Roland Video Game Keyboard F 120R User Guide

MIDI Implementation

* Some other GS devices do not recognize the Bank Select LSB (Controller number

32).

Model: F-120R, RP301R

Date: Jun. 28, 2012

Version: 1.00

❍ Modulation (Controller Number 1)

Status

BnH

2nd byte

01H

3rd byte

vvH

1. Receive Data

■ Channel Voice Messages

●Note oﬀ

n = MIDI channel number:

vv = Modulation depth:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

* Not received when Rx. MODULATION = OFF. (Initial value is ON)

* The resulting eﬀect is determined by System Exclusive messages. With the initial

settings, this is Pitch Modulation Depth.

Status

8nH

2nd byte

kkH

3rd byte

vvH

9nH

kkH

00H

❍ Portamento Time (Controller Number 5)

n = MIDI channel number:

kk = note number:

vv = note oﬀ velocity:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

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), Initial value = 00H (0)

●Note on

Status

9nH

2nd byte

kkH

3rd byte

vvH

* This adjusts the rate of pitch change when Portamento is ON or when using the

Portamento Control. A value of 0 results in the fastest change.

n = MIDI channel number:

kk = note number:

vv = note on velocity:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

01H-7FH (1-127)

❍ Data Entry (Controller Number 6, 38)

Status

BnH

2nd byte

06H

3rd byte

mmH

llH

BnH

26H

* Not received when Rx. NOTE MESSAGE = OFF. (Initial value is ON)

n = MIDI channel number:

0H-FH (ch.1-ch.16)

mm, ll = the value of the parameter speciﬁed by RPN/NRPN

mm = MSB, ll = LSB

●Polyphonic Key Pressure

Status

AnH

2nd byte

kkH

3rd byte

vvH

❍ Volume (Controller Number 7)

Status

BnH

2nd byte

07H

3rd byte

vvH

n = MIDI channel number:

kk = note number:

vv = key pressure:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

n = MIDI channel number:

vv = Volume:

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 64H (100)

* Not received when Rx. POLY PRESSURE (PAf) = OFF. (Initial value is ON)

* The resulting eﬀect is determined by System Exclusive messages. With the initial

settings, there will be no eﬀect.

* Volume messages are used to adjust the volume balance of each Part.

* Not received when Rx. VOLUME = OFF. (Initial value is ON)

●Control Change

❍ Pan (Controller Number 10)

* When Rx. CONTROL CHANGE = OFF, all control change messages except for

Channel Mode messages will be ignored.

Status

BnH

2nd byte

0AH

3rd byte

vvH

* The value speciﬁed by a Control Change message will not be reset even by a

Program Change, etc.

n = MIDI channel number:

vv = pan:

0H-FH (ch.1-ch.16)

00H-40H-7FH (Left-Center-Right),

Initial Value = 40H (Center)

❍ Bank Select (Controller Number 0, 32)

Status

BnH

2nd byte

00H

20H

3rd byte

mmH

llH

* Some Tones are not capable of being panned all the way to the left or right.

* Not received when Rx. PANPOT = OFF. (Initial value is ON)

n = MIDI channel number:

mm, ll = Bank number:

0H-FH (ch.1-ch.16)

00H, 00H-7FH, 7FH (bank.1-bank.16384),

Initial Value = 00 00H (bank.1)

❍ Expression (Controller Number 11)

Status

BnH

2nd byte

0BH

3rd byte

vvH

* Not received when Rx. BANK SELECT = OFF.

* “Rx. BANK SELECT”is set to OFF by “GM1 System On,”and Bank Select message will

be ignored.

n = MIDI channel number:

vv = Expression:

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 7FH (127)

* “Rx. BANK SELECT”is set to ON by “GM2 System On.”

* “Rx. BANK SELECT”is set to ON by power-on Reset or by receiving “GS RESET.”

* When Rx. BANK SELECT LSB = OFF, Bank number LSB (llH) will be handled as 00H

regardless of the received value. However, when sending Bank Select messages,

you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)

together.

* This adjusts the volume of a Part. It can be used independently from Volume

messages. Expression messages are used for musical expression within a

performance; e.g., expression pedal movements, crescendo and decrescendo.

* Not received when Rx. EXPRESSION = OFF. (Initial value is ON)

* Bank Select processing will be suspended until a Program Change message is

received.

* The GS format “Variation number”is the value of the Bank Select MSB (Controller

number 0) expressed in decimal.

1PS

MIDI Implementation

parameter. Refer to Section 4. Supplementary material “Examples of actual MIDI

messages”<Example 4>. On the GS devices, Data entry LSB (llH) of NRPN (contrpller

number 38) is ignored, so it is no problem to send Data entry MSB (mmH) only

without Data entry LSB (controller number 6).

❍ Portamento Control (Controller Number 84)

Status

BnH

2nd byte

54H

3rd byte

kkH

n = MIDI channel number:

kk = source note number:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

On this instrument, NRPN can be used to modify the following parameters.

NRPN

MSB LSB

01H 08H

Data entry

MSB

mmH

* A Note-on received immediately after a Portamento Control message will change

continuously in pitch, starting from the pitch of the Source Note Number.

* If a voice is already sounding for a note number identical to the Source Note

Number, this voice will continue sounding (i.e., legato) and will, when the next

Note-on is received, smoothly change to the pitch of that Note-on.

* The rate of the pitch change caused by Portamento Control is determined by the

Portamento Time value.

Description

Vibrato Rate (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

Vibrato Depth (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

Vibrato Delay (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

TVF Cutoﬀ Frequency (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

TVF Resonance (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

TVF & TVA Envelope Attack Time

(relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

TVF & TVA Envelope Decay Time

(relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

TVF & TVA Envelope Release Time

(relative change)

01H 09H

01H 0AH

01H 20H

01H 21H

01H 63H

mmH

Example 1.

On MIDI

90 3C 40

B0 54 3C

Description

Note on C4

Portamento

Control from C4

Note on E4

Note oﬀ C4

Note oﬀ E4

Result

C4 on

no change (C4 voice still sounding)

90 40 40

80 3C 40

80 40 40

glide from C4 to E4

no change

E4 oﬀ

01H 64H

01H 66H

mmH

Example 2.

On MIDI

B0 54 3C

Description

Portamento

Control from C4

Note on E4

Result

no change

mm: 0EH-40H-72H (-50 - 0 - +50)

90 40 40

80 40 40

E4 is played with glide from C4 to E4

E4 oﬀ

* Parameters marked “relative change”will change relatively to the preset value(40H).

Even among diﬀerent GS devices, “relative change”parameters may sometimes

diﬀer in the way the sound changes or in the range of change.

* Parameters marked “absolute change”will be set to the absolute value of the

parameter, regardless of the preset value.

Note oﬀ E4

❍ Eﬀect 1 (Reverb Send Level) (Controller Number 91)

Status

BnH

2nd bytes

5BH

3rd byte

vvH

* Data entry LSB (llH) is ignored.

n = MIDI channel number:

vv = Control value :

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 28H (40)

* This message adjusts the Reverb Send Level of each Part.

❍ Eﬀect 3 (Chorus Send Level) (Controller Number 93)

Status

BnH

2nd byte

5DH

3rd byte

vvH

n = MIDI channel number:

vv = Control value:

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 00H (0)

* This message adjusts the Chorus Send Level of each Part.

❍ NRPN MSB/LSB (Controller Number 98, 99)

Status

BnH

2nd byte

63H

62H

3rd byte

mmH

llH

n = MIDI channel number:

0H-FH (ch.1-ch.16)

mm = upper byte (MSB) of the parameter number speciﬁed by NRPN

ll = lower byte (LSB) of the parameter number speciﬁed by NRPN

* Rx. NRPN is set to OFF by power-on reset or by receiving “GM1 System On”or “GM2

System On,”and NRPN message will be ignored. NRPN message will be received

when Rx. NRPN = ON, or by receiving “GS RESET.”

* The value set by NRPN will not be reset even if Program Change or Reset All

Controllers is received.

**NRPN**

The NRPN (Non Registered Parameter Number) message allows an extended range of

control changes to be used.

To use these messages, you must ﬁrst use NRPN MSB and NRPN LSB messages

to specify the parameter to be controlled, and then use Data Entry messages to

specify the value of the speciﬁed parameter. Once an NRPN parameter has been

speciﬁed, all Data Entry messages received on that channel will modify the value

of that parameter. To prevent accidents, it is recommended that you set RPN Null

(RPN Number = 7FH/7FH) when you have ﬁnished setting the value of the desired

MIDI Implementation

❍ RPN MSB/LSB (Controller Number 100, 101)

●Channel Pressure

Status

BnH

2nd byte

65H

3rd byte

mmH

llH

Status

DnH

2nd byte

vvH

BnH

64H

n = MIDI channel number:

vv = Channel Pressure :

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

n = MIDI channel number:

mm = upper byte (MSB) of parameter number speciﬁed by RPN

ll = lower byte (LSB) of parameter number speciﬁed by RPN

0H-FH (ch.1-ch.16)

* Not received when Rx. CH PRESSURE (CAf) = OFF. (Initial value is ON)

* The resulting eﬀect is determined by System Exclusive messages. With the initial

settings there will be no eﬀect.

* Not received when Rx. RPN = OFF. (Initial value is ON)

* The value speciﬁed by RPN will not be reset even by messages such as Program

Change or Reset All Controller.

●Pitch Bend Change

**RPN**

Status

EnH

2nd byte

llH

3rd byte

mmH

The RPN (Registered Parameter Number) messages are expanded control changes,

and each function of an RPN is described by the MIDI Standard.

To use these messages, you must ﬁrst use RPN MSB and RPN LSB messages to specify

the parameter to be controlled, and then use Data Entry messages to specify the

value of the speciﬁed parameter. Once an RPN parameter has been speciﬁed, all Data

Entry messages received on that channel will modify the value of that parameter. To

prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH)

when you have ﬁnished setting the value of the desired parameter. Refer to Section 4.

“Examples of actual MIDI messages”<Example 4>

n = MIDI channel number:

mm, ll = Pitch Bend value:

0H-FH (ch.1-ch.16)

00 00H - 40 00H - 7F 7FH

(-8192 - 0 - +8191)

* Not received when Rx. PITCH BEND = OFF. (Initial value is ON)

* The resulting eﬀect is determined by System Exclusive messages. With the initial

settings the eﬀect is Pitch Bend.

On this instrument, RPN can be used to modify the following parameters.

■ Channel Mode Messages

RPN

MSB LSB

00H 00H

Data entry

MSB LSB

mmH ---

Explanation

Pitch Bend Sensitivity

●All Sounds Oﬀ (Controller number 120)

Status

BnH

2nd byte

78H

3rd byte

00H

mm: 00H-18H (0-24 semitones),

Initial Value = 02H (2 semitones)

ll: ignored (processed as 00h)

specify up to 2 octaves in semitone steps

Master Fine Tuning

n = MIDI channel number:

0H-FH (ch.1-ch.16)

00H 01H

mmH llH

* When this message is received, all currently-sounding notes on the corresponding

channel will be turned oﬀ immediately.

mm, ll: 00 00H - 40 00H - 7F 7FH

(-100 - 0 - +99.99 cents),

Initial Value = 40 00H (0 cent)

ll: ignored (processed as 00h)

specify up to 2 octaves in semitone steps

Refer to 4. Supplementary Material,

“About Tuning”

●Reset All Controllers (Controller Number 121)

Status

BnH

2nd byte

79H

3rd byte

00H

00H 02H

mmH ---

Master Coarse Tuning

n = MIDI channel number:

0H-FH (ch.1-ch.16)

mm: 28H - 40H - 58H

(-24 - 0 - +24 semitones),

* When this message is received, the following controllers will be set to their reset

values.

Initial Value = 40H (0 cent)

ll: ignored (processed as 00h)

Modulation Depth Range

mm: 00H - 04H (0 - 4 semitones)

ll: 00H - 7FH (0 - 100 cents)

100/128 Cent/Value

00H 05H

7FH 7FH

mmH llH

--- ---

Controller

Reset value

Pitch Bend Change

Polyphonic Key Pressure

Channel Pressure

Modulation

Expression

Hold 1

0 (Center)

0 (oﬀ)

127 (max)

0 (oﬀ)

RPN null

Set condition where RPN and NRPN are

unspeciﬁed. The data entry messages

after set RPN null will be ignored.

(No Data entry messages are required

after RPN null).

Portamento

Sostenuto

0 (oﬀ)

Soft

0 (oﬀ)

Settings already made will not change.

mm, ll: ignored

RPN

NRPN

unset; previously set data will not change

●Program Change

●Local Control (Controller Number 122)

Status

CnH

2nd byte

ppH

Status

BnH

2nd byte

7AH

3rd byte

vvH

n = MIDI channel number:

pp = Program number:

0H-FH (ch.1-ch.16)

00H-7FH (prog.1-prog.128)

n = MIDI channel number:

vv = Control value:

0H-FH (ch.1-ch.16)

00H, 7FH (0,127)

00H: Local Oﬀ

* Not received when Rx. PROGRAM CHANGE = OFF. (Initial value is ON)

* After a Program Change message is received, the sound will change beginning with

the next Note-on. Voices already sounding when the Program Change message

was received will not be aﬀected.

7FH: Local On

MIDI Implementation

●All Notes Oﬀ (Controller Number 123)

■ System Exclusive Message

Status

BnH

2nd byte

7BH

3rd byte

00H

Status

F0H

Data byte

Status

F7H

iiH, ddH, ......, eeH

n = MIDI channel number:

0H-FH (ch.1-ch.16)

F0H:

System Exclusive Message status

ii = ID number:

An ID number (manufacturer ID) to indicate the manufacturer

whose Exclusive message this is. Roland’s manufacturer ID

is 41H. ID numbers 7EH and 7FH are extensions of the MIDI

standard; Universal Non-realtime Messages (7EH) and Universal

Realtime Messages (7FH).

* When All Notes Oﬀ is received, all notes on the corresponding channel will be

turned oﬀ. However if Hold 1 or Sostenuto is ON, the sound will be continued until

these are turned oﬀ.

dd,...,ee = data:

F7H:

00H-7FH (0-127)

EOX (End Of Exclusive)

●OMNI OFF (Controller Number 124)

Status

BnH

2nd byte

7CH

3rd byte

00H

The System Exclusive Messages received by this instrument are; messages related to

mode settings, Universal Realtime System Exclusive messages, Universal Non-

realtime System Exclusive messages and Data Set (DT1).

n = MIDI channel number:

0H-FH (ch.1-ch.16)

* The same processing will be carried out as when All Notes Oﬀ is received.

●System Exclusive Messages Related to Mode Settings

These messages are used to initialize a device to GS or General MIDI mode, or change

the operating mode.

When creating performance data, a “GM1 System On”message should be inserted

at the beginning of a General MIDI 1 score, a “GM2 System On”message at the

beginning of a General MIDI 2 score, and a “GS Reset”message at the beginning of a

GS music data. Each song should contain only one mode message as appropriate for

the type of data. (Do not insert two or more mode setting messages in a single song.)

“GM System On”uses Universal Non-realtime Message format. “GS Reset”uses Roland

system Exclusive format “Data Set 1 (DT1).”

●OMNI ON (Controller Number 125)

Status

BnH

2nd byte

7DH

3rd byte

00H

n = MIDI channel number:

0H-FH (ch.1-ch.16)

* OMNI ON is only recognized as “All notes oﬀ”; the Mode doesn’t change (OMNI OFF

remains).

❍ GM1 System On

●MONO (Controller Number 126)

This is a command message that resets the internal settings of the unit to the General

MIDI initial state (General MIDI System-Level 1).

Status

BnH

2nd byte

7EH

3rd byte

mmH

Status

F0H

Data byte

7EH, 7FH, 09H, 01H

Status

F7H

n = MIDI channel number:

mm = mono number :

0H-FH (ch.1-ch.16)

00H-10H (0-16)

Byte

F0H

7EH

7FH

09H

01H

F7H

Explanation

Exclusive status

* The same processing will be carried out as when All Sounds Oﬀ and All Notes Oﬀ is

received, and the corresponding channel will be set to Mode 4 (M = 1) regardless of

the value of “mono number.”

ID number (Universal Non-realtime Message)

Device ID (Broadcast)

Sub ID#1 (General MIDI Message)

Sub ID#2 (General MIDI 1 On)

EOX (End Of Exclusive)

●POLY (Controller Number 127)

Status

BnH

2nd byte

7FH

3rd byte

00H

* When this message is received, Rx. BANK SELECT will be OFF and Rx. NRPN will be

OFF.

