l=Roland EGE LINEAR SYNTHESIZER i-50 Owner’s ManualADVANCED COURSE CONTENTS (outline of Tone Parameters s::-7-8 1. The Basic Concept of a Tone-----3 2, Structure of Tone Parameters +++--5 a. WG “7 b. TVF 7 Os and Woo oo “7 a. ENV a8 e LFO a Editing eee teeteeteseeeeeeeeee eee 1, Calling @ Parameter ss1eesreeo 8 2. Changing Values Mi a. Local Editing. n b, Ten Key Pad 13 8 Useful Functions for Baiting «1-14 a, Compare see dd b, Undo = seers 1d econ d. Partial Mutorsesssessereeereees 17 ©. Partial Balancess+-ss+sesereeveees 17 4. Sound Creation . 19 5. Naming. S +20 (Tone Parameters. ee 1, Common Parameters :s+-+s+ssss+e- 22 a. Structure 22 b, P-ENV 23 ¢. Pitch Modulation:++ 25 @ LFO 26 e. Equalizer 27 f. Chorus 29. 2. Partial Parameters a. WG Pitch b. WG Modulation - ¢. WG Waveform 4d, WG Pulse Width e. TVF {, TVF ENV 8. TVF Modulation B, TVA i. TVA ENV i. TVA Modulation Qwriting 48 BIMIDI oesssssesccessseseeeecsseesennnetes BI 1, Connection +61 2, Setting MIDI Functions~ 31 % MIDI Functions commonly set for all Patches +82 ». MIDI Functions individually set for each Patch: +36 3. Key Mode Alteration:-+-+++++0+9+ 87 4. Data Transfer with MIDI- 6 {BDsta Transfer with Memory Cerd- 65. 1. Patch Transfer 65 a. Patch Transfer to the Memory Card. +65 b, Patch Transfer to the Internal Memory-++-++> + 66 2. Copying a Reverb Type s+++++1 68 4 Copying from a Memory Card to the D-50 + 68 b. Copying from the D-50 to a Memory Card +69 Appendix Tables ---+--+-+- 70 1, Pateh Factor Tablesrssesese++ 70 2, Tone Parameter Table seed 7 2 73 4 8 a, Common Parameters b, Partial Parameters 3. MIDI Funetion Table 4, Error Message Table 5. Sample Notess+++-+5OUTLINE OF TONE PARAMETERS (1) OUTLINE OF TONE PARAMETERS 1, THE BASIC CONCEPT OF A TONE A Tone consists of two Partials (Partials 1 and 2) and a Common block. Siasie ENV for pitch conta) (30s) Cm =a Tone Name Each Partial (Partial 1 and Partial 2) can have one of two sound generators (e Synthesizer sound source o: @ PCM sound source). So you can think of the D~S0 having powerful synthesizers built in Each of these hypothetical synthesizers could behave like a conventional analog synthesizer, or a PCM sampled synthesizer. Any combination of two synthesizers can achieve some remarkable eross modulation effects, so characteristic of today's purely digital sounds, Some Common parameters apply to both Partials (Partie! 1 and 2). “Structure” is one of the Common parameters, It decides which of the two sound generators is used for each Partial. Other Common parameters are an ENV for pitch, three LFO modules. equalizer. chorus, etOUTLINE OF TONE PARAMETERS [STRUCTURE] Structure, which is one of the Common parameters, determines which lwo of the hypothetical synthesizers (@ synthesizer sound generstor ‘or 9 POM sound generator) are to be used as Furlial 1 and Partial 2, A "Synthesizer sound generator" works like a conventional anslog type synthesizer with an oscillator, a fer, an amplifier and two ENV's, 4 PCM sound generator provides 100 different PCM sampled ‘These two Partial sounds (Partial 1 and Partial 2) can simply be mixed as shown below, Patil 2 By mixing two Partials, fatter sounds can be obtained. This is effective for making strings or organ type sounds. Or Partial 1 can be mixed with the ring—medulatod sound of Partials 1 and 2. — lL i on Ring | Modulator )2, STRUCTURE OF TONE OUTLINE OF TONE PARAMETERS The Ring Modulator multiplies two sounds, creating an unusual and ‘metallic sound that contains complicated harmonies, For instance, two waveforms ( and ®) are multipled and waveform @ is created, This is effective for making metallic sounds, PARAMETERS Depending on which generators are selected in the Partial Block. greatly different Tone Parameters will be used. Some Tone Parameters used for the Synthesizer sound generators are irrelevant lo the PCM generator (see the diagram below). In a Structure with Ring modulation, some parameters of Partial 2 are automatically set to those of Partial 1. See page 22 “Tone Parameters" for a detailed explanation,OUTLINE OF TONE PARAMETERS: Synthesizer Sound Generator PCM Sound Generator Partial (@P—ENV for pitch I i i i i i i i i | i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i \ i i i i i i i i i i i i i i ia, WG (Wave Generator) b, TVF (Time Variant Filter) OUTLINE OF TONE PARAMETERS In the WG (Wave Generator), the pitch and waveform are controlled. @Pitch The basic pitch of a Partial (sound generator) can be set here The pitch is a Common parameter. and is therefore controlled by © P-ENV and @ LFO-1. @®Wavetorm (PCM Wave Number) This selects the waveform of the sound source. When a synthesizer sound generator is selected, the waveform can be controlled by the ® Pulse Width controls, @Pulse Width This changes the waveform of the sound source, The pulse width is controlled by any LFO (=Common parameter) This filter passes lower frequency harmonics and cuts off the higher cones, By changing the cutoff point and the resonance, the waveform changes. @Cutott Frequency This sets the cutoff point. The cutoff point can be controlled by @TVF ENV ané any LFO (=Common parameter). ‘@Resonence This emphasizes the cutoff point, making more unusual or electronic sounds, c. TVA (Time Variant Amplifier) This controls the volume of the Partial ®Level ‘This determines the volume of the sound. When a synthesizer sound generator is used, the level can be controlled with the ® TVA ENV and any LFO (Common parameter). When a PCM sound generator is used, the @TVA ENV controls the levelOUTLINE OF TONE PARAMETERS d. ENV (Envelope Generator) ‘This generators a control signal (envelope curve) which controls the pitch, timbre and volume of each Partial (sound generator). OP-ENV ‘This is the ENV which controls pitch. It can be set for two selected Parlial at once @TVvF env This ENV controls the cutoff point, and can be set for each Partial separately TVA ENV This ENV controls the volume level, This can be set for each Partial separately, e, LFO (Low Frequency Oscillator) This oscillator generates low frequencies only. Any of the three LFO's can be used for the two Partials, Vibrato, PWM grow! or tremolo effects can be obtained using these LFO's A different LFO can be used for each section or @ PARTIAL. @LFo-1 This can control @Pitch, @Pulse Width, @Cutoff Frequency or OLevel @iF0-2 This can control @Pulse Width, @Cutoff Frequency or @Level @1F0-3 This can control @Pulse Width. @Cutoff Frequency or @LevelEDITING EDITING ‘The D~50 features various parameters which can be edited, thereby synthesizing new sounds. However, it does nol feature knobs or switches on its front panel, Instead, there are two methods of editing: one is achieved by calling each parameter with the relevant buttons, and changing the