Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit....
Any accumulation of dust between the AC adaptor and the power outlet can result in poor insulation and lead to fire. Periodically wipe away such dust with a dry cloth. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time....
Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children....
In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit....
Never climb on top of, nor place heavy objects on the unit....
Protect the unit from strong impact. (Do not drop it!)....
Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit....
Do not force the units power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cordsthe total power used by all devices you have connected to the extension cords outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through....
Before moving the unit, disconnect the AC adaptor and all cords coming from external devices....
Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 19)....
Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet....
Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information page....
Should you remove the ground terminal screw, make sure to put it in a safe place out of children's reach, so there is no chance of them being swallowed accidentally....
DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result....

RS-70_e3.book 4

IMPORTANT NOTES
In addition to the items listed under USING THE UNIT SAFELY on page 23, please read and observe the following:

Power Supply 301

Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

Maintenance 401a

For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

Rear side of the disk

* Windows Me is known officially as: Microsoft Windows Millennium Edition operating system.
* Windows XP is known officially as: Microsoft Windows XP operating system.
* Screen shots in this documents are reprinted with permission from Microsoft Corporation.
* Apple and Macintosh are registered trademark of Apple Computer, Inc.
Write (can write new data onto disk)
* MacOS is a trademark of Apple Computer, Inc.

Write Protect Tab

Protect (prevents writing to disk)
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

RS-70_e3.book 6

Contents
IMPORTANT NOTES...4 Main Features...11 Panel descriptions...12
Front panel..... 12 Rear panel..... 16

Getting ready....17

Connecting the RS-70 to external equipment.... 17 Turning on/off the power.... 18 Adjusting the display contrast (LCD CONTRAST)... 19
Reset to default factory settings (Factory Reset)..20 Listening to the demo songs...21

Demo songs list..... 21

Quick Start.. 23

Try out the sounds...24

Selecting a patch..... 24 Selecting a patch by category.... 24 Selecting patches while listening to phrases (Patch Audition)... 26 Selecting a rhythm set.... 26 Playing arpeggios (Phrase/Arpeggio)... 27 Changing the way in which the arpeggios are sounded.. 27 Playing a chord at the touch of a finger (Multi-chord Memory).. 28 Switching chord sets.... 29
Applying various effects to the sound..30
Changing the tone with the knobs (Patch Modify).... 30 Selecting the tone that you want to modify (DESTINATION TONE).. 30 Adjusting the volume balance of the two tones... 30 Vibrato and Wah effects (LFO).... 31 Changing the sounds volume (ENVELOPE)... 32 Changing the brightness of the sound and adding special qualities (CUTOFF/RESONANCE). 33 Using a lever to modify the sound.... 33 Changing the sounds pitch in real time (Pitch Bend Lever).. 33 Adding a vibrato effect to the sound (Modulation Lever).. 33 Using a pedal to modify the sound.... 34 Shifting the keyboard range in one-octave steps (Octave Shift)... 34 Moving the key range in half-steps (TRANSPOSE)... 35 Waving your hand over the D Beam (D Beam Controller)... 35 Effects that can be used with the D Beam controller... 36 Adjusting the sensitivity of the D Beam controllers (D BEAM SENS).. 38 Changing the polarity of the change (D BEAM POLARITY).. 38 Using the RS-70 effects..... 39 Turning effects on and off (Master Effects Switch)... 39
Using the sequencer to create a pattern..40
Creating a new pattern based on a preset rhythm pattern... 40 Creating a pattern from scratch (Pattern Initialize).... 46 Editing a recorded pattern..... 46

A part corresponds to a single musician in a band or orchestra. Since the RS-70 has sixteen parts, you can use sixteen different patches or rhythm sets to play as many as sixteen performances simultaneously.

Current part

The current part is the part that will sound when you play the keyboard; this is the part that your recording and editing will affect. The RS-70 has a total of sixteen parts. For details on how to switch the current part, refer to Selecting a part (p. 54).

Pattern

A pattern is 1998 measures of performance data consisting of sounds (patches or rhythm sets) for up to 16 parts.

fig.r01-04a.e

Part 16

Part 1

Patch/ Rhythm Set
Two or more patterns connected in the order of playback are called a song. In one song, you can register up to 50 patterns in the desired order of playback.

Overview

Sequencer

RS-70_e3.book 52

About memory
Patch and performance settings are stored in what is referred to as memory. There are three kinds of memory: temporary, rewritable, and non-rewritable.

fig.r01-05.e

Temporary memory

Temporary area

This is the area that holds the data for the patch or the like that youve selected using the panel buttons. When you play the keyboard or play back a sequence, sound is produced based on data in the temporary area. When you edit a patch, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there. Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another setting. To keep the settings you have modified, you must write them into rewritable memory.

System

Presets Patches: Rhythm Sets Arpeggio Templates Arpeggio Styles Multichord Sets
User Patches: 128 Rhythm Sets: 16 Patterns: 256 Songs: 99 Arpeggio Templates: 8 Arpeggio Styles: 8 Multichord Sets: 8

Rewritable memory

System memory
System memory stores system parameter settings that determine how the RS-70 functions.

You can change the name of the rhythm set. Here you can use PAGE/CURSOR [ ]/[ ] to move through the characters, and use VALUE [-]/[+] to finalize the desired character. Value: space, AZ, az, 09, ! # $ % & ( ) * + , -. / : ; < = > ?@[]^_`{|}
Collectively, these are referred to as rhythm set parameters. For further information, refer to Assigning a name (p. 54).
Editing the rhythm set parameters
1. Press [PATCH] so it lights and you are in Patch mode.

fig.r04-03_40

2. Select a rhythm set (p. 26).
Editing the settings of each rhythm tone (key) (Rhythm Tone parameters)
A rhythm set assigns a different instrument to each key. For each of these instrumental sounds, you can edit the following parameters. Press a key to select the rhythm tone that you want to edit.

fig.r04-06

3. Press [PARAM] so it is lit. Now you can edit the rhythm set parameters. Use PAGE/CURSOR [ you want to edit. ]/[ ] to select the parameter that

Patch Mode (Rhythm)

fig.r04-04.e
Selecting rhythm set parameters

fig.r04-05

The range that can be edited on the RS-70 and by sound editing software is A0C8. Some rhythm sets place rhythm tones outside this range. These tones cannot be edited.