* There must be an interval of at least 50 ms between this message and the next.

n = MIDI channel number:

0H-FH (ch.1-ch.16)

* The same processing will be carried out as when All Sounds Oﬀ and All Notes Oﬀ is

received, and the corresponding channel will be set to Mode 3.

❍ GM2 System On

This is a command message that resets the internal settings of the unit to the General

MIDI initial state (General MIDI System-Level 2).

Status

F0H

Data byte

7EH 7FH 09H 03H

Status

F7H

■ System Realtime Message

●Active Sensing

Byte

F0H

7EH

7FH

09H

03H

F7H

Explanation

Exclusive status

Status

FEH

ID number (Universal Non-realtime Message)

Device ID (Broadcast)

Sub ID#1 (General MIDI Message)

Sub ID#2 (General MIDI 2 On)

EOX (End Of Exclusive)

* When Active Sensing is received, the unit will begin monitoring the intervals of

all further messages. While monitoring, if the interval between messages exceeds

420 ms, the same processing will be carried out as when All Sounds Oﬀ, All Notes

Oﬀ and Reset All Controllers are received, and message interval monitoring will be

halted.

* When this message is received, this instrument will be able to receive the messages

speciﬁed by General MIDI 2, and use the General MIDI 2 soundmap.

* There must be an interval of at least 50 ms between this message and the next.

MIDI Implementation

❍ GM System Oﬀ

❍ Master Fine Tuning

“GM System Oﬀ”is a command message that resets the internal state of this

instrument from the GM state to its native condition. This instrument will reset to the

GS default state.

Status

F0H

Data byte

Status

F7H

7FH, 7FH, 04H, 03H, llH, mmH

Byte

F0H

7FH

04H

03H

llH

Explanation

Exclusive status

ID number (Universal Realtime Message)

Device ID (Broadcast)

Sub ID#1 (Device Control)

Sub ID#2 (Master Fine Tuning)

Master Fine Tuning LSB

Master Fine Tuning MSB

EOX (End Of Exclusive)

Status

F0H

Data byte

7EH, 7FH, 09H, 02H

Status

F7H

Byte

F0H

7EH

7FH

09H

02H

F7H

Explanation

Exclusive status

ID number (Universal Non-realtime Message)

Device ID (Broadcast)

Sub-ID#1 (General MIDI message)

Sub-ID#2 (General MIDI Oﬀ)

EOX (End of exclusive)

mmH

F7H

llH, mmH:

00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])

* There must be an interval of at least 50 ms between this message and the next.

❍ Master Coarse Tuning

Status

F0H

Data byte

Status

F7H

❍ GS reset

7FH, 7FH, 04H, 04H, llH, mmH

GS Reset is a command message that resets the internal settings of a device to the GS

initial state.

Byte

F0H

7FH

04H

llH

Explanation

Exclusive status

ID number (Universal Realtime Message)

Device ID (Broadcast)

Sub ID#1 (Device Control)

Sub ID#2 (Master Coarse Tuning)

Master Coarse Tuning LSB

Master Coarse Tuning MSB

EOX (End Of Exclusive)

Status

F0H

Data byte

41H, 10H, 42H, 12H, 40H,

00H - 7FH, 00H, 41H

Status

F7H

Byte

F0H

41H

10H

Explanation

Exclusive status

ID number (Roland)

Device ID

mmH

F7H

(dev: 00H-1FH (1-32), Initial value is 10H (17))

Model ID (GS)

Command ID (DT1)

Address MSB

Address

Address LSB

Data (GS reset)

Checksum

EOX (End Of Exclusive)

llH:

mmH:

ignored (processed as 00H)

28H - 40H - 58H (-24 - 0 - +24 [semitones])

42H

12H

40H

00H

7FH

00H

41H

F7H

●Global Parameter Control

Parameters of the Global Parameter Control are newly provided for the General MIDI

❍ Reverb Parameters

Status

F0H

Data byte

7FH, 7FH, 04H, 05H, 01H, 01H,

01H, 01H, 01H, ppH, vvH

Status

F7H

* When this message is received, Rx. NRPN will be ON.

* There must be an interval of at least 50 ms between this message and the next.

Byte

F0H

7FH

04H

05H

01H

ppH

vvH

F7H

Explanation

Exclusive status

●Universal Realtime System Exclusive Messages

❍ Master volume

ID number (Universal Realtime Message)

Device ID (Broadcast)

Sub ID#1 (Device Control)

Sub ID#2 (Global Parameter Control)

Slot path length

Parameter ID width

Value width

Slot path MSB

Slot path LSB (Eﬀect 0101: Reverb)

Parameter to be controlled.

Value for the parameter.

EOX (End Of Exclusive)

Status

F0H

Data byte

7FH, 7FH, 04H, 01H, llH, mmH

Status

F7H

Byte

F0H

7FH

04H

01H

llH

Explanation

Exclusive status

ID number (universal realtime message)

Device ID (Broadcast)

Sub ID#1 (Device Control messages)

Sub ID#2 (Master Volume)

Master volume lower byte

Master volume upper byte

EOX (End Of Exclusive)

mmH

F7H

pp=0

Reverb Type

llH:

mmH:

ignored (processed as 00H)

vv = 00H

vv = 01H

vv = 02H

vv = 03H

vv = 04H

vv = 08H

Small Room (Room1)

00H - 7FH

0 - 127

Medium Room (Room2)

Large Room (Room3)

Medium Hall (Hall1)

Large Hall (Hall2)

* The lower byte (llH) of Master Volume will be handled as 00H.

Plate (Plate)

pp=1

Reverb Time

vv = 00H - 7FH

0 - 127

MIDI Implementation

❍ Chorus Parameters

❍ Controller

Status

F0H

Data byte

Status

F7H

Status

F0H

Data byte

7FH, 7FH, 09H, 03H, 0nH, ccH,

ppH, rrH

Status

F7H

7FH, 7FH, 04H, 05H, 01H, 01H,

01H, 01H, 02H, ppH, vvH

Byte

F0H

7FH

04H

05H

01H

02H

ppH

vvH

F7H

Explanation

Exclusive status

Byte

F0H

7FH

09H

03H

0nH

ccH

ppH

rrH

Explanation

Exclusive status

ID number (Universal Realtime Message)

Device ID (Broadcast)

Sub ID#1 (Device Control)

Sub ID#2 (Global Parameter Control)

Slot path length

Parameter ID width

Value width

Slot path MSB

Slot path LSB (Eﬀect 0102: Chorus)

Parameter to be controlled.

Value for the parameter.

EOX (End Of Exclusive)

ID number (Universal Realtime Message)

Device ID (Broadcast)

Sub ID#1 (Controller Destination Setting)

Sub ID#2 (Control Change)

MIDI Channel (00 - 0F)

Controller number (01 - 1F, 40 - 5F)

Controlled parameter

Controlled range

F7H

EOX (End Of Exclusive)

pp=0

pp=1

pp=2

pp=3

pp=4

pp=5

Pitch Control

rr = 28H - 58H

Filter Cutoﬀ Control

rr = 00H - 7FH

Amplitude Control

rr = 00H - 7FH

LFO Pitch Depth

rr = 00H - 7FH

LFO Filter Depth

rr = 00H - 7FH

LFO Amplitude Depth

rr = 00H - 7FH

-24 - +24 [semitones]

-9600 - +9450 [cents]

0 - 200 [%]

pp=0

Chorus Type

vv=0

vv=1

vv=2

vv=3

vv=4

vv=5

Chorus1

Chorus2

Chorus3

Chorus4

FB Chorus

Flanger

0 - 600 [cents]

0 - 2400 [cents]

0 - 100 [%]

pp=1

pp=2

pp=3

pp=4

Mod Rate

vv= 00H - 7FH

Mod Depth

vv = 00H - 7FH

Feedback

vv = 00H - 7FH

Send To Reverb

vv = 00H - 7FH

0 - 127

❍ Scale/Octave Tuning Adjust

Status

F0H

Data byte

7EH, 7FH, 08H, 08H, ﬀH, ggH,

hhH, ssH...

Status

F7H

Byte

F0H

7EH

7FH

08H

ﬀH

Explanation

Exclusive status

❍ Channel Pressure

ID number (Universal Non-realtime Message)

Device ID (Broadcast)

Sub ID#1 (MIDI Tuning Standard)

Sub ID#2 (scale/octave tuning 1-byte form)

Channel/Option byte1

bits 0 to 1 = channel 15 to 16

bit 2 to 6 = Undeﬁned

Channel byte2

bits 0 to 6 = channel 8 to 14

Channel byte3

bits 0 to 6 = channel 1 to 7

12 byte tuning oﬀset of 12 semitones from C to B

00H = -64 [cents]

Status

F0H

Data byte

7FH, 7FH, 09H, 01H, 0nH, ppH, rrH

Status

F7H

Byte

F0H

7FH

09H

01H

0nH

ppH

rrH

Explanation

Exclusive status

ID number (Universal Realtime Message)

Device ID (Broadcast)

Sub ID#1 (Controller Destination Setting)

Sub ID#2 (Channel Pressure)

MIDI Channel (00 - 0F)

Controlled parameter

ggH

hhH

ssH

Controlled range

F7H

EOX (End Of Exclusive)

40H = 0 [cents] (equal temperament)

7FH = +63 [cents]

pp=0

pp=1

pp=2

pp=3

pp=4

pp=5

Pitch Control

rr = 28H - 58H

Filter Cutoﬀ Control

rr = 00H - 7FH

Amplitude Control

rr = 00H - 7FH

LFO Pitch Depth

rr = 00H - 7FH

LFO Filter Depth

rr = 00H - 7FH

LFO Amplitude Depth

rr = 00H - 7FH

F7H

EOX (End Of Exclusive)

-24 - +24 [semitones]

-9600 - +9450 [cents]

0 - 200 [%]

●Universal Non-realtime System Exclusive Messages

❍ Identity Request Message

Status

F0H

Data byte

7EH, 10H, 06H, 01H

Status

F7H

0 - 600 [cents]

Byte

F0H

7EH

10H

06H

01H

F7H

Explanation

Exclusive status

0 - 2400 [cents]

0 - 100 [%]

ID number (Universal Non-realtime Message)

Device ID

Sub ID#1 (General Information)

Sub ID#2 (Identity Request)

EOX (End Of Exclusive)

* Device ID = 10H or 7FH

MIDI Implementation

●Data Transmission

2. Transmit Data

■ Channel Voice Messages

●Note Oﬀ

This instrument can receive the various parameters using System Exclusive messages.

The exclusive message of GS format data has a model ID of 42H and a device ID of

10H (17), and it is common to all the GS devices.

❍ Data Set 1 (DT1)

Status

8nH

2nd byte

kkH

3rd byte

vvH

This is the message that actually performs data transmission, and is used when you

wish to transmit the data.

n = MIDI channel number:

kk = note number:

vv = note oﬀ velocity:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

Status

F0H

Data byte

41H, 10H, 42H, 12H, aaH, bbH,

ccH, ddH, ... eeH, sum

Status

F7H

Byte

F0H

41H

10H

42H

12H

aaH

Explanation

●Note On

Exclusive status

ID number (Roland)

Device ID

Model ID (GS)

Command ID (DT1)

Status

9nH

2nd byte

kkH

3rd byte

vvH

n = MIDI channel number:

kk = note number:

vv = note on velocity:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

01H-7FH (1-127)

Address MSB: upper byte of the starting address of

the transmitted data

bbH

ccH

Address: middle byte of the starting address of the

transmitted data

Address LSB: lower byte of the starting address of

the transmitted data

Data: the actual data to be transmitted. Multiple

bytes of data are transmitted starting from the

address.

●Control Change

❍ Bank Select (Controller Number 0, 32)

Status

BnH

2nd byte

00H

3rd byte

mmH

llH

ddH

BnH

20H

n = MIDI channel number:

mm, ll = Bank number:

0H-FH (ch.1-ch.16)

00H, 00H-7FH, 7FH (bank.1-bank.16384)

eeH

sum

F7H

Data

Checksum

EOX (End Of Exclusive)

❍ Expression (Controller number 11)

Status

BnH

2nd byte

0BH

3rd byte

vvH

* The amount of data that can be transmitted at one time depends on the type of

data, and data can be received only from the speciﬁed starting address and size.

Refer to the Address and Size given in Section 3.

* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If

“Data Set 1”is transmitted successively, there must be an interval of at least 40 ms

between packets.

n = MIDI channel number:

vv = Control value:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

❍ Hold 1 (Controller Number 64)

* Regarding the checksum, please refer to section 4 .

Status

BnH

2nd byte

40H

3rd byte

vvH

n = MIDI channel number:

vv = Control value:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

❍ Sostenuto (Controller Number 66)

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 = OFF, 127 = ON

❍ Soft (Controller Number 67)

Status

BnH

2nd byte

43H

3rd byte

vvH

n = MIDI channel number:

vv = Control value:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

❍ Eﬀect 1 (Reverb Send Level) (Controller Number 91)

Status

BnH

2nd byte

5BH

3rd byte

vvH

n = MIDI channel number:

vv = Control value:

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

●Program Change

Status

CnH

2nd byte

ppH

MIDI Implementation

n = MIDI channel number:

pp = Program number:

0H-FH (ch.1-ch.16)

00H-7FH (prog.1-prog.128)

■ System Realtime Message

●Realtime Clock

Status

F8H

●Start

Status

FAH

●Continue

Status

FBH

●Stop

Status

FCH

●Active Sensing

Status

FEH

* This will be transmitted constantly at intervals of approximately 250 ms.

■ System Exclusive Messages

❍ Identity Reply

Status

F0H

Data byte

Status

7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H, F7H

1DH, 00H, 01H, 00H, 00H

Byte

F0H

7EH

10H

Explanation

Exclusive status

ID number (Universal Non-realtime Message)

Device ID

(use the same as the device ID of Roland)

Sub ID#1 (General Information)

Sub ID#2 (Identity Reply)

ID number (Roland)

Device family code (LSB)

Device family code (MSB)

Device family number code (LSB)

Device family number code (MSB)

Software revision level

EOX (End of Exclusive)

06H

02H

41H

42H

00H

1DH

00H

01H

00H

F7H

MIDI Implementation

3. Parameter Address Map (Model ID = 42H)

This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using and “Data set 1 (DT1).”

All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form.

■ Address Block Map

An outlined address map of the Exclusive Communication is as follows;

+------------+------------------------------------+

| Address (H)| Block

+------------+------------------------------------+

| 40 00 00 |

| SYSTEM PARAMETERS

| Individual

| 40 01 3F |

+------------+------------------------------------+

| 40 1x 00 |

| PART PARAMETERS (x = 0-F)

| Individual

| 40 2x 5A |

+------------+------------------------------------+

| 48 00 00 |

| SYSTEM PARAMETERS

| Bulk

+------------+------------------------------------+

| 48 01 10 |

| PART PARAMETERS

| Bulk

| 48 1D 0F |

+------------+------------------------------------+

There are two ways in which GS data is transmitted: Individual Parameter Transmission in which individual parameters are transmitted one by one, and Bulk Dump Transmission in

which a large amount of data is transmitted at once.

■ Individual Parameters

Individual Parameter Transmission transmits data (or requests data) for one parameter as one exclusive message (one packet of “F0 ..... F7”).

In Individual Parameter Transmission, you must use the Address and Size listed in the following “Parameter Address Map.”Addresses marked at “#”cannot be used as starting

addresses.

●System Parameters

Parameters related to the system of the device are called System Parameters.

Address (H)

40 00 00

40 00 01#

40 00 02#

40 00 03#

Size (H)

00 00 04

Data (H)

0018-07E8

Parameter

MASTER TUNE

Description

-100.0 - +100.0 [cent]

Use nibblized data.

Default Value (H)

00 04 00 00

Description

0 [cent]

*Refer to section 4. Supplementary material, “About Tuning.”

40 00 04

00 00 01

00-7F

MASTER VOLUME

(= F0 7F 7F 04 01 00 vv F7)

MASTER KEY-SHIFT

MASTER PAN

0-127

127

40 00 05

40 00 06

40 00 7F

00 00 01

28-58

01-7F

-24 - +24 [semitones]

-63 (LEFT) - +63 (RIGHT)

00 = GS Reset,

0 [semitones]

0 (CENTER)

MODE SET

127 = Exit GS mode

(Rx. only)

* Refer to “System exclusive messages related to mode settings”.