value with the Joystick, or Increment and Decrement Buttons, the other is by using the optional programmer PG—1000, which has all the necessary panel controls. For quicker and easier editing or synthesizing {rom scratch, the PG 1000 may be essential The editing procedure does not automatically rewrite the existing program, the appropriate writing procedure, on page 18 must be taken, 1, CALLING A PARAMETER A number of Patch Factors and Tone Parameters are shown in a ‘Menu Display at the same time, There are several Menu Displays as shown below. Each parameter shown in a Menu Display contains Play Mode Display quan | Co = eaioae | (cero er ) (wear thsi JC sen paar) uees pase ) WE Ui TP VP Ti Tt several more parameters, You can select any parameter you want by using the corresponding Selector Button or Scroll Button, 4a 85 Ssooansss Ssoostsaos Left Serol Button Selector @utons ight SerllGutton Et Button Shit KeyEDITING The following explains how each button works. The Menu Display and parameter which each button leads to are shown in the supplied Edit Map, Please thoroughly study the map. @Scisctor Buttons ‘These can be used to select one of the parameters shown in the Display, Simply push the relevant Selector Button, and ils current value will flash in the Display, @ Scroll Buttons ‘These butions can be used to scroll through more parameters in the same monu group. Pushing the far-right Scroll Bution calls the next parameter group, and the left Seroll Button returns to the previous parameter group. @Exit Button This button can be used to leave the parameter currently called and go back to ils Menu Display, To go back to the Play Mode Display, hold down the Shift Key while pressing the Exit Button. [CHANGING PARTIAL DISPLAYS) 10 While editing parameter of one Partial, you can call the Display fof the same parameter for a different Partial ‘The Patch Buttons 1 to 4 can select Partials as shown below.EDITING 2. CHANGING VALUES. Normally, the Joystick is used to change the value drastically, and the increment and the Decrement Buttons for fine adjustment. To set vale: Moving the soystiek to the right in INCREMENT @ Pushing te Increment Button increases = creases @ umber umoer Moving the Joystick to that decrees DECRENENT « Pushing the Decrement Button decreaees 8 number Co tone. The following are rather special ways of changing values, This function allows you to change the values of two adjacent parameters at the same time with the Joystick. This can be effectively used for simultaneously changing two values which affect ‘one another. Tone Detune (Fine Tuning of the Upper and the Lower Tones) 4 S 2S S65 =t. [a2 oe == jes GSEehsss ssqsssss ot "EDITING Step 1 Step 2 Step 3 Step 4 Step 5 Push the fer—left Scroll Button (TONE DETUNE) to change to the Display you want Assign the left parameter (Lower Tone) of the two odjecent parameters with the corresponding Scroll Button. Push the LOCAL Button, (The indicator lights up.) With the Joystick, change the value, When the Joystick is returned to the center position, the value returns {0 the original value, The variable range is narrow so that the value can be sublly adjusted. ‘When there is no parameter to the right of the parameter assigned with the Selector Button in step 2, only the assigned parameter I edited, To return the Joystick to its narmal function, push the VALUE Button.b, Ten Key Pad lead EDITING ‘The Ten Key Pad is mainly used for editing the names of Patches ‘or Tones, but also can set the values af some parameters (factors). The parameters which can be edited with the Ten Key Pad are shown in “Tone Parameters" on page 22, Changing the volume balance of two Tones from 50 to 25. Step 1 Step 2 Step 3 Using the Selector Button, select "Volume Balance”. With the Ten Key Pad, select 25, Hit the Enter Key. “If you fail to push the Enter Key, the value you have set will be IF you choose an incorrect value, the Display will respond as shown below for # few seconds, uu Data Error ca 18EDITING 3. USEFUL FUNCTIONS FOR EDITING a. Compare b. Undo ©. Copy “4 Step 1 Step 2 White editing a parameter, you may wish to hear the original sound belore it was edited, The D-50's Compare function allows you to call the original Patch without erasing the edited sound. Push the Compare Button once, co T ‘The Display responds as shown below, and the original sound may be heard by playing the Keyboard. Sea CON AE Push the Compai and the edited sound will come back. Button aga Jn this Compare mode, the edited sound is temporarily saved, and therefore remains even after calling a different Patch.(This does not apply when the D—80 is turned off.) Hold the Compare Button down while pushing the Shift Key, and the edited sound will be recalled ‘When the Display shows the Compare mode indication, editing eannct bbe achieved, ‘The Undo function returns the current value of the parameter to the original value before being edited, This only refers to the last parameter that has been adjusted. Simply push the Undo Button, ‘The Copy function can copy the parameters of a Tone or Block to a different location, @ Tone Copy ‘A Tone from another Patch can be copied to the Patch currently selectedEDITING Step 1 By pushing the eppropriate Selector Button, call the Tone Copy Display.(With the sid of the Edit Msp, take the following procedure.) To copy to the Upper Tone, call the Upper Tone Menu Display, then push the far—right Selector Button, To copy to the Lower Tone, call the Lower Tone Menu Display, then push the far~right Selector Button, roc cf Th aaa Step 2 While actually playing the keyboard, select the Tone to be copied (Source Tone), and it will be copied to the Tone of the currently selected Patch, ‘Selec ether the Unser or the Lower Tone, (Holding {he but gown vl chang Patch numbers st he ©) 64 At this stage changing the Display will show the Tone Name just copied, @Block Copy ‘A group of Tone Parameters can be capied within a Patch Swept Step? at Burton 16EDITING Step 1 Step 2 Push the Copy Button, Push the relevant Selector Button first, and select @ source Tone, land the Block to be copied, then the destination Tone and its Block using the Joystick or Increment and Decrement Buttons as shown below O-@. [FF Geew = Fron Enter uit] UEPEE ALL UPPER ALL os es es es es = eee Ll 7 @Select the Block to be conied Paa-2: Par 74 Paranetre Step 3 16 @Selact the location for the source Block COMMON w sauctas in ep Q)_sust COMMON mere anit @Sviect the location for the source Tone. ween @It sither PART~1 or PART=2 is selected in step @) ‘any of the following Blocks can be selected, WE: WE Parameters To cancel the copying mode, simply push the Exit Button, Hit the Enter Key. When the copy is completed, the Display responds as shown below, then returns to the Play Mode indication. Tonelets If you try to copy @ Common parameter to» Part versa, the Display will show the following error copying cannot be done, parameter or vice rmestage end the Dave Hisnsten Canceld. Partial Mute EDITING While editing a Partial parameter, any Partial sound ean be muted. This function can be done in any Partial Display Simply push the Patch Butlon (1 to 4) that corresponds to the Partial to be muted. SS Se5 e, Partial Balance Step 1 Sees poe ai 2 Lupe’ Fri |. Lowers Part 1 ‘The mute status of all Partials is shown in any Partial Display. vn | Livpper Parties 2 enn FOr SO atv TT ICorsca3 Finesso KF 1 The Partial Mute setting will be automatically written into memory by taking the Writing Procedure on page 48, The Partial Balance (unction can be obtained in any Edit Display or Play Mode Display.