PR-A (Preset A Group)

No. Name Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No. Name Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY Grand XV Contemplate Hall Grand 64voicePno Bright Piano Nice Piano Upright Pno Rock Piano RockPiano Ch Pianomonics RN Sad Song Y2K Concerto Piano+SftPad WarmVoxPiano Piano+AirPad ChoraLeader SparklePiano Warm pF Mix R&Ballad Mix Power Octs RD-1000 Retro Rhodes Fat Rhodes PingE Piano Rhodes Trem Phaser Dyno Hit Rhodes Hybrid EP Rocky Road Sweet Tynes Pluk Rhodes Rhodes Trip AmbiRhodes Rholitzer SA Rhodes Dig Rhodes Octa Rhodes Waterhodes Wurlie Curly Wurly Wurli World Super Trip Amped Wurlie Dirty Wurlie Wurly Gum FM Delight Cold Roadz XV Crystal Ring E.Piano See-Thru EP Innocent EP EP+Mod Pad WaterPiano2 Swimming EP Backrhodes Cutter Clav Comp Clav Mute Clav D6 PhazeWahClav Phase Clav Psyche Clav PieceOfCheez Harpsy Clav Dist Clav Voxfuzz Klav St.Harpsichd PositvHarpsi 3PartInventn Pop Ballad Musicbox XV Chime Bells Shuffle Bell Stream Bell Heavenals HolidayCheer Morning Lite Digibell Pad D50 StacHvn Celestabox Sandman Bell Museum Wide Tubular True Vibe Echo Vibe Tremolo Vibe Marimbula Exotic Velo Bottlephone IslandSpirit Ambient Wood Steel Drums Soft B Ballad B Soft Perky Full Stops Fullness Paleface 1 Paleface 2 VeloClikOrgn British B Rocker Org Tone Wh.Solo Drew's Bee Split B Velvet Organ Verby Organ Happy 60s 96 Years Boogie Organ Glory Us Rok SoapOpera x4 Klubb Organ PercInterval Distorted B Radikal B Cathedral Church Harmn Cathdr Harmn Wedding Mass Harmonica XV Blues Harp Nylon Gtr Soft Nylon Nylozzicato Mutezzicato Hybrid Nylon Steel Away Solo Steel

Voice: number of voice

PR-B (Preset B Group)
No. Name Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY MONO POLY POLY POLY POLY POLY POLY POLY MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY MONO POLY MONO POLY POLY POLY POLY POLY MONO POLY MONO POLY No. Name Voice Key Assign POLY MONO POLY POLY MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO POLY MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY Thick Steel XV SteelGt 1 SteelRelease XV SteelGt 2 So nice! Steel&Nylon Comp'Steel Double Steel Folk Guitar SpanishNight Classic Gtr DesertCrystl DeepInPrayer Two+Ensemble Harmless Clear Guitar Jz Gtr Hall JC Strat Solo Strat Plug n' Play Wah Guitar Trem Guitar Rotary Gtr Fab 4 Guitar Syn Strat SwitchOnMute LetterFrmPat StratSeq'nce Swell Strat Blusey OD Searing Lead LouderPlease Crying Solo Southern Fry Strum Distrt Match Drive Stacked 2-Stack Over COSM Searing COSM Loud Gt Plugged !!! Blue Mutes Metal 5150 Crunch Phase Alt Dist Gtr Hurtin'Tubes Punker XV Ac.Bass XV Upright Ac.Upright Fingerd Bass Stringless LookMaNoFret XV Fretless Basic F'less 8-str F'less Fretls Dry Tap Bass Pick Bass Pop Bass P.Bs Chorus TremCho Bs Punch Bass COSM Bass Slap Bass 1 Slap Bass 2 Slap Bass 3 Stick Chopz 4 Pole Bass Tick Bass House Bass 101 Bass Wonder Bass SinusoidRave 202 Rude Bs Creamy Bass Buster Bass Thipper Bass Phatso Bass Acid TB TB Squelch Ticker Bass Muscle Bass Grounded Bs West End Bs Snap Bass 700 Bassboy 8VCO MonoSyn ResoMoist Bs Kickin' Bass Sub Zero Liquid Bass Hefty Bass Severe Ow Bs Jupiter Bass Untamed Bass XV Strings St.Strings BatonStrings Fat Strings Dolce p/m/f Sad Strings Lush Strings Film Octaves Strings4Film Marcato Marcato Str TremoloStrng End Titles Bass Pizz ChamberQrt.1 ChamberQrt.2 Lead 4x Vlns ChamberSect. FullChmbrStr Tape Strings JP-8 Str 1 Jupiter 21 Filt Strings HybStringsXV UltraSmooth Hold A Chord Prelude ChamberPlyrs TudorFanfare Hornz Symphonique Wood Symphny

OFF, CC0131, 3395, PITCH BEND, AFTERTOUCH, TEMPO, ARP VAR, ARP ACCENT, ARP SHFFLE, ARP OCTAVE, PTN ACCENT, PTN SHFFLE 116 OFF, CC0131, 3395, BEND UP, BEND DOWN, AFTERTOUCH, OCT UP, OCT DOWN, TRNS UP, TRNS DOWN, TAP TEMPO, MONO/POLY, ARP HOLD, PTN HOLD, ZONE INT, ZONE EXT MOMENTARY, LATCH 116 OFF, ON OFF, CC0131, 3395, BEND UP, BEND DOWN, AFTERTOUCH, NOTE, OCT UP, OCT DOWN, START/STOP, TAP TEMPO, ARP SWITCH, ARP VAR, ARP ACCENT, ARP SHFFLE, ARP OCT UP, ARP OCT DW, PTN SWITCH, PTN ACCENT, PTN SHFFLE STANDARD, REVERSE 0UPPER LOWER127 116
Mode 14 Zone 14 D Beam Switch Assign
Realtime Control Button Mode 14 Realtime Control Button Zone Number 14 D Beam Switch D Beam Assign
Polarity Range Lower Range Upper Zone
D Beam Polarity D Beam Range Lower D Beam Range Upper D Beam Zone Number
Zone Group (Owners Manual; p. 98)
Zone Transmit Channel Int Switch Ext Switch Ext Bank Select MSB Ext Bank Select LSB Ext Program Number Ext Level Ext Pan Key Range Lower Key Range Upper Control Bender Control Aftertouch Control Modulation Control Hold Pedal Control Pedal 1, 2
116 OFF, ON OFF, ON 0127, --0127 1128, --0127, --L64063R, --C-1UPPER LOWERG9 OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON P P P P P P P P P P P P P P P
Internal Switch External Switch External Bank Select MSB External Bank Select LSB External Program Change Number External Level External Pan Keyboard Range Lower Keyboard Range Upper Control Pitch Bend Switch Control Aftertouch Switch Control Modulation Switch Control Hold Pedal Switch Control Pedal 1, 2 Switch
Part Group (Owners Manual; p. 100)
MIDI Group (Owners Manual; p. 103)
Part 1Part 16 MFX, A, B, 14, PAT AC (MFX-AMFX-C) (Through)90 (3D Manual) 0127 A, B 0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2Chorus) 0127 A, B MAIN, REV, M+R 0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2Reverb) 0127 A, B PRF, P1P16 PRF, P1P16 PRF, P1P16
Scale Tune Group (Owners Manual; p. 104)

System Parameters

General Group (Owners Manual; p. 179)
General Local Switch Master Tune Master Key Shift Master Level Patch Remain Mix/Parallel Output Gain Keyboard Velocity Keyboard Sens Aftertouch Sens Power Up Mode Backlight Saver

SMALL 1 SMALL 2 MIDDLE JC-120 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 3-STACK
Radio Noise Level Disc Noise Type

0127 LP, EP, SP, RND

Cabinet
small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack
12 x x x x x x x x x x x x x x 4