40 01 10

00 00 10

00-40

VOICE RESERVE

Part 10

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 11

40 01 11#

40 01 12#

40 01 13#

40 01 14#

40 01 15#

40 01 16#

40 01 17#

40 01 18#

40 01 19#

40 01 1A#

40 01 :#

40 01 1F#

Part 16

* The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony. The maximum polyphony of this instrument is 128.

For compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.

40 01 30

00 00 01

00-07

REVERB MACRO

00: Room 1

01: Room 2

Hall 2

MIDI Implementation

02: Room 3

03: Hall 1

04: Hall 2

05: Plate

06: Delay

07: Panning Delay

0-7

0-127

40 01 31

40 01 32

40 01 33

40 01 34

40 01 35

00 00 01

00-07

00-7F

REVERB CHARACTER

REVERB PRE-LPF

REVERB LEVEL

REVERB TIME

REVERB DELAY FEEDBACK

* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will be set to

the most suitable value.

* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.

40 01 38

00 00 01

00-07

CHORUS MACRO

00: Chorus 1

01: Chorus 2

02: Chorus 3

03: Chorus 4

04: Feedback Chorus

05: Flanger

06: Short Delay

07: Short Delay (FB)

0-7

0-12

0-127

Chorus 3

40 01 39

40 01 3A

40 01 3B

40 01 3C

40 01 3D

40 01 3E

40 01 3F

00 00 01

00-07

00-7F

CHORUS PRE-LPF

CHORUS LEVEL

CHORUS FEEDBACK

CHORUS DELAY

CHORUS RATE

CHORUS DEPTH

0-127

CHORUS SEND LEVEL TO REVERB

* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter will be

set to the most suitable value.

40 03 00

00 00 02

00-7F

EFX TYPE (MSB, LSB)

00 00 - 7F 7F

00 01

Thru

* Refer to EFX Type Table

* This EFX Type is current EFX type of this system. When part EFX type is same to this EFX type, that part connect to EFX.

40 03 03

40 03 04

40 03 05

40 03 06

40 03 07

40 03 08

40 03 09

40 03 0A

40 03 0B

40 03 0C

40 03 0D

40 03 0E

40 03 0F

40 03 10

40 03 11

40 03 12

40 03 13

40 03 14

40 03 15

40 03 16

00 00 01

00-7F

EFX Parameter 1

EFX Parameter 2

EFX Parameter 3

EFX Parameter 4

EFX Parameter 5

EFX Parameter 6

EFX Parameter 7

EFX Parameter 8

EFX Parameter 9

EFX Parameter 10

EFX Parameter 11

EFX Parameter 12

EFX Parameter 13

EFX Parameter 14

EFX Parameter 15

EFX Parameter 16

EFX Parameter 17

EFX Parameter 18

EFX Parameter 19

EFX Parameter 20

* Each parameter will be changed by EFX type. Refer to EFX Parameter Map.

40 03 17

* Set to 0 when EFX type is changed.

40 03 18 00 00 01

* Set to 0 when EFX type is changed.

40 03 1A 00 00 01

00 00 01

00 - 7F

EFX Send Level to Reverb

EFX Send Level to Chorus

EFX Depth

Dry 100% - EFX 100%

MIDI Implementation

●Part Parameters

This instrument has 16 parts. Parameters that can be set individually for each Part are called Part parameters.

If you use exclusive messages to set Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel). The Block

number can be speciﬁed as one of 16 blocks, from 0 (H) to F (H).

The relation between Part number and Block number is as follows.

x...BLOCK NUMBER (0-F),

Part 1 (MIDI ch = 1) x = 1

Part 2 (MIDI ch = 2) x = 2

Part 9 (MIDI ch = 9) x = 9

Part10 (MIDI ch = 10) x = 0

Part11 (MIDI ch = 11) x = A

Part12 (MIDI ch = 12) x = B

Part16 (MIDI ch = 16) x = F

Address (H)

40 1x 00

40 1x 01#

40 1x 02

40 1x 03

40 1x 04

40 1x 05

40 1x 06

40 1x 07

40 1x 08

40 1x 09

40 1x 0A

Size (H)

00 00 02

Data (H)

00-7F

00-10

00-01

Parameter

TONE NUMBER

P.C. VALUE

Description

CC#00 VALUE 0-127

1-128

1-16, OFF

OFF/ON

Default Value (H)

Same as the Part Number

Description

00 00 01

Rx. CHANNEL

Rx. PITCH BEND

Rx. CH PRESSURE (CAf)

Rx. PROGRAM CHANGE

Rx. CONTROL CHANGE

Rx. POLY PRESSURE (PAf)

Rx. NOTE MESSAGE

Rx. RPN

OFF (ON*)

OFF/ON

Rx. NRPN

00 (01*)

* When “GM1 System On”and “GM2 System On”are received, Rx. NRPN will be set OFF. When “GS Reset”is received, it will be set ON.

40 1x 0B

40 1x 0C

40 1x 0D

40 1x 0E

40 1x 0F

40 1x 10

40 1x 11

40 1x 12

00 00 01

00-01

Rx. MODULATION

Rx. VOLUME

Rx. PANPOT

Rx. EXPRESSION

Rx. HOLD1

Rx. PORTAMENTO

Rx. SOSTENUTO

Rx. SOFT

OFF/ON

40 1x 13

00 00 01

00-01

MONO/POLY MODE

Mono/Poly

Poly

(= CC# 126 01 / CC# 127 00)

40 1x 16

40 1x 17

40 1x 18#

00 00 01

00 00 02

28-58

00 08-0F 08

(08-F8)

PITCH KEY SHIFT

PITCH OFFSET FINE

-24 - +24 [semitones]

-12.0 - +12.0 [Hz]

Use nibblized data.

08 00 (80)

0 [semitones]

0 [Hz]

* PITCH OFFSET FINE allows you to alter, by a speciﬁed frequency amount, the pitch at which notes will sound. This parameter diﬀers from the conventional Fine Tuning (RPN #1)

parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has been given

a diﬀerent setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste eﬀect.

40 1x 19

00 00 01

00-7F

PART LEVEL

0-127

100

(= CC# 7)

40 1x 1A

40 1x 1B

40 1x 1C

00 00 01

00-7F

VELOCITY SENSE DEPTH

VELOCITY SENSE OFFSET

PART PANPOT

0-127

-64 (RANDOM)

-63 (LEFT) - +63 (RIGHT)

0 (CENTER)

(= CC# 10, except RANDOM)

KEY RANGE LOW

KEY RANGE HIGH

CC1 CONTROLLER NUMBER

CC2 CONTROLLER NUMBER

CHORUS SEND LEVEL

(= CC# 93)

40 1x 1D

40 1x 1E

40 1x 1F

40 1x 20

40 1x 21

00 00 01

00-7F

00-5F

00-7F

(C-1) - (G9)

0-95

0-127

C-1

G 9

40 1x 22

40 1x 23

00 00 01

00-7F

00-01

REVERB SEND LEVEL

(= CC# 91)

Rx. BANK SELECT

0-127

OFF/ON

01 (00*)

ON (OFF*)

* “Rx. BANK SELECT”is set to OFF by “GM1 System On,”and Bank Select message will be ignored.

* “Rx. BANK SELECT”is set to ON by “GM2 System On.”

* “Rx. BANK SELECT”is set to ON by power-on Reset or by receiving “GS RESET.”

MIDI Implementation

40 1x 24

00 00 01

00-01

Rx. BANK SELECT LSB

OFF/ON

OFF

* This instrument can be recognized Bank Select LSB (40H-43H) even if this message is OFF.

40 1x 25

40 1x 28

40 1x 29#

00 00 01

00 00 03

00-01

00-7F

TONE REMAIN

Bank Select LSB Range

OFF/ON

LSB (from)

LSB (to)

40H

43H

40 1x 30

40 1x 31

40 1x 32

40 1x 33

40 1x 34

40 1x 35

40 1x 36

40 1x 37

00 00 01

0E-72

TONE MODIFY 1

Vibrato rate (= NRPN# 8)

TONE MODIFY 2

Vibrato depth (= NRPN# 9)

TONE MODIFY 3

TVF cutoﬀ frequency (= NRPN# 32)

TONE MODIFY 4

TVF resonance (= NRPN# 33)

TONE MODIFY 5

TVF&TVA Env.attack (= NRPN# 99)

TONE MODIFY 6

TVF&TVA Env.decay (= NRPN# 100)

TONE MODIFY 7

TVF&TVA Env.release (= NRPN# 102)

TONE MODIFY 8

-50 - +50

Vibrato delay (= NRPN# 10)

40 1x 40

00 00 0C

00-7F

SCALE TUNING C

SCALE TUNING C#

SCALE TUNING D

SCALE TUNING D#

SCALE TUNING E

SCALE TUNING F

SCALE TUNING F#

SCALE TUNING G

SCALE TUNING G#

SCALE TUNING A

SCALE TUNING A#

SCALE TUNING B

-64 - +63 [cent]

0 [cent]

40 1x 41#

40 1x 42#

40 1x 43#

40 1x 44#

40 1x 45#

40 1x 46#

40 1x 47#

40 1x 48#

40 1x 49#

40 1x 4A#

40 1x 4B#

* SCALE TUNING is a function that allows ﬁne adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change

simultaneously. A setting of +/- 0 cent (40H) is equal temperament. Refer to section 4. Supplementary material, “The Scale Tune Feature.”

40 2x 00

40 2x 01

40 2x 02

40 2x 03

40 2x 04

40 2x 05

40 2x 06

40 2x 07

40 2x 08

40 2x 09

40 2x 0A

00 00 01

28-58

00-7F

MOD PITCH CONTROL

-24 - +24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0-100 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0 [semitones]

0 [cent]

0 [%]

MOD TVF CUTOFF CONTROL

MOD AMPLITUDE CONTROL

MOD LFO1 RATE CONTROL

MOD LFO1 PITCH DEPTH

MOD LFO1 TVF DEPTH

MOD LFO1 TVA DEPTH

MOD LFO2 RATE CONTROL

MOD LFO2 PITCH DEPTH

MOD LFO2 TVF DEPTH

MOD LFO2 TVA DEPTH

0 [Hz]

47 [cent]

0 [cent]

000 [%]

0 [Hz]

0 [cent]

0 [%]

0-100.0 [%]

40 2x 10

40 2x 11

40 2x 12

40 2x 13

40 2x 14

40 2x 15

40 2x 16

40 2x 17

40 2x 18

40 2x 19

40 2x 1A

00 00 01

40-58

00-7F

BEND PITCH CONTROL

0-24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0-100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

2 [semitones]

0 [cent]

0 [%]

BEND TVF CUTOFF CONTROL

BEND AMPLITUDE CONTROL

BEND LFO1 RATE CONTROL

BEND LFO1 PITCH DEPTH

BEND LFO1 TVF DEPTH

BEND LFO1 TVA DEPTH

BEND LFO2 RATE CONTROL

BEND LFO2 PITCH DEPTH

BEND LFO2 TVF DEPTH

BEND LFO2 TVA DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

0-100.0 [%]

40 2x 20

40 2x 21

40 2x 22

40 2x 23

40 2x 24

40 2x 25

40 2x 26

40 2x 27

00 00 01

28-58

00-7F

CAf PITCH CONTROL

-24 - +24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0-100.0 [%]

-10.0 - +10.0 [Hz]

0 [semitones]

0 [cent]

0 [%]

CAf TVF CUTOFF CONTROL

CAf AMPLITUDE CONTROL

CAf LFO1 RATE CONTROL

CAf LFO1 PITCH DEPTH

CAf LFO1 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

CAf LFO1 TVA DEPTH

CAf LFO2 RATE CONTROL

0 [Hz]

MIDI Implementation

40 2x 28

40 2x 29

40 2x 2A

00 00 01

00-7F

CAf LFO2 PITCH DEPTH

CAf LFO2 TVF DEPTH

CAf LFO2 TVA DEPTH

0-600 [cent]

0-2400 [cent]

0-100.0 [%]

0 [cent]

0 [%]

40 2x 30

40 2x 31

40 2x 32

40 2x 33

40 2x 34

40 2x 35

40 2x 36

40 2x 37

40 2x 38

40 2x 39

40 2x 3A

00 00 01

28-58

00-7F

PAf PITCH CONTROL

-24 - +24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0-100.0 [%]

-10.0-+10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0 [semitones]

0 [cent]

0 [%]

PAf TVF CUTOFF CONTROL

PAf AMPLITUDE CONTROL

PAf LFO1 RATE CONTROL

PAf LFO1 PITCH DEPTH

PAf LFO1 TVF DEPTH

PAf LFO1 TVA DEPTH

PAf LFO2 RATE CONTROL

PAf LFO2 PITCH DEPTH

PAf LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

PAf LFO2 TVA DEPTH

0-100.0 [%]

40 2x 40

40 2x 41

40 2x 42

40 2x 43

40 2x 44

40 2x 45

40 2x 46

40 2x 47

40 2x 48

40 2x 49

40 2x 4A

00 00 01

28-58

00-7F

CC1 PITCH CONTROL

-24 - +24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0-100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0 [semitones]

0 [cent]

0 [%]

CC1 TVF CUTOFF CONTROL

CC1 AMPLITUDE CONTROL

CC1 LFO1 RATE CONTROL

CC1 LFO1 PITCH DEPTH

CC1 LFO1 TVF DEPTH

CC1 LFO1 TVA DEPTH

CC1 LFO2 RATE CONTROL

CC1 LFO2 PITCH DEPTH

CC1 LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

CC1 LFO2 TVA DEPTH

0-100.0 [%]

40 2x 50

40 2x 51

40 2x 52

40 2x 53

40 2x 54

40 2x 55

40 2x 56

40 2x 57

40 2x 58

40 2x 59

40 2x 5A

00 00 01

28-58

00-7F

CC2 PITCH CONTROL

-24 - +24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0-100.0 [%]

-10.0 - +10.0 [Hz]

0-600 [cent]

0-2400 [cent]

0 [semitones]

0 [cent]

0 [%]

CC2 TVF CUTOFF CONTROL

CC2 AMPLITUDE CONTROL

CC2 LFO1 RATE CONTROL

CC2 LFO1 PITCH DEPTH

CC2 LFO1 TVF DEPTH

CC2 LFO1 TVA DEPTH

CC2 LFO2 RATE CONTROL

CC2 LFO2 PITCH DEPTH

CC2 LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

CC2 LFO2 TVA DEPTH

0-100.0 [%]

40 4x 23

00 00 06

00-7F

PART EFX TYPE (MSB, LSB)

00 00 - 7F 7F

00 00

40 4x 24#

* This EFX type is same to EFX type of System Parameter. When this EFX type is same to EFX type of System parameter, the part connect to EFX.

40 4x 25#

40 4x 26#

40 4x 27#

40 4x 28#

00-7F

PART EFX MACRO

PART EFX DEPTH

PART EFX CONTROL1

PART EFX CONTROL2

00-7F

00 00

MIDI Implementation

●Examples of Actual MIDI Messages

4. Supplementary Material

<Example1> 92 3E 5F

9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62,

and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note

name is D4), and velocity 95.

●Decimal and Hexadecimal Table

In MIDI documentation, data values and addresses/sizes of exclusive messages etc.

are expressed as hexadecimal values for each 7 bits.

The following table shows how these correspond to decimal numbers.

<Example2> CE 49

+------+------++------+------++------+------++------+------+

CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14

and 49H = 73, this is a Program Change message with MIDI CH = 15, program number

74 (Flute in GS).

| D | H || D | H || D | H || D | H

+------+------++------+------++------+------++------+------+

0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |

1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |

2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |

3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |

4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |

5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |

6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |

7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |

8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |

9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |

10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |

11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |

12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |

13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |

14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |

15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |

16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |

17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |

18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |

19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |

20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |

21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |

22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |

23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |

24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |

25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |

26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |

27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |

28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |

29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |

30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |

31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |

<Example3> EA 00 28

EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte

(00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a

signed number in which 40 00H (= 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value

is 28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072

If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch

to change 200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is

being applied to MIDI channel 11.

<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F

BnH is the Control Change status, and n is the MIDI channel number. For Control

Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case

in which two or more messages consecutive messages have the same status, MIDI

has a provision called “running status”which allows the status byte of the second

and following messages to be omitted. Thus, the above messages have the following

meaning.