(Excep( for the Edit Display of the Patch Name and Tone Name.) Select either of the Tones with the Partial Balance Button,EDITING Step 2 Step 3 With the Joystick, set the volume balance you like, To return to the usual editing condition, select another parameter er change the Display.EDITING 4, SOUND CREATION There are two methads of sound creation, (2) Baiting an existing sound, (2) initializing all the parameters of a certain Portial and then editing the Partial How to initialize 3 Partial Step 1 Gall the Menu Display of the Pertiol to be initialized, then assign “a Init #7 with the Selector Button, error eeerit ec ee] F-11 UF Steer i1i7 Fart-t Hera Pitch)

CTUF> ) Init T= UF weeaaoonee Partst + Inte fire wou sure 7... CEntervExit) Stop 2 Push the Enter Key, and all the parameters of the selected Partial will be initialized, the Display will show as below for a few seconds, c4acoaC4 Conrlete 19EDITING 5. NAMING Editing Paich or Tone namos is called Naming in this manual @4 Paich name can have up to 18 letters @4 Tone name can have up to 10 letters, Step 1 Gall the Neming Display. Cd) ] | — —)] —] Step 2 Push the appropriate Selector Button to move to the letter you wish to change, and the letter flashes, Este —— Pana tow Hane co Co Co om co co Step 3 Change the letters by either of the following methods. 20EDITING [Using the Joystick “Increment Button, Decrement Button} Avsiable Lenere i ca nee yet 25-890 sovstk On Ineremant Button c5— Decrement Button Fr —E5 (Using the Ten Key Pad) m4 — = aS Shit Key @ Assigning @ number Push the key that is marked with the number you want once, @ Assigning 2 capital letter Push the key that includes the letter you want several times, until the correct letter appears, @Assigning © small letter While holding the Shift Key down, push the the key that includes the letter you want, (as for capital letters.) © Space /Hyphen Push the 0 key twice for a space Push the 9 Key four times for a hyphen. Step 4 Repeat Steps 2 and 3 as many times as neces: 2TONE PARAM: RS TONE PARAMETERS This section describes all about the Tone Parameters, Each Display is numbered as shown in the Edit Map, The parameters which ean be set with the Ten Key Pad have the 10 key marks at shown below 1. COMMON PARAMETERS a. Structure (Wissiey 16) Tor ere oa SS Se estructure Number ONT Select one of the following seven Structures. 'S (Syrthesizer Sound Generator) (POM Sound Generator) il cin Moduiator) Swocture | Pere) | Perel ote a ee a Combination of two Fare | Block Diagram [5 1 s | s | Mature of Paria 1 and Paria! 2. | [s ie Mixture of Partial 1 and ring~ | s 5 of os | tes a Panel Tone me= |S | modulation los -, P 3 > | s | Mixture of Pari t and Poriat 2 | & } Winture of Partai 1 and sing es 4 ole modulation. Lis >t Monaro Paral Fond roo= [Sg 5 i 8 P modulation. i |? 6 |e | Wome of Perit 1 and Panis | & ture of Paris! 1 and ring F 7 ee) Mixture of Panial 1 and rng Sn moduiton F 2TONE PARAMETERS b. P~ENV THT Ue wensenvees FEN Egy Velo 1 _TKF a4 @ Velocity Rance This sets the maximum effect of the velocity that controls the pitch of the P-ENY. 0 to 2 are valid, At higher values. the keybord velocity has a greater, effect on the envelope @key Follow (Time! Thi sets the time of the PENV depending on the key played 0 to 4 are valid, Higher values change the time more To saree Laser [ FP SS ~~ PPG {Disolay 19) [ Foor ererererres FEW Este] oC ] co LEPIT The envelope curve is delermined by times and levels 28TONE PARAMETERS (wer O79 his Sets on te stn 4 tr etime 1 EEG the time needed from point 0 (the moment is pressed) to point 1, 0 to 50 are valid @Level 0 This sets the pitch created the moment a key is pressed from Time 2 This sets the time needed from point 1 to point 2,0 to 50 are vali. @ Level 1 This sets the pitch of the point 1 from time 2 This sets the lime needed from point 2 to point 3.0 ta 60 are vali @Lovel 2 This sets the pitch of the point 2 from - @ Sustain Level This sets the pitch of point 3 from -50 to +60. erie 4 This sets the time needed from the moment the key is released to point 4. 0 to 50 are valid, @End Level This sets the pitch of point 4 from 50 to 24TONE PARAMETERS set to similar values, the MIF the Levels of two adjacent points a time between these two points may prove to be shorter then what is actually set, or even zero Velocity Range: Level . +50) 50 18 octave =2 octave ©. Pitch Modulation [Display 20) Te Fiten fea Ede rieo AFerieg | Depending on how the LFO in WG modulation (Display 27) is set, the Vibrate set here may have no effect at all, Higher values deepen the effect. @LF0 Depth This sets the depth of LFO- 100 are valid, @ricch Lever Modvition KEEN This sets the sensitivity of the vibrato depth controlled by bender lever from 0 to 100, Higher values deepen the effect that controls the WG pitch, 0 to the @Pitch Aftertouch Modulstion FEE This sets the sensitivity of the vibrato depth controlled by aftertouch from 0 to 100. Higher values deepen the vibrato effect. 25TONE PARAMETERS LEO (isciey 21-231 eae ate OG Dely 08 SynckKEY ~TIsIit weveron Rime aly Tne Sine ‘The parameters of LFO-2 (Display 22) and LFO—3 (Display 28) can be set like LFO—1, except for © few parameters @Waveform This selects the waveform of the LFO. Dipiay Wavefom TAI Canoe AN SAW Gavta0th) NAN SoU Gaver) eaeiatiela RIND (Random) | Waveform changes randomly This sets the rate (frequency) of the LFO from 0 to 100. Higher values quicken the rate, @ Delay Time ‘This sets the time needed for the LFO to appear, from the moment a key is pressed. 0 to 100 are valid, Higher values increase the delay time, e syne This selects the timing of the LFO oscillation as follows. Display Description OFF [LFO does not syne 10 the keyboard at When a key is played after all keys have been released. the LLFO begins its wave generating process form the beginning LFO begins its wave generation form the beginning KEY | each time a new key is pleved For LFO-2 and LFO=3, “KEY"cannot be selected. 