Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children....
Never climb on top of, nor place heavy objects on the unit....
In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit....
Never handle the AC adaptor body, or its plugs, with wet hands when plugging into, or unplugging from, an outlet or this unit....
Protect the unit from strong impact. (Do not drop it!)....
Before moving the unit, disconnect the AC adaptor and all cords coming from external devices....
Do not force the units power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cordsthe total power used by all devices you have connected to the extension cords outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through....
Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 11)....
Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet....
Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page....

IMPORTANT NOTES

In addition to the items listed under USING THE UNIT SAFELY on pages 2 and 3, please read and observe the following:

Power Supply

Additional Precautions
Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).
The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.
Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the units memory in another MIDI device (e.g., a sequencer).
Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

MOTIF SINGLE UP SINGLE DOWN SINGLE UP&DW SINGLE RANDOM DUAL UP DUAL DOWN DUAL UP&DW DUAL RANDOM TRIPLE UP TRIPLE DOWN TRIPLE UP&DOWN TRIPLE RANDOM NOTE ORDER Description Notes will be sounded individually, beginning from low to high. Notes will be sounded individually, beginning from high to low. Notes will be sounded individually, from low to high, and then back down from high to low. Notes will be sounded individually, in random order. Notes will be sounded two at a time, beginning from low to high. Notes will be sounded two at a time, beginning from high to low. Notes will be sounded two at a time, from low to high, and then back down from high to low. Notes will be sounded two at a time, in random order. Notes will sound three at a time, from low to high. Notes will sound three at a time, from high to low. Notes will sound three at a time, from low to high and then back down from high to low. Notes will sound three at a time, in random order. Notes you press will be sounded in the order in which you pressed them. By pressing the notes in the appropriate order you can produce melody lines. Up to 32 notes will be remembered. * This is valid only when playing arpeggios from an external MIDI device. Each chromatic step between the highest and lowest notes will sound in succession, repeating upward and downward. Press only the lowest and the highest notes. All notes will sound simultaneously. The lowest of the notes you play will sound, and the remaining notes will sound as a chord. The lowest of the notes you play will sound, and the remaining notes will be arpeggiated. The lowest of the notes you play will sound, and the remaining notes will sound in random order. The highest of the notes you play will sound, and the remaining notes will be arpeggiated. The highest and the lowest of the notes you play will sound, and the remaining notes will be arpeggiated.
GLISSANDO CHORD BASS+CHORD 15 BASS+UP 18 BASS+RND 13 TOP+UP 16 BASS+UP+TOP

Beat pattern

It will affect the accent location and note length, causing the beat (rhythm) to change. * The values which can be set will depend on the currently selected arpeggio style. For details on the possible values for each style, refer to Table of STYLE/MOTIF/BEAT PATTERN on this page. Types of Beat pattern 1/4, 1/6, 1/8, 1/12, 1/16 1-3, 1/32 1-3, PORTA-A 1-11, PORTA-B 1-15, SEQ-A 1-7, SEQ-B 1-5, SEQ-C 12, SEQ-D 1-8, ECHO 1-3, MUTE 1-16, STRUM 1-8, REGGAE 12, REF 12, PERC 1-4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1-4, MAMBO 1-2, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO 1-4, HOUSE 12
Table of STYLE/MOTIF/BEAT PATTERN
Style 1/4 1/6 1/8 1/12 1/16 1/32 Motif all all all all all SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1 - 8, BASS+RND 1 - 3, TOP+UP 1 - 6 all all GLISSANDO all all SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1 - 8, BASS+RND 1 - 3, TOP+UP 1 - 6 all SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER BASS+UP 2 BASS+UP 5, TOP+UP 5 BASS+UP 5, TOP+UP 5 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, NOTE ORDER, GLISSANDO SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, BASS+UP 1 8, BASS+RND 1 - 3, TOP+UP 1 - 6 CHORD CHORD CHORD SINGLE UP, SINGLE DOWN BASS+UP+TOP SINGLE UP, SINGLE DOWN CHORD BASS+CHORD 4, BASS+CHORD 5 BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2 BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2 CHORD, BASS+CHORD 1 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, BASS+UP 1 8, BASS+RND 1 - 3, TOP+UP 1 - 6 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO TOP+UP 4 - 6 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO SINGLE RANDOM, DUAL RANDOM, BASS+RND 1 - 3 all all all SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO all all all all Beat Pattern 1/4 1/6 1/8 1/12 1/- 3 1/- 3

ATTACK TIME DECAY TIME SUSTAIN LEVEL RELEASE TIME FILTER ENVELOPE DEPTH

-6363 0127

ATTACK TIME DECAY TIME SUSTAIN LEVEL RELEASE TIME AMP ENVELOPE ATTACK TIME DECAY TIME SUSTAIN LEVEL RELEASE TIME
Adjust the range of tonal change. Negative (-) settings will invert the shape of the envelope, causing the tone to change in the opposite direction. Refer to About the envelope on previous page.

0127 0127

Refer to About the envelope on previous page.
Applying cyclic change to the sound (ASSIGN 2: LFO)

fig.LFO

The LFO (Low Frequency Oscillator) applies cyclic change to the sound. By cyclically changing the pitch, cutoff frequency, or volume, you can create effects such as vibrato, wah, tremolo, or auto-pan. * There will be no effect for part R.
Display TYPE X Y Explanation Select the LFO waveform. Select the parameter that will be affected when you move your finger to left or right. Select the parameter that will be affected when you move your finger upward or downward. Setting TRI, SIN, SAW, SQR, TRP, S-H, RND, CHS OFF, PITCH, FILTER, AMP, PAN, RATE * It is not possible to select the same parameter for both X and Y.
Changing the D-FIELD settings (p. 22) LFO waveforms

fig.LFOWave

Display Parameter LFO PITCH DEPTH Explanation Select the LFO waveform. The pitch will be cyclically modulated to produce a vibrato effect. Positive (+) and negative (-) settings will produce inverse waveforms. The cutoff frequency will be cyclically modulated to produce a wah effect. Positive (+) and negative (-) settings will produce inverse waveforms. The volume will be cyclically modulated to produce a tremolo effect. Positive (+) and negative (-) settings will produce inverse waveforms. The pan (stereo position) will be cyclically modulated to produce an auto-pan effect. Positive (+) and negative (-) settings will produce inverse waveforms. Specify the speed of modulation. Setting TRI, SIN, SAW, SQR, TRP, S-H, RND, CHS -6363