RHYTHM COMMON

Adjusts the pitch of the percussive sound in semitone steps. VALUE: -60+67
[SHIFT] + PAGE/ CURSOR [ ]
Specifies the volume of the percussive sound. VALUE: 0127

RHYTHM TONE

Sets the pan position (stereo location) of each percussive sound when stereo output is used. With an increase in the value for L, more of the sound will be heard as coming from the left side. Similarly, more of the sound will originate at the right if the value of R is increased. When set to RND (RANDOM), you obtain a specialized effect whereby the sound randomly moves left and right with each press of a key. VALUE: RND, L63063R

RS-70_e3.book 64

Specifying the amount of signal sent to the effect Chorus Send Lvl (Chorus Send Level)
Convenient functions for rhythm set editing (Rhythm Set Utility)
Rhythm Set Utility provides functions that you will find convenient when editing a rhythm set, such as initializing a rhythm tone or copying effect settings.

fig.r06-20.e

Grid quantize with Resolution =

SHUFFLE:

Shuffle Quantize will be applied while recording. Use this when you want to give the rhythm a shuffle or swing character.

fig.r06-21.e

REPLACE:
Shuffle quantize with Rate = 75%

A.PUNCH:

Grid Resolution
Make this setting when you are using Grid Quantize. Specify the quantization interval in terms of a note value. Select the shortest note value that will occur in the range to which Grid Quantize will be applied. Value: , , , , , ,

M.PUNCH:

Grid Strength
Make this setting when you are using Grid Quantize. It specifies the degree to which notes will be adjusted toward the timing intervals specified by the Grid Resolution parameter. With a setting of 100%, the notes will be corrected precisely to the timing of the Grid Resolution parameter. As you lower this setting, the note timing will be corrected to a lesser extent, and with a setting of 0% the timing will not be adjusted at all. Value: 0100 (%)

PunchIn (Punch In)

Specify the measure, beat, and clock at which auto PunchIn recording is to begin.

PunchOut (Punch Out)

Specify the measure, beat, and clock at which auto PunchIn recording is to stop.
Clock is the smallest unit used to indicate time. On the RS-70, time is expressed in terms of 96 clocks per quarter note. For example, with a time signature of 4/4 (four quarter notes per measure), a measure will be 384 clocks (4 x 96) long. Time is
Shuf Resolution (Shuffle Resolution)
Make this setting when you are using Shuffle Quantize. Specifies the note value used for quantization. Value: ,

RS-70_e3.book 72

Shuf Rate (Shuffle Quantize Rate)
Make this setting when using Shuffle Quantize. It specifies the degree to which the backbeat will be separated from the downbeat specified by the Shuffle Resolution parameter. With a setting of 50%, the backbeat will be exactly between adjacent downbeats. With a setting of 0%, the backbeat will be moved to the same timing as the preceding downbeat. With a setting of 100%, the backbeat will be moved to the same timing as the following downbeat. Value: 0100 (%)
Recording with the phrase/arpeggio function
The RS-70 provides arpeggio templates that use phrases suitable for each category of instrument. Some of the arpeggio templates are phrase templates, which let you produce arpeggios with a single finger, without having to hold down a chord. In the same way as a manually played performance, a performance created using the arpeggiator can also be realtime-recorded as a pattern. Playing arpeggios (Phrase/Arpeggio) (p. 27) 1. Press [PHRASE/ARPEGGIO] so it is lit.

fig.r06-22a_40

Selecting the music data to be recorded (REC SELECT)
When you use realtime recording, all of your music data will normally be recorded. If you want to avoid recording a specific type of data, you can turn its Recording Select setting OFF.
2. Press [0][9] to choose the arpeggio template you want to use. Play a chord on the keyboard. An arpeggio will begin playing according to the notes in the chord you play. Select a template or style you like.
Ctrl Change (Control Change)
These events correspond to various control numbers, and are used to apply effects such as modulation or pan. These are used mainly to operate knobs and lever. Value: OFF, ON
If you select a phrase template, press only one key. If you play a chord, the phrase will play according to the last-played key.

fig.r06-22b_40

Prog Change (Program Change)
These events are used to select sounds (patches). The sound corresponding to the program number will be selected. Value: OFF, ON
3. Begin recording. 4. To stop the arpeggio performance, press [PHRASE/ ARPEGGIO] once again so it goes out.
Ch After (Channel Aftertouch)
These events apply aftertouch to an entire MIDI channel. Value: OFF, ON
You can also change arpeggio templates and styles even during recording standby (p. 68) or recording rehearsal (p. 68).
Channel aftertouch is data transmitted for an entire channel to indicate the force with which the keys are being pressed down after notes are played. The RS-70s keyboard is not able to transmit channel aftertouch, but you can assign channel aftertouch transmission to a controller such as a knob or pedal, and record these messages (p. 37, p. 126).
Creating your own arpeggio template (User Template)
You can create your own arpeggio template by editing the parameters of one of the preset templates. Your newly created template can be stored as one of eight user templates. 1. Press [PHRASE/ARPEGGIO] so it is lit.

fig.r06-23_40

Pitch Bend
These events change the pitch. Value: OFF, ON

SysEx (System Exclusive)

These are events that make settings specifically for the RS-70, such as specifying the sound and tonal character. Value: OFF, ON 2. Press [0][9] to select a template that produces arpeggios similar to what you want to create. Pressing [0] will select the user template you have created. You can then use VALUE [-]/[+] to select other user templates. 3. Press [PARAM] so it is lit. Now you can edit the arpeggio parameters.

fig.r06-24_40

RS-70_e3.book 73
4. Use PAGE/CURSOR [ ]/[ ] to move the cursor, and use VALUE [-]/[+] to specify the value. For details on the types and values of the parameters, refer to the following section User template parameter list (p. 73). 5. When you are finished editing parameters, press [WRITE]. Use VALUE [-]/[+] to specify the number (UserTemplate 18) at which to save the user template.

Specifies the range of notes whose gate time will be modified. You can also press keys on the keyboard to specify the range. Value: C-1G 9
Specifies how the velocity is to be changed. VALUE SET TO: BIAS: Rewrites all velocities in the specified region to a fixed value. Adds or subtracts a certain velocity value to/from the velocities in the specified region. For example, if you set BIAS to 20, a velocity value of 70 will be modified to 90.
Specifies how the gate time is to be changed. VALUE SET TO: Rewrites all gate times in the specified region to a fixed value.

RS-70_e3.book 87

Adds or subtracts a certain gate time value to/from the gate times in the specified region. For example, if you set BIAS to -30, a gate time that was originally 90 will be changed to 60. Gate times in the specified region will be increased/ decreased by the specified percentage. A setting of 100% will produce no change. Settings higher than 100% will increase the differences, and settings lower than 100% will decrease them. For example, if you want gate time values to differ half as much as originally, set this to 50%. If you want to double the variance in gate time values, set this to 200%.
Specifies the type of music data to be shifted in time. VALUE ALL: NOTE: All music data Note (C-1G 9) Specify the range of notes. You can also press keys on the keyboard to specify the range. P.AFT: C.C.: PROG: C.After: BEND: SYS-EX: TUNE: Polyphonic Aftertouch Controller numbers (0127) Program numbers (1128) Channel Aftertouch Pitch Bend System Exclusive Tune Request
Select MODE and press [ ] to display setting screens for each parameter. Use VALUE [-]/[+] to set the value. If you choose SET TO 1384 -99+99 If you choose BIAS If you choose MAGNIFY 0200 [%] Value: Value: VALUE Magnify:
Specifies the amount (number of clocks) by which the music data will be moved. Value: -99+99
Shifting pattern data forward and back (PTN SHIFT CLK)
Using this operation, the timing of the music data in a pattern can be shifted forward or backward in units of a single clock. Use this when you wish to slightly shift the overall timing.

fig.r06-60d

Thinning out unneeded data (PTN DATA THIN)
Since events such as pitch bend or control change use continuously changing values, they can occupy an unexpectedly large amount of memory. The Ptn Data Thin operation lets you thin out such data in a way that will not affect the audible result, yet will reduce the amount of data.

fig.r06-60e

When this function is executed, data that would be moved to a point before the beginning of the pattern will automatically shift to the beginning of the pattern.