Microphone

dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser

Disc Noise LPF

Disc Noise Level Low Gain High Gain Balance #

53: OVERDRIVE 2

This is an overdrive that provides heavy distortion.

fig.02-053m

Drive # Tone Amp Switch Amp Type
L out Amp Simulator 2-Band EQ
OFF, ON SMALL, BUILT-IN, 2-STACK, 3-STACK
Degree of distortion Also changes the volume. Sound quality of the Overdrive effect Turns the Amp Simulator on/off. Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp Gain of the low range Gain of the high range Output Level Stereo location of the output sound

54: DISTORTION 2

This is a distortion effect that provides heavy distortion. The parameters are the same as for 53: OVERDRIVE 2.

fig.02-054m

57: GATE
Cuts the reverbs delay according to the volume of the sound input to the effects device. Use this in situations such as when you want to force a decrease in the decay sound.

fig.02-057m

R out R in Gate R out

55: STEREO COMPRESSOR

fig.02-055m

GATE, DUCK

Type of the gate GATE (Gated Reverb): When the source volume falls below a certain level, the gate closes, giving the effect of the reverb sound being cut with a gated reverb. DUCK (Ducking Reverb): When the source volume gets high enough, the gate closes, which gives a ducking reverb-type effect. Stop the reverb sound only when input loud sound so that prevent the play sound become unclear. Adjusts the time it takes the gate fully opens after being triggered. Adjusts the time it takes the gate starts closing after the instant the source sound goes under the Key Threshold. Adjusts the time it takes the gate fully closes after passes by the hold time. Selects the source sound that acts as the trigger for closing the gate. SOURCE: The gate is closed by the sound sent into the Multi-effects. A, B: The gate is closed by the direct sound sent to the OUTPUT A or OUTPUT B jacks. Volume level at which the gate begins to close Determines whether the sound used as the gate trigger is output (ON) or not (OFF). * This parameter is disabled when Key is set to SOURCE. Volume balance between the direct sound (D) and the effect sound (W) Output Level

Pre Filter Type Post Filter 1 Type Post Filter 2 Type
Degrades the sound quality. The sound quality will become poorer as this value is increased. Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Basic frequency of the filter Type of hum noise Adjusts the cutoff frequency of the low pass filter that is applied to the hum noise. If you do not want to cut the high frequencies, set this parameter to BYPASS. Volume of the hum noise Simulates the tuning noise of a radio. As this value is raised, the tuning will drift further. Volume of the radio noise Selects either white noise or pink noise. Adjusts the cutoff frequency of the low pass filter that is applied to the white noise or pink noise. If you do not want to cut the high frequencies, set this parameter to BYPASS. Volume of the white noise or pink noise Type of record noise The frequency at which the noise is heard will depend on the selected type. Adjusts the cutoff frequency of the low pass filter that is applied to the record noise. If you do not want to cut the high frequencies, set this parameter to BYPASS. Volume of the record noise Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Output Level
Post Filter 2 Cutoff Low Gain High Gain Balance #
Post Filter Cutoff Hum Type Hum LPF
2008000 Hz 50 Hz, 60 Hz 2008000 Hz, BYPASS

Hum Level Radio Detune #

Radio Noise Level White/Pink Noise Type White/Pink Noise LPF
0127 WHITE, PINK 2008000 Hz, BYPASS
White/Pink Noise Level Disc Noise Type

78: GUITAR AMP SIMULATOR

This is an effect that simulates an amp.

fig.02-078m

79: STEREO OVERDRIVE

fig.02-079m

L in Pre Amp R in
Pre Amp Switch Pre Amp Type
Amp Simulator Amp Simulator
2-Band EQ 2-Band EQ Description
OFF, ON JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL 5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ LOW, MID, HIGH 0127 (MATCH DRIVE: -127 - 0) OFF, ON

Level # OD/Dist Switch Type Drive # Level Amp Sim Switch Type
OFF, ON OVERDRIVE, DISTORTION 0127 0127
OFF, ON SMALL, BUILT-IN, 2-STACK
Anti Phase Mid Switch Anti Phase Mid Level Post Filter Switch Post Filter Type

OFF, ON 0127

OFF, ON LPF, BPF, HPF, NOTCH
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. Turns the Anti-Phase function on and off for the Low frequency ranges. When turned on, the counterchannel of stereo sound is inverted and added to the signal. 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.) Settings of the Anti-Phase function for the Middle frequency ranges The parameters are the same as for the Low frequency ranges. Turns the filter on/off. Type of filter LPF: Passes frequencies below the Cutoff. BPF: Passes frequencies near the Cutoff. HPF: Passes frequencies above the Cutoff. NOTCH: Passes frequencies other than those near the Cutoff. Basic frequency of the filter The closer to zero it is set, the lower the cutoff frequency becomes; set it closer to 127, and the cutoff frequency becomes higher. Resonance level of the filter Raising the setting increases resonance near the cutoff frequency. Filters attenuation slope -24 dB per octave: steep -12 dB per octave: gentle Compensates for the volume dropped in the cut frequency range with some filters. The level of compensation increases as the value is increased, and raise the volume. Turns Low Booster on/off. This emphasizes the bottom to create a heavy bass sound. Increasing this value gives you a heavier low end. Depending on the Isolator and filter settings this effect may be hard to distinguish. Output Level
High Gain Cho/Flg Switch Type Rate Depth Feedback
-15+15 dB OFF, ON CHORUS, FLANGER 0.0510.00 Hz, note *-98+98 %

Post Filter Cutoff

Post Filter Resonance
Post Filter Slope Post Filter Gain

-12, -24 dB

024 dB
Low Boost Switch Low Boost Level

88: STEREO SPECTRUM

This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.

fig.02-088m

When Using 3D Effects
The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc. 48: 3D DELAY 60: 3D CHORUS 61: 3D FLANGER 70: 3D DELAY 2 89: 3D AUTO SPIN 90: 3D MANUAL When using these effects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sufficient distance from the walls on either side.
Band1 (250Hz) Band2 (500Hz Band3 (1000Hz) Band4 (1250Hz) Band5 (2000Hz) Band6 (3150Hz) Band7 (4000Hz) Band8 (8000Hz) Q

qReset All Controllers (Controller number 121)
Status 2nd byte 3rd byte BnH 79H 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * When this message is received, the following controllers will be set to their reset values. Reset value +/-0 (center) 0 (off) 0 (off) 0 (off) 0 (min) 127 (max) However the controller will be at minimum. 0 (off) 0 (off) 0 (off) 0 (off) unset; previously set data will not change unset; previously set data will not change
sSystem Exclusive Message
Status F0H F0H: ii = ID number: Data byte Status iiH, ddH,.,eeH F7H System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. RolandsmanufacturerIDis41H.' ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH). 00H - 7FH (0 - 127) EOX (End Of Exclusive)
Controller Pitch Bend Change Polyphonic Key Pressure Channel Pressure Modulation Breath Type Expression Hold 1 Sostenuto Soft Hold 2 RPN NRPN

dd,.,ee = data: F7H:

Of the System Exclusive messages received by this device, the Universal Non-realtime messages and the Universal Realtime messages and the Data Request (RQ1) messages and the Data Set (DT1) messages will be set automatically.
qUniversal Non-realtime System Exclusive Messages

Identity Request Message

Status F0H Byte F0H 7EH dev 06H 01H F7H * Data byte Status 7EH, dev, 06H, 01H F7H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 10H - 1FH, 7FH) Sub ID#1 (General Information) Sub ID#2 (Identity Request) EOX (End Of Exclusive)
qAll Notes Off (Controller number 123)
Status 2nd byte 3rd byte BnH 7BH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * When All Notes Off is received, all notes on the corresponding channel will be turned off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are turned off.
When this message is received, Identity Reply message (p. 73) will be transmitted.
qOMNI OFF (Controller number 124)
Status 2nd byte 3rd byte BnH 7CH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * The same processing will be carried out as when All Notes Off is received.

Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI Off) EOX (End Of Exclusive)
When this messages is received, this instrument will return to the Performance mode.
qUniversal Realtime System Exclusive Messages

Master Volume

Status F0H Byte F0H 7FH 7FH 04H 01H llH mmH F7H * * Data byte 7FH, 7FH, 04H, 01H, llH, mmH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Volume) Master Volume lower byte Master Volume upper byte EOX (End Of Exclusive) Status F7H
Value for the parameter. pp=0 Reverb Type vv = 00H Small Room vv = 01H Medium Room vv = 02H Large Room vv = 03H Medium Hall vv = 04H Large Hall vv = 08H Plate pp=1 Reverb Time vv = 00H - 7FH 0 - 127 EOX (End Of Exclusive)
Status F0H Data byte 7FH, 7FH, 04H, 05H, 01H, 01H, 01H, 01H, 02H, ppH, vvH 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. pp=0 Chorus Type vv=0 Chorus1 vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger pp=1 Mod Rate vv= 00H - 7FH 0 - 127 pp=2 Mod Depth vv = 00H - 7FH 0 - 127 pp=3 Feedback vv = 00H - 7FH 0 - 127 pp=4 Send To Reverb vv = 00H - 7FH 0 - 127 EOX (End Of Exclusive) Status F7H
The lower byte (llH) of Master Volume will be handled as 00H. The Master Level parameter (SYSTEM/GENERAL) will change.

Master Fine Tuning

Status F0H Data byte 7FH, 7FH, 04H, 03H, llH, mmH Status F7H
Byte Explanation F0H Exclusive status 7FH ID number (universal realtime message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 03H Sub ID#2 (Master Fine Tuning) llH Master Fine Tuning LSB mmH Master Fine Tuning MSB F7H EOX (End Of Exclusive) mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents]) * The Master Tune parameter (SYSTEM/GENERAL) will change.
Byte F0H 7FH 7FH 04H 05H 01H 01H 01H 01H 02H ppH vvH

Master Coarse Tuning

Status F0H Byte F0H 7FH 7FH 04H 04H llH mmH F7H llH: mmH: * Data byte 7FH, 7FH, 04H, 04H, llH, mmH 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) ignored (processed as 00H) 28H - 40H - 58H (-24 - 0 - +24 [semitones]) Status F7

Channel Pressure

Status F0H Byte F0H 7FH 7FH 09H 01H 0nH ppH rrH Data byte 7FH, 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 Controlled range pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100% EOX (End Of Exclusive) Status F7H

Status 2nd byte BnH 7EH n = MIDI channel number: mm = mono number: 3rd byte mmH 0H - FH (ch.1 - 16) 00H - 10H (0 - 16)
Status 2nd byte BnH 54H n = MIDI channel number: kk = source note number: 3rd byte kkH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
Status 2nd byte 3rd byte BnH 7FH 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
Status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm = upper byte (MSB) of parameter number specified by RPN ll = lower byte (LSB) of parameter number specified by RPN <<< RPN >>> When execute the Data Transfer, Program Change, Data Entry, and following RPN messages will transmit. Control Changes include RPN (Registered Parameter Numbers), which are extended. When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. In order not to make any mistakes, transmitting RPN Null is recommended after setting parameters you need. This device transmits the following RPNs. RPN MSB, LSB 00H, 00H Data entry MSB, LSB mmH, llH
sSystem Realtime Messages
Status FEH * * This message is transmitted at intervals of approximately 250 msec. This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is OFF.
sSystem Exclusive Messages
Universal Non-realtime System Exclusive Message" and Data Set 1 (DT1) are the only System Exclusive messages transmitted by the Fantom.
qUniversal Non-realtime System Exclusive Message

Identity Reply Message

Receiving Identity Request Message, the Fantom send this message. Status Data byte Status F0H 7EH, dev, 06H, 02H, 41H, 10H, 01H, F7H 02H, 02H, 03H, 03H, 00H, 00H
Notes Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H)
Byte F0H 7EH dev 06H 02H 41H 10H 01H 02H 02H 03H 03H 00H 00H F7H
Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 10H - 1FH) Sub ID#1 (General Information) Sub ID#2 (Identity Reply) ID number (Roland) Device family code Device family number code Software revision level EOX (End of Exclusive)
Status 2nd byte BnH kkH n=MIDI channel number: kk=Control number: vv=value: * 3rd byte vvH 0H - FH (ch.1 - ch.16) 00H - 78H (0 - 120) 00H - 7FH (0 - 127)
Not received when the Control Change parameter(Recording Select window) is OFF.
Status 2nd byte CnH ppH n=MIDI channel number: pp=Program number: * 0H - FH (ch.1 - ch.16) 00H - 7FH (prog.1 - prog.128)
Not received when the Program Change parameter(Recording Select window) is OFF.

qChannel Aftertouch

Status 2nd byte DnH vvH n=MIDI channel number: vv=Channel Aftertouch: * 0H - FH (ch.1 - ch.16) 00H - 7FH (0 - 127)

Byte F0H 41H dev 00H 10H 12H aaH bbH ccH ddH eeH : ffH sum F7H *
Explanation Exclusive status ID number (Roland) Device ID (dev: 00H - 1FH, 7FH) Model ID #1 (Fantom) Model ID #2 (Fantom) Command ID (DT1) Address MSB:upper byte of the starting address of the data to be sent Address:upper middle byte of the starting address of the data to be sent Address:lower middle byte of the starting address of the data to be sent Address LSB:lower byte of the starting address of the data to be sent. Data: the actual data to be sent. Multiple bytes of data are transmitted in order starting from the address. : Data Checksum EOX (End Of Exclusive)
Not received when the Channel Aftertouch parameter(Recording Select window) is OFF.
Status 2nd byte EnH llH n=MIDI channel number: mm, ll=Pitch Bend value: * 3rd byte mmH 0H - FH (ch.1 - ch.16) 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Not received when the Pitch Bend parameter (Recording Select window) is OFF.

sChannel Mode messages

qAll Sound Off (Controller number 120)
Status 2nd byte BnH 78H n=MIDI channel number: 3rd byte 00H 0H - FH (ch.1 - ch.16)
The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in "Parameter Address Map" (p. 77). Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
qReset All Controller (Controller number 121)
Status 2nd byte BnH 79H n=MIDI channel number: 3rd byte 00H 0H - FH (ch.1 - ch.16)
3. Data reception (Sequencer Section)
3.1 Messages recorded during recording

qNote Off

Status 2nd byte 8nH kkH 9nH kkH n=MIDI channel number: kk=note number: vv=note off velocity: * 3rd byte vvH 00H 0H - FH (ch.1 - ch.16) 00H - 7FH (0 - 127) 00H - 7FH (0 - 127)
qOmni Off (Controller number 124)
Status 2nd byte BnH 7CH n=MIDI channel number: * 3rd byte 00H 0H - FH (ch.1 - ch.16)
The same processing will be done as when an All Note Off message is received.
qOmni On (Controller number 125)
Status 2nd byte BnH 7DH n=MIDI channel number: * 3rd byte 00H 0H - FH (ch.1 - ch.16)
Not received when the Note parameter(Recording Select window) is OFF.
Status 2nd byte 9nH kkH n=MIDI channel number: kk=note number: vv=note on velocity: * 3rd byte vvH 0H - FH (ch.1 - ch.16) 00H - 7FH (0 - 127) 01H - 7FH (1 - 127)
qMono (Controller number 126)
Status 2nd byte BnH 7EH n=MIDI channel number: mm=mono number: * 3rd byte mmH 0H - FH (ch.1 - ch.16) 00H - 10H (0 - 16)

qMIDI Time code

Full Message
Full Messages are used, which encode the complete time into a single message. This message transmitted when the song position moves. Status Data Byte Status F0H, 7FH xxH, 01H, 01H, hrH, mnH, scH, frH F7H F0H, 7FH : xxH : 01H : 01H : hrH : yy type: Realtime Universal System Exclusive Header 7F (Device ID) sub-ID #1 (MIDI Time code) sub-ID #2 (Full Message) hours and type: 0 yy zzzzz 00 = 24 Flame/sec 01 = 25 Flame/sec 10 = 30 Flame/sec 11 = 30 Flame/sec Hours (00 - 23) Minutes (00 - 59) Seconds (00 - 59) Frames (00 - 29) EOX (End of Exclusive)
Byte F0H 7FH 7FH 06H 44H 06H 01H hrH mnH scH frH ffH F7H
Remarks Exclusive status Universal System Exclusive Realtime Header Device ID MMC command message LOCATE (MCP) Byte count "TARGET" sub-Command Standard Time Specification with subframes (typeff)

