Using the SonicCell in Performance Mode - Roland Corporation ...

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Using the SonicCell in Performance Mode - Roland Corporation ...

USING THE UNIT SAFELYUsed for instructions intended to alert theuser to the risk of death or severe injuryshould the unit be used improperly.Used for instructions intended to alert theuser to the risk of injury or materialdamage should the unit be usedimproperly.* Material damage refers to damage orother adverse effects caused withrespect to the home and all itsfurnishings, as well to domestic animalsor pets.The symbol alerts the user to important instructions orwarnings.The specific meaning of the symbol isdetermined by the design contained within the triangle.In the case of the symbol at left, it is used for generalcautions, warnings, or alerts to danger.The symbol alerts the user to items that must neverbe carried out (are forbidden). The specific thing thatmust not be done is indicated by the design containedwithin the circle. In the case of the symbol at left, itmeans that the unit must never be disassembled.The ● symbol alerts the user to things that must becarried out. The specific thing that must be done isindicated by the design contained within the circle. Inthe case of the symbol at left, it means that the powercordplug must be unplugged from the outlet.001• Before using this unit, make sure to read the instructionsbelow, and the Owner’s Manual...........................................................................................................002d• Do not open or perform any internal modificationson the unit or its AC adaptor. (The only exceptionwould be where this manual provides specificinstructions which should be followed in order to put inplace user-installable options; see p. 47, p. 50.)..........................................................................................................003• Do not attempt to repair the unit, or replace partswithin it (except when this manual provides specificinstructions directing you to do so). Refer allservicing to your retailer, the nearest Roland ServiceCenter, or an authorized Roland distributor, as listed onthe “Information” page...........................................................................................................004• Never use or store the unit in places that are:• Subject to temperature extremes (e.g., directsunlight in an enclosed vehicle, near a heatingduct, on top of heat-generating equipment); orare• Damp (e.g., baths, washrooms, on wet floors); or are• Humid; or are• Exposed to rain; or are• Dusty; or are• Subject to high levels of vibration...........................................................................................................005• This unit should be used only with a BKT-S that isrecommended by Roland (p. 30)...........................................................................................................006• When using the unit with the BKT-S and PDS-10recommended by Roland, the rack or stand mustbe carefully placed so it is level and sure to remainstable. If not using a rack or stand, you still need tomake sure that any location you choose for placingthe unit provides a level surface that will properlysupport the unit, and keep it from wobbling...........................................................................................................008c• Be sure to use only the AC adaptor supplied withthe unit. Also, make sure the line voltage at theinstallation matches the input voltage specified onthe AC adaptor’s body. Other AC adaptors may use adifferent polarity, or be designed for a different voltage, sotheir use could result in damage, malfunction, or electricshock...........................................................................................................008e• Use only the attached power-supply cord. Also, thesupplied power cord must not be used with anyother device...........................................................................................................009• Do not excessively twist or bend the power cord,nor place heavy objects on it. Doing so candamage the cord, producing severed elements andshort circuits. Damaged cords are fire and shock hazards!..........................................................................................................010• This unit, either alone or in combination with anamplifier and headphones or speakers, may becapable of producing sound levels that could causepermanent hearing loss. Do not operate for a longperiod of time at a high volume level, or at a levelthat is uncomfortable. If you experience anyhearing loss or ringing in the ears, you shouldimmediately stop using the unit, and consult anaudiologist...........................................................................................................011• Do not allow any objects (e.g., flammable material,coins, pins); or liquids of any kind (water, softdrinks, etc.) to penetrate the unit...........................................................................................................3


012b• Immediately turn the power off, remove the ACadaptor from the outlet, and request servicing byyour retailer, the nearest Roland Service Center, oran authorized Roland distributor, as listed on the“Information” page when:• The AC adaptor, the power-supply cord, or theplug has been damaged; or• If smoke or unusual odor occurs• Objects have fallen into, or liquid has beenspilled onto the unit; or• The unit has been exposed to rain (or otherwisehas become wet); or• The unit does not appear to operate normally orexhibits a marked change in performance...........................................................................................................013• In households with small children, an adult shouldprovide supervision until the child is capable offollowing all the rules essential for the safeoperation of the unit...........................................................................................................014• Protect the unit from strong impact.(Do not drop it!)..........................................................................................................015• Do not force the unit’s power-supply cord to sharean outlet with an unreasonable number of otherdevices. Be especially careful when usingextension cords—the total power used by alldevices you have connected to the extension cord’soutlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loadscan cause the insulation on the cord to heat up andeventually melt through...........................................................................................................016• Before using the unit in a foreign country, consultwith your retailer, the nearest Roland ServiceCenter, or an authorized Roland distributor, aslisted on the “Information” page...........................................................................................................022b• Always turn the unit off and unplug the AC adaptorbefore attempting installation of the circuit board(model no. SRX series; p. 19)...........................................................................................................023• DO NOT play a CD-ROM disc on a conventionalaudio CD player. The resulting sound may be of alevel that could cause permanent hearing loss.Damage to speakers or other system componentsmay result...........................................................................................................101b• The unit and the AC adaptor should be located sotheir location or position does not interfere withtheir proper ventilation...........................................................................................................102c• Always grasp only the plug on the AC adaptorcord when plugging into, or unplugging from, anoutlet or this unit...........................................................................................................103b• At regular intervals, you should unplug the ACadaptor and clean it by using a dry cloth to wipeall dust and other accumulations away from itsprongs. Also, disconnect the power plug from thepower outlet whenever the unit is to remain unusedfor an extended period of time. Any accumulationof dust between the power plug and the poweroutlet can result in poor insulation and lead to fire...........................................................................................................104• Try to prevent cords and cables from becomingentangled. Also, all cords and cables should beplaced so they are out of the reach of children...........................................................................................................106• Never climb on top of, nor place heavy objects onthe unit...........................................................................................................107c• Never handle the AC adaptor or its plugs with wethands when plugging into, or unplugging from, anoutlet or this unit...........................................................................................................108b• Before moving the unit, disconnect the AC adaptorand all cords coming from external devices...........................................................................................................109b• Before cleaning the unit, turn off the power andunplug the AC adaptor from the outlet (p. 19)...........................................................................................................110b• Whenever you suspect the possibility of lightning inyour area, disconnect the AC adaptor from theoutlet...........................................................................................................115a• Install only the specified circuit board(s) (model no.SRX series). Remove only the specified screws (p.47, p. 50)...........................................................................................................118c• Keep any screws you may remove and theincluded wrench in a safe place out of children’sreach, so there is no chance of them beingswallowed accidentally...........................................................................................................120• Always turn the phantom power off whenconnecting any device other than condenser microphonesthat require phantom power. You riskcausing damage if you mistakenly supply phantompower to dynamic microphones, audio playbackdevices, or other devices that don’t require suchpower. Be sure to check the specifications of anymicrophone you intend to use by referring to themanual that came with it.(This instrument’s phantom power: 48 V DC, 10 mA Max)..........................................................................................................4


IMPORTANT NOTES291aIn addition to the items listed under “USING THE UNIT SAFELY” on page 3–4, please read and observe the following:Power Supply301• Do not connect this unit to same electrical outlet that isbeing used by an electrical appliance that is controlled byan inverter (such as a refrigerator, washing machine,microwave oven, or air conditioner), or that contains amotor. Depending on the way in which the electricalappliance is used, power supply noise may cause this unitto malfunction or may produce audible noise. If it is notpractical to use a separate electrical outlet, connect apower supply noise filter between this unit and the electricaloutlet.302• The AC adaptor will begin to generate heat after longhours of consecutive use. This is normal, and is not a causefor concern.307• Before connecting this unit to other devices, turn off thepower to all units. This will help prevent malfunctions and/or damage to speakers or other devices.Placement351• Using the unit near power amplifiers (or other equipmentcontaining large power transformers) may induce hum. Toalleviate the problem, change the orientation of this unit; ormove it farther away from the source of interference.352a• This device may interfere with radio and televisionreception. Do not use this device in the vicinity of suchreceivers.352b• Noise may be produced if wireless communicationsdevices, such as cell phones, are operated in the vicinity ofthis unit. Such noise could occur when receiving or initiatinga call, or while conversing. Should you experiencesuch problems, you should relocate such wireless devicesso they are at a greater distance from this unit, or switchthem off.354a• Do not expose the unit to direct sunlight, place it neardevices that radiate heat, leave it inside an enclosedvehicle, or otherwise subject it to temperature extremes.Excessive heat can deform or discolor the unit.355b• When moved from one location to another where thetemperature and/or humidity is very different, waterdroplets (condensation) may form inside the unit. Damageor malfunction may result if you attempt to use the unit inthis condition. Therefore, before using the unit, you mustallow it to stand for several hours, until the condensationhas completely evaporated.360• Depending on the material and temperature of the surfaceon which you place the unit, its rubber feet may discolor ormar the surface.You can place a piece of felt or cloth under the rubber feetto prevent this from happening. If you do so, please makesure that the unit will not slip or move accidentally.Maintenance401a• For everyday cleaning wipe the unit with a soft, dry cloth orone that has been slightly dampened with water. To removestubborn dirt, use a cloth impregnated with a mild, nonabrasivedetergent. Afterwards, be sure to wipe the unitthoroughly with a soft, dry cloth.402• Never use benzine, thinners, alcohol or solvents of anykind, to avoid the possibility of discoloration and/or deformation.Repairs and Data452• Please be aware that all data contained in the unit’smemory may be lost when the unit is sent for repairs.Important data should always be backed up on an USBmemory, or written down on paper (when possible). Duringrepairs, due care is taken to avoid the loss of data.However, in certain cases (such as when circuitry related tomemory itself is out of order), we regret that it may not bepossible to restore the data, and Roland assumes noliability concerning such loss of data.*** on a RAM card/DATA cardAdditional Precautions551• Please be aware that the contents of memory can beirretrievably lost as a result of a malfunction, or theimproper operation of the unit. To protect yourself againstthe risk of loosing important data, we recommend that youperiodically save a backup copy of important data youhave stored in the unit’s memory on an USB memory.552• Unfortunately, it may be impossible to restore the contentsof data that was stored in the unit’s memory or on an USBmemory once it has been lost. Roland Corporation assumesno liability concerning such loss of data.553• Use a reasonable amount of care when using the unit’sbuttons, sliders, or other controls; and when using its jacksand connectors. Rough handling can lead to malfunctions.554• Never strike or apply strong pressure to the display.555• A small amount of noise may be heard from the displayduring normal operation.556• When connecting / disconnecting all cables, grasp theconnector itself—never pull on the cable. This way you willavoid causing shorts, or damage to the cable’s internalelements.558a• To avoid disturbing your neighbors, try to keep the unit’svolume at reasonable levels. You may prefer to useheadphones, so you do not need to be concerned aboutthose around you (especially when it is late at night).559a• When you need to transport the unit, package it in the box(including padding) that it came in, if possible. Otherwise,you will need to use equivalent packaging materials.5


562• Some connection cables contain resistors. Do not usecables that incorporate resistors for connecting to this unit.The use of such cables can cause the sound level to beextremely low, or impossible to hear. For information oncable specifications, contact the manufacturer of the cable.563• Unauthorized duplication, reproduction, hiring, andlending prohibited.Handling CD-ROMs801• Avoid touching or scratching the shiny underside (encodedsurface) of the disc. Damaged or dirty CD-ROM discs maynot be read properly. Keep your discs clean using acommercially available CD cleaner.Copyright851• Recording, duplication, distribution, sale, lease, performance,or broadcast of copyrighted material (musicalworks, visual works, broadcasts, live performances, etc.)belonging to a third party in part or in whole without thepermission of the copyright owner is forbidden by law.852a• This product can be used to record or duplicate audio orvisual material without being limited by certain technologicalcopy-protection measures. This is due to the fact thatthis product is intended to be used for the purpose ofproducing original music or video material, and is thereforedesigned so that material that does not infringe copyrightsbelonging to others (for example, your own original works)can be recorded or duplicated freely.853• Do not use this unit for purposes that could infringe on acopyright held by a third party. We assume no responsibilitywhatsoever with regard to any infringements of thirdpartycopyrights arising through your use of this unit.204* Microsoft and Windows are registered trademarks ofMicrosoft Corporation.206e* The screen shots in this document are used in compliancewith the guidelines of the Microsoft Corporation.206j* Windows ® is known officially as: “Microsoft ® Windows ®operating system.”207* Apple and Macintosh are registered trademarks of AppleComputer, Inc.209* Mac OS is a trademark of Apple Inc.213* Pentium is a registered trademark of Intel Corporation.220* All product names mentioned in this document are trademarksor registered trademarks of their respective owners.233* VST is a trademark of Steinberg Media Technologies AG.add* MatrixQuest 2007 TEPCO UQUEST, LTD.All rights reserved.The SonicCell’s USB functionality uses Matrix-Quest middleware technology from TEPCOUQUEST, LTD.* SONAR is a registered trademark of Twelve Tone Systems,Inc.* MPEG Layer-3 audio compression technology is licensedfrom Fraunhofer IIS Corporation and THOMSON MultimediaCorporation.6


ContentsUSING THE UNIT SAFELY........................................................................ 3IMPORTANT NOTES ............................................................................... 5Main Features...................................................................................... 12User Guide 13Panel Descriptions................................................................................ 14Top Panel ....................................................................................................... 14Playing the Demo Songs.......................................................................................... 15Rear and Front Panels..................................................................................... 16Turning the Power On/Off ................................................................... 18Basic Operation of the SonicCell ........................................................... 20About the display and [CURSOR/VALUE].................................................................. 20Using the SonicCell as a MIDI Sound Module......................................... 22Playing theSonicCell in Performance Mode ....................................................................... 22Playing the SonicCell in Patch Mode ................................................................ 23Modifying the Sound (editing a patch) ...................................................................... 24Using the Editor and Librarian......................................................................... 27Playing Songs (Portable Backing Machine)............................................ 28Playback Procedure ........................................................................................ 28Creating a Playlist........................................................................................... 30Performing via MIDI while a Song Plays .......................................................... 30Connecting the SonicCell to Your Computer........................................... 31Specifications of the dedicated plug-in version of the editor ......................................... 32Windows XP users......................................................................................... 33Installing the Driver ................................................................................................. 33Windows Settings................................................................................................... 34Installing SonicCell Editor ........................................................................................ 34Windows Vista Users ...................................................................................... 35Installing the Driver ................................................................................................. 35Windows Settings................................................................................................... 36Installing SonicCell Editor ........................................................................................ 36Mac OS X Users.............................................................................................. 37Installing the Driver ................................................................................................. 37Installing SonicCell Editor ........................................................................................ 38Settings ................................................................................................................. 38Recording a Mic or Guitar(USB/Audio Interface) ................................... 40Connecting a Mic................................................................................................... 417


ContentsConnecting a Guitar ............................................................................................... 41Using the Line Input................................................................................................. 42Adjusting the Input Volume ...................................................................................... 42Input Effect Settings......................................................................................... 43Installing the Wave Expansion Board.................................................... 46Cautions When Installing an Wave Expansion Board........................................ 46How to Install a Wave Expansion Board .......................................................... 47Checking the Installed Wave Expansion Boards ............................................... 48Installation de la carte d’extension Wave(French language for Canadian Safety Standard) .................................. 49Precautions a prendre lors de l’installation d’une carte d’expansion Wave........ 49Installation d’une carte d’expansion Wave ...................................................... 50Verification des cartes d’extension audio apres installation .............................. 51MIDI Sound Module 53Overview ............................................................................................ 54Performance Mode and Patch Mode ................................................................ 54How a Performance is structured .............................................................................. 54How a Patch is structured ........................................................................................ 54How a Rhythm Set is structured................................................................................. 55Calculating the Number of Voices Being Used ........................................................... 55About the Effects............................................................................................. 56Effects in Performance Mode.................................................................................... 56Effects in Patch Mode.............................................................................................. 56About Memory ............................................................................................... 57Temporary Memory ................................................................................................ 57Rewritable Memory................................................................................................. 57Non-Rewritable memory .......................................................................................... 57Using the SonicCell in Performance Mode ............................................. 58Viewing the MIDI INST (MIDI sound module) screen.......................................... 58Viewing the menu screen (Performance Menu screen)....................................... 59Switching the sound mode (Sound Mode screen) .............................................. 60Specifying the recommended performance tempo(Performance General screen).......................................................................... 60MIDI-related settings (Perform MIDI Filter screen).............................................. 60Viewing the part settings (Part View screen)..................................................... 62If the patch type is Patch.......................................................................................... 62If the patch type is Rhythm Set.................................................................................. 64Selecting patches from a patch list by category (Patch List (Ctg) screen)......................... 65Selecting patches from a patch list by group (Patch List (Grp) screen) ............................ 66Selecting a rhythm set from a list (Rhythm Set List screen) ............................................. 678


ContentsEditing parts (Part Edit screen) ......................................................................... 68Scale Tune settings (Scale Tune screen) ..................................................................... 72Sound Control Initialize ................................................................................... 73Performance Initialize ..................................................................................... 73Performance Write.......................................................................................... 73Editing effects ................................................................................................. 75Selecting the item to edit (Effect Routing screen).......................................................... 77Editing the multi-effects related settings (MFX1–3/MFX1–3 Output screens).................... 78Chorus-related settings (Chorus/Chorus Output screen) ............................................... 78Reverb-related settings (Reverb/Reverb Output screen) ................................................ 79Changing how the multi-effects are combined (MFX Structure screen) ............................ 80Selecting how effects will operate (Effect Source screen).............................................. 80Using MIDI to control the multi-effects (MFX1–3 Control screens)................................... 81Using the SonicCell in Patch Mode ........................................................ 82Viewing the Patch Play screen ......................................................................... 82If the patch type is Patch.......................................................................................... 82If the patch type is Rhythm Set.................................................................................. 83Viewing the menu screen (Patch Menu screen) ................................................. 84Switching the sound mode (Sound Mode screen) .............................................. 84Selecting patches from a patch list ................................................................... 85Selecting patches from a patch list by category (Patch List (Ctg) screen)......................... 85Selecting patches from a patch list by group (Patch List (Grp) screen) ............................ 86Selecting a rhythm set from a list (Rhythm Set List screen) ............................................. 87Editing patches (Patch Edit screen) ................................................................... 88Overall settings for the entire patch (Patch General screen).......................................... 90Selecting how tones are combined (Patch Structure screen) .......................................... 93Settings for matrix control (Patch Mtrx Ctrl1–4 screens) ............................................... 95Waveform-related settings (Patch WG/Patch Pitch Env screen)..................................... 98TVF settings (Patch TVF/Patch TVF Env screen).......................................................... 102TVA settings (Patch TVA/Patch TVA Env screen) ....................................................... 105Patch/Tone output-related settings (Patch Output screen)............................................ 108LFO settings (Patch LFO1, 2/Patch Step LFO screen) ................................................. 109Specifies how the tones will be heard (Patch TMT screen) .......................................... 112Controller-related settings (Patch Ctrl screen) ............................................................ 114Tone Copy.................................................................................................... 115Patch Initialize .............................................................................................. 115Patch Write .................................................................................................. 116Editing rhythm sets (Rhythm Edit screen) ........................................................ 117Edits overall settings for the entire rhythm set (Rhythm General screen) ........................ 118Waveform-related settings (Rhythm Wave screen)..................................................... 120Specifying how a rhythm tone will be heard (Rhythm WMT screen) ............................ 122Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen) ...................... 122TVF settings (Rhythm TVF/Rhythm TVF Env screen)..................................................... 124TVA settings (Rhythm TVA/Rhythm TVA Env screen) .................................................. 1279


ContentsOutput-related settings for the rhythm set and rhythm tones (Rhythm Output screen) ....... 129Rhythm Tone Copy........................................................................................ 130Rhythm Tone Initialize................................................................................... 130Rhythm Set Initialize ..................................................................................... 130Rhythm Set Write.......................................................................................... 131Editing the effects (Patch/Rhythm Set) ............................................................ 132Selecting the item to edit (Effect Routing screen)........................................................ 134Multi-effect settings (MFX/MFX Output screen).......................................................... 134Chorus settings (Chorus/Chorus Output screens) ...................................................... 135Reverb settings (Reverb/Reverb Output screens) ....................................................... 136Controlling the multi-effects via MIDI (MFX Control screen) ......................................... 137Audio Connections 139Using the SonicCell with your computer (USB AUDIO).......................... 140Basic operation............................................................................................. 140Accessing the Menu screen............................................................................ 141Inputting sound from an external device (INPUT) ................................. 142Basic operation............................................................................................. 142Accessing the Menu screen............................................................................ 143Input/output and effect settings (In/Out Routing)................................. 144Selecting the item to edit (In/Out Routing screen) ........................................... 147Input effect settings (Input Effect/Input FX Output screen)................................ 147Selecting the signal sent to your computer (To Computer screen) ..................... 148Specifies how MFX3 will be used (MFX3 Location screen) ............................... 149Saving the MFX3 settings....................................................................................... 149System Write ................................................................................................ 150Using the plug-in version of SonicCell Editor 151SONAR LE ......................................................................................... 152SONAR 6.2 ....................................................................................... 157Cubase 4........................................................................................... 160Logic Pro 7.2 ..................................................................................... 16310


ContentsSMF/Audio File Player 167Playing back songs............................................................................ 168SMF/audio files that can be played ............................................................... 168Song playback ............................................................................................. 168Selecting and playing a song from within a playlist .................................................. 171Playlist Write ................................................................................................ 173Changing the song order .............................................................................. 173Deleting a song from the playlist ................................................................... 173Other Settings 175System Settings.................................................................................. 176General settings (System screen).................................................................... 176Patch Scale Tune settings............................................................................... 178Settings for the Preview function (System Preview screen) ............................... 179Settings for Control-related functions (System Control screen).......................... 179MIDI-related settings (System MIDI screen) ..................................................... 180Viewing information about SonicCell(System SRX Info/System Version Info screens) .............................................. 180Editing the mastering effect (Mastering Effect screen) ...................................... 181Utility functions.................................................................................. 182Backing up user data (User Backup) .............................................................. 182Restoring backed-up data into the SonicCell (User Restore) ............................. 182Returning to the factory settings (Factory Reset).............................................. 183Initializing USB memory (USB Memory Format) .............................................. 183Adjusting the overall tone of the audio output (Master Equalizer) ......... 184Appendices 185Troubleshooting............................................................................................ 186Error Messages............................................................................................. 191Effects List..................................................................................................... 192Performance List ........................................................................................... 222Patch List ...................................................................................................... 223Rhythm Set List ............................................................................................. 233Waveform List .............................................................................................. 242MIDI Implementation..................................................................................... 246Specifications................................................................................................ 278Index ........................................................................................................... 27911


Main FeaturesSuperior Desktop Synthesizer• 128-voice sound module with new sound set featuring true-to-life instruments• Two SRX sound expansion slots for sound set personalizationUSB Audio/MIDI Interface• USB audio interface functionality w/MIC and GUITAR (Hi-Z) inputs• Record using the professional on-board DSP effects• PC/Mac VSTi/AU Editor and Cakewalk SONAR LE software includedPortable Backing Machine• SMF, WAV, AIFF and MP3 playback capability via optional USBmemoryis perfect for the gig• Build playlists of any file-type combination using the playlist editor12


USER‘S GUIDEPanel DescriptionsTop Panelfig.kakubu-topPanel.epsDisplayVarious information is shownhere according to your operations.SRX SlotYou can install SRX series waveexpansion boards here.• Installation → p. 46• Selecting a wave → p. 98USB MEMORY ACCESS IndicatorThis will light when you’re playing song data fromUSB memory that's connected to the SonicCell,or when you're saving data to USB memory.MIDI MESSAGE IndicatorMIDIThis will light when MIDI messages are being receivedfrom a MIDI device connected to the MIDI IN connector.USBThis will light when MIDI messages are being receivedfrom the connected computer.SMF/AUDIO PLAYER ButtonsPress these buttons when you’re usingthe SonicCell as an SMF/audio player.• Playing a song → p. 28, p. 168• Creating a playlist → p. 30(Play/Pause) ButtonPlays/pauses the song data.MENU ButtonYou can press this button to switch to a menuscreen for the current mode or editing screen.• The menu screen of each main mode→ p. 59, p. 68, p. 76, p. 84, p. 88, p. 117, p. 133,p. 141, p. 143, p. 146, p. 169, p. 171, p. 181EXIT ButtonPress this button to cancelan operation.14


Panel DescriptionsMIDI INST ButtonPress this button when youwant to use the SonicCell asa MIDI sound module.• MIDI connections → p. 22, p. 54• Performance → p. 22, p. 58• Patch → p. 23, p. 82USB AUDIO ButtonPress this button when youwant to apply an effect to theaudio signal from the connectedcomputer, or to makeoutput-related settings.• USB AUDIO → p. 140INPUT ButtonPress this button when you want toapply an effect to the signal from adevice connected to the INPUT jack,or to make output-related settings.• Recording a mic or guitar → p. 40• Inputting sound from an externaldevice → p.142■ USER`S GUIDEPART VIEW ButtonIf the MIDI sound module is in Performancemode (p. 54), press this button when youwant to make settings for each part.By pressing this button together withthe [MIDI INST] button, you can switchbetween Performance mode and Patch mode.EFFECTS ButtonPress this button when you want to make effect-related settings.• Applying effects to a performance → p. 78• Applying effects to a patch → p. 26, p. 132• Applying effects to the signal from the Input jack → p. 43CURSOR/VALUE DialUse this to move the cursor, selecta parameter, or edit a value.Press the dial to confirm the value.• How to use [CURSOR/VALUE] → p. 20■ Playing the Demo Songs1fig.disp-plylstslct-demo.epsPress [SMF/AUDIO PLAYER].2fig.disp-demosongs.epsPress [ ].Playback will start from the first song.No. Title Composer Copyright1 Welcome Back Yo Sakaue © 2007 Roland Corporation2 Mach Juan Adrian Scott © 2007 Roland Corporation3 Big & Bold Scott Tibbs © 2007 Roland Corporation4 Human Sonic YUHKI © 2007 Roland Corporation* If USB memory containing song file is connected, select [Demo Songs] in the playlist list screen. For details onplaying from a playlist, refer to p. 28.981a* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is aviolation of applicable laws.982* No data for the music that is played will be output from MIDI OUT.15


USER‘S GUIDERear and Front Panelsfig.kakubu-rearPanel.epsUSB COMPUTER ConnectorUse a USB cable to connect your computer here.This connection can handle both MIDI and audio.• Using the SonicCell with your computer→ p.31, p.135POWER SwitchTurns the power on/off(p. 18).DC IN JackConnect the included AC adaptorhere (p. 18). Do not use any ACadaptor other than the includedone; doing so may causemalfunctions.USB MEMORY ConnectorYou can connect USB memory here anduse the SonicCell to play back files (songs)that have been stored on USB memory.• Playing back songs → p.28, p.167MIDI IN/OUT ConnectorsYou can connect these to other MIDIequipment to send and receive MIDImessages.• Using the SonicCell as a MIDIsound module → p. 22, p. 54Rear PanelSecurity Slothttp://www.kensington.comFront PanelPHONES JackThis is a stereo mini-type jack for connecting headphones.This jack will output the sound received from the INPUT jackmixed with the sound from the USB-connected computer andthe sound from the SonicCell itself.Connecting headphones will not mute the sound from the OUTPUT jack.SAMPLING RATE SwitchThis specifies the sampling rate used to record or play back audio data.After changing this setting, you’ll need to turn the SonicCell’s power off,then on again. If you’re using software, you’ll also need to restart your software.Be sure to set the [SAMPLING RATE] switch to match the sampling rate setting ofthe software you’re using.MASTER VOLUME DialThis adjusts the volume of thesignals output from the PHONESjack and OUTPUT jacks (p. 19).16


Panel DescriptionsINPUT/OUTPUT JacksThese jacks input or output audio signals.INPUT LEVEL KnobAdjusts the input level of thesignal received at INPUT.• Adjusting the input level → p. 42LINE (R) JackWhen using LINE (L) and LINE (R) for stereo input,input the signal for the R channel here.* If you’re inputting in mono, connect it to theLINE (L) jack.You can’t use this jack if the INPUT gain selectswitch is not at the LINE (L) position.• Recording a mic or guitar → p. 40, 142OUTPUT Jacks (R, L/MONO)These jacks output the audio signal.If you’re outputting in mono, connect to theL/MONO jack.These jacks output the combined signals of thesound received from INPUT, the sound from theUSB-connected computer, and the sound fromthe SonicCell itself.■ USER`S GUIDEL/GUITAR/MIC Jack (combo input jack)You can connect either a mic, guitar, or line equipment here.This instrument is equipped with balanced (XLR/TRS) typejacks. Wiring diagrams for these jacks are shown below.Make connections after first checking the wiring diagramsof other equipment you intend to connect.INPUT SOURCE SwitchSet this as appropriate for the device you’veconnected to the LINE (L) jack.If you’ve connected your source to the LINE (R)jack, you must set this switch to LINE (L).LINE (L):Connect a line-level device such as an audiodevice (e.g., CD player) or keyboard.GUITAR (Hi-Z):Connect an electric guitar that’s not beingsent through an effects processor(high-impedance connection).MIC:Connect a mic.• Recording a mic or guitar → p. 40, 142SwitchPlug/connector acceptedNominal input levelLINE1/4“ phone plug (unbalanced)-30 – -10 dBuGUITAR1/4“ phone plug (unbalanced)(High impedance supported)-30 – -10 dBuMICDynamic1/4“ phone plug (balanced or unbalanced),XLR connector* Switch OFF “Phantom Power“ in the INPUT screen.-50 – -30 dBuCondenserXLR connector (48 V phantom power supported)Connecting a phantom-powered condenser mic→In the INPUT screen, turn “Phantom Power” on (p.142)17


USER‘S GUIDETurning the Power On/Off■ Connecting the AC Adaptor123Make sure that the [POWER] switch is off.Connect the included power cord to the included AC adaptor.Connect the AC adaptor to the SonicCell’s DC IN connector, and plug the power cord into an ACoutlet.fig.AC-setsuzoku.epsDC INPlace the AC adaptor so that its lamp light is on the top side.(it lights up when connected to an AC outlet)AC OutletPower CordAC Adaptor(PSB-1U)Lampfig.AC-setchi.eps* Depending on the circumstances of a particularsetup, you may experience a discomforting sensation,or perceive that the surface feels gritty to thetouch when you touch this device, microphonesconnected to it, or the metal portions of otherobjects, such as guitars. This is due to an infinitesimalelectrical charge, which is absolutely harmless.However, if you are concerned about this,connect the ground terminal (see figure) with anexternal ground. When the unit is grounded, aslight hum may occur, depending on the particularsof your installation. If you are unsure of theconnection method, contact the nearest RolandService Center, or an authorized Roland distributor,as listed on the “Information” page.SonicCell Bottom PanelGroundTerminalUnsuitable places for connection• Water pipes (may result in shock or electrocution)• Gas pipes (may result in fire or explosion)• Telephone-line ground or lightning rod (may be dangerous in the event of lightning)* When turning the unit upside-down, get a bunch of newspapers or magazines, and place them underthe four corners or at both ends to prevent damage to the buttons and controls. Also, you should try toorient the unit so no buttons or controls get damaged.* When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tipover.18


Turning the Power On/Off■ Turning the Power OnNOTEOnce the connections have been completed, turn on power to your various devices in the orderspecified. By turning on devices in the wrong order, you risk causing malfunction and/or damageto speakers and other devices.■ USER`S GUIDE12fig.PowerOn.epsMinimize the volume of the SonicCell and of your connectedaudio equipment.Turn on the [POWER] switch.* This unit is equipped with a protection circuit. A brief interval(a few seconds) after power up is required before the unit willoperate normally.Rear PanelPOWER Switch3Use the [MASTER VOLUME] knob to adjust the volume.Front Panel■ Turning the Power OffMASTER VOLUME Knob123Minimize the volume of the SonicCell and of your connected audio equipment.Turn off the power of your connected audio equipment.Turn off the [POWER] switch.The indications in the display will disappear, and the power will turn off.19


USER‘S GUIDEBasic Operation of the SonicCellAbout the display and [CURSOR/VALUE]We’ll explain this using the Performance mode Part View screen as an example.fig.display-sample.eps.Accessing the Part View ScreenAfter turning the power on, make sure that [MIDIINST] is lit, then press [PART VIEW].Moving the Cursor1The cursor will move when you turn [CURSOR/VALUE].cursor.epsthe Name ofthe displayTurnCursorCursorCursorMoving Between Screens1fig.dispCursor3.epsTurn [CURSOR/VALUE] to move the cursor to [PATCH].2fig.cursor-push-epsPress [CURSOR/VALUE].Pressfig.disp-PatchEdit.epsThe Patch Edit screen will appear.3fig.exit-push.epsPress [EXIT].Pressfig.disp-cursor.epsYou’ll return to the Part View screen.20


Basic Operation of the SonicCellEditing a Valuefig.dispCursorValue1Let’s try changing the patch number.1Turn [CURSOR/VALUE] to move the cursorto the patch number.Patch NumberCursor■ USER`S GUIDE2fig.cursor-push-epsPress [CURSOR/VALUE].fig.dispCursorValue2Pressfig.cursor-turn.epsThe patch number will be highlighted.The value at thecursor ishighlighted3Turn [CURSOR/VALUE].Turn14fig.dispCursorValue3The value will change.When you edit the value, an “E” symbol mayappear in the upper right of the screen.In this case, you can save the settings you’veedited.Saving perfoemances➝ Refer to “Performance Write (p. 73 ).”fig.disp-cursorValue4.epsPress [CURSOR/VALUE] once more.The cursor will return to its original state.The valuewill changeShown when youedit the value21


USER‘S GUIDEUsing the SonicCell as a MIDI Sound Module■ Connectionsfig.setsuzoku-MIDI.epsMIDI OUTMIDI KeyboardMonitor Amplifier etc.MIDI INOUTPUTNOTETo prevent malfunction and/or damage to speakers or other devices, always turn down the volume,and turn off the power on all devices before making any connections.When connection cables with resistors are used, the volume level of equipment connected to theinputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors.■ Performance mode and Patch modeWhen using the SonicCell as a MIDI sound module, either Performance mode or Patch mode can beselected.When the power is turned on, Performance mode is selected.For details on Performance mode and Patch mode, refer to p. 54 .Playing theSonicCell in Performance Mode■ Selecting a Performance1fig.button-MIDI-INST-Lite.epsfig.disp-MIDIINST.epsPress [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.2fig.dispMIDIInst1.epsMove the Cursor to the Performance Number.Performance Number13Press [CURSOR/VALUE].The value at the cursor will be highlighted.For details on using [CURSOR/VALUE], refer to p. 20 .1415fig.dispMIDIPrfmNum2.epsTurn [CURSOR/VALUE] to change the performance number.The sound will change.Press [CURSOR/VALUE].22


Using the SonicCell as a MIDI Sound ModulePlaying the SonicCell in Patch Mode■ Selecting Patch Mode1fig.button-MIDI-PART.eps/fig.disp-PatchPlay.epsIn the MIDI INST screen, simultaneously press[MIDI INST] and [PART VIEW].The SonicCell will enter Patch mode, and thePatch Play screen will appear.If you once again hold down [MIDI INST] andpress [PART VIEW], you’ll switch to Performancemode, and the MIDI INST screen willappear.■ USER`S GUIDE■ Setting the MIDI channel123fig.dispPtchPlyRxch.epsIn the Patch Play screen, turn [CURSOR/VALUE] to movethe cursor to “RxCh.”Press [CURSOR/VALUE].The RxCh value will be highlighted.Turn [CURSOR/VALUE] to set the “RxCh” value to matchthe transmit channel of the connected equipment.■ Selecting Sounds12fig.dispPtchSelect.epsIn the Patch Play screen, turn [CURSOR/VALUE] to movethe cursor to the patch number.Press [CURSOR/VALUE].3Turn [CURSOR/VALUE] to change the patch number.The sound will change.23


USER‘S GUIDEExample: Selecting “037 Violin” from the “PR-C” group12fig.dispPtchSlct01.epsIn the Patch Play screen, turn [CURSOR/VALUE] to move thecursor to the patch group.Press [CURSOR/VALUE].Patch Group13fig.dispPtchSlct02.epsTurn [CURSOR/VALUE] to select “PR-C,” then press [CURSOR/VALUE].45fig.dispPtchSlct03.epsTurn [CURSOR/VALUE] to move the cursor to the patch number,then press [CURSOR/VALUE].The patch number will be highlighted.Turn [CURSOR/VALUE] to select “037” as the patch number.“Violin” will be selected.Modifying the Sound (editing a patch)Before you continue, select “037 Violin” from “PR-C” as described in the procedure above.■ Editing the Amp EnvelopeThis specifies how the sound begins and decays.Access the Patch Edit Screen12fig.dispPtchPly-Edithanten.epsIn the Patch Play screen, use [CURSOR/VALUE] to move the corsorto the “EDIT.”Press [CURSOR/VALUE].The Patch Edit screen will appear.3fig.dispPtchEdtTVA.epsTurn [CURSOR/VALUE] to select the graphic below Tone 1“TVA,” then press [CURSOR/VALUE].fig.disp-PatchTVAEnv.epsThe Patch TVA Envelope (T1) screen will appear.24


Using the SonicCell as a MIDI Sound ModuleAdjusting the Attack45fig.dispTVAEnv.epsTurn [CURSOR/VALUE] to move the cursor to “A-Env Time1.”Press [CURSOR/VALUE].The value will be highlighted.■ USER`S GUIDE6Turn [CURSOR/VALUE] to change the value, then press [CUR-SOR/VALUE].When you change the value, the graph in the lower part of thescreen will also change.If you press [EXIT] you’ll return to the previous screen.T1(when you press a key)fig.disp-TVAEnvT1h1.eps• To make the sound begin immediately when you press akey➝ Set “A-Env Time1” to a low valuefig.disp-TVAEnvT1h2.eps• To make the sound begin slowly when you press a key➝ Set “A-Env Time1” to a high valueAdjusting the Release7fig.dispTVAEnvT4.epsTurn [CURSOR/VALUE] to move the cursor to “A-Env Time4.”8Press [CURSOR/VALUE].The value will be highlighted.9Turn [CURSOR/VALUE] to change the value, then press [CUR-SOR/VALUE].When you change the value, the graph in the lower part of thescreen will also change.If you press [EXIT] you’ll return to the previous screen.fig.disp-TVAEnvT4h1.eps• To make the sound stop immediately when you release akey➝ Set “A-Env Time4” to a low valueT4 (when you release a key)fig.disp-TVAEnvT4h2.eps• To make the sound linger after you release a key➝ Set “A-Env Time1” to a high valueMEMOFor details on amp envelope, refer to p. 107 .If you want to save the patch you modified, refer to p. 116 .25


USER‘S GUIDE■ Editing the FilterBy editing the filter settings you can make the tonal character of the sound brighter or darker.123fig.dispPtchPly-Edithanten.epsIn the Patch Play screen, turn [CURSOR/VALUE] to move the cursorto the “EDIT.”Press [CURSOR/VALUE].The Patch Edit screen will appear.fig.dispPtchEdtTVF.epsTurn [CURSOR/VALUE] to move the cursor to the “TVF.”4Press [CURSOR/VALUE].The Patch TVF screen will appear.567fig.disp-PatchTVF1.epsTurn [CURSOR/VALUE] to move the cursor the “Cutoff Frequency.”Press [CURSOR/VALUE].The value will be highlighted.fig.disp-PatchTVF-Cutoff.epsTurn the [CURSOR/VALUE] to edit the value, and then press[CURSOR/VALUE].When you change the value, the graph in the lower part of thescreen will also change.If you press [EXIT] you’ll return to the preceding screen.MEMOFor details on filter, refer to p. 102 .If you want to save the patch you modified, refer to p. 116 .■ Changing the EffectEffects are various types of processing that you can apply to the sound. You can dramatically vary the characterof the sound simply by changing the effect.1fig.button-EFFECTS.epsfig.disp-EfxRouting.epsIn the Patch Play screen, press [EFFECTS].The Effect Routing screen will appear.2fig.dispEfxRtF1.epsTurn [CURSOR/VALUE] to move the cursor “MFX.”fig.dispMFX.eps26


Using the SonicCell as a MIDI Sound Module345Press [CURSOR/VALUE].fig.disp-MFX.epsThe MFX screen will appear.Use [CURSOR/VALUE] to select the MFX type.Press [CURSOR/VALUE].The MFX type indication will be highlighted.MFX Type■ USER`S GUIDE67Use [CURSOR/VALUE] to change the MFX type.Press [CURSOR/VALUE].If you press [EXIT] you’ll return to the preceding screen.MEMOFor details on effect editing, refer to p. 132 .If you want to save the patch you modified, refer to p. 116 .Using the Editor and LibrarianConnectionsfig.setsuzoku-MIDI-editor.epsComputerTo USB Connectorof ComputerUSB COMPUTERUSB cableDedicated editor and librarian software is included with the SonicCell.By using the editor you can edit the SonicCell’s performance and patch parameters on your computer.You can edit the settings while viewing them in the large screen of your computer.By using the librarian you can manage the edited settings on your computer.For details on installing the software, refer to p. 31 .For details on using the software, refer to the PDF manual that is installed along with the software.27


USER‘S GUIDEPlaying Songs (Portable Backing Machine)The SonicCell can play back MIDI files (SMF) and audio files (WAV, AIFF, MP3).This is a convenient function that you can also use to play backing tracks during a live performance.■ Connectionsfig.setsuzoku-pbm.eps* Save the song data inthe root directory ofyour USB memory.SMF, WAV,AIFF, MP3USBMEMORYOUTPUTMonitor Amplifier etc.* Use only USB memory sold by Roland. Operation cannot be guaranteed when products other than there isused. Proper operation cannot be guaranteed if other USB memory products is used.* Connect the USB memory after the SonicCell's power is turned on.* If, after a USB memory device has been removed, you decide that you want to connect it again, you’ll needto switch the SonicCell’s power off, then switch it back on again.NOTETo prevent malfunction and/or damage to speakers or other devices, always turn down the volume,and turn off the power on all devices before making any connections.When connection cables with resistors are used, the volume level of equipment connected to theinputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors.■ File Formats that You Can PlayFor details on the file formats that you can play, refer to p. 168 .■ Playing the Demo SongsRefer to p. 15Playback ProcedureBefore you continue, make sure that the USB memory containing the song file you want to play is connectedto the SonicCell.You should also make sure that the SonicCell is set to Performance mode (p. 60 ).* When saving song file on your USB memory, be sure to save it in the root directory.1fig.button-PBM.epsPress [SMF/AUDIO PLAYER].The Playlist Select screen will appear.2fig.disp-PlyLstSlct-Root.epsTurn [CURSOR/VALUE] to move the cursor to the “USB Memory.”28


Playing Songs (Portable Backing Machine)3Press [CURSOR/VALUE].fig.disp-PlayListC.epsA list of the songs in the USB memory will appear.■ USER`S GUIDE4fig.disp-PlayListSong.epsTurn [CURSOR/VALUE] to select a song, then press [CURSOR/VALUE].The selected song will be displayed.* The song length indicated in the display may differ from theactual song length.5fig.button-PBM.eps/fig.disp-song-play.epsPress [ ].The selected song will play.6Press [] to stop the song.If you press [EXIT] you’ll return to the preceding screen.About the Sampling Ratefig.SmplRateSW.epsThe SonicCell will play songs that were saved withthe same sampling rate as the setting for the [SAM-PLING RATE] switch on the front panel.Songs whose sampling rate differs from the Sonic-Cell’s setting will be shown in the list of songs, butcannot be selected or played.In this case, move the sampling rate switch to therate of the song you want to play, then turn theSonicCell’s power off, then on again.SAMPLING RATESWITCH12Change the setting of the [SAMPLING RATE] switch.Switch off the SonicCell’s power, then turn it back on.29


USER‘S GUIDECreating a PlaylistYou can use the included “SonicCell Playlist Editor” to create a playlist for playback by the SonicCell.If you want to use the SonicCell to play backing tracks, it’s convenient to create a playlist in the order youwant the songs to play.For details on installing “SonicCell Playlist Editor,” refer to p. 31 .For details on using the software, refer to the PDF manual that is installed along with the software.screen-playlisteditor.epsPerforming via MIDI while a Song Plays■ Connectionsfig.setsuzoku-pbm-MIDI.epsfig.setsuzoku-pds10.epsMIDI KeyboardUSBMEMORYMIDI INMIDI OUTOUTPUTMonitor Amplifier etc.By using the separatelyavailable PDS-10 andBKT-S, you can set up theSonicCell as shown in theillustration.*If you use the PDS-10,spread the tripod to themaximum extent.Ensure that the totalheight including theSonicCell does notexceed one meter.PDS-10 BKT-S30


Connecting the SonicCell to Your ComputerYou can use the SonicCell as an external sound module for your DAW or sequencer software.NOTEYou must install the driver before you connect the SonicCell to your computer.■ USER`S GUIDE■ Example Connections and Preparations for Installationfig.setsuzoku-DAW.epsComputerTo USB Connectorof ComputerMIDI KeyboardPower offDisconnectMIDI OUTUSB cableUSB COMPUTERMIDI INOUTPUTMonitor Amplifier etc.Rear PanelPower offIn the System screen,turn USB MIDI THRU“ON” (p. 173)Front PanelSet the sampling rate to44.1 kHzNOTETo prevent malfunction and/or damage to speakers or other devices, always turn down the volume,and turn off the power on all devices before making any connections.When connection cables with resistors are used, the volume level of equipment connected to theinputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors.NOTEIt is forbidden to use SonicCell Editor, SonicCell Librarian, or SonicCell Playlist Editor for rental,lease, or similar purposes without the permission of the copyright owner. Unauthorized duplicationis forbidden by law.31


USER‘S GUIDEdousa.epsSonicCell Editor System RequirementsWindows OSWindows : Microsoft ® Windows ® XPMicrosoft ® Windows Vista* This does not work with the 64-bit Edition ofWindows Vista.CPU/Clock : Pentium ® /Celeron ® processor 1.4 GHz or higherRAM : 512 MB or moreHard Disk : 160 MB or moreDisplay/Colors : 1280 x 800 or higher/24 bit Full Color ormoreOthers : A computer with a USB connector that supports USBSpecification Revision 2.0 or higher* Intel chipset is recommended.* SonicCell may not perform to its full specs when usedwith an added USB 2.0 interface card.CD-ROM DriveMac OSOperating System : Mac OS 10.4.3or laterCPU/Clock : PowerPC G4 1 GHz orhigher/Intel processorRAM : 512 MB or moreHard Disk : 160 MB or moreDisplay/Colors : 1280 x 800 orhigher/1670 millioncolors or moreOthers : Apple Macintosh seriescomputer with on-board USB2.0CD-ROM Drive*Although Roland has tested numerous configurations, and has determined that on average, a computersystem similar to that described above will permit normal operation of the SonicCell Applications, Rolandcannot guarantee that a given computer can be used satisfactorily with the SonicCell Applications basedsolely on the fact that it meets the left requirements. This is because there are too many other variables thatmay influence the processing environment, including differences in motherboard design and the particularcombination of other devices involved.*In the interest of product improvement, the specifications and/or contents of this package are subject tochange without prior notice.■ Installation ProcedureWindows XP users................................... p. 33Windows Vista users ............................... p. 35Mac OS users........................................... p. 37Installing SONAR LE .............................. p. 152Specifications of the dedicated plug-in version of the editorSonicCell Editor is provided in two forms: a stand-alone version and a plug-in version.Plug-in Formats• Windows: VSTi• Mac: VSTi, Audio UnitHost Applications in Which Operation has been VerifiedIf you’re using the plug-in version of the editor, please refer also to the applicable explanation.• SONAR LE ➝ p. 152• SONAR 6.2 ➝ p. 157• CUBASE 4 ➝ p. 160• Logic Pro 7.2 ➝ p. 163* In order to use plug-in version of the editor, your computer must meet the above operating requirements aswell as the requirements of the host application you're using.* The plug-in version of the editor has been tested and found to work with major host applications, but we cannotguarantee that it will work with all host applications.32


Connecting the SonicCell to Your ComputerWindows XP usersIn order to install the driver and software, you must log on as a user who has administrative privileges.* For details, ask the system administrator of your computer.■ USER`S GUIDENOTEOn the SonicCell Editor CD, the XP folder located inside the Driver folder contains a Readmefile (Readme_E.html), which explains how to install the driver and includes a number of troubleshootingtips. Be sure to read this file before using the software.Installing the Driver123456Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, ifused).Log on to Windows as one of the following users.• A user belonging to the Administrators group, such as Administrator• A user whose account type is Computer Administrator* For details, contact the system administrator of the computer you’re using.Close all applications.Also close any anti-virus or system-monitoring software.Insert theSonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder | XPfolder, and double-click Setup.exe.The screen will indicate “Roland SonicCell Driver will be installed on your computer...”Click [Next].* If any other message is displayed, proceed as directed by the contents of the message.The message “To begin installation, click [Next]” will appear. Proceed with the driver installationas directed by the instructions in the screen.33


USER‘S GUIDEWindows Settings■ System SettingsThese settings will prevent problems with the sound being interrupted when you play back audio from yourcomputer.123145Open “Control Panel” and double-click “System.”* If you don’t see the above icon, click “Performance and Maintenance,” then click “System.”Click the “Advanced” tab, and then in the Performance section click [Settings].Click the “Advanced” tab.Choose “Background services” and click [OK].Click [OK] to close “System Properties.”■ Settings for Using the Media Player Included with Windows123Open “Control Panel” and double-click “Sounds and Audio Devices.”* If you don’t see the above icon, click “Sounds, Audio, and Audio Devices,” then click “Sounds andAudio Devices.”Click [OK] to close “Sounds and Audio Devices Properties.”Start up Windows Media Player, play back an audio file and a MIDI file, and verify that you hearthe sound correctly.Installing SonicCell Editor123Insert theSonicCell Driver CD-ROM” into your CD-ROM drive, navigate to the Editor folder, anddouble-click Setup.exe.The “Welcome” screen will appear. Click [Next].Follow the on-screen directions to install SonicCell Editor.When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librarian,SonicCell Playlist Editor, and online manuals for each editor will be installed.The online manual for each editor can be found under Windows “Start | All Programs |SonicCell Editor” folder. The online manuals are provided as PDF files.You’ll need Adobe Reader (available free of charge) in order to view PDF files.34


Connecting the SonicCell to Your ComputerWindows Vista UsersIn order to install the driver and software, you must log on as a user who has administrative privileges.* For details, ask the system administrator of your computer.■ USER`S GUIDENOTEThe Driver | Vista folder of the SonicCell Driver CD-ROM contains a Readme file(Readme_E.html) that describes driver installations and troubleshooting. Be sure to read thisbefore use.Installing the Driver1231456Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, ifused).Close all applications.Also close any anti-virus or system-monitoring software.Place theSonicCell Editor CD” into your CD-ROM drive, navigate to the Driver folder | Vistafolder, and double-click Setup.exe.* If the message “Drivers must be installed by an administrator user.” is displayed, log on to Windows asa user whose account type is Administrator, and then perform the installation again.A User Account Control screen will appear; click [Continue].A message of “Roland SonicCell Driver will be installed on your computer...” will appear.Click [Next].* If any other message is displayed, proceed as directed by the contents of the message.The message “Click [Next] to begin the installation” will appear. Proceed with the driver installationas directed by the instructions in the screen.35


USER‘S GUIDEWindows Settings■ Settings for using the Media Player included with Windows1234Open “Control Panel,” click “Hardware and Sounds,” then click “Sounds.”* If you’ve chosen the Classic View, double-click “Sounds.”In “Playback,” choose Roland SonicCell’s “OUT” and click “Set Default.”Click [OK] to close “Sounds.”Start up Windows Media Player, play back an audio file, and verify that sound is produced correctly.Installing SonicCell Editor1234Insert theSonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Editor folder, anddouble-click Setup.exe.The screen will indicate “An unidentified program is requesting access to this computer”; click[Allow].A User Account Control screen will appear; click [Continue].The installer will start up. Follow the on-screen instructions to proceed with installing SonicCellEditor.When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librarian,SonicCell Playlist Editor, and online manuals for each editor will be installed.The online manual for each editor can be found under Windows “Start | All Programs |SonicCell Editor” folder. The online manuals are provided as PDF files.You’ll need Adobe Reader (available free of charge) in order to view PDF files.36


Connecting the SonicCell to Your ComputerMac OS X UsersIn order to install the driver and other software, you must log on as a user who has an administrativeaccount.* For details, ask the system administrator of the computer you’re using.* The included SONAR LE is not compatible with Mac OS.■ USER`S GUIDEInstalling the Driver* If an “Authentication” dialog box appears during the installation, enter your password and click [OK].12345678Start up your computer with all USB cables disconnected (except for the keyboard and mouse).Insert theSonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder, anddouble-click “SonicCellUSBDriver.pkg.”You may see the message “This installer package needs to run a program to determine if it canbe installed. Do you want to continue?”In this case, click [Continue].A message will indicate “Welcome to Roland SonicCell Driver installer.”Click [Continue].A message will indicate “Select a Destination.”Click to select the drive in which the system is installed, and then click [Continue].A message will indicate “Easy install.”Click either [Install] or [Upgrade].A message will indicate “Installing this software requires you to restart...” Click [Continue withinstallation].A message will indicate “The software was successfully installed” will appear. Click [Restart] torestart your computer.37


USER‘S GUIDEInstalling SonicCell Editor12In theSonicCell Editor CD-ROM,” navigate to the Editor folder and double-click “SonicCell EditorInstaller.mpkg.”The installer will start up. Follow the on-screen instructions to proceed with installing SonicCellEditor.When you install SonicCell Editor, the SonicCell Editor, SonicCell Librarian, SonicCell Playlist Editor,and online manuals for each editor will be installed.The “Manual” folder within the folder where SonicCell Editor is installed containsonline manuals for each editor. The online manuals are provided as PDF files.You’ll need Adobe Reader (available free of charge) in order to view PDF files.Settings■ Mac OS X Audio Input/Output Settings123Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power.In “System Preference,” click “Sounds.”Choose “Roland SonicCell ** kHz” for the following settings.(** will depend on the sampling rate setting of the SonicCell itself.)• In the “Sound Effects” tab, “Play alerts and sound effects through:”• In the “Output” tab, “Choose a device for sound output”• In the “Input” tab, “Choose a device for sound input”■ Mac OS X MIDI Input/Output Settings123Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power.In the “Applications - Utilities” folder, double-click “Audio MIDI Setup” to start it up.Click the “MIDI Devices” tab.38


Connecting the SonicCell to Your Computer24In the “Audio MIDI Setup” dialog box, verify that “SonicCell” is shown.* If “SonicCell” is not shown, or if it is shown grayed-out, the SonicCell was not detected correctly. Tryclicking “Re-scan MIDI.” You can also try switching off the SonicCell’s power, then turning it back on.* If a different version of the driver had been installed, the old settings may still exist. In this case, clickthe grayed-out “SonicCell” or “Roland SonicCell” to select it, and then click “Delete device” to deletethe settings.■ USER`S GUIDE56789101112Click “Add Device.” A “New External Device” item will appear.Click added “New External Device” that was added, and then click “View Information.”Enter the following names in the “Device Name” field of each “New External Device.”First new external deviceSonicCellDrag with the mouse so that the up/down arrows indicating the input/output ports are connectedas follows.• Connect the first up/down arrow of “SonicCell” to the up/down arrow of the added “Sonic-Cell”Verify that MIDI transmission and reception is occurring normally.• Click “Test Settings.” The mouse cursor will change to the shape of a musical note.Click the added external device. If you hear sound from the sound module, the settings are correct.Click ”Test Setup” once again to end the test.Close the “Audio MIDI Settings” dialog box. This completes the settings.■ Before You Use the SonicCell with Your Software123Use a USB cable to connect the SonicCell to your computer before you start up your software.In the Audio Driver settings of the software you’re using, choose “Roland SonicCell ** kHz.”(** will depend on the sampling rate setting of the SonicCell itself.)In the MIDI Driver settings of the software you’re using, choose SonicCell.For details, refer to the manual of the software you’re using.39


USER‘S GUIDEUsing the Line InputKeyboardLINE (R)OUTPUTL/GUITAR/MICfig.setsuzoku-input-Line.epsSettings RequiredINPUT SOURCE switch➝ Set to “LINE”If you’re inputting in mono (one cable)➝ Connect to L (MONO)If you want to apply an effect➝ Refer to p. 144Input SourceSwitchAdjusting the Input VolumeChecking the Volume Level1fig.dispInputLvmtr.epsPress [INPUT] so it’s lit.The Input screen will appear.If the volume is too high, the level meter at the bottom ofthe Input screen will indicate “CLIP.”Adjusting the Volume1Use the rear panel [INPUT LEVEL] to adjust the input volume.Raise the volume as high as you can without causing the “CLIP” indication to appear in the level meterof the Input screen.fig.InputVolume.epsINPUTLEVEL42


Recording a Mic or Guitar (USB/Audio Interface)Input Effect SettingsIf you want to apply an effect to the sound from the Input jack, change the settings as appropriate for yoursituation.■ Sending the Same Sound as Heard From the Speakers toYour ComputerInput-b.epsSonicCellMonitor Amplifier etc.■ USER`S GUIDEMicPatch,PerformanceInputInput FXReverb,Chorus,MasteringEffectComputer■ Settings Required1Press [INPUT] so it’s lit.The Input screen will appear.Routing the Sound Through InputFX (input effect)2fig.disp-Input-Assign.epsTurn [CURSOR/VALUE] to move the cursor to the “Assign.”34Press [CURSOR/VALUE].Change the value to “To Input FX.”For more about the Input “Assign” setting ➝ p. 142To select the type of input effect ➝ p. 147fig.disp-InOutRouting.epsfig.disp-InOutRouting-ToCom.epsSetting the Output to Computer567Press [EFFECT] to access the In/Out Routing screen.* The illustration at right is an example of the IN/OUT Routingscreen in Performance mode.Turn [CURSOR/VALUE] to move the cursor to “To Com.”Press [CURSOR/VALUE].The To Computer screen will appear.43


USER‘S GUIDE8fig.disp-ToCom-Type-Mix.epsTurn [CURSOR/VALUE] to move the cursor to the “Type.”9Press [CURSOR/VALUE].10Change the value of Type to “MIX.”For more about the “Type” setting of To Computer screen➝ p. 148fig.disp-EffectSwitch.epsIf the Input Effect is Not AppliedIn the In/Out Routing screen, press [MENU] to access the Menu screen.Turn the Input Effect “ON.”MEMOIf you want to make more detailed effect settings, refer to thefollowing pages.• Input Effect ➝ p. 147• Chorus Send Level ➝ p. 148• Reverb Send Level ➝ p. 148• Mastering Effect ➝ p. 181■ Applying an effect such as reverb to the sound heard fromthe speakers, while recording the unprocessed sound toyour computerInput-a.epsMonitor Amplifier etc.SonicCellMicPatch,PerformanceInputInput FXReverb,Chorus,MasteringEffectComputer■ Settings Required1Press [INPUT] so it’s lit.The Input screen will appear.fig.disp-Input-Assign.epsRouting the Sound Through InputFX (input effect)23Turn [CURSOR/VALUE] to move the cursor to the “Assign.”Press [CURSOR/VALUE].44


Recording a Mic or Guitar (USB/Audio Interface)4Change the value to “To Input FX.”For more about the Input “Assign” setting ➝ p. 142To select the type of input effect ➝ p. 147To adjust the depth of chorus or reverb ➝ p. 148fig.disp-InOutRouting.epsfig.disp-InOutRouting-ToCom.epsSetting the Output to Computer■ USER`S GUIDE567Press [EFFECT] to access the In/Out Routing screen.* The illustration at right is an example of the IN/OUT Routingscreen in Performance mode.Turn [CURSOR/VALUE] to move the cursor to “To Com.”Press [CURSOR/VALUE].The To Computer screen will appear.8fig.disp-ToComputer.epsTurn [CURSOR/VALUE] to move the cursor to the “Type.”9Press [CURSOR/VALUE].10Change the value of Type to “INPUT FX.”For more about the “Type” setting of To Computer screen➝ p. 148fig.disp-EffectSwitch.epsIf the Input Effect is Not AppliedIn the In/Out Routing screen, press [MENU] to access the Menuscreen.Turn the Input Effect “ON.”MEMOIf you want to make more detailed effect settings, refer to the following pages.• Input Effect ➝ p. 147• Chorus Send Level ➝ p. 148• Reverb Send Level ➝ p. 148• Mastering Effect ➝ p. 18145


USER‘S GUIDEInstalling the Wave Expansion BoardTwo Wave Expansion Boards (SRX series; sold separately) can be installed in the SonicCell.Waveform data, patches and rhythm sets are stored on the Wave Expansion Board, so you can increasethe number of available sounds by installing the board in the SonicCell.NOTEInstalling a Wave Expansion Board increases the patches and drum sets for Parts, but the numberof Parts doesn’t change. The Wave Expansion Board can be installed by removing the topcover.Cautions When Installing an WaveExpansion Board●●●●●●●●911●912●913●To avoid the risk of damage to internal components that can be caused by static electricity, please carefullyobserve the following whenever you handle the board.❍ Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure thatany static electricity you might have been carrying has been discharged.❍ When handling the board, grasp it only by its edges. Avoid touching any of the electronic components orconnectors.When removing the screws, you must use the included Allen wrench. If you use the wrong tool, you riskdamaging the screw head.fig.30-001-eTo remove a screw, rotate the Allen wrench counter-clockwise. To tighten thescrews, rotate the Allen wrench clockwise.loosentightenWhen you tighten the screws, take care not to overtighten them. Doing so maycause the screw head to be stripped, allowing the Allen wrench to turn uselessly.When installing Wave Expansion Boards, remove only the specified screws.Be careful that the screws you remove do not drop into the interior of the SonicCell.Do not leave the cover removed. After installation of the Wave Expansion Boards is complete, be sure toreplace the cover.Be careful not to cut your hand on the opening for installing the board.Do not touch any of the printed circuit pathways or connection terminals.Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, removethe board and try again.When circuit board installation is complete, double-check your work.46


Installing the Wave Expansion BoardHow to Install a Wave Expansion BoardTo install a wave expansion board, you’ll need to remove the top panel cover. Boards can be installed inthe EXP A-EXP B slots. These slots correspond with the Wave Expansion Board groups (XP-A-XP-B) when theexpansion Wave, patches, and rhythm sets are used.12Before installing the Wave Expansion Board, turn off the power of the SonicCell and all connecteddevices, and disconnect all cables, including the Power cable, from the SonicCell.fig.SRX-Install0-e.epsFrom the SonicCell, remove only thescrews shown in the following diagram,and detach the top panel cover.Screws to be removed■ USER`S GUIDEAllen Wrench(2mm)345vfig.SRX-Install3-e.epsAs shown in the following illustration, plugthe connector of the Wave ExpansionBoard into the connector of the relevantslot, and at the same time insert the boardholder through the hole of the WaveExpansion Board.* If you install expansion boards of the sametype, only one board will be detected.fig.SRX-Install4-e.epsUse the Installation Tool supplied with theWave Expansion Board to turn the holdersin the LOCK direction, so the board will befastened in place.Use the screws that you removed in step 2to fasten the cover back in place.Board holderPosition them as shownbefore you install the board.Installation toolWave Expansion Board(SRX series)ConnectorLOCK47


USER‘S GUIDEChecking the Installed WaveExpansion BoardsAfter installation of the Wave Expansion Boards has been completed, check to confirm that the installedboards are being recognized correctly.112Turn on the power, as described in “Turning the Power On” (p. 19 ).fig.disp-Menu-left-Snd.epsPress [MENU].The Menu screen will appear.3fig.disp-menu-right-info.epsTurn [CURSOR/VALUE] to select “SRX Info.”4fig.disp-SysSRXInfo.epsPress [CURSOR/VALUE].Press or to display System SRX Info screen.The System screen will appear. Verify that the name of theinstalled Wave Expansion Board is displayed.NOTEIf “- - - - - - - ” appears next to the installed slot name, it’s possible that the installed Wave ExpansionBoard is not being recognized correctly. Re-install the Wave Expansion Board correctly.5Press [EXIT] to exit the System screen.48


Installation de la carte d’extension Wave(French language for Canadian Safety Standard)fig.French_CSADeux cartes d’expansion Wave (serie SRX; vendues separement) peuvent etre installees dans le SonicCell.Les donnees Waveform, les retouches et les groupes de rythme sont stockes sur la carte d’expansion Wave;vous pouvez donc augmenter le nombre de sons disponibles en installant la carte dans le SonicCell.■ USER`S GUIDENOTEInstaller une carte d’expansion Wave augmente les retouches et les groupes de percussionpour les partitions mais le nombre de partitions ne change pas.Precautions a prendre lors de l’installationd’une carte d’expansion Wave●●●●●●●●●●●Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’eviter tout risqued’endommagement des pieces internes par l’electricite statique.❍ Toujours toucher un objet metallique relie a la terre (comme un tuyau par exemple) avant de manipuler lacarte pour vous decharger de l’electricite statique que vous auriez pu accumuler.❍ Lorsque vous manipulez la carte, la tenir par les cotes. Evitez de toucher aux composants ou auxconnecteurs.Utiliser la clé Allen incluse pour retirer les vis. L'utilisation d'un outil inadéquat risque d'endommager la têtede la vis.fig.30-001-fPour retirer une vis, tourner la clé hexagonale dans le sens contraire desaiguilles d'une montre. Pour serrer les vis, tourner la clé hexagonale dans lesens des aiguilles d'une montre.desserrerresserrerVeiller à ne pas trop serrer les vis. Un serrage excessif peut fausser la tête des vis et la clé Allen tourneraitalors inutilement.Pour installer les cartes d’expansion Wave, retirer uniquement les vis mentionnees..Assurez-vous que les vis retirees ne tombent pas dans le SonicCell.Replacer le couvercle pour ne pas laisser l'ouverture béante. S’assurer de l’avoir rattacher apres avoir installele disque dur.Faites attention de ne pas vous couper sur l’ouverture d’installation de la carte.Ne pas toucher aux circuits imprimes ou aux connecteurs.Ne jamais forcer lors de l’installation de la carte de circuits imprimes. Si la carte s’ajuste mal au premieressai, enlevez la carte et recommencez l’installation.Quand l’installation de la carte de circuits imprimes est terminee, reverifiez si tout est bien installe.49


USER‘S GUIDEInstallation d’une carte d’expansion WavePour installer une carte d’expansion Wave, il faut retirer le couvercle superieur. Les cartes peuvent etreinstallees dans les emplacements SRX-A- SRX-B. Ces fentes correspondent aux groupes de cartes d’expansionWave (XP-A- XP-B) lorsque l’expansion Wave, les correctifs et rythmes sont utilises.112Avant d’installer la carte d’expansion Wave, coupez l’alimentation du SonicCell et de tous lesappareils branches, et debranchez tous les cables du SonicCell, y compris le cable d’alimentation.fig.SRX-Install0-f.epsRetirer du SonicCell, uniquement les vis montreesdans le diagramme ci-dessous etdetacher le couvercle superieur.Clé hexagonale(2 mm)Vis à enlever345fig.SRX-Install3-f.epsComme le montre l’illustration ci-dessous,branchez le connecteur de la carte d’expansionWave dans la fente appropriee et, enmeme temps, inserez le support de carte decircuits imprimes dans l’ouverture de lacarte d’expansion Wave.* Si plusieurs cartes d’expansion du memetype sont installees, une seule sera detectee.fig.SRX-Install4-f.epsUtilisez l’outil d’installation fourni avec lacarte d’expansion Wave pour tourner lessupports en position LOCK (verrouille) afinde retenir la carte en place.Remettez le couvercle en place a l’aide desvis retirees a l’etape 2.Support à carteAvant l’installation,orienter les supports à cartetel qu’indiqué sur le schéma.Outil d’installationCarte d’extension Wave(serie SRX)ConnecteurLOCK50


Installation de la carte d’extension Wave (French language for Canadian Safety Standard)Verification des cartes d’extensionaudio apres installationLorsque l’installation des cartes d’extension audio est terminee, proceder a une verification pour s’assurerque l’ordinateur les identifie correctement.■ USER`S GUIDE112Mettre sous tension de la facon decrite sous “Turning the Power On” (p. 19 ).fig.disp-Menu-left-Snd.epsAppuyer sur [MENU].L'écran Menu s'affichera à l'écran.3fig.disp-menu-right-info.epsTourner [CURSEUR/VALEUR] pour sélectionner “SRX Info.”4fig.disp-SysSRXInfo.epsAppuyer sur [CURSOR/VALUE].L’ecran System Edit s’affiche. Verifiez que le nom de la carted’expansion Wave installee s’est affiche.NOTESi “- - - - - - -” est affiche a cote du nom de la fente dans laquelle la carte est installee, il est possibleque la carte d’extension audio installee ne soit pas reconnue correctement. Reinstaller correctementla carte d’extension audio.5Appuyer sur [EXIT] pour quitter la fenetre du systeme.51


52MEMO


MIDI Sound Module53


OverviewYou can use the SonicCell as a MIDI sound module in either of two modes: Performance mode or Patch mode.Performance Mode and Patch ModePerformance modeIn Performance mode you can use multiple patches or rhythmsets simultaneously. A performance contains sixteen “Parts.”You can assign a patch or rhythm set to each part, and usethem as an ensemble, or layer sounds to create rich textures.Since in Performance mode you can use an external MIDIdevice or sequencer software to independently control each ofthe SonicCell’s sixteen parts, this is the mode to use whenyou’re creating a song.With the factory settings, Performance mode is selected.The SonicCell’s sixty-four preset performances have beencreated to be appropriate for the following uses.PRST01–33 For song productionPRST34–64 For playing■ Patch modeIn Patch mode you can use a connected keyboard or otherdevice to play a single Patch on the SonicCell. Since Patchmode lets you use a variety of effects on a single patch, youcan play very rich textures.In Patch mode it’s also easy to edit the selected sound, so thisis the mode to use when editing or creating your own sounds.How a Performance is structuredA performance has a patch or rhythm set assigned to each ofthe 16 parts, and can simultaneously handle 16 sounds.Because the SonicCell sound generator can control multiplesounds (instruments) it is called a Multi-timbral soundgenerator.■ PartOn the SonicCell, a “part” is something to which you assign apatch or rhythm set. In Performance mode, each performancehas sixteen parts, and you can assign a patch or rhythm set toeach part.How a Patch is structuredPatches are the basic sound configurations that you playduring a performance. Each patch can be configured bycombining up to four tones. How the four tones are combinedis determined by the Structure Type parameter.PatchTone1■ TonesTone2Tone3Tone4Example 1: A Patch consisting of only one Tone(Tones 2–4 are turned off).PatchTone1Tone2Tone3Tone4Example 2: A Patch consisting of four Tones.On the SonicCell, the tones are the smallest unit of sound.However, it is not possible to play a tone by itself. The patch isthe unit of sound which can be played, and the tones are thebasic building blocks which make up the patch.PerformanceToneLFO 1 LFO 2Part 16WGTVFTVAPart 1Patch/Rhythm SetPitchEnvelopeTVFEnvelopeTVAEnvelopeaudio signalcontrol signalWG (Wave Generator)Specifies the PCM waveform (wave) that is the basis of the54


Overviewsound, and determines how the pitch of the sound will change.TVF (Time Variant Filter)Specifies how the frequency components of the sound willchange.TVA (Time Variant Amplifier)Specifies the volume changes and the sound’s position in astereo soundfield.EnvelopeYou use Envelope to initiate changes to occur to a sound overtime. There are separate envelopes for Pitch, TVF (filter), andTVA (volume).LFO (Low Frequency Oscillator)Use the LFO to create cyclic changes (modulation) in a sound.The SonicCell has two LFOs. Either one or both can beapplied to effect the WG (pitch), TVF (filter) and/or TVA(volume). When an LFO is applied to the WG pitch, a vibratoeffect is produced. When an LFO is applied to the TVF cutofffrequency, a wah effect is produced. When an LFO is appliedto the TVA volume, a tremolo effect is produced.How a Rhythm Set is structuredRhythm sets are groups of a number of different percussioninstrument sounds. Since percussion instruments generally donot play melodies, there is no need for a percussion instrumentsound to be able to play a scale on the keyboard. It is,however, more important that as many percussion instrumentsas possible be available to you at the same time. Therefore,each key (note number) of a rhythm set will produce a differentpercussion instrument.Rhythm SetNote number 98 (D7)Note number 97 (C#7)Note number 36 (C2)Note number 35 (B1)Rhythm Tone (Percussion instrument sound)WGTVFTVAPitchEnvelopeTVFEnvelopeTVAEnvelope* There are four wave generators for each rhythm tone(percussion instrument sounds).* LFO is not included in the rhythm tones (percussioninstrument sounds).Calculating the Number of Voices BeingUsedThe SonicCell is able to play up to 128 notes simultaneously.The polyphony, or the number of voices (sounds) does notrefer only to the number of patches actually being played, butchanges according to the number of tones used in the patches,and the number of waves used in the tones. The followingmethod is used to calculate the number of sounds used for onepatch being played.(Number of patches being played) x (Number of tones used bypatches being played) x (Number of waves used in the tones)For example, a patch that combines four tones, each of whichuse two waves, will use eight notes of polyphony at once.Also, when playing in Performance mode, the number ofsounds for each part is counted to obtain the total number ofsounds for all parts.■ How a Patch SoundsWhen the SonicCell is requested to play more than 128 voicessimultaneously, currently sounding notes will be turned off tomake room for newly requested notes. The note with the lowestpriority will be turned off first. The order of priority isdetermined by the Patch Priority setting (p. 90).Patch Priority can be set either to “LAST” or “LOUDEST.”When “LAST” is selected, a newly requested note that exceedsthe 128 voice limit will cause the first-played of the currentlysounding notes to be turned off. When “LOUDEST” is selected,the quietest of the currently sounding notes will be turned off.Usually, “LAST” is selected.■ Note priority in Performance ModeSince Performance mode is usually used to play an ensembleconsisting of several patches, it is important to decide whichparts take priority. Priority is specified by the Voice Reservesettings (p. 71). When a note within a patch needs to beturned off to make room for a new note, the Patch Prioritysetting of the patch will apply (p. 90).■ Voice ReserveThe SonicCell has a Voice Reserve function that lets youreserve a minimum number of notes that will always beavailable for each part. For example if Voice Reserve is set to“10” for part 16, part 16 will always have 10 notes of soundproducingcapacity available to it even if a total of more than128 notes (total for all parts) are being requested. When youmake Voice Reserve settings, you need to take into account thenumber of notes you want to play on each part as well as thenumber of tones used by the selected patch (p. 71).It is not possible to make Voice Reserve settings that wouldcause the total of all parts to be greater than 64 voices.55


OverviewAbout the EffectsThe SonicCell has built-in effect units, and you canindependently edit each unit’s settings.■ Multi-EffectsThe multi-effects are multi-purpose effects that completelychange the sound type by changing the sound itself.Contained are 78 different effects types; select and use thetype that suits your aims. In addition to effects types composedof simple effects such as Distortion, Flanger, and other sucheffects, you can also set up a wide variety of other effects,even connecting effects in series or in parallel. Furthermore,while chorus and reverb can be found among the multi-effectstypes, the following chorus and reverb are handled with adifferent system. In Performance mode, three types of multieffectcan be used simultaneously; these are referred to asMFX1, MFX2, and MFX3. In Patch mode, you can use onemulti-effect.■ ChorusChorus adds depth and spaciousness to the sound. You canselect whether to use this as a chorus effect or a delay effect.Effects in Performance ModeThe multi-effects, chorus and reverb effects can be setindividually for each performance. The intensity of each effectwill be set for each part.When you apply effects in Performance mode, the effectsettings of the patch or rhythm set assigned to each part willbe ignored, and the effect settings of the performance will beused. Thus, the effects for the same patch or rhythm set maydiffer when played in Patch mode and in Performance mode.However, depending on the settings, you can have effectsettings for a patch or rhythm set assigned to a part applied tothe entire performance.PerformancePart 16Part 1PatchToneMulti-EffectsChorusReverb■ ReverbReverb adds the reverberation characteristics of halls orauditoriums. Five different types are offered, so you can selectand use the type that suits your purpose.■ Mastering EffectThis is a stereo compressor (limiter) that is applied to the finaloutput of the SonicCell. It has independent high, mid, and lowranges. Independently for the high-frequency, mid-frequency,and low-frequency regions, this compresses any sounds thatexceed the specified level, making the volume more consistent.Effects in Patch ModeThe multi-effects, chorus and reverb effects can be set upindividually for each patch/rhythm set. Adjusting the signallevel to be sent to each effects unit (Send Level) providescontrol over the effect intensity that’s applied to each tone.PatchToneMulti-EffectsChorusReverbRhythm SetC8A0RhythmToneMulti-EffectsChorusReverb56


OverviewAbout MemoryPatch and performance settings are stored in what is referredto as memory. There are three kind of memory: temporary,rewritable, and non-rewritable.USB MemoryRestoreSongSMFAudio FileSystemPatch256Rhythm Set32Performance64BackupTemporary Memory■ Temporary AreaThis is the area that holds the data for the patch orperformance that you’ve selected using the panel buttons.When you play the SonicCell, sound is produced based ondata in the temporary area. When you edit a patch orperformance, you do not directly modify the data in memory;rather, you call up the data into the temporary area, and editit there.Settings in the temporary area are temporary, and will be lostwhen the power is turned off or when you select anotherpatch/performance. To keep the settings you have modified,you must write them into rewritable memory.Rewritable Memory■ System MemoryPerformance64PresetPreset G (PR-G)Preset F (PR-F)Preset E (PR-E)Preset D (PR-D)Preset C (PR-C)Preset B (PR-B)Preset A (PR-A)Rhythm Set32Patch128GM (GM2)Patch256Rhythm Set9Temporary AreaSystemUserPatch256Rhythm Set32Performance64Select Select Select WriteSystem memory stores system parameter settings thatdetermine how the SonicCell functions.To store system parameters, execute System Write (p. 176, p.150).■ User MemoryUser memory is where you normally store the data you need.To store a performance, execute Performance Write (p. 73).To store a patch, execute Patch Write (p. 116). To store aRhythm Set, execute Rhythm Set Write (p. 131).■ USB MemoryThe performances/patches/rhythm sets in user memory andthe system settings in system memory can be backed uptogether to USB memory.SelectEXP A slotPatchRhythm SetSelectEXP B slotPatchRhythm SetNon-Rewritable memory■ Preset memoryData in Preset memory cannot be rewritten. However, you cancall up settings from preset memory into the temporary area,modify them and then store the modified data in rewritablememory.Wave Expansion Board■ Wave Expansion Boards (optional: SRXSeries)The SonicCell can be equipped with up to two WaveExpansion Boards (optional: SRX Series). Wave ExpansionBoards contain Wave data, as well as patches and rhythmsets that use this Wave data, which can be called directly intothe temporary area and played.57


Using the SonicCell in Performance ModeViewing the MIDI INST (MIDI sound module) screen1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.fig.disp-MIDI-top012. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.3. Press [CURSOR/VALUE] to highlight the value.fig.disp-MIDI-top02(1) (2)4. Turn [CURSOR/VALUE] to edit the value.5. When you’ve finished editing, press [CURSOR/VALUE].(3)* If Sound Mode (p. 60) is set to “Patch,” the Patch Playscreen (p. 82) will appear.In this case, simultaneously press [MIDI INST] and [PARTVIEW] to switch to the MIDI INST screen of Performancemode.Parameter Value ExplanationSelects the performance group.(1) Performance group USER, PRST USER: UserPRST: PresetSelects the performance.(2)(3)Performancenumber/nameSettings for eachpart01–64-, M, S, *The SonicCell’s sixty-four preset performances have been created to beappropriate for the following uses.PRST01–33 For song productionPRST34–64 For playingFor each part, you can specify whether sound will be heard.-: Sound can be heard.M (mute): The sound will be temporarily muted (silenced).S (solo):Selects the one part that will be heard. Parts other than the one set to“S” will be muted.*: In the SonicCell Editor you can set mute and solo separately. In thiscase, “*” is shown for parts for which both mute and solo have beenspecified.Viewing the menu screen (Performance Menu screen)1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.58


Using the SonicCell in Performance Mode2. Press [MENU].The Performance Menu screen will appear.The Performance Menu screen has the structure shownin the illustration at right.You can turn [CURSOR/VALUE] to the right or left toswitch screens.3. Turn [CURSOR/VALUE] to move the cursor to the item you want to edit.4. Press [CURSOR/VALUE] to access the corresponding screen.ParameterSnd (Sound) ModeGeneralMIDI FilterCtrl Init(Sound Control Initialize)Prf Init(Performance Initialize)Write(Performance Write)ExplanationLets you switch between Performance mode and Patch mode.Press [CURSOR/VALUE] to access the Sound Mode screen (p. 60).Specifies the recommended tempo of the performance.Press [CURSOR/VALUE] to access the Performance General screen (p. 60).Turns reception of various MIDI messages on/off for each part.Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p. 60).Initializes the values of only the following sound-related parameters for the current performance (p. 73).• Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate,Vibrato Depth, Vibrato DelayInitializes the settings of the current performance (p. 73).Saves the current performance as user data.Press [CURSOR/VALUE] to access the Performance Name screen (p. 73).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).59


Using the SonicCell in Performance ModeSwitching the sound mode (Sound Mode screen)This specifies the mode of the MIDI sound generator.The current mode is highlighted.1. Turn [CURSOR/VALUE] to move the cursor, and press[CURSOR/VALUE] to confirm your choice of mode.If you select “Performance” and press [CURSOR/VALUE],the following screen will appear.fig.disp-PerformanceTopSpecifying the recommended performance tempo(Performance General screen)Parameter Value ExplanationRecommend Tempo 20–250If you want the system tempo to change when you switch Performances, specify thetempo that will follow this change.This setting is valid when the Seq Tempo Override is “ON.”In order to enable this setting, turn on the Tempo Override (p. 177).MIDI-related settings (Perform MIDI Filter screen)In the Perform MIDI Filter screen you can edit the following parameters for each part.Parameter Value ExplanationPC(Receive Program Change Switch)BS(Receive Bank Select Switch)PB(Receive Pitch Bend Switch)PA(Receive Polyphonic Key Pressure Switch)CA(Receive Channel Pressure Switch)_, O_, O_, O_, O_, ODetermines, on an individual part basis, whether MIDI program change messageswill be received (O) or not received (_).Determines, on an individual part basis, whether MIDI bank select messageswill be received (O) or not received (_).Determines, on an individual part basis, whether MIDI pitch bend messageswill be received (O) or not received (_).Determines, on an individual part basis, whether MIDI polyphonic key pressuremessages will be received (O) or not received (_).Determines, on an individual part basis, whether MIDI channel pressure messageswill be received (O) or not received (_).60


Using the SonicCell in Performance ModeParameter Value ExplanationMD(Receive Modulation Switch)VO(Receive Volume Switch)PN(Receive Pan Switch)EX(Receive Expression Switch)HD(Receive Hold 1 Switch)_, O_, O_, O_, O_, ODetermines, on an individual part basis, whether MIDI modulation messageswill be received (O) or not received (_).Determines, on an individual part basis, whether MIDI volume messages willbe received (O) or not received (_).Determines, on an individual part basis, whether MIDI pan messages will bereceived (O) or not received (_).Determines, on an individual part basis, whether MIDI expression messageswill be received (O) or not received (_).Determines, on an individual part basis, whether MIDI hold 1 messages willbe received (O) or not received (_).Set Phase Lock to “O” when you want to suppress discrepancies in timing ofparts played on the same MIDI channel.PL(Phase Lock Switch)VC(Velocity Curve Type)_, O_, 1–4When the Phase Lock parameter is set to “O,” parts on the same MIDIchannel are put in a condition in which their timing is matched, enablingthem to be played at the same time. Accordingly, a certain amount of timemay elapse between reception of the Note messages and playing of thesounds. Turn this setting to “O” only as needed.Velocity Curve selects for each MIDI channel one of the four following VelocityCurve types that best matches the touch of the connected MIDI keyboard.Set this to “–” if you are using the MIDI keyboard’s own velocity curve.1 2 3 4■ Menu screen.................................................................................................................From the Perform MIDI Filter screen, press [MENU] to access the MIDI Filter screen.Press [MENU] once again to return to the Perform MIDI Filter screen.ParameterPC, BS, PB, PA, CA, MD,VO, PN, EX, HD, PL, VCExplanationThe cursor will move to the current part for the item you selected in the Perform MIDI Filter screen.61


Using the SonicCell in Performance ModeViewing the part settings (Part View screen)1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.fig.disp-PartView-012. Move the cursor to the part that you want to edit, andpress [PART VIEW].The [PART VIEW] indicator will light, and the Part Viewscreen will appear.If the patch type is PatchIf in Performance mode you’ve set the current part’s patch type to “Patch,” the following screen will appear.fig.disp-PartView-p(1)(2) (3)(4)(5) (6)(7)(8) (9) (10)Parameter Value ExplanationSelects the patch group.(1) Patch groupUSER,PR-A–PR-G, GMXP-A, XP-BUSER: UserPR-A–PR-G: Preset A–Preset GGM: General MIDIXP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose XP-A, XP-B unless a wave expansion board is insertedin to the corresponding slot.(2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set.(3) Current part Part1–Part 16 Selects the part (current part) that will be affected by your operations.(4)Patchnumber/name(5) Category lock ,001– Selects the patch used by the current part.(6) Patch category - - - –CMB Switches the category.Specifies whether the category will be locked ( ) or not locked ( ) when youselect patches.If you lock the category, only sounds that are within the category will appearwhen you select patches.(7) LIST Press [CURSOR/VALUE] to access the Patch List screen (p. 65, p. 66).(8) PART Press [CURSOR/VALUE] to access the Part Edit screen (p. 68).(9) PATCH(10) Preview ,Press [CURSOR/VALUE] to access the edit screen for the patch used by the currentpart (p. 88).If you switch the preview icon ( ) to ( ), you’ll be able to hear a previewsound played by that patch.The system Preview setting (p. 179) lets you specify how the preview will besounded.62


Using the SonicCell in Performance Mode■ Patch CategoryCategoryContents- - - No Assign No assignPNO AC.Piano Acoustic PianoEP EL.Piano Electric PianoKEY Keyboards Other Keyboards (Clav, Harpsichord etc.)BEL Bell Bell, Bell PadMLT Mallet MalletORG Organ Electric and Church OrganACD Accordion AccordionHRM Harmonica Harmonica, Blues HarpAGT AC.Guitar Acoustic GuitarEGT EL.Guitar Electric GuitarDGT DIST.Guitar Distortion GuitarBS Bass Acoustic & Electric BassSBS Synth Bass Synth BassSTR Strings StringsORC Orchestra Orchestra EnsembleHIT Hit&Stab Orchestra Hit, HitWND Wind Winds (Oboe, Clarinet etc.)FLT Flute Flute, PiccoloBRS AC.Brass Acoustic BrassSBR Synth Brass Synth BrassSAX Sax SaxHLD Hard Lead Hard Synth LeadSLD Soft Lead Soft Synth LeadTEK Techno Synth Techno SynthPLS Pulsating Pulsating SynthFX Synth FX Synth FX (Noise etc.)SYN Other Synth Poly SynthBPD Bright Pad Bright Pad SynthSPD Soft Pad Soft Pad SynthVOX Vox Vox, ChoirPLK Plucked Plucked (Harp etc.)ETH Ethnic Other EthnicFRT Fretted Fretted Inst (Mandolin etc.)PRC Percussion PercussionSFX Sound FX Sound FXBTS Beat&Groove Beat and GrooveDRM Drums Drum SetCMB Combination Other patches which use Split and Layer63


