
Balance D
note value based on a specified tempo.
fig.02-016m
Parameter
Rate #
Value
0.05-10.00 Hz
Description
Frequency of modulation
Depth
Phase
Pre Delay
0-127
0-180 deg
0.0-100.0 ms
Depth of modulation
Balance D
2-Band
Spatial spread of the sound
Adjusts the time until the chorus
sound is heard.
Type of filter
OFF: no filter is used
L in
L out
EQ
Step Flanger
Balance W
Filter Type
OFF, LPF,
HPF
Feedback
Feedback
LPF: cuts the frequency range above the
Cutoff Freq
HPF: cuts the frequency range below the
Cutoff Freq
Balance W
Step Flanger
Cutoff Freq
Low Gain
High Gain
Balance #
200-8000 Hz
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
Basic frequency of the filter
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the chorus sound (W)
Output level
2-Band
EQ
R in
R out
Balance D
Parameter
Rate
Value
0.05-10.00 Hz
Description
Frequency of modulation
Level
0–127
Depth of modulation
Depth
-98-+98 %
Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Feedback #
0-180 deg
Spatial spread of the sound
Phase
0.0-100.0 ms
Adjusts the time until the flanger
sound is heard.
Pre Delay
0.10-20.00 Hz, note
*1
Rate (period) of pitch change
Step Rate #
-15-+15 dB
Gain of the low frequency range
Gain of the high frequency range
Low Gain
High Gain
Balance
-15-+15 dB
D100:0W-D0:100W
Volume balance between the direct
sound (D) and the flanger sound (W)
0-127
Output level
Level
8 5
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Usin g th e XV-2 0 2 0 Effe cts
1 7 : STEREO DELAY
1 8 : MO DULATIO N DELAY
This is a stereo delay.
Adds modulation to the delayed sound, producing an effect similar
to a flanger.
When Mode is NORMAL:
fig.02-017am
When Mode is NORMAL:
Balance D
fig.02-018am
2-Band
EQ
L in
L out
Balance D
2-Band
L in
L out
Balance W
Delay
EQ
Balance W
Delay
Modulation
Feedback
Feedback
Feedback
Feedback
Balance W
Delay
Balance W
Delay
Modulation
Balance D
2-Band
EQ
R in
R out
L out
Balance D
2-Band
EQ
R in
R out
L out
When Mode is CROSS:
fig.02-017bm
When Mode is CROSS:
fig.02-018bm
Balance D
2-Band
EQ
L in
Balance D
2-Band
EQ
L in
Balance W
Delay
Delay
Modulation
Balance W
Feedback
Feedback
Feedback
Feedback
Balance W
Delay
Delay
Modulation
Balance D
Balance W
2-Band
EQ
R in
R out
2-Band
EQ
Balance D
R in
R out
Parameter
Value
Description
Delay L
Delay R
Feedback #
0.0-500.0 ms
Adjusts the time until the delay
sound is heard.
Parameter
Value
0.0-500.0 ms
Description
Adjusts the time until the delay sound
is heard.
Delay Left
Delay Right
Feedback
-98-+98 %
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Selects the way in which delay
sound is fed back into the effect. (See
the figures above.)
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this pa-
rameter to BYPASS.
-98-+98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Selects the way in which delay sound
is fed back into the effect (See the fig-
ures above.)
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Mode
NORMAL,
CROSS
Mode
NORMAL,
CROSS
HF Damp
200-8000 Hz,
BYPASS
HF Damp
200-8000 Hz,
BYPASS
Phase L
Phase R
Low Gain
High Gain
Balance #
NORMAL,
INVERT
Phase of the delay sound
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
0.05-10.00 Hz
0-127
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
0-180 deg
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
Level
Level
8 6
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Usin g th e XV-2 0 2 0 Effe cts
1 9 : TRIPLE TAP DELAY
2 1 : TIME CO N TRO L DELAY
Produces three delay sounds; center, left and right.
fig.02-019m
This effect allows you to use a specified controller — the controller
selected in EFX Control Source — to control the delay time and pitch
in realtime. Lengthening the delay lowers the pitch, and shortening
Balance D
2-Band
L in
L out
it raises the pitch.
EQ
fig.02-021m
Balance W
Left Tap
2-Band
EQ
Balance W
L in
L out
R out
Triple Tap Delay
Feedback
Center Tap
Balance D
Time Control Delay
Balance W
Right Tap
Balance W
2-Band
EQ
R in
R out
Feedback
Balance D
2-Band
EQ
R in
Balance D
Parameter
Delay C
Delay L
Delay R
Feedback #
Value
200-1000
ms, note *1
Description
Adjusts the time until the delay sound is
heard.
Parameter
Delay #
Acceleration
Value
200-1000 ms
0-15
Description
Adjusts the time until the delay is heard.
Adjusts the time over which the Delay
Time changes from the current setting to
a specified new setting.
The rate of change for the Delay Time
directly affects the rate of pitch change.
Adjusts the amount of the delay that’s
fed back into the effect. Negative (-) set-
tings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Adjusts the amount of the delay sound that’s
fed back into the effect. Negative (-) settings
invert the phase.
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you do
not want to filter out any high frequencies,
set this parameter to BYPASS.
-98-+98 %
HF Damp
200-8000
Hz, BYPASS
Feedback #
HF Damp
-98-+98 %
200-8000 Hz,
BYPASS
Volume of each delay
Delay C Level
Delay L Level
Delay R Level
Low Gain
High Gain
Balance #
0-127
Gain of the low frequency range
Gain of the high frequency range
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
Gain of the low frequency range
Gain of the high frequency range
Low Gain
High Gain
Balance
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
Volume balance between the direct sound
(D) and the delay sound (W)
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Level
Output level
Level
Pan
Stereo location of the delay
L64-63R
2 0 : Q UADRUPLE TAP DELAY
2 2 : 2 VO ICE PITCH SHIFTER
This effect has four delays.
fig.02-020am
Shifts the pitch of the original sound. This 2-voice pitch shifter has
two pitch shifters, and can add two pitch-shifted versions of the
Balance D
L in
L out
original sound.
fig.02-022m
Delay 1
Feedback
Balance W
Delay 2
Balance D
Quadruple Tap Delay
Delay 3
L in
L out
Level Balance A
PanA L
PanA R
Balance W
Balance W
R out
Delay 4
R in
2Voice Pitch Shifter
Level Balance B
Balance D
PanB L
fig.02-020bm
Balance W
R out
PanB R
2
3
R in
4
1
Balance D
R
Parameter
Coarse A #1
Value
-24-+12 semi
Description
Adjusts the pitch of Pitch Shift A in
semitone steps.
L
Stereo location of each delay
Adjusts the pitch of Pitch Shift A in 2-
cent steps.
Adjusts the time until Pitch Shift A is
heard.
Fine A #1
Pre Dly A
-100-+100 cent
0.0-500 ms
Parameter
Delay 1
Delay 2
Delay 3
Delay 4
Value
200-1000
ms, note *1
Description
Adjusts the time until the delay sound is
heard.
Stereo location of Pitch Shift A
Pan A
L64-63R
Settings for Pitch Shift B
The parameters are the same as for
Pitch Shift A.
Coarse B #2
Fine B #2
Pre Dly B
Pan B
-24-+12 semi
-100-+100 cent
0.0-500.0 ms
L64-63R
Adjusts the amount of the delay sound that’s
fed back into the effect. Negative (-) settings
invert the phase.
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you do
not want to filter out any high frequencies,
set this parameter to BYPASS.
Feedback #
-98-+98 %
HF Damp
200-8000
Hz, BYPASS
Setting a higher value for this parame-
ter results in a slower response, but
steadier pitch.
Mode
1, 2, 3, 4, 5
Volume of each delay
Volume balance between Pitch Shift A
and Pitch Shift B
Delay Level 1
Delay Level 2
Delay Level 3
Delay Level 4
Balance #
0-127
Level Bal
Balance
A100:0B-
A0:100B
D100:0W-
D0:100W
Volume balance between the direct
sound (D) and the pitch shifted sound
(W)
Volume balance between the direct sound
(D) and the delay sound (W)
D100:0W-
D0:100W
0-127
Output level
Level
0-127
Output level
Level
8 7
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Usin g th e XV-2 0 2 0 Effe cts
2 3 : FB PITCH SHIFTER
2 5 : GATED REVERB
This allows the pitch-shifted sound to be fed back into the effect.
This is a special type of reverb in which the reverb is cut off without
fig.02-023m
being allowed to decay naturally.
fig.02-025m
2-Band
EQ
Balance W
L in
L out
Balance D
2-Band
L in
L out
R out
EQ
Balance W
Balance D
Pitch Shifter
Balance W
Gate Reverb
Feedback
Balance D
2-Band
EQ
Balance W
R in
R out
2-Band
EQ
R in
Balance D
Parameter
Value
Description
Coarse #1
-24-+12 semi
-100-+100 cent
0.0-500.0 ms
1, 2, 3, 4, 5
Adjusts the pitch of the pitch-shifted
sound in semitone steps.
Adjusts the pitch of the pitch-shifted
sound in 2-cent steps.
Adjusts the time until the pitch shift-
ed sound is heard.
Setting a higher value for this pa-
rameter results in a slower response,
but steadier pitch.
Adjusts the amount of the pitch-
shifted sound that’s fed back into the
effect. Negative (-) settings invert the
phase.
Parameter
Type
Value
Description
Type of reverb
NORMAL: conventional gated reverb
REVERSE: backwards reverb
SWEEP1: the reverb moves from right
to left
SWEEP2: the reverb moves from left to
right
NORMAL,
REVERSE,
SWEEP1,
SWEEP2
Fine #1
Pre Delay
Mode
Pre Delay
Gate Time
0.0-100.0 ms
5-500 ms
Adjusts the time until the reverb
sound is heard.
Feedback #
-98-+98 %
Adjusts the time from when the re-
verb is first heard until it disappears.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the reverb sound (W)
Output level
Low Gain
High Gain
Balance #
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
0-127
Low Gain
High Gain
Balance
-15-+15 dB
-15-+15 dB
D100:0W-
D0:100W
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the pitch-shifted
sound (W)
Level #
Level
Pan
0-127
L64-63R
Output level
Stereo location of the pitch-shifted
sound
2 6 : O VERDRIVE -> CHO RUS
fig.02-026m
L out
L in
Balance D
2 4 : REVERB
Balance W
Adds reverberation to the sound, simulating an acoustic space.
fig.02-024m
Overdrive
Chorus
Balance W
R out
2-Band
EQ
Balance W
R in
L in
L out
Balance D
Balance D
Reverb
Parameter
OD Drive
Value
0-127
Description
Degree of distortion
Balance W
Also changes the volume.
2-Band
EQ
R in
R out
OD Pan #
Cho Rate
Cho Depth
Cho Delay
L64-63R
0.05-10.00 Hz
0-127
Stereo location of the overdrive
Frequency of modulation
Depth of modulation
Adjusts the time until the chorus
sound is heard.
Adjusts the volume balance be-
tween the sound sent through
the chorus (W) and the sound
that’s not sent through the cho-
rus (D).
Balance D
Parameter
Type
Value
Description
Type of reverb
ROOM1: dense reverb with short de-
cay
ROOM2: sparse reverb with short de-
cay
STAGE1: reverb with fewer early re-
flections
0.0-100.0 ms
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
Cho Balance #
D100:0W-
D0:100W
Level
0-127
Output level
STAGE2: reverb with strong early re-
flections
HALL1: clear reverb
HALL2: rich reverb
Pre Delay
0.0-100.0 ms
Adjusts the time until the reverb is
heard.
Time #
0-127
Duration of reverberation
HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above which
the reverb is reduced in level.
As the frequency is set lower, more of
the high frequencies are cut, resulting
in a softer and more muted reverb. If
you don’t want to cut any high fre-
quencies, set this parameter to BY-
PASS.
Low Gain
High Gain
Balance #
-15-+15 dB
-15-+15 dB
D100:0W-D0:100W
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the reverb sound
(W)
Level
0-127
Output level
8 8
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Usin g th e XV-2 0 2 0 Effe cts
2 7 : O VERDRIVE -> FLAN GER
2 9 : DISTO RTIO N -> CHO RUS
fig.02-027m
The parameters are essentially the same as in “26: OD -> CHORUS,”
with the exception of the following two.
Balance D
L out
L in
OD Drive -> Dist Drive, OD Pan -> Dist Pan
fig.02-029m
Feedback
Balance W
Overdrive
Flanger
L out
L in
Balance D
Chorus
Balance W
R out
Balance W
R in
Distortion
Balance D
Balance W
R out
R in
Parameter
Value
Description
Balance D
OD Drive
0-127
Degree of distortion
Also changes the volume.
OD Pan #
Flg Rate
Flg Depth
Flg Feedback
L64-63R
0.05-10.00 Hz
0-127
Stereo location of the overdrive
Frequency of modulation
Depth of modulation
Adjusts the amount of the
flanger sound that’s fed back
into the effect. Negative (-) set-
tings invert the phase.
3 0 : DISTO RTIO N -> FLAN GER
The parameters are essentially the same as in “27: OD ->
FLANGER,” with the exception of the following two.
-98-+98 %
OD Drive -> Dist Drive, OD Pan -> Dist Pan
fig.02-030m
Flg Delay
0.0-100.0 ms
Adjusts the time until the flanger
is heard.
Balance D
L out
L in
Flg Balance #
D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the flanger (W) and the sound
that’s not sent through the
flanger (D).
Feedback
Flanger
Balance W
Distortion
Balance W
R out
Level
0-127
Output level
R in
Balance D
2 8 : O VERDRIVE -> DELAY
fig.02-028m
3 1 : DISTO RTIO N -> DELAY
L out
L in
The parameters are essentially the same as in “28: OD -> DELAY,”
with the exception of the following two.
Balance D
Balance W
Overdrive
Delay
OD Drive -> Dist Drive, OD Pan -> Dist Pan
fig.02-031m
Balance W
R out
Feedback
L out
L in
R in
Balance D
Delay
Balance D
Balance W
Distortion
Parameter
OD Drive
Value
Description
Balance W
R out
0-127
Degree of distortion
Feedback
Balance D
Also changes the volume.
R in
OD Pan #
Delay Time
L64-63R
0.0-500.0 ms
Stereo location of the overdrive
Adjusts the time until the delay is
heard.
Dly Feedback
Dly HF Damp
-98-+98 %
Adjusts the amount of the delay
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
3 2 : EN HAN CER -> CHO RUS
fig.02-032m
200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the effect
is filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to BYPASS.
Adjusts the volume balance be-
tween the sound sent through the
delay (W) and the sound that’s not
sent through the delay (D).
Output level
L in
L out
Enhancer
Balance D
Chorus
Mix
Balance W
Balance W
R out
Dly Balance #
Level
D100:0W-
D0:100W
R in
Enhancer
Balance D
Mix
0-127
Parameter
Value
Description
Enhancer Sens #
Enhancer Mix
0-127
0-127
Sensitivity of the enhancer
Level of the overtones generated
by the enhancer
Cho Rate
Cho Depth
Cho Delay
0.05-10.00 Hz
0-127
0.0-100.0 ms
Frequency of modulation
Depth of modulation
Adjusts the time until the chorus
is heard.
Cho Balance #
D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the chorus (W) and the sound
that’s not sent through the cho-
rus (D).
Level
0-127
Output level
8 9
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Usin g th e XV-2 0 2 0 Effe cts
3 3 : EN HAN CER -> FLAN GER
3 5 : CHO RUS -> DELAY
fig.02-033m
fig.02-035m
Balance D
Balance D
L in
L in
L out
L out
Enhancer
Balance D
Mix
Feedback
Flanger
Balance W
Chorus
Balance W
Balance W
Delay
Balance W
R out
Balance W
R out
Balance W
Feedback
R in
R in
Enhancer
Balance D
Balance D
Balance D
Mix
Parameter
Cho Rate
Value
0.05-10.00 Hz
Description
Frequency of modulation
Parameter
Value
Description
Enhancer Sens #
Enhancer Mix
0-127
0-127
Sensitivity of the enhancer
Level of the overtones generated
by the enhancer
Cho Depth
Cho Delay
0-127
0.0-100.0 ms
Depth of modulation
Adjusts the time until the cho-
rus is heard.
Flg Rate
Flg Depth
Flg Feedback
0.05-10.00 Hz
0-127
-98-+98 %
Frequency of modulation
Depth of modulation
Cho Balance #
D100:0W-
D0:100W
Volume balance between the
direct sound (D) and the cho-
rus sound (W)
Adjusts the time until the delay
is heard.
Adjusts the amount of the de-
lay sound that’s fed back into
the effect. Negative (-) settings
invert the phase.
Adjusts the frequency above
which sound fed back to the ef-
fect is filtered out. If you do not
want to filter out any the high
frequencies, set this parameter
to BYPASS.
Adjusts the amount of the
flanger sound that’s fed back
into the effect. Negative (-) set-
tings invert the phase.
Adjusts the time until the flanger
is heard.
Adjusts the volume balance be-
tween the sound sent through
the flanger (W) and the sound
that’s not sent through the
flanger (D).
Delay Time
0.0-500.0 ms
-98-+98 %
Dly Feedback
Flg Delay
0.0-100.0 ms
Flg Balance #
D100:0W-
D0:100W
Dly HF Damp
200-8000 Hz,
BYPASS
Level
0-127
Output level
Dly Balance #
D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the delay (W) and the sound
that’s not sent through the de-
lay (D).
3 4 : EN HAN CER -> DELAY
fig.02-034m
L in
L out
Level
0-127
Output level
Enhancer
Balance D
Mix
Balance W
3 6 : FLAN GER -> DELAY
fig.02-036m
Delay
Feedback
Balance D
Balance W
R out
Balance D
R in
Enhancer
Mix
L in
L out
Balance D
Feedback
Balance W
Balance W
Flanger
Parameter
Enhancer Sens #
Enhancer Mix
Value
0-127
0-127
Description
Delay
Sensitivity of the enhancer
Level of the overtones generat-
ed by the enhancer
Adjusts the time until the delay
is heard.
Adjusts the amount of the de-
lay sound that’s fed back into
the effect. Negative (-) settings
will invert the phase.
Adjusts the frequency above
which sound fed back to the ef-
fect is filtered out. If you don’t
want to filter out any high fre-
quencies, set this parameter to
BYPASS.
Balance W
Balance W
Feedback
R in
R out
Balance D
Delay Time
0.0-500.0 ms
-98-+98 %
Balance D
Parameter
Flg Rate
Flg Depth
Value
0.05-10.00 Hz
0-127
-98-+98 %
Description
Dly Feedback
Frequency of modulation
Depth of modulation
Flg Feedback
Adjusts the amount of the flanger
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Adjusts the time until the flanger is
heard.
Volume balance between the direct
sound (D) and the flanger sound
(W)
Adjusts the time until the delay
sound is heard.
Dly HF Damp
200-8000 Hz,
BYPASS
Flg Delay
0.0-100.0 ms
Flg Balance #
D100:0W-
D0:100W
Dly Balance #
D100:0W-
D0:100W
Adjusts the volume balance be-
tween the sound sent through
the delay (W) and the sound
that’s not sent through the de-
lay (D).
Delay Time
0.0-500.0 ms
-98-+98 %
Dly Feedback
Adjusts the amount of the delay
sound that’s fed back into the ef-
fect. Negative (-) settings invert the
phase.
Level
0-127
Output level
Dly HF Damp
200-8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the effect
is filtered out. If you do not want to
filter out any high frequencies, set
this parameter to BYPASS.
Adjusts the volume balance be-
tween the sound sent through the
delay (W) and the sound that’s not
sent through the delay (D).
Output level
Dly Balance #
Level
D100:0W-
D0:100W
0-127
9 0
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Usin g th e XV-2 0 2 0 Effe cts
3 7 : CHO RUS -> FLAN GER
4 0 : CHO RUS/ FLAN GER
fig.02-037m
The parameters are the same as for “37: CHO -> FLANGER.”
Balance D
Balance D
However, the Flanger Balance parameter adjusts the volume balance
L in
L out
between the direct sound and the flanger sound.
fig.02-040m
Feedback
Flanger
Balance W
Chorus
Balance W
Balance D
Balance W
R out
Balance W
L in
L out
Balance W
R in
Chorus
Balance D
Balance D
Feedback
Balance W
R out
Parameter
Cho Delay
Value
0.0-100.0 ms
Description
Adjusts the time until the chorus is
heard.
Modulation frequency of the chorus
effect
Flanger
R in
Balance D
Cho Rate
0.05-10.00 Hz
Cho Depth
Cho Balance #
0-127
Modulation depth of the chorus effect
Volume balance between the direct
sound (D) and the chorus sound (W)
Modulation frequency of the flanger
effect
note*1
D100:0W-
D0:100W
0.05-10.00 Hz
Flg Rate
Eighth-note triplet
Dotted eighth note
Dotted quarter note
Dotted sixteenth note
Sixteenth note
Eighth note
Half-note triplet
Half note
Quarter note
Flg Depth
Flg Feedback
0-127
-98-+98 %
Modulation depth of the flanger effect
Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Adjusts the time until the flanger
sound is heard.
Half-note triplet
Flg Delay
0.0-100.0 ms
Flg Balance #
D100:0W-
D0:100W
Adjusts the volume balance between
the sound sent through the flanger (W)
and the sound that’s not sent through
the flanger (D).
Level
0-127
Output level
3 8 : CHO RUS/ DELAY
The parameters are the same as for “35: CHORUS -> DELAY.”
However, the Delay Balance parameter adjusts the volume balance
between the direct sound and the delay sound.
fig.02-038m
Balance D
L in
L out
Balance W
Chorus
Feedback
Balance W
Delay
R in
R out
Balance D
3 9 : FLAN GER/ DELAY
The parameters are the same as for “36: FLG -> DELAY.” However,
the Delay Balance parameter adjusts the volume balance between the
direct sound and the delay sound.
fig.02-039m
Balance D
L in
L out
Balance W
Flanger
Feedback
Feedback
Balance W
R out
Delay
R in
Balance D
9 1
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Sa vin g a So u n d Yo u Cre a te
Sa vin g Ed its to th e XV-2 0 2 0 ’s
In te rn a l Me m o ry (W RITE)
In itia lizin g a So u n d
(IN ITIALIZE)
If you turn the power off or select another Patch, Rhythm Set, or
Performance after you have modified a Patch, Rhythm Set or
Performance, the changes you have made will be lost. If you wish to
preserve the data, store it into the XV-2020’s USER memory.
This feature resets all of the parameters in the current Patch,
Performance, Rhythm Set or Rhythm Tone to their standard
(INITIALIZE).
*
When you play a Patch, Performance, Rhythm Set or Rhythm Tone,
you’re actually playing it from the XV-2020’s Temporary memory —
the Patch, Performance, Rhythm Set or Rhythm Tone is instantly
copied into the Temporary memory when you select it. During
initialization, only the copy is affected, not the version saved in
memory. If you wish to restore all of the XV-2020’s settings to their
Never turn off the power to the XV-2020 while data is being
saved
1 . Select the Performance, Patch or Rhythm Set you wish to
Sa vin g a Pa tch / Rh y th m Se t/
Pe rfo rm a n ce
initialize.
2 . While holding down [VOLUME], press [VALUE].
3 . Turn [CATEGORY/BANK] to select “UTILITY (PIANO).”
Saving from the XV-2020
1 . Make sure that the Patch (Rhythm Set/Performance) you
4 . Rotate [VALUE] until “ini (
)” appears in the display.
wish to save is selected.
5 . When you press [VALUE], “Sur” flashes in the display, and
a screen asking you to confirm whether or not you want to
save appears.
2 . While holding down [VOLUME], press [VALUE].
3 . Turn [CATEGORY/BANK] to select “UTILITY (PIANO).”
6 . When you press [VALUE] once more, the sound is
4 . Rotate [VALUE] until “wrt (
)” appears in the display.
initialized.
5 . Press [VALUE] to display the write-destination Patch
*
To cancel the procedure, hold down [VOLUME] while you press
[VALUE].
(Rhythm Set/Performance) number.
6 . Rotate [VALUE] to select the write-destination Patch
(Rhythm Set/Performance) number.
7 . When you press [VALUE], “Sur” flashes in the display, and
a screen asking you to confirm whether or not you want to
save appears.
8 . Press [VALUE] to save the Patch.
*
To cancel the procedure, while holding down [VOLUME] and
pressing [VALUE].
*
When you save a Performance, only the Performance settings are
saved. Settings for the Patches and Rhythm Sets assigned to Parts are
not saved, even when these are changed.
*
You cannot save GM Bank Patch and Rhythm Set settings.
Saving with the Included XV Editor
When using XV Editor, included with the XV-2020, you can click
“WRITE” to save data.
fig.07-01
*
To load saved Patches (Rhythm Sets/Performances), click “READ.”
9 2
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Sa vin g a So u n d Yo u Cre a te
Tra n sm ittin g So u n d Se ttin g s
(XFER)
The act of transmitting Patch, Performance, Rhythm Set or System
data to an external MIDI device is called a “Bulk Dump.” You can
perform a bulk dump when two XV-2020s 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-2020 data.
The following describes the relationship between the selected mode
and the data that is transmitted.
Patch Mode:
Parameters for the currently selected Patch
Parameters for the currently selected Rhythm
Set
Rhythm Mode:
Performance Mode: Parameters for the currently selected
Performance and the Patches and Rhythm Sets
assigned to its Parts
GM Mode:
Bank Select and Program Changes are
transmitted not by Exclusive messages, but by
means of MIDI Channel messages. For more on
the MIDI Channel messages that are
transmitted, refer to the MIDI Implementation
1 . Select the Performance, Patch, Rhythm Set or GM mode
settings you wish to transfer.
2 . While holding down [VOLUME], press [VALUE].
3 . Turn [CATEGORY/BANK] to select “UTILITY (PIANO).”
4 . Rotate [VALUE] until “dtr (
)” appears in the display.
5 . When you press [VALUE], “Sur” flashes in the display, and
screen asking you to confirm whether or not you want to
transmit appears.
6 . When you press [VALUE] once more, the data is
transmitted to the external MIDI device.
*
To cancel the procedure, while holding down [VOLUME] and
pressing [VALUE].
9 3
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Esta b lish in g Se ttin g s fo r a n En tire
XV-2 0 2 0 (SYSTEM CO MMO N )
SYSTEM CO MMO N
Parameter
Value
Description
MASTER LEVEL
MASTER TUNE
0–127
Adjusts the volume of the entire XV-2020.
415.3–466.2 Hz
Adjusts the overall tuning of the XV-2020. The setting is expressed as the fre-
quency played by the A4 key.
PATCH REMAIN
(Patch Remain Switch)
OFF, ON
This specifies whether you want the notes that are sounding to remain (ON)
or turn off (OFF) when you select a new Patch or Rhythm Set in Patch mode.
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) are passed on.
MASTER KEY SHIFT
-24–+24
Shifts the overall pitch of the XV-2020 in semitone steps.
Specifies the tempo clock of the system.
CLOCK SOURCE
INT, MIDI, USB
(System Clock Source)
INT: The internal clock
MIDI: An external clock received via MIDI IN connector
USB: An external clock received via USB connector
TEMPO
(System Tempo)
20–250
Sets the system tempo. When Clock Source is set to “MIDI” or “USB,” the
tempo will synchronize to the clock messages received from an external de-
vice, so the tempo value will be ignored.
PERFORM CTRL CH
(Performance Control Channel)
1–16, OFF
When changing Performances by MIDI messages from the external device,
set the transmit channel of the external device and this channel to the same
channel.
* When you perform a Factory Reset operation, Control Channel is reset to “16.”
PATCH RCV CH
(Patch/ Rhythm Set Receive Channel)
1–16
Set this channel to use an external MIDI device (such as a MIDI keyboard) for
playing Patches and Rhythm Sets, or to have Patches or Rhythm Sets
changed as the result of MIDI messages.
RCV PC
OFF, ON
OFF, ON
Specifies whether Program Change messages will be received (ON), or not
(OFF).
(Receive Program Change Switch)
RCV BS
Specifies whether Bank Select messages will be received (ON), or not (OFF).
(Receive Bank Select Switch)
SYSTEM CTRL SRC 1–4
(System Control Source1–4)
OFF, CC01–31,
33–95, BEND,
AFTER
These settings allow you to choose four MIDI controllers for global use when
controlling the parameters of any Patch or Performance. The settings in each
Patch or Performance will determine whether the two controllers you choose
here will actually be used. In each Patch or Performance, you will also need
to specify the parameters to be controlled.
OFF: No controller is used.
CC01–95: Controller numbers 1–95 (except for 32)
BEND: Pitch Bend
AFTER: Aftertouch
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O th e r Se ttin g s
Ma k in g USB-Re la te d Se ttin g s
*
With these parameters, changes in the settings are not reflected until the power is turned off and then on again.
Furthermore, only the XV-2020 can be used to make the settings.
Parameter
Value
Description
MIDI-USB Thru
OFF, ON
OFF:MIDI messages arriving at the MIDI IN and the USB connectors are all sent to the
sound generator.
ON:MIDI messages arriving at the MIDI IN connector are output as is from the USB con-
nector, while the MIDI messages that arrive at the USB connector are output through the
MIDI OUT connector.
* When this parameter is set to “ON,” the sound generator receives MIDI messages only from the
USB connector. For the sound generator to receive MIDI messages from the MIDI IN connector,
the MIDI Thru function on your computer must be set to “ON.”
MIDI-USB Thru = OFF
MIDI-USB Thru = ON
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
+
+
Sound
Sound
Generator
Generator
XV-2020
XV-2020
USB
USB
* MIDI messages received at MIDI IN are routed
through the computer to the sound generator.
Computer
MIDI Thru: ON
USB DESCRIPTOR
VEN, GEN
VEN (VENDOR): Select this when using the supplied driver with a USB connection.
GEN (GENERIC): Select this when using a generic USB driver included with the OS with
a USB connection.
*
With these parameters, changes in the settings are not reflected until the power is turned off and then on again.
Furthermore, only the XV-2020 can be used to make the settings.
Procedure
1 .
2 .
3 .
4 .
5 .
While holding down [VOLUME], press [VALUE].
Turn [CATEGORY/BANK] to choose “MIDI-USB Thru” or “USB DESCRIPTOR.”
Turn [VALUE] to select the desired setting.
Press [VALUE] to set (write) the value.
While holding down [VOLUME], press [VALUE].
Initialize is executed.
Ch e ck in g th e Pro g ra m Ve rsio n
Parameter
Description
PROGRAM VERSION
Shows the version of the XV-2020’s system program.
Procedure
1 .
2 .
3 .
4 .
While holding down [VOLUME], press [VALUE].
Turn [CATEGORY/BANK] to choose “UTILITY (PIANO).”
When you rotate [VALUE], the program version (number) is displayed.
While holding down [VOLUME], press [VALUE].
The XV-2020 exits Edit mode.
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Usin g th e XV-2 0 2 0 a s a Ge n e ra l MIDI So u n d Mo d u le
The XV-2020 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.
En te rin g GM Mo d e
Basically GM mode is similar to a special kind of Performance in which a General MIDI System Rhythm
Set is assigned to Part 10, and General MIDI System Patches are assigned to other Parts.
But however, you can’t store GM mode settings in user memory.
Each time you enter GM mode, the GM Drum Set is assigned to Part 10, and Piano 1 is assigned to other
Parts. You can also select other GM Patches and GM Drum Sets for each Part to match the performance.
You cannot use the included XV Editor to edit the parameters in GM mode.
In itia lizin g th e So u n d Ge n e ra to r fo r Ge n e ra l MIDI Sy ste m Ba sic Se ttin g s
To play back a GM score correctly, the sound generator must first be initialized to basic GM system
settings. The XV-2020’s sound generator is initialized in the following situations:
•
•
•
•
When the XV-2020 is switched to GM mode
When it receives a GM System On message from an external MIDI device
When a GM System On message is encountered in the song data being played back
When you execute the GM Initialize function
Pro ce d u re
1 .
