Synthesizer Its a Fact

The RS-50 allows musicians to forget about MIDI and focus on playing. It sports an all-new collection of CD-quality sounds, cool performance features and simple direct-access buttons for selecting patches. Features include: Affordable 61-note synthesizer with easy access to Rolands latest sounds Hundreds of new patches based on CD-quality waveforms Direct-access buttons permit easy sound selection by category Phrase/arpeggio generator and Multi Chord memory D Beam controller for expressive realtime control Rhythm Guide metronome with preset patterns and variations

TurboStart

Using the Phrase/Arpeggio Feature
The Phrase/Arpeggio feature plays musical motifs and figures based on the note(s) you hold down. 1. Select a patch as previously described. 2. Press PHRASE/ARPEGGIO so its lit. 3. Use the VALUE -/+ buttons to select a phrase or arpeggio. 4. Hold down one or more notes on the keyboardthe selected phrase or arpeggio plays. Note: A phrase is a musical motif thats triggered by holding down a single notePhr appears in the display as it plays. An arpeggio requires that more than one note be held down, and is shown as Arp in the display. 5. Press PHRASE/ARPEGGIO so its not lit when youre finished.

Playing the Demo Songs

Use the following procedure to play the three demo songs: 1. Press DEMObeneath MODEso its lit. 2. Use the VALUE -/+ buttons to select the song you wish to hear. Note: If you want to listen to all of the demo songs played in order, select All Songs. 3. 4. 5. Press ENTER to begin playback. Press EXIT to stop playback. Press EXIT again to return to Play mode.
Using the Chord Memory Feature
Chord Memory lets you play a chord by touching a single key. You can assign all 12 notes in an octave to play different chords, and then save them as a set. (There are several chord sets already stored in the RS-50 at the factory.) 1. Select a patch as previously described. 2. Press CHORD MEMORY so its lit. 3. Press a key on the keyboard to hear the chord it plays. 4. Try a few keys to hear the chords they play. 5. Use the VALUE -/+ buttons to select other chord sets. 6. Press CHORD MEMORY when youre finished so its no longer lit.

Selecting Patches

The RS-50 has 640 patches organized in categories such as Piano, Guitar, Orchestra, etc. Use the following procedure to select and audition patches: 1. Press PATCHunder MODEso its lit. 2. Press 0-9 to select the desired category, as labeled beneath the buttons. 3. Use the VALUE -/+ buttons to choose a sound within the selected category. 4. You can: Play the keyboard Press AUDITION, under MODE, so its lit, to automatically play a short sequence. Press AUDITION again to stop playback.
Using the D Beam Controller
The three buttons directly below the D Beam lens select what the D Beam doesheres how they work. Solo Synth 1. Press SOLO SYNTH so its lit. 2. Hold down several notes on the keyboardnotice they dont yet soundand then move your hand over the D Beam. The notes youre holding down play according to your hand movements.

TBS195

2003 Roland Corporation U.S.

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Synthesizer
Active Expression 1. Press ACTIVE EXP so its lit. 2. Hold down several notes on the keyboard and move your hand over the D Beam. The volume of the notes youre holding down varies according to your hand movements. Assignable 1. Press ASSIGNABLE so its lit. 2. Play the keyboard and move your hand over the D Beam. The currently assigned effect is heard. 3. Use the VALUE -/+ buttons to select another effect. This setting is automatically remembered the next time you turn on ASSIGNABLE. 4. Press ASSIGNABLE so its not lit to turn off the D Beam.

Splitting the Keyboard

Each patch on the RS-50 uses two tones called the upper tone and the lower tone. The Key Mode setting lets you determine how these two tones are played from the keyboard. Use the following procedure to split the keyboard and select sounds: 1. Press PATCH so its lit. 2. Press KEY MODE so SPLIT is lit. The upper tone now plays in the upper part of the keyboard and the lower tone plays in the lower part of the keyboard. 3. Press PARAM beneath EDIT so its lit. 4. Press DESTINATION TONE so UPPER is lit, and then use the VALUE -/+ buttons to select a tone for the upper part of the keyboard. 5. Press DESTINATION TONE so LOWER is lit, and then use the VALUE -/+ buttons to select a tone for the lower part of the keyboard. 6. Press EXIT to return to the Patch Play screen. Note: A good example of a split patch is Pf12: RS Grand/Abs.

Using the Rhythm Guide

The Rhythm Guide provides an easy way to produce great-sounding rhythm patterns: Selecting a Rhythm Pattern 1. Press PERFORM so its lit. 2. Press RHYTHM GUIDE so its litthe rhythm begins playing. 3. Use the VALUE -/+ buttons to select various rhythm patterns. 4. Press RHYTHM GUIDE again to halt playback. Note: You can select a pattern without playing it by holding SHIFT when you press RHYTHM GUIDE. You can then press ENTER to start playback. Switching Sounds 5. While the pattern is playing, press PART SELECT so its lit. 6. Press the RHYTHM & SFX button so its lit, and use the VALUE -/+ buttons to select a rhythm kit. Changing the Tempo 7. Press TAP TEMPO so its litthe current tempo of the pattern is displayed in the screen. 8. Use the VALUE -/+ buttons to adjust the tempo. 9. Press EXIT to return to the previous screen. Note: You can also press the TAP TEMPO button three or more times to manually tap in the desired tempo.

