Synthesizer Module

XV-5050

TurboStart

Using the Favorites List
The favorites list allows you to tag as many as 64 commonly used patches for quick and easy access. Use the following procedure to place a patch in your favorites list: 1. Select a patch as described in the previous section. 2. If PATCH FINDERs lit, press it once to turn it off. 3. Press the VALUE dial to view the favorites list. 4. Turn the VALUE dial to select an empty location. 5. While holding SHIFT, press ENTERthe currently selected patch is saved in your favorites list. 6. Press EXIT to return to the Patch Play screen. Use the following procedure to recall a patch from the favorites list: 1. Press the VALUE dial to display the favorites list. 2. Turn the VALUE dial to select the desired patch, and then press ENTER.

Its a Fact

The XV-5050 is an affordable, 64-voice expandable synthesizer module. Its features include: Stereo 4-tone architecture and Matrix Control for ultra-expressive sounds Front-panel USB port for easy MIDI connection with USB-equipped computers Superb sound quality24-bit D/A converters and S/P DIF digital outputs 24-bit reverb, plus chorus and 90 multi-effects, including COSM effects Expandable via 2 optional SRX-Series Wave Expansion Boards

Playing the Demo Songs

Use the following procedure to play the four built-in demo songs: 1. Hold down EXIT and press BANK 3. 2. Turn the VALUE dial to select the song you wish to hear, or select CHAIN PLAY to play all of the songs sequentially. 3. Press ENTER to begin playback. 4. Press EXIT to halt playback. 5. Press EXIT again to return to Play mode.

Auditioning Rhythm Kits

Use the following procedure to try out the rhythm kits in the XV-5050: 1. While holding SHIFT, press PATCH/RHYTHM. 2. Turn the VALUE dial to select a rhythm kit. 3. Press the VOLUME knob to hear a demonstration beat using the selected kit. Note: Use Rhythm mode when you want to check out or edit rhythm kits. When you wish to use a rhythm kit with other soundssuch as when youre sequencinguse Performance mode.

Selecting Patches

The XV-5050 has 1280 internal patches and can hold over 2000 patches when its fully expanded! The patches are organized in categories such as Piano (PNO), Mallet (MLT), Strings (STR), etc. Use the following procedure to connect a MIDI controller to the XV-5050 and to select and audition patches. 1. Use a MIDI cable to connect the MIDI OUT of a MIDI controller to the MIDI IN of the XV-5050. 2. Press PATCH so its lit. 3. Press PATCH FINDER so its lit. The current category appears in the upper right-hand corner of the display. 4. Press the CURSOR 3 and/or 4 buttons to select the desired category. 5. Turn the VALUE dial to select a patch from within the selected category. You can then: Play the keyboard on your MIDI controller, or Press the VOLUME dial to play a short preview of the selected patch.

Selecting Effects

Use the following procedure to try out the different effects in the XV-5050. 1. Select the patch PRE-A 122: Rotary Gtr. 2. Press EDIT. 3. Press CURSOR 3 to move the cursor to the upper left of the display. 4. Turn VALUE dial to select PATCH: EFFECTS. 5. Press CURSOR 4 once. 6. Turn the VALUE dial to select Type: 7. Press CURSOR 4 once. 8. Turn the VALUE dial to select different MFX types. 9. Press VOLUME to preview your selection.

TBS197

2003 Roland Corporation U.S.

www.RolandUS.com

Faxback #20230

Page 1

Setting Up for General MIDI Use
The XV-5050 is GM- and GM2-compatible. This means that any of the numerous Standard MIDI Files available commercially will work with the XV-5050. Use the following procedure to quickly set up the XV for use with a Standard MIDI File manually: 1. Connect the MIDI out of your sequencer to the MIDI in of the XV-5050. 2. Hold SHIFT and press PERFORM. The light blinks and GM:PLAY is displayed on the screen and the XV-5050 enters GM Play mode. Note: Many Standard MIDI Files include a special message at the start of the song that automatically put the XV-5050 into GM mode, so you may not need to perform the procedure above. While Standard MIDI Files can automatically select sounds, you can also manually select sounds in GM Play mode on the XV-5050 as follows. 1. Press the PART 3 and 4 buttons to select the desired part/MIDI channel. Part 1 uses MIDI Channel 1, Part 2 uses MIDI Channel 2, and so on. 2. Turn the VALUE dial to select the desired patch for each part.