26©. Equalizer TONE PARAMETERS [Dissiay 24) Tt saan ~ TTP PTS In the equalizer section, the frequency characteristic of the sound can be modified, ‘The Equalizer consists of the following parameters. 4 He Level 0} Frequency eur ‘This sets the frequency where the gain is altered in the low to middle range, 63Hz to 840H2 (16 points) are valid, els This sets the gain of the lower Frequencies in 1dB steps, from =12 to +12dB (25 points). “+” settings raise the gain, and “—" settings lower it Level 0: Frequency Frequency arTONE PARAMETERS eur This sets the frequency where the gain is altered in the middle to high range, from 250H2 lo 9,5kHz (22 points). exo This sets the width of the frequency band where the gain is boosted or cut from 0.3 to 6.0 (9 points). With a higher value, the frequency band is narrower, and vice versa. i Frequency Hie Ha is iow ers This sels the gain of the Hf frequency from —12 to +12aB (in 16B step, 25 points), "+ lower it Level 0: Level 0. HF Frequency W/ Frequency settings raise the gain and "—" settings 28£. Chorus TONE PARAMETERS (Giselay 25] Edit beth So Bal 52 Ture O1 f. ~ TLL. @ chorus Type This selects one of ie 8 basic chorus effects, 1 | Ghoms 1 2 | Chorus 2 3 | Flanger 1 4 | Flanger 2 5 | Feedsack Ch 6 7 8 Tremolo Chorus Toremalo [ Dimension @ chorus Rate This sets the rate of the chorus effect, from 0 to 100. Higher values quicken the rate @chorus Depth FEY ‘This sets the depth of the chorus effect, from 0 to 100, Higher values deepen the effect @ chorus Balance ‘This sets the volume balance of the chorus sound and normal sound rom 0 fo 10 100 On the chorus sound is ear 50 Chorus sound = Normal sound 0 ony Ye normal sound is heard, 29TONE PARAMETERS 2. PARTIAL PARAMETERS [Restriction of the available parameters caused by Structur Depending on what Structure is used, the available parameters may be different, So, first check the Structure number shown in the Partial Display, then set the parameters, T=11 o SerSE Tiit Fart=1 We Pier] lconeceS Fine+sa KF 3 (1) In some Structures, some parameters included in a Partial that uses a PCM sound generator are invalid. The following mark js shown when the parameters apply even for PCM sounds, (2) In some Structures which use Ring Modulation, some parameters in Partial 2 will automatically become the same as for Partial 1. Therefore, the values shown in the Display are irrelevant with the actual values, The following mark is shown for such parameters, 2. WG Pitch (ispiay 26) Tur Strat iit Fart lcorscW3 FinetSa KF s er a re eric Coorse GEM This sets the standard pitch of a Partial in semitone steps irom Cl to cr, The stendard pitch is the pitch at C4 (middle ©) key, e@ritch Fine FU ‘The standard pitch can be altered over about +60cents irom to +50 30TONE PARAMETERS @ key Follow (Pitch) FE Usually, tho Keyboard of a synthesizer assigns a semi-tone to cach key. This parameter can change the pitch ratio as shown below ‘The value ropresents how many octaves are changed over 12 keys. 3728/4 7a) 3/4 Pitch a ctave) Gctave) 1h -172. -1/4 “ 0 Maae'¢ (C8) Sst or 22 may be selected for slightly stretching octaves, 81: Pitch 1 cent higher than one octave, s2: Pitch & cents higher than one octave, a1b, WG Modulation [Display 27) LFo asl EWU Tr Serer Git Fart-i Wa Hod EenaNoet co co co co ero toe FS This selects one of 22 the following four vibrato modes. PAD om e following three modes, determining how the Dissley Descviation| OFF No vibrato ie obtained © Vibrato is on. oO Vibrato i on but inverted. Vibrato can be obtained only by aae Aftertouch and Bender Lever @r-env Mode Gal ‘This selects one of th pitch is controlled by PENY, Display Description OFF No. ahteration ) Pitch chenoes with the set P-ENV o Pitch changes with the P—ENV curve inverted. [e?r_TONE PARAMETERS esender Mode FEN This selects how the pitch is controlled by the bender lever as Diapiey Description [Example] OFF No pitch aeration by moving the and the Key Follow (Pitch) of WG is set Lever right or the left, to 2, the maximum pitch change caused by Pitch changes mune Pied sil the Key Follow (Pitch) of WG is set to range, set_in Patch Factors. plus | zero, there is ne itch change caused by the ee acre ihe | 218,088 BRE eh ene cote See c. WG Waveform (Display 28) I-11 UF Streit Farts U8 Form lusvesau Pon @. TTT Tes @Wovetorm ‘This selects the waveform of the synthesizer sound generator. Disoiay Waveform SOU (Save) ron SAW Gemootd | INNING A sawtooth waveform at the TVF, that is al ‘9 sawtooth is selected ecm Wave Number GEM This selects one of the 100 different sampiod waves of the PCM sound generator. Each sample is named (PCM name) as shown on the next page 33TONE PARAMETERS 34 © 1~47 (One-Shot sounds are programmed) © 48~76 (Looped sounds programmed.) (@77~100 (Some of the sounds 1 10 76, sre combined and looped.) 7 [rns | wavinae fees! | eacers Pane (ace 1 2 [vee | verapnene sz Jerez — [ence Pane (Looe 2) 3 fret | Xeanene sa fess fem caop 4 fee | Xvoonone 2 se [cto | rrasenes coe) 5 [Lense | Lor sacs cee Ba (Le 1D 6 fammer | Harmer s peoustie Bate (ota) ed Puck 1 ] s fece ‘ectrie Guar (Looe) 11 [awoe | Aonee cr |wore | vine aes) 12 [ewe | Teanae cz | resto oor) 1a fee, ere ex [suis | See clase» 1 | ae Fie ex |swuca | sax cLooe 29 Pk es farts [Asn choesd Low Pane a Joanie | oon cose) Ma Para 7 fener | a coe ion Plane sowcer | Seecrm 1 (Lees) arpsienors a [sonerz | spscrem 2 con) Heo 70 [sence | Seenram 3 (oes) COraan Percussion note | sonstram 4 000) Non Stings 75 [soece | spectrum 8 005) ectie Gute + 14 |sonee? | Sovotrum 7 L000) ewe Guar 2 re |otanse | re Looe 2) rey Suite re [rine | noite 200) orion Bate 0 |Loss eraatn 2 fLoseos Sesame ss | teccor 42 |oretr | brow vars CLo08) ae s2_|tecin | Low organ (soe) co _| oanWG Pulse Width TONE PARAMETERS (isplay 291 F=t ur Strat itir Fort-i_ ue Fu FUIGO Uslo+or APLM+Br LFG e180 ‘eect Farge Fo some @ Pulse widtn [A square wavelorm has exactly the same with, up and down but a Pusse Width wavelorm has diferent widths, The ratio of upper width to lower is called pulse width. 