2 .
3 .
4 .
5 .
6 .
Press [VALUE], causing the GM indicator to light up, to switch to GM mode.
While holding down [VOLUME], press [VALUE].
Turn [CATEGORY/BANK] to choose “UTILITY (PIANO).”
Press [VALUE] to choose “ini.”
When you press [VALUE], “Sur” is displayed, and a confirmation screen appears.
Press [VALUE].
Initialize is executed.
GM/GM2 System On Message
The GM/ GM2 System On messages put the unit in a state that conforms to the General MIDI System
and initializes a General MIDI-compatible sound generator.
Pla y in g Ba ck a GM Sco re
When the XV-2020 is in GM mode, it plays back GM scores correctly. But beyond this, the XV-2020
provides many extended features not defined in GM System specifications, and if you create music files
using these extended features, your song may not play back correctly on other GM-compatible sound
modules.
The beginning of a GM score normally contains a GM System On message. So if you play back a GM score
starting in the top of a song, XV-2020 will switch itself to GM mode. But if you play back a GM score
starting in the middle of a song, XV-2020 may not switch itself to GM mode, and the GM score may not
play back correctly. So to be safe, it’s recommended to manually set the XV-2020 to GM mode before
playing back a GM score.
although the XV-2020 can also be compatible with the GS format by receiving a GS Reset MIDI message,
Roland’s Sound Canvas Series (including the SC-8850 and SC-8820) features a different sound module
system and extended tone map, you may be unable to get MIDI data (GS music data) created especially
for use only with the Sound Canvas series of devices to play back properly.
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Usin g th e XV-2 0 2 0 a s a Ge n e ra l MIDI So u n d Mo d u le
Ma k in g Effe cts Se ttin g s in GM Mo d e (EFFECTS)
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.
*
*
In GM mode, you cannot use Multi-effects.
The XV-2020’s onboard effects can be turned on/off as a whole. For details, refer to “Turning Effects On/Off
OUTPUT
Parameter
Value
Description
OUTPUT LEVEL
(Dry Send Level)
0–127
Sets the direct sound’s volume for each Part.
CHORUS SEND LEVEL
REVERB SEND LEVEL
0–127
0–127
Adjusts the amount of Chorus for each Part. If you don’t want to add the Chorus effect, set it to 0.
Adjusts the amount of Reverb for each Part. If you don’t want to add the Reverb effect, set it to 0.
*
Chorus and Reverb are output in mono at all times.
GM CHORUS
Parameter
Value
Description
CHORUS TYPE
CHORUS1–4,
FB CHORUS,
FLANGER
Selects the type of Chorus.
CHORUS 1–4: Chorus1–4
FB CHORUS: Feedback Chorus
FLANGER: Flanger
CHORUS RATE
0–127
0–127
0–127
Specifies the modulation frequency of the Chorus sound.
Sets the depth of the modulations of the Chorus sound.
CHORUS DEPTH
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.
CHORSUS REVERB SEND LEVEL
0–127
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.
GM REVERB
Parameter
Value
SMALL ROOM,
Description
REVERB TYPE
Selects the type of Reverb.
MEDIUM ROOM,
LARGE ROOM,
MEDIUM HALL,
LARGE HALL,
PLATE
SMALL ROOM: Reverb resembling that obtained in a small room.
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.
REVERB TIME
0–127
Adjusts the length of the Reverb time.
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Usin g th e XV-2 0 2 0 a s a Ge n e ra l MIDI So u n d Mo d u le
Ma k in g Se ttin g s fo r Ea ch Pa rt
Here you can select the GM Patch/ Rhythm Set assigned to each Part, and set the volume, pan, and pitch
of each Part.
Parameter
Value
Description
LEVEL
(Part Level)
0–127
Adjusts the volume of an individual Part. This setting’s main purpose is to adjust the vol-
ume balance between Parts.
PAN
(Part Pan)
RND, L63–63R
-48–+48
Adjusts the pan of each Part. L64 is far left, 0 is center, and 63R is far right.
Adjusts the pitch of the Part’s sound up or down in semitone steps (+/ -4 octaves).
Adjusts the pitch of the Part’s sound up or down in 1-cent steps (+/ -50 cents).
COARSE TUNE
(Part Coarse Tune)
FINE TUNE
-50–+50
(Part Fine Tune)
PART TYPE
PATCH,
RHYTHM
Sets the assignment of a GM Patch (PATCH) or GM Rhythm Set (RHYTHM) to each of
the Parts.
NUMBER
001–256/
001–009
Selects the desired GM Patch or Rhythm Set by its number.
* 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.
CUTOFF OFFSET
(Part Cutoff Offset)
-64–+63
-64–+63
-64–+63
-64–+63
0–24
Adjusts the cutoff frequency for the GM Patch or Rhythm Set assigned to a Part.
RESONANCE OFFSET
(Part Resonance Offset)
Adjusts the Resonance for the GM Patch or Rhythm Set assigned to a Part.
ATTACK OFFSET
(Part Attack Time Offset)
Adjusts the TVA Envelope Attack Time for the GM Patch or Rhythm Set assigned to a
Part.
RELEASE OFFSET
(Part Release Time Offset)
Adjusts the TVA Envelope Release Time for the GM Patch or Rhythm Set assigned to a
Part.
BEND RANGE
(Pitch 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.
MONO/ POLY
(Part MONO/ POLY)
MONO, POLY
Set Mono/ Poly to MONO when the GM Patch assigned to the Part is to be played mono-
phonically, 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.
PORTAMENTO SWITCH
(Part Portamento Switch)
OFF, ON
0–127
Determines whether the Portamento effect will be applied (ON) or not (OFF). Turn this
parameter ON when you want to apply Portamento and OFF when you don’t.
PORTAMENTO TIME
(Part Portamento Time)
Adjusts the time over which the pitch will change. Higher settings will cause the pitch
change to the next note to take more time.
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Ex a m p le s o f Ap p lica tio n s Usin g th e XV-2 0 2 0
This section provides clear, concrete examples describing how the
DESTINATION
(MFX CONTROL DESTINATION1–4)
included XV Editor is used with the XV-2020.
This chooses the Multi-Effects parameter to be controlled using the
MFX Control Source 1–4.
Co n tro llin g th e XV-2 0 2 0 in
re a l tim e Usin g a n Ex te rn a l
SENS (MFX CONTROL SENS1–4)
If you wish to change the selected parameter in a positive (+)
MIDI De vice
direction – i.e., a higher value, toward the right, or faster, etc. – from
its current setting, choose a positive (+) value. If you wish to change
External MIDI controllers – modulation lever, foot switch,
the selected parameter in a negative (-) direction – i.e., a lower value,
expression pedal, etc. – can be used to modify Multi-Effects settings
toward the left, or slower, etc. – from its current setting, choose a
or Tone settings in real time.
negative (-) value. Higher numbers produce a greater amount of
change.
Ch a n g in g Mu lti-Effe cts Se ttin g s
Ch a n g in g To n e Se ttin g s
Fro m a n Ex te rn a l MIDI De vice
You can use the Matrix Control parameter to manipulate Tone
settings in real time.
The parameters that can be changed via MIDI are determined by the
selected Multi-Effects (MFX) Type.
Choosing the MIDI Messages Used for Control and
the Parameters to Be Changed
1 . Click [PATCH] or [PERFORM].
1 . Click [PATCH].
2 . Click the
for [PATCH NAME] or [PERFORM NAME] to
2 . Click the
for [PATCH NAME] to select the Patch to be
select the Patch or Performance to be used.
used.
fig.08-01.eps_50
fig.08-01.eps_50
fig.08-02.eps_50
fig.08-02.eps_50
3 . Click [PARAM] for [MFX].
3 . Click [MATRIX CONTROL].
fig.08-05
4 . Click the
for [TYPE] and select [TYPE (MFX TYPE)].
fig.08-03.eps_50
4 . Click the
for [SOURCE 1] through [SOURCE 4] to select
fig.08-04.eps_50
the parameter.
5 . Set the parameter and the value.
5 . Using the
for [DESTINATION 1] through [DESTINATION
4], select the parameter to be controlled, and set the SENS
and TONE.
PATCH MFX
You cannot choose these parameters when the MFX Type is set to
“00 THROUGH.”
CONTROL SOURCE
(MFX CONTROL SOURCE1–4)
OFF
No controller is used.
Controller numbers 1–95 (except for 32)
Pitch Bend
Aftertouch
System Control 1–4
CC01–95
BEND
AFTER
SYS1–4
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Ex a m p le s o f Ap p lica tio n s Usin g th e XV-2 0 2 0
SENS1–4 (MATRIX CONTROL SENS 1–4)
Ma trix Co n tro l
This adjusts the amount of change that occurs in response to
controller movements. Negative (-) values invert the change. For
example, with LFO Depth, the phase is reversed when a negative
Sens value is chosen. With LFO Rate, setting Sens to a negative value
increases the cycle length, slowing down the LFO, while setting it to
positive value shortens the cycle, speeding it up
Select the controllers you want to use to control a specific Tone
parameter. Four control sources are assigned to each Patch.
SOURCE 1–4 (MATRIX CONTROL1–4 SOURCE)
Assign one of the following controllers to Control Source 1–4. If you
wish to use a controller that applies to all Patches, or a controller that
cannot be directly specified here, choose SYS-CTRL1–4, and then
choose the controller using the Control Source 1–4 parameters
(SYSTEM CONTROL SOURCE).
TONE1–4 (MATRIX CONTROL1–4, TONE CONTROL
SWITCH1–4)
This selects the Tone to be controlled using the two previous
parameter settings. “ON” activates the control of a Tone, “OFF” de-
activates it, and “REV” reverses the (+) or (-) nature of the change
being applied.
OFF (No controller is used.)
CC01–95 (Controller numbers 1–95 (except for 32))
PITCH BEND
AFTERTOUCH
SYS-CTRL1–4 (System Control 1–4)
VELOCITY
KEYFOLLOW
TEMPO
LFO1(2)
Ap p lica tio n s fo r Pa tch e s
PITCH ENV (Pitch Envelope)
TVF ENV (TVF Envelope)
TVA ENV (TVA Envelope)
Sy n cin g th e LFO Cy cle to th e
Sy ste m Te m p o
1 . Click [PATCH].
MATRIX CO N TRO L1 –4
2 . Click the
for [PATCH NAME] to select the Patch to be
This select the parameters to be controlled in the Matrix Control 1-4
Source and the Sens settings, as well as the Tone to which they’re
applied. Up to four parameters can be specified for each controller
and controlled simultaneously.
synchronized.
fig.08-01.eps_50
DESTINATION1–4
fig.08-02.eps_50
(MATRIX CONTROL1–4 DESTINATION1–4)
3 . Click [DETAIL] for PATCH COMMON, then set [CLOCK
This chooses the parameters to be controlled.
SOURCE] to [SYSTEM].
fig.08-06a.eps_50
OFF (No control)
---
PITCH
CUTOFF (Cutoff Frequency)
RESONANCE
LEVEL
PAN
DRY LEVEL
CHORUS SEND (Chorus Send Level)
REVERB SEND (Reverb Send Level)
LFO1(2) PITCH DEPTH
LFO1(2) TVF DEPTH
LFO1(2) TVA DEPTH
fig.08-06b
LFO1(2) PAN DEPTH
LFO1(2) RATE
PCH ENV A-TIME (Pitch Envelope Attack Time)
PCH ENV D-TIME (Pitch Envelope Decay Time)
PCH ENV R-TIME (Pitch Envelope Release Time)
TVF ENV A-TIME (TVF Envelope Attack Time)
TVF ENV D-TIME (TVF Envelope Decay Time)
TVF ENV R-TIME (TVF Envelope Release Time)
TVA ENV A-TIME (TVA Envelope Attack Time)
TVA ENV D-TIME (TVA Envelope Decay Time)
TVA ENV R-TIME (TVA Envelope Release Time)
TMT
4 . Click [DETAIL] for LFO 1, click [RATE], then set each tone’s
Rate to the note length corresponding to the
synchronization tempo.
fig.08-07
FXM DEPTH (Wave FXM Depth)
MFX CTRL 1–4 (MFX CONTROL 1–4)
*
TONE 1 – TONE 4 are switched with TONE SELECT, at the upper
right of the screen.
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Ex a m p le s o f Ap p lica tio n s Usin g th e XV-2 0 2 0
fig.08-06b
5 . Click [DETAIL] for SYSTEM COMMON, then set [CLOCK
SOURCE] to [INT].
*
When the System Clock Source parameter is set to MIDI or USB, you
can synchronize the LFO cycle to an external device.
6 . If [TEMPO] (System Tempo) changes, the LFO Rate
changes along with it.
fig.08-08a.eps_50
4 . Click [PARAM] for [MFX].
This puts you in the PATCH MFX screen.
5 . Click [TYPE] and select [16 STEP FLANGER].
fig.08-03.eps_50fig.08-10.eps_50
fig.08-08b
6 . Make sure that [STEP RATE] is set to a note – not a
7 . Set the modulation depth as desired using LFO 1 Depth for
numerical - value. If necessary, reset it so that it is.
fig.08-11
each Tone.
fig.08-09.eps_50
Sy n ch ro n izin g Mu lti-Effe cts to th e
Sy ste m Te m p o
You can change Multi-Effects parameter values in time with the
System Tempo when you’ve selected the following values for the
Type MFX parameter.
7 . Click [DETAIL] for SYSTEM COMMON, then set [CLOCK
SOURCE] to [INT].
fig.08-08a.eps_50
Type
MFX Parameter
Step Rate
Delay C/ L/ R
Delay 1–4
16: STEP FLANGER
19: TRIPLE TAP DELAY
20: QUADRUPLE TAP DELAY
Here’s an example in which STEP FLANGER is used for the Multi-
Effects.
1 . Click [PATCH].
fig.08-08b
2 . Click the
for [PATCH NAME] to select the Patch to be
used.
fig.08-01.eps_50fig.08-02.eps_50
3 . Click [DETAIL] for PATCH COMMON, then set [CLOCK
*
When the System Clock Source parameter is set to MIDI or USB, you
can synchronize the LFO cycle to an external device.
SOURCE] to [SYSTEM].
fig.08-06a.eps_50
8 . When [TEMPO] (System Tempo) changes, the STEP
FLANGER’s Step Rate changes along with it.
1 0 1
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Ex a m p le s o f Ap p lica tio n s Usin g th e XV-2 0 2 0
Ma k in g a To n e ’s De la y Tim e
Ma tch th e Sy ste m Te m p o
1 . Click [PATCH].
Pla y in g Ph ra se Lo o p s a t a
Sy ste m ’s Te m p o
An optional Wave Expansion Board can contain Patches based on
waveforms that are timed – in BPM – phrase loops. You can play
these phrase loops in sync with the System Tempo.
2 . Click the
for [PATCH NAME] to select the Patch to be
used.
fig.08-01.eps_50
1 . Click [PATCH].
2 . Click the
for [PATCH NAME] and select the Patch being
used in the phrase loop.
fig.08-01.eps_50
fig.08-02.eps_50
3 . Click [DETAIL] for PATCH COMMON, then set [CLOCK
SOURCE] to [SYSTEM].
fig.08-06a.eps_50
fig.08-02.eps_50
3 . Click [DETAIL] for PATCH COMMON, then set [CLOCK
SOURCE] to [SYSTEM].
fig.08-06a.eps_50
fig.08-06b
fig.08-06b
4 . Click [DETAIL] for [PATCH WG], then set [TONE DELAY
TIME] to the note length corresponding to the
synchronization tempo.
– not a numerical value – in relation to the synchronization tempo.
fig.08-12a
4 . Click [DETAIL] for [PATCH WG].
Press [SELECT] to find a Tone that uses phrase-loop waveforms.
The wave name appears in the WAVE NUMBER L (R) column.
Waveform names that have a BPM number in the first part of the
name (such as “132:WAVE NAME”) are phrase loop waveforms.
fig.08-12a
fig.08-12b
fig.08-12b
5 . Click [DETAIL] for SYSTEM COMMON, then set [CLOCK
SOURCE] to [INT].
*
When the System Clock Source parameter is set to MIDI or USB, you
can synchronize the LFO cycle to an external device.
5 . Set [TONE DELAY TIME] to 0.
6 . When [TEMPO] (System Tempo) changes, the Tone’s delay
time changes along with it.
If you choose a value other than 0, a delay will be applied, and you
fig.08-08a.eps_50
will not be able to play the Patch normally.
fig.08-13
fig.08-08b
1 0 2
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Ex a m p le s o f Ap p lica tio n s Usin g th e XV-2 0 2 0
6 . Click [DETAIL] for SYSTEM COMMON, then set [CLOCK
Ch a n g in g Pa rt Se ttin g s fro m
a n Ex te rn a l MIDI De vice
SOURCE] to [INT].
fig.08-08a.eps_50
By sending Control Change messages for different Part settings,
including volume, panning, and pitch, you can change these settings
remotely from an external MIDI device connected to the XV-2020.
This lets you control fade-ins and fade-outs, open and close filters,
and exercise other controls in real time from the external MIDI
device.
fig.08-08b
The parameters that can be used for changing the settings, and the
Control Change messages that can be used to change the values, are
shown below.
*
When the System Clock Source parameter is set to MIDI or USB, you
can synchronize the LFO cycle to an external device.
7 . When [TEMPO] (System Tempo) changes, the speed of the
*
For more detailed information about Control Change messages, please
phrase loop changes along with it.
*
The phrase loop sounds at the system’s tempo regardless of which key
you press. The settings for pitch and FXM are ignored.
*
To change multi-effects, reverb, or chorus effects from an external
Usin g a Pe d a l Sw itch to Ch a n g e th e
Ro ta ry Sp e e d o f th e Ro ta ry Effe ct
•
Volume: Controller number 7
1 . Connect a pedal switch (DP-2, DP-6, etc.) to your external
MIDI controller (MIDI keyboard, etc.).
•
Panpot: Controller number 10
2 . Set the pedal switch of the external MIDI controller to
generate FOOT TYPE (CC04) control-change messages.
•
Portamento: Controller number 65 (Portamento switch),
Controller number 5 (Portamento time)
*
To learn how to set up the pedal switch, refer to the external MIDI
controller’s owner’s manual.
Remotely Changing Sounds’ Attack and Release
3 . Click the
for [PATCH NAME] and select a Patch that
uses ROTARY as the Multi-Effect.
•
•
Release Time: Controller number 72
Attack Time: Controller number 73
4 . Click [PARAM] for [MFX].
fig.08-03.eps_50
•
Cutoff: Controller number 74
5 . Set CONTROL SOURCE 1 to CC04.
6 . Set DESTINATION 1 to SPEED, and SENS 1 to +63.
•
Resonance: Controller number 71
fig.08-19.eps_44
Remotely Changing the Amount of Internal Chorus/
•
•
Effect 3 (Chorus Send Level): Controller number 93
Effect 1 (Reverb Send Level): Controller number 91
7 . When you wish to speed up the rotary effect, press the
pedal switch. Release the pedal switch to slow down the
rotary effect.
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Ex a m p le s o f Ap p lica tio n s Usin g th e XV-2 0 2 0
•
Coarse: Controller number 100 (value is 0), Controller number
101 (value is 2), Controller number 6 (value is 16–112)
Fine: Controller number 100 (value is 0), Controller number 101
(value is 1), Controller number 6 (value is 32–96), Controller
number 38 (value is 0–127)
About RPN
“RPN” (Registered Parameter Number) is an extended MIDI
message activated by a previous Control Change message.
Use an RPN when you want to remotely change the XV-2020’s
Pitch or Pitch Bend range settings. An RPN has an superior part
(RPN MSB) and a subordinate part (RPN LSB). The RPN MSB
(Control Number 101) informs the XV-2020 that an RPN setting
is to follow, and the RPN LSB (Control Number 100) value tells
the XV-2020 which parameter is to be set. Finally, a Data Entry
(Control Change 6) message sets the desired value.
•
*
*
When changing the Coarse parameter, set the amount of change in
pitch using Control Number 6 (Data Entry MSB) value. There is no
change in pitch when the value is set to “64.” The pitch is raised as the
value increases from 64, and is lowered as the value decreases below
64.
When changing the Fine parameter, set the amount of change in pitch
using Control Number 6 (Data Entry MSB) and Control Number 38
(Data Entry LSB) settings. There is no change in pitch when Data
Entry MSB is set to “64” and Data Entry LSB to “0.” The pitch is
raised as the respective values increase, and lowered as the respective
values decrease.
Once the XV-2020 has received an RPN parameter, all further
Data Entry messages on that MIDI channel are applied to that
parameter. In order to prevent accidental changes, once the
desired setting has been made for the parameter, we
recommend that RPN be set to “Null.”
For example, to raise the pitch of a certain Part by one half-step
(semitone) send the following Control Change message from
the external MIDI device.
Remotely Specifying the Range of Pitch Bend (p. 138)
•
Bend Range: Controller number 100 (value is 0), Controller
number 101 (value is 0), Controller number 6 (value is 0–12)
•
•
•
•
•
Controller number 100: value “0”
Controller number 101: value “2”
Controller number 6: value “65”
Procedure
Controller number 100: value “127” <- RPN null
Controller number 101: value “127” <- RPN null
1 . Enable the external MIDI device to send a Control Change
message.
*
For more detailed information about RPN messages, please refer
For example, if you want to change the volume level, set the external
MIDI device to send Control Number 7 (Volume message). In this
case, the MIDI channel is matched to the MIDI channel of the Part
whose volume you want to change.
*
For information on how to set up your external MIDI controller, refer
to its owner’s manual.
2 . Operate the external MIDI device - adjust its controls, play
its sequencer, etc. - to send the desired MIDI messages.
*
As sound changes occur, displayed parameter values reflect the
changes you make.
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In sta llin g a W a ve Ex p a n sio n Bo a rd
Two Wave Expansion Boards (SRX series; sold separately) can be
Ex p a n sio n Bo a rd
installed in the XV-2020.
Waveform data, patches and rhythm sets are stored on the Wave
1 . Before installing the Wave Expansion Board, switch off the
Expansion Board, so you can increase the number of available
power to the XV-2020 and any connected equipment.
sounds by installing the board in the XV-2020.
2 . Detach the cover on the upper portion of the XV-2020.
Loosen the screw on the upper portion of the cover.
fig.1-03a.e
Installing a Wave Expansion Board increases the patches and drum
sets for Parts, but the number of Parts doesn’t change.
Driver
The Wave Expansion Board can be installed by removing the top
cover.
Ca u tio n s W h e n In sta llin g a n
W a ve Ex p a n sio n Bo a rd
3 . Position the board holders so they are oriented.
fig.Install2.e
•
To avoid the risk of damage to internal components that can be
caused by static electricity, please carefully observe the
following whenever you handle the board.
Holder
●
Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static
electricity you might have been carrying has been
discharged.
4 . Insert the connector for the Wave Expansion Board into the
connector on the unit, and at the same time, fit the board
holders into the holes.
fig.Install3.e
●
●
When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
Save the bag in which the board was originally shipped, and
put the board back into it whenever you need to store or
transport it.
Holder
•
•
Do not touch any of the printed circuit pathways or connection
Connector
terminals.
Never use excessive force when installing a circuit board. If it
5 . Use the tool supplied with the Wave Expansion Board to
doesn’t fit properly on the first attempt, remove the board and
rotate the board holders to LOCK, securing the Wave
try again.
Expansion Board in place.
fig.Install4
•
•
•
When circuit board installation is complete, double-check your
work.
Install only the specified board, and remove only the specified
screws.
LOCK
Be careful not to cut your hands on the opening for installing
the board.
6 . Use the (specified) screws you removed in step 2 to
reattach the cover.
This completes the installation of the Wave Expansion Board.
Next, make sure the board is installed correctly.
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In sta llin g a W a ve Ex p a n sio n Bo a rd
Ch e ck to m a k e su re th e b o a rd
h a s b e e n in sta lle d p ro p e rly
1 . Press the POWER switch on the XV-2020 to switch on the
power.
2 . Press [VALUE] to make the PATCH indicator lights up.
fig.1-04
*
When you have a Wave Expansion Board installed, “roland XV-
2020” is displayed when you turn on the power, and then the letter for
the connector to which the board is attached (EXP A or B), and the
last two digits of the Wave Expansion Board' s model name flash twice
in the display.
For example, If you have an SRX-01 “Dynamic Drum Kits”
connected to the EXP A connector, “A01” will flash twice.
3 . Turn [CATEGORY/BANK] to choose EXP-A (B).
fig.1-05
If 001 appears in the display, the Wave Expansion Board has
been installed correctly.
*
If the display shows “- - -,” it’s likely that the Wave Expansion Board
is not being recognized correctly. Follow the steps in “Turning the
Wave Expansion Board, making sure you do it correctly.
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In sta lla tio n d e la ca rte d ’e x te n sio n W a ve
(Fre n ch la n g u a g e fo r Ca n a d ia n Sa fe ty Sta n d a rd )
Deux cartes d'expansion Wave (série SRX; vendues séparément)
In sta lla tio n d ’u n e ca rte
peuvent être installées dans le XV-2020.
d ’e x p a n sio n W a ve
Les données Waveform, les retouches et les groupes de rythme sont
stockés sur la carte d'expansion Wave; vous pouvez donc augmenter
1 . Avant d’installer la carte d’extension, éteindre le XV-2020 et
le nombre de sons disponibles en installant la carte dans le XV-2020.
tous les appareils qui y sont reliés.
2 . Détacher le couvercle de la partie supérieure du XV-2020.
Dévisser la vis de la partie supérieure du couvercle.
fig.1-03a.e
Installer une carte d'expansion Wave augmente les retouches et
les groupes de percussion pour les partitions mais le nombre de
partitions ne change pas.
Driver
Pré ca u tio n s à p re n d re lo rs d e
l’in sta lla tio n d ’u n e ca rte
d ’e x p a n sio n W a ve
901 (F)
3 . Orienter le support à carte tel qu’indiqué sur le schéma.
fig.Install2.f
● Veuillez suivre attentivement les instructions suivantes quand
vous manipulez la carte afin d’éviter tout risque d’endom-
magement des pièces internes par l’électricité statique.
Support d'extension Wave
1
•
Toujours toucher un objet métallique relié à la terre (comme
un tuyau par exemple) avant de manipuler la carte pour vous
décharger de l’électricité statique que vous auriez pu
accumuler.
2
5
4 . Dans l’appareil, vous trouverez des emplacements pour
carte à extension de série SRX. En vous référant au schéma
ci-dessous, insérer le connecteur de la carte d’extension à
l’emplacement correspondant tout en enfonçant
•
•
Lorsque vous manipulez la carte, la tenir par les côtés. Évitez
de toucher aux composants ou aux connecteurs.
Conservez le sachet d’origine dans lequel était la carte lors de
l’envoi et remettez la carte dedans si vous devez la ranger ou
la transporter.
simultanément le support à carte dans les trous de celle-ci.
fig.Install3.f
911(F)
Support d'extension
Wave
● Ne pas toucher aux circuits imprimés ou aux connecteurs.
912(F)
● Ne jamais forcer lors de l’installation de la carte de circuits
imprimés. Si la carte s’ajuste mal au premier essai, enlevez la
carte et recommencez l’installation.
Connecteur
913(F)
● Quand l’installation de la carte de circuits imprimés est terminée,
revérifiez si tout est bien installé.
5 . À l’aide de l’outil fourni à cet effet avec la carte, faire tourner
en position “LOCK” le support à carte afin de bien la fixer.
fig.Install4
LOCK
6 . Remettre la plaque à sa place et la fixer à l’aide des vis
enlevées à l’étape 2.
Ceci complète l’installation de la carte d’extension.
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In sta lla tio n d e la ca rte d ’e x te n sio n W a ve
Assu re z-vo u s q u e la ca rte a
é té b ie n in sta llé e
1 . Appuyez sur le commutateur du XV-2020 pour l'allumer.
2 . Appuyez sur [PATCH] pour que les lampes témoins PATCH
s'allument.
fig.1-04
Lorsqu'une carte d'expansion Wave est installée et que vous
allumez l'appareil, vous voyez d'abord l'affichage roland Xv-
2020 et ensuite les deux derniers chiffres du numéro de modèle
de la carte d'expansion Wave clignotent deux fois sur l'affichage.
Par exemple, si la carte d'expansion Wave SRX-01 «Dynamic
Drum Kits» est installée, A01 clignote deux fois sur l'affichage.
3 . Tournez [CATEGORY/BANK] pour sélectionner EXP-A.iB).
fig.1-05
Si 001 s'affiche, la carte d'expansion Wave a été installée
correctement.
* Si «- - -» est affiché, il est probable que la carte d' expansion Wave n' est
pas correctement reconnue. Suivez les étapes décrites à la rubrique
ensuite la carte d' expansion Wave en vous assurant de le faire
correctement.
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Tro u b le sh o o tin g
If an unexpected problem occurs while using the XV-2020, read this chapter first. It contains numerous tips
for resolving problems.
*
Pro b le m s w h e n u sin g th e XV-2 0 2 0
N o so u n d
•
Is the VOLUME lowered?
Check the VOLUME knob, and the volume settings on the connected amp/ mixer, etc.
Have connections been made correctly?
•
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.
Is the Patch mode selected?
•
•
When song data is played back in the Patch mode, only the sound of a single Part is played. Change to the
Is the MIDI receive channel correct?
Make sure that the MIDI transmit channel of the connected device matches the receive channel of the XV-
•
•
•
•
•
•
•
Are the Tone, Patch and Part level settings excessively low?
Are Tones or Parts turned off?
Are the key range settings correct?
Has the volume been lowered by volume/expression messages received from an external device?
The volume will return to normal when the power is turned on once again.
Are the effect settings correct?
Are the output destination settings correct?
Is MIDI-USB Thru turned on?
Turn the MIDI-USB Thru parameter off, or turn on the MIDI Thru parameter in the connected computer
•
Is the specified Wave Expansion Board properly installed?
EXP-A (B) patches and rhythm sets cannot be selected unless the Wave Expansion Board is installed in the
Pitch is w ro n g
•
•
•
•
Is the Master Tune setting correct?
Is Scale Tune selected?
Are the pitch settings for each Tone and each Part correct?
Have pitch bend messages received from an external device caused the pitch to “stick”?
The pitch will return to normal when the power is turned on.
Effe cts d o n o t a p p ly
•
Are MFX, CHORUS, and REVERB turned off?
•
Are the various effect settings correct?
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Tro u b le sh o o tin g
Even if the send level to each effect is above 0, effects will not apply if the MFX Output Level, Chorus
If Output Assign is set to PAT (PATCH) for each Part of the Performance, the sound will be output
according to the Output Assign settings of the Patch (for each Tone) which is assigned to those Parts. This
means that if the Output Assign of (each Tone in) the Patch is set to PAT (PATCH), the MFX sound will
MIDI m e ssa g e s a re n o t re ce ive d co rre ctly
•
Are the receive channel and receive switch settings correct?
•
•
Are the exclusive receive settings correct?
To receive System Exclusive messages, the Device ID number must match that of the transmitting device.
Is the DEMO mode selected?
When the DEMO mode is selected, MIDI messages received from an external device will be ignored.
So n g d a ta d o e s n o t p la y b a ck co rre ctly
•
Are you playing back from the middle of the song?
The beginning of a General MIDI score song contains a GM System On message. In some cases, a General
MIDI Score cannot be played back correctly unless this message is received.
Are you playing back GS format song data?
•
Since the XV-2020 is a General MIDI system compatible sound source, there may be cases in which GS
format song data will not playback correctly.
•
•
If playing back GM scores, is the sound generator in GM mode?
Is the Patch mode selected?
When song data is played back in the Patch mode, only the sound of a single Part is played. Change to the
Pro b le m s re la te d to th e USB d rive r
If you are using Windows or Macintosh for the first time, and as a result find it difficult to follow the
procedural explanations, please refer to the manuals that came with your computer or operating
system.