Selecting Performances

A performance is any combination of up to 16 patches and rhythm kits, plus effects and MIDI settings. You can use performances to create splits, layers, and also to set up parts on separate MIDI channels for sequencing. There are 128 performances in the XV-505064 presets and 64 that are user-programmable. Lets try out some cool performances that show what the XV-5050 can do with splits and layers: 1. Use a MIDI cable to connect the MIDI OUT of a MIDI controller to the MIDI IN of the XV-5050. 2. Press PERFORM so its lit. 3. Turn the VALUE dial to try out following performances: PA:028 PhsDyno&Bs, a split PB:004 Voltage Ctrl, a layer PB:011 Pad/SqrLd XV, a split PB:021 Nebular Vox, a layer PB:024 S&H Pad, a split PB:031 Bass / Lead, a split

Setting Up for Sequencing
Use performances to set up the XV-5050 for use with a sequencer: 1. Press PERFORM so its lit. 2. Turn the VALUE dial to select PA:001 Seq:Template. Note: Preset-A 001-016 are all good templates to start with when sequencing. Parts 1-16 are turned on and are assigned to MIDI Channels 1-16, respectively. Selecting sounds: 3. Hold PERFORM and press PATCH so theyre both lit. 4. Press the PART 3 and 4 buttons to select the desired part/MIDI channel. Part 1 uses MIDI Channel 1, Part 2 uses MIDI Channel 2, and so on. 5. Turn the VALUE dial to select the desired patch for each part. You can also use the PATCH FINDER button, as previously discussed in Selecting Patches. Note: Typically, Part 10which responds to MIDI Channel 10is set up as the rhythm kit part.
Connecting the XV-5050 to a Computer
Use the following procedure to connect the XV-5050 to a computer via USB: 1. Install the XV software from the XV Editor CDROM onto your computer before connecting it to the XV-5050. See Pages 124-135 in the XV-5050 Owners Manual for information on your specific setup. 2. After the software has been installed, connect a USB cable from the USB connector on the front panel of the XV-5050 to one of the USB ports on your computer. 3. Follow the remaining directions onscreen and in the Owners Manual to complete the setup. Note: If you prefer, you can connect the XV-5050 to your computer using a MIDI interface. When you do this, you dont need to install the XV software unless you wish to use it for editing XV-5050 settings from your computer.

Page 2

fig.00-09

PART]/[PART

] to choose Part 2.

7. Press [CURSOR
8. Turn [VALUE] to choose OFF or ON. 9. Press [EXIT] to return to the PERFORM PLAY screen.

XV-5050_e.book 27

Assigning a New Patch to a Part
Well change the patch assigned to Part 2 of Performance PA:001 Seq:Template to PB:018 Slap Bass 1.
Heres how to change the Patch assigned to a Part in a Performance.
On the PERFORM PLAY screen, choose Performance PA:001 Seq:Template.
1. Press [PERFORM] and [PATCH] to make their indicators light.
The patch assigned to the current part appears.

fig.00-10

fig.00-11
Phrase Preview feature is also available in Performance mode. The patch on the current part will sound.
3. Turn [VALUE] to choose 018 Slap Bass 1. 4. Press [PERFORM] to return to the PERFORM PLAY screen.
Changing the MIDI Reception Channel of Each Part
On the PERFORM PLAY screen, choose the Performance you wish to use.
3. Turn [VALUE] to choose MIDI. 4. Press [CURSOR
display. ] to move the cursor to the lower left of the
5. Turn [VALUE] to choose Rx Channel. 6. Press [

fig.00-12

] to choose the Part you wish to set.
You can play multiple Parts and their Patches simultaneously by setting them to the same MIDI reception channel.
8. Turn [VALUE] to choose the desired MIDI channel. 9. Press [EXIT] to return to the PERFORM PLAY screen.

XV-5050_e.book 28

Playing Different Patches In Different Areas of the Keyboard (Split)
In a Performance, you can divide the keyboard into separate ranges and assign a different Patch to each range. This can be done by selecting the same MIDI reception channel for multiple Parts and then changing the pitch range over which each Part plays. This type of keyboard setup is referred to as a Split. A split is like a layer in which the Parts pitch ranges dont overlap (Playing Multiple Layered Patches). Lets create a split using Performance PB:029 Organ/Lead.
Selecting Performance PB:029 Organ/Lead

fig.0-12

XV-5050

Connecting with MIDI Connectors
fig.Connection2 (Connection Sample with MIDI)
Computer without a USB connector MIDI Interface

XV-5050 Rear Panel

MIDI OUT
MIDI IN MIDI Cable MIDI Cable
To prevent malfunction and/ or damages to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

XV-5050_e.book 36

About Patches and Performances
On the XV-5050, sounds are organized according to units called Tones, Patches, Rhythm Sets, and Performances. This section describes the relationship between a Patch and a Performance.

What Is a Patch?

The type of sound most commonly played on the XV-5050 is called a Patch. A Patch is a combination of Tones, which are the smallest units of sound. Each Patch can contain up to four Tones. If we use the analogy of an orchestra, then Patches are the musical instruments of the performers. * For information on Tones, see p. 38.

fig.1-01.e

Tone 1

Tone 2

Tone 3

Tone 4

* You can turn the Tones in a Patch on or off. Only Tones that are turned on are heard when you play the Patch (p. 39).

What Is a Performance?