0 to 100 are valid for seting the pulse width, Depending on the set pulse width value, the harmonic content of the sound changes eaty. alee When sawtooth ie lected with WG Waveform. pulse width 50% 2 the pitch by sn octave, @ Velocity Range This sets the senitivity of the velocity that controls the pulse width from ~7 to +7, With "=" values, the pulse width becomes smaller by playing the keyboard harder, and with "+7 values, the pulse width becomes wider by playing the keyboard harder. | 35TONE PARAMETERS earercuch Rance EEE ‘tis sets the sensllvty of the aftertouch that controls the puso wrath ftom 27 to +7. With "=" values, the pulse width becomes Smaler with stronger aftertouch, and with "+" values, the pulse LL @1F0 Select Pulse Width Medulation (PWM) means changing the pulse width periodically. LFO Select decides which of the LFO's is to be used for modulating the pulse width, Oispiy UFO (Phase) 4 LFO=1 (=) = LFO=1 =) Peston Pane +2 (FO-2 GH) =2 1FO-2 =) +3 LFo-3 GH) uote Phase -3 UFo-3 =) euro berth EET ‘This sets the depth of the PWM from 0 to 100. Higher values Geepen the effect TV (isoiay 30) Eerei iiit =F 7 7 S2 uct Frcuency (carat Pont 36TONE PARAMETERS @ cuff Frequency FORE This sets the cutoff point of the TVF from G to 100. As you lower the value, higher frequencies are removed and the waveform gradually become an approximation of a sine wave, then the sound will finally fade out ,y Fregueney | —\ leaeal Guta Pee Feauency g mS Canal Point FreGuency resonance FLEET This boosts the euleff point from 0 io 30. As you increase the value, specific harmonics are emphasized and the sound will become more unusual, more eletvonz in nature , = _ i Upepln a Frequency =) yan Froaurey 37TONE PARAMETERS @ key Follow (Cutoff Point) Key Follow can change the cutoff point depending on the key played Just like the Key follow of WG pitch, the value represents how many octaves change over 12 keys, 2 3/2, s/t + (Standerd) v8 37a 58 Pic (Gctave) 72 (Octave) 38 wa 18 ° eae ae Mile ¢ (C 38TONE PARAMETERS [Key Follow Adjustment: You can add a further change (=bias level) to the Key Follow curve, and set the range (bias range) where the bias level is valid, @The bias range is where the bias level is valid on the keyboard. It can be set with the bias point (where the bias range begings) and bias direction (< or >) from Al to >CT in semitone steps >A : The bias | key. <4 : The key. jel is only valid on the keyboard above the C4 jel is only valid on the keyboard below the C4 @rhe bias level can be set from —7 to +" values raise the curve, and "=" value lower the curve, Coane) ran set 10 TVE Xay Folow (na Pe) “0 AAA Eee The curve in the picture rep level added. Nts the Key Follow value with the bias TVF ENV {Display 31] Tait oF Sera Ti Fartat TOF env DrthiG® Uelo106 DKF e4 THF 1 | a a 30TONE PARAMETERS e@env Dept» FOR This sels the depth of the TF ENV modulation that changes the TVF Cutoff Point, 0 to 100 are valid. Higher values deepen the effect. @ Velocity Rance GENE ‘This sets the sensitivity of the velocity that controls the depth of the TVF ENV. 0 to 100 are valid, At higher values, the effect is deeper by playing harder. key Fotow (Depth) FOE ‘this can change the TV ENV depth ependirg on the Key played. 0 lo 4 are valld, higher values change the depth more drastically ey Fotow (Tin) ‘ths ean change the ume al the TVF ENV depending on the key played, 0 10 4 are va, higher valves chenge Ie tine more rasta CET |TONE PARAMET Oisploy 32) T2190 Partai eo T4100) TOF Em 15394 “TITLL An envelope curve is mined by times and levels. tine 1 This sets the time needed to reach point 1 from the moment the key is pressed. 0 to 100 are valid Level 1 This sets the level of point 1 from 0 to 100. etime 2 ET This sets the time 100 are valid, needed to rei point 2 from point 1. 0 to 4aTONE PARAMETERS evevel 2 This sets the level of point 2 from 0 to 100, etime 3 OE This sels the time needed to reach point 3 from point 2. 0 to 100 are valid eve 3 This sets the level of point 3 from 0 to 100. time 4 This sets the lime needed to reach point 4 from point 3, 0 to 100 are valid @ sustain Level This sets the level of point 4 from 0 to 100, etme 5 OEE This sets the time needed to reach point 5 from the moment the key is released, 0 to 100 are valid, @End Level To lower the level alter releasing the Key, set this to 0, and to raise the level, set it to 100. The End Level is retoined untit you release and play the key again If the Lovels of two adjacent points are set to similar values, the time bbetwoen these two points may prove to be shorter than whst is sctuelly set, oF even zero, 9. TVF Modulation Display 34 Fanta TOF Ho Aftr—e7, otro select EAE] ‘This selects the LFO that changes the cute! point periodcally (creating grow! effects). 42h. TVA TONE PARAMETERS Display 4 ; oie Prat 32 =2 1 ogee Phase evro beth GER =] OEY is sets the depth of a grow! ellect from 0 to 100. Higher values deepen the effect, @attertouch rence EIEN) ‘This sts the sensivity of the aftertouch that controls the cutoff point from ~7 to +7."="" values lower the ewolt point by stronger Aftertouch, and "++" values raise it (Display 35) TT UF Stret qiit Fart Tun Levi 5 2 plwi~) co + co co ca cae eves: FED ‘This sets the volume of a Partial from 0 to 100. Higher values may cause sound distortion. if so, lower the value. “Even when the Level is set to zero here, the sound may not be completely muted if the TVA ENV curve is high @ Velocity Rnage FEM This sets the sensitivity of the velocity that controls the volume of the sound, ~60 to +50 are valid by harder pl playing. values lower the level by harder ying, and "++" values raise the levelTONE PARAMETERS [Volume Adjustment ZS from the set level, and set the rang lovel is valid an change the overall volume of the keyboard (bias lev (bias range) where the bias @rThe dias range is where the bias level is valid on the keyboard. It can be set with the bias point (where the bias range begins) and bias direction (< or >) from AL to >CT in semi=tone steps. e9. >C4 + The bias level is only valid on the keyboard shove the C4 key, GQ) OEE ‘hie sets the time needed to reach point § fom point 2. 0 te 100 are valid evove 3 This sets the level of point 2 from 0 to 100, eine + GE TE This sets the time needed to reach point 4 from point 3. 0 to 100 are valid 45TONE PARAMETERS @sustin tover FEN This sets the level of point 4 from 0 to 100, ore 5 0 MOE This sets the time needed to reach point 5 from the moment the key is released, 0 to 100 @end Level GEM To lower the level after releasing the key. set this to 0, and to raise the level, set it to 100. The End Level remains until the key jis released and played again. That is, at a value of 100, the sound remains, However, the PCM Sound Generator’s One—shot sounds do not remain even when set to 100. Hf the Lavels of two adjacent points are set to similar values, the time between these two points may prove to be shorter than what is actually set, or even zero [Display 38) Toit UF Serer iit Fartsi Tun Env Velo 84 TKF a4 co Pa aa ome) Ce) e@Veiccity Fotow (Time 1) GED This sets the sensitivity of the velocity that controls the “Time 17 of the TVA ENV from 0 to 4, Increasing the sensitivity shortens “Time 1", by stronger playing. @key Foliow (Time) FE LOE ‘This can change the time of the TVA ENV depending on the key played. 0 to 4 are valid. Higher values change the time more drastically. 