TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT. POUR VITER LES CHOCS LECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.
For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. * Material damage refers other adverse effects respect to the home furnishings, as well animals or pets. to damage or caused with and all its to domestic
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled. The q symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

WARNING

Before using this unit, make sure to read the instructions below, and the Owner's Manual.... Do not open or perform any internal modifications on the unit.... Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.... Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.... 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.... Protect the unit from strong impact. (Do not drop it!).... Do not force the unit's 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 cord's 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 using the unit in a foreign country, consult with your dealer, or qualified Roland service personnel....

1. 2. 3. 4.

l r Simultaneously press both the PART [l ] [r ] buttons. l r Use the PART [l ] [r ] buttons to select the Part whose settings you wish to modify. u d Press [u ] or [d ] to select the parameter you wish to modify.
While holding [SELECT], you can press [u][d] to jump to the Part EQ, S.Tune C, Mod Range, Bnd Range, CAf Range, CC1Range, and CC1 LFO TVA parameters.

A01 >Part Mode: Norm

l r Use the INSTRUMENT [l ] [r ] buttons to set the value. When you finish making settings, simultaneously press both the PART l r [l ] [r ] buttons to end the procedure.

PAN CHORUS

q What each parameter does
LEVEL (Volume level): 0 127
This parameter adjusts the volume of each Part. Higher values result in a louder sound.
SC-88 MAP(Part SC-88 MAP):On/Off
When the [SC-88 MAP] button is pressed to turn on the indicator, the sound of the currently selected Part will change to be the same as the SC-88. At this time, ' will be displayed in front of that Instrument name.

PAN (Panning): Rnd, LR63

Pan refers to the position in the stereo field. For example, you might place the drum set and bass in the center, the guitar at the right, and the keyboard at the left. To place the sound in the center, set this value to 0. As the L-number increases the sound will move further to the left, and as the R-number increases the sound will move further to the right. With a setting of Rnd (random), each note will be placed at an unpredictable location.
* In the case of a Drum Set, the pan position has been fixed for each percussion instrument. Adjusting the Pan of a Drum Set will shift the overall set to left or right. * For some instruments, some sound may be heard from the opposite speaker even if Pan has been set fully left or right. * If your amp/speaker system is mono, Pan will have no effect.

Part Monitor: On/Off

Part Monitor can be turned on when you want to listen to only one or more Parts that you select. This feature conveniently allows you to listen to only the instruments you want to hear during sequenced playback. To turn it ON, simultaneously press both [ALL] and [MUTE]. The indicator on MUTE will blink on and off while the feature is on.
* While you have the Part Monitor on, you can press EFX PARAM [r] (in the panels bottom row) to listen to some other Part you want to hear. The volume ratio of some other parts is displayed in the MIDI CH column. * With Part Monitor on, you can add extra Parts that you want to monitor by using PART [l] [r] to select Parts, then pressing EFX VALUE [r]. Press EFX VALUE [l] to cancel whatever choices you have made.

VIB RATE

SELECT

ATTACK

KEY SHIFT: -24 0 +24: semitone steps, 2 octaves
This parameter transposes the Part. As the value increases (decreases) the pitch will rise (fall) in steps of a semitone. 12 steps make a difference of 1 octave. With a setting of 0 the pitch will not be affected.