64 00

65 00

06 0C

26 00

64 7F

65 7F

MIDI ch.4, lower byte of RPN parameter number: 00H

(MIDI ch.4) upper byte of RPN parameter number: 00H

(MIDI ch.4) upper byte of parameter value: 0CH

(MIDI ch.4) lower byte of parameter value: 00H

(B3)

+------+------++------+------++------+------++------+------+

D: decimal

H: hexadecimal

(MIDI ch.4) lower byte of RPN parameter number: 7FH

(MIDI ch.4) upper byte of RPN parameter number: 7FH

* Decimal values such as MIDI channel, bank select, and program change are listed as

one (1) greater than the values given in the above table.

* A 7-bit byte can express data in the range of 128 steps. For data where greater

precision is required, we must use two or more bytes. For example, two

hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of

aa x 128 + bb.

* In the case of values which have a sign, 00H = -64, 40H = 0, and 7FH = +63, so

that the decimal expression would be 64 less than the value given in the above

chart. In the case of two types, 00 00H = -8192, 40 00H = 0, and 7F 7FH = +8191.

For example if aa bbH were expressed as decimal, this would be aa bbH - 40 00H =

aa x 128 + bb - 64 x 128.

In other words, the above messages specify a value of 0C 00H for RPN parameter

number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F

7FH.

RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value

indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range

to 12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity

is ignored, but the LSB should be transmitted anyway (with a value of 0) so that

operation will be correct on any device.)

* Data marked “nibbled”is expressed in hexadecimal in 4-bit units. A value expressed

as a 2-byte nibble 0a 0bH has the value of a x 16 + b.

Once the parameter number has been speciﬁed for RPN or NRPN, all Data Entry

messages transmitted on that same channel will be valid, so after the desired value

has been transmitted, it is a good idea to set the parameter number to 7F 7FH to

prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end.

What is the decimal expression of 5AH?

From the preceding table, 5AH = 90

It is not desirable for performance data (such as Standard MIDI File data) to contain

many events with running status as given in <Example 4>. This is because if playback

is halted during the song and then rewound or fast-forwarded, the sequencer may

not be able to transmit the correct status, and the sound source will then

misinterpret the data. Take care to give each event its own status.

What is the decimal expression of the value 12 34H given as hexadecimal for each 7

bits?

From the preceding table, since 12H = 18 and 34H = 52

18 x 128 + 52 = 2356

It is also necessary that the RPN or NRPN parameter number setting and the value

setting be done in the proper order. On some sequencers, events occurring in the

same (or consecutive) clock may be transmitted in an order diﬀerent than the order

in which they were received. For this reason it is a good idea to slightly skew the time

of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).

What is the decimal expression of the nibbled value 0A 03 09 0D?

From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

* TPQN: Ticks Per Quarter Note

What is the nibbled expression of the decimal value 1258?

16) 1258

16) 78... 10

16)

4... 14

0... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the answer is

00 04 0E 0AH.

MIDI Implementation

●Example of an Exclusive Message and Calculating a

●The Scale Tune Feature (Address: 40 1x 40)

The scale Tune feature allows you to ﬁnely adjust the individual pitch of the notes

from C through B. Though the settings are made while working with one octave,

the ﬁne adjustments will aﬀect all octaves. By making the appropriate Scale Tune

settings, you can obtain a complete variety of tuning methods other than equal

temperament. As examples, three possible types of scale setting are explained below.

Checksum

Roland Exclusive messages are transmitted with a checksum at the end (before F7)

to make sure that the message was correctly received. The value of the checksum is

determined by the address and data (or size) of the transmitted exclusive message.

❍ How to Calculate the Checksum (Hexadecimal

❍ Equal Temperament

Numbers are Indicated by ‘H’)

This method of tuning divides the octave into 12 equal parts. It is currently the most

widely used form of tuning, especially in occidental music. On this instrument, the

default settings for the Scale Tune feature produce equal temperament.

The checksum is a value derived by adding the address, size and checksum itself and

inverting the lower 7 bits.

Here’s an example of how the checksum is calculated. We will assume that in the

exclusive message we are transmitting, the address is aa bb ccH and the data or size

is dd ee ﬀH.

❍ Just Temperament (Keytone C)

The three main chords resound much more beautifully than with equal tempera-

ment, but this beneﬁt can only be obtained in one key. If transposed, the chords tend

to become ambiguous.

aa + bb + cc + dd + ee + ﬀ = sum

sum / 128 = quotient ... remainder

128 - remainder = checksum

The example given involves settings for a key in which C is the keynote.

(However, the checksum will be 0 if the remainder is 0.)

❍ Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited

for ethnic music. For example, the settings introduced below will set the unit to use

the Arabian Scale.

<Example> Setting REVERB MACRO to ROOM 3

According to the “Parameter Address Map,”the REVERB MACRO Address is 40 01 30H,

and ROOM

3 is a value of 02H. Thus,

Example Settings

(1)

(2)

(3)

(4)

(5)

40 01 30

Address

(6)

Note name

Equal Temperament Just Temperament Arabian Scale

(Keytone C)

data Checksum

-8

-6

+45

-2

-12

-51

-8

+43

-4

+47

-10

-49

(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17),

(4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive

+16

-14

-2

-10

+14

-16

+14

-12

Next we calculate the checksum.

40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum)

115 (sum) / 128 = 0 (quotient) ... 115 (remainder)

checksum = 128 - 115 (remainder) = 13 = 0DH

This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.

●About Tuning

The values in the table are given in cents. Refer to the explanation of Scale Tuning to

convert these values to hexadecimal, and transmit them as exclusive data.

For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as follows:

F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 50 F7

In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the

appropriate MIDI channel.

In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being

used, or by sending a System Exclusive MASTER TUNE (address 40 00 00H).

RPN #1 allows tuning to be speciﬁed in steps of approximately 0.012 cents (to be

precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in steps of

0.1 cent. One cent is 1/100th of a semitone.

The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE are

added together to determine the actual pitch sounded by each Part.

+----------+--------+---------------+--------------------+

| Hz in A4 | cent |

RPN #1

| Sys.Ex. 40 00 00 |

+----------+--------+---------------+--------------------+

445.0 | +19.56 | 4C 43 (+1603) | 00 04 0C 04 (+196) |

444.0 | +15.67 | 4A 03 (+1283) | 00 04 09 0D (+157) |

443.0 | +11.76 | 47 44 (+ 964) | 00 04 07 06 (+118) |

442.0 | +7.85 | 45 03 (+ 643) | 00 04 04 0F (+ 79) |

441.0 | +3.93 | 42 42 (+ 322) | 00 04 02 07 (+ 39) |

440.0 | 0.00 | 40 00 (

0) | 00 04 00 00 ( 0) |

439.0 | -3.94 | 3D 3D (- 323) | 00 03 0D 09 (- 39) |

438.0 | -7.89 | 3A 7A (- 646) | 00 03 0B 01 (- 79) |

+----------+--------+---------------+--------------------+

Frequently used tuning values are given in the following table for your reference.

Values are in hexadecimal (decimal in parentheses).

<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz

Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.

64 00

65 01

06 45

26 03

64 7F

65 7F

MIDI ch.3, lower byte of RPN parameter number: 00H

(MIDI ch.3) upper byte of RPN parameter number: 01H

(MIDI ch.3) upper byte of parameter value: 45H

(MIDI ch.3) lower byte of parameter value: 03H

(B2)

(MIDI ch.3) lower byte of RPN parameter number: 7FH

(MIDI ch.3) upper byte of RPN parameter number: 7FH

MIDI Implementation

■ EFX Parameter Map

5. Eﬀect List

The parameters with”#1”or “#2”at the end of parameter name can be controlled with

each exclusive message”Part EFX CONTROL 1”and “Part EFX CONTROL 2.”

0100: Equalizer

0101: Spectrum

0102: Enhancer

0104: Isolator

0105: Low Boost

0106: High Pass Filter

0110: Overdrive

0111: Distortion

●0100: Equalizer

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

No Parameter

Value

Description

Low Freq

0–1

200, 400 Hz

-15–+15 dB

Frequency of the low range

Gain of the low range

0112: Overdrive2

0113: Distortion2

Low Gain #1 0–30

Frequency of the middle

range 1

0107: Speaker Simulator

0114: Guitar Amp Simulator

0120: Phaser

Mid1 Freq

Mid1 Gain

0–16

0–30

200–8000 Hz

-15–+15 dB

Gain of the middle range 1

0129: Multi Stage Phaser

012a: Inﬁnite Phaser

0123: Stereo Flanger

0127: 3D Flanger

Width of the middle range 1

Set a higher value for Q

to narrow the range to be

aﬀected.

0.5, 1.0, 2.0,

4.0, 8.0

Mid1 Q

0–4

Frequency of the middle

range 2

0128: 2Band Flanger

0121: Auto Wah

0103: Humanizer

Mid2 Freq

Mid2 Gain

0–16

0–30

200–8000 Hz

-15–+15 dB

Gain of the middle range 2

012b: Ring Modulator

0125: Tremolo

0126: Auto Pan

Width of the middle range 2

Set a higher value for Q

to narrow the range to be

aﬀected.

0.5, 1.0, 2.0,

4.0, 8.0

Mid2 Q

0–4

012c: Slicer

0130: Compressor

0131: Limiter

2000, 4000,

8000 Hz

High Freq

0–2

Frequency of the high range

0142: Stereo Chorus

0140: Hexa Chorus

0141: Tremolo Chorus

0143: Space D

10 High Gain #2 0–30

11 Level 0–127

-15–-+15 dB Gain of the high range

0–127 Output Level

0144: 3D Chorus

●0101: Spectrum

0145: 2Band Chorus

0122: Rotary

012d: Rotary2

This is a stereo spectrum. Spectrum is a type of ﬁlter which modiﬁes the timbre by

boosting or cutting the level at speciﬁc frequencies.

0300: Rotary Multi

015b: Stereo Delay1

015c: Stereo Delay2

015d: Stereo Delay3

015e: Stereo Delay4

015f: Stereo Delay5

0150: Monaural Delay

0151: Modulation Delay

0152: Triple Tap Delay

0157: 3D Delay

No Parameter

Value

Description

Band1

0–30

(250Hz)

Band2

0–30

(500Hz) #1

Band3

(1000Hz)

Band4

(1250Hz) #2

0159: Tape Echo

015a: Reverse Delay

0172: Lo-Fi

-15–+15 dB

Gain of each frequency band

Band5

(2000Hz)

0175: Telephone

Band6

0156: Gate Reverb

0200: Overdrive->Chorus

0201: Overdrive->Flanger

0202: Overdrive->Delay

0203: Distortion->Chorus

0204: Distortion->Flanger

0205: Distortion->Delay

0206: Enhancer->Chorus

0207: Enhancer->Flanger

0208: Enhancer->Delay

0209: Chorus->Delay

020a: Flanger-> Delay

020b: Chorus-> Flanger

(3150Hz)

Band7

(4000Hz)

Band8

(8000Hz)

Simultaneously adjusts the

width of the adjusted ranges

for all the frequency bands.

0.5, 1.0, 2.0,

4.0, 8.0

0–4

10 Level

0–127

0-127

Output Level

MIDI Implementation

●0102: Enhancer

●0105: Low Boost

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

Controls the overtone structure of the high frequencies, adding sparkle and tightness

to the sound.

No Parameter

Value

Description

No Parameter

Value

Description

Boost

Center frequency at which the

lower range will be boosted

0–8

50–125 Hz

0–+12 dB

Frequency #1

Sens #1

0–127

Sensitivity of the enhancer

Boost Gain

Amount by which the lower

range will be boosted

Level of the overtones

generated by the enhancer

0–12

0–30

Mix #2

0–127

Wide, Mid,

Narrow

Width of the lower range that

will be boosted

Low Gain

High Gain

Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

Boost Width 0–2

Gain of the low frequency

range

Low Gain

-15–+15 dB

Gain of the high frequency

range

High Gain

Level

0–30

-15–+15 dB

0–127

●0104: Isolator

0–127

Output level

This is an equalizer which cuts the volume greatly, allowing you to add a special

eﬀect to the sound by cutting the volume in varying ranges.

No Parameter

Value

Description

●0106: High Pass Filter

This is a ﬁlter with an extremely sharp slope. The cutoﬀ frequency can be varied

cyclically.

Boost/Cut

Low

These boost and cut each of

the High, Middle, and Low

frequency ranges.

At -60 dB, the sound becomes

inaudible. 0 dB is equivalent

to the input level of the sound.

Boost/Cut

Mid #1

0–64

-60–+4 dB

No Parameter

Value

Description

Filter type

Boost/Cut

High #2

Frequency range that will pass

through each ﬁlter

Lpf: Frequencies below the

cutoﬀ

Bpf: Frequencies in the region

of the cutoﬀ

Turns the Anti-Phase function

on and oﬀ for the Low

frequency ranges.

When turned on, the

counter-channel of stereo

sound is inverted and added

to the signal.

Lpf, Bpf, Hpf,

Notch

Filter Type

0–3

Anti Phase

Low Sw

0–1

Oﬀ, On

Hpf: Frequencies above the

cutoﬀ

Notch: Frequencies other than

the region of the cutoﬀ

Adjusts the level settings for

the Low frequency ranges.

Adjusting this level for certain

frequencies allows you to

lend emphasis to speciﬁc

parts. (This is eﬀective only for

stereo source.)

Amount of attenuation per

octave

-36 dB: Extremely steep

-24 dB: Steep

Anti Phase

Low Level

-12, -24, -36

0–127

Filter Slope

0–2

-12 dB: Gentle

Cutoﬀ frequency of the ﬁlter

Increasing this value will raise

the cutoﬀ frequency.

Filter Cutoﬀ

Anti Phase

Mid Sw

Settings of the Anti-Phase

function for the Middle

frequency ranges

The parameters are the same

as for the Low frequency

ranges.

0–127

0–100

0–127

0–100

0–1

Oﬀ, On

0–127

Filter resonance level

Filter

Resonance

Anti Phase

Mid Level

Increasing this value will

emphasize the region near the

cutoﬀ frequency.

0–127

Turns Low Booster on/oﬀ.

This emphasizes the bottom

to create a heavy bass sound.

Low Boost

Amount of boost for the ﬁlter

output

0–1

Oﬀ, On

Filter Gain

0–12

0–1

0–+12 dB

Oﬀ, On

Modulation

On/oﬀ switch for cyclic

change

Increasing this value gives you

a heavier low end.

Depending on the Isolator and

ﬁlter settings this eﬀect may

be hard to distinguish.

Low Boost

Level

How the cutoﬀ frequency will

be modulated

0–127

Tri: Triangle wave

Sqr: Square wave

Sin: Sine wave

Saw1: Sawtooth wave

(upward)

10 Level

Output Level

Modulation

Wave

Tri, Sqr, Sin,

Saw1, Saw2

0–4

Saw2: Sawtooth wave

(downward)

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rate Mode

Rate

0–1

Hz, note

0.05–10.00

1–127

Rate of modulation (Hz)

10 Rate

0–21

note

Rate of modulation (note)

Depth of modulation

11 Depth

0–127

Speed at which the cutoﬀ

frequency will change

This is eﬀective if Modulation

Wave is SQR, SAW1, or SAW2.

12 Attack

0–127

13 Level

Output level

MIDI Implementation

❍ Speciﬁcations of each Speaker Type

●0110: Overdrive

The speaker column indicates the diameter of each speaker unit (in inches) and the

number of units.

Creates a soft distortion similar to that produced by vacuum tube ampliﬁers.

No Parameter

Value

Description

Degree of distortion

Also changes the volume.

Drive

0–127

Type

Cabinet

Speaker

Microphone

Dynamic

Small 1

Small open-back enclosure

Open back enclosure

Sealed enclosure

Type of guitar amp

Small: small amp

Built-In: single-unit type amp

2-Stack: large double stack

amp

Small 2

Dynamic

Small,

Built-In,

2-Stack,

3-Stack

Middle

12 x 1

12 x 2

12 x 4

Dynamic

Amp Type #1 0–3

JC-120

Dynamic

Built-In 1

Built-In 2

Built-In 3

Built-In 4

Built-In 5

BG Stack 1

BG Stack 2

MS Stack 1

MS Stack 2

Metal Stack

2-Stack

Dynamic

3-Stack: large triple stack amp

Condenser

Low Gain

High Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

0–30

Stereo location of the output

sound

Pan

0–127

L64–63R

0–127

Level #2

Output Level

Large sealed enclosure

Large double stack

Large triple stack

●0111: Distortion

Produces a more intense distortion than Overdrive. The parameters are the same as

for “Overdrive.”