HALL1, 2:

By turning on the SYSTEM MFX Remain Switch (p. 125), you can prevent effects from being switched. In this case, the multieffect settings of the pattern that was played first will be maintained during the playback.

PLATE: DELAY:

PANNING DELAY: This is a special delay in which the delayed sound alternates between left and right. It is effective when you are listening in stereo.
Reverb Type provides several preset-like example settings of the reverb parameters. When you switch types, the other reverb parameters will change according to the settings of the type you select. If you intend to edit the other parameters, select a type first, and then edit the other parameters.
Character (Reverb Character)
Selects the type of reverb. 05 are reverb effects, and 6 and 7 are delay effects. Value: 07
Pre-LPF (Reverb pre-low pass filter)
A low pass filter can be applied to the sound coming into the reverb to cut the high frequency range. Higher values will cut more of the high frequencies, resulting in a more mellow reverberation. Value: 07

Level (Reverb Level)

Sets the amount of the reverberant sound. Higher values result in louder reverberation. Value: 0127

RS-70_e3.book 114

Connecting patterns to create a song (Song mode)
You can specify the order in which patterns will be played back, and connect them to create a song. In other words, you can create an entire song just by connecting patterns (each containing several measures) in the desired order and playing them back. In one song, you can specify a playback order for up to 50 patterns. Each position (number) in the specified order of playback is called a step.

Selecting song numbers

You can use VALUE [-]/[+] to select the previous or next song from the currently selected song. You dont need to press [ENTER] after making your selection; the song is selected immediately.

Playing back a song

fig.r09-01.e
When not using the NUMERIC function Only the lowest digit will change when you press [0][9]. 1. Use [0][9] to input a number. The upper digit will be fixed; only the lower digit will change. When using the NUMERIC function
Used for recording Returns to the previous step. Stops playback. Advances to the next step. Plays a song.
1. Press [NUMERIC] so it is lit. 2. Use [0][9] to input a two-digit number. 3. If you want to finalize the value, press [ENTER]. [NUMERIC] will go out. If you decide to cancel, press [EXIT].
Press these simultaneously to move to the beginning of the song.
While the song is playing, you can switch the play/mute status of each part to dynamically vary the performance without actually modifying the patterns themselves. 1. Press [TRACK MUTE] so it is lit. 2. Press the lit or blinking buttons for each part to switch the corresponding part between play or muted status.

Also set the Receive Channel and Receive Switch for each part (p. 80)
Recording the patterns settings at the beginning of the song
First, record the Pattern settings at the beginning of the song. If this is done, playing back the song from the beginning will automatically set the RS-70 to the Pattern settings that were used during recording (regardless of the Pattern that was selected when playback began), ensuring that playback will use the correct sounds and settings. * Record the song at the tempo at which it is to be played back. If the tempo used for playback of a song is changed from the tempo selected at the time of recording, the RS-70 may not be able to correctly receive the settings for the recorded Pattern, which may prevent proper playback of the performance data.
Listening to the recorded performance
When you finish recording all Parts, play it back and listen to the result. Note the following when playing back a song. * If you modify the settings of each Part (volume, panning, etc.), you will need to re-record the modified pattern settings at the beginning of the song (p. 76).
Set the Rx Sys Exc (System Exclusive Receive Switch) to ON (p. 127)
When set to OFF, the pattern settings recorded at the beginning of the song cannot be received. With the factory settings, this will be ON.

RS-70_e3.book 135

Set the same Device ID number used for recording (p. 127)
If not set to the same Device ID number, the pattern settings recorded at the beginning of the song cannot be received.
Using the RS-70 as a General MIDI/General MIDI 2 systemcompatible sound module
You can play back music data designed for General MIDI and General MIDI 2 sound generators by connecting an external sequencer and using the RS-70 as a sound module. For instructions on connecting the external sequencer, refer to p. 133.
Make sure to start playback at the beginning of the song
When playback of a song is started at any point other than the beginning, the pattern settings at the time of recording are not used, and the song is not played back correctly.
Playing together with the playback of a recorded performance
You can play the RS-70s keyboard along with a previous performance by playing while the recorded material is played back. In this case, select a Part that was not recorded for playing the keyboard.
Playing back General MIDI/General MIDI 2 music data
Be sure to note the following when playing back General MIDI or General MIDI 2 music data.
Set the System Exclusive Receive Switch to ON (p. 127).

When set to OFF, GM System On and GM2 System On MIDI messages cannot be received. With the factory settings, this will be ON.
Transposing playback of performances (Master Key Shift)
If you wish to transpose the playback of a song, use the Master Key Shift setting. This setting will transpose all Parts except for the Drum Part. You can specify a transposition of up to +/-2 octaves in semitone steps. 1. Press [SYSTEM] so it is lit. 2. Use PAGE/CURSOR [

fig.r10-23_40

Make sure to play back from the beginning of the song
When playback of a song is started at any point other than the beginning, the sound generator settings wont be reset to the default settings for General MIDI and General MIDI 2, so the song wont be played back correctly.
] to select Master Key Sft.
3. Use VALUE [-]/[+] to specify the value (-24 +24). Value: -24 +24
4. Press [WRITE] to save the settings. For further information, refer to How to make the system function settings (p. 124). Press [EXIT] to cancel the operation and return to the previous page.

RS-70_e3.book 136

Synchronizing images to an RS-70 performance (V-LINK)

What is V-LINK?

V-LINK ( ) is a function that provides for the play of music and visual material. By using V-LINK-compatible video equipment, visual effects can be easily linked to, and made part of the expressive elements of a performance. (Examples) By using the RS-70 and Edirol DV-7PR together, you can: * Use the RS-70s sequencer to enjoy synchronized music and video. Use the RS-70s keyboard or buttons to switch the Edirol DV7PRs images (clips/palettes). Use the RS-70s knobs to adjust the brightness or color of the image. Use the RS-70s modulation lever to control the video playback speed along with the music playback speed. In order to use V-LINK with the RS-70 and Edirol DV-7PR, you will need to make connections using an Edirol UM1/UM-1S (sold separately).

Using V-LINK

1. Press [V-LINK] so it is lit. The V-LINK screen will appear, and the V-LINK function will be turned on.

OB2 Pad 2 JP8 Hollow Hollow Pad JP8Haunting RS Hollow Saw Sweep 1 Saw Sweep 2 Saw Sweep 3 Soft Pad 1 Soft Pad 2 Oct SynStr Stacked Pad RS Saw Pad AEx StackPad RS Sweep1 RS Sweep2 ReverseSweep RS Atmos SuperJupiter RS Combing Comb Pad Saws Strobe Digital Step Star Dust Wave Table RS Wind Pad Shakupad BellAngklung Sweep Stack ForwardSweep Power Stack DanceStack 1 Unison Saws Super Saws TranceKeys 2 Wire Keys Alpha Rave 7th Atmos. White Noise Pink Noise Metal Noise Syn.Strings2 Choir Aahs Chorus Aahs Voice Oohs Humming SynVox Analog Voice Warm Pad Sine Pad Space Voice Itopia Bowed Glass Metal Pad Halo Pad Sweep Pad Soundtrack Echo Drops Echo Bell Echo Pan Star Theme
Patch Select MSB = 87 LSB PC 63 64
GM2 Patch Select MSB = 121 LSB PC --------------------------------------------------------------------------------------------------------------------------------------------------------------------103 104
Key Mode SINGLE SINGLE DUAL SINGLE DUAL SINGLE SINGLE SINGLE DUAL SINGLE DUAL SINGLE SINGLE DUAL DUAL SINGLE SINGLE DUAL SINGLE SINGLE SINGLE DUAL DUAL SINGLE SINGLE DUAL SINGLE DUAL SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE
Category VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX SPD SPD SPD SPD SPD SPD