* Even if the Backup Switch if off, the System parameter settings (p.36) will be preserved.
OUTPUT 1 (Include effects) Part Group B For Double Module Mode: The Parts of group A will be output in stereo with the effect sound from the Output 1 jacks, and the Parts of group B similarly from the Output 2 jacks. Part Group A Part Group B OUTPUT 1 (Includes effects) OUTPUT 2 (Includes effects)
IN B Sel. (IN B Select): Front/Rear
This setting determines which of the two MIDI IN B connectors will be used. (p.135)
* After the setting of this switch is changed, the power must be turned on once again for the new setting to take effect.
OUT/THRU (MIDI OUT/THRU Select): OUT/THRU
This setting determines whether the rear panel MIDI OUT/THRU connector will function as OUT or as THRU. (p.136)
In this case only, the Output 2 jacks will output sound that includes the effect sound.
* The headphone jack will output the sound that is sent to Output 1. This means that the sound of the Parts assigned to Output 2 will not be heard in the headphones. * At the factory settings, this parameter is set to Sel.
In Mode (Input modes): Standard, X-connect, Merge A, Merge B, A only
This setting determines how data received at MIDI IN A and B will be passed on to the Part Groups. (p.137)
Assign Lock (Output Assign Lock): On/Off
The setting of OUT Asgn (Output Assign) (p.29) will return to the factory settings when GS Reset or GM System On are received. However if Assign Lock is turned On, these settings will not change.
Rx Sys. Mode (System Mode Set Receive Switch): On/Off
The selection of Single Module Mode or Double Module Mode (p.116) is called the System Mode. The Rx Sys. Mode setting is the receive switch for MIDI messages (System Mode Set p.194) that select the System Mode. If Rx Sys. Mode is turned Off, the mode will not change even if System Mode Set messages are received. If Rx Sys. Mode is turned On, the mode will change. (p.137)
P.Load Init (Patch Load Initialize switch): On/Off
This specifies whether or not the settings of Parts A03 B16 will be initialized when a Patch (p.39) is loaded. With a setting of On, the settings of Part A03 and following will be initialized. With a setting of Off, the settings of Part A03 and following will not be initialized. The factory setting is On.
* In Double Module mode, the settings of Part group B will not be initialized.

s Using Patches

On this unit, the instrument and effect parameters are collectively referred to as a Patch. This unit provides 128 Preset Patches in which these parameters are already set to ideal settings. (p.186) Patch numbers 001 128: Preset Patches
The Preset Patches contain high-quality sounds together with optimal settings for other parameters such as effects, making this unit immediately useful as an expansion sound module for your keyboard, etc. Patches contain parameter settings for Part A01 and Part A02 (see following diagram). The initialized values are set for the other Parts.

q Using MIDI messages to select Patches
Normally when a MIDI program change message is received, the Instrument of a Part will change. However if you set the MIDI channel for the Patch, the Patch will change when a program change message is received (p.131). With the Patch MIDI CH settings of A-- or B--, incoming program changes will select the Instrument of the corresponding Part.
* With the factory settings, the Patch MIDI CH is set to A--.
Press the [ALL] button to make the button indicator light. l r Use MIDI CH [l ] [r ] to set the MIDI channel.

64 A-MIDI CH

Patch Channels
For example, suppose that the MIDI channels of the Patch and Part were set to the same value. In this case, an incoming program change on channel 1 [C0H 01H] will select Patch 02 MILD OD, but the Instrument of Part A01 the instrument (TC Front Pick) specified for the Patch will be used. Patch MIDI CH: A01 Part A01 MIDI CH: A01 If you want program changes to once again select the Instrument of Part A01, set the Patch MIDI CH to A--.
* It takes awhile until the sound can be heard after you change the Patch.
s Creating a Drum Set (Drum Edit)
A Drum Part has assigned to it a group of various percussion instrument sounds which are called a Drum Set. Unlike a Normal Part, a Drum Part sounds a different instrument for each note number. Since a Drum Part needs to simultaneously produce a wide variety of sounds such as bass drum, snare, tom and cymbal, this is very convenient. A collection of such sounds each assigned to their own note number is called a Drum Set. Each sound within a Drum Set is called an Drum Instrument. (Drum Set list p.163) On this unit, you can modify various drum instrument parameters to get the drum sounds most suitable for your musical needs. A parameter is something that affects the sound. The process of modifying parameter values is called editing. For each instrument (Drum Instrument) of the currently selected Drum Set, you can modify the values for the following parameters. These parameter values are set independently for each Drum Instrument assigned to a note number. Volume, Pan (stereo position), Pitch, Reverb send level, Chorus send level, Delay send level, Assign group.
* * Drum Sets you create can be stored in internal memory. (p.102) Settings between the Normal Part and the Drum Part are made in Part mode. (p.27)

q Drum editing procedure

l r Use the PART [l ] [r ] buttons to select the Drum Part.
Drum Parts are indicated by an * mark at the left of the sound name.

Drum set number

Drum set name

A10 026*TR-808

l r Use the INSTRUMENT [l ] [r ] buttons to select a Drum Set.
If you press the [SC-55 MAP] button to make the indicator light, you can select the same Drum Sets as in the SC-55/55mkII. SC-55/55mkII drum sets are indicated by a " mark at the left of the Drum Set name. If you press the [SC-88 MAP] button to make the indicator light, you can select the same Drum Sets as in the SC-88. SC-88 drum sets are indicated by a ' mark at the left of the Drum Set name. Your editing will apply to the Drum Set you select here.

