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The XV-88 is an expandable, performance-oriented synthesizer using Rolands newest synthesizer engine. Features include: 88-note precision hammer-action keyboard with aftertouch Realtime control via 4 sliders and light sensing Dbeam* controller Accepts two SR-JV80-Series and two SRXSeries wave expansion boards Advanced arpeggiator functions 128-Voice polyphony / 16-Part multitimbral

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The XV-88 comes packed with over 1100 patches, and can be expanded to over 1700 patches using the optional expansion boards. The Patch Finder makes it easy to find the sounds you need by grouping them into 38 categories (Piano, Brass, Synth Bass, etc.). Use the following procedure to select patches using the Patch Finder: 1. Press PATCH, then press PATCH FINDER. 2. CURSOR UP and DOWN to select a category. 3. Use the VALUE dial to select a Patch in the currently selected category. 4. Play the keyboard, or press PHRASE PREVIEW to hear a short phrase with the selected sound. 5. Press PATCH FINDER so it is not lit to exit.

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Use the following procedure to initialize the XV-88 and restore the factory settings: 1. 2. 3. 4. 5. Press UTILITY CURSOR DOWN to Utility Menu number two. CURSOR RIGHT three times to select FACTORY RESET. Press ENTER twice. If Internal Write Protect is set to ON, use the VALUE dial to select OFF. 6. Press ENTER three times.
Note: You will notice that the sequence used by Phrase Preview is different for each sound category

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You can quickly modify any sound you are playing using the Sound Palette and D-Beam of the XV-88. Use the following procedure: 1. Select a Patch (as previously described). 2. Press FILTER/ENV so it is lit, and move the Palette Sliders while you play the XV-88's keyboard to vary the sound. 3. Press the D-Beam On/Off switch so it is lit, and move your hand above the D Beam lens while playing the keyboard. Try out the following patches: USER: 012 Square Roots USER: 059 Talking Box USER: 084 Solo SoprSax USER: 093 BOG USER: 121 5th Atm/Aft USER: 124 Tape Strings

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Use the following procedure to play the built in demo songs: 1. Press PHRASE PREVIEW while holding SHIFT. 2. Use the VALUE dial to select a song.
Note: There are two demo songs La Movida, and Epic Passage. You can also select Chain Play, which will cycle through both songs.
3. Press ENTER to begin playback. 4. Press EXIT to end playback 5. Press EXIT to leave the demo song mode.
Note: You can set up the Palette Sliders and D-Beam to control other parameters in the XV-88 and in external MIDI devices. See page 66 in the XV-88 Quick Start for more information on using the Palette Sliders and pages 63 & 64 in the XV-88 Quick Start for more information on using the D-Beam.
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The Arpeggiator can add a dynamic element to live playing. Use the following procedure to activate and use the Arpeggiator: 1. Press ARPEGGIO so it is lit. 2. Hold down several keys on the keyboard. 3. While holding ARPEGGIO, CURSOR to Style, and use the VALUE dial to select other Arpeggiation types.

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Performances can be used to create layers, splits, or other complex combinations of up to 16 patches and rhythm sets, as well as for setting up the XV-88 for sequencing. Use the following procedure to select a Performance: 1. Press PERFORM. 2. Use the VALUE dial to select the desired performance. Try out the following Performances: USER: 01 Andreas Cave (Layered Patches) USER: 02 XV Piano&Bs (2-way split) USER: 11 Humanizer (Cool effects) USER: 17 SuiteCombo+ (4-way split) The above Performances are set up for live performance applications. If you are connecting the XV-88 to a sequencer, check out the these Performances: PR-A: 04 SEQ: Fusion PR-A: 03 SEQ: FunkRock PR-A: 17 SEQ: World

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The Favorite List allows you to keep the Patches and Rhythm sets you like in one place for immediate access. Use the following procedure to store and retrieve Patches and Rhythm sets from the Favorites list: 1. Select the Patch or Rhythm Kit you would like to store. 2. Press ENTER while holding SHIFT to store your sound. 3. Press PATCH FINDER while holding SHIFT to access the Favorite List. 4. Use the VALUE dial to select the desired Patch or Rhythm Set. 5. To remove the selected Patch or Rhythm Set from the favorite list, hold SHIFT and press UNDO/COMPARE. 6. Press EXIT to leave the Favorite List.