470 471

Vo01 Vo02 Vo03 Vo04 Vo05 Vo06 Vo07 Vo08 Vo09 Vo10 Vo11 Vo12 Vo13 Vo14 Vo15 Vo16 Vo17 Vo18 Vo19 Vo20 Vo21 Vo22 Vo23 Vo24 Vo25 Vo26 Vo27 Vo28 Vo29 Vo30 Vo31 Vo32
AEx StackVox RS Choir Large Choir St.ChoirAhs Voice Oohs Jazz Scat Gospel Oohs FemMm Choir Female Oohs SH-2000 Vox VP-330 Choir Wind VP-330 Machine Vox Lo-TekChoir RS SynChoir RS SynVox 1 FM Vox Vox Pad RS SynVox 2 ChaosChoir 1 ChaosChoir 2 Soprano Vox Metal Voice VoxSwitcher1 VoxSwitcher2 VP-330 Arpeg Heaven Pad HauntedTron Vintage Pad D-50 Retour Warm Sqr Pad OB2 Pad 1
Patch Select MSB = 87 LSB PC 66 66
GM2 Patch Select MSB = 121 LSB PC ---------------------------------------------------------------------------------------------------------------------------------
Key Mode DUAL SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE DUAL SINGLE SINGLE DUAL SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE

Rh14:BreakBts Kit (PC:014) --------------------------------SharpKick 2 Ballad Snr 2 RS Kick 7 R&BDrySnr 15 HouseKick 1 Roll Kick Roll Snare TR808 Kick R&BDrySnr 5 PlasticKick1 Jazz PHH TR707Kick RockCmpKick Side Stick HipHopSnr 1 DR110 Clap HipHopSnr 3 R&B Tom L 2 R&B CHH 1 R&B Tom L 2 R&B CHH 2 R&B Tom M 2 R&B OHH 1 R&B Tom M 2 R&B Tom H 2 Crash 2 R&B Tom H 2 Rock Ride 1 US Nz Cym 2 RS RideBell Tambourine 5 R&B Splash CR78 Cowbell Crash Cym.2 RotatingDrm2 TR909 Ride 1 BongoSw Hi BongoSw Lw CongaSw LwMt CongHiOp/Slp CongLwOp/Slp Timbal Sw Hi Timbal Sw Lw AgogoBellLng AgogoBellLng Cabasa Maracas Group Clap 1 Group Clap 2 Shaker Sw Caxixi Castanets Triangl Mt 1 Triangl Op 1 Bell Tree Jingle Bell Perc.Flute 1 Perc.Flute 3 Perc.Flute 5 Sarna Bell Scratch 8Psh Scratch 8Pul Scratch 7Psh Scratch 7Pul Scratch 2 Scratch 6 Flute FX Vox Kick 1 Vox Kick 2 Vox Snare 1 Vox HiHat 1 Philly Hit Record Noise ---------------------------------------------
Rh15:TR Kit (PC:015) --------------------------------TR606 Kick TR808 Snr 1 TR707Kick 2 TR707 Snr TR909Kick 2 PlasticKick1 TR808 Snr 5 TR909Kick 7 TR808 Snr 3 TR909Kick 4 TR909 PHH TR909Kick 8 TR909Kick 6 TR909 Rim TR909 Snr 1 TR909 Clap 2 TR909 Snr 2 TR909 Tom TR909 CHH 1 TR909DstTom2 TR909 CHH 3 TR909 Tom TR909 OHH TR909DstTom2 TR909 Tom TR909 Crash TR909DstTom2 TR909 Ride 1 TR909 Crash TR909RideBl2 TR707DryTamb TR606 Cym TR808Cowbell TR707 Cym TR707 Ride TR707Kick TR808 Kick TR808 Rim TR808 Snr 2 TR808 Clap TR808 Snr 5 TR707 Tom TR808 CHH 2 TR808 Tom 2 TR808 CHH 1 TR707 Tom TR808 OHH TR808 Tom 2 TR707 Tom TR808 Cym TR808 Tom 2 TR707 Ride TR606 Cym TR909RideBl2 CR78 Tamb DR110 Cym CR78 Cowbell TR808 Cym TR808 Clave TR909 Ride 2 TR606DstClap TR808Conga 1 TR707 Clap TR808DryMarc DR110 Clap Triangl Mt 2 Triangl Op 2 TR808Conga 2 MC500 Beep 2 MC500 Beep 1 MG Zap 9 MG Zap 7 MG Zap 8 ---------------------------------------------
--------------------------------HHpHybdKick HipHopSnr 1 TR909Kick 5 HipHopSnr 2 HybridKick 2 HipHopKick 3 R&BDrySnr 7 WhipOld Kick 70's Snare 2 HipHopKick 4 R&B CHH 2 HipHopKick 5 R&BDryKick 5 HipHop Stick OldFillSnare TR707 Clap HipHopSnr 3 TR808 Kick R&B CHH 1 TR808 Kick R&B CHH 2 TR808 Kick R&B OHH 1 TR808 Kick TR808 Kick R&B Crash 1 TR808 Kick R&B Ride R&B China TR909RideBl1 Tambourine 1 R&B Splash TR808Cowbell Crash Cym.2 Asian Gong TR909 Ride 2 BongoSw Hi BongoSw Lw CongaSw HiMt CongaSw LwMt CongaSw HiOp CongaSw LwOp CongaSw Slap CajonSw Hi CajonSw Low RotatingDrm2 Udu Sw 1 Udu Sw 2 Cabasa Maracas FingerSnap 1 Dholak 1 Dholak 2 Dholak 3 Dholak 4 TablaBaya 1 TablaBaya 2 TablaBaya 4 TablaBaya 5 TablaBaya 7 Scratch 8Psh Scratch 8Pul Scratch 7Psh Scratch 7Pul Scratch 2 Scratch 6 Flute FX Vox Kick 1 Vox Kick 2 Vox Snare 1 Vox HiHat 1 Philly Hit Record Noise ---------------------------------------------