* Be aware that if you select a different Drum Set, the parameter values will be initialized.

System Effects

s How the effect section of the unit is organized
The effects of this unit can be categorized into System effects (p.48) and Insertion effects (p.56). System effects include 8 types of reverb and chorus, 10 types of delay, and 2-band equalizer. Insertion effects include a variety of 64 different effect types. Of the System effects, the reverb/chorus/delay effects take part of the sound from each Part to create a new effected sound (reverberance, etc.), and then add this to the original sound. For these effects, you can specify the amount of the sound for each Part sent to the effect unit (Send Level). Higher settings will increase the level of the signal that is sent to the effect unit, causing the effect sound that is produced to be louder. The result is that the effect becomes deeper. For the equalizer of System effects, on the other hand, you can select whether the sound of the Part will pass through the equalizer or not; i.e., make an on/off setting to modify the sound. Insertion effects is the type of effect that modifies the sound itself, and is able to give it a completely different character. You can specify for each Part whether or not it will pass through the effect. Since only one type of Insertion effect can be applied at a time, turning it on for two or more Parts will cause the sound of these Parts to be mixed. If a System effect is applied to a Part for which the Insertion effect is turned on, the Insertion effect Send Level will be used instead of the Send Level of the Part itself. Also, the type of effects that are available here will depend on the System mode setting. In Single Module mode (mode 1), each will have one set of effects. In Double Module mode (mode 2), equalizer and delay are unavailable, but there are two sets each for Reverb and Chorus settings, and these can be used simultaneously. This is especially valuable when you wish to have different effect types or settings for each Part. Also, the Insertion effect can be used only for the Part group A. This is every effective when you wish to apply a special effect to the solo part that you play.
* For details on Single Module mode and Double Module mode, refer to p.116.

Chapter 3.System Effects

q Using Control Change 16 to modify the Drive value of 6: Distortion

< Settings >

1. Turn EFX on for Part 1. F01 5C F7 2. Set the effect type to 6: Distortion (value: 01H 11H) F2B F7 3. Set Drive (address: 40H 03H 03H) to 0. F00 3A F7 4. Set Effect Control Source 1 (address: 40H 03H 1BH) to CC16 (10H). F03 1B F7 5. Set Effect Control Depth 1 (address: 40H 03H 1CH) to +100% (7FH). F03 1C 7F 22 F7
< Modifying the value >
B00 B01 : B7F B7F Drive Drive : Drive Drive 126 127

< Example >

The Drive parameter of 5: Overdrive normally changes in the range of 0 - 127. When this parameter is modified by a controller, it will change in the range of 0 - 127 if the Effect Control Depth value is +100. With a value of +50, it will change in the range of 0 - 64 (i.e., 50% of 127). Normally Depth = +100% Depth = +50% Depth = -100% 0 - - - - 0
q Using Control Change 16 to modify the Speed value of 9: Rotary
1. Turn EFX on for Part 1. F01 5C F7 2. Set the effect type to 9: Rotary (value: 01H 22H) F1A F7 3. Set Speed (address: 40H 03H 0DH) to Slow. F03 0D F7 4. Set Effect Control Source 1 (address: 40H 03H 1BH) to CC16 (10H). F03 1B F7 5. Set Effect Control Depth 1 (address: 40H 03H 1CH) to +100% (7FH). F03 1C 7F 22 F7
< Modifying values >
Since the Speed parameter has only two values, Slow and Fast, the lower half of the range (00H -- 3FH) will select Slow, and the upper half (40H--7FH) will select Fast. B00 Speed Slow : : B3F Speed Slow B40 Speed Fast : : B7F Speed Fast
The Feedback parameter changes in 2% steps, with 40H as the center. (For the correspondence between hexadecimal values and parameter values, refer to the table on p.183.) B00 Feedback -98% : : B0F Feedback -98% B10 Feedback -96% : : B3E Feedback -4% -2% B3F Feedback B40 Feedback +/-0% B41 Feedback +2% +4% B42 Feedback : : B70 Feedback +96% B71 Feedback +98% : : B7F Feedback +98%
q Using Control Change 16 to modify the Wah Man value of 50:GTR Multi3
1. Turn EFX on for Part 1. F01 5C F7 2. Set the effect type to 50: GTR Multi 3 (value: 04H 02H) F37 F7 3. Set Wah Man (address: 40H 03H 04H) to 0. FF7 4. Set Effect Control Source 1 (address: 40H 03H 1BH) to CC16 (10H). F03 1B F7 5. Set Effect Control Depth 1 (address: 40H 03H 1CH) to +100% (7FH). F03 1C 7F 22 F7