Creating a Layered Sound

Lets set up a layer with a piano sound and a string sound: 1. Press PATCH so its lit, and then press PIANO. 2. Press KEY MODE so DUAL is litboth the upper and lower tone play together across the whole keyboard. 3. Press PARAM under EDIT so its lit. 4. Press DESTINATION TONE so UPPER is lit, and then use the VALUE -/+ buttons to select a piano tone. 5. Press DESTINATION TONE so LOWER is lit, and then use the VALUE -/+ buttons to select a string tone. 6. Press EXIT to return to the Patch Play screen. Note: A good example of a layered sound is Pf13: RS Grand&Pad.

Page 2

fig.q01-02

Once the connections have been completed (p. 14), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
Turn on the power of the connected audio devices. Play the RS-50s keyboard and gradually raise the volume controls of the RS-50, or the connected audio equipment to an appropriate volume level.

fig.q01-03

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
Turn up the RS-50s volume level carefully. Excessive volume can damage connected audio devices, your hearing, or annoy your neighbors.

RS-50_e3.book 16

Turning off the power
1. Before you turn off the power, make sure of the following points.
Are the volume controls of the RS-50 and the other connected equipment turned to the minimum position? Have you saved the sounds or other data youve created? (p. 48, p. 53, p. 59)
Turn off the power for all connected audio devices. Turn off the RS-50s power switch.
Adjusting the display contrast (LCD CONTRAST)
The characters in the display may be difficult to view immediately after turning on the power or after extended use; this may also be because of where and how the display is situated. Follow the steps below to adjust the displays contrast.

fig.q01-04

Press [SYSTEM] so it is lit. Use PAGE/CURSOR [

fig.q01-05

] to select LCD Contrast.
The LCD CONTRAST setting is saved automatically, and is retained even while the power is off.
Use VALUE [-]/[+] to set the value (110).

RS-50_e3.book 17

Reset to default factory settings (Factory Reset)
This restores all data in the RS-50 to the factory-set condition (Factory Reset).

fig.q02-01

Be sure not to turn off the power while Factory Reset is being performed. If the power is turned off or interrupted while data is being written to memory, the internal data may become corrupted.

1. 2. 3.

Press [PATCH] so it is lit and you are in Patch mode. Press [UTILITY] so it is lit. Use PAGE/CURSOR [

fig.q02-02_40

] to select 5:FACTORY RESET.
If there is important data youve created thats stored in the RS-50s internal memory, you must note that all such data will be discarded when a Factory Reset is performed. If you want to keep the existing data, save it using an external sequencer (p. 98).

Press [ENTER].

fig.q02-03_40
Press [EXIT] to cancel the factory reset.
Press [ENTER] again to execute the Factory Reset.
When the display indicates COMPLETED, the factory reset operation has been completed. Factory Reset can be executed not only from Patch mode, but also from the Utility functions of Performance mode (p. 61).

When you play the keyboard in this state, the effects whose master effect switch is turned on will be applied to the patches. When the cursor is located at Rev and you want to edit the effect settings, press PAGE/CURSOR[ ], and the effect parameters will be displayed one after another starting with the multi-effect (MFX) parameters. For further information, refer to Making effects settings (p. 67).

RS-50_e3.book 36

Using the Rhythm Guide
The Rhythm Guide provides an easy way to produce full-fledged rhythm patterns as easily as using a metronome. The Rhythm Guide can be used only in Performance mode, which lets you perform on the keyboard while using drum sounds simultaneously. Performance mode (p. 55)
Selecting a rhythm pattern

fig.q06-22

2, 4 1. 2.
Press [PERFORM] so it is lit and you are in Performance mode. Press [RHYTHM GUIDE] so it is lit.
The rhythm pattern will begin playing. If you want to change the part that you will play along with the rhythm guide, press [PART SELECT] so it is lit; then use [1][9] to select the part (category) that you want to play from the keyboard.
With the display showing the pattern name, use VALUE [-]/[+] to select a rhythm pattern. Once again press [RHYTHM GUIDE] so it is unlit; the rhythm pattern will stop.
To select a rhythm pattern without playing it
1. 2. 3. 4. Press [PERFORM] so it is lit and you are in Performance mode. Press [RHYTHM GUIDE] while holding down [SHIFT]. Use VALUE [-]/[+] to select a rhythm set. Press [ENTER] to play back the rhythm pattern.