It may be easiest to think of a Performance as being the orchestra itself. To continue the orchestra analogy, a Performance is made up of the parts assigned to the respective instruments (called, naturally enough, Parts). You can enjoy ensemble play by combining a total of 16 Patches or Rhythm Sets into one such Part.

fig.Performance.e

In other words, a Performance allows you to produce sixteen separate sounds with a single XV-5050.
If You're Playing Back Song Data Using an External MIDI Instrument or Sequencing Program
On the XV-5050, press [PERFORM] so its indicator lights, change to the Performance mode, then start playback of the song data. * The Patch mode is selected by default. Please be aware that if you try to play song data while in the Patch mode, only the sound of one Part is played.

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Advanced Use

XV-5050_e.book 38

Chapter 1 Creating a Patch

How a Patch Is Organized

The type of sound most commonly played on the XV-5050 is called a Patch. Each Patch can contain up to four Tones.
TVF (Time Variant Filter)
This specifies how the frequency components of the Tone change.
TVA (Time Variant Amplifier)
This determines how the volume and panning of the Tone change.

Envelope

Tone 1 Tone 2 Tone 3 Tone 4
Example 1:A Patch consisting of only one Tone (Tones 24 are turned off).
An envelope applies changes to the Tone over time. There are separate envelopes for pitch, TVF (filter) and TVA (volume). For example, you would use the TVA Envelope to modify the way in which the Tone attacks and decays.

Key-off

Notes for editing one-shot waveforms
You cannot give a one-shot waveform a longer decayor make it into a sustaining soundby using an envelope. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesnt exist, and the envelope would have no effect.
Notes for editing looped waveforms
With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instruments character. The XV-5050 provides a variety of waveforms containing realistic acoustic instrument attacks. To obtain the maximum realism when using these waveforms, its best to leave the filter wide-open during the attack so that all of these important timbral changes are heard. If you use an envelope to modify the attack portion, you may not achieve the result you want. Use enveloping to produce the desired changes in the decay portion of the sound.

fig.1-10.e

Looped Portion Tone change stored with the wave
Envelope for the TVF filter

Resulting tone change

If you try to make a waveforms attack seem brighter by lowering the highfrequency content of its decay using the TVF filter, consider the original timbral character of the waveform. If youre making a part of the sound brighter than the original waveform, you should first generate new upper harmonics not present in the original waveform by using the FXM Color and FXM Depth parameters before filtering. This will help you achieve the desired result. To make an entire waveform brighter, try applying an effect such as an enhancer and equalizer before modifying the TVF parameter.

CONTROL

XV-5050_e.book 44
Changing a Waveform (WAVE)
This set of parameters allows you to select the PCM waveform that serves as the basis for the currently selected Tone, apply effects to the waveform, and control its pitch. Parameter

WAVE Group Wave Group

INT, XP-A, XP-B
Chooses the desired waveforms group. INT: Internal XP-A, B: Wave Expansion Boards A, B * Its not possible to select XP-A, B unless a wave expansion board is inserted into the corresponding slot. Chooses the desired waveform. You can choose a separate waveform for the XV-5050s left and right channels. Specifies the gain (or amplitude) of the waveform. An increase of 6 dB doubles the waveforms gain. If you intend to use the Booster to distort the waveforms sound, set this parameter to its highest value. Determines whether or not the Tone will be heard in the Patch. In order to make best use of the available number of simultaneous voices, unused Tones should be turned off. * When TONE SW [1][4] are turned on or off, this setting is automatically changed. Determines whether the waveform is synchronized (ON) or not synchronized (OFF) to the Patchs tempo.

-24-+12 semi -100-+100 cent 0.0-500 ms L64-63R -24-+12 semi -100-+100 cent 0.0-500.0 ms L64-63R 1, 2, 3, 4, 5 A100:0BA0:100B D100:0WD0:100W 0-127
Adjusts the pitch of Pitch Shift A in semitone steps. Adjusts the pitch of Pitch Shift A in 2cent steps. Adjusts the time until Pitch Shift A is heard. Stereo location of Pitch Shift A Settings for Pitch Shift B The parameters are the same as for Pitch Shift A. Setting a higher value for this parameter results in a slower response, but steadier pitch. Volume balance between Pitch Shift A and Pitch Shift B Volume balance between the direct sound (D) and the pitch shifted sound (W) Output level
ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with fewer early reflections STAGE2: reverb with strong early reflections HALL1: clear reverb HALL2: rich reverb

Pre Delay Time # HF Damp

0.0-100.0 ms 0-127 200-8000 Hz, BYPASS
Adjusts the time until the reverb is heard. Duration of reverberation Adjusts the frequency above which the reverb is reduced in level.
As the frequency is set lower, more of the high frequencies are cut, resulting in a softer and more muted reverb. If you dont want to cut any high frequencies, set this parameter to BYPASS.
Low Gain High Gain Balance # Level
Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the reverb sound (W) Output level
Low Gain High Gain Balance
-15-+15 dB -15-+15 dB D100:0WD0:100W 0-127 L64-63R
-15-+15 dB -15-+15 dB D100:0WD0:100W

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25: GATED REVERB
This is a special type of reverb in which the reverb is cut off without being allowed to decay naturally.

fig.02-025m

27: OD -> FLANGER

fig.02-027m

Feedback

Overdrive

Flanger

Gate Reverb

Parameter Value
0-127 L64-63R 0.05-10.00 Hz 0-127 -98-+98 %

Degree of distortion

GATE, DUCK

Type of gate

GATE (Gated Reverb): When the source volume falls below a certain level, the gate closes, cutting off the tail of the reverb. DUCK (Ducking Reverb): When the source volume gets high enough, the gate closes, creating a ducking reverb-type effect. The reverb stops when the input signal becomes so loud that the sound becomes unclear.