Troubleshooting is organized according to different operating systems. Refer to the icon(s) at the left
of the title to find the items you need.
Problems common to Windows and Macintosh
Problems occurring only in Windows
Problems occurring only in Macintosh
Ca n n o t in sta ll th e d rive r co rre ctly
•
•
•
Is the CD-ROM correctly inserted into your CD-ROM drive?
Installation is not possible unless the CD-ROM included with the XV-2020 is inserted in your CD-ROM
drive. Make sure that the CD-ROM is correctly inserted into your CD-ROM drive.
Is the CD-ROM or the lens of the CD-ROM dirty?
If the CD-ROM or the lens of the CD-ROM drive is dirty, the installer may not work correctly. Clean the
disc and/ or lens using a commercially-available CD cleaner or lens cleaner.
Are you installing the software from a networked CD-ROM drive?
The software cannot be installed from a networked CD-ROM drive.
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Tro u b le sh o o tin g
•
•
Is there sufficient free space on your hard disk?
Delete unneeded files to increase the amount of free space. After deleting the unneeded files, empty the
recycling bin.
Is the XV-2020 connected correctly?
Make sure that the USB connector of your computer is connected to the XV-2020 by a USB cable. Check
this, and if you are using Windows, close the Sound and Multimedia Properties dialog box (Multimedia
Properties in Windows 98), re-open the same dialog box once again, and specify the audio and MIDI
input/ output destinations.
•
Is the power of the XV-2020 turned on?
Make sure that the XV-2020’s POWER switch has been pressed inward. Check this, and if you are using
Windows, close the Sound and Multimedia Properties dialog box (Multimedia Properties in Windows
98), re-open the same dialog box once again, and specify the MIDI input/ output destinations.
•
installed in your computer, and then re-install the XV-2020 driver as described in “Installing & Setup the
“Universal Serial Bus Controllers.” If you find any, delete them.
•
Is OMS or FreeMIDI installed?
The XV-2020 driver cannot be installed unless OMS or FreeMIDI are installed. Please install OMS or
XV-2 0 2 0 is n o t d e te cte d w h e n m a k in g O MS o r Fre e MIDI se ttin g s
•
Is the XV-2020 detected?
Turn the power of the XV-2020 off, then on again.
Reconnect the USB cable.
If other USB devices are connected, connect only the XV-2020.
It is possible that the Macintosh did not correctly detect and initialize the XV-2020. Leave the XV-2020’s
USB cable connected, and restart your Macintosh. If it is still not detected, shut down your Macintosh, and
then restart it.
The XV-2020 will not be detected if it is connected to the USB connector on the Macintosh keyboard.
Please connect the XV-2020 to a USB connector on the Macintosh itself.
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Tro u b le sh o o tin g
An “ Un k n o w n d rive r fo u n d ” d ia lo g b o x a p p e a rs, a n d y o u a re
u n a b le to in sta ll th e d rive r
” Fin d n e w h a rd w a re w iza rd ” d o e s n o t e x e cu te a u to m a tica lly
” Fin d n e w h a rd w a re w iza rd ” e n d s b e fo re th e p ro ce ss is
co m p le te d
•
•
•
•
It may take about 15 seconds (or more) after the USB cable is connected for the XV-2020 to be
detected.
Is the USB cable connected correctly?
Make sure that the XV-2020 and your computer are correctly connected via a USB cable.
Is USB enabled on your computer?
Refer to the operation manual for your computer, and make sure that USB is enabled.
Does your computer meet the USB specifications?
If you are using a computer that does not fulfill the electrical requirements of the USB specifications,
operation may be unstable. In this case, you may be able to solve the problem by connecting a USB hub.
Does “Unknown device” appear for “Other device” or “Universal serial bus controller”?
Use the following procedure to delete “Other device” (Universal Serial Bus Controller) “Unknown
device,” and then restart your computer.
•
1 .
2 .
In the Windows Control Panel, double-click System. The System Properties dialog box will appear.
Click the Device Manager tab. For Windows XP/ 2000, click the Hardware tab, and then click the
[Device Manager] button.
3 .
4 .
5 .
6 .
Double-click “Other device” or “Universal Serial Bus Controller” to display a list of devices.
From the list, select the unknown device and click [Delete].
In the dialog box that asks you to confirm the deletion, click [OK].
Verify that “Other device” or “Unknown device” is not displayed in the list, and click [Close] to close
the dialog box.
” Fo u n d u n k n o w n d e vice ” a p p e a rs e ve n th o u g h y o u in sta lle d th e
d rive r
If your computer or USB hub has two or more USB connectors, and you connect the XV-2020 to a USB
connector to which the XV-2020 has never been connected before, the “Unknown device” dialog box may
appear even on a computer onto which you have already installed the driver.
malfunction.
Ca n ’t in sta ll/ d e le te / u se th e d rive r in W in d o w s XP/ 2 0 0 0
•
Did you log on to Windows as a user with administrative privileges?
In order to install/ delete/ re-install the driver in Windows XP/ 2000, you must be logged into Windows as
a user with administrative privileges, such as Administrator. For details, please contact the system
administrator for your computer system.
•
Did you make “Driver signature settings”?
In order to install/ re-install the driver, you must make “Driver Signing.”
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Tro u b le sh o o tin g
W in d o w s XP/ 2 0 0 0 d isp la y s a “ Dig ita l sig n a tu re w a s n o t fo u n d ”
d ia lo g b o x
•
Did you make “Driver signature settings”?
In order to install/ re-install the driver, you must make the settings described in “Driver Signing.”
De vice Ma n a g e r sh o w s “ ? ” , “ !” , o r “ USB Co m p o site De vice ”
Th e “ In se rt Disk ” d ia lo g b o x d o e s n o t a p p e a r
Use the following procedure to re-install the driver.
1 .
Turn off the power of your computer, and start up Windows with all USB cables disconnected (except for
keyboard and mouse).
2 .
3 .
4 .
5 .
6 .
7 .
After Windows restarts, use a USB cable to connect the XV-2020 to your computer.
Turn on the power of XV-2020.
Click the Windows [Start] button, and from the menu that appears, choose Settings | Control Panel.
Double-click the System icon. The System Properties dialog box will appear.
Click the Device Manager tab.
Check whether you can see an indication of “?Composite USB Device,?USB Device,!USB Device,” or
“USB composite device” displayed below “Sound, Video, and Game Controllers, Other Devices,”
or “Universal Serial Bus Controller.” If you find any such indication, select it and click [Delete].
8 .
9 .
A dialog box will ask you to confirm deletion of the device. Verify the contents of the dialog box, and
then click [OK]. In the same way, delete all indications of “?Composite USB Device,” “?USB Device,”
“USB Device,” and “USB composite device” that you find.
If you find ROLAND XV-2020 USB Driver with a yellow “!” or a red “?” displayed beside it, delete this in
the same way.
1 0 . When you have finished deleting the unwanted devices, click [OK] in the System Properties dialog box.
1 1 . Turn off the power of the XV-2020, then delete the driver. “Deleting the USB MIDI Driver (p. 23)”.
O p e ra tin g sy ste m b e co m e s u n sta b le
•
Operation becomes unstable when the computer is started up with the XV-2020 already
connected
Please start up your computer with the XV-2020 disconnected, and then connect the XV-2020. On a
computer that uses a USB keyboard, starting up the computer with the XV-2020 already connected may
cause operation to become unstable. In this case, start up the computer with the XV-2020 disconnected,
and then connect the XV-2020.
N o so u n d
•
Have you specified the MIDI data output destination in your operating system?
On your computer, you will need to specify the XV-2020 as the output destination for MIDI data. For
details on how to make this setting, refer to Settings and checking.
•
Have you specified the audio data output destination for your playback software?
Depending on your software, you may need to once again specify the XV-2020 as the MIDI data output
destination. For details on this setting, refer to the operation manual for your application.
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Tro u b le sh o o tin g
•
Are you running multiple applications?
If multiple applications are running simultaneously, an error message may be displayed. If this occurs,
click [OK] and exit the other applications.
Even if an application window is closed, it is still running if it appears in the taskbar. Be sure to exit
unneeded applications displayed in the taskbar.
•
•
Was the driver installed correctly?
In order for you to play back MIDI data via the XV-2020, the driver must be installed. For installation and
Is your audio playback equipment (e.g., stereo system) connected correctly?
Make sure that the USB connector of your computer is connected to the XV-2020 by a USB cable. Make sure
that the XV-2020’s OUTPUT jacks are connected by audio cables to the input jacks of your audio playback
•
•
•
Is the power of your audio equipment turned on?
Make sure that the power is turned on for your audio equipment (e.g., stereo) and the XV-2020.
Are the various volume settings of the XV-2020 set appropriately?
Use the Volume knob located on the front panel of the XV-2020 to adjust the volume.
Is your computer in Suspend or Sleep mode?
If so, get your computer to resume normal operation, then exit all applications that are using the XV-2020.
Next, turn the XV-2020’s power off, then switch it on again.
•
•
Did you reconnect the USB cable or turn the power of the XV-2020 off and on?
Exit all applications that are using the XV-2020, and turn the power of the XV-2020 off and then on once
again.
Is OMS/FreeMIDI set correctly?
Also make sure that the device for MIDI IN/ OUT is correctly selected in the MIDI settings of your MIDI
sequencer software.
•
•
Is the OMS setup enabled?
If a diamond-shaped symbol is not displayed at the left edge of the title area in the OMS setup window,
the setup is not enabled. From the OMS File menu, choose “Make Current.”
Has your computer been set to enter Sleep mode?
If your computer enters Sleep mode, exit the software you are using, and then restart your computer. We
recommend that you set your computer to not use Sleep mode.
Ca n ’t p la y b a ck MIDI
•
•
Has the MIDI device you are using been selected correctly?
Are the track outputs set correctly?
MIDI tracks to which no MIDI playback device is assigned will not be heard. If you want to play back a
MIDI track, you must make sure that the MIDI device you want to use is displayed in your software as the
MIDI output port. For details, refer to the owner’s manual for your software.
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Erro r Me ssa g e s
An error message appears in the display when an error in operation occurs, or if an operation cannot be
processed correctly. When this occurs, continue by following the instructions indicated in the error
message.
Display
Situation
Action
There is a problem with the MIDI cable con-
nected to the XV-2020’s MIDI IN connector or
with an external device. However, this mes-
sage is also displayed when the power for the
external device is turned off.
Check to make sure the MIDI cable is firmly and
properly connected. Otherwise confirm that there is
no short in the MIDI cable (try switching the MIDI
cable to check this).
More MIDI messages were received in a
short time than could be processed correctly.
Reduce the amount of MIDI messages that are trans-
mitted.
A system exclusive message that was re-
ceived had an incorrect check sum value.
Correct the check sum value.
A system exclusive message was not proper-
ly received. Repeated appearance of this
same error message means that there is a
problem with the MIDI message.
Check the content of the received system exclusive
message.
USER data has been damaged.
Restore the factory settings with the Factory Reset
procedure.
It is possible that the power has been turned
off for the computer connected to the XV-
2020’s USB connector.
Check the power of the connected computer.
Check the USB cable.
It is possible that a USB cable has been pulled
out or has a short.
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List o f Pa ra m e te rs Th a t Ca n Be
Affe cte d Usin g th e XV-2 0 2 0
Sw itch in g m o d e s
Mode
Page
Procedure
Patch Play Mode
Press [VALUE] to make the PATCH indicator lights up.
Press [VALUE] to make the PATCH (RHYTHM) and PERFORM indicators light.
Press [VALUE] to make the PERFORM indicator lights up.
Press [VALUE] to make the RHYTHM indicator lights up.
Press [VALUE] to make the GM indicator lights up.
In Patch Play Mode, while holding down [VOLUME], press [VALUE].
Performance Part Play Mode
Performance Play Mode
Rhythm Play Mode
GM Play Mode
Patch Edit Mode
Performance Edit Mode
In Performance Play Mode and Performance Part Play Mode,
while holding down [VOLUME], press [VALUE].
Rhythm Edit Mode
GM Edit Mode
In Rhythm Play Mode, while holding down [VOLUME], press [VALUE].
In GM Play Mode, while holding down [VOLUME], press [VALUE].
SYSTEM p a ra m e te r
Parameter
Page
Procedure
Master Tune
While holding down [VOLUME], press [VALUE].
Turn [CATEGORY/ BANK] to choose the parameter you want to set. ->
Turn [VALUE] to select the desired setting. ->
Pressing [VALUE] to set values (Write). ->
While holding down [VOLUME], press [VALUE].
* Changes made to the MIDI-USB Thru and USB Descriptor settings are not reflected until
the power is turned off, then on again.
Performance Control Channel
MIDI-USB thru
USB Descriptor
PATCH p a ra m e te r
Parameter
Page
Procedure
LEVEL
Press [VALUE] to make the PATCH indicator lights up. ->
While holding down [VOLUME], press [VALUE]. ->
Turn [CATEGORY/ BANK] to choose the parameter you want to set. ->
Turn [VALUE] to select the desired setting. ->
PAN
COARSE TUNE
FINE TUNE
OUTPUT ASSIGN
CUTOFF OFFSET
RESONANCE OFFSET
ATTACK TIME OFFSET
RELEASE TIME OFFSET
OCTAVE SHIFT
ANALOG FEEL
While holding down [VOLUME], press [VALUE].
PERFO RMAN CE p a ra m e te r
Parameter
Page
Procedure
PART LEVEL
Press [VALUE] to make the PERFORM indicator lights up. ->
PART PAN
While holding down [VOLUME], press [VALUE]. ->
Turn [CATEGORY/ BANK] to choose the parameter you want to set. ->
Turn [VALUE] to select the desired setting. ->
PART COARSE TUNE
PART FINE TUNE
PART OUTPUT ASSIGN
PART VOICE RESERVE
PART REVERB SEND LEVEL
PART CHORUS SEND LEVEL
PART DRY SEND LEVEL
PART TYPE (PATCH/ RHYTHM)
PERFORMANCE MFX SOURCE
While holding down [VOLUME], press [VALUE].
1 1 7
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List o f Pa ra m e te rs Th a t Ca n Be Affe cte d Usin g th e XV-2 0 2 0
RHYTHM p a ra m e te r
Parameter
LEVEL
Page
Procedure
Press [VALUE] to make the RHYTHM indicator lights up. ->
While holding down [VOLUME], press [VALUE]. ->
Turn [CATEGORY/ BANK] to choose the parameter you want to set. ->
Turn [VALUE] to select the desired setting. ->
OUTPUT ASSIGN
While holding down [VOLUME], press [VALUE].
GM p a ra m e te r
Parameter
Page
Procedure
PART LEVEL
Press [VALUE] to make the GM indicator lights up. ->
PART PAN
While holding down [VOLUME], press [VALUE]. ->
PART COARSE TUNE
PART FINE TUNE
PART TYPE (PATCH/ RHYTHM)
PART NUMBER
Turn [CATEGORY/ BANK] to choose the parameter you
want to set. ->
Turn [VALUE] to select the desired setting. ->
While holding down [VOLUME], press [VALUE].
REVERB SEND LEVEL
CHORUS SEND LEVEL
DRY SEND LEVEL
UTILITY p a ra m e te r
Heading
Page
Procedure
Patch/ Rhythm Set/ Performance
Write
While holding down [VOLUME], press [VALUE]. ->
Rotating [CATEGORY/ BANK] to select UTILITY. ->
Rotating [VALUE] to select “wrt”. ->
Press [VALUE] to select the write-destination Patch number,
rotating [VALUE] to select the write-destination number. ->
Press [VALUE] to recheck. ->
Press [VALUE] to execute
Transmitting Sound Settings
Initializing a Sound
While holding down [VOLUME], press [VALUE]. ->
Rotating [CATEGORY/ BANK] to select UTILITY. ->
Rotating [VALUE] to select “dtr”. ->
Press [VALUE] to recheck. ->
Press [VALUE] to execute
While holding down [VOLUME], press [VALUE]. ->
Rotating [CATEGORY/ BANK] to select UTILITY. ->
Rotating [VALUE] to select “ini”. ->
Press [VALUE] to recheck. ->
Press [VALUE] to execute
Restoring the Factory Settings
While holding down [VOLUME], press [VALUE]. ->
Rotating [CATEGORY/ BANK] to select UTILITY. ->
Rotating [VALUE] to select “Fct”. ->
Press [VALUE] to recheck. ->
Press [VALUE] to execute
Checking the Program Version
While holding down [VOLUME], press [VALUE]. ->
Rotating [CATEGORY/ BANK] to select UTILITY. ->
The version is indicated when [VALUE] is rotated
O th e rs
Heading
Page
Procedure
Selecting a Part in a Performance
PATCH (PART) Receive Channel
Choosing a Patch
Turn [PART]
Turn [PATCH RX CH] ([PART])
Turn [CATEGORY/ BANK], Turn [VALUE]
Listening to Demo Songs
refer to p. 1
1 1 8
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XV Ed ito r Scre e n s – Pa g e to Tu rn to
fo r In fo o n a Pa ra m e te r
PATCH MO DE
fig.100-1:1
2 :
3 :
4 :
5 :
6 :
7 :
8 :
1
3
2
4
9
8
7
5
6
1 1
1 2
1 4
1 0
9 :
1 0 :
1 1 :
1 2 :
1 3 :
1 4 :
1 5 :
1 6 :
1 3
1 5
1 6
RHYTHM MO DE
fig.00-12
1 :
1
4
2
3
2 :
3 :
4 :
5 :
6 :
7 :
8 :
9 :
1 0 :
1 1 :
1 2 :
1 3 :
5
8
7
9
6
1 0
1 1
1 2
1 3
1 1 9
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XV Ed ito r Scre e n s – Pa g e to Tu rn to fo r In fo o n a Pa ra m e te r
PERFO RMAN CE MO DE
fig1.00-1:3
2 :
3 :
4 :
5 :
6 :
7 :
8 :
1
4
2
3
6
5
7
8
9
1 0
9 :
1 0 :
1 1 :
1 1
1 2 0
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
1
2
3
4
5
6
7
8
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
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
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
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
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
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
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
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
Syn Gtr B
Syn Gtr C
Harp 1A
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
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
Koto A
Koto B
Koto C
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
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
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
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
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
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
60's Organ1
60's Organ2
60's Organ3
60's Organ4
Full Organ
Full Draw
Alto mp B
Alto mp C
Rock Organ
RockOrg1 A L
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
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
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
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
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
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
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
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
Dulcimer A
Dulcimer B
Dulcimer C
Shamisen A
Shamisen B
Shamisen C
Clav 1C
Clav 2A
Clav 2B
Clav 2C
Clarinet B
Clarinet C
1 2 1
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
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
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
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
Voice Aahs B
Voice Aahs C
Voice Oohs1A
Voice Oohs1B
Voice Oohs1C
Voice Oohs2A
Voice Oohs2B
Voice Oohs2C
Choir 1A
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
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
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
TVF_Trig
Org Click
Cut Noiz
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
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
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
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
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
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
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
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
DIGI Bell 1+
JD Cowbell
Bell Wave
Chime
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
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
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
Dry SN f
Sharp SN
Piccolo SN
Maple SN
Old Fill SN
70s SN
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
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
909 Kick 1
909 Kick 2
Wave Table
Klack Wave
Spark VOX
JD Spark VOX
Cutters
Rock TomL1 p
Rock TomL2 p
Rock Tom M p
Rock Tom H p
Rock TomL1 f
Rock TomL2 f
Tuba Slap
Plink
Plunk
EML 5th
EP Atk
1 2 2
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
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
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
Ride 2
Ride Bell
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
REV Wet SNfR
REV Dry SN
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
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 70s K 1
REV 70s K 2
REV Dance K
REV 909 K 2
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
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
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
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 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 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
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
Bongo Hi
Bongo Lo
Cga Open Hi
Cga Open Lo
Cga Mute Hi
Cga Mute Lo
Cga Slap
REV Cowbell
REV WoodBlck
REV Claves
REV Conga
Timbale
REV JzFlm M
REV JzFlm H
REV MplTom2
REV MplTom4
REV 808Tom
REV Timbale
REV Maracas
REV Guiro
REV Tamb 1
REV Tamb 2
REV Cuica
REV Timpani
REV Timp3 pp
REV Timp3 mp
REV Metro
Cabasa Up
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
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
R8 Click
Op HiHat 2
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
Rock PdHH p
Rock PdHH f
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
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
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
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
1 2 3
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Pa tch List
USER
No.
Name
Category
Category No. Voice
Key Assign
No.
Name
Category
Category No. Voice
Key Assign
1
2
3
4
5
6
7
8
9
Grand XV
PNO
PLS
SBS
BPD
SLD
STR
EP
HLD
SYN
ORG
PLS
SPD
SBS
SPD
TEK
BEL
BRS
SLD
EP
STR
SBS
SYN
BPD
PNO
HLD
SPD
ORG
HLD
TEK
SBS
SYN
DGT
EP
BEL
EGT
BS
BPD
SPD
SBS
ORC
HIT
FLT
BRS
SBR
SYN
SAX
TEK
PLS
SBS
FX
SPD
BPD
VOX
PLK
ETH
PNO
EP
PIANO 1
SYN/PAD 67
GTR/BS 56
SYN/PAD 143
SYN/PAD 32
OCH/BRS 1
PIANO 36
SYN/PAD 10
SYN/PAD 127
KEY&ORG 31
SYN/PAD 95
SYN/PAD 164
GTR/BS 62
GTR/BS 4
SYN/PAD 55
KEY&ORG 15
OCH/BRS 69
SYN/PAD 19
PIANO 32
OCH/BRS 9
GTR/BS 54
SYN/PAD 119
SYN/PAD 145
PIANO 2
4
8
3
5
3
3
4
1
2
5
4
2
3
4
8
2
5
2
2
2
4
2
8
3
4
2
2
2
4
2
3
3
1
2
3
1
5
4
1
4
4
4
4
4
2
1
2
4
2
1
3
4
6
2
3
6
3
2
6
4
1
3
4
2
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
MONO
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
MONO
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
MONO
POLY
MONO
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
HybStringsXV
Wind Wood
NewR&RBrass
PortaSynLd
Sine Lead
Happy Brass
GermanBounce
Waspy Pulse
2020 SquBs
Silicon Str
STR
WND
BRS
HLD
SLD
TEK
PLS
SYN
SBS
BPD
SPD
VOX
PLK
SBS
PNO
EP
OCH/BRS 10
OCH/BRS 45
OCH/BRS 58
SYN/PAD 9
SYN/PAD 25
SYN/PAD 66
SYN/PAD 69
SYN/PAD 132
GTR/BS 75
SYN/PAD 140
SYN/PAD 177
SYN/PAD 202
ETHNIC 5
GTR/BS 70
PIANO 3
PIANO 41
KEY&ORG 2
KEY&ORG 36
GTR/BS 50
4
4
8
2
1
8
4
2
2
4
5
4
2
2
2
1
3
3
3
1
7
4
5
2
2
2
8
2
1
5
4
2
2
4
4
1
5
1
8
2
2
4
8
2
4
3
4
2
2
3
6
4
2
2
5
2
3
2
8
5
3
4
4
5
POLY
POLY
POLY
MONO
MONO
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
MONO
POLY
POLY
POLY
MONO
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
MONO
MONO
MONO
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
LFO Trance
808 SynBass
106 Strings
Soft Lead
XV Strings
SmoothRhodes
OSC Sync2020
Sugar Key
Soft Perky
Flying Waltz
Silky Way
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
2.2 Strings
Vocals: Ooh
MountainFolk
2020 JunoBs
Contemplate
Dreams Sine
Funky D6
Rocker Spin
LookMaNoFret
Comp Bass
Soft Symphny
Impact
Biggie Brass
Solo AltoSax
Classy Pulse
House Piano
Trance Fair
80s Retrosyn
2020 Pls Bs
Digital Vox
Now Bass
SteelRelease
Ambi Voices
2020 Bell
Voyager Brs
2020SquLead
Rhodes Trem
UltraSmooth
Sub Zero
JUNO Keys
2020 Digital
RockPiano Ch
Old School
JX SqrCarpet
Perky B
KEY
ORG
BS
SBS
ORC
HIT
GTR/BS 71
OCH/BRS 25
OCH/BRS 32
OCH/BRS 63
OCH/BRS 83
SYN/PAD 16
SYN/PAD 33
SYN/PAD 70
SYN/PAD 134
GTR/BS 78
SYN/PAD 155
SYN/PAD 180
ETHNIC 15
GTR/BS 66
PIANO 14
BRS
SAX
HLD
TEK
PLS
SYN
SBS
BPD
SPD
ETH
SBS
PNO
PNO
ORG
SPD
SBS
SPD
HLD
SLD
TEK
SYN
SBS
BPD
SPD
VOX
PLK
SBS
TEK
BPD
SPD
PNO
EP
SYN/PAD 6
SYN/PAD 168
KEY&ORG 42
SYN/PAD 1
SYN/PAD 54
GTR/BS 68
SYN/PAD 124
GTR/BS 35
PIANO 40
P5_TB
5ths in 4ths
GarageBass
Streamer
Hurtin’Tubes
PureSineKey
Square Keys
Clear Guitar
Tap Bass
Spectre Vox
Analogue Str
SQR+Sub Bs
My Orchestra
Reel Slam
Heirborne
Lochscapes
Detune Bass
Piano+SftPad
West Coast
96 Years
Two+Ensemble
2020 Bass 1
Morph Pad
TubbyTriangl
Basic Mg
House Chord
Trance Saws2
Square Bass
Spectre
Air Pad
Brite Vox
KEY&ORG 8
GTR/BS 14
GTR/BS 41
SYN/PAD 154
SYN/PAD 167
GTR/BS 77
OCH/BRS 24
OCH/BRS 35
OCH/BRS 50
OCH/BRS 60
OCH/BRS 77
SYN/PAD 126
OCH/BRS 81
SYN/PAD 64
SYN/PAD 71
GTR/BS 60
SYN/PAD 107
SYN/PAD 165
SYN/PAD 160
SYN/PAD 200
ETHNIC 11
ETHNIC 14
PIANO 11
98
99
PIANO 16
KEY&ORG 47
GTR/BS 13
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
GTR/BS 72
SYN/PAD 194
SYN/PAD 17
SYN/PAD 27
SYN/PAD 49
SYN/PAD 137
GTR/BS 76
SYN/PAD 150
SYN/PAD 186
SYN/PAD 205
ETHNIC 9
LegatoBamboo
Valve Job
FatSynBrass
Dreams East
Solo SoprSax
Saw n’ 202
Cyber Pad
Cyber SynBs
Pure Tibet
Gluey Pad
Celtic Harp
S-Tone+SYNBS
Intentions
Soaring Hrns
Fat Pad
GTR/BS 92
SYN/PAD 56
SYN/PAD 148
SYN/PAD 189
PIANO 4
PIANO 34
KEY&ORG 52
GTR/BS 74
SYN/PAD 190
SYN/PAD 58
SYN/PAD 117
GTR/BS 64
SYN/PAD 161
SYN/PAD 197
RHY&SFX 2
RHY&SFX 3
Hydrogen
Vocals: Boys
CheesyPluk 1
Cairo lead
Warm pF Mix
Full Rhodes
2020 Reso Bs
Rocker Org
Soft Nylon
Swell Strat
Searing Lead
XV Ac.Bass
D9 Trcker
Hall Grand
PsychoRhodes
Wedding Mass
StabSawBass
GR700 Pad
Analog Seq
Predator 2
West End Bs
BPFsweep Mod
OvertoneScan
Tape Q
ORG
SBS
SPD
TEK
FX
SBS
BPD
SPD
SFX
BTS
PIANO 18
SBS
ORG
SPD
EGT
DGT
BS
GTR/BS 61
KEY&ORG 34
GTR/BS 2
GTR/BS 20
GTR/BS 30
GTR/BS 46
GTR/BS 63
SBS
Gruvacious
1 2 4
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Pa tch List
Pre se t-A
No.
Name
Category
Category No. Voice
Key Assign
No.
Name
Category
Category No. Voice
Key Assign
1
2
3
4
5
6
7
8
9
Grand XV
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
PNO
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
EP
PIANO1
2
4
3
2
2
1
3
1
3
3
6
6
4
8
4
6
4
3
3
2
3
3
2
3
2
2
3
4
3
2
4
4
2
2
2
1
4
4
4
2
1
1
2
3
2
2
1
1
4
2
4
4
4
2
4
3
2
4
4
2
4
1
4
3
2
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
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
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
Warm Vibes
Dyna Marimba
Ambient Wood
Nomad Perc
Exotic Velo
Islands Mlt
Steel Drums
Soft Perky
MLT
MLT
MLT
MLT
MLT
MLT
MLT
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ORG
ACD
HRM
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
AGT
EGT
EGT
EGT
EGT
EGT
EGT
EGT
EGT
EGT
EGT
DGT
DGT
DGT
DGT
DGT
DGT
DGT
DGT
DGT
DGT
24
25
26
27
28
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
GTR/BS1
2
2
1
2
3
4
4
1
5
2
3
6
4
3
2
3
4
1
3
2
4
3
4
2
1
2
2
4
4
5
2
2
1
4
3
4
4
4
4
3
3
5
3
4
5
3
1
4
1
3
2
1
4
1
1
2
2
2
2
4
4
3
3
3
4
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
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
POLY
POLY
POLY
RockPiano Ch
Contemplate
Hall Grand
64voicePiano
Power Grand
E.Grand
3
4
5
6
7
8
9
RD-1000
MIDIed Grand
SparklePiano
Warm pF Mix
PianoStrings
Y2K Concerto
Piano+SftPad
R&Ballad Mix
West Coast
Hit Rhodes
Full Rhodes
Player’s EP
Retro Rhodes
Fat Rhodes
PingE Piano
Rholitzer
Soft B
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
Gospel Spin
Rocker Org
Velvet Organ
Rocker Spin
Full Stops
Ballad B
Mellow Bars
Soap Opera
AugerMentive
Perky B
Klubb Organ
Drew’s Bee
Purple Spin
Surf’s Up!
Dig Rhodes
Delicate EP
Rhodes Mix
D-50 Rhodes
FM BellPiano
FM Delight
96 Years
Glory Us Rok
D-50 Organ
Cathedral
Church Harmn
Wedding Mass
XV Accordion
Harmo Blues
Nylon Gtr
Ring E.Piano
XV Crystal
Rhodes Trem
Waterhodes
PsychoRhodes
MK-80 Phaser
SmoothRhodes
EP+Mod Pad
Mr.Mellow
Soft Nylon
98
99
Steel Away
SteelRelease
Thick Steel
XV Steel Gtr
Comp’Steel
12str Guitar
Nylozzicato
SpanishNight
Hybrid Nylon
DesertCrystl
Two+Ensemble
Clear Guitar
Jz Gtr Hall
3
4
5
6
7
8
9
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
Wurlie
PureSineKey
Dreams Sine
Cutter Clav
Funky D6
Phaze Clav
Nasty Clav
Velo-Rez Clv
Analog Clav
St.Harpsichd
Square Keys
D-50 Stack
Stacc.Heaven
Heavenals
Morning Lite
HolidayCheer
Prefab Chime
2020 Bell
2.2 Bell Pad
Tria Bells
Music Bells
Childlike
Celestabox
Chime Bells
Belfry Chime
True Vibe
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
KEY KEY&ORG1
KEY
KEY
KEY
KEY
KEY
KEY
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
BEL
MLT
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
LetterFrmPat
JC Strat
Twin Strats
Plug n’ Play
Swell Strat
Fab 4 Guitar
Muted Gtr
Velo-Wah Gtr
Tube Smoke
Creamy
Blusey OD
Crying Solo
Feed Me!
RockYurSocks
Searing Lead
Loud Lead
OD 5ths
Crunch Split
1 2 5
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Pa tch List
Pre se t-B
No.
Name
Category
Category No. Voice
Key Assign
No.