FILTER DEPTH

AMP DEPTH

PAN DEPTH

Changing the pitch or vibrato depth (ASSIGN 2: BENDER)

fig.BND

Pressing the right half of the D-FIELD will raise the pitch of the current part, and pressing the left half will lower the pitch. Pressing the upper half or lower half will apply vibrato. *This has no effect on part R.
Display TYPE X Y Explanation none Pitch Vibrato Setting none Pitch (fixed) Vibrato (fixed)

none none none

* There will be no effect for part R.
Changing the rhythmic feel of a pattern (ASSIGN 2: QUANTIZE)

fig.QTE

You can change the rhythm feel of the performance data of a pattern. By modifying the timing and velocity (volume) of the notes in the pattern, you can produce a rhythm feel that is different than that of the original pattern.

fig.Quantize

200 (Hz)8.00 (kHz), BYPASS * If this BYPASS is selected, the high frequency range will not be cut.
0127 * This setting does not have any effect on a part with the MFX switch turned off (p. 19).
Parameters with an X or Y following the value will be selected when using D-FIELD to control the reverb (p. 39). X can be controlled by moving your finger to left and right, and Y by moving your finger up and down.
Delay (Add echoes to the sound)
Delay is an effect which adds echoes to the sound. It is effective when applied to solo phrases or to densely rhythmic phrases. Described here is how to set the Delay effect.

Turning delay on/off

Delay is turned on by pressing [DELAY] and confirming that its indicator has lighted. To turn it off, press the button again, extinguishing the indicator. * This lets you turn the effect on/off for all parts regardless of other settings.
Adjusting the delay volume for individual parts
Refer to the explanation of Part Delay Level in Modifying the settings of each part (p. 19).
1. Hold down [DELAY] and press [EDIT]. * If the D-FIELD function ASSIGN 2 is set to DELAY, you can also access the setting screen by holding down the D-FIELD function button [ASSIGN 2] and pressing [EDIT]. 2. Press [ENTER] to select a parameter. 3. Turn [VALUE] to modify the setting. 4. When you are finished, press [EXIT].

Screen Parameter

Chapter 4

Explanation

Selecting the type.

SHORT, LONG

FEEDBACK
Adjusts the time from the original sound until when the delayed sound is heard (the interval between repeats). * On the D-2, it is not possible to set a delay time longer than 1 second. When the delay time is synchronized to the BPM, selecting a note value which would make the delay time exceed 1second will cause the delay time to be halved, and the delay sound will be heard at 1/2 the specified interval. In addition, even if 1/2 the length would exceed 1 second, the delay time will be shortened to 1/4 the length. Sets the amount of delayed sound to be repeated, as a proportion of the original sound. Specifies the frequency at which the high frequency portions of the reverberation will be cut. Lowering this setting will cause more of the upper frequency content to be cut, making the reverberation more muted in tone.If this BYPASS is selected, the high frequency range will not be cut. Allows you to select a destination for the sound after reverb has been applied.Selecting LINE outputs the sound to the OUTPUT jacks on the rear panel; selecting REV outputs it to Reverb; or selecting LINE + REV outputs the sound to both the OUTPUT jacks and Reverb. This adjusts the volume of the delay sound for all eight parts (the rhythm part and parts 1-7). Applies the Delay equally to each of the parts with Multi-effects set at ON regardless of the Part Delay Level for each part.

6. Lo-Fi (Simulate a Lo-Fidelity Sound)
7. Noise Generator (Add Various Types of Noise)
In addition to a Lo-Fi effect, this effect also generates various types of noise such as hum, pink noise, and disk noise.
Screen Parameter NOISE TYPE NOISE LEVEL NOISE FILTER LO-FI LEVEL OUTPUT PAN OUTPUT LEVEL Explanation Determines the type of noise(s) that will be generated. Specifies the volume of the noise. Adjusts the tone of the noise. If you do not wish to filter the noise, select BYPASS. Increasing this setting will make the original sound rougher. Specifies the stereo location of the sound output from the Noise Generator. Specifies the output volume of the Noise Generator effect. Value 200 (Hz)8.00 (kHz), BYPASS 0127 L64RY X
For each setting, the type(s) of noise marked by will be generated.
NOISE TYPE Hum noise (50Hz) Hum noise (60Hz) Pink noise Disc noise (45 RPM) Disc noise (33 RPM) Disc noise generated at random 17 18
8. Radio Tuning (Simulate a Radio Being Tuned)

fig.MFXRTN

This effect simulates the sound of a radio being tuned.
Screen Parameter RADIO DETUNE NOISE LEVEL LOW GAIN HIGH GAIN OUTPUT OUTPUT LEVEL Explanation Specifies the frequency being tuned. Specifies the volume of the tuning noise. Adjusts the boost or cut of the low frequency range. Adjusts the boost or cut of the high frequency range. Specifies how the sound will be output. With a setting of MONO, the output sound will be monaural. Specifies the output volume of the Radio Tuning effect. Value -1515 -1515 MONO, STEREO 0127
9. Phonograph (Simulates an Old Record)
This effect mutes the tone and adds disc noise to simulate the sound of music played on an old record player.
Screen Parameter DISC TYPE Explanation Determines the type of disc noise. Value LP (33 RPM record), EP (45 RPM record), SP (78 RPM record) L64R63 0127
DISC NOISE LEVEL DEPTH OUTPUT PAN OUTPUT LEVEL
Specifies the volume of the disc noise. Adjusts the tone. As this value is increased, the high range and low range will be cut, and the mid range will be emphasized. Specifies the stereo location of the output from the Phonograph effect. Specifies the output volume from the Phonograph effect.

