. p.16

24 Bit STUDIO Canvas
10 Channel 5 Stereo Mixer

HQ Software Synthesizer

Orchestral. p.17
GM2/GS Software Synthesizer

SuperQuartet

. p.17

HyperCanvas. p.17

Control Panel

Specifications

Number of Audio Record/Playback Channels <44.1/48/88.2/96 kHz> Record:10 channels, Playback:10 channels (Full duplex), <192 kHz> Record:6 channels, Playback: 6 channels (Full duplex) Signal Processing PC interface: 24 bits, AD/DA Conversion: 24 bits (linear) Frequency Response 96.0 kHz: 20 Hz to 40 kHz (+0/-2 dB), 88.2 kHz: 20 Hz to 40 kHz (+0/-2 dB), 48.0 kHz: 20 Hz to 22 kHz (+0/-2 dB), 44.1 kHz: 20 Hz to 20 kHz (+0/-2 dB) Power Supply DC 9 V (AC adaptor) Dimensions 218.0 (W) x 159.1 (D) x 45.1 (H) mm, 8-5/8 (W) x 6-5/16 (D) x 1-13/16 (H) inches Weight 1.15 kg / 2 lbs 9 oz
Virtual SOUND Canvas MULTI PACK

Desktop Speakers

USB Stereo Speaker High Performance Desktop Monitors in Wooden Cabinets
Affordable Desktop Monitors in Wooden Cabinets

MA-1EX

. p.18

MA-15D. p.18

. p.19

MA-7A. p.18

Stereo Micro Monitor
Digital Stereo Micro Monitor

MA-20D. p.19

MA-10D. p.19

MA-10DBK

MA-10A. p.19

MA-10ABK. p.19

System Requirements in case of USB 2.0 (Hi-SPEED USB) [Windows] OS: Microsoft Windows XP Computer: Windows XP compatible computer equipped with a USB 2.0 (Hi-SPEED USB) port CPU/Clock: Pentium Processor 1.2 GHz or higher. Memory(RAM): 256 MB or more System Requirements in case of USB 1.1 (Full-SPEED USB) (Two channel full-duplex recording / playback performance is capable. Input 3-8 and output 3-8 ports don't work. 44.1 and 48 kHz sampling rates are applicable.) [Windows] OS: Microsoft Windows XP/Me/2000/98SE Computer: Windows compatible computer equipped with a USB 1.1 (Full-SPEED) port CPU/Clock: Pentium processors / 600 MHz or higher Memory(RAM): 128 MB or more

. p.20 p.23

[Macintosh] OS: Mac OS X 10.2 or later, Mac OS 9.x Computer: Apple Macintosh series with on-board USB port CPU/Clock: PowerPC G3/400 MHz or higher Memory(RAM): 128 MB or more * 256 GB or more is recommended in Mac OS X.

UA-1000

UR-80 can control : Cakewalk SONAR Steinberg Cubase Emagic Logic Platinum/Gold/Audio MOTU Digital Performer Digidesign ProTools LE Magix Samplitude Ableton Live Propellerhead REASON Roland MCR-8 compatible software and more !

Audio and MIDI in a compact unit. Fully equipped with I/O jacks. Great tool for creating music. EDIROL's FPT Technology.

UA-700

The guitarist's favorite with on board guitar amp modeling, modeling, and effects.
Equipped with guitar amp simulator and microphone modeling backed by original COSM technology. Includes a wide variety of effects such as compressor and reverb. Supports 24-bit, 96 kHz I/O. Full range of I/O jacks including 2 x XLR combo jacks and dedicated guitar input jack (Hi-Z). Also comes with MIDI ports.

FA-101

Fire Wire
Certified Hit Award on MIX magazine on March issue
EDIROL FA-101 was selected as one of the top new technology hits of the 2004 Winter NAMM show by the editors of Mix Magazine.
Portable 10-in/10-out compact, mobile FireWire audio at home or on the road.
The FA-101has the highest specs available to support your most demanding applications. You get 24-bit, 192kHz simultaneous recording and playback in a compact 1U half-rack unit, with all the headroom you need.
Supports up to 24 bit, 192 kHz. Equipped with industry leading AD/DA converters thatmakes it an industry top by supporting 24-bit, 192 kHz simultaneous recording and playback. Music creation at the DVD-Audio spec level is now possible. Compatible with Mac OS X standard driver. Out-of-the-box compatibility with Mac OS X (Panther) standard FireWire audio driver. Combines the excellent stability of the OS standard driver and 24-bit, 192 kHz high performance with plug and play.
Two independent, on board mic pre-amps. The front panel is equipped with 2-channel highquality phantom power mic preamps. Carefully selected analog parts are used to ensure the sound is crystal clear. Capable of full duplex recording and playback on 10 independent channels. Despite the compact body, 10 independent channels are available for recording and playback when working with 24-bit, 96 kHz audio, and full duplex 6 x 6 channels are available when working with 24-bit, 192 kHz audio. Also comes with MIDI interface.

Thechnology

6-IN/6-OUT 24 bit/96 kHz Full Duplex Recording Performance,and 4-IN/4-OUT 24 bit/192 kHz Full Duplex Recording Performance You can record and monitor all four channels of analog audio at the same time at up to 24-bit/192kHz resolution, the maximum spec. for DVD-A. Compatible with Mac OS X Standard Driver Provided from Apple The FA-66 uses the standard FireWire Audio driver included on Mac OS X. This means there is no driver to install---just plug it in and start recording! Your Mac will recognize it immediately. Variety of Input & Output Options The FA-66 offers a wide array of input and output options to let you connect any audio device you need, including; 2 Neutrick XLR/TRS combo inputs with Phantom Power, Hi-Z (Guitar) connection, stereo RCA analog inputs, S/PDIF Optical I/O, 4 individual analog outputs, 1/4" stereo Headphone Output, and MIDI I/O. The FA-66 offers +4dBu balanced input & output.
2x XLR/TRS Combo Jacks with Professional Grade Mic Preamps with +48V Phantom Power The FA-66 is a completely portable recording center with very clean, high-gain microphone preamps & premium analog components perfect for home studio & field recording. Built-in Analog Limiter Prevent clipping in your recordings. Get high quality live recordings with a wide dynamic range. See the side diagram for Limiter characteristics. FireWire Bus Powered for Mobile Use No AC adaptor required! Just connect one FireWire (6-pin to 6-pin) cable to your laptop to create a quality field recorder. Reduce your cables and record anywhere with the FA-66. For your desktop use, the FA-66 package comes with the AC adaptor.
Core Audio, WDM, & ASIO 2.0 Support Compatible with Mac OS X standard audio, CoreAudio. Plus, the FA-66 comes with WindowsXP WDM & ASIO2.0 drivers for Low Latency with most audio applications. Compact, Solid Metal Construction The FA-66 packs Edirol's latest audio technology in a small, durable body for incredibly portable FireWire audio recording. Zero-Latency, Direct Monitoring Listen to audio being recording directly, without routing through software, with the FA-66's Direct Monitoring function. This allows the input to go straight to the output offer ZERO-latency monitoring. The FA-66 also offers incredibly low latency when monitoring through software or performing with software synths through the Apple CoreAudio driver as well as the WDM/ASIO2.0 drivers for Windows XP.
Three variations with 11 digital effects built in. Including a noise suppressor and limiter, three variations comprising 11 digital effects can be put to powerful use during recording or playback. Adjustment of sound quality is handled in real time by a single knob. Also, the loop back function makes it possible to adjust the sound quality of existing sound files and then re-save them. A full range of I/O jacks starting with optical digital. In addition to an input jack for both guitar and mic, a dedicated mic jack with plug-in power (1/8 phone plug), and a convenient I/O line jack, for connecting audio devices, are provided. A S/P DIF digital I/O port (optical) is also provided, which makes it easy to connect digital devices.