3-Stack

●0112: Overdrive2

This is an overdrive that provides heavy distortion.

No Parameter

Value

Description

Degree of distortion

Also changes the volume.

Drive

0–127

Oﬀ, On

Sound quality of the Overdrive

eﬀect

Tone

0–127

0–1

Turns the Amp Simulator

on/oﬀ.

Amp Sw

Type of guitar amp

Small: small amp

Small, Built-

In, 2-Stack,

3-Stack

Built-In: single-unit type amp

2-Stack: large double stack

amp

Amp Type #1 0–3

3-Stack: large triple stack amp

Low Gain

High Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

0–30

Stereo location of the output

sound

Pan

0–127

L64–63R

0–127

Level #2

Output Level

●0113: Distortion2

This is a distortion eﬀect that provides heavy distortion. The parameters are the same

as for “Overdrive2.”

●0107: Speaker Simulator

Simulates the speaker type and mic settings used to record the speaker sound.

No Parameter

Value

Description

Speaker Type

(See the

table.)

0–15

Type of speaker

Adjusts the location of the mic

that is recording the sound of

the speaker.

Mic Setting

0–2

1, 2, 3

This can be adjusted in three

steps, with the mic becoming

more distant in the order of 1,

2, and 3.

Mic Level

Direct Level

Level #2

0–127

Volume of the microphone

Volume of the direct sound

Output Level

MIDI Implementation

Type

Cabinet

Speaker

12 x 2

12 x 4

Microphone

Condenser

●0114: Guitar Amp Simulator

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

BG Stack 2

MS Stack 1

MS Stack 2

Metal Stack

2-Stack

Large sealed enclosure

Large double stack

Large triple stack

No Parameter

Value

Description

Pre Amp Sw 0–1

Oﬀ, On

Turns the amp switch on/oﬀ.

JC-120,

Clean Twin,

MATCH Drive,

BG Lead,

3-Stack

MS1959I,

MS1959II,

MS1959I+II,

SLDN Lead,

Metal 5150,

Metal Lead,

OD-1,

OD-2 Turbo,

Distortion,

Fuzz

Pre Amp

Type #1

●0120: Phaser

0–13

Type of guitar amp

This is a stereo phaser. A phase-shifted sound is added to the original sound and

modulated.

No Parameter

Value

Description

4-Stage,

8-Stage,

12-Stage

Number of stages in the

phaser

Mode

0–2

Pre Amp

Volume

Volume and amount of

distortion of the amp

0–127

0–2

0–127

Adjusts the basic frequency

from which the sound will be

modulated.

Manual #2

0–127

Pre Amp

Master

Volume of the entire pre-amp

Amount of pre-amp distortion

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Pre Amp

Gain

Low, Middle,

High

Rate Mode

Rate #1

0–1

Hz, note

Pre Amp Bass 0–127

Tone of the bass/mid/treble

frequency range

Middle cannot be set if

“MATCH Drive”is selected as

the Pre Amp Type.

0.05–10.00

1–127

Frequency of modulation (Hz)

Pre Amp

0–127

Middle

0–127

Frequency of modulation

(note)

Rate

0–21

note

Pre Amp

0–127

Treble

Depth

0–127

Depth of modulation

0–127

(MATCH

Drive:

Selects whether the left and

right phase of the modulation

will be the same or the

opposite.

Pre Amp

0–127

Tone for the ultra-high

frequency range

Presence

-127–0)

Turning this “On”produces a

sharper and brighter sound.

This parameter applies to the

“JC-120,”“Clean Twin,”and “BG

Lead”Pre Amp Types.

Inverse: The left and right

phase will be opposite. When

using a mono source, this

spreads the sound.

Synchro: The left and right

phase will be the same. Select

this when inputting a stereo

source.

Inverse,

Synchro

Pre Amp

0–1

Polarity

0–1

Oﬀ, On

Bright

Determines whether the

signal passes through the

speaker (ON), or not (OFF).

11 Speaker Sw

0–1

Oﬀ, On

Resonance

0–127

0–98

0-127

Amount of feedback

Speaker Type

(See the

table.)

0–15

Type of speaker

Adjusts the proportion of the

phaser sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

Cross

Feedback

Adjusts the location of the mic

that’s capturing the sound of

the speaker.

-98–+98%

13 Mic Setting

0–2

1, 2, 3

This can be adjusted in three

steps, from 1 to 3, with the mic

becoming more distant as the

value increases.

Level of the phase-shifted

sound

10 Mix

0–127

11 Low Gain

12 High Gain

13 Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

14 Mic Level

15 Direct Level

16 Pan

0–127

L64–63R

0–127

Volume of the microphone

Volume of the direct sound

Stereo location of the output

Output level

17 Level

❍ Speciﬁcations of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the

number of units.

Type

Cabinet

Speaker

Microphone

Dynamic

Small 1

Small open-back enclosure

Open back enclosure

Sealed enclosure

Small 2

Dynamic

Middle

12 x 1

12 x 2

Dynamic

JC-120

Dynamic

Built-In 1

Built-In 2

Built-In 3

Built-In 4

Built-In 5

BG Stack 1

Dynamic

Condenser

MIDI Implementation

No Parameter

Value

Description

●0129: Multi Stage Phaser

Extremely high settings of the phase diﬀerence produce a deep phaser eﬀect.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rate Mode

0–1

Hz, note

No Parameter

Value

Description

4-Stage,

8-Stage,

12-Stage,

16-Stage,

20-Stage,

24-Stage

0.05–10.00

Rate #1

Rate

1–127

0–21

Frequency of modulation (Hz)

Frequency of modulation

(note)

Mode

0–5

Number of phaser stages

note

Depth #2

Phase

0–127

0–90

0–127

Depth of modulation

0–180 deg

Spatial spread of the sound

Adjusts the basic frequency

from which the sound will be

modulated.

Manual #2

Rate Mode

0–127

0–1

0–127

Adjusts the proportion of the

ﬂanger sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

Feedback

0–98

-98–+98%

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Hz, note

10 Low Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

0.05–10.00

11 High Gain

Rate #1

Rate

1–127

0–21

Frequency of modulation (Hz)

Volume balance between

the direct sound (D) and the

ﬂanger sound (W)

D100:0W–

D0:100W

Frequency of modulation

(note)

12 Balance

0–100

0–127

note

Depth

0–127

Depth of modulation

Amount of feedback

13 Level

0–127

Output Level

Resonance

Level of the phase-shifted

sound

Mix

Pan

0–127

●0127: 3D Flanger

Stereo location of the output

sound

This applies a 3D eﬀect to the ﬂanger sound. The ﬂanger sound will be positioned 90

degrees left and 90 degrees right.

L64–63R

10 Low Gain

11 High Gain

12 Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

No Parameter

Value

Description

Type of ﬁlter

Oﬀ: No ﬁlter is used

Lpf: Cuts the frequency range

above the Cutoﬀ Freq

Hpf: Cuts the frequency range

below the Cutoﬀ Freq

Filter Type

0–2

Oﬀ, Lpf, Hpf

●012a: Inﬁnite Phaser

A phaser that continues raising/lowering the frequency at which the sound is

modulated.

Cutoﬀ Freq

Pre Delay

0–16

200–8000 Hz Basic frequency of the ﬁlter

Adjusts the delay time from

No Parameter

Value

Description

when the direct sound begins

until the ﬂanger sound is

heard.

0–125

0.0–100.0 ms

Higher values will produce a

deeper phaser eﬀect.

Mode

0–3

1, 2, 3, 4

-100–+100

0–127

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Speed at which to raise or

lower the frequency at which

the sound is modulated

Rate Mode

0–1

Hz, note

Speed #1

0–127

(+: upward / -: downward)

0.05–10.00

Rate #1

Rate

1–127

0–21

Frequency of modulation (Hz)

Resonance

Amount of feedback

Frequency of modulation

(note)

note

Volume of the phase-shifted

sound

Mix

0–127

0–30

0–127

Depth #2

Phase

0–127

0–90

0–127

Depth of modulation

Pan

L64–63R

-15–+15 dB

Panning of the output sound

0–180 deg

Spatial spread of the sound

Amount of boost/cut for the

low-frequency range

Adjusts the proportion of the

ﬂanger sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

Low Gain

Feedback

0–98

-98–+98%

Amount of boost/cut for the

high-frequency range

High Gain

Level

0–30

-15–+15 dB

0–127

Adjusts the method that will

be used to hear the sound

that is output to the OUTPUT

jacks. The optimal 3D eﬀect

will be achieved if you select

Speaker when using speakers,

or Phones when using

0–127

Output volume

Speaker,

Phones

10 Output Mode 0–1

●0123: Stereo Flanger

This is a stereo ﬂanger. (The LFO has the same phase for left and right.)

It produces a metallic resonance that rises and falls like a jet airplane taking oﬀ or

landing. A ﬁlter is provided so that you can adjust the timbre of the ﬂanged sound.

headphones.

11 Low Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

12 High Gain

0–30

No Parameter

Value

Description

Volume balance between

the direct sound (D) and the

ﬂanger sound (W)

Type of ﬁlter

Oﬀ: No ﬁlter is used

Lpf: Cuts the frequency range

above the Cutoﬀ Freq

Hpf: Cuts the frequency range

below the Cutoﬀ Freq

D100:0W–

D0:100W

13 Balance

0–100

0–127

Filter Type

0–2

Oﬀ, Lpf, Hpf

14 Level

0–127

Output Level

Cutoﬀ Freq

Pre Delay

0–16

200–8000 Hz Basic frequency of the ﬁlter

Adjusts the delay time from

when the direct sound begins

0–125

0.0–100.0 ms

until the ﬂanger sound is

heard.

MIDI Implementation

No Parameter

Value

Description

●0128: 2Band Flanger

A ﬂanger that lets you apply an eﬀect independently to the low-frequency and

high-frequency ranges.

Adjusts the amount of the

wah eﬀect that will occur

in the range of the center

frequency.

Set a higher value for Q

to narrow the range to be

aﬀected.

No Parameter

Value

Description

Peak

Sens

0–127

Frequency at which the

200–8000 Hz low and high ranges will be

divided

Split Freq

0–16

Adjusts the sensitivity with

which the ﬁlter is controlled.

Delay time from when the

0–127

0–1

Low Pre

Delay

original sound is heard to

when the low-range ﬂanger

0–125

0–1

0.0–100.0 ms

Sets the direction in which

the frequency will change

when the auto-wah ﬁlter is

modulated.

Up: The ﬁlter will change

toward a higher frequency.

Down: The ﬁlter will change

toward a lower frequency.

sound is heard

When this is set to “note,”the

Low Rate

Mode

Hz, note

eﬀect is synchronized with the

tempo.

Polarity

Up, Down

Hz, note

Rate at which the low-range

ﬂanger sound is modulated

(Hz)

0.05–10.00

Low Rate #1 1–127

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rate at which the low-range

ﬂanger sound is modulated

(note)

Rate Mode

Rate #1

0–1

Low Rate

0–21

note

0.05–10.00

1–127

Frequency of modulation (Hz)

Modulation depth for the

low-range ﬂanger sound

Low Depth

Low Phase

0–127

0–90

0–127

Frequency of modulation

(note)

Rate

0–21

note

Spaciousness of the low-range

ﬂanger sound

0–180 deg

Depth

0–127

Depth of modulation

Proportion of the low-range

ﬂanger sound that is to

be returned to the input

(negative values invert the

phase)

Adjusts the degree of phase

shift of the left and right

sounds when the wah eﬀect

is applied.

Low

Feedback

0–98

-98–+98%

10 Phase

0–90

0–180 deg

11 Low Gain

12 High Gain

13 Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

Delay time from when the

original sound is heard to

when the high-range ﬂanger

sound is heard

High Pre

Delay

0–125

0–1

0.0–100.0 ms

Hz, note

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

High Rate

Mode

●0103: Humanizer

Rate at which the high-range

ﬂanger sound is modulated

(Hz)

Adds a vowel character to the sound, making it similar to a human voice.

0.05–10.00

11 High Rate #2 1–127

No Parameter

Value

Description

Rate at which the high-range

ﬂanger sound is modulated

(note)

Drive Sw

0–1

Oﬀ, On

0–127

Turns Drive on/oﬀ.

12 High Rate

0–21

note

Degree of distortion

Also changes the volume.

Drive #2

0–127

Modulation depth for the

high-range ﬂanger sound

Vowel1

Vowel2

0–4

a, e, i, o, u

13 High Depth

0–127

0–90

0–127

Selects the vowel.

Spaciousness of the high-

range ﬂanger sound

14 High Phase

0–180 deg

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rate Mode

Rate

0–1

Hz, note

Proportion of the high-range

ﬂanger sound that is to

be returned to the input

(negative values invert the

phase)

High

0.05–10.00

Frequency at which the two

vowels switch (Hz)

0–98

-98–+98%

1–127

Feedback

Frequency at which the two

vowels switch (note)

Rate #1

Depth

0–21

note

Volume balance of the original

sound (D) and ﬂanger sound

(W)

D100:0W–

D0:100W

0–127

Eﬀect depth

16 Balance

0–100

0–127

Determines whether the LFO

for switching the vowels is

reset by the input signal (ON)

or not (OFF).

Input Sync

17 Level

0–127

Output volume

0–1

Oﬀ, On

0–127

Input Sync

Threshold

Volume level at which reset is

applied

0–127

●0121: Auto Wah

Cyclically controls a ﬁlter to create cyclic change in timbre.

Point at which Vowel 1/2

switch

49 or less: Vowel 1 will have a

longer duration.

50: Vowel 1 and 2 will be of

equal duration.

51 or more: Vowel 2 will have a

longer duration.

No Parameter

Value

Description

Type of ﬁlter

11 Manual

0–100

Lpf: The wah eﬀect will be

applied over a wide frequency

range.

Bpf: The wah eﬀect will

be applied over a narrow

frequency range.

Filter Type

Manual #2

0–1

Lpf, Bpf

0–127

Gain of the low frequency

range

12 Low Gain

0–30

-15–+15 dB

Adjusts the center frequency

at which the eﬀect is applied.

Gain of the high frequency

range

0–127

13 High Gain

14 Pan

0–127

L64–63R

0–127

Stereo location of the output

Output level

15 Level

MIDI Implementation

●012b: Ring Modulator

●012c: Slicer

This is an eﬀect that applies amplitude modulation (AM) to the input signal,

producing bell-like sounds. You can also change the modulation frequency in

response to changes in the volume of the sound sent into the eﬀect.

By applying successive cuts to the sound, this eﬀect turns a conventional sound into

a sound that appears to be played as a backing phrase. This is especially eﬀective

when applied to sustain-type sounds.

No Parameter

Value

Description

No Parameter

Value

Description

Adjusts the frequency at

which modulation is applied.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Frequency #1 0–127

0–127

Rate Mode

0–1

Hz, note

Adjusts the amount of

frequency modulation

applied.

Sens

0–127

0–1

Rate at which the 16-step

sequence will cycle (Hz)

Rate

1–127

12–21

0–127

0.05-10.00 Hz

note

Determines whether the

frequency modulation moves

towards higher frequencies

(Up) or lower frequencies

(Down).

Rate at which the 16-step

sequence will cycle (note)

Rate #1

Attack

Polarity

Up, Down

Speed at which the level

changes between steps

0–127

Speciﬁes whether an input

note will cause the sequence

to resume from the ﬁrst step

of the sequence (ON) or not

(OFF)

Gain of the low frequency

range

Low Gain

High Gain

0–30

-15–+15 dB

Input Sync

0–1

Oﬀ, On

0–27

Gain of the high frequency

range

Volume balance between the

direct sound (D) and the eﬀect

sound (W)

Input Sync

Threshold

Volume at which an input

note will be detected

D100:0W–

D0:100W

0–127

Balance #2

Level

0–100

0–127

Sets the manner in which the

volume changes as one step

progresses to the next.

0–127

Output level

Legato: The change in volume

from one step’s level to the

next remains unaltered. If the

level of a following step is the

same as the one preceding it,

there is no change in volume.

Slash: The level is momentarily

set to 0 before progressing to

the level of the next step. This

change in volume occurs even

if the level of the following

step is the same as the preced-

ing step.

●0125: Tremolo

Cyclically modulates the volume to add tremolo eﬀect to the sound.

Mode

0–1

Legato, Slash

No Parameter

Value

Description

Modulation Wave

Tri: Triangle wave

Sqr: Square wave

Sin: Sine wave

Tri, Sqr, Sin,

Saw1, Saw2

Mod Wave

0–4

Saw1/2: Sawtooth wave

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rate Mode

0–1

Hz, note

Timing of volume changes for

even-numbered steps (step 2,

step 4, step 6...).