Preset Patch List

Preset A (CC#0 = 81, CC#32 = 0)
No. Name Lead TB 1 Dist TB 1 Dist Sqr TB Dist TB 2 Dist TB 3 TB + Voco Dist TB 4 Lead TB 2 Devil TB Dual TB HiLo303ModSw Arpness TB Acid Line Dist TB 5 Lead TB 3 Lead TB 4 TB Tra Bass Acid TB Psyche-TB TB + Sine Hi-Pass TB Moog Saw OB Saw MG Lead Poly Key Synth Pulse Dual Profs Axe of 80 MG Square Square Lead1 Square Lead2 Square Lead3 Lucky Synth Lead 1 Moon Lead Rezo SynLead Wspy Synth Enorjizor JP8 Sprang PortaSynLead Wah Lead Beep Mod Dist Lead 1 Freaky Fry JU2 SubOsc 1 JU2 SubOsc 2 Froggy Synth Lead 2 Singin MINI Plastic Tone SinusoidRave Sine Me Up Spooky Sine Sine Tone D50 Saw Lead Dst Syn Lead Big Up Massv Warm SawLead Hartnoll Era Skegness 97 Simply June The Brothers Dist Lead 2 Dark SawLead No. Name Dist Lead 3 Mosquito Phazyn Vox Voc Saw VT Vox Pure Voice Robo Vox Hallucinate Seq.Synth Analog Seq Ana Punch Atom Brain Fooled MC 101 Bass 1 House Bass 101 Bass Bass Psycho Funk Talking Line Inside Bass Bubble Bass Bass Bleep Wiggle Bass Twist Bass Octa Bass BTs Sticky MG Bass FM Super Bs Solid Bass T Nite Bass Front 505 Def Bass 1 Def Bass 2 Sine Bass 1 Sine Bass 2 RollModRezBs Gate Me Buzz System Bass Spike Bass Solid Goa Rezo Bass Blip Bass Pizz Bass Voco Bass VoCoRoBo Dust Bass ArtCore Bass NU-NRG Bass TalkBox Bass Incontinence Bari Voice Ac.Bass E.Ac.Bass Acid Jazz Bs Soups Bass Fingered Bs FingBsVeloSw PickedBass 1 PickedBass 2 Fretless Bs Phot Bass Slap Bass R&B B-Slides Syn Stack 1
Preset B (CC#0 = 81, CC#32 = 1)
No. Name Strong Brass You Can Fly Syn stack 2 Dawn Of Man Saw Stack 1 Saw Stack 2 DLM Stack DOC Stack LN2 Stack Bend Stack Freedom Good Bean JP8000 5th Mega 5th 5th Saw 4th Saw Soundtrack Rise Pad Warm Pad JP + OB Pad Planet Additive Noise Pad Sweep Pad 1 Sweep Pad 2 Alles Padde Sky Light Stargate MC Middle Grow AiRye BreadNU-NRG Org Halo Pad Str/Brs Pad Syn Brs Pad Simple Pad OB Rezo Pad Sweet Vocode Thin Pad Attack Pad Metal Pad Atmosphere Fantasia Feedbackwave Pacifica Atmosphere 2 Sub Atmosphe Machine Pad Detuned Pad Scoop Pad Psycho Trevo Floating Pad Fancy Pad Strings 1 Strings 2 Old StringSW Swim Strings Eclip-Str Slow Strings OB Slow Str Syn.Strings1 Syn.Strings2 OB Strings Rhap Strings Banded Jupe No. Name NU-NRG Str Violin Contrabass Tremolo Str Pizzicato 1 Pizzicato 2 Pizz It Guardians Gat Passion Syn Harp Voice Oohs Solo Vox Syn Vox Choir Aahs Space Voice Star Voice Brightness Vox Lead Auhbient Auh Luv Rave PCM Life Noisevox Trance Voice Effect Acer Alternative Hard Pure Metal EF Dly Tone Osci Frog Cal + After 8b Pad SpaceHighway Trek Storm Abduction 1st Contact Ice Cave Rev Cord Blue Random Sync Tone Seq Up SawLFOSaw Calculating Touch EF Welding Press Machin EF Tribe Scratch Alt Analog FX Non TB Nasty Filt Psy-Ence Music Hi Uber Zone Down Gown For Giving Sound Alarm Acid Drone X-Mod X-FM/Org X-FM Bass Hard BD? S&H Voc X-TlkBxBass X-Kick/TB
Preset C (CC#0 = 81, CC#32 = 2)

P: A20 Brush

Video Kick West Kick Natural Rim R&B Snare Brush Slap 1 MC Snare TR707 Tom Pop CHH TR707 Tom Room CHH TR707 Tom Pop Hat Open Hip Kick Optic Kick R8 BrshSwill R8 Brush Tap Brush Slap 2 R8 BrushRoll Natural Tom R8 Brush CHH Natural Tom Pedal Hat 1 Natural Tom R8 OHH Natural Tom Natural Tom NaturalCrash Natural Tom TR909 Ride NaturalCrash Cup Cym Tambourine 2 TR606 Cym 1 Cowbell TR909 Crash TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up Maracas Whistle Whistle Short Guiro Long Guiro TR808 Claves Hyoshigi Hyoshigi Mute Cuica Open Cuica Triangle 1 Triangle 1 Real Clap 1 TR909 Kick 2 TR707 Kick 1 Real Snare Deep Snare