Using the SonicCell in Performance ModeIf the patch type is Rhythm SetIf in Performance mode you’ve set the current part’s patch type to “Rhythm,” the following screen will appear.fig.disp-PartView-r(1)(2) (3)(4)(5)(6)(7) (8) (9)Parameter Value ExplanationSelects the rhythm set group.(1) Rhythm Set groupUSER, PRST,GM, XP-A, XP-BUSER: UserPRST: PresetGM: General MIDIXP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose XP-A, XP-B unless a wave expansion board isinserted in to the corresponding slot.(2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set.(3) Current part Part1–Part 16 Selects the part (current part) that will be affected by your operations.(4)Rhythm Setnumber/name001– Selects the rhythm set used by the current part.(5) Editing key A0–C8 Within the currently selected rhythm set, selects the key that you’ll be editing.(6) LIST Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 67).(7) PART Press [CURSOR/VALUE] to access the Part Edit screen (p. 68).(8) RHYPress [CURSOR/VALUE] to access the edit screen for the rhythm set used by thecurrent part (p. 117).(9) Preview ,If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview soundplayed by that rhythm set.The system Preview setting (p. 179) lets you specify how the preview will besounded.64


Using the SonicCell in Performance ModeSelecting patches from a patch list by category (Patch List (Ctg) screen)You can choose the patch for each part from a list that’s arranged by category.* When the power is turned on, the Patch List (Ctg) screen is selected.1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.2. Move the cursor to the part that you want to edit, andpress [PART VIEW].The [PART VIEW] indicator will light, and the Part Viewscreen will appear.3. Select “LIST” and press [CURSOR/VALUE].The Patch List (Ctg) screen will appear.fig.disp-PatchL-Ctg* If the Patch List (Grp) screen was displayed last, the PatchList (Grp) screen will appear.In this case, press [MENU] to access the Group Selectscreen, select “CATEG LIST,” then press [CURSOR/VALUE] to access the Patch List (Ctg) screen.4. Turn [CURSOR/VALUE] to select a patch, and press[CURSOR/VALUE].The patch will change, and you’ll be returned to the PartView screen.■ Menu screen.................................................................................................................From the Patch List (Ctg) screen, press [MENU] to access the Category Select screen.Press [MENU] once again to return to the Patch List (Ctg) screen.ParameterPNO, KBD, GTR, BAS, ORC,BRS, SYN, VCL, WLDGROUP LISTExplanationChanges the category (major classification) and returns to the patch list screen organized by category.You can change the category by moving the cursor to the currently selected category (at the top ofthe screen) and pressing [CURSOR/VALUE].MajorClassification CategoryPNO: AC.Piano, EL.PianoKBD: Keyboards, Bell, Mallet, Organ, Accordion, HarmonicaGTR: AC.Guitar, EL.Guitar, Dist.GuitarBAS: Bass, Synth BassORC: Strings, Orchestra, Hit&StabBRS: Wind, Flute, AC.Brass, Synth Brass, SaxSYN: Hard Lead, Soft Lead, Techno Synth, Pulsating, Synth FX, Other SynthVCL: Bright Pad, Soft Pad, VoxWLD: Plucked, Ethnic, Fretted, Percussion, Sound FX, Beat&Groove, Drums, CombinationPress [CURSOR/VALUE] to access the Patch List (Grp) screen (p. 66).* Once you move to the Patch List (Grp) screen, the Patch List (Grp) screen will appear when youselect “LIST” in the Part View screen.65


Using the SonicCell in Performance ModeSelecting patches from a patch list by group (Patch List (Grp) screen)You can choose the patch for each part from a list that’s arranged by group, such as USER or expansion board.* When the power is turned on, the Patch List (Ctg) screen is selected.1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.2. Move the cursor to the part that you want to edit, andpress [PART VIEW].The [PART VIEW] indicator will light, and the Part Viewscreen will appear.3. Select “LIST” and press [CURSOR/VALUE].The Patch List (Ctg) screen will appear.* If the Patch List (Grp) was displayed last, the Patch List(Grp) screen will appear. Proceed to step 6.4. Press [MENU] to access the menu screen.5. Choose “GROUP LIST” and press [CURSOR/VALUE].The Patch List (Grp) screen will appear.fig.disp-PatchL-Grp6. Turn [CURSOR/VALUE] to select a patch, and press[CURSOR/VALUE].The patch will change, and you’ll be returned to the PartView screen.■ Menu screen.................................................................................................................From the Patch List (Grp) screen, press [MENU] to access the Group Select screen.Press [MENU] once again to return to the Patch List (Grp) screen.ParameterUSR, A–G, GM, EXA, EXBCATEG (Category) LISTExplanationChanges the group and returns to the patch list by group screen.USR: UserA–G: Preset A–Preset GGM: General MIDIEXA, EXB: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the correspondingslot.Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p. 65).* Once you move to the Patch List (Ctg) screen, the Patch List (Ctg) screen will appear when youselect “LIST” in the Part View screen.66


Using the SonicCell in Performance ModeSelecting a rhythm set from a list (Rhythm Set List screen)If the current part’s patch type is “Rhythm,” you can choose a rhythm set from a list.1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.2. Move the cursor to the part that you want to edit, andpress [PART VIEW].The [PART VIEW] indicator will light, and the Part Viewscreen will appear.3. Select “LIST” and press [CURSOR/VALUE].Rhythm Set List screen will appear.fig.disp-RhythmList4. Turn [CURSOR/VALUE] to select a rhythm set, and press[CURSOR/VALUE].The patch will change, and you’ll be returned to the PartView screen.■ Menu screen.................................................................................................................From the Rhythm Set List screen, press [MENU] to access the Group Select screen.Press [MENU] once again to return to the Rhythm Set List screen.ParameterUSR, PRESET, GM, EXA, EXBExplanationChanges the group and returns to the patch list by group screen.USR: UserPRESET: PresetGM: General MIDIEXA, EXB: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the correspondingslot.67


Using the SonicCell in Performance ModeEditing parts (Part Edit screen)1. Press [MIDI INST] so its indicator is lit.The MIDI INST screen will appear.fig.disp-PartEdit012. Move the cursor to the part that you want to edit, andpress [PART VIEW].The [PART VIEW] indicator will light, and the Part Viewscreen will appear.3. Turn [CURSOR/VALUE] to select “PART,” and press[CURSOR/VALUE].The Part Edit screen will appear.4. Turn [CURSOR/VALUE] to select the parameter that youwant to edit, and press [CURSOR/VALUE].The value of the selected parameter will be highlighted.If you select “Scale Tune,” an editing screen will appear.5. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].■ Menu screen.................................................................................................................From the Part Edit screen, press [MENU] to access theMenu screen.The Menu screen is structured as shown in theillustration at right. You can switch between screens byturning [CURSOR/VALUE] to the right or left.Press [MENU] once again to return to the Part Editscreen.ParameterExplanation1–16 Changes the current part and returns to the Part Edit screen.SND (Sound Mode)GEN (General)MIDI (MIDI Filter)CINI(Sound Control Initialize)PINI(Performance Initialize)Write(Performance Write)Lets you switch between Performance mode and Patch mode.Press [CURSOR/VALUE] to access the Sound Mode screen (p. 60).Specifies the recommended tempo of the performance.Press [CURSOR/VALUE] to access the Performance General screen (p. 60).Turns reception of various MIDI messages on/off for each part.Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p. 60).Initializes the values of only the following sound-related parameters for the current performance (p.73).• Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate,Vibrato Depth, Vibrato DelayInitializes the settings of the current performance (p. 73).Saves the current performance as user data.Press [CURSOR/VALUE] to access the Performance Name screen (p. 73).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).68


Using the SonicCell in Performance Mode■ Part Edit screen ............................................................................................................Parameter Value ExplanationLevel 0–127PanL64–63RAdjust the volume of each part.This setting’s main purpose is to adjust the volume balance between parts.Adjust the pan of each part.“L64” is far left, “0” is center, and “63R” is far right.Octave Shift -3–+3 Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves).Coarse Tune -48–+48 Adjusts the pitch of the part’s sound up or down in semitone steps (+/-4 octaves).Fine Tune -50–+50Adjusts the pitch of the part’s sound up or down in 1-cent (1/100th of a semitone)steps (+/-50 cents).Specifies for each part how the direct sound will be output.MFX: Output in stereo through multi-effects. You can also apply chorus or reverbto the sound that passes through multi-effects.L+R: Output to the OUTPUT jack in stereo without passing through multi-effects.L: Output from L.R: Output from R.PAT: The part’s output destination is determined by the settings of the patch orrhythm set assigned to the part.Output AssignMFX, L+R, L, R,PAT• When outputting in mono, the Pan setting is disabled.• Chorus and Reverb are output in mono at all times.• When the settings are such that signals are split and output from the L jack andR jack, and no plug is inserted in the R jack, the sounds from L and R are mixedtogether, then output from the L jack. This sound comprises the sounds from theL and R jacks.When the Output Assign parameter is set to PAT, the output level settings for thePatch or Rhythm Set as well as the Part go into effect. If you want the various levelsettings of the Patch/Rhythm Set to be reflected as they are, set the various Partlevels to 127 (maximum).Output MFX(Output MFX Select)1–3Output Level 0–127Chorus Send(Chorus Send Level)Reverb Send(Reverb Send Level)0–1270–127Cutoff Offset -64–+63For more on how to set each effect, refer to the pages shown below.• Multi-effects(p. 78, p. 192)• Chorus (p. 78, p. 219)• Reverb (p. 79, p. 220)Of the three types of multi-effects that can be used simultaneously, specify whichmulti-effects will be used.Sets the direct sound’s volume for each Part.When Multi-effects are being applied, this sets the amount of the effect that is applied;when Multi-effects are not applied, this sets the volume of the direct sound.Adjusts the amount of Chorus for each Part.If you don’t want to add the Chorus effect, set it to 0.Adjusts the amount of Reverb for each Part.If you don’t want to add the Reverb effect, set it to 0.Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.Patches also have a Cutoff Offset setting (p. 90). The final Cutoff frequency valueis the sum of the tone Cutoff Frequency value and the patch and part Cutoff Offsetvalues. If the tone’s cutoff frequency is already set to “127” (maximum), there willbe no change produced by setting the Cutoff Offset to a positive value.69


Using the SonicCell in Performance ModeParameter Value ExplanationAdjusts the Resonance for the patch or rhythm set assigned to a part.Resonance Offset -64–+63Patches also have a Resonance Offset setting (p. 91). The final Resonance value isthe sum of the tone Resonance value and the patch and part Resonance Offsetvalues. If the tone’s resonance is already set to “127” (maximum), there will be nochange produced by setting the resonance offset to a positive value.Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned toa part.Attack Offset(Attack Time Offset)-64–+63Patches also contain the Attack Offset setting (p. 91). The final TVA Envelopeattack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting,the patch’s Attack Time Offset, and the part’s Attack Time Offset. If the tone’s Time1 parameter is already set to “127” (maximum), there will be no changeproduced by setting the Attack Time Offset to a positive value.The same applies tothe TVF envelope.Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned toa part.Release Offset(Release Time Offset)Decay Offset(Decay Time Offset)Mono/Poly-64–+63-64–+63MONO, POLY,PATPatches also contain a Release Offset setting (p. 91). The final TVA Enveloperelease time value is therefore the sum of the tone’s TVA Envelope Time 4 setting,the patch’s Release Time Offset, and the part’s Release Time Offset. If the tone’sTime 4 parameter is set to “127” (maximum), there will be no change in theRelease Time Offset, even when this is set to a positive value.The same applies tothe TVF envelope.Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned toa part.Sets how the Patch’s notes play. The MONO setting is effective when playing a soloinstrument Patch such as sax or flute.MONO: Only one note sounds at a time.POLY: Two or more notes can be played simultaneously.PAT: The Part uses the Patch’s Mono/Poly setting.Legato SwitchOFF, ON, PATThis setting is ignored for parts to which a rhythm set is assigned.Turn this parameter “ON” when you want to use the Legato feature and “OFF”when you don’t.Legato is a feature that works only when the Mono/Poly is MONO. When Legatois ON, pressing one key when another is already pressed causes the currently playingnote’s pitch to change to that of the newly pressed key while continuing tosound. This can be effective when you wish to simulate performance techniquessuch as a guitarist’s hammering on and pulling off strings. When PAT is selected,the Patch’s own settings take effect.Portamento Sw (Switch)Portamento TimeOFF, ON, PAT0–127, PATThis setting is ignored for parts to which a rhythm set is assigned.Specify whether portamento will be applied. Turn this parameter “ON” when youwant to apply Portamento and “OFF” when you don’t. If you want to use the PortamentoSwitch setting of the patch assigned to the part, set this to “PAT.”This setting is ignored for parts to which a rhythm set is assigned.When portamento is used, this specifies the time over which the pitch will change.Higher settings will cause the pitch change to the next note to take more time. If youwant to use the Portamento Time setting of the patch assigned to the part, set this to“PAT.”Vibrato Rate -64–+63This setting is ignored for parts to which a rhythm set is assigned.For each part, adjust the vibrato speed (the rate at which the pitch is modulated).The pitch will be modulated more rapidly for higher settings, and more slowly withlower settings.70


Using the SonicCell in Performance ModeParameter Value ExplanationVibrato Depth -64–+63Vibrato Delay -64–+63Velocity Sens Off(Velocity Sensitivity Offset)Bend Range-63–+630–24, PATKey Fade Lower 0–127For each part, this adjusts the depth of the vibrato effect (the depth at which thepitch is modulated). The pitch will be modulated more greatly for higher settings,and less with lower settings.For each part, this adjusts the time delay until the vibrato (pitch modulation) effectbegins. Higher settings will produce a longer delay time before vibrato begins,while lower settings produce a shorter time.This changes the volume and cutoff frequency for each part according to the velocitywith which the keys are pressed. If you want strongly played notes to raise thevolume/cutoff frequency, set this parameter to positive (+) settings. If you wantstrongly played notes to lower the volume/cutoff frequency, use negative (-) settings.Set Velocity Sensitivity to “0” when you want sounds played at a fixed volume andcutoff frequency, regardless of the force with which the keys are played.Patches also contain a Velocity Sensitivity Offset setting (Velocity Sens: p. 91). Theultimate Velocity Sensitivity Offset value is the sum of the part’s and the patch’sVelocity Sensitivity Offsets. Accordingly, if the patch’s Velocity Sensitivity Offsetparameter is set to “127” (maximum), there will be no change in the part’sVelocity Sensitivity Offset, even when this is set to a positive value.Specifies the amount of pitch change in semitones (2 octaves) that will occur whenthe Pitch Bend Lever is moved. The amount of change when the lever is tilted is setto the same value for both left and right sides. If you want to use the Pitch BendRange setting of the patch assigned to the part, set this to “PAT.”Determines what will happen to the Part’s level when a note that’s lower than itsspecified keyboard range is played. Higher settings produce a more gradualchange in volume. If you don’t want the Tone to sound at all when a note below thekeyboard range is played, set this parameter to 0.Key Range Lower C-1–UPPER Specifies the lowest note that the tone will sound for each part.Key Range UpperLOWER–G9Key Fade Upper 0–127Specifies the highest note that the tone will sound for each part.* It is not possible to set Lower to a value greater than the Upper value, or Upperto a value less than the Lower value.This determines what will happen to the Part’s level when a note that’s higher thanits specified keyboard range is played. Higher settings produce a more gradualchange in volume. If you don’t want the Tone to sound at all when a note above thekeyboard range is played, set this parameter to 0.LevelVoice Reserve0–63, FULL0 Lower Upper 127Key Fade Lower valueKey numberKey Fade Upper valueSpecifies the number of voices that reserved for each Part when more than 128 voicesare played simultaneously.* It is not possible for the settings of all Parts to total an amount greater than 64.[Calculating the Number of Voices Being Used]The number of notes, or “voices,” that the SonicCell can sound simultaneously dependson the number of Tones in the Patches you‘re using and the number of keysbeing pressed.For example, if you play one note using a Patch that consists of only one Tone, you’lluse up one voice of polyphony. SonicCell Tones may use two Waveforms. If aPatch’s Tone uses two Waveforms, the number of voices it requires is doubled. Iftwo keys are pressed with a Patch that has four Tones, and each Tone uses twoWaveforms, a total of sixteen voices are used.This number is obtained by performing the following calculation. Count the numberof Tones with two Waveforms and multiply this number by 2. Add the number ofTones that use one Waveform. Multiply this total by the number of keys pressed.The SonicCell can play up to 128 Tones simultaneously. When you’re using theSonicCell multitimbrally, keep this in mind, and adjust your Voice Reserve settingsso that each Part is guaranteed at least the minimum number of voices it requires.Receive Channel 1–16 Specifies the MIDI receive channel for each part.71


Using the SonicCell in Performance ModeParameter Value ExplanationReceive Switch OFF, ON For each part, specify whether MIDI messages will be received (ON), or not (OFF).Scale TuneOFF, ONThe SonicCell allows you to use temperaments other than equal temperament.Press [CURSOR/VALUE] to access the Scale Tune screen (p. 72).Scale Tune settings (Scale Tune screen)In Performance mode you can specify a different scale tuning for each part. However, this setting will be common to the entireperformance.1. In the Part Edit screen, select “Scale Tune” and press[CURSOR/VALUE].The Scale Tune screen will appear.fig.disp-ScaleTune2. Turn [CURSOR/VALUE] to select the key that you want toedit, then press [CURSOR/VALUE].3. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].4. When you’ve finished editing, press [EXIT].Parameter Value ExplanationC, C#, D, Eb, E, F, F#, G,G#, A, Bb, B-64–+63Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative toits equal-tempered pitch.• Equal TemperamentThis tuning divides the octave into 12 equal parts, and isthe most widely used method of temperament used inWestern music.• Just Temperament (Tonic of C)Compared with equal temperament, the principle triadssound pure in this tuning. However, this effect is achievedonly in one key, and the triads will become ambiguous ifyou transpose.• Arabian ScaleIn this scale, E and B are a quarter note lower and C#, F#and G# are a quarter-note higher compared to equaltemperament. The intervals between G and B, C and E, Fand G#, Bb and C#, and Eb and F# have a natural thirdtheinterval between a major third and a minor third. Onthe SonicCell, you can use Arabian temperament in thethree keys of G, C and F.Note nameEqualTemperamentJustTemperament(tonic C)ArabianScaleC 0 0 -6C# 0 -8 +45D 0 +4 -2Eb 0 +16 -12E 0 -14 -51F 0 -2 -8F# 0 -10 +43G 0 +2 -4G# 0 +14 +47A 0 -16 0Bb 0 +14 -10B 0 -12 -4972


Using the SonicCell in Performance ModeSound Control InitializeInitializes the values of only the following sound-relatedparameters for the current performance.• Cutoff Offset, Resonance Offset, Attack Offset, ReleaseOffset, Decay Offset, Vibrato Rate, Vibrato Depth, VibratoDelayPerformance WriteSaves the current performance as user data.When you select “Write” from the Performance Menu screen(p. 58), the Performance Name screen will appear.In this screen you can assign a name (performance name) ofup to twelve characters to the performance you’re saving.When you select “Ctrl Init” from the Performance Menu screen(p. 58), a confirmation message will appear.1. Move the cursor to the location where you want to enter acharacter, and press [CURSOR/VALUE].1. If you want to carry out the initialization, select “OK” andpress [CURSOR/VALUE].If you decide not to execute, select “CANCEL” and press[CURSOR/VALUE].When initialization is completed, you’ll be returned to theprevious screen.2. Turn [CURSOR/VALUE] to select the desired character, thenpress [CURSOR/VALUE] to enter that character.You can press [MENU] to view convenient functions fortext entry.Press [MENU] once again to return to the previous screen.Performance InitializeInitializes the settings of the current performance.When you select “Perf Init” from the Performance Menu screen(p. 58), a confirmation message will appear.FunctionINSERTDELETEUNDOExplanationPress [CURSOR/VALUE] to insert a space(blank) at the cursor location.Press [CURSOR/VALUE] to delete the characterat the cursor location; subsequentcharacters will move forward.Revert to the unedited performance name.1. If you want to carry out the initialization, select “OK” andpress [CURSOR/VALUE].If you decide not to execute, select “CANCEL” and press[CURSOR/VALUE].When initialization is completed, you’ll be returned to theprevious screen.3. Repeat steps 1 and 2 as many times as necessary.4. When you’ve finished entering the performance name,move the cursor to “WRITE” and press [CURSOR/VALUE].The Performance Write screen will appear.73


Using the SonicCell in Performance Mode5. Turn [CURSOR/VALUE] to select the save-destinationperformance, then press [CURSOR/VALUE].A confirmation message will appear.6. To write the performance into memory, select “OK” andpress [CURSOR/VALUE].If you decide you don’t want to carry out the write, select“CANCEL” and press [CURSOR/VALUE].Once the data has been written, you’ll be returned to theprevious screen.74


Using the SonicCell in Performance ModeEditing effectsIn Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multieffects,the chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, oraccording to the effect settings of the patch or rhythm set assigned to the part you specify.The three multi-effects can be used independently, or you can connect two or three of them in series.■ Signal flow...................................................................................................................Part 16Part 3Part 2Part 11 24 5Patch(Rhythm)Patch (Rhythm)Output13 6 7 8 910 11 1232456MFX16MFX26MFX3MFX Output78978978910 11ChorusChorus OutputMAIN12REVReverbOutput13 14ReverbMasteringEffect13 14L ROUTPUT1 – 5Make these settings in the Part Edit screen.1 : Output Level, 2 : Chorus Send, 3 : Reverb Send, 4 : Output Assign, 5 : Output MFX6Make these settings in the MFX1–MFX3 screens.• Select the multi-effect type and edit the parameters.7 – 9Make these settings in the MFX1–MFX3 Output screens.7 : Output Level, 8 : Chorus Send Level, 9 : Reverb Send Level10Make these settings in the Chorus screen.• Select the chorus type and edit the parameters.11 – 12Make these settings in the Chorus Output screen.11 : Output Level, 12 : Output Select13Make these settings in the Reverb screen.• Select the reverb type and edit the parameters.14Make these settings in the Reverb Output screen.• Output Levelp. 69p. 78p. 78p. 78p. 79p. 79p. 7975


Using the SonicCell in Performance Mode■ Procedure ....................................................................................................................1. From the MIDI INST screen or the Part View screen, press[EFFECTS].The [EFFECTS] indicator will light, and the Effect Routingscreen will appear.fig.disp-PerformEfxSW014. Turn [CURSOR/VALUE] to move the cursor to theparameter that you want to edit.2. Turn [CURSOR/VALUE] to move the cursor to theparameter that you want to edit.3. Press [CURSOR/VALUE].5. Press [CURSOR/VALUE] to highlight the value.If there is a “SELECT” indicator for the value field, you canpress [CURSOR/VALUE] to move to the editing screen forthat parameter.6. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].7. When you’ve finished editing, press [EXIT].The Part View screen will appear.■ Menu screens during effect editing ................................................................................From the Effect Routing screen, press [MENU] toaccess the Menu screen.The Menu screen is structured as shown in theillustration at right. You can switch between screens byturning [CURSOR/VALUE] to the right or left.Press [MENU] once again to return to the EffectRouting screen.Parameter Value ExplanationFX1–FX3(MFX1–MFX3)CHO(Chorus Switch)REV(Reverb Switch)MST(Mastering Effect Switch)CTRL1–CTRL3(MFX1–3 Control)Write(Performance Write)OFF, ONOFF, ONOFF, ONOFF, ONSpecifies whether MFX 1–3 will be used (ON) or not used (OFF).Specifies whether chorus will be used (ON) or not used (OFF).Specifies whether Reverb will be used (ON) or not used (OFF).Specifies whether Mastering Effect will be used (ON) or not used (OFF).Make settings for controlling the multi-effects via MIDI.Press [CURSOR/VALUE] to access the MFX 1–3 Control screen (p. 81).Saves the current performance as user data.Press [CURSOR/VALUE] to access the Performance Name screen (p. 73).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).76


Using the SonicCell in Performance ModeSelecting the item to edit (Effect Routing screen)ParameterPart(Part Output)F1–F3(MFX1–MFX3)F1–F3(MFX1–MFX3 Output)C(Chorus)C(Chorus Output)R(Reverb)R(Reverb Output)M(Mastering Effect)STRCT(MFX Structure)SRC(Effect Source)ExplanationEdits the part settings.By moving the cursor to(p. 69).and pressing [CURSOR/VALUE] you can move to the Part Edit screenEdits the multi-effect 1--3 settings.Press [CURSOR/VALUE] to access the MFX1–3 screen (p. 78).Edits output-related settings for multi-effects 1–3.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the MFX1–3 Outputscreen (p. 78).Edits the chorus settings.Press [CURSOR/VALUE] to access the Chorus screen (p. 78).Edits output-related settings for chorus.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Chorus Outputscreen (p. 79).Edits the reverb settings.Press [CURSOR/VALUE] to access the Reverb screen (p. 79).Edits output-related settings for reverb.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Reverb Outputscreen (p. 79).Edits the mastering effect settings.Press [CURSOR/VALUE] to access the Mastering Effect screen (p. 181).Specifies how MFX 1–3 will be combined.Press [CURSOR/VALUE] to access the MFX Structure screen (p. 80).Selects how effects will operate.Press [CURSOR/VALUE] to access the Effect Source screen (p. 80).If you’ve set MFX3 Location (p. 149) to “Input FX” in the In/Out Routing (p. 144), you won't be able to use MFX3 as aperformance effect.In this case, the MFX3 indication in the Effect Routing screen will be as follows.* MFX3-related settings will be displayed in screens other than the Effect Routing screen, and you'll be able to edit the values,but this will not affect the performance as long as MFX3 Location is set to Input FX.77


Using the SonicCell in Performance ModeEditing the multi-effects related settings (MFX1–3/MFX1–3 Output screens)■ MFX1–3 screens ...........................................................................................................Parameter Value Explanation00: THRU–78: SYMRESONANCE(MFX Type)Parameters for each MFX typeSelects the types of multi-effects that MFX1--MFX3 will use.Choose “00: THRU” if you don’t want to apply a multi-effect.Edit the parameters for the selected MFX type.Refer to “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192).■ MFX1–3 Output screens................................................................................................Parameter Value ExplanationOutput Level 0–127Chorus Send Level 0–127Reverb Send Level 0–127Adjusts the volume of the sound that has passed through the multi-effects.If you're applying a multi-effect, this specifies the depth of the multi-effect. If you'renot applying a multi-effect, this specifies the volume of the original sound.Adjusts the amount of chorus for the sound that passes through multi-effects. If youdon’t want to add the Chorus effect, set it to “0.’Adjusts the amount of reverb for the sound that passes through multi-effects. If youdon’t want to add the Reverb effect, set it to “0.”Chorus-related settings (Chorus/Chorus Output screen)■ Chorus screen...............................................................................................................Parameter Value Explanation00: OFF–03: GM2 CHORUS(Chorus Type)Parameters for each chorus typeSelects the types of chorus.Choose “00: OFF” if you don’t want to apply a chorus.Edit the parameters for the selected chorus type.Refer to “Chorus Parameters” (p. 219).78


Using the SonicCell in Performance Mode■ Chorus Output screen ...................................................................................................Parameter Value ExplanationOutput Level 0–127 Adjusts the volume of the sound that has passed through chorus.Output SelectMAIN, REV,M+RSpecifies how the sound routed through chorus will be output.MAIN: Output to the OUTPUT jacks in stereo.REV: Output to reverb in mono.M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.Reverb-related settings (Reverb/Reverb Output screen)■ Reverb screen...............................................................................................................Parameter Value Explanation00: OFF–03: GM2 REVERB(Chorus Type)Parameters for each reverb typeSelects the types of reverb.Choose “00: OFF” if you don’t want to apply a reverb.Edit the parameters for the selected reverb type.Refer to “Reverb Parameters” (p. 220).■ Reverb Output screen ...................................................................................................Parameter Value ExplanationOutput Level 0–127 Adjusts the volume of the sound that has passed through reverb.79


Using the SonicCell in Performance ModeChanging how the multi-effects are combined (MFX Structure screen)Parameter Value ExplanationSpecify how MFX1–3 will be connected.MFX StructureTYPE01–TYPE16When TYPE05–TYPE10 is selected, the SonicCell can play a maximum of 64sounds simultaneously.Selecting how effects will operate (Effect Source screen)Parameter Value ExplanationMFX1 SourceMFX2 SourceMFX3 SourceChorus SourceReverb SourcePFM, P1–P16PFM, P1–P16PFM, P1–P16PFM, P1–P16PFM, P1–P16Selects the MFX1 settings that will be used by the performance.If you wish to use the performance settings, select “PFM.”If you wish to use the settings of the patch/rhythm set assigned to one of the parts,select the part number (1–16).Selects the MFX2 settings that will be used by the performance.If you wish to use the performance settings, select “PFM.”If you wish to use the settings of the patch/rhythm set assigned to one of the parts,select the part number (1–16).Selects the MFX3 settings that will be used by the performance.If you wish to use the performance settings, select “PFM.”If you wish to use the settings of the patch/rhythm set assigned to one of the parts,select the part number (1–16).Selects the chorus settings that will be used by the performance.If you wish to use the performance settings, select “PFM.”If you wish to use the settings of the patch/rhythm set assigned to one of the parts,select the part number (1–16).Selects the reverb settings that will be used by the performance.If you wish to use the performance settings, select “PFM.”If you wish to use the settings of the patch/rhythm set assigned to one of the parts,select the part number (1–16).80


Using the SonicCell in Performance ModeUsing MIDI to control the multi-effects (MFX1–3 Control screens)Multi-Effects ControlIf you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, youwould need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusivemessages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.For that reason, a number of the more typical of the SonicCell’s multi-effects parameters have been designed so they accept the useof Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the PitchBend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters thatcan be changed are predetermined for each type of multi-effect; among the parameters described in “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192), these are indicated by a “#.”The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the MultieffectsControl.You can specify up to four controls for each multi-effect MFX 1–3.When the multi-effects control is used, you can select the amount of control (Sens) applied, the parameter selected (Dest), and theMIDI message used (Src).By using the Matrix Control (p. 95) instead of the Multi-effects Control, you can also change the parameters of some popular multieffectsin realtime.Parameter Value ExplanationControl 1–4Src (Source)Control 1–4Dest (Destination)Control 1–4Sens (Sensitivity)Control ChannelOFF,CC01–CC31,CC33–95,PITCH BEND,AFTERTOUCH,SYS CTRL1–4Refer to “Multi-Effects Parameter”(p. 192)-63–+631–16, OFFSets the MIDI message used to control the multi-effects parameter with the multieffectscontrol.OFF:Multi-effects control will not be used.CC01–31, 33–95: Controller numbers 1–31, 33–95PITCH BEND: Pitch BendAFTERTOUCH: AftertouchSYS CTRL1–4: Use the System Control setting (p. 179).Sets the multi-effects parameters to be controlled with the multi-effects control. Themulti-effects parameters available for control will depend on the multi-effects type.Sets the amount of the multi-effects control’s effect that is applied.If you wish to modify the selected parameter in a positive (+) direction—i.e., a highervalue, toward the right, or faster, etc.—from its current setting, select a positive(+) value. If you wish to modify the selected parameter in a negative (-) direction–i.e., a lower value, toward the left, or slower, etc.—from its current setting, select anegative (-) value. Higher numbers produce a greater amount of change.This determines the channel that will be used for reception when using the MultieffectsControl to modify multi-effects parameters in real time, when the MFX1–3 Srcis set to “PFM.” Set this to “OFF” when the Multi-effects Control is not being used.81


Using the SonicCell in Patch ModeViewing the Patch Play screen1. Press [MIDI INST] so its indicator is lit.At the same time, the [PART VIEW] indicator will alsolight, and the Patch Play screen will appear.fig.disp-PartView-012. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.3. Press [CURSOR/VALUE] to highlight the value.fig.disp-PatchPlay-top02* If Sound Mode (p. 84) is set to “Performance,” the MIDIINST screen (p. 58) will appear.In this case, simultaneously press [MIDI INST] and [PARTVIEW] to switch to the Patch screen.When you select “LIST” or “PATCH” and press [CURSOR/VALUE], an editing screen will appear.4. Turn [CURSOR/VALUE] to edit the value.If the patch type is PatchIf in Patch mode you’ve set the current patch type to “Patch,” the following screen will appear.5. When you’ve finished editing, press [CURSOR/VALUE].(1)(2) (3)(4)(5) (6)(7)(8) (9)Parameter Value ExplanationSelects the patch group.(1) Patch groupUSER,PR-A–PR-G, GMXP-A, XP-BUSER: UserPR-A–PR-G: Preset A–Preset GGM: General MIDIXP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose XP-A, XP-B unless a wave expansion board is insertedin to the corresponding slot.(2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set.(3) Current part Part1–Part 16 Selects the part (current part) that will be affected by your operations.(4)Patchnumber/name(5) Category lock ,001– Selects the patch.(6) Patch category - - - –CMB Switches the category.Specifies whether the category will be locked ( ) or not locked ( ) when youselect patches.If you lock the category, only sounds that are within the category will appearwhen you select patches.(7) LIST Press [CURSOR/VALUE] to access the Patch List screen (p. 85, p. 86).(8) EDIT Press [CURSOR/VALUE] to access the Patch Edit screen (p. 89).(9) Preview ,If you switch the preview icon ( ) to ( ), you’ll be able to hear a previewsound played by that patch.The system Preview setting (p. 179) lets you specify how the preview will besounded.82


Using the SonicCell in Patch ModeIf the patch type is Rhythm SetIf in Patch mode you’ve set the current patch type to “Rhythm,” the following screen will appear.fig.disp-PatchPlay-r(1) (2) (3)(4)(5)(6)(7) (8)Parameter Value Explanation(1) Rhythm Set groupUSER, PRST,GM, XP-A, XP-BSelects the rhythm set group.USER: UserPRST: PresetGM: General MIDIXP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose XP-A, XP-B unless a wave expansion board is insertedin to the corresponding slot.(2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set.(3)(4)Patch mode receivechannelRhythm Setnumber/name1–16Specifies the channel of MIDI messages that will be received from an external MIDIdevice.001– Selects the rhythm set.(5) Editing key A0–C8 Within the currently selected rhythm set, selects the key that you’ll be editing.(6) LIST Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 87).(7) EDIT Press [CURSOR/VALUE] to access the Rhythm Edit screen (p. 118).(8) Preview ,If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview soundplayed by that rhythm set.The system Preview setting (p. 179) lets you specify how the preview will besounded.83


Using the SonicCell in Patch ModeViewing the menu screen (Patch Menu screen)1. Press [MIDI INST] so its indicator is lit.The Patch Play screen will appear.If the Sound Mode is set to “Performance,” the MIDI INST screen (p. 58) will appear.2. Press [MENU].The Patch Menu screen will appear.The Patch Menu screen is structured as shown in theillustration at right. You can switch between screensby turning [CURSOR/VALUE] to the right or left.3. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.4. Press [CURSOR/VALUE] to access the corresponding screen.ParameterTone Switch 1–4Snd (Sound) ModePatch Init(Patch Initialize)Write(Patch Write)ExplanationUsed to specify whether tones 1–4 will be used (ON) or not used (OFF).Lets you switch between Patch mode and Performance mode.Press [CURSOR/VALUE] to access the Sound Mode screen.Initializes the settings of the current patch (p. 115).Saves the current patch as user data.Press [CURSOR/VALUE] to access the Patch Name screen (p. 116).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).Switching the sound mode (Sound Mode screen)This specifies the mode of the MIDI sound module.The current mode is highlighted.If you select “Performance” and press [CURSOR/VALUE],the following screen will appear.1. Turn [CURSOR/VALUE] to move the cursor, and press[CURSOR/VALUE] to specify the mode.If you select “Patch” and press [CURSOR/VALUE], one ofthe following screens will appear depending on the Patchtype setting (p. 82, p. 83).84


Using the SonicCell in Patch ModeSelecting patches from a patch listSelecting patches from a patch list by category (Patch List (Ctg) screen)You can choose the patch from a list that’s arranged by category.* When the power is turned on, the Patch List (Ctg) screen is selected.1. Display the Patch Play screen.2. Select “LIST” and press [CURSOR/VALUE].The Patch List (Ctg) screen will appear.fig.disp-PatchL-Ctg* If the Patch List (Grp) screen was displayed last, the PatchList (Grp) screen will appear.In this case, press [MENU] to access the Group Selectscreen, select “CATEG LIST,” then press [CURSOR/VALUE] to access the Patch List (Ctg) screen.3. Turn [CURSOR/VALUE] to select a patch, and press[CURSOR/VALUE].The patch will change, and you’ll be returned to the PartView screen.■ Menu screen.................................................................................................................From the Patch List (Ctg) screen, press [MENU] to access the Category Select screen.Press [MENU] once again to return to the Patch List (Ctg) screen.ParameterPNO, KBD, GTR, BAS, ORC,BRS, SYN, VCL, WLDGROUP LISTExplanationChanges the category (major classification) and returns to the patch list screen organized by category.You can change the category by moving the cursor to the currently selected category (at the top ofthe screen) and pressing [CURSOR/VALUE].MajorClassification CategoryPNO: AC.Piano, EL.PianoKBD: Keyboards, Bell, Mallet, Organ, Accordion, HarmonicaGTR: AC.Guitar, EL.Guitar, Dist.GuitarBAS: Bass, Synth BassORC: Strings, Orchestra, Hit&StabBRS: Wind, Flute, AC.Brass, Synth Brass, SaxSYN: Hard Lead, Soft Lead, Techno Synth, Pulsating, Synth FX, Other SynthVCL: Bright Pad, Soft Pad, VoxWLD: Plucked, Ethnic, Fretted, Percussion, Sound FX, Beat&Groove, Drums, CombinationPress [CURSOR/VALUE] to access the Patch List (Grp) screen (p. 86).* Once you move to the Patch List (Grp) screen, the Patch List (Grp) screen will appear when youselect “LIST” in the Patch Play screen.85


Using the SonicCell in Patch ModeSelecting patches from a patch list by group (Patch List (Grp) screen)You can choose the patch from a list that’s arranged by group, such as USER or expansion board.* When the power is turned on, the Patch List (Ctg) screen is selected.1. Display the Patch Play screen.2. Select “LIST” and press [CURSOR/VALUE].The Patch List (Ctg) screen will appear.* If the Patch List (Grp) was displayed last, the Patch List(Grp) screen will appear. Proceed to step 5.4. Choose “GROUP LIST” and press [CURSOR/VALUE].The Patch List (Grp) screen will appear.fig.disp-PatchL-Grp3. Press [MENU] to access the Category Select screen.5. Turn [CURSOR/VALUE] to select a patch, and press[CURSOR/VALUE].The patch will change, and you’ll be returned to the PatchPlay screen.■ Menu screen.................................................................................................................From the Patch List (Grp) screen, press [MENU] to access the Group Select screen.Press [MENU] once again to return to the Patch List (Grp) screen.ParameterUSR, A–G, GM, EXA, EXBCATEG (Category) LISTExplanationChanges the group and returns to the patch list by group screen.USR: UserA–G: Preset A–Preset GGM: General MIDIEXA, EXB: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the correspondingslot.Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p. 85).* Once you move to the Patch List (Ctg) screen, the Patch List (Ctg) screen will appear when youselect “LIST” in the Patch Play screen.86


Using the SonicCell in Patch ModeSelecting a rhythm set from a list (Rhythm Set List screen)If the patch type is “Rhythm,” you can choose a rhythm set from a list.1. Display the Patch Play screen.2. Select “LIST” and press [CURSOR/VALUE].Rhythm Set List screen will appear.fig.disp-RhythmList3. Turn [CURSOR/VALUE] to select a rhythm set, and press[CURSOR/VALUE].The patch will change, and you’ll be returned to the PatchPlay screen.■ Menu screen.................................................................................................................From the Rhythm Set List screen, press [MENU] to access the Group Select screen.Press [MENU] once again to return to the Rhythm Set List screen.ParameterUSR, PRESET, GM, EXA, EXBExplanationChanges the group and returns to the patch list by group screen.USR: UserPRESET: PresetGM: General MIDIEXA, EXB: Wave Expansion Board A, Wave Expansion Board B* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the correspondingslot.87


Using the SonicCell in Patch ModeEditing patches (Patch Edit screen)1. Press [MIDI INST].[MIDI INST] and [PART VIEW] will light, and the PatchPlay screen will appear.2. Turn [CURSOR/VALUE] to select “PATCH,” then press[CURSOR/VALUE].The Patch Edit screen will appear.fig.disp-PatchEdit013. Turn [CURSOR/VALUE] to select the item you want to edit,then press [CURSOR/VALUE].The editing screen for the selected item will appear.4. Turn [CURSOR/VALUE] to select the parameter you wantto edit, then press [CURSOR/VALUE].The value of the selected parameter will be highlighted.5. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].■ Menu screens during patch editing ................................................................................If you press [MENU] while editing a patch, the menuscreen will appear.The Menu screen is structured as shown in theillustration at right. You can switch between screensby turning [CURSOR/VALUE] to the right or left.ParameterTone Select 1–4Tone Switch 1–4Tone CopyPatch Init(Patch Initialize)Write(Patch Write)ExplanationChanges the current tone (the one targeted for editing), and returns to the previous screen.Used to specify whether tones 1–4 will be used (ON) or not used (OFF).Copies the settings of a patch’s tone to one of the tones of the currently selected patch.Press [CURSOR/VALUE] to access the Patch Tone Copy screen (p. 115).Returns the current patch settings to their initial values (p. 115).Saves the current patch as user data.Press [CURSOR/VALUE] to access the Patch Name screen (p. 116).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).88


Using the SonicCell in Patch Mode■ Patch Edit screen ..........................................................................................................The Patch Edit screen is organized as follows.You can turn [CURSOR/VALUE] to the right or left to switch between screens.Parameter Value ExplanationGENERALSTRUCTUREMATRIX CTRL (Control)1/2/3/4Tone 1&2, 3&4WGWG(Pitch Envelope)TVFTVF(TVF Envelope)TVATVA(TVA Envelope)OUT(Output)LFO 1/2LFOS(Step LFO)TMT(Tone Mix Table)CTRL(Control)Edits overall settings for the entire patch.Press [CURSOR/VALUE] to access the Patch General screen (p. 90).Selects the combination of tones.Press [CURSOR/VALUE] to access the Patch Structure screen (p. 93).Specifies matrix control settings.Press [CURSOR/VALUE] to access the Patch Mtrx Ctrl 1/2/3/4 screen (p. 95).Selects either 1 & 2 or 3 & 4 as the combination of tones that will be shown in thescreen.Edits waveform-related settings.Press [CURSOR/VALUE] to access the Patch WG screen (p. 98).Edits pitch envelope settings.By moving the cursor to and pressing [CURSOR/VALUE] you can move to thePatch Pitch Env screen (p. 101).Edits TVF settings.Press [CURSOR/VALUE] to access the Patch TVF screen (p. 102).Edits TVF envelope settings.By moving the cursor to and pressing [CURSOR/VALUE] you can move to thePatch TVF Env screen (p. 104).Edits TVA settings.Press [CURSOR/VALUE] to access the Patch TVA screen (p. 105).Edits TVA envelope settings.By moving the cursor to and pressing [CURSOR/VALUE] you can move to thePatch TVA Env screen (p. 107).Edits settings for the patch/tone output.Press [CURSOR/VALUE] to access the Patch Output screen (p. 108).Edits LFO1,2 settings.Press [CURSOR/VALUE] to access the Patch LFO 1/2 screen (p. 109).Edits step LFO settings.Press [CURSOR/VALUE] to access the Patch Step LFO screen (p. 112).Specifies how the tones will be heard.Press [CURSOR/VALUE] to access the Patch TMT screen (p. 112).Edits controller-related settings.Press [CURSOR/VALUE] to access the Patch Ctrl screen (p. 114).* If the Str Type (p. 93) is set to any value other than 1, two screens will be shown for WG–OUT.89


Using the SonicCell in Patch ModeOverall settings for the entire patch (Patch General screen)Parameter Value ExplanationCtg(Category)Level 0–127PanPriorityrefer to “PatchCategory” (p. 63)L64–63RLAST, LOUDESTSpecifies the type (category) of the patch.Specifies the volume of the Patch.* You can specify the level of each Tone in a Patch using the Tone Level (TVA p. 105).Sets the stereo position of the Patch. L64 pans the Patch all the way to the left, 0 is centerand 63R pans it hard right.* You can specify the pan setting for each Tone in a Patch using the Tone Pan (TVA p. 106).* While each Tone in a Patch has its own Pan position, the Patch pan setting shifts the entirePatch—including all of its Tones—leftward or rightwardThis determines how notes will be managed when the maximum polyphony is exceeded(128 voices).LAST: The last-played voices will be given priority, and currently sounding noteswill be turned off in order, beginning with the first-played note.LOUDEST: The voices with the loudest volume will be given priority, and currentlysounding notes will be turned off, beginning with the lowest-volume voice.Octave Shift -3–+3 Adjusts the pitch of the patch’s sound up or down in units of an octave (+/-3 octaves).Coarse Tune -48–+48 Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves).Fine Tune ★ -50–+50Strech Tune(Strech TuneDepth)OFF, 1–3Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/-50 cents).★ You can use matrix control to modify this. (p. 95)This setting allows you to apply “stretched tuning” to the patch. (Stretched tuning is a systemby which acoustic pianos are normally tuned, causing the lower range to be lower and thehigher range to be higher than the mathematical tuning ratios would otherwise dictate.) Witha setting of “OFF,” the patch’s tuning will be equal temperament. A setting of “3” will producethe greatest difference in the pitch of the low and high ranges.The diagram shows the pitch change relative to equal temperament that will occur in the lowand high ranges. This setting will have a subtle effect on the way in which chords resonate.Pitch difference fromequal temperament321Parameter valueLow note rangeOFF123OFFHigh note rangeAnalog Feel(Analog FeelDepth)0–127Cutoff Offset -63–+63Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation isa pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook orrustling wind.)By adding this “1/f modulation,” you can simulate the natural instability characteristic of ananalog synthesizer.Cutoff Offset alters the cutoff frequency of the overall patch, while preserving the relativedifferences between the cutoff frequency values set for each tone in the Cutoff Frequency (p.102).This value is added to the cutoff frequency value of a tone, so if the cutoff frequency valueof any tone is already set to “127” (maximum), positive “+” settings here will not produceany change.90


Using the SonicCell in Patch ModeParameter Value ExplanationResonanceOffset-63–+63Resonance Offset alters the resonance of the overall patch, while preserving the relative differencesbetween the resonance values set for each tone in the Resonance (p. 103).* Resonance: emphasizes the overtones in the region of the cutoff frequency, adding characterto the sound.Attack Offset(Attack TimeOffset)Release Offset(Release TimeOffset)Velocity Sens(Velocity SensitivityOffset)Mono/PolyLegato SwitchLegato Retriger(Retrigger)-63–+63-63–+63-63–+63MONO, POLYOFF, ONOFF, ONThis value is added to the resonance value of a tone, so if the resonance value of any toneis already set to “127” (maximum), positive “+” settings here will not produce any change.Attack Offset alters the attack time of the overall patch, while preserving the relative differencesbetween the attack time values set for each tone in the A-Env Time 1 (p. 107), F-EnvTime 1 (p. 105).* Attack Time: The time it takes for a sound to reach maximum volume after the key ispressed and sound begun.This value is added to the attack time value of a tone, so if the attack time value of anytone is already set to “127” (maximum), positive “+” settings here will not produce anychange.Release Offset alters the release time of the overall patch, while preserving the relative differencesbetween the release time values set for each tone in the A-Env Time 4 (p. 107), F-Env Time 4 (p. 105).* Release Time: The time from when you take your finger off the key until the sound disappears.This value is added to the release time value of a tone, so if the release time value of anytone is already set to “127” (maximum), positive “+” settings here will not produce anychange.Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preservingthe relative differences between the Velocity Sensitivity values set for each tone in the parametersbelow.Cutoff V-Sens (p. 103)Level V-Sens (p. 105)* Velocity: Pressure with which the key is pressed.This value is added to the velocity sensitivity value of a tone, so if the velocity sensitivityvalue of any tone is already set to “+63” (maximum), positive “+” settings here will notproduce any change.Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO).The “MONO” setting is effective when playing a solo instrument patch such as sax or flute.MONO: Only the last-played note will sound.POLY: Two or more notes can be played simultaneously.This setting specifies whether the Legato Switch willbe used (ON) or not (OFF).Legato Switch is valid when the Mono/Poly parameteris set to “MONO.” With the Legato Switch “ON,”pressing a key while continuing to press a previouskey causes the note to change pitch to the pitch of themost recently pressed key, sounding all the while.This creates a smooth transition between notes, whichis effective when you wish to simulate the hammeringonand pulling-off techniques used by a guitarist.The setting determines whether sounds are replayed(ON) or not (OFF) when performing legato.The Legato Retrigger is valid when the Mono/Poly isset to “MONO” and the Legato Switch is set to“ON.” Normally you will leave this parameter “ON.”When “OFF,” when one key is held down and anotherkey is then pressed, only the pitch changes, withoutthe attack of the latter key being played. Set this to“OFF” when performing wind and string phrases orwhen using modulation with the mono synth keyboardsound.Let’s say you have the LegatoSwitch set to “ON,” and theLegato Retrigger set to “OFF.”When you try to sound a legato(by pressing a higher key while alower key is held down), the pitchmay sometimes not be able to riseall the way to the intended pitch(stopping instead at anintermediate pitch). This can occurbecause the limit of pitch rise, asdetermined at the wave level, hasbeen exceeded.Additionally, if differing upperpitch limits are used for the wavesof a Patch that uses multiple tones,it may stop being heard in MONO.When making large pitch changes,set the Legato Retrigger to “ON.”91


Using the SonicCell in Patch ModeParameter Value ExplanationPorta Sw(PortamentoSwitch)Porta Mode(PortamentoMode)Porta Type(PortamentoType)Porta Start(PortamentoType)OFF, ONNORMAL,LEGATORATE, TIMEPITCH, NOTESpecifies whether the portamento effect will be applied (ON) or not (OFF).* Portamento is an effect which smoothly changes the pitch from the first-played key to thenext-played key. By applying portamento when the Mono/Poly is “MONO,” you can simulateslide performance techniques on a violin or similar instrument.Specifies the performance conditions for which portamento will be applied.NORMAL: Portamento will always be applied.LEGATO: Portamento will be applied only when you play legato (i.e., when you pressthe next key before releasing the previous key).Specifies the type of portamento effect.RATE: The time it takes will depend on the distance between the two pitches.TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are.When another key is pressed during a pitch change produced by portamento, a new pitchchange will begin. This setting specifies the pitch at which the change will begin.PITCH:Starts a new portamento when another key is pressed while the pitchis changing.PitchNOTE:Portamento will begin anew from the pitch where the current changewould end.PitchC5C5D4C4D4C4press D4 keyTimepress D4 keyTimepress C5 keypress C4 keypress C5 keypress C4 keyPorta Time(PortamentoTime)Part Mod Sw(Part ModulationDepth Switch)0–127OFF, ONWhen portamento is used, this specifies the time over which the pitch will change. Highersettings will cause the pitch change to the next note to take more time.Specifies whether the part’s modulation depth range setting (the value specified by RPN) willbe enabled (ON) or disabled (OFF).92


Using the SonicCell in Patch ModeSelecting how tones are combined (Patch Structure screen)Parameter Value ExplanationStr (Structure) Type 1&2, 3&4 1–10Booster 1&2, 3&4 0, +6, +12, +18Determines how Tone 1 and 2, and Tone 3 and 4 are connected.The displayed symbols have the following meanings.B: BoosterR: Ring ModulatorWhen a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust thedepth of the booster.Higher settings will produce more distortion.Type 1TONE 1 (3)WGTVFTVAWith this type, tones 1 and 2 (or 3 and 4) are independent. Use this type whenyou want to preserve PCM sounds or create and combine sounds for eachtone.TONE 2 (4)WG TVF TVAType 2TONE 1 (3)WGTVATVFThis type stacks the two filters together to intensify the characteristics of the filters.The TVA for tone 1 (or 3) controls the volume balance between the twotones.TONE 2 (4)WG TVF TVAType 3TONE 1 (3)TONE 2 (4)WG TVA TVFBWG TVF TVAThis type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, andthen applies a booster to distort the waveform.Type 4TONE 1 (3)TONE 2 (4)WG TVA TVFBWG TVF TVAThis type applies a booster to distort the waveform, and then combines the twofilters. The TVA for tone 1 (or 3) controls the volume balance between the twotones and adjusts booster level.Type 5TONE 1 (3)TONE 2 (4)WG TVA TVFRWG TVF TVAThis type uses a ring modulator to create new overtones, and combines thetwo filters. The tone 1 (3) TVA will control the volume balance of the two tones,adjusting the depth of ring modulator.Type 6TONE 1 (3)TONE 2 (4)WG TVA TVFRWG TVF TVAThis type uses a ring modulator to create new overtones, and in addition mixesin the sound of tone 2 (4) and stacks the two filters. Since the ring-modulatedsound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount ofthe ring-modulated sound.93


Using the SonicCell in Patch ModeParameter Value ExplanationType 7TONE 1 (3)TONE 2 (4)WG TVF TVARWG TVF TVAThis type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) tocreate new overtones.Type 8TONE 1 (3)TONE 2 (4)WG TVF TVARWG TVF TVAThis type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator,and then mixes in the sound of tone 2 (4) and applies a filter to the result.Type 9TONE 1 (3)TONE 2 (4)WG TVF TVARWG TVF TVAThis type passes the filtered sound of each tone through a ring modulator tocreate new overtones. The tone 1 (3) TVA will control the volume balance ofthe two tones, adjusting the depth of ring modulator.Type 10TONE 1 (3)TONE 2 (4)WG TVF TVARWG TVF TVAThis type passes the filtered sound of each tone through a ring modulator tocreate new overtones, and also mixes in the sound of tone 2 (4). Since the ringmodulatedsound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust theamount of the ring-modulated sound.• When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of thedisplayed setting.• If you limit the keyboard area in which a tone will sound (Keyboard Range p. 112, p. 113) or limit the range of velocities forwhich it will sound (Velocity Range p. 113), the result in areas or ranges where the tone does not sound is just as if the tonehad been turned off. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which onetone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless ofthe displayed setting.Ring ModulatorA ring modulator multiplies the waveforms of two tones with each other,generating many new overtones (in harmonic partials) which werenot present in either waveform. (Unless one of the waveforms is a sinewave, evenly-spaced frequency components will not usually be generated.)As the pitch difference between the two waveforms changesthe harmonic structure, the result will be an unpitched metallic sound.This function is suitable for creating metallic sounds such as bells.BoosterThe Booster is used to distort the incoming signal.In addition to using this to create distortion, you can use the waveform(WG1) of one of the tones as an LFO which shifts the otherwaveform (WG2) upward or downward to create modulation similarto PWM (pulse width modulation). This parameter works best whenyou use it in conjunction with the Wave Gain (p. 98).Booster levelUses WG1 as LFOAdjusts WG1 outputWG1TVABoosterWG2Adds to WG1Distorted area of theWaveform changesWG2Shift in waveform by WG194


Using the SonicCell in Patch ModeSettings for matrix control (Patch Mtrx Ctrl1–4 screens)Matrix ControlOrdinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusivemessages-MIDI messages designed exclusively for the SonicCell. However, System Exclusive messages tend to be complicated, andthe amount of data that needs to be transmitted can get quite large.For that reason, a number of the more typical of the SonicCell’s tone parameters have been designed so they accept the use ofControl Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety ofmeans of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or usethe keyboard’s touch to open and close a filter.The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the “MatrixControl.” Up to four Matrix Controls can be used in a single patch.To use the Matrix Control, specify which MIDI message (Src) will be used to control which parameter (Dest), and how greatly (Sns),and the tone to which the effect is applied (Tone).Parameter Value ExplanationSets the MIDI message used to change the tone parameter with the Matrix Control.OFF:Matrix control will not be used.CC01–31, 33–95: Controller numbers 1–31, 33–95PITCH BEND: Pitch BendAFTERTOUCH: AftertouchSYS CTRL1–4: MIDI messages used as common matrix controls.VELOCITY: Velocity (pressure you press a key with)KEYFOLLOW: Keyfollow (keyboard position with C4 as 0)TEMPO:The system tempo (p. 177) or the tempo of an external MIDI sequencer.LFO1: LFO 1LFO2: LFO 2PITCH ENV: Pitch envelopeTVF ENV:TVF envelopeTVA ENV:TVA envelopeSrc(Control Source)For more information about Control Change messages, please refer to “MIDI Implementation” (p.246).Velocity and Keyfollow correspond to Note messages.Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as MatrixControl. In this case, you can change the tone settings in realtime by playing patches.• If you want to use common controllers for the entire SonicCell, select “SYS CTRL1”–”SYSCTRL4.” MIDI messages used as System Control 1–4 are set with the Src1–4 (p. 179).There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression)and Controller Number 64 (Hold 1) are received (p. 114). When these settings are “ON,” and theMIDI messages are received, then when any change is made in the settings of the desiredparameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you wantto change the targeted parameters only, then set these to “OFF.”• There are parameters that let you specify whether specific MIDI messages will be received foreach channel in a performance (p. 72). When a patch with Matrix Control settings is assignedto a part, confirm that any MIDI messages used for the Matrix Control will be received. If theSonicCell is set up such that reception of MIDI messages is disabled, then the Matrix Control willnot function.95


Using the SonicCell in Patch ModeParameter Value ExplanationMatrix Control Destination selects the tone parameter that is to be controlled when using the MatrixControl. The following parameters can be controlled. When not controlling parameters with the MatrixControl, set this to “OFF.” Up to four parameters can be specified for each Matrix Control, andcontrolled simultaneously.Dest(Control Destination)In this manual, Parameters that can be controlled using the Matrix Control are marked with a “★.”● If you’re not using Matrix ControlOFF:Matrix Control will not be used.● Changing the PitchPITCH:Changes the pitch.● Opening and Closing the FilterCUTOFF:Changes the cutoff frequency.RESONANCE: Emphasizes the overtones in the region of the cutoff frequency, addingcharacter to the sound.● Changing the Volume and PanLEVEL:Changes the volume level.PAN:Changes the pan.● Changing How the Effects Are AppliedOUTPUT LEVEL: Changes the volume of output levels.CHORUS SEND: Changes the amount of chorus.REVERB SEND: Changes the amount of reverb.● Applying LFO to Modulate SoundsLFO1/LFO2 PCH DEPTH: Changes the vibrato depth.LFO1/LFO2 TVF DEPTH: Changes the wah depth.LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO will have on pan.LFO1/LFO2 RATE: Changes the LFO cycle rate. Changes the speed of the LFO cycles.The speed will not change if LFO Rate is set to “note.”● Changing the Pitch EnvelopePIT ENV A-TIME: Changes the Env Time 1 of the pitch envelope.PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the pitch envelope.PIT ENV R-TIME: Changes the Env Time 4 of the pitch envelope.● Changing the TVF EnvelopeTVF ENV A-TIME: Changes the Env Time 1 of the TVF envelope.TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the TVF envelope.TVF ENV R-TIME: Changes the Env Time 4 of the TVF envelope.● Changing the TVF EnvelopeTVA ENV A-TIME: Changes the Env Time 1 of the TVA envelope.TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the TVA envelope.TVA ENV R-TIME: Changes the Env Time 4 of the TVA envelope.● Splitting Tones That Are PlayedTMTIf the Matrix Control is used to split tones, set the TMT Velo Ctrl (p. 112) to “OFF,” and the TMTControl Switch (p. 112) to “ON.”• If the Matrix Control is used to split tones, we recommend setting the Matrix Control Sens to“+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want toreverse the effect, set the value to “-63.”• If you want to use matrix control to switch smoothly between tones, use the Velo Fade Lower andVelo Fade Upper (p. 113). The higher the values set, the smoother the switch is between thetones.96


Using the SonicCell in Patch ModeParameter Value ExplanationDest(Control Destination)● Changing the Depth of Frequency Modulation for FXMFXM DEPTH● Changing Specific Multi-Effects ParametersMFX CTRL1–4: Change the parameter that was specified by MFX Control 1–4 Assignparameter.Sens(Control Sensitivity)Sw1-T1–T4–Sw4-T1–T4(Tone Control Switch T1–T4)If you have not made the necessary settings for using the multi-effect, the multi-effect will not beapplied even if you attempt to control it as a Matrix Control destination.-63–+63OFF, ON, REVSSets the amount of the Matrix Control’s effect that is applied.If you wish to modify the selected parameter in a positive (+) direction – i.e.,a higher value, toward the right, or faster etc. – from its current setting, selecta positive (+) value.If you wish to modify the selected parameter in a negative (-) direction – i.e.,a lower value, toward the left, or slower etc. – from its current setting, select anegative (-) value. For either positive or negative settings, greater absolute valueswill allow greater amounts of change.Set this to “0” if you don’t want to apply the effect.Matrix Control Tone selects the tone to which the effect is applied when usingthe Matrix Control.OFF: The effect will not be applied.ON: The effect will be applied.REVS: The effect will be applied in reverse.■ Cautions When Selecting a WaveformThe sounds of the SonicCell are based on complex PCM waveforms,and if you attempt to make settings that are contrary to the type of theoriginal waveform, the results will not be as you expect.The internal waveforms of the SonicCell fall into the following twogroups.One-shot:These waveforms contain sounds that have short decays. A one-shotwaveform records the initial rise and fall of the sound. Some of theSonicCell’s one-shot waveforms are sounds that are complete inthemselves, such as percussive instrument sounds. The SonicCell alsocontains many other one-shot waveforms that are elements of othersounds. These include attack components such as piano-hammersounds and guitar fret noises.Looped:These waveforms include sounds with long decays as well assustained sounds. Loop waveforms repeatedly play back (loop) theportion of the waveform after the sound has reached a relativelysteady state. The SonicCell’s looped waveforms also includecomponents of other sounds, such as piano-string resonant vibrationsand the hollow sounds of brass instruments.The following diagram shows an example of sound (electric organ)that combines one-shot and looped waveforms.TVA ENV for loopedOrgan waveform(sustain portion)LevelTVA ENV for one-shotKey-click waveform(attack portion)+ =Resulting TVA ENVchangeCautions When Using a One-shot WaveformIt is not possible to use the envelope to modify a one-shot waveformto create a decay that is longer than the original waveform, or to turnit into a sustaining sound. If you were to program such an envelope,you would be attempting to shape a portion of the sound that simplydoesn’t exist, and the envelope would have no effect.Cautions When Using a Loop WaveformWith many acoustic instruments such as piano and sax, extremetimbral changes occur during the first few moments of each note. Thisinitial attack is what defines much of the instrument’s character. Forsuch waveforms, it is best to use the complex tonal changes of theattack portion of the waveform just as they are, and to use theenvelope only to modify the decay portion. If you attempt to use theenvelope to modify the attack portion as well, the characteristics ofthe original waveform may prevent you from getting the sound thatyou intend.jLevelTone change storedwith the waveEnvelopefor the TVF filterResultingtone changeLooped portionTimeNote off TimeNote off97


Using the SonicCell in Patch ModeWaveform-related settings (Patch WG/Patch Pitch Env screen)■ Patch WG screen ..........................................................................................................Parameter Value ExplanationWave GroupWave BankWave No. L (MONO)Wave No. RINT, EXPA, B- - -1–1401Wave Gain -6, 0, +6, +12Selects the group for the waveform that is to be the basis of the tone.INT: Waveforms stored in internal memoryEXP: Waveform stored in a Wave Expansion Board (SRX series) installedin EXP slots.* It’s not possible to select EXP unless a wave expansion board is insertedinto the corresponding slot.Selects the wave bank when the wave group is set to “EXP.”A: Wave Expansion Board AB: Wave Expansion Board B* When the wave group is set to “INT,” the “- - -” message appears and youcannot select a wave bank.* You cannot select a wave bank of a Wave Expansion Board that is notinstalled.Chooses the desired waveform. You can choose a separate waveform forthe SonicCell’s left and right channels.* For mono tones, assign a waveform to the L channel. No sound will beheard if a waveform is set for only the R channel.* In the case of a wave from a wave expansion board, the range (numberof waveforms) will depend on the board you've selected.Sets the gain (amplification) of the waveform. The value changes in 6 dB(decibel) steps—an increase of 6 dB doubles the waveform’s gain.If you intend to use the Booster (p. 94) to distort the waveform’s sound, setthis parameter to its maximum value.When you wish to synchronize a Phrase Loop to the clock (tempo), set thisto “ON.” This is valid only when a separately sold wave expansion boardis installed, and a waveform that indicates a tempo (BPM) is selected as thesample for a tone.Wave Tempo SyncFXM SwitchOFF, ONOFF, ONIf a waveform from a wave expansion board is selected for the tone,turning the Wave Tempo Sync parameter “ON” will cause pitch-relatedsettings and FXM-related settings to be ignored.• When the Wave Tempo Sync is set to “ON,” set the Tone Delay Time(p. 100) to “0.” With other settings, a delay effect will be applied, andyou will be not be able to play as you expect.Phrase LoopPhrase loop refers to the repeated playback of a phrase that’s been pulledout of a song (e.g., by using a sampler). One technique involving the use ofPhrase Loops is the excerpting of a Phrase from a pre-existing song in a certaingenre, for example dance music, and then creating a new song withthat Phrase used as the basic motif. This is referred to as “Break Beats.”This sets whether FXM will be used (ON) or not (OFF).FXMFXM (Frequency Cross Modulation) uses a specified waveform to apply frequencymodulation to the currently selected waveform, creating complexovertones. This is useful for creating dramatic sounds or sound effects.98


Using the SonicCell in Patch ModeParameter Value ExplanationFXM Color 1–4FXM Depth ★ 0–16Specifies how FXM will perform frequency modulation.Higher settings result in a grainier sound, while lower settings result in amore metallic sound.Specifies the depth of the modulation produced by FXM.★ You can use matrix control to modify this. (p. 95)Selects the type of tone delay.Tone Delay ModeNORM, HOLD,OFFN, OFFDTone DelayThis produces a time delay between the moment a key is pressed (or released),and the moment the tone actually begins to sound. You can alsomake settings that shift the timing at which each tone is sounded. This differsfrom the Delay in the internal effects, in that by changing the sound qualitiesof the delayed tones and changing the pitch for each tone, you can also performarpeggio-like passages just by pressing one key.You can also synchronize the tone delay time to the tempo of the externalMIDI sequencer.NORM:The tone begins to play after the time specified in the Delay Time parameterhas elapsed.HOLD:Although the tone begins to play after the time specified in the DelayTime parameter has elapsed, if the key is released before the time specifiedin the Delay Time parameter has elapsed, the tone is not played.No Tone DelayDelay timeDelay timeNo soundplayedNote onNote offOFFN:Rather than being played while the key is pressed, the tone begins toplay once the period of time specified in the Delay Time parameter haselapsed after release of the key. This is effective in situations such aswhen simulating noises from guitars and other instruments.Note onNote offOFFD:Rather than being played while the key is pressed, the tone begins toplay once the period of time specified in the Delay Time parameter haselapsed after release of the key. Here, however, changes in the TVAEnvelope begin while the key is pressed, which in many cases meansthat only the sound from the release portion of the envelope is heard.Delay timeDelay timeNote onNote offNote onNote off• If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is notreleased), selecting “OFFN” or “OFFD” may result in no sound being heard.• If you don’t wish to use Tone Delay, set Tone Delay to “NORM” and Tone Delay Time to “0.”If the Str Type (p. 93) set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output oftones 3 and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow thesettings of tone 4.99


Using the SonicCell in Patch ModeParameter Value ExplanationTone Delay Time0127,Note (* 1)Tone Coarse Tune ★ -48–+48Tone Fine Tune ★ -50–+50Random Pch Dpth(Random Pitch Depth)0–9,10–90,100–1200Specifies the time from when the key is pressed (or if the Delay Mode parameteris set to “OFF-N” or “OFF-D,” the time from when the key is released)until when the tone will sound.Tone Delay Time specifies the beat length for the synchronized tempo whenthe tempo that specifies the elapsed time until the tone is sounded (PatchTempo) is synchronized with the tempo set in an external MIDI sequencer.(Example)For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))(half note) 1 second (60/60= 1 (second))(quarter note) 0.5 seconds (60/120= 0.5 (seconds))(eighth note) 0.25 seconds (60/240= 0.25 (seconds))Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves).★ You can use matrix control to modify this. (p. 95)Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-50cents).* One cent is 1/100th of a semitone.★ You can use matrix control to modify this. (p. 95)This specifies the width of random pitch deviation that will occur each timea key is pressed. If you do not want the pitch to change randomly, set thisto “0.” These values are in units of cents (1/100th of a semitone).This specifies the amount of pitch change that will occur when you play akey one octave higher (i.e., 12 keys upward on the keyboard).If you want the pitch to rise one octave as on a conventional keyboard, setthis to “+100.” If you want the pitch to rise two octaves, set this to “+200.”Conversely, set this to a negative value if you want the pitch to fall. With asetting of “0,” all keys will produce the same pitch.Pitch+200+100Pitch Keyfollow -200–+200+500-50-200 -100C1 C2 C3 C4 C5 C6 C7KeyBend Range Up 0–+48Bend Range Down 0– -48Specifies the degree of pitch change in semitones when the Pitch Bend leveris all the way right. For example, if this parameter is set to “12,” the pitchwill rise one octave when the pitch bend lever is moved to the right-most position.Specifies the degree of pitch change in semitones when the Pitch Bend leveris all the way left. For example if this is set to “-48” and you move the pitchbend lever all the way to the left, the pitch will fall 4 octaves.*1 Note valuesSixty-fourth-note triplet Sixty-fourth note Thirty-second-note tripletThirty-second noteSixteenth-note tripletDotted thirty-second noteSixteenth note Eighth-note triplet Dotted sixteenth noteEighth noteQuarter-note tripletDotted eighth noteQuarter note Half-note triplet Dotted quarter note Half noteWhole-note tripletDotted half noteWhole noteDouble-note tripletDotted whole noteDouble note100


Using the SonicCell in Patch Mode■ Patch Pitch Env screen...................................................................................................Parameter Value ExplanationP-Env Depth(Pitch Envelope Depth)P-Env V-Sens(Pitch Envelope Velocity Sensitivity)P-Env T1 V-Sens(Pitch Envelope Time 1 VelocitySensitivity)P-Env T4 V-Sens(Pitch Envelope Time 4 VelocitySensitivity)-12–+12-63–+63-63–+63-63–+63Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitchenvelope to produce greater change. Negative (-) settings will invert theshape of the envelope.Keyboard playing dynamics can be used to control the depth of the pitchenvelope. If you want the pitch envelope to have more effect for stronglyplayed notes, set this parameter to a positive (+) value. If you want the pitchenvelope to have less effect for strongly played notes, set this to a negative(-) value.This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. Ifyou want Time 1 to be speeded up for strongly played notes, set this parameterto a positive (+) value. If you want it to be slowed down, set this to anegative (-) value.Use this parameter when you want key release speed to affect the Time 4value of the pitch envelope. If you want Time 4 to be speeded up for quicklyreleased notes, set this parameter to a positive (+) value. If you want it to beslowed down, set this to a negative (-) value.Use this setting if you want the pitch envelope times (Time 2–Time 4) to beaffected by the keyboard location. Based on the pitch envelope times for theC4 key, positive (+) settings will cause notes higher than C4 to have increasinglyshorter times, and negative (-) settings will cause them to have increasinglylonger times. Larger settings will produce greater change.Time-100P-Env Time KF(Pitch Envelope Time Keyfollow)-100–+100-500+50+100C1 C2 C3 C4 C5 C6 C7KeySpecify the pitch envelope times (Time 1–Time 4). Higher settings will resultin a longer time until the next pitch is reached. (For example, Time 2 is thetime over which the pitch changes from Level 1 to Level 2.)T1 T2 T3 T4P-Env Time 1–4 ★(Pitch Envelope Time 1–4)0–127Pitch L0L1L3Note onNote offL2 T: Time L: Level L4★ You can use matrix control to modify this. (p. 95)Time101


Using the SonicCell in Patch ModeParameter Value ExplanationP-Env Level 0–4(Pitch Envelope Level 0–4)-63–+63Specify the pitch envelope levels (Level 0–Level 4). It determines how muchthe pitch changes from the reference pitch (the value set with Coarse Tuneor Fine Tune on the Pitch screen) at each point. Positive (+) settings will causethe pitch to be higher than the standard pitch, and negative (-) settings willcause it to be lower.TVF settings (Patch TVF/Patch TVF Env screen)■ Patch TVF screen ..........................................................................................................Parameter Value ExplanationFilter TypeCutoff Frequency ★ 0–127Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sound’s brightness,thickness, or other qualities.OFF: No filter is used.LPF: Low Pass Filter. This reduces the volume of all frequencies above the Cutoff Frequency inorder to round off, or un-brighten the sound. This is the most common filter used insynthesizers.BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (CutoffFrequency), and cuts the rest. This can be useful when creating distinctive sounds.HPF: High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This issuitable for creating percussive sounds emphasizing their higher tones.PKG: Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. Youcan use this to create wah-wah effects by employing an LFO to change the cutoff frequencycyclically.LPF2: Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut, thesensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low passfilter. This filter is good for use with simulated instrument sounds such as the acoustic piano.LPF3: Low Pass Filter 3. Although frequency components above the Cutoff Frequency are cut, thesensitivity of this filter changes according to the Cutoff frequency. While this filter is alsogood for use with simulated acoustic instrument sounds, the nuance it exhibits differs from thatof the LPF2, even with the same TVF Envelope settings.If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 103).Selects the frequency at which the filter begins to have an effect on the waveform’sfrequency components.• With “LPF/LPF2/LPF3” selected for the Filter Type, lower cutoff frequencysettings reduce a tone’s upper harmonics for a more rounded, warmer sound.Higher settings make it sound brighter.• If “BPF” is selected, harmonic components will change depending on the TVFCutoff Frequency setting. This can be useful when creating distinctive sounds.• With “HPF” selected, higher Cutoff Frequency settings will reduce lowerharmonics to emphasize just the brighter components of the sound.• With “PKG” selected, the harmonics to be emphasized will vary dependingon Cutoff Frequency setting.To edit the overall patch while preserving the relative differences in the CutoffFrequency values set for each tone, set the Cutoff Offset (p. 90).★ You can use matrix control to modify this. (p. 95)102


Using the SonicCell in Patch ModeParameter Value ExplanationEmphasizes the portion of the sound in the region of the cutoff frequency, addingcharacter to the sound. Excessively high settings can produce oscillation, causingthe sound to distort.To edit the overall patch while preserving the relative differences in theResonance values set for each tone, set the Resonance Offset (p. 91).Resonance ★ 0–127Level LPF BPF HPF PKGHighFrequencyCutoff frequencyparameter valueCutoff Freq KF(Cutoff Frequencykeyfollow)-200–+200Low★ You can use matrix control to modify this. (p. 95)Use this parameter if you want the cutoff frequency to change according to thekey that is pressed. Relative to the cutoff frequency at the C4 key (center C), positive(+) settings will cause the cutoff frequency to rise for notes higher than C4,and negative (-) settings will cause the cutoff frequency to fall for notes higher thanC4. Larger settings will produce greater change.Cutoff frequency(Octave)+2+1+200+100+5000-1-50-2-200 -100C1 C2 C3 C4 C5 C6 C7 KeyCutoff V-Curve(Cutoff Frequency VelocityCurve)Cutoff V-Sens(Cutoff frequency VelocitySensitivity)Resonance V-Sens(Resonance Velocity Sensitivity)FIXED, 1–7-63–+63-63–+63Selects one of the following seven curves that determine how keyboard playingdynamics (velocity) influence the cutoff frequency. Set this to “FIXED” if you don’twant the Cutoff frequency to be affected by the keyboard velocity.1 2 3 4 5 6 7Use this parameter when changing the cutoff frequency to be applied as a resultof changes in playing velocity. If you want strongly played notes to raise the cutofffrequency, set this parameter to positive (+) settings. If you want strongly playednotes to lower the cutoff frequency, use negative (-) settings.To edit the overall patch while preserving the relative differences in the Cutoff V-Sens values set for each tone, set the Velocity Sens (p. 91). However, this settingis shared by the Level V-Sens (p. 105).This allows keyboard velocity to modify the amount of Resonance. If you wantstrongly played notes to have a greater Resonance effect, set this parameter topositive (+) settings. If you want strongly played notes to have less Resonance, usenegative (-) settings.103


Using the SonicCell in Patch Mode■ Patch TVF Env screen ....................................................................................................Parameter Value ExplanationF-Env Depth(TVF Envelope Depth)F-Env V-Curve(TVF Envelope Velocity Curve)-63–+63FIX, 1–7Specifies the depth of the TVF envelope. Higher settings will cause the TVFenvelope to produce greater change. Negative (-) settings will invert theshape of the envelope.Selects one of the following 7 curves that will determine how keyboard playingdynamics will affect the TVF envelope. Set this to “FIX” if you don’t wantthe TVF Envelope to be affected by the keyboard velocity.F-Env V-Sens(TVF Envelope Velocity Sensitivity)F-Env T1 V-Sens(TVF Envelope Time 1 VelocitySensitivity)F-Env T4 V-Sens(TVF Envelope Time 4 VelocitySensitivity)-63–+63-63–+63-63–+631 2 3 4 5 6 7Specifies how keyboard playing dynamics will affect the depth of the TVFenvelope. Positive (+) settings will cause the TVF envelope to have a greatereffect for strongly played notes, and negative (-) settings will cause the effectto be less.This allows keyboard dynamics to affect the Time 1 of the TVF envelope. Ifyou want Time 1 to be speeded up for strongly played notes, set this parameterto a positive (+) value. If you want it to be slowed down, set this to anegative (-) value.The parameter to use when you want key release speed to control the Time4 value of the TVF envelope. If you want Time 4 to be speeded up for quicklyreleased notes, set this parameter to a positive (+) value. If you want it to beslowed down, set this to a negative (-) value.Use this setting if you want the TVA envelope times (Time 2–Time 4) to beaffected by the keyboard location. Based on the TVF envelope times for theC4 key (center C), positive (+) settings will cause notes higher than C4 tohave increasingly shorter times, and negative (-) settings will cause them tohave increasingly longer times. Larger settings will produce greater change.Time-100F-Env Time KF(TVF Envelope Time Keyfollow)-100–+100-500+50+100C1 C2 C3 C4 C5 C6 C7Key104


Using the SonicCell in Patch ModeParameter Value ExplanationSpecify the TVF envelope times (Time 1–Time 4). Higher settings will lengthenthe time until the next cutoff frequency level is reached. (For example,Time 2 is the time over which Level 1 will change to Level 2.)T1 T2 T3 T4F-Env Time1–4 ★(TVF Envelope Time 1–4)0–127CutoffFrequencyL0L1Note onL2L3Note offL4TimeF-Env Level0–4(TVF Envelope Level 0–4)0–127T: Time L: Level★ You can use matrix control to modify this. (p. 95)Specify the TVF envelope levels (Level 0–Level 4). These settings specify howthe cutoff frequency will change at each point, relative to the standard cutofffrequency (the cutoff frequency value specified in the TVF screen).TVA settings (Patch TVA/Patch TVA Env screen)■ Patch TVA screen..........................................................................................................Parameter Value ExplanationTone Level ★ 0–127Level V-Curve(TVA Level Velocity Curve)Level V-Sens(TVA Level Velocity Sensitivity)FIX, 1–7-63–+63Bias Level -100–+100Sets the volume of the tone. This setting is useful primarily for adjusting thevolume balance between tones.★ You can use matrix control to modify this. (p. 95)You can select from seven curves that determine how keyboard playingstrength will affect the volume. If you do not want the volume of the tone tobe affected by the force with which you play the key, set this to “FIX.”1 2 3 4 5 6 7Set this when you want the volume of the tone to change depending on theforce with which you press the keys. Set this to a positive (+) value to havethe changes in tone volume increase the more forcefully the keys are played;to make the tone play more softly as you play harder, set this to a negative(-) value.If you wish to make adjustments to the entire patch while maintaining therelative values of Level V-Sens among tones, adjust the Velocity Sens (p.91). However, this setting is shared by the Cutoff V-Sens (p. 103).Adjusts the angle of the volume change that will occur in the selected BiasDirection. Larger settings will produce greater change. Negative (-) valueswill invert the change direction.Bias Position C-1–G9 Specifies the key relative to which the volume will be modified.105


Using the SonicCell in Patch ModeParameter Value ExplanationSelects the direction in which change will occur starting from the Bias Position.LOWER:Bias DirectionBiasLOWER, UPPER,LO&UP, ALLUPPER:LO&UP:ALL:The volume will be modified for the keyboard area below theBias Point.The volume will be modified for the keyboard area above theBias Point.The volume will be modified symmetrically toward the left andright of the Bias Point.The volume changes linearly with the bias point at the center.Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch)when playing acoustic instruments.–0+LOWERUPPERLO&UPALLLevel +0LevelLevel +0Level–KeyKey –KeyKeyC-1 Bias Position G9 C-1 Bias Position G9 C-1 Bias Position G9 C-1 Bias Position G90+–0+–0+–Tone Pan ★L64–0–63RSets the pan of the tone. “L64” is far left, “0” is center, and “63R” is farright.★ You can use matrix control to modify this. (p. 95)Use this parameter if you want key position to affect panning. Positive (+)settings will cause notes higher than C4 key (center C) to be panned increasinglyfurther toward the right, and negative (-) settings will cause notes higherthan C4 key (center C) to be panned toward the left. Larger settings willproduce greater change.Pitch+200+100Pan Keyfollow -100–+100+500-50-200 -100C1 C2 C3 C4 C5 C6 C7KeyRandom Pan Depth 0–63Alter (Alternate) Pan DepthL63–63RUse this parameter when you want the stereo location to change randomlyeach time you press a key. Higher settings will produce a greater amount ofchange.This setting causes panning to be alternated between left and right each timea key is pressed. Higher settings will produce a greater amount of change.“L” or “R” settings will reverse the order in which the pan will alternate betweenleft and right. For example if two tones are set to “L” and “R” respectively,the panning of the two tones will alternate each time they are played.When any value from Type “2”–”10” is selected for the Str Type (p. 93) inthe Pan Keyfollow, Random Pan Depth, Alter Pan Depth settings, the outputof tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 arejoined in tone 4. For this reason, tone 1 will follow the settings of tone 2,and tone 3 will follow the settings of tone 4.106


Using the SonicCell in Patch Mode■ Patch TVA Env screen....................................................................................................Parameter Value ExplanationA-Env T1 V-Sens(TVA Envelope Time 1 VelocitySensitivity)A-Env T4 V-Sens(TVA Envelope Time 4 VelocitySensitivity)-63–+63-63–+63This allows keyboard dynamics to affect the Time 1 of the TVA envelope. Ifyou want Time 1 to be speeded up for strongly played notes, set this parameterto a positive (+) value. If you want it to be slowed down, set this to anegative (-) value.The parameter to use when you want key release speed to control the Time4 value of the TVA envelope. If you want Time 4 to be speeded up for quicklyreleased notes, set this parameter to a positive (+) value. If you want it tobe slowed down, set this to a negative (-) value.Use this setting if you want the TVA envelope times (Time 2–Time 4) to beaffected by the keyboard location. Based on the TVA envelope times for theC4 key (center C), positive (+) settings will cause notes higher than C4 tohave increasingly shorter times, and negative (-) settings will cause them tohave increasingly longer times. Larger settings will produce greater change.Time-100A-Env Time KF(TVA Envelope Time Keyfollow)-100–+100-500+50+100C1 C2 C3 C4 C5 C6 C7KeyA-Env Time1–4 ★(TVA Envelope Time 1–4)0–127Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthenthe time until the next volume level is reached. (For example, Time 2 isthe time over which Level 1 will change to Level 2.)★ You can use matrix control to modify this. (p. 95)Specify the TVA envelope levels (Level 1–Level 3). These settings specify howthe volume will change at each point, relative to the standard volume (theTone Level value specified in the TVA screen).T1 T2 T3 T4A-Env Level1–3(TVA Envelope Level 1–3)0–127LevelL1Note onL2L3T: Time L: LevelNote offTime107


Using the SonicCell in Patch ModePatch/Tone output-related settings (Patch Output screen)Parameter Value ExplanationSpecifies how the direct sound of each patch will be output.MFX: Output in stereo through multi-effects. You can also applychorus or reverb to the sound that passes through multi-effects.L+R: Output to the OUTPUT jacks in stereo without passing throughmulti-effects.Pat Out Assign(Patch Output Assign)MFX, L+R,L, R, TONEL, R: Output to the OUTPUT L jack or OUTPUT R jack in mono withoutpassing through multi-effects.TONE: Outputs according to the settings for each tone.* If you’ve made settings so that sounds are separately routed to the OUT-PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-PUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixedand output from the OUTPUT L jack.Tone Out (Output) AssignTone Out (Output) Level 0–127Cho Send (MFX)(Tone Chorus Send Level(Output=MFX))Rev Send (MFX)(Tone Reverb Send Level(Output=MFX))Cho Send (nonMFX)(Tone Chorus Send Level(Output=non MFX))Rev Send (nonMFX)(Tone Reverb Send Level(Output=non MFX))MFX, L+R, L, R0–1270–1270–1270–127Specifies how the direct sound of each tone will be output.MFX: Output in stereo through multi-effects. You can also applychorus or reverb to the sound that passes through multi-effects.L+R: Output to the OUTPUT jacks in stereo without passing throughmulti-effects.L, R: Output to the OUTPUT L jack or OUTPUT R jack in mono withoutpassing through multi-effects.* If the Pat Out Assign is set to anything other than “TONE,” these settingswill be ignored.* When the Str Type has a setting of Type “2”–”10,” the outputs of tones 1and 2 will be combined with tone 2, and the outputs of tones 3 and 4 willbe combined with tone 4. For this reason, tone 1 will follow the settings.* If you’ve made settings so that sounds are separately routed to the OUT-PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-PUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixedand output from the OUTPUT L jack.* Sounds are output to chorus and reverb in mono at all times.* The output destination of the signal after passing through the chorus is setwith the Output Select (p. 135).Set the level of the signal that is sent to the output destination specified byTone Out Assign.Specifies the level of the signal sent to the chorus for each tone if the tone issent through MFX.Specifies the level of the signal sent to the reverb for each tone if the tone issent through MFX.Sets the level of the signal sent to chorus for each tone if the tone is not sentthrough MFX.Sets the level of the signal sent to reverb for each tone if the tone is not sentthrough MFX.108


Using the SonicCell in Patch ModeLFO settings (Patch LFO1, 2/Patch Step LFO screen)■ Patch LFO1, 2 screens...................................................................................................An LFO (Low Frequency Oscillator) causes change over acycle in a sound. Each tone has two LFOs (LFO1/LFO2), andthese can be used to cyclically change the pitch, cutofffrequency and volume to create modulation-type effects suchas vibrato, wah and tremolo. Both LFOs have the sameparameters so only one explanation is needed.Parameter Value ExplanationWaveformSelects the waveform of the LFO.SIN: Sine waveTRI: Triangle waveSAW-U: Sawtooth waveSAW-D: Sawtooth wave (negative polarity)SQR: Square waveRND: Random waveBND-U: Once the attack of the waveform output by the LFO is allowed to develop instandard fashion, the waveform then continues without further change.BND-D: Once the decay of the waveform output by the LFO is allowed to develop instandard fashion, the waveform then continues without further change.TRP: Trapezoidal waveS&H: Sample & Hold wave (one time per cycle, LFO value is changed)CHAOS: Chaos waveVSIN: Modified sine wave. The amplitude of the sine wave is randomly varied onceeach cycle of the waveform.STEP: A waveform generated by the data specified in LFO Step 1–16. This produces afixed pattern of stepwise change, like that created by a step modulator.Rate ★If you set this to “BND-U” or “BND-D,” you must turn the Key Trigger to “ON.” If this is “OFF,” itwill have no effect.Adjusts the modulation rate, or speed, of the LFO.LFO Rate sets the beat length for the synchronized tempo is synchronizedwith the tempo set in an external MIDI sequencer.0–127,Note(Refer to p. 100 foravailable note values.)(Example)For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))Setting(half note)(quarter note)(eighth note)LFO Rate1 second (60/60= 1 (second))0.5 seconds (60/120= 0.5 (seconds))0.25 seconds (60/240= 0.25 (seconds))Rate Detune 0–127Offset-100, -50, 0, +50,+100This setting will be ignored if the Waveform parameter is set to “CHAOS.”★ You can use matrix control to modify this. (p. 95)LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter)each time a key is pressed. Higher settings will cause greater change.This parameter is invalid when Rate is set to “note.”Raises or lowers the LFO waveform relative to the central value (pitch or cutofffrequency). Positive (+) settings will move the waveform so that modulationwill occur from the central value upward. Negative (-) settings will movethe waveform so that modulation will occur from the central value downward.109


