OWNER’S MANUAL

Thank you, and congratulations on your choice of the Roland XP-30 64 Voice Expandable Synthesizer.

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p. 5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

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Copyright © 1999 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

CAUTION
RISK OF ELECTRIC SHOCK DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following: 1. 2. 3. 4. 5. 6. 7. 8. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Only use attachments/accessories specified by the manufacturer. 12. Never use with a cart, stand, tripod, bracket, or table except as specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

9.

For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

CAUTION: Danger of explosion if battery is incorrectly replaced. Replace only with same or equivalent type.

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Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. * Material damage refers other adverse effects respect to the home furnishings, as well animals or pets. to damage or caused with and all its to domestic

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled. The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001 • Before using this unit, make sure to read the instructions below, and the Owner’s Manual. .......................................................................................................... 002b • Do not open or perform any internal modifications on the unit. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place userinstallable options; see p. 17, 21.) .......................................................................................................... 006 • When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling. .......................................................................................................... 008e • Use only the attached power-supply cord. .......................................................................................................... 009 • Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged. .......................................................................................................... 013 • In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. .......................................................................................................... 014 • Protect the unit from strong impact. (Do not drop it!) ..........................................................................................................

015 • Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/ amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through. .......................................................................................................... 016 • Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page. .......................................................................................................... 022a • Always turn the unit off and unplug the power cord before attempting installation of the circuit board (SR-JV80 series). .......................................................................................................... 023 • DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result. ..........................................................................................................

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USING THE UNIT SAFELY

102b • Always grasp only the plug on the power-supply cord when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 104 • Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children. .......................................................................................................... 106 • Never climb on top of, nor place heavy objects on the unit. .......................................................................................................... 107b • Never handle the power cord or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 108a • Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices. .......................................................................................................... 109a • Before cleaning the unit, turn off the power and unplug the power cord from the outlet. .......................................................................................................... 110a • Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet. .......................................................................................................... 115a • Install only the specified circuit board(s) (SR-JV80 series). Remove only the specified screws (p. 17, 21). ..........................................................................................................

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5 . • A small amount of heat will radiate from the unit during normal operation. we regret that it may not be possible to restore the data. or otherwise subject it to temperature extremes. Rough handling can lead to malfunctions. • This device may interfere with radio and television reception. • When connecting / disconnecting all cables. Otherwise. grasp the connector itself—never pull on the cable.g. or other controls. You may prefer to use headphones. a memory card or another MIDI device (e. Also. non-abrasive detergent. To have the battery replaced. and Roland assumes no liability concerning such loss of data. avoid getting the terminals dirty. To protect yourself against the risk of loosing important data. By connecting any other expression pedals. dry cloth or one that has been slightly dampened with water. During repairs. • To avoid possible breakdown. Important data should always be backed up memory card.. Do not use this device in the vicinity of such receivers. Afterwards. • Use only the specified expression pedal (EV-5. do not use the unit in a wet area. • Unfortunately. such as an area exposed to rain or other moisture. due care is taken to avoid the loss of data. Once you see this message. and when using its jacks and connectors. place it near devices that radiate heat. it may be impossible to restore the contents of data that was stored in the unit’s memory. However. Maintenance • For everyday cleaning wipe the unit with a soft. To alleviate the problem. be sure to wipe the unit thoroughly with a soft. change the orientation of this unit. or the improper operation of the unit. • When you need to transport the unit. Memory Backup • This unit contains a battery which powers the unit’s memory circuits while the main power is off. if possible. we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a memory card. as listed on the “Information” page. to avoid the possibility of discoloration and/or deformation. Power Supply • Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). turn off the power to all units. Repairs and Data • Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. When this battery becomes weak. please read and observe the following: Additional Precautions • Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction. dry cloth. use a cloth impregnated with a mild. Excessive heat can deform or discolor the unit. • Use a reasonable amount of care when using the unit’s buttons. Damaged or dirty CD-ROM discs may not be read properly. Handling CD-ROMs • Avoid touching or scratching the shiny underside (encoded surface) of the disc. or damage to the cable’s internal elements. you risk causing malfunction and/or damage to the unit. • Never strike or apply strong pressure to the display. • Before connecting this unit to other devices. sliders. package it in the box (including padding) that it came in. To remove stubborn dirt.Important Notes In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3. alcohol or solvents of any kind. This will help prevent malfunctions and/or damage to speakers or other devices. the message shown below will appear in the display. leave it inside an enclosed vehicle. Roland Corporation assumes no liability concerning such loss of data. Before Using Memory Cards Using Memory Cards • Carefully insert the Memory card all the way in—until it is firmly in place. thinners. sold separately). so you do not need to be concerned about those around you (especially when it is late at night). • Never use benzine. “Battery Low” • Never touch the terminals of the Memory card. • To avoid disturbing your neighbors. try to keep the unit’s volume at reasonable levels. or written down on paper (when possible). or an authorized Roland distributor. This way you will avoid causing shorts. Keep your discs clean using a commercially available CD cleaner. or move it farther away from the source of interference. consult with your retailer. have the battery replaced with a fresh one as soon as possible to avoid the loss of all data in memory. the nearest Roland Service Center. a sequencer) once it has been lost. you will need to use equivalent packaging materials. in certain cases (such as when circuitry related to memory itself is out of order). • Do not expose the unit to direct sunlight. Placement • Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum.

clearing the internal memory. An asterisk (*) at the beginning of a paragraph indicates a note or precaution. Comprehending the information in the chapter is an essential prerequisite before creating your own sounds. Overview of the XP-30 This chapter covers XP-30 sound source section configurations. or Rhythm Set. Using the XP-30 as the GM Sound Module This chapter explains needed procedures and parameters for using the XP-30 as a General MIDI System-compatible sound source. * The display screens printed in this owner’s manual are based on the factory settings. Please read Quick Start and follow along by actually operating the XP-30. Performance or Rhythm Set data. Performance and Rhythm Set modes. But before you start reading it. the name of the parameter is given. **) refers to pages within the manual. In the Quick Start section. Being familiar with these will streamline operation procedures. Memory Settings (Utility/Card Mode) This chapter goes over the various Utility functions such as storing Patch. More advanced ways of using the XP-30 or details of other operations are explained the Advanced Use section. Reading it is essential for understanding XP-30 operational procedures. the parameters that make up a Patch. and this is then followed (in parenthesis) by information detailing its mode. A list of parameters and MIDI implementation chart are also provided. and explains how to use various functions in a simple way. In this manual. Creating Your Own Sounds This chapter covers creating sounds. Advanced Use The Advanced Use section is divided into 6 chapters. For example. These should not be ignored. 6 . Performance. when any particular parameter is referred to. live performance applications and others. as well as basic operation. Getting the Full Potential of the XP-30 This chapter includes various techniques that expand the XP30’s operational scope. Please be sure to read this chapter in order to fully understand the XP-30. For example: Key Mode parameter (PERFORM/COMMON/PERFORM COMMON). Chapter 1. and display. s Notation Used in This Owner’s Manual To make operation procedures easy to understand. Chapter 4. Appendices This chapter contains a troubleshooting section for use when the XP-30 is not functioning as expected.How to Read This Owner’s Manual This owner’s manual is organized as follows. etc. and the System parameters that determine global XP-30 operation. There is also a list of error messages that you can refer to if an error message appears on the display. display group. Chapter 5. (p. please be aware that in some cases they may differ from the actual factory settings. This will help you understand most of what you need to know for basic operations. Chapter 6. such material is indicated by ( ). we’d like to suggest going through the Quick Start section. [PATCH] represents the PATCH button and [ENTER] the ENTER button. Playing This chapter explains how to use the XP-30 in Patch. the following notation system is adopted: Characters and numbers in square brackets [ ] indicate buttons on the front panel. It includes use with external MIDI devices. Read this chapter before attempting to play back commercial General MIDI System score data. as well as their functions. Quick Start This section is intended for those using the XP-30 for the first time. Chapter 2. However. Chapter 3.

................................................................................................................................................................................................................ 35 Expression Pedal ................................................................................. 20 Making Connections .......................... 43 About the Cursor Buttons.............................................. 42 About the Function Buttons ..................................................................................................................................................................................................................................................................Contents Main Features........................................................................................ 31 Selecting Patches by Category (Patch Search Function) .................40 XP-30 Configuration............................................................................ 34 Pitch Bend/Modulation Lever ................................................................................... 46 7 ............ 16 Cautions When Installing an Wave Expansion Board................................................................................... 35 Sound Palette .......................................................................................................................................................................................... 27 Listening to the Demo Song .................................................................................................................................. 26 Turning Off the Power ................................................................................ 38 Advanced Use .......................... 16 Installation de la carte d’extension Wave (French language for Canadian Safety Standard) ............................................................................................11 Front and Rear Panel.. 39 Chapter 1......................................................................................................................................................................................................................... 33 Try Out Performance Functions.............12 Quick Start .......................................... 34 C1–C4 Slider..... 24 Turning On the Power .......................................... 44 Modifying a Value ......................... 29 Playing the Sounds........................... 26 Reset to Default Factory Settings (Factory Reset) ...............16 Installing the Wave Expansion Board .......................................................................................... 40 Basic Configuration................................................................................................................... 34 Hold Pedal.................. 35 Portamento................................................................................................28 Profile of the Composer .............................................................................................. 20 Precautions lors de l’installation de la carte d’extension Wave ......................................................................................................................................................................................................................... 35 Solo ................................................................................................................................................................................................................ 30 Selecting Wave Expansion Patches................... 42 Switching Modes................................................................................................................................................................... 40 Classification of XP-30 Sound Types................................................................................................. Overview of the XP-30......................................... 36 Play Arpeggios (Arpeggiator) .................................................................................................................................................................................................................................................................................................................................................................................................................................... 45 Assigning a Name ..................................................................................................................................................................... 36 Play Percussion Sounds from the Keyboard ............................................................................. 15 Getting Ready............................................................................................................................... 34 Velocity/Aftertouch ........... 40 Number of Simultaneous Voices ...............................................................................................................................................................30 Selecting Patches and Playing the Sounds............ 42 Basic Operation............................................................................................................................. 32 Auditioning the Patches (Phrase Preview) ....................

.................................................................................................................... 58 Creating an Arpeggio Pattern ................................................................................................................................................................................................... 59 Transposing the Keyboard in Octave Units (Octave Shift)............................................................................................................................................................................................................................................................................................................................................... 88 Naming a Rhythm Set (COMMON)... 52 Playing Along with a Song Playback (XP-30 Used as a Multitimbral Sound Source) ................................... 50 Creating Smooth Pitch Changes (Portamento) .............................. 61 Turning Effects On/Off.................................. 62 Sound Editing Procedures........................... 87 Functions of Rhythm Set Parameters .......................................... 51 Playing Fatter and Richer Sounds by Combining Patches (Layer)....... 55 Playing Percussion Instruments ..............................................................................................................................47 Playing in Patch Mode.... 56 Playing an Arpeggio Over a Preset Keyboard Area ............................................... 56 Playing an Arpeggio ........................................................................................................................................................................ 83 Setting Effects for a Performance (EFFECTS) .................................................................................................................................................... 62 Editing a Performance ............................................................................... 67 Memory and Data Storage .................................................................................................................................................................................................................................................................................................................................. 60 Chapter 3................................................................................................................................................................ 58 Convenient Functions for Performance ............................. 53 Assigning a Different Patch to a Part ............. 84 Making MIDI Settings for a Part (MIDI).......................................... 50 Playing in Performance Mode ............................................... 50 Playing Single Notes (Solo) ............................ 51 Selecting a Performance ...... 76 Modulating Sounds (LFO) .............................. 55 Selecting a Rhythm Set ......................................................................................................... 86 Making Settings for Each Part (PART)........... 59 Transposing the Keyboard in Semitone Steps (Transpose) .................. 68 Setting Effects for a Patch (EFFECTS) ...........................Contents Chapter 2................. 68 Settings Common to the Entire Patch (COMMON). 71 Using Controllers to Change How Sounds Are Played (CONTROL)..................................................................................................................................................................... 54 Using the Sliders to Modify the Sound in Realtime (Sound Palette Function).................................. 80 Changing the Sound’s Volume and Stereo Location (TVA) .... 73 Modifying Waveform (WAVE). 87 Confirming MIDI Information for Each Part (INFO) .......................................................................................... 62 Editing a Patch.......................................................................................... 65 Editing a Rhythm Set................................................................................................................ 68 Functions of Patch Parameters ....................................................................................................................... 50 Using the Sliders to Modify the Sound in Realtime (Sound Palette Function).................................... 66 Keeping Edited Sound .............................................................................................. 61 How Effects Units Work in Different Modes ................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................... Playing...................................................................................................... 47 Selecting a Patch ..................................................................................................................................................................................................................................... 58 Playing an Arpeggio from an External MIDI Device......................................... 52 Splitting the Keyboard to Play Separate Patches in Different Sections (Split)........... 60 If “Stuck” Notes Occur or a Note Does Not Sound (Panic) ................................................................................................................................................. 47 Using Phrase Preview to Play Patches. 67 Storing a Sound You Modify into User Memory ..................... 78 Modifying Pitch (PITCH)........................ Creating Your Own Sounds... 57 Holding an Arpeggio.........................................................................................................................................61 Regarding Effects................................................... 79 Modifying the Brightness of Sound with a Filter (TVF)............. 81 Functions of Performance Parameters................................................................................. 54 Playing in Rhythm Set Mode ........................................... 88 8 ...................................................................................... 58 Simulating a Guitar Cutting Technique.................................... 83 Settings Common to the Entire Performance (COMMON) .............................................................................................................. 49 Making a Patch Sound Thick or Thin (Turning a Tone On/Off) .....................................................................................................

............................................................................. 125 Making Effects Settings in GM Mode (EFFECTS) ..................................................................................................................................................................................................................................................................................................................... 116 Rhythm Set Write ...................................................................... 110 MIDI Settings (MIDI)....................................................... 122 Renaming a File (RENAME)...........................................................................................................................................................................................Contents Setting Effects for a Rhythm Tone (EFFECTS)......................................................................................... 119 Rhythm Set Initialize ...................................................................................... 119 Performance Initialize............... 116 Patch Write.......................................... 122 Checking the Contents Memory Card (INFO).......................................................................................................................................... 108 Arpeggio Settings (ARPEGGIO).................................................................................. 113 Program Change (PGM CHNG) ...................................................................................... 117 Rhythm Set Copy ................................................................................................................................................................................... 124 Modifying GM Mode Settings ....................................................................................................................... 123 Chapter 5........................124 Entering GM Mode......................................................................................................115 About Utility/Card Mode........................................................ 90 Modifying Pitch of a Rhythm Tone (PITCH) ................................................................................................... 127 Confirming MIDI Information of Each Part (INFO) ...................................................... 117 Patch Copy ................. 115 Basic Procedure in Utility/Card Mode .......................................... 108 Keyboard and Controllers Settings (CONTROL)....................................................................... 117 Performance Copy ............................................................................ 92 Multi-Effects Types (EFX Parameter) ................................... 88 Controlling How a Rhythm Tone will Sound with Controllers (CONTROL) ....................... 121 Formatting the Memory Card for the XP-30 (FORMAT) ... Memory Settings (Utility/Card Mode) .................................................................................................................................................................................................. 124 Playing Back a GM Score ..................................................................... 125 Setting a Part (PART)............................................................................. 128 9 ................................. 114 Checking Things Such as the Installation Status of Wave Expansion Boards (INFO).......................... 91 Changing the Volume and Stereo Location of a Rhythm Tone (TVA)......................................................................................................................................................... 108 Display Screen Contrast and Clock Settings (SETUP).................................................................................................................................................................................................................................................................................................................................................... 128 Initializing GM Mode (INIT) ................................................................. 121 Memory Card-Related Settings (CARD)......................................................... 122 Saving Data to Memory Card (SAVE).......................................................... 128 Transmitting GM Mode Settings (XFER)................................................................... 119 Transmitting Sound Settings (XFER)..................................... 116 Copying Sound Source Settings (COPY) ................................ 119 Patch Initialize ...................................... 114 Chapter 4......................................... 112 Phrase Preview Settings (PREVIEW) ... 122 Loading a File from Memory Card into the XP-30 (LOAD)..................................................................... 113 Adjusting Tuning (TUNE) . 120 Preventing User Memory Writing Operation (PROTECT) ............................................................................. 115 Storing Sound Data in User Memory (WRITE)..................................................................................... 124 Initializing the Sound Source for GM System Basic Settings ............................................................................ 122 Recalling Factory Default Settings (FACTORY RESET) ................................................................ 91 Changing the Tone (Filter) of a Rhythm Tone (TVF)...................................................................................................................... 119 Transmitting Data to User Memory .............................................................. 93 XP-30 Operating Environment Setup (System Parameters and Their Functions) ............................................................................................................................................................................... 116 Performance Write ....................................................................................................................................................................................................... 119 Transmitting Data to an External MIDI Device........................................................................................... 122 Deleting Unwanted Files (DELETE)...... Using the XP-30 as the GM Sound Module .............. 127 Copying Effects Settings (COPY)................................. 127 Convenient Functions in GM Mode (GM Utility) ........................................................................................ 90 Modifying Waveform of a Rhythm Tone (WAVE) .............................. 118 Initializing Sound Source Settings (INIT) ..................................

..................................................160 Patch List....................................................... 129 Holding a Note with Modulation Retained ....................................................................................... 129 Making the Up-Beat Note Sound at the Same Time You Play a Down-Beat Note ..................................................................... 132 Enjoying Desktop Music ............................................................................................208 Index........................ 132 Using the XP-30 to Control External MIDI Devices......................................................................... 132 Selecting XP-30 Sounds from an External MIDI Device............................. 134 Disconnecting the Keyboard from the Internal Sound Source (Local OFF) .....207 Computer Cable Wiring Diagrams................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................ 130 Using a Pedal Switch to Modify the Rotary Speed of the Rotary Effect ...........183 Specifications............................................................ 129 Reinforcing Filter Characteristics .................................................................................................................................................................................... 129 Modifying Multi-Effects to Match the System’s Tempo..... 134 Connecting to Your Computer.............. 131 Changing Multiple Sounds of an External MIDI Device Simultaneously.......... 131 Changing Sounds with a Pedal Switch .142 Quick Reference of Procedures .............................................................................................................................................Contents Chapter 6..................................................................................................................... Getting the Full Potential of the XP-30 .............................................. 129 Syncing the LFO Cycle to System Tempo ............................................................................................................................182 MIDI Implementation................................. 139 Troubleshooting............168 Rhythm Set List............................................................................................................................................209 10 .. 137 Appendices..............................................................................................................................147 Waveform List .............................. 131 Using the XP-30 to Play Live ..129 Techniques for Using Patches................... 130 Playing Phrase Loops at a System’s Tempo........... 131 Using External MIDI Devices ................................................................................. 130 Using the Slider to Pan Sounds in Real Time ....................................... 132 Playing the XP-30’s Sound Source from an External MIDI Device .......................177 Performance List.............................................143 Parameter List .....................................181 Arpeggio Style List ...............................................................................................................................................................................140 Error Messages ........

” and SR-JV8011 “Techno Collection” is onboard. and can play back commercially available General MIDI System compatible song data (p. 20). In addition to the Multi-Effects (EFX) section that features 40 different types of effects. 134). Powerful Onboard Effects Advanced DSP (Digital Signal Processor) technology provides a wide array of studio quality effects. This means that for practical purposes. so that you can enjoy ensemble playing (p. 43). the XP-30 also features an independent chorus unit and reverb unit (p. (Phrase Preview function. s Computer Interface Connector A special computer cable makes it easy for you to connect the XP-30 to your computer. Music files bearing the General MIDI logo can be played back using any General MIDI sound generating unit to produce essentially the same musical performance. you can then hear the selected patch play a phrase suitable for that type of patch. you can have simultaneous access to the sounds of up to five Wave Expansion Boards. and standardize the MIDI capabilities of sound generating devices. 50. 33. Extensive Tone Structure Range Ten different Structures are available for combining basic sound elements for more flexible sound making.” SR-JV80-09 “Session. the SR-JV80-02 “Orchestral. Data from Popular Wave Expansion Boards Already Onboard The data of the three popular Wave Expansion Boards. s Quick and Intuitive Operation Enhanced Operational Ease Dedicated buttons are provided for each function to simplify operation. 32. Sound generating devices and music files that meets the General MIDI standard bears the General MIDI logo ( ). Featuring the Patch Search and Phrase Preview Functions that were Popular on the JV-2080 The Patch Search function (p. A ring modulator and booster enhance creating sounds (p. General MIDI System The General MIDI system is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs. 11 . p. 16. allowing you to expand the range of available sounds (p. the standard format for desktop music (DTM) systems.Main Features s High-Performance Synthesizer Sound Source 64-Voice Polyphony and 16-Part Multitimbrality The XP-30 is a 16-part multitimbral sound source that produces up to 64 simultaneous polyphonic notes. You can even specify the rhythmical “feel” you want (p. you can create various arpeggios and simulate cutting techniques simply by pressing a chord. s Expandability Allows Two Wave Expansion Boards to be Installed at the Same Time Up to two SR-JV80 series Wave Expansion Boards can be installed simultaneously. 41). The group of function buttons located below the display allow intuitive editing (p. 124). Use the Sound Palette Sliders to Make Quick Changes in the Sound The four sliders in the PALETTE section let you make realtime changes in tone and volume while you play (p. 61). An Array of Arpeggio and Cutting Options With the [ARPEGGIO] on. 49) General MIDI System Compatibility The XP-30 provides a mode compatible with the General MIDI System. Effectively used with an external sequencer or computer. 36. 56). 54). and can draw on a vast quantity of waveform data as material for creating your sounds. 70). the XP-30’s true creative potential for music production becomes apparent (p. By pressing [PHRASE PREVIEW]. 48) lets you rapidly find the patch you want simply by specifying a patch category.

50 E Display Shows various information for the currently selected function or operation. Chorus. 33. →p. [-OCT] These buttons adjust the pitch of the keyboard in octave steps. →p. 42 Use the four sliders to modify sounds in real time. 56 12 . By holding down [PERFORM] and pressing [PATCH]. [EFFECTS ON/OFF] This button turns the internal effects (Multi-Effects. →p. 59 Pressing either of these buttons while holding down [TRANSPOSE] allows you to set the desired amount of transposition. 66 [LEVEL] Press this button ON when adjusting volume balance in real time using the four sliders (1/2/3/4). [SOLO] Specifies playing a single note at a time. →p. →p. →p. 54 [SYSTEM] This selects System mode./ ATTACK/DECAY). →p. The button indicator of the selected mode will light. and modify the sound as you play (C1/C2/C3/C4). 36. 51. 47. 26 [+OCT]. 49 [ARPEGGIO] Switches Arpeggiator on/off. 35. 36. →p. Hold down [SHIFT] while you press [PERFORM] to select GM mode. 54 [PATCH]/[PART] Pressed to get into Patch mode. →p. 51. 115 C KEY EFFECTS Section The buttons in this section allow you to assign various functions to the keys of the XP-30’s keyboard. →p. 36. →p. 34 [RHYTHM] This selects Rhythm Set mode. 124 [FILTER/ENV] Press this button ON when modifying filter and/or envelope settings in real time using the four sliders (CUTOFF/RESO. 62 [PORTAMENTO] Switches Portamento on/off. →p. 108 [CONTROLLER] Can be switched on when you wish to assign various parameters to the four sliders. →p. →p. →p. 60 [PHRASE PREVIEW] Press this when you wish to use phrases to audition a patch. →p. Reverb) on/off. 54. 51. 60 D MODE Section B PALETTE Section The buttons in this section select modes. 35. 55 [UTIL/CARD] This selects Utility/Card mode.Front and Rear Panel A B C D E H s Front Panel A Volume Slider This slider adjusts the overall volume that is output from the rear panel OUTPUT jacks and PHONES jack. you can modify the settings of the patch that is assigned to each part of the performance. →p. 50 [TRANSPOSE] Specifies transposing the keyboard in semitone steps. [PERFORM]/[GM] Pressed to get into Performance mode. →p.

[ENTER]/[DIGIT HOLD] ENTER: Use this button to finalize a value or execute an operation. 43 [EXIT]/[PANIC] EXIT: Press this button when you wish to return to the Play display of a mode. →p. press this to check the sound at the save destination. 34. 48 DEMO: To hear the demo playback. 63. →p. 48 Function Buttons The function of these buttons will depend on the operational mode and the status of the [EDIT] indicator. 28 [UNDO/COMPARE] The function of these buttons will depend on the operation being performed. Depending on the settings. 65. Some buttons on the front panel include grey-printed characters. 66 COMPARE: When saving or copying Tone settings. the value will change in bigger increments. [DEC] Use these buttons to modify values.Front and Rear Panel [INC]. 43 [1–8/9–16] Use this button to select the group (1–8/9–16) of Parts to be selected by the function buttons. 118 G WAVE EXPANSION Section Here you can select sounds from a Wave Expansion. They can be used to enter numeric values as well as alphabetical characters. [ ] (Cursor Buttons) ] (Page Buttons) Move the cursor (underline) with these. 32. If you hold down [SHIFT] as you turn the VALUE dial. 45 [ ]. EXP-A: “Session” EXP-B: “Orchestral” EXP-C: “Techno Collection” [PALETTE EDIT] Press this button when you wish to use the Palette display to modify Patch or Performance settings. This is used in combination with other buttons. hold down [SHIFT] and press this button. the value change accelerates. 63. 45 When [CATEGORY] is on. →p. 116. [EXP C] Select sounds from the internal Wave Expansion. DIGIT HOLD: Press this button while holding down [SHIFT] to turn the Digit Hold function on/off. →p. →p. →p. →p. 45 H Pitch Bend/Modulation Lever This allows you to control pitch bend or apply vibrato. 31 [EXP A]. or to cancel an operation without executing. If you keep on holding down one button and pressing the other. With the Digit Hold on. [EXP E] Select sounds from the Wave Expansion Board slots (EXP-D and E). use these buttons to move to other parameter displays [0]–[9] (Numeric Keys) Use these to set a value. F G [ When the left edge of the display shows a or symbol. This means that you can select Patches simply by pressing the numeric key for the 1’s place. this becomes the button for choosing a category group using the Patch Search function. F VALUE Dial This dial is used to modify values. →p. They indicate the button’s function when [SHIFT] is held down. or at the copy source. UNDO: Press this button to restore a modified value to the original value. →p. without having to press [ENTER]. 32. 60 [CATEGORY]/[DEMO] CATEGORY: Use the Patch Search function to select a patch. →p. 65 [EXP D]. →p. Use the function buttons to select the display screen for the parameter you wish to modify. other specified parameters can also be controlled. [ ]. 75 13 . →p. the 100’s place and 10’s place will be fixed and only the 1’s place will change. [EXP B]. PANIC: If for some reason notes are stuck and continue sounding. →p. 48 [SHIFT] [EDIT] Press this button when you wish to adjust various settings. hold down the SHIFT button and press this button to clear the stuck notes. the value will change in greater increments. →p. If you press one of these buttons while holding down [SHIFT]. The same applies when selecting Performances or Rhythm set. →p.

→p. you can use it to select or modify sound or perform various other control. You can also connect optional pedal switches to sustain sound. If you wish to use the MIDI connectors. →p. →p. fig. Turn the power off before changing the setting of this switch. R) These jacks output the audio signal to the connected mixer/ amplifier system in stereo. 24. use the L jack. 134 COMPUTER Connector A special Computer cable (sold separately) can be connected here. 24 MIDI Connectors (IN. 110 AC Inlet Connect the AC power cable (included) to this inlet. →p. 115 fig. OUT. 24 PHONES Jack An optional set of headphones can be connected to this jack.Front and Rear Panel s Rear Panel Power Switch Press to turn the power on/off. When the Computer switch located at the left is set to MIDI. The type of cable required will depend on your computer. 132 fig. 110 fig.0-02f COMPUTER Switch Set this switch depending on the type of computer connected to Computer connector. For mono output. →p. 26 CONTROL PEDAL Jack You can connect optional expression pedals to these jacks. the AC cable is already connected to the unit.0-02c fig. →p. →p. 24 * With units rated for 117V operation. 24.0-02d 14 . THRU) These connectors can be connected to other MIDI devices to receive and transmit MIDI messages. or the software you are using. By assigning a desired function to a pedal. 134 fig. →p. →p. 119.0-02b OUTPUT Jacks (L (MONO). this connector cannot be used.0-02a HOLD PEDAL Jack An optional pedal switch can be connected to this jack for use as a hold pedal.0-02e MEMORY CARD Slot An optional memory card (SmartMedia) can be inserted here. set this switch to MIDI. 24. →p.

Quick Start 15 Quick Start .

Avoid touching any of the electronic components or connectors. always first grasp a metal object (such as a water pipe). To install an optional Wave Expansion Board (SR-JV80 series. so you are sure that any static electricity you might have been carrying has been discharged. sold separately) can be installed in EXP-D and E Slots in the XP-30. There are two slots (EXP-D and E) into which a board can be installed. the unit’s bottom cover must be removed. grasp it only by its edges. q When installing Wave Expansion Boards. double-check your work. rotate loosen tighten the screwdriver clockwise.Getting Ready Installing the Wave Expansion Board Up to two Wave Expansion Boards (SR-JV80 series. q Never use excessive force when installing a circuit board. Be sure to reattach it after the Wave Expansion Boards have been installed. sold separately). remove only the specified screws. If an unsuitable screwdriver is used. which can be called directly into the temporary area and played. To tighten a screw. q To remove a screw. Patch or Rhythm Set from the Wave Expansion Board. If it doesn’t fit properly on the first attempt. When playing a Patch or Rhythm Set that use the Wave data from a Wave Expansion Board. the appropriate Wave Expansion Board must be installed in the XP-30 for the sound to play correctly. q When circuit board installation is complete. q Be careful that the screws you remove do not drop into the interior of the XP-30. q Use a Philips screwdriver that is suitable for the size of the screw (a number 2 screwdriver). • When handling the board. 16 . q Do not leave the bottom cover in a detached state. Wave Expansion Boards contain Wave data. s Cautions When Installing an Wave Expansion Board q To avoid the risk of damage to internal components that can be caused by static electricity. as well as Patches and Rhythm Sets that use this Wave data. • Before you touch the board. rotate the screwdriver counter-clockwise. please carefully observe the following whenever you handle the board. the head of the screw may be stripped. remove the board and try again. • Save the bag in which the board was originally shipped. q Do not touch any of the printed circuit pathways or connection terminals. q Be careful not to cut your hand on the edge of the installation bay. Slots EXP-D and E correspond to the group (XP-D and E) you need to select in order to use a Wave. and put the board back into it whenever you need to store or transport it.

Insert the connectors of the Wave Expansion Board into the internal connectors. and simultaneously insert the board holders into the holes of the Wave Expansion Board. and disconnect all cables from the XP-30. and remove only the screws shown in the following diagram. Wave Expansion Board fig. SR-JV80-09 “Session” (XP-A) SR-JV80-02 “Orchestral” (XP-B) SR-JV80-11 “Techno Collection” (XP-C) 3 Inside.e If the same type of Wave Expansion Board is installed in the EXP-D slot and the EXP-E slot. so if one of these Wave Expansion Boards is installed. Also. it will only be possible to select data from the Wave Expansion Board that was installed in the EXP-D slot. the XP-30 already contains the data of the following three Wave Expansion Boards.Getting Ready Before installing the Wave Expansion Board.e Board holder Connector EXP E EXP D 17 Quick Start 1 . Turn the XP-30 on its back. turn off the power of the XP-30 and all connected devices.Q-02a.Q-02b. only the internal data (XP-A–C) can be selected. there are two connectors and six board holders. Screws to be removed 2 fig.

This completes installation of the Wave Expansion Board. Press [PATCH] to access the PATCH PLAY display.e Use the Installation Tool supplied with the Wave Expansion Board to turn the holders in the LOCK direction. 18 . so the board will be fastened in place. 26). Turn on the power. LOCK Installation tool 5 Use the screws that you removed in step 2 to fasten the cover back in place.Getting Ready 4 fig. as described in “Turning On the Power” (p. 6 7 8 fig.Q-03 Connect the cables that you disconnected earlier.Q-02c.

and the following display will appear. If you can’t choose any Wave Expansion Board patches. 19 Quick Start 9 . and re-install the Wave Expansion Board correctly. [EXP D] or [EXP E] indicator will light. and verify that you can select patches from Wave Expansion Boards D or E.Q-04 The example here depicts what you would see if the SR-JV80-13 “Vocal Collection” Wave Expansion Board were installed in the EXP-D slot. 26). Turn off the power as described in “Turning Off the Power” (p. it’s possible that the installed Wave Expansion Board is not being recognized correctly.Getting Ready Press [EXP D] or [EXP E]. fig.