The higher the value, the later

the beat progresses.

Rate #1

Rate

1–127

0–21

0.05-10.00 Hz Frequency of the change (Hz)

Shuﬄe #2

Level

0–127

Frequency of the change

(note)

note

Output level

Depth to which the eﬀect is

applied

Depth #2

0–127

Low Gain

High Gain

Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

●0130: Compressor

Flattens out high levels and boosts low levels, smoothing out ﬂuctuations in volume.

No Parameter

Value

Description

Sets the speed at which

compression starts

Attack #2

0–127

●0126: Auto Pan

Cyclically modulates the stereo location of the sound.

Adjusts the volume at which

compression begins

Threshold #1 0–127

0–127

No Parameter

Value

Description

Post Gain

Low Gain

0–18

0–30

0–+18 dB

-15–+15 dB

Adjusts the output gain.

Modulation Wave

Tri: triangle wave

Sqr: square wave

Sin: sine wave

Gain of the low frequency

range

Tri, Sqr, Sin,

Saw1, Saw2

Mod Wave

Rate Mode

0–4

Gain of the high frequency

range

High Gain

Level

0–30

-15–+15 dB

0–127

Saw1/2: sawtooth wave

When this is set to “note,”

the eﬀect is synchronized

with the tempo.

0–127

Output level

0–1

Hz, note

Frequency of the change

(Hz)

Rate #1

Rate

1–127

0–21

0.05–10.00 Hz

note

Frequency of the change

(note)

Depth to which the eﬀect

is applied

Depth #2

0–127

Low Gain

High Gain

Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

MIDI Implementation

No Parameter

Value

Description

●0131: Limiter

Compresses signals that exceed a speciﬁed volume level, preventing distortion from

occurring.

Adjusts the diﬀerences in Pre

Delay between each chorus

sound.

Pre Delay

0–20

Deviation

No Parameter

Value

Description

Adjusts the diﬀerence in

modulation depth between

each chorus sound.

Depth

Adjusts the time after the

signal volume falls below the

Threshold Level until compres-

sion is no longer applied.

0–40

0–20

-20–+20

Deviation

Release

0–127

Adjusts the diﬀerence in

stereo location between each

chorus sound.

0: All chorus sounds will be in

the center.

20: Each chorus sound will be

spaced at 60 degree intervals

relative to the center.

Adjusts the volume at which

compression begins

Threshold #1 0–127

Pan

0–20

Deviation

1.5:1, 2:1, 4:1,

100:1

Ratio #2

0–3

Compression ratio

Post Gain

Low Gain

0–18

0–30

0–+18 dB

Adjusts the output gain.

Gain of the low frequency

range

Volume balance between

the direct sound (D) and the

chorus sound (W)

-15–+15 dB

D100:0W–

D0:100W

Balance

0–100

0–127

Gain of the high frequency

range

High Gain

Level

0–30

-15–+15 dB

0–127

10 Level

0–127

Output Level

0–127

Output level

●0141: Tremolo Chorus

●0142: Stereo Chorus

This is a chorus eﬀect with added Tremolo (cyclic modulation of volume).

This is a stereo chorus. A ﬁlter is provided so that you can adjust the timbre of the

chorus sound.

No Parameter

Value

Description

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

chorus sound is heard.

No Parameter

Value

Description

Pre Delay

0–125

Type of ﬁlter

Oﬀ: No ﬁlter is used

Lpf: Cuts the frequency range

above the Cutoﬀ Freq

Hpf: Cuts the frequency range

below the Cutoﬀ Freq

When this is set to “note,”the

Chorus Rate

Mode

0–1

Hz, note

eﬀect is synchronized with the

tempo.

Filter Type

0–2

Oﬀ, Lpf, Hpf

0.05–10.00

Modulation frequency of the

chorus eﬀect (Hz)

Chorus Rate 1–127

Chorus Rate 0–21

Cutoﬀ Freq

Pre Delay

0–16

200–8000 Hz Basic frequency of the ﬁlter

Modulation frequency of the

chorus eﬀect (note)

note

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

chorus sound is heard.

0–125

Chorus

0–127

Modulation depth of the

chorus eﬀect

0–127

Depth #1

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rate Mode

0–1

Hz, note

Tremolo Rate

0–1

Hz, note

Mode

0.05–10.00

Rate #1

Rate

1–127

0–21

Frequency of modulation (Hz)

Tremolo

1–127

0.05–10.00

Modulation frequency of the

tremolo eﬀect (Hz)

Rate #2

Frequency of modulation

(note)

note

Modulation frequency of the

tremolo eﬀect (note)

Tremolo Rate 0–21

note

Depth #2

Phase

0–127

0–90

0–30

0–127

Depth of modulation

Spatial spread of the sound

Gain of the low range

Gain of the high range

Tremolo

0–127

Spread of the tremolo eﬀect

0–180 deg

-15–+15 dB

Separation

Low Gain

Tremolo

0–90

0–180 deg

10 High Gain

11 Balance

12 Level

Phase

Volume balance between

the direct sound (D) and the

chorus sound (W)

Volume balance between

the direct sound (D) and the

tremolo chorus sound (W)

D100:0W–

D0:100W

D100:0W–

D0:100W

0–100

0–127

11 Balance

0–100

0–127

Output Level

12 Level

0–127

Output Level

●0140: Hexa Chorus

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

spread to the sound.

No Parameter

Value

Description

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

chorus sound is heard.

Pre Delay

0–125

When this is set to “note,”the

Rate Mode

Rate #1

0–1

Hz, note

eﬀect is synchronized with the

tempo.

0.05–10.00

1–127

Frequency of modulation (Hz)

Frequency of modulation

(note)

Rate

0–21

note

Depth #2

0–127

Depth of modulation

MIDI Implementation

●0143: Space D

●0145: 2Band Chorus

This is a multiple chorus that applies two-phase modulation in stereo. It gives no

impression of modulation, but produces a transparent chorus eﬀect.

A chorus eﬀect that lets you apply an eﬀect independently to the low-frequency and

high-frequency ranges.

No Parameter

Value

Description

No Parameter

Value

Description

Adjusts the delay time from the

direct sound until the chorus

sound is heard.

Frequency at which the

200–8000 Hz low and high ranges will be

divided

0.0–100.0

Pre Delay

0–125

Split Freq

0–16

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay time from when the

original sound is heard to

when the low-range chorus

sound is heard

Rate Mode

Rate #1

0–1

Hz, note

Low Pre

Delay

0–125

0.0–100.0 ms

0.05–10.00

1–127

Frequency of modulation (Hz)

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Low Rate

Mode

0–1

Hz, note

Rate

0–21

0–127

0–90

0–30

note

Frequency of modulation (note)

Depth of modulation

Depth #2

Phase

0–127

Rate at which the low-range

chorus sound is modulated

(Hz)

0.05–10.00

0–180 deg

Spatial spread of the sound

Low Rate

1–127

0–21

Low Gain

High Gain

-15–+15 dB Gain of the low range

-15–+15 dB Gain of the high range

Rate at which the low-range

chorus sound is modulated

(note)

note

Volume balance between the

direct sound (D) and the chorus

sound (W)

D100:0W–

D0:100W

Balance

0–100

0–127

Low Depth

Modulation depth for the

low-range chorus sound

0–127

0–90

0–127

10 Level

0–127

Output Level

Spaciousness of the low-range

chorus sound

Low Phase

0–180 deg

Delay time from when the

original sound is heard to

when the high-range chorus

sound is heard

●0144: 3D Chorus

High Pre

Delay

0–125

0.0–100.0 ms

Hz, note

This applies a 3D eﬀect to the chorus sound. The chorus sound will be positioned 90

degrees left and 90 degrees right.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

High Rate

Mode

No Parameter

Value

Description

0–1

Type of ﬁlter

Oﬀ: No ﬁlter is used

Rate at which the low-range

chorus sound is modulated

(Hz)

0.05–10.00

Lpf: Cuts the frequency range

above the Cutoﬀ Freq

Hpf: Cuts the frequency range

below the Cutoﬀ Freq

10 High Rate

1–127

0–21

Filter Type

0–2

Oﬀ, Lpf, Hpf

Rate at which the low-range

chorus sound is modulated

(note)

11 High Rate

note

Cutoﬀ Freq

Pre Delay

0–16

200–8000 Hz Basic frequency of the ﬁlter

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

chorus sound is heard.

High Depth

Modulation depth for the

high-range chorus sound

0–127

0–90

0–127

0–125

Spaciousness of the high-

range chorus sound

13 High Phase

0–180 deg

When this is set to “note,”the

Rate Mode

0–1

Hz, note

eﬀect is synchronized with the

tempo.

Volume balance of the original

sound (D) and chorus sound

(W)

D100:0W–

D0:100W

14 Balance

0–100

0–127

0.05–10.00

Rate #1

Rate

1–127

0–21

Frequency of modulation (Hz)

15 Level

0–127

Output volume

Frequency of modulation

(note)

note

Modulation depth of the

chorus eﬀect

Depth #2

Phase

0–127

0–90

0–127

0–180 deg

Spatial spread of the sound

Adjusts the method that will

be used to hear the sound

that is output to the OUTPUT

jacks.

The optimal 3D eﬀect will

be achieved if you select

Speaker when using speakers,

or Phones when using

headphones.

Speaker,

Phones

Output Mode 0–1

10 Low Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

11 High Gain

Volume balance between

the direct sound (D) and the

chorus sound (W)

D100:0W–

D0:100W

12 Balance

0–100

0–127

13 Level

0–127

Output Level

MIDI Implementation

No Parameter

Value

Description

●0122: Rotary

The Rotary eﬀect simulates the sound of the rotary speakers often used with the

electric organs of the past.

Tweeter Slow

0.05–10.00

1–127

Speed

Since the movement of the high range and low range rotors can be set indepen-

dently, the unique type of modulation characteristic of these speakers can be

simulated quite closely. This eﬀect is most suitable for electric organ tones.

Tweeter Fast

Speed

0.05–10.00

1–127

0–127

Settings of the tweeter

The parameters are the same

as for the woofer.

Tweeter

0–127

Trans Up

No Parameter

Value

Description

Tweeter

Simultaneously switch the

rotational speed of the low

frequency rotor and high

frequency rotor.

Slow: Slows down the rotation

to the Slow Rate.

Trans Down

Tweeter

Level

Speed #1

0–1

Slow, Fast

Sets the rotary speaker stereo

image. The higher the value

set, the wider the sound is

spread out.

13 Spread

0–10

Fast: Speeds up the rotation to

the Fast Rate.

14 Low Gain

15 High Gain

16 Level

0–30

0–127

-15–+15 dB

0–127

Gain of the low range

Gain of the high range

Output Level

Woofer Slow

Speed

0.05–10.00

Slow speed (Slow) of the low

frequency rotor

1–127

Woofer Fast

Speed

0.05–10.00

Fast speed (Fast) of the low

frequency rotor

Adjusts 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.

●0300: Rotary Multi

Woofer

Acceleration

0–15

This is an eﬀect combining the VK series internal eﬀect with an organ eﬀect with the

same features.

It comprises vibrato/chorus, overdrive, and rotary eﬀects.

Volume of the low frequency

rotor

No Parameter

Value

Description

Woofer Level 0–127

0–127

Vib/Cho

Switch

Switches the vibrato and

chorus eﬀects

0–1

Oﬀ, On

Tweeter Slow

1–127

0.05–10.00

Speed

Vibrato and chorus eﬀect

types

Tweeter Fast

1–127

0.05–10.00

Settings of the high frequency

rotor

The parameters are the same

as for the low frequency rotor

Speed

V-1, V-2, V-3: Adds a wavering

(vibrato) that is created by

changes in the pitch.The

eﬀect deepens as the value is

increased

C-1, C-2, C-3: Adds a fullness

and breadth (chorus) to the

sound.The eﬀect deepens as

the value is increased.

Tweeter

0–15

Acceleration

V-1, V-2, V-3,

C-1, C-2, C-3

Vib/Cho Type 0–5

Tweeter

0–127

Level

0–127

Separation

0–127

Spatial dispersion of the

sound

0–127

11 Level

0–127

Output Level

This reproduces the subtle

diﬀerences in the vibrato and

chorus eﬀects in organs built

in diﬀerent years.

Vib/Cho

Vintage

0–2

`50, `60, `70

0–127

●012d: Rotary2

This type provides modiﬁed response for the rotary speaker, with the low end

boosted further.

Vib/Cho

Level

0–127

0–1

Vibrato/chorus eﬀect volume

This eﬀect is a descendant of the Roland VK Series’built-in rotary speaker.

OD Switch

Oﬀ, On

0–127

Switches the overdrive eﬀect

Amount of distortion

OD Drive #2 0–127

No Parameter

Value

Description

OD Level

0–127

Overdrive eﬀect volume

Rotational speed of the

rotating speaker

Speed #1

Brake #2

0–1

Slow, Fast

Oﬀ, On

Rotary

Switch

0–1

Oﬀ, On

Switches the rotary eﬀect

Switches the rotation of the

rotary speaker.

When this is turned on, the

rotation will gradually stop.

When it is turned oﬀ, the

rotation will gradually resume.

Low- and high-frequency

rotation speeds (Rate)

Slow: (Slow Rate)

Rotary Speed

0–1

Slow, Fast

0–1

Fast: (Fast Rate)

0.05–10.00

Rate with low-frequency rotor

set to Slow rate

10 R-Wf Slow Sp 1–127

Woofer Slow

Speed

0.05–10.00

Low-speed rotation speed of

the woofer

1–127

0.05–10.00

Rate with low-frequency rotor

set to Fast rate

11 R-Wf Fast Sp 1–127

Woofer Fast

Speed

0.05–10.00

High-speed rotation speed of

the woofer

Speed at which the low-

frequency rotor’s rotation rate

changes when the rotation

speed is switched

Adjusts the rate at which the

woofer rotation speeds up

when the rotation is switched

from Slow to Fast.

12 R-Wf Accel

0–15

Woofer Trans

0–127

13 R-Wf Level

0–127

Low-frequency rotor volume

Adjusts the rate at which the

woofer rotation speeds up

when the rotation is switched

from Fast to Slow.

0.05–10.00

14 R-Tw Slow Sp 1–127

Woofer Trans

Down

0–127

High-frequency rotor setting

This parameter is the same

as that for the low-frequency

rotor.

0.05–10.00

15 R-Tw Fast Sp 1–127

Woofer Level 0–127

Volume of the woofer

16 R-Tw Accel

0–15

17 R-Tw Level

0–127

Rotary

Amount of breadth in the

sound

0–127

Separat

19 Rotary Level 0–127

Output volume

MIDI Implementation

No Parameter

Value

Description

●015b: Stereo Delay1

This is a stereo delay.

Gain of the high frequency

range

13 High Gain

0–30

-15–+15 dB

No Parameter

Value

Description

Volume balance between the

direct sound (D) and the delay

sound (W)

D100:0W–

D0:100W

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

14 Balance #2

0–100

0–127

Delay Left

Mode

0–1

ms, note

15 Level

0-–27

Output level

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–1270 ms

note

Adjusts the time until the

delay sound is heard. (note)

●015d: Stereo Delay3

This is a stereo delay.

Delay Right

Mode

ms, note

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

No Parameter

Value

Description

Delay Right

Phase Left

Phase Right

0–127

0–21

0–1

1–1270 ms

note

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Left

Mode

0–1

ms, note

Normal,

Inverse

Phase of the delay sound

0–1

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–1270 ms

note

Selects the way in which delay

sound is fed back into the

eﬀect. (See the ﬁgures above.)

Feedback

Mode

Normal,

Cross

0–1

Adjusts the time until the

delay sound is heard. (note)

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

Delay Right

Mode

ms, note

10 Feedback #1 49–89

0–+80%

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

Delay Right

Phase Left

Phase Right

0–127

0–21

0–1

1–1270 ms

note

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you

Normal,

Inverse

Phase of the delay sound

11 HF Damp

0–17

Bypass

don’t want to ﬁlter out any

high frequencies, set this

parameter to Bypass.

0–1

Selects the way in which delay

sound is fed back into the

eﬀect. (See the ﬁgures above.)