Using the SonicCell in Patch ModeParameter Value ExplanationDelay Time (LFO Delay Time) specifies the time elapsed before the LFO effectis applied (the effect continues) after the key is pressed (or released).Delay Time 0–127When using violin, wind, or certain other instrument sounds in aperformance, rather than having vibrato added immediately after thesounds are played, it can be effective to add the vibrato after the note isdrawn out somewhat. If you set the Delay Time in conjunction with thePitch Depth and Rate, the vibrato will be applied automatically following acertain interval after the key is pressed. This effect is called Delay Vibrato.After referring to “How to Apply the LFO” (p. 111), change the setting untilthe desired effect is achieved.Adjusts the value for the Delay Time parameter depending on the key position,relative to the C4 key (center C). To decrease the time that elapses beforethe LFO effect is applied (the effect is continuous) with each higher keythat is pressed in the upper registers, select a positive value; to increase theelapsed time, select a negative value. Larger settings will produce greaterchange. If you do not want the elapsed time before the LFO effect is applied(the effect is continuous) to change according to the key pressed, set this to“0.”Time-100Delay Time KF (Keyfollow) -100–100-500+50+100C1 C2 C3 C4 C5 C6 C7KeyFade ModeFade Time 0–127ON ,OFF Specifies how the LFO will be applied.After referring to “How to Apply the LFO” (p. 111), change the setting untilthe desired effect is achieved.Specifies the time over which the LFO amplitude will reach the maximum(minimum).After referring to “How to Apply the LFO” (p. 111), change the setting untilthe desired effect is achieved.110


Using the SonicCell in Patch ModeParameter Value ExplanationHow to Apply the LFO● Apply the LFO gradually after the key is pressedFade Mode: ON Delay Time: The time that the LFO will continue after thekeyboard is played.Fade Time: The time over which the LFO amplitude willreach the minimum after the Delay Time haselapsed.high (more)PitchCutoff FrequencyLevelPanlow (less)NoteonDelay TimeFade TimeDepth● Apply the LFO gradually after the key is releasedFade Mode: OFF Delay Time: The time that the LFO will continue after thekeyboard is released.Fade Time: The time over which the LFO amplitude willreach the minimum after the Delay Time haselapsed.high (more)PitchCutoff FrequencyLevelPanlow (less)NoteonNoteoffDelayTimeFade TimeDepthhigh (more)PitchCutoff FrequencyLevelPanlow (less)Note onNote offDelayTimeFade TimeDepthKey TriggerOFF, ONPitch Depth ★ -63–+63TVF Depth ★ -63–+63TVA Depth ★ -63–+63Pan Depth ★ -63–+63This specifies whether the LFO cycle will be synchronized to begin when thekey is pressed (ON) or not (OFF).Specifies how deeply the LFO will affect pitch.★ You can use matrix control to modify this. (p. 95)Specifies how deeply the LFO will affect the cutoff frequency.★ You can use matrix control to modify this. (p. 95)Specifies how deeply the LFO will affect the volume.★ You can use matrix control to modify this. (p. 95)Specifies how deeply the LFO will affect the pan.Positive (+) and negative (-) settings for the Depth result in differing kinds ofchange in pitch and volume. For example, if you set the Depth to a positive(+) value for one tone, and set another tone to the same numerical value,but make it negative (-), the modulation phase for the two tones will be thereverse of each other. This allows you to shift back and forth between twodifferent tones, or combine it with the Pan setting to cyclically change thelocation of the sound image.When the Str Type (p. 93) is set to any value from “2” through “10,” theoutput of tones 1 and 2 will be combined into tone 2, and the output oftones 3 and 4 will be combined into tone 4. This applies to the Pan Depthsettings. For this reason, tone 1 will follow the settings of tone 2, and tone3 will follow the settings of tone 4.★ You can use matrix control to modify this. (p. 95)111


Using the SonicCell in Patch Mode■ Patch Step LFO screen...................................................................................................Parameter Value ExplanationStep TypeTYP1, TYP2Step 1–16 -36–+36When generating an LFO waveform from the data specified in LFO Step1–16, specify whether the level will change abruptly at each step (TYP1) or willbe connected linearly (TYP2).Specifies the data for the Step LFO. If the LFO Pitch Depth is +63, each +1unit of the step data corresponds to a pitch of +50 cents.Specifies how the tones will be heard (Patch TMT screen)You can vary the way in which each tone will sounddepending on the force with which you play the keyboard, therange of notes on the keyboard, and via MIDI messages.These settings are collectively called the “Tone Mix Table(TMT).”Parameter Value ExplanationParameters common to all tonesTMT Velo Ctrl(TMT Velocity Control Switch)TMT Ctrl Switch(TMT Control Switch)OFF, ON,RANDOM, CYCLEOFF, ONParameters set on an individual tone basisKey Fade Lower(Keyboard Fade Width Lower)0–127TMT Velo Ctrl determines whether a different tone is played (ON) or not(OFF) depending on the force with which the key is played (velocity).When set to “RANDOM,” the patch’s constituent tones will sound randomly,regardless of any Velocity messages.When set to “CYCLE,” the patch’s constituent tones will sound consecutively,regardless of any Velocity messages.You can also switch between tones by using matrix control (p. 95) as analternative to using TMT Velo Ctrl.However, you can’t use TMT Velo Ctrl and matrix control at the same time.If you want to use matrix control, turn TMT Velo Ctrl “OFF.” If you want touse TMT Velo Control, turn matrix control “OFF.”Use the Matrix Control to enable (ON), or disable (OFF) sounding of differenttones.Alternatively, you can switch tones on/off by using TMT Velo Ctrl.However, you can't use TMT Velo Ctrl and matrix control at the same time.If you want to use matrix control, turn TMT Velo Ctrl “OFF.” If you want touse TMT Velo Control, turn matrix control “OFF.”This determines what will happen to the tone’s level when a note that’s lowerthan the tone’s specified keyboard range is played. Higher settings producea more gradual change in volume. If you don’t want the tone to sound at allwhen a note below the keyboard range is played, set this parameter to “0.”Key (Keyboard) Range Lower C-1–UPPER Specifies the lowest note that the tone will sound for each tone.112


Using the SonicCell in Patch ModeParameter Value ExplanationSpecifies the highest note that the tone will sound for each tone.Key (Keyboard) Range UpperKey Fade Upper(Keyboard Fade Width Upper)Lower–G90–127LevelIf you attempt to raise the lower key higher than the upper key, or to lowerthe upper key below the lower key, the other value will be automaticallymodified to the same setting.This determines what will happen to the tone’s level when a note that’s higherthan the tone’s specified keyboard range is played. Higher settings producea more gradual change in volume. If you don’t want the tone to soundat all when a note below the keyboard range is played, set this parameterto “0.”PitchVelo Fade Lower(Velocity Fade Width Lower)Velo (Velocity) Range LowerFade LowerRange Lower0–1271–UPPERFade UpperRange UpperThis determines what will happen to the tone’s level when the tone is playedat a velocity lower than its specified velocity range. Higher settings producea more gradual change in volume. If you want notes played outside thespecified key velocity range to not be sounded at all, set this to “0.”This sets the lowest velocity at which the tone will sound. Make these settingswhen you want different tones to sound in response to notes played at differentstrengths.This sets the highest velocity at which the tone will sound. Make these settingswhen you want different tones to sound in response to notes played atdifferent strengths.Velo (Velocity) Range upperLOWER–127If you attempt to set the Lower velocity limit above the Upper, or the Upperbelow the Lower, the other value will automatically be adjusted to thesame setting.Velo Fade Upper(Velocity Fade Width Upper)0–127LevelWhen using the Matrix Control to have different tones played, set thelowest value (Lower) and highest value (Upper) of the value of the MIDImessage used.This determines what will happen to the tone’s level when the tone is playedat a velocity greater than its specified velocity range. Higher settings producea more gradual change in volume. If you want notes played outsidethe specified key velocity range to not be sounded at all, set this to “0.”VelocityFade LowerRange LowerFade UpperRange Upper113


Using the SonicCell in Patch ModeController-related settings (Patch Ctrl screen)Parameter Value ExplanationTone Env (Envelope) ModeTone Rx Bender(Tone Receive Pitch BendSwitch)Tone Rx Xpr(Tone Receive ExpressionSwitch)Tone Rx Hold-1(Tone Receive Hold Switch)Tone Rx Pan Mode(Tone Receive Pan Mode)NO-SUS,SUSTAINOFF, ONOFF, ONOFF, ONCONT, K-ONWhen a loop waveform (p. 97) is selected, the sound will normally continueas long as the key is pressed. If you want the sound to decay naturally evenif the key remains pressed, set this to “NO-SUS.”If a one-shot type Wave (p. 97) is selected, it will not sustain even if thisparameter is set to “SUSTAIN.”For each tone, specify whether MIDI Pitch Bend messages will be received(ON), or not (OFF).For each tone, specify whether MIDI Expression messages will be received(ON), or not (OFF).For each tone, specify whether MIDI Hold-1 messages will be received(ON), or not (OFF).If “NO-SUS” is selected for Tone Env Mode, this setting will have no effect.For each tone, specify how pan messages will be received.CONT:K-ON:Whenever Pan messages are received, the stereo position ofthe tone will be changed.The pan of the tone will be changed only when the next note isplayed. If a pan message is received while a note is sounding,the panning will not change until the next key is pressed.Tone Redamper Sw (Switch)OFF, ONThe channels cannot be set so as not to receive Pan messages.You can specify, on an individual tone basis, whether or not the sound willbe held when a Hold 1 message is received after a key is released, but beforethe sound has decayed to silence. If you want to sustain the sound, setthis “ON.” When using this function, also set the Rx Hold-1 “ON.” This functionis effective for piano sounds.114


Using the SonicCell in Patch ModeTone CopyThis operation copies tone settings from a patch to one of thetones in the currently selected patch.From the Patch Edit menu screen (p. 88), select “Tone Copy.”The Patch Tone Copy screen will appear.Patch InitializeReturns the current patch settings to their initial values.From the Patch Edit menu screen (p. 88), select “Patch Init.”A confirmation message will appear.(2)(1)(3)(4)1. Select the copy-source tone and copy-destination tone.Parameter(1) Group of the copy-source patch(2) Copy-source patch(3) Copy-source tone(4) Copy-destination tone1. To execute the initialization, select “OK” and press[CURSOR/VALUE].If you decide not to initialize, select “CANCEL” and press[CURSOR/VALUE].When initialization is finished, you’ll be returned to theprevious screen.* The copy-destination patch is the patch that’s selected inthe temporary area (p. 57).2. Move the cursor to “COPY” and press [CURSOR/VALUE].A confirmation message will appear.3. To execute the copy, select “OK” and press [CURSOR/VALUE].If you decide not to execute the copy, select “CANCEL”and press [CURSOR/VALUE].Once the copy has been completed, you’ll be returned tothe previous screen.115


Using the SonicCell in Patch ModePatch WriteSaves the current patch as user data.5. Turn [CURSOR/VALUE] to select the save-destinationpatch, then press [CURSOR/VALUE].A confirmation message will appear.From the Patch Edit menu screen (p. 88), select “Write” toaccess the Patch Name screen.In this screen you can assign a name (patch name) of uptwelve characters to the patch you’re going to save.1. Move the cursor to the location where you want to enter acharacter, and press [CURSOR/VALUE].6. To write the patch into memory, select “OK” and press[CURSOR/VALUE].If you decide you don’t want to carry out the write, select“CANCEL” and press [CURSOR/VALUE].Once the data has been written, you’ll be returned to theprevious screen.2. Turn [CURSOR/VALUE] to select the desired character, thenpress [CURSOR/VALUE] to enter that character.You can press [MENU] to view convenient functions fortext entry.Press [MENU] once again to return to the previous screen.FunctionINSERTDELETEUNDOExplanationPress [CURSOR/VALUE] to insert a space(blank) at the cursor location.Press [CURSOR/VALUE] to delete thecharacter at the cursor location; subsequentcharacters will move forward.Revert to the unedited patch name.3. Repeat steps 1 and 2 as many times as necessary.4. When you’ve finished entering the patch name, move thecursor to “WRITE” and press [CURSOR/VALUE].The Patch Write screen will appear.116


Using the SonicCell in Patch ModeEditing rhythm sets (Rhythm Edit screen)1. Press [MIDI INST].[MIDI INST] and [PART VIEW] will light, and the PatchPlay screen will appear.If the patch type is set to “Patch,” change it to “Rhythm.”2. Turn [CURSOR/VALUE] to select “EDIT,” then press[CURSOR/VALUE].The Rhythm Edit screen will appear.fig.disp-RhythmEdit013. Turn [CURSOR/VALUE] to select the item you want to edit,then press [CURSOR/VALUE].The editing screen for the selected item will appear.4. Turn [CURSOR/VALUE] to select the parameter you wantto edit, then press [CURSOR/VALUE].The value of the selected parameter will be highlighted.5. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].■ Menu screens during rhythm editing..............................................................................If you press [MENU] while editing a patch, the menuscreen will appear.The Menu screen is structured as shown in the illustrationat right. You can switch between screens by turning[CURSOR/VALUE] to the right or left.ParameterSel 1–4(Wave Select 1–4)Sw 1–4(Wave Switch 1–4)Key SelectTON COPY(Rhythm Tone Copy)TON INIT(Rhythm Tone Initialize)RHY INIT(Rhythm Set Initialize)Write(Rhythm Set Write)ExplanationChanges the current wave (the one targeted for editing), and returns to the previous screen.Used to individually specify whether waves 1–4 will be used (ON) or not used (OFF).Selects the key that you’ll be editing.Copies the settings of a rhythm tone to a rhythm tone in the currently selected rhythm set.Press [CURSOR/VALUE] to access the Rhythm Tone Copy screen (p. 130).Returns the settings of just a specific key in the current rhythm set to their initial values (p.130).Returns the settings of the current rhythm set to their initial values (p. 130).Saves the current rhythm set as user data.Press [CURSOR/VALUE] to access the Rhythm Set Name screen (p. 131).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).117


Using the SonicCell in Patch Mode■ Rhythm Edit screen .......................................................................................................ParameterGeneralWGWMTPCHPCH(Pitch Envelope)TVFTVF(TVF Envelope)TVATVA(TVA Envelope)OUT(Output)ExplanationEdits overall settings for the entire rhythm set.Press [CURSOR/VALUE] to access the Rhythm General screen.Edits waveform-related settings.Press [CURSOR/VALUE] to access the Rhythm Wave screen (p. 120).Specifies how each rhythm tone will sound.Press [CURSOR/VALUE] to access the Rhythm WMT screen (p. 122).Edits pitch-related settings for each rhythm tone.Press [CURSOR/VALUE] to access the Rhythm Pitch screen (p. 122).Edits pitch envelope settings.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm PitchEnv screen (p. 123).Edits TVF settings.Press [CURSOR/VALUE] to access the Rhythm TVF screen (p. 124).Edits TVF envelope settings.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm TVFEnv screen (p. 126).Edits TVA settings.Press [CURSOR/VALUE] to access the Rhythm TVA screen (p. 127).Edits TVA envelope settings.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm TVAEnv screen (p. 128).Edits output-related settings for the rhythm set/rhythm tones.Press [CURSOR/VALUE] to access the Rhythm Output screen (p. 129).Edits overall settings for the entire rhythm set (Rhythm General screen)Parameter Value ExplanationRhythm Level(Rhythm Set Level)Assign Type0–127MULTI, SINGLESets the volume of the rhythm set.The volume levels of the tones from which the rhythm set is composed is setwith the Tone Level (p. 127). The volume levels of the Waves from whichthe rhythm tone is composed is set with the Wave Level (p. 121).Specifies how sounds are to be produced when you press the same key successively.MULTI: New sounds will be layered onto the currently playingsounds.SINGLE: The currently playing sound will be stopped before the newsound begins.118


Using the SonicCell in Patch ModeParameter Value ExplanationMute Group OFF, 1–31On an actual acoustic drum set, an open hi-hat and a closed hi-hat soundcan never occur simultaneously. To reproduce the reality of this situation,you can set up a Mute Group.The Mute Group function allows you to designate two or more rhythm tonesthat are not allowed to sound simultaneously. Up to 31 Mute Groups can beused. rhythm tones that are not belong to any such group should be set to“OFF.”Env Mode(Rhythm Tone Envelope Mode)Pitch Bend Range(Rhythm Tone Pitch BendRange)Rx Expression(Rhythm Tone Receive ExpressionSwitch)Rx Hold-1(Rhythm Tone Receive Hold-1Switch)Rx Pan(Rhythm Tone Receive PanMode)NO-SUS,SUSTAIN0–48OFF, ONOFF, ONCONTINUOUS,KEY-ONWhen a loop waveform (p. 97) is selected, the sound will normally continueas long as the key is pressed. If you want the sound to decay naturally evenif the key remains pressed, set this to “NO-SUS.”If the One Shot Mode (p. 97) is ON, it will not sustain even if thisparameter is set to “SUSTAIN.”Specifies the amount of pitch change in semitones (4 octaves) that will occurwhen the Pitch Bend Lever is moved. The amount of change when the leveris tilted is set to the same value for both left and right sides.For each rhythm tone, specify whether MIDI Expression messages will be received(ON), or not (OFF).For each rhythm tone, specify whether MIDI Hold-1 messages will be received(ON), or not (OFF).If “NO-SUS” is selected for Env Mode, this setting will have no effect.For each rhythm tone, specify how pan messages will be received.CONTINUOUS:KEY-ON:Whenever Pan messages are received, the stereoposition of the tone will be changed.The pan of the tone will be changed only when the nextnote is played. If a pan message is received while anote is sounding, the panning will not change until thenext key is pressed.One Shot ModeOFF, ONThe channels cannot be set so as not to receive Pan messages.The sound will play back until the end of the waveform (or the end of theenvelope, whichever comes first). The result will be the same as when theenvelope’s Tone Env Mode is set to NO-SUS.Relative Level -64–+63Corrects for the volume of the rhythm tone.This parameter is set by the key-based controller system exclusive message.Normally, you should leave it set to 0.Rhythm Tone Name12 charactersIf the rhythm tone level is set to 127, the volume will not increase beyondthat point.You can assign a name of up to twelve characters to the currently selectedrhythm tone.1. Move the cursor to the location at which you want to enter a character,then press [CURSOR/VALUE].2. Turn [CURSOR/VALUE] to select the character you want to enter, thenpress [CURSOR/VALUE].119


Using the SonicCell in Patch ModeWaveform-related settings (Rhythm Wave screen)Parameter Value ExplanationWave GroupWave BankWave No. L (MONO)Wave No. RINT, EXPA, B- - -1–1401Wave Gain -6, 0, +6, +12Select the groups containing the Waves comprising the rhythm tone.INT: Waveforms stored in internal memoryEXP: Waveform stored in a Wave Expansion Board (SRX series) installedin EXP slots.* It’s not possible to select EXP unless a wave expansion board is insertedinto the corresponding slot.Selects the wave bank when the wave group is set to “EXP.”A: Wave Expansion Board AB: Wave Expansion Board B* When the wave group is set to “INT,” the “- - -” message appears and youcannot select a wave bank.* You cannot select a wave bank of a Wave Expansion Board that is notinstalled.This selects the Waves comprising the rhythm tone. You can choose a separatewaveform for the SonicCell’s left and right channels.* For mono tones, assign a waveform to the L channel. No sound will beheard if a waveform is set for only the R channel.* In the case of a wave from a wave expansion board, the range (numberof waveforms) will depend on the board you've selected.Sets the gain (amplification) of the waveform. The value changes in 6 dB(decibel) steps—an increase of 6 dB doubles the waveform’s gain.When you wish to synchronize a Phrase Loop to the clock (tempo), set thisto “ON.” This is valid only when a separately sold wave expansion boardis installed, and a waveform that indicates a tempo (BPM) is selected as arhythm tone.Wave Tempo SyncOFF, ONIf a waveform from a wave expansion board is selected for the tone,turning the Wave Tempo Sync parameter “ON” will cause pitch-relatedsettings and FXM-related settings to be ignored.FXM SwitchFXM Color 1–4OFF, ONPhrase LoopPhrase loop refers to the repeated playback of a phrase that’s been pulledout of a song (e.g., by using a sampler). One technique involving the use ofPhrase Loops is the excerpting of a Phrase from a pre-existing song in a certaingenre, for example dance music, and then creating a new song withthat Phrase used as the basic motif. This is referred to as “Break Beats.”This sets whether FXM will be used (ON) or not (OFF).FXMFXM (Frequency Cross Modulation) uses a specified waveform to apply frequencymodulation to the currently selected waveform, creating complexovertones. This is useful for creating dramatic sounds or sound effects.Specifies how FXM will perform frequency modulation.Higher settings result in a grainier sound, while lower settings result in amore metallic sound.120


Using the SonicCell in Patch ModeParameter Value ExplanationSpecifies the depth of the modulation produced by FXM.FXM Depth 0–16Wave Coarse Tune -48–+48Wave Fine Tune -50–+50Wave Level 0–127Wave PanWave Rnd Pan Sw(Wave Random Pan Switch)Alter Pan Sw(Wave Alternate Pan Switch)L64–0–63ROFF, ONOFF, ON, REVSWhen the Tempo Sync is set to “ON,” settings related to Pitch (p. 122)and FXM are disabled.Adjusts the pitch of the waveform’s sound up or down in semitone steps (+/-4 octaves).The Coarse Tune of the entire rhythm tone is set by the Tone Coarse Tune(p. 122).Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (+/-50cents).* One cent is 1/100th of a semitone.The Fine Tune of the entire rhythm tone is set by the Tone Fine Tune (p.123).You can set the volume of the waveform.The volume level of each rhythm tone is set with the Tone Level; the volumelevels of the entire rhythm set is set with the Rhythm Level (p. 118).This specifies the pan of the waveform. “L64” is far left, “0” is center, and“63R” is far right.Use this setting to cause the waveform’s panning to change randomly eachtime a key is pressed (ON) or not (OFF).* The range of the panning change is set by the Random Pan Depth (p.127).This setting causes panning of the waveform to be alternated between leftand right each time a key is pressed. Set Alter Pan Sw to “ON” to pan theWave according to the Alter Pan Depth settings, or to “REV” when you wantthe panning reversed. If you do not want the panning to change each timea key is pressed, set this to “OFF.”121


Using the SonicCell in Patch ModeSpecifying how a rhythm tone will be heard (Rhythm WMT screen)You can use your keyboard playing dynamics to control thefour waveforms assigned to the rhythm tone. These settings arecollectively called the “Wave Mix Table (WMT).”Parameter Value ExplanationWMT Velo Ctrl(WMT Velocity ControlSwitch)Velo Fade Lower(Velocity Fade Width Lower)Velo (Velocity) Range LowerVelo (Velocity) Range UpperOFF, ON,RANDOM0–1271–UPPERLOWER–127WMT Velocity Control determines whether a different rhythm tone is played (ON)or not (OFF) depending on the force with which the key is played (velocity).When set to “RANDOM,” the rhythm set’s constituent rhythm tones will sound randomly,regardless of any Velocity messages.This determines what will happen to the tone’s level when the tone is played at avelocity lower than its specified velocity range. Higher settings produce a moregradual change in volume. If you want notes played outside the specified key velocityrange to not be sounded at all, set this to “0.”This sets the lowest velocity at which the waveform will sound. Make these settingswhen you want different waveforms to sound in response to notes played at differentstrengths.This sets the highest velocity at which the waveform will sound. Make these settingswhen you want different waveforms to sound in response to notes played at differentstrengths.Velo Fade Upper(Velocity Fade Width Upper)0–127LevelIf you attempt to set the Lower velocity limit above the Upper, or the Upper belowthe Lower, the other value will automatically be adjusted to the same setting.This determines what will happen to the tone’s level when the tone is played at avelocity greater than its specified velocity range. Higher settings produce a moregradual change in volume. If you want notes played outside the specified key velocityrange to not be sounded at all, set this to “0.”VelocityFade LowerRange LowerFade UpperRange UpperPitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen)■ Rhythm Pitch screen......................................................................................................Parameter Value ExplanationTone Coarse Tune(Rhythm Tone Coarse Tune)C-1–G9Selects the pitch at which a rhythm tone sounds.Set the coarse tuning for Waves comprising the rhythm tones with theWave Coarse Tune (p. 121).122


Using the SonicCell in Patch ModeParameter Value ExplanationTone Fine Tune(Rhythm Tone Fine Tune)Random Pch Dpth(Random Pitch Depth)-50–+500–9,10–90,100–1200Adjusts the pitch of the rhythm tone’s sound up or down in 1-cent steps (+/-50 cents).* One cent is 1/100th of a semitone.Set the fine tuning for Waves comprising the rhythm tones with the WaveFine Tune (p. 121).This specifies the width of random pitch deviation that will occur each timea key is pressed. If you do not want the pitch to change randomly, set thisto “0.” These values are in units of cents (1/100th of a semitone).■ Rhythm Pch Env screen .................................................................................................Parameter Value ExplanationP-Env Depth(Pitch Envelope Depth)P-Env V-Sens(Pitch Envelope Velocity Sensitivity)P-Env T1 V-Sens(Pitch Envelope Time 1 VelocitySensitivity)P-Env T4 V-Sens(Pitch Envelope Time 4 VelocitySensitivity)-12–+12-63–+63-63–+63-63–+63Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitchenvelope to produce greater change. Negative (-) settings will invert theshape of the envelope.Keyboard playing dynamics can be used to control the depth of the pitchenvelope. If you want the pitch envelope to have more effect for stronglyplayed notes, set this parameter to a positive (+) value. If you want the pitchenvelope to have less effect for strongly played notes, set this to a negative(-) value.This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. Ifyou want Time 1 to be speeded up for strongly played notes, set this parameterto a positive (+) value. If you want it to be slowed down, set this to anegative (-) value.Use this parameter when you want key release speed to affect the Time 4value of the pitch envelope. If you want Time 4 to be speeded up for quicklyreleased notes, set this parameter to a positive (+) value. If you want it to beslowed down, set this to a negative (-) value.Specify the pitch envelope times (Time 1–Time 4). Higher settings will resultin a longer time until the next pitch is reached. (For example, Time 2 is thetime over which the pitch changes from Level 1 to Level 2.)T1 T2 T3 T4P-Env Time 1–4(Pitch Envelope Time 1–4)0–127Pitch L0L1Note onL2L3Note offT: Time L: LevelL4TimeP-Env Level 0–4(Pitch Envelope Level 0–4)-63–+63Specify the pitch envelope levels (Level 0–Level 4). It determines how muchthe pitch changes from the reference pitch (the value set with Coarse Tuneor Fine Tune on the Pitch screen) at each point. Positive (+) settings will causethe pitch to be higher than the standard pitch, and negative (-) settings willcause it to be lower.123


Using the SonicCell in Patch ModeTVF settings (Rhythm TVF/Rhythm TVF Env screen)■ Rhythm TVF screen .......................................................................................................Parameter Value ExplanationFilter TypeSelects the type of filter. A filter cuts or boosts a specific frequency region to change a sound’sbrightness, thickness, or other qualities.OFF: No filter is used.LPF: Low Pass Filter. This reduces the volume of all frequencies above the Cutoff Frequency inorder to round off, or un-brighten the sound. This is the most common filter used insynthesizers.BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency(Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds.HPF: High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This issuitable for creating percussive sounds emphasizing their higher tones.PKG: Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. Youcan use this to create wah-wah effects by employing an LFO to change the cutofffrequency cyclically.LPF2: Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut,the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer lowpass filter. This filter is good for use with simulated instrument sounds such as the acousticpiano.LPF3: Low Pass Filter 3. Although frequency components above the Cutoff Frequency are cut,the sensitivity of this filter changes according to the Cutoff frequency. While this filter isalso good for use with simulated acoustic instrument sounds, the nuance it exhibits differsfrom that of the LPF2, even with the same TVF Envelope settings.If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 125).Selects the frequency at which the filter begins to have an effect on the waveform’sfrequency components.• With “LPF/LPF2/LPF3” selected for the Filter Type, lower cutofffrequency settings reduce a tone’s upper harmonics for a morerounded, warmer sound. Higher settings make it sound brighter.Cutoff Frequency 0–127• If “BPF” is selected, harmonic components will change depending onthe TVF Cutoff Frequency setting. This can be useful when creatingdistinctive sounds.• With “HPF” selected, higher Cutoff Frequency settings will reduce lowerharmonics to emphasize just the brighter components of the sound.• With “PKG” selected, the harmonics to be emphasized will varydepending on Cutoff Frequency setting.124


Using the SonicCell in Patch ModeParameter Value ExplanationEmphasizes the portion of the sound in the region of the cutoff frequency,adding character to the sound. Excessively high settings can produce oscillation,causing the sound to distort.Resonance 0–127Level LPF BPF HPF PKGHighFrequencyCutoff frequencyparameter valueLowCutoff V-Curve(Cutoff Frequency VelocityCurve)Cutoff V-Sens(Cutoff frequency VelocitySensitivity)Resonance V-Sens(Resonance Velocity Sensitivity)FIXED, 1–7-63–+63-63–+63Selects one of the following seven curves that determine how keyboard playingdynamics (velocity) influence the cutoff frequency. Set this to “FIXED” ifyou don’t want the Cutoff frequency to be affected by the keyboard velocity.1 2 3 4 5 6 7Use this parameter when changing the cutoff frequency to be applied as aresult of changes in playing velocity. If you want strongly played notes toraise the cutoff frequency, set this parameter to positive (+) settings. If youwant strongly played notes to lower the cutoff frequency, use negative (-) settings.This allows keyboard velocity to modify the amount of Resonance. If youwant strongly played notes to have a greater Resonance effect, set this parameterto positive (+) settings. If you want strongly played notes to have lessResonance, use negative (-) settings.125


Using the SonicCell in Patch Mode■ Rhythm TVF Env screen .................................................................................................Parameter Value ExplanationF-Env Depth(TVF Envelope Depth)F-Env V-Curve(TVF Envelope Velocity Curve)-63–+63FIX, 1–7Specifies the depth of the TVF envelope. Higher settings will cause the TVFenvelope to produce greater change. Negative (-) settings will invert theshape of the envelope.Selects one of the following 7 curves that will determine how keyboard playingdynamics will affect the TVF envelope. Set this to “FIX” if you don’t wantthe TVF Envelope to be affected by the keyboard velocity.1 2 3 4 5 6 7F-Env V-Sens(TVF Envelope Velocity Sensitivity)F-Env T1 V-Sens(TVF Envelope Time 1 VelocitySensitivity)F-Env T4 V-Sens(TVF Envelope Time 4 VelocitySensitivity)-63–+63-63–+63-63–+63Specifies how keyboard playing dynamics will affect the depth of the TVFenvelope. Positive (+) settings will cause the TVF envelope to have a greatereffect for strongly played notes, and negative (-) settings will cause the effectto be less.This allows keyboard dynamics to affect the Time 1 of the TVF envelope. Ifyou want Time 1 to be speeded up for strongly played notes, set this parameterto a positive (+) value. If you want it to be slowed down, set this to anegative (-) value.The parameter to use when you want key release speed to control the Time4 value of the TVF envelope. If you want Time 4 to be speeded up for quicklyreleased notes, set this parameter to a positive (+) value. If you want it to beslowed down, set this to a negative (-) value.Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthenthe time until the next cutoff frequency level is reached. (For example,Time 2 is the time over which Level 1 will change to Level 2.)T1 T2 T3 T4F-Env Time1–4(TVF Envelope Time 1–4)0–127CutoffFrequencyL0L1Note onL2L3Note offL4TimeF-Env Level0–4(TVF Envelope Level 0–4)0–127T: Time L: LevelSpecify the TVF envelope levels (Level 0–Level 4). These settings specify howthe cutoff frequency will change at each point, relative to the standard cutofffrequency (the cutoff frequency value specified in the TVF screen).126


Using the SonicCell in Patch ModeTVA settings (Rhythm TVA/Rhythm TVA Env screen)■ Rhythm TVA screen.......................................................................................................Parameter Value ExplanationTone Level 0–127Level V-Curve(TVA Level Velocity Curve)FIX, 1–7Sets the volume of the rhythm tone. This setting is useful primarily for adjustingthe volume balance between rhythm tones.The volume levels of the Waves from which the rhythm tone is composed isset with the Wave Level (p. 121).You can select from seven curves that determine how keyboard playingstrength will affect the volume. If you do not want the volume of the tone tobe affected by the force with which you play the key, set this to “FIXED.”1 2 3 4 5 6 7Level V-Sens(TVA Level Velocity Sensitivity)Tone Pan-63–+63Random Pan Depth 0–63L64–0–63RSet this when you want the volume of the tone to change depending on theforce with which you press the keys. Set this to a positive (+) value to havethe changes in tone volume increase the more forcefully the keys are played;to make the tone play more softly as you play harder, set this to a negative(-) value.Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is farright.Set the Pan for Waves comprising the rhythm tones with the Wave Pan (p.121).Use this parameter when you want the stereo location to change randomlyeach time you press a key. Higher settings will produce a greater amount ofchange.Alter (Alternate) Pan DepthL63–63RThis will affect only waves whose Wave Rnd Pan Sw (p. 121) is ON.This setting causes panning to be alternated between left and right each timea key is pressed. Higher settings will produce a greater amount of change.“L” or “R” settings will reverse the order in which the pan will alternate betweenleft and right. For example if two tones are set to “L” and “R” respectively,the panning of the two tones will alternate each time they are played.This will affect only waves whose Alter Pan Sw (p. 121) is ON or REVS.127


Using the SonicCell in Patch Mode■ Rhythm TVA Env screen ................................................................................................Parameter Value ExplanationA-Env T1 V-Sens(TVA Envelope Time 1 VelocitySensitivity)A-Env T4 V-Sens(TVA Envelope Time 4 VelocitySensitivity)A-Env Time1–4(TVA Envelope Time 1–4)-63–+63-63–+630–127This allows keyboard dynamics to affect the Time 1 of the TVA envelope. Ifyou want Time 1 to be speeded up for strongly played notes, set this parameterto a positive (+) value. If you want it to be slowed down, set this to anegative (-) value.The parameter to use when you want key release speed to control the Time4 value of the TVA envelope. If you want Time 4 to be speeded up for quicklyreleased notes, set this parameter to a positive (+) value. If you want it tobe slowed down, set this to a negative (-) value.Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthenthe time until the next volume level is reached. (For example, Time 2 isthe time over which Level 1 will change to Level 2.)Specify the TVA envelope levels (Level 1–Level 3). These settings specify howthe volume will change at each point, relative to the standard volume (theTone Level value specified in the TVA screen).T1 T2 T3 T4A-Env Level1–3(TVA Envelope Level 1–3)0–127LevelL1Note onL2L3T: Time L: LevelNote offTime128


Using the SonicCell in Patch ModeOutput-related settings for the rhythm set and rhythm tones (Rhythm Output screen)Parameter Value ExplanationSpecifies for each rhythm set how the direct sound will be output.MFX: Output in stereo through multi-effects. You can also applychorus or reverb to the sound that passes through multi-effects.L+R: Output to the OUTPUT jacks in stereo without passing throughmulti-effects.Rhy Out Assign(Rhythm Output Assign)MFX, L+R,L, R, TONEL, R: Output to the OUTPUT L jack or OUTPUT R jack in mono withoutpassing through multi-effects.TONE: Outputs according to the settings for each tone.* If you’ve made settings so that sounds are separately routed to the OUT-PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-PUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixedand output from the OUTPUT L jack.Tone Out (Output) AssignTone Out Level(Rhythm Tone Output Level)Cho Send (MFX)(Rhythm Tone Chorus SendLevel (Output=MFX))Rev Send (MFX)(Rhythm Tone Reverb SendLevel (Output=MFX))Cho Send (nonMFX)(Rhythm Tone Chorus SendLevel (Output=non MFX))Rev Send (nonMFX)(Tone Reverb Send Level(Output=non MFX))MFX, L+R, L, R0–1270–1270–1270–1270–127Specifies how the direct sound of each tone will be output.MFX: Output in stereo through multi-effects. You can also applychorus or reverb to the sound that passes through multi-effects.L+R: Output to the OUTPUT jacks in stereo without passing throughmulti-effects.L, R: Output to the OUTPUT L jack or OUTPUT R jack in mono withoutpassing through multi-effects.* If the Rhy Out Assign is set to anything other than “TONE,” these settingswill be ignored.* When the Str Type has a setting of Type “2”–”10,” the outputs of tones 1and 2 will be combined with tone 2, and the outputs of tones 3 and 4 willbe combined with tone 4. For this reason, tone 1 will follow the settings.* If you’ve made settings so that sounds are separately routed to the OUT-PUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUT-PUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixedand output from the OUTPUT L jack.* Sounds are output to chorus and reverb in mono at all times.* The output destination of the signal after passing through the chorus is setwith the Output Select (p. 135).Set the level of the signal that is sent to the output destination specified byTone Out Assign.Specifies the level of the signal sent to the chorus for each rhythm tone if therhythm tone is sent through MFX.Specifies the level of the signal sent to the reverb for each rhythm tone if therhythm tone is sent through MFX.Sets the level of the signal sent to chorus for each rhythm tone if the rhythmtone is not sent through MFX.Sets the level of the signal sent to reverb for each rhythm tone if the rhythmtone is not sent through MFX.129


Using the SonicCell in Patch ModeRhythm Tone CopyCopies the settings of a rhythm tone to a rhythm tone in the currentlyselected rhythm set.From the Rhythm Edit menu screen (p. 117), select “TONCOPY.” The Rhythm Tone Copy screen will appear.Rhythm Tone InitializeReturns the settings of just a specific key in the current rhythmset to their initial valuesFrom the Rhythm Edit menu screen (p. 117), select “TONINIT.” The Rhythm Tone Init screen will appear.(2)(1)(3)(4)1. Select the copy-source tone and copy-destination tone.Parameter(1) Group of the copy-source rhythm set(2) Copy-source rhythm set(3) Copy-source rhythm tone(4) Copy-destination rhythm tone1. Turn [CURSOR/VALUE] to select the key (A0–C8) that youwant to initialize.2. Move the cursor to “INIT” and press [CURSOR/VALUE].A confirmation message will appear.* The copy-destination rhythm set is the rhythm set that'sselected in the temporary area (p. 57).2. Move the cursor to “COPY” and press [CURSOR/VALUE].A confirmation message will appear.3. To execute the copy, select “OK” and press [CURSOR/VALUE].If you decide not to execute the copy, select “CANCEL”and press [CURSOR/VALUE].Once the copy has been completed, you’ll be returned tothe previous screen.3. To execute the initialization, select “OK” and press[CURSOR/VALUE].If you decide not to initialize, select “CANCEL” and press[CURSOR/VALUE].When initialization is finished, you’ll be returned to theprevious screen.Rhythm Set InitializeReturns the settings of the current rhythm set to their initialvaluesFrom the Rhythm Edit menu screen (p. 117), select “RHY INIT.”A confirmation message will appear.1. To execute the initialization, select “OK” and press[CURSOR/VALUE].If you decide not to initialize, select “CANCEL” and press[CURSOR/VALUE].When initialization is finished, you’ll be returned to theprevious screen.130


Using the SonicCell in Patch ModeRhythm Set WriteSaves the current rhythm set as user data.5. Turn [CURSOR/VALUE] to select the save-destinationrhythm set, then press [CURSOR/VALUE].A confirmation message will appear.From the Rhythm Edit menu screen (p. 117), select “Write” toaccess the Rhythm Set Name screen.In this screen you can assign a name (rhythm set name) of uptwelve characters to the rhythm set you’re going to save.6. To write the rhythm set into memory, select “OK” andpress [CURSOR/VALUE].If you decide you don’t want to carry out the write, select“CANCEL” and press [CURSOR/VALUE].Once the data has been written, you’ll be returned to theprevious screen.1. Move the cursor to the location where you want to enter acharacter, and press [CURSOR/VALUE].2. Turn [CURSOR/VALUE] to select the desired character, thenpress [CURSOR/VALUE] to enter that character.You can press [MENU] to view convenient functions fortext entry.Press [MENU] once again to return to the previous screen.FunctionINSERTDELETEUNDOExplanationPress [CURSOR/VALUE] to insert a space(blank) at the cursor location.Press [CURSOR/VALUE] to delete the characterat the cursor location; subsequentcharacters will move forward.Revert to the unedited rhythm set name.3. Repeat steps 1 and 2 as many times as necessary.4. When you’ve finished entering the rhythm set name, movethe cursor to “WRITE” and press [CURSOR/VALUE].The Rhythm Set Write screen will appear.131


Using the SonicCell in Patch ModeEditing the effects (Patch/Rhythm Set)In Patch mode you can use multi-effects, chorus, and reverb.■ Signal flow...................................................................................................................Tone 4Tone 3Tone 2Patch (Rhythm) OutputTone1312456MFXMFX Output789Chorus Output1 24 53 6 7 8 910 11 1210Chorus11REVMAIN1213ReverbReverbOutput14MasteringEffectL ROUTPUT13 14If the patch type is Patch, make these settings in the Patch Output screen.1 : Tone Out Level, 2 : Cho Send (MFX) / Cho Send (non MFX),3 : Rev Send (MFX) / Rev Send (non MFX), 4 : Pat Out Assign, 5 : Tone Out Assign1 – 5If the patch type is Rhythm, make these settings in the Rhythm Output screen.1 : Tone Out Level, 2 : Cho Send (MFX) / Cho Send (non MFX),3 : Rev Send (MFX) / Rev Send (non MFX), 4 : Rhy Out Assign, 5 : Tone Out AssignMake these settings in the MFX screen.6• Select the multi-effect type and edit the parameters.Make these settings in the MFX Output screen.7 – 97 : Output Level, 8 : Chorus Send Level, 9 : Reverb Send LevelMake these settings in the Chorus screen.10• Select the chorus type and edit the parameters.Make these settings in the Chorus Output screen.11 – 1211 : Output Level, 12 : Output SelectMake these settings in the Reverb screen.13• Select the reverb type and edit the parameters.Make these settings in the Reverb Output screen.14• Output Levelp. 108p. 129p. 134p. 135p. 135p. 135p. 136p. 136132


Using the SonicCell in Patch Mode■ Procedure ....................................................................................................................1. In the Patch Edit screen, press [EFFECTS].The [EFFECTS] indicator will light, and the Effect Routingscreen will appear.2. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.3. Press [CURSOR/VALUE] to highlight the value.If a parameter has a “SELECT” indication in the valuefield, you can press [CURSOR/VALUE] to access thesetting screen.4. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].5. When you’ve finished editing, press [EXIT].The Patch Edit screen will appear.■ Menu screens for effect editing......................................................................................From the Effect Edit screen, you can press [MENU] toaccess the Patch Effect menu screen or Rhythm Effect menuscreen.The Patch Effect menu screen and Rhythm Effect menuscreen are structured as shown at the right.You can turn [CURSOR/VALUE] to the right or left to switchbetween screens.Press [MENU] once again to return to the previous screen.Parameter Value ExplanationMFX(MFX Switch)CHO(Chorus Switch)REV(Reverb Switch)MST(Mastering Effect Switch)MFX CTRL(MFX Control)Write(Patch/Rhythm Set Write)OFF, ONOFF, ONOFF, ONOFF, ONSpecifies whether MFX will be used (ON) or not used (OFF).Specifies whether chorus will be used (ON) or not used (OFF).Specifies whether Reverb will be used (ON) or not used (OFF).Specifies whether Mastering Effect will be used (ON) or not used (OFF).Edits MFX control settings.Press [CURSOR/VALUE] to access the MFX Control screen (p. 137).Saves the current patch or rhythm set as user data.Press [CURSOR/VALUE] to access the Patch Name screen (p. 116) orRhythm Set Name screen (p. 131).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).133


Using the SonicCell in Patch ModeSelecting the item to edit (Effect Routing screen)ParameterTone (Tone Output)* Patch Type: PatchKey (Rhythm Output)* Patch Type: RhythmMFXMFX(MFX Output)CHO(Chorus)CHO(Chorus Output)REV(Reverb)REV(Reverb Output)M(Mastering Effect)ExplanationEdits output-related settings for the patch/tone.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Patch Outputscreen (p. 108).Edits output-related settings for the rhythm set/rhythm tone.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm Outputscreen (p. 129).Edits multi-effect settings.Press [CURSOR/VALUE] to access the MFX screen (p. 134).Edits settings for the multi-effect output.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the MFX Outputscreen (p. 135).Edits chorus settings.Press [CURSOR/VALUE] to access the Chorus screen (p. 135).Edits settings for the chorus output.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Chorus Outputscreen (p. 135).Edits reverb settings.Press [CURSOR/VALUE] to access the Reverb screen (p. 136).Edits settings for the reverb output.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Reverb Outputscreen (p. 136).Edits mastering effect settings.Press [CURSOR/VALUE] to access the Mastering Effect screen (p. 181).Multi-effect settings (MFX/MFX Output screen)■ MFX screen ..................................................................................................................Parameter Value Explanation00: THRU–78: SYMRESONANCE(MFX Type)Parameters for each MFX typeSelects the type of multi-effect used by MFX.Choose “00: THRU” if you don’t want to apply a multi-effect.Edit the parameters for the selected MFX type.Refer to “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192).134


Using the SonicCell in Patch Mode■ MFX Output screen .......................................................................................................Parameter Value ExplanationOutput Level 0–127Chorus Send Level 0–127Reverb Send Level 0–127Adjusts the volume of the sound that has passed through the multi-effects.If you’re applying a multi-effect, this specifies the depth of the multi-effect.If you’re not applying a multi-effect, this specifies the volume of the originalsound.Adjusts the amount of chorus for the sound that passes through multi-effects.If you don’t want to add the Chorus effect, set it to “0.’Adjusts the amount of reverb for the sound that passes through multi-effects.If you don’t want to add the Reverb effect, set it to “0.”Chorus settings (Chorus/Chorus Output screens)■ Chorus screen...............................................................................................................Parameter Value Explanation00: OFF–03: GM2 CHORUS(Chorus Type)Parameters for each chorus typeSelects the types of chorus.Choose “00: OFF” if you don’t want to apply a chorus.Edit the parameters for the selected chorus type.Refer to “Chorus Parameters” (p. 219).■ Chorus Output screen ...................................................................................................Parameter Value ExplanationOutput Level 0–127 Adjusts the volume of the sound that has passed through chorus.Output SelectMAIN, REV, M+RSpecifies how the sound routed through chorus will be output.MAIN: Output to the OUTPUT jacks in stereo.REV: Output to reverb in mono.M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.135


Using the SonicCell in Patch ModeReverb settings (Reverb/Reverb Output screens)■ Reverb screen...............................................................................................................Parameter Value Explanation00: OFF–03: GM2 REVERB(Reverb Type)Parameters for each reverb typeSelects the types of reverb.Choose “00: OFF” if you don’t want to apply a reverb.Edit the parameters for the selected reverb type.Refer to “Reverb Parameters” (p. 220).■ Reverb Output screen ...................................................................................................Parameter Value ExplanationOutput Level 0–127 Adjusts the volume of the sound that has passed through reverb.136


Using the SonicCell in Patch ModeControlling the multi-effects via MIDI (MFX Control screen)Multi-Effects ControlIf you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, youwould need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusivemessages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.For that reason, a number of the more typical of the SonicCell’s multi-effects parameters have been designed so they accept the useof Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the PitchBend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters thatcan be changed are predetermined for each type of multi-effect; among the parameters described in “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192), these are indicated by a “#.”The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the MultieffectsControl.You can use up to four multi-effect controls in a patch or rhythm set.When the multi-effects control is used, you can select the amount of control (Sens) applied, the parameter selected (Dest), and theMIDI message used (Source).By using the Matrix Control (p. 95) instead of the Multi-effects Control, you can also change the parameters of some popular multieffectsin realtime.Parameter Value ExplanationControl 1–4Src (Source)Control 1–4Dest (Destination)Control 1–4SensOFF,CC01–CC31,CC33–95,PITCH BEND,AFTERTOUCH,SYS CTRL1–4Refer to“Multi-Effects Parameter”(p. 192)-63–+63Sets the MIDI message used to control the multi-effects parameter with the multi-effectscontrol.OFF:Multi-effects control will not be used.CC01–31, 33–95: Controller numbers 1–31, 33–95PITCH BEND:AFTERTOUCH:Pitch BendAftertouchSYS CTRL1–4: Use the System Control setting (p. 179).Sets the multi-effects parameters to be controlled with the multi-effects control. The multieffectsparameters available for control will depend on the multi-effects type.Sets the amount of the multi-effects control’s effect that is applied.If you wish to modify the selected parameter in a positive (+) direction—i.e., a highervalue, toward the right, or faster, etc.—from its current setting, select a positive (+) value.If you wish to modify the selected parameter in a negative (-) direction—i.e., a lowervalue, toward the left, or slower, etc.—from its current setting, select a negative (-) value.Higher numbers produce a greater amount of change.137


138MEMO


Audio Connections139


Using the SonicCell with your computer (USB AUDIO)Basic operation1. Press [USB AUDIO] so its indicator is lit.The USB Audio screen will appear.fig.disp-USB-top013. Press [CURSOR/VALUE] to highlight the value.2. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.4. Turn [CURSOR/VALUE] to edit the value.5. When you’ve finished editing the value, press [CURSOR/VALUE].To save the setting, press [MENU] to access the menu screen,and choose “Write” (System Write) to execute the Writeoperation (System Write: p. 150).Parameter Value ExplanationAudio level 0–127This specifies the volume of the input from USB, and the volume at which theSMF/Audio File Player (p. 167) will play audio files.Specifies where the input signal is to be sent.To Output:Sent to OUTPUT.USBAudioOUTPUTInputEffectAssignTo Output, To Input FXTo Input FX:Sent to the input effect.USBAudioInputEffectOUTPUTUse the “In/Out Routing” (p. 144) to specify how the signal that haspassed through the input effect will be output.Input/output of USB audio and MIDI messages cannot be used at the same time that the SMF/Audio File Player (p. 167) is playing.140


Using the SonicCell with your computer (USB AUDIO)Accessing the Menu screenFrom the USB Audio screen, press [MENU] to access the Menu screen.Press [MENU] once again to return to the USB Audio screen.ParameterWrite(System Write)ExplanationSaves the current settings as system settings (p. 150).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).141


Inputting sound from an external device (INPUT)Basic operation1. Press [INPUT] so its indicator is lit.The Input screen will appear.fig.disp-Input-top01fig.disp-Input-top024. Turn [CURSOR/VALUE] to edit the value.2. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.3. Press [CURSOR/VALUE] to highlight the value.5. When you’ve finished editing the value, press [CURSOR/VALUE].To save the setting, press [MENU] to access the menu screen,and choose “Write” (System Write) to execute the Writeoperation (System Write: p. 150).Parameter Value ExplanationTurns phantom power on/off.Turn this “ON” if you’ve connected a phantom-powered condenser mic tothe MIC INPUT jack.Phantom PowerOFF, ON• You must turn phantom power “OFF” unless a condenser mic thatrequires phantom power is connected. Supplying phantom power to adynamic mic will cause malfunctions. For details on mic specifications,refer to the owner’s manual for the mic you’re using.• Before you switch phantom power on/off, you must turn the front panel[VOLUME] knob to “0.” If you turn phantom power on/off with thevolume raised, high-volume noise will be produced, possibly damagingyour amp or speakers.• When you turn the power on, the phantom power will always be OFF.Specifies where the input signal is to be sent.To COM+ Output: Sent to computer and OUTPUT.InputEffectOUTPUTINPUTComputerAssignTo COM+Output,To COM, To Input FXTo COM:Output to the computer.OUTPUTInputEffectINPUTComputer142


Inputting sound from an external device (INPUT)Parameter Value ExplanationTo Input FX:Sent to the input effect.OUTPUTAssignTo COM+Output,To COM, To Input FXINPUTInputEffectComputerUse the “In/Out Routing” (p. 144) to specify how the signal that haspassed through the input effect will be output.Accessing the Menu screenFrom the Input screen, press [MENU] to access the Menu screen.Press [MENU] once again to return to the Input screen.ParameterWrite(System Write)ExplanationSaves the current settings as system settings (p. 150).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).143


Input/output and effect settings (In/Out Routing)You can specify how the input signal from an external source or USB will be processed by the effects and then output when the[INPUT] or [USB AUDIO] indicator is lit. These settings are called “In/Out Routing.”Here are some examples of what you can do.You can use your computer to apply an effect to the audio received via INPUTYou can use an effect on your computer to process the sound of your guitar, and listen to the resulting sound from monitors(speakers) connected to OUTPUT.(Example)ComputerINPUTUSBOUTPUTSettingsINPUTAssign: To COMINPUT: Assign (p. 142) = To COMUSB Audio: Assign (p. 140) = To OutputUSB AudioAssign: To OutputUse an “input effect” that’s dedicated to INPUT/USBThe sound that's received at INPUT or USB can be sent directly out without change, or processed by a dedicated “input effect.”(Example)OUTPUTOUTPUTINPUTComputerINPUTInputEffectComputerSettingsINPUT: Assign (p. 142) = To COM+ OutputAssign (p. 142) = To Input FXInput Effect (p. 147)144


Input/output and effect settings (In/Out Routing)Listen to the effect-processed sound from your speakers, while recording theunprocessed sound on your computerYou can use the chorus/reverb that’s assigned to a performance/patch. In other words, the effect will depend on the performance/patch that's selected.You can also use the mastering effect. In addition, you can choose how the signal that passes through the input effect will be output.For example, you could listen to the vocal with reverb, while recording the vocal “dry” (without reverb) for later processing.(Example)OUTPUTSettingsMFX1ToneTone Generator: Performance modeGenerator MFX2ReverbINPUT: Assign (p. 142) = To Input FX(TG)MFX3To Computer: Type (p. 148) = Input FXINPUTInputEffectComputerInput Effect (p. 147)MFX1–3 (p. 78)Reverb (p. 79)Applying an effect such as distortion to the sound of a guitar connected to INPUTWhen using the sound module in Performance mode, the MFX3 (multi-effect 3) of the performance can be used as an effect for theINPUT/USB input. Since the multi-effects provided include guitar-type effects, such as distortion, overdrive, and guitar amp simulator,this is convenient when you want to apply an effect to the guitar that's connected to INPUT.You can also record the distorted guitar sound on your computer, or apply reverb as well.(Example)ToneGenerator(TG)INPUTMFX1MFX2MFX3InputEffectReverbOUTPUTComputerSettingsTone Generator: Performance modeINPUT: Assign (p. 142) = To Input FXTo Computer: Type (p. 148) = Input FXMFX3 Location: Type (p. 149) = TGInput Effect (p. 147)MFX1–3 (p. 78)Reverb (p. 79)ToneGenerator(TG)MFX1MFX2ReverbOUTPUTSettingsTone Generator: Performance modeINPUT: Assign (p. 142) = To Input FXTo Computer: Type (p. 148) = Input FXMFX3 Location: Type (p. 149) = Input FXINPUTInputEffectMFX3ComputerInput Effect (p. 147)MFX1–3 (p. 78)Reverb (p. 79)145


Input/output and effect settings (In/Out Routing)■ Procedure ....................................................................................................................1. Press [INPUT] or [USB AUDIO] so its indicator is lit.The Input screen or USB Audio screen will appear.3. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.2. Press [EFFECTS] so its indicator is lit.The In/Out Routing screen will appear.(Performance mode)4. Turn [CURSOR/VALUE] to move the cursor to theparameter you want to edit.(Patch mode)5. Press [CURSOR/VALUE] to highlight the value.6. Turn [CURSOR/VALUE] to edit the value.7. When you’ve finished editing, press [CURSOR/VALUE].Press [EXIT] or [EFFECTS] to access the In/Out Routingscreen.■ Menu screens when editing In/Out Routing ...................................................................If you’re in a screen that’s related to the In/Out routing,pressing [MENU] will bring up the Effect Switch screen.The Effect Switch screen is structured as shown in theillustration at right. You can switch between screens byturning [CURSOR/VALUE] to the right or left.Press [MENU] once again to return to the previous screen.Parameter Value ExplanationInput Effect(Input Effect Switch)Write(System Write)OFF, ONSpecifies whether input effects will be used (ON) or not used (OFF).Saves the current settings as system settings (p. 150).System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).146


Input/output and effect settings (In/Out Routing)Selecting the item to edit (In/Out Routing screen)ParameterIN FX(Input Effect)(Input Effect output)F3(MFX3)TO COM(To Computer)MFX3 LOC(MFX3 Location)ExplanationEdits the input effect settings.Press [CURSOR/VALUE] to access the Input Effect screen.Edits the output settings for the input effect.By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Input FXOutput screen (p. 148).Edits the MFX3 settings.Press [CURSOR/VALUE] to access the MFX 3 screen (p. 78).* This is not shown in Patch mode.* This is not shown if the MFX 3 Location “Type” (p. 149) is set to TG.Selects the signal that is sent to the computer.Press [CURSOR/VALUE] to access the To Computer screen (p. 148).Specifies how MFX3 will be used.Press [CURSOR/VALUE] to access the MFX 3 Location screen (p. 149).* This is not shown in Patch mode.Input effect settings (Input Effect/Input FX Output screen)■ Input Effect screen.........................................................................................................Parameter Value ExplanationSelects the input effect type.1: EQUALIZERAdjusts the tone of the low-frequency and high-frequency ranges.2: ENHANCERModifies the harmonic content of the high-frequency range to add sparkle to the sound.Input effect type3: COMPRESSORRestrains high levels and boosts low levels to make the overall volume more consistent.4: LIMITERCompresses the sound when it exceeds a specified volume, to keep distortion from occurring.5: NOISE SUPPRESSORSuppresses noise during periods of silence.Parameters for each inputeffect type6: CENTER CANCELERRemoves the sounds that are localized at the center of the stereo input. This is a convenient wayto eliminate a vocal.Here you can edit the parameters of the selected input effect type.Refer to “Input Effect Parameters” (p. 221).147


Input/output and effect settings (In/Out Routing)■ Input FX Output screen .................................................................................................Parameter Value ExplanationOutput Level 0–127 Set the level of the signal that is sent to the OUTPUT.Chorus Send Level 0–127Reverb Send Level 0–127Adjusts the amount of chorus for the sound.If you don’t want to add the Chorus effect, set it to “0.”Adjusts the amount of reverb for the sound.If you don’t want to add the Reverb effect, set it to “0.”Selecting the signal sent to your computer (To Computer screen)Parameter Value ExplanationSelects the signal sent to your computer.MIX:The signals of the internal tone generator and external input(USB audio, INPUT) will be sent.ToneGenerator(TG)MFX1MFX2MFX3*1ChorusReverbMasteringOUTPUTUSBAudioINPUTInputEffectComputerTypeMIX, Input FXInput FX:The external input signal (USB audio, INPUT) unprocessedby the chorus/reverb/mastering effects will be sent.ToneGenerator(TG)MFX1MFX2MFX3*1ChorusReverbMasteringOUTPUTUSBAudioINPUTInputEffectComputer*1 If you’re in Patch mode, this will be only MFX.148


Input/output and effect settings (In/Out Routing)Specifies how MFX3 will be used (MFX3 Location screen)This screen won’t appear in Patch mode.Parameter Value ExplanationSpecifies how MFX3 will be used.TG:MFX3 will be used as the effect applied to the SonicCell’stone generator (TG).ToneGenerator(TG)MFX1MFX2MFX3USBAudioINPUTInputEffectInput FX:MFX3 will be connected following the input effect. You'll beable to use MFX3 on the audio input via INPUT and USB.TypeTG, Input FXToneGenerator(TG)MFX1MFX2USBAudioINPUTInputEffectMFX3If this is set to Input FX, you won’t be able to use MFX3 on theperformance.Editing the MFX3 settingsIf you’ve selected the Input FX setting, the In/Out Routing screen will show“F3.” By choosing “F3” you can move to the MFX3 screen and edit theMFX3 settings. However, this will edit the MFX3 settings of the currently selectedperformance.Saving the MFX3 settingsIf you’ve edited the MFX3 effect type or parameter values, those settings will be saved as settings of the currently selectedperformance.To save the settings, from the MFX3 screen, press [MENU] to access the menu screen, and then choose “Write” (Performance Write).(Performance Write: p. 73)* In/Out routing settings are saved as system settings. (System Write: p. 150)149


Input/output and effect settings (In/Out Routing)System WriteThis saves the current system settings.In the menu screen (p. 141, p. 143, p. 146), choose “Write”(System Write) and you'll see a confirmation message.1. If you want to write the settings, select “OK” and press[CURSOR/VALUE].If you decide not to write the settings, select “CANCEL”and press [CURSOR/VALUE].Once the settings have been written, you’ll be returned tothe previous screen.150


Using the plug-in versionof SonicCell EditorThis chapter explains how to use the plug-in version of SonicCell Editor as a plug-in module in your VSTi or AU compatible hostapplication.The plug-in version of SonicCell Editor is a plug-in module that lets you edit the SonicCell’s parameters from within your hostapplication. The results of your editing can be saved in a project file of your host application.• In Performance mode, part ‘n’ of the SonicCell will normally be MIDI channel ‘n’.• In Patch mode, the SonicCell’s MIDI channel will normally be 1.• If you’ve changed the MIDI channel setting, please substitute the actual channel for any MIDI channel appearing in thisexplanation.• Functionality may be limited depending on the host application you’re using. For details, refer to the owner’s manual of yourhost application.• You can’t use the stand-alone version and plug-in version of SonicCell Editor at the same time.• The SonicCell Editor plug-in version cannot be plugged into multiple tracks of the same project at the same time.• The SonicCell Editor plug-in version cannot be plugged into multiple projects at the same time.Connection exampleComputerTo USB connectorof your computerMIDI KeyboadUSB CableMIDI OUTTo Monitor Amplifier etc.USBCOMPUTERMIDI INOUT PUT151


SONAR LEInstalling the driver and SonicCellEditorBefore you continue, install the driver, SonicCell Editor,Librarian, and Playlist Editor as described on p. 33–p. 36.• The stand-alone version of the editor, the librarian, and theplaylist editor will be installed in C:\ProgramFiles\Roland\SonicCellEditor.• The plug-in version of the editor (subsequently referred to as“the plug-in”) will be copied to C:\Program Files\Roland.Installing SONAR LEHere’s how to install the included SONAR LE into yourcomputer.In order to perform the following procedure, you’ll need tolog onto Windows as a user whose account type isAdministrator.1. Place the SONAR LE installation CD-ROM into your CD-ROM drive.The installer will start up automatically. Proceed with theinstallation as directed by the on-screen instructions.* If the installer doesn’t start up automatically, please start itup using the following procedure.1. From the Windows Start menu, choose “MyComputer.”2. The drives detected by your computer will bedisplayed; double-click the CD-ROM drive.Windows Vista users:The message “An unidentified program wants access toyour computer” will appear. Click [Allow].* When the “Installation Complete” dialog box appears,clear the “Launch SONAR LE” check box, and click[Finish]. If you failed to clear the check box and theprogram started up, close SONAR LE.Windows Vista users:If you’re using SONAR LE on Windows Vista, you’ll need tomake user account control settings after installing SONAR LE.1. After installing SONAR LE, right-click the “SONAR LE” iconthat was created on your desktop, and choose“Properties” from the menu that appears.2. Click the “Compatibility” tab to open the Compatibilitypage.3. In the “Privilege level” area, select “Run this program asan administrator.”4. Click “OK” to close Properties.When you start up SONAR LE on Windows Vista, amessage of “An unidentified program wants access toyour computer” will appear. Click [Allow] to start upSONAR LE.Updating the VST AdapterIn order to register the software in SONAR LE, you’ll need toupdate VST Adapter.In order to perform the following procedure, you’ll need tolog onto Windows as a user whose account type isAdministrator.1. Close all currently running software.2. In the SonicCell Editor CD, navigate to the “SonarUtility\VST Adapter updater” folder and double-click“VSTAdapter453Update_E.exe” to start up the installer.Windows Vista users:The message “An unidentified program wants access toyour computer” will appear; click [Allow].3. Proceed with the installation as directed by the on-screeninstructions.4. When the update is complete, the “Wrap VST Plugins” willrun automatically.In this case, click [Cancel] to exit the wizard.Initial MIDI and audio devicesettings for SONAR LE1. Double-click the SONAR LE icon on your desktop to startup SONAR LE.The “Wave Profiler (WDM Kemel Streaming)” dialog boxwill appear.2. Click [Yes] to execute audio device detection. When theprocess has been completed, click [Close].* If the “Wave Profiler(WDM Kemel Streaming)” dialog boxdoes not open automatically, select the SONAR LE“Options” menu command “Audio” to open the “AudioOptions” dialog box, and in the “General” tab, click[Wave Profiler (WDM Kemel Streaming)].3. The “Online Registration” dialog box will open. Select“Please remind me to register later.,” and click [OK].For details on activation, refer to online Help for SONARLE.4. The “Tip of the Day” will appear; click [Close] to close thedialog box.152


SONAR LE5. A message telling you that “No MIDI Outputs Selected”;click [Choose MIDI Outputs Now] to open the “MIDIDevices” dialog box.* If the message “No MIDI Outputs Selected” does notappear, select SONAR LE’s Option menu command “MIDIDevices” to open the “MIDI Devices” dialog box.6. In the MIDI Devices dialog box, click to make only thefollowing items highlighted.InputRoland SonicCellOutputRoland SonicCell7. Once you’ve made the above selections, click [OK] to closethe dialog box.8. The “Quick Start” dialog box will open; click “Close.”SONAR LE has now started up. Next, you need to makethe audio device settings.9. From the “Options” menu, select the “Audio” command toopen the “Audio Options” dialog box.10. Open the “Drivers” tab.For both “Input Drivers” and “Output Drivers,” click thedevice names so that only “Roland SonicCell” ishighlighted for each.11. Once you’ve made the device settings, click [OK] to closethe dialog box.* If a message suggests that you restart SONAR LE, restartSONAR LE.12. Once again, select the “Options” menu command “Audio”to open the “Audio Options” dialog box.Registering the plug-in inSONAR LEFor details about registering a plug-in in SONAR LE, refer tothe online help for Cakewalk VST Adapter.1. Open the “Cakewalk VST Configuration Wizard: SearchPaths” dialog box.Windows XP usersFrom the Start menu, choose “All Programs” - “Cakewalk”- “Cakewalk VST Adapter 4” - “Cakewalk VST Adapter4,” and click [Next].Windows Vista usersFrom the Start menu, choose “All Programs” - “Cakewalk”- “Cakewalk VST Adapter 4,” and then inside it right-click“Cakewalk VST Adapter 4.”From the menu that appears, choose [Run asadministrator].A message stating that “An unidentified program wantsaccess to your computer” will appear; click [Allow] andclick [Next].2. Click [Add], add “(the folder to which you copied the plugin)\Roland,”and then click [Next].Normally, this will be C:\Program Files\Roland.If a message indicates “MIDI devices aren't set upcorrectly,” click [OK].3. When the “Cakewalk VST Configuration Wizard: PluginConfiguration” dialog box opens, click [Next].fig.VST01.eps13. In the “General” tab, set “Audio Driver Bit Depth” to “24.”This completes the device settings.14. In the “Audio Options” dialog box, click [OK] to close thedialog box.* If a message suggests that you restart SONAR LE, restartSONAR LE.4. When the “Cakewalk VST Configuration Wizard:Finished” dialog box appears, click [Finish].fig.VST02.eps153


SONAR LEConnections and settings1. Use a USB cable to connect the SonicCell to your computer.2. If necessary, use a MIDI cable to connect your MIDIkeyboard to the SonicCell.3. Turn on the power of the SonicCell.If the SonicCell is not connected correctly, SonicCell Editormay not operate correctly.Make sure that you switch on the SonicCell’s powerbefore you start up SONAR LE.* Don’t disconnect the USB cable connected to theSonicCell while SONAR LE is running.Settings for the SonicCellIf you’ve connected a MIDI keyboard or other MIDI device tothe SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) settingon the SonicCell module to ON.If this is ON, MIDI messages arriving at MIDI IN will be sentwithout change to your computer via USB MIDI.Settings for SONAR LEHere we will use the SonicCell as a USB-MIDI interface forSONAR LE. Turn on the MIDI Thru setting.If this is on, the MIDI messages received by SONAR LE will besent back to the SonicCell’s sound generator.For details on SONAR LE settings, refer to th online help forSONAR LE.1. Start up SONAR LE.2. Specify the SonicCell as the USB-MIDI interface for SONARLE.For details on how to make this setting, refer to the onlinehelp for SONAR LE.3. From the menu, choose “Options” - “Global” to open the“Global Options” dialog box.4. Select the “General” tab.5. Select the “Always Echo Current MIDI Track” check box,and click [OK].Starting up SonicCell Editor1. Start up SONAR LE.2. From the menu, choose “File” - “Close” to close the projectthat was loaded at start-up.3. From the menu, choose “File” - “New” to open the “NewProject File” dialog box.4. Choose “Blank (no tracks or buses)” as the template, andclick [OK].5. From the menu, choose “Insert” - “Audio Track” to add anaudio track.6. Right-click the FX field located at the right of the TrackPane of the audio track.7. From the menu that appears, choose “DXi Synth” - “VSTSonicCell Editor VST.”The plug-in version of SonicCell Editor will start up.8. If a message indicates “MIDI devices aren’t set upcorrectly,” click [OK].9. In SonicCell Editor, select the menu button “Setup” - “SetUp MIDI Devices” to open the “Set Up MIDI Devices”dialog box.10. In SonicCell Input/Output, choose “Roland SonicCell” andclick [OK].11. In SonicCell Editor, click [READ].This will load the settings from the SonicCell into theeditor.Steps 8–11 are needed only when starting the editor forthe first time. The second and subsequent times, theSonicCell settings will be loaded into the editor from theport you specified.Adding a MIDI track1. From the menu, choose “Insert” - “MIDI Track” to add aMIDI track.2. Specify the channel of the MIDI track.If using Performance mode:As the MIDI track’s input, choose “Roland SonicCell” -“MIDI Ch. n (the number of the part you will record).”As the MIDI track’s output, choose “Roland SonicCell.”As the MIDI track’s MIDI Ch, choose ‘n’ (the number of thepart you will record).If using Patch mode:As the MIDI track’s input, choose “Roland SonicCell” -“MIDI Ch.1.”As the MIDI track’s output, choose “Roland SonicCell.”As the MIDI track’s MIDI Ch, choose “1.”3. Click the record-enable button in the track view.154


SONAR LESelecting a patchIf using Performance mode:1. In the upper part of SonicCell Editor’s main window, click“PART” [n (number of the part to record)].2. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].3. Choose the desired patch from the menu that appears.If using Patch mode:1. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].2. Choose the desired patch from the menu that appears.Editing patch parametersYou can edit the patch parameters as desired.The following illustration shows the relationship between theSonicCell module, your MIDI keyboard, SonicCell Editor, andSONAR LE.fig.Routing-SONARLE.epsRecording MIDI dataHere’s how to record your playing.If you connect a MIDI keyboard to the SonicCell, you’ll beable to record musical data from the keyboard.If using Performance mode:Set the MIDI channel of your MIDI keyboard to match thenumber of the part you want to record.If using Patch mode:Set the MIDI channel of your MIDI keyboard to 1.1. Click the record button in the Transport Toolbar, and playyour MIDI keyboard.2. Click the stop button in the Transport Toolbar to stoprecording.Saving the project fileThe SONAR LE project file also includes SonicCell Editor’sperformance data and patch data.This means that if you save your project file, you normallywon’t need to save data in SonicCell Editor.From the menu, choose “File” - “Save.”KeyboardMIDI OUTMIDI INUSBOUTUSBINSONAR LETrack 1ThruIn: SonicCellOut:SonicCellSoundGeneratorSonicCellUSB-MIDI Thru=ONEditorSonicCellOutputSonicCellInputControllersYou can edit the values by clicking (and dragging) the buttons,sliders, and knobs.For details on editing the parameters, refer to “SonicCellEditor Manual.”Select the menu button “Help” - “SonicCell Editor Manual”SONAR LE’s “Track 2” (the MIDI track you added)corresponds to “Track 1” in the illustration.If playing the keyboard does not produce sound, make surethat you’ve selected the MIDI track you added. MIDI Thru isenabled for the selected MIDI track.155


SONAR LEOpening a project fileSONAR LE project files include SonicCell Editor’s performancedata and patch data.This means that when you open a project file, you normallywon’t need to open data in SonicCell Editor.If using Performance mode:1. Close SONAR LE.2. On the SonicCell module, select a different performancethan the one you’re currently using.This is so you can verify that the performance data isreproduced when you open a project.3. Double-click the project file you saved earlier; SONAR LEwill start up.SonicCell Editor will start up along with the project. Theperformance data saved in the project file will bereproduced on the SonicCell module.If using Patch mode:1. Close SONAR LE.2. On the SonicCell module, select a different patch than theone you’re currently using.This is so you can verify that the patch data is reproducedwhen you open a project.3. Double-click the project file you saved earlier; SONAR LEwill start up.SonicCell Editor will open along with the project. Thepatch data saved in the project file will be reproduced onthe SonicCell module.If you’re using Windows Vista and you double-click aproject file to start up SONAR LE, the following errormessage will appear.“Windows cannot find ‘(project file path)’. Make sure youtyped the name correctly, and then try again.”Simply close the error message that was displayed, andcontinue using SONAR LE.Recording multiple partsIf you’re using Performance mode, you can edit and save theparameters for multiple SonicCell parts.1. Repeat the following steps for the desired number of parts.“Adding a MIDI track” (p. 154)“Selecting a patch” (p. 155)“Editing patch parameters” (p. 155)“Recording MIDI data” (p. 155)2. Finally, execute “Save the project file” to save the multipleSonicCell parts along with the musical data.156


SONAR 6.2Installing the driver and SonicCellEditorBefore you continue, install the driver, SonicCell Editor,Librarian, and Playlist Editor as described on p. 33–p. 36.• The stand-alone version of the editor, the librarian, and theplaylist editor will be installed in C:\ProgramFiles\Roland\SonicCellEditor.• The plug-in version of the editor (subsequently referred to as“the plug-in”) will be copied to C:\Program Files\Roland.Registering the plug-in inSONAR 6.2For details about registering a plug-in in SONAR 6.2, refer tothe SONAR 6.2 owner’s manual.1. Start up SONAR 6.2.2. From the menu, choose “Tools” - “Cakewalk Plug-inManager” to open the “Cakewalk Plug-in Manager”dialog box.3. In the “VST Configuration” group box, click [Options] toopen the “Cakewalk VST Scan Paths” dialog box.4. Click [Add], and add “(the folder to which you copied theplug-in)\Roland.”Normally, this will be C:\Program Files\Roland.5. Click [OK] to close the [Cakewalk VST Scan Paths] dialogbox.6. In the “VST Settings” group box, click [Scan VST Plug-ins]to register the plug-in version of SonicCell Editor. Thenclick [Close].Connections and settings1. Use a USB cable to connect the SonicCell to your computer.2. If necessary, use a MIDI cable to connect your MIDIkeyboard to the SonicCell.3. Turn on the power of the SonicCell.If the SonicCell is not connected correctly, SonicCell Editormay not operate correctly.Make sure that you switch on the SonicCell’s powerbefore you start up SONAR 6.2.* Don’t disconnect the USB cable connected to theSonicCell while SONAR 6.2 is running.Settings for the SonicCellIf you’ve connected a MIDI keyboard or other MIDI device tothe SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) settingon the SonicCell module to ON.If this is ON, MIDI messages arriving at MIDI IN will be sentwithout change to your computer via USB MIDI.Settings for SONAR 6.2Here we will use the SonicCell as a USB-MIDI interface forSONAR 6.2. Turn on the MIDI Thru setting.If this is on, the MIDI messages received by SONAR 6.2 willbe sent back to the SonicCell’s sound generator.1. Start up SONAR 6.2.2. Specify the SonicCell as the USB-MIDI interface for SONAR6.2.For details on how to make this setting, refer to theSONAR 6.2 owner’s manual.3. From the menu, choose “Options” - “Global” to open the“Global Options” dialog box.4. Select the “General” tab.5. Select the “Always Echo Current MIDI Track” check box,and click [OK].Starting up SonicCell Editor1. Start up SONAR 6.2.2. From the menu, choose “File” - “New” to open the “NewProject File” dialog box.3. Choose “Blank (no tracks or buses)” as the template,assign a name, and click [OK].4. From the menu, choose “Insert” - “Audio Track” to add anaudio track.5. Right-click the FX field located at the right of the TrackPane of the audio track.6. From the menu that appears, choose “Soft Synths” -“roland” - “SonicCell Editor VST.”7. If a message indicates “MIDI devices aren’t set upcorrectly.,” click [OK].8. In SonicCell Editor, select the menu button “Setup” - “SetUp MIDI Devices” to open the “Set Up MIDI Devices”dialog box.9. In SonicCell Input/Output, choose “Roland SonicCell” andclick [OK].10. In SonicCell Editor, click [READ].This will load the settings from the SonicCell into theeditor.Steps 7–10 are needed only when starting the editor forthe first time. The second and subsequent times, theSonicCell settings will be loaded into the editor from theport you specified.157


SONAR 6.2Adding a MIDI track1. From the menu, choose “Insert” - “MIDI Track” to add aMIDI track.2. Specify the channel of the MIDI track.If using Performance mode:As the MIDI track’s input, choose “Roland SonicCell” -“MIDI Ch. n (the number of the part you will record).”As the MIDI track’s output, choose “Roland SonicCell.”If using Patch mode:As the MIDI track’s input, you will normally choose“Roland SonicCell” - “MIDI Ch.1.”As the MIDI track’s output, choose “Roland SonicCell.”Editing patch parametersYou can edit the patch parameters as desired.The following illustration shows the relationship between theSonicCell module, your MIDI keyboard, SonicCell Editor, andSONAR 6.2.fig.Routing-SONAR62.epsKeyboardMIDI OUTMIDI INUSBOUTUSBINSoundGeneratorSonicCell3. Click the record-enable button in the track view.Selecting a patchIf using Performance mode:SONAR 6.2Track 1ThruIn: SonicCellOut:SonicCellUSB-MIDI Thru=ONEditorSonicCellOutputSonicCellInput1. In the upper part of SonicCell Editor’s main window, click“PART” [n (number of the part to record)].2. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].3. Choose the desired patch from the menu that appears.If using Patch mode:1. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].2. Choose the desired patch from the menu that appears.ControllersYou can edit the values by clicking (and dragging) the buttons,sliders, and knobs.For details on editing the parameters, refer to “SonicCellEditor Manual.”Select the menu button “Help” - “SonicCell Editor Manual”“Track 2” (the MIDI track you added) in SONAR 6.2corresponds to “Track 1” in the illustration.If playing the keyboard does not produce sound, make surethat you’ve selected the MIDI track you added. MIDI Thru isenabled for the selected MIDI track.Recording MIDI dataHere’s how to record your playing. If you connect a MIDIkeyboard to the SonicCell, you’ll be able to record musicaldata from the keyboard.If using Performance mode:Set the MIDI channel of your MIDI keyboard to match thenumber of the part you want to record.If using Patch mode:Set the MIDI channel of your MIDI keyboard to 1.1. Click the record button in the Transport Toolbar, and playyour MIDI keyboard.2. Click the stop button in the Transport Toolbar to stoprecording.158


SONAR 6.2Saving the project fileThe SONAR 6.2 project file also includes SonicCell Editor’sperformance data and patch data.This means that if you save your project file, you normallywon’t need to save data in SonicCell Editor.From the menu, choose “File” - “Save.”Opening a project fileSONAR 6.2 project files include SonicCell Editor’sperformance data and patch data.This means that when you open a project file, you normallywon’t need to open data in SonicCell Editor.Recording multiple partsIf you’re using Performance mode, you can edit and save theparameters for multiple SonicCell parts.1. Repeat the following steps for the desired number of parts.“Adding a MIDI track” (p. 158)“Selecting a patch” (p. 158)“Editing patch parameters” (p. 158)“Recording MIDI data” (p. 158)2. Finally, execute “Save the project file” to save the multipleSonicCell parts along with the musical data.If using Performance mode:1. Close SONAR 6.2.2. On the SonicCell module, select a different performancethan the one you’re currently using.This is so you can verify that the performance data isreproduced when you open a project.3. Double-click the project file you saved earlier; SONAR 6.2will start up.SonicCell Editor will open together with the project. Theperformance data saved in the project file will bereproduced on the SonicCell module.If using Patch mode:1. Close SONAR 6.2.2. On the SonicCell module, select a different patch than theone you’re currently using.This is so you can verify that the patch data is reproducedwhen you open a project.3. Double-click the project file you saved earlier; SONAR 6.2will start up.SonicCell Editor will open together with the project.The patch data saved in the project file will bereproduced on the SonicCell module.If you’re using Windows Vista and you double-click aproject file to start up SONAR 6.2, the following errormessage will appear.“Windows cannot find ‘(project file path)’. Make sure youtyped the name correctly, and then try again.”Simply close the error message that was displayed, andcontinue using SONAR 6.2.159


Cubase 4Installing the driver and SonicCellEditorBefore you continue, install the driver, SonicCell Editor,Librarian, and Playlist Editor as described on p. 33–p. 39.Windows:• The stand-alone version of the editor, the librarian, and theplaylist editor will be installed in C:\ProgramFiles\Roland\SonicCellEditor.• The plug-in version of the editor (subsequently referred to as“the plug-in”) will be copied to C:\Program Files\Roland.Mac:• The stand-alone version of the editor, the librarian, and theplaylist editor will be installed in\Applications\Roland\SonicCell Editor.• The VSTi version of the plug-in module will be copied to\Library\Audio\Plug-Ins\VST\Roland.Registering the plug-in inCubase 4For details about registering a plug-in in Cubase 4, refer to theowner’s manual of Cubase 4.Windows:1. Start up Cubase 4.2. From the menu, choose “Devices” - “Plug-in Information”to open the “Plug-in Information” window.3. Select the “VST PlugIns” tab.4. Click “VST 2.x Plug-in Paths” to open the [VST 2.x Plug-inPaths] dialog box.5. Click [Add], add “(folder to which you copied the plugin)\Roland”),and click [OK].Normally, this will be C:\Program Files\Roland.6. Click [Update].If SonicCell Editor VST does not appear in the list, tryrestarting Cubase 4.Mac:Normally, the plug-in will be registered automaticallywhen you start up Cubase 4.Connections and settings1. Use a USB cable to connect the SonicCell to your computer.2. If necessary, use a MIDI cable to connect your MIDIkeyboard to the SonicCell.3. Turn on the power of the SonicCell.If the SonicCell is not connected correctly, SonicCell Editormay not operate correctly.Make sure that you switch on the SonicCell’s powerbefore you start up Cubase 4.* Don’t disconnect the USB cable connected to theSonicCell while Cubase 4 is running.Settings for the SonicCellIf you’ve connected a MIDI keyboard or other MIDI device tothe SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) settingon the SonicCell module to ON.If this is ON, MIDI messages arriving at MIDI IN will be sentwithout change to your computer via USB MIDI.Settings for Cubase 4Here we will use the SonicCell as a USB-MIDI interface forCubase 4. Turn on the MIDI Thru setting.If this is on, the MIDI messages received by Cubase 4 will besent back to the SonicCell’s sound generator.1. Start up Cubase 4.2. Specify the SonicCell as the USB-MIDI interface for Cubase4.For details on how to make this setting, refer to theCubase 4 owner’s manual.3. Open the “Preferences” dialog box.Windows:From the menu, choose “File” - “Preferences.”Mac:From the menu, choose “Cubase” - “Preferences.”4. In the list at left, choose “MIDI” to see the MIDIpreferences.5. Select the “MIDI Thru Active” check box, and click [OK].160


Cubase 4Starting up SonicCell Editor1. Start up Cubase 4.2. From the menu, choose “File” - “New Project” to open the“New Project” dialog box.3. Select “Empty” as the template, and click [OK].The “Set Project Folder” dialog box will open.4. Specify the desired project folder and click [OK].5. From the menu, choose “Devices” - “VST Instruments” toopen the “VST Instruments” window.6. Click the first slot and select “SonicCell Editor VST.”7. If a message indicates “MIDI devices aren’t set upcorrectly.,” click [OK].8. If a message asks “Do you want to create a MIDI trackassigned to pluginSonicCell Editor VST”?”, click [Cancel].9. In SonicCell Editor, select the menu button “Setup” - “SetUp MIDI Devices” to open the “Set Up MIDI Devices”dialog box.10. In SonicCell Input/Output, choose “Roland SonicCell” andclick [OK].11. In SonicCell Editor, click [READ].This will load the settings from the SonicCell into theeditor.* Steps 7 and 9–11 are needed only when starting theeditor for the first time. The second and subsequent times,the SonicCell settings will be loaded into the editor fromthe port you specified.Adding a MIDI track1. From the menu, choose “Project” - “Add Track” - “MIDI” toadd a MIDI track.2. Select “Roland SonicCell” as the input/output of the MIDItrack.3. Specify the channel of the MIDI track.If using Performance mode:As the channel of the MIDI track, specify the number ofthe part you want to record.If using Patch mode:Specify channel 1 for the MIDI track.Selecting a patchIf using Performance mode:1. In the upper part of SonicCell Editor’s main window, click“PART” [n (number of the part to record)].2. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].3. Choose the desired patch from the menu that appears.If using Patch mode:1. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].2. Choose the desired patch from the menu that appears.Editing patch parametersYou can edit the patch parameters as desired.The following illustration shows the relationship between theSonicCell module, your MIDI keyboard, SonicCell Editor, andCubase 4.fig.Routing-Cubase.epsCubase 4Track 1ThruIn: SonicCellOut:SonicCellKeyboardMIDI OUTMIDI INUSBOUTSoundGeneratorSonicCellUSB-MIDI Thru=ONEditorUSBINSonicCellOutputSonicCellInputControllersYou can edit the values by clicking (and dragging) the buttons,sliders, and knobs.For details on editing the parameters, refer to “SonicCellEditor Manual.”Select the menu button “Help” - “SonicCell Editor Manual.”If playing the keyboard does not produce sound, make surethat you’ve selected the MIDI track you added. MIDI Thru isenabled for the selected MIDI track.161


Cubase 4Recording MIDI dataHere’s how to record your playing. If you connect a MIDIkeyboard to the SonicCell, you’ll be able to record musicaldata from the keyboard.If using Performance mode:Set the MIDI channel of your MIDI keyboard to match thenumber of the part you want to record.If using Patch mode:Set the MIDI channel of your MIDI keyboard to 1.1. Click the record button in the Transport Panel, and playyour MIDI keyboard.2. Click the stop button in the Transport Panel to stoprecording.Saving the project fileThe Cubase 4 project file also includes SonicCell Editor’sperformance data and patch data.This means that if you save your project file, you normallywon’t need to save data in SonicCell Editor.1. From the menu, choose “File” - “Save” to open the “SaveAs” dialog box.2. Assign the desired name, and click [Save].Opening a project fileCubase 4 project files include SonicCell Editor’s performancedata and patch data.This means that when you open a project file, you normallywon’t need to open data in SonicCell Editor.If using Performance mode:1. Close Cubase 4.2. On the SonicCell module, select a different performancethan the one you’re currently using.This is so you can verify that the performance data isreproduced when you open a project.3. Double-click the project file you saved earlier; Cubase 4will start up.SonicCell Editor will open together with the project.The patch data saved in the project file will bereproduced on the SonicCell module.If using Patch mode:1. Close Cubase 4.2. On the SonicCell module, select a different patch than theone you’re currently using.This is so you can verify that the patch data is reproducedwhen you open a project.3. Double-click the project file you saved earlier; Cubase 4will start up.SonicCell Editor will open together with the project.The performance data saved in the project file will bereproduced on the SonicCell module.Recording multiple partsIf you’re using Performance mode, you can edit and save theparameters for multiple SonicCell parts.1. Repeat the following steps for the desired number of parts.“Adding a MIDI track” (p. 161)“Selecting a patch” (p. 161)“Editing patch parameters” (p. 161)“Recording MIDI data” (p. 162)2. Finally, execute “Save the project file” to save the multipleSonicCell parts along with the musical data.162