AF (Adaptive Focus) Technology
Edirol advanced AF (Adaptive Focus) Technology is the engine that gives the UA-3FX its expressiveness. The 32 bit DSP unit organically manages the two 24 bit AD converters, based on the demands of the source material. As a result, you get delicate expressiveness across the entire dynamic range of the material.
VISUAL PERFORMANCE SOFTWARE CONTROLLER
S/PDIF 24-Bit DA Converter

Digital Speakers

Carefully designed for premium sound quality throughout the signal chain.
Stereo Microphone IARC* 24-Bit AD Converter DSP CompactFlash DSP

Headphones

RECORDING
*Computer not included and shown only for photography purposes.
* IARC (Isolated Adaptive Recording Circuit): The input circuitry of the R-1 provides a separate power supply between the Analog Limiter and AD converter. This eliminates DC interference and results in an overall better quality recording.
A Portable MP3 Recording & Playback Masterpice.
Top-Grade Components, World-Class Sound Searching for the highest recording quality in a portable device? EDIROL handpicked the top analog and digital components for the R-1. The unit records and plays back at a crystal-clear, 24-bit audio resolution without compression. Electrolytic capacitors provide stable, reliable power to the analog circuits, eliminating DC interference and supplying low-distortion sound. Audio recorded into the R-1 is stored as stereo files directly onto removable CompactFlash card. Maximum recording time is approximately 137 minutes (MP3, 64 kbps mode) when using the bundled 64 MB memory card. Nine format-quality modes are provided, ranging from 64 kbps compression to linear WAV. Record via Built-In Mic or External Inputs Need to record quickly, easily, with pro results and without having to buy extra components? The R-1 is equipped with two electret microphones for quick and clean capture. It can offer superior results from the internal microphones because it is completely solid state the R-1 makes no noise itself for the internal microphones to pick up. Just press the REC button, the level indicator pops up on the display, and you're instantly ready to record. The R-1 also lets you capture audio through its external line or microphone input. Convenient Connectivity In addition to its headphone output and external audio inputs, the R-1 can connect to the outside world via USB 2.0 for importing/exporting WAV / MP3 audio files via computer. The R-1s headphone jack also doubles as a S/PDIF optical out, so you can stream audio to digital equipment such as digital speakers or DAT/CD/MD recorders. SPECIFICATONS

High Quality Mechanism for the Serious Player
Twelve Selectable Velocity Curve Combinations Pick from 12 velocity curves to precisely match your playing style. As the PCRM80/M50/M30 has 4 different velocity curves and 3 kinds of sensitivity (Light, Medium, and Heavy), the player can find the combination that perfectly suits them and can produce the precise MIDI performance and programming of a true professional. In addition a Fixed Velocity Mode is provided where the PCR-M80/M50/M30 always outputs a fixed velocity (from 1 to 127) providing practical input for drum and percussion programming in step recording.

PCR-M50

With a newly designed key mechanism --- taken from Roland's 30 years of synthesizer development --- players can control a wide dynamic range at will. The re-designed white & black key assemblies have a rounded shape for better reaction to the players touch and more comfortable glissando, plus changes have been made to reduce mechanical noise and eliminate vertical shake on the key strokes. In conjunction with this, the newly developed pitch bend and modulation design offers you easier and more expressive control. All these features add up to a keyboard that even the most discerning player can appreciate.
Keyboard Mechanism Diagram
1.Confortable touch & glissando
Key tips & sides rounded off

VELOCITY CURVE

2.Eliminate vertical shake

Smooth key guide

PCR-M30

3.Thick Plastic

Sturdy body
0 : LIGHT 1 : MEDIUM 2 : HEAVY
4.Reduce mechanical noise

Felt cushions

1-L 3 : LIGHT 1-M 4 : MEDIUM 1-h 5 : HEAVY
2-L 6 : LIGHT 2-M 7 : MEDIUM 2-h 8 : HEAVY
3-L 9 : LIGHT 4-L 3-M 10 : MEDIUM 4-M 3-h 11 : HEAVY 4-h
PCR Editor software and Downloadable Memory Sets (Control Maps) on the web Comprehensive Connectivity for Maximizing Player's Performance Connect everything with one USB cable. Since the power is supplied from the computer, no AC adaptor is needed. The same USB connection provides MIDI IN and OUT ports that allow the keyboard to function as a MIDI interface to other external MIDI devices. It addition to this, all the information from keys and controllers can be sent through the MIDI OUT port so that you can control both software and external MIDI devices at the same time (MIDI Interface mode = OFF). With the interface mode turned on, the PCR-M80/M50/M30 can control multiple applications at the same time. Control your DAW (Digital Audio Workstation) and software synthesizer at the same time. The MIDI processing in the PCRM80/M50/M30 is compatible with FPT (Fast Processing Technology). This technology doesn't depend on music application you are using. It provides stable, high speed, low latency, and low jitter MIDI transmission. The PCR series keyboards work with all major music applications, and is equipped with user memory locations to store up to 15 different controller arrangements. PCR Editor software for use with the EDIROL PCR Keyboard Series is included. The PCR Editor allows for extensive and convenient control of the PCR keyboards from a PC or Mac. The PCR Editor is designed to assist in creating control maps for the PCR and allow users to quickly and easily make assignments to any of the 27 assignable controls. This powerful software also allows the user to copy system exclusive messages for the PCR into a sequence so the controls can be mapped or changed during a sequence. In addition to offering easy implementation of different MIDI messages, the PCR Editor also allows the user to specify minimum and maximum values for each control. Supports Win98/Me/2000/XP, Mac OS X & Mac OS 9.x.

Rear Panel

OUT IN HOLD(P1)

EXPRESSION(P2)

PCR Editor
27 Individual Fully-assignable Controllers The PCR-M80/M50/M30 provides you with 8 knobs, 8 sliders, 9 buttons, and 2 pedal ports. These controllers can be assigned to any MIDI message, Control Change (CC), RPN, NRPN, System Exclusive and more. You get to choose what parameters to control in your MIDI hardware and software to create the perfect playing environment. 11

MIDI KEYBOAD CONTROLLER

PC-80 / PC-50

PCR-M1

FPT S.L.I.M.
EXPRESSION(P2) HOLD(P1) OUT

IN USB

Introducing the new standard in MIDI keyboard controllers, with Edirol's S.L.I.M. design, with features for a wider range of MIDI applications.
Equipped with MIDI IN and OUT ports for direct control of MIDI devices. Simultaneous signal export to MIDI OUT and USB is also possible. Choose among three power supplies to suit the application (USB, battery, and optional AC adaptor). Equipped with external pedal ports for sustain, expression, or more (fully assignable).

PC-80 Rear Panel

Packed into a 28 mm(1-1/8 inches) thin compact body. At 28 mm/1-1/8 inches and 1500 g/ 3 lbs 5 oz, the ultra-thin, lightweight body holds a MIDI keyboard and MIDI controller. Furthermore, the ultra-thin, lightweight unit is capable of running on USB power. Mating it with your laptop makes it the ideal mobile workstation. Uses the newly developed S.L.I.M. standard-size keys.
Equipped with 27 fully assignable physical controllers. The PCR-M1 provides 27 physical controllers that allow you to control all sorts of software such as software synthesizers. Various MIDI messages can be assigned, such as Control Change, RPN, NRPN, and SysEx. Easy parameter settings with PCR editor. Any parameter assignment can be made from a computer. You can also download optimized setting files from the Web.

PC-50 Side Panel

Despite its thin profile, the newly developed S.L.I.M. (Short-stroke, Low-profile Impact Mechanism) keyboard is touch-sensitive. It uses standard size keys, which make it possible to even play in real time.
The Two Only-what-you-need Keyboards Quality is Best in Class
61-note (PC-80) / 49-note (PC-50), Standard-sized keys with Velocity-sensitivity High Quality Keyboard Mechanism 12 Selectable Velocity Curves 3-Digit 7-segment LED and Rotary Encoder Pitch Bender / Modulation Lever / Octave Shift Buttons Sustain & Expresson ports / MIDI OUT Port 2 Ways of Power Supply (USB-Bus/AC Adaptor) (PC-80) 3 Ways of Power Supply (USB-Bus/Battery/AC Adaptor) (PC-50) Side Panel Connections for Streamlined Routing (PC-50)
High Quality Mechanism for the Serious Player (PC-80/PC-50) With a newly designed key mechanism taken from Roland's 30 years of synthesizer development players can control a wide dynamic range with incredible subtlety. The re-designed key assemblies have a rounded shape for better reaction to the player's touch and more comfortable glissando, plus changes have been made to reduce the already low mechanical noise of the PC-80/PC-50 and eliminate vertical shake on the key strokes. The newly developed pitch bend and modulation design offers you easier and more expressive control. All these features add up to a keyboard that even the most discerning player can appreciate.