RS-50_e3.book 37

Switching sounds
1. 2. 3. 4. Play the rhythm pattern. Press [PART SELECT] so it is lit. Press [0] so it is lit to select a rhythm set.
Use VALUE [-]/[+] to select the rhythm set that you want to use with the rhythm pattern.

Change the tempo

When you have selected a rhythm pattern, you can specify the tempo.
Press [TAP TEMPO] so it is lit.
The current tempo of the pattern will be displayed.

Selecting patch parameters (p. 45)

fig.r03-04_40

4. If there is an editable parameter, the cursor (underline) will blink below its value. Now you can use VALUE [-]/[+] to modify the value of that patch parameter.

fig.r03-05.e

RS-50_e3.book 45
Selecting patch parameters

fig.r03-06

PATCH COMMON
Making settings that apply to the entire patch (Patch Common parameters)
You can edit the following Patch Common parameters.

[SHIFT] + PAGE/ CURSOR [

Name (Patch Name)
You can change the name of the patch.

PAGE/ CURSOR [ ]

PAGE/ CURSOR [
Here you can use PAGE/CURSOR [ ]/[ ] to move through the characters, and use VALUE [-]/[+] to finalize the desired character. Value: space, AZ, az, 09, ! # $ % & ( ) * + , -. / : ; < = > ?@[]^_`{|}

Assigning a name (p. 43)

[SHIFT] + PAGE/ CURSOR [ [SHIFT] + PAGE/ CURSOR [ PAGE/ CURSOR [ ] PAGE/ CURSOR [ ]

Category

Changes the category of the patch. Selecting a patch by category (p. 20)

PATCH TONE

Key Mode
PAGE/ CURSOR [ PAGE/ CURSOR [ Patch Mode
Specifies how the two tones will be sounded when you play the keyboard. The indication in the display is linked to the [KEY MODE] setting of the panel (p. 44). VALUE SINGLE: The upper tone is played by all keys on the keyboard. The keyboard will be split; the lower range plays the lower tone, and the upper range plays the upper tone. * DUAL: You can change the point at which the lower and upper tones are divided (p. 45).

SPLIT:

The upper and lower tones are layered.
Changing the way that the tones are sounded (Key Mode) (p. 44)

Patch Level

Specifies the volume of the patch. VALUE: 0127

Tone Balance

Adjusts the volume balance of LOWER and UPPER. This is linked with the operation of the [BALANCE] knob of the panel (p. 26). VALUE: -64 (LOWER) +63 (UPPER)

Split Point

When Key Mode (p. 45) is set to SPLIT, this specifies the transition point between the upper and lower tones. VALUE: A0C8

RS-50_e3.book 46

Split Arp
When Key Mode (p. 45) is set to SPLIT, this specifies which tone will be affected by the arpeggiator. VALUE UPPER: LOWER: BOTH: The upper tone will be played by the arpeggiator. The lower tone will be played by the arpeggiator. Both the upper and lower tone will be played by the arpeggiator.
Active Exp Sw (Active Expression Switch)
Turns the active expression effect (p. 32) on/off. VALUE OFF: ON: Expression will affect only the volume, as usual. An active expression effect using both tones will be produced.

Solo Switch

If this setting is turned on, only one note will be sounded even if you hold down two or more keys. This setting is effective when you want to solo using a patch for a monophonic instrument such as sax or flute. VALUE OFF: ON: UPPER: LOWER: Chords can be played. The sound will play in solo mode (monophonically). Solo mode will be used only for the upper tone. Solo mode will be used only for the lower tone.

Convenient functions for rhythm set editing (Rhythm Set Utility)
Rhythm Set Utility provides functions that you will find convenient when editing a rhythm set, such as initializing a rhythm tone or copying effect settings.
Saving a rhythm set (User Rhythm Set)
Once you have edited a rhythm set to your liking, use the following procedure to save it. 1. Press [PATCH] so it is lit and you are in Patch mode. 2. Select the rhythm set that you want to edit. 3. Edit the rhythm set and its rhythm tones. Making settings that apply to the entire rhythm set (Rhythm Common parameters) (p. 52) Editing the settings of each rhythm tone (key) (Rhythm Tone parameters) (p. 52)
Copying effect settings from a rhythm set (RHY PRM COPY)
This operation copies effect settings from an existing rhythm set to the currently selected rhythm set. The following three parameters can be copied. MFX: REVERB: Copy the multi-effect settings. Copy the reverb settings. CHORUS: Copy the chorus settings.
1. Press [PATCH] so it is lit and you are in Patch mode. Select the copy-destination rhythm set. 2. Press [UTILITY]. 3. Use PAGE/CURSOR [ COPY. 4. Press [ENTER]. 5. Use VALUE [-]/[+] to select MFX, CHORUS, or REVERB.