Name
Category
Category No. Voice
Key Assign
1
2
3
4
5
6
7
8
9
Rezodrive
DGT
DGT
DGT
DGT
BS
BS
BS
BS
BS
BS
BS
BS
BS
BS
BS
BS
BS
GTR/BS34
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
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
OCH/BRS1
2
2
3
4
2
1
2
2
1
1
2
2
1
4
1
1
2
3
1
1
2
4
1
3
1
3
3
2
2
3
2
5
2
2
3
2
3
2
1
1
1
2
2
2
1
1
2
2
2
3
2
2
4
2
4
2
2
8
3
2
3
3
2
6
6
MONO
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
MONO
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
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
Marcato
String Ens
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
STR
ORC
ORC
ORC
ORC
ORC
ORC
ORC
ORC
ORC
HIT
HIT
HIT
HIT
HIT
HIT
HIT
HIT
HIT
WND
WND
WND
WND
WND
WND
FLT
FLT
FLT
FLT
FLT
5
6
7
8
9
2
4
4
3
2
4
4
4
4
6
4
4
2
3
2
6
2
4
4
4
7
8
7
4
4
4
4
4
3
2
4
4
4
4
6
1
1
4
3
2
4
2
2
4
2
4
1
4
1
4
4
1
4
8
2
4
5
5
5
6
4
1
3
3
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
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
MONO
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
Hurtin’Tubes
R&R Chunk
Power Trip
Pick Bass
Hip Bass
Homey Bass
Tap Bass
Marcato Str
Fat Strings
UltraSmooth
HybStringsXV
ViolinCello
Lead 4x Vlns
ChmbrQuartet
FullChmbrStr
Film Octaves
Bass Pizz
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
65
66
67
68
Pop Bass
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
TremCho Bs
Nylon Bass
XV Upright
XV Ac.Bass
XV Fretless
Basic F’less
8-str F’less
LookMaNoFret
Slap Bass 1
Slap Bass 2
Slap Bass 3
Sub Zero
SinusoidRave
808 SynBass
Acid TB
MC-TB Bass
TB Tra Bass
Cyber SynBs
2020 Reso Bs
Now Bass
JP-8 Str 1
JP-8 Str 2
Deep Strings
Hold A Chord
Tape Strings
Symphonique
Full Orchest
My Orchestra
Soft Symphny
Henry VIII
Wood Symphny
Prelude
TudorFanfare
Brassy Symph
4 Hits 4 You
Impact
Phase Hit
Tekno Hit
Reel Slam
OffTheRecord
3rdTeenChrd
Auto Chord
MOVE!
BS
BS
BS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
SBS
STR
STR
STR
STR
D9 Trcker
West End Bs
TB Squelch
Detune Bass
FatPolyBass
GarageBass
2020 OrgBs
2020 JunoBs
Comp Bass
2020 Bass 1
2020 Bass 2
StabSawBass
2020 SquBs
Square Bass
SQR+Sub Bs
2020 Pls Bs
Grounded Bs
2pole Bass
4pole Bass
House Bass
Bass Trap
Bass In Face
Ticker Bass
Klack Bass
Hugo Bass
Mg Bass
New Acid Grv
8VCO MonoSyn
Wonder Bass
S-Tone+SYNBS
Booty Bass
XV Strings
98
99
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
Oboe mf
Clarinet mp
SwellEnsembl
ChamberWoods
Flute/Clari
Wind Wood
Flute
Jazzer Flute
VOX Flute
Pan Pipes
LegatoBamboo
The Andes
Deja Vlute
Majestic Tpt
Ballad Trump
Mute TP mod
Harmon Mute
Tpt Sect
NewR&RBrass
Simply Brass
Valve Job
Tower Trumps
BigBrassBand
Biggie Brass
Lil’BigHornz
Sm.Brass Grp
Trombone
FLT
FLT
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
BRS
St.Strings
Dolce p/m/f
Sad Strings
POLY
POLY
POLY
3
4
Trombone Atm
Massed Horns
1 2 6
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Pa tch List
Pre se t-C
No.
Name
Category
Category No. Voice
Key Assign
No.
Name
Category
Category No. Voice
Key Assign
1
2
3
4
5
6
7
8
9
Voyager Brs
3 Osc Brass
Poly Brass
Brass It!
BRS OCH/BRS69
5
3
3
4
3
3
3
2
4
2
3
2
1
3
2
3
2
4
7
3
2
6
4
3
2
4
2
4
2
1
3
2
4
2
2
2
2
3
2
2
4
3
2
2
1
2
2
1
4
4
2
3
2
3
3
3
2
2
3
2
4
2
2
2
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
POLY
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
MONO
POLY
POLY
MONO
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
POLY
POLY
POLY
MONO
MONO
MONO
POLY
POLY
POLY
MONO
POLY
POLY
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
Velo Tekno
Rezoid
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
PLS
FX
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
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
105
106
107
108
2
4
2
4
4
4
4
8
4
4
8
3
3
2
4
2
4
7
2
2
3
8
8
3
4
8
4
1
4
3
3
3
2
5
2
1
4
4
4
1
4
3
5
1
4
2
4
1
4
4
4
4
6
1
4
4
4
4
4
4
2
2
1
2
POLY
POLY
POLY
MONO
MONO
MONO
MONO
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SBR
SAX
SAX
SAX
SAX
SAX
SAX
SAX
SAX
SAX
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
HLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
SLD
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
TEK
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
SYN/PAD1
2
Booster Bips
Mental Chord
House Chord
GenderBender
MinorIncidnt
Winky
Dance Zipper
5ths in 4ths
Ambi Voices
Intentions
Pick It
Analog Seq
Sequalog
Plik-Plok
Big BPF
Archimede
Breathy Brs
Triumph Brs
P5 Polymod
FatSynBrass
True ANALOG
Afro Horns
Sop.Sax mf
Solo SoprSax
Alto Sax
Solo AltoSax
XV DynoTenor
Honker Bari
Sax Choir
Full Saxz
Swingin’Bari
P5_TB
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
Agent X
Keep :-)
Saw n’ 202
RageInYouth
Happy Brass
LFO Trance
Syncrosonix
GermanBounce
Trance Fair
Cyber Pad
S&H Pad
PressureDome
Pulsatronic
Cyber Dreams
Alive
Trancing Pad
Acid JaZZ
Alternative
Acid Line
Raggatronic
Temple of JV
Blades
Fooled Again
Planet Asia
Afterlife
Soaring Saws
FXM Saw Lead
BOG
3
4
5
6
7
8
9
Square Roots
Old School
Retro Lead
Loud SynLead
PortaSynLd
OSC Sync2020
Talking Box
Blistering
MG Interval
Analog Lead
5th Lead
Classy Pulse
TubbyTriangl
Square Lead
2020SquLead
Creamer
Belly Lead
Flyin’ High
SH-2000
Soft Tooth
Sine Lead
Smoothe
Basic Mg
LegatoJupitr
Soaring Sqr
Soaring Sync
Nasal Spray
Soft Lead
House Piano
Techno Dream
Organizer
Auto TB-303
Dist TB-303
Resojuice
B’on d’moov
Con Sequence
Technoheadz
Phunky DC
Shortrave
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
98
99
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
Cultivate
Paz <==> Zap
Strobe Mode
Albion
Running Pad
Rippling
Random Pad
SoundtrkDANC
Flying Waltz
Phazweep
Mad Bender
X-mod Reso
Shapeshifter
Glistening
Atmospherics
Vektogram
Feedback VOX
Helium Queen
Halographix
Shattered
FX
FX
FX
FX
FX
FX
FX
FX
Pure Tibet
X-Tension
FX
FX
Cross Fire
1 2 7
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Pa tch List
Pre se t-D
No.
Name
Category
Category No. Voice
Key Assign
No.
Name
Category
Category No. Voice
Key Assign
1
2
3
4
5
6
7
8
9
Dark Side
Dunes
FX SYN/PAD109
8
4
6
1
3
8
8
7
8
4
2
3
4
3
4
3
2
2
2
3
8
3
3
2
2
2
3
8
8
8
2
4
3
4
5
4
8
4
4
6
4
4
3
4
4
5
5
3
2
4
4
4
3
3
1
2
3
4
4
2
4
4
2
2
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
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
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
Dimensional
Jupiterings
3D Flanged
Glassy Pad
2.2 Strings
Moving Glass
ShiftedGlass
Heirborne
Translucence
Darkshine
Shiny Pad
Analog Drama
BandPass Mod
Air Pad
Soundtraque
Octapad
Fat Pad
GR700 Pad
Rotary Pad
Dawn 2 Dusk
Aurora
Morph Pad
Sun Dive
Sabbath Day
OvertoneScan
December Sky
NothrnLights
Vocals: Boys
St. Choir
Vocals: Ooh
Pvox Oooze
RandomVowels
Brite Vox
Beauty Vox
Longing...
Enlighten
Arasian Morn
Dark Vox
Belltree Vox
Spaced Voxx
Glass Voices
Doos
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
VOX
PLK
PLK
PLK
PLK
PLK
PLK
PLK
PLK
PLK
PLK
PLK
PLK
ETH
ETH
ETH
ETH
ETH
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
ETHNIC1
2
2
2
1
3
5
1
2
4
4
4
4
3
2
3
2
3
4
3
4
3
4
8
7
4
4
4
4
6
4
4
3
4
4
3
3
4
4
2
4
4
3
1
3
2
2
4
4
2
3
2
3
2
5
2
2
1
3
2
4
4
4
4
5
4
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
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
FX
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
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
The Beast
Ocean Floor
Cyber Space
Nexus
ForestMoon
Planet Meta
Predator 2
Flashback
JUNO Keys
Poly Key
FX
FX
FX
FX
FX
FX
FX
FX
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
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
61
62
63
64
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
SYN
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
BPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
SPD
Poly Saws
Dual Profs
Saw Mass
Streamer
Soft Puff
Dreams East
Sugar Key
D50FantaPerc
Galactic
Pulse Key
Wire Pad
Waspy Pulse
Glider
80s Retrosyn
Powerwiggle
Trance Saws1
Trance Saws2
Don’t Jump
AirSoThin
Silicon Str
PWM Strings
Vintage Orch
106 Strings
Modular Life
2020 Digital
Oscillations
Greek Power
Soaring Hrns
Rolling 5ths
Spectre
98
99
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
Glass Orbit
Hush Pad
Wavox
Sitar
Dulcimer
Dulcitar
Pivotal Pad
Spectre Vox
Digital Vox
Stringsheen
Combing
5th Sweep
MG Sweep
Hydrogen
BPFsweep Mod
Mod DirtyWav
X-mod Sweep
Silky Way
Gluey Pad
Dreamesque
Analogue Str
JX SqrCarpet
Pulsify
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
Drone Split
MountainFolk
EastrnEurope
Harp
VelHarp)Harm
Celtic Harp
AmbiPizza
CheesyPluk 1
CheesyPluk 2
Taj Mahal
Cairo lead
Lochscapes
Celtic Song
Far East
Slap Timps
Tape Q
PRC RHY&SFX1
JP-8Haunting
Earth Blow
Jet Pad
SFX
BTS
CMB
2
3
4
Gruvacious
Blue Notes
1 2 8
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Pa tch List
GM (Ge n e ra l MIDI)
No. Name
Voice LSB PC
No. Name
Voice LSB PC
No. Name
Voice LSB PC
No. Name
Voice LSB PC
001 Piano 1
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
1
065 Chorus Gt.
066 Mid Tone GTR
067 Muted Gt.
068 Funk Pop
069 Funk Gt.2
070 Jazz Man
071 Overdrive Gt
072 Guitar Pinch
073 DistortionGt
074 Feedback Gt.
075 Dist Rtm GTR
076 Gt.Harmonics
077 Gt. Feedback
078 Acoustic Bs.
079 Fingered Bs.
080 Finger Slap
081 Picked Bass
082 Fretless Bs.
083 Slap Bass 1
084 Slap Bass 2
085 Synth Bass 1
086 SynthBass101
087 Acid Bass
088 Clavi Bass
089 Hammer
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
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
129 French Horns
130 Fr.Horn 2
131 Brass 1
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
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
62
63
193 Sitar
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
002 Piano 1w
003 European Pf
004 Piano 2
194 Sitar 2
29
195 Banjo
106
107
108
2
3
4
5
132 Brass 2
196 Shamisen
197 Koto
005 Piano 2w
006 Piano 3
133 Synth Brass1
134 Pro Brass
135 Oct SynBrass
136 Jump Brass
137 Synth Brass2
138 SynBrass sfz
139 Velo Brass 1
140 Soprano Sax
141 Alto Sax
198 Taisho Koto
199 Kalimba
200 Bagpipe
201 Fiddle
007 Piano 3w
008 Honky-tonk
009 Honky-tonk 2
010 E.Piano 1
011 St.Soft EP
012 FM+SA EP
013 Wurly
30
31
109
110
111
112
113
114
115
116
64
202 Shanai
203 Tinkle Bell
204 Agogo
32
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
205 Steel Drums
206 Woodblock
207 Castanets
208 Taiko
014 E.Piano 2
015 Detuned EP 2
016 St.FM EP
017 EP Legend
018 EP Phase
019 Harpsichord
020 Coupled Hps.
021 Harpsi.w
6
33
34
142 Tenor Sax
143 Baritone Sax
144 Oboe
117
118
119
35
36
37
38
39
145 English Horn
146 Bassoon
209 Concert BD
210 Melo. Tom 1
211 Melo. Tom 2
212 Synth Drum
213 808 Tom
214 Elec Perc
215 Reverse Cym.
216 Gt.FretNoise
217 Gt.Cut Noise
218 String Slap
219 Breath Noise
220 Fl.Key Click
221 Seashore
222 Rain
7
8
147 Clarinet
148 Piccolo
149 Flute
022 Harpsi.o
150 Recorder
151 Pan Flute
152 Bottle Blow
153 Shakuhachi
154 Whistle
023 Clav.
120
121
024 Pulse Clav
025 Celesta
9
10
11
12
026 Glockenspiel
027 Music Box
028 Vibraphone
029 Vibraphone w
030 Marimba
090 Synth Bass 2
091 Beef FM Bass
092 RubberBass 2
093 Attack Pulse
094 Violin
40
41
155 Ocarina
122
123
156 Square Wave
157 MG Square
158 2600 Sine
159 Saw Wave
160 OB2 Saw
161 Doctor Solo
162 Natural Lead
13
031 Marimba w
032 Xylophone
033 Tubular-bell
034 Church Bell
035 Carillon
095 Slow Violin
096 Viola
82
223 Thunder
224 Wind
14
15
42
43
44
45
46
47
097 Cello
225 Stream
098 Contrabass
099 Tremolo Str
100 PizzicatoStr
101 Harp
226 Bubble
163 SequencedSaw 2
227 Bird
124
125
036 Santur
16
17
164 Syn.Calliope
165 Chiffer Lead
166 Charang
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
83
84
85
228 Dog
037 Organ 1
229 Horse-Gallop
230 Bird 2
038 Trem. Organ
039 60's Organ 1
040 70's E.Organ
041 Organ 2
102 Yang Qin
103 Timpani
48
49
167 Wire Lead
168 Solo Vox
231 Telephone 1
232 Telephone 2
233 DoorCreaking
234 Door
104 Strings
86
87
88
18
105 Orchestra
106 60s Strings
107 Slow Strings
108 Syn.Strings1
109 Syn.Strings3
110 Syn.Strings2
111 Choir Aahs
112 Chorus Aahs
113 Voice Oohs
114 Humming
115 SynVox
169 5th Saw Wave
170 Bass & Lead
171 Delayed Lead
172 Fantasia
042 Chorus Or.2
043 Perc. Organ
044 Organ 3
50
51
235 Scratch
19
20
89
90
236 Wind Chimes
237 Helicopter
238 Car-Engine
239 Car-Stop
240 Car-Pass
241 Car-Crash
242 Siren
045 Church Org.1
046 Church Org.2
047 Church Org.3
048 Reed Organ
049 Puff Organ
050 Accordion Fr
051 Accordion It
052 Harmonica
053 Bandoneon
054 Nylon-str.Gt
055 Ukulele
173 Warm Pad
174 Sine Pad
175 Polysynth
176 Space Voice
177 Itopia
126
52
53
91
92
21
22
54
55
56
178 Bowed Glass
179 Metal Pad
180 Halo Pad
181 Sweep Pad
182 Ice Rain
93
94
95
96
97
98
99
243 Train
23
24
25
116 Analog Voice
117 OrchestraHit
118 Bass Hit
244 Jetplane
245 Starship
246 Burst Noise
247 Applause
248 Laughing
249 Screaming
250 Punch
119 6th Hit
183 Soundtrack
184 Crystal
127
128
056 Nylon Gt.o
057 Nylon Gt.2
058 Steel-str.Gt
059 12-str.Gt
120 Euro Hit
121 Trumpet
57
58
185 Syn Mallet
186 Atmosphere
187 Brightness
188 Goblin
26
122 Dark Trumpet
123 Trombone
124 Trombone 2
125 Bright Tb
100
101
102
103
251 Heart Beat
252 Footsteps
253 Gun Shot
254 Machine Gun
255 Lasergun
256 Explosion
060 Mandolin
061 Steel + Body
062 Jazz Gt.
189 Echo Drops
190 Echo Bell
191 Echo Pan
192 Star Theme
27
28
126 Tuba
59
60
063 Pedal Steel
064 Clean Gt.
127 MutedTrumpet
128 MuteTrumpet2
104
Voice: number of voice
LSB: Bank Select LSB, MSB is all 121 PC: Program Change Number Key Assign: all POLY
1 2 9
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Rh y th m Se t List
Use r Gro u p
001
002
003
004
R&B Kit
House Kit
Techno Kit
Jazz Kit
Note No.
28
Dance Kick
Dry Kick
House Kick 6
House Kick 5
House ClHH 3
House Kick 4
Reso Stick
House Kick 3
House OpHH 2
House Kick 2
House Kick 1
House Stick
House SN 1
House Claps1
House SN 2
House NzTomL
House ClHH 1
808 Tom L
House ClHH 2
House NzTomM
House OpHH 1
808 Tom M
TechnoKick 6
TechnoKick 5
TechnoClHH 4
TechnoKick 4
TechnoSNGhst
TechnoKick 3
TechnoClHH 3
TechnoKick 2
TechnoKick 1
TechnoStick
TechnoSN 1
808 Clap
TechnoSN 2
TechnoTom1 L
TechnoClHH 1
TechnoTom2 L
TechnoClHH 2
TechnoTom1 M
TechnoOpHH
TechnoTom2 M
TechnoTom1 H
TechnoCrCym
TechnoTom2 H
TechnoCym
JazzDry Kick
Pillow Kick
Jazz Swish
Hybrid Kick
Snare Ghost
MplLmtr Kick
Jazz PdHH
JazzDry Kick
Jazz Kick
29
30
R&B SN Roll
Hybrid Kick1
R&B SN Ghost
Round Kick
R&B PdHH
R&B Kick 2
R&B Kick 1
R&B Stick
31
32
33
34
35
36
37
38
39
40
C2
SideStick
R&B SN 1
Snare Ghost
R&B SN 2
Jz SN w/Ghst
Jazz SN Ghst
Jz SN w/Rim
Jazz Tom L
Jazz Pedel
Jazz Flm L
Jazz ClHH
Jazz Tom M
Jazz OpHH
Jazz Flm M
Jazz Tom H
Jazz CrCym
Jazz Flm H
Jazz RdCym
Rock RdCym1
Rock RdCym2
Tambourine
Crash 1
R&B Tom L
R&B ClHH 1
Rock Flm L
R&B ClHH 2
R&B Tom M
R&B OpHH
Rock Flm M
R&B Tom H
R&B CrCym1
Rock Flm H
Rock RdCym1
R&B CrCym2
Rock RdCym2
Tambourine
Rock CrCym
Cowbell Lo
Crash
41
42
43
44
45
46
47
House NzTomH
House CrCym
808 Tom H
C3 48
50
49
51
House FbkCym
House SN 3
House FSnaps
House ClHH 4
House Cowbel
House ClHH 5
House WBlock
House OpHH 3
House Claps2
House Cabasa
House WCrak
House VoxNz
House Kick 7
Timpani
52
TechnoRvSNRl
808 Crash
53
TechnoBrSlap
TechnoNzStik
TechnoClHH 5
TechnoSNRoll
TechnoRvJzRl
TechnoSiren
TechnoLoop
TechnoLoNz
TechnoRdCym
TechnoCowbel
TechnoTel
TechnoTimpni
TechnoClHH 6
TechnoRvOHit
TechnoRvTHit
TechnoRvBHt1
TechnoRvBHt2
TechnoWBlock
TechnoKick 7
TechnoClHH 7
TechnoRim 1
TechnoRim 2
TechnoBrRoll
TehcnoIcRain
TechnoThrill
TechnoSN 3
TechnoWCrak
TechnoScrach
TechnoBNz
54
56
58
55
Cowbell Lo
Crash 2
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
57
Cowbell Hi
Ride Bell
Bongo Hi
59
C4 60
62
Bongo Lo
61
63
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
R&B AgBel1
R&B AgBel2
R&B AgBel3
Maracas
606 Cl HiHat
606 Cl HiHat
606 Op HiHat
Long Guiro
Claves
Wood BlockHi
Wood BlockLo
R&B Pizz
R&B Gamelan
Mute Triangl
Open Triangl
R&B Thrill L
R&B Thrill H
808 SN
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
64
House Bird
65
House Gun 1
House FBell
House Rattle
House RvOHit
House Noize1
House Noize2
House BongoL
House BongoH
House Tambrn
House Heart
House CgaSlp
House CgMute
House Tri
House Vibra
House FXLoop
House Aplase
House Chord
House OrcHit
House Spectr
House Train
House StrSip
House Crunch
House Tel
66
68
70
67
69
71
C5 72
74
73
75
76
77
78
80
82
79
81
83
TechnoSN 4
TechnoPunch
TehcnoPlink
TechnoRvRoll
TechnoOSC
TechnoNz 1
C6 84
86
R&B WoodBlk
R&B Cga Slap
Dry Tom L
85
87
88
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
OpHH FX 1
Anklungs
OpHH FX 2
Metronome 2
R8 Click
Metronome 1
R&B HClaps
Scratch 1
Scratch 2
Scratch 3
House Bubble
Bird
TechnoTkHit
TechnoBubble
TechnoNz 2
TechnoNz 3
TechnoNz 4
TechnoPwChrd
TechnoBckHit
TechnoNz 5
R8 Click
TechnoNz 6
Hybrid Kick
Old Kick
Pop Voice
Wind Agogo
OpHH FX 1
Anklungs
OpHH FX 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Jazz CrCym
Crash 2
Rock RdCym2
Crash 1
89
90
92
94
House Gun 2
House Metro
House BakHit
House TekHit
House SNRoll
House Loop
R8 Click
Metronome
Hand Claps
House Tom L
House Tom M
House Rim
91
93
95
C7 96
98
97
99
Hand Claps
TechnoKick 8
TechnoKick 9
TechnoSN 5
TechnoClHH 8
100
101
102
Syn FX Loop
House Tom H
103
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Rh y th m Se t List
Pre se t A Gro u p
001
002
003
004
R&B Kit
House Kit
Techno Kit
XV Pop Kit
Note No.
28
Dance Kick
Dry Kick
House Kick 6
House Kick 5
House ClHH 3
House Kick 4
Reso Stick
House Kick 3
House OpHH 2
House Kick 2
House Kick 1
House Stick
House SN 1
House Claps1
House SN 2
House NzTomL
House ClHH 1
808 Tom L
House ClHH 2
House NzTomM
House OpHH 1
808 Tom M
TechnoKick 6
TechnoKick 5
TechnoClHH 4
TechnoKick 4
TechnoSNGhst
TechnoKick 3
TechnoClHH 3
TechnoKick 2
TechnoKick 1
TechnoStick
TechnoSN 1
808 Clap
TechnoSN 2
TechnoTom1 L
TechnoClHH 1
TechnoTom2 L
TechnoClHH 2
TechnoTom1 M
TechnoOpHH
TechnoTom2 M
TechnoTom1 H
TechnoCrCym
TechnoTom2 H
TechnoCym
Dance Kick
Dry Kick
Rock Roll
Hybrid Kick1
Snare Ghost
Round Kick
Rock PdHH
Hybrid Kick2
Old Kick
29
30
R&B SN Roll
Hybrid Kick1
R&B SN Ghost
Round Kick
R&B PdHH
R&B Kick 2
R&B Kick 1
R&B Stick
31
32
33
34
35
36
37
38
39
40
C2
Side Stick
Wet SN
R&B SN 1
Snare Ghost
R&B SN 2
Snare Ghost
AmbientSN
Maple Tom L
Rock ClHH 1
Rock Flm L
Rock ClHH 2
Maple Tom M
Rock OpHH
Rock Flm M
Maple Tom H
Crash Cymbal
Rock Flm H
Rock RdCym1
Crash 1
Rock RdCym2
Tambourine
Rock CrCym
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
R&B Tom L
R&B ClHH 1
Rock Flm L
R&B ClHH 2
R&B Tom M
R&B OpHH
Rock Flm M
R&B Tom H
R&B CrCym1
Rock Flm H
Rock RdCym1
R&B CrCym2
Rock RdCym2
Tambourine
Rock CrCym
Cowbell Lo
Crash
41
42
43
44
45
46
47
House NzTomH
House CrCym
808 Tom H
C3 48
50
49
51
House FbkCym
House SN 3
House FSnaps
House ClHH 4
House Cowbel
House ClHH 5
House WBlock
House OpHH 3
House Claps2
House Cabasa
House WCrak
House VoxNz
House Kick 7
Timpani
52
TechnoRvSNRl
808 Crash
53
TechnoBrSlap
TechnoNzStik
TechnoClHH 5
TechnoSNRoll
TechnoRvJzRl
TechnoSiren
TechnoLoop
TechnoLoNz
TechnoRdCym
TechnoCowbel
TechnoTel
TechnoTimpni
TechnoClHH 6
TechnoRvOHit
TechnoRvTHit
TechnoRvBHt1
TechnoRvBHt2
TechnoWBlock
TechnoKick 7
TechnoClHH 7
TechnoRim 1
TechnoRim 2
TechnoBrRoll
TehcnoIcRain
TechnoThrill
TechnoSN 3
TechnoWCrak
TechnoScrach
TechnoBNz
54
56
58
55
57
Cowbell Hi
Ride Bell
Bongo Hi
59
C4 60
62
Bongo Lo
61
63
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
R&B AgBel1
R&B AgBel2
R&B AgBel3
Maracas
606 Cl HiHat
606 Cl HiHat
606 Op HiHat
Long Guiro
Claves
Wood BlockHi
Wood BlockLo
R&B Pizz
R&B Gamelan
Mute Triangl
Open Triangl
R&B Thrill L
R&B Thrill H
808 SN
64
House Bird
65
House Gun 1
House FBell
House Rattle
House RvOHit
House Noize1
House Noize2
House BongoL
House BongoH
House Tambrn
House Heart
House CgaSlp
House CgMute
House Tri
House Vibra
House FXLoop
House Aplase
House Chord
House OrcHit
House Spectr
House Train
House StrSip
House Crunch
House Tel
66
68
70
67
69
71
C5 72
74
73
75
76
77
78
80
82
79
81
83
TechnoSN 4
TechnoPunch
TehcnoPlink
TechnoRvRoll
TechnoOSC
TechnoNz 1
C6 84
86
R&B WoodBlk
R&B Cga Slap
Dry Tom L
85
87
88
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
OpHH FX 1
Anklungs
OpHH FX 2
Metronome 2
R8 Click
Metronome 1
R&B HClaps
Scratch 1
Scratch 2
Scratch 3
House Bubble
Bird
TechnoTkHit
TechnoBubble
TechnoNz 2
TechnoNz 3
TechnoNz 4
TechnoPwChrd
TechnoBckHit
TechnoNz 5
R8 Click
TechnoNz 6
Hybrid Kick3
Old Kick
Pop Voice
Wind Agogo
OpHH FX 1
Anklungs
OpHH FX 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Rock CrCym
Rock RdCym2
Cowbell Lo
Crash 1
89
90
92
94
House Gun 2
House Metro
House BakHit
House TekHit
House SNRoll
House Loop
R8 Click
Metronome
Hand Claps
House Tom L
House Tom M
House Rim
91
93
95
C7 96
98
97
99
Hand Claps
TechnoKick 8
TechnoKick 9
TechnoSN 5
TechnoClHH 8
100
101
102
Syn FX Loop
House Tom H
103
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Rh y th m Se t List
Pre se t B Gro u p
001
002
003
004
Note No. XV Rock Kit
Jazz Kit
XV Rust Kit
OrchestraKit
28
Dance Kick
Round Kick
Rock Roll
Jazz Kick
Rock Ghost
Verb Kick
Rock PdHH
Maple Kick
Rock Kick
JazzDry Kick
Pillow Kick
Jazz Swish
Hybrid Kick
Snare Ghost
MplLmtr Kick
Jazz PdHH
JazzDry Kick
Jazz Kick
70s Kick 3
Old Kick
Rock Roll
909 Kick 2
Rock Ghost
909 Kick 1
Rock PdHH
808Kick Long
Dance Kick 1
RockStick
Old Fill SN
Rock Ghost
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
Old Kick
Round Kick
SN Roll
29
30
32
34
Jazz Kick
Snare Ghost
Verb Kick
Pedal HiHat1
Concert BD 2
Concert BD 1
Side Stick
Concert SN
Snare Ghost
Snare Roll
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine 1
Crash 1
Cowbell
Crash 2
Ride 1
31
33
35
36
38
40
41
43
45
47
C2
RockStick
SideStick
37
39
Rock SN 1
Rock Ghost
Rock SN 2
Rock Tom L
Rock ClHH 1
Rock Flm L
Rock ClHH 2
Rock Tom M
Rock OpHH
Rock Flm M
Rock Tom H
Rock CrCym1
Rock Flm H
Rock RdCym1
Rock China
Rock RdCym2
Tambourine
Rock CrCym2
Cowbell Lo
Crash
Jz SN w/Ghst
Jazz SN Ghst
Jz SN w/Rim
Jazz Tom L
Jazz Pedel
Jazz Flm L
Jazz ClHH
Jazz Tom M
Jazz OpHH
Jazz Flm M
Jazz Tom H
Jazz CrCym
Jazz Flm H
Jazz RdCym
Rock RdCym1
Rock RdCym2
Tambourine
Crash 1
42
44
46
C3 48
50
49
51
52
53
54
56
58
55
Cowbell Lo
Crash 2
Cowbell Hi
Ride Bell
57
China Cym
Vibraslap
70s Kick 2
Cowbell Hi
Ride Bell
59
Ride 2
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Mute Hi
Cga Mute Lo
Cga Slap
70s Kick 1
Dry Stick
70s SN
Bongo Hi
C4 60
62
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
61
63
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 Kick
Old Kick
Pop Voice
Wind Agogo
OpHH FX 1
Anklungs
OpHH FX 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Rock CrCym1
Rock China
Rock RdCym2
Crash
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 Kick
Old Kick
Pop Voice
Wind Agogo
OpHH FX 1
Anklungs
OpHH FX 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Jazz CrCym
Crash 2
Rock RdCym2
Crash 1
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
Mute Triangl
909 Cl HiHat
Open Triangl
909 Cl HiHat
Cabasa
909 Op HiHat
Spectrum
Maple Kick
Woody Stick
Maple SN
64
65
66
68
70
67
69
71
C5 72
74
73
75
76
WoodBlock Hi
WoodBlock Lo
Cuica Hi
77
78
80
82
Cuica Lo
79
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Applause
Hybrid Kick2
Cl HiHat
Round Kick
Pedal HiHat2
Natural SN
Op HiHat
Brush Slap
Brush Swish
Brush Roll
SN Roll
Orch Cymbal
Cabasa Cut
Claves
Tambourine 2
Orch. Hit
81
83
C6 84
86
85
87
SN Roll
Maple Tom
909 Kick 1
Old Kick
808Kick Shrt
909 SN 2
88
89
90
92
94
91
93
909 SN 1
808 SN
95
Dance Kick 2
REV Timpani
R8 Click
Metronome
808 Claps
Rock CrCym2
Rock Splash
Rock RdCym2
Rock CrCym1
C7 96
98
97
99
100
101
102
103
1 3 2
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Rh y th m Se t List
GM (GM2 Gro u p )
001 (PC: 1)
002 (PC: 9)
003 (PC: 17)
GM2 POWER
004 (PC: 25)
GM2 ELECTRIC
005 (PC: 26)
GM2 ANALOG
006 (PC: 33)
GM2 JAZZ
GM2 STANDARD
GM2 ROOM
Note No.