Getting Ready

Installation de la carte d’extension Wave
(French language for Canadian Safety Standard)
Vous pouvez installer jusqu’à 2 cartes d’extension Wave (en option dans la série SR-JV80) dans les créneaux EXP-D et E du XP-30. Les cartes d’extension Wave contiennent des données Wave, aussi bien que des morceaux musicaux et des ensembles rythmiques utilisant ces données, auxquelles on peut directement accéder dans la zone temporaire et les faire jouer.

s Precautions lors de l’installation de la carte d’extension Wave
q Pour éviter tout dommage des composants internes pouvant provenir de l’électricité statique, veuillez suivre les conseils suivants quand vous installez la carte. • Avant de toucher la carte, saisissez toujours un objet métallique (tuyau d’eau ou autre) pour être sûr que l’électricité statique se décharge. • Quand vous saisissez la carte, prenez-la par les bords. Evitez de toucher les composants électroniques ou les connecteurs. • Conservez le sac dans lequel la carte était emballée et remettez la carte dedans pour l’expédier ou l’entreposer. q Utiliser un tournevis cruciforme correspondant à la taille de la vis (un tournevis numéro 2). En cas d’utilisation d’un tournevis inapproprié, la tête de la vis pourrait être endommagée. q Pour enlever les vis, tourner le tournevis dans le sens contraire des aiguilles d’une desserrer resserrer montre. Pour resserrer, tourner dans le sens des aiguilles d’une montre. q Lors de l’insertion de la carte d’extension Wave, enlevez seulement les vis indiquées dans les instructions. q Veillez à ne pas laisser tomber de vis dans le châssis du XP-30. q Ne pas laisser le panneau de protection avant détaché. S’assurer de l’avoir rattacher après avoir installé le disque dur. q Ne touchez aucun des circuits imprimés ni les bornes de connexion. q Veillez à ne pas vous couper les doitgs sur le bord de l’ouverture d’installation. q Ne jamais forcer quand vous installez une carte de circuits. Si la carte ne rentre pas correctement, ressortez-la et ressayez. q Quand la carte est installée, vérifiez si l’installation est correcte. Pour installer une carte d’extension Wave optionnelle (série SR-JV80), le panneau du bas de l’appareil doit être enlevé. Vous trouverez 2 créneaux (EXP-D et E) dans lesquels vous pourrez installer une carte. Les créneaux EXP-D et E correspondent au groupe (XP-D et E) que vous devez sélectionner pour pouvoir utiliser une donnée Wave, un morceau musical ou un ensemble rythmique de la carte d’extension.

Quand vous faites jouer un morceau ou un ensemble rythmique qui utilise des données Wave de la carte d’extension, une carte d’extension appropriée doit être installée dans le XP-30 afin que le son sorte correctement.

20

Getting Ready

1 2
fig.Q-02a.f

Éteindre le XP-30 et tous les appareils qui y sont reliés et débrancher tous les câbles du XP-30. Retournez le XP-30 et enlevez seulement les vis indiquées sur la figure.
Vis à enlever

Si la même sorte de carte d’extension Wave est installée dans les créneaux EXP-D et EXP-E, il ne sera possible de sélectionner que les données de la carte d’extension Wave installée dans le créneau EXP-D. De plus, le XP-30 contient déjà les données des 3 cartes d’extension Wave suivantes si bien que si une de ces 3 cartes est installée, seules les données internes (XP-A–C) pourront être sélectionnées. SR-JV80-09 “Session” (XP-A) SR-JV80-02 “Orchestral” (XP-B) SR-JV80-11 “Techno Collection” (XP-C)

3

À l’intérieur, il y a 2 connecteurs et 6 supports à carte. Insérer les connecteurs de la carte d’extension Wave dans les connecteurs internes tout en insérant simultanément les supports à carte dans les trous de celle-ci.
Carte d'extension Wave

fig.Q-02b.f

Support à carte Connecteur

EXP E EXP D

21

Quick Start

Getting Ready

4
fig.Q-02c.f

Pour tourner les supports en position LOCK (verrouillé), utilisez l’outil d’installation de la carte d’extension fournie à cet effet. De cette façon, la carte sera bien fixée à sa place.
LOCK

Outil d'installation

5

Reposez le couvercle en remettant les vis enlevées (comme spécifié) à l’étape 2.
L’installation de la carte d’extension Wave est terminée.

6 7 8
fig.Q-03

Rabranchez les câbles. Mettez le XP-30 sous tension en procédant comme indiqué dans “Turning On the Power” (p. 26). Appuyer sur [PATCH] pour accéder à la page PATCH PLAY.

22

Getting Ready

Appuyer sur [EXP D] ou [EXP E] et vérifier si vous pouvez sélectionner les morceaux musicaux des cartes d’extension Wave D ou E. L’indicateur [EXP D] ou [EXP E] s’allumera et l’affichage suivant apparaîtra.

fig.Q-04

Ceci est un exemple d’affichage lorsque la carte d’extension Wave SR-JV8013 “Vocal Collection” est installée dans le créneau EXP-D.

Si vous ne pouvez choisir aucun des morceaux musicaux de la carte d’extension Wave, il est possible que la carte installée ne soit pas reconnue correctement. Éteignez l’appareil comme indiqué dans “Turning Off the Power” (p. 26) et réinstaller la carte correctement.

23

Quick Start

9

Q-05. 24 .e to Power outlet External MIDI device Roland Stereo headphones Pedal switch Expression pedal (EV-5) or pedal switch Stereo set. 1 Before you make connections. or headphones. In order to hear sound. etc. fig. etc. make sure that power is turned off for all devices. you will need to connect it to a keyboard amp. audio system. To prevent malfunction and/or damage to speakers or other devices. always turn down the volume. Speaker with built-in amp. keyboard amp. and turn off the power on all devices before making any connections. Refer to the following diagram and connect the XP-30 to the external equipment you are using.Getting Ready Making Connections The XP-30 does not contain an amp or speakers.

CONTROL PEDAL jack can also accommodate pedal switches. By connecting any other expression pedals. Use only the specified expression pedal (EV-5. you risk causing malfunction and/ or damage to the unit. 3 Connect audio cables and MIDI cables as shown in the diagram. we recommend using a stereo amp/speaker system. and plug the other end into an AC power outlet. take a look at “Connecting to Your Computer” (p.Getting Ready Connect supplied AC power cable to the XP-30. make you connections to the OUTPUT jack L (MONO). If you are using a mono system. 25 Quick Start 2 . plug them into the PHONES jack. For information on making the connection with the computer. 134). Connect pedal switches or expression pedals as necessary. In order to take full advantage of the XP-30’s performance. On 117V models the AC cable is permanently attached to the unit. If you are using headphones. sold separately).

A brief interval (a few seconds) after power up is required before the unit will operate normally. . Excessive volume may damage your amp/speaker system or could cause hearing s Turning Off the Power 1 Before you turn power off. Be careful not to raise the VOLUME slider of the XP30 too much. Play the XP-30 and gradually raise the volume controls of the XP-30. 2 3 26 Turn off your amp/mixer system. check to make sure that: • All external devices are correctly connected to the XP-30. 24). Turn off the XP-30 power.Q-07 Turn the power on of your amp or audio system.Getting Ready Turning On the Power 1 Before you turn the power on. • Important data has been saved to a memory card (p. This unit is equipped with a protection circuit. 122). Once the connections have been completed (p. 3 4 fig. your amp or mixer to an appropriate volume level. 2 fig. • The volume controls of the XP-30 and the amp/mixer system are turned down all the way.Q-06 Turn on the power switch located on the rear panel of the XP30. check to make sure that: • The volume controls of the XP-30 and the amp/mixer system are turned down all the way. By turning on devices in the wrong order. you risk causing malfunction and/or damage to speakers and other devices. turn on power to your various devices in the order specified.

2 fig. The FACTORY RESET display will appear.Getting Ready Before using XP-30 for the first time. 122). Save any important data to a memory card before executing this operation (p. If “Internal Write Protect= ON” message is displayed. please refer to “Preventing User Memory Writing Operation (PROTECT)” (p.Q-10 Press the numeric key [4].Q-09 Press [UTIL/CARD] to make the indicator blink. 121). For more information about the Internal Write Protect. press [ENTER] again to reset to the factory preset settings. reset it to its default factory settings using Factory Reset.Q-08 1 2 3 4 1 fig. 4 Press [ENTER]. Factory Reset operation resets all data in the internal memory and user memory to factory presets. 27 Quick Start Reset to Default Factory Settings (Factory Reset) .Q-09a Press [ ]. The UTIL 1 display will appear. 3 fig. After pressing [ENTER] to clear the message. The UTIL 2 display will appear. press [DEC] to turn the setting OFF. fig. Different settings may result in unexpected effects.

Listening to the Demo Song
The XP-30 contains 9 demo songs and you use Demo Play to play it. It’s the easiest introduction to the XP-30’s exceptional sounds and effects. Demo Song TRANSFERENCE CHANTERELLE VECTORIAL All In Good Time TEKKNO MILLENNIUM A Shadow’s March Guitars Forever Rude99 Overtime Composer/Copyright Scott Tibbs © 1999 Roland Corporation Scott Tibbs © 1999 Roland Corporation Scott Tibbs © 1999 Roland Corporation Scott Wilkie © 1999 Scott Wilkie Media (ASCAP) MASA © 1999 COPYRIGHT CONTROL Steve Lu © 1999 Stephen Lu Gundy Keller © 1999 Gundy Keller / A-TOWN recordings Hans-Joerg Scheffler © 1999 Hans Scheffler Hans-Joerg Scheffler © 1999 Hans Scheffler

All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.

fig.Q-11

4

2

1

3

1
fig.Q-12

Hold down [SHIFT] and press [CATEGORY].
The DEMO PLAY display will appear.

2

Turn the VALUE dial or press [INC]/[DEC] to select the song that you wish to hear.
If you select “CHAIN-PLAY,” the songs will playback successively, beginning from the first.

3

Press [ENTER] to start demo song playback.
When a demo song plays all the way to the end, it automatically returns to the start of the song, and playback is repeated. To interrupt playback, press [EXIT].

fig.Q-13

No data for the music that is played will be output from MIDI OUT.

4
28

To return to the previous display, press [EXIT].

Listening to the Demo Song

s Profile of the Composer
Scott Tibbs
Scott Tibbs has performed and conducted for several orchestral groups, including the Atlanta Symphony Orchestra, throughout the United States, Canada, Latin America, and Japan. His diverse compositional output ranges from numerous film, theater and television projects to the symphonic concert stage. For the past four years, he has been teaching music composition and theory at UCLA where he has received a Ph.D. degree in composition. He has performed with well-known artists Dizzy Gillespie, Bill Cosby, Jerry Sienfeld, and Bobby Shew, amongst numerous others.

Gundy Keller
Gundy Keller, a Germany-based guitarist, songwriter and producer, has been an international demonstrator for Roland since 1986. Gundy focuses mainly on the GR synthesizers and the V-Guitar, for international music conventions as well as recording sessions requesting completely unusual guitar sounds. Besides creating his own production company, he’s the founder and director of Rocksound Music School, a private institute for music instruction. Check out some of his other work on the Roland VG-8 Demo CD, or the Roland GR-30 Video.

Steve Lu
Steve Lu is a recent graduate of Berklee College of Music, majoring in Music Production & Engineering. His recent musical efforts include a soundtrack album, featuring synthesized re-creations of movie themes such as “Titanic” and “The Rock,” as well as production and arrangements for saxophonist Jimmy Reid’s self-titled album. He is currently working with artists Brandy and Ray-J on future projects.

Scott Wilkie
Scott Wilkie is a contemporary jazz recording artist, based in southern California. He tours frequently with his own band, and also appears as an artist for Roland in the U.S., Japan, Europe and South America. His debut solo album, Boundless, was released worldwide in 1999 on Narada/Virgin Records. You can find him on-line at www.scottwilkie.com.

Hans-Joerg Scheffler
Born and raised in the Ruhr valley, the biggest industrial area in Germany, Hans’s attraction to noise and rhythm came naturally. Today he runs his own company, DIGITAL AUDIO DESIGN, which produces sampling CDs and CD ROMs. He works for Roland as a pro audio product specialist, as a sound designer for expansion boards, and as a composer of demo songs. He has released several CDs that use the Roland RSS system. Soundclips of his work can be downloaded at: http://www.united-sound.com/usmaster/cell2downde.htm

MASA
Masa has performed live, mainly at psychedelic-trance parties since the early 90’s. In the spring of 1996, he released the album “Just Inside” from East-West. Interest in his work is increasing, and new releases are appearing under a variety of labels, including Tokyo Tekno Tribe Records and Psy-Harmonics. Web site: www.ifnet.or.jp/~masa-k/

29

Quick Start

Playing the Sounds
Selecting Patches and Playing the Sounds
The XP-30 contains a large number of sounds ready for you to play. The sounds that you select and play on the XP-30 are generally called Patches. Here’s how to select and play Patches.
fig.Q-14

1

3

4

1
fig.Q-15

Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.

2 3 4

Play the keyboard and listen to the sound. To select a different Patch, turn the VALUE dial or press [INC]/[DEC].

To change the Patch Group, hold down [SHIFT] and press any key from [1] through [6] on the numeric keypad.
[SHIFT] + [1]: PR-A (Preset A) [SHIFT] + [2]: PR-B (Preset B) [SHIFT] + [3]: PR-C (Preset C) [SHIFT] + [4]: PR-D (GM (General MIDI)) [SHIFT] + [5]: PR-E (Preset E) [SHIFT] + [6]: USER (User)

By using the Phrase Preview function, you can audition patches by listening to a preset phrase suitable for the selected type of patch (p. 33).

30

Playing the Sounds

The XP-30 contains the patches of the following popular Wave Expansion Boards: • SR-JV80-09 “Session” • SR-JV80-02 “Orchestral” • SR-JV80-11 “Techno Collection” Here’s how to select and play these patches.
fig.Q-16

1

4

2

1
fig.Q-15

Press [PATCH] to make the indicator light.
The PATCH PLAY display will appear.

2

Press [EXP A]–[EXP C] to select the Wave Expansion Patch that you wish to hear.
[EXP A]: “Session” [EXP B]: “Orchestral” [EXP C]: “Techno Collection”

fig.Q-17

When a Wave Expansion Board of the SR-JV80 series (sold separately) is installed in the EXP-D or EXP-E Wave Expansion Board slot, you can press [EXP D] or [EXP E] to choose the corresponding patches.

3 4

Play the keyboard and listen to the sound. To select a different Patch, turn the VALUE dial or press [INC]/[DEC].

By using the Phrase Preview function, you can audition patches by listening to a preset phrase suitable for the selected type of patch (p. 33).

31

Quick Start

Selecting Wave Expansion Patches

Q-19 Press [CATEGORY] to make the indicator light. 4 For this example.Q-20 Select the category. and the patch number display will change to the category display.Q-18 1 5 2. 32 . The Patch Search function will be turned on.6 3 4 1 fig. fig. To change the category group. Hold down [CATEGORY] and press [2 (KEY&ORG)]. Organ-type patches can now be selected. 3 fig. select the Organ category (ORG) by pressing numeric key [4]. or by using [INC] or [DEC]. either by rotating the VALUE dial. For details on the categories you can select. use the numeric keys.Playing the Sounds Selecting Patches by Category (Patch Search Function) The JV-2080 provides a Patch Search Function that allows you to quickly find Patches of the specified type (Category). 2 fig. The 38 categories are organized into 10 groups. The PATCH PLAY display will appear.Q-15 Press [PATCH] to make the indicator light. refer to page 49. Here’s an example of how to find organ-type Patches. Now you can select patches within the specified category.

refer to “Using Phrase Preview to Play Patches” (p. You can change the phrase that is played by the Phrase Preview. 49). 2 Press and hold [PHRASE PREVIEW]. 6 Press [CATEGORY] to make the indicator go dark. the USER: 001 Temple of XP Patch will sound. 113).Playing the Sounds Turn the VALUE dial or press [INC]/[DEC] to select a patch. 3 Release your finger from [PHRASE PREVIEW]. and “Phrase Preview Settings (PREVIEW)” (p. and the phrase will stop playing. 33). For details.3 1 fig. you can audition patches by listening to a preset phrase suitable for the selected type of patch (p. fig.Q-15 Press [PATCH] to make the indicator light. The Patch Search function will be turned off. Auditioning the Patches (Phrase Preview) The XP-30 allows you to preview Patches by hearing a phrase appropriate for each type of Patch. and modify the way in which the phrase is played. The PATCH PLAY display will appear. 33 Quick Start 5 . If the factory settings have just been restored.Q-21 1 2. and the normal PATCH PLAY display will reappear. By using the Phrase Preview function.

e Modulation Pitch Bend s C1–C4 Slider By moving the sliders up and down while fingering the keyboard. While playing patches. To control them. if you hold down [CONTROLLER] while moving one of the C1–C4 sliders.Q-22. Make changes in the settings while holding down [CONTROLLER].Q-23 At the factory default settings. If the effects of the controllers are difficult to detect. fig. The effect that the controllers have will depend on the settings of the selected Patch. This is known as Modulation. For details. 34 . press [CONTROLLER] to make the indicators light up. Additionally. or to the right to raise the pitch. move the lever to the left to lower the pitch. 111). Aftertouch (pressure you apply to a key after playing a note) can also affect the sound. you can apply both effects simultaneously. s Pitch Bend/Modulation Lever While playing the keyboard. select another Patch. you can go to the ASSIGN display for that slider. then move the sliders. refer to “C1/C2/ C3/C4 ASSIGN (C1/C2/ C3/C4 Slider Assign)” (p. If you move the lever away from you and at the same time move it to the right or left. fig. There you can check and make settings for the function that is to be controlled with the slider. This is known as Pitch Bend. s Velocity/Aftertouch The force with which you play the keyboard (velocity) can affect the volume or timbre of the sound. C1: AFTERTAUCH C2: BREATH C3: PORTA-TIME (Portamento time) C4: MODULATION How sound varies depends on the current setting.Playing the Sounds Try Out Performance Functions The XP-30 provides various controllers that can modify the sound. you can control the various functions assigned to the sliders. you can use the C1 through C4 sliders to control the functions described below. try out these controllers and listen to effects they can produce. You can also apply vibrato by manipulating the lever away from you.

fig. s Portamento As you play the keyboard. refer to “CONTROL PEDAL” (p. 50). flute or other monophonic instrument. 35 Quick Start s Hold Pedal . Using [PORTAMENTO] with [SOLO] ON allows you to simulate performance techniques like violin glissandos. This function is especially effective when playing a sax. How sound varies depends on the current setting. 110). 50). For details. you can use the pedal to control the volume or timbre of sound. fig. by pressing [SOLO] (indicator lights).Q-25 For details. refer to “Playing Single Notes (Solo)” (p. pressing the pedal switch will sustain (hold) the sound even if the keys are released. you can make pitch slide smoothly from one key to another. s Expression Pedal If an optional expression pedal is connected to any of the rear panel CONTROL PEDAL jack. s Solo You can play using single notes.Playing the Sounds If an optional pedal switch is connected to the rear panel HOLD PEDAL jack. by pressing [PORTAMENTO] (indicator lights).Q-24 For details. refer to “Creating Smooth Pitch Changes (Portamento)” (p.

54). 2 Press [ARPEGGIO] to make the indicator light. For example.Q-26 For details. press [LEVEL] to light the indicator and move the sliders. To change sound character.. refer to “Using the Sliders to Modify the Sound in Realtime (Sound Palette Function)” (p. 50. The PATCH PLAY display will appear.4. press [FILTER/ENV] to light the indicator and move the sliders.7 1 5 1 fig. Play Arpeggios (Arpeggiator) You can play a broken chord (arpeggio) automatically.5. the XP-30 plays an arpeggio such as C → E → G → C → E → G.. if you press a C major chord. To change the volume level. fig.Playing the Sounds s Sound Palette While playing the keyboard. you can move the sliders up or down to modify volume level or sound character. by simply pressing a chord. 36 .Q-15 Press [PATCH] to make the indicator light.Q-27 6 2. fig.

5 Hold down [ARPEGGIO]. according to the notes forming the chord you have just voiced. Octave Range and Tempo of the arpeggio. press [ARPEGGIO] again so the indicator turns off. the way arpeggios play will vary. In this page you can change the Style.Q-28 Continue holding down [ARPEGGIO]. 108). To stop the arpeggio from being sounded by the Hold function. The indicator changes from blinking to lit. and press [ ] or [ ] to move the cursor (underline) to the Style parameter. The [ARPEGGIO] indicator will begin blinking. Accent Rate. 7 To finish playing arpeggios.Playing the Sounds Play a chord. hold down [ARPEGGIO] again and press [TRANSPOSE]. Depending on the value you enter. 6 Hold down [ARPEGGIO] and press [TRANSPOSE]. and the ARP SELECT display will appear. 56) and “Arpeggio Settings (ARPEGGIO)” (p. For details regarding playing arpeggios. and the arpeggio will continue sounding even after you take your hand off the keyboard (Hold). 37 Quick Start 3 . Here’s how to change the Style. Then rotate the VALUE dial to select various settings. refer to “Playing an Arpeggio” (p. 4 fig. XP-30 will play an arpeggio.

2 Press different keys to play different percussion instruments. 38 . fig. 3 To select another Rhythm Set. refer to “Rhythm Set List” (p.Q-30 Press [RHYTHM] to make the indicator light. For details. The display will indicate the last-pressed key (Note name) and the percussion instrument name (Rhythm Tone name) assigned to that key. The RHYTHM PLAY display will appear. The percussion instrument played by each key will depend on the selected Rhythm Set. turn the VALUE dial or press [INC]/[DEC].Playing the Sounds Play Percussion Sounds from the Keyboard The XP-30’s Rhythm Sets contain a wide variety of percussion sounds and special effects. Here’s how to select a Rhythm Set and play percussion sounds.Q-29 1 3 1 fig. 177).

Advanced Use 39 Chapter 6 Chapter 5 Chapter 4 Chapter 3 Chapter 2 Chapter 1 .

you select a waveform and set its pitch. Either one or both can be applied to effect the WG (pitch).Chapter 1. Adjusting these controllers enable you to produce or modify sound. Envelope You use Envelope to initiate changes to occur to a sound over time. which is made up of several Tones. the Tone is the smallest class of sound. you can apply an LFO to modify the WG (pitch) to create vibrato. Tones therefore are the elements which collectively form a Patch. TVF (filter) and TVA (volume). front panel sliders and pedals which are connected to their respective rear panel jacks. Overview of the XP-30 XP-30 Configuration s Basic Configuration The XP-30 consists of a sound source and controllers. you modify the waveform’s frequency characteristics. audio signal control signal WG (Wave Generator) Using the Wave Generator. you set volume level and set the sound’s position in a stereo soundfield. To illustrate this control’s action. 40 .1-02. Tone configuration: fig.e Sound source section Play Tone Controller section (controllers such as keyboard. LFO (Low Frequency Oscillator) Use the LFO to create cyclic changes (modulation) in a sound. TVF (filter) and/or TVA (volume). you would use TVA Envelope to adjust volume changes to the sound over time.e s Classification of XP-30 Sound Types XP-30 sounds are made up of the following types: Tones In the XP-30. For example. There are separate Envelopes for the WG (pitch). The XP-30 has two LFOs. TVF (Time Variant Filter) With the Time Variant Filter. to modify a sound’s attack and decay time. etc.1-01. you’ll get tremolo. WG TVF TVA Pitch Envelope TVF Envelope TVA Envelope Controllers Controllers include the keyboard. fig. TVA (Time Variant Amplifier) With the Time Variant Amplifier. It will also produce sound by responding to commands received from various external devices it can be connected to. But when you play the XP-30 you will mostly play a Patch.) LFO 1 LFO 2 Sound Source The XP-30 sound source produces sound by responding to commands in the form of MIDI messages received from its controllers. pitch bend lever. Each Tone consists of one sound. If the LFO is used to modify the TVA (volume).

) Patch Keyboard. please refer to each corresponding page.e When the XP-30 is used as a multitimbral sound source.) Patch 41 Chapter 1 .) Part 11 (MIDI receive ch.1-04. 67) About the Effects (p. and the Patch or Rhythm Set that musician’s instrument.1-05. Since percussion instruments generally do not play melodies. the Performance consists of 16 Parts. fig. Overview of the XP-30 Patches Patches are the basic sound configurations that you play during a performance. It is however.Chapter 1. For multitimbral applications.) Sound Part 1 (MIDI receive ch.e Patch Tone 4 Tone 3 Tone 2 Tone 1 Rhythm Set Note Number 98 (D7) Note Number 97 (C#7) LFO 1 LFO 2 Note Number 36 (C2) Note Number 35 (B1) Rhythm Tone (Percussion instrument sound) WG TVF TVA WG TVF TVA Pitch Envelope TVF Envelope TVA Envelope Pitch Envelope TVF Envelope TVA Envelope Parts Performances The next level in sound configuration. Each Patch can be configured by combining up to four Tones. thick sounds. each key (Note number) of a Rhythm Set will produce a different percussion instrument.) Rhythm Set Part 9 (MIDI receive ch. One Performance allows a single XP-30 to control up to 16 instrument sounds. another sound configuration called a Part comes into play. MIDI Part 10 (MIDI receive ch. Because the XP-30 sound source can control multiple sounds (instruments) it is called a “multitimbral sound source. In a multitimbral context.1-03. A specific Patch can be assigned to each Part except Part 10 because Part 10 is universally set as the Drum Part to which a Rhythm Set (discussed above) is assigned. 61) Performance Part 16 (MIDI receive ch. About the Memory (p. there is no need for a percussion instrument sound to be able to play a scale on the keyboard. Therefore. more important that as many as possible percussion instruments be available to you at the same time. How the four Tones are combined is determined on the STRUCT display (PATCH/ COMMON).e Rhythm Sets A Rhythm Set is a grouping of percussion instruments (Rhythm Tones).” fig. it helps to think of a Performance as an orchestra. fig. A Part contains a Patch or Rhythm Set. For details regarding following items. each Part in it being a musician. A single Performance groups 15 Patches and one Rhythm Set so that they can be combined to play ensembles or produce fabulously rich.

One mode always has to be selected. To modify the settings of a Patch that’s assigned to a Part. 42 . If you are using the XP-30 in Performance mode to play an ensemble. and how the function buttons work. Overview of the XP-30 s Number of Simultaneous Voices The XP-30 is able to produce up to 64 voices simultaneously. If you’re using an external MIDI device to control the XP-30 in this mode. hold down [PERFORM] and press [PATCH]. The following paragraphs discuss what this means. In order to organize these functions for easy access. and what will happen when more than 64 simultaneous voices are requested from the XP-30. but the XP-30 continues to function as a multitimbral sound source. and GM mode will determine sound source operation. If you’re using an external MIDI device to control the XP-30 in this mode. Performance mode. and Performance settings can be modified. If you are playing one Patch which uses 4 Tones. the Voice Priority setting of the Patch will apply. If you’re using an external MIDI device to control the XP-30 in this mode. it is important to decide which Parts take priority. Voice Priority can be set either to Last or Loudest. a currently-sounding note will be turned off to make room for the newly requested note. So your effects settings of the currently selected Performance will be heard as you play the Rhythm Set. the keyboard will play the Rhythm Set. Voice Reserve The XP-30 has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each Part. Normally you will set Voice Priority to Last. For example if Voice Reserve is set to 10 for Part 16. Rhythm Sets are assigned to Part 10 of the Performance. Patch Mode In this mode. Part 16 will always have 10 notes of sound-producing capacity available to it even if a total of more than 64 notes (total for all Parts) are being requested. In this mode. Rhythm Set Mode This is how you can play a Rhythm Set from the keyboard and modify the Rhythm Set settings. Rhythm Set mode. * It is not possible to make Voice Reserve settings that would cause the total of all Parts to be greater than 64 voices. Both button indicators will light. it will function as a single-patch sound source.Chapter 1. fig. you can play an individual Patch from the keyboard or modify Patch settings. The mode that is selected will affect the way in which the sound source operates. but depends on the number of Tones used in each Patch. When you make Voice Reserve settings. Priority is specified by the Voice Reserve settings. However this number is not simply the number of notes being played. you need to take into account the number of notes you want to play on each Part as well as the number of Tones used by the selected Patch. Note Priority in Performance Mode Since Performance mode is usually used to play an ensemble consisting of several Patches. (currently sounding notes) x (number of Tones used in the Patch being played) How a Patch Uses Notes When the XP-30 is requested to play more than 64 voices simultaneously. When Loudest is selected. you will be able to play 16 simultaneous notes. the quietest of the currently sounding notes will be turned off. and the display will change according to the selected mode. Use the Mode buttons to select the mode. how data is shown in the display.1-06 Calculating the Number of Voices Being Used The XP-30 is able to produce up to 64 simultaneous voices. When a note within a Patch needs to be turned off to make room for a new note. it will function as a multitimbral sound source. The note with the lowest priority will be turned off first. The order of priority is determined by the Voice Priority setting. When Last is selected. The indicator of the selected button will light/blink. Performance Mode This mode makes the XP-30 function as a multitimbral sound source. a newly requested note that exceeds the 64 voice limit will cause the first-played of the currently sounding notes to be turned off. count the total number of Tones used by all the Parts using the following formula. it will still function as a multitimbral sound source. Basic Operation s Switching Modes The XP-30 contains a large number of functions. Sound Source Selecting Patch mode. they are grouped into the following modes.

When it is lit. you can switch Parts 1–8 on/off. press [UTIL/CARD] in the selected mode (Patch. [EDIT] will turn on or off each time you press it.1-07 System Mode This mode is for determining global XP-30 settings such as tuning. s About the Function Buttons Function buttons are buttons that perform a variety of functions. press [SYSTEM] in the selected mode (Patch or Performance).Chapter 1. The function they perform will depend on the current mode. fig.1-08 The function buttons will act as Part buttons ([PART]) that switch Parts on (lit) or off (dark). Performance or Rhythm Set). and make settings related to memory cards. * The function of the Part on/off setting will depend on the setting of the Key Mode parameter (PERFORM/COMMON/ PERFORM COMMON) (p. Utility/Card Mode Here you can save and transmit settings for the sound generator. [PERFORM]. In Performance Mode ([EDIT] Indicator is Dark) fig. press the [EDIT] to make the indicator light. * Some System mode parameters relate to an entire Patch or an entire Performance. press [EXIT] or a mode button to switch the display. If the [EDIT] indicator is turned off in the Part setting display. 83). When [1-8/9-16] indicator is dark. Since 16 Parts are being controlled using only 8 buttons. the function buttons will act as PART buttons that select the Part to be edited. display contrast and how MIDI messages are received. When you finish making settings. [PATCH] and [RHYTHM] indicators will not light. 43 Chapter 1 . To set these parameters. but pressing [EDIT] will not make the display change. Performance or Rhythm Set. hold down [SHIFT] and press [PERFORM]. To set GM mode. and on whether [EDIT] is on (lit) or off (dark). * [EDIT] switches the function of the function buttons. Overview of the XP-30 GM Mode This special mode makes the XP-30 function as a GM compatible sound source. and then press a function button to select the display group and switch the display. use [1-8/9-16] to select which set of Parts you are controlling. To set these parameters. you can switch Parts 9–16 on/off. If you wish to modify a setting. * Some Utility/Card mode parameters relate to an entire Patch. You should select this mode when you want to play back a GM score (music files created for GM sound source).

If the [EDIT] indicator is turned off in the Rhythm Set setting display (the setting display for individual keys).1-10 Moving Between Pages An upward-pointing arrow ( ) shown in the display indicates that one or more pages exist before this page.1-11 * For information on what the function buttons do in GM mode. it can be heard. Pressing [ ] while holding [SHIFT] will jump to the first page.1-12 The function buttons will act as Tone Switch buttons ([TONE SWITCH]) and Tone Select buttons ([TONE SELECT]). please see “Chapter 5. Overview of the XP-30 In Patch Mode ([EDIT] Indicator is Dark) fig. Pressing [ ] while holding [SHIFT] will jump to the last page. To select a Tone to modify. In other words.1-13 The function buttons (TONE SELECT section) will select the key shown in the display.1-09 s About the Cursor Buttons The cursor buttons are used to move between display pages or to move the cursor. When a Tone is turned on. Moving Between Display Pages The various displays are grouped by function button. [TONE SELECT 1]: move to an octave lower key [TONE SELECT 2]: move to the semitone below [TONE SELECT 3]: move to the semitone above [TONE SELECT 4]: move to an octave higher key Moving Between Groups From one of the Play displays. or hold down [SHIFT] and press [ ] to move to the group of the function button to the right. fig. A downward-pointing arrow ( ) shown in the display indicates that one or more pages exist after this page. you can hold down [SHIFT] and press [ ] to move to the group of the function button to the left. In this case. fig. When [EDIT] indicator is lit. the numbers of Tones other than the first-selected Tone will be displayed as * symbols. hold down one of [TONE SELECT] and press the other [TONE SELECT]. The groups that can be selected in each mode are printed on the front panel above the buttons. To select two or more Tones simultaneously. When [EDIT] Indicator is Lit Each mode contains a large number of settable items. the function buttons are used to select display groups. Using the XP-30 as the GM Sound Module” (p. or [ ] to move to the next page. In group displays that you select using the function buttons. Whenever you are in any group display. 124). turn off [EDIT] indicator in the Tone setting display. hold down [SHIFT] and press [ ] to access the left-most function button group display. the function buttons will select the key to be edited. and these items are organized into groups.Chapter 1. you can move to another group even if [EDIT] indicator is dark. In Rhythm Set Mode ([EDIT] Indicator is Dark) fig. this procedure allows you to move to a different group without having to turn on [EDIT] indicator. The displays that appear will depend on the current mode. and is a faster and more efficient way to get around. 44 . Use the cursor buttons to move between these display pages and groups. fig. Use [TONE SELECT] to select the Tone you wish to modify. [TONE SWITCH] allow you to turn each Tone in the Patch on (lit) or off (dark). Press [ ] to move to the previous page. and each group contains several display pages.

the value will blink. Buttons [SHIFT]+[1] [SHIFT]+[2] [SHIFT]+[3] [SHIFT]+[4] [SHIFT]+[5] [SHIFT]+[6] Group PR-A (preset A) PR-B (preset B) PR-C (preset C) PR-D (GM (General MIDI)) PR-E (preset E) USER (user) VALUE Dial Rotating the VALUE dial clockwise increases the value. To finalize the value press the ENTER button. [INC] and [DEC] Pressing [INC] increases the value. This indicates that the value has not yet been finalized. counterclockwise decreases the value. the value increments will get bigger. * Some parameters do not require you to press [ENTER] to finalize the value. * For the procedure of using the Numeric Keys to enter the characters or symbols in a name. To specify the group. For faster value increases. 45 Chapter 1 A symbol appearing in the upper right of the display indicates that there are other items in this page that the screen has no room to show. When you enter the number. Keep [INC] or [DEC] pressed for continuous adjustment. Restoring a Previous Value (Undo) If you wish to restore a value to its immediate previous value. and press [ ] to return to the previous display. . you can use the numeric keys to specify groups. fig. so you cannot set any value smaller than the minimum value or greater than the maximum value.1-15 Special Functions of the Numeric Keys s Modifying a Value To modify a value. Holding down [SHIFT] as you move the VALUE dial increases value increments so you can make large value changes faster. Press [ ] to move the cursor to the left. hold down [SHIFT] and press numeric keys to specify groups. keep [DEC] pressed down and press [INC]. move the cursor (underline) to the item whose value you wish to set.1-16 You can use the numeric keys to specify non-numerical settings for some parameters. To reverse the sign of the number (+/-). 46). [INC]/[DEC] or [0]– [9] (numeric keys).1-14 [0]–[9] (Numeric Keys) [0]–[9] (Numeric Keys) lets you directly specify a numerical value. and [DEC] decreases it. use the VALUE dial. Press [ ] to see these items. < Example 1: To enter a value of 38 > Press [3] → press [8] → press [ENTER] < Example 2: To enter a value of -60 > While holding down [SHIFT] press [0] → press [6] → press [0] → press [ENTER] * You can switch from a positive to negative numerical value anytime before you press [ENTER]. For decreasing value faster. The Undo function can be used when modifying sound source settings. or [ ] to move it to the right. refer to “Assigning a Name” (p. keep [INC] pressed down and press [DEC]. * Each parameter has a specific range. press [UNDO/COMPARE] to return the value to its pre-modified state.Chapter 1. hold down [SHIFT] and press [0]. fig. fig. Performance/Patch/Rhythm Set Group In the PLAY displays of Performance mode/Patch mode/ Rhythm Set mode. Overview of the XP-30 Moving the Cursor (underline) When two or more items are shown in a single display page. If you press [INC] or [DEC] while holding down [SHIFT].