fig.r04-15_40

] to select 1:RHY PRM
The patch modify settings (p. 26) are not saved for rhythm sets. 4. When the rhythm set is to your liking, press [WRITE]. Use VALUE [-]/[+] to specify the number in which the rhythm set is to be saved (U01U02).

fig.r04-01_40

Use VALUE [-]/[+] to specify whether you will copy RHYTHM effect settings or PERFORM (Performance) effect settings. 7. Press PAGE/CURSOR [ ].
As shown above, the display will show only the rhythm set number if nothing has yet been saved to that number.
Copying RHYTHM effect settings Select the copy-source rhythm set. Be aware that your previously saved settings will be overwritten and lost if you save to a number in which a rhythm set has already been saved. 5. Press [ENTER]. Unlike a patch, a rhythm set is always saved in the RHYTHM & SFX category group DRM (DRUMS).

fig.r04-16_40

Copying PERFORM (Performance) effect settings Select the copy-source performance.

fig.r04-17_40

For more about the category group, refer to Patch categories (p. 49). When the rhythm set has been saved, the display will indicate COMPLETED. This completes the procedure.
8. Press [ENTER]. The effect settings will be copied to the currently selected rhythm set. When the data has been copied, the display will indicate COMPLETED. This ends the procedure.
If you decide not to save the rhythm set, press [EXIT]. If you do not change Name (Rhythm Set Name) (p. 52), the rhythm set will have the same name as the one you selected in step 2.

Patch Mode (Rhythm)

RS-50_e3.book 54

Part Patch Edit

fig.r06-54b_40
The patch assigned to each part can also be edited from Performance mode. You can press [ENTER], and edit the patch parameters and save the patch in the same way as from Patch mode (p. 44). If you decide to stop editing the patch, press [EXIT] to return to the above screen.
PART [10 (0)] (RHYTHM & SFX)
Patch mode and Performance mode share the same patches. This means that if you save a patch in one of these modes, the newly saved patch will sound if you select it in the other mode. To avoid problems, such as unintended changes in the sound of patches you are using in Performance mode, please be aware of this when you save patches. If the same patch happens to be selected in both Patch mode and Performance mode, and you save the patch in one mode and then switch modes, the patch will still sound in accord with the settings prior to the save. However, once you re-select the patch or the performance again, the patch will then sound in accord with the newly saved settings.
Receive Sw (Receive Switch)
Normally, you will leave this ON. If you want to use an external sound module to play a certain part, you can turn this OFF to mute the internal sound generator for that part. Value: OFF, ON
The RS-50s keyboard will not play internal sound generator parts whose Receive Switch is turned OFF.
For each part, specify whether MIDI Program Change messages will be received (ON), or not (OFF). Value: OFF, ON
Receive Bank Sel (Receive Bank Select Switch)
For each part, specify whether MIDI Bank Select messages will be received (ON), or not (OFF). Value: OFF, ON

Scale Tune

fig.r06-54d_40
You can specify a different tuning (Scale Tune setting) for each part. Press [ENTER] to access the Scale Tune setting screen. For details, refer to Editing the scale tune settings (SCALE TUNE) (p. 58). If you want to edit the scale tune for Patch mode, refer to Making scale tune settings for a patch (PATCH SCALE) (p. 91).
Receive Prg Chg (Receive Program Change Switch)

RS-50_e3.book 58

Editing the scale tune settings (SCALE TUNE)
The Scale Tune function lets you use a variety of tunings. For each note CB, you can specify the pitch in units of one cent (1/100th of a semitone). Scale Tune settings are made independently for each part. If you want to edit the scale tune for Patch mode, refer to Making scale tune settings for a patch (PATCH SCALE) (p. 91). 1. Select the part setup parameter Scale Tune (p. 57). 2. Press [ENTER].

fig.r06-54c_40

Editing the effect settings for each part of the performance (Performance Part Effect)

RS-50_e3.book 59

Saving a performance
Use the following procedure to save a performance youve edited. 1. Press [WRITE]. Use VALUE [-]/[+] to specify the number (U1U8) at which the user performance is to be saved.

fig.r06-55_40

8. Press [ENTER]. When the user performance has been saved, the display will indicate COMPLETED.
If you decide not to save the user performance, press [EXIT]. If you do not change Name (Performance Name) (p. 56), the Be aware that if you choose a number in which a user performance has already been saved, the previously saved settings will be overwritten and lost. 2. Press [ENTER]. If you have edited patches for some parts, the following message will appear.

fig.r06-55a_40

performance will have the same name as the one you have been editing.
Convenient functions for performance editing (Performance Utility)
Performance Utility provides various functions that you will find convenient when editing performances, allowing you to do things such as copy or initialize a performance.
If you have not edited any of the patches in the performance, the user performance has been saved and the display will indicate COMPLETED. 3. If you want to save the edited patch, press [ENTER]. The display will indicate the part where the edited patch is used. Use VALUE [-]/[+] to specify the number (U001U128) at which the user patch is to be saved.

