O W N ER’S MAN UAL
Thank you, and congratulations on your choice of the Roland XP-30 64 Voice Expandable
Synthesizer.
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.
* Apple is a registered trademark of Apple Computer, Inc.
* Macintosh is a registered trademark of Apple Computer, Inc.
* IBM is a registered trademark of International Business Machines Corporation.
* IBM PC is a registered trademark of International Business Machines Corporation.
* SmartMedia is a trademark of Toshiba Corporation.
Copyright © 1999 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Download from Www.Somanuals.com. All Manuals Search And Download.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
11. Only use attachments/accessories specified by the
manufacturer.
12. Never use with a cart, stand, tripod, bracket,
or table except as specified by the
manufacturer, or sold with the apparatus.
When a cart is used, use caution when
moving the cart/apparatus combination to
avoid injury from tip-over.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. When the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
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.
CAUTION: Danger of explosion if battery is incorrectly replaced.
Replace only with same or equivalent type.
2
Download from Www.Somanuals.com. All Manuals Search And Download.
USIN G THE UN IT SAFELY
102b
•
Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
104
•
Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107b
•
Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
108a
•
Before moving the unit, disconnect the power plug
from the outlet, and pull out all cords from
external devices.
..........................................................................................................
109a
•
Before cleaning the unit, turn off the power and
unplug the power cord from the outlet.
..........................................................................................................
110a
•
Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
115a
•
Install only the specified circuit board(s) (SR-JV80
series). Remove only the specified screws (p. 17,
21).
..........................................................................................................
4
Download from Www.Somanuals.com. All Manuals Search And Download.
Im p o rta n t N o te s
In addition to the items listed under “IMPORTANT SAFETY
INSTRUCTIONS” and “USING THE UNIT SAFELY” on
pages 2 and 3, please read and observe the following:
Ad d itio n a l Pre ca u tio n s
•
Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory on a memory card.
Po w e r Su p p ly
•
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).
•
•
Unfortunately, it may be impossible to restore the
contents of data that was stored in the unit’s memory, a
memory card or another MIDI device (e.g., a sequencer)
once it has been lost. Roland Corporation assumes no
liability concerning such loss of data.
•
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.
Pla ce m e n t
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.
•
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.
•
•
Never strike or apply strong pressure to the display.
•
•
This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
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.
Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
•
•
A small amount of heat will radiate from the unit during
normal operation.
To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
•
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
•
•
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.
•
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.
Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/ or damage to the unit.
•
Never use benzine, thinners, alcohol or solvents of any kind,
to avoid the possibility of discoloration and/ or deformation.
Be fo re Usin g Me m o ry Ca rd s
Usin g Me m o ry Ca rd s
Re p a irs a n d Da ta
•
Carefully insert the Memory card all the way in—until it
•
Please be aware that all data contained in the unit’s
memory may be lost when the unit is sent for repairs.
Important data should always be backed up memory
card, or written down on paper (when possible). During
repairs, due care is taken to avoid the loss of data.
However, in certain cases (such as when circuitry related
to memory itself is out of order), we regret that it may not
be possible to restore the data, and Roland assumes no
liability concerning such loss of data.
is firmly in place.
Me m o ry Ba ck u p
•
This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have
the battery replaced with a fresh one as soon as possible
to avoid the loss of all data in memory. To have the
battery replaced, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland
•
Never touch the terminals of the Memory card. Also,
avoid getting the terminals dirty.
Ha n d lin g CD-RO Ms
•
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.
distributor, as listed on the “Information” page.
“Battery Low”
5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ho w to Re a d Th is O w n e r’s Ma n u a l
This owner’s manual is organized as follows.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f
th e XP-3 0
Q u ick Sta rt
This section is intended for those using the XP-30 for the first
This chapter includes various techniques that expand the XP-
time, and explains how to use various functions in a simple
30’s operational scope. It includes use with external MIDI
way. Please read Quick Start and follow along by actually
devices, live performance applications and others.
operating the XP-30. This will help you understand most of
what you need to know for basic operations. More advanced
Ap p e n d ice s
ways of using the XP-30 or details of other operations are
explained the Advanced Use section.
This chapter contains a troubleshooting section for use when
the XP-30 is not functioning as expected. There is also a list of
error messages that you can refer to if an error message
Ad va n ce d Use
appears on the display. A list of parameters and MIDI
The Advanced Use section is divided into 6 chapters. But
implementation chart are also provided.
before you start reading it, we’d like to suggest going
through the Quick Start section.
■ N o ta tio n Use d in Th is O w n e r’s
Ma n u a l
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
To make operation procedures easy to understand, the
This chapter covers XP-30 sound source section
following notation system is adopted:
configurations, as well as basic operation. Please be sure to
Characters and numbers in square brackets [ ] indicate
read this chapter in order to fully understand the XP-30.
buttons on the front panel. For example, [PATCH] represents
the PATCH button and [ENTER] the ENTER button.
Ch a p te r 2 . Pla y in g
This chapter explains how to use the XP-30 in Patch,
Performance and Rhythm Set modes. Reading it is essential
for understanding XP-30 operational procedures.
An asterisk (*) at the beginning of a paragraph indicates a
note or precaution. These should not be ignored. In the Quick
Start section, such material is indicated by (
).
(p. **) refers to pages within the manual.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
This chapter covers creating sounds, the parameters that make
up a Patch, Performance, or Rhythm Set, and the System
parameters that determine global XP-30 operation, as well as
their functions. Comprehending the information in the
chapter is an essential prerequisite before creating your own
sounds.
In this manual, when any particular parameter is referred to,
the name of the parameter is given, and this is then followed
(in parenthesis) by information detailing its mode, display
group, and display. For example: Key Mode parameter
(PERFORM/ COMMON/ PERFORM COMMON).
* The display screens printed in this owner’s manual are based on
the factory settings. However, please be aware that in some cases
they may differ from the actual factory settings.
Ch a p te r 4 . Me m o ry Se ttin g s
(Utility / Ca rd Mo d e )
This chapter goes over the various Utility functions such as
storing Patch, Performance or Rhythm Set data, clearing the
internal memory, etc. Being familiar with these will
streamline operation procedures.
Ch a p te r 5 . Usin g th e XP-3 0 a s th e GM
So u n d Mo d u le
This chapter explains needed procedures and parameters for
using the XP-30 as a General MIDI System-compatible sound
source. Read this chapter before attempting to play back
commercial General MIDI System score data.
6
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Main Features........................................................................................11
Getting Ready........................................................................................16
Installing the Wave Expansion Board ................................................................................................... 16
Cautions When Installing an Wave Expansion Board............................................................. 16
Precautions lors de l’installation de la carte d’extension Wave ............................................. 20
Turning On the Power ............................................................................................................................. 26
Turning Off the Power ................................................................................................................. 26
Reset to Default Factory Settings (Factory Reset)................................................................................ 27
Selecting Patches and Playing the Sounds............................................................................................ 30
Selecting Wave Expansion Patches........................................................................................................ 31
Selecting Patches by Category (Patch Search Function)..................................................................... 32
Try Out Performance Functions............................................................................................................. 34
Velocity/ Aftertouch ..................................................................................................................... 34
Pitch Bend/ Modulation Lever .................................................................................................... 34
C1–C4 Slider................................................................................................................................... 34
Hold Pedal...................................................................................................................................... 35
Expression Pedal ........................................................................................................................... 35
Sound Palette ................................................................................................................................. 36
Play Percussion Sounds from the Keyboard ........................................................................................ 38
XP-30 Configuration................................................................................................................................. 40
Basic Configuration....................................................................................................................... 40
Classification of XP-30 Sound Types.......................................................................................... 40
Number of Simultaneous Voices ................................................................................................ 42
Basic Operation ......................................................................................................................................... 42
Switching Modes........................................................................................................................... 42
About the Function Buttons ........................................................................................................ 43
About the Cursor Buttons............................................................................................................ 44
Assigning a Name......................................................................................................................... 46
7
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Playing in Patch Mode............................................................................................................................. 47
Using Phrase Preview to Play Patches....................................................................................... 49
Making a Patch Sound Thick or Thin (Turning a Tone On/ Off)........................................... 50
Creating Smooth Pitch Changes (Portamento)......................................................................... 50
Playing Fatter and Richer Sounds by Combining Patches (Layer)........................................ 52
Splitting the Keyboard to Play Separate Patches in Different Sections (Split)..................... 52
Playing in Rhythm Set Mode.................................................................................................................. 55
Playing Percussion Instruments ................................................................................................. 56
Playing an Arpeggio ................................................................................................................................ 56
Playing an Arpeggio Over a Preset Keyboard Area ................................................................ 57
Holding an Arpeggio.................................................................................................................... 58
Simulating a Guitar Cutting Technique..................................................................................... 58
Playing an Arpeggio from an External MIDI Device............................................................... 58
Creating an Arpeggio Pattern ..................................................................................................... 58
Transposing the Keyboard in Octave Units (Octave Shift)..................................................... 59
If “Stuck” Notes Occur or a Note Does Not Sound (Panic).................................................... 60
Regarding Effects...................................................................................................................................... 61
How Effects Units Work in Different Modes............................................................................ 61
Turning Effects On/ Off................................................................................................................ 62
Sound Editing Procedures....................................................................................................................... 62
Editing a Patch............................................................................................................................... 62
Editing a Performance .................................................................................................................. 65
Editing a Rhythm Set.................................................................................................................... 66
Memory and Data Storage........................................................................................................... 67
Storing a Sound You Modify into User Memory ..................................................................... 68
Functions of Patch Parameters ............................................................................................................... 68
Settings Common to the Entire Patch (COMMON)................................................................. 68
Modifying Waveform (WAVE)................................................................................................... 76
Modulating Sounds (LFO)........................................................................................................... 78
Modifying Pitch (PITCH)............................................................................................................. 79
Modifying the Brightness of Sound with a Filter (TVF).......................................................... 80
Changing the Sound’s Volume and Stereo Location (TVA)................................................... 81
Functions of Performance Parameters................................................................................................... 83
Settings Common to the Entire Performance (COMMON).................................................... 83
Making Settings for Each Part (PART)....................................................................................... 87
Confirming MIDI Information for Each Part (INFO) .............................................................. 87
Functions of Rhythm Set Parameters .................................................................................................... 88
Naming a Rhythm Set (COMMON)........................................................................................... 88
8
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Setting Effects for a Rhythm Tone (EFFECTS).......................................................................... 88
Modifying Waveform of a Rhythm Tone (WAVE).................................................................. 90
Modifying Pitch of a Rhythm Tone (PITCH)............................................................................ 91
Multi-Effects Types (EFX Parameter).................................................................................................... 93
XP-30 Operating Environment Setup (System Parameters and Their Functions)........................ 108
Display Screen Contrast and Clock Settings (SETUP)........................................................... 108
Keyboard and Controllers Settings (CONTROL)................................................................... 110
Adjusting Tuning (TUNE)......................................................................................................... 113
Program Change (PGM CHNG)............................................................................................... 114
About Utility/ Card Mode..................................................................................................................... 115
Basic Procedure in Utility/ Card Mode ............................................................................................... 115
Storing Sound Data in User Memory (WRITE).................................................................................. 116
Patch Write................................................................................................................................... 116
Rhythm Set Write........................................................................................................................ 116
Copying Sound Source Settings (COPY) ............................................................................................ 117
Rhythm Set Copy ........................................................................................................................ 118
Initializing Sound Source Settings (INIT)........................................................................................... 119
Rhythm Set Initialize .................................................................................................................. 119
Transmitting Sound Settings (XFER)................................................................................................... 119
Preventing User Memory Writing Operation (PROTECT) .............................................................. 121
Memory Card-Related Settings (CARD)............................................................................................. 121
Formatting the Memory Card for the XP-30 (FORMAT)...................................................... 122
Renaming a File (RENAME)...................................................................................................... 122
Deleting Unwanted Files (DELETE)......................................................................................... 122
Checking the Contents Memory Card (INFO)........................................................................ 122
Loading a File from Memory Card into the XP-30 (LOAD)............................................................. 122
Saving Data to Memory Card (SAVE)................................................................................................. 122
Entering GM Mode................................................................................................................................. 124
Initializing the Sound Source for GM System Basic Settings ............................................... 124
Playing Back a GM Score ........................................................................................................... 124
Modifying GM Mode Settings.............................................................................................................. 125
Making Effects Settings in GM Mode (EFFECTS).................................................................. 125
Setting a Part (PART).................................................................................................................. 127
Confirming MIDI Information of Each Part (INFO).............................................................. 127
Copying Effects Settings (COPY).............................................................................................. 128
Initializing GM Mode (INIT)..................................................................................................... 128
Transmitting GM Mode Settings (XFER)................................................................................. 128
9
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Techniques for Using Patches............................................................................................................... 129
Reinforcing Filter Characteristics ............................................................................................. 129
Holding a Note with Modulation Retained ............................................................................ 129
Syncing the LFO Cycle to System Tempo ............................................................................... 129
Modifying Multi-Effects to Match the System’s Tempo........................................................ 130
Playing Phrase Loops at a System’s Tempo............................................................................ 130
Using the Slider to Pan Sounds in Real Time ......................................................................... 131
Using the XP-30 to Play Live ................................................................................................................ 131
Changing Sounds with a Pedal Switch .................................................................................... 131
Using the XP-30 to Control External MIDI Devices............................................................... 132
Playing the XP-30’s Sound Source from an External MIDI Device ..................................... 132
Enjoying Desktop Music ....................................................................................................................... 134
Connecting to Your Computer.................................................................................................. 134
Troubleshooting..................................................................................140
Error Messages...................................................................................142
Parameter List.....................................................................................147
Patch List.............................................................................................168
Performance List.................................................................................181
Arpeggio Style List .............................................................................182
Specifications......................................................................................207
1 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ma in Fe a tu re s
■ Hig h -Pe rfo rm a n ce Sy n th e size r
■ Ex p a n d a b ility
So u n d So u rce
Allo w s Tw o W a ve Ex p a n sio n Bo a rd s
to b e In sta lle d a t th e Sa m e Tim e
Up to two SR-JV80 series Wave Expansion Boards can be
installed simultaneously, allowing you to expand the range
of available sounds (p. 16, 20).
6 4 -Vo ice Po ly p h o n y a n d 1 6 -Pa rt
Mu ltitim b ra lity
The XP-30 is a 16-part multitimbral sound source that
produces up to 64 simultaneous polyphonic notes.
Effectively used with an external sequencer or computer, the
XP-30’s true creative potential for music production becomes
apparent (p. 41).
Da ta fro m Po p u la r W a ve Ex p a n sio n
Bo a rd s Alre a d y O n b o a rd
The data of the three popular Wave Expansion Boards, the
SR-JV80-02 “Orchestral,” SR-JV80-09 “Session,” and SR-JV80-
11 “Techno Collection” is onboard.
Po w e rfu l O n b o a rd Effe cts
Advanced DSP (Digital Signal Processor) technology
provides a wide array of studio quality effects. In addition to
the Multi-Effects (EFX) section that features 40 different
types of effects, the XP-30 also features an independent
chorus unit and reverb unit (p. 61).
This means that for practical purposes, you can have
simultaneous access to the sounds of up to five Wave
Expansion Boards, and can draw on a vast quantity of
waveform data as material for creating your sounds.
Ex te n sive To n e Stru ctu re Ra n g e
■ Q u ick a n d In tu itive O p e ra tio n
Ten different Structures are available for combining basic
sound elements for more flexible sound making. A ring
modulator and booster enhance creating sounds (p. 70).
En h a n ce d O p e ra tio n a l Ea se
operation. The group of function buttons located below the
display allow intuitive editing (p. 43).
An Arra y o f Arp e g g io a n d Cu ttin g
O p tio n s
Fe a tu rin g th e Pa tch Se a rch a n d Ph ra se
Pre vie w Fu n ctio n s th a t w e re Po p u la r
With the [ARPEGGIO] on, you can create various arpeggios
and simulate cutting techniques simply by pressing a chord.
You can even specify the rhythmical “feel” you want (p. 56).
patch you want simply by specifying a patch category. By
pressing [PHRASE PREVIEW], you can then hear the
selected patch play a phrase suitable for that type of patch.
(Phrase Preview function, p. 33, 49)
Ge n e ra l MIDI Sy ste m Co m p a tib ility
The XP-30 provides a mode compatible with the General
MIDI System, the standard format for desktop music (DTM)
systems, and can play back commercially available General
MIDI System compatible song data (p. 124).
Use th e So u n d Pa le tte Slid e rs to Ma k e
Q u ick Ch a n g e s in th e So u n d
The four sliders in the PALETTE section let you make
realtime changes in tone and volume while you play (p. 36,
50, 54).
Ge n e ra l MIDI Sy ste m
The General MIDI system is a set of recommendations
which seeks to provide a way to go beyond the
limitations of proprietary designs, and standardize the
MIDI capabilities of sound generating devices. Sound
generating devices and music files that meets the
General MIDI standard bears the General MIDI logo
■ Co m p u te r In te rfa ce Co n n e cto r
A special computer cable makes it easy for you to connect the
XP-30 to your computer, so that you can enjoy ensemble
playing (p. 134).
(
). Music files bearing the General MIDI logo can be
played back using any General MIDI sound generating
unit to produce essentially the same musical
performance.
1 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Fro n t a n d Re a r Pa n e l
A
B
C
D
E
H
[+O CT], [-O CT]
■ Fro n t Pa n e l
These buttons adjust the pitch of the keyboard in octave steps. →p. 59
Pressing either of these buttons while holding down [TRANSPOSE]
allows you to set the desired amount of transposition. →p. 60
A
Vo lu m e Slid e r
This slider adjusts the overall volume that is output from the
D
MO DE Se ctio n
rear panel OUTPUT jacks and PHONES jack. →p. 26
The buttons in this section select modes. The button indicator
of the selected mode will light. →p. 42
B
PALETTE Se ctio n
Use the four sliders to modify sounds in real time.
[PERFO RM]/ [GM]
Pressed to get into Performance mode. Hold down [SHIFT]
while you press [PERFORM] to select GM mode. →p. 51, 124
[FILTER/ EN V]
Press this button ON when modifying filter and/ or envelope
settings in real time using the four sliders (CUTOFF/ RESO./
ATTACK/ DECAY). →p. 36, 51, 54
[PATCH]/ [PART]
Pressed to get into Patch mode. By holding down [PERFORM]
and pressing [PATCH], you can modify the settings of the patch
that is assigned to each part of the performance. →p. 47, 54, 66
[LEVEL]
Press this button ON when adjusting volume balance in real
time using the four sliders (1/ 2/ 3/ 4). →p. 36, 51, 54
This selects System mode. →p. 108
[CO N TRO LLER]
Can be switched on when you wish to assign various
parameters to the four sliders, and modify the sound as you
play (C1/ C2/ C3/ C4). →p. 34
[RHYTHM]
This selects Rhythm Set mode. →p. 55
[UTIL/ CARD]
This selects Utility/ Card mode. →p. 115
C
KEY EFFECTS Se ctio n
The buttons in this section allow you to assign various
[EFFECTS O N / O FF]
functions to the keys of the XP-30’s keyboard.
This button turns the internal effects (Multi-Effects, Chorus,
Reverb) on/ off. →p. 62
[PO RTAMEN TO ]
Switches Portamento on/ off. →p. 35, 50
[SO LO ]
Disp la y
Specifies playing a single note at a time. →p. 35, 50
function or operation.
[TRAN SPO SE]
Specifies transposing the keyboard in semitone steps. →p. 60
Press this when you wish to use phrases to audition a patch.
[ARPEGGIO ]
Switches Arpeggiator on/ off. →p. 36, 56
1 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Fro n t a n d Re a r Pa n e l
[IN C], [DEC]
Use these buttons to modify values. If you keep on holding
down one button and pressing the other, the value change
accelerates. If you press one of these buttons while holding down
[SHIFT], the value will change in bigger increments. →p. 45
[
], [
] (Cu rso r Bu tto n s)
Move the cursor (underline) with these.
F
G
[
], [ ] (Pa g e Bu tto n s)
When the left edge of the display shows a or symbol,
use these buttons to move to other parameter displays
[0 ]–[9 ] (N u m e ric Ke y s)
Use these to set a value. They can be used to enter numeric
values as well as alphabetical characters. →p. 45
When [CATEGORY] is on, this becomes the button for choosing
a category group using the Patch Search function. →p. 32, 48
[SHIFT]
This is used in combination with other buttons. Some buttons
on the front panel include grey-printed characters. They
indicate the button’s function when [SHIFT] is held down.
[EDIT]
Press this button when you wish to adjust various settings.
Use the function buttons to select the display screen for the
parameter you wish to modify.
[EN TER]/ [DIGIT HO LD]
ENTER: Use this button to finalize a value or execute an operation.
DIGIT HOLD: Press this button while holding down [SHIFT] to turn
place and 10’s place will be fixed and only the 1’s place will change.
This means that you can select Patches simply by pressing the
numeric key for the 1’s place, without having to press [ENTER]. The
same applies when selecting Performances or Rhythm set. →p. 48
Fu n ctio n Bu tto n s
The function of these buttons will depend on the operational
mode and the status of the [EDIT] indicator. →p. 43
[1 –8 / 9 –1 6 ]
Use this button to select the group (1–8/ 9–16) of Parts to be
selected by the function buttons. →p. 43
[EXIT]/ [PAN IC]
[CATEGO RY]/ [DEMO ]
CATEGORY: Use the Patch Search function to select a patch.
EXIT: Press this button when you wish to return to the Play
display of a mode, or to cancel an operation without executing.
PANIC: If for some reason notes are stuck and continue
sounding, hold down the SHIFT button and press this button
to clear the stuck notes. →p. 60
→p. 32, 48
DEMO: To hear the demo playback, hold down [SHIFT] and
press this button. →p. 28
[UN DO / CO MPARE]
The function of these buttons will depend on the operation
being performed.
G
W AVE EXPAN SIO N Se ctio n
Here you can select sounds from a Wave Expansion. →p. 31
[EXP A], [EXP B], [EXP C]
Select sounds from the internal Wave Expansion.
EXP-A: “Session”
UNDO: Press this button to restore a modified value to the
original value. →p. 63, 65, 66
COMPARE: When saving or copying Tone settings, press this to check
EXP-B: “Orchestral”
the sound at the save destination, or at the copy source. →p. 116, 118
EXP-C: “Techno Collection”
[PALETTE EDIT]
Press this button when you wish to use the Palette display to
modify Patch or Performance settings. →p. 63, 65
[EXP D], [EXP E]
H
F
Pitch Be n d / Mo d u la tio n Le ve r
VALUE Dia l
This allows you to control pitch bend or apply vibrato.
Depending on the settings, other specified parameters can
also be controlled. →p. 34, 75
This dial is used to modify values. If you hold down [SHIFT]
as you turn the VALUE dial, the value will change in greater
increments. →p. 45
1 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Fro n t a n d Re a r Pa n e l
■ Re a r Pa n e l
Po w e r Sw itch
CO N TRO L PEDAL Ja ck
Press to turn the power on/ off. →p. 26
assigning a desired function to a pedal, you can use it to
select or modify sound or perform various other control. You
can also connect optional pedal switches to sustain sound.
→p. 24, 110
AC In le t
Connect the AC power cable (included) to this inlet. →p. 24
* With units rated for 117V operation, the AC cable is already
connected to the unit.
HO LD PEDAL Ja ck
fig.0-02a
An optional pedal switch can be connected to this jack for
use as a hold pedal. →p. 24, 110
fig.0-02e
MEMO RY CARD Slo t
An optional memory card (SmartMedia) can be inserted here.
O UTPUT Ja ck s (L (MO N O ), R)
These jacks output the audio signal to the connected mixer/
amplifier system in stereo. For mono output, use the L jack.
→p. 24
→p. 115
fig.0-02b
PHO N ES Ja ck
An optional set of headphones can be connected to this jack.
→p. 24
fig.0-02f
MIDI Co n n e cto rs (IN , O UT, THRU)
These connectors can be connected to other MIDI devices to
receive and transmit MIDI messages. →p. 24, 119, 132
fig.0-02c
CO MPUTER Sw itch
Set this switch depending on the type of computer connected
to Computer connector, or the software you are using. Turn
the power off before changing the setting of this switch. If
you wish to use the MIDI connectors, set this switch to MIDI.
→p. 134
CO MPUTER Co n n e cto r
A special Computer cable (sold separately) can be connected
here. The type of cable required will depend on your computer.
When the Computer switch located at the left is set to MIDI,
this connector cannot be used. →p. 134
fig.0-02d
1 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
In sta llin g th e W a ve Ex p a n sio n Bo a rd
Up to two Wave Expansion Boards (SR-JV80 series; sold separately) can be
installed in EXP-D and E Slots in the XP-30. Wave Expansion Boards contain
Wave data, as well as Patches and Rhythm Sets that use this Wave data,
which can be called directly into the temporary area and played.
When playing a Patch or
Rhythm Set that use the
Wave data from a Wave
Expansion Board, the
appropriate Wave
■ Cautions When Installing an Wave Expansion Board
Expansion Board must be
installed in the XP-30 for
the sound to play correctly.
■ To avoid the risk of damage to internal components that can be caused by
static electricity, please carefully observe the following whenever you
handle the board.
• Before you touch the board, always first grasp a metal object (such as
a water pipe), so you are sure that any static electricity you might
have been carrying has been discharged.
• When handling the board, grasp it only by its edges. Avoid touching
any of the electronic components or connectors.
• Save the bag in which the board was originally shipped, and put the
board back into it whenever you need to store or transport it.
■ Use a Philips screwdriver that is suitable for the size of the screw (a
number 2 screwdriver). If an unsuitable screwdriver is used, the head of
the screw may be stripped.
■ To remove a screw, rotate the screwdriver
counter-clockwise. To tighten a screw, rotate
the screwdriver clockwise.
loosen
tighten
■ When installing Wave Expansion Boards,
remove only the specified screws.
■ Be careful that the screws you remove do not drop into the interior of the
XP-30.
■ Do not leave the bottom cover in a detached state. Be sure to reattach it
after the Wave Expansion Boards have been installed.
■ Do not touch any of the printed circuit pathways or connection terminals.
■ Be careful not to cut your hand on the edge of the installation bay.
■ Never use excessive force when installing a circuit board. If it doesn’t fit
properly on the first attempt, remove the board and try again.
■ When circuit board installation is complete, double-check your work.
To install an optional Wave Expansion Board (SR-JV80 series; sold
separately), the unit’s bottom cover must be removed. There are two slots
(EXP-D and E) into which a board can be installed. Slots EXP-D and E
correspond to the group (XP-D and E) you need to select in order to use a
Wave, Patch or Rhythm Set from the Wave Expansion Board.
1 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
1
Before installing the Wave Expansion Board, turn off the
power of the XP-30 and all connected devices, and disconnect
all cables from the XP-30.
If the same type of Wave
Expansion Board is
installed in the EXP-D slot
and the EXP-E slot, it will
only be possible to select
data from the Wave
2
Turn the XP-30 on its back, and remove only the screws shown
in the following diagram.
Expansion Board that was
installed in the EXP-D slot.
Also, the XP-30 already
contains the data of the
following three Wave
Expansion Boards, so if one
of these Wave Expansion
Boards is installed, only the
internal data (XP-A–C) can
be selected.
fig.Q-02a.e
Screws to be removed
SR-JV80-09 “Session”
(XP-A)
SR-JV80-02 “Orchestral”
(XP-B)
SR-JV80-11 “Techno
Collection” (XP-C)
3
Inside, there are two connectors and six board holders. Insert
the connectors of the Wave Expansion Board into the internal
connectors, and simultaneously insert the board holders into
the holes of the Wave Expansion Board.
fig.Q-02b.e
Wave Expansion Board
EXP E
Board holder
Connector
EXP D
1 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
4
Use the Installation Tool supplied with the Wave Expansion
Board to turn the holders in the LOCK direction, so the board
will be fastened in place.
fig.Q-02c.e
LOCK
Installation tool
5
Use the screws that you removed in step 2 to fasten the cover
back in place.
This completes installation of the Wave Expansion Board.
6
7
Connect the cables that you disconnected earlier.
26).
8
Press [PATCH] to access the PATCH PLAY display.
fig.Q-03
1 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
9
Press [EXP D] or [EXP E], and verify that you can select
patches from Wave Expansion Boards D or E. [EXP D] or [EXP
E] indicator will light, and the following display will appear.
fig.Q-04
The example here depicts
what you would see if the
SR-JV80-13 “Vocal
Collection” Wave
Expansion Board were
installed in the EXP-D slot.
If you can’t choose any
Wave Expansion Board
patches, it’s possible that
the installed Wave
Expansion Board is not
being recognized correctly.
Turn off the power as
described in “Turning Off
the Power” (p. 26), and
re-install the Wave
Expansion Board correctly.
1 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
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 )
Vous pouvez installer jusqu’à 2 cartes d’extension Wave (en option dans la
série SR-JV80) dans les créneaux EXP-D et E du XP-30. Les cartes d’exten-
sion Wave contiennent des données Wave, aussi bien que des morceaux
musicaux et des ensembles rythmiques utilisant ces données, auxquelles on
peut directement accéder dans la zone temporaire et les faire jouer.
Quand vous faites jouer un
morceau ou un ensemble
rythmique qui utilise des
données Wave de la carte
d’extension, une carte
d’extension appropriée doit
être installée dans le XP-30
afin que le son sorte
■ Precautions lors de l’installation de la carte
d’extension Wave
■ Pour éviter tout dommage des composants internes pouvant provenir de
l’électricité statique, veuillez suivre les conseils suivants quand vous
installez la carte.
correctement.
• Avant de toucher la carte, saisissez toujours un objet métallique
(tuyau d’eau ou autre) pour être sûr que l’électricité statique se
décharge.
• Quand vous saisissez la carte, prenez-la par les bords. Evitez de
toucher les composants électroniques ou les connecteurs.
• Conservez le sac dans lequel la carte était emballée et remettez la carte
dedans pour l’expédier ou l’entreposer.
■ Utiliser un tournevis cruciforme correspondant à la taille de la vis (un
tournevis numéro 2). En cas d’utilisation d’un tournevis inapproprié, la
tête de la vis pourrait être endommagée.
■ Pour enlever les vis, tourner le tournevis
dans le sens contraire des aiguilles d’une
montre. Pour resserrer, tourner dans le
sens des aiguilles d’une montre.
desserrer
resserrer
■ Lors de l’insertion de la carte d’extension Wave, enlevez seulement les vis
indiquées dans les instructions.
■ Veillez à ne pas laisser tomber de vis dans le châssis du XP-30.
■ Ne pas laisser le panneau de protection avant détaché. S’assurer de
l’avoir rattacher après avoir installé le disque dur.
■ Ne touchez aucun des circuits imprimés ni les bornes de connexion.
■ Veillez à ne pas vous couper les doitgs sur le bord de l’ouverture
d’installation.
■ Ne jamais forcer quand vous installez une carte de circuits. Si la carte ne
rentre pas correctement, ressortez-la et ressayez.
■ Quand la carte est installée, vérifiez si l’installation est correcte.
Pour installer une carte d’extension Wave optionnelle (série SR-JV80), le
panneau du bas de l’appareil doit être enlevé. Vous trouverez 2 créneaux
(EXP-D et E) dans lesquels vous pourrez installer une carte. Les créneaux
EXP-D et E correspondent au groupe (XP-D et E) que vous devez
sélectionner pour pouvoir utiliser une donnée Wave, un morceau musical
ou un ensemble rythmique de la carte d’extension.
2 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
1
Si la même sorte de carte
d’extension Wave est
Éteindre le XP-30 et tous les appareils qui y sont reliés et
débrancher tous les câbles du XP-30.
installée dans les créneaux
EXP-D et EXP-E, il ne sera
possible de sélectionner
que les données de la carte
d’extension Wave installée
dans le créneau EXP-D. De
plus, le XP-30 contient déjà
les données des 3 cartes
d’extension Wave
2
Retournez le XP-30 et enlevez seulement les vis indiquées sur
la figure.
fig.Q-02a.f
Vis à enlever
suivantes si bien que si une
de ces 3 cartes est installée,
seules les données internes
(XP-A–C) pourront être
sélectionnées.
SR-JV80-09 “Session”
(XP-A)
SR-JV80-02 “Orchestral”
(XP-B)
SR-JV80-11 “Techno
Collection” (XP-C)
3
À l’intérieur, il y a 2 connecteurs et 6 supports à carte. Insérer
les connecteurs de la carte d’extension Wave dans les
connecteurs internes tout en insérant simultanément les
supports à carte dans les trous de celle-ci.
fig.Q-02b.f
Carte d'extension Wave
EXP E
Support à carte
EXP D
Connecteur
2 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
4
Pour tourner les supports en position LOCK (verrouillé),
utilisez l’outil d’installation de la carte d’extension fournie à
cet effet. De cette façon, la carte sera bien fixée à sa place.
fig.Q-02c.f
LOCK
Outil d'installation
5
Reposez le couvercle en remettant les vis enlevées (comme
spécifié) à l’étape 2.
L’installation de la carte d’extension Wave est terminée.
6
7
Rabranchez les câbles.
Mettez le XP-30 sous tension en procédant comme indiqué
8
Appuyer sur [PATCH] pour accéder à la page PATCH PLAY.
fig.Q-03
2 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
9
Appuyer sur [EXP D] ou [EXP E] et vérifier si vous pouvez
sélectionner les morceaux musicaux des cartes d’extension
Wave D ou E. L’indicateur [EXP D] ou [EXP E] s’allumera et
l’affichage suivant apparaîtra.
fig.Q-04
Ceci est un exemple
d’affichage lorsque la carte
d’extension Wave SR-JV80-
13 “Vocal Collection” est
installée dans le créneau
EXP-D.
Si vous ne pouvez choisir
aucun des morceaux
musicaux de la carte
d’extension Wave, il est
possible que la carte
installée ne soit pas
reconnue correctement.
Éteignez l’appareil comme
indiqué dans “Turning
Off the Power” (p. 26) et
réinstaller la carte
correctement.
2 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
Ma k in g Co n n e ctio n s
The XP-30 does not contain an amp or speakers. In order to hear sound, you
will need to connect it to a keyboard amp, audio system, or headphones.
Refer to the following diagram and connect the XP-30 to the external
equipment you are using.
fig.Q-05.e
to Power outlet
External MIDI device
Stereo headphones
Roland
Pedal switch
Expression pedal (EV-5) or pedal switch
Stereo set, etc.
Speaker with built-in amp,
keyboard amp, etc.
1
Before you make connections, make sure that power is turned
off for all devices.
To prevent malfunction
and/ or damage to speakers
or other devices, always
turn down the volume, and
turn off the power on all
devices before making any
connections.
2 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
2
3
Connect supplied AC power cable to the XP-30, and plug the
other end into an AC power outlet.
On 117V models the AC
cable is permanently
attached to the unit.
Connect audio cables and MIDI cables as shown in the
diagram. If you are using headphones, plug them into the
PHONES jack. Connect pedal switches or expression pedals as
necessary.
In order to take full
advantage of the XP-30’s
performance, we
recommend using a stereo
amp/ speaker system, If
you are using a mono
system, make you
connections to the
OUTPUT jack L (MONO).
CONTROL PEDAL jack
can also accommodate
pedal switches.
Use only the specified
expression pedal (EV-5;
sold separately). By
connecting any other
expression pedals, you risk
causing malfunction and/
or damage to the unit.
For information on making
the connection with the
computer, take a look at
“Connecting to Your
Computer” (p. 134).
2 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
Tu rn in g O n th e Po w e r
Once the connections have
been completed (p. 24),
turn on power to your
various devices in the order
specified. By turning on
devices in the wrong order,
you risk causing
1
Before you turn the power on, check to make sure that:
• All external devices are correctly connected to the XP-30.
• The volume controls of the XP-30 and the amp/ mixer system are turned
down all the way.
2
malfunction and/ or
Turn on the power switch located on the rear panel of the XP-
damage to speakers and
other devices.
30.
fig.Q-06
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
3
Turn the power on of your amp or audio system.
4
Play the XP-30 and gradually raise the volume controls of the
XP-30, your amp or mixer to an appropriate volume level.
fig.Q-07
Be careful not to raise the
VOLUME slider of the XP-
30 too much. Excessive
volume may damage your
amp/ speaker system or
could cause hearing
■ Turning Off the Power
1
Before you turn power off, check to make sure that:
• The volume controls of the XP-30 and the amp/ mixer system are turned
down all the way.
• Important data has been saved to a memory card (p. 122).
2
Turn off your amp/ mixer system.
3
Turn off the XP-30 power.
2 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ge ttin g Re a d y
Re se t to De fa u lt Fa cto ry Se ttin g s
(Fa cto ry Re se t)
Before using XP-30 for the first time, reset it to its default factory settings
using Factory Reset. Different settings may result in unexpected effects.
fig.Q-08
1
2
3 4
1
Press [UTIL/ CARD] to make the indicator blink.
The UTIL 1 display will appear.
Factory Reset operation
resets all data in the
fig.Q-09
internal memory and user
memory to factory presets.
Save any important data to
a memory card before
executing this operation (p.
122).
2
Press [ ].
The UTIL 2 display will appear.
fig.Q-09a
3
Press the numeric key [4].
The FACTORY RESET display will appear.
fig.Q-10
4
Press [ENTER].
If “Internal Write Protect= ON” message is displayed, press [DEC] to turn
the setting OFF. After pressing [ENTER] to clear the message, press
[ENTER] again to reset to the factory preset settings.
For more information
about the Internal Write
Protect, please refer to
“Preventing User
Memory Writing
Operation (PROTECT)”
(p. 121).
2 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Liste n in g to th e De m o So n g
The XP-30 contains 9 demo songs and you use Demo Play to play it. It’s the
easiest introduction to the XP-30’s exceptional sounds and effects.
Demo Song
Composer/Copyright
TRANSFERENCE
CHANTERELLE
VECTORIAL
Scott Tibbs © 1999 Roland Corporation
Scott Tibbs © 1999 Roland Corporation
Scott Tibbs © 1999 Roland Corporation
Scott Wilkie © 1999 Scott Wilkie Media (ASCAP)
All In Good Time
All rights reserved.
TEKKNO MILLENNIUM MASA © 1999 COPYRIGHT CONTROL
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
A Shadow’s March
Guitars Forever
Rude99
Steve Lu © 1999 Stephen Lu
Gundy Keller © 1999 Gundy Keller / A-TOWN recordings
Hans-Joerg Scheffler © 1999 Hans Scheffler
Hans-Joerg Scheffler © 1999 Hans Scheffler
Overtime
fig.Q-11
4
2
1
3
1
Hold down [SHIFT] and press [CATEGORY].
The DEMO PLAY display will appear.
fig.Q-12
2
Turn the VALUE dial or press [INC]/ [DEC] to select the song
that you wish to hear.
If you select “CHAIN-PLAY,” the songs will playback successively,
beginning from the first.
3
Press [ENTER] to start demo song playback.
When a demo song plays all the way to the end, it automatically returns to
the start of the song, and playback is repeated. To interrupt playback, press
[EXIT].
fig.Q-13
No data for the music that
is played will be output
from MIDI OUT.
4
To return to the previous display, press [EXIT].
2 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Liste n in g to th e De m o So n g
■ Profile of the Composer
Scott Tibbs
Scott Tibbs has performed and conducted for several orchestral groups, including the Atlanta Symphony
Orchestra, throughout the United States, Canada, Latin America, and Japan. His diverse compositional output
ranges from numerous film, theater and television projects to the symphonic concert stage. For the past four years,
he has been teaching music composition and theory at UCLA where he has received a Ph.D. degree in composition.
He has performed with well-known artists Dizzy Gillespie, Bill Cosby, Jerry Sienfeld, and Bobby Shew, amongst
numerous others.
Gundy Keller
Gundy Keller, a Germany-based guitarist, songwriter and producer, has been an international demonstrator for
Roland since 1986. Gundy focuses mainly on the GR synthesizers and the V-Guitar, for international music
conventions as well as recording sessions requesting completely unusual guitar sounds. Besides creating his own
production company, he’s the founder and director of Rocksound Music School, a private institute for music
instruction. Check out some of his other work on the Roland VG-8 Demo CD, or the Roland GR-30 Video.
Steve Lu
Steve Lu is a recent graduate of Berklee College of Music, majoring in Music Production & Engineering. His recent
musical efforts include a soundtrack album, featuring synthesized re-creations of movie themes such as “Titanic”
and “The Rock,” as well as production and arrangements for saxophonist Jimmy Reid’s self-titled album. He is
currently working with artists Brandy and Ray-J on future projects.
Scott Wilkie
Scott Wilkie is a contemporary jazz recording artist, based in southern California. He tours frequently with his own
band, and also appears as an artist for Roland in the U.S., Japan, Europe and South America. His debut solo album,
Boundless, was released worldwide in 1999 on Narada/ Virgin Records. You can find him on-line at
www.scottwilkie.com.
Hans-Joerg Scheffler
Born and raised in the Ruhr valley, the biggest industrial area in Germany, Hans’s attraction to noise and rhythm
came naturally.
Today he runs his own company, DIGITAL AUDIO DESIGN, which produces sampling CDs and CD ROMs.
He works for Roland as a pro audio product specialist, as a sound designer for expansion boards, and as a
composer of demo songs. He has released several CDs that use the Roland RSS system.
Soundclips of his work can be downloaded at: http:/ / www.united-sound.com/ usmaster/ cell2downde.htm
MASA
Masa has performed live, mainly at psychedelic-trance parties since the early 90’s.
In the spring of 1996, he released the album “Just Inside” from East-West. Interest in his work is increasing, and
new releases are appearing under a variety of labels, including Tokyo Tekno Tribe Records and Psy-Harmonics.
Web site: www.ifnet.or.jp/ ~masa-k/
2 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
Se le ctin g Pa tch e s a n d Pla y in g th e So u n d s
The XP-30 contains a large number of sounds ready for you to play. The
sounds that you select and play on the XP-30 are generally called Patches.
Here’s how to select and play Patches.
fig.Q-14
1
3
4
1
Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2
3
Play the keyboard and listen to the sound.
To select a different Patch, turn the VALUE dial or press
[INC]/ [DEC].
By using the Phrase
Preview function, you can
audition patches by
listening to a preset phrase
suitable for the selected
type of patch (p. 33).
4
To change the Patch Group, hold down [SHIFT] and press any
key from [1] through [6] on the numeric keypad.
[SHIFT] + [1]: PR-A (Preset A)
[SHIFT] + [2]: PR-B (Preset B)
[SHIFT] + [3]: PR-C (Preset C)
[SHIFT] + [4]: PR-D (GM (General MIDI))
[SHIFT] + [5]: PR-E (Preset E)
[SHIFT] + [6]: USER (User)
3 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
Se le ctin g W a ve Ex p a n sio n Pa tch e s
The XP-30 contains the patches of the following popular Wave Expansion
Boards:
• SR-JV80-09 “Session”
• SR-JV80-02 “Orchestral”
• SR-JV80-11 “Techno Collection”
Here’s how to select and play these patches.
fig.Q-16
1
4
2
1
Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2
Press [EXP A]–[EXP C] to select the Wave Expansion Patch
When a Wave Expansion
Board of the SR-JV80 series
(sold separately) is
that you wish to hear.
[EXP A]: “Session”
installed in the EXP-D or
EXP-E Wave Expansion
Board slot, you can press
[EXP D] or [EXP E] to
choose the corresponding
patches.
[EXP B]: “Orchestral”
[EXP C]: “Techno Collection”
fig.Q-17
3
4
Play the keyboard and listen to the sound.
To select a different Patch, turn the VALUE dial or press
[INC]/ [DEC].
By using the Phrase
Preview function, you can
audition patches by
listening to a preset phrase
suitable for the selected
type of patch (p. 33).
3 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
Se le ctin g Pa tch e s b y Ca te g o ry
(Pa tch Se a rch Fu n ctio n )
The JV-2080 provides a Patch Search Function that allows you to quickly
find Patches of the specified type (Category). The 38 categories are
organized into 10 groups.
Here’s an example of how to find organ-type Patches.
fig.Q-18
1
5
2,6 3 4
1
Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2
Press [CATEGORY] to make the indicator light.
Now you can select patches
within the specified
The Patch Search function will be turned on, and the patch number display
will change to the category display.
category, either by rotating
the VALUE dial, or by
using [INC] or [DEC]. To
change the category group,
use the numeric keys.
fig.Q-19
3
Select the category. Hold down [CATEGORY] and press [2
(KEY&ORG)].
fig.Q-20
4
For this example, select the Organ category (ORG) by pressing
numeric key [4].
For details on the
categories you can select,
refer to page 49.
Organ-type patches can now be selected.
3 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
5
6
Turn the VALUE dial or press [INC]/ [DEC] to select a patch.
Press [CATEGORY] to make the indicator go dark.
By using the Phrase
Preview function, you can
audition patches by
listening to a preset phrase
suitable for the selected
type of patch (p. 33).
The Patch Search function will be turned off, and the normal PATCH PLAY
display will reappear.
Au d itio n in g th e Pa tch e s (Ph ra se Pre vie w )
The XP-30 allows you to preview Patches by hearing a phrase appropriate
for each type of Patch.
fig.Q-21
1 2,3
1
Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2
Press and hold [PHRASE PREVIEW].
If the factory settings have just been restored, the USER: 001 Temple of XP
Patch will sound.
3
Release your finger from [PHRASE PREVIEW], and the phrase
will stop playing.
You can change the phrase
that is played by the Phrase
Preview, and modify the
way in which the phrase is
played. For details, refer to
“Using Phrase Preview
to Play Patches” (p. 49),
and “Phrase Preview
Settings (PREVIEW)”
(p. 113).
3 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
Try O u t Pe rfo rm a n ce Fu n ctio n s
The XP-30 provides various controllers that can modify the sound. While
playing patches, try out these controllers and listen to effects they can
produce.
The effect that the
controllers have will
depend on the settings of
the selected Patch. If the
effects of the controllers are
difficult to detect, select
another Patch.
■ Velocity/Aftertouch
The force with which you play the keyboard (velocity) can affect the volume
or timbre of the sound. Aftertouch (pressure you apply to a key after playing
a note) can also affect the sound.
■ Pitch Bend/Modulation Lever
While playing the keyboard, move the lever to the left to lower the pitch, or
to the right to raise the pitch. This is known as Pitch Bend. You can also
apply vibrato by manipulating the lever away from you. This is known as
Modulation.
If you move the lever away from you and at the same time move it to the
right or left, you can apply both effects simultaneously.
fig.Q-22.e
Modulation
Pitch Bend
■ C1–C4 Slider
By moving the sliders up and down while fingering the keyboard, you can
control the various functions assigned to the sliders.
To control them, press [CONTROLLER] to make the indicators light up,
then move the sliders.
At the factory default
settings, you can use the C1
through C4 sliders to
control the functions
described below.
Additionally, if you hold down [CONTROLLER] while moving one of the
C1–C4 sliders, you can go to the ASSIGN display for that slider. There you
can check and make settings for the function that is to be controlled with the
C1: AFTERTAUCH
C2: BREATH
slider. Make changes in the settings while holding down [CONTROLLER].
fig.Q-23
C3: PORTA-TIME
(Portamento time)
C4: MODULATION
How sound varies depends
on the current setting. For
details, refer to “C1/C2/
C3/C4 ASSIGN (C1/C2/
C3/C4 Slider Assign)”
(p. 111).
3 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
■ Hold Pedal
If an optional pedal switch is connected to the rear panel HOLD PEDAL
jack, pressing the pedal switch will sustain (hold) the sound even if the keys
are released.
■ Expression Pedal
If an optional expression pedal is connected to any of the rear panel
CONTROL PEDAL jack, you can use the pedal to control the volume or
timbre of sound.
How sound varies depends
on the current setting. For
details, refer to “CONTROL
PEDAL” (p. 110).
■ Solo
You can play using single notes, by pressing [SOLO] (indicator lights). This
function is especially effective when playing a sax, flute or other
monophonic instrument.
Using [PORTAMENTO] with [SOLO] ON allows you to simulate
performance techniques like violin glissandos.
fig.Q-24
For details, refer to
“Playing Single Notes
(Solo)” (p. 50).
■ Portamento
As you play the keyboard, you can make pitch slide smoothly from one key
to another, by pressing [PORTAMENTO] (indicator lights).
fig.Q-25
For details, refer to
“Creating Smooth
Pitch Changes
(Portamento)” (p. 50).
3 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
■ Sound Palette
While playing the keyboard, you can move the sliders up or down to modify
volume level or sound character.
To change sound character, press [FILTER/ ENV] to light the indicator and
move the sliders.
To change the volume level, press [LEVEL] to light the indicator and move
the sliders.
fig.Q-26
For details, refer to “Using
the Sliders to Modify
the Sound in Realtime
(Sound Palette
Function)” (p. 50, 54).
Pla y Arp e g g io s (Arp e g g ia to r)
You can play a broken chord (arpeggio) automatically, by simply pressing a
chord. For example, if you press a C major chord, the XP-30 plays an
arpeggio such as C → E → G → C → E → G...
fig.Q-27
6 2,4,5,7 1
5
1
Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.
fig.Q-15
2
Press [ARPEGGIO] to make the indicator light.
3 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
3
Play a chord.
XP-30 will play an arpeggio, according to the notes forming the chord you
have just voiced.
4
Continue holding down [ARPEGGIO], and the ARP SELECT
display will appear.
fig.Q-28
In this page you can change the Style, Accent Rate, Octave Range and
Tempo of the arpeggio. Here’s how to change the Style.
5
6
Hold down [ARPEGGIO], and press [ ] or [ ] to move the
cursor (underline) to the Style parameter. Then rotate the
VALUE dial to select various settings.
For details regarding
playing arpeggios, refer to
“Playing an Arpeggio”
(p. 56) and “Arpeggio
Settings (ARPEGGIO)”
(p. 108).
Depending on the value you enter, the way arpeggios play will vary.
Hold down [ARPEGGIO] and press [TRANSPOSE]. The
[ARPEGGIO] indicator will begin blinking, and the arpeggio
will continue sounding even after you take your hand off the
keyboard (Hold).
To stop the arpeggio from being sounded by the Hold function, hold down
[ARPEGGIO] again and press [TRANSPOSE]. The indicator changes from
blinking to lit.
7
To finish playing arpeggios, press [ARPEGGIO] again so the
indicator turns off.
3 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Pla y in g th e So u n d s
Pla y Pe rcu ssio n So u n d s fro m th e Ke y b o a rd
The XP-30’s Rhythm Sets contain a wide variety of percussion sounds and
special effects. Here’s how to select a Rhythm Set and play percussion
sounds.
fig.Q-29
1
3
1
Press [RHYTHM] to make the indicator light.
The RHYTHM PLAY display will appear.
fig.Q-30
2
3
Press different keys to play different percussion instruments.
The percussion instrument
played by each key will
depend on the selected
Rhythm Set. For details,
refer to “Rhythm Set
List” (p. 177).
The display will indicate the last-pressed key (Note name) and the
percussion instrument name (Rhythm Tone name) assigned to that key.
To select another Rhythm Set, turn the VALUE dial or press
[INC]/ [DEC].
3 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
■ Cla ssifica tio n o f XP-3 0 So u n d
Ty p e s
XP-3 0 Co n fig u ra tio n
XP-30 sounds are made up of the following types:
■ Ba sic Co n fig u ra tio n
The XP-30 consists of a sound source and controllers.
To n e s
fig.1-01.e
In the XP-30, the Tone is the smallest class of sound. Each
Tone consists of one sound. But when you play the XP-30
you will mostly play a Patch, which is made up of several
Tones. Tones therefore are the elements which collectively
form a Patch.
Sound source
section
Tone configuration:
fig.1-02.e
Play
Tone
LFO 1
LFO 2
Controller section (controllers such as
keyboard, pitch bend lever, etc.)
So u n d So u rce
WG
TVF
TVA
The XP-30 sound source produces sound by responding to
commands in the form of MIDI messages received from its
controllers. It will also produce sound by responding to
commands received from various external devices it can be
connected to.
Pitch
Envelope
TVF
Envelope
TVA
Envelope
control signal
audio signal
Co n tro lle rs
Controllers include the keyboard, front panel sliders and
pedals which are connected to their respective rear panel
jacks. Adjusting these controllers enable you to produce or
modify sound.
W G (W a ve Ge n e ra to r)
Using the Wave Generator, you select a waveform and set its
pitch.
TVF (Tim e Va ria n t Filte r)
With the Time Variant Filter, you modify the waveform’s
frequency characteristics.
TVA (Tim e Va ria n t Am p lifie r)
With the Time Variant Amplifier, you set volume level and
set the sound’s position in a stereo soundfield.
En ve lo p e
You use Envelope to initiate changes to occur to a sound over
time. There are separate Envelopes for the WG (pitch), TVF
(filter) and TVA (volume). For example, to modify a sound’s
attack and decay time, you would use TVA Envelope to
adjust volume changes to the sound over time.
LFO (Lo w Fre q u e n cy O scilla to r)
Use the LFO to create cyclic changes (modulation) in a
sound. The XP-30 has two LFOs. Either one or both can be
applied to effect the WG (pitch), TVF (filter) and/ or TVA
(volume). To illustrate this control’s action, you can apply an
LFO to modify the WG (pitch) to create vibrato. If the LFO is
used to modify the TVA (volume), you’ll get tremolo.
4 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
Pa tch e s
Rh y th m Se ts
Patches are the basic sound configurations that you play
during a performance. Each Patch can be configured by
combining up to four Tones. How the four Tones are
combined is determined on the STRUCT display (PATCH/
A Rhythm Set is a grouping of percussion instruments
(Rhythm Tones). Since percussion instruments generally do
not play melodies, there is no need for a percussion
instrument sound to be able to play a scale on the keyboard.
It is however, more important that as many as possible
percussion instruments be available to you at the same time.
Therefore, each key (Note number) of a Rhythm Set will
COMMON).
fig.1-03.e
Patch
produce a different percussion instrument.
fig.1-05.e
Rhythm Set
Tone 4
Tone 3
Note Number 98 (D7)
Note Number 97 (C#7)
Tone 2
Tone 1
LFO 1
LFO 2
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
WG
TVF
TVA
Pitch
TVF
TVA
Envelope
Envelope
Envelope
Pitch
TVF
TVA
Envelope
Envelope
Envelope
Pa rts
When the XP-30 is used as a multitimbral sound source,
another sound configuration called a Part comes into play. A
Part contains a Patch or Rhythm Set. For multitimbral
applications, the Performance consists of 16 Parts. A specific
Patch can be assigned to each Part except Part 10 because
Part 10 is universally set as the Drum Part to which a Rhythm
Set (discussed above) is assigned. In a multitimbral context, it
helps to think of a Performance as an orchestra, each Part in
it being a musician, and the Patch or Rhythm Set that
musician’s instrument.
Pe rfo rm a n ce s
The next level in sound configuration. A single Performance
groups 15 Patches and one Rhythm Set so that they can be
combined to play ensembles or produce fabulously rich,
thick sounds. One Performance allows a single XP-30 to
control up to 16 instrument sounds. Because the XP-30 sound
source can control multiple sounds (instruments) it is called a
“multitimbral sound source.”
fig.1-04.e
Performance
For details regarding following items, please refer to each
corresponding page.
Part 16 (MIDI receive ch.)
Part 11 (MIDI receive ch.)
Patch
About the Memory (p. 67)
About the Effects (p. 61)
Part 10 (MIDI receive ch.)
Key-
board,
MIDI
Sound
Rhythm Set
Part 9 (MIDI receive ch.)
Part 1 (MIDI receive ch.)
Patch
4 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
■
N u m b e r o f Sim u lta n e o u s Vo ice s
The XP-30 is able to produce up to 64 voices simultaneously.
The following paragraphs discuss what this means, and what
will happen when more than 64 simultaneous voices are
requested from the XP-30.
Ba sic O p e ra tio n
■ Sw itch in g Mo d e s
The XP-30 contains a large number of functions. In order to
organize these functions for easy access, they are grouped
into the following modes. The mode that is selected will
affect the way in which the sound source operates, how data
is shown in the display, and how the function buttons work.
Use the Mode buttons to select the mode. The indicator of the
selected button will light/ blink, and the display will change
Ca lcu la tin g th e N u m b e r o f Vo ice s
Be in g Use d
The XP-30 is able to produce up to 64 simultaneous voices.
However this number is not simply the number of notes
being played, but depends on the number of Tones used in
each Patch. If you are playing one Patch which uses 4 Tones,
you will be able to play 16 simultaneous notes. If you are
using the XP-30 in Performance mode to play an ensemble,
count the total number of Tones used by all the Parts using
the following formula.
according to the selected mode.
fig.1-06
(currently sounding notes) x (number of Tones used in the
Patch being played)
Ho w a Pa tch Use s N o te s
When the XP-30 is requested to play more than 64 voices
simultaneously, a currently-sounding note will be turned off
to make room for the newly requested note. The note with
the lowest priority will be turned off first. The order of
priority is determined by the Voice Priority setting.
Voice Priority can be set either to Last or Loudest. When Last
is selected, a newly requested note that exceeds the 64 voice
limit will cause the first-played of the currently sounding
notes to be turned off. When Loudest is selected, the quietest
of the currently sounding notes will be turned off.
Normally you will set Voice Priority to Last.
So u n d So u rce
Selecting Patch mode, Performance mode, Rhythm Set mode,
and GM mode will determine sound source operation. One
mode always has to be selected.
Pa tch Mo d e
In this mode, you can play an individual Patch from the
keyboard or modify Patch settings. If you’re using an
external MIDI device to control the XP-30 in this mode, it will
function as a single-patch sound source.
Pe rfo rm a n ce Mo d e
This mode makes the XP-30 function as a multitimbral sound
source, and Performance settings can be modified. If you’re
using an external MIDI device to control the XP-30 in this
mode, it will function as a multitimbral sound source.
To modify the settings of a Patch that’s assigned to a Part,
hold down [PERFORM] and press [PATCH]. Both button
indicators will light.
N o te Prio rity in Pe rfo rm a n ce Mo d e
Since Performance mode is usually used to play an ensemble
consisting of several Patches, it is important to decide which Parts
take priority. Priority is specified by the Voice Reserve settings.
When a note within a Patch needs to be turned off to make room
for a new note, the Voice Priority setting of the Patch will apply.
Vo ice Re se rve
Rh y th m Se t Mo d e
The XP-30 has a Voice Reserve function that lets you reserve
a minimum number of notes that will always be available for
each Part. For example if Voice Reserve is set to 10 for Part
16, Part 16 will always have 10 notes of sound-producing
capacity available to it even if a total of more than 64 notes
(total for all Parts) are being requested. When you make
Voice Reserve settings, you need to take into account the
number of notes you want to play on each Part as well as the
number of Tones used by the selected Patch.
This is how you can play a Rhythm Set from the keyboard
and modify the Rhythm Set settings. In this mode, the
keyboard will play the Rhythm Set, but the XP-30 continues
to function as a multitimbral sound source. So your effects
settings of the currently selected Performance will be heard
as you play the Rhythm Set. Rhythm Sets are assigned to Part
10 of the Performance. If you’re using an external MIDI
device to control the XP-30 in this mode, it will still function
as a multitimbral sound source.
* It is not possible to make Voice Reserve settings that would
cause the total of all Parts to be greater than 64 voices.
4 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
GM Mo d e
■ Ab o u t th e Fu n ctio n Bu tto n s
Function buttons are buttons that perform a variety of
functions. The function they perform will depend on the
current mode, and on whether [EDIT] is on (lit) or off (dark).
This special mode makes the XP-30 function as a GM
compatible sound source. You should select this mode when
you want to play back a GM score (music files created for
GM sound source).
[EDIT] will turn on or off each time you press it.
To set GM mode, hold down [SHIFT] and press [PERFORM].
[PERFORM], [PATCH] and [RHYTHM] indicators will not
light.
fig.1-07
Sy ste m Mo d e
* [EDIT] switches the function of the function buttons, but
pressing [EDIT] will not make the display change. If you wish
to modify a setting, press the [EDIT] to make the indicator light,
and then press a function button to select the display group and
switch the display. When you finish making settings, press
[EXIT] or a mode button to switch the display.
This mode is for determining global XP-30 settings such as
tuning, display contrast and how MIDI messages are
received.
* Some System mode parameters relate to an entire Patch or an
entire Performance. To set these parameters, press [SYSTEM]
in the selected mode (Patch or Performance).
In Pe rfo rm a n ce Mo d e
([EDIT] In d ica to r is Da rk )
fig.1-08
Utility / Ca rd Mo d e
Here you can save and transmit settings for the sound
generator, and make settings related to memory cards.
* Some Utility/Card mode parameters relate to an entire Patch,
Performance or Rhythm Set. To set these parameters, press
[UTIL/CARD] in the selected mode (Patch, Performance or
Rhythm Set).
The function buttons will act as Part buttons ([PART]) that
switch Parts on (lit) or off (dark). Since 16 Parts are being
controlled using only 8 buttons, use [1-8/ 9-16] to select
which set of Parts you are controlling. When [1-8/ 9-16]
indicator is dark, you can switch Parts 1–8 on/ off. When it is
lit, you can switch Parts 9–16 on/ off.
If the [EDIT] indicator is turned off in the Part setting
display, the function buttons will act as PART buttons that
select the Part to be edited.
* The function of the Part on/off setting will depend on the setting
of the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) (p. 83).
4 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
In Pa tch Mo d e ([EDIT] In d ica to r is Da rk )
fig.1-09
■ Ab o u t th e Cu rso r Bu tto n s
The cursor buttons are used to move between display pages
or to move the cursor.
fig.1-12
The function buttons will act as Tone Switch buttons ([TONE
SWITCH]) and Tone Select buttons ([TONE SELECT]).
[TONE SWITCH] allow you to turn each Tone in the Patch
on (lit) or off (dark). When a Tone is turned on, it can be
heard.
Use [TONE SELECT] to select the Tone you wish to modify.
To select a Tone to modify, turn off [EDIT] indicator in the
Tone setting display. To select two or more Tones
simultaneously, hold down one of [TONE SELECT] and
press the other [TONE SELECT]. In this case, the numbers of
Tones other than the first-selected Tone will be displayed as *
symbols.
Mo vin g Be tw e e n Disp la y Pa g e s
The various displays are grouped by function button, and
each group contains several display pages. Use the cursor
buttons to move between these display pages and groups.
Mo vin g Be tw e e n Pa g e s
In Rh y th m Se t Mo d e
An upward-pointing arrow ( ) shown in the display
indicates that one or more pages exist before this page. A
downward-pointing arrow ( ) shown in the display
indicates that one or more pages exist after this page. Press
([EDIT] In d ica to r is Da rk )
fig.1-10
[
] to move to the previous page, or [ ] to move to the next
The function buttons (TONE SELECT section) will select the
key shown in the display.
page. Pressing [ ] while holding [SHIFT] will jump to the
first page. Pressing [ ] while holding [SHIFT] will jump to
If the [EDIT] indicator is turned off in the Rhythm Set setting
display (the setting display for individual keys), the function
buttons will select the key to be edited.
the last page.
fig.1-13
[TONE SELECT 1]: move to an octave lower key
[TONE SELECT 2]: move to the semitone below
[TONE SELECT 3]: move to the semitone above
[TONE SELECT 4]: move to an octave higher key
Mo vin g Be tw e e n Gro u p s
From one of the Play displays, hold down [SHIFT] and press
[
] to access the left-most function button group display.
W h e n [EDIT] In d ica to r is Lit
In group displays that you select using the function buttons,
you can hold down [SHIFT] and press [ ] to move to the
group of the function button to the left, or hold down
[SHIFT] and press [ ] to move to the group of the function
button to the right.
Each mode contains a large number of settable items, and
these items are organized into groups. When [EDIT]
indicator is lit, the function buttons are used to select display
groups. The displays that appear will depend on the current
mode. The groups that can be selected in each mode are
Whenever you are in any group display, you can move to
another group even if [EDIT] indicator is dark. In other
words, this procedure allows you to move to a different
group without having to turn on [EDIT] indicator, and is a
faster and more efficient way to get around.
printed on the front panel above the buttons.
fig.1-11
* For information on what the function buttons do in GM mode,
please see “Chapter 5. Using the XP-30 as the GM Sound
Module” (p. 124).
4 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
Mo vin g th e Cu rso r (u n d e rlin e )
[0 ]–[9 ] (N u m e ric Ke y s)
When two or more items are shown in a single display page,
[0]–[9] (Numeric Keys) lets you directly specify a numerical
value. When you enter the number, the value will blink. This
indicates that the value has not yet been finalized. To finalize
the value press the ENTER button. To reverse the sign of the
number (+/ -), hold down [SHIFT] and press [0].
move the cursor (underline) to the item whose value you
wish to set. Press [ ] to move the cursor to the left, or [
]
to move it to the right.
fig.1-14
* Some parameters do not require you to press [ENTER] to
finalize the value.
A
symbol appearing in the upper right of the display
indicates that there are other items in this page that the
screen has no room to show. Press [ ] to see these items,
< Example 1: To enter a value of 38 >
Press [3] → press [8] → press [ENTER]
and press [ ] to return to the previous display.
fig.1-15
< Example 2: To enter a value of -60 >
While holding down [SHIFT] press [0] → press [6] → press
[0] → press [ENTER]
* You can switch from a positive to negative numerical value
anytime before you press [ENTER].
Sp e cia l Fu n ctio n s o f th e N u m e ric Ke y s
You can use the numeric keys to specify non-numerical
settings for some parameters.
■ Mo d ify in g a Va lu e
To modify a value, use the VALUE dial, [INC]/ [DEC] or [0]–
* For the procedure of using the Numeric Keys to enter the
characters or symbols in a name, refer to “Assigning a
Name” (p. 46).
[9] (numeric keys).
fig.1-16
Pe rfo rm a n ce / Pa tch / Rh y th m Se t Gro u p
In the PLAY displays of Performance mode/ Patch mode/
Rhythm Set mode, you can use the numeric keys to specify
groups. To specify the group, hold down [SHIFT] and press
numeric keys to specify groups.
Buttons
Group
* Each parameter has a specific range, so you cannot set any value
smaller than the minimum value or greater than the maximum
value.
[SHIFT]+[1]
[SHIFT]+[2]
[SHIFT]+[3]
[SHIFT]+[4]
[SHIFT]+[5]
[SHIFT]+[6]
PR-A (preset A)
PR-B (preset B)
PR-C (preset C)
PR-D (GM (General MIDI))
PR-E (preset E)
USER (user)
VALUE Dia l
Rotating the VALUE dial clockwise increases the value,
counterclockwise decreases the value. Holding down
[SHIFT] as you move the VALUE dial increases value
increments so you can make large value changes faster.
Re sto rin g a Pre vio u s Va lu e (Un d o )
If you wish to restore a value to its immediate previous
value, press [UNDO/ COMPARE] to return the value to its
pre-modified state.
[IN C] a n d [DEC]
Pressing [INC] increases the value, and [DEC] decreases it.
Keep [INC] or [DEC] pressed for continuous adjustment. For
faster value increases, keep [INC] pressed down and press
[DEC]. For decreasing value faster, keep [DEC] pressed
down and press [INC].
The Undo function can be used when modifying sound
source settings.
If you press [INC] or [DEC] while holding down [SHIFT], the
value increments will get bigger.
4 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 . O ve rvie w o f th e XP-3 0
■ Assig n in g a N a m e
The XP-30 lets you assign names to Patches, Performances, and
Rhythm Sets. The procedure is the same for any type of data.
To assign a name, use [ ]/ [ ] to move the cursor to the
location where you wish to input a character. Then use the
VALUE dial or [INC]/ [DEC] or the Numeric Keys to input a
character.
Available characters/symbols:
space, A—Z, a—z, 0—9, + - * / | = ! ? < > ( ) [ ] : ; . , “ ‘ ` # %
& $ ¥ @ ^ _
Usin g th e N u m e ric Ke y s
The numeric keys are used to input the numerals printed on
each key as well as the characters assigned to each key (see
the table below). Each time you press a numeric key, the
display will cycle through the numeral and characters
printed above the key. To specify a lowercase character, hold
down [SHIFT] as you press the numeric key.
Numeric Key
Character
A B C
D E F
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9]
[0]
G H I
J K L
M N O
P Q R
S T U
V W X
Y Z !
space
Co n ve n ie n t Fu n ctio n s
While you are holding down [SHIFT], the screen will show
three functions that are convenient when entering a name. To
use each function, hold down [SHIFT] and press the
appropriate function button.
fig.1-17
A
a: switch between uppercase/ lowercase characters
INS: insert a space at the cursor location
DEL: delete the character at the cursor location
4 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
1 . Press [PATCH] to call up the PATCH PLAY display.
fig.2-01.e
Pla y in g in Pa tch Mo d e
Patch number
Patch group
Patches are what you normally play during a performance.
Select a Patch before playing.
Patch name
■ Se le ctin g a Pa tch
The 768 patches of the XP-30 are organized into six groups of
128 patches: User, and Preset A–E. In addition, the patches of
three popular Wave Expansion Boards (“Session,”
“Orchestral,” and “Techno Collection”) are also stored
onboard. Furthermore, you can install up to two separately
available Wave Expansion Boards, which will allow you to
choose from as many as 2044 patches.
2 . Rotate the VALUE dial or press [INC]/ [DEC] to select a
Patch.
Se le ctin g a Pa tch Usin g N u m e ric Ke y s
You can use numeric keys to directly select a desired Patch.
1 . Press [PATCH] to call up the PATCH PLAY display.
USER
2 . Press the following buttons to select a Patch group.
The XP-30’s user memory contains 128 Patches that can be
rewritten to create your own Patches.
Button
Patch Group
[SHIFT] + [1]
[SHIFT] + [2]
[SHIFT] + [3]
[SHIFT] + [4]
[SHIFT] + [5]
[SHIFT] + [6]
[EXP A]
PR-A (Preset A)
PR-A–C, E (Pre se ts A–C, E)
PR-B (Preset B)
The XP-30 includes 512 preset Patches that are not user-
rewritable. But you can call up preset Patch settings into the
temporary area, modify them, and then store them in User
memory.
PR-C (Preset C)
PR-D (GM (General MIDI))
PR-E (Preset E)
USER (User)
XP-A (“Session”)
PR-D (GM (Ge n e ra l MIDI))
[EXP B]
XP-B (“Orchestral”)
XP-C (“Techno Collection”)
XP-D (Wave Expansion Board D)
XP-E (Wave Expansion Board E)
GM Patches are for instruments compatible with the GM
System. The aim of this system is to standardize MIDI
specifications among different equipment makers or models.
The XP-30 contains 128 GM Patches that are not user-
rewritable. But you can call up GM Patch settings into the
temporary area, modify them, and then store them in User
memory.
[EXP C]
[EXP D]
[EXP E]
3 . Use numeric keys to input a Patch number.
The patch number and name will blink. At this time, the
Patch selection has not yet been finalized.
XP-A–C (In te rn a l W a ve Ex p a n sio n )
The patches of three Wave Expansion Boards (766 patches)
are already built into the XP-30, and cannot be rewritten.
However you may modify the settings of the currently
selected patch, and then store the modified patch in User
memory.
4 . Press [ENTER] to finalize the entry.
XP-D, E (W a ve Ex p a n sio n Bo a rd s in sta lle d in
EXP-D, E Slo ts)
The Patches included in optional Wave Expansion Boards are
not user-rewritable. But you can call up those Patch settings
into the temporary area, modify them, and then store them in
User memory.
* A Patch XP-D, E cannot be accessed if the Wave Expansion
Board it belongs to has not been installed.
4 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
Se le ctin g Pa tch e s b y Ca te g o ry
(Pa tch Se a rch Fu n ctio n )
The XP-30 provides a Patch Search function which allows
you to specify a type (category) of Patch so that you can
quickly find the desired Patch. There are a total of 38
categories.
Ex p re ss Pa tch Se le ct (Dig it Ho ld )
With the Digit Hold function turned on, the 100’s
position and 10’s position will be fixed when the
numeric keys are used to select a Patch. This means that
the numeric keys will only change the 1’s position, and
you won’t have to press [ENTER] for each selection.
The same applies to selecting Performances and
Rhythm Sets.
1 . Press [PATCH] to call up the PATCH PLAY display.
2 . Press [CATEGORY] to turn the Patch Search function is
on.
1 . Hold down [SHIFT] and press [ENTER] to turn on
The patch number display will change to the category
display.
Digit Hold.
fig.2-02
* Now you can select patches within the currently selected
category either by rotating the VALUE dial or by using [INC]/
[DEC]. To change the category group, use the numeric keys.
If you wish to select patches from a different category,
continue with the following procedure.
The numbers in the 100’s position and 10’s position will
be displayed in a smaller size to indicate Digit Hold is
on.
2 . When you enter a numeric key number, the 1’s
position will change immediately without having
to press [ENTER].
3 . Hold down [CATEGORY] and press a key [0]–[9]
(numeric keys) to select the category group.
fig.2-03
3 . To turn off Digit Hold, hold down [SHIFT] and
press [ENTER] once again.
4 . Rotate the VALUE dial or press [INC]/ [DEC] to select a
Category.
The selected category display will blink. At this time, the
selected category has not yet been finalized.
* Now if you press [ ] the following display will appear, and you
can select patches while viewing the number of patches (a)
included in the currently selected category, and the order of this
patch among the patches (b) that were selected after the search.
To change the category, use the numeric keys.
fig.2-04
(b) (a)
5 . Press [ENTER] to finalize the entry.
* In step 4, you can also select a category directly by pressing the
corresponding numeric key.
6 . Rotate the VALUE dial or press [INC]/ [DEC] to select a
Patch.
7 . Press [CATEGORY] to turn the Patch Search function is
off.
You will return to the normal PATCH PLAY screen.
4 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
The following categories can be selected.
■ Usin g Ph ra se Pre vie w to Pla y
Category
Pa tch e s
Group
Category
Contents
The XP-30 allows you to preview Patches by hearing a
--- NO ASSIGN
No assign
phrase appropriate for each type of Patch.
Piano
PNO AC.PIANO
EP EL.PIANO
Acoustic Piano
Electric Piano
1 . Select a Patch (p. 47).
Keys&Organ
2 . Press and hold [PHRASE PREVIEW].
KEY KEYBOARDS
Other Keyboards
(Clav, Harpsichord etc.)
* When a Performance is selected, the Patch of the Part for which
settings are being made will sound. When a Rhythm Set is
selected, a drum phrase will sound.
BEL BELL
Bell, Bell Pad
MLT MALLET
ORG ORGAN
ACD ACCORDION
Mallet
Electric and Church Organ
Accordion
* Patches of the USER group or from an optional Wave
Expansion Board (SR-JV80 series) may not sound at the
appropriate pitch range. In this case, use [+OCT] or [-OCT]
(the Octave Shift function) to set an appropriate pitch range.
HRM HARMONICA
Harmonica, Blues Harp
Guitar
AGT AC.GUITAR
EGT EL.GUITAR
DGT DIST.GUITAR
Acoustic Guitar
Electric Guitar
Distortion Guitar
* If the range of the phrase is wider than the range of the Tones
exceeds the range will not sound.
Bass
BS BASS
Acoustic & Electric Bass
Synth Bass
SBS SYNTH BASS
3 . The phrase will stop playing when you take your finger
Orchestral
STR STRINGS
ORC ORCHESTRA
HIT HIT&STAB
WND WIND
Strings
off [PHRASE PREVIEW].
Orchestra Ensemble
Orchestra Hit, Hit
Winds (Oboe, Clarinet etc.)
Flute, Piccolo
4 . Hold down [SHIFT] and press [PHRASE PREVIEW], and
the PREVIEW SELECT display will appear. Here you can
specify how the phrase will be played (Mode), and select
FLT FLUTE
the phrase that will play (Patch Category).
Brass
Synth
fig.2-05
BRS AC.BRASS
SBR SYNTH BRASS
SAX SAX
Acoustic Brass
Synth Brass
Sax
5 . To specify how the phrase will be played, use the cursor
HLD HARD LEAD
SLD SOFT LEAD
Hard Synth Lead
Soft Synth Lead
buttons to move the cursor to the Mode parameter.
TEK TECHNO SYNTH Techno Synth
6 . Rotate the VALUE dial or press [INC]/ [DEC] to make
PLS PULSATING
FX SYNTH FX
Pulsating Synth
Synth FX (Noise etc.)
Poly Synth
the setting.
SYN
OTHER SYNTH
Mo d e (Pre vie w So u n d Mo d e )
SINGLE: The notes specified by Note 1–4 parameter
(SYSTEM/ PREVIEW/ PREVIEW KEY) will
sound successively one by one.
Pad
BPD BRIGHT PAD
SPD SOFT PAD
VOX VOX
Bright Pad Synth
Soft Pad Synth
Vox, Choir
CHORD: The notes specified by Note 1–4 parameter
(SYSTEM/ PREVIEW/ PREVIEW KEY) will
sound simultaneously.
Ethnic
PLK PLUCKED
Plucked (Harp etc.)
Other Ethnic
ETH
ETHNIC
PHRASE: The phrase prepared for the Patch type (category)
will sound.
FRT FRETTED
Fretted Inst
(Mandolin etc.)
Rhythm&SFX
* This setting is linked with the Mode parameter (SYSTEM/
PREVIEW/PREVIEW MODE).
PRC PERCUSSION
SFX SOUND FX
Percussion
Sound FX
BTS BEAT&GROOVE Beat and Groove
7 . If you set the Mode parameter to PHRASE, you can
specify the phrase that will sound. Use the cursor
buttons to move the cursor to the Patch Category
parameter.
DRM DRUMS
Drum Set
CMB COMBINATION
Other Patches which
use Split and Layer
* If a rhythm set is selected, this will be fixed at DRUMS, and it
will not be possible to change the phrase that is played.
4 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
8 . Rotate the VALUE dial or press [INC]/ [DEC] to make
the setting. For details on the available categories, refer to
page 49.
■ Cre a tin g Sm o o th Pitch Ch a n g e s
(Po rta m e n to )
Portamento ensures a smooth pitch changeover from one
note to the next note played. When [SOLO] is on (indicator
lights), you can simulate techniques like violin glissandos.
* This setting is linked with the Category parameter (PATCH/
COMMON/PATCH CATEGORY).
1 . Make sure that the PATCH PLAY display is showing.
■ Ma k in g a Pa tch So u n d Th ick o r
Th in (Tu rn in g a To n e O n / O ff)
Since a Patch is a combination of up to four Tones, you can
switch unwanted (Tones out of the four) off and get just the
sound of a specific Tone.
2 . Press [PORTAMENTO]. Its indicator lights.
You’re ready to play portamento.
* This setting is linked with the Sw parameter (PATCH/
CONTROL/PORTAMENTO).
* This setting is linked with the Switch parameter (PATCH/
WAVE/WAVE). If you want just one or two Tones to sound in
a Patch, turn the others off and store that setting on a Patch.
This cuts nonessential use of the XP-30’s simultaneous voices.
3 . To change the portamento settings, press [EDIT] to make
the indicator light. Then press the [CONTROL] function
button, and press [ ] or [ ] to access the
PORTAMENTO display.
fig.2-06
1 . Make sure that the PATCH PLAY display is showing.
2 . Make sure that [EDIT] indicator is dark. If it is lit, press
[EDIT].
4 . Move the cursor over to Time, Mode, Type or Start
parameter.
At this time, the on/ off setting of each Tone in the displayed
Patch will be shown by the indicators of TONE SWITCH [1]–
[4]. Those that are lit are on, and those that are dark are off.
5 . Rotate the VALUE dial or press [INC]/ [DEC] to get the
3 . Use TONE SWITCH [1]–[4] to switch Tones on/ off.
value you want.
■ Pla y in g Sin g le N o te s (So lo )
Normally, the XP-30 allows you to play chords. Pressing
[SOLO] allows performance using single notes. This function
is effective when performing a solo using single-note Patches
like sax and flute.
6 . Press [EXIT] to return to the PATCH PLAY display and
play.
* If you press [PORTAMENTO] when Single Performance is
selected, the Portamento function can be switched on or off for
the current Part. When Layer Performance is selected, the
Portamento function can be switched on or off for the Parts with
the Local parameter (PERFORM/MIDI/MIDI) set ON. If a
Rhythm Set is selected, [PORTAMENTO] cannot be turned on.
1 . Make sure that the PATCH PLAY display is showing.
2 . Press [SOLO] so its indicator lights.
Now you can play a solo.
* This setting is linked with the Assign parameter (PATCH/
CONTROL/KEY MODE & BENDER). When the [SOLO]
indicator is turned on, the Assign parameter will be set to
SOLO. When the indicator is dark, it will be set to POLY.
■ Usin g th e Slid e rs to Mo d ify th e
So u n d in Re a ltim e
(So u n d Pa le tte Fu n ctio n )
With the four sliders in the PALETTE section, you can create
sound variations or volume changes in real time.
3 . Play the XP-30 keyboard.
* If you press [SOLO] when Single Performance is selected, the
Solo function can be switched on or off for the current Part.
When Layer Performance is selected, the Solo function can be
switched on or off for the Parts with the Local parameter
(PERFORM/MIDI/MIDI) set ON. If a Rhythm Set is selected,
[SOLO] cannot be turned on.
* Sound variations or volume changes made with the Sound
Palette affect only the performance. They have no effect on
current Patch settings. Change the Patch and these Sound
Palette settings will be lost.
* The sound character and volume changes created using the
Sound Palette will also be transmitted to the external MIDI
devices.
5 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
Ch a n g in g So u n d Ch a ra cte rs
■ Se le ctin g a Pe rfo rm a n ce
The XP-30 offers three groups of Performances (User, Presets
A and B) with each group having 32 Performances. A total of
96 Performances is available.
1 . Make sure that the PATCH PLAY display is showing.
2 . Press [FILTER/ ENV] and its indicator lights.
3 . Move the sliders while you play to vary the sound.
To modify the brightness, move the CUTOFF slider.
To change resonance, move the RESO. slider.
USER
The XP-30 user memory includes 32 Performances that can
be rewritten to produce your own Performances.
To change attack time, move the ATTACK slider.
To change decay time, move the DECAY slider.
PR-A–B (Pre se t A–B)
The XP-30 contains 64 preset Performances that cannot be
rewritten. But you can call up preset Performance settings
into the temporary area, modify them, and then store them in
user memory.
Ch a n g in g th e Vo lu m e o f Ea ch To n e
1 . Make sure that the PATCH PLAY display is showing.
2 . Press [LEVEL] and its indicator lights.
1 . Press [PERFORM] to call up the 52
3 . Move the LEVEL slider as you play the keyboard to
adjust volume as desired.
PERFORM PLAY display.
fig.2-07.e
Performance number
Sliders 1, 2, 3, and 4 are used to change the volume of Tones
1, 2, 3, and 4, respectively.
Performance group
Performance name
Pla y in g in Pe rfo rm a n ce Mo d e
2 . Rotate the VALUE dial or press [INC]/ [DEC] to select a
There are two types of performances: Layer performances
and Single performances. The upper right of the display
will indicate “LAYER p* “ (* is the part number) for a layer
performance, and “part=* “ (* is the part number) for a single
performance.
Performance.
Se le ctin g a Pe rfo rm a n ce Usin g
N u m e ric Ke y s
You can choose a Performance with direct numeric key
Layer Performance allows playing two or more Parts
simultaneously on the keyboard. Select Layer Performance if
you want fat, rich sounds of two or more Patches, or play
different Patches in a split keyboard’s different sections.
Single Performance plays only the Part shown in the display
(current Part). Select Single Performance for playing a song
using two or more instruments.
input.
1 . Press [PERFORM] to call up the PERFORM PLAY
display.
2 . Use the following buttons to select the Performance
group.
Button
Performance Group
* Make your Performance type selection with the Key Mode
parameter (PERFORM/COMMON/PERFORM COMMON).
The Key Mode parameter determines how the XP-30 keyboard
will play the internal sound source. It has no effect on how the
XP-30 sound source is played from the built-in sequencer or an
external MIDI device.
[SHIFT] + [1]
[SHIFT] + [2]
[SHIFT] + [6]
PR-A (Preset A)
PR-B (Preset B)
USER (User)
3 . Use numeric keys to input the Performance number.
The performance number and name will blink. At this time
the Performance has not yet been finalized.
* You can toggle between SINGLE and LAYER directly from the
PERFORM PLAY display by pressing [SOLO] while holding
down [SHIFT].
4 . Press [ENTER] to finalize the entry.
* Using Digit Hold, a Performance can be selected simply by
specifying the 1’s place number (p. 48).
5 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
■ Pla y in g Fa tte r a n d Rich e r
■ Sp littin g th e Ke y b o a rd to Pla y
So u n d s b y Co m b in in g Pa tch e s
Se p a ra te Pa tch e s in Diffe re n t
(La y e r)
Se ctio n s (Sp lit)
If a Layer Performance is selected, you can play all Parts with
If you’ve selected a Layer Performance, you can split the
keyboard to play separate Patches with different sections of
the keyboard. As the note range that plays each Part can be
specified individually, you can split the keyboard into a
maximum of 16 sections.
the Local parameter ON. Combining the Parts will produce,
thicker, fatter sounds.
fig.2-08.e
Part 1
Part 2
Part 15 Part 16
For instance, you can play strings in the lower note section,
piano in the higher note section and both sounds in the
Local parameters
middle note section.
fig.2-09.e
Part 1: Strings
Part 1 + Part 2:
(Strings + Piano)
Part 2: Piano
1 . Make sure that PERFORM PLAY display is showing.