Logic Pro 7.2Installing the driver and SonicCellEditorBefore you continue, install the driver, SonicCell Editor,Librarian, and Playlist Editor as described on p. 37–p. 39.• The stand-alone version of the editor, the librarian, and theplaylist editor will be installed in\Applications\Roland\SonicCell Editor.• The AU version of the plug-in module will be copied to\Library\Audio\Plug-Ins\Components.Registering the plug-in inLogic Pro 7.2For details about registering a plug-in in Logic Pro 7.2, refer tothe owner’s manual of Logic Pro 7.2.Normally, the plug-in will be registered automatically whenyou start up Logic Pro 7.2.Connections and settings1. Use a USB cable to connect the SonicCell to your computer.2. If necessary, use a MIDI cable to connect your MIDIkeyboard to the SonicCell.3. Turn on the power of the SonicCell.If the SonicCell is not connected correctly, SonicCell Editormay not operate correctly.Make sure that you switch on the SonicCell’s powerbefore you start up Logic Pro 7.2.* Don’t disconnect the USB cable connected to theSonicCell while Logic Pro 7.2 is running.Settings for the SonicCellIf you’ve connected a MIDI keyboard or other MIDI device tothe SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) settingon the SonicCell module to ON.If this is ON, MIDI messages arriving at MIDI IN will be sentwithout change to your computer via USB MIDI.Starting up SonicCell Editor1. Start up Logic Pro 7.2.2. From the menu, choose “File” - “Close” to close the songthat was loaded at start-up.3. From the menu, choose “File” - “New” to open the “New”dialog box, and turn the “Use song template” check box[ON].4. As the template, choose “Power Book 15” - “BasicProduction” and click [OK].5. Click (select) track “Inst 1.”An “audio instrument” object is assigned to track “Inst 1.”6. From the Arrange window’s sub-menu, choose “Track” -“Delete Unused.”Only the track “Inst 1” will remain.7. In the channel strip at the lower left of the Arrangewindow, click the [I/O] button.8. From the menu that appears, choose “Stereo” - “AUInstruments” - “Roland” - “SonicCell Editor AU.”9. If a message indicates “MIDI devices aren’t set upcorrectly.,” click [OK].10. In SonicCell Editor, select the menu button “Setup” - “SetUp MIDI Devices” to open the “Set Up MIDI Devices”dialog box.11. In SonicCell Input/Output, choose “SonicCell” and click[OK].12. In SonicCell Editor, click [READ].This will load the settings from the SonicCell into theeditor.Steps 9–12 are needed only when starting the editor forthe first time. The second and subsequent times, theSonicCell settings will be loaded into the editor from theport you specified.Settings for Logic Pro 7.2Specify the SonicCell as the USB-MIDI interface for Logic Pro7.2.For details on making this setting, refer to the Logic Pro 7.2owner’s manual.163


Logic Pro 7.2Adding a MIDI track1. From the menu, choose “Windows” - “Environment” toopen the Environment window.2. In the layer list at the left of the Environment window,choose the “MIDI Instr.” layer.3. Choose the following menu item.If using Performance mode:From the Environment window’s sub-menu, choose “New”- “Multi Instrument.”If using Patch mode:From the Environment window’s sub-menu, choose “New”- “Instrument.”4. Change the instrument name.If using Performance mode:In the left side of the Environment window, click “(Multiinstr.)” in “▼ (Multi instr.),” and rename it to “SonicCell.”If using Patch mode:In the left side of the Environment window, click“(Instrument)” in “▼ (Instrument),” and rename it to“SonicCell.”5. Close the Environment window.If using Performance mode:In “SonicCell” at the right side of the Environmentwindow, click [n (number of the part to record)] to closethe Environment window.If using Patch mode:Close the Environment window.6. From the Arrange window’s sub-menu, choose “Track” -“Create.”An identical track “Inst 1” will be added below the track“Inst 1.”9. Select the port.If using Performance mode:In the track “SonicCell n (number of the part to record)” atthe left side of the Arrange window, set the “Port”parameter to SonicCell.If using Patch mode:In the track “SonicCell” at the left side of the Arrangewindow, set the “Port” parameter to SonicCell.If the parameter “port” is not shown, click the [ ] located atthe left of the track “SonicCell n” (or “SonicCell”) in the leftside of the Arrange window.Selecting a patchIf using Performance mode:1. In the upper part of SonicCell Editor’s main window, click“PART” [n (number of the part to record)].2. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].3. Choose the desired patch from the menu that appears.If using Patch mode:1. In the upper part of SonicCell Editor’s main window, click“PATCH NAME” [▼].2. Choose the desired patch from the menu that appears.Editing patch parametersYou can edit the patch parameters as desired.The following illustration shows the relationship between theSonicCell module, your MIDI keyboard, SonicCell Editor, andLogic Pro 7.2.fig.Routing-Logic72.eps7. Click and hold near the added track “Inst 1” icon.8. Specify the channel of the MIDI track.If using Performance mode:From the menu that appears, choose “MIDI Instr.” -“SonicCell” - “n (number of the part to record).”The track “SonicCell n (number of the part to record)” hasa “MIDI instrument” object assigned to it.If using Patch mode:From the menu that appears, chose “MIDI Instr.” -“SonicCell.”The track “SonicCell” has a “MIDI instrument” objectassigned to it.Logic Pro 7.2Track 1ThruIn: SonicCellOut:SonicCellKeyboardMIDI OUTMIDI INUSBOUTSoundGeneratorSonicCellUSB-MIDI Thru=ONEditorUSBINSonicCellOutputSonicCellInputControllersYou can edit the values by clicking (and dragging) the buttons,sliders, and knobs.164


Logic Pro 7.2For details on editing the parameters, refer to online manual.Select the menu button “Help” - “SonicCell Editor Manual.”If using Performance mode:• Logic Pro 7.2 track “SonicCell n (number of the part torecord)” corresponds to “Track 1” of the illustration.• The Physical Input setting in the “Click & Ports” layer of theLogic Pro 7.2 Environment window corresponds to “in:SonicCell” of the illustration. You may leave the PhysicalInput setting at the default setting of “SUM.”• “port: SonicCell” of the Logic Pro 7.2 track “SonicCell n(number of the part to record)” corresponds to “out:SonicCell” of the illustration.If using Patch mode:• Logic Pro 7.2 track “SonicCell” corresponds to “Track 1” ofthe illustration.• The Physical Input setting in the “Click & Ports” layer of theLogic Pro 7.2 Environment window corresponds to “in:SonicCell” of the illustration. You may leave the PhysicalInput setting at the default setting of “SUM.”• “port: SonicCell” of the Logic Pro 7.2 track “SonicCell”corresponds to “out: SonicCell” of the illustration.For details, refer to the Logic Pro 7.2 owner’s manual.If you don’t hear sound when you play the keyboard, makesure that the [R] button is on for the track “SonicCell.”Recording MIDI dataHere’s how to record your playing.If you connect a MIDI keyboard to the SonicCell, you’ll beable to record musical data from the keyboard.If using Performance mode:Set the MIDI channel of your MIDI keyboard to match thenumber of the part you want to record.If using Patch mode:Set the MIDI channel of your MIDI keyboard to 1.1. Click the record button in the Transport window, and playyour MIDI keyboard.2. Click the stop button in the Transport window to stoprecording.Saving the song fileThe Logic Pro 7.2 song file also includes SonicCell Editor’sperformance data and patch data.This means that if you save your song file, you normally won’tneed to save data in SonicCell Editor.From the menu, choose “File” - “Save.”Opening a song fileLogic Pro 7.2 song files include SonicCell Editor’sperformance data and patch data.This means that when you open a song file, you normallywon’t need to open data in SonicCell Editor.If using Performance mode:1. Close Logic Pro 7.2.2. On the SonicCell module, select a different performancethan the one you’re currently using.This is so you can verify that the performance data isreproduced when you open a song.3. Double-click the song file you saved earlier; Logic Pro 7.2will start up.SonicCell Editor will open together with the song.The patch data saved in the song file will be reproducedon the SonicCell module.If using Patch mode:1. Close Logic Pro 7.2.2. On the SonicCell module, select a different patch than theone you’re currently using.This is so you can verify that the patch data is reproducedwhen you open a song.3. Double-click the song file you saved earlier; Logic Pro 7.2will start up.SonicCell Editor will open together with the song.The performance data saved in the song file will bereproduced on the SonicCell module.Recording multiple partsIf you’re using Performance mode, you can edit and save theparameters for multiple SonicCell parts.1. Repeat the following steps for the desired number of parts.“Adding a MIDI track” (p. 164)“Selecting a patch” (p. 164)“Editing patch parameters” (p. 164)“Recording MIDI data” (p. 165)2. Finally, execute “Save the song file” to save the multipleSonicCell parts along with the musical data.165


166MEMO


SMF/Audio File PlayerSonicCell also has “SMF/Audio File Player” functionality.“Songs” (SMF or audio files) and “playlists” that specify the playback order can be transferred from your computer via USBmemory and used by SonicCell.You can play back songs in the order specified by a “playlist,” or you can select and play back an individual song from a playlist.1 Copy your data to USB Memory2Connect your USB Memoryto the SonicCellSMF, WAV, AIFF, MP3 filesUSB MemoryUSB MemoryUse only USB memory sold by Roland. Operation cannot be guaranteed when products other than there is used. Properoperation cannot be guaranteed if other USB memory products is used.• Connect the USB memory after the SonicCell’s power is turned on.• If, after a USB memory device has been removed, you decide that you want to connect it again, you’ll need to switch theSonicCell’s power off, then switch it back on again.Creating a playlistStart up SonicCell Playlist Editor and create a playlist.* For details on creating a playlist, refer to “SonicCellPlaylistEditorManualE.pdf,” which is installed together with “SonicCellPlaylist Editor.”• Use the included “Sonic Playlist Editor” to create playlists. You cannot create playlists on SonicCell itself.• You can play back individual songs even without creating a playlist. To do this, place the SMF or audio files in the rootdirectory of your USB memory.• Only audio files that have the same sampling rate as the SonicCell’s own setting can be played.When you add audio files to a playlist, we recommend that you keep the sampling rate the same for all files.167


Playing back songsSMF/audio files that can be playedSMFAudio FileWAV/AIFFMP3FormatFile SizeSystem ExclusiveSampling RateBit depth0 or 1* With format 1 SMFs, there are limitations on the tracks that will be played.240 KB maximum (Note that this will vary slightly based on the SMF content.)Packet sizes of 512 bytes or less44.1/48/96kHz8/16/24 bitsFormat MPEG-1 audio layer 3Sampling RateBit Rates44.1/48kHz32/40/48/56/64/80/96/112/128/160/192/224/256/320kbps,VBR (Variable Bit Rate)Song playback• You can’t use the SMF/Audio File Player to play songs while also using USB audio/MIDI message input/output (p. 140).• If you play back a demo song or SMF while editing a performance or patch, the contents of the temporary area will berewritten, causing your edits to be lost. If you want to keep your edited data, you must write it before you play back a demosong or SMF data.• Use the SonicCell in Performance mode when you’re playing back SMF data.• You can’t execute the Write operation or use Utility functions (p. 182) while a song is playing back.• The SonicCell can handle up to a maximum of 99 songs and playlists. (99 items in the root directory, and 99 items inside theSonicCell folder. The Playlist Editor can also handle up to 99 playlists.)1. Connect the USB memory containing play lists and songsto SonicCell.2. Press [SMF/AUDIO PLAYER].The button’s indicator will light, and the Playlist Selectscreen will appear.4. Press [ ].The player screen will appear, and the song will beginplaying.* If the song is an audio file, it will play only if its samplingrate matches the setting of the SonicCell.* If the sampling rate of the first song (audio file) in theplaylist does not match the SonicCell’s sampling rate,none of the songs in that playlist will play.Playlists that show a at the left of the name don’t allowyou to edit the playlist settings or the settings of the songsin the playlist.3. Move the cursor to the playlist that you want to play.* If you want to select and play a song from within theselected playlist, proceed to “Selecting and playing asong from within a playlist” (p. 171).5. If you want to stop song playback, press [ ].The next time you press [ ], playback will start fromthe point at which you stopped.168


Playing back songs(1)(2) (3)(4) (6) (8) (7) (5)IndicationContent(1) Name of the currently playing song(2) SMF: Currently-playing measure, Audio file: Playback time * This is displayed correctly only if you created(3) Length of the currently-playing songthe playlist using PlaylistEditor.(4) Move the cursor here and press [CURSOR/VALUE] to move to the beginning of the current song.(5) Move the cursor here and press [CURSOR/VALUE] to move to the next song.(6) Move the cursor here and press [CURSOR/VALUE] to rewind the song.(7) Move the cursor here and press [CURSOR/VALUE] to fast-forward the song.(8)Move the cursor here and press [CURSOR/VALUE] to view the current playback volume. Turn [CURSOR/VALUE] toadjust the volume.Range: 0--127The parameter whose volume you’re adjusting will depend on the type of file.If an SMF is selected: System setting “Master Level” (p. 176)If an audio file is selected: USB Audio “Audio Level” (p. 140)■ Menu screen.................................................................................................................If you press [MENU] while the Playlist Select screen isdisplayed, the Playlist Menu screen will appear.The Playlist Menu is structured as shown in theillustration at right. You can switch between screensby turning [CURSOR/VALUE] to the right or left.Press [MENU] once again to return to the PlaylistSelect screen.ParameterShow Info(Playlist Information)Write(Playlist Write)ExplanationShows the contents of the selected playlist.Press [CURSOR/VALUE] to access the Playlist Information screen (p. 170).Saves the current playlist settings. (p. 173)* This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library.System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).169


Playing back songs■ Playlist Information screen ............................................................................................IndicationNameContentThe name of the playlist.Specifies how the song will play.Chain PlayIf you move the cursor to this item and press [CURSOR/VALUE] to add a check mark (✔),Chain Play will be turned on.If this is on, the songs in the playlist will play consecutively.Playback will stop when the last song has ended.Playback ModeRepeat AllIf you move the cursor to this item and press [CURSOR/VALUE] to add a check mark (✔),Repeat All will be turned on.If this is on, the songs in the playlist will play consecutively, and when the last song hasended, the unit returns to the first song and enters pause mode.If Chain Play is on, consecutive playback will continue repeating.* This item will not appear for a playlist that has the indication at the left of the name.Total TimeTotal Meas (Measure)MemoIf you want to save the modified setting, execute Playlist Write.Total time (minutes: seconds) of the songs in the playlist* This item will not appear for a playlist that has the indication at the left of the name.The total number of measures in the playlist.* This item will not appear for a playlist that has the indication at the left of the name.A comment, etc.If you press [MENU] when the Playlist Information screenis shown, the screen shown at the right will appear.If you want to execute Playlist Write, select “OK” andpress [CURSOR/VALUE].If you decide to cancel, select “CANCEL” and press[CURSOR/VALUE].170


Playing back songsSelecting and playing a song from within a playlist4. Press [CURSOR/VALUE].The songs in the selected playlist will be listed.5. Move the cursor to the song that you want to play, andpress [CURSOR/VALUE].The player screen will appear.A “?” mark is shown if the song’s sampling rate differsfrom the setting of the SonicCell module, or if the song isnot in a file type that the SonicCell can play. This songcannot be played.6. Press [ ].The song will begin playing.■ Menu screen.................................................................................................................When the song list screen or the player screen isshown, you can press [MENU] to access the SongMenu screen.You can switch between screens by turning[CURSOR/VALUE] to the right or left.Press [MENU] once again to return to the song listscreen or the player screen.ParameterSong Info(Song Information)Playlist(Playlist Information)Change(Change Order)Delete(Song Delete)Write(Playlist Write)ExplanationShows information about the selected song.Press [CURSOR/VALUE] to access the Song Information screen (p. 172).Shows the contents of the selected playlist.Press [CURSOR/VALUE] to access the Playlist Information screen (p. 170).Lets you change the order of songs in the playlist.Press [CURSOR/VALUE] to access the Change Order screen (p. 173).* This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library.Deletes the currently selected song from the playlist (p. 173).* This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library.Saves the current playlist settings. (p. 173)* This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library.System Press [CURSOR/VALUE] to access the System screen (p. 176).Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182).Demo PlaySRX Info(SRX Information)Version(Version Information)When you press [CURSOR/VALUE], the demo song list will appear.* For details on how to play the demo songs, refer to p. 15 and p. 168.Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).171


Playing back songs■ Song Information screen ...............................................................................................IndicationTitleArtistLevel EditMeas (Measure)/TimeFile NameFile TypeSampling RateFile SizeMemoContentName of the song.Name of the artist.Lets you adjust the volume of the song.Press [CURSOR/VALUE] to access the Song Info (Level) screen.* This item is not shown for songs in the USB Memory or Demo Songs playlist.Number of measures in the song (for SMF)/Song length (for an audio file)* This item is not shown for songs in the USB Memory or Demo Songs playlist.File name* This item is not shown for songs in the Demo Songs playlist.The type of file (SMF/WAV/AIFF/MP3)* This item is not shown for songs in the Demo Songs playlist.Sampling rate* This item is not shown for WAV/AIFF/MP3 file types.Size of the file* This item is not shown for songs in the Demo Songs playlist.A comment, etc.* This item is not shown for songs in the USB Memory playlist.Song Info (Level) screenFor an SMF songFor an audio file songThis adjusts the volume of each song.If you want to keep the adjusted volume setting, youmust write it (Playlist Write). If you select a differentplaylist without writing your settings, the settings willrevert to their original state.Parameter Value ExplanationLevel Adjust -12–0–+12Part 1–16 Level 0–127Assuming that the original volume (the volume of the song in USB memory)is 0, you can adjust the volume within this range: -12–0–+12.If the song’s file type is SMF, you can adjust the volume individually for parts1–16.Move the cursor to the part number shown at the bottom of the screen andpress [CURSOR/VALUE], and you'll be able to adjust the volume of thatpart.If you press [MENU] when the Song Information/Song Info (Level) screen isshown, the screen shown at the right will appear.If you want to execute Playlist Write, select “OK” and press [CURSOR/VALUE].If you decide to cancel, select “CANCEL” and press [CURSOR/VALUE].172


Playing back songsPlaylist WriteHere’s how to write the current playlist settings.From the Song Menu screen (p. 171), choose “Write” toaccess the following screen.Deleting a song from the playlistHere’s how to delete the currently selected song from theplaylist.From the Song Menu screen (p. 171), choose “Delete” toaccess the following screen.1. To write the data, choose “OK” and press [CURSOR/VALUE].If you decide to cancel, choose “CANCEL” and press[CURSOR/VALUE].You will return to the previous screen.Changing the song orderHere’s how to change the order of the currently selected song.From the Song Menu screen (p. 171), choose “Change” toaccess the Change Order screen.1. To delete the song, choose “OK” and press [CURSOR/VALUE].If you decide not to delete, choose “CANCEL” and press[CURSOR/VALUE].When the deletion is completed, you’re returned to thePlay List screen.If you want to keep the settings you changed, execute theWrite operation (Playlist Write).If you select a different playlist without writing yoursettings, they will revert to their original state.1. Turn [CURSOR/VALUE] to specify the desired position ofthe currently selected song.2. When you’ve specified the desired position, press[CURSOR/VALUE].The song order will be changed.* If you move to a different screen without pressing[CURSOR/VALUE], the song order won’t be changed.If you want to keep the settings you changed, execute theWrite operation (Playlist Write).If you select a different playlist without writing yoursettings, they will revert to their original state.173


174MEMO


Other Settings175


System SettingsIn the menu screen, choose “SYSTEM” to access the System screen.Here you can make settings for the “system functions,” which affect the operation of the entire SonicCell, such as the tuning, andhow MIDI messages are received.1. In the Menu screen, move the cursor to “SYSTEM” andpress [CURSOR/VALUE].The System screen will appear.3. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].4. When you’ve finished editing, press [MENU] to write thesystem settings.The following message will appear.2. Turn [CURSOR/VALUE] to select the parameter you wantto edit, then press [CURSOR/VALUE].The value of the selected parameter will be highlighted.5. If you want to write the settings, select “OK” and press[CURSOR/VALUE].If you decide not to write the settings, select “CANCEL”and press [CURSOR/VALUE].Once the settings have been written, you’ll be returned tothe System screen.If the value field shows the “SELECT” indication, you canpress [CURSOR/VALUE] to move to the setting screen forthat parameter.General settings (System screen)Parameter Value ExplanationDisp (Display) Brigtness 1–10This adjusts the contrast/brightness of the display. Higher values will make thecharacters darker.Master Level 0–127 Adjusts the volume of the entire SonicCell.Master Tun (Tune)Output Gain415.3–466.2 Hz-12–+12 dBAdjusts the overall tuning of the SonicCell. The display shows the frequency of theA4 note (center A).This adjusts the output gain from the SonicCell’s Analog Out and Digital Out. When,for example, there are relatively few voices being sounded, boosting the output gaincan let you attain the most suitable output level for recording and other purposes.Master Key Shift -24–+24 Shifts the overall pitch of the SonicCell in semitone steps.Patch Remain(Patch Remain Switch)Sync ModeOFF, ONMASTER,SLAVESpecifies whether currently sounding notes will continue sounding when anotherpatch or rhythm set is selected (ON), or not (OFF).Also, when this is “ON,” changes produced by incoming MIDI messages such asVolume or Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLYON), as well as tonal quality and volume changes produced by the various controllerswill be inherited.Effects settings change as soon as you switch to a new patch or rhythm set,without being influenced by the Patch Remain setting. Because of this, certaineffects settings can cause notes that were until then sounding to no longer beheard, even though Patch Remain has been set to on.Specifies the synchronization message that the SonicCell will use for operation.MASTER: The SonicCell will be the master. Choose this setting when usingthe SonicCell by itself without synchronizing to another device.SLAVE: The SonicCell will be the slave. Choose this setting when youwant the SonicCell to synchronize to MIDI Clock messagesreceived from another MIDI device.176


System SettingsParameter Value ExplanationSystem Tempo 5–300Tempo OverrideDevice ID(Device ID Number)Perform Ctrl Ch(Performance ControlChannel)Patch Rx Ch(Patch Mode Receive Channel)USB-MIDI Thru(USB-MIDI Thru Switch)OFF, ON17–321–16, OFFSets the system tempo.* When Sync Mode is set to “SLAVE,” the tempo will synchronize to the clock messagesreceived from an external MIDI device, so the tempo value will be ignored.* The tempo value is not saved even if you save the System settings.Specify whether the system tempo will change (ON), or will not change (OFF)when you switch performance.When you want to transmit or receive System Exclusive messages, set this parameterto match the Device ID number of the other MIDI device.Performance Ctrl Ch selects the MIDI receive channel used during switching of performanceswhen MIDI messages (Program Change/Bank Select) are sent from anexternal MIDI device. Set this to “OFF” if performances are not to be switchedfrom an external MIDI device.If only a program change is received, and if the Perform Ctrl Ch settingcoincides with the MIDI receive channel of a part, priority will be given toswitching the performance.1–16 Specifies the channel used to receive MIDI messages in Patch mode.OFF, ONDetermines the MIDI signal flow from the MIDI IN connector to the SonicCell'ssound generator.OFF: Directly transmits the MIDI signals arriving at the MIDI IN connector to thesound generator, and plays the SonicCell's sound.ON: Transmits the MIDI signals arriving at the MIDI IN connector to thecomputer via the USB connector. Via its USB connector, the SonicCellreceives the signals that have been THRU’ed by the computer's sequencersoftware, and uses them to produce sound with its sound generator.MIDI OUTMIDI IN USB OUTUSB INMIDI OUTMIDI IN USB OUTUSB INPowerup ModeScreen SaverPATCH,PERFORMOFF, 5,10–60 (min)Screen Saver Type 1–6 Select the type of screen saver.Scale Tune Sw (Switch)Scale TunePreviewSystem ControlSystem MIDIOFF, ON[SELECT][SELECT][SELECT][SELECT]SoundGeneratorSectionSonicCellUSB-MIDI Thru=OFFSoundGeneratorSectionSonicCellUSB-MIDI Thru=ONThis setting allows you to choose the mode that you want the SonicCell to be inwhen it is powered up.PATCH: The SonicCell will be in Patch mode when you turn on the power.PERFORM: The SonicCell will be in Performance mode when you turn on thepower.Set the time (minutes) until the screen saver begins working.If this is “OFF,” the screen saver will not appear.Turn this on when you wish to use a tuning scale other than equal temperament.One set of Scale Tune settings can be created in Patch mode. In Performancemode, this can be set for each part of the performance (p. 72).The SonicCell allows you to play the keyboard using temperaments other thanequal temperament. The pitch is specified in one-cent units relative to the equaltempered pitch.* One-cent is 1/100th of a semitone.Specifies the scale tuning of the patch.Press [CURSOR/VALUE] to access the Patch Scale Tune screen (p. 178).Makes settings for the Preview function.Press [CURSOR/VALUE] to access the Preview screen (p. 179).Makes settings for the Control function.Press [CURSOR/VALUE] to access the System Control screen (p. 179).Makes MIDI-related settings.Press [CURSOR/VALUE] to access the System MIDI screen (p. 180).177


System SettingsPatch Scale Tune settingsHere’s how to make scale tune settings for Patch mode. These settings are shared by all patches.For details on scale tune settings for Performance mode, refer to p. 72.Parameter Value ExplanationC, C#, D, Eb, E, F, F#, G,G#, A, Bb, B-64–+63Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative toits equal-tempered pitch.• Equal TemperamentThis tuning divides the octave into 12 equal parts, and isthe most widely used method of temperament used inWestern music.• Just Temperament (Tonic of C)Compared with equal temperament, the principle triadssound pure in this tuning. However, this effect is achievedonly in one key, and the triads will become ambiguous ifyou transpose.• Arabian ScaleIn this scale, E and B are a quarter note lower and C#, F#and G# are a quarter-note higher compared to equaltemperament. The intervals between G and B, C and E, Fand G#, Bb and C#, and Eb and F# have a natural thirdtheinterval between a major third and a minor third. Onthe SonicCell, you can use Arabian temperament in thethree keys of G, C and F.Note nameEqualTemperamentJustTemperament(tonic C)ArabianScaleC 0 0 -6C# 0 -8 +45D 0 +4 -2Eb 0 +16 -12E 0 -14 -51F 0 -2 -8F# 0 -10 +43G 0 +2 -4G# 0 +14 +47A 0 -16 0Bb 0 +14 -10B 0 -12 -49178


System SettingsSettings for the Preview function (System Preview screen)Parameter Value ExplanationPreview ModePreview 1–4 Note(Preview 1–4 Note Number)Preview 1–4 Velo(Preview 1–4 Note Velocity)SINGLE, CHORD,PHRASEC-1–G9OFF, 0–127SINGLE:CHORD:PHRASE:The notes specified by Note Number 1–4 parameter willsound successively one by one.The notes specified by Note Number 1–4 parameter willsound simultaneously.The Phrase associated with the patch’s type/category isplayed.Specify the pitch of the four notes that will sound when the Preview Modeparameter is set to “SINGLE” or “CHORD.”If “PHRASE” is selected for the Preview Mode, these settings will have noeffect.Specify the velocity of the four notes that will sound when the Preview Modeparameter is set to “SINGLE” or “CHORD.”If “PHRASE” is selected for the Preview Mode, these settings will have noeffect.Settings for Control-related functions (System Control screen)Parameter Value ExplanationSystem Control Assign selects the MIDI message used as the System Control.Src 1–4(System Control 1–4 Source)System ControlOFF,CC01–31,33–95,PITCH BENDAFTERTOUCHOFF:The system control knob will not be used.CC01–31, 33–95: Controller numbers 1–31, 33–95PITCH BEND: Pitch BendAFTERTOUCH: AftertouchFor details on control change messages, refer to “MIDI Implementation” (p.246).System Control settings apply to the entire SonicCell, and specify how MIDI messages will control the volume and sounds.You can specify up to four MIDI messages for control purposes.If you want to make individual settings for each performance, patch, or rhythm set to specify how sounds and effects will be controlledin real time, use “Matrix Control” (p. 95) or “Multi-effects Control” (p. 81, p. 137).179


System SettingsMIDI-related settings (System MIDI screen)Parameter Value ExplanationSoft Through(Soft Through Switch)Tx Edit Data(Transmit Edit Data Switch)Rx Program Change(Receive Program Change Switch)Rx Bank Select(Receive Bank Select Switch)Rx Exclusive(Receive System Exclusive Switch)Rx GM System On(Receive GM System On Switch)Rx GM2 System On(Receive GM2 System On Switch)Rx GS Reset(Receive GS Reset Switch)OFF, ONOFF, ONOFF, ONOFF, ONOFF, ONOFF, ONOFF, ONOFF, ONSpecifies whether MIDI messages received at MIDI IN will be re-transmittedwithout change from MIDI OUT (the ON setting), or will not be re-transmitted(the OFF setting).Specify whether changes you make in the settings of a patch, performancewill be transmitted as system exclusive messages (ON), or will not be transmitted(OFF).Specifies whether Program Change messages will be received (ON) or not(OFF).Specifies whether Bank Select messages will be received (ON) or not (OFF).Specifies whether System Exclusive messages will be received (ON) or not(OFF).Specifies whether General MIDI System On messages will be received (ON)or not (OFF).Specifies whether General MIDI 2 System On messages will be received(ON) or not (OFF).Specifies whether GS Reset messages will be received (ON) or not (OFF).Viewing information about SonicCell(System SRX Info/System Version Info screens)From the Menu screen, selecting “SRX Info” will access the System SRX Info screen, where you can view information about theexpansion boards connected to the SonicCell.From the MENU screen, selecting “Version” will access the System Version Info screen, where you can view the version of theSonicCell system software.* You can turn [CURSOR/VALUE] to move between these two screens.Press [EXIT] to return to the previous screen.180


System SettingsEditing the mastering effect (Mastering Effect screen)In Performance mode or Patch mode, select “M” in the EffectRouting screen to access the Mastering Effect screen.It has independent high, mid, and low ranges. Independentlyfor the high-frequency, mid-frequency, and low-frequencyregions, this compresses any sounds that exceed the specifiedlevel, making the volume more consistent.When you procedure your own original audio CD, this letsyou master at an optimized level.Parameter Value ExplanationSplit Freq L(Split Frequency Low)Split Freq H(Split Frequency High)Low/Mid/High AttackLow/Mid/High ReleaseLow/Mid/High ThresholdMastering effect settings apply to the entire SonicCell. Thesesettings are not for individual patches or performances.200–800 Hz Frequency at which the low-frequency (Low) and mid-frequency (Mid) bands are split.2000–8000Hz0–100 ms50–5000 ms-36–0 dBFrequency at which the high-frequency (High) and mid-frequency (Mid) bands aresplit.Time from when the volume goes up the threshold level until the compressor effectapplies.Time from when the volume falls below the threshold level until the compressor effectno longer applies.Specifies the volume levels atwhich compression will beginfor the low-frequency (Low), midfrequency(Mid), and high-frequency(High) ranges.About THRESHOLD and RATIOAs shown in the diagram below, these parametersdetermine how the volume is to be compressed.1:1RATIOLow/Mid/High Ratio1.00:1–INF:1(INF: infinity)Specifies the compression ratiosfor the low-frequency (Low), midfrequency(Mid), and high-frequency(High) ranges.Output Level2:14:1INF:1Low/Mid/High Level0–24 dBTHRESHOLDInput LevelSpecifies the output volume for the low-frequency (Low), mid-frequency (Mid), andhigh-frequency (High) ranges.■ Menu screen.................................................................................................................From the Mastering Effect screen, you can press [MENU] to access the Mastering Typescreen.Press [MENU] once again to return to the Mastering Effect screen.ParameterWrite(System Write)Hard Comp, Soft Comp, Lo Boost,Mid Boost, Hi BoostUserExplanationSaves the current settings as user settings. (p. 150).Recalls preset settings of the type you select.Recalls user settings you’ve saved.181


Utility functionsIn the menu screen, choose “Utility” to access the Utility Menu screen.Here you can save user data to USB memory, or restore (reload) data from USB memory into SonicCell.Use only USB memory sold by Roland. Operation cannot beguaranteed when products other than there is used.Proper operation cannot be guaranteed if other USBmemory products is used.Backing up user data(User Backup)You can save the user data to USB memory. This operation iscalled “User Backup.”From the Utility screen, choose “User Backup” to access thefollowing screen.Restoring backed-up data into theSonicCell (User Restore)You can return the user data previously backed up to USBmemory into the SonicCell. This operation is called “UserRestore.”From the Utility screen, choose “User Restore” to access thefollowing screen.1. To carry out the backup, choose “OK” and press[CURSOR/VALUE].If you decide not to perform the backup, choose“CANCEL” and press [CURSOR/VALUE].When the backup is completed, you’re returned to theUtility screen.1. To carry out the restoration, choose “OK” and press[CURSOR/VALUE].If you decide that you don’t want to carry out therestoration, choose “CANCEL” and press [CURSOR/VALUE].Once the restoration has been completed, the followingscreen will appear.2. Switch off the SonicCell’s power, then switch it on again.182


Utility functionsReturning to the factory settings(Factory Reset)You can return all of SonicCell’s settings to the factory-setstate. This is called “Factory Reset.”If SonicCell’s internal memory already contains important datathat you’ve created, all of this data will be lost when youexecute a factory reset.If you want to keep your data, you must save it to USBmemory.Initializing USB memory(USB Memory Format)Here’s how to initialize the USB memory. This operation iscalled “USB Memory Format.”This operation will erase all data on your USB memory. Usethis operation with caution.In the Utility screen, choose “USB Memory Format” to accessthe Utility screen.In the Utility screen, choose “Factory Reset” to access thefollowing screen.1. To execute the factory reset, choose “OK” and press[CURSOR/VALUE].If you decide not to execute, choose “CANCEL” and press[CURSOR/VALUE].Once the factory reset is completed, the following screenwill appear.1. To execute the USB memory format, choose “OK” andpress [CURSOR/VALUE].If you decide not to execute, choose “CANCEL” and press[CURSOR/VALUE].Once the USB memory format is completed, you’ll bereturned to the Utility screen.2. Switch off the SonicCell’s power, then switch it on again.183


Adjusting the overall tone of the audio output(Master Equalizer)Here’s how to make final adjustments to the overall tone of SonicCell’s audio output (OUTPUT jacks and PHONS jack).1. Get the indicators for [MIDI INST], [USB AUDIO], and[INPUT] to all go out.The Master EQ screen will appear.4. When you’ve finished editing, press [MENU] to write thesettings.5. Choose “Write,” and press [CURSOR/VALUE].The following message will appear.2. Turn [CURSOR/VALUE] to select the parameter that youwant to edit, then press [CURSOR/VALUE].The value of the selected parameter will be highlighted.3. Turn [CURSOR/VALUE] to edit the value, then press[CURSOR/VALUE].* If the output volume is excessive, the “CLIP” indication willappear in the upper right of the screen. Adjust the volumeso that distortion does not occur.6. To write the edited settings, choose “OK” and press[CURSOR/VALUE].If you decide not to keep the changes you made, select“CANCEL” and press [CURSOR/VALUE].Once the settings have been written, you’ll be returned tothe Master EQ screen.Parameter Value ExplanationLOWMIDHIGHFrequency 200 Hz, 400 Hz Specifies the center frequency of the low-frequency range.Gain -15 dB–+15 dB Adjusts the volume of the low-frequency range.Frequency 200–8000 Hz Specifies the center frequency of the mid-frequency range.Gain -15 dB–+15 dB Adjusts the volume of the mid-frequency range.Frequency 2000 Hz, 4000 Hz, 8000 Hz Specifies the center frequency of the high-frequency range.Gain -15 dB–+15 dB Adjusts the volume of the high-frequency range.Q 0.5–8.0 Specifies the width of the mid-frequency range.Total Gain-15 dB–+15 dBAdjusts the overall volume of all frequency bands (low, mid, andhigh).184


Appendices185


TroubleshootingIf the SonicCell does not function in the way you expect, first check the following points. If this does not resolve the problem, consultyour dealer or a nearby Roland Service Station.* If any sort of message is being displayed on the screen during an operation, refer to Error Messages (p. 191).Problems Concerning the EntireSonicCellQ The power does not turn on.A Make sure that the SonicCell’s AC adaptor is correctlyconnected to the AC outlet and to the SonicCell itself. (p.18)Q Moving the SAMPLING RATE switch does not change thesampling rateA he sampling rate will not change if you simply move theSAMPLING RATE switch while the power is on. You mustturn the power off, then on again.Then use the INPUT screen or USB Audio screen to verifythat the sampling rate has changed. (p. 140, p. 142)Issues Related to SoundQ There is no sound.A Check the following points.• Is the power for connected amps and speakers turned on?Is the volume turned all the way down?• Is the INPUT LEVEL knob turned all the way down?• Have connections been made correctly?• Can you hear sound through headphones?If there is sound in the headphones, it is possible that theconnection cables are broken, or that your amp/mixerhas malfunctioned. Check your cables and amp/mixersystem once again.• Is the MIDI receive channel correct?Make sure that the MIDI transmit channel of the connecteddevice matches the receive channel of the SonicCell (p.177).• Have all tones in the patch been turned off?Turn on “Tone Switch.” (p. 88)• The Part level settings may be too low.Access the Level parameter, and check the level of eachpart (p. 69).• Are the Effect settings correct?Check the Effect settings ON or OFF, the Effect Balance orLevel. (p. 75, p. 132)• Is the Wave Expansion Board properly installed?When selecting the settings that stipulate the use of EXP-A,B waves, Patches, or Rhythm Sets, check that the specifiedWave Expansion Board is installed properly in thespecified slot (p. 48, p. 51).• Has the volume been lowered by MIDI messages (volumemessages or expression messages) received from anexternal MIDI device?• Is USB MIDI THRU set to ON?When USB MIDI THRU is ON, there will be sound if thesequencer software on the computer that is connected bya USB cable is set to THRU (p. 177).Q A specific Part does not soundA Check the following points.• Has the volume level of the part been lowered?Adjust the Level to raise the volume of the part that is notheard (p. 69).• Could the part be set to “M” (mute)?Set this to “-”. (p. 58)Q Specific pitch ranges do not soundA Has a restricted range of notes been set?If a specific range of notes does not sound, check the KeyRange settings for the Patch Tone and the PerformancePart.• Part Key RangeKey Range Lower/Upper (p. 71)• Tone Key RangeKey Range Lower/Upper (p. 112, p. 113)Q Audio signals from the computer are not heardA Could the audio signal from the computer have a differentsampling rate than the SonicCell itself?Change the SAMPLING RATE switch of the SonicCell tomatch the sampling rate of the audio signal.* If you change the setting of the SAMPLING RATE switchwhile the power is on, you’ll need to turn the power off,then on again.Q The sound is distorted.A Check the following points.• Is an effect which distorts the sound being applied?If the sound for a specific patch or part is distorted, lowerthe volume level on that part.If the overall sound is distorted, adjust Master Level andMaster EQ to lower the volume.• Use the Sound Parameter in the System to lower theOutput Gain (p. 176).Q Pitch is incorrect.A Check the following points.• Is the tuning of the SonicCell incorrect?Check the Master Tune setting (p. 176).• Has the pitch been changed by Pitch Bend messagesreceived from an external MIDI device?186


Troubleshooting• Have the Coarse Tune or Fine Tune been set for specificParts?Check the Coarse Tune and Fine Tune settings (p. 69).Q The sound is interrupted.A Sounds will be interrupted if more than 128 voices areused simultaneously.• Reduce the number of Tones that you are using.• Increase the Voice Reserve setting for parts that must notdrop out. (p. 71)Q The sound cuts off when I switch Patches in Patch mode.A Although you can apply a wide variety of multi-effectswith the SonicCell’s multi-effects, switching the Patch alsoswitches the type of multi-effects used.In such instances, discrepancies between the sound beingproduced and the multi-effects type can arise, which mayresult in sounds being different than intended, so soundsproduced when Patches are switched may be muted whenfactory settings are in effect. In certain situations, such aswhen not using multi-effects that have a great influence onthe sound, remembering to set Patch Remain (p. 176) to“ON” allows you to switch Patches without sounds beingmuted.Q When switching Patches in Patch mode, the volume andother parameters set with Control Changes end up beingreset.A Set Patch Remain (p. 176) to “ON.”Even once they have switched Patches, Control Changemessages that have been received are carried forward, soeven when switching a Patch whose level is turned all theway down by a Control Change volume message, thelevel remains unchanged.Q If the Tone Delay time value is set to the note, then doesthe delay time not change beyond a fixed length when thetempo is slowed down?A There is a maximum permissible value for the Tone DelayTime (p. 100). So, if the time setting is specified in termsof a note value, and the tempo is slowed down, thismaximum permissible value will be reached, and it cannotbe increased further. The upper time limit for each is themaximum value that can be set other than the numericalvalue for the beat.Q Sometimes, when playing legato, the pitch won’t rise.Why is this?A When the Legato Switch (p. 91) is “ON,” and the LegatoRetriger (p. 91) is “OFF,” and you hold down keys in thehigh register to play legato, the upper pitch limit of thewave may be exceeded, so that the pitch does not rise asfar as you expect, but will stop rising at a certain point.Additionally, if differing upper pitch limits are used for thewaves of a Patch that uses multiple tones, it may stopbeing heard in MONO. When making large pitchchanges, set the Legato Retrigger to “ON.”Q The notes sound strange in the upper registers of thekeyboard.A Sometimes when playing the keys in the upper part of theSonicCell’s keyboard, the sound may stop, or the pitchmay stop rising; or with certain keys, there may beintermittent noise. This occurs mainly when the SonicCell’supper pitch limit is exceeded, so this issue doesn’t arise inthe ranges normally used. But, in any case, it does notindicate a malfunction.Q Although the same Patch is selected, it sounds differentwhen I listen to it in the Performance.A In Performance mode, the parameters of each part of theperformance can apply further modification to parameterssuch as pan, octave, and filter, relative to the settingsspecified by the patch. Thus, Patches in a Performancemay sound different than they do when heard in Patchmode. To return these settings to their initial conditions,select the Patch after execute Factory Reset Temporary forthe Performance. (p. 183)Additionally, although a Patch may comprise tonescreated with the use of the multi-effects, the multi-effectsused in the Performance may differ from the multi-effectsselected by the Patch. Check the multi-effect settings of theperformance. Also do the same for the Chorus and Reverbsettings.Q The volume level of the instrument connected to SonicCell’sINPUT is too low.A Could you be using a connection cable that contains aresistor?Use a connection cable that does not contain a resistor.Q Even when I set the Pan for a Patch completely to oneside, sound still comes from the other channel.A The SonicCell’s internal effects are in stereo, so if youhave effects applied to a Patch, even if the Pan is set allthe way to one side, you will still be able to hear soundsof the effect component from the other channel.187


TroubleshootingIssues Related to EffectsQ Effects not applied.A Check the following points.• The “MFX,” “Chorus,” “Reverb” or “Mastering” effectswitches may have been turned off.Turn the Effect Switch ON. (p. 76, p. 133)• Are the various effect settings correct? (p. 75, p. 132, p.144)• If the send level of each effect is set to 0, the effect will notbe applied. Check the settings.• Even with send levels to each effect set at 0, effects arenot applied if the Multi-effects Output Level, the ChorusLevel, or the Reverb Level is set to 0. Check each setting.• If Output Assign is set to other than “MFX,” the Multieffectssound will not be output.• If Output Assign is set to “PATCH” for each Part of thePerformance, the sound will be output according to theOutput Assign settings of the Patch (for each Tone) whichis assigned to those Parts. This means that if OutputAssign for the Patch (each Tone) is set to other than“MFX,” the Multi-effects sound will not be output.Q The Modulation or other controller is always on.A Check the Matrix Controller settings. (p. 95)The SonicCell allows you to use the Matrix Control tocontrol Patches in real time. The Matrix Control functionsas the control source for the Control Change and otherMIDI messages received by the SonicCell, and makeschanges to the various Patch parameters based on thesemessages.Depending on these settings, the SonicCell may beresponding to MIDI messages sent from external MIDIdevices, and may result the Patches sounding differentthan intended.Q Raising the chorus or reverb send level for each part of aperformance still does not cause the effect to be appliedsufficiently.A Although you can make Send level settings to the Chorusand Reverb for each individual Part in a Performance,these values only set the upper limit of the Chorus andReverb Send levels for the Patch used. Accordingly, evenwhen the value is set to the maximum of 127, if the Sendlevel is lowered in the Patch being used, there will be noeffect. In addition, different Patch Chorus and ReverbSend level settings can be used according to whether ornot the multi-effects are used.Q Using the Matrix Control or other such means to controlthe LFO results in noise when the Pan is changedsuddenly.A Lower the change in speed (LFO Rate).Due to the specialized processing used for the Pan, whichalters the volume level in each of the left and right sides,sudden Pan movements causing rapid changes in theselevels creates large changes in volume, and noise fromthis may be audible as a result.Q Multi-effect 43: TAP DELAY or other delay time value is setto the note, and then the tempo is slowed down, does thedelay time not change beyond a fixed length?A Such Delay time settings have an upper limit, so if theupper limit of a value set to the note is exceeded when thetempo is retarded, that upper value cannot rise anyfurther. The upper time limit for each is the maximumvalue that can be set other than the numerical value forthe beat.Q I’ve saved (written) the effect settings of a performance,but they don’t seem to be applied.A Could you be using the effect settings of the patch?If the MFX 1–3 Source, Chorus Source, or Reverb Sourcesetting is set to “P1--P16,” the performance’s effect settingswill not be used; the effect settings of the patch/rhythm setassigned to the specified part will be used instead.If you want to use the performance’s effect settings, set thisto “PFM” (p. 80).Issues Related to Saving DataQ The Performance sounds different than when it waswritten.A Check the following points.• If you have modified the settings of a patch used by aperformance, or if the temporary patch of theperformance has been modified by an external MIDIdevice, these patches must also be saved.If patches used by a performance have been edited whenyou write that performance, the SonicCell will display amessage asking whether you want to discard thesepatches. In such cases, first save the patch (p. 116) orrhythm set (p. 131), and then save the performance (p.73) again.• The Mastering Effect settings may have changed. (Thesesettings are not stored as part of a performance.)Q Patches sound different than when written.A Check the following points.• The write operation cannot be used to save Patches aschanged in Patch mode using Control Change messagesfrom an external MIDI device.Refer to “MIDI Implementation” (p. 246) for more on theControl Change messages that are received.• The Mastering Effect settings may have changed. (Thesesettings are not stored as part of a patch.)Q Data backed up to USB memory cannot be restored to theSonicCell.• It is possible that the USB memory was not formattedcorrectly. The SonicCell can use USB memory that hasbeen formatted as FAT. If your USB memory wasformatted using any other method, please re-format itusing FAT.188


TroubleshootingIssues Related to MIDI andExternal DevicesQ Performances of the external sequencer are sluggish, orhave interruptions.A Problems of sluggish and interrupted performances cancrop up very easily when the sequencer or soundgenerator used for the performance has to handle heavydata loads.Main causes and possible corrective measures areconsidered below.• Are more than 128 voices playing simultaneously?Reduce the number of voices. The composition ofSonicCell Patches is such that up to eight Waves may beused for one Patch. When using such Patches, eventhough only one sound may be heard, it is actually eightsounds that are being played simultaneously. In addition,with certain sounds like continuous sounds with longreleases, even though the actual sound may not beaudible to you, processing for playing the sound is stillunderway, so in these cases as well, the performancedata can differ from the actual number of voices beingplayed.• Are you using a Patch that uses a lot of LFO?Try changing to a different Patch. LFO processinginvariably places a big load on the machine, so heavyuse of the LFO slows down processing for the SonicCelloverall, which can end up having affecting the expressionof sounds themselves.• Is the data concentrated at the beginning of the beats inthe sequence data?Avoid overlapping data with the same timing by settingan offset of 1-2 clocks instead. Data may easily becomeconcentrated at the beginning of the beats in the songdata when, for example, the song data is input using StepRecording, or if the data is quantized after being inputwith a keyboard in real time. Because of this, largeamounts of data are sent to the SonicCell, and theprocessing for expressing sounds becomes bogged down.• Is there a Program Change at the point where the songperformance is sluggish?Change the position of the Program Change. WhenProgram Changes are inserted in songs, processing timefor switching patches increases, which may then cause theperformance to become sluggish.• Is there a System Exclusive message at the point where thesong performance is sluggish?Move the location of the data. System Exclusive messagescontain large amounts of data, thus placing a heavyburden on sequencers and sound modules. Tryrepositioning data and changing System Exclusivemessages to Control Changes for any data for whichControl Changes can be substituted.• Is there an Aftertouch or other such large Control Changeat the point where the song performance is sluggish?Move the location of the data. If the data is no longerneeded, delete the data. In some cases, when using akeyboard that features aftertouch to input data, you mayend up inputting huge amounts of data before realizingthis is happening. Such large amounts of data can placean excessive load on your sequencer and sound module.Q Can’t receive MIDI messages correctly.A Check the following points.Is the SonicCell set to receive MIDI messages?• Performance modeThe performance part’s Receive Channel (p. 71)The performance part’s Receive Switch (p. 72)• Patch modePatch Rx Ch (p. 177)Q Exclusive messages are not received.A Check the following points.• Is the instrument set to receive Exclusive messages?Set the Rx Exclusive to “ON” (p. 180).• Does the Device ID number of the transmitting devicematch the Device ID number of the SonicCell?Check the Device ID (p. 177).Q I connected an external sequencer or MIDI keyboard tothe MIDI IN connector, and attempted to play a SonicCellrhythm set, but there was no sound. Why?A Check to make sure that the MIDI Transmit channel of theexternal MIDI device and the SonicCell’s MIDI Receivechannel are matched. The MIDI Receive channel used bythe SonicCell in Patch mode is set with the Patch Rx Ch (p.177). Rhythm Set performance data is generally receivedon MIDI Channel 10.Q When the Bend Range for a Patch is increased (48), thepitch does not rise sufficiently, even when a MIDI PitchBend message is received.A While Patch Bend Ranges can be set anywhere between0 and 48, when certain Waves in which the pitch israised (in the + direction) are used, the pitch may stoprising at a fixed point, rather than continuing to go up.Although a value of 12 is ensured for the upper limit ofraised pitches, use caution when setting the Bend Rangeabove this figure.189


TroubleshootingIssues related to external inputQ The device connected to INPUT is inaudible or is not loudenoughA Check the following points.• Are the audio cables connected correctly?Check the connections.• Could an audio cable be broken?Could you be using a connection cable that contains aresistor? Use a connection cable that does not contain aresistor• Could the INPUT LEVEL knob be set to “MIN”?Adjust the knob to an appropriate level.• Is the INPUT gain select switch in the appropriateposition?Set the INPUT gain select switch as appropriate for theequipment that is connected.Q No sound from the micA Could you have connected a condenser mic?If you’re using a condenser mic, you’ll need to providephantom power.Turn Phantom Power “ON.” (p. 142)• Could the mic cable be broken?• Could the INPUT gain select switch be in a position otherthan “MIC”?Set the INPUT gain select switch to “MIC.”Issues related to USB memoryQ USB memory is not detected.The files are not shown.A Check the format of your USB memory.The SonicCell can use USB memory that has beenformatted as FAT. If your USB memory was formattedusing any other method, please re-format it using FAT.Q Can’t back up to USB memoryA Check the following points.• Could the USB memory be write protected?• Is there sufficient free space on the USB memory?Issues related to songsQ Playlists are not shownA This may be due to the following reasons.• Playlists may not be shown if you directly add/delete/modify the song data in the SonicCell folder without usingPlaylist Editor.• For some reason the USB memory is not recognized.• It is possible that the USB memory was not formattedcorrectly. The SonicCell can use USB memory that hasbeen formatted as FAT. If your USB memory wasformatted using any other method, please re-format itusing FAT.Q Songs are not shownA This may be due to the following reasons.• Are the songs placed in the root directory?Songs may not be shown if you directly add/delete/modify the song data in the SonicCell folder without usingPlaylist Editor.• It is possible that the USB memory was not formattedcorrectly. The SonicCell can use USB memory that hasbeen formatted as FAT. If your USB memory wasformatted using any other method, please re-format itusing FAT.Q Songs won’t playA This may be due to the following reasons.• Could a “?” symbol be shown in the song list of theplaylist?The sampling rate of the song (audio file) differs from thesampling rate of the SonicCell itself.Change the SAMPLING RATE switch of the SonicCell tomatch the sampling rate of the song.* If you move the SAMPLING RATE switch while the poweris on, you’ll need to turn the power off and on again.• The file type of the song is not one of the file types that theSonicCell can play.• It may be that the song data is damaged.• Songs cannot be played if you directly add/delete/modify the song data in the SonicCell folder without usingPlaylist Editor.Q Can’t hear the playback soundA Is the playback volume set correctly?Adjust the playback volume in the player screen. (p. 169)Issues related to USB connectionQ The SonicCell is not recognized by my computerA You must connect the SonicCell to a computer whose USBport supports USB 2.0 Hi-Speed connections.190


Error MessagesIf an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Referto the explanation for the error message that appears, and take the appropriate action.Message Meaning ActionUSB Memory Not Ready! USB memory is not connected. Connect USB memory.Read Error!Write Error!Incorrect File/Sampling Rate.System Memory Damaged!Failed to load data from USB memory.It may be that the file is damaged.This file cannot be loaded since its format isincorrect.Failed to write data to USB memory.Data cannot be written because the USBmemory has no more free space.The file or the USB memory itself is write protected.This is a file that the SonicCell is unable toplay.This song has not been transferred from PlaylistEditor to USB memory.The sampling rate of the song does not matchthe setting of the SonicCell.It is possible that the contents of system memoryhave been damaged.Make sure that USB memory is correctly connected.Do not use this file.Do not use this file.Make sure that USB memory is correctly connected.Delete unneeded files from the USB memory. Alternatively,use a different USB memory device, onethat has more free space available.Make sure that the file or the USB memory is notwrite protected.Do not use this file.Select the song for transfer from Playlist Editor, andtransfer the data once again to USB memory.Set the sampling rate of the SonicCell to match thesampling rate of the song, and then restart it.Please execute a Factory Reset.If this does not resolve the problem, contact yourdealer or a nearby Roland service center.File Not Found! The file was not found in USB memory. Save the file once again in USB memory.Checksum Error!MIDI Buffer Full!MIDI Offline!USB Offline!Now Playing!The checksum value of the received system exclusivemessage was incorrect.An unusually large amount of MIDI data wasreceived, and could not be processed.The MIDI IN connection was broken.The USB cable is not connected.The SMF/Audio File Player is currentlyplaying.Please correct the checksum value.Reduce the amount of MIDI messages that are beingtransmitted.Check that there is no problem with the MIDI cableconnected to the SonicCell’s MIDI IN, and that theMIDI cable was not disconnected.Check that there is no problem with the USB cableconnected to the SonicCell, and that the USB cablewas not disconnected.Either stop playback, or wait until playback hasended.191


Effects ListMulti-Effects Parameter (MFX1–3, MFX)The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series.Parameters marked with a sharp “#” can be controlled using a Multi-Effecs Control (p. 81, p. 137) or Matrix Control (p. 95).(Two setting items will change simultaneously for “#1” and “#2”).FILTER (10 types)01 EQUALIZER P.19402 SPECTRUM P.19403 ISOLATOR P.19404 LOW BOOST P.19405 SUPER FILTER P.19506 STEP FILTER P.19507 ENHANCER P.19508 AUTO WAH P.19609 HUMANIZER P.19610 SPEAKER SIMULATOR P.196MODULATION (12 types)11 PHASER P.19712 STEP PHASER P.19713 MLT STAGE PHASER P.19714 INFINITE PHASER P.19815 RING MODULATOR P.19816 STEP RING MOD P.19817 TREMOLO P.19818 AUTO PAN P.19919 STEP PAN P.19920 SLICER P.19921 ROTARY P.20022 VK ROTARY P.200CHORUS (12 types)23 CHORUS P.20024 FLANGER P.20125 STEP FLANGER P.20126 HEXA-CHORUS P.20127 TREMOLO CHORUS P.20228 SPACE-D P.20229 3D CHORUS P.20230 3D FLANGER P.20331 3D STEP FLANGER P.20332 2BAND CHORUS P.20333 2BAND FLANGER P.20434 2BAND STEP FLNGR P.204DYNAMICS (8 types)35 OVERDRIVE P.20536 DISTORTION P.20537 VS OVERDRIVE P.20538 VS DISTORTION P.20539 GUITAR AMP SIMULATOR P.20540 COMPRESSOR P.20641 LIMITER P.20642 GATE P.206DELAY (13 types)43 DELAY P.20744 LONG DELAY P.20745 SERIAL DELAY P.20846 MODULATION DELAY P.20847 3TAP PAN DELAY P.20948 4TAP PAN DELAY P.20949 MULTI TAP DELAY P.20950 REVERSE DELAY P.21051 SHUFFLE DELAY P.21052 3D DELAY P.21153 TIME CTRL DELAY P.21154 LONG T CTL DELAY P.21155 TAPE ECHO P.212LO-FI (5 types)56 LOFI NOISE P.21257 LOFI COMPRESS P.21358 LOFI RADIO P.21359 TELEPHONE P.21360 PHONOGRAPH P.213PITCH (3 types)61 PITCH SHIFTER P.21462 2VOI PCH SHIFTER P.21463 STEP PCH SHIFTER P.214REVERB (2 types)64 REVERB P.21565 GATED REVERB P.215COMBINATION (12 types)66 OD → CHORUS P.21567 OD → FLANGER P.21568 OD → DELAY P.21669 DST → CHORUS P.21670 DST → FLANGER P.21671 DST → DELAY P.21672 ENH → CHORUS P.21673 ENH → FLANGER P.21774 ENH → DELAY P.21775 CHORUS → DELAY P.21776 FLANGER → DELAY P.21777 CHORUS → FLANGER P.218PIANO (1 type)78 SYMPATHETIC RESO P.218192


Effects ListAbout NoteSome effect parameters (such as Rate or Delay Time) can beset in terms of a note value.Such parameters have a num/note switch that lets you specifywhether you will set the value as a note value or as anumerical value.If you want to set Rate (Delay Time) as a numerical value, setthe num/note switch to “Hz” (“msec”). If you want to set it as anote value, set the num/note switch to “NOTE.”num/note switchThe following 3D effects utilize RSS (Roland Sound Space)technology to create a spaciousness that cannot be producedby delay, reverb, chorus, etc.52: 3D DELAY29: 3D CHORUS30: 3D FLANGER31: 3D STEP FLANGERWhen using these effects, we recommend that you place yourspeakers as follows. Also, make sure that the speakers are ata sufficient distance from the walls on either side.fig.33-002When Using 3D Effects30˚30˚* If the Rate is specified as a note value, the modulation willbe synchronized with the tempo when you play back SMFsong data.note:fig.MFX-note2.e_88Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note tripletThirty-second noteWhole noteDouble noteSixteenth-note tripletDotted thirty-second noteSixteenth note Eighth-note triplet Dotted sixteenth noteEighth noteQuarter noteHalf noteQuarter-note tripletHalf-note tripletWhole-note tripletDouble-note tripletDotted eighth noteDotted quarter noteDotted half noteDotted whole noteIf a parameter whose num/note switch is set to “NOTE”is specified as a destination for multi-effect control, youwill not be able to use multi-effect control to control thatparameter.If you specify the delay time as a note value, slowingdown the tempo will not change the delay time beyond acertain length. This is because there is an upper limit forthe delay time; if the delay time is specified as a notevalue and you slow down the tempo until this upper limitis reached, the delay time cannot change any further. Thisupper limit is the maximum value that can be specifiedwhen setting the delay time as a numerical value.If the left and right speakers are too far apart, or if there is toomuch reverberation, the full 3D effect may not appear.Each of these effects has an “Output Mode” parameter. If thesound from the OUTPUT jacks is to be heard through speakers,set this parameter to “SPEAKER.” If the sound is to be heardthrough headphones, set it to “PHONES.” This will ensure thatthe optimal 3D effect will be heard. If this parameter is not setcorrectly, the full 3D effect may not appear.About the STEP RESET function06: STEP FILTER16: STEP RING MOD19: STEP PAN20: SLICER63: STEP PCH SHIFTERThe above five types contain a sixteen-step sequencer.For these types, you can use a multi-effect control (p. 81, p.137) to reset the sequence to play from the first step.To do this, set the multi-effect control Destination to “StepReset.”For example if you are using the modulation lever to controlthe effect, you would make the following settings.Source: CC01: MODULATIONDestination: Step ResetSens: +63With these settings, the sequence will play back from the firststep whenever you operate the modulation lever.193


Effects List01: EQUALIZERThis is a four-band stereo equalizer (low, mid x 2, high).fig.MFX-01L in4-Band EQL out03: ISOLATORThis is an equalizer which cuts the volume greatly, allowingyou to add a special effect to the sound by cutting the volumein varying ranges.fig.MFX-03R in4-Band EQR outL inIsolatorLow BoostL outParameter Value DescriptionLow Freq 200, 400 Hz Frequency of the low rangeLow Gain # -15– +15 dB Gain of the low rangeMid1 Freq 200–8000 Hz Frequency of the middle range 1Mid1 Gain -15– +15 dB Gain of the middle range 1Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0This is a stereo spectrum. Spectrum is a type of filter whichmodifies the timbre by boosting or cutting the level at specificfrequencies.fig.MFX-02Width of the middle range 1Set a higher value for Q tonarrow the range to be affected.Mid2 Freq 200–8000 Hz Frequency of the middle range 2Mid2 Gain -15– +15 dB Gain of the middle range 2Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0Width of the middle range 2Set a higher value for Q tonarrow the range to be affected.High Freq 2000, 4000, 8000 Hz Frequency of the high rangeHigh Gain # -15– +15 dB Gain of the high rangeLevel # 0–127 Output Level02: SPECTRUML inSpectrumL outR inParameter Value DescriptionBoost/Cut Low #Boost/Cut Mid #Boost/Cut High #Anti Phase LowSwAnti Phase LowLevelAnti Phase MidSwAnti Phase MidLevelLow Boost SwIsolator-60– +4 dBOFF, ON0–127OFF, ON0–127OFF, ONLow Boost Level 0–127Low BoostLevel 0–127 Output LevelR outThese boost and cut each of the High,Middle, and Low frequency ranges.At -60 dB, the sound becomes inaudible.0 dB is equivalent to the input levelof the sound.Turns the Anti-Phase function on and offfor the Low frequency ranges.When turned on, the counter-channelof stereo sound is inverted and addedto the signal.Adjusts the level settings for the Low frequencyranges.Adjusting this level for certain frequenciesallows you to lend emphasisto specific parts. (This is effective onlyfor stereo source.)Settings of the Anti-Phase function for theMiddle frequency rangesThe parameters are the same as forthe Low frequency ranges.Turns Low Booster on/off.This emphasizes the bottom to createa heavy bass sound.Increasing this value gives you a heavierlow end.* Depending on the Isolator and filtersettings this effect may be hard to distinguish.R inSpectrumR outParameter Value DescriptionBand1 (250Hz)Band2 (500Hz)Band3 (1000Hz)Band4 (1250Hz)Band5 (2000Hz)Band6 (3150Hz)Band7 (4000Hz)Band8 (8000Hz)Q-15– +15 dB Gain of each frequency band0.5, 1.0, 2.0, 4.0,8.0Level # 0–127 Output LevelSimultaneously adjusts the width ofthe adjusted ranges for all the frequencybands.04: LOW BOOSTBoosts the volume of the lower range, creating powerful lows.fig.MFX-04L inR inParameter Value DescriptionBoostFrequency #Boost Gain #Boost WidthLow BoostLow Boost50–125 Hz0– +12 dBWIDE, MID,NARROW2-Band EQ2-Band EQCenter frequency at which the lowerrange will be boostedAmount by which the lower range willbe boostedWidth of the lower range that will beboostedLow Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeLevel 0–127 Output levelL outR out194


Effects List05: SUPER FILTERThis is a filter with an extremely sharp slope. The cutofffrequency can be varied cyclically.fig.MFX-05L inR inParameter Value DescriptionFilter TypeFilter SlopeFilterCutoff #FilterResonance #LPF, BPF, HPF,NOTCH-12, -24, -36 dB0–1270–127Filter typeFrequency range that will pass througheach filterLPF: frequencies below the cutoffBPF: frequencies in the region of the cutoffHPF: frequencies above the cutoffNOTCH: frequencies other than the regionof the cutoffAmount of attenuation per octave-36 dB: extremely steep-24 dB: steep-12 dB: gentleCutoff frequency of the filterIncreasing this value will raise the cutofffrequency.Filter resonance levelIncreasing this value will emphasize theregion near the cutoff frequency.Filter Gain 0– +12 dB Amount of boost for the filter outputModulation Sw OFF,ON On/off switch for cyclic changeModulationWaveTRI, SQR, SIN,SAW1, SAW2SAW1Super FilterSuper FilterL outR outHow the cutoff frequency will be modulatedTRI: triangle waveSQR: square waveSIN: sine waveSAW1: sawtooth wave (upward)SAW2: sawtooth wave (downward)SAW206: STEP FILTERThis is a filter whose cutoff frequency can be modulated insteps. You can specify the pattern by which the cutoff frequencywill change.fig.MFX-06L inR inParameter Value DescriptionStep 01–16 0–127 Cutoff frequency at each stepRate #Attack # 0–127Filter TypeFilter SlopeFilterResonance #0.05–10.00 Hz,noteLPF, BPF, HPF,NOTCH-12, -24, -36 dB0–127Step FilterStep FilterRate of modulationSpeed at which the cutoff frequencychanges between stepsFilter typeFrequency range that will pass througheach filterLPF: frequencies below the cutoffBPF: frequencies in the region of the cutoffHPF: frequencies above the cutoffNOTCH: frequencies other than the regionof the cutoffAmount of attenuation per octave-12 dB: gentle-24 dB: steep-36 dB: extremely steepFilter resonance levelIncreasing this value will emphasize theregion near the cutoff frequency.Filter Gain 0– +12 dB Amount of boost for the filter outputLevel 0–127 Output levelL outR outYou can use multi-effect control to make the step sequence playagain from the beginning (p. 193).Rate #0.05–10.00 Hz,noteRate of modulationDepth 0–127 Depth of modulationAttack # 0–127Level 0–127 Output levelSpeed at which the cutoff frequency willchangeThis is effective if Modulation Wave isSQR, SAW1, or SAW2.07: ENHANCERControls the overtone structure of the high frequencies, addingsparkle and tightness to the sound.fig.MFX-07L inEnhancerMix2-BandEQL outR inEnhancerMix2-BandEQR outParameter Value DescriptionSens # 0–127 Sensitivity of the enhancerMix # 0–127Level of the overtones generatedby the enhancerLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output Level195


Effects List08: AUTO WAHCyclically controls a filter to create cyclic change in timbre.fig.MFX-08L inR inParameter Value DescriptionFilter TypeAdds a vowel character to the sound, making it similar to ahuman voice.fig.MFX-09LPF, BPFManual # 0–127Peak 0–127Sens # 0–127PolarityRate #UP, DOWN0.05–10.00 Hz,noteType of filterLPF: The wah effect will be applied overa wide frequency range.BPF: The wah effect will be applied overa narrow frequency range.Adjusts the center frequency at which theeffect is applied.Adjusts the amount of the wah effect thatwill occur in the range of the center frequency.Set a higher value for Q to narrow therange to be affected.Adjusts the sensitivity with which the filteris controlled.Sets the direction in which the frequencywill change when the auto-wah filter ismodulated.UP: The filter will change toward a higherfrequency.DOWN: The filter will change toward alower frequency.Frequency of modulationDepth # 0–127 Depth of modulationPhase #0–180 degAdjusts the degree of phase shift of the leftand right sounds when the wah effect isapplied.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output Level09: HUMANIZERL inR inParameter Value DescriptionDrive Sw OFF, ON Turns Drive on/off.Drive # 0–127Vowel1Vowel2Rate #a, e, i, o, ua, e, i, o, u0.05–10.00 Hz,noteDegree of distortionAlso changes the volume.Selects the vowel.Depth # 0–127 Effect depthInput SyncSwInput SyncThresholdAuto WahAuto WahOverdriveOFF, ON2-Band EQ2-Band EQFormantL outR out2-BandEQL outPan LPan RR outFrequency at which the two vowels switchDetermines whether the LFO for switchingthe vowels is reset by the input signal (ON)or not (OFF).0–127 Volume level at which reset is appliedParameter Value DescriptionManual # 0–100Simulates the speaker type and mic settings used to record thespeaker sound.fig.MFX-10Point at which Vowel 1/2 switch49 or less: Vowel 1 will have a longerduration.50: Vowel 1 and 2 will be of equal duration.51 or more: Vowel 2 will have a longerduration.Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangePan # L64–63R Stereo location of the outputLevel 0–127 Output level10: SPEAKER SIMULATORL inR inSpeakerSpeakerParameter Value DescriptionSpeaker Type (See the table right.) Type of speakerMic Setting 1, 2, 3L outR outAdjusts the location of the micthat is recording the sound of thespeaker.This can be adjusted in threesteps, with the mic becomingmore distant in the order of 1,2, and 3.Mic Level # 0–127 Volume of the microphoneDirect Level # 0–127 Volume of the direct soundLevel # 0–127 Output LevelSpecifications of each Speaker TypeThe speaker column indicates the diameter of each speakerunit (in inches) and the number of units.Type Cabinet SpeakerMicrophoneSMALL 1 small open-back enclosure 10 dynamicSMALL 2 small open-back enclosure 10 dynamicMIDDLE open back enclosure 12 x 1 dynamicJC-120 open back enclosure 12 x 2 dynamicBUILT-IN 1 open back enclosure 12 x 2 dynamicBUILT-IN 2 open back enclosure 12 x 2 condenserBUILT-IN 3 open back enclosure 12 x 2 condenserBUILT-IN 4 open back enclosure 12 x 2 condenserBUILT-IN 5 open back enclosure 12 x 2 condenserBG STACK 1 sealed enclosure 12 x 2 condenserBG STACK 2 large sealed enclosure 12 x 2 condenserMS STACK 1 large sealed enclosure 12 x 4 condenserMS STACK 2 large sealed enclosure 12 x 4 condenserMETAL STACK large double stack 12 x 4 condenser2-STACK large double stack 12 x 4 condenser3-STACK large triple stack 12 x 4 condenser196


Effects List11: PHASERA phase-shifted sound is added to the original sound andmodulated.fig.MFX-11L inR inParameter Value DescriptionModeManual # 0–127The phaser effect will be varied gradually.fig.MFX-124-STAGE, 8-STAGE, 12-STAGENumber of stages in the phaserAdjusts the basic frequency fromwhich the sound will be modulated.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPolarityINVERSE,SYNCHROSelects whether the left and rightphase of the modulation will bethe same or the opposite.INVERSE: The left and rightphase will be opposite. Whenusing a mono source, thisspreads the sound.SYNCHRO: The left and rightphase will be the same. Selectthis when inputting a stereosource.Resonance # 0–127 Amount of feedbackCrossFeedback-98– +98%Adjusts the proportion of thephaser sound that is fed backinto the effect. Negative (-) settingswill invert the phase.Mix # 0–127 Level of the phase-shifted soundLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output Level12: STEP PHASERL inR inPhaserPhaserStep PhaserStep PhaserMixMixMixMix2-BandEQ2-BandEQ2-BandEQ2-BandEQL outR outL outR outParameter Value DescriptionPolarityExtremely high settings of the phase difference produce adeep phaser effect.fig.MFX-13INVERSE,SYNCHROSelects whether the left and rightphase of the modulation will bethe same or the opposite.INVERSE: The left and rightphase will be opposite. Whenusing a mono source, thisspreads the sound.SYNCHRO: The left and rightphase will be the same. Selectthis when inputting a stereosource.Resonance # 0–127 Amount of feedbackCrossFeedbackStep Rate #-98– +98%0.10–20.00 Hz, noteAdjusts the proportion of thephaser sound that is fed backinto the effect. Negative (-) settingswill invert the phase.Rate of the step-wise change inthe phaser effectMix # 0–127 Level of the phase-shifted soundLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output Level13:L inR inMLT STAGE PHASER(MULTI STAGE PHASER)Parameter Value DescriptionModeManual # 0–1274-STAGE, 8-STAGE,12-STAGE, 16-STAGE,20-STAGE, 24-STAGENumber of phaser stagesAdjusts the basic frequencyfrom which the sound will bemodulated.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationResonance # 0–127 Amount of feedbackMix # 0–127 Level of the phase-shifted soundPan #Multi StagePhaserResonanceL64–63RMix2-BandEQStereo location of the outputsoundLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output LevelL outPan LPan RR outParameter Value DescriptionModeManual # 0–1274-STAGE, 8-STAGE, 12-STAGENumber of stages in the phaserAdjusts the basic frequency fromwhich the sound will be modulated.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulation197


Effects List14: INFINITE PHASERA phaser that continues raising/lowering the frequency atwhich the sound is modulated.fig.MFX-14L inR inParameter Range ExplanationMode 1, 2, 3, 4Speed # -100– +100Higher values will produce adeeper phaser effect.Speed at which to raise or lowerthe frequency at which the soundis modulated(+: upward / -: downward)Resonance # 0–127 Amount of feedbackMix # 0–127Volume of the phase-shiftedsoundPan # L64–63R Panning of the output soundLow GainHigh GainInfinite Phaser-15– +15 dB-15– +15 dB2-Band EQLevel 0–127 Output volumeL outPan LPan RR outAmount of boost/cut for the lowfrequencyrangeAmount of boost/cut for the highfrequencyrange16:This is a ring modulator that uses a 16-step sequence to varythe frequency at which modulation is applied.fig.MFX-16L inR inSTEP RING MOD(STEP RING MODULATOR)Parameter Range ExplanationStep 01–16 0–127Rate #Attack # 0–127Low GainHigh GainStep Ring ModStep Ring Mod0.05–10.00 Hz, note-15– +15 dB-15– +15 dBBalance # D100:0W–D0:100W2-Band EQ2-Band EQLevel 0–127 Output volumeL outR outFrequency of ring modulation ateach stepRate at which the 16-step sequencewill cycleSpeed at which the modulation frequencychanges between stepsAmount of boost/cut for the lowfrequencyrangeAmount of boost/cut for the highfrequencyrangeVolume balance of the originalsound (D) and effect sound (W)15: RING MODULATORThis is an effect that applies amplitude modulation (AM) to theinput signal, producing bell-like sounds. You can also changethe modulation frequency in response to changes in thevolume of the sound sent into the effect.fig.MFX-15L inRing Mod2-Band EQL outYou can use multi-effect control to make the step sequence playagain from the beginning (p. 193).17: TREMOLOCyclically modulates the volume to add tremolo effect to thesound.fig.MFX-17aL inTremolo2-Band EQL outR inRing Mod2-Band EQR outR inTremolo2-Band EQR outParameter Value DescriptionFrequency # 0–127Sens # 0–127PolarityUP, DOWNAdjusts the frequency at which modulation isapplied.Adjusts the amount of frequency modulationapplied.Determines whether the frequency modulationmoves towards higher frequencies (UP)or lower frequencies (DOWN).Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #D100:0W–D0:100WLevel 0–127 Output levelVolume balance between the direct sound(D) and the effect sound (W)Parameter Value DescriptionMod WaveTRI, SQR, SIN, SAW1,SAW2SAW1Modulation WaveTRI: triangle waveSQR: square waveSIN: sine waveSAW1/2: sawtooth waveSAW2Rate # 0.05–10.00 Hz, note Frequency of the changeDepth # 0–127 Depth to which the effect is appliedLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output Level198


Effects List18: AUTO PANCyclically modulates the stereo location of the sound.fig.MFX-18aL inR inParameter Value DescriptionMod WaveThis uses a 16-step sequence to vary the panning of the sound.fig.MFX-19TRI, SQR, SIN, SAW1,SAW2Modulation WaveTRI: triangle waveSQR: square waveSIN: sine waveSAW1/2: sawtooth waveRate # 0.05–10.00 Hz, note Frequency of the changeDepth # 0–127 Depth to which the effect is appliedLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel 0–127 Output Level19: STEP PANL inR inParameter Range ExplanationStep 01–16 L64–63R Pan at each stepRate #Attack # 0–127Input Sync SwInput SyncThresholdAuto PanAuto PanSAW1RL0.05–10.00 Hz, noteOFF, ON0–127Step PanStep Pan2-Band EQ2-Band EQSAW2RL outR outLevel 0–127 Output volumeLL outR outRate at which the 16-step sequencewill cycleSpeed at which the pan changesbetween stepsSpecifies whether an input notewill cause the sequence to resumefrom the first step of the sequence(ON) or not (OFF)Volume at which an input note willbe detected20: SLICERBy applying successive cuts to the sound, this effect turns aconventional sound into a sound that appears to be played asa backing phrase. This is especially effective when applied tosustain-type sounds.fig.MFX-20L inR inParameter Value DescriptionStep 01–16 L64–63R Level at each stepRate #0.05–10.00Hz, noteAttack # 0–127Input Sync SwInput SyncThresholdModeOFF, ON0–127LEGATO,SLASHShuffle # 0–127SlicerSlicerLevel 0–127 Output levelL outR outRate at which the 16-step sequence will cycleSpeed at which the level changes betweenstepsSpecifies whether an input note will causethe sequence to resume from the first step ofthe sequence (ON) or not (OFF)Volume at which an input note will be detectedSets the manner in which the volume changesas one step progresses to the next.LEGATO: The change in volume from onestep’s level to the next remains unaltered.If the level of a following step is the sameas the one preceding it, there is nochange in volume.SLASH: The level is momentarily set to 0before progressing to the level of the nextstep. This change in volume occurs evenif the level of the following step is thesame as the preceding step.Timing of volume changes in levels for evennumberedsteps (step 2, step 4, step 6...).The higher the value, the later the beatprogresses.You can use multi-effect control to make the step sequence playagain from the beginning (p. 193).You can use multi-effect control to make the step sequence playagain from the beginning (p. 193).199


Effects List21: ROTARYThe Rotary effect simulates the sound of the rotary speakersoften used with the electric organs of the past. Since themovement of the high range and low range rotors can be setindependently, the unique type of modulation characteristic ofthese speakers can be simulated quite closely. This effect ismost suitable for electric organ Patches.fig.MFX-21L inR inParameter Value DescriptionSpeed #Wf Slow SpeedWf Fast SpeedWf Acceleration 0–15This type provides modified response for the rotary speaker,with the low end boosted further.This effect features the same specifications as the VK-7’s builtinrotary speaker.fig.MFX-22SLOW, FAST0.05–10.00 Hz0.05–10.00 HzSimultaneously switch the rotationalspeed of the low frequency rotorand high frequency rotor.SLOW: Slows down the rotationto the Slow Rate.FAST: Speeds up the rotation tothe Fast Rate.Slow speed (SLOW) of the low frequencyrotorFast speed (FAST) of the low frequencyrotorAdjusts the time it takes the low frequencyrotor to reach the newly selectedspeed when switching fromfast to slow (or slow to fast) speed.Lower values will require longertimes.Wf Level 0–127 Volume of the low frequency rotorTw Slow SpeedTw Fast SpeedTw Acceleration 0–15Tw Level 0–1270.05–10.00 Hz0.05–10.00 HzSettings of the high frequency rotorThe parameters are the same asfor the low frequency rotorSeparation 0–127 Spatial dispersion of the soundLevel # 0–127 Output Level22: VK ROTARYL inR inRotaryRotaryL outR out2-Band EQ2-Band EQL outR outParameter Value DescriptionWf Trans Up 0–127Wf Trans Down 0–127This is a stereo chorus. A filter is provided so that you canadjust the timbre of the chorus sound.fig.MFX-23Adjusts the rate at which thewoofer rotation speeds up whenthe rotation is switched fromSlow to Fast.Adjusts the rate at which thewoofer rotation speeds up whenthe rotation is switched from Fastto Slow.Wf Level 0–127 Volume of the wooferTw Slow SpeedTw Fast SpeedTw Trans Up 0–127Tw Trans Down 0–127Tw Level 0–127Spread 0–100.05–10.00 Hz0.05–10.00 HzSettings of the tweeterThe parameters are the sameas for the woofer.Sets the rotary speaker stereo image.The higher the value set, thewider the sound is spread out.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel # 0–127 Output Level23: CHORUSL inR inParameter Value DescriptionFilter TypeOFF, LPF, HPFType of filterOFF: no filter is usedLPF: cuts the frequency rangeabove the Cutoff FreqHPF: cuts the frequency rangebelow the Cutoff FreqCutoff Freq 200–8000 Hz Basic frequency of the filterPre DelayChorusChorusBalance DBalance D0.0–100.0 msAdjusts the delay time from the directsound until the chorus soundis heard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPhase 0–180 deg Spatial spread of the soundLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance # D100:0W–D0:100WBalance WBalance W2-BandEQ2-BandEQLevel 0–127 Output LevelL outR outVolume balance between the directsound (D) and the chorus sound (W)Parameter Value DescriptionSpeed #Brake #Wf Slow SpeedWf Fast SpeedSLOW, FASTOFF, ON0.05–10.00 Hz0.05–10.00 HzRotational speed of the rotatingspeakerSwitches the rotation of the rotaryspeaker.When this is turned on, the rotationwill gradually stop.When it is turned off, the rotationwill gradually resume.Low-speed rotation speed of thewooferHigh-speed rotation speed of thewoofer200


Effects List24: FLANGERThis is a stereo flanger. (The LFO has the same phase for leftand right.) It produces a metallic resonance that rises and fallslike a jet airplane taking off or landing. A filter is provided sothat you can adjust the timbre of the flanged sound.fig.MFX-24L inR inParameter Value DescriptionFilter TypeThis is a flanger in which the flanger pitch changes in steps.The speed at which the pitch changes can also be specified interms of a note-value of a specified tempo.fig.MFX-25OFF, LPF, HPFType of filterOFF: no filter is usedLPF: cuts the frequency rangeabove the Cutoff FreqHPF: cuts the frequency rangebelow the Cutoff FreqCutoff Freq 200–8000 Hz Basic frequency of the filterPre Delay0.0–100.0 msAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPhase 0–180 deg Spatial spread of the soundFeedback # -98– +98%Adjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance # D100:0W–D0:100WLevel 0–127 Output Level25: STEP FLANGERL inFlangerFeedbackFeedbackFlangerStep FlangerBalance DBalance DBalance D2-BandEQBalance WBalance W2-BandEQL outR outVolume balance between the directsound (D) and the flanger sound (W)2-BandEQBalance WL outParameter Value DescriptionCutoff Freq 200–8000 Hz Basic frequency of the filterPre DelayUses a six-phase chorus (six layers of chorused sound) to giverichness and spatial spread to the sound.fig.MFX-260.0–100.0 msAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPhase 0–180 deg Spatial spread of the soundFeedback # -98– +98%Adjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Step Rate # 0.10–20.00 Hz, note Rate (period) of pitch changeLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #D100:0W–D0:100WLevel 0–127 Output Level26: HEXA-CHORUSL inR inParameter Value DescriptionPre Delay0.0–100.0 msVolume balance between the directsound (D) and the flangersound (W)Adjusts the delay time from the directsound until the chorus sound isheard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPre DelayDeviationDepthDeviation0–20-20– +20Pan Deviation 0–20Balance DHexa ChorusBalance DBalance # D100:0W–D0:100WL outBalance WBalance WR outLevel 0–127 Output LevelAdjusts the differences in Pre Delaybetween each chorus sound.Adjusts the difference in modulationdepth between each chorus sound.Adjusts the difference in stereo locationbetween each chorus sound.0: All chorus sounds will be in thecenter.20: Each chorus sound will bespaced at 60 degree intervalsrelative to the center.Volume balance between the directsound (D) and the chorus sound (W)FeedbackFeedbackStep FlangerBalance WR inBalance D2-BandEQR outParameter Value DescriptionFilter TypeOFF, LPF, HPFType of filterOFF: no filter is usedLPF: cuts the frequency rangeabove the Cutoff FreqHPF: cuts the frequency rangebelow the Cutoff Freq201


Effects List27: TREMOLO CHORUSThis is a chorus effect with added Tremolo (cyclic modulationof volume).fig.MFX-27L inR inParameter Value DescriptionPre DelayChorus Rate #Chorus Depth 0–127Tremolo Rate #TremoloSeparationThis is a multiple chorus that applies two-phase modulation instereo. It gives no impression of modulation, but produces atransparent chorus effect.fig.MFX-280.0–100.0 ms0.05–10.00 Hz, note0.05–10.00 Hz, noteAdjusts the delay time from the directsound until the chorus soundis heard.Modulation frequency of the choruseffectModulation depth of the chorus effectModulation frequency of the tremoloeffect0–127 Spread of the tremolo effectTremolo Phase 0–180 deg Spread of the tremolo effectBalance #D100:0W–D0:100WLevel 0–127 Output Level28: SPACE-DL inTremolo ChorusSpace DBalance DBalance DBalance DL outBalance WBalance WVolume balance between the directsound (D) and the tremolochorus sound (W)Balance WR out2-BandEQL out29: 3D CHORUSThis applies a 3D effect to the chorus sound. The chorus soundwill be positioned 90 degrees left and 90 degrees right.fig.MFX-29LRParameter Value DescriptionFilter TypeOFF, LPF, HPFType of filterOFF: no filter is usedLPF: cuts the frequency rangeabove the Cutoff FreqHPF: cuts the frequency rangebelow the Cutoff FreqCutoff Freq 200–8000 Hz Basic frequency of the filterPre Delay0.0–100.0 msAdjusts the delay time from the directsound until the chorus sound isheard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127Modulation depth of the chorus effectPhase 0–180 deg Spatial spread of the soundOutput ModeSPEAKER, PHONESAdjusts the method that will beused to hear the sound that is outputto the OUTPUT jacks. The optimal3D effect will be achieved ifyou select SPEAKER when usingspeakers, or PHONES when usingheadphones.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #3D ChorusD100:0W–D0:100W2-BandEQ2-BandEQLevel 0–127 Output LevelL outR outVolume balance between the directsound (D) and the chorussound (W)Space DBalance WR inBalance D2-BandEQR outParameter Value DescriptionPre Delay0.0–100.0 msAdjusts the delay time from thedirect sound until the chorussound is heard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPhase 0–180 deg Spatial spread of the soundLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #D100:0W–D0:100WLevel 0–127 Output LevelVolume balance between thedirect sound (D) and the chorussound (W)202