fig.r06-55b_40

Copying part or effect parameters (PERFORM PRM COPY)
This operation copies the settings of a specified performance to the current performance. By using this you can edit more efficiently. The following four parameters can be copied. Effect-related parameters can also be copied from a patch. PART: Copy settings made for each part (p. 56). Copy multi-effect settings. Copy chorus settings. Copy reverb settings. MFX: CHORUS: REVERB:
If you decide not to save the user patch, press [EXIT].
4. Press [ENTER]. 5. Use VALUE [-]/[+] to specify the category for the user patch you want to save.

fig.r06-55c_40

1. Press [PERFORM] so it is lit and you are in Performance mode. Select the copy-destination performance. 2. Press [UTILITY]. 3. Use PAGE/CURSOR [ COPY. ]/[ ] to select 1:PERFORM PRM

fig.r06-72_40

Initializing the parameters of a performance (PERFORM INIT)
This operation initializes the performance settings. Since all performance parameters will be initialized, this is convenient when you want to create a performance from scratch.
] to select 1:PERFORM PRM
The Initialize operation applies only to the currently selected performance; it will not change the content of other performances stored in user memory. If you want to restore all settings to the factory-set condition, execute the Factory Reset operation (p. 17). 1. Press [PERFORM] so it is lit and you are in Performance mode. Select a performance you want to initialize. 2. Press [UTILITY]. 3. Use PAGE/CURSOR [ 4. Press [ENTER]. ]/[ ] to select 2:PERFORM INIT.
Use VALUE [-]/[+] to specify whether you will copy PATCH effect settings or PERFORM (performance) effect settings.

fig.r06-73_40

fig.r06-60g_40
When copying PATCH effect settings Use VALUE [-]/[+] to select the patch whose effect settings you want to copy.

fig.r06-74_40

5. Press [ENTER] once again to execute. When initialization is finished, the display will indicate COMPLETED. This ends the procedure.

RS-50_e3.book 61

Transmitting performance settings from the MIDI OUT connector (XFER to MIDI)
You can transmit the settings of the current performance or user performance from the MIDI OUT connector. This function lets you save performance settings on an external sequencer. If you select DUMP ALL for the menu, you can transmit all data stored in the user area to an external sequencer.all data stored in the user area 1. Press [PERFORM] so it is lit and you are in Performance mode. Select the performance you want to output. 2. Press [UTILITY]. 3. Use PAGE/CURSOR [ 4. Press [ENTER]. ]/[ ] to select 3:XFER to MIDI.
8. Press [ENTER]. The performance settings of the specified range will be transmitted from the MIDI OUT connector. When the display indicates COMPLETED, the transmission operation has been completed.
Transmitting the settings of currently selected performance
This operation lets you transmit the settings of the current (edited and unsaved) performance. 5. Use VALUE [-]/[+] to select CUR PERFORM.

fig.r06-76_40

6. Press [ENTER]. The currently selected performance settings will be transmitted from the MIDI OUT connector. When the display indicates COMPLETED, the transmission has been completed.
You can also perform the FACTORY RESET operation from Performance Utility. For more about FACTORY RESET, refer to Reset to default factory settings (Factory Reset) (p. 17).

Enhancer

2-Band EQ 2-Band EQ

Value 1008000 [Hz]

Rate # Depth Resonance Mix

0.0510.00 [Hz] 0127

Parameter Sens # Mix #

Value 0127 0127

-15 +15 [dB] -15 +15 [dB] 0127
Description Adjusts the sensitivity of the enhancer. Adjusts the ratio with which the overtones generated by the enhancer are combined with the direct sound. Adjusts the gain of the low frequency. Adjusts the gain of the high frequency. Adjusts the output level.

RS-50_e3.book 71

07: AUTO WAH
The Auto Wah cyclically controls a filter to create cyclic change in timbre.

fig.MFX-07

Parameter Speed #

Value SLOW, FAST

L in Auto Wah R in

Parameter Filter Type

Value LPF, BPF
Rate # Depth Sens Manual # Peak

0.0510.00 [Hz] 0127 0127

Description Selects the type of filter. LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range. Adjusts the frequency of the modulation. Adjusts the depth of the modulation. Adjusts the sensitivity with which the filter is controlled. Adjusts the center frequency from which the effect is applied. Adjusts the amount of the wah effect that will occur in the area of the center frequency. Lower settings will cause the effect to be applied in a broad area around the center frequency. Higher settings will cause the effect to be applied in a more narrow range. Adjusts the output level.