2 . Make sure that the upper right of the display indicates
“LAYER p* ”(* is the part number). If the display
indicates “part=* ” (* is the part number), the
performance is a “single performance,” so hold down
[SHIFT] and press [SOLO] to change to a layer
performance.
* If a KEY RANG display (PATCH/COMMON) has been set,
sounds are produced in the overlapping sections between the key
ranges specified for the Patch and Performance.
1 . Make sure that the PERFORM PLAY display is showing.
2 . Make sure that the upper right of the display indicates
“LAYER p* ”(* is the part number). If the display
indicates “part=* ” (* is the part number), the
performance is a “single performance,” so hold down
[SHIFT] and press [SOLO] to change to a layer
performance.
* The setting here is linked to the Key Mode parameter
(PERFORM/COMMON/PERFORM COMMON).
3 . Press the function button for the part that you wish to
play, to make the indicator light. When the [1-8/ 9-16]
indicator is dark, parts 1–8 can be selected, and when the
[1-8/ 9-16] indicator is lit, parts 9–16 can be selected.
The Local parameter of the selected part will be ON.
* The setting here is linked to the Key Mode parameter
(PERFORM/COMMON/PERFORM COMMON).
3 . Press the function button for the part that you wish to
play, to make the indicator light. When the [1-8/ 9-16]
indicator is dark, parts 1–8 can be selected, and when the
[1-8/ 9-16] indicator is lit, parts 9–16 can be selected.
The Local parameter of the selected part will be ON.
* This setting is linked with the Local parameter (PERFORM/
MIDI/MIDI).
4 . Repeat step 3 to turn the Local parameter ON for each
part that you wish to play.
* This setting is linked with the Local parameter (PERFORM/
MIDI/MIDI).
4 . Repeat step 3 to turn the Local parameter ON for each
part that you wish to play.
5 . Press [EDIT] to make the indicator light. Then press the
[COMMON] function button, and press [ ] or [ ] to
access the PERFORM COMMON display.
5 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
6 . Make sure that the Key Range parameter is ON. If it is
OFF, use the cursor buttons to move the cursor to the
Key Range parameter, and rotate the VALUE dial or
press [INC]/ [DEC] to turn it ON.
■ Pla y in g Alo n g w ith a So n g
Pla y b a ck (XP-3 0 Use d a s a
Mu ltitim b ra l So u n d So u rce )
When a Single Performance is selected, the XP-30’s keyboard
will play only the Part you selected from the keyboard,
convenient when you play the keyboard along with a song
* If the Key Range parameter is OFF, the keyboard cannot be split
even when you set the key range.
playback.
fig.2-11.e
7 . Press [ ] to access the KEY RANG display.
fig.2-10
Part 1
Part 2
Part 15 Part 16
8 . Press [EDIT] to make the indicator go dark.
9 . Press a function button to select the part whose Local
parameter you wish to turn ON. When the [1-8/ 9-16]
indicator is dark, you can select parts 1–8. When the [1-
8/ 9-16] indicator is lit, you can select parts 9–16.
1 0 . Specify the range of notes for which the part will sound.
Use the cursor buttons to move the cursor to the Lower
parameter and set the lowest note of the range. Move the
cursor to the Upper parameter and set the highest note of
the range.
Se le ctin g a Pa rt Yo u W a n t to Pla y o n
th e Ke y b o a rd
If a Single Performance is selected, press [ ] or [ ] to
select the Part you want to play. The selected Part is called
the Current Part.
1 1 . Rotate the VALUE dial or press [INC]/ [DEC] to specify
1 . Make sure that the PERFORM PLAY display is showing.
the range of notes.
2 . Press [ ] or [ ] to choose the Part to be played.
* By specifying sections for different Parts so that they overlap
each other, you can combine two or more Patches only in a
specific section.
The part number shown in the upper right of the display will
change.
fig.2-12
1 2 . When you are finished making settings, press [EXIT] to
return to the PERFORM PLAY display, and begin
playing.
* You can also press a function button to select the part that you
wish to play. At this time, the function button indicator of the
selected part will light.
Mu tin g a Sp e cific Pa rt
(Tu rn in g Re ce ive Ch a n n e l O n / O ff)
While you play along with the playback of a song, you can
turn on/ off any specific Part. This allows you to turn off the
melody Part for karaoke applications or for practicing the
muted Part.
1 . Make sure that [EDIT] indicator is dark. If it is lit, press
[EDIT] to turn it off.
At this time, the function button indicators will indicate the on/
off status of each Part. When [1-8/ 9-16] indicator is dark, the
function button indicators will indicate the status of Parts 1-8.
When [1-8/ 9-16] indicator is lit, the function button indicators
will indicate the status of Parts 9-16. Lit is on, and dark is off.
2 . Hold down [SHIFT] and press the function button to
switch Parts on/ off.
* This setting is linked with the Rx parameter (PERFORM/
MIDI/MIDI).
5 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
3 . Move the sliders while you play the XP-30’s keyboard to
vary the sound.
■ Assig n in g a Diffe re n t Pa tch to a
Pa rt
To change brightness, move the CUTOFF slider.
To change resonance, move the RESO slider.
To change attack time, move the ATTACK slider.
To change decay time, move the DECAY slider.
The Patch assigned to each Part can be stored as a
Performance parameter.
1 . Make sure that the PERFORM PLAY display is showing.
2 . Press [ ] or [ ] to choose the Part to which you want
Ch a n g in g th e Le ve l (Vo lu m e ) o f Ea ch Pa rt
1 . Make sure that the PERFORM PLAY display is showing.
2 . Press [LEVEL] to light its indicator.
to assign a different Patch.
3 . While holding down [PERFORM], press [PATCH] to call
up the PLAY display (PART PLAY) of the Patch assigned
to a specific Part.
3 . Press [ ] or [ ] to select the Part whose level (volume)
you want to change.
fig.2-13
If you’ve selected any of Parts 1–4, sliders 1, 2, 3, and 4 adjust
Parts 1, 2, 3, and 4, respectively.
The upper right of the display will indicate the number of the
currently selected part (the current part).
If you’ve selected any of Parts 5–8, sliders 1, 2, 3, and 4 adjust
Parts 5, 6, 7, and 8, respectively.
4 . Use the same procedure as in Patch mode to select a
If you’ve selected any of Parts 9–12, sliders 1, 2, 3, and 4
adjust Parts 9, 10, 11, and 12, respectively.
Patch (p. 47).
If you’ve selected any of Parts 13–16, sliders 1, 2, 3, and 4
adjust Parts 13, 14, 15, and 16, respectively.
* This setting is linked with the Group parameter and Number
parameter (PERFORM/PART/PATCH).
4 . Move the slider as you play to adjust the level (volume)
5 . Press [PERFORM] or [EXIT] to return to the PERFORM
of each Part as desired.
PLAY display.
■ Usin g th e Slid e rs to Mo d ify th e
So u n d in Re a ltim e
(So u n d Pa le tte Fu n ctio n )
Using the Sound Palette function, you can modify sound
characters of the Patch assigned to a Part or adjust the
volume level of each Part.
* Sound variations or volume changes made with the Sound
Palette function affect only the performance. They have no effect
on the currently selected Performance, so the Sound Palette
settings cannot be saved. If you change the Performance, these
settings will be lost.
* The sound character and volume changes created using the
Sound Palette will also be transmitted to the external MIDI
devices.
Ch a n g in g So u n d Ch a ra cte rs
* If Single Performance is selected, the effect applies only to the
current Part. With Layer Performance selected, this affects only
the Parts with Local parameter (PERFORM/MIDI/MIDI) set
ON.
1 . Make sure that the PERFORM PLAY display is showing.
2 . Press [FILTER/ ENV] to light its indicator.
5 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
1 . Press [RHYTHM] to call up the RHYTHM PLAY display.
fig.2-14.e
Pla y in g in Rh y th m Se t Mo d e
Rhythm Set number
In Rhythm Set mode, you can play percussion instruments
(Rhythm Tones) on the keyboard. As the Rhythm Tone
assigned to each key varies by the Rhythm Set selected, you
can play a wide range of percussion instruments.
Rhythm Set group
Rhythm Set name
2 . Rotate the VALUE dial or press [INC]/ [DEC] to select a
■ Se le ctin g a Rh y th m Se t
Rhythm Set.
The XP-30 contains a total of twelve rhythm sets, organized
into six groups (User and Preset A–E) with two rhythm sets
in each group. In addition, the rhythm sets of two popular
Wave Expansion Boards (“Session” and “Techno Collection”)
are onboard. Furthermore, you can install up to two
separately sold Wave Expansion Boards, giving you access to
an even larger number of percussion instruments.
* Here, pressing [0] (on the numeric key) while holding down
[CATEGORY] takes you to the display shown below, where you
can verify the total number of selectable Rhythm Sets (a), and
the number within the sequence of the currently selected
Rhythm Set (b), and choose a Rhythm Set.
fig.2-14a
USER
The XP-30’s user memory contains two Rhythm Sets that can
be rewritten to make up your own Rhythm Sets.
(b) (a)
PR-A–C, E (Pre se t A–C, E)
Se le ctin g a Rh y th m Se t Usin g N u m e ric
Ke y s
The XP-30 includes eight preset Rhythm Sets that are not
user-rewritable. But you can call up preset Rhythm Set
settings into the temporary area, modify them, and then store
them in user memory.
Using numeric keys, you can direct input a desired Rhythm
Set.
1 . Press [RHYTHM] to call up the RHYTHM PLAY display.
PR-D (GM (Ge n e ra l MIDI))
2 . Press the following buttons to select a Rhythm Set group.
GM Rhythm Sets are for instruments compatible with the
General MIDI System intended to standardize MIDI
specifications among different equipment makers or models.
The XP-30 offers two GM Rhythm Sets that are not user-
rewritable. But you can call up GM Rhythm Set settings into
the temporary area, modify them, and then store them in
user memory.
Button
Rhythm Set Group
[SHIFT] + [1]
[SHIFT] + [2]
[SHIFT] + [3]
[SHIFT] + [4]
[SHIFT] + [5]
[SHIFT] + [6]
[EXP A]
PR-A (Preset A)
PR-B (Preset B)
PR-C (Preset C)
PR-D (GM (General MIDI))
PR-E (Preset E)
XP-A a n d C (In te rn a l W a ve Ex p a n sio n )
USER (User)
The rhythm sets of two Wave Expansion Boards (16 rhythm
sets) are already built-in, and cannot be rewritten. However,
you can modify the settings of the currently selected rhythm
set, and then save the modified settings in User memory.
XP-A (“Session”)
[EXP C]
XP-C (“Techno Collection”)
XP-D (Wave Expansion Board D)
XP-E (Wave Expansion Board E)
[EXP D]
[EXP E]
XP-D, E (W a ve Ex p a n sio n Bo a rd s in sta lle d in
EXP-D, E Slo ts)
These Rhythm Sets are included in optional Wave Expansion
Boards and are not user-rewritable. But you can call up
Rhythm Set settings into the temporary area, modify them,
and then store them in user memory.
3 . Use numeric keys to input a Rhythm Set number.
The rhythm set number and name will blink. At this point
the Rhythm Set has not yet been finalized.
4 . Press [ENTER] to finalize the entry.
* Using Digit Hold, a Rhythm Set can be selected simply by
specifying the 1’s place number (p. 48).
* A Patch XP-D, E cannot be accessed if the Wave Expansion
Board it belongs to has not been installed.
5 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
■ Pla y in g Pe rcu ssio n In stru m e n ts
1 . Press [RHYTHM] to call up the RHYTHM PLAY display.
Pla y in g a n Arp e g g io
The XP-30’s Arpeggiator lets you produce an arpeggio
(broken chord) simply by playing a chord. In addition to
normal arpeggios, you can also accurately simulate guitar
cutting or strumming techniques depending on the
Arpeggiator settings. The Arpeggiator can in fact be used as
a handy automatic arranger.
2 . Select a desired Rhythm Set.
3 . Press a key on the keyboard to play a percussion
instrument.
The key (Note name) you press and its percussion
instrument name (Rhythm Tone name, the same as the Wave
By pressing [ARPEGGIO], the indicator lights and allows
playing arpeggios from the XP-30 keyboard.
it uses) will be displayed below the Rhythm Set name.
fig.2-15.e
* If you press [ARPEGGIO] to turn this function on when Single
Performance is selected, the current Part will play arpeggios.
When a Layer Performance is selected, an arpeggio will sound
for the Part specified by the Part parameter (SYSTEM/
ARPEGGIO/ARPEGGIO).
Note name
Rhythm Tone name
You can also use the TONE SELECT buttons to select the
displayed key.
* The arpeggios played by the arpeggiator are also transmitted
from the MIDI OUT connector to external MIDI devices.
[TONE SELECT 1]: move to an octave lower key
[TONE SELECT 2]: move to the semitone below
[TONE SELECT 3]: move to the semitone above
[TONE SELECT 4]: move to an octave higher key
1 . Make sure that the PLAY display of the sound source
mode (PERFORM, PATCH, RHYTHM, GM) is
displayed.
* When you want to play the percussive instrument sound
assigned to the B1 key, first push [-OCT] once, then press the
B2 key. Similarly, push [+OCT] once then press the C#6 or D6
key to play the percussive instrument sound assigned to the C#7
or D7 key. (On the XP-30, the leftmost white key is C2, and
rightmost white key is C7.)
2 . Press [ARPEGGIO] to turn the Arpeggiator on.
3 . If you wish to change how the arpeggio is played, hold
down [ARPEGGIO] to access the ARP SELECT display,
move the cursor to the Style parameter, and change the
setting.
Units (Octave Shift)” (p. 59).
* The selection you make here will also affect the Style parameter
(SYSTEM/ARPEGGIO/ARPEGGIO) settings.
There are 43 arpeggio styles available. For selection, refer to
the following guideline.
Pla y in g a n Arp e g g io Acco rd in g to th e Tim in g
In te rva l o f a N o te
1/ 4–1/ 32
Pla y in g a Glissa n d o
GLISSANDO
Pla y in g a Ba ss Pa rt
SYNTH BASS, SLAP BASS A, SLAP BASS B, WALK BASS
Pla y in g a Gu ita r
RHYTHM GTR A, RHYTHM GTR B, RHYTHM GTR C,
RHYTHM GTR D, RHYTHM GTR E, 3FINGER GTR,
STRUMMING GTR
Pla y in g a Ke y b o a rd In stru m e n t
KBD COMPING A, KBD COMPING B
Pla y in g a W a ltz
KBD COMPING C, KBD COMPING D
5 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
Pla y in g in Re g g a e Sty le
KBD COMPING E
■ Pla y in g a n Arp e g g io O ve r a
Pre se t Ke y b o a rd Are a
As soon as you press [ARPEGGIO] to turn the Arpeggiator
on, the keyboard will be set to play arpeggios so
conventional keyboard playing is no longer possible.
If you split the keyboard into two different areas, you can use
one area for normal playing and the other for playing
arpeggios. This setting, for instance, allows you to play
arpeggios with the left hand and a melody with the right
hand.
Pla y in g Pe rcu ssio n In stru m e n ts
PERCUSSION
* There are also other styles besides the above, including those
used for random play and for creating your own styles. For
details regarding each style, refer to “Arpeggio Settings
(ARPEGGIO)” (p. 108).
4 . To change the “groove” feel of the arpeggio, hold down
[ARPEGGIO] to access the ARP SELECT display, move the
1 . Press [PERFORM] to call up the PERFORM PLAY
cursor to the Accent parameter, and change the setting.
display.
fig.2-16a
2 . If you have selected a Single Performance, set the Key
Mode parameter (PERFORM/ COMMON/ PREFROM
COMMON) to LAYER (p. 52).
A setting of 100% will produce the most pronounced groove
feel.
3 . Make sure that the Key Range parameter (PERFORM/
COMMON/ PERFORM COMMON) is ON. If it is OFF,
turn it ON (p. 53).
* This setting will also affect the Accent Rate parameter
(SYSTEM/ARPEGGIO/ARPEGGIO) settings.
5 . To change the range in which the arpeggio is played,
hold down [ARPEGGIO] to access the ARP SELECT
display, move the cursor to the Oct parameter, and
4 . Set the Local parameter (PERFORM/ MIDI/ MIDI) ON
for the Part you want to hear (p. 52).
change the setting.
5 . After pressing [SYSTEM] to make the indicator light up,
fig.2-17
press the [ARPEGGIO] function button followed by [
]
to display an Arpeggio screen like the one shown below.
fig.2-18
If you want the arpeggio to sound using only the notes that
you actually play, set this to 0. With a +1 setting, arpeggio will
take place over a range up to 1 octave higher than the notes
you play. A -1 setting will result in arpeggio occurring over
the range down to 1 octave lower than the notes you play.
6 . Use the cursor buttons to move the cursor to the Part
parameter.
7 . Rotate the VALUE dial or press [INC]/ [DEC] to set the
* This setting will also affect the Octave Range parameter
(SYSTEM/ARPEGGIO/ARPEGGIO) settings.
part that will play the arpeggio.
8 . Set the Lower or Upper parameter (PERFORM/
COMMON/ KEY RANG) to specify the note range of the
part that will play the arpeggio (p. 53).
6 . To change the tempo in which the arpeggio is played,
hold down [ARPEGGIO] to access the ARP SELECT
display, move the cursor to the Tempo parameter, and
change the setting.
fig.2-17a
9 . Set the key range of parts other than the arpeggio part so
that they do not overlap the range in which the arpeggio
is played.
1 0 . After you finish settings, press [EXIT] to call up the
* This setting will also affect the Tempo parameter (SYSTEM/
ARPEGGIO/ARPEGGIO) settings.
PERFORM PLAY display again and play a chord.
* If you play an arpeggio using Layer Performance but without
setting key range, the chords will sound for all Parts except for
the specified Part.
7 . Play a chord to produce an arpeggio.
8 . To stop the arpeggio, press [ARPEGGIO] to turn off the
indicator.
* If you hold down [SHIFT] when you press [ARPEGGIO], the
ARP SELECT display will continue being displayed, without
you having to hold down [ARPEGGIO]. To go back to the
previous display, press [EXIT].
5 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
■ Ho ld in g a n Arp e g g io
If you hold down [ARPEGGIO] and press [TRANSPOSE],
and get the indicator to start blinking, the arpeggio will
continue to be played even if you release the chord.
■ Pla y in g a n Arp e g g io fro m a n
Ex te rn a l MIDI De vice
The XP-30 can also produce arpeggios with incoming Note
messages from an external MIDI device.
1 . Hold down [ARPEGGIO] and press [TRANSPOSE] to
1 . Connect the XP-30’s MIDI IN connector and the MIDI
OUT connector of an external MIDI device with a MIDI
cable.
make the indicator blink.
2 . Play a chord.
2 . Press [PERFORM] to call up the PERFORM PLAY
3 . If you play a different chord or notes while the arpeggio
display.
is being held, the arpeggio will change accordingly.
3 . Press [SYSTEM] to make the indicator lit, press the
4 . To cancel Arpeggio Hold, hold down [ARPEGGIO] and
[MIDI] function button, and then press [ ] to access the
press [TRANSPOSE] simultaneously once again.
PERFORM MIDI display.
fig.2-19
Usin g a Ho ld Pe d a l
If you play an arpeggio while pressing the hold pedal, the
arpeggio will continue to be played even if you release the
chord.
4 . Use the cursor buttons to move the cursor to the Remote
parameter.
1 . Connect an optional pedal switch to the HOLD PEDAL
jack.
5 . Rotate the VALUE dial or press [INC]/ [DEC] to turn the
setting ON.
2 . Play a chord while pressing the hold pedal.
6 . Play the external MIDI device.
3 . To play another chord, release the pedal, press it again as
you play the next chord.
■ Cre a tin g a n Arp e g g io Pa tte rn
There are a total of 9 parameters that can be set for the
Arpeggiator, but the most important is the Style parameter
setting. The arpeggio pattern is largely determined by this
setting.
■ Sim u la tin g a Gu ita r Cu ttin g
Te ch n iq u e
You can simulate a guitar cutting technique by following the
procedure below. By using the Sound Palette, it is also
possible to apply a wah effect as you play.
When you set the Style parameter, the Motif, Beat Pattern,
Accent Rate and Shuffle Rate parameters will automatically
be set to optimum settings. After selecting the style, you can
also set Octave Range and Key Velocity parameters, etc.
If this selection does not provide the pattern you want,
modify the settings of the Motif, Beat Pattern, Accent Rate
and Shuffle Rate parameters to add variations to the style as
desired.
1 . Select a guitar Patch.
2 . Set the Style parameter (SYSTEM/ ARPEGGIO/
ARPEGGIO) to RHYTHM GTR B, RHYTHM GTR C,
RHYTHM GTR D or RHYTHM GTR E.
3 . Press [FILTER/ ENV] so the indicator lights.
* Motif, Beat Pattern, Accent Rate and Shuffle Rate settings will
be lost if you select another style and then turn the power off.
4 . Move the CUTOFF slider or RESO slider while you play
a chord.
* The values you can set with the Motif or Beat Pattern
parameters are normally limited by the selected style. Only
when the Style parameter is set to LIMITLESS will all values be
acceptable.
5 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
1 . Press [SYSTEM] to make the indicator lit, and then press
Co n ve n ie n t Fu n ctio n s fo r
the [ARPEGGIO] function button to access the
Pe rfo rm a n ce
ARPEGGIO display.
fig.2-20
■ Tra n sp o sin g th e Ke y b o a rd in
O cta ve Un its (O cta ve Sh ift)
keyboard in 1 octave units (-3– +3 octaves).
* For details regarding each parameter, refer to “Arpeggio
Settings (ARPEGGIO)” (p. 108)
For playing a bass part more easily using your right hand,
transpose the keyboard down by 1 or 2 octaves.
2 . Move the cursor to “Style” and specify the style you
want.
1 . Press [+OCT] or [-OCT] and its indicator will light.
Pressing [+OCT] once will raise the keyboard 1 octave and
pressing [-OCT] once will lower it 1 octave.
3 . Move the cursor to “Octave Range” and specify the key
range over which you want arpeggio.
4 . Press [ ], move the cursor to “Motif,” and specify the
The specified Octave Shift setting will be shown in the
“center=C4” indication of each Play screen. For example if
you press [+OCT] once to raise the keyboard one octave, the
order in which the notes of the chord will be sounded.
* The available choices depend on the Style parameter setting. For
press the C4 key, the C5 note will sound.
fig.2-21
5 . Move the cursor to “Beat Pattern” to change the beat
(rhythm).
* The available choices depend on the Style parameter setting. For
valid even if you select a different Patch, Performance or
Rhythm Set or turn power off.
6 . Press [ ], move the cursor to “Accent Rate,” and specify
the groove ratio.
A 100% setting will result in the most pronounced “groove”
2 . To turn off the Octave Shift function, press the other
button [+OCT] or [-OCT] of that pressed in step 1 the
same number of times. The indicator will go off.
feel.
7 . Move the cursor to “Shuffle Rate” and specify the swing
rate.
With a setting of 50%, the notes will be spaced evenly. As the
value increases, the note timing will have more of a “swing”
feel.
8 . Press [ ], move the cursor to “Key Velocity,” and specify
the strength with which the notes of the chord will be
sounded.
Move the cursor to “Key Velocity” and specify the force of
the chord.
When REAL is selected, the velocity at which the notes are
actually played will be used. With a setting of 1–127, the
specified velocity value will be used regardless of the force
with which you play the chord.
9 . If you want to play an arpeggio using Layer
Performance, move the cursor to “Part” and specify the
Part for which you want arpeggio.
* Parts other than that specified here will not sound as arpeggios,
and the notes of the chord will sound as you play.
1 0 . Move the cursor to “Tempo” and specify the speed of an
arpeggio.
1 1 . After you finish settings, press [EXIT].
5 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 . Pla y in g
■ Tra n sp o sin g th e Ke y b o a rd in
Se m ito n e Ste p s (Tra n sp o se )
Transpose changes keyboard pitch in units of semitones (-5–
+6 semitones).
■ If “ Stu ck ” N o te s O ccu r o r a
N o te Do e s N o t So u n d (Pa n ic)
If a note played on the XP-30 or from an external device
“locks” or keeps sounding and you can’t shut it off, hit the
Panic button. Do the same if a note does not sound.
This function is useful when you play transposed
instruments such as trumpet or clarinet following a printed
score.
W h e n “ Stu ck ” N o te s O ccu r
1 . Hold down [SHIFT] and press [EXIT].
MIDI messages for Note Off and Hold Off will be
transmitted to the Parts (MIDI channels) receiving Note On/
Hold On messages.
1 . Press [TRANSPOSE] to light indicator.
This turns Transpose on.
2 . While holding down [TRANSPOSE], press [+OCT] or [-
OCT] to transpose the keyboard.
2 . The display will indicate “Panic! Now Muting.” while
the Panic function is being executed. When this message
goes off, you can start playing.
Pressing [+OCT] once while holding down [TRANSPOSE]
will raise the keyboard one semitone. Pressing [-OCT] once
while holding down [TRANSPOSE] will lower the keyboard
one semitone.
W h e n a N o te Do e s N o t So u n d
The specified Transpose setting will be added to the Octave
Shift value. For example, if you hold down [TRANSPOSE]
and press [+OCT] once to raise the keyboard a semitone, the
display will indicate “center=C#4.” So when C4 is pressed,
the C#4 note will sound.
1 . Hold down [SHIFT] and press [EXIT] for more than a
second.
MIDI messages for Volume (127), All Note Off, Pitch Bend
(center), Channel Aftertouch (0), Modulation (0), and Hold 1
(0) will be transmitted to all Parts (MIDI channels).
3 . To turn off Transpose, press [TRANSPOSE] once again
so that its indicator goes off.
2 . The display will indicate “Panic! Now Transmitting.”
while the Panic function is being executed. When this
message goes off, you can start playing.
The Transpose setting you make will be maintained.
* The Transpose setting you make here will also change the
Transpose parameter (SYSTEM/CONTROL/KEYBOARD).
* The setting you make will be maintained even if you select a
different Patch, Performance or Rhythm Set, or turn the power
off.
6 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
In Pe rfo rm a n ce Mo d e / GM Mo d e
The Multi-Effects, Chorus and Reverb effects can be set
Re g a rd in g Effe cts
The XP-30 contains three independent effects units.
individually for each Performance and GM mode. The
intensity of each effect will be set for each Part (Fig. 1), but
the Send Level setting for each Tone can also influence effect
intensity (Fig. 2). Effects settings of the Patch assigned to
each Part will be ignored, but Multi-Effects applied to a Patch
assigned to a given Part can also be applied to the entire
Mu lti-Effe cts (EFX)
The Multi-Effects offers 40 different effects ranging from
single effects such as distortion and delay to powerful
combination effects. The Multi-Effects also includes chorus
and reverb effects which are independent of the Chorus and
Reverb outlined below.
Performance.
fig.3-02.e
Ch o ru s
Fig.1 – When Output Assign is set to “EFX” in the Performance
mode (the output settings for Tone are ignored)
Chorus adds depth and spaciousness to the sound.
Performance
Re ve rb
Part 1
Reverb adds reverberation characteristics of hall or
auditorium ambiences.
Patch
Part16
Connection of the three effects units depend on the mode
you’ve selected.
TONE
Multi-Effects
Chorus
Reverb
■ Ho w Effe cts Un its W o rk in
Diffe re n t Mo d e s
In Pa tch Mo d e
The Multi-Effects, Chorus and Reverb effects can be set
individually for each Patch. Adjusting the signal level to be
sent to each effects unit (Send Level) provides control over
fig.3-03.e
Fig.2 – When Output Assign is set to “PATCH” in the Performance
mode (the output settings for Tone are valid)
Performance
the effect intensity that’s applied to each Tone.
fig.3-01
Part 1
Patch
Patch
Part16
TONE
Multi-Effects
TONE
Multi-Effects
Chorus
Chorus
Reverb
Reverb
In Rh y th m Se t Mo d e
Because in Rhythm Set mode, only Part 10 of a Performance
is called up, the effects settings of a Performance in the
temporary area will be used.
6 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
■ Tu rn in g Effe cts O n / O ff
So u n d Ed itin g Pro ce d u re s
Built-in effects units (Multi-Effects, Chorus and Reverb) can
be turned on/ off for the XP-30 as a whole. Turn them off if
you want to edit sound while listening to the original sound
or if you want to use external effects units.
With the XP-30, you have total control over various settings.
Each item to be set is a parameter. Editing refers to
modifying any parameter value. This section goes over
editing procedures for Patches, Performances and Rhythm
Sets.
1 . Press [EFFECTS ON/ OFF] to call up the EFFECTS ON/
OFF display.
fig.3-04
■ Ed itin g a Pa tch
Start by editing a preexisting Patch to create a new one. Since
a Patch is a combination of up to any four Tones, you should
listen to how the individual Tones sound before you edit.
2 . Press [ ] or [ ] to move the cursor to the effect that
you wish to modify.
Fo u r Tip s fo r Ed itin g Pa tch e s
3 . Rotate the VALUE dial or press [INC]/ [DEC] to switch it
Start with a Patch that’s somewhat familiar sounding
It’s hard to create a new sound that’s exactly what you
want if you just select a Patch and modify its
on/ off.
4 . When you finish making settings, press [EFFECTS ON/
OFF] or [EXIT] to return to the previous display.
parameters at random. It makes sense to start with a
Patch whose sound is related to what you have in mind.
* When the EFX (multi-effects), Chorus, and Reverb processors
are all off, the [EFFECTS ON/OFF] indicator goes out, showing
that the onboard effects processors are not used.
Deciding on the Tone to use
When creating a Patch, deciding on the Tones you’ll use
is crucial. For each Tone, use the TONE SWITCH [1]–[4]
to decide whether to turn it on (have it sound) or off.
Turn off Tones you don’t need to avoid using more
voices than required. A Tone switches on/ off each time
its respective button is pressed. When a Tone’s
indicator lights, it’ll sound.
Check the Structure setting
The important Type parameter (PATCH/ COMMON/
STRUCT) determines how the four Tones combine.
Before editing Tones, make sure you really understand
how they work together.
Turn off effects
Since XP-30 effects really influence the sound, turn
them off to listen to the sound itself so you can better
evaluate the changes you’re making. Sometimes just
changing effects settings can give you the sound you
want.
6 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
1 . Press [PATCH] to access the PATCH PLAY display, and
select the Patch whose settings you wish to modify (p.
47).
An asterisk (*) will be displayed at the left of the Patch group.
fig.3-07
2 . Press [EDIT] to make the indicator light.
*
If you select another Patch in the group with an asterisk (*), the
modified Patch settings will be lost. If you wish to keep these
modified settings, you must write them into user memory (p. 68).
3 . Use the function buttons to select the display group.
The button indicator of the selected display group will blink.
fig.3-05
Ed itin g Pa tch e s Usin g th e Pa le tte Disp la y
When editing a Tone in a Patch, the parameter values of the
four Tones can be displayed together on a single display called
the Palette display. Use it when you want to modify
4 . Use [ ] or [ ] to select a display page.
5 . If you have selected a parameter display that can be set
independently for each Tone, the number of the Tone
selected for editing will be shown in the display. To
select a different Tone, press [EDIT] to temporarily turn
off the indicator, and use TONE SELECT [1]–[4] (located
parameter values as you compare the settings of the four Tones.
1 . When modifying a Tone, use [ ] or [ ] to move the
cursor to the parameter you wish to modify.
2 . Press [PALETTE EDIT] to call up the Palette display.
fig.3-08
in the row of function buttons) to select a Part.
fig.3-06
For simultaneously modifying the same parameter for two or
more Tones, hold down one of TONE SELECT [1]–[4]
buttons and press another TONE SELECT [1]–[4] button,
then another if so desired. An asterisk (*) will be indicated for
Tones other than the first-selected Tone.
3 . Press a TONE SELECT [1]–[4] buttons, [ ] or [ ] to
choose the Tone to modify.
* To switch Tones on/off, turn off [EDIT] indicator and then use
the TONE SWITCH [1]–[4] located in the row of function
buttons.
The button indicator for the selected Tone will light and the
Tone number and Wave name appear in the display.
For modifying the same parameter of two or more Tones
simultaneously, hold down one of TONE SELECT [1]–[4]
buttons and press another.
6 . Use [ ] or [ ] to move the cursor to the parameter
you wish to modify.
7 . Use the VALUE dial, [INC]/ [DEC] or numeric keys and
4 . Use the VALUE dial, [INC]/ [DEC] or numeric keys to
change the parameter value.
modify the parameter value.
* If you’ve selected two or more Tones, your editing will modify
the parameter values for all selected Tones by the same amount.
If you’ve selected two or more Tones, your editing will
modify the parameter values for all selected Tones by the
same amount.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
If you want to set all selected Tones to the same value, select
the Tone having that value by pressing [ ] or [ ] and
while holding down [SHIFT], press [ENTER].
8 . If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, press [UNDO/COMPARE] to restore
the value to what it was.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
5 . If you wish to edit other parameters, press [ ] or [ ] to
select the parameter that you wish to edit.
6 . Repeat steps 3–5 to complete a Patch.
9 . Repeat steps 3–8 to complete a Patch.
7 . To cancel the palette display, press [PALETTE EDIT] to
1 0 . When you finish making settings, press [EXIT] or
make the button indicator go dark.
[PATCH] to return to the PATCH PLAY display.
6 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s
N o te o n To n e Ed itin g
With many acoustic instruments like piano and sax, radical
timbral changes occur during the first few moments of the
note. This initial attack is what defines much of the
instrument’s character. The XP-30 provides a variety of
waveforms containing realistic acoustic instrument attacks.
To obtain the maximum realism when using these
Because the XP-30 is designed to create wholly realistic
sounds, editing necessarily affects the complex PCM
waveforms sound are based on. So if you try to create a
sound which is totally different from the original waveform,
the results may not be what you want. XP-30 waveforms are
divided into:
waveforms, it is best to leave the filter wide open during the
attack. This way, all the complex timbral changes can be
heard. For the decay portion of the sound, you can use the
envelope to produce the desired changes. If you use the
envelope to modify the attack portion as well, the natural
attack contained in the waveform itself will not be heard to
One-Shot: These waveforms contain sounds that have short
decays. A one-shot waveform records the initial
rise and fall of the sound. Some of the XP-30’s
one-shot waveforms are sounds that are
complete in themselves, such as percussive
instrument sounds. The XP-30, however,
contains many other one-shot waveforms that
are only partial elements of sounds. These
include attack components such as piano
hammer sounds and guitar fret noises.
full advantage, and you may not achieve the result you want.
fig.3-10.e
Looped Portion
Tone change stored
with the wave
Looped: These waveforms contain sounds with long
decays or sustained sounds. With looped
waveforms, the latter part of the sound is
generated repeatedly over a specified portion of
the waveform for as long as the note is held
(allowing wave memory to be used more
efficiently). The XP-30’s looped waveforms
include such sound components as piano string
vibrations and hollow sounds of brass
Envelope
for the TVF filter
Resulting tone change
instruments.
The following diagram shows an example of sound (electric
If you try to make just the attack brighter and subdue just the
decay using the TVF filter, you need to keep in mind the
timbral characters of the original waveform. And particularly
if you’re making a part of the sound brighter than the
original waveform, you should first generate upper
harmonics (not present in the original waveform) using
Color and Depth parameters (PATCH/ WAVE/ FXM) before
filtering. If you don’t, the results will be disappointing. To
make the entire sound brighter than the original waveform,
try adjusting effects such as enhancer and equalizer before
modifying the TVF parameter (PATCH/ TVF).
organ) that combines one-shot and looped waveforms.
fig.3-09.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
N o te s fo r Ed itin g O n e -Sh o t W a ve fo rm s
An envelope cannot be used for giving a one-shot waveform
a longer decay than the original waveform’s, or make it a
sustaining sound. Even if you were to make such envelope
settings, you would simply be controlling a non-existent
portion of the sound, so such settings would have no
meaning.
6 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
An asterisk (*) will be displayed at the left of the Performance
■ Ed itin g a Pe rfo rm a n ce
group. This shows Performance settings have been modified.
fig.3-13
Start with an existing Performance and edit it to create a new
Performance. But before you do, try to envision what the
entire Performance will sound like and decide which Patch to
assign to each of 16 Parts.
* If you select another Performance in the group with an asterisk
(*), the modified Performance settings will be lost. If you wish to
keep these modified settings, you must write them into user
memory (p. 68).
1 . Press [PERFORM] to access the PERFORM PLAY
display, and select the Performance whose settings you
wish to modify (p. 51).
2 . Press [EDIT] to make the indicator light.
Ed itin g Pe rfo rm a n ce Usin g th e Pa le tte
Disp la y
3 . Use the function buttons to select the display group.
The button indicator of the selected display group will blink.
fig.3-11
You can also edit a Performance using the Palette display in
Performance mode. When modifying Part settings for a
Performance, the values for eight Parts (Part 1–8 or Part 9–16)
will be displayed together on a single display. This is useful
when you wish to change parameter values while comparing
each Part settings.
4 . Use [ ] or [ ] to select a display page.
1 . When modifying a Part, use [ ] or [ ] to move the
5 . If you have selected a parameter display that can be set
independently for each Part, the number of the Part
selected for editing will be shown in the display. To
select a different Part, press [EDIT] to temporarily turn
off the indicator, and use [1-8/ 9-16] and the function
cursor to the parameter you wish to modify.
2 . Press [PALETTE EDIT] to call up the Palette display.
fig.3-14
buttons to select a Part.
fig.3-12
6 . Use [ ] or [ ] to move the cursor to the parameter
you wish to modify.
3 . Press [ ] or [ ] to choose the Part to modify.
The Part number and the Patch name assigned to the Part
will be shown in the display.
7 . Use the VALUE dial, [INC]/ [DEC] or numeric keys and
modify the parameter value.
* If you’ve selected two or more Tones, your editing will modify
the parameter values for all selected Tones by the same amount.
* To switch between the palette page for parts 1–8 and the palette
page for parts 9–16, press [1-8/9-16].
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
4 . Use the VALUE dial, [INC]/ [DEC] or numeric keys to
change the parameter value.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, press [UNDO/COMPARE] to restore
the value to what it was.
8 . If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
5 . If you wish to edit other parameters, press [ ] or [ ] to
select the parameter that you wish to edit.
6 . Repeat steps 3–5 to complete a Performance.
7 . To cancel the palette display, press [PALETTE EDIT] to
9 . Repeat steps 3–8 to complete a Performance.
make the button indicator go dark.
1 0 . When you finish making settings, press [EXIT] or
[PERFORM] to return to the PERFORM PLAY display.
6 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
4 . Use [ ] or [ ] to select a display page.
Mo d ify in g th e Pa tch Assig n e d to a Pa rt
When using Patches in Performance mode, some settings
such as effects settings will be affected by Performance
settings. If you wish to edit a Patch while hearing how it will
sound in the Performance, use this procedure:
5 . If you have selected a parameter display that can be set
independently for each key, the key selected for editing
will be shown in the display. To select a different key,
play the desired key on the keyboard.
fig.3-17
1 . Make sure that the PERFORM PLAY display is showing.
2 . Press [ ] or [ ] to select the Part to which the selected
Patch is assigned.
* If [EDIT] indicator is turned off, you can also use the TONE
SELECT [1]–[4] (located in the row of function buttons) to
select the displayed key.
3 . While holding down [PERFORM], press [PATCH].
Both button indicators will light. This will call up the PLAY
TONE SELECT [1]: move to an octave lower key
TONE SELECT [2]: move to the semitone below
TONE SELECT [3]: move to the semitone above
TONE SELECT [4]: move to an octave higher key
display of the Patch assigned to the currently selected Part.
fig.3-15
6 . Use [ ] or [ ] to move the cursor to the parameter
4 . The following steps are the same as when you modify a
you wish to modify.
Patch in Patch mode.
7 . Use the VALUE dial, [INC]/ [DEC] or numeric keys and
5 . When you finish making settings, press [EXIT] to call up
the PLAY display of the Patch assigned to the Part.
modify the parameter value.
An asterisk (*) will be displayed at the left of the Patch group.
This indicates the Patch settings have been modified.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
6 . To return to the PERFORM PLAY display, press
[PERFORM] or [EXIT].
8 . If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
* If you select another Patch in the group with an asterisk (*), the
modified Patch settings will be lost. To keep these modified
settings, you must write them into user memory (p. 68).
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
■ Ed itin g a Rh y th m Se t
You can change the percussion instrument assigned to each
key. As each percussion instrument consists of a single
Rhythm Tone, there is no Palette display.
9 . Repeat steps 3–8 to complete a Rhythm Set.
1 0 . When you finish making settings, press [EXIT] or
[RHYTHM] to return to the RHYTHM PLAY display.
An asterisk (*) will be displayed at the left of the Rhythm Set
1 . Press [RHYTHM] to access the RHYTHM PLAY display,
and select the Rhythm Set whose settings you wish to
modify (p. 55).
group. This shows Rhythm Set settings have been modified.
fig.3-18
2 . Press [EDIT] to make the indicator light.
3 . Use the function buttons to select the display group.
The button indicator of the selected display group will blink.
fig.3-16
* If you select another Rhythm Set in the group with an asterisk
(*), the modified Rhythm Set settings will be lost. If you wish to
keep these modified settings, you must write them into user
memory (p. 68).
* Since Rhythm Sets do not have an LFO, it will not be possible to
select the LFO group.
6 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Re w rita b le Me m o ry
Ke e p in g Ed ite d So u n d
Sy ste m Me m o ry
System memory stores system parameter settings that
determine how the XP-30 functions. When you modify these
settings, the system memory settings are rewritten directly.
These settings are non-volatile, being retained even when the
power is turned off.
■ Me m o ry a n d Da ta Sto ra g e
The location where Patch and Performance settings, etc. are
stored is Memory. There are three memory types: temporary
memory, rewritable memory and non-rewritable memory.
fig.3-19.e
XP-30 Sound
Preset E (PR-E)
Use r Me m o ry
Preset D (GM)
User memory contains data for 32 Performances, 128 Patches
and two Rhythm Sets.
Preset C (PR-C)
User (USER)
Preset B (PR-B)
XP-C
Performance
Preset A (PR-A)
Me m o ry Ca rd (o p tio n a l: Sm a rtMe d ia )
These are read/ write cards which can store data from
internal system memory and user memory. You can use
memory cards to store data for which there is no room in
internal user memory, or data which you wish to use on
another XP-30.
32
XP-B
XP-A
Performance
32
Patch
128
Patch
128
Patch
Rhythm Set
2
Rhythm Set
2
Rhythm Set
Write
Before a memory card can be used, it must be formatted (p.
122).
Temporary Area
Save
* Either “S2M-5” or “S4M-5” memory cards can be used.
Memory cards are not included, but may be purchased from
your dealer.
Load
N o n -Re w rita b le Me m o ry
Expansion Board
EXP-E Slot (XP-E)
Data File (.SVD)
Pre se t Me m o ry
EXP-D Slot (XP-D)
Patch
Performance
32
Data in Preset memory (Patch: PR-A–C, E, GM, XP-A–C,
Performance: PR-A, B, Rhythm Set: PR-A–C, E, GM, XP-A, C)
cannot be rewritten. However, you can call up settings from
preset memory into the temporary area, modify them and
then store the modified data in rewritable memory.
Patch
128
Rhythm Set
Rhythm Set
2
System
Memory Card
W a ve Ex p a n sio n Bo a rd s
(o p tio n a l: SR-JV8 0 Se rie s)
Te m p o ra ry Me m o ry
Up to four Wave Expansion Boards can be installed in EXP-
D, E Slots in the XP-30. Wave Expansion Boards contain
Wave data, as well as Patches and Rhythm Sets that use this
Wave data, which can be called directly into the temporary
area and played.
Te m p o ra ry Are a
This area holds data for the Performance, Patch, and Rhythm
Set you select using the front panel buttons, etc. When you
play the keyboard or play back an external sequence, sound
is produced based on data in the temporary area. When you
modify a Performance, Patch or Rhythm Set, you are
modifying the data that has been called into the temporary
area instead of the data in memory.
Settings in the temporary area are temporary, and will be lost
when the power is turned off or when you select another
Performance/ Patch/ Rhythm Set. To keep the settings you
have modified, you must write them into rewritable
memory.
6 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
■ Sto rin g a So u n d Yo u Mo d ify
Fu n ctio n s o f Pa tch Pa ra m e te rs
in to Use r Me m o ry
fig.3-05
The modified settings you make are only temporary, and will
be lost if you turn the power off or select another Patch,
Performance or Rhythm Set. To keep the modified settings,
you must write them into user memory.
■ Se ttin g s Co m m o n to th e En tire
1 . In Patch mode (when storing a Patch), Performance
mode (when storing a Performance) or in Rhythm Set
mode (when storing a Rhythm Set), press [UTIL/ CARD].
Pa tch (CO MMO N )
On this display you can assign a name to a Patch and set the
volume and pan of the entire Patch.
The UTIL 1 display will appear.
fig.3-20
PATCH N AME
You can assign a name of up to 12 characters to the Patch.
* For details on assigning names, refer to “Assigning a Name”
2 . Use [ ] or [ ] to make “1: WRITE” blink. Then press
(p. 46).
[ENTER].
The WRITE display will appear.
fig.3-21.e
PATCH CATEGO RY
Ca te g o ry
Specify the type (category) of the Patch.
The Patch Search function uses this setting. This setting also
determines the phrase that will be sounded by the Phrase
Preview function.
Writing destination
3 . Use the VALUE dial, [INC]/ [DEC] or numeric keys to
specify the Patch, Performance or Rhythm Set number of
the destination of writing.
* For details on the category names, refer to p. 49.
PATCH CLO CK
4 . Press [ENTER].
Some parameters allow you to set a time value in terms of a
note length which is determined by a tempo setting or tempo
source you specify; Rate parameters (PATCH/ LFO/ LFO1,
2), Time parameter (PATCH/ WAVE/ TONE DELAY), and
some Multi-Effects parameters. This Patch Clock setting sets
the tempo which can be used by these parameters.
If Internal Write Protect is turned off, the specified writing
destination Patch, Performance or Rhythm Set will be
overwritten.
5 . If Internal Write Protect (p. 121) is turned on, the
following display will appear. Change the ON setting to
OFF, and press [ENTER]. Internal Write Protect will be
turned off, and you will return to the display of step 2.
Press [ENTER] once again and the selected Patch will be
* When using a Patch in Performance mode, the setting of this
parameter will be ignored, and the setting of the PERFORM
CLOCK display (PERFORM/COMMON) will be used instead.
overwritten.
So u rce (Pa tch Clo ck So u rce )
fig.3-22
Select the source of the Patch Clock.
PATCH: Synchronize to the Patch Tempo setting.
SYSTEM: Synchronize to the tempo clock of the sequencer.
* Internal Write Protect is automatically turned ON when the
XP-30’s power is turned on.
* The Patch Clock does not transmit clock messages from MIDI
OUT connector.
Te m p o (Pa tch Te m p o )
Set the Patch Tempo setting.
* When Source (Patch Clock Source) is set to SYSTEM,
synchronization will be according to the tempo clock of the
system, so it will not be possible to set the tempo value. The
tempo of the system will be displayed in parentheses ( ).
PATCH CO MMO N
Le ve l
Adjust the volume level of the Patch.
6 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Pa n
Prio rity (Vo ice Prio rity )
Adjust the stereo position of the Patch. A setting of L64 is far
left, 0 is center, and 63R is far right.
Specify which currently-sounding notes will take priority
when notes are turned off to make room for newly-requested
notes that would exceed the limit of 64 simultaneous voices.
An a lo g Fe e l (An a lo g Fe e l De p th )
Adjust the depth at which 1/ f modulation is applied to the Patch.
LAST:
Notes played later will take priority. When the
65th voice is requested, the first-played of the
currently sounding notes will be turned off.
1 / f Mo d u la tio n
LOUDEST: Louder notes will take priority. When the 65th
voice is requested, the softest of the currently
sounding notes will be turned off.
“1/ f” is a mathematical ratio that expresses the amount
of “predictable randomness” occurring in natural
sounds that the human ear finds pleasing, such as soft
breezes or gentle brooks. The XP-30 is able to modulate
the pitch and volume of sounds by this ratio to create
the warmth characteristic of early analog synthesizers.
Ve lRa n g (Ve lo city Ra n g e Sw itch )
Specify whether the Velocity Range setting (see following
display) will be used or not. The Velocity Range setting will
be used when the VelRange parameter is ON.
O cta ve (O cta ve Sh ift)
Specify the transposition of the Patch when played on the
keyboard, in units of one octave (-3–+3 octaves).
VELO CITY (Ve lo city Ra n g e )
These parameters specify the range of velocities that will
play the Tone. This can be used to make notes of different
strengths play different Tones.
Stre tch (Stre tch Tu n in g De p th )
Select the stretch tuning curve. The selected curve will affect the
way in which notes of a chord sound with each other. The diagram
below shows the tuning curves which can be selected. In the
“tuning curve,” the horizontal axis represents the scale, and the
vertical axis represents pitch difference relative to equal
temperament. When OFF is selected for this parameter, the notes of
the keyboard will be in mathematically equal temperament. With a
* To make Velocity Range settings, the Velocity Range Switch in
the previous display must be turned ON.
Lo w e r (Ve lo city Ra n g e Lo w e r)
Specify the lower velocity limit. Although it also depends on
the Cross Fade settings, notes played softer than this limit will
not sound the Tone, or will produce extremely quiet sounds.
Up p e r (Ve lo city Ra n g e Up p e r)
setting of 3, the high and low note ranges will be stretched the most.
fig.3-23.e
Specify the upper velocity limit. Although it also depends on
the Cross Fade settings, notes played more strongly than this
limit will not sound the Tone, or will produce extremely
quiet sounds.
Pitch difference from
equal temperament
Parameter value
3
2
1
* It is not possible to set Lower to a value greater than Upper, nor
Upper to a value less than Lower. If you attempt to do so, the
two values will change together.
OFF
OFF
1
Cro ss Fa d e (Ve lo city Cro ss Fa d e )
Specify the way in which the volume of the Tone will change
when the velocity of a note falls outside of the specified Velocity
Range. Higher settings will result in a more gradual change in
volume. If you do not want the Tone to sound at all for
2
3
velocities outside the specified range, set this parameter to 0.
fig.3-24.e
High note range
Low note range
Level
Stre tch e d Tu n in g
Acoustic pianos are normally tuned so that the high note
range is a bit sharper and the low note range is a bit flatter
than a mathematically calculated equal temperament (i.e.,
where each octave would be precisely double the
Velocity
1
Lower
Upper
frequency of the previous octave). This is done simply
because pianos sound better when tuned this way.
parameter value
parameter value
6 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
fig.3-25e
KEY RAN G (Ke y Ra n g e )
TYPE 5
These parameters specify the range of notes that will play the
Tone. This can be used to make notes in different areas of the
keyboard play different Tones.
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
R
Lo w e r (Ke y Ra n g e Lo w e r)
Specify the lowest note that will play the Tone.
TVF TVA
TVF TVA
TVF TVA
TVF TVA
TVA
Up p e r (Ke y Ra n g e Up p e r)
Specify the highest note that will play the Tone.
fig.3-25f
TYPE 6
* It is not possible to set Lower to a value greater than Upper, nor
Upper to a value less than Lower. If you attempt to do so, the
two values will change together.
TONE 1 (3) WG
TVA
TVF
R
* If you have used Octave Shift (System) or the Transpose
parameter (SYSTEM/CONTROL/KEYBOARD) to transpose
the pitch of the XP-30’s keyboard, the keyboard area specified by
Key Range will also be shifted.
TONE 2 (4) WG
fig.3-25g
TYPE 7
STRUCT (Stru ctu re )
TONE 1 (3) WG
TVF TVA
Ty p e (Stru ctu re Ty p e )
The Structure parameter determines how Tones 1 and 2 (and
R
TONE 2 (4) WG
3 and 4) are connected.
fig.3-25a
fig.3-25h
TYPE 1
TYPE 8
TONE 1 (3) WG
TONE 2 (4) WG
TVF
TVF
TVA
TVA
TONE 1 (3) WG
TVF TVA
R
TONE 2 (4) WG
fig.3-25b
fig.3-25i
TYPE 2
TYPE 9
TONE 1 (3) WG
TVA
TVA
TVA
TVF
TONE 1 (3) WG
TVF TVA
TVF
R
TONE 2 (4) WG
TVF TVA
TVF TVA
TVF TVA
TONE 2 (4) WG
fig.3-25c
fig.3-25j
TYPE 3
TYPE 10
TONE 1 (3) WG
TVF
TONE 1 (3) WG
TVF TVA
TVF
B
R
TONE 2 (4) WG
TONE 2 (4) WG
TVA
fig.3-25d
TYPE 4
TONE 1 (3) WG
TVF
B
TONE 2 (4) WG
7 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
The display will graphically indicate the selected Structure.
The symbols displayed have the following meanings.
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1), A2
(TVA2), B (booster), R (ring modulator)
■ Se ttin g Effe cts fo r a Pa tch
(EFFECTS)
This group contains settings for the Multi-Effects/ Chorus/
Reverb effects used by a Patch.
* If you select a Tone while in the Structure display, the Tone that
is paired with the selected Tone will also be selected.
* If an “x” mark is displayed at the right of the display name, the
effect for that display has been turned off. Turn the
* If a Structure 2–10 is selected, turning off one Tone will cause
the other Tone to be connected in the simple order of WG/TVF/
TVA.
corresponding effect on before you make settings (p. 62).
O UTPUT
These parameters specify how the output of each Tone will
Bo o ste r (Bo o ste r Ga in )
be sent to the effects.
If the Type parameter has been set to 3 or 4, you can adjust
how strongly the Booster will function. The Booster amplifies
the incoming signal, causing it to distort. This creates an
effect similar to the distortion often used on an electric
guitar.
* When the Type parameter (PATCH/COMMON/STRUCT) has
a setting of 2–10, the outputs of Tones 1 (3) and 2 (4) will be
combined with Tone 2 (4). This means that the setting for Tone
1 (3) will be ignored.
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)
Select whether or not the output of each Tone will be sent
through Multi-Effects, and adjust the volume of each Tone.
MIX: Output the Tone to the OUTPUT jack without passing
through Multi-Effects.
Rin g Mo d u la to r
The Ring Modulator multiplies two Tones together,
creating a new sound that includes overtones
(inharmonic overtones) that were not present in either
of the two original Tones. Since the pitch difference
between the two Tones will change the overtone
structure, the result will be an unpitched metallic
sound. This is especially suitable for creating bells and
EFX: Output the Tone to the OUTPUT jack through Multi-
Effects.
* If you select MIX, the settings in the PATCH EFX OUT
display (PATCH/EFFECTS) will be ignored.
other metallic sounds.
fig.3-26
Ch o ru s (Ch o ru s Se n d Le ve l)
Adjust the amount of Chorus for each Tone.
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of Reverb for each Tone.
PATCH EFX TYPE
Specify the Patch Multi-Effects.
Ty p e (EFX Ty p e )
Select the type of Multi-Effects. For details refer to “Multi-
PATCH EFX PRM (Pa tch EFX Pa ra m e te rs)
Set the various parameters of the selected EFX type. For
93).
7 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
PATCH EFX O UT (Pa tch EFX O u tp u t)
These parameters specify the output for the Tone for which
EFX was selected in Output Assign.
PATCH CHO RUS
These parameters control the Chorus effect of the Patch.
Ra te (Ch o ru s Ra te )
* For Tones which have an Output Assign setting of MIX, the
settings of this display will be ignored.
Adjust the speed of modulation for the Chorus effect.
De p th (Ch o ru s De p th )
Mix O u t (EFX O u tp u t Le ve l)
Adjust the volume level of the original sound and the Multi-
Effects sound.
Adjust the depth of modulation for the Chorus effect.
De la y (Ch o ru s Pre De la y )
Adjust the time delay after the original sound begins until
the Chorus effect begins to apply. Higher settings result in a
more spacious effect.
Ch o ru s (Ch o ru s Se n d Le ve l)
Adjust the amount of Chorus for the sound that passes
through Multi-Effects.
Fb k (Ch o ru s Fe e d b a ck Le ve l)
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of Reverb for the sound that passes
through Multi-Effects.
Adjust the amount of sound from the Chorus output that is
returned (fed back) to the Chorus. Higher settings result in a
more intense effect.
Le ve l (Ch o ru s Le ve l)
Adjust the volume of the Chorus effect.
PATCH EFX CTRL (Pa tch EFX Co n tro l)
Use this setting when you wish to use a specific controller to
control an EFX parameter. The EFX parameters available for
control will depend on the selected EFX type. For details
upper line of the display will show the EFX parameters that
can be controlled. For each EFX parameter, you can specify
the EFX Control Source and the EFX Control Depth.
O u t (Ch o ru s O u tp u t Assig n )
Select the way in which the Chorus and Reverb are
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
Chorus input
Reverb
EFX Co n tro l So u rce 1 , 2
The following MIDI controllers can be used. If you wish to
use a controller that will apply to all Patches, or a controller
that cannot be directly specified here, select SYS-CTRL1 or
SYS-CTRL2, and then select the controller using the Control
1/ 2 parameter (SYSTEM/ CONTROL/ SYS-CTRL ASSIGN).
OUTPUT
Reverb input
Chorus
REV:Apply reverb to the chorus sound.
fig.3-28.e
OFF:
controller not used
SYS-CTRL1:
SYS-CTRL2:
System controller (control 1)
System controller (control 2)
Chorus
input
Chorus
Reverb
OUTPUT
MODULATION: Modulation (MIDI controller number 1)
BREATH:
FOOT:
Breath (MIDI controller number 2)
Foot (MIDI controller number 4)
Volume (MIDI controller number 7)
Pan (MIDI controller number 10)
Reverb
input
VOLUME:
PAN:
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
EXPRESSION: Expression (MIDI controller number 11)
BENDER: Pitch bend
fig.3-29.e
AFTERTOUCH: Aftertouch
Reverb
input
EFX Co n tro l De p th 1 , 2
Reverb
OUTPUT
Chorus
Adjust the amount of change that will occur in response to
controller movements. Higher settings will result in greater
change. Negative (-) settings will reverse the direction of
change.
Chorus
input
7 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
PATCH REVERB
These parameters control the Reverb effect of the Patch.
■
Usin g Co n tro lle rs to Ch a n g e Ho w
So u n d s Are Pla y e d (CO N TRO L)
The parameters in this group determine how the controllers
Ty p e (Re ve rb / De la y Ty p e )
Select the type of Reverb effect.
will function.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
KEY MO DE & BEN DER
(Ke y Assig n Mo d e & Be n d e r)
Assig n (Ke y Assig n Mo d e )
Specify how notes will be played. When playing a solo instrument
Patch (such as sax or flute) it is effective to use a setting of SOLO.
POLY: Two or more notes can be played simultaneously.
SOLO: Only one note will sound at a time.
HALL1:
HALL2:
DELAY:
reverb with clear reverberance
reverb with rich reverberance
a conventional delay
PAN-DLY: a delay with echoes that move left and right
Le g a to (So lo Le g a to Sw itch )
Tim e (Re ve rb / De la y Tim e )
Turn this parameter ON when you use Solo Legato, and OFF when
you do not. Solo Legato is a function that works only when the Key
Assign Mode is SOLO. When Solo Legato is ON, pressing a key
while a previous key is already pressed will cause the note to
change pitch to the pitch of the newly pressed key while continuing
to sound. This is effective when you wish to simulate performance
techniques such as a guitarist’s hammering on and pulling off.
Adjust the time of reverberation. If you have selected DELAY
or PAN-DLY, this parameter will adjust the time delay from
the original sound until the first echo will sound.
Fb k (De la y Fe e d b a ck Le ve l)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay
repeats.
Be n d Ra n g e
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
Specify the amount of pitch change that will occur when you
move the Pitch Bend Lever. The left value specifies the pitch
change that will occur when the lever is moved fully left. The
right value specifies the pitch change that will occur when the
lever is moved fully right. The left value has a range of -48–0 (-4–
0 octaves), and the right value has a range of 0–+12 (0–1 octaves).
HF Da m p (Re ve rb / De la y HF Da m p )
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
PO RTAMEN TO
Portamento is a function that causes the pitch to change
smoothly from one note to the next played note. When the
Key Assign Mode is SOLO, this is effective when simulating
performance techniques such as a violinist’s glissando.
Le ve l (Re ve rb / De la y Le ve l)
Adjust the volume of the reverberant (or delayed) sound.
Sw (Po rta m e n to Sw itch )
Set this to ON when you wish to use Portamento.
Tim e (Po rta m e n to Tim e )
Adjust the time over which the pitch will change to the new pitch.
Mo d e (Po rta m e n to Mo d e )
Select the way in which Portamento will be applied.
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only for notes played
legato (i.e., when you press the next key before
releasing the previous key.
Ty p e (Po rta m e n to Ty p e )
Select the way in which the pitch difference between the two
notes will be related to the time of movement.
RATE: Time of movement will change in relation to the
pitch difference.
TIME: Time of movement will be constant, regardless of the
pitch difference.
7 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Sta rt (Po rta m e n to Sta rt Pitch )
Pa n (Re ce ive Pa n Co n tro l Sw itch )
Portamento will begin anew if you press another key during
a pitch movement. This setting specifies how the new
portamento will start.
Specify how Pan messages will be received.
OFF:
Not received.
CONT:
Whenever a Pan message is received, it will
immediately change the stereo location of the
sound.
PITCH: Pitch will begin changing when the new key is
pressed.
fig.3-30.e
KEY-ON: The stereo location of the sound will be changed
when the next note is played. If a Pan message is
received while a note is sounding, the current
stereo location will not change until the next note.
In this case, the stereo location will change only
for the note played later, and the currently
sounding note will not move.
Pitch
C5
D4
C4
Pitch Be n d (Re ce ive Pitch Be n d Sw itch )
If you want Pitch Bend messages to be received, turn this
parameter ON. If not, turn it OFF.
Time
press D4 key
press C5 key
press C4 key
DAMPER
NOTE: Pitch will begin changing from the destination of the
Specify how Hold 1 (sustain pedal) messages will be received
current movement.
by each Tone.
fig.3-31.e
Ho ld -1 Rx Sw itch (Re ce ive Ho ld 1 Sw itch )
If you want Hold 1 messages to be received, turn this
parameter ON. If not, turn it OFF.
Pitch
C5
Re d a m p e r (Re d a m p e r Sw itch )
If a Hold 1 message is received during the time between a
note-off (when you release the key) until when the sound
disappears, the currently sounding sounds will be sustained
if this Redamper setting is ON. If you use this function, you
must also turn on the Receive Hold 1 switch.
D4
C4
Time
press D4 key
press C5 key
press C4 key
PEAK & HO LD
Hold messages (Hold 1, Hold 2, Sostenuto, Soft) are used to
sustain the sound. The XP-30 allows you to use these Hold
messages to hold the values of specific parameters.
Rx SW ITCH (Re ce ive Sw itch )
These parameters determine how Volume/ Pan/ Pitch Bend
MIDI messages will be received by each Tone.
* If you use this function, you must also turn on the Receive Hold
1 switch for the Patch (previous screen).
* In general, Volume messages control the volume, Pan messages
control the stereo location, and Pitch Bend messages control the
pitch of. However the XP-30 allows you to use these MIDI
messages to control other parameters that you specify. Thus, if
you are using a message to control another (i.e., a non-standard)
parameter, you should turn off reception for that MIDI message.
If reception is turned on, that MIDI message will control its
standard function in addition to the special assignment you
have made.
* If you select HOLD for the following parameters, you must also
set the Hold parameter (SYSTEM/CONTROL/CONTROL
SOURCE) to the type of Hold message being controlled.
* If you select PEAK for the following parameters, you must also
set the Peak parameter (SYSTEM/CONTROL/CONTROL
SOURCE) to the type of Hold message being controlled.
Vo lu m e (Re ce ive Vo lu m e Sw itch )
If you want Volume messages to be received, turn this
parameter ON. If not, turn it OFF.
7 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
AFTERTOUCH: Aftertouch
Efx Ctrl (EFX Co n tro l Pe a k / Ho ld )
Specify how Hold messages will affect the parameters you
specify in the PATCH EFX CTRL display (PATCH/
EFFECTS).
LFO1:
LFO1 rate
LFO2 rate
Velocity
LFO2:
VELOCITY:
KEYFOLLOW: Key follow (adjust the parameter value
depending on the keyboard location, relative
to a standard value (0) at the C4 key)
OFF: Parameter values will not be held even if Hold
messages are received.
HOLD: Parameter values will be held when Hold messages
are received.
PLAYMATE:
Playmate (adjust the parameter value
depending on the time length that the key is
pressed)
PEAK: Parameter values will be held when Hold messages
are received. However if a parameter value higher
than the current one is received while Hold is still
on, that new value will be held.
Co n tro l 3 (Co n tro l So u rce 3 )
Assign a controller to Control Source 3. The controllers
available for selection are the same as for Control Source 2.
Ctrl 1 (Co n tro l 1 Pe a k / Ho ld )
Specify how Hold messages will affect the parameters
controlled by Control Source 1 (Modulation: MIDI controller
number 1). The settings are the same as for EFX Control.
CO N TRO L 1 –3
Specify the parameters to be controlled by Control Sources 1–3
and the depth of each parameter. The upper line of the display
will show the Control Source selected in the previous display.
Ctrl 2 (Co n tro l 2 Pe a k / Ho ld )
This parameter specifies the way in which Hold messages
will control the parameter selected as Control Source 2 in the
following display. The range of values is the same as for EFX
control.
* From the PATCH PLAY display you can switch directly to the
CONTROL1 display by pressing [CONTROLLER] while
holding down [SHIFT].
De stin a tio n 1 –4
Ctrl 3 (Co n tro l 3 Pe a k / Ho ld )
Select the parameters to be controlled. Up to four parameters can
be specified for each controller, and controlled simultaneously.
OFF: no control
This parameter specifies the way in which Hold messages
will control the parameter selected as Control Source 3 in the
following display. The range of values is the same as for EFX
control.
PCH: WG Pitch
CUT: TVF Cutoff Frequency
RES: TVF Resonance
CO N TRO L SO URCE
LEV: TVA Level
If you wish to use controllers to control a specific Tone
parameter, select the controller in this display. Each Patch
can have up to 3 control source assigned to it, but the
function of control source 1 is fixed at Modulation (MIDI
controller number 1).
PAN: TVA Pan
MIX: Output level of Tone
CHO: Chorus Send level of Tone
REV: Reverb Send level of Tone
PL1: LFO1 depth of WG Pitch
PL2: LFO2 depth of WG Pitch
FL1: LFO1 depth of TVF Cutoff Frequency
FL2: LFO2 depth of TVF Cutoff Frequency
AL1: LFO1 depth of TVA Level
AL2: LFO2 depth of TVA Level
pL1: LFO1 depth of TVA Pan
pL2: LFO2 depth of TVA Pan
L1R: LFO1 rate
Co n tro l 2 (Co n tro l So u rce 2 )
Assign one of the following controllers to Control Source 2. If
you want to use a controller that will be common to all
Patches, or to use a controller that is not available for
selection here, first select SYS-CTRL 1 or SYS-CTRL 2 then set
the Control 1/ 2 parameter (SYSTEM/ CONTROL/ SYS-CTRL
ASSIGN) to select the controller.
OFF:
a controller will not be used
System controller (Control 1)
System controller (Control 2)
SYS-CTRL1:
SYS-CTRL2:
L2R: LFO2 rate
De p th 1 –4
MODULATION: Modulation (MIDI controller number 1)
Adjust the amount of change that will occur in response to
controller movement. Higher value will cause greater
change. Negative (-) values will reverse the direction of the
change. For LFO rates, negative (-) values will lengthen the
period (causing slower modulation), and positive (+) values
will shorten the period (causing faster modulation).
BREATH:
FOOT:
Breath (MIDI controller number 2)
Foot (MIDI controller number 4)
Volume (MIDI controller number 7)
Pan (MIDI controller number 10)
VOLUME:
PAN:
EXPRESSION: Expression (MIDI controller number 11)
BENDER: Pitch bend
7 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Mo d e (To n e De la y Mo d e )
Select the way in which the Tone will sound.
■ Mo d ify in g W a ve fo rm (W AVE)
This group contains parameters related to the basic
waveform (Wave) of the Tone.
NORMAL:
The Tone will sound after the specified
Delay Time.
fig.3-32.e
W AVE
Gro u p (W a ve Gro u p )
Select the Group of the Wave.
INT-A, B: Internal A, B
Delay Time
EXP-A–E: Wave Expansion Boards A–E
press key
HOLD:
release key
* It is not possible to select a Group of a Wave Expansion Board
that is not installed.
If the key is pressed for longer than the
specified Delay Time, the Tone will sound after
the Delay Time. If the key is released earlier
than the Delay Time, the Tone will not sound.
N u m b e r (W a ve N u m b e r)
Select the Wave number. The name of the Wave will be
displayed in parentheses ( ).
fig.3-33.e
Ga in (W a ve Ga in )
Adjust the gain (volume boost) of the Wave. The setting
range is -6–+12 dB, in steps of 6 dB. An increase of 6 dB
doubles the gain. When using the Booster to distort the
sound, it is effective to use the maximum Gain setting.
Delay
Time
Delay Time
Tone does
not sound
press key
release key press key release key
Sw itch (To n e Sw itch )
PLAYMATE:
If 2 seconds or more pass before the next key is
pressed, the Tone will sound after the Delay
Time. If less than 2 seconds pass before the next
key is pressed, that interval will become the
Delay Time after which the Tone will sound.
When you wish to use the Tone, set this ON. When not using
the Tone, set this OFF. In order to make best use of the
available number of simultaneous voices, unused Tones
should be turned off.
* When you use TONE SWITCH [1]–[4] to turn Tones on/off,
this is the parameter that is being set.
CLOCK-SYNC: Synchronize the Delay Time to either the Patch
Tempo (PATCH/ COMMON/ PATCH
CLOCK), the Performance Tempo
FXM (Fre q u e n cy cro ss m o d u la tio n )
FXM is a function that uses frequency modulation to add
new harmonic components to the sound. It can be used as a
simple ring modulator in order to add a metallic flavor.
(PERFORM/ COMMON/ PERFORM CLOCK),
or the tempo clock of the XP-30’s system.
If you want to use a fixed tempo in Patch
mode (Tempo parameter setting), set the
Source parameter (PATCH/ COMMON/
PATCH CLOCK) to PATCH and set the
desired tempo.
Sw itch (FXM Sw itch )
When you wish to use FXM turn this ON. If not, turn it OFF.
Co lo r (FXM Co lo r)
If you want to use the system’s tempo clock
in Patch mode, set the Source parameter
(PATCH/ COMMON/ PATCH CLOCK) to
SYSTEM.
Select one of four ways in which FXM will use frequency
modulation.
De p th (FXM De p th )
Adjust the depth of the frequency modulation created by
FXM.
If you want to use a fixed tempo in
Performance mode (Tempo parameter
setting), set the Source parameter
(PERFORM/ COMMON/ PERFORM
CLOCK) to PERFORM and set the desired
tempo.
TO N E DELAY
This parameter produces a time delay from the moment the
key is pressed (or released) until when the Tone begins to
sound. Since you can adjust the timing of each Tone, you can
create effects in which pressing a single key produces two or
more sounds at different times.
If you want to use the system’s tempo clock
in Performance mode, set the Source
parameter (PERFORM/ COMMON/
PERFORM CLOCK) to SYSTEM.
* If you do not wish to use Tone Delay, set Mode to NORMAL
and Delay Time to 0.
7 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
KEY-OFF-N:
The Tone will not sound while the key is
being pressed, but will sound after the
Delay Time when the key is released.
Tim e (To n e De la y Tim e )
Specify the time after when the Tone will sound when using
Tone Delay.
fig.3-34.e
If PLAYMATE has been selected in Tone Delay mode, a
setting of 64 will mean that the delay time will be set to the
interval between the previous Note On and the current Note
On. A setting of 127 will result in a time that is twice as long
as for a setting of 64, and a setting of 32 will result in a time
that is 1/ 2 as long.
Delay
Time
press key
release key
If the Tone Delay Mode is set to CLOCK-SYNC, the setting
will be in quarter-note steps, and the corresponding note
value symbol will also be displayed. This lets you specify the
delay time in note lengths relative to the synchronization
tempo.
KEY-OFF-D:
The Tone will not sound while the key is
being pressed, but will sound after the
Delay Time when the key is released.
However for this setting, the TVA envelope
of the Tone will begin when the key is
pressed, so in most cases only the decay
portion of the sound will be heard.
* If the Type parameter (PATCH/COMMON/STRUCT) is set to
a selection of 2–10, the outputs of Tone 1 (3) and 2 (4) will be
combined into Tone 2 (4). This means that the settings of Tone 1
(3) will be ignored.
fig.3-35.e
Delay
Time
press key
release key
* If you have selected a Wave that is a decay-type sound (i.e., a
sound that fades away naturally even if the key is not released),
selecting KEY-OFF-N or KEY-OFF-D may result in no sound
being heard.
TEMPO-SYNC: If you select a Wave with tempo (BPM)
being displayed, the Tone will synchronize
to the tempo clock of the system regardless
of which key is pressed. This is most
effective when playing phrase loops in sync
with the tempo of a song (p. 130).
If you want to sync to the tempo of a system
in Patch mode, set the Source parameter
(PATCH/ COMMON/ PATCH CLOCK) to
SYSTEM.
If you want to sync to the tempo of a system
in Performance mode, set the Source
parameter (PERFORM/ COMMON/
PERFORM CLOCK) to SYSTEM.
* When TEMPO-SYNC is selected, pitch and FXM settings will
be ignored.
* When selecting TEMPO-SYNC, also set the Time parameter to
0. If other values are set, Tone Delay will be activated.
7 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ex tSy n c (LFO Ex te rn a l Sy n c)
Select how the LFO will be synchronized.
■ Mo d u la tin g So u n d s (LFO )
The LFO (Low Frequency Oscillator) creates cyclic change.
Each Tone has two LFOs, and these can be used to apply
change to the WG Pitch/ TVF Cutoff Frequency/ TVA Level/
TVA Pan.
OFF:
Unsynchronized
CLOCK: Synchronize the LFO to the Patch Tempo,
Performance Tempo, or the tempo clock of the XP-
30’s system.
If you want to use a fixed tempo in Patch mode
(Tempo parameter setting), set the Source
parameter (PATCH/ COMMON/ PATCH
CLOCK) to PATCH and set the desired tempo.
If you want to use the system’s tempo clock in
Patch mode, set the Source parameter (PATCH/
COMMON/ PATCH CLOCK) to SYSTEM.
If you want to use a fixed tempo in Performance
mode (Tempo parameter setting), set the Source
parameter (PERFORM/ COMMON/ PERFORM
CLOCK) to PERFORM and set the desired tempo.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter
(PERFORM/ COMMON/ PERFORM CLOCK) to
SYSTEM.
Ho w to Use th e LFO
Applying LFO to the Pitch creates vibrato, applying it to
TVF Cutoff Frequency creates wah, and applying it to TVA
Level creates tremolo. When LFO is applied to the TVA
Pan, the stereo location of the sound will change cyclically.
Depending on the settings, LFO can be used to cyclically
exchange two Tones. For example if you wish to shift
back and forth between Tones 1 and 2, select the same
LFO settings for both, but make LFO Depth settings of
opposite polarity (+/ -) for their TVA Level settings.
LFO 1 / LFO 2
Since both LFOs have the same parameters, there are
explained here together.
Mo d e (LFO Fa d e Mo d e )
Select how the LFO will be applied.
Fo rm (LFO Fo rm )
ON-IN:
The LFO will fade in after the key is pressed.
Select the waveform of the LFO.
fig.3-37.e
fig.3-36.e
Delay
Time
Fade
Time
TRI
SIN
SAW
SQR
high (more)
WG Pitch /
Depth
TVF Cutoff Frequency /
TVA Level / TVA Pan
key is
pressed
triangle wave
sine wave
sawtooth wave square wave
low (less)
TRP
S&H
RND
CHS
ON-OUT: The LFO will be immediately applied when the
key is pressed, and will then fade out.
fig.3-38.e
high (more)
Delay Time
Fade Time
Depth
trapezoidal wave
sample &
hold wave
random wave chaos wave
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Ke y Sy n c (LFO Ke y Sy n c)
key is
pressed
low (less)
Specifies whether you want the LFO cycle to start in sync
with the timing of a key press (ON) or not (OFF).
OFF-IN: The LFO will fade in after the key is released.
fig.3-39.e
Ra te (LFO Ra te )
Delay
Time
Fade
Time
Adjust the modulation rate of the LFO.
high (more)
* If you have set the External Sync value to CLOCK, this
parameter will indicate a note value in multiples of a quarter
note, and the corresponding note value symbol will also be
displayed. This allows you to set the LFO rate in terms of a note
length in the synchronization tempo.
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
key is
key is
pressed released
low (less)
* The Chaos waveform has no wavelength. When the Chaos
waveform is selected, the Rate setting has no effect.
7 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
OFF-OUT:The LFO will be immediately applied when the
■ Mo d ify in g Pitch (PITCH)
The parameters in this group affect the WG Pitch of each
Tone.
key is pressed, and will begin fading out when the
key is released.
fig.3-40.e
Delay
Time
Fade
Time
PITCH
high (more)
Specify the basic pitch of each Tone.
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Co a rse (Co a rse Tu n e )
Adjust the pitch in semitone steps (-4–+4 octaves).
key is
pressed
key is
released
low (less)
Fin e (Fin e Tu n e )
Adjust the pitch in 1-cent steps (-50–+50 cents).
De la y (LFO De la y Tim e )
Adjust the time from when the key is pressed (or released)
until the LFO begins to take effect. (Refer to the diagrams for
Fade Mode.)
* One cent is 1/100th of a semitone.
Ra n d o m (Ra n d o m Pitch De p th )
If you want the pitch of the Tone to change randomly each
time the key is pressed, set the desired amount of pitch
change here. If you do not want the pitch to change
randomly, set this to 0. The value is in units of 1 cent.
Fa d e (LFO Fa d e Tim e )
Adjust the time over which the LFO rises to its full effect (or
diminishes). (Refer to the diagrams for Fade Mode.)
O ffse t (LFO O ffse t)
Ke y fo llo w (Pitch Ke y Fo llo w )
Adjust the basic value of the LFO waveform upward or
downward.
This parameter sets the amount of pitch change that will
occur when you move one octave on the keyboard. If you
want the pitch to change 1 octave when the keyboard position
rises 1 octave (as on normal keyboard instruments), set this
parameter to +100. If you want the pitch to rise 2 octaves
when the keyboard position rises 1 octave, set this parameter
to +200. Negative (-) settings will make the pitch become
lower as you play up the keyboard. If you want all keys of the
LFO DEPTH 1 :2
These parameters adjust the way in which the LFO affects
each parameter. Two values are displayed for each
parameter. The left one is for LFO1, and the right one is for
LFO2.
keyboard to produce the same pitch, set this parameter to 0.
Pitch (Pitch LFO De p th 1 , 2 )
Adjust how much the LFO will affect the WG Pitch.
fig.3-41.e
+200 +150
+120
TVF (TVF LFO De p th 1 , 2 )
Adjust how much the LFO will affect the TVF Cutoff
Frequency.
Pitch
+100
+70
+50
+40
+30
+20
+10
0
TVA (TVA LFO De p th 1 , 2 )
Adjust how much the LFO will affect the TVA Level.
–10
–30
Pa n (Pa n LFO De p th 1 , 2 )
–50
–70
–100
Adjust how much the LFO will affect the TVA Pan.
C2
C3
C4
C5
C6
C7
Keyboard position
PCH EN VELO PE (Pitch En ve lo p e )
These parameters determine how the Pitch Envelope affects
the pitch.
En ve lo p e De p th (Pitch En ve lo p e De p th )
Adjust the amount of the Pitch Envelope. Higher settings
will result in greater change. Negative (-) settings will invert
the direction of the envelope.
7 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ve lo city Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )
Set this parameter when you want your keyboard playing dynamics
to affect the amount of pitch change. For higher settings, there will
be a greater difference between softly and strongly played notes.
Negative (-) settings will invert the direction of change.
■ Mo d ify in g th e Brig h tn e ss o f
So u n d w ith a Filte r (TVF)
The parameters in this group allow you to use the TVF (Time
Variant Filter) to modify the frequency characteristics of the sound.
FILTER
PCH TIME EN V (Pitch Tim e En ve lo p e )
These parameters determine how keyboard playing
dynamics will affect the times of the Pitch Envelope.
These parameters are the TVF filter settings.
Ty p e (Filte r Ty p e )
Select the filter type.
V-T1 (Pitch En ve lo p e Tim e 1 Ve lo city Se n sitivity )
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (time) of the Pitch Envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. For positive (+) settings,
keyboard velocity will speed up the T1 time. For negative (-)
settings, keyboard velocity will slow down the T1 time.
OFF:
filter not used.
LPF (Low Pass Filter): Cut the frequencies above the
Cutoff Frequency. This is the most
common type of filter used in
synthesizers.
BPF (Band Pass Filter): Pass only the frequencies in the
area of the Cutoff Frequency.
HPF (High Pass Filter): Cut the frequencies below the
Cutoff Frequency.
V-T4 (Pitch En ve lo p e Tim e 4 Ve lo city Se n sitivity )
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (time) of the Pitch Envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. For positive (+) settings,
keyboard velocity will speed up the T4 time. For negative (-)
settings, keyboard velocity will slow down the T4 time.
PKG (Peaking Filter): Emphasize the frequencies in the
area of the Cutoff Frequency.
Cu t (Cu to ff Fre q u e n cy )
Set the frequency of the filter.
Re s (Re so n a n ce )
Emphasize the frequencies in the area of the Cutoff
Frequency. For some settings, excessive levels can cause
Tim e Ke y fo llo w (Pitch En ve lo p e Tim e Ke y Fo llo w )
Use this parameter when you want the keyboard location of the
note to affect the times (T2–T4) of the Pitch Envelope. Higher
settings of this parameter will cause greater time change
relative to the envelope time at middle C (C4). Positive (+)
settings will cause the time change to become shorter for notes
to the right of middle C. Negative (-) settings will cause the
time change to become longer for notes to the right of middle C.
oscillation and distortion.
fig.3-43.e
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
PCH EN VELO PE (Pitch En ve lo p e )
These parameters set the Pitch Envelope (the shape of the
pitch change over time).
fig.3-42.e
T1
T2
T3
T4
L1
Low
L3
Ke y fo llo w (Cu to ff Fre q u e n cy Ke y Fo llo w )
Use this parameter when you want the Cutoff Frequency to
be affected by the keyboard position.
Pitch
Time
key is
pressed
key is
released
Higher values will result in greater change relative to middle
C (C4). Positive (+) settings will make the Cutoff Frequency
rise as you play further the right of the keyboard. Negative (-
) settings will make the Cutoff Frequency fall.
L2
L4
T1 –4 (Pitch En ve lo p e Tim e 1 –4 )
Set the times over which the pitch will change from one point
to the next.
En vDe p th (TVF En ve lo p e De p th )
Adjust the depth of the TVF envelope. Higher settings will
result in greater change. Negative (-) values will invert the
envelope.
L1 –L4 (Pitch En ve lo p e Le ve l 1 –4 )
Set the amount of pitch change (relative to the basic pitch) for
each point.
8 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
TVF VELO CITY
TVF EN VELO PE
These parameters determine how keyboard velocity will
These parameters set the TVF envelope (the way in which the
affect TVF Envelope/ Cutoff Frequency/ Resonance.
cutoff frequency will change over time).
fig.3-44.e
V-Se n s (TVF En ve lo p e Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the TVF
Envelope. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
T1
T2
T3
T4
L1
L3
L2
Cutoff
Frequency
L4
V-Cu rve (TVF En ve lo p e Ve lo city Cu rve )
Select one of 7 types of curve with which velocity will affect
the Cutoff Frequency. The curve is displayed graphically at
the right of the value.
Time
key is pressed
key is released
T1 –T4 (TVF En ve lo p e Tim e 1 –4 )
Set the times over which the cutoff frequency will move from
one point to the next.
V-Re so n a n ce (Re so n a n ce Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the
Resonance. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
L1 –L4 (TVF En ve lo p e Le ve l 1 –4 )
Set the cutoff frequency levels for each point, relative to the
basic
cutoff frequency.
TVF TIME EN V (TVF Tim e En ve lo p e )
These parameters determine how keyboard velocity will
affect the times of the TVF envelope.