Compressor

Attack Sustain Post Gain Low Gain High Gain Level #
0-127 0-127 0, +6, +12, +18 dB -15-+15 dB -15-+15 dB 0-127
Sets the speed at which compression starts Adjusts the duration of the compression. Adjusts the output gain. Gain of the low frequency range Gain of the high frequency range Output level

Attack Hold

0-127 0-127

Release Key

0-127 SOURCE, A, B
56: St LIMITER (Stereo Limiter)

Threshold

fig.02-056m
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

Limiter

Balance # Level
Adjusts the volume at which compression begins. Compression ratio Adjusts the time from when the volume falls below the Threshold Level until compression is no longer applied. Adjusts the output gain. Gain of the low frequency range Gain of the high frequency range Output level
Volume level at which the gate begins to close Determines whether the sound used as the gate trigger is included in the effect 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
Post Gain Low Gain High Gain Level #
0, +6, +12, +18 dB -15-+15 dB -15-+15 dB 0-127
Adjusts the time it takes for the gate to fully open after being triggered. Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold. Adjusts the time it takes the gate to fully close after the hold time. Selects the source sound that acts as the trigger for closing the gate.

XV-5050_e.book 90

58: SLICER
By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustaintype sounds.

fig.02-058m

Low # Mid # High #

-60-+4 dB

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.

AntiPhase Low Sw

Master Level Clock Source

System Clock Source

System Tempo Mix/Parallel Output Mix/ Parallel

20250 MIX, PARALEL

Patch Remain

Patch Remain Switch

Rhy EditKey

Rhythm Edit Key

PANEL, PNL&MIDI

Output Gain

-12, -6, 0, +6, +12 dB
By holding down [SHIFT] and pressing [SYSTEM], you can move directly to the LCD Contrast screen.
Selecting Common Controllers
These settings allow you to choose four MIDI controllers for global use when controlling the parameters of any Patch or Performance. The settings in each Patch or Performance will determine whether the two controllers you choose here will actually be used. In each Patch or Performance, you will also need to specify the parameters to be controlled. Parameter
CONTROL Sys Ctrl Src14 System Control Source 14
OFF, CC0131, 3395, BEND, AFTER
OFF: No controller is used. CC0195: Controller numbers 195 (except for 32) BEND: Pitch Bend AFTER: Aftertouch

Chapter 6

XV-5050_e.book 108
Establishing the MIDI and USB Settings

Setting the MIDI Channel

The XV-5050 produces sound, and can change its internal settings in response to MIDI messages that it receives from other devices. In order for this to occur, the MIDI transmission channels of the external device must match the MIDI reception channels of the XV-5050. Parameter
MIDI&USB Control Channel Performance Control Channel Patch/Rhythm Set Receive Channel

116, OFF

When changing Performances by MIDI messages from the external device, set the transmit channel of the external device and this channel to the same channel. * When you perform a Factory Reset operation, Control Channel is reset to 16. Set this channel to use an external MIDI device (such as a MIDI keyboard) for playing Patches and Rhythm Sets, or to have Patches or Rhythm Sets changed as the result of MIDI messages.

Patch Rx Channel

Making Global Settings
MIDI&USB Rx Prog Change Rx Bank Select Rx GM1 System On Rx GM2 System On Rx GS Reset Device ID Rx Exclusive Tx Edit Data Receive Program Change Switch Receive Bank Select Switch Receive GM-ON Exclusive Switch Receive GM2-ON Exclusive Switch Receive GS Reset Exclusive Switch Device ID Number Receive System Exclusive Switch Transmit Edit Data Switch
OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON 1732 OFF, ON OFF, ON
Specifies whether Program Change messages will be received (ON), or not (OFF). Specifies whether Bank Select messages will be received (ON), or not (OFF). Specifies whether GM-ON (General MIDI System On) messages will be received (ON), or not (OFF). Specifies whether GM Level2-ON (General MIDI Level 2 System On) messages will be received (ON), or not (OFF). Specifies whether GS Reset messages will be received (ON), or not (OFF). When transmitting or receiving System Exclusive messages, set this parameter to match the device ID number of the other MIDI device. Specifies whether System Exclusive messages will be received (ON), or not (OFF). When Patch, Performance or Rhythm Set settings are modified, you can specify whether the modified settings will be transmitted as System Exclusive data (ON), or not (OFF).