Numeric Key [1] [2] [3] [4] [5] [6] [7] [8] [9] [0] Character ABC DEF GHI JKL MNO PQR STU VWX YZ! space Convenient Functions While you are holding down [SHIFT]. Performances. hold down [SHIFT] and press the appropriate function button. . The procedure is the same for any type of data. the display will cycle through the numeral and characters printed above the key. use [ ]/[ ] to move the cursor to the location where you wish to input a character. Each time you press a numeric key. fig. and Rhythm Sets. To specify a lowercase character. To assign a name. Available characters/symbols: space. “ ‘ ` # % &$¥@^_ Using the Numeric Keys The numeric keys are used to input the numerals printed on each key as well as the characters assigned to each key (see the table below). hold down [SHIFT] as you press the numeric key. Overview of the XP-30 s Assigning a Name The XP-30 lets you assign names to Patches. the screen will show three functions that are convenient when entering a name. + .1-17 A a: switch between uppercase/lowercase characters INS: insert a space at the cursor location DEL: delete the character at the cursor location 46 . To use each function. Then use the VALUE dial or [INC]/[DEC] or the Numeric Keys to input a character.Chapter 1. . a—z. A—Z.* / | = ! ? < > ( ) [ ] : . 0—9.

Use numeric keys to input a Patch number. 1. Press [PATCH] to call up the PATCH PLAY display. The XP-30’s user memory contains 128 Patches that can be rewritten to create your own Patches. But you can call up those Patch settings into the temporary area. and then store them in User memory. modify them. 2. modify them. the Patch selection has not yet been finalized. Furthermore. 3.” and “Techno Collection”) are also stored onboard. * A Patch XP-D. Press [PATCH] to call up the PATCH PLAY display. and then store them in User memory. you can install up to two separately available Wave Expansion Boards. which will allow you to choose from as many as 2044 patches. XP-A–C (Internal Wave Expansion) The patches of three Wave Expansion Boards (766 patches) are already built into the XP-30. E (Presets A–C. Press the following buttons to select a Patch group. 1. The XP-30 contains 128 GM Patches that are not userrewritable. and then store them in User memory. and then store the modified patch in User memory. E (Wave Expansion Boards installed in EXP-D. fig. In addition. E Slots) The Patches included in optional Wave Expansion Boards are not user-rewritable.” “Orchestral. The patch number and name will blink. At this time. the patches of three popular Wave Expansion Boards (“Session. However you may modify the settings of the currently selected patch. Selecting a Patch Using Numeric Keys You can use numeric keys to directly select a desired Patch. But you can call up GM Patch settings into the temporary area. modify them. XP-D. PR-D (GM (General MIDI)) GM Patches are for instruments compatible with the GM System.Chapter 2. E) The XP-30 includes 512 preset Patches that are not userrewritable. Select a Patch before playing. Playing Playing in Patch Mode Patches are what you normally play during a performance. 4. Rotate the VALUE dial or press [INC]/[DEC] to select a Patch. Press [ENTER] to finalize the entry. . The aim of this system is to standardize MIDI specifications among different equipment makers or models. But you can call up preset Patch settings into the temporary area. and cannot be rewritten. Button [SHIFT] + [1] [SHIFT] + [2] [SHIFT] + [3] [SHIFT] + [4] [SHIFT] + [5] [SHIFT] + [6] [EXP A] [EXP B] [EXP C] [EXP D] [EXP E] Patch Group PR-A (Preset A) PR-B (Preset B) PR-C (Preset C) PR-D (GM (General MIDI)) PR-E (Preset E) USER (User) XP-A (“Session”) XP-B (“Orchestral”) XP-C (“Techno Collection”) XP-D (Wave Expansion Board D) XP-E (Wave Expansion Board E) PR-A–C. 47 Chapter 2 USER 2. and Preset A–E.2-01.e Patch number Patch group Patch name s Selecting a Patch The 768 patches of the XP-30 are organized into six groups of 128 patches: User. E cannot be accessed if the Wave Expansion Board it belongs to has not been installed.

Rotate the VALUE dial or press [INC]/[DEC] to select a Patch. fig. the 1’s position will change immediately without having to press [ENTER]. At this time. This means that the numeric keys will only change the 1’s position. * In step 4. There are a total of 38 categories. Playing Express Patch Select (Digit Hold) With the Digit Hold function turned on. fig.2-03 The numbers in the 100’s position and 10’s position will be displayed in a smaller size to indicate Digit Hold is on. The patch number display will change to the category display. 3. use the numeric keys.2-04 (b) (a) 5. * Now you can select patches within the currently selected category either by rotating the VALUE dial or by using [INC]/ [DEC]. To turn off Digit Hold. 6. continue with the following procedure. The same applies to selecting Performances and Rhythm Sets. fig. The selected category display will blink. To change the category group. Press [CATEGORY] to turn the Patch Search function is off. the selected category has not yet been finalized. 4. Rotate the VALUE dial or press [INC]/[DEC] to select a Category. the 100’s position and 10’s position will be fixed when the numeric keys are used to select a Patch. 2. Press [CATEGORY] to turn the Patch Search function is on. Press [PATCH] to call up the PATCH PLAY display. Hold down [CATEGORY] and press a key [0]–[9] (numeric keys) to select the category group. To change the category. 1. and the order of this patch among the patches (b) that were selected after the search. and you can select patches while viewing the number of patches (a) included in the currently selected category. Press [ENTER] to finalize the entry. Hold down [SHIFT] and press [ENTER] to turn on Digit Hold. 48 . * Now if you press [ ] the following display will appear. When you enter a numeric key number. and you won’t have to press [ENTER] for each selection.2-02 Selecting Patches by Category (Patch Search Function) The XP-30 provides a Patch Search function which allows you to specify a type (category) of Patch so that you can quickly find the desired Patch. 1. hold down [SHIFT] and press [ENTER] once again. If you wish to select patches from a different category.Chapter 2. You will return to the normal PATCH PLAY screen. 3. you can also select a category directly by pressing the corresponding numeric key. 7. use the numeric keys. 2.

Mode (Preview Sound Mode) SINGLE: The notes specified by Note 1–4 parameter (SYSTEM/PREVIEW/PREVIEW KEY) will sound successively one by one. Choir HARD LEAD SOFT LEAD TECHNO SYNTH PULSATING SYNTH FX OTHER SYNTH Hard Synth Lead Soft Synth Lead Techno Synth Pulsating Synth Synth FX (Noise etc. 47). In this case.GUITAR Acoustic Guitar Electric Guitar Distortion Guitar KEYBOARDS BELL MALLET ORGAN ACCORDION HARMONICA Other Keyboards (Clav. Harpsichord etc. 3. Press and hold [PHRASE PREVIEW]. 2.) Flute.PIANO EL. 6.) Bell. and the PREVIEW SELECT display will appear. or wider than the range of the Parts within the Performance (p. Clarinet etc. * When a Performance is selected. Hit Winds (Oboe. PERCUSSION SOUND FX BEAT&GROOVE DRUMS COMBINATION 49 Chapter 2 . To specify how the phrase will be played. use [+OCT] or [-OCT] (the Octave Shift function) to set an appropriate pitch range. 1. Piccolo BASS SYNTH BASS Acoustic & Electric Bass Synth Bass AC. Rotate the VALUE dial or press [INC]/[DEC] to make the setting. 4. Bell Pad Mallet Electric and Church Organ Accordion Harmonica. PHRASE: The phrase prepared for the Patch type (category) will sound. Blues Harp AC.GUITAR DIST. CHORD: The notes specified by Note 1–4 parameter (SYSTEM/PREVIEW/PREVIEW KEY) will sound simultaneously. When a Rhythm Set is selected. Category Group --Piano PNO EP Keys&Organ KEY BEL MLT ORG ACD HRM Guitar AGT EGT DGT Bass BS SBS Orchestral STR ORC HIT WND FLT Brass BRS SBR SAX Synth HLD SLD TEK PLS FX SYN Pad BPD SPD VOX Ethnic PLK ETH FRT Rhythm&SFX PRC SFX BTS DRM CMB PLUCKED ETHNIC FRETTED Plucked (Harp etc. and select the phrase that will play (Patch Category). fig. Hold down [SHIFT] and press [PHRASE PREVIEW].2-05 5. the portion of the phrase that exceeds the range will not sound. the Patch of the Part for which settings are being made will sound. a drum phrase will sound. this will be fixed at DRUMS.) Percussion Sound FX Beat and Groove Drum Set Other Patches which use Split and Layer BRIGHT PAD SOFT PAD VOX Bright Pad Synth Soft Pad Synth Vox.) Poly Synth AC. * Patches of the USER group or from an optional Wave Expansion Board (SR-JV80 series) may not sound at the appropriate pitch range.) Other Ethnic Fretted Inst (Mandolin etc. If you set the Mode parameter to PHRASE. Here you can specify how the phrase will be played (Mode). Playing The following categories can be selected.BRASS SYNTH BRASS SAX Acoustic Brass Synth Brass Sax STRINGS ORCHESTRA HIT&STAB WIND FLUTE Strings Orchestra Ensemble Orchestra Hit. 7. use the cursor buttons to move the cursor to the Mode parameter. * This setting is linked with the Mode parameter (SYSTEM/ PREVIEW/PREVIEW MODE). Use the cursor buttons to move the cursor to the Patch Category parameter. 83).Chapter 2.GUITAR EL. The phrase will stop playing when you take your finger off [PHRASE PREVIEW]. you can specify the phrase that will sound. Select a Patch (p. * If the range of the phrase is wider than the range of the Tones within the Patch (p. and it will not be possible to change the phrase that is played.PIANO Acoustic Piano Electric Piano Category NO ASSIGN Contents No assign s Using Phrase Preview to Play Patches The XP-30 allows you to preview Patches by hearing a phrase appropriate for each type of Patch. * If a rhythm set is selected. 70).

Rotate the VALUE dial or press [INC]/[DEC] to get the value you want. and those that are dark are off. When [SOLO] is on (indicator lights). * If you press [PORTAMENTO] when Single Performance is selected. 73 for each parameter’s functions. Use TONE SWITCH [1]–[4] to switch Tones on/off. Those that are lit are on. press [EDIT]. If you want just one or two Tones to sound in a Patch. Its indicator lights. When the indicator is dark. Playing 8. the Portamento function can be switched on or off for the Parts with the Local parameter (PERFORM/MIDI/MIDI) set ON. For details on the available categories.Chapter 2. you can switch unwanted (Tones out of the four) off and get just the sound of a specific Tone. Move the cursor over to Time. When the [SOLO] indicator is turned on. At this time. Make sure that [EDIT] indicator is dark. Press [PORTAMENTO]. 6. the on/off setting of each Tone in the displayed Patch will be shown by the indicators of TONE SWITCH [1]– [4]. Pressing [SOLO] allows performance using single notes. * This setting is linked with the Assign parameter (PATCH/ CONTROL/KEY MODE & BENDER). 3. Press [EXIT] to return to the PATCH PLAY display and play. They have no effect on current Patch settings. 1. Change the Patch and these Sound Palette settings will be lost. See p. it will be set to POLY. When Layer Performance is selected. This function is effective when performing a solo using single-note Patches like sax and flute. s Creating Smooth Pitch Changes (Portamento) Portamento ensures a smooth pitch changeover from one note to the next note played. 3. * This setting is linked with the Sw parameter (PATCH/ CONTROL/PORTAMENTO). Then press the [CONTROL] function button. 5.2-06 s Making a Patch Sound Thick or Thin (Turning a Tone On/Off) Since a Patch is a combination of up to four Tones. the Assign parameter will be set to SOLO. * This setting is linked with the Switch parameter (PATCH/ WAVE/WAVE). * Sound variations or volume changes made with the Sound Palette affect only the performance. the XP-30 allows you to play chords. s Playing Single Notes (Solo) Normally. 3. Make sure that the PATCH PLAY display is showing. 50 . 1. Type or Start parameter. refer to page 49. Make sure that the PATCH PLAY display is showing. * If you press [SOLO] when Single Performance is selected. fig. 4. Mode. Rotate the VALUE dial or press [INC]/[DEC] to make the setting. Make sure that the PATCH PLAY display is showing. the Solo function can be switched on or off for the current Part. 1. If it is lit. 2. you can create sound variations or volume changes in real time. If a Rhythm Set is selected. you can simulate techniques like violin glissandos. [SOLO] cannot be turned on. 2. the Portamento function can be switched on or off for the current Part. turn the others off and store that setting on a Patch. * The sound character and volume changes created using the Sound Palette will also be transmitted to the external MIDI devices. the Solo function can be switched on or off for the Parts with the Local parameter (PERFORM/MIDI/MIDI) set ON. This cuts nonessential use of the XP-30’s simultaneous voices. [PORTAMENTO] cannot be turned on. press [EDIT] to make the indicator light. and press [ ] or [ ] to access the PORTAMENTO display. If a Rhythm Set is selected. To change the portamento settings. 2. You’re ready to play portamento. * This setting is linked with the Category parameter (PATCH/ COMMON/PATCH CATEGORY). s Using the Sliders to Modify the Sound in Realtime (Sound Palette Function) With the four sliders in the PALETTE section. Play the XP-30 keyboard. Press [SOLO] so its indicator lights. Now you can play a solo. When Layer Performance is selected.

The performance number and name will blink. 2. But you can call up preset Performance settings into the temporary area. rich sounds of two or more Patches. 3. move the DECAY slider. Press [PERFORM] to call up the 52 PERFORM PLAY display. USER The XP-30 user memory includes 32 Performances that can be rewritten to produce your own Performances. Single Performance plays only the Part shown in the display (current Part). move the ATTACK slider. Press [LEVEL] and its indicator lights. Use the following buttons to select the Performance group. * You can toggle between SINGLE and LAYER directly from the PERFORM PLAY display by pressing [SOLO] while holding down [SHIFT]. or play different Patches in a split keyboard’s different sections. At this time the Performance has not yet been finalized. Select Single Performance for playing a song using two or more instruments. Make sure that the PATCH PLAY display is showing. 1. Presets A and B) with each group having 32 Performances. A total of 96 Performances is available. 3. and then store them in user memory. Layer Performance allows playing two or more Parts simultaneously on the keyboard. Move the sliders while you play to vary the sound. 48).2-07. The upper right of the display will indicate “LAYER p* “ (* is the part number) for a layer performance. . Make sure that the PATCH PLAY display is showing. 3. To change resonance. Move the LEVEL slider as you play the keyboard to adjust volume as desired. 2. Playing Changing Sound Characters 1. modify them. 2. Changing the Volume of Each Tone 1. Rotate the VALUE dial or press [INC]/[DEC] to select a Performance. To change decay time. To modify the brightness. Press [PERFORM] to call up the PERFORM PLAY display.e Performance number Performance group Performance name Playing in Performance Mode There are two types of performances: Layer performances and Single performances. It has no effect on how the XP-30 sound source is played from the built-in sequencer or an external MIDI device. 51 Chapter 2 1. move the CUTOFF slider. 2. move the RESO. Select Layer Performance if you want fat. 2. * Using Digit Hold. and “part=* “ (* is the part number) for a single performance.Chapter 2. and 4 are used to change the volume of Tones 1. Use numeric keys to input the Performance number. a Performance can be selected simply by specifying the 1’s place number (p. 3. To change attack time. Press [FILTER/ENV] and its indicator lights. PR-A–B (Preset A–B) The XP-30 contains 64 preset Performances that cannot be rewritten. and 4. slider. 2. Press [ENTER] to finalize the entry. s Selecting a Performance The XP-30 offers three groups of Performances (User. fig. Sliders 1. Button [SHIFT] + [1] [SHIFT] + [2] [SHIFT] + [6] Performance Group PR-A (Preset A) PR-B (Preset B) USER (User) 3. * Make your Performance type selection with the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON). The Key Mode parameter determines how the XP-30 keyboard will play the internal sound source. 4. Selecting a Performance Using Numeric Keys You can choose a Performance with direct numeric key input. respectively.

Combining the Parts will produce. 5. Press the function button for the part that you wish to play. Part 1: Strings Part 1 + Part 2: (Strings + Piano) Part 2: Piano * If a KEY RANG display (PATCH/COMMON) has been set. fig. Make sure that the upper right of the display indicates “LAYER p* ”(* is the part number). For instance. and when the [1-8/9-16] indicator is lit.e Part 1 Part 2 Part 15 Part 16 Local parameters 1.” so hold down [SHIFT] and press [SOLO] to change to a layer performance. fatter sounds. to make the indicator light. * The setting here is linked to the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON). 4. * This setting is linked with the Local parameter (PERFORM/ MIDI/MIDI).2-09. 2. to make the indicator light. When the [1-8/9-16] indicator is dark. Press [EDIT] to make the indicator light. sounds are produced in the overlapping sections between the key ranges specified for the Patch and Performance. parts 9–16 can be selected. parts 9–16 can be selected. 2. and when the [1-8/9-16] indicator is lit. you can play strings in the lower note section. * The setting here is linked to the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON). and press [ ] or [ ] to access the PERFORM COMMON display. Then press the [COMMON] function button. Repeat step 3 to turn the Local parameter ON for each part that you wish to play. you can split the keyboard to play separate Patches with different sections of the keyboard. parts 1–8 can be selected. you can play all Parts with the Local parameter ON. The Local parameter of the selected part will be ON. Repeat step 3 to turn the Local parameter ON for each part that you wish to play. you can split the keyboard into a maximum of 16 sections. 1. If the display indicates “part=* ” (* is the part number). Playing s Playing Fatter and Richer Sounds by Combining Patches (Layer) If a Layer Performance is selected. the performance is a “single performance. If the display indicates “part=* ” (* is the part number). 4. parts 1–8 can be selected. When the [1-8/9-16] indicator is dark. the performance is a “single performance. piano in the higher note section and both sounds in the middle note section.” so hold down [SHIFT] and press [SOLO] to change to a layer performance.Chapter 2. thicker. The Local parameter of the selected part will be ON.2-08. Make sure that the PERFORM PLAY display is showing. 3. 52 .e s Splitting the Keyboard to Play Separate Patches in Different Sections (Split) If you’ve selected a Layer Performance. * This setting is linked with the Local parameter (PERFORM/ MIDI/MIDI). fig. Make sure that PERFORM PLAY display is showing. Make sure that the upper right of the display indicates “LAYER p* ”(* is the part number). As the note range that plays each Part can be specified individually. Press the function button for the part that you wish to play. 3.

you can turn on/off any specific Part.2-10 s Playing Along with a Song Playback (XP-30 Used as a Multitimbral Sound Source) When a Single Performance is selected. 10. Make sure that the PERFORM PLAY display is showing. press [EXIT] to return to the PERFORM PLAY display. This allows you to turn off the melody Part for karaoke applications or for practicing the muted Part. convenient when you play the keyboard along with a song playback. fig. and dark is off. * This setting is linked with the Rx parameter (PERFORM/ MIDI/MIDI).2-11. Muting a Specific Part (Turning Receive Channel On/Off) While you play along with the playback of a song. Use the cursor buttons to move the cursor to the Lower parameter and set the lowest note of the range. Press [EDIT] to make the indicator go dark. the function button indicators will indicate the status of Parts 9-16. fig. press [ ] or [ ] to select the Part you want to play. 7. the function button indicators will indicate the status of Parts 1-8. fig. use the cursor buttons to move the cursor to the Key Range parameter. you can select parts 1–8. At this time. press [EDIT] to turn it off. Rotate the VALUE dial or press [INC]/[DEC] to specify the range of notes. The part number shown in the upper right of the display will change. 9. * If the Key Range parameter is OFF. 1. The selected Part is called the Current Part. Hold down [SHIFT] and press the function button to switch Parts on/off. 2. and rotate the VALUE dial or press [INC]/[DEC] to turn it ON. Lit is on. When the [1-8/9-16] indicator is dark. Playing 6. the keyboard cannot be split even when you set the key range. the function button indicators will indicate the on/ off status of each Part. Move the cursor to the Upper parameter and set the highest note of the range. Specify the range of notes for which the part will sound. you can combine two or more Patches only in a specific section. 2. Selecting a Part You Want to Play on the Keyboard If a Single Performance is selected. Press [ ] to access the KEY RANG display. 53 Chapter 2 . the XP-30’s keyboard will play only the Part you selected from the keyboard. Press [ ] or [ ] to choose the Part to be played.2-12 * You can also press a function button to select the part that you wish to play. 12. 1. 11. When the [18/9-16] indicator is lit. Make sure that [EDIT] indicator is dark. you can select parts 9–16. At this time. If it is lit. When [1-8/9-16] indicator is lit. When you are finished making settings. the function button indicator of the selected part will light. Press a function button to select the part whose Local parameter you wish to turn ON.Chapter 2. * By specifying sections for different Parts so that they overlap each other. Make sure that the Key Range parameter is ON. and begin playing.e Part 1 Part 2 Part 15 Part 16 8. If it is OFF. When [1-8/9-16] indicator is dark.

54 . press [PATCH] to call up the PLAY display (PART PLAY) of the Patch assigned to a specific Part. 6. Use the same procedure as in Patch mode to select a Patch (p. Changing Sound Characters * If Single Performance is selected. 2. 2. To change resonance. Press [ ] or [ ] to select the Part whose level (volume) you want to change. Move the slider as you play to adjust the level (volume) of each Part as desired. the effect applies only to the current Part. 15. 3. Playing s Assigning a Different Patch to a Part The Patch assigned to each Part can be stored as a Performance parameter. 10. 3. 1. and 8. 2. you can modify sound characters of the Patch assigned to a Part or adjust the volume level of each Part. and 4 adjust Parts 9. sliders 1. Make sure that the PERFORM PLAY display is showing. 3. and 4 adjust Parts 1. 3. and 12. To change decay time. 2. and 4. move the ATTACK slider. so the Sound Palette settings cannot be saved. and 4 adjust Parts 13. s Using the Sliders to Modify the Sound in Realtime (Sound Palette Function) Using the Sound Palette function.Chapter 2. To change brightness. 2. this affects only the Parts with Local parameter (PERFORM/MIDI/MIDI) set ON. With Layer Performance selected. Press [ ] or [ ] to choose the Part to which you want to assign a different Patch. While holding down [PERFORM]. and 16. 14. 2. If you’ve selected any of Parts 9–12. 4. They have no effect on the currently selected Performance. The upper right of the display will indicate the number of the currently selected part (the current part). respectively. respectively. If you’ve selected any of Parts 13–16. 3. 5. 47). Press [FILTER/ENV] to light its indicator. Make sure that the PERFORM PLAY display is showing. fig. Press [PERFORM] or [EXIT] to return to the PERFORM PLAY display. * This setting is linked with the Group parameter and Number parameter (PERFORM/PART/PATCH). 1. 2. * Sound variations or volume changes made with the Sound Palette function affect only the performance. If you change the Performance. and 4 adjust Parts 5. sliders 1. Changing the Level (Volume) of Each Part 1. 3. If you’ve selected any of Parts 1–4. To change attack time. 7. move the CUTOFF slider. respectively. sliders 1. move the DECAY slider. 4. Press [LEVEL] to light its indicator. 11. 2. respectively. Move the sliders while you play the XP-30’s keyboard to vary the sound. 3. move the RESO slider. these settings will be lost. * The sound character and volume changes created using the Sound Palette will also be transmitted to the external MIDI devices. sliders 1. If you’ve selected any of Parts 5–8. Make sure that the PERFORM PLAY display is showing.2-13 3.

XP-A and C (Internal Wave Expansion) The rhythm sets of two Wave Expansion Boards (16 rhythm sets) are already built-in. 2. you can play percussion instruments (Rhythm Tones) on the keyboard. 55 Chapter 2 . and choose a Rhythm Set. Press [RHYTHM] to call up the RHYTHM PLAY display. Selecting a Rhythm Set Using Numeric Keys Using numeric keys. and cannot be rewritten. E (Preset A–C. XP-D. Rotate the VALUE dial or press [INC]/[DEC] to select a Rhythm Set. 1. modify them. Button [SHIFT] + [1] [SHIFT] + [2] [SHIFT] + [3] [SHIFT] + [4] [SHIFT] + [5] [SHIFT] + [6] [EXP A] [EXP C] [EXP D] [EXP E] Rhythm Set Group PR-A (Preset A) PR-B (Preset B) PR-C (Preset C) PR-D (GM (General MIDI)) PR-E (Preset E) USER (User) XP-A (“Session”) XP-C (“Techno Collection”) XP-D (Wave Expansion Board D) XP-E (Wave Expansion Board E) PR-D (GM (General MIDI)) GM Rhythm Sets are for instruments compatible with the General MIDI System intended to standardize MIDI specifications among different equipment makers or models. 48). * Here. However. Furthermore.2-14. you can direct input a desired Rhythm Set. Playing Playing in Rhythm Set Mode In Rhythm Set mode. E Slots) These Rhythm Sets are included in optional Wave Expansion Boards and are not user-rewritable. and then store them in user memory. you can modify the settings of the currently selected rhythm set. But you can call up GM Rhythm Set settings into the temporary area. Press [RHYTHM] to call up the RHYTHM PLAY display. As the Rhythm Tone assigned to each key varies by the Rhythm Set selected. But you can call up preset Rhythm Set settings into the temporary area.Chapter 2. you can install up to two separately sold Wave Expansion Boards. 3. E) The XP-30 includes eight preset Rhythm Sets that are not user-rewritable. modify them. and the number within the sequence of the currently selected Rhythm Set (b). organized into six groups (User and Preset A–E) with two rhythm sets in each group. The rhythm set number and name will blink. you can play a wide range of percussion instruments. and then save the modified settings in User memory. the rhythm sets of two popular Wave Expansion Boards (“Session” and “Techno Collection”) are onboard. 1. E (Wave Expansion Boards installed in EXP-D. Press the following buttons to select a Rhythm Set group. fig. giving you access to an even larger number of percussion instruments. In addition. E cannot be accessed if the Wave Expansion Board it belongs to has not been installed. * Using Digit Hold.2-14a USER The XP-30’s user memory contains two Rhythm Sets that can be rewritten to make up your own Rhythm Sets. Press [ENTER] to finalize the entry. At this point the Rhythm Set has not yet been finalized. 4. modify them. 2. But you can call up Rhythm Set settings into the temporary area. * A Patch XP-D. where you can verify the total number of selectable Rhythm Sets (a). a Rhythm Set can be selected simply by specifying the 1’s place number (p. Use numeric keys to input a Rhythm Set number. and then store them in user memory.e Rhythm Set number Rhythm Set group Rhythm Set name s Selecting a Rhythm Set The XP-30 contains a total of twelve rhythm sets. (b) (a) PR-A–C. pressing [0] (on the numeric key) while holding down [CATEGORY] takes you to the display shown below. fig. and then store them in user memory. The XP-30 offers two GM Rhythm Sets that are not userrewritable.

hold down [ARPEGGIO] to access the ARP SELECT display. (On the XP-30. Playing an Arpeggio According to the Timing Interval of a Note 1/4–1/32 Playing a Glissando GLISSANDO Playing a Bass Part SYNTH BASS. SLAP BASS A. and change the setting. 59).Chapter 2. and rightmost white key is C7. Playing s Playing Percussion Instruments 1. Press [ARPEGGIO] to turn the Arpeggiator on.e Playing an Arpeggio The XP-30’s Arpeggiator lets you produce an arpeggio (broken chord) simply by playing a chord. an arpeggio will sound for the Part specified by the Part parameter (SYSTEM/ ARPEGGIO/ARPEGGIO). refer to “Transposing the Keyboard in Octave Units (Octave Shift)” (p. * The arpeggios played by the arpeggiator are also transmitted from the MIDI OUT connector to external MIDI devices. * The selection you make here will also affect the Style parameter (SYSTEM/ARPEGGIO/ARPEGGIO) settings.) For details. WALK BASS Playing a Guitar RHYTHM GTR A. first push [-OCT] once. SLAP BASS B. Make sure that the PLAY display of the sound source mode (PERFORM. If you wish to change how the arpeggio is played. refer to the following guideline. RHYTHM. 3FINGER GTR. move the cursor to the Style parameter. the indicator lights and allows playing arpeggios from the XP-30 keyboard. RHYTHM GTR D. STRUMMING GTR Playing a Keyboard Instrument KBD COMPING A. KBD COMPING B Playing a Waltz KBD COMPING C. Select a desired Rhythm Set. RHYTHM GTR E. Press [RHYTHM] to call up the RHYTHM PLAY display. PATCH. fig. fig. [TONE SELECT 1]: move to an octave lower key [TONE SELECT 2]: move to the semitone below [TONE SELECT 3]: move to the semitone above [TONE SELECT 4]: move to an octave higher key * When you want to play the percussive instrument sound assigned to the B1 key. RHYTHM GTR B. you can also accurately simulate guitar cutting or strumming techniques depending on the Arpeggiator settings. There are 43 arpeggio styles available. 2. RHYTHM GTR C. 1. For selection. the current Part will play arpeggios. push [+OCT] once then press the C#6 or D6 key to play the percussive instrument sound assigned to the C#7 or D7 key. 2. * If you press [ARPEGGIO] to turn this function on when Single Performance is selected. the same as the Wave it uses) will be displayed below the Rhythm Set name. By pressing [ARPEGGIO]. In addition to normal arpeggios. then press the B2 key.2-15. The key (Note name) you press and its percussion instrument name (Rhythm Tone name. 3. 3. KBD COMPING D 56 .2-16 Note name Rhythm Tone name You can also use the TONE SELECT buttons to select the displayed key. the leftmost white key is C2. The Arpeggiator can in fact be used as a handy automatic arranger. GM) is displayed. Press a key on the keyboard to play a percussion instrument. Similarly. When a Layer Performance is selected.