s Selecting the CM-64 sound map
This unit can be set to the sound map of the Roland CM-64 (Multi-timbre Sound Module). When you wish to play song data that was created for the CM-64, use the following procedure.
* * Be aware that if you select the CM-64 sound map, all previous settings will be lost. If you wish to use the same sounds as the SC-55/55mk II, press [SC-55 MAP] button.
l While holding down [SELECT], press INSTRUMENT [l ].
The display will ask Init CM-64, Sure?.
Press [ALL] and the CM-64 sound map will be selected.
To safely cancel the operation press [MUTE].
When the CM-64 sound map is selected, the settings of each Part (group A, B) will be as follows.

Part settings

Part name Rx.Channel Tone (VARIATION/INSTRUMENT NO) LEVEL PAN REVERB CHORUS KEY SHIFT
Acou Piano 1 Slap Bass 1 Str Sect 1 Brs Sect 1 Sax 1 Ice Rain Elec Piano 1 Bottleblow Orche Hit CM-64/32L Set FRETLESS 1 CHOIR 1 A.PIANO 1 E.ORGAN 2 E.GUITAR 1 SOFT TP 1
(127/001) (127/069) (127/049) (127/096) (127/079) (127/042) (127/004) (127/111) (127/123) (128) (126/028) (126/030) (126/001) (126/038) (126/014) (126/047)

100 100

0 L10 L10 L10 L10 L46 R27 L63 R0 RR35 L37 L19

Bnd Range: +12,

Mod LFO Pch: +4
The names of these sounds are identical to the names on the CM-64, so they differ from what they are called on this unit.

Settings for all Parts

LEVEL PAN REVERB CHORUS KEY SHIFT
q Differences between the CM-64 and the unit
When the CM-64 sound map is selected, the playback result will be the same as if a CM-64 were used. However since the internal structure of the sound source is different, the result is not absolutely identical. Please be aware of the following main differences.

1. How the sounds change

When velocity, modulation and aftertouch etc. are used to add expression, the sounds will change in a way slightly different than the CM-64.

2. Exclusive data

This unit is not compatible with CM-64's Exclusive data. If CM-64's Exclusive data is received, this unit's settings will not change. This means that if the song data contains CM-64's sound data (Exclusive data), playing back that song data will not have the same result as it would have on the CM-64.

3. Pan

This unit's pan settings are opposite to those of the CM-64. Please reverse the left/right (L/R) connections of the audio output jacks.

s Initialize

q Initialize all Parts to the factory settings
This procedure will initialize all the settings of this unit to the factory settings. This will also initialize System parameters (p.36) and User parameters (p.96).
While holding down [SELECT], simultaneously press both the INSTRUl r MENT [l ] [r ] buttons.
The display will ask Init All, Sure?.
To initialize, press [ALL].
To quit without initializing, press [MUTE].
* After the initialization has been performed, the indications in the display for the parameters listed below will show the factory default settings. In fact, however, the settings will not yet at that point be at the defaults. They will be placed at the defaults after you turn power on, then off again. In Mode, OUT/THRU, IN B Sel. ( p.135)