Making a Tones Delay Time Match the System Tempo
1. Choose a Patch on the PATCH PLAY screen. 2. Set its Patch Clock Source (PATCH:COMMON screen) to SYSTEM. 3. Set Tone Delay Time (PATCH:WAVE screen) to a note length not a numerical value in relation to the synchronization tempo. 4. Set System Clock Source (SYSTEM:GENERAL screen) to INT. * When System Clock Source is set to MIDI, you can synchronize the Tones delay to the tempo of an external MIDI device. 5. When System Tempo (SYSTEM:GENERAL screen) changes, the Tones delay time changes along with it.
Using a Pedal Switch to Change the Rotary Speed of the Rotary Effect
1. Connect a pedal switch (DP-2, DP-6, etc.) to your external MIDI controller (MIDI keyboard, etc.). 2. Set the pedal switch of the external MIDI controller to generate FOOT TYPE (CC04) control-change messages. * To learn how to set up the pedal switch, refer to the external MIDI controllers owners manual. 3. Choose PA:050 Perky B on the PATCH PLAY screen. This Patch uses ROTARY as its Multi-Effect. 4. Set Ctrl Src 1 (PATCH:EFFECTS screen) to CC04. 5. Set Ctrl Dest 1 to SPEED, and Ctrl Sens 1 to +63. 6. When you wish to speed up the rotary effect, press the pedal switch. Release the pedal switch to slow down the rotary effect.

XV-5050_e.book 117

Changing Part Settings from an External MIDI Device
By sending Control Change messages for different Part settings, including volume, panning, and pitch, you can change these settings remotely from an external MIDI device connected to the XV-5050. This lets you control fade-ins and fade-outs, open and close filters, and exercise other controls in realtime from the external MIDI device. The parameters that can be used for changing the settings, and the Control Change messages that can be used to change the values, are shown below. * For more detailed information about Control Change messages, please refer to MIDI Implementation p. 154). * To change multi-effects, reverb, or chorus effects from an external MIDI device, send a System Exclusive message (p. 157).
* When changing the Fine parameter, set the amount of change in pitch using Control Number 6 (Data Entry MSB) and Control Number 38 (Data Entry LSB) settings. There is no change in pitch when Data Entry MSB is set to 64 and Data Entry LSB to 0. The pitch is raised as the respective values increase, and lowered as the respective values decrease.
Remotely Specifying the Range of Pitch Bend (p. 156)
Bend Range: Controller number 100 (value is 0), Controller number 101 (value is 0), Controller number 6 (value is 012) Procedure 1. Enable the external MIDI device to send a Control Change message. For example, if you want to change the volume level, set the external MIDI device to send Control Number 7 (Volume message). In this case, the MIDI channel is matched to the MIDI channel of the Part whose volume you want to change. * For information on how to set up your external MIDI controller, refer to its owners manual. 2. Operate the external MIDI device adjust its controls, play its sequencer, etc. to send the desired MIDI messages. * As sound changes occur, displayed parameter values reflect the changes you make.

Remotely Controlling Volume (p. 154)
Volume: Controller number 7
Remotely Controlling Stereo Positioning (p. 154)
Panpot: Controller number 10
Remotely Applying Portamento (p. 154, p. 155)
Portament: Controller number 65 (Portamento switch), Controller number 5 (Portamento time)
About RPN RPN (Registered Parameter Number) is an extended MIDI message activated by a previous Control Change message. Use an RPN when you want to remotely change the XV-5050s Pitch or Pitch Bend range settings. An RPN has an superior part (RPN MSB) and a subordinate part (RPN LSB). The RPN MSB (Control Number 101) informs the XV-5050 that an RPN setting is to follow, and the RPN LSB (Control Number 100) value tells the XV-5050 which parameter is to be set. Finally, a Data Entry (Control Change 6) message sets the desired value. Once the XV-5050 has received an RPN parameter, all further Data Entry messages on that MIDI channel are applied to that parameter. In order to prevent accidental changes, once the desired setting has been made for the parameter, we recommend that RPN be set to Null. For example, to raise the pitch of a certain Part by one half-step
Remotely Changing Sounds Attack and Release Time (p. 155)
Release Time: Controller number 72 Attack Time: Controller number 73
Remotely Changing the Cutoff Frequency (p. 155)
Cutoff: Controller number 74
Remotely Changing Resonance (p. 155)
Resonance: Controller number 71
Remotely Changing the Amount of Internal Chorus/Reverb (p. 156)
Effect 3 (Chorus Send Level): Controller number 93 Effect 1 (Reverb Send Level): Controller number 91
(semitone) send the following Control Change message from the external MIDI device. Controller number 100: value 0 Controller number 101: value 2 Controller number 6: value 65 Controller number 100: value 127 <- RPN null Controller number 101: value 127 <- RPN null * For more detailed information about RPN messages, please refer to MIDI Implementation (p. 154).
Remotely Changing Pitch (p. 158)
Coarse: Controller number 100 (value is 0), Controller number 101 (value is 2), Controller number 6 (value is 16112) Fine: Controller number 100 (value is 0), Controller number 101 (value is 1), Controller number 6 (value is 3296), Controller number 38 (value is 0127) * When changing the Coarse parameter, set the amount of change in pitch using Control Number 6 (Data Entry MSB) value. There is no change in pitch when the value is set to 64. The pitch is raised as the value increases from 64, and is lowered as the value decreases below 64.