EOX (End of Exclusive)

4. Data transmission (Sequencer Section)
4.1 Messages transmitted during playing
Recorded messages are transmitted during playback.
zzzzz : mnH : scH : frH : F7H :

4.2 Soft Thru setting

Messages (except System Common and System Realtime Messages) that are received are then sent out when Soft Thru parameter (SYSTEM/SEQUENCER) is switched to ON.
* Not received when the MMC Mode parameter(SYSTEM/SEQUENCER) is Master.
4.3 Messages that are generated and transmitted
4.3.1 Messages Appearing When Synchronizing with Other Devices sSystem Common Messages
* Sent when Sync Output parameter(SYSTEM/SEQUENCER) is set to ON.
Status F0H Byte F0H 7FH 7FH 06H 01H F7H Data byte Status 7FH, dev, 06H, 01H F7H Remarks Exclusive status Universal System Exclusive Realtime Header Device ID MMC command message STOP (MCS) EOX (End of Exclusive)

DEFFERRED PLAY (MCS)

Status F8H

Status FAH

Status FBH
Status F0H Byte F0H 7FH 7FH 06H 44H 06H 01H hrH mnH scH frH ffH F7H Data byte 7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH Remarks Exclusive status Universal System Exclusive Realtime Header Device ID MMC command message LOCATE (MCP) Byte count "TARGET" sub-Command Standard Time Specification with subframes (typeff) Status F7H
| 00 | Performance Common MFX2 | | 00 0A 00 | Performance Common MFX3 | | 00 | Performance MIDI (Channel 1) | | 00 | Performance MIDI (Channel 2) | | : | | | 00 1F 00 | Performance MIDI (Channel 16) | | 00 | Performance Part (Part 1) | | 00 | Performance Part (Part 2) | | : | | | 00 2F 00 | Performance Part (Part 16) | | 00 | Performance Zone (Channel 1) | | 00 | Performance Zone (Channel 2) | | : | | | 00 5F 00 | Performance Zone (Channel 16) | | 00 | Performance Controller | ++

Multitimbre MIDI

Multitimbre Part
++ | Offset | | | Address | Description | |+| | | 0000 aaaa | Receive Channel (0 15) | | | | | | | 0000 000a | Receive Switch (0 1) | | | | OFF, ON | | | 0000 000a | Receive MIDI1<*> (0 1) | | | | OFF, ON | | | 0000 000a | Receive MIDI2<*> (0 1) | | | | OFF, ON | |++| | | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 127) | | | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 127) | | | 0aaa aaaa | Patch Program Number (PC) (0 127) | |++| | | 0aaa aaaa | Part Level (CC# 7) (0 127) | | | 0aaa aaaa | Part Pan (CC# 10) (0 127) | | | | L64 63R | | | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 112) | | | | 48 +48 | | 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 114) | | | | 50 +50 | | 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 2) | | | | MONO, POLY, PATCH |
| 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 2) | | | | OFF, ON, PATCH | | 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 25) | | | | 0 24, PATCH | | 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 2) | | | | OFF, ON, PATCH | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | Part Portamento Time (CC# 5) (0 128) | | | | 0 127, PATCH | | | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Attack Time Offset (CC# 73) (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 127) | | | | 64 +63 | |++| | | 0000 0aaa | Part Octave Shift (61 67) | | | | 3 +3 | | | 0aaa aaaa | Part Velocity Sens Offset (1 127) | | | | 63 +63 | | | 0aaa aaaa | Keyboard Range Lower (0 127) | | | | C1 UPPER | | | 0aaa aaaa | Keyboard Range Upper (0 127) | | | | LOWER G9 | | | 0aaa aaaa | Keyboard Fade Width Lower (0 127) | | 00 1A | 0aaa aaaa | Keyboard Fade Width Upper (0 127) | | 00 1B | 0000 000a | Mute Switch (0 1) | | | | OFF, MUTE | |++| | 00 1C | 0aaa aaaa | Part Dry Send Level (0 127) | | 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 127) | | 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 127) | | 00 1F | 0000 aaaa | Part Output Assign (0 13) | | | | MFX, A, B, C<*>, D<*>, | | | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*>, | | | | PATCH | | | 0000 00aa | Part Output MFX Select (0 2) | | | | MFX1, MFX2, MFX3 | |++| | | 0aaa aaaa | Part Decay Time Offset (CC# 75) (0 127) | | | | 64 +63 | |++| | | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 127) | | | | 64 +63 | |++| | | 0aaa aaaa | Part Scale Tune for C (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Scale Tune for C# (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Scale Tune for D (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Scale Tune for D# (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Scale Tune for E (0 127) | | | | 64 +63 | | 00 2A | 0aaa aaaa | Part Scale Tune for F (0 127) | | | | 64 +63 | | 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 127) | | | | 64 +63 | | 00 2C | 0aaa aaaa | Part Scale Tune for G (0 127) | | | | 64 +63 | | 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 127) | | | | 64 +63 | | 00 2E | 0aaa aaaa | Part Scale Tune for A (0 127) | | | | 64 +63 | | 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 127) | | | | 64 +63 | | | 0aaa aaaa | Part Scale Tune for B (0 127) | | | | 64 +63 | |+| | | Total Size | ++

<Example3> Getting Temporary Performance data (RQ1)
cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM" (Type parameter) and "TEMP: -PATCH" (Source parameter) options.
Calculating the checksum as shown in <Example 2>, we get a message of F40 1A 21 F7 to be transmitted.
sThe 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.

sASCII Code Table

Patch Name and Performance Name, etc., of MIDI data are described the ASCII code in the table below. ++++++++++++ | D | H | Char || D | H | Char || D | H | Char | ++++++++++++ | 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` | | 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a | | 34 | 22H | " || 66 | 42H | B || 98 | 62H | b | | 35 | 23H | # || 67 | 43H | C || 99 | 63H | c | | 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d | | 37 | 25H | % || 69 | 45H | E || 101 | 65H | e | | 38 | 26H | & || 70 | 46H | F || 102 | 66H | f | | 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g | | 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h | | 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i | | 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j | | 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k | | 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l | | 45 | 2DH | || 77 | 4DH | M || 109 | 6DH | m | | 46 | 2EH |. || 78 | 4EH | N || 110 | 6EH | n | | 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o | | 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p | | 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q | | 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r | | 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s | | 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t | | 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u | | 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v | | 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w | | 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x | | 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y | | 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z | | 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { | | 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | | | 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } | | 62 | 3EH | > || 94 | 5EH | ^ ||+++ | 63 | 3FH | ? || 95 | 5FH | _ | ++++++++ D: decimal H: hexadecimal * "SP" is space.