q Initialize for GM/GS

When you wish to playback song data carrying the GM/GS logo, you need to initialize this unit for GM/GS settings. When this is done, this unit will be set to the basic GM/GS settings appropriate for playing back song data carrying the GM/GS logo. The beginning of song data carrying the GM/GS logo contains data which requests the sound source to initialize itself (General MIDI System On, GS Reset p.133). This means that if you are playing back the song data from the beginning, initialization will be done automatically, and there is no need for you to do it using the front panel buttons.
* * Even if this unit is initialized for GS/GM, the System parameter settings (p.36) will not be affected. Even if the Backup Switch ( p.37) is on, the following procedure will rewrite it to the factory setting.
r (For GM) While holding down [SELECT], press PART [r ]. r (For GS) While holding down [SELECT], press INSTRUMENT [r ].
The display will ask Init GM, Sure? or Init GS, Sure? If you perform this operation in Double Module mode (p.116), the display will ask Init GS A, Sure?. Use INSTRUMENT [l] [r] to specify which module A or B will be initialized.
ALL LEVEL MUTE REVERB SC-55 MAP SC-88 MAP CHORUS PAN
Using the unit with a personal computer
s Connections with your computer
This unit can be controlled by music software running on a personal computer. This will allow you to create your own songs, and also to select sounds or edit sounds from the computer display. This type of system is known as a Desk Top Music System (DTMS). The functions provided by a DTMS differ widely depending on the software, so it is important that you choose software suited to your needs. There are two ways to connect this unit to your computer; using the MIDI connectors or the computer connector. If you use the MIDI connectors, you will need to obtain a computer interface board (adapter) that has MIDI connectors (such as the Roland Super MPU, etc.). If you use this unit's computer connector, you can use a special cable to connect it directly with the computer, but your software must be able to correspond to the serial port. If you wish to connect your computer via the MIDI connectors, refer to p.122 (Connecting a computer via the MIDI connectors) for how to make connections. The following explanation will show how to make connections using this unit computer connector.

s MIDI message routing settings and switches
This unit provides various parameters that determine how incoming MIDI messages are passed to the Parts. For some types of MIDI message, a switch is provided to turn reception on or off. These parameters can be classified as Switches which apply to all Parts or Switches which can be set individually for each Part.
[1] Switches which apply to all Parts (A)
IN B Sel. OUT/THRU In Mode Rx Sys. Mode
(IN B Select) Front/Rear (MIDI OUT/THRU Select) OUT/THRU (Input Modes) Standard, X-connect, Merge A, Merge B, A only (System Mode Set Receive switch) On, Off
After modifying the setting of the IN B Sel., OUT/THRU, or In Mode parameters, you must turn the power on once again. New settings of these parameters become valid when the power is turned on.
u d Simultaneously press [u ] and [d ]. u d Use [u ] [d ] to select the parameters you wish to set.

A01 %IN B Sel.:Rear

3. 4. 5.
l r Use INSTRUMENT [l ] [r ] to set the value. u d When you have set the value, simultaneously press [u ] and [d ] to end the procedure. Turn on the power again. (Except when you have selected Rx Sys. Mode.)
PART ALL LEVEL MUTE PAN INSTRUMENT
IN B Sel. (IN B Select) Front/Rear
This unit has two MIDI IN B connectors, one on the front panel and another on the rear panel. If the IN B Sel. parameter is set to Front, the front panel MIDI IN B can be used. If the IN B Sel. parameter is set to Rear, the rear panel MIDI IN B can be used. It is not possible to use both the front and the rear MIDI IN B connectors simultaneously. <Set to Front> <Set to Rear>
OUT/THRU (MIDI OUT/THRU Select) OUT/THRU
The MIDI OUT/THRU connector on the rear panel of this unit can function either as a MIDI OUT or a MIDI THRU. When the OUT/THRU sellect is set to OUT the connector will function as MIDI OUT, and when set to THRU it will function as MIDI THRU.
If THRU is selected, data received at MIDI IN A will be retransmitted from the MIDI OUT/THRU connector. Data received at MIDI IN B will never be thru-ed, regardless of the THRU setting, and regardless of the setting for In Mode. If OUT is selected, exclusive data or data received at the computer connector can be transmitted from the MIDI OUT/THRU connector. (p.107, 123)
When the COMPUTER switch is set to MIDI
MIDI OUT/THRU Select : OUT
MIDI OUT/THRU Select : THRU
When the COMPUTER switch is set to PC-1, PC-2 or Mac

* [EXC3]