27
High-Q
High-Q
High-Q
High-Q
High-Q
High-Q
28
Slap
Slap
Slap
Slap
Slap
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
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
29
30
31
32
33
34
35
Standard KK1
Side Stick
Standard KK1
Side Stick
Power Kick1
Side Stick
Elec Kick 1
Side Stick
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
36
37
38
39
40
C2
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
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
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
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
41
42
43
44
45
46
47
C3 48
50
49
51
52
53
54
56
58
55
57
59
C4 60
62
61
63
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
64
65
66
68
70
67
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Agogo
Cabasa
Maracas
69
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
-----
71
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
-----
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
-----
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
-----
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
-----
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
-----
C5 72
74
73
75
76
77
78
80
82
79
81
83
C6 84
86
85
87
88
PC: Program Change Number
Bank Select MSB is all 120, LSB is all 0
1 3 3
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Rh y th m Se t List
GM (GM2 Gro u p )
007 (PC: 41)
GM2 BRUSH
008 (PC: 49)
009 (PC: 57)
GM2 SFX
GM2 ORCHSTRA
Note No.
27
High-Q
Slap
ScratchPush
ScratchPull
Sticks
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
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
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
28
29
30
31
32
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
33
34
35
36
37
C2
38
39
40
41
42
43
44
45
46
47
C3 48
50
49
51
Timpani
Timpani
Timpani
Timpani
52
53
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
54
56
58
55
57
59
C4 60
62
61
63
64
65
66
68
70
67
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Train
69
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
71
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
-----
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
C5 72
74
73
75
76
77
78
80
82
79
81
83
C6 84
86
-----
-----
-----
-----
85
87
88
PC: Program Change Number
Bank Select MSB is all 120, LSB is all 0
1 3 4
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Pe rfo rm a n ce List
USER
Pre se t-A
Pre se t-B
No.
Name
No.
Name
No.
Name
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
BigSweepStak
Suger Bell
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
Symphony2020
Barococo
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
BigSweepStak
Suger Bell
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
Symphony2020
Barococo
R&B Kit
ChildrenSplt
Huge Space
DulcitarStk
NebularVoxx
Asian Dream
Pizz Stack
R&B Kit
ChildrenSplt
Huge Space
DulcitarStk
NebularVoxx
Asian Dream
Pizz Stack
Trance Split
My Orchestra
Road2Glass
Analog Stack
Flying Keys
House Kit
Trance Split
My Orchestra
Road2Glass
Analog Stack
Flying Keys
House Kit
Pad / SoftLd
Organ / Lead
Bass / Lead
S&H / Pad
Pad / SoftLd
Organ / Lead
Bass / Lead
S&H / Pad
Soaring 2020
Seven Hills
TeknoSplit 1
Nirvana 2020
StChorusStak
Bell Stack
Soaring 2020
Seven Hills
TeknoSplit 1
Nirvana 2020
StChorusStak
Bell Stack
Drone / Pipe
Seq:Template
Seq:R&B
Drone / Pipe
Seq:Template
Seq:R&B
Trance Fair
AggressiveXV
Techno Kit
Seq:Hip-Hop
Seq:Techno
Seq:House
Seq:Trance
Seq:Pop
Trance Fair
AggressiveXV
Techno Kit
Seq:Hip-Hop
Seq:Techno
Seq:House
Seq:Trance
Seq:Pop
PhsDyno&Bs
Dawn Choir
DulcimaSteel
TeknoSplit 2
InstantScore
Voltage Ctrl
CrystalChoir
BlisteringLd
Asian Split
PhsDyno&Bs
Dawn Choir
DulcimaSteel
TeknoSplit 2
InstantScore
Voltage Ctrl
CrystalChoir
BlisteringLd
Asian Split
Seq:FunkRock
Seq:HardRock
Seq:Blues
Seq:FunkRock
Seq:HardRock
Seq:Blues
Seq:Ac.Jazz
Seq:Cont.Jz
Seq:BigBand
Seq:Latin
Seq:Ac.Jazz
Seq:Cont.Jz
Seq:BigBand
Seq:Latin
PhasePadStk
Hybrid Str
Seq:World
PhasePadStk
Hybrid Str
Seq:World
Seq:NewAge
Seq:Orch
Seq:NewAge
Seq:Orch
Dear Friends
Pop Kit
Dear Friends
Pop Kit
Seq:Film
Seq:Film
Bell Layer
Seq:GM2Temp
Bell Layer
Seq:GM2Temp
De m o So n g List
Song Title
Composer / Copyright
1. U feel Me
Kazuhiko Maeda © 2002 Roland Corporation
Mark Lawrence © 2002 Roland Corporation
2. Negativa Trance
3. Eye on the Universe
4. First Impression
Takayuki Aihara – STUDIO CARNAVAL © 2002 Roland Corporation
Scott Wilkie © 2002 Scott Wilkie (ASCAP)
www.scottwilkie.com
All rights reserved. Unauthorized use of this material for purposes other than private,
personal enjoyment is a violation of applicable laws.
1 3 5
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MIDI Im p le m e n ta tio n
Model:
XV-2020
2002.6.4
1.00
●Modulation (Controller number 1)
Date:
Status
BnH
2nd byte
01H
3rd byte
Version:
vvH
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
1. Receive data
*
Not received in Performance mode when the Receive Modulation parameter
(Performance MIDI) is OFF.
●Channel Voice Messages
●Breath type (Controller number 2)
*
Not received in Performance mode when the Receive Switch parameter (Performance
Part) is OFF.
Status
BnH
2nd byte
02H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Note off
Status
2nd byte
kkH
3rd byte
●Foot type (Controller number 4)
8nH
vvH
9nH
kkH
00H
Status
BnH
2nd byte
04H
3rd byte
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv = note off velocity:
*
Not received when the Envelope Mode parameter (Patch Tone and Rhythm Tone) is NO-
SUS.
●Portamento Time (Controller number 5)
Status
BnH
2nd byte
05H
3rd byte
vvH
●Note on
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
2nd byte
kkH
3rd byte
9nH
vvH
*
In Performance mode the Part Portament Time parameter (Performance Part) will
change.
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
vv = note on velocity:
●Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
●Polyphonic Key Pressure
Status
2nd byte
3rd byte
BnH
26H
AnH
kkH
vvH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vv = Polyphonic Key Pressure:
●Volume (Controller number 7)
*
Not received in Performance mode when the Receive Poly Key Pressure parameter
(Performance MIDI) is OFF.
Status
BnH
2nd byte
07H
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Control Change
*
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
4 parameter (Patch Common), the corresponding effect will occur.
*
*
Not received in Performance mode when the Receive Volume parameter (Performance
MIDI) is OFF.
*
If a Controller number that corresponds to the System Control Source 1, 2, 3 or
4
parameter (System Common) is selected, the specified effect will apply if Patch Control
Source 1, 2, 3 or 4 parameter (Patch Common) is set to SYS-CTRL1, SYS-CTRL2, SYS-
CTRL3 or SYS-CTRL4.
In Performance mode the Part Level parameter (Performance Part) will change.
●Balance (Controller number 8)
Status
BnH
2nd byte
08H
3rd byte
●Bank Select (Controller number 0, 32)
vvH
Status
BnH
2nd byte
00H
3rd byte
n = MIDI channel number:
vv = Balance:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
mmH
BnH
20H
llH
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
●Panpot (Controller number 10)
00 00H - 7F 7FH (bank.1 - bank.16384)
Status
BnH
2nd byte
0AH
3rd byte
vvH
*
*
*
Not received in Performance mode when the Receive Bank Select (Performance MIDI) is
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
OFF.
00H - 40H - 7FH (Left - Center - Right),
The Performances, Patches, and Rhythms corresponding to each Bank Select are as
follows.
*
*
Not received in Performance mode when the Receive Pan parameter (Performance
MIDI) is OFF.
The SRX series corresponding to each Bank Select are to see the SRX series owner’s
manual.
In Performance mode the Part Pan parameter (Performance Part) will change.
+—————+———————————+———————————+——————————————————————+———————————+
| BANK SELECT
| MSB | LSB
| PROGRAM
| NUMBER
| GROUP
|
| NUMBER
|
|
|
+—————+———————————+———————————+——————————————————————+———————————+
●Expression (Controller number 11)
| 085 | 000
| 001 — 064 | User Performance
| 001 — 064 |
|
|
|
| 064
| 065
| 001 — 032 | Preset Performance A | 001 — 032 |
| 001 — 032 | Preset Performance B | 001 — 032 |
Status
BnH
2nd byte
0BH
3rd byte
|
:
|
|
:
|
|
vvH
| 086 | 000
| 001 — 004 | User Rhythm
| 001 — 004 |
| 001 — 004 |
| 001 — 004 |
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
|
|
|
| 064
| 065
|
| 001 — 002 | Preset Rhythm A
| 001 — 002 | Preset Rhythm B
:
|
|
:
|
|
| 087 | 000
| 001 — 128 | User Patch
| 001 — 128 |
| 001 — 128 |
| 001 — 128 |
|
|
|
| 064
| 065
|
| 001 — 128 | Preset Patch A
| 001 — 128 | Preset Patch B
*
*
Not received when Tone Receive Expression parameter (Patch Tone or Rhythm Tone) is
:
|
|
:
|
|
|
|
|
|
| 092 | 000 —
| 001 —
| SRX Rhythm
| 001 —
OFF.
|
|
:
|
|
:
|
Not received in Performance mode when Receive Expression parameter (Performance
MIDI) is OFF.
| 093 | 000 —
| 001 —
|
| SRX Patch
| 001 —
|
|
|
:
|
:
| 120 |
| 121 | 000 —
| 001 — 057 | GM Rhythm
| 001 — 128 | GM Patch
| 001 — 009 |
| 001 — 256 |
+—————+———————————+———————————+——————————————————————+———————————+
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MIDI Im p le m e n ta tio n
●Hold 1 (Controller number 64)
●Cutoff (Controller number 74)
Status
BnH
2nd byte
40H
3rd byte
Status
BnH
2nd byte
4AH
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
vv = Cutoff value (relative change):
*
*
Not received when Tone Receive Hold-1 parameter (Patch Tone or Rhythm Tone) is
*
In Performance mode the Part Cutoff Offset parameter (Performance Part) will change.
OFF.
Not received in Performance mode when Receive Hold-1 parameter (Performance MIDI)
is OFF.
●Decay Time (Controller number 75)
Status
BnH
2nd byte
4BH
3rd byte
vvH
●Portamento (Controller number 65)
n = MIDI channel number:
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
41H
3rd byte
vv = Decay Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
*
In Performance mode the Part Decay Time Offset parameter (Performance Part) will
change.
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
In Performance mode the Part Portamento Switch parameter (Performance Part) will
change.
●Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
4CH
3rd byte
vvH
●Sostenuto (Controller number 66)
n = MIDI channel number:
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
42H
3rd byte
vv = Vibrato Rate value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
* In Performance mode the Part Vibrato Rate parameter (Performance Part) will change.
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
●Vibrato Depth (Controller number 77)
●Soft (Controller number 67)
Status
BnH
2nd byte
4DH
3rd byte
vvH
Status
BnH
2nd byte
43H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
vv = Vibrato Depth Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
In Performance mode the Part Vibrato Depth parameter (Performance Part) will change.
●Legato Foot Switch (Controller number 68)
●Vibrato Delay (Controller number 78)
Status
BnH
2nd byte
44H
3rd byte
vvH
Status
BnH
2nd byte
4EH
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Vibrato Delay value (relative change):
*
In Performance mode the Part Legato Switch parameter (Performance Part) will change.
*
In Performance mode the Part Vibrato Delay parameter (Performance Part) will change.
●Hold-2 (Controller number 69)
●General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
45H
3rd byte
vvH
Status
BnH
2nd byte
50H
3rd byte
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
A hold movement isn’t done.
*
The Tone Level parameter (Patch Tone) of Tone 1 will change.
●Resonance (Controller number 71)
●General Purpose Controller 6 (Controller number 81)
Status
BnH
2nd byte
47H
3rd byte
vvH
Status
BnH
2nd byte
51H
3rd byte
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
vvH
vv= Resonance value (relative change):
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
In Performance mode the Part Resonance Offset parameter (Performance Part) will
change.
*
The Tone Level parameter (Patch Tone) of Tone 2 will change.
●Release Time (Controller number 72)
●General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
48H
3rd byte
vvH
Status
BnH
2nd byte
52H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv = Release Time value (relative change):
*
In Performance mode the Part Release Time Offset parameter (Performance Part) will
change.
*
The Tone Level parameter (Patch Tone) of Tone 3 will change.
●General Purpose Controller 8 (Controller number 83)
●Attack time (Controller number 73)
Status
BnH
2nd byte
53H
3rd byte
Status
BnH
2nd byte
49H
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),
*
The Tone Level parameter (Patch Tone) of Tone 4 will change.
*
In Performance mode the Part Attack Time Offset parameter (Performance Part) will
change.
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MIDI Im p le m e n ta tio n
7FH, 7FH
---, ---
RPN null
●Portamento control (Controller number 84)
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
Parameter values that were previously set will
not change.
Status
BnH
2nd byte
54H
3rd byte
kkH
n = MIDI channel number:
kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
mm, ll: ignored
*
*
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.
●Program Change
Status
2nd byte
CnH
ppH
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
*
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
00H - 7FH (prog.1 - prog.128)
*
Not received in Performance mode when the Receive Program Change parameter
(Performance MIDI) is OFF.
●Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
5BH
3rd byte
vvH
●Channel Pressure
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
2nd byte
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
In Performance mode the Part Reverb Send Level parameter (Performance Part) will
change.
*
Not received in Performance mode when the Receive Channel Pressure parameter
(Performance MIDI) is OFF.
●Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
5DH
3rd byte
vvH
●Pitch Bend Change
n = MIDI channel number:
vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
EnH
llH
mmH
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
*
In Performance mode the Part Chorus Send Level parameter (Performance Part) will
change.
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
*
*
Not received when the Tone Receive Bender parameter (Patch Tone) is OFF.
Not received in Performance mode when the Receive Pitch Bend parameter
(Performance MIDI) is OFF.
●RPN MSB/LSB (Controller number 100, 101)
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
BnH
64H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to
make any mistakes, transmitting RPN Null is recommended after setting parameters you
need.
This device receives the following RPNs.
RPN
Data entry
MSB, LSB
mmH, llH
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
*
In Performance mode, the Part Bend Range parameter (Performance Part) will change.
00H, 01H
mmH, llH
Channel Fine Tuning
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
*
In Performance mode, the Part Fine Tune parameter (Performance Part) will change.
00H, 02H
mmH, llH
Channel Coarse Tuning
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
*
In Performance mode, the Part Coarse Tune parameter (Performance Part) will change.
00H, 05H
mmH, llH
Modulation Depth Range
mm: 00 00H - 06 00H
(0 - 16384 x 600 / 16384 cent)
*
Not received in Patch mode.
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MIDI Im p le m e n ta tio n
●All Notes Off (Controller number 123)
●Channel Mode Messages
Status
2nd byte
3rd byte
BnH
7BH
00H
*
Not received in Performance mode when the Receive Switch parameter (Performance
Part) is OFF.
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.
●All Sounds Off (Controller number 120)
Status
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
●OMNI OFF (Controller number 124)
Status
2nd byte
3rd byte
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
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.
●Reset All Controllers (Controller number 121)
*
Status
2nd byte
3rd byte
BnH
79H
00H
●OMNI ON (Controller number 125)
n = MIDI channel number: 0H - FH (ch.1 - 16)
When this message is received, the following controllers will be set to their reset values.
Status
2nd byte
3rd byte
BnH
7DH
00H
*
n = MIDI channel number: 0H - FH (ch.1 - 16)
Controller
Reset value
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
Pitch Bend Change
+/ -0 (center)
0 (off)
Polyphonic Key Pressure
Channel Pressure
Modulation
0 (off)
0 (off)
●MONO (Controller number 126)
Status
Breath Type
0 (min)
2nd byte
3rd byte
Expression
127 (max)
However the controller will
be at minimum.
BnH
7EH
mmH
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
Hold 1
Sostenuto
Soft
0 (off)
0 (off)
0 (off)
0 (off)
*
*
The same processing will be carried out as when All Notes Off is received.
Hold 2
RPN
In Performance mode, the Part Mono/ Poly parameter (Performance Part) will change.
unset; previously set data will not change
unset; previously set data will not change
NRPN
●POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
*
The same processing will be carried out as when All Notes Off is received.
In Performance mode, the Part Mono/ Poly parameter (Performance Part) will change.
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MIDI Im p le m e n ta tio n
●System Realtime Message
●System Exclusive Message
Status
Data byte
Status
F0H
iiH, ddH, ......,eeH
F7H
●Timing Clock
Status
F0H:
System Exclusive Message status
F8H
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
●Active Sensing
Status
FEH
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
*
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.
EOX (End Of Exclusive)
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
●Universal Non-realtime System Exclusive Messages
●Identity Request Message
Status
F0H
Data byte
Status
7EH, dev, 06H, 01H F7H
Byte
F0H
7EH
dev
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
06H
01H
F7H
*
●GM1 System On
Status
F0H
Data byte
Status
F7H
7EH, 7FH, 09H, 01H
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 GM mode.
●GM2 System On
Status
F0H
Data byte
Status
7EH 7FH 09H 03H 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)
*
When this messages is received, this instrument will turn to the GM mode.
●GM System Off
Status
F0H
Data byte
Status
7EH, 7F, 09H, 02H F7H
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)
*
When this messages is received, this instrument will return to the Performance mode.
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MIDI Im p le m e n ta tio n
●Universal Realtime System Exclusive Messages
●Master Volume
●Global Parameter Control
*
Not received in Patch mode.
Status
F0H
Data byte
Status
F7H
●Reverb Parameters
7FH, 7FH, 04H, 01H, llH, mmH
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
Status
Byte
F0H
7FH
7FH
04H
01H
llH
Explanation
F7H
Exclusive status
01H, 01H, 01H, ppH, vvH
ID number (universal realtime message)
Device ID (Broadcast)
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Sub ID#1 (Device Control)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
mmH
F7H
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (System Common) will change.
Parameter ID width
Value width
Slot path MSB
●Master Fine Tuning
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp=0 Reverb Type
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 04H, 03H, llH, mmH
Byte
F0H
7FH
7FH
04H
03H
llH
Explanation
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
vv = 03H Medium Hall
vv = 04H Large Hall
vv = 08H Plate
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)
pp=1 Reverb Time
mmH
F7H
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
F7H
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
The Master Tune parameter (System Common) will change.
*
●Master Coarse Tuning
Status
F0H
Data byte
Status
F7
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
Master Coarse Tuning MSB
EOX (End Of Exclusive)
mmH
F7H
llH:
ignored (processed as 00H)
mmH:
28H - 40H - 58H (-24 - 0 - +24 [semitones])
*
The Master Key Shift parameter (System Common) will change.
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MIDI Im p le m e n ta tio n
pp=0 Pitch Control
●Chorus Parameters
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%
Status
F0H
Data byte
Status
F7H
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
pp=3 LFO Pitch Depth
Exclusive status
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
F7H
EOX (End Of Exclusive)
Parameter ID width
Value width
●Scale/Octave Tuning Adjust
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type
vv=0 Chorus1
Status
F0H
Data byte
Status
F7
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH...
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
Exclusive status
vv=1 Chorus2
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
vv=2 Chorus3
vv=3 Chorus4
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/ octave tuning 1-byte form)
Channel/ Option byte 1
vv=4 FB Chorus
vv=5 Flanger
pp=1 Mod Rate
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
vv= 00H - 7FH 0 - 127
pp=2 Mod Depth
ggH
hhH
ssH
Channel byte 2
vv = 00H - 7FH 0 - 127
pp=3 Feedback
bits 0 to 6 = channel 8 to 14
Channel byte 3
vv = 00H - 7FH 0 - 127
pp=4 Send To Reverb
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
F7H
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
F7H
EOX (End Of Exclusive)
●Channel Pressure
Status
F0H
Data byte
Status
F7H
●Key-based Instrument Controllers
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
Status
F0H
Data byte
Status
F7H
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
Explanation
Exclusive status
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0FH)
Key Number
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
Control Number
Value
nn=07H Level
vv = 00H - 7FH
nn=0AH
0 - 200% (Relative)
Pan
vv = 00H - 7FH
nn=5BH
Left - Right (Absolute)
Reverb Send
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
vv = 00H - 7FH
nn=5D
0 - 127 (Absolute)
Chorus Send
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
vv = 00H - 7FH
:
0 - 127 (Absolute)
:
F7H
F7
EOX (End Of Exclusive)
*
This parameter affects drum instruments only.
●Controller
Status
Data byte
Status
F0H
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Controlled range
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MIDI Im p le m e n ta tio n
●Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
The model ID of the exclusive messages used by this instrument is 00H 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
Remarks
Exclusive status
ID number (Roland)
device ID (dev: 10H - 1FH, 7FH)
model ID #1 (XV-2020)
model ID #2 (XV-2020)
command ID (RQ1)
address MSB
address
address
address LSB
size MSB
ttH
size
uuH
vvH
sum
F7H
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
●Data set 1
Status
DT1 (12H)
Data byte
Status
F7H
F0H
41H, dev, 00H, 10H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (XV-2020)
Model ID #2 (XV-2020)
Command ID (DT1)
00H
10H
12H
aaH
bbH
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
ccH
Address: lower middle byte of the starting address of the data to be
sent
ddH
eeH
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.
:
:
ffH
sum
F7H
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
*
*
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
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MIDI Im p le m e n ta tio n
2. Data Transmission
●Portamento (Controller number 65)
●Channel Voice Messages
Status
BnH
2nd byte
41H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
When execute the Data Transfer, following Control Changes and Program Change will
transmit.
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
●Resonance (Controller number 71)
●Control Change
Status
BnH
2nd byte
47H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
●Bank Select (Controller number 0, 32)
vv= Resonance value (relative change):
Status
BnH
2nd byte
00H
3rd byte
mmH
BnH
20H
llH
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
●Release Time (Controller number 72)
00 00H - 7F 7FH (bank.1 - bank.16384)
Status
BnH
2nd byte
48H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Release Time value (relative change):
●Portamento Time (Controller number 5)
Status
BnH
2nd byte
05H
3rd byte
vvH
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Attack time (Controller number 73)
Status
BnH
2nd byte
49H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
●Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
BnH
26H
●Cutoff (Controller number 74)
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
Status
BnH
2nd byte
4AH
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Cutoff value (relative change):
●Volume (Controller number 7)
Status
BnH
2nd byte
07H
3rd byte
●Decay Time (Controller number 75)
vvH
Status
BnH
2nd byte
4BH
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Decay Time value (relative change):
●Panpot (Controller number 10)
Status
BnH
2nd byte
0AH
3rd byte
vvH
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
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MIDI Im p le m e n ta tio n
●RPN MSB/LSB (Controller number 100, 101)
●Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
Status
BnH
2nd byte
4CH
3rd byte
vvH
BnH
64H
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
n = MIDI channel number: 0H - FH (ch.1 - 16)
vv = Vibrato Rate value (relative change):
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
●Vibrato Depth (Controller number 77)
Status
BnH
2nd byte
4DH
3rd byte
vvH
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.
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Depth value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
This device transmits the following RPNs.
●Vibrato Delay (Controller number 78)
Status
BnH
2nd byte
4EH
3rd byte
vvH
RPN
Data entry
MSB, LSB
mmH, llH
MSB, LSB
00H, 00H
Notes
n = MIDI channel number:
vv = Vibrato Delay value (relative change):
0H - FH (ch.1 - 16)
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
00H - 40H - 7FH (-64 - 0 - +63)
00H, 01H
00H, 02H
mmH, llH
mmH, llH
Channel Fine Tuning
●Effect 1 (Reverb Send Level) (Controller number 91)
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
Status
BnH
2nd byte
5BH
3rd byte
vvH
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Channel Coarse Tuning
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
00H, 05H
7FH, 7FH
mmH, llH
---, ---
Modulation Depth Range
●Effect 3 (Chorus Send Level) (Controller number 93)
mm, ll:
00 00H - 06 00H
Status
BnH
2nd byte
5DH
3rd byte
(0 - 16384 x 600 / 16384 cent)
vvH
RPN null
n = MIDI channel number:
vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
RPN and NRPN will be set as “unspecified.” Once
this setting has been made, subsequent
●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)
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MIDI Im p le m e n ta tio n
●System Exclusive Messages
Universal Non-realtime System Exclusive Message and Data Set 1 (DT1) are the only
3. Parameter Address Map
System Exclusive messages transmitted by the XV-2020.
*
*
Transmission of “#” marked address is diviedd to some packets. For example, ABH in
hexadecimal notation will be divied to 0AH and 0BH, and is sent/ received in this order.
“<*>” marked adddress or parameters are ignored when the XV-2020 received them.
●Universal Non-realtime System Exclusive Message
●Identity Reply Message
Receiving Identity Request Message, the XV-2020 send this message.
1. XV-2020 (ModelID = 00H 10H)
Status
F0H
Data byte
Status
F7H
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
7EH, dev, 06H, 02H, 41H, 10H, 01H,
00H, 03H, 00H, 00H, 00H, 00H
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Setup
|—————————————+————————————————————————————————————————————————————————————————|
| 02 00 00 00 | System *1—2|
*1—1|
Byte
Explanation
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | Temporary Performance
*1—3|
*1—4|
F0H
Exclusive status
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)
|
|
|
|
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
|
:
|
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16)
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode)
dev
06H
|—————————————+————————————————————————————————————————————————————————————————|
| 20 00 00 00 | User Performance (01)
| 20 01 00 00 | User Performance (02)
*1—3|
02H
|
|
|
|
:
|
41H
ID number (Roland)
| 20 3F 00 00 | User Performance (64)
|—————————————+————————————————————————————————————————————————————————————————|
10H 01H
00H 03H
Device family code
| 30 00 00 00 | User Patch (001)
| 30 01 00 00 | User Patch (002)
*1—4—1|
|
|
|
Device family number code
|
:
|
00H 00H 00H 00H Software revision level
F7H EOX (End of Exclusive)
| 30 7F 00 00 | User Patch (128)
|—————————————+————————————————————————————————————————————————————————————————|
| 40 00 00 00 | User Rhythm (001)
| 40 10 00 00 | User Rhythm (002)
|
*1—4—2|
|
|
|
:
|
| 40 30 00 00 | User Rhythm (004)
+——————————————————————————————————————————————————————————————————————————————+
●Data Transmission
●1-2 System
●Data set 1
Status
DT1 (12H)
+——————————————————————————————————————————————————————————————————————————————+
Data byte
Status
F7H
| Offset
|
|
|
|
Address |
Description
F0H
41H, dev, 00H, 10H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | System Common
*1—2—1|
+——————————————————————————————————————————————————————————————————————————————+
Byte
F0H
41H
dev
Explanation
●1-4 Temporary Patch/Rhythm
+——————————————————————————————————————————————————————————————————————————————+
Exclusive status
| Offset
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ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (XV-2020)
Model ID #2 (XV-2020)
Command ID (DT1)
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
00 00 00 | Temporary Patch
10 00 00 | Temporary Rhythm
*1—4—1|
*1—4—2|
00H
10H
12H
aaH
bbH
+——————————————————————————————————————————————————————————————————————————————+
●1-3 Performance
+——————————————————————————————————————————————————————————————————————————————+
Address MSB: upper byte of the starting address of the data to be sent
| Offset
|
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|
Address:
upper middle byte of the starting address of the data to be
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
sent
|
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00 00 00 | Performance Common
*1—3—1|
00 02 00 | Performance Common MFX
00 04 00 | Performance Common Chorus
00 06 00 | Performance Common Reverb
00 10 00 | Performance MIDI (Channel 1)
00 11 00 | Performance MIDI (Channel 2)
*1—3—2|
ccH
Address:
lower middle byte of the starting address of the data to be
sent
*1—3—3|
*1—3—4|
*1—3—5|
ddH
eeH
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
|
:
|
|
00 1F 00 | Performance MIDI (Channel 16)
00 20 00 | Performance Part (Part 1)
00 21 00 | Performance Part (Part 2)
|
*1—3—6|
transmitted in order starting from the address.
|
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:
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:
:
00 2F 00 | Performance Part (Part 16)
+——————————————————————————————————————————————————————————————————————————————+
ffH
sum
F7H
Data
Checksum
●1-4-1 Patch
EOX (End Of Exclusive)
+——————————————————————————————————————————————————————————————————————————————+
| Offset
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|
Address |
Description
*
*
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
|—————————————+————————————————————————————————————————————————————————————————|
|
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00 00 00 | Patch Common
*1—4—1—1|
*1—4—1—2|
*1—4—1—3|
*1—4—1—4|
*1—4—1—5|
*1—4—1—6|
|
00 02 00 | Patch Common MFX
00 04 00 | Patch Common Chorus
00 06 00 | Patch Common Reverb
00 10 00 | Patch TMT (Tone Mix Table)
00 20 00 | Patch Tone (Tone 1)
00 22 00 | Patch Tone (Tone 2)
00 24 00 | Patch Tone (Tone 3)
00 26 00 | Patch Tone (Tone 4)
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.