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Applications for Matrix Control
Controlling the TMT with the LFO and Changing the Tones Timing
When TMT (Tone Mix Table) is selected as the Matrix Control destination, you can use the Control Source controller to change the time at which Tones in a Patch are played. Here is an example of a Patch using LFO1 as a Control Source. The time at which the Tone plays is based on LFO1s amplitude value. 1. Select PE:043 Morph Pad on the PATCH PLAY screen. 2. Set TMT V-Rng Lower and Upper (PATCH:COMMON screen, p. 41) for Tones 1 and 2 as follows. L tone = 1 tone = 65 : : : U 64 127
9. Choose the Number for Tones 1 and 2 (PATCH:WAVE screen, p. 44). 10. Press [EXIT] to return to the PATCH PLAY screen. Other possible applications include synchronizing the Control Source LFO rate to the tempo, assigning Modulation and other parameters to the Control Source, and changing the Tone in realtime from a MIDI keyboard or other such device.
3. Set TMT V-Rng L.Fade and U.Fade to 10 for Tones 1 and 2. This makes the Tones fade in and out smoothly outside their velocity ranges. 4. Set TMT Vel Control to OFF. This setting disables the V-Rng settings made in Step 2 and causes the two Tones to sound simultaneously, regardless of the velocity the force with which keys are played received from your MIDI keyboard or sequencer. 5. Set TMT Control Sw (PATCH:CONTROL screen, p. 52) to ON. This setting allows the TMT to be controlled by the Matrix Control Controller. The following chart shows all the relationships between the TMT Velocity Control and TMT Ctrl Sw. (1) TMT Vel Control TMT Control Sw ON OFF (2) OFF OFF (3) ON ON (4) OFF ON
(1)(3): The Velocity Control settings are enabled, and the two Tones are switched on or off according to the velocity data received from the MIDI keyboard or sequencer. (2): The Velocity Control settings and TMT control via Matrix Control are disabled, and the two Tones play simultaneously, regardless of the velocity data received from the MIDI keyboard or sequencer. (4): TMT Matrix Control is enabled, and the timing of the Tones changes according to the Control Source controller data. * The TMT Vel Control settings are given priority when both TMT Vel Control and TMT Control Sw are set to ON. 6. Choose LFO1 as the Ctrl 1 Src (PATCH:CONTROL screen, p. 52). 7. Set Ctl1 Dest1 to TMT, Ctl1 Sens1 to +63, and Ctl1 Switch1 for TONE 1 and 2 to ON. 8. Set the LFO1 Form and Rate (PATCH:LFO screen) for each of the Tones as shown below. TONE 1 Form: Rate: SIN 64 TONE 2 SIN 127

PG (Preset G Group)

No. Name VoiceKey Assign 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 POLY POLY POLY 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 MONO POLY POLY POLY POLY No. Name VoiceKey Assign POLY POLY POLY MONO MONO MONO POLY POLY POLY POLY POLY POLY MONO POLY POLY POLY POLY POLY POLY MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY MONO POLY MONO MONO MONO MONO MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY Power Octs WaterPiano2 Swimming EP XV Crystal Cold Roadz Backrhodes Amped Wurlie Dirty Wurlie Musicbox XV Klubb Organ Drew's Bee Velvet Organ Distorted B Radikal B Boogie Organ Mood Ringz Wedo-Wodo S.O.S.trings Syncronicity DanceMachina Vox Chopper SlicingSyVox PressureDome Quasar /Aft Ionizer MilleniumStr Bounce Baby! Bounce Daddy Bounce Mama! Bounce Noize What a Gate! Mini Sequenz Slice & Dice BrushingSaw1 BrushingSaw2 Cultivate 5080 Random XV Stepping India Garden Belly Pad Spectre SoaringHrns2 Sabbath Day XV BlowPad White Arcade Borealis OvertoneScan Whisper Vox Jupiter 21 Filt Strings HybStringsXV Soft Symphny Wood Symphny HybOrchestra Brassy Symph Biggie Brass BiggieBrass2 LA Sax's Wind Wood Lonely Oboe Harmonica XV Tooters Lead Digi Phased Synth Ethics Harm is Fine D-2000 Ackward East Powersoaker Mean Thing Jet Sync Crying Solo Southern Fry Strum Distrt Match Drive Stacked 2-Stack Over COSM Searing COSM Loud Gt Blue Mutes Metal 5150 Crunch Phase Alt Dist Gtr So nice! Punch Bass COSM Bass Stream Bell Shuffle Bell Echo Vibe Tremolo Vibe True Vibe Marimbula Hit Bitz 80s LoFi Hit Auto Chord 3rdTeenChord Bend a Chord DiscreteChrd Ambi Voices Say Yeah ! Xcuse me 5ths in 4ths Pretty Ugly Con Sequence BermudaShort Saw n' 202 Technoheadz Boss'd Synth Cross Fire Techno Cave Generator GenderBender Xtremities AM 05:59 Happy Brass Runaway Rez Dropplets Indian Guru Cosmic Rain Trying Winds Space Whiz DigitalDrone Space Race Bowed Bell X-Tension DUB!!! Dream Diver Flashback St.LoFiNoise