[EXC5] [EXC5] [EXC6] [EXC6]
PC 54 CYMBAL&CLAPS --------------Reverse Open Hi-Hat Reverse Closed Hi-Hat 1 Reverse Closed Hi-Hat 2 Jungle Hi-Hat [EXC1] [55] Closed Hi-Hat [EXC1] [88] Closed Hi-Hat 2 [EXC1] [88] Closed Hi-Hat 3 [EXC1] Closed Hi-Hat 4 [EXC1] Closed Hi-Hat [EXC1] TR-707 Closed Hi-Hat [EXC1] TR-606 Closed Hi-Hat [EXC1] [88] TR-808 Closed Hi-Hat [EXC1] TR-808 Closed Hi-Hat [EXC1] CR-78 Closed Hi-Hat [EXC1] [55] Pedal Hi-Hat [EXC1] [88] Pedal Hi-Hat [EXC1] Pedal Hi-Hat [EXC1] Half-Open Hi-Hat 1 [EXC1] Half-Open Hi-Hat 2 [EXC1] [55] Open Hi Hat [EXC1] [88] Open Hi-Hat 2 [EXC1] [88] Open Hi-Hat 3 [EXC1] Open Hi-Hat 2 [EXC1] TR-909 Open Hi-Hat [EXC1] TR-707 Open Hi-Hat [EXC1] TR-606 Open Hi-Hat [EXC1] [88] TR-808 Open Hi-Hat [EXC1] TR-808 Open Hi-Hat [EXC1] CR-78 Open Hi-Hat [EXC1] Crash Cymbal 1 [EXC3] Crash Cymbal 2 [EXC4] Crash Cymbal 3 Brush Crash Cymbal Hard Crash Cymbal * TR-909 Crash Cymbal TR-808 Crash Cymbal Mute Crash Cymbal 1 [EXC3] Mute Crash Cymbal 2 [EXC4] Reverse Crash Cymbal 1 Reverse Crash Cymbal 2 Reverse Crash Cymbal 3 Reverse TR-909 Crash Cymbal [55] Splash Cymbal Splash Cymbal [88] Ride Bell [88] Brush Ride Bell [88] Ride Cymbal 1 [88] Ride Cymbal 2 [88] Brush Ride Cymbal Ride Cymbal Low Inner Ride Cymbal Mid Inner Ride Cymbal High Inner Ride Cymbal Low Edge Ride Cymbal Mid Edge Ride Cymbal High Edge TR-606 Ride Cymbal TR-808 Ride Cymbal Chinese Cymbal Chinese Cymbal 2 [55] Hand Clap [88] Hand Clap 2 [88] Hand Clap Hand Clap Hand Clap 2 TR-707 Hand Clap ------: Same as the percussion sound of SC-88 : Same as the percussion sound of SC-55

Native Drum set (6)

#: Same Drum Set as SC-88 map PC 57 SFX MC-500 Beep 1 MC-500 Beep 2 Guitar Slide Guitar Wah Guitar Slap Chord Stroke Down Chord Stroke Up Biwa FX Phonograph Noise Tape Rewind Scratch Push 2 Scratch Pull 2 Cutting Noise 2 Up Cutting Noise 2 Down Distortion Guitar Cutting Noise Up Distortion Guitar Cutting Noise Down Bass Slide Pick Scrape High Q Slap Scratch Push Scratch Pull Sticks Square Click Metronome Click Metronome Bell Guitar Fret Noise Guitar Cutting Noise Up Guitar Cutting Noise Down String Slap of Double Bass Flute Key Click Noise Laughing Screaming Punch Heart Beat Footsteps 1 Footsteps 2 Applause Door Creaking Door Scratch Wind Chimes Car - Engine Car - Stop Car - Passing Car - Crash Siren Train Jetplane Helicopter Starship Gun Shot Machine Gun Laser Gun Explosion Dog Horse-Gallop Birds Rain Thunder Wind Seashore Stream Bubble Kitty Bird 2 Growl Telephone 1 Telephone 2 Small Club 1 Small Club 2 Applause Wave Eruption Big Shot Percussion Bang

