Playing the sounds

Try playing some of the realistic and dynamic S90 ES sounds from the keyboard now. When you turn the power on following the directions in Power supply connections (page 8), the display below appears.
n In the default settings, the Master mode is selected. For details about the modes, refer to the section Modes on page 12.
Indicates that the Master mode is selected.
Indicates the type of selected program.
Indicates the name and number of selected program.
In this condition you can play the keyboard and hear the sounds of the selected program. When the instrument is turned on, the Wide River programfeaturing a natural, mellow piano sound with a rhythmic arpeggio and ambient synthis automatically called up. Notice the indication Performance:USER1:001(A01) at the top right of the display. This indicates that Performance 001 in User bank 1 is currently selected. A Performance is one of the types of programs of the S90 ES. As described below, the instrument also features other types: Voices and Multis.
n For details about Banks, see page 30. Please note that Performances and Multis have only User Banks (no other banks are available).
Selecting and playing the sounds
The S90 ES provides three different types of programs for playing the sounds: Voices, Performances, and Multis. The basic difference among these programs is in their usefor playing the keyboard, or for creating music with multiple parts.

For playing the keyboard

Voice:
This program contains a basic instrument sound, such as a piano, guitar, bass guitar, drum kit, etc.
For creating music of multiple parts Performance:
This program allows you to combine several Voices togethereither in a richly textured layer, or separately (as in different sections of the keyboard) for playing several different parts simultaneously.

Multi:

This program allows you to play multiple tracks from an external sequencer, using many different Voices simultaneously.
You can choose from 128 different Voices, Performances, and Multis in the Master mode. To change the desired Master number, use the [INC/ YES] button, [DEC/NO] button, or the Data dial.

Decreases number

Increases number

DEC/NO

INC / YES
Change the Master number, and then try playing the various Voices or Performance types. When a Voice is assigned to the selected Master number, Voice will appear at the top of the display. When a Performance is assigned, Performance will appear in the display.
Although a Multi can be used for playing the keyboard, it is primarily intended for creating, recording and playback of multi-part music. For details about using this function, see page 70.

Selecting a preset Performance Creating a new Performance Creating music using a Multi and your computer Playing back a MIDI le
Page 34 Page 36, 53 Page 70 Page 96
Master modeCreate a master keyboard setup or instantly call up your desired programs
The Master mode lets you register your favorite Voices, Performances, and Multis together into easy-toselect Master programs. No matter what mode is usedVoice, Performance or Multiyou can have it instantly and automatically selected when you call up the appropriate Master. The Master mode can also be used to divide the keyboard into four sectionseach with its own Voice just as if you were playing four different MIDI keyboards.
Making Master mode settings

Page 90

Convenient remote control of your computer software
The panel of the S90 ES also serves as a convenient control surface for your computer music system. Use the buttons and sliders to control the audio mixer and sequencer transport functions in your MIDI/audio software. This highly intuitive approach gives you hands-on control over your virtual studioa level of control that a keyboard and mouse cant match. These features are available for any computer sequence software and Multi Part Editor software (Page 77) compatible with the Remote Control function.
Remote-controlling the software

Page 77

Global settings and data backup
While the Voice, Performance, and Multi modes provide controls for using and editing the programs of the S90 ES, the Utility mode is the place where you make overall settings for the instrumentfor example, adjusting the transpose and ne tuning controls, or switching between MIDI and USB operation. You can also archive your important S90 ES data to a USB storage device for safe-keeping.
Making global system settings Backing up important data

Page 163 Page 126

This concludes our short guide to the basic operations and functions of the S90 ES. Enjoy the dynamic, authentic sounds of the instrument as you continue to play it and create music on it. Make sure to follow the references above and go on to explore some of the other exciting and powerful features of the S90 ES.

Main Features

Naturally responsive 88-Key Balanced Hammer Effect keyboard (with aftertouch), drawing on our extensive experience and expertise in piano-making. Wide range of dynamic and authentic voices. Use the Category Search function to quickly call up the sounds you want, based on their instrument type. Half Damper function that lets you nely control the decay of the soundand expressively recreate the complex charactistics of acoustic instruments, especially piano and stringed instruments. Includes the newly developed Damper Resonancean Insertion effect that reproduces the rich harmonics and unique sound characteristics of an actual grand piano when using the damper pedal. Stretch tuning used on many Voicesthe same kind of tuning as used on an actual acoustic piano. Arpeggio feature, which automatically plays a variety of sequenced phrases in response to the keys you play. This function lets you easily call up various melody and rhythm patternsover 1,700 typesproviding instant inspiration for song creation and performance. Versatile Multi mode lets you set up the S90 ES for playing multiple instrument parts from your sequencer software, giving you all the sounds you need to realize complete, professional-sounding songs. Moreover, the corresponding Multi Library lets you have the proper instruments for the selected type of music called up instantly and automatically. Extensive effect processing, with Reverb (20 types), Chorus (49 types), eight separate Insertion blocks (each having two blocks and a total 117 types), Master Effect (8 types), and a digital equalizer (3-band Part EQ and 5band Master EQ). Comprehensive real-time control with four Control Slidersletting you adjust lter, levels, effects, EG, and more, while you play. Master modefor using the S90 ES as a master keyboard controller (with independent Zones), and for easily reconguring the instrument between Voice/Performance play and Multi play in live applications. Remote Controlfor operating your favorite sequencer software from the S90 ES. Three Modular Synthesis Plug-in System slots, which let you upgrade the S90 ES with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special Plug-in voices have already been programmed and stored to the S90 ES, ready to be played as soon as you install the proper board. A full rear panel of input/output connections provides maximum interfacing exibility. These include Assignable Outputs, A/D Inputs, MIDI, and two USB. Moreover, an optional mLAN16E board can be installed. Two USB connectorsUSB TO HOST for connecting to computer, and USB TO DEVICE for connecting to storage devices, such as a hard disk drive or ash disk. Compatibility with Yamaha's powerful Voice Editor and Multi Part Editor softwarefeaturing comprehensive, intutive editing of all parameters from your computer.

Display to set the Control Change number [UTILITY] [F4] CTL ASN [SF2] ASSIGN [UTILITY] [F4] CTL ASN [SF3] FT SW [VOICE] [UTILITY] [F3] VOICE [SF4] CTL ASN [PERFORM] Performance selection [EDIT] [COMMON] [F4] CTL ASN [MULTI/SEQ PLAY] (selecting Multi mode) Multi selection [EDIT] [COMMON] [F4] CTL ASN
* The S90 ES does not have a Ribbon Controller. However, keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages as if the Ribbon Controller of the instrument was used.
Conventional controllers, such as Modulation wheel, will affect connected MIDI instruments in their conventional way. For example, when the pan function is assigned to the Modulation wheel under Controller Set, using the Modulation wheel will apply the pan function to the internal tone generator, but will transmit the Modulation messages to the external MIDI instrument. Keep in mind also that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages as if the controller on the S90 ES itself was used.
TIP Using the Controllers effectively You can also set up a controller such that it sends one kind of Control message to the internal tone generator of the S90 ES, yet another kind of message to the MIDI Out. For example, in a Controller Set you could assign Resonance to ASSIGN 1 (Control slider 3). Then, in the Utility mode, you could assign Control Change number 1 (modulation) to the same slider. Now, when you move Control slider 3, resonance will be applied to the sound of the internal tone generator block, while modulation messages will be transmitted to the external MIDI instrument.
Connecting the Computer and MIDI devices
Connecting to External Audio Equipment
Since the S90 ES has no built-in speakers, you'll need an external audio system or a set of stereo headphones to properly monitor it. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations.

Output jacks ASSIGNABLE OUTPUT L ASSIGNABLE OUTPUT R mLAN16E Audio Output 1 mLAN16E Audio Output 2

| | | |

Stereo/Mono Mono Mono Mono Mono

mLAN16E Audio Output 7

Stereo (11:L, 12:R) * Stereo (13:L, 14:R) *

as13 as14

mLAN16E Audio Output 13 mLAN16E Audio Output 14

Mono Mono

Quick Guide Connecting the Computer and Midi devices
* Available only when the optional mLAN16E board has been installed.
Connection example when the optional mLAN16E board has been installed (analog and digital outputs)

IEEE1394 cable

OUTPUT L
OUTPUT R OUTPUT L/MONO OUTPUT R

PHONE jack

ASSIGNABLE OUTPUT L ASSIGNABLE OUTPUT R

Mixer Amplier mLAN16E

Speaker (Left) S90 ES

Speaker (Right)

Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. The sound monitored through the headphones is identical to the sound of the OUTPUT L/MONO and R jacks. Any Parts/Drum keys assigned to the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E will not be output through the OUTPUT L/ MONO and R jacks. The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E. (Only the Part EQ and the Insertion Effect are applied.) The output from the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E is not affected by the [MASTER VOLUME] slider. In the Voice mode, Normal Voices cannot be output via the ASSIGNABLE OUTPUT jacks or mLAN connectors on the mLAN16E.

Audio Input

Connecting a microphone or other audio equipment to the A/D INPUT jacks (analog input)
Virtually any audio devicesuch as a microphone, guitar, bass, CD player, synthesizer, etc.can be connected to these jacks and its audio input signal can be mixed with and sounded as the AUDIO IN part of the Performance or Multi. For details, see the Using the microphone and audio device sounds section on page 38.
Digital Input using the optional mLAN16E
The optional mLAN16E allows you to connect this instrument to an mLAN device or computer, giving you high-speed audio and MIDI data transfer between devices with just one IEEE 1394 cable connection.
mLAN device (Data Rate S400) IEEE1394 cable IEEE1394 cable

mLAN16E

Computer with an IEEE1394 interface
Connecting External MIDI Equipment
Using a standard MIDI cable (optional), you can connect an external MIDI device, and control it from the S90 ES. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the S90 ES. This section introduces several different applications of MIDI.