THAILAND

Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2, Bangkok 10100, THAILAND TEL: (02) 2248821

FRANCE

Roland France SA
4, Rue Paul Henri SPAAK, Parc de l'Esplanade, F St. Thibault, Lagny Cedex FRANCE TEL: 73 500

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE
Danvik Center 28, 2 tr. S-Nacka SWEDEN TEL: (08) 702 0020

VIETNAM

Saigon Music
138 Tran Quang Khai St., District 1 Ho Chi Minh City VIETNAM TEL: (08) 844-4068

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre, Main Road, Claremont 7708 SOUTH AFRICA P.O.BOX 23032, Claremont 7735, SOUTH AFRICA TEL: (021) 674 4030

FINLAND

Roland Scandinavia As, Filial Finland
Lauttasaarentie 54 B Fin-00201 Helsinki, FINLAND TEL: (9) 682 4020

SWITZERLAND

Roland (Switzerland) AG Musitronic AG
Gerberstrasse 5, Postfach, CH-4410 Liestal, SWITZERLAND TEL: (061) 927-8383
Technical Light & Sound Center
Khaled Ebn Al Walid St. Bldg. No. 47, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384

AUSTRALIA/ NEW ZEALAND

NEW ZEALAND

Roland Corporation Ltd.

32 Shaddock Street, Mount Eden, Auckland, NEW ZEALAND TEL: (09) 3098 715

GERMANY

Roland Elektronische Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090

UKRAINE

TIC-TAC
Mira Str. 19/108 P.O. Box Munkachevo, UKRAINE TEL: (03131) 414-40

TURKEY

Barkat Muzik aletleri ithalat ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler Pasaji No:74/20 Taksim - Istanbul, TURKEY TEL: (0212) 2499324
Roland Shanghai Electronics Co.,Ltd.
5F. No.1500 Pingliang Road Shanghai, CHINA TEL: (021) 5580-0800

GREECE

STOLLAS S.A. Music Sound Light
155, New National Road Patras 26442, GREECE TEL: (061) 043-5400

UNITED KINGDOM

Roland (U.K.) Ltd.
Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 700139

CENTRAL/LATIN AMERICA

ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700

U.A.E.

Zak Electronics & Musical Instruments Co. L.L.C.

Contents

USING THE UNIT SAFELY.. 3 IMPORTANT NOTES... 5 Contents... 6 Introduction... 9
How to read this manual.... 9 Main features.... 9
Names of things and what they do.. 10
Front Panel.... 10 Rear Panel.... 12

Basic operation... 13

Operations in the basic screen... 13 Listening to the internal demo songs.. 13 Auditioning the sounds (Preview)... 14 Adjusting the brightness of the display (Contrast).. 15
Using the internal sound generator.. 16
About the sound generator modes.... 16 About GM2/Native modes.... 17 GM2/Native mode sound sets.... 17 About parts and sounds.... 18 Different types of part.... 18 Polyphony and voices.... 18 Specifying the function of the MIDI connectors.. 19 USB mode.... 19 MIDI mode.... 20 Specifying the function of the MIDI connectors.. 21 Switching the sound generator mode.... 22 Selecting a part.... 23 Selecting the type of part (INST/DRUM)... 24 Selecting the sound set.... 25 Selecting a sound.... 26 Selecting a drum set.... 27 Muting/soloing a part... 28 Muting a part.... 28 Soloing a part.... 29 About parameters.... 30 Editing the parameters.... 31 Editing part parameters.... 31 Editing parameters that are common to all parts... 32 About parameters that can be edited from the SD-80s panel.. 33 Part parameters (GM2 mode, Native mode).. 33 Part parameters (Native mode)... 37 Parameters common to all parts (GM2 mode, Native mode). 38
Using the effects of the internal sound generator. 39
About the sound generator effects.... 39 Editing the sound generator effects... 40 Parameters that can be edited in GM2 mode... 41 Reverb (System Effect)... 41 Chorus (System Effect)... 41 EQ (Equalizer).... 42 Parameters that can be edited in Native mode.. 43 Reverb (System Effect)... 43 Chorus (System Effect)... 45 MFX (Multi-effects)... 46 EQ (Equalizer).... 48
System-related settings... 49
Adjusting the contrast of the display... 50 Saving a patch.... 50 Switching the sound generator mode (Inst Initialize).. 50 Transmitting sound generator settings to an external MIDI device.. 50 Specifying the start-up sound generator mode... 51 Setting the Device ID Number.... 51 Transmitting button/knob operations to an external MIDI device.. 51 Preview settings..... 52 Setting the system tempo... 52 Switching the driver.... 52 Restoring the factory settings... 52
Controlling the SD-80 via MIDI... 53
Controlling the internal sound generator... 53 Switching the sound generator mode... 53 Switching the sound set.... 55 Switching the type of part... 56 Switching sounds.... 58 Switching the drum set... 61 Editing MIDI effect parameters... 63 Writing/loading SD-80 settings... 69

Filter

You can adjust the tonal character of the sound by editing the filter values. The filters of the SD-80 are a type called Low Pass Filters, which pass the region of sound that lies below a specified frequency. This frequency is called the Cutoff Frequency. By adjusting the cutoff frequency, you can make the sound brighter or darker. The cutoff frequency will also change over time according to an envelope. By adjusting the filter and envelope, you can create sounds that have movement and expression.

fig.p8-1j

Higher frequencies Low pass filter Cutoff frequency
Lower frequencies TVF Resonance [cc#71] -640+63 Increasing the resonance value will emphasize the harmonics in the region of the cutoff frequency, giving a distinctive character to the sound. * For some sounds, negative (-) settings of Resonance will not produce any audible difference.

fig.p8-2j

Frequency Cutoff frequency Low Resonance High
TVF Cutoff Freq (TVF Cutoff Frequency) [cc#74] -640+63 Sets the cutoff frequency of the filter. Positive (+) settings for the Brightness parameter will raise the cutoff frequency. Negative (-) settings will lower the cutoff frequency. Increasing this value in the positive direction will pass more of the highfrequency component, making the sound brighter (harder). Increasing this value in the negative direction will cut more of the high-frequency component, making the sound more mellow (darker). * For some sounds, positive (+) settings of TVF Cutoff Freq will not produce any audible difference.

Envelope

fig.p8-3j
The sound of a musical instrument changes over time from the moment the note begins until it ends. Such change can be expressed by the graph shown below. The shape of this change is distinctive of that particular instrument, and is an important factor that allows us to recognize the type of instrument. This shape is called the envelope.
Low pass filter characteristics Level
Frequency Cutoff frequency

fig.p9-1j

The envelope of a musical instrument sound will A: Attack time D: Decay time change depending on how the instrument is played. For Cutoff frequency R: Release time example, when a trumpet is blown strongly, the sound will have a sharp and rapid attack, but when blown Envelope Sound ends gently, the attack will be softer. To adjust the sharpness of the attack, you can edit the Attack Time of the envelope. By adjusting the envelope Time Level A D R parameters in this way, you can express a wide variety Note On Note Off of the characteristics of an instrument. The shape of the envelope that you specify in this way will also affect the movement of the cutoff frequency. If the cutoff frequency is lowered, it will rise as the envelope rises and fall as the envelope falls. Release Time (TVF&TVA Release) [cc#72] -640+63 This adjusts the time from when you release the key (note-off message) until the sound decays to silence. The cutoff frequency will also fall accordingly. Attack Time (TVF&TVA Attack) [cc#73] -640+63 This adjusts the sharpness with which the note begins. Decay Time (TVF&TVA Decay) [cc#75] -640+63 This adjusts the time from when the attack has been completed until the sustain level is reached (figure 1). * For some sounds, the sustain level is 0 (figure 2). For example, this is the case for piano or guitar-type sounds. * For some sounds, adjusting the various envelope times may not make any audible difference.

fig.p9-2j

figure 1

Volume

Sounds ends

Sustain Level

Note On

Note Off

figure 2
A: Attack time D: Deacy time R: Release time

Vibrato

fig.p7-1j
Vibrato is an effect that cyclically modulates the pitch. By applying vibrato, you can make your performance more expressive.