If it is OFF. and change the setting. 8. move the cursor to the Accent parameter. Press [PERFORM] to call up the PERFORM PLAY display. Set the Local parameter (PERFORM/MIDI/MIDI) ON for the Part you want to hear (p. fig. * This setting will also affect the Accent Rate parameter (SYSTEM/ARPEGGIO/ARPEGGIO) settings. 5.2-18 If you want the arpeggio to sound using only the notes that you actually play. 8. Playing Playing in Reggae Style KBD COMPING E s Playing an Arpeggio Over a Preset Keyboard Area As soon as you press [ARPEGGIO] to turn the Arpeggiator on. without you having to hold down [ARPEGGIO]. 6. 53).2-17 3. After you finish settings. After pressing [SYSTEM] to make the indicator light up. hold down [ARPEGGIO] to access the ARP SELECT display. 52). press [EXIT]. allows you to play arpeggios with the left hand and a melody with the right hand. move the cursor to the Oct parameter. To change the “groove” feel of the arpeggio. 57 Chapter 2 2. you can use one area for normal playing and the other for playing arpeggios. To change the range in which the arpeggio is played. hold down [ARPEGGIO] to access the ARP SELECT display. Set the Lower or Upper parameter (PERFORM/ COMMON/KEY RANG) to specify the note range of the part that will play the arpeggio (p. move the cursor to the Tempo parameter. To go back to the previous display. With a +1 setting. Set the key range of parts other than the arpeggio part so that they do not overlap the range in which the arpeggio is played. To change the tempo in which the arpeggio is played. 9. and change the setting. . fig. fig. and change the setting. Play a chord to produce an arpeggio. set this to 0. press [EXIT] to call up the PERFORM PLAY display again and play a chord. the ARP SELECT display will continue being displayed. If you have selected a Single Performance. 4. * This setting will also affect the Tempo parameter (SYSTEM/ ARPEGGIO/ARPEGGIO) settings. hold down [ARPEGGIO] to access the ARP SELECT display. * If you hold down [SHIFT] when you press [ARPEGGIO]. 4. refer to “Arpeggio Settings (ARPEGGIO)” (p. arpeggio will take place over a range up to 1 octave higher than the notes you play.2-16a A setting of 100% will produce the most pronounced groove feel. 1. Rotate the VALUE dial or press [INC]/[DEC] to set the part that will play the arpeggio. If you split the keyboard into two different areas. Make sure that the Key Range parameter (PERFORM/ COMMON/PERFORM COMMON) is ON. press [ARPEGGIO] to turn off the indicator. This setting. * This setting will also affect the Octave Range parameter (SYSTEM/ARPEGGIO/ARPEGGIO) settings. A -1 setting will result in arpeggio occurring over the range down to 1 octave lower than the notes you play. the keyboard will be set to play arpeggios so conventional keyboard playing is no longer possible. 5. press the [ARPEGGIO] function button followed by [ ] to display an Arpeggio screen like the one shown below.Chapter 2. for instance. Use the cursor buttons to move the cursor to the Part parameter. Playing Percussion Instruments PERCUSSION * There are also other styles besides the above. the chords will sound for all Parts except for the specified Part. 52). * If you play an arpeggio using Layer Performance but without setting key range. To stop the arpeggio. 7. For details regarding each style.2-17a 6. fig. set the Key Mode parameter (PERFORM/COMMON/PREFROM COMMON) to LAYER (p. 7. 10. 108). including those used for random play and for creating your own styles. 53). turn it ON (p.

and then press [ ] to access the PERFORM MIDI display. Beat Pattern. * Motif. s Simulating a Guitar Cutting Technique You can simulate a guitar cutting technique by following the procedure below. Playing s Holding an Arpeggio If you hold down [ARPEGGIO] and press [TRANSPOSE]. By using the Sound Palette. modify the settings of the Motif. press the [MIDI] function button. the arpeggio will continue to be played even if you release the chord.2-19 Using a Hold Pedal If you play an arpeggio while pressing the hold pedal. 58 . it is also possible to apply a wah effect as you play. Accent Rate and Shuffle Rate parameters will automatically be set to optimum settings. the arpeggio will continue to be played even if you release the chord. you can also set Octave Range and Key Velocity parameters. 2. Move the CUTOFF slider or RESO slider while you play a chord. 1. The arpeggio pattern is largely determined by this setting. After selecting the style. Rotate the VALUE dial or press [INC]/[DEC] to turn the setting ON. Hold down [ARPEGGIO] and press [TRANSPOSE] to make the indicator blink. Play the external MIDI device. Connect an optional pedal switch to the HOLD PEDAL jack. the Motif. RHYTHM GTR C. * The values you can set with the Motif or Beat Pattern parameters are normally limited by the selected style. If this selection does not provide the pattern you want. release the pedal. 3. Accent Rate and Shuffle Rate parameters to add variations to the style as desired. Beat Pattern. Play a chord. 3. 2. Press [FILTER/ENV] so the indicator lights. s Playing an Arpeggio from an External MIDI Device The XP-30 can also produce arpeggios with incoming Note messages from an external MIDI device. Accent Rate and Shuffle Rate settings will be lost if you select another style and then turn the power off. To play another chord. RHYTHM GTR D or RHYTHM GTR E. and get the indicator to start blinking. the arpeggio will change accordingly. fig. Use the cursor buttons to move the cursor to the Remote parameter. s Creating an Arpeggio Pattern There are a total of 9 parameters that can be set for the Arpeggiator. 4. To cancel Arpeggio Hold. Beat Pattern. Connect the XP-30’s MIDI IN connector and the MIDI OUT connector of an external MIDI device with a MIDI cable. hold down [ARPEGGIO] and press [TRANSPOSE] simultaneously once again. If you play a different chord or notes while the arpeggio is being held. Only when the Style parameter is set to LIMITLESS will all values be acceptable. etc. Set the Style parameter (SYSTEM/ARPEGGIO/ ARPEGGIO) to RHYTHM GTR B. 5. Play a chord while pressing the hold pedal. press it again as you play the next chord. Select a guitar Patch. 1. but the most important is the Style parameter setting. When you set the Style parameter. Press [SYSTEM] to make the indicator lit. 2. 3. 1. 1. 4. 2. Press [PERFORM] to call up the PERFORM PLAY display. 4.Chapter 2. 3. 6.

11. 7. Press [ ]. Playing 1. For example if you press [+OCT] once to raise the keyboard one octave. 5. move the cursor to “Part” and specify the Part for which you want arpeggio. transpose the keyboard down by 1 or 2 octaves. the C5 note will sound. The specified Octave Shift setting will be shown in the “center=C4” indication of each Play screen. * Parts other than that specified here will not sound as arpeggios. After you finish settings. With a setting of 1–127. and the notes of the chord will sound as you play. For details. Move the cursor to “Tempo” and specify the speed of an arpeggio. Press [SYSTEM] to make the indicator lit. Move the cursor to “Beat Pattern” to change the beat (rhythm). move the cursor to “Motif. the note timing will have more of a “swing” feel. Move the cursor to “Style” and specify the style you want. the specified velocity value will be used regardless of the force with which you play the chord. refer to “Arpeggio Style List” (p.Chapter 2. 1. refer to “Arpeggio Style List” (p.2-20 Convenient Functions for Performance s Transposing the Keyboard in Octave Units (Octave Shift) The Octave Shift function transposes the pitch of the keyboard in 1 octave units (-3– +3 octaves). Move the cursor to “Key Velocity” and specify the force of the chord.” and specify the groove ratio. When REAL is selected. 108) 2. move the cursor to “Accent Rate. press [EXIT]. Move the cursor to “Shuffle Rate” and specify the swing rate. 182). To turn off the Octave Shift function. Move the cursor to “Octave Range” and specify the key range over which you want arpeggio.” This means that when you press the C4 key. the notes will be spaced evenly.” and specify the order in which the notes of the chord will be sounded. 3. Pressing [+OCT] once will raise the keyboard 1 octave and pressing [-OCT] once will lower it 1 octave.2-21 * For details regarding each parameter. the display will indicate “center=C5. 9. the velocity at which the notes are actually played will be used. The indicator will go off. * There is only one Octave Shift setting in the XP-30 so it remain valid even if you select a different Patch. 2. press the other button [+OCT] or [-OCT] of that pressed in step 1 the same number of times. Press [ ]. If you want to play an arpeggio using Layer Performance. Press [+OCT] or [-OCT] and its indicator will light. For playing a bass part more easily using your right hand. refer to “Arpeggio Settings (ARPEGGIO)” (p. 8. fig. 6. Press [ ]. 59 Chapter 2 . and then press the [ARPEGGIO] function button to access the ARPEGGIO display. move the cursor to “Key Velocity. A 100% setting will result in the most pronounced “groove” feel. With a setting of 50%. Performance or Rhythm Set or turn power off.” and specify the strength with which the notes of the chord will be sounded. As the value increases. * The available choices depend on the Style parameter setting. fig. 4. 10. For details. 182). * The available choices depend on the Style parameter setting.

* The setting you make will be maintained even if you select a different Patch. The display will indicate “Panic! Now Transmitting. 2. Do the same if a note does not sound. hit the Panic button.” So when C4 is pressed. The specified Transpose setting will be added to the Octave Shift value. Modulation (0). The display will indicate “Panic! Now Muting. 2. MIDI messages for Volume (127). 1. * The Transpose setting you make here will also change the Transpose parameter (SYSTEM/CONTROL/KEYBOARD). you can start playing. When a Note Does Not Sound 1. MIDI messages for Note Off and Hold Off will be transmitted to the Parts (MIDI channels) receiving Note On/ Hold On messages. if you hold down [TRANSPOSE] and press [+OCT] once to raise the keyboard a semitone.” while the Panic function is being executed. Hold down [SHIFT] and press [EXIT] for more than a second. 60 . press [+OCT] or [OCT] to transpose the keyboard. 3. 2. Channel Aftertouch (0). The Transpose setting you make will be maintained. the C#4 note will sound. s If “Stuck” Notes Occur or a Note Does Not Sound (Panic) If a note played on the XP-30 or from an external device “locks” or keeps sounding and you can’t shut it off. Performance or Rhythm Set. When this message goes off. Hold down [SHIFT] and press [EXIT]. Pressing [+OCT] once while holding down [TRANSPOSE] will raise the keyboard one semitone. All Note Off. Pressing [-OCT] once while holding down [TRANSPOSE] will lower the keyboard one semitone. and Hold 1 (0) will be transmitted to all Parts (MIDI channels). Press [TRANSPOSE] to light indicator. the display will indicate “center=C#4. This turns Transpose on. press [TRANSPOSE] once again so that its indicator goes off. When “Stuck” Notes Occur 1. Playing s Transposing the Keyboard in Semitone Steps (Transpose) Transpose changes keyboard pitch in units of semitones (-5– +6 semitones). Pitch Bend (center). To turn off Transpose.Chapter 2. For example. When this message goes off. While holding down [TRANSPOSE]. you can start playing. This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score.” while the Panic function is being executed. or turn the power off.

Connection of the three effects units depend on the mode you’ve selected. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that’s applied to each Tone. but Multi-Effects applied to a Patch assigned to a given Part can also be applied to the entire Performance. In Performance Mode/GM Mode The Multi-Effects.3-02. 2). Effects settings of the Patch assigned to each Part will be ignored. fig. Chorus and Reverb effects can be set individually for each Patch.3-03. but the Send Level setting for each Tone can also influence effect intensity (Fig.e Multi-Effects (EFX) The Multi-Effects offers 40 different effects ranging from single effects such as distortion and delay to powerful combination effects. fig. TONE Multi-Effects Chorus Reverb In Patch Mode The Multi-Effects. Chorus and Reverb effects can be set individually for each Performance and GM mode. The Multi-Effects also includes chorus and reverb effects which are independent of the Chorus and Reverb outlined below. 61 Chapter 3 s How Effects Units Work in Different Modes . Fig.2 – When Output Assign is set to “PATCH” in the Performance mode (the output settings for Tone are valid) Performance Part 1 Patch Part16 Patch TONE Multi-Effects Chorus Reverb TONE Multi-Effects Chorus Reverb In Rhythm Set Mode Because in Rhythm Set mode. Chorus Chorus adds depth and spaciousness to the sound. the effects settings of a Performance in the temporary area will be used.Chapter 3.e Fig. 1).1 – When Output Assign is set to “EFX” in the Performance mode (the output settings for Tone are ignored) Performance Part 1 Patch Part16 Reverb Reverb adds reverberation characteristics of hall or auditorium ambiences. only Part 10 of a Performance is called up. The intensity of each effect will be set for each Part (Fig.3-01 fig. Creating Your Own Sounds Regarding Effects The XP-30 contains three independent effects units.

showing that the onboard effects processors are not used. Chorus. * When the EFX (multi-effects). s Editing a Patch Start by editing a preexisting Patch to create a new one. Press [EFFECTS ON/OFF] to call up the EFFECTS ON/ OFF display. A Tone switches on/off each time its respective button is pressed. Creating Your Own Sounds s Turning Effects On/Off Built-in effects units (Multi-Effects. Sometimes just changing effects settings can give you the sound you want. and Reverb processors are all off. When you finish making settings. Turn them off if you want to edit sound while listening to the original sound or if you want to use external effects units. Performances and Rhythm Sets. Deciding on the Tone to use When creating a Patch. you should listen to how the individual Tones sound before you edit. Editing refers to modifying any parameter value. 62 . use the TONE SWITCH [1]–[4] to decide whether to turn it on (have it sound) or off. make sure you really understand how they work together. It makes sense to start with a Patch whose sound is related to what you have in mind. Before editing Tones. the [EFFECTS ON/OFF] indicator goes out. When a Tone’s indicator lights. Chorus and Reverb) can be turned on/off for the XP-30 as a whole. 2. This section goes over editing procedures for Patches. press [EFFECTS ON/ OFF] or [EXIT] to return to the previous display. 4. deciding on the Tones you’ll use is crucial. Turn off effects Since XP-30 effects really influence the sound. Four Tips for Editing Patches Start with a Patch that’s somewhat familiar sounding It’s hard to create a new sound that’s exactly what you want if you just select a Patch and modify its parameters at random. Each item to be set is a parameter. turn them off to listen to the sound itself so you can better evaluate the changes you’re making. 3.3-04 Sound Editing Procedures With the XP-30. you have total control over various settings. Since a Patch is a combination of up to any four Tones.Chapter 3. Turn off Tones you don’t need to avoid using more voices than required. fig. Check the Structure setting The important Type parameter (PATCH/COMMON/ STRUCT) determines how the four Tones combine. For each Tone. it’ll sound. 1. Press [ ] or [ ] to move the cursor to the effect that you wish to modify. Rotate the VALUE dial or press [INC]/[DEC] to switch it on/off.

5. Use the function buttons to select the display group. 63 Chapter 3 . For modifying the same parameter of two or more Tones simultaneously. 8. 6. 3. Use [ ] or [ ] to select a display page. [ ] or [ ] to choose the Tone to modify. your editing will modify the parameter values for all selected Tones by the same amount. just press [UNDO/COMPARE] to restore the value to what it was. your editing will modify the parameter values for all selected Tones by the same amount. fig. the number of the Tone selected for editing will be shown in the display. * To switch Tones on/off. Editing Patches Using the Palette Display 4. [INC]/[DEC] or numeric keys to change the parameter value. Use the VALUE dial. and use TONE SELECT [1]–[4] (located in the row of function buttons) to select a Part.3-08 For simultaneously modifying the same parameter for two or more Tones. 2. Use [ ] or [ ] to move the cursor to the parameter you wish to modify.3-06 When editing a Tone in a Patch. Press [PATCH] to access the PATCH PLAY display. 2.3-05 An asterisk (*) will be displayed at the left of the Patch group. If you wish to keep these modified settings. 47). To select a different Tone. 9. hold down one of TONE SELECT [1]–[4] buttons and press another TONE SELECT [1]–[4] button. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. 10. press [EXIT] or [PATCH] to return to the PATCH PLAY display. When modifying a Tone. If you want to set all selected Tones to the same value. If you wish to edit other parameters. 1.Chapter 3. it is a faster way to get around because you don’t have to turn on [EDIT] indicator each time. press [ ] or [ ] to select the parameter that you wish to edit. Use the VALUE dial. Press [PALETTE EDIT] to call up the Palette display. 7. and use the function buttons. * If you’ve made a mistake in setting the parameter value or you don’t like the changes. 7. select the Tone having that value by pressing [ ] or [ ] and while holding down [SHIFT]. the parameter values of the four Tones can be displayed together on a single display called the Palette display. press [PALETTE EDIT] to make the button indicator go dark. The button indicator for the selected Tone will light and the Tone number and Wave name appear in the display. [INC]/[DEC] or numeric keys and modify the parameter value. An asterisk (*) will be indicated for Tones other than the first-selected Tone. Press a TONE SELECT [1]–[4] buttons. * If you’ve selected two or more Tones. the modified Patch settings will be lost. press [EDIT] to temporarily turn off the indicator. then another if so desired. hold down one of TONE SELECT [1]–[4] buttons and press another. If you wish to move to another display group. fig. To cancel the palette display. Repeat steps 3–8 to complete a Patch. 5. use [ ] or [ ] to move the cursor to the parameter you wish to modify. 68). This shows Patch settings have been modified. Press [EDIT] to make the indicator light. The button indicator of the selected display group will blink. 3. Creating Your Own Sounds 1. If you have selected a parameter display that can be set independently for each Tone. Use it when you want to modify parameter values as you compare the settings of the four Tones. fig.3-07 * If you select another Patch in the group with an asterisk (*). you must write them into user memory (p. press [EDIT] to make the indicator light. 6. fig. Repeat steps 3–5 to complete a Patch. Since this can be done even when [EDIT] indicator is dark. press [ENTER]. 4. turn off [EDIT] indicator and then use the TONE SWITCH [1]–[4] located in the row of function buttons. * If you’ve made a mistake in setting the parameter value or you don’t like the changes. and select the Patch whose settings you wish to modify (p. When you finish making settings. press [UNDO/COMPARE] to restore the value to what it was. If you’ve selected two or more Tones.

And particularly if you’re making a part of the sound brighter than the original waveform. such as percussive instrument sounds. the results will be disappointing. fig. To obtain the maximum realism when using these waveforms. The XP-30 provides a variety of waveforms containing realistic acoustic instrument attacks. contains many other one-shot waveforms that are only partial elements of sounds. If you try to make just the attack brighter and subdue just the decay using the TVF filter. and you may not achieve the result you want. If you don’t. the latter part of the sound is generated repeatedly over a specified portion of the waveform for as long as the note is held (allowing wave memory to be used more efficiently). you should first generate upper harmonics (not present in the original waveform) using Color and Depth parameters (PATCH/WAVE/FXM) before filtering. So if you try to create a sound which is totally different from the original waveform. A one-shot waveform records the initial rise and fall of the sound.3-10. Even if you were to make such envelope settings.Chapter 3.3-09. the results may not be what you want. For the decay portion of the sound. you need to keep in mind the timbral characters of the original waveform. editing necessarily affects the complex PCM waveforms sound are based on. Looped: These waveforms contain sounds with long decays or sustained sounds. you would simply be controlling a non-existent portion of the sound. With looped waveforms. however. Some of the XP-30’s one-shot waveforms are sounds that are complete in themselves.e Looped Portion Tone change stored with the wave Envelope for the TVF filter Resulting tone change TVA ENV for looped Organ waveform (sustain portion) TVA ENV for one-shot Keyclick waveform (attack portion) Resulting TVA ENV change + Key-off = Key-off Notes for Editing One-Shot Waveforms An envelope cannot be used for giving a one-shot waveform a longer decay than the original waveform’s. try adjusting effects such as enhancer and equalizer before modifying the TVF parameter (PATCH/TVF).e Notes for Editing Looped Waveforms With many acoustic instruments like piano and sax. Creating Your Own Sounds Note on Tone Editing Because the XP-30 is designed to create wholly realistic sounds. This way. or make it a sustaining sound. The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms. the natural attack contained in the waveform itself will not be heard to full advantage. To make the entire sound brighter than the original waveform. radical timbral changes occur during the first few moments of the note. 64 . so such settings would have no meaning. The XP-30. If you use the envelope to modify the attack portion as well. it is best to leave the filter wide open during the attack. This initial attack is what defines much of the instrument’s character. all the complex timbral changes can be heard. you can use the envelope to produce the desired changes. The XP-30’s looped waveforms include such sound components as piano string vibrations and hollow sounds of brass instruments. fig. These include attack components such as piano hammer sounds and guitar fret noises. XP-30 waveforms are divided into: One-Shot: These waveforms contain sounds that have short decays.

3-14 6. To select a different Part. The Part number and the Patch name assigned to the Part will be shown in the display. and select the Performance whose settings you wish to modify (p. This is useful when you wish to change parameter values while comparing each Part settings. But before you do. Press [EDIT] to make the indicator light. fig. 4. 5. fig. press [1-8/9-16]. Creating Your Own Sounds s Editing a Performance Start with an existing Performance and edit it to create a new Performance. the values for eight Parts (Part 1–8 or Part 9–16) will be displayed together on a single display. Press [ ] or [ ] to choose the Part to modify. 3. When modifying Part settings for a Performance. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. it is a faster way to get around because you don’t have to turn on [EDIT] indicator each time. Use the function buttons to select the display group. you must write them into user memory (p. Press [PALETTE EDIT] to call up the Palette display. The button indicator of the selected display group will blink. 7. 2. Use [ ] or [ ] to select a display page. press [UNDO/COMPARE] to restore the value to what it was. fig. the number of the Part selected for editing will be shown in the display. Use the VALUE dial. If you wish to keep these modified settings. 9. If you wish to edit other parameters. 68).Chapter 3. press [EDIT] to make the indicator light. fig. just press [UNDO/COMPARE] to restore the value to what it was. When you finish making settings. If you wish to move to another display group. 51). 1. Press [PERFORM] to access the PERFORM PLAY display. Editing Performance Using the Palette Display You can also edit a Performance using the Palette display in Performance mode. Repeat steps 3–5 to complete a Performance. Since this can be done even when [EDIT] indicator is dark. * If you’ve selected two or more Tones. Use the VALUE dial.3-12 2. 65 Chapter 3 1. 8. press [PALETTE EDIT] to make the button indicator go dark. * If you’ve made a mistake in setting the parameter value or you don’t like the changes. If you have selected a parameter display that can be set independently for each Part. . [INC]/[DEC] or numeric keys to change the parameter value. 3. This shows Performance settings have been modified. 5. press [ ] or [ ] to select the parameter that you wish to edit.3-11 An asterisk (*) will be displayed at the left of the Performance group. When modifying a Part. 6.3-13 * If you select another Performance in the group with an asterisk (*). * To switch between the palette page for parts 1–8 and the palette page for parts 9–16. Use [ ] or [ ] to move the cursor to the parameter you wish to modify. * If you’ve made a mistake in setting the parameter value or you don’t like the changes. press [EDIT] to temporarily turn off the indicator. To cancel the palette display. [INC]/[DEC] or numeric keys and modify the parameter value. use [ ] or [ ] to move the cursor to the parameter you wish to modify. press [EXIT] or [PERFORM] to return to the PERFORM PLAY display. 4. and use the function buttons. try to envision what the entire Performance will sound like and decide which Patch to assign to each of 16 Parts. 7. 10. the modified Performance settings will be lost. your editing will modify the parameter values for all selected Tones by the same amount. and use [1-8/9-16] and the function buttons to select a Part. Repeat steps 3–8 to complete a Performance.

just press [UNDO/COMPARE] to restore the value to what it was. To keep these modified settings. 8. * If you’ve made a mistake in setting the parameter value or you don’t like the changes. As each percussion instrument consists of a single Rhythm Tone. there is no Palette display. * If you select another Patch in the group with an asterisk (*). Since this can be done even when [EDIT] indicator is dark. If you wish to edit a Patch while hearing how it will sound in the Performance. the modified Rhythm Set settings will be lost. 68). it is a faster way to get around because you don’t have to turn on [EDIT] indicator each time. press [PATCH]. press [EDIT] to make the indicator light. Press [ ] or [ ] to select the Part to which the selected Patch is assigned. To select a different key. [INC]/[DEC] or numeric keys and modify the parameter value. An asterisk (*) will be displayed at the left of the Rhythm Set group. When you finish making settings. Press [EDIT] to make the indicator light. and select the Rhythm Set whose settings you wish to modify (p. Creating Your Own Sounds Modifying the Patch Assigned to a Part When using Patches in Performance mode. This will call up the PLAY display of the Patch assigned to the currently selected Part. the key selected for editing will be shown in the display. 55). you must write them into user memory (p. press [EXIT] or [RHYTHM] to return to the RHYTHM PLAY display. 10. 1. Use the VALUE dial. it will not be possible to select the LFO group. 2. fig. To return to the PERFORM PLAY display. Use the function buttons to select the display group. Make sure that the PERFORM PLAY display is showing. 5.Chapter 3.3-17 * If [EDIT] indicator is turned off. If you wish to keep these modified settings. While holding down [PERFORM]. you must write them into user memory (p. 9.3-18 4. This shows Rhythm Set settings have been modified. fig. press [EXIT] to call up the PLAY display of the Patch assigned to the Part. play the desired key on the keyboard. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. 2. fig. use this procedure: 1. This indicates the Patch settings have been modified. 68). Press [RHYTHM] to access the RHYTHM PLAY display. fig. Both button indicators will light. some settings such as effects settings will be affected by Performance settings.3-15 4. s Editing a Rhythm Set You can change the percussion instrument assigned to each key. The button indicator of the selected display group will blink. Use [ ] or [ ] to select a display page. press [PERFORM] or [EXIT]. An asterisk (*) will be displayed at the left of the Patch group. Repeat steps 3–8 to complete a Rhythm Set. If you have selected a parameter display that can be set independently for each key. 66 . 5. TONE SELECT [1]: move to an octave lower key TONE SELECT [2]: move to the semitone below TONE SELECT [3]: move to the semitone above TONE SELECT [4]: move to an octave higher key 6.3-16 * If you select another Rhythm Set in the group with an asterisk (*). the modified Patch settings will be lost. and use the function buttons. 3. * Since Rhythm Sets do not have an LFO. If you wish to move to another display group. 6. 7. 3. The following steps are the same as when you modify a Patch in Patch mode. Use [ ] or [ ] to move the cursor to the parameter you wish to modify. you can also use the TONE SELECT [1]–[4] (located in the row of function buttons) to select the displayed key. When you finish making settings.

GM. 128 Patches and two Rhythm Sets. GM. sound is produced based on data in the temporary area. Before a memory card can be used. Memory cards are not included. XP-A. To keep the settings you have modified. Wave Expansion Boards contain Wave data. There are three memory types: temporary memory. you are modifying the data that has been called into the temporary area instead of the data in memory.e Rewritable Memory System Memory System memory stores system parameter settings that determine how the XP-30 functions. Settings in the temporary area are temporary. Preset E (PR-E) Preset D (GM) Preset C (PR-C) Preset B (PR-B) XP-C Preset A (PR-A) XP-B Performance 32 Patch 128 Rhythm Set 2 XP-A Patch Rhythm Set XP-30 Sound User Memory User memory contains data for 32 Performances. etc. the system memory settings are rewritten directly. as well as Patches and Rhythm Sets that use this Wave data.Chapter 3. Performance: PR-A. rewritable memory and non-rewritable memory. User (USER) Performance 32 Patch 128 Rhythm Set 2 Memory Card (optional: SmartMedia) These are read/write cards which can store data from internal system memory and user memory. E Slots in the XP-30. but may be purchased from your dealer. you must write them into rewritable memory. These settings are non-volatile. Patch. are stored is Memory. which can be called directly into the temporary area and played. E. Data File (. 67 Chapter 3 . being retained even when the power is turned off. Wave Expansion Boards (optional: SR-JV80 Series) Up to four Wave Expansion Boards can be installed in EXPD. Creating Your Own Sounds Keeping Edited Sound s Memory and Data Storage The location where Patch and Performance settings. C) cannot be rewritten.SVD) Performance 32 Patch 128 Rhythm Set 2 System EXP-E Slot (XP-E) EXP-D Slot (XP-D) Patch Rhythm Set Memory Card Temporary Memory Temporary Area This area holds data for the Performance. or data which you wish to use on another XP-30. XP-A–C. it must be formatted (p. You can use memory cards to store data for which there is no room in internal user memory. Write Temporary Area Load Save Expansion Board Non-Rewritable Memory Preset Memory Data in Preset memory (Patch: PR-A–C. * Either “S2M-5” or “S4M-5” memory cards can be used. etc.3-19. Rhythm Set: PR-A–C. modify them and then store the modified data in rewritable memory. B. However. and Rhythm Set you select using the front panel buttons. When you play the keyboard or play back an external sequence. you can call up settings from preset memory into the temporary area. and will be lost when the power is turned off or when you select another Performance/Patch/Rhythm Set. Patch or Rhythm Set. E. When you modify these settings. 122). When you modify a Performance. fig.

* Internal Write Protect is automatically turned ON when the XP-30’s power is turned on. Use [ ] or [ ] to make “1: WRITE” blink. Performance or Rhythm Set. PATCH: Synchronize to the Patch Tempo setting. * The Patch Clock does not transmit clock messages from MIDI OUT connector. To keep the modified settings. 2. fig.3-20 Functions of Patch Parameters fig. PATCH NAME You can assign a name of up to 12 characters to the Patch. * For details on assigning names. press [UTIL/CARD]. and press [ENTER]. * When Source (Patch Clock Source) is set to SYSTEM. If Internal Write Protect (p. 2). Creating Your Own Sounds s Storing a Sound You Modify into User Memory The modified settings you make are only temporary. PATCH COMMON Level Adjust the volume level of the Patch. This setting also determines the phrase that will be sounded by the Phrase Preview function. * When using a Patch in Performance mode. Internal Write Protect will be turned off. and some Multi-Effects parameters. Time parameter (PATCH/WAVE/TONE DELAY). 68 .e PATCH CATEGORY Category Specify the type (category) of the Patch. Tempo (Patch Tempo) Set the Patch Tempo setting. the following display will appear. The UTIL 1 display will appear. The WRITE display will appear. Source (Patch Clock Source) Select the source of the Patch Clock. fig. refer to p. fig. and you will return to the display of step 2. refer to “Assigning a Name” (p. the setting of this parameter will be ignored.3-21.3-22 PATCH CLOCK Some parameters allow you to set a time value in terms of a note length which is determined by a tempo setting or tempo source you specify. This Patch Clock setting sets the tempo which can be used by these parameters. Performance or Rhythm Set will be overwritten.Chapter 3.3-05 s Settings Common to the Entire Patch (COMMON) On this display you can assign a name to a Patch and set the volume and pan of the entire Patch. the specified writing destination Patch. 121) is turned on. Press [ENTER] once again and the selected Patch will be overwritten. 4. Writing destination 3. If Internal Write Protect is turned off. In Patch mode (when storing a Patch). SYSTEM: Synchronize to the tempo clock of the sequencer. The Patch Search function uses this setting. * For details on the category names. The tempo of the system will be displayed in parentheses ( ). 46). [INC]/[DEC] or numeric keys to specify the Patch. you must write them into user memory. Change the ON setting to OFF. Performance or Rhythm Set number of the destination of writing. Press [ENTER]. and will be lost if you turn the power off or select another Patch. 1. and the setting of the PERFORM CLOCK display (PERFORM/COMMON) will be used instead. so it will not be possible to set the tempo value. Use the VALUE dial. Rate parameters (PATCH/ LFO/ LFO1. 49. 5. Then press [ENTER]. synchronization will be according to the tempo clock of the system. Performance mode (when storing a Performance) or in Rhythm Set mode (when storing a Rhythm Set).

* To make Velocity Range settings. fig. * It is not possible to set Lower to a value greater than Upper. This can be used to make notes of different strengths play different Tones. the high and low note ranges will be stretched the most. Upper (Velocity Range Upper) Specify the upper velocity limit. When the 65th voice is requested. the two values will change together.” the horizontal axis represents the scale. set this parameter to 0. where each octave would be precisely double the frequency of the previous octave). If you do not want the Tone to sound at all for velocities outside the specified range. the softest of the currently sounding notes will be turned off. With a setting of 3. LOUDEST: Louder notes will take priority. such as soft breezes or gentle brooks. the first-played of the currently sounding notes will be turned off. When OFF is selected for this parameter. The selected curve will affect the way in which notes of a chord sound with each other. 1/f Modulation “1/f” is a mathematical ratio that expresses the amount of “predictable randomness” occurring in natural sounds that the human ear finds pleasing. 1 Velocity Lower parameter value Upper parameter value 69 Chapter 3 Stretch (Stretch Tuning Depth) . The Velocity Range setting will be used when the VelRange parameter is ON. the Velocity Range Switch in the previous display must be turned ON.3-24. fig. Although it also depends on the Cross Fade settings. in units of one octave (-3–+3 octaves).Chapter 3. Priority (Voice Priority) Specify which currently-sounding notes will take priority when notes are turned off to make room for newly-requested notes that would exceed the limit of 64 simultaneous voices. Higher settings will result in a more gradual change in volume. The XP-30 is able to modulate the pitch and volume of sounds by this ratio to create the warmth characteristic of early analog synthesizers. 0 is center. This is done simply because pianos sound better when tuned this way. The diagram below shows the tuning curves which can be selected. VelRang (Velocity Range Switch) Specify whether the Velocity Range setting (see following display) will be used or not.e Lower (Velocity Range Lower) Specify the lower velocity limit. Select the stretch tuning curve. Pitch difference from equal temperament Parameter value 3 2 1 OFF 1 2 3 Low note range High note range OFF Cross Fade (Velocity Cross Fade) Specify the way in which the volume of the Tone will change when the velocity of a note falls outside of the specified Velocity Range. Octave (Octave Shift) Specify the transposition of the Patch when played on the keyboard. In the “tuning curve. or will produce extremely quiet sounds. the notes of the keyboard will be in mathematically equal temperament. notes played softer than this limit will not sound the Tone. or will produce extremely quiet sounds. A setting of L64 is far left. Creating Your Own Sounds Pan Adjust the stereo position of the Patch.. Analog Feel (Analog Feel Depth) Adjust the depth at which 1/f modulation is applied to the Patch. VELOCITY (Velocity Range) These parameters specify the range of velocities that will play the Tone. LAST: Notes played later will take priority. If you attempt to do so.e. notes played more strongly than this limit will not sound the Tone. Although it also depends on the Cross Fade settings. nor Upper to a value less than Lower. and the vertical axis represents pitch difference relative to equal temperament. and 63R is far right.e Level Stretched Tuning Acoustic pianos are normally tuned so that the high note range is a bit sharper and the low note range is a bit flatter than a mathematically calculated equal temperament (i.3-23. When the 65th voice is requested.