PLUG-IN mode [PLUG-IN] (Multi Channel View) [PLUG-IN] [PLUG-IN] (Track Parameter View) Cursor [UP]/[DOWN] (Multi Channel View) Knobs 1 - 8 (tweaking pressing) Knobs 1 - 8 (pressing) (Knob to which the Plug-in is assigned) Knobs 1 - 8 (tweaking) (Parameter page) Knobs 1 - 8 (pressing) (Parameter page) Cursor [LEFT] Cursor [RIGHT] (Parameter page) [PLUG-IN] Changes the Slot number.
INSTRUMENT mode [INSTRUMENT] (Multi Channel View) [INSTRUMENT] [INSTRUMENT] (Track Parameter View) Knobs 1 - 8 (tweaking pressing) Knobs 1 - 8 (pressing) (a Knob to which the Instrument is assigned) Knobs 1 - 8 (tweaking) (Parameter page) Knobs 1 - 8 (pressing) (Parameter page) Cursor [LEFT] Cursor [RIGHT] (Parameter page) [INSTRUMENT] Turn the knob to select the desired instrument for insertion (indication ashes), then press the knob to actually enter the selected setting. Calls up the parameter page and opens the Editor window on Logic.
Return to the INSTRUMENT mode.

[PLAY] [REC]

When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. Press the [DRUM KIT] button to indicate the Track/Slot number in the brackets [ ] at the top of the LCD. The [OPTION], [CONTROL], and [ALT] buttons on the Logic Control corresponds to the [EDIT], [JOB], and [STORE] buttons at left below the LCD respectively. Additional operations other than those listed above are available. For details, refer to the relevant documentation of Logic Control.
PAN mode [PAN] (MULTI CHANNEL only) Knobs 1 - 8 For editing parameters.
EQ mode [EQ] (SELECTED CHANNEL only) Knobs 1 - 8 For editing parameters.
SEND mode [DYN] (SELECTED CHANNEL only) Knobs 1 - 8 For editing parameters.
PLUG-IN mode [PLUG-IN] (SELECTED CHANNEL only) Knob 1 Knob 2 Knob 3 Knobs 1 - 8 (turning) Changes the Slot Number (on page 1 only). Turns the Effects on or off (on page 1 only). Selects an Effect Type (on page 1 only). Edits each of the parameters (on page 2 and later).
[MAIN] [BANK </>] [CHANNEL </>] [FLIP] [FLIP] [FLIP] [NEXT WINDOW] [LOOP SW] [F1] - [F8] [CLOSE WINDOW] [UNDO] [REDO] [SAVE] [M1]+[MARKER]
Assigns output level adjustment of the Virtual Main Bus to the Faders. Scrolls through the track indication every eight channels. Scrolls through the track indication channel-by-channel. Assigns the functions of the Channel Knobs to the Faders. Switches the functions of the Channel Knobs and the Faders. Moves the next window to the front of the screen. Sets Loop to on or off. [F1] - [F8] as dened in SONAR. Closes the current window. Executes the Undo operation. Executes the Redo operation. Executes the Save operation. Opens the window for entering the Marker to the current song position. Turns the Marker on or off. Press briey to move back one measure at a time, or hold to continuously rewind. When the Marker is turned on, this operation moves the song position to the previous Marker. Moves the song position to the top of the song. When the Marker is turned on, this operation opens the window for entering the Marker. Press briey to move forward one measure at a time, or hold to continuously fast-forward. When the Marker is turned on, this operation moves the song position to the next Marker. Moves the song position to the end of the song. When the Marker is turned on, this operation opens the window for entering the Marker. Stops recording or playback. Press to start playback from the current point. Press this to start song recording. The [F] (Play) and [I] (Rec) lamp are turned on during recording. Turns Zoom on and off. Turns Scrub on and off. When Scrub is on, the dial can be used for Scrub playback. When Scrub is off, the dial is used to move the song position. Turns Data Entry on and off. When turned on (the lamp lights), rotating the dial has the Data Entry function.

2. Press any of the Number [1] - [16] buttons to select
the transmit channel to be muted.
The corresponding transmit channel is set to mute (its lamp goes off) and produces no sound. When pressing the same number button again, the channel mute is canceled (its lamp lights).

Using the Plug-in Boards

Plug-in Boards give you an enormous amount of additional sonic exibility and power. When installed, they work seamlessly and transparently within the system of this synthesizermeaning that you can use their sounds and functions just as if they were built right into this synthesizer at the factory. The boards that are available for and can be installed to this synthesizer are described below. Up to three Plug-in boards can be installed to the S90 ES. These boards are not simply a source of more Voices; they are also full-featured, editable tone generators in their own right and extend the system-level specications such as maximum polyphony. In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance/Multi. This synthesizer is compatible with the Modular Synthesis Plug-in System (see below).
About MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multifaceted advances in modern music production.

Available Plug-in Boards

There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using these, you can build your own system based on the sounds you require.
Single Part Plug-in Boards
Single Part Plug-in Boards let you add a completely different synthesizer or single timbre tone generator (page 115) and play its voices by using a single part of this synthesizer. Some boards allow you to use synthesis systems besides AWM2. Analog Physical Modeling Plug-in Board (PLG150-AN)

The example below shows that the Element 3 is muted.

Soloing an Element

Press the [EDIT] button again to disable the Compare function and restore the settings for your edited program. Compare the edited sound with the unedited sound by repeating steps 1 and 2.
n While Compare is active, you cannot edit.
In the Normal Voice Edit mode, simultaneously hold down the [SOLO] button and press one of the Number buttons [9] to [12] to solo the corresponding Element. Once youve selected an Element for soloing, the [SOLO] button's lamp ashes, indicating the Solo function is active and only the selected Element can be played.
TIP Edit Recall Function If you are editing a program and select a different program without storing your edited one, all the edits you've made will be erased. If this happens, you can use Edit Recall to restore the program with your latest edits intact.
To exit from the Solo function, press the [SOLO] button again.
Press the [JOB] button in each mode to enter the Job mode.
Press the [F2] RECALL button to call up the Recall display. Press the [ENTER] button. (The display prompts you for conrmation.) If you wish to cancel the operation, press the [DEC/NO] button.
Press the [INC/YES] button to execute the Edit Recall to restore the program.
TIP Multi/Performance Part mute/solo
TIP Keyboard MIDI transmit channel setting Press the [TRACK SELECT] button so that its indicator lights, and press any of the Number [1] - [16] buttons to change the Keyboard MIDI transmit channel in any mode.

Muting a Part

Make sure that the [MUTE] button's lamp is turned on. If the indicator is ashing, press the [MUTE] button.
The example below shows that the Part 3 is muted.
You can also set the MIDI keyboard transmit channel of the Voice mode and Performance mode from the Utility mode ([UTILITY] [F5] MIDI [SF1] CH KBDTransCh).

Soloing a Part

Press one of the [1] - [4] buttons in the Performance mode or press one of the [1] - [16] buttons in the Multi mode that you want to solo, whiile holding the [SOLO] button. Once youve selected an Part for soloing, the [SOLO] button's lamp ashes, indicating the Solo function is active and only the selected Part can be played.
TIP Transpose setting of the keyboard You can transpose the pitch up or down of the keyboard in semitone steps or octave steps.

LFO (Low Frequency Oscillator)
[VOICE] Voice selection [EDIT] Element selection/Drum Key selection [F5] LFO [VOICE] Voice selection [EDIT] [COMMON] [F5] LFO
As its name suggests, the LFO produces a wave of a low frequency. These waves can be used to vary the pitch, lter or amplitude of each Element to create effects such as vibrato, wah and tremolo. LFO can be set independently for each Element; it can also be set globally for all Elements.
Single timbre tone generator (Voice/Performance mode) and multi-timbral tone generator (Multi mode)
The internal tone generator block operates in two different ways (single timbre and multi-timbral) depending on the selected mode. The difference between the two is whether they can handle multiple MIDI channels at the same time or not.
Single Timbre Tone Generator (Voice/Performance mode)
A single timbre tone generator receives data over a single MIDI channel and plays a single instrument Part. This is the operating status of the internal tone generator in the Voice and Performance modes.
n To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode. [UTILITY] [F5] MIDI [SF1] CH BasicRcvCh
Multi-timbral Tone Generator (Multi mode)
A multi-timbral tone generator simultaneously receives data over multiple MIDI channels and plays multiple instrument Parts. This allows playback of multichannel MIDI song datasuch as on a MIDI sequencer or computerwith each internal Part being assigned to and played by a different track or channel. This is the operating status of the internal tone generator in the Multi mode.
n To set the MIDI receive channel for multi-timbre operation (Multi mode), use the following operation in the Multi mode. [MULTI/SEQ PLAY] (select Multi mode) [EDIT] Part selection [F1] VOICE [SF2] MODE ReceiveCh

Maximum Polyphony

Maximum polyphony refers to the highest number of notes that can be sounded simultaneously from the internal tone generator of the instrument. The maximum polyphony of this synthesizer is 128. When the internal tone generator block receives a number of notes exceeding the maximum polyphony, previously played notes are cut off. Keep in mind this may be especially noticeable with Voices that have a long decay or sustain. Furthermore, the maximum polyphony applies to the number of Voice Elements used, not the number of Voices. When the Normal Voices that include up to four Elements are used, the maximum number of simultaneous notes may be less than 128.