Featuring a 28 mm(1-1/8 inches) thin compact body, this standard-size 25-key MIDI keyboard with built-in audio interface combines mobility with playability.
The PCR-1 is both a USB audio interface and MIDI keyboard controller that boasts light weight and a thin profile unavailable in a product like this until now. It comes with its own gig bag made of highly cushioned material so you can throw it in your bag and take it wherever you go. Used with a laptop, it provides an ideal mobile solution.
24-bit, 96 kHz audio I/F function.
More for the PC-80 Software Synthesizer Bundled Plug-and-Play! By connecting a USB cable to computer and pressing a specific Software Synthesizer button, Software Synthesizer can instantly comes to the display, and you are ready to play the PC-80 like a portable keyboard with up to 2 instrument sounds by using split or layer. It also has 16 part SMF player. Both Mac OS X and Windows XP/2000 versions are available. 24-bit/96 kHz Audio Capability
The screen shot is a prototype version.

Iutput Volume

Iutput L,R Output L,R Headphones / Optical audio output USB
The audio interface supports 24-bit, 96 kHz audio signals. In addition to analog I/O jacks, a 1/8 phone S/P DIF digital output port (optical) is provided. Remix Technology Award
Twelve Selectable Velocity Curve Combinations (PC-80/PC-50) Pick from 12 velocity curves to precisely match your playing style. As the PC80/PC-50 has 4 different velocity curves and 3 kinds of sensitivity (Light, Medium, and Heavy), the player can find the combination that perfectly suits them and can produce the precise MIDI performance and programming of a true professional. In addition a Fixed Velocity Mode is provided where the PC-80/PC-50 always outputs a fixed velocity (from 1 to 127) providing practical input for drum and percussion programming in step recording.
The PC-80 offers high quality audio capabilities. Low latency driver support including CoreAudio, WDM, ASIO 2.0 and OS-standard for fast response in all major music applications. In addition, the PC-80's Direct Monitoring function (Input Monitor button) lets you listen to audio being recorded directly without routing through software. The input goes straight to the output to provide ZERO latency monitoring and you can easily record any audio source (Line, Dynamic Mic or Guitar). 2 W + 2 W Built-in Stereo Amplifier and Speaker Listen to the sound via the built-in stereo speakers powered by a 2W + 2W stereo amplifier with a Bass Enhancer circuit. Loud enough for personal use, the PC-80 offers a strong low end in a very compact set of speakers. In addition, there is a Sub-Woofer output port for when you need to isolate the very low frequencies. Others AC adaptor Included Audio Input Port (L / R) and Volume 2 x 1/4" Headphone Ports

S.L.I.M.

Edirol PCR-1 has won the 2004 Remix Technology Award in the Keyboard Controller category in the January issue.
High-quality audio and MIDI interfaces combined with a versatile control surface.
Fulfills multiple functions such as audio recording, DAW control, and MIDI input. Equipped with 27 fully assignable physical controllers that allow you to control any MIDI parameter. Onboard 24-bit, 96 kHz audio interface included. Ability to take power from the bus empowers it for mobile applications. Comes with headphone jack as well as mini stereo speakers on the sides.
More for the PC-50 Side Panel Connections for Streamlined Routing The rear panel of the keyboard is clean of connections so that you can easily have a computer monitor or laptop behind the keyboard - in the ideal position. 12
Three ways of Power supply The PC-50 is compatible with USB-Bus power. The PC-50 can also be powered via batteries (AA type x 4) or by an AC adaptor when you are playing in the studio. The 3 choices of power are very convenient. Batteries and AC adaptor (Roland PSA type) are optional.
MIDI INTERFACES / AUDIO ACCESSORIES

UM-3EX

UM-880
Most Affordable Multi-port MIDI Interface in Its Class
3-in/3-out MIDI ports (female) MIDI OUT or THRU selectable switches built-in Control up to 48 channels of MIDI equipment Fast and stable MIDI data transmission realized by FPT USB powered, AC Adaptor not required Built-in USB hub Connect up to 3 units 9- in/9-out 3-unit rack-mountable in a RAF-70* adaptor * Roland RAF-70 is sold separately through Roland's distribution.
Compact 2-in 2-out MIDI interface
MIDI interface with 2 in and 2 out I/O ports. MIDI control of up to 32 channels possible. Eliminates need for AC adaptor by taking power from USB bus. Equipped with LED indicators to make MIDI I/O signals visible

x64-bit Driver

WindowsXP x64
MIDI interface and patcher with 8-in/8-out and support for high-speed, large-capacity data transfers using USB.
An 8-in, 8-out MIDI interface and MIDI patcher combined in one unit. FPT is used to realize high-speed yet stable MIDI data transfers. MIDI patching uses hardware-based HDMR to keep low latency. MIDI routing and merge settings can be made instantly using the buttons on the front panel. Up to four UM880s (512 channels) can be used at the same time.

Contains a rich variety of 902 sounds and 26 drum sets, all of high quality. Contains full range of effects. Package contains three types: standalone version, DXi version, and VST instrument version. Up to 128 voice polyphony and up to 16 simultaneous parts possible.

DESKTOP SPEAKERS

USB Stereo Speaker

MA-20D

Bass Enhancer

Front Panel

USB-powered stereo speaker for the mobile musician
Small body yet powerful sound and reliable operation USB powered, AC Adaptor not required 1.5 W (0.75W + 0.75W) rated power 2.5" (60 mm) Bass-reflex type, full range speaker unit Volume control with power switch 1/8" Headphone jack S/P DIF output (Up to 16-bit/48 kHz) Integrated USB-cord wrap Bass Enhancer Plug & play No driver installation required
Near field monitors with attractive wooden cabinet and max. 20 W + 20 W output.
Wooden cabinets with superior acoustic characteristics. 20W+20W, 2-way, bass-reflex design with 12 cm/4.8 inches woofers and 4 cm/1.6 inches tweeters. Self powered with separate left-right power supplies. Supports up to 24-bit, 96 kHz S/P DIF digital input. Equipped with two line inputs each with its own volume control. Independent tone controls to enable desired sound. Comes with headphone jack.

MA-15D

High Performance Desktop Monitors in Wooden Cabinets

MA-10D/MA-10DBK

MA-10A/MA-10ABK
15 W + 15W Powerful Desktop Monitor (pair) 2-Way Bass Reflex Enclosure Type: 100 mm (4") Woofer + 50 mm (2") Tweeter Wooden Cabinet Up to 24-bit/192 kHz DA conversion for S/PDIF Optical & Coaxial Input 3 Independent Source inputs; 1/8" Line, RCA-pin Line (L/R), and S/PDIF(optical & coaxial) Bass Enhancer * Bass, Treble, and Individual Volume 1 & Volume 2 Controls on Front 1/4" headphones port Magnetically-shielded Sub woofer output port for extra bass boost

MA-10A

MA-10D MA-10ABK
High quality speakers with wooden cabinet and 10 W + 10 W output.
Excellent acoustic characteristics in a smart looking wooden cabinet that blends well with your other desktop gear. 10W+10W, 2way, bass-reflex speakers with 9.2 cm woofers and 5 cm tweeters. Equipped with two line inputs each with its own volume control. 8Independent tone controls for getting the right sound. Comes with headphone jack. Supports up to 24-bit, 96 kHz S/P DIF digital optical input on front and rear panels (MA-10D and MA-10DBK only). Stylish blue and chic black models available.