P: A21 Disco

TR707 Kick 2 TR808 Kick 3 TR707 Rim Real Snare Real Clap 1 Fat Snare TR707 Tom Real CHH TR707 Tom Pedal Hat 1 TR707 Tom Real OHH Turbo Kick TR707 Kick 1 TR808 RimLng Deep Snare Big Clap TR707 Snare Deep Tom TR808 CHH 1 Kick Tom Pop CHH Deep Tom TR707 OHH Kick Tom Deep Tom NaturalCrash Kick Tom TR909 Ride NaturalCrash Cup Cym Tambourine 2 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up Maracas Triangle 1 Triangle 1 Beam HiQ Back Hit Back Hit Philly Hit Brass Fall Rezo Noise Iih Formant Analog Bird Emergency Down Clap TR808 Kick 1 TR909 Kick 1 TR909 Snr 3 TR808 Snr 5

P: A22 Ragga

Analog Kick TR707 Kick 2 Gate Rim Jungle Rim 1 Hip Clap Ragga Snr 2 TR808 Tom Bristol CHH TR808 Tom Pedal Hat 1 TR808 Tom Cym OHH Plastic BD 4 Video Kick Beam HiQ DanceHall SD Little Clap Ragga Rim 2 Deep Tom TR707 CHH Deep Tom Pop CHH Deep Tom TR707 OHH Deep Tom Deep Tom NaturalCrash Deep Tom TR909 Ride NaturalCrash Asian Gong Tambourine 3 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell TR707 Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker 808 Maracas MG Attack Air Blip Syn Hit TAO Hit Chiki! Hey! Toy Gun 1 Toy Gun 2 Toy Gun 3 Reso FX Emergency Big Clap TR808 Kick 1 TR909 Kick 1 HH Soul Snr TR909 Snr 4

P: A23 Rock

Optic Kick TR909 Kick 4 TR808 RimLng Hash Snare Funk Clap 2 DJ Snare Kick Tom TR909 CHH 2 Kick Tom TR909 PHH 1 Kick Tom TR909 OHH 1 TR909 Kick 5 Turbo Kick SideStiker Lo-Fi Snare Claptail Macho Snare TR707 Tom TR909 PHH 1 TR707 Tom TR909 OHH 3 TR707 Tom Cym OHH TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR909 Ride TR909 Crash Asian Gong Tambourine 3 TR909 Crash Cowbell TR606 Cym 2 TR808Cowbell Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo TR727Quijada TR626 Shaker Bounce ElectricDunk Iron Door Drill Hit Thrill PCM Press Dist TekGtr Dist TekGtr Dist TekGtr Dist TekGtr Gtr FX Air Gun TR909 Kick 2 Gabba Kick ElectroSnr 2 Big Trash SD

P: A24 Industrial

TR909 Dst BD Lo-Fi Kick 2 Drill Hit Big Trash SD Dist Swish Rage Snare Can Tom Air Blip Can Tom Beam HiQ Can Tom TR909 DstOHH Bomb Iron Door Thrill PCM Press Air Gun PCM Press TekRok Snare Real PHH TekRok Snare TR909 PHH 1 TekRok Snare TR909 DstOHH TekRok Snare TekRok Snare Bomb Noise TekRok Snare TR909 Ride Drill Hit ElectricDunk Mt Pandeiro TR606 Cym 1 PC-2 Machine TR909 Crash Crash Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF Analog Bird Analog Bird TechnoShaker TR626 Shaker One! Two! Three! Kick it! Wao! Come on! Fuzzy Clap Roll Kick Bomb LoTimbale LF TR909 DstOHH Fuzzy Clap TR909 Kick 2 Roll Kick TR909 DstSnr Flange Snr

P: A25 Ethnic

Open Surdo Mute Surdo Jungle Snap Natural Rim Big Clap Jungle Snr 1 Jungle Snr 2 Mt Pandeiro Jungle Snr 2 R8 Brush CHH Jungle Snr 2 Metal Sweep Afro Feet Mute Surdo Jungle Snap Op Pandeiro Real Clap 2 Hi Timbale TablaBaya Chenchen TablaBaya Tambourine 1 TablaBaya Tambourine 4 TablaBaya Udo Asian Gong Udo Cup Cym NaturalCrash Cup Cym Tambourine 2 TR606 Cym 1 Cowbell NaturalCrash CR78 Beat Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo Cabasa Up TR626 Shaker Whistle Whistle Short Guiro Long Guiro TR808 Claves Hyoshigi AfroDrum Rat Mute Cuica Open Cuica Triangle 2 Triangle 1 Real Clap 1 Boost Kick Kick Ghost Voice loop Chiki!

status AnH 2nd byte kkH 3rd byte vvH
status 2nd byte 3rd byte BnH kkH vvH kk=control number: 00H78H (0120)
When Identity Request is received, Identity Reply message will be transmitted.
status F0H Byte F0H 41H dev 00H 0BH 12H aaH bbH ccH ddH eeH : ffH sum F7H * *
data byte status 41H, dev, 00H, 0BH, 12H, aaH, bbH, F7H ccH, ddH, eeH,. ffH, sum Remarks Exclusive status ID number (Roland) device ID (dev: 10H1FH) model ID (D2) model ID (D2) command ID (DT1) address MSB address address address LSB data: The actual data to be transmitted. Multi-byte data is transmitted in the order of the address. : data checksum EOX (End Of Exclusive)

status DnH 2nd byte vvH

status 2nd byte 3rd byte EnH llH mmH mm,ll=Pitch Bend value: 00 00H40 00H7F 7FH (-81920+8191)
status BnH 2nd byte 78H 3rd byte 00H Appendices
For the address, size, and checksum, refer to Examples of system exclusive messages and calculating the checksum (p. 107). Data whose size is greater than 128 bytes should be divided into packets of 128 bytes or less and transmitted. Successive Data Set 1 messages should have at least 20 ms of time interval between them.
status BnH 2nd byte 79H 3rd byte 00H

qStart

status FAH * This message will be received if the Sync Mode parameter is SLAVE or REMOTE.
The same processing will be done as when an All Note Off message is received.