Feedback

Mode

Normal,

Cross

0–1

Gain of the low frequency

range

12 Low Gain

0–30

-15–+15 dB

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

Gain of the high frequency

range

10 Feedback #1 49–89

0–+80%

13 High Gain

Volume balance between the

direct sound (D) and the delay

sound (W)

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you

D100:0W–

D0:100W

14 Balance #2

0–100

0–127

11 HF Damp

0–17

Bypass

don’t want to ﬁlter out any

high frequencies, set this

parameter to Bypass.

15 Level

0–127

Output level

Gain of the low frequency

range

12 Low Gain

0–30

-15–+15 dB

●015c: Stereo Delay2

This is a stereo delay.

Gain of the high frequency

range

13 High Gain

No Parameter

Value

Description

Volume balance between the

direct sound (D) and the delay

sound (W)

D100:0W–

D0:100W

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

14 Balance #2

0–100

0–127

Delay Left

Mode

0–1

ms, note

15 Level

0–127

Output level

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–1270 ms

note

Adjusts the time until the

delay sound is heard. (note)

Delay Right

Mode

ms, note

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

Delay Right

Phase Left

Phase Right

0–127

0–21

0–1

1–1270 ms

note

Normal,

Inverse

Phase of the delay sound

0–1

Selects the way in which delay

sound is fed back into the

eﬀect. (See the ﬁgures above.)

Feedback

Mode

Normal,

Cross

0–1

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

10 Feedback #1 49–89

0–+80%

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you

11 HF Damp

0–17

0–30

Bypass

don’t want to ﬁlter out any

high frequencies, set this

parameter to Bypass.

Gain of the low frequency

range

12 Low Gain

-15–+15 dB

MIDI Implementation

No Parameter

Value

Description

●015e: Stereo Delay4

This is a stereo delay.

Gain of the high frequency

range

13 High Gain

0–30

-15–+15 dB

No Parameter

Value

Description

Volume balance between the

direct sound (D) and the delay

sound (W)

D100:0W–

D0:100W

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

14 Balance #2

0–100

0–127

Delay Left

Mode

0–1

ms, note

15 Level

0–127

Output level

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–1270 ms

note

Adjusts the time until the

delay sound is heard. (note)

●0150: Monaural Delay

A delay that provides a long delay time.

Delay Right

Mode

ms, note

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

No Parameter

Value

Description

Delay Right

Phase Left

Phase Right

0–127

0–21

0–1

1–1270 ms

note

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Mode 0–1

ms, note

Normal,

Inverse

Phase of the delay sound

0–1

Delay time from when the

original sound is heard to

when the delay sound is heard

(Hz)

Selects the way in which delay

sound is fed back into the

eﬀect. (See the ﬁgures above.)

Feedback

Mode

Normal,

Cross

Delay Time

0–127

0–21

1–2540 ms

0–1

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

Delay time from when the

original sound is heard to

when the delay sound is heard

(note)

10 Feedback #1 49–89

0–+80%

Delay Time

note

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you

Phase of the delay (NORMAL:

non-inverted, INVERSE:

inverted)

NORMAL,

INVERSE

Phase

0–1

11 HF Damp

0–17

Bypass

don’t want to ﬁlter out any

high frequencies, set this

parameter to Bypass.

Proportion of the delay sound

that is to be returned to the

input

Feedback

49–89

0–+80%

Gain of the low frequency

range

12 Low Gain

0-30

-15–+15 dB

Frequency at which the

200–8000 Hz, high-frequency content of

Gain of the high frequency

range

13 High Gain

HF Damp

0–17

Bypass

the delayed sound will be cut

(Bypass: no cut)

Volume balance between the

direct sound (D) and the delay

sound (W)

D100:0W–

D0:100W

14 Balance #2

0-100

0-127

Pan

0–127

0–30

L64–63R

Panning of the delay sound

Amount of boost/cut for the

high-frequency range

Low Gain

-15–+15 dB

15 Level

0–127

Output level

Amount of boost/cut for the

high-frequency range

High Gain

0–30

-15–+15 dB

Volume balance of the original

sound (D) and the delay sound

(W)

D100:0W–

D0:100W

●015f: Stereo Delay5

10 Balance #2

0–100

0–127

This is a stereo delay.

11 Level

0–127

Output volume

No Parameter

Value

Description

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Left

Mode

0–1

ms, note

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–1270 ms

note

Adjusts the time until the

delay sound is heard. (note)

Delay Right

Mode

ms, note

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

Delay Right

Phase Left

Phase Right

0–127

0–21

0–1

1–1270 ms

note

Normal,

Inverse

Phase of the delay sound

0–1

Selects the way in which delay

sound is fed back into the

eﬀect. (See the ﬁgures above.)

Feedback

Mode

Normal,

Cross

0–1

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

10 Feedback #1 49–89

0–+80%

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you

11 HF Damp

0–17

0–30

Bypass

don’t want to ﬁlter out any

high frequencies, set this

parameter to Bypass.

Gain of the low frequency

range

12 Low Gain

-15–+15 dB

MIDI Implementation

No Parameter

Value

Description

●0151: Modulation Delay

Adds modulation to the delayed sound.

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you do

No Parameter

Value

Description

11 HF Damp

0–17

Bypass

not want to ﬁlter out any high

frequencies, set this parameter

to Bypass.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Left

Mode

0–1

ms, note

12 Left Level

0–127

Volume of each delay

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–1270 ms

note

13 Right Level

Adjusts the time until the

delay sound is heard. (note)

14 Center Level 0–127

Gain of the low frequency

range

15 Low Gain

0–30

-15–+15 dB

Delay Right

Mode

ms, note

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

Gain of the high frequency

range

16 High Gain

Delay Right

0–127

0–21

1–1270 ms

note

Volume balance between the

direct sound (D) and the delay

sound (W)

D100:0W–

D0:100W

17 Balance #2

0–100

0–127

Selects the way in which delay

sound is fed back into the

eﬀect.

Feedback

Mode

Normal,

Cross

0–1

18 Level

0–127

Output level

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

Feedback

49–89

0–+80%

●0157: 3D Delay

Adjusts the frequency above

which sound fed back to the

200–8000 Hz, eﬀect is ﬁltered out. If you

This applies a 3D eﬀect to the delay sound. The delay sound will be positioned 90

degrees left and 90 degrees right.

HF Damp

0–17

0–1

Bypass

don’t want to ﬁlter out any

high frequencies, set this

parameter to Bypass.

No Parameter

Value

Description

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Left

Mode

0–1

ms, note

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

10 Rate Mode

Hz, note

Adjusts the delay time from

the direct sound until the

delay sound is heard. (Hz)

Delay Left

0–127

1–2540 ms

0.05–10.00

11 Rate

1–127

0–21

Frequency of modulation (Hz)

Adjusts the delay time from

the direct sound until the

delay sound is heard. (note)

Frequency of modulation

(note)

12 Rate

note

0–21

0–1

note

13 Depth #1

0–127

0–90

0–127

Depth of modulation

Delay Right

Mode

14 Phase

0–180 deg

Spatial spread of the sound

ms, note

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

Gain of the low frequency

range

15 Low Gain

0–30

-15–+15 dB

Delay Right

0–127

0–21

1–2540 ms

note

Gain of the high frequency

range

16 High Gain

Delay Center

Mode

0–1

ms, note

Settings of the Delay Center

The parameters are the same

as for the Delay Left.

Volume balance between the

direct sound (D) and the delay

sound (W)

D100:0W–

D0:100W

Delay Center 0–127

Delay Center 0–21

1–2540 ms

note

17 Balance #2

0–100

0–127

18 Level

0–127

Output level

Adjusts the proportion of the

delay sound that is fed back

into the eﬀect.

Center

Feedback #1

49–89

0–+80%

Adjusts the frequency above

which sound fed back to

200–8000 Hz, the eﬀect will be cut. If you

●0152: Triple Tap Delay

Produces three delay sounds; center, left and right.

11 HF Damp

0–17

Bypass

do not want to cut the high

frequencies, set this parameter

to Bypass.

No Parameter

Value

Description

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Left

Mode

0–1

ms, note

12 Left Level

0–127

Output level of the delay

sound

13 Right Level

0–127

Adjusts the time until the

delay sound is heard. (Hz)

Delay Left

0–127

0–21

0–1

1–2540 ms

note

14 Center Level 0–127

Adjusts the method that will

be used to hear the sound

that is output to the OUTPUT

jacks. The optimal 3D eﬀect

will be achieved if you select

Speaker when using speakers,

or Phones when using

Adjusts the time until the

delay sound is heard. (note)

Delay Right

Mode

Speaker,

Phones

ms, note

15 Output Mode 0–1

Settings of the Delay Right

The parameters are the same

as for the Delay Left.

Delay Right

0–127

0–21

1–2540 ms

note

headphones.

Delay Center

Mode

0–1

ms, note

16 Low Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

Settings of the Delay Center

The parameters are the same

as for the Delay Left.

17 High Gain

Delay Center 0–127

Delay Center 0–21

1–2540 ms

note

Volume balance between the

direct sound (D) and the eﬀect

sound (W)

D100:0W–

D0:100W

18 Balance #2

0–100

0–127

Adjusts the amount of the

delay sound that’s fed back

into the eﬀect.

Center

Feedback #1

49–89

0–+80%

19 Level

0–127

Output Level

MIDI Implementation

No Parameter

Low Gain

Value

Description

●0159: Tape Echo

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape

echo section of a Roland RE-201 Space Echo.

Amount of boost/cut for the

low-frequency range

0–30

-15–+15 dB

Amount of boost/cut for the

high-frequency range

10 High Gain

0–30

No Parameter

Value

Description

Combination of playback

heads to use

Select from three diﬀerent

heads with diﬀerent delay

times.

Volume balance of the original

sound (D) and the delay sound

(W)

D100:0W–

D0:100W

11 Balance #2

0–100

0–127

S, M, L, S+M,

S+L, M+L,

S+M+L

Mode

0–6

12 Level

0–127

Output volume

S: short

M: middle

L: long

●0172: Lo-Fi

Tape speed

This is an eﬀect that intentionally degrades the sound quality for creative purposes.

Repeat Rate

Increasing this value will

shorten the spacing of the

delayed sounds.

0–127

No Parameter

Value

Description

Selects the type of ﬁlter

applied to the sound before

it passes through the Lo-Fi

eﬀect.

Intensity

Bass

0–127

0–30

0–127

Amount of delay repeats

Pre Filter

Type

0–5

1–6

1–9

Boost/cut for the lower range

of the echo sound

-15–+15 dB

Boost/cut for the upper range

of the echo sound

Degrades the sound

quality. The sound quality

grows poorer as this value is

increased.

Treble

0–30

-15–+15 dB

L64–63R

LoFi Type #1 0–8

Head S Pan

Head M Pan

Head L Pan

0–127

Independent panning for

the short, middle, and long

playback heads

Type of ﬁlter

Oﬀ: no ﬁlter is used

Lpf: cuts the frequency range

above the Cutoﬀ

Hpf: cuts the frequency range

below the Cutoﬀ

Amount of tape-dependent

distortion to be added

Post Filter

Type

0–2

Oﬀ, Lpf, Hpf

200–8000 Hz

This simulates the slight tonal

changes that can be detected

by signal-analysis equipment.

Increasing this value will

increase the distortion.

Tape

Distortion

0–5

Post Filter

Cutoﬀ

Basic frequency of the Post

Filter

0–16

Low Gain

High Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

Speed of wow/ﬂutter

Wow/Flutter

Rate

(complex variation in pitch

caused by tape wear and

rotational irregularity)

0–127

Volume balance between the

direct sound (D) and the eﬀect

sound (W)

D100:0W–

D0:100W

Balance #2

Level

0–100

0–127

Wow/Flutter

Depth

Depth of wow/ﬂutter

0–127

Output level

12 Echo Level #2 0–127

0–127

Volume of the echo sound

Volume of the original sound

Output level

13 Direct Level

0–127

14 Level

●0175: Telephone

No Parameter

Value

Description

Voice Quality

Audio quality of the telephone

voice

●015a: Reverse Delay

0–15

This is a reverse delay that adds a reversed and delayed sound to the input sound. A

tap delay is connected immediately after the reverse delay.

Bandwidth of the telephone

voice

Treble

0–30

–15–+15 dB

No Parameter

Value

Description

Volume balance between the

direct sound (D) and the eﬀect

sound (W)

D100:0–

D0:100W

Balance #2

Level

0–100

0–127

Volume at which the reverse

delay will begin to be applied

Threshold

0–127

Output level

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Rev Delay

Mode

0–1

ms, note

Delay time from when sound

is input into the reverse delay

until the delay sound is heard

(Hz)

Rev Delay

Time #1

0–127

1–1270 ms

Delay time from when sound

is input into the reverse delay

until the delay sound is heard

(note)

Rev Delay

Time

0–21

49–89

0–17

note

Proportion of the delay sound

that is to be returned to the

input of the reverse delay

Rev Delay

Feedback

0–+80%

Frequency at which the

200–8000 Hz, high-frequency content of the

Rev Delay HF

Damp

Bypass

reverse-delayed sound will be

cut (Bypass: no cut)

Rev Delay

Pan

Panning of the reverse delay

sound

0–127

L64–63R

0–127

Rev Delay

Level

Volume of the reverse delay

sound

MIDI Implementation

No Parameter

Value

Description

●0156: Gate Reverb

This is a special type of reverb in which the reverberant sound is cut oﬀ before its

natural length.

Frequency of modulation

(note)

Flanger Rate 0–21

note

Flanger

0–127

Depth

0–127

Depth of modulation

No Parameter

Value

Description

Type of reverb

Normal: conventional gated

reverb

Reverse: backwards reverb

Sweep1: the reverberant

sound moves from right to left

Sweep2: the reverberant

sound moves from left to right

Adjusts the proportion of the

ﬂanger sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

Flanger

0–98

-98–+98%

Normal,

Reverse,

Sweep1,

Sweep2

Feedback

Type #1

0–3

Adjusts the volume balance

between the sound that is

sent through the ﬂanger (W)

and the sound that is not sent

through the ﬂanger (D).

Flanger

0–100

D100:0W–

D0:100W

Balance #2

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

reverb sound is heard.

Pre Delay

Gate Time

0–125

0–99

10 Level

0–127

Output Level

Adjusts the time from when

the reverb is heard until it

disappears.

5–500 ms

●0202: Overdrive  Delay

Low Gain

High Gain

0–30

-15–+15 dB

Gain of the low range

Gain of the high range

This eﬀect connects an overdrive and a delay in series.

No Parameter

Value

Description

Volume balance between

the direct sound (D) and the

reverb sound (W)

D100:0W–

D0:100W

Balance #2

Level

0–100

0–127

Overdrive

Degree of distortion

Also changes the volume.

0–127

Drive #1

0–127

Output Level

Overdrive

Pan

Stereo location of the

overdrive sound

0–127

L64–63R

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Mode 0–1

ms, note

1–2540 ms

note

●0200: Overdrive  Chorus

This eﬀect connects an overdrive and a chorus in series.

Adjusts the delay time from

the direct sound until the

delay sound is heard. (ms)

Delay Time

0–127

0–21

No Parameter

Value

Description

Overdrive

Drive

Degree of distortion

Also changes the volume.

Adjusts the delay time from

the direct sound until the

delay sound is heard. (note)

0–127

Overdrive

Pan

Stereo location of the

overdrive sound

0–127

0–125

L64–63R

Adjusts the proportion of the

delay sound that is fed back

into the eﬀect.

Delay

Feedback

Adjusts the delay time from

49–89

0–+80%

Chorus Pre

Delay

0.0–100.0 ms the direct sound until the

chorus sound is heard.

Adjusts the frequency above

which sound fed back to

200–8000 Hz, the eﬀect will be cut. If you

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Chorus Rate

Mode

0–1

Hz, note

Delay HF

Damp

0–17

Bypass

do not want to cut the high

frequencies, set this parameter

to Bypass.

Chorus Rate

0.05–10.00

1–127

Frequency of modulation (Hz)

Adjusts the volume balance

between the sound that is

sent through the delay (W)

and the sound that is not sent

through the delay (D).

Frequency of modulation

(note)

Chorus Rate 0–21

note

Delay

Balance #2

D100:0W–

D0:100W

0–100

0–127

Chorus

0–127

Depth

0–127

Depth of modulation

Adjusts the volume balance

between the sound that is

sent through the chorus (W)

and the sound that is not sent

through the chorus (D).

Level

0–127

Output Level

Chorus

Balance #2

D100:0W–

D0:100W

0–100

●0203: Distortion  Chorus

Level

0–127

Output Level

The parameters are essentially the same as in “Overdrive  Chorus,”with the

exception of the following two.