Effects List30: 3D FLANGERThis applies a 3D effect to the flanger sound. The flangersound will be positioned 90 degrees left and 90 degreesright.fig.MFX-30LRParameter Value DescriptionFilter TypeThis applies a 3D effect to the step flanger sound. The flangersound will be positioned 90 degrees left and 90 degreesright.fig.MFX-31OFF, LPF, HPFType of filterOFF: no filter is usedLPF: cuts the frequency rangeabove the Cutoff FreqHPF: cuts the frequency rangebelow the Cutoff FreqCutoff Freq 200–8000 Hz Basic frequency of the filterPre Delay0.0–100.0 msAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Rate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPhase 0–180 deg Spatial spread of the soundFeedback # -98– +98%Output ModeSPEAKER, PHONESAdjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Adjusts the method that will beused to hear the sound that is outputto the OUTPUT jacks. The optimal3D effect will be achieved ifyou select SPEAKER when usingspeakers, or PHONES when usingheadphones.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #D100:0W–D0:100WLevel 0–127 Output Level31: 3D STEP FLANGERLRParameter Value DescriptionFilter TypeOFF, LPF, HPFVolume balance between the directsound (D) and the flangersound (W)Type of filterOFF: no filter is usedLPF: cuts the frequency rangeabove the Cutoff FreqHPF: cuts the frequency rangebelow the Cutoff FreqCutoff Freq 200–8000 Hz Basic frequency of the filterPre Delay3D Flanger3D Step Flanger0.0–100.0 ms2-BandEQ2-BandEQ2-BandEQ2-BandEQL outR outL outR outAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Parameter Value DescriptionRate # 0.05–10.00 Hz, note Frequency of modulationDepth 0–127 Depth of modulationPhase 0–180 deg Spatial spread of the soundFeedback # -98– +98%A chorus effect that lets you apply an effect independently tothe low-frequency and high-frequency ranges.fig.MFX-32Adjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Step Rate # 0.10–20.00 Hz, note Rate (period) of pitch changeOutput ModeSPEAKER, PHONESAdjusts the method that will beused to hear the sound that is outputto the OUTPUT jacks. The optimal3D effect will be achieved ifyou select SPEAKER when usingspeakers, or PHONES when usingheadphones.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #D100:0W–D0:100WLevel 0–127 Output Level32: 2BAND CHORUSL inR inParameter Range ExplanationSplit FreqLow Pre DelayLow Rate #Low Depth 0–127Low PhaseHigh Pre DelayHigh Rate #200–8000 Hz0.0–100.0 ms0.05–10.00 Hz, note0–180 degHigh Depth 0–127High PhaseSplitSplit0.0–100.0 ms0.05–10.00 Hz, note0–180 degBalance # D100:0W–D0:100WHigh Band ChorusLow Band ChorusHigh Band ChorusLow Band ChorusVolume balance between the directsound (D) and the flangersound (W)Frequency at which the low andhigh ranges will be dividedDelay time from when the originalsound is heard to when thelow-range chorus sound is heardRate at which the low-range chorussound is modulatedModulation depth for the lowrangechorus soundLevel 0–127 Output volumeL outR outSpaciousness of the low-rangechorus soundDelay time from when the originalsound is heard to when thehigh-range chorus sound isheardRate at which the low-range chorussound is modulatedModulation depth for the highrangechorus soundSpaciousness of the high-rangechorus soundVolume balance of the originalsound (D) and chorus sound (W)203


Effects List33: 2BAND FLANGERA flanger that lets you apply an effect independently to thelow-frequency and high-frequency ranges.fig.MFX-33L inR inParameter Range ExplanationSplit FreqLow Pre DelayLow Rate #Low Depth 0–127Low PhaseLowFeedback #High Pre DelayHigh Rate #200–8000 Hz0.0–100.0 ms0.05–10.00 Hz, note0–180 deg-98– +98%High Depth 0–127High PhaseHighFeedback #SplitSplit0.0–100.0 ms0.05–10.00 Hz, note0–180 deg-98– +98%Balance # D100:0W–D0:100WHigh Band FlangerHigh Band FeedbackLow Band FlangerLow Band FeedbackHigh Band FeedbackHigh Band FlangerLow Band FeedbackLow Band FlangerFrequency at which the low andhigh ranges will be dividedDelay time from when the originalsound is heard to when thelow-range flanger sound is heardRate at which the low-rangeflanger sound is modulatedModulation depth for the lowrangeflanger soundSpaciousness of the low-rangeflanger soundProportion of the low-rangeflanger sound that is to be returnedto the input (negative valuesinvert the phase)Delay time from when the originalsound is heard to when thehigh-range flanger sound isheardRate at which the high-rangeflanger sound is modulatedLevel 0–127 Output volumeL outR outModulation depth for the highrangeflanger soundSpaciousness of the high-rangeflanger soundProportion of the high-rangeflanger sound that is to be returnedto the input (negative valuesinvert the phase)Volume balance of the originalsound (D) and flanger sound (W)34:A step flanger that lets you apply an effect independently tothe low-frequency and high-frequency ranges.fig.MFX-34L inR in2BAND STEP FLNGR(2BAND STEP FLANGER)Parameter Range ExplanationSplit FreqLow Pre DelayLow Rate #Low Depth 0–127Low PhaseLowFeedback #Low StepRate #High Pre DelayHigh Rate #200–8000 Hz0.0–100.0 ms0.05–10.00 Hz, note0–180 deg-98– +98%High Depth 0–127High PhaseHighFeedback #High StepRate #SplitSplit0.10–20.00 Hz, note0.0–100.0 ms0.05–10.00 Hz, note0–180 deg-98– +98%High Band Step FlangerHigh Band FeedbackLow Band Step FlangerLow Band FeedbackHigh Band FeedbackHigh Band Step FlangerLow Band FeedbackLow Band Step Flanger0.10–20.00 Hz, noteBalance # D100:0W–D0:100WFrequency at which the low andhigh ranges will be dividedDelay time from when the originalsound is heard to when thelow-range flanger sound is heardRate at which the low-rangeflanger sound is modulatedModulation depth for the lowrangeflanger soundSpaciousness of the low-rangeflanger soundProportion of the low-rangeflanger sound that is to be returnedto the input (negative valuesinvert the phase)Rate at which the steps will cyclefor the low-range flanger soundDelay time from when the originalsound is heard to when thehigh-range flanger sound isheardRate at which the high-rangeflanger sound is modulatedLevel 0–127 Output volumeL outR outModulation depth for the highrangeflanger soundSpaciousness of the high-rangeflanger soundProportion of the high-rangeflanger sound that is to be returnedto the input (negative valuesinvert the phase)Rate at which the steps will cyclefor the high-range flanger soundVolume balance of the originalsound (D) and flanger sound (W)204


Effects List35: OVERDRIVECreates a soft distortion similar to that produced by vacuumtube amplifiers.fig.MFX-35L inR inParameter Value DescriptionDrive # 0–127Amp TypeProduces a more intense distortion than Overdrive. Theparameters are the same as for “35: OVERDRIVE.”fig.MFX-36This is an overdrive that provides heavy distortion.fig.MFX-37SMALL, BUILT-IN,2-STACK, 3-STACKDegree of distortionAlso changes the volume.Type of guitar ampSMALL: small ampBUILT-IN: single-unit type amp2-STACK: large double stackamp3-STACK: large triple stackampLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangePan #L64–63RLevel 0–127 Output Level36: DISTORTIONL inR in37: VS OVERDRIVEL inR inParameter Value DescriptionDrive # 0–127Stereo location of the outputsoundDegree of distortionAlso changes the volume.Tone # 0–127 Sound quality of the Overdrive effectAmp Sw OFF, ON Turns the Amp Simulator on/off.Amp TypeOverdriveDistortionOverdriveAmpSimulatorAmpSimulatorAmpSimulatorSMALL, BUILT-IN, 2-STACK, 3-STACK2-BandEQ2-BandEQ2-BandEQType of guitar ampSMALL: small ampBUILT-IN: single-unit type amp2-STACK: large double stack amp3-STACK: large triple stack ampLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangePan # L64–63R Stereo location of the output soundLevel 0–127 Output LevelL outPan LPan RR outL outPan LPan RR outL outPan LPan RR out38: VS DISTORTIONThis is a distortion effect that provides heavy distortion. Theparameters are the same as for “37: VS OVERDRIVE.”fig.MFX-38L inR in39: GUITAR AMP SIMULATORThis is an effect that simulates the sound of a guitar amplifier.fig.MFX-39L inR inParameter Value DescriptionPre Amp Sw OFF, ON Turns the amp switch on/off.Pre Amp TypePre AmpVolume #Pre AmpMaster #JC-120,CLEAN TWIN, MATCHDRIVE,BG LEAD, MS1959I,MS1959II, MS1959I+II,SLDN LEAD,METAL5150,METAL LEAD, OD-1, OD-2 TURBO,DISTORTION, FUZZ0–127Type of guitar ampVolume and amount of distortionof the amp0–127 Volume of the entire pre-ampPre Amp Gain LOW, MIDDLE, HIGH Amount of pre-amp distortionPre Amp BassPre Amp MiddlePre Amp TreblePre AmpPresencePre Amp BrightSpeaker SwDistortion0–1270–127OFF, ONOFF, ONTone of the bass/mid/treble frequencyrange* Middle cannot be set if “MatchDrive” is selected as the PreAmp Type.Tone for the ultra-high frequencyrangeSpeaker Type (See the table below.) Type of speakerMic Setting 1, 2, 3Pre AmpAmpSimulator2-BandEQSpeakerTurning this “On” produces asharper and brighter sound.* This parameter applies to the“JC-120,” “Clean Twin,” and“BG Lead” Pre Amp Types.Determines whether the signalpasses through the speaker (ON),or not (OFF).Adjusts the location of the mic that’scapturing the sound of the speaker.This can be adjusted in threesteps, from 1 to 3, with the micbecoming more distant as thevalue increases.Mic Level 0–127 Volume of the microphoneDirect Level 0–127 Volume of the direct soundPan # L64–63R Stereo location of the outputLevel # 0–127 Output levelL outPan LPan RR outL outPan LPan RR out205


Effects ListSpecifications for each Speaker TypeThe speaker column indicates the diameter of each speakerunit (in inches) and the number of units.TypeCabinetSpeakerMicrophoneSMALL 1 small open-back enclosure 10 dynamicSMALL 2 small open-back enclosure 10 dynamicMIDDLE open back enclosure 12 x 1 dynamicJC-120 open back enclosure 12 x 2 dynamicBUILT-IN 1 open back enclosure 12 x 2 dynamicBUILT-IN 2 open back enclosure 12 x 2 condenserBUILT-IN 3 open back enclosure 12 x 2 condenserBUILT-IN 4 open back enclosure 12 x 2 condenserBUILT-IN 5 open back enclosure 12 x 2 condenserBG STACK 1 sealed enclosure 12 x 2 condenserBG STACK 2 large sealed enclosure 12 x 2 condenserMS STACK 1 large sealed enclosure 12 x 4 condenserMS STACK 2 large sealed enclosure 12 x 4 condenserMETAL STACK large double stack 12 x 4 condenser2-STACK large double stack 12 x 4 condenser3-STACK large triple stack 12 x 4 condenser41: LIMITERCompresses signals that exceed a specified volume level,preventing distortion from occurring.fig.MFX-41L inR inParameter Value DescriptionRelease # 0–127Threshold # 0–127RatioLimiterLimiter1.5:1, 2:1,4:1,100:12-Band EQ2-Band EQAdjusts the time after the signal volume fallsbelow the Threshold Level until compressionis no longer applied.Adjusts the volume at which compressionbeginsCompression ratioPost Gain 0– +18 dB Adjusts the output gain.Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeLevel # 0–127 Output levelL outR out40: COMPRESSORFlattens out high levels and boosts low levels, smoothing outfluctuations in volume.fig.MFX-40L inR inCompressorCompressorParameter Value DescriptionAttack # 0–127 Sets the speed at which compression startsThreshold # 0–1272-Band EQ2-Band EQAdjusts the volume at which compressionbeginsPost Gain 0– +18 dB Adjusts the output gain.Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeLevel # 0–127 Output levelL outR out42: GATECuts the reverb’s delay according to the volume of the soundsent into the effect. Use this when you want to create anartificial-sounding decrease in the reverb’s decay.fig.MFX-42L inR inParameter Value DescriptionThreshold # 0–127 Volume level at which the gate begins to closeModeGATE,DUCKAttack 0–127Hold 0–127Release 0–127Balance #GateGateD100:0W–D0:100WLevel 0–127 Output levelL outR outType of gateGATE: The gate will close when the volumeof the original sound decreases, cuttingthe original sound.DUCK (Ducking): The gate will close whenthe volume of the original sound increases,cutting the original sound.Adjusts the time it takes for the gate to fullyopen after being triggered.Adjusts the time it takes for the gate to startclosing after the source sound falls beneaththe Threshold.Adjusts the time it takes the gate to fullyclose after the hold time.Volume balance between the direct sound(D) and the effect sound (W)206


Effects List43: DELAYThis is a stereo delay.When Feedback Mode is NORMAL:fig.MFX-43aL inR inWhen Feedback Mode is CROSS:fig.MFX-43bL inR inParameter Value DescriptionDelay LeftDelay RightPhase LeftPhase RightFeedbackMode0–1300 ms,noteNORMAL,INVERSENORMAL,CROSSFeedback # -98– +98%HF Damp200–8000 Hz,BYPASSAdjusts the time until the delay sound isheard.Phase of the delay soundSelects the way in which delay sound is fedback into the effect. (See the figures above.)Adjusts the amount of the delay sound that’sfed back into the effect. Negative(-) settings invert the phase.Adjusts the frequency above which sound fedback to the effect is filtered out. If you don’twant to filter out any high frequencies, set thisparameter to BYPASS.Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #DelayFeedbackFeedbackDelayDelayFeedbackFeedbackDelayD100:0W–D0:100WBalance DBalance DBalance DBalance DLevel 0–127 Output level2-BandEQBalance WBalance W2-BandEQ2-BandEQBalance WBalance W2-BandEQL outR outL outR outVolume balance between the direct sound(D) and the delay sound (W)44: LONG DELAYA delay that provides a long delay time.fig.MFX-44L inR inParameter Range ExplanationDelay TimePhase0–2600 ms, noteNORMAL, INVERSEFeedback # -98– +98%HF Damp200–8000 Hz,BYPASSDelay time from when the originalsound is heard to when thedelay sound is heardPhase of the delay (NORMAL:non-inverted, INVERT: inverted)Proportion of the delay soundthat is to be returned to the input(negative values invert the phase)Frequency at which the high-frequencycontent of the delayedsound will be cut (BYPASS: nocut)Pan # L64–63R Panning of the delay soundLow GainHigh GainLong DelayFeedback-15– +15 dB-15– +15 dBBalance # D100:0W–D0:100WPan LPan R2-BandEQ2-BandEQLevel 0–127 Output volumeL outR outAmount of boost/cut for the highfrequencyrangeAmount of boost/cut for the highfrequencyrangeVolume balance of the originalsound (D) and delay sound (W)207


Effects List45: SERIAL DELAYThis delay connects two delay units in series. Feedback can beapplied independently to each delay unit, allowing you toproduce complex delay sounds.fig.MFX-45L inPan LL out46: MODULATION DELAYAdds modulation to the delayed sound.When Feedback Mode is NORMAL:fig.MFX-46aL inDelayBalance DModulation2-BandEQBalance WL outR inParameter Range ExplanationDelay1 TimeDelay1Feedback #Delay1 HF DampDelay2 TimeDelay2Feedback #Delay2 HF Damp0–1300 ms, note-98– +98%200–8000 Hz,BYPASS0–1300 ms, note-98– +98%200–8000 Hz,BYPASSDelay time from when sound isinput to delay 1 until the delaysound is heardProportion of the delay soundthat is to be returned to the inputof delay 1 (negative values invertthe phase)Frequency at which the high-frequencycontent of the delayedsound of delay 1 will be cut (BY-PASS: no cut)Delay time from when sound isinput to delay 2 until the delaysound is heardProportion of the delay soundthat is to be returned to the inputof delay 2 (negative values invertthe phase)Frequency at which the high-frequencycontent of the delayedsound of delay 2 will be cut (BY-PASS: no cut)Pan # L64–63R Panning of the delay soundLow GainHigh GainDelay 1Feedback 1-15– +15 dB-15– +15 dBBalance # D100:0W–D0:100WDelay 2Feedback 2Level 0–127 Output volumePan RR outAmount of boost/cut for the lowfrequencyrangeAmount of boost/cut for the highfrequencyrangeVolume balance of the originalsound (D) and delay sound (W)R inWhen Feedback Mode is CROSS:fig.MFX-46bL inR inParameter Value DescriptionDelay LeftDelay RightFeedbackMode0–1300 ms,noteNORMAL,CROSSFeedback # -98– +98%HF DampRate #200–8000 Hz,BYPASS0.05–10.00 Hz,noteAdjusts the time until the delay sound isheard.Selects the way in which delay sound is fedback into the effect (See the figures above.)Adjusts the amount of the delay soundthat’s fed back into the effect. Negative (-)settings invert the phase.Adjusts the frequency above which soundfed back to the effect is filtered out. If youdon’t want to filter out any high frequencies,set this parameter to BYPASS.Frequency of modulationDepth 0–127 Depth of modulationPhase 0-180 deg Spatial spread of the soundLow Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #FeedbackFeedbackDelayDelayFeedbackFeedbackDelayD100:0W–D0:100WModulationBalance DBalance DModulationModulationBalance DLevel 0–127 Output levelBalance W2-BandEQ2-BandEQBalance WBalance W2-BandEQR outL outR outVolume balance between the direct sound(D) and the delay sound (W)208


Effects List47: 3TAP PAN DELAYProduces three delay sounds; center, left and right.fig.MFX-47L inR inParameter Value DescriptionDelay Left/Right/CenterCenterFeedback #HF DampLeft/Right/Center LevelThis effect has four delays.fig.MFX-48a0–2600 ms,note-98– +98%200–8000 Hz,BYPASSAdjusts the time until the delay sound isheard.Adjusts the amount of the delay soundthat’s fed back into the effect. Negative (-)settings invert the phase.Adjusts the frequency above which soundfed back to the effect is filtered out. If youdo not want to filter out any high frequencies,set this parameter to BYPASS.0–127 Volume of each delayLow Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #D100:0W–D0:100WLevel 0–127 Output level48: 4TAP PAN DELAYL inR in1Triple Tap DelayFeedback2 3FeedbackLeft TapRight TapBalance DCenter TapQuadruple Tap Delay4Volume balance between the direct sound(D) and the delay sound (W)Delay 1Delay 4Balance DDelay 2Delay 32-BandEQBalance WBalance W2-BandEQBalance DBalance Dfig.MFX-48bStereo location of each delayL outR outL outBalance WBalance WR out49: MULTI TAP DELAYThis effect provides four delays. Each of the Delay Timeparameters can be set to a note length based on the selectedtempo. You can also set the panning and level of each delaysound.fig.MFX-49L inR inParameter Value DescriptionDelay 1–4 TimeDelay 1 Feedback#HF Damp0–2600 ms,note-98– +98%200–8000 Hz,BYPASSAdjusts the time until Delays 1–4 areheard.Adjusts the amount of the delay soundthat’s fed back into the effect. Negative (-)settings invert the phase.Adjusts the frequency above which soundfed back to the effect is filtered out. If youdon’t want to filter out any the high frequencies,set this parameter to BYPASS.Delay 1–4 Pan L64–63R Stereo location of Delays 1–4Delay 1–4 Level 0–127 Output level of Delays 1–4Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #FeedbackDelay 1Multi Tap DelayDelay 2D100:0W–D0:100WDelay 3Delay 4Balance DBalance DLevel 0–127 Output level2-BandEQBalance WBalance W2-BandEQL outR outVolume balance between the direct sound(D) and the effect sound (W)LRParameter Value DescriptionDelay 1–4 TimeDelay 1 Feedback#HF Damp0–2600 ms,note-98– +98%200–8000 Hz,BYPASSAdjusts the time until the delay sound isheard.Adjusts the amount of the delay soundthat’s fed back into the effect. Negative (-)settings invert the phase.Adjusts the frequency above which soundfed back to the effect is filtered out. If youdo not want to filter out any high frequencies,set this parameter to BYPASS.Delay 1–4 Level 0–127 Volume of each delayLow Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #D100:0W–D0:100WLevel 0–127 Output levelVolume balance between the direct sound(D) and the delay sound (W)209


Effects List50: REVERSE DELAYThis is a reverse delay that adds a reversed and delayedsound to the input sound. A tap delay is connectedimmediately after the reverse delay.fig.MFX-50L inR inParameter Range ExplanationThreshold 0–127Rev Dly Time0–1300 ms, noteRev Dly Feedback # -98– +98%Rev Dly HF DampRev Dly Pan200–8000 Hz,BYPASSL64–63RRev Dly Level 0–127Delay 1 – 3 Time0–1300 ms, noteDelay 3 Feedback # -98– +98%Delay HF DampDelay 1 Pan’,‘Delay 2 PanDelay 1 Level’,‘Delay 2 LevelLow GainHigh GainFeedbackRev. Delay200–8000 Hz, BYPASSL64–63RVolume at which the reverse delaywill begin to be appliedDelay time from when sound isinput into the reverse delay untilthe delay sound is heardProportion of the delay soundthat is to be returned to the inputof the reverse delay (negativevalues invert the phase)Frequency at which the high-frequencycontent of the reverse-delayedsound will be cut (BYPASS:no cut)Panning of the reverse delaysoundVolume of the reverse delaysoundDelay time from when sound isinput into the tap delay until thedelay sound is heardProportion of the delay soundthat is to be returned to the inputof the tap delay (negative valuesinvert the phase)Frequency at which the low-frequencycontent of the tap delaysound will be cut (BYPASS: nocut)Panning of the tap delay sounds0–127 Volume of the tap delay sounds-15– +15 dB-15– +15 dBRevD1DelayD2D3Balance # D100:0W–D0:100WLevel 0–127 Output volume2-BandEQ2-BandEQL outR outAmount of boost/cut for the lowfrequencyrangeAmount of boost/cut for the highfrequencyrangeVolume balance of the originalsound (D) and delay sound (W)51: SHUFFLE DELAYAdds a shuffle to the delay sound, giving the sound a bouncydelay effect with a swing feel.fig.MFX-51L inR inParameter Value DescriptionDelay Time #ShuffleRate #0–2600 ms,note0–100%Acceleration 0–15Feedback # -98– +98%HF Damp200–8000 Hz,BYPASSAdjusts the time until the delay sound isheard.Adjusts the ratio (as a percentage) of thetime that elapses before Delay B sounds relativeto the time that elapses before the DelayA sounds.When set to 100%, the delay times arethe same.Adjusts the speed which the Delay Timechanges from the current setting to its specifiednew setting.Adjusts the amount of the delay that’s fedback into the effect. Negative (-) settings invertthe phase.Adjusts the frequency above which soundfed back to the effect is filtered out. If youdon’t want to filter out any high frequencies,set this parameter to BYPASS.Pan A/B 0–127 Stereo location of Delay A/BLevel A/B 0–127 Volume of delay A/BLow Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #FeedbackDelayD100:0W–D0:100WDelay ADelay BLevel 0–127 Output levelAB2-BandEQ2-BandEQVolume balance between the direct sound(D) and the effect sound (W)L outR out210


Effects List52: 3D DELAYThis applies a 3D effect to the delay sound. The delay soundwill be positioned 90 degrees left and 90 degrees right.fig.MFX-52LRParameter Value DescriptionDelay LeftDelay RightDelay CenterCenterFeedback #HF DampLeft LevelRight LevelCenter LevelOutput ModeA stereo delay in which the delay time can be variedsmoothly.fig.MFX-530–2600 ms, note-98– +98%200–8000 Hz, BYPASSAdjusts the delay time from thedirect sound until the delaysound is heard.Adjusts the proportion of the delaysound that is fed back into theeffect. Negative (-) settings willinvert the phase.Adjusts the frequency abovewhich sound fed back to the effectwill be cut. If you do not wantto cut the high frequencies, setthis parameter to BYPASS.0–127 Output level of the delay soundSPEAKER, PHONESAdjusts the method that will beused to hear the sound that is outputto the OUTPUT jacks. The optimal3D effect will be achieved ifyou select SPEAKER when usingspeakers, or PHONES when usingheadphones.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance # D100:0W–D0:100WLevel 0–127 Output Level53: TIME CTRL DELAYL in3D Delay L3D Delay CFeedback3D Delay RLevel2-BandEQ2-BandEQVolume balance between the directsound (D) and the effect sound (W)2-Band EQL outR outL outParameter Value DescriptionFeedback # -98– +98%HF DampA delay in which the delay time can be varied smoothly, andallowing an extended delay to be produced.fig.MFX-54200–8000 Hz,BYPASSAdjusts the amount of the delaythat’s fed back into the effect. Negative(-) settings invert the phase.Adjusts the frequency above whichsound fed back to the effect is filteredout. If you do not want to filterout any high frequencies, set thisparameter to BYPASS.Low Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #D100:0W–D0:100WLevel 0–127 Output level54:L inR inVolume balance between the directsound (D) and the delay sound (W)LONG T CTL DELAY(LONG TIME CONTROL DELAY)Parameter Value DescriptionDelay Time #Acceleration 0–150–2600 ms,noteFeedback # -98– +98%HF Damp200–8000 Hz,BYPASSAdjusts the time until the delay is heard.Adjusts the speed which the Delay Timechanges from the current setting to a specifiednew setting.The rate of change for the Delay Time directlyaffects the rate of pitch change.Adjusts the amount of the delay that’s fedback into the effect. Negative (-) settings invertthe phase.Adjusts the frequency above which soundfed back to the effect is filtered out. If you donot want to filter out any high frequencies,set this parameter to BYPASS.Pan # L64–63R Stereo location of the delayLow Gain -15– +15 dB Gain of the low frequency rangeHigh Gain -15– +15 dB Gain of the high frequency rangeBalance #D100:0W–D0:100WBalance DTime Control DelayFeedbackBalance DLevel 0–127 Output level2-BandEQBalance WBalance W2-BandEQL outR outVolume balance between the direct sound(D) and the delay sound (W)Time Ctrl DelayPan LFeedbackFeedbackTime Ctrl DelayPan RR in2-Band EQR outParameter Value DescriptionDelay Time #Acceleration 0–150–1300 ms, noteAdjusts the time until the delay isheard.Adjusts the speed which the Delay Timechanges from the current setting to aspecified new setting.The rate of change for the Delay Timedirectly affects the rate of pitch change.211


Effects List55: TAPE ECHOA virtual tape echo that produces a realistic tape delay sound.This simulates the tape echo section of a Roland RE-201 SpaceEcho.fig.MFX-55L inR inParameter Value DescriptionModeS, M, L, S+M,S+L, M+L,S+M+LRepeat Rate # 0–127Combination of playback heads to useSelect from three different heads with differentdelay times.S: short, M: middle, L: longTape speedIncreasing this value will shorten the spacingof the delayed sounds.Intensity # 0–127 Amount of delay repeatsBass -15– +15 dB Boost/cut for the lower range of the echo soundTreble -15– +15 dB Boost/cut for the upper range of the echo soundHead S PanHead M PanHead L PanTape Distortion 0–5Wow/FlutterRateWow/FlutterDepthTape EchoL64–63R0–127Direct LevelDirect LevelIndependent panning for the short, middle,and long playback headsAmount of tape-dependent distortion to beaddedThis simulates the slight tonal changesthat can be detected by signal-analysisequipment. Increasing this value will increasethe distortion.Speed of wow/flutter (complex variation inpitch caused by tape wear and rotational irregularity)0–127 Depth of wow/flutterEcho Level # 0–127 Volume of the echo soundDirect Level # 0–127 Volume of the original soundLevel 0–127 Output levelL outEcho LevelEcho LevelR out56: LOFI NOISEIn addition to a lo-fi effect, this adds various types of noisesuch as white noise and disc noise.fig.MFX-56L inR inParameter Value DescriptionLoFi Type 1–9Filter TypeOFF, LPF,HPFDegrades the sound quality. The sound qualitygrows poorer as this value is increased.Type of filterOFF: no filter is usedLPF: cuts the frequency range above theCutoffHPF: cuts the frequency range below theCutoffFilter Cutoff 200–8000 Hz Center frequency of the filterW/P NoiseTypeW/P NoiseLPFW/P NoiseLevel #Disc NoiseTypeDisc NoiseLPFDisc NoiseLevel #Hum NoiseTypeHum NoiseLPFHum NoiseLevel #WHITE, PINK200–8000 Hz,BYPASSSwitch between white noise and pink noise.Center frequency of the low pass filter appliedto the white/pink noise (BYPASS: no cut)0–127 Volume of the white/pink noiseLP, EP, SP,RND200–8000 Hz,BYPASSType of record noiseThe frequency at which the noise is hearddepends on the selected type.Adjusts the cutoff frequency of the low passfilter applied to the record noise. If you don’twant to filter out any high frequencies, setthis parameter to BYPASS.0–127 Volume of the record noise50 Hz, 60 Hz Frequency of the hum noise200–8000 Hz,BYPASSCenter frequency of the low pass filter appliedto the hum noise (BYPASS: no cut)0–127 Volume of the hum noiseLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #Lo-FiNoise Gen.Lo-FiD100:0W–D0:100WLevel 0–127 Output level2-BandEQ2-BandEQL outR outVolume balance between the direct sound(D) and the effect sound (W)212


Effects List57: LOFI COMPRESSThis is an effect that intentionally degrades the sound qualityfor creative purposes.fig.MFX-57L inR inParameter Value DescriptionPre Fil Type 1–6LoFi Type 1–9Post Fil TypeOFF, LPF, HPFSelects the type of filter applied to the soundbefore it passes through the Lo-Fi effect.1: Compressor off2–6: Compressor onDegrades the sound quality. The sound qualitygrows poorer as this value is increased.Type of filterOFF: no filter is usedLPF: cuts the frequency range above theCutoffHPF: cuts the frequency range below theCutoffPost Fil Cutoff 200–8000 Hz Basic frequency of the Post FilterLow Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #CompressorCompressorD100:0W–D0:100WLo-FiLo-FiLevel # 0–127 Output level2-BandEQ2-BandEQL outR outVolume balance between the direct sound(D) and the effect sound (W)59: TELEPHONEfig.MFX-59L inR inParameter Value DescriptionVoiceQuality #Simulates a sound recorded on an analog record and played backon a record player. This effect also simulates the various types ofnoise that are typical of a record, and even the rotationalirregularities of an old turntable.fig.MFX-600–15 Audio quality of the telephone voiceTreble -15– +15 dB Bandwidth of the telephone voiceBalance #D100:0–D0:100WLevel 0–127 Output level60: PHONOGRAPHL inTelephoneTelephonePhonographBalance DVolume balance between the direct sound(D) and the effect sound (W)Balance WL outR outL outPhonographBalance W58: LOFI RADIOR inBalance DR outIn addition to a Lo-Fi effect, this effect also generates radionoise.fig.MFX-58L inR inParameter Value DescriptionLoFi Type 1–9Filter TypeOFF, LPF,HPFDegrades the sound quality. The sound qualitygrows poorer as this value is increased.Type of filterOFF: no filter is usedLPF: cuts the frequency range above theCutoffHPF: cuts the frequency range below theCutoffFilter Cutoff 200–8000 Hz Basic frequency of the Post FilterRadioDetune #Radio NoiseLevel #Balance #Radio0–127Lo-FiLo-FiSimulates the tuning noise of a radio. As thisvalue is raised, the tuning drifts further.0–127 Volume of the radio noiseD100:0W–D0:100WLevel 0–127 Output level2-BandEQ2-BandEQL outR outVolume balance between the direct sound(D) and the effect sound (W)Parameter Value DescriptionSignalDistortionFrequencyRangeDisc TypeScratch NoiseLevelDust Noise LevelHiss Noise LevelTotal Noise Level#0–127 Depth of distortion0–127LP, EP, SP0–127Frequency response of the playback systemDecreasing this value will produce the impressionof an old system with a poor frequencyresponse.Rotational speed of the turntableThis will affect the frequency of thescratch noise.Amount of noise due to scratches on therecord0–127 Volume of noise due to dust on the record0–127 Volume of continuous “hiss”0–127 Volume of overall noiseWow 0–127 Depth of long-cycle rotational irregularityFlutter 0–127 Depth of short-cycle rotational irregularityRandom 0–127Total Wow/Flutter #Balance #Depth of indefinite-cycle rotational irregularity0–127 Depth of overall rotational irregularityD100:0W–D0:100WLevel 0–127 Output levelVolume balance between the direct sound(D) and the effect sound (W)213


Effects List61:A stereo pitch shifter.fig.MFX-61L inR inShifts the pitch of the original sound. This 2-voice pitch shifterhas two pitch shifters, and can add two pitch shifted sounds tothe original sound.fig.MFX-62PITCH SHIFTER(Feedback Pitch Shifter)Parameter Value DescriptionCoarse #1Fine #1Delay Time-24– +12 semi-100– +100 cent0–1300 ms, noteFeedback # -98– +98%Adjusts the pitch of the pitch shiftedsound in semitone steps.Adjusts the pitch of the pitch shiftedsound in 2-cent steps.Adjusts the delay time from thedirect sound until the pitch shiftedsound is heard.Adjusts the proportion of thepitch shifted sound that is fedback into the effect. Negative (-)settings will invert the phase.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance #D100:0W–D0:100WLevel 0–127 Output Level62:L inR in2VOI PCH SHIFTER(2VOICE PITCH SHIFTER)Parameter Value DescriptionPitch 1:Coarse #1Pitch 1:Fine #1Pitch 1:Delay-24-+12 semi-100-+100 cent0–1300 ms, notePitch 1:Feedback # -98– +98%Pitch 1:Pan #Pitch ShifterPitch ShifterLevel 1Pan 1 R2Voice Pitch ShifterPan 2 LLevel 1L64-63R2-Band EQ2-Band EQVolume balance between the directsound (D) and the pitch shiftedsound (W)Balance DPan 1 LPan 2 RBalance DL outR outL outBalance WBalance WR outAdjusts the pitch of Pitch Shift 1in semitone steps.Adjusts the pitch of Pitch ShiftPitch 1 in 2-cent steps.Adjusts the delay time from thedirect sound until the Pitch Shift 1sound is heard.Adjusts the proportion of thepitch shifted sound that is fedback into the effect. Negative (-)settings will invert the phase.Stereo location of the Pitch Shift1 soundPitch 1:Level 0–127 Volume of the Pitch Shift1 soundParameter Value DescriptionPitch 2:Coarse #2Pitch 2:Fine #2Pitch 2:DelayPitch 2:Feedback#Pitch 2:Pan #A pitch shifter in which the amount of pitch shift is varied by a16-step sequence.fig.MFX-63-24-+12 semi-100-+100 cent0–1300 ms, note-98– +98%L64-63RPitch 2:Level 0–127Settings of the Pitch Shift 2sound.The parameters are the same asfor the Pitch Shift 1 sound.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeLevel BalanceBalanceA100:0B-A0:100BD100:0W-D0:100WLevel 0-127 Output Level63:L inR inSTEP PCH SHIFTER(STEP PITCH SHIFTER)Parameter Range ExplanationStep 01–16Rate #Attack # 0–127Gate Time # 0–127FineDelay Time-24–+12 semi0.05–10.00 Hz, note-100– +100 cent0–1300 ms, noteFeedback # -98– +98%Low GainHigh GainBalance #Step Pitch ShifterStep Pitch Shifter-15– +15 dB-15– +15 dBD100:0W–D0:100WVolume balance between thePitch Shift 1 and Pitch Shift 2soundsVolume balance between the directsound (D) and the pitch shiftedsound (W)2-BandEQ2-BandEQAmount of pitch shift at each step(semitone units)Rate at which the 16-step sequencewill cycleSpeed at which the amount ofpitch shift changes between stepsDuration of the pitch shiftedsound at each stepPitch shift adjustment for all steps(2-cent units)Delay time from the originalsound until the pitch-shiftedsound is heardLevel 0–127 Output volumeL outR outProportion of the pitch-shiftedsound that is to be returned to theinput (negative values invert thephase)Amount of boost/cut for the lowfrequencyrangeAmount of boost/cut for the highfrequencyrangeVolume balance of the originalsound (D) and pitch-shifted sound(W)You can use multi-effect control to make the step sequence playagain from the beginning (p. 193).214


Effects List64: REVERBAdds reverberation to the sound, simulating an acoustic space.fig.MFX-64L inR inParameter Value DescriptionTypePre DelayThis is a special type of reverb in which the reverberant soundis cut off before its natural length.fig.MFX-65ROOM1, ROOM2,STAGE1, STAGE2,HALL1, HALL20.0–100.0 msType of reverbROOM1: dense reverb withshort decayROOM2: sparse reverb withshort decaySTAGE1: reverb with greaterlate reverberationSTAGE2: reverb with strongearly reflectionsHALL1: reverb with clear reverberanceHALL2: reverb with rich reverberanceAdjusts the delay time from the directsound until the reverb soundis heard.Time # 0–127 Time length of reverberationHF Damp200–8000 Hz,BYPASSAdjusts the frequency above whichthe reverberant sound will be cut.As the frequency is set lower,more of the high frequencieswill be cut, resulting in a softerand more muted reverberance.If you do not want to cut thehigh frequencies, set this parameterto BYPASS.Low Gain -15– +15 dB Gain of the low rangeHigh Gain -15– +15 dB Gain of the high rangeBalance # D100:0W–D0:100WLevel 0–127 Output Level65: GATED REVERBL inR inParameter Value DescriptionTypePre DelayGate TimeBalance DReverbBalance DNORMAL, REVERSE,SWEEP1, SWEEP20.0–100.0 ms5–500 msBalance DGated ReverbBalance D2-BandEQBalance WBalance W2-BandEQL outR outVolume balance between the directsound (D) and the reverb sound (W)2-BandEQBalance WBalance W2-BandEQType of reverbNORMAL: conventional gatedreverbREVERSE: backwards reverbSWEEP1: the reverberantsound moves from right to leftSWEEP2: the reverberantsound moves from left to rightAdjusts the delay time from thedirect sound until the reverbsound is heard.Adjusts the time from when the reverbis heard until it disappears.Low Gain -15– +15 dB Gain of the low rangeL outR outParameter Value DescriptionHigh Gain -15– +15 dB Gain of the high rangeBalance #fig.MFX-66fig.MFX-67D100:0W–D0:100WLevel # 0–127 Output Level66:L inR inOD → CHORUS(OVERDRIVE → CHORUS)Parameter Value DescriptionOd Drive # 0–127Od Pan #Cho Pre DelayL64–63R0.0–100.0 msVolume balance between the directsound (D) and the reverbsound (W)Degree of distortionAlso changes the volume.Stereo location of the overdrivesoundAdjusts the delay time from the directsound until the chorus sound isheard.Cho Rate # 0.05–10.00 Hz, note Frequency of modulationCho Depth 0–127 Depth of modulationCho Balance #D100:0W–D0:100WLevel 0–127 Output Level67:L inR inOD → FLANGER(OVERDRIVE → FLANGER)Parameter Value DescriptionOd Drive # 0–127Od Pan #Fln Pre DelayL64–63R0.0–100.0 msAdjusts the volume balance betweenthe sound that is sentthrough the chorus (W) and thesound that is not sent through thechorus (D).Degree of distortionAlso changes the volume.Stereo location of the overdrivesoundAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Fln Rate # 0.05–10.00 Hz, note Frequency of modulationFln Depth 0–127 Depth of modulationFln Feedback # -98– +98%Fln Balance #OverdriveOverdriveChorusD100:0W–D0:100WBalance DBalance DBalance DFeedbackFlangerBalance DLevel 0–127 Output LevelL outBalance WBalance WR outL outBalance WBalance WR outAdjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Adjusts the volume balance betweenthe sound that is sentthrough the flanger (W) and thesound that is not sent through theflanger (D).215


Effects List68:OD → DELAY(OVERDRIVE → DELAY)70:DST → FLANGER(DISTORTION → FLANGER)fig.MFX-68L inR inParameter Value DescriptionOd Drive # 0–127Od Pan #Delay TimeDelayFeedback #Delay HF DampDelay Balance #The parameters are essentially the same as in “66: OD →CHORUS,” with the exception of the following two.OD Drive → Dst Drive, OD Pan → Dst Panfig.MFX-69L64–63R0–2600 ms, note-98– +98%200–8000 Hz,BYPASSD100:0W–D0:100WLevel 0–127 Output Level69:L inR inOverdriveDST → CHORUS(DISTORTION → CHORUS)DistortionBalance DDelayFeedbackBalance DBalance DChorusBalance DL outBalance WBalance WR outDegree of distortionAlso changes the volume.Stereo location of the overdrivesoundAdjusts the delay time from thedirect sound until the delaysound is heard.Adjusts the proportion of the delaysound that is fed back into theeffect. Negative (-) settings willinvert the phase.Adjusts the frequency abovewhich sound fed back to the effectwill be cut. If you do not wantto cut the high frequencies, setthis parameter to BYPASS.Adjusts the volume balance betweenthe sound that is sentthrough the delay (W) and thesound that is not sent through thedelay (D).L outBalance WBalance WR outThe parameters are essentially the same as in “67: OD →FLANGER,” with the exception of the following two.OD Drive → Dst Drive, OD Pan → Dst Panfig.MFX-70L inR in71:The parameters are essentially the same as in “68: OD →DELAY,” with the exception of the following two.OD Drive → Dst Drive, OD Pan → Dst Panfig.MFX-71L inR in72:fig.MFX-72L inR inDST → DELAY(DISTORTION → DELAY)ENH → CHORUS(ENHANCER → CHORUS)Parameter Value DescriptionEnh Sens # 0–127 Sensitivity of the enhancerEnh Mix # 0–127Cho Pre DelayCho Rate #0.0–100.0 ms0.05–10.00 Hz,noteLevel of the overtones generatedby the enhancerAdjusts the delay time from the directsound until the chorus sound isheard.Frequency of modulationCho Depth 0–127 Depth of modulationCho Balance #DistortionDistortionEnhancerEnhancerMixMixD100:0W–D0:100WBalance DFeedbackFlangerBalance DBalance DDelayFeedbackBalance DBalance DChorusBalance DLevel 0–127 Output LevelL outBalance WBalance WR outL outBalance WBalance WR outL outBalance WBalance WR outAdjusts the volume balance betweenthe sound that is sent through the chorus(W) and the sound that is not sentthrough the chorus (D).216


Effects List73:fig.MFX-73L inR inENHANCER → FLANGER(ENH → FLANGER)Parameter Value DescriptionEnh Sens # 0–127 Sensitivity of the enhancerEnh Mix # 0–127Fln Pre DelayFln Rate #0.0–100.0 ms0.05–10.00 Hz,noteLevel of the overtones generatedby the enhancerAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Frequency of modulationFln Depth 0–127 Depth of modulationFln Feedback # -98– +98%Fln Balance #D100:0W–D0:100WLevel 0–127 Output Level74:EnhancerEnhancerMixMixENH → DELAY(ENHANCER → DELAY)Balance DFeedbackFlangerBalance DL outBalance WBalance WR outAdjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Adjusts the volume balance betweenthe sound that is sent through theflanger (W) and the sound that is notsent through the flanger (D).75: CHORUS → DELAYfig.MFX-75L inR inParameter Value DescriptionCho Pre Delay0.0–100.0 msAdjusts the delay time from the directsound until the chorus sound isheard.Cho Rate # 0.05–10.00 Hz, note Frequency of modulationCho Depth 0–127 Depth of modulationCho Balance #Delay TimeDelayFeedback #Delay HF DampDelayBalance #Balance DBalance WChorusBalance WBalance DD100:0W–D0:100W0–2600 ms, note-98– +98%200–8000 Hz,BYPASSD100:0W–D0:100WBalance DDelayFeedbackBalance DLevel 0–127 Output LevelL outBalance WBalance WR outVolume balance between the directsound (D) and the chorussound (W)Adjusts the delay time from the directsound until the delay sound isheard.Adjusts the proportion of the delaysound that is fed back into the effect.Negative (-) settings will invertthe phase.Adjusts the frequency above whichsound fed back to the effect will becut. If you do not want to cut thehigh frequencies, set this parameterto BYPASS.Adjusts the volume balance betweenthe sound that is sentthrough the delay (W) and thesound that is not sent through thedelay (D).fig.MFX-74L inR inParameter Value DescriptionEnh Sens # 0–127 Sensitivity of the enhancerEnh Mix # 0–127Delay TimeDelayFeedback #Delay HF DampDelay Balance #EnhancerEnhancerMixMix0–2600 ms, note-98– +98%200–8000 Hz,BYPASSD100:0W–D0:100WBalance DDelayFeedbackBalance DLevel 0–127 Output LevelL outBalance WBalance WR outLevel of the overtones generatedby the enhancerAdjusts the delay time from thedirect sound until the delaysound is heard.Adjusts the proportion of the delaysound that is fed back into theeffect. Negative (-) settings willinvert the phase.Adjusts the frequency abovewhich sound fed back to the effectwill be cut. If you do not wantto cut the high frequencies, setthis parameter to BYPASS.Adjusts the volume balance betweenthe sound that is sentthrough the delay (W) and thesound that is not sent through thedelay (D).76: FLANGER → DELAYfig.MFX-76L inR inParameter Value DescriptionFln Pre Delay0.0–100.0 msAdjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Fln Rate # 0.05–10.00 Hz, note Frequency of modulationFln Depth 0–127 Depth of modulationFln Feedback # -98– +98%Fln Balance #Delay TimeBalance DFeedbackFlangerBalance DBalance WBalance WD100:0W–D0:100W0–2600 ms, noteBalance DDelayFeedbackBalance DL outBalance WBalance WR outAdjusts the proportion of theflanger sound that is fed back intothe effect. Negative (-) settings willinvert the phase.Volume balance between the directsound (D) and the flangersound (W)Adjusts the delay time from the directsound until the delay sound isheard.217


Effects ListParameter Value DescriptionDelayFeedback #Delay HF DampDelayBalance #-98– +98%200–8000 Hz,BYPASSD100:0W–D0:100WLevel 0–127 Output LevelAdjusts the proportion of the delaysound that is fed back into theeffect. Negative (-) settings will invertthe phase.Adjusts the frequency abovewhich sound fed back to the effectwill be cut. If you do not want tocut the high frequencies, set thisparameter to BYPASS.Adjusts the volume balance betweenthe sound that is sent through the delay(W) and the sound that is not sentthrough the delay (D).78:On an acoustic piano, holding down the damper pedal allowsother strings to resonate in sympathy with the notes you play,creating rich and spacious resonances. This effect simulatesthese sympathetic resonances.fig.MFX-78L inSYMPATHETIC RESO (SYMPATHETICRESONANCE)Sym. Resonance3-BandEQL out77: CHORUS → FLANGERR in3-BandEQR outfig.MFX-77L inR inParameter Value DescriptionCho Pre DelayCho Rate #0.0–100.0 ms0.05–10.00 Hz, noteAdjusts the delay time from the directsound until the chorus sound is heard.Modulation frequency of the choruseffectCho Depth 0–127 Modulation depth of the chorus effectCho Balance # D100:0W–D0:100WFln Pre DelayFln Rate #0.0–100.0 ms0.05–10.00 Hz, noteVolume balance between the directsound (D) and the chorus sound (W)Adjusts the delay time from whenthe direct sound begins until theflanger sound is heard.Modulation frequency of the flangereffectFln Depth 0–127 Modulation depth of the flanger effectFln Feedback # -98– +98%Fln Balance #Balance DBalance WChorusBalance WBalance DD100:0W–D0:100WBalance DFeedbackFlangerBalance DLevel 0–127 Output LevelL outBalance WBalance WR outAdjusts the proportion of the flangersound that is fed back into the effect.Negative (-) settings will invertthe phase.Adjusts the volume balance betweenthe sound that is sent through theflanger (W) and the sound that is notsent through the flanger (D).Parameter Range ExplanationDepth # 0–127 Depth of the effectDamper # 0–127Pre LPFPre HPFPeaking FreqPeaking GainPeaking QHF DampLF DampLid 1–616–15000 Hz,BYPASSBYPASS,16–15000 Hz200–8000 Hz-15– +15 dB0.5, 1.0, 2.0, 4.0,8.016–15000 Hz,BYPASSBYPASS,16–15000 HzDepth to which the damper pedal ispressed (controls the resonantsound)Frequency of the filter that cuts thehigh-frequency content of the inputsound (BYPASS: no cut)Frequency of the filter that cuts thelow-frequency content of the inputsound (BYPASS: no cut)Frequency of the filter that boosts/cuts a specific frequency region ofthe input soundAmount of boost/cut produced bythe filter at the specified frequencyregion of the input soundWidth of the frequency regionboosted/cut by the ‘Peaking Gain’parameter (larger values make theregion narrower)Frequency at which the high-frequencycontent of the resonantsound will be cut (BYPASS: no cut)Frequency at which the low-frequencycontent of the resonant sound willbe cut (BYPASS: no cut)This simulates the actual changes insound that occur when the lid of agrand piano is set at differentheights.EQ Low Freq 200, 400 Hz Frequency of the low-range EQEQ Low Gain -15– +15 dB Amount of low-range boost/cutEQ Mid Freq 200–8000 Hz Frequency of the midrange EQEQ Mid Gain -15– +15 dB Amount of midrange boost/cutEQ Mid QEQ High Freq0.5, 1.0, 2.0, 4.0,8.02000, 4000, 8000HzWidth of midrange (larger valuesmake the region narrower)Frequency of the high-range EQEQ High Gain -15–+15 dB Amount of high-range boost/cutLevel 0–127 Output Level218


Effects ListChorus ParametersThe SonicCell’s Chorus effect unit can also be used as a stereo delay unit.These settings allow you to select chorus or delay, and the characteristics of the selected effect type.Parameter Value DescriptionChorus Type01: CHORUSRate0 (OFF),1 (CHORUS),2 (DELAY),3 (GM2 CHORUS)0.05–10.00 Hz,noteSelects either Chorus or Delay.0 (OFF): Neither Chorus or Delay isused.1 (CHORUS): Chorus is used.2 (DELAY): Delay is used.3 (GM2 CHORUS): GM2 Chorus isused.Frequency of modulationDepth 0–127 Depth of modulationPre DelayFeedback 0–127Filter Type0.0–100.0 msOFF, LPF, HPFAdjusts the delay time from the directsound until the chorus sound is heard.Adjusts the amount of the chorus soundthat is fed back into the effect.Type of filterOFF: no filter is usedLPF: cuts the frequency range abovethe Cutoff FreqHPF: cuts the frequency range belowthe Cutoff FreqCutoff Freq 200–8000 Hz Basic frequency of the filterPhase 0–180˚ Spatial spread of the sound02: DELAYDelay LeftDelay RightDelay CenterCenter FeedbackHF DampLeft LevelRight LevelCenter Level0–1000 ms, note-98–+98%200–8000 Hz,BYPASS03: GM2 CHORUSAdjusts the delay time from the directsound until the delay sound is heard.Adjusts the proportion of the delaysound that is fed back into the effect.Negative (-) settings will invert thephase.Adjusts the frequency above whichsound fed back to the effect will be cut.If you do not want to cut the high frequencies,set this parameter to BY-PASS.0–127 Volume of each delay soundnote:If you specify the delay time as a note value, slowingdown the tempo will not change the delay time beyond acertain length. This is because there is an upper limit forthe delay time; if the delay time is specified as a notevalue and you slow down the tempo until this upper limitis reached, the delay time cannot change any further. Thisupper limit is the maximum value that can be specifiedwhen setting the delay time as a numerical value.fig.MFX-note2.eSixty-fourth-note triplet Sixty-fourth note Thirty-second-note tripletThirty-second noteWhole noteDouble noteSixteenth-note tripletDotted thirty-second noteSixteenth note Eighth-note triplet Dotted sixteenth noteEighth noteQuarter noteHalf noteQuarter-note tripletHalf-note tripletWhole-note tripletDouble-note tripletDotted eighth noteDotted quarter noteDotted half noteDotted whole notePre-LPF 0–7Cuts the high frequency range of thesound coming into the chorus.Higher values will cut more of thehigh frequencies.Level 0–127 Volume of the chorus soundFeedback 0–127Delay 0–127Adjusts the amount of the chorus soundthat is fed back into the effect.Adjusts the delay time from the directsound until the chorus sound is heard.Rate 0–127 Frequency of modulationDepth 0–127 Depth of modulationSend Level ToReverb0–127Adjusts the amount of chorus soundthat will be sent to the reverb.219


Effects ListReverb ParametersThese settings allow you to select the desired type of reverb, and its characteristics.Parameter Value DescriptionReverbType01: REVERBTypeTime 0–127HF DampDelayFeedback0 (OFF),1 (REVERB),2 (SRV ROOM),3 (SRV HALL),4 (SRV PLATE),5 (GM2 REVERB)ROOM1,ROOM2,STAGE1,STAGE2, HALL1,HALL2, DELAY,PAN-DELAY200–8000 Hz,BYPASS0–12702: SRV ROOM03: SRV HALL04: SRV PLATEType of reverb0 (OFF): Reverb is not used.1 (REVERB): Normal reverb2 (SRV ROOM): This simulates typical roomacoustic reflections.3 (SRV HALL): This simulates typical concerthall acoustic reflections.4 (SRV PLATE): This simulates a reverbplate, a popular type of artificial reverb unitthat derives its sound from the vibration ofa metallic plate.5 (GM2 REVERB): GM2 ReverbType of reverb/delayROOM1: short reverb with high densityROOM2: short reverb with low densitySTAGE1: reverb with greater late reverberationSTAGE2: reverb with strong early reflectionsHALL1: very clear-sounding reverbHALL2: rich reverbDELAY: conventional delay effectPAN-DELAY: delay effect with echoes thatpan left and rightTime length of reverberation(Type: ROOM1–HALL2)Delay time(Type: DELAY, PAN-DELAY)Adjusts the frequency above which the high-frequencycontent of the reverb sound will be cut,or “damped.” If you do not want to cut the highfrequencies, set this parameter to BYPASS.Adjusts the amount of delay feedback whenthe Type setting is DELAY or PAN-DELAY.Amount of delay sound returned to the input(this setting is valid only if Type is DELAY orPAN-DELAY)Parameter Value Description05: GM2 REVERBCharacter 0–7Pre-LPF 0–7Type of reverb0–5: reverb6, 7: delayCuts the high frequency range of the soundcoming into the reverb.Higher values will cut more of the high frequencies.Level 0–127 Output level of reverberationTime 0–127 Time length of reverberationDelayFeedback0–127Adjusts the amount of the delay sound that isfed back into the effect when the Reverb Charactersetting is 6 or 7.PreDelay0.0–100.0 msAdjusts the delay time from the direct sound untilthe reverb sound is heard.Time 0–127 Time length of reverberationSize 1–8 Size of the simulated room or hallHigh Cut160 Hz–12.5kHz, BYPASSDensity 0–127 Density of reverbDiffusion 0–127LF DampFreqLF DampGainHF DampFreqHF DampGain50–4000 Hz-36–0 dB4000 Hz–12.5kHz-36–0 dBAdjusts the frequency above which the highfrequencycontent of the reverb will be reduced.If you do not want to reduce the highfrequencies, set this parameter to BYPASS.Adjusts the change in the density of the reverb overtime. The higher the value, the more the density increaseswith time. (The effect of this setting is mostpronounced with long reverb times.)Adjusts the frequency below which the low-frequencycontent of the reverb sound will be reduced,or “damped.”Adjusts the amount of damping applied to thefrequency range selected with LF Damp. Witha setting of “0,” there will be no reduction ofthe reverb’s low-frequency content.Adjusts the frequency above which the highfrequencycontent of the reverb sound will bereduced, or “damped.”Adjusts the amount of damping applied to thefrequency range selected with HF Damp. Witha setting of “0,” there will be no reduction ofthe reverb’s high-frequency content.220


Effects ListInput Effect ParametersSelects the type of effect that will be applied to the external input source.01: EQUALIZERAdjusts the tone of the low-frequency and high-frequencyranges.Parameter Range ExplanationLow Freq200, 400 HzCenter frequency of the low-frequencyrangeLow Gain -15–+15 dB Amount of low-frequency boost/cutHigh Freq2000, 4000,8000 HzCenter frequency of the high-frequencyrangeHigh Gain -15–+15 dB Amount of high-frequency boost/cut02: ENHANCERModifies the harmonic content of the high-frequency range toadd sparkle to the sound.Parameter Range ExplanationSens 0–127 Depth of the enhancer effectMix 0–127 Volume of the harmonics that are generated05: NOISE SUPPRESSORSuppresses noise during periods of silence.Parameter Range ExplanationThreshold 0–127Release 0–12706: CENTER CANCELERRemoves the sounds that are localized at the center of thestereo input. This is a convenient way to eliminate a vocal.Parameter Range ExplanationCh Balance -50– +50Range LowRange High16–15000 Hz16–15000 HzVolume at which noise suppression will beginTime from when noise suppression beginsuntil the volume reaches zero.Volume balance of the L (left) and R (right)channels for removing the soundLower frequency limit of the band to be removedUpper frequency limit of the band to be removed03: COMPRESSORRestrains high levels and boosts low levels to make the overallvolume more consistent.Parameter Range ExplanationAttack 0–127Threshold 0–127Time from when the input exceeds theThreshold until the volume begins to becompressedVolume level at which compression will beginPost Gain 0–+18 dB Level of the output sound04: LIMITERCompresses the sound when it exceeds a specified volume, tokeep distortion from occurring.Parameter Range ExplanationRelease 0–127Threshold 0–127Time from when the input falls below theThreshold until compression ceasesVolume level at which compression will beginPost Gain 0–+18 dB Level of the output sound221


Performance ListUSER (USER GROUP)No Name1 Seq:Template2 Seq:Temp 23 Seq:Temp 34 Seq:Temp 45 Seq:Temp 56 Seq:Temp 67 Seq:Temp 78 Seq:Temp 89 Seq:Temp 910 Seq:Temp 1011 Seq:Temp 1112 Seq:Temp 1213 Seq:Temp 1314 Seq:Temp 1415 Seq:Temp 1516 Seq:Temp 1617 Seq:Temp 1718 Seq:Temp 1819 Seq:Temp 1920 Seq:Temp 2021 Seq:Temp 2122 Seq:Temp 2223 Seq:Temp 2324 Seq:Temp 2425 Seq:Temp 2526 Seq:Temp 2627 Seq:Temp 2728 Seq:Temp 2829 Seq:Temp 2930 Seq:Temp 3031 Seq:Temp 3132 Seq:Temp 32No Name33 GM2 Template34 SuperRichPNO35 Bs/Piano36 Brite Piano37 CrystalGrand38 SuperPhaseEP39 D50 Memories40 RockOrg41 Delicate42 SuperStrings43 Braves44 Orchestral45 Sonic46 Pole47 Twilight48 3AM49 Ocean50 Jupiters51 Blizzard52 Horizon53 Buzz54 80s55 TripTo80s56 80s Stack57 AutoNoise58 World Lead59 XyloSawLead60 WoodyFltLd61 Saturn62 Tale63 Synchronize64 GramophonePRST(PRESET GROUP)No Name1 Seq:Template2 Seq:Temp 23 Seq:Temp 34 Seq:Temp 45 Seq:Temp 56 Seq:Temp 67 Seq:Temp 78 Seq:Temp 89 Seq:Temp 910 Seq:Temp 1011 Seq:Temp 1112 Seq:Temp 1213 Seq:Temp 1314 Seq:Temp 1415 Seq:Temp 1516 Seq:Temp 1617 Seq:Temp 1718 Seq:Temp 1819 Seq:Temp 1920 Seq:Temp 2021 Seq:Temp 2122 Seq:Temp 2223 Seq:Temp 2324 Seq:Temp 2425 Seq:Temp 2526 Seq:Temp 2627 Seq:Temp 2728 Seq:Temp 2829 Seq:Temp 2930 Seq:Temp 3031 Seq:Temp 3132 Seq:Temp 32No Name33 GM2 Template34 SuperRichPNO35 Bs/Piano36 Brite Piano37 CrystalGrand38 SuperPhaseEP39 D50 Memories40 RockOrg41 Delicate42 SuperStrings43 Braves44 Orchestral45 Sonic46 Pole47 Twilight48 3AM49 Ocean50 Jupiters51 Blizzard52 Horizon53 Buzz54 80s55 TripTo80s56 80s Stack57 AutoNoise58 World Lead59 XyloSawLead60 WoodyFltLd61 Saturn62 Tale63 Synchronize64 Gramophone222


Patch ListUSER(User Group)User 1-128 (CC#0 = 87, CC#32 = 0 )User129-256 (CC#0 = 87, CC#32 = 1 )No Name Category Voice1 Rich Grand AC.PIANO 22 JD-800 Piano AC.PIANO 13 Stage Phazer EL.PIANO 24 Lounge Kit COMBINATION 25 SC Trem Wuly EL.PIANO 16 FM-777 EL.PIANO 57 SA EPiano EL.PIANO 38 HardRockORG1 ORGAN 49 Rocky Organ ORGAN 210 FullStop Org ORGAN 311 R&B Organ 2 ORGAN 412 X Perc Organ ORGAN 313 Smoky Organ ORGAN 114 Crummy Organ ORGAN 215 Chapel Organ ORGAN 216 Mid Pipe Org ORGAN 417 VntgClav KEYBOARDS 318 Phase Clavi KEYBOARDS 219 Funky Line KEYBOARDS 220 Harpsy Clavi KEYBOARDS 221 SonicStrings STRINGS 822 String Ens STRINGS 323 Wind & Str 1 ORCHESTRA 724 Soft Orch 2 ORCHESTRA 725 SC Hollow SOFT PAD 426 Heaven Pad SOFT PAD 327 Soft OB Pad SOFT PAD 328 Reso Pad SOFT PAD 329 Slow Saw Str SOFT PAD 230 JP Strings 2 SOFT PAD 531 Cell Comb BRIGHT PAD 332 Super SynStr BRIGHT PAD 233 80s Str BRIGHT PAD 834 Polar Night BRIGHT PAD 435 Distant Sun BRIGHT PAD 436 SC Brt Brass AC.BRASS 437 Horny Sax SAX 238 80s Brass 1 SYNTH BRASS 639 Juno-106 Brs SYNTH BRASS 140 Poly Brass SYNTH BRASS 2No Name Category Voice41 JP8000 Brass SYNTH BRASS 642 Sonic Brass SYNTH BRASS 443 SuperSawSlow OTHER SYNTH 244 Cell Trance OTHER SYNTH 345 Trancy Synth OTHER SYNTH 246 Stacc Heaven OTHER SYNTH 447 Sugar Synth OTHER SYNTH 548 Himalaya Ice BELL 249 Wine Glass BELL 450 Synergy MLT MALLET 251 AirPluck MALLET 452 SC Marimba MALLET 153 Cmp'd Fng Bs BASS 354 FingerMaster BASS 255 Return2Base! BASS 156 Chicken Bass BASS 357 SC Fretnot 1 BASS 258 Got Pop? BASS 159 Sonic Ac Bs BASS 160 Low Bass SYNTH BASS 361 Foundation SYNTH BASS 262 SC Rubber Bs SYNTH BASS 363 Punch MG 2 SYNTH BASS 264 SC GarageBs2 SYNTH BASS 265 SC AcidPunch SYNTH BASS 266 Loco Voco SYNTH BASS 267 VirtualHuman PULSATING 468 Strobot PULSATING 269 SC Strobe PULSATING 470 HPF Slicer PULSATING 371 Choir Aahs 1 VOX 472 Choir Aahs 2 VOX 473 Angels Choir VOX 474 Syn Opera VOX 475 Choir&Str VOX 776 Terra Nostra SOFT PAD 877 Aah Vox VOX 278 Cell SquLead SOFT LEAD 479 Howards Lead SOFT LEAD 380 Windy Synth SOFT LEAD 3No Name Category Voice81 Sinetific SOFT LEAD 282 SoloNzPeaker SOFT LEAD 183 Juno SftLd SOFT LEAD 184 R&B TriLead SOFT LEAD 185 X-Pulse Lead SOFT LEAD 286 Theramax SOFT LEAD 187 GR Lead SOFT LEAD 288 Chubby Lead SOFT LEAD 289 Shaku Lead SOFT LEAD 590 Porta SoloLd HARD LEAD 291 Wind Syn Ld HARD LEAD 292 Follow Me HARD LEAD 293 SC Saw Ld 1 HARD LEAD 294 Sync Ld Mono HARD LEAD 195 SC Brt Nylon AC.GUITAR 196 So good ! AC.GUITAR 297 SC 12str Gtr AC.GUITAR 398 Jazz Guitar EL.GUITAR 199 Strat Gtr EL.GUITAR 1100 Trem-o-Vibe DIST.GUITAR 2101 Searing COSM DIST.GUITAR 2102 Larsen /Aft DIST.GUITAR 2103 SC Loud Gtr DIST.GUITAR 3104 Sitar on C PLUCKED 6105 Pat is away PLUCKED 5106 Bosporus PLUCKED 3107 Aerial Harp PLUCKED 2108 Nice Kalimba PLUCKED 1109 SC Flute FLUTE 2110 Andes Mood FLUTE 1111 LongDistance ETHNIC 1112 Ambi Shaku ETHNIC 3113 Soprano Sax SAX 1114 Solo AltoSax SAX 1115 XP TnrBrethy SAX 1116 Good Old Day WIND 3117 BluesHrp V/S HARMONICA 1118 Squeeze Me! ACCRDION 4119 Solo Tp AC.BRASS 2120 SC Violin STRINGS 1No PatchName PatchCategory Voice121 SC Cello STRINGS 1122 Juno-D Maj7 TECHNO SYNTH 4123 Sweet House TECHNO SYNTH 4124 ElectroDisco BEAT&GROOVE 5125 Groove 007 BEAT&GROOVE 4126 Autotrance BEAT&GROOVE 4127 Compusonic 2 BEAT&GROOVE 4128 Passing by SYNTH FX 4User129–256: “INIT PATCH”223


Patch ListPR-A (Preset A Group)(CC#0 = 87, CC#32 = 64)No Name Category Voice (Preset#)1 Rich Grand AC.PIANO 2 PR-A0012 88ConcertPno AC.PIANO 2 PR-A0023 UltimatGrand AC.PIANO 2 PR-A0034 X Pure Grand AC.PIANO 2 PR-A0045 So true... AC.PIANO 2 PR-A0056 ConcertPiano AC.PIANO 3 PR-A0067 Warm Piano AC.PIANO 2 PR-A0078 ConcertGrand AC.PIANO 2 PR-A0089 Hall Concert AC.PIANO 2 PR-A00910 Bright Tune AC.PIANO 2 PR-A01011 Mellow Tune AC.PIANO 2 PR-A01112 Studio Grand AC.PIANO 2 PR-A01213 DryStudio88 AC.PIANO 4 PR-A01314 First Choice AC.PIANO 2 PR-A01415 Rokkin' pF AC.PIANO 2 PR-A01516 Dark Grand AC.PIANO 4 PR-A01617 SC Grand+Pad AC.PIANO 4 PR-A01718 Warm Pad Pno AC.PIANO 4 PR-A01819 SC Grand+Vox AC.PIANO 4 PR-A01920 Cicada Piano AC.PIANO 4 PR-A02021 X Piano +Str AC.PIANO 4 PR-A02122 Warm Str Pno AC.PIANO 6 PR-A02223 Grand Hall AC.PIANO 5 PR-A02324 Rapsody AC.PIANO 7 PR-A02425 JD-800 Piano AC.PIANO 1 PR-A02526 SA Dance Pno AC.PIANO 2 PR-A02627 SC E-Grand AC.PIANO 4 PR-A02728 Back E-Grand AC.PIANO 2 PR-A02829 SC Grand+FM AC.PIANO 4 PR-A02930 SC Blend Pno AC.PIANO 5 PR-A03031 Piano Oz AC.PIANO 4 PR-A03132 FX Piano AC.PIANO 4 PR-A03233 AmbientPiano AC.PIANO 4 PR-A03334 SC Pure EP EL.PIANO 1 PR-A03435 SC Trem EP EL.PIANO 1 PR-A03536 SC Phase EP EL.PIANO 1 PR-A03637 PhaseEPLayer EL.PIANO 3 PR-A03738 SC E.Piano EL.PIANO 5 PR-A03839 StageEP Trem EL.PIANO 2 PR-A03940 Back2the60s EL.PIANO 2 PR-A04041 Stage EP EL.PIANO 4 PR-A04142 Stage Phazer EL.PIANO 2 PR-A04243 StageCabinet EL.PIANO 2 PR-A04344 Tine EP EL.PIANO 1 PR-A04445 LEO EP EL.PIANO 4 PR-A04546 LonesomeRoad EL.PIANO 2 PR-A04647 Age'n'Tines EL.PIANO 2 PR-A04748 Brill TremEP EL.PIANO 2 PR-A04849 Crystal EP EL.PIANO 2 PR-A04950 Vintage Tine EL.PIANO 1 PR-A05051 Celestial EP EL.PIANO 4 PR-A05152 Psycho EP EL.PIANO 4 PR-A05253 Mk2 Stg phsr EL.PIANO 3 PR-A05354 Dreaming EP EL.PIANO 4 PR-A05455 Balladeer EL.PIANO 3 PR-A05556 Remember EL.PIANO 2 PR-A05657 Vibe EP EL.PIANO 1 PR-A05758 sin(EP) EL.PIANO 2 PR-A05859 SC Pure Wuly EL.PIANO 1 PR-A05960 SC Trem Wuly EL.PIANO 1 PR-A06061 Super Wurly EL.PIANO 3 PR-A06162 Wurly Trem EL.PIANO 3 PR-A06263 VelSpdWurly EL.PIANO 2 PR-A06364 Fonky Fonky EL.PIANO 2 PR-A064No Name Category Voice (Preset#)65 FM EP mix EL.PIANO 6 PR-A06566 FM-777 EL.PIANO 5 PR-A06667 FM EPad EL.PIANO 3 PR-A06768 EP Stack EL.PIANO 4 PR-A06869 EP Belle EL.PIANO 3 PR-A06970 80s EP EL.PIANO 4 PR-A07071 SA EPiano EL.PIANO 3 PR-A07172 BrillClav DB KEYBOARDS 2 PR-A07273 Cell Clav KEYBOARDS 1 PR-A07374 VntgClav KEYBOARDS 3 PR-A07475 Cutter Clavi KEYBOARDS 2 PR-A07576 Funky D KEYBOARDS 2 PR-A07677 Phase Clavi KEYBOARDS 2 PR-A07778 BPF Clavi Ph KEYBOARDS 2 PR-A07879 Pulse Clavi KEYBOARDS 2 PR-A07980 PWM Clav KEYBOARDS 1 PR-A08081 Funky Line KEYBOARDS 2 PR-A08182 Biting Clav KEYBOARDS 2 PR-A08283 Analog Clavi KEYBOARDS 1 PR-A08384 Reso Clavi KEYBOARDS 2 PR-A08485 Snappy Clav KEYBOARDS 2 PR-A08586 Over-D6 KEYBOARDS 3 PR-A08687 Harpsy Clavi KEYBOARDS 2 PR-A08788 SC Harpsi KEYBOARDS 4 PR-A08889 Amadeus KEYBOARDS 8 PR-A08990 SC Celesta KEYBOARDS 1 PR-A09091 Himalaya Ice BELL 2 PR-A09192 FM Syn Bell BELL 4 PR-A09293 D-50 Fantsia BELL 3 PR-A09394 Wine Glass BELL 4 PR-A09495 MuBox Pad BELL 4 PR-A09596 SC Bell 1 BELL 4 PR-A09697 FM Heaven BELL 4 PR-A09798 SC Glocken BELL 1 PR-A09899 Music Bells BELL 2 PR-A099100 SC Musicbox BELL 1 PR-A100101 Music Box 2 BELL 2 PR-A101102 Kalimbells BELL 2 PR-A102103 Step Ice BELL 4 PR-A103104 SC Bell 2 BELL 2 PR-A104105 Candy Bell BELL 2 PR-A105106 SC Chime BELL 1 PR-A106107 Bell Ring BELL 4 PR-A107108 Tubular Bell BELL 1 PR-A108109 5th Key BELL 2 PR-A109110 Bell Monitor BELL 2 PR-A110111 TubyRuesday BELL 2 PR-A111112 Vibrations MALLET 2 PR-A112113 SC Vibe MALLET 1 PR-A113114 Ringy Vibes MALLET 2 PR-A114115 Airie Vibez MALLET 4 PR-A115116 SC Marimba MALLET 1 PR-A116117 FM Wood MALLET 4 PR-A117118 SC Xylo MALLET 1 PR-A118119 Ethno Keys MALLET 2 PR-A119120 Synergy MLT MALLET 2 PR-A120121 Icy Keys MALLET 4 PR-A121122 Steel Drums MALLET 2 PR-A122123 50`SteelDrms MALLET 4 PR-A123124 Xylosizer MALLET 2 PR-A124125 Toy Box MALLET 3 PR-A125126 AirPluck MALLET 4 PR-A126127 HardRockORG1 ORGAN 4 PR-A127128 HardRockORG2 ORGAN 5 PR-A128224


Patch ListPR-B (Preset B Group)(CC#0 = 87, CC#32 = 65)No Name Category Voice (Preset#)129 SuperDistORG ORGAN 4 PR-B001130 SuperDistLd2 ORGAN 4 PR-B002131 FullDraw Org ORGAN 3 PR-B003132 StakDraw Org ORGAN 4 PR-B004133 FullStop Org ORGAN 3 PR-B005134 SC Perc Org ORGAN 4 PR-B006135 VKHold4Speed ORGAN 4 PR-B007136 X Perc Organ ORGAN 3 PR-B008137 Rocky Organ ORGAN 2 PR-B009138 Euro Organ ORGAN 2 PR-B010139 Rhythm'n'B ORGAN 4 PR-B011140 Phono Organ ORGAN 2 PR-B012141 LoFi PercOrg ORGAN 1 PR-B013142 Rochno Org ORGAN 4 PR-B014143 R&B Organ 1 ORGAN 2 PR-B015144 R&B Organ 2 ORGAN 4 PR-B016145 SC Dist Bee ORGAN 1 PR-B017146 60's Org 1 ORGAN 2 PR-B018147 60's Org 2 ORGAN 2 PR-B019148 Smoky Organ ORGAN 1 PR-B020149 SC SoapOpera ORGAN 1 PR-B021150 Crummy Organ ORGAN 2 PR-B022151 Chapel Organ ORGAN 2 PR-B023152 Grand Pipe ORGAN 3 PR-B024153 Pipe Org/Mod ORGAN 6 PR-B025154 Masked Opera ORGAN 6 PR-B026155 Mid Pipe Org ORGAN 4 PR-B027156 Vodkakordion ACCRDION 3 PR-B028157 Squeeze Me! ACCRDION 4 PR-B029158 Guinguette ACCRDION 3 PR-B030159 HarWonderca HARMONICA 2 PR-B031160 BluesHrp V/S HARMONICA 1 PR-B032161 Green Bullet HARMONICA 2 PR-B033162 SC Brt Nylon AC.GUITAR 1 PR-B034163 SoftNyln Gtr AC.GUITAR 2 PR-B035164 SC Nylon Gt AC.GUITAR 2 PR-B036165 Wet Nyln Gtr AC.GUITAR 3 PR-B037166 Pre Mass Hum AC.GUITAR 4 PR-B038167 Thick Steel AC.GUITAR 2 PR-B039168 Uncle Martin AC.GUITAR 2 PR-B040169 Wide Ac Gtr AC.GUITAR 4 PR-B041170 Comp Stl Gtr AC.GUITAR 2 PR-B042171 Stl Gtr Duo AC.GUITAR 2 PR-B043172 SC 12str Gtr AC.GUITAR 3 PR-B044173 So good ! AC.GUITAR 2 PR-B045174 StratSeq'nce EL.GUITAR 3 PR-B046175 Jazz Guitar EL.GUITAR 1 PR-B047176 DynoJazz Gtr EL.GUITAR 1 PR-B048177 Clean Gtr EL.GUITAR 1 PR-B049178 Crimson Gtr EL.GUITAR 2 PR-B050179 Plug n' Gig EL.GUITAR 1 PR-B051180 Kinda Kurt EL.GUITAR 2 PR-B052181 Nice Oct Gtr EL.GUITAR 2 PR-B053182 Strat Gtr EL.GUITAR 1 PR-B054183 Touch Drive DIST.GUITAR 1 PR-B055184 SC Chunk DIST.GUITAR 4 PR-B056185 Trem-o-Vibe DIST.GUITAR 2 PR-B057186 LP Dist DIST.GUITAR 2 PR-B058187 Hurtling Gtr DIST.GUITAR 3 PR-B059188 Searing COSM DIST.GUITAR 2 PR-B060189 SC Loud Gtr DIST.GUITAR 3 PR-B061190 SC Plugged!! DIST.GUITAR 1 PR-B062191 Punker 1 DIST.GUITAR 2 PR-B063192 SC PowerChd DIST.GUITAR 2 PR-B064No Name Category Voice (Preset#)193 Punker 2 DIST.GUITAR 2 PR-B065194 Larsen /Aft DIST.GUITAR 2 PR-B066195 Rockin' Dly DIST.GUITAR 3 PR-B067196 Sonic Ac Bs BASS 1 PR-B068197 Ulti Ac Bass BASS 2 PR-B069198 Downright Bs BASS 3 PR-B070199 Cmp'd Fng Bs BASS 3 PR-B071200 Sonic Fng Bs BASS 3 PR-B072201 Ultimo Bass BASS 2 PR-B073202 Roomy Bass BASS 2 PR-B074203 FingerMaster BASS 2 PR-B075204 All Round Bs BASS 2 PR-B076205 R&B Bs/Slide BASS 2 PR-B077206 Sonic Pck Bs BASS 3 PR-B078207 Thumb Up! BASS 1 PR-B079208 Tubby Mute BASS 2 PR-B080209 Chicken Bass BASS 3 PR-B081210 Snug Bass BASS 2 PR-B082211 Return2Base! BASS 1 PR-B083212 Chorus Bass BASS 2 PR-B084213 A Big Pick BASS 3 PR-B085214 Basement BASS 1 PR-B086215 SC Fretnot 1 BASS 2 PR-B087216 SC Fretnot 2 BASS 3 PR-B088217 RichFretless BASS 2 PR-B089218 NewAge Frtls BASS 3 PR-B090219 SlapBass1 BASS 1 PR-B091220 Slap2 w/Fx BASS 1 PR-B092221 Got Pop? BASS 1 PR-B093222 JBass v/Thmb BASS 2 PR-B094223 SC Slap Bass BASS 2 PR-B095224 X Slap Bass BASS 3 PR-B096225 Low Bass SYNTH BASS 3 PR-B097226 Mini Like! SYNTH BASS 2 PR-B098227 MC-404 Bass SYNTH BASS 2 PR-B099228 SC Rubber Bs SYNTH BASS 3 PR-B100229 SH-101 Bs 1 SYNTH BASS 2 PR-B101230 SC Syn Bass1 SYNTH BASS 3 PR-B102231 Juno-106 Bs SYNTH BASS 2 PR-B103232 Smooth Bass SYNTH BASS 2 PR-B104233 SC Flat Bs SYNTH BASS 3 PR-B105234 Foundation SYNTH BASS 2 PR-B106235 Punch MG 2 SYNTH BASS 2 PR-B107236 Electro Rubb SYNTH BASS 2 PR-B108237 R&B Bass 1 SYNTH BASS 2 PR-B109238 Enorjizor SYNTH BASS 2 PR-B110239 LowFat Bass SYNTH BASS 3 PR-B111240 Doze Bass SYNTH BASS 1 PR-B112241 DCO Bass SYNTH BASS 4 PR-B113242 Virtual RnBs SYNTH BASS 2 PR-B114243 Saw&MG Bass SYNTH BASS 4 PR-B115244 MG+SubOsc Bs SYNTH BASS 2 PR-B116245 R&B Bass 2 SYNTH BASS 1 PR-B117246 R&B Bass 3 SYNTH BASS 2 PR-B118247 Not a Bass SYNTH BASS 2 PR-B119248 ResoSyn Bs 1 SYNTH BASS 2 PR-B120249 SH-1 Bass SYNTH BASS 2 PR-B121250 SH-101 Bs 2 SYNTH BASS 2 PR-B122251 Punch MG 1 SYNTH BASS 2 PR-B123252 MKS-50 SynBs SYNTH BASS 1 PR-B124253 Gashed Bass SYNTH BASS 2 PR-B125254 Q Bass SYNTH BASS 3 PR-B126255 Super-G DX SYNTH BASS 3 PR-B127256 Kickin' Bass SYNTH BASS 2 PR-B128225


Patch ListPR-C (Preset C Group)(CC#0 = 87, CC#32 = 66)No Name Category Voice (Preset#)257 OilDrum Bass SYNTH BASS 3 PR-C001258 Dust Bass SYNTH BASS 4 PR-C002259 Glide-iator SYNTH BASS 2 PR-C003260 SC AcidPunch SYNTH BASS 2 PR-C004261 TBasic SYNTH BASS 1 PR-C005262 SC Unison Bs SYNTH BASS 2 PR-C006263 Detune Bass SYNTH BASS 2 PR-C007264 Lo Bass SYNTH BASS 3 PR-C008265 SC GarageBs1 SYNTH BASS 3 PR-C009266 SC GarageBs2 SYNTH BASS 2 PR-C010267 Sub Sonic SYNTH BASS 4 PR-C011268 SC Jungle Bs SYNTH BASS 2 PR-C012269 R&B Bass 4 SYNTH BASS 1 PR-C013270 Simply Basic SYNTH BASS 2 PR-C014271 Beepin Bass SYNTH BASS 2 PR-C015272 MC-TB Bass SYNTH BASS 2 PR-C016273 Acdg Bass SYNTH BASS 2 PR-C017274 Loco Voco SYNTH BASS 2 PR-C018275 Unplug it! SYNTH BASS 1 PR-C019276 S&H Bass SYNTH BASS 2 PR-C020277 Destroyed Bs SYNTH BASS 2 PR-C021278 SC Acid Bs SYNTH BASS 2 PR-C022279 Lo-Fi TB SYNTH BASS 1 PR-C023280 Drop Bass SYNTH BASS 3 PR-C024281 Big Mini SYNTH BASS 3 PR-C025282 Muffled MG SYNTH BASS 2 PR-C026283 Intrusive Bs SYNTH BASS 2 PR-C027284 Alpha SynBs SYNTH BASS 2 PR-C028285 TransistorBs SYNTH BASS 3 PR-C029286 Juno-60 Bass SYNTH BASS 2 PR-C030287 Storm Bass SYNTH BASS 4 PR-C031288 Alpha ResoBs SYNTH BASS 2 PR-C032289 SH-101 Vibe SYNTH BASS 4 PR-C033290 Fazee Bass SYNTH BASS 4 PR-C034291 Hi-Energy Bs SYNTH BASS 2 PR-C035292 SC Violin STRINGS 1 PR-C036293 Violin STRINGS 1 PR-C037294 Viola STRINGS 3 PR-C038295 SC Cello STRINGS 1 PR-C039296 Cello STRINGS 1 PR-C040297 Contrabass STRINGS 4 PR-C041298 Dolce Qrt STRINGS 2 PR-C042299 Chamber Str STRINGS 3 PR-C043300 Small Str STRINGS 7 PR-C044301 Marcato STRINGS 2 PR-C045302 Bright Str STRINGS 2 PR-C046303 String Ens STRINGS 3 PR-C047304 SonicStrings STRINGS 8 PR-C048305 Stringz 101 STRINGS 2 PR-C049306 Crossed Bows STRINGS 5 PR-C050307 Warm Strings STRINGS 5 PR-C051308 Stacc mp Str STRINGS 4 PR-C052309 Movie Scene STRINGS 4 PR-C053310 Hybrid Str 1 STRINGS 6 PR-C054311 Gang Strangs STRINGS 6 PR-C055312 Clustered!?! STRINGS 8 PR-C056313 Full Strings STRINGS 4 PR-C057314 X StrSection STRINGS 4 PR-C058315 Oct Strings STRINGS 6 PR-C059316 Sahara Str STRINGS 4 PR-C060317 Random Mood STRINGS 6 PR-C061318 X Hall Str STRINGS 8 PR-C062319 SC Slow Str STRINGS 8 PR-C063320 Hybrid Str 2 STRINGS 7 PR-C064No Name Category Voice (Preset#)321 Biggie Bows STRINGS 6 PR-C065322 Staccato VS STRINGS 4 PR-C066323 So Staccato STRINGS 4 PR-C067324 DelicatePizz STRINGS 4 PR-C068325 Vls PizzHall STRINGS 8 PR-C069326 Orch Pizz STRINGS 4 PR-C070327 Pizz'Stac VS STRINGS 6 PR-C071328 Mellow Tron STRINGS 3 PR-C072329 Tronic Str STRINGS 2 PR-C073330 Tape Memory STRINGS 2 PR-C074331 Wind & Str 1 ORCHESTRA 7 PR-C075332 Wind & Str 2 ORCHESTRA 5 PR-C076333 Farewell ORCHESTRA 6 PR-C077334 Orch & Horns ORCHESTRA 5 PR-C078335 Soft Orch 1 ORCHESTRA 4 PR-C079336 Soft Orch 2 ORCHESTRA 7 PR-C080337 Henry IX ORCHESTRA 4 PR-C081338 Ending Scene ORCHESTRA 4 PR-C082339 Symphonika ORCHESTRA 8 PR-C083340 Mix Hit 2 HIT&STAB 4 PR-C084341 Cheezy Movie HIT&STAB 4 PR-C085342 Philly Hit HIT&STAB 1 PR-C086343 Smear Hit 1 HIT&STAB 2 PR-C087344 Smear Hit 2 HIT&STAB 2 PR-C088345 Good Old Hit HIT&STAB 4 PR-C089346 Mix Hit 1 HIT&STAB 4 PR-C090347 Lo-Fi Hit HIT&STAB 4 PR-C091348 2ble Action HIT&STAB 2 PR-C092349 In da Cave HIT&STAB 2 PR-C093350 Housechord HIT&STAB 3 PR-C094351 Mod Chord HIT&STAB 2 PR-C095352 Dance Steam HIT&STAB 2 PR-C096353 Good Old Day WIND 3 PR-C097354 SC WindWood WIND 3 PR-C098355 Clarence.net WIND 2 PR-C099356 SC Oboe WIND 1 PR-C100357 Hall Oboe WIND 1 PR-C101358 English Horn WIND 1 PR-C102359 Bassoon WIND 1 PR-C103360 SC Flute FLUTE 2 PR-C104361 Piccolo FLUTE 2 PR-C105362 Andes Mood FLUTE 1 PR-C106363 HimalayaPipe FLUTE 4 PR-C107364 Solo Tp AC.BRASS 2 PR-C108365 Horn Chops AC.BRASS 2 PR-C109366 Flugel Horn AC.BRASS 1 PR-C110367 Spit Flugel AC.BRASS 3 PR-C111368 Mute Tp /Mod AC.BRASS 3 PR-C112369 Harmon Mute AC.BRASS 1 PR-C113370 Soft Tb AC.BRASS 2 PR-C114371 Solo Tb AC.BRASS 1 PR-C115372 Solo Bone AC.BRASS 2 PR-C116373 XP Horn AC.BRASS 1 PR-C117374 Grande Tuba AC.BRASS 2 PR-C118375 SC Tuba AC.BRASS 1 PR-C119376 StackTp Sect AC.BRASS 4 PR-C120377 Tb Section AC.BRASS 5 PR-C121378 TpTb Sect. AC.BRASS 2 PR-C122379 SC Brt Brass AC.BRASS 4 PR-C123380 SC BrsSect 1 AC.BRASS 7 PR-C124381 SC BrsSect 2 AC.BRASS 8 PR-C125382 Tpts & Tmbs AC.BRASS 2 PR-C126383 Brass & Sax AC.BRASS 5 PR-C127384 BrassPartOut AC.BRASS 6 PR-C128226