PC 57 SFX ------------------Scratch Push2 [EXC1] Scratch Pull2 [EXC1] Cutting Noise 2 Up Cutting Noise 2 Down Distortion Guitar Cutting Noise Up Distortion Guitar Cutting Noise Down Bass Slide Pick Scrape High Q Slap Scratch Push [EXC7] Scratch Pull [EXC7] Sticks Square Click Metronome Click Metronome Bell Guitar Fret Noise Guitar Cutting Noise Up GuitarCutting Noise Down String Slap of Double Bass Fl.Key Click Laughing Scream Punch Heart Beat Footsteps1 Footsteps2 Applause * Door Creaking Door Scratch Wind Chimes * Car-Engine Car-Stop Car-Pass Car-Crash * Siren Train Jetplane * Helicopter Starship * Gun Shot Machine Gun Lasergun Explosion * Dog Horse-Gallop Birds * Rain Thunder Wind Seashore Stream * Bubble * Kitty Bird2 Growl Applause2 * Telephone1 Telephone2 ---------------------------[88] [55]
PC 58 RHYTHM FX ---------------------------------Reverse Kick 1 Reverse Concert BD 1 Reverse Power Kick 1 Reverse Electric Kick 1 Reverse Snare 1 Reverse Snare 2 Reverse Standard set1 Snare 1 Reverse Tight Snare Reverse Dance Snare Reverse 808 Snare Reverse Tom1 Reverse Tom2 Reverse Sticks Reverse Slap Reverse Cymbal1 Reverse Cymbal2 Reverse Open Hi-hat Reverse Ride Cymbal Reverse CR-78 OHH Reverse Closed Hi-hat Reverse Gong Reverse Bell Tree Reverse Guiro Reverse Bendir Reverse Gun Shot Reverse Scratch Reverse Laser Key Click Tekno Thip Pop Drop Woody Slap Distortion Kick * Syn.Drop Reverse High Q Pipe Ice Block Digital Tambourine * Alias Modulated Bell Spark Metalic Percussion Velocity Noise FX Stereo Noise Clap * Swish Slappy * Voice Ou Voice Au Hoo Tape Stop1 * Tape Stop2 * Missile * Space Bird Flying Monster ---------------------------------: Same as the percussion sound of SC-88 : Same as the percussion sound of SC-55

SC-55 Drum set

PC 1 / PC 33 STANDARD / JAZZ -----High Q Slap Scratch Push Scratch Pull Sticks Square Click Metronome Click Metronome Bell Kick Drum2 / Jazz BD2 Kick Drum1 / Jazz BD1 Side Stick Snare Drum1 Hand Clap Snare Drum2 Low Tom2 Closed Hi-hat [EXC1] Low Tom1 Pedal Hi-hat [EXC1] Mid Tom2 Open Hi-hat [EXC1] Mid Tom1 High Tom2 Crash Cymbal1 High Tom1 Ride Cymbal1 Chinese Cymbal Ride Bell Tambourine Splash Cymbal Cowbell Crash Cymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo Mute High Conga Open High Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas Short Hi Whistle [EXC2] Long Low Whistle [EXC2] Short Guiro Long Guiro Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangle [EXC5] Open Triangle [EXC5] Shaker Jingle Bell Bell Tree Castanets Mute Surdo [EXC6] Open Surdo [EXC6] ------------------------------------PC ---
PC 9 ROOM ------ Room Low Tom2 Room Low Tom1 Room Mid Tom2 Room Mid Tom1 Room Hi Tom2 Room Hi Tom1 -------------------------------------

* A Note-on received immediately after a Portamento Control message will change continuously in pitch, starting from the pitch of the Source Note Number. * If a voice is already sounding for a note number identical to the Source Note Number, this voice will continue sounding (i.e., legato) and will, when the next Noteon is received, smoothly change to the pitch of that Note-on. * The rate of the pitch change caused by Portamento Control is determined by the Portamento Time value. Example 1. On MIDI 90 3C 40 B3C 3C Example 2. On MIDI B3C 40 40
On this unit, NRPN can be used to modify the following parameters. NRPN Data entry MSB LSB MSB 01H 08H mmH 01H 09H mmH 01H 0AH mmH 01H 20H mmH
Description Note on C4 Portamento Control from C4 Note on E4 Note off C4 Note off E4
Result C4 on no change glide from C4 to E4 no change E4 off
Description Portamento Control from C4 Note on E4 Note off E4
Result no change E4 is played with glide from C4 to E4 E4 off
01H 21H mmH 01H 63H mmH 01H 64H mmH 01H 66H mmH 18H rrH mmH
Effect 1 (Reverb Send Level) (Controller number 91) Status 2nd byte 3rd byte BnH 5BH vvH n = MIDI channel number vv = Reverb Send Level : 0H-FH (ch.1-ch.16) : 00H-7FH (0-127), Initial Value = 28H (40)
* This message adjusts the Reverb Send Level of each Part. Effect 3 (Chorus Send Level) (Controller number 93) 2nd byte 3rd byte Status BnH 5DH vvH n = MIDI channel number vv = Chorus Send Level : 0H-FH (ch.1-ch.16) : 00H-7FH (0-127), Initial Value = 00H (0)