|
|
+——————————————————————————————————————————————————————————————————————————————+
●1-4-2 Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset
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Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
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00 00 00 | Rhythm Common
*1—4—2—1|
*1—4—2—2|
*1—4—2—3|
*1—4—2—4|
*1—4—2—5|
|
00 02 00 | Rhythm Common MFX
00 04 00 | Rhythm Common Chorus
00 06 00 | Rhythm Common Reverb
00 10 00 | Rhythm Tone (Key # 21)
00 12 00 | Rhythm Tone (Key # 22)
:
|
|
|
01 3E 00 | Rhythm Tone (Key # 108)
+——————————————————————————————————————————————————————————————————————————————+
●1-1 Setup
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
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|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
00 00 | 0000 0aaa | Sound Mode
(1 — 5) |
PATCH, PERFORM, GM1, GM2, GS |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 01 | 0aaa aaaa | (reserved)
00 02 | 0aaa aaaa | (reserved)
|
|
1 4 6
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
00 03 | 0aaa aaaa | (reserved)
|
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|
1 — 16, OFF
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 0E | 0000 000a | MFX Control MIDI1<*>
(0 — 1) |
|
|
|
00 04 | 0aaa aaaa | Performance Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Performance Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Performance Program Number (PC)
(0 — 127) |
(0 — 127) |
(0 — 127) |
|
|
OFF, ON
(0 — 1) |
OFF, ON |
|
00 0F | 0000 000a | MFX Control MIDI2<*>
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
00 07 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 08 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 09 | 0aaa aaaa | Patch Program Number (PC)
(0 — 127) |
(0 — 127) |
(0 — 127) |
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|
00 10 | 0aaa aaaa | Voice Reserve 1
(0 — 64) |
|
|
0 — 63, FULL
|
00 11 | 0aaa aaaa | Voice Reserve 2
(0 — 64) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
0 — 63, FULL
|
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|
00 0A | 0000 000a | MFX Switch
(0 — 1) |
00 12 | 0aaa aaaa | Voice Reserve 3
(0 — 64) |
|
|
BYPASS, ON
|
|
|
0 — 63, FULL
|
00 0B | 0000 000a | Chorus Switch
(0 — 1) |
00 13 | 0aaa aaaa | Voice Reserve 4
(0 — 64) |
|
|
OFF, ON
|
|
|
0 — 63, FULL
|
00 0C | 0000 000a | Reverb Switch
(0 — 1) |
OFF, ON
00 14 | 0aaa aaaa | Voice Reserve 5
(0 — 64) |
|
|
|
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|
0 — 63, FULL
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 15 | 0aaa aaaa | Voice Reserve 6
(0 — 64) |
|
|
|
|
00 0D | 0000 aaaa | Transpose Value
(59 — 70) |
—5 — +6
(61 — 67) |
—3 — +3
|
|
0 — 63, FULL
|
|
|
|
00 16 | 0aaa aaaa | Voice Reserve 7
(0 — 64) |
00 0E | 0000 0aaa | Octave Shift
|
|
0 — 63, FULL
|
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|
00 17 | 0aaa aaaa | Voice Reserve 8
(0 — 64) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
0 — 63, FULL
|
| 00 00 00 0F | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
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) |
●1-2-1 System Common
|
|
0 — 63, FULL
|
+——————————————————————————————————————————————————————————————————————————————+
00 1B | 0aaa aaaa | Voice Reserve 12
(0 — 64) |
| Offset
|
|
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|
|
0 — 63, FULL
|
|
Address |
Description
00 1C | 0aaa aaaa | Voice Reserve 13
(0 — 64) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
0 — 63, FULL
|
|#
|
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00 00 | 0000 aaaa |
| 0000 bbbb |
|
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|
00 1D | 0aaa aaaa | Voice Reserve 14
(0 — 64) |
|
|
0 — 63, FULL
|
| 0000 cccc |
00 1E | 0aaa aaaa | Voice Reserve 15
(0 — 64) |
| 0000 dddd | Master Tune
(24 — 2024) |
|
|
0 — 63, FULL
|
|
|
—100.0 — 100.0 [cent]
|
00 1F | 0aaa aaaa | Voice Reserve 16
(0 — 64) |
00 04 | 00aa aaaa | Master Key Shift
(40 — 88) |
|
|
0 — 63, FULL
|
|
|
—24 — +24
|
00 20 | 0aaa aaaa | Voice Reserve 17<*>
(0 — 64) |
00 05 | 0aaa aaaa | Master Level
(0 — 127) |
(0 — 1) |
|
|
0 — 63, FULL
|
00 06 | 0000 000a | Scale Tune Switch
00 21 | 0aaa aaaa | Voice Reserve 18<*>
(0 — 64) |
|
|
OFF, ON
|
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|
0 — 63, FULL
|
00 07 | 0000 000a | Patch Remain
(0 — 1) |
OFF, ON
(0 — 1) |
MIX, PARALLEL |
00 22 | 0aaa aaaa | Voice Reserve 19<*>
(0 — 64) |
|
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|
0 — 63, FULL
|
00 08 | 0000 000a | Mix/Parallel<*>
00 23 | 0aaa aaaa | Voice Reserve 20<*>
(0 — 64) |
|
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|
0 — 63, FULL
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 24 | 0aaa aaaa | Voice Reserve 21<*>
(0 — 64) |
|
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|
|
00 09 | 000a aaaa | Performance Control Channel
(0 — 16) |
|
|
0 — 63, FULL
|
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|
1 — 16, OFF
|
|
00 25 | 0aaa aaaa | Voice Reserve 22<*>
(0 — 64) |
00 0A | 000a aaaa | (reserved)
|
|
0 — 63, FULL
|
00 0B | 0000 aaaa | Patch Receive Channel
(0 — 15) |
00 26 | 0aaa aaaa | Voice Reserve 23<*>
(0 — 64) |
|
|
1 — 16
|
|
|
0 — 63, FULL
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 0C | 0aaa aaaa | Patch Scale Tune for C (0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
|—————————————+———————————+————————————————————————————————————————————————————|
00 27 | 0aaa aaaa | Voice Reserve 24<*>
(0 — 64) |
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0 — 63, FULL
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00 28 | 0aaa aaaa | Voice Reserve 25<*>
(0 — 64) |
00 0D | 0aaa aaaa | Patch Scale Tune for C#
|
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0 — 63, FULL
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00 29 | 0aaa aaaa | Voice Reserve 26<*>
(0 — 64) |
00 0E | 0aaa aaaa | Patch Scale Tune for D
|
|
0 — 63, FULL
|
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|
00 2A | 0aaa aaaa | Voice Reserve 27<*>
(0 — 64) |
00 0F | 0aaa aaaa | Patch Scale Tune for D#
|
|
0 — 63, FULL
|
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|
00 2B | 0aaa aaaa | Voice Reserve 28<*>
(0 — 64) |
00 10 | 0aaa aaaa | Patch Scale Tune for E
|
|
0 — 63, FULL
|
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|
00 2C | 0aaa aaaa | Voice Reserve 29<*>
(0 — 64) |
00 11 | 0aaa aaaa | Patch Scale Tune for F
|
|
0 — 63, FULL
|
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00 2D | 0aaa aaaa | Voice Reserve 30<*>
(0 — 64) |
00 12 | 0aaa aaaa | Patch Scale Tune for F#
|
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0 — 63, FULL
|
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|
00 2E | 0aaa aaaa | Voice Reserve 31<*>
(0 — 64) |
00 13 | 0aaa aaaa | Patch Scale Tune for G
|
|
0 — 63, FULL
|
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00 2F | 0aaa aaaa | Voice Reserve 32<*>
(0 — 64) |
00 14 | 0aaa aaaa | Patch Scale Tune for G#
|
|
0 — 63, FULL
|
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|—————————————+———————————+————————————————————————————————————————————————————|
00 15 | 0aaa aaaa | Patch Scale Tune for A
|
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00 30 | 00aa aaaa | MFX Source
(0 — 32) |
|
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|
PERFORM, 1 — 16, 17 — 32<*>
|
00 16 | 0aaa aaaa | Patch Scale Tune for A#
00 31 | 00aa aaaa | MFXB Source<*>
(0 — 32) |
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|
PERFORM, 1 — 32
|
00 17 | 0aaa aaaa | Patch Scale Tune for B
00 32 | 00aa aaaa | MFXC Source<*>
(0 — 32) |
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PERFORM, 1 — 32
|
00 33 | 00aa aaaa | Chorus Source
(0 — 32) |
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00 18 | 0aaa aaaa | System Control 1 Source
(0 — 97) |
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT
(0 — 97) |
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT
(0 — 97) |
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT
(0 — 97) |
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT
|
|
PERFORM, 1 — 16, 17 — 32<*>
|
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|
00 34 | 00aa aaaa | Reverb Source
(0 — 32) |
|
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|
PERFORM, 1 — 16, 17 — 32<*>
|
00 19 | 0aaa aaaa | System Control 2 Source
|—————————————+————————————————————————————————————————————————————————————————|
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| 00 00 00 35 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
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00 1A | 0aaa aaaa | System Control 3 Source
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●1-3-2 Performance Common MFX
00 1B | 0aaa aaaa | System Control 4 Source
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+——————————————————————————————————————————————————————————————————————————————+
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| Offset
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|—————————————+———————————+————————————————————————————————————————————————————|
|
Address |
Description
|
|
|
|
00 1C | 0000 000a | Receive Program Change
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
00 00 | 0aaa aaaa | MFX Type
(0 — 40) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 3) |
00 1D | 0000 000a | Receive Bank Select
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
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00 1E | 0000 000a | System Clock Source
(0 — 2) |
|
|
INT, MIDI, USB
|
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|
A, B<*>, C<*>, D<*>
|
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb | System Tempo
|—————————————+———————————+————————————————————————————————————————————————————|
(20 — 250) |
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00 05 | 0aaa aaaa | MFX Control 1 Source
(0 — 101) |
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
OFF, CC01 — CC31, CC33 — CC95, |
| 00 00 00 21 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
BEND, AFT, SYS1 — SYS4
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 — 127) |
|
|
—63 — +63
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 — 101) |
|
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|
|
OFF, CC01 — CC31, CC33 — CC95, |
●1-3-1 Performance Common
BEND, AFT, SYS1 — SYS4
|
+——————————————————————————————————————————————————————————————————————————————+
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 — 127) |
| Offset
|
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|
—63 — +63
|
|
Address |
Description
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 — 101) |
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
OFF, CC01 — CC31, CC33 — CC95, |
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00 00 | 0aaa aaaa | Performance Name 1
(32 — 127) |
BEND, AFT, SYS1 — SYS4
|
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|
32 — 127 [ASCII]
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 — 127) |
00 01 | 0aaa aaaa | Performance Name 2
(32 — 127) |
|
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—63 — +63
|
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32 — 127 [ASCII]
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 — 101) |
00 02 | 0aaa aaaa | Performance Name 3
(32 — 127) |
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|
OFF, CC01 — CC31, CC33 — CC95, |
|
|
32 — 127 [ASCII]
|
BEND, AFT, SYS1 — SYS4
|
00 03 | 0aaa aaaa | Performance Name 4
(32 — 127) |
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 — 127) |
—63 — +63 |
|
|
32 — 127 [ASCII]
|
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|
00 04 | 0aaa aaaa | Performance Name 5
(32 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
32 — 127 [ASCII]
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 — 16) |
00 05 | 0aaa aaaa | Performance Name 6
(32 — 127) |
|
|
|
OFF, 1 — 16
|
|
|
32 — 127 [ASCII]
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 — 16) |
00 06 | 0aaa aaaa | Performance Name 7
(32 — 127) |
|
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|
OFF, 1 — 16
|
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|
32 — 127 [ASCII]
|
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 — 16) |
00 07 | 0aaa aaaa | Performance Name 8
(32 — 127) |
|
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|
OFF, 1 — 16
|
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|
32 — 127 [ASCII]
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 — 16) |
00 08 | 0aaa aaaa | Performance Name 9
(32 — 127) |
|
|
|
OFF, 1 — 16
|
|
|
32 — 127 [ASCII]
|
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
00 09 | 0aaa aaaa | Performance Name 10
(32 — 127) |
|
|
|
|
32 — 127 [ASCII]
|
|
| 0000 cccc |
00 0A | 0aaa aaaa | Performance Name 11
(32 — 127) |
|
| 0000 dddd | MFX Parameter 1
(12768 — 52768) |
—20000 — +20000
|
|
32 — 127 [ASCII]
|
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|
00 0B | 0aaa aaaa | Performance Name 12
(32 — 127) |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
|
32 — 127 [ASCII]
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
00 0C | 00aa aaaa | Solo Part Select
(0 — 32) |
|
| 0000 dddd | MFX Parameter 2
(12768 — 52768) |
—20000 — +20000 |
|
|
OFF, 1 — 16, 17 — 32<*>
|
|
|
|
00 0D | 000a aaaa | MFX Control Channel
(0 — 16) |
1 4 7
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|#
00 19 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 dddd | MFX Parameter 30
(12768 — 52768) |
|
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|
—20000 — +20000
|
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| 0000 cccc |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 3
(12768 — 52768) |
|
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|
—20000 — +20000
|
|
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| 0000 cccc |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 — 52768) |
|
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—20000 — +20000
|
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| 0000 cccc |
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 4
(12768 — 52768) |
|
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|
—20000 — +20000
|
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|
|
| 0000 cccc |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | MFX Parameter 32
(12768 — 52768) |
—20000 — +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 5
(12768 — 52768) |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
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—20000 — +20000
|
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|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
●1-3-3 Performance Common Chorus
|
| 0000 dddd | MFX Parameter 6
(12768 — 52768) |
+——————————————————————————————————————————————————————————————————————————————+
|
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|
—20000 — +20000
|
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| Offset
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|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 — 1) |
|
| 0000 dddd | MFX Parameter 7
(12768 — 52768) |
|
|
OFF, CHORUS
|
(0 — 127) |
(0 — 3) |
|
|
|
—20000 — +20000
|
|
|
|
00 01 | 0aaa aaaa | Chorus Level
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
00 02 | 0000 00aa | Chorus Output Assign
|
|
A, B<*>, C<*>, D<*>
|
|
| 0000 cccc |
00 03 | 0000 00aa | Chorus Output Select
(0 — 2) |
|
| 0000 dddd | MFX Parameter 8
(12768 — 52768) |
|
|
MAIN, REV, MAIN+REV
|
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 1
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 9
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 10
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 19
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 11
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 — 52768) |
| 0000 dddd | Chorus Parameter 12
(12768 — 52768) |
—20000 — +20000 |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 21
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
●1-3-4 Performance Common Reverb
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | MFX Parameter 22
(12768 — 52768) |
| Offset
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
|
Address |
Description
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 — 1) |
|
| 0000 cccc |
|
|
OFF, REVERB
|
(0 — 127) |
(0 — 3) |
|
| 0000 dddd | MFX Parameter 23
(12768 — 52768) |
00 01 | 0aaa aaaa | Reverb Level
|
|
|
—20000 — +20000
|
|
|
|
00 02 | 0000 00aa | Reverb Output Assign
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B<*>, C<*>, D<*>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | MFX Parameter 24
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 1
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 25
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 26
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 27
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 28
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
| 0000 dddd | Reverb Parameter 6
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
| 0000 cccc |
|#
00 1B | 0000 aaaa |
1 4 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
OFF, ON, PATCH
|
|
| 0000 cccc |
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)
(0 — 25) |
|
|
| 0000 dddd | Reverb Parameter 7
(12768 — 52768) |
|
|
0 — 24, PATCH
|
|
|
—20000 — +20000
|
|
|
|
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)
(0 — 2) |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON, PATCH
|
|
00 0F | 0000 aaaa |
| 0000 bbbb | Part Portamento Time (CC# 5)
|
| 0000 cccc |
(0 — 128) |
|
| 0000 dddd | Reverb Parameter 8
(12768 — 52768) |
|
|
0 — 127, PATCH
|
|
|
|
—20000 — +20000
|
|
|
|
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)
(0 — 127) |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
—64 — +63
|
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 9
(12768 — 52768) |
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 10
(12768 — 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
00 15 | 0000 0aaa | Part Octave Shift
(61 — 67) |
—3 — +3
(1 — 127) |
—63 — +63 |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
00 16 | 0aaa aaaa | Part Velocity Sens Offset
|
|
|
| 0000 cccc |
00 17 | 0aaa aaaa | Keyboard Range Lower
(0 — 127) |
|
| 0000 dddd | Reverb Parameter 11
(12768 — 52768) |
|
|
C—1 — UPPER
|
|
|
|
—20000 — +20000
|
|
|
|
00 18 | 0aaa aaaa | Keyboard Range Upper
(0 — 127) |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
|
LOWER — G9
|
00 19 | 0aaa aaaa | Keyboard Fade Width Lower
00 1A | 0aaa aaaa | Keyboard Fade Width Upper
00 1B | 0000 000a | Mute Switch
(0 — 127) |
(0 — 127) |
(0 — 1) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 12
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
OFF, MUTE
|
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 13) |
|
| 0000 cccc |
00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93)
00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91)
00 1F | 0000 aaaa | Part Output Assign
|
| 0000 dddd | Reverb Parameter 13
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
MFX, A, B<*>, C<*>, D<*>, |
1, 2, 3<*>, 4<*>, 5<*>, 6<*>, 7<*>, 8<*>, |
|
| 0000 cccc |
PATCH
(0 — 2) |
MFXA, MFXB<*>, MFXC<*> |
|
|
| 0000 dddd | Reverb Parameter 14
(12768 — 52768) |
00 20 | 0000 00aa | Part Output MFX Select
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75)
(0 — 127) |
—64 — +63 |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 — 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76)
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63 |
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77)
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 16
(12768 — 52768) |
00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78)
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
00 25 | 0aaa aaaa | Part Scale Tune for C (0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 17
(12768 — 52768) |
00 26 | 0aaa aaaa | Part Scale Tune for C#
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
00 27 | 0aaa aaaa | Part Scale Tune for D
|
|
|
|
| 0000 cccc |
00 28 | 0aaa aaaa | Part Scale Tune for D#
|
| 0000 dddd | Reverb Parameter 18
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 29 | 0aaa aaaa | Part Scale Tune for E
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 2A | 0aaa aaaa | Part Scale Tune for F
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 19
(12768 — 52768) |
00 2B | 0aaa aaaa | Part Scale Tune for F#
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
00 2C | 0aaa aaaa | Part Scale Tune for G
|
|
|
|
|
| 0000 cccc |
00 2D | 0aaa aaaa | Part Scale Tune for G#
| 0000 dddd | Reverb Parameter 20
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
00 2E | 0aaa aaaa | Part Scale Tune for A
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 2F | 0aaa aaaa | Part Scale Tune for A#
|
|
|
00 30 | 0aaa aaaa | Part Scale Tune for B
|
|
|
●1-3-5 Performance MIDI
| 00 00 00 31 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
●1-4-1-1 Patch Common
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Receive Program Change
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 01 | 0000 000a | Receive Bank Select
| Offset
|
|
|
|
|
|
|
Address |
Description
00 02 | 0000 000a | Receive Bender
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Patch Name 1
(32 — 127) |
00 03 | 0000 000a | Receive Polyphonic Key Pressure
|
|
32 — 127 [ASCII]
|
|
|
|
00 01 | 0aaa aaaa | Patch Name 2
(32 — 127) |
00 04 | 0000 000a | Receive Channel Pressure
|
|
32 — 127 [ASCII]
|
|
|
|
00 02 | 0aaa aaaa | Patch Name 3
(32 — 127) |
00 05 | 0000 000a | Receive Modulation
|
|
32 — 127 [ASCII]
|
|
|
|
00 03 | 0aaa aaaa | Patch Name 4
(32 — 127) |
00 06 | 0000 000a | Receive Volume
|
|
32 — 127 [ASCII]
|
|
|
|
00 04 | 0aaa aaaa | Patch Name 5
(32 — 127) |
00 07 | 0000 000a | Receive Pan
|
|
32 — 127 [ASCII]
|
|
|
|
00 05 | 0aaa aaaa | Patch Name 6
(32 — 127) |
00 08 | 0000 000a | Receive Expression
|
|
32 — 127 [ASCII]
|
|
|
|
00 06 | 0aaa aaaa | Patch Name 7
(32 — 127) |
00 09 | 0000 000a | Receive Hold—1
|
|
32 — 127 [ASCII]
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|
00 07 | 0aaa aaaa | Patch Name 8
(32 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
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32 — 127 [ASCII]
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00 0A | 0000 000a | Phase Lock
(0 — 1) |
OFF, ON
(0 — 4) |
OFF, 1 — 4
00 08 | 0aaa aaaa | Patch Name 9
(32 — 127) |
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32 — 127 [ASCII]
|
00 0B | 0000 0aaa | Velocity Curve Type
00 09 | 0aaa aaaa | Patch Name 10
(32 — 127) |
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32 — 127 [ASCII]
|
|—————————————+————————————————————————————————————————————————————————————————|
00 0A | 0aaa aaaa | Patch Name 11
(32 — 127) |
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
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32 — 127 [ASCII]
|
00 0B | 0aaa aaaa | Patch Name 12
(32 — 127) |
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32 — 127 [ASCII]
|
00 0C | 0aaa aaaa | Patch Category
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
●1-3-6 Performance Part
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00 0D | 0000 000a | Tone Type<*>
(0 — 1) |
4TONES, MULTI—PARTIAL |
+——————————————————————————————————————————————————————————————————————————————+
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| Offset
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|—————————————+———————————+————————————————————————————————————————————————————|
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Address |
Description
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00 0E | 0aaa aaaa | Patch Level
00 0F | 0aaa aaaa | Patch Pan
(0 — 127) |
(0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
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00 00 | 0000 aaaa | Receive Channel
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
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L64 — 63R
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00 10 | 0000 000a | Patch Priority
(0 — 1) |
00 01 | 0000 000a | Receive Switch
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LAST, LOUDEST
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00 11 | 0aaa aaaa | Patch Coarse Tune
(16 — 112) |
00 02 | 0000 000a | Receive MIDI1<*>
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—48 — +48
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00 12 | 0aaa aaaa | Patch Fine Tune
(14 — 114) |
—50 — +50
(61 — 67) |
—3 — +3
(0 — 3) |
00 03 | 0000 000a | Receive MIDI2<*>
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00 13 | 0000 0aaa | Octave Shift
|—————————————+———————————+————————————————————————————————————————————————————|
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00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Patch Program Number (PC)
(0 — 127) |
(0 — 127) |
(0 — 127) |
00 14 | 0000 00aa | Stretch Tune Depth
|
|
OFF, 1 — 3
|
(0 — 127) |
(0 — 1) |
00 15 | 0aaa aaaa | Analog Feel
00 16 | 0000 000a | Mono/Poly
|—————————————+———————————+————————————————————————————————————————————————————|
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00 07 | 0aaa aaaa | Part Level (CC# 7)
00 08 | 0aaa aaaa | Part Pan (CC# 10)
(0 — 127) |
(0 — 127) |
|
|
MONO, POLY
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|
00 17 | 0000 000a | Legato Switch
|
|
L64 — 63R
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|
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50 |
00 18 | 0000 000a | Legato Retrigger
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00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)
00 19 | 0000 000a | Portamento Switch
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|
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)
(0 — 2) |
00 1A | 0000 000a | Portamento Mode
(0 — 1) |
NORMAL, LEGATO
|
|
MONO, POLY, PATCH
|
|
|
|
00 0C | 0000 00aa | Part Legato Switch (CC# 68)
(0 — 2) |
1 4 9
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
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|#
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|
00 1B | 0000 000a | Portamento Type
(0 — 1) |
|
|
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4
(1 — 127) |
—63 — +63 |
|
|
RATE, TIME
|
|
|
00 1C | 0000 000a | Portamento Start
(0 — 1) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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PITCH, NOTE
|
(0 — 127) |
(0 — 1) |
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00 3D | 0aaa aaaa | Matrix Control 3 Source
(0 — 109) |
00 1D | 0aaa aaaa | Portamento Time
00 1E | 0000 000a | Patch Clock Source
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OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, SYS1 — SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
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PATCH, SYSTEM
|
|
00 1F | 0000 aaaa |
| 0000 bbbb | Patch Tempo
00 21 | 0000 000a | One Shot Mode<*>
PIT—ENV, TVF—ENV, TVA—ENV
|
(20 — 250) |
(0 — 1) |
OFF, ON
00 3E | 00aa aaaa | Matrix Control 3 Destination 1
(0 — 33) |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 22 | 0aaa aaaa | Cutoff Offset
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
|
|
|
00 23 | 0aaa aaaa | Resonance Offset
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
|
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|
00 24 | 0aaa aaaa | Attack Time Offset
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
|
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|
MFX—CTRL3, MFX—CTRL4
|
00 25 | 0aaa aaaa | Release Time Offset
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1
(1 — 127) |
—63 — +63
(0 — 33) |
|
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00 26 | 0aaa aaaa | Velocity Sens Offset
00 40 | 00aa aaaa | Matrix Control 3 Destination 2
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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|
00 27 | 0000 aaaa | Patch Output Assign
(0 — 13) |
MFX, A, B<*>, C<*>, D<*>, |
|
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|
1, 2, 3<*>, 4<*>, 5<*>, 6<*>, 7<*>, 8<*>, |
TONE
|
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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|
|
00 28 | 0000 000a | TMT Control Switch
(0 — 1) |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
|
|
OFF, ON
|
MFX—CTRL3, MFX—CTRL4
|
00 29 | 00aa aaaa | Pitch Bend Range Up
00 2A | 00aa aaaa | Pitch Bend Range Down
(0 — 48) |
(0 — 48) |
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2
(1 — 127) |
—63 — +63
(0 — 33) |
|
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|
|—————————————+———————————+————————————————————————————————————————————————————|
00 42 | 00aa aaaa | Matrix Control 3 Destination 3
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00 2B | 0aaa aaaa | Matrix Control 1 Source
(0 — 109) |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
|
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|
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, SYS1 — SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT—ENV, TVF—ENV, TVA—ENV
|
00 2C | 00aa aaaa | Matrix Control 1 Destination 1
(0 — 33) |
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3
(1 — 127) |
—63 — +63
(0 — 33) |
|
|
|
TVF—ATK, TVF—DCY, TVF—REL, |
00 44 | 00aa aaaa | Matrix Control 3 Destination 4
TVA—ATK, TVA—DCY, TVA—REL, |
|
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|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1
(1 — 127) |
—63 — +63
(0 — 33) |
|
|
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4
(1 — 127) |
—63 — +63
|—————————————+———————————+————————————————————————————————————————————————————|
00 46 | 0aaa aaaa | Matrix Control 4 Source (0 — 109) |
|
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|
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
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TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
|
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|
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, SYS1 — SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
MFX—CTRL3, MFX—CTRL4
|
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2
(1 — 127) |
—63 — +63
(0 — 33) |
|
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|
PIT—ENV, TVF—ENV, TVA—ENV
|
00 30 | 00aa aaaa | Matrix Control 1 Destination 3
00 47 | 00aa aaaa | Matrix Control 4 Destination 1
(0 — 33) |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
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|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TVF—ATK, TVF—DCY, TVF—REL, |
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
MFX—CTRL3, MFX—CTRL4
|
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3
(1 — 127) |
—63 — +63
(0 — 33) |
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1
(1 — 127) |
—63 — +63
(0 — 33) |
|
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|
00 32 | 00aa aaaa | Matrix Control 1 Destination 4
00 49 | 00aa aaaa | Matrix Control 4 Destination 2
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TVF—ATK, TVF—DCY, TVF—REL, |
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
MFX—CTRL3, 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) |
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2
(1 — 127) |
—63 — +63
(0 — 33) |
|
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00 4B | 00aa aaaa | Matrix Control 4 Destination 3
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
|
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|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, SYS1 — SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT—ENV, TVF—ENV, TVA—ENV
|
00 35 | 00aa aaaa | Matrix Control 2 Destination 1
(0 — 33) |
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3
(1 — 127) |
—63 — +63
(0 — 33) |
|
|
|
TVF—ATK, TVF—DCY, TVF—REL, |
00 4D | 00aa aaaa | Matrix Control 4 Destination 4
TVA—ATK, TVA—DCY, TVA—REL, |
|
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|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1
(1 — 127) |
—63 — +63
(0 — 33) |
|
|
|
00 37 | 00aa aaaa | Matrix Control 2 Destination 2
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
|
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4
(1 — 127) |
—63 — +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
| 00 00 00 4F | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2
(1 — 127) |
—63 — +63
(0 — 33) |
|
|
|
●1-4-1-2 Patch Common MFX
00 39 | 00aa aaaa | Matrix Control 2 Destination 3
+——————————————————————————————————————————————————————————————————————————————+
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|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 — 40) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 3) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
TVF—ATK, TVF—DCY, TVF—REL, |
TVA—ATK, TVA—DCY, TVA—REL, |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
MFX—CTRL3, MFX—CTRL4
|
|
|
A, B<*>, C<*>, D<*>
|
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3
(1 — 127) |
—63 — +63
(0 — 33) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 — 101) |
00 3B | 00aa aaaa | Matrix Control 2 Destination 4
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT—LFO1, PIT—LFO2, |
TVF—LFO1, TVF—LFO2, TVA—LFO1, TVA—LFO2, |
PAN—LFO1, PAN—LFO2, LFO1—RATE, LFO2—RATE, |
PIT—ATK, PIT—DCY, PIT—REL, |
BEND, AFT, SYS1 — SYS4
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 — 127) |
|
|
—63 — +63
(0 — 101) |
|
00 07 | 0aaa aaaa | MFX Control 2 Source
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
TVF—ATK, TVF—DCY, TVF—REL, |
BEND, AFT, SYS1 — SYS4
|
TVA—ATK, TVA—DCY, TVA—REL, |
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 — 127) |
—63 — +63 |
TMT, FXM, MFX—CTRL1, MFX—CTRL2, |
|
|
MFX—CTRL3, MFX—CTRL4
|
1 5 0
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MIDI Im p le m e n ta tio n
|
|
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 — 101) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 — SYS4