n When a Plug-in Board is installed, playing Plug-in Board Voices does not affect the maximum polyphony of the S90 ES. For details on maximum polyphony for the Plug-in Boards, refer to the owners manual of the particular board.
Part structure of the Tone Generator block
The S90 ES plays the sounds in its tone generator block in response to MIDI messages received from external controllers or sequencer. The MIDI messages are assigned to sixteen independent channels, and the instrument is capable of simultaneously playing sixteen separate Parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI ports, each supporting sixteen channels. The multiple sound sources of this synthesizer (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.
n The USB cable supports up to eight separate MIDI ports. However, the S90 ES supports up to three MIDI ports. n A single MIDI cable/connection cannot handle data over multiple MIDI ports.
Part structure of the tone generator block in the Voice mode
In this mode, a Voice is played using a single Part. This Part is used also when the Plug-in Voice is selected. The tone generator block in the Voice mode receives MIDI data over a single channel. For this reason, song data on an external sequencer consisting of multiple MIDI channels will not play back properly in this mode. If you are using an external MIDI sequencer or computer to play the instrument, make sure to use the Multi mode. Tone generator block

Voice mode MIDI port

Part 1
n To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode. [UTILITY] MIDI display BasicRcvCh In the Voice mode, the instrument recognizes only data over MIDI Port 1. n The Multi-part Plug-in Board (PLG100-XG) cannot be used in the Voice mode.
Part structure of the tone generator block in the Performance mode
This mode lets you play a Performance (in which multiple Voices or Parts are combinedin a layer, or in other congurations). While a total of seven Parts are available in this mode (as shown below), a maximum of four Parts can be used simultaneously. Although this mode lets you play several Parts at the same time, all are set to receive over the same single MIDI channel, as in the Voice mode. For this reason, song data on an external sequencer consisting of multiple MIDI channels will not play back properly in this mode. If you are using an external MIDI sequencer or computer to play the instrument, make sure to use the Multi mode. Tone generator block

VelMode (Velocity Mode)

This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength.
Settings: original, thru original.The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data. thru.The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases.

[SF2] LIMIT

NoteLimit Determines the lowest and highest notes in the Arpeggios note range. Notes played in this range trigger the Arpeggio.
Settings: C -2 ~ G8 n You can also create a lower and an upper trigger range for the Arpeggio, with a note range hole in the middle, by specifying the highest note rst. For example, setting a Note Limit of C5 - C4 lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio. n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. n Please keep in mind that no sound is produced when the KeyMode is set to sort or thru and notes are played outside the Note Limit setting here.

VelocityLimit

Determines the lowest and highest velocity in the Arpeggios velocity range. This lets you control when the Arpeggio sounds by your playing strength.
Settings: 1 ~ 127 n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity hole in the middle, by specifying the maximum value rst. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the Arpeggio.

[SF3] PLAY FX

UnitMultiply (Unit Multiply)
These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By changing the timing and velocity of the notes, you can change the rhythmic feel of the Arpeggio. Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled (tempo is halved). On the other hand, if you set a value of 50%, the playback time will be halved (tempo is doubled). Normal playback time is 100%.

n Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts.
This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Part, and so on very useful when creating a completely new Performance from scratch. Type of parameter to be initialized All: All data in the Performance Common: Data in the Common Edit mode Part 1-4: Data of the Part Edit parameters of the corresponding internal Part PLG 1-3: Data of the Part Edit parameters of the corresponding Plug-in Part Audio 1-5: Data of the Part Edit parameters of the corresponding Audio Part
n In order to select Common, Part, or Audio, the ALL box must be unchecked.
If you are editing a Performance and select a different Performance without storing your edited one, all the edits youve made will be erased. If this happens, you can use Edit Recall to restore the Performance with your latest edits intact.

Source Performance

ou can copy Part parameter settings from any Performance to a particular Part of the Performance you are editing. This is useful if you are creating a Performance and wish to use some parameter settings from another Performance. Data type to be copied (Type) Part 1-4: Data of the Part Edit parameters of the corresponding internal Part Part P1-P3: Data of the Part Edit parameters of the corresponding Plug-in Part Part A1-A5: Data of the Part Edit parameters of the corresponding Audio Part
Destination Performance (currently selected Performance)
Copy procedure 1. Select the Source Performance When Current is selected in the Source Performance, the Source Performance will be same as Destination Performance. If you wish to copy one Part to another Part in same Performance, select Current. 2. Select the type of Source Performance (data that you want to copy). 3. Select which Parts will be replaced by the copied Part in the Destination Performance parameter. If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the Source Part will be copied. 4. Press the [ENTER] button.

Multi Store mode

[MULTI/SEQ PLAY] (select Multi mode) Multi selection [STORE]
This function lets you store your edited Multi program to User memory. For details, refer to page 76 in the Quick Guide section.

Multi Voice Edit mode

n You can selsct the Multi Voice mode from any display other than the [F1] play display.
[MULTI/SEQ PLAY] (select Multi mode) Multi selection [F3] VOICE Normal Voice selection [F5] VCE ED
From Multi Voice Edit, you can edit the detailed settings of the Normal Voice assigned to each Part. These are the same as in the Voice Common Edit mode (page 128) and the Voice Element Edit mode (page 133). Please note that there are certain parameters that cannot be edited in the Multi Voice Edit mode. [MULTI/SEQ PLAY] (select Multi mode) Multi selection [F3] VOICE Normal Voice selection [F5] VCE ED [COMMON]
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice. These are the same as in the Voice Common Edit mode (page 128). Please note that there are certain parameters that cannot be edited in the Multi Voice Edit. [MULTI/SEQ PLAY] (select Multi mode) Multi selection [F3] VOICE Normal Voice selection [F5] VCE ED Element selection
These parameters are for editing the individual Elements that make up a Normal Voice. These are the same as in the Voice Element Edit mode (page 133). Please note that there are certain parameters that cannot be edited in the Multi Voice Edit mode.
Multi Voice Job mode (Edit Recall)
[MULTI/SEQ PLAY] (select Multi mode) Multi selection [F3] VOICE Normal Voice selection [F5] VCE ED [JOB]
If you are editing a Multi Voice and select a different Multi Voice, Multi program, Multi without storing your edited one, all the edits youve made will be erased. Edits are also erased if the current part to which the edited Multi Voice is assigned receives a program change from an external MIDI instrument. If this happens, you can use Edit Recall to restore the Multi Voice with your latest edits intact by pressing the [ENTER] button. Since a Recall Buffer for the Multi Voice is prepared for each Part of the current Multi, you can specify the Part to which the Multi Voice to be recalled is assigned before executing the Edit Recall.

Multi Voice Store mode

[MULTI/SEQ PLAY] (select Multi mode) Multi selection [F3] VOICE Normal Voice selection [F5] VCE ED [STORE]
This function lets you store your edited Multi Voice to User memory. For details, refer to page 50 in the Quick Guide section.

[F1] CHAIN

Determines how the SMF les are played back. You can assign the desired SMF les and Multi settings to the desired Chain Step numbers (the playback order). For details, see page 96.
[MULTI/SEQ PLAY] (select Sequence Play mode)
[SF4] GET [SF5] DEMO [F2] OUTPUT
Determines the desired slot number, partition, and directory (folder). Plays the demo songs for S90 ES. For details, see page 29.

Check whether the SLOT lamp (from SLOT1 - 3) corresponding to the selected PLG button ([PLG1] - [PLG3]) is turned on or off. When selecting a User bank, are any Voices stored into the User bank? In the default settings, User banks for Plug-in Voice contain no Voices. You must the select the Preset bank or create a User Voice.
[VOICE] [F2] BANK (page 127)
Check whether the PLG which corresponds to the PLG100-XG slot is selected or not. The Voice on the PLG100-XG cannot be selected in the Voice mode or Performance mode. Check whether the PLG which corresponds to the PLG100-VH slot is selected or not. The PLG100-VH contains no Voices for selection, since it is an Effect Plug-in Board.
The Plug-in Board does not work.
Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? (page 18) Has the PLG100-VH been installed to slot 2 or 3? The PLG100-VH can be installed only to slot 1. Has the PLG100-XG been installed to slot 1 or 2? The PLG100-XG can be installed only to slot 3.
Data communication between the computer and the S90 ES does not work properly.
Check whether the Port setting on the computer is appropriate or not. Is the cable setting (MIDI, USB, mLAN) in the Utility mode appropriate?
[UTILITY] [F5] MIDI [SF4] OTHER MIDI IN/OUT(page 166)
The S90 ES does not sound properly even when playing back the song data on the computer or the MIDI instrument connected to the S90 ES.
Make sure to set the S90 ES to the Multi mode. To play back the multiple channels simultaneously, select multi mode. (page 70)
MIDI bulk data transmission/reception does not work properly.
Is Bulk data receive protection enabled? Turn the Receive Bulk parameter to on.
[UTILITY] [F5] MIDI [SF2] SWITCH RcvBulk (page 166)
When receiving recorded data with the internal Bulk Dump function, the device number must be set to the same value as that used when transmitting/recording.
[UTILITY] [F5] MIDI [SF1] CH DeviceNo (page 166)
When transmission does not work properly, is the device number of the MIDI instrument connected to the S90 ES set to match the DeviceNo. parameter?