This can be used to make notes in different areas of the keyboard play different Tones.3-25a WG TVF TVA TYPE 1 TONE 1 (3) WG TVF TVA TYPE 8 TONE 1 (3) WG TVF TVA R TONE 2 (4) fig.3-25c WG TONE 2 (4) fig. fig.3-25d TYPE 10 TONE 1 (3) TVF TVA WG TVF TVA R TONE 2 (4) WG TVF TVA WG TYPE 4 TONE 1 (3) WG TVA B TONE 2 (4) WG TVF TVA TVF 70 . TYPE 6 TONE 1 (3) WG TVA R TONE 2 (4) fig. * If you have used Octave Shift (System) or the Transpose parameter (SYSTEM/CONTROL/KEYBOARD) to transpose the pitch of the XP-30’s keyboard. WG TVF TVA Upper (Key Range Upper) Specify the highest note that will play the Tone.3-25e TYPE 5 TONE 1 (3) WG TVA R TONE 2 (4) fig. * It is not possible to set Lower to a value greater than Upper. Creating Your Own Sounds KEY RANG (Key Range) These parameters specify the range of notes that will play the Tone. If you attempt to do so. the two values will change together.3-25g TVF WG TVF TVA TYPE 7 TONE 1 (3) WG TVF TVA R TONE 2 (4) fig.3-25h STRUCT (Structure) Type (Structure Type) The Structure parameter determines how Tones 1 and 2 (and 3 and 4) are connected.3-25i WG TVF TVA TYPE 2 TONE 1 (3) WG TVA TVF TYPE 9 TONE 1 (3) TVF TVA WG TVF TVA R TONE 2 (4) fig.3-25b WG TVF TVA TONE 2 (4) fig. nor Upper to a value less than Lower.3-25f TVF Lower (Key Range Lower) Specify the lowest note that will play the Tone.Chapter 3. fig. the keyboard area specified by Key Range will also be shifted.3-25j WG TVF TVA TYPE 3 TONE 1 (3) WG TVA TVF B TONE 2 (4) fig.

EFX: Output the Tone to the OUTPUT jack through MultiEffects. causing it to distort. Creating Your Own Sounds The display will graphically indicate the selected Structure. PATCH EFX TYPE Specify the Patch Multi-Effects. * If a Structure 2–10 is selected. the settings in the PATCH EFX OUT display (PATCH/EFFECTS) will be ignored. Turn the corresponding effect on before you make settings (p. Type (EFX Type) Select the type of Multi-Effects. * If an “x” mark is displayed at the right of the display name. This creates an effect similar to the distortion often used on an electric guitar. This is especially suitable for creating bells and other metallic sounds. the result will be an unpitched metallic sound. 93). and adjust the volume of each Tone.3-26 * If you select MIX. OUTPUT These parameters specify how the output of each Tone will be sent to the effects. creating a new sound that includes overtones (inharmonic overtones) that were not present in either of the two original Tones.Chapter 3. W2 (WG2). * When the Type parameter (PATCH/COMMON/STRUCT) has a setting of 2–10. For details refer to “MultiEffects Types (EFX Parameter)” (p. 62). 71 Chapter 3 Select whether or not the output of each Tone will be sent through Multi-Effects. Since the pitch difference between the two Tones will change the overtone structure. The Booster amplifies the incoming signal. F1 (TVF1). the outputs of Tones 1 (3) and 2 (4) will be combined with Tone 2 (4). Chorus (Chorus Send Level) Adjust the amount of Chorus for each Tone. The symbols displayed have the following meanings. B (booster). R (ring modulator) * If you select a Tone while in the Structure display. the Tone that is paired with the selected Tone will also be selected. A1 (TVA1). Booster (Booster Gain) If the Type parameter has been set to 3 or 4. Output Assign (Output Assign/Output Level) Ring Modulator The Ring Modulator multiplies two Tones together. W1 (WG1). F2 (TVF2). For details refer to “Multi-Effects Types (EFX Parameter)” (p. turning off one Tone will cause the other Tone to be connected in the simple order of WG/TVF/ TVA. the effect for that display has been turned off. you can adjust how strongly the Booster will function. MIX: Output the Tone to the OUTPUT jack without passing through Multi-Effects. 93). . Reverb (Reverb Send Level) Adjust the amount of Reverb for each Tone. PATCH EFX PRM (Patch EFX Parameters) Set the various parameters of the selected EFX type. A2 (TVA2). This means that the setting for Tone 1 (3) will be ignored. s Setting Effects for a Patch (EFFECTS) This group contains settings for the Multi-Effects/Chorus/ Reverb effects used by a Patch. fig.

e EFX Control Depth 1. you can specify the EFX Control Source and the EFX Control Depth. 2 Adjust the amount of change that will occur in response to controller movements.3-29. Higher settings will result in greater change. EFX Control Source 1. OFF: controller not used SYS-CTRL1: System controller (control 1) SYS-CTRL2: System controller (control 2) MODULATION: Modulation (MIDI controller number 1) BREATH: Breath (MIDI controller number 2) FOOT: Foot (MIDI controller number 4) VOLUME: Volume (MIDI controller number 7) PAN: Pan (MIDI controller number 10) EXPRESSION: Expression (MIDI controller number 11) BENDER: Pitch bend AFTERTOUCH: Aftertouch Chorus input Reverb OUTPUT Reverb input Chorus REV:Apply reverb to the chorus sound. Fbk (Chorus Feedback Level) Adjust the amount of sound from the Chorus output that is returned (fed back) to the Chorus. Delay (Chorus Pre Delay) Adjust the time delay after the original sound begins until the Chorus effect begins to apply. 93). Depth (Chorus Depth) Adjust the depth of modulation for the Chorus effect. Mix Out (EFX Output Level) Adjust the volume level of the original sound and the MultiEffects sound. the settings of this display will be ignored. and then select the controller using the Control 1/2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN).e The Chorus sound and the Reverb sound are mixed. fig. Rate (Chorus Rate) Adjust the speed of modulation for the Chorus effect.3-28. PATCH CHORUS These parameters control the Chorus effect of the Patch.3-27. MIX: fig. Higher settings result in a more intense effect. Chorus (Chorus Send Level) Adjust the amount of Chorus for the sound that passes through Multi-Effects. If you wish to use a controller that will apply to all Patches. Reverb (Reverb Send Level) Adjust the amount of Reverb for the sound that passes through Multi-Effects. Higher settings result in a more spacious effect. Out (Chorus Output Assign) Select the way in which the Chorus and Reverb are connected. Level (Chorus Level) Adjust the volume of the Chorus effect. Creating Your Own Sounds PATCH EFX OUT (Patch EFX Output) These parameters specify the output for the Tone for which EFX was selected in Output Assign. For each EFX parameter.Chapter 3.e Chorus input Chorus Reverb input Reverb OUTPUT M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied. or a controller that cannot be directly specified here. fig. Negative (-) settings will reverse the direction of change. 2 The following MIDI controllers can be used. Reverb input Chorus Reverb OUTPUT Chorus input 72 . select SYS-CTRL1 or SYS-CTRL2. The EFX parameters available for control will depend on the selected EFX type. For details refer to “Multi-Effects Types (EFX Parameter)” (p. PATCH EFX CTRL (Patch EFX Control) Use this setting when you wish to use a specific controller to control an EFX parameter. * For Tones which have an Output Assign setting of MIX. The upper line of the display will show the EFX parameters that can be controlled.

. this is effective when simulating performance techniques such as a violinist’s glissando. If you do not want the high frequencies to be cut. this parameter has no effect. and OFF when you do not. This is effective when you wish to simulate performance techniques such as a guitarist’s hammering on and pulling off. and the right value has a range of 0–+12 (0–1 octaves). NORMAL: Portamento will always be applied. set this parameter to BYPASS. LEGATO: Portamento will be applied only for notes played legato (i. when you press the next key before releasing the previous key. Bend Range Specify the amount of pitch change that will occur when you move the Pitch Bend Lever. Mode (Portamento Mode) Select the way in which Portamento will be applied. pressing a key while a previous key is already pressed will cause the note to change pitch to the pitch of the newly pressed key while continuing to sound. this parameter will adjust the time delay from the original sound until the first echo will sound. more of the high frequencies will be cut.Chapter 3. s Using Controllers to Change How Sounds Are Played (CONTROL) The parameters in this group determine how the controllers will function. Higher values result in more delay repeats. Time (Reverb/Delay Time) Adjust the time of reverberation. Level (Reverb/Delay Level) Adjust the volume of the reverberant (or delayed) sound. Type (Reverb/Delay Type) Select the type of Reverb effect. Creating Your Own Sounds PATCH REVERB These parameters control the Reverb effect of the Patch. Solo Legato is a function that works only when the Key Assign Mode is SOLO. regardless of the pitch difference. * If you have selected any one of the Reverb types (ROOM1– HALL2). resulting in a softer and more muted reverberance. Fbk (Delay Feedback Level) Adjust the amount of delayed sound that is returned (fed back) to the delay. Type (Portamento Type) Select the way in which the pitch difference between the two notes will be related to the time of movement. Sw (Portamento Switch) Set this to ON when you wish to use Portamento. As the frequency is set lower. Legato (Solo Legato Switch) Turn this parameter ON when you use Solo Legato. The left value specifies the pitch change that will occur when the lever is moved fully left. The right value specifies the pitch change that will occur when the lever is moved fully right. When the Key Assign Mode is SOLO. Time (Portamento Time) Adjust the time over which the pitch will change to the new pitch. 73 Chapter 3 . TIME: Time of movement will be constant. RATE: Time of movement will change in relation to the pitch difference. SOLO: Only one note will sound at a time. POLY: Two or more notes can be played simultaneously.e. When Solo Legato is ON. The left value has a range of -48–0 (-4– 0 octaves). ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear reverberance HALL2: reverb with rich reverberance DELAY: a conventional delay PAN-DLY: a delay with echoes that move left and right KEY MODE & BENDER (Key Assign Mode & Bender) Assign (Key Assign Mode) Specify how notes will be played. When playing a solo instrument Patch (such as sax or flute) it is effective to use a setting of SOLO. HF Damp (Reverb/Delay HF Damp) Adjust the frequency above which the reverberant sound will be cut. If you have selected DELAY or PAN-DLY. PORTAMENTO Portamento is a function that causes the pitch to change smoothly from one note to the next played note.

DAMPER Specify how Hold 1 (sustain pedal) messages will be received by each Tone. * In general. If reception is turned on. you must also turn on the Receive Hold 1 switch for the Patch (previous screen). PITCH: Pitch will begin changing when the new key is pressed. If not. the stereo location will change only for the note played later. RxSWITCH (Receive Switch) These parameters determine how Volume/Pan/Pitch Bend MIDI messages will be received by each Tone.Chapter 3. OFF: Not received. if you are using a message to control another (i. If not. the currently sounding sounds will be sustained if this Redamper setting is ON. turn this parameter ON. turn it OFF. C5 Redamper (Redamper Switch) D4 C4 Time press D4 key press C5 key press C4 key If a Hold 1 message is received during the time between a note-off (when you release the key) until when the sound disappears. Thus. PEAK & HOLD Hold messages (Hold 1. * If you use this function. turn it OFF. the current stereo location will not change until the next note. CONT: Whenever a Pan message is received. you must also set the Peak parameter (SYSTEM/CONTROL/CONTROL SOURCE) to the type of Hold message being controlled. turn it OFF. Pitch C5 D4 C4 Pitch Bend (Receive Pitch Bend Switch) Time press D4 key press C5 key press C4 key If you want Pitch Bend messages to be received. you should turn off reception for that MIDI message. If a Pan message is received while a note is sounding. Volume (Receive Volume Switch) If you want Volume messages to be received. you must also turn on the Receive Hold 1 switch. Creating Your Own Sounds Start (Portamento Start Pitch) Portamento will begin anew if you press another key during a pitch movement. This setting specifies how the new portamento will start.3-31. If not. that MIDI message will control its standard function in addition to the special assignment you have made. * If you select PEAK for the following parameters. and the currently sounding note will not move. KEY-ON: The stereo location of the sound will be changed when the next note is played. fig.e Pan (Receive Pan Control Switch) Specify how Pan messages will be received. The XP-30 allows you to use these Hold messages to hold the values of specific parameters.e. it will immediately change the stereo location of the sound. a non-standard) parameter. In this case. Pan messages control the stereo location. If you use this function. you must also set the Hold parameter (SYSTEM/CONTROL/CONTROL SOURCE) to the type of Hold message being controlled.. and Pitch Bend messages control the pitch of. turn this parameter ON. fig. turn this parameter ON. * If you select HOLD for the following parameters. Hold 2. However the XP-30 allows you to use these MIDI messages to control other parameters that you specify. Sostenuto. NOTE: Pitch will begin changing from the destination of the current movement. 74 . Soft) are used to sustain the sound.3-30.e Pitch Hold-1 RxSwitch (Receive Hold 1 Switch) If you want Hold 1 messages to be received. Volume messages control the volume.

AFTERTOUCH: LFO1: LFO2: VELOCITY: KEYFOLLOW: Aftertouch LFO1 rate LFO2 rate Velocity Key follow (adjust the parameter value depending on the keyboard location. However if a parameter value higher than the current one is received while Hold is still on. Higher value will cause greater change. Ctrl 2 (Control 2 Peak/Hold) This parameter specifies the way in which Hold messages will control the parameter selected as Control Source 2 in the following display. 75 Chapter 3 * From the PATCH PLAY display you can switch directly to the CONTROL1 display by pressing [CONTROLLER] while holding down [SHIFT]. select the controller in this display. For LFO rates. . Creating Your Own Sounds EfxCtrl (EFX Control Peak/Hold) Specify how Hold messages will affect the parameters you specify in the PATCH EFX CTRL display (PATCH/ EFFECTS). OFF: Parameter values will not be held even if Hold messages are received. HOLD: Parameter values will be held when Hold messages are received. and positive (+) values will shorten the period (causing faster modulation). that new value will be held. Each Patch can have up to 3 control source assigned to it. or to use a controller that is not available for selection here.Chapter 3. Ctrl 3 (Control 3 Peak/Hold) This parameter specifies the way in which Hold messages will control the parameter selected as Control Source 3 in the following display. The range of values is the same as for EFX control. Up to four parameters can be specified for each controller. negative (-) values will lengthen the period (causing slower modulation). Destination 1–4 Select the parameters to be controlled. and controlled simultaneously. OFF: no control PCH: WG Pitch CUT: TVF Cutoff Frequency RES: TVF Resonance LEV: TVA Level PAN: TVA Pan MIX: Output level of Tone CHO: Chorus Send level of Tone REV: Reverb Send level of Tone PL1: LFO1 depth of WG Pitch PL2: LFO2 depth of WG Pitch FL1: LFO1 depth of TVF Cutoff Frequency FL2: LFO2 depth of TVF Cutoff Frequency AL1: LFO1 depth of TVA Level AL2: LFO2 depth of TVA Level pL1: LFO1 depth of TVA Pan pL2: LFO2 depth of TVA Pan L1R: LFO1 rate L2R: LFO2 rate CONTROL SOURCE If you wish to use controllers to control a specific Tone parameter. PEAK: Parameter values will be held when Hold messages are received. Control 2 (Control Source 2) Assign one of the following controllers to Control Source 2. The controllers available for selection are the same as for Control Source 2. The range of values is the same as for EFX control. Ctrl 1 (Control 1 Peak/Hold) Specify how Hold messages will affect the parameters controlled by Control Source 1 (Modulation: MIDI controller number 1). The upper line of the display will show the Control Source selected in the previous display. If you want to use a controller that will be common to all Patches. but the function of control source 1 is fixed at Modulation (MIDI controller number 1). The settings are the same as for EFX Control. Negative (-) values will reverse the direction of the change. CONTROL 1–3 Specify the parameters to be controlled by Control Sources 1–3 and the depth of each parameter. relative to a standard value (0) at the C4 key) Playmate (adjust the parameter value depending on the time length that the key is pressed) PLAYMATE: Control 3 (Control Source 3) Assign a controller to Control Source 3. OFF: a controller will not be used SYS-CTRL1: System controller (Control 1) SYS-CTRL2: System controller (Control 2) MODULATION: Modulation (MIDI controller number 1) BREATH: Breath (MIDI controller number 2) FOOT: Foot (MIDI controller number 4) VOLUME: Volume (MIDI controller number 7) PAN: Pan (MIDI controller number 10) EXPRESSION: Expression (MIDI controller number 11) BENDER: Pitch bend Depth 1–4 Adjust the amount of change that will occur in response to controller movement. first select SYS-CTRL 1 or SYS-CTRL 2 then set the Control 1/2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) to select the controller.

turn it OFF. this is the parameter that is being set.Chapter 3. set the Source parameter (PATCH/COMMON/ PATCH CLOCK) to PATCH and set the desired tempo. PLAYMATE: FXM (Frequency cross modulation) FXM is a function that uses frequency modulation to add new harmonic components to the sound. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to PERFORM and set the desired tempo. Delay Time press key release key HOLD: Number (Wave Number) Select the Wave number. If you want to use a fixed tempo in Patch mode (Tempo parameter setting). The name of the Wave will be displayed in parentheses ( ). If you want to use the system’s tempo clock in Patch mode. B: Internal A. Since you can adjust the timing of each Tone. the Tone will sound after the Delay Time. If the key is released earlier than the Delay Time. the Performance Tempo (PERFORM/COMMON/PERFORM CLOCK). that interval will become the Delay Time after which the Tone will sound. If 2 seconds or more pass before the next key is pressed. The setting range is -6–+12 dB. When not using the Tone. in steps of 6 dB.3-32. If less than 2 seconds pass before the next key is pressed. An increase of 6 dB doubles the gain. unused Tones should be turned off. the Tone will sound after the Delay Time. Gain (Wave Gain) Adjust the gain (volume boost) of the Wave. Delay Time release key press key Delay Time press key Tone does not sound release key Switch (Tone Switch) When you wish to use the Tone. It can be used as a simple ring modulator in order to add a metallic flavor.3-33. fig. or the tempo clock of the XP-30’s system. If you want to use a fixed tempo in Performance mode (Tempo parameter setting). Switch (FXM Switch) When you wish to use FXM turn this ON.e WAVE Group (Wave Group) Select the Group of the Wave. In order to make best use of the available number of simultaneous voices. TONE DELAY This parameter produces a time delay from the moment the key is pressed (or released) until when the Tone begins to sound. set the Source parameter (PERFORM/COMMON/ PERFORM CLOCK) to SYSTEM. INT-A. it is effective to use the maximum Gain setting. If you want to use the system’s tempo clock in Performance mode. Color (FXM Color) Select one of four ways in which FXM will use frequency modulation. Depth (FXM Depth) Adjust the depth of the frequency modulation created by FXM. NORMAL: The Tone will sound after the specified Delay Time. set this ON. the Tone will not sound. Mode (Tone Delay Mode) Select the way in which the Tone will sound. Creating Your Own Sounds s Modifying Waveform (WAVE) This group contains parameters related to the basic waveform (Wave) of the Tone. CLOCK-SYNC: Synchronize the Delay Time to either the Patch Tempo (PATCH/COMMON/PATCH CLOCK). set this OFF. When using the Booster to distort the sound. B EXP-A–E: Wave Expansion Boards A–E * It is not possible to select a Group of a Wave Expansion Board that is not installed. set Mode to NORMAL and Delay Time to 0. fig. * If you do not wish to use Tone Delay. * When you use TONE SWITCH [1]–[4] to turn Tones on/off. you can create effects in which pressing a single key produces two or more sounds at different times.e If the key is pressed for longer than the specified Delay Time. 76 . If not. set the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM.

and a setting of 32 will result in a time that is 1/2 as long.. the setting will be in quarter-note steps.e Delay Time press key release key KEY-OFF-D: The Tone will not sound while the key is being pressed. Time (Tone Delay Time) Specify the time after when the Tone will sound when using Tone Delay. * If the Type parameter (PATCH/COMMON/STRUCT) is set to a selection of 2–10.3-35. selecting KEY-OFF-N or KEY-OFF-D may result in no sound being heard. A setting of 127 will result in a time that is twice as long as for a setting of 64.e. set the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM. fig. the Tone will synchronize to the tempo clock of the system regardless of which key is pressed. This is most effective when playing phrase loops in sync with the tempo of a song (p.3-34. the TVA envelope of the Tone will begin when the key is pressed. TEMPO-SYNC: If you select a Wave with tempo (BPM) being displayed. This means that the settings of Tone 1 (3) will be ignored.Chapter 3. * When selecting TEMPO-SYNC. Tone Delay will be activated.e Delay Time press key release key * If you have selected a Wave that is a decay-type sound (i. If PLAYMATE has been selected in Tone Delay mode. 130). but will sound after the Delay Time when the key is released. and the corresponding note value symbol will also be displayed. If you want to sync to the tempo of a system in Patch mode. If other values are set. a setting of 64 will mean that the delay time will be set to the interval between the previous Note On and the current Note On. Creating Your Own Sounds KEY-OFF-N: The Tone will not sound while the key is being pressed. pitch and FXM settings will be ignored. but will sound after the Delay Time when the key is released. However for this setting. fig. If you want to sync to the tempo of a system in Performance mode. If the Tone Delay Mode is set to CLOCK-SYNC. also set the Time parameter to 0. so in most cases only the decay portion of the sound will be heard. set the Source parameter (PERFORM/COMMON/ PERFORM CLOCK) to SYSTEM. a sound that fades away naturally even if the key is not released). the outputs of Tone 1 (3) and 2 (4) will be combined into Tone 2 (4). * When TEMPO-SYNC is selected. This lets you specify the delay time in note lengths relative to the synchronization tempo. 77 Chapter 3 .

e high (more) trapezoidal wave sample & hold wave random wave chaos wave WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan low (less) Delay Time Fade Time Depth Key Sync (LFO Key Sync) Specifies whether you want the LFO cycle to start in sync with the timing of a key press (ON) or not (OFF). This allows you to set the LFO rate in terms of a note length in the synchronization tempo.3-37. * If you have set the External Sync value to CLOCK. set the Source parameter (PATCH/ COMMON/PATCH CLOCK) to SYSTEM.3-36. WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan key is key is pressed released low (less) 78 . fig. When LFO is applied to the TVA Pan. ON-IN: The LFO will fade in after the key is pressed. Depending on the settings. How to Use the LFO Applying LFO to the Pitch creates vibrato. If you want to use a fixed tempo in Patch mode (Tempo parameter setting). this parameter will indicate a note value in multiples of a quarter note. LFO can be used to cyclically exchange two Tones. When the Chaos waveform is selected. fig.e The LFO will fade in after the key is released. high (more) Delay Time Fade Time Depth Rate (LFO Rate) Adjust the modulation rate of the LFO. and these can be used to apply change to the WG Pitch/TVF Cutoff Frequency/TVA Level/ TVA Pan.Chapter 3.3-39. If you want to use the system’s tempo clock in Patch mode. and will then fade out. * The Chaos waveform has no wavelength. but make LFO Depth settings of opposite polarity (+/-) for their TVA Level settings. applying it to TVF Cutoff Frequency creates wah. select the same LFO settings for both. If you want to use the system’s tempo clock in Performance mode. and applying it to TVA Level creates tremolo. For example if you wish to shift back and forth between Tones 1 and 2. ExtSync (LFO External Sync) Select how the LFO will be synchronized. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to PERFORM and set the desired tempo. Each Tone has two LFOs. and the corresponding note value symbol will also be displayed. OFF: Unsynchronized CLOCK: Synchronize the LFO to the Patch Tempo. there are explained here together. the stereo location of the sound will change cyclically. set the Source parameter (PATCH/COMMON/PATCH CLOCK) to PATCH and set the desired tempo. the Rate setting has no effect.e TRI SIN SAW SQR high (more) WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan Delay Time Fade Time Depth triangle wave sine wave sawtooth wave square wave low (less) key is pressed TRP S&H RND CHS ON-OUT: The LFO will be immediately applied when the key is pressed. or the tempo clock of the XP30’s system.3-38. LFO1/LFO2 Since both LFOs have the same parameters. If you want to use a fixed tempo in Performance mode (Tempo parameter setting). fig. Performance Tempo. Creating Your Own Sounds s Modulating Sounds (LFO) The LFO (Low Frequency Oscillator) creates cyclic change. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to SYSTEM.e Form (LFO Form) Select the waveform of the LFO. Mode (LFO Fade Mode) Select how the LFO will be applied. key is pressed OFF-IN: fig.

Keyboard position PCH ENVELOPE (Pitch Envelope) These parameters determine how the Pitch Envelope affects the pitch. Coarse (Coarse Tune) key is released Adjust the pitch in semitone steps (-4–+4 octaves).3-40. (Refer to the diagrams for Fade Mode. Two values are displayed for each parameter. Envelope Depth (Pitch Envelope Depth) Adjust the amount of the Pitch Envelope. set this parameter to +100. 79 Chapter 3 . Negative (-) settings will make the pitch become lower as you play up the keyboard. (Refer to the diagrams for Fade Mode.3-41. * One cent is 1/100th of a semitone. set this to 0. Higher settings will result in greater change. If you do not want the pitch to change randomly. If you want the pitch to change 1 octave when the keyboard position rises 1 octave (as on normal keyboard instruments). Negative (-) settings will invert the direction of the envelope. 2) Adjust how much the LFO will affect the TVA Level. set this parameter to 0.Chapter 3. The left one is for LFO1. Fine (Fine Tune) Adjust the pitch in 1-cent steps (-50–+50 cents). Pitch TVA (TVA LFO Depth 1. Pitch (Pitch LFO Depth 1. 2) Adjust how much the LFO will affect the WG Pitch. The value is in units of 1 cent.) Offset (LFO Offset) Adjust the basic value of the LFO waveform upward or downward. Delay (LFO Delay Time) Adjust the time from when the key is pressed (or released) until the LFO begins to take effect.) Random (Random Pitch Depth) If you want the pitch of the Tone to change randomly each time the key is pressed. set the desired amount of pitch change here. If you want the pitch to rise 2 octaves when the keyboard position rises 1 octave. Fade (LFO Fade Time) Adjust the time over which the LFO rises to its full effect (or diminishes). fig. high (more) WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan key is pressed low (less) Delay Time Fade Time Depth PITCH Specify the basic pitch of each Tone. Keyfollow (Pitch Key Follow) This parameter sets the amount of pitch change that will occur when you move one octave on the keyboard. TVF (TVF LFO Depth 1. 2) Adjust how much the LFO will affect the TVA Pan. and will begin fading out when the key is released. Creating Your Own Sounds OFF-OUT:The LFO will be immediately applied when the key is pressed. set this parameter to +200. fig. If you want all keys of the keyboard to produce the same pitch. 2) Adjust how much the LFO will affect the TVF Cutoff Frequency.e s Modifying Pitch (PITCH) The parameters in this group affect the WG Pitch of each Tone. and the right one is for LFO2.e +200 +150 +120 +100 +70 +50 +40 +30 +20 +10 0 –10 –30 –50 –70 –100 C2 C3 C4 C5 C6 C7 LFO DEPTH 1:2 These parameters adjust the way in which the LFO affects each parameter. Pan (Pan LFO Depth 1.

Use this parameter when you want the Cutoff Frequency to be affected by the keyboard position. fig. keyboard velocity will slow down the T1 time. OFF: filter not used. For some settings. keyboard velocity will speed up the T1 time. fig. keyboard velocity will slow down the T4 time. V-T1 (Pitch Envelope Time 1 Velocity Sensitivity) Use this parameter when you want keyboard playing dynamics (velocity) to affect T1 (time) of the Pitch Envelope. For positive (+) settings. EnvDepth (TVF Envelope Depth) Adjust the depth of the TVF envelope. V-T4 (Pitch Envelope Time 4 Velocity Sensitivity) Use this parameter when you want keyboard playing dynamics (velocity) to affect T4 (time) of the Pitch Envelope. Type (Filter Type) Select the filter type. Negative (-) settings will invert the direction of change. Negative () settings will make the Cutoff Frequency fall. 80 parameter value Cutoff frequency Low . Negative (-) values will invert the envelope.3-42. Positive (+) settings will cause the time change to become shorter for notes to the right of middle C.e T1 L1 T2 T3 T4 L3 Keyfollow (Cutoff Frequency Key Follow) Time Pitch key is pressed key is released L4 L2 T1–4 (Pitch Envelope Time 1–4) Set the times over which the pitch will change from one point to the next.3-43. PCH TIME ENV (Pitch Time Envelope) These parameters determine how keyboard playing dynamics will affect the times of the Pitch Envelope. HPF (High Pass Filter): Cut the frequencies below the Cutoff Frequency. BPF (Band Pass Filter): Pass only the frequencies in the area of the Cutoff Frequency. Higher settings of this parameter will cause greater time change relative to the envelope time at middle C (C4). there will be a greater difference between softly and strongly played notes. For higher settings. For positive (+) settings. Higher values will result in greater change relative to middle C (C4). there will be a greater difference between softly and strongly played notes. Higher settings will result in greater change. For higher settings.e LPF Level High Frequency BPF HPF PKG PCH ENVELOPE (Pitch Envelope) These parameters set the Pitch Envelope (the shape of the pitch change over time). Positive (+) settings will make the Cutoff Frequency rise as you play further the right of the keyboard. Negative (-) settings will cause the time change to become longer for notes to the right of middle C. LPF (Low Pass Filter): Cut the frequencies above the Cutoff Frequency. keyboard velocity will speed up the T4 time. This is the most common type of filter used in synthesizers. L1–L4 (Pitch Envelope Level 1–4) Set the amount of pitch change (relative to the basic pitch) for each point. Res (Resonance) Emphasize the frequencies in the area of the Cutoff Frequency. For higher settings. there will be a greater difference between softly and strongly played notes. s Modifying the Brightness of Sound with a Filter (TVF) The parameters in this group allow you to use the TVF (Time Variant Filter) to modify the frequency characteristics of the sound. Creating Your Own Sounds Velocity Sens (Pitch Envelope Velocity Sensitivity) Set this parameter when you want your keyboard playing dynamics to affect the amount of pitch change. PKG (Peaking Filter): Emphasize the frequencies in the area of the Cutoff Frequency. Cut (Cutoff Frequency) Set the frequency of the filter. excessive levels can cause oscillation and distortion. FILTER These parameters are the TVF filter settings. Time Keyfollow (Pitch Envelope Time Key Follow) Use this parameter when you want the keyboard location of the note to affect the times (T2–T4) of the Pitch Envelope. For negative (-) settings. For negative (-) settings.Chapter 3.

0 is center. TVA Level Adjust the basic volume of the Tone. Higher settings will result in a greater difference between strongly and softly played notes.Chapter 3. If you want a quicker release to speed up the T4 time. TVF ENVELOPE These parameters set the TVF envelope (the way in which the cutoff frequency will change over time).e V-Sens (TVF Envelope Velocity Sensitivity) Use this parameter when you want velocity to affect the TVF Envelope. L1–L4 (TVF Envelope Level 1–4) Set the cutoff frequency levels for each point. Higher settings will result in a greater difference between strongly and softly played notes. T1 L1 T2 T3 T4 L2 L3 L4 Cutoff Frequency key is pressed V-Curve (TVF Envelope Velocity Curve) Select one of 7 types of curve with which velocity will affect the Cutoff Frequency. Negative (-) settings will invert the effect. V-Sens (TVA Envelope Velocity Sensitivity) Use this parameter when you want keyboard velocity to affect the amount of change produced by the TVA envelope. Time Keyfollow (TVF Envelope Time Key Follow) Use this parameter when you want keyboard position to affect the times (T2–T4) of the TVF envelope. use negative (-) settings. V-T1 (TVF Envelope Time 1 Velocity Sensitivity) Use this parameter when you want velocity to affect T1 (time) of the TVF envelope. 81 Chapter 3 . Higher settings will result in a greater difference between strongly and softly played notes. V-T4 (TVF Envelope Time 4 Velocity Sensitivity) Use this parameter when you want Key Off Velocity (the speed at which you release a key) to affect T4 (time) of the TVF envelope. V-Resonance (Resonance Velocity Sensitivity) Use this parameter when you want velocity to affect the Resonance. fig. and 63R is full right. L64 is full left. TVF TIME ENV (TVF Time Envelope) These parameters determine how keyboard velocity will affect the times of the TVF envelope. Negative (-) settings will conversely result in longer times. Positive (+) settings will result in shorter times as you play toward the right of the keyboard. The curve is displayed graphically at the right of the value. Time key is released T1–T4 (TVF Envelope Time 1–4) Set the times over which the cutoff frequency will move from one point to the next. relative to the basic cutoff frequency. To slow down the T4 time. Negative (-) settings will invert the effect. Higher settings will result in greater changes relative to middle C (C4). To slow down the T1 time. use positive (+) settings. Use this parameter to adjust the volume balance between Tones. Higher settings will result in a greater difference between strongly and softly played notes. use negative (-) settings. V-Curve (TVA Envelope Velocity Curve) Select one of 7 curves that will determine how keyboard playing dynamics will affect the TVA envelope. Pan Adjust the pan (stereo location) of the Tone. use positive (+) settings. Creating Your Own Sounds TVF VELOCITY These parameters determine how keyboard velocity will affect TVF Envelope/Cutoff Frequency/Resonance.3-44. Negative (-) settings will invert the effect. The selected curve will be displayed at the right of the numerical value. Higher settings will result in a greater difference between quickly and slowly released notes. If you want higher keyboard velocities to speed up the T1 time. s Changing the Sound’s Volume and Stereo Location (TVA) The TVA (Time Variant Amplifier) controls volume changes and stereo location.

e L or R values can be set. If you want a quicker release to slow down the T4 time. Negative (-) settings will result in longer times as you play toward the right of the keyboard. Key G9 Key Bias Point G9 C-1 Bias Point V-T1 (TVF Envelope Time 1 Velocity Sensitivity) Use this parameter when you want velocity to affect T1 (time) of the TVA envelope.3-46. Use this parameter when you want Key Off Velocity (the speed at which you release a key) to affect T4 (time) of the TVA envelope. If you want to alternate the pan position of two Tones. use positive (+) settings. L3 Time key is pressed key is released Random (Random Pan Depth) Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will result in a greater difference between quickly and slowly released notes. Alternate (Alternate Pan Depth) Use this parameter when you want the stereo location to alternate between left and right each time you press a key. Higher values will result in greater change relative to middle C (C4).e PAN MODULATE Use these parameters to affect the location of the TVA Pan. Point (Bias Point) Select the key at which the volume will begin to change. Negative (-) values will invert the change. Positive (+) settings will result in shorter times as you play toward the right of the keyboard. If you want higher velocities to speed up T1 time. T1–T4 (TVA Envelope 1–4) Adjust the time over which the volume changes from one point to the next. If you want a quicker release to speed up the T4 time. set them to opposite L and R settings. relative to the Bias Point Time Keyfollow (TVA Envelope Time Key Follow) Use this parameter when you want keyboard position to affect TVA envelope times (T2–T4). If you want higher velocities to slow down T1 time. Higher settings will result in greater change. use negative (-) values.Chapter 3. LOWER + Level 0 – C-1 UPPER Level TVA TIME ENV (TVA Time Envelope) + 0 – These parameters determine how the keyboard will affect the time changes of the TVA envelope. Direction (Bias Direction) Select the direction in which change will occur starting from the Bias Point. Higher values will result in a greater change relative to middle C (C4). Higher values will result in a greater width of change. L1–L3 (TVA Envelope 1–3) Adjust the volume level of each point relative to the basic TVA level. T1 T2 L1 L2 T3 T4 Level Keyfollow (Pan Key Follow) Use this parameter when you want the keyboard position to change the stereo location. LOWER: the range below the Bias Point UPPER: the range above the Bias Point LOWER&UPPER: the ranges both above and below the Bias Point ALL: the entire keyboard will be biased at the angle determined by the Bias Level. Negative (-) settings will cause the opposite. fig. Creating Your Own Sounds BIAS Use the Bias parameter when you want keyboard position to affect the TVA level. LOWER&UPPER + Level 0 – C-1 + 0 – ALL Level – 0 + + 0 – Bias Point G9 Key C-1 Bias Point G9 Key V-T4 (TVA Envelope Time 4 Velocity Sensitivity) Bias (Bias Level) Adjust the angle of the volume change that will occur in the selected Bias Direction. and this will reverse the left/right order of the panning. Higher values will result in a greater width of change.3-45. Positive (+) settings will cause notes played toward the right of the keyboard to be panned right. fig. use positive (+) values. Higher settings will result in a greater difference between strongly and softly played notes. use negative (-) settings. TVA ENVELOPE (TVA Envelope) These parameters make settings for the TVA envelope (changes over time in the TVA level). 82 .