Delay Depth

Note On Rate
Vibrato Rate [cc#76] -640+63 This adjusts the speed (frequency) at which the pitch is modulated. Positive (+) settings will speed up the modulation, and negative (-) settings will slow down the modulation. Vibrato Depth [cc#77] -640+63 This adjusts the depth at which the pitch is modulated. Positive (+) settings will increase the depth of pitch modulation, and negative (-) settings will decrease the depth. Vibrato Delay [cc#78] -640+63 This adjusts the time to pass before vibrato begins. Positive (+) settings will lengthen the time before vibrato begins, and negative (-) settings will shorten the time. Reverb Send Level [cc#91] 040127 This sets the depth of reverb for the part. Chorus Send Level [cc#93] 0127 This sets the depth of chorus for the part. PitchBendSens (Pitch Bend Sensitivity) 0 +/-2+/-24, (PATCH: Native mode only)) This specifies the maximum change in pitch that can be controlled by pitch bend. A setting of 12 allows one octave of change, and a setting of 24 allows two octaves of change. With a setting of 0, pitch bend will not affect the pitch at all. Fine Tune (Channel Fine Tuning) -500+50 Use this when you want to make fine adjustments to the pitch of an individual part. Positive (+) settings will raise the pitch, and negative (-) settings will lower the pitch. By setting two or more parts to the same MIDI channel and instrument, and using Fine Tune to slightly spread apart the pitch of each part, you can play these parts together to create rich and spacious sounds. * To adjust the pitch of all parts together, edit the Master Fine Tune setting (p. 38). Coarse Tune (Channel Coarse Tuning) -640+63 The Channel Coarse Tuning parameter transposes (shifts the key of) an individual part. Transpose means to change the pitch in steps of a semitone. For example, when playing song data from your sequencer software, you can make the song play in another key without changing the settings of your software. Or if you want to sing along with the song data playback but the pitch is too high or too low, you can edit this parameter to transpose the pitch to a comfortable range. Each step up (down) will raise (lower) the pitch by one semitone. This means that a setting of 12 will transpose the pitch one octave. With a setting of 0, the pitch will not be changed. * To transpose all parts together, use Master Coarse Tuning (p. 38). Mono/Poly (Mono/Poly mode) [cc#126/127] Poly, Mono, (PATCH: Native mode only) If this is set to Mono mode, the instrument of that part will play only one note at a time. Using Mono mode is effective for parts that play naturally monophonic instruments such as trumpet or sax. Select Poly mode for parts that will be playing chords. * For a drum part, switching between mono/poly modes will not affect the sound. Scale/Octave Tuning Adjust -640+63 Scale Tuning is a function that lets you make fine adjustments to the pitch of each note in the octave. You can make one octave of settings, and these settings will adjust the pitch of all octaves in the same way. Scale Tune allows you to play scales other than the conventional equal tempered scale.

Part parameters (Native mode)
In addition to the Part parameters described in the preceding pages, Native mode also allows you to adjust the following parameters. Rx Channel (Receive channel) 116, OFF This specifies the MIDI channel that is assigned to the part. If this is turned OFF for a part, all MIDI messages other than system exclusive messages will be ignored by that part, meaning that it will not sound. Legato SW [CC#68] ON/OFF, (PATCH: Native mode only) Turn this ON when you want to use legato, and OFF if you do not. Legato is a function that is valid when MONO mode is selected for the part. If Legato is ON, pressing a note while the previous note is still held down will cause the sound to be maintained while it shifts to the pitch of the newly pressed note. This lets you simulate performance techniques such as the hammering-on and pulling-off used by guitarists.
Part Velocity Sens Offset (Part Velocity Sensitivity Offset) -630+63 This adjusts the degree to which playing dynamics will affect the volume and cutoff frequency. Part Keyboard Fade Width Lower 0127 This specifies how the volume will change when you play notes that are outside the lower limit of the parts key range. With higher settings of this parameter, the volume will decrease gradually. If you want there to be no sound at all when you play below the specified key range, set this to 0. Part Keyboard Range Lower C-1UPPER Specifies the lowest note of the keyboard range for the part. Part Keyboard Range Upper LOWERG9 Specifies the highest note of the keyboard range for the part. Part Keyboard Fade Width Upper 0127 This specifies how the volume will change when you play notes that are outside the upper limit of the parts key range. With higher settings of this parameter, the volume will decrease gradually. If you want there to be no sound at all when you play above the specified key range, set this to 0.

fig.5-15

It is not possible to set the Lower Range above the Upper Range, nor the Upper Range below the Lower. If you attempt to do so, the Lower and Upper values will change together.

Note number

Lower L.Fade value

Upper U.Fade value

Part Output Assign MFX, 1, 2, 1L, 1R, 2L, 2R, PATCH This specifies where the output signal of the part will be sent. MFX: Output to MFX. 1: Output the unprocessed sound from OUTPUT 1, without using MFX. 2: Output the unprocessed sound from OUTPUT 2, without using MFX. 1L: Output the unprocessed sound from the L jack of OUTPUT 1. 1R: Output the unprocessed sound from the R jack of OUTPUT 1. 2L: Output the unprocessed sound from the L jack of OUTPUT 2. 2R: Output the unprocessed sound from the R jack of OUTPUT 2. PATCH: The settings of the patch (instrument) will be applied. If the patch is set to use MFX, the sound will be sent to MFX. If not, the DRY sound will be output. * Select 1L, 1R, 2L, or 2R when you want to use the output jacks as four parallel outputs. PART Output MFX Select MFX-A, MFX-B, MFX-C If MFX is selected for Part Output Assign, select one of the three MFX units to which the sound will be sent. PART Dry Send Level 0127 This specifies the level of the output to the output destination youve selected for Part Output Assign.

Multi-effect

Multi-effect provides 90 different effect types. These include single effects such as distortion and delay, as well as multiple types that combine two or more effects. Chorus and reverb are additionally provided as multi-effect effect types, but you can also use the separate chorus and reverb units to apply these effects. On the SD-80, you can use three of these multi-effects independently.
Editing the sound generator effects
You can edit the sound generator effects when the sound generator mode is either GM2 mode or Native mode.

fig.6-01b

Switch the sound generator to GM2 mode or Native mode. For details on switching the sound generator mode, refer to "Switching the sound generator mode" (p. 22). Press [EFFECT]. The sound generator Effect Edit screen will appear. Press [PAGE ] or [PAGE ] to select the parameter that you want to edit.
MFX cannot be selected if the sound generator mode is GM2 mode. Turn the [VALUE] dial to modify the value of the parameter you selected in step 4. This completes the steps needed to edit an effect parameter.
Parameters that can be edited in GM2 mode
The sound generator effect parameters that can be edited using the SD-80s controls will differ depending on the sound generator mode (GM2 or Native). In the SD-80s GM2 mode, you can edit the reverb and chorus parameters. The following parameters can be edited.

Reverb (System Effect)

This includes parameters that specify the type of reverb, how the reverb sound will be heard, and how it will be output. Reverb Type Selection for the type of reverb. Type Small Room Medium Room Large Room Medium Hall Large Hall Plate Explanation This reverb simulates the reverberation of a room. It produces a crisp and spacious reverberation. This reverb simulates the reverberation of a hall. It produces a deeper sensation than Room. This simulates a plate echo (a reverb unit that uses the vibration of a metal plate).
Reverb Time 0127 Specifies the duration of the reverb. Higher settings will produce a longer reverb time. The default setting will depend on the Reverb Type setting. Type Small Room Medium Room Large Room Medium Hall Large Hall Plate Default setting Reverberation time (seconds) 1.1 1.3 1.5 1.8 1.8 1.3

Chorus (System Effect)