■ Ch a n g in g th e So u n d ’s Vo lu m e
a n d Ste re o Lo ca tio n (TVA)
The TVA (Time Variant Amplifier) controls volume changes
and stereo location.
V-T1 (TVF En ve lo p e Tim e 1 Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect T1
(time) of the TVF envelope. Higher settings will result in a
greater difference between strongly and softly played notes.
If you want higher keyboard velocities to speed up the T1
time, use positive (+) settings. To slow down the T1 time, use
negative (-) settings.
TVA
Le ve l
Adjust the basic volume of the Tone. Use this parameter to
adjust the volume balance between Tones.
Pa n
V-T4 (TVF En ve lo p e Tim e 4 Ve lo city Se n sitivity )
Use this parameter when you want Key Off Velocity (the
speed at which you release a key) to affect T4 (time) of the
TVF envelope. Higher settings will result in a greater
difference between quickly and slowly released notes. If you
want a quicker release to speed up the T4 time, use positive
(+) settings. To slow down the T4 time, use negative (-)
settings.
Adjust the pan (stereo location) of the Tone. L64 is full left, 0
is center, and 63R is full right.
V-Se n s (TVA En ve lo p e Ve lo city Se n sitivity )
Use this parameter when you want keyboard velocity to
affect the amount of change produced by the TVA envelope.
Higher settings will result in a greater difference between
strongly and softly played notes. Negative (-) settings will
invert the effect.
Tim e Ke y fo llo w (TVF En ve lo p e Tim e Ke y Fo llo w )
Use this parameter when you want keyboard position to
affect the times (T2–T4) of the TVF envelope. Higher settings
will result in greater changes relative to middle C (C4).
Positive (+) settings will result in shorter times as you play
toward the right of the keyboard. Negative (-) settings will
conversely result in longer times.
V-Cu rve (TVA En ve lo p e Ve lo city Cu rve )
Select one of 7 curves that will determine how keyboard
playing dynamics will affect the TVA envelope. The selected
curve will be displayed at the right of the numerical value.
8 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
L or R values can be set, and this will reverse the left/ right
order of the panning. If you want to alternate the pan
position of two Tones, set them to opposite L and R settings.
BIAS
Use the Bias parameter when you want keyboard position to
affect the TVA level.
fig.3-45.e
TVA TIME EN V (TVA Tim e En ve lo p e )
These parameters determine how the keyboard will affect the
time changes of the TVA envelope.
LOWER
Level
UPPER
Level
+
0
–
+
0
–
Key
Key
V-T1 (TVF En ve lo p e Tim e 1 Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect T1
(time) of the TVA envelope. Higher settings will result in a
greater difference between strongly and softly played notes.
If you want higher velocities to speed up T1 time, use
positive (+) values. If you want higher velocities to slow
down T1 time, use negative (-) values.
C-1
G9
C-1
G9
Bias Point
Bias Point
LOWER&UPPER
ALL
–
+
+
0
–
+
0
–
Level
Level
0
0
–
+
Key
Key
C-1
G9
C-1
G9
Bias Point
Bias Point
V-T4 (TVA En ve lo p e Tim e 4 Ve lo city Se n sitivity )
Use this parameter when you want Key Off Velocity (the
speed at which you release a key) to affect T4 (time) of the
TVA envelope. Higher settings will result in a greater
difference between quickly and slowly released notes. If you
want a quicker release to speed up the T4 time, use positive
(+) settings. If you want a quicker release to slow down the
T4 time, use negative (-) settings.
Bia s (Bia s Le ve l)
Adjust the angle of the volume change that will occur in the
selected Bias Direction. Higher settings will result in greater
change. Negative (-) values will invert the change.
Po in t (Bia s Po in t)
Select the key at which the volume will begin to change.
Tim e Ke y fo llo w (TVA En ve lo p e Tim e Ke y Fo llo w )
Use this parameter when you want keyboard position to
affect TVA envelope times (T2–T4). Higher values will result
in a greater change relative to middle C (C4). Positive (+)
settings will result in shorter times as you play toward the
right of the keyboard. Negative (-) settings will result in
longer times as you play toward the right of the keyboard.
Dire ctio n (Bia s Dire ctio n )
Select the direction in which change will occur starting from
the Bias Point.
LOWER:
UPPER:
the range below the Bias Point
the range above the Bias Point
LOWER&UPPER: the ranges both above and below the Bias
Point
ALL:
the entire keyboard will be biased at the
angle determined by the Bias Level,
relative to the Bias Point
TVA EN VELO PE (TVA En ve lo p e )
These parameters make settings for the TVA envelope
(changes over time in the TVA level).
fig.3-46.e
PAN MO DULATE
T1
T2
T3
T4
Use these parameters to affect the location of the TVA Pan.
Level
L1
L2
Ke y fo llo w (Pa n Ke y Fo llo w )
L3
Use this parameter when you want the keyboard position to
change the stereo location. Higher values will result in
greater change relative to middle C (C4). Positive (+) settings
will cause notes played toward the right of the keyboard to
be panned right. Negative (-) settings will cause the opposite.
Time
key is pressed
key is released
T1 –T4 (TVA En ve lo p e 1 –4 )
Ra n d o m (Ra n d o m Pa n De p th )
Adjust the time over which the volume changes from one
point to the next.
Use this parameter when you want the stereo location to
change randomly each time you press a key. Higher values
will result in a greater width of change.
L1 –L3 (TVA En ve lo p e 1 –3 )
Adjust the volume level of each point relative to the basic
TVA level.
Alte rn a te (Alte rn a te Pa n De p th )
Use this parameter when you want the stereo location to
alternate between left and right each time you press a key.
Higher values will result in a greater width of change.
8 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
SINGLE: When you play the keyboard, only the specified
Part (the Part shown in the display) will sound.
MIDI messages will be transmitted from the
controller section to the external MIDI devices
even if the Local parameter and Tx parameter
settings for each Part (PERFORM/ MIDI/ MIDI)
are turned off.
Fu n ctio n s o f Pe rfo rm a n ce
Pa ra m e te rs
fig.3-11
* If you have selected a Layer-type Performance, the upper right of
the PERFORM PLAY display will indicate “LAYER p*” (* is
the part number). If you have selected a Single-type
Performance, the number of the Part that can be played from the
keyboard will be displayed.
■ Se ttin g s Co m m o n to th e En tire
Pe rfo rm a n ce (CO MMO N )
This display is used when setting parameters that are not part of
other groups. These include Performance Name and Key Mode.
* If LAYER has been selected and you try to play Patches of all
Parts, you probably won’t be able to play many simultaneous
voices. When layering Patches, be aware of the number of voices
settings for each Part allows you to split the keyboard to play
different Parts in separate sections.
PERFO RM N AME (Pe rfo rm a n ce N a m e )
You can assign a name to the Performance of up to 12 characters.
* For details on assigning names, refer to “Assigning a Name”
(p. 46).
PERFO RM CLO CK
* To switch between SINGLE and LAYER from the PERFORM
PLAY display, hold down [SHIFT] while you press [SOLO].
Some parameters allow you to set a time value in terms of a
note length which is determined by a specified tempo; Rate
parameters (PATCH/ LFO/ LFO1, 2), Time parameter
(PATCH/ WAVE/ TONE DELAY), and some Multi-Effects
parameters. The specified tempo used by these parameters
can be set for each Patch. However when a Patch is used in
Performance mode, the Patch settings will be ignored, and
the settings of this display will be used instead.
Ke y Ra n g e (Ke y Ra n g e Sw itch )
This parameter determines whether or not the Key Range
settings (next display) will be applied or not. If you want
them to be applied, turn this ON.
KEY RAN G (Ke y Ra n g e )
Set the range in which each Part will sound. Use this when
you wish to play different Patches in different areas of the
keyboard.
So u rce (Pe rfo rm a n ce Clo ck So u rce )
Select the source of the Performance Clock.
PERFORM: Synchronize to the Performance Tempo setting.
SYSTEM:
Synchronize to the tempo clock of the ststem.
Lo w e r (Ke y Ra n g e Lo w e r)
Set the lowest note that the Part will play.
* The Performance Clock does not transmit clock messages from
MIDI OUT connector.
Up p e r (Ke y Ra n g e Up p e r)
Set the highest note that the Part will play.
Te m p o (Pe rfo rm a n ce Te m p o )
Set the Performance Tempo setting.
* If Key Range settings have been made for the Patch, only the
notes for which the Key Range settings of the Patch and
Performance overlap will play.
* When Source (Performance Clock Source) is set to SYSTEM,
synchronization will be according to the tempo clock of the
system, so it will not be possible to set the tempo value. The
tempo of the system will be displayed in parentheses ( ).
* It is not possible to set Lower to a value greater than Upper, nor
Upper to a value less than Lower. If you attempt to do so, both
values will change together.
PERFO RM CO MMO N
* If you have used Octave Shift (System) or the Transpose
parameter (SYSTEM/CONTROL/KEYBOARD) to transpose
the pitch of the XP-30’s keyboard, the keyboard area specified by
Key Range will also be shifted.
Ke y Mo d e
This parameter determines how the sound source will be
played from the XP-30’s keyboard.
LAYER: When you play the keyboard, all Parts whose Local
parameter (PERFORM/ MIDI/ MIDI) is turned on
will sound. Transmission of MIDI messages from
the controller section to external MIDI devices will
be determined by the Tx parameter setting
(PERFORM/ MIDI/ MIDI) of each Part.
KEYBO ARD
O cta ve Sh ift
This parameter adjusts the pitch of each Part in units of an
octave (-3–+3 octaves).
8 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
■ Se ttin g Effe cts fo r a
Pe rfo rm a n ce (EFFECTS)
This group contains settings for the Multi-Effects/ Chorus/
Reverb effects used by a Performance.
W h e n th e EFX Pa ra m e te r Se ttin g s o f a
Pa tch Are Se le cte d
When the EFX parameter settings of a Patch are
selected, those settings will be displayed in the EFX
parameter setting display of the Performance, and you
will be able to modify them. If you wish to keep the
Patch EFX parameter settings that you modify, rewrite
the Patch settings. The modified Patch EFX parameter
settings will be lost if you select a different Patch.
O UTPUT
Specify how each Part will be output.
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)
Select whether the output of each Part will be sent through
Multi-Effects, and adjust the volume level of each Part.
MIX:
output to the OUTPUT jack without passing
through Multi-Effects.
PERFO RM EFX PRM
EFX:
output to the OUTPUT jack through Multi-Effects.
(Pe rfo rm a n ce EFX Pa ra m e te rs)
The EFX parameters for the selected EFX Type will be
displayed. For details refer to “Multi-Effects Types (EFX
Parameter)” (p. 93).
PATCH: use the Output Assign settings (for each Tone) of
the Patch assigned to each Part.
* If you select MIX or EFX, the setting of the Output Assign
parameter (PATCH/EFFECTS/OUTPUT) will be ignored.
* If EFX Source has been set to use the EFX parameter settings of
the Patch assigned to one of the Parts, the Part number will be
shown in the upper left of the display.
Ch o ru s (Ch o ru s Se n d Le ve l)
Adjust the amount of Chorus that is applied to each Part.
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of Reverb that is applied to each Part.
PERFO RM EFX O UT
(Pe rfo rm a n ce EFX O u tp u t)
These parameters specify the output for the Part for which
EFX was selected in Output Assign.
PERFO RM EFX TYPE
(Pe rfo rm a n ce EFX TYPE)
These parameters set the Performance Multi-Effects.
* For Parts which have an Output Assign setting of MIX, the
settings of this display will be ignored.
* If EFX Source has been set to use the EFX settings of the Patch
assigned to one of the Parts, the Part number will be shown in
* For Parts which have an Output Assign setting of PATCH, the
Output Assign settings of each Tone of the Patch will be used.
In other words, the settings of this display will apply only to
Tones for which EFX is selected.
the upper left of the display.
fig.3-47
Mix O u t (EFX O u tp u t Le ve l)
Adjust the volume of the direct sound and Multi-Effects sound.
Ty p e (EFX Ty p e )
Select the type of Multi-Effects. For details refer to “Multi-
Adjust the amount of Chorus applied to the sound that
passes through Multi-Effects.
* If you have selected the EFX parameter settings of one of the
Patches assigned to a Part as the EFX Source, the EFX Type of
that Patch will be displayed.
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of Reverb applied to the sound that
passes through Multi-Effects.
So u rce (EFX So u rce )
Select the EFX parameter settings that will be used by the
Performance. If you wish to use the EFX parameter settings
of the Performance, select PERFORM. If you wish to use the
EFX parameter settings of the Patch assigned to one of the
Parts, select the Part number. Since the Rhythm Set does not
have EFX parameter settings, it is not possible to select Part
10.
PERFO RM EFX CTRL
(Pe rfo rm a n ce EFX Co n tro l)
Use this parameter when you wish to use a specific controller
to control an EFX parameter. The types of EFX parameters
available for control will depend on the EFX type. For details
The upper line of the display will show the EFX parameter to
be controlled. For each EFX parameter you can specify the
EFX Control Source and the EFX Control Depth.
8 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
EFX Co n tro l So u rce 1 , 2
O u t (Ch o ru s O u tp u t Assig n )
Select the way in which the Chorus and Reverb are
connected.
The MIDI controllers that can be used are shown below. If
you wish to use a controller that is common to all Patches, or
a controller that cannot be selected here, first select SYS-
CTRL1 or SYS-CTRL2, and then use the Control 1/ 2
parameter (SYSTEM/ CONTROL/ SYS-CTRL ASSIGN) to
select the controller.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
Chorus input
Reverb
OFF:
a controller will not be used
System controller (Control 1)
System controller (Control 2)
OUTPUT
SYS-CTRL1:
SYS-CTRL2:
Reverb input
Chorus
MODULATION: Modulation (MIDI controller number 1)
BREATH:
FOOT:
Breath (MIDI controller number 2)
Foot (MIDI controller number 4)
Volume (MIDI controller number 7)
Pan (MIDI controller number 10)
REV:Apply reverb to the chorus sound.
fig.3-28.e
VOLUME:
PAN:
Chorus
input
Chorus
Reverb
OUTPUT
EXPRESSION: Expression (MIDI controller number 11)
PITCH BEND: Pitch bend
Reverb
input
AFTERTOUCH: Aftertouch
EFX Co n tro l De p th 1 , 2
M+R: Mix the chorus sound to which reverb is not applied
Adjust the amount of change that will occur in response to
controller movement. Higher values will result in greater
change. Negative (-) values will invert the direction of the
change.
and the chorus sound to which reverb is applied.
fig.3-29.e
Reverb
input
PERFO RM CHO RUS
Reverb
OUTPUT
Chorus
Make settings for the Chorus effect of the Performance.
Chorus
input
* In Performance mode, the Chorus settings of the Patches used
by each Part will be ignored (except for the Send Level
parameter).
PERFO RM REVERB
Make settings for the Reverb effect of the Performance.
Ra te (Ch o ru s Ra te )
Adjust the speed of modulation for the chorus.
* In Performance mode, the Reverb settings of the Patches used by
each Part will be ignored (except for the Send Level parameter).
De p th (Ch o ru s De p th )
Adjust the depth of modulation for the chorus.
Ty p e (Re ve rb / De la y Ty p e )
Select the type of Reverb effect.
De la y (Ch o ru s Pre De la y )
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
DELAY: a conventional delay
Adjust the time delay from when the direct sound begins
until the chorus sound is heard. Higher values will create a
more spacious sound.
Fb k (Ch o ru s Fe e d b a ck Le ve l)
Adjust the amount of chorus sound that is returned (fed
back) into the chorus. Higher values will create a more
intense effect.
PAN-DLY: a delay with echoes that move left and right
Le ve l (Ch o ru s Le ve l)
Adjust the volume level of the chorus sound.
Tim e (Re ve rb / De la y Tim e )
Adjust the time of reverberation. If you have selected DELAY
or PAN-DLY, this parameter will adjust the time delay from
the original sound until the first echo will sound.
8 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Fb k (De la y Fe e d b a ck Le ve l)
Lo ca l (Lo ca l Sw itch )
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay repeats.
Specify for each Part whether or not you want to disconnect
the controller section from the internal sound source when
the Key Mode parameter (PERFORM/ COMMON/
PERFORM COMMON) is set to LAYER..
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
Normally you will leave this ON, but you can turn it OFF
when you want to use the XP-30 only to control an external
sound source.
HF Da m p (Re ve rb / De la y HF Da m p )
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
* To switch between ON and OFF from the PERFORM PLAY
display, press the function button for the Part you want to alter.
* When the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) is at SINGLE, the setting for the
Local parameter is deactivated, and when you finger the
keyboard, only the patch for the current Part sounds.
Le ve l (Re ve rb / De la y Le ve l)
Adjust the volume of the reverberant (or delayed) sound.
■ Ma k in g MIDI Se ttin g s fo r a Pa rt
Rx SW ITCH (Re ce ive Sw itch )
Specify whether each Part will receive certain MIDI messages
or not.
(MIDI)
MIDI
These parameters determine how each Part will transmit and
Vo lu m e (Re ce ive Vo lu m e Sw itch )
If you want the Part to receive Volume messages, turn this
ON. If not, turn this OFF.
receive MIDI messages.
Ch a n n e l (MIDI Ch a n n e l)
Set the MIDI channel of each Part.
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )
If you want the Part to receive Hold 1 messages, turn this
ON. If not, turn this OFF.
* If this is set to the same channel as the Control Channel
parameter (SYSTEM/MIDI/PERFORM MIDI), attempting to
use MIDI messages (Program Change and Bank Select) from an
external device to select Patches will select Performances
instead. If you want to select Patches, change the Control
Channel to a different setting.
Pro g ra m Ch a n g e
(Re ce ive Pro g ra m Ch a n g e Sw itch )
If you want the Part to receive Program Change messages,
turn this ON. If not, turn this OFF.
* If you want a Part to receive Program Change messages, you
must also turn the Program Change parameter ON (SYSTEM/
MIDI/RECEIVE MIDI).
Rx (Re ce ive Sw itch )
Specify whether or not you want each Part to receive MIDI
messages from the external MIDI devices.
Normally you will leave this ON, but you can turn it OFF
when you do not want a specific Part to be playing during a
song playback.
TRAN SMIT (Tra n sm it Ba n k Se le ct)
Ba n k Se le ctGro u p (Tra n sm it Ba n k Se le ct Gro u p )
When you select a Performance, Bank Select and Program
Change messages will be transmitted for the Patch or Rhythm
Set assigned to each Part as determined by this setting.
PATCH: When you select a Performance, Bank Select
messages and Program Change messages for the
Patch/ Rhythm Set that is assigned to each Part will
not be transmitted.
* To switch between ON and OFF from the PERFORM PLAY
display, hold down [SHIFT] while you press the function button
for the Part you want to alter.
Tx (Tra n sm it Sw itch )
This determines, for each Part, whether or not data generated
by the controller section is sent as MIDI messages from the
MIDI OUT connector when the Key Mode parameter
(PERFORM/ COMMON/ PERFORM COMMON) is set to
LAYER.
BS1-7: When you select a Performance, Bank Select and
Program Change messages will be transmitted for
the Patch/ Rhythm Set that is assigned to each Part.
In this case, the Bank Select Number that is
Normally you will leave this ON, but you can turn it OFF when
you do not want the XP-30 to control external sound sources.
transmitted will be determined by the Bank Select
Group (BS1–7) setting. In the BANK SEL GROUP
display (SYSTEM/ MIDI) you can set the Bank
Select number for each Bank Select Group.
* When the Key Mode parameter (PERFORM/COMMON/
PERFORM COMMON) is set to SINGLE, the setting for the
Tx parameter is deactivated, and only the MIDI messages of the
current Part are sent from the MIDI OUT connector.
8 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
* Bank Select and Program Change messages will not be
transmitted for Parts whose Tx parameter (PERFORM/MIDI/
MIDI) is turned off.
■ Co n firm in g MIDI In fo rm a tio n
fo r Ea ch Pa rt (IN FO )
IN FO (Pa rt In fo rm a tio n )
Tra n sm it Vo lu m e
The displays in this group allow you to check various
settings such as MIDI message reception status for each Part.
This is convenient when you need to check that the sound
source is responding correctly to messages from the
keyboard or external MIDI controller.
If you want Volume messages to also be transmitted when you
select a Performance, specify the desired volume here. If you do
not want Volume messages to be transmitted, set this to OFF.
■ Ma k in g Se ttin g s fo r Ea ch Pa rt
(PART)
Mo d (Mo d u la tio n In fo rm a tio n )
Bre a th (Bre a th In fo rm a tio n )
Fo o t (Fo o t In fo rm a tio n )
PATCH
Select the Patch for each Part.
Vo l (Vo lu m e In fo rm a tio n )
Pa n (Pa n In fo rm a tio n )
Gro u p (Pa tch Gro u p )
Select the group of the Patch (or Rhythm Set for Part 10).
USER:
User memory
Ex p (Ex p re ssio n In fo rm a tio n )
Ho ld (Ho ld 1 In fo rm a tio n )
Be n d (Be n d e r In fo rm a tio n )
Aft (Afte rto u ch In fo rm a tio n )
PR-A–C, E: Preset memory A–C, E
GM:
Preset memory GM
XP-A–E:
Wave Expansion Board A–E
* It is not possible to select a group for a Wave Expansion Board
that has not been installed.
Sy s1 (Sy ste m Co n tro lle r 1 In fo rm a tio n )
The MIDI message specified as the Control 1 parameter
(SYSTEM/ CONTROL/ SYS-CTRL ASSIGN)
N u m b e r (Pa tch N u m b e r)
Specify the number of the Patch. The Patch name will be
displayed in parentheses ( ).
Sy s2 (Sy ste m Co n tro lle r 2 In fo rm a tio n )
The MIDI message specified as the Control 2 parameter
(SYSTEM/ CONTROL/ SYS-CTRL ASSIGN)
SETTIN G
Make volume, pan, and pitch settings for each Part.
Vo ice s (Vo ice In fo rm a tio n )
Le ve l
The number of voices used
Adjust the volume of each Part. Use this parameter to adjust
the volume balance between Parts.
MIDI Me ssa g e Tra n sm issio n
Pa n
When you modify a value (other than Voice) in the
INFO display, the MIDI message of the modified value
will be transmitted to the internal sound source and to
external MIDI devices. The way in which the message
will be transmitted will depend on the settings of the
currently selected Performance.
Adjust the stereo location of the Part. L64 is full left, 0 is
center, and 63R is full right.
Co a rse (Co a rse Tu n e )
Adjust the pitch of the Part in semitone steps (-4–+4 octaves).
Fin e (Fin e Tu n e )
If you have selected a Single-type Performance, the
MIDI message will be transmitted to the specified Part,
and will simultaneously be transmitted to external
MIDI devices on the MIDI channel of that Part.
If you have selected a Layer-type Performance, the
MIDI message will be transmitted to all Parts whose Tx
parameter (PERFORM/ MIDI/ MIDI) is turned on, and
will also be transmitted to external MIDI devices on the
MIDI channel of each of these Parts.
Adjust the pitch of the Part in 1-cent steps (-50–+50 cents).
* One cent is 1/100th of a semitone.
RESERVE (Vo ice Re se rve )
Vo ice Re se rve
This setting determine how many voices will be reserved for
each Part when more than 64 simultaneous voices are
requested.
*
It is not possible to make Voice Reserve settings that would cause
the total of all Parts to be greater than 64 voices. The number of
remaining voices available is indicated at the right of the
parameter name (rest=). Keep this in mind as you make settings.
8 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ty p e (EFX Ty p e )
Select the type of EFX. For details refer to “Multi-Effects
Fu n ctio n s o f Rh y th m Se t
Pa ra m e te rs
fig.3-16
* If you have selected the EFX parameter settings of one of the
Patches assigned to a Part as the EFX Source, the EFX Type of
that Patch will be displayed.
So u rce (EFX So u rce )
■ N a m in g a Rh y th m Se t
Select the EFX parameter settings that will be used by the
Performance. If you wish to use the EFX parameter settings
of the Performance, select PERFORM. If you wish to use the
EFX parameter settings of the Patch assigned to one of the
Parts, select the Part number.
(CO MMO N )
RHYTHM N AME (Rh y th m Se t N a m e )
You can assign a name of up to 12 characters to a Rhythm
Set.
* For details on assigning names, refer to “Assigning a Name”
Pa tch Are Se le cte d
(p. 46).
When the EFX parameter settings of a Patch are
selected, those settings will be displayed in the EFX
parameter setting display of the Performance, and you
will be able to modify them. If you wish to keep the
Patch EFX parameter settings that you modify, rewrite
the Patch settings. The modified Patch EFX parameter
settings will be lost if you select a different Patch.
■
Se ttin g Effe cts fo r a Rh y th m To n e
(EFFECTS)
* Rhythm Sets use the effect settings of the Performance currently
selected in Performance mode. You can modify the Performance
effect settings from inside Rhythm Set mode, but they are not
stored as Rhythm Set settings. If you wish to keep the effect
settings, you need to store them as Performance settings.
O UTPUT
Specify the output for each key.
PERFO RM EFX PRM
(Pe rfo rm a n ce EFX Pa ra m e te rs)
The EFX parameters for the selected EFX Type will be
displayed. For details refer to “Multi-Effects Types (EFX
Parameter)” (p. 93).
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)
For the output of each key, specify whether or not it will be
sent through Multi-Effects, and adjust the volume level.
MIX: output to the OUTPUT jack without passing through
Multi-Effects.
* If EFX Source has been set to use the EFX parameter settings of
the Patch assigned to one of the Parts, the Part number will be
shown in the upper left of the display.
EFX: output to the OUTPUT jack after passing through
Multi-Effects.
PERFO RM EFX O UT
Ch o ru s (Ch o ru s Se n d Le ve l)
(Pe rfo rm a n ce EFX O u tp u t)
These parameters specify the output for the keys for which
EFX was selected in Output Assign.
Adjust the amount of Chorus for each key.
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of Reverb for each key.
* For keys which have an Output Assign setting of MIX, the
settings of this display will be ignored.
PERFO RM EFX TYPE
(Pe rfo rm a n ce EFX Ty p e )
Mix O u t (EFX O u tp u t Le ve l)
Adjust the volume of the direct sound and Multi-Effects
sound.
* If EFX Source has been set to use the EFX parameter settings of
the Patch assigned to one of the Parts, the Part number will be
shown in the upper left of the display.
Ch o ru s (Ch o ru s Se n d Le ve l)
Adjust the amount of Chorus applied to the sound that
passes through Multi-Effects.
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of Reverb applied to the sound that
passes through Multi-Effects.
8 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Le ve l (Ch o ru s Le ve l)
Adjust the volume level of the chorus sound.
PERFO RM EFX CTRL
(Pe rfo rm a n ce EFX co n tro l)
Use this parameter when you wish to use a specific controller
to control an EFX parameter. The types of EFX parameters
available for control will depend on the EFX type. For details
The upper line of the display will show the EFX parameter to
be controlled. For each EFX parameter you can specify the
EFX Control Source and the EFX Control Depth.
O u t (Ch o ru s O u tp u t Assig n )
Select the way in which the Chorus and Reverb are
connected.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
Chorus input
Reverb
EFX Co n tro l So u rce 1 , 2
OUTPUT
The MIDI controllers that can be used are shown below. If
you wish to use a controller that is common to all Patches, or
a controller that cannot be selected here, first select SYS-
CTRL1 or SYS-CTRL2, and then use the Control 1/ 2
parameter (SYSTEM/ CONTROL/ SYS-CTRL ASSIGN) to
select the controller.
Reverb input
Chorus
REV:Apply reverb to the chorus sound.
fig.3-28.e
Chorus
input
OFF:
a controller will not be used
System controller (Control 1)
System controller (Control 2)
Chorus
Reverb
OUTPUT
SYS-CTRL1:
SYS-CTRL2:
Reverb
input
MODULATION: Modulation (MIDI controller number 1)
BREATH:
FOOT:
Breath (MIDI controller number 2)
Foot (MIDI controller number 4)
Volume (MIDI controller number 7)
Pan (MIDI controller number 10)
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
VOLUME:
PAN:
fig.3-29.e
EXPRESSION: Expression (MIDI controller number 11)
PITCH BEND: Pitch bend
Reverb
input
AFTERTOUCH: Aftertouch
Reverb
OUTPUT
Chorus
EFX Co n tro l De p th 1 , 2
Chorus
input
Adjust the amount of change that will occur in response to
controller movement. Higher values will result in greater
change. Negative (-) values will invert the direction of the
change.
PERFO RM REVERB
Make settings for the Reverb effect of the Performance.
Ty p e (Re ve rb / De la y Ty p e )
Select the type of Reverb effect.
PERFO RM CHO RUS
Make settings for the Chorus effect of the Performance.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
Ra te (Ch o ru s Ra te )
Adjust the speed of modulation for the chorus.
De p th (Ch o ru s De p th )
HALL1:
HALL2:
DELAY:
reverb with clear reverberance
reverb with rich reverberance
a conventional delay
Adjust the depth of modulation for the chorus.
De la y (Ch o ru s Pre De la y )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard. Higher values will create a
more spacious sound.
PAN-DLY: a delay with echoes that move left and right
Tim e (Re ve rb / De la y Tim e )
Adjust the time of the reverberation. If you have selected
DELAY or PAN-DLY, this parameter will adjust the time
delay from the original sound until the first echo will sound.
Fb k (Ch o ru s Fe e d b a ck Le ve l)
Adjust the amount of chorus sound that is returned (fed back)
into the chorus. Higher values will create a more intense
effect.
8 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Fb k (De la y Fe e d b a ck Le ve l)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay repeats.
Vo lu m e (Re ce ive Vo lu m e Sw itch )
If you want Volume messages to be received, turn this
parameter ON. If not, turn it OFF.
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
* In order for Volume messages to be received, the Volume
parameter (PERFORM/MIDI/RxSWITCH) must also be
turned ON for Part 10 of the currently selected Performance.
HF Da m p (Re ve rb / De la y HF Da m p )
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
Pa n (Re ce ive Pa n Co n tro l Sw itch )
Specify how Pan messages will be received.
OFF:
Not received.
CONT:
Whenever a Pan message is received, it will
immediately change the stereo location of the sound.
KEY-ON: The stereo location of the sound will be changed
when the next note is played. If a Pan message is
received while a note is sounding, the current
stereo location will not change until the next note.
In this case, the stereo location will change only
for the note played later, and the currently
sounding note will not move.
Le ve l (Re ve rb / De la y Le ve l)
Adjust the volume of the reverberant (or delayed) sound.
■ Co n tro llin g Ho w a Rh y th m
To n e w ill So u n d w ith
Co n tro lle rs (CO N TRO L)
The parameters in this group determine how the controllers
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )
If you want Hold 1 messages to be received, turn this
parameter ON. If not, turn it OFF.
function and how instruments in a Rhythm Set will sound.
CO N TRO L
These parameters determine how each note is controlled.
* In order for Hold 1 messages to be received, the Hold-1
parameter (PERFORM/MIDI/RxSWITCH) must also be
turned ON for Part 10 of the currently selected Performance.
Be n d Ra n g e
Specify the amount of pitch change (in semitones) that will occur
when the Pitch Bend Lever is moved (maximum +1 octave).
■ Mo d ify in g W a ve fo rm o f a
Rh y th m To n e (W AVE)
Make settings for the basic waveform (Wave) of the Rhythm
Tone assigned to each key.
En v Mo d e (En ve lo p e Mo d e )
When a loop-type Wave is selected, it will normally continue
to sound as long as the key is pressed. If you want it to decay
naturally even if the key remains pressed, set this to NO-SUS.
* If a one-shot type Wave is selected, it will not sustain even if
this parameter is set to SUSTAIN.
W AVE
Gro u p (W a ve Gro u p )
Select the Group of the Wave.
INT-A, B: Internal A, B
Mu te Gro u p
The Mute Group function lets you specify that certain Rhythm
Tones not be allowed to sound simultaneously. Taking the
example of an acoustic drum set, it is obviously impossible for
an open hi-hat and a closed hi-hat sound to occur
simultaneously. To simulate this type of situation on the XP-
30, set each hi-hat sound to the same Mute Group number.
Up to 31 Mute Groups can be used. If you do not want a
Rhythm Tone to use a Mute Group, turn it OFF.
EXP-A–E: Wave Expansion Boards A–E
* It is not possible to select a Group of a Wave Expansion Board
that is not installed.
N u m b e r (W a ve N u m b e r)
Select the Wave number. The name of the Wave will be
displayed in parentheses ( ).
Ga in (W a ve Ga in )
Rx SW ITCH (Re ce ive Sw itch )
These parameters determine how each key will receive
Volume / Pan / Hold 1 MIDI messages.
Adjust the gain (volume boost) of the Wave. The setting
range is -6–+12 dB, in steps of 6 dB. An increase of 6 dB
doubles the gain.
Sw itch (Ke y Sw itch )
Turn this ON for keys you wish to sound, and OFF for keys
you do not wish to sound.
9 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
T1 –4 (Pitch En ve lo p e Tim e 1 –4 )
Specify the time over which the pitch will change from one
point to the next.
■ Mo d ify in g Pitch o f a Rh y th m
To n e (PITCH)
This group contains parameters that affect the pitch of the
Rhythm Tone for each key.
L1 –4 (Pitch En ve lo p e Le ve l 1 –4 )
Specify the pitch change for each point relative to the basic
pitch.
PITCH
Specify the basic pitch for the Rhythm Tone.
■ Ch a n g in g th e To n e (Filte r) o f a
Co a rse (Co a rse Tu n e )
Select the key corresponding to the pitch at which you wish
to sound the Rhythm Tone.
Rh y th m To n e (TVF)
The TVF (Time Variant Filter) uses a filter to modify the
frequency characteristics of the sound.
Fin e (Fin e Tu n e )
Adjust the pitch in 1-cent steps (-50–+50 cents).
FILTER
* One cent is 1/100th of a semitone.
Make TVF filter settings.
Ra n d o m (Ra n d o m Pitch De p th )
Ty p e (Filte r Ty p e )
If you want the pitch to change randomly each time you
press a key, specify the width of the change. If you do not
want random pitch change, set this parameter to 0. The value
is in units of 1 cent.
Select the filter type.
OFF:
filter not used.
LPF (Low Pass Filter): Cut the frequencies above the
Cutoff Frequency. This is the most
common type of filter used in
En v De p th (Pitch En ve lo p e De p th )
Adjust the effect of the Pitch Envelope. Higher settings will result
in greater change. Negative (-) settings will invert the envelope.
synthesizers.
BPF (Band Pass Filter): Pass only the frequencies in the
area of the Cutoff Frequency.
HPF (High Pass Filter): Cut the frequencies below the
Cutoff Frequency.
PCH VELO CITY
Specify how key velocity will change the effect of the Pitch
PKG (Peaking Filter): Emphasize the frequencies in the
area of the Cutoff Frequency.
Envelope.
Ve lo city Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )
Use this parameter if you want key velocity to change the
effect of the Pitch Envelope. Higher settings will result in a
greater difference between strongly and softly played notes.
Negative (-) settings will invert the change.
Cu to ff (Cu to ff Fre q u e n cy )
Set the basic frequency of the filter.
Re so n a n ce
Emphasize the frequencies in the area of the Cutoff
Frequency. For some settings, excessive levels can cause
Ve lo city Tim e
oscillation and distortion.
fig.3-43.e
(Pitch En ve lo p e Tim e Ve lo city Se n sitivity )
Use this parameter if you want key velocity to change the
overall time of the Pitch Envelope. Higher settings will result
in a greater time difference between strongly and softly
played notes. Negative (-) settings will invert the change.
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
PCH EN VELO PE
Make settings for the Pitch Envelope (changes in pitch over time).
fig.3-42.e
T1
T2
T3
T4
L1
L3
Low
Pitch
En v De p th (TVF En ve lo p e De p th )
Time
Adjust the depth of the TVF envelope. Higher settings will
result in greater change. Negative (-) values will invert the
envelope.
key is
pressed
key is
released
L2
L4
9 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
TVF VELO CITY
Pa n
Adjust the pan (stereo location) of the Rhythm Tone. L64 is
full left, 0 is center, and 63R is full right.
V-Se n s (TVF En ve lo p e Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the TVF
Envelope. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
Ra n d o m (Ra n d o m Pa n De p th )
Use this parameter when you want the stereo location to
change randomly each time you press a key. If you do not
want the stereo location to change randomly, set this to 0.
V-Tim e (TVF En ve lo p e Tim e Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the time
of the TVF envelope. Higher settings will result in a greater
time difference between strongly and softly played notes.
Negative (-) settings will invert the effect.
Alte rn a te (Alte rn a te Pa n De p th )
Use this parameter when you want the stereo location to
alternate between left and right each time you press a key.
Higher values will result in a greater width of change. L or R
values can be set, and this will reverse the left/ right order of
the panning. If you want to alternate the pan position of two
Rhythm Tones, set them to opposite L and R settings.
V-Re so n a n ce (Re so n a n ce Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the
Resonance. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
TVA VELO CITY
Specify how keyboard velocity will affect the time of the
TVA envelope.
TVF EN VELO PE
These parameters set the TVF envelope (the way in which the
Ve lo city Se n s (TVA En ve lo p e Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the TVA
Envelope. Higher settings will result in a greater difference
between strongly and softly played notes. Negative (-)
settings will invert the effect.
cutoff frequency will change over time).
fig.3-44.e
T1
T2
T3
T4
L1
L3
L2
Ve lo city Tim e
Cutoff
Frequency
(TVA En ve lo p e Tim e Ve lo city Se n sitivity )
Use this parameter when you want velocity to affect the time
of the TVA envelope. Higher settings will result in a greater
time difference between strongly and softly played notes.
Negative (-) settings will invert the effect.
L4
Time
key is pressed
key is released
T1 –T4 (TVF En ve lo p e Tim e 1 –4 )
Set the times over which the cutoff frequency will move from
one point to the next.
TVA EN VELO PE
These parameters make settings for the TVA envelope
(changes over time in the TVA level).
fig.3-46.e
L1 –L4 (TVF En ve lo p e Le ve l 1 –4 )
Set the cutoff frequency levels for each point, relative to the
basic cutoff frequency.
T1
T2
T3
T4
Level
L1
L2
■ Ch a n g in g th e Vo lu m e a n d
L3
Ste re o Lo ca tio n o f a Rh y th m
To n e (TVA)
The TVA (Time Variant Amplifier) controls volume changes
Time
key is pressed
key is released
and stereo location.
T1 –T4 (TVA En ve lo p e Tim e 1 –4 )
Adjust the time over which the volume changes from one
point to the next.
TVA
Le ve l
Adjust the basic volume of the Rhythm Tone. Use this
parameter to adjust the volume balance between Rhythm
Tones.
L1 –L3 (TVA En ve lo p e Le ve l 1 –3 )
Adjust the volume level of each point relative to the basic
TVA level.
9 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
P2 Ga in (Pe a k in g 2 Ga in )
Adjust the gain for the area specified by the Peaking 2
Frequency and Q settings.
Mu lti-Effe cts Ty p e s
(EFX Pa ra m e te r)
Multi-Effects provides 40 types of effect. Some of these
Le ve l (O u tp u t Le ve l) #
consist of two different effects connected in series or parallel.
Adjust the output level.
* Parameters marked with a sharp “#” can be controlled using a
specified controller (Two setting items will change
2 : O VERDRIVE
This effect creates a soft distortion similar to that produced
simultaneously for “#1” and “#2”). Settings in the Patch or
Performance EFX Control display (PATCH/EFFECTS/PATCH
EFX CTRL or PERFORM/EFFECTS/PERFORM EFX CTRL)
will determine how these parameters are controlled.
by vacuum tube amplifiers.
fig.3-49
L in
L out
Pan L
Over
drive
Amp
Simulator
2-Band
EQ
Pan R
1 : STEREO -EQ (Ste re o Eq u a lize r)
R in
R out
This is a four-band stereo equalizer (low, mid x 2, high).
fig.3-48
Drive #
L in
L out
R out
4-Band EQ
4-Band EQ
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Le ve l (O u tp u t Le ve l)
R in
Adjust the output level.
Lo w Fre q (Lo w Fre q u e n cy )
Select the frequency of the low range (200 Hz/ 400 Hz).
Lo w Ga in (Lo w Ga in )
Adjust the gain of the low frequency range.
Lo w Ga in (Lo w Ga in )
Adjust the gain of the low frequency.
Hi Ga in (Hig h Ga in )
Adjust the gain of the high frequency range.
Hi Fre q (Hig h Fre q u e n cy )
Select the frequency of the high range (4000 Hz/ 8000 Hz).
Am p Ty p e (Am p Sim u la to r Ty p e )
Select the type of guitar amp.
Hi Ga in (Hig h Ga in )
SMALL:
small amp
Adjust the gain of the high frequency.
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
P1 Fre q (Pe a k in g 1 Fre q u e n cy )
Adjust the frequency of Peaking 1 (mid range).
Pa n (O u tp u t Pa n ) #
P1 Q (Pe a k in g 1 Q )
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
This parameter adjusts the width of the area around the
Peaking 1 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
3 : DISTO RTIO N
This effect produces a more intense distortion than
P1 Ga in (Pe a k in g 1 Ga in )
Overdrive.
Adjust the gain for the area specified by the Peaking 1
Frequency and Q settings.
fig.3-50
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
Distortion
P2 Fre q (Pe a k in g 2 Fre q u e n cy )
Adjust the frequency of Peaking 2 (mid range).
Pan R
R in
R out
P2 Q (Pe a k in g 2 Q )
Drive #
This parameter adjusts the width of the area around the
Peaking 2 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Lo w Ga in (Lo w Ga in )
Adjust the gain of the low frequency range.
9 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Hi Ga in (Hig h Ga in )
Adjust the gain of the high frequency range.
5 : SPECTRUM
Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies. It is
similar to an equalizer, but has 8 frequency points fixed at
Am p Ty p e (Am p Sim u la to r Ty p e )
Select the type of guitar amp.
locations most suitable for adding character to the sound.
fig.3-52
SMALL:
small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
L in
L out
Pan L
Spectrum
Pan R
R in
R out
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Ba n d 1 (Ba n d 1 Ga in )
Adjust the 250 Hz level.
Ba n d 2 (Ba n d 2 Ga in )
Adjust the 500 Hz level.
4 : PHASER
A phaser adds a phase-shifted sound to the original sound,
producing a twisting modulation that creates spaciousness
Ba n d 3 (Ba n d 3 Ga in )
and depth.
Adjust the 1000 Hz level.
fig.3-51
Ba n d 4 (Ba n d 4 Ga in )
L in
L out
Pan L
Adjust the 1250 Hz level.
Phaser
Mix
Pan R
Ba n d 5 (Ba n d 5 Ga in )
Adjust the 2000 Hz level.
R in
Resonance
R out
Ma n u a l #
Ba n d 6 (Ba n d 6 Ga in )
Adjust the 3150 Hz level.
Adjust the basic frequency from which the sound will be
modulated.
Ba n d 7 (Ba n d 7 Ga in )
Adjust the 4000 Hz level.
Ra te #
Adjust the frequency (period) of modulation.
Ba n d 8 (Ba n d 8 Ga in )
Adjust the 8000 Hz level.
De p th
Adjust the depth of modulation.
Q
Re s (Re so n a n ce )
Simultaneously adjust the width of the adjusted areas for all
the frequency bands.
Adjust the amount of feedback for the phaser.
Mix (Mix Le ve l)
Adjust the ratio with which the phase-shifted sound is
combined with the direct sound.
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Pa n (O u tp u t Pa n )
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
6 : EN HAN CER
Le ve l (O u tp u t Le ve l)
The Enhancer controls the overtone structure of the high
Adjust the output level.
frequencies, adding sparkle and tightness to the sound.
fig.3-53
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
Mix
Mix
2-Band
EQ
R in
Se n s (Se n sitivity ) #
Adjust the sensitivity of the enhancer.
9 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Mix (Mix Le ve l) #
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
8 : RO TARY
The Rotary effect simulates the sound of the rotary speakers
often used with the electric organs of the past. Since the
movement of the high range and low range rotors can be set
independently, the unique type of modulation characteristic
of these speakers can be simulated quite closely. This effect is
Lo w Ga in (Lo w Ga in )
Adjust the gain of the low frequency range.
Hi Ga in (Hig h Ga in )
Adjust the gain of the high frequency range.
most suitable for electric organ Patches.
fig.3-55
L in
L out
R out
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Rotary
R in
7 : AUTO -W AH
The Auto Wah cyclically controls a filter to create cyclic
Lo w Slo w (Lo w Fre q u e n cy Slo w Ra te )
Adjust the slow speed (SLOW) of the low frequency rotor.
change in timbre.
fig.3-54
Lo w Fa st (Lo w Fre q u e n cy Fa st Ra te )
Adjust the fast speed (FAST) of the low frequency rotor.
L in
L out
R out
Auto Wah
Lo w Accl (Lo w Fre q u e n cy Acce le ra tio n )
R in
Adjust the time it takes the low frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Filte r (Filte r Ty p e )
Select the type of filter.
LPF: The wah effect will be applied over a wide frequency
Lo w Lvl (Lo w Fre q u e n cy Le ve l)
Adjust the volume of the low frequency rotor.
range.
BPF: The wah effect will be applied over a narrow
frequency range.
Hi Slo w (Hig h Fre q u e n cy Slo w Ra te )
Adjust the slow speed (SLOW) of the high frequency rotor.
Se n s
Hi Fa st (Hig h Fre q u e n cy Fa st Ra te )
Adjust the fast speed (FAST) of the high frequency rotor.
Adjust the sensitivity with which the filter is controlled.
Ma n u a l #
Hi Accl (Hig h Fre q u e n cy Acce le ra tio n )
Adjust the center frequency from which the effect is applied.
Adjust the time it takes the high frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Pe a k
Adjust the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will cause the
effect to be applied in a broad area around the center
frequency. Higher settings will cause the effect to be applied
in a more narrow range.
Hi Lvl (Hig h Fre q u e n cy Le ve l)
Adjust the volume of the high frequency rotor.
Se p a ra tio n
Adjust the spatial dispersion of the sound.
Ra te #
Adjust the frequency of the modulation.
Sp e e d #
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
SLOW: Slow down the rotation to the specified speed (the
Low Slow / Hi Slow values).
De p th
Adjust the depth of the modulation.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
FAST: Speed up the rotation to the specified speed (the
Low Fast / Hi Fast values).
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
9 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Pa n (O u tp u t Pa n ) #
9 : CO MPRESSO R
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
The Compressor flattens out high levels and boosts low
levels, smoothing out unevenness in volume.
fig.3-56
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
L in
L out
Pan L
2-Band
EQ
Compressor
Pan R
1 1 : HEXA-CHO RUS
R in
R out
Hexa-chorus uses a six-phase chorus (six layers of chorused
Atta ck
sound) to give richness and spatial spread to the sound.
fig.3-58
Adjust the attack time of an input sound.
L in
L out
Su sta in
Balance D
Balance W
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
Hexa Chorus
Balance W
R in
R out
Po st Ga in
Adjust the output gain.
Balance D
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Lo w Ga in
Adjust the low frequency gain.
Hi Ga in
Adjust the high frequency gain.
Ra te #
Adjust the rate of modulation.
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
De p th
Adjust the depth of modulation.
Dly De v (Pre De la y De via tio n )
Le ve l (O u tp u t Le ve l) #
Pre Delay determines the time from when the direct sound
begins until the processed sound is heard. Pre Delay
Deviation adjusts the differences in Pre Delay between each
chorus sound.
Adjust the output level.
1 0 : LIMITER
The Limiter compresses signals that exceed a specified
volume level, preventing distortion from occurring.
fig.3-57
Dp t De v (De p th De via tio n )
Adjust the difference in modulation depth between each
chorus sound.
L in
L out
Pan L
2-Band
EQ
Limiter
Pa n De v (Pa n De via tio n )
Pan R
R in
R out
Adjust the difference in stereo location between each chorus
sound. With a setting of 0, all chorus sounds will be in the
center. With a setting of 20, each chorus sound will be spaced
at 60 degree intervals relative to the center.
Th re sh (Th re sh o ld Le ve l)
Adjust the volume at which compression will begin.
Ra tio (Co m p re ssio n Ra tio )
Adjust the compression ratio.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Re le a se (Re le a se Tim e )
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Ga in (Po st Ga in )
Adjust the output gain.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Lo w Ga in
Adjust the low frequency gain.
Hi Ga in
Adjust the high frequency gain.
9 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ph a se
1 2 : TREMO LO -CHO RUS
Adjust the spatial spread of the sound.
Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
fig.3-59
Lo w Ga in
Adjust the gain of the low frequency range.
L in
L out
Balance D
Hi Ga in
Balance W
Adjust the gain of the high frequency range.
Tremolo Chorus
Balance W
Ba la n ce (Effe ct Ba la n ce ) #
R in
R out
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Balance D
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Le ve l (O u tp u t Le ve l)
Ch o Ra te (Ch o ru s Ra te )
Adjust the output level.
Adjust the modulation speed of the chorus effect.
1 4 : STEREO -CHO RUS
This is a stereo chorus. A filter is provided so that you can
h o Dp t (Ch o ru s De p th )
Adjust the modulation depth of the chorus effect.
adjust the timbre of the chorus sound.
Ph a se (Tre m o lo Ph a se )
Adjust the spread of the tremolo effect.
fig.3-61
Balance D
2-Band
L in
L out
R out
EQ
Trm Ra te (Tre m o lo Ra te ) #
Adjust the modulation speed of the tremolo effect.
Balance W
Chorus
Chorus
Balance W
Trm Se p (Tre m o lo Se p a ra tio n )
Adjust the spread of the tremolo effect.
2-Band
EQ
R in
Balance D
Ba la n ce (Effe ct Ba la n ce ) #
Pre Dly (Pre De la y Tim e )
Adjust the volume balance between the direct sound and the
tremolo chorus sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the tremolo chorus sound will be output.
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Ra te #
Adjust the rate of modulation.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
De p th
Adjust the depth of modulation.
Ph a se
1 3 : SPACE-D
Space-D is a multiple chorus that applies two-phase
Adjust the spatial spread of the sound.
modulation in stereo. It gives no impression of modulation,
Filte r (Filte r Ty p e )
Select the type of filter.
but produces a transparent chorus effect.
fig.3-60
OFF: a filter will not be used
Balance D
2-Band
LPF: cut the frequency range above the cutoff frequency
HPF: cut the frequency range below the cutoff frequency
L in
L out
R out
EQ
Balance W
Space D
Space D
Cu to ff (Cu to ff Fre q u e n cy )
Adjust the basic frequency of the filter.
Balance W
2-Band
EQ
R in
Balance D
Lo w Ga in
Adjust the gain of the low frequency range.
Pre Dly (Pre De la y Tim e )
Hi Ga in
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Adjust the gain of the high frequency range.
Ba la n ce (Effe ct Ba la n ce ) #
Ra te #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Adjust the rate of modulation.
De p th
Adjust the depth of modulation.
9 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Le ve l (O u tp u t Le ve l)
Adjust the output level.
1 6 : STEP-FLAN GER
The Step Flanger effect is a flanger in which the flanger pitch
changes in steps. The speed at which the pitch changes can
1 5 : STEREO -FLAN GER
also be specified in terms of a note-value of a specified tempo.
This is a stereo flanger. (The LFO has the same phase for left
and right.) It produces a metallic resonance that rises and falls
like a jet airplane taking off or landing. A filter is provided so
fig.3-62a
Balance D
2-Band
L in
L out
EQ
Step Flanger
Balance W
that you can adjust the timbre of the flanged sound.
fig.3-62
Feedback
Feedback
Balance D
2-Band
L in
L out
EQ
Balance W
Step Flanger
Flanger
Balance W
2-Band
EQ
R in
R out
Feedback
Feedback
Balance D
Pre Dly (Pre De la y Tim e )
Balance W
Flanger
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
2-Band
EQ
R in
R out
Balance D
Ra te
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Adjust the rate of modulation.
De p th
Adjust the depth of modulation.
Ra te #
Fb k (Fe e d b a ck Le ve l) #
Adjust the rate of modulation.
Adjust the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
De p th
Adjust the depth of modulation.
Fb k (Fe e d b a ck Le ve l) #
Ph a se
Adjust the amount (%) of the processed sound that is
returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will
return the sound in reverse phase.
Adjust the spatial spread of the sound.
Ste p Ra te #
Adjust the rate (period) of pitch change. This parameter can
be set as a note-value of a specified tempo. In this case,
specify the value of the desired note.
Ph a se
Adjust the spatial spread of the sound.
Filte r Ty p e
Select the type of filter.
W h e n Ste p Ra te is Se t a s a N o te Va lu e
As the specified tempo, you may use either the Patch
Tempo, Performance Tempo, or the tempo clock of the
XP-30’s system.
OFF: a filter will not be used
LPF: cut the frequency range above the cutoff frequency
HPF: cut the frequency range below the cutoff frequency
If you want to use a fixed tempo in Patch mode (Tempo
parameter setting), set the Source parameter (PATCH/
COMMON/ PATCH CLOCK) to PATCH and set the
desired tempo.
Cu to ff (Cu to ff Fre q u e n cy )
Adjust the basic frequency of the filter.
Lo w Ga in
If you want to use the system’s tempo clock in Patch
mode, set the Source parameter (PATCH/ COMMON/
PATCH CLOCK) to SYSTEM.
Adjust the gain of the low frequency range.
Hi Ga in
Adjust the gain of the high frequency range.
If you want to use a fixed tempo in Performance mode
(Tempo parameter setting), set the Source parameter
(PERFORM/ COMMON/ PERFORM CLOCK) to
PERFORM and set the desired tempo.
Ba la n ce (Effe ct Ba la n ce )
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
flanger sound will be output.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter (PERFORM/
COMMON/ PERFORM CLOCK) to SYSTEM.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
9 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Lo w Ga in
Adjust the gain of the low frequency range.
Ph a se L (Fe e d b a ck Ph a se Le ft)
Select the phase of the left delay sound.
NORMAL: Phase is not changed.
INVERT: Phase is inverted.
Hi Ga in
Adjust the gain of the high frequency range.
Ph a se R (Fe e d b a ck Ph a se Rig h t)
Select the phase of the right delay sound.
NORMAL: Phase is not changed.
INVERT: Phase is inverted.
Ba la n ce (Effe ct Ba la n ce )
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
HF Da m p
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
1 7 : STEREO -DELAY
Lo w Ga in
This is a stereo delay.
Adjust the gain of the low frequency range.
When Feedback Mode is NORMAL:
Hi Ga in
fig.3-63a
Balance D
2-Band
Adjust the gain of the high frequency range.
L in
L out
EQ
Ba la n ce (Effe ct Ba la n ce ) #
Balance W
Delay
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Feedback
Feedback
Balance W
Delay
2-Band
EQ
R in
R out
L out
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Balance D
When Feedback Mode is CROSS:
fig.3-63b
Balance D
1 8 : MO DULATIO N -DELAY
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
2-Band
EQ
L in
Balance W
Delay
When Feedback Mode is NORMAL:
Feedback
Feedback
fig.3-63c
Balance D
2-Band
L in
L out
Balance W
Delay
EQ
2-Band
EQ
Balance W
Delay
Modulation
R in
R out
Balance D
Feedback
Feedback
De la y L (De la y Tim e Le ft)
Adjust the time from the original sound until when the left
delay sound is heard.
Balance W
Delay
Modulation
Balance D
2-Band
EQ
R in
R out
L out
De la y R (De la y Tim e Rig h t)
Adjust the time from the original sound until when the right
delay sound is heard.
When Feedback Mode is CROSS:
fig.3-63d
Balance D
2-Band
EQ
L in
Fb k (Fe e d b a ck Le ve l) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Delay
Modulation
Balance W
Feedback
Feedback
Mo d e (Fe e d b a ck Mo d e )
Select the way in which delay sound is fed back into the
effect.
Delay
Modulation
Balance D
Balance W
2-Band
EQ
R in
R out
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS: The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
De la y L (De la y Tim e Le ft)
Adjust the time from the original sound until when the left
delay sound is heard.
9 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
De la y R (De la y Tim e Rig h t)
De la y C (De la y Tim e Ce n te r)
De la y L (De la y Tim e Le ft)
De la y R (De la y Tim e Rig h t)
Adjust the time from the original sound until when the right
delay sound is heard.
Adjust the time delay from the direct sound until when the
delay sound is heard. This parameter can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
Fb k (Fe e d b a ck Le ve l)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Mo d e (Fe e d b a ck Mo d e )
Select the way in which delay sound is fed back into the
effect.
W h e n Ste p Ra te is Se t a s a N o te Va lu e
As the specified tempo, you may use either the Patch
Tempo, Performance Tempo, or the tempo clock of the
XP-30’s system.
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS: The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
If you want to use a fixed tempo in Patch mode (Tempo
parameter setting), set the Source parameter (PATCH/
COMMON/ PATCH CLOCK) to PATCH and set the
desired tempo.
Ra te #
Adjust the speed of the modulation.
If you want to use the system’s tempo clock in Patch
mode, set the Source parameter (PATCH/ COMMON/
PATCH CLOCK) to SYSTEM.
De p th
Adjust the depth of the modulation.
Ph a se
If you want to use a fixed tempo in Performance mode
(Tempo parameter setting), set the Source parameter
(PERFORM/ COMMON/ PERFORM CLOCK) to
PERFORM and set the desired tempo.
Adjust the spatial spread of the sound.
HF Da m p
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter
(PERFORM/ COMMON/ PERFORM CLOCK) to
SYSTEM.
Lo w Ga in
Adjust the gain of the low frequency range.
Hi Ga in
Fb k (Fe e d b a ck Le ve l) #
Adjust the gain of the high frequency range.
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
modulation delay sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the modulation delay sound will be output.
Le ve l C (Ce n te r Le ve l)
Le ve l L (Le ft Le ve l)
Le ve l R (Rig h t Le ve l)
Adjust the volume of each delay sound.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
HF Da m p
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
1 9 : TRIPLE-TAP-DELAY
The Triple Tap Delay produces three delay sounds; center,
Lo w Ga in
left and right. The center delay time can be specified as a note
Adjust the gain of the low frequency range.
value of a specified tempo.
fig.3-64
Hi Ga in
Balance D
2-Band
Adjust the gain of the high frequency range.
L in
L out
EQ
Balance W
Left Tap
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Triple Tap Delay
Feedback
Center Tap
Balance W
Right Tap
2-Band
EQ
R in
R out
Balance D
1 0 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Le ve l (O u tp u t Le ve l)
Le ve l 1
Le ve l 2
Adjust the output level.
Le ve l 3
Le ve l 4
2 0 : Q UADRUPLE-TAP-DELAY
The Quadruple Tap Delay has four delays. Each of the Delay
Time parameters can be specified as a note length of the
selected tempo.
Adjust the volume of each delay sound.
Fb k (Fe e d b a ck Le ve l) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
fig.3-65a
Balance D
L in
L out
HF Da m p
Delay 1
Delay 2
Balance W
Feedback
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Quadruple Tap Delay
Delay 3
Balance W
R out
Ba la n ce (Effe ct Ba la n ce ) #
Delay 4
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
R in
Balance D
The stereo location of each delay sound is as follows.
fig.3-65b
2
3
Le ve l (O u tp u t Le ve l)
4
1
Adjust the output level.
R
L
2 1 : TIME-CO N TRO L-DELAY
De la y 1 (De la y Tim e 1 )
This effect allows you to use a specified controller (the
controller selected in EFX Control Source) to control the
delay time and pitch in realtime. Lengthening the delay will
De la y 2 (De la y Tim e 2 )
De la y 3 (De la y Tim e 3 )
De la y 4 (De la y Tim e 4 )
Adjust the time delay from the direct sound until when each
delay sound is heard. These parameters can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
lower the pitch, and shortening it will raise the pitch.
fig.3-66
2-Band
EQ
L in
L out
Balance D
Balance W
Time Control Delay
Balance W
Feedback
Balance D
W h e n Ste p Ra te is Se t a s a N o te Va lu e
As the specified tempo, you may use either the Patch
Tempo, Performance Tempo, or the tempo clock of the
XP-30’s system.
2-Band
EQ
R in
R out
De la y (De la y tim e ) #
Adjust the time delay from the direct sound until when each
delay sound is heard.
If you want to use a fixed tempo in Patch mode (Tempo
parameter setting), set the Source parameter (PATCH/
COMMON/ PATCH CLOCK) to PATCH and set the
desired tempo.
Acce l (Acce le ra tio n )
This parameter adjusts the time over which the Delay Time
will change from the current setting to a newly specified
setting. The rate of change for the Delay Time directly affects
the rate of pitch change.
If you want to use the system’s tempo clock in Patch
mode, set the Source parameter (PATCH/ COMMON/
PATCH CLOCK) to SYSTEM.
Fb k (Fe e d b a ck Le ve l) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
If you want to use a fixed tempo in Performance mode
(Tempo parameter setting), set the Source parameter
(PERFORM/ COMMON/ PERFORM CLOCK) to
PERFORM and set the desired tempo.
HF Da m p
If you want to use the system’s tempo clock in
Performance mode, set the Source parameter
(PERFORM/ COMMON/ PERFORM CLOCK) to
SYSTEM.
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Pa n (O u tp u t Pa n )
Adjust the stereo location of the delay sound. L64 is far left, 0
is center, and 63R is far right.
1 0 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Lo w Ga in
Pre Dly B (Pre De la y Tim e B)
Adjust the gain of the low frequency range.
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Hi Ga in
Mo d e (Pitch Sh ifte r Mo d e )
Adjust the gain of the high frequency range.
Higher settings of this parameter will result in slower
response, but steadier pitch.
Ba la n ce (Effe ct Ba la n ce )
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Lvl Ba l (Le ve l Ba la n ce )
Adjust the volume balance between the Pitch Shift A and
Pitch Shift B sounds.
Ba la n ce (Effe ct Ba la n ce )
Le ve l (O u tp u t Le ve l)
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
Adjust the output level.
2 2 : 2 VO ICE-PITCH-SHIFTER
A Pitch Shifter shifts the pitch of the original sound. This 2-
voice pitch shifter has two pitch shifters, and can add two
pitch shifted sounds to the original sound.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
fig.3-67
Balance D
2 3 : FBK-PITCH-SHIFTER
L in
L out
Level Balance A
(Fe e d b a ck Pitch Sh ifte r)
This pitch shifter allows the pitch shifted sound to be fed
PanA L
PanA R
Balance W
2Voice Pitch Shifter
Level Balance B
back into the effect.
PanB L
fig.3-68
2-Band
EQ
Balance W
Balance W
R out
PanB R
L in
L out
R out
Balance D
R in
Balance D
Pitch Shifter
Balance W
Co a rse A (Co a rse Pitch A) # 1
Adjust the pitch of Pitch Shift A in semitone steps (-2–+1
Feedback
Balance D
2-Band
EQ
R in
octaves).
Co a rse (Co a rse Pitch ) # 1
Fin e A (Fin e Pitch A) # 1
Adjust the pitch of the pitch shifted sound in semitone steps
Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100–+100 cents).
(-2–+1 octaves).
Fin e (Fin e Pitch ) # 1
Make fine adjustments to the pitch of the pitch shifted sound
in 2-cent steps (-100–+100 cents).
* One cent is 1/100th of a semitone.
Pa n A (O u tp u t Pa n A)
Adjust the stereo location of the Pitch Shift A sound. L64 is
far left, 0 is center, and 63R is far right.
* One cent is 1/100th of a semitone.
Fb k (Fe e d b a ck Le ve l) #
Pre Dly A (Pre De la y Tim e A)
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Adjust the proportion (%) of the processed sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the pitch shifted sound is heard.
Co a rse B (Co a rse Pitch B) # 2
Adjust the pitch of Pitch Shift B in semitone steps (-2–+1
octaves).
Mo d e (Pitch Sh ifte r Mo d e )
Higher settings of this parameter will result in slower
response, but steadier pitch.
Fin e B (Fin e Pitch B) # 2
Make fine adjustments to the pitch of Pitch Shift B in 2-cent
steps (-100–+100 cents).
Pa n (O u tp u t Pa n )
Adjust the stereo location of the pitch shifted sound. L64 is
far left, 0 is center, and 63R is far right.
* One cent is 1/100th of a semitone.
Pa n B (O u tp u t Pa n B)
Lo w Ga in
Adjust the gain of the low frequency range.
Adjust the stereo location of the Pitch Shift B sound. L64 is
far left, 0 is center, and 63R is far right.
1 0 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Hi Ga in
2 5 : GATE-REVERB
Gate Reverb is a special type of reverb in which the
Adjust the gain of the high frequency range.
reverberant sound is cut off before its natural length.
Ba la n ce (Effe ct Ba la n ce )
fig.3-70
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
2-Band
EQ
Balance W
L in
L out
Balance D
Gate Reverb
Balance W
2-Band
EQ
Le ve l (O u tp u t Le ve l)
Adjust the output level.
R in
R out
Balance D
Ty p e (Ga te Re ve rb Ty p e )
Select the type of reverb.
2 4 : REVERB
NORMAL: conventional gate reverb
REVERSE: backwards reverb
The Reverb effect adds reverberation to the sound,
simulating an acoustic space.
fig.3-69
SWEEP1: the reverberant sound moves from right to left
2-Band
EQ
Balance W
L in
L out
R out
SWEEP2: the reverberant sound moves from left to right
Balance D
Reverb
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
Balance W
until the reverb sound is heard.
2-Band
EQ
R in
Balance D
Ga te Tim e
Ty p e (Re ve rb Ty p e )
Adjust the time from when the reverb is heard until when it
Select the type of Reverb effect.
disappears.
ROOM1:dense reverb with short decay
Lo w Ga in
Adjust the gain of the low frequency range.
ROOM2:sparse reverb with short decay
STAGE1:reverb with greater late reverberation
STAGE2:reverb with strong early reflections
HALL1:reverb with clear reverberance
HALL2:reverb with rich reverberance
Hi Ga in
Adjust the gain of the high frequency range.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the reverb sound is heard.
Tim e (Re ve rb Tim e ) #
Adjust the time length of reverberation.
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
HF Da m p
2 6 : O VERDRIVE→CHO RUS
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
This effect connects an overdrive and a chorus in series.
fig.3-71
L out
L in
Balance D
Chorus
Balance W
Overdrive
Balance W
R out
Lo w Ga in
Adjust the gain of the low frequency range.
R in
Balance D
Hi Ga in
O D Drive
Adjust the gain of the high frequency range.
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
O D Pa n (O ve rd rive Pa n ) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Ch o Dly (Ch o ru s Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
1 0 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ch o Ra te (Ch o ru s Ra te )
Adjust the modulation speed of the chorus effect.
2 8 : O VERDRIVE→DELAY
This effect connects an overdrive and a delay in series.
fig.3-73
Ch o ru s De p th
Adjust the modulation depth of the chorus effect.
L out
L in
Balance D
Delay
Balance W
Ch o ru s Ba la n ce #
Overdrive
Balance W
R out
Adjust the volume balance between the overdrive sound that
is sent through the chorus and the overdrive sound that is
not sent through the chorus. With a setting of “D100: 0W,”
only the overdrive sound will be output. With a setting of
“D0: 100W,” only the overdrive sound that is sent through
the chorus will be output.
Feedback
Balance D
R in
O D Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
O D Pa n (O ve rd rive Pa n ) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
2 7 : O VERDRIVE→FLAN GER
This effect connects an overdrive and a flanger in series.
Dly Tim e (De la y Tim e )
fig.3-72
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Balance D
L out
L in
Feedback
Flanger
Dly Fb k (De la y Fe e d b a ck Le ve l)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Balance W
Overdrive
Balance W
R out
R in
De la y HF Da m p
Balance D
Adjust the frequency above which delayed sound fed back to
the effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
O D Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
De la y Ba la n ce (De la y Ba la n ce ) #
O D Pa n (O ve rd rive Pa n ) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Adjust the volume balance between the overdrive sound that
is sent through the delay and the overdrive sound that is not
sent through the delay. With a setting of “D100: 0W,” only
the overdrive sound will be output. With a setting of “D0:
100W,” only the overdrive sound that is sent through the
delay will be output.
Flg Dly (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Flg Ra te (Fla n g e r Ra te )
Le ve l (O u tp u t Le ve l)
Adjust the modulation speed of the flanger effect.
Adjust the output level.
Flg Dp t (Fla n g e r De p th )
Adjust the modulation depth of the flanger effect.
2 9 : DISTO RTIO N →CHO RUS
This effect connects distortion and chorus in series. The
parameters are essentially the same as “26:
OVERDRIVE→CHORUS,” with the exception of the
following two.
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Fla n g e r Ba la n ce #
OD Drive → Dist Drive (Specify the amount of distortion.)
OD Pan → Dist Pan (Specify the stereo location of the
Adjust the volume balance between the overdrive sound that
is sent through the flanger and the overdrive sound that is
not sent through the flanger. With a setting of “D100: 0W,”
only the overdrive sound will be output. With a setting of
“D0: 100W,” only the overdrive sound that is sent through
the flanger will be output.
distortion sound.)
fig.3-74
L out
L in
Balance D
Chorus
Balance W
Distortion
Balance W
R out
Le ve l (O u tp u t Le ve l)
Adjust the output level.
R in
Balance D
1 0 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ch o ru s De p th
Adjust the modulation depth of the chorus effect.
3 0 : DISTO RTIO N →FLAN GER
This effect connects distortion and flanger in series. The
parameters are essentially the same as in “27:
OVERDRIVE→FLANGER,” with the exception of the
following two.
Ch o ru s Ba la n ce #
Adjust the volume balance between the enhancer sound that
is sent through the chorus and the enhancer sound that is not
sent through the chorus. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
chorus will be output.
OD Drive → Dist Drive (Specify the amount of distortion.)
OD Pan → Dist Pan (Specify the stereo location of the
distortion sound.)
fig.3-75
Balance D
L out
L in
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Feedback
Flanger
Balance W
Distortion
Balance W
R out
3 3 : EN HAN CER→FLAN GER
R in
This effect connects an enhancer and a flanger in series.
Balance D
fig.3-78
Balance D
3 1 : DISTO RTIO N →DELAY
L in
L out
Enhancer
Mix
Mix
Feedback
Flanger
This effect connects distortion and delay in series. The
parameters are essentially the same as in “28:
OVERDRIVE→DELAY,” with the exception of the following
two.
Balance W
Balance W
R out
R in
Enhancer
Balance D
OD Drive → Dist Drive (Specify the amount of distortion.)
OD Pan → Dist Pan (Specify the stereo location of the
En h a n ce r Se n s #
distortion sound.)
Adjust the sensitivity of the enhancer.
fig.3-76
En h a n ce r Mix (En h a n ce r Mix Le ve l)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
L out
L in
Balance D
Delay
Balance W
Distortion
Balance W
R out
Flg Dly (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Feedback
Balance D
R in
3 2 : EN HAN CER→CHO RUS
Flg Ra te (Fla n g e r Ra te )
Adjust the modulation speed of the flanger effect.
This effect connects an enhancer and a chorus in series.
fig.3-77
L in
L out
Flg Dp t (Fla n g e r De p th )
Adjust the modulation depth of the flanger effect.
Enhancer
Balance D
Chorus
Mix
Balance W
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Balance W
R out
R in
Enhancer
Balance D
Mix
En h a n ce r Se n s #
Fla n g e r Ba la n ce #
Adjust the sensitivity of the enhancer.
Adjust the volume balance between the enhancer sound that
is sent through the flanger and the enhancer sound that is not
sent through the flanger. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
flanger will be output.
En h a n ce r Mix (En h a n ce r Mix Le ve l)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Ch o Dly (Ch o ru s Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Le ve l (O u tp u t Le ve l)
Ch o Ra te (Ch o ru s Ra te )
Adjust the output level.
Adjust the modulation speed of the chorus effect.
1 0 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Ch o Ba l (Ch o ru s Ba la n ce ) #
3 4 : EN HAN CER→DELAY
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
chorus sound will be output.
This effect connects an enhancer and a delay in series.
fig.3-79
L in
L out
Enhancer
Balance D
Mix
Balance W
Delay
Feedback
Balance D
Balance W
R out
Dly Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
R in
Enhancer
Mix
until the delay sound is heard.
En h a n ce r Se n s #
Dly Fb k (De la y Fe e d b a ck Le ve l)
Adjust the proportion (%) of the delay sound that is fed back
Adjust the sensitivity of the enhancer.
into the delay input. Negative (-) settings will invert the phase.
En h a n ce r Mix (En h a n ce r Mix Le ve l)
De la y HF Da m p
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Dly Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
De la y Ba la n ce #
Adjust the volume balance between the chorus sound that is
sent through the delay and the chorus sound that is not sent
through the delay. With a setting of “D100: 0W,” only the
chorus sound will be output. With a setting of “D0: 100W,” only
the chorus sound that is sent through the delay will be output.
Dly Fb k (De la y Fe e d b a ck Le ve l)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
De la y HF Da m p
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to BYPASS.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
3 6 : FLAN GER→DELAY
De la y Ba la n ce #
This effect connects a flanger and a delay in series.
Adjust the volume balance between the enhancer sound that
is sent through the delay and the enhancer sound that is not
sent through the delay. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
delay will be output.
fig.3-81
Balance D
L in
L out
Balance D
Feedback
Flanger
Balance W
Balance W
Balance W
Delay
Feedback
Balance D
Balance W
R out
R in
Balance D
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Flg Dly (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
3 5 : CHO RUS→DELAY
Flg Ra te (Fla n g e r Ra te )
Adjust the modulation speed of the flanger effect.
This effect connects a chorus and a delay unit in series.
fig.3-80
Balance D
L in
L out
Flg Dp t (Fla n g e r De p th )
Adjust the modulation depth of the flanger effect.
Balance D
Balance W
Balance W
Chorus
Balance W
Delay
Feedback
Balance D
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)
Adjust the proportion (%) of the flanger sound that is fed
Balance W
R out
R in
back into the effect. Negative (-) settings will invert the phase.
Balance D
Flg Ba l (Fla n g e r Ba la n ce ) #
Ch o Dly (Ch o ru s Pre De la y Tim e )
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
flanger sound will be output.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Ch o Ra te (Ch o ru s Ra te )
Adjust the modulation speed of the chorus effect.
Dly Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
Ch o Dp t (Ch o ru s De p th )
until the delay sound is heard.
Adjust the modulation depth of the chorus effect.
1 0 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Dly Fb k (De la y Fe e d b a ck Le ve l)
Fla n g e r Ba la n ce #
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
Adjust the volume balance between the chorus sound and
the chorus sound that is passed through the flanger. With a
setting of “D100: 0W,” only the chorus sound will be output.
With a setting of “D0: 100W,” only the chorus sound that
passes through the flanger will be output.
HF Da m p
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to BYPASS.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
De la y Ba la n ce #
Adjust the volume balance between the flanger sound that is
sent through the delay and the flanger sound that is not sent
through the delay. With a setting of “D100: 0W,” only the
flanger sound will be output. With a setting of “D0: 100W,” only
the flanger sound that is sent through the delay will be output.
3 8 : CHO RUS/ DELAY
This effect connects a chorus and a delay in parallel. The
parameters are the same as for “35: CHORUS→DELAY.”
However, the Delay Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
fig.3-83
Le ve l (O u tp u t Le ve l)
Balance D
Adjust the output level.
L in
L out
Balance W
Chorus
3 7 : CHO RUS→FLAN GER
This effect connects a chorus and a flanger in series.
Feedback
fig.3-82
Balance W
Delay
Balance D
Feedback
Flanger
Balance D
L in
L out
R in
R out
Balance D
Balance W
Chorus
Balance W
3 9 : FLAN GER/ DELAY
Balance W
R out
Balance W
This effect connects a flanger and a delay in parallel. The
parameters are the same as for “36: FLANGER→DELAY.”
However, the Delay Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
R in
Balance D
Balance D
Ch o Dly (Ch o ru s Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
fig.3-84
Balance D
L in
L out
Ch o Ra te (Ch o ru s Ra te )
Adjust the modulation speed of the chorus effect.
Balance W
Flanger
Feedback
Feedback
Ch o Dp t (Ch o ru s De p th )
Adjust the modulation depth of the chorus effect.
Balance W
Delay
Ch o Ba l (Ch o ru s Ba la n ce ) #
R in
R out
Balance D
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
chorus sound will be output.
4 0 : CHO RUS/ FLAN GER
This effect connects a chorus and a flanger in parallel. The
parameters are the same as for “37: CHORUS→FLANGER.”
However, the Flanger Balance parameter adjusts the volume
balance between the direct sound and the flanger sound.
Flg Dly (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
fig.3-85
Balance D
L in
L out
Flg Ra te (Fla n g e r Ra te )
Adjust the modulation speed of the flanger effect.
Balance W
Chorus
Feedback
Flg Dp t (Fla n g e r De p th )
Adjust the modulation depth of the flanger effect.
Balance W
Flanger
R in
R out
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Balance D
1 0 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
■ Arp e g g io Se ttin g s (ARPEGGIO )
XP-3 0 O p e ra tin g En viro n m e n t
Se tu p (Sy ste m Pa ra m e te rs
a n d Th e ir Fu n ctio n s)
fig.3-86
This is where to set Arpeggiator parameters.
ARPEGGIO
Sty le
Sets the style of the arpeggio. Select from the following 43
options. For creating your own style, choose LIMITLESS.
1/4: The rhythm will be divided in quarter notes.
1/6: The rhythm will be divided in quarter note triplets.
1/8: The rhythm will be divided in eighth notes.
1/12: The rhythm will be divided in eighth note triplets.
1/16: The rhythm will be divided in 16th notes.
1/32: The rhythm will be divided in 32nd notes.
PORTAMENTO A, B: A style using the portamento effect.
GLISSANDO: A glissando style.
■ Disp la y Scre e n Co n tra st a n d
Clo ck Se ttin g s (SETUP)
SYSTEM SETUP
LCD Co n tra st
Adjust the contrast (brighthess) of the display.
SEQUENCE A–D: Styles for sequenced patterns.
ECHO: An echo-like style.
Po w e r Up Mo d e
Select the condition that the XP-30 will be in when the power
is turned on.
SYNTH BASS, SLAP BASS A, SLAP BASS B, WALK BASS:
Styles appropriate for bass playing.
LAST-SET: The XP-30 will be in the condition it was in
when power was last turned off.
DEFAULT: The XP-30 will be ready to play Patch
“USER:001.”
RHYTHM GTR A–E: Styles for guitar cutting. Styles B–E are
effective when 3–4 notes are held.
3 FINGER GTR: Three-finger guitar style.
STRUMMING GTR: A style simulating a guitar chord
strummed upward (downward).
Pa tch Re m a in (Pa tch Re m a in Sw itch )
If you want currently-sounding notes to be turned off when a
new Patch (Rhythm Set) is selected, set this parameter OFF.
Effective when 5–6 notes are held.
KBD COMPING A, B: Styles for keyboard instrument
backing.
* Effects settings change as soon as you switch to a new Patch or
Rhythm Set, without being influenced by the Patch Remain
setting. Because of this, certain effects settings can cause notes
that were until then sounding to no longer be heard, even
though Patch Remain has been set to on.
KBD COMPING C, D: Styles in triple meter.
KBD COMPING E: A reggae-type style. Effective when 3
notes are held.
PERCUSSION: A style suitable for percussive instrument
sounds.
Clo ck So u rce
HARP: The playing style of a harp.
Specify the tempo clock of the system.
SHAMISEN: The playing style of a Shamisen.
BOUND BALL: A style suggestive of a bouncing ball.
RANDOM: A style in which the notes sound in random order.
BOSSANOVA: A style with bossanova guitar cutting. Hold
3–4 notes for best results. You can increase
the tempo and use this as a Samba.
INT: The internal clock will be the tempo clock for the
system.
MIDI: An external clock will be the tempo clock for the
system.
Sy ste m Te m p o
Set the system tempo.
SALSA: Typical salsa style. Hold 3–4 notes for best results.
MAMBO: Typical mambo style. Hold 3–4 notes for best
results.
* When Clock Source is set to MIDI, the tempo will synchronize
to the clock messages received from an external MIDI device, so
it will not be possible to set the tempo value. The tempo of the
external clock will be displayed in parentheses.
LATIN PERCUSION: A rhythm style with Latin percussion
instruments such as Clave, Cowbell,
Clap, Bongo, Conga, Agogo etc.
Ca te g o ry Se le ct Mo d e
SAMBA: Typical samba style. Use for rhythm patterns or
bass lines.
When searching for patches, specify the patch that will be
selected when you press the numeric key.
LAST-SET: The patch last-selected during the previous
patch search will be selected.
TANGO: Typical tango rhythm style. Hold the root, 3rd and
5th of a triad etc. for best results.
HOUSE: A style for house piano backing. Hold 3–4 notes for
best results.
DEFAULT: The patch specified as the factory default will be
selected.
1 0 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
LIMITLESS: The settings of all parameters can be freely
GLISSANDO:
CHORD:
Notes will be played in an ascending
and descending chromatic scale
between the lowest and the highest
keys that are pressed. Simply press
two notes, the lowest and highest.
All notes that are pressed will sound
simultaneously.
combined without restriction.
* Choices can be set for the Motif, Beat Pattern, Shuffle Rate and
Accent Rate parameters for each style. Refer to the “Arpeggio
Style List” (p. 182).
O cta ve Ra n g e
Sets the key range in octaves over which arpeggio will take
place. If you want the arpeggio to sound using only the notes
that you actually play, set this parameter to 0. To have the
arpeggio sound using the notes you play and notes 1 octave
higher, set this parameter to +1. A setting of -1 will make the
arpeggio sound using the notes you play and notes l octave
lower.
BASS+CHORD1–5: The lowest note that is pressed and
other notes will sound as a chord.
BASS+UP1–8:
The lowest note that is pressed and
other notes will sound as an
arpeggio.
BASS+RANDOM1–3: The lowest note that is pressed and
other notes will sound randomly.
TOP+UP1–6:
The highest note that is pressed and
other notes will sound as an
arpeggio.
Mo tif
Sets the order in which notes of the chord will sound. Some
settings will not be available depending on the Style
parameter setting.
BASS+UP+TOP:
Simulated fingering of folk guitar’s
three-finger picking technique.
SINGLE UP:
Notes will sound singly, starting
from the lowest key pressed.
Notes will sound singly, starting
from the highest key pressed.
Be a t Pa tte rn
SINGLE DOWN:
Select the beat pattern from the choices below. This setting
will affect the location of the accent and length of the notes to
determine the beat (rhythm).
SINGLE UP&DOWN: Notes will sound singly, starting
from the lowest key pressed, going
Some settings will not be available depending on the Style
parameter setting.
up and then back down.
SINGLE RANDOM:
DUAL UP:
Notes will sound singly in random
order.
1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A 01–11,
PORTA-B 01–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1–2,
SEQ-D 1–8, ECHO 1–3, MUTE 01–16, STRUM1–8,
REGGAE1–2, REFRAIN1–2, PERC1–4, WALKBS, HARP,
BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO
1–2, CLAVE, REV CLA, GUIRO, AGOGO, SAMBA, TANGO
1–4, HOUSE 1–2
Notes will sound in pairs, starting
from the lowest key pressed.
Notes will sound in pairs, starting
from the highest key pressed.
Notes will sound in pairs, starting
from the lowest key pressed, going
up and then back down.
DUAL DOWN:
DUAL UP&DOWN:
Acce n t Ra te
Modifies the strength of accents and the length of the notes to
adjust the “groove” feel of the arpeggio. A setting of 100%
will produce the most pronounced groove feel.
DUAL RANDOM:
TRIPLE UP:
Notes will sound in pairs, in random
order.
Notes you press will sound three at a
time, from low to high.
Sh u ffle Ra te
TRIPLE DOWN:
Notes you press will sound three at a
time, from high to low.
This parameter allows you to modify the timing of an up-
beat between two down-notes next to each other, to create
shuffle rhythms. With a setting of 50%, the notes will be
spaced evenly. Higher values will give more of a “dotted”
(shuffle) feel.
TRIPLE UP&DOWN: Notes you press will sound three at a
time, from low to high and then back
down from high to low.
TRIPLE RANDOM:
Notes you press will sound three at a
time, in random order.
Ke y Ve lo city
Sets the force of the chord. If you wish to use the velocity at
which the notes are actually played, set this parameter to
REAL. To use a constant velocity regardless of the force with
which you play the keyboard, choose a desired value from 1–
127.
NOTE ORDER:
Notes will sound in the order that
they were pressed. Up to 32 notes can
be stored, so you can create melody
lines by pressing keys in the
appropriate order.
1 0 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Pa rt (Arp e g g io Pa rt)
HO LD PEDAL
When using a Layer performance, you can use this parameter
to specify the Part for playing an arpeggio. Parts other than
that you specify will sound as you play on the keyboard.
Set the function of the pedal connected to the HOLD PEDAL
jack.
O u tp u t (Pe d a l O u tp u t)
* This setting will be invalid if Single performance, Patch mode or
Rhythm Set mode is selected.