Making Key Range settings for each Part allows you to split the keyboard to play different Parts in separate sections.3-11 SINGLE: When you play the keyboard. KEYBOARD Octave Shift This parameter adjusts the pitch of each Part in units of an octave (-3–+3 octaves). you probably won’t be able to play many simultaneous voices. Time parameter (PATCH/WAVE/TONE DELAY). These include Performance Name and Key Mode. If you have selected a Single-type Performance. * When Source (Performance Clock Source) is set to SYSTEM. Lower (Key Range Lower) Set the lowest note that the Part will play. * The Performance Clock does not transmit clock messages from MIDI OUT connector. Creating Your Own Sounds Functions of Performance Parameters fig. the upper right of the PERFORM PLAY display will indicate “LAYER p*” (* is the part number). 46). Source (Performance Clock Source) Select the source of the Performance Clock. and the settings of this display will be used instead. s Settings Common to the Entire Performance (COMMON) This display is used when setting parameters that are not part of other groups. However when a Patch is used in Performance mode. Transmission of MIDI messages from the controller section to external MIDI devices will be determined by the Tx parameter setting (PERFORM/MIDI/MIDI) of each Part. * For details on assigning names. * It is not possible to set Lower to a value greater than Upper. all Parts whose Local parameter (PERFORM/MIDI/MIDI) is turned on will sound. refer to “Assigning a Name” (p. LAYER: When you play the keyboard. nor Upper to a value less than Lower. PERFORM NAME (Performance Name) You can assign a name to the Performance of up to 12 characters. Tempo (Performance Tempo) Set the Performance Tempo setting. * If Key Range settings have been made for the Patch. * If you have selected a Layer-type Performance.Chapter 3. MIDI messages will be transmitted from the controller section to the external MIDI devices even if the Local parameter and Tx parameter settings for each Part (PERFORM/MIDI/MIDI) are turned off. so it will not be possible to set the tempo value. PLAY display. KEY RANG (Key Range) Set the range in which each Part will sound. both values will change together. If you want them to be applied. * If LAYER has been selected and you try to play Patches of all Parts. PERFORM CLOCK Some parameters allow you to set a time value in terms of a note length which is determined by a specified tempo. Key Range (Key Range Switch) This parameter determines whether or not the Key Range settings (next display) will be applied or not. the Patch settings will be ignored. and some Multi-Effects parameters. hold down [SHIFT] while you press [SOLO]. synchronization will be according to the tempo clock of the system. When layering Patches. SYSTEM: Synchronize to the tempo clock of the ststem. Upper (Key Range Upper) Set the highest note that the Part will play. only the specified Part (the Part shown in the display) will sound. Rate parameters (PATCH/LFO/LFO1. The specified tempo used by these parameters can be set for each Patch. 2). If you attempt to do so. the keyboard area specified by Key Range will also be shifted. The tempo of the system will be displayed in parentheses ( ). Use this when you wish to play different Patches in different areas of the keyboard. turn this ON. be aware of the number of voices available and turn off unnecessary Parts. 83 Chapter 3 * To switch between SINGLE and LAYER from the PERFORM . * If you have used Octave Shift (System) or the Transpose parameter (SYSTEM/CONTROL/KEYBOARD) to transpose the pitch of the XP-30’s keyboard. only the notes for which the Key Range settings of the Patch and Performance overlap will play. the number of the Part that can be played from the keyboard will be displayed. PERFORM COMMON Key Mode This parameter determines how the sound source will be played from the XP-30’s keyboard. PERFORM: Synchronize to the Performance Tempo setting.

If you wish to use the EFX parameter settings of the Performance. * If EFX Source has been set to use the EFX parameter settings of the Patch assigned to one of the Parts. those settings will be displayed in the EFX parameter setting display of the Performance. EFX: output to the OUTPUT jack through Multi-Effects. In other words. When the EFX Parameter Settings of a Patch Are Selected When the EFX parameter settings of a Patch are selected. the settings of this display will be ignored. * For Parts which have an Output Assign setting of MIX. * If you have selected the EFX parameter settings of one of the Patches assigned to a Part as the EFX Source. Creating Your Own Sounds s Setting Effects for a Performance (EFFECTS) This group contains settings for the Multi-Effects/Chorus/ Reverb effects used by a Performance.Chapter 3. 93). the EFX Type of that Patch will be displayed. 84 . select PERFORM. The upper line of the display will show the EFX parameter to be controlled. Output Assign (Output Assign/Output Level) Select whether the output of each Part will be sent through Multi-Effects. 93). * If you select MIX or EFX. Mix Out (EFX Output Level) Adjust the volume of the direct sound and Multi-Effects sound. the settings of this display will apply only to Tones for which EFX is selected. * If EFX Source has been set to use the EFX settings of the Patch assigned to one of the Parts. 93). the setting of the Output Assign parameter (PATCH/EFFECTS/OUTPUT) will be ignored. the Part number will be shown in the upper left of the display. * For Parts which have an Output Assign setting of PATCH. For details refer to “Multi-Effects Types (EFX Parameter)” (p. and adjust the volume level of each Part. If you wish to use the EFX parameter settings of the Patch assigned to one of the Parts. Reverb (Reverb Send Level) Adjust the amount of Reverb applied to the sound that passes through Multi-Effects. fig. For details refer to “MultiEffects Types (EFX Parameter)” (p. the Output Assign settings of each Tone of the Patch will be used. The types of EFX parameters available for control will depend on the EFX type. MIX: output to the OUTPUT jack without passing through Multi-Effects. Type (EFX Type) Select the type of Multi-Effects. OUTPUT Specify how each Part will be output. Source (EFX Source) Select the EFX parameter settings that will be used by the Performance. PERFORM EFX CTRL (Performance EFX Control) Use this parameter when you wish to use a specific controller to control an EFX parameter. The modified Patch EFX parameter settings will be lost if you select a different Patch. PERFORM EFX PRM (Performance EFX Parameters) The EFX parameters for the selected EFX Type will be displayed. Reverb (Reverb Send Level) Adjust the amount of Reverb that is applied to each Part. PERFORM EFX TYPE (Performance EFX TYPE) These parameters set the Performance Multi-Effects. Chorus (Chorus Send Level) Adjust the amount of Chorus applied to the sound that passes through Multi-Effects. For each EFX parameter you can specify the EFX Control Source and the EFX Control Depth.3-47 PERFORM EFX OUT (Performance EFX Output) These parameters specify the output for the Part for which EFX was selected in Output Assign. the Part number will be shown in the upper left of the display. If you wish to keep the Patch EFX parameter settings that you modify. it is not possible to select Part 10. select the Part number. rewrite the Patch settings. and you will be able to modify them. Since the Rhythm Set does not have EFX parameter settings. Chorus (Chorus Send Level) Adjust the amount of Chorus that is applied to each Part. For details refer to “Multi-Effects Types (EFX Parameter)” (p. PATCH: use the Output Assign settings (for each Tone) of the Patch assigned to each Part.

If you wish to use a controller that is common to all Patches.3-29. Chorus input Reverb OUTPUT Reverb input Chorus REV:Apply reverb to the chorus sound. Fbk (Chorus Feedback Level) Adjust the amount of chorus sound that is returned (fed back) into the chorus. Reverb input Chorus Reverb OUTPUT Chorus input PERFORM REVERB Make settings for the Reverb effect of the Performance. and then use the Control 1/2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) to select the controller.e The Chorus sound and the Reverb sound are mixed. Type (Reverb/Delay Type) Select the type of Reverb effect. * In Performance mode. Level (Chorus Level) Adjust the volume level of the chorus sound. the Reverb settings of the Patches used by each Part will be ignored (except for the Send Level parameter). Higher values will result in greater change. ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear reverberance HALL2: reverb with rich reverberance DELAY: a conventional delay PAN-DLY: a delay with echoes that move left and right Delay (Chorus Pre Delay) Adjust the time delay from when the direct sound begins until the chorus sound is heard.3-28. or a controller that cannot be selected here. Time (Reverb/Delay Time) Adjust the time of reverberation.e PERFORM CHORUS Make settings for the Chorus effect of the Performance. M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied. Creating Your Own Sounds EFX Control Source 1. Depth (Chorus Depth) Adjust the depth of modulation for the chorus. the Chorus settings of the Patches used by each Part will be ignored (except for the Send Level parameter). 2 The MIDI controllers that can be used are shown below. * In Performance mode. OFF: a controller will not be used SYS-CTRL1: System controller (Control 1) SYS-CTRL2: System controller (Control 2) MODULATION: Modulation (MIDI controller number 1) BREATH: Breath (MIDI controller number 2) FOOT: Foot (MIDI controller number 4) VOLUME: Volume (MIDI controller number 7) PAN: Pan (MIDI controller number 10) EXPRESSION: Expression (MIDI controller number 11) PITCH BEND: Pitch bend AFTERTOUCH: Aftertouch Out (Chorus Output Assign) Select the way in which the Chorus and Reverb are connected. fig. 85 Chapter 3 EFX Control Depth 1. 2 . first select SYSCTRL1 or SYS-CTRL2. Higher values will create a more spacious sound. If you have selected DELAY or PAN-DLY.e Chorus input Chorus Reverb input Reverb OUTPUT Adjust the amount of change that will occur in response to controller movement. Rate (Chorus Rate) Adjust the speed of modulation for the chorus. Higher values will create a more intense effect. this parameter will adjust the time delay from the original sound until the first echo will sound.3-27.Chapter 3. fig. MIX: fig. Negative (-) values will invert the direction of the change.

In this case. * If you want a Part to receive Program Change messages. Channel (MIDI Channel) Set the MIDI channel of each Part. change the Control Channel to a different setting. hold down [SHIFT] while you press the function button for the Part you want to alter. Level (Reverb/Delay Level) Adjust the volume of the reverberant (or delayed) sound. for each Part. turn this ON. Rx (Receive Switch) Specify whether or not you want each Part to receive MIDI messages from the external MIDI devices. Normally you will leave this ON. PATCH: When you select a Performance. but you can turn it OFF when you do not want a specific Part to be playing during a song playback. As the frequency is set lower. If you want to select Patches.. TRANSMIT (Transmit Bank Select) BankSelectGroup (Transmit Bank Select Group) When you select a Performance. RxSWITCH (Receive Switch) Specify whether each Part will receive certain MIDI messages or not. * When the Key Mode parameter (PERFORM/COMMON/ PERFORM COMMON) is set to SINGLE. In the BANK SEL GROUP display (SYSTEM/MIDI) you can set the Bank Select number for each Bank Select Group. turn this ON. BS1-7: When you select a Performance. 86 . resulting in a softer and more muted reverberance. Bank Select and Program Change messages will be transmitted for the Patch or Rhythm Set assigned to each Part as determined by this setting. but you can turn it OFF when you do not want the XP-30 to control external sound sources. Volume (Receive Volume Switch) If you want the Part to receive Volume messages. Normally you will leave this ON. Higher values result in more delay repeats. * If you have selected any one of the Reverb types (ROOM1– HALL2). Normally you will leave this ON. the setting for the Local parameter is deactivated. Bank Select and Program Change messages will be transmitted for the Patch/Rhythm Set that is assigned to each Part. and only the MIDI messages of the current Part are sent from the MIDI OUT connector. s Making MIDI Settings for a Part (MIDI) MIDI These parameters determine how each Part will transmit and receive MIDI messages. more of the high frequencies will be cut. Local (Local Switch) Specify for each Part whether or not you want to disconnect the controller section from the internal sound source when the Key Mode parameter (PERFORM/COMMON/ PERFORM COMMON) is set to LAYER. this parameter has no effect. Tx (Transmit Switch) This determines. and when you finger the keyboard. turn this ON. you must also turn the Program Change parameter ON (SYSTEM/ MIDI/RECEIVE MIDI). HF Damp (Reverb/Delay HF Damp) Adjust the frequency above which the reverberant sound will be cut. the setting for the Tx parameter is deactivated. Creating Your Own Sounds Fbk (Delay Feedback Level) Adjust the amount of delayed sound that is returned (fed back) to the delay. the Bank Select Number that is transmitted will be determined by the Bank Select Group (BS1–7) setting. set this parameter to BYPASS. * If this is set to the same channel as the Control Channel parameter (SYSTEM/MIDI/PERFORM MIDI). Hold-1 (Receive Hold 1 Switch) If you want the Part to receive Hold 1 messages. * To switch between ON and OFF from the PERFORM PLAY display. If not. press the function button for the Part you want to alter. only the patch for the current Part sounds. * When the Key Mode parameter (PERFORM/COMMON/ PERFORM COMMON) is at SINGLE. If you do not want the high frequencies to be cut. turn this OFF. If not. whether or not data generated by the controller section is sent as MIDI messages from the MIDI OUT connector when the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON) is set to LAYER. Program Change (Receive Program Change Switch) If you want the Part to receive Program Change messages. attempting to use MIDI messages (Program Change and Bank Select) from an external device to select Patches will select Performances instead. * To switch between ON and OFF from the PERFORM PLAY display. but you can turn it OFF when you want to use the XP-30 only to control an external sound source. If not.Chapter 3. Bank Select messages and Program Change messages for the Patch/Rhythm Set that is assigned to each Part will not be transmitted. turn this OFF. turn this OFF.

If you do not want Volume messages to be transmitted. Voices (Voice Information) The number of voices used Level Adjust the volume of each Part. Keep this in mind as you make settings. * One cent is 1/100th of a semitone. Creating Your Own Sounds * Bank Select and Program Change messages will not be transmitted for Parts whose Tx parameter (PERFORM/MIDI/ MIDI) is turned off. s Confirming MIDI Information for Each Part (INFO) INFO (Part Information) The displays in this group allow you to check various settings such as MIDI message reception status for each Part. Mod (Modulation Information) Breath (Breath Information) Foot (Foot Information) Vol (Volume Information) Pan (Pan Information) Exp (Expression Information) Hold (Hold 1 Information) Aft (Aftertouch Information) Sys1 (System Controller 1 Information) The MIDI message specified as the Control 1 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) Group (Patch Group) Select the group of the Patch (or Rhythm Set for Part 10). If you have selected a Layer-type Performance. The number of remaining voices available is indicated at the right of the parameter name (rest=). the MIDI message will be transmitted to all Parts whose Tx parameter (PERFORM/MIDI/MIDI) is turned on. * It is not possible to make Voice Reserve settings that would cause the total of all Parts to be greater than 64 voices. Transmit Volume If you want Volume messages to also be transmitted when you select a Performance. L64 is full left. This is convenient when you need to check that the sound source is responding correctly to messages from the keyboard or external MIDI controller. set this to OFF. and 63R is full right. specify the desired volume here. Coarse (Coarse Tune) Adjust the pitch of the Part in semitone steps (-4–+4 octaves). MIDI Message Transmission When you modify a value (other than Voice) in the INFO display. If you have selected a Single-type Performance. Pan Adjust the stereo location of the Part. Fine (Fine Tune) Adjust the pitch of the Part in 1-cent steps (-50–+50 cents). Use this parameter to adjust the volume balance between Parts. 0 is center. USER: User memory PR-A–C. and will also be transmitted to external MIDI devices on the MIDI channel of each of these Parts. The Patch name will be displayed in parentheses ( ). 87 Chapter 3 Bend (Bender Information) . and will simultaneously be transmitted to external MIDI devices on the MIDI channel of that Part. E: Preset memory A–C. the MIDI message will be transmitted to the specified Part. and pitch settings for each Part. E GM: Preset memory GM XP-A–E: Wave Expansion Board A–E * It is not possible to select a group for a Wave Expansion Board that has not been installed. pan. Number (Patch Number) Specify the number of the Patch. Sys2 (System Controller 2 Information) The MIDI message specified as the Control 2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) SETTING Make volume. the MIDI message of the modified value will be transmitted to the internal sound source and to external MIDI devices. RESERVE (Voice Reserve) Voice Reserve This setting determine how many voices will be reserved for each Part when more than 64 simultaneous voices are requested. s Making Settings for Each Part (PART) PATCH Select the Patch for each Part.Chapter 3. The way in which the message will be transmitted will depend on the settings of the currently selected Performance.

You can modify the Performance effect settings from inside Rhythm Set mode. 46). s Setting Effects for a Rhythm Tone (EFFECTS) * Rhythm Sets use the effect settings of the Performance currently selected in Performance mode. PERFORM EFX TYPE (Performance EFX Type) * If EFX Source has been set to use the EFX parameter settings of the Patch assigned to one of the Parts. you need to store them as Performance settings. select the Part number. * If EFX Source has been set to use the EFX parameter settings of the Patch assigned to one of the Parts. PERFORM EFX OUT (Performance EFX Output) These parameters specify the output for the keys for which EFX was selected in Output Assign. the EFX Type of that Patch will be displayed. For details refer to “Multi-Effects Types (EFX Parameter)” (p. EFX: output to the OUTPUT jack after passing through Multi-Effects. 93). * If you have selected the EFX parameter settings of one of the Patches assigned to a Part as the EFX Source. refer to “Assigning a Name” (p. Reverb (Reverb Send Level) Adjust the amount of Reverb for each key. the Part number will be shown in the upper left of the display. * For keys which have an Output Assign setting of MIX. When the EFX Parameter Settings of a Patch Are Selected When the EFX parameter settings of a Patch are selected. PERFORM EFX PRM (Performance EFX Parameters) The EFX parameters for the selected EFX Type will be displayed. 93). Reverb (Reverb Send Level) Adjust the amount of Reverb applied to the sound that passes through Multi-Effects. Mix Out (EFX Output Level) Adjust the volume of the direct sound and Multi-Effects sound. and you will be able to modify them. the settings of this display will be ignored. select PERFORM. * For details on assigning names. Source (EFX Source) Select the EFX parameter settings that will be used by the Performance. Output Assign (Output Assign/Output Level) For the output of each key. OUTPUT Specify the output for each key. The modified Patch EFX parameter settings will be lost if you select a different Patch. but they are not stored as Rhythm Set settings. If you wish to keep the effect settings.3-16 Type (EFX Type) Select the type of EFX. s Naming a Rhythm Set (COMMON) RHYTHM NAME (Rhythm Set Name) You can assign a name of up to 12 characters to a Rhythm Set.Chapter 3. If you wish to keep the Patch EFX parameter settings that you modify. Creating Your Own Sounds Functions of Rhythm Set Parameters fig. specify whether or not it will be sent through Multi-Effects. the Part number will be shown in the upper left of the display. 88 . If you wish to use the EFX parameter settings of the Patch assigned to one of the Parts. Chorus (Chorus Send Level) Adjust the amount of Chorus for each key. those settings will be displayed in the EFX parameter setting display of the Performance. If you wish to use the EFX parameter settings of the Performance. and adjust the volume level. rewrite the Patch settings. Chorus (Chorus Send Level) Adjust the amount of Chorus applied to the sound that passes through Multi-Effects. For details refer to “Multi-Effects Types (EFX Parameter)” (p. MIX: output to the OUTPUT jack without passing through Multi-Effects.

Higher values will create a more intense effect.e The Chorus sound and the Reverb sound are mixed. and then use the Control 1/2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) to select the controller. Depth (Chorus Depth) Adjust the depth of modulation for the chorus. PERFORM CHORUS Make settings for the Chorus effect of the Performance. The upper line of the display will show the EFX parameter to be controlled.3-29. Fbk (Chorus Feedback Level) Adjust the amount of chorus sound that is returned (fed back) into the chorus. Negative (-) values will invert the direction of the change. MIX: fig.Chapter 3. fig. 2 The MIDI controllers that can be used are shown below. Creating Your Own Sounds PERFORM EFX CTRL (Performance EFX control) Use this parameter when you wish to use a specific controller to control an EFX parameter. For details refer to “Multi-Effects Types (EFX Parameter)” (p. Higher values will result in greater change. 2 Adjust the amount of change that will occur in response to controller movement. first select SYSCTRL1 or SYS-CTRL2. Higher values will create a more spacious sound. Type (Reverb/Delay Type) Select the type of Reverb effect. The types of EFX parameters available for control will depend on the EFX type. Out (Chorus Output Assign) Select the way in which the Chorus and Reverb are connected. For each EFX parameter you can specify the EFX Control Source and the EFX Control Depth. Time (Reverb/Delay Time) Adjust the time of the reverberation.e Chorus input Chorus Reverb input Reverb OUTPUT M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied. Chorus input Reverb OUTPUT EFX Control Source 1.3-27. fig. ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear reverberance HALL2: reverb with rich reverberance DELAY: a conventional delay PAN-DLY: a delay with echoes that move left and right Rate (Chorus Rate) Adjust the speed of modulation for the chorus. 93). or a controller that cannot be selected here. this parameter will adjust the time delay from the original sound until the first echo will sound.e Reverb input Chorus Reverb OUTPUT EFX Control Depth 1.3-28. Chorus input PERFORM REVERB Make settings for the Reverb effect of the Performance. Level (Chorus Level) Adjust the volume level of the chorus sound. If you have selected DELAY or PAN-DLY. 89 Chapter 3 . OFF: a controller will not be used SYS-CTRL1: System controller (Control 1) SYS-CTRL2: System controller (Control 2) MODULATION: Modulation (MIDI controller number 1) BREATH: Breath (MIDI controller number 2) FOOT: Foot (MIDI controller number 4) VOLUME: Volume (MIDI controller number 7) PAN: Pan (MIDI controller number 10) EXPRESSION: Expression (MIDI controller number 11) PITCH BEND: Pitch bend AFTERTOUCH: Aftertouch Reverb input Chorus REV:Apply reverb to the chorus sound. Delay (Chorus Pre Delay) Adjust the time delay from when the direct sound begins until the chorus sound is heard. If you wish to use a controller that is common to all Patches.

it will not sustain even if this parameter is set to SUSTAIN. in steps of 6 dB. OFF: Not received. CONTROL These parameters determine how each note is controlled. 90 . An increase of 6 dB doubles the gain. turn it OFF. Env Mode (Envelope Mode) When a loop-type Wave is selected. Taking the example of an acoustic drum set. In this case. CONT: Whenever a Pan message is received. Up to 31 Mute Groups can be used. resulting in a softer and more muted reverberance. the Hold-1 parameter (PERFORM/MIDI/RxSWITCH) must also be turned ON for Part 10 of the currently selected Performance. Number (Wave Number) Select the Wave number. it will normally continue to sound as long as the key is pressed. The setting range is -6–+12 dB. and OFF for keys you do not wish to sound. If you do not want a Rhythm Tone to use a Mute Group. Volume (Receive Volume Switch) If you want Volume messages to be received. To simulate this type of situation on the XP30. If not. If you do not want the high frequencies to be cut. WAVE Group (Wave Group) Select the Group of the Wave. Bend Range Specify the amount of pitch change (in semitones) that will occur when the Pitch Bend Lever is moved (maximum +1 octave). it will immediately change the stereo location of the sound. The name of the Wave will be displayed in parentheses ( ). Gain (Wave Gain) Adjust the gain (volume boost) of the Wave. turn this parameter ON. Level (Reverb/Delay Level) Adjust the volume of the reverberant (or delayed) sound. * If a one-shot type Wave is selected. As the frequency is set lower. INT-A. it is obviously impossible for an open hi-hat and a closed hi-hat sound to occur simultaneously. KEY-ON: The stereo location of the sound will be changed when the next note is played. Pan (Receive Pan Control Switch) Specify how Pan messages will be received. turn it OFF. HF Damp (Reverb/Delay HF Damp) Adjust the frequency above which the reverberant sound will be cut. * If you have selected any one of the Reverb types (ROOM1– HALL2). and the currently sounding note will not move. the Volume parameter (PERFORM/MIDI/RxSWITCH) must also be turned ON for Part 10 of the currently selected Performance. set this parameter to BYPASS. s Modifying Waveform of a Rhythm Tone (WAVE) Make settings for the basic waveform (Wave) of the Rhythm Tone assigned to each key. RxSWITCH (Receive Switch) These parameters determine how each key will receive Volume / Pan / Hold 1 MIDI messages. If you want it to decay naturally even if the key remains pressed. set this to NO-SUS. s Controlling How a Rhythm Tone will Sound with Controllers (CONTROL) The parameters in this group determine how the controllers function and how instruments in a Rhythm Set will sound. * In order for Volume messages to be received. Hold-1 (Receive Hold 1 Switch) If you want Hold 1 messages to be received. B: Internal A. turn this parameter ON. more of the high frequencies will be cut.Chapter 3. turn it OFF. this parameter has no effect. Mute Group The Mute Group function lets you specify that certain Rhythm Tones not be allowed to sound simultaneously. If not. Switch (Key Switch) Turn this ON for keys you wish to sound. the stereo location will change only for the note played later. B EXP-A–E: Wave Expansion Boards A–E * It is not possible to select a Group of a Wave Expansion Board that is not installed. If a Pan message is received while a note is sounding. the current stereo location will not change until the next note. set each hi-hat sound to the same Mute Group number. Creating Your Own Sounds Fbk (Delay Feedback Level) Adjust the amount of delayed sound that is returned (fed back) to the delay. Higher values result in more delay repeats. * In order for Hold 1 messages to be received.

s Changing the Tone (Filter) of a Rhythm Tone (TVF) The TVF (Time Variant Filter) uses a filter to modify the frequency characteristics of the sound. fig. LPF Level High Frequency BPF HPF PKG PCH ENVELOPE Make settings for the Pitch Envelope (changes in pitch over time). Higher settings will result in a greater time difference between strongly and softly played notes. Negative (-) settings will invert the change.3-43. PITCH Specify the basic pitch for the Rhythm Tone. Negative (-) settings will invert the change. specify the width of the change. Higher settings will result in a greater difference between strongly and softly played notes. L1–4 (Pitch Envelope Level 1–4) Specify the pitch change for each point relative to the basic pitch. This is the most common type of filter used in synthesizers. The value is in units of 1 cent. HPF (High Pass Filter): Cut the frequencies below the Cutoff Frequency. Velocity Sens (Pitch Envelope Velocity Sensitivity) Use this parameter if you want key velocity to change the effect of the Pitch Envelope. Type (Filter Type) Select the filter type. Env Depth (Pitch Envelope Depth) Adjust the effect of the Pitch Envelope. LPF (Low Pass Filter): Cut the frequencies above the Cutoff Frequency. excessive levels can cause oscillation and distortion. Creating Your Own Sounds s Modifying Pitch of a Rhythm Tone (PITCH) This group contains parameters that affect the pitch of the Rhythm Tone for each key. Higher settings will result in greater change. For some settings. BPF (Band Pass Filter): Pass only the frequencies in the area of the Cutoff Frequency. Random (Random Pitch Depth) If you want the pitch to change randomly each time you press a key. * One cent is 1/100th of a semitone. key is released L4 parameter value Cutoff frequency Low 91 Chapter 3 . set this parameter to 0. Cutoff (Cutoff Frequency) Set the basic frequency of the filter. PCH VELOCITY Specify how key velocity will change the effect of the Pitch Envelope. PKG (Peaking Filter): Emphasize the frequencies in the area of the Cutoff Frequency. Coarse (Coarse Tune) Select the key corresponding to the pitch at which you wish to sound the Rhythm Tone. OFF: filter not used. If you do not want random pitch change. Resonance Emphasize the frequencies in the area of the Cutoff Frequency. FILTER Make TVF filter settings. fig.e Velocity Time (Pitch Envelope Time Velocity Sensitivity) Use this parameter if you want key velocity to change the overall time of the Pitch Envelope.3-42.Chapter 3. Higher settings will result in greater change.e T1 L1 T2 T3 T4 L3 Pitch Time key is pressed L2 Env Depth (TVF Envelope Depth) Adjust the depth of the TVF envelope. Negative (-) settings will invert the envelope. Negative (-) values will invert the envelope. Fine (Fine Tune) Adjust the pitch in 1-cent steps (-50–+50 cents). T1–4 (Pitch Envelope Time 1–4) Specify the time over which the pitch will change from one point to the next.

Higher values will result in a greater width of change. TVA VELOCITY Specify how keyboard velocity will affect the time of the TVA envelope. If you want to alternate the pan position of two Rhythm Tones. T1–T4 (TVA Envelope Time 1–4) Adjust the time over which the volume changes from one point to the next.Chapter 3. V-Time (TVF Envelope Time Velocity Sensitivity) Use this parameter when you want velocity to affect the time of the TVF envelope. T1 L1 T2 T3 T4 L2 L3 L4 Cutoff Frequency key is pressed Velocity Time (TVA Envelope Time Velocity Sensitivity) Use this parameter when you want velocity to affect the time of the TVA envelope. Negative (-) settings will invert the effect. Higher settings will result in a greater difference between strongly and softly played notes. fig. fig. Negative (-) settings will invert the effect. Negative (-) settings will invert the effect. V-Resonance (Resonance Velocity Sensitivity) Use this parameter when you want velocity to affect the Resonance.e L1–L4 (TVF Envelope Level 1–4) Set the cutoff frequency levels for each point. Time key is released T1–T4 (TVF Envelope Time 1–4) Set the times over which the cutoff frequency will move from one point to the next.3-46. Use this parameter to adjust the volume balance between Rhythm Tones. Higher settings will result in a greater time difference between strongly and softly played notes. T1 T2 L1 L2 T3 T4 Level s Changing the Volume and Stereo Location of a Rhythm Tone (TVA) The TVA (Time Variant Amplifier) controls volume changes and stereo location. set them to opposite L and R settings. If you do not want the stereo location to change randomly. Random (Random Pan Depth) Use this parameter when you want the stereo location to change randomly each time you press a key. and 63R is full right. L or R values can be set. set this to 0. 92 . Higher settings will result in a greater difference between strongly and softly played notes. Pan Adjust the pan (stereo location) of the Rhythm Tone. TVA ENVELOPE These parameters make settings for the TVA envelope (changes over time in the TVA level). relative to the basic cutoff frequency. L1–L3 (TVA Envelope Level 1–3) Adjust the volume level of each point relative to the basic TVA level. TVF ENVELOPE These parameters set the TVF envelope (the way in which the cutoff frequency will change over time). Higher settings will result in a greater time difference between strongly and softly played notes. and this will reverse the left/right order of the panning. Higher settings will result in a greater difference between strongly and softly played notes. Alternate (Alternate Pan Depth) Use this parameter when you want the stereo location to alternate between left and right each time you press a key. 0 is center. L64 is full left. Negative (-) settings will invert the effect.e Velocity Sens (TVA Envelope Velocity Sensitivity) Use this parameter when you want velocity to affect the TVA Envelope. Creating Your Own Sounds TVF VELOCITY V-Sens (TVF Envelope Velocity Sensitivity) Use this parameter when you want velocity to affect the TVF Envelope. Negative (-) settings will invert the effect.3-44. key is pressed L3 Time key is released TVA Level Adjust the basic volume of the Rhythm Tone.