qContinue

status FBH * This message will be received if the Sync Mode parameter is SLAVE or REMOTE.
status 2nd byte BnH 7EH mm=mono number: 00H10H (016) * 3rd byte mmH
status FCH * This message will be received if the Sync Mode parameter is SLAVE or REMOTE.
4. Data transmission (Sequencer section)
4.1 Recorded messages are transmitted during playback. 4.2 If the Through parameter is ON, messages received (except for System Common messages and System Realtime messages) will be transmitted. 4.3 Messages that are generated and transmitted
4.3.1 Messages automatically generated by the system
System Exclusive message status This is the ID number (manufacturer ID) that specifies the manufacturer whose exclusive message this is. Rolands manufacturer ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the MIDI standard as Universal Non-realtime messages (7EH) and Universal Realtime Messages (7FH). 00H7FH (0127) EOX (End Of Exclusive)
3.2 Messages not recorded during recording sChannel Mode messages
qLocal On/Off (Controller number 122)
status BnH vv=value: 2nd byte 3rd byte 7AH 00H 00H,7FH (Local off, Local on)
At start-up, this message is transmitted to all channels.
4.3.2 Messages generated and transmitted when the Sync Out is ON
When an All Note Off message is received, all notes of the corresponding channel that are on will be sent Note Offs, and the resulting Note Off messages will be recorded.

s1-3-2.Patch Tone

++ | Offset | | | | Address | Size | Description Data (Value) | |+| | | 0000 000a | Tone Switch (OFF,ON) | | | | Wave Group Type 0 *1 | | | 0000 00aa | Wave Group ID *1 | |# | 0000 aaaa | Wave Number *1 | | | 0000 bbbb | | | | 0000 00aa | Wave Gain *2 | | | 0000 000a | FXM Switch (OFF,ON) | | | 0000 00aa | FXM Color (1 4) | | | 0000 aaaa | FXM Depth (1 16) | |++| | 0A | 0aaa aaaa | Reserved | |++| | 00 0B | 0aaa aaaa | Velocity Cross Fade | | 00 0C | 0aaa aaaa | Velocity Range Lower *3 | | 00 0D | 0aaa aaaa | Velocity Range Upper *4 | | 00 0E | 0aaa aaaa | Keyboard Range Lower *5 | | 00 0F | 0aaa aaaa | Keyboard Range Upper *6 | |++| | 14 | 0aaa aaaa | Reserved | |++| | | 000a aaaa | Modulation 1 Destination *7 | | | 0aaa aaaa | Modulation 1 Depth (63 +63)| | | 000a aaaa | Modulation 2 Destination *7 | | | 0aaa aaaa | Modulation 2 Depth (63 +63)| | | 000a aaaa | Modulation 3 Destination *7 | | 00 1A | 0aaa aaaa | Modulation 3 Depth (63 +63)| | 00 1B | 000a aaaa | Modulation 4 Destination *7 | | 00 1C | 0aaa aaaa | Modulation 4 Depth (63 +63)| | 00 1D | 000a aaaa | Pitch Bend 1 Destination *7 | | 00 1E | 0aaa aaaa | Pitch Bend 1 Depth (63 +63)| | 00 1F | 000a aaaa | Pitch Bend 2 Destination *7 | | | 0aaa aaaa | Pitch Bend 2 Depth (63 +63)| | | 000a aaaa | Pitch Bend 3 Destination *7 | | | 0aaa aaaa | Pitch Bend 3 Depth (63 +63)| | | 000a aaaa | Pitch Bend 4 Destination *7 | | | 0aaa aaaa | Pitch Bend 4 Depth (63 +63)| | | 000a aaaa | Aftertouch 1 Destination *7 | | | 0aaa aaaa | Aftertouch 1 Depth (63 +63)| | | 000a aaaa | Aftertouch 2 Destination *7 | | | 0aaa aaaa | Aftertouch 2 Depth (63 +63)| | | 000a aaaa | Aftertouch 3 Destination *7 | | 00 2A | 0aaa aaaa | Aftertouch 3 Depth (63 +63)| | 00 2B | 000a aaaa | Aftertouch 4 Destination *7 | | 00 2C | 0aaa aaaa | Aftertouch 4 Depth (63 +63)| |++| | 00 2D | 0000 0aaa | LFO1 Waveform *8 | | 00 2E | 0000 000a | LFO1 Key Sync (OFF,ON) | | 00 2F | 0aaa aaaa | LFO1 Rate | | | 0000 0aaa | LFO1 Offset *9 | | | 0aaa aaaa | LFO1 Delay Time | | | 0000 00aa | LFO1 Fade Mode *10 | | | 0aaa aaaa | LFO1 Fade Time | | | 0000 000a | LFO1 Tempo Sync (OFF,ON) | | | 0000 0aaa | LFO2 Waveform *8 | | | 0000 000a | LFO2 Key Sync (OFF,ON) | | | 0aaa aaaa | LFO2 Rate | | | 0000 0aaa | LFO2 Offset *9 | | | 0aaa aaaa | LFO2 Delay Time | | 00 3A | 0000 00aa | LFO2 Fade Mode *10 | | 00 3B | 0aaa aaaa | LFO2 Fade Time | | 00 3C | 0000 000a | LFO2 Tempo Sync (OFF,ON) | |++| | 00 3D | 0aaa aaaa | Coarse Tune (48 +48)| | 00 3E | 0aaa aaaa | Fine Tune (50 +50)|