Select the sound source(s) (the internal sound source and/ or
external sound sources connected to MIDI OUT connector)
which will be controlled by the pedal.
Te m p o
OFF: Neither will be controlled.
Sets the speed of the arpeggio. This setting is the same as the
tempo of the song. Changing this setting will also affect the
song’s playback tempo.
INT:
Only the internal sound source will be controlled.
MIDI: Only external sound sources will be controlled.
BOTH: Both the internal sound source and external sound
sources will be controlled.
When the Clock Source parameter (SYSTEM/ SETUP/
SYSTEM SETUP) is set to INT, the display will indicate
Tempo(=SYS), and this will be the same value as the system
tempo. With a setting of MIDI, the display will indicate
Tempo(=EXT), and you will be synchronized to the clock of
the external MIDI device.
Po la rity (Pe d a l Po la rity )
This parameter switches the polarity of the Hold pedal. On
some pedals, the electrical signal output by the pedal when it
is pressed or released is the opposite of other pedals. If your
pedal has an effect opposite of what you expect, set this
parameter to REVERSE. If you are using a Roland pedal (that
■ Ke y b o a rd a n d Co n tro lle rs
Se ttin g s (CO N TRO L)
has no polarity switch), set this parameter to STANDARD
.
KEYBO ARD
CO N TRO L PEDAL
Assign the function of the pedals connected to the
Tra n sp o se (Tra n sp o se Sw itch / Va lu e )
If you wish to transpose the range of the keyboard, turn this
switch ON and set the desired amount of transposition (in
semitone steps). Tonic is indicated in parentheses ( ).
CONTROL PEDAL jack.
Assig n (Pe d a l Assig n )
Select the function controlled by the pedal.
* The transposed note name will be shown in the lower right of the
Performance/Patch/Rhythm Set play display.
CC01–95:
Controller numbers 1–95 (except for 6, 32–63).
PITCH BEND: Pitch bend
* When transposing the keyboard range, press [TRANSPOSE]
and indicator lights.
AFTERTOUCH: Aftertouch
PROG-UP:
Every press of the pedal selects the next
Performance number, Patch number, or
Rhythm Set.
* To change transpose amount on a PLAY display, hold down
[TRANSPOSE] and press [-OCT] or [+OCT].
PROG-DOWN: Every press of the pedal selects the
previous Performance number, Patch
number, or Rhythm Set.
Se n s (Ke y b o a rd Se n sitivity )
Select the keyboard sensitivity.
LIGHT: light
TAP-TEMPO:
Tap tempo (a tempo specified by the
interval at which you press the pedal).
Each pedal press raises the key range in
octave steps (up to 3 octaves higher).
Each pedal press lowers the key range in
octave steps (up to 3 octaves lower).
MEDIUM: normal
HEAVY: heavy
OCT-UP:
Ve l (Ke y b o a rd Ve lo city )
Specify the velocity value that will be transmitted when you
play the keyboard. If you want the actual keyboard velocity
to be transmitted, set this to REAL. If you want a fixed
velocity value to be transmitted regardless of how you play,
specify the desired value.
OCT-DOWN:
O u tp u t (Pe d a l O u tp u t)
Select the sound source(s) (the internal sound source and/ or
external sound sources connected to MIDI OUT connector)
which will be controlled by the pedals.
Aft (Afte rto u ch Se n sitivity )
Specify the Aftertouch sensitivity. Higher values will allow
Aftertouch to be applied more easily. Normally you should
leave this set to 100.
OFF: Neither will be controlled.
INT:
Only the internal sound source will be controlled.
MIDI: Only external sound sources will be controlled.
BOTH: Both the internal sound source and external sound
sources will be controlled.
1 1 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Po la rity (Pe d a l Po la rity )
CO N TRO L SO URCE
This parameter switches the polarity of the pedals. On some
pedals, the electrical signal output by the pedal when it is
pressed or released is the opposite of other pedals. If your
pedal has an effect opposite of what you expect, set this
parameter to REVERSE. If you are using a Roland pedal (that
Select the type of MIDI message that will be used to control
each of the following functions.
Ho ld (Ho ld Co n tro l So u rce )
Select the type of pedal message that will be used to hold the
current parameter values.
has no polarity switch), set this parameter to STANDARD
.
OFF:
not used
HOLD1: Hold 1 (controller number 64)
C1 / C2 / C3 / C4 ASSIGN
(C1 / C2 / C3 / C4 Slid e r Assig n )
SOST:
SOFT:
Sostenuto (controller number 66)
Soft pedal (controller number 67)
These parameters set the functions controlled by the C1–C4
HOLD2: Hold 2 (controller number 69)
sliders.
Pe a k (Pe a k Co n tro l So u rce )
Select the type of pedal message that will used to hold the
highest received parameter values.
Assig n (C1 / C2 / C3 / C4 Slid e r Assig n )
Select the function controlled by each slider.
CC01–95:
Controller numbers 1–95 (except for 6, 32–63).
OFF:
not used
PITCH BEND: Pitch bend
HOLD1: Hold 1 (controller number 64)
AFTERTOUCH: Aftertouch
SOST:
SOFT:
Sostenuto (controller number 66)
Soft pedal (controller number 67)
* Depending on the functions being controlled, the value may
remain unchanged when the slider is moved, even if the Patch or
Performance is switched.
HOLD2: Hold 2 (controller number 69)
Vo lu m e (Vo lu m e Co n tro l So u rce )
Specify whether or not Expression messages (controller
number 11) will affect the volume of a Patch or Part as well
as Volume messages (controller number 7).
VOLUME: Only Volume messages and not Expression
messages will affect the volume.
O u tp u t (C1 / C2 / C3 / C4 Slid e r O u tp u t)
Select the sound source(s) (the internal sound source and/ or
external sound sources connected to MIDI OUT connector)
which will be controlled by the sliders.
OFF: Neither will be controlled.
INT:
Only the internal sound source will be controlled.
VOL&EXP: Both Volume messages and Expression
messages will affect the volume.
MIDI: Only external sound sources will be controlled.
BOTH: Both the internal sound source and external sound
sources will be controlled.
Afte rto u ch (Afte rto u ch Co n tro l So u rce )
Specify the type(s) of aftertouch message that will affect the
internal sound source.
SYS-CTRL ASSIGN (Sy ste m Co n tro l Assig n )
CHANNEL: Channel pressure
Co n tro l 1 / 2 (Sy ste m Co n tro l Assig n 1 / 2 )
These settings allow you to choose two controllers for
common use when controlling the parameters of a Patch or
Performance. The settings in each Patch (or Performance)
will determine whether the two controllers you choose here
will actually be used. You will also need to specify for each
Patch (or Performance) the parameters that will be
controlled.
(the aftertouch that applies equally to all keys)
POLY:
Polyphonic key pressure (the aftertouch that
applies independently to each key)
CH&POLY: Channel pressure and Polyphonic key pressure
* The XP-30’s keyboard is not able to transmit Polyphonic Key
Pressure messages.
CC01–95:
Controller numbers 1–95 (except for 6, 32–63).
PITCH BEND: Pitch bend
AFTERTOUCH: Aftertouch
* To use the selected controllers, you need to make System
settings and Patch/Performance settings so that the MIDI
messages transmitted by the selected controllers will be received.
* For many control change messages, the function performed by
each number is defined in the MIDI specification. These settings
allow you to use control change messages without regard to
their officially defined function, so please be aware of what you
are doing.
1 1 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Tx -Ch (Pa tch Mo d e Tra n sm it Ch a n n e l)
■ MIDI Se ttin g s (MIDI)
These parameters determine MIDI channel settings and how
exclusive data is handled.
This parameter selects the transmit channel for MIDI
messages in Patch mode. If you do not want to transmit
MIDI messages to external MIDI devices, turn this parameter
off. If you want the transmit channel to always match the
Patch Mode Receive Channel, set this parameter to Rx-Ch.
* The first display of the MIDI group will be different depending
on the mode you were in when you pressed [SYSTEM] (Patch
mode/Performance mode/GM mode).
Lo ca l (Lo ca l Sw itch )
PERFO RM MIDI (Pe rfo rm a n ce MIDI)
Make MIDI settings for Performance mode. To make these
settings, press [SYSTEM] when you are in Performance mode,
and then press [MIDI] located in the row of function buttons.
Specify whether or not the controller section will be
connected to the internal sound source (all Parts). Normally
you will leave this ON, but if you wish to use the XP-30’s
keyboard and controllers to control only external sound
sources, turn this OFF.
Co n tro l Ch a n n e l (Pe rfo rm a n ce Co n tro l Ch a n n e l)
Select the receive channel used for selecting Performances via
MIDI (Program Change and Bank Select messages). If you do
not wish to use MIDI messages to select Performances, turn
this OFF. If you set this to the same channel as the receive
channel of a Part, Performance selection will take priority and
it will not be possible to select Patches on that Part via MIDI.
Re m o te (Re m o te Ke y b o a rd Sw itch )
Turn this parameter on when you want to use an external
MIDI keyboard in place of the XP-30’s keyboard. In this case,
the transmit channel of the external MIDI keyboard can be
set to any channel. Normally you will leave this parameter
off.
* The MIDI Receive Channel of each Part is set independently for
each Performance.
GM MIDI
Make MIDI settings for GM mode. To make these settings,
press [SYSTEM] when you are in GM mode, and then press
[MIDI] located in the row of function buttons.
Lo ca l (Lo ca l Sw itch )
Specify whether or not the controller section will be
connected to the internal sound source (all Parts). Normally
you will leave this ON, but if you wish to use the XP-30’s
keyboard and controllers to control only external sound
sources, turn this OFF.
Lo ca l (Lo ca l Sw itch )
Specify whether or not the controller section will be
connected to the internal sound source (all Parts). Normally
you will leave this ON, but if you wish to use the XP-30’s
keyboard and controllers to control only external sound
sources, turn this OFF.
* If you want the keyboard controller section to be disconnected
only from a specific Part or Parts, use the Local parameter
(PERFORM/MIDI/MIDI).
RECEIVE MIDI
Re m o te (Re m o te Ke y b o a rd Sw itch )
Turn this parameter on when you want to use an external
MIDI keyboard in place of the XP-30’s keyboard. In this case,
the transmit channel of the external MIDI keyboard can be set
to any channel. Normally you will leave this parameter off.
Select whether or not to receive MIDI messages to select
Patches, Rhythm Sets, or Performances.
Pro g ra m Ch a n g e
(Re ce ive Pro g ra m Ch a n g e Sw itch )
If you want Program Change messages to be received, turn
this ON. If not, turn it OFF.
* Set this parameter ON if you want performance using the
Arpeggiator to be controlled by an external MIDI device.
* When the Remote keyboard switch is on, all messages that arrive
at MIDI IN are output from MIDI OUT.
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
If you want Bank Select messages to be received, turn this
ON. If not, turn it OFF.
PATCH MIDI
Make MIDI settings for Patch mode. To make these settings,
press [SYSTEM] when you are in Patch mode, and then press
[MIDI] located in the row of function buttons.
TRAN SMIT MIDI
Specify how MIDI messages will be transmitted.
Pro g ra m (Tra n sm it Pro g ra m Ch a n g e Sw itch )
If you want Program Change messages to be transmitted,
turn this ON. If not, turn it OFF.
Rx -Ch (Pa tch Mo d e Re ce ive Ch a n n e l)
Select the channel on which MIDI messages will be received
in Patch mode.
Ba n k Se l (Tra n sm it Ba n k Se le ct Sw itch )
If you want Bank Select messages to be transmitted, turn this
ON. If not, turn it OFF.
1 1 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
Active Se n sin g (Tra n sm it Active Se n sin g Sw itch )
If you want Active Sensing messages to be transmitted, turn
this ON. If not, turn it OFF.
■ Ph ra se Pre vie w Se ttin g s
(PREVIEW )
Specify how the phrase will play when you press [PHRASE
PREVIEW].
SYS-EXC MIDI (Ex clu sive MIDI)
Specify how Exclusive messages will be transmitted and
received.
PREVIEW MO DE
Mo d e (Pre vie w So u n d Mo d e )
SINGLE: The notes specified by Note 1–4 will sound
successively one by one.
De vice # (Ex clu sive De vice ID N u m b e r)
When you want to transmit or receive Exclusive messages,
set this parameter to match the Device ID number of the
other MIDI device.
CHORD: The notes specified by Note 1–4 will sound
simultaneously.
PHRASE: The phrase prepared for the Patch type (category)
will sound.
Rx .Ex c (Re ce ive Ex clu sive Sw itch )
If you want Exclusive messages to be received, turn this ON.
If not, turn it OFF.
PREVIEW KEY
Tx .Ed it (Tra n sm it Ed it Da ta Sw itch )
N o te 1 –4 (Pre vie w N o te Se t 1 –4 )
Specify the pitch (C-1–G9) of the four notes that will sound
when Mode (Preview Sound Mode) is set to either SINGLE
or CHORD.
If you want Exclusive messages to be transmitted for each
change you make while editing a Patch, Performance, or
Rhythm Set, turn this ON. If not, turn it OFF.
Rx .GM (Re ce ive GM Ex clu sive Sw itch )
If you want GM-related Exclusive messages to be received,
turn this ON. If not, turn it OFF.
* If PHRASE is selected for Mode, these settings will have no
effect.
* For details on the GM MIDI messages, refer to “Chapter 5.
when Mode (Preview Sound Mode) is set to either SINGLE
or CHORD.
BAN K-SEL GRO UP (Ba n k Se le ct Gro u p )
Each Performance has a Bank Select Group setting
(PERFORM/ MIDI/ TRANSMIT). The Bank Select Group
parameter of each Performance specifies how Bank Select
messages are transmitted when the Performance is selected.
Here, you can specify the actual Bank Select Number that is
transmitted for each of the BS1–7 selections that were made
in Performance mode.
* If PHRASE is selected for Mode, these settings will have no
effect.
■ Ad ju stin g Tu n in g (TUN E)
Parameters in this group adjust the tuning of the internal
sound source, or change the temperament of the keyboard.
* The SCALE display of TUNE group will be different depending
on the mode you were in when you pressed [SYSTEM].
N u m b e r (Ba n k Se le ct Gro u p N u m b e r)
Select the Bank select group you wish to set. The contents of
each BS number are determined by the following settings for
Switch, MSB and LSB.
TUN E
Ma ste r (Ma ste r Tu n e )
This parameter tunes the internal sound source. The
displayed value indicates the pitch (frequency) of the A4 key.
Sw itch (Ba ck Se le ct Tra n sm it Sw itch )
If you want the selected Bank select group to transmit its
assigned Bank Select number, turn this ON. If you do not
want the selected BS number to transmit a Bank Select
message, turn this OFF.
Ke y Sh ift
Adjust the pitch of the internal sound source in semitone
steps.
MSB (Ba n k Se le ct MSB)
Sca le Tu n e (Sca le Tu n e Sw itch )
Specify the MSB of the Bank Select number transmitted by
the selected BS number.
Turn this ON when you wish to play a scale other than equal
temperament. You can specify one scale for Patch mode and
one scale for Performance mode/ GM mode. To set the tuning
of each note in the scale, use the following SCALE display.
LSB (Ba n k Se le ct LSB)
Specify the LSB of the Bank Select number transmitted by the
selected BS number.
* The selected scale is used even for MIDI messages received from
an external MIDI device.
1 1 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 . Cre a tin g Yo u r O w n So u n d s
PATCH SCALE
KEY SCALE
■ Pro g ra m Ch a n g e (PGM CHN G)
TRAN SMIT P.C
If you wish to define a scale for use in Patch mode, press
[SYSTEM] while in Patch mode, and then press [TUNE] located
in the row of function buttons. to access the PATCH SCALE
display. If you wish to define a scale for use in Performance
mode/ GM mode, press [SYSTEM] while in Performance mode,
and then press [TUNE] located in the row of function buttons
to access the KEY SCALE display. To make settings for another
Part, use the cursor buttons to select the desired Part.
Define a scale by specifying how much the pitch will differ
from the equal tempered pitch (in steps of 1 cent). In Patch
mode there are separate screens for the white keys and black
keys, and the settings for one octave (C–G) will determine
the tuning for all octaves. In Performance mode/ GM mode,
you can make settings for each key in each Part.
(Tra n sm it Pro g ra m Ch a n g e )
When you want to transmit MIDI messages (Program
Change and Bank Select) to select sounds on an external
MIDI device, make settings in this display and then press the
ENTER button.
Ch a n n e l (Tra n sm it MIDI Ch a n n e l)
Select the channel on which the MIDI message will be
transmitted.
P.C# (Tra n sm it Pro g ra m Ch a n g e )
Select the Program Number you wish to transmit.
Bn k -MSB (Tra n sm it Ba n k Se le ct MSB)
Select the MSB (control number 0) of the Bank Select number
you wish to transmit.
* One cent is 1/100th of a semitone.
Bn k -LSB (Tra n sm it Ba n k Se le ct LSB)
Select the LSB (control number 32) of the Bank Select number
you wish to transmit.
Eq u a l Te m p e ra m e n t
This scale divides an octave into 12 equal parts for the
tuning system that is most widely used in Western
music. The XP-30 employs equal temperament when
the Scale Tune Switch is set OFF.
■ Ch e ck in g Th in g s Su ch a s th e
In sta lla tio n Sta tu s o f W a ve
Ex p a n sio n Bo a rd s (IN FO )
Pu re Te m p e ra m e n t (To n ic is C)
With this tuning, the three fundamental chords sound richer
compared to equal temperament. This effect only applies to
one key, and transposition makes the chord ambiguous.
IN FO EXP (In fo rm a tio n Ex p a n sio n Bo a rd )
The names of Wave Expansion Boards installed in slots EXP-
D and E are displayed. Slots without any boards installed are
indicated “----------------.”
Ara b ia n Sca le
In this scale, E and B are a quarter-note lower and C#, F#
and G# are quarter-note higher compared to equal
temperament. The intervals between G and B, C and E, F
and G#, A# and C#, and D# and F# have a natural third (the
interval between a major third and a minor third). With the
XP-30, you can play Arabian scale in G, C and F keys.
* If for both Expansion D: and Expansion E: an identically named
Wave Expansion Board is displayed, it will be possible to select
data only from the Wave Expansion Board installed in the EXP-
D slot. Also, the XP-30 already contains the data of the three
Wave Expansion Boards listed below, and if the names of any of
these Wave Expansion Boards are displayed, it will be possible
to select only the onboard data (XP-A–C).
<Examples>
-
-
-
SR-JV80-09 “Session” (XP-A)
Note
Equal
Puretemperament Arabian scale
(tonic C)
name temperament
SR-JV80-02 “Orchestral” (XP-B)
SR-JV80-11 “Techno Collection” (XP-C)
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
C#
D
-8
BATTERY CHECK
+4
The XP-30 contains a battery that backs up the data in
internal memory. This display allows you to check the
battery voltage. If the display indicates OK, there is sufficient
battery voltage. If the display indicates LOW, the battery
voltage has run down. Contact your nearby Roland service
station to have the battery replaced.
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
1 1 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
The Utility mode allows you to store Patch/ Performance/
Ba sic Pro ce d u re in Utility /
Rhythm Set settings (Write), and transmit data (Data
Ca rd Mo d e
Transfer), as well as other global XP-30 memory settings.
* In order to use a memory card, you must first turn off the
power, and then insert a memory card into the card slot.
Ab o u t Utility / Ca rd Mo d e
fig.4-02
The XP-30 goes into Utility/ Card mode if you press [UTIL/
CARD]. The indicator will blink.
Utility/ Card mode offers nine functions categorized into two
groups—UTIL 1 and UTIL 2.
UTIL 1 (Utility 1 )
fig.3-20
W RITE
1 . Press [UTIL/ CARD] so its indicator blinks.
This function writes Patch, Performance or Rhythm Set
The XP-30 will switch to Utility/ Card mode.
fig.3-20
settings you’ve modified into user memory (p. 116).
CO PY
This function copies data from a Patch, Performance or
* The type of data that will be written, copied and initialize
Rhythm Set into the current Patch, Performance or Rhythm
depends on the mode you are in when you press [UTIL/CARD].
Set (p. 117).
2 . Press [ ] or [ ] to select the group (UTIL 1, UTIL 2)
IN IT (In itia lize )
This resets parameters of the current Patch, Performance or
containing the function you want.
Rhythm Set to default factory settings (p. 119).
function name will blink), and press [ENTER].
XFER (Da ta Tra n sfe r)
This function transmits Patch, Performance, Rhythm Set or
System settings to an external MIDI device (p. 119).
The display of the function you’ve selected will appear.
numeric keys or function buttons to specify the number of the
function.
PRO TECT (Use r Me m o ry Pro te ct)
This function prevents user memory from being accidentally
rewritten (p. 121).
* If you selected the UTIL 2 group function “1: CARD,” the
CARD display will appear. Here you can once again select the
desired function.
UTIL 2 (Utility 2 )
fig.4-01
4 . Set parameters as necessary on each function’s display.
* To cancel the operation, press [EXIT].
5 . Press [ENTER] to execute the function.
When the operation is completed, the display will briefly
indicate “COMPLETED.”
CARD
Here you can make settings related to memory cards (p. 121).
LO AD
6 . To return to the UTIL 1 or UTIL 2 displays, press [EXIT].
To return to the display of the previous mode, press
[UTIL/ CARD] to make the indicator go dark.
This function loads data from memory card into the XP-30’s
memory (p. 122).
SAVE
This function saves data to memory card (p. 122).
FACTO RY RESET
This function resets all the settings stored in the XP-30 to the
factory default settings (p. 123).
1 1 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
Sto rin g So u n d Da ta in Use r
Me m o ry (W RITE)
Th e Co m p a re Fu n ctio n
The Compare function allows you to play the Patch
currently occupying the writing destination, so that you
can check whether you really want to overwrite it. To
play the Patch of the writing destination, press
[UNDO/ COMPARE] to access the PATCH COMPARE
display. You can select the writing destination Patch in
this display as well. After selecting the writing
destination Patch, press [EXIT] to return to the previous
If you turn the power off or select another Patch,
Performance, or Rhythm Set after you have modified a Patch,
Performance, or Rhythm Set settings, the modified data will
be lost. If you wish to keep the data, store it into user
memory.
In te rn a l W rite Pro te ct
display.
fig.4-05.e[
An Internal Write Protect setting is provided to
prevent the settings in user memory from being
overwritten accidentally. When rewriting user memory
settings, you need to turn off Internal Write Protect. If
you attempt to write data when Internal Write Protect is
Writing destination Patch (group, number, name)
* Please be aware that when the Compare function is used to
on, the following display will appear.
fig.3-22
play a Patch, it may sound slightly different than when it
is played normally.
Change the displayed ON to OFF and press [ENTER] to
turn Internal Write Protect off. Press [ENTER] once
again, and the data will be written into user memory.
Once you turn Internal Write Protect off, it will remain
off until the XP-30’s power is turned off.
■ Rh y th m Se t W rite
The settings of the current Rhythm Set will be written into
user memory. Press [UTIL/ CARD] in Rhythm Set mode,
then perform Write operation.
fig.4-06.e
■ Pe rfo rm a n ce W rite
The settings of the current Performance will be written into
user memory. Press [UTIL/ CARD] in Performance mode,
Writing destination Rhythm Set (group, number, name)
* By holding down [SHIFT] and pressing [UTIL/CARD], you
can move directly to the RHYTHM WRITE display.
and perform Write operation.
fig.4-03.e
Th e Co m p a re Fu n ctio n
The Compare function allows you to play the Rhythm
Set currently occupying the writing destination, so that
you can check whether you really want to overwrite it.
To play the Rhythm Set of the writing destination, press
[UNDO/ COMPARE] to access the RHYTHM
COMPARE display. You can select the writing
destination Rhythm Set in this display as well. After
selecting the writing destination Rhythm Set, press
Writing destination Performance (group, number, name)
* By holding down [SHIFT] and pressing [UTIL/CARD], you
can move directly to the PERFORM WRITE display.
■ Pa tch W rite
The settings of the current Patch will be written into user
memory. Press [UTIL/ CARD] in Patch mode, then perform
Write operation.
[EXIT] to return to the previous display.
fig.4-04.e
fig.4-07.e
Writing destination Patch (group, number, name)
* By holding down [SHIFT] and pressing [UTIL/CARD], you
can move directly to the PATCH WRITE display.
Writing destination Rhythm Set (group, number, name)
* Please be aware that when the Compare function is used to
play a Rhythm Set, it may sound slightly different than
when it is played normally.
1 1 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
Pe rfo rm a n ce N a m e Co p y
The name of a Performance will be copied to the current
Co p y in g So u n d So u rce
Se ttin g s (CO PY)
Performance.
fig.4-11.e
This function lets you copy data of any Patch, Performance,
or Rhythm Set into the current Patch, Performance, or
Rhythm Set. Using this function effectively makes editing
easier.
Copy source Performance (group, number, name)
■ Pa tch Co p y
When you want to copy Patch settings to the current Patch,
press [UTIL/ CARD] in Patch mode and perform Copy
operation.
■ Pe rfo rm a n ce Co p y
To copy the settings of a Performance, press [UTIL/ CARD]
in Performance mode, then perform Copy operation.
Pe rfo rm a n ce Pa rt Co p y
The Part settings of a Performance will be copied to the Part
Pa tch To n e Co p y
Tone settings of a Patch will be copied to the Tone you
you specify of the current Performance.
fig.4-08.e
specify of the current Patch.
fig.4-12.e
Copy source Performance
(group, number)
Copy source
Performance name
Copy source Patch
(group, number)
Copy source Patch name
Copy destination Tone
Copy source Part Copy destination Part
* To specify the currently selected Performance as the copy source,
set Source to TEMP.
Copy source Tone
* To specify the currently selected Patch as the copy source, set
Source to TEMP.
* When the Copy operation is executed, an “*” will be displayed
in front of the copy-destination part name.
* When the Copy operation is executed, an “*” will be displayed
in front of the copy-destination tone.
Pe rfo rm a n ce Effe cts Co p y
The effects settings of a Performance or Patch will be copied
Pa tch Effe cts Co p y
The effects settings of a Patch or Performance will be copied
to the current Performance.
fig.4-09.e
to the current Patch.
fig.4-13.e
Copy source Copy source Patch/Performance
(group, number, name)
Copy source Copy source Patch/Performance
(group, number, name)
Press [ ] to move to the next display, and then select the
Press [ ] to move to the next display, and then select the
contents of the effect that you wish to copy.
fig.4-10.e
contents of the effect that you wish to copy.
fig.4-14.e
Copy type
Copy type
ALL:
EFX:
Multi-effects, chorus, and reverb settings
Multi-effects settings
ALL:
EFX:
Multi-effects, chorus, and reverb settings
Multi-effects settings
CHORUS: Chorus settings
CHORUS: Chorus settings
REVERB: Reverb settings
REVERB: Reverb settings
CHO&REV: Chorus and reverb settings
CHO&REV: Chorus and reverb settings
1 1 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
■ Rh y th m Se t Co p y
Th e Co m p a re Fu n ctio n
When you want to copy Rhythm Set settings to the current
Rhythm Set, press [UTIL/ CARD] in Rhythm Set mode and
perform Copy operation.
For the Patch Tone Copy and Patch Effect Copy
operations, you can use the Compare function.
The Compare function allows you to play the Patch
currently occupying the copy source. To play the Patch
of the copy source, press [UNDO/ COMPARE] to access
the PATCH COMPARE display. The copy-source Patch
can be changed in this display as well, but it is not
possible to select patches from XP-A–E. After selecting
the copy source Patch, press [EXIT] to return to the
Rh y th m Ke y Co p y
Individual key settings in a Rhythm Set will be copied to
each key in the current Rhythm Set.
fig.4-17.e
previous display.
fig.4-15.e
Copy source Rhythm Set
(group, number)
Copy source
Rhythm Set name
Copy source Key
Copy destination Key
* The copy source and copy destination Key parameters can also
be set by pressing a key on the keyboard.
Copy source Patch (group, number, name)
* The Compare function cannot be used with Patch Tone
* When the Copy operation is executed, an “*” will be displayed
in front of the copy-destination key.
Copy if either TEMP or an XP-A–E patch is selected as
the copy source patch (Source).
* The Compare function cannot be used with Patch Effect
Copy if PERFORM is selected as the copy source (Source).
Th e Co m p a re Fu n ctio n
The Compare function can be used during the Rhythm
Key Copy operation.
* Please be aware that when the Compare function is used to
play a Patch, it may sound slightly different than when it
is played normally.
The Compare function allows you to play the Rhythm
Set currently occupying the copy source. To play the
Rhythm Set of the copy source, press [UNDO/
COMPARE] to access the RHYTHM COMPARE
display. The copy-source Rhythm Set can be changed in
this display as well, but it is not possible to select
patches from XP-A–E. After selecting the copy source
Rhythm Set, press [EXIT] to return to the previous
Pa tch N a m e Co p y
The name of a Patch will be copied to the current Patch.
fig.4-16.e
display.
fig.4-18.e
Copy source Patch (group, number, name)
Copy source Rhythm Set (group, number, name)
* If one of the XP-A–E Rhythm Sets is selected as the copy-
source Rhythm Set (Source), the Compare function is not
available.
* Please be aware that when the Compare function is used to
play a Rhythm Set, it may sound slightly different than
when it is played normally.
Rh y th m Se t N a m e Co p y
The name of a Rhythm Set will be copied to the current
Rhythm Set.
fig.4-19.e
Copy source Rhythm Set (group, number, name)
1 1 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
■ Rh y th m Se t In itia lize
To initialize Rhythm Set settings, press [UTIL/ CARD] in
Rhythm Set mode and execute initialization.
In itia lizin g So u n d So u rce
Se ttin g s (IN IT)
The Rhythm Set Initialize operation can also be used to
initialize the settings of only an individual percussion
instrument sound (key) that you specify. In this case, move
the cursor to Key, and select the percussion instrument
sound that you wish to initialize. You can specify the
percussion instrument sound either from the keyboard, or by
This function resets settings of the current Patch,
Performance, or Rhythm Set to a standard value or to factory
default settings.
* Only current data will be initialized, and data resident in user
memory will not be rewritten. To reset all settings to factory
defaults, execute Factory Reset (UTILITY/UTIL 2/FACTORY
RESET).
pressing TONE SELECT [1]–[4].
fig.4-22
Data can be initialized in two ways depending on the
application.
Mo d e (In itia lize Mo d e )
DEFAULT: Resets current data to the standard values called
“Initial data” (INIT PATCH, INIT PERFORM or
INIT SET). This mode is selected when creating
sound from scratches.
Tra n sm ittin g So u n d Se ttin g s
(XFER)
PRESET: Resets the current data in user memory to the
factory settings.
This function lets you transmit sound source or System
settings that are in the XP-30’s memory or stored on memory
card to an external MIDI device or User memory.
* If the current data is a Patch, Performance or Rhythm Set in
preset memory (PR-A–PR-C, E, GM), and initialization is
performed with PRESET specified, the data will be reset to the
value of the correspondingly numbered user memory.
■ Tra n sm ittin g Da ta to a n
Ex te rn a l MIDI De vice
■ Pe rfo rm a n ce In itia lize
To initialize Performance settings, press [UTIL/ CARD] in
The process of transmitting Patch, Performance, Rhythm Set
or System data to an external MIDI device is called Bulk
dump. This process is used when two XP-30s with the same
Patch, Performance and/ or Rhythm Set settings are
connected for performance or when recording Patch,
Performance, Rhythm Set or System data into an external
Performance mode and execute initialization.
fig.4-20
■ Pa tch In itia lize
To initialize Patch settings, press [UTIL/ CARD] in Patch
MIDI device as a backup for accidental data deletion.
fig.4-23.e
mode and execute initialization.
fig.4-21
Data type
Source block
Destination
While data is being transmitted, the following display will
appear.
fig.4-24
* To cancel data transmission, press [EXIT].
* If you expect to successfully use settings that stipulate the use of
XP-A/B/C waves and patches after they’ve been sent to another
unit (XP-50/60/80; or JV-1010/1080/2080), you first need to
make sure that the relevant Wave Expansion Boards are
installed in the other unit.
1 1 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
Specifies the data to be transmitted through the combinations
as shown below.
Specifies the data to be transmitted through the combinations
as shown below.
For example, if you wish to transmit the USER group Patches
001–020, you would specify “PATCH USER:001-020.”
For example if you wish to transmit only the PR-A group
Patch 001, specify “PATCH PR-A:001-001”
* If the specified data will not fit completely into the transmission
destination, as much of the data as will fit will be transmitted,
starting at the first number of the specified transmission
destination.
Type
Block
ALL
USER
TEMP
PERFORM
USER
TEMP
01–32
(Example)
-PATCH
+PATCH
*1
*2
Block
PATCH PR-A:001—005
Destination
User:127
CTRL
PATCH
USER
TEMP
001–128
If the above settings are made and transmission is
executed, only the two PR-A group Patches 01 and 02 will
be transmitted to USER group Patches 127 and 128.
RHYTHM
USER
TEMP
001–002
Type
Block
SYSTEM
USER
ALL
PR-A
PR-B
*1
*2
The current Performance
The current Performance and the Patch or Rhythm Set
assigned to each Part of the Performance
PERFORM
USER
01–32
01–32
**
PR-A, B
CARD
*1
Ty p e (Da ta Ty p e )
Specify the type of data to be transmitted.
PATCH
USER
001–128
001–128
001–255
001–256
001–***
**
ALL:
PERFORM: Performance
PATCH: Patch
Performance, Patch, and Rhythm Set
PR-A–C, GM, PR-E
XP-A, B
XP-C
RHYTHM: Rhythm Set
XP-D, E
*2
*1
SYSTEM: System
CARD
RHYTHM
SYSTEM
USER
001–002
001–002
001–008
001–***
**
Blo ck (So u rce Blo ck )
PR-A–C, GM, PR-E
XP-A, C
Specify the source of the data to be transmitted.
USER: Transmit the data from user memory.
TEMP: Transmit the data from the temporary area.
CTRL: Transmit messages for Performance bank select,
Performance program change, and Volume and Pan
messages for the Parts whose Rx parameter
(PERFORM/ MIDI/ MIDI) is turned ON.
XP-D, E
*2
*1
CARD
Card
**
*1
*1
*2
Specified by file number
Depends on the Wave Expansion Board installed
De stin a tio n
Ty p e (Da ta Ty p e )
Set the transmission destination to MIDI.
Specify the type of data to be transmitted.
ALL:
PERFORM: Performance
PATCH: Patch
Performance, Patch, and Rhythm Set
■ Tra n sm ittin g Da ta to Use r
Me m o ry
You can transmit Patch, Performance or Rhythm Set settings
to the user memory and System settings to the system
memory. By loading sound data from memory card or Wave
Expansion Boards to user memory, you can add many
RHYTHM: Rhythm Set
SYSTEM: System (other than sequencer section)
different sounds to your performance.
fig.4-27.e
Data type
Source block
Destination
1 2 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
Blo ck (So u rce Blo ck )
Specify the source of the data to be transmitted.
Me m o ry Ca rd -Re la te d
Se ttin g s (CARD)
USER:
Data from user memory will be transmitted.
PR-A–C, E: Preset A/ B/ C/ E data will be transmitted.
XP-30 can use an optional memory card (S2M-5 (2MByte) or
S4M-5 (4MByte)).
GM:
GM data will be transmitted.
Data from an Wave Expansion Board will be
transmitted.
XP-A–E:
Use this card when you wish to save data for which there is
no more space in the internal USER group, or so that the data
you created can be used on another XP-30.
* XP-D, E can be selected only if the corresponding Wave
Expansion Board is installed.
Memory card must be formatted before they can be used.
CARD:
Performance/ Patch/ Rhythm Set/ System data
stored on memory card will be transmitted.
* When you select “1: CARD” in the UTIL 2 group, the following
CARD display will appear. Select the function you wish to
fig.4-29.e
execute.
fig.4-31
File number File name
De stin a tio n
Set the transmission destination to USER.
Be fo re Usin g a Me m o ry Ca rd
* The power of the XP-30 must be turned off before inserting or
removing a memory card. If a memory card is inserted when the
power is turned on, the data in the memory card may be
destroyed, or the memory card may become unusable.
* If the Type parameter has been set to PERFORM, PATCH, or
RHYTHM, specify the first number of the transmission
destination.
* Be sure to insert the memory card all the way into the slot.
Pre ve n tin g Use r Me m o ry
W ritin g O p e ra tio n (PRO TECT)
* Do not touch the contacts of the memory card, or allow them to
become soiled.
* Never remove the memory card or turn off the power while an
operation (formatting, or data read/write) is being performed on
the memory card. Doing so will destroy the data in the memory
card and/or render the memory card unusable.
This function prevents user memory from being rewritten to
ensure Patch, Performance or Rhythm Set data will not
accidentally be lost.
fig.4-30
* If you affix the write protect label to the write protect area of the
memory card, it will be impossible to format the card or write
data to it. If you wish to format the card or write data to it, do so
without the label affixed. For details on the write protect label,
refer to the instruction included with your memory card.
In te rn a l (In te rn a l W rite Pro te ct)
The Internal write Protect setting prevents the Write
operation from rewriting user memory. When this setting is
ON, the data cannot be rewritten. When this is OFF, the data
can be rewritten. When the XP-30’s power is turned on, this
setting is always turned ON, so you will need to turn it OFF
before rewriting user memory settings. It is also possible to
turn this setting OFF as part of the Write procedure.
If you attempt to format the card or write data to it when the
write protect label is affixed, the following message will
appear.
fig.4-32
Ex clu sive (Ex clu sive Pro te ct)
The Exclusive Protect setting prevents System Exclusive
messages received from an external MIDI device from
rewriting user memory settings. When this setting is ON, the
data cannot be rewritten. When this is OFF, the data can be
rewritten by an incoming exclusive message, even if the
Internal Write Protect setting is ON.
1 2 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
■ Fo rm a ttin g th e Me m o ry Ca rd
Lo a d in g a File fro m Me m o ry
Ca rd in to th e XP-3 0 (LO AD)
fo r th e XP-3 0 (FO RMAT)
This function initializes (formats) a memory card so that XP-
30 data can be saved to it. Before a new memory card or a
memory card used on another device can be used on the XP-
30, it must be formatted on the XP-30.
A data file containing Patch, Performance, Rhythm Set
settings and System settings will be loaded into internal
memory.
* Loading a new file will rewrite data currently resident in
memory. To keep existing data, save it to memory card before
* Please be aware that formatting will erase all the data already
resident on the memory card.
fig.4-33
loading new data.
fig.4-38
■ Re n a m in g a File (REN AME)
This function changes the name of a file on the memory card.
* If you wish to load only a portion of data from the file, refer to
* A file name of up to eight characters can be assigned. For details
on assigning a name, refer to “Assigning a Name” (p. 46).
(SAVE)
* File name extensions cannot be changed.
fig.4-34.e
Original file name
New file name
The Patch, Performance, Rhythm Set, and System settings in
internal memory will be saved as a single file to memory
card, with the name you specify.
To overwrite a previously existing file on the memory card,
select the file number of that file.
fig.4-39
■ De le tin g Un w a n te d File s
(DELETE)
Use this function to delete unwanted files from memory
* Data files contain an entire set of parameter settings for the
sound source. It is not possible to save individual Patches or
Performances to memory card.
card.
fig.4-35
* A file name of up to eight characters can be assigned. For details
on assigning a name, refer to “Assigning a Name” (p. 46).
The number of files that can be saved will depend on the
memory card you use.
■ Ch e ck in g th e Co n te n ts Me m o ry
Ca rd (IN FO )
S2M-5 (2MB type): approximately 29 files
S4M-5 (4MB type): approximately 59 files
This function displays the number of files on the memory
card, the free area of the disk, and the size of each file.
fig.4-36.e
File number File name
File size
Number of files on memory card
Free area
1 2 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 . Me m o ry Se ttin g s (Utility / Ca rd Mo d e )
Re ca llin g Fa cto ry De fa u lt
Se ttin g s (FACTO RY RESET)
This operation will restore all the data in the XP-30 to the
factory settings.
* If the XP-30 internal memory already contains important data
that you have created, this operation will cause all of this data to
be lost. If you wish to keep the data, you must save it on an
optional memory card (p. 122) or on an external MIDI
sequencer (p. 119).
fig.4-40
* If Internal Write Protect is turned ON, the following display
will appear, and the Factory Reset operation will not be
executed.
fig.3-22
Change the displayed ON to OFF and press [ENTER] to turn
Internal Write Protect off.
“Are You Sure?” will be displayed, press [ENTER].
1 2 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 . Usin g th e XP-3 0 a s th e GM So u n d Mo d u le
The XP-30 features a GM mode—a convenient way to play
back or create GM score data (music files for GM sound
GM Sy ste m O n Me ssa g e
module). You’re able to play back commercial GM score data
The GM System On message puts the unit in a state that
releases and even modify various parameter settings for
conforms to the GM System and initializes a GM-
enhanced musical expression.
compatible sound module.
* If the Rx GM parameter (SYSTEM/MIDI/SYS-EXC
En te rin g GM Mo d e
MIDI) is set OFF, GM System On messages cannot be
received.
Use GM mode to place the XP-30’s sound source in GM
System compatible mode. Basically GM mode is similar to a
special kind of Performance in which a GM System Rhythm
■ Pla y in g Ba ck a GM Sco re
Set is assigned to Part 10, and GM System Patches are
When the XP-30 is in GM mode, it plays back GM scores
assigned to other Parts. But however, you can’t store GM
correctly. But beyond this, the XP-30 provides many
mode settings in user memory.
extended features not defined in GM System specifications,
fig.5-01.e
and if you create music files using these extended features,
your song may not play back correctly on other GM-
compatible sound modules.
GM Patch/Rhythm Set (number, group)
Part number
* The XP-30 is not compatible with the GS format (standard
format for multitimbral sound sources advocated by Roland).
Music files bearing the GS logo (GS music data) may therefore
not play back correctly on the XP-30.
The GM PLAY display shows a Patch or Rhythm Set
assigned to each Part. Each time you enter GM mode, the GM
Drum Set is assigned to Part 10, and Piano 1 is assigned to
other Parts. You can also select other GM Patches and GM
Drum Sets for each Part to match the performance.
* The beginning of a GM score normally contains a GM System
On message. So if you play back a GM score starting in the top
of a song, XP-30 will switch itself to GM mode. But if you play
back a GM score starting in the middle of a song, XP-30 may
not switch itself to GM mode, and the GM score may not play
back correctly. So to be safe, it’s recommended to manually set
the XP-30 to GM mode before playing back a GM score.
1 . Hold down [SHIFT] and press [PERFORM] to call up the
GM PLAY display.
When you switch the XP-30 into GM mode, the sound source
initializes itself for basic GM System settings.
2 . To change the current Part, press [ ] or [ ].
3 . To change the GM Patch or GM Rhythm Set assigned to
the Part, perform the same procedure as you do when
you select a Patch or Rhythm Set.
Mu tin g a Sp e cific Pa rt
When you switch over to GM mode, all Parts will be set to
receive MIDI messages. To turn off a specific Part so that it
will not sound, set the Recieve Switch to OFF for the Part.
■ In itia lizin g th e So u n d So u rce
1 . Make sure that [EDIT] indicator is dark. If it is lit, press
[EDIT] to turn it off.
fo r GM Sy ste m Ba sic Se ttin g s
To play back a GM score correctly, the sound source must
first be initialized to basic GM system settings. The XP-30’s
sound source is initialized in the following situations:
At this time, the function button indicators will indicate the
on/ off status of each Part. When [1-8/ 9-16] indicator is dark,
the function button indicators will indicate the status of Parts
1-8. When [1-8/ 9-16] indicator is lit, the function button
indicators will indicate the status of Parts 9-16. Lit is on, and
dark is off.
-
-
When the XP-30 is switched to GM mode
When it receives a GM System On message from an
external MIDI device
-
When a GM System On message is encountered in the
song data being played back
2 . Press the function button to switch Parts on/ off.
At power on
When you execute the GM Initialize function (p. 128).
-
* Because effects settings are not defined in the GM System, they
will not initialize to factory settings unless the GM Initialize
(DEFAULT) or Factory Reset is executed.
1 2 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 . Usin g th e XP-3 0 a s th e GM So u n d Mo d u le
■ Ma k in g Effe cts Se ttin g s in GM
Mo d ify in g GM Mo d e Se ttin g s
Mo d e (EFFECTS)
GM mode also offers parameters that you can modify for
each Part. You can modify settings like effects, pan and level
to customize a GM score playback to your preference.
Parameter configurations of GM effects and Performance
effects are almost the same. For details refer to “Setting
Make settings for the Multi-Effects/ Chorus/ Reverb effects
used in GM mode.
* When GM mode is initialized (p. 128), all these settings will be
lost.
* If an “x” mark is displayed at the right of the display name, the
effect for that display has been turned off. Turn the
1 . Hold down [SHIFT] and press [PERFORM] to call up the
GM PLAY display.
corresponding effect on before you make settings (p. 62).
2 . Press [EDIT] to make the indicator light.
O UTPUT
3 . Use the function buttons to select a display group.
Make settings to specify how each Part will be output.
The button indicator of the selected display group will blink.
fig.5-02
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)
When the Output Assign parameter is set to MIX, the output
of each Part will be sent to the OUTPUT jacks without
passing through Multi-Effects. If this parameter is set to EFX,
the output will be passed through Multi-Effects. If PATCH is
selected, the output assign settings of the GM Patch assigned
to the Part will be used.
* In GM mode, you can press the function buttons [2/
10(EFFECTS)], [4/12(PART)], and [8/16(INFO)].
4 . Use [ ] or [ ] to select a display page.
The Output Level parameter adjusts the volume of each Part.
5 . If you have selected a parameter display that can be set
independently for each Part, the number of the Part
selected for editing will be shown in the display. To
select a different Part, press [EDIT] to temporarily turn
off the indicator, and use [1-8/ 9-16] and the function
buttons to select a Part.
Ch o ru s (Ch o ru s Se n d Le ve l)
Adjust the amount of chorus for each Part.
Re ve rb (Re ve rb Se n d Le ve l)
Adjust the amount of reverb for each Part.
GM EFX TYPE (EFX Ty p e )
6 . Use [ ] or [ ] to move the cursor to the parameter
Specify the type of Multi-Effects that will be used in GM mode.
you wish to modify.
Ty p e (EFX Ty p e )
7 . Use the VALUE dial, [INC]/ [DEC] or numeric keys and
Select the type of Multi-Effects. For details refer to “Multi-
modify the parameter value.
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO/COMPARE] to
restore the value to what it was.
GM EFX PRM (GM EFX Pa ra m e te rs)
Make parameter settings for the EFX type selected by the
Type parameter. For details refer to “Multi-Effects Types
(EFX Parameter)” (p. 93).
8 . If you wish to move to another display group, press
[EDIT] to make the indicator light, and use the function
buttons.
GM EFX O UT (GM EFX O u tp u t)
Specify the output routing for Parts whose Output Assign is
set to EFX.
* You can also move to another display group by holding down
[SHIFT] and using [ ] or [ ]. Since this can be done even
when [EDIT] indicator is dark, it is a faster way to get around
because you don’t have to turn on [EDIT] indicator each time.
* The settings in this display have no effect on Parts whose
Output Assign is set to MIX.
9 . Repeat steps 3–8 to complete a GM mode settings.
Mix O u t (EFX O u tp u t Le ve l)
Adjust the volume balance of the direct sound and the Multi-
Effects sound.
1 0 . When you finish making settings, press [EXIT] to return
to the GM PLAY display.
* You can also use the Palette display in the same manner when
you edit in Performance mode (p. 65).
Ch o ru s (Ch o ru s Se n d Le ve l)
Adjust the amount of chorus applied to the sound that
passed through Multi-Effects.
1 2 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 . Usin g th e XP-3 0 a s th e GM So u n d Mo d u le
Re ve rb (Re ve rb Se n d Le ve l)
GM REVERB
Make GM mode reverb settings.
Adjust the amount of reverb applied to the sound that
passed through Multi-Effects.
* In GM mode, the reverb effect settings for the GM Patch
assigned to each Part will be ignored (except for the Send Level
parameter).
GM CHO RUS
Make settings for the chorus effect used in GM mode.
Ty p e (Re ve rb / De la y Ty p e )
Select the type of Reverb effect.
*
In GM mode, the chorus effect settings for the GM Patch assigned
to each Part will be ignored (except for the Send Level parameter).
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
Ra te (Ch o ru s Ra te )
Adjust the speed of modulation for the chorus sound.
De p th (Ch o ru s De p th )
HALL1:
HALL2:
DELAY:
reverb with clear reverberance
reverb with rich reverberance
a conventional delay
Adjust the depth of modulation for the chorus sound.
De la y (Ch o ru s Pre De la y )
Adjust the time delay from the original sound until when the
chorus sound is heard. Higher settings will create a more
spacious sound.
PAN-DLY: a delay with echoes that move left and right
Tim e (Re ve rb / De la y Tim e )
Adjust the time of reverberation. If the Type parameter is set
to DELAY or PAN-DLY, this parameter will adjust the time
delay from the original sound until when the first echo will
sound.
Fb k (Ch o ru s Fe e d b a ck Le ve l)
Adjust the amount of sound from the chorus that is returned
(fed back) to the input of the chorus. Higher settings will
result in a more intense effect.
Fb k (De la y Fe e d b a ck Le ve l)
Adjust the amount of delayed sound that is returned (fed
back) to the delay. Higher values result in more delay
repeats.
Le ve l (Ch o ru s Le ve l)
Adjust the volume of the chorus sound.
O u t (Ch o ru s O u tp u t Assig n )
Select the way in which the Chorus and Reverb are connected.
* If you have selected any one of the Reverb types (ROOM1–
HALL2), this parameter has no effect.
MIX: The Chorus sound and the Reverb sound are mixed.
fig.3-27.e
HF Da m p (Re ve rb / De la y HF Da m p )
Chorus input
Reverb
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to BYPASS.
OUTPUT
Reverb input
Chorus
Le ve l (Re ve rb / De la y Le ve l)
Adjust the volume of the reverberant (or delayed) sound.
REV: Apply reverb to the chorus sound.
fig.3-28.e
Chorus
input
Ab o u t Effe cts fo r GM-Co m p a tib le So u n d
Mo d u le s
Chorus
Reverb
OUTPUT
Reverb
input
Most GM-compatible sound sources provide effects
such as reverb and chorus, but the use of effects is not
included in the GM System Level 1 guidelines. This
means that song data created for the XP-30’s GM mode
that uses Multi-Effects/ Reverb/ Chorus may not
playback correctly on other GM-compatible sound
sources.
M+R: Mix the chorus sound to which reverb is not applied
and the chorus sound to which reverb is applied.
fig.3-29.e
Reverb
input
Reverb
OUTPUT
Chorus
Chorus
input
1 2 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 . Usin g th e XP-3 0 a s th e GM So u n d Mo d u le
■ Se ttin g a Pa rt (PART)
Co n ve n ie n t Fu n ctio n s in GM
Mo d e (GM Utility )
PATCH
Select the GM Patch assigned to each Part.
In the GM mode, you can copy effects settings, initialize GM
mode, and transmit GM mode settings, using the Utility
functions.
N u m b e r (GM Pa tch N u m b e r)
Select the number (001–128) of the GM Patch.
* In GM mode it is not possible to select USER or PRESET A/B/
C/E Patches.
Ba sic Pro ce d u re
1 . In the GM mode, press [UTIL/ CARD] so its indicator
blinks.
SETTIN G
The XP-30 will switch to Utility/ Card mode.
Make settings for the volume, pan, and pitch of each Part.
Vo lu m e
Adjust the volume of each Part.
2 . Press [ ] or [ ] to select the UTIL 1 group.
fig.5-03
Pa n
Adjust the stereo position of each Part. L64 is full left, 0 is
center, and 63R is full right.
* The functions of the UTIL 2 group can also be executed from
GM mode. The operation is the same as in other modes.
*
If you modify the settings of the Volume parameter or Pan parameter,
they will be reflected in the following INFO group displays.
3 . Press [ ] or [ ] to select the desired function (the
function name will blink), and press [ENTER].
Co a rse (Co a rse Tu n e )
The display of the function you’ve selected will appear.
Adjust the pitch of each Part in semitone steps (-4–+4 octaves).
* You can also access the desired function display by using the
numeric keys or function buttons to specify the number of the
function.
Fin e (Fin e Tu n e )
Make fine adjustments in 1-cent steps to the pitch specified in
Coarse Tune. (-50–+50 cents)
4 . Set parameters as necessary on each function’s display.
* 1 cent is 1/100th of a semitone.
* To cancel the operation, press [EXIT].
5 . Press [ENTER] to execute the function.
When the operation is completed, the display will briefly
indicate “COMPLETED.”
■ Co n firm in g MIDI In fo rm a tio n o f
Ea ch Pa rt (IN FO )
In this display you can check the receive status of various
types of MIDI message for each Part. This is a convenient
way to check that the sound source is responding correctly to
messages from the keyboard or external MIDI controllers.
For items other than Voice, you may modify the values.
When you do so, a MIDI message will be transmitted, and
can be recorded on the sequencer, etc.
6 . To return to the UTIL 1 display, press [EXIT]. To return
to the GM PLAY display, press [UTIL/ CARD] to make
the indicator go dark.
Mo d (Mo d u la tio n In fo rm a tio n )
Bre a th (Bre a th In fo rm a tio n )
Fo o t (Fo o t In fo rm a tio n )
Vo l (Vo lu m e In fo rm a tio n )
Pa n (Pa n In fo rm a tio n )
Ex p (Ex p re ssio n In fo rm a tio n )
Ho ld (Ho ld 1 In fo rm a tio n )
Be n d (Pitch Be n d In fo rm a tio n )
Afte rto u ch (Afte rto u ch In fo rm a tio n )
Vo ice s (Vo ice In fo rm a tio n )
The number of voices used.
1 2 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 . Usin g th e XP-3 0 a s th e GM So u n d Mo d u le
■ Co p y in g Effe cts Se ttin g s (CO PY)
■ Tra n sm ittin g GM Mo d e Se ttin g s
This function copies effects settings from a Patch or
(XFER)
fig.5-07
Performance to the GM mode.
fig.5-04.e
It is not possible to store GM mode settings in user memory.
If you wish to keep your GM mode settings, you can transmit
them as a MIDI message to an external MIDI device.
Prepare the external MIDI device to record data, and press
[ENTER].
Copy source Copy source Patch/Performance
(group, number, name)
Press [ ] to move to the next display, and then select the
contents of the effect that you wish to copy.
The following GM mode settings for each Part are
transmitted.
fig.5-05.e
-
-
Program number of the GM Patch
Volume (control number 7)
Copy type
-
Pan (control number 10)
ALL:
EFX:
Multi-effects, chorus, and reverb settings
Multi-effects settings
-
-
-
-
-
Reverb send level (control number 91)
Chorus send level (control number 93)
Pitch bend sensitivity
CHORUS: Chorus settings
REVERB: Reverb settings
Fine tune
CHO&REV: Chorus and reverb settings
Coarse tune
* If you do not want the settings of a specific Part to be
■ In itia lizin g GM Mo d e (IN IT)
transmitted, turn off the Recieve Switch for that Part (p. 124).
fig.5-06
* As GM Initialize initializes only GM mode data, data stored in
user memory will not be initialized. To initialize all settings to
factory settings, use Factory Reset (UTILITY/UTIL 2/
FACTORY RESET) (p. 27).
There are two initialize methods.
GM-ON:
Initializes GM mode settings using a GM System
On message.
DEFAULT: Initializes all GM mode settings including effects
settings to factory settings.
1 2 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
This section discusses various techniques for effectively
■ Ho ld in g a N o te w ith
using the XP-30 for specific applications. The more you use
Mo d u la tio n Re ta in e d
the XP-30, the faster you’ll appreciate the real power of this
In general, pressing the Hold pedal makes a note continue to
unit.
sound. However, other effects will go off. To keep other
effects effective as well, perform the following procedure.
Te ch n iq u e s fo r Usin g Pa tch e s
1 . Connect an optional pedal switch to the HOLD PEDAL
jack.
■
Re in fo rcin g Filte r Ch a ra cte ristics
If you want to reinforce filter characteristics, set the Type
parameter (PATCH/ COMMON/ STRUCT) to 2, and series-
connect the TVFs of Tones 1 and 2.
2 . Select a Patch (PR-C:110 Crash Pad, etc.) to which an
effect will be applied when the modulation lever is
moved on the PATCH PLAY display.
This example shows how to boost the effectiveness of the
filter for “PR-C:014 MKS-80 Brass.”
3 . Set the Hold parameter (SYSTEM/ CONTROL/
CONTROL SOURCE) to HOLD1.
1 . Select PR-C:014 MKS-80 Brass on the Play display
4 . Call up the PEAK & HOLD display (PATCH/
(PATCH).
CONTROL) and set Ctrl 1 parameter to HOLD.
2 . Press [FILTER/ ENV] to light the indicator.
5 . Press a note and press the pedal switch as you move the
modulation lever forward.
3 . Move the CUTOFF and RESO. sliders while you play
notes and hear how sound changes.
6 . When the note and modulation lever are released, both
the note and the effect produced by the modulation lever
will be held.
4 . Set the Type parameter (PATCH/ COMMON/ STRUCT)
to 2.
5 . Again, move the CUTOFF and RESO. sliders and hear
how the sound changes.
■ Sy n cin g th e LFO Cy cle to
Sy ste m Te m p o
Notice the effectiveness of the filter has changed.
1 . Select PR-B:052 Blade Racer on the PATCH PLAY
* If the result is difficult to hear, press [EFFECTS ON/OFF] to
turn off each effect unit (Multi-Effects, Chorus, Reverb) (p. 62).
display.
2 . Set the Source parameter (PATCH/ COMMON/ PATCH
CLOCK) to SYSTEM.
■ Ma k in g th e Up -Be a t N o te
So u n d a t th e Sa m e Tim e Yo u
Pla y a Do w n -Be a t N o te
3 . Make sure that each Tone’s EXTSync parameter
(PATCH/ LFO/ LFO 1, 2) is set to CLOCK. If not, reset.
1 . Select PR-A:087 Music Bells on the PATCH PLAY
4 . Set the Clock Source parameter (SYSTEM/ SETUP/
display and listen to the sound.
SYSTEM SETUP) to INT.
* When the Clock Source parameter is set to MIDI, you can
achieve synchronization with the tempo of an external MIDI
device.
2 . Call up the TONE DELAY display (PATCH/ WAVE).
3 . Select Tone 1.
4 . Set Tone 1’s Mode parameter to PLAYMATE and the
5 . Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)
to various values.
Time parameter to 32.
5 . Play the XP-30’s keyboard keeping a constant tempo.
Tones 1 and 2 sound alternately. Tone 1 will sound at the
timing point exactly between a note you press and the
following note. Try various settings, for instance use
different wave or modify the pitch.
6 . Set the modulation depth as desired using LFO
DEPTH1:2 display (PATCH/ LFO) of each Tone.
* When you have selected PR-B:047, 049, 051–056, 069, PR-
C:034, 093, 097, 099, or 123, it is also possible to synchronize
the LFO to the system’s tempo clock by setting the Source
parameter (PATCH/COMMON/PATCH CLOCK) to
SYSTEM. Try it.
* Tone 1 will not sound if the two keys are pressed at an interval
of 2 seconds or longer.
1 2 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
■ Mo d ify in g Mu lti-Effe cts to
■ Pla y in g Ph ra se Lo o p s a t a
Ma tch th e Sy ste m ’s Te m p o
Sy ste m ’s Te m p o
The internal wave expansion XP-C group contains Patches
derived from waveforms with tempo (BPM) indication
(phrase loops). You can play these phrase loops in sync with
the system’s tempo.
1 . Select PR-C:094 Albion on the PATCH PLAY display.
2 . Set the Source parameter (PATCH/ COMMON/ PATCH
CLOCK) to SYSTEM.
3 . Make sure that the Type parameter (PATCH/ EFFECTS/
1 . Select XP-C:001 Teknoperator on the PATCH PLAY
PATCH EFX TYPE) is set to STEP-FLANGER. If not, reset.
display.
4 . Make sure that the Step Rate parameter (PATCH/
EFFECTS/ PATCH EFX PRM) is set as a note value. If
not, reset using a note value.
2 . Set the Source parameter (PATCH/ COMMON/ PATCH
CLOCK) to SYSTEM.
3 . Call up the WAVE display (PATCH/ WAVE).
5 . Set the Clock Source parameter (SYSTEM/ SETUP/
4 . Change the Tone by pressing TONE SELECT [1]–[4] and
look for the Tone that uses waveforms with BPM
indication.
SYSTEM SETUP) to INT.
6 . Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)
to various values.
The wave name will appear in parentheses ( ) below the
Number parameter. You’ll notice that for this example, Patch
Tone 1 uses a phrase loop called 132:Detroit.
You’ll notice that the tempo of the Patch’s modulation
changes in accordance to the tempo clock of the XP-30’s
system.
5 . Call up the TONE DELAY display (PATCH/ WAVE).
You can modify EFX parameter values in accordance to the
system’s tempo clock, when you have selected the following
types for the EFX Type parameter.
6 . Set the Tone 1’s Mode parameter to TEMPO-SYNC.
7 . Set the Clock Source parameter (SYSTEM/ SETUP/
SYSTEM SETUP) to INT.
Type
EFX Parameter
8 . Try playing the keyboard while you change the System
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)
to various values.
16: STEP-FLANGER
Step Rate parameter
Delay L–R parameter
Delay 1–4 parameter
19: TRIPLE-TAP-DELAY
20: QUADRUPLE-TAP-DELAY
The phrase loop speed will change in accordance to the
system’s tempo clock.
*
When you have selected PR-B:057, 065, 068, PR-C:094, 096, and
098, it is also possible to sync the EFX parameter variations of the
sequencer’s tempo clock by setting the Source parameter (PATCH/
COMMON/PATCH CLOCK) to SYSTEM. Try it and see.
* The phrase loop will sound with the system’s tempo regardless
of which key you press. The settings for pitch and FXM will be
ignored.
■ Usin g a Pe d a l Sw itch to Mo d ify
th e Ro ta ry Sp e e d o f th e Ro ta ry
Effe ct
1 . Call up the CONTROL PEDAL display (SYSTEM/
CONTROL) and set the Assign parameter to
CC04:FOOT-TYPE.
2 . Select PR-A:054 Rocker Spin on the PATCH PLAY
display.
This Patch uses ROTARY as the EFX type.
3 . Call up the PATCH EFX CTRL display (PATCH/
EFFECTS), then set the Speed parameter to FOOT:+63.
4 . Connect an optional pedal switch to the CONTROL
PEDAL jack.
5 . When you wish to speed up the rotary effect, press the
pedal switch. Releasing the pedal switch will slow down
the rotary effect.
1 3 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
6 . Call up the PATCH display (PERFORM/ PART) and set
the Number parameter to the same number as the
Program number of the sound you wish to play from the
external MIDI device.
■ Usin g th e Slid e r to Pa n So u n d s
in Re a l Tim e
You can assign various functions to the C1 slider. In this
example, the stereo location (pan position) of a Patch will
change by moving the C1 sliders up or down.
* If the Program number of the external MIDI device reads 0–127,
set the P.C Number parameter by adding 1 to the external MIDI
device’s value.
1 . Call up the C1 ASSIGN display (SYSTEM/ CONTROL).
2 . Set the Assign parameter to CC10:PANPOT.
7 . Save the Performance.
* With other Assign parameter settings, you can try different
variations.
8 . Try changing from another Performance to the
Performance just saved, and see if the sound of the
external MIDI device changes to what you want. If not,
check your settings and the external MIDI device.
3 . Select a Patch on the PATCH PLAY display.
4 . Press [CONTROLLER] to light the indicator.
5 . Move the C1 slider while you play the keyboard.
■ Ch a n g in g So u n d s w ith a Pe d a l
You’ll notice that sound will pan right and left.
Sw itch
* If the stereo location of the sound is difficult to hear, press
[EFFECTS ON/OFF] to turn off each effect unit (Multi-Effects,
Chorus, Reverb) (p. 62).
You can change Patch/ Performance/ Rhythm Set in
succession using a pedal switch.
1 . Connect a pedal switch to a CONTROL PEDAL jack.
2 . Call up the CONTROL PEDAL display (SYSTEM/
CONTROL) and set the Assign parameter to 98:PROG-
UP.
Usin g th e XP-3 0 to Pla y Live
■ Ch a n g in g Mu ltip le So u n d s o f
3 . Call up the PLAY display of a sound source.
a n Ex te rn a l MIDI De vice
Sim u lta n e o u sly
4 . Each time you press the pedal, you call up the next Patch,
Performance or Rhythm Set.
When a different Performance is selected, the sound
corresponding to the Bank Select number and Program
number of the selected Performance will usually be chosen
on the external MIDI device.
Once you have set the Bank Select number and Program
number for each Part to match the desired sound of the
external MIDI device, you can select several sounds on the
external MIDI device by changing the Performance.
1 . Select the Part to be used to control the external MIDI
device.
2 . Call up the BANK-SEL GROUP display (SYSTEM/
MIDI).
3 . Set the Number parameter to select the appropriate bank
select group to match the bank select of your external
MIDI device, turn the Switch parameter ON for that
group, and set the LSB and MSB parameters.
4 . After switching to the MIDI display (PERFORM/ MIDI)
for the part that will control the external MIDI device, set
the Channel parameter to match the receive channel of
the external MIDI device, and turn the Tx parameter ON.
5 . Select the TRANSMIT (PERFORM/ MIDI) display, and
set the Bank Select Group parameter to the bank select
group that you selected in step 3.
1 3 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
* If you “daisy-chain” three or more MIDI devices using IN →
THRU → IN → THRU ..., the MIDI signal may become
garbled, and data errors may occur. In such cases, use a MIDI
Thru Box. MIDI Thru Boxes are devices that allow a single
stream of MIDI data to be sent to a large number of MIDI
devices without causing data errors.
Usin g Ex te rn a l MIDI De vice s
■ Usin g th e XP-3 0 to Co n tro l
Ex te rn a l MIDI De vice s
1 . Use a MIDI cable to connect the MIDI OUT connector of the
XP-30 to the MIDI IN connector of the external MIDI device.
fig.6-01.e
■ Pla y in g th e XP-3 0 ’s So u n d
So u rce fro m a n Ex te rn a l MIDI
De vice
MIDI OUT
1 . Use a MIDI cable to connect the external MIDI device’s
MIDI OUT connector to the XP-30’s MIDI IN connector.
fig.6-03.e
XP-30
MIDI IN
MIDI IN
MIDI Keyboard
XP-30
MIDI OUT
2 . Set the XP-30’s transmit channel to match the external
MIDI device’s receive channel.
The transmit channel is determined by the following
parameters.
MIDI Keyboard
-
Patch mode
Tx-Ch parameter (SYSTEM/ MIDI/ PATCH MIDI)
Performance mode
2 . Set the XP-30’s receive channel to match the external
MIDI device’s transmit channel.
-
Channel parameter (PERFORM/ MIDI/ MIDI)
The receive channel is determined by the following
parameters.
Turn the Tx parameter (PERFORM/ MIDI/ MIDI) to ON.
-
Patch mode
Rx-Ch parameter (SYSTEM/ MIDI/ PATCH MIDI)
Performance mode
3 . If you want to play only the sound source of the external
MIDI device, set the Local parameter (SYSTEM/ MIDI/
PATCH MIDI) / (SYSTEM/ MIDI/ PERFORM MIDI) to OFF.
If you wish to connect two or more external MIDI devices,
-
Channel parameter (PERFORM/ MIDI/ MIDI)
Turn the Rx parameter (PERFORM/ MIDI/ MIDI) to ON.
use the MIDI THRU connector of the external MIDI device.
fig.6-02.e
■ Se le ctin g XP-3 0 So u n d s fro m
a n Ex te rn a l MIDI De vice
MIDI OUT
By transmitting Bank Select messages (controller number 0
and 32) and Program Change messages from the external
MIDI device to the XP-30, you can select Patches,
Performances, or Rhythm Sets. In other words, when you
select sounds on an external MIDI keyboard, the
MIDI
THRU
XP-30
MIDI IN
corresponding MIDI message will be transmitted to the XP-
30, causing the XP-30 to select the appropriate Patch, etc.
* If the XP-30 receives only Program Change messages without
receiving Bank Select messages, it will select sounds only from
the currently selected group such as PR-A or USER.
MIDI Keyboard
MIDI IN
MIDI Keyboard
1 3 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
Se le ctin g Pa tch e s
Se le ctin g Rh y th m Se ts
The MIDI messages transmitted by the external MIDI device
will be received by the XP-30 to select Patches as shown in
the following table.
The MIDI messages transmitted by the external MIDI device
will be received by the XP-30 to select Rhythm Sets as shown
in the following table.
Gro u p
N u m b e r
Ba n k Se le ct
MSB LSB
Pro g ra m N u m b e r
Gro u p
N u m b e r
Ba n k Se le ct
MSB LSB
Pro g ra m N u m b e r
USER
PR-A
PR-B
PR-C
1–128
1–128
1–128
1–128
80
81
81
81
81
81
84
84
84
84
84
84
84
84
84
84
0
0
1
2
3
4
0
1
2
3
4
5
6
7
8
9
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–127
1–128
1–127
1–128
1–128
1–128
1–128
1–128
1–128
USER
PR-A
PR-B
PR-C
1, 2
1, 2
1, 2
1, 2
80
81
81
81
81
81
84
84
84
84
84
84
0
0
1
2
3
4
0
4
6
7
8
9
1, 2
1, 2
1, 2
1, 2
PR-D (GM) 1–128
PR-D (GM) 1, 2
1, 2
PR-E
XP-A
XP-A
XP-B
XP-B
XP-C
XP-C
XP-D
XP-D
XP-E
XP-E
1–128
PR-E
XP-A
XP-C
XP-D
XP-D
XP-E
XP-E
1, 2
1, 2
1–128
1–8
1–8
129–255
1–128
1–8
1–8
1–128
129–256
1–128
129–256
1–128
1–128
1–128
1–128
129–255
1–128
129–256
1–128
In order to select Rhythm Sets, the MIDI channel of the
transmitting device must match the receive channel of Part
10 of the Performance. When the XP-30 is shipped, Part 10 is
set to MIDI channel 10.
129–256
1–128
129–256
<Example>
Selecting PR-B Patch number 10 from an external MIDI
device
Transmit data to the XP-30 in the following order. (Values
are in decimal.)
Controller number 0 (Bank Select MSB button), value 81
Controller number 32 (Bank Select LSB button), value 1
Program number 10
Se le ctin g Pe rfo rm a n ce s
The MIDI messages transmitted by the external MIDI device
will be received by the XP-30 to select Performances as
shown in the following table.
Gro u p
N u m b e r
Ba n k Se le ct
MSB LSB
Pro g ra m N u m b e r
USER
PR-A
PR-B
1–32
1–32
1–32
80
81
81
0
0
1
1–32
1–32
1–32
In order to select a Performance, the MIDI channel of the
transmitting device must match the XP-30’s Control Channel
parameter (SYSTEM/ MIDI/ PERFORM MIDI). In order to
select the Patch or Rhythm Set of a Part, the transmit channel
must match the receive channel of the Part. However if the
Control Channel parameter and the receive channel of a Part
have the same setting, the Control Channel parameter setting
will take priority so that messages received on this channel
will select Performances.
1 3 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
* This setting determines the transmission speed (baud rate)
between your computer and the MIDI sound module (the XP-
30), and the setting used by the computer must match the
setting on the XP-30. Here we explained how to make the
setting on the XP-30. To make settings on your computer, you
will need to make settings for your software. If you are using
Windows, settings may be different than the above, depending
on your driver settings. If so, carefully read the owner’s manual
that was included with your driver.
En jo y in g De sk to p Mu sic
The XP-30 can be controlled by music software running on a
computer. This will allow you to create your own songs, and
also to select sounds or edit sounds from the computer
display. The features available to you when using a
computer will vary greatly, depending on the software you
use, so it is important that you choose software suited to
your needs.
* The PC-1 baud rate is 31.25 (kbit/sec), and the PC-2 baud rate is
38.4 (kbit/sec).
■ Co n n e ctin g to Yo u r Co m p u te r
In step 3, the connections will be slightly different depending
on the type of computer you are using, so read the section
(3a, 3b) that applies to you.
Tw o Co n n e ctio n Me th o d s
There are two ways to connect the XP-30 to your computer:
by means of the Computer connector, or by using the MIDI
connectors.
3 a . If you’re using a PC, connect the computer cable to the
serial port (RS-232C) connector on the rear of the
computer.
To make connections via the Computer connector, use a
Computer cable to connect the serial port (RS-232C
connector) of your computer to the Computer connector of
the XP-30.
Computer cable: RSC-15AT (sold separately)
This is a 9 pin cable. If you need a 25 pin cable, refer to
an appropriate cable.
To make connections via MIDI, you will need a MIDI
interface (such as the Roland Super MPU64, etc.). Use MIDI
cables to connect the XP-30’s MIDI connectors to the MIDI
connectors of the MIDI interface, after it has been connected
to your computer.
3 b . If you’re using an Apple Macintosh computer, connect
the computer cable to the modem port or printer port on
the rear of the computer.
Connect the XP-30 to your computer using the method that is
appropriate for your setup.
Computer cable: RSC-15APL (sold separately)
If you are making connections using MIDI, read from p. (p.
135).
Co n n e ctin g w ith Co m p u te r Co n n e cto r
1 . Turn off the XP-30, your computer and all peripheral
devices.
* To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
2 . Set the COMPUTER switch on the rear panel of the XP-30
as the following figure.
In general, set the switch to PC-2 for PC, and to Mac for
Apple Macintosh series.
fig.6-04.e
Apple Macintosh
PC
* Before changing the setting of the Computer switch, you must
first turn off the power on the XP-30.
1 3 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
4 . Connect the other end of the Computer cable to the COMPUTER connector on the left side of the
XP-30.
fig.6-05.e
Apple Macintosh
Modem Port or
Printer Port
XP-30 Rear Panel
PC
Optional computer cable
RSC-15APL
Serial Port (|O|O|)
Optional computer cable
RSC-15AT
* In order to hear the sounds of the XP-30, you will also need to connect an AC cord, and audio cables or
headphones. If you have not yet made connections, please read “Making Connections” (p. 24). If you are
Co n n e ctin g w ith MIDI Co n n e cto rs
If a MIDI interface (Roland Super MPU64, etc.) is connected to your computer, or if a MIDI interface
adaptor is connected, you can use the MIDI connectors to make connections.
* For details on how to install the MIDI interface, refer to the owner’s manual for your MIDI interface.
1 . Turn off the XP-30, your computer and all peripheral devices.
* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn
off the power on all devices before making any connections.
2 . Set the COMPUTER switch on the rear panel of the XP-30 to MIDI.
fig.6-06
* Before changing the setting of the Computer switch, you must first turn off the power on the XP-30.
1 3 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
3 . Use a MIDI cable (sold separately) to connect the MIDI OUT connector of the MIDI interface to
the MIDI IN connector of the XP-30.
4 . Use a MIDI cable to connect the MIDI IN connector on the MIDI interface to the MIDI OUT
connector on the XP-30.
* This connection is necessary in order to use the controller section (keyboard section) of the XP-30.
fig.6-07.e
Apple Macintosh
XP-30 Rear Panel
Modem or
T
U
Printer Port
O
MIDI
IN
The setting
is MIDI
MIDI Interface Adapter
PC
Super MPU64
XP-30 Rear Panel
USB
Connector
The setting
is MIDI
USB
Cable
1 3 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Ge ttin g th e Fu ll Po te n tia l o f th e XP-3 0
Tu rn o n th e Th ru Fu n ctio n o f Yo u r
Se q u e n ce r So ftw a re
■ Disco n n e ctin g th e Ke y b o a rd
fro m th e In te rn a l So u n d So u rce
In order for the musical data received by the computer from
the XP-30 to be transmitted back to the XP-30, the Thru
function of the sequencing program must be turned on.
When the Thru function of the sequencing program is turned
on, MIDI messages received at MIDI IN will be re-
transmitted without change from MIDI OUT.
(Lo ca l O FF)
The XP-30 contains a controller section (keyboard section)
and sound generating section, packaged as a single unit. This
means that you can make a setting (Local Control) that
specifies whether or not the performance data from the
keyboard will be transmitted directly to the sound source.
When you use the XP-30 by itself, you will normally set it to
Local ON. However, when you are using it as a sound
generator for a DTM (desktop music) system, you should set
the Local parameter (SYSTEM/ MIDI/ PERFORM MIDI) to
OFF so that the keyboard will be disconnected from the
For details on whether or not your sequencing program has a
Thru function, and how to set the Thru function, refer to the
owner’s manual for your sequencing program.
* If your sequencing program does not have a Thru function, set
the XP-30’s Local Control to ON.
internal sound generator.
fig.6-08.e
* For some sequencing programs, System Exclusive messages are
not transmitted by the Thru function. If you are using such
software and wish to record System Exclusive messages, turn
the XP-30’s Local Control setting ON.
Sequencer
Recording
All performance data
that arrives at MIDI IN
will be output from
Set to Thru
Function On.
MIDI OUT.
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
Sound Generating
Section
Set to
Local Off.
While at this setting,
the XP-30’s keyboard
and controllers are
disconnected from
the sound generating
section, so they will not
directly control it.
Keyboard Controller
Section
XP-30
1 3 7
Download from Www.Somanuals.com. All Manuals Search And Download.
1 3 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Tro u b le sh o o tin g
If the this unit does not function in the way you expect, first
check the following points. If this does not resolve the
problem, consult your dealer or a nearby Roland Service
Station (listed at the end of this manual).
-
Has the volume been lowered by pedal operations or by
MIDI messages (volume messages or expression
messages) received from an external MIDI device?
Use the Panic function to raise the volume (p. 60).
If you are in Performance mode, access the INFO display
(PERFORM/ INFO) to check the settings of the Volume
message (Vol) and Expression message (Exp) parameters,
and make the appropriate settings.
* If a message appears during operation, consult the following
section “Error Messages” (p. 142)
Ca n n o t Tu rn th e Po w e r O n
-
Is the power cable correctly plugged into an outlet?
-
Is the rear panel COMPUTER switch set to the correct
position?
N o So u n d
-
If you are using the XP-30 while connected to a computer,
make settings as appropriate for the connection method, the
type of computer, and the settings of the driver (p. 134).
Is the power turned on for the other devices connected to
the this unit?
-
-
Is the VOLUME slider turned all the way down?
Are the connections correct?
* Turn off the XP-30’s power before changing the position of the
COMPUTER switch.
When using the XP-30 by itself, connect audio cables or
headphones (p. 24).
So n g Do e s N o t Pla y b a ck Co rre ctly
-
Are you playing a GS format song?
When using the XP-30 with a computer, use a Computer
cable or MIDI cables to connect it to the computer (p. 134).
You will also need to connect audio cables or headphones (p.
24).
The XP-30 is compatible with the General MIDI System, but
not with the GS format, so a GS format song will not play
back correctly on the XP-30.
-
When playing back a GM score, is the sound source set to
GM mode?
-
Can you hear sound through headphones?
If you can hear sound through headphones, the problem may
be that the audio cable transmitting the sound to the other
devices is broken or incorrectly connected, or that there is a
problem with your mixer/ amp/ speaker system.
Enter GM Mode (p. 124).
-
Has the Receive GM Exclusive switch been turned ON?
Set the Rx.GM parameter (SYSTEM/ MIDI/ SYS-EXC MIDI)
to ON (p. 113).
-
If you do not hear sound when you play the keyboard,
check whether the Local Switch, a System parameter, is
turned OFF.
A Sp e cific Pa rt Do e s N o t So u n d
-
Has the volume level of the part been lowered?
Set the Local parameter (SYSTEM/ MIDI/ PATCH MIDI,
PERFORM MIDI, GM MIDI) to ON (p. 112).
Adjust the Level parameter (PERFORM/ PART/ SETTING) to
raise the volume of the part that is not heard (p. 87).
-
If a layer-type performance is selected, has the Local
switch of the part been turned off?
-
Is the instrument set to receive MIDI messages?
Set the Local parameter (PERFORM/ MIDI/ MIDI) to ON (p.
86).
86).
-
Have all tones in the patch been turned off?
-
Does the MIDI Receive channel of the Part match the
MIDI Transmit channel of the connected MIDI device?
Press the TONE SWITCH [1]–[4] buttons to make the
indicators light.
Set the Channel parameter (PERFORM/ MIDI/ MIDI) to
specify the MIDI receive channel (p. 86).
-
If you have selected settings that use an XP-D or E Wave,
Patch, or Rhythm Set, is the specified Wave Expansion
Board installed correctly? (p. 16, 20)
N o So u n d fro m Co n n e cte d MIDI De vice
-
Is the instrument set to transmit MIDI messages?
In the Patch mode, make the setting for the Tx-Ch parameter
(SYSTEM/ MIDI/ PATCH MIDI) (p. 112).
In the Performance mode, set the Tx parameter (PERFORM/
MIDI/ MIDI) to ON (p. 86).
1 4 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Tro u b le sh o o tin g
-
Does the MIDI send channel for the XP-30’s controller
match the MIDI receive channel for the connected MIDI
instrument?
So u n d s Are In te rru p te d
-
If you attempt to play more than 64 voices at once, sounds
will be interrupted (p. 42).
In the Patch mode, make the setting for the Tx-Ch parameter
(SYSTEM/ MIDI/ PATCH MIDI) (p. 112).
Reduce the number of Tones that you are using (p. 50, 76).
drop out (p. 87).
In the Performance mode, set the MIDI send channel with the
Channel parameter (PERFORM/ MIDI/ MIDI) (p. 86).
Ex clu sive Me ssa g e s Are N o t Re ce ive d
A Sp e cific Ke y b o a rd Are a Do e s N o t
So u n d
-
Does the Device ID number of the transmitted exclusive
message match the Device ID number of this unit?
-
Has a restricted range of notes been set?
Check the Device# parameter (SYSTEM/ MIDI/ SYS-EXC
MIDI) (p. 113).
If a specific range of notes does not sound, check the Key
Range settings for the patch and performance in the KEY
RANG display (PATCH/ COMMON) and KEY RANG
display (PERFORM/ COMMON). If both key ranges have
been set, only the notes specified in both settings will sound.
Th is Un it Do e s N o t Tra n sm it MIDI Da ta
-
If you wish to transmit this unit data via the Computer
connector, set the COMPUTER switch to PC-1, PC-2 or
Mac, depending on the computer or software you are
using (p. 134).
So u n d Is Disto rte d
-
Is an effect which distorts the sound being applied? (p. 93)
-
this unit will not transmit data from the COMPUTER
MIDI OUT connector.
-
If the sound is distorted for specific patches or parts,
lower the volume level of those patches or parts (p. 81, 87).
-
If all sounds are distorted, use the VOLUME slider to
lower the volume level.
W h e n Usin g Se q u e n cin g So ftw a re ,
O p e ra tin g th e Slid e rs o r O th e r
Co n tro ls Do e s N o t Affe ct th e So u n d
Pitch Is In co rre ct
-
Is the tuning of the XP-30 incorrect?
-
exclusive messages. If you are using this type of sequencer
software and wish to record system exclusive messages,
turn the XP-30’s Local parameter ON (p. 112).
Check the Master parameter (SYSTEM/ TUNE/ TUNE) (p.
113).
-
Has the pitch been changed by pedal operations or by
pitch change messages received from an external MIDI
device?
Use the Panic function to reset the original values (p. 60).
If you are in Performance mode, access the INFO display
(PERFORM/ INFO) to check the settings of the Pitch Bend
Message parameter (Bend), and make the appropriate
settings (p. 87).
-
Have the Coarse Tune or Fine Tune parameters been set
for specific parts?
Check the Coarse parameter and Fine parameter
(PERFORM/ PART/ SETTING) (p. 87).
Effe cts Do N o t Ap p ly
-
Is the effect switch turned OFF for Multi-Effects, Chorus,
or Reverb?
To check these settings, press [EFFECTS ON/ OFF] (p. 62).
1 4 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Erro r Me ssa g e s
If there has been a mistake in operation, or if the XP-30 is
unable to continue processing as you directed, an error
message will appear in the display. Take the appropriate
action for the displayed error message. This section gives the
error messages in alphabetical order.
Me m o ry Ca rd n o t Re a d y
Situation: A memory card is not inserted in the MEMORY
CARD slot.
Action:
Turn off the power, and insert a memory card.
Me m o ry Ca rd W rite Pro te cte d
Situation: Since a write protect sticker is affixed to the
memory card, data cannot be saved to the card
bank.
Ba tte ry Lo w
Situation: The internal backup battery that is preserving
the contents of user memory has run down.
Action:
Consult your dealer or a nearby Roland service
station to have the battery replaced.
Action:
Remove the write protect sticker from the
memory card.
File Fo rm a t Erro r
Situation: The XP-30 cannot handle this file.
MIDI Bu ffe r Fu ll
Situation: Due to an inordinate volume of MIDI messages
received, the XP-30 has failed to process them
properly.