The volume will change together with the degree of distortion. 0 is center. L in 4-Band EQ L out R in 4-Band EQ R out Level (Output Level) LowGain (Low Gain) Adjust the gain of the low frequency range. fig. Higher values of Q will result in a narrower area being affected. Hi Freq (High Frequency) Select the frequency of the high range (4000 Hz/8000 Hz). SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp Hi Gain (High Gain) Adjust the gain of the high frequency.3-48 R out Drive # Adjust the degree of distortion. Creating Your Own Sounds Multi-Effects Types (EFX Parameter) Multi-Effects provides 40 types of effect. fig. LowGain (Low Gain) Adjust the gain of the low frequency range. Level (Output Level) Adjust the output level. mid x 2. P1 Q (Peaking 1 Q) This parameter adjusts the width of the area around the Peaking 1 Frequency that will be affected by the Gain setting. high). Some of these consist of two different effects connected in series or parallel. Pan (Output Pan) # Adjust the stereo location of the output sound. Settings in the Patch or Performance EFX Control display (PATCH/EFFECTS/PATCH EFX CTRL or PERFORM/EFFECTS/PERFORM EFX CTRL) will determine how these parameters are controlled. * Parameters marked with a sharp “#” can be controlled using a specified controller (Two setting items will change simultaneously for “#1” and “#2”). Amp Type (Amp Simulator Type) Select the type of guitar amp. L in Distortion R in Amp Simulator 2-Band EQ L out Pan L Pan R P2 Freq (Peaking 2 Frequency) Adjust the frequency of Peaking 2 (mid range). and 63R is far right. 3: DISTORTION This effect produces a more intense distortion than Overdrive. P1 Freq (Peaking 1 Frequency) Adjust the frequency of Peaking 1 (mid range). 93 Chapter 3 Adjust the output level. fig. Hi Gain (High Gain) Adjust the gain of the high frequency range. R out P2 Q (Peaking 2 Q) This parameter adjusts the width of the area around the Peaking 2 Frequency that will be affected by the Gain setting. P2 Gain (Peaking 2 Gain) Adjust the gain for the area specified by the Peaking 2 Frequency and Q settings. Level (Output Level) # Adjust the output level. Drive # Adjust the degree of distortion.Chapter 3. .3-49 L in Over drive R in Amp Simulator 2-Band EQ L out Pan L Pan R 1: STEREO-EQ (Stereo Equalizer) This is a four-band stereo equalizer (low. LowGain (Low Gain) Adjust the gain of the low frequency. 2: OVERDRIVE This effect creates a soft distortion similar to that produced by vacuum tube amplifiers. Higher values of Q will result in a narrower area being affected.3-50 P1 Gain (Peaking 1 Gain) Adjust the gain for the area specified by the Peaking 1 Frequency and Q settings. L64 is far left. LowFreq (Low Frequency) Select the frequency of the low range (200 Hz/400 Hz). The volume will change together with the degree of distortion.

0 is center. Pan (Output Pan) # Adjust the stereo location of the output sound. Creating Your Own Sounds Hi Gain (High Gain) Adjust the gain of the high frequency range. fig. L64 is far left. 0 is center. 0 is center. Manual # Adjust the basic frequency from which the sound will be modulated. and 63R is far right. R in R out Band 1 (Band 1 Gain) Adjust the 250 Hz level. Band 3 (Band 3 Gain) Adjust the 1000 Hz level. 5: SPECTRUM Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. producing a twisting modulation that creates spaciousness and depth. and 63R is far right. L in Phaser Mix L out Pan L Pan R Band 4 (Band 4 Gain) Adjust the 1250 Hz level. Level (Output Level) # Adjust the output level.3-53 L in Enhancer Mix 2-Band EQ 2-Band EQ L out R in Enhancer Mix R out Sens (Sensitivity) # Adjust the sensitivity of the enhancer. Res (Resonance) Adjust the amount of feedback for the phaser. Band 8 (Band 8 Gain) Adjust the 8000 Hz level. fig. Mix (Mix Level) Adjust the ratio with which the phase-shifted sound is combined with the direct sound. Q Simultaneously adjust the width of the adjusted areas for all the frequency bands. adding sparkle and tightness to the sound. Band 7 (Band 7 Gain) Adjust the 4000 Hz level. fig.3-51 Band 2 (Band 2 Gain) Adjust the 500 Hz level. Pan (Output Pan) Adjust the stereo location of the output sound. Depth Adjust the depth of modulation.3-52 Amp Type (Amp Simulator Type) Select the type of guitar amp. 94 . L64 is far left. 6: ENHANCER The Enhancer controls the overtone structure of the high frequencies.Chapter 3. SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp L in Spectrum L out Pan L Pan R Pan (Output Pan) # Adjust the stereo location of the output sound. 4: PHASER A phaser adds a phase-shifted sound to the original sound. R in Resonance R out Band 5 (Band 5 Gain) Adjust the 2000 Hz level. It is similar to an equalizer. and 63R is far right. Rate # Adjust the frequency (period) of modulation. L64 is far left. but has 8 frequency points fixed at locations most suitable for adding character to the sound. Band 6 (Band 6 Gain) Adjust the 3150 Hz level. Level (Output Level) Adjust the output level.

Separation Adjust the spatial dispersion of the sound. Lower settings will cause the effect to be applied in a broad area around the center frequency. 95 Chapter 3 Filter (Filter Type) Adjust the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. This effect is most suitable for electric organ Patches. Lower values will require longer times. Lower values will require longer times. LPF: The wah effect will be applied over a wide frequency range. LowAccl (Low Frequency Acceleration) R out Select the type of filter. 8: ROTARY The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Low Lvl (Low Frequency Level) Adjust the volume of the low frequency rotor. Depth Adjust the depth of the modulation. Manual # Adjust the center frequency from which the effect is applied.3-54 R out LowSlow (Low Frequency Slow Rate) Adjust the slow speed (SLOW) of the low frequency rotor. L in Auto Wah R in L out LowFast (Low Frequency Fast Rate) Adjust the fast speed (FAST) of the low frequency rotor. Level (Output Level) # Adjust the output level. Hi Accl (High Frequency Acceleration) Adjust the time it takes the high frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Level (Output Level) Adjust the output level. Sens Adjust the sensitivity with which the filter is controlled. Hi Fast (High Frequency Fast Rate) Adjust the fast speed (FAST) of the high frequency rotor. SLOW: Slow down the rotation to the specified speed (the Low Slow / Hi Slow values). Since the movement of the high range and low range rotors can be set independently. Hi Gain (High Gain) Adjust the gain of the high frequency range.3-55 LowGain (Low Gain) Adjust the gain of the low frequency range. fig. Higher settings will cause the effect to be applied in a more narrow range. Hi Lvl (High Frequency Level) Adjust the volume of the high frequency rotor. Hi Slow (High Frequency Slow Rate) Adjust the slow speed (SLOW) of the high frequency rotor. Rate # Adjust the frequency of the modulation. Level (Output Level) Adjust the output level. Creating Your Own Sounds Mix (Mix Level) # Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound. L in Rotary R in L out 7: AUTO-WAH The Auto Wah cyclically controls a filter to create cyclic change in timbre. Peak Adjust the amount of the wah effect that will occur in the area of the center frequency.Chapter 3. the unique type of modulation characteristic of these speakers can be simulated quite closely. FAST: Speed up the rotation to the specified speed (the Low Fast / Hi Fast values). BPF: The wah effect will be applied over a narrow frequency range. fig. Speed # Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. .

R out 11: HEXA-CHORUS Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound. LowGain Adjust the low frequency gain. Pan (Output Pan) # Adjust the stereo location of the output sound. Pre Delay Deviation adjusts the differences in Pre Delay between each chorus sound. 10: LIMITER The Limiter compresses signals that exceed a specified volume level. each chorus sound will be spaced at 60 degree intervals relative to the center. Gain (Post Gain) Adjust the output gain. Level (Output Level) Adjust the output level. and with a setting of D0:100W only the chorus sound will be output. L in Limiter R in 2-Band EQ L out Pan L Pan R Pan Dev (Pan Deviation) Adjust the difference in stereo location between each chorus sound. Ratio (Compression Ratio) Adjust the compression ratio. Hi Gain Adjust the high frequency gain. Balance (Effect Balance) # Adjust the volume balance between the direct sound and the chorus sound. With a setting of 20. L in Compressor R in 2-Band EQ L out Pan L Pan R Level (Output Level) # Adjust the output level. L64 is far left. and 63R is far right. Rate # Adjust the rate of modulation. fig. 96 . preventing distortion from occurring.3-58 Attack Adjust the attack time of an input sound.Chapter 3. fig. With a setting of 0. R in Balance D R out LowGain Adjust the low frequency gain. Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard. Depth Adjust the depth of modulation. all chorus sounds will be in the center. 0 is center. 0 is center. Level (Output Level) # Adjust the output level. Release (Release Time) Adjust the time from when the volume falls below the Threshold Level until compression is no longer applied. With a setting of D100:0W only the direct sound will be output. Sustain Adjust the time over which low level sounds are boosted until they reach the specified volume. Dly Dev (Pre Delay Deviation) Pre Delay determines the time from when the direct sound begins until the processed sound is heard. smoothing out unevenness in volume. R out Thresh (Threshold Level) Adjust the volume at which compression will begin. and 63R is far right. fig. Creating Your Own Sounds 9: COMPRESSOR The Compressor flattens out high levels and boosts low levels. Hi Gain Adjust the high frequency gain. L64 is far left. L in Balance D L out Balance W Hexa Chorus Balance W Post Gain Adjust the output gain.3-56 Pan (Output Pan) # Adjust the stereo location of the output sound.3-57 Dpt Dev (Depth Deviation) Adjust the difference in modulation depth between each chorus sound.

Rate # Adjust the rate of modulation. Balance (Effect Balance) # Adjust the volume balance between the direct sound and the chorus sound. 2-Band EQ R out Balance (Effect Balance) # Adjust the volume balance between the direct sound and the tremolo chorus sound. fig. Depth Adjust the depth of modulation. 13: SPACE-D Space-D is a multiple chorus that applies two-phase modulation in stereo. LowGain Adjust the gain of the low frequency range.3-60 Phase Adjust the spatial spread of the sound. Creating Your Own Sounds 12: TREMOLO-CHORUS Tremolo Chorus is a chorus effect with added Tremolo (cyclic modulation of volume). ChoRate (Chorus Rate) Adjust the modulation speed of the chorus effect. Tremolo Chorus Balance W Balance (Effect Balance) # Adjust the volume balance between the direct sound and the chorus sound. Depth Adjust the depth of modulation. Balance W Balance W Trm Sep (Tremolo Separation) Adjust the spread of the tremolo effect. Level (Output Level) Adjust the output level.3-59 Phase Adjust the spatial spread of the sound. Filter (Filter Type) Select the type of filter.3-61 Phase (Tremolo Phase) Adjust the spread of the tremolo effect. R out 2-Band EQ LowGain Adjust the gain of the low frequency range. Balance D L in Chorus Chorus R in Balance D L out TrmRate (Tremolo Rate) # Adjust the modulation speed of the tremolo effect. With a setting of D100:0W only the direct sound will be output. 14: STEREO-CHORUS This is a stereo chorus. Hi Gain Adjust the gain of the high frequency range. and with a setting of D0:100W only the tremolo chorus sound will be output. 97 Chapter 3 2-Band EQ . and with a setting of D0:100W only the chorus sound will be output. Level (Output Level) Adjust the output level. With a setting of D100:0W only the direct sound will be output.Chapter 3. fig. Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the processed sound is heard. R in Balance D R out Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard. L in Balance D L out Balance W Hi Gain Adjust the gain of the high frequency range. Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the processed sound is heard. OFF: a filter will not be used LPF: cut the frequency range above the cutoff frequency HPF: cut the frequency range below the cutoff frequency Balance D L in Space D Space D R in Balance D 2-Band EQ Balance W Balance W L out Cutoff (Cutoff Frequency) Adjust the basic frequency of the filter. Rate # Adjust the rate of modulation. fig. It gives no impression of modulation. With a setting of D100:0W only the direct sound will be output. ho Dpt (Chorus Depth) Adjust the modulation depth of the chorus effect. A filter is provided so that you can adjust the timbre of the chorus sound. but produces a transparent chorus effect. and with a setting of D0:100W only the chorus sound will be output.

98 . and negative (-) settings will return the sound in reverse phase. Hi Gain Adjust the gain of the high frequency range. Filter Type Select the type of filter. Cutoff (Cutoff Frequency) Adjust the basic frequency of the filter. Fbk (Feedback Level) # Adjust the amount (%) of the processed sound that is returned (fed back) into the input. Phase Adjust the spatial spread of the sound. set the Source parameter (PATCH/COMMON/ PATCH CLOCK) to SYSTEM.3-62a 15: STEREO-FLANGER This is a stereo flanger. Level (Output Level) Adjust the output level. If you want to use the system’s tempo clock in Patch mode. or the tempo clock of the XP-30’s system. If you want to use the system’s tempo clock in Performance mode. OFF: a filter will not be used LPF: cut the frequency range above the cutoff frequency HPF: cut the frequency range below the cutoff frequency When Step Rate is Set as a Note Value As the specified tempo.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. (The LFO has the same phase for left and right. Step Rate # Adjust the rate (period) of pitch change. set the Source parameter (PATCH/ COMMON/PATCH CLOCK) to PATCH and set the desired tempo. and with a setting of D0:100W only the flanger sound will be output. Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the flanger sound is heard. Performance Tempo. Phase Adjust the spatial spread of the sound. Fbk (Feedback Level) # Adjust the amount (%) of the flanger sound that is returned (fed back) into the input. This parameter can be set as a note-value of a specified tempo. Depth Adjust the depth of modulation. If you want to use a fixed tempo in Patch mode (Tempo parameter setting). LowGain Adjust the gain of the low frequency range. fig. specify the value of the desired note. Depth Adjust the depth of modulation. fig. Positive (+) settings will return the sound in phase. With a setting of D100:0W only the direct sound will be output. If you want to use a fixed tempo in Performance mode (Tempo parameter setting). set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to PERFORM and set the desired tempo. Creating Your Own Sounds Level (Output Level) Adjust the output level. Rate # Adjust the rate of modulation. Negative (-) settings will invert the phase. you may use either the Patch Tempo.Chapter 3. set the Source parameter (PERFORM/ COMMON/PERFORM CLOCK) to SYSTEM. In this case. 16: STEP-FLANGER The Step Flanger effect is a flanger in which the flanger pitch changes in steps. A filter is provided so that you can adjust the timbre of the flanged sound.3-62 Balance D L in Step Flanger Feedback Feedback 2-Band EQ Balance W L out Balance D L in Flanger Feedback Feedback 2-Band EQ Balance W L out Step Flanger R in Balance D Balance W 2-Band EQ R out Flanger R in Balance D Balance W Pre Dly (Pre Delay Time) R out 2-Band EQ Adjust the time delay from when the direct sound begins until the flanger sound is heard. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo. Balance (Effect Balance) Adjust the volume balance between the direct sound and the flanger sound. Rate Adjust the rate of modulation.

Phase R (Feedback Phase Right) Select the phase of the right delay sound. NORMAL: Phase is not changed. HF Damp Adjust the frequency above which sound fed back to the effect will be cut. With a setting of D100:0W only the direct sound will be output. Level (Output Level) Adjust the output level. and with a setting of D0:100W only the delay sound will be output.3-63a LowGain Adjust the gain of the low frequency range. When Feedback Mode is CROSS: fig. NORMAL: Phase is not changed. L out Balance D L in Delay Feedback Feedback 2-Band EQ Balance W Balance (Effect Balance) # Delay R in Balance D Balance W 2-Band EQ R out Level (Output Level) Adjust the output level. If you do not want to cut the high frequencies of the feedback. When Feedback Mode is NORMAL: fig. Balance (Effect Balance) Adjust the volume balance between the direct sound and the flanger sound. 99 Chapter 3 Adjust the volume balance between the direct sound and the delay sound. NORMAL: The left delay sound will be fed back into the left delay. When Feedback Mode is NORMAL: fig. L in Delay Feedback Feedback 2-Band EQ Balance W L out Modulation Mode (Feedback Mode) Select the way in which delay sound is fed back into the effect.3-63c Balance D Delay R in Balance D Balance W L in R out Delay Feedback Feedback 2-Band EQ Balance W L out 2-Band EQ Modulation Delay L (Delay Time Left) Adjust the time from the original sound until when the left delay sound is heard. set this parameter to BYPASS. Creating Your Own Sounds LowGain Adjust the gain of the low frequency range. and with a setting of D0:100W only the chorus sound will be output. Phase L (Feedback Phase Left) Select the phase of the left delay sound. Negative (-) settings will invert the phase. producing an effect similar to a flanger. 17: STEREO-DELAY This is a stereo delay. Hi Gain Adjust the gain of the high frequency range. INVERT: Phase is inverted.Chapter 3. and the right delay sound into the right delay. fig.3-63b Balance D L in Delay Feedback Feedback 2-Band EQ Balance W 18: MODULATION-DELAY L out This effect adds modulation to the delayed sound. . Hi Gain Adjust the gain of the high frequency range. INVERT: Phase is inverted. Delay R in Modulation Balance D Balance W Delay R (Delay Time Right) Adjust the time from the original sound until when the right delay sound is heard. CROSS: The left delay sound will be fed back into the right delay. R in Delay Modulation Balance D Balance W 2-Band EQ R out Delay L (Delay Time Left) Adjust the time from the original sound until when the left delay sound is heard. With a setting of D100:0W only the direct sound will be output. and the right delay sound into the left delay.3-63d 2-Band EQ R out When Feedback Mode is CROSS: Balance D Fbk (Feedback Level) # Adjust the proportion (%) of the delay sound that is fed back into the effect.

and the right delay sound into the right delay. HF Damp Adjust the frequency above which sound fed back to the effect will be cut. In this case. Phase Adjust the spatial spread of the sound. set this parameter to BYPASS. Negative (-) settings will invert the phase. and with a setting of D0:100W only the modulation delay sound will be output. When Step Rate is Set as a Note Value As the specified tempo. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to PERFORM and set the desired tempo. If you do not want to cut the high frequencies of the feedback. If you do not want to cut the high frequencies of the feedback. Level (Output Level) Adjust the output level. Creating Your Own Sounds Delay R (Delay Time Right) Adjust the time from the original sound until when the right delay sound is heard. Fbk (Feedback Level) Adjust the proportion (%) of the delay sound that is fed back into the effect.Chapter 3. Depth Adjust the depth of the modulation. Level C (Center Level) Level L (Left Level) Level R (Right Level) Adjust the volume of each delay sound. NORMAL: The left delay sound will be fed back into the left delay. Balance (Effect Balance) # Adjust the volume balance between the direct sound and the delay sound. This parameter can be set as a notevalue of a specified tempo. Rate # Adjust the speed of the modulation.3-64 LowGain Adjust the gain of the low frequency range. If you want to use a fixed tempo in Patch mode (Tempo parameter setting). set the Source parameter (PATCH/COMMON/ PATCH CLOCK) to SYSTEM. Hi Gain Adjust the gain of the high frequency range. left and right. Balance (Effect Balance) # Adjust the volume balance between the direct sound and the modulation delay sound. center. Delay C (Delay Time Center) Delay L (Delay Time Left) Delay R (Delay Time Right) Adjust the time delay from the direct sound until when the delay sound is heard. If you want to use a fixed tempo in Performance mode (Tempo parameter setting). With a setting of D100:0W only the direct sound will be output. With a setting of D100:0W only the direct sound will be output. and the right delay sound into the left delay. HF Damp Adjust the frequency above which sound fed back to the effect will be cut. Negative (-) settings will invert the phase. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to SYSTEM. Mode (Feedback Mode) Select the way in which delay sound is fed back into the effect. fig. Fbk (Feedback Level) # Adjust the proportion (%) of the delay sound that is fed back into the effect. The center delay time can be specified as a note value of a specified tempo. set this parameter to BYPASS. LowGain Adjust the gain of the low frequency range. If you want to use the system’s tempo clock in Performance mode. or the tempo clock of the XP-30’s system. you may use either the Patch Tempo. If you want to use the system’s tempo clock in Patch mode. set the Source parameter (PATCH/ COMMON/PATCH CLOCK) to PATCH and set the desired tempo. Performance Tempo. 19: TRIPLE-TAP-DELAY The Triple Tap Delay produces three delay sounds. CROSS: The left delay sound will be fed back into the right delay. Right Tap Balance D Balance W R in 2-Band EQ R out 100 . and with a setting of D0:100W only the delay sound will be output. specify the value of the desired note. Balance D L in Left Tap Triple Tap Delay Feedback Center Tap 2-Band EQ Balance W Hi Gain L out Adjust the gain of the high frequency range.

101 Chapter 3 . Quadruple Tap Delay Delay 3 Delay 4 Balance W Balance (Effect Balance) # Adjust the volume balance between the direct sound and the delay sound. Each of the Delay Time parameters can be specified as a note length of the selected tempo. Negative (-) settings will invert the phase. set the Source parameter (PATCH/ COMMON/PATCH CLOCK) to PATCH and set the desired tempo. Fbk (Feedback Level) # Adjust the proportion (%) of the delay sound that is fed back into the effect. and shortening it will raise the pitch. 20: QUADRUPLE-TAP-DELAY The Quadruple Tap Delay has four delays. Accel (Acceleration) This parameter adjusts the time over which the Delay Time will change from the current setting to a newly specified setting. L64 is far left. Creating Your Own Sounds Level (Output Level) Adjust the output level.Chapter 3.3-65b 2 1 L 3 4 R Level (Output Level) Adjust the output level. If you do not want to cut the high frequencies of the feedback. Delay Delay Delay Delay 1 2 3 4 (Delay (Delay (Delay (Delay Time Time Time Time 1) 2) 3) 4) 21: TIME-CONTROL-DELAY This effect allows you to use a specified controller (the controller selected in EFX Control Source) to control the delay time and pitch in realtime. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to SYSTEM. set the Source parameter (PATCH/COMMON/ PATCH CLOCK) to SYSTEM. or the tempo clock of the XP-30’s system. Performance Tempo. and 63R is far right. L in Balance D 2-Band EQ Balance W L out Time Control Delay Balance W When Step Rate is Set as a Note Value As the specified tempo. set the Source parameter (PERFORM/COMMON/PERFORM CLOCK) to PERFORM and set the desired tempo. fig. If you want to use the system’s tempo clock in Patch mode. Pan (Output Pan) Adjust the stereo location of the delay sound. If you want to use a fixed tempo in Patch mode (Tempo parameter setting).3-66 Adjust the time delay from the direct sound until when each delay sound is heard. Balance D L in Delay 1 Feedback Delay 2 L out Balance W HF Damp Adjust the frequency above which sound fed back to the effect will be cut. These parameters can be set as a notevalue of a specified tempo. and with a setting of D0:100W only the delay sound will be output. Negative (-) settings will invert the phase. HF Damp Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback. With a setting of D100:0W only the direct sound will be output. 0 is center.3-65a Level Level Level Level 1 2 3 4 Adjust the volume of each delay sound. set this parameter to BYPASS. you may use either the Patch Tempo. fig. If you want to use a fixed tempo in Performance mode (Tempo parameter setting). fig. R in Balance D R out The stereo location of each delay sound is as follows. Lengthening the delay will lower the pitch. Feedback R in Balance D 2-Band EQ R out Delay (Delay time) # Adjust the time delay from the direct sound until when each delay sound is heard. Fbk (Feedback Level) # Adjust the proportion (%) of the delay sound that is fed back into the effect. specify the value of the desired note. set this parameter to BYPASS. The rate of change for the Delay Time directly affects the rate of pitch change. In this case. If you want to use the system’s tempo clock in Performance mode.

Mode (Pitch Shifter Mode) Higher settings of this parameter will result in slower response. Creating Your Own Sounds LowGain Adjust the gain of the low frequency range. 102 .Chapter 3. and with a setting of D0:100W only the pitch shift sound will be output. Pan (Output Pan) Adjust the stereo location of the pitch shifted sound. L64 is far left. 22: 2VOICE-PITCH-SHIFTER A Pitch Shifter shifts the pitch of the original sound. LowGain Adjust the gain of the low frequency range. 0 is center. Fine B (Fine Pitch B) #2 Make fine adjustments to the pitch of Pitch Shift B in 2-cent steps (-100–+100 cents). and can add two pitch shifted sounds to the original sound. L64 is far left. but steadier pitch.3-67 Level (Output Level) Adjust the output level. 0 is center. Balance (Effect Balance) Adjust the volume balance between the direct sound and the pitch shift sound. PreDlyB (Pre Delay Time B) Adjust the time delay from when the direct sound begins until the Pitch Shift A sound is heard. Balance D L in Level Balance A PanA L PanA R PanB L PanB R Balance D L out Balance W 23: FBK-PITCH-SHIFTER (Feedback Pitch Shifter) This pitch shifter allows the pitch shifted sound to be fed back into the effect. Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the pitch shifted sound is heard. Mode (Pitch Shifter Mode) Higher settings of this parameter will result in slower response. Negative (-) settings will invert the phase. * One cent is 1/100th of a semitone. CoarseB (Coarse Pitch B) #2 Adjust the pitch of Pitch Shift B in semitone steps (-2–+1 octaves). and 63R is far right. Level (Output Level) Adjust the output level. R in Balance W Feedback Balance D 2-Band EQ R out Coarse (Coarse Pitch) #1 Adjust the pitch of the pitch shifted sound in semitone steps (-2–+1 octaves). and with a setting of D0:100W only the delay sound will be output. fig. PreDlyA (Pre Delay Time A) Adjust the time delay from when the direct sound begins until the Pitch Shift A sound is heard. Fbk (Feedback Level) # Adjust the proportion (%) of the processed sound that is fed back into the effect. * One cent is 1/100th of a semitone. With a setting of D100:0W only the direct sound will be output.3-68 2Voice Pitch Shifter Level Balance B Balance W L in Balance D 2-Band EQ Balance W L out R in R out Pitch Shifter CoarseA (Coarse Pitch A) #1 Adjust the pitch of Pitch Shift A in semitone steps (-2–+1 octaves). but steadier pitch. Balance (Effect Balance) Adjust the volume balance between the direct sound and the delay sound. With a setting of D100:0W only the direct sound will be output. and 63R is far right. Fine (Fine Pitch) #1 Make fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-100–+100 cents). * One cent is 1/100th of a semitone. Fine A (Fine Pitch A) #1 Make fine adjustments to the pitch of Pitch Shift A in 2-cent steps (-100–+100 cents). Lvl Bal (Level Balance) Adjust the volume balance between the Pitch Shift A and Pitch Shift B sounds. Pan A (Output Pan A) Adjust the stereo location of the Pitch Shift A sound. 0 is center. and 63R is far right. This 2voice pitch shifter has two pitch shifters. Pan B (Output Pan B) Adjust the stereo location of the Pitch Shift B sound. fig. Hi Gain Adjust the gain of the high frequency range. L64 is far left.

Adjust the time from when the reverb is heard until when it disappears. fig. fig. OD Pan (Overdrive Pan) # Adjust the stereo location of the overdrive sound. Cho Dly (Chorus Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard. With a setting of D100:0W only the direct sound will be output. Pre Dly (Pre Delay Time) Adjust the time delay from when the direct sound begins until the reverb sound is heard. and with a setting of D0:100W only the reverb sound will be output. and 63R is far right. NORMAL: conventional gate reverb REVERSE: backwards reverb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right L in Balance D 2-Band EQ Balance W L out Reverb Balance W Pre Dly (Pre Delay Time) R out R in Balance D 2-Band EQ Adjust the time delay from when the direct sound begins until the reverb sound is heard. Creating Your Own Sounds Hi Gain Adjust the gain of the high frequency range. L in Balance D 2-Band EQ Balance W L out Gate Reverb Balance W Level (Output Level) Adjust the output level. resulting in a softer and more muted reverberance. With a setting of D100:0W only the direct sound will be output.3-70 Balance (Effect Balance) Adjust the volume balance between the direct sound and the pitch shift sound. The volume will change together with the degree of distortion. Type (Reverb Type) Select the type of Reverb effect. Time (Reverb Time) # Adjust the time length of reverberation. Balance (Effect Balance) # Adjust the volume balance between the direct sound and the reverb sound. Level (Output Level) Adjust the output level. HF Damp Adjust the frequency above which the reverberant sound will be cut. 25: GATE-REVERB Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.Chapter 3. fig. more of the high frequencies will be cut. and with a setting of D0:100W only the reverb sound will be output. Hi Gain Adjust the gain of the high frequency range. L64 is far left. R out Balance D Hi Gain Adjust the gain of the high frequency range. 103 Chapter 3 Gate Time . If you do not want the high frequencies to be cut. ROOM1:dense reverb with short decay ROOM2:sparse reverb with short decay STAGE1:reverb with greater late reverberation STAGE2:reverb with strong early reflections HALL1:reverb with clear reverberance HALL2:reverb with rich reverberance LowGain Adjust the gain of the low frequency range. set this parameter to BYPASS. OD Drive Adjust the degree of overdrive distortion. and with a setting of D0:100W only the pitch shift sound will be output.3-71 L in Overdrive R in L out Balance D Balance W Chorus Balance W LowGain Adjust the gain of the low frequency range. Level (Output Level) # Adjust the output level. With a setting of D100:0W only the direct sound will be output. As the frequency is set lower.3-69 Type (Gate Reverb Type) Select the type of reverb. R in Balance D 2-Band EQ R out 24: REVERB The Reverb effect adds reverberation to the sound. Balance (Effect Balance) # Adjust the volume balance between the direct sound and the reverb sound. 0 is center. simulating an acoustic space. 26: OVERDRIVE→CHORUS This effect connects an overdrive and a chorus in series.

Delay Balance (Delay Balance) # Adjust the volume balance between the overdrive sound that is sent through the delay and the overdrive sound that is not sent through the delay. fig.3-74 Flg Fbk (Flanger Feedback Level) Adjust the proportion (%) of the flanger sound that is fed back into the effect. With a setting of “D100: 0W. 28: OVERDRIVE→DELAY This effect connects an overdrive and a delay in series. and 63R is far right.3-73 Chorus Depth Adjust the modulation depth of the chorus effect. Balance D L in Feedback L out Balance W Balance W Dly Fbk (Delay Feedback Level) Adjust the proportion (%) of the delay sound that is fed back into the effect. With a setting of “D100: 0W. The volume will change together with the degree of distortion. FlgRate (Flanger Rate) Adjust the modulation speed of the flanger effect. Flg Dly (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins until the flanger sound is heard.) OD Pan → Dist Pan (Specify the stereo location of the distortion sound. and 63R is far right. OD Pan (Overdrive Pan) # Adjust the stereo location of the overdrive sound. set this parameter to BYPASS. If you do not want to cut the high frequencies of the feedback. With a setting of “D0: 100W. Creating Your Own Sounds ChoRate (Chorus Rate) Adjust the modulation speed of the chorus effect. With a setting of “D100: 0W. Overdrive Flanger R in Balance D R out Delay HF Damp Adjust the frequency above which delayed sound fed back to the effect will be cut.” only the overdrive sound that is sent through the flanger will be output. R in Overdrive Delay Balance W Feedback R out Balance D OD Drive Adjust the degree of overdrive distortion. 29: DISTORTION→CHORUS This effect connects distortion and chorus in series. Flg Dpt (Flanger Depth) Adjust the modulation depth of the flanger effect. 0 is center. With a setting of “D0: 100W.” only the overdrive sound will be output. With a setting of “D0: 100W. fig. L64 is far left.” only the overdrive sound will be output. OD Pan (Overdrive Pan) # Adjust the stereo location of the overdrive sound. The parameters are essentially the same as “26: OVERDRIVE→CHORUS. 27: OVERDRIVE→FLANGER This effect connects an overdrive and a flanger in series. Negative (-) settings will invert the phase. L in Balance D L out Balance W Chorus Balance # Adjust the volume balance between the overdrive sound that is sent through the chorus and the overdrive sound that is not sent through the chorus.Chapter 3. Flanger Balance # Adjust the volume balance between the overdrive sound that is sent through the flanger and the overdrive sound that is not sent through the flanger. L64 is far left. The volume will change together with the degree of distortion. Level (Output Level) Adjust the output level.” only the overdrive sound that is sent through the delay will be output.” with the exception of the following two.3-72 DlyTime (Delay Time) Adjust the time delay from when the direct sound begins until the delay sound is heard. OD Drive → Dist Drive (Specify the amount of distortion. L in Distortion R in L out Balance D Balance W Chorus Balance W Level (Output Level) Adjust the output level. R out Balance D 104 .” only the overdrive sound that is sent through the chorus will be output. 0 is center.” only the overdrive sound will be output.) fig. Negative (-) settings will invert the phase. OD Drive Adjust the degree of overdrive distortion. Level (Output Level) Adjust the output level.