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All of the settings in internal memory can be saved as a single file onto a SMART MEDIA card. Use the following procedure to format and save to a SMART MEDIA card (if you card is already formatted, skip steps 4-7): 1. 2. 3. 4. 5. 6. Insert the Smart Media card into the XV-88. Press UTILITY. CURSOR DOWN to access utility menu two. CURSOR to CARD and press ENTER. CURSOR to FORMAT and press ENTER. Press ENTER twice to format.
Note: These Performances (and the entire Preset A bank) are optimized for sequencing. They have all 16 MIDI channels turned on and patches assigned to them. For more information on using Performance mode, see pages 35-60 in the XV-88 Quick Start. When sequencing, you may also need to make settings to the Local On/Off parameter in the XV-88 see pages 169-170 in the XV-88 Owners Manual for information on this setting.

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General MIDI mode is very useful when playing back Standard MIDI Files through the XV-88. Use the following procedure to enter and use General MIDI mode: 1. Press PERFORM while holding SHIFT. 2. Use the LEFT AND RIGHT CURSOR keys to select Part 1-16 (displayed in the upper right corner of the display). These parts correspond to MIDI channels 1-16. 3. Use the VALUE dial to choose a Patch on the selected part. 4. Press PATCH or PERFORM to exit GM mode.
Note: This will erase all of the data on the card.
7. Press EXIT twice. 8. CURSOR to SAVE and press ENTER. 9. Use the CURSOR buttons and the VALUE dial to name the file, then press ENTER.

General MIDI 2

The upwardly compatible General MIDI 2 ( ) recommendations pick up where the original General MIDI left off, offering enhanced expressive capabilities, and even greater compatibility. Issues that were not covered by the original General MIDI recommendations, such as how sounds are to be edited, and how effects should be handled, have now been precisely defined. Moreover, the available sounds have been expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that carry either the General MIDI or General MIDI 2 logo. In some cases, the conventional form of General MIDI, which does not include the new enhancements, is referred to as General MIDI 1 as a way of distinguishing it from General MIDI 2.
88-Key Piano Keyboard Features Hammer Action with Aftertouch
The XV-88 is equipped with a full 88-key piano keyboard utilizing a hammer action system for rich expressiveness, with aftertouch provided as well. The XV-88 gives you both the pure, unspoiled expression you get with a piano, and the dynamic play of a synthesizer, all in a single instrument.
Sophisticated User Interface
The XV-88 also features the Roland XP-30s popular Patch Search function and Phrase Preview function. The Patch Finder function (p. 30) lets you rapidly find the patch you want simply by specifying a patch category. By pressing [PHRASE PREVIEW], you can then hear the selected patch play a phrase suitable for that type of patch (Phrase Preview, p. 32).

Front and Rear Panel

Front Panel

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1 D BEAM CONTROLLER Section
You can apply a variety of effects to sounds simply by moving your hand. (p. 45)

4 KEY EFFECTS Section

The buttons in this section allow you to assign various functions to the keys of the XV-88s keyboard.
Switches the D Beam controller on/off.

[PORTAMENTO]

Switches Portamento on/off. (p. 33)

Volume Slider

Adjusts the overall volume that is output from the rear panel OUTPUT jacks and PHONES jack. (Quick Start; p. 18)

Making Settings While Comparing Zones (Palette Edit)
When modifying Zone settings for a Performance, the values for eight Zones (Zone 18 or Zone 916) will be displayed together on a single display. This is called the Palette page. This is useful when you wish to change parameter values while comparing each Zone settings. 1. When editing parameters that can be set individually in each Zone, press or to move the cursor to the parameter to be edited. 2. Press [PALETTE EDIT] to call up the Palette page.