High Accel

Low Accel
High Level Low Level Separation Level #

0127 0127

Description Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. SLOW: Slows down the rotation to the specified speed (the Low Slow/Hi Slow values). FAST: Speeds up the rotation to the specified speed (the Low Fast/Hi Fast values). * When you want to use the pedal switch to switch the Rotary rotation speed, select MFX PARAMETER1 in Pedal Control Assign (p. 90). Adjusts the time it takes the high frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times. 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. Adjusts the volume of the high frequency rotor. Adjusts the volume of the low frequency rotor. Adjusts the spatial dispersion of the sound. Adjusts the output level.

08: ROTARY

The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ Patches.

RS-50_e3.book 76

Parameter Low Gain High Gain Balance #
Value -15 +15 [dB] -15 +15 [dB] D100:0W D0:100W
Description Adjusts the gain of the low frequency. Adjusts the gain of the high frequency. Adjusts the volume balance between the direct sound and the modulation delay sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the modulation delay sound will be output. Adjusts the output level.

Parameter Balance #

Description Adjusts the volume balance between the direct sound and the delay sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the delay sound will be output. Adjusts the output level.
21: 4 TAP DELAY (Quadruple Tap Delay)
The Quadruple Tap Delay has four delays.

fig.MFX-21a

20: 3 TAP DELAY (Triple Tap Delay)
The Triple Tap Delay produces three delay sounds; center, left and right.

fig.MFX-20

Delay 1 Feedback Delay 2
Quadruple Tap Delay 2-Band EQ
Left Tap Triple Tap Delay Feedback Center Tap
Delay 3 Delay 4 Balance D Balance W

Right Tap Balance D

The stereo location of each delay sound is as follows.

fig.MFX-21b

Parameter Delay Left
Value 0840 [ms], note *[ms], note *[ms], note *1 -98 +98 [%]

Delay Center

Left Level Right Level Center Level Low Gain High Gain
0127 -15 +15 [dB] -15 +15 [dB]
Description Adjusts the time delay from the direct sound until when the left delay sound is heard. Adjusts the time delay from the direct sound until when the right delay sound is heard. Adjusts the time delay from the direct sound until when the center delay sound is heard. Adjusts the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS. Adjusts the volume of the left delay sound. Adjusts the volume of the right delay sound. Adjusts the volume of the center delay sound. Adjusts the gain of the low frequency. Adjusts the gain of the high frequency.

Parameter Delay 1

Value 0840 [ms], note *[ms], note *[ms], note *[ms], note *0127 -98 +98 [%]

Delay 2

Delay 3

Delay 4

Level 1 Level 2 Level 3 Level 4 Feedback #
Description Adjusts the time delay from the direct sound until when delay 1 sound is heard. Adjusts the time delay from the direct sound until when delay 2 sound is heard. Adjusts the time delay from the direct sound until when delay 3 sound is heard. Adjusts the time delay from the direct sound until when delay 4 sound is heard. Adjusts the volume of delay 1 sound. Adjusts the volume of delay 2 sound. Adjusts the volume of delay 3 sound. Adjusts the volume of delay 4 sound. Adjusts the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

RS-50_e3.book 79

26: GATED REVERB
Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.

fig.MFX-26

Parameter Cho Delay

Cho Rate

0.0510.00 [Hz] 0127 D100:0W D0:100W

Cho Depth Cho Balance #

Gated Reverb
Value NORMAL, REVERSE, SWEEP1, SWEEP2

Gate Time

5500 [ms]
Description Selects the type of reverb. NORMAL: conventional gate reverb REVERSE: backwards reverb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right Adjusts the time delay from when the direct sound begins until the reverb sound is heard. Adjusts the time from when the reverb is heard until when it disappears. Adjusts the gain of the low frequency. Adjusts the gain of the high frequency. Adjusts the volume balance between the direct sound and the reverb sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the reverb sound will be output. Adjusts the output level.
Description Adjusts the time delay from when the direct sound begins until the chorus sound is heard. Adjusts the modulation speed of the chorus effect. Adjusts the modulation depth of the chorus effect. Adjusts the volume balance between the overdrive sound that is sent through the chorus and the overdrive sound that is not sent through the chorus. With a setting of D100:0W, only the overdrive sound will be output. With a setting of D0:100W, only the overdrive sound that is sent through the chorus will be output. Adjusts the output level.
28: OD>FLANGER (OverdriveFlanger)
This effect connects an overdrive and a flanger in series.

fig.MFX-28

Overdrive

Flanger

Parameter OD Drive

Value 0127

27: OD>CHORUS (OverdriveChorus)
This effect connects an overdrive and a chorus in series.

fig.MFX-27

OD Pan #

Flg Delay

L in Overdrive R in

Balance D Balance W

Flg Rate Flg Depth

Flg Feedback

Description Adjusts the degree of overdrive distortion. The volume will change together with the degree of distortion. Adjusts the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.
Description Adjusts the degree of overdrive distortion. The volume will change together with the degree of distortion. Adjusts the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right. Adjusts the time delay from when the direct sound begins until the flanger sound is heard. Adjusts the modulation speed of the flanger effect. Adjusts the modulation depth of the flanger effect. Adjusts the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Tune CTune B (Patch Scale Tune CB)
Make scale tune settings for Patch mode. VALUE: -64+63