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 — 127) |
|
| 0000 cccc |
|
|
—63 — +63
(0 — 101) |
|
|
| 0000 dddd | MFX Parameter 25
(12768 — 52768) |
—20000 — +20000
00 0B | 0aaa aaaa | MFX Control 4 Source
|
|
|
|
|
|
|
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 — SYS4
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 — 127) |
—63 — +63
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 26
(12768 — 52768) |
—20000 — +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 — 16) |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 — 16
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 — 16) |
|
| 0000 cccc |
|
|
|
OFF, 1 — 16
|
|
| 0000 dddd | MFX Parameter 27
(12768 — 52768) |
—20000 — +20000
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 — 16) |
|
|
|
|
|
|
|
|
|
|
OFF, 1 — 16
|
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 — 16) |
|
|
|
OFF, 1 — 16
|
|
| 0000 cccc |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 dddd | MFX Parameter 28
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 1
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | MFX Parameter 32
(12768 — 52768) |
—20000 — +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 5
(12768 — 52768) |
—20000 — +20000
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
●1-4-1-3 Patch Common Chorus
|
| 0000 dddd | MFX Parameter 6
(12768 — 52768) |
—20000 — +20000
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
| Offset
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 — 1) |
|
| 0000 dddd | MFX Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
OFF, CHORUS
|
(0 — 127) |
(0 — 3) |
|
|
|
|
|
|
|
00 01 | 0aaa aaaa | Chorus Level
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
00 02 | 0000 00aa | Chorus Output Assign
|
|
A, B<*>, C<*>, D<*>
|
|
| 0000 cccc |
00 03 | 0000 00aa | Chorus Output Select
(0 — 2) |
|
| 0000 dddd | MFX Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
MAIN, REV, MAIN+REV
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 1
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 9
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 10
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 19
(12768 — 52768) |
—20000 — +20000
|
| 0000 dddd | Chorus Parameter 11
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 — 52768) |
—20000 — +20000
| 0000 dddd | Chorus Parameter 12
(12768 — 52768) |
—20000 — +20000 |
|
|
|
|
|
|
|
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 21
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
●1-4-1-4 Patch Common Reverb
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | MFX Parameter 22
(12768 — 52768) |
—20000 — +20000
| Offset
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 — 1) |
|
| 0000 cccc |
|
|
OFF, REVERB
|
(0 — 127) |
(0 — 3) |
|
| 0000 dddd | MFX Parameter 23
(12768 — 52768) |
—20000 — +20000
00 01 | 0aaa aaaa | Reverb Level
|
|
|
|
|
|
|
00 02 | 0000 00aa | Reverb Output Assign
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B<*>, C<*>, D<*>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 24
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
(12768 — 52768) |
1 5 1
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MIDI Im p le m e n ta tio n
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower
(0 — 127) |
|
| 0000 dddd | Reverb Parameter 1
(12768 — 52768) |
|
|
C—1 — UPPER
|
|
|
|
—20000 — +20000
|
|
|
|
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper
(0 — 127) |
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
|
LOWER — G9
|
00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower
00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper
00 13 | 0aaa aaaa | TMT2 Velocity Range Lower
(0 — 127) |
(0 — 127) |
(1 — 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 2
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
1 — UPPER
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper
(1 — 127) |
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
|
| 0000 cccc |
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 3
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch
(0 — 1) |
OFF, ON |
(0 — 127) |
|
|
|
| 0000 cccc |
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower
|
| 0000 dddd | Reverb Parameter 4
(12768 — 52768) |
|
|
C—1 — UPPER
|
|
|
|
—20000 — +20000
|
|
|
|
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper
(0 — 127) |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
LOWER — G9
|
00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower
00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper
00 1C | 0aaa aaaa | TMT3 Velocity Range Lower
(0 — 127) |
(0 — 127) |
(1 — 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 5
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
1 — UPPER
|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper
(1 — 127) |
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
|
| 0000 cccc |
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 6
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch
(0 — 1) |
OFF, ON |
(0 — 127) |
|
|
|
| 0000 cccc |
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower
|
| 0000 dddd | Reverb Parameter 7
(12768 — 52768) |
|
|
C—1 — UPPER
|
|
|
|
—20000 — +20000
|
|
|
|
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper
(0 — 127) |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
|
LOWER — G9
|
00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower
00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper
00 25 | 0aaa aaaa | TMT4 Velocity Range Lower
(0 — 127) |
(0 — 127) |
(1 — 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 8
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
1 — UPPER
|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper
(1 — 127) |
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
|
| 0000 cccc |
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 9
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 29 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 10
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
●1-4-1-6 Patch Tone
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | Reverb Parameter 11
(12768 — 52768) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
—20000 — +20000
|
|
|
|
|
|
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|
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|
|#
|
|
00 00 | 0aaa aaaa | Tone Level
(0 — 127) |
(16 — 112) |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Tone Coarse Tune
|
|
—48 — +48
|
|
| 0000 cccc |
00 02 | 0aaa aaaa | Tone Fine Tune
(14 — 114) |
—50 — +50
(0 — 30) |
|
| 0000 dddd | Reverb Parameter 12
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 03 | 000a aaaa | Tone Random Pitch Depth
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|
|
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|
|
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, |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 13
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
1200
(0 — 127) |
L64 — 63R
(54 — 74) |
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
00 04 | 0aaa aaaa | Tone Pan
|
|
|
|
| 0000 cccc |
00 05 | 000a aaaa | Tone Pan Keyfollow
|
| 0000 dddd | Reverb Parameter 14
(12768 — 52768) |
|
|
—100 — +100
|
(0 — 63) |
(1 — 127) |
|
|
|
—20000 — +20000
|
|
|
|
00 06 | 00aa aaaa | Tone Random Pan Depth
00 07 | 0aaa aaaa | Tone Alternate Pan Depth
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
L63 — 63R
|
|
| 0000 cccc |
00 08 | 0000 000a | Tone Env Mode
(0 — 1) |
|
| 0000 dddd | Reverb Parameter 15
(12768 — 52768) |
|
|
NO—SUS, SUSTAIN
|
|
|
|
—20000 — +20000
|
|
|
|
00 09 | 0000 00aa | Tone Delay Mode
(0 — 3) |
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
NORMAL, HOLD, KEY—OFF—NORMAL, |
KEY—OFF—DECAY
|
|
|
| 0000 cccc |
00 0A | 0000 aaaa |
|
| 0000 dddd | Reverb Parameter 16
(12768 — 52768) |
| 0000 bbbb | Tone Delay Time
(0 — 149) |
0 — 127, MUSICAL—NOTES
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Tone Dry Send Level
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 12) |
|
| 0000 cccc |
00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX)
00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX)
00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 11 | 0000 aaaa | Tone Output Assign
|
| 0000 dddd | Reverb Parameter 17
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
|
|
MFX, A, B<*>, C<*>, D<*>, |
1, 2, 3<*>, 4<*>, 5<*>, 6<*>, 7<*>, 8<*>
|
| 0000 dddd | Reverb Parameter 18
(12768 — 52768) |
|
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|
|
|
|
| 0000 cccc |
00 13 | 0000 000a | Tone Receive Expression
|
| 0000 dddd | Reverb Parameter 19
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 14 | 0000 000a | Tone Receive Hold—1
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
|
00 15 | 0000 000a | Tone Receive Pan Mode
(0 — 1) |
|
|
| 0000 cccc |
|
|
CONTINUOUS, KEY—ON
|
| 0000 dddd | Reverb Parameter 20
(12768 — 52768) |
—20000 — +20000 |
00 16 | 0000 000a | Tone Redamper Switch
(0 — 1) |
|
|
|
|
|
OFF, ON
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
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|
|
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
|
●1-4-1-5 Patch TMT (Tone Mix Table)
00 19 | 0000 00aa | Tone Control 1 Switch 3
(0 — 2) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
OFF, ON, REVERSE
|
| Offset
|
|
|
00 1A | 0000 00aa | Tone Control 1 Switch 4
(0 — 2) |
|
Address |
Description
|
|
OFF, ON, REVERSE
|
|—————————————+————————————————————————————————————————————————————————————————|
00 1B | 0000 00aa | Tone Control 2 Switch 1
(0 — 2) |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2
(0 — 9) |
1 — 10
|
|
OFF, ON, REVERSE
|
|
|
|
00 1C | 0000 00aa | Tone Control 2 Switch 2
(0 — 2) |
00 01 | 0000 00aa | Booster 1 & 2
(0 — 3) |
|
|
OFF, ON, REVERSE
|
|
|
0, +6, +12, +18 [dB]
|
00 1D | 0000 00aa | Tone Control 2 Switch 3
(0 — 2) |
00 02 | 0000 aaaa | Structure Type 3 & 4
(0 — 9) |
|
|
OFF, ON, REVERSE
|
|
|
1 — 10
|
00 1E | 0000 00aa | Tone Control 2 Switch 4
(0 — 2) |
00 03 | 0000 00aa | Booster 3 & 4
(0 — 3) |
0, +6, +12, +18 [dB]
|
|
OFF, ON, REVERSE
|
|
|
|
00 1F | 0000 00aa | Tone Control 3 Switch 1
(0 — 2) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
OFF, ON, REVERSE
|
|
|
00 04 | 0000 00aa | TMT Velocity Control
(0 — 2) |
OFF, ON, RANDOM
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) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0000 000a | TMT1 Tone Switch
(0 — 1) |
OFF, ON
|
|
OFF, ON, REVERSE
|
|
|
|
00 22 | 0000 00aa | Tone Control 3 Switch 4
(0 — 2) |
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower
(0 — 127) |
|
|
OFF, ON, REVERSE
|
|
|
C—1 — UPPER
|
00 23 | 0000 00aa | Tone Control 4 Switch 1
(0 — 2) |
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper
(0 — 127) |
|
|
OFF, ON, REVERSE
|
|
|
LOWER — G9
|
00 24 | 0000 00aa | Tone Control 4 Switch 2
(0 — 2) |
00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower
00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper
00 0A | 0aaa aaaa | TMT1 Velocity Range Lower
(0 — 127) |
(0 — 127) |
(1 — 127) |
|
|
OFF, ON, REVERSE
|
00 25 | 0000 00aa | Tone Control 4 Switch 3
(0 — 2) |
|
|
OFF, ON, REVERSE
|
|
|
1 — UPPER
|
00 26 | 0000 00aa | Tone Control 4 Switch 4
(0 — 2) |
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper
(1 — 127) |
|
|
OFF, ON, REVERSE
|
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper
|
|
00 27 | 0000 00aa | Wave Group Type
(0 — 3) |
|
|
INT, SR—JV80, SRX, SAMPLE<*>
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
00 0E | 0000 000a | TMT2 Tone Switch
(0 — 1) |
OFF, ON
|
|
|
|
| 0000 cccc |
1 5 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 dddd | Wave Group ID
(0 — 16384) |
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
CHS
|
|
|
|
OFF, 1 — 16384
|
|
|
|
00 7C | 0000 aaaa |
| 0000 bbbb | LFO2 Rate
00 2C | 0000 aaaa |
| 0000 bbbb |
(0 — 149) |
|
|
0 — 127, MUSICAL—NOTES
|
| 0000 cccc |
00 7E | 0000 0aaa | LFO2 Offset
(0 — 4) |
| 0000 dddd | Wave Number L (Mono)
(0 — 16384) |
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 127) |
(54 — 74) |
|
|
OFF, 1 — 16384
|
|
|
|
00 7F | 0aaa aaaa | LFO2 Rate Detune
01 00 | 0aaa aaaa | LFO2 Delay Time
00 30 | 0000 aaaa |
| 0000 bbbb |
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow
| 0000 cccc |
| 0000 dddd | Wave Number R
|
|
—100 — +100
|
(0 — 16384) |
OFF, 1 — 16384
01 02 | 0000 00aa | LFO2 Fade Mode
(0 — 3) |
|
|
|
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
(0 — 127) |
(0 — 1) |
00 34 | 0000 00aa | Wave Gain
(0 — 3) |
01 03 | 0aaa aaaa | LFO2 Fade Time
01 04 | 0000 000a | LFO2 Key Trigger
|
|
—6, 0, +6, +12 [dB]
|
00 35 | 0000 000a | Wave FXM Switch
(0 — 1) |
|
|
OFF, ON
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
OFF, ON
|
01 05 | 0aaa aaaa | LFO2 Pitch Depth
00 36 | 0000 00aa | Wave FXM Color
(0 — 3) |
|
|
|
|
|
1 — 4
|
01 06 | 0aaa aaaa | LFO2 TVF Depth
00 37 | 000a aaaa | Wave FXM Depth
00 38 | 0000 000a | Wave Tempo Sync
(0 — 16) |
(0 — 1) |
|
|
|
01 07 | 0aaa aaaa | LFO2 TVA Depth
|
|
OFF, ON
|
|
|
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow
(44 — 84) |
—200 — +200
|—————————————+———————————+————————————————————————————————————————————————————|
00 3A | 000a aaaa | Pitch Env Depth (52 — 76) |
—12 — +12
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(54 — 74) |
01 08 | 0aaa aaaa | LFO2 Pan Depth
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 00 00 01 09 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 3B | 0aaa aaaa | Pitch Env Velocity Sens
|
|
|
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
●1-4-2-1 Rhythm Common
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
| Offset
|
|
|
|
|
|
|
Address |
Description
00 3E | 000a aaaa | Pitch Env Time Keyfollow
|—————————————+————————————————————————————————————————————————————————————————|
|
|
—100 — +100
|
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(1 — 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Rhythm Name 1
(32 — 127) |
00 3F | 0aaa aaaa | Pitch Env Time 1
00 40 | 0aaa aaaa | Pitch Env Time 2
00 41 | 0aaa aaaa | Pitch Env Time 3
00 42 | 0aaa aaaa | Pitch Env Time 4
00 43 | 0aaa aaaa | Pitch Env Level 0
|
|
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]
|
|
|
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
|
00 03 | 0aaa aaaa | Rhythm Name 4
(32 — 127) |
00 44 | 0aaa aaaa | Pitch Env Level 1
|
|
32 — 127 [ASCII]
|
|
|
|
00 04 | 0aaa aaaa | Rhythm Name 5
(32 — 127) |
00 45 | 0aaa aaaa | Pitch Env Level 2
|
|
32 — 127 [ASCII]
|
|
|
|
00 05 | 0aaa aaaa | Rhythm Name 6
(32 — 127) |
00 46 | 0aaa aaaa | Pitch Env Level 3
|
|
32 — 127 [ASCII]
|
|
|
|
00 06 | 0aaa aaaa | Rhythm Name 7
(32 — 127) |
00 47 | 0aaa aaaa | Pitch Env Level 4
|
|
32 — 127 [ASCII]
|
|
|
|
00 07 | 0aaa aaaa | Rhythm Name 8
(32 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
32 — 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type
(0 — 6) |
00 08 | 0aaa aaaa | Rhythm Name 9
(32 — 127) |
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
|
32 — 127 [ASCII]
|
LPF3
|
00 09 | 0aaa aaaa | Rhythm Name 10
(32 — 127) |
00 49 | 0aaa aaaa | TVF Cutoff Frequency
00 4A | 00aa aaaa | TVF Cutoff Keyfollow
(0 — 127) |
(44 — 84) |
|
|
32 — 127 [ASCII]
|
00 0A | 0aaa aaaa | Rhythm Name 11
(32 — 127) |
|
|
—200 — +200
|
|
|
32 — 127 [ASCII]
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve
(0 — 7) |
00 0B | 0aaa aaaa | Rhythm Name 12
(32 — 127) |
|
|
FIXED, 1 — 7
|
|
|
32 — 127 [ASCII]
|
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—63 — +63
|
|
00 0C | 0aaa aaaa | Rhythm Level
(0 — 127) |
(0 — 1) |
RHYTHM, SYSTEM
00 4D | 0aaa aaaa | TVF Resonance
(0 — 127) |
(1 — 127) |
|
00 0D | 0000 000a | Rhythm Clock Source
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens
|
|
|
|
|
|
|
—63 — +63
|
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb | Rhythm Tempo
00 10 | 0000 000a | One Shot Mode<*>
00 4F | 0aaa aaaa | TVF Env Depth
(1 — 127) |
—63 — +63 |
(20 — 250) |
(0 — 1) |
OFF, ON
|
|
|
00 50 | 0000 0aaa | TVF Env Velocity Curve
(0 — 7) |
|
|
|
|
|
|
FIXED, 1 — 7
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 51 | 0aaa aaaa | TVF Env Velocity Sens
(1 — 127) |
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign
(0 — 13) |
MFX, A, B<*>, C<*>, D<*>, |
|
|
—63 — +63
|
|
|
|
|
|
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(54 — 74) |
1, 2, 3<*>, 4<*>, 5<*>, 6<*>, 7<*>, 8<*>, |
|
|
|
TONE
|
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 54 | 000a aaaa | TVF Env Time Keyfollow
|
|
—100 — +100
|
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
00 55 | 0aaa aaaa | TVF Env Time 1
00 56 | 0aaa aaaa | TVF Env Time 2
00 57 | 0aaa aaaa | TVF Env Time 3
00 58 | 0aaa aaaa | TVF Env Time 4
00 59 | 0aaa aaaa | TVF Env Level 0
00 5A | 0aaa aaaa | TVF Env Level 1
00 5B | 0aaa aaaa | TVF Env Level 2
00 5C | 0aaa aaaa | TVF Env Level 3
00 5D | 0aaa aaaa | TVF Env Level 4
●1-4-2-2 Rhythm Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 — 40) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 3) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level
(54 — 74) |
|
|
—100 — +100
|
00 5F | 0aaa aaaa | Bias Position
(0 — 127) |
|
|
A, B<*>, C<*>, D<*>
|
|
|
C—1 — G9
(0 — 3) |
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 60 | 0000 00aa | Bias Direction
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 — 101) |
|
|
LOWER, UPPER, LOWER&UPPER, ALL
|
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
00 61 | 0000 0aaa | TVA Level Velocity Curve
(0 — 7) |
BEND, AFT, SYS1 — SYS4
|
|
|
FIXED, 1 — 7
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 — 127) |
00 62 | 0aaa aaaa | TVA Level Velocity Sens
(1 — 127) |
|
|
—63 — +63
|
|
|
—63 — +63
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 — 101) |
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(54 — 74) |
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
|
|
|
BEND, AFT, SYS1 — SYS4
|
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 — 127) |
|
|
|
|
|
—63 — +63
|
00 65 | 000a aaaa | TVA Env Time Keyfollow
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 — 101) |
|
|
—100 — +100
|
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
00 66 | 0aaa aaaa | TVA Env Time 1
00 67 | 0aaa aaaa | TVA Env Time 2
00 68 | 0aaa aaaa | TVA Env Time 3
00 69 | 0aaa aaaa | TVA Env Time 4
00 6A | 0aaa aaaa | TVA Env Level 1
00 6B | 0aaa aaaa | TVA Env Level 2
00 6C | 0aaa aaaa | TVA Env Level 3
BEND, AFT, SYS1 — SYS4
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 — 127) |
|
|
—63 — +63
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 — 101) |
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, SYS1 — SYS4
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 — 127) |
—63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Wave Form
(0 — 10) |
SIN, TRI, SAW—UP, SAW—DW, SQR, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 — 16) |
RND, BEND—UP, BEND—DW, TRP, S&H
CHS
|
|
|
|
|
|
OFF, 1 — 16
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 — 16) |
00 6E | 0000 aaaa |
| 0000 bbbb | LFO1 Rate
|
|
|
OFF, 1 — 16
|
(0 — 149) |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 — 16) |
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
OFF, 1 — 16
|
00 70 | 0000 0aaa | LFO1 Offset
(0 — 4) |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 — 16) |
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 127) |
(54 — 74) |
|
|
|
OFF, 1 — 16
|
00 71 | 0aaa aaaa | LFO1 Rate Detune
00 72 | 0aaa aaaa | LFO1 Delay Time
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow
|
| 0000 cccc |
|
|
—100 — +100
|
|
| 0000 dddd | MFX Parameter 1
(12768 — 52768) |
—20000 — +20000
00 74 | 0000 00aa | LFO1 Fade Mode
(0 — 3) |
|
|
|
|
|
|
|
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
(0 — 127) |
(0 — 1) |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
00 75 | 0aaa aaaa | LFO1 Fade Time
00 76 | 0000 000a | LFO1 Key Trigger
|
| 0000 cccc |
|
|
OFF, ON
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
|
|
| 0000 dddd | MFX Parameter 2
(12768 — 52768) |
—20000 — +20000
00 77 | 0aaa aaaa | LFO1 Pitch Depth
|
|
|
|
|
|
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
00 78 | 0aaa aaaa | LFO1 TVF Depth
|
|
|
|
| 0000 cccc |
00 79 | 0aaa aaaa | LFO1 TVA Depth
|
| 0000 dddd | MFX Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
00 7A | 0aaa aaaa | LFO1 Pan Depth
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
00 7B | 0000 aaaa | LFO2 Wave Form
(0 — 10) |
|
| 0000 dddd | MFX Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
SIN, TRI, SAW—UP, SAW—DW, SQR, |
|
|
|
|
|
RND, BEND—UP, BEND—DW, TRP, S&H
|
|#
00 21 | 0000 aaaa |
1 5 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
| 0000 bbbb |
|
|
|
|
|
—20000 — +20000
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
| 0000 dddd | MFX Parameter 5
(12768 — 52768) |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
●1-4-2-3 Rhythm Common Chorus
|
| 0000 dddd | MFX Parameter 6
(12768 — 52768) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
—20000 — +20000
|
|
|
|
| Offset
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 — 1) |
|
| 0000 dddd | MFX Parameter 7
(12768 — 52768) |
|
|
OFF, CHORUS
|
(0 — 127) |
(0 — 3) |
|
|
|
—20000 — +20000
|
|
|
|
00 01 | 0aaa aaaa | Chorus Level
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
00 02 | 0000 00aa | Chorus Output Assign
|
|
A, B<*>, C<*>, D<*>
|
|
| 0000 cccc |
00 03 | 0000 00aa | Chorus Output Select
(0 — 2) |
|
| 0000 dddd | MFX Parameter 8
(12768 — 52768) |
|
|
MAIN, REV, MAIN+REV
|
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 1
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 9
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 10
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 19
(12768 — 52768) |
|
| 0000 dddd | Chorus Parameter 11
(12768 — 52768) |
—20000 — +20000
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 — 52768) |
| 0000 dddd | Chorus Parameter 12
(12768 — 52768) |
—20000 — +20000 |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 21
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
●1-4-2-4 Rhythm Common Reverb
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | MFX Parameter 22
(12768 — 52768) |
| Offset
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
|
Address |
Description
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 — 1) |
|
| 0000 cccc |
|
|
OFF, REVERB
|
(0 — 127) |
(0 — 3) |
|
| 0000 dddd | MFX Parameter 23
(12768 — 52768) |
00 01 | 0aaa aaaa | Reverb Level
|
|
|
—20000 — +20000
|
|
|
|
00 02 | 0000 00aa | Reverb Output Assign
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B<*>, C<*>, D<*>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | MFX Parameter 24
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 1
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 25
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 26
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 27
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 28
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 32
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
(12768 — 52768) |
1 5 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
| 0000 cccc |
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 21 | 0000 000a | WMT1 Wave Switch
(0 — 1) |
OFF, ON |
|
| 0000 dddd | Reverb Parameter 9
(12768 — 52768) |
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 22 | 0000 00aa | WMT1 Wave Group Type
(0 — 3) |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
|
INT, SR—JV80, SRX, SAMPLE<*>
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 10
(12768 — 52768) |
| 0000 cccc |
|
|
|
—20000 — +20000
|
|
|
|
| 0000 dddd | WMT1 Wave Group ID
(0 — 16384) |
OFF, 1 — 16384
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 11
(12768 — 52768) |
| 0000 cccc |
|
|
|
—20000 — +20000
|
|
|
|
| 0000 dddd | WMT1 Wave Number L (Mono)
(0 — 16384) |
OFF, 1 — 16384
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 12
(12768 — 52768) |
| 0000 cccc |
|
|
|
—20000 — +20000
|
|
|
|
| 0000 dddd | WMT1 Wave Number R
(0 — 16384) |
OFF, 1 — 16384 |
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|
|
00 2F | 0000 00aa | WMT1 Wave Gain
(0 — 3) |
|
| 0000 cccc |
|
|
—6, 0, +6, +12 [dB]
|
|
| 0000 dddd | Reverb Parameter 13
(12768 — 52768) |
00 30 | 0000 000a | WMT1 Wave FXM Switch
(0 — 1) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
OFF, ON
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
00 31 | 0000 00aa | WMT1 Wave FXM Color
(0 — 3) |
|
|
1 — 4
|
|
| 0000 cccc |
00 32 | 000a aaaa | WMT1 Wave FXM Depth
00 33 | 0000 000a | WMT1 Wave Tempo Sync
(0 — 16) |
(0 — 1) |
|
| 0000 dddd | Reverb Parameter 14
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
OFF, ON
|
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50
(0 — 127) |
L64 — 63R
(0 — 1) |
OFF, ON
(0 — 2) |
|
|
|
|
| 0000 cccc |
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune
|
| 0000 dddd | Reverb Parameter 15
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 36 | 0aaa aaaa | WMT1 Wave Pan
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 37 | 0000 000a | WMT1 Wave Random Pan Switch
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 16
(12768 — 52768) |
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch
|
|
|
—20000 — +20000
|
|
|
|
|
|
OFF, ON, REVERSE
|
(0 — 127) |
(1 — 127) |
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
00 39 | 0aaa aaaa | WMT1 Wave Level
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower
|
| 0000 cccc |
|
|
1 — UPPER
|
|
| 0000 dddd | Reverb Parameter 17
(12768 — 52768) |
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper
(1 — 127) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 18
(12768 — 52768) |
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3E | 0000 000a | WMT2 Wave Switch
(0 — 1) |
OFF, ON |
(0 — 3) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
00 3F | 0000 00aa | WMT2 Wave Group Type
|
|
INT, SR—JV80, SRX, SAMPLE<*>
|
|
| 0000 cccc |
00 40 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 dddd | Reverb Parameter 19
(12768 — 52768) |
|
|
|
|
|
—20000 — +20000
|
|
|
|
| 0000 cccc |
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | WMT2 Wave Group ID
(0 — 16384) |
OFF, 1 — 16384
|
|
|
|
|
|
|
|
| 0000 cccc |
00 44 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | Reverb Parameter 20
(12768 — 52768) |
—20000 — +20000
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
| 0000 dddd | WMT2 Wave Number L (Mono)
(0 — 16384) |
OFF, 1 — 16384
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
00 48 | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT2 Wave Number R
(0 — 16384) |
OFF, 1 — 16384 |
●1-4-2-5 Rhythm Tone
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 4C | 0000 00aa | WMT2 Wave Gain
(0 — 3) |
| Offset
|
|
|
|
|
—6, 0, +6, +12 [dB]
|
|
Address |
Description
00 4D | 0000 000a | WMT2 Wave FXM Switch
(0 — 1) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
OFF, ON
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1
(32 — 127) |
00 4E | 0000 00aa | WMT2 Wave FXM Color
(0 — 3) |
|
|
32 — 127 [ASCII]
|
|
|
1 — 4
|
00 01 | 0aaa aaaa | Tone Name 2
(32 — 127) |
00 4F | 000a aaaa | WMT2 Wave FXM Depth
00 50 | 0000 000a | WMT2 Wave Tempo Sync
(0 — 16) |
(0 — 1) |
|
|
32 — 127 [ASCII]
|
00 02 | 0aaa aaaa | Tone Name 3
(32 — 127) |
|
|
OFF, ON
|
|
|
32 — 127 [ASCII]
|
00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50
(0 — 127) |
L64 — 63R
(0 — 1) |
OFF, ON
(0 — 2) |
00 03 | 0aaa aaaa | Tone Name 4
(32 — 127) |
|
|
|
|
|
32 — 127 [ASCII]
|
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune
00 04 | 0aaa aaaa | Tone Name 5
(32 — 127) |
|
|
|
|
|
32 — 127 [ASCII]
|
00 53 | 0aaa aaaa | WMT2 Wave Pan
00 05 | 0aaa aaaa | Tone Name 6
(32 — 127) |
|
|
|
|
|
32 — 127 [ASCII]
|
00 54 | 0000 000a | WMT2 Wave Random Pan Switch
00 06 | 0aaa aaaa | Tone Name 7
(32 — 127) |
|
|
|
|
|
32 — 127 [ASCII]
|
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch
00 07 | 0aaa aaaa | Tone Name 8
(32 — 127) |
|
|
OFF, ON, REVERSE
|
(0 — 127) |
(1 — 127) |
|
|
32 — 127 [ASCII]
|
00 56 | 0aaa aaaa | WMT2 Wave Level
00 08 | 0aaa aaaa | Tone Name 9
(32 — 127) |
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower
|
|
32 — 127 [ASCII]
|
|
|
1 — UPPER
|
00 09 | 0aaa aaaa | Tone Name 10
(32 — 127) |
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper
(1 — 127) |
|
|
32 — 127 [ASCII]
|
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
00 0A | 0aaa aaaa | Tone Name 11
(32 — 127) |
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper
|
|
32 — 127 [ASCII]
|
00 0B | 0aaa aaaa | Tone Name 12
(32 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
32 — 127 [ASCII]
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
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|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
00 5B | 0000 000a | WMT3 Wave Switch
(0 — 1) |
OFF, ON |
(0 — 3) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 0C | 0000 000a | Assign Type
(0 — 1) |
00 5C | 0000 00aa | WMT3 Wave Group Type
|
|
MULTI, SINGLE
|
|
|
INT, SR—JV80, SRX, SAMPLE<*>
|
00 0D | 000a aaaa | Mute Group
(0 — 31) |
00 5D | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 — 31
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level
(0 — 127) |
(0 — 127) |
| 0000 dddd | WMT3 Wave Group ID
(0 — 16384) |
OFF, 1 — 16384
00 0F | 0aaa aaaa | Tone Coarse Tune
|
|
|
|
|
|
|
|
C—1 — G9
|
00 61 | 0000 aaaa |
| 0000 bbbb |
00 10 | 0aaa aaaa | Tone Fine Tune
(14 — 114) |
—50 — +50
(0 — 30) |
|
|
|
| 0000 cccc |
00 11 | 000a aaaa | Tone Random Pitch Depth
| 0000 dddd | WMT3 Wave Number L (Mono)
(0 — 16384) |
OFF, 1 — 16384
|
|
|
|
|
|
|
|
|
|
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, |
|
|
|
|
|
|
00 65 | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
1200
|
| 0000 dddd | WMT3 Wave Number R
(0 — 16384) |
OFF, 1 — 16384 |
00 12 | 0aaa aaaa | Tone Pan
(0 — 127) |
|
|
|
|
L64 — 63R
|
00 69 | 0000 00aa | WMT3 Wave Gain
(0 — 3) |
00 13 | 00aa aaaa | Tone Random Pan Depth
00 14 | 0aaa aaaa | Tone Alternate Pan Depth
(0 — 63) |
(1 — 127) |
|
|
—6, 0, +6, +12 [dB]
|
00 6A | 0000 000a | WMT3 Wave FXM Switch
(0 — 1) |
|
|
L63 — 63R
|
|
|
OFF, ON
|
00 15 | 0000 000a | Tone Env Mode
(0 — 1) |
NO—SUS, SUSTAIN |
00 6B | 0000 00aa | WMT3 Wave FXM Color
(0 — 3) |
|
|
|
|
1 — 4
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 6C | 000a aaaa | WMT3 Wave FXM Depth
00 6D | 0000 000a | WMT3 Wave Tempo Sync
(0 — 16) |
(0 — 1) |
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Tone Dry Send Level
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 12) |
00 17 | 0aaa aaaa | Tone Chorus Send Level
00 18 | 0aaa aaaa | Tone Reverb Send Level
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 1B | 0000 aaaa | Tone Output Assign
|
|
OFF, ON
|
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50
(0 — 127) |
L64 — 63R
(0 — 1) |
OFF, ON
(0 — 2) |
|
|
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune
|
|
|
|
|
|
|
MFX, A, B<*>, C<*>, D<*>, |
1, 2, 3<*>, 4<*>, 5<*>, 6<*>, 7<*>, 8<*>
00 70 | 0aaa aaaa | WMT3 Wave Pan
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 71 | 0000 000a | WMT3 Wave Random Pan Switch
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range
00 1D | 0000 000a | Tone Receive Expression
(0 — 48) |
(0 — 1) |
|
|
|
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch
|
|
OFF, ON
|
|
|
OFF, ON, REVERSE
|
(0 — 127) |
(1 — 127) |
00 1E | 0000 000a | Tone Receive Hold—1
(0 — 1) |
OFF, ON
(0 — 1) |
CONTINUOUS, KEY—ON |
00 73 | 0aaa aaaa | WMT3 Wave Level
|
|
|
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower
00 1F | 0000 000a | Tone Receive Pan Mode
|
|
1 — UPPER
|
|
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper
(1 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
|
|
00 20 | 0000 00aa | WMT Velocity Control
(0 — 2) |
OFF, ON, RANDOM |
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
1 5 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
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|#
|
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|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 78 | 0000 000a | WMT4 Wave Switch
(0 — 1) |
OFF, ON |
2. GS (Model ID = 42H)
|
|
00 79 | 0000 00aa | WMT4 Wave Group Type
(0 — 3) |
|
|
INT, SR—JV80, SRX, SAMPLE<*>
|
00 7A | 0000 aaaa |
| 0000 bbbb |
|
|
|
●System Parameter
+——————————————————————————————————————————————————————————————————————————————+
| 0000 cccc |
| 0000 dddd | WMT4 Wave Group ID
(0 — 16384) |
OFF, 1 — 16384
| Start
|
|
|
|
|
|
|
|
|
|
Address |
Description
00 7E | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
|
|
|
|
|
|
|
|
40 00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
| 0000 cccc |
| 0000 dddd | WMT4 Wave Number L (Mono)
(0 — 16384) |
OFF, 1 — 16384
| 0000 cccc |
|
|
|
|
|
|
| 0000 dddd | Master Tune
(24 — 2024) |
01 02 | 0000 aaaa |
| 0000 bbbb |
|
|
—100.0 — 100.0 [cent]
|
40 00 04 | 0aaa aaaa | Master Volume
40 00 05 | 0aaa aaaa | Master Key Shift
(0 — 127) |
(40 — 88) |
| 0000 cccc |
| 0000 dddd | WMT4 Wave Number R
(0 — 16384) |
OFF, 1 — 16384 |
|
|
—24 — +24 [semitone]
|
|
|
40 00 06 | 0aaa aaaa | Master Pan
(1 — 127) |
01 06 | 0000 00aa | WMT4 Wave Gain
(0 — 3) |
|
|
L63 — 63R
|
|
|
—6, 0, +6, +12 [dB]
|
|—————————————+————————————————————————————————————————————————————————————————|
01 07 | 0000 000a | WMT4 Wave FXM Switch
(0 — 1) |
|
|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
GS—RESET, GS—EXIT |
|
|
OFF, ON
|
|
|
01 08 | 0000 00aa | WMT4 Wave FXM Color
(0 — 3) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
1 — 4
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth
01 0A | 0000 000a | WMT4 Wave Tempo Sync
(0 — 16) |
(0 — 1) |
●Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
|
|
OFF, ON
|
01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50
(0 — 127) |
L64 — 63R
(0 — 1) |
OFF, ON
(0 — 2) |
|
|
|
| Start
|
|
|
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
01 0D | 0aaa aaaa | WMT4 Wave Pan
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1
40 01 11 | 0aaa aaaa | Voice Reserve 2