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Functions of Zone Parameters
This section explains the functions the different Zone parameters have, as well as the composition of these parameters.
Settings Common to the Entire Zone (COMMON)

ZONE COMMON

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Key Mode

3. Press or to choose the Zone to modify. The Key Mode determines how the XV-88 will sound when its keyboard is played. LAYER: When the keys are pressed, all Zones whose Local switches (Local parameter) are set to ON and the sounds for the linked (where the MIDI channels coincide) Parts are played. Transmission of MIDI messages from the keyboard controller section to external MIDI devices will be determined by the Transmit switch (Tx parameter) setting of each Zone.

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When the Zone number is displayed, and that Zones Local Switch is set to ON, you can check which Parts are linked. Parts 116 are shown in order from left to right, and Parts for which the Zones MIDI transmit channel and the Parts MIDI receive channel are matched are indicated by a o for the Part.
To switch between the palette page for Zones 18 and the palette page for Zones 916, press [1-8/9-16]. 4. Use the VALUE dial, [INC/+]/[DEC/-], or the numeric keys to change the parameter value.
If youve made a mistake in setting the parameter value, press [UNDO/COMPARE] to restore the value to what it was. 5. If you wish to edit other parameters, press or to select the parameter that you wish to edit. 6. Repeat steps 35 to make the settings for the Zone. 7. To exit the Palette page, press [PALETTE EDIT], thus extinguishing the buttons indicator.

Local Switch

Transmit Switch
SINGLE: When the keys are pressed, the single specified Part (current Part) are played. Zone settings are ignored. Transmission of MIDI messages from the keyboard controller section to external MIDI devices will be determined by the Receive switch (Rx Sw parameter) setting for the current Part

Chapter 7

Applying Effects in Patch Mode or Rhythm Set Mode
Only one Multi-effect, Chorus, or Reverb effect can be set for each Patch or Rhythm Set. You cannot apply differing types of Multi-effects, Chorus, or Reverb to each of the Tones or Rhythm Tones comprising the Patch or Rhythm Set.
6. Making Chorus Settings
Select the Chorus type to be used, and set each of the parameters for the selected Chorus. (p. 156, p. 157)
7. Setting the Output Destination and Volume for the Sounds Passing Through the Chorus
Select the output jack and set the output level (volume) of the sounds passing through the Chorus. You can also apply Reverb to the sound that passes through Chorus. (p. 158)
Basic Process of Making Effects Settings
When applying effects in Patch/Rhythm Set mode, the following procedure is used to make the settings.
8. Making Reverb Settings
Select the Reverb type to be used, and set each of the parameters for the selected Reverb. (p. 159)
1. Setting the Output Method of the Direct Sound (Output Assign)
Settings determining whether or not the signal passes through the Multi-effects, the jack used to output the sound, and the type of output (stereo or mono) are made for each individual Patch or Rhythm Set, or each Tone or Rhythm Tone. (p. 108, p. 109)
9. Setting the Output Destination and Volume for the Sounds Passing Through the Reverb
Select the output jack and set the output level (volume) of the sounds passing through the Reverb. (p. 160)
2. Setting the Amount of Each Effect Applied (Send Level)
Set the level (volume) of each effect signal to be sent for each Tone or Rhythm Tone. (p. 110)
3. Making Multi-Effects Settings
Select the type of Multi-effects to be used, and set the parameters for the selected Multi-effect. (p. 114, p. 115)
4. Setting the Multi-Effects Controller
When using MIDI messages to change the Multi-effects parameters in realtime, select the Multi-effects controller. (p. 115)
5. Setting the Output Destination and Volume for the Sounds Passing Through the MultiEffects
Select the output jack and set the output level (volume) of the sounds passing through the Multi-effects. You can also apply Chorus or Reverb to the sound that passes through Multieffects. (p. 116)

Audio Signal Flow

The audio path of direct sounds or sounds that have been passed through the effects in Patch/Rhythm Set mode is shown in the figure below.