Unique Features

10-In/10-Out, Up to 24-bit/192 kHz Audio Performance USB 2.0 / USB 1.1 up to 10 in / 10 out Full Duplex Up to 24-bit/192 kHz 96.0 kHz: 20 Hz to 40 kHz (+0/-2 dB)
USB2.0 Computer Connection 4x Channel Inserts USB 2.in / 10 out Full Duplex AD/DA 24-bit,Internal 40-bit/ Up to 96 kHz 96 kHz:20 Hz to 40 kHz (+0 dB/-2dB)
S/PDIF Optical In & Out
10 in / 10 out Bus-powered FireWire interface FireWire 10 in / 10 out Full Duplex Up to 24-bit /192kHz 96 kHz:20 Hz to 40 kHz (+0 dB/-2dB)
Connection to Computer Audio Channels Signal Processing / Sample Rate Frequency Response DSP
USB 1.in / 2 out Full Duplex Up to 24 bit / 96 kHz 96 kHz: 20 Hz to 40 kHz (+0 dB/-2dB)
USB 1.in / 2 out Full Duplex Up to 24 bit / 96 kHz
FireWire 6 in / 6 out Full Duplex Up to 24-bit /192kHz 96 kHz:20 Hz to 40 kHz (+0 dB/-2dB)
Hardware Direct Monitoring Audio Driver Compatibility OS

Audio Inputs

Selectable ASIO 2.0 (Win),WDM, MME,Sound Manager, Core Audio Microsoft Windows XP/Me/2000/98SE Mac OS X 10.2.3 or later, Mac OS 9.x Two Neutrix XLR/TRS* combo w/phantom power, Six 1/4 inch TRS phone type, Digital In (Optical type), USB
Selectable ASIO 2.0 (Win),WDM, MME,Sound Manager, Core Audio Windows XP

Audio Outputs

MIDI Interface Bundled Software
Eight 1/4 inch TRS (balanced phone type), Digital Out (Optical type), Monitor Out, Stereo 1/4 inch Headphones Jack In/Out SONAR LE
Four front-mounted XLR/TRS balanced/unbalanced combo Jacks with Phantom Power (One with Hi-Z select switch) 8x 1/4 phone jacks S/P DIF Coaxial/Optical BNC Word Clock ADAT 8 1/4 balanced TRS Coaxial and Optical BNC Word Clock ADAT In/Out Driver SONAR LE 431 (W) x 244 (D) x 44 (H) mm 17 (W) x 9-5/8 (D) x 1-3/4 (H) inches 2.8 kg / 6 lbs 3 oz
Selectable ASIO 2.0 (Win/Mac), WDM, MME, Sound Manager, Core Audio Windows XP/2000/ME/98SE, MacOS 9.0.4 or later. MacOS 10.2 or later. Two Neutrix XLR/TRS* combo w/phantom power * Input Jack 2: high impedance is supported S/P DIF Optical
ASIO 2.0 (Win/Mac),WDM,MME, Sound Manager,Core Audio Windows XP/2000/ME/98SE/98 MacOS 9.0.4 or later. MacOS 10.2 or later. Two XLR w/phantom power; Two 1/4 Lo-Z TRS phone jack (One Lo-Z/Hi-Z Selectable) S/P DIF Optical/Coaxial

AUTO, ON ASIO 2.0 (Win/Mac), WDM, MME, Sound Manager, Core Audio Windows XP/2000/ME/98SE/98, MacOS 9.0.4 or later. MacOS 10.2 or later. Optical S/P DIF RCA pin (L/R) Microphone (plug-in powered electret condenser type (stereo))
Selectable ASIO 2.0 (Win),WDM, MME, Core Audio Windows XP, MacOS 10.3.4 or later. Two XLR/TRS balanced Neutrix combo jacks w/phantom power and high quality preamps; Six 1/4 TRS/balanced inputs; Front-mounted S/P DIF optical inputs 8 1/4 TRS/balanced Front-mounted S/P DIF optical In/Out Driver
Selectable ASIO 2.0 (Win),WDM,Core Audio
Microsoft Windows XP Home/XP Professional, MacOS 10.3.3 or laterTwo Neutrix XLR/TRS Two front-mounted, XLR/TRS, balanced combo Jacks with Phantom Power (One with Hi-Z select switch), Four RCA pin jacks, S/P DIF optical
1/4 TRS phone type (balanced) 1/4 Headphones Stereo RCA S/P DIF Optical In/Out Driver SONAR LE 164 (W) x 133 (D) x 46 (H) mm 6-1/2 (W) x 5-1/4 (D) x 1-13/16 (H) inches 554 g / 1 lb 4 oz
S/P DIFCoaxial/Optical Stereo 1/4 Headphones Stereo RCA In/Out Drivers, Hyper Canvas Soft Synth, UR-80 editing software,SONAR LE 378.5(W) x 238.5(D) x 83.8(H) mm 14-15/16 (W) x 9-7/16 (D) x 3-5/16 (H) inches 1.65 kg / 3 lbs 11 oz
Optical S/P DIF 1/8" headphone RCA pin (L/R)
8 1/4 "TRS/balanced, 1/4 "Headphones, S/P DIF optical

Driver

1 In/ 1Out Driver

Dimensions

218mm(W) x 159mm(D) x 45mm(H) 8-5/8 x 6-5/16 x 1-13/16 inches 1.2 kg / 2 lbs. 9 oz.
127(W) x 61(D) x 22(H) mm 5(W) x 2-7/16(D) x 7/8(H) inches

Weight

218 (W) x 137 (D) x 46.5 (H) mm 8-5/8 (W) x 5-7/16 (D) x 1-7/8 (H) inches 0.95 kg / 2 lbs 2 oz
164 (W) x 148 (D) x 44 (H) mm 6-1/2 (W) x 5-7/8 (D) x 1-3/4 (H) inches 650g / 1 lb 7 oz

MIDI KEYBOARDS

Main Function Unique Features
USB Bus-Powered MIDI Keyboard Controller High Quality Keyboard Mechanism, , 24-bit/96 kHz Audio Capability, Software Synthesizer is bundled. 61 standard, velocity-sensitive keys
USB Bus-Powered MIDI Keyboard Controller High Quality Keyboard Mechanism, Three Way Power Supply MIDI Keyboard Controller
USB Bus-Powered MIDI Keyboard Controller Ultra-thin controller w/ innovative key action ; 3-way Power Supply:USB/Battery/AC Adaptor ; Expression and Sustain Pedal Ports 25 standard keys (S.L.I.M) 27 Full Assignable Controllers: 8 Knobs, 6 Buttons, and 2 Pedal Ports Yes Yes Yes 15 Windows XP/2000/ME/98SE/98, MacOS 9.0.4 or later. MacOS 10.2 or later.
USB Bus-Powered Audio Interface &MIDI Keyboard Controller Ultra-thin controller w/innovative key action;Audio w/Direct Monitoring 25 standard keys (S.L.I.M) 25 fully assignable controllers: 8 knobs,6 buttons No Yes Yes 15 Windows XP/2000/ME/98SE/98, MacOS 9.0.4 or later. MacOS 10.2 or later. 2x 2 Full Duplex Up to 24 bit / 96 kHz ASIO 2.0 (Win/Mac),WDM,MME, Sound Manager,Core Audio RCA line Stereo RCA S/P DIF Optical 1/8 Headphones PCR Editor,Drivers (Win/MacOS9/X),SONAR LE 450(W) x 220(D) x 28(H) mm 17-3/4 (W) x 8-11/16 (D) x 1-1/8 (H) inches 1.5 kg / 3 lbs 5 oz