Rh25:GM2 ELECTRIC (PC:025) --------------------------------------------High-Q Slap Scratch Push Scratch Pull Sticks Square Click Mtrnm Click Mtrnm Bell Mix Kick Elec Kick Side Stick Elec Snare 1 TR909 Clap 1 Elec Snare 2 Synth Drum2 Close HiHat Synth Drum2 Standard PHH Synth Drum2 Standard OHH Synth Drum2 Synth Drum2 Crash Cym.1 Synth Drum2 Ride Cymbal Rev.Cymbl 1 RS RideBell2 Tambourine 5 Splash Cym 2 Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Low Conga Hi Mt CongaHi Open CongaLowOpen Timbale Hi Timbale Low Agogo Agogo Cabasa Maracas ShortWhistle Long Whistle Guiro Short Guiro Long Claves Woodblock Woodblock Cuica Mute Cuica Open Triangl Mt 1 Triangl Op 1 Shaker 1 Jingle Bell Bell Tree Castanets Surdo Mute Surdo Open ---------------------------------
AnalogKick 1 AnalogKick 2 AnalogKick 3 AnalogKick 6 AnalogKick 4 AnalogKick 5 Pillow Kick Hard Kick TechnoKick 1 TechnoKick 2 TechnoKick 3 HouseKick 1 TR909Kick 1 TR909Kick 2 TR909Kick 3 TR909Kick 8 TR909Kick 4 TR909Kick 5 TR909Kick 6 TR909Kick 7 TR808 Kick TR707Kick TR707Kick Kick TR606 Kick PlasticKick1 PlasticKick2 DR110 Kick DR110 Kick2 SH32 Kick Roll Kick Elec Kick TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR909 Snr 7 TR909 Snr 8 TR808 Snr 6 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR808 Snr 4 TR808 Snr 5 TR707 Snr DR110 Snr CR78 Snr PS Snr Jngl TinySnr Tiny Snr DJ Snr FlangerSnare Dance Snare Elec Snare 1 Elec Snare 2 Elec Snare 3 Roll Snare TR909 Rim TR808 Rim TR909 CHH 1 TR909 CHH 2 TR909 CHH 3 TR808 CHH 1 TR808 CHH 2 TR707 CHH TR606 CHH CR78 CHH DR110 CHH Lite CHH TR909 DryOHH TR909 OHH TR808 OHH TR707 OHH TR606 OHH CR78 OHH PS OHH TR909 PHH -----
[EXC2] [EXC2] [EXC3] [EXC3]
[EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1] [EXC1]
[EXC4] [EXC4] [EXC5] [EXC5]
[EXC]: Percussion sound of the same number will not be heard at the same time. PC: Program Number Rh16Rh21: MSB=086, LSB=064 Rh22Rh25: MSB=120, LSB=000 * The range that can be edited on the RS-70 and by sound editing software is A0C8.

RS-70_e3.book 183

Rh26:GM2 ANALOG (PC:026)
Rh27:GM2 JAZZ Voice (PC:033) --------------------------------------------High-Q Slap Scratch Push Scratch Pull Sticks Square Click Mtrnm Click Mtrnm Bell Jazz Kick 2 Jazz Kick 1 Side Stick Jazz Snare TR909 Clap 1 Elec Snare 3 Real Tom 3 Close HiHat Real Tom 3 Standard PHH Real Tom 2 Standard OHH Real Tom 2 Real Tom 1 Crash Cym.1 Real Tom 1 Ride Cymbal ChinaCymbal1 RS RideBell2 Tambourine 5 Splash Cym 2 Cowbell Crash Cym.2 Vibraslap Ride Cymbal Bongo High Bongo Low Conga Hi Mt CongaHi Open CongaLowOpen Timbale Hi Timbale Low Agogo Agogo Cabasa Maracas ShortWhistle Long Whistle Guiro Short Guiro Long Claves Woodblock Woodblock Cuica Mute Cuica Open Triangl Mt 1 Triangl Op 1 Shaker 1 Jingle Bell Bell Tree Castanets Surdo Mute Surdo Open ---------------------------------

Model: RS-70/RS-50

MIDI Implementation
Data Entry (Controller number 6, 38)
Date: 2003.6.16 Version: 1.00
1. Receive data (Sound Source Section)

Channel Voice Messages

* Not received in Pattern(Performance) mode when the Receive Switch parameter (PATTERN/PERFORM PART) is OFF.
Status 2nd byte 3rd byte BnH 06H mmH BnH 26H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB

Note off

Status 2nd byte 8nH kkH 9nH kkH n = MIDI channel number: kk = note number: vv = note off velocity: 3rd byte vvH 00H 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 00H - 7FH (0 - 127)
Volume (Controller number 7)
Status 2nd byte BnH 07H n = MIDI channel number: vv = Volume: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
In Pattern(Performance) mode, the Part Level parameter (PATTERN/PERFORM PART) will change.

Note on

Status 2nd byte 9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 01H - 7FH (1 - 127)
Balance (Controller number 8)
Status 2nd byte BnH 08H n = MIDI channel number: vv = Balance: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
The Tone Balance parameter (PATCH COMMON) will change.

Control Change

Bank Select (Controller number 0, 32)
Status 2nd byte BnH 00H BnH 20H n = MIDI channel number: mm, ll = Bank number: * * 3rd byte mmH llH 0H - FH (ch.1 - 16) 00 00H - 7F 7FH (bank.1 - bank.16384)
Panpot (Controller number 10)
Status 2nd byte BnH 0AH n = MIDI channel number: vv = Panpot: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (Left - Center - Right),
In Pattern(Performance) mode, the Part Pan parameter (PATTERN/PERFORM PART) will change.
Not received in Pattern(Performance) mode when the Receive Bank Select (PATTERN/ PERFORM PART) is OFF. The Patterns(Performances), Patches, and Rhythms corresponding to each Bank Select are as follows.
Expression (Controller number 11)
Status 2nd byte BnH 0BH n = MIDI channel number: vv = Expression: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
RS-70 ++++++ | BANK SELECT | PROGRAM | GROUP | NUMBER | | MSB | LSB | NUMBER | | | ++++++ | 085 | 000 | | User Pattern | | | | 001 | | User Pattern | | | 086 | 000 | | User Rhythm | | | | 064 | | Preset Rhythm | | | 087 | 000 | | User Patch | | | | 064 | | Preset Patch | | | | : | | : | | | | 069 | | Preset Patch | | | 120 | 000 | | GM Rhythm | | | 121 | 000 | | GM Patch | | ++++++ RS-50 ++++++ | BANK SELECT | PROGRAM | GROUP | NUMBER | | MSB | LSB | NUMBER | | | ++++++ | 085 | 000 | | User Performance | | | | 064 | | Preset Performance | | | 086 | 000 | | User Rhythm | | | | 064 | | Preset Rhythm | | | 087 | 000 | | User Patch | | | | 064 | | Preset Patch | | | | : | | : | | | | 068 | | Preset Patch | | | 120 | 000 | | GM Rhythm | | | 121 | 000 | | GM Patch | | ++++++
Effect Control 1 (Controller number 12)
Status 2nd byte BnH 0CH n = MIDI channel number: vv = Control value (relative change): 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (-64 - 0 - +63)
Effect Control 2 (Controller number 13)
Status 2nd byte BnH 0DH n = MIDI channel number: vv = Control value (relative change): 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (-64 - 0 - +63)
Hold 1 (Controller number 64)
Status 2nd byte BnH 40H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
Portamento (Controller number 65)
Status 2nd byte BnH 41H n = MIDI channel number: vv = Control value: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
The Portamento Switch parameter (PATCH TONE) will change.
Modulation (Controller number 1)
Status 2nd byte BnH 01H n = MIDI channel number: vv = Modulation depth: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
Sostenuto (Controller number 66)
Status 2nd byte 3rd byte BnH 42H vvH n = MIDI channel number:0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