| 00 3F | 000a aaaa | Random Pitch Depth *11 | | | 0000 aaaa | Pitch Key Follow *12 | | | 000a aaaa | Pitch Envelope Depth (12 +12)| | | 0aaa aaaa | Pitch Envelope Velocity Sens *13 | | | 0000 aaaa | Pitch Envelope Velocity Time14 *14 | | | 0000 aaaa | Pitch Envelope Velocity Time14 *14 | | | 0000 aaaa | Pitch Envelope Time Key Follow *14 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Time 127 | | 00 4A | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | 00 4B | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | 00 4C | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | 00 4D | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | 00 4E | 0aaa aaaa | Pitch LFO1 Depth (63 +63)| | 00 4F | 0aaa aaaa | Pitch LFO2 Depth (63 +63)| |++| | | 0000 0aaa | Filter Type *15 | | | 0aaa aaaa | Cutoff Frequency | | | 0000 aaaa | Cutoff Key Follow *12 | | | 0aaa aaaa | Resonance | | | 0aaa aaaa | Resonance Velocity Sens *13 | | | 0aaa aaaa | Filter Envelope Depth (63 +63)| | | 0000 0aaa | Filter Envelope Velocity Curve (1 7) | | | 0aaa aaaa | Filter Envelope Velocity Sens *13 | | | 0000 aaaa | Filter Envelope Velocity Time14 *14 | | | 0000 aaaa | Filter Envelope Velocity Time14 *14 | | 00 5A | 0000 aaaa | Filter Envelope Time Keyfollow *14 | | 00 5B | 0aaa aaaa | Filter Envelope Time 127 | | 00 5C | 0aaa aaaa | Filter Envelope Time 127 | | 00 5D | 0aaa aaaa | Filter Envelope Time 127 | | 00 5E | 0aaa aaaa | Filter Envelope Time 127 | | 00 5F | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter LFO1 Depth (63 +63)| | | 0aaa aaaa | Filter LFO2 Depth (63 +63)| |++| | | 0aaa aaaa | Tone Level | | | 0000 00aa | Bias Direction *16 | | | 0aaa aaaa | Bias Point (C1 G9) | | | 0000 aaaa | Bias Level *14 | | | 0000 0aaa | Amp Envelope Velocity Curve (1 7) | | 00 6A | 0aaa aaaa | Amp Envelope Velocity Sens *13 | | 00 6B | 0000 aaaa | Amp Envelope Velocity Time14 *14 | | 00 6C | 0000 aaaa | Amp Envelope Velocity Time14 *14 | | 00 6D | 0000 aaaa | Amp Envelope Time Keyfollow *14 | | 00 6E | 0aaa aaaa | Amp Envelope Time 127 | | 00 6F | 0aaa aaaa | Amp Envelope Time 127 | | | 0aaa aaaa | Amp Envelope Time 127 | | | 0aaa aaaa | Amp Envelope Time 127 | | | 0aaa aaaa | Amp Envelope Level 127 | | | 0aaa aaaa | Amp Envelope Level 127 | | | 0aaa aaaa | Amp Envelope Level 127 | | | 0aaa aaaa | Amp LFO1 Depth (63 +63)| | | 0aaa aaaa | Amp LFO2 Depth (63 +63)| | | 0aaa aaaa | Tone Pan (L64 63R)| | | 0000 aaaa | Pan Key follow *14 | | | 00aa aaaa | Random Pan Switch 0,63 (OFF,ON) | | 00 7A | 0aaa aaaa | Alternate Pan Depth (L63 63R)| | 00 7B | 0aaa aaaa | Pan LFO1 Depth (63 +63)| | 00 7C | 0aaa aaaa | Pan LFO2 Depth (63 +63)| |++| | 00 7D| 0aaa aaaa | Reserved | |+| | Total size | | ++ * 1: Correspondence between the "Waveform List" and "Wave Group Type, Wave Group ID, Wave Number" Wave A001-254 B001-251 * * * * * * * * * * * * * * * 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: Wave Group Type Wave Group ID Wave Number 0 - - 250