USB Bus-Powered MIDI Keyboard Controller High Quality Keyboard Mechanism
Number of Keys Number of Controllers V-LINK FPT (Fast Processing Technology) SYS EX,NPRN,RPN User Patch Memory Locations OS Channels Signal Processing /Sample Rate Audio Driver Compatibility Audio Inputs Audio Outputs
49 standard, velocity-sensitive keys
Windows XP/2000, Mac OS X v10.2 or later 1 pair of stereo Up to 24 bit / 96 kHz ASIO 2.0 (Win/Mac), WDM, Core Audio, OS-standard Stereo 1/4 inch phone Stereo RCA
Windows XP/2000 /Me/98, Mac OS X v10.2 or later, Mac OS 9.x
61 standard, velocity-sensitive keys 27 Fully-assignable Controls: 8 Knobs, 8 Sliders, 9 Switches, and 2 Pedal Ports Yes Yes Yes 15 Windows XP/2000/ME/98, MacOS 9.X, MacOS 10.2 or later
49 standard, velocity-sensitive keys 27 Fully-assignable Controls: 8 Knobs, 8 Sliders, 9 Switches, and 2 Pedal Ports Yes Yes Yes 15 Windows XP/2000/ME/98, MacOS 9.X, MacOS 10.2 or later
32 standard, velocity-sensitive keys 27 Fully-assignable Controls: 8 Knobs, 8 Sliders, 9 Switches, and 2 Pedal Ports Yes Yes Yes 15 Windows XP/2000/ME/98, MacOS 9.X, MacOS 10.2 or later
MIDI Ports Bundled Software Dimensions Weight
Out Software Synthesizer,SONAR LE 1000 x 232 x 86 mm 39-3/8 x 9-3/16 x 3-7/16 inches
Out Drivers,SONAR LE 883 x 184 x 84 mm 34-13/16 x 7-1/4 x 3-5/16 inches 2.7 kg / 6 lbs.
1 in / 1 out PCR Editor, Drivers (Win/MacOS9/X),SONAR LE 450 (W) x 220 (D) x 28 (H) mm 17-3/4 (W) x 8-11/16 (D) x 1-1/8 (H) inches 1.4 kg / 3 lbs 2 oz (excluding AC adaptor)
1 in / 1 out PCR Editor, Drivers (Win/MacOS9/X),SONAR LE 1,000 (W) x 232 (D) x 86.5 (H) mm, 39-3/8 (W) x 9-3/16 (D) x 3-7/16 (H) inches 3.7 kg / 8 lbs 3 oz (excluding AC adaptor)
1 in / 1 out PCR Editor, Drivers (Win/MacOS9/X),SONAR LE 833 (W) x 232 (D) x 86.5 (H) mm, 32-13/16 (W) x 9-3/16 (D) x 3-7/16 (H) inches 3.3 kg / 7 lbs 5 oz (excluding AC adaptor)
1 in / 1 out PCR Editor, Drivers (Win/MacOS9/X),SONAR LE 600 (W) x 232 (D) x 86.5 (H) mm, 23-5/8 (W) x 9-3/16 (D) x 3-7/16 (H) inches 2.4 kg / 5 lbs 5 oz (excluding AC adaptor)
MIDI INTERFACES/AUDIO ACCESSORIES

NEW NEW NEW

USB Bus-Powered 48 channel MIDI interface Compact Portable Design
USB Bus-Powered MIDI interface Two MIDI out ports
USB Bus-Powered 16 channel MIDI interface All in one MIDI interface cable
128 channel MIDI interface and stand alone patch bay Patchbay/Router
80 channel MIDI interface and stand alone patch bay Patchbay/Router

Ideal Application

USB Hub built-in and up to 3 units cascade connection Yes
Supported the combination of two sets of sound modules Yes
This is the perfect MIDI interface for a laptop

Hyper Canvas Help

Features Using the Mixer window Using the Part Edit window Using the Rhythm Edit window Using the Effect Edit window Using the System Settings window Using the Option window To select a different sound for a part Saving user sounds Parameter control via MIDI Saving and loading control change assignments (Control Change Map) Recording panel operation (Automation) Using MIDI automation Using VST automation [VST version only] Saving/loading all parameters as performance data Troubleshooting Instrument List MIDI Implementation
http://dallashodgson.info/help/index_e.htm (1 of 2)4/29/2007 8:42:33 PM
* Pentium is a registered trademarks of Intel Corporation. * DirectX is a registered trademarks of Microsoft Corporation. * VST is a trademark of Steinberg Media Technologies AG. * 3DNow! is a trademarks of Advanced Micro Devices, Inc. * AltiVec is a trademark of Motorola, Inc. * All product names mentioned in this document are trademarks or registered trademarks of their respective owners. * Screen shots reprinted with permission from Microsoft Corporation. * In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without notice. Copyright (C) 2001-2003 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
http://dallashodgson.info/help/index_e.htm (2 of 2)4/29/2007 8:42:33 PM

Features

Hyper Canvas is a GM2 (General MIDI 2) compatible, high-quality, software synthesizer featuring a newly developed software synthesis engine, with 256 sounds and 9 drum sets built in.
High-quality sounds from a newly developed software synthesis engine The newly developed software synthesis engine uses 32-bit internal processing to produce highquality sound. 96 kHz sampling rates are also supported (*1), letting you take full advantage of the performance of your audio device. High-quality reverb and chorus are also provided.
[Note] *1: The output sampling rate will depend on the performance of your host application and audio device.
A rich array of GM2 compatible sounds, covering all styles of music 256 GM2-compatible sounds and 9 drum sets are built in. In addition, you can create 512 user sounds and 128 drum sets. Maximum polyphony is a generous 128 notes (*2), giving you the power for serious music production for jazz, rock, classical, or any other style.
[Note] *2: The actual polyphony will depend on the performance of your computer and audio device.
Customizable sounds Each sound can be customized from a dedicated edit window. You can make detailed edits to the tone control, envelope, resonance, tuning, portamento, modulation, and more, allowing you to express subtle nuances of tone. Customized sounds can be saved as user sounds for use at any time. In the Mixer Window you can easily specify things such as the sound and volume of each part. Here you can also monitor the level of each part and the total polyphony, allowing you to check the status during playback, and use it as a valuable reference when creating music data. Intel Corporation's SSE instructions, AMD Corporation's Enhanced 3D Now! technology, and Motorola Corporation's AltiVec are all supported, so you'll be able to take full advantage of the high-speed calculation potential of your CPU. Support for multiple outputs The multi-channel output capability of DXi 2 and VST 2.0 is supported. In your host application, you can apply effects independently to each part, or output audio to multiple devices.
http://dallashodgson.info/help/feat_e.htm (1 of 2)4/29/2007 8:42:34 PM
[Note] In order to use multiple outputs, you must have a host application that supports DXi 2 or VST 2.0 multiout capability.
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Using the Mixer window

In the Mixer window, you can select the sound, set the volume, and adjust the effects for each part. Changes in the various parameters can be made by dragging a knob up or down. You can also click the spin button below a knob to adjust the value of a parameter in terms of its smallest increments. Double-click the parameter value that is displayed below or beside a knob or slider, and you will be able to directly enter a value for that parameter. The entry dialog box will show the allowable range for that parameter, so enter a value in this range.
[Note] Settings you make in the Mixer window are temporary, and will not be reflected in the settings of the host application, or
in the settings data that is embedded in the song (project). If you want your edits to be applied to the settings of the song, you must either make your edits in the host application, or use the parameter preset function. For details, refer to the operation manual for your host application.

[5] To close the editing window
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Using the Effect Edit window
In the Effect Edit window you can edit the chorus and reverb parameters.
Chorus ON/OFF Chorus Type RATE (Modulation Rate) DEPTH (Modulation Depth) FEEDBACK (Feedback)
Turns the chorus on/off. Type Selects the chorus type. Sets the modulation frequency of the chorus sound. Sets the modulation depth of the chorus. Sets the amount of post-chorus sound that is returned (feedback) to the input of the chorus. Increasing this value will produce a more complex chorus effect.
REV SND LEVEL (Send to Reverb) Sets the level of the output to reverb. Reverb ON/OFF Reverb Type Switches the reverb on/off. Type Selects the reverb type.
TIME (Reverb Time) Adjusts the length of reverberation.
[2] To close the editing window
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Using the System Settings window
When you click the SYSTEM button in the Mixer window, the System Settings window will appear. In the System Settings window you can set the master tuning, master key shift, and polyphony limit.
MASTER TUNE Sets the master tuning in 0.1Hz steps. Double-click the knob to restore the default value. MASTER KEY SHIFT Sets the master key shift in semitone steps. Double-click the knob to restore the default value. POLYPHONY LIMIT Specifies the maximum number of voices that can be sounded simultaneously. Double-click the knob to restore the default value.
[Note] For some sounds, a single note may use more than one voice.
OPTION Displays the Options window. In the Options window you can specify the output destination of each part, and save/load user data files.
[2] To close the settings window
Click the [X] located in the upper right of the window
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Using the Option window

In the System Settings window, click the OPTION button to open the Options window. The Options window contains two pages; Output Assign and Options. In these pages you can specify the output destination for each part, save/load user data files, and make settings for the entire synthesizer.
Version Info. Displays the software version (ABOUT) window, which displays the version of the software and copyright information. Close Close the Option window.