Portamento Time (Controller number 5)
Status 2nd byte BnH 05H n = MIDI channel number: vv = Portamento Time: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
Soft (Controller number 67)
Status 2nd byte BnH 43H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
The Portamento Time parameter (PATCH TONE) will change.
Copyright 2003 ROLAND CORPORATION
No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Resonance (Controller number 71)
Status 2nd byte BnH 47H n = MIDI channel number: vv= Resonance value (relative change): * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (-64 - 0 - +63),
Effect 1 (Reverb Send Level) (Controller number 91)
Status 2nd byte BnH 5BH n = MIDI channel number: vv = Reverb Send Level: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
The Resonance parameter (PATCH TONE) will change.
Release Time (Controller number 72)
Status 2nd byte 3rd byte BnH 48H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Release Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63), * The Release Time parameter (PATCH TONE) will change.
In Pattern(Performance) mode, the Part Reverb Send Level parameter (PATTERN/ PERFORM PART) will change.
Effect 3 (Chorus Send Level) (Controller number 93)
Status 2nd byte BnH 5DH n = MIDI channel number: vv = Chorus Send Level: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
Attack time (Controller number 73)
Status 2nd byte 3rd byte BnH 49H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63), * The Attack Time parameter (PATCH TONE) will change.
In Pattern(Performance) mode, the Part Chorus Send Level parameter (PATTERN/ PERFORM PART) will change.
RPN MSB/LSB (Controller number 100, 101)
Status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm = upper byte (MSB) of parameter number specified by RPN ll = lower byte (LSB) of parameter number specified by RPN <<< RPN >>> Control Changes include RPN (Registered Parameter Numbers), which are extended. When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. In order not to make any mistakes, transmitting RPN Null is recommended after setting parameters you need. This device receives the following RPNs. RPN MSB, LSB 00H, 00H Data entry MSB, LSB mmH, llH

Cutoff (Controller number 74)
Status 2nd byte BnH 4AH n = MIDI channel number: vv = Cutoff value (relative change): * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (-64 - 0 - +63)
The Cutoff Frequency parameter (PATCH TONE) will change.
Decay Time (Controller number 75)
Status 2nd byte 3rd byte BnH 4BH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Decay Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * The Decay Time parameter (PATCH TONE) will change.
Vibrato Rate (Controller number 76)
Status 2nd byte 3rd byte BnH 4CH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Rate value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * The LFO Rate parameter (PATCH TONE) will change. * *
Notes Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H) Up to 2 octave can be specified in semitone steps. The Pitch Bend Range parameter (PATCH TONE) will change. Channel Fine Tuning mm, ll: 20 00H - 40 00H - 60 00H (-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent) The Fine Tune parameter (PATCH TONE) will change. Channel Coarse Tuning mm: 10H - 40H - 70H (-48 - 0 - +48 semitones) ll: ignored (processed as 00H) The Coarse Tune parameter (PATCH TONE) will change. mmH, llH Modularion Depth Range mm: 00 00H - 06 00H (0 - 16384 x 600 / 16384 cent) mmH, llH mmH, llH

00H, 01H

Vibrato Depth (Controller number 77)
Status 2nd byte 3rd byte BnH 4DH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Depth Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * The LFO Depth parameter (PATCH TONE) will change. 00H, 02H

00H, 05H

Vibrato Delay (Controller number 78)
Status 2nd byte 3rd byte BnH 4EH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Delay value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * The LFO Delay parameter (PATCH TONE) will change.
Not received in Patch mode. ---, --RPN null RPN and NRPN will be set as unspecified. Once this setting has been made, subsequent Parameter values that were previously set will not change. mm, ll: ignored

7FH, 7FH

Portamento control (Controller number 84)

GM1 System On

Status F0H Byte F0H 7EH 7FH 09H 01H F7H * Data byte 7EH, 7FH, 09H, 01H Status F7H
OMNI OFF (Controller number 124)
Status 2nd byte BnH 7CH n = MIDI channel number: * 3rd byte 00H 0H - FH (ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
OMNI ON (Controller number 125)
Status 2nd byte BnH 7DH n = MIDI channel number: * 3rd byte 00H 0H - FH (ch.1 - 16)
Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI 1 On) EOX (End Of Exclusive)
When this messages is received, this instrument will turn to the Pattern(Performance) mode.
The same processing will be carried out as when All Notes Off is received. OMNI ON will not be turned on.

GM2 System On

Status F0H Byte F0H 7EH 7FH 09H 03H F7H * Data byte 7EH 7FH 09H 03H Status F7H
MONO (Controller number 126)
Status 2nd byte BnH 7EH n = MIDI channel number: mm = mono number: * * 3rd byte mmH 0H - FH (ch.1 - 16) 00H - 10H (0 - 16)
Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI 2 On) EOX (End Of Exclusive)

GM System Off

Status F0H Byte F0H 7EH 7FH 09H 02H F7H * Data byte 7EH, 7F, 09H, 02H Status F7H

Global Parameter Control

* Not received in Patch mode.
Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI Off) EOX (End Of Exclusive)

Reverb Parameters

Status F0H Data byte 7FH, 7FH, 04H, 05H, 01H, 01H, 01H, 01H, 01H, ppH, vvH Status F7H
When this messages is received, this instrument will return to the Pattern(Performance) mode.
Universal Realtime System Exclusive Messages

Master Volume

Status F0H Byte F0H 7FH 7FH 04H 01H llH mmH F7H * * Data byte 7FH, 7FH, 04H, 01H, llH, mmH Status F7H
Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Volume) Master Volume lower byte Master Volume upper byte EOX (End Of Exclusive)
Byte F0H 7FH 7FH 04H 05H 01H 01H 01H 01H 01H ppH vvH
The lower byte (llH) of Master Volume will be handled as 00H. The Master Level parameter (SYSTEM GENERAL) will change.
Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Global Parameter Control) Slot path length Parameter ID width Value width Slot path MSB Slot path LSB (Effect 0101: Reverb) Parameter to be controlled. Value for the parameter. pp=0 Reverb Type vv = 00H Small Room vv = 01H Medium Room vv = 02H Large Room vv = 03H Medium Hall vv = 04H Large Hall vv = 08H Plate pp=1 Reverb Time vv = 00H - 7FH 0 - 127 EOX (End Of Exclusive)

: F7 *

This parameter affects drum instruments only.

Controller

Status F0H Byte F0H 7FH 7FH 09H 03H 0nH ccH ppH rrH Data byte 7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Controller Destination Setting) Sub ID#2 (Control Change) MIDI Channel (00 - 0F) Controller number (01 - 1F, 40 - 5F) Controlled parameter Controlled range pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100% EOX (End Of Exclusive) Status F7H

Data Transmission

This instrument can use exclusive messages to exchange many varieties of internal settings with other devices. The model ID of the exclusive messages used by this instrument is 00H 64H.