PRE 45 Latin Perc

Note C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 Wave No. 952 Wave Name Dr BdLSonSt Dr SdRkStk2St Dr SdFkSt1/3 Dr CrashSt Dr SplashSt Dr TomLow St Dr HHCls1-4St Dr TomLow St Dr HHPdl3 St Dr TomMid St Dr HHOpn2 St Dr TomHi St Pc CongaTip Pc CongaBtm Pc TumbaSlp Pc Clave Pc TumbaOpen Pc CongaTip Pc CongaBtm Pc CongaOpSlp Pc Handbell L Pc Conga Opn Pc Handbell H Pc MamboBl1 Pc CongaTip Pc CongaBtm Pc Quint1Slp Pc ChaCha Pc Quint1Opn Pc Bongo L Pc Bongo H1 Pc Bongo H2 Pc TimbaleLo1 Pc TmblPailaL Pc TimbaleHi1 Pc TmblPailaH Pc WoodBlock Pc WoodBlock Pc ShekereDw Pc ShekereUp Pc ShekereSap Pc MaracasSlr Pc MaracasStc Pc GuiroLong Pc GuiroSwp Pc GuiroShort Pc SurdoMt Pc SurdoOp Pc PandierTip Pc PandroHeel Pc PandierThm Pc PandieroOp Pc TmbourmFng Pc TmbourimOp Pc TmbourimMt Pc AgogoLoTap Pc AgogoLo Pc AgogoHi Pc TriangleOp Pc TriangleMt Pc Shaker 2 Pc Shaker 1 Pc Shaker 3 Pc Cabasa1 Pc Cabasa2 Pc Caxixi1 Pc Caxixi2 Pc CuicaLo Pc CuicaHi Pc Whistle Pc Whistle Pc Vibraslap Pc BellTree

PRE 46 Gtr/Bs Fx

Note C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 Wave No. 1855 Wave Name Se Ab FX06 Se Ab FX06 Gt PlayFx Mix Gt PwrChdMono Gt PwrChdMono Se Ab FX01 Se Ag FX02 St Se Eb FX 05 Se Eb FX 16 Se Eb FX 01 Se Eg FX06 Se Eb FX 17 Se Eb FX 04 Se Eb FX 10 Gt PlayFx Mix Se Eb FX 11 Gt PlayFx Mix Se Eb FX 18 Se Eb FX 16 Se Eb FX 18 Se Eb FX 17 Se Eb FX 18 Se Eg FX13 Se Eb FX 18 Se Eb FX 18 Se Ag FX29 St Se Eb FX 18 Se Eb FX 11 Se Ag FX29 St Se Eb FX 11 Se Eb FX 10 Se Ag FX29 St Gt PlayFx Mix Se Ag FX29 St Se Eb FX 13 Se Eb FX 11 Se Eb FX 10 Se Eb FX 10 Se Eb FX 02 Se Eb FX 08 Se Eb FX 18 Se Ab FX09 Se Ab FX09 Se Ab FX07 Se Ab FX07 Se Ab FX06 Se Ab FX09 Gt PlayFx Mix Gt PlayFx Mix Se Eb FX 22 Se Ag FX06 St Se Eb FX 16 Se Eb FX 16 Se Eb FX 03 Gt PlayFx Mix Gt PlayFx Mix Se Eb FX 11 Se Eb FX 17 Se Ag FX02 St Se Eb FX 14 Se Eg FX21 Se Eg FX20 Se Eg FX19 Gt PlayFx Mix Gt PlayFx Mix Gt PlayFx Mix Gt PlayFx Mix Ba Pick Dd FX Se Eb FX 22 Se Eb FX 05 Se Eb FX 15 Ba EBassFX Se Eb FX 19

PRE 47 Wacko Kit

Note C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 Wave No. 769 Wave Name Se Eb FX 01 Se Zap2 Dr HHPdlD&B Pc HandClapL Se ScratchVoF Se IndusTom Dr SdWood Se IndusTom Dr SdClpAna Se IndusTom Dr SdFMRim Dr BdFXGate Dr BdFxHmr Pc CongaOpSlp Dr SdFM Pc HandClapL Dr SdTimbr Dr TomSyn2 Dr HHClSyn Dr TomSyn2 Dr HHOpSyn Dr TomSyn2 Dr HHOpSyn Dr TomSyn2 Dr TomSyn2 Dr HHOpMono Me Sonar1 Dr HHOpT8-1 Dr HHOpMono Dr CupL Pc SleighBel Dr HHOpT8-2 Me ResoXFade Dr CrashL Se RainLoop Dr CupR Me AirHoseL Me AirHoseL Pc Udo Hi Wv MgBass2 Wv MgBass3 Se Ab FX06 Se Ab FX06 Pc AgogoLo Pc AgogoLo Dr HHOpHuman Se VoxHitRev Se HiQ1 Se HiQ1 Me LfoSeq Me LfoSeq Me BellAir Me HH Hit Me HH Hit Me OohFB Me OohFB Me Mind Bell Se Glass Me Swarm Se FxGun2 Me Lektronica Gt PlayFx Mix Se Gunshot Se Police Se Ripper Gt PlayFx Mix Se TapeRewnd Se FxGun1 Se Bomb Se Zap2 Se NzBurst Me StabGiant Me StabOrch

PRE 52 AcstSnares

Note C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 Wave No. 1400 Wave Name Dr SdNm1St Dr SdNm2St Dr SdNm3St Dr SdNm4St Dr SdFk1St Dr SdFk2St Dr SdFk3St Dr SdFkAySt Dr SdBs1St Dr SdBs2St Dr SdBs3St Dr SdSon1St Dr SdSon2St Dr SdSon3St Dr SdSon4St Dr SdBl1St Dr SdBl2St Dr SdBl3St Dr SdBh1St Dr SdBh2St Dr SdBh3St Dr SdTgt1St Dr SdTgt2St Dr SdTgt3St Dr SdTgt4St Dr SdHip1St Dr SdHip2St Dr SdRkOp1St Dr SdRkMte1St Dr SdRkRim1St Dr SdRkOp2St Dr SdRkMte2St Dr SdRkRim2St Dr SdRkFlmSt Dr SdRkOp1St Dr SdRkMte1St Dr SdRkRim1St Dr SdRkOp2St Dr SdRkMte2St Dr SdRkRim2St Dr SdRkFlmSt Dr SdNm3St Dr SdFkAySt Dr SdBs3St Dr SdSon3St Dr SdBh3St Dr SdTgt3St Dr SdTgt3R Dr SdBldSt1-4 Dr SdSolSt1-4 Dr SdPwrSt1-4 Dr SdRngSt1-4 Dr SdMdRim Dr SdAmb Dr SdGate1 Dr SdLdwHMono Dr SdBrRim Dr SdDry Dr SdHeavy Dr SdGM Dr SdRkStk1St Dr SdRkStk2St Dr SdClRmSt Dr SdClRim2 Dr SdClRim3 Dr SdRkRolSt Dr SdRkOp2St Dr SdLvRolSt Dr SdSon2St Dr SdRollMono Dr SdTgt3St Dr SdBrMtSt Dr SdBSwrAtSt

PRE 53 StSnares

Note C0 C#0 D0 D#0 E0 F0 F#0 G0 G#0 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 Wave No. 1202 Wave Name Dr SdNmSt1-4 Dr SdNmSt1-3 Dr SdNmSt2-4 Dr SdNmSt1-2 Dr SdNmSt2-3 Dr SdNmSt3-4 Dr SdNm1St Dr SdNm2St Dr SdNm3St Dr SdNm4St Dr SdFkSt1-3 Dr SdFkSt1-2 Dr SdFkSt2-3 Dr SdFkSt1/3 Dr SdFk1St Dr SdFk2St Dr SdFk3St Dr SdFkAySt Dr SdBsSt1-3 Dr SdBsSt1-2 Dr SdBsSt2-3 Dr SdBsSt1/3 Dr SdBs1St Dr SdBs2St Dr SdBs3St Dr SdSonSt1-4 Dr SdSonSt1-3 Dr SdSonSt2-4 Dr SdSonSt1-2 Dr SdSonSt2-3 Dr SdSonSt3-4 Dr SdSon1St Dr SdSon2St Dr SdSon3St Dr SdSon4St Dr SdBlSt1-3 Dr SdBlSt1-2 Dr SdBlSt2-3 Dr SdBlSt1/3 Dr SdBl1St Dr SdBl2St Dr SdBl3St Dr SdBhSt1-3 Dr SdBhSt1-2 Dr SdBhSt2-3 Dr SdBhSt1/3 Dr SdBh1St Dr SdBh2St Dr SdBh3St Dr SdTgtSt1-4 Dr SdTgtSt1-3 Dr SdTgtSt2-4 Dr SdTgtSt1-2 Dr SdTgtSt2-3 Dr SdTgtSt3-4 Dr SdTgt1St Dr SdTgt2St Dr SdTgt3St Dr SdTgt4St Dr SdHip1St Dr SdRkOp1St Dr SdRkMte1St Dr SdRkRim1St Dr SdRkOp2St Dr SdRkMte2St Dr SdRkRim2St Dr SdRkFlmSt Dr SdRkRolSt Dr SdRkOp1St Dr SdRkRolDSt Dr SdRkOp2St Dr SdLvRolSt Dr SdNm3St

No. 1899 1900

Category Name Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Se Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ag FX29 R Ag FX30 St Ag FX30 L Ag FX30 R Eg FX01 Eg FX02 Eg FX03 Eg FX04 Eg FX05 Eg FX06 Eg FX07 Eg FX08 Eg FX09 Eg FX10 Eg FX11 Eg FX12 Eg FX13 Eg FX14 Eg FX15 Eg FX16 Eg FX17 Eg FX18 Eg FX19 Eg FX20 Eg FX21 Eg FX22 Eg FX23 Ab FX01 Ab FX02 Ab FX03 Ab FX04 Ab FX05 Ab FX06 Ab FX07 Ab FX08 Ab FX09 Eb FX 01 Eb FX 02 Eb FX 03 Eb FX 04 Eb FX 05 Eb FX 06 Eb FX 07 Eb FX 08 Eb FX 09 Eb FX 10 Eb FX 11 Eb FX 12 Eb FX 13 Eb FX 14 Eb FX 15 Eb FX 16 Eb FX 17 Eb FX 18 Eb FX 19 Eb FX 20 Eb FX 21 Eb FX 22 Eb FX 23 S700ppSt S700ppL S700ppR S700ppMn S700ppSt+ S700ppL+ S700ppR+ S700ppMn+ S700ppStS700ppLS700ppRS700ppMnS700mfSt S700mfL S700mfR S700mfMn S700mfSt+ S700mfL+ S700mfR+ S700mfMn+ S700mfStS700mfLS700mfRS700mfMnS700ffSt S700ffL S700ffR S700ffMn S700ffSt+ S700ffL+ S700ffR+ S700ffMn+ S700ffStS700ffLS700ffRS700ffMnS700SwSt1 S700SwSt2 S700ppSt* S700ppL* S700ppR*

No. 1935

Category Name Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap Ap S700ppMn* S700ppSt+* S700ppL+* S700ppR+* S700ppMn+* S700ppSt-* S700ppL-* S700ppR-* S700ppMn-* S700mfSt* S700mfL* S700mfR* S700mfMn* S700mfSt+* S700mfL+* S700mfR+* S700mfMn+* S700mfSt-* S700mfL-* S700mfR-* S700mfMn-* S700ffSt* S700ffL* S700ffR* S700ffMn* S700ffSt+* S700ffL+* S700ffR+* S700ffMn+* S700ffSt-* S700ffL-* S700ffR-* S700ffMn-* S700SwSt1* S700SwSt2*
n Most of the waveforms use conventional equal temperament tuning; however a select few use special stretch tuning, to simulate the tuning used on actual acoustic pianos. Waveforms numbered 1 to 1859 all use equal temperament tuning. The waveforms shaded in gray above (numbers 1860 to 1935) use stretch tuning, with the exception of those marked with an asterisk (*), which use equal temperament tuning.