Speaker Simulator is an effect that simulates the speaker type and mic settings used to record the speaker sound.

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Speaker

Speaker Type

Select the type of speaker. The specifications of each type are as follows. The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type SMALL 1 SMALL 2 MIDDLE JC-120 BUILT IN 1 BUILT IN 2 BUILT IN 3 BUILT IN 4 BUILT IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 2-STACK 3-STACK Cabinet Speaker Microphone dynamic mic dynamic mic dynamic mic dynamic mic dynamic mic condenser mic condenser mic condenser mic condenser mic condenser mic condenser mic condenser mic condenser mic condenser mic condenser mic condenser mic small open-back enclosure 10 small open-back enclosure 10 open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure 12 x x x x x x x x x x x x x x 4
Radio Detune (Radio Detune#/Radio Noise Level)
Simulates the tuning noise of a radio. As this value is raised, the tuning will drift further. And adjust the volume of the radio noise.
Disc:LPF:Lev (Disc Noise Type:Disc Noise LPF:Disc Noise Level)
Disc: Selects the type of record noise. The frequency at which the noise is heard will depend on the selected type. LPF: Adjust the cutoff frequency of the low pass filter that is applied to the record noise. Level: Adjust the volume of the record noise.
METAL STACK large double stack

Mic Set (Mic Setting)

Adjust the location of the mic that is recording the sound of the speaker. This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.
Mic:Dir (Mic Level:Direct Level) #
Mic: Adjust the volume of the microphone. Dir: Adjust the volume of the direct sound.

54: DISTORTION 2

This is a distortion effect that provides heavy distortion.

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53: OVERDRIVE 2
This is an overdrive that provides heavy distortion.

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L in Distortion R in L out Amp Simulator 2-Band EQ
L in Overdrive R in Amp Simulator 2-Band EQ
Adjust the amount of distortion. The volume will change together with the degree of distortion.
Adjust the high frequency gain (amount of boost or cut). Chapter 7 Positive (+) settings will emphasize (boost) the high frequency range.
Amp Type (Amp Simulator Switch/Type)

Device ID (Device ID Number)
When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number of the other MIDI device.
Aft (Aftertouch Sensitivity)
Specifies the Aftertouch sensitivity. Higher values will allow Aftertouch to be applied more easily. Normally you should leave this set to 100.
Rx Sys.Excl (Receive System Exclusive Switch)
Specifies whether System Exclusive messages will be received (ON) or not (OFF).

HOLD PEDAL

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OCT UP: Each pedal press raises the key range in octave steps (up to 3 octaves higher). OCT DOWN: Each pedal press lowers the key range in octave steps (up to 3 octaves lower).
Sets the function of the pedal connected to the HOLD PEDAL jack.
START/STOP: Starts/Stops the external sequencer. TAP TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal). PROG UP: Every press of the pedal selects the next Performance number, Patch number, or Rhythm Set number. PROG DOWN: Every press of the pedal selects the previous Performance number, Patch number, or Rhythm Set number.
Continuous (Continuous Switch)
This setting determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). When this is set to support use of half-pedaling techniques, you can then connect an optional expression pedal (EV-5, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used.
Output (Pedal 1, 2 Output)
Selects the sound generator(s) (the internal sound generator and/or external sound generators connected to MIDI OUT connector) which will be controlled by the pedals. OFF: Neither will be controlled. INT: Only the internal sound generator will be controlled. MIDI: Only external sound generators will be controlled. BOTH: Both the internal sound generator and external sound generators will be controlled.

Output (Pedal Output)

Selects the sound generator(s) (the internal sound generator and/or external sound generators connected to MIDI OUT connector) to be controlled by the pedal. OFF: Neither will be controlled. INT: Only the internal sound generator will be controlled. MIDI: Only external sound generators will be controlled. BOTH: Both the internal sound generator and external sound generators will be controlled.