Data Request 1 RQ1 (11H)

This message requests the other device to transmit data. The address and size indicate the type and amount of data that is requested. When a Data Request message is received, if the device is in a state in which it is able to transmit data, and if the address and size are appropriate, the requested data is transmitted as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted. Status F0H data byte 41H, dev, 00H, 64H, 11H, aaH, bbH, ccH, ddH, ssH, ttH, uuH, vvH, sum Remarks Exclusive status ID number (Roland) device ID (dev: 10H - 1FH, 7FH) model ID #1 (RS-70/RS-50) model ID #2 (RS-70/RS-50) command ID (RQ1) address MSB address address address LSB size MSB size size size LSB checksum EOX (End Of Exclusive) status F7H
Scale/Octave Tuning Adjust
Status F0H Byte F0H 7EH 7FH 08H 08H ffH Data byte 7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH. Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (MIDI Tuning Standard) Sub ID#2 (scale/octave tuning 1-byte form) Channel/Option byte 1 bits 0 to 1 = channel 15 to 16 bit 2 to 6 = Undefined Channel byte 2 bits 0 to 6 = channel 8 to 14 Channel byte 3 bits 0 to 6 = channel 1 to byte tuning offset of 12 semitones from C to B 00H = -64 [cents] 40H = 0 [cents] (equal temperament) 7FH = +63 [cents] EOX (End Of Exclusive) Status F7
Byte F0H 41H dev 00H 64H 11H aaH bbH ccH ddH ssH ttH uuH vvH sum F7H *
The size of data that can be transmitted at one time is fixed for each type of data. And data requests must be made with a fixed starting address and size. Refer to the address and size given in Parameter Address Map (p. 10). For the checksum, refer to p. 26. Not received when the Receive Exclusive parameter (SYSTEM MIDI) is OFF.

ggH hhH ssH

Data set 1

Status F0H

DT1 (12H)
Data byte 41H, dev, 00H, 64H, 12H, aaH, bbH, ccH, ddH, eeH,. ffH, sum Status F7H
Status 2nd byte BnH 00H BnH 20H n = MIDI channel number: mm, ll = Bank number: * 3rd byte mmH llH 0H - FH (ch.1 - 16) 00 00H - 7F 7FH (bank.1 - bank.16384)
Byte F0H 41H dev 00H 64H 12H aaH bbH ccH ddH eeH : ffH sum F7H *
Explanation Exclusive status ID number (Roland) Device ID (dev: 00H - 1FH, 7FH) Model ID #1 (RS-70/RS-50) Model ID #2 (RS-70/RS-50) Command ID (DT1) Address MSB: upper byte of the starting address of the data to be sent Address: upper middle byte of the starting address of the data to be sent Address: lower middle byte of the starting address of the data to be sent Address LSB: lower byte of the starting address of the data to be sent. Data: the actual data to be sent. Multiple bytes of data are transmitted in order starting from the address. : Data Checksum EOX (End Of Exclusive)
These messages are transmitted when Patch, Rhythm Set or Pattern(Performance) is selected. But not transmitted when Transmit Program Change or Transmit Bank Select parameter (SYSTEM MIDI) is OFF.
Status 2nd byte BnH 01H n = MIDI channel number: vv = Modulation depth: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to MODULATION.
The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in Parameter Address Map (p. 10). Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms. Regarding the checksum, please refer to p. 26. Not received when the Receive Exclusive parameter (SYSTEM MIDI) is OFF. Data byte 41H, dev, 42H, 12H, aaH, bbH, ccH, ddH,. eeH, sum Status F7H
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to PORTA TIME.
Byte F0H 41H dev 42H 12H aaH bbH ccH ddH : : eeH sum F7H *
Explanation Exclusive status ID number (Roland) Device ID (dev: 10H - 1FH, 7FH) Model ID (GS) Command ID (DT1) Address MSB: upper byte of the starting address of the transmitted data Address: middle byte of the starting address of the transmitted data Address LSB: lower byte of the starting address of the transmitted data Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting from the address. Data Checksum EOX (End Of Exclusive)
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to VOLUME.
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to BALANCE.
The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in Parameter Address Map (p. 10). Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms. Regarding the checksum, please refer to p. 26. Not received when the Receive Exclusive parameter (SYSTEM MIDI) is OFF.

Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to PAN.
Status 2nd byte BnH 0BH n = MIDI channel number: vv = Expression: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127)
2. Data Transmission (Sound Source Section)
Status 2nd byte 8nH kkH n = MIDI channel number: kk = note number: vv = note off velocity: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 00H - 7FH (0 - 127)
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to EXPRESSION.
Status 2nd byte BnH 0CH n = MIDI channel number: vv = Control value (relative change): * 3rd byte vvH 0H - FH (ch.1 - 16) 0H - 40H - 7FH (-64 - 0 - +63)
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to MFX PARAMETER1.
Status 2nd byte BnH 0DH n = MIDI channel number: vv = Control value (relative change): * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (-64 - 0 - +63)
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to MFX PARAMETER2.
Status 2nd byte 3rd byte BnH 4DH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Depth Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to LFO DEPTH.
Status 2nd byte 3rd byte BnH 4EH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Delay value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to LFO DELAY.
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to PORTAMENTO.
Status 2nd byte BnH 42H n = MIDI channel number: vv = Control value: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to SOSTENUTO.
Status 2nd byte BnH 43H n = MIDI channel number: vv = Control value: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to REV SEND LEVEL.
Sent when the Modulation/Pedal/C1-C3 Assign parameter (SYSTEM CONTROLLER) is set to SOFT.
Status 2nd byte BnH 47H n = MIDI channel number: vv= Resonance value (relative change): * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (-64 - 0 - +63)

Polyphonic Key Pressure

Status 2nd byte AnH kkH n = MIDI channel number: kk = note number: vv = Polyphonic Key Pressure: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 00H - 7FH (0 - 127)
Identity Reply Message (RS-50)
Receiving Identity Request Message, the RS-50 send this message. Status F0H Data byte 7EH, dev, 06H, 02H, 41H, 64H, 01H, 01H, 00H, 00H, 01H, 00H, 00H Status F7H
Status 2nd byte BnH kkH n = MIDI channel number: kk = control number: vv = value: * 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 78H (0 - 120) 00H - 7FH (0 - 127)
Byte F0H 7EH dev 06H 02H 41H 64H 01H 01H 00H 00H 01H 00H 00H F7H
Not received when the Ctrl Change parameter (Rec Select) is OFF.
Not received when the Prog Change parameter (Rec Select) is OFF.

Status F7H

Channel Aftertouch
Data byte 41H, dev, 00H, 64H, 12H, aaH, bbH, ccH, ddH, eeH,. ffH, sum
Not received when the Ch After parameter (Rec Select) is OFF.
Status 2nd byte EnH llH n = MIDI channel number: mm, ll = Pitch Bend value: * 3rd byte mmH 0H - FH (ch.1 - 16) 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Not received when the Pitch Bend parameter (Rec Select) is OFF.
Status 2nd byte 3rd byte BnH 78H 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in Parameter Address Map (p. 10). Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
Status 2nd byte 3rd byte BnH 79H 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
Status 2nd byte 3rd byte BnH 7CH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * The same processing will be carried out as when All Notes Off is received.
Status 2nd byte 3rd byte BnH 7DH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * The same processing will be carried out as when All Notes Off is received.