1AH rrH

1CH rrH

1DH rrH

* This message adjusts the Chorus Send Level of each Part. Effect 4 (Delay Send Level) (Controller number 94) 3rd byte Status 2nd byte BnH 5EH vvH n=MIDI channel number vv=Delay Send Level : 0H - FH (ch.1 - ch.16) : 00H - 7FH (0 - 127), Initial value = 00H (0) [88]

1EH rrH

1FH rrH
Function and range Vibrato Rate (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) Vibrato Depth (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) Vibrato Delay (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) TVF Cutoff Frequency (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) TVF Resonance (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) TVF&TVA Envelope Attack Time (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) TVF&TVA Envelope Decay Time (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) TVF&TVA Envelope Release Time (relative change) mm: 00H - 40H - 7FH (-64 - 0 - +63) Drum Instrument Pitch Coarse (relative change) rr: Drum Instrument note number mm: 00H - 40H - 7FH (-64 - 0 - +63 semitone) Drum Instrument TVA Level (absolute change) rr: Drum Instrument note number mm: 00H - 7FH (0 - max) Drum Instrument Panpot (absolute change) rr: Drum Instrument note number mm: 00H, 01H - 40H - 7FH (random, left-center-right) Drum Instrument Reverb Send Level (absolute change) rr: Drum Instrument note number mm: 00H - 7FH (0 - max) Drum Instrument Chorus Send Level (absolute change) rr: Drum Instrument note number mm: 00H - 7FH (0 - max) Drum Instrument Delay Send Level (absolute change) [88] rr: Drum Instrument note number mm: 00H - 7FH (0 - max)

* Reply the message by the unique device ID (dev) when the device has received the "Identity Request Message" in the Broadcast. Data set 1 Status Data byte F0H 41H, dev, 42H, 12H, aaH, bbH, ccH, ddH,. eeH, sum DT1 (12H) Status F7H
* The amount of data that can be transmitted at one time depends on the type of data, and data can be received only from the specified starting address and size. Refer to the Address and Size given in Section 3 (page 193). * Data larger than 128 bytes must be divided into packets of 128 bytes or less. If "Data Set 1" is transmitted successively, there must be an interval of at least 40 ms between packets. * Regarding the checksum please refer to section 5 (page 207).
Byte Explanation F0H Exclusive status 41H ID number (Roland) dev Device ID (dev: 00H-1FH, Initial value is 10H) 42H Model ID (GS) 12H Command ID (DT1) aaH Address MSB: upper byte of the starting address of the data to be sent bbH Address: middle byte of the starting address of the data to be sent ccH Address LSB: lower byte of the starting address of the data to be sent. ddH Data: the actual data to be sent. Multiple bytes of data are transmitted in order starting from the address. : : eeH Data sum Checksum F7H EOX (End Of Exclusive) * 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 Section 3 (page 193). * Data larger than 128 bytes will be divided into packets of 128 bytes or less, and each packet will be sent at an interval of about 40 ms. * Regarding the checksum please refer to section 4 (page 207). There are two ways in which GS data is transmitted: Individual Parameter Transmission (Section 3 page 193) in which individual parameters are transmitted one by one, and Bulk Dump Transmission (Section 4 page 205) in which a large amount of data is transmitted at once.
Section 3. Individual Parameter Transmission (Model ID=45H or 42H)
Individual Parameter Transmission transmits data (or requests data) for one parameter as one exclusive message (one packet of "F0.. F7"). In Individual Parameter Transmission, you must use the Address and Size listed in the following "Parameter Address Map". Addresses marked at "#" cannot be used as starting addresses.

s Parameter address map

This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using "Request data 1 (RQ1)" and "Data set 1 (DT1)".All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form. Numbers in the explanatory column are given in decimal notation. The MODEL ID = 45H parameters are related to LCD display. The MODEL ID = 42H parameters at address 5* ** ** are not given in this map. The parameters for address 5* ** ** are the same format as those at at address 4* ** **. < MODEL ID = 45H > q Display data Address(H) Size(H) Data(H) 20-7F 01# 02# : 1F#