-6, 0, +6, +- Upper Lower - 127 C-1 - Upper Lower - G9 OFF, PCH, CUT, RES, LEV, PAN, L1P, L2P, L1F, L2F, L1A, L2A, PL1, PL2, L1R, L2R TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS -100, -50, 0, +50, +100 ON-IN, ON-OUT, OFF-IN, OFF-OUT 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200 -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200 -100 - +150 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100 OFF, LPF, BPF, HPF, PKG LOWER, UPPER, LOW&UP, ALL

s1-4.Rhythm Set

++ | Offset | | | Address | Description | |+| | | Rhythm Common 141 | | | Rhythm Note for Key# | | | Rhythm Note for Key# 36 | | : | | | | Rhythm Note for Key# 98 | ++

s1-4-1.Rhythm Common

++ | Offset | | | | Address | Size | Description Data (Value) | |+| | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | | 0aaa aaaa | Rhythm Name 125 | | 00 0A | 0aaa aaaa | Rhythm Name 125 | | 00 0B | 0aaa aaaa | Rhythm Name 125 | |+| | Total size | 00 0C | ++

s1-4-2.Rhythm Note

++ | Offset | | | | Address | Size | Description Data (Value) | |+| | | 0000 000a | Tone Switch (OFF,ON) | | | | Wave Group Type 0 *1 | | | 0000 00aa | Wave Group ID *1 | |# | 0000 aaaa | Wave Number *1 | | | 0000 bbbb | | | | 0000 00aa | Wave Gain *2 | | | 0000 aaaa | Bend Range | | | 000a aaaa | Mute Group (OFF,1 31)| | | 0000 000a | Envelope Mode *3 | |++| | 0B | 0aaa aaaa | Reserved | |++| | 00 0C | 0aaa aaaa | Coarse Tune (60 +60)| | 00 0D | 0aaa aaaa | Fine Tune (50 +50)| | 00 0E | 000a aaaa | Random Pitch Depth *4 | | 00 0F | 000a aaaa | Pitch Envelope Depth (12 +12)| | | 0aaa aaaa | Pitch Envelope Velocity Sens *5 | | | 0000 aaaa | Pitch Envelope Velocity Time *6 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Time 127 | | | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| | | 0aaa aaaa | Pitch Envelope Level 126 (63 +63)| |++| | 00 1A | 0000 0aaa | Filter Type *7 | | 00 1B | 0aaa aaaa | Cutoff Frequency | | 00 1C | 0aaa aaaa | Resonance | | 00 1D | 0aaa aaaa | Resonance Velocity Sens *5 | | 00 1E | 0aaa aaaa | Filter Envelope Depth (63 +63)| | 00 1F | 0aaa aaaa | Filter Envelope Velocity Sens *5 | | | 0000 aaaa | Filter Envelope Velocity Time *6 | | | 0aaa aaaa | Filter Envelope Time 127 | | | 0aaa aaaa | Filter Envelope Time 127 | | | 0aaa aaaa | Filter Envelope Time 127 | | | 0aaa aaaa | Filter Envelope Time 127 | | | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter Envelope Level 127 | | | 0aaa aaaa | Filter Envelope Level 127 | |++| | | 0aaa aaaa | Tone Level | | 00 2A | 0aaa aaaa | Amp Envelope Velocity Sens *5 | | 00 2B | 0000 aaaa | Amp Envelope Velocity Time *6 | | 00 2C | 0aaa aaaa | Amp Envelope Time 127 | | 00 2D | 0aaa aaaa | Amp Envelope Time 127 | | 00 2E | 0aaa aaaa | Amp Envelope Time 127 | | 00 2F | 0aaa aaaa | Amp Envelope Time 127 | | | 0aaa aaaa | Amp Envelope Level 127 | | | 0aaa aaaa | Amp Envelope Level 127 | | | 0aaa aaaa | Amp Envelope Level 127 | | | 0aaa aaaa | Tone Pan (L64 63R)| | | 00aa aaaa | Random Pan Switch 0,63 (OFF,ON) | | | 0aaa aaaa | Alternate Pan Depth (L63 63R)| |++| | | 0000 00aa | MFX Switch *8 | |++| | | 0aaa aaaa | Reserved | |++| | | 0aaa aaaa | Delay Send Level | | | 0aaa aaaa | Reverb Send Level | |+| | Total size | 00 3A | ++ * 1: Correspondence between the "Waveform List" and "Wave Group Type, Wave Group ID, Wave Number" Wave A001-254 B001-251 * * * * * * * * * 2: 3: 4: 5: 6: 7: 8: Wave Group Type Wave Group ID Wave Number 0 - - 250

Arabian-type scale

The Scale Tune function allow you to use various tunings of ethnic music. Here is one of the Arabian scales. Setting examples Note C C# D Eb E F F# G G# A Bb B Equal Temp. Just (in C) 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 Arabian-type scale -6 +45 -2 -12 -51 -8 +43 -4 +-10 -49
Since HALL2 is parameter value 05H, F0 (1) 41 (2) 10 (3) 00H (4) 0BH (5) 12 (6) address 05 data ?? checksum F7 (7)
(1) Exclusive status (4), (5) model ID (D2)
(2) ID number (Roland) (6)command ID (DT1)
(3) device ID (17) (7) EOX
Next we calculate the checksum. 01H + 00H + 00H + 28H + 05H = 1 + 0 + 0 + 40 + 5 = 46(sum)
The values in the above table are in units of 1 cent. Convert these values to hexadecimal, and transmit them as exclusive data. For example to set the Scale Tune of Part 1 to an Arabian-type scale, transmit the following data. F3A 6D 3E 34 0D 38 6B 3C 6F 0F 76 F7
groovebox (Sound Generator Section) Model D2

Function.

Date : Mar. 8, 2001 Version : 1.00

Remarks

MIDI Implementation Chart

Transmitted X X X X

**************
Recognized 17, 10 17, 10 Mode 3 Mode 3, 4 (M = 1)

Basic Channel

Default Changed Default Messages Altered
Note Number : True Voice Velocity After Touch Pitch Bend
0, 7 8, 9 10, 15, 18, 31, 32, 39, 40, 77 78, 92, 95 100, 101

O O O O O

O X O O O X O X O X O X O X O X O O O X O X O X O X O X O X O X O
Note On Note Off Key's Channel's

O X X X O

O O O X O O O O O O O O O O O O O X O O O O O O O O O O O O O O O

Control Change

Program Change

O : True Number

O 0127 O X X X O X O (120, 126, 127) O X O (123127) O X

Program No. 1128

System Exclusive : Song Position System : Song Select Common : Tune Request : Clock System Real Time : Commands
: All Sound Off : Reset All Controllers Aux : Local On/Off Messages : All Notes Off : Active Sensing : System Reset

O X X X X X X X X X O X

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY
* 1 Recognized as M=1 even if M1. * 2 Refer to Table of Transmitted Data (p. 76) about function of each controller number. Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO O : Yes X : No
goovebox (Sequencer Section) Model D2
Remarks There is no basic channel.
Transmitted 17, 10 X Mode 3 OMINI OFF, POLY

Recognized 17, 10 X X X

Note Number : True Voice Velocity After Touch Pitch Bend 0119 Note On Note Off Key's Channel's

O O O O O O

O 0127 O *4 O X X O O O O X O (123127) O X *2
System Exclusive : Song Position System : Song Select Common : Tune Request System : Clock Real Time : Commands