0 eed eee ae 48TONE PARAMETERS i, TVA Modulation [Display 39) First iit [iro -3 Lropie6 @LFO select GEEZ) is selects the LFO that changes the volume periodically (tremolo = T LFo-1 ¢ | sae +2 | roe) | a +3 LFO-3 (+) | j vote dem ero coon EEE @Aftertouch Range FREI Z! This sets the sensitivity of the aftertouch that controls the volume 7 to +7, "=" values lower the volun from 0 to 100, Higher aftertouch, and aftertoueh, by. stronger +" values increase the volume by stronger 47WAITING WRITING ‘The edited data does not automatically rewrite the previous data, and therefore will be erased when a difleront Patch is selected, or the unit is turned off, To retain the edited data, take the following writing procedure, either into the internal memory or onto a Memory Card. When using = Memory Card (RAM) for the first time, bes write the dots in the internal memory onto the Memory Card as shown in "Patch Transfer to the Memory Card’ on page 65. If you ‘ake the writing procedure without doing this. the Display shows “egal Card”for a few seconds and writing is not done, This “tlegel Card” message ia algo shown when you are using ® Mmeory Card that contains the data ether then D~50's. Titesal Card [SELECTING A MEMORY LOCATION} Writing a new Patch inevitably erases an existing Patch, so you may wish to listen to several Patches before deciding which Patch should bee sacrificed for the new Patch. You can do it using the Compare Button, = [} Step 1 Step 2 Step 3 Push the Compare Button. The Display responds as shown below. eae CONFERS ESE ‘As you change Patches, listen to the sound, selecting the Patch Number to be erased. WHILE HOLDING THE SHIFT KEY DOWN, push the Compare Button. This recalls the edited data at the selected Patch Number.WAITING [WRITING PROCEDURE} step2 fs Button 1©> en S |e) 655 J Stes S225 S/F SEE am 450 65 Sooooosos Soeoaseeos Ses Step 1 Set Memory Protect to OFF. @To write the data inlo the internal memory, set the Memory Protect of the D-80 to OFF as follows 1:Push the Tune/Funetion Button 2:Select “Memory Protect” with the Selector Bias a ae GO ed Button and turn it OFF with the Joystick. an Taster Tune 150 Eyeont| FT BAL @To write the data onto the optional Memory Card (M-256D), set the Protect Switch of the Memory Card to OFF as follows, = oF =< 4WRITING 50 Step 2 Step 3 Step 4 Step 5 Push the Write Button, (Enter Eni >| Destination Patch Number If you wish to rewrite the Patch, skip the following two procedures and go to step 4, but if you wish to write the edited Patch to @ different Patch number, change the destination Patch number as follows. @ To write the Patch into the internal memory of the D—50, push the Internal Button, and to write anto the Memory Card, push the Card Button. @Assign the Bank and Number of the destination Patch by usit the Patch Button To leave the writing mode, simply push the Exit Button. Push the Enter Key. When the writing cis completed, the Display responds as shown below, and then returns to Play mode. IF the Display doos not respond as above, soo "Error Messages’ on page 74, and repest the writing procedure carefully, Return the Memory Protect to ON, (As in Step 1.) ‘Memory Protect is the function that protects the existing date from accidental erasur when writing new dat Be sure to set the Memory Protect ON except ‘kWhen the unit is turned off and on again, the Memory Protact is automatically returned te the ON position,MIDI Please Read the separate booklet "MIDI" explanation on MIDI 1, CONNECTION ‘©The D-50 controling an external MID! device Mor mos [7 c mio e a Bewee ‘©An exert MIDI device controling the 0-50, (Using the MDI THRU mins our Connector sp) ao ne THRU Mp1 as well as the following Mio) Oevice p50 %An exact copy of the signal fed into the MIDI IN is sent through the * MIDI THRU, Using the device ean be controled, Techni MIDI THRU, therefore, 'y speaking, many devics more than one MIDI can be Controlled through MIDI THRU's, but in practice, connecting more then 1 few devi eviews, use the optional MIDI Output Selector MPU-108. ‘The signal fed into the MID! IN would cause various complications, To connect severe! Rot sent from the MID! OUT 51moi 2, SETTING MIDI FUNCTIONS You can change the settings ofthe MIDI Functions as follows. a. MIDI Functions commonly set for all Patches Push the MIDI Button to call MIDI Functions, and select one of the four Displays [MIDI 1 to 4] with the Scroll Button, “5 In seh ipa, several MIDI Functions cn best Cal the font change the value with the Joystick “Increment and Decrement Buttons, The MIDI Function you have sat is autometically written into memory, ‘and therefore ie retained even after the unit is turned off, (mpl — 17 for Sesh Gant ot OFF OW @ MIDI Channel ‘This sets the Basic Channel (MIDI channel on which the D~50 receives and transmits messages) from 1 to 16, ‘The transmit channel can be set to a different number from the Basie Channel individually for each Patch (See page 56). 52Mot @ contro! This determines how to receive messages from an external MIDI device. [BCH] Basic Channel mode When the D~50 is being controlled in Mono mode, it receives the Voice Messages (except for Note Event, Pitch Bender) on the Basic Channel from the external device, [G.CH] Global Channel mode When the D—50 is being controlled in Mono mode, by an extarnal device that has a Global Channel (one number smaller than the basic channel) it can receive all the Voice Messages (except for Note Event, Pitch Bender) on the Global Channel, [MdoOFF} Mode Message OFF mode In this mode, the D~80 does not receive the Mode messages from the external MIDI device, but is assigned to the Key mode as set on the D~30. %How the sbove Control mode ectuslly changes the Key mode set on ‘tho D~5O is explained on page 57 "Key Mode Alteration", @Receive Channel in Mono Mode When Separate (Sola) mode is selected (see page 21 in the Basic Course), the Upper and Lower Tones can be controlled on different channels, The Lower Tone is controlled by the basic channel, and the Upper Tone is controlled by the receive channel set here, (The D~50's Keyboard can control only the Upper Tone.) 1 to 16 are valid for receive channel, The receive channel of each Patch can be set to a differrent nember [rom the channel set here. (See page 86) @ omni OMNI ON allows you to control the D—50 regardless of the MIDI channel of the external MIDI device. @ Local Local OFF separates the keyboard section from the synthesizer section in the D=80, Therefore, Performance information is sent from the MIDI OUT, but the D=S0 does not make any sound. ‘The Performance information fed into the MIDI IN, however, can control the D—80's synthesizer section. 