File I/ O Erro r
Situation: It was not possible to save/ load a file.
Action:
Reduce the amount of MIDI messages to be
transmitted.
Action:
Try the operation once again. If the same
message appears, that file has been damaged.
Delete the damaged file.
MIDI Co m m u n ica tio n Erro r
Situation: A problem has occurred with the MIDI cable
connections.
File N a m e Du p lica te
Situation: A file of the same name exists on the memory
Action:
Check that MIDI cables are not broken or pulled
out.
card.
Action:
Use a different file name.
Re ce ive Da ta Erro r
Situation: A MIDI message was received incorrectly.
File N a m e Fo rm a t Erro r
Situation: A file name has not been assigned.
Action:
If the same error message is displayed
repeatedly, there is a problem with the MIDI
messages that are being transmitted to the XP-
30.
Action:
Assign a file name.
File n o t Fo u n d
Situation: The specified file was not found.
Action:
Insert the memory card that contains the
Un fo rm a tte d Me m o ry Ca rd
Situation: This memory card cannot be used by the XP-30.
specified file, and try the operation once again.
Action:
Format the memory card on the XP-30.
Me m o ry Ca rd Fu ll
Situation: There is insufficient space available on the
Use r Me m o ry Da m a g e d
Situation: The data in user memory has been lost.
memory card to save the data.
Action:
Either insert a different memory card, or delete
unnecessary data and try the operation once
again.
Action:
Use the Factor Reset function (UTILITY/ UTIL
2/ FACTORY RESET) to initialize the memory to
the factory settings.
Me m o ry Ca rd I/ O Erro r
Situation: It is possible that the memory card has been
Use r Me m o ry W rite Pro te cte d
Situation 1: The Internal parameter (UTILITY/ UTIL 1/
PROTECT/ WRITE PROTECT) is turned ON.
Action 1: Turn the Internal parameter OFF.
Situation 2: The Exclusive parameter (UTILITY/ UTIL 1/
PROTECT/ WRITE PROTECT) is turned ON,
and Exclusive messages cannot be received.
scratched or otherwise damaged.
Action:
If the memory card has been damaged, do not
use that memory card. If the same error message
appears repeatedly, consult your dealer or a
nearby Roland service station.
Action 2: Turn the Exclusive parameter OFF.
1 4 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Q u ick Re fe re n ce o f Pro ce d u re s
The XP-30 has a large number of functions. This section gives
the procedures for using some of the frequently-used
functions. For functions that are used simply by setting the
applicable parameter, only the “Parameter name (mode/
display group/ display)” is listed.
7 . Use the VALUE dial, [INC]/ [DEC], or the numeric keys
to modify the value.
* If you wish to move to a different parameter group, turn on the
[EDIT] indicator.
Ch a n g in g th e Pa tch Assig n e d to a
Pe rfo rm a n ce
* “[A] + [B]” indicates that you are to hold down [A] and press
[B].
1 . Press [PERFORM] + [PATCH].
■ Pa tch Mo d e
2 . Use [ ]/ [ ] to select a Part.
Se le ctin g th e Pa tch Mo d e PLAY Disp la y
Press [PATCH].
3 . Use the VALUE dial, [INC]/ [DEC], or the numeric keys
to select a Patch.
The rest is the same as for the basic procedure listed above.
Se le ctin g a Pa tch
Use the VALUE dial, [INC]/ [DEC], or numeric keys to select.
Sim u lta n e o u sly Mo d ify in g th e Va lu e s
o f Tw o o r Mo re To n e s
In a Tone setting display, hold down the TONE SELECT [1]–
[4] (function button) for one Tone, and press the button(s) for
the other Tone(s) you want to edit.
Usin g th e N u m e ric Ke y s to Se le ct th e
Pa tch Gro u p
Press [SHIFT] + numeric keys.
Se le ctin g Pa tch e s Usin g th e Dig it Ho ld
Fu n ctio n
Ad ju stin g th e Vo lu m e o f a Pa tch
Level parameter (PATCH/ COMMON/ PATCH COMMON)
1 . Press [SHIFT] + [ENTER] (turn on the Digit Hold
function).
Ad ju stin g th e Pa n Po sitio n o f a Pa tch
Pan parameter (PATCH/ COMMON/ PATCH COMMON)
2 . Use the numeric keys to specify the number of the one’s
place.
■ Pe rfo rm a n ce Mo d e
* To turn off the Digit Hold function, press [SHIFT] + [ENTER]
once again.
Se le ctin g th e Pe rfo rm a n ce Mo d e PLAY
Disp la y
Press [PERFORM].
Tra n sp o sin g th e Ke y b o a rd b y O cta ve
Press [-OCT] or [+OCT].
Se le ctin g a Pa rt to Pla y fro m th e
Ke y b o a rd (fo r a Sin g le -Ty p e
Pe rfo rm a n ce )
Tra n sp o sin g th e Ke y b o a rd in Se m ito n e
Ste p s
Transpose on/ off:
press [TRANSPOSE]
Use [ ]/ [ ].
Lower the keyboard: press [TRANSPOSE] + [-OCT]
Raise the keyboard: press [TRANSPOSE] + [+OCT]
Ch a n g in g th e Pa tch / Rh y th m Se t
Assig n e d to a Pa rt
Mo d ify in g a Pa tch (b a sic p ro ce d u re )
1 . Make the [EDIT] indicator light.
1 . Press [PERFORM] + [PATCH].
2 . Use [ ]/ [ ] to select a Part.
2 . Use the function buttons to select the display group.
3 . Use [ ]/ [ ] to select the desired display page.
4 . Turn off the [EDIT] indicator.
3 . Use the VALUE dial, [INC]/ [DEC], or the numeric keys
to select a Patch or Rhythm Set.
Usin g th e N u m e ric Ke y s to Se le ct th e
Pe rfo rm a n ce / Pa tch / Rh y th m Se t Gro u p
Press [SHIFT] + numeric keys.
5 . Use TONE SELECT [1]–[4] (function buttons) to select
the Tone.
6 . Use [ ]/ [ ] to select a parameter.
1 4 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Q u ick Re fe re n ce o f Pro ce d u re s
6 . Use [ ]/ [ ] to select the desired display page.
7 . Use [ ]/ [ ] to select a parameter.
Se le ctin g Pe rfo rm a n ce s Usin g th e Dig it
Ho ld Fu n ctio n
1 . Press [SHIFT] + [ENTER] (turn on the Digit Hold
8 . Use the keyboard to select a rhythm instrument.
function).
9 . Use the VALUE dial, [INC]/ [DEC], or the numeric keys
2 . Use the numeric keys to specify the number of the one’s
to modify the value.
place.
■ Co n tro lle r Se ttin g s
* To turn off the Digit Hold function, press [SHIFT] + [ENTER]
once again.
Ch a n g in g th e Ra n g e o f th e Pitch Be n d
Le ve r (fo r e a ch Pa tch )
Mo d ify in g a Pe rfo rm a n ce (b a sic
p ro ce d u re )
Bend Range parameter (PATCH/ CONTROL/ KEY
MODE&BENDER)
1 . Make the [EDIT] indicator light.
2 . Use the function buttons to select the display group.
3 . Use [ ]/ [ ] to select the desired display page.
4 . Turn off the [EDIT] indicator.
Se le ctin g th e MIDI Me ssa g e s
Co n tro lle d b y th e C1 –C4 Slid e rs
Assign parameter (SYSTEM/ CONTROL/ C1–C4 ASSIGN)
Se le ctin g th e MIDI Me ssa g e s
Co n tro lle d b y th e CO N TRO L PEDAL
Polarity parameter (SYSTEM/ CONTROL/ CONTROL PEDAL)
5 . Use [PART] (function button) to select the Tone.
6 . Use [ ]/ [ ] to select a parameter.
7 . Use the VALUE dial, [INC]/ [DEC], or the numeric keys
Re ve rsin g th e Po la rity o f CO N TRO L
PEDAL (w h e n u sin g a p e d a l o f a n o th e r
m a n u fa ctu re r w h o se p o la rity is
re ve rse d )
to modify the value.
* If you wish to move to a different parameter group, turn on the
[EDIT] indicator.
Polarity parameter (SYSTEM/ CONTROL/ CONTROL PEDAL)
Ad ju stin g th e Vo lu m e o f a Pa rt
1 . Turn on the [EDIT] indicator.
Co n tro llin g Pa tch Pa ra m e te rs w ith a
Slid e r o r Pe d a l
2 . Press [PART] (function button).
You can specify up to three control sources (MIDI messages
used for control). However control source 1 is fixed at
“modulation”. For each control source, you can specify up to
four control destinations (parameters to be controlled).
3 . Use [ ]/ [ ] to select the PART SETTING display.
4 . Set the Level parameter.
Ad ju stin g th e Pa n Po sitio n o f a Pa rt
1 . Turn on the [EDIT] indicator.
1 . Specify the MIDI message to be controlled by each
controller (C1–C4, CONTROL PEDAL) (see above).
2 . Press [PART] (function button).
2 . Select the control source.
Control 2/ 3 parameter (PATCH/ CONTROL/ CONTROL
SOURCE)
3 . Use [ ]/ [ ] to select the PART SETTING display.
4 . Set the Pan parameter.
3 . Specify the control destination (the parameter to be
controlled).
Mo d ify in g a Rh y th m Se t (b a sic
p ro ce d u re )
Destination parameter (PATCH/ CONTROL/ CONTROL1–3)
* If you do not need to set different control sources for each Patch,
set the Control 2/3 parameters (PPATCH/CONTROL/
CONTROL SOURCE) to “SYS-CTRL1” or “SYS-CTRL2,”
and set the Control 1/2 parameters (SYSTEM/CONTROL/
SYS-CTRL ASSIGN) to the MIDI messages that you wish to
use for control.
1 . Press [PERFORM] + [PATCH].
2 . Use [ ]/ [ ] to select Part 10.
3 . Use the VALUE dial, [INC]/ [DEC], or the numeric keys
to select a Rhythm Set.
4 . Make the [EDIT] indicator light.
5 . Use the function buttons to select the parameter group.
1 4 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Q u ick Re fe re n ce o f Pro ce d u re s
Ad ju stin g th e Ke y b o a rd Re sp o n se
Sens parameter (SYSTEM/ CONTROL/ KEYBOARD)
Sa vin g Use r Me m o ry Se ttin g s a n d Sy ste m
Se ttin g s to Me m o ry Ca rd a s a Un it
1 . Press [UTIL/ CARD].
Se t th e Ke y b o a rd to Pro d u ce a Fix e d
Ve lo city
2 . Select “3: SAVE” on the UTIL 2 display.
3 . Assign a file name.
Vel parameter (SYSTEM/ CONTROL/ KEYBOARD)
4 . Press [ENTER].
■ Sa vin g a n d Lo a d in g Da ta
* After completing these procedures, press [UTIL/CARD] to
return to the PLAY display.
De le tin g a File fro m Me m o ry Ca rd
1 . Press [UTIL/ CARD].
Fo rm a ttin g a Me m o ry Ca rd
1 . Press [UTIL/ CARD].
2 . Select “1: CARD” on the UTIL 2 display.
3 . Select “3: DELETE.”
2 . Select “1: CARD” on the UTIL 2 display.
3 . Select “1: FORMAT.”
4 . Select the file that you wish to delete.
5 . Press [ENTER].
4 . Press [ENTER].
Ch e ck in g th e Fre e Are a o f a Me m o ry
Ca rd , e tc.
Sa vin g Pa tch Se ttin g s
1 . In Patch mode, press [UTIL/ CARD].
2 . Select “1: WRITE” on the UTIL 1 display.
3 . Specify the writing destination.
1 . Press [UTIL/ CARD].
2 . Select “1: CARD” on the UTIL 2 display.
3 . Select “4: INFO.”
4 . Press [ENTER].
■ Co n tro llin g Ex te rn a l MIDI
If a message of “Internal Write Protect=ON” appears, change
it to “OFF” and press [ENTER] twice.
De vice s
* If you wish to hear the sound of the Patch in the selected writing
destination, press [UNDO/COMPARE]. Press it once again to
return to the previous display.
Ch a n g in g th e Tra n sm it Ch a n n e l fo r
Pa tch Mo d e
Tx-Ch parameter (SYSTEM/ MIDI/ PATCH MIDI)
Sa vin g Pe rfo rm a n ce Se ttin g s
1 . In Performance mode, press [UTIL/ CARD].
2 . Select “1: WRITE” on the UTIL 1 display.
3 . Specify the writing destination.
Ch a n g in g th e Tra n sm it Ch a n n e l fo r
Pe rfo rm a n ce Mo d e (fo r e a ch Pa rt)
Channel parameter (PERFORM/ MIDI/ MIDI)
* Keyboard and controller movements (MIDI messages) from the
controller section are transmitted differently depending on
whether a single-type Performance or a layer-type Performance
is selected. If a single-type Performance is selected, MIDI
messages will be transmitted on the MIDI channel of the Part
that is being played by the keyboard. If a layer-type Performance
is selected, MIDI messages will be transmitted on the MIDI
channel of the Parts whose Tx parameter (PERFORM/MIDI/
MIDI) is turned ON.
4 . Press [ENTER].
If a message of “Internal Write Protect=ON” appears, change
it to “OFF” and press [ENTER] twice.
Sa vin g Rh y th m Se t Se ttin g s
1 . In Rhythm Set mode, press [UTIL/ CARD].
2 . Select “1: WRITE” on the UTIL 1 display.
3 . Specify the writing destination.
4 . Press [ENTER].
If a message of “Internal Write Protect=ON” appears, change
it to “OFF” and press [ENTER] twice.
1 4 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Q u ick Re fe re n ce o f Pro ce d u re s
Tu rn in g O ff Tra n sm issio n o f Pro g ra m
Ch a n g e / Ba n k Se le ct MIDI Me ssa g e s
(Sy ste m )
Ch e ck in g th e MIDI Me ssa g e Re ce p tio n
Sta tu s (Pe rfo rm a n ce m o d e )
INFO display (PERFORM/ INFO)
TRANSMIT MIDI display (SYSTEM/ MIDI)
■ O th e r
Tra n sm ittin g Ba n k Se le ct Me ssa g e s fo r
th e Pa tch Assig n e d to a Sp e cific Pa rt
w h e n a Pe rfo rm a n ce is Se le cte d
Usin g th e Pa n ic Fu n ctio n
Press [SHIFT] + [PANIC].
1 . Set the Bank Select Group parameter (PERFORM/ MIDI/
TRANSMIT) to the desired Bank Select Group number
(BS1–BS7).
Ad ju stin g th e Tu n in g
Master parameter (SYSTEM/ TUNE/ TUNE)
Ad ju stin g th e Disp la y Co n tra st
LCD Contrast parameter (SYSTEM/ SETUP/ SYSTEM
SETUP)
2 . Save the Performance.
3 . In the BANK SEL-GROUP display (SYSTEM/ MIDI/
BANK SEL-GROUP), select the Bank Select Group that
you specified in step 1.
Re sto rin g th e Te m p o ra ry
Pe rfo rm a n ce / Pa tch / Rh y th m Se t to th e
Fa cto ry Se ttin g
4 . Turn the Switch parameter ON, and specify the MSB and
LSB.
1 . Select a Performance, Patch, or Rhythm Set.
■ Co n tro llin g th e XP-3 0 fro m a n
2 . Press [UTIL/ CARD].
Ex te rn a l MIDI De vice
3 . Select “3: INIT” on the UTIL 1 display.
4 . Select “PRESET”.
Ch a n g in g th e Re ce ive Ch a n n e l o n
w h ich Pe rfo rm a n ce s w ill b e Se le cte d
Control Channel parameter (SYSTEM/ MIDI/ PERFORM
MIDI)
5 . Press [ENTER].
Re sto rin g th e XP-3 0 to th e Fa cto ry
Se ttin g s
Ch a n g in g th e Re ce ive Ch a n n e l o f a
Pa rt (Pe rfo rm a n ce )
1 . Select a Performance, Patch, or Rhythm Set.
Channel parameter (PERFORM/ MIDI/ MIDI)
2 . Press [UTIL/ CARD].
Ch a n g in g th e Re ce ive Ch a n n e l (Pa tch )
Rx-Ch parameter (SYSTEM/ MIDI/ PATCH MIDI)
3 . Select “4: FACTORY RESET” on the UTIL 2 display.
4 . Press [ENTER].
Tu rn in g O ff Re ce p tio n o f Pro g ra m
Ch a n g e / Ba n k Se le ct MIDI Me ssa g e s
(Sy ste m )
RECEIVE MIDI display (SYSTEM/ MIDI)
Tu rn in g Re ce p tio n o f Vo lu m e / Ho ld 1 /
Pro g ra m Ch a n g e MIDI Me ssa g e s O N /
O FF fo r Ea ch Pa rt (Pe rfo rm a n ce )
Rx SWITCH display (PERFORM/ MIDI)
Tu rn in g Re ce p tio n o f Vo lu m e / Pa n / Pitch
Be n d / Ho ld 1 / Re d a m p e r MIDI Me ssa g e s
O N / O FF fo r Ea ch To n e (Pa tch )
Rx SWITCH/ DAMPER display (PATCH/ CONTROL)
1 4 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
■ Pa tch Pa ra m e te rs
* Parameters that can be set independently for each Tone are indicated by “T.”
CO MMO N Gro u p (p . 6 8 )
Display
Parameter
Value
PATCH NAME
—
Patch name
ASCII Characters (max. 12)
(*1)
PATCH CATEGORY
PATCH CLOCK
Category
Source
Tempo
Level
Patch category
Patch clock source
Patch tempo
PATCH, SYSETEM
20–250
PATCH COMMON
Level
0–127
Pan
Pan
L64–0–63R
0–127
Analog Feel
Octave
Stretch
Priority
VelRang
Lower
Analog feel depth
Octave shift
-3–0–+3
Stretch tune depth
Voice priority
OFF, 1, 2, 3
LAST, LOUDEST
OFF, ON
Velocity range switch
Velocity range lower
Velocity range upper
Velocity cross fade
Key range lower
Key range upper
Structure type
Booster gain
VELOCITY
1–Upper
T
T
Upper
Lower–127
0–127
Cross Fade
Lower
T
KEY RANG
STRUCT
C-1–Upper
Lower–G9
1–10
T
Upper
T
T
T
Type
Booster
0, +6, +12, +18 dB
*1: NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS,
SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH,
PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE,
DRUMS, COMBINATION
EFFECTS Gro u p (p . 7 1 )
Display
Parameter
Value
OUTPUT
Output Assign
Output assign
MIX, EFX
0–127
0–127
0–127
(*1)
T
Output level
T
Chorus
Reverb
Type
(*1)
Chorus send level
Reverb send level
EFX type
T
T
PATCH EFX TYPE
PATCH EFX PRM
PATCH EFX OUT
Patch EFX parameter
EFX output level
Chorus send level
Reverb send level
EFX control source1, 2
EFX control depth1, 2
Chorus rate
Mix Out
Chorus
Reverb
—
0–127
0–127
0–127
PATCH EFX CTRL
PATCH CHORUS
(*2)
—
-63–+63
Rate
0–127
Depth
Delay
Fbk
Chorus depth
0–127
Chorus pre delay
Chorus feedback level
Chorus level
0–127
0–127
Level
Out
0–127
Chorus output assign
Reverb/Delay type
Reverb/Delay time
Delay feedback level
Reverb/Delay HF damp
Reverb/Delay level
MIX, REV, M+R
PATCH REVERB
Type
Time
Fbk
ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
0–127
0–127
(*3)
HF Damp
Level
0–127
*1: Refer to EFX parameters.
*2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
1 4 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
CO N TRO L Gro u p (p . 7 3 )
Display
Parameter
Value
KEY MODE&BENDER Assign
Legato
Key assign mode
POLY, SOLO
OFF, ON
Solo legato switch
Bend range down
Bend Range
-48–0 semitone
0–+12 semitone
OFF, ON
Bend range up
PORTAMENTO
RxSWITCH
Sw
Portamento switch
Portamento time
Time
0–127
Mode
Portamento mode
Portamento type
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
OFF, ON
Type
Start
Portamento start pitch
Receive volume switch
Receive pan control switch
Receive pitch bend switch
Receive hold-1 switch
Redamper switch
Volume
Pan
T
T
T
T
OFF, CONT, KEY-ON
OFF, ON
Pitch Bend
Hold-1 RxSwitch
Redamper
EfxCtrl
DAMPER
OFF, ON
OFF, ON
T
PEAK & HOLD
EFX control peak/hold
Control1 peak/hold
Control2 peak/hold
Control3 peak/hold
Control source 2
OFF, HOLD, PEAK
OFF, HOLD, PEAK
OFF, HOLD, PEAK
OFF, HOLD, PEAK
(*1)
Ctrl 1
Ctrl 2
Ctrl 3
CONTROL SOURCE
CONTROL 1
Control 2
Control 3
Destination
Depth
Control source 3
(*1)
Control destination 1–4
Control depth 1–4
Control destination 1–4
Control depth 1–4
Control destination 1–4
Control depth 1–4
(*2)
T
-63–+63
T
CONTROL 2
Destination
Depth
(*2)
T
-63–+63
T
CONTROL 3
Destination
Depth
(*2)
T
-63–+63
T
*1: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH, LFO1, LFO2, VELOCITY,
KEYFOLLOW, PLAYMATE
*2: OFF, PCH, CUT, RES, LEV, PAN, MIX, CHO, REV, PL1, PL2, FL1, FL2, AL1, AL2, pL1, pL2, L1R, L2R
W AVE Gro u p (p . 7 6 )
Display
Parameter
Value
WAVE
Group
Number
Gain
Wave group
INT-A, INT-B, XP-A, XP-B, XP-C, XP-D, XP-E
T
Wave number
001–255
T
T
Wave gain
-6, 0, +6, +12 dB
Switch
Switch
Color
Tone switch
OFF, ON
T
FXM
Frequency cross modulation switch
Frequency cross modulation color
Frequency cross modulation depth
Tone delay mode
OFF, ON
T
1–4
T
T
Depth
Mode
Time
1–16
TONE DELAY
(*1)
T
Tone delay time
0–127/0–880/0–5000 (*2)
T
*1: NORMAL, HOLD, PLAYMATE, CLOCK-SYNC, KEY-OFF-N, KEY-OFF-D, TEMPO-SYNC
*2: When the Tone Delay Mode parameter is set to “CLOCK-SYNC” this is set as a Note value.
LFO Gro u p (p . 7 8 )
Display
Parameter
Value
LFO1
Form
Key Sync
Rate
LFO form
TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS
T
LFO key Sync
LFO rate
OFF, ON
T
0–127, 0–880 (*1)
OFF, CLOCK
T
T
T
ExtSync
Mode
Delay
Fade
Offset
(*2)
LFO external sync
LFO fade mode
LFO delay time
LFO fade time
LFO offset
ON-IN, ON-OUT, OFF-IN, OFF-OUT
0–127
T
0–127
T
T
T
-100, -50, 0, +50, +100
LFO2
LFO DEPTH1:2
Pitch
TVF
Pitch LFO depth 1, 2
TVF LFO depth 1, 2
TVA LFO depth 1, 2
Pan LFO depth 1, 2
-63–+63
-63–+63
-63–+63
-63–+63
T
T
TVA
T
Pan
T
*1: When the LFO External Sync parameter is set to “CLOCK” this is set as a Note value.
*2: Same as LFO1.
1 4 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
PITCH Gro u p (p . 7 9 )
Display
Parameter
Value
PITCH
Coarse
Coarse tune
-48–+48 semitone
-50–+50 cent
0–1200 cent (*1)
-100–+200 (*2)
-12–+12
T
Fine
Fine tune
T
Random
Random pitch depth
T
Keyfollow
Envelope Depth
Velocity Sens
V-T1
Pitch keyfollow
T
PCH ENVELOPE
PCH TIME ENV
Pitch envelope depth
Pitch envelope velocity sens
Pitch envelope time1 velocity sens
Pitch envelope time4 velocity sens
Pitch envelope time keyfollow
Pitch envelope time 1–4
Pitch envelope level 1–4
T
-100–+150
T
-100–+100 (*3)
-100–+100 (*3)
-100–+100 (*3)
0–127
T
V-T4
T
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3, L4
T
T
T
PCH ENVELOPE
-63–+63
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
*2: -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
*3: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVF Gro u p (p . 8 0 )
Display
Parameter
Value
FILTER
Type
Filter type
OFF, LPF, BPF, HPF, PKG
0–127
T
Cut
Cutoff frequency
T
T
T
Res
Resonance
0–127
Keyfollow
Env Depth
V-Sens
Cutoff frequency keyfollow
TVF envelope depth
-100–+200 (*1)
-63–+63
T
TVF VELOCITY
TVF TIME ENV
TVF ENVELOPE
TVF envelope velocity sens
TVF envelope velocity curve
Resonance velocity sens
TVF envelope time1 velocity sens
TVF envelope time4 velocity sens
TVF envelope time keyfollow
TVF envelope time 1–4
TVF envelope level 1–4
-100–+150
1–7
T
V-Curve
V-Resonance
V-T1
T
T
-100–+150
-100–+100 (*2)
-100–+100 (*2)
-100–+100 (*2)
0–127
T
V-T4
T
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3, L4
T
T
0–127
T
*1:-100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVA Gro u p (p . 8 1 )
Display
Parameter
Value
TVA
Level
Level
0–127
T
Pan
Pan
L64–0–63R
T
V-Sens
V-Curve
Bias
TVA envelope velocity sens
TVA envelope velocity curve
Bias level
-100–+150
T
1–7
T
BIAS
-100–+100 (*1)
T
Point
Bias point
C-1–G9
T
T
Direction
Keyfollow
Random
Alternate
V-T1
Bias direction
LOWER, UPPER, LOWER&UPPER, ALL
PAN MODULATE
TVA TIME ENV
TVA ENVELOPE
Pan keyfollow
-100–+100 (*1)
0–63
T
Random pan depth
Alternate pan depth
TVA envelope time1 velocity sens
TVA envelope time4 velocity sens
TVA envelope time keyfollow
TVA envelope time 1–4
TVA envelope level 1–3
T
L63–0–63R
-100–+100 (*1)
-100–+100 (*1)
-100–+100 (*1)
0–127
T
T
V-T4
T
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3
T
T
0–127
T
*1: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
1 4 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
■ Pe rfo rm a n ce Pa ra m e te rs
* Parameters that can be set independently for each Part are indicated by “P.”
CO MMO N Gro u p (p . 8 3 )
Display
Parameter
Value
PERFORM NAME
PERFORM CLOCK
—
Performance name
Performance clock source
Performance tempo
Key mode
ASCII Characters (max. 12)
PERFORM, SYSTEM
20–250
Source
Tempo
PERFORM COMMON Key Mode
Key Range
LAYER, SINGLE
OFF, ON
key range switch
Key range lower
Key range upper
Octave shift
KEY RANG
Lower
C-1–Upper
P
P
Upper
Lower–G9
KEYBOARD
Octave Shift
-3–+3
P
EFFECTS Gro u p (p . 8 4 )
Display
Parameter
Value
OUTPUT
Output Assign
Output assign
MIX, EFX, PATCH
0–127
P
Output level
P
Chorus
Reverb
Chorus send level
Reverb send level
EFX type
0–127
P
0–127
P
PERFORM EFX TYPE Type
Source
(*1)
(*1)
EFX source
PERFORM, 1–9, 11–16
PERFORM EFX PRM
PERFORM EFX OUT
Performance EFX parameters
EFX output level
Chorus send level
Reverb send level
EFX control source 1
EFX control depth 1
EFX control source 2
EFX control depth 2
Chorus rate
Mix Out
Chorus
Reverb
0–127
0–127
0–127
PERFORM EFX CTRL
PERFORM CHORUS
(*2)
-63–+63
(*2)
-63–+63
Rate
Depth
Delay
Fbk
0–127
Chorus depth
0–127
Chorus pre delay
Chorus feedback level
Chorus level
0–127
0–127
Level
Out
0–127
Chorus output assign
Reverb/Delay type
Reverb/Delay time
Delay feedback level
Reverb/Delay HF damp
Reverb/Delay level
MIX, REV, M+R
PERFORM REVERB
Type
Time
Fbk
ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
0–127
0–127
(*3)
HF Damp
Level
0–127
*1: Refer to EFX parameters.
*2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
MIDI Gro u p (p . 8 6 )
Display
Parameter
Value
1–16
MIDI
Channel
Rx
MIDI channel
P
Receive switch
OFF, ON
OFF, ON
P
Tx
Transmit switch
Local switch
P
P
Local
Volume
Hold-1
OFF, ON
RxSWITCH
TRANSMIT
Receive volume switch
Receive hold-1 switch
OFF, ON
P
OFF, ON
P
Program Change Receive program change switch
BankSelectGroup Transmit bank select group
Transmit Volume Transmit volume
OFF, ON
P
PATCH, BS1–BS7
0–127, OFF
P
P
1 5 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
PART Gro u p (p . 8 7 )
Display
Parameter
Value
PATCH
Group
Patch group
USER, PR-A, PR-B, PR-C, GM, PR-E,
XP-A, XP-B, XP-C, XP-D, XP-E
P
Number
Level
Patch number
Level
001–256
0–127
P
SETTING
P
Pan
Pan
L64–0–63R
-48–+48 semitone
-50–+50 cent
0–64
P
Coarse
Fine
Coarse tune
Fine tune
Voice reserve
P
P
RESERVE
Voice Reserve
P
IN FO RMATIO N Gro u p (p . 8 7 )
Display
Parameter
Value
INFO
Mod
Breath
Foot
Vol
Modulation information
Breath information
0–127
P
0–127
P
Foot information
0–127
P
P
P
P
P
P
P
Volume information
Pan information
0–127
Pan
L64–0–63R
0–127
Exp
Expression information
Hold1 information
Hold
Bend
Aft
0–127
Pitch bend information
Aftertouch information
System control 1 information
System control 2 information
Voice information
-128–+127
0–127
Sys1
Sys2
Voices
0–127/-128–+127
0–127/-128–+127
0–64
P
P
P
■ Rh y th m Se t Pa ra m e te rs
CO MMO N Gro u p (p . 8 8 )
Display
Parameter
Value
RHYTHM NAME
—
Rhythm set name
ASCII Characters (max. 12)
EFFECTS Gro u p (p . 8 8 )
Display
Parameter
Value
OUTPUT
Output Assign
Output assign
MIX, EFX
0–127
0–127
0–127
(*1)
Output level
Chorus
Reverb
Chorus send level
Reverb send level
EFX type
PERFORM EFX TYPE Type
Source
(*1)
EFX source
PERFORM, 1–9, 11–16
PERFORM EFX PRM
PERFORM EFX OUT
Performance EFX parameters
EFX output level
Chorus send level
Reverb send level
EFX control source 1
EFX control depth 1
EFX control source 2
EFX control depth 2
Chorus rate
Mix Out
Chorus
Reverb
0–127
0–127
0–127
PERFORM EFX CTRL
PERFORM CHORUS
(*2)
-63–+63
(*2)
-63–+63
Rate
Depth
Delay
Fbk
0–127
Chorus depth
0–127
Chorus pre delay
Chorus feedback level
Chorus level
0–127
0–127
Level
Out
0–127
Chorus output assign
Reverb/Delay type
Reverb/Delay time
Delay feedback level
Reverb/Delay HF damp
Reverb/Delay level
MIX, REV, M+R
PERFORM REVERB
Type
Time
Fbk
ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
0–127
0–127
(*3)
HF Damp
Level
0–127
*1: Refer to EFX parameters.
*2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
1 5 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
CO N TRO L Gro u p (p . 9 0 )
Display
Parameter
Value
CONTROL
Bend Range
Env Mode
Mute Group
Volume
Bend range
0–12
Envelope mode
NO-SUS, SUSTAIN
OFF, 1–31
Mute group
RxSWITCH
Receive volume switch
Receive pan control switch
Receive hold-1 switch
OFF, ON
Pan
OFF, CONT, KEY-ON
OFF, ON
Hold-1
W AVE Gro u p (p . 9 0 )
Display
Parameter
Value
WAVE
Group
Number
Gain
Wave group
Wave number
Wave gain
INT-A, INT-B, XP-A, XP-B, XP-C, XP-D, XP-E
001–255
-6, 0, +6, +12 dB
OFF, ON
Switch
Key switch
PITCH Gro u p (p . 9 1 )
Display
Parameter
Value
PITCH
Coarse
Coarse tune
C-1–G9
Fine
Fine tune
-50–+50 cent
0–1200 cent (*1)
-12–+12
Random
Random pitch depth
Pitch envelope depth
Pitch envelope velocity sens
Pitch envelope time velocity sens
Pitch envelope time 1–4
Pitch envelope level 1–4
Env Depth
Velocity Sens
Velocity Time
T1, T2, T3, T4
L1, L2, L3, L4
PCH VELOCITY
PCH ENVELOPE
-100–+150
-100–+100 (*2)
0–127
-63–+63
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVF Gro u p (p . 9 1 )
Display
Parameter
Value
FILTER
Type
Filter type
OFF, LPF, BPF, HPF, PKG
0–127
Cutoff
Cutoff frequency
Resonance
Env Depth
V-Sens
V-Time
Resonance
0–127
TVF Envelope depth
TVF envelope velocity sens
TVF envelope time velocity sens
Resonance velocity sens
TVF envelope time 1–4
TVF envelope level 1–4
-63–+63
TVF VELOCITY
TVF ENVELOPE
-100–+150
-100–+100 (*1)
-100–+150
0–127
V-Resonance
T1–4
L1–4
0–127
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVA Gro u p (p . 9 2 )
Display
Parameter
Value
TVA
Level
Level
0–127
L64–0–63R
0–63
Pan
Pan
Random
Alternate
Velocity Sens
Velocity Time
T1–4
Random pan depth
Alternate pan depth
TVA envelope velocity sens
TVA envelope time velocity sens
TVA envelope time 1–4
TVA envelope level 1–3
L63–0–63R
-100–+150
-100–+100 (*1)
0–127
TVA VELOCITY
TVA ENVELOPE
L1–3
0–127
*1: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
1 5 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
■ GM Mo d e Pa ra m e te rs
* Parameters that can be set independently for each Part are indicated by “P.”
EFFECTS Gro u p (p . 1 2 5 )
Display
Parameter
Value
OUTPUT
Output Assign
Output assign
MIX, EFX
0–127
0–127
0–127
(*1)
P
Output level
P
Chorus
Reverb
Type
Chorus send level
Reverb send level
EFX type
P
P
GM EFX TYPE
GM EFX PRM
GM EFX OUT
(*1)
GM EFX parameters
EFX output level
Chorus send level
Reverb send level
Chorus rate
Mix Out
Chorus
Reverb
Rate
0–127
0–127
0–127
GM CHORUS
0–127
Depth
Delay
Fbk
Chorus depth
0–127
Chorus pre delay time
Chorus feedback level
Chorus level
0–127
0–127
Level
Out
0–127
Chorus output assign
Reverb/Delay type
Reverb/Delay time
Delay Feedback level
Reverb/Delay HF damp
Reverb/Delay level
MIX, REV, M+R
GM REVERB
Type
ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
Time
0–127
0–127
(*2)
Fbk
HF Damp
Level
0–127
*1: Refer to EFX parameters.
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
PART Gro u p (p . 1 2 7 )
Display
Parameter
Value
PATCH
Number
Volume
Pan
GMPatch number
Volume
001–128
P
P
SETTING
0–127
Pan
L64–0–63R
-48–+48 semitone
-50–+50 cent
P
Coarse
Fine
Coarse tune
Fine tune
P
P
IN FO RMATIO N Gro u p (p . 1 2 7 )
Display
Parameter
Value
INFO
Mod
Modulation information
Breath information
Foot information
0–127
P
Breath
Foot
0–127
P
0–127
P
P
P
P
P
P
Vol
Volume information
Pan information
0–127
Pan
L64–0–63R
0–127
Exp
Expression information
Hold1 information
Hold
0–127
Bend
Aftertouch
Voices
Pitch bend information
Aftertouch information
Voice information
-128–+127
0–127
P
0–64
P
1 5 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
6 : EN HAN CER (p . 9 4 )
Parameter
■ EFX Pa ra m e te rs
Value
Sens
Sens
0–127
1 : STEREO -EQ (p . 9 3 )
Mix
Mix level
Low gain
High gain
Output level
0–127
Parameter
Value
Low Gain
Hi Gain
Level
-15–+15 dB
-15–+15 dB
0–127
LowFreq
LowGain
Hi Freq
Hi Gain
P1 Freq
P1 Q
Low frequency
Low gain
200, 400 Hz
-15–+15 dB
High frequency
Hi gain
4000, 8000 Hz
-15–+15 dB
7 : AUTO -W AH (p . 9 5 )
Parameter
Peaking1 frequency
Peaking1 Q
200–8000Hz (*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
Value
P1 Gain
P2 Freq
P2 Q
Peaking1 gain
Peaking2 frequency
Peaking2 Q
Filter
Filter type
Sens
LPF, BPF
0–127
200–8000 Hz (*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
Sens
Manual
Peak
Rate
Manual
Peak
0–127
P2 Gain
Level
Peaking2 gain
Output level
0–127
0–127
Rate
0.05–10.00 Hz
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Depth
Level
Depth
Output level
0–127
2 : O VERDRIVE (p . 9 3 )
Parameter
8 : RO TARY (p . 9 5 )
Parameter
Value
Value
Drive
Drive
0–127
LowSlow
LowFast
LowAccl
Low Lvl
Hi Slow
Hi Fast
Hi Accl
Hi Lvl
Low frequency slow rate
Low frequency fast rate
Low frequency acceleration
Low frequency level
High frequency slow rate
High frequency fast rate
High frequency acceleration
High frequency level
Separation
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Level
Output level
Low gain
0–127
LowGain
Hi Gain
AmpType
-15–+15 dB
-15–+15 dB
High gain
0–127
Amp simulator type
SMALL, BUILT-IN,
2-STACK, 3-STACK
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Pan
Output pan
L64–0–63R
0–127
Separation
Speed
0–127
3 : DISTO RTIO N (p . 9 3 )
Parameter
Speed
SLOW, FAST
0–127
Value
Level
Output level
Drive
Drive
0–127
Level
Output level
Low gain
0–127
9 : CO MPRESSO R (p . 9 6 )
Parameter
LowGain
Hi Gain
AmpType
-15–+15 dB
-15–+15 dB
High gain
Value
Amp simulator type
SMALL, BUILT-IN,
2-STACK, 3-STACK
Attack
Attack
0–127
Sustain
Post Gain
LowGain
Hi Gain
Pan
Sustain
0–127
Pan
Output pan
L64–0–63R
Post gain
Low gain
High gain
Output pan
Output level
0, +6, +12, +18 dB
-15–+15 dB
-15–+15 dB
L64–0–63R
0–127
4 : PHASER (p . 9 4 )
Parameter
Value
Level
Manual
Rate
Depth
Res
Manual
100–8000 Hz
0.05–10.00 Hz
0–127
Rate
Depth
1 0 : LIMITER (p . 9 6 )
Parameter
Resonance
Mix level
Output pan
Output level
0–127
Value
Mix
0–127
Thresh
Ratio
Threshold level
Compression ratio
Release time
Post gain
0–127
Pan
L64–0–63R
0–127
1.5:1, 2:1, 4:1, 100:1
0–127
Level
Release
Gain
0, +6, +12, +18 dB
-15–+15 dB
-15–+15 dB
L64–0–63R
0–127
5 : SPECTRUM (p . 9 4 )
Parameter
LowGain
Hi Gain
Pan
Low gain
High gain
Value
Output pan
Output level
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Q
Band1 gain
Band2 gain
Band3 gain
Band4 gain
Band5 gain
Band6 gain
Band7 gain
Band8 gain
Q
-15–+15 dB
-15–+15 dB
-15–+15 dB
-15–+15 dB
-15–+15 dB
-15–+15 dB
-15–+15 dB
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
L64–0–63R
0–127
Level
1 1 : HEXA-CHO RUS (p . 9 6 )
Parameter
Value
Pre Dly
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Depth
Depth
Dly Dev
Dpt Dev
Pan Dev
Balance
Level
Pre delay deviation
Depth deviation
Pan deviation
Effect balance
Output level
0–20
Pan
Output pan
Output level
-20–+20
Level
0–20
D100:0W–D0:100W
0–127
1 5 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
1 2 : TREMO LO -CHO RUS (p . 9 7 )
Parameter
Parameter
Value
Value
Pre Dly
ChoRate
Cho Dpt
Phase
Pre delay time
Chorus rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Delay L
Delay R
Fbk
Delay time left
0.0–500.0 ms
0.0–500.0 ms
-98–+98%
Delay time right
Feedback level
Feedback mode
Feedback phase left
Feedback phase right
HF damp
Chorus depth
Tremolo phase
Tremolo rate
0–180 degree
0.05–10.00 Hz
0–127
Mode
NORMAL, CROSS
NORMAL, INVERT
NORMAL, INVERT
200–8000 Hz,
BYPASS (*1)
-15–+15 dB
TrmRate
Trm Sep
Balance
Level
Phase L
Phase R
HF Damp
Tremolo separation
Effect balance
Output level
D100:0W–D0:100W
0–127
LowGain
Hi Gain
Balance
Level
Low gain
High gain
-15–+15 dB
1 3 : SPACE-D (p . 9 7 )
Parameter
Effect balance
Output level
D100:0W–D0:100W
0–127
Value
Pre Dly
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Depth
Depth
Phase
LowGain
Hi Gain
Balance
Level
Phase
0–180 degree
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
1 8 : MO DULATIO N -DELAY (p . 9 9 )
Low gain
High gain
Effect balance
Output level
*ParameterValue
Delay L
Delay R
Fbk
Delay time left
Delay time right
Feedback level
Feedback mode
Rate
0.0–500.0 ms
0.0–500.0 ms
-98–+98%
NORMAL, CROSS
0.05–10.00 Hz
0–127
1 4 : STEREO -CHO RUS (p . 9 7 )
Parameter
Rate
Value
Depth
Phase
HF Damp
Depth
Pre Dly
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Phase
0–180 degree
200–8000 Hz,
BYPASS (*1)
-15–+15 dB
HF damp
Depth
Depth
Phase
Phase
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
-15–+15 dB
LowGain
Hi Gain
Balance
Level
Low gain
Filter Type
Cutoff
Filter type
Cutoff frequency
Low gain
High gain
-15–+15 dB
Effect balance
Output level
D100:0W–D0:100W
0–127
LowGain
Hi Gain
Balance
Level
High gain
Effect balance
Output level
-15–+15 dB
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
1 9 : TRIPLE-TAP-DELAY (p . 1 0 0 )
Parameter
Value
Delay L
Delay R
Fbk
Delay time center
Delay time left
Delay time right
Feedback level
Center level
Left level
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
-98–+98%
1 5 : STEREO -FLAN GER (p . 9 8 )
Parameter
Value
Pre Dly
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Level C
Level L
Level R
HF Damp
0–127
Depth
Depth
0–127
Fbk
Feedback level
Phase
-98–+98%
Right level
0–127
Phase
Filter Type
Cutoff
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
-15–+15 dB
HF damp
200–8000 Hz,
BYPASS (*1)
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Filter type
Cutoff frequency
Low gain
LowGain
Hi Gain
Balance
Level
Low gain
LowGain
Hi Gain
Balance
Level
High gain
High gain
-15–+15 dB
Effect balance
Output level
Effect balance
Output level
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
1 6 : STEP-FLAN GER (p . 9 8 )
Parameter
Value
Pre Dly
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Depth
Depth
Fbk
Feedback level
Phase
-98–+98%
Phase
Step Rate
LowGain
Hi Gain
Balance
Level
0–180 degree
0.10–20.00 Hz, note
-15–+15 dB
Step rate
Low gain
High gain
Effect balance
Output level
-15–+15 dB
D100:0W–D0:100W
0–127
1 5 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
2 0 : Q UADRUPLE-TAP-DELAY (p . 1 0 1 )
Parameter
Parameter
Value
Value
Delay 1
Delay 2
Delay 3
Delay 4
Level 1
Level 2
Level 3
Level 4
Fbk
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Level 1
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
0–127
Type
Reverb type
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
Pre Dly
Time
Pre delay time
Gate time
0.0–100.0 ms
0–127
HF Damp
HF damp
200–8000 Hz,
BYPASS (*1)
Level 2
0–127
Level 3
0–127
LowGain
Hi Gain
Balance
Level
Low gain
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Level 4
0–127
High gain
Feedback level
HF damp
-98–+98%
Effect balance
Output level
HF Damp
200–8000 Hz,
BYPASS (*1)
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Balance
Level
Effect balance
Output level
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
2 5 : GATE-REVERB (p . 1 0 3 )
Parameter
Value
2 1 : TIME-CO N TRO L-DELAY (p . 1 0 1 )
Type
NORMAL, REVERSE,
SWEEP1, SWEEP2
Parameter
Value
Pre Dly
Gate Time
LowGain
Hi Gain
Balance
Level
Pre delay time
Gate time
0.0–100.0 ms
5–500 ms
Delay
Accel
Delay time
Acceleration
Feedback level
HF damp
200–1000 ms
0–15
Low gain
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Fbk
-98–+98%
High gain
HF Damp
200–8000 Hz,
Effect balance
Output level
BYPASS (*1)
Pan
Output pan
Low gain
L64–0–63R
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
LowGain
Hi Gain
Balance
Level
2 6 : O VERDRIVE→CHO RUS (p . 1 0 3 )
High gain
Effect balance
Output level
Parameter
Value
OD Drive
OD Pan
Drive
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Over drive pan
Chorus pre delay time
Chorus Rate
L64–0–63R
0.0–100.0 ms
0.05–10.00 Hz
0–127
Cho Dly
ChoRate
2 2 : 2 VO ICE-PITCH-SHIFTER (p . 1 0 2 )
Chorus Balance Chorus balance
Level Output level
D100:0W–D0:100W
0–127
Parameter
Value
CoarseA
Fine A
Pan A
Coarse pitch A
Fine pitch A
-24–+12 semitone
-100–+100 cent
L64–0–63R
2 7 : O VERDRIVE→FLAN GER (p . 1 0 4 )
Output pan A
Pre delay time A
Coarse pitch B
Fine pitch B
PreDlyA
CoarseB
Fine B
Pan B
0.0–500.0 ms
-24–+12 semitone
-100–+100 cent
L64–0–63R
Parameter
Value
OD Drive
OD Pan
Flg Dly
Drive
0–127
Over drive pan
Flanger pre delay time
Flanger rate
L64–0–63R
0.0–100.0 ms
0.05–10.00 Hz
0–127
Output pan B
Pre delay time B
Pitch shifter mode
Level balance
Effect balance
Output level
PreDlyB
Mode
0.0–500.0 ms
1, 2, 3, 4, 5
FlgRate
Flg Dpt
Flg Fbk
Flanger depth
Flanger feedback level
Lvl Bal
Balance
Level
A100:0B–A0:100B
D100:0W–D0:100W
0–127
-98–+98%
D100:0W–D0:100W
0–127
Flanger Balance Flanger balance
Level Output level
2 3 : FBK-PITCH-SHIFTER (p . 1 0 2 )
Parameter
Value
Parameter
Value
Coarse
Fine
Coarse pitch
Fine pitch
-24–+12 semitone
-100–+100 cent
-98–+98%
OD Drive
OD Pan
DlyTime
Dly Fbk
Drive
0–127
Over drive pan
Delay time
L64–0–63R
0.0–500.0 ms
-98–+98%
Fbk
Feedback level
Pre delay time
Pitch shifter mode
Output pan
Pre Dly
Mode
0.0–500.0 ms
1, 2, 3, 4, 5
Delay feedback level
Delay HF Damp Delay HF damp
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Pan
L64–0–63R
LowGain
Hi Gain
Balance
Level
Low gain
-15–+15 dB
Delay Balance
Level
Delay balance
Output level
High gain
-15–+15 dB
Effect balance
Output level
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1 5 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
2 9 : DISTO RTIO N →CHO RUS (p . 1 0 4 )
The parameters are essentially the same as "26: OVERDRIVE →CHORUS,"
with the exception of the following two.
Parameter
Value
Flg Dly
Flanger pre delay time
Flanger rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
OD Drive→Dist Drive, OD Pan→Dist Pan
FlgRate
Flg Dpt
Flg Fbk
Flg Bal
Flanger depth
Flanger balance
Delay time
-98–+98%
3 0 : DISTO RTIO N →FLAN GER (p . 1 0 5 )
D100:0W–D0:100W
0.0–500.0 ms
-98–+98%
The parameters are essentially the same as "27: OVERDRIVE →FLANGER,"
with the exception of the following two.
DlyTime
Dly Fbk
HF Damp
Delay feedback level
HF damp
OD Drive→Dist Drive, OD Pan→Dist Pan
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
3 1 : DISTO RTIO N →DELAY (p . 1 0 5 )
Level
Output level
The parameters are essentially the same as "28: OVERDRIVE →DELAY," with
the exception of the following two.
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
OD Drive→Dist Drive, OD Pan→Dist Pan
3 2 : EN HAN SER→CHO RUS (p . 1 0 5 )
Parameter
Value
Parameter
Value
Enhancer Sens Enhancer sens
0–127
Cho Dly
ChoRate
Cho Dpt
Cho Bal
Flg Dly
Chorus pre delay time
Chorus rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Enhancer Mix
Cho Dly
Enhancer mix level
Chorus pre delay time
Chorus rate
0–127
0.0–100.0 ms
0.05–10.00 Hz
0–127
Chorus depth
ChoRate
Chorus balance
Flanger pre delay time
Flanger rate
D100:0W–D0:100W
0.0–100.0 ms
0.05–10.00 Hz
0–127
Chorus Depth
Chorus depth
Chorus Balance Chorus balance
Level Output level
D100:0W–D0:100W
0–127
FlgRate
Flg Dpt
Flg Fbk
Flanger depth
Flanger feedback level
-98–+98%
Level Output level
D100:0W–D0:100W
0–127
3 3 : EN HAN SER→FLAN GER (p . 1 0 5 )
Parameter
Value
Enhancer Sens Enhancer sens
0–127
3 8 : CHO RUS/ DELAY (p . 1 0 7 )
Enhancer Mix
Flg Dly
Enhancer mix level
Flanger pre delay time
Flanger rate
0–127
0.0–100.0 ms
0.05–10.00 Hz
0–127
Refer to “35: CHORUS→DELAY.”
FlgRate
Flg Dpt
Flanger depth
3 9 : FLAN GER/ DELAY (p . 1 0 7 )
Refer to “36: FLANGER→DELAY.”
Flg Fbk
Flanger feedback level
-98–+98%
D100:0W–D0:100W
0–127
Flanger Balance Flanger balance
Level Output level
4 0 : CHO RUS/ FLAN GER (p . 1 0 7 )
3 4 : EN HAN SER→DELAY (p . 1 0 6 )
Parameter
Value
Enhancer Sens Enhancer sens
0–127
Enhancer Mix
Delay
Enhancer mix level
Delay time
0–127
0.0–500.0 ms
-98–+98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Dly Fb
Delay feedback level
Delay HF Damp Delay HF damp
Delay Balance
Level
Delay balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
3 5 : CHO RUS→DELAY (p . 1 0 6 )
Parameter
Value
Cho Dly
ChoRate
Cho Dpt
Cho Bal
DlyTime
Dly Fbk
Chorus pre delay time
Chorus rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Chorus depth
Chorus balance
Delay time
D100:0W–D0:100W
0.0–500.0 ms
-98–+98%
Delay Feedback level
Delay HF Damp Delay HF damp
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Delay Balance
Level
Delay balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1 5 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
■ Sy ste m Pa ra m e te rs
SETUP Gro u p (p . 1 0 8 )
Display
Parameter
Value
SYSTEM SETUP
LCD
LCD contrast
1–10
Power Up Mode
Patch Remain
Clock Source
System Tempo
Category Select Mode
Power up mode
Patch remain switch
Clock source
LAST-SET, DEFAULT
OFF, ON
INT, MIDI
System tempo
20–250
Category select mode
LAST-SET, DEFAULT
ARPEGGIO Gro u p (p . 1 0 8 )
Display
Parameter
Value
ARPEGGIO
Style
Style
(*1)
Octave Range
Motif
Octave range
Motif
-3–+3
(*2)
Beat Pattern
Accent Rate
Shuffle Rate
Key Velocity
Part
Beat pattern
Accent rate
Shuffle rate
Key velocity
Arpeggio part
Tempo
(*3)
0–100%
50–90%
REAL, 1–127
1–16
Tempo
20–250
*1: 1/4, 1/6, 1/8, 1/12, 1/16, 1/32, PORTAMENTO A, PORTAMENTO B, GLISSANDO, SEQUENCE A, SEQUENCE B, SEQUENCE C, SEQUENCE D, ECHO, SYNTH
BASS, SLAP BASS A, SLAP BASS B, WALK BASS, RHYTHM GTR A, RHYTHM GTR B, RHYTHM GTR C, RHYTHM GTR D, RHYTHM GTR E, 3 FINGER GTR,
STRUMMING GTR, KBD COMPING A, KBD COMPING B, KBD COMPING C, KBD COMPING D, KBD COMPING E, PERCUSSION, HARP, SHAMISEN, BOUND
BALL, RANDOM, BOSSA NOVA, SALSA, MAMBO, LATIN PERCUSSION, SAMBA, TANGO, HOUSE, LIMITLESS
*2: SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, TRIPLE UP, TRIPLE
DOWN, TRIPLE UP&DOWN, TRIPLE RANDOM, NOTE ORDER, GLISSANDO, CHORD, BASS+CHORD1–5, BASS+UP1–8, BASS+RANDOM1–3, TOP+UP1–6,
BASS+UP+TOP
*3: 1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A 01–11, PORTA-B 01–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1–2, SEQ-D 1–8, ECHO 1–3, MUTE 01–16, STRUM
1–8, REGGAE1–2, REFRAIN 1–2, PERC1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUIRO,
AGOGO, SAMBA, TANGO 1–4, HOUSE 1–2
CO N TRO L Gro u p (p . 1 1 0 )
Display
Parameter
Value
KEYBOARD
Transpose
Transpose switch
Transpose value
OFF, ON
-5 (G)–+6 (F#)
Sens
Keyboard sens
LIGHT, MEDIUM, HEAVY
REAL, 1–127
Vel
Keyboard velocity
Aftertouch sens
Aft
0–100
HOLD PEDAL
Output
Polarity
Assign
Output
Polarity
Assign
Output
Control 1/2
Hold
Pedal output
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
(*1)
Pedal polarity
CONTROL PEDAL
Pedal assign
Pedal output
OFF, INT, MIDI, BOTH
STANDARD, REVERSE
(*2)
Pedal polarity
C1/2/3/4 ASSIGN
C1/C2/C3/C4 slider assign
C1/C2/C3/C4 slider output
System control assign 1/2
Hold control source
Peak control source
Volume control source
Aftertouch control source
OFF, INT, MIDI, BOTH
(*2)
SYS-CTRL ASSIGN
CONTROL SOURCE
OFF, HOLD1, SOST, SOFT, HOLD2
OFF, HOLD1, SOST, SOFT, HOLD2
VOLUME, VOL&EXP
CHANNEL, POLY, CH&POLY
Peak
Volume
Aftertouch
*1: CC00–95 (except for 6, 32-63), PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, TAP-TEMPO, OCT-UP, OCT-DOWN
*2: CC00–95 (except for 6, 32-63), PITCH BEND, AFTERTOUCH
1 5 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
MIDI Gro u p (p . 1 1 2 )
Display
Parameter
Value
PERFORM MIDI
Control Channel
Local
Performance control channel
Local switch
1–16, OFF
OFF, ON
OFF, ON
1–16
Remote
Rx-Ch
Remote keyboard switch
Patch mode receive channel
Patch mode transmit channel
Local switch
PATCH MIDI
Tx-Ch
1–16, Rx-Ch, OFF
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
17–32
Local
Remote
Local Switch
Remote keyboard switch
Local switch
GM MIDI
RECEIVE MIDI
Program Change Receive program change switch
Bank Select
Program
Bank Sel
Active Sensing
Device#
Rx.Exc
Receive bank select switch
Transmit program change switch
Transmit bank select switch
Transmit active sensing switch
Exclusive device ID number
Receive exclusive switch
Transmit edit data switch
Receive GM exclusive switch
Bank select group number
Bank select transmit switch
Bank select MSB
TRANSMIT MIDI
SYS-EXC MIDI
OFF, ON
OFF, ON
OFF, ON
1–7
Tx.Edit
Rx.GM
BANK-SEL GROUP
Number
Switch
OFF, ON
0–127
MSB
LSB
Bank select LSB
0–127
PREVIEW Gro u p (p . 1 1 3 )
Display
Parameter
Value
PREVIEW MODE
PREVIEW KEY
Mode
Preview sound mode
Preview Note Set 1–4
Preview velocity
SINGLE, CHORD, PHRASE
Note 1–4
C-1–G9
PREVIEW VELOCITY Note 1–4
0–127
TUN E Gro u p (p . 1 1 3 )
Display
Parameter
Value
TUNE
Master
Key Shift
Scale Tune
C–B
Master tune
427.4–452.6 Hz
-12–+12 semitone
OFF, ON
Key shift
Scale tune switch
Scale tune C–B
Scale tune C–B
PATCH SCALE
KEY SCALE
-64–+63 cent
-64–+63 cent
C–B
PGM CHN G Gro u p (p . 1 1 4 )
Display
Parameter
Value
TRANSMIT P.C
Channel
P.C#
Transmit MIDI channel
1–16
Transmit program change
Transmit bank select MSB
Transmit bank select LSB
1–128
0–127
0–127
Bnk-MSB
Bnk-LSB
IN FO Gro u p (p . 1 1 4 )
Display
Parameter
Value
INFO EXP
Expansion D
Expansion E
Internal Battery
Expansion board name D
Expansion board name E
Battery check
BATTERY CHECK
LOW, OK
1 5 9
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
IN T-A (In te rn a l A)
No.
Name
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
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
Ac Piano1 A
Ac Piano1 B
Ac Piano1 C
Ac Piano2 pA
Ac Piano2 pB
Ac Piano2 pC
Ac Piano2 fA
Ac Piano2 fB
Ac Piano2 fC
Piano Thump
Piano Up TH
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
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
D-50 EP A
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
Nylon Gtr A
Nylon Gtr B
Nylon Gtr C
6-Str Gtr A
6-Str Gtr B
6-Str Gtr C
Gtr Harm A
Gtr Harm B
Gtr Harm C
Comp Gtr A
Comp Gtr B
Comp Gtr C
Comp Gtr A+
Mute Gtr 1
Mute Gtr 2A
Mute Gtr 2B
Mute Gtr 2C
Pop Strat A
Pop Strat B
Pop Strat C
Jazz Gtr A
Jazz Gtr B
Jazz Gtr C
JC Strat A
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
151
152
153
Syn Gtr B
Syn Gtr C
Harp 1A
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
MC-202 Bs B
MC-202 Bs C
Flute 1A
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
Cello A
Cello B
Cello C
Harp 1B
Flute 1B
ST.Strings-R
ST.Strings-L
MonoStringsA
MonoStringsC
Pizz
Harp 1C
Flute 1C
Banjo A
Blow Pipe
*
Banjo B
Bottle
*
Banjo C
Shakuhachi
Clarinet A
*
*
Sitar A
JP Strings1A
JP Strings1B
JP Strings1C
JP Strings2A
JP Strings2B
JP Strings2C
Soft Pad A
*
Sitar B
Clarinet B
*
Sitar C
Clarinet C
Dulcimer A
Dulcimer B
Dulcimer C
Shamisen A
Shamisen B
Shamisen C
Koto A
Oboe mf A
Oboe mf B
Oboe mf C
Sop.Sax mf A
Sop.Sax mf B
Sop.Sax mf C
Alto Sax 1A
Alto Sax 1B
Alto Sax 1C
Tenor Sax A
Tenor Sax B
Tenor Sax C
Bari.Sax f A
Bari.Sax f B
Bari.Sax f C
Harmonica A
Harmonica B
Harmonica C
Chanter
Soft Pad B
Soft Pad C
Fantasynth A
Fantasynth B
Fantasynth C
D-50 HeavenA
D-50 HeavenB
D-50 HeavenC
Fine Wine
Koto B
Koto C
Pick Bass A
Pick Bass B
Pick Bass C
Fingerd Bs A
Fingerd Bs B
Fingerd Bs C
E.Bass
JC Strat B
D-50 Brass A
D-50 Brass B
D-50 Brass C
D-50 BrassA+
DualSquare A
DualSquare C
DualSquareA+
Pop Voice
JC Strat C
JC Strat A+
JC Strat B+
JC Strat C+
Clean Gtr A
Clean Gtr B
Clean Gtr C
Stratus A
Fretless A
Fretless B
Fretless C
UprightBs 1
UprightBs 2A
UprightBs 2B
UprightBs 2C
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
Syn Bass A
Syn Bass C
Mini Bs 1A
Mini Bs 1B
Mini Bs 1C
Mini Bs 2
Tpt Sect. A
Tpt Sect. B
Tpt Sect. C
Trumpet 1A
Trumpet 1B
Trumpet 1C
Trumpet 2A
Trumpet 2B
Trumpet 2C
HarmonMute1A
HarmonMute1B
HarmonMute1C
Trombone 1
French 1A
French 1C
F.Horns A
Syn Vox 1
D-50 EP B
Stratus B
Syn Vox 2
D-50 EP C
Stratus C
Voice Aahs A
Voice Aahs B
Voice Aahs C
Voice Oohs1A
Voice Oohs1B
Voice Oohs1C
Voice Oohs2A
Voice Oohs2B
Voice Oohs2C
Voice Breath
Male Ooh A
Male Ooh B
Male Ooh C
Org Vox A
Celesta
OD Gtr A
Music Box
OD Gtr B
Clav 1A
OD Gtr C
Clav 1B
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
Clav 1C
Organ 1
Jazz Organ 1
Jazz Organ 2
Organ 2
Organ 3
Organ 4
Rock Organ
Dist. Organ
Rot.Org Slw
Rot.Org Fst
Pipe Organ
F.Horns B
F.Horns C
Violin A
Org Vox B
Gt.FretNoise
Syn Gtr A
*
Mini Bs 2+
MC-202 Bs A
Violin B
Org Vox C
Violin C
Vox Noise
*: Waveform marked “*” are One-shot type waveforms (non-sustaining).
1 6 0
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
IN T-B (In te rn a l 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
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
Kalimba
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
Feedbackwave
Spectrum
BreathNoise
Rattles
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
151
152
153
Cowbell 1
*
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
REV 606HH Op
REV Ride
*
Marimba Wave
Log Drum
Wood Block
Claves
*
*
*
REV Cup
Vibes
Bongo Hi
*
REV Crash 1
REV China
REV DrySick
REV RealCLP
REV FingSnap
REV Cowbell
REV WoodBlck
REV Clve
*
*
*
Bottle Hit
Ice Rain
Bongo Lo
*
*
*
*
*
*
*
*
*
*
Glockenspiel
Tubular
Tin Wave
Anklungs
Cga Open Hi
Cga Open Lo
Cga Mute Hi
Cga Mute Lo
Cga Slap
*
Steel Drums
Fanta Bell A
Fanta Bell B
Fanta Bell C
FantaBell A+
Org Bell
Wind Chimes
Orch. Hit
*
*
*
*
*
*
*
Tekno Hit
Back Hit
*
Timbale
*
*
*
Philly Hit
Cabasa Up
REV Conga
REV Tamb
REV Maracas
REV Guiro
REV Cuica
REV Metro
Loop 1
Scratch 1
Scratch 2
Scratch 3
Natural SN1
Natural SN2
Piccolo SN
Ballad SN
SN Roll
Cabasa Down
Cabasa Cut
Maracas
Agogo
*
DIGI Bell 1
DIGI Bell 1+
DIGI Chime
Wave Scan
Wire String
2.2 Bellwave
2.2 Vibwave
Spark VOX
MMM VOX
Lead Wave
Synth Reed
Synth Saw 1
Synth Saw 2
Syn Saw 2inv
Synth Saw 3
JP-8 Saw A
JP-8 Saw B
JP-8 Saw C
P5 Saw A
*
*
*
*
*
*
*
*
*
*
*
*
*
Long Guiro
*
*
Tambourine
Open Triangl
Cuica
*
Loop 2
Vibraslap
Loop 3
808 SN
Timpani
Loop 4
Brush Slap
Brush Swish
Brush Roll
Dry Stick
Applause
Loop 5
REV Orch.Hit
REV TeknoHit
REV Back Hit
REV PhillHit
REV Steel DR
REV Tin Wave
REV NatrlSN1
REV NatrlSN2
REV PiccloSN
REV BalladSN
REV Side Stk
REV SN Roll
REV Brush 1
REV Brush 2
REV Brush 3
REV LiteKick
REV HybridK1
REV HybridK2
REV Old Kick
REV Timpani
REV VerbTomH
REV VerbTomL
REV DryTom H
REV DryTom M
REV ClHiHat1
REV ClHiHat2
REV Op HiHat
REV Pedal HH
REV 606HH Cl
*
*
*
*
Loop 6
Loop 7
*
*
*
*
*
*
*
*
R8 Click
*
Side Stick
Lite Kick
Metronome 1
Metronome 2
MC500 Beep 1
MC500 Beep 2
Low Saw
*
*
*
Hybrid Kick1
Hybrid Kick2
Old Kick
*
*
*
*
*
*
*
*
Verb Kick
Round Kick
808 Kick
Low Saw inv
Low P5 Saw
Low Pulse 1
Low Pulse 2
Low Square
Low Sine
P5 Saw B
Verb Tom Hi
Verb Tom Lo
Dry Tom Hi
Dry Tom Lo
Cl HiHat 1
Cl HiHat 2
Op HiHat
*
*
P5 Saw C
D-50 Saw A
D-50 Saw B
D-50 Saw C
Synth Square
JP-8 SquareA
JP-8 SquareB
JP-8 SquareC
Synth Pulse1
Synth Pulse2
Triangle
Low Triangle
Low White NZ
Low Pink NZ
DC
*
*
*
*
*
*
*
*
*
Pedal HiHat
606 HiHat Cl
606 HiHat Op
808 Claps
Hand Claps
Finger Snaps
Ride 1
*
*
*
*
*
Sine
Org Click
*
*
*
*
*
*
White Noise
Pink Noise
Metal Wind
Wind Agogo
Ride 2
Ride Bell 1
Crash 1
China Cym
*: Waveform marked “*” are One-shot type waveforms (non-sustaining).
1 6 1
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
XP-A (W AVE EXPAN SIO N A: Se ssio n )
No.
Name
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
033
034
035
036
037
038
039
040
041
042
StGrand L pA
StGrand L pB
StGrand L pC
StGrand R pA
StGrand R pB
StGrand R pC
StGrand L fA
StGrand L fB
StGrand L fC
StGrand R fA
StGrand R fB
StGrand R fC
OrcStrings A
OrcStrings B
OrcStrings C
Choir Aah A
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
NylonGt2 p A
NylonGt2 p B
NylonGt2 p C
NylonGt2 mfA
NylonGt2 mfB
NylonGt2 mfC
NylonGt2 f A
NylonGt2 f B
NylonGt2 f C
P.Bass 3 A
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
JP Hollo A
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
Kick Ghost
Snr&Tom MENU
Loose Snr
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
REV TeknHit3
REV Deep K 3
REV TD7 Kick
REV Dance K2
REV Dance K3
REV Mix Kick
REV K.Ghost
REV LooseSnr
REV Ring Snr
REV 808 Snr2
REV 909 Snr2
REV 909 Snr3
REV 90’s Snr
REV Solo Snr
REV Rap Snr
REV Talk Snr
REV JinglSnr
REV HouseSnr
REV Snr Buzz
REV TinySnr2
REV Mute Snr
REV 909 Rim2
REV 909 Tom2
REV 909 Clp2
REV HC2 Clp1
REV 707 Clps
REV HC2 Clp2
REV F.Snaps2
REV F.Snap 3
REV Bongo3 L
REV Bongo3 H
REV Tamb.Sht
REV Tamb.Lng
REV CR78Tamb
REV 626Shakr
REV Shaker 3
REV Shaker 4
REV Shaker 5
JP Hollo B
*
JP Hollo C
Hard 5ths A
Hard 5ths B
Hard 5ths C
Blaster A
Ring Snr
808 Snr 2
909 Snr 2
909 Snr 3
Blaster B
90’s Snare
Solo Snr
Blaster C
Juno Rave A
Juno Rave B
Juno Rave C
Wah Gtr MENU
Wah Down 1
Rap Snr
P.Bass 3 B
Talk Snr
P.Bass 3 C
Jingle Snr
Jazz Bass3 A
Jazz Bass3 B
Jazz Bass3 C
Muted Bass A
Muted Bass B
Muted Bass C
Blow Sax A
*
*
House Snr
Snr Buzz
Wah Up
Wah Down 2
Wah Up
1
Tiny Snr 2
Mute Snr
Choir Aah B
2
909 Rim 2
Choir Aah C
Gtr FX MENU
Gtr Feedback
Gtr Scrap
909 Tom 2
Clp&Snp MENU
909 Claps 2
HC2 Claps 1
707 Claps
Choir Mmh A
Choir Mmh B
Choir Mmh C
D.Solo Gtr A
D.Solo Gtr B
D.Solo Gtr C
D.MuteGt p A
D.MuteGt p B
D.MuteGt p C
D.MuteGt mpA
D.MuteGt mpB
D.MuteGt mpC
D.MuteGt mfA
D.MuteGt mfB
D.MuteGt mfC
Clean TC 1 A
Clean TC 1 B
Clean TC 1 C
Clean TC2 pA
Clean TC2 pB
Clean TC2 pC
Clean TC2 fA
Clean TC2 fB
Clean TC2 fC
*
Blow Sax B
Blow Sax C
Gtr Slid Nz
Gtr Cut Nz
Gtr Slap
T.Sax hrd A
T.Sax hrd B
T.Sax hrd C
Flute Vib A
HC2 Claps 2
FingerSnaps2
FingerSnap 3
Bongo3 MENU
Bongo3 Low
Bongo3 High
Tambrin MENU
Tamb.Short
Tamb.Long
CR78 Tamb.
Shaker MENU2
626 Shaker
Shaker 3
FX MENU
Sm.Club
*
Flute Vib B
Sm.Club fw
Sm.Club lp
FX Bell 1
*
*
Flute Vib C
R&R Horns A
R&R Horns B
R&R Horns C
Solo Tpt. A
FX Bell 1fw
FX Bell 2
FX Bell 2fw
Auhvox
Solo Tpt. B
Solo Tpt. C
Tekno Hit 2
Tekno Hit 3
Tekno Loop
FX Bomb
*
F.AccordionA
F.AccordionB
F.AccordionC
Vibraphone A
Vibraphone B
Vibraphone C
VocalWave2 A
VocalWave2 B
VocalWave2 C
Shaker 4
Kick MENU
Deep Kick 3
TD7 Kick
*
Shaker 5
REV Gt Scrap
REV Gt SldNz
REV Gt CutNz
REV Gt Slap
REV TeknHit2
Dance Kick 2
Dance Kick 3
Mix Kick
*:These are Menu Waveforms. Many different Waveforms are provided, each one assigned to a different key.
1 6 2
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
■ XP-A Me n u W a ve fo rm s
Menu Waveforms provide multiple Waveforms, with each one assigned to a different key.
97
Wah Gtr MENU
121
Kick MENU
145
Clp&Snp MENU
Key No. Name
Key No. Name
Key No. Name
C
D
E
F
4
4
4
4
98 Wah Down 1
99 Wah Up
100 Wah Down 2
C
D
E
F
4
4
4
4
4
4
122 Deep Kick 3
123 TD7 Kick
C
D
E
F
4
4
4
4
4
4
146 909 Claps 2
147 HC2 Claps 1
148 707 Claps
1
124 Dance Kick 2
125 Dance Kick 3
126 Mix Kick
101 Wah Up
2
149 HC2 Claps 2
150 FingerSnaps2
151 FingerSnap 3
G
A
G
A
127 Kick Ghost
102
Gtr FX MENU
Key No. Name
128
Snr&Tom MENU
152
Bongo3 MENU
C
D
E
F
4
4
4
4
4
103 Gtr Feedback
104 Gtr Scrap
105 Gtr Slid Nz
106 Gtr Cut Nz
107 Gtr Slap
Key No. Name
Key No. Name
C
D
E
F
4
4
4
4
4
4
4
5
5
5
5
5
5
5
6
6
129 Loose Snr
130 Ring Snr
131 808 Snr 2
132 909 Snr 2
133 909 Snr 3
134 90’s Snare
135 Solo Snr
136 Rap Snr
137 Talk Snr
138 Jingle Snr
139 House Snr
140 Snr Buzz
141 Tiny Snr 2
142 Mute Snr
143 909 Rim 2
144 909 Tom 2
C
D
4
4
153 Bongo3 Low
154 Bongo3 High
G
155
Tambrin MENU
G
A
B
C
D
E
F
108
FX MENU
Key No. Name
Key No. Name
C
D
E
4
4
4
156 Tamb.Short
157 Tamb.Long
158 CR78 Tamb.
C
D
E
F
4
4
4
4
4
4
4
5
5
5
5
5
116 Auhvox
109 Sm.Club
110 Sm.Club fw
111 Sm.Club lp
112 FX Bell 1
113 FX Bell 1fw
114 FX Bell 2
115 FX Bell 2fw
117 Tekno Hit 2
118 Tekno Hit 3
119 Tekno Loop
120 FX Bomb
159
Shaker MENU2
G
A
B
C
D
E
F
G
A
B
C
D
Key No. Name
C
D
E
F
4
4
4
4
160 626 Shaker
161 Shaker 3
162 Shaker 4
163 Shaker 5
G
1 6 3
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
XP-B (W AVE EXPAN SIO N B: O rch e stra l)
No.
Name
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
033
034
035
Vl Sect A
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
065
066
067
068
069
070
Vas Spicc C
Vcs Spicc A
Vcs Spicc B
Vcs Spicc C
Cbs Spicc A
Cbs Spicc B
Cbs Spicc C
Multi Spicc
VlSolo Spicc
VcSolo Spicc
MultSl Spicc
STR Attack
Pizzicato 1
Pizzicato 2
Piccolo
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
Flugelhorn
Cornet
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
EuroPiano fB
EuroPiano fC
Harpsichord
Celesta A
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
Castanets 2
Slapstick
Vl Sect B
Vl Sect C
HarmonMute2A
HarmonMute2B
HarmonMute2C
Solo Tb A
Ratchet
Va Sect A
Va Sect B
Va Sect C
Vc Sect A
Vc Sect B
Vc Sect C
Cb Sect
Sleigh Bell
Tambourine
Wind Chime 2
REV Hit Maj
REV Hit Min
REV Hit Dim
REV Bell
Celesta B
Celesta C
Solo Tb B
Harp A
Solo Tb C
Harp B
Bass Tb
Harp C
Tb Sect
Glockenspiel
Xylophone
Bass Marimba
TubularBells
Church Bells
Timpani p
Multi STR A
Multi STR B
Multi STR C
Vl Sect Lp
Va Sect Lp
Vc Sect Lp
Cb Sect Lp
Multi STR Lp
Vl Solo A
Tuba
REV Timp 1
REV Timp 2
REV SNR 1
REV SNR 2
REV SNR 3
REV BD 1
BRS Ensemble
Brass ff
Full Orch.
Orch Hit Maj
Orch Hit Min
Orch Hit Dim
Choir A
Oboe 1A
Timpani f
Oboe 1B
Timp Roll p
Timp Roll f
Concert SNR1
Concert SNR2
Concert SNR3
SNR Roll
REV BD 2
Oboe 1C
REV BD 3
Oboe 2A
Choir B
REV BD Roll
REV Crash
REV Cym Hit
REV Tam Tam
REV Gong
REV PercHit1
REV PercHit2
REV Casta 1
REV Casta 2
REV S.Stick
REV Sleigh
REV Tamb
SNR Set
Vl Solo B
Oboe 2B
Choir C
Vl Solo C
Oboe 2C
F.Hrn Sc1 Lp
F.Hrn Sc2 Lp
F.Hrn MuteLp
Tb Sect Lp
BRS Ens Lp
ff Brass Lp
Full Orch Lp
Breath Wind
Breath Atack
Breath Whisl
Breath Hrmon
EuroPiano pA
EuroPiano pB
EuroPiano pC
EuroPiano fA
Va Solo A
Va Solo B
Va Solo C
Vc Solo A
Vc Solo B
Vc Solo C
Cb Solo
Eng.Horn A
Eng.Horn B
Eng.Horn C
Clarinet
Concert BD 1
Concert BD 2
Concert BD 3
BD Roll
Bs Clarinet
Multi Cla
Crash Cymbal
Crash Cym Lp
Cymbal Hit
Tam Tam
Bassoon
Multi Solo 1
Multi Solo 2
Vls Spicc A
Vls Spicc B
Vls Spicc C
Vas Spicc A
Vas Spicc B
Multi Reed
Tnr.Recorder
F.Horn Solo
F.Horn Sect1
F.Horn Sect2
F.Horn Mute
Trumpet 2
Gong
Perc Hit 1
Perc Set 1
Perc Hit 2
Perc Set 2
Triangle
Perc Set 3
Castanets 1
1 6 4
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
XP-C (W AVE EXPAN SIO N C: Te ch n o Co lle ctio n )
No.
Name
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
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
PHRASE MENU
120:House 1
120:House 2
120:House 3
*
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
JUNO Bowing
JUNO Synth
JX Synth
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
151
152
153
Uuh Formant
Dist Ooh Vox
Talkbox
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
TR606 PHH
TR707 PHH
OHH MENU
TR909 OHH 1
TR909 OHH 2
TR909 OHH 3
TR909 DstOHH
TR808 OHH
TR606 DstOHH
TR707 OHH
CR78 OHH
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
TR707 Snr 2
CR78 Snare
Headz Snare
Deep Snare
Fat Snare
**
**
**
*
Alpha Wave
Killer
VOCODER MENU *
120:TeknoBNG **
144:Tekno BD **
144:TeknoHAT **
TOM MENU
TR909 Tom
TR909 DstTom
TR808 Tom
TR606 Tom
TR606 CmpTom
TR707 Tom
TR707 CmpTom
Deep Tom
*
Detuned Saw
Fat JP-6
Antigua Snr
MC Snare
160:Drum’nBs
184:Gabba
132:Detroit
**
**
**
**
**
**
**
Euro Dance
Noisy 101
DJ Snare
Macho Snare
Clap Snare
Rage Snare
Indus Snare
TekRok Snare
Jungle Snr 1
Jungle Snr 2
Jungle Snr 3
Jungle Snr 4
SideStiker
Daft Wave
Pizzy Techno
Organ Pizz
Garage Org
FM Club Org
Org Chord
Dist TekGtr1
Dist TekGtr2
GTR FX MENU
JP Siren
132:Agogo
116:Elect’80
120:Electro1
138:Electro2
TB Dst Saw
TB Dst Sqr 1
TB Dst Sqr 2
TB Reso Sqr1
TB Reso Sqr2
TB Reso Sqr3
TB Saw
R8 OHH
Cym OHH
Kick Tom
CYMBAL MENU
TR606 Cym 1
TR606 Cym 2
TR606 DstCym
TR909 Ride
TR909DstRide
TR707 Ride
TR909 Crash
TR909DsCrash
CLAP MENU
TR909 Clap
TS Clap
*
Natural Tom
Can Tom
PERCUSS MENU
TR808 Conga1
TR808 Conga2
Surdo mute
*
*
Ragga Snr 2
Lo-Fi Snare
Jungle Snr 5
Urban Snare
Sim Snare
Cold Dress
HIT MENU 1
HIT MENU 2
Beam HiQ
Analog Bird
ElectronFall
Retro UFO
Jungle Beep
PC-2 Machine
Dr.Beat
*
*
Surdo open
TB Solid Saw
TB Reso Saw
TB Square 1
TB Square 2
TB Square 3
Octa Bass
TMB&SKR MENU *
Tambourine 2
Rattle Tamb
*
Roll Snare
TechnoShaker
Dance Shaker
COW&RIM MENU *
TR808Cowbell
TR707Cowbell
CR78 Cowbell
TR727 Agogo
TR909 Rim
KICK MENU 1
KICK MENU 2
TR909 Kick 1
TR909 Kick 2
Plastic BD 1
Plastic BD 2
TR808 Kick 1
TR808 Kick 2
TR808 Kick 3
TR606 Kick 1
TR606 Kick 2
TR707 Kick 1
TR707 Kick 2
Culture Kick
Optic Kick
*
*
Clap Stop
TR707 Clap
HC2 Dry Clap
Scratch Clap
Comp Clap
Rave Bass
FM Pluck Bs
FM Slide Bs
Solid Bass
Mental Perc
May Day Perc
PC-2 Spacers
Techno Scene
Pure Psycho
TAO Hit
Claptail
JUNO-60 Bass
SH-5 Bass
SNR MENU 1
SNR MENU 2
SNR MENU 3
SNR MENU 4
SNR MENU 5
TR909 Snr 1
TR909 Snr 2
TR909 Snr 3
TR909 Snr 4
TR909 Snr 5
TR909 Snr 6
TR909 Snr 7
TR808 Snr 1
TR808 Snr 2
TR808 Snr 3
TR808 Snr 4
TR606 Snr 1
TR606 Snr 2
TR606 Snr 3
TR707 Snr 1
*
TR808 Rim
*
*
*
*
Dirty Bass
TR808 RimLng
TR808 Claves
Sub Bass
Jungle Bass
JP8000 Saw 1
JP8000 Saw 2
JP-6 Saw
Thin Beef
CHH MENU 1
CHH MENU 2
TR909 CHH 1
TR909 CHH 2
TR909 CHH 3
TR808 CHH 1
TR808 CHH 2
TR606 CHH
TR707 CHH
CR78 CHH
*
*
Organ Hit 2
INDUST. MENU
PCM Press
ElectricDunk
Thrill
*
Techno Saw
SH-1 Square
SH-1 Pulse
JP8000 PWM
JP8000 FBK
260 Sub OSC
Dist Synth
Lo-Fi BD
Wet Kick
Drill Hit
Video Kick
MachineShout
Air Gun
JungleKick 1
Street Kick
Emergency
Buzzer
Turbo Kick
Pop CHH
JungleKick 2
Tekno Kick
Sim Kick
Dist Square
P5 Pipe
Tonality
Bristol CHH
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
PHH MENU
TR909 PHH 1
TR909 PHH 2
TR808 PHH
*
FM Garage
JUNO Pluck
Funky Synth
Amsterdam BD
TR909 Dst BD
Roll Kick
*: These are Menu Waveforms. Many different Waveforms are provided, each one assigned to a different key.
**: These are the phrase loop waveforms. The numbers (116–184) included in the wave name represent the B.P.M. (tempo) when played at the C4 key. And these
waveforms can be synchronized to a device such as a sequencer.
1 6 5
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
■ XP-C Me n u W a ve fo rm s
Menu Waveforms provide multiple Waveforms, with each one assigned to a different key.
*: This waveform is used only in the MENU WAVEFORM.