XV-5050_e.book 145

PH (Preset H 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 MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY MONO POLY MONO MONO MONO MONO POLY POLY MONO POLY POLY POLY MONO POLY POLY POLY POLY POLY POLY MONO POLY POLY POLY POLY POLY MONO No. Name Voice Key Assign MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY MONO POLY 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 MONO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY Hall Grand Warm pF Mix R&Ballad Mix PingE Piano Hybrid EP Wurly Gum Wurli World Voxfuzz Klav Light Keys Digibell Pad IslandSpirit Ambient Wood VeloClikOrgn Verby Organ Wedding Mass Blues Harp Thick Steel SteelRelease Two+Ensemble Harmless Swell Strat StratSeq'nce Cutting X Hurtin'Tubes Stringless Stick Chopz Fundamental Brash Bass ChamberQrt.1 Lead 4x Vlns BatonStrings UltraSmooth Hold A Chord My Orchestra SwellEnsembl Valve Job T8 Brass FatSynBrass Ambient Sax Swingin'Bari Saw Grits JD Multi Ld Over the top Try this! BoutiqueSine Drifter Enchanted XV Water Tubes Waterfront Peking Opera LegatoJupitr Atlantis LF Comb Hit Backspinner Tape Q Technogrunge Chordbender Dance Zipper 5th Element Fuzzy Logic Sproing McThrob Space Bassed Vocovox Wave Froggy Bass Tape Orch Tekno Pizz TechnoSurf 1 TechnoSurf 2 Double Helix Rhythm Sync TMT Scanner Complex Echo Groovedigger 20.000 miles Vortex man@work XVoCode Auto Riff Digisquelch TripTheAlarm Aftertouchin Throbulax KeysEnsemble Cheepy Synth Funky Tube Hydrogen Promenade Ray Tracer Skinny Dream 2002 DrawbarHeavn Lo-fiBellPad GemniStrings Down2Earth Silk Road Mr.Swirly MetaXV FloatingVox Spread Pad Aliastrings GlobalWarmup 2.2 Strings Aftermath 11th Space Cloud 9 Traffic Pad Nanolog Pad Etheraaahl Pipe Dream Cairo lead Lochscapes Celtic Song Blown Str. Mind Games BadJuju Eleanor RadioHymn Miasma SubmarinBand I Will Lead LatheOfHeavn CrystalGlass Upwind Glata Thor's Drums TempoMadness GenerationXV Wedding Gig

008 (PC: 49) GM2 ORCHSTRA Close HiHat2 Pedal HiHat2 Open HiHat2 Ride Cymbal Sticks SquareClick Mtrnm.Click Mtrnm. Bell Concert BD ConcertBD Mt Side Stick Concert Snr Castanets Concert Snr Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Tambourine Splash Cym. Cowbell Con.Cymbal2 Vibraslap Concert Cym. Bongo High Bongo Lo Mute H.Conga Conga Hi Opn Conga Lo Opn High Timbale Low Timbale Agogo Agogo Cabasa Maracas ShrtWhistle LongWhistle Short Guiro Long Guiro Claves Woodblock Woodblock Mute Cuica Open Cuica MuteTriangl OpenTriangl Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause
009 (PC: 57) GM2 SFX ------------------------------------------------High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.Click Mtrnm. Bell Gt.FretNoiz Gt.CutNoise Gt.CutNoise String Slap Fl.KeyClick Laughing Screaming Punch Heart Beat Footsteps Footsteps Applause Creaking Door Scratch Wind Chimes Car-Engine Car-Stop Car-Pass Car-Crash Siren Train Jetplane Helicopter Starship Gun Shot Machine Gun Lasergun Explosion Dog HorseGallop Bird Rain Thunder Wind Seashore Stream Bubble -----------------