3. To change the GM Patch or GM Rhythm Set assigned to the Part, perform the same procedure as you do when you select a Patch or Rhythm Set.
General MIDI/General MIDI 2 System On messages are normally placed at the beginning of a GM score. This means that if a GM score is played back from the middle of the song, the XV-88 will not switch to GM mode, and playback may not be correct. So to be safe, its recommended to manually set the XV-88 to GM mode before playing back a GM score.
Initializing the Sound Generator for General MIDI System Basic Settings
To play back a GM score correctly, the sound generator must first be initialized to basic General MIDI system settings. The XV-88s sound generator is initialized in the General MIDI settings. When Switching to GM Mode When it receives a General MIDI/General MIDI 2 System On message from an external MIDI device When the music data being played back on an external MIDI device contains a General MIDI/General MIDI 2 System On message When the XV-88s power is turned on When you execute the GM/GM2 Initialize function (p. 198)
When the XV-88 receives a GS Reset message, the XV-88 is enabled for the GS format (a shared set of specifications proposed by Roland for standardization of multi-timbral sound modules). This permits playback of music data bearing the GS logo (GS music data). However, Rolands Sound Canvas Series (including the SC-8850 and SC-8820 models) feature a different sound module format and expanded tone map, so data created exclusively for the Sound Canvas Series may not play back properly on the XV-88.

Muting a Specific Part

When you switch over to GM mode, all Parts will be set to receive MIDI messages. To turn off a specific Part so that it will not sound, set the Receive Switch to OFF for the Part. 1. Make sure the [EDIT] indicator is extinguished. If it is lit, press [EDIT]. At this time, the function button indicators will indicate the on/off status of each Part. When the [1-8/9-16] indicator is out, the function button indicators will indicate the status of Parts 18. When the [1-8/9-16] indicator is lit, the function button indicators will indicate the status of Parts 916. Lit is on, and dark is off. 2. Press the function button to switch Parts on/off.

If the result is difficult to hear, turn off each effect unit (Multi-effects, Chorus, Reverb) (p. 105).
Using a Pedal Switch to Modify the Speed of the Rotary Effect
The function that allows you use MIDI messages to make these changes in realtime to the Multi-effects parameters is called the Multi-effects Controller (p. 115). Here, using an effects controller, try using a pedal switch to switch the speed of the rotary effect. 1. Connect an optional pedal switch (DP-2, DP-6, etc.) to the CTL 1 PEDAL jack. 2. Select the Patch PR-A: 054 Rocker Spin on the PATCH PLAY page. This Patch uses ROTARY as the Multi-effects type. 3. Set the Assign parameter (SYSTEM/CONTROL/ CONTROL PEDAL 1) to CC04:FOOT TYPE (p. 172). 4. Call up the PATCH MFX CTRL page (PATCH/ EFFECTS), then set the parameters as follows (p. 115). Source: FOOT TYPE Destination: SPEED Sens: +63 5. Press the pedal switch while you play the keyboard. This will speed up the rotary effect. Releasing the pedal switch will slow down the rotary effect.
Using the Slider to Change the Pan in Realtime
You can assign the C1C4 sliders to a variety of the functions to change sounds in realtime. In this example, the pan (stereo location) will change by moving the C1 slider up or down.
At the factory default settings, the C1 through C4 sliders are assigned to the functions described below. C1 slider: AFTERTOUCH C3 slider: PORTA TIME (Portamento time) C4 slider: MODULATION 1. Select a Patch on the PATCH PLAY page. 2. Press [CONTROLLER], getting the indicator to light. 3. Set the Assign parameter (SYSTEM/CONTROL/C1 ASSIGN) to CC10:PANPOT (p. 172). Chapter 12 C2 slider: BREATH
Changing the Speed of the Rotary Effect to Synchronize It to the LFO Cycle
Instead of using an effects controller, you can use the Matrix Controller (p. 78) to change Multi-effect parameters. Here, try changing the speed of the rotary effect to synchronize it to the LFO cycle. 1. Select the Patch PR-A: 054 Rocker Spin on the PATCH PLAY page. This Patch uses ROTARY as the Multi-effects type. 2. Call up the PATCH MFX CTRL page (PATCH/ EFFECTS), then set the parameters as follows (p. 115). Source: OFF Destination: SPEED Sens: 0 3. Set the Control 1 parameter (PATCH/CONTROL/ MATRIX CTRL SRC) to 105:LFO1 (p. 78). 4. Call up the MATRIX CONTROL1 page (PATCH/ CONTROL), then set the parameters as follows (p. 79). Dest: MFX CTRL1 Sns: +63 Tone: ooo_ (applied to Tone 13) 5. Play the keyboard. The speed of the rotary effect is synchronized to the LFO cycle.