RS-50_e3.book 92

Performing with an external MIDI device

About MIDI

MIDI (Musical Instrument Digital Interface) is a standard specification that allows music data to be exchanged among electronic musical instruments and computers. By connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance as the song progresses, and more. If you mainly use the RS-50 as a standalone keyboard instrument, you may really not need to know much at all about MIDI. However, the following MIDI-related information is provided so you can play the RS-50 using an external MIDI device, or master other advanced techniques. Example: Set the RS-50 to send on Channel 1 and Channel 2, then set sound module A to receive only Channel 1, and sound module B to receive only Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B.

fig.r10-03.e

MIDI OUT Transmit channel: 1, 2 Sound Module A MIDI keyboard Sound Module B
MIDI IN Receive channel: 1

MIDI THRU

Receive channel: 2

MIDI IN

MIDI connectors
The RS-50 has the following two types of MIDI connectors.

fig.r10-01

When used as a sound module, the RS-50 can receive on up to sixteen MIDI channels. Sound modules like the RS-50, which can receive multiple MIDI channels simultaneously and play different sounds on each channel, are called multitimbral sound modules.
MIDI messages used by the RS-50
MIDI IN Connector Performance messages from an external MIDI device are received here. When the RS-50 receives MIDI messages, it will produce sound, change the sound its using, or perform other operations. MIDI OUT Connector This connector transmits MIDI messages to external MIDI devices. The RS-50s MIDI OUT connector is used for sending the performance data of the keyboard controller section, as well as the data used for saving various settings. MIDI uses various types of messages to transmit a wide variety of information. MIDI messages are broadly divided into two different categories, those handled through individual MIDI channels (Channel messages), and messages that are not related to separate channels (System messages). The RS-50 mainly uses the following MIDI messages.

Channel messages

These are messages used for conveying what is happening in a performance. These comprise the bulk of MIDI messages.
MIDI channels and multitimbral sound generators
MIDI transmits many types of data over a single MIDI cable. This is made possible by MIDI channels. MIDI channels allow messages intended for a given instrument to be distinguished from messages intended for another instrument. In some ways, MIDI channels are similar to television channels. By changing the channel on a TV receiver you can view the programs of different stations. This is because the television set has thus been directed to selectively display only the information being transmitted by a particular station. In the same way, MIDI also allows a device to select the information intended for that device out of the variety of information that is being transmitted to it.

Connecting with MIDI cables
A MIDI interface is required for making MIDI connections with a computer. The MIDI interface is connected to the computer, and two MIDI cables connect the MIDI connectors of the MIDI interface to the RS-50s MIDI connectors.

fig.Midi-00.e

RS-50 rear panel MIDI Interface Performing with a computer

Macintosh IIci

MIDI cable
Installing the included editor software
To help you get more out of your RS-50, it comes with RS Editor software. Use RS Editor to freely create your own original sounds. Detailed instructions on installing the software can be found in the online manual contained on the RS Editor CD-ROM. Windows users In the RS Editor CD-ROM, open the Readme_E.txt. Macintosh users In the RS Editor CD-ROM, open the ReadMe(English).

RS-50_e3.book 100

RS-50_e3.book 101

Appendix

RS-50_e3.book 102

Troubleshooting

If your system is not operating as you think it should be, first check the following points. If after checking these points the problem persists, consult your dealer or local Roland Service Station. * If any sort of message is being displayed on the screen during an operation, refer to Error Messages/Messages (p. 105). If using an external MIDI device to sound the RS-50, each Parts reception channel needs to be set so it matches the channels that will be used for transmission by the external MIDI device (p. 94).

No power

Is the AC Adapter plugged into the power socket correctly?
Are volume levels being lowered by pedal movements, or by MIDI messages (expression messages) received from an external MIDI device? Is the MIDI Rx (Receive) Switch of the corresponding part set to OFF?
If using the RS-50 with an external MIDI device, turn it ON (p. 95).

No sound

Is the power for the connected amp and speakers turned on? (p. 15) Is the volume turned down?
Check the volume settings for the RS-50 and any connected amp or mixer (p. 15).