Start

Status FAH * * Received when the Clock Source parameter (SYSTEM GENERAL) is MIDI. In Song Mode, playback will start from top of current step.
Status 2nd byte BnH 7EH n = MIDI channel number: mm = mono number: * 3rd byte mmH 0H - FH (ch.1 - 16) 00H - 10H (0 - 16)

Continue

Status FBH * Received when the Clock Source parameter (SYSTEM GENERAL) is MIDI.
Status FCH * Received when the Clock Source parameter (SYSTEM GENERAL) is MIDI.
Status 2nd byte BnH 7FH n = MIDI channel number: * 3rd byte 00H 0H - FH (ch.1 - 16)
4. Data Transmission (Sequencer Section)

Type 43: SLICER MFX Parameter 1 TimingPtn 2 AccentPtn 3 AccentLvl 4 Attack 5 Rate 6 Reset 7 Level
Value 0 - - - - - 222 0-- 127
Display 1 - - - - 127 0.05 - 10.00 [Hz] MUSICAL-NOTES OFF, ON 0 - 127
Type 39: CHORUS/DELAY MFX Parameter 1 Chorus Pre Delay 2 Chorus Rate 3 Chorus Depth 4 Chorus Balance 5 Delay Time 6 Delay Feedback 7 Delay HF Damp
Type 44: TREMOLO MFX Parameter 1 ModWave 2 Rate 3 Depth 4 Reset 5 Low Gain 6 High Gain 7 Level
Value 0-- - 127 0-- - - 127
Display TRI, SQR, SIN, SAW1, SAW2 0.05 - 10.00 [Hz] MUSICAL-NOTES 0 - 127 OFF, ON -15 - +15 [dB] -15 - +15 [dB] 0 - 127
Type 45: AUTOPAN MFX Parameter 1 ModWave 2 Rate 3 Depth 4 Reset 5 Low Gain 6 High Gain 7 Level
Type 40: FLANGER/DELAY MFX Parameter 1 FLNG Pre Delay 2 FLNG Rate 3 FLNG Depth 4 FLNG Feedback 5 FLNG Balance 6 Delay Time 7 Delay Feedback 8 Delay HF Damp
Type 46: TUMBLING DELAY MFX Parameter 1 Type 4 Pre Delay Delay Time HF Damp

Feedback Balance Level

0 - - - 127
Display TYPE1, TYPE2, TYPE3, TYPE4, TYPE5, TYPE- 500 [ms] 0 - 345 [ms] 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz] -98 - +98 [%] D100:0W - D0:100W 0 - 127
Type 47: FEEDBACK RIPPER MFX Parameter 1 ModWave 2 Rate 3 Depth 4 Delay Left 5 Delay Right 6 Delay Feedback 7 Reset 8 Level
Value 0-- - - - - 98 0-- 127
Display TRI, SQR, SIN, SAW1, SAW2 0.05 - 10.00 [Hz] MUSICAL-NOTES 0 - - 420 [ms] MUSICAL-NOTES 0 - 420 [ms] MUSICAL-NOTES -98 - +98 [%] OFF, ON 0 - 127
6. Supplementary material
Decimal and Hexadecimal Table
(An H is appended to the end of numbers in hexadecimal notation.) In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits. The following table shows how these correspond to decimal numbers. ++++++++++++ | D | H || D | H || D | H || D | H | ++++++++++++ | 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H | | 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | | 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | | 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H | | 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H | | 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | | 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H | | 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | | 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H | | 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | | 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | | 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | | 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | | 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | | 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | | 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | | 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | | 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | | 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H | | 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | | 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | | 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | | 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | | 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | | 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | | 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H | | 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | | 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | | 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | | 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | | 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | | 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | ++++++++++++ D: decimal H: hexadecimal * * Decimal values such as MIDI channel, bank select, and program change are listed as one greater than the values given in the above table. A 7-bit byte can express data in the range of 128 steps. For data where greater precision is required, we must use two or more bytes. For example, two hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb. In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so that the decimal expression would be 64 less than the value given in the above chart. In the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x 128. Data marked Use nibbled data is expressed in hexadecimal in 4-bit units. A value expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.

Examples of Actual MIDI Messages
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.

<Example2> CE 49

CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and 49H = 73, this is a Program Change message with MIDI CH = 15, program number 74.
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is 28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072 If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to change -200 cents, so in this case -200 x (-3072) (-8192) = -75 cents of Pitch Bend is being applied to MIDI channel 11.
<Example4> B0C 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called running status which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning. B00 MIDI ch.4, lower byte of RPN parameter number: 00H (B3) (MIDI ch.4) upper byte of RPN parameter number: 00H (B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH (B3) (MIDI ch.4) lower byte of parameter value: 00H (B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH (B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH In other words, the above messages specify a value of 0C 00H for RPN parameter number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH. RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12 semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.) Once the parameter number has been specified for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end. It is not desirable for Pattern(Performance) data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound generator will then misinterpret the data. Take care to give each event its own status. It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the same (or consecutive) clock may be transmitted in an order different than the order in which they were received. For this reason it is a good idea to slightly skew the time of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480). * TPQN: Ticks Per Quarter Note

ASCII Code Table

Patch Name and Pattern(Performance) Name, etc., of MIDI data are described the ASCII code in the table below. ++++++++++++ | D | H | Char || D | H | Char || D | H | Char | ++++++++++++ | 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` | | 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a | | 34 | 22H | || 66 | 42H | B || 98 | 62H | b | | 35 | 23H | # || 67 | 43H | C || 99 | 63H | c | | 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d | | 37 | 25H | % || 69 | 45H | E || 101 | 65H | e | | 38 | 26H | & || 70 | 46H | F || 102 | 66H | f | | 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g | | 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h | | 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i | | 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j | | 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k | | 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l | | 45 | 2DH | || 77 | 4DH | M || 109 | 6DH | m | | 46 | 2EH |. || 78 | 4EH | N || 110 | 6EH | n | | 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o | | 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p | | 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q | | 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r | | 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s | | 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t | | 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u | | 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v | | 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w | | 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x | | 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y | | 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z | | 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { | | 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | | | 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } | | 62 | 3EH | > || 94 | 5EH | ^ ||+++ | 63 | 3FH | ? || 95 | 5FH | _ | ++++++++ D: decimal H: hexadecimal * SP is space.
(1) Exclusive Status (2) ID (Roland) (3) Device ID (17) (4) Model ID (RS-70/RS-50) (5) Command ID (DT1) (6) End of Exclusive Then calculate the checksum. 10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 6 = 26 (sum) 26 (sum) 128 = 0 (quotient). 26 (remainder) checksum = 128 - 26 (remainder) = 102 = 66H This means that FF7 is the message should be sent.
The Scale Tune Feature (address: 40 1x 40)
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the fine adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can obtain a complete variety of tuning methods other than equal temperament. As examples, three possible types of scale setting are explained below.

Equal Temperament

This method of tuning divides the octave into 12 equal parts. It is currently the most widely used form of tuning, especially in occidental music. On the RS-70/RS-50, the default settings for the Scale Tune feature produce equal temperament.

Just Temperament (Tonic of C)
The principal triads resound much more beautifully than with equal temperament, but this benefit can only be obtained in one key. If transposed, the chords tend to become ambiguous. The example given involves settings for a key in which C is the keynote.

Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for ethnic music. For example, the settings introduced below will set the unit to use the Arabian Scale.