Chapter 12

1. On the PATCH PLAY page, select a Patch that uses a Phrase Loop. 2. Set the Clock Source parameter (PATCH/COMMON/ PATCH TEMPO) to SYSTEM (p. 71). 3. Call up the WAVE page (PATCH/WAVE) (p. 81). 4. Press a TONE SELECT [1][4] button, and choose the Tone that uses Phrase Loops. The Phrase Loop is the Wave indicated by the Wave name along with the tempo (BPM) to the right of the Wave number. 5. Set the Wave Tempo Sync parameter (PATCH/WAVE/ WAVE) to ON (p. 81). 6. Set the Time parameter (PATCH/WAVE/TONE DELAY) to 0 (p. 83).
2. Set the Clock Source parameter (PATCH/COMMON/ PATCH TEMPO) to SYSTEM (p. 71). 3. Set the Time parameter (PATCH/WAVE/TONE DELAY) of Tone 1 to the beat length for the tempo you are synchronizing (p. 83). 4. Set the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) to INT (p. 168).
When the Clock Source parameter is set to MIDI, you can achieve synchronization with the tempo of an external MIDI device. 5. Try playing the keyboard while you change the System Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP) to various values (p. 169). The Tone Delay time will change in accordance to the systems tempo clock.
If you select a value other than 0, a delay will be applied, and you will not be able to play the Patch normally. 7. Set the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) to INT (p. 168).
Using the XV-88 to Play Live
Changing Multiple Sounds of an External MIDI Device Simultaneously
When a different Performance is selected, the sound corresponding to the Bank Select number and Program Change number of the selected Performance will usually be chosen on the external MIDI device. With the XV-88, you can set the Bank Select and Program Change number for each individual Zone so as to match the Tones of the desired external MIDI device. This way, you can switch Tones on multiple external MIDI devices all at once just by switching the Performance. 1. Select the Zone to be used to control the external MIDI device. 2. Set the receive channel on the external MIDI device to match the transmit channel for the Zone to be used. Set the transmit channel of the Zone with the Channel parameter (ZONE/MIDI/MIDI) (p. 59). 3. Set the Tx parameter (ZONE/MIDI/MIDI) of the Zone to be used to ON (p. 59). 4. Call up the EXT P.C page (ZONE/EXT CONTROL) (p. 60). 5. Set the Bank Select MSB/LSB parameter to match the Bank Select of the external MIDI device.

*1: 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500 Hz, BYPASS *2: 50, 64, 80, 100, 125, 160, 200, 250, 320, 1600, 2000, 2500, 3200, 4000 Hz

System Parameters

SETUP Group (p. 168)
Display SYSTEM SETUP Parameter LCD Power Up Mode Master Level Clock Source System Tempo Mix/Parallel Patch Remain LCD contrast Power up mode Master level System clock source System tempo Mix/Parallel Patch remain switch Value 110 LAST-SET, DEFAULT 0127 INT, MIDI 20250 MIX, PARALLEL OFF, ON

MIDI Group (p. 169)