53Mao: (MIDI— 2) WI Biter fender fied Uelune on on en on eee eeseeseeeesee T Ree eee a! @ Aftertouch To receive or transmit Aftertouch messages, scl this to ON. @ Bender To receive or transmit Bender messages, set this to ON, @ Modulation To receive or transmit Modulation messages, set this to ON. @ Volume To ret transmit Volume messages. set this to ON. [MiDI— 3) Wibi-s Held Porta Praat on on, ow coo co +e cm oo @ Hold To receive or transmit Hold messages, sot this to ON, @Portamente To receive or transmit Portamento messages, set this to ON. @ Program Change To receive or transmit Program Change messages, set this to ON. Program Change Numbers correspond to the D~50's Patches as shown in the table on the next page. The program change number to be transmitted can be set for each Patch separately (see page 56). Program change messages are transmitted only when a Patch is selected by operating the D—50's panel buttons, or when the Program change number to be transmitted is altered also on the D—50's panel, In other words, Program change messages are not transmitted by Patch Shift with the pedal switch, or by patch selection with the program change messages sent from an external deviee(MIDI- 4) iD won Poe) 12ls[4lslel le TP de] (s pepe ze pepe pee pepe a [e pele] = lapel fee ont [5 [os [ae | os | [a7 [ae | Pao 6 |e [a]e|= [a [ele fae 7 [oss |e eat |e ee fe 2 pe |= |e] 7 [re [re eo 3 _[e [ee }e [ee f ee [oe [er Poo cue [ot fem footer [ee [ os [oe foe [oe Yo [e866 [105 ror [ae 00 roe | os oe] or] 08 [on [ro [a 7 || na] we] a [7 [ve [a eo wins free foes [ee ras fa a a @ Exclusive To receive or transmit Exclusive messages (Roland ID Number only), set this to "ON" or *P—Dump* Normally, this is set to "ON". "P—Dump" (Patch Dump) should be selected to record patch data into a deviee that can record Exclusive Messages, such 2s a computer, the MC~500 (microcomposer), etc. When set to "P—Dump", the Patch you select is tranmitted to an external device, However, it cannot be ‘transmitted by Patch Shift with the pedal switch, or by patch selection with the Program change messages sent from an external device, FiibI-4 Control Ghanse —Peawisu Exttent] et 31 ca co co Co co ace Switch Entra Conte Pe ‘The external MIDI device can be controlled with the pedal switch or external contro! pedal @Pedal Switch With the pedal switch, the Controls from 64 to 95 can be controlled, See the MIDI Implementation Chart at the back of the owner's manual @ External Control Pedal With the external contro! pedal, Controls from 0 to 81 can be controlled, See the MIDI Implementation Chart at the back of the owner's. manual, 55so} b. MIDI Functions individually set for each Patch 56 4 The ‘thorofore will be erased when a different Patch is selected. oF the unit ls turned off, To retain the edited data, take the appropriate writing procedure explained on page 48 “Writing” ted data dows not automatically rewrite the pravious Patch, and Call the MIDI Display (Display 10) in the Patch Factor menu, then call the necessary parameter with the Selector Button, and set the value with the Joystick/Increment and Decrement Buttons, bey Mode Oesiey [EJ Pate stony soy [Ed T=11 weewewewevwenanann NIDI Channel [TxcH of TxPOOFE SeecHORE co co fesse @ Transmit Channel ‘The transmit channel of each Patch can be set to a different number from the basic channel, B and 1 to 16 are valid. At B, the channel number is the same as the Basic Channel @ Transmitted Program Chnege Number ‘A program change number to be transmitted can be set for each Patch individually. OFF and 1 to 100 are valied. At OFF, the program change number preprogramed in each Patch shown in the table on page 65 is transmitted, @Receive Channel in Separate Mode ‘A receive MIDI channel in Separate mode can be set for each Patch individually, OFF and 1 to 100 are optional. At OFF, the receive channel set in "MIDI Functions commonly set for all Patches” on page 53 is used,Moi 4, DATA TRANSFER WITH MIDI CONNECTION ‘Handshake Connection? Using the Roland MIDI Exclusive messages. the dala can be transferred {rom one D=50 to another D—50. Sending data is called Bulk Dump. and receiving data is called Bulk Load. The Bulk Dump and Bulk Load processes function whether the Exclusive switch in the MIDI Functions is ON or OFF. There are two methods of data transfer via MIDI: Handshake and One-way, Handshake allows you to verify whether the receiver is ready to receive the data, while one—way transmits the data without ‘confirming the condition of the receiver, The D-50 can select either of the two methods. «One-way Connection? mor moi our iN step 2 step 3 Poe & Set the Basic Channel of the receiver to the same number a: the tranemitt Set the Memory Protect of the receiver to OFF.(See page 49) Push the Transfer Buttons on both the transmitter end receiver devices. aistep 4 Set the receiver to the awaiting signal mode. @ Handshake Mode tl 1) Select “B. Load” with the correszonding Selector Button, [bata Transfer © Eelect Tore CB. Dune) co co oo oOo oo oo = fy [Date transfer +P Bulk Load. 87] Ring vou sure? 22. CEnter/Bxit 2) Push the Enter Key. | fr bate Transfer > T Bulk Lead-6 3 Waibing « 62 0)Mi} step 5 Set the transmitter to the signal~sending mode. @Handshake Mode Select “B. Dump’ with the corresponding Selector Burton, bats Transtar > Belect Ture Ice. Due >¢E, Load) CInbetrd) Aire vou sure 7 v4. | @ One-way Mode While holding the Data Transfer Button down, push the Seletor Button that corresponds to “B. Dump. fr Data Transfer * elect tore] (B. Dune 63io! step 6 Push the Enter Key on the transmitter, and the deta is transferred, When the data is correctly transferred, the Diplay responds as shown below: @ Handshake Mode @One—way Mode (Transmitter) [rranemitter] fy bata Transfer = T Baik bane 3 Dats Treneter » T Bulk Dane-o 3 Complete Complete [Receiver] [Receiver] [bate Tranter» fe bate TraneFer > T Suir Load.o 7 omelets Complete « step 7 step 8 64 ‘When tho data file to be transferred correctly, the Display responds with Tibi Conmunseatian Eran Push the Exit Button, then check if the connections are correctly and securely made, To return the Display to the play mode, push the Exit Buttons on both the receiver and transmitter devices, Return the Memory Protect of the receiver to ON,DATA TRANSFER WITH MEMORY CARO (6) DATA TRANSFER WITH MEMORY CARD The entire Patch data writlen in the D~50's memery can be saved ‘on the Memory Card, and the data on the Memory Card can be loaded into the D~50's internal memory ‘The data (Reverb Types) on the sound library (ROM Memory Card) can be copied to the D-50, or from the D~50 to the optional ‘Memory Card (M~256D). %Ploaso be sure to use the specified Memory Card, such as the supplied Memory Card or M~2560, [Available Revers Types] ‘A Memory Card can store up to 16 different Reverb Types (17 10 32), as well as 64 Patches, Available Reverb Types differ depending fon which Patch is currently in use, Patch in the internal memory or on a Memory Card, atch in the intemal Memory Patch on 2 Memory Card Internal Reverb Tynes Internal Reverb Tyoes Momo Card Reverb Types (T~32) on18) O7~32) “Patch Trancefer” transfers Reverb Types 17 to 32 at the same time, and “Reverb Type Copy" can copy x Reverb Type to any of the 17 to 92 Reverb Types. 