Category El.Piano

Category Mallet

Category Harmonica

Category Dist.Guitar

Category Keyboard

Category Organ

Category Ac.Guitar

Category Strings

RS-50_e3.book 121

Category Orchestra
Button [1] [2] [3] [4] [5] [6] [7] [8] [9] Button [1] [2] [3] [4] [5] [6] [7] [8] [9] Button [1] [2] [3] [4] [5] [6] [7] [8] [9] Button [1] [2] [3] [4] [5] [6] [7] [8] [9] Button [1] [2] [3] [4] [5] [6] [7] [8] [9] Button [1] [2] [3] [4] [5] [6] [7] [8] [9] Button [1] [2] [3] [4] [5] [6] [7] [8] [9]
Name Orch Phr 1 Orch Phr 2 Orch Phr 3 Orch Phr 4 Orch Phr 5 Orch Arp 1 Orch Arp 2 Orch Arp 3 Orch Arp 4 Name Hit Phr 1 Hit Phr 2 Hit Phr 3 Hit Phr 4 Hit Phr 5 Hit Arp 1 Hit Arp 2 Hit Arp 3 Hit Arp 4 Name ClarinetPhr1 ClarinetPhr2 Oboe Phr 1 Oboe Phr 2 Oboe Phr 3 Wind Arp 1 Wind Arp 2 Wind Arp 3 Wind Arp 4 Name Flute Phr 1 Flute Phr 2 Flute Phr 3 Flute Phr 4 Piccolo Phr Flute Arp 1 Flute Arp 2 Flute Arp 3 Flute Arp 4 Name Harp Phr 1 Harp Phr 2 Harp Phr 3 Kalimba Phr Koto Phr PLK Arp 1 PLK Arp 2 PLK Arp 3 PLK Arp 4 Name Shamisen Phr SitarGls Phr Bug Pipe Phr ShakuhatiPhr Mizmar Phr Gamelan Phr Tabla Phr Ethnic Arp 1 Ethnic Arp 2 Name Banjo Phr 1 Banjo Phr 2 Banjo Phr 3 Banjo Arp 1 Banjo Arp 2 Banjo Arp 3 Fretted Arp1 Fretted Arp2 Fretted Arp3

Category Ac.Brass

Name Brass Phr 1 Brass Phr 2 Brass Phr 3 Brass Phr 4 MuteTp Phr TrombonePhr1 TrombonePhr2 Trumpet Phr1 Trumpet Phr2 Name SynBrassPhr1 SynBrassPhr2 SynBrassPhr3 SynBrassPhr4 SynBrassPhr5 SynBrassArp1 SynBrassArp2 SynBrassArp3 SynBrassArp4 Name Sax Phr 1 Sax Phr 2 Sax Phr 3 Sax Phr 4 Sax Phr 5 Sax Arp 1 Sax Arp 2 Sax Arp 3 Sax Arp 4 Name BrghtPd Phr1 BrghtPd Phr2 BrghtPd Phr3 BrghtPd Phr4 BrghtPd Phr5 BrghtPd Arp1 BrghtPd Arp2 BrghtPd Arp3 BrghtPd Arp4 Name SoftPad Phr1 SoftPad Phr2 SoftPad Phr3 SoftPad Phr4 SoftPad Phr5 SoftPad Arp1 SoftPad Arp2 SoftPad Arp3 SoftPad Arp4 Name Vox Phr 1 Vox Phr 2 Vox Phr 3 Vox Phr 4 Vox Phr 5 Vox Arp 1 Vox Arp 2 Vox Arp 3 Vox Arp 4 Name Hard Ld Phr1 Hard Ld Phr2 Hard Ld Phr3 Hard Ld Phr4 Hard Ld Phr5 Hard Ld Arp1 Hard Ld Arp2 Hard Ld Arp3 Hard Ld Arp4

Category Soft Lead

Name Soft Ld Phr1 Soft Ld Phr2 Soft Ld Phr3 Soft Ld Phr4 Soft Ld Phr5 Soft Ld Arp1 Soft Ld Arp2 Soft Ld Arp3 Soft Ld Arp4 Name TekSyn Phr 1 TekSyn Phr 2 TekSyn Phr 3 TekSyn Phr 4 TekSyn Phr 5 TekSyn Arp 1 TekSyn Arp 2 TekSyn Arp 3 TekSyn Arp 4 Name Plsatng Phr1 Plsatng Phr2 Plsatng Phr3 Plsatng Phr4 Plsatng Phr5 Plsatng Arp1 Plsatng Arp2 Plsatng Arp3 Plsatng Arp4 Name FX Phr 1 FX Phr 2 FX Phr 3 FX Phr 4 FX Phr 5 FX Phr 6 FX Arp 1 FX Arp 2 FX Arp 3 Name Synth Phr 1 Synth Phr 2 Synth Phr 3 Synth Phr 4 Synth Phr 5 Synth Phr 6 Synth Phr 7 Synth Phr 8 Synth Arp Name FngerBs Phr1 FngerBs Phr2 FngerBs Phr3 FngerBs Phr4 SlapBs Phr 1 SlapBs Phr 2 FretlsBs Phr AcBass Phr BsSlide Phr Name SynBass Phr1 SynBass Phr2 SynBass Phr3 SynBass Phr4 SynBass Phr5 SynBass Phr6 SynBass Phr7 SynBass Phr8 SynBass Phr9