[1] Output Assign

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For each part, you can select one of four stereo outputs as the output destination. This capability is referred to as "multi-out." Multi-out lets you apply separate effects to each output in your host application, or send each output to a different audio device. In the Output Assign page you can select the output destination for each part, and switch the multi-out function on/off.
[Note] In order to use Hyper Canvas's multi-out feature, your host application must support DXi2 or VST2.0. For details on how to use multi-out, refer to the owner's manual for your host application. [Note] If your host application does not support multi-out and you set a part to an output destination other than OUTPUT 1, that part may not sound.
User multiple outputs Switches the multi-out function on/off. If this is on, each part will be sent to the specified output destination. If this is off, all outputs will be sent to OUTPUT 1, regardless of the output destination specified for each part.
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PART / TONE NAME This shows the part number, and the name of the sound or drum set selected for that part.
OUTPUT Selects one of four stereo outputs as the output destination for each part.
[Note] Hyper Canvas's built-in effects (reverb and chorus) can be used only on OUTPUT 1. The built-in effects cannot be applied to other output destinations.
RESET When you click this, the output destination of all parts will be changed to OUTPUT 1.

[2] Options

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PERFORMANCE Save all of Hyper Canvas's current settings as a file, or load previously saved PERFORMANCE data.
Control Change Map Loads or saves control change message assignments (control change map). For details, refer to "Saving and loading control change assignments (Control change map)." Record Panel Operations [DXi version] / Automation [VST version] This specifies whether operations you perform in Hyper Canvas's panel will be transmitted to your host application in the form of MIDI messages that are assigned to that parameter. If you are using the VST version, you can choose either MIDI or VST as the recording method. For details, refer to "Recording panel operation (Automation)." Tone Remain This specifies whether you want the notes that are sounding to remain (ON) or turn off (OFF) when you select a new Tone or Rhythm Set. If this is ON, the following parameters will be carried over to the new sound or rhythm set. If this is OFF, the values of that sound or rhythm set will be used.

[Memo] Since Hyper Canvas provides three preset maps that have the most frequently used parameters assigned to them, you can record automation without having to make your own assignments. For details on the preset maps, refer to "Assignable controllers" in MIDI Implementation.
[1] Saving a control change map
1. 2. 3. 4. In the Master Panel, click the SYSTEM button to open the System Setting (SYSTEM SETTINGS) window. Open the OPTIONS page of the System Setting window. Click the Control Change Map SAVE button. When the Save dialog box appears, enter a name for the file and click Save.
Your control change map have now been saved in a file. At the same time, a file that lets you view the assignments will also be saved, with the name you specified and a filename extension of. txt.
[2] Loading a control change map
[Note] When you load a control change map, the current assignments will all be overwritten. If you want to keep the current assignments, you must first save the current assignments in a file.

1. 2. 3. 4.

In the Master Panel, click the SYSTEM button to open the System Setting (SYSTEM SETTINGS) window. Open the OPTIONS page of the System Setting window. Click the Control Change Map LOAD button. From the menu that appears, select the control change map that you want to load.
Type Minimum Map Normal Map Logic File
Description Only the controllers available in the default state can be used. The parameters which will be used frequently are assigned in addition to the controllers that are available in the default state. These settings are ideal if you are using Emagic's "Logic" series as your host application. Loading the control change map from a file
[Memo] For the actual parameter assignments, refer to "MIDI implementation" -> "Assignable controllers."
5. If you select File, a dialog box will appear, allowing you to select a file. Select the desired control change map file, and click Open. 6. A message will ask you to confirm the operation, so click OK. The control change map that were saved in that file will be loaded into Hyper Canvas.
http://dallashodgson.info/help/cc_map_e.htm4/29/2007 8:42:48 PM
Recording panel operation (Automation)
Operations you perform in the various panels of Hyper Canvas can be recorded by your host application, and reproduced during playback. This is referred to as "Automation." Automation makes it easy to change a parameter setting during a song, or to vary a parameter continuously. There are two ways to record automation: MIDI automation, in which the host application records the MIDI messages assigned to the parameter you operate; and VST automation, which is supported only by the VST version.
MIDI Automation VST Automation [VST version only]

http://dallashodgson.info/help/automation_e.htm4/29/2007 8:42:48 PM

Using MIDI Automation

In MIDI Automation, the control change messages assigned to the parameters being controlled are recorded by the host application. Later, such parameter changes are recreated when the recorded data is played back. You are free to assign the control change messages that are actually recorded. For details on assigning control changes, refer to "Parameter control via MIDI."
[Memo] Since Hyper Canvas provides three preset maps that have the most frequently used parameters assigned to them, you can record automation without having to make your own assignments. For details on the preset maps, refer to "Assignable controllers" in MIDI Implementation. [Note] In order to use Hyper Canvas's automation capability, you must have a host application that supports DXi2 or VST 2.0. However, some host applications that support DXi2 or VST 2.0 are unable to record MIDI messages transmitted from a plug-in. In this case you will not be able to use Hyper Canvas's automation. For details on now to make your host application record MIDI messages transmitted from a plug-in, refer to the owner's manual of your host application.
[1] Enabling MIDI Automation
Here's how to enable MIDI Automation. 1. 2. 3. 4. In the Mixer window, click the SYSTEM button. The System settings window will appear. In the System settings window, click the OPTION button. The OPTIONS window will appear. Open the OPTIONS page. If you are using the DXi version, check "Record panel operations." If you are using the VST version, choose MIDI from the Automation list.
Now when you operate a controller in the panel, the control change message assigned to that parameter will be sent to the host application.
[2] Recording your operations
Here's how to record your panel operations. 1. Assign the desired control change to the parameter whose operations you want to record. 2. In your host application, begin recording the MIDI messages that are sent from a plug-in. 3. Perform the panel operations that you want to record.
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Your panel operations will be recorded by the host application.
[Note] If, after recording automation, you change the control change assignment for a parameter, the automation for that parameter can no longer be reproduced. Also, if you assign the recorded automation data (control change data) to a different parameter, the recorded automation data will cause the newly assigned parameter to change. If you change the control change assignments, you should delete unneeded automation data (control change messages) from your host application.

Here's how to save performance data in a file. 1. In the Mixer window, click the SYSTEM button to open the System Setting (SYSTEM SETTINGS) window. 2. Click the OPTION button in the System Setting window. The Options window will appear. 3. Open the OPTIONS page of the Options window. 4. Click the Performance File SAVE button. 5. When the Save dialog box appears, enter a name for the file and click Save. Your performance data have now been saved in a file.
[2] Loading performance data from a file
Here's how to load the performance data that you saved in a file.
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[Note] When you load the performance data from a file, the currently settings of Hyper Canvas will all be overwritten. If you want to keep the current settings of Hyper Canvas, you must first save the performance data in a file.
1. In the Mixer window, click the SYSTEM button to open the System Setting (SYSTEM SETTINGS) window. 2. Click the OPTION button in the System Setting window. The Options window will appear. 3. Open the OPTIONS page of the Options window. 4. Click the Performance File LOAD button. 5. A dialog box will appear, allowing you to select a file. Select the desired file of performance data, and click Open. 6. A message will ask you to confirm the operation, so click OK. The performance data that were saved in that file will be loaded into Hyper Canvas. All parameter settings of Hyper Canvas can be saved as performance data.
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Troubleshooting