Performance List

Number 63 64
Performance Name Wide River DragonWind Finale 9Ft.Hammrz Cathedral Funk Jam R&B E.P Kathmandu MotionRose Trio Live Dyno+Pad Cross Over Love Rock! AOR Unit Voxy Pad Teknowhizz BalladLand Biologik Dynasty Alterno Sanctuary ClavsOFunk Chillin' DelhiShade Scrubbed JazzLegend LoveAffair Easy Mood SoulOfOld Coral Big Back House Diva Candle Tranceland WindOrch Loud&Proud Big Church Samba Man SpanishHip 7 Veils MusicalBox JazzGTComb Phase Dyno SoftAnalog Tiger SmoothTrio Fat Analog FunkyHouse Hands Scientic F.Horn&Str ConcertRck Gospel Latin Gig HoodBeater Istanbul Big Air Rotor Stop Dual DX 80'sSynths PlasticOrg Cruizin' Mighty CS TranceSet

LCD Distortion Comp + Dist V-Distortion Overdrive AmpSimulator AmpSim 2 Dist + Delay Odrv + Delay Compressor Noise Gate Cmp+Dist+Dly Cmp+Odrv+Dly MltBndComp 1 MltBndComp 2 PitchChange1 PitchChange2 Auto Wah A.Wah+Dist A.Wah+Odrv Vntg A.Wah1 Vntg A.Wah2 Touch Wah T.Wah+Dist T.Wah+Odrv Vntg T.Wah1 Vntg T.Wah2 Wah+Dist+Dly Wah+Odrv+Dly Lo-Fi LoResolution Noisy Attack LoFi D.Turntable D.Scratch Auto Synth Tech Mod Jump Isolator Slice 3 Band EQ 2 Band EQ Enhancer Voice Cancel Ambience Talking Mod Beat Change Damper Reso Ring Mod DynamRingMod DynamFilter
MIDI (HEX) MSB LSB 0A 0A 0A 0A 0A 0A 0B 0B 0C 0C 0C 0C 0C 0C 0C 0C 0C 0C 0C 0C 0D 0D 0D 0D 0D 0E 0E 0E 0E 0E 0E 0F 0F 0F 0F 0F 0F 0F 0F 0F 0F 0F 71 78
No. REV CHO InsA InsB 116 117

Effect Parameter List

Reverb Block
HALL1 PLATE, R3 HALL R3 PLATE
No. Parameter Range Value Table No.

DELAY L, C, R

Reverb Time Diffusion Initial Delay HPF Cutoff Frequency LPF Cutoff Frequency Reverb Delay Density ER / Rev Balance Feedback High Damp Feedback Level
0.3s 30.0s 0.1ms 200.0ms 20Hz 8.0kHz 1.0kHz 20.0kHz 0.1ms 200.0ms 04 E63>R E=R E<R63 0.1 1.0 -63 +63
(0 69) (0 10) (0 127) (0 52) (34 60) (0 127) (0 4) (1 127) (1 10) (1 127)
Delay Time L Delay Time R Delay Time C Feedback Time Feedback Level Delay Level C Feedback High Damp Dry / Wet Balance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
0.1ms 1638.3ms 0.1ms 1638.3ms 0.1ms 1638.3ms 0.1ms 1638.3ms -63 +127 0.1 1.0 D63>W D=W D<W63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(1 16383) (1 16383) (1 16383) (1 16383) (1 127) (0 127) (1 10) (1 127) (4 40) (52 76) (28 58) (52 76) 3 3

WHITE ROOM CANYON

Reverb Time Diffusion Initial Delay HPF Cutoff Frequency LPF Cutoff Frequency Width Height Depth Wall Vary Reverb Delay Density ER / Rev Balance Feedback High Damp Feedback Level
0.3s 30.0s 0.1ms 200.0ms 20Hz 8.0kHz 1.0kHz 20.0kHz 0.5m 30.2m 0.5m 30.2m 0.5m 30.2m 0.1ms 200.0ms 04 E63>R E=R E<R63 0.1 1.0 -63 +63
(0 69) (0 10) (0 127) (0 52) (34 60) (0 104) (0 104) (0 104) (0 30) (0 127) (0 4) (1 127) (1 10) (1 127)

DELAY L, R

Delay Time L Delay Time R Feedback Time 1 Feedback Time 2 Feedback Level Feedback High Damp Dry / Wet Balance
0.1ms 1638.3ms 0.1ms 1638.3ms 0.1ms 1638.3ms 0.1ms 1638.3ms -63 +63 0.1 1.0 D63>W D=W D<W63
(1 16383) (1 16383) (1 16383) (1 16383) (1 127) (1 10) (1 127)
13 16: Same as the parameters shaded in gray in DELAY L, C, R above.

DELAY L, R (Stereo)

Delay Time L Delay Time R Feedback Time L Feedback Time R Feedback Level Feedback High Damp Dry / Wet Balance

LARGE HALL RICH PLATE

0.3s 18.0s/10.0s/26.0s 0.1ms 200.0ms 20Hz 8.0kHz 1.0kHz 20.0kHz 0.1 1.0 0.1 1.63 (0 69) (0 10) (0 127) (0 52) (34 60) (0 31) (1 10) (1 14) (0 63) 25/26/27
Reverb Time Diffusion Initial Delay HPF Cutoff Frequency LPF Cutoff Frequency Room Size High Ratio Low Ratio Decay

Type Room Size Diffusion Initial Delay Feedback Level HPF Cutoff Frequency LPF Cutoff Frequency Dry / Wet Balance Liveness Density Feedback High Damp

V-FLANGER

LFO Speed LFO Depth LFO Wave Delay Offset Feedback Level Dry / Wet Balance EQ Mid Frequency EQ Mid Gain EQ Mid Width Modulation Phase Feedback High Damp Analog Feel
0.0Hz 39.70Hz Triangle, Sine, Random 0.09 36.21ms -100 +100% D63>W D=W D<W63 100Hz 10.0kHz -12dB +12dB 0.1 12.0 -180 +180 0.1 1.10
(0 127) (0 127) (0 2) (0 139) (0 200) (1 127) (14 54) (52 76) (1 120) (0 16) (1 10) (0 10)

GATE REVERB REVERSE GATE

type-A, type-B (0 1)
02 13: Same as in EARLY REFLECTION1.

VINTAGE FLANGER 1 3

VINTAGE STEREO PHASER 1 2
Speed Manual Depth Feedback Type Spread Mix EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
0.040Hz 10.00Hz 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 235) (0 127) (0 127) (0 127) (0 2) (0 127) (0 127) (4 40) (52 76) (28 58) (52 76)
Speed Manual Depth Feedback Stage Mode Color Spread
0.100Hz 10.00Hz 4, 6, 8, 10 1, 127
(0 252) (0 127) (0 127) (0 127) (0 3) (0 1) (0 127) (0 127)
The Color parameter is not available in the following conditions: When Mode is set to 1 and Stage is set to 4, 6, or 8; or when Mode is set to 2 and Stage is set to 4 or 10.
VINTAGE MONO PHASER TEMPO FLANGER
Speed Manual Depth Feedback Stage Mode Color EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
0.100Hz 10.00Hz 4, 6, 8, 10, 12, 16 1, 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 252) (0 127) (0 127) (0 127) (0 5) (0 1) (0 127) (4 40) (52 76) (28 58) (52 76)
LFO Speed LFO Depth Feedback Level Delay Offset LFO Phase Reset EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry / Wet Balance EQ Mid Frequency EQ Mid Gain EQ Mid Width LFO Phase Difference
16th 4thx127 -63 +63 0.0ms 50.0ms off (free run), KeyOnReset, SEQ Start Reset 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 100Hz 10.0kHz -12dB +12dB 0.1 12.0 -180deg +180deg
(5 21) (0 127) (1 127) (0 127) (0 2) (4 40) (52 76) (28 58) (52 76) (1 127) (14 54) (52 76) (1 120) (4 124)
The Color parameter is not available in the following conditions: When Mode is set to 1 and Stage is set to 4, 6, 8, 12, or 16; or when Mode is set to 2 and Stage is set to 4 or 10.