Overdrive Drive  Distortion Drive

Overdrive Pan  Distortion Pan

●0201: Overdrive  Flanger

This eﬀect connects an overdrive and a ﬂanger in series.

●0204: Distortion  Flanger

The parameters are essentially the same as in “Overdrive  Flanger,”with the

exception of the following two.

Overdrive Drive  Distortion Drive

Overdrive Pan  Distortion Pan

No Parameter

Value

Description

Overdrive

Drive

Degree of distortion

Also changes the volume.

0–127

Overdrive

Pan

Stereo location of the

overdrive sound

0–127

0–125

L64–63R

Adjusts the delay time from

when the direct sound begins

until the ﬂanger sound is

heard.

Flanger Pre

Delay

0.0–100.0 ms

●0205: Distortion  Delay

The parameters are essentially the same as in “Overdrive  Delay,”with the exception

of the following two.

Overdrive Drive  Distortion Drive

Overdrive Pan  Distortion Pan

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Flanger Rate

Mode

0–1

Hz, note

Flanger Rate

0.05–10.00

1–127

Frequency of modulation (Hz)

MIDI Implementation

No Parameter

Value

Description

●0206: Enhancer  Chorus

This eﬀect connects an enhancer and a chorus in series.

Adjusts the delay time from

the direct sound until the

delay sound is heard. (ms)

Delay Time

0–127

1–2540 ms

note

No Parameter

Value

Description

Enhancer

Sens

Adjusts the delay time from

the direct sound until the

delay sound is heard. (note)

0–127

Sensitivity of the enhancer

0–21

Level of the overtones

generated by the enhancer

Enhancer Mix 0–127

Adjusts the proportion of the

delay sound that is fed back

into the eﬀect.

Delay

Feedback

49–89

0–+80%

Adjusts the delay time from

Chorus Pre

0–125

0.0–100.0 ms the direct sound until the

chorus sound is heard.

Delay

Adjusts the frequency above

which sound fed back to

200–8000 Hz, the eﬀect will be cut. If you

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Chorus Rate

0–1

Delay HF

Damp

Hz, note

0–17

Mode

Bypass

do not want to cut the high

frequencies, set this parameter

to Bypass.

Chorus Rate

1–127

0.05–10.00

Frequency of modulation (Hz)

Adjusts the volume balance

between the sound that is

sent through the delay (W)

and the sound that is not sent

through the delay (D).

Frequency of modulation

(note)

Chorus Rate 0–21

note

Delay

Balance #2

D100:0W–

D0:100W

0–100

0–127

Chorus

0–127

Depth

0–127

Depth of modulation

Adjusts the volume balance

between the sound that is

sent through the chorus (W)

and the sound that is not sent

through the chorus (D).

Level

0–127

Output Level

Chorus

Balance #2

D100:0W–

D0:100W

0–100

●0209: Chorus  Delay

Level

0–127

Output Level

This eﬀect connects a chorus and a delay in series.

No Parameter

Value

Description

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

chorus sound is heard.

Chorus Pre

Delay

●0207: Enhancer  Flanger

0–125

This eﬀect connects an enhancer and a ﬂanger in series.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

No Parameter

Value

Description

Chorus Rate

Mode

0–1

Hz, note

Enhancer

Sens

0–127

Sensitivity of the enhancer

0.05–10.00

Chorus Rate 1–127

Chorus Rate 0–21

Frequency of modulation (Hz)

Level of the overtones

generated by the enhancer

Enhancer Mix 0–127

Frequency of modulation

(note)

note

Adjusts the delay time from

when the direct sound begins

until the ﬂanger sound is

heard.

Flanger Pre

0–125

0.0–100.0 ms

Chorus

0–127

Depth

Delay

0–127

Depth of modulation

Volume balance between

the direct sound (D) and the

chorus sound (W)

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Chorus

Balance #1

D100:0W–

D0:100W

Flanger Rate

0–1

0–100

Hz, note

Mode

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Flanger Rate

1–127

0.05–10.00

Delay Time

0–1

Frequency of modulation (Hz)

ms, note

1–2540 ms

note

Mode

Frequency of modulation

(note)

Flanger Rate 0–21

note

Adjusts the delay time from

the direct sound until the

delay sound is heard. (ms)

Delay Time

0–127

0–21

Flanger

0–127

Depth

0–127

Depth of modulation

Adjusts the delay time from

the direct sound until the

delay sound is heard. (note)

Adjusts the proportion of the

ﬂanger sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

Flanger

0–98

-98–+98%

Feedback

Adjusts the proportion of the

delay sound that is fed back

into the eﬀect.

Delay

Feedback

49–89

0–+80%

Adjusts the volume balance

between the sound that is

sent through the ﬂanger (W)

and the sound that is not sent

through the ﬂanger (D).

Flanger

0–100

D100:0W–

D0:100W

Adjusts the frequency above

which sound fed back to

200–8000 Hz, the eﬀect will be cut. If you

Balance #2

Delay HF

Damp

0–17

Bypass

do not want to cut the high

frequencies, set this parameter

to Bypass.

10 Level

0–127

Output Level

Adjusts the volume balance

between the sound that is

sent through the delay (W)

and the sound that is not sent

through the delay (D).

Delay

Balance #2

D100:0W–

D0:100W

●0208: Enhancer  Delay

0–100

0–127

This eﬀect connects an enhancer and a delay in series.

No Parameter

Value

Description

13 Level

0–127

Output Level

Enhancer

Sens #1

0–127

Sensitivity of the enhancer

Level of the overtones

generated by the enhancer

Enhancer Mix 0–127

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Time

0–1

ms, note

Mode

MIDI Implementation

No Parameter

Value

Description

●020a: Flanger  Delay

This eﬀect connects a ﬂanger and a delay in series.

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Flanger Rate

0–1

Hz, note

Mode

No Parameter

Value

Description

Adjusts the delay time from

when the direct sound begins

until the ﬂanger sound is

heard.

0.05–10.00

Modulation frequency of the

ﬂanger eﬀect (Hz)

Flanger Rate 1–127

Flanger Pre

Delay

0–125

0.0–100.0 ms

Hz, note

Modulation frequency of the

ﬂanger eﬀect (note)

10 Flanger Rate 0–21

note

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Flanger

Depth

Modulation depth of the

ﬂanger eﬀect

Flanger Rate

Mode

0–127

0–98

0–127

0–1

Adjusts the proportion of the

ﬂanger sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

0.05–10.00

Flanger

Feedback

Flanger Rate 1–127

Flanger Rate 0–21

Frequency of modulation (Hz)

-98–+98%

Frequency of modulation

(note)

note

Adjusts the volume balance

between the sound that is

sent through the ﬂanger (W)

and the sound that is not sent

through the ﬂanger (D).

Flanger

0–127

Depth

0–127

Depth of modulation

Flanger

Balance #2

D100:0W–

D0:100W

0–100

0–127

Adjusts the proportion of the

ﬂanger sound that is fed back

into the eﬀect. Negative (-)

settings will invert the phase.

Flanger

0–98

-98–+98%

Feedback

14 Level

0–127

Output Level

Volume balance between

the direct sound (D) and the

ﬂanger sound (W)

Flanger

0–100

D100:0W–

D0:100W

Balance #1

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Delay Time

0–1

ms, note

1–2540 ms

note

Mode

Adjusts the delay time from

the direct sound until the

delay sound is heard. (ms)

Delay Time

0–127

0–21

Adjusts the delay time from

the direct sound until the

delay sound is heard. (note)

10 Delay Time

Adjusts the proportion of the

delay sound that is fed back

into the eﬀect.

Delay

49–89

0–+80%

Feedback

Adjusts the frequency above

which sound fed back to

Delay HF

Damp

200–8000 Hz, the eﬀect will be cut. If you

0–17

Bypass

do not want to cut the high

frequencies, set this parameter

to Bypass.

Adjusts the volume balance

between the sound that is

sent through the delay (W)

and the sound that is not sent

through the delay (D).

Delay

D100:0W–

D0:100W

0–100

0–127

Balance #2

14 Level

0–127

Output Level

●020b: Chorus  Flanger

This eﬀect connects a chorus and a ﬂanger in series.

No Parameter

Value

Description

Adjusts the delay time from

0.0–100.0 ms the direct sound until the

chorus sound is heard.

Chorus Pre

Delay

0–125

When this is set to “note,”the

eﬀect is synchronized with the

tempo.

Chorus Rate

Mode

0–1

Hz, note

0.05–10.00

Modulation frequency of the

chorus eﬀect (Hz)

Chorus Rate 1–127

Chorus Rate 0–21

Modulation frequency of the

chorus eﬀect (note)

note

Chorus

0–127

Depth

Modulation depth of the

chorus eﬀect

0–127

Volume balance between

the direct sound (D) and the

chorus sound (W)

Chorus

Balance #1

D100:0W–

D0:100W

0–100

Adjusts the delay time from

when the direct sound begins

until the ﬂanger sound is

heard.

Flanger Pre

0–125

0.0–100.0 ms

Delay

MIDI Implementation

6. Tone List

[Piano] button

Upper

Layer

No.

Name

MSB

LSB

MSB

LSB

G.Piano1

G.Piano2

G.Piano3

HonkyTon

P+ String

P+Choir

P+Bell

[Other] button

Name

MSB

LSB

Name

MSB

LSB

VintgEP1

VintgEP2

PopElPno

St FM EP

FM ElPno

Hrpchrd1

Hrpchrd2

Vibrphon

Celesta

Strings1

Strings2

Choir 1

Choir 2

Choir 3

JazzScat

Oboe

Clarinet

FluteTrv

FlVibAtk

SoprnExp

BlowAlto

StTenSax

Trumpet

MutTrump

Trombone

Tbs+Tb

Harp

ChOrgan1

ChOrgan2

AllSkate

DynoRtry

FltOrgan

JzOrgan

AcMaster

Accordn

HandHarm

NylonGt

NylstrGt

StlstrGT

Ac.Brass

SynthPad

SynthBel

Standard

Electric

111

JzGuitar

WarmDrv

Brush

Digital Piano

Date: Jun. 28, 2012

Version: 1.00

MIDI Implementation Chart

Model F-120R, RP301R

Function...

Transmitted

Recognized

Remarks

Basic

Channel

Default

Changed

1–16

Default

Mode 3

Mode

Messages

Altered

Mode 3, 4 (M = 1)

**************

Note

Number :

15–113

*************

0–127

True Voice

Note On

Note Oﬀ

Velocity

After

Touch

Key’s

Channel’s

Pitch Bend

0, 32

Bank select

Modulation

Portamento time

Data entry

Volume

Panpot

Expression

Hold 1

Portamento

Sostenuto

Soft

Portamento control

Eﬀect1 depth

Eﬀect3 depth

NRPN LSB, MSB

RPN LSB, MSB

6, 38

Control

Change

O (Reverb)

O (Chorus)

98, 99

100, 101

Program

Change

0–127

**************

0–127

: True Number

Program No. 1–128

System Exclusive

: Song Position

: Song Select

: Tune Request

System

Common

System

Real Time

: Clock

: Commands

: All Sound Oﬀ

: Reset All Controllers

: Local On/Oﬀ

: All Notes Oﬀ

: Active Sensing

: System Reset

O (120, 126, 127)

O (123–125)

Aux

Messages

*1 O X is selectable by Sys Ex.

*2 Recognized as M = 1 even if M 1.

Notes

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O : Yes

X : No

Contents

MIDI Implementation

Master Coarse Tuning

0113: Distortion2

1. Receive Data

Global Parameter Control

0107: Speaker Simulator 19

Channel Voice Messages 1

Reverb Parameters

Chorus Parameters

Channel Pressure

Speciﬁcations of each Speaker Type

Note oﬀ

Note on

0114: Guitar Amp Simulator

Polyphonic Key Pressure 1

Control Change

Controller

Speciﬁcations of each Speaker Type

Scale/Octave Tuning Adjust

Bank Select (Controller Number 0, 32)

Universal Non-realtime System

Exclusive Messages

0120: Phaser

0129: Multi Stage Phaser21

Modulation (Controller Number 1)

Identity Request Message

012a: Inﬁnite Phaser

0123: Stereo Flanger

0127: 3D Flanger

0128: 2Band Flanger

0121: Auto Wah

Portamento Time (Controller Number

Data Transmission

Data Set 1 (DT1)

2. Transmit Data

Data Entry (Controller Number 6, 38) 1

Volume (Controller Number 7)

Pan (Controller Number 10)

Channel Voice Messages 8

Note Oﬀ

Note On

0103: Humanizer

Expression (Controller Number 11)

Hold 1 (Controller Number 64)

Portamento (Controller Number 65)

Sostenuto (Controller Number 66)

Soft (Controller Number 67)

012b: Ring Modulator 23

Control Change

0125: Tremolo

Bank Select (Controller Number 0, 32)

0126: Auto Pan

012c: Slicer 23

0130: Compressor

0131: Limiter

Hold 1 (Controller Number 64)

Sostenuto (Controller Number 66)

Soft (Controller Number 67)

Filter Resonance (Controller Number

71)

Release Time (Controller Number 72) 2

0142: Stereo Chorus

0140: Hexa Chorus

Eﬀect 1 (Reverb Send Level) (Controller

Number 91) 8

Attack Time (Controller Number 73)

Cutoﬀ (Controller Number 74)

Program Change

0141: Tremolo Chorus 24

Decay Time (Controller Number 75)

System Realtime Message

0143: Space D

Vibrato Rate (Controller Number 76) 2

Realtime Clock

0144: 3D Chorus

0145: 2Band Chorus

0122: Rotary

Vibrato Depth (Controller Number 77)

Start

Continue

Stop

Vibrato Delay (Controller Number 78)2

012d: Rotary2

Portamento Control (Controller

Number 84) 3

Active Sensing

0300: Rotary Multi

015b: Stereo Delay1

015c: Stereo Delay2

015d: Stereo Delay3

015e: Stereo Delay4

015f: Stereo Delay5

System Exclusive Messages

Identity Reply

3. Parameter Address Map (Model ID =

42H) 10

Address Block Map

Individual Parameters 10

Eﬀect 1 (Reverb Send Level) (Controller

Number 91) 3

Eﬀect 3 (Chorus Send Level) (Control-

ler Number 93)

NRPN MSB/LSB (Controller Number 98,

99)

RPN MSB/LSB (Controller Number 100,

101)

0150: Monaural Delay 28

0151: Modulation Delay 29

0152: Triple Tap Delay 29

System Parameters

Part Parameters

Program Change

Channel Pressure

Pitch Bend Change

4. Supplementary Material

0157: 3D Delay

0159: Tape Echo

015a: Reverse Delay

0172: Lo-Fi 30

Decimal and Hexadecimal Table

Channel Mode Messages

Examples of Actual MIDI Messages

All Sounds Oﬀ (Controller number

0175: Telephone

0156: Gate Reverb

120)

Reset All Controllers (Controller

Number 121)

Example of an Exclusive Message and

Calculating a Checksum 16

0200: Overdrive  Chorus

How to Calculate the Checksum

(Hexadecimal

Numbers are Indicated by ‘H’)

Local Control (Controller Number 122)

0201: Overdrive  Flanger

All Notes Oﬀ (Controller Number 123)

0202: Overdrive  Delay31

About Tuning

The Scale Tune Feature (Address: 40 1x

40) 16

Equal Temperament

OMNI OFF (Controller Number 124)

OMNI ON (Controller Number 125)

MONO (Controller Number 126)

POLY (Controller Number 127)

System Realtime Message

0203: Distortion  Chorus

0204: Distortion  Flanger

Just Temperament (Keytone C)

0205: Distortion  Delay

Active Sensing

Arabian Scale

0206: Enhancer  Chorus

System Exclusive Message

5. Eﬀect List 17

EFX Parameter Map

0100: Equalizer

0101: Spectrum

0102: Enhancer

0104: Isolator

System Exclusive Messages Related to

0207: Enhancer  Flanger

Mode Settings

GM1 System On

GM2 System On

GM System Oﬀ

0208: Enhancer  Delay 32

0209: Chorus  Delay 32

020a: Flanger  Delay 33

020b: Chorus  Flanger 33

6. Tone List 34

GS reset

Universal Realtime System Exclusive

Messages

0105: Low Boost

0106: High Pass Filter

0110: Overdrive

0111: Distortion

0112: Overdrive2

Master volume

Master Fine Tuning

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