1
PHRASE MENU
73
HIT MENU 2
106
VOCODER MENU
119
PERCUSS MENU
138
Key No. Name
140 TR909 CHH 1
C# 4 141 TR909 CHH 2
142 TR909 CHH 3
D# 4 143 TR808 CHH 1
CHH MENU 1
Key No. Name
Key No. Name
Key No. Name
Key No. Name
C
4
2
3
4
5
6
7
8
9
120:House 1
120:House 2
120:House 3
120:TeknoBNG
144:Tekno BD
144:TeknoHat
160:Drum’nBs
184:Gabba
C
4
84 Techno Scene
85 Pure Psycho
86 TAO Hit
C
4
VP “ei”
*
*
*
*
*
*
*
*
*
C
4
120 TR808 Conga1
C
4
C# 4
C# 1
C# 4
VP “ii”
C# 4 TR808 Conga3*
D
4
D
4
D
4
VP “ai”
D
4
121 TR808 Conga2
D
4
D# 4
D# 4
87 Thin Beef
D# 4
VP “ou”
D# 4
Hi Bongo L.F
Lo Bongo L.F
*
*
E
F
4
4
E
F
4
4
Techno Tone *
88 Organ Hit 2
E
F
4
4
VP “ju”
E
F
4
4
E
F
4
4
TR808 CHH 3 *
144 TR808 CHH 2
TR808 CHH 3 *
VP “one”
VP “two”
VP “three”
VP “four”
VP “music”
VP “techno”
VP “groove”
VP “dance”
VP “funky”
VP “rhythm”
Mute CGA L.F*
F# 4
F# 4
Scratch 4
*
F# 4
F# 4
Hi Conga L.F
*
F# 4
G
4
G
4
Scratch PUSH *
Scratch PULL *
G
4
G
4
Lo Conga L.F *
G
4
145 TR606 CHH
G# 4
10 132:Detroit
11 132:Agogo
12 116:Elect’80
13 120:Electro1
14 138:Electro2
G# 4
G# 4
G# 4 122 Surdo mute
G# 4 TR606 CHH 2 *
A
4
A
4
Tape RWD
Reel Stop
*
A
4
*
A
4
123 Surdo open
H Timbal L.F
L Timbal L.F
A
4
TR606 CHH 3 *
A# 4
A# 4
*
A# 4
*
A# 4
*
A# 4 146 TR707 CHH
B
C
4
B
C
4
*
B
C
4
*
B
C
4
5
147 CR78 CHH
DM CHH
5
5
*
5
Tabla Comp
*
*
89
INDUST MENU
C# 5
*
Key No. Name
D
5
*
69
GTR FX MENU
124
TMB&SKR MENU
139
CHH MENU 2
C
4
Indust Bomb
Door Comp
*
D# 5
VP “machine” *
Key No. Name
Key No. Name
125 Tambourine 2
C# 4 126 Battle Tamb
127 TechnoShaker
D# 4 128 Dance Shaker
Key No. Name
C# 4
*
C
4
GTR FX 1
GTR FX 2
*
*
D
4
90 PCM Press
91 ElectricDunk
92 Thrill
C
4
C
4
148 Pop CHH
Pop CHH 2
107
TOM MENU
C# 4
D# 4
C# 4
*
*
Key No. Name
108 TR909 Tom
C# 4 109 TR909 DstTom
110 TR808 Tom
D# 4 111 TR606 Tom
112 TR606
CmpTom
113 TR707 Tom
E
F
4
4
D
4
D
4
149 Bristol CHH
93 Drill Hit
94 MachineShout
95 Air Gun
Swish
C
4
D# 4 Lithe CHH
72
HIT MENU 1
F# 4
E
*
4
4
TR808 Maracas
E
4
R8 CHH
*
Key No. Name
G
4
D
4
C
4
74 Beam Hiq
Noise Click
G# 4
*
F
CR78 Guiro
*
150
PHH MENU
C# 4
*
*
A
4
96 Emergency
97 Buzzer
E
4
Key No. Name
151 TR909 PHH 1
C# 4 152 TR909 PHH 2
153 TR808 PHH
TR808 PHH 2 *
154 TR606 PHH
TR606 PHH 2 *
D
4
Electro Prc
A# 4
129
COW&RIM MENU
D# 4
75 Anaolog Bird
76 ElectronFall
77 Retro UFO
78 Jungle Beep
79 PC-2 Machine
Dance Prc
C
4
B
C
4
TB reso
*
F
4
Key No. Name
130 TR808Cowbell
C# 4 131 TR707Cowbell
132 CR78 Cowbell
D# 4 133 TR727 Agogo
E
F
4
4
5
98 Tonality
F# 4 114 TR707
CmpTom
C
4
D
4
F# 4
D# 4
G
4
115 Deep Tom
G# 4 116 Kick Tom
117 Natural Tom
A# 4 118 Can Tom
G
4
D
4
E
F
4
4
G# 4
*
*
A
4
A
4
80 Dr.Beat
E
F
4
4
134 TR909 Rim
TR909 Dst Rim*
F# 4 155 TR707 PHH
HH Pedal
A# 4
CR78 Beat
G
4
*
B
C
#
4
81 Mental Perc
82 May Day Perc
83 PC-2 Spacers
F# 4 135 TR808 Rim
5
5
G
4
136 TR808 RimLng
TR707 Rim
G# 4
*
*
A
4
Ragga Rim
A# 4 137 TR808 Claves
1 6 6
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
156
Key No. Name
157 TR909 OHH 1
C# 4 158 TR909 OHH 2
TR909 OHH 4 *
D# 4 159 TR909 OHH 3
OHH MENU
176
Key No. Name
177 TR909 Clap
C# 4 178 TS Clap
TR909 Clap 2 *
D# 4 179 Clap Stop
CLAP MENU
186
Key No. Name
201 TR606 Snr 1
C# 4 202 TR606 Snr 2
606 Snr Dst
D# 4 203 TR606 Snr 3
SNR MENU 2
188
Key No. Name
218 Jungle Snr 1
C# 4 219 Jungle Snr 2
SNR MENU 4
229
Key No. Name
231 TR909 Kick 1
C# 4 232 TR909 Kick 2
TR909 Kick 3 *
D# 4 233 Plastic BD 1
KICK MENU 1
C
4
C
4
C
4
C
4
C
4
D
4
D
4
D
4
*
*
*
D
4
220 Jungle Snr 3
Jungle Snr 6
D
4
D# 4
*
*
*
E
F
4
4
160 TR909 DstOHH
TR808 OHH 2 *
E
F
4
4
808 Comp Clp *
180 TR707 Clap
E
F
4
4
204 TR707 Snr 1
TR707 Snr 3
E
F
4
4
221 Jungle Snr 4
Jungle Snr 7
E
F
4
4
234 Plastic BD 2
TR909 Kick 4 *
F# 4 161 TR808 OHH
TR808 OHH 3 *
G# 4 162 TR606 DstOHH
F# 4 181 HC2 Dry Clap
DM Clap
G# 4 182 Scratch Clap
F# 4 205 TR707 snr 2
F# 4 222 SideStickr
F# 4 235 TR808 Kick 1
236 TR808 Kick 2
G# 4 237 TR808 Kick 3
238 TR606 Kick 1
A# 4 239 TR606 Kick 2
G
4
G
4
*
*
G
4
206 CR78 Snare
Clap Snare 2
G
4
Cross Snr
Jungle Rim
G
4
G# 4
G# 4
*
A
4
TR707 HH
*
A
4
Real Clap
Groove Clap
A
4
Jungle Snr 9
*
A
4
223 Ragga Snr 2
A
4
A# 4 163 TR707 OHH
A# 4
*
A# 4
Rage Snare 2 *
A# 4 224 Lo-fi Snare
B
C
4
5
164 CR78 OHH
DM OHH
B
C
4
183 Comp Clap
184 Claptail
909 Clp Fuzz
B
C
4
Clap Snare 3
Clap Snare 4
*
B
C
4
5
606 Dst Kick *
*
*
5
5
*
240 TR707 Kick 1
189
Key No. Name
Jungle Snr 10 *
C# 4 225 Jungle Snr 5
Jungle Snr 8
D# 4 226 Urban Snare
SNR MENU 5
C# 5
Hop OHH
C# 5
*
C# 5 241 TR707 Kick 1
D
5
165 R8 OHH
D
5
242 Culture Kick
187
Key No. Name
207 Headz Snare
C# 4 208 Deep Snare
SNR MENU 3
C
4
D# 5 166 Cym OHH
185
SNR MENU 1
230
KICK MENU 2
Key No. Name
190 TR909 Snr 1
C# 4 191 TR909 Snr 2
192 TR909 Snr 3
D# 4 193 TR909 Snr 4
C
4
D
4
*
167
Key No. Name
168 TR606 Cym 1
C# 4 169 TR606 Cym 2
170 TR606 DstCym
D# 4 171 TR909 Ride
CYMBAL MENU
Key No. Name
Hop Kick
C# 4 243 Optic Kick
244 Lo-Fi BD
D# 4 245 Wet Kick
C
4
D
4
209 Fat Snare
R&B Snare
E
F
4
4
Lite Snare
227 Sim Snare
Electro Snr
*
C
4
*
C
4
D
4
D# 4
*
*
E
F
4
4
210 Antigua Snr
211 MC Snare
F# 4
*
D
4
D
4
E
F
4
4
194 TR909 Snr 5
TR909 Snr 8
G
4
228 Roll Snare
*
F# 4 212 DJ Snare
E
F
4
4
DR Cmp Kick
*
E
F
4
4
172 TR909DstRide
173 TR707 Ride
F# 4 195 TR909 Snr 6
G
4
213 Macro Snare
Lofi Snare
246 Video Kick
G
4
196 TR909 Snr 7
909 Snr Dst
G# 4
F# 4 247 JungleKick 1
248 Street Kick
G# 4 249 Turbo Kick
250 JungleKick 2
A# 4 251 Tekno KIck
F# 4 174 TR909 Crash
175 TR909DsCrash
G# 4
*
*
*
A
4
Pistol Snr
*
G
4
G
4
A
4
909 Snr Fuzz
A# 4 214 Clap Snare
A# 4
TR808 Snr 5
B
C
4
5
215 Rage Snare
216 Indus Snare
A
4
B
C
4
197 TR808 Snr 1
198 TR808 Snr 2
5
C# 5 217 TekRok Snare
Indus Snare
B
C
4
5
252 Sim Kick
Dance Kick 2 *
C# 5 199 TR808 Snr 3
D
5
*
D
5
200 TR808 Snr 4
TR808 Snr 6
C# 5 253 Amsterdam BD
254 TR909 Dst BD
D# 5 255 Roll Kick
D# 5
*
D
5
1 6 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
USER (Use r Gro u p )
PR-A (Pre se t A Gro u p )
No. Name
Voice Key Assign
No. Name
Voice Key Assign
No. Name
Voice Key Assign
No. Name
Voice Key Assign
001 Temple of XP
002 Power Split
4
4
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
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
SOLO
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
065 Heirborne
066 Trumpet
4
2
4
1
1
POLY
POLY
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
001 64voicePiano
002 Bright Piano
003 Classique
1
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
065 Dual Profs
066 Saw Mass
067 Poly Split
3
4
4
3
4
4
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
SOLO
SOLO
1
003 Symphonique2 4
067 Glistening
068 Banded Jupe
069 Singing’Mini
2
3
3
3
2
1
004 Robot Voice
005 St.Concert
006 ViennaStrgs2
007 R&R Brass
008 Disto Stack
009 Tone Wh.Solo
010 Combing Slow
011 SessionNyln2
012 Celestial 2
013 Poly Brs
4
4
4
3
4
3
004 Nice Piano
005 Piano Thang
006 Power Grand
007 House Piano
008 E.Grand
068 Poly Brass
069 Stackoid
070 Chamber Ens2 2
070 Poly Rock
071 D-50 Stack
072 Fantasia JV
073 Jimmee Dee
074 Heavenals
075 Mallet Pad
076 Huff N Stuff
077 Puff 1080
078 BellVox 1080
079 Fantasy Vox
080 Square Keys
081 Childlike
071 DanceStack 5
072 SA Rhodes 4
073 Breathy Brs
074 Atmos Harp
075 303 Bass
4
4
3
4
2
1
4
2
2
4
009 MIDIed Grand 3
4
3
010 Piano Blend
011 West Coast
012 PianoStrings
013 Bs/Pno+Brs
014 Waterhodes
015 S.A.E.P.
3
4
3
4
4
3
1
4
2
1
4
3
4
3
2
1
3
4
2
2
2
4
2
4
4
4
3
4
3
4
4
076 Flute
4
3
077 Perc Hit 2 /
078 Oldies Organ
079 Dulcimer
4
2
2
014 DanceStack 1
015 303 Ow Bass
016 Flying Waltz
017 Silky Way
4
4
2
3
080 Warmer Pad 2 2
016 SA Rhodes 1
017 SA Rhodes 2
018 Stiky Rhodes
019 Dig Rhodes
020 Nylon EPiano
021 Nylon Rhodes
022 Rhodes Mix
4
2
081 ARPsychea
082 Choir 1
4
4
018 Simply June
019 Solo Vln 1 /
020 Super Tenor
021 Metal Solo
022 Creator
3
3
082 Music Box
083 Toy Box
3
083 Agitato Str2
084 Pure Tibet
085 Flugelhorn 1
086 D-50 Stack
087 Noiz Mania
088 Slap Bass 2
4
1
2
4
4
1
2
4
4
3
2
084 Wave Bells
085 Tria Bells
4
4
086 Beauty Bells
087 Music Bells
088 Pretty Bells
089 Pulse Key
090 Wide Tubular
4
023 Amsterdamer
024 Techno Pizz
025 SA Rhodes 3
026 Dim Hit 1
023 PsychoRhodes 2
024 Tremo Rhodes 4
025 MK-80 Rhodes 1
026 MK-80 Phaser 1
2
2
3
089 Amazing Echo 4
090 Moving Glass
091 BluesHarp
092 Tria Bells
1
4
027 Pan Pipes
028 JP-8 Str 1
1
027 Delicate EP
2
091 AmbienceVibe 4
092 Warm Vibes
4
2
3
028 Octa Rhodes1 4
029 Octa Rhodes2 4
2
029 Pretty Bells
030 Aurora
093 DirtyOrgan 2
094 Dawn 2 Dusk
095 Just Lovely
096 SquareKeys 2
097 Natural Vlns
098 Arasian Morn
099 Euro-Dance 2
100 5th Pad
093 Dyna Marimba 1
094 Bass Marimba 4
030 JV Rhodes+
031 EP+Mod Pad
032 Mr.Mellow
033 Comp Clav
034 Klavinet
4
031 Breathy Humz
032 Full Orch.2
033 Clean Tele
034 Dunes
1
4
095 Nomad Perc
096 Ethno Metals
097 Islands Mlt
098 Steelin Keys
099 Steel Drums
100 Voicey Pizz
101 Sitar
3
1
2
4
1
4
4
2
1
2
1
2
1
4
1
1
3
2
3
4
4
4
4
3
035 Cyber-Trance
036 RiversOfTime
037 F.Hrn Sect5/
3
4
4
3
3
3
035 Winger Clav
036 Phaze Clav 1
037 Phaze Clav 2
038 Phuzz Clav
039 Chorus Clav
040 Claviduck
1
3
2
4
4
2
2
2
101 Liquid Sky
038 DreamVoices2 2
102 Sci-Fi Bells
103 Nomad Perc
104 Orn.Recorder
102 Drone Split
103 Ethnopluck
104 Jamisen
039 HeavenlyPad
040 Sop.Sax mf
041 Sweep Clav 2
042 Cold JX
2
2
3
105 FXM Saw Lead 4
041 Velo-Rez Clv
042 Clavicembalo
043 Analog Clav1
044 Analog Clav2
045 Metal Clav
046 Full Stops
105 Dulcimer
1
3
4
106 Atlantis 2
4
1
4
4
2
4
1
1
2
4
4
2
4
4
2
4
4
4
4
3
4
4
4
106 East Melody
043 Solo Vc 1 /
044 RichStrings2
107 Taj Mahal
108 X-hale
107 MandolinTrem 4
108 Nylon Gtr
109 Gtr Strings
110 Steel Away
111 Heavenly Gtr
112 12str Gtr 1
113 12str Gtr 2
114 Jz Gtr Hall
115 LetterFrmPat
116 Jazz Scat
117 Lounge Gig
118 JC Strat
1
3
3
4
2
3
1
4
3
3
1
3
2
2
2
1
045 Techno Dream 3
109 Stacc.Heaven
110 Altamira
046 StateXLChord
047 Delicate EP
048 Bassic Needs
049 Perky B
4
2
111 Hit House
112 Solo F.Horn1
113 Celesta 1
114 ORBit Pad
115 SessionBrass
116 Sugar Bell
117 ChristmasFlt
118 Strobe Mode
119 Cave
047 Ballad B
2
048 Mellow Bars
2
049 AugerMentive 3
050 SquareLead 2
051 Earth Blow
2
050 Perky B
2
2
051 The Big Spin
052 Gospel Spin
053 Roller Spin
054 Rocker Spin
055 Tone Wh.Solo
056 Purple Spin
3
3
3
3
3
4
052 BassMarimba1 2
053 Morning Lite
054 Raggatronic
055 Brass ff 1
2
4
2
2
2
4
4
3
119 Twin Strats
120 JV Strat
056 Acc.de Paris
057 Oboe 1
120 TenorExprss2
121 Impact
057 60’s LeadORG 2
121 Syn Strat
122 Rotary Gtr
123 Muted Gtr
058 Velo Power
059 Vintage Call
060 Steel Away
122 X-Tronic Jam
123 WarmViolins2
124 Rain Forest
125 Brass Ens 4
126 Perelandra
127 Teknoperator
128 Crowds
058 Assalt Organ
059 D-50 Organ
060 Cathedral
061 Church Pipes
062 Poly Key
3
2
4
4
3
4
4
124 SwitchOnMute 2
061 Spectrum Mod 4
125 Power Trip
126 Crunch Split
127 Rezodrive
2
4
2
062 Raverborg
063 Poly Saws
064 Adrenaline
4
4
063 Poly Saws
064 Poly Pulse
4
128 RockYurSocks 4
Voice: number of voice
1 6 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
PR-B (Pre se t B Gro u p )
PR-C (Pre se t C Gro u p )
No. Name
Voice Key Assign
No. Name
Voice Key Assign
No. Name
Voice Key Assign
No. Name
Voice Key Assign
001 Dist Gtr 1
3
3
POLY
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
SOLO
POLY
SOLO
SOLO
SOLO
POLY
SOLO
SOLO
POLY
POLY
SOLO
SOLO
POLY
SOLO
SOLO
SOLO
SOLO
SOLO
POLY
SOLO
SOLO
POLY
POLY
SOLO
POLY
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
POLY
SOLO
POLY
POLY
SOLO
SOLO
SOLO
SOLO
SOLO
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
065 Analog Seq
066 Impact Vox
2
4
POLY
POLY
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
POLY
POLY
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
POLY
SOLO
SOLO
SOLO
SOLO
SOLO
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
SOLO
POLY
POLY
POLY
POLY
001 Harmon Mute
002 Tp&Sax Sect
003 Sax+Tp+Tb
004 Brass Sect
005 Trombone
1
4
3
4
1
4
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
065 Harmonicum
066 D-50 Heaven
067 Afro Horns
068 Pop Pad
2
2
3
4
4
4
4
4
4
4
2
2
3
4
2
4
1
4
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
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
002 Dist Gtr 2
003 R&R Chunk
004 Phripphuzz
005 Grungeroni
006 Black Widow
007 Velo-Wah Gtr
008 Mod-Wah Gtr
009 Pick Bass
4
067 TeknoSoloVox 2
1
3
4
068 X-Mod Man
069 Paz <==> Zap
070 4 Hits 4 You
071 Impact
2
1
069 Dreamesque
070 Square Pad
071 JP-8 Hollow
072 JP-8Haunting
073 Heirborne
074 Hush Pad
075 Jet Pad 1
4
4
3
2
2
4
3
3
2
2
4
2
2
4
006 Hybrid Bones
007 Noble Horns
1
2
072 Phase Hit
008 Massed Horns 3
1
073 Tekno Hit 1
074 Tekno Hit 2
075 Tekno Hit 3
076 Reverse Hit
077 SquareLead 1
078 SquareLead 2
079 You and Luck
080 Belly Lead
081 WhistlinAtom
082 Edye Boost
083 MG Solo
009 Horn Swell
010 Brass It!
4
010 Hip Bass
2
3
2
1
2
1
1
2
2
1
1
2
1
4
3
3
2
2
2
2
2
3
4
2
2
4
4
3
3
011 Perc.Bass
012 Homey Bass
013 Finger Bass
014 Nylon Bass
015 Ac.Upright
016 Wet Fretls
017 Fretls Dry
011 Brass Attack
012 Archimede
013 Rugby Horn
076 Jet Pad 2
3
077 Phaze Pad
078 Phaze Str
079 Jet Str Ens
080 Pivotal Pad
081 3D Flanged
082 Fantawine
083 Glassy Pad
084 Moving Glass
085 Glasswaves
086 Shiny Pad
087 ShiftedGlass
088 Chime Pad
089 Spin Pad
014 MKS-80 Brass 2
015 True ANALOG 2
016 Dark Vox
2
017 RandomVowels4
018 Slap Bass 1
019 Slap Bass 2
020 Slap Bass 3
021 Slap Bass 4
022 4 Pole Bass
023 Tick Bass
018 Angels Sing
019 Pvox Oooze
020 Longing...
2
3
084 FXM Saw Lead 4
3
1
085 Sawteeth
086 Smoothe
3
021 Arasian Morn
022 Beauty Vox
4
3
2
3
4
087 MG Lead
2
023 Mary-AnneVox4
2
3
2
4
3
4
4
2
4
4
4
024 House Bass
025 Mondo Bass
026 Clk AnalogBs
027 Bass In Face
028 101 Bass
029 Noiz Bass
030 Super Jup Bs
031 Occitan Bass
032 Hugo Bass
033 Multi Bass
034 Moist Bass
035 BritelowBass
088 MG Interval
089 Pulse Lead 1
090 Pulse Lead 2
091 Little Devil
4
024 Belltree Vox
025 Vox Panner
026 Spaced Voxx
027 Glass Voices
028 Tubular Vox
029 Velo Voxx
030 Wavox
4
3
4
4
2
4
090 Rotary Pad
091 Dawn 2 Dusk
092 Aurora
3
092 Loud SynLead 4
4
2
3
1
093 Analog Lead
094 5th Lead
095 Flute
2
2
2
1
4
2
2
4
1
3
1
093 Strobe Mode
094 Albion
031 Doos
095 Running Pad
096 Stepped Pad
097 Random Pad
096 Piccolo
032 Synvox Comps 4
097 VOX Flute
098 Air Lead
099 Pan Pipes
100 Airplaaane
101 Taj Mahal
102 Raya Shaku
103 Oboe mf
033 Vocal Oohz
034 LFO Vox
3
1
098 SoundtrkDANC 4
035 St.Strings
036 Warm Strings
037 Somber Str
038 Marcato
2
099 Flying Waltz
100 Vanishing
101 5th Sweep
102 Phazweep
103 Big BPF
4
1
036 Untamed Bass 3
4
037 Rubber Bass
038 Stereoww Bs
039 Wonder Bass
040 Deep Bass
041 Super JX Bs
3
4
4
3
2
4
4
4
3
039 Bright Str
040 String Ens
041 TremoloStrng
042 Chambers
043 ViolinCello
044 Symphonique
045 Film Octaves
046 Film Layers
047 Bass Pizz
048 Real Pizz
049 Harp On It
050 Harp
2
2
2
104 Oboe Express 2
4
2
3
4
4
4
4
4
3
3
2
2
3
4
4
4
3
4
3
2
2
2
4
4
4
104 MG Sweep
105 Clarinet mp
106 ClariExpress
107 Mitzva Split
1
105 CeremonyTimp 3
042 W<RED>-Bass 4
2
4
106 Dyno Toms
107 Sands ofTime
108 Inertia
4
4
4
4
4
043 HI-Ring Bass
044 Euro Bass
045 SinusoidRave
046 Alternative
047 Acid Line
3
2
1
2
1
3
2
3
4
4
1
3
1
3
2
4
4
4
3
2
3
3
108 ChamberWinds4
109 ChamberWoods3
109 Vektogram
110 Crash Pad
110 Film Orch
4
111 Sop.Sax mf
112 Alto Sax
2
111 Feedback VOX4
048 Auto TB-303
049 Hihat Tekno
050 Velo Tekno 1
051 Raggatronic
052 Blade Racer
053 S&H Pad
3
3
3
3
4
4
4
2
2
1
4
4
1
2
2
4
4
112 Cascade
1
113 AltoLead Sax
114 Tenor Sax
115 Baritone Sax
116 Take A Tenor
117 Sax Section
118 Bigband Sax
119 Harmonica
120 Harmo Blues
121 BluesHarp
122 Hillbillys
113 Shattered
114 NextFrontier
115 Pure Tibet
116 Chime Wash
117 Night Shade
118 Tortured
2
2
1
4
4
4
4
4
1
3
2
4
2
051 JP-8 Str 1
052 JP-8 Str 2
053 E-Motion Pad
054 JP-8 Str 3
055 Vintage Orch
056 JUNO Strings
057 Gigantalog
058 PWM Strings
059 Warmth
054 Syncrosonix
055 Fooled Again
056 Alive
119 Dissimilate
120 Dunes
057 Velo Tekno 2
058 Rezoid
121 Ocean Floor
122 Cyber Space
123 Biosphere
124 Variable Run
125 Ice Hall
059 Raverborg
060 Blow Hit
123 French Bags
124 Majestic Tpt
125 Voluntare
060 ORBit Pad
061 Deep Strings
062 Pulsify
061 Hammer Bell
062 Seq Mallet
063 Intentions
064 Pick It
126 2Trumpets
127 Tpt Sect
126 ComputerRoom 4
063 Pulse Pad
064 Greek Power
127 Inverted
4
128 Mute TP mod
128 Terminate
3
Voice: number of voice
1 6 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
PR-D (GM Gro u p )
PR-E (Pre se t E Gro u p )
No. Name
Voice Key Assign
No. Name
Voice Key Assign
No. Name
Voice Key Assign
No. Name
Voice Key Assign
001 Piano 1
2
2
2
2
2
4
POLY *1
POLY *2
POLY
065 Soprano Sax
066 Alto Sax
1
1
1
2
1
1
2
1
1
1
2
2
2
1
1
2
2
2
2
2
3
2
POLY
POLY
POLY *1
POLY
POLY *2
POLY *2
POLY *2
POLY
POLY *2
POLY
POLY *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 *2
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
001 Echo Piano
002 Upright Pno
003 RD-1000
3
3
3
2
4
2
4
3
3
4
1
3
2
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
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
SOLO
SOLO
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
065 Civilization
066 Mental Chord
067 House Chord
068 Sequalog
3
4
4
4
2
4
2
POLY
SOLO
SOLO
POLY
POLY
SOLO
POLY
POLY
POLY
POLY
SOLO
POLY
SOLO
POLY
POLY
POLY
POLY
POLY
POLY
SOLO
POLY
SOLO
POLY
POLY
SOLO
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
SOLO
POLY
POLY
POLY
POLY
002 Piano 2
003 Piano 3
067 Tenor Sax
068 Baritone Sax
069 Oboe
004 Honky-tonk
005 E.Piano 1
006 E.Piano 2
007 Harpsichord
008 Clav.
POLY
004 Player’s EP
005 D-50 Rhodes
006 Innocent EP
007 Echo Rhodes
008 See-Thru EP
009 FM BellPiano
010 Ring E.Piano
011 Soap Opera
012 Dirty Organ
013 Surf’s Up!
POLY
069 Booster Bips
070 VintagePlunk
071 Plik-Plok
POLY
070 English Horn
071 Bassoon
072 Clarinet
1
POLY *2
POLY
2
1
2
1
1
1
2
2
2
1
1
2
2
1
072 RingSequence 4
009 Celesta
POLY *2
POLY *2
POLY
073 Piccolo
073 Cyber Swing
074 Keep :-)
4
2
2
3
2
4
4
3
2
3
010 Glockenspiel
011 Music Box
012 Vibraphone
013 Marimba
074 Flute
075 Recorder
076 Pan Flute
077 Bottle Blow
078 Shakuhachi
079 Whistle
075 Resojuice
076 B’on d’moov!
077 Dist TB-303
078 Temple of JV
079 Planet Asia
080 Afterlife
POLY
POLY *2
POLY *2
POLY *2
POLY
014 Xylophone
015 Tubular-bell
016 Santur
014 Organesque
015 pp Harmonium 1
080 Ocarina
016 PieceOfCheez
017 Harpsy Clav
018 Exotic Velo
019 HolidayCheer
020 Morning Lite
021 Prefab Chime
022 Belfry Chime
023 Stacc.Heaven
024 2.2 Bell Pad
025 Far East
1
017 Organ 1
POLY
081 Square Wave
082 Saw Wave
083 Syn.Calliope
084 Chiffer Lead
085 Charang
086 Solo Vox
2
081 Trancing Pad
082 Pulsatronic
018 Organ 2
POLY
4
4
2
3
3
4
4
4
3
2
3
2
4
4
3
3
4
2
2
2
2
3
2
4
4
4
2
2
2
2
2
1
4
4
2
2
4
4
4
4
2
3
3
2
3
019 Organ 3
POLY
083 Cyber Dreams 3
020 Church Org.1
021 Reed Organ
022 Accordion Fr
023 Harmonica
024 Bandoneon
025 Nylon-str.Gt
026 Steel-str.Gt
027 Jazz Gt.
POLY
084 Warm Pipe
085 Pure Pipe
1
2
2
3
3
4
4
4
3
2
2
2
2
POLY
1
POLY *1
POLY
086 SH-2000
1
2
1
1
1
1
1
087 5th Saw Wave 3
087 X..? Whistle
088 Jay Vee Solo
089 Progresso Ld
090 Adrenaline
091 Enlighten
POLY
088 Bass & Lead
089 Fantasia
090 Warm Pad
091 Polysynth
092 Space Voice
093 Bowed Glass
094 Metal Pad
095 Halo Pad
096 Sweep Pad
097 Ice Rain
2
3
2
2
2
3
2
3
2
2
2
2
2
3
2
2
2
1
1
2
1
1
3
1
1
4
1
1
1
4
2
2
1
1
2
3
4
1
2
4
2
POLY *1
POLY
026 Wire Pad
POLY
027 PhaseBlipper
028 Sweep Clav
029 Glider
028 Clean Gt.
029 Muted Gt.
030 Overdrive Gt
031 DistortionGt
032 Gt.Harmonics
033 Acoustic Bs.
034 Fingered Bs.
035 Picked Bs.
036 Fretless Bs.
037 Slap Bass 1
038 Slap Bass 2
039 Synth Bass 1
040 Synth Bass 2
041 Violin
POLY *1
POLY
092 Glass Blower
093 Earth Blow
094 JX SqrCarpet
095 Dimensional
096 Jupiterings
1
POLY
030 Solo Steel
031 DesertCrystl
032 Clear Guitar
033 Solo Strat
034 Feed Me!
1
3
POLY *1
POLY
3
POLY
097 Analog Drama 3
1
1
1
1
2
1
1
1
2
2
2
1
1
1
2
2
1
2
2
1
1
1
2
1
2
2
POLY
098 Soundtrack
099 Crystal
098 Rich Dynapad
099 Silky Way
4
2
3
POLY *1
POLY
035 Tube Smoke
036 Creamy
100 Atmosphere
101 Brightness
102 Goblin
100 Gluey Pad
POLY
037 Blusey OD
038 Grindstone
039 OD 5ths
101 BandPass Mod2
POLY
102 Soundtraque
103 Translucence
104 Darkshine
105 D’light
2
POLY
103 Echo Drops
104 Star Theme
105 Sitar
4
POLY
040 East Europe
041 Dulcitar
4
POLY *2
POLY *2
POLY *2
POLY *2
POLY
2
042 Viola
106 Banjo
042 Atmos Harp
043 Pilgrimage
044 202 Rude Bs
045 2pole Bass
046 4pole Bass
047 Phaser MC
048 Miniphaser
049 Acid TB
106 December Sky 4
043 Cello
107 Shamisen
108 Koto
107 Octapad
3
4
044 Contrabass
045 Tremolo Str
046 PizzicatoStr
047 Harp
108 JUNO Power!
109 Kalimba
109 Spectrum Mod 4
110 Stringsheen 3
POLY *2
POLY *2
POLY *2
POLY
110 Bag Pipe
111 Fiddle
111 GR500 TmpDly 2
112 Mod DirtyWav 3
048 Timpani
112 Shanai
049 Strings
113 Tinkle Bell
114 Agogo
113 Silicon Str
4
050 Slow Strings
051 Syn.Strings1
052 Syn.Strings2
053 Choir Aahs
054 Voice Oohs
055 SynVox
POLY
050 Full Orchest
051 Str + Winds
052 Flute 2080
053 Scat Flute
054 Sax Choir
055 Ballad Trump
056 Sm.Brass Grp
057 Royale
114 D50FantaPerc 3
POLY
115 Steel Drums
116 Woodblock
117 Taiko
115 Rotodreams
116 Blue Notes
117 RiversOfTime
118 Phobos
3
POLY
4
4
2
4
4
4
3
4
4
1
3
3
4
POLY *1
POLY
118 Melo. Tom 1
119 Synth Drum
120 Reverse Cym.
121 Gt.FretNoise
122 Breath Noise
123 Seashore
124 Bird
POLY
119 2 0 8 0
056 OrchestraHit
057 Trumpet
POLY *2
POLY *1
POLY *2
POLY *2
POLY *2
POLY *2
POLY *2
POLY
120 Unearthly
121 Glistening
122 Sci-Fi Str
123 Shadows
124 Helium Queen
125 Sci-Fi FX x4
126 Perky Noize
127 Droplet
058 Trombone
059 Tuba
058 Brass Mutes
059 Breathy Brs
060 3 Osc Brass
061 P5 Polymod
062 Triumph Brs
060 MutedTrumpet 1
061 French Horn
062 Brass 1
2
1
1
2
125 Telephone 1
126 Helicopter
127 Applause
128 Gun Shot
063 Synth Brass1
064 Synth Brass2
063 Techno Dream 3
064 Organizer
POLY
3
128 Rain Forest
Voice: number of voice
*1: Uses XP-A (Session) waves.
*2: Uses XP-B (Orchestral) waves.
1 7 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
XP-A (W AVE EXPAN SIO N A: Se ssio n )
No.
Name
Voice
No.
Name
Voice
No.
Name
Voice
No.
Name
Voice
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
St.Concert
4
4
4
2
4
1
4
4
3
4
2
3
2
3
2
2
2
4
4
4
4
2
2
2
1
3
4
4
4
3
3
4
3
4
2
3
4
4
2
4
4
2
1
2
2
2
3
2
1
2
2
1
2
2
3
2
2
2
2
4
4
2
3
1
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Fr.Accord 2
Troubadour
SessionNylon
Solo Nylon 1
Solo Nylon 2
Nylon & Str
Nylon & Flt
Nylon Chord
Stratar
2
3
3
3
2
4
3
3
2
4
1
4
2
2
2
4
1
1
4
2
4
4
4
4
4
1
4
1
2
4
3
1
2
2
1
4
2
2
2
3
2
2
3
4
2
1
3
4
3
4
4
4
4
4
4
3
4
2
1
2
2
2
3
1
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
Quixelate
4
2
3
3
4
4
4
2
1
2
3
4
4
3
2
3
4
4
3
4
3
4
4
4
4
3
4
2
2
4
3
4
3
4
2
2
4
1
2
2
1
3
4
2
2
4
3
4
3
4
4
3
2
3
4
3
4
2
3
2
4
2
3
2
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
Build-Up Syn
Atlantis 2
3
4
4
4
2
2
4
4
3
2
4
2
3
4
3
2
3
3
3
2
2
4
2
2
2
4
3
3
1
2
4
3
2
4
4
4
3
1
4
4
3
2
2
2
2
4
2
1
3
1
2
4
4
4
3
3
2
1
2
4
4
2
4
9ft.Grand 1
9ft.Grand 2
Euro Classic
St.Pno & Str
Compress Pno
LA Session
Water Piano
Vibra Rhodes
Stack Rhodes
ArcoEnsemble
Vienna Strgs
Str Adagio
Trangoa Wave
Spiked Cheez
Glassy Cheez
Super 808Cow
Arpeggiatoid
Euro Hit 1
Perelandra
Plutonium
Nautilus
Metal Dreams
Glass Clouds
Harmonicloud
Shining Veil
Ethereal JX
Striking 5th
Euro Hit 2
Rave Slice
Clean Tele
Str Torture
Nashville
Juno Harpsi
Big Mess Pad
Harpsichoir
Echo Juno
Super Trem
SpaghettiGtr
Duanne’sTone
Big Hair Ld
Metal Solo
Meow 5ths
Stepflanger
Happy LFOs
Aero Insect
Beat Sweeper
Wormy Lead
Atmo Lead
Oct Strings
Silky Filter
Phazerave
Soft Strings
SlowStr.Sect
GiantStrings
Str+Choir 1
Str+Choir 2
Str+Choir 3
Breathy Humz
Dream Voices
Mmmms
DanceStack 1
DanceStack 2
DanceStack 3
DanceStack 4
DanceStack 5
DanceStack 6
DanceStack 7
DanceStack 8
Eurotek Brs
Synergy Brs
PortaSynthex
Razor VCOs
Big PWM
Crunch Tone
Overdriven
Blues Tele
Caliolead
Tube Double
Neil’s Rust
Tweedles
Raw PWM
Short Crunch
X-Fade Metal
Velo Power
Phazy Chunk
Reso Tele
Voc Solo 5th
Dirty Lead
Boostweeper1
Boostweeper2
B3 Filth
Chorale
Space Men
Choir Mm+Aah
Ivory Mist
Wah Wah BPM
Rock P.Bass1
Rock P.Bass2
Rock P.Bass3
Big Jazz Bs
BriteJazz Bs
Ch.Jazz Bs
Mellow Jz Bs
Mute E.Bs
Phazed Organ
VSw Vibrafon
SA Vibe
PercussiVox
Mysteriouso
Phase Mmhs
AmbientStory
Venus
Flutey Stack
Wobbly 5th
Tekno Square
Trance VoXxX
Random Rave
Raver Circus
Resorave
Rich Vibes
SpaceGamelan
Toy Vibe
Analog Bomb
Seashore 2
Creation
SessionBrass
Port.Tpts
R&R Brass
Echo Brass
E.Coast Brs
Bop Soli
Octabahn Bs
Slobbery Bs
Phase Worm
Euro Rave Bs
Pumpin’ Bs
Tech NoBase
Bad Acid Bs
CheepEcho Bs
Manic Bs
Flangomatic
O-Zu-Nu
Cyberjunkie
Sci-Fi Bells
Sub Divided
Ancient Sqr
Fat Flange
Shine on
DEMO Piano1
DEMO Piano2
DEMO PnoVox
DEMO Str 1
DEMO Str 2
DEMO Str 3
DEMO SynPuls
DEMO 5thPad
DEMO Choir
DEMO Brass
DEMO Tenor
DEMO Tpt
Soft Saxes
Orchestral
Phaze NRG
Phase Vox
Octalog Hrn
Tpt Soloist
Systekno
Legato Tpt
On the move!
XP’ration
Dyno Trumpet
Ethno-Trumps
Super Tenor
TenorExpress
T.Sax f
JP6 Sqr Key
Square drops
Celestial
Big Ensemble
Lazerette
Heavenly Eko
JD-800 Nomad
Vibrolater
Fazed String
Combing Slow
Jet Stack
Legato Flute
Touch Flute
NewAge Flute
Flute inMist
Hybrid Flute
Flute & Cla
ChristmasFlt
Fifth Flute
MartianChime
Big Wet Blip
Amazing Echo
DelaySession
Deletex
Phazeslopad
Rize Mass
DEMO Flute
DEMO Nylon
DEMO PhaseGt
DEMO DistGt1
DEMO DistGt2
DEMO Strat
DEMO SlapBs
DEMO P.Bass
DEMO SynBs
DEMO SynLead
DEMO Insect
DEMO Buzzzzz
DEMO Crowd
Portent
DCO Sweeper
Sweep Rain
Sweep Stack
Big Vectors
Poly Swell
Tarlia
Mahoroba
Cosmic Flute
Acc.de Paris
Paris 50’s
Eurotek Clav
Dope Resoclv
Tekno Juno
Buzzzzzzzzzz
Slop-a-rama
Isn’t Pretty
Alchemy
Soli-na
Musette Ens
Montmartre
Sad Akordion
Fr.Accordion
90s Str Mach
Ultra Cheez
Juno-60 Pad
Progressive
Polywasp
Voice: number of voice
1 7 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
XP-B (W AVE EXPAN SIO N B: O rch e stra l)
No.
Name
Voice
No.
Name
Voice
No.
Name
Voice
No.
Name
Voice
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Warm Violins
Slow Vlns 1
Vlns+Vlas 1
Vl Sect mono
Arco Violins
Marcato Vls1
Vlns+Vlas 2
Agitato Vls1
Rosin Pad 1
Dry Mid-High
Natural Vlns
Sad Vln Sect
Marcato Vas
Arco Violas
Thick Violas
Va Sect f
3
3
4
2
4
4
2
4
2
4
2
2
2
2
2
1
3
4
2
4
1
3
2
4
1
2
4
2
1
4
2
2
4
4
2
4
4
3
4
2
1
4
4
4
4
3
4
4
4
4
2
2
3
2
3
2
2
3
2
3
2
3
2
1
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Solo Cb 1 /
Solo Cb 2
Marcato Cb 1
Chamber Ens1
Chamber Ens2
Vln+Vla Dble
Vln+Vc Dbl1
Vla+Vc Dbl2
Vla+Vc Dble
Pizzicato 1
Mono Pizz
Pizzicato 2
Room Pizz
Hall Pizz
3
2
1
1
2
2
2
2
2
3
1
2
1
4
3
2
2
4
4
4
3
4
1
4
1
2
1
2
2
2
2
2
1
1
1
1
1
1
2
2
2
1
3
2
2
1
1
2
1
1
4
2
1
2
1
2
2
2
1
1
3
4
1
2
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
F.Hrn Sect2/
F.Hrn Sect3
F.Hrn Sect4
F.Hrn Sect5/
F.Hrn Sect6
F.Hrn Sect7
F.Hrn Sect8
MuteHrn Sect
Horn+Wood 1
Horn+Wood 2
Horn+Wood 3
Wood Sect 1
Wood Sect 2
Wood Sect 3
Wood Sect 4
2 Oboes
2
2
4
3
2
4
2
1
4
4
3
3
4
3
3
2
2
2
2
3
4
2
1
2
3
2
4
3
2
3
4
4
4
3
3
4
4
3
3
3
3
3
3
3
3
4
2
4
4
4
4
4
4
4
4
4
3
1
2
3
4
4
3
2
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
ClasclPiano2
ClasclPiano3
ClasclPiano4
Harpsichord1
Harpsichord2
Harpsichord3
Harpsichord4
Celesta 1
3
2
2
2
3
4
3
1
2
1
2
1
2
1
1
2
3
1
1
1
3
4
3
2
2
4
4
4
3
4
4
4
4
4
3
1
2
4
3
4
3
3
3
2
4
4
3
2
2
2
1
3
1
3
2
2
3
4
4
3
4
4
3
Celesta 2
Celesta 3
Glockenleste
Marimba
BassMarimba1
BassMarimba2
Vibe
Tight Pizz
Short Pizz
STR Marcato1
Oct Marcato
Lower Marc!!
Big Marc!
Xylophone 1
Xylophone 2
Xylophone 3
Glocken 1
Va Small Sec
Agitato Vas1
Sad Violas
Oboe + Cla
Flt + Piccl
Flute + Cla
Bassoon+EHrn
Hi Woodwinds
WoodwindSplt
Multi Reed
4Trombones
Tb Sect 1
Fast Cellos1
Vcs Legato 1
Marcato Vcs1
Small Vc Sec
Agitato Vcs1
Small Cellos
Sad CelloSec
Cb Sect ff
Glocken 2
STR Spiccato
Fast Attacks
Flute
ChurchBells1
ChurchBells2
ChurchBells3
TubulaBells1
TubulaBells2
Big Tubulars
Dawning
Flute V-Sw
Piccolo
Piccolo Flt
Recorder
Tb + Tp
4Trumpets
3 Trumpets
Brass ff 1
Wide Basses
mf Basses
Oboe 1
MalletStack1
MalletStack2
MalletStack3
MalletStack4
MalletStack5
MalletStack6
MalletStack7
Choir 1
Oboe 2
Agitato Cbs1
Vcs+Cbs
Oboe 3
Brass ff 2
Oboe 4
Brass ff 3
2 Basses
Oboe 5
McArthur Brs
Big Bones
Euro Strings
Rich Strings
Multi Strs 1
VlsVasVcsCbs
Bright Strs
English Hrn1
English Hrn2
English Hrn3
Bassoon 1
Bassoon 2
Clarinet 1
BassBoneSect
Brass Swell1
Full Brs 1
Choir 2
Brass Sect1/
Brass Ens 1
Brass Ens 2
Brass Ens 3
Brass Ens 4
Brass Ens 5
Brass Ens 6
Brass Ens 7
Brass Ens 8
Horn Strings
Full Orch.1
Full Orch.2
Full Orch.3
Full Orch.4
Maj Hit 1
Snare Drum
ConcertSNR1/
ConcertSNR2/
Classicl Str
Full Strings
Med Str Sec
Small Strngs
Strings Arco
Vivace Strs
Agitato STR1
LowSTR Attak
Bad Guy STR
Ominous
Clarinet 2
Bs Clarinet1
Bs Clarinet2
Trumpet 1
Trumpet 2
Trumpet 3
Flugelhorn 1
Flugelhorn 2
Cornet 1
SNR Roll
/
Concert BD1
Concert BD2/
BD Roll
/
Timpani 1 /
Timpani 2 /
Timpani 3
Timpani 4 /
Tam Tam
Lo Express
DramaStrings
Solo Vln 1 /
Solo Vln 2
Cornet 2
Solo Tb 1
Gong
Solo Tb 2
Piatti!!
Solo Tb 3 /
Solo Tb 4 /
Bs Tb 1
Sleigh Bells
Slapstick /
Wind Chimes1
Wind Chimes2
Tambourine /
Castanets /
Rhythm Set
Perc Hit 1
Perc Hit 2 /
Perc Hit 3
Presenting!
Presto!
Chorus Vln
Stereo Vln
Min Hit 1
Dim Hit 1
Agitato Vln1
Solo Vla 1 /
Solo Vla 2
Bs Tb 2
/
Major Stab!
Maj Hit 2
Harmon Mute1
Harmon Mute2
Tuba 1
Min Hit 2
Chorus Viola
Stereo Viola
Agitato Vla
Classical Gt
Harp 1
Tuba 2
Solo F.Horn1
Solo F.Horn2
Sml F.Hrn sc
Horn Sect 1/
F.Horn sc x4
Fr.Horn sfz
Harp 2
Solo Vc 1 /
Solo Vc 2
Plucked Harp
Harp StrumMj
Harp StrumMn
Water Harp
ClasclPiano1
Stereo Cello
Chorus Cello
Marcato Vc 1
Christmas!!!
Voice: number of voice
1 7 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
XP-C (W AVE EXPAN SIO N C: Te ch n o Co lle ctio n )
No.
Name
Voice
No.
Name
Voice
No.
Name
Voice
No.
Name
Voice
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Teknoperator(132)
Transmission(144)
X-Tronic Jam(120)
Dirt Jungle(160)
4
4
4
2
4
4
3
4
4
4
3
4
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Jericho Bass
Slippy Bass
Rise Bass
2
2
2
2
2
1
2
2
4
2
2
2
1
4
3
2
4
3
1
2
4
1
4
4
4
2
2
3
1
1
1
2
1
2
3
2
3
2
2
1
4
1
3
3
4
4
1
4
2
3
4
3
4
4
2
4
4
3
2
4
3
4
4
4
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
Euforia
3
4
1
1
4
4
4
4
3
2
2
3
4
4
4
4
3
4
3
4
4
1
1
3
3
1
1
2
1
2
1
1
1
1
4
3
4
3
4
2
1
1
1
2
2
4
2
3
2
3
2
2
2
1
4
2
4
2
4
4
4
4
4
4
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
Chordmaj7/5-
Planet EKNO
Optimum Rave
Arpege Me
VTransformer
Analog Attax
Maxi Fuzzy !
Only by FXM
Hit & Run
4
3
4
2
4
4
2
3
4
4
4
4
4
4
4
4
4
3
3
3
3
4
2
2
1
1
2
1
2
3
1
1
1
3
2
2
4
4
2
4
4
2
4
3
1
4
4
2
1
2
2
1
2
4
4
1
1
1
1
2
2
2
2
4
Labo-Feedbak
Banded Jupe
Killer Pad
Cyber Bass
SH-2000 Bass
FM Bass
DJ Spinnin(151)
Zipper Beat(151)
Tribal House(151)
Obsession(144)
Mystic Pad
D-Mention
Razor Bass
SquelchyBass
RaversBass
Compu Bass
Jump Bass
VocoBass
X-hale
Sirena
Sonic Empire(144)
Double Dutch(140)
E-tronicBoom(116)
Chillout =->(116)
After’s Pad
Warmer Pad
Phatt Pad
Photon Attak
Predator
OB Sweep Pad
Murk Pad
Village Hit
MecaTrip-Hop( 90) 4
Vocoder Menu
1.2.3.4. BPM
TeknoMusic
Retrocoder
u/i/e/o V/Sw
Talk Box 1
Talk Box 2
VT Vox
Hardcore Hit
Short Chord
ShortCircuit
SonofaPitch
Flutish SQUR
FazzyCow 808
Blurpy
Hero Beat( 90)
Hit House(120)
Voco Groove(122)
Hell Fire(151)
Lo:BD Hi:HH(144)
Detroit+Perc(132)
Crossfader(120)
Soft & Hard(120)
Space Shake(130)
Under Ether( 85)
Confusion(147)
Amsterdamer(184)
House that?(120)
Phrase Menu
Cyber-Trance
Creator
4
Dense Floor
SecretMelody
Vaporish
4
4
4
Vintage Revo
Liquid Sky
2
2
2
2
4
2
4
2
4
1
3
3
4
4
3
4
1
2
4
2
2
4
2
3
2
2
2
2
1
1
2
2
2
2
1
3
3
1
2
1
1
2
1
4
2
2
2
Exploration
Drama Pad
Vapor Style
JP-6 Stack
Obilator
Static Hit
Artificial
Hi Attack
BariVoise
TonalTension
Jungle Stabs
Buzz Machine
Zapper
After D !
ARPsychea
Vintage Call
HarmoChimer
Ring Bell
Glamour
Medium Solo
Singing’Mini
Analog Flute
SH-5 Bs/Lead
Classy Pulse
Jupiter-6 Ld
Just Lovely
DJ Devil
Blip
Iron Hit
260 & JUNO
260 MIDI
Headz Direct
Scratchy Hit
Hit&IndsMenu
GTR FX Menu
GTR Power 1
GTR Power 2
Snr Menu 1
Snr Menu 2
Kick Menu
Etherality
SquareKeys 2
Pure Sine
Unplugged
Acid Melt
Ambient ORG
JX Planet
Brain Waves
1Shot Groove
FirstContact
Simply June
Mr.Raw SAW
Crispy Lead
Dirty Lead 2
Disto Stack
Velo Cheese
Noiz Mania
Power Mutes
V-Beep
Clavi-Club
Sweep Clav 2
SquareTek
Retro Party
Rave Nature
Alias Square
Dirty Stack
Phenomena
Music Hi
Ambient S/H
Deep Machine
Big Blue
Hi Hat Menu
Perc Menu
Tom&Cym Menu
Metal Dream
System D
TeeBee V/Sw
303 Agressor
TB or not TB
HiLo303ModSw
2Square Bass
303 HollowBS
303 Bass
Freaky Fry
SQ Formule
DirtyOrgan 2
Oldies Organ
Edgy Organ
Juno Organ
Space Org X
Cabin Organ
Dream Organ
Club Organ
Perc. Organ
Organ Stabs
Techno Pizz
Captain Pizz
Pizzatek
Mayday Ring
Industrial
Euro-Dance 1
Euro-Dance 2
Dance Stack
Raver Blade
White Gloves
Touchdown
Rave Station
Time Warp
Thin Rave
Tranceporter
Acid Copter
Roll Over
TB Saw Bass
303 Ow Bass
TB Square 1
TB Square 2
TB Square 3
Solid Bass 1
Solid Bass 2
FM Tube Bass
Drum’n’Bass
Sub Bass
Gimme aBreak
RadicalAbuse
Echodrome
Trance Chime
Altamira
Igor Circus
Alpha Zone
Stars March
JP Velo-Saw
Rich Teeth
After Saw
Locko Motif
SpaceFactory
Get Busy
Ayers Rock
Altern Saw
JP-6 Sync
Dirty Bass
Gate Me Buzz
Comprex Bass
Bass Invader
Ovdrive Bass
Housy Bella
Sleepless
Saw Cocktail
Poly Message
Xpressive
Mega 5th 2
Chord maj7th
Chord min7th
5thDimension
StateXLChord
Sixth Sense
Garage Chord
Cold JX
Fancy Pad
Tune Breath
OrchestraGTR
Gtr Sweep
Trilly
Earblower
Bassic Needs
Raver Bass 1
Raver Bass 2
Cutting Edge
Stalactica
LA Heaven
Good Bye Spk
* The numbers in parenthesis following the Patch name represent the B.P.M. (tempo) when played at the C4 key.
Voice: number of voice
* Note that the Release Time has been set to a fairly long value for some of the patches. As a result, if your sound generator has been set
so “Patch Remain” is “ON,” the release portion of a previously sounding patch may continue to be heard even after switching to a new
1 7 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
■ B.P.M. CO N VERSIO N TABLE
By changing the pitch, you can change the B.P.M. (tempo).
O rig in a l B.P.M. 1 1 6
dst
key
c.t
f.t
dst
key
c.t
f.t
41 F# 2 -18 -01
42 F# 2 -18 +41
141 D# 4 +03 +38
The B.P.M. used when sampling the original (Original B.P.M.) is reproduced by
the C4 key when both “c.t.” (Coarse Tune) and “f.t.” (Fine Tune) are at “0.”
If you want to obtain twice the tempo of the original B.P.M., either play the C5 key
(key one octave above), or set “c.t.” (Coarse Tune) to +12 and play the C4 key.
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -50
+04 -38
+04 -26
+04 -14
+04 -02
+04 +10
+04 +22
+04 +33
+04 +45
+05 -43
+05 -32
+05 -21
+05 -09
+05 +02
+05 +13
+05 +24
+05 +35
+05 +46
43
44
G
G
2
2
-17 -18
-17 +22
45 G# 2 -16 -39
46 G# 2 -16 -01
47 G# 2 -16 +36
48
49
50
A
A
A
2
2
2
-15 -28
-15 +08
-15 +43
For specifics, refer to the separate B.P.M. Conversion Table.
51 A# 2 -14 -23
52 A# 2 -14 +11
53 A# 2 -14 +44
54
55
56
57
58
59
B
B
B
C
C
C
2
2
2
3
3
3
-13 -24
-13 +08
-13 +39
-12 -30
-12 00
-12 +30
Ho w to Re a d th e Ta b le
■ B.P.M. Co n ve rsio n W h e n Cre a tin g Pa tch e s
The Original B.P.M. is the B.P.M. obtained when the Waveform is played by the
60 C# 3 -11 -41
61 C# 3 -11 -13
62 C# 3 -11 +15
63 C# 3 -11 +43
160 F# 4 +06 -43
161 F# 4 +06 -32
162 F# 4 +06 -22
163 F# 4 +06 -11
164 F# 4 +06 -01
165 F# 4 +06 +10
166 F# 4 +06 +20
167 F# 4 +06 +31
168 F# 4 +06 +41
C4 key (when both Coarse and Fine Tune are at “0”).
(Marked with
in table.)
64
65
66
67
D
D
D
D
3
3
3
3
-10 -30
-10 -03
-10 +24
-10 +50
For example, to play a B.P.M. 116 Waveform at B.P.M. 120:
68 D# 3 -09 -25
69 D# 3 -09 +01
70 D# 3 -09 +26
dst
key
c.t
f.t
169
170
171
172
173
174
175
176
177
178
G
G
G
G
G
G
G
G
G
G
4
4
4
4
4
4
4
4
4
4
+07 -49
+07 -38
+07 -28
+07 -18
+07 -08
+07 +02
+07 +12
+07 +22
+07 +32
+07 +41
116
:
C
4
00
:
00
71
72
73
74
75
76
77
78
79
E
E
E
E
E
F
F
F
F
3
3
3
3
3
3
3
3
3
-08 -50
-08 -26
-08 -02
-08 +22
-08 +45
-07 -32
-07 -09
-07 +13
-07 +35
:
:
120 C# 4 +01 -41
Method 1: Look up the “f.t.” (Fine Tune) parameter in the table, and you will see
that the setting for “f.t.” should be -41 and that the C#4 key should be
played.
179 G# 4 +08 -49
180 G# 4 +08 -39
181 G# 4 +08 -30
182 G# 4 +08 -20
183 G# 4 +08 -11
184 G# 4 +08 -01
185 G# 4 +08 +08
186 G# 4 +08 +17
187 G# 4 +08 +27
188 G# 4 +08 +36
189 G# 4 +08 +45
80 F# 3 -06 -43
81 F# 3 -06 -22
82 F# 3 -06 -01
83 F# 3 -06 +20
84 F# 3 -06 +41
Method 2: Look up the “c.t.”(Coarse Tune) and “f.t.” (Fine Tune) parameters in
the table, and you will see that the setting for “c.t.”should be +1, and
that for “f.t.” should be -41, and that the C4 key should be played.
85
86
87
88
89
G
G
G
G
G
3
3
3
3
3
-05 -38
-05 -18
-05 +02
-05 +22
-05 +41
So, as you can see from the above example, the settings you should make
change depending on whether you want to play using the same key or not.
90 G# 3 -04 -39
91 G# 3 -04 -20
92 G# 3 -04 -01
93 G# 3 -04 +17
94 G# 3 -04 +36
190
191
192
193
194
195
196
197
198
199
200
A
A
A
A
A
A
A
A
A
A
A
4
4
4
4
4
4
4
4
4
4
4
+09 -46
+09 -37
+09 -28
+09 -19
+09 -10
+09 -01
+09 +08
+09 +17
+09 +26
+09 +34
+09 +43
■ B.P.M. Co n ve rsio n W h e n Cre a tin g Rh y th m Se ts
Given that the Original Pitch for the Rhythm Set is C4, you need to set
“c.t.”(Coarse Tune) for the range C-1 through G9.
95
96
A
A
A
A
A
A
3
3
3
3
3
3
-03 -46
-03 -28
-03 -10
-03 +08
-03 +26
-03 +43
97
98
99
100
To play a Phrase Loop Waveform at the Original B.P.M., set “c.t.” (Coarse Tune)
to C4, and “f.t.” (Fine Tune) to “0.”
101 A# 3 -02 -40
102 A# 3 -02 -23
103 A# 3 -02 -06
104 A# 3 -02 +11
105 A# 3 -02 +28
106 A# 3 -02 +44
201 A# 4 +10 -48
202 A# 4 +10 -40
203 A# 4 +10 -31
204 A# 4 +10 -23
205 A# 4 +10 -14
206 A# 4 +10 -06
207 A# 4 +10 +03
208 A# 4 +10 +11
209 A# 4 +10 +19
210 A# 4 +10 +28
211 A# 4 +10 +36
212 A# 4 +10 +44
To change the B.P.M. for a Phrase Loop Waveform in a Rhythm Set, look up
“key” and “f.t.” (Fine Tune) in the table, and make the necessary settings.
107
108
109
110
111
112
113
114
115
116
117
118
119
B
B
B
B
B
B
C
C
C
C
C
C
C
3
3
3
3
3
3
4
4
4
4
4
4
4
-01 -40
-01 -24
-01 -08
-01 +08
-01 +24
-01 +39
00 -45
00 -30
00 -15
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
C
C
C
C
C
C
C
C
C
C
4
4
4
4
4
4
4
4
4
4
4
4
4
5
5
5
5
5
5
5
5
5
5
5
5
5
+11 -48
+11 -40
+11 -32
+11 -24
+11 -16
+11 -08
+11 00
+11 +08
+11 +16
+11 +24
+11 +32
+11 +39
+11 +47
+12 -45
+12 -38
+12 -30
+12 -23
+12 -15
+12 -07
+12 00
+12 +07
+12 +15
+12 +22
+12 +30
+12 +37
+12 +44
00
00
00 +15
00 +30
00 +44
120 C# 4 +01 -41
121 C# 4 +01 -27
122 C# 4 +01 -13
123 C# 4 +01 +01
124 C# 4 +01 +15
125 C# 4 +01 +29
126 C# 4 +01 +43
127
128
129
130
131
132
133
134
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
+02 -43
+02 -30
+02 -16
+02 -03
+02 +11
+02 +24
+02 +37
+02 +50
135 D# 4 +03 -37
136 D# 4 +03 -25
137 D# 4 +03 -12
138 D# 4 +03 +01
139 D# 4 +03 +13
140 D# 4 +03 +26
239 C# 5 +13 -49
240 C# 5 +13 -41
1 7 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
O rig in a l B.P.M. 1 3 2
O rig in a l B.P.M. 1 3 8
O rig in a l B.P.M. 1 2 0
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
41
F
2
-19 +41
141 D# 4 +03 -21
142 D# 4 +03 -09
143 D# 4 +03 +04
144 D# 4 +03 +16
145 D# 4 +03 +28
146 D# 4 +03 +40
41
42
43
44
45
E
2
2
2
2
2
-20 -24
-20 +18
-19 -42
-19 -02
-19 +37
141 C# 4 +01 +14
142 C# 4 +01 +26
143 C# 4 +01 +39
41 D# 2 -21 -01
42 D# 2 -21 +41
141
142
C
4
4
00 +37
00 +49
42 F# 2 -18 -17
43 F# 2 -18 +23
E
F
F
F
C
43
44
45
46
47
E
E
F
F
F
2
2
2
2
2
-20 -19
-20 +21
-19 -40
-19 -02
-19 +35
143 C# 4 +01 -38
144 C# 4 +01 -26
145 C# 4 +01 -14
146 C# 4 +01 -02
147 C# 4 +01 +09
148 C# 4 +01 +21
149 C# 4 +01 +33
150 C# 4 +01 +44
44
45
46
G
G
G
2
2
2
-17 -37
-17 +02
-17 +40
144
145
146
147
148
149
150
151
152
D
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
4
+02 -49
+02 -37
+02 -25
+02 -14
+02 -02
+02 +10
+02 +21
+02 +33
+02 +44
46 F# 2 -18 -25
47 F# 2 -18 +12
48 F# 2 -18 +49
49
50
51 G# 2 -16 -46
52 G# 2 -16 -13
53 G# 2 -16 +20
54
55
56
57
58 A# 2 -14 -24
59 A# 2 -14 +06
60 A# 2 -14 +35
61
62
63
64
65
66
67
68 C# 3 -11 -48
69 C# 3 -11 -23
70 C# 3 -11 +02
71 C# 3 -11 +26
72
73
74
75
76
77 D# 3 -09 -33
78 D# 3 -09 -11
79 D# 3 -09 +11
80 D# 3 -09 +33
81
82
83
84
85
86
87
88
89
90
91 F# 3 -06 -44
92 F# 3 -06 -25
93 F# 3 -06 -06
94 F# 3 -06 +12
95 F# 3 -06 +31
96 F# 3 -06 +49
47 G# 2 -16 -23
48 G# 2 -16 +14
49 G# 2 -16 +49
50
51
52 A# 2 -14 -48
53 A# 2 -14 -15
54 A# 2 -14 +18
55 A# 2 -14 +49
56
57
58
59
60
61
62 C# 3 -11 -43
63 C# 3 -11 -16
64 C# 3 -11 +12
65 C# 3 -11 +39
66
67
68
69
70 D# 3 -09 -33
71 D# 3 -09 -09
72 D# 3 -09 +16
73 D# 3 -09 +40
74
75
76
77
78
79
80
81
82
83 F# 3 -06 -38
84 F# 3 -06 -17
85 F# 3 -06 +03
86 F# 3 -06 +23
87 F# 3 -06 +43
88
89
90
91
92
93 G# 3 -04 -41
94 G# 3 -04 -23
95 G# 3 -04 -04
96 G# 3 -04 +14
97 G# 3 -04 +32
98 G# 3 -04 +49
99
100
101
102
103
104 A# 3 -02 -48
105 A# 3 -02 -31
106 A# 3 -02 -15
107 A# 3 -02 +01
108 A# 3 -02 +18
109 A# 3 -02 +34
110 A# 3 -02 +49
111
112
113
114
115
116
117
118
119
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -49
+04 -37
+04 -25
+04 -14
+04 -02
+04 +09
+04 +21
+04 +32
+04 +43
+05 -46
+05 -35
+05 -24
+05 -13
+05 -02
+05 +09
+05 +20
+05 +30
+05 +41
48 F# 2 -18 -28
49 F# 2 -18 +07
50 F# 2 -18 +42
G
G
2
2
-17 -16
-17 +19
A
A
2
2
-15 -16
-15 +19
51
52
53
G
G
G
2
2
2
-17 -23
-17 +10
-17 +43
151
152
153
154
155
156
157
158
159
D
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
4
+02 -44
+02 -33
+02 -21
+02 -10
+02 +01
+02 +12
+02 +23
+02 +34
+02 +45
153 D# 4 +03 -44
154 D# 4 +03 -33
155 D# 4 +03 -22
156 D# 4 +03 -11
157 D# 4 +03 00
158 D# 4 +03 +11
159 D# 4 +03 +22
160 D# 4 +03 +33
161 D# 4 +03 +44
A
A
A
A
2
2
2
2
-15 -47
-15 -16
-15 +16
-15 +46
54 G# 2 -16 -24
55 G# 2 -16 +07
56 G# 2 -16 +39
B
B
B
C
C
C
2
2
2
3
3
3
-13 -19
-13 +11
-13 +41
-12 -29
-12 00
-12 +29
57
58
59
A
A
A
2
2
2
-15 -31
-15 -01
-15 +29
60 A# 2 -14 -42
61 A# 2 -14 -13
62 A# 2 -14 +15
63 A# 2 -14 +43
160 D# 4 +03 -44
161 D# 4 +03 -33
162 D# 4 +03 -22
163 D# 4 +03 -12
164 D# 4 +03 -01
165 D# 4 +03 +09
166 D# 4 +03 +20
167 D# 4 +03 +30
168 D# 4 +03 +41
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190 F# 4 +06 -46
191 F# 4 +06 -37
192 F# 4 +06 -28
193 F# 4 +06 -19
194 F# 4 +06 -10
195 F# 4 +06 -01
196 F# 4 +06 +07
197 F# 4 +06 +16
198 F# 4 +06 +25
199 F# 4 +06 +34
200 F# 4 +06 +42
201
202
203
204
205
206
207
208
209
210
211
212
B
B
B
B
C
C
C
2
2
2
2
3
3
3
-13 -36
-13 -08
-13 +19
-13 +47
-12 -26
-12 00
-12 +26
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -45
+04 -35
+04 -24
+04 -14
+04 -03
+04 +07
+04 +18
+04 +28
+04 +38
+04 +48
+05 -42
+05 -32
+05 -22
+05 -12
+05 -02
+05 +08
+05 +18
+05 +27
+05 +37
+05 +47
64
65
66
67
68
69
70
71
B
B
B
B
C
C
C
C
2
2
2
2
3
3
3
3
-13 -30
-13 -03
-13 +23
-13 +49
-12 -25
-12 00
-12 +25
-12 +49
165 F# 4 +06 -49
166 F# 4 +06 -38
167 F# 4 +06 -28
168 F# 4 +06 -17
169 F# 4 +06 -07
170 F# 4 +06 +03
171 F# 4 +06 +13
172 F# 4 +06 +23
173 F# 4 +06 +33
174 F# 4 +06 +43
D
D
D
D
3
3
3
3
-10 -35
-10 -09
-10 +17
-10 +42
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -49
+04 -39
+04 -29
+04 -19
+04 -09
+04 +01
+04 +11
+04 +21
+04 +31
+04 +41
+05 -50
+05 -40
+05 -30
+05 -21
+05 -11
+05 -02
+05 +07
+05 +17
+05 +26
+05 +35
+05 +44
D
D
D
D
D
3
3
3
3
3
-10 -49
-10 -25
-10 -02
-10 +21
-10 +44
72 C# 3 -11 -26
73 C# 3 -11 -02
74 C# 3 -11 +21
75 C# 3 -11 +44
E
E
E
E
F
F
F
F
F
3
3
3
3
3
3
3
3
3
-08 -37
-08 -14
-08 +09
-08 +32
-07 -46
-07 -24
-07 -02
-07 +20
-07 +41
175
176
177
178
179
180
181
182
183
184
185
G
G
G
G
G
G
G
G
G
G
G
4
4
4
4
4
4
4
4
4
4
4
+07 -47
+07 -37
+07 -27
+07 -17
+07 -08
+07 +02
+07 +12
+07 +21
+07 +31
+07 +40
+07 +49
76
77
78
79
D
D
D
D
3
3
3
3
-10 -33
-10 -10
-10 +12
-10 +34
80 D# 3 -09 -44
81 D# 3 -09 -22
82 D# 3 -09 -01
83 D# 3 -09 +20
84 D# 3 -09 +41
E
E
E
E
E
F
F
F
F
F
3
3
3
3
3
3
3
3
3
3
-08 -45
-08 -24
-08 -03
-08 +18
-08 +38
-07 -42
-07 -22
-07 -02
-07 +18
-07 +37
182 F# 4 +06 -44
183 F# 4 +06 -34
184 F# 4 +06 -25
185 F# 4 +06 -16
186 F# 4 +06 -06
187 F# 4 +06 +03
188 F# 4 +06 +12
189 F# 4 +06 +21
190 F# 4 +06 +31
191 F# 4 +06 +40
192 F# 4 +06 +49
85
86
87
88
89
90
91
92
93
94
E
E
E
E
E
F
F
F
F
F
3
3
3
3
3
3
3
3
3
3
-08 -39
-08 -19
-08 +01
-08 +21
-08 +41
-07 -40
-07 -21
-07 -02
-07 +17
-07 +35
186 G# 4 +08 -41
187 G# 4 +08 -32
188 G# 4 +08 -23
189 G# 4 +08 -14
190 G# 4 +08 -04
191 G# 4 +08 +05
192 G# 4 +08 +14
193 G# 4 +08 +23
194 G# 4 +08 +32
195 G# 4 +08 +41
196 G# 4 +08 +49
G
G
G
G
G
3
3
3
3
3
-05 -37
-05 -17
-05 +02
-05 +21
-05 +40
193
194
195
196
197
198
199
200
201
202
203
G
G
G
G
G
G
G
G
G
G
G
4
4
4
4
4
4
4
4
4
4
4
+07 -42
+07 -33
+07 -24
+07 -16
+07 -07
+07 +02
+07 +11
+07 +19
+07 +28
+07 +37
+07 +45
95 F# 3 -06 -46
96 F# 3 -06 -28
97 F# 3 -06 -10
98 F# 3 -06 +07
99 F# 3 -06 +25
100 F# 3 -06 +42
197
198
199
200
201
202
203
204
205
206
207
A
A
A
A
A
A
A
A
A
A
A
4
4
4
4
4
4
4
4
4
4
4
+09 -42
+09 -33
+09 -24
+09 -16
+09 -07
+09 +02
+09 +10
+09 +19
+09 +27
+09 +36
+09 +44
97
98
99
100
101
G
G
G
G
G
3
3
3
3
3
-05 -33
-05 -16
-05 +02
-05 +19
-05 +37
A
A
A
A
A
3
3
3
3
3
-03 -33
-03 -16
-03 +02
-03 +19
-03 +36
101
102
103
104
105
106
G
G
G
G
G
G
3
3
3
3
3
3
-05 -40
-05 -23
-05 -06
-05 +10
-05 +27
-05 +43
G
G
G
G
G
G
G
G
G
G
G
G
4
4
4
4
4
4
4
4
4
4
4
4
+07 -49
+07 -40
+07 -32
+07 -23
+07 -15
+07 -06
+07 +02
+07 +10
+07 +19
+07 +27
+07 +35
+07 +43
102 G# 3 -04 -46
103 G# 3 -04 -29
104 G# 3 -04 -13
105 G# 3 -04 +04
106 G# 3 -04 +20
107 G# 3 -04 +36
108
109
110
111
112
113
114
115 A# 3 -02 -39
116 A# 3 -02 -24
117 A# 3 -02 -09
118 A# 3 -02 +06
119 A# 3 -02 +21
120 A# 3 -02 +35
121 A# 3 -02 +49
122
123
124
125
126
127
128
129
130
131
204 G# 4 +08 -46
205 G# 4 +08 -38
206 G# 4 +08 -29
207 G# 4 +08 -21
208 G# 4 +08 -13
209 G# 4 +08 -04
210 G# 4 +08 +04
211 G# 4 +08 +12
212 G# 4 +08 +20
213 G# 4 +08 +28
214 G# 4 +08 +36
215 G# 4 +08 +45
107 G# 3 -04 -40
108 G# 3 -04 -24
109 G# 3 -04 -08
110 G# 3 -04 +07
111 G# 3 -04 +23
112 G# 3 -04 +39
208 A# 4 +10 -48
209 A# 4 +10 -39
210 A# 4 +10 -31
211 A# 4 +10 -23
212 A# 4 +10 -15
213 A# 4 +10 -07
214 A# 4 +10 +01
215 A# 4 +10 +10
216 A# 4 +10 +18
217 A# 4 +10 +26
218 A# 4 +10 +34
219 A# 4 +10 +41
220 A# 4 +10 +49
A
A
A
A
A
A
A
3
3
3
3
3
3
3
-03 -47
-03 -31
-03 -16
-03 00
-03 +16
-03 +31
-03 +46
B
B
B
B
B
B
C
C
C
C
C
C
C
3
3
3
3
3
3
4
4
4
4
4
4
4
-01 -35
-01 -19
-01 -04
-01 +11
-01 +26
-01 +41
00 -44
00 -29
00 -14
113
114
115
116
117
118
119
A
A
A
A
A
A
A
3
3
3
3
3
3
3
-03 -46
-03 -31
-03 -16
-03 -01
-03 +14
-03 +29
-03 +44
213 G# 4 +08 -49
214 G# 4 +08 -40
215 G# 4 +08 -32
216 G# 4 +08 -24
217 G# 4 +08 -16
218 G# 4 +08 -08
219 G# 4 +08 00
220 G# 4 +08 +07
221 G# 4 +08 +15
222 G# 4 +08 +23
223 G# 4 +08 +31
224 G# 4 +08 +39
225 G# 4 +08 +46
216
217
218
219
220
221
222
223
224
225
226
227
228
A
A
A
A
A
A
A
A
A
A
A
A
A
4
4
4
4
4
4
4
4
4
4
4
4
4
+09 -47
+09 -39
+09 -31
+09 -24
+09 -16
+09 -08
+09 00
+09 +08
+09 +16
+09 +23
+09 +31
+09 +39
+09 +46
120 A# 3 -02 -42
121 A# 3 -02 -28
122 A# 3 -02 -13
123 A# 3 -02 +01
124 A# 3 -02 +15
125 A# 3 -02 +29
126 A# 3 -02 +43
120
121
122
123
00
00
00 +14
00 +29
00 +43
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
B
B
B
B
B
B
B
B
B
B
B
B
B
C
C
C
C
C
C
C
4
4
4
4
4
4
4
4
4
4
4
4
4
5
5
5
5
5
5
5
+11 -43
+11 -35
+11 -27
+11 -19
+11 -12
+11 -04
+11 +04
+11 +11
+11 +19
+11 +26
+11 +34
+11 +41
+11 +49
+12 -44
+12 -36
+12 -29
+12 -22
+12 -14
+12 -07
+12 00
B
B
B
B
B
B
B
C
C
C
3
3
3
3
3
3
3
4
4
4
-01 -36
-01 -22
-01 -08
-01 +06
-01 +19
-01 +33
-01 +47
00 -40
00 -26
00 -13
124 C# 4 +01 -43
125 C# 4 +01 -29
126 C# 4 +01 -16
127 C# 4 +01 -02
128 C# 4 +01 +12
129 C# 4 +01 +25
130 C# 4 +01 +39
226
227
228
229
230
231
232
233
234
235
236
237
238
A
A
A
A
A
A
A
A
A
A
A
A
A
4
4
4
4
4
4
4
4
4
4
4
4
4
+09 -46
+09 -38
+09 -31
+09 -23
+09 -16
+09 -08
+09 -01
+09 +07
+09 +14
+09 +22
+09 +29
+09 +36
+09 +44
127
128
129
130
131
132
133
134
135
136
137
B
B
B
B
B
B
B
B
C
C
C
3
3
3
3
3
3
3
3
4
4
4
-01 -44
-01 -30
-01 -17
-01 -03
-01 +10
-01 +23
-01 +36
-01 +49
00 -38
00 -25
00 -13
229 A# 4 +10 -46
230 A# 4 +10 -39
231 A# 4 +10 -31
232 A# 4 +10 -24
233 A# 4 +10 -16
234 A# 4 +10 -09
235 A# 4 +10 -01
236 A# 4 +10 +06
237 A# 4 +10 +13
238 A# 4 +10 +21
239 A# 4 +10 +28
240 A# 4 +10 +35
131
132
133
134
135
136
137
138
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
+02 -48
+02 -35
+02 -22
+02 -09
+02 +04
+02 +17
+02 +29
+02 +42
132
133
134
135
C
C
C
C
4
4
4
4
00
00
00 +13
00 +26
00 +39
136 C# 4 +01 -48
137 C# 4 +01 -36
138 C# 4 +01 -23
139 C# 4 +01 -11
140 C# 4 +01 +02
138
139
140
C
C
C
4
4
4
00
00
139 D# 4 +03 -46
140 D# 4 +03 -33
00 +12
00 +25
239 A# 4 +10 -49
240 A# 4 +10 -42
1 7 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa tch List
O rig in a l B.P.M. 1 6 0
O rig in a l B.P.M. 1 8 4
O rig in a l B.P.M. 1 4 4
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
dst
key
c.t
f.t
41
D
2
-22 +25
141
142
143
144
145
146
147
148
C
4
4
4
4
4
4
4
4
00 -36
00 -24
00 -12
41
C
2
-24 +43
141 A# 3 -02 -19
142 A# 3 -02 -07
143 A# 3 -02 +06
144 A# 3 -02 +18
145 A# 3 -02 +30
146 A# 3 -02 +41
41 A# 1 -26 +01
42 A# 1 -26 +43
141
G
3
-05 +39
42 D# 2 -21 -33
43 D# 2 -21 +08
C
C
42 C# 2 -23 -16
43 C# 2 -23 +25
142 G# 3 -04 -49
143 G# 3 -04 -36
144 G# 3 -04 -24
145 G# 3 -04 -12
146 G# 3 -04 00
147 G# 3 -04 +11
148 G# 3 -04 +23
149 G# 3 -04 +35
150 G# 3 -04 +46
43
44
45
46
47
B
B
C
C
C
1
1
2
2
2
-25 -17
-25 +23
-24 -38
-24 00
-24 +37
44 D# 2
21 +47
-20 -14
-20 +24
-19 -38
-19 -02
-19 +34
44
45
46
D
D
D
2
2
2
-22 -35
-22 +04
-22 +42
C
C
C
C
C
00
00
45
46
47
48
49
E
E
F
F
F
2
2
2
2
2
00 +12
00 +24
00 +36
00 +47
47 D# 2 -21 -21
48 D# 2 -21 +16
147
148
149
150
151
152
153
154
155
156
157
158
159
B
B
B
B
B
B
B
B
B
C
C
C
C
3
3
3
3
3
3
3
3
3
4
4
4
4
-01 -47
-01 -35
-01 -23
-01 -12
-01 00
-01 +11
-01 +23
-01 +34
-01 +45
00 -44
00 -33
00 -22
00 -11
48 C# 2 -23 -26
49 C# 2 -23 +09
50 C# 2 -23 +44
149 C# 4 +01 -41
150 C# 4 +01 -29
151 C# 4 +01 -18
152 C# 4 +01 -06
153 C# 4 +01 +05
154 C# 4 +01 +16
155 C# 4 +01 +27
156 C# 4 +01 +39
157 C# 4 +01 +50
158
159
160
161
162
163
164
165
166
167 D# 4 +03 -43
168 D# 4 +03 -33
169 D# 4 +03 -23
170 D# 4 +03 -13
171 D# 4 +03 -02
172 D# 4 +03 +08
173 D# 4 +03 +18
174 D# 4 +03 +28
175 D# 4 +03 +38
176 D# 4 +03 +47
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198 F# 4 +06 -49
199 F# 4 +06 -40
200 F# 4 +06 -31
201 F# 4 +06 -23
202 F# 4 +06 -14
203 F# 4 +06 -06
204 F# 4 +06 +03
205 F# 4 +06 +11
206 F# 4 +06 +20
207 F# 4 +06 +28
208 F# 4 +06 +37
209 F# 4 +06 +45
210
211
212
213
214
215
216
217
218
219
220
221
222
223 G# 4 +08 -43
224 G# 4 +08 -35
225 G# 4 +08 -27
226 G# 4 +08 -20
227 G# 4 +08 -12
228 G# 4 +08 -04
229 G# 4 +08 +03
230 G# 4 +08 +11
231 G# 4 +08 +18
232 G# 4 +08 +26
233 G# 4 +08 +33
234 G# 4 +08 +41
235 G# 4 +08 +48
49
50
51
52
53
54
E
E
E
F
F
F
2
2
2
2
2
2
-20 -49
-20 -14
-20 +21
-19 -46
-19 -13
-19 +20
50 F# 2 -18 -31
51 F# 2 -18 +03
52 F# 2 -18 +37
53
54
55
56 G# 2 -16 -35
57 G# 2 -16 -04
58 G# 2 -16 +26
59
60
61
62
63 A# 2 -14 -31
64 A# 2 -14 -04
65 A# 2 -14 +23
66 A# 2 -14 +49
67
68
69
70
71
72
73
74
75 C# 3 -11 -29
76 C# 3 -11 -06
77 C# 3 -11 +16
78 C# 3 -11 +39
79
80
81
82
83
84 D# 3 -09 -33
85 D# 3 -09 -13
86 D# 3 -09 +08
87 D# 3 -09 +28
88 D# 3 -09 +47
89
90
91
92
93
94
95
96
97
98
99 F# 3 -06 -49
100 F# 3 -06 -31
101 F# 3 -06 -14
102 F# 3 -06 +03
103 F# 3 -06 +20
104 F# 3 -06 +37
105
106
107
108
109
110
111
112 G# 3 -04 -35
113 G# 3 -04 -20
114 G# 3 -04 -04
115 G# 3 -04 +11
116 G# 3 -04 +26
117 G# 3 -04 +41
118
119
120
121
122
123
124
125 A# 3 -02 -45
126 A# 3 -02 -31
127 A# 3 -02 -17
128 A# 3 -02 -04
129 A# 3 -02 +10
130 A# 3 -02 +23
131 A# 3 -02 +36
132 A# 3 -02 +49
133
134
135
136
137
138
139
140
51
52
53
D
D
D
2
2
2
-22 -21
-22 +12
-22 +45
151
152
153
154
155
156
157
158
159
A
A
A
A
A
A
A
A
A
3
3
3
3
3
3
3
3
3
-03 -42
-03 -31
-03 -19
-03 -08
-03 +03
-03 +14
-03 +25
-03 +36
-03 +47
G
G
G
2
2
2
-17 -30
-17 +02
-17 +34
54 D# 2 -21 -22
55 D# 2 -21 +09
56 D# 2 -21 +41
55 F# 2 -18 -49
56 F# 2 -18 -17
57 F# 2 -18 +13
58 F# 2 -18 +43
59
60
61
62 G# 2 -16 -41
63 G# 2 -16 -14
64 G# 2 -16 +14
65 G# 2 -16 +41
66
67
68
69
70 A# 2 -14 -31
71 A# 2 -14 -07
72 A# 2 -14 +18
73 A# 2 -14 +41
74
75
76
77
78
79
80
81
82
83 C# 3 -11 -36
84 C# 3 -11 -16
85 C# 3 -11 +05
86 C# 3 -11 +25
87 C# 3 -11 +45
88
89
90
91
92
93 D# 3 -09 -39
94 D# 3 -09 -21
95 D# 3 -09 -02
96 D# 3 -09 +16
97 D# 3 -09 +34
98
99
100
101
102
103
104
105
106
107
108
109
110 F# 3 -06 -49
111 F# 3 -06 -33
112 F# 3 -06 -17
113 F# 3 -06 -02
114 F# 3 -06 +13
115 F# 3 -06 +28
116 F# 3 -06 +43
117
118
119
120
121
122
123
124 G# 3 -04 -41
125 G# 3 -04 -27
126 G# 3 -04 -14
127 G# 3 -04 00
128 G# 3 -04 +14
129 G# 3 -04 +27
130 G# 3 -04 +41
57
58
59
60
61
62
63
E
E
E
F
F
F
F
2
2
2
2
2
2
2
-20 -29
-20 +01
-20 +31
-19 -40
-19 -11
-19 +17
-19 +44
D
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
4
+02 -39
+02 -28
+02 -18
+02 -07
+02 +04
+02 +15
+02 +25
+02 +36
+02 +46
A
A
A
A
2
2
2
2
-15 -45
-15 -16
-15 +13
-15 +41
G
G
G
2
2
2
-17 -27
-17 +02
-17 +31
160 A# 3 -02 -42
161 A# 3 -02 -31
162 A# 3 -02 -20
163 A# 3 -02 -10
164 A# 3 -02 +01
165 A# 3 -02 +11
166 A# 3 -02 +22
167 A# 3 -02 +32
168 A# 3 -02 +43
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
160
161
162
163
164
C
C
C
C
C
4
4
4
4
4
00
00
00 +11
00 +22
00 +32
00 +43
64 F# 2 -18 -28
65 F# 2 -18 -01
66 F# 2 -18 +25
165 C# 4 +01 -47
166 C# 4 +01 -36
167 C# 4 +01 -26
168 C# 4 +01 -16
169 C# 4 +01 -05
170 C# 4 +01 +05
171 C# 4 +01 +15
172 C# 4 +01 +25
173 C# 4 +01 +35
174 C# 4 +01 +45
A
A
A
A
2
2
2
2
-15 -33
-15 -07
-15 +19
-15 +44
B
B
B
C
C
C
C
C
2
2
2
3
3
3
3
3
-13 -25
-13 +01
-13 +26
-12 -49
-12 -24
-12 00
-12 +24
-12 +47
67
68
69
70
G
G
G
G
2
2
2
2
-17 -49
-17 -23
-17 +02
-17 +27
B
B
B
B
B
B
B
B
B
B
C
C
C
C
C
3
3
3
3
3
3
3
3
3
3
4
4
4
4
4
-01 -47
-01 -37
-01 -27
-01 -17
-01 -07
-01 +03
-01 +13
-01 +23
-01 +33
-01 +43
00 -48
00 -38
00 -28
00 -19
00 -09
71 G# 2 -16 -49
72 G# 2 -16 -24
73 G# 2 -16 00
74 G# 2 -16 +23
75 G# 2 -16 +46
B
B
B
B
C
C
C
C
C
2
2
2
2
3
3
3
3
3
-13 -35
-13 -12
-13 +11
-13 +34
-12 -44
-12 -22
-12 00
-12 +22
-12 +43
175
176
177
178
179
180
181
182
183
184
D
D
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
4
4
+02 -45
+02 -35
+02 -25
+02 -15
+02 -06
+02 +04
+02 +14
+02 +23
+02 +33
+02 +42
76
77
78
79
A
A
A
A
2
2
2
2
-15 -31
-15 -08
-15 +14
-15 +36
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -43
+04 -33
+04 -23
+04 -14
+04 -04
+04 +05
+04 +15
+04 +24
+04 +34
+04 +43
+05 -48
+05 -38
+05 -29
+05 -20
+05 -11
+05 -02
+05 +07
+05 +16
+05 +25
+05 +34
+05 +43
D
D
D
D
D
3
3
3
3
3
-10 -39
-10 -18
-10 +04
-10 +25
-10 +46
80 A# 2 -14 -42
81 A# 2 -14 -20
82 A# 2 -14 +01
83 A# 2 -14 +22
84 A# 2 -14 +43
184
185
186
187
188
189
C
C
C
C
C
C
4
4
4
4
4
4
00
00
185 D# 4 +03 -49
186 D# 4 +03 -39
187 D# 4 +03 -30
188 D# 4 +03 -21
189 D# 4 +03 -12
190 D# 4 +03 -02
191 D# 4 +03 +07
192 D# 4 +03 +16
193 D# 4 +03 +25
194 D# 4 +03 +34
195 D# 4 +03 +42
85
86
87
88
89
90
91
92
93
94
B
B
B
B
B
C
C
C
C
C
2
2
2
2
2
3
3
3
3
3
-13 -37
-13 -17
-13 +03
-13 +23
-13 +43
-12 -38
-12 -19
-12 00
-12 +19
-12 +37
00 +09
00 +19
00 +28
00 +37
00 +46
D
D
D
D
D
3
3
3
3
3
-10 -35
-10 -15
-10 +04
-10 +23
-10 +42
E
E
E
E
E
F
F
F
F
F
3
3
3
3
3
3
3
3
3
3
-08 -33
-08 -14
-08 +05
-08 +24
-08 +43
-07 -38
-07 -20
-07 -02
-07 +16
-07 +34
190 C# 4 +01 -44
191 C# 4 +01 -35
192 C# 4 +01 -26
193 C# 4 +01 -17
194 C# 4 +01 -08
195 C# 4 +01 +01
196 C# 4 +01 +09
197 C# 4 +01 +18
198 C# 4 +01 +27
199 C# 4 +01 +36
200 C# 4 +01 +44
201
202
203
204
205
206
207
208
209
210
211
212
213 D# 4 +03 -47
214 D# 4 +03 -39
215 D# 4 +03 -30
216 D# 4 +03 -22
217 D# 4 +03 -14
218 D# 4 +03 -06
219 D# 4 +03 +01
220 D# 4 +03 +09
221 D# 4 +03 +17
222 D# 4 +03 +25
223 D# 4 +03 +33
224 D# 4 +03 +41
225 D# 4 +03 +48
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
95 C# 3 -11 -44
96 C# 3 -11 -26
97 C# 3 -11 -08
98 C# 3 -11 +09
99 C# 3 -11 +27
100 C# 3 -11 +44
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
E
E
E
E
E
E
E
E
E
E
E
E
F
F
F
F
F
F
F
F
F
F
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -49
+04 -40
+04 -31
+04 -22
+04 -14
+04 -05
+04 +04
+04 +12
+04 +21
+04 +29
+04 +37
+04 +46
+05 -46
+05 -37
+05 -29
+05 -21
+05 -13
+05 -05
+05 +03
+05 +12
+05 +20
+05 +28
+05 +36
+05 +43
E
E
E
E
E
E
F
F
F
F
F
F
3
3
3
3
3
3
3
3
3
3
3
3
-08 -49
-08 -31
-08 -14
-08 +04
-08 +21
-08 +37
-07 -46
-07 -29
-07 -13
-07 +03
-07 +20
-07 +36
101
102
103
104
105
106
D
D
D
D
D
D
3
3
3
3
3
3
-10 -38
-10 -21
-10 -04
-10 +12
-10 +29
-10 +45
D
D
D
D
D
D
D
D
D
D
D
D
4
4
4
4
4
4
4
4
4
4
4
4
+02 -47
+02 -38
+02 -30
+02 -21
+02 -13
+02 -04
+02 +04
+02 +12
+02 +21
+02 +29
+02 +37
+02 +45
G
G
G
G
G
G
G
3
3
3
3
3
3
3
-05 -47
-05 -30
-05 -14
-05 +02
-05 +18
-05 +34
-05 +49
107 D# 3 -09 -39
108 D# 3 -09 -22
109 D# 3 -09 -06
110 D# 3 -09 +09
111 D# 3 -09 +25
112 D# 3 -09 +41
G
G
G
G
G
G
G
G
G
G
G
G
G
4
4
4
4
4
4
4
4
4
4
4
4
4
+07 -47
+07 -39
+07 -30
+07 -22
+07 -14
+07 -06
+07 +02
+07 +10
+07 +18
+07 +26
+07 +34
+07 +42
+07 +49
113
114
115
116
117
118
119
120
121
122
123
124
125
126
E
E
E
E
E
E
E
F
F
F
F
F
F
F
3
3
3
3
3
3
3
3
3
3
3
3
3
3
-08 -44
-08 -29
-08 -14
-08 +01
-08 +16
-08 +31
-08 +46
-07 -40
-07 -26
-07 -11
-07 +03
-07 +17
-07 +31
-07 +44
G
G
G
G
G
G
G
3
3
3
3
3
3
3
-05 -42
-05 -27
-05 -13
-05 +02
-05 +16
-05 +31
-05 +45
A
A
A
A
A
A
A
3
3
3
3
3
3
3
-03 -45
-03 -30
-03 -16
-03 -01
-03 +13
-03 +27
-03 +41
220 F# 4 +06 -49
221 F# 4 +06 -41
222 F# 4 +06 -33
223 F# 4 +06 -25
224 F# 4 +06 -17
225 F# 4 +06 -10
226 F# 4 +06 -02
227 F# 4 +06 +06
228 F# 4 +06 +13
229 F# 4 +06 +21
230 F# 4 +06 +28
231 F# 4 +06 +36
232 F# 4 +06 +43
E
E
E
E
E
E
E
E
E
E
E
E
E
F
F
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
+04 -44
+04 -36
+04 -29
+04 -21
+04 -14
+04 -06
+04 +01
+04 +09
+04 +16
+04 +24
+04 +31
+04 +38
+04 +46
+05 -47
+05 -40
127 F# 3 -06 -42
128 F# 3 -06 -28
129 F# 3 -06 -15
130 F# 3 -06 -01
131 F# 3 -06 +12
132 F# 3 -06 +25
133 F# 3 -06 +38
131
132
133
134
135
136
137
138
A
A
A
A
A
A
A
A
3
3
3
3
3
3
3
3
-03 -46
-03 -33
-03 -20
-03 -07
-03 +06
-03 +19
-03 +31
-03 +44
B
B
B
B
B
B
B
C
3
3
3
3
3
3
3
4
-01 -38
-01 -25
-01 -12
-01 +01
-01 +14
-01 +26
-01 +39
00 -49
233
234
235
236
237
238
239
240
G
G
G
G
G
G
G
G
4
4
4
4
4
4
4
4
+07 -49
+07 -42
+07 -34
+07 -27
+07 -20
+07 -13
+07 -05
+07 +02
134
135
136
137
138
139
140
G
G
G
G
G
G
G
3
3
3
3
3
3
3
-05 -49
-05 -36
-05 -23
-05 -11
-05 +02
-05 +14
-05 +27
236
237
238
239
240
A
A
A
A
A
4
4
4
4
4
+09 -45
+09 -37
+09 -30
+09 -23
+09 -16
139 A# 3 -02 -44
140 A# 3 -02 -31
1 7 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Rh y th m Se t List
USER (Use r)
PR-A (Pre se t A Gro u p )
PR-B (Pre se t B Gro u p )
001
002
001
002
001
002
HouseDrumSet 1
JazzDrumSet1
PopDrumSet 1
PopDrumSet 2
PowerDrumSet
RaveDrumSet
Note No.