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. Sound is too loud/too soft/cannot be heard Sound is interrupted/playback tempo is irregular/playback stops midway through Notes are delayed Insufficient polyphony/Notes are omitted Sound is distorted Effects (reverb/chorus) are not applied Effects (reverb/chorus) are not applied to the drum part Failure to plug-in System exclusive messages cannot be received An error of "Can't allocate Memory" is displayed when you plug-in (Macintosh) VST instruments do not receive control change messages Can't use Save Bank/Load Bank of VST instruments to save/load settings When the Hyper Canvas's panel is operated, a different slider or the sound of another sound module also changes. 14. Can't use the Learning function 15. Can't record/play back VST automation
[1] Sound is too loud/too soft/cannot be heard

GM2 Instrumet List GM2 Drum Set List
http://dallashodgson.info/help/tone_e.htm4/29/2007 8:42:52 PM

MIDI Implementation

[Software Synthesizer]

Date:Jan. 1, 2003

MODEL:HQ-GM2 Function. Basic Channel Mode Note Number Velocity After Touch Pitch Bend Control Change Prog Change System Exclusive System Common System Real Times 0, 32 1-31, 33-119 Default Changed Default Messages Altered True voice Note ON Note OFF Key's Ch's Ver. 1.50 Transmitted x x x x ******* x ******* x x x x x x x x ******* x x x x x x x x x x x x Recognized 1-16 1-16 Mode 3 Mode 3, 4 (M = 1) 0-127 0-127 o x x o *1 o o o o 0-127 o x x x x x o (120, 126, 127) o x o (123-125) x x Remarks

Bank select *3

True #

Prog.1-128

Aux Messages
Song Pos Song Sel Tune Clock Commands All Sounds OFF Reset All Controllers Local ON/OFF All Notes OFF Active Sensing System Reset *1 o x is selectable *2 Recognize as M = 1 even if M not EQ 1 *3 It can be assigned to any parameter of the operation panels.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO

o : Yes x : No

Section 1. Receive data Channel Voice Messages
<Note off> Status 2nd byte 3rd byte 8nH 9nH kkH kkH vvH 00H
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n = MIDI channel number : 0H-FH (ch.1-ch.16) kk = note number : 00H-7FH (0-127) vv = note off velocity : 00H-7FH (0-127) * The velocity values of Note Off messages are ignored. <Note on> Status 2nd byte 3rd byte 9nH kkH vvH
n = MIDI channel number : 0H-FH (ch.1-ch.16) kk = note number : 00H-7FH (0-127) vv = note on velocity : 01H-7FH (1-127) <Control Change> Hyper Canvas allows you to assign control changes to any parameter of the operating panels. Controller numbers in the range of 1--31 and 33--119 can be assigned to the operating panels. In the default state, Hyper Canvas will recognize the following controller numbers. If you reassign these numbers to panel parameters, the default assignment will be overridden (except in the case of Bank Select).
[Limitations with Emagic's Logic series] If you are using Emagic's Logic series as your host application, some control change messages may not be received by VST instruments due to Logic's plug-in specifications. For details on current specifications for the Logic series, refer to the Logic owner's manual.

Assignable parameters Parameter name MASTER VOLUME MASTER TUNING MASTER KEY SHIFT PART VOLUME PART PAN PART REVERB SEND PART CHORUS SEND MONO/POLY ENVELOPE ATTACK TIME ENVELOPE DECAY TIME ENVELOPE RELEASE TIME CHARACTER FILTER CUTOFF FILTER RESONANCE TONE SWITCH BASS GAIN MID GAIN TREBLE GAIN PART FINE TUNING PART COARSE TUNING VIBRATO RATE VIBRATO DEPTH VIBRATO DELAY PORTAMENTO SWITCH PORTAMENTO TIME MODURATION DEPTH BEND RANGE INSTRUMENT LEVEL INSTRUMENT PAN INSTRUMENT COARSE TUNE INSTRUMENT FINE TUNE INSTRUMENT REVERB SEND INSTRUMENT CHORUS SEND Controller values 00H-7FH (0 - 127) 00H-40H-7FH (0 - 64 - 127) 28H-64H-58H (40 - 64 - 88) 00H-7FH (0 - 127) 01H-40H-7FH (1 - 64 - 127) 00H-7FH (0 - 127) 00H-7FH (0 - 127) 00H-3FH (0 - 63) / 40H-7FH (64 - 127) 01H-40H-7FH (1 - 64 - 127) 01H-40H-7FH (1 - 64 - 127) 01H-40H-7FH (1 - 64 - 127) 1CH-40H-64H (28 - 64 - 100) 01H-40H-7FH (1 - 64 - 127) 01H-40H-7FH (1 - 64 - 127) 00H-3FH (0 - 63) / 40H-7FH (64 - 127) 34H-40H-4CH (52 - 64 -76) 34H-40H-4CH (52 - 64 -76) 34H-40H-4CH (52 - 64 -76) 08H-40H-72H (14 - 64 - 114) 10H-40H-70H (16 - 64 -112) 01H-40H-7FH (1 - 64 - 127) 01H-40H-7FH (1 - 64 - 127) 01H-40H-7FH (1 - 64 - 127) 00H-3FH (0 - 63) / 40H-7FH (64 - 127) 00H-7FH (0 - 127) 00H-7FH (0 - 127) 00H-18H (0 - 24) 00H-7FH (0 - 127) 01H-40H-7FH (1 - 64 - 127) 10H-40H-70H (16 - 64 - 112) 08H-40H-72H (14 - 64 - 114) 00H-7FH (0 - 127) 00H-7FH (0 - 127) Parameter range 0 - 127 433.6 - 440.0 - 446.3 [Hz] -24 - 0 - +24 [semi note] 0 - 127 -63 - 0 - +- - 127 POLY(0 - 63) / MONO(64 - 127) -63 - 0 - +63 -63 - 0 - +63 -63 - 0 - +63 -36 - 0 - +36 -63 - 0 - +63 -63 - 0 - +63 OFF / ON -12 - 0 - +12 [dB] -12 - 0 - +12 [dB] -12 - 0 - +12 [dB] -50 - 0 - +50 [cent] -48 - 0 - +48 [semi note] -63 - 0 - +63 -63 - 0 - +63 -63 - 0 - +63 OFF / ON 0 - - - 24 [semi note] 0 - 127 -63 - 0 - +63 -48 - 0 - +48 [semi note] -50 - 0 - +50 [cent] 0 - - 127
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REVERB TYPE REVERB TIME REVERB SWITCH CHORUS TYPE CHORUS RATE CHORUS DEPTH CHORUS FEEDBACK REVERB SEND LEVEL CHORUS SWITCH
00H - 05H (0 - 5) 00H-7FH (0 - 127) 00H-3FH (0 - 63) / 40H-7FH (64 - 127) 00H-05H (0 - 5) 00H-7FH (0 - 127) 00H-7FH (0 - 127) 00H-7FH (0 - 127) 00H-7FH (0 - 127) 00H-3FH (0 - 63) / 40H-7FH (64 - 127)
Small Room, Medium Room, Large Room, Medium Hall, Large Hall, Plate 0 - 127 OFF / ON Chorus1, Chorus2, Chorus3, Chorus4, FB Chorus, Flanger 0 - - - - 127 OFF / ON
Control change preset maps
Hyper Canvas provides the following three control change maps as presets.

Minimum Map

Only the controllers available in the default state can be used.