O O X X O O O O X O X X

*1 Omni Off, Poly is transmitted to all channels at starting up. *2 Recognized only when Sync Mode is SLAVE or REMOTE. *3 Recognized only when Sync Mode is SLAVE. *4 Transmitted only when Sync Out is ON and D-FIELD mode is not VINYL. *5 Transmitted only when Sync Out is ON. *6 Mode messages (123127) are stored/transmitted after All Note Off processing is performed. The All Note Off message itself is not stored/transmitted. Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO O : Yes X : No

Specifications

D2 (GROOVEBOX)

Sound generator:

Maximum Polyphony Parts Patches Preset User Rhythm set Preset User Effects Reverb Delay MFX voices 16 (Main: 8 + RPS: 8)

Controller

Connectors
Headphones Jack (Stereo miniature phone type) Output Jacks (L, R) (RCA phono type) MIDI Connectors (IN/OUT) DC IN Jack

AC Adaptor (DC9V)

Current Draw

1000 mA

Dimensions
325 (W) x 256 (D) x 55 (H) mm 12-13/16 (W) x 10-1/8 (D) x 2-3/16 (H) inches

Sequencer:

Tracks Resolution Tempo Maximum Note Storage Patterns Preset RPS User Songs Recording Method New Step REC D-Field REC Arpeggiator Preset User Real-time Quantize GRID/SHUFFLE/ GROOVE RPS Set Pattern Set MEGAMIX Set 96 TPQN 20.0 240.0 (max.) approx. 40,000 notes

Weight

1.4 kg / 3 lb 2 oz (excluding AC Adaptor)

Accessories

Owners Manual AC Adaptor (ACI series or PSB-1U)
* In the interest of product improvement, the specifications and/ or appearance of this unit are subject to change without prior notice.

Numerics

4 Band EQ... 45 FILTER... 21, 33 Flanger... 5354
AC adaptor jack... 11 ADLIB... 2122, 24 Advanced Operation Using MIDI.. 78 ARPEGGIATOR ARPEGGIATOR 1... 26 ARPEGGIATOR 2... 27 Arpeggio.. 2628 Beat pattern.. 29 Motif... 28 Style... 28 ASSIGN 1.. 2122, 2527, 3032 ASSIGN 2.. 2122, 34, 3637, 39 ASSIGN 3.. 2122, 41 Auto PAN... 55

-------------------------------------------------------------New D-Field Controller
The D2 puts you in control of the music with its revolutionary D-Field Controller. The D-Field makes playing sounds, controlling patterns and creating effects as easy as rubbing your finger across the surface. Three modes are provided, each with four buttons used to call up special functions.
This mode is for controlling patterns like a turntable by tracing circular motions on the D-Field. The following function buttons are included:

Reverse

This mode allows you to play patterns and sound effects by touching the D-Field and includes the following function buttons:

Forward

1. VINYL Stop Control patterns like a turntable including forward, reverse and stop.
2. BPM Trace the pad forward or backward to vary the tempo 1. RPS Play back Realtime Phrase Sequence patterns. 3. SD ROLL Control the speed of snare drum rolls by tracing the pad 4. ASSIGN 3 Assign the D-Field between Step Mute and Pan
-------------------------------------------------------------Killer Sounds and All-New Patterns
The D2 includes 600 patches with waveforms inherited from the industry-standard MC-505 Groovebox. These dance-oriented sounds include ultra-phat bass and lead synths, screaming TB-303s, dance piano and strings, plus 30 floor-pounding drum kits. 157 Preset patterns are included and have been programmed in the latest dance music styles such as 2-Step and drum-intensive R&B. Of course, theres also plenty of house, techno, hip-hop and drum n bass.

Up to 8 phrases

2. ADLIB Use the pad to play solos manually or via the arpeggiator 3. VINYL-FX Call up scratching, backspin and other turntable sounds 4. ASSIGN 1 Use the D-Field to select or mute patterns and preview Patches
This D-Field mode allows two parameters to be controlled simultaneously and includes the following function buttons:
-------------------------------------------------------------Create Your Own Grooves with Megamix
With the D2s Megamix function, its easy to remix patterns into your own creations. Using the D-Field or Value dial, simply call up a phrase from one pattern, such as a bassline, and combine it with a phrase from another pattern. There are no rules, so you could take a drum n bass rhythm and combine it with a piano riff from a house pattern. With the D2, anything is possible!
Cutoff + Resonance Resonance
1. FILTER Control both cutoff and resonance with one finger.

Cutoff

2. MFX Use the D-Field to control one of the 25 onboard multi-effects (MFX) 3. X-FADER Crossfade between two Parts of the current pattern 4. ASSIGN 2 Assign the D-Field between Bender, LFO, Quantize and Envelope

D2 Specifications

Polyphony 64voices q Parts Main: 8 + RPS: 8 q Patches Preset: 600, User: 256 q Rhythm set Preset: 30, User: 20 q Effects Reverb: 6, Delay: 2, MFX: 25 q Sequencer Tracks: 8, Resolution: 96 TPQN, Tempo 20.0 -240.0 (max.), Note Storage: about 40,000 notes q Patterns Preset: 157, RPS: 232, User: 100 q Songs 25 q Recording Method New Step REC, D-Field REC q Arpeggiator Preset: 43,User: 10 q Real-time Quantize GRID/SHUFFLE/GROOVE q RPS Set 30 q Pattern Set 20 q MEGAMIX Set 20 q Display 7-segment, 3-characq Max.

D2 Rear Panel

ter (LED) q Controller D-Field Controller q Connectors Headphones (STEREO mini type), Output (L, R, : RCA TYPE), MIDI (IN, OUT) q Power Supply DC9V q Current Draw 1000mA q Dimensions 325(W) x 255.5(D) x 55(H)mm, 12-13/16 x 10-1/16 x 2-3/16 inches q Weight 1.4kg/ 3 lbs 2 oz q Accessories AC Adaptor (ACI series or PSB-1U)
*The specifications are subject to change without notice.