35
Scratch 1
808 SN
Hybrid Kick2
Hybrid Kick1
Side Stick
Ballad SN
Brush Slap
Brush Swish
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Hi
Op HiHat
Verb Kick
Hybrid Kick1
Side Stick
Natural SN2
808 Claps
SN Roll
Hybrid Kick1
Round Kick
Dry Stick
Verb Kick
Round Kick
Dry Stick
808 Kick
Round Kick
Side Stick
808 SN
36
37
38
39
40
C2
Dry Stick
808 SN
Piccolo SN
Hand Claps
Piccolo SN
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Piccolo SN
808 Claps
Natural SN2
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
808 Claps
808 SN
808 Claps
808 SN
808 Kick
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
808 Kick
41
42
606 HiHat Cl
808 SN
606 HiHat Cl
Tekno Hit
606 HiHat Cl
808 Kick
43
44
45
46
47
606 HiHat Cl
808 Kick
606 HiHat Op
808 SN
606 HiHat Op
Tekno Hit
808 Kick
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Lo
Verb Tom Hi
Crash 1
808 Kick
C3 48
50
Crash 1
Crash 1
49
51
808 SN
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 1
Verb Tom Hi
Ride 1
Tekno Hit
Voice Breath
MC500 Beep 1
MC500 Beep 2
R8 Click
Ride 2
52
REV Crash 1
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
53
54
56
58
Pizz
55
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
DIGI Bell 1
Rattles
57
Vibraslap
Ride 2
Vibraslap
Cowbell 1
Ride Bell 1
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cowbell 1
Ride Bell 1
Cga Mute Hi
Cga Mute Lo
Cga Slap
Vibraslap
Ride Bell 1
REV Tamb
2.2 Vibwave
Low Pink NZ
Kalimba
59
Ride 2
Ride 1
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Bongo Hi
Bongo Hi
C4 60
62
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
61
63
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Metal Wind
Lead Wave
Tin Wave
64
65
Timbale
Timbale
Timbale
Timbale
Timbale
Agogo
66
68
70
Agogo
Agogo
Agogo
Agogo
Agogo
Lite Kick
67
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Cabasa Cut
Maracas
Cabasa Up
Maracas
Cabasa Up
Maracas
Cabasa Up
Maracas
Cabasa Up
Maracas
Lite Kick
69
Agogo
71
Soft Pad B
Soft Pad A
Long Guiro
Long Guiro
Claves
Soft Pad B
Soft Pad A
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Cabasa Down
Cabasa Cut
808 Kick
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Gtr Harm A
Gtr Harm A
Piano Thump
Natural SN1
Hand Claps
Natural SN1
808 SN
C5 72
74
73
75
808 SN
DIGI Bell 1
808 SN
76
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
808 Kick
77
Spectrum
808 Kick
PowerChord B
Hybrid Kick2
PowerChord B
Gt.FretNoise
Banjo B
78
80
82
Cuica
Cuica
Cuica
Cuica
79
Open Triangl
Open Triangl
Cabasa Cut
Tambourine
Old Kick
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Spectrum
808 Kick
Open Triangl
Open Triangl
Maracas
81
Spectrum
808 Kick
83
Ice Rain
Slap Bass 1
Oboe mf A
Shakuhachi
Pizz
808 Kick
Wind Chimes
Claves
C6 84
86
Scratch 1
Piccolo SN
Scratch 3
White Noise
Synth Saw 1
Synth Pulse1
Back Hit
Feedbackwave
808 Kick
85
87
808 SN
Dry Tom Lo
Lite Kick
Dry Tom Lo
Lite Kick
Feedbackwave
Pop Voice
Pop Voice
Wind Agogo
Pop Voice
Wind Agogo
Op HiHat
Verb Tom Hi
Piccolo SN
Scratch 3
Syn Vox 1
Voice Aahs A
Voice Oohs2A
Pop Voice
Male Ooh A
Voice Breath
Org Vox C
Vox Noise
Vox Noise
Applause
88
Hybrid Kick2
Old Kick
Hybrid Kick2
Old Kick
89
Tin Wave
90
92
94
808 Kick
Pop Voice
Wind Agogo
Op HiHat
Spectrum
REV Steel DR
REV Tin Wave
REV PiccloSN
REV Crash 1
Metronome 2
R8 Click
91
Tekno Hit
Orch. Hit
Natural SN1
Natural SN2
SN Roll
93
Philly Hit
Anklungs
Anklungs
95
REV Back Hit
MC500 Beep 1
R8 Click
Natural SN2
Metronome 2
R8 Click
Op HiHat
Op HiHat
Metronome 2
R8 Click
Metronome 2
R8 Click
C7 96
98
R8 Click
97
MC500 Beep 2
Metronome 1
Metronome 1
Metronome 1
Metronome 1
Metronome 2
1 7 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Rh y th m Se t List
PR-C (Pre se t C Gro u p )
PR-D (GM Gro u p )
PR-E (Pre se t E Gro u p )
001
002
001
002
001
002
JazzDrumSet2
OrchDrumSet
GM Drum Set
BrushDrumSet
PowerDrmSet2
PowerRaveSet
Note No.
35
Round Kick
Old Kick
Old Kick
Verb Kick
Hybrid Kick1
Side Stick
Ballad SN
808 Claps
Piccolo SN
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Hi
Op HiHat
Hybrid Kick2
Hybrid Kick1
Side Stick
Brush Swish
Brush Slap
Brush Roll
Dry Tom Lo
Cl HiHat 1
Dry Tom Lo
Pedal HiHat
Dry Tom Hi
Op HiHat
Verb Kick
Round Kick
Dry Stick
Verb Kick
Round Kick
Dry Stick
Round Kick
Side Stick
Ballad SN
808 Claps
SN Roll
36
37
38
39
40
C2
Side Stick
Ballad SN
Hand Claps
SN Roll
Piccolo SN
808 Claps
SN Roll
Piccolo SN
808 Claps
Natural SN2
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
Verb Tom Lo
Cl HiHat 2
Dry Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
Timpani
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Lo
Op HiHat
41
42
Timpani
Timpani
43
44
45
46
47
Timpani
Timpani
Timpani
Dry Tom Lo
Verb Tom Hi
Crash 1
Timpani
Verb Tom Hi
Verb Tom Hi
Crash 1
Dry Tom Hi
Dry Tom Hi
Crash 1
Verb Tom Lo
Verb Tom Hi
Crash 1
Verb Tom Lo
Verb Tom Hi
Crash 1
Timpani
C3 48
50
Timpani
49
51
Dry Tom Hi
Ride 2
Timpani
Verb Tom Hi
Ride 2
Dry Tom Hi
Ride 2
Verb Tom Hi
Ride 1
Verb Tom Hi
Ride 1
Timpani
52
China Cym
Ride Bell 1
Tambourine
Crash 1
Timpani
China Cym
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
China Cym
Ride Bell 1
Tambourine
Crash 1
Timpani
53
Tambourine
Crash 1
54
56
58
55
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Crash 1
57
Vibraslap
Ride 1
Vibraslap
Ride 2
Vibraslap
Vibraslap
Vibraslap
59
Ride 2
Ride 2
Ride 2
Ride 1
Ride 1
Bongo Hi
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Bongo Hi
Cga Mute Hi
Cga Mute Lo
Cga Slap
Bongo Hi
Bongo Hi
C4 60
62
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
61
63
Cga Open Hi
Cga Open Lo
Timbale
64
65
Timbale
Timbale
Timbale
Timbale
Timbale
Timbale
66
68
70
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
67
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Cabasa Up
Maracas
Cabasa Up
Maracas
Cabasa Up
Maracas
Cabasa Up
Maracas
Cabasa Up
Maracas
Agogo
69
Maracas
71
Soft Pad A
Brush Swish
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
606 HiHat Cl
606 HiHat Cl
606 HiHat Op
Long Guiro
Claves
C5 72
74
73
75
76
Wood Block
Metronome 2
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Pizz
77
78
80
82
Cuica
Cuica
Cuica
Cuica
Cuica
Syn Vox 1
Voice Aahs A
Voice Oohs2A
Male Ooh A
Ice Rain
79
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Applause
Hybrid Kick2
Cl HiHat 1
Round Kick
Pedal HiHat
Natural SN2
Op HiHat
Brush Slap
Brush Swish
Brush Roll
SN Roll
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Open Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Open Triangl
Open Triangl
Maracas
81
83
Ice Rain
Wind Chimes
Claves
808 SN
C6 84
86
808 SN
85
87
808 SN
808 SN
Dry Tom Lo
Lite Kick
Dry Tom Lo
Lite Kick
Dry Tom Lo
Lite Kick
Verb Tom Hi
Piccolo SN
Scratch 3
Tin Wave
Spectrum
REV Steel DR
REV Tin Wave
REV PiccloSN
REV Crash 1
Metronome 2
R8 Click
Hand Claps
Voice Breath
Scratch 3
Tin Wave
Crash 1
88
Hybrid Kick2
Old Kick
Hybrid Kick2
Old Kick
Hybrid Kick2
Old Kick
89
90
92
94
Natural SN2
Natural SN1
Brush Swish
Brush Roll
Brush Slap
Metronome 2
R8 Click
808 Kick
808 Kick
91
Natural SN1
Natural SN2
808 SN
Natural SN1
Natural SN2
SN Roll
Ride Bell 1
REV Tin Wave
DIGI Bell 1
Metal Wind
Applause
93
95
Brush Slap
Brush Swish
Brush Roll
SN Roll
Brush Slap
Metronome 2
R8 Click
C7 96
98
R8 Click
97
Metronome 1
Metronome 1
Metronome 1
Metronome 1
1 7 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Rh y th m Se t List
XP-A (W AVE EXPAN SIO N A: Se ssio n )
001
002
003
004
005
006
007
008
SessionSet 1
SessionSet 2
SessionSet 3
SessionSet 4
SessionSet 5
SessionSet 6
SessionSet 7
Demo Drum
Note No.
35
Deep Kick 3
Mix Kick
Mix Kick
Deep Kick 3
TD7 Kick
Dance Kick 2
Dance Kick 3
909 Rim 2
909 Snr 2
909 Claps 2
808 Snr 2
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Op
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
Kick Ghost
Dance Kick 3
909 Rim 2
909 Snr 3
Dance Kick 3
Dance Kick 2
Mute Snr
Deep Kick 3
Mix Kick
Old Kick
Deep Kick 3
Side Stick
Loose Snr
HC2 Claps 1
Ring Snr
Hybrid Kick1
Side Stick
Loose Snr
TambrinMENU
Natural SN2
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Pedal HiHat
Verb Tom Hi
Op HiHat
36
37
38
39
40
C2
Side Stick
Solo Snr
Side Stick
Side Stick
Rap Snr
Jingle Snr
HC2 Claps 2
Tiny Snr 2
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Op
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
Solo Snr
HC2 Claps 1
90’s Snare
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
707 Claps
HC2 Claps 2
Talk Snr
707 Claps
House Snr
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
Ring Snr
Verb Tom Lo
Cl HiHat 1
Verb Tom Lo
Cl HiHat 2
Verb Tom Hi
Op HiHat
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Op
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
909 Tom 2
606 HiHat Cl
Verb Tom Lo
606 HiHat Cl
909 Tom 2
606 HiHat Op
Verb Tom Hi
909 Tom 2
Crash 1
41
42
43
44
45
46
47
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Verb Tom Hi
Crash 1
Verb Tom Hi
Verb Tom Hi
Crash 1
C3 48
50
49
51
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 2
Verb Tom Hi
Ride 1
52
China Cym
Ride Bell 1
Tamb.Long
Crash 1
China Cym
Ride Bell 1
Tamb.Long
Crash 1
China Cym
Ride Bell 1
Tamb.Long
Crash 1
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
China Cym
Ride Bell 1
CR78 Tamb.
Crash 1
China Cym
Ride Bell 1
Tamb.Long
Crash 1
53
54
56
58
55
Cowbell 1
Crash 1
Cowbell 1
Crash 1
Cowbell 1
Cowbell 1
Crash 1
Cowbell 1
Cowbell 1
Cowbell 1
Cowbell 1
Crash 1
Crash 1
Crash 1
Crash 1
Crash 1
57
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cowbell 1
Cowbell 1
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Cowbell 1
Cowbell 1
Cowbell 1
Vibraslap
59
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Ride Bell 1
Bongo3 High
Bongo3 Low
Cga Slap
Ride 2
Bongo Hi
C4 60
62
Bongo Lo
61
63
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Open Lo
Timbale
64
65
Timbale
Timbale
Timbale
Timbale
Timbale
Timbale
Timbale
Timbale
66
68
70
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
67
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Shaker 4
Shaker 4
Shaker 4
Shaker 4
626 Shaker
Shaker 4
626 Shaker
Shaker 4
626 Shaker
Shaker 4
Cabasa Up
Maracas
69
Shaker 5
Shaker 5
Shaker 5
Shaker 5
71
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
Soft Pad A
Soft Pad B
Long Guiro
Long Guiro
Claves
C5 72
74
73
75
76
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Cuica
Wood Block
Wood Block
Shaker 3
77
78
80
82
Cuica
Cuica
Cuica
Cuica
Cuica
Cuica
Cuica
Cuica
79
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Open Triangl
Open Triangl
Cabasa Cut
REV Gt Scrap
REV Gt SldNz
REV Gt CutNz
REV Gt Slap
REV TeknHit2
REV TeknHit3
REV Dance K3
REV 909 Snr2
REV 909 Snr3
REV Rap Snr
REV Talk Snr
REV JinglSnr
REV HouseSnr
REV Mute Snr
R8 Click
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Open Triangl
Open Triangl
Cabasa Cut
Auhvox
Open Triangl
Open Triangl
Cabasa Cut
REV Shaker 5
REV Shaker 4
REV Shaker 3
REV 626Shakr
REV CR78Tamb
REV Tamb.Lng
REV Tamb.Sht
REV Bongo3 H
REV Bongo3 L
REV F.Snap 3
REV F.Snaps2
REV HC2 Clp2
REV 707 Clps
REV HC2 Clp1
R8 Click
606 HiHat Cl
Open Triangl
606 HiHat Op
Ride 2
81
83
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
FX Bell 2fw
FX Bell 1fw
FX Bomb
Gtr Feedback
Gtr Scrap
Gtr Slid Nz
Gtr Cut Nz
Gtr Slap
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
FX Bell 2fw
FX Bell 1fw
FX Bomb
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
REV Dance K3
REV TeknHit3
REV TeknHit3
REV TeknHit2
REV TeknHit2
REV 808 Snr2
REV 909 Snr2
REV 909 Snr3
REV HC2 Clp1
R8 Click
Tekno Hit 3
Tekno Hit 3
Tekno Hit 2
Tekno Hit 2
Tekno Loop
REV TeknHit3
REV TeknHit3
REV TeknHit2
REV TeknHit2
Blaster A
Dance Kick 2
Dance Kick 2
House Snr
Tiny Snr 2
Tiny Snr 2
Hybrid Kick2
Old Kick
C6 84
86
85
87
88
Wah Down 1
89
Wah Up
1
90
92
94
Sm.Club fw
HC2 Claps 2
Gtr Scrap
707 Claps
Gtr Slid Nz
Gtr Cut Nz
R8 Click
Wah Down 2
Sm.Club fw
HC2 Claps 2
FingerSnaps2
707 Claps
626 Shaker
Tamb.Short
R8 Click
Dance Kick 2
Loose Snr
Natural SN2
Tiny Snr 2
Wind Chimes
Dry Tom Lo
Piccolo SN
Dry Tom Lo
91
Wah Up
Sm.Club
2
93
Sm.Club fw
FX Bell 1fw
FX Bell 2fw
R8 Click
Juno Rave A
Hard 5ths A
CR78 Tamb.
R8 Click
95
C7 96
98
97
Gtr Slap
REV Snr Buzz
REV 909 Rim2
Tamb.Long
REV 707 Clps
FingerSnap 3
REV 909 Clp2
1 7 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Rh y th m Se t List
XP-C (W AVE EXPAN SIO N C: Te ch n o Co lle ctio n )
001
002
003
004
005
006
007
008
TR-909 SET
TR-808 SET
TR-606 SET
Techno SET
House SET
Jungle SET
Gabba SET
Indust. SET
Note No.
35
Plastic BD 1
TR909 Kick 1
TR909 Rim
TR808 Kick 1
TR808 Kick 1
TR808 Rim
KICK MENU 1
TR606 Kick 1
TR808 Rim
Plastic BD 1
TR909 Kick 1
Tekno Kick
Tekno Kick
Amsterdam BD
TR909 Dst BD
TR808 RimLng
SNR MENU 1
Comp Clap
INDUST. MENU
INDUST. MENU
Thrill
TR909 Kick 1
TR909 Rim
JungleKick 2
Lo-Fi Snare
36
37
38
39
40
C2
TR909 Rim
TR909 Snr 5
TR909 Clap
TR909 Snr 1
TR909 DstTom
TR909 CHH 3
TR909 Tom
TR909 OHH 3
TR909 DstTom
TR909 OHH 3
TR909 Tom
TR909 DstTom
TR909 Crash
TR909 Tom
TR909 Ride
TR909 Crash
TR909 Ride
Tambourine 2
TR909DsCrash
TR808Cowbell
TR606 Cym 1
PC-2 Machine
TR707 Ride
Mental Perc
Dr.Beat
TR808 Snr 1
Clap Stop
TR606 Snr 2
HC2 Dry Clap
TR606 Snr 1
TR606 Tom
TR606 CHH
TR606 Tom
PHH MENU
TR606 Tom
TR606 DstOHH
TR606 Tom
TR606 Tom
TR606 Cym 2
TR606 Tom
TR909 Ride
TR606 Cym 1
TR707 Ride
Tambourine
TR909 Crash
TR808Cowbell
TR909 Crash
TMB&SKR MENU
TR707 Ride
Mental Perc
Dr.Beat
TR909 Snr 5
CLAP MENU
TR909 Snr 6
TR909 Tom
DJ Snare
Urban Snare
SNR MENU 5
Jungle Snr 4
TR606 CmpTom
CHH MENU 2
TR606 CmpTom
Rattle Tamb
TR606 CmpTom
TR909 DstOHH
TR606 CmpTom
TR606 CmpTom
R8 OHH
PCM Press
TR909 Clap
TR909 Snr 5
TR707 Tom
TR909 CHH 1
TR707 Tom
TR909 PHH 1
TR707 Tom
OHH MENU
TR707 Tom
TR707 Tom
TR909 Crash
TR707 Tom
TR909 Ride
TR909 Crash
Rattle Tamb
Tambourine 2
TR909 Crash
TR707Cowbell
Crash 1
Air Gun
TR808 Snr 3
TR808 Tom
TR808 CHH 1
TR808 Tom
TR808 CHH 2
TR808 Tom
OHH MENU
TR808 Tom
TR808 Tom
TR606 Cym 1
TR808 Tom
TR606 Cym 1
TR909 Crash
TR909 Ride
Tambourine 2
TR909 Crash
TR808Cowbell
TR606 Cym 1
TMB&SKR MENU
TR707 Ride
Mental Perc
Dr.Beat
SNR MENU 1
TR909 DstTom
TR909 PHH 1
TR909 DstTom
TR909 PHH 2
TR909 DstTom
TR909 DstOHH
TR909 DstTom
TR909 DstTom
TR909 Crash
TR909 DstTom
TR707 Ride
PCM Press
TekRok Snare
TR909 CHH 3
TekRok Snare
TR909 PHH 1
TekRok Snare
TR909 DstOHH
TekRok Snare
TekRok Snare
Indus Snare
TekRok Snare
TR909 Ride
Drill Hit
41
42
TR909 CHH 1
TR909 Tom
43
44
45
46
47
TR909 PHH 2
TR909 Tom
OHH MENU
TR909 Tom
TR909 Tom
C3 48
50
TR909 Crash
TR909 Tom
49
51
TR606 CmpTom
TR707 Ride
TR909 Crash
China Cym
TR707 Ride
52
TR909 Crash
China Cym
TR909DsCrash
China Cym
ElectricDunk
PCM Press
53
Tambourine 2
TR909 Crash
TR707Cowbell
TR606 Cym 1
TR808Cowbell
TR606 Cym 1
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
HIT MENU 1
HIT MENU 1
TechnoShaker
Dance Shaker
TR909 Kick 2
Plastic BD 2
Tambourine 2
TR606 Cym 1
Cowbell 1
CR78 CHH
54
56
58
Crash 1
TR606 Cym 1
PC-2 Machine
TR909 Crash
Crash 1
55
TR808Cowbell
TR909DsCrash
MachineShout
TR606 Cym 2
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
TR727 Agogo
TR727 Agogo
TechnoShaker
Dance Shaker
TR909 Dst BD
KICK MENU 2
SideStiker
TR909 Crash
MachineShout
TR606 DstOHH
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
Surdo open
57
TR808Cowbell
TR606 Cym 1
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
HIT MENU 1
HIT MENU 1
Cabasa Up
59
TR606 DstCym
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
PERCUSS MENU
Analog Bird
C4 60
62
61
63
Cga Open Hi
Cga Mute Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Mute Hi
Cga Open Lo
Timbale
Cga Open Hi
Cga Mute Hi
Cga Open Lo
Timbale
64
65
PC-2 Spacers
TR727 Agogo
TR727 Agogo
TMB&SKR MENU
TMB&SKR MENU
Plastic BD 2
TR909 Kick 2
TR808 Rim
PC-2 Spacers
TR727 Agogo
TR727 Agogo
Cabasa Up
PC-2 Spacers
TR727 Agogo
TR727 Agogo
Cabasa Up
66
68
70
67
Surdo mute
Analog Bird
TechnoShaker
Dance Shaker
KICK MENU 1
JungleKick 1
SideStiker
TechnoShaker
Dance Shaker
TR909 Dst BD
Turbo Kick
69
TMB&SKR MENU
TR808 Kick 3
TR808 Kick 2
TR808 RimLng
TR808 Snr 2
Clap Stop
TMB&SKR MENU
Plastic BD 1
Culture Kick
TR808 Rim
TechnoShaker
Wet Kick
71
Plastic BD 2
TR808 Rim
C5 72
74
COW&RIM MENU
TR909 Snr 3
TR909 Clap
Drill Hit
73
75
TR909 Snr 1
CLAP MENU
TR909 Snr 6
TR707 Tom
TR909 CHH 3
TR707 Tom
TR909 PHH 2
TR707 Tom
TR909 OHH 1
Beam HiQ
CR78 Snare
TS Clap
SNR MENU 2
CLAP MENU
SNR MENU 1
TR808 Tom
TR707 CHH
TR808 Tom
TR707 PHH
TR808 Tom
OHH MENU
Beam HiQ
MC Snare
Jungle Snr 4
CLAP MENU
TR909 Snr 5
TR606 CmpTom
TR909 CHH 3
TR606 CmpTom
TR909 PHH 1
TR606 CmpTom
TR909 OHH 1
Beam HiQ
SNR MENU 3
INDUST. MENU
Rage Snare
Can Tom
Comp Clap
76
TR808 Snr 4
TR606 Tom
TR808 CHH 2
TR606 Tom
PHH MENU
TR606 Tom
OHH MENU
Beam HiQ
TR606 Snr 3
TR606 CmpTom
CR78 CHH
TR909 Snr 4
TR909 DstTom
TR909 CHH 3
TR909 DstTom
TR909 PHH 1
TR909 DstTom
TR909 OHH 3
Air Gun
Ragga Snr 2
Jungle Snr 5
TR909 CHH 3
Jungle Snr 5
Tambourine 2
Jungle Snr 5
Cym OHH
77
HIT MENU 1
Can Tom
78
80
82
TR606 CmpTom
TR606 PHH
TR606 CmpTom
CR78 OHH
79
Beam HiQ
Can Tom
81
TR909 DstOHH
Beam HiQ
83
Beam HiQ
Beam HiQ
HIT MENU 1
May Day Perc
Techno Scene
Air Gun
HIT MENU 1
May Day Perc
Techno Scene
Air Gun
HIT MENU 1
May Day Perc
Techno Scene
Air Gun
VOCODER MENU
Beam HiQ
GTR FX MENU
Org Chord
HIT MENU 1
Thin Beef
Air Gun
VOCODER MENU
TR606 Cym 1
VOCODER MENU
CLAP MENU
VOCODER MENU
VOCODER MENU
Roll Kick
C6 84
86
ElectricDunk
Thin Beef
85
87
VOCODER MENU
May Day Perc
VOCODER MENU
VOCODER MENU
Techno Scene
VOCODER MENU
Analog Bird
GTR FX MENU
Noisy 101
Analog Bird
HIT MENU 2
Scratch Clap
Emergency
Drill Hit
88
Tekno Hit
Tekno Hit
Tekno Hit
Claptail
TAO Hit
Organ Hit 2
White Noise
ElectricDunk
TR808 PHH
SNR MENU 2
JP8000 FBK
VOCODER MENU
TR808 Kick 1
KICK MENU 2
MC500 Beep 1
MC500 Beep 2
Organ Hit 2
Analog Bird
Retro UFO
VOCODER MENU
VOCODER MENU
VOCODER MENU
VOCODER MENU
120:House 1
120:House 2
120:House 3
120:TeknoBNG
MC500 Beep 1
MC500 Beep 2
Daft Wave
89
Analog Bird
TR808Cowbell
Talkbox
Thrill
90
92
94
Retro UFO
Emergency
Organ Hit 2
91
ElectronFall
JP8000 FBK
SNR MENU 2
TR808 Kick 1
KICK MENU 2
MC500 Beep 1
MC500 Beep 2
ElectronFall
JP8000 FBK
SNR MENU 2
TR808 Kick 1
KICK MENU 2
MC500 Beep 1
MC500 Beep 2
Jungle Beep
TR808 Kick 1
Roll Snare
Dist TekGtr1
Dist Synth
Roll Snare
VOCODER MENU
144:TeknoHAT
144:Tekno BD
120:TeknoBNG
MC500 Beep 1
MC500 Beep 2
TR909 DstOHH
Roll Kick
93
120:House 1
120:House 3
184:Gabba
95
Roll Kick
TR909DsCrash
CLAP MENU
MC500 Beep 1
MC500 Beep 2
160:Drum’nBs
MC500 Beep 1
MC500 Beep 2
C7 96
98
MC500 Beep 1
MC500 Beep 2
97
1 8 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Pe rfo rm a n ce List
USER (Use r Gro u p )
PR-A (Pre se t A Gro u p )
PR-B (Pre se t B Gro u p )
No.
Name
Key Mode
No.
Name
Key Mode
No.
Name
Key Mode
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
EasternSplit
Opening Orch
Feedback EP
Humming Vox
Tekno Loop 1
Fr.Horn Sect
SpaceCarrier
Orchestral
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
LAYER
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
House Set
Analectro
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
LAYER
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
Africa
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
LAYER
World Ethnic
Asian Ethnic
Asian Band
60’s Set
Anatronic
Tekno Pop 1
Tekno Pop 2
Hard Core
Hi Energy
Blues Band
Country Band
Folk Set
Pop Dance
Acid Set
Nebular Vox
Terminator
Flying Jazz
Sweeper
Reggae Band
FunkWah Band
Funkin’Phaze
Zydeco Band
New Orleans
Dixieland
Ambient Set
Electro Pop
Pop Set 1
Rave Split
Pop Set 2
Multi Sax
Pop Set 3
Cosmic Dawn
Bass / Lead
S&H / Pad
Pop Set 4
Big Band Set
Cont.Jazz 1
Cont.Jazz 2
Ac.Jazz Set
Gospel Set
All Strings
All Brass
L.A. Ballad
Hip Hop Set
Funk Rock
Funk Fusion
Heavy Metal
Heavy Kids
Latin Set
AcPiano+Pad
Kicks Attack
Step Brass
Drone / Pipe
Chime Dreams
Tekno Loop 2
Big Band
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
All Piano 1
All Piano 2
All Keyboard
All Organ
BrazilianSet
New Age 1
New Age 2
Orchestra
Labyrinth
White Hole
Cyber Sweep
Tekno Asia
1080 Fantasy
Pop Ballad
Rhythmatic
Power JV
All Winds
Concerto
All Bells
Film Score 1
Film Score 2
Symphonic
Chamber Set
Baroque Set
Mlt & Perc
All Seq
SINGLE
SINGLE
SINGLE
SINGLE
SINGLE
All Bass
All Pad
All FX
1 8 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Arp e g g io Sty le List
Style
Motif
Beat Pattern
Accent Rate Shuffle Rate
1/4
all
all
all
all
all
1/ 4
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
1/6
1/ 6
1/8
1/ 8
1/12
1/16
1/32
1/12
1/16 1–3
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
1/32 1–3
PORTAMENTO A
PORTAMENTO B
GLISSANDO
all
PORTA-A 01–11
PORTA-B 01–15
1/16 1–3, 1/32 1–3
SEQ-A 1–7
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
all
GLISSANDO
SEQUENCE A
SEQUENCE B
SEQUENCE C
all
all
SEQ-B 1–5
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
SEQ-C 1–2
SEQUENCE D
ECHO
all
SEQ-D 1–8
0–100%
50–90%
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER
ECHO 1–3
0–100%
50–90%
SYNTH BASS
SLAP BASS A
SLAP BASS B
WALK BASS
BASS+UP 2
SEQ-A 1, SEQ-C 1
MUTE 02, 03
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
BASS+UP 5, TOP+UP 5
BASS+UP 5, TOP+UP 5
MUTE 02, 03
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, NOTE ORDER, GLISSANDO
WALKBS, REFRAIN 1
RHYTHM GTR A
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
MUTE 01,04
0–100%
50–90%
RHYTHM GTR B
RHYTHM GTR C
RHYTHM GTR D
RHYTHM GTR E
3 FINGER GTR
CHORD
MUTE 07, 13, 14
MUTE 08, 12, 15
MUTE 09, 10, 11, 16
STRUM 1–6
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
CHORD
CHORD
SINGLE UP, SINGLE DOWN
BASS+UP+TOP
SEQ-A 7
STRUMMING GTR
KBD COMPING A
KBD COMPING B
KBD COMPING C
KBD COMPING D
KBD COMPING E
PERCUSSION
SINGLE UP, SINGLE DOWN
CHORD
STRUM 7, 8
MUTE 12, REFRAIN 2
MUTE 05, 06
1/ 6, 1/12
BASS+CHORD 4, BASS+CHORD 5
BASS+CHORD 2, BASS+UP 2, BASS+RANDOM 2, TOP+UP 2
BASS+CHORD 2, BASS+UP 2, BASS+RANDOM 2, TOP+UP 2
CHORD, BASS+CHORD 1
1/16 1–3
REGGAE1–2
PERC1–4
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RANDOM 1–3, TOP+UP 1–6
HARP
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO
HARP
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
SHAMISEN
BOUND BALL
TOP+UP 4–6
SEQ-A 2
BOUND
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
RANDOM
SINGLE RANDOM, DUAL RANDOM, BASS+RANDOM 1–3
1/ 4, 1/6, 1/8, 1/12, 1/16 1–3,
0–100%
50–90%
1/32 1–3, RANDOM
BOSSA NOVA
SALSA
all
all
all
BOSSA NOVA
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
SALSA 1–4
MAMBO
MAMBO 1–2
LATIN PERCUSSION
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
CLAVE, REV CLA, GUIRO, AGOGO
SAMBA
all
all
all
all
SAMBA
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
TANGO
TANGO 1–4
HOUSE 1–2
all
HOUSE
LIMITLESS
all: there is no restriction on the value which can be set
1 8 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
Model:
XP-30 (64 Voice Expandable Synthesizer)
*
The Patches corresponding to each Bank Select are as follows.
Version: 1.00
Date:
Jan. 18 1999
Bank Select | Program No | Group
MSB | LSB |
Patch No.
|
——————+—————+————————————+————————————————————————————————————————
80 |
81 |
81 |
81 |
81 |
81 |
84 |
84 |
84 |
84 |
84 |
84 |
84 |
84 |
84 |
84 |
0 |
0 |
1 |
2 |
3 |
4 |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
0 - 127 | User
1 - 128
1 - 128
1. Data Reception (sound source section)
■ Channel Voice Messages
■ Note Off
0 - 127 | PR-A
0 - 127 | PR-B
1 - 128
0 - 127 | PR-C
1 - 128
0 - 127 | GM
1 - 128
0 - 127 | PR-E
1 - 128
0 - 127 | XP-A (Session)
0 - 126 | XP-A
1 - 128
129 - 255
1 - 128
0 - 127 | XP-B (Orchestral)
0 - 126 | XP-B
129 - 255
1 - 128
status
2nd byte
3rd byte
0 - 127 | XP-C (Techno Collection)
0 - 127 | XP-C
129 - 256
1 - 128
8nH
kkH
vvH
0 - 127 | XP-D
9nH
kkH
00H
0 - 127 | XP-D
129 - 256
1 - 128
0 - 127 | XP-E
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
0 - 127 | XP-E
129 - 256
vv=Note Off velocity:
*
The Performance corresponding to each Bank Select are as follows.
*
*
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
Bank Select | Program No | Group
MSB | LSB |
Performance No.
|
——————+—————+————————————+————————————————————————————————————————
Not received by the Rhythm Part (Part 10) when the Env Mode parameter (RHYTHM/
CONTROL/ CONTROL) is NO-SUS.
80 |
81 |
81 |
0 |
0 |
1 |
0 - 31 | User
0 - 31 | PR-A
0 - 31 | PR-B
1 - 32
1 - 32
1 - 32
■ Note On
*
The Rhythm set corresponding to each Bank Select are as follows.
status
2nd byte
kkH
3rd byte
vvH
Bank Select | Program No | Group
MSB | LSB |
——————+—————+————————————+————————————————————————————————————————
Rhythm set No.
9nH
|
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
80 |
81 |
81 |
81 |
81 |
81 |
84 |
84 |
84 |
84 |
84 |
84 |
0 |
0 |
1 |
2 |
3 |
4 |
0 |
4 |
6 |
7 |
8 |
9 |
0 - 1 | User
0 - 1 | PR-A
1 - 2
1 - 2
vv=Note On velocity:
0 - 1 | PR-B
1 - 2
0 - 1 | PR-C
1 - 2
0 - 1 | GM
1 - 2
*
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
0 - 1 | PR-E
1 - 2
0 - 7 | XP-A (Session)
0 - 7 | XP-C (Techno Collection)
0 - 127 | XP-D
0 - 127 | XP-D
0 - 127 | XP-E
0 - 127 | XP-E
1 - 8
1 - 8
1 - 128
129 - 256
1 - 128
129 - 256
■ Polyphonic Aftertouch
status
2nd byte
3rd byte
vvH
AnH
kkH
■Modulation (Controller number 1)
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
status
BnH
2nd byte
01H
3rd byte
vvH
vv=Aftertouch:
n=MIDI channel number:
vv=Modulation depth:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
*
This message is received if the Aftertouch parameter (SYSTEM/ CONTROL/ CONTROL
SOURCE) is POLY or CH&POLY.
■Breath Type (Controller number 2)
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
status
BnH
2nd byte
02H
3rd byte
vvH
OFF.
Not received in GM mode.
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■ Control Change
If the corresponding Controller number is selected for the Control 2 or Control 3
parameter (PATCH/ CONTROL/ CONTROL SOURCE), the corresponding effect will
occur.
*
■Foot Type (Controller number 4)
status
BnH
2nd byte
04H
3rd byte
vvH
*
If a Controller number that corresponds to the Control 1 parameter or Control 2
parameter (SYSTEM/ CONTROL/ SYS-CTRL ASSIGN) is selected, the specified effect
will apply if Control 2 parameter or Control 3 parameter (PATCH/ CONTROL/
CONTROL SOURCE) is set to SYS-CTRL1 or SYS-CTRL2.
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■Portamento Time (Controller number 5)
*
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) or
the Control Change Receive Switch is OFF.
status
BnH
2nd byte
05H
3rd byte
vvH
n=MIDI channel number:
vv=Portamento Time:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■Bank Select (Controller number 0,32)
status
BnH
2nd byte
00H
3rd byte
mmH
*
The Time parameter (PATCH/ CONTROL/ PORTAMENTO) will change.
BnH
20H
llH
n=MIDI channel number:
mm,ll=Bank number:
0H - FH (ch.1 - ch.16)
00 00H - 7F 7FH (bank.1 - bank.16384)
■Data Entry (Controller number 6, 38)
status
BnH
2nd byte
06H
3rd byte
mmH
llH
*
*
Not received when the Program Change parameter or Bank Select parameter (SYSTEM/
MIDI/ RECEIVE MIDI) is OFF.
BnH
26H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
Not received in GM mode.
mm,ll= the value of the parameter specified by RPN/ NRPN
mm=MSB, ll=LSB
■Volume (Controller number 7)
status
BnH
2nd byte
07H
3rd byte
vvH
n=MIDI channel number:
vv=Volume:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
1 8 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■Balance (Controller number 8)
■Sound Controller 3 (Controller number 72)
status
BnH
2nd byte
08H
3rd byte
vvH
status
BnH
2nd byte
48H
3rd byte
vvH
n=MIDI channel number:
vv=Balance:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
*
The T2–4 parameter (PATCH/ TVF/ TVF ENVELOPE), The T2–4 parameter (PATCH/
■Panpot (Controller number 10)
TVA/ TVA ENVELOPE) will change relatively.
status
BnH
2nd byte
0AH
3rd byte
vvH
■Sound Controller 4 (Controller number 73)
n=MIDI channel number:
vv=Panpot:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (left - center - right)
status
BnH
2nd byte
49H
3rd byte
vvH
*
Adjust the stereo location over 128 steps, where 0 is far left, 64 is center, and 127 is far
right. However this is not received when the Pan parameter (PATCH/ CONTROL/
RxSWITCH) is OFF.
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
*
The T1 parameter (PATCH/ TVF/ TVF ENVELOPE), The T1 parameter (PATCH/ TVA/
TVA ENVELOPE) will change relatively.
■Expression (Controller number 11)
status
BnH
2nd byte
0BH
3rd byte
vvH
■Sound Controller 5 (Controller number 74)
n=MIDI channel number:
vv=Expression:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
status
BnH
2nd byte
4AH
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-64 - 0 - +63)
*
If the Volume parameter (SYSTEM/ CONTROL/ CONTROL SOURCE) is set to
VOL&EXP, the volume of the Part corresponding to the MIDI channel of the received
message will be adjusted. However this is not received if the Volume parameter
(PATCH/ CONTROL/ RxSWITCH) is OFF.
*
The Cut parameter (PATCH/ TVF/ FILTER) will change relatively.
*
In GM mode, the volume can always be controlled.
■General Purpose Controller 5 (Controller number 80)
status
BnH
2nd byte
50H
3rd byte
vvH
■Hold 1 (Controller number 64)
status
BnH
2nd byte
40H
3rd byte
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
*
The L1–3 parameter (PATCH/ TVA/ TVA ENVELOPE) of Tone 1 will change relatively.
*
Not received when the Hold-1 RxSwitch parameter (PATCH/ CONTROL/ DAMPER) is
OFF.
■General Purpose Controller 6 (Controller number 81)
status
BnH
2nd byte
51H
3rd byte
vvH
■Portamento (Controller number 65)
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
status
BnH
2nd byte
41H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
*
The L1–3 parameter (PATCH/ TVA/ TVA ENVELOPE) of Tone 2 will change relatively.
■General Purpose Controller 7 (Controller number 82)
*
The Sw parameter (PATCH/ CONTROL/ PORTAMENTO) will change.
status
BnH
2nd byte
52H
3rd byte
vvH
■Sostenuto (Controller number 66)
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
status
BnH
2nd byte
42H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
*
The L1–3 parameter (PATCH/ TVA/ TVA ENVELOPE) of Tone 3 will change relatively.
■General Purpose Controller 8 (Controller number 83)
■Soft (Controller number 67)
status
BnH
2nd byte
53H
3rd byte
vvH
status
BnH
2nd byte
43H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
*
The L1–3 parameter (PATCH/ TVA/ TVA ENVELOPE) of Tone 4 will change relatively.
■Hold 2 (Controller number 69)
■Portamento Control (Controller number 84)
status
BnH
2nd byte
45H
3rd byte
vvH
status
BnH
2nd byte
54H
3rd byte
kkH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n=MIDI channel number:
kk=source note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
A hold movement isn't done.
*
*
A Note On message received immediately after a Portamento control will be sounded
with the pitch changing smoothly from the source note number. If a voice is already
sounding at the same note number as the source note number, that voice will change
pitch to the pitch of the newly received Note On, and continue sounding (i.e., will be
played legato).
■Sound Controller 2 (Controller number 71)
status
BnH
2nd byte
47H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
The speed of the pitch change caused by Portamento is determined by the Time
parameter (PATCH/ CONTROL/ PORTAMENTO) value.
*
The Res parameter (PATCH/ TVF/ FILTER) will change relatively.
1 8 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
❍Effect 1 (Reverb Send Level) (Controller number 91)
❍ Program Change
status
BnH
2nd byte
5BH
3rd byte
vvH
status
2nd byte
CnH
ppH
n=MIDI channel number:
vv=Reverb Send Level:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n=MIDI channel number:
pp=Program number:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
*
In Performance mode, the Reverb Send Level parameter of each Part will change.
*
Not received when the Program Change parameter (SYSTEM/ MIDI/ RECEIVE MIDI) is
OFF.
❍Effect 3 (Chorus Send Level) (Controller number 93)
*
*
When received on the Control channel, the Performance will change.
status
BnH
2nd byte
5DH
3rd byte
vvH
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
n=MIDI channel number:
vv=Chorus Send Level:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
❍ Channel Aftertouch
status
2nd byte
*
In Performance mode, the Chorus Send Level parameter of each Part will change.
DnH
vvH
n=MIDI channel number:
vv=Channel Aftertouch:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
❍RPN MSB/LSB (Controller number 100, 101)
status
BnH
2nd byte
65H
3rd byte
mmH
llH
*
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
BnH
64H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
mm=MSB of the parameter number specified by RPN
ll=LSB of the parameter number specified by RPN
❍ Pitch Bend Change
status
2nd byte
3rd byte
EnH
llH
mmH
<<< RPN >>>
n=MIDI channel number:
mm,ll=Pitch Bend value:
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Control Changes include RPN (Registered Parameter Numbers), which are extended
parameters whose function is defined in the MIDI specification.
When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any
order) is transmitted to specify the parameter you wish to control. Then, Data Entry
messages (Controller numbers 6 and 38) are used to set the value of the specified parameter.
Once a RPN parameter has been specified, all further Data Entry messages on that channel
are considered to apply to that specified parameter. In order to prevent accidents, when the
desired setting has been made for the parameter, it is recommended that RPN be set to Null.
*
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
❍ Channel Mode Messages
This device receives the following RPNs.
❍ All Sound Off (Controller number 120)
status
2nd byte
3rd byte
RPN
Data entry
MSB LSB
mmH -
BnH
78H
00H
MSB LSB
00H 00H
Notes
n=MIDI channel:
0H - FH (ch.1 - ch.16)
Pitch Bend Sensitivity
mm : 00H - 0CH (0 - 12 semitones)
ll : ignored (processed as 00H)
Up to 1 octave can be specified in semitone steps.
*The Bend Range parameter (PATCH/
CONTROL/ KEY MODE & BENDER) will
also be changed.
*
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
❍ Reset All Controllers (Controller number 121)
status
*Not received by the Rhythm Part (Part 10).
2nd byte
3rd byte
BnH
79H
00H
00H 01H
mmH llH
Channel Fine Tuning
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
mm, ll : 20 00H - 40 00H - 60 00H
( -4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent )
*In Patch mode, the Master parameter
(SYSTEM/ TUNE/ TUNE) will change.
*In Performance mode, the Fine parameter
(PERFORM/ PART/ SETTING) of each Part
will change. When received on the Control
channel, the Master parameter (SYSTEM/
TUNE/ TUNE) will change.
*
*
Not received in Performance mode when the Rx parameter (PERFORM/ MIDI/ MIDI) is
OFF.
When this message is received, the following controllers will be set to their reset values.
Controller
Reset value
[+-]0 (center)
0 (off)
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
0 (off)
0 (off)
00H 02H
mmH -
Channel Coarse Tuning
Breath type
0 (minimum)
mm : 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll : ignored (processed as 00H)
*Not received in Patch mode.
Expression
127 (maximum)
However the controller will be at minimum.
Hold 1
0 (off)
*In Performance mode, the Coarse parameter
(PERFORM/ PART/ SETTING) of each Part
will change.
Sostenuto
0 (off)
Soft
0 (off)
Hold 2
0 (off)
RPN
Unset. Previously set data will not change.
Unset. Previously set data will not change.
(minimum)
7FH 7FH
- -
RPN null
NRPN
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
Data Entry messages will be ignored. (It is not
necessary to transmit Data Entry for RPN Null
settings.
System General purpose controller 10
System General purpose controller 20
(minimum)
Parameter values that were previously set will
not change.
mm, ll: ignored
1 8 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ All Note Off (Controller number 123)
■ System Exclusive Messages
status
2nd byte
3rd byte
status
data byte
status
BnH
7BH
00H
F0H
iiH, ddH, ......, eeH F7H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
F0H:
System Exclusive message status
*
*
When All Note Off is received, all currently sounding notes of the corresponding
channel will be turned off. However if Hold 1 or Sostenuto are on, the sound will be held
until these are turned off.
ii = ID number:
This is the ID number (manufacturer ID) that specifies the
manufacturer whose exclusive message this is. Roland's manufacturer
ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the
MIDI standard as Universal Non-realtime messages (7EH) and
Universal Realtime Messages (7FH).
Not received in Performance mode if Rx parameter (PERFORM/ MIDI/ MIDI) is OFF.
dd,..., ee = data:
F7H:
00H - 7FH (0 - 127)
■ Omni Off (Controller number 124)
EOX (End Of Exclusive)
status
2nd byte
3rd byte
BnH
7CH
00H
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.
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
*
*
The same processing as when All Note Off is received will be done.
Not received in Performance mode if Rx parameter (PERFORM/ MIDI/ MIDI) is OFF.
■ Universal Non-realtime System Exclusive Messages
■ Omni On (Controller number 125)
■Identity Request Message
status
2nd byte
3rd byte
When this message is received, Identity Reply message (p. 189) will be transmitted.
BnH
7DH
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
status
F0H
data byte
status
7EH, dev, 06H, 01H F7H
*
*
The same processing as when All Note Off is received will be done. The instrument will
not be set to OMNI ON.
Byte
F0H
7EH
dev
Remarks
Not received in Performance mode if Rx parameter (PERFORM/ MIDI/ MIDI) is OFF.
Exclusive status
ID number
device ID
sub ID#1
sub ID#2
EOX
(Universal Non-realtime message)
■ Mono (Controller number 126)
status
(dev: 10H - 1FH)
2nd byte
3rd byte
06H
01H
F7H
(General Information)
(Identity Request)
(End Of Exclusive)
BnH
7EH
mmH
n=MIDI channel number:
mm=Mono number:
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
*
The “dev” is own device number or 7FH (Broadcast).
*
*
The same processing as when All Note Off is received will be done, and the Assign
parameter (PATCH/ CONTROL/ KEY MODE & BENDER) will be set to SOLO.
Not received in Performance mode if Rx parameter (PERFORM/ MIDI/ MIDI) is OFF.
■GM System On
“GM System On” is a command message that resets the internal settings of the instrument
to the GM initial state (General MIDI System - Level 1). A GM instrument that receives this
message will automatically enter a state in which it can correctly perform a GM score.
■ Poly (Controller number 127)
status
2nd byte
3rd byte
BnH
7FH
00H
status
F0H
data byte
status
n=MIDI channel number:0H - FH (ch.1 - ch.16)
7EH, 7FH, 09H, 01H F7H
*
*
The same processing as when All Note Off is received will be done, and the Assign
parameter (PATCH/ CONTROL/ KEY MODE & BENDER) will be set to POLY.
Not received in Performance mode if Rx parameter (PERFORM/ MIDI/ MIDI) is OFF.
Byte
F0H
7EH
7FH
09H
01H
F7H
Remarks
Exclusive status
ID number
device ID
sub ID#1
sub ID#2
EOX
(Universal Non-realtime message)
(Broadcast)
(General MIDI Message)
(General MIDI On)
(End Of Exclusive)
■ System Realtime Messages
■ Timing Clock
status
*
Not received when the Rx.GM parameter (SYSTEM/ MIDI/ SYS-EXC MIDI) is OFF.
F8H
■GM System Off
When this messages is received, this instrument will return to the performance mode.
*
This message will be received if the Clock Source parameter (SYSTEM/ SETUP/ SYSTEM
SETUP) is MIDI (p. 129).
status
F0H
data byte
status
7EH, 7FH, 09H, 02H F7H
■ Active Sensing
status
Byte
F0H
7EH
7FH
09H
02H
F7H
Remarks
FEH
Exclusive status
ID number
device ID
sub ID#1
sub ID#2
EOX
(Universal Non-realtime message)
*
When an Active Sensing message is received, the unit will begin monitoring the interval
at which MIDI messages are received. During monitoring, if more than 420 ms passes
without a message being received, the same processing will be done as when All Sound
Off, All Note Off, and Reset All Controllers messages are received. Then monitoring will
be halted.
(Broadcast)
(General MIDI Message)
(General MIDI Off)
(End Of Exclusive)
*
Not received when the Rx.GM parameter (SYSTEM/ MIDI/ SYS-EXC MIDI) is OFF.
1 8 6
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■Data Set 1 DT1
■ Universal Realtime System Exclusive messages
This message transmits the actual data, and is used when you wish to set the data of the
receiving device.
■Master Volume
status
F0H
data byte
status
F7H
status
F0H
data byte
status
F7H
41H, dev, 6AH, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
7FH, 7FH, 04H, 01H, llH, mmH
Byte
F0H
7FH
7FH
04H
01H
llH
Remarks
Byte
F0H
41H
dev
Remarks
Exclusive status
Exclusive status
ID number
(Universal Realtime message)
(Broadcast)
ID number
device ID
model ID
command ID
address MSB
address
(Roland)
device ID
(dev: 10H - 1FH)
(XP-30)
sub ID#1
(Device Control Message)
(Master Volume)
6AH
12H
aaH
bbH
ccH
sub ID#2
(DT1)
LSB of Master Volume
mmH
F7H
MSB of Master Volume
EOX (End Of Exclusive)
address
ddH
eeH
address LSB
data:
*
*
LSB of Master Volume (llH) is processed as 00H.
This message is not received if the Rx.Exc parameter (SYSTEM/ MIDI/ SYS-EXC MIDI) is
OFF.
The actual data to be transmitted. Multi-byte
data is transmitted in the order of the address.
:
:
*
This message is not received in GM mode.
ffH
sum
F7H
data
checksum
EOX
■ Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings
(End Of Exclusive)
with other devices.
*
*
The amount of data that is transmitted at one time is fixed for the type of data, and only
data of the fixed starting address and size will be transmitted. Refer to the address and
size given in “Parameter Address Map” (p. 190).
The model ID of the exclusive messages used by this instrument is 6AH.
■Data Request 1 RQ1
Data whose size is greater than 128 bytes should be divided into packets of 128 bytes or
less and transmitted. Successive “Data Set 1” messages should have at least 20 ms of
time interval between them.
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
*
*
For the checksum, refer to (p. 204).
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.
This message is not received if Rx.Exc parameter (SYSTEM/ MIDI/ SYS-EXC MIDI) is
OFF.
*
This message is not received in GM mode.
status
F0H
data byte
status
F7H
This device is able to receive GS Exclusive messages only for Scale Tune settings.
41H, dev, 6AH, 11H, aaH, bbH,
ccH, ddH, ssH, ttH, uuH, vvH, sum
■Data Set 1 DT1
Byte
F0H
41H
dev
Remarks
This message transmits the actual data, and is used when you wish to set the data of the
receiving device.
Exclusive status
ID number
device ID
model ID
command ID
address MSB
address
(Roland)
(dev: 10H - 1FH)
(XP-30)
status
F0H
data byte
status
F7H
6AH
11H
aaH
bbH
ccH
ddH
ssH
41H, dev, 42H, 12H, aaH, bbH,
ccH, ddH, ... eeH, sum
(RQ1)
Byte
F0H
41H
dev
Remarks
address
Exclusive status
address LSB
size MSB
size
ID number
device ID
(Roland)
(dev: 10H - 1FH)
(GS)
ttH
42H
12H
aaH
bbH
ccH
ddH
model ID
uuH
vvH
sum
F7H
size
command ID
address MSB
address middle byte
address LSB
data:
(DT1)
size LSB
checksum
EOX
(End Of Exclusive)
The actual data to be transmitted. Multi-byte
data is transmitted in the address order.
*
The size of data that can be transmitted at one time is fixed for each type of data. and
data requests must be made with a fixed starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 190).
For the checksum, refer to (p. 204).
:
:
sum
F7H
data
*
*
checksum
EOX
This message is not received if the Rx.Exc parameter (SYSTEM/ MIDI/ SYS-EXC MIDI) is
OFF.
(End Of Exclusive)
*
This message is not received in GM mode.
*
*
This message is not received when the Rx.Exc parameter (SYSTEM/ MIDI/ SYS-EXC
MIDI) is OFF.
This message is not received in GM mode.
1 8 7
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■Panpot (Controller number 10)
2. Data transmission (sound source section)
■ Channel Voice Messages
■ Note Off
status
BnH
2nd byte
0AH
3rd byte
vvH
n=MIDI channel number:
vv=panpot:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (left - center - right)
■Expression (Controller number 11)
status
2nd byte
3rd byte
status
BnH
2nd byte
0BH
3rd byte
vvH
8nH
kkH
vvH
n=MIDI channel:
kk=Note Number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
n=MIDI channel number:
vv=Expression:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
vv=Note Off Velocity:
■Hold 1 (Controller number 64)
■ Note On
status
BnH
2nd byte
40H
3rd byte
status
2nd byte
kkH
3rd byte
vvH
vvH
9nH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
vv=Note On velocity:
■Portamento (Controller number 65)
status
BnH
2nd byte
41H
3rd byte
■ Control Change
By selecting a controller number that corresponds to the setting of the Assign parameter
(SYSTEM/ CONTROL/ CONTROL PEDAL) or each Assign parameter of C1–4 Slider
(SYSTEM/ CONTROL/ ASSIGN), you can transmit any desired control change.
vvH
*
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
■Sostenuto (Controller number 66)
■Bank Select (Controller number 0,32)
status
BnH
2nd byte
42H
3rd byte
status
BnH
2nd byte
00H
3rd byte
vvH
mmH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
BnH
20H
llH
n=MIDI channel number:
mm,ll=Bank number:
0H - FH (ch.1 - ch.16)
00 00H - 7F 7FH (bank.1 - bank.16384)
■Soft (Controller number 67)
status
BnH
2nd byte
43H
3rd byte
*
This message is not transmitted if Program parameter (SYSTEM/ MIDI/ TRANSMIT
MIDI) or Bank Sel parameter (SYSTEM/ MIDI/ TRANSMIT MIDI) is OFF.
For the Bank Select that corresponds to each Patch, refer to section 1.
This message is not transmitted in GM mode
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
*
*
■ Hold 2 (Controller number 69)
■Modulation (Controller number 1)
status
BnH
2nd byte
45H
3rd byte
vvH
status
BnH
2nd byte
01H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n=MIDI channel number:
vv=Modulation Depth:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■Sound Controller 2 (Controller number 71)
■Breath type (Controller number 2)
status
BnH
2nd byte
47H
3rd byte
vvH
status
BnH
2nd byte
02H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■Sound Controller 3 (Controller number 72)
■Foot Type (Controller number 4)
status
BnH
2nd byte
48H
3rd byte
vvH
status
BnH
2nd byte
04H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■Sound Controller 4 (Controller number 73)
■Portamento Time (Controller number 5)
status
BnH
2nd byte
49H
3rd byte
vvH
status
BnH
2nd byte
05H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
n=MIDI channel number:
vv=Portamento Time:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■Sound Controller 5 (Controller number 74)
■Volume (Controller number 7)
status
BnH
2nd byte
4AH
3rd byte
vvH
status
BnH
2nd byte
07H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-64 - 0 - +63)
n=MIDI channel number:
vv=Volume:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
■General Purpose Controller 5 (Controller number 80)
■Balance (Controller number 8)
status
BnH
2nd byte
50H
3rd byte
vvH
status
BnH
2nd byte
08H
3rd byte
vvH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
n=MIDI channel number:
vv=Balance:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
1 8 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
❍General Purpose Controller 6 (Controller number 81)
❍ Pitch Bend Change
status
BnH
2nd byte
51H
3rd byte
vvH
status
2nd byte
3rd byte
mmH
EnH
llH
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
n=MIDI channel number:
mm,ll=Pitch Bend value:
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
❍General Purpose Controller 7 (Controller number 82)
status
BnH
2nd byte
52H
3rd byte
vvH
❍ System Realtime Messages
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
❍ Active Sensing
status
FEH
❍General Purpose Controller 8 (Controller number 83)
status
BnH
2nd byte
53H
3rd byte
vvH
*
*
Transmitted at intervals of approximately 250ms.
Not transmitted if the Active Sensing parameter (SYSTEM/ MIDI/ TRANSMIT MIDI) is
OFF.
n=MIDI channel number:
vv=control value:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (-128 - 0 - +126)
❍Portamento Control (Controller number 84)
❍ System Exclusive Messages
There is a kind of the Universal Non-realtime messages and the Data Set (DT1) messages in
status
BnH
2nd byte
54H
3rd byte
kkH
the System Exclusive messages transmitted by this device.
n=MIDI channel number:
kk=source note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
❍ Universal Non-realtime System Exclusive Messages
❍Effect 1 (Reverb Send Level) (Controller number 91)
status
BnH
2nd byte
5BH
3rd byte
vvH
❍Identity Reply Message
n=MIDI channel number:
vv=Reverb Send Level:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
status
F0H
data byte
status
F7H
7EH, dev, 06H, 02H, 41H, 6AH, 00H,
04H, 00H, 00H, 01H, 00H, 00H
❍Effect 3 (Chorus Send Level) (Controller number 93)
status
2nd byte
5DH
3rd byte
vvH
Byte
Remarks
BnH
F0H
Exclusive status
n=MIDI channel:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
7EH
ID number
device ID
(Universal Non-realtime message)
(dev: 10H - 1FH)
vv=Chorus Send Level:
dev
06H
sub ID#1
(General Information)
(Identity Reply)
❍RPN MSB/LSB (Controller number 100,101)
02H
sub ID#2
status
BnH
2nd byte
65H
3rd byte
41H
ID number
Device family code
(Roland)
mmH
llH
6AH 00H
04H 00H
BnH
64H
Device family number code
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
00H 01H 00H 00H Software revision level
F7H EOX (End Of Exclusive)
mm=MSB of the parameter number specified by RPN
ll=LSB of the parameter number specified by RPN
❍ Data Transmission
This device transmits the following RPNs.
RPN
Data entry
MSB LSB
mmH -
❍Data Set1 DT1
MSB LSB
00H 00H
Notes
Pitch Bend Sensitivity
mm : 00H - 0CH (0 - 12 semitones)
ll : 00H
status
F0H
data byte
status
F7H
41H, dev, 6AH, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
Remarks
00H 01H
00H 02H
mmH llH
mmH -
Channel Fine Tuning
Exclusive status
mm, ll : 20 00H - 40 00H - 60 00H
( -4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent )
ID number
device ID
model ID
command ID
address MSB
address
(Roland)
(dev: 10H - 1FH)
(XP-30)
6AH
12H
aaH
bbH
ccH
Channel Coarse Tuning
mm : 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll : 00H
(DT1)
address
❍ Program Change
status
ddH
eeH
address LSB
data:
2nd byte
The actual data to be transmitted. Multi-byte
data is transmitted in the address order.
CnH
ppH
n=MIDI channel:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
:
:
pp=Program number:
ffH
sum
F7H
data
checksum
EOX
*
This message is not transmitted when the Program parameter (SYSTEM/ MIDI/
TRANSMIT MIDI) is OFF.
(End Of Exclusive)
*
The amount of data transmitted at one time is fixed for the type of data, and the data will
be transmitted with the fixed starting address and size. Refer to the address and size
given in “Parameter Address Map” (p. 190).
❍ Channel Aftertouch
status
2nd byte
DnH
vvH
*
*
Large amounts of data must be divided into packets of 128 bytes or less, and transmitted
at intervals of approximately 20 ms.
n=MIDI channel:
0H - FH (ch.1 - ch.16)
00H - 7FH (1 - 128)
vv=Channel Aftertouch:
For the checksum, refer to (p. 204).
1 8 9
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
3. Parameter Address Map
1. XP-30 (Model ID=6AH)
*
*
For addresses marked by a #, the data must be divided into 2 parts for transmission. For example, data with the hexadecimal value ABH would be divided into 0AH and 0BH, and transmitted
in that order.
Parameter values enclosed in < > are for the JV-1010 / JV-1080 / JV-2080 / XP-50 / XP-60 / XP-80, and will be ignored if received by the XP-30.