TEMPO PHASER

LFO Speed LFO Depth Phase Shift Offset Feedback Level LFO Phase Reset EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry / Wet Balance Stage LFO Phase Difference
16th 4thx127 -63 +63 off (free run), KeyOnReset, SEQ Start Reset 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W11 -180deg +180deg
(5 21) (0 127) (0 127) (1 127) (0 2) (4 40) (52 76) (28 58) (52 76) (1 127) (3 11) (4 124)

DYNAMIC FLANGER

Sensitivity Delay Time Offset Feedback Level Attack Time Release Time Release Curve Direction Dyna Threshold Level Dyna Level Offset Dry / Wet Balance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
-63 +63 0.3ms 227ms 2.6ms 2171ms up, down D63>W D=W D<W63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 127) (0 127) (1 127) (0 127) (0 127) (0 127) (0 1) (0 127) (0 127) (1 127) (4 40) (52 76) (28 58) (52 76) 3

DYNAMIC PHASER

Sensitivity Dyna Level Offset Feedback Level Attack Time Release Time Release Curve Direction Dyna Threshold Level Dry / Wet Balance Stage EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
-63 +63 0.3ms 227ms 2.6ms 2171ms up, down D63>W D=W D<W63 4, 5, 6 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 127) (0 127) (1 127) (0 127) (0 127) (0 127) (0 1) (0 127) (1 127) (4 6) (4 40) (52 76) (28 58) (52 76) 17 18

PHASER1

LFO Speed LFO Depth Phase Shift Offset Feedback Level Dry / Wet Balance Stage Diffusion
0.0Hz 39.70Hz -63 +63 D63>W D=W D<W22 mono/stereo
(0 127) (0 127) (0 127) (1 127) (1 127) (4 22) (0 1)

PHASER2

TREMOLO
LFO Speed LFO Depth Phase Shift Offset Feedback Level Dry / Wet Balance Stage LFO Phase Difference
0.0Hz 39.70Hz -63 +63 D63>W D=W D<W11 -180deg +180deg
(0 127) (0 127) (0 127) (1 127) (1 127) (3 11) (4 124)
LFO Speed AM Depth PM Depth EQ Mid Frequency EQ Mid Gain EQ Mid Width LFO Phase Difference Input Mode
0.0Hz 39.70Hz 100Hz 10.0kHz -12dB +12dB 0.1 12.0 -180deg +180deg mono/stereo
(0 127) (0 127) (0 127) (14 54) (52 76) (1 120) (4 124) (0 1)

AUTO PAN

DISTORTION+2WAY ROTARY SPEAKER OVERDRIVE+2WAY ROTARY SPEAKER
LFO Speed L/R Depth F/R Depth PAN Direction
0.0Hz 39.70Hz L<>R, L>>R, L<<R, Lturn, Rturn, L/R 100Hz 10.0kHz -12dB +12dB 0.1 12.0

(0 127) (0 127) (0 127) (0 5)
Rotor Speed Drive Low Drive High Low/High Balance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Divide Frequency Mic L-R Angle Dist. Drive Dist. LPF Cutoff Freq Dist. Output Level
0.0Hz 39.70Hz L63>H L=H L<H63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB 100Hz 10.0kHz 0deg 180deg 1.0kHz 20.0kHz 0 127
(0 127) (0 127) (0 127) (1 127) (4 40) (52 76) (28 58) (52 76) (14 54) (0 60) (0 127) (34 60) (0 127)
06 09: Same as the parameters shaded in gray in DELAY L, C, R on page 27. 13 EQ Mid Frequency EQ Mid Gain EQ Mid Width (14 54) (52 76) (1 120)

AUTO PAN2

LFO Speed L/R Depth F/R Depth PAN direction LFO Wave EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width Input Mode
0.0Hz 39.70Hz L<>R, L>>R, L<<R, Lturn, Rturn, L/R 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 0.1 12.0 Mono/Stereo
(0 127) (0 127) (0 127) (0 5) (0 28) (4 40) (52 76) (28 58) (52 76) (14 54) (52 76) (1 120) (0 1)
AMP SIM.+2WAY ROTARY SPEAKER
Rotor Speed Drive Low Drive High Low/High Balance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Divide Frequency Mic L-R Angle AMP Type AMP Drive AMP LPF Cutoff Freq AMP Output Level
0.0Hz 39.70Hz L63>H L=H L<H63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB 100Hz 10.0kHz 0deg 180deg off, stack, combo, tube 1.0kHz 20.0kHz 0 127
(0 127) (0 127) (0 127) (1 127) (4 40) (52 76) (28 58) (52 76) (14 54) (0 60) (0 3) (0 127) (34 60) (0 127)

ROTARY SPEAKER

LFO Speed LFO Depth Dry / Wet Balance EQ Mid Frequency EQ Mid Gain EQ Mid Width
0.0Hz 39.70Hz D63>W D=W D<W63 100Hz 10.0kHz -12dB +12dB 0.1 12.0
(0 127) (0 127) (1 127) (14 54) (52 76) (1 120)

DUAL ROTOR SPEAKER 1

Rotor Speed Slow Horn Speed Slow Rotor Speed Fast Horn Speed Fast Slow-Fast Time of R Slow-Fast Time of H Drive Low Drive High Low/High Balance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Mic L-R Angle Speed Control
0.0Hz 2.65Hz 0.0Hz 2.65Hz 2.69Hz 39.70Hz 2.69Hz 39.70Hz L63>H L=H L<H63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB 0deg 180deg slow, fast
(0 63) (0 63) (64 127) (64 127) (0 127) (0 127) (0 127) (0 127) (1 127) (4 40) (52 76) (28 58) (52 76) (0 60) (0 1)
DISTORTION+ROTARY SPEAKER OVERDRIVE+ROTARY SPEAKER
LFO Speed LFO Depth EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dist. Drive Dist. LPF Cutoff Freq Dist. Output Level

0.100Hz 20.00Hz -12.0 +12.0 Sin, Trp High, Mid, Low, Bass 0.0dB +40.0dB -20.0dB +10.0dB 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 254) (0 127) (0 127) (40 88) (0 1) (0 3) (0 80) (24 84) (4 40) (52 76) (28 58) (52 76)

LOW RESOLUTION

AUTO SYNTH
Mod Depth Mod Delay Offset Mod Feedback Resolution Mod Mix Balance Phase Inverse R Dry/Wet Balance
-63 +63 1,1/2 1/127 off, wet, wet+dry D63>W D=W D<W63
(0 127) (1 127) (1 127) (0 7) (0 127) (0 2) (1 127)
Mod Speed Mod Wave Type Mod Depth Mod Depth Ofst R HPF Frequency LPF Frequency Delay Time Delay Time Ofst R Delay Level Dry Mix Level Feedback Level FB Level Ofst R AM Speed AM Wave AM Depth AM Inverse R
typeA, typeB, typeC, typeD -63 +63 20Hz 8.0kHz 1.0kHz 20.0kHz 0.1 370.0ms -63 +63 -63 +63 0.00Hz 39.7Hz tri, sine, saw up, saw down normal, inverse
(0 127) (0 3) (0 127) (1 127) (0 52) (34 60) (1 3700) (0 884) (0 127) (0 127) (1 127) (1 127) (0 127) (0 3) (0 127) (0 1) 3
3 Mod Depth Mod Speed Mod Feedback Mod Mix Balance Drive AM Speed AM Depth LPF Frequency LPF Resonance Dry / Wet Balance EQ Frequency EQ Gain EQ Width -63 +127 0.00Hz 39.7Hz 1.0kHz 20.0kHz 1.0 12.0 D63>W D=W D<W63 100Hz 10.0kHz -12 +12dB 1.0 12.0 (0 10) (0 127) (1 127) (1 127) (0 127) (0 127) (0 127) (34 60) (10 120) (1 127) (14 54) (52 76) (10 120) 3

TECH MODULATION

Mod Speed Mod Depth Mod Gain Mod Mix Balance Pre Mod HPF Freq Mod LPF Frequency Mod LPF Resonance Delay Time Delay Time Ofst R Dry/Wet Balance Feedback Level FB Level Ofst R Feedback Hi Damp FB Hi Damp Ofst R
-12 +12dB D63>W D=W D<W63 20Hz 8.0kHz 1.0kHz 20.0kHz 1.0 12.0 0.1 740.0ms D63>W D=W D<W63 -63 +63 -63 +63 0.1 1.0 -0.9 +0.9
(0 127) (0 127) (52 76) (1 127) (0 52) (34 60) (10 120) (1 7400) (0 884) (1 127) (1 127) (1 127) (1 10) (1 19) 3 3

ATTACK LO-FI

127 1, 1/2 1/32 100Hz 10.0kHz 1.0kHz 20.0kHz 0.00Hz 39.7Hz tri, sine, saw up, saw down -63 +127 D63>W D=W D<W63 0.1 650.0ms 0 -884 -63 +63 -63 +63 0.1 1.0 -0.9 +0.9 (0 127) (0 5) (14 54) (34 60) (0 127) (0 3) (0 127) (1 127) (1 127) (1 127) (1 6500) (0 884) (1 127) (1 127) (1 10) (1 19)
Sensitivity Resolution Peak Frequency LPF Frequency Flanger Speed Flanger LFO Wave Flanger Depth Flg Depth Ofst R Flg Mix Balance Dry/Wet Balance Flanger Delay Flg Delay Ofst R Flanger Feedback Flanger FB Ofst R Flanger FB HiDamp FB HiDamp Ofst R
Depth Speed Direction Type Jump Wave Type Resolution HPF Frequency LPF Frequency Dry / Wet Balance
L<>R, L>>R typeA, typeB, typeC typeA, typeB, typeC, typeD 1,1/2 1/256 20Hz 8.0kHz 1.0kHz 20.0kHz D63>W D=W D<W63
(0 127) (0 127) (0 1) (0 2) (0 3) (0 8) (0 52) (34 60) (1 127) 3 3

DIGITAL TURNTABLE

06 0.00Hz 39.7Hz 1.0kHz 20.0kHz 1.0 12.127 1.0kHz 20.0kHz (0 5) (0 127) (0 6) (0 127) (0 127) (0 127) (34 60) (10 120) (0 127) (0 127) (34 60) 1

20Hz 8.0kHz 1.0kHz 20.0kHz 0.3ms 227ms 2.6ms 2171ms up, down D63>W D=W D<W63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 127) (0 52) (34 60) (0 127) (0 127) (0 127) (0 1) (0 127) (0 127) (1 127) (4 40) (52 76) (28 58) (52 76) 17 18
HPF Cutoff Frequency Drive Mix Level