Patch ListPR-D (Preset D Group)(CC#0 = 87, CC#32 = 67)No Name Category Voice (Preset#)385 Simple Tutti AC.BRASS 2 PR-D001386 F.Horns Sect AC.BRASS 3 PR-D002387 Full sForza AC.BRASS 4 PR-D003388 Stereo Brass AC.BRASS 4 PR-D004389 Wide SynBrss SYNTH BRASS 2 PR-D005390 DetuneSawBrs SYNTH BRASS 2 PR-D006391 J-Pop Brass SYNTH BRASS 6 PR-D007392 80s Brass 1 SYNTH BRASS 6 PR-D008393 80s Brass 2 SYNTH BRASS 4 PR-D009394 Ana Brass SYNTH BRASS 5 PR-D010395 Soft Brass SYNTH BRASS 3 PR-D011396 JP8000 Brass SYNTH BRASS 6 PR-D012397 Sonic Brass SYNTH BRASS 4 PR-D013398 Syn Brass SYNTH BRASS 4 PR-D014399 Syn Brass 2 SYNTH BRASS 4 PR-D015400 Xpand Brass SYNTH BRASS 2 PR-D016401 Xpand Brass2 SYNTH BRASS 4 PR-D017402 Super Saw SYNTH BRASS 4 PR-D018403 SoftSynBrass SYNTH BRASS 2 PR-D019404 Silky JP SYNTH BRASS 2 PR-D020405 Silk Brs Pad SYNTH BRASS 1 PR-D021406 80s Brass 3 SYNTH BRASS 8 PR-D022407 X-Saw Brass1 SYNTH BRASS 2 PR-D023408 Cheesy Brass SYNTH BRASS 4 PR-D024409 Dual Saw Brs SYNTH BRASS 2 PR-D025410 Juno-106 Brs SYNTH BRASS 1 PR-D026411 Poly Brass SYNTH BRASS 2 PR-D027412 Stacked Brs SYNTH BRASS 4 PR-D028413 Soprano Sax SAX 1 PR-D029414 Solo Sop Sax SAX 1 PR-D030415 Alto mp SAX 1 PR-D031416 Alto Sax SAX 1 PR-D032417 Solo AltoSax SAX 1 PR-D033418 AltoLead Sax SAX 1 PR-D034419 XP TnrBrethy SAX 1 PR-D035420 Tenor Sax SAX 2 PR-D036421 Fat TenorSax SAX 3 PR-D037422 Baritone Sax SAX 1 PR-D038423 Sax Sect. 1 SAX 3 PR-D039424 Sax Sect. 2 SAX 4 PR-D040425 Horny Sax SAX 2 PR-D041426 FXM Alto Sax SAX 1 PR-D042427 Porta SoloLd HARD LEAD 2 PR-D043428 Porta Lead HARD LEAD 2 PR-D044429 Wind Syn Ld HARD LEAD 2 PR-D045430 SC Saw Ld 1 HARD LEAD 2 PR-D046431 SC Saw Ld 2 HARD LEAD 2 PR-D047432 Juno Lead HARD LEAD 2 PR-D048433 Follow Me HARD LEAD 2 PR-D049434 DC Triangle HARD LEAD 2 PR-D050435 Sqr-Seqence HARD LEAD 1 PR-D051436 Pure Square HARD LEAD 2 PR-D052437 Griggley HARD LEAD 2 PR-D053438 SC LegatoSaw HARD LEAD 2 PR-D054439 Lone Prophat HARD LEAD 1 PR-D055440 Dual Profs HARD LEAD 2 PR-D056441 Gwyo Press HARD LEAD 2 PR-D057442 "Q" DualSaws HARD LEAD 2 PR-D058443 Mogulator Ld HARD LEAD 2 PR-D059444 DirtyVoltage HARD LEAD 2 PR-D060445 Clean? HARD LEAD 2 PR-D061446 Distortion HARD LEAD 4 PR-D062447 SC Syn Ld HARD LEAD 2 PR-D063448 SynLead 0322 HARD LEAD 2 PR-D064No Name Category Voice (Preset#)449 X-Sink Delay HARD LEAD 3 PR-D065450 Destroyed Ld HARD LEAD 2 PR-D066451 Synchro Lead HARD LEAD 2 PR-D067452 Sync Ld Mono HARD LEAD 1 PR-D068453 SyncModulate HARD LEAD 3 PR-D069454 Distorted MG HARD LEAD 1 PR-D070455 SonicVampire HARD LEAD 2 PR-D071456 Blue Meanie HARD LEAD 2 PR-D072457 SC Dist Lead HARD LEAD 2 PR-D073458 Ringmod Lead HARD LEAD 4 PR-D074459 Stimulation HARD LEAD 4 PR-D075460 BodyElectric HARD LEAD 3 PR-D076461 Classic Lead HARD LEAD 4 PR-D077462 Feat Lead HARD LEAD 2 PR-D078463 Wire Sync HARD LEAD 3 PR-D079464 Epic Lead HARD LEAD 2 PR-D080465 Bag Lead HARD LEAD 3 PR-D081466 Wezcoast HARD LEAD 2 PR-D082467 HyperJupiter HARD LEAD 3 PR-D083468 Vintagolizer HARD LEAD 4 PR-D084469 C64 Lead HARD LEAD 2 PR-D085470 303 NRG HARD LEAD 2 PR-D086471 Cell SquLead SOFT LEAD 4 PR-D087472 SC Sqr Lead SOFT LEAD 2 PR-D088473 SH Sqr Lead SOFT LEAD 2 PR-D089474 Round SQR SOFT LEAD 2 PR-D090475 Windy Synth SOFT LEAD 3 PR-D091476 Sqr Diamond SOFT LEAD 2 PR-D092477 Sinetific SOFT LEAD 2 PR-D093478 PeakArpSine SOFT LEAD 1 PR-D094479 Howards Lead SOFT LEAD 3 PR-D095480 SoloNzPeaker SOFT LEAD 1 PR-D096481 Juno SftLd SOFT LEAD 1 PR-D097482 R&B TriLead SOFT LEAD 1 PR-D098483 R&B Tri Ld2 SOFT LEAD 1 PR-D099484 Jupiter Lead SOFT LEAD 1 PR-D100485 Dig-n-Duke SOFT LEAD 2 PR-D101486 SC SoftLead SOFT LEAD 2 PR-D102487 Mid Saw Ld SOFT LEAD 4 PR-D103488 X-Pulse Lead SOFT LEAD 2 PR-D104489 Mild 2-SawLd SOFT LEAD 2 PR-D105490 Mew Lead SOFT LEAD 1 PR-D106491 Shy Soloist SOFT LEAD 1 PR-D107492 Theramax SOFT LEAD 1 PR-D108493 Therasqu SOFT LEAD 1 PR-D109494 GR Lead SOFT LEAD 2 PR-D110495 SH-2 Lead SOFT LEAD 2 PR-D111496 SC ResoLead SOFT LEAD 3 PR-D112497 Modulated Ld SOFT LEAD 1 PR-D113498 Synthi Fizz SOFT LEAD 2 PR-D114499 Waspy Lead SOFT LEAD 1 PR-D115500 Pulstar Ld SOFT LEAD 1 PR-D116501 Naked Lead SOFT LEAD 1 PR-D117502 Alpha Spit SOFT LEAD 1 PR-D118503 Vliolin Lead SOFT LEAD 2 PR-D119504 Mod Lead SOFT LEAD 4 PR-D120505 JP Saw Lead SOFT LEAD 2 PR-D121506 Tristar SOFT LEAD 2 PR-D122507 Chubby Lead SOFT LEAD 2 PR-D123508 Sneaky Leady SOFT LEAD 2 PR-D124509 Shaku Lead SOFT LEAD 5 PR-D125510 Legato Tkno SOFT LEAD 1 PR-D126511 SCResoSaw Ld SOFT LEAD 2 PR-D127512 SliCed Lead SOFT LEAD 2 PR-D128227


Patch ListPR-E (Preset E Group)(CC#0 = 87, CC#32 = 68)No Name Category Voice (Preset#)513 Mini Growl SOFT LEAD 2 PR-E001514 Evangelized SOFT LEAD 2 PR-E002515 Air Lead SOFT LEAD 4 PR-E003516 Juno-D Maj7 TECHNO SYNTH 4 PR-E004517 Sweet House TECHNO SYNTH 4 PR-E005518 Periscope TECHNO SYNTH 4 PR-E006519 5th Voice TECHNO SYNTH 6 PR-E007520 HPF Sweep TECHNO SYNTH 2 PR-E008521 BPF Saw TECHNO SYNTH 4 PR-E009522 Moon Synth TECHNO SYNTH 2 PR-E010523 DelyResoSaws TECHNO SYNTH 2 PR-E011524 R-Trance TECHNO SYNTH 7 PR-E012525 Braatz... TECHNO SYNTH 6 PR-E013526 AllinOneRiff TECHNO SYNTH 7 PR-E014527 YZ Again TECHNO SYNTH 7 PR-E015528 Flazzy Lead TECHNO SYNTH 8 PR-E016529 Coffee Bee TECHNO SYNTH 2 PR-E017530 SC-303 TECHNO SYNTH 1 PR-E018531 Dance Saws TECHNO SYNTH 8 PR-E019532 AluminmWires TECHNO SYNTH 3 PR-E020533 Fred&Barney TECHNO SYNTH 6 PR-E021534 Electrostars TECHNO SYNTH 4 PR-E022535 LoFiSequence TECHNO SYNTH 2 PR-E023536 MelodicDrums TECHNO SYNTH 2 PR-E024537 TB Wah TECHNO SYNTH 1 PR-E025538 Waving TB303 TECHNO SYNTH 3 PR-E026539 Digi Seq TECHNO SYNTH 3 PR-E027540 Seq Saw TECHNO SYNTH 1 PR-E028541 Reso Seq Saw TECHNO SYNTH 1 PR-E029542 DetuneSeqSaw TECHNO SYNTH 2 PR-E030543 Technotribe TECHNO SYNTH 2 PR-E031544 Teethy Grit TECHNO SYNTH 3 PR-E032545 Repertition TECHNO SYNTH 4 PR-E033546 Killerbeez TECHNO SYNTH 4 PR-E034547 Acid Lead TECHNO SYNTH 2 PR-E035548 Tranceformer TECHNO SYNTH 1 PR-E036549 Anadroid TECHNO SYNTH 1 PR-E037550 Shroomy TECHNO SYNTH 3 PR-E038551 Noize R us TECHNO SYNTH 2 PR-E039552 Beep Melodie TECHNO SYNTH 4 PR-E040553 Morpher TECHNO SYNTH 8 PR-E041554 Uni-G TECHNO SYNTH 2 PR-E042555 Power Synth TECHNO SYNTH 4 PR-E043556 Hoover Again TECHNO SYNTH 4 PR-E044557 Alpha Said.. TECHNO SYNTH 2 PR-E045558 Ravers Awake TECHNO SYNTH 2 PR-E046559 Tekno Gargle TECHNO SYNTH 2 PR-E047560 Tranceiver TECHNO SYNTH 4 PR-E048561 Techno Dream TECHNO SYNTH 4 PR-E049562 Techno Pizz TECHNO SYNTH 4 PR-E050563 VirtualHuman PULSATING 4 PR-E051564 Strobot PULSATING 2 PR-E052565 SC Strobe PULSATING 4 PR-E053566 Strobe X PULSATING 5 PR-E054567 Rhythmic 5th PULSATING 4 PR-E055568 Cell Pad PULSATING 3 PR-E056569 DarknessSide PULSATING 6 PR-E057570 Shape of X PULSATING 5 PR-E058571 Sonic Dance PULSATING 5 PR-E059572 ShapeURMusic PULSATING 5 PR-E060573 Synth Force PULSATING 4 PR-E061574 Trance Split PULSATING 2 PR-E062575 Step Trance PULSATING 1 PR-E063576 Chop Synth PULSATING 2 PR-E064No Name Category Voice (Preset#)577 Euro Teuro PULSATING 6 PR-E065578 Auto Trance PULSATING 2 PR-E066579 Eureggae PULSATING 2 PR-E067580 Sorry4theDLY PULSATING 2 PR-E068581 Beat Pad PULSATING 3 PR-E069582 TMT Seq Pad PULSATING 4 PR-E070583 ForYourBreak PULSATING 4 PR-E071584 HPF Slicer PULSATING 3 PR-E072585 Sliced Choir PULSATING 6 PR-E073586 Digi-Doo PULSATING 2 PR-E074587 PanningFrmnt PULSATING 2 PR-E075588 Dirty Beat PULSATING 7 PR-E076589 Electrons PULSATING 1 PR-E077590 Protons PULSATING 2 PR-E078591 Brisk Vortex PULSATING 3 PR-E079592 SC Throbulax PULSATING 2 PR-E080593 SC Lonizer PULSATING 4 PR-E081594 diGital Pad PULSATING 4 PR-E082595 StepPitShift PULSATING 2 PR-E083596 Pad Pulses PULSATING 3 PR-E084597 Seq-Pad 2 PULSATING 8 PR-E085598 DSP Chaos PULSATING 1 PR-E086599 Dancefloor PULSATING 4 PR-E087600 Minor Thirds PULSATING 2 PR-E088601 FX World PULSATING 2 PR-E089602 Mr. Fourier PULSATING 3 PR-E090603 Nu Trance X PULSATING 2 PR-E091604 Auto 5thSaws PULSATING 4 PR-E092605 Cross Talk PULSATING 1 PR-E093606 Reanimation PULSATING 2 PR-E094607 VoX Chopper PULSATING 2 PR-E095608 Trevor's Pad PULSATING 4 PR-E096609 Fantomas Pad PULSATING 5 PR-E097610 Jazzy Arps PULSATING 4 PR-E098611 Keep Running PULSATING 4 PR-E099612 Step In PULSATING 4 PR-E100613 Echo Echo PULSATING 8 PR-E101614 Keep going PULSATING 4 PR-E102615 Arposphere PULSATING 4 PR-E103616 Voco Riff PULSATING 4 PR-E104617 Pulsator PULSATING 4 PR-E105618 Motion Bass PULSATING 2 PR-E106619 Sine Magic PULSATING 3 PR-E107620 Juno-D Slice PULSATING 3 PR-E108621 Pulsatron PULSATING 4 PR-E109622 Mega Sync PULSATING 2 PR-E110623 Passing by SYNTH FX 4 PR-E111624 Lazer Points SYNTH FX 2 PR-E112625 Retro Sci-Fi SYNTH FX 4 PR-E113626 Magic Chime SYNTH FX 4 PR-E114627 SC Try This! SYNTH FX 3 PR-E115628 New Planetz SYNTH FX 4 PR-E116629 Jet Noise SYNTH FX 4 PR-E117630 Chaos 2003 SYNTH FX 4 PR-E118631 Control Room SYNTH FX 4 PR-E119632 OutOf sortz SYNTH FX 5 PR-E120633 Scatter SYNTH FX 7 PR-E121634 Low Beat-S SYNTH FX 5 PR-E122635 WaitnOutside SYNTH FX 2 PR-E123636 Breath Echo SYNTH FX 1 PR-E124637 SoundStrange SYNTH FX 3 PR-E125638 Cosmic Pulse SYNTH FX 2 PR-E126639 Faked Piano SYNTH FX 4 PR-E127640 SC Crystal SYNTH FX 2 PR-E128228


Patch ListPR-F (Preset F Group)(CC#0 = 87, CC#32 = 69)No Name Category Voice (Preset#)641 ResoSweep Dn SYNTH FX 1 PR-F001642 Zap B3 & C4 SYNTH FX 1 PR-F002643 PolySweep Nz SYNTH FX 4 PR-F003644 Strange Land SYNTH FX 6 PR-F004645 S&H Voc SYNTH FX 2 PR-F005646 12th Planet SYNTH FX 2 PR-F006647 Scare SYNTH FX 7 PR-F007648 Hillside SYNTH FX 1 PR-F008649 Mod Scanner SYNTH FX 2 PR-F009650 SoundOnSound SYNTH FX 1 PR-F010651 Gasp SYNTH FX 8 PR-F011652 ResoSweep Up SYNTH FX 1 PR-F012653 Magic Wave SYNTH FX 2 PR-F013654 Shangri-La SYNTH FX 5 PR-F014655 CerealKiller SYNTH FX 1 PR-F015656 Cosmic Drops SYNTH FX 1 PR-F016657 Space Echo SYNTH FX 4 PR-F017658 Robot Sci-Fi SYNTH FX 4 PR-F018659 Stacc Heaven OTHER SYNTH 4 PR-F019660 Juno Poly OTHER SYNTH 4 PR-F020661 DigitalDream OTHER SYNTH 2 PR-F021662 Jucy Saw OTHER SYNTH 3 PR-F022663 Cue Tip OTHER SYNTH 1 PR-F023664 Waspy Synth OTHER SYNTH 2 PR-F024665 TB-Sequence OTHER SYNTH 1 PR-F025666 Europe Xpres OTHER SYNTH 2 PR-F026667 Squeepy OTHER SYNTH 1 PR-F027668 DOC Stack OTHER SYNTH 2 PR-F028669 Sweep Lead OTHER SYNTH 2 PR-F029670 80s Saws 1 OTHER SYNTH 8 PR-F030671 80s Saws 2 OTHER SYNTH 6 PR-F031672 80s Saws 3 OTHER SYNTH 5 PR-F032673 Digitaless OTHER SYNTH 2 PR-F033674 Flip Pad OTHER SYNTH 3 PR-F034675 Short Detune OTHER SYNTH 2 PR-F035676 forSequence OTHER SYNTH 2 PR-F036677 Memory Pluck OTHER SYNTH 2 PR-F037678 Metalic Bass OTHER SYNTH 2 PR-F038679 Aqua OTHER SYNTH 2 PR-F039680 Big Planet OTHER SYNTH 2 PR-F040681 Wet Atax OTHER SYNTH 2 PR-F041682 Houze Clavi OTHER SYNTH 2 PR-F042683 SuperSawSlow OTHER SYNTH 2 PR-F043684 Cell Trance OTHER SYNTH 3 PR-F044685 Trancy X OTHER SYNTH 4 PR-F045686 Trancy Synth OTHER SYNTH 2 PR-F046687 Juno Trnce OTHER SYNTH 4 PR-F047688 Saw Stack OTHER SYNTH 2 PR-F048689 Frgile Saws OTHER SYNTH 2 PR-F049690 Steamed Sawz OTHER SYNTH 2 PR-F050691 RAVtune OTHER SYNTH 2 PR-F051692 Bustranza OTHER SYNTH 2 PR-F052693 AftTch Ji-n OTHER SYNTH 2 PR-F053694 JP OctAttack OTHER SYNTH 2 PR-F054695 Oct Unison OTHER SYNTH 6 PR-F055696 Xtatic OTHER SYNTH 4 PR-F056697 Dirty Combo OTHER SYNTH 2 PR-F057698 FM's Attack OTHER SYNTH 3 PR-F058699 Digi-vox Syn OTHER SYNTH 1 PR-F059700 Fairy Factor OTHER SYNTH 6 PR-F060701 Tempest OTHER SYNTH 2 PR-F061702 X-Racer OTHER SYNTH 2 PR-F062703 TB Booster OTHER SYNTH 2 PR-F063704 Syn-Orch/Mod OTHER SYNTH 4 PR-F064No Name Category Voice (Preset#)705 Pressyn OTHER SYNTH 2 PR-F065706 High Five OTHER SYNTH 2 PR-F066707 4DaCommonManOTHER SYNTH 4 PR-F067708 Orgaenia OTHER SYNTH 5 PR-F068709 Sleeper OTHER SYNTH 4 PR-F069710 Sugar Synth OTHER SYNTH 5 PR-F070711 Ice Palace OTHER SYNTH 4 PR-F071712 Story Harp OTHER SYNTH 7 PR-F072713 LostParadise OTHER SYNTH 5 PR-F073714 Magnetic 5th OTHER SYNTH 2 PR-F074715 DigimaX OTHER SYNTH 2 PR-F075716 Exhale OTHER SYNTH 2 PR-F076717 X-panda OTHER SYNTH 2 PR-F077718 Saw Keystep OTHER SYNTH 2 PR-F078719 4mant Cycle OTHER SYNTH 1 PR-F079720 Modular OTHER SYNTH 2 PR-F080721 Angel Pipes OTHER SYNTH 2 PR-F081722 Wired Synth OTHER SYNTH 8 PR-F082723 Analog Dream OTHER SYNTH 3 PR-F083724 DCO Bell Pad OTHER SYNTH 4 PR-F084725 Cell Fanta OTHER SYNTH 3 PR-F085726 Juno 5th OTHER SYNTH 2 PR-F086727 DoubleBubble OTHER SYNTH 4 PR-F087728 Cell Comb BRIGHT PAD 3 PR-F088729 Super SynStr BRIGHT PAD 2 PR-F089730 80s Str BRIGHT PAD 8 PR-F090731 PhaseStrings BRIGHT PAD 2 PR-F091732 Voyager BRIGHT PAD 4 PR-F092733 Cosmic Rays BRIGHT PAD 4 PR-F093734 Stringship BRIGHT PAD 4 PR-F094735 Fat Stacks BRIGHT PAD 4 PR-F095736 Strings R Us BRIGHT PAD 2 PR-F096737 Electric Pad BRIGHT PAD 3 PR-F097738 Neo RS-202 BRIGHT PAD 2 PR-F098739 OB Rezo Pad BRIGHT PAD 3 PR-F099740 Synthi Ens BRIGHT PAD 4 PR-F100741 Giant Sweep BRIGHT PAD 2 PR-F101742 Mod Dare BRIGHT PAD 4 PR-F102743 Cell Space BRIGHT PAD 4 PR-F103744 Digi-Swell BRIGHT PAD 3 PR-F104745 Sonic Surfer BRIGHT PAD 2 PR-F105746 New Year Day BRIGHT PAD 4 PR-F106747 Polar Morn BRIGHT PAD 4 PR-F107748 Distant Sun BRIGHT PAD 4 PR-F108749 PG Chimes BRIGHT PAD 4 PR-F109750 Saturn Rings BRIGHT PAD 4 PR-F110751 Brusky BRIGHT PAD 4 PR-F111752 "2 Point 2" BRIGHT PAD 7 PR-F112753 2.2 Pad BRIGHT PAD 7 PR-F113754 two.two Pad BRIGHT PAD 4 PR-F114755 SaturnHolida BRIGHT PAD 2 PR-F115756 Neuro-Drone BRIGHT PAD 7 PR-F116757 In The Pass BRIGHT PAD 3 PR-F117758 Polar Night BRIGHT PAD 4 PR-F118759 Cell 5th BRIGHT PAD 3 PR-F119760 MistOver5ths BRIGHT PAD 4 PR-F120761 Gritty Pad BRIGHT PAD 1 PR-F121762 India Garden BRIGHT PAD 6 PR-F122763 BillionStars BRIGHT PAD 4 PR-F123764 Sand Pad BRIGHT PAD 2 PR-F124765 ReverseSweep BRIGHT PAD 2 PR-F125766 HugeSoundMod BRIGHT PAD 4 PR-F126767 Metal Swell BRIGHT PAD 5 PR-F127768 NuSoundtrack BRIGHT PAD 4 PR-F128229


Patch ListPR-G (Preset G Group)(CC#0 = 87, CC#32 = 70)No Name Category Voice (Preset#)769 Phat Strings BRIGHT PAD 4 PR-G001770 Soft OB Pad SOFT PAD 3 PR-G002771 SC Hollow SOFT PAD 4 PR-G003772 SC Sqr Pad SOFT PAD 4 PR-G004773 Silk Pad SOFT PAD 3 PR-G005774 WarmReso Pad SOFT PAD 2 PR-G006775 SC Soft Pad SOFT PAD 3 PR-G007776 Air Pad SOFT PAD 4 PR-G008777 Soft Breeze SOFT PAD 2 PR-G009778 JP Strings 1 SOFT PAD 3 PR-G010779 JP Strings 2 SOFT PAD 5 PR-G011780 DelayStrings SOFT PAD 3 PR-G012781 NorthStrings SOFT PAD 4 PR-G013782 SC Syn Str SOFT PAD 5 PR-G014783 Slow Saw Str SOFT PAD 2 PR-G015784 Syn Strings SOFT PAD 2 PR-G016785 OB Slow Str SOFT PAD 2 PR-G017786 Strings Pad SOFT PAD 2 PR-G018787 R&B SoftPad SOFT PAD 2 PR-G019788 Reso Pad SOFT PAD 3 PR-G020789 Phat Pad SOFT PAD 2 PR-G021790 SC PhaserPad SOFT PAD 2 PR-G022791 Mystic Str SOFT PAD 5 PR-G023792 Glass Organ SOFT PAD 3 PR-G024793 Wind Pad SOFT PAD 4 PR-G025794 Combination SOFT PAD 4 PR-G026795 HumanKindnes SOFT PAD 4 PR-G027796 BeautyPad SOFT PAD 4 PR-G028797 Atmospherics SOFT PAD 2 PR-G029798 Terra Nostra SOFT PAD 8 PR-G030799 OB Aaahs SOFT PAD 4 PR-G031800 Vulcano Pad SOFT PAD 5 PR-G032801 Cloud #9 SOFT PAD 3 PR-G033802 Organic Pad SOFT PAD 3 PR-G034803 Hum Pad SOFT PAD 4 PR-G035804 Vox Pad SOFT PAD 4 PR-G036805 Digital Aahs SOFT PAD 3 PR-G037806 Tri 5th Pad SOFT PAD 4 PR-G038807 SC MovinPad SOFT PAD 8 PR-G039808 Seq-Pad 1 SOFT PAD 8 PR-G040809 Follow SOFT PAD 2 PR-G041810 Consolament SOFT PAD 3 PR-G042811 Spacious Pad SOFT PAD 4 PR-G043812 JD Pop Pad SOFT PAD 3 PR-G044813 JP-8 Phase SOFT PAD 4 PR-G045814 Nu Epic Pad SOFT PAD 2 PR-G046815 Forever SOFT PAD 5 PR-G047816 Flange Dream SOFT PAD 4 PR-G048817 Evolution X SOFT PAD 2 PR-G049818 Heaven Pad SOFT PAD 3 PR-G050819 Angelis Pad SOFT PAD 4 PR-G051820 Juno-106 Str SOFT PAD 1 PR-G052821 JupiterMoves SOFT PAD 2 PR-G053822 Oceanic Pad SOFT PAD 2 PR-G054823 Fairy's Song SOFT PAD 4 PR-G055824 Borealis SOFT PAD 2 PR-G056825 JX Warm Pad SOFT PAD 2 PR-G057826 Analog Bgrnd SOFT PAD 3 PR-G058827 Choir Aahs 1 VOX 4 PR-G059828 Choir Aahs 2 VOX 4 PR-G060829 ChoirOoh/Aft VOX 4 PR-G061830 Angels Choir VOX 4 PR-G062831 Angelique VOX 4 PR-G063832 Gospel Oohs VOX 2 PR-G064No Name Category Voice (Preset#)833 Choir&Str VOX 7 PR-G065834 Aah Vox VOX 2 PR-G066835 Synvox VOX 2 PR-G067836 Uhmmm VOX 8 PR-G068837 Morning Star VOX 3 PR-G069838 Syn Opera VOX 4 PR-G070839 BeautifulOne VOX 4 PR-G071840 Ooze VOX 2 PR-G072841 Aerial Choir VOX 4 PR-G073842 3D Vox VOX 3 PR-G074843 Film Cue VOX 4 PR-G075844 Paradise VOX 4 PR-G076845 Sad ceremony VOX 8 PR-G077846 Lost Voices VOX 4 PR-G078847 Jazz Doos VOX 4 PR-G079848 Beat Vox VOX 1 PR-G080849 Talk 2 Me VOX 2 PR-G081850 FM Vox VOX 4 PR-G082851 Let's Talk! VOX 3 PR-G083852 Nice Kalimba PLUCKED 1 PR-G084853 Quiet River PLUCKED 4 PR-G085854 Teky Drop PLUCKED 4 PR-G086855 Pat is away PLUCKED 5 PR-G087856 SC Sitar 1 PLUCKED 4 PR-G088857 SC Sitar 2 PLUCKED 5 PR-G089858 Sitar on C PLUCKED 6 PR-G090859 Sitar Baby PLUCKED 1 PR-G091860 Elec Sitar PLUCKED 3 PR-G092861 Neo Sitar PLUCKED 2 PR-G093862 SaraswatiRvr PLUCKED 3 PR-G094863 Bosporus PLUCKED 3 PR-G095864 Santur Stack PLUCKED 4 PR-G096865 Aerial Harp PLUCKED 2 PR-G097866 Harpiness PLUCKED 2 PR-G098867 Skydiver PLUCKED 2 PR-G099868 TroubadorEns PLUCKED 4 PR-G100869 Jamisen PLUCKED 2 PR-G101870 Koto PLUCKED 8 PR-G102871 Monsoon PLUCKED 4 PR-G103872 Bend Koto PLUCKED 2 PR-G104873 LongDistance ETHNIC 1 PR-G105874 Ambi Shaku ETHNIC 3 PR-G106875 SC Lochscape ETHNIC 2 PR-G107876 SC PipeDream ETHNIC 4 PR-G108877 SC Far East ETHNIC 4 PR-G109878 Banjo FRETTED 2 PR-G110879 Timpani+Low PERCUSSION 4 PR-G111880 Timpani Roll PERCUSSION 2 PR-G112881 Bass Drum PERCUSSION 4 PR-G113882 Ambidextrous SOUND FX 2 PR-G114883 En-co-re SOUND FX 4 PR-G115884 Mobile Phone SOUND FX 1 PR-G116885 ElectroDisco BEAT&GROOVE 5 PR-G117886 Groove 007 BEAT&GROOVE 4 PR-G118887 In Da Groove BEAT&GROOVE 4 PR-G119888 Sweet 80s BEAT&GROOVE 4 PR-G120889 Autotrance BEAT&GROOVE 4 PR-G121890 Juno Pop BEAT&GROOVE 4 PR-G122891 Compusonic 1 BEAT&GROOVE 4 PR-G123892 Compusonic 2 BEAT&GROOVE 4 PR-G124893 80s Combo COMBINATION 3 PR-G125894 Analog Days COMBINATION 3 PR-G126895 Techno Craft COMBINATION 3 PR-G127896 Lounge Kit COMBINATION 2 PR-G128230


Patch ListGM (GM2 Group)No Name Category Voices LSB PC1 Piano 1 AC.PIANO 2 0 12 Piano 1w AC.PIANO 2 13 European Pf AC.PIANO 2 24 Piano 2 AC.PIANO 2 0 25 Piano 2w AC.PIANO 2 16 Piano 3 AC.PIANO 2 0 37 Piano 3w AC.PIANO 2 18 Honky-tonk AC.PIANO 2 0 49 Honky-tonk 2 AC.PIANO 2 410 E.Piano 1 EL.PIANO 1 0 511 St.Soft EP EL.PIANO 3 112 FM+SA EP EL.PIANO 3 213 Wurly EL.PIANO 1 314 E.Piano 2 EL.PIANO 4 0 615 Detuned EP 2 EL.PIANO 4 116 St.FM EP EL.PIANO 4 217 EP Legend EL.PIANO 4 318 EP Phase EL.PIANO 2 419 Harpsichord KEYBOARDS 2 0 720 Coupled Hps. KEYBOARDS 7 121 Harpsi.w KEYBOARDS 2 222 Harpsi.o KEYBOARDS 4 323 Clav. KEYBOARDS 2 0 824 Pulse Clav KEYBOARDS 2 125 Celesta KEYBOARDS 1 0 926 Glockenspiel BELL 1 0 1027 Music Box BELL 2 0 1128 Vibraphone MALLET 1 0 1229 Vibraphone w MALLET 1 130 Marimba MALLET 1 0 1331 Marimba w MALLET 1 132 Xylophone MALLET 1 0 1433 Tubular-bell BELL 1 0 1534 Church Bell BELL 1 135 Carillon BELL 4 236 Santur PLUCKED 4 0 1637 Organ 1 ORGAN 3 0 1738 Trem. Organ ORGAN 2 139 60's Organ 1 ORGAN 1 240 70's E.Organ ORGAN 2 341 Organ 2 ORGAN 3 0 1842 Chorus Or.2 ORGAN 3 143 Perc. Organ ORGAN 4 244 Organ 3 ORGAN 4 0 1945 Church Org.1 ORGAN 2 0 2046 Church Org.2 ORGAN 4 147 Church Org.3 ORGAN 6 248 Reed Organ ORGAN 3 0 2149 Puff Organ ORGAN 1 150 Accordion Fr ACCRDION 3 0 2251 Accordion It ACCRDION 3 152 Harmonica HARMONICA 2 0 2353 Bandoneon ACCRDION 3 0 2454 Nylon-str.Gt AC.GUITAR 1 0 2555 Ukulele AC.GUITAR 1 156 Nylon Gt.o AC.GUITAR 2 257 Nylon Gt.2 AC.GUITAR 1 358 Steel-str.Gt AC.GUITAR 4 0 2659 12-str.Gt AC.GUITAR 3 160 Mandolin AC.GUITAR 2 261 Steel + Body AC.GUITAR 4 362 Jazz Gt. EL.GUITAR 1 0 2763 Pedal Steel EL.GUITAR 1 164 Clean Gt. EL.GUITAR 1 0 28No Name Category Voices LSB PC65 Chorus Gt. EL.GUITAR 2 166 Mid Tone GTR EL.GUITAR 1 267 Muted Gt. EL.GUITAR 1 0 2968 Funk Pop EL.GUITAR 1 169 Funk Gt.2 EL.GUITAR 1 270 Jazz Man EL.GUITAR 1 371 Overdrive Gt DIST.GUITAR 2 0 3072 Guitar Pinch DIST.GUITAR 1 173 DistortionGt DIST.GUITAR 1 0 3174 Feedback Gt. DIST.GUITAR 2 175 Dist Rtm GTR DIST.GUITAR 2 276 Gt.Harmonics EL.GUITAR 2 0 3277 Gt. Feedback EL.GUITAR 1 178 Acoustic Bs. BASS 1 0 3379 Fingered Bs. BASS 3 0 3480 Finger Slap BASS 3 181 Picked Bass BASS 3 0 3582 Fretless Bs. BASS 2 0 3683 Slap Bass 1 BASS 2 0 3784 Slap Bass 2 BASS 3 0 3885 Synth Bass 1 SYNTH BASS 1 0 3986 SynthBass101 SYNTH BASS 1 187 Acid Bass SYNTH BASS 1 288 Clavi Bass SYNTH BASS 2 389 Hammer SYNTH BASS 2 490 Synth Bass 2 SYNTH BASS 3 0 4091 Beef FM Bass SYNTH BASS 2 192 RubberBass 2 SYNTH BASS 2 293 Attack Pulse SYNTH BASS 1 394 Violin STRINGS 1 0 4195 Slow Violin STRINGS 1 196 Viola STRINGS 1 0 4297 Cello STRINGS 1 0 4398 Contrabass STRINGS 1 0 4499 Tremolo Str STRINGS 4 0 45100 PizzicatoStr STRINGS 4 0 46101 Harp PLUCKED 2 0 47102 Yang Qin PLUCKED 3 1103 Timpani PERCUSSION 4 0 48104 Strings STRINGS 4 0 49105 Orchestra ORCHESTRA 7 1106 60s Strings STRINGS 4 2107 Slow Strings STRINGS 4 0 50108 Syn.Strings1 STRINGS 3 0 51109 Syn.Strings3 STRINGS 3 1110 Syn.Strings2 SOFT PAD 2 0 52111 Choir Aahs VOX 4 0 53112 Chorus Aahs VOX 4 1113 Voice Oohs VOX 4 0 54114 Humming VOX 4 1115 SynVox VOX 4 0 55116 Analog Voice VOX 2 1117 OrchestraHit HIT&STAB 2 0 56118 Bass Hit HIT&STAB 2 1119 6th Hit HIT&STAB 2 2120 Euro Hit HIT&STAB 2 3121 Trumpet AC.BRASS 2 0 57122 Dark Trumpet AC.BRASS 1 1123 Trombone AC.BRASS 1 0 58124 Trombone 2 AC.BRASS 2 1125 Bright Tb AC.BRASS 2 2126 Tuba AC.BRASS 1 0 59127 MutedTrumpet AC.BRASS 3 0 60128 MuteTrumpet2 AC.BRASS 1 1231


Patch ListNo Name Category Voices LSB PC129 French Horns AC.BRASS 3 0 61130 Fr.Horn 2 AC.BRASS 1 1131 Brass 1 AC.BRASS 4 0 62132 Brass 2 AC.BRASS 4 1133 Synth Brass1 SYNTH BRASS 4 0 63134 JP Brass SYNTH BRASS 4 1135 Oct SynBrass SYNTH BRASS 4 2136 Jump Brass SYNTH BRASS 3 3137 Synth Brass2 SYNTH BRASS 3 0 64138 SynBrass sfz SYNTH BRASS 2 1139 Velo Brass 1 SYNTH BRASS 2 2140 Soprano Sax SAX 1 0 65141 Alto Sax SAX 1 0 66142 Tenor Sax SAX 1 0 67143 Baritone Sax SAX 1 0 68144 Oboe WIND 3 0 69145 English Horn WIND 1 0 70146 Bassoon WIND 1 0 71147 Clarinet WIND 2 0 72148 Piccolo FLUTE 2 0 73149 Flute FLUTE 2 0 74150 Recorder FLUTE 1 0 75151 Pan Flute FLUTE 1 0 76152 Bottle Blow FLUTE 2 0 77153 Shakuhachi ETHNIC 2 0 78154 Whistle FLUTE 2 0 79155 Ocarina FLUTE 3 0 80156 Square Wave HARD LEAD 2 0 81157 MG Square HARD LEAD 1 1158 2600 Sine HARD LEAD 1 2159 Saw Wave HARD LEAD 2 0 82160 OB2 Saw HARD LEAD 1 1161 Doctor Solo HARD LEAD 2 2162 Natural Lead HARD LEAD 2 3163 SequencedSaw HARD LEAD 2 4164 Syn.Calliope SOFT LEAD 2 0 83165 Chiffer Lead SOFT LEAD 2 0 84166 Charang HARD LEAD 2 0 85167 Wire Lead HARD LEAD 2 1168 Solo Vox SOFT LEAD 2 0 86169 5th Saw Wave HARD LEAD 2 0 87170 Bass & Lead HARD LEAD 2 0 88171 Delayed Lead HARD LEAD 2 1172 Fantasia OTHER SYNTH 4 0 89173 Warm Pad SOFT PAD 1 0 90174 Sine Pad SOFT PAD 2 1175 Polysynth OTHER SYNTH 2 0 91176 Space Voice VOX 4 0 92177 Itopia VOX 3 1178 Bowed Glass SOFT PAD 3 0 93179 Metal Pad BRIGHT PAD 4 0 94180 Halo Pad BRIGHT PAD 3 0 95181 Sweep Pad SOFT PAD 3 0 96182 Ice Rain OTHER SYNTH 3 0 97183 Soundtrack SOFT PAD 5 0 98184 Crystal BELL 2 0 99185 Syn Mallet BELL 2 1186 Atmosphere AC.GUITAR 3 0 100187 Brightness OTHER SYNTH 4 0 101188 Goblin PULSATING 3 0 102189 Echo Drops BRIGHT PAD 2 0 103190 Echo Bell BRIGHT PAD 3 1191 Echo Pan BRIGHT PAD 2 2192 Star Theme BRIGHT PAD 3 0 104No Name Category Voices LSB PC193 Sitar PLUCKED 2 0 105194 Sitar 2 PLUCKED 5 1195 Banjo FRETTED 2 0 106196 Shamisen PLUCKED 2 0 107197 Koto PLUCKED 4 0 108198 Taisho Koto PLUCKED 3 1199 Kalimba PLUCKED 1 0 109200 Bagpipe ETHNIC 3 0 110201 Fiddle STRINGS 1 0 111202 Shanai ETHNIC 2 0 112203 Tinkle Bell BELL 3 0 113204 Agogo PERCUSSION 1 0 114205 Steel Drums MALLET 2 0 115206 Woodblock PERCUSSION 1 0 116207 Castanets PERCUSSION 1 1208 Taiko PERCUSSION 3 0 117209 Concert BD PERCUSSION 4 1210 Melo. Tom 1 PERCUSSION 1 0 118211 Melo. Tom 2 PERCUSSION 1 1212 Synth Drum PERCUSSION 1 0 119213 808 Tom PERCUSSION 1 1214 Elec Perc PERCUSSION 1 1215 Reverse Cym. PERCUSSION 1 0 120216 Gt.FretNoise AC.GUITAR 1 0 121217 Gt.Cut Noise AC.GUITAR 1 1218 String Slap AC.GUITAR 1 2219 Breath Noise SYNTH FX 1 0 122220 Fl.Key Click SYNTH FX 1 1221 Seashore SOUND FX 2 0 123222 Rain SOUND FX 2 1223 Thunder SOUND FX 1 2224 Wind SOUND FX 2 3225 Stream SOUND FX 2 4226 Bubble SOUND FX 2 5227 Bird SOUND FX 2 0 124228 Dog SOUND FX 1 1229 Horse-Gallop SOUND FX 1 2230 Bird 2 SOUND FX 1 3231 Telephone 1 SOUND FX 1 0 125232 Telephone 2 SOUND FX 1 1233 DoorCreaking SOUND FX 1 2234 Door SOUND FX 1 3235 Scratch SOUND FX 1 4236 Wind Chimes SOUND FX 2 5237 Helicopter SOUND FX 1 0 126238 Car-Engine SOUND FX 1 1239 Car-Stop SOUND FX 1 2240 Car-Pass SOUND FX 1 3241 Car-Crash SOUND FX 2 4242 Siren SOUND FX 1 5243 Train SOUND FX 1 6244 Jetplane SOUND FX 3 7245 Starship SOUND FX 4 8246 Burst Noise SOUND FX 2 9247 Applause SOUND FX 2 0 127248 Laughing SOUND FX 1 1249 Screaming SOUND FX 1 2250 Punch SOUND FX 1 3251 Heart Beat SOUND FX 1 4252 Footsteps SOUND FX 1 5253 Gun Shot SOUND FX 1 0 128254 Machine Gun SOUND FX 1 1255 Lasergun SOUND FX 1 2256 Explosion SOUND FX 2 3232


Rhythm Set ListUSER (User Group)PRST (Preset Group)GM (GM Group)No Name1 SonicCellKit2 WD Std Kit3 LD Std Kit4 TY Std Kit5 StandardKit16 StandardKit27 StandardKit38 Rock Kit 19 Rock Kit 210 Brush Jz Kit11 Orch Kit12 909 808 Kit13 Limiter Kit14 HipHop Kit 115 R&B Kit16 HiFi R&B Kit17 Machine Kit118 Kit-Euro:POP19 House Kit20 Nu Technica21 Machine Kit222 ArtificalKit23 Noise Kit24 Kick Menu25 Snare Menu26 Snr/Rim Menu27 HiHat Menu28 Tom Menu29 Clp&Cym&Hit30 FX/SFX Menu31 Percussion32 Scrh&Voi&Wld* Rhthm Set are common to Preset Groupand User Group.No Name1 SonicCellKit2 WD Std Kit3 LD Std Kit4 TY Std Kit5 StandardKit16 StandardKit27 StandardKit38 Rock Kit 19 Rock Kit 210 Brush Jz Kit11 Orch Kit12 909 808 Kit13 Limiter Kit14 HipHop Kit 115 R&B Kit16 HiFi R&B Kit17 Machine Kit118 Kit-Euro:POP19 House Kit20 Nu Technica21 Machine Kit222 ArtificalKit23 Noise Kit24 Kick Menu25 Snare Menu26 Snr/Rim Menu27 HiHat Menu28 Tom Menu29 Clp&Cym&Hit30 FX/SFX Menu31 Percussion32 Scrh&Voi&WldNo Name1 GM2 STANDARD2 GM2 ROOM3 GM2 POWER4 GM2 ELECTRIC5 GM2 ANALOG6 GM2 JAZZ7 GM2 BRUSH8 GM2 ORCHSTRA9 GM2 SFX233


Rhythm Set ListPrst:User:Note No.2829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 848586878889909192939495C7 96979899100101102103USER (User Group)/PRS (Preset Group)1 2 3 4 5 61 2 3 4 5 6SonicCellKit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2Dance KickDry Kick 1Snr RollPower KickAmb.Snr 2Power KickReg.PHHReg.KickSF Kick 1SF CStkSF SnrSF Snr GstSF RimRR F.TomReg.CHH 1SF L.TomReg.CHH 2SF M.TomReg.OHHSF MT FlmSF H.TomCrash Cym1aSF HT FlmRock Ride 1China CymbalSplash CymTamborine2Rock Crash 1Cowbell3Crash Cym1bCowbell2 LngRock Ride 2Conga 2H MtConga 2L MtConga 2H SlpConga 2H OpConga 2L OpTimbare 4Timbare 3Agogo 2 HiAgogo 2 LowCabasa 2Shaker 2Whistle ShrtWhistle LongGuiro 2 UpGuiro 2 DownClaves 2Wood Block2HWood Block2LCuica 2 LowCuica 2 HiTriangle MtTriangle OpCabasa2 CutDigiSpectrumWind ChimeWood Block2MCajon 2ConcertBDR&B KickDry Kick 2Old KickJazz DoosAgogo NoiseRock OHHJD AnklungsRock OHHCajon 3Cajon 1Mix Kick 4Gospel ClapBright ClapRock Rd CupCowbellCrash Cym 2Dance KickDry Kick 1Snr RollPower KickAmb.Snr 2Reg.Kick 2Reg.PHHReg.Kick 1WD KickWD CStkWD SnrSF Snr GstWD RimRR F.TomReg.CHH 1TY L.TomReg.CHH 2TY M.TomReg.OHHTY M.TomTY H.TomCrash Cym1aTY H.TomRock Ride 1China CymbalSplash CymTamborine 3Rock Crash 1Cowbell3Crash Cym1bCowbell2 LngRock Ride 2Conga Hi MtConga Lo MtConga Hi SlpConga Hi OpConga Lo OpTimbale HiTimbale LowMild Agogo HMild Agogo LCabasa UpMaracasWhistle ShrtWhistle LongGuiro ShortGuiro LongClavesWood Block HWood Block LCuica MuteCuica OpenTriangle MtTriangle OpCabasa CutDigiSpectrumWind ChimeWood Block MCajon 2ConcertBDR&B KickDry Kick 2Old KickJazz DoosAgogo NoiseRock OHHJD AnklungsRock OHHCajon 3Cajon 1Mix ClapGospel ClapBright ClapRock Rd CupCowbellCrash Cym 2Dance KickDry Kick 1Snr RollPower KickAmb.Snr 2Reg.Kick 2Reg.PHHReg.Kick 1LD KickLD CStkLD SnrReg.Snr GstLD RimRR F.TomReg.CHH 1LD L.TomReg.CHH 2LD M.TomReg.OHHLD M.TomLD H.TomCrash Cym1aLD H.TomRock Ride 1China CymbalSplash CymTamborine 3Rock Crash 1Cowbell3Crash Cym1CowbellRock Ride 2Conga 2H MtConga 2L MtConga 2H SlpConga 2H OpConga Lo OpTimbale 1Timbale 2Agogo 2 HiAgogo 2 LowCabasa 2Shaker 2Whistle ShrtWhistleGuiro 2 UpGuiro LongClaves 2Wood Block2HWood Block2LCuica 2 LowCuica 2 HiTriangle MtTriangle OpCabasa2 CutDigiSpectrumWind ChimeWood Block2MCajon 2ConcertBDR&B KickDry Kick 2Old KickJazz DoosAgogo NoiseRock OHHJD AnklungsRock OHHCajon 3Cajon 1Mix Kick 4Gospel ClapBright ClapRock Rd CupCowbellCrash Cym 2Dance KickDry Kick 1Snr RollPower KickAmb.Snr2 pPower KickReg.PHHReg.KickTY KickTY CStkTY SnrSF SnrGstTY RimRR F.TomReg.CHH 1TY L.TomReg.CHH 2TY M.TomReg.OHHTY M.TomTY H.TomCrash Cym 2TY H.TomRock Ride 1China CymbalSplash CymTamborine2Crash Cym1aCowbell3Crash Cym1bCowbell2 LngRock Ride 2Conga 2H MtConga 2L MtConga 2H SlpConga 2H OpConga 2L OpTimbare 4Timbare 3Agogo 2 HiAgogo 2 LowCabasa 2Shaker 1Whistle ShrtWhistle LongGuiro 2 UpGuiro 2 DownClaves 2Wood Block2HWood Block2LCuica 2 LowCuica 2 HiTriangle MtTriangle OpCabasa2 CutDigiSpectrumWind ChimeWood Block2MCajon 2ConcertBDR&B KickDry Kick 2Old KickJazz DoosAgogo NoiseRock OHHJD AnklungsRock OHHCajon 3Cajon 1TY Rim fGospel ClapBright ClapRock Rd CupCowbellCrash Cym 2MaxLow Kick2Rk CmpKickGospel ClapSweep BassSft Snr GstHipHop Kick2Reg.PHHReg.Kick 1Reg.Kick 2Reg.StickReg.Snr 2Reg.Snr GstReg.Snr 1Reg.F.TomReg.CHH 1Reg.L.TomReg.CHH 2Reg.M.Tom 1Reg.OHHReg.M.Tom 2Reg.H.Tom 1Crash Cym1Reg.H.Tom 2Rock RideChina CymbalRide EdgeTamborineCrash Cym2aCowbell LowCrash Cym2bCowbell HiRide BellConga Hi MtConga Lo MtConga LoConga Hi OpConga Lo OpTimbale HiTimbale LowAgogo Bell HAgogo Bell LCabasa UpMaracasWhistle ShrtWhistle LongGuiro ShortGuiro LongClavesWood Block HWood Block LCuica MuteCuica OpenTriangle MtTriangle OpCabasa CutCastanetBongo Hi MtBongo Hi SlpBongo Lo SlpBongo Hi OpBongo Lo OpCajon 1Cajon 2Cajon 3Vint Snr 2Shaker 3WD RimMix Kick 1Mix Kick 2Mix Kick 3Mix Kick 4Mix Kick 5Mix Clap 1Wind ChimeTibet CymbalCrotaleDance KickDry Kick 1Snr RollPower KickAmb.Snr 2pPower KickReg.PHHReg.Kick 1Reg.Kick 2Wild StickAmb.Snr 1Reg.Snr GstAmb.Snr 2Reg.F.TomReg.CHH 1Reg.L.TomReg.CHH 2Reg.M.TomReg.OHHReg.M.TomFlmReg.H.TomCrash Cym1aReg.H.TomFlmRock Ride 1China CymbalSplash CymTamborineRock Crash 1Cowbell HiCrash Cym1bCowbell LowRock Ride 2Conga Hi MtConga Lo MtConga Hi SlpConga Hi OpConga Lo OpTimbale HiTimbale LowMild Agogo HMild Agogo LCabasa UpMaracasWhistle ShrtWhistle LongGuiro ShortGuiro LongClavesWood Block HWood Block LCuica MuteCuica OpenTriangle MtTriangle OpCabasa CutDigiSpectrumWind ChimeWood Block MCajon 2ConcertBDR&B KickDry Kick 2Old KickJazz DoosAgogo NoiseRock OHHJD AnklungsRock OHHMix Kick 1Cajon 1Mix Kick 2Gospel ClapBright ClapRock Rd CupCowbellCrash Cym 2234


Rhythm Set ListPrst:User:Note No.2829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 848586878889909192939495C7 969798991001011021037 8 9 10 11 127 8 9 10 11 12StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 KitHipHop Kick2Syn Swt Atk1Lo-Bit Stk 1TR707 KickTR808 Snr 5Vint Kick 1Reg.PHHVint Kick 2Old Kick 1Lo-Bit Stk 4Reg.Snr 1Amb ClapTY RimJazz Lo Tom1Reg.CHH 1Jazz Lo Tom2Reg.CHH 2Jazz Mid TomReg.OHHJazz Mid TomJazz Hi TomCrash Cym1Jazz Hi TomRock Rd EdgeChina CymbalRock Rd CupTamborineSplash CymCowbellRock Crash 2TR808 CymJazz RideBongo HiBongo LoConga Hi MtConga HiConga LoTimbale HiTimbale LowCowbell HiCowbell LowCabasaShakerNoise OHH 2Scratch 5Syn Low Atk2MG Zap 3Syn Swt Atk1Syn Swt Atk4Bongo Hi SlpNoise OHHNoise CHHTriangle 1Triangle 2Cajon 1Cajon 3Wind ChimeSprgDrm HitCrotaleR8 ClickMetro BellDR202 BeepReverse CymXylo Seq.Vinyl NoiseMobile PhoneGroup SnapLaserSirenAnalogKick 3Old Kick 2Reg.KickTR909 Snr 4TR808 Snr 2Short Snr1Vint Snr 4R&B KickRk CmpKickSft Snr GstDry Kick 4Snr RollSH32 KickReg.PHHReg.Kick 1Reg.Kick 2Reg.StickReg.Snr2Reg.Snr GstReg.Snr1Reg.F.TomReg.CHH 1Reg.L.TomReg.CHH 2Reg.M.TomReg.OHHReg.M.TomFlmReg.H.TomCrash Cym1aReg.H.TomFlmRock Ride 1China CymbalSplash CymTamborineRock Crash 1Cowbell HiCrash Cym1bCowbell LowRock Ride 2Conga Hi MtConga Lo MtConga Hi SlpConga Hi OpConga Lo OpTimbale HiTimbale LowAgogo Bell HAgogo Bell LCabasa UpMaracasWhistle ShrtWhistle LongGuiro ShortGuiro LongClavesWood Block HWood Block LCuica MuteCuica OpenTriangle MtTriangle OpCabasa CutDigiSpectrumWind ChimeDist Chord 1Dist Chord 2Dist Chord 3Dist Chord 4Dist Chord 5Rock CHH 2Cowbell 2aRock CHH 1Cowbell 2bRock OHHFng.EB2 SldCajon 3Cajon 2Cajon 1Gospel ClapRock Crash 2Rock Rd CupClub FinSnapTR909 Snr 6MaxLow Kick2MaxLow Kick1LD Rim mfPower KickMix Clap 2Vint KickRock CHH2Rock KickRk CmpKickWild StickMaple SnrSft Snr GstReg.Snr1Sharp L.Tom1Rock CHH 1Sharp L.Tom2Reg.PHHSharp L.Tom3Rock OHHSharp H.Tom1Sharp H.Tom2Crash Cym1Sharp H.Tom3Ride CymbalChina CymbalRide BellTamborine 3Rock Crash 2Cowbell MuteSplash CymCowbellRock Rd CupConga Hi MtConga Lo MtConga Slp OpConga Hi OpConga Lo OpTimbale HiTimbale LowAgogo Bell HAgogo Bell LCabasa UpMaracasWhistle ShrtWhistle LongGuiro ShortGuiro LongClavesWood Block HWood Block LCuica MuteCuica OpenTriangle MtTriangle OpCabasa CutWind ChimeDist Chord 1Dist Chord 2Dist Chord 3Dist Chord 4Dist Chord 5Dist Chord 6Rock CHH 2Dist Chord 7DistGtr Nz 1DistGtr Nz 2DistGtr Nz 3JD SwitchCajon 3Cajon 2Cajon 1Real ClapGospel ClapTibet CymbalTamborine 1Tamborine 2TR909 Kick1aTR909 Kick1bJazz SnrReg.Kick 1Soft Jz RollReg.Kick 2Reg.PHHJazz Kick 1Jazz Kick 2Hard StickJazz RimJz Brsh SwshJazz SnrReg.F.Tom 1Reg.CHH 1Reg.L.Tom 1Reg.CHH 2Reg.M.Tom 1Reg.OHHReg.M.Tom 1Reg.H.Tom 1Jazz CrashReg.H.Tom 1Jazz Ride 1China Cym 1Ride EdgeTamborineCrash CymCowbell LowCrash CymCowbell HiRide BellConga Hi MtConga Lo MtConga Lo SlpConga Hi OpConga Lo OpTimbale HiTimbale LowAgogo Bell HAgogo Bell LCabasa UpMaracasJazz Kick 1Jazz Kick 2Hard StickJazz RimSft Snr GstJazz SnrReg.F.Tom 2Reg.CHH 1Reg.L.Tom 2Reg.CHH 2Reg.M.Tom 2Reg.OHHReg.M.TomFlmReg.H.Tom 2Jazz CymbalReg.H.TomFlmJazz Ride 2China Cym 2Cajon 1Cajon 2Cajon 3Vint Snr 2Shaker 3WD Rim fMix Kick 1Mix Kick 2Mix Kick 3Mix Kick 4Mix Kick 5Mix Clap 1Wind ChimeTibet CymbalCrotaleTimpani RollConcertBD 2R8 Shaker 1Jngl pkt SnrReverse CymSnr RollJazz RideTimpani RollConcertBD 1Hard StickAmb.Snr 2Gospel ClapConcert SDTimpani FTimpani F#Timpani GTimpani G#Timpani ATimpani A#Timpani BTimpani CTimpani C#Timpani DTimpani D#Timpani ETimpani fTamborine 3Concert CymCowbell MuteConcert Cym2Ride CymbalCrash Cym1Bongo Hi OpBongo Lo OpConga Hi MtConga Hi OpConga Lo OpTimbale HiTimbale LowAgogo Bell HAgogo Bell LCabasa UpMaracasWhistle ShrtWhistle LongGuiro ShortGuiro LongClavesWood Block HWood Block LCuica MuteCuica OpenTriangle MtTriangle OpCabasa CutFinger SnapWind ChimeTibet CymbalVibraslapCrotaleApplauseTubulrBel FTubulrBel F#TubulrBel GTubulrBel G#TubulrBel ATubulrBel A#TubulrBel BTubulrBel CTubulrBel C#TubulrBel DTubulrBel D#TubulrBel ETubulrBel fChurch Bell1Church Bell2TR909 Kick 2TR909 Kick 4Urbn Sn RollTR909 Kick 5TR909 Snr 3TR909 Kick 3TR909 PHH 2TR909 Kick 6TR909 Kick 1TR909 RimTR909 Snr 1TR909 Clap 1TR909 Snr 2TR909 Tom LTR909 CHH 1TR909 Tom LTR909 PHH 1TR909 Tom MTR909 OHH 2TR909 Tom MTR909 Tom HTR909 CrashTR909 Tom HTR909 Ride 1TR909 Crash1TR909 Ride 2CR78 Tamb 1TR909 Crash2JD Sm MetalTR909 Ride 3Syn Swt Atk3TR808 Kick 1TR808 Kick 2TR808 RimTR808 Snr 2TR808 Clap 2TR808 Snr 4TR808 Tom LTR808 CHH 1TR808 Tom LTR808 CHH 2TR808 Tom MTR808 OHH 1TR808 Tom MTR808 Tom HTR808CowbellTR808 Tom HTR606 CymTR606 OHH 1TR606 OHH 2CR78 Tamb 2CR78 OHH 1Cowbell MuteCR78 OHH 2Syn Swt Atk5TR808 OHH 2808 MaracasTR808 ClavesTriangle MtTriangle OpNarrow Hit 2TR808 Cym1MG Zap 4Scratch 1MG Zap 1TR606 Snr 2Synth SawDigi BreathTR808 Cym2TR808 Conga1TR808 Conga2Cajon 1Vint Snr 3Door CreakVint.PhoneDoor Creak235


Rhythm Set ListPrst:User:Note No.2829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 848586878889909192939495C7 9697989910010110210313 14 15 16 17 1813 14 15 16 17 18Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POPDance Kick 1HipHop Kick1WD CStkR&B Kick 1Wild StickDance Kick 2Hip PHHLD KickR&B Kick 2Lo-Bit Stk 2Wild StickDist ClapDR660 SnrReg.F.Tom pLo-Bit CHH 2Reg.F.Tom fLo-Bit CHH 4Reg.L.TomLo-Bit OHH 2Reg.L.TomFlmReg.H.TomCrash Cym 1Reg.H.TomFlmLo-Bit OHH 1TR606 Cym 2Jazz Ride 1Tamborine 1TR606 OHHVibraslapMix Kick 2Hip PHHMix Kick 2Rough KickDry StickGoodOld Snr5R8 ClapJngl pkt SnrTR808 TomNoise CHH 1TR808 TomNoise CHH 2TR606 Tom L1Lo-Bit OHH 2TR606 Tom L2TR606 Tom H1Crash Cym 2TR606 Tom H2Jazz Ride 2Splash CymRock Rd EdgeTamborine 3Guiro LongGospel ClapTibet CymbalWind ChimeMix Kick 1Mix Kick 2Mix Kick 4Vint Snr 1Vint Snr 2Vint Snr 3Vint Snr 4Noise CHHCR78 CHHNoise CHH 3Noise OHH 2Noise OHH 1HeartbeatScratch 2Scratch 5Scratch 1Scratch 4Scratch 6Mobile PhoneSweep Bass 1Sweep Bass 2PlasticKick2Group SnapSnr RollAnalogKick 3GoodOld Snr5Dist KickNoise CHHTR707 KickDry Kick 4Jazz RimDirty Snr 2Old ClapVint Snr 4aTR909 Tom LHipHop CHH 2Deep Tom LLo-Bit PHHTR909 Tom MLo-Bit OHH 2Deep Tom MTR909 Tom HCrash Cym1 pDeep Tom HRock Crash 1Rock Rd EdgeChina CymbalSnapTR808 Conga2Vint Snr 4TR808CowbellGuiro LongGuiro 2Guiro 1Shaker 3Noise CHHCabasa 2VibraslapMix Kick 2Dist SnrSweep BassShort Snr1CR78 CHHShaker 2CR78 TambNoise OHHSlight BellTibet CymbalWind ChimeScratch 2Scratch 1Scratch 10Scratch 9Smear Hit 2Lofi Min HitThin BeefDist HitNarrow Hit 2MG AttackMG Zap 9Mix Clap 3R8 ShakerCabasa DownCabasa CutMaxLow Kick1MaxLow Kick2Lo-Bit Snr 1Dance CHHWild StickMC500 Beep 1MC500 Beep 2Gospel ClapTR606 CymChina CymbalRock Crash 2CR78 OHHConcert Cym70's KickAnalogKick 6Urbn Sn RollHipHop Kick2R&B ShrtSnr1Old KickHipHop CHHEuroHit KickTR909 Kick 1Dry Stick 4Dirty Snr 2Maple SnrShort Snr2TR808 Tom 1TR606 CHH 2Reg.F.TomTR909 CHH 2TR808 Tom 2Lo-Bit OHH 2Reg.M.TomTR808 Tom 3Rock Crash 1Reg.H.TomSplash CymRock Rd EdgeConcert CymCheap ClapSnapLo-Bit Snr 2Wood BlockShaku NoiseSyn Hrd Atk1JD MetalWindMaracasCabasa UpCabasa DownCabasa CutTamborine 1Tamborine 2Tamborine 1Triangle MtTriangle OpXylo Seq.Philly HitLoFi Min HitVinyl NoiseCajon 1Cajon 2Cajon 3Conga Hi MtConga Lo MtConga Hi SlpConga Lo SlpConga Hi OpConga Lo OpConga Slp OpConga EfxConga ThumbNoise OHHShaker 3CastanetCR78 BeatCR78 OHHCR78 CHHLite OHHCR78 TambJD Vox NoiseGuiro 2 FastMetro ClickMetro BellWind ChimeCrotaleCrash Cym1 pTR909 CrashCR78 OHHRev.Lite OHHMaxLow Kick2FB KickRough Kick1aMaxLow Kick1Rough Kick3Rk CmpKickTR909 Kick 5Rough Kick1bR&B KickHard StickGoodOld Snr3GoodOld Snr4GoodOld Snr2Lo-Bit Snr 1Noise CHHJazz SnrHip PHHLo-Bit Snr 2Reg.OHHVint Snr 2WD SnrTR808 Cym 1GoodOld Snr6TR606 Cym 2White NoiseBright FormCR78 TambSBF Hrd Ld 1JD Sm MetalTR808 Cym 2Syn Swt Atk3TR909 Kick4aTR909 Kick4bTR808 RimTR808 Snr 2TR808 Clap 2TR808 Snr 4TR808 Tom 4TR808 CHH 1TR808 Tom 3TR808 CHH 2TR808 Tom 2TR808 OHH 1TR808 Tom 1Scratch 3Scratch 4Scratch 5Scratch 6Old ClapHand ClapR8 ClapCabasa CutR8 ShakerTamborine 2Cabasa DownCabasa CutTibet CymbalCrotaleSlight BellWind ChimeTriangle 1Mild CanWaveCheap ClapJD PlunkSyn Swt Atk2DistGtr Nz 2RiverBubbleTrain PassLoFi Min HitPink NoiseAgogo NoiseSynVox Nz 1SynVox Nz 2R8 ClickSyn Swt Atk1TR909 Kick 2TR909 Kick 4Light SnrMix Kick 5DR660 SnrMix Kick 2TR808 PHHAnalogKick 670's Kick 1TR808 RimJngl pktSnr1Funk ClapJngl pktSnr2MG AttackTR808 CHH 1MG AttackTR808 PHHMG BlipTR808 OHH 1MG BlipBeam HiQTR606 Cym 2aBeam HiQLo-Bit OHH1aTR606 Cym 2Lo-Bit OHH1bCR78 Tamb 1TR606 Cym 2bJD Sm Metal1Lo-Bit OHH1cSyn Swt Atk3AnalogKick 670's Kick 2R8 Comp RimPocket SnrTR909 Clap 2Vint Snr 4TR606 Tom LDance CHHTR606 Tom LLo-Bit CHH 1TR606 Tom MReg.OHHTR606 Tom MTR606 Tom HTR909 Crash1TR606 Tom HLite OHH 1TR909 Crash2Lite OHH 2CR78 Tamb 2TR909 CrashJD Sm Metal2Lite OHH 3Syn Swt Atk1TR808 OHH 2808 MaracasTR808 ClavesTriangle MtTriangle OpNarrow Hit 2Euro HitMG Zap 4Scratch 1MG Zap 1TR606 Snr 2Synth SawDigi BreathDigiSpectrumShaker 3Conga 2H SlpCajon 1Vint Snr 3Door Creak 1Vint.PhoneDoor Creak 2TR707 KickAnalogKick 1Dirty Snr 6FB KickBrushRollPlasticKick2Reg.CHH 2Power KickTR909 Kick 6R&B ShrtRim1TR909 Snr 3TR909 Clap 1TR909 Snr 4aSharp L.Tom2TR909 CHH 1Sharp L.Tom1TR909 PHH 1Sharp M.TomTR909 OHH 2Sharp M.TomSharp H.TomTR909 CrashSharp H.TomTR909 RideChina CymbalRock Rd EdgeTamborine 3Crash Cym1 pCowbellRock Crash 2VibraslapTR606 Cym 2Bongo Lo OpBongo Hi OpConga Hi MtConga Hi OpConga Lo OpConga EfxShaker 3Shaker 2CR78 BeatCabasa Cut 1Cabasa Cut 2Lo-Bit PHHScratch 7Syn Low Atk2MG Zap 7Syn Swt Atk1Syn Swt Atk4Conga ThumbTriangle 1Triangle 2Euro Hit 1Tao HitNarrow Hit 2Euro Hit 2Wind ChimeTimpani RollCrotaleR8 ClickMetro BellMC500 Beep 1MC500 Beep 2AtmosphereAgogo NoiseCar SlipGroup SnapLaserConcertBDAnalogKick 3Old KickReg.KickTR909 Snr 4bTR808 Snr 2Vint Snr 4Light Snr236


Rhythm Set ListPrst:User:Note No.2829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 848586878889909192939495C7 9697989910010110210319 20 21 22 23 2419 20 21 22 23 24House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick MenuTR909 Kick 3SH32 KickUrbn Sn RollTR909 Kick 2TR909 Snr 6TR909 Kick 5TR909 PHH 2TR909 Kick4aTR909 Kick4bTR909 RimTR909 Snr 4TR909 Clap 2TR909 Snr 5TR909 Tom LTR909 CHH 2TR909 Tom LTR909 PHH 2TR909 Tom MTR909 OHH 2TR909 Tom MTR909 Tom HTR909 Crash1TR909 Tom HTR909 Ride 1TR909 Crash2TR909 Ride 2CR78 TambMG Zap 4JD Sm MetalMG Zap 5Syn Swt Atk3AnalogKick 2TR909 Kick 2TR909 RimTR909 Snr 1TR909 Clap 1TR909 Snr 2TR909 D.TomLTR909 CHH 1TR909 D.TomLTR808 CHH 2TR909 D.TomMTR909 OHH 1TR909 D.TomMTR909 D.TomHTR909 Crash3TR909 D.TomHTR909 Ride 3TR909 Crash4TR909 Ride 4Tamborine 2MG Zap 2Cowbell LowMG Zap 6Cowbell HiMG Zap 7Conga Hi MtConga Lo MtConga Lo SlpConga Hi OpConga Lo OpTimbale HiTimbale LowAgogo Bell HAgogo Bell LCabasa DownMaracasGuiro ShortGuiro LongClavesWood Block LWood Block HTriangle MtTriangle OpCastanetWhistleSH32 Kick 1JD EML 5th 1AnalogKick 6TR909 Kick 5Plastic Kc3aR&B KickTR707 KickPlastic Kc3bSH32 Kick 2TR909 Snr 5Syn Mtl Atk2Flange SnrTR909 Snr 3Dance CHHTR606DstCHH1TR909 PHH 2TR606 PHH 2aTR909 OHH 1Lite OHHRock Rd CupSyn Hrd Atk4MG Zap 7aMG Zap 9MG Zap 8MG Zap 10HipHop CHH 2Syn Swt Atk3Reg.PHHSyn Swt Atk6HipHop OHHTR909 OHH 2TR909 R.CrshTR909 CrashRock Crash 1MG Zap 2MG Zap 9Smear Hit 2Low SquareJD WoodCrak1Piano Atk NzJD WoodCrak2DR202 Beep 1JD WoodCrak3Syn Pulse 2DR202 Beep 2Narrow Hit2aE.Gtr HarmNarrow Hit2bEuro HitJazz Lo Tom1TR909 D.TomLJazz Lo Tom2TR909 D.TomMJazz Lo Tom3TR909 D.TomHAnalogKick 3AnalogKick 5Club ClapTR808 Snr 7TR808 Snr 3TR909 Snr 6aTR909 CHH 2TR606DstCHH2Dance CHHTR606 PHH 2bTR909 OHH 2TR606 OHHCR78 OHHJuno Sqr HDTR909 Snr 6bTR808 KickJD EML 5th 2TR707 ClapDist ClapMG Zap 5MG Zap 7bAnalogKick 5AnalogKick6aAnalog Snr 1AnalogKick1aTR808 Snr 4FB KickTR808 PHHAnalogKick6bAnalogKick6cR&B ShrtRim2TR909 Snr 1TR707 ClapLo-Bit Snr 2Deep Tom LTR606 CHH 1Deep Tom LTR606 PHH 1Deep Tom MTR909 OHH 2Deep Tom MDeep Tom HLite OHHDeep Tom HTR808 OHH 1TR606 Cym 2aTR909 Ride 1CR78 TambTR606 Cym 2bJD Sm MetalTR909 Ride 2Syn Swt Atk3AnalogKick1bAnalogKick 4Urbn SnRoll1Analog Snr 2Dist ClapAnalog Snr 3R8 ShakerTR909 CHH 2R8 ShakerTR909 PHH 2Syn Hrd Atk1TR909 OHH 2SynHrd Atk1aSynHrd Atk1bTR909 CrashSynHrd Atk1cTR909 Ride 3TR909 CrashTR909 Ride 1CR78 TambMG Zap 2JD Sm MetalMG Zap 6Syn Swt Atk1MG Zap 7808 MaracasTR808 ClavesTriangle MtTriangle OpEuro HitScratch 4Brt Strat CCrotaleMG Zap 4Urbn SnRoll2Calc.SawWhite NoiseBlow LoopShaker 2Shaker 3Cajon 1Euro HitLaughOffice PhoneDoor CreakTR909 Kick 2AnalogKick 2TR808 Snr 5TR909 Kick 3Vint Snr 3FB KickTR606 Cym 2aAnalogKick 3TVF TriggerTR909 RimTR909 Snr 1ClaptailTR909 Snr 3TR909 Tom L2TR909 CHH 1TR909 Tom L1TR909 PHH 1TR909 Tom M2TR909 OHH 2TR909 Tom M1TR909 Tom H2TR909 CrashTR909 Tom H1TR909 RideWhite Noise1CR78 BeatTamborine 3AtmosphereCowbell MuteSyn Swt Atk1CowbellReverse CymAnalogKick 5Metal Vox W1Metal Vox W2Metal Vox W3White Noise2White Noise3TR606 Cym 2bMG BlipMG Blip Rev.DigiSpectrumIce CrashMetal Vox L2Thin BeefLoFi Min HitTrance SawTB DstSqrFinger SnapConga Slp OpConga Lo OpConga Hi OpTriangle MtTriangle OpCabasa CutR8 ShakerAnalogKick 1PlasticKick2PlasticKick3TR909 Kick 1AnalogKick 4AnalogKick 6TR909 Snr 2TR909 Snr 4TR909 Snr 5TR909 Snr 6TR808 Snr 1TR808 Snr 2TR808 CHH 1TR808 OHH 1TR909 CHH 2TR909 OHH 2Lite CHHLite OHHTR606 Cym 2cChina CymbalTR909 Kick 2TR909 Kick 4Urbn SnRoll1TR909 Kick 5Door Creak 1TR909 Kick 1SynSwt Atk7aCajon 3aCajon 3bLaserDoor Creak2aTrain PassDoor Creak2bSyn Swt AtkLSynSwt Atk7bSyn Swt AtkLSyn Mtl Atk2Syn Swt AtkMWhite NoiseSyn Swt AtkMSyn Swt AtkHSyn Mtl Atk1Syn Swt AtkHSynLow Atk1aCrotale 1Laser 1MG Zap 11Laser 2MG Zap 4aDigi Loop 1MG Zap 6aSynLow Atk2aSynLow Atk2bMG AttackSyn Hrd Atk4Train PassSyn Mtl Atk1Syn Swt AtkLSyn Swt Atk7Syn Swt AtkLSyn Mtl Atk2Syn Swt AtkMDigiSpectrumSyn Swt AtkMSyn Swt AtkHDigi Loop 1Syn Swt AtkHSynLow Atk1bCrotale 2Laser 3MG Zap 11Laser 4MG Zap 4bCrotale 3MG Zap 6bSyn Low Atk2808 MaracasTR808 ClavesTriangle MtTriangle OpDry Lo TomConga ThumbFunk GtrDigi Loop 1MG Zap 4cUrbn SnRoll2Sweep SawWhite NoiseMonsoonShaker 3ScreamCajon 1Euro HitLaughConcertBDTimpani-----------------------------------Reg.Kick pReg.Kick fReg.Kick ffRock Kick pRock Kick fJazz Kick pJazz Kick mfJazz Kick fDry Kick 1Tight KickOld KickJz Dry KickDry Kick 2Dry Kick 3Power KickR&B Kick LRk CmpKickDance KickHipHop Kick1HipHop Kick2TR909 Kick 1TR808 KickTR909 Kick 4WD Kick mfWD Kick fWD Kick ffLD Kick mfLD Kick fLD Kick ffTY Kick mfTY Kick fTY Kick ffSF Kick 1SF Kick 2MaxLow Kick1MaxLow Kick2Dist KickFB KickRough Kick1Rough Kick2Rough Kick3PlasticKick170's KickAnalogKick 1PlasticKick2PlasticKick3TR909 Kick 2AnalogKick 2TR909 Kick 3AnalogKick 3AnalogKick 4AnalogKick 5AnalogKick 6TR606DstKickTR909 Kick 5SH32 KickTR707 KickTR909 Kick 6Mix Kick 1Mix Kick 2Mix Kick 3Mix Kick 4Mix Kick 5Dry Kick 4Sweep BassVint KickSmall Kick----------237


Rhythm Set ListPrst:User:Note No.2829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 848586878889909192939495C7 9697989910010110210325 26 27 28 29 3025 26 27 28 29 30Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX Menu-----------------------------------Reg.Snr1 pReg.Snr1mfReg.Snr1 fReg.Snr1ffReg.Snr2 pReg.Snr2 fReg.Snr2ffAmb.Snr1 pAmb.Snr1 fAmb.Snr2 pAmb.Snr2 fPiccolo SnrMaple SnrReg.Snr GstSft Snr GstJazz Snr pJz Brsh SlapJz Brsh SwshSwish&Turn pSwish&Turn fConcert SDSnr Roll LpBrushRoll LpWD Snr pWD Snr mfWD Snr fWD Snr ffWD Rim pWD Rim mfWD Rim fWD Rim ffLD Snr pLD Snr mfLD Snr fLD Snr ffLD Rim mfLD Rim fLD Rim ffTY Snr pTY Snr mfTY Snr fTY Snr ffTY Rim pTY Rim mfTY Rim fTY Rim ffSF Snr pSF Snr mfSF Snr fSF Snr ffSF SnrGst1SF SnrGst2SF Rim pSF Rim mfSF Rim fSF Rim ffLight Snr ffClick Snr pClick Snr ffJazz Snr mfJazz Snr fJazz Rim pSoft Jz Roll-----------------------------------------------------------------GoodOld Snr1GoodOld Snr2GoodOld Snr3GoodOld Snr4GoodOld Snr5GoodOld Snr6Dirty Snr 1Dirty Snr 2Dirty Snr 4Dirty Snr 5Dirty Snr 6Dirty Snr 7Grit Snr 1Grit Snr 2Grit Snr 3LoBit SnrFlmLo-Bit Snr 1Dirty Snr 3Lo-Bit Snr 2Analog Snr 1Tiny SnareR&B ShrtSnr1TR808 Snr 1TR808 Snr 2TR808 Snr 3TR606 Snr 1MrchCmp SnrReggae SnrDR660 SnrJngl pkt SnrPocket SnrFlange SnrAnalog Snr 2Analog Snr 3TR909 Snr 1TR909 Snr 2TR909 Snr 3TR909 Snr 4TR909 Snr 5TR909 Snr 6TR808 Snr 4Lite SnareTR808 Snr 5TR808 Snr 6TR606 Snr 2CR78 SnareUrbn Sn RollReg.StickSoft StickHard StickWild StickR&B ShrtRim1R&B ShrtRim2WD CStk mfWD CStk fLD CStk mfLD CStk fTY CStk mfTY CStk fSfCrsStk pSfCrsStk fLo-Bit Stk 1Lo-Bit Stk 2Dry Stick 1Dry Stick 2Dry Stick 3R8 Comp RimTR909 RimTR808 Rim-----------------------------------Reg.CHH 1 pReg.CHH 1 mfReg.CHH 1 fReg.CHH 1 ffReg.CHH 2 mfReg.CHH 2 fReg.CHH 2 ffReg.PHH mfReg.PHH fReg.OHH mfReg.OHH fReg.OHH ffRock CHH1 mfRock CHH1 fRock CHH2 mfRock CHH2 fRock OHHLo-Bit CHH 1Lo-Bit CHH 2Lo-Bit CHH 3Lo-Bit CHH 4Lo-Bit CHH 5HipHop CHHTR909 CHH 1TR909 CHH 2TR808 CHH 1TR808 CHH 2TR606 CHH 1TR606 CHH 2TR606 DstCHHNoise CHHLite CHHCR78 CHHDance CHHLo-Bit PHHHip PHHTR909 PHH 1TR909 PHH 2TR808 PHHTR606 PHH 1TR606 PHH 2HipHop OHHTR909 OHH 1TR909 OHH 2TR808 OHH 1TR808 OHH 2TR606 OHHLo-Bit OHH 1Lo-Bit OHH 2Lo-Bit OHH 3Lite OHHCR78 OHHNoise OHH 1Noise OHH 2--------------------------------------------------------------------------------------------------------------Reg.F.Tom pReg.F.Tom fReg.L.Tom pReg.L.Tom fReg.M.Tom pReg.M.Tom fReg.H.Tom pReg.H.Tom fReg.L.TomFlmReg.M.TomFlmReg.H.TomFlmJazz Lo TomJazz Mid TomJazz Hi TomJazz Lo FlmJazz Mid FlmJazz Hi FlmSharp Lo TomSharp Hi TomDry Lo TomTR909 TomTR909 DstTomTR808 TomTR606 TomDeep TomRR F.Tom mpRR F.Tom fRR F.Tom ffLD L.Tom mfLD L.Tom fLD L.Tom ffLD M.Tom mfLD M.Tom fLD M.Tom ffLD H.Tom mfLD H.Tom fLD H.Tom ffTY L.Tom mfTY L.Tom fTY L.Tom ffTY M.Tom mfTY M.Tom fTY M.Tom ffTY H.Tom mfTY H.Tom fTY H.Tom ffSF L.Tom mfSF L.Tom ffSF M.Tom mfSF M.Tom fSF M.Tom ffSF H.Tom mfSF H.Tom fSF H.Tom ffRR FT Flm ffSF LT Flm ffSF MT Flm fSF HT Flm pSF HT Flm fSF HT Flm ff--------------------------------------------------------------------------------Hand ClapClub ClapReal ClapBright ClapR8 ClapGospel ClapAmb ClapTR808 Clap 1TR808 Clap 2TR909 Clap 1TR909 Clap 2TR707 ClapCheap ClapMix Clap 1Mix Clap 2Mix Clap 3Mix Clap 4Dist ClapDist Clap 2Crash Cym1 pCrash Cym1 fCrash Cym 2Rock Crash 1Rock Crash 2Splash CymJazz CrashRide CymbalRide BellRock Rd CupRock Rd EdgeJazz Ride pJazz Ride mfChina CymbalTR909 CrashTR909 RideConcert Cym1Concert Cym2TR606 CymTR808 CymReverse CymClassicHseHtNarrow Hit 1Narrow Hit 2Euro HitDist HitThin BeefTao HitSmear Hit 1Smear Hit 2LoFi Min HitOrch. HitPunch HitO'Skool HitPhilly Hit--------------------------------------------------------------------------------------------------------------MG Zap 1MG Zap 2MG Zap 3MG Zap 4MG Zap 5MG Zap 6MG Zap 7MG Zap 8MG Zap 9MG Zap 10MG Zap 11MG BlipBeam HiQMG AttackSyn Low Atk1Syn Low Atk2Syn Hrd Atk1Syn Hrd Atk2Syn Hrd Atk3Syn Hrd Atk4Syn Mtl Atk1Syn Mtl Atk2Syn Swt Atk1Syn Swt Atk2Syn Swt Atk3Syn Swt Atk4Syn Swt Atk5Syn Swt Atk6Syn Swt Atk7R8 ClickMC500 Beep 1MC500 Beep 2DR202 BeepJD SwitchCutting NzVinyl NoiseApplauseRiverThunderMonsoonStreamBubbleBird SongDog BarkGallopVint.PhoneOffice PhoneMobile PhoneDoor CreakDoor SlamCar EngineCar SlipCar PassCrash Seq.Gun ShotSirenTrain PassAirplaneLaughScreamPunchHeartbeatFootstepsMachine GunLaserThunder LpMetro BellMetro Click-----238


Rhythm Set ListPrst:User:Note No.2829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 848586878889909192939495C7 9697989910010110210331 3231 32PercussionScrh&Voi&WldCowbell-----Cowbell Mute -----Cowbell2 Lng -----Cowbell2 Edg -----Cowbell3 mf -----Cowbell3 f-----Wood Block -----Wood Block2H Scratch 1Wood Block2L Scratch 2ClavesScratch 3TR808 Claves Scratch 4Claves 2Scratch 5CR78 BeatScratch 6CastanetScratch 7WhistleScratch 9Whistle Long Scratch 10Whistle Shrt Aah FormantBongo Hi Mt Eeh FormantBongo Hi Slp Iih FormantBongo Lo Slp Ooh FormantBongo Hi Op Uuh FormantBongo Lo Op Metal Vox W1Conga Hi Mt Metal Vox W2Conga Lo Mt Metal Vox W3Conga Hi Slp JD Gamelan 1Conga Lo Slp JD Gamelan 2Conga Hi Op JD Gamelan 3Conga Lo Op JD Gamelan 4Conga Slp Op JD Gamelan 5Conga EfxJD Gamelan 6Conga Thumb JD Gamelan 7Conga 2H Op JD Gamelan 8Conga 2H Mt JD Gamelan 9Conga 2H Slp JD Gamelan10Conga 2L Op JD Gamelan11Conga 2L Mt JD Gamelan12Timbale 1Cajon 1Timbale 2Cajon 2Timbare 3Cajon 3Timbare 4Cajon 4Cabasa Up SprgDrm HitCabasa Down CuicaCabasa Cut Cuica 2 HiCabasa2Cuica 2 LowCabasa2 Cut -----Shaker-----Maracas-----808 Maracas -----R8 Shaker-----Guiro 1-----Guiro 2-----Guiro Long-----Guiro 2 Up -----Guiro 2 Down -----Guiro 2 Fast -----Vibraslap-----Tamborine 1 -----Tamborine 2 -----Tamborine 3 -----Tamborine4 f -----Tamborine4 p -----CR78 Tamb -----Timpani p-----Timpani f-----Timpani Roll -----Timpani Lp-----ConcertBD p -----ConcertBD f -----ConcertBD ff -----ConcertBD Lp -----Triangle 1Op -----Triangle 1Mt -----Triangle 2-----Tibet Cymbal -----Wind Chime -----Crotale-----239


Rhythm Set ListNote No.272829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 8485868788GM (GM2 Group)1(PC: 1) 2(PC: 9) 3(PC: 17) 4(PC: 25) 5(PC: 26) 6(PC: 33)GM2 STANDARD GM2 ROOM GM2 POWER GM2 ELECTRIC GM2 ANALOG GM2 JAZZHigh QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellKick Drum 2Kick Drum 1Side StickAco.SnareHand ClapElec.SnareLow Tom 2ClosedHi-hatLow Tom 1Pedal Hi-hatMid Tom 2Open Hi-hatMid Tom 1High Tom 2CrashCymbal1High Tom 1Ride Cymbal1China CymbalRide BellTambourineSplashCymbalCowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----High QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellKick Drum 2Kick Drum 1Side StickAco.SnareHand ClapElec.SnareRoom LowTom2ClosedHi-hatRoom LowTom1Pedal Hi-hatRoom MidTom2Open Hi-hatRoom MidTom1Room Hi Tom2CrashCymbal1Room Hi Tom1Ride Cymbal1China CymbalRide BellTambourineSplashCymbalCowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----High QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellPower Kick 2Power Kick 1Side StickPowerSnareDrHand ClapElec.SnarePowerLowTom2ClosedHi-hatPowerLowTom1Pedal Hi-hatPowerMidTom2Open Hi-hatPowerMidTom1Power HiTom2CrashCymbal1Power HiTom1Ride Cymbal1China CymbalRide BellTambourineSplashCymbalCowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----High QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellKick Drum 2Elec.Kick 1Side StickE.SnareDrum1Hand ClapE.SnareDrum2E.Low Tom 2ClosedHi-hatE.Low Tom 1Pedal Hi-hatE.Mid Tom 2Open Hi-hatE.Mid Tom 1E.Hi Tom 2CrashCymbal1E.Hi Tom 1Ride Cymbal1Reverse Cym.Ride BellTambourineSplashCymbalCowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----High QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellKick Drum 2Ana.Kick 1Ana.Rim ShoAna.Snare 1Hand ClapElec.SnareAna.Low Tom2Ana.ClosedHHAna.Low Tom1Ana.ClosedHHAna.Mid Tom2Ana.Open HHAna.Mid Tom1Ana.Hi Tom2Ana.CymbalAna.Hi Tom1Ride Cymbal1China CymbalRide BellTambourineSplashCymbalAna.CowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoAna.Hi CongaAna.MidCongaAna.LowCongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaAna.MaracasShortWhistleLong WhistleShort GuiroLong GuiroAna.ClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----High QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellJazz Kick 2Jazz Kick 1Side StickAco.SnareHand ClapElec.SnareLow Tom 2ClosedHi-hatLow Tom 1Pedal Hi-hatMid Tom 2Open Hi-hatMid Tom 1High Tom 2CrashCymbal1High Tom 1Ride Cymbal1China CymbalRide BellTambourineSplashCymbalCowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----240


Rhythm Set ListNote No.272829303132333435C2 363738394041424344454647C3 484950515253545556575859C4 606162636465666768697071C5 727374757677787980818283C6 84858687887(PC: 41)GM2 BRUSH8(PC: 49)GM2 ORCHSTRA9(PC: 57)GM2 SFXHigh QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellJazz Kick 2Jazz Kick 1Side StickBrush TapBrush SlapBrush SwirlBrushLowTom2ClosedHi-hatBrushLowTom1Pedal Hi-hatBrushMidTom2Open Hi-hatBrushMidTom1Brush HiTom2CrashCymbal1Brush HiTom1Ride Cymbal1China CymbalRide BellTambourineSplashCymbalCowbellCrashCymbal2Vibra-slapRide Cymbal2High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen Surdo-----ClosedHi-hatPedal Hi-hatOpen Hi-hatRide Cymbal1SticksSquare ClickMetron ClickMetron BellConcert BD 2Concert BD 1Side StickConcert SDCastanetsConcert SDTimpani FTimpani F#Timpani GTimpani G#Timpani ATimpani A#Timpani BTimpani cTimpani c#Timpani dTimpani d#Timpani eTimpani fTambourineSplashCymbalCowbellConcert Cym2Vibra-slapConcert Cym1High BongoLow BongoMuteHi CongaOpenHi CongaLow CongaHigh TimbaleLow TimbaleHigh AgogoLow AgogoCabasaMaracasShortWhistleLong WhistleShort GuiroLong GuiroClavesHi WoodBlockLowWoodBlockMute CuicaOpen CuicaMuteTriangleOpenTriangleShakerJingle BellBell TreeCastanetsMute SurdoOpen SurdoApplause------------------------------------------------------------High QSlapScratch PushScratch PullSticksSquare ClickMetron ClickMetron BellGtFret NoiseCut Noise UpCut Noise DwSlap_St.BassFl.Key ClickLaughingScreamPunchHeart BeatFootsteps 1Footsteps 2ApplauseDoor CreakDoorScratchWind ChimesCar-EngineCar-StopCar-PassCar-CrashSirenTrainJetplaneHelicopterStarshipGun ShotMachine GunLasergunExplosionDogHorse-GallopBirdsRainThunderWindSeashoreStreamBubble--------------------241