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 00 | System
1-1
|
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Temporary Performance
1-2
1-3
|
|
|
|
|
|
|
|
|
|
| 02 00 00 00 | Performance Mode Temporary Patch(part 1)
| 02 01 00 00 | Performance Mode Temporary Patch(part 2)
|
:
|
| 02 08 00 00 | Performance Mode Temporary Patch(part 9)
| 02 09 00 00 | Temporary Rhythm Setup
1-4
1-3
| 02 0A 00 00 | Performance Mode Temporary Patch(part 11)
|
:
|
| 02 0F 00 00 | Performance Mode Temporary Patch(part 16)
| 03 00 00 00 | Patch Mode Temporary Patch
1-3
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | User Performance USER:01
| 10 01 00 00 | User Performance USER:02
1-2
|
|
|
|
|
|
|
|
|
|
|
:
|
| 10 1F 00 00 | User Performance USER:32
| 10 40 00 00 | User Rhythm Setup USER:1
| 10 41 00 00 | User Rhythm Setup USER:2
| 11 00 00 00 | User Patch USER:001
| 11 01 00 00 | User Patch USER:002
1-4
1-3
|
:
|
| 11 7F 00 00 | User Patch USER:128
+——————————————————————————————————————————————————————————————————————————————+
■ 1-1.System
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | System Common
10 00 | Part 1 Scale Tune
11 00 | Part 2 Scale Tune
|
1-1-1 |
1-1-2 |
|
|
|
:
1F 00 | Part 16 Scale Tune
20 00 | Patch Mode Scale Tune
1-1-2 |
+——————————————————————————————————————————————————————————————————————————————+
■ 1-1-1.System Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 00aa | Sound Mode
0 - 2
*1
|
00 01 | 0aaa aaaa | Performance Number
00 02 | 0000 00aa | Patch Group Type
00 03 | 0aaa aaaa | Patch Group ID
00 04 | 0000 aaaa | Patch Number
| 0000 bbbb |
0 - 127 *2
| +———————————————————————————————————————————————————————————+
0 - 2
0 - 127
0 - 255
*3
-> | | Patch Group | Group Type | Group ID | Number (value)
-> | |—————————————+————————————+——————————+—————————————————————|
|
-> | |
(001 - 256) | |
USER
<CARD
PR-A
PR-B
PR-C
PR-D
PR-E
<PCM
|
|
|
|
|
|
|
|
0
0
0
0
0
0
0
1
2
2
2
2
2
|
|
|
|
|
|
|
1
2
3
4
5
6
7
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128)>|
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
00 06 | 0aaa aaaa | Master Tune
00 07 | 0000 000a | Scale Tune Switch
00 08 | 0000 000a | EFX Switch
0 - 126 *4
| |
| |
| |
| |
| |
| |
0 - 1 (OFF,ON)
0 - 1 (OFF,ON)
0 - 1 (OFF,ON)
0 - 1 (OFF,ON)
0 - 1 (OFF,ON)
00 09 | 0000 000a | Chorus Switch
00 0A | 0000 000a | Reverb Switch
00 0B | 0000 000a | Patch Remain
00 0C | 0000 000a | Clock Source
00 0D | 0000 0aaa | TAP Control Source
00 0E | 0000 0aaa | Hold Control Source
00 0F | 0000 0aaa | Peak Control Source
00 10 | 0000 000a | Volume Control Source
00 11 | 0000 00aa | Aftertouch Source
00 12 | 0aaa aaaa | System Control Source 1
00 13 | 0aaa aaaa | System Control Source 2
| 1 - 127 | 0 - 127 (001 - 128)>|
0 - 1 (INT,MIDI) | |XP-A(Session)|
|
|
|
9
2
11
| 0 - 254 (001 - 255) |
| 0 - 254 (001 - 255) |
| 0 - 255 (001 - 256) |
0 - 4
0 - 4
0 - 4
0 - 1
0 - 2
1 - 97
1 - 97
*5
*6
*6
*7
*8
*9
*9
| | XP-B(Orch.) |
| | XP-C(Techno)|
| |
| |
XP-D
XP-E
|
|
| 1 - 127 | 0 - 255 (001 - 256) |
| 1 - 127 | 0 - 255 (001 - 256) |
| +-----------------------------------------------------------+
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
00 14 | 0000 000a | Receive Program Change
00 15 | 0000 000a | Receive Bank Select
00 16 | 0000 000a | Receive Control Change
00 17 | 0000 000a | Receive Modulation
00 18 | 0000 000a | Receive Volume
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 - 16 (1 - 16,OFF)|
00 19 | 0000 000a | Receive Hold-1
00 1A | 0000 000a | Receive Pitch Bend
00 1B | 0000 000a | Receive Aftertouch
00 1C | 000a aaaa | Control Channel
00 1D | 0000 aaaa | Patch Receive Channel
00 1E | 0000 000a | Rhythm Edit Source
0 - 15 (1 - 16)
0 - 1 *10
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 1F | 0000 00aa | Preview Sound Mode
00 20 | 0aaa aaaa | Preview Note Set 1
00 21 | 0aaa aaaa | Preview Velocity Set 1
00 22 | 0aaa aaaa | Preview Note Set 2
00 23 | 0aaa aaaa | Preview Velocity Set 2
00 24 | 0aaa aaaa | Preview Note Set 3
00 25 | 0aaa aaaa | Preview Velocity Set 3
00 26 | 0aaa aaaa | Preview Note Set 4
00 27 | 0aaa aaaa | Preview Velocity Set 4
0 - 2
0 - 127 (C-1 - G9) |
0 - 127 *12
0 - 127 (C-1 - G9) |
0 - 127 *12
0 - 127 (C-1 - G9) |
0 - 127 *12
0 - 127 (C-1 - G9) |
0 - 127 *12
*11
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
00 28 | 0000 000a | Transmit Program Change
00 29 | 0000 000a | Transmit Bank Select
00 2A | 000a aaaa | Patch Transmit Channel
0 - 1
0 - 1
0 - 17
(OFF,ON)
(OFF,ON)
*13
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 2B | 0000 000a | Transpose Switch
00 2C | 0000 aaaa | Transpose Value
00 2D | 0000 0aaa | Octave Shift
00 2E | 0aaa aaaa | Keyboard Velocity
00 2F | 0000 00aa | Keyboard Sens
00 30 | 0aaa aaaa | Aftertouch Sens
00 31 | 0aaa aaaa | Pedal(1) Assign
00 32 | 0000 00aa | Pedal(1) Output Mode
0 - 1
0 - 11 (-5 - +6) |
0 - 6 (-3 - +3) |
(OFF,ON)
|
0 - 127 *14
|
|
|
|
|
0 - 2
*15
0 - 100
1 - 104 *16
0 - 3
*18
1 9 0
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
|
|
|
|
|
|
|
|
00 33 | 0000 000a | Pedal(1) Polarity
00 34 | 0aaa aaaa | Pedal2 Assign
00 35 | 0000 00aa | Pedal2 Output Mode
00 36 | 0000 000a | Pedal2 Polarity
00 37 | 0aaa aaaa | C1 Assign
0 - 1
*20
|
|
|
|
|
|
|
|
|
|
1 - 104 *17
0 - 3
0 - 1
1 - 97
0 - 3
1 - 97
0 - 3
0 - 3
0 - 1
*19
*21
*9
*18
*9
*18
*18
*20
00 38 | 0000 00aa | C1 Output Mode
00 39 | 0aaa aaaa | C2 Assign
00 3A | 0000 00aa | C2 Output Mode
00 3B | 0000 00aa | Hold Pedal Output Mode
00 3C | 0000 000a | Hold Pedal Polarity
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3D | 0000 000a | Bank Select Group1 Switch
00 3E | 0aaa aaaa | Bank Select Group1 MSB
00 3F | 0aaa aaaa | Bank Select Group1 LSB
00 40 | 0000 000a | Bank Select Group2 Switch
00 41 | 0aaa aaaa | Bank Select Group2 MSB
00 42 | 0aaa aaaa | Bank Select Group2 LSB
00 43 | 0000 000a | Bank Select Group3 Switch
00 44 | 0aaa aaaa | Bank Select Group3 MSB
00 45 | 0aaa aaaa | Bank Select Group3 LSB
00 46 | 0000 000a | Bank Select Group4 Switch
00 47 | 0aaa aaaa | Bank Select Group4 MSB
00 48 | 0aaa aaaa | Bank Select Group4 LSB
00 49 | 0000 000a | Bank Select Group5 Switch
00 4A | 0aaa aaaa | Bank Select Group5 MSB
00 4B | 0aaa aaaa | Bank Select Group5 LSB
00 4C | 0000 000a | Bank Select Group6 Switch
00 4D | 0aaa aaaa | Bank Select Group6 MSB
00 4E | 0aaa aaaa | Bank Select Group6 LSB
00 4F | 0000 000a | Bank Select Group7 Switch
00 50 | 0aaa aaaa | Bank Select Group7 MSB
00 51 | 0aaa aaaa | Bank Select Group7 LSB
0 - 1
(OFF,ON)
(OFF,ON)
(OFF,ON)
(OFF,ON)
(OFF,ON)
(OFF,ON)
(OFF,ON)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 - 127
0 - 127
0 - 1
0 - 127
0 - 127
0 - 1
0 - 127
0 - 127
0 - 1
0 - 127
0 - 127
0 - 1
0 - 127
0 - 127
0 - 1
0 - 127
0 - 127
0 - 1
0 - 127
0 - 127
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 52 | 0aaa aaaa | Pedal3 Assign
00 53 | 0000 00aa | Pedal3 Output Mode
00 54 | 0000 000a | Pedal3 Polarity
00 55 | 0aaa aaaa | Pedal4 Assign
00 56 | 0000 00aa | Pedal4 Output Mode
00 57 | 0000 000a | Pedal4 Polarity
1 - 104 *17
|
|
|
|
|
|
0 - 3
0 - 1
*19
*21
1 - 104 *17
0 - 3
0 - 1
*19
*21
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 58 | 00aa aaaa | Arpeggio Style
00 59 | 00aa aaaa | Arpeggio Motif
0 - 42 (1 - 43)
0 - 37 (1 - 38)
|
|
00 5A | 0aaa aaaa | Arpeggio Beat Pattern
00 5B | 0aaa aaaa | Arpeggio Accent Rate
00 5C | 0aaa aaaa | Arpeggio Shuffle Rate
00 5D | 0aaa aaaa | Arpeggio Keyboard Velocity
00 5E | 0000 0aaa | Arpeggio Octave Range
00 5F | 0000 aaaa | Arpeggio Part Number
0 - 114 (1 - 115) |
0 - 100
|
|
|
50 - 90
0 - 127 *14
0 - 6
(-3 - +3) |
*22
0 - 15
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 60 | 0000 aaaa | System Tempo
| 0000 bbbb |
20 - 250
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 62 | 0aaa aaaa | C3 Assign
00 63 | 0000 00aa | C3 Output Mode
00 64 | 0aaa aaaa | C4 Assign
00 65 | 0000 00aa | C4 Output Mode
1 - 97
0 - 3
1 - 97
0 - 3
*9
|
|
|
|
*18
*9
*18
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 00 66
|
+——————————————————————————————————————————————————————————————————————————————+
*1 PERFORMANCE, PATCH, GM
*2 USER:01–USER:32, <CARD:01–CARD:32>, PR-A:01–PR-A:32, PR-B:01–PR-B:32
*3 USER&PRESET, <PCM>, EXP
*4 427.4–452.6
*5 <OFF, HOLD-1, SOSTENUTO, SOFT, HOLD-2>
*6 OFF, HOLD-1, SOSTENUTO, SOFT, HOLD-2
*7 VOLUME, VOLUME&EXPRESSION
*8 CHANNEL, POLY, CH&POLY
*9 CC01–CC05, CC07–CC31, CC64–CC95, PITCH BEND, AFTERTOUCH
*10 <PANEL, PANEL&MIDI>
*11 SINGLE, CHORD, PHRASE
*12 OFF, 1–127
*13 1–16, RX-CH, OFF
*14 REAL, 1–127
*15 LIGHT, MEDIUM, HEAVY
*16 CC01–CC05, CC07–CC31, CC64–CC95, PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, <START/ STOP>, <PUNCH-IN/ OUT>, TAP-TEMPO, OCTAVE-UP, OCTAVE-DOWN
*17 <CC01–CC05, CC07–CC31, CC64–CC95, PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, <START/ STOP>, <PUNCH-IN/ OUT>, TAP-TEMPO, OCTAVE-UP, OCTAVE-DOWN>
*18 OFF, INT, MIDI, INT&MIDI
*19 <OFF, INT, MIDI, INT&MIDI>
*20 STANDARD, REVERSE
*21 <STANDARD, REVERSE>
*22 PART1–PART16
■ 1-1-2.Scale Tune
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Scale Tune for C
00 01 | 0aaa aaaa | Scale Tune for C#
00 02 | 0aaa aaaa | Scale Tune for D
00 03 | 0aaa aaaa | Scale Tune for D#
00 04 | 0aaa aaaa | Scale Tune for E
00 05 | 0aaa aaaa | Scale Tune for F
00 06 | 0aaa aaaa | Scale Tune for F#
00 07 | 0aaa aaaa | Scale Tune for G
00 08 | 0aaa aaaa | Scale Tune for G#
00 09 | 0aaa aaaa | Scale Tune for A
00 0A | 0aaa aaaa | Scale Tune for A#
00 0B | 0aaa aaaa | Scale Tune for B
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)|
|—————————————+————————————————————————————————————————————————————————————————|
|Total size | 00 00 00 0C
+——————————————————————————————————————————————————————————————————————————————+
|
1 9 1
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ 1-2.Performance
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 | Performance Common
10 00 | Performance Part 1
11 00 | Performance Part 2
|
1-2-1 |
1-2-2 |
|
|
|
:
1F 00 | Performance Part 16
+——————————————————————————————————————————————————————————————————————————————+
■ 1-2-1.Performance Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Performance Name 1
00 01 | 0aaa aaaa | Performance Name 2
00 02 | 0aaa aaaa | Performance Name 3
00 03 | 0aaa aaaa | Performance Name 4
00 04 | 0aaa aaaa | Performance Name 5
00 05 | 0aaa aaaa | Performance Name 6
00 06 | 0aaa aaaa | Performance Name 7
00 07 | 0aaa aaaa | Performance Name 8
00 08 | 0aaa aaaa | Performance Name 9
00 09 | 0aaa aaaa | Performance Name 10
00 0A | 0aaa aaaa | Performance Name 11
00 0B | 0aaa aaaa | Performance Name 12
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0C | 0000 aaaa | EFX Source
00 0D | 00aa aaaa | EFX Type
0 - 15
*1
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 - 39 (1 - 40)
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
00 0E | 0aaa aaaa | EFX Parameter 1
00 0F | 0aaa aaaa | EFX Parameter 2
00 10 | 0aaa aaaa | EFX Parameter 3
00 11 | 0aaa aaaa | EFX Parameter 4
00 12 | 0aaa aaaa | EFX Parameter 5
00 13 | 0aaa aaaa | EFX Parameter 6
00 14 | 0aaa aaaa | EFX Parameter 7
00 15 | 0aaa aaaa | EFX Parameter 8
00 16 | 0aaa aaaa | EFX Parameter 9
00 17 | 0aaa aaaa | EFX Parameter 10
00 18 | 0aaa aaaa | EFX Parameter 11
00 19 | 0aaa aaaa | EFX Parameter 12
00 1A | 0000 00aa | EFX Output Assign
00 1B | 0aaa aaaa | EFX Mix Out Send Level
00 1C | 0aaa aaaa | EFX Chorus Send Level
00 1D | 0aaa aaaa | EFX Reverb Send Level
00 1E | 0000 aaaa | EFX Control Source 1
00 1F | 0aaa aaaa | EFX Control Depth 1
00 20 | 0000 aaaa | EFX Control Source 2
00 21 | 0aaa aaaa | EFX Control Depth 2
00 22 | 0aaa aaaa | Chorus Level
00 23 | 0aaa aaaa | Chorus Rate
0 - 2
*2
0 - 127
0 - 127
0 - 127
0 - 10
*3
0 - 126 (-63 - +63)|
0 - 10 *3
0 - 126 (-63 - +63)|
|
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 2
|
|
|
|
|
|
|
|
|
|
|
00 24 | 0aaa aaaa | Chorus Depth
00 25 | 0aaa aaaa | Chorus Pre-Delay
00 26 | 0aaa aaaa | Chorus Feedback
00 27 | 0000 00aa | Chorus Output
00 28 | 0000 0aaa | Reverb Type
00 29 | 0aaa aaaa | Reverb Level
00 2A | 0aaa aaaa | Reverb Time
00 2B | 000a aaaa | Reverb HF Damp
00 2C | 0aaa aaaa | Delay Feedback
*4
*5
0 - 7
0 - 127
0 - 127
0 - 17
0 - 127
*6
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
|
00 2D | 0000 aaaa | Performance Tempo
| 0000 bbbb |
00 2F | 0000 000a | Keyboard Range Switch
20 - 250
|
|
|
0 - 1 (OFF,ON)
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 30 | 0aaa aaaa | Voice Reserve 1
00 31 | 0aaa aaaa | Voice Reserve 2
00 32 | 0aaa aaaa | Voice Reserve 3
00 33 | 0aaa aaaa | Voice Reserve 4
00 34 | 0aaa aaaa | Voice Reserve 5
00 35 | 0aaa aaaa | Voice Reserve 6
00 36 | 0aaa aaaa | Voice Reserve 7
00 37 | 0aaa aaaa | Voice Reserve 8
00 38 | 0aaa aaaa | Voice Reserve 9
00 39 | 0aaa aaaa | Voice Reserve 10
00 3A | 0aaa aaaa | Voice Reserve 11
00 3B | 0aaa aaaa | Voice Reserve 12
00 3C | 0aaa aaaa | Voice Reserve 13
00 3D | 0aaa aaaa | Voice Reserve 14
00 3E | 0aaa aaaa | Voice Reserve 15
00 3F | 0aaa aaaa | Voice Reserve 16
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
0 - 64
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 40 | 0000 000a | Keyboard Mode
00 41 | 0000 000a | Clock Source
0 - 1
0 - 1
*7
*8
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 00 42
|
+——————————————————————————————————————————————————————————————————————————————+
*1 PERFORM, 1–9, 11–16
*2 MIX, <DIRECT-1>, <DIRECT-2>
*3 OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*4 MIX, REV, MIX+REV
*5 ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
*6 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
*7 LAYER, SINGLE
*8 PERFORMANCE, SYSTEM
1 9 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ 1-2-2.Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
00 00 | 0000 000a | Receive Switch
00 01 | 0000 aaaa | MIDI Channel
0 - 1
(OFF,ON)
|
|
0 - 15 (1 - 16)
|—————————————+———————————+————————————————————————————————————————————————————| +———————————————————————————————————————————————————————————+
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 0000 00aa | Patch Group Type
00 03 | 0aaa aaaa | Patch Group ID
00 04 | 0000 aaaa | Patch Number
0 - 2
0 - 127
0 - 255
*1
-> | | Patch Group | Group Type | Group ID | Number (value)
|
-> | |—————————————+————————————+——————————+—————————————————————|
-> | |
USER
<CARD
PR-A
PR-B
PR-C
PR-D
PR-E
<PCM
|
|
|
|
|
|
|
|
0
0
0
0
0
0
0
1
2
2
2
2
2
|
|
|
|
|
|
|
1
2
3
4
5
6
7
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128)>|
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0 - 127 (001 - 128) |
| 0000 bbbb |
(001 - 256)| |
| |
00 06 | 0aaa aaaa | Part Level
00 07 | 0aaa aaaa | Part Pan
0 - 127
0 - 127 (L64 - 63R)| |
0 - 96 (-48 - +48)| |
0 - 100 (-50 - +50)| |
00 08 | 0aaa aaaa | Part Coarse Tune
00 09 | 0aaa aaaa | Part Fine Tune
00 0A | 0000 0aaa | Output Assign
00 0B | 0aaa aaaa | Mix/EFX Send Level
00 0C | 0aaa aaaa | Chorus Send Level
00 0D | 0aaa aaaa | Reverb Send Level
00 0E | 0000 000a | Receive Program Change Switch
00 0F | 0000 000a | Receive Volume Switch
00 10 | 0000 000a | Receive Hold-1 Switch
00 11 | 0aaa aaaa | Keyboard Range Lower
00 12 | 0aaa aaaa | Keyboard Range Upper
0 - 4
*2
| |
| |
0 - 127
0 - 127
0 - 127
0 - 1
| 1 - 127 | 0 - 127 (001 - 128)>|
| |XP-A(Session)|
| | XP-B(Orch.) |
| | XP-C(Techno)|
|
|
|
9
2
11
| 0 - 254 (001 - 255) |
| 0 - 254 (001 - 255) |
| 0 - 255 (001 - 256) |
(OFF,ON)
(OFF,ON)
(OFF,ON)
0 - 1
| |
| |
XP-D
XP-E
|
|
| 1 - 127 | 0 - 255 (001 - 256) |
| 1 - 127 | 0 - 255 (001 - 256) |
0 - 1
0 - 127 *3
0 - 127 *4
| +———————————————————————————————————————————————————————————+
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 13 | 0000 0aaa | Octave Shift
00 14 | 0000 000a | Local Switch
00 15 | 0000 000a | Transmit Switch
00 16 | 0000 0aaa | Transmit Bank Select Group
00 17 | 0000 aaaa | Transmit Volume
| 0000 bbbb |
0 - 6
0 - 1
0 - 1
0 - 7
0 - 128
(-3 - +3) |
|
(OFF,ON)
(OFF,ON)
*5
|
|
|
|
|
|
|#
|
(0 - 127,OFF) |
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 00 19
|
+——————————————————————————————————————————————————————————————————————————————+
*1 USER&PRESET, <PCM>, EXP
*2 MIX, EFX, <DIRECT-1>, <DIRECT-2>, PATCH
*3 C-1–Upper
*4 Lower–G9
*5 PATCH, GROUP1–GROUP7
■ 1-3.Patch
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 | Patch Common
10 00 | Patch Tone 1
12 00 | Patch Tone 2
14 00 | Patch Tone 3
16 00 | Patch Tone 4
1-3-1 |
1-3-2 |
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
■ 1-3-1.Patch Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Patch Name 1
00 01 | 0aaa aaaa | Patch Name 2
00 02 | 0aaa aaaa | Patch Name 3
00 03 | 0aaa aaaa | Patch Name 4
00 04 | 0aaa aaaa | Patch Name 5
00 05 | 0aaa aaaa | Patch Name 6
00 06 | 0aaa aaaa | Patch Name 7
00 07 | 0aaa aaaa | Patch Name 8
00 08 | 0aaa aaaa | Patch Name 9
00 09 | 0aaa aaaa | Patch Name 10
00 0A | 0aaa aaaa | Patch Name 11
00 0B | 0aaa aaaa | Patch Name 12
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0C | 00aa aaaa | EFX Type
0 - 39 (1 - 40)
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0D | 0aaa aaaa | EFX Parameter 1
00 0E | 0aaa aaaa | EFX Parameter 2
00 0F | 0aaa aaaa | EFX Parameter 3
00 10 | 0aaa aaaa | EFX Parameter 4
00 11 | 0aaa aaaa | EFX Parameter 5
00 12 | 0aaa aaaa | EFX Parameter 6
00 13 | 0aaa aaaa | EFX Parameter 7
00 14 | 0aaa aaaa | EFX Parameter 8
00 15 | 0aaa aaaa | EFX Parameter 9
00 16 | 0aaa aaaa | EFX Parameter 10
00 17 | 0aaa aaaa | EFX Parameter 11
00 18 | 0aaa aaaa | EFX Parameter 12
00 19 | 0000 00aa | EFX Output Assign
00 1A | 0aaa aaaa | EFX Mix Out Send Level
00 1B | 0aaa aaaa | EFX Chorus Send Level
00 1C | 0aaa aaaa | EFX Reverb Send Level
00 1D | 0000 aaaa | EFX Control Source 1
00 1E | 0aaa aaaa | EFX Control Depth 1
00 1F | 0000 aaaa | EFX Control Source 2
00 20 | 0aaa aaaa | EFX Control Depth 2
00 21 | 0aaa aaaa | Chorus Level
0 - 2
*1
0 - 127
0 - 127
0 - 127
0 - 10
*2
0 - 126 (-63 - +63)|
0 - 10
0 - 126 (-63 - +63)|
|
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 2
|
|
|
|
|
|
|
|
|
|
|
00 22 | 0aaa aaaa | Chorus Rate
00 23 | 0aaa aaaa | Chorus Depth
00 24 | 0aaa aaaa | Chorus Pre-Delay
00 25 | 0aaa aaaa | Chorus Feedback
00 26 | 0000 00aa | Chorus Output
00 27 | 0000 0aaa | Reverb Type
*3
*4
0 - 7
00 28 | 0aaa aaaa | Reverb Level
0 - 127
0 - 127
0 - 17
0 - 127
00 29 | 0aaa aaaa | Reverb Time
00 2A | 000a aaaa | Reverb HF Damp
00 2B | 0aaa aaaa | Delay Feedback
*5
1 9 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 2C | 0000 aaaa | Patch Tempo
20 - 250
|
|
|
| 0000 bbbb |
00 2E | 0aaa aaaa | Patch Level
0 - 127
00 2F | 0aaa aaaa | Patch Pan
0 - 127 (L64 - 63R)|
00 30 | 0aaa aaaa | Analog Feel
0 - 127
0 - 12
|
|
00 31 | 0000 aaaa | Bend Range Up
00 32 | 00aa aaaa | Bend Range Down
00 33 | 0000 000a | Key Assign Mode
00 34 | 0000 000a | Solo Legato
0 - 48 (0 - -48) |
0 - 1
0 - 1
0 - 1
0 - 1
0 - 1
0 - 1
0 - 127
0 - 15
0 - 15
0 - 2
0 - 2
0 - 2
0 - 2
0 - 1
0 - 6
0 - 3
0 - 1
(POLY,SOLO)|
(OFF,ON)
(OFF,ON)
*6
|
|
|
00 35 | 0000 000a | Portamento Switch
00 36 | 0000 000a | Portamento Mode
00 37 | 0000 000a | Portamento Type
00 38 | 0000 000a | Portamento Start
00 39 | 0aaa aaaa | Portamento Time
00 3A | 0000 aaaa | Patch Control Source 2
00 3B | 0000 aaaa | Patch Control Source 3
00 3C | 0000 00aa | EFX Control Hold/Peak
00 3D | 0000 00aa | Control 1 Hold/Peak
00 3E | 0000 00aa | Control 2 Hold/Peak
00 3F | 0000 00aa | Control 3 Hold/Peak
00 40 | 0000 000a | Velocity Range Switch
00 41 | 0000 0aaa | Octave Shift
00 42 | 0000 00aa | Stretch Tune Depth
00 43 | 0000 000a | Voice Priority
(RATE,TIME)|
*7
|
|
|
|
|
|
|
|
|
*8
*8
*9
*9
*9
*9
(OFF,ON)
(-3 - +3) |
(OFF,1 - 3)|
*10
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 44 | 0000 aaaa | Structure Type 1&2
00 45 | 0000 00aa | Booster 1&2
0 - 9
0 - 3
0 - 9
0 - 3
(1 - 10)
*11
(1 - 10)
*11
|
|
|
|
00 46 | 0000 aaaa | Structure Type 3&4
00 47 | 0000 00aa | Booster 3&4
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 48 | 0000 000a | Clock Source
00 49 | 0aaa aaaa | Patch Category
0 - 1
0 - 127 *13
*12
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 00 4A
|
+——————————————————————————————————————————————————————————————————————————————+
*1 MIX, <DIRECT-1>, <DIRECT-2>
*2 OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH
*3 MIX, REV, MIX+REV
*4 ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY
*5 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS
*6 NORMAL, LEGATO
*7 PITCH, NOTE
*8 OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH, LFO1, LFO2, VELOCITY, KEYFOLLOW, PLAYMATE
*9 OFF, HOLD, PEAK
*10 LAST, LOUDEST
*11 0, +6, +12, +18
*12 PATCH, SYSTEM
*13 NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS, SYNTH BASS, STRINGS,
ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH, PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD,
SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE, DRUMS, COMBINATION (0–38)
■ 1-3-2.Patch Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|#
|
|
|
|
|
|
|
00 00 | 0000 000a | Tone Switch
00 01 | 0000 00aa | Wave Group Type
00 02 | 0aaa aaaa | Wave Group ID
00 03 | 0000 aaaa | Wave Number
| 0000 bbbb |
00 05 | 0000 00aa | Wave Gain
00 06 | 0000 000a | FXM Switch
00 07 | 0000 00aa | FXM Color
00 08 | 0000 aaaa | FXM Depth
00 09 | 0000 0aaa | Tone Delay Mode
00 0A | 0aaa aaaa | Tone Delay Time
0 - 1
(OFF,ON)
*1
| +———————————————————————————————————————————————————————————+
-> | | Wave Group | Group Type | Group ID | Number (value)
0 - 2
|
0 - 127
0 - 254
-> | |—————————————+————————————+——————————+—————————————————————|
-> | |
INT-A
INT-B
<PCM
|
|
|
0
0
1
2
2
2
2
2
|
|
1
2
| 0 - 254 (001 - 255) |
| 0 - 192 (001 - 193) |
| 1 - 127 | 0 - 254 (001 - 255)>|
(001 - 255)| |
0 - 3
0 - 1
0 - 3
*2
| |
(OFF,ON)
(1 - 4)
| |XP-A(Session)|
| | XP-B(Orch.) |
| | XP-C(Techno)|
|
|
|
9
2
11
| 0 - 205 (001 - 206) |
| 0 - 173 (001 - 174) |
| 0 - 254 (001 - 255) |
0 - 15 (1 - 16)
0 - 7
0 - 127
*3
| |
| |
XP-D
XP-E
|
|
| 1 - 127 | 0 - 254 (001 - 255) |
| 1 - 127 | 0 - 254 (001 - 255) |
|—————————————+———————————+————————————————————————————————————————————————————| +———————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0B | 0aaa aaaa | Velocity Cross Fade
00 0C | 0aaa aaaa | Velocity Range Lower
00 0D | 0aaa aaaa | Velocity Range Upper
00 0E | 0aaa aaaa | Keyboard Range Lower
00 0F | 0aaa aaaa | Keyboard Range Upper
00 10 | 0000 000a | Redamper Control Switch
00 11 | 0000 000a | Volume Control Switch
00 12 | 0000 000a | Hold-1 Control Switch
00 13 | 0000 000a | Pitch Bend Control Switch
00 14 | 0000 00aa | Pan Control Switch
00 15 | 000a aaaa | Controller 1 Destination 1
00 16 | 0aaa aaaa | Controller 1 Depth 1
00 17 | 000a aaaa | Controller 1 Destination 2
00 18 | 0aaa aaaa | Controller 1 Depth 2
00 19 | 000a aaaa | Controller 1 Destination 3
00 1A | 0aaa aaaa | Controller 1 Depth 3
00 1B | 000a aaaa | Controller 1 Destination 4
00 1C | 0aaa aaaa | Controller 1 Depth 4
00 1D | 000a aaaa | Controller 2 Destination 1
00 1E | 0aaa aaaa | Controller 2 Depth 1
00 1F | 000a aaaa | Controller 2 Destination 2
00 20 | 0aaa aaaa | Controller 2 Depth 2
00 21 | 000a aaaa | Controller 2 Destination 3
00 22 | 0aaa aaaa | Controller 2 Depth 3
00 23 | 000a aaaa | Controller 2 Destination 4
00 24 | 0aaa aaaa | Controller 2 Depth 4
00 25 | 000a aaaa | Controller 3 Destination 1
00 26 | 0aaa aaaa | Controller 3 Depth 1
00 27 | 000a aaaa | Controller 3 Destination 2
00 28 | 0aaa aaaa | Controller 3 Depth 2
00 29 | 000a aaaa | Controller 3 Destination 3
00 2A | 0aaa aaaa | Controller 3 Depth 3
00 2B | 000a aaaa | Controller 3 Destination 4
00 2C | 0aaa aaaa | Controller 3 Depth 4
0 - 127
|
|
|
|
|
|
|
|
|
|
|
1 - 127 *4
1 - 127 *5
0 - 127 *6
0 - 127 *7
0 - 1
0 - 1
0 - 1
0 - 1
0 - 2
0 - 18
(OFF,ON)
(OFF,ON)
(OFF,ON)
(OFF,ON)
*8
*9
0 - 126 (-63 - +63)|
0 - 18
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
0 - 18 *9
0 - 126 (-63 - +63)|
*9
|
|
|
|
|
|
|
|
|
|
|
1 9 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 2D | 0000 0aaa | LFO1 Waveform
00 2E | 0000 000a | LFO1 Key Sync
00 2F | 0aaa aaaa | LFO1 Rate
0 - 7
*10
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 - 1
(OFF,ON)
0 - 127
0 - 4
00 30 | 0000 0aaa | LFO1 Offset
00 31 | 0aaa aaaa | LFO1 Delay Time
00 32 | 0000 00aa | LFO1 Fade Mode
00 33 | 0aaa aaaa | LFO1 Fade Time
00 34 | 0000 00aa | LFO1 External Sync
00 35 | 0000 0aaa | LFO2 Waveform
00 36 | 0000 000a | LFO2 Key Sync
00 37 | 0aaa aaaa | LFO2 Rate
*11
*12
0 - 127
0 - 3
0 - 127
0 - 2
*13
*10
(OFF,ON)
0 - 7
0 - 1
0 - 127
0 - 4
00 38 | 0000 0aaa | LFO2 Offset
00 39 | 0aaa aaaa | LFO2 Delay Time
00 3A | 0000 00aa | LFO2 Fade Mode
00 3B | 0aaa aaaa | LFO2 Fade Time
00 3C | 0000 00aa | LFO2 External Sync
*11
*12
*13
0 - 127
0 - 3
0 - 127
0 - 2
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3D | 0aaa aaaa | Coarse Tune
0 - 96 (-48 - +48)|
0 - 100 (-50 - +50)|
00 3E | 0aaa aaaa | Fine Tune
00 3F | 000a aaaa | Random Pitch Depth
00 40 | 0000 aaaa | Pitch Keyfollow
0 - 30
0 - 15
*14
*15
|
|
00 41 | 000a aaaa | Pitch Envelope Depth
00 42 | 0aaa aaaa | Pitch Envelope Velocity Sens
00 43 | 0000 aaaa | Pitch Envelope Velocity Time1
00 44 | 0000 aaaa | Pitch Envelope Velocity Time4
00 45 | 0000 aaaa | Pitch Envelope Time Keyfollow
00 46 | 0aaa aaaa | Pitch Envelope Time 1
00 47 | 0aaa aaaa | Pitch Envelope Time 2
00 48 | 0aaa aaaa | Pitch Envelope Time 3
00 49 | 0aaa aaaa | Pitch Envelope Time 4
00 4A | 0aaa aaaa | Pitch Envelope Level 1
00 4B | 0aaa aaaa | Pitch Envelope Level 2
00 4C | 0aaa aaaa | Pitch Envelope Level 3
00 4D | 0aaa aaaa | Pitch Envelope Level 4
00 4E | 0aaa aaaa | Pitch LFO1 Depth
0 - 24 (-12 - +12)|
0 - 125 *16
|
|
|
|
|
|
|
|
0 - 14
0 - 14
0 - 14
0 - 127
0 - 127
0 - 127
0 - 127
*17
*17
*17
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
00 4F | 0aaa aaaa | Pitch LFO2 Depth
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 50 | 0000 0aaa | Filter Type
0 - 4
*18
|
|
|
|
|
00 51 | 0aaa aaaa | Cutoff Frequency
00 52 | 0000 aaaa | Cutoff Keyfollow
00 53 | 0aaa aaaa | Resonance
0 - 127
0 - 15
0 - 127
*15
00 54 | 0aaa aaaa | Resonance Velocity Sens
00 55 | 0aaa aaaa | Filter Envelope Depth
0 - 125 *16
0 - 126 (-63 - +63)|
00 56 | 0000 0aaa | Filter Envelope Velocity Curve 0 - 6
(1 - 7)
|
|
|
|
|
|
|
|
|
|
|
|
|
00 57 | 0aaa aaaa | Filter Envelope Velocity Sens
0 - 125 *16
00 58 | 0000 aaaa | Filter Envelope Velocity Time1 0 - 14
00 59 | 0000 aaaa | Filter Envelope Velocity Time4 0 - 14
00 5A | 0000 aaaa | Filter Envelope Time Keyfollow 0 - 14
*17
*17
*17
00 5B | 0aaa aaaa | Filter Envelope Time 1
00 5C | 0aaa aaaa | Filter Envelope Time 2
00 5D | 0aaa aaaa | Filter Envelope Time 3
00 5E | 0aaa aaaa | Filter Envelope Time 4
00 5F | 0aaa aaaa | Filter Envelope Level 1
00 60 | 0aaa aaaa | Filter Envelope Level 2
00 61 | 0aaa aaaa | Filter Envelope Level 3
00 62 | 0aaa aaaa | Filter Envelope Level 4
00 63 | 0aaa aaaa | Filter LFO1 Depth
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
00 64 | 0aaa aaaa | Filter LFO2 Depth
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 65 | 0aaa aaaa | Tone Level
0 - 127
0 - 3
|
|
00 66 | 0000 00aa | Bias Direction
*19
00 67 | 0aaa aaaa | Bias Position
0 - 127 (C-1 - G9) |
00 68 | 0000 aaaa | Bias Level
0 - 14
0 - 6
*17
(1 - 7)
|
|
|
|
|
|
|
|
|
|
|
|
|
00 69 | 0000 0aaa | Level Envelope Velocity Curve
00 6A | 0aaa aaaa | Level Envelope Velocity Sens
00 6B | 0000 aaaa | Level Envelope Velocity Time1
00 6C | 0000 aaaa | Level Envelope Velocity Time4
00 6D | 0000 aaaa | Level Envelope Time Keyfollow
00 6E | 0aaa aaaa | Level Envelope Time 1
00 6F | 0aaa aaaa | Level Envelope Time 2
00 70 | 0aaa aaaa | Level Envelope Time 3
00 71 | 0aaa aaaa | Level Envelope Time 4
00 72 | 0aaa aaaa | Level Envelope Level 1
00 73 | 0aaa aaaa | Level Envelope Level 2
00 74 | 0aaa aaaa | Level Envelope Level 3
00 75 | 0aaa aaaa | Level LFO1 Depth
00 76 | 0aaa aaaa | Level LFO2 Depth
00 77 | 0aaa aaaa | Tone Pan
0 - 125 *16
0 - 14
*17
*17
*17
0 - 14
0 - 14
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 127 (L64 - 63R)|
0 - 14
0 - 63
1 - 127 (L63 - 63R)|
0 - 126 (L63 - 63R)|
0 - 126 (L63 - 63R)|
00 78 | 0000 aaaa | Pan Keyfollow
*17
|
|
00 79 | 00aa aaaa | Random Pan Depth
00 7A | 0aaa aaaa | Alternate Pan Depth
00 7B | 0aaa aaaa | Pan LFO1 Depth
00 7C | 0aaa aaaa | Pan LFO2 Depth
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 7D | 0000 00aa | Output Assign
00 7E | 0aaa aaaa | Mix/EFX Send Level
00 7F | 0aaa aaaa | Chorus Send Level
01 00 | 0aaa aaaa | Reverb Send Level
0 - 3
*20
|
|
|
|
0 - 127
0 - 127
0 - 127
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 01 01
|
+——————————————————————————————————————————————————————————————————————————————+
*1 INT, <PCM>, EXP
*2 -6, 0, +6, +12
*3 NORMAL, HOLD, PLAYMATE, CLOCK-SYNC, <TAP-SYNC>, KEY-OFF-N, KEY-OFF-D, TEMPO-SYNC
*4 1–Upper
*5 Lower–127
*6 C-1–Upper
*7 Lower–G9
*8 OFF, CONTINUOUS, KEY-ON
*9 OFF, PCH, CUT, RES, LEV, PAN, MIX, CHO, REV, PL1, PL2, FL1, FL2, AL1, AL2, pL1, pL2, L1R, L2R
*10 TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS
*11 -100, -50, 0, +50, +100
*12 KEY-ON-IN, KEY-ON-OUT, KEY-OFF-IN, KEY-OFF-OUT
*13 OFF, CLOCK, <TAP>
*14 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
*15 -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
1 9 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
*16 -100–+150
*17 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
*18 OFF, LPF, BPF, HPF, PKG
*19 LOWER, UPPER, LOWER&UPPER, ALL
*20 MIX, EFX, <DIRECT-1>, <DIRECT-2>
■ 1-4.Rhythm Setup
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 | Rhythm Common
23 00 | Rhythm Note for Key# 35
24 00 | Rhythm Note for Key# 36
|
1-4-1 |
1-4-2 |
|
|
|
:
62 00 | Rhythm Note for Key# 98
+——————————————————————————————————————————————————————————————————————————————+
■ 1-4-1.Rhythm Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Rhythm Name 1
00 01 | 0aaa aaaa | Rhythm Name 2
00 02 | 0aaa aaaa | Rhythm Name 3
00 03 | 0aaa aaaa | Rhythm Name 4
00 04 | 0aaa aaaa | Rhythm Name 5
00 05 | 0aaa aaaa | Rhythm Name 6
00 06 | 0aaa aaaa | Rhythm Name 7
00 07 | 0aaa aaaa | Rhythm Name 8
00 08 | 0aaa aaaa | Rhythm Name 9
00 09 | 0aaa aaaa | Rhythm Name 10
00 0A | 0aaa aaaa | Rhythm Name 11
00 0B | 0aaa aaaa | Rhythm Name 12
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 00 0C
|
+——————————————————————————————————————————————————————————————————————————————+
■ 1-4-2.Rhythm Note
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address | Size
| Description
Data (Value)
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|#
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Tone Switch
00 01 | 0000 00aa | Wave Group Type
00 02 | 0aaa aaaa | Wave Group ID
00 03 | 0000 aaaa | Wave Number
| 0000 bbbb |
0 - 1 (OFF,ON)
| +———————————————————————————————————————————————————————————+
-> | | Wave Group | Group Type | Group ID | Number (value) |
-> | |—————————————+————————————+——————————+—————————————————————|
0 - 2
0 - 127
0 - 254
*1
-> | |
(001 - 255) | |
*2 | |
INT-A
INT-B
<PCM
|
|
|
0
0
1
2
2
2
2
2
|
|
1
2
| 0 - 254 (001 - 255) |
| 0 - 192 (001 - 193) |
00 05 | 0000 00aa | Wave Gain
0 - 3
0 - 12
| 1 - 127 | 0 - 254 (001 - 255)>|
00 06 | 0000 aaaa | Bend Range
00 07 | 000a aaaa | Mute Group
00 08 | 0000 000a | Envelope Mode
00 09 | 0000 000a | Volume Control Switch
00 0A | 0000 000a | Hold-1 Control Switch
00 0B | 0000 00aa | Pan Control Switch
| |XP-A(Session)|
|
|
|
9
2
11
| 0 - 205 (001 - 206) |
| 0 - 173 (001 - 174) |
| 0 - 254 (001 - 255) |
0 - 31 (OFF,1 - 31)| | XP-B(Orch.) |
0 - 1
*3
| | XP-C(Techno)|
0 - 1 (OFF,ON)
0 - 1 (OFF,ON)
| |
| |
XP-D
XP-E
|
|
| 1 - 127 | 0 - 254 (001 - 255) |
| 1 - 127 | 0 - 254 (001 - 255) |
0 - 2
*4
| +———————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Coarse Tune
00 0D | 0aaa aaaa | Fine Tune
0 - 127 (C-1 - G9) |
0 - 100 (-50 - +50)|
0 - 30 *5
0 - 24 (-12 - +12)|
00 0E | 000a aaaa | Random Pitch Depth
00 0F | 000a aaaa | Pitch Envelope Depth
00 10 | 0aaa aaaa | Pitch Envelope Velocity Sens
00 11 | 0000 aaaa | Pitch Envelope Velocity Time
00 12 | 0aaa aaaa | Pitch Envelope Time 1
00 13 | 0aaa aaaa | Pitch Envelope Time 2
00 14 | 0aaa aaaa | Pitch Envelope Time 3
00 15 | 0aaa aaaa | Pitch Envelope Time 4
00 16 | 0aaa aaaa | Pitch Envelope Level 1
00 17 | 0aaa aaaa | Pitch Envelope Level 2
00 18 | 0aaa aaaa | Pitch Envelope Level 3
00 19 | 0aaa aaaa | Pitch Envelope Level 4
|
0 - 125 *6
|
|
|
|
|
|
0 - 14
*7
0 - 127
0 - 127
0 - 127
0 - 127
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
0 - 126 (-63 - +63)|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 1A | 0000 0aaa | Filter Type
0 - 4
*8
|
|
|
|
00 1B | 0aaa aaaa | Cutoff Frequency
0 - 127
0 - 127
00 1C | 0aaa aaaa | Resonance
00 1D | 0aaa aaaa | Resonance Velocity Sens
00 1E | 0aaa aaaa | Filter Envelope Depth
00 1F | 0aaa aaaa | Filter Envelope Velocity Sens
00 20 | 0000 aaaa | Filter Envelope Velocity Time
00 21 | 0aaa aaaa | Filter Envelope Time 1
00 22 | 0aaa aaaa | Filter Envelope Time 2
00 23 | 0aaa aaaa | Filter Envelope Time 3
00 24 | 0aaa aaaa | Filter Envelope Time 4
00 25 | 0aaa aaaa | Filter Envelope Level 1
00 26 | 0aaa aaaa | Filter Envelope Level 2
00 27 | 0aaa aaaa | Filter Envelope Level 3
00 28 | 0aaa aaaa | Filter Envelope Level 4
0 - 125 *6
0 - 126 (-63 - +63)|
0 - 125 *6
|
|
|
|
|
|
|
|
|
|
0 - 14
*7
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 29 | 0aaa aaaa | Tone Level
0 - 127
|
|
|
|
|
|
|
|
|
|
00 2A | 0aaa aaaa | Level Envelope Velocity Sens
00 2B | 0000 aaaa | Level Envelope Velocity Time
00 2C | 0aaa aaaa | Level Envelope Time 1
00 2D | 0aaa aaaa | Level Envelope Time 2
00 2E | 0aaa aaaa | Level Envelope Time 3
00 2F | 0aaa aaaa | Level Envelope Time 4
00 30 | 0aaa aaaa | Level Envelope Level 1
00 31 | 0aaa aaaa | Level Envelope Level 2
00 32 | 0aaa aaaa | Level Envelope Level 3
00 33 | 0aaa aaaa | Tone Pan
0 - 125 *6
0 - 14
*7
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127 (L64 - 63R)|
0 - 63
1 - 127 (L63 - 63R)|
00 34 | 00aa aaaa | Random Pan Depth
00 35 | 0aaa aaaa | Alternate Pan Depth
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 36 | 0000 00aa | Output Assign
00 37 | 0aaa aaaa | Mix/EFX Send Level
00 38 | 0aaa aaaa | Chorus Send Level
00 39 | 0aaa aaaa | Reverb Send Level
0 - 3
*9
|
|
|
|
0 - 127
0 - 127
0 - 127
|—————————————+————————————————————————————————————————————————————————————————|
|Total size
| 00 00 00 3A
|
+——————————————————————————————————————————————————————————————————————————————+
1 9 6
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
*1 INT, <PCM>, EXP
*2 -6, 0, +6, +12
*3 NO-SUS, SUSTAIN
*4 OFF, CONTINUOUS, KEY-ON
*5 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
*6 -100–+150
*7 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
*8 OFF, LPF, BPF, HPF, PKG
*9 MIX, EFX, <DIRECT-1>, <DIRECT-2>
■ Address Block Map
The following is an outline of the address map for Exclusive messages.
Address(H)
=========== ==================== ===========================
00 00 00 00 +——————————————————+......................................+———————+
Block
Sub Block
Reference
=========
| System common
|
| 1-1-1 |
+——————————————————+......................................+———————+
+——————————————————+.....+——————————+.....................+———————+
|Scale tune
+——————————————————+.
|
| Part 1
|
| 1-1-2 |
+——————————+.....................+———————+
:
:
:
:
:
:
:
: .
|
:
|
: . +——————————+
: . | Part 16 |
: . +——————————+
: . +——————————+
:
:
. | Patch
|
.+——————————+
01 00 00 00 +——————————————————+.....+——————————+.....................+———————+
| Temporary
|
|
| Common
|
| 1-2-1 |
| performance
+——————————+.....................+———————+
+——————————+.....................+———————+
+——————————————————+.
:
:
:
:
:
:
: .
| Part 1
|
| 1-2-2 |
: . +——————————+.....................+———————+
: . |
:
|
: . +——————————+
:
:
. | Part 16 |
.+——————————+
02 00 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| Performance mode |
| temporary patch |
+——————————————————+..
:
:
:
:
:
:
| Part 1
+——————————+.
| .
|
| Common
|
| 1-3-1 |
+——————————+....+———————+
+——————————+....+———————+
|
:
: . +——————————+ . | Tone 1
|
| 1—3—2 |
:
:
:
:
:
. | Part 9
.+——————————+ . |
. +——————————+
. | Tone 4
.+——————————+
| . +——————————+....+———————+
:
|
|
02 09 00 00 +——————————————————+.....+——————————+.....................+———————+
| Temporary
|
|
| Common
|
| 1-4-1 |
| rhythm setup
+——————————+.....................+———————+
+——————————+.....................+———————+
+——————————————————+.
:
:
:
:
:
:
: .
| Note# 35 |
| 1-4-2 |
: . +——————————+.....................+———————+
: . |
:
|
: . +——————————+
:
:
. | Note# 98 |
.+——————————+
02 0A 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| Performance mode |
| temporary patch |
+——————————————————+..
:
:
:
:
:
:
| Part 11 |
+——————————+.
| Common
|
| 1-3-1 |
+——————————+....+———————+
+——————————+....+———————+
|
:
| .
: . +——————————+ . | Tone 1
|
| 1—3—2 |
:
:
:
:
:
. | Part 16 | . +——————————+....+———————+
.+——————————+ . |
. +——————————+
. | Tone 4
.+——————————+
:
|
|
03 00 00 00 +——————————————————+.....+——————————+.....................+———————+
| Patch mode
| temporary patch |
+——————————————————+.
:
:
:
:
:
:
|
| Common
|
| 1-3-1 |
+——————————+.....................+———————+
+——————————+.....................+———————+
: .
| Tone 1
|
| 1-3-2 |
: . +——————————+.....................+———————+
: . |
:
|
: . +——————————+
:
:
. | Tone 4
|
.+——————————+
10 00 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| User
|
|
| USER:01 |
+——————————+.
| Common
|
| 1-2-1 |
| performance
+——————————+....+———————+
+——————————+....+———————+
+——————————————————+..
|
:
| .
:
:
:
:
:
:
: . +——————————+ . | Part 1
|
| 1—2—2 |
:
:
:
:
:
. | USER:32 | . +——————————+....+———————+
.+——————————+ . |
:
|
. +——————————+
. | Part 16 |
.+——————————+
10 40 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| User
| rhythm setup
|
|
| USER:1
|
| Common
|
| 1-4-1 |
+——————————+.
+——————————+....+———————+
+——————————+....+———————+
+——————————————————+... +——————————+ .
:
:
:
:
:
:
:
:
:
:
:
:
. | USER:2
| . | Note# 35 |
| 1-4-2 |
+——————————+ . +——————————+....+———————+
. |
:
|
. +——————————+
. | Note# 98 |
.+——————————+
11 00 00 00 +——————————————————+.....+——————————+.....+——————————+....+———————+
| User
| patch
+——————————————————+..
:
:
:
:
:
:
|
|
| USER:001 |
+——————————+.
| Common
|
| 1-3-1 |
+——————————+....+———————+
+——————————+....+———————+
|
:
| .
: . +——————————+ . | Tone 1
|
| 1—3—2 |
:
:
:
:
:
. | USER:128 | . +——————————+....+———————+
.+——————————+ . |
. +——————————+
. | Tone 4
.+——————————+
:
|
|
1 9 7
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
2. GS (Model ID = 42H)
+—————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
|
address |
Description
|—————————————+———————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 10 00 | Scale Tune Part10
2-1
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 11 00 |
40 12 00 |
40 13 00 |
40 14 00 |
40 15 00 |
40 16 00 |
40 17 00 |
40 18 00 |
40 19 00 |
40 1A 00 |
40 1B 00 |
40 1C 00 |
40 1D 00 |
40 1E 00 |
40 1F 00 |
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
Part1
Part2
Part3
Part4
Part5
Part6
Part7
Part8
Part9
Part11
Part12
Part13
Part14
Part15
Part16
+—————————————————————————————————————————————————————————————————————————————+
■ 2-1.Scale Tune
+—————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+———————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 | 0aaa aaaa | Scale Tune for C
0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
(-64 - +63)
0 - 127
41 | 0aaa aaaa | Scale Tune for C#
|
|
(-64 - +63)
0 - 127
42 | 0aaa aaaa | Scale Tune for D
|
|
(-64 - +63)
0 - 127
43 | 0aaa aaaa | Scale Tune for D#
|
|
(-64 - +63)
0 - 127
44 | 0aaa aaaa | Scale Tune for E
|
|
(-64 - +63)
0 - 127
45 | 0aaa aaaa | Scale Tune for F
|
|
(-64 - +63)
0 - 127
46 | 0aaa aaaa | Scale Tune for F#
|
|
(-64 - +63)
0 - 127
47 | 0aaa aaaa | Scale Tune for G
|
|
(-64 - +63)
0 - 127
48 | 0aaa aaaa | Scale Tune for G#
|
|
(-64 - +63)
0 - 127
49 | 0aaa aaaa | Scale Tune for A
|
|
(-64 - +63)
0 - 127
4A | 0aaa aaaa | Scale Tune for A#
|
|
(-64 - +63)
0 - 127
4B | 0aaa aaaa | Scale Tune for B
|
|
(-64 - +63)
|—————————————+———————————————————————————————————————————————————————————————|
|Total Size
| 00 00 0C
|
+—————————————————————————————————————————————————————————————————————————————+
*
In order for a GS Exclusive message to be correctly received by the XP-30, the starting address of the message must be the Start address of each Part (the address of Scale Tune C, i.e., offset 40).
1 9 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ Type09: COMPRESSOR
4. Supplementary Material
———————+————————————————————————————————+———————————————————————
prm1 | Sustain
prm2 | Attack
prm3 | Output Pan
prm4 | Post Gain
prm5 | Low Gain
prm6 | HiGH Gain
prm7 | Output Level
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 3
| 0 - 30
| 0 - 30
| 0 - 127
■ Correspondence of the EFX Algorithm and
Exclusive Address (EFX Parameter 1–12)
EFX
| Parameter
| Value
———————+————————————————————————————————+———————————————————————
■ Type10: LIMITER
———————+————————————————————————————————+———————————————————————
■ Type01: STEREO-EQ
———————+————————————————————————————————+———————————————————————
prm1 | Threshold Level
prm2 | Release Time
prm3 | Compression Ratio
prm4 | Output Pan
prm5 | Post Gain
| 0 - 127
| 0 - 127
| 0 - 3
| 0 - 127
| 0 - 3
| 0 - 30
| 0 - 30
| 0 - 127
prm1 | Low Frequency
prm2 | Low Gain
| 0 - 1
| 0 - 30
| 0 - 1
prm3 | High Frequency
prm4 | High Gain
| 0 - 30
| 0 - 16
| 0 - 4
prm6 | Low Gain
prm5 | Peaking1 Frequency
prm6 | Peaking1 Q
prm7 | High Gain
prm8 | Output Level
prm7 | Peaking1 Gain
prm8 | Peaking2 Frequency
prm9 | Peaking2 Q
prm10 | Peaking2 Gain
prm11 | Level
| 0 - 30
| 0 - 16
| 0 - 4
| 0 - 30
| 0 - 127
■ Type11: HEXA-CHORUS
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time
prm2 | Rate
prm3 | Depth
prm4 | Pre Delay Deviation
prm5 | Depth Deviation
prm6 | Pan Deviation
prm7 | Effect Balance
prm8 | Output Level
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 20
| 0 - 40
| 0 - 20
| 0 - 100
| 0 - 127
■ Type02: OVERDRIVE
———————+————————————————————————————————+———————————————————————
prm1 | Drive
| 0 - 127
| 0 - 127
| 0 - 3
| 0 - 30
| 0 - 30
| 0 - 127
prm2 | Output Pan
prm3 | Amp Simulator Type
prm4 | Low Gain
prm5 | High Gain
prm6 | Output Level
■ Type12: TREMOLO-CHORUS
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time
prm2 | Chorus Rate
prm3 | Chorus Depth
prm4 | Tremolo Rate
prm5 | Tremolo Separation
prm6 | Tremolo Phase
prm7 | Effect Balance
prm8 | Output Level
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 125
| 0 - 127
| 0 - 90
■ Type03: DISTORTION
———————+————————————————————————————————+———————————————————————
prm1 | Drive
| 0 - 127
| 0 - 127
| 0 - 3
| 0 - 30
| 0 - 30
| 0 - 127
prm2 | Output Pan
prm3 | Amp Simulator Type
prm4 | Low Gain
| 0 - 100
| 0 - 127
prm5 | High Gain
prm6 | Output Level
■ Type13: SPACE-D
■ Type04: PHASER
———————+————————————————————————————————+———————————————————————
———————+————————————————————————————————+———————————————————————
prm1 | Pre Delay Time
prm2 | Rate
prm3 | Depth
prm4 | Phase
prm5 | Low Gain
prm6 | High Gain
prm7 | Effect Balance
prm8 | Output Level
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 90
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
prm1 | Manual
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 127
prm2 | Rate
prm3 | Depth
prm4 | Resonance
prm5 | Mix Level
prm6 | Output Pan
prm7 | Output Level
■ Type05: SPECTRUM
■ Type14: STEREO-CHORUS
———————+————————————————————————————————+———————————————————————
———————+————————————————————————————————+———————————————————————
prm1 | Band1 Gain
prm2 | Band2 Gain
prm3 | Band3 Gain
prm4 | Band4 Gain
prm5 | Band5 Gain
prm6 | Band6 Gain
prm7 | Band7 Gain
prm8 | Band8 Gain
prm9 | Q
| 0 - 30
| 0 - 30
| 0 - 30
| 0 - 30
| 0 - 30
| 0 - 30
| 0 - 30
| 0 - 30
| 0 - 4
prm1 | Filter Type
prm2 | Cutoff Frequency
prm3 | Pre Delay Time
prm4 | Rate
prm5 | Depth
prm6 | Phase
prm7 | (not used)
prm8 | Low Gain
| 0 - 2
| 0 - 16
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 90
|
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
prm9 | High Gain
prm10 | Effect Balance
prm11 | Output Level
prm10 | Output Pan
prm11 | Output Level
| 0 - 127
| 0 - 127
■ Type06: ENHANCER
■ Type15: STEREO-FLANGER
———————+————————————————————————————————+———————————————————————
———————+————————————————————————————————+———————————————————————
prm1 | Sens
| 0 - 127
| 0 - 127
| 0 - 30
| 0 - 30
| 0 - 127
prm1 | Filter Type
prm2 | Cutoff Frequency
prm3 | Pre Delay Time
prm4 | Rate
prm5 | Depth
prm6 | Phase
prm7 | Feedback Level
prm8 | Low Gain
| 0 - 2
prm2 | Mix Level
prm3 | Low Gain
prm4 | High Gain
prm5 | Output Level
| 0 - 16
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 90
| 0 - 98
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
■ Type07: AUTO-WAH
prm9 | High Gain
prm10 | Effect Balance
prm11 | Output Level
———————+————————————————————————————————+———————————————————————
prm1 | Filter Type
prm2 | Rate
| 0 - 1
| 0 - 125
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 127
prm3 | Depth
prm4 | Sens
■ Type16: STEP-FLANGER
———————+————————————————————————————————+———————————————————————
prm5 | Manual
prm6 | Peak
prm7 | Output Level
prm1 | Pre Delay Time
prm2 | Rate
prm3 | Depth
prm4 | Feedback Level
prm5 | Step Rate
prm6 | Phase
prm7 | Low Gain
prm8 | High Gain
prm9 | Effect Balance
prm10 | Output Level
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
| 0 - 125
| 0 - 90
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
■ Type08: ROTARY
———————+————————————————————————————————+———————————————————————
prm1 | High Frequency Slow Rate
prm2 | Low Frequency Slow Rate
prm3 | High Frequency Fast Rate
prm4 | Low Frequency Fast Rate
prm5 | Speed
| 0 - 125
| 0 - 125
| 0 - 125
| 0 - 125
| 0 - 1
prm6 | High Frequency Acceleration
prm7 | Low Frequency Acceleration
prm8 | High Frequency Level
prm9 | Low Frequency Level
prm10 | Separation
| 0 - 15
| 0 - 15
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 127
prm11 | Output Level
1 9 9
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ Type17: STEREO-DELAY
■ Type24: REVERB
———————+————————————————————————————————+———————————————————————
———————+————————————————————————————————+———————————————————————
prm1 | Feedback Mode
prm2 | Delay Time Left
prm3 | Delay Time Right
prm4 | Feedback Phase Left
prm5 | Feedback Phase Right
prm6 | Feedback Level
prm7 | HF Damp
prm8 | Low Gain
prm9 | High Gain
prm10 | Effect Balance
prm11 | Output Level
| 0 - 1
prm1 | Reverb Type
prm2 | Pre Delay Time
prm3 | Gate Time
prm4 | HF Damp
| 0 - 5
| 0 - 126
| 0 - 126
| 0 - 1
| 0 - 125
| 0 - 127
| 0 - 17
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
| 0 - 1
prm5 | Low Gain
| 0 - 98
| 0 - 17
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
prm6 | High Gain
prm7 | Effect Balance
prm8 | Output Level
■ Type25: GATE-REVERB
———————+————————————————————————————————+———————————————————————
prm1 | Gate-Reverb Type
prm2 | Pre Delay Time
prm3 | Gate Time
prm4 | Low Gain
prm5 | High Gain
prm6 | Effect Balance
prm7 | Output Level
| 0 - 3
■ Type18: MODULATION-DELAY
———————+————————————————————————————————+———————————————————————
| 0 - 125
| 0 - 99
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
prm1 | Feedback Mode
prm2 | Delay Time Left
prm3 | Delay Time Right
prm4 | Feedback Level
prm5 | HF Damp
| 0 - 1
| 0 - 126
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 125
| 0 - 127
| 0 - 90
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
prm6 | Rate
■ Type26: OVERDRIVE→CHORUS
prm7 | Depth
prm8 | Phase
———————+————————————————————————————————+———————————————————————
prm9 | Low Gain
prm1 | Drive
| 0 - 127
| 0 - 127
| 0 - 125
| 0 - 125
| 0 - 127
|
prm10 | High Gain
prm11 | Effect Balance
prm12 | Output Level
prm2 | Over Drive Pan
prm3 | Chorus Pre Delay Time
prm4 | Chorus Rate
prm5 | Chorus Depth
prm6 | (not used)
■ Type19: TRIPLE-TAP-DELAY
———————+————————————————————————————————+———————————————————————
prm7 | Chorus Balance
prm8 | Output Level
| 0 - 100
| 0 - 127
prm1 | Delay Time Left
prm2 | Delay Time Right
prm3 | Delay Time Center
prm4 | Feedback Level
prm5 | HF Damp
| 0 - 125
| 0 - 125
| 0 - 125
| 0 - 98
| 0 - 17
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
■ Type27: OVERDRIVE→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Drive
| 0 - 127
| 0 - 127
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
prm6 | Left Level
prm2 | Over Drive Pan
prm3 | Flanger Pre Delay Time
prm4 | Flanger Rate
prm7 | Right Level
prm8 | Center Level
prm9 | Low Gain
prm10 | High Gain
prm11 | Effect Balance
prm12 | Output Level
prm5 | Flanger Depth
prm6 | Flanger Feedback Level
prm7 | Flanger Balance
prm8 | Output Level
| 0 - 100
| 0 - 127
■ Type20: QUADRUPLE-TAP-DELAY
■ Type28: OVERDRIVE→DELAY (serial)
———————+————————————————————————————————+———————————————————————
———————+————————————————————————————————+———————————————————————
prm1 | Delay Time 1
prm2 | Delay Time 2
prm3 | Delay Time 3
prm4 | Delay Time 4
prm5 | Level 1
| 0 - 125
| 0 - 125
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 127
| 0 - 98
prm1 | Drive
| 0 - 127
| 0 - 127
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 100
| 0 - 127
prm2 | Over Drive Pan
prm3 | Delay Time
prm4 | Delay Feedback Level
prm5 | Delay HF Damp
prm6 | Delay Balance
prm7 | Output Level
prm6 | Level 2
prm7 | Level 3
prm8 | Level 4
prm9 | Feedback Level
prm10 | HF Damp
| 0 - 17
■ Type29: DISTORTION→CHORUS (serial)
prm11 | Effect Balance
prm12 | Output Level
| 0 - 100
| 0 - 127
———————+————————————————————————————————+———————————————————————
prm1 | Distortion Drive
prm2 | Distortion Pan
prm3 | Chorus Pre Delay Time
prm4 | Chorus Rate
| 0 - 127
| 0 - 127
| 0 - 125
| 0 - 125
| 0 - 127
|
■ Type21: TIME-CONTROL-DELAY
———————+————————————————————————————————+———————————————————————
prm5 | Chorus Depth
prm6 | (not used)
prm1 | Delay Time
prm2 | Feedback Level
prm3 | Acceleration
prm4 | HF Damp
| 0 - 120
| 0 - 98
| 0 - 15
| 0 - 17
| 0 - 127
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
prm7 | Chorus Balance
prm8 | Output Level
| 0 - 100
| 0 - 127
prm5 | Output Pan
prm6 | Low Gain
■ Type30: DISTORTION→FLANGER (serial)
prm7 | High Gain
prm8 | Effect Balance
prm9 | Output Level
———————+————————————————————————————————+———————————————————————
prm1 | Distortion Drive
prm2 | Distortion Pan
prm3 | Flanger Pre Delay Time
prm4 | Flanger Rate
| 0 - 127
| 0 - 127
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
■ Type22: 2VOICE-PITCH-SHIFTER
———————+————————————————————————————————+———————————————————————
prm5 | Flanger Depth
prm6 | Flanger Feedback Level
prm7 | Flanger Balance
prm8 | Output Level
prm1 | Pitch Shifter Mode
prm2 | Coarse Pitch A
prm3 | Coarse Pitch B
prm4 | Fine Pitch A
prm5 | Fine Pitch B
prm6 | Pre Delay Time A
prm7 | Pre Delay Time B
prm8 | Output Pan A
prm9 | Output Pan B
prm10 | Level Balance
prm11 | Effect Balance
prm12 | Output Level
| 0 - 4
| 0 - 100
| 0 - 127
| 0 - 36
| 0 - 36
| 0 - 100
| 0 - 100
| 0 - 126
| 0 - 126
| 0 - 127
| 0 - 127
| 0 - 100
| 0 - 100
| 0 - 127
■ Type31: DISTORTION→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Distortion Drive
prm2 | Distortion Pan
prm3 | Delay Time
| 0 - 127
| 0 - 127
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 100
| 0 - 127
prm4 | Delay Feedback Level
prm5 | Delay HF Damp
prm6 | Delay Balance
prm7 | Output Level
■ Type23: FBK-PITCH-SHIFTER
———————+————————————————————————————————+———————————————————————
■ Type32: ENHANCER→CHORUS (serial)
prm1 | Pitch Shifter Mode
prm2 | Coarse Pitch
prm3 | Fine Pitch
prm4 | Pre Delay Time
prm5 | Feedback Level
prm6 | Output Pan
prm7 | Low Gain
prm8 | High Gain
prm9 | Effect Balance
prm10 | Output Level
| 0 - 4
| 0 - 36
| 0 - 100
| 0 - 126
| 0 - 98
| 0 - 127
| 0 - 30
| 0 - 30
| 0 - 100
| 0 - 127
———————+————————————————————————————————+———————————————————————
prm1 | Enhancer Sens
prm2 | Enhancer Mix Level
prm3 | Chorus Pre Delay Time
prm4 | Chorus Rate
| 0 - 127
| 0 - 127
| 0 - 125
| 0 - 125
| 0 - 127
|
prm5 | Chorus Depth
prm6 | (not used)
prm7 | Chorus Balance
prm8 | Output Level
| 0 - 100
| 0 - 127
2 0 0
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ Type33: ENHANCER→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Enhancer Sens
| 0 - 127
| 0 - 127
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
prm2 | Enhancer Mix Level
prm3 | Flanger Pre Delay Time
prm4 | Flanger Rate
prm5 | Flanger Depth
prm6 | Flanger Feedback Level
prm7 | Flanger Balance
prm8 | Output Level
| 0 - 100
| 0 - 127
■ Type34: ENHANCER→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Enhancer Sens
prm2 | Enhancer Mix Level
prm3 | Delay Time
prm4 | Delay Feedback Level
prm5 | Delay HF Damp
prm6 | (not used)
prm7 | Delay Balance
prm8 | Output Level
| 0 - 127
| 0 - 127
| 0 - 126
| 0 - 98
| 0 - 17
|
| 0 - 100
| 0 - 127
■ Type35: CHORUS→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time
prm2 | Chorus Rate
| 0 - 125
| 0 - 125
| 0 - 127
|
| 0 - 100
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 100
| 0 - 127
prm3 | Chorus Depth
prm4 | (not used)
prm5 | Chorus Balance
prm6 | Delay Time
prm7 | Delay Feedback Level
prm8 | Delay HF Damp
prm9 | Delay Balance
prm10 | Output Level
■ Type36: FLANGER→DELAY (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Flanger Pre Delay Time
prm2 | Flanger Rate
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
| 0 - 100
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 100
| 0 - 127
prm3 | Flanger Depth
prm4 | Flanger Feedback Level
prm5 | Flanger Balance
prm6 | Delay Time
prm7 | Delay Feedback Level
prm8 | Delay HF Damp
prm9 | Delay Balance
prm10 | Output Level
■ Type37: CHORUS→FLANGER (serial)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time
prm2 | Chorus Rate
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 100
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
prm3 | Chorus Depth
prm4 | Chorus Balance
prm5 | Flanger Pre Delay Time
prm6 | Flanger Rate
prm7 | Flanger Depth
prm8 | Flanger Feedback Level
prm9 | Flanger Balance
prm10 | Output Level
| 0 - 100
| 0 - 127
■ Type38: CHORUS/DELAY (parallel)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time
prm2 | Chorus Rate
| 0 - 125
| 0 - 125
| 0 - 127
|
| 0 - 100
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 100
| 0 - 127
prm3 | Chorus Depth
prm4 | (not used)
prm5 | Chorus Balance
prm6 | Delay Time
prm7 | Delay Feedback Level
prm8 | Delay HF Damp
prm9 | Delay Balance
prm10 | Output Level
■ Type39: FLANGER/DELAY (parallel)
———————+————————————————————————————————+———————————————————————
prm1 | Flanger Pre Delay Time
prm2 | Flanger Rate
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
| 0 - 100
| 0 - 126
| 0 - 98
| 0 - 17
| 0 - 100
| 0 - 127
prm3 | Flanger Depth
prm4 | Flanger Feedback Level
prm5 | Flanger Balance
prm6 | Delay Time
prm7 | Delay Feedback Level
prm8 | Delay HF Damp
prm9 | Delay Balance
prm10 | Output Level
■ Type40: CHORUS/FLANGER (parallel)
———————+————————————————————————————————+———————————————————————
prm1 | Chorus Pre Delay Time
prm2 | Chorus Rate
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 100
| 0 - 125
| 0 - 125
| 0 - 127
| 0 - 98
prm3 | Chorus Depth
prm4 | Chorus Balance
prm5 | Flanger Pre Delay Time
prm6 | Flanger Rate
prm7 | Flanger Depth
prm8 | Flanger Feedback Level
prm9 | Flanger Balance
prm10 | Output Level
| 0 - 100
| 0 - 127
2 0 1
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ List of the Arpeggio Parameter
■ Arpeggio Style
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
+—————————————————————————+—————————————————————————+—————————————————————————+
|
|
|
|
|
|
|
|
|
|
0 | 1/ 4
| 15 | RHYTHM GTR A
| 16 | RHYTHM GTR B
| 17 | RHYTHM GTR C
| 18 | RHYTHM GTR D
| 19 | RHYTHM GTR E
| 20 | 3 FINGER GTR
| 21 | STRUMMING GTR
| 22 | KBD COMPING A
| 23 | KBD COMPING B
| 24 | KBD COMPING C
| 25 | KBD COMPING D
| 26 | KBD COMPING E
| 27 | PERCUSSION
| 28 | HARP
| 30 | BOUND BOLL
| 31 | RANDOM
|
|
|
|
|
|
|
|
|
1 | 1/ 6
2 | 1/ 8
| 32 | LIMITLESS
| 33 | PORTAMENTO A
| 34 | PORTAMENTO B
| 35 | SEQUENCE D
| 36 | BOSSA NOVA
| 37 | SALSA
3 | 1/12
4 | 1/16
5 | 1/32
6 | GLISSANDO
7 | SEQUENCE A
8 | SEQUENCE B
9 | SEQUENCE C
| 38 | MAMBO
| 39 | LATIN PERCUSSION |
| 10 | ECHO
| 40 | SAMBA
| 41 | TANGO
| 42 | HOUSE
|
|
|
|
|
| 11 | SYNTH BASS
| 12 | SLAP BASS A
| 13 | SLAP BASS B
| 14 | WALK BASS
|
|
|
|
| 29 | SHAMISEN
+—————————————————————————+—————————————————————————+—————————————————————————+
■ Arpeggio Motif
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
+—————————————————————————+—————————————————————————+—————————————————————————+
|
|
|
|
|
|
|
|
|
|
0 | SINGLE UP
| 13 | BASS+CHORD 3
| 14 | BASS+CHORD 4
| 15 | BASS+CHORD 5
| 16 | BASS+UP 1
| 17 | BASS+UP 2
| 18 | BASS+UP 3
| 19 | BASS+UP 4
| 20 | BASS+UP 5
| 21 | BASS+UP 6
| 22 | BASS+UP 7
| 23 | BASS+UP 8
| 24 | BASS+RANDOM 1
| 25 | BASS+RANDOM 2
| 26 | BASS+RANDOM 3
| 27 | TOP+UP 1
|
|
|
|
|
|
|
|
|
|
|
|
|
1 | SINGLE DOWN
2 | SINGLE UP&DOWN
3 | SINGLE RANDOM
4 | DUAL UP
| 28 | TOP+UP 2
| 29 | TOP+UP 3
| 30 | TOP+UP 4
5 | DUAL DOWN
| 31 | TOP+UP 5
6 | DUAL UP&DOWN
7 | DUAL RANDOM
8 | NOTE ORDER
9 | GLISSANDO
| 32 | TOP+UP 6
| 33 | BASS+UP+TOP
| 34 | TRIPLE UP
| 35 | TRIPLE DOWN
| 36 | TRIPLE UP&DOWN
| 37 | TRIPLE RANDOM
| 10 | CHORD
| 11 | BASS+CHORD 1
| 12 | BASS+CHORD 2
|
|
+—————————————————————————+—————————————————————————+—————————————————————————+
■ Arpeggio Beat Pattern
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
+—————————————————————————+—————————————————————————+—————————————————————————+
|
|
|
|
|
|
|
|
|
|
0 | 1/ 4
| 40 | MUTE 15
| 41 | MUTE 16
| 42 | STRUM 1
| 43 | STRUM 2
| 44 | STRUM 3
| 45 | STRUM 4
| 46 | STRUM 5
| 47 | STRUM 6
| 48 | STRUM 7
| 49 | STRUM 8
| 50 | REGGAE1
| 51 | REFRAIN1
| 52 | REFRAIN2
| 53 | PERC1
| 80 | PORTA-B 09
| 81 | PORTA-B 10
| 82 | PORTA-B 11
| 83 | PORTA-B 12
| 84 | PORTA-B 13
| 85 | PORTA-B 14
| 86 | PORTA-B 15
| 87 | SEQ-B 5
| 88 | SEQ-D 1
| 89 | SEQ-D 2
| 90 | SEQ-D 3
| 91 | SEQ-D 4
| 92 | SEQ-D 5
| 93 | SEQ-D 6
| 94 | SEQ-D 7
| 95 | SEQ-D 8
| 96 | REGGAE2
| 97 | BOSSA NOVA
| 98 | SALSA 1
| 99 | SALSA 2
| 100 | SALSA 3
| 101 | SALSA 4
| 102 | MAMBO 1
| 103 | MAMBO 2
| 104 | CLAVE
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 | 1/ 6
2 | 1/ 8
3 | 1/12
4 | 1/16 1
5 | 1/16 2
6 | 1/16 3
7 | 1/32 1
8 | 1/32 2
9 | 1/32 3
| 10 | SEQ-A 1
| 11 | SEQ-A 2
| 12 | SEQ-A 3
| 13 | SEQ-A 4
| 14 | SEQ-A 5
| 15 | SEQ-A 6
| 16 | SEQ-A 7
| 17 | SEQ-B 1
| 18 | SEQ-B 2
| 19 | SEQ-B 3
| 20 | SEQ-B 4
| 21 | SEQ-C 1
| 22 | SEQ-C 2
| 23 | ECHO 1
| 24 | ECHO 2
| 25 | ECHO 3
| 26 | MUTE 01
| 27 | MUTE 02
| 28 | MUTE 03
| 29 | MUTE 04
| 30 | MUTE 05
| 31 | MUTE 06
| 32 | MUTE 07
| 33 | MUTE 08
| 34 | MUTE 09
| 35 | MUTE 10
| 36 | MUTE 11
| 37 | MUTE 12
| 38 | MUTE 13
| 39 | MUTE 14
| 54 | PERC2
| 55 | PERC3
| 56 | PERC4
| 57 | WALKBS
| 58 | HARP
| 59 | BOUND
| 60 | RANDOM
| 61 | PORTA-A 01
| 62 | PORTA-A 02
| 63 | PORTA-A 03
| 64 | PORTA-A 04
| 65 | PORTA-A 05
| 66 | PORTA-A 06
| 67 | PORTA-A 07
| 68 | PORTA-A 08
| 69 | PORTA-A 09
| 70 | PORTA-A 10
| 71 | PORTA-A 11
| 72 | PORTA-B 01
| 73 | PORTA-B 02
| 74 | PORTA-B 03
| 75 | PORTA-B 04
| 76 | PORTA-B 05
| 77 | PORTA-B 06
| 78 | PORTA-B 07
| 79 | PORTA-B 08
| 105 | REV CLA
| 106 | GUIRO
| 107 | AGOGO
| 108 | SAMBA
| 109 | TANGO 1
| 110 | TANGO 2
| 111 | TANGO 3
| 112 | TANGO 4
| 113 | HOUSE 1
| 114 | HOUSE 2
|
|
|
|
|
|
|
|
|
|
+—————————————————————————+—————————————————————————+—————————————————————————+
2 0 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ Decimal/Hexadecimal Table (hexadecimal values
■ Examples of Actual MIDI Messages
are indicated by a following “H”)
MIDI uses 7-bit hexadecimal values to indicate data values and the address and size of
exclusive messages. The following table shows the correspondence between decimal and
hexadecimal numbers.
<Example 1> 92 3E 5F
9n is the Note On status and `n' is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note On message of MIDI CH = 3, note number 62 (note name D4) and
velocity 95.
+——————+——————++——————+——————++——————+——————++——————+——————+
<Example 2> CE 49
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
CnH is the Program Change status and `n' is the MIDI channel number. Since EH = 14, and
49H = 73, this is a Program Change message of MIDI CH = 15, Program number 74 (in the
GS sound map, Flute).
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 |
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 |
<Example 3> EA 00 28
EnH is the Pitch Bend Change status and `n' is the MIDI channel number. The 2nd byte
(00H=0) is the LSB of the Pitch Bend value, and the 3rd byte (28H=40) is the MSB. However
since the Pitch Bend is a signed number with 0 at 40 00H ( = 64 x 128 + 0 = 8192), the Pitch
Bend value in this case is
28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072
If we assume that the Pitch Bend Sensitivity is set to two semitones, the pitch will change
only -200 cents for a Pitch Bend value of -8192 (00 00H). Thus, this message is specifying a
Pitch Bend of -200 x (-3072) / (-8192) = -75 cents on MIDI CH = 11.
<Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and `n' is the MIDI channel number. In Control Change
messages, the 2nd byte is the controller number, and the 3rd byte is the parameter value.
MIDI allows what is known as “running status,” when if messages of the the same status
follow each other, it is permitted to omit the second and following status bytes. In the
message above, running status is being used, meaning that the message has the following
content.
+——————+——————++——————+——————++——————+——————++——————+——————+
B3 64 00
MIDI CH = 4, RPN parameter number LSB: 00H
MIDI CH = 4, RPN parameter number MSB: 00H
MIDI CH = 4, parameter value MSB: 0CH
D: decimal
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
H: hexadecimal
MIDI CH = 4, parameter value LSB: 00H
*
*
Decimal expressions such as used for MIDI channel, Bank Select, and Program Change
will be the value 1 greater than the decimal value given in the above table.
Since each MIDI byte carries 7 significant data bits, each byte can express a maximum of
128 different values. Data for which higher resolution is required must be transmitted
using two or more bytes. For example a value indicated as a two-byte value of aa bbH
would have a value of aa x 128 + bb.
MIDI CH = 4, RPN parameter number LSB: 7FH
MIDI CH = 4, RPN parameter number MSB: 7FH
Thus, this message transmits a parameter value of 0C 00H to RPN parameter number 00
00H on MIDI CH = 4, and then sets the RPN parameter number to 7F 7FH.
*
*
For a signed number (+/ -), 00H = -64, 40H = +/ -0, and 7FH = +63. I.e., the decimal
equivalent will be 64 less than the decimal value given in the above table. For a two-byte
signed number, 00 00H = -8192, 40 00H = +/ -0, and 7F 7FH = +8191. For example the
decimal expression of aa bbH would be aa bbH - 40 00H = (aa x 128 + bb - 64 x 128.
Hexadecimal notation in two 4-bit units is used for data indicated as “nibbled”. The
nibbled two-byte value of 0a 0b H would be a x 16 + b.
The function assigned to RPN parameter number 00 00H is Pitch Bend Sensitivity, and the
MSB of the parameter value indicates semitone steps. Since the MSB of this parameter value
is 0CH = 12, the maximum width of pitch bend is being set to [+-]12 semitones (1 octave)
(GS sound sources ignore the LSB of Pitch Bend Sensitivity, but it is best to transmit the LSB
(parameter value 0) as well, so that the message can be correctly received by any device.
<Example 1> What is the decimal equivalent of 5AH?
Once the parameter number has been set for RPN or NRPN, all subsequent Data Entry
messages on that channel will be effective. Thus, it is recommended that after you have
made the change you want, you set the parameter number to 7F 7FH (an “unset” or “null”
setting). The final (B3) 64 7F (B3) 65 7F is for this purpose.
From the above table, 5AH = 90.
<Example 2> What is the decimal equivalent of the 7-bit hexadecimal values 12 34H?
From the above table, 12H = 18 and 34H = 52
Thus, 18 x 128 + 52 = 2356
It is not a good idea to store many events within the data of a song (e.g., a Standard MIDI
File song) using running status as shown in <Example 4>. When the song is paused, fast-
forwarded or rewound, the sequencer may not be able to transmit the proper status, causing
the sound source to misinterpret the data. It is best to attach the proper status byte to all
events.
<Example 3> What is the decimal equivalent of the nibbled expression 0A 03 09 0DH?
From the above table, 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
Thus, the result is ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example 4> What is the nibbled equivalent of the decimal number 1258?
It is also important to transmit RPN or NRPN parameter number settings and parameter
values in the correct order. In some sequencers, data events recorded in the same clock (or a
nearby clock) can sometimes be transmitted in an order other than the order in which they
were recorded. It is best to record such events at an appropriate interval (1 tick at TPQN=96,
or 5 ticks at TPQN=480).
16 ) 1258
16 )
16 )
78...10
4...14
0... 4
From the above table, 0=00H, 4=04H, 14=0EH, 10=0AH
Thus the result is 00 04 0E 0AH
*
TPQN: Ticks Per Quarter Note (i.e., the time resolution of the sequencer)
2 0 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
<Example 3> Retrieving data for Temporary Performance (RQ1)
■ Examples of Exclusive Messages and
*
When a data transfer is executed in Utility mode, data that is accessed will be the same
as that which is transmitted when the Type parameter is set to PERFORM and the Source
parameter is set to TEMP: -PATCH
Calculating the Checksum
Roland exclusive messages (RQ1, DT1) are transmitted with a checksum at the end of the
data (before F7) to check that the data was received correctly. The value of the checksum is
determined by the address and data (or size) of the exclusive message.
The “Parameter Address Map” gives the following start addresses for Temporary
Performance data.
■ How to Calculate the Checksum
(hexadecimal values are indicated by a “H”)
The checksum consists of a value whose lower 7 bits are 0 when the address, size and
01 00 00 00H
01 00 10 00H
:
Temporary Performance Common
Temporary Performance Part 1
checksum itself are added.
01 00 1F 00H
Temporary Performance Part 16
The following formula shows how to calculate the checksum when the exclusive message to
be transmitted has an address of aa bb cc ddH, and data or size of ee ffH.
Since Performance Part has a size of 00 00 00 19H, we add that size to the start address of the
Temporary Performance Part 16, resulting in:
aa + bb + cc + dd + ee + ff = total
total / 128 = quotient ... remainder
128 - remainder = checksum
01 00 1F 00H
+) 00 00 00 19H
01 00 1F 19H
<Example 1> Setting the Performance Common REVERB TYPE to DELAY (DT1)
The “Parameter address map” indicates that the starting address of the Temporary
Performance is 01 00 00 00H, that the Performance Common offset address is 00 00H, and
that the REVERB TYPE address is 00 28H. Thus, the address is:
Thus, the Size for the retrieved data will be:
01 00 1F 19H
-) 01 00 00 00H
00 00 1F 19H
01 00 00 00H
00 00H
F0
41
10
6A
(4)
11
01 00 00 00
address
00 00 1F 19
size
??
F7
+)
00 28H
(1)
(2)
(3)
(5)
checksum
(6)
01 00 00 28H
(1) Exclusive status
(4) Model ID (XP-30)
(2) ID number (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(6) EOX
Since DELAY is parameter value 06H,
F0
41
10
6A
(4)
12
01 00 00 28
address
06
??
F7
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01
00 00 00 00 00 1F 19 47 F7 to be transmitted.
(1)
(2)
(3)
(5)
data
checksum
(6)
(1) Exclusive status
(4) Model ID (XP-30)
(2) ID number (Roland)
(5) Command ID (DT1)
(3) Device ID (17)
(6) EOX
<Example 4> Retrieving the Temporary Performance data together with all Temporary
Part and Rhythm Set data (RQ1)
*
When a data transfer is executed in Utility mode, the data that is accessed will be the
same as that which is transmitted when the Type parameter is set to PERFORM and the
Source parameter is set to TEMP: +PATCH
Next we calculate the checksum.
01H + 00H + 00H + 28H + 06H = 1 + 0 + 0 + 40 + 6 = 47 (sum)
47 (total) / 128 = 0 (quotient) ... 47 (remainder)
checksum = 128 - 47 (quotient) = 81 = 51H
The “Parameter Address Map” gives the following start addresses for Temporary
Performance, Performance Mode Temporary Patch and Performance Mode Temporary
Rhythm.
This means that the message transmitted will be F0 41 10 6A 12 01 00 00 28 06 51 F7.
01 00 00 00H
02 00 00 00H
:
Temporary Performance
Performance Mode Temporary Patch(part 1)
<Example 2> Retrieving data for USER:03 Performance Part 3 (RQ1)
The “Parameter Address Map” indicates that the starting address of USER:03 is 10 02 00
00H, and that the offset address of Performance Part 3 is 12 00H. Thus, the address is:
02 08 00 00H
02 09 00 00H
02 0A 00 00H
:
Performance Mode Temporary Patch(part 9)
Temporary Rhythm Setup
Performance Mode Temporary Patch(part 11)
10 02 00 00H
+)
12 00H
10 02 12 00H
02 0F 00 00H
Performance Mode Temporary Patch(part 16)
Since the size of the Performance Part is 00 00 00 19H,
The Patch offset addresses are as follows.
00 00H
10 00H
:
Patch Common
Patch Tone 1
F0
41
10
6A
(4)
11
10 02 12 00
address
00 00 00 19
size
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
16 00H
Patch Tone 4
(1) Exclusive status
(4) Model ID (XP-30)
(2) ID number (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(6) EOX
Since Patch Tone has a size of 00 00 01 01H, we add this size to the start address of
Performance Mode Temporary Patch (Part 16) Tone 4, to get:
Next we calculate the checksum.
02 0F 00 00H
16 00H
+) 00 00 01 01H
02 0F 17 01H
10H + 02H + 12H + 00H + 00H + 00H + 00H + 19H =
16 + 2 + 18 + 0 + 0 + 0 + 0 + 25 = 61 (sum)
61 (total) / 128 = 0 (product) ... 61 (remainder)
checksum = 128 - 61 (remainder) = 67 = 43H
Thus, the size of the retrieved data will be:
02 0F 17 01H
-) 01 00 00 00H
01 0F 17 01H
Thus, a message of F0 41 10 6A 11 10 02 12 00 00 00 00 19 43 F7 would be transmitted.
F0
41
10
6A
(4)
11
01 00 00 00
address
01 0F 17 01
size
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
(1) Exclusive status
(4) Model ID (XP-30)
(2) ID number (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(6) EOX
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01
00 00 00 01 0F 17 01 57 F7 to be transmitted.
2 0 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
■ Scale Tune Function
■ ASCII Code Table
On the XP-30, the following ASCII code set is used for processing data such as the Patch
(Model ID : 42H (GS), address: 40 1x 40H)
Name and the Performance Name.
Scale Tune is a function that makes fine adjustments to the pitch of each note C-B. Settings
are made for one octave, and applied to the notes of all octaves. By making Scale Tune
settings you can use tunings and temperaments other than the standard Equal
Temperament. Here we give three types of settings as examples.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| 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 ||
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 ||
: ||
; ||
< ||
= ||
> ||
? ||
*
Scale tune messages for any parts are recognized in the patch mode.
D || 100 | 64H |
E || 101 | 65H |
F || 102 | 66H |
G || 103 | 67H |
H || 104 | 68H |
I || 105 | 69H |
J || 106 | 6AH |
K || 107 | 6BH |
L || 108 | 6CH |
M || 109 | 6DH |
N || 110 | 6EH |
O || 111 | 6FH |
P || 112 | 70H |
Q || 113 | 71H |
R || 114 | 72H |
S || 115 | 73H |
T || 116 | 74H |
U || 117 | 75H |
V || 118 | 76H |
W || 119 | 77H |
X || 120 | 78H |
Y || 121 | 79H |
Z || 122 | 7AH |
[ || 123 | 7BH |
\ || 124 | 7CH |
] || 125 | 7DH |
■Equal Temperament
This temperament divides the octave into 12 equal steps, and is the temperament most
frequently used today, especially in western music. Initially, the Scale Tune function of this
instrument is set to Equal Temperament.
■Just Intonation (tonic of C)
The primary triads sound more beautiful in just intonation than in equal temperament.
However, this applies only in one key, and chords will be discordant if you play in a
different key. The settings here are for a tonic of C.
■Arabian-type Scale
The Scale Tune function allow you to use various tunings of ethnic music. Here is one of the
Arabian scales.
Setting Examples
^ |+——————+——————+——————+
_ |
Note
C
Equal Temp.
Just (in C)
0
Arabian-type Scale
+——————+——————+——————++——————+——————+——————+
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
C#
D
-8
D: decimal
+4
H: hexadecimal
Eb
E
+16
-14
-2
-12
-51
-8
Note:
SP indicates “space”.
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
The values in the above table are in units of 1 cent. Convert these values to hexadecimal,
and transmit them as exclusive data. For example to set the Scale Tune of Part 1 to an
Arabian-type scale, transmit the following data.
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
2 0 5
Download from Www.Somanuals.com. All Manuals Search And Download.
64 Voice Expandable Synthesizer
Model XP-30
Date : Jan. 18, 1999
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
0
0–127
Number :
0–127
True Voice
**************
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key's
Channel's
X
O
O
O
*1
*1
Pitch Bend
O
O
*1
0, 32
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
*1
O
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Bank select
O
Modulation
2
O
Breath type
Foot type
4
5
O
O
Portamento time
Data entry
6, 38
7
O
O
Volume
8
O
Balance
10
11
64
65
66
67
69
71
72
73
74
80
81
82
83
84
91
93
O
Panpot
O
Expression
Control
Change
O
Hold 1
O
Portamento
O
Sostenuto
O
Soft
O
Hold 2
O (Resonance)
O (Decay Time)
O (Attack Time)
O (Cutoff)
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
Sound Controller 2
Sound Controller 3
Sound Controller 4
Sound Controller 5
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General purpose effects 1
General purpose effects 3
CC1 (General purpose controller 1)
CC2 (General purpose controller 2)
NRPN LSB, MSB
RPN LSB, MSB
O (Reverb)
O (Chorus)
O
1–5, 7–31, 64–95 *3
1–5, 7–31, 64–95 *3
98, 99
O
X
100, 101
O
O
*1
Program
Change
O
*1
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
*1
X
X
X
X
O
X
O (120, 126, 127)
: All Sound Off
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O (123–127)
*1
O
X
* 1 O X is selectable.
Notes
* 2 Recognized as M=1 even if M≠1.
* 3 Can be changed settings.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
2 0 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Sp e cifica tio n s
XP-3 0 : 6 4 Vo ice Ex p a n d a b le Sy n th e size r(Co n fo rm s to Ge n e ra l MIDI Sy ste m )
■ Ke y b o a rd
■ Disp la y
61 keys (with velocity, channel aftertouch)
40 characters, 2 lines (backlit LCD)
■ N u m b e r o f Pa rts
■ Co n n e cto rs
16 (Part 10 is Rhythm Part)
Output Jacks (L (MONO), R)
Headphones Jack
■ Ma x im u m Po ly p h o n y
64 voices
MIDI Connectors (IN, OUT, THRU)
Computer Connector (Mac, PC-1, PC-2, MIDI)
Hold Pedal Jack
■ Effe cts
Control Pedal Jack
EFX: 40 sets
Memory Card Slot
Reverb: 1 set (8 types)
Chorus: 1 set
■ Po w e r Su p p ly
AC 117 V, AC 230 V, AC 240 V
■ Pre se t Me m o ry
Patches: 1406 (640 same as the JV-2080 + 766 from “Session,”
“Orchestral” and “Techno Collection”)
Performances: 64
■ Po w e r Co n su m p tio n
10 W (AC 117 V), 10 W (AC 230 V), 10 W (AC 240 V)
■ Dim e n sio n s
1011 (W) x 289 (D) x 88 (H) mm
Rhythm Sets: 26 (10 same as the JV-2080 + 16 from “Session”
and “Techno Collection”")
39-13/ 16 (W) x 11-7/ 16 (D) x 3-1/ 2 (H) inches
■ Use r Me m o ry
Patches: 128
■ W e ig h t
Performances: 32
Rhythm Sets: 2
7.8 kg / 17 lbs 4 oz (except Power cord)
■ Acce sso rie s
Owner’s Manual
■ W a ve Ex p a n sio n Bo a rd s (so ld se p a ra te ly )
Max. 2 Boards (D, E)
Power Cable (Not included with XP-30 designed for 117 V
power supply)
* Each Wave Expansion Board includes Patches / Rhythm Sets
that make use of the waves on the board.
CD-ROM (SoundDiver JV/ XP)
■ O p tio n s
Wave Expansion Boards: SR-JV80 series
■ Arp e g g ia to r
43 Styles
SmartMedia: S2M-5 (2M bytes), S4M-5 (4M bytes)
*In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
2 0 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Co m p u te r Ca b le W irin g Dia g ra m s
For Apple Macintosh (Sold separately: RSC-15APL)
mini DIN, 8-pin, male
6 7 8
mini DIN, 8-pin, male
6 7 8
mini DIN, 8-pin, male
mini DIN, 8-pin, male
HSKo 1
HSKi 2
TXD- 3
1 HSKo
2 HSKi
3 TXD-
GND
4
4
GND
RXD- 5
TXD+ 6
5 RXD-
6 TXD+
3 4 5
1 2
3 4 5
1 2
GPi
7
7
GPi
RXD+ 8
8 RXD+
For PC (9-pin) (Sold separately: RSC-15AT)
mini DIN, 8-pin, male
6 7 8
D-sub, 9-pin, female
mini DIN, 8-pin, male
D-sub, 9-pin, female
7
8
3
5
2
RTS
CTS
TXD
GND
RXD
HSKo 1
HSKi 2
TXD- 3
5
1
GND
4
3 4 5
1 2
RXD- 5
9
6
For PC (25-pin)
mini DIN, 8-pin, male
6 7 8
D-sub, 25-pin, female
mini DIN, 8-pin, male
4
5
2
7
3
RTS
CTS
TXD
GND
RXD
HSKo 1
HSKi 2
TXD- 3
D-sub, 25-pin, female
13
1
GND
4
3 4 5
1 2
RXD- 5
25
14
2 0 8
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
Symbols
C
Category select mode ...................................................108
Numerics
A
Aftertouch sens .............................................................110
Alternate pan depth .................................................82, 92
Analog feel depth ...........................................................69
B
2 0 9
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
D
F
Delay feedback level ..................................73, 86, 90, 126
E
EFX control peak/ hold ..................................................75
EFX output level .........................................72, 84, 88, 125
Equal temperament ......................................................114
2 1 0
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
K
N
KEY EFFECTS section ....................................................12
Key range switch ............................................................83
Key range upper .......................................................70, 83
Keyboard sensitivity ....................................................110
Keyboard velocity ........................................................110
L
Layer performance .........................................................51
LFO external sync ...........................................................78
M
Modulation information ........................................87, 127
2 1 1
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
PERFORM PLAY display ..............................................51
Performance initialize ..................................................119
Performance mode ...................................................42, 51
Performance name copy ..............................................117
Performance parameter .........................................83, 150
Performance tempo ........................................................83
Performance write ........................................................116
[PHRASE PREVIEW] .........................................12, 33, 49
Pitch bend information ................................................127
Pitch key follow ..............................................................79
Portamento mode ...........................................................73
Portamento time .............................................................73
Portamento type .............................................................73
Preview sound mode .............................................49, 113
Preview velocity ...........................................................113
Pure temperament ........................................................114
Q
2 1 2
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
S
T
Slots EXP-D and E ..................................................16, 114
Solo legato switch ...........................................................73
Stretched tuning .............................................................69
System control assign 1/ 2 ...........................................111
System parameter .................................................108, 158
TVF envelope depth .................................................80, 91
2 1 3
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
U
User memory protect ...................................................115
Utility/ Card mode .................................................43, 115
V
Velocity range lower ......................................................69
Voice information ...................................................87, 127
W
2 1 4
Download from Www.Somanuals.com. All Manuals Search And Download.
For EU Countries
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Apparatus containing
Lithium batteries
Discard used batteries according to the
manufacturer’s instructions.
ADVARSEL!
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
VARNING
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Levér det brugte batteri tilbage til
leverandøren.
Kassera använt batteri enligt
fabrikantens instruktion.
ADVARSEL
Eksplosjonsfare ved feilaktig skifte av
batteri.
VAROITUS
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Download from Www.Somanuals.com. All Manuals Search And Download.
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
01783690
’03-2-A2-81N
Download from Www.Somanuals.com. All Manuals Search And Download.
|