500Hz 16.0kHz 0 127

(28 58) (0 127) (0 127)

VOICE CANCELER

26 (0 26) (0 26)

Low Adjust High Adjust

AMBIENCE
Delay Time Wet Output Phase Dry / Wet Balance
0.0ms 50.0ms normal/inverse D63>W D=W D<W63

(0 127) (0 1)

06 09: Same as the parameters shaded in gray in DELAY L, C, R on page 27. (1 127)

DYNAMIC FILTER

Filter Type Sensitivity Dyna Level Offset Resonance Attack Time Release Time Release Curve Direction Dyna Threshold Level Dry/Wet Balance EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain
LPF (12dB), LPF (18dB), LPF (24dB), HPF, BPF, BEF -16 +111 0.3ms 227ms 2.6ms 2171ms up, down D63>W D=W D<W63 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB
(0 5) (0 127) (0 127) (0 127) (0 127) (0 127) (0 127) (0 1) (0 127) (1 127) (4 40) (52 76) (28 58) (52 76) 17 18

TALKING MODULATION

a/i/u/e/o (0 4) (1 62) (0 127) (0 127)
Vowel Move Speed Drive Output Level

BEAT CHANGE

16 -63 +12 -63 +12 sound4 normal rythm4 32Hz 2.0kHz -12dB +12dB 1.0 12.0 D63>W D=W D<W63 (1 127) (0 12) (1 127) (0 12) (0 8) (4 40) (52 76) (10 120) (1 127) 3
BeatChange Beat Range PitchChange Pitch Range Accuracy Type EQ Frequency EQ Gain EQ Width Dry/Wet Balance

Master Effect Block

Control Delay2 (stereo) LO-FI V-Distortion Isolator Dynamic Filter Slice Ring Modulator Multi Band Comp 1

DAMPER RESONANCE

HPF Cutoff Frequency LPF Cutoff Frequency EQ Low Frequency EQ Low Gain Hi Resonance Pedal Response Dry/Wet Balance Damper Control
20Hz 8.0kHz 1.0kHz 20.0kHz 32Hz 2.0kHz -12 +12dB 0.1 1.0 slow/normal/fast D63>W D=W D<W127
(0 52) (34 60) (4 40) (52 76) (1 10) (0 2) (1 127) (0 27)

Master EQ Block

Master EQ
No. Parameter Display Value Table No.

EQ Gain1 EQ Frequency1 EQ Q1 EQ Shape1 EQ Gain2 EQ Frequency2 EQ Q2 EQ Gain3 EQ Frequency3 EQ Q3 EQ Gain4 EQ Frequency4 EQ Q4 EQ Gain5 EQ Frequency5 EQ Q5 EQ Shape5
-12dB +12dB 32Hz 2.0kHz 0.1 12.0 shelving, peaking -12dB +12dB 100Hz 10kHz 0.1 12.0 -12dB +12dB 100Hz 10kHz 0.1 12.0 -12dB +12dB 100Hz 10kHz 0.1 12.0 -12dB +12dB 500Hz 16kHz 0.1 12.0 shelving, peaking
(52 76) (4 40) (1 120) (0 1) (52 76) (14 54) (1 120) (52 76) (14 54) (1 120) (52 76) (14 54) (1 120) (52 76) (28 58) (1 120) (0 1) 3
When the EQ Shape1 is set to Peaking, the range of EQ Frequency 1 is 63Hz 2.0 kHz (10 40).

Effect Data Assign Table

Table 1 LFO Frequency
Data Value 0.00 0.04 0.08 0.13 0.17 0.21 0.25 0.29 0.34 0.38 0.42 0.46 0.51 0.55 0.59 0.63 0.67 0.72 0.76 0.80 0.84 0.88 0.93 0.97 1.01 1.05 1.09 1.14 1.18 1.22 1.26 1.30 1.35 1.39 1.43 1.47 1.51 1.56 1.60 1.64 1.68 1.72 1.77 1.81 1.85 1.89 1.94 1.98 2.02 2.06 2.10 2.15 2.19 2.23 2.27 2.31 2.36 2.40 2.44 2.48 2.52 2.57 2.61 2.65 Data Value 2.69 2.78 2.86 2.94 3.03 3.11 3.20 3.28 3.37 3.45 3.53 3.62 3.70 3.87 4.04 4.21 4.37 4.54 4.71 4.88 5.05 5.22 5.38 5.55 5.72 6.06 6.39 6.73 7.07 7.40 7.74 8.08 8.41 8.75 9.08 9.42 9.76 10.1 10.8 11.4 12.1 12.8 13.5 14.1 14.8 15.5 16.2 16.8 17.5 18.2 19.5 20.9 22.2 23.6 24.9 26.2 27.6 28.9 30.3 31.6 33.0 34.3 37.0 39.7
Table 2 Modulation Delay Offset
Data Value 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 6.0 6.1 6.2 6.3 Data Value 6.4 6.5 6.6 6.7 6.8 6.9 7.0 7.1 7.2 7.3 7.4 7.5 7.6 7.7 7.8 7.9 8.0 8.1 8.2 8.3 8.4 8.5 8.6 8.7 8.8 8.9 9.0 9.1 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9 10.0 11.1 12.2 13.3 14.4 15.5 17.1 18.6 20.2 21.8 23.3 24.9 26.5 28.0 29.6 31.2 32.8 34.3 35.9 37.5 39.0 40.6 42.2 43.7 45.3 46.9 48.4 50.0

Table 3 EQ Frequency

Data Value 0 THRU (20) 34 1.0k 35 1.1k 36 1.2k 37 1.4k 38 1.6k 39 1.8k 40 2.0k 41 2.2k 42 2.5k 43 2.8k 44 3.2k 45 3.6k 46 4.0k 47 4.5k 48 5.0k 49 5.6k 50 6.3k 51 7.0k 52 8.0k 53 9.0k 54 10.0k 55 11.0k 56 12.0k 57 14.0k 58 16.0k 59 18.0k 60 THRU (20.0k)

Table 4 Reverb Time

Data Value 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.0 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 5.0 5.5 6.0 6.5 7.0 7.5 8.0 8.5 9.0 9.5 10.0 11.0 12.0 13.0 14.0 15.0 16.0 17.0 18.0 19.0 20.0 25.0 30.0
Table 5 Delay Time (0.1~200.0 [ms])
Data Value 0.1 1.7 3.2 4.8 6.4 8.0 9.5 11.1 12.7 14.3 15.8 17.4 19.0 20.6 22.1 23.7 25.3 26.9 28.4 30.0 31.6 33.2 34.7 36.3 37.9 39.5 41.0 42.6 44.2 45.7 47.3 48.9 50.5 52.0 53.6 55.2 56.8 58.3 59.9 61.5 63.1 64.6 66.2 67.8 69.4 70.9 72.5 74.1 75.7 77.2 78.8 80.4 81.9 83.5 85.1 86.7 88.2 89.8 91.4 93.0 94.5 96.1 97.7 99.3 Data Value 100.8 102.4 104.0 105.6 107.1 108.7 110.3 111.9 113.4 115.0 116.6 118.2 119.7 121.3 122.9 124.4 126.0 127.6 129.2 130.7 132.3 133.9 135.5 137.0 138.6 140.2 141.8 143.3 144.9 146.5 148.1 149.6 151.2 152.8 154.4 155.9 157.5 159.1 160.6 162.2 163.8 165.4 166.9 168.5 170.1 171.7 173.2 174.8 176.4 178.0 179.5 181.1 182.7 184.3 185.8 187.4 189.0 190.6 192.1 193.7 195.3 196.9 198.4 200.0

Arp# 406 407

ARP Name House1 House2 House3 House4A House4B House4C House5A House5B House5C House5D House6A House6B House6C House7A House7B House8 House9 House10A House10B House11A House11B House11C House12 House13 UKGargeA UKGargeB UKGargeC 2 Step Ibiza B1 Ibiza C Ibiza D Ibiza E Ibiza A Ibiza F Ibiza G Ibiza H1 Ibiza B2 Ibiza H2 ClubHs B ClubHs C ClubHs D ClubHsE1 ClubHsA1 ClubHsA2 ClubHs F ClubHs G ClubHsH1 ClubHsE2 ClubHsH2 Garage1 Garage2B Garage2C Garage2D Garage2E Garge2A1 Garge2A2 Garage2F Garage2G ChlOutB1 ChlOutC1 ChlOutD1 ChlOutE1 ChlOutA1 ChlOutF1 ChlOutG1 ChlOutH1 ChlOutB2 ChlOutC2 ChlOutD2 ChlOutE2 ChlOutA2 ChlOutF2 ChlOutG2 ChlOutH2 SynPop1B SynPop1C

Length 4 4

Voice Type AnalogT9 Garage : T9HipKit1 : : House Kit1 : : : : : : : : : : : : : : : : : : : : : : : : : : : : : DryStandrd DryStandrd (PB Range=24) House Kit1 : : : : : : : : Hyper Std : Garage House Kit1 : : : : : : : DryStandrd : : : : : : : Break Kit : : : : : : : T9HipKit1 :

Arp# 482 483

ARP Name SynPp1D1 SynPp1E1 SynPp1F1 SynPp1D2 SynPp1E2 SynPp1F2 SyPp1Clp SynPp1Hh SynPop2A SynPop2B SynPop2C SynPop2D SynPop2E RetroPpB RetroPpD RetroPpF Disco B Disco C Disco D Disco E Disco A Disco F Disco G Disco H LatinHsB LatinHsF LatinHsH LatinRkB LatinRkC LatinRkD LatinRkE LatinRkA LatinRkF LatinRkG LatinRkH Samba B Samba C Samba D Samba E Samba A Samba F Samba G Samba H Salsa B1 Salsa C1 Salsa D1 Salsa E1 Salsa A1 Salsa A3 Salsa F1 Salsa G1 Salsa H1 Salsa B2 Salsa C2 Salsa D2 Salsa E2 Salsa A2 Salsa F2 Salsa G2 Salsa H2 MontnoB1 MontnoC1 MontnoD1 MontnoE1 MontnoA1 MontnoF1 MontnoG1 MontnoH1 MontnoB2 MontnoC2 MontnoD2 MontnoE2 MontnoA2 MontnoF2 MontnoG2 MontnoH2