Waveform ListIn waveform numbers 0001-0040, note numbers 91–108 are set to Damper Free in order to accurately reproduce the characteristicsof an acoustic piano.No.Name1 Ult.P*mp A L2 Ult.P*mp A R3 Ult.P*mp B L4 Ult.P*mp B R5 Ult.P*mp C L6 Ult.P*mp C R7 Ult.P* f A L8 Ult.P* f A R9 Ult.P* f B L10 Ult.P* f B R11 Ult.P* f C L12 Ult.P* f C R13 Ult.P*ff A L14 Ult.P*ff A R15 Ult.P*ff B L16 Ult.P*ff B R17 Ult.P*ff C L18 Ult.P*ff C R19 XPr.P*mp A L20 XPr.P*mp A R21 XPr.P*mp B L22 XPr.P*mp B R23 XPr.P*mp C L24 XPr.P*mp C R25 XPr.P* f A L26 XPr.P* f A R27 XPr.P* f B L28 XPr.P* f B R29 XPr.P* f C L30 XPr.P* f C R31 XPr.P*ff A L32 XPr.P*ff A R33 XPr.P*ff B L34 XPr.P*ff B R35 XPr.P*ff C L36 XPr.P*ff C R37 Ult.P mp A L38 Ult.P mp A R39 Ult.P mp B L40 Ult.P mp B R41 Ult.P mp C L42 Ult.P mp C R43 Ult.P f A L44 Ult.P f A R45 Ult.P f B L46 Ult.P f B R47 Ult.P f C L48 Ult.P f C R49 Ult.P ff A L50 Ult.P ff A R51 Ult.P ff B L52 Ult.P ff B R53 Ult.P ff C L54 Ult.P ff C R55 XPr.P mp A L56 XPr.P mp A R57 XPr.P mp B L58 XPr.P mp B R59 XPr.P mp C L60 XPr.P mp C R61 XPr.P f A L62 XPr.P f A R63 XPr.P f B L64 XPr.P f B R65 XPr.P f C L66 XPr.P f C R67 XPr.P ff A L68 XPr.P ff A R69 XPr.P ff B L70 XPr.P ff B RNo.Name71 XPr.P ff C L72 XPr.P ff C R73 Ac.Pno p A L74 Ac.Pno p A R75 Ac.Pno p B L76 Ac.Pno p B R77 Ac.Pno p C L78 Ac.Pno p C R79 Ac.Pno f A L80 Ac.Pno f A R81 Ac.Pno f B L82 Ac.Pno f B R83 Ac.Pno f C L84 Ac.Pno f C R85 JD Piano A86 JD Piano B87 JD Piano C88 Piano Atk Nz89 MKS Piano A90 MKS Piano B91 MKS Piano C92 Vint.EP pp A93 Vint.EP pp B94 Vint.EP pp C95 Vint.EP mp A96 Vint.EP mp B97 Vint.EP mp C98 Vint.EP f A99 Vint.EP f B100 Vint.EP f C101 Vint.EP ff A102 Vint.EP ff B103 Vint.EP ff C104 Stage EP p A105 Stage EP p B106 Stage EP p C107 Stage EP f A108 Stage EP f B109 Stage EP f C110 Tine EP p A111 Tine EP p B112 Tine EP p C113 Tine EP mf A114 Tine EP mf B115 Tine EP mf C116 Tine EP ff A117 Tine EP ff B118 Tine EP ff C119 Dyno EP mp A120 Dyno EP mp B121 Dyno EP mp C122 Dyno EP mf A123 Dyno EP mf B124 Dyno EP mf C125 Dyno EP ff A126 Dyno EP ff B127 Dyno EP ff C128 Wurly DI p A129 Wurly DI p B130 Wurly DI p C131 Wurly DI f A132 Wurly DI f B133 Wurly DI f C134 Wurly DI ffA135 Wurly DI ffB136 Wurly DI ffC137 Wurly mp A138 Wurly mp B139 Wurly mp C140 Wurly mf ANo.Name141 Wurly mf B142 Wurly mf C143 Wurly ff A144 Wurly ff B145 Wurly ff C146 Soft SA EP A147 Soft SA EP B148 Soft SA EP C149 Hard SA EP A150 Hard SA EP B151 Hard SA EP C152 SA E.Piano A153 SA E.Piano B154 SA E.Piano C155 80's E.Pno 1156 80's E.Pno 2157 80's E.Pno1f158 80's E.Pno2f159 Hard E.Pno160 Celesta161 Music Box162 ClavDB Brt A163 ClavDB Brt B164 ClavDB Brt C165 Reg.Clav A166 Reg.Clav B167 Reg.Clav C168 Retro Clav A169 Retro Clav B170 Retro Clav C171 Tight Clav A172 Tight Clav B173 Tight Clav C174 Hard Clav A175 Hard Clav B176 Hard Clav C177 ClvMtRs DB f178 Harpsi A179 Harpsi B180 Harpsi C181 JLOrg Slow L182 JLOrg Slow R183 JLOrg Fast L184 JLOrg Fast R185 JD Full Draw186 Org Basic 1187 Org Basic 2188 Ballad Org189 3rd Perc Org190 Perc Organ191 Rock Organ A192 Rock Organ B193 Rock Organ C194 RtryOrg1 A L195 RtryOrg1 A R196 RtryOrg1 B L197 RtryOrg1 B R198 RtryOrg1 C L199 RtryOrg1 C R200 RtryOrg2 A L201 RtryOrg2 A R202 RtryOrg2 B L203 RtryOrg2 B R204 RtryOrg2 C L205 RtryOrg2 C R206 LoFi RtryOrg207 Vint.Org 1208 Vint.Org 2209 Vint.Org 3210 Vint.Org 4No.Name211 Positive '8212 Pipe Organ213 Cathedrl Org214 BrtN.Gtr p A215 BrtN.Gtr p B216 BrtN.Gtr p C217 BrtN.Gtr mfA218 BrtN.Gtr mfB219 BrtN.Gtr mfC220 BrtN.Gtr ffA221 BrtN.Gtr ffB222 BrtN.Gtr ffC223 BrtN.GtrSldA224 BrtN.GtrSldB225 BrtN.GtrSldC226 Nylon Gtr1 A227 Nylon Gtr1 B228 Nylon Gtr1 C229 Nylon Gtr2 A230 Nylon Gtr2 B231 Nylon Gtr2 C232 Bright Gtr A233 Bright Gtr B234 Bright Gtr C235 Ac.Gtr mp A236 Ac.Gtr mp B237 Ac.Gtr mp C238 Ac.Gtr mf A239 Ac.Gtr mf B240 Ac.Gtr mf C241 Ac.Gtr ff A242 Ac.Gtr ff B243 Ac.Gtr ff C244 Ac.Gtr Sld A245 Ac.Gtr Sld B246 Ac.Gtr Sld C247 Ac.Gtr Hrm A248 Ac.Gtr Hrm B249 Ac.Gtr Hrm C250 Jazz Gtr A251 Jazz Gtr B252 Jazz Gtr C253 Clean Gtr A254 Clean Gtr B255 Clean Gtr C256 Clr Mt Gtr A257 Clr Mt Gtr B258 Clr Mt Gtr C259 E.Gtr Ld260 Brt Strat A261 Brt Strat B262 Brt Strat C263 FstPick70s A264 FstPick70s B265 FstPick70s C266 Funk Gtr A267 Funk Gtr B268 Funk Gtr C269 Funk MtGtr A270 Funk MtGtr B271 Funk MtGtr C272 Nasty Gtr273 Overdrive A274 Overdrive C275 Distortion A276 Distortion B277 Distortion C278 Dist Chord A279 Dist Chord B280 Dist Chord CNo.Name281 E.Gtr Harm282 Harp A283 Harp B284 Harp C285 Banjo A286 Banjo B287 Banjo C288 Sitar A289 Sitar B290 Sitar C291 Sitar Drn A292 Sitar Drn B293 Sitar Drn C294 E.Sitar A295 E.Sitar B296 E.Sitar C297 Santur A298 Santur B299 Santur C300 Dulcimer A301 Dulcimer B302 Dulcimer C303 Shamisen A304 Shamisen B305 Shamisen C306 Koto A307 Koto B308 Koto C309 FatAc.Bs p A310 FatAc.Bs p B311 FatAc.Bs p C312 FatAc.Bs f A313 FatAc.Bs f B314 FatAc.Bs f C315 Ac.Bass A316 Ac.Bass B317 Ac.Bass C318 Fng.EB1 mf A319 Fng.EB1 mf B320 Fng.EB1 mf C321 Fng.EB1 ff A322 Fng.EB1 ff B323 Fng.EB1 ff C324 Fng.EB2 mf A325 Fng.EB2 mf B326 Fng.EB2 mf C327 Fng.EB2 f A328 Fng.EB2 f B329 Fng.EB2 f C330 FngrCmp Bs A331 FngrCmp Bs B332 FngrCmp Bs C333 Finger Bs A334 Finger Bs B335 Finger Bs C336 Precision Bs337 ThumbMtBs pA338 ThumbMtBs pB339 ThumbMtBs pC340 Fretlss Bs A341 Fretlss Bs B342 Fretlss Bs C343 Fretlss SftA344 Fretlss SftB345 Fretlss SftC346 Pick EB f A347 Pick EB f B348 Pick EB f C349 Pick Bass350 Slp.E.BassA242


Waveform ListNo.NameNo.NameNo.NameNo.NameNo.Name351 Slp.E.BassB352 Slp.E.BassC353 Slp.EB HO A354 Slp.EB HO B355 Slp.EB HO C356 Pul.E.BassA357 Pul.E.BassB358 Pul.E.BassC359 Pul.EB HO A360 Pul.EB HO B361 Pul.EB HO C362 Slap Bass363 Slap +Pull 1364 Slap +Pull 2365 Slap +Pull 3366 Jz Slap Bass367 Jz Slp+Pull1368 Jz Slp+Pull2369 Jz Slp+Pull3370 Jungle Bass371 Garage Bass372 SH-101 Bs A373 SH-101 Bs B374 SH-101 Bs C375 Organ Bass376 MG Bass 1 A377 MG Bass 1 B378 MG Bass 1 C379 MG Bass 2380 MG Bass 3381 MC Bass A382 MC Bass B383 MC Bass C384 Atk Syn Bass385 Flute A386 Flute B387 Flute C388 Piccolo A389 Piccolo B390 Piccolo C391 Pan Flute392 Shakuhachi393 JD Fl Push394 Clarinet A395 Clarinet B396 Clarinet C397 Oboe Mezzo A398 Oboe Mezzo B399 Oboe Mezzo C400 Oboe Forte A401 Oboe Forte B402 Oboe Forte C403 E.Horn A404 E.Horn B405 E.Horn C406 Bassoon A407 Bassoon B408 Bassoon C409 Recorder A410 Recorder B411 Recorder C412 SopranoSax A413 SopranoSax B414 SopranoSax C415 Alto Sax Vib416 Soft Alto A417 Soft Alto B418 Soft Alto C419 Wide Sax A420 Wide Sax B421 Wide Sax C422 BreathySax A423 BreathySax B424 BreathySax C425 TenorBreathy426 Tenor Sax A427 Tenor Sax B428 Tenor Sax C429 Bari.Sax 1 A430 Bari.Sax 1 B431 Bari.Sax 1 C432 Bari.Sax 2 A433 Bari.Sax 2 B434 Bari.Sax 2 C435 Musette436 Accord 4' A437 Accord 4' B438 Accord 4' C439 Accord 8' A440 Accord 8' B441 Accord 8' C442 Accord PadNz443 Harmonica A444 Harmonica B445 Harmonica C446 Blues G-harp447 Flugel A448 Flugel B449 Flugel C450 Trumpet A451 Trumpet B452 Trumpet C453 Wide Tp A454 Wide Tp B455 Wide Tp C456 Mute Tp A457 Mute Tp B458 Mute Tp C459 Trombone A460 Trombone B461 Trombone C462 Tbn mf A463 Tbn mf B464 Tbn mf C465 Tuba A466 Tuba B467 Tuba C468 Sft F.Horn A469 Sft F.Horn B470 Sft F.Horn C471 French Hrn A472 French Hrn C473 XP Horn A474 XP Horn B475 F.HornSect A476 F.HornSect B477 F.HornSect C478 Tp Section A479 Tp Section B480 Tp Section C481 OctBrs p A L482 OctBrs p A R483 OctBrs p B L484 OctBrs p B R485 OctBrs p C L486 OctBrs p C R487 OctBrs f A L488 OctBrs f A R489 OctBrs f B L490 OctBrs f B R491 OctBrs f C L492 OctBrs f C R493 XP Brass494 OrchUnis A L495 OrchUnis A R496 OrchUnis B L497 OrchUnis B R498 OrchUnis C L499 OrchUnis C R500 Violin f A501 Violin f B502 Violin f C503 Violin Vib A504 Violin Vib B505 Violin Vib C506 Cello f A507 Cello f B508 Cello f C509 Cello Vib A510 Cello Vib B511 Cello Vib C512 Vl Sect. A L513 Vl Sect. A R514 Vl Sect. B L515 Vl Sect. B R516 Vl Sect. C L517 Vl Sect. C R518 Vc Sect. A L519 Vc Sect. A R520 Vc Sect. B L521 Vc Sect. B R522 Vc Sect. C L523 Vc Sect. C R524 Full Str A L525 Full Str A R526 Full Str B L527 Full Str B R528 Full Str C L529 Full Str C R530 JV Strings L531 JV Strings R532 JV Strings A533 JV Strings C534 F.Str mf A L535 F.Str mf A R536 F.Str mf B L537 F.Str mf B R538 F.Str mf C L539 F.Str mf C R540 F.Str mf lpL541 F.Str mf lpR542 F.Str ff A L543 F.Str ff A R544 F.Str ff B L545 F.Str ff B R546 F.Str ff C L547 F.Str ff C R548 F.Str ff lpL549 F.Str ff lpR550 F.StrStacA L551 F.StrStacA R552 F.StrStacB L553 F.StrStacB R554 F.StrStacC L555 F.StrStacC R556 ChmbrStrAtkA557 ChmbrStrAtkB558 ChmbrStrAtkC559 ChmbrStrRevA560 ChmbrStrRevB561 ChmbrStrRevC562 Vls Pizz A563 Vls Pizz B564 Vls Pizz C565 VlsPizzRev A566 VlsPizzRev B567 VlsPizzRev C568 Vcs Pizz A569 Vcs Pizz B570 Vcs Pizz C571 Unison Saw A572 Unison Saw B573 Unison Saw C574 Super Saw A575 Super Saw B576 Super Saw C577 Trance Saw A578 Trance Saw B579 Trance Saw C580 Warm Pad A581 Warm Pad B582 Warm Pad C583 OB2 Pad 1 A584 OB2 Pad 1 B585 OB2 Pad 1 C586 OB2 Pad 2 A587 OB2 Pad 2 B588 OB2 Pad 2 C589 D-50 HeavenA590 D-50 HeavenB591 D-50 HeavenC592 SBF Vox A593 SBF Vox B594 SBF Vox C595 Syn Vox 1 A596 Syn Vox 1 B597 Syn Vox 1 C598 Syn Vox 2 A599 Syn Vox 2 B600 Syn Vox 2 C601 Female Ahs A602 Female Ahs B603 Female Ahs C604 Female Oos A605 Female Oos B606 Female Oos C607 Male Aahs A608 Male Aahs B609 Male Aahs C610 Jazz Doos A611 Jazz Doos B612 Jazz Doos C613 Jz Doos Lp A614 Jz Doos Lp B615 Jz Doos Lp C616 Gospel Hum A617 Gospel Hum B618 Gospel Hum C619 Soprano Vox620 Kalimba621 JD Klmba Atk622 JD Wood Crak623 JD Gamelan 1624 JD Gamelan 2625 JD Log Drum626 JD Xylo627 Marimba628 Vibraphone629 Glocken630 Steel Drums631 D-50 Bell A632 D-50 Bell B633 D-50 Bell C634 D-50 Bell Lp635 Agogo Bell636 Agogo 2 Hi637 Agogo 2 Low638 Finger Bell639 JD Cowbell640 Tubular Bell641 Church Bell642 Mild CanWave643 JD Crystal644 Bell Organ645 Old DigiBell646 JD Bell Wave647 TinyBellWave648 Vib Wave649 JD Brt Digi650 Bagpipe651 Digital Vox652 JD WallyWave653 JD Brusky Lp654 Bright Form655 JD Nasty656 JD Spark Vox657 JD Cutters658 SBF Hrd Ld659 JD EML 5th660 Juno Saw HD661 TB303 Saw HD662 Custm Saw HD663 MG Saw HD664 DigitalSawHD665 P5 Saw HD666 Calc.Saw667 Calc.Saw inv668 Synth Saw669 JD Syn Saw670 JD Fat Saw671 JP-8 Saw672 D-50 Saw673 SH-1000 Saw674 SH-2 Saw675 LA-Saw676 Air Wave677 GR-300 Saw 1678 GR-300 Saw 2679 TB Dst Saw A680 TB Dst Saw B681 TB Dst Saw C682 Juno Sqr HD683 P5 Sqr HD684 Fat Square685 JP-8 Square686 SH-2 Square687 TB303 Sqr HD688 LA-Square689 TB DstSqr 1A690 TB DstSqr 1B691 TB DstSqr 1C692 Dist SquareA693 Dist SquareB694 Dist SquareC695 Juno Pls HD696 JP8 Pls 10HD697 JP8 Pls 15HD698 JP8 Pls 25HD699 JP8 Pls 30HD700 JP8 Pls 40HD243


Waveform ListNo.NameNo.NameNo.NameNo.NameNo.Name701 JP8 Pls 45HD702 Syn Pulse 1703 Syn Pulse 2704 SH-1000 Puls705 700 Triangle706 Syn Triangle707 JD Triangle708 VS-Triangle709 Mild Form710 VS-Ramp711 Sync Sweep712 Sine713 JD Fine Wine714 Digi Loop715 JD MetalWind716 Atmosphere717 DigiSpectrum718 JD Vox Noise719 SynVox Noise720 Shaku Noise721 Digi Breath722 Agogo Noise723 Vinyl Noise724 White Noise725 Pink Noise726 Aah Formant727 Eeh Formant728 Iih Formant729 Ooh Formant730 Uuh Formant731 Metal Vox W1732 Metal Vox L1733 Metal Vox W2734 Metal Vox L2735 Metal Vox W3736 Metal Vox L3737 JD Rattles738 Xylo Seq.739 JD Anklungs740 JD Shami741 SynBassClick742 JD EP Atk743 Key On Click744 Org Click 1745 Org Click 2746 Org Click 3747 Org Click 4748 Org Click 5749 JD Sm Metal750 Ice Crash751 JD Switch752 JD Tuba Slap753 JD Plink754 JD Plunk755 TVF Trigger756 Hi Q757 Slap758 Stick759 Click760 Cutting Nz761 Ac.Bass Body762 Flute Pad Nz763 Applause764 River765 Thunder766 Monsoon767 Stream768 Bubble769 Bird Song770 Dog Bark771 Gallop772 Vint.Phone773 Office Phone774 Mobile Phone775 Door Creak776 Door Slam777 Car Engine778 Car Slip779 Car Pass780 Crash Seq.781 Gun Shot782 Siren783 Train Pass784 Airplane785 Helicopter786 Space Voyage787 Blow Loop788 Laugh789 Scream790 Punch791 Heartbeat792 Footsteps793 Machine Gun794 Laser795 Thunder Lp796 Ac.Bass Nz797 E.Bass Nz 1798 E.Bass Nz 2799 E.Bass Slide800 Fng.EB2 Sld801 DistGtr Nz 1802 DistGtr Nz 2803 DistGtr Nz 3804 Gtr Fret Nz1805 Gtr Fret Nz2806 ClassicHseHt807 Narrow Hit 1808 Narrow Hit 2809 Euro Hit810 Dist Hit811 Thin Beef812 Tao Hit813 Smear Hit 1814 Smear Hit 2815 LoFi Min Hit816 Orch. Hit817 Punch Hit818 O'Skool Hit819 Philly Hit820 Scratch 1821 Scratch 2822 Scratch 3823 Scratch 4824 Scratch 5825 Scratch 6826 Scratch 7827 Scratch 9828 Scratch 10829 Scratch Push830 Scratch Pull831 MG Zap 1832 MG Zap 2833 MG Zap 3834 MG Zap 4835 MG Zap 5836 MG Zap 6837 MG Zap 7838 MG Zap 8839 MG Zap 9840 MG Zap 10841 MG Zap 11842 MG Blip843 Beam HiQ844 MG Attack845 Syn Low Atk1846 Syn Low Atk2847 Syn Hrd Atk1848 Syn Hrd Atk2849 Syn Hrd Atk3850 Syn Hrd Atk4851 Syn Mtl Atk1852 Syn Mtl Atk2853 Syn Swt Atk1854 Syn Swt Atk2855 Syn Swt Atk3856 Syn Swt Atk4857 Syn Swt Atk5858 Syn Swt Atk6859 Syn Swt Atk7860 WD Kick mf L861 WD Kick mf R862 WD Kick f L863 WD Kick f R864 WD Kick ff L865 WD Kick ff R866 LD Kick mf L867 LD Kick mf R868 LD Kick f L869 LD Kick f R870 LD Kick ff L871 LD Kick ff R872 TY Kick mf L873 TY Kick mf R874 TY Kick f L875 TY Kick f R876 TY Kick ff L877 TY Kick ff R878 SF Kick 1 L879 SF Kick 1 R880 SF Kick 2 L881 SF Kick 2 R882 Reg.Kick p L883 Reg.Kick p R884 Reg.Kick f L885 Reg.Kick f R886 Reg.Kick ffL887 Reg.Kick ffR888 Rock Kick p889 Rock Kick f890 Jazz Kick p891 Jazz Kick mf892 Jazz Kick f893 Dry Kick 1894 Tight Kick895 Old Kick896 Jz Dry Kick897 Dry Kick 2898 Dry Kick 3899 Power Kick900 R&B Kick L901 R&B Kick R902 Rk CmpKick L903 Rk CmpKick R904 MaxLow Kick1905 MaxLow Kick2906 Dist Kick907 FB Kick908 Rough Kick1909 Rough Kick2910 Rough Kick3911 PlasticKick1912 70's Kick913 Dance Kick914 HipHop Kick1915 HipHop Kick2916 AnalogKick 1917 PlasticKick2918 PlasticKick3919 TR909 Kick 1920 TR909 Kick 2921 AnalogKick 2922 TR909 Kick 3923 AnalogKick 3924 AnalogKick 4925 AnalogKick 5926 AnalogKick 6927 TR606DstKick928 TR808 Kick929 TR909 Kick 4930 TR909 Kick 5931 SH32 Kick932 TR707 Kick933 TR909 Kick 6934 Mix Kick 1 L935 Mix Kick 1 R936 Mix Kick 2 L937 Mix Kick 2 R938 Mix Kick 3939 Mix Kick 4940 Mix Kick 5941 Dry Kick 4942 Small Kick943 Vint Kick944 Sweep Bass945 WD Snr p L946 WD Snr p R947 WD Snr mf L948 WD Snr mf R949 WD Snr f L950 WD Snr f R951 WD Snr ff L952 WD Snr ff R953 WD Rim p L954 WD Rim p R955 WD Rim mf L956 WD Rim mf R957 WD Rim f L958 WD Rim f R959 WD Rim ff L960 WD Rim ff R961 LD Snr p L962 LD Snr p R963 LD Snr mf L964 LD Snr mf R965 LD Snr f L966 LD Snr f R967 LD Snr ff L968 LD Snr ff R969 LD Rim mf L970 LD Rim mf R971 LD Rim f L972 LD Rim f R973 LD Rim ff L974 LD Rim ff R975 TY Snr p L976 TY Snr p R977 TY Snr mf L978 TY Snr mf R979 TY Snr f L980 TY Snr f R981 TY Snr ff L982 TY Snr ff R983 TY Rim p L984 TY Rim p R985 TY Rim mf L986 TY Rim mf R987 TY Rim f L988 TY Rim f R989 TY Rim ff L990 TY Rim ff R991 SF Snr p L992 SF Snr p R993 SF Snr mf L994 SF Snr mf R995 SF Snr f L996 SF Snr f R997 SF Snr ff L998 SF Snr ff R999 SF Rim p L1000 SF Rim p R1001 SF Rim mf L1002 SF Rim mf R1003 SF Rim f L1004 SF Rim f R1005 SF Rim ff L1006 SF Rim ff R1007 Reg.Snr1 p L1008 Reg.Snr1 p R1009 Reg.Snr1mf L1010 Reg.Snr1mf R1011 Reg.Snr1 f L1012 Reg.Snr1 f R1013 Reg.Snr1ff L1014 Reg.Snr1ff R1015 Reg.Snr2 p L1016 Reg.Snr2 p R1017 Reg.Snr2 f L1018 Reg.Snr2 f R1019 Reg.Snr2ff L1020 Reg.Snr2ff R1021 Amb.Snr1 p L1022 Amb.Snr1 p R1023 Amb.Snr1 f L1024 Amb.Snr1 f R1025 Amb.Snr2 p L1026 Amb.Snr2 p R1027 Amb.Snr2 f L1028 Amb.Snr2 f R1029 Piccolo Snr1030 Maple Snr1031 Light Snr ff1032 Click Snr p1033 Click Snr ff1034 SF SnrGst1 L1035 SF SnrGst1 R1036 SF SnrGst2 L1037 SF SnrGst2 R1038 Reg.SnrGst L1039 Reg.SnrGst R1040 Sft Snr Gst1041 Jazz Snr p1042 Jazz Snr mf1043 Jazz Snr f1044 Jazz Rim p1045 Jz Brsh Slap1046 Jz Brsh Swsh1047 Swish&Turn p1048 Swish&Turn f1049 Snr Roll Lp1050 BrushRoll Lp244


Waveform ListNo.NameNo.NameNo.NameNo.NameNo.Name1051 Soft Jz Roll1052 Concert SD1053 GoodOld Snr11054 GoodOld Snr21055 GoodOld Snr31056 GoodOld Snr41057 GoodOld Snr51058 GoodOld Snr61059 Dirty Snr 11060 Dirty Snr 21061 Dirty Snr 31062 Dirty Snr 41063 Dirty Snr 51064 Dirty Snr 61065 Dirty Snr 71066 Grit Snr 11067 Grit Snr 21068 Grit Snr 31069 LoBit SnrFlm1070 Lo-Bit Snr 11071 Lo-Bit Snr 21072 MrchCmp Snr1073 Reggae Snr1074 DR660 Snr1075 Jngl pkt Snr1076 Pocket Snr1077 Flange Snr1078 Analog Snr 11079 Analog Snr 21080 Analog Snr 31081 Tiny Snare1082 R&B ShrtSnr11083 TR909 Snr 11084 TR909 Snr 21085 TR909 Snr 31086 TR909 Snr 41087 TR909 Snr 51088 TR909 Snr 61089 TR808 Snr 11090 TR808 Snr 21091 TR808 Snr 31092 TR808 Snr 41093 Lite Snare1094 TR808 Snr 51095 TR808 Snr 61096 TR606 Snr 11097 TR606 Snr 21098 CR78 Snare1099 Urbn Sn Roll1100 Vint Snr 11101 Vint Snr 21102 Vint Snr 31103 Vint Snr 41104 Dist Snr1105 Short Snr11106 Short Snr21107 WD CStk mf L1108 WD CStk mf R1109 WD CStk f L1110 WD CStk f R1111 LD CStk mf L1112 LD CStk mf R1113 LD CStk f L1114 LD CStk f R1115 TY CStk mf L1116 TY CStk mf R1117 TY CStk f L1118 TY CStk f R1119 SF CStk p L1120 SF CStk p R1121 SF CStk f L1122 SF CStk f R1123 Reg.Stick L1124 Reg.Stick R1125 Soft Stick1126 Hard Stick1127 Wild Stick1128 Lo-Bit Stk 11129 Lo-Bit Stk 21130 Dry Stick 11131 Dry Stick 21132 Dry Stick 31133 R8 Comp Rim1134 R&B ShrtRim11135 R&B ShrtRim21136 TR909 Rim1137 TR808 Rim1138 LD L.Tom mf1139 LD L.Tom f1140 LD L.Tom ff1141 LD M.Tom mf1142 LD M.Tom f1143 LD M.Tom ff1144 LD H.Tom mf1145 LD H.Tom f1146 LD H.Tom ff1147 TY L.Tom mf1148 TY L.Tom f1149 TY L.Tom ff1150 TY M.Tom mf1151 TY M.Tom f1152 TY M.Tom ff1153 TY H.Tom mf1154 TY H.Tom f1155 TY H.Tom ff1156 RR F.Tom mp1157 RR F.Tom f1158 RR F.Tom ff1159 SF L.Tom mf1160 SF L.Tom ff1161 SF M.Tom mf1162 SF M.Tom f1163 SF M.Tom ff1164 SF H.Tom mf1165 SF H.Tom f1166 SF H.Tom ff1167 RR FT Flm ff1168 SF LT Flm ff1169 SF MT Flm f1170 SF HT Flm p1171 SF HT Flm f1172 SF HT Flm ff1173 Reg.F.Tom p1174 Reg.F.Tom f1175 Reg.L.Tom p1176 Reg.L.Tom f1177 Reg.M.Tom p1178 Reg.M.Tom f1179 Reg.H.Tom p1180 Reg.H.Tom f1181 Reg.L.TomFlm1182 Reg.M.TomFlm1183 Reg.H.TomFlm1184 Jazz Lo Tom1185 Jazz Mid Tom1186 Jazz Hi Tom1187 Jazz Lo Flm1188 Jazz Mid Flm1189 Jazz Hi Flm1190 Sharp Lo Tom1191 Sharp Hi Tom1192 Dry Lo Tom1193 TR909 Tom1194 TR909 DstTom1195 TR808 Tom1196 TR606 Tom1197 Deep Tom1198 Reg.CHH 1 p1199 Reg.CHH 1 mf1200 Reg.CHH 1 f1201 Reg.CHH 1 ff1202 Reg.CHH 2 mf1203 Reg.CHH 2 f1204 Reg.CHH 2 ff1205 Reg.PHH mf1206 Reg.PHH f1207 Reg.OHH mf1208 Reg.OHH f1209 Reg.OHH ff1210 Rock CHH1 mf1211 Rock CHH1 f1212 Rock CHH2 mf1213 Rock CHH2 f1214 Rock OHH1215 Lo-Bit CHH 11216 Lo-Bit CHH 21217 Lo-Bit CHH 31218 Lo-Bit CHH 41219 Lo-Bit CHH 51220 HipHop CHH1221 TR909 CHH 11222 TR909 CHH 21223 TR808 CHH 11224 TR808 CHH 21225 TR606 CHH 11226 TR606 CHH 21227 TR606 DstCHH1228 Lite CHH1229 CR78 CHH1230 Dance CHH1231 Noise CHH1232 Hip PHH1233 TR909 PHH 11234 TR909 PHH 21235 TR808 PHH1236 TR606 PHH 11237 TR606 PHH 21238 Lo-Bit PHH1239 Lo-Bit OHH 11240 Lo-Bit OHH 21241 Lo-Bit OHH 31242 HipHop OHH1243 TR909 OHH 11244 TR909 OHH 21245 TR808 OHH 11246 TR808 OHH 21247 TR606 OHH1248 Lite OHH1249 CR78 OHH1250 Noise OHH1251 Noise OHH 21252 Crash Cym1 p1253 Crash Cym1 f1254 Crash Cym 21255 Rock Crash 11256 Rock Crash 21257 Splash Cym1258 Jazz Crash1259 TR909 Crash1260 TR909 Crash21261 TR808 Cym1262 TR606 Cym 21263 Ride Cymbal1264 Ride Bell1265 Rock Rd Cup1266 Rock Rd Edge1267 Jazz Ride p1268 Jazz Ride mf1269 TR909 Ride1270 China Cymbal1271 Concert Cym1272 Concert Cym21273 Hand Clap1274 Club Clap1275 Real Clap1276 Bright Clap1277 R8 Clap1278 Gospel Clap1279 Amb Clap1280 Hip Clap1281 Funk Clap1282 Claptail1283 TR808 Clap 11284 Disc Clap1285 Dist Clap1286 Dist Clap 21287 Old Clap1288 TR909 Clap 11289 TR909 Clap 21290 TR808 Clap 21291 TR707 Clap1292 Cheap Clap1293 Mix Clap 1 L1294 Mix Clap 1 R1295 Mix Clap 2 L1296 Mix Clap 2 R1297 Mix Clap 31298 Mix Clap 41299 Finger Snap1300 Club FinSnap1301 Snap1302 Group Snap1303 Cowbell1304 Cowbell Mute1305 Cowbell2 Lng1306 Cowbell2 Edg1307 Cowbell3 mf1308 Cowbell3 f1309 TR808Cowbell1310 Wood Block1311 Wood Block2H1312 Wood Block2L1313 Claves1314 Claves 21315 TR808 Claves1316 CR78 Beat1317 Castanet1318 Whistle1319 Whistle Long1320 Whistle Shrt1321 Bongo Hi Mt1322 Bongo Hi Slp1323 Bongo Hi Op1324 Bongo Lo Op1325 Bongo Lo Slp1326 Conga Hi Mt1327 Conga Lo Mt1328 Conga Hi Slp1329 Conga Lo Slp1330 Conga Hi Op1331 Conga Lo Op1332 Conga Slp Op1333 Conga Efx1334 Conga Thumb1335 Conga 2H Op1336 Conga 2H Mt1337 Conga 2H Slp1338 Conga 2L Op1339 Conga 2L Mt1340 TR808 Conga11341 TR808 Conga21342 Timbale 11343 Timbale 21344 Timbare 31345 Timbare 41346 Cabasa Up1347 Cabasa Down1348 Cabasa Cut1349 Cabasa 21350 Cabasa 2 Cut1351 Maracas1352 808 Maracas1353 R8 Shaker1354 Shaker 11355 Shaker 21356 Shaker 31357 Guiro 11358 Guiro 21359 Guiro Long1360 Guiro 2 Up1361 Guiro 2 Down1362 Guiro 2 Fast1363 Vibraslap1364 Tamborine 11365 Tamborine 21366 Tamborine 31367 Tamborine4 p1368 Tamborine4 f1369 CR78 Tamb1370 Cajon 11371 Cajon 21372 Cajon 31373 Cajon 41374 SprgDrm Hit1375 Cuica1376 Cuica 2 Hi1377 Cuica 2 Low1378 Timpani p1379 Timpani f1380 Timpani Roll1381 Timpani Lp1382 ConcertBD p1383 ConcertBD f1384 ConcertBD ff1385 ConcertBD Lp1386 Triangle 11387 Triangle 21388 Tibet Cymbal1389 Slight Bell1390 Wind Chime1391 Crotale1392 R8 Click1393 Metro Bell1394 Metro Click1395 MC500 Beep 11396 MC500 Beep 21397 DR202 Beep1398 Low Square1399 Low Sine1400 DC1401 Reverse Cym245


MIDI ImplementationModel: SonicCellDate: 2007.6.15Version: 1.001. Receive data■Channel Voice Messages* Not received in Performance mode when the Receive Switchparameter (Part Edit) is OFF.●Note offStatus 2nd byte 3rd byte8nH kkH vvH9nH kkH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)kk = note number: 00H - 7FH (0 - 127)vv = note off velocity: 00H - 7FH (0 - 127)* Not received when the Tone Env Mode parameter (Patch Ctrl andRhythm General) is NO-SUS.●Note onStatus 2nd byte 3rd byte9nH kkH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)kk = note number: 00H - 7FH (0 - 127)vv = note on velocity: 01H - 7FH (1 - 127)●Polyphonic Key PressureStatus 2nd byte 3rd byteAnH kkH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)kk = note number: 00H - 7FH (0 - 127)vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)* Not received in Performance mode when the Receive Poly KeyPressure parameter (Performance MIDI) is OFF.●Control Change* If the corresponding Controller number is selected for the PatchMatrix Control Source parameter (Patch Mtrx Ctrl1-4), thecorresponding effect will occur.* If a Controller number that corresponds to the System ControlSource 1, 2, 3 or 4 parameter (System Control) is selected, thespecified effect will apply if Patch Control Source 1, 2, 3 or 4parameter (Patch Mtrx Ctrl1-4) is set to SYS CTRL1, SYS CTRL2,SYS CTRL3 or SYS CTRL4.❍Bank Select (Controller number 0, 32)Status 2nd byte 3rd byteBnH 00H mmHBnH 20H llHn = MIDI channel number: 0H - FH (ch.1 - 16)mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)* Not received in Performance mode when the Receive Bank Select(Performance MIDI) is OFF.* The Performances, Patches, and Rhythms corresponding to eachBank Select are as follows.* The SRX series corresponding to each Bank Select are to see theSRX series owner's manual.BANK SELECT | PROGRAM | GROUP | NUMBERMSB | LSB | NUMBER | |-----+-----------+-----------+----------------------+-----------000 | | 001 - 128 | GM Patch | 001 - 256: | | | |063 | | 001 - 128 | GM Patch | 001 - 256085 | 000 | 001 - 064 | User Performance | 001 - 064| 064 | 001 - 064 | Preset Performance | 001 - 064086 | 000 | 001 - 032 | User Rhythm | 001 - 032| 064 | 001 - 032 | Preset Rhythm | 001 - 032087 | 000 | 001 - 128 | User Patch | 001 - 128| 001 | 001 - 128 | User Patch | 129 - 256| 064 | 001 - 128 | Preset Patch A | 001 - 128| 065 | 001 - 128 | Preset Patch B | 001 - 128| : | | : |092 | 000 - | 001 - | SRX Rhythm | 001 -| : | | : |093 | 000 - | 001 - | SRX Patch | 001 -| : | | : |120 | | 001 - 057 | GM Rhythm | 001 - 009121 | 000 - | 001 - 128 | GM Patch | 001 - 256❍Modulation (Controller number 1)Status 2nd byte 3rd byteBnH 01H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Modulation depth: 00H - 7FH (0 - 127)* Not received in Performance mode when the Receive Modulationparameter (Performance MIDI) is OFF.❍Breath type (Controller number 2)Status 2nd byte 3rd byteBnH 02H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)❍Foot type (Controller number 4)Status 2nd byte 3rd byteBnH 04H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)❍Portamento Time (Controller number 5)Status 2nd byte 3rd byteBnH 05H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Portamento Time: 00H - 7FH (0 - 127)* In Performance mode the Part Portament Time parameter (PartEdit) will change.❍Data Entry (Controller number 6, 38)Status 2nd byte 3rd byteBnH 06H mmHBnH 26H llHn = MIDI channel number: 0H - FH (ch.1 - 16)mm, ll = the value of the parameter specified by RPN/NRPNmm = MSB, ll = LSB246


MIDI Implementation❍Volume (Controller number 7)Status 2nd byte 3rd byteBnH 07H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Volume: 00H - 7FH (0 - 127)❍Sostenuto (Controller number 66)Status 2nd byte 3rd byteBnH 42H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON* Not received in Performance mode when the Receive Volumeparameter (Performance MIDI) is OFF.* In Performance mode the Part Level parameter (Part Edit) willchange.❍Balance (Controller number 8)Status 2nd byte 3rd byteBnH 08H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Balance: 00H - 7FH (0 - 127)❍Panpot (Controller number 10)Status 2nd byte 3rd byteBnH 0AH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Panpot:00H - 40H - 7FH (Left - Center - Right)* Not received in Performance mode when the Receive Panparameter (Performance MIDI) is OFF.* In Performance mode the Part Pan parameter (Part Edit) willchange.❍Expression (Controller number 11)Status 2nd byte 3rd byteBnH 0BH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Expression: 00H - 7FH (0 - 127)* Not received when Tone Receive Expression parameter (Patch Ctrlor Rhythm General) is OFF.* Not received in Performance mode when Receive Expressionparameter (Performance MIDI) is OFF.❍Hold 1 (Controller number 64)Status 2nd byte 3rd byteBnH 40H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON* Not received when Tone Receive Hold-1 parameter (Patch Ctrl orRhythm General) is OFF.* Not received in Performance mode when Receive Hold-1parameter (Performance MIDI) is OFF.❍Portamento (Controller number 65)Status 2nd byte 3rd byteBnH 41H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON❍Soft (Controller number 67)Status 2nd byte 3rd byteBnH 43H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON❍Legato Foot Switch (Controller number 68)Status 2nd byte 3rd byteBnH 44H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON* In Performance mode the Part Legato Switch parameter (Part Edit)will change.❍Hold-2 (Controller number 69)Status 2nd byte 3rd byteBnH 45H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)* A hold movement isn't done.❍Resonance (Controller number 71)Status 2nd byte 3rd byteBnH 47H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv= Resonance value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Resonance Offset parameter (PartEdit) will change.❍Release Time (Controller number 72)Status 2nd byte 3rd byteBnH 48H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Release Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Release Offset parameter (Part Edit)will change.❍Attack time (Controller number 73)Status 2nd byte 3rd byteBnH 49H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Attack Offset parameter (Part Edit)will change.* In Performance mode the Part Portamento Switch parameter (PartEdit) will change.247


MIDI Implementation❍Cutoff (Controller number 74)Status 2nd byte 3rd byteBnH 4AH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Cutoff value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Cutoff Offset parameter (Part Edit)will change.❍Decay Time (Controller number 75)Status 2nd byte 3rd byteBnH 4BH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Decay Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Decay Offset parameter (Part Edit)will change.❍Vibrato Rate (Controller number 76)Status 2nd byte 3rd byteBnH 4CH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Vibrato Rate value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Vibrato Rate parameter (Part Edit)will change.❍Vibrato Depth (Controller number 77)Status 2nd byte 3rd byteBnH 4DH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Vibrato Depth Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Vibrato Depth parameter (PartEdit) will change.❍Vibrato Delay (Controller number 78)Status 2nd byte 3rd byteBnH 4EH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Vibrato Delay value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)* In Performance mode the Part Vibrato Delay parameter (Part Edit)will change.❍General Purpose Controller 5 (Controller number 80)Status 2nd byte 3rd byteBnH 50H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)* The Tone Level parameter (Patch TVA) of Tone 1 will change.❍General Purpose Controller 6 (Controller number 81)Status 2nd byte 3rd byteBnH 51H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)* The Tone Level parameter (Patch TVA) of Tone 2 will change.❍General Purpose Controller 7 (Controller number 82)Status 2nd byte 3rd byteBnH 52H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)* The Tone Level parameter (Patch TVA) of Tone 3 will change.❍General Purpose Controller 8 (Controller number 83)Status 2nd byte 3rd byteBnH 53H vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Control value: 00H - 7FH (0 - 127)* The Tone Level parameter (Patch TVA) of Tone 4 will change.❍Portamento control (Controller number 84)Status 2nd byte 3rd byteBnH 54H kkHn = MIDI channel number: 0H - FH (ch.1 - 16)kk = source note number: 00H - 7FH (0 - 127)* A Note-on received immediately after a Portamento Controlmessage will change continuously in pitch, starting from the pitchof the Source Note Number.* If a voice is already sounding for a note number identical to theSource Note Number, this voice will continue sounding (i.e.,legato) and will, when the next Note-on is received, smoothlychange to the pitch of that Note-on.* The rate of the pitch change caused by Portamento Control isdetermined by the Portamento Time value.❍Effect 1 (Reverb Send Level) (Controller number 91)Status 2nd byte 3rd byteBnH 5BH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Reverb Send Level: 00H - 7FH (0 - 127)* In Performance mode the Part Reverb Send Level parameter (PartEdit) will change.❍Effect 3 (Chorus Send Level) (Controller number 93)Status 2nd byte 3rd byteBnH 5DH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Chorus Send Level: 00H - 7FH (0 - 127)* In Performance mode the Part Chorus Send Level parameter (PartEdit) will change.248


MIDI Implementation❍RPN MSB/LSB (Controller number 100, 101)Status 2nd byte 3rd byteBnH 65H mmHBnH 64H llHn = MIDI channel number: 0H - FH (ch.1 - 16)mm = upper byte (MSB) of parameter number specified by RPNll = lower byte (LSB) of parameter number specified by RPN>Control Changes include RPN (Registered Parameter Numbers),which are extended.When using RPNs, first RPN (Controller numbers 100 and 101; theycan be sent in any order) should be sent in order to select theparameter, then Data Entry (Controller numbers 6 and 38) should besent to set the value. Once RPN messages are received, Data Entrymessages that is received at the same MIDI channel after that arerecognized as changing toward the value of the RPN messages. Inorder not to make any mistakes, transmitting RPN Null isrecommended after setting parameters you need.This device receives the following RPNs.RPN Data entryMSB, LSB MSB, LSB Notes00H, 00H mmH, llH Pitch Bend Sensitivitymm: 00H - 18H (0 - 24 semitones)ll: ignored (processed as 00H)Up to 2 octave can be specified insemitone steps.* In Performance mode, the Part Bend Range parameter (Part Edit)will change.00H, 01H mmH, llH Channel Fine Tuningmm, ll: 20 00H - 40 00H - 60 00H(-4096 x 100 / 8192 - 0 - +4096 x 100/ 8192 cent)* In Performance mode, the Part Fine Tune parameter (Part Edit)will change.00H, 02H mmH, llH Channel Coarse Tuningmm: 10H - 40H - 70H (-48 - 0 - +48semitones)ll: ignored (processed as 00H)* In Performance mode, the Part Coarse Tune parameter (Part Edit)will change.●Program ChangeStatus 2nd byteCnH ppHn = MIDI channel number: 0H - FH (ch.1 - 16)pp = Program number: 00H - 7FH (prog.1 - prog.128)* Not received in Performance mode when the Receive ProgramChange parameter (Performance MIDI) is OFF.●Channel PressureStatus 2nd byteDnH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Channel Pressure: 00H - 7FH (0 - 127)* Not received in Performance mode when the Receive ChannelPressure parameter (Performance MIDI) is OFF.●Pitch Bend ChangeStatus 2nd byte 3rd byteEnH llH mmHn = MIDI channel number: 0H - FH (ch.1 - 16)mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)* Not received when the Tone Receive Bender parameter (PatchCtrl) is OFF.* Not received in Performance mode when the Receive Pitch Bendparameter (Performance MIDI) is OFF.■Channel Mode Messages* Not received in Performance mode when the Receive Switchparameter (Part Edit) is OFF.●All Sounds Off (Controller number 120)Status 2nd byte 3rd byteBnH 78H 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* When this message is received, all notes currently sounding on thecorresponding channel will be turned off.00H, 05H mmH, llH Modulation Depth Rangemm: 00 00H - 06 00H(0 - 16384 x 600 / 16384 cent)* Not received in Patch mode.7FH, 7FH ---, --- RPN nullRPN and NRPN will be set as“unspecified.” Once this setting hasbeen made, subsequent Parametervalues that were previously set willnot change.mm, ll: ignored249


MIDI Implementation●Reset All Controllers (Controller number 121)Status 2nd byte 3rd byteBnH 79H 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* When this message is received, the following controllers will beset to their reset values.ControllerPitch Bend ChangePolyphonic Key PressureChannel PressureModulationBreath TypeExpressionHold 1SostenutoSoftHold 2RPNNRPNReset value+/-0 (center)0 (off)0 (off)0 (off)0 (min)127 (max) However the controllerwill be at minimum.0 (off)0 (off)0 (off)0 (off)unset; previously set data will not changeunset; previously set data will not change●All Notes Off (Controller number 123)Status 2nd byte 3rd byteBnH 7BH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* When All Notes Off is received, all notes on the correspondingchannel will be turned off. However, if Hold 1 or Sostenuto is ON,the sound will be continued until these are turned off.●OMNI OFF (Controller number 124)Status 2nd byte 3rd byteBnH 7CH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* The same processing will be carried out as when All Notes Off isreceived.●MONO (Controller number 126)Status 2nd byte 3rd byteBnH 7EH mmHn = MIDI channel number: 0H - FH (ch.1 - 16)mm = mono number: 00H - 10H (0 - 16)* The same processing will be carried out as when All Notes Off isreceived.* In Performance mode, the Part Mono/Poly parameter (Part Edit)will change.●POLY (Controller number 127)Status 2nd byte 3rd byteBnH 7FH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* The same processing will be carried out as when All Notes Off isreceived.* In Performance mode, the Part Mono/Poly parameter (Part Edit)will change.■System Realtime Message●Timing ClockStatusF8H* This is received when Sync Mode parameter (System) is SLAVE.●Active SensingStatusFEH* When Active Sensing is received, the unit will begin monitoringthe intervals of all further messages. While monitoring, if theinterval between messages exceeds 420 ms, the same processingwill be carried out as when All Sounds Off, All Notes Off andReset All Controllers are received, and message intervalmonitoring will be halted.●OMNI ON (Controller number 125)Status 2nd byte 3rd byteBnH 7DH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* The same processing will be carried out as when All Notes Off isreceived. OMNI ON will not be turned on.250


MIDI Implementation■System Exclusive MessageStatus Data byte StatusF0H iiH, ddH, ......,eeH F7HF0H:System Exclusive Message statusii = ID number: an ID number (manufacturer ID) to indicate themanufacturer whose Exclusive message this is.Roland's manufacturer ID is 41H.ID numbers 7EH and 7FH are extensions of theMIDI standard; Universal Non-realtimeMessages (7EH) and Universal RealtimeMessages (7FH).dd,...,ee = data: 00H - 7FH (0 - 127)F7H:EOX (End Of Exclusive)Of the System Exclusive messages received by this device, theUniversal Non-realtime messages and the Universal Realtimemessages and the Data Request (RQ1) messages and the Data Set(DT1) messages will be set automatically.●Universal Non-realtime System ExclusiveMessages❍Identity Request MessageStatus Data byte StatusF0H 7EH, dev, 06H, 01H F7HByteF0H7EHdev06H01HF7HExplanationExclusive statusID number (Universal Non-realtime Message)Device ID (dev: 10H - 1FH, 7FH)Sub ID#1 (General Information)Sub ID#2 (Identity Request)EOX (End Of Exclusive)* When this message is received, Identity Reply message (p. 256)will be transmitted.❍GM1 System OnStatus Data byte StatusF0H 7EH, 7FH, 09H, 01H F7HByteF0H7EH7FH09H01HF7HExplanationExclusive statusID 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)❍GM2 System OnStatus Data byte StatusF0H 7EH 7FH 09H 03H F7HByteF0H7EH7FH09H03HF7HExplanationExclusive statusID 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)* When this messages is received, this instrument will turn to thePerformance mode.* Not received when the Receive GM2 System On parameter(System MIDI) is OFF.❍GM System OffStatus Data byte StatusF0H 7EH, 7F, 09H, 02H F7HByteF0H7EH7FH09H02HF7HExplanationExclusive statusID number (Universal Non-realtime Message)Device ID (Broadcast)Sub ID#1 (General MIDI Message)Sub ID#2 (General MIDI Off)EOX (End Of Exclusive)* When this messages is received, this instrument will return to thePerformance mode.●Universal Realtime System Exclusive Messages❍Master VolumeStatus Data byte StatusF0H 7FH, 7FH, 04H, 01H, llH, mmH F7HByteF0H7FH7FH04H01HllHmmHF7HExplanationExclusive statusID number (universal realtime message)Device ID (Broadcast)Sub ID#1 (Device Control)Sub ID#2 (Master Volume)Master Volume lower byteMaster Volume upper byteEOX (End Of Exclusive)* The lower byte (llH) of Master Volume will be handled as 00H.* The Master Level parameter (System) will change.* When this messages is received, this instrument will turn to thePerformance mode.* Not received when the Receive GM1 System On parameter(System MIDI) is OFF.251


MIDI Implementation❍Master Fine TuningStatus Data byte StatusF0H 7FH, 7FH, 04H, 03H, llH, mmH F7HByteF0H7FH7FH04H03HllHmmHF7HExplanationExclusive statusID number (universal realtime message)Device ID (Broadcast)Sub ID#1 (Device Control)Sub ID#2 (Master Fine Tuning)Master Fine Tuning LSBMaster Fine Tuning MSBEOX (End Of Exclusive)mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])F7Hpp=0 Reverb Typevv = 00H Small Roomvv = 01H Medium Roomvv = 02H Large Roomvv = 03H Medium Hallvv = 04H Large Hallvv = 08H Platepp=1 Reverb Timevv = 00H - 7FH 0 - 127EOX (End Of Exclusive)❍Chorus ParametersStatus Data byte StatusF0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H01H, 01H, 02H, ppH, vvH* The Master Tune parameter (System) will change.❍Master Coarse TuningStatus Data byte StatusF0H 7FH, 7FH, 04H, 04H, llH, mmH F7ByteF0H7FH7FH04H04HllHmmHF7HExplanationExclusive statusID number (universal realtime message)Device ID (Broadcast)Sub ID#1 (Device Control)Sub ID#2 (Master Coarse Tuning)Master Coarse Tuning LSBMaster Coarse Tuning MSBEOX (End Of Exclusive)llH: ignored (processed as 00H)mmH: 28H - 40H - 58H (-24 - 0 - +24 [semitones])* The Master Key Shift parameter (System) will change.●Global Parameter Control* Not received in Patch mode.❍Reverb ParametersStatus Data byte StatusF0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H01H, 01H, 01H, ppH, vvHByteF0H7FH7FH04H05H01H01H01H01H01HppHvvHExplanationExclusive statusID number (universal realtime message)Device ID (Broadcast)Sub ID#1 (Device Control)Sub ID#2 (Global Parameter Control)Slot path lengthParameter ID widthValue widthSlot path MSBSlot path LSB (Effect 0101: Reverb)Parameter to be controlled.Value for the parameter.ByteF0H7FH7FH04H05H01H01H01H01H02HppHvvHF7HExplanationExclusive statusID number (universal realtime message)Device ID (Broadcast)Sub ID#1 (Device Control)Sub ID#2 (Global Parameter Control)Slot path lengthParameter ID widthValue widthSlot path MSBSlot path LSB (Effect 0102: Chorus)Parameter to be controlled.Value for the parameter.pp=0 Chorus Typevv=0 Chorus1vv=1 Chorus2vv=2 Chorus3vv=3 Chorus4vv=4 FB Chorusvv=5 Flangerpp=1 Mod Ratevv= 00H - 7FH 0 - 127pp=2 Mod Depthvv = 00H - 7FH 0 - 127pp=3 Feedbackvv = 00H - 7FH 0 - 127pp=4 Send To Reverbvv = 00H - 7FH 0 - 127EOX (End Of Exclusive)252


MIDI Implementation❍Channel PressureStatus Data byte StatusF0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H❍Scale/Octave Tuning AdjustStatus Data byte StatusF0H7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7ByteExplanationF0HExclusive status7FHID number (universal realtime message)7FHDevice ID (Broadcast)09HSub ID#1 (Controller Destination Setting)01HSub ID#2 (Channel Pressure)0nH MIDI Channel (00 - 0F)ppHControlled parameterrrHControlled rangepp=0 Pitch Controlrr = 28H - 58H -24 - +24 [semitones]pp=1 Filter Cutoff Controlrr = 00H - 7FH -9600 - +9450 [cents]pp=2 Amplitude Controlrr = 00H - 7FH 0 - 200%pp=3 LFO Pitch Depthrr = 00H - 7FH 0 - 600 [cents]pp=4 LFO Filter Depthrr = 00H - 7FH 0 - 2400 [cents]pp=5 LFO Amplitude Depthrr = 00H - 7FH 0 - 100%F7HEOX (End Of Exclusive)ByteExplanationF0HExclusive status7EHID number (Universal Non-realtime Message)7FHDevice ID (Broadcast)08HSub ID#1 (MIDI Tuning Standard)08HSub ID#2 (scale/octave tuning 1-byte form)ffH Channel/Option byte 1bits 0 to 1 = channel 15 to 16bit 2 to 6 = UndefinedggH Channel byte 2bits 0 to 6 = channel 8 to 14hhH Channel byte 3bits 0 to 6 = channel 1 to 7ssH12 byte tuning offset of 12 semitones from C to B00H = -64 [cents]40H = 0 [cents] (equal temperament)7FH = +63 [cents]F7HEOX (End Of Exclusive)❍Key-based Instrument ControllersStatus Data byte StatusF0H 7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH F7H❍ControllerStatus Data byte StatusF0H 7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7HByteExplanationF0HExclusive status7FHID number (universal realtime message)7FHDevice ID (Broadcast)09HSub ID#1 (Controller Destination Setting)03HSub ID#2 (Control Change)0nH MIDI Channel (00 - 0F)ccH Controller number (01 - 1F, 40 - 5F)ppHControlled parameterrrHControlled rangepp=0 Pitch Controlrr = 28H - 58H -24 - +24 [semitones]pp=1 Filter Cutoff Controlrr = 00H - 7FH -9600 - +9450 [cents]pp=2 Amplitude Controlrr = 00H - 7FH 0 - 200%pp=3 LFO Pitch Depthrr = 00H - 7FH 0 - 600 [cents]pp=4 LFO Filter Depthrr = 00H - 7FH 0 - 2400 [cents]pp=5 LFO Amplitude Depthrr = 00H - 7FH 0 - 100%F7HEOX (End Of Exclusive)ByteExplanationF0HExclusive status7FHID number (universal realtime message)7FHDevice ID (Broadcast)0AH Sub ID#1 (Key-Based Instrument Control)01HSub ID#2 (Controller)0nHMIDI Channel (00 - 0FH)kkHKey NumbernnHControl NumbervvHValuenn=07H Levelvv = 00H - 7FH 0 - 200% (Relative)nn=0AH Panvv = 00H - 7FH Left - Right (Absolute)nn=5BH Reverb Sendvv = 00H - 7FH 0 - 127 (Absolute)nn=5D Chorus Sendvv = 00H - 7FH 0 - 127 (Absolute): :F7EOX (End Of Exclusive)* This parameter affects drum instruments only.●Data TransmissionThis instrument can use exclusive messages to exchange manyvarieties of internal settings with other devices.The model ID of the exclusive messages used by this instrument is00H 00H 25H.253


MIDI Implementation❍Data Request 1 RQ1 (11H)This message requests the other device to transmit data. The addressand size indicate the type and amount of data that is requested.When a Data Request message is received, if the device is in a statein which it is able to transmit data, and if the address and size areappropriate, the requested data is transmitted as a Data Set 1 (DT1)message. If the conditions are not met, nothing is transmitted.status data byte statusF0H 41H, dev, 00H, 00H, 25H, 11H, aaH, bbH, F7HccH, ddH, ssH, ttH, uuH, vvH, sumByteF0H41Hdev00H00H25H11HaaHbbHccHddHssHttHuuHvvHsumF7HRemarksExclusive statusID number (Roland)device ID (dev: 10H - 1FH, 7FH)model ID #1 (SonicCell)model ID #2 (SonicCell)model ID #3 (SonicCell)command ID (RQ1)address MSBaddressaddressaddress LSBsize MSBsizesizesize LSBchecksumEOX (End Of Exclusive)* The size of data that can be transmitted at one time is fixed foreach type of data. And data requests must be made with a fixedstarting address and size. Refer to the address and size given in“Parameter Address Map” (p. 257).* For the checksum, refer to (p. 275).* Not received when the Receive Exclusive parameter (SystemMIDI) is OFF.❍Data set 1 DT1 (12H)Status Data byte StatusF0H 41H, dev, 00H, 00H, 25H, 12H, aaH, bbH, F7HccH, ddH, eeH, ... ffH, sumByteExplanationF0HExclusive status41HID number (Roland)devDevice ID (dev: 00H - 1FH, 7FH)00HModel ID #1 (SonicCell)00HModel ID #2 (SonicCell)25HModel ID #3 (SonicCell)12HCommand ID (DT1)aaHAddress MSB: upper byte of the starting address ofthe data to be sentbbH Address: upper middle byte of the startingaddress of the data to be sentccH Address: lower middle byte of the startingaddress of the data to be sentddH Address LSB: lower byte of the starting address ofthe data to be sent.eeH Data: the actual data to be sent. Multiplebytes of data are transmitted inorder starting from the address.: :ffHDatasumChecksumF7HEOX (End Of Exclusive)* The amount of data that can be transmitted at one time dependson the type of data, and data will be transmitted from thespecified starting address and size. Refer to the address and sizegiven in “Parameter Address Map” (p. 257).* Data larger than 256 bytes will be divided into packets of 256 bytesor less, and each packet will be sent at an interval of about 20 ms.* Regarding the checksum, please refer to (p. 275)* Not received when the Receive Exclusive parameter (SystemMIDI) is OFF.Status Data byte StatusF0H 41H, dev, 42H, 12H, aaH, bbH, F7HccH, ddH, ... eeH, sumByteExplanationF0HExclusive status41HID number (Roland)devDevice ID (dev: 10H - 1FH, 7FH)42HModel ID (GS)12HCommand ID (DT1)aaH Address MSB: upper byte of the starting address ofthe transmitted databbH Address: middle byte of the starting addressof the transmitted dataccH Address LSB: lower byte of the starting address ofthe transmitted dataddH Data: the actual data to be transmitted.Multiple bytes of data aretransmitted starting from theaddress.: :eeHDatasumChecksumF7HEOX (End Of Exclusive)* The amount of data that can be transmitted at one time dependson the type of data, and data will be transmitted from thespecified starting address and size. Refer to the address and sizegiven in “Parameter Address Map” (p. 257).* Data larger than 256 bytes will be divided into packets of 256 bytesor less, and each packet will be sent at an interval of about 20 ms.* Regarding the checksum, please refer to (p. 275)* Not received when the Receive Exclusive parameter (SystemMIDI) is OFF.254


MIDI Implementation2. Data TransmissionMessages (except System Common and System Realtime Messages)that are received are then sent out when Soft Thru parameter(System MIDI) is switched to ON.■Channel Voice Messages●Note offStatus 2nd byte 3rd byte8nH kkH vvH9nH kkH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)kk = note number: 00H - 7FH (0 - 127)vv = note off velocity: 00H - 7FH (0 - 127)* This message is transmitted from SMF Player.●Note onStatus 2nd byte 3rd byte9nH kkH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)kk = note number: 00H - 7FH (0 - 127)vv = note on velocity: 01H - 7FH (1 - 127)* This message is transmitted from SMF Player.●Polyphonic Key PressureStatus 2nd byte 3rd byteAnH kkH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)kk = note number: 00H - 7FH (0 - 127)vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)* This message is transmitted from SMF Player.●Control ChangeBnH kkH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)kk = Controller number: 00H - 77H (0 - 119)vv = Control value: 00H - 7FH (0 - 127)* This message is transmitted from SMF Player.●Program ChangeStatus 2nd byteCnH ppHn = MIDI channel number: 0H - FH (ch.1 - 16)pp = Program number: 00H - 7FH (prog.1 - prog.128)* This message is transmitted from SMF Player.●Channel PressureStatus 2nd byteDnH vvHn = MIDI channel number: 0H - FH (ch.1 - 16)vv = Channel Pressure: 00H - 7FH (0 - 127)* This message is transmitted from SMF Player.●Pitch Bend ChangeStatus 2nd byte 3rd byteEnH llH mmHn = MIDI channel number: 0H - FH (ch.1 - 16)mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)* This message is transmitted from SMF Player.■Channel Mode Messages●All Sounds Off (Controller number 120)Status 2nd byte 3rd byteBnH 78H 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* This message is transmitted from SMF Player.●Reset All Controllers (Controller number 121)Status 2nd byte 3rd byteBnH 79H 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* This message is transmitted from SMF Player.●All Notes Off (Controller number 123)Status 2nd byte 3rd byteBnH 7BH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* This message is transmitted from SMF Player.●MONO (Controller number 126)Status 2nd byte 3rd byteBnH 7EH mmHn = MIDI channel number: 0H - FH (ch.1 - 16)mm = mono number: 00H - 10H (0 - 16)* This message is transmitted from SMF Player.●POLY (Controller number 127)Status 2nd byte 3rd byteBnH 7FH 00Hn = MIDI channel number: 0H - FH (ch.1 - 16)* This message is transmitted from SMF Player.255


MIDI Implementation■System Realtime Messages●Active SensingStatusFEH* This message is transmitted at intervals of approximately 250msec.■System Exclusive MessageStatus Data byte StatusF0H iiH, ddH, ......,eeH F7HF0H:System Exclusive Message statusii = ID number: an ID number (manufacturer ID) to indicate themanufacturer whose Exclusive message this is.Roland's manufacturer ID is 41H.ID numbers 7EH and 7FH are extensions of theMIDI standard; Universal Non-realtime Messages(7EH) and Universal Realtime Messages (7FH).dd,...,ee = data: 00H - 7FH (0 - 127)F7H:EOX (End Of Exclusive)Universal Non-realtime System Exclusive Messagé” and Data Set 1(DT1) are the only System Exclusive messages transmitted by theSonicCell.●Universal Non-realtime System Exclusive Message❍Identity Reply Message (SonicCell)Receiving Identity Request Message, the SonicCell send thismessage.ByteExplanationF0HExclusive status41HID number (Roland)devDevice ID (dev: 00H - 1FH, 7FH)00HModel ID #1 (SonicCell)00HModel ID #2 (SonicCell)25HModel ID #3 (SonicCell)12HCommand ID (DT1)aaH Address MSB: upper byte of the starting address ofthe data to be sentbbH Address: upper middle byte of the startingaddress of the data to be sentccH Address: lower middle byte of the startingaddress of the data to be sentddH Address LSB: lower byte of the starting address ofthe data to be sent.eeH Data: the actual data to be sent. Multiplebytes of data are transmitted inorder starting from the address.: :ffHDatasumChecksumF7HEOX (End Of Exclusive)* The amount of data that can be transmitted at one time dependson the type of data, and data will be transmitted from thespecified starting address and size. Refer to the address and sizegiven in “Parameter Address Map” (see right).* Data larger than 256 bytes will be divided into packets of 256 bytesor less, and each packet will be sent at an interval of about 20 ms.Status Data byte StatusF0H 7EH, dev, 06H, 02H, 41H, 25H, 02H, F7H00H, 00H, 00H, 00H, 00H, 00HByteF0H7EHdev06H02H41H25H 02H00H 00H00H 00H 00H 00HF7HExplanationExclusive statusID number (Universal Non-realtime Message)Device ID (dev: 10H - 1FH)Sub ID#1 (General Information)Sub ID#2 (Identity Reply)ID number (Roland)Device family codeDevice family number codeSoftware revision levelEOX (End of Exclusive)●Data Transmission❍Data set 1 DT1 (12H)Status Data byte StatusF0H 41H, dev, 00H, 00H, 25H, 12H, aaH, bbH, F7HccH, ddH, eeH, ... ffH, sum256


MIDI Implementation3. Parameter Address Map* Transmission of “#” marked address is divided to some packets.For example, ABH in hexadecimal notation will be divided to0AH and 0BH, and is sent/received in this order.* “” marked address or parameters are ignored when theSonicCell received them.1. Sonic Cell (ModelID = 00H 00H 25H)+------------------------------------------------------------------------------+| Start | || Address | Description ||-------------+----------------------------------------------------------------|| 01 00 00 00 | Setup ||-------------+----------------------------------------------------------------|| 02 00 00 00 | System ||-------------+----------------------------------------------------------------|| 10 00 00 00 | Temporary Performance || 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1) || 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2) || : | || 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16) || 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode) ||-------------+----------------------------------------------------------------|| 20 00 00 00 | User Performance (01) || 20 01 00 00 | User Performance (02) || : | || 20 3F 00 00 | User Performance (64) ||-------------+----------------------------------------------------------------|| 30 00 00 00 | User Patch (001) || 30 01 00 00 | User Patch (002) || : | || 31 7F 00 00 | User Patch (256) ||-------------+----------------------------------------------------------------|| 40 00 00 00 | User Rhythm Set (001) || 40 10 00 00 | User Rhythm Set (002) || : | || 43 70 00 00 | User Rhythm Set (032) |+------------------------------------------------------------------------------+* System+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 00 | System Common || 00 02 00 | System Mastering || 00 03 00 | System External Input |+------------------------------------------------------------------------------+* Temporary Patch/Rhythm+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 00 | Temporary Patch || 10 00 00 | Temporary Rhythm |+------------------------------------------------------------------------------+* Performance+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 00 | Performance Common || 00 02 00 | Performance Common MFX1 || 00 04 00 | Performance Common Chorus || 00 06 00 | Performance Common Reverb || 00 08 00 | Performance Common MFX2 || 00 0A 00 | Performance Common MFX3 || 00 10 00 | Performance MIDI (Channel 1) || 00 11 00 | Performance MIDI (Channel 2) || : | || 00 1F 00 | Performance MIDI (Channel 16) || 00 20 00 | Performance Part (Part 1) || 00 21 00 | Performance Part (Part 2) || : | || 00 2F 00 | Performance Part (Part 16) || 00 60 00 | Performance Controller |+------------------------------------------------------------------------------+* Patch+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 00 | Patch Common || 00 02 00 | Patch Common MFX || 00 04 00 | Patch Common Chorus || 00 06 00 | Patch Common Reverb || 00 10 00 | Patch TMT (Tone Mix Table) || 00 20 00 | Patch Tone (Tone 1) || 00 22 00 | Patch Tone (Tone 2) || 00 24 00 | Patch Tone (Tone 3) || 00 26 00 | Patch Tone (Tone 4) |+------------------------------------------------------------------------------+* Rhythm+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 00 | Rhythm Common || 00 02 00 | Rhythm Common MFX || 00 04 00 | Rhythm Common Chorus || 00 06 00 | Rhythm Common Reverb || 00 10 00 | Rhythm Tone (Key # 21) || 00 12 00 | Rhythm Tone (Key # 22) || : | || 01 3E 00 | Rhythm Tone (Key # 108) |+------------------------------------------------------------------------------+* Setup+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 0aaa | Sound Mode (0 - 4) || | | PATCH, PERFORM, GM1, GM2, GS ||-------------+-----------+----------------------------------------------------|| 00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0) (0 - 127) || 00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32) (0 - 127) || 00 03 | 0aaa aaaa | Performance Program Number (PC) (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 - 127) || 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 - 127) || 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 - 127) || 00 07 | 0aaa aaaa | (reserve) || 00 08 | 0aaa aaaa | (reserve) || 00 09 | 0aaa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 0A | 0000 000a | MFX1 Switch (0 - 1) || | | BYPASS, ON || 00 0B | 0000 000a | MFX2 Switch (0 - 1) || | | BYPASS, ON || 00 0C | 0000 000a | MFX3 Switch (0 - 1) || | | BYPASS, ON || 00 0D | 0000 000a | Chorus Switch (0 - 1) || | | OFF, ON || 00 0E | 0000 000a | Reverb Switch (0 - 1) || | | OFF, ON || 00 0F | 0000 000a | Input Effect Switch (0 - 1) || | | OFF, ON || 00 10 | 0000 000a | (reserve) || 00 11 | 0000 000a | (reserve) || 00 12 | 0000 aaaa | (reserve) || 00 13 | 0000 0aaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 14 | 0000 0aaa | (reserve) || 00 15 | 0000 00aa | (reserve) || 00 16 | 0000 000a | (reserve) || 00 17 | 0aaa aaaa | (reserve) || 00 18 | 0aaa aaaa | (reserve) || 00 19 | 0000 000a | (reserve) || 00 1A | 0aaa aaaa | (reserve) || 00 1B | 0aaa aaaa | (reserve) || 00 1C | 0aaa aaaa | (reserve) || 00 1D | 0000 0aaa | (reserve) || 00 1E | 0000 000a | (reserve) || 00 1F | 0aaa aaaa | (reserve) || 00 20 | 0aaa aaaa | (reserve) || 00 21 | 0000 000a | (reserve) || 00 22 | 0aaa aaaa | (reserve) ||# 00 23 | 0000 aaaa | || | 0000 bbbb | (reserve) || 00 25 | 0000 000a | (reserve) || 00 26 | 0aaa aaaa | (reserve) || 00 27 | 0aaa aaaa | (reserve) || 00 28 | 0aaa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 29 | 0000 000a | (reserve) || 00 2A | 0aaa aaaa | (reserve) || 00 2B | 00aa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 2C | 0000 000a | (reserve) || 00 2D | 0000 000a | (reserve) |257


MIDI Implementation| 00 2E | 0000 000a | (reserve) || 00 2F | 0000 000a | (reserve) || 00 30 | 0aaa aaaa | (reserve) || 00 31 | 0000 000a | (reserve) || 00 32 | 0000 00aa | (reserve) || 00 33 | 00aa aaaa | (reserve) ||-------------+----------------------------------------------------------------|| 00 00 00 34 | Total Size |+------------------------------------------------------------------------------+* System Common+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------||# 00 00 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Master Tune (24 - 2024) || | | -100.0 - 100.0 [cent] || 00 04 | 00aa aaaa | Master Key Shift (40 - 88) || | | -24 - +24 || 00 05 | 0aaa aaaa | Master Level (0 - 127) || 00 06 | 0000 000a | Scale Tune Switch (0 - 1) || | | OFF, ON || 00 07 | 0000 000a | Patch Remain (0 - 1) || | | OFF, ON || 00 08 | 0000 000a | Mix/Parallel || | | ---, PARALLEL ||-------------+-----------+----------------------------------------------------|| 00 09 | 000a aaaa | Performance Control Channel (0 - 16) || | | 1 - 16, OFF || 00 0A | 0000 aaaa | Patch Receive Channel (0 - 15) || | | 1 - 16 || 00 0B | 0000 aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 0C | 0aaa aaaa | Patch Scale Tune for C (0 - 127) || | | -64 - +63 || 00 0D | 0aaa aaaa | Patch Scale Tune for C# (0 - 127) || | | -64 - +63 || 00 0E | 0aaa aaaa | Patch Scale Tune for D (0 - 127) || | | -64 - +63 || 00 0F | 0aaa aaaa | Patch Scale Tune for D# (0 - 127) || | | -64 - +63 || 00 10 | 0aaa aaaa | Patch Scale Tune for E (0 - 127) || | | -64 - +63 || 00 11 | 0aaa aaaa | Patch Scale Tune for F (0 - 127) || | | -64 - +63 || 00 12 | 0aaa aaaa | Patch Scale Tune for F# (0 - 127) || | | -64 - +63 || 00 13 | 0aaa aaaa | Patch Scale Tune for G (0 - 127) || | | -64 - +63 || 00 14 | 0aaa aaaa | Patch Scale Tune for G# (0 - 127) || | | -64 - +63 || 00 15 | 0aaa aaaa | Patch Scale Tune for A (0 - 127) || | | -64 - +63 || 00 16 | 0aaa aaaa | Patch Scale Tune for A# (0 - 127) || | | -64 - +63 || 00 17 | 0aaa aaaa | Patch Scale Tune for B (0 - 127) || | | -64 - +63 ||-------------+-----------+----------------------------------------------------|| 00 18 | 0aaa aaaa | System Control 1 Source (0 - 97) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT || 00 19 | 0aaa aaaa | System Control 2 Source (0 - 97) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT || 00 1A | 0aaa aaaa | System Control 3 Source (0 - 97) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT || 00 1B | 0aaa aaaa | System Control 4 Source (0 - 97) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT ||-------------+-----------+----------------------------------------------------|| 00 1C | 0000 000a | Receive Program Change (0 - 1) || | | OFF, ON || 00 1D | 0000 000a | Receive Bank Select (0 - 1) || | | OFF, ON ||-------------+----------------------------------------------------------------|| 00 00 00 1E | Total Size |+------------------------------------------------------------------------------+* System Mastering+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 000a | Mastering Switch (0 - 1) || | | OFF, ON || 00 01 | 0aaa aaaa | Low band Attack time (0 - 100) || 00 02 | 0aaa aaaa | Low band Release time (0 - 100) || 00 03 | 00aa aaaa | Low band Threshold (0 - 36) || | | -36, -35, -34, -33, -32, -31, || | | -30, -29, -28, -27, -26, -25, || | | -24, -23, -22, -21, -20, -19, || | | -18, -17, -16, -15, -14, -13, || | | -12, -11, -10, -9, -8, -7, || | | -6, -5, -4, -3, -2, -1, 0 [dB] || 00 04 | 0000 aaaa | Low band Ratio (0 - 13) || | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, || | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, || | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, || | | 1:16, 1:INF || 00 05 | 000a aaaa | Low band Level (0 - 24) || | | 0, 1, 2, 3, 4, 5, 6, 7, 8, || | | 9, 10, 11, 12, 13, 14, 15, || | | 16, 17, 18, 19, 20, 21, 22, || | | 23, 24 [dB] || 00 06 | 0aaa aaaa | Mid band Attack time (0 - 100) || 00 07 | 0aaa aaaa | Mid band Release time (0 - 100) || 00 08 | 00aa aaaa | Mid band Threshold (0 - 36) || | | -36, -35, -34, -33, -32, -31, || | | -30, -29, -28, -27, -26, -25, || | | -24, -23, -22, -21, -20, -19, || | | -18, -17, -16, -15, -14, -13, || | | -12, -11, -10, -9, -8, -7, || | | -6, -5, -4, -3, -2, -1, 0 [dB] || 00 09 | 0000 aaaa | Mid band Ratio (0 - 13) || | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, || | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, || | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, || | | 1:16, 1:INF || 00 0A | 000a aaaa | Mid band Level (0 - 24) || | | 0, 1, 2, 3, 4, 5, 6, 7, 8, || | | 9, 10, 11, 12, 13, 14, 15, || | | 16, 17, 18, 19, 20, 21, 22, || | | 23, 24 [dB] || 00 0B | 0aaa aaaa | High band Attack time (0 - 100) || 00 0C | 0aaa aaaa | High band Release time (0 - 100) || 00 0D | 00aa aaaa | High band Threshold (0 - 36) || | | -36, -35, -34, -33, -32, -31, || | | -30, -29, -28, -27, -26, -25, || | | -24, -23, -22, -21, -20, -19, || | | -18, -17, -16, -15, -14, -13, || | | -12, -11, -10, -9, -8, -7, || | | -6, -5, -4, -3, -2, -1, 0 [dB] || 00 0E | 0000 aaaa | High band Ratio (0 - 13) || | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, || | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, || | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, || | | 1:16, 1:INF || 00 0F | 000a aaaa | High band Level (0 - 24) || | | 0, 1, 2, 3, 4, 5, 6, 7, 8, || | | 9, 10, 11, 12, 13, 14, 15, || | | 16, 17, 18, 19, 20, 21, 22, || | | 23, 24 [dB] || 00 10 | 0000 0aaa | Split Freq Low (0 - 6) || | | 200, 250, 315, 400, 500, || | | 630, 800 [Hz] || 00 11 | 0000 0aaa | Split Freq High (0 - 6) || | | 2000, 2500, 3150, 4000, 5000, || | | 6300, 8000 [Hz] ||-------------+----------------------------------------------------------------|| 00 00 00 12 | Total Size |+------------------------------------------------------------------------------+* System External Input+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | External Dry Send Level (0 - 127) || 00 01 | 0aaa aaaa | External Chorus Send Level (0 - 127) || 00 02 | 0aaa aaaa | External Reverb Send Level (0 - 127) || 00 03 | 0000 aaaa | External Output Assign (0 - 1) || | | MFX, DRY || 00 04 | 0000 00aa | External Output MFX Select (0 - 2) || | | MFX1, MFX2, MFX3 ||-------------+-----------+----------------------------------------------------|| 00 05 | 0000 aaaa | Input Effect Type (0 - 6) ||-------------+-----------+----------------------------------------------------||# 00 06 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 0A | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0E | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 12 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 16 | 0000 aaaa | || | 0000 bbbb | |258


MIDI Implementation| | 0000 cccc | || | 0000 dddd | Input Effect Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 1A | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1E | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 22 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 26 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 2A | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2E | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 32 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 36 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 3A | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3E | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 42 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 46 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 4A | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4E | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 52 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Input Effect Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+-----------+----------------------------------------------------|| 00 56 | 0000 000a | USB Audio Assign (0 - 1) || | | TO OUTPUT, TO INPUT FX || 00 57 | 0000 00aa | Input Assign (0 - 2) || | | TO COM+OUT, TO COM, TO INPUT FX || 00 58 | 0000 000a | To Computer (0 - 1) || | | MIX, INPUT FX || 00 59 | 0000 000a | MFX3 Location (0 - 1) || | | TG, INPUT FX ||-------------+----------------------------------------------------------------|| 00 00 00 5A | Total Size |+------------------------------------------------------------------------------+* Performance Common+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | Performance Name 1 (32 - 127) || | | 32 - 127 [ASCII] || 00 01 | 0aaa aaaa | Performance Name 2 (32 - 127) || | | 32 - 127 [ASCII] || 00 02 | 0aaa aaaa | Performance Name 3 (32 - 127) || | | 32 - 127 [ASCII] || 00 03 | 0aaa aaaa | Performance Name 4 (32 - 127) || | | 32 - 127 [ASCII] || 00 04 | 0aaa aaaa | Performance Name 5 (32 - 127) || | | 32 - 127 [ASCII] || 00 05 | 0aaa aaaa | Performance Name 6 (32 - 127) || | | 32 - 127 [ASCII] || 00 06 | 0aaa aaaa | Performance Name 7 (32 - 127) || | | 32 - 127 [ASCII] || 00 07 | 0aaa aaaa | Performance Name 8 (32 - 127) || | | 32 - 127 [ASCII] || 00 08 | 0aaa aaaa | Performance Name 9 (32 - 127) || | | 32 - 127 [ASCII] || 00 09 | 0aaa aaaa | Performance Name 10 (32 - 127) || | | 32 - 127 [ASCII] || 00 0A | 0aaa aaaa | Performance Name 11 (32 - 127) || | | 32 - 127 [ASCII] || 00 0B | 0aaa aaaa | Performance Name 12 (32 - 127) || | | 32 - 127 [ASCII] ||-------------+-----------+----------------------------------------------------|| 00 0C | 00aa aaaa | Solo Part Select (0 - 16) || | | OFF, 1 - 16 || 00 0D | 000a aaaa | MFX1 Control Channel (0 - 16) || | | 1 - 16, OFF || 00 0E | 0000 000a | (reserve) (1 - 0) || | | || 00 0F | 0000 000a | (reserve) (1 - 0) || | | ||-------------+-----------+----------------------------------------------------|| 00 10 | 0aaa aaaa | Voice Reserve 1 (0 - 64) || | | 0 - 63, FULL || 00 11 | 0aaa aaaa | Voice Reserve 2 (0 - 64) || | | 0 - 63, FULL || 00 12 | 0aaa aaaa | Voice Reserve 3 (0 - 64) || | | 0 - 63, FULL || 00 13 | 0aaa aaaa | Voice Reserve 4 (0 - 64) || | | 0 - 63, FULL || 00 14 | 0aaa aaaa | Voice Reserve 5 (0 - 64) || | | 0 - 63, FULL || 00 15 | 0aaa aaaa | Voice Reserve 6 (0 - 64) || | | 0 - 63, FULL || 00 16 | 0aaa aaaa | Voice Reserve 7 (0 - 64) || | | 0 - 63, FULL || 00 17 | 0aaa aaaa | Voice Reserve 8 (0 - 64) || | | 0 - 63, FULL || 00 18 | 0aaa aaaa | Voice Reserve 9 (0 - 64) || | | 0 - 63, FULL || 00 19 | 0aaa aaaa | Voice Reserve 10 (0 - 64) || | | 0 - 63, FULL || 00 1A | 0aaa aaaa | Voice Reserve 11 (0 - 64) || | | 0 - 63, FULL || 00 1B | 0aaa aaaa | Voice Reserve 12 (0 - 64) || | | 0 - 63, FULL || 00 1C | 0aaa aaaa | Voice Reserve 13 (0 - 64) || | | 0 - 63, FULL || 00 1D | 0aaa aaaa | Voice Reserve 14 (0 - 64) || | | 0 - 63, FULL || 00 1E | 0aaa aaaa | Voice Reserve 15 (0 - 64) || | | 0 - 63, FULL || 00 1F | 0aaa aaaa | Voice Reserve 16 (0 - 64) || | | 0 - 63, FULL || 00 20 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 21 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 22 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 23 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 24 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 25 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 26 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 27 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 28 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 29 | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 2A | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 2B | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 2C | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 2D | 0aaa aaaa | (reserve) (0 - 64) |259


MIDI Implementation| | | || 00 2E | 0aaa aaaa | (reserve) (0 - 64) || | | || 00 2F | 0aaa aaaa | (reserve) (0 - 64) || | | ||-------------+-----------+----------------------------------------------------|| 00 30 | 00aa aaaa | MFX1 Source (0 - 16) || | | PERFORM, 1 - 16 || 00 31 | 00aa aaaa | MFX2 Source (0 - 16) || | | PERFORM, 1 - 16 || 00 32 | 00aa aaaa | MFX3 Source (0 - 16) || | | PERFORM, 1 - 16 || 00 33 | 00aa aaaa | Chorus Source (0 - 16) || | | PERFORM, 1 - 16 || 00 34 | 00aa aaaa | Reverb Source (0 - 16) || | | PERFORM, 1 - 16 ||-------------+-----------+----------------------------------------------------|| 00 35 | 00aa aaaa | MFX2 Control Channel (0 - 16) || | | 1 - 16, OFF || 00 36 | 00aa aaaa | MFX3 Control Channel (0 - 16) || | | 1 - 16, OFF || 00 37 | 0000 aaaa | MFX Structure (0 - 15) || | | 1 - 16 ||-------------+----------------------------------------------------------------|| 00 00 00 38 | Total Size |+------------------------------------------------------------------------------+* Performance Common MFX+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | MFX Type (0 - 78) || 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) || 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) || 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) || 00 04 | 0000 00aa | MFX Output Assign || | | A, ---, ---, --- ||-------------+-----------+----------------------------------------------------|| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) || | | -63 - +63 || 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) || | | -63 - +63 || 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) || | | -63 - +63 || 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) || | | OFF, 1 - 16 || 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) || | | OFF, 1 - 16 || 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) || | | OFF, 1 - 16 || 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) || | | OFF, 1 - 16 ||# 00 11 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 15 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 19 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 1D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 21 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 25 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 29 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 2D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 31 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 35 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 39 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 3D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 41 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 45 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 49 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 4D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 51 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 55 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 59 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 5D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||# 00 61 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 21 (12768 - 52768) || | | -20000 - +20000 ||# 00 65 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 22 (12768 - 52768) || | | -20000 - +20000 ||# 00 69 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 23 (12768 - 52768) || | | -20000 - +20000 ||# 00 6D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 24 (12768 - 52768) || | | -20000 - +20000 ||# 00 71 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 25 (12768 - 52768) || | | -20000 - +20000 ||# 00 75 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | |260


MIDI Implementation| | 0000 dddd | MFX Parameter 26 (12768 - 52768) || | | -20000 - +20000 ||# 00 79 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 27 (12768 - 52768) || | | -20000 - +20000 ||# 00 7D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 28 (12768 - 52768) || | | -20000 - +20000 ||# 01 01 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 29 (12768 - 52768) || | | -20000 - +20000 ||# 01 05 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 30 (12768 - 52768) || | | -20000 - +20000 ||# 01 09 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 31 (12768 - 52768) || | | -20000 - +20000 ||# 01 0D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 32 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 01 11 | Total Size |+------------------------------------------------------------------------------+* Performance Common Chorus+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Chorus Type (0 - 3) || 00 01 | 0aaa aaaa | Chorus Level (0 - 127) || 00 02 | 0000 00aa | Chorus Output Assign || | | A, ---, ---, --- || 00 03 | 0000 00aa | Chorus Output Select (0 - 2) || | | MAIN, REV, MAIN+REV ||-------------+-----------+----------------------------------------------------||# 00 04 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 08 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 10 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 14 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 18 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 20 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 24 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 28 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 30 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 34 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 38 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 40 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 44 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 48 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 50 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 00 54 | Total Size |+------------------------------------------------------------------------------+* Performance Common Reverb+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Reverb Type (0 - 5) || 00 01 | 0aaa aaaa | Reverb Level (0 - 127) || 00 02 | 0000 00aa | Reverb Output Assign || | | A, ---, ---, --- ||-------------+-----------+----------------------------------------------------||# 00 03 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 07 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 0F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 13 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 17 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1B | 0000 aaaa | || | 0000 bbbb | |261