Chorus Type Selection for the type of chorus. The default setting of each parameter will depend on the Chorus Type. Type Chorus 1 Chorus 2 Chorus 3 Chorus 4 FB Chorus Flanger Type Chorus 1 Chorus 2 Chorus 3 Chorus 4 FB Chorus Flanger Explanation A conventional chorus effect that adds spaciousness and depth to the sound. A chorus with a flanger-like character, producing a fresh sound. Produces a sound reminiscent of a jet airplane taking off and landing. Feedback 0 (0%) 5 (4%) 8 (6%) 16 (12%) 64 (49%) 112 (86%) Mod Rate 3 (0.4 Hz) 9 (1.1 Hz) 3 (0.4 Hz) 9 (1.1 Hz) 2 (0.2 Hz) 1 (0.1 Hz) Mod Depth 5 (1.9 ms) 19 (6.3 ms) 19 (6.3 ms) 16 (5.3 ms) 24 (7.8 ms) 5 (1.9 ms) Rev Send 0 (0%) 0 (0%) 0 (0%) 0 (0%) 0 (0%) 0 (0%)

This includes parameters that specify the type of reverb, how the reverb will be sounded, and how it will be output. Reverb Type Selection for the type of reverb. The parameters that can be edited will depend on the Reverb Type. Type 0 (OFF) 1 (Reverb) 2 (SRV Room) 3 (SRV Hall) 4 (SRV Plate) 5 (GM2) Explanation Reverb will not be used. Basic reverb. Reverb that simulates the reverberation of a room in greater detail. Reverb that simulates the reverberation of a hall in greater detail. Reverb that simulates a plate echo (a reverb device that uses a metal plate). This is the same as GM2 reverb.
Reverb Level 0127 Specifies the output level of the signal that has passed through the reverb. Reverb Source COMMON, PART 132 Reverb parameters (reverb type, reverb time, etc.) exist both outside the sound (COMMON) and within the sound (PATCH). This setting specifies which set of parameters the reverb unit will use. Output Assign 1, 2 Selects the output jacks for the reverb. You can select either OUTPUT 1 or OUTPUT 2 stereo outputs.
When Reverb Type is set to 1 (Reverb)
The following parameters can be edited when Reverb Type is set to 1 (Reverb). Type (Reverb/Delay Type) Specifies the type of reverb (or delay). Value ROOM 1 ROOM 2 STAGE 1 STAGE 2 HALL 1 HALL 2 DELAY PAN-DELAY Explanation Reverb with short duration and high density Reverb with short duration and low density Reverb with a greater amount of subsequent reverberation Reverb with strong early reflections Reverb with a transparent character Rich reverb Conventional delay Delay with reflections that pan (move) between left and right
Time (Reverb/Delay Time) 0127 When the Type is ROOM 1HALL 2 this adjusts the duration of the reverb. When the Type is DELAY or PAN-DELAY, this specifies the delay time. Increasing this value will produce a more spacious feeling.
HF Damp (Reverb/Delay HF Damp) Specifies the frequency above which the high-frequency component of the reverb sound will be cut. Lowering this value will cause a greater portion of the high-frequency range to be cut, producing a softertoned reverb sound. If no cutting is desired, set this to BYPASS. Values: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS

MFX A MFX B

Using sounds from the Enhanced set in Native mode
Immediately after the sound generator mode is switched to Native mode, the three MFX will be assigned to parts 1, 2, and 3, respectively. When you select sounds from the Enhanced set, the effects will be applied only to parts 1, 2, and 3 unless you change the settings. If you want to use sounds from the Enhanced set for other parts in Native mode, perform the following steps. < Example: Using MFX A for part 4> 1. Set the MFX A Source to PART4. This allows the MFX A effect to be applied with the settings of the sound that is called up for part 4. Set the Part 4 Output Assign to PATCH. This selects PATCH as the output destination for the part. Since the output setting of an Enhanced sound (patch) is set to MFX, calling up the sound to Part 4 will cause the signal to be output to MFX. You can apply an effect even if Part Output Assign is set to MFX. However, in this case, it will be output in a fixed manner to MFX even if you call up a sound from a different set to Part 4. For Part Output MFX Select, specify which of the three MFX units (AC) you want to use. For this example, select MFX A.
You can make equalizer settings for the output of the sound generator section. For details, refer to "EQ (Equalizer)" (p. 42).

System-related settings

This chapter explains how to make settings that affect the entire system of the SD-80. Heres the basic procedure for setting these parameters.

fig.7-1

Press [PAGE ] or [PAGE ] until the item you want to edit appears in the display. The following parameters can be set in the system screen. LCD Contrast Write Patch Inst Init Bulk Dump Inst Startup Sys.EX Device ID Control Output Preview Mode Preview Note Preview Velocity System Tempo USB Driver Factory Reset

3. 4. *

Turn the [VALUE] dial to edit the value of the item. When you have selected the desired value, press [ENTER]. Do not turn off the power while the settings are being saved (while the display indicates "Saving."). Doing so will cause all data within the SD-80 to be lost. Press [INST] to return to the main screen.
Adjusting the contrast of the display
Immediately after the power is turned on, or after the SD-80 has been used for an extended period, or depending on the location, the characters and icons in the display screen may be difficult to read. If this occurs, adjust the contrast of the display ("Adjusting the brightness of the display (Contrast)" (p. 15)).

fig.4-10j

PC 1 Standard Set High Q Slap Scratch Push Scratch Full Sticks Square Click Metron Click Metron Bell Kick Drum 2
PC 9 Room Set <<<<<<<<<-
PC 17 Power Set <<<<<<<<Power Kick 2
PC 25 Electric Set <<<<<<<<Elec.Kick 2
PC 26 Analog Set <<<<<<<<Ana.Kick 2

PC Keyboard area <

Drum set number (program number) Note number Same sound as percussion instrument sound of Standard Set 1 (PC 1) Note number for which no percussion instrument exists
Switching drum sets in GM2 mode
* Transmit bank select LSB (CC#32) and program change (PC#). Bank select MSB (CC#00) is used to switch the part mode. Inst part and Drum part correspond to the following numbers. Inst part 121(79H) Drum part 120(78H)
<Example> Specifying part 10 as a GM2 drum part (009:Room Set 2) MIDI CH= 10 CC#00 120. set as a GM2 drum part CC#32 0. specify variation number 000 PC# 9. specify program change number 009
Switching drum sets in Native mode
* Transmit bank select LSB (CC#32) and program change (PC#). Bank select MSB (CC#0) is used to switch the Part Mode. Inst part and Drum part correspond to the following numbers. Inst part 80 (50H) 81 (51H) 87 (57H) 96 (60H) 97 (61H) 98 (62H) 99 (63H) Drum part 86 (56H) 104 (60H) 105 (61H) 106 (62H) 107 (63H)
Special 1 set Special 2 set User set Classical set Contemporary set Solo set Enhanced set
User set Classical set Contemporary set Solo set Enhanced set
<Example> Specifying part 10 as a Classical set drum part (009: Room Set) MIDI CH= 10 CC#00 104. specify as a Classical set drum part CC#32 0. specify variation number 000 PC# 9. specify program change number 009
Switching drum sets in GS mode
In GS mode, part 10 is specified as a drum part (MIDI receive channel: 10). The note data in the rhythm data you are playing must match the note numbers of the drum set you are using.

fig.4-11e

Drum Set name and Drum Set number (Program number)

STANDARD 1

TR-808

User Set

The PART level meter does not move even when notes sound
Is PART A shown in the display while you are sending MIDI messages to Part B? If so, press [PART ] or [PART ] to view PART B in the display.

Sound is distorted

Is an effect that distorts the sound being applied? If a specific sound or part is distorted, lower the Part Level.

Pitch is incorrect

Has Coarse Tuning been applied to all parts or to a specific part? ("Coarse Tune (Channel Coarse Tuning) " (p. 36)) Did you make Fine Tune settings for a specific part? ("Fine Tune (Channel Fine Tuning)" (p. 36)) Have Pitch Bend messages been received without returning to the zero value? Has Scale Tuning been applied? ("Scale/Octave Tuning Adjust" (p. 36))
Notes are stuck (continue sounding)
Depending on the sequencer software you are using, changing the recording track while playing the keyboard may cause notes to stick.
Something is wrong with the sound
You may have switched to another sound after editing sound parameters (such as the filter). Set all sound parameter values to 0. ("Editing the parameters" (p. 31)) It is possible that the parameter settings of the SD-80 have become corrupted. Please initialize the sound generator. ("Switching the sound generator mode (Inst Initialize)" (p. 50)) * The system parameter settings will be preserved even if the sound generator is initialized. Are you using MFX? If a sound that uses MFX (a sound from the enhanced set) is being played, and you switch the MFX type, or you choose a different enhanced sound, one that uses a different effect type, the sound will continue playing with the newly selected effect settings. Please wait until the enhanced sound has finished playing before you change the MFX settings or select a different enhanced sound.