40 01 12 | 0aaa aaaa | Voice Reserve 3
40 01 13 | 0aaa aaaa | Voice Reserve 4
40 01 14 | 0aaa aaaa | Voice Reserve 5
40 01 15 | 0aaa aaaa | Voice Reserve 6
40 01 16 | 0aaa aaaa | Voice Reserve 7
40 01 17 | 0aaa aaaa | Voice Reserve 8
40 01 18 | 0aaa aaaa | Voice Reserve 9
40 01 19 | 0aaa aaaa | Voice Reserve 10
40 01 1A | 0aaa aaaa | Voice Reserve 11
40 01 1B | 0aaa aaaa | Voice Reserve 12
40 01 1C | 0aaa aaaa | Voice Reserve 13
40 01 1D | 0aaa aaaa | Voice Reserve 14
40 01 1E | 0aaa aaaa | Voice Reserve 15
40 01 1F | 0aaa aaaa | Voice Reserve 16
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
|
|
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch
|
|
|
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch
|
|
OFF, ON, REVERSE
|
(0 — 127) |
(1 — 127) |
01 10 | 0aaa aaaa | WMT4 Wave Level
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower
|
|
1 — UPPER
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper
(1 — 127) |
|
|
LOWER — 127
|
(0 — 127) |
(0 — 127) |
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 15 | 000a aaaa | Pitch Env Depth
(52 — 76) |
—12 — +12
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
|
|
|
01 16 | 0aaa aaaa | Pitch Env Velocity Sens
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 — 7) |
(0 — 7) |
(0 — 7) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
40 01 31 | 0aaa aaaa | Reverb Character
40 01 32 | 0aaa aaaa | Reverb Pre—LPF
40 01 33 | 0aaa aaaa | Reverb Level
|
|
|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
|
|
|
40 01 34 | 0aaa aaaa | Reverb Time
40 01 35 | 0aaa aaaa | Reverb Delay Feedback
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus<*>
01 19 | 0aaa aaaa | Pitch Env Time 1
01 1A | 0aaa aaaa | Pitch Env Time 2
01 1B | 0aaa aaaa | Pitch Env Time 3
01 1C | 0aaa aaaa | Pitch Env Time 4
01 1D | 0aaa aaaa | Pitch Env Level 0
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(1 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
40 01 38 | 0aaa aaaa | Chorus Macro
40 01 39 | 0aaa aaaa | Chorus Pre—LPF
40 01 3A | 0aaa aaaa | Chorus Level
40 01 3B | 0aaa aaaa | Chorus Feedback
40 01 3C | 0aaa aaaa | Chorus Delay
40 01 3D | 0aaa aaaa | Chorus Rate
40 01 3E | 0aaa aaaa | Chorus Depth
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb
(0 — 7) |
(0 — 7) |
|
|
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
|
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
01 1E | 0aaa aaaa | Pitch Env Level 1
|
|
|
01 1F | 0aaa aaaa | Pitch Env Level 2
|
|
|
01 20 | 0aaa aaaa | Pitch Env Level 3
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
01 21 | 0aaa aaaa | Pitch Env Level 4
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
●Part Parameter
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 22 | 0000 0aaa | TVF Filter Type
(0 — 6) |
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
+——————————————————————————————————————————————————————————————————————————————+
LPF3
|
| Start
|
|
|
01 23 | 0aaa aaaa | TVF Cutoff Frequency
(0 — 127) |
(0 — 7) |
|
Address |
Description
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve
|—————————————+————————————————————————————————————————————————————————————————|
|
|
FIXED, 1 — 7
|
|#
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
| 0aaa aaaa | Tone Number PC Value
(0 — 127) |
(0 — 127) |
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 — 127) |
|
|
—63 — +63
|
|—————————————+———————————+————————————————————————————————————————————————————|
01 26 | 0aaa aaaa | TVF Resonance
(0 — 127) |
(1 — 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 02 | 0aaa aaaa | Rx. Channel
(0 — 16) |
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens
|
|
1 — 16, OFF
|
|
|
—63 — +63
|
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 — 1) |
01 28 | 0aaa aaaa | TVF Env Depth
(1 — 127) |
—63 — +63 |
|
|
OFF, ON
|
|
|
40 1x 04 | 0000 000a | Rx. Channel Pressure
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
01 29 | 0000 0aaa | TVF Env Velocity Curve Type
(0 — 7) |
|
|
|
|
|
FIXED, 1 — 7
|
40 1x 05 | 0000 000a | Rx. Program Change
01 2A | 0aaa aaaa | TVF Env Velocity Sens
(1 — 127) |
|
|
|
|
|
—63 — +63
|
40 1x 06 | 0000 000a | Rx. Control Change
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63 |
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40 1x 07 | 0000 000a | Rx. Poly Pressure
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens
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40 1x 08 | 0000 000a | Rx. Note Message
01 2D | 0aaa aaaa | TVF Env Time 1
01 2E | 0aaa aaaa | TVF Env Time 2
01 2F | 0aaa aaaa | TVF Env Time 3
01 30 | 0aaa aaaa | TVF Env Time 4
01 31 | 0aaa aaaa | TVF Env Level 0
01 32 | 0aaa aaaa | TVF Env Level 1
01 33 | 0aaa aaaa | TVF Env Level 2
01 34 | 0aaa aaaa | TVF Env Level 3
01 35 | 0aaa aaaa | TVF Env Level 4
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
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40 1x 09 | 0000 000a | Rx. RPN
|
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40 1x 0A | 0000 000a | Rx. NRPN
|
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40 1x 0B | 0000 000a | Rx. Modulation
|
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40 1x 0C | 0000 000a | Rx. Volume
|
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|—————————————+———————————+————————————————————————————————————————————————————|
40 1x 0D | 0000 000a | Rx. Panpot
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01 36 | 0000 0aaa | TVA Level Velocity Curve
(0 — 7) |
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FIXED, 1 — 7
|
40 1x 0E | 0000 000a | Rx. Expression
01 37 | 0aaa aaaa | TVA Level Velocity Sens
(1 — 127) |
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—63 — +63
|
40 1x 0F | 0000 000a | Rx. Hold—1
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63 |
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40 1x 10 | 0000 000a | Rx. Portamento
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
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40 1x 11 | 0000 000a | Rx. Sostenuto
01 3A | 0aaa aaaa | TVA Env Time 1
01 3B | 0aaa aaaa | TVA Env Time 2
01 3C | 0aaa aaaa | TVA Env Time 3
01 3D | 0aaa aaaa | TVA Env Time 4
01 3E | 0aaa aaaa | TVA Env Level 1
01 3F | 0aaa aaaa | TVA Env Level 2
01 40 | 0aaa aaaa | TVA Env Level 3
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
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40 1x 12 | 0000 000a | Rx. Soft
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40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 — 1) |
|
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MODE, POLY
|
40 1x 14 | 0aaa aaaa | Assign Mode<*>
(0 — 2) |
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
SINGLE, LIMITED—MULTI, |
| 00 00 01 41 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
FULL—MULTI
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
(0 — 2) |
OFF, MAP1, MAP2 |
|
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|—————————————+———————————+————————————————————————————————————————————————————|
|
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|#
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40 1x 16 | 0aaa aaaa | Pitch Key Shift
(40 — 88) |
|
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—24 — +24 [semitone]
|
|
40 1x 17 | 0000 aaaa |
| 0000 bbbb | Pitch Offset Fine
(8 — 248) |
|
|
—12.0 — +12.0 [Hz]
|
(0 — 127) |
(0 — 127) |
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)
40 1x 1A | 0aaa aaaa | Velocity Sens Depth
|
|
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
|
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
|
|
|
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)
|
|
RANDOM, L63 — 63R
|
(0 — 127) |
(0 — 127) |
(0 — 95) |
(0 — 95) |
(0 — 127) |
(0 — 127) |
40 1x 1D | 0aaa aaaa | Keyboard Range Low
40 1x 1E | 0aaa aaaa | Keyboard Range High
40 1x 1F | 0aaa aaaa | CC1 Controller Number
40 1x 20 | 0aaa aaaa | CC2 Controller Number
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)
1 5 6
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MIDI Im p le m e n ta tio n
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40 1x 23 | 0000 000a | Rx. Bank Select<*>
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
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40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 — 88) |
40 1x 24 | 0000 000a | Rx. Bank Select LSB<*>
|
|
—24 — +24 [semitone]
|
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40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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—9600 — +9600 [cent]
|
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40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 — 127) |
|
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—100.0 — +100.0 [%]
|
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 — 127) |
|
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|
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—10.0 — +10.0 [Hz]
|
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 — 127) |
|
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0 — 600 [cent]
|
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 — 127) |
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0 — 2400 [cent]
|
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 — 127) |
|
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|
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0 — 100.0 [%]
|
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 — 127) |
|
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—10.0 — +10.0 [Hz]
|
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA Env. Release)
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 — 127) |
|
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0 — 600 [cent]
|
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 — 127) |
|
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0 — 2400 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 — 127) |
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40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 — 127) |
|
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0 — 100.0 [%]
|
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—64 — +63 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 — 127) |
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40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 — 88) |
|
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—64 — +63 [cent]
|
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—24 — +24 [semitone]
|
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 — 127) |
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
—9600 — +9600 [cent]
|
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 — 127) |
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
—100.0 — +100.0 [%]
|
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 — 127) |
40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
—10.0 — +10.0 [Hz]
|
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 — 127) |
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
0 — 600 [cent]
|
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 — 127) |
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
0 — 2400 [cent]
|
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 — 127) |
40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
0 — 100.0 [%]
|
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 — 127) |
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
—10.0 — +10.0 [Hz]
|
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 — 127) |
40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
0 — 600 [cent]
|
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 — 127) |
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
0 — 2400 [cent]
|
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 — 127) |
40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 — 127) |
|
|
—64 — +63 [cent]
|
|
|
0 — 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
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40 2x 00 | 0aaa aaaa | Mod Pitch Control
(40 — 88) |
x: BLOCK NUMBER (0-F)
|
|
—24 — +24 [semitone]
|
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
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]
|
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
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) |
|
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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) |
Part16 (MIDI ch = 16) x = F
|
|
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) |
●Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
|
|
0 — 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
| Start
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40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 — 88) |
|
Address |
Description
|
|
0 — 24 [semitone]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 — 127) |
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41 m0 00 | 0aaa aaaa | Drum Map Name 1
(32 — 127) |
|
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—9600 — +9600 [cent]
|
|
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32 — 127 [ASCII]
|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 — 127) |
41 m0 01 | 0aaa aaaa | Drum Map Name 2
(32 — 127) |
|
|
—100.0 — +100.0 [%]
|
|
|
32 — 127 [ASCII]
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 — 127) |
41 m0 02 | 0aaa aaaa | Drum Map Name 3
(32 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
|
|
32 — 127 [ASCII]
|
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 — 127) |
41 m0 03 | 0aaa aaaa | Drum Map Name 4
(32 — 127) |
|
|
0 — 600 [cent]
|
|
|
32 — 127 [ASCII]
|
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 — 127) |
41 m0 04 | 0aaa aaaa | Drum Map Name 5
(32 — 127) |
|
|
0 — 2400 [cent]
|
|
|
32 — 127 [ASCII]
|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 — 127) |
41 m0 05 | 0aaa aaaa | Drum Map Name 6
(32 — 127) |
|
|
0 — 100.0 [%]
|
|
|
32 — 127 [ASCII]
|
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 — 127) |
41 m0 06 | 0aaa aaaa | Drum Map Name 7
(32 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
|
|
32 — 127 [ASCII]
|
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 — 127) |
41 m0 07 | 0aaa aaaa | Drum Map Name 8
(32 — 127) |
|
|
0 — 600 [cent]
|
|
|
32 — 127 [ASCII]
|
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 — 127) |
41 m0 08 | 0aaa aaaa | Drum Map Name 9
(32 — 127) |
|
|
0 — 2400 [cent]
|
|
|
32 — 127 [ASCII]
|
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 — 127) |
41 m0 09 | 0aaa aaaa | Drum Map Name 10
(32 — 127) |
|
|
0 — 100.0 [%]
|
|
|
32 — 127 [ASCII]
|
|—————————————+———————————+————————————————————————————————————————————————————|
41 m0 0A | 0aaa aaaa | Drum Map Name 11
(32 — 127) |
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40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 — 88) |
|
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32 — 127 [ASCII]
|
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|
—24 — +24 [semitone]
|
41 m0 0B | 0aaa aaaa | Drum Map Name 12
(32 — 127) |
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 — 127) |
|
|
32 — 127 [ASCII]
|
|
|
—9600 — +9600 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 — 127) |
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41 m1 rr | 0aaa aaaa | Play Note Number
41 m2 rr | 0aaa aaaa | Level
(0 — 127) |
(0 — 127) |
(0 — 127) |
|
|
—100.0 — +100.0 [%]
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 — 127) |
41 m3 rr | 0aaa aaaa | Assign Group Number
|
|
—10.0 — +10.0 [Hz]
|
|
|
NON, 1 — 127
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 — 127) |
41 m4 rr | 0aaa aaaa | Panpot
(0 — 127) |
|
|
0 — 600 [cent]
|
|
|
RAMDOM, L63 — 63R
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 — 127) |
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 — 127) |
|
|
0 — 2400 [cent]
|
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|
0.0 — 1.0
|
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 — 127) |
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 — 127) |
0.0 — 1.0
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|
|
0 — 100.0 [%]
|
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|
|
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 — 127) |
41 m7 rr | 0000 000a | Rx. Note Off
|
|
—10.0 — +10.0 [Hz]
|
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|
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 — 127) |
41 m8 rr | 0000 000a | Rx. Note On
|
|
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) |
m: Map number (0 = MAP1, 1 = MAP2)
|
|
0 — 100.0 [%]
|
rr: drum part note number (00H-7FH)
|—————————————+———————————+————————————————————————————————————————————————————|
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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 [%]
|
1 5 7
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MIDI Im p le m e n ta tio n
●Decimal and Hexadecimal Table
●Examples of Actual MIDI Messages
(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.
<Example1> 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.
The following table shows how these correspond to decimal numbers.
+——————+——————++——————+——————++——————+——————++——————+——————+
|
D
|
H
||
D
|
H
||
D
|
H
||
D
|
H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
<Example2> CE 49
|
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0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
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.
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
<Example3> 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.
<Example4> 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.
+——————+——————++——————+——————++——————+——————++——————+——————+
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.
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:
00H
00H
0CH
00H
7FH
7FH
(B3)
(B3)
(B3)
(B3)
(B3)
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.
(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:
*
*
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.
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.
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.)
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
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.
<Example2> 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
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
<Example3> 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
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).
<Example4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
16 )
78 ...10
4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
*
TPQN: Ticks Per Quarter Note
1 5 8
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MIDI Im p le m e n ta tio n
<Example3> Getting Temporary Performance data (RQ1)
●Example of an Exclusive Message and
Calculating a Checksum
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
Performance is assigned as following:
10 00 00 00H
Temporary Performance Common
Temporary Performance Part 1
Temporary Performance Part 16
:
●How to calculate the checksum
(hexadecimal numbers are indicated by “H”)
10 00 20 00H
:
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
10 00 2F 00H
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.
As the data size of Performance Controller is 00 00 00 31H, summation of the size and the
start address of Temporary Performance Part 16 will be;
aa + bb + cc + dd + ee + ff = sum
sum 128 = quotient ... remainder
128 - remainder = checksum
10 00 2F 00H
+) 00 00 00 31H
10 00 2F 31H
And the size that have to be got should be;
<Example1> Setting MFX Type of Performance Common MFX to OVERDRIVE (DT1)
10 00 2F 31H
-) 10 00 00 00H
00 00 2F 31H
Performance is 10 00 00 00H, the offset address of Performance Common MFX is 02 00H,
and the address of MFX Type is 00 00H. Therefore the address of MFX Type of Performance
Common MFX is;
Therefore the system exclusive message should be sent is;
F0 41
10 00 10
11 10 00 00 00
(5) address
00 00 2F 31
data
??
F7
10 00 00 00H
02 00H
(1) (2) (3) (4)
checksum
(6)
+)
00 00H
10 00 02 00H
(1) Exclusive Status
(4) Model ID (XV-2020)
(2) ID (Roland)
(3) Device ID (17)
(5) Command ID (RQ1) (6) End of Exclusive
OVERDRIVE has the value of 02H.
So the system exclusive message should be sent is;
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 10
00 00 00 00 00 2F 31 10 F7 to be transmitted.
F0 41
10 00 10
12 10 00 02 00
(5) address
02
??
F7
(1) (2) (3) (4)
data
checksum
(6)
<Example4> Getting data (RQ1) at once;
(1) Exclusive Status
(2) ID (Roland)
(3) Device ID (17)
Temporary Performance data,
(4) Model ID (XV-2020) (5) Command ID (DT1)
(6) End of Exclusive
Temporary Patch data of whole part in Performance mode,
Temporary Rhythm data of whole part in Performance mode.
Then calculate the checksum.
above all parameters is assigned as following:
10H + 00H + 02H + 00H + 02H = 16 + 0 + 2 + 0 + 2 = 20 (sum)
20 (sum) 128 = 0 (quotient) ... 20 (remainder)
checksum = 128 - 20 (remainder) = 108 = 6CH
10 00 00 00H
11 00 00 00H
11 10 00 00H
:
Temporary Performance
Temporary Patch (Performance Mode Part 1)
Temporary Rhythm (Performance Mode Part 1)
This means that F0 41 10 00 10 12 10 00 02 00 02 6C F7 is the message should be sent.
<Example2> Getting the data (RQ1) of Performance Part 3 in USER:03
14 60 00 00H
14 70 00 00H
Temporary Patch (Performance Mode Part 16)
Temporary Rhythm (Performance Mode Part 16)
00H, and the offset address of Performance Part 3 is 00 22 00H.
The offset address of Rhythm is also assigned as follows:
Therefore the start address of Performance Part 3 in USER:03 is;
00 00 00H
Rhythm Common
20 02 00 00H
+)
00 22 00H
:
20 02 22 00H
00 10 00H
:
Rhythm Tone (Key # 21)
Rhythm Tone (Key # 108)
As the size of Performance Part is 00 00 00 31H, the system exclusive message should be
sent is;
01 3E 00H
F0 41 10 00 10
(1) (2) (3) (4)
11 20 02 22 00
(5) address
00 00 00 31
data
??
F7
As the data size of Rhythm Tone is 00 00 01 41H, summation of the size and the
start address of Temporary Rhythm Tone #108 in Performance mode will be;
checksum
(6)
(1) Exclusive Status
(2) ID (Roland)
(3) Device ID (17)
14 70 00 00H
01 3E 00H
+) 00 00 01 41H
14 71 3F 41H
(4) Model ID (XV-2020) (5) Command ID (RQ1) (6) End of Exclusive
Then calculate the checksum.
And the size that have to be got should be;
20H + 02H + 22H + 00H + 00H + 00H + 00H + 31H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 49
= 117 (sum)
14 71 3F 41H
-) 10 00 00 00H
04 71 3F 41H
117 (sum) 128 = 0 (quotient) ... 117 (remainder)
checksum = 128 - 117 (remainder) = 11 = 0BH
Therefore the system exclusive message should be sent is;
This means that F0 41 10 00 10 11 20 02 22 00 00 00 00 31 0B F7 is the message should be sent.
F0 41 10 00 10
(1) (2) (3) (4)
11
10 00 00 00
04 71 3F 41
data
??
F7
(5) address
checksum
(6)
(1) Exclusive Status
(4) Model ID (XV-2020)
(2) ID (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(6) End of Exclusive
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11
10 00 00 00 04 71 3F 41 7B F7 to be transmitted.
1 5 9
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MIDI Im p le m e n ta tio n
●The Scale Tune Feature (address: 40 1x 40)
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
●Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the XV-2020, 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 Just Temperament (Key-tone C) Arabian Scale
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
C#
D
-8
+45
-2
+4
+16
-14
-2
Eb
E
-12
-51
-8
F
F#
G
-10
+2
+14
-16
+14
-12
+43
-4
G#
A
+47
0
Bb
B
-10
-49
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
●ASCII Code Table
Patch Name and Performance Name, etc., of MIDI data are described the ASCII
code in the table below.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
D
|
H
| Char ||
D
|
H
| Char ||
D
|
H
| Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 | 20H | SP ||
64 | 40H |
65 | 41H |
66 | 42H |
67 | 43H |
68 | 44H |
69 | 45H |
70 | 46H |
71 | 47H |
72 | 48H |
73 | 49H |
74 | 4AH |
75 | 4BH |
76 | 4CH |
77 | 4DH |
78 | 4EH |
79 | 4FH |
80 | 50H |
81 | 51H |
82 | 52H |
83 | 53H |
84 | 54H |
85 | 55H |
86 | 56H |
87 | 57H |
88 | 58H |
89 | 59H |
90 | 5AH |
91 | 5BH |
92 | 5CH |
93 | 5DH |
94 | 5EH |
95 | 5FH |
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
||
||
||
||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
|
}
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
33 | 21H |
34 | 22H |
35 | 23H |
36 | 24H |
37 | 25H |
38 | 26H |
39 | 27H |
40 | 28H |
41 | 29H |
42 | 2AH |
43 | 2BH |
44 | 2CH |
45 | 2DH |
46 | 2EH |
47 | 2FH |
48 | 30H |
49 | 31H |
50 | 32H |
51 | 33H |
52 | 34H |
53 | 35H |
54 | 36H |
55 | 37H |
56 | 38H |
57 | 39H |
58 | 3AH |
59 | 3BH |
60 | 3CH |
61 | 3DH |
62 | 3EH |
63 | 3FH |
!
“
#
$
%
&
`
(
)
*
+
,
—
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
||
|| 100 | 64H |
|| 101 | 65H |
|| 102 | 66H |
|| 103 | 67H |
|| 104 | 68H |
|| 105 | 69H |
|| 106 | 6AH |
|| 107 | 6BH |
|| 108 | 6CH |
|| 109 | 6DH |
|| 110 | 6EH |
|| 111 | 6FH |
|| 112 | 70H |
|| 113 | 71H |
|| 114 | 72H |
|| 115 | 73H |
|| 116 | 74H |
|| 117 | 75H |
|| 118 | 76H |
|| 119 | 77H |
|| 120 | 78H |
|| 121 | 79H |
|| 122 | 7AH |
|| 123 | 7BH |
|| 124 | 7CH |
|| 125 | 7DH |
||——————+——————+——————+
|
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
*
“SP” is space.
1 6 0
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SYNTHESIZER MODULE
Model XV-2020
Date : June. 4, 2002
Version : 1.00
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
X
X
1–16
1–16
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M = 1)
* 2
Mode
**************
Note
Number :
X
0–127
0–127
True Voice
**************
Note On
Note Off
X
X
O
O
Velocity
After
Touch
Key's
Channel's
X
X
O
O
*1
*1
Pitch Bend
X
O
*1
Bank select
0, 32
O
X
X
X
O
O
O
X
O
X
X
O
X
X
X
X
O
O
O
O
O
O
O
O
X
X
X
X
X
O
O
X
X
X
O
*4
O
*1
*1
Modulation
1
O
Breath type
Foot type
2
O
4
O
Portamento time
Data entry
5
*4
*4
*4
O
6, 38
O
Volume
7
O
*1
Balance
8
O
Panpot
10
*4
O
*1
*1
*1
Expression
11
O
Control
Change
Hold 1
64
O
Portamento
65
*4
O
Sostenuto
66
O
Soft
67
O
Legato Foot Switch
Hold 2
68
O
69
O
Resonance
71
*4
*4
*4
*4
*4
*4
*4
*4
O
Release Time
72
O
Attack Time
73
O
Cutoff
74
O
Decay Time
75
O
Vibrato Rate
76
O
Vibrato Depth
77
O
Vibrato Delay
78
O
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General purpose effects 1
General purpose effects 3
CC1, 2 (General purpose controller 1, 2)
CC3, 4 (General purpose controller 3, 4)
NRPN LSB, MSB
RPN LSB, MSB
80
O (Tone 1 Level)
81
O (Tone 2 Level)
82
O (Tone 3 Level)
83
O (Tone 4 Level)
84
91
O
*4
*4
O (Reverb)
93
O (Chorus)
*3
*3
O
O
X
1–5, 7–31, 64–95
1–5, 7–31, 64–95
98, 99
100, 101
*4
O
Program
Change
O
*4
*5
O
0–127
*1
*1
**************
: True Number
Program No. 1–128
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
O
X
X
X
X
X
O
X
O (120, 126, 127)
: All Sound Off
O
: Reset All Controllers
: Local On/Off
Aux
Messages
X
O (123–127)
: All Notes Off
: Active Sensing
: System Reset
*1
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 Can be changed settings.
* 5 Transmits when Data Transfer is excuted or RQ1
received.
Notes
* 4 Transmits when Data Transfer is excuted .
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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Sp e cifica tio n s
XV-2020: 64-Voice Sound Module
(conforms to General MIDI 2 System)
Parts
Accessories
16
Owner’s Manual
AC Adaptor (ACI-120C/ ACI-230C/ PSB-1U)
CD-ROM (XV Editor, USB Driver)
Rubber Feet
Maximum Polyphony
64 voices
Wave Memory
64 M Bytes (16-bit linear equivalent)
Options
Wave Expansion Board: SRX Series
Waveforms: 1083
Rack Mount Adaptor: RAD-50
*
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without notice.
Expansion Slot
Wave Expansion Board SRX Series: 2 slots
Preset Memory
Patches: 512 (128 x 4 banks) + 256 (General MIDI 2 Patches)
Rhythm Sets: 8 (4 x 2 banks) + 9 (General MIDI 2 Rhythm Sets)
Performances: 64 (32 x 2 banks)
User Memory
Patches: 128
Rhythm Sets: 4
Performances: 64
Effects
Multi-effects: 40 sets
Chorus: 1 set
Reverb: 1 set (8 types)
Display
7 segments, 3 characters (LED)
Connectors
Headphones Jack: Stereo 1/ 4 inch phone type
USB Connector
Output Jacks (L (MONO), R) (1/ 4 inch phone type)
Output Jacks (L, R) (RCA phono type)
MIDI Connectors (IN, OUT, THRU)
DC IN Jack
Ground Terminal
Power Supply
DC 9 V (AC Adaptor)
Current Draw
600 mA
Dimensions
218 (W) x 237 (D) x 45 (H) mm
8-5/ 8 (W) x 9-3/ 8 (D) x 1-13/ 16 (H) inches
Weight
1.4 kg / 3 lbs 2 oz (excluding AC Adaptor)
1 6 2
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IN DEX
Reverb Send Level
O
Output Assign
P
S
Scale Tune
Q
R
1 6 4
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
ITALY
ISRAEL
SIN GAPO RE
AFRICA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Swee Lee Company
150 Sims Drive,
Sons Ltd.
SINGAPORE 387381
TEL: 6846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
JO RDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
TEL: 20-2-417-1828
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: 2273 0074
KUW AIT
Easa Husain Al Yousifi Est.
Abdullah Salem Street,
Safat, KUWAIT
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
REUNION ISLAND
TEL: (0262) 218-429
TEL: 243-6399
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
LEBAN O N
Chahine S.A.L.
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
PO RTUGAL
THAILAN D
VEN EZUELA
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/ 9-1 Dto
4050-465 PORTO
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
TEL: (01) 20-1441
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
PORTUGAL
TEL: (022) 608 00 60
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
VENEZUELA
TEL: (212) 285-8586
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
EURO PE
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA/
N EW ZEALAN D
TEL: (0512) 26 44 260
ASIA
AUSTRALIA
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CHIN A
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai, CHINA
TEL: (021) 5580-0800
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
TEL: (93) 308 1000
TEL: (02) 9982 8266
Center
DEN MARK
SW EDEN
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing,
CHINA
Khaled Ebn Al Walid St.
Bldg. No. 47, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
N EW ZEALAN D
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
TEL: 3916 6200
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
TEL: (010) 6426-5050
FRAN CE
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
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
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
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (0)9 68 24 020
UKRAIN E
TEL: 2415 0911
TIC-TAC
Mira Str. 19/ 108
IN DIA
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 2493 9051
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
TEL: (040) 52 60090
UNITED KINGDOM
TEL: (01792) 700139
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
HUN GARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
TEL: (905) 362 9707
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: 211 005
U. S. A.
EL SALVADO R
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
OMNI MUSIC
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
75 Avenida Norte y Final
Alameda Juan Pablo
,
PHILIPPIN ES
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (022) 66-9426
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
MEXICO
TEL: (02) 899 9801
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (021) 285-4169
As of December 1, 2002 (Roland)
TEL: (55) 5668-6699
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03011445
’03-03-A3-21N
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Pe rfo rm a n ce List /
USER
Pre se t-A
Pre se t-B
No.
Name
No.
Name
No.
Name
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
BigSweepStak
Suger Bell
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
Symphony2020
Barococo
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
BigSweepStak
Suger Bell
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
Symphony2020
Barococo
R&B Kit
ChildrenSplt
Huge Space
DulcitarStk
NebularVoxx
Asian Dream
Pizz Stack
R&B Kit
ChildrenSplt
Huge Space
DulcitarStk
NebularVoxx
Asian Dream
Pizz Stack
Trance Split
My Orchestra
Road2Glass
Analog Stack
Flying Keys
House Kit
Trance Split
My Orchestra
Road2Glass
Analog Stack
Flying Keys
House Kit
Pad / SoftLd
Organ / Lead
Bass / Lead
S&H / Pad
Pad / SoftLd
Organ / Lead
Bass / Lead
S&H / Pad
Soaring 2020
Seven Hills
TeknoSplit 1
Nirvana 2020
StChorusStak
Bell Stack
Soaring 2020
Seven Hills
TeknoSplit 1
Nirvana 2020
StChorusStak
Bell Stack
Drone / Pipe
Seq:Template
Seq:R&B
Drone / Pipe
Seq:Template
Seq:R&B
Trance Fair
AggressiveXV
Techno Kit
Seq:Hip-Hop
Seq:Techno
Seq:House
Seq:Trance
Seq:Pop
Trance Fair
AggressiveXV
Techno Kit
Seq:Hip-Hop
Seq:Techno
Seq:House
Seq:Trance
Seq:Pop
PhsDyno&Bs
Dawn Choir
DulcimaSteel
TeknoSplit 2
InstantScore
Voltage Ctrl
CrystalChoir
BlisteringLd
Asian Split
PhsDyno&Bs
Dawn Choir
DulcimaSteel
TeknoSplit 2
InstantScore
Voltage Ctrl
CrystalChoir
BlisteringLd
Asian Split
Seq:FunkRock
Seq:HardRock
Seq:Blues
Seq:FunkRock
Seq:HardRock
Seq:Blues
Seq:Ac.Jazz
Seq:Cont.Jz
Seq:BigBand
Seq:Latin
Seq:Ac.Jazz
Seq:Cont.Jz
Seq:BigBand
Seq:Latin
PhasePadStk
Hybrid Str
Seq:World
PhasePadStk
Hybrid Str
Seq:World
Seq:NewAge
Seq:Orch
Seq:NewAge
Seq:Orch
Dear Friends
Pop Kit
Dear Friends
Pop Kit
Seq:Film
Seq:Film
Bell Layer
Seq:GM2Temp
Bell Layer
Seq:GM2Temp
De m o So n g List /
Song Title
Composer / Copyright
1. U feel Me
Kazuhiko Maeda © 2002 Roland Corporation
Mark Lawrence © 2002 Roland Corporation
2. Negativa Trance
3. Eye on the Universe
4. First Impression
Takayuki Aihara – STUDIO CARNAVAL © 2002 Roland Corporation
Scott Wilkie © 2002 Scott Wilkie (ASCAP)
www.scottwilkie.com
All rights reserved. Unauthorized use of this material for purposes other than private,
personal enjoyment is a violation of applicable laws.
40459023 1*PD
3
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