MIDI Implementation| | 0000 cccc | || | 0000 dddd | Reverb Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 1F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 23 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 27 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 2F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 33 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 37 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 3F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 43 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 47 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 4F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 00 53 | Total Size |+------------------------------------------------------------------------------+* Performance MIDI+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 000a | Receive Program Change (0 - 1) || | | OFF, ON || 00 01 | 0000 000a | Receive Bank Select (0 - 1) || | | OFF, ON || 00 02 | 0000 000a | Receive Bender (0 - 1) || | | OFF, ON || 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 - 1) || | | OFF, ON || 00 04 | 0000 000a | Receive Channel Pressure (0 - 1) || | | OFF, ON || 00 05 | 0000 000a | Receive Modulation (0 - 1) || | | OFF, ON || 00 06 | 0000 000a | Receive Volume (0 - 1) || | | OFF, ON || 00 07 | 0000 000a | Receive Pan (0 - 1) || | | OFF, ON || 00 08 | 0000 000a | Receive Expression (0 - 1) || | | OFF, ON || 00 09 | 0000 000a | Receive Hold-1 (0 - 1) || | | OFF, ON ||-------------+-----------+----------------------------------------------------|| 00 0A | 0000 000a | Phase Lock (0 - 1) || | | OFF, ON || 00 0B | 0000 0aaa | Velocity Curve Type (0 - 4) || | | OFF, 1 - 4 ||-------------+----------------------------------------------------------------|| 00 00 00 0C | Total Size |+------------------------------------------------------------------------------+* Performance Part+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Receive Channel (0 - 15) || | | 1 - 16 || 00 01 | 0000 000a | Receive Switch (0 - 1) || | | OFF, ON || 00 02 | 0000 0000 | (reserve) (1 - 0) || | | || 00 03 | 0000 0000 | (reserve) (1 - 0) || | | ||-------------+-----------+----------------------------------------------------|| 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 - 127) || 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 - 127) || 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 - 127) || 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 - 127) || | | L64 - 63R || 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 - 112) || | | -48 - +48 || 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 - 114) || | | -50 - +50 || 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 - 2) || | | MONO, POLY, PATCH || 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 - 2) || | | OFF, ON, PATCH || 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 - 25) || | | 0 - 24, PATCH || 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 - 2) || | | OFF, ON, PATCH ||# 00 0F | 0000 aaaa | || | 0000 bbbb | Part Portamento Time (CC# 5) (0 - 128) || | | 0 - 127, PATCH || 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 - 127) || | | -64 - +63 || 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 - 127) || | | -64 - +63 || 00 13 | 0aaa aaaa | Part Attack Offset (CC# 73) (0 - 127) || | | -64 - +63 || 00 14 | 0aaa aaaa | Part Release Offset (CC# 72) (0 - 127) || | | -64 - +63 ||-------------+-----------+----------------------------------------------------|| 00 15 | 0000 0aaa | Part Octave Shift (61 - 67) || | | -3 - +3 || 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 - 127) || | | -63 - +63 || 00 17 | 0aaa aaaa | Keyboard Range Lower (0 - 127) || | | C-1 - UPPER || 00 18 | 0aaa aaaa | Keyboard Range Upper (0 - 127) || | | LOWER - G9 || 00 19 | 0aaa aaaa | Keyboard Fade Width Lower (0 - 127) || 00 1A | 0aaa aaaa | Keyboard Fade Width Upper (0 - 127) || 00 1B | 0000 000a | Mute Switch (0 - 1) || | | OFF, MUTE ||-------------+-----------+----------------------------------------------------|| 00 1C | 0aaa aaaa | Part Dry Send Level (0 - 127) || 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 - 127) || 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 - 127) || 00 1F | 0000 aaaa | Part Output Assign (0 - 13) || | | MFX, A, ---, ---, ---, || | | 1, 2, ---, ---, ---, ---, ---, ---, || | | PATCH || 00 20 | 0000 00aa | Part Output MFX Select (0 - 2) || | | MFX1, MFX2, MFX3 ||-------------+-----------+----------------------------------------------------|| 00 21 | 0aaa aaaa | Part Decay Offset (CC# 75) (0 - 127) || | | -64 - +63 ||-------------+-----------+----------------------------------------------------|| 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 - 127) || | | -64 - +63 || 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 - 127) || | | -64 - +63 || 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 - 127) || | | -64 - +63 ||-------------+-----------+----------------------------------------------------|| 00 25 | 0aaa aaaa | Part Scale Tune for C (0 - 127) || | | -64 - +63 || 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 - 127) || | | -64 - +63 || 00 27 | 0aaa aaaa | Part Scale Tune for D (0 - 127) || | | -64 - +63 || 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 - 127) || | | -64 - +63 || 00 29 | 0aaa aaaa | Part Scale Tune for E (0 - 127) || | | -64 - +63 |262


MIDI Implementation| 00 2A | 0aaa aaaa | Part Scale Tune for F (0 - 127) || | | -64 - +63 || 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 - 127) || | | -64 - +63 || 00 2C | 0aaa aaaa | Part Scale Tune for G (0 - 127) || | | -64 - +63 || 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 - 127) || | | -64 - +63 || 00 2E | 0aaa aaaa | Part Scale Tune for A (0 - 127) || | | -64 - +63 || 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 - 127) || | | -64 - +63 || 00 30 | 0aaa aaaa | Part Scale Tune for B (0 - 127) || | | -64 - +63 ||-------------+----------------------------------------------------------------|| 00 00 00 31 | Total Size |+------------------------------------------------------------------------------+* Performance Controller+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 000a | (reserve) || 00 01 | 0aaa aaaa | (reserve) || 00 02 | 0aaa aaaa | (reserve) || 00 03 | 0aaa aaaa | (reserve) || 00 04 | 0000 aaaa | (reserve) || 00 05 | 0aaa aaaa | (reserve) || 00 06 | 0aaa aaaa | (reserve) || 00 07 | 0aaa aaaa | (reserve) || 00 08 | 0aaa aaaa | (reserve) || 00 09 | 0aaa aaaa | (reserve) || 00 0A | 0aaa aaaa | (reserve) || 00 0B | 0aaa aaaa | (reserve) || 00 0C | 0aaa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 0D | 0000 000a | (reserve) || 00 0E | 0aaa aaaa | (reserve) || 00 0F | 0aaa aaaa | (reserve) || 00 10 | 0000 000a | (reserve) || 00 11 | 0aaa aaaa | (reserve) || 00 12 | 0aaa aaaa | (reserve) || 00 13 | 0aaa aaaa | (reserve) || 00 14 | 0000 0aaa | (reserve) || 00 15 | 0000 000a | (reserve) || 00 16 | 0aaa aaaa | (reserve) || 00 17 | 0aaa aaaa | (reserve) || 00 18 | 0000 aaaa | (reserve) || 00 19 | 0000 000a | (reserve) || 00 1A | 0aaa aaaa | (reserve) || 00 1B | 0aaa aaaa | (reserve) || 00 1C | 0aaa aaaa | (reserve) || 00 1D | 0aaa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 1E | 0000 000a | (reserve) || 00 1F | 0aaa aaaa | (reserve) || 00 20 | 00aa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 21 | 0aaa aaaa | (reserve) || 00 22 | 0aaa aaaa | (reserve) || 00 23 | 000a aaaa | (reserve) || 00 24 | 0aaa aaaa | (reserve) || 00 25 | 0aaa aaaa | (reserve) || 00 26 | 0aaa aaaa | (reserve) || 00 27 | 0aaa aaaa | (reserve) || 00 28 | 0aaa aaaa | (reserve) || 00 29 | 0aaa aaaa | (reserve) || 00 2A | 0aaa aaaa | (reserve) || 00 2B | 0aaa aaaa | (reserve) || 00 2C | 0aaa aaaa | (reserve) || 00 2D | 0aaa aaaa | (reserve) || 00 2E | 0aaa aaaa | (reserve) || 00 2F | 0aaa aaaa | (reserve) || 00 30 | 0aaa aaaa | (reserve) || 00 31 | 0aaa aaaa | (reserve) || 00 32 | 0aaa aaaa | (reserve) || 00 33 | 0aaa aaaa | (reserve) || 00 34 | 0aaa aaaa | (reserve) || 00 35 | 0aaa aaaa | (reserve) || 00 36 | 0aaa aaaa | (reserve) || 00 37 | 0aaa aaaa | (reserve) || 00 38 | 0aaa aaaa | (reserve) || 00 39 | 0aaa aaaa | (reserve) || 00 3A | 0aaa aaaa | (reserve) || 00 3B | 0aaa aaaa | (reserve) || 00 3C | 0aaa aaaa | (reserve) || 00 3D | 0aaa aaaa | (reserve) || 00 3E | 0aaa aaaa | (reserve) || 00 3F | 0aaa aaaa | (reserve) || 00 40 | 0aaa aaaa | (reserve) || 00 41 | 0aaa aaaa | (reserve) || 00 42 | 0aaa aaaa | (reserve) || 00 43 | 0aaa aaaa | (reserve) || 00 44 | 0aaa aaaa | (reserve) || 00 45 | 0aaa aaaa | (reserve) || 00 46 | 0aaa aaaa | (reserve) || 00 47 | 0aaa aaaa | (reserve) || 00 48 | 0aaa aaaa | (reserve) || 00 49 | 0aaa aaaa | (reserve) || 00 4A | 0aaa aaaa | (reserve) || 00 4B | 0aaa aaaa | (reserve) || 00 4C | 0aaa aaaa | (reserve) || 00 4D | 0aaa aaaa | (reserve) || 00 4E | 0aaa aaaa | (reserve) || 00 4F | 0aaa aaaa | (reserve) || 00 50 | 0aaa aaaa | (reserve) || 00 51 | 0aaa aaaa | (reserve) || 00 52 | 0aaa aaaa | (reserve) || 00 53 | 0aaa aaaa | (reserve) ||-------------+-----------+----------------------------------------------------||# 00 54 | 0000 aaaa | || | 0000 bbbb | Recommended Tempo (20 - 250) ||-------------+-----------+----------------------------------------------------|| 00 56 | 0000 000a | (reserve) || 00 57 | 0000 00aa | (reserve) ||-------------+----------------------------------------------------------------|| 00 00 00 58 | Total Size |+------------------------------------------------------------------------------+* Patch Common+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | Patch Name 1 (32 - 127) || | | 32 - 127 [ASCII] || 00 01 | 0aaa aaaa | Patch Name 2 (32 - 127) || | | 32 - 127 [ASCII] || 00 02 | 0aaa aaaa | Patch Name 3 (32 - 127) || | | 32 - 127 [ASCII] || 00 03 | 0aaa aaaa | Patch Name 4 (32 - 127) || | | 32 - 127 [ASCII] || 00 04 | 0aaa aaaa | Patch Name 5 (32 - 127) || | | 32 - 127 [ASCII] || 00 05 | 0aaa aaaa | Patch Name 6 (32 - 127) || | | 32 - 127 [ASCII] || 00 06 | 0aaa aaaa | Patch Name 7 (32 - 127) || | | 32 - 127 [ASCII] || 00 07 | 0aaa aaaa | Patch Name 8 (32 - 127) || | | 32 - 127 [ASCII] || 00 08 | 0aaa aaaa | Patch Name 9 (32 - 127) || | | 32 - 127 [ASCII] || 00 09 | 0aaa aaaa | Patch Name 10 (32 - 127) || | | 32 - 127 [ASCII] || 00 0A | 0aaa aaaa | Patch Name 11 (32 - 127) || | | 32 - 127 [ASCII] || 00 0B | 0aaa aaaa | Patch Name 12 (32 - 127) || | | 32 - 127 [ASCII] || 00 0C | 0aaa aaaa | Patch Category (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 0D | 0000 000a | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 0E | 0aaa aaaa | Patch Level (0 - 127) || 00 0F | 0aaa aaaa | Patch Pan (0 - 127) || | | L64 - 63R || 00 10 | 0000 000a | Patch Priority (0 - 1) || | | LAST, LOUDEST || 00 11 | 0aaa aaaa | Patch Coarse Tune (16 - 112) || | | -48 - +48 || 00 12 | 0aaa aaaa | Patch Fine Tune (14 - 114) || | | -50 - +50 || 00 13 | 0000 0aaa | Octave Shift (61 - 67) || | | -3 - +3 || 00 14 | 0000 00aa | Stretch Tune Depth (0 - 3) || | | OFF, 1 - 3 || 00 15 | 0aaa aaaa | Analog Feel (0 - 127) || 00 16 | 0000 000a | Mono/Poly (0 - 1) || | | MONO, POLY || 00 17 | 0000 000a | Legato Switch (0 - 1) || | | OFF, ON || 00 18 | 0000 000a | Legato Retrigger (0 - 1) || | | OFF, ON || 00 19 | 0000 000a | Portamento Switch (0 - 1) || | | OFF, ON || 00 1A | 0000 000a | Portamento Mode (0 - 1) || | | NORMAL, LEGATO || 00 1B | 0000 000a | Portamento Type (0 - 1) || | | RATE, TIME || 00 1C | 0000 000a | Portamento Start (0 - 1) || | | PITCH, NOTE || 00 1D | 0aaa aaaa | Portamento Time (0 - 127) || 00 1E | 0000 000a | (reserve) ||# 00 1F | 0000 aaaa | || | 0000 bbbb | (reserve) || 00 21 | 0000 000a | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 22 | 0aaa aaaa | Cutoff Offset (1 - 127) || | | -63 - +63 || 00 23 | 0aaa aaaa | Resonance Offset (1 - 127) || | | -63 - +63 || 00 24 | 0aaa aaaa | Attack Offset (1 - 127) || | | -63 - +63 || 00 25 | 0aaa aaaa | Release Offset (1 - 127) |263


MIDI Implementation| | | -63 - +63 || 00 26 | 0aaa aaaa | Velocity Sens Offset (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 27 | 0000 aaaa | Patch Output Assign (0 - 13) || | | MFX, A, ---, ---, ---, || | | 1, 2, ---, ---, ---, ---, ---, ---, || | | TONE ||-------------+-----------+----------------------------------------------------|| 00 28 | 0000 000a | TMT Control Switch (0 - 1) || | | OFF, ON || 00 29 | 00aa aaaa | Pitch Bend Range Up (0 - 48) || 00 2A | 00aa aaaa | Pitch Bend Range Down (0 - 48) ||-------------+-----------+----------------------------------------------------|| 00 2B | 0aaa aaaa | Matrix Control 1 Source (0 - 109) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4, VELOCITY, || | | KEYFOLLOW, TEMPO, LFO1, LFO2, || | | PIT-ENV, TVF-ENV, TVA-ENV || 00 2C | 00aa aaaa | Matrix Control 1 Destination 1 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 2D | 0aaa aaaa | Matrix Control 1 Sens 1 (1 - 127) || | | -63 - +63 || 00 2E | 00aa aaaa | Matrix Control 1 Destination 2 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 2F | 0aaa aaaa | Matrix Control 1 Sens 2 (1 - 127) || | | -63 - +63 || 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 31 | 0aaa aaaa | Matrix Control 1 Sens 3 (1 - 127) || | | -63 - +63 || 00 32 | 00aa aaaa | Matrix Control 1 Destination 4 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 33 | 0aaa aaaa | Matrix Control 1 Sens 4 (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4, VELOCITY, || | | KEYFOLLOW, TEMPO, LFO1, LFO2, || | | PIT-ENV, TVF-ENV, TVA-ENV || 00 35 | 00aa aaaa | Matrix Control 2 Destination 1 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 36 | 0aaa aaaa | Matrix Control 2 Sens 1 (1 - 127) || | | -63 - +63 || 00 37 | 00aa aaaa | Matrix Control 2 Destination 2 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 38 | 0aaa aaaa | Matrix Control 2 Sens 2 (1 - 127) || | | -63 - +63 || 00 39 | 00aa aaaa | Matrix Control 2 Destination 3 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 3A | 0aaa aaaa | Matrix Control 2 Sens 3 (1 - 127) || | | -63 - +63 || 00 3B | 00aa aaaa | Matrix Control 2 Destination 4 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 3C | 0aaa aaaa | Matrix Control 2 Sens 4 (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4, VELOCITY, || | | KEYFOLLOW, TEMPO, LFO1, LFO2, || | | PIT-ENV, TVF-ENV, TVA-ENV || 00 3E | 00aa aaaa | Matrix Control 3 Destination 1 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 3F | 0aaa aaaa | Matrix Control 3 Sens 1 (1 - 127) || | | -63 - +63 || 00 40 | 00aa aaaa | Matrix Control 3 Destination 2 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 41 | 0aaa aaaa | Matrix Control 3 Sens 2 (1 - 127) || | | -63 - +63 || 00 42 | 00aa aaaa | Matrix Control 3 Destination 3 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 43 | 0aaa aaaa | Matrix Control 3 Sens 3 (1 - 127) || | | -63 - +63 || 00 44 | 00aa aaaa | Matrix Control 3 Destination 4 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4, VELOCITY, || | | KEYFOLLOW, TEMPO, LFO1, LFO2, || | | PIT-ENV, TVF-ENV, TVA-ENV || 00 47 | 00aa aaaa | Matrix Control 4 Destination 1 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |264


MIDI Implementation| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 48 | 0aaa aaaa | Matrix Control 4 Sens 1 (1 - 127) || | | -63 - +63 || 00 49 | 00aa aaaa | Matrix Control 4 Destination 2 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 4A | 0aaa aaaa | Matrix Control 4 Sens 2 (1 - 127) || | | -63 - +63 || 00 4B | 00aa aaaa | Matrix Control 4 Destination 3 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 4C | 0aaa aaaa | Matrix Control 4 Sens 3 (1 - 127) || | | -63 - +63 || 00 4D | 00aa aaaa | Matrix Control 4 Destination 4 (0 - 34) || | | OFF, PCH, CUT, RES, LEV, PAN, || | | DRY, CHO, REV, PIT-LFO1, || | | PIT-LFO2, TVF-LFO1, TVF-LFO2, || | | TVA-LFO1, TVA-LFO2, PAN-LFO1, || | | PAN-LFO2, LFO1-RATE, LFO2-RATE, || | | PIT-ATK, PIT-DCY, PIT-REL, || | | TVF-ATK, TVF-DCY, TVF-REL, || | | TVA-ATK, TVA-DCY, TVA-REL, || | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, || | | TIME || 00 4E | 0aaa aaaa | Matrix Control 4 Sens 4 (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 4F | 0000 000a | Part Modulation Switch (0 - 1) || | | OFF, ON ||-------------+----------------------------------------------------------------|| 00 00 00 50 | Total Size |+------------------------------------------------------------------------------+* Patch Common MFX+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | MFX Type (0 - 78) || 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) || 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) || 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) || 00 04 | 0000 00aa | MFX Output Assign || | | A, ---, ---, --- ||-------------+-----------+----------------------------------------------------|| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) || | | -63 - +63 || 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) || | | -63 - +63 || 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) || | | -63 - +63 || 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) || | | OFF, 1 - 16 || 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) || | | OFF, 1 - 16 || 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) || | | OFF, 1 - 16 || 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) || | | OFF, 1 - 16 ||# 00 11 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 15 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 19 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 1D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 21 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 25 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 29 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 2D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 31 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 35 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 39 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 3D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 41 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 45 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 49 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 4D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 51 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 55 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 59 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 5D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||# 00 61 | 0000 aaaa | |265


MIDI Implementation| | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 21 (12768 - 52768) || | | -20000 - +20000 ||# 00 65 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 22 (12768 - 52768) || | | -20000 - +20000 ||# 00 69 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 23 (12768 - 52768) || | | -20000 - +20000 ||# 00 6D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 24 (12768 - 52768) || | | -20000 - +20000 ||# 00 71 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 25 (12768 - 52768) || | | -20000 - +20000 ||# 00 75 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 26 (12768 - 52768) || | | -20000 - +20000 ||# 00 79 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 27 (12768 - 52768) || | | -20000 - +20000 ||# 00 7D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 28 (12768 - 52768) || | | -20000 - +20000 ||# 01 01 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 29 (12768 - 52768) || | | -20000 - +20000 ||# 01 05 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 30 (12768 - 52768) || | | -20000 - +20000 ||# 01 09 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 31 (12768 - 52768) || | | -20000 - +20000 ||# 01 0D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 32 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 01 11 | Total Size |+------------------------------------------------------------------------------+* Patch Common Chorus+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Chorus Type (0 - 3) || 00 01 | 0aaa aaaa | Chorus Level (0 - 127) || 00 02 | 0000 00aa | Chorus Output Assign || | | A, ---, ---, --- || 00 03 | 0000 00aa | Chorus Output Select (0 - 2) || | | MAIN, REV, MAIN+REV ||-------------+-----------+----------------------------------------------------||# 00 04 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 08 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 10 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 14 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 18 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 20 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 24 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 28 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 30 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 34 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 38 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 40 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 44 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 48 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 50 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 00 54 | Total Size |+------------------------------------------------------------------------------+* Patch Common Reverb+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Reverb Type (0 - 5) || 00 01 | 0aaa aaaa | Reverb Level (0 - 127) || 00 02 | 0000 00aa | Reverb Output Assign || | | A, ---, ---, --- ||-------------+-----------+----------------------------------------------------||# 00 03 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 1 (12768 - 52768) || | | -20000 - +20000 |266


MIDI Implementation|# 00 07 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 0F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 13 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 17 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 1F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 23 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 27 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 2F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 33 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 37 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 3F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 43 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 47 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 4F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 00 53 | Total Size |+------------------------------------------------------------------------------+* Patch TMT (Tone Mix Table)+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Structure Type 1 & 2 (0 - 9) || | | 1 - 10 || 00 01 | 0000 00aa | Booster 1 & 2 (0 - 3) || | | 0, +6, +12, +18 [dB] || 00 02 | 0000 aaaa | Structure Type 3 & 4 (0 - 9) || | | 1 - 10 || 00 03 | 0000 00aa | Booster 3 & 4 (0 - 3) || | | 0, +6, +12, +18 [dB] ||-------------+-----------+----------------------------------------------------|| 00 04 | 0000 00aa | TMT Velocity Control (0 - 3) || | | OFF, ON, RANDOM, CYCLE ||-------------+-----------+----------------------------------------------------|| 00 05 | 0000 000a | TMT1 Tone Switch (0 - 1) || | | OFF, ON || 00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower (0 - 127) || | | C-1 - UPPER || 00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper (0 - 127) || | | LOWER - G9 || 00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower (0 - 127) || 00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper (0 - 127) || 00 0A | 0aaa aaaa | TMT1 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 0B | 0aaa aaaa | TMT1 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower (0 - 127) || 00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 0E | 0000 000a | TMT2 Tone Switch (0 - 1) || | | OFF, ON || 00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower (0 - 127) || | | C-1 - UPPER || 00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper (0 - 127) || | | LOWER - G9 || 00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower (0 - 127) || 00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper (0 - 127) || 00 13 | 0aaa aaaa | TMT2 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 14 | 0aaa aaaa | TMT2 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower (0 - 127) || 00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 17 | 0000 000a | TMT3 Tone Switch (0 - 1) || | | OFF, ON || 00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower (0 - 127) || | | C-1 - UPPER || 00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper (0 - 127) || | | LOWER - G9 || 00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower (0 - 127) || 00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper (0 - 127) || 00 1C | 0aaa aaaa | TMT3 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 1D | 0aaa aaaa | TMT3 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower (0 - 127) || 00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 20 | 0000 000a | TMT4 Tone Switch (0 - 1) || | | OFF, ON || 00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower (0 - 127) || | | C-1 - UPPER || 00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper (0 - 127) || | | LOWER - G9 || 00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower (0 - 127) || 00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper (0 - 127) || 00 25 | 0aaa aaaa | TMT4 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 26 | 0aaa aaaa | TMT4 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower (0 - 127) || 00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper (0 - 127) ||-------------+----------------------------------------------------------------|| 00 00 00 29 | Total Size |+------------------------------------------------------------------------------+* Patch Tone+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | Tone Level (0 - 127) || 00 01 | 0aaa aaaa | Tone Coarse Tune (16 - 112) || | | -48 - +48 || 00 02 | 0aaa aaaa | Tone Fine Tune (14 - 114) || | | -50 - +50 || 00 03 | 000a aaaa | Tone Random Pitch Depth (0 - 30) || | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, || | | 10, 20, 30, 40, 50, 60, 70, 80, || | | 90, 100, 200, 300, 400, 500, || | | 600, 700, 800, 900, 1000, 1100, || | | 1200 || 00 04 | 0aaa aaaa | Tone Pan (0 - 127) |267


MIDI Implementation| | | L64 - 63R || 00 05 | 000a aaaa | Tone Pan Keyfollow (54 - 74) || | | -100 - +100 || 00 06 | 00aa aaaa | Tone Random Pan Depth (0 - 63) || 00 07 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) || | | L63 - 63R || 00 08 | 0000 000a | Tone Env Mode (0 - 1) || | | NO-SUS, SUSTAIN || 00 09 | 0000 00aa | Tone Delay Mode (0 - 3) || | | NORMAL, HOLD, KEY-OFF-NORMAL, || | | KEY-OFF-DECAY ||# 00 0A | 0000 aaaa | || | 0000 bbbb | Tone Delay Time (0 - 149) || | | 0 - 127, MUSICAL-NOTES ||-------------+-----------+----------------------------------------------------|| 00 0C | 0aaa aaaa | Tone Dry Send Level (0 - 127) || 00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX) (0 - 127) || 00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX) (0 - 127) || 00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) || 00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) || 00 11 | 0000 aaaa | Tone Output Assign (0 - 12) || | | MFX, A, ---, ---, ---, || | | 1, 2, ---, ---, ---, ---, ---, --- ||-------------+-----------+----------------------------------------------------|| 00 12 | 0000 000a | Tone Receive Bender (0 - 1) || | | OFF, ON || 00 13 | 0000 000a | Tone Receive Expression (0 - 1) || | | OFF, ON || 00 14 | 0000 000a | Tone Receive Hold-1 (0 - 1) || | | OFF, ON || 00 15 | 0000 000a | Tone Receive Pan Mode (0 - 1) || | | CONTINUOUS, KEY-ON || 00 16 | 0000 000a | Tone Redamper Switch (0 - 1) || | | OFF, ON ||-------------+-----------+----------------------------------------------------|| 00 17 | 0000 00aa | Tone Control 1 Switch 1 (0 - 2) || | | OFF, ON, REVERSE || 00 18 | 0000 00aa | Tone Control 1 Switch 2 (0 - 2) || | | OFF, ON, REVERSE || 00 19 | 0000 00aa | Tone Control 1 Switch 3 (0 - 2) || | | OFF, ON, REVERSE || 00 1A | 0000 00aa | Tone Control 1 Switch 4 (0 - 2) || | | OFF, ON, REVERSE || 00 1B | 0000 00aa | Tone Control 2 Switch 1 (0 - 2) || | | OFF, ON, REVERSE || 00 1C | 0000 00aa | Tone Control 2 Switch 2 (0 - 2) || | | OFF, ON, REVERSE || 00 1D | 0000 00aa | Tone Control 2 Switch 3 (0 - 2) || | | OFF, ON, REVERSE || 00 1E | 0000 00aa | Tone Control 2 Switch 4 (0 - 2) || | | OFF, ON, REVERSE || 00 1F | 0000 00aa | Tone Control 3 Switch 1 (0 - 2) || | | OFF, ON, REVERSE || 00 20 | 0000 00aa | Tone Control 3 Switch 2 (0 - 2) || | | OFF, ON, REVERSE || 00 21 | 0000 00aa | Tone Control 3 Switch 3 (0 - 2) || | | OFF, ON, REVERSE || 00 22 | 0000 00aa | Tone Control 3 Switch 4 (0 - 2) || | | OFF, ON, REVERSE || 00 23 | 0000 00aa | Tone Control 4 Switch 1 (0 - 2) || | | OFF, ON, REVERSE || 00 24 | 0000 00aa | Tone Control 4 Switch 2 (0 - 2) || | | OFF, ON, REVERSE || 00 25 | 0000 00aa | Tone Control 4 Switch 3 (0 - 2) || | | OFF, ON, REVERSE || 00 26 | 0000 00aa | Tone Control 4 Switch 4 (0 - 2) || | | OFF, ON, REVERSE ||-------------+-----------+----------------------------------------------------|| 00 27 | 0000 00aa | Wave Group Type (0 - 1) || | | INT, SRX ||# 00 28 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Wave Group ID (0 - 16384) || | | OFF, 1 - 16384 ||# 00 2C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Wave Number L (Mono) (0 - 16384) || | | OFF, 1 - 16384 ||# 00 30 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Wave Number R (0 - 16384) || | | OFF, 1 - 16384 || 00 34 | 0000 00aa | Wave Gain (0 - 3) || | | -6, 0, +6, +12 [dB] || 00 35 | 0000 000a | Wave FXM Switch (0 - 1) || | | OFF, ON || 00 36 | 0000 00aa | Wave FXM Color (0 - 3) || | | 1 - 4 || 00 37 | 000a aaaa | Wave FXM Depth (0 - 16) || 00 38 | 0000 000a | Wave Tempo Sync (0 - 1) || | | OFF, ON || 00 39 | 00aa aaaa | Wave Pitch Keyfollow (44 - 84) || | | -200 - +200 ||-------------+-----------+----------------------------------------------------|| 00 3A | 000a aaaa | Pitch Env Depth (52 - 76) || | | -12 - +12 || 00 3B | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) || | | -63 - +63 || 00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) || | | -63 - +63 || 00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) || | | -63 - +63 || 00 3E | 000a aaaa | Pitch Env Time Keyfollow (54 - 74) || | | -100 - +100 || 00 3F | 0aaa aaaa | Pitch Env Time 1 (0 - 127) || 00 40 | 0aaa aaaa | Pitch Env Time 2 (0 - 127) || 00 41 | 0aaa aaaa | Pitch Env Time 3 (0 - 127) || 00 42 | 0aaa aaaa | Pitch Env Time 4 (0 - 127) || 00 43 | 0aaa aaaa | Pitch Env Level 0 (1 - 127) || | | -63 - +63 || 00 44 | 0aaa aaaa | Pitch Env Level 1 (1 - 127) || | | -63 - +63 || 00 45 | 0aaa aaaa | Pitch Env Level 2 (1 - 127) || | | -63 - +63 || 00 46 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) || | | -63 - +63 || 00 47 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 48 | 0000 0aaa | TVF Filter Type (0 - 6) || | | OFF, LPF, BPF, HPF, PKG, LPF2, || | | LPF3 || 00 49 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) || 00 4A | 00aa aaaa | TVF Cutoff Keyfollow (44 - 84) || | | -200 - +200 || 00 4B | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) || | | FIXED, 1 - 7 || 00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) || | | -63 - +63 || 00 4D | 0aaa aaaa | TVF Resonance (0 - 127) || 00 4E | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) || | | -63 - +63 || 00 4F | 0aaa aaaa | TVF Env Depth (1 - 127) || | | -63 - +63 || 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 - 7) || | | FIXED, 1 - 7 || 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) || | | -63 - +63 || 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) || | | -63 - +63 || 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) || | | -63 - +63 || 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 - 74) || | | -100 - +100 || 00 55 | 0aaa aaaa | TVF Env Time 1 (0 - 127) || 00 56 | 0aaa aaaa | TVF Env Time 2 (0 - 127) || 00 57 | 0aaa aaaa | TVF Env Time 3 (0 - 127) || 00 58 | 0aaa aaaa | TVF Env Time 4 (0 - 127) || 00 59 | 0aaa aaaa | TVF Env Level 0 (0 - 127) || 00 5A | 0aaa aaaa | TVF Env Level 1 (0 - 127) || 00 5B | 0aaa aaaa | TVF Env Level 2 (0 - 127) || 00 5C | 0aaa aaaa | TVF Env Level 3 (0 - 127) || 00 5D | 0aaa aaaa | TVF Env Level 4 (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 5E | 000a aaaa | Bias Level (54 - 74) || | | -100 - +100 || 00 5F | 0aaa aaaa | Bias Position (0 - 127) || | | C-1 - G9 || 00 60 | 0000 00aa | Bias Direction (0 - 3) || | | LOWER, UPPER, LOWER&UPPER, ALL || 00 61 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) || | | FIXED, 1 - 7 || 00 62 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) || | | -63 - +63 || 00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) || | | -63 - +63 || 00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) || | | -63 - +63 || 00 65 | 000a aaaa | TVA Env Time Keyfollow (54 - 74) || | | -100 - +100 || 00 66 | 0aaa aaaa | TVA Env Time 1 (0 - 127) || 00 67 | 0aaa aaaa | TVA Env Time 2 (0 - 127) || 00 68 | 0aaa aaaa | TVA Env Time 3 (0 - 127) || 00 69 | 0aaa aaaa | TVA Env Time 4 (0 - 127) || 00 6A | 0aaa aaaa | TVA Env Level 1 (0 - 127) || 00 6B | 0aaa aaaa | TVA Env Level 2 (0 - 127) || 00 6C | 0aaa aaaa | TVA Env Level 3 (0 - 127) ||-------------+-----------+----------------------------------------------------|| 00 6D | 0000 aaaa | LFO1 Waveform (0 - 12) || | | SIN, TRI, SAW-UP, SAW-DW, SQR, || | | RND, BEND-UP, BEND-DW, TRP, S&H, || | | CHS, VSIN, STEP ||# 00 6E | 0000 aaaa | || | 0000 bbbb | LFO1 Rate (0 - 149) || | | 0 - 127, MUSICAL-NOTES || 00 70 | 0000 0aaa | LFO1 Offset (0 - 4) || | | -100, -50, 0, +50, +100 || 00 71 | 0aaa aaaa | LFO1 Rate Detune (0 - 127) || 00 72 | 0aaa aaaa | LFO1 Delay Time (0 - 127) || 00 73 | 000a aaaa | LFO1 Delay Time Keyfollow (54 - 74) || | | -100 - +100 || 00 74 | 0000 00aa | LFO1 Fade Mode (0 - 3) || | | ON-IN, ON-OUT, OFF-IN, OFF-OUT || 00 75 | 0aaa aaaa | LFO1 Fade Time (0 - 127) || 00 76 | 0000 000a | LFO1 Key Trigger (0 - 1) |268


MIDI Implementation| | | OFF, ON || 00 77 | 0aaa aaaa | LFO1 Pitch Depth (1 - 127) || | | -63 - +63 || 00 78 | 0aaa aaaa | LFO1 TVF Depth (1 - 127) || | | -63 - +63 || 00 79 | 0aaa aaaa | LFO1 TVA Depth (1 - 127) || | | -63 - +63 || 00 7A | 0aaa aaaa | LFO1 Pan Depth (1 - 127) || | | -63 - +63 || 00 7B | 0000 aaaa | LFO2 Waveform (0 - 12) || | | SIN, TRI, SAW-UP, SAW-DW, SQR, || | | RND, BEND-UP, BEND-DW, TRP, S&H, || | | CHS, VSIN, STEP ||# 00 7C | 0000 aaaa | || | 0000 bbbb | LFO2 Rate (0 - 149) || | | 0 - 127, MUSICAL-NOTES || 00 7E | 0000 0aaa | LFO2 Offset (0 - 4) || | | -100, -50, 0, +50, +100 || 00 7F | 0aaa aaaa | LFO2 Rate Detune (0 - 127) || 01 00 | 0aaa aaaa | LFO2 Delay Time (0 - 127) || 01 01 | 000a aaaa | LFO2 Delay Time Keyfollow (54 - 74) || | | -100 - +100 || 01 02 | 0000 00aa | LFO2 Fade Mode (0 - 3) || | | ON-IN, ON-OUT, OFF-IN, OFF-OUT || 01 03 | 0aaa aaaa | LFO2 Fade Time (0 - 127) || 01 04 | 0000 000a | LFO2 Key Trigger (0 - 1) || | | OFF, ON || 01 05 | 0aaa aaaa | LFO2 Pitch Depth (1 - 127) || | | -63 - +63 || 01 06 | 0aaa aaaa | LFO2 TVF Depth (1 - 127) || | | -63 - +63 || 01 07 | 0aaa aaaa | LFO2 TVA Depth (1 - 127) || | | -63 - +63 || 01 08 | 0aaa aaaa | LFO2 Pan Depth (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 01 09 | 0000 aaaa | LFO Step Type (0 - 1) || 01 0A | 0aaa aaaa | LFO Step1 (28 - 100) || | | -36 - +36 || 01 0B | 0aaa aaaa | LFO Step2 (28 - 100) || | | -36 - +36 || 01 0C | 0aaa aaaa | LFO Step3 (28 - 100) || | | -36 - +36 || 01 0D | 0aaa aaaa | LFO Step4 (28 - 100) || | | -36 - +36 || 01 0E | 0aaa aaaa | LFO Step5 (28 - 100) || | | -36 - +36 || 01 0F | 0aaa aaaa | LFO Step6 (28 - 100) || | | -36 - +36 || 01 10 | 0aaa aaaa | LFO Step7 (28 - 100) || | | -36 - +36 || 01 11 | 0aaa aaaa | LFO Step8 (28 - 100) || | | -36 - +36 || 01 12 | 0aaa aaaa | LFO Step9 (28 - 100) || | | -36 - +36 || 01 13 | 0aaa aaaa | LFO Step10 (28 - 100) || | | -36 - +36 || 01 14 | 0aaa aaaa | LFO Step11 (28 - 100) || | | -36 - +36 || 01 15 | 0aaa aaaa | LFO Step12 (28 - 100) || | | -36 - +36 || 01 16 | 0aaa aaaa | LFO Step13 (28 - 100) || | | -36 - +36 || 01 17 | 0aaa aaaa | LFO Step14 (28 - 100) || | | -36 - +36 || 01 18 | 0aaa aaaa | LFO Step15 (28 - 100) || | | -36 - +36 || 01 19 | 0aaa aaaa | LFO Step16 (28 - 100) || | | -36 - +36 ||-------------+----------------------------------------------------------------|| 00 00 01 1A | Total Size |+------------------------------------------------------------------------------+* Rhythm Common+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | Rhythm Name 1 (32 - 127) || | | 32 - 127 [ASCII] || 00 01 | 0aaa aaaa | Rhythm Name 2 (32 - 127) || | | 32 - 127 [ASCII] || 00 02 | 0aaa aaaa | Rhythm Name 3 (32 - 127) || | | 32 - 127 [ASCII] || 00 03 | 0aaa aaaa | Rhythm Name 4 (32 - 127) || | | 32 - 127 [ASCII] || 00 04 | 0aaa aaaa | Rhythm Name 5 (32 - 127) || | | 32 - 127 [ASCII] || 00 05 | 0aaa aaaa | Rhythm Name 6 (32 - 127) || | | 32 - 127 [ASCII] || 00 06 | 0aaa aaaa | Rhythm Name 7 (32 - 127) || | | 32 - 127 [ASCII] || 00 07 | 0aaa aaaa | Rhythm Name 8 (32 - 127) || | | 32 - 127 [ASCII] || 00 08 | 0aaa aaaa | Rhythm Name 9 (32 - 127) || | | 32 - 127 [ASCII] || 00 09 | 0aaa aaaa | Rhythm Name 10 (32 - 127) || | | 32 - 127 [ASCII] || 00 0A | 0aaa aaaa | Rhythm Name 11 (32 - 127) || | | 32 - 127 [ASCII] || 00 0B | 0aaa aaaa | Rhythm Name 12 (32 - 127) || | | 32 - 127 [ASCII] ||-------------+-----------+----------------------------------------------------|| 00 0C | 0aaa aaaa | Rhythm Level (0 - 127) || 00 0D | 0000 000a | (reserve) ||# 00 0E | 0000 aaaa | || | 0000 bbbb | (reserve) || 00 10 | 0000 000a | (reserve) ||-------------+-----------+----------------------------------------------------|| 00 11 | 0000 aaaa | Rhythm Output Assign (0 - 13) || | | MFX, A, ---, ---, ---, || | | 1, 2, ---, ---, ---, ---, ---, ---, || | | TONE ||-------------+----------------------------------------------------------------|| 00 00 00 12 | Total Size |+------------------------------------------------------------------------------+* Rhythm Common MFX+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | MFX Type (0 - 78) || 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) || 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) || 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) || 00 04 | 0000 00aa | MFX Output Assign || | | A, ---, ---, --- ||-------------+-----------+----------------------------------------------------|| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) || | | -63 - +63 || 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) || | | -63 - +63 || 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) || | | -63 - +63 || 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) || | | OFF, CC01 - CC31, CC33 - CC95, || | | BEND, AFT, SYS1 - SYS4 || 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) || | | OFF, 1 - 16 || 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) || | | OFF, 1 - 16 || 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) || | | OFF, 1 - 16 || 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) || | | OFF, 1 - 16 ||# 00 11 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 15 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 19 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 1D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 21 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 25 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 29 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 2D | 0000 aaaa | |269


MIDI Implementation| | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 31 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 35 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 39 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 3D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 41 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 45 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 49 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 4D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 51 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 55 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 59 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 5D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||# 00 61 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 21 (12768 - 52768) || | | -20000 - +20000 ||# 00 65 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 22 (12768 - 52768) || | | -20000 - +20000 ||# 00 69 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 23 (12768 - 52768) || | | -20000 - +20000 ||# 00 6D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 24 (12768 - 52768) || | | -20000 - +20000 ||# 00 71 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 25 (12768 - 52768) || | | -20000 - +20000 ||# 00 75 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 26 (12768 - 52768) || | | -20000 - +20000 ||# 00 79 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 27 (12768 - 52768) || | | -20000 - +20000 ||# 00 7D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 28 (12768 - 52768) || | | -20000 - +20000 ||# 01 01 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 29 (12768 - 52768) || | | -20000 - +20000 ||# 01 05 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 30 (12768 - 52768) || | | -20000 - +20000 ||# 01 09 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 31 (12768 - 52768) || | | -20000 - +20000 ||# 01 0D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | MFX Parameter 32 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 01 11 | Total Size |+------------------------------------------------------------------------------+* Rhythm Common Chorus+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Chorus Type (0 - 3) || 00 01 | 0aaa aaaa | Chorus Level (0 - 127) || 00 02 | 0000 00aa | Chorus Output Assign || | | A, ---, ---, --- || 00 03 | 0000 00aa | Chorus Output Select (0 - 2) || | | MAIN, REV, MAIN+REV ||-------------+-----------+----------------------------------------------------||# 00 04 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 08 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 10 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 14 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 18 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 20 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 24 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 28 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 30 | 0000 aaaa | |270


MIDI Implementation| | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 34 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 38 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 40 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 44 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 48 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4C | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 50 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Chorus Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 00 54 | Total Size |+------------------------------------------------------------------------------+* Rhythm Common Reverb+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0000 aaaa | Reverb Type (0 - 5) || 00 01 | 0aaa aaaa | Reverb Level (0 - 127) || 00 02 | 0000 00aa | Reverb Output Assign || | | A, ---, ---, --- ||-------------+-----------+----------------------------------------------------||# 00 03 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 1 (12768 - 52768) || | | -20000 - +20000 ||# 00 07 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 2 (12768 - 52768) || | | -20000 - +20000 ||# 00 0B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 3 (12768 - 52768) || | | -20000 - +20000 ||# 00 0F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 4 (12768 - 52768) || | | -20000 - +20000 ||# 00 13 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 5 (12768 - 52768) || | | -20000 - +20000 ||# 00 17 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 6 (12768 - 52768) || | | -20000 - +20000 ||# 00 1B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 7 (12768 - 52768) || | | -20000 - +20000 ||# 00 1F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 8 (12768 - 52768) || | | -20000 - +20000 ||# 00 23 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 9 (12768 - 52768) || | | -20000 - +20000 ||# 00 27 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 10 (12768 - 52768) || | | -20000 - +20000 ||# 00 2B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 11 (12768 - 52768) || | | -20000 - +20000 ||# 00 2F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 12 (12768 - 52768) || | | -20000 - +20000 ||# 00 33 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 13 (12768 - 52768) || | | -20000 - +20000 ||# 00 37 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 14 (12768 - 52768) || | | -20000 - +20000 ||# 00 3B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 15 (12768 - 52768) || | | -20000 - +20000 ||# 00 3F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 16 (12768 - 52768) || | | -20000 - +20000 ||# 00 43 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 17 (12768 - 52768) || | | -20000 - +20000 ||# 00 47 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 18 (12768 - 52768) || | | -20000 - +20000 ||# 00 4B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 19 (12768 - 52768) || | | -20000 - +20000 ||# 00 4F | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | Reverb Parameter 20 (12768 - 52768) || | | -20000 - +20000 ||-------------+----------------------------------------------------------------|| 00 00 00 53 | Total Size |+------------------------------------------------------------------------------+* Rhythm Tone+------------------------------------------------------------------------------+| Offset | || Address | Description ||-------------+----------------------------------------------------------------|| 00 00 | 0aaa aaaa | Tone Name 1 (32 - 127) || | | 32 - 127 [ASCII] || 00 01 | 0aaa aaaa | Tone Name 2 (32 - 127) || | | 32 - 127 [ASCII] || 00 02 | 0aaa aaaa | Tone Name 3 (32 - 127) || | | 32 - 127 [ASCII] || 00 03 | 0aaa aaaa | Tone Name 4 (32 - 127) || | | 32 - 127 [ASCII] || 00 04 | 0aaa aaaa | Tone Name 5 (32 - 127) || | | 32 - 127 [ASCII] || 00 05 | 0aaa aaaa | Tone Name 6 (32 - 127) || | | 32 - 127 [ASCII] || 00 06 | 0aaa aaaa | Tone Name 7 (32 - 127) || | | 32 - 127 [ASCII] || 00 07 | 0aaa aaaa | Tone Name 8 (32 - 127) || | | 32 - 127 [ASCII] || 00 08 | 0aaa aaaa | Tone Name 9 (32 - 127) || | | 32 - 127 [ASCII] || 00 09 | 0aaa aaaa | Tone Name 10 (32 - 127) || | | 32 - 127 [ASCII] || 00 0A | 0aaa aaaa | Tone Name 11 (32 - 127) || | | 32 - 127 [ASCII] || 00 0B | 0aaa aaaa | Tone Name 12 (32 - 127) || | | 32 - 127 [ASCII] ||-------------+-----------+----------------------------------------------------|| 00 0C | 0000 000a | Assign Type (0 - 1) || | | MULTI, SINGLE |271


MIDI Implementation| 00 0D | 000a aaaa | Mute Group (0 - 31) || | | OFF, 1 - 31 ||-------------+-----------+----------------------------------------------------|| 00 0E | 0aaa aaaa | Tone Level (0 - 127) || 00 0F | 0aaa aaaa | Tone Coarse Tune (0 - 127) || | | C-1 - G9 || 00 10 | 0aaa aaaa | Tone Fine Tune (14 - 114) || | | -50 - +50 || 00 11 | 000a aaaa | Tone Random Pitch Depth (0 - 30) || | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, || | | 10, 20, 30, 40, 50, 60, 70, 80, || | | 90, 100, 200, 300, 400, 500, || | | 600, 700, 800, 900, 1000, 1100, || | | 1200 || 00 12 | 0aaa aaaa | Tone Pan (0 - 127) || | | L64 - 63R || 00 13 | 00aa aaaa | Tone Random Pan Depth (0 - 63) || 00 14 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) || | | L63 - 63R || 00 15 | 0000 000a | Tone Env Mode (0 - 1) || | | NO-SUS, SUSTAIN ||-------------+-----------+----------------------------------------------------|| 00 16 | 0aaa aaaa | Tone Dry Send Level (0 - 127) || 00 17 | 0aaa aaaa | Tone Chorus Send Level (0 - 127) || 00 18 | 0aaa aaaa | Tone Reverb Send Level (0 - 127) || 00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) || 00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) || 00 1B | 0000 aaaa | Tone Output Assign (0 - 12) || | | MFX, A, ---, ---, ---, || | | 1, 2, ---, ---, ---, ---, ---, --- ||-------------+-----------+----------------------------------------------------|| 00 1C | 00aa aaaa | Tone Pitch Bend Range (0 - 48) || 00 1D | 0000 000a | Tone Receive Expression (0 - 1) || | | OFF, ON || 00 1E | 0000 000a | Tone Receive Hold-1 (0 - 1) || | | OFF, ON || 00 1F | 0000 000a | Tone Receive Pan Mode (0 - 1) || | | CONTINUOUS, KEY-ON ||-------------+-----------+----------------------------------------------------|| 00 20 | 0000 00aa | WMT Velocity Control (0 - 2) || | | OFF, ON, RANDOM ||-------------+-----------+----------------------------------------------------|| 00 21 | 0000 000a | WMT1 Wave Switch (0 - 1) || | | OFF, ON || 00 22 | 0000 00aa | WMT1 Wave Group Type (0 - 1) || | | INT, SRX ||# 00 23 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT1 Wave Group ID (0 - 16384) || | | OFF, 1 - 16384 ||# 00 27 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT1 Wave Number L (Mono) (0 - 16384) || | | OFF, 1 - 16384 ||# 00 2B | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT1 Wave Number R (0 - 16384) || | | OFF, 1 - 16384 || 00 2F | 0000 00aa | WMT1 Wave Gain (0 - 3) || | | -6, 0, +6, +12 [dB] || 00 30 | 0000 000a | WMT1 Wave FXM Switch (0 - 1) || | | OFF, ON || 00 31 | 0000 00aa | WMT1 Wave FXM Color (0 - 3) || | | 1 - 4 || 00 32 | 000a aaaa | WMT1 Wave FXM Depth (0 - 16) || 00 33 | 0000 000a | WMT1 Wave Tempo Sync (0 - 1) || | | OFF, ON || 00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune (16 - 112) || | | -48 - +48 || 00 35 | 0aaa aaaa | WMT1 Wave Fine Tune (14 - 114) || | | -50 - +50 || 00 36 | 0aaa aaaa | WMT1 Wave Pan (0 - 127) || | | L64 - 63R || 00 37 | 0000 000a | WMT1 Wave Random Pan Switch (0 - 1) || | | OFF, ON || 00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch (0 - 2) || | | OFF, ON, REVERSE || 00 39 | 0aaa aaaa | WMT1 Wave Level (0 - 127) || 00 3A | 0aaa aaaa | WMT1 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 3B | 0aaa aaaa | WMT1 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 - 127) || 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 - 127) || 00 3E | 0000 000a | WMT2 Wave Switch (0 - 1) || | | OFF, ON || 00 3F | 0000 00aa | WMT2 Wave Group Type (0 - 1) || | | INT, SRX ||# 00 40 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT2 Wave Group ID (0 - 16384) || | | OFF, 1 - 16384 ||# 00 44 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT2 Wave Number L (Mono) (0 - 16384) || | | OFF, 1 - 16384 ||# 00 48 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT2 Wave Number R (0 - 16384) || | | OFF, 1 - 16384 || 00 4C | 0000 00aa | WMT2 Wave Gain (0 - 3) || | | -6, 0, +6, +12 [dB] || 00 4D | 0000 000a | WMT2 Wave FXM Switch (0 - 1) || | | OFF, ON || 00 4E | 0000 00aa | WMT2 Wave FXM Color (0 - 3) || | | 1 - 4 || 00 4F | 000a aaaa | WMT2 Wave FXM Depth (0 - 16) || 00 50 | 0000 000a | WMT2 Wave Tempo Sync (0 - 1) || | | OFF, ON || 00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune (16 - 112) || | | -48 - +48 || 00 52 | 0aaa aaaa | WMT2 Wave Fine Tune (14 - 114) || | | -50 - +50 || 00 53 | 0aaa aaaa | WMT2 Wave Pan (0 - 127) || | | L64 - 63R || 00 54 | 0000 000a | WMT2 Wave Random Pan Switch (0 - 1) || | | OFF, ON || 00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch (0 - 2) || | | OFF, ON, REVERSE || 00 56 | 0aaa aaaa | WMT2 Wave Level (0 - 127) || 00 57 | 0aaa aaaa | WMT2 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 58 | 0aaa aaaa | WMT2 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower (0 - 127) || 00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper (0 - 127) || 00 5B | 0000 000a | WMT3 Wave Switch (0 - 1) || | | OFF, ON || 00 5C | 0000 00aa | WMT3 Wave Group Type (0 - 1) || | | INT, SRX ||# 00 5D | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT3 Wave Group ID (0 - 16384) || | | OFF, 1 - 16384 ||# 00 61 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT3 Wave Number L (Mono) (0 - 16384) || | | OFF, 1 - 16384 ||# 00 65 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT3 Wave Number R (0 - 16384) || | | OFF, 1 - 16384 || 00 69 | 0000 00aa | WMT3 Wave Gain (0 - 3) || | | -6, 0, +6, +12 [dB] || 00 6A | 0000 000a | WMT3 Wave FXM Switch (0 - 1) || | | OFF, ON || 00 6B | 0000 00aa | WMT3 Wave FXM Color (0 - 3) || | | 1 - 4 || 00 6C | 000a aaaa | WMT3 Wave FXM Depth (0 - 16) || 00 6D | 0000 000a | WMT3 Wave Tempo Sync (0 - 1) || | | OFF, ON || 00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune (16 - 112) || | | -48 - +48 || 00 6F | 0aaa aaaa | WMT3 Wave Fine Tune (14 - 114) || | | -50 - +50 || 00 70 | 0aaa aaaa | WMT3 Wave Pan (0 - 127) || | | L64 - 63R || 00 71 | 0000 000a | WMT3 Wave Random Pan Switch (0 - 1) || | | OFF, ON || 00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch (0 - 2) || | | OFF, ON, REVERSE || 00 73 | 0aaa aaaa | WMT3 Wave Level (0 - 127) || 00 74 | 0aaa aaaa | WMT3 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 00 75 | 0aaa aaaa | WMT3 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower (0 - 127) || 00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper (0 - 127) || 00 78 | 0000 000a | WMT4 Wave Switch (0 - 1) || | | OFF, ON || 00 79 | 0000 00aa | WMT4 Wave Group Type (0 - 1) || | | INT, SRX ||# 00 7A | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT4 Wave Group ID (0 - 16384) || | | OFF, 1 - 16384 ||# 00 7E | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT4 Wave Number L (Mono) (0 - 16384) || | | OFF, 1 - 16384 ||# 01 02 | 0000 aaaa | || | 0000 bbbb | || | 0000 cccc | || | 0000 dddd | WMT4 Wave Number R (0 - 16384) || | | OFF, 1 - 16384 || 01 06 | 0000 00aa | WMT4 Wave Gain (0 - 3) || | | -6, 0, +6, +12 [dB] |272


MIDI Implementation| 01 07 | 0000 000a | WMT4 Wave FXM Switch (0 - 1) || | | OFF, ON || 01 08 | 0000 00aa | WMT4 Wave FXM Color (0 - 3) || | | 1 - 4 || 01 09 | 000a aaaa | WMT4 Wave FXM Depth (0 - 16) || 01 0A | 0000 000a | WMT4 Wave Tempo Sync (0 - 1) || | | OFF, ON || 01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune (16 - 112) || | | -48 - +48 || 01 0C | 0aaa aaaa | WMT4 Wave Fine Tune (14 - 114) || | | -50 - +50 || 01 0D | 0aaa aaaa | WMT4 Wave Pan (0 - 127) || | | L64 - 63R || 01 0E | 0000 000a | WMT4 Wave Random Pan Switch (0 - 1) || | | OFF, ON || 01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch (0 - 2) || | | OFF, ON, REVERSE || 01 10 | 0aaa aaaa | WMT4 Wave Level (0 - 127) || 01 11 | 0aaa aaaa | WMT4 Velocity Range Lower (1 - 127) || | | 1 - UPPER || 01 12 | 0aaa aaaa | WMT4 Velocity Range Upper (1 - 127) || | | LOWER - 127 || 01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower (0 - 127) || 01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper (0 - 127) ||-------------+-----------+----------------------------------------------------|| 01 15 | 000a aaaa | Pitch Env Depth (52 - 76) || | | -12 - +12 || 01 16 | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) || | | -63 - +63 || 01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) || | | -63 - +63 || 01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) || | | -63 - +63 || 01 19 | 0aaa aaaa | Pitch Env Time 1 (0 - 127) || 01 1A | 0aaa aaaa | Pitch Env Time 2 (0 - 127) || 01 1B | 0aaa aaaa | Pitch Env Time 3 (0 - 127) || 01 1C | 0aaa aaaa | Pitch Env Time 4 (0 - 127) || 01 1D | 0aaa aaaa | Pitch Env Level 0 (1 - 127) || | | -63 - +63 || 01 1E | 0aaa aaaa | Pitch Env Level 1 (1 - 127) || | | -63 - +63 || 01 1F | 0aaa aaaa | Pitch Env Level 2 (1 - 127) || | | -63 - +63 || 01 20 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) || | | -63 - +63 || 01 21 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) || | | -63 - +63 ||-------------+-----------+----------------------------------------------------|| 01 22 | 0000 0aaa | TVF Filter Type (0 - 6) || | | OFF, LPF, BPF, HPF, PKG, LPF2, || | | LPF3 || 01 23 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) || 01 24 | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) || | | FIXED, 1 - 7 || 01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) || | | -63 - +63 || 01 26 | 0aaa aaaa | TVF Resonance (0 - 127) || 01 27 | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) || | | -63 - +63 || 01 28 | 0aaa aaaa | TVF Env Depth (1 - 127) || | | -63 - +63 || 01 29 | 0000 0aaa | TVF Env Velocity Curve Type (0 - 7) || | | FIXED, 1 - 7 || 01 2A | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) || | | -63 - +63 || 01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) || | | -63 - +63 || 01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) || | | -63 - +63 || 01 2D | 0aaa aaaa | TVF Env Time 1 (0 - 127) || 01 2E | 0aaa aaaa | TVF Env Time 2 (0 - 127) || 01 2F | 0aaa aaaa | TVF Env Time 3 (0 - 127) || 01 30 | 0aaa aaaa | TVF Env Time 4 (0 - 127) || 01 31 | 0aaa aaaa | TVF Env Level 0 (0 - 127) || 01 32 | 0aaa aaaa | TVF Env Level 1 (0 - 127) || 01 33 | 0aaa aaaa | TVF Env Level 2 (0 - 127) || 01 34 | 0aaa aaaa | TVF Env Level 3 (0 - 127) || 01 35 | 0aaa aaaa | TVF Env Level 4 (0 - 127) ||-------------+-----------+----------------------------------------------------|| 01 36 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) || | | FIXED, 1 - 7 || 01 37 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) || | | -63 - +63 || 01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) || | | -63 - +63 || 01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) || | | -63 - +63 || 01 3A | 0aaa aaaa | TVA Env Time 1 (0 - 127) || 01 3B | 0aaa aaaa | TVA Env Time 2 (0 - 127) || 01 3C | 0aaa aaaa | TVA Env Time 3 (0 - 127) || 01 3D | 0aaa aaaa | TVA Env Time 4 (0 - 127) || 01 3E | 0aaa aaaa | TVA Env Level 1 (0 - 127) || 01 3F | 0aaa aaaa | TVA Env Level 2 (0 - 127) || 01 40 | 0aaa aaaa | TVA Env Level 3 (0 - 127) ||-------------+-----------+----------------------------------------------------|| 01 41 | 0000 000a | One Shot Mode (0 - 1) || | | OFF, ON || 01 42 | 0aaa aaaa | Relative Level (0 - 127) || | | -64 - +63 ||-------------+----------------------------------------------------------------|| 00 00 01 43 | Total Size |+------------------------------------------------------------------------------+2. GS (Model ID = 42H)* System Parameter+------------------------------------------------------------------------------+| Start | || Address | Description ||-------------+----------------------------------------------------------------|| 40 00 7F | 0aaa aaaa | Mode Set (0, 127) || | | GS-RESET, GS-EXIT |+------------------------------------------------------------------------------+* Part Parameter+------------------------------------------------------------------------------+| Start | || Address | Description ||-------------+----------------------------------------------------------------|| 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] |+------------------------------------------------------------------------------+x: BLOCK NUMBER (0-F)Part 1 (MIDI ch = 1) x = 1Part 2 (MIDI ch = 2) x = 2: : :Part 9 (MIDI ch = 9) x = 9Part10 (MIDI ch = 10) x = 0Part11 (MIDI ch = 11) x = APart12 (MIDI ch = 12) x = B: : :Part16 (MIDI ch = 16) x = F273


MIDI Implementation4. Supplementary Material■Decimal and Hexadecimal Table(An "H" is appended to the end of numbers in hexadecimalnotation.)In MIDI documentation, data values and addresses/sizes ofExclusive messages, etc. are expressed as hexadecimal values foreach 7 bits.The following table shows how these correspond to decimalnumbers.+------+------++------+------++------+------++------+------+| 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: decimalH: hexadecimal* Decimal values such as MIDI channel, bank select, and programchange are listed as one greater than the values given in the abovetable.* A 7-bit byte can express data in the range of 128 steps. For datawhere greater precision is required, we must use two or morebytes. For example, two hexadecimal numbers aa bbH expressingtwo 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 lessthan the value given in the above chart. In the case of two types, 0000H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, ifaa 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 thevalue of a x 16+b. What is the decimal expression of 5AH?From the preceding table, 5AH = 90 What is the decimal expression of the value 12 34Hgiven as hexadecimal for each 7 bits?From the preceding table, since 12H = 18 and 34H = 5218 x 128+52 = 2356 What is the decimal expression of the nibbled value 0A03 09 0D?From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH =13((10 x 16+3) x 16+9) x 16+13 = 41885 What is the nibbled expression of the decimal value1258?16 ) 125816 ) 78 ...1016 ) 4 ...140 ... 4Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 =0AH, the result is: 00 04 0E 0AH.■Examples of Actual MIDI Messages 92 3E 5F9n 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 MIDICH = 3, note number 62 (note name is D4), and velocity 95. CE 49CnH is the Program Change status, and n is the MIDI channelnumber. Since EH = 14 and 49H = 73, this is a Program Changemessage with MIDI CH = 15, program number 74. EA 00 28EnH is the Pitch Bend Change status, and n is the MIDI channelnumber. 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 4000H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) willcause 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. B3 64 00 65 00 06 0C 26 00 64 7F 65 7FBnH is the Control Change status, and n is the MIDI channelnumber. For Control Changes, the 2nd byte is the control number,and the 3rd byte is the value. In a case in which two or moremessages consecutive messages have the same status, MIDI has aprovision called “running status” which allows the status byte of thesecond and following messages to be omitted. Thus, the abovemessages have the following meaning.274


MIDI ImplementationB3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H(B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH(B3) 26 00 (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: 7FHIn other words, the above messages specify a value of 0C 00H forRPN parameter number 00 00H on MIDI channel 4, and then set theRPN parameter number to 7F 7FH.RPN parameter number 00 00H is Pitch Bend Sensitivity, and theMSB of the value indicates semitone units, so a value of 0CH = 12sets the maximum pitch bend range to +/-12 semitones (1 octave).(On GS sound generators the LSB of Pitch Bend Sensitivity isignored, but the LSB should be transmitted anyway (with a value of0) 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 bevalid, so after the desired value has been transmitted, it is a goodidea 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 Filedata) to contain many events with running status as given in. This is because if playback is halted during the songand then rewound or fast-forwarded, the sequencer may not be ableto transmit the correct status, and the sound generator will thenmisinterpret the data. Take care to give each event its own status.It is also necessary that the RPN or NRPN parameter number settingand the value setting be done in the proper order. On somesequencers, events occurring in the same (or consecutive) clock maybe transmitted in an order different than the order in which theywere received. For this reason it is a good idea to slightly skew thetime of each event (about 1 tick for TPQN = 96, and about 5 ticks forTPQN = 480).* TPQN: Ticks Per Quarter Note■Example of an Exclusive Message andCalculating a ChecksumRoland Exclusive messages (RQ1, DT1) are transmitted with achecksum at the end (before F7) to make sure that the message wascorrectly received. The value of the checksum is determined by theaddress and data (or size) of the transmitted Exclusive message.●How to calculate the checksum(hexadecimal numbers are indicated by "H")The checksum is a value derived by adding the address, size, andchecksum itself and inverting the lower 7 bits.Here's an example of how the checksum is calculated. We willassume that in the Exclusive message we are transmitting, theaddress is aa bb cc ddH and the data or size is ee ffH.aa + bb + cc + dd + ee + ff = sumsum ÷ 128 = quotient ... remainder128 - remainder = checksum Setting CHORUS TYPE of PERFORMANCE COMMONto DELAY (DT1)According to the "Parameter Address Map" (p. 257), the start addressof Temporary Performance is 10 00 00 00H, the offset address ofCHORUS at PERFORMANCE COMMON is 04 00H, and the addressof CHORUS TYPE is 00 00H. Therefore the address of CHORUSTYPE of PERFORMANCE COMMON is;10 00 00 00H04 00H+) 00 00H10 00 04 00HDELAY has the value of 02H.So the system exclusive message should be sent is;F0 41 10 00 00 25 12 10 00 04 00 02 ?? F7(1) (2) (3) (4) (5) address data checksum (6)(1) Exclusive Status (2) ID (Roland) (3) Device ID (17)(4) Model ID (SonicCell) (5) Command ID (DT1) (6) End of ExclusiveThen calculate the checksum.10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)checksum = 128 - 22 (remainder) = 106 = 6AHThis means that F0 41 10 00 00 25 12 10 00 04 00 02 6A F7 is themessage should be sent.■The Scale Tune Feature (address: 40 1x 40)The scale Tune feature allows you to finely adjust the individualpitch of the notes from C through B. Though the settings are madewhile working with one octave, the fine adjustments will affect alloctaves. By making the appropriate Scale Tune settings, you canobtain a complete variety of tuning methods other than equaltemperament. As examples, three possible types of scale setting areexplained below.❍Equal TemperamentThis method of tuning divides the octave into 12 equal parts. It iscurrently the most widely used form of tuning, especially inoccidental music. On the SonicCell, the default settings for the ScaleTune feature produce equal temperament.❍Just Temperament (Tonic of C)The principal triads resound much more beautifully than with equaltemperament, but this benefit can only be obtained in one key. Iftransposed, the chords tend to become ambiguous. The examplegiven involves settings for a key in which C is the keynote.❍Arabian ScaleBy altering the setting for Scale Tune, you can obtain a variety ofother tunings suited for ethnic music. For example, the settingsintroduced below will set the unit to use the Arabian Scale.275


MIDI ImplementationExample SettingsNote name Equal Just Temperament Arabian ScaleTemperament(Key-tone C)C 0 0 -6C# 0 -8 +45D 0 +4 -2Eb 0 +16 -12E 0 -14 -51F 0 -2 -8F# 0 -10 +43G 0 +2 -4G# 0 +14 +47A 0 -16 0Bb 0 +14 -10B 0 -12 -49The values in the table are given in cents. Convert these values tohexadecimal, and transmit them as Exclusive data.For example, to set the tune (C-B) of the Part 1 Arabian Scale, sendthe following data:F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7■ASCII Code TablePatch Name and Performance Name, etc., of MIDI data are describedthe 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: decimalH: hexadecimal* "SP" is space.276


MIDI Implementation ChartModel: SonicCellFunction...Date : June. 15, 2007Version : 1.00MIDI Implementation ChartTransmitted Recognized RemarksBasicChannelDefaultChanged1–16X1–161–16ModeNoteNumber :VelocityDefaultMessagesAlteredTrue VoiceNote ONNote OFFXX**************0–127 0–127**************0–127O *4O *4Mode 3Mode 3, 4 (M = 1)OO* 2AftertouchKey'sChannel'sO *4O *4O *1O *1Pitch BendO *4O *1ControlChangeProgramChange : True NumberSystem ExclusiveSystemCommonSystemRealtimeAuxMessagesNotes0, 3212456, 3878101116171819646566676869707172737475767778808182838491929394951–31, 33–9596, 9798, 99100, 101102–119: Song Position: Song Select: Tune: Clock: Command: All Sound Off: Reset All Controllers: Local ON/OFF: All Note Off: Active Sensing: System ResetOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4*4O *4**************O *3 *4XXXXXO *4O *4XO *4OXOOOOOOOXOOXXXXOOOOOOXOOOOOOOOO (Tone 1 Level)O (Tone 2 Level)O (Tone 3 Level)O (Tone 4 Level)XO (Reverb)XO (Chorus)XXOXXOXO *10–127O *1XXXOXOOXO (123–127)OX* 1 O X is selectable.* 2 Recognized as M=1 even if M≠1.* 3 Transmitted when Tx Edit Data is ON, or when RQ1 is received.* 4 Transmitted from SMF Player.*1*1*1*1*1*1Bank selectModulationBreath typeFoot typePortamento timeData entryVolumeBalancePanpotExpressionGeneral purpose controller 1General purpose controller 2General purpose controller 3General purpose controller 4Hold1PortamentoSostenutoSoftLegato foot switchHold2Sound variationResonanceRelease timeAttack timeCutoffDecay timeVibrato rateVibrato depthVibrato delayGeneral purpose controller 5General purpose controller 6General purpose controller 7General purpose controller 8Portamento controlGeneral purpose effects 1TremoroGeneral purpose effects 3CelestePhaserGeneral purpose controllerIncrement, DecrementNRPN LSB,MSBRPN LSB,MSBProgram Number 1–128Mode 1 : OMNI ON, POLYMode 3 : OMNI OFF, POLYMode 2 : OMNI ON, MONOMode 4 : OMNI OFF, MONOO : YesX : No277


SpecificationsSonicCell: 128 Voices Sound Module with Audio Interface (Conforms to General MIDI 2 System)■ Sound Generator SectionParts16 partsMaximum Polyphony128 voicesWave Memory128 M bytes (16-bit linear equivalent)Expansion SlotsExpansion of waveforms and patchs for the internal soundgenerator SRX expansion boards: 2 slotsPreset MemoryPatches: 896 + 256 (GM2)Rhythm Sets: 32 + 9 (GM2)Performances: 64User MemoryPatches: 256Rhythm Sets: 32Performances: 64External MemoryUSB MemoryEffectsMulti-Effects: 3 systems, 78 typesChorus: 3 typesReverb: 5 typesInput Effect: 6 typesMastering Effect: 3 bands Compressor■ Audio Interface SectionNumber of Audio Input/Output ChannelsInput: 1 pair of stereo (MIC, GUITAR: Monaural/LINE: Stereo)Output: 1 pair of stereoSignal ProcessingPC interface: 24 bitsAD/DA Conversion: 24 bitsSampling FrequencyAD/DA Conversion: 44.1/48/96 kHzNominal Input LevelInput jack (MIC/GUITAR/LINE (L))Mic: -50 – -30 dBuGuitar: -30 – -10 dBuLine: -30 – -10 dBuInput jack (LINE (R))Line: -30 – -10 dBuNominal Output LevelOutput jacks: -10 dBu■ OthersDisplay128 x 64 dots organic EL graphic displayConnectorsOutput jacks (L/MONO, R)Headphone jackInput jacks (MIC/GUITAR/LINE (L), LINE (R))MIC: 1/4 inch phone type or XLR type (phantom power)GUITAR: 1/4 inch phones type (always Hi-Z)Line (L): 1/4 inch phone typeLINE (R): 1/4 inch phone typeMIDI Connectors (IN, OUT)USB ConnectorsCOMPUTER (supports USB Hi-Speed USB MIDI, and USB Audio)MEMORY (supports USB 2.0 Hi-Speed Flash Memory)Power SupplyDC 9 V (AC Adaptor)* This product does not support USB bus power.Current Draw800 mADimensions294 (W) x 175 (D) x 55 (H) mm11-5/8 (W) x 6-15/16 (D) x 2-3/16 (H) inchesWeight1.2 kg / 2 lbs 11 oz (excluding AC Adaptor)AccessoriesStartup GuideManualCD-ROM (Sound Editor, Librarian, Playlist Editor, USB Driver)CD-ROM (SONAR LE)WrenchAC Adaptor (PSB-1U)Power CordUSB CableOptionsWave Expansion Board: SRX SeriesUSB Memory: M-UF128SonicCell stand and PDS-10 bracket: BKT-SPad Stand: PDS-10(0 dBu = 0.775 V rms)* In the interest of product improvement, the specifications and/orappearance of this unit are subject to change without priornotice.■ SMF/Audio File Player SectionFile FormatStandard MIDI File: format-0/1Audio File: WAV, AIFF, MP3278


IndexNumerics3D Effects ........................................................................ 193AAC Adaptor ....................................................................... 18AIFF ................................................................................. 168Amp Envelope ................................................................... 24Audio File ........................................................................ 168BBackup ............................................................................ 182BKT-S ................................................................................. 30CCategory Select screen ...................................................... 65Changing the song order ................................................ 173Chorus ............................................................................... 56Chorus Output screen ................................................ 79, 135Chorus Parameters .......................................................... 219Chorus screen ............................................................ 78, 135Cubase 4 ........................................................................ 160CURSOR/VALUE ............................................................... 20DDelay ............................................................................... 219DeletePlaylist ....................................................................... 173Demo Songs ...................................................................... 15EEditor ................................................................................. 27Effect Routing screen ..................................... 26, 76–77, 134Effect Source screen .......................................................... 80Effect Switch screen ......................................................... 146Effects .................................................................. 56, 75, 132Effects List ........................................................................ 192Envelope ........................................................................... 55Error Messages ................................................................ 191FFactory Reset ................................................................... 183Format ............................................................................. 183GGroup Select screen .............................................. 66–67, 87Guitar ................................................................................ 41IIn/Out Routing ................................................................ 144In/Out Routing screen ..................................................... 147InitializePatch .......................................................................... 115Rhythm Tone .............................................................. 130Sound Control .............................................................. 73INPUT .............................................................................. 142Input Effect ......................................................................... 43Input Effect Parameters ..................................................... 221Input Effect screen ............................................................ 147Input FX Output screen ..................................................... 148Input screen ......................................................... 43–44, 142Input Volume ...................................................................... 42InstallingMac OS X .................................................................... 37SONAR LE ................................................................. 152Wave Expansion Board ............................................... 46Windows Vista ............................................................ 35Windows XP ................................................................ 33LLFO (Low Frequency Oscillator) ......................................... 55Librarian ............................................................................ 27Line .................................................................................... 42Logic Pro 7.2 ................................................................... 163MMac OS X ......................................................................... 37Master EQ screen ............................................................ 184Master Equalizer ............................................................. 184MASTER VOLUME ............................................................. 19Mastering Effect ................................................................. 56Mastering Effect screen .................................................... 181Mastering Type screen ..................................................... 181Matrix Control ................................................................... 95Memory ............................................................................. 57MenuEffect Edit ................................................................... 133Effect Routing ............................................................... 76In/Out Routing ........................................................... 146Input ........................................................................... 143Part Edit ....................................................................... 68Patch ............................................................................ 84Patch Edit ..................................................................... 88Patch List (Ctg) ....................................................... 65, 85Patch List (Grp) ....................................................... 66, 86Perform MIDI Filter ....................................................... 61Performance ................................................................. 59Playlist Select ............................................................. 169Rhythm Edit ................................................................ 117Rhythm Set List ....................................................... 67, 87song list ..................................................................... 171USB Audio ................................................................. 141MFX Control screen ......................................................... 137MFX Output screen .......................................................... 135MFX screen ................................................................ 27, 134MFX Structure screen ......................................................... 80MFX1–3 Control screens .................................................... 81MFX1–3 Output screens .................................................... 78MFX1–3 screens ................................................................ 78MFX3 Location screen ..................................................... 149Mic .................................................................................... 41279


IndexMIDI channel ..................................................................... 23MIDI Filter screen ............................................................... 61MIDI Implementation ........................................................ 246MIDI Implementation Chart .............................................. 277MIDI INST screen .................................................. 22, 58–59MP3 ................................................................................ 168Multi-Effects ....................................................................... 56Multi-Effects Control ................................................... 81, 137NNote priority ...................................................................... 55PPart .................................................................................... 54Part Edit screen ............................................................ 68–69Part View screen .......................................................... 20, 62Part ViewâÊñ .................................................................... 20Patch ........................................................................... 62, 82Patch Category .................................................................. 63Patch Ctrl screen .............................................................. 114Patch Edit screen ............................................. 20, 24, 88–89Patch Effect menu screen ................................................. 133Patch General screen ........................................................ 90Patch Initialize ................................................................. 115Patch LFO1, 2 screens ..................................................... 109Patch List .......................................................................... 223Patch List (Ctg) screen .................................................. 65, 85Patch List (Grp) screen ................................................. 66, 86Patch Menu screen ............................................................ 84Patch Mode ........................................................... 23, 54, 82Patch Mtrx Ctrl1–4 screens ................................................ 95Patch Name screen ......................................................... 116Patch Output screen ........................................................ 108Patch Pitch Env screen ..................................................... 101Patch Play screen ................................................... 23, 26, 82Patch Scale Tune screen .................................................. 178Patch Step LFO screen ..................................................... 112Patch Structure screen ........................................................ 93Patch TMT screen ............................................................ 112Patch TVA Env screen ................................................ 24, 107Patch TVA screen ............................................................. 105Patch TVF Env screen ....................................................... 104Patch TVF screen ....................................................... 26, 102Patch WG screen .............................................................. 98Patch Write ..................................................................... 116PDS-10 .............................................................................. 30Perform MIDI Filter screen ............................................ 60–61Performance General screen ............................................. 60Performance Initialize ........................................................ 73Performance List ............................................................... 222Performance Menu screen ................................................. 59Performance Mode ............................................................ 54Performance Name screen ................................................ 73Performance Write ............................................................ 73Playback .................................................................... 28, 168Playlist ............................................................... 30, 167, 171Playlist Information screen ............................................... 170Playlist Select screen .................................................. 28, 168Playlist Write ................................................................... 173Portable Backing Machine ................................................. 28POWER switch .................................................................. 19Preset memory ................................................................... 57RRecording .......................................................................... 40Restore ............................................................................. 182Reverb ............................................................................... 56Reverb Output screen ................................................ 79, 136Reverb Parameters ........................................................... 220Reverb screen ............................................................ 79, 136Rhythm Edit screen ................................................... 117–118Rhythm Effect menu screen ............................................... 133Rhythm General screen .................................................... 118Rhythm Output screen ...................................................... 129Rhythm Pch Env screen .................................................... 123Rhythm Pitch screen ......................................................... 122Rhythm Set ............................................................. 55, 64, 83Rhythm Set Initialize ......................................................... 130Rhythm Set List ................................................................. 233Rhythm Set List screen .................................................. 67, 87Rhythm Set Write ............................................................. 131Rhythm Tone Copy .......................................................... 130Rhythm Tone Initialize ...................................................... 130Rhythm TVA Env screen ................................................... 128Rhythm TVA screen .......................................................... 127Rhythm TVF Env screen .................................................... 126Rhythm TVF screen ........................................................... 124Rhythm Wave screen ....................................................... 120Rhythm WMT screen ........................................................ 122SSAMPLING RATE switch .................................................... 29Scale Tune ....................................................................... 178Scale Tune screen .............................................................. 72SMF ................................................................................. 168SMF/Audio File Player .................................................... 167SONAR 6.2 ..................................................................... 157SONAR LE ....................................................................... 152Song Info (Level) screen ................................................... 172Song Information screen .................................................. 172Song Menu screen ................................................... 171, 173Song order ...................................................................... 173Songs ................................................................ 28, 168, 171Sound Control Initialize ..................................................... 73Sound Mode screen ..................................................... 60, 84SRX series .................................................................... 46, 57280


IndexSystem Control screen ..................................................... 179System Memory ................................................................. 57System MIDI screen ......................................................... 180System Preview screen ..................................................... 179System screen .................................................................. 176System Settings ................................................................ 176System SRX Info screen .................................................... 180System Version Info screen .............................................. 180System Write ................................................................... 150TTemporary Memory ........................................................... 57To Computer screen ............................................ 43, 45, 148Tone Copy ....................................................................... 115Tones ................................................................................. 54Troubleshooting ............................................................... 186TVA (Time Variant Amplifier) ............................................. 55TVF (Time Variant Filter) ..................................................... 55UUSB AUDIO ..................................................................... 140USB Audio screen ........................................................... 140USB Memory ..................................................................... 57USB memory ...................................................... 28, 167, 182USB Memory Format ....................................................... 183USB/Audio Interface ......................................................... 40User Backup .................................................................... 182User Memory ..................................................................... 57User Restore .................................................................... 182VVoice Reserve .................................................................... 55Volume Level ..................................................................... 42WWAV ............................................................................... 168Wave Expansion Board .............................................. 46, 57Waveform List ................................................................. 242WG (Wave Generator) ..................................................... 55Windows Vista .................................................................. 35Windows XP ...................................................................... 33WritePatch .......................................................................... 116Performance ................................................................. 73Playlist ....................................................................... 173Rhythm Set ................................................................. 131281


For EU CountriesFor China282


For EU CountriesThis product complies with the requirements of European Directive 89/336/EEC.FEDERAL COMMUNICATIONS COMMISSIONRADIO FREQUENCY INTERFERENCE STATEMENTFor the USAThis equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of theFCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residentialinstallation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used inaccordance with the instructions, may cause harmful interference to radio communications. However, there is no guaranteethat interference will not occur in a particular installation. If this equipment does cause harmful interference to radio ortelevision reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct theinterference by one or more of the following measures:– Reorient or relocate the receiving antenna.– Increase the separation between the equipment and receiver.– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.– Consult the dealer or an experienced radio/TV technician for help.This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:(1) This device may not cause harmful interference, and(2) This device must accept any interference received, including interference that may cause undesired operation.Unauthorized changes or modification to this system can void the users authority to operate this equipment.This equipment requires shielded interface cables in order to meet FCC class B Limit.NOTICEThis Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.AVISFor CanadaCet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.Model Name :Type of Equipment :Responsible Party :Address :Telephone :DECLARATION OF CONFORMITYCompliance Information StatementSonicCellSound Module with Audio InterfaceRoland Corporation U.S.5100 S. Eastern Avenue, Los Angeles, CA 90040-2938(323) 890-3700For the USA283


InformationWhen you need repair service, call your nearest Roland Service Center or authorized Rolanddistributor in your country as shown below.AFRICAEGYPTAl Fanny Trading Office9, EBN Hagar Al AskalanyStreet,ARD E1 Golf, Heliopolis,Cairo 11341, EGYPTTEL: 20-2-417-1828REUNIONMaison FO - YAM Marcel25 Rue Jules Hermann,Chaudron - BP79 97 491Ste Clotilde Cedex,REUNION ISLANDTEL: (0262) 218-429SOUTH AFRICAT.O.M.S. Sound & Music(Pty)Ltd.2 ASTRON ROAD DENVERJOHANNESBURG ZA 2195,SOUTH AFRICATEL: (011)417 3400Paul Bothner(PTY)Ltd.Royal Cape Park, Unit 24Londonderry Road, Ottery 7800Cape Town, SOUTH AFRICATEL: (021) 799 4900ASIACHINARoland Shanghai ElectronicsCo.,Ltd.5F. No.1500 Pingliang RoadShanghai 200090, CHINATEL: (021) 5580-0800Roland Shanghai ElectronicsCo.,Ltd.(BEIJING OFFICE)10F. 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A.Viale delle Industrie 8,20020 Arese, Milano, ITALYTEL: (02) 937-78300NORWAYRoland Scandinavia Avd.Kontor NorgeLilleakerveien 2 Postboks 95Lilleaker N-0216 OsloNORWAYTEL: 2273 0074POLANDROLAND POLSKA SP. Z O.O.UL. Gibraltarska 4.PL-03 664 WarszawaPOLANDTEL: (022) 679 4419PORTUGALRoland Iberia, S.L.Portugal OfficeCais das Pedras, 8/9-1 Dto4050-465, Porto, PORTUGALTEL: 22 608 00 60ROMANIAFBS LINESPiata Libertatii 1,535500 Gheorgheni,ROMANIATEL: (266) 364 609RUSSIAMuTekDorozhnaya ul.3,korp.6117 545 Moscow, RUSSIATEL: (095) 981-4967SLOVAKIADAN Acoustic s.r.o.Povazská 18.SK - 940 01 Nové ZámkyTEL: (035) 6424 330SPAINRoland Iberia, S.L.Paseo García Faria, 33-3508005 Barcelona SPAINTEL: 93 493 91 00SWEDENRoland Scandinavia A/SSWEDISH SALES OFFICEDanvik Center 28, 2 tr.S-131 30 Nacka SWEDENTEL: (0)8 702 00 20SWITZERLANDRoland (Switzerland) AGLandstrasse 5, Postfach,CH-4452 Itingen,SWITZERLANDTEL: (061) 927-8383UKRAINEEURHYTHMICS Ltd.P.O.Box: 37-a.Nedecey Str. 30UA - 89600 Mukachevo,UKRAINETEL: (03131) 414-40UNITED KINGDOMRoland (U.K.) Ltd.Atlantic Close, SwanseaEnterprise Park, SWANSEASA7 9FJ,UNITED KINGDOMTEL: (01792) 702701MIDDLE EASTBAHRAINMoon StoresNo.1231&1249 RumaythaBuilding Road 3931, Manama339 BAHRAINTEL: 17 813 942IRANMOCO INC.No.41 Nike St., Dr.Shariyati Ave.,Roberoye Cerahe MirdamadTehran, IRANTEL: (021) 285-4169ISRAELHalilit P. Greenspoon & SonsLtd.8 Retzif Ha'alia Hashnia St.Tel-Aviv-Yafo ISRAELTEL: (03) 6823666JORDANMUSIC HOUSE CO. LTD.FREDDY FOR MUSICP. O. Box 922846Amman 11192 JORDANTEL: (06) 5692696KUWAITEASA HUSAIN AL-YOUSIFI& SONS CO.Abdullah Salem Street,Safat, KUWAITTEL: 243-6399LEBANONChahine S.A.L.George Zeidan St., ChahineBldg., Achrafieh, P.O.Box: 16-5857Beirut, LEBANONTEL: (01) 20-1441OMANTALENTZ CENTRE L.L.C.Malatan House No.1Al Noor Street, RuwiSULTANATE OF OMANTEL: 2478 3443QATARAl Emadi Co. (Badie Studio &Stores)P.O. Box 62, Doha, QATARTEL: 4423-554SAUDI ARABIAaDawliah UniversalElectronics APLCorniche Road, AldossaryBldg., 1st Floor, Alkhobar,31952 SAUDI ARABIAP.O.Box 2154, Alkhobar 31952SAUDI ARABIATEL: (03) 898 2081SYRIATechnical Light & SoundCenterRawda, Abdul Qader Jazairi St.Bldg. No. 21, P.O.BOX 13520,Damascus, SYRIATEL: (011) 223-5384TURKEYZUHAL DIS TICARET A.S.Galip Dede Cad. No.37Beyoglu - Istanbul / TURKEYTEL: (0212) 249 85 10U.A.E.Zak Electronics & MusicalInstruments Co. L.L.C.Zabeel Road, Al Sherooq Bldg.,No. 14, Ground Floor, Dubai,U.A.E.TEL: (04) 3360715NORTH AMERICACANADARoland Canada Ltd.(Head Office)5480 Parkwood WayRichmond B. C., V6V 2M4CANADATEL: (604) 270 6626Roland Canada Ltd.(Toronto Office)170 Admiral BoulevardMississauga On L5T 2N6CANADATEL: (905) 362 9707U. S. A.Roland Corporation U.S.5100 S. Eastern AvenueLos Angeles, CA 90040-2938,U. S. A.TEL: (323) 890 3700As of May 1, 2007 (ROLAND)284


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