Notes are interrupted

If you attempt to use more than 128 voices simultaneously, notes will be interrupted. ("Polyphony and voices" (p. 18))
Exclusive messages are not received
Does the device ID number of the transmitted exclusive data match the device ID number of the SD-80? ("Setting the Device ID Number" (p. 51)) Is the checksum correct? For details on the calculation method, refer to the section How to calculate the checksum within MIDI Implementation (MIDIImp_E.pdf) on the included CD-ROM.

Parameter Master Volume Master Fine Tuning Master Coarse Tuning Master Volume Master Fine Tuning Master Coarse Tuning Value 0127 415.3440.0466.2Hz -240+24
Parameters common to all parts (Native mode)
Parameter SYSTEM Control 14 MFX Sw Chorus Sw Reverb Sw Scale Tune Sw System Control MFX Switch Chorus Switch Reverb Switch Scale Tune Switch Value OFF, CC0131, 3395, BEND, AFT OFF, ON OFF, ON OFF, ON OFF, ON

Effect parameter list

Effect parameter (GM2 mode)

Reverb (System Effect)

Parameter Reverb Type Reverb Time Reverb Type Reverb Time Value Small Room, Medium Room, Large Room, Medium Hall, Large Hall, Plate 0127

Chorus (System Effect)

Parameter Chorus Type Mod Rate Mod Depth Feedback Send to Reverb Chorus Type Modulation Rate Modulation Depth Feedback Send to Reverb Value Chorus1, Chorus2, Chorus3, Chorus4, FB Chorus, Flanger 0127 0127

EQ (Equalizer)

Parameter EQ Switch EQL Low Frequency EQR Low Frequency EQL Low Gain EQR Low Gain EQL High Frequency EQR High Frequency EQL High Gain EQR High Gain EQ Switch EQL Low Frequency EQR Low Frequency EQL Low Gain EQR Low Gain EQL High Frequency EQR High Frequency EQL High Gain EQR High Gain Value Off, On 200, 400Hz 200, 400Hz -15+15 -15+15 2000, 4000, 8000Hz 2000, 4000, 8000Hz -15+15 -15+15
Effect parameter (Native mode)
Parameter Reverb Type Reverb Level Reverb Type Reverb Level Value 0(Off), 1(Reverb), 2(Room), 3(SRV Hall), 4(SRV Plate)(*1) 0127
(*1) When Reverb Type is set to 1 (Reverb) Parameter Type Time HF Damp Feedback Reverb/Delay Type Reverb/Delay Time Reverb/Delay HF Damp Delay Feedback Value **3 0127
*2: ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY *3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
(*1)When Reverb Type is 2 (Room), 3 (SRV Hall), or 4 (SRV Plate) Parameter Pre Delay Time Size High Cut Density Diffusion LF Damp Freq LF Damp Gain HF Damp Freq HF Damp Gain Pre Delay Time Reverb Time Size High Cut Frequency Reverb Density Reverb Diffusion LF Damp Frequency LF Damp Gain HF Damp Frequency HF Damp Gain Value 0.0100 ms *0127 *5 -360 dB *6 -360 dB
*4: 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500 Hz, BYPASS *5: 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz *6: 4000, 5000, 6400, 8000, 10000, 12500 Hz

PC 9 Room Set 2 <<<<<<<<<<<Room Snare <<Room LowTom2 <Room LowTom1 <Room MidTom2 <Room MidTom1 Room Hi Tom2 <Room Hi Tom1 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<---
PC 17 Power Set 2 <<<<<<<<Power Kick 2 Power Kick 1 <PowerSnareDr <<PowerLowTom2 <PowerLowTom1 <PowerMidTom2 <PowerMidTom1 Power HiTom2 <Power HiTom1 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<---
PC 25 Dance Set <<<<<<<<Dance Kick Techno Kick <Dance Snare <<Ana.Low Tom2 <Ana.Low Tom1 <Ana.Mid Tom2 <Ana.Mid Tom1 Ana.Hi Tom2 <Ana.Hi Tom1 <Reverse Cym. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<---
PC 26 Rave Set <<<<<<<<808 Kick Round Kick Ana.Rim Shot 808 Snare <<808LowTom 2 Ana.ClosedHH 808LowTom 1 Ana.ClosedHH 808MidTom 2 Ana.Open HH 808MidTom 1 808Hi Tom 2 Ana.Cymbal 808Hi Tom 1 <<<<<Ana.Cowbell <<<<<Ana.Hi Conga Ana.MidConga Ana.LowConga <<<<<Ana.Maracas <<<<Ana.Claves <<<<<<<<<<<<---
PC 33 Jazz Set 2 <<<<<<<<Jazz Kick 2 Jazz Kick 1 <Jazz Snare <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<---
PC 41 Brush Set 2 <<<<<<<<Jazz Kick 2 Jazz Kick 1 <Brush Tap Brush Slap Brush Swirl BrushLowTom2 Brush CHH BrushLowTom1 Brush PHH BrushMidTom2 Brush OHH BrushMidTom1 Brush HiTom2 Brush Crash1 Brush HiTom1 Brush Ride 1 <BrushRideBel <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<---

Bank select Modulation Portamento time Data entry Volume Panpot Expression Hold 1 Portamento Sostenuto Soft Portamento control General purpose effects 1 General purpose effects 3 CC1(General purpose controller 1) CC1(General purpose controller 2) NRPN LSB, MSB RPN LSB, MSB

X : True Number

Program No. 1128
System Exclusive : Song Position System : Song Select Common : Tune Request : Clock System Real Time : Commands

X X X X X X

* 1 O X is selectable. * 2 Recognized as M=1 even if M1. * 3 Can be changed settings.

Specifications

Model: Studio Canvas SD-80 (General MIDI2 / GS format / XGlite format)
Number of parts 32 Maximum Polyphony 128 voices Internal Sounds Sound Maps: 6 (Classical, Contemporary, Solo, Enhanced, Special 1, Special 2) Preset Memory Internal Sounds: Drum Sound sets: User Memory Internal Sounds: Drum Sound sets: Effects System Effects: Insertion Effects: Power Supply AC 120 V, AC 230 V or AC 240 V Power Consumption 11W (AC 120 V) 12W (AC 230 V) 13W (AC 240 V) Dimensions 280 (W) x 258.4 (D) x 46 (H) mm 11-1/16 (W) x 10-3/16 (D) x 1-13/16 (H) inches Weight 1.8 kg 4 lbs Accessories USB cable AC cable Owners Manual Getting Started CD-ROM Rack-mount adaptor Desk-stand mount (with cushion sets)

1050 30

128 16
Reverb (6 types) Chorus (6 types) Multi-effects x 3 (90 types)
Display 40 characters, 2 lines (LCD with Backlight) Connectors USB connector Digital Audio OUT Connector COAXIAL type (conforms to S/P DIF) OPTICAL type (conforms to S/P DIF) Output jack 1 (Stereo) Output jack 2 (Stereo) Headphones jack (Stereo) MIDI connector (IN, OUT) x 2
In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
AC IN Connector.. 12 Adobe Acrobat Reader.. 9 Inst Init... 22, 50 Inst Initialize.. 50 Inst part... 18 Inst Startup.. 51 INST/DRUM.. 24 instrument.. 13, 18 Instrument Button.. 10 instrument list.. 58 Instrument number.. 14, 26