1, PATCH TRANSFER a Patch Transfer to the Memory Card All the 64 Patches stored in the D-50's internal memory can be saved onto the optional Memory Card (M~256D) at once, At the same time, 17 to 92 Reverb Types are saved Ste03 Smp8 ut Button step 1 Connect the Memory Gard to the D~50. step 2 Set the Protect Swith on the Memory Gard to the OFF position step 3 Push the Data Transfer Button fe Date TransFar = Select Trev (. Dume) ¢E, Load? CInteCra> 6DATA TRANSFER WITH MEMORY CARD step 4 Select "INTCARD" with the corresponding Selector Button [bate WraneFer tint > Gara 3] Are vou sure 2... (EntervExit)| To cancel the data transfer mode, simply push the Exit Button, ‘When you write date onto» Memory Gard for the first time, pushing the button will show the following indication for e few seconds, but plesse carry en the procedure. Tiesal Gard step 5 Hit the Enter Key. When the data transfer is completed, the Display changes to as below, then returns to the Play Mode indication, Tanelete step 6 Return the Protect Switch on the Memory Cartridge to the ON position. ‘When the data falle 10 be transferred to the Memory Card properly, the Display responds with [) bata Transfer * Tint > Cardy Verify Error . (Retry) int a fire you sure 2 (Enver Exit Hit the Enter Key, When the data transfer is completed, the Display c! then returns to the Play Mode indication, Tonetete Return the Memory Protect of the D-50 to ON, When the data fs Display responds with Select "CARD—rINT” with the corresponding Selector Button, To cancel the data transfer mode, simply push the Exit Button, Shanges as below, to be transferred to the 0-50 properly, the [F Date Tranetar © Tint > tara Verify Error. Al -~+ >C7 36,58 Bias Level errors) 36, 99 TWF ENV Deoth O--- 100) 38. 40 Velocity Renge O=-- 100) 39, 40 Key Fellow (Gepth) On4 39, 40 Key Felow (Time) Oma 38, 40 ve ENV Tone_[ Tt 15, [[o== 100 a1, 42 Tv ENV Level [L1/12/137 (O--- 100 at 42 Sustain Level End Level ai, a2 TTVF Moduation | LFO Leve 42, 43 LFO Depth 42, 43 ‘After Touch Range 43 WA Level 43 Velecity Renee ry Biss Pont/Bies Direction 43, 44 Bias Level 43, Aa TWA ENV Time _[ TH 15. 4a~46 TWA ENV Level | L1/12/137 446 Sustain Level End Level a4, 46 TWA ENV Velocity Follow (Time) 46 Key Folow (Time) [as TWA Modulation | LFO Select a7 LFO_Deoth a7 ‘After Touch Range a7 723. MIDI FUNCTION TABLE APPENDIX TABLES Reference Page Number Diniy MIO. Functions ae Basic, | Adie MDT Moi 64 Tete = Conve! ase CH Global OH Mode Weataoe OW 2, Seoante Mode Tei 6 Fauci CH Om oft On me Toca or. On 2. 8 wwe [Aker Touch Off On ee Bane? Of On Be Modulation Off, On a | Votre Of On = a Of On es Penaranto Of On a Program Changs ] oF. On. 34 Beckie Off On, Pach Dum sa wba [Pea Sw ces 5 Control Changs | Esemal Control 55 73APPENDIX. TABLES 4. ERROR MESSAGE TABLE Display Discription Check internal Batters ‘The back-up battery in the D~50 is low. Consult your loca! Roland Service Department. Theck care'= Eavters The back-up battery (CR 2016) in the optional Memory Card (M=256D) is low. Replace it with ‘2 new one ss shown in the instructions of the Memory Card Tht fener Frovectes | You have tried to write data into the D-50's memory with the Memory Protect on the 0-50 set to ON. Set Memory Protect to OFF. Tard Henory Protected You have tried to write data onto the Memory Card with the Memory Protest Switch on the Memory Card in the ON pasition. Set it to OFF. Tard Wet Reads The Memory Gard is not connected seourty Eau Wev node WHOLE or DUAL ‘You pushed the Chase Button in 2 mode other than Whole or Dual Key Mode. Select the Whole ‘or Dual Key Mode. Tarat bata Enrar Cancel .-- You have assigned a value that exceeds the val range. Dats Wisnater Cancel vee ‘The destination Block you have selected differs from the source Block. Reselect the appropriate Block, and repeat Bleck Copy. WIOT Communication Enrer Data is net transferred properly Push the Exit Button, chack if the connections are correctly and ‘securely made and repeat the transfer procedure. Verify Error. (Retry (Cancel? Data is not properiy loaded or saved between the internal memory of the D-50 and the Memory Card. Read the instructions of the Memory Card. bush the relevant Selector Button (Retry) and carefully repeat the loading or seving. To leave ‘the aranster mode, push the rslevent Selector Button (Cancel). Titesal Card This is shown when you are using @ brand—new ccrd or the card that contains the date for other then the D=50. 74APPENDIX TABLES: 5. SAMPLE NOTE Patch No, Patch No, Patch No. Porch Nome, Patch Name Patch Name, Key Mode Key Mode Key Mode Split Point Split Point Split Point Tone Balance Tone Balance Tone Balance LeKey Shift Lkey Shift Lkey Shift U-key Shift U-Key Shift U-Key Shit. L- Fine Tune L-Fine Tune L-Fine Tune U-Fine Tune U-Fine Tune U-Fine Tune Bender Range Bender Range Bender Range After(Pitch Bender Aiter(PitchBender} After (Pitch Bender Portamento Time Portamento Time Portamento Time Portamento Mode Portamento Mode Portamento Mode Hold Mode Hold Mode Hold Mode ‘Output Mode Output Mode Output Mode Reverb Type Reverb Type Reverb Type. verb Balance Reverb Balance Reverb Balance Total Volume Total Volume Total Volume Chase Mode Chase Mode Chase Mode Chase Level Chase Level Chase Level ‘Chase Time Chase Time Chase Time MIDI TxCH MIDI TxCH MIDI TxCH MIDI TxProg.C. MIDI TxProg.C MIDI TxProg.C MIDI SepCH MIDI SepCH MIDI SepCH Used Tone Used Tone Used Tone Upper. Upper, Upper Lower Lower Lower 75APPENDIX TABLES. Tone Name, [Common Parameters] Used Patch No. Pitch ENV. uF0 1 ca Chorus |Structure No. | Velocity Wave uf Type i KF(Time) | Rate la Rate | — |betey at Deh | Partial Mute w | syne. | HO Balance | 7 u Ho Ta a Pitch Modulation Ts Sust LFO Depth ra [dena | [lever me Atter Mod [Partial Parameters 1/21 we 12 VF 1 VA WG [Coarse TF | Frequency TVA [Level Preh Fine Resonance | Velocity Keene |_| FF Ses an T as Pon? Wo, [LFO Mode | Beroreton | Bias Level lation Tp-eNv Mode] Bias Level + Bander Mode TF ENV | Depth We | Wave Form Veloet Wave | 7 Form | PCM No. | KF(Depth) TVA ENV | Velocity 1] we [Pw KF (Time) KF(Time) ‘Width Velocity TVF ENV |T1 TVA ENV [Tr After Touch] | 2 Fre | LFO Select T3 [t3 | LFO Dents | Ts T TS TS. | TWF ENV [Ls Twa env [is Le le ts bs Sust Sust Endl End 1 VF LFO Select TVA LFO Select | | Moduler Modulat- ee LFO Depth jon LFO Depth After Touch ‘Aftr Touch 76f=Roland* 10481 I=Roland