XV-5050_e.book 153

Performance List
No. Name Soaring 5050 Analog Stack Watta Gate! Road2Heaven My Orchestra R&B Kit 1 AggressiveXV Big Bottom ComplexEcho+ Flying Keys Nirvana PhsDyno&Bs StPhaserStak Hit it! RSS Barococo BellPad 5050 Dulcimar&Gtr Springy InstantScore Voltage Ctrl StereoSlicer 5050 Bells House Kit BlisteringXV XV SweepPad Andreas Cave Pad/SqrLd XV HybStr 5050 Old Friends FM BellLayer SlicedTrance CrystalVoxXV No. Name WayHipKits Symphony JV BellyPad5050 DulcitarStk Nebular Vox Cosmic Dawn Labyrinth S&H Pad EasternSplit Bully Kit TeknoSplit 1 ChildrenSplt Organ / Lead Pad / Lead Bass / Lead S&H / Pad Seq:Template Seq:Techno Seq:House Seq:Hip-Hop Seq:Pop Seq:FunkRock Seq:HardRock Seq:Blues Seq:Ac.Jazz Seq:Cont.Jz Seq:BigBand Seq:Latin Seq:NewAge Seq:Orch Seq:Film Seq:GM2Temp
No. Name Seq:Template Seq:Techno Seq:House Seq:Hip-Hop Seq:Pop Seq:FunkRock Seq:HardRock Seq:Blues Seq:Ac.Jazz Seq:Cont.Jz Seq:BigBand Seq:Latin Seq:NewAge Seq:Orch Seq:Film Seq:GM2Temp Soaring 5050 Analog Stack Watta Gate! Road2Heaven My Orchestra R&B Kit 1 AggressiveXV Big Bottom ComplexEcho+ Flying Keys Nirvana PhsDyno&Bs StPhaserStak Hit it! RSS Barococo BellPad 5050
No. Name Dulcimar&Gtr Springy InstantScore Voltage Ctrl StereoSlicer 5050 Bells House Kit BlisteringXV XV SweepPad Andreas Cave Pad/SqrLd XV HybStr 5050 Old Friends FM BellLayer SlicedTrance CrystalVoxXV WayHipKits Symphony JV BellyPad5050 DulcitarStk Nebular Vox Cosmic Dawn Labyrinth S&H Pad EasternSplit Bully Kit TeknoSplit 1 ChildrenSplt Organ / Lead Pad / Lead Bass / Lead S&H / Pad

Demo Song List

1-3-5 Performance MIDI

++ | Offset | | | Address | Description | |+| | | 0000 000a | Receive Program Change (0 1) | | | | OFF, ON | | | 0000 000a | Receive Bank Select (0 1) | | | | OFF, ON | | | 0000 000a | Receive Bender (0 1) | | | | OFF, ON | | | 0000 000a | Receive Polyphonic Key Pressure (0 1) | | | | OFF, ON | | | 0000 000a | Receive Channel Pressure (0 1) | | | | OFF, ON | | | 0000 000a | Receive Modulation (0 1) | | | | OFF, ON | | | 0000 000a | Receive Volume (0 1) | | | | OFF, ON | | | 0000 000a | Receive Pan (0 1) | | | | OFF, ON | | | 0000 000a | Receive Expression (0 1) | | | | OFF, ON | | | 0000 000a | Receive Hold1 (0 1) | | | | OFF, ON |
1-3-4 Performance Common Reverb
++ | Offset | | | Address | Description |

XV-5050_e.book 165

|++| | 00 0A | 0000 000a | Phase Lock (0 1) | | | | OFF, ON | | 00 0B | 0000 0aaa | Velocity Curve Type (0 4) | | | | OFF, | |+| | 00 0C | Total Size | ++

1-3-6 Performance 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) | | | | MFXA, MFXB, MFXC | |++| | | 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 | ++

USB... 35, 109, 124 USB MIDI Driver.. 124

Voice Priority... 40

WAVE... 44, 57 Wave Generator.. 38, 54 Wave Mix Table... 57 WG.... 38, 54 WMT... 57 WRITE... 104

XFER... 106

XV-5050_e.book 181

XV-5050_e.book 182

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

Information

AFRICA

Al Fanny Trading Office

9, EBN Hagar A1 Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828

MALAYSIA

BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang 55100 Kuala Lumpur, MALAYSIA TEL: (03) 2144-3333

EL SALVADOR

OMNI MUSIC
75 Avenida Norte y Final Alameda Juan Pablo , Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788

IRELAND

Roland Ireland
G2 Calmount Park, Calmount Avenue, Dublin 12 Republic of IRELAND TEL: (01) 4294444

MOCO, INC.

No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021) 285-4169
PHILIPPINES G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

MEXICO

Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (55) 5668-6699

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

ISRAEL

Halilit P. Greenspoon & Sons Ltd.
8 Retzif Ha'aliya Hashnya St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666

REUNION

Maison FO - YAM Marcel
25 Rue Jules Hermann, Chaudron - BP491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429

SINGAPORE

Swee Lee Company
150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676

PANAMA

SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101

NORWAY

Roland Scandinavia Avd. Kontor Norge
Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074

JORDAN

AMMAN Trading Agency
245 Prince Mohammad St., Amman 1118, JORDAN TEL: (06) 464-1200

SOUTH AFRICA

That Other Music Shop (PTY) Ltd.
11 Melle St., Braamfontein, Johannesbourg, SOUTH AFRICA P.O.Box 32918, Braamfontein 2017 Johannesbourg, SOUTH AFRICA TEL: (011) 403 4105