Display PERFORM MIDI Parameter Control Channel Local Remote Rx Ch Tx Ch Local Remote Local Switch Remote Program Change Bank Select Program Bank Sel Active Sensing Rx GM On Rx GM2 On Rx GS Reset Device ID Rx Sys.Excl Tx Edit Performance control channel Local switch Remote keyboard switch Patch/Rhythm set receive channel Patch/Rhythm set transmit channel Local switch Remote keyboard switch Local switch Remote keyboard switch Receive program change switch Receive bank select switch Transmit program change switch Transmit bank select switch Transmit active sensing switch Receive general MIDI system on switch Receive general MIDI 2 system on switch Receive GS reset switch Device ID number Receive system exclusive switch Transmit edit data switch Value 116, OFF OFF, ON OFF, ON 116 116, Rx Ch, OFF OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON 1732 OFF, ON OFF, ON
GM MIDI RECEIVE MIDI TRANSMIT MIDI

CONTROL Group (p. 171)

Display KEYBOARD Parameter Transpose Sens Vel Aft Continuous Output Polarity Assign Output Polarity Assign Output Polarity Assign Output Assign Output Assign Output Assign Output Control 1, 2 Control 3, 4 Transpose switch Transpose value Keyboard sensitivity Keyboard velocity Aftertouch sensitivity Continuous switch Pedal output Pedal polarity Pedal 1 assign Pedal 1 output Pedal 1 polarity Pedal 2 assign Pedal 2 output Pedal 2 polarity C1 slider assign C1 slider output C2 slider assign C2 slider output C3 slider assign C3 slider output C4 slider assign C4 slider output System control assign 1, 2 System control assign 3, 4 Value OFF, ON -5 (G) +6 (F#) LIGHT, MEDIUM, HEAVY, FULL REAL, OFF, ON OFF, INT, MIDI, BOTH STANDARD, REVERSE (*1) OFF, INT, MIDI, BOTH STANDARD, REVERSE (*1) OFF, INT, MIDI, BOTH STANDARD, REVERSE (*2) OFF, INT, MIDI, BOTH (*2) OFF, INT, MIDI, BOTH (*2) OFF, INT, MIDI, BOTH (*2) OFF, INT, MIDI, BOTH (*2) (*2)

|++| | 40 1x 16 | 0aaa aaaa | Pitch Key Shift (40 - 88) | | | | -24 - +24 [semitone] | |# 40 1x 17 | 0000 aaaa | | | | 0000 bbbb | Pitch Offset Fine (8 - 248) | | | | -12.0 - +12.0 [Hz] | | 40 1x 19 | 0aaa aaaa | Part Level (CC# 7) (0 - 127) | | 40 1x 1A | 0aaa aaaa | Velocity Sens Depth (0 - 127) | | | | -64 - +63 | | 40 1x 1B | 0aaa aaaa | Velocity Sens Offset (0 - 127) | | | | -64 - +63 | | 40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10) (0 - 127) | | | | RANDOM, L63 - 63R | | 40 1x 1D | 0aaa aaaa | Keyboard Range Low (0 - 127) | | 40 1x 1E | 0aaa aaaa | Keyboard Range High (0 - 127) | | 40 1x 1F | 0aaa aaaa | CC1 Controller Number (0 - 95) | | 40 1x 20 | 0aaa aaaa | CC2 Controller Number (0 - 95) | | 40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93) (0 - 127) | | 40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93) (0 - 127) | | 40 1x 23 | 0000 000a | Rx. Bank Select (0 - 1) | | | | OFF, ON | | 40 1x 24 | 0000 000a | Rx. Bank Select LSB (0 - 1) | | | | OFF, ON | |++| | 40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate) (0 - 127) | | | | -64 - +63 | | 40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth) (0 - 127) | | | | -64 - +63 | | 40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.) (0 - 127) | | | | -64 - +63 | | 40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance) (0 - 127) | | | | -64 - +63 | | 40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack) (0 - 127) | | | | -64 - +63 | | 40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay) (0 - 127) | | | | -64 - +63 | | 40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release) (0 - 127) | | | | -64 - +63 | | 40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay) (0 - 127) | | | | -64 - +63 | |++| | 40 1x 40 | 0aaa aaaa | Scale Tuning C (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 41 | 0aaa aaaa | Scale Tuning C# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 42 | 0aaa aaaa | Scale Tuning D (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 43 | 0aaa aaaa | Scale Tuning D# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 44 | 0aaa aaaa | Scale Tuning E (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 45 | 0aaa aaaa | Scale Tuning F (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 46 | 0aaa aaaa | Scale Tuning F# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 47 | 0aaa aaaa | Scale Tuning G (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 48 | 0aaa aaaa | Scale Tuning G# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 49 | 0aaa aaaa | Scale Tuning A (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 4A | 0aaa aaaa | Scale Tuning A# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 4B | 0aaa aaaa | Scale Tuning B (0 - 127) | | | | -64 - +63 [cent] | |++| | 40 2x 00 | 0aaa aaaa | Mod Pitch Control (40 - 88) | | | | -24 - +24 [semitone] | | 40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 02 | 0aaa aaaa | Mod Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |++| | 40 2x 10 | 0aaa aaaa | Bend Pitch Control (64 - 88) | | | | 0 - 24 [semitone] | | 40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 12 | 0aaa aaaa | Bend Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |++| | 40 2x 20 | 0aaa aaaa | CAf Pitch Control (40 - 88) | | | | -24 - +24 [semitone] | | 40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 22 | 0aaa aaaa | CAf Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] |