Original Tempo 100 100

Voice Type T9HipKit1 : : : : : : : SynPopKit : : : : House Kit1 : : DryStandrd : : : : : : : House Kit1 : : DryStandrd : : : : : : : : : : : : : : : : : : : : : : : : Cuban : : : : : : : DryStandrd : : : : : : : Latin Perc : : : : : : :

Arp# 558 559

ARP Name Latin A Latin B Latin C Latin D Latin E Regge1B1 Regge1C1 Regge1D1 Regge1E1 Regge1A1 Regge1F1 Reggae1G Reggae1H Regge1B2 Regge1C2 Regge1D2 Regge1E2 Regge1A2 Regge1F2 Reggae2B Reggae2C Reggae2D Reggae2E Regge2A1 Regge2A2 Reggae2F Reggae2G Reggae2H SpanishB SpanishC SpanishD SpanishE SpanshA1 SpanshA2 SpanishF SpanishG SpanishH TurkshB1 TurkshC1 TurkshD1 TurkshE1 TurkshA1 TurkshA3 TurkshF1 TurkshG1 TurkshH1 TurkshB2 TurkshC2 TurkshD2 TurkshE2 TurkshA2 TurkshA4 TurkshF2 TurkshG2 TurkshH2 Roll 1 Roll 2 Roll 3 Roll 4 BigBeat4 BigBeat5 BigBeat6 BigBeat7 BigBeat8 BrkTrnce House14 House15 LoBeat5 LoBeat6 Linear 08beat1 08beat2 08beat3 16beat1 16beat2 1Bar

Time Signature 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 9/8 9/8 4/4 4/4 4/4 4/4 4/4 4/4 4/4 9/8 9/8 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4

Original Tempo 135 135

Voice Type Latin Perc : : : : DryStandrd : : : : : : : Percussion : : : : : DryStandrd : : : : : : : : Hyper Std : : : : : : : : Arabic Mix : : : : : : : : : : : : : : : : : GM map kit :
Category DrPc Comb Comb Comb Comb Comb Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr Cntr

Arp# 037

ARP Name 1BarRndm Trancy1 Trancy2 Trancy3 SynPopA SynPopB GateCut1 GateCut2 GateCut3 ModCtrl ModCtrlU ArmDown BendVib BotDwVib BotUpVib CHVib HamVib PullVibA PullVibB SlideVib Trill 4 Trill 5 UDCHVib Vibra1 Vibra2 HipHop2C HipHop2D HipHop2H ClubHs A Garage2C Garage2D Garage2G NewGos A NewGos C NewGos D Trance A Dream A ClubHs D ClubHs G ChllOutB ChllOutE ChllOutA ChllOutH
Time Signature 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4 4/4

Length 1

Original Tempo 79
Voice Type Sliced Dr Loop Performance : : : : (CC#10,71,74) (CC#74) (CC#71,74) (CC#1) : (PB, PB Range=12) : : : : : : : : : : : : : (CC#10) (CC#71,74) (CC#71,74) (CC#10) (CC#74) : : (CC#10,11) : : (CC#74) : (CC#71,74) (CC#71) (CC#74) (CC#11,74) (CC#74) :
* Note Limit settings most appropriate for each Element of a Voice: 1-70, 71-90, 91-110, 111-127 ** Contents provided by Keyfax New Media (www.keyfax.com).
Big Kit : : : : Tekno Kit House Kit1 : Break Kit : Sliced Dr Loop : : : : :

MIDI Data Format

Many MIDI messages listed in the MIDI Data Format section are expressed in hexadecimal or binary numbers. Hexadecimal numbers may include the letter H as a suffix. The letter n indicates a certain whole number. The chart below lists the corresponding decimal number for each hexadecimal/binary number.
Decimal Hexadecimal Decimal Hexadecimal
SYNTHESIZER/SEQUENCER PART

(1) TRANSMIT FLOW

MIDI <-+-[SW1]--+---------NOTE ON/OFF OUT | | | +---------KEY'S AFTER TOUCH | | | +---------CONTROL CHANGE (All in Seq) | | MODULATION | | VOLUME | | PAN | | SUSTAIN SWITCH | | FILTER RESONANCE | | EG RELEASE TIME | | EG ATTACK TIME | | FILTER CUTOFF FREQ | | EG DECAY TIME | | REVERB SEND | | CHORUS SEND | | ASSIGNABLE CONTROLLERS | | SEQ REMOTE CONTROL | | | +--[SW7]--BANK SEL MSB | | BANK SEL LSB | | | +---------CHANNEL MODE MESSAGE (Seq only) | | RESET ALL CONTROLLERS | | LOCAL CONTROL | | OMNI MODE OFF | | OMNI MODE ON | | MONO MODE ON | | POLY MODE ON | | | +--[SW8]--PROGRAM CHANGE | | | +---------CHANNEL AFTER TOUCH | | | +---------PITCH BEND CHANGE | +--[SW4]------------SYSTEM COMMON MESSAGE | SONG POSITION POINTER | +--[SW3]-----------SYSTEM REALTIME MESSAGE | TIMING CLOCK | +--[SW4]-----------SYSTEM REALTIME MESSAGE | START | CONTINUE | STOP | +-------------------ACTIVE SENSING | +--[SW5]-+----------SYSTEM EXCLUSIVE MESSAGE (All in | +--[SW6]-- <BULK DUMP> | | F0H 43H 0nH 7FH 01H bhH blH ahH | | | +--[SW6]-- <PARAMETER CHANGE> | F0H 43H 1nH 7FH 01H ahH amH alH | +-------------------SYSTEM EXCLUSIVE MESSAGE IDENTITY REPLY F0H 7EH 7FH 06H 02H 43H 00H 41H [SW1] 9nH AnH (Seq only)

TOTAL SIZE = 32

20 (HEX)
MIDI PARAMETER CHANGE TABLE (MASTER)

0A 0B 0C 0D

20 7E 20 7E 20 7E 20 7E 20 7E 20 7E 20 7E 20 7E 20 7E 20 7E
Master Name 1 Master Name 2 Master Name 3 Master Name 4 Master Name 5 Master Name 6 Master Name 7 Master Name 8 Master Name 9 Master Name 10 reserved reserved reserved Mode Change
(ASCII) (ASCII) (ASCII) (ASCII) (ASCII) (ASCII) (ASCII) (ASCII) (ASCII) (ASCII)

TOTAL SIZE = 20

08 0A 0C 0E 18 1A 1C 1E 2 1

14 (HEX)

00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F 00 01
0=Voice, 1=Performance, 2=Reserved, 3=Multi off, on 0=Pan&Send, 1=Tone, 2=Assign, 3=MeqOffset/ PartEQ, 4=MasterEffect, 5=ARP FX, 6=Zone, 7=Volume

0E 0F 12

00 7F 00 7F 00 7F 00 07
Bank MSB for Voice/Perf Mode Bank LSB for Voice/Perf Mode Program Number Zone on/off Slider Function Select

TOTAL SIZE = 19 Address

32 nn 00

13 (HEX) Parameter Name

Transmit Channel, MIDI/TG Switch Transpose (Octave) Transpose (Semitone) Note Limit Low Note Limit High Transmit Bank Select for TG Transmit Program Change for TG reserved 00 7F 00 7F 00 7F 00 7F 00 7F 00 7F MIDI Volume MIDI Pan MIDI Bank MSB MIDI Bank LSB MIDI Program Number Transmit Volume/Expression Transmit Pan Transmit Sustain Transmit Bank Select for MIDI Transmit Program Change for MIDI Transmit AT Transmit PB Transmit FC2 Transmit FS Transmit FC1 Transmit BC Transmit MW Transmit Assignable Slider Control Slider Control Number reserved bit0: off, on Volume/Expression bit1: off, on Pan bit2: off, on Sustain bit3: off, on Bank Select bit4: off, on Program Change bit5: off, on AT bit6: off, on PB bit0: off, on FC2 bit1: off, on FS bit2: off, on FC1 bit3: off, on BC bit4: off, on MW bit5: off, on Assignable Slider off, Ctrl #7, 11
bit0-3: Chbit4: MIDI off, on bit5: TG off, on -3 +3 -11 +11 (semitones) C-2 G8 C-2 G8 bit0: off, on Bank Select bit1: off, on Program Change

09 0A 0B 0C

3D 4B 00 7F 00 7F 00 07

TOTAL SIZE = 35

0A 0B 0C 0D 0E 0F 1 1

23 (HEX)

00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F 00 0F Master Effect Type1 Slider 1 Dest Master Effect Type1 Slider 2 Dest Master Effect Type1 Slider 3 Dest Master Effect Type1 Slider 4 Dest Master Effect Type2 Slider 1 Dest Master Effect Type2 Slider 2 Dest Master Effect Type2 Slider 3 Dest Master Effect Type2 Slider 4 Dest Master Effect Type3 Slider 1 Dest Master Effect Type3 Slider 2 Dest Master Effect Type3 Slider 3 Dest Master Effect Type3 Slider 4 Dest Master Effect Type4 Slider 1 Dest Master Effect Type4 Slider 2 Dest Master Effect Type4 Slider 3 Dest Master Effect Type4 Slider 4 Dest Master Effect Type5 Slider 1 Dest Master Effect Type5 Slider 2 Dest parameter : : : : : : : : : : : : : : : : :