Normal Map

The following parameters are assigned in addition to the controllers available in the default state. Controller number (cc) 73 74
MIDI Channel 1 same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number
Parameter name MASTER VOLUME PORTAMENTO TIME PART VOLUME PART PAN PART COARSE TUNING PART FINE TUNING CHARACTER MODULATION DEPTH BEND RANGE EQ SWITCH EQ LOW GAIN EQ MID GAIN EQ HIGH GAIN PORTAMENTO SWITCH PATCH DECREMENT PATCH INCREMENT FILTER RESONANCE ENVELOPE RELEASE TIME ENVELOPE ATTACK TIME FILTER CUTOFF
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same as part number same as part number same as part number same as part number same as part number same as part number same as part number
ENVELOPE DECAY TIME VIBRATO RATE VIBRATO DEPTH VIBRATO DELAY MONO/POLY PART REVERB SEND PART CHORUS SEND
[Note] Patch Decrement and Patch Increment, which are assigned to controller numbers 68 and 69, cannot be assigned to other controller numbers. Thus, if you assign other parameters to controller numbers 68 and 69, Patch Decrement and Patch Increment will be unavailable. If you want to use Patch Decrement and Patch Increment, reload the Normal Map.
These settings are ideal if you are using Emagic Corporation's "Logic" series as your host application. The following parameters are assigned. Controller number (cc) MIDI Channel same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number same as part number Parameter name Modulation PART VOLUME PART PAN PART REVERB SEND PART CHORUS SEND Expression SOLO SWITCH ENVELOPE ATTACK TIME ENVELOPE RELEASE TIME CHARACTER BEND RANGE EQ SWITCH EQ LOW GAIN EQ MID GAIN EQ HIGH GAIN Hold 1
If you select this control change map, you will be able to select all sound banks by using control number 0 messages (Bank Select MSB). BANK MSB 000 - 011 - PROGRAM NUMBER 001 - 128 (00H - 7FH) 001, 009, 017, 025, 026, 033, 041, 049, - 128 (00H - 7FH) 001 - 128 (00H - 7FH) DESCRIPTION Preset Normal 0 - 9 Preset Rhythm (Drum Set) User Normal 1 - 4 User Rhythm

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58H 42H

Reverb time mm: 00H-7FH (0 - 127) * Sets the reverb settings regardless of the channel on which it's received. Chorus switch mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON * Sets the chorus settings regardless of the channel on which it's received. Chorus type mm: 00H-05H (00H = Chorus1, 01H = Chorus2, 02H = Chorus3, 03H = Chorus4, 04H = FB Chorus, 05H = Flanger) * Sets the chorus settings regardless of the channel on which it's received. Chorus rate mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which it's received. Chorus depth mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which it's received. Chorus feedback mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which it's received. Chorus send to reverb mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which it's received. Master volume mm: 00H-7FH (zero-maximum) * Sets the master volume regardless of the channel on which it's received. Master tuning mm, ll: 00 00H-40 00H-7F 7FH (-100 - 0 - +99.99 cent) * Sets the master tuning regardless of the channel on which it's received. Master key shift mm: 28H-40H-58H (-24 - 0 - +24) * Sets the master key shift regardless of the channel on which it's received. System reset mm: ignore * Resets the synth to the initial state regardless of the channel on which it's received. Pitch coarse of rhythm instrument (relative change) rr: key number of rhythm instrument (21 - 108) mm: 10H - 40H - 70H (-48 - 0 - +48) Pitch fine of rhythm instrument (relative change) rr: key number of rhythm instrument(21 - 108) mm: 0EH-40H-72H (-50 - 0 - 50) Rhythm instrument level(relative change) rr: key number of rhythm instrument mm: 00H-7FH (0 - 200 percent) Panpot of rhythm instrument (absolute change) rr: key number of rhythm instrument mm: 00H-40H-7FH (left-center-right) Reverb send level of rhythm instrument (absolute change) rr: key number of rhythm instrument mm: 00H-7FH (zero-maximum)

58H 50H

58H 51H

58H 52H

58H 53H

58H 54H

58H 55H

58H 70H

58H 71H

mmH llH

58H 72H

58H 7FH

18H rrH

19H rrH

1AH rrH

1CH rrH

1DH rrH
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1EH rrH

Chorus send level of drum instrument (absolute change) rr: key number of drum instrument mm: 00H-7FH (zero-maximum)

* Parameters marked "relative change" will change relative to the preset value. Depending on the sound or the pitch range, this may have no effect. * Parameters marked "absolute change" will be set to the absolute value of the parameter, regardless of the preset value. > RPN MSB/LSB (Controller number 100, 101) Status 2nd byte 3rd byte BnH BnH 65H 64H mmH llH
n = MIDI channel number : 0H-FH (ch.1-ch.16) mm = upper byte of parameter number specified by RPN ll = lower byte of parameter number specified by RPN **RPN** The RPN (Registered Parameter Number) messages are expanded control changes, and each function of an RPN is described by the MIDI Standard. To use these messages, you must first use RPN MSB and RPN LSB messages to specify the parameter to be controlled, and then use Data Entry messages to specify the value of the specified parameter. Once an RPN parameter has been specified, all Data Entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH) when you have finished setting the value of the desired parameter. Refer to Section "Examples of actual MIDI messages" <Example 4> On the Hyper Canvas, RPN can be used to modify the following parameters. RPN MSB LSB Data entry MSB LSB Explanation Pitch Bend Sensitivity mm: 00H-18H (0-24 semitones), Initial Value = 02H (2 semitones) ll: ignored (processed as 00H) specify up to 2 octaves in semitone steps Master Fine Tuning mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents), Initial Value = 40 00H (0 cent) Refer to Supplementary material, "About tuning". Master Coarse Tuning mm: 30H-40H-70H (-48 - 0 - +48 semitones), Initial Value = 40H (0 semitone) ll: ignored (processed as 00H) Modulation Depth Range mm, ll: 00 00H - 06 00H (0.0 - 600.0 cent) 00H-7FH (0 - 100 cents) 100/128 Cent/Value RPN null Set condition where RPN and NRPN are unspecified. The data entry messages after set RPN null will be ignored. (No Data entry messages are required after RPN null). Settings already made will not change. mm, ll: ignored

(B3)(MIDI ch.4) upper byte of RPN parameter number: 00H (B3)06 0C (MIDI ch.4) upper byte of parameter value: 0CH (B3)(MIDI ch.4) lower byte of parameter value: 00H (B3)64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH (B3)65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH In other words, the above messages specify a value of 0C 00H for RPN parameter number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH. RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12 semitones (1 octave). (The LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.) Once the parameter number has been specified for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is
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the reason for the (B3) 64 7F (B3) 65 7F at the end. It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound source will then misinterpret the data. Take care to give each event its own status. It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the same (or consecutive) clock may be transmitted in an order different than the order in which they were received. For this reason it is a good idea to slightly skew the time of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480). * TPQN: Ticks Per Quarter Note <About tuning> In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the appropriate MIDI channel. In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being used, or by sending a System Exclusive MASTER FINE TUNE. RPN #1 allows tuning to be specified in steps of approximately 0.012 cents (to be precise, 100/8192 cent). The values of RPN #1 and System Exclusive MASTER FINE TUNE are added together to determine the actual pitch sounded by each Part. Frequently used tuning values are given in the following table for your reference. Values are in hexadecimal (decimal in parentheses). Hz in A4 cent 445.0 444.0 443.0 442.0 441.0 440.0 439.0 438.0 RPN #1

SFX Set

Note# Instrument Name Eb2[39] High Q E 2[40] Slap F 2[41] Scratch Push F#2[42] Scratch Pull G 2[43] Sticks G#2[44] Square Click A 2[45] Metron Click Bb2[46] Metron Bell B 2[47] GtFret Noise C 3[48] Cut Noise Up C#3[49] Cut Noise Dw D 3[50] Slap_St.Bass Eb3[51] Fl.Key Click
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E 3[52] Laughing F 3[53] Scream F#3[54] Punch G 3[55] Heart Beat G#3[56] Footsteps 1 A 3[57] Footsteps 2 Bb3[58] Applause B 3[59] Door Creak C 4[60] Door C#4[61] Scratch D 4[62] Wind Chimes Eb4[63] Car-Engine E 4[64] Car-Stop F 4[65] Car-Pass F#4[66] Car-Crash G 4[67] Siren G#4[68] Train A 4[69] Jetplane Bb4[70] Helicopter B 4[71] Starship C 5[72] Gun Shot C#5[73] Machine Gun D 5[74] Lasergun Eb5[75] Explosion E 5[76] Dog F 5[77] Horse-Gallop F#5[78] Birds G 5[79] Rain G#5[80] Thunder A 5[81] Wind Bb5[82] Seashore B 5[83] Stream
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C 6[84] Bubble

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