sExamples of Actual MIDI Messages
<Example 1> 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. <Example 2> 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 (Flute in GS). <Example 3> EA 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. <Example 4> 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. B3 (B3) (B3) (B3) (B3) (B3) 06 0C 64 7F 65 7F MIDI ch.4, lower byte of RPN parameter number: (MIDI ch.4) upper byte of RPN parameter number: (MIDI ch.4) upper byte of parameter value: (MIDI ch.4) lower byte of parameter value: (MIDI ch.4) lower byte of RPN parameter number: (MIDI ch.4) upper byte of RPN parameter number: 00H 00H 0CH 00H 7FH 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 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

And the size that have to be got should be; 3F 41H -) 00 00H 3F 41H Therefore the system exclusive message should be sent is; F0 (1) 41 (2) 10 (3) (4) 11 (5) address 3F 41 data ?? checksum F7 (6)
Calculating the checksum as shown in <Example 2>, we get a message of F3F 41 7B F7 to be transmitted.
sThe Scale Tune Feature (address: 40 1x 40)
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the fine adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can obtain a complete variety of tuning methods other than equal temperament. As examples, three possible types of scale setting are explained below.

sASCII Code Table

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

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 XV-88, 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. Example Settings Note name Equal Temperament C C# D Eb E F F# G G# A Bb B 0 0
Just Temperament (Key-tone C) 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12
Arabian Scale -6 +45 -2 -12 -51 -8 +43 -4 +-10 -49
The values in the table are given in cents. Convert these values to hexadecimal, and transmit them as Exclusive data. For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data: F3A 6D 3E 34 0D 38 6B 3C 6F 0F 76 F7
[128-Voice Expandable Synthesizer] Model XV-88

Function.

Date: Feb. 15, 2000 Version: 1.00

Remarks

Memorized
MIDI Implementation Chart

Transmitted Recognized

Basic Channel

Default Changed

*2 **************
Default Messages Altered Mode 3 Mode 3, 4 (M = 1) 0127

**************

Mode 3 Mono, Poly
Note Number : True Voice O O O O O *1 Velocity After Touch Pitch Bend Control Change O Key's Channel's X O Note On Note Off O O

*1 *1 *1 *1 *1

*1 *1 *1

0, 5 6, 71

O O O O O O O O O O O O O O O O O O O O O O
O O O O O O O X O O X X X X O O O O O O X O
Bank select Modulation Breath type Foot type Portamento time Data entry Volume Balance Panpot Expression General purpose controller 1 General purpose controller 2 General purpose controller 3 General purpose controller 4 Hold 1 Portamento Sostenuto Soft Legato foot switch Hold 2 Sound variation Resonance
95 131, 6495 131, 6495 98, 99 100, 101 *4 *4 *4 *4 O : True Number