Creating Your Own Sounds 30: DISTORTION→FLANGER This effect connects distortion and flanger in series. The parameters are essentially the same as in “28: OVERDRIVE→DELAY. Cho Dly (Chorus Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard.) OD Pan → Dist Pan (Specify the stereo location of the distortion sound.) fig. OD Drive → Dist Drive (Specify the amount of distortion. With a setting of “D0: 100W.” with the exception of the following two. OD Drive → Dist Drive (Specify the amount of distortion.3-76 Balance D L in Enhancer Mix Feedback L out Balance W Flanger R in Enhancer Mix Balance D R out Enhancer Sens # Adjust the sensitivity of the enhancer.” only the enhancer sound that is sent through the chorus will be output. Balance W Chorus Balance W Flg Fbk (Flanger Feedback Level) Adjust the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Balance D L in Feedback L out Balance W Balance W Level (Output Level) Adjust the output level. The parameters are essentially the same as in “27: OVERDRIVE→FLANGER. 105 Chapter 3 Balance W .” only the enhancer sound will be output. Level (Output Level) Adjust the output level.3-78 R in Balance D R out 31: DISTORTION→DELAY This effect connects distortion and delay in series.) fig.Chapter 3. ChoRate (Chorus Rate) Adjust the modulation speed of the chorus effect. With a setting of “D0: 100W. fig. Flanger Balance # Adjust the volume balance between the enhancer sound that is sent through the flanger and the enhancer sound that is not sent through the flanger.3-77 FlgRate (Flanger Rate) Adjust the modulation speed of the flanger effect. Chorus Balance # Adjust the volume balance between the enhancer sound that is sent through the chorus and the enhancer sound that is not sent through the chorus.” only the enhancer sound that is sent through the flanger will be output. Enhancer Mix (Enhancer Mix Level) Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound. Distortion Flanger 33: ENHANCER→FLANGER This effect connects an enhancer and a flanger in series.” with the exception of the following two. R in Enhancer Mix Balance D R out Enhancer Sens # Adjust the sensitivity of the enhancer. With a setting of “D100: 0W. Distortion Delay Balance W Feedback Flg Dly (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins until the flanger sound is heard.) OD Pan → Dist Pan (Specify the stereo location of the distortion sound. fig. L in Balance D L out Balance W Enhancer Mix (Enhancer Mix Level) Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound. L out L in Enhancer Mix Balance D Flg Dpt (Flanger Depth) Adjust the modulation depth of the flanger effect. With a setting of “D100: 0W.” only the enhancer sound will be output.3-75 Chorus Depth Adjust the modulation depth of the chorus effect. R in Balance D R out 32: ENHANCER→CHORUS This effect connects an enhancer and a chorus in series.

Delay HF Damp Adjust the frequency above which delayed sound fed back to the delay input will be cut. Enhancer Mix (Enhancer Mix Level) Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound. Flg Dly (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins until the flanger sound is heard. DlyTime (Delay Time) Adjust the time delay from when the direct sound begins until the delay sound is heard. 35: CHORUS→DELAY This effect connects a chorus and a delay unit in series. If you do not want to cut the high frequencies of the delay feedback. Delay HF Damp Adjust the frequency above which delayed sound fed back to the delay input will be cut. With a setting of “D100: 0W. Creating Your Own Sounds 34: ENHANCER→DELAY This effect connects an enhancer and a delay in series. fig. With a setting of “D0: 100W. R in Balance D Balance D R out Cho Dly (Chorus Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard. set this parameter to BYPASS. L in Enhancer Mix Balance D L out Balance W Delay Balance W Feedback DlyTime (Delay Time) Adjust the time delay from when the direct sound begins until the delay sound is heard. With a setting of “D100: 0W. Dly Fbk (Delay Feedback Level) Adjust the proportion (%) of the delay sound that is fed back into the delay input.Chapter 3. DlyTime (Delay Time) Adjust the time delay from when the direct sound begins until the delay sound is heard.3-79 Cho Bal (Chorus Balance) # Adjust the volume balance between the direct sound and the chorus sound. With a setting of “D0: 100W. fig.3-81 Balance D L in Feedback Balance D Balance W Balance W L out Balance W Flanger R in Balance D Delay Balance W Feedback R out Balance D Level (Output Level) Adjust the output level. R in Enhancer Mix Balance D R out Enhancer Sens # Adjust the sensitivity of the enhancer.3-80 FlgRate (Flanger Rate) Adjust the modulation speed of the flanger effect. With a setting of “D100: 0W. set this parameter to BYPASS. With a setting of “D0: 100W. Delay Balance # Adjust the volume balance between the chorus sound that is sent through the delay and the chorus sound that is not sent through the delay.” only the chorus sound will be output.” only the enhancer sound that is sent through the delay will be output. Level (Output Level) Adjust the output level. Negative (-) settings will invert the phase. 36: FLANGER→DELAY This effect connects a flanger and a delay in series.” only the enhancer sound will be output.” only the direct sound will be output.” only the chorus sound that is sent through the delay will be output. Dly Fbk (Delay Feedback Level) Adjust the proportion (%) of the delay sound that is fed back into the delay input. fig. Flg Bal (Flanger Balance) # Adjust the volume balance between the direct sound and the flanger sound. Negative (-) settings will invert the phase.” only the direct sound will be output. Cho Dpt (Chorus Depth) Adjust the modulation depth of the chorus effect. ChoRate (Chorus Rate) Adjust the modulation speed of the chorus effect. Balance D L in Balance D Balance W L out Balance W Flg Dpt (Flanger Depth) Adjust the modulation depth of the flanger effect. Delay Balance # Adjust the volume balance between the enhancer sound that is sent through the delay and the enhancer sound that is not sent through the delay.” only the flanger sound will be output.” only the chorus sound will be output. With a setting of “D100: 0W. If you do not want to cut the high frequencies of the feedback. With a setting of “D0: 100W. Negative (-) settings will invert the phase. Chorus Balance W Delay Balance W Feedback Flg Fbk (Flanger Feedback Level) Adjust the proportion (%) of the flanger sound that is fed back into the effect. 106 .

set this parameter to BYPASS.” only the chorus sound that passes through the flanger will be output.” However. Flanger Balance # Adjust the volume balance between the chorus sound and the chorus sound that is passed through the flanger. fig. Negative (-) settings will invert the phase. Flanger R in Balance D Balance W Flg Fbk (Flanger Feedback Level) Adjust the proportion (%) of the flanger sound that is fed back into the effect. the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound. R out 107 Chapter 3 . Balance D L in Chorus Feedback L out Balance W 37: CHORUS→FLANGER This effect connects a chorus and a flanger in series. fig. With a setting of “D0: 100W. With a setting of “D0: 100W. Balance D FlgRate (Flanger Rate) Adjust the modulation speed of the flanger effect.” only the chorus sound will be output. With a setting of “D0: 100W.” only the flanger sound that is sent through the delay will be output.3-84 R in Balance D Balance D R out Cho Dly (Chorus Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard. fig. fig.3-85 Flg Dly (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins until the flanger sound is heard. With a setting of “D100: 0W. Balance D L in L out Flanger Feedback Feedback Balance W ChoRate (Chorus Rate) Adjust the modulation speed of the chorus effect. L in Chorus Feedback L out Balance W Flg Dpt (Flanger Depth) Adjust the modulation depth of the flanger effect.” only the flanger sound will be output. With a setting of “D100: 0W. Level (Output Level) Adjust the output level.” only the chorus sound will be output.3-83 Level (Output Level) Adjust the output level. Cho Dpt (Chorus Depth) Adjust the modulation depth of the chorus effect. Creating Your Own Sounds Dly Fbk (Delay Feedback Level) Adjust the proportion (%) of the delay sound that is fed back into the delay input. R out 40: CHORUS/FLANGER This effect connects a chorus and a flanger in parallel.3-82 Delay Balance D Balance D Balance W L in Balance W Feedback L out Balance W R in Balance D R out Chorus Balance W Flanger Balance W 39: FLANGER/DELAY This effect connects a flanger and a delay in parallel. The parameters are the same as for “37: CHORUS→FLANGER. The parameters are the same as for “36: FLANGER→DELAY. the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound. Delay Balance # Adjust the volume balance between the flanger sound that is sent through the delay and the flanger sound that is not sent through the delay. 38: CHORUS/DELAY This effect connects a chorus and a delay in parallel.Chapter 3.” only the direct sound will be output.” However. the Flanger Balance parameter adjusts the volume balance between the direct sound and the flanger sound.” However. Negative (-) settings will invert the phase. Delay R in Balance D Balance W Cho Bal (Chorus Balance) # Adjust the volume balance between the direct sound and the chorus sound. The parameters are the same as for “35: CHORUS→DELAY. With a setting of “D100: 0W. If you do not want to cut the high frequencies of the delay feedback. HF Damp Adjust the frequency above which delayed sound fed back to the delay input will be cut.

1/32: The rhythm will be divided in 32nd notes. LATIN PERCUSION: A rhythm style with Latin percussion instruments such as Clave. Bongo. SALSA: Typical salsa style. * Effects settings change as soon as you switch to a new Patch or Rhythm Set. BOUND BALL: A style suggestive of a bouncing ball. DEFAULT: The patch specified as the factory default will be selected. Because of this. For creating your own style. 3 FINGER GTR: Three-finger guitar style.3-86 s Arpeggio Settings (ARPEGGIO) This is where to set Arpeggiator parameters. Category Select Mode When searching for patches. Clock Source Specify the tempo clock of the system. STRUMMING GTR: A style simulating a guitar chord strummed upward (downward). without being influenced by the Patch Remain setting. s Display Screen Contrast and Clock Settings (SETUP) SYSTEM SETUP LCD Contrast Adjust the contrast (brighthess) of the display. Creating Your Own Sounds XP-30 Operating Environment Setup (System Parameters and Their Functions) fig. * When Clock Source is set to MIDI. Hold 3–4 notes for best results. HOUSE: A style for house piano backing. Select from the following 43 options. specify the patch that will be selected when you press the numeric key. so it will not be possible to set the tempo value. MIDI: An external clock will be the tempo clock for the system. choose LIMITLESS. set this parameter OFF. RANDOM: A style in which the notes sound in random order. 1/6: The rhythm will be divided in quarter note triplets. Hold 3–4 notes for best results. B: Styles for keyboard instrument backing.” Patch Remain (Patch Remain Switch) If you want currently-sounding notes to be turned off when a new Patch (Rhythm Set) is selected. for best results. PORTAMENTO A. Power Up Mode Select the condition that the XP-30 will be in when the power is turned on. SHAMISEN: The playing style of a Shamisen. certain effects settings can cause notes that were until then sounding to no longer be heard. Effective when 3 notes are held. SAMBA: Typical samba style. PERCUSSION: A style suitable for percussive instrument sounds. 1/12: The rhythm will be divided in eighth note triplets. Hold 3–4 notes for best results. Cowbell. Hold 3–4 notes for best results. RHYTHM GTR A–E: Styles for guitar cutting. SEQUENCE A–D: Styles for sequenced patterns. You can increase the tempo and use this as a Samba. KBD COMPING A. Use for rhythm patterns or bass lines. 1/16: The rhythm will be divided in 16th notes. Agogo etc. Conga. Styles B–E are effective when 3–4 notes are held. B: A style using the portamento effect. ECHO: An echo-like style.Chapter 3. The tempo of the external clock will be displayed in parentheses. Clap. LAST-SET: The patch last-selected during the previous patch search will be selected. SLAP BASS A. KBD COMPING C. MAMBO: Typical mambo style. LAST-SET: The XP-30 will be in the condition it was in when power was last turned off. BOSSANOVA: A style with bossanova guitar cutting. GLISSANDO: A glissando style. the tempo will synchronize to the clock messages received from an external MIDI device. WALK BASS: Styles appropriate for bass playing. TANGO: Typical tango rhythm style. DEFAULT: The XP-30 will be ready to play Patch “USER:001. 3rd and 5th of a triad etc. Effective when 5–6 notes are held. even though Patch Remain has been set to on. KBD COMPING E: A reggae-type style. SLAP BASS B. 1/8: The rhythm will be divided in eighth notes. INT: The internal clock will be the tempo clock for the system. ARPEGGIO Style Sets the style of the arpeggio. System Tempo Set the system tempo. SYNTH BASS. HARP: The playing style of a harp. D: Styles in triple meter. Hold the root. 108 . 1/4: The rhythm will be divided in quarter notes.

starting from the highest key pressed. SINGLE DOWN: Notes will sound singly. starting from the highest key pressed. DUAL DOWN: Notes will sound in pairs. HOUSE 1–2 Accent Rate Modifies the strength of accents and the length of the notes to adjust the “groove” feel of the arpeggio. RANDOM. DUAL RANDOM: Notes will sound in pairs. BASS+CHORD1–5: The lowest note that is pressed and other notes will sound as a chord. 1/8. STRUM1–8. A setting of -1 will make the arpeggio sound using the notes you play and notes l octave lower. With a setting of 50%. * Choices can be set for the Motif. This setting will affect the location of the accent and length of the notes to determine the beat (rhythm). to create shuffle rhythms. in random order. To have the arpeggio sound using the notes you play and notes 1 octave higher. SEQ-B 1–5. AGOGO. GLISSANDO: Beat Pattern Select the beat pattern from the choices below. the notes will be spaced evenly. SALSA 1–4. Creating Your Own Sounds LIMITLESS: The settings of all parameters can be freely combined without restriction. going up and then back down. CHORD: All notes that are pressed will sound simultaneously. Some settings will not be available depending on the Style parameter setting. BOUND.Chapter 3. BASS+UP+TOP: Simulated fingering of folk guitar’s three-finger picking technique. HARP. TOP+UP1–6: The highest note that is pressed and other notes will sound as an arpeggio. Notes will be played in an ascending and descending chromatic scale between the lowest and the highest keys that are pressed. from low to high and then back down from high to low. SINGLE UP: Notes will sound singly. NOTE ORDER: Notes will sound in the order that they were pressed. REGGAE1–2. choose a desired value from 1– 127. BASS+RANDOM1–3: The lowest note that is pressed and other notes will sound randomly. Shuffle Rate and Accent Rate parameters for each style. Higher values will give more of a “dotted” (shuffle) feel. GUIRO. BASS+UP1–8: The lowest note that is pressed and other notes will sound as an arpeggio. Refer to the “Arpeggio Style List” (p. If you wish to use the velocity at which the notes are actually played. CLAVE. Up to 32 notes can be stored. PORTA-B 01–15. PORTA-A 01–11. SINGLE UP&DOWN: Notes will sound singly. To use a constant velocity regardless of the force with which you play the keyboard. MAMBO 1–2. Some settings will not be available depending on the Style parameter setting. SAMBA. DUAL UP&DOWN: Notes will sound in pairs. set this parameter to REAL. 1/32 1–3. Shuffle Rate This parameter allows you to modify the timing of an upbeat between two down-notes next to each other. REV CLA. Motif Sets the order in which notes of the chord will sound. in random order. MUTE 01–16. PERC1–4. Simply press two notes. set this parameter to +1. TRIPLE DOWN: Notes you press will sound three at a time. so you can create melody lines by pressing keys in the appropriate order. Beat Pattern. starting from the lowest key pressed. Key Velocity Sets the force of the chord. REFRAIN1–2. SEQ-C 1–2. WALKBS. starting from the lowest key pressed. TRIPLE UP&DOWN: Notes you press will sound three at a time. set this parameter to 0. 1/12. from high to low. Octave Range Sets the key range in octaves over which arpeggio will take place. starting from the lowest key pressed. 1/6. 182). A setting of 100% will produce the most pronounced groove feel. DUAL UP: Notes will sound in pairs. SINGLE RANDOM: Notes will sound singly in random order. SEQ-D 1–8. TANGO 1–4. starting from the lowest key pressed. from low to high. going up and then back down. BOSSA NOVA. 1/4. the lowest and highest. TRIPLE UP: Notes you press will sound three at a time. SEQ-A 1–7. TRIPLE RANDOM: Notes you press will sound three at a time. 1/16 1–3. If you want the arpeggio to sound using only the notes that you actually play. 109 Chapter 3 . ECHO 1–3.

32–63). OCT-UP: Each pedal press raises the key range in octave steps (up to 3 octaves higher). 110 . PITCH BEND: Pitch bend AFTERTOUCH: Aftertouch PROG-UP: Every press of the pedal selects the next Performance number. OFF: Neither will be controlled. OCT-DOWN: Each pedal press lowers the key range in octave steps (up to 3 octaves lower). Aft (Aftertouch Sensitivity) Specify the Aftertouch sensitivity. If you are using a Roland pedal (that has no polarity switch). * When transposing the keyboard range. s Keyboard and Controllers Settings (CONTROL) KEYBOARD Transpose (Transpose Switch/Value) If you wish to transpose the range of the keyboard. With a setting of MIDI. TAP-TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal). Patch number. Changing this setting will also affect the song’s playback tempo. Tonic is indicated in parentheses ( ). If you want the actual keyboard velocity to be transmitted. press [TRANSPOSE] and indicator lights. Normally you should leave this set to 100. * The transposed note name will be shown in the lower right of the Performance/Patch/Rhythm Set play display. hold down [TRANSPOSE] and press [-OCT] or [+OCT]. set this parameter to STANDARD. Output (Pedal Output) Select the sound source(s) (the internal sound source and/or external sound sources connected to MIDI OUT connector) which will be controlled by the pedals. If your pedal has an effect opposite of what you expect. If you want a fixed velocity value to be transmitted regardless of how you play. Assign (Pedal Assign) Select the function controlled by the pedal. you can use this parameter to specify the Part for playing an arpeggio. or Rhythm Set. the display will indicate Tempo(=EXT). MIDI: Only external sound sources will be controlled. * To change transpose amount on a PLAY display. This setting is the same as the tempo of the song. CC01–95: Controller numbers 1–95 (except for 6. On some pedals. HOLD PEDAL Set the function of the pedal connected to the HOLD PEDAL jack. CONTROL PEDAL Assign the function of the pedals connected to the CONTROL PEDAL jack. Creating Your Own Sounds Part (Arpeggio Part) When using a Layer performance. turn this switch ON and set the desired amount of transposition (in semitone steps). When the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) is set to INT. and you will be synchronized to the clock of the external MIDI device. the display will indicate Tempo(=SYS). or Rhythm Set. and this will be the same value as the system tempo. Higher values will allow Aftertouch to be applied more easily. Patch mode or Rhythm Set mode is selected. the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. Parts other than that you specify will sound as you play on the keyboard. Polarity (Pedal Polarity) This parameter switches the polarity of the Hold pedal. INT: Only the internal sound source will be controlled. Output (Pedal Output) Select the sound source(s) (the internal sound source and/or external sound sources connected to MIDI OUT connector) which will be controlled by the pedal. LIGHT: light MEDIUM: normal HEAVY: heavy Vel (Keyboard Velocity) Specify the velocity value that will be transmitted when you play the keyboard. INT: Only the internal sound source will be controlled. OFF: Neither will be controlled. Patch number.Chapter 3. set this to REAL. Sens (Keyboard Sensitivity) Select the keyboard sensitivity. PROG-DOWN: Every press of the pedal selects the previous Performance number. Tempo Sets the speed of the arpeggio. * This setting will be invalid if Single performance. specify the desired value. BOTH: Both the internal sound source and external sound sources will be controlled. set this parameter to REVERSE. MIDI: Only external sound sources will be controlled. BOTH: Both the internal sound source and external sound sources will be controlled.

set this parameter to REVERSE. CONTROL SOURCE Select the type of MIDI message that will be used to control each of the following functions. INT: Only the internal sound source will be controlled. These settings allow you to use control change messages without regard to their officially defined function. CC01–95: Controller numbers 1–95 (except for 6. * For many control change messages. the function performed by each number is defined in the MIDI specification. 111 Chapter 3 . SYS-CTRL ASSIGN (System Control Assign) Control 1/2 (System Control Assign 1/2) These settings allow you to choose two controllers for common use when controlling the parameters of a Patch or Performance. VOLUME: Only Volume messages and not Expression messages will affect the volume. BOTH: Both the internal sound source and external sound sources will be controlled. the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. Volume (Volume Control Source) Specify whether or not Expression messages (controller number 11) will affect the volume of a Patch or Part as well as Volume messages (controller number 7). 32–63). even if the Patch or Performance is switched. You will also need to specify for each Patch (or Performance) the parameters that will be controlled. Creating Your Own Sounds Polarity (Pedal Polarity) This parameter switches the polarity of the pedals. If you are using a Roland pedal (that has no polarity switch). you need to make System settings and Patch/Performance settings so that the MIDI messages transmitted by the selected controllers will be received. If your pedal has an effect opposite of what you expect. On some pedals. 32–63). The settings in each Patch (or Performance) will determine whether the two controllers you choose here will actually be used. Peak (Peak Control Source) Select the type of pedal message that will used to hold the highest received parameter values. the value may remain unchanged when the slider is moved. Hold (Hold Control Source) Select the type of pedal message that will be used to hold the current parameter values. Aftertouch (Aftertouch Control Source) Specify the type(s) of aftertouch message that will affect the internal sound source. PITCH BEND: Pitch bend AFTERTOUCH: Aftertouch * To use the selected controllers. set this parameter to STANDARD. OFF: Neither will be controlled.Chapter 3. VOL&EXP: Both Volume messages and Expression messages will affect the volume. PITCH BEND: Pitch bend AFTERTOUCH: Aftertouch * Depending on the functions being controlled. OFF: not used HOLD1: Hold 1 (controller number 64) SOST: Sostenuto (controller number 66) SOFT: Soft pedal (controller number 67) HOLD2: Hold 2 (controller number 69) C1/C2/C3/C4 ASSIGN (C1/C2/C3/C4 Slider Assign) These parameters set the functions controlled by the C1–C4 sliders. OFF: not used HOLD1: Hold 1 (controller number 64) SOST: Sostenuto (controller number 66) SOFT: Soft pedal (controller number 67) HOLD2: Hold 2 (controller number 69) Output (C1/C2/C3/C4 Slider Output) Select the sound source(s) (the internal sound source and/or external sound sources connected to MIDI OUT connector) which will be controlled by the sliders. so please be aware of what you are doing. MIDI: Only external sound sources will be controlled. CHANNEL: Channel pressure (the aftertouch that applies equally to all keys) POLY: Polyphonic key pressure (the aftertouch that applies independently to each key) CH&POLY: Channel pressure and Polyphonic key pressure * The XP-30’s keyboard is not able to transmit Polyphonic Key Pressure messages. Assign (C1/C2/C3/C4 Slider Assign) Select the function controlled by each slider. CC01–95: Controller numbers 1–95 (except for 6.

turn it OFF. the transmit channel of the external MIDI keyboard can be set to any channel. Control Channel (Performance Control Channel) Select the receive channel used for selecting Performances via MIDI (Program Change and Bank Select messages). turn it OFF. turn this ON. To make these settings. use the Local parameter (PERFORM/MIDI/MIDI). but if you wish to use the XP-30’s keyboard and controllers to control only external sound sources. Bank Select (Receive Bank Select Switch) If you want Bank Select messages to be received. turn this OFF. press [SYSTEM] when you are in Performance mode. turn this ON. Tx-Ch (Patch Mode Transmit Channel) This parameter selects the transmit channel for MIDI messages in Patch mode. Program (Transmit Program Change Switch) If you want Program Change messages to be transmitted. turn this OFF.Chapter 3. Normally you will leave this ON. If you do not want to transmit MIDI messages to external MIDI devices. * The MIDI Receive Channel of each Part is set independently for each Performance. the transmit channel of the external MIDI keyboard can be set to any channel. 112 . Remote (Remote Keyboard Switch) Turn this parameter on when you want to use an external MIDI keyboard in place of the XP-30’s keyboard. Local (Local Switch) Specify whether or not the controller section will be connected to the internal sound source (all Parts). PATCH MIDI Make MIDI settings for Patch mode. * The first display of the MIDI group will be different depending on the mode you were in when you pressed [SYSTEM] (Patch mode/Performance mode/GM mode). Rhythm Sets. press [SYSTEM] when you are in Patch mode. If not. turn this ON. If you do not wish to use MIDI messages to select Performances. If you set this to the same channel as the receive channel of a Part. Creating Your Own Sounds s MIDI Settings (MIDI) These parameters determine MIDI channel settings and how exclusive data is handled. TRANSMIT MIDI Specify how MIDI messages will be transmitted. RECEIVE MIDI Select whether or not to receive MIDI messages to select Patches. turn this OFF. turn this ON. Remote (Remote Keyboard Switch) Turn this parameter on when you want to use an external MIDI keyboard in place of the XP-30’s keyboard. press [SYSTEM] when you are in GM mode. Performance selection will take priority and it will not be possible to select Patches on that Part via MIDI. * Set this parameter ON if you want performance using the Arpeggiator to be controlled by an external MIDI device. Normally you will leave this ON. If not. Local (Local Switch) Specify whether or not the controller section will be connected to the internal sound source (all Parts). all messages that arrive at MIDI IN are output from MIDI OUT. turn this OFF. Bank Sel (Transmit Bank Select Switch) If you want Bank Select messages to be transmitted. Rx-Ch (Patch Mode Receive Channel) Select the channel on which MIDI messages will be received in Patch mode. Program Change (Receive Program Change Switch) If you want Program Change messages to be received. Normally you will leave this parameter off. * When the Remote keyboard switch is on. To make these settings. To make these settings. Local (Local Switch) Specify whether or not the controller section will be connected to the internal sound source (all Parts). If not. In this case. turn this parameter off. but if you wish to use the XP-30’s keyboard and controllers to control only external sound sources. turn it OFF. * If you want the keyboard controller section to be disconnected only from a specific Part or Parts. set this parameter to Rx-Ch. turn it OFF. PERFORM MIDI (Performance MIDI) Make MIDI settings for Performance mode. or Performances. Normally you will leave this ON. and then press [MIDI] located in the row of function buttons. GM MIDI Make MIDI settings for GM mode. and then press [MIDI] located in the row of function buttons. If not. and then press [MIDI] located in the row of function buttons. but if you wish to use the XP-30’s keyboard and controllers to control only external sound sources. Normally you will leave this parameter off. In this case. If you want the transmit channel to always match the Patch Mode Receive Channel.

124). refer to “Chapter 5. TUNE Master (Master Tune) This parameter tunes the internal sound source. Here.GM (Receive GM Exclusive Switch) If you want GM-related Exclusive messages to be received. s Phrase Preview Settings (PREVIEW) Specify how the phrase will play when you press [PHRASE PREVIEW]. If you do not want the selected BS number to transmit a Bank Select message. Scale Tune (Scale Tune Switch) Turn this ON when you wish to play a scale other than equal temperament. turn this ON. * The selected scale is used even for MIDI messages received from an external MIDI device. If not. The displayed value indicates the pitch (frequency) of the A4 key. Key Shift Adjust the pitch of the internal sound source in semitone steps. PREVIEW MODE Mode (Preview Sound Mode) SINGLE: The notes specified by Note 1–4 will sound successively one by one. If not. Switch (Back Select Transmit Switch) If you want the selected Bank select group to transmit its assigned Bank Select number. use the following SCALE display. turn this ON. PREVIEW VELOCITY Specify the velocity (0–127) of the four notes that will sound when Mode (Preview Sound Mode) is set to either SINGLE or CHORD. or change the temperament of the keyboard. You can specify one scale for Patch mode and one scale for Performance mode/GM mode. you can specify the actual Bank Select Number that is transmitted for each of the BS1–7 selections that were made in Performance mode. Performance. SYS-EXC MIDI (Exclusive MIDI) Specify how Exclusive messages will be transmitted and received. If not. CHORD: The notes specified by Note 1–4 will sound simultaneously. If not. 113 Chapter 3 . turn this ON. turn it OFF. * The SCALE display of TUNE group will be different depending on the mode you were in when you pressed [SYSTEM]. turn this ON. Rx. * If PHRASE is selected for Mode. turn it OFF.Chapter 3. Number (Bank Select Group Number) Select the Bank select group you wish to set. MSB and LSB. The Bank Select Group parameter of each Performance specifies how Bank Select messages are transmitted when the Performance is selected. PREVIEW KEY Note 1–4 (Preview Note Set 1–4) Specify the pitch (C-1–G9) of the four notes that will sound when Mode (Preview Sound Mode) is set to either SINGLE or CHORD. Rx. To set the tuning of each note in the scale.Exc (Receive Exclusive Switch) If you want Exclusive messages to be received. these settings will have no effect.Edit (Transmit Edit Data Switch) If you want Exclusive messages to be transmitted for each change you make while editing a Patch. turn this OFF. Creating Your Own Sounds Active Sensing (Transmit Active Sensing Switch) If you want Active Sensing messages to be transmitted. turn it OFF. The contents of each BS number are determined by the following settings for Switch. PHRASE: The phrase prepared for the Patch type (category) will sound. BANK-SEL GROUP (Bank Select Group) Each Performance has a Bank Select Group setting (PERFORM/MIDI/TRANSMIT). Device# (Exclusive Device ID Number) When you want to transmit or receive Exclusive messages. or Rhythm Set. Using the XP-30 as the GM Sound Module” (p. these settings will have no effect. * If PHRASE is selected for Mode. turn it OFF. Tx. turn this ON. MSB (Bank Select MSB) Specify the MSB of the Bank Select number transmitted by the selected BS number. set this parameter to match the Device ID number of the other MIDI device. s Adjusting Tuning (TUNE) Parameters in this group adjust the tuning of the internal sound source. LSB (Bank Select LSB) Specify the LSB of the Bank Select number transmitted by the selected BS number. * For details on the GM MIDI messages.

make settings in this display and then press the ENTER button. This display allows you to check the battery voltage. and D# and F# have a natural third (the interval between a major third and a minor third). Pure Temperament (Tonic is C) With this tuning. To make settings for another Part. F and G#. the XP-30 already contains the data of the three Wave Expansion Boards listed below. . it will be possible to select data only from the Wave Expansion Board installed in the EXPD slot. This effect only applies to one key. In Performance mode/GM mode. s Checking Things Such as the Installation Status of Wave Expansion Boards (INFO) INFO EXP (Information Expansion Board) The names of Wave Expansion Boards installed in slots EXPD and E are displayed. * One cent is 1/100th of a semitone.SR-JV80-11 “Techno Collection” (XP-C) Arabian Scale In this scale. and the settings for one octave (C–G) will determine the tuning for all octaves. If the display indicates LOW. and then press [TUNE] located in the row of function buttons. C and F keys. C and E. Channel (Transmit MIDI Channel) Select the channel on which the MIDI message will be transmitted. and transposition makes the chord ambiguous.” * If for both Expansion D: and Expansion E: an identically named Wave Expansion Board is displayed.Chapter 3. you can play Arabian scale in G. Bnk-LSB (Transmit Bank Select LSB) Equal Temperament This scale divides an octave into 12 equal parts for the tuning system that is most widely used in Western music. s Program Change (PGM CHNG) TRANSMIT P. Slots without any boards installed are indicated “----------------. The XP-30 employs equal temperament when the Scale Tune Switch is set OFF.C# (Transmit Program Change) Select the Program Number you wish to transmit. In Patch mode there are separate screens for the white keys and black keys. the battery voltage has run down. The intervals between G and B. Also. F# and G# are quarter-note higher compared to equal temperament. there is sufficient battery voltage. Creating Your Own Sounds PATCH SCALE KEY SCALE If you wish to define a scale for use in Patch mode. Select the LSB (control number 32) of the Bank Select number you wish to transmit. Contact your nearby Roland service station to have the battery replaced. Define a scale by specifying how much the pitch will differ from the equal tempered pitch (in steps of 1 cent).C (Transmit Program Change) When you want to transmit MIDI messages (Program Change and Bank Select) to select sounds on an external MIDI device. the three fundamental chords sound richer compared to equal temperament. If the display indicates OK. If you wish to define a scale for use in Performance mode/GM mode. press [SYSTEM] while in Patch mode. and if the names of any of these Wave Expansion Boards are displayed. Bnk-MSB (Transmit Bank Select MSB) Select the MSB (control number 0) of the Bank Select number you wish to transmit. use the cursor buttons to select the desired Part. you can make settings for each key in each Part. press [SYSTEM] while in Performance mode. to access the PATCH SCALE display. E and B are a quarter-note lower and C#. 114 . <Examples> Note Equal Pure temperament name temperament (tonic C) C C# D Eb E F F# G G# A Bb B 0 0 0 0 0 0 0 0 0 0 0 0 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 Arabian scale -6 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49 BATTERY CHECK The XP-30 contains a battery that backs up the data in internal memory. A# and C#. P.SR-JV80-02 “Orchestral” (XP-B) .SR-JV80-09 “Session” (XP-A) . it will be possible to select only the onboard data (XP-A–C). and then press [TUNE] located in the row of function buttons to access the KEY SCALE display. With the XP-30.

117). LOAD This function loads data from memory card into the XP-30’s memory (p. 5.4-02 About Utility/Card Mode The XP-30 goes into Utility/Card mode if you press [UTIL/ CARD]. 2. 4. 115 Chapter 4 . and transmit data (Data Transfer). When the operation is completed. Performance or Rhythm Set settings you’ve modified into user memory (p. 121). Here you can once again select the desired function. you must first turn off the power. press [EXIT]. 121). Utility/Card mode offers nine functions categorized into two groups—UTIL 1 and UTIL 2. 122). XFER (Data Transfer) This function transmits Patch. SAVE This function saves data to memory card (p. press [UTIL/CARD] to make the indicator go dark. PROTECT (User Memory Protect) This function prevents user memory from being accidentally rewritten (p. fig. * To cancel the operation. 122). 3. Memory Settings (Utility/Card Mode) The Utility mode allows you to store Patch/Performance/ Rhythm Set settings (Write). 119).3-20 WRITE This function writes Patch. * You can also access the desired function display by using the numeric keys or function buttons to specify the number of the function. 123). 116). as well as other global XP-30 memory settings. UTIL 2 (Utility 2) fig. UTIL 2) containing the function you want. the display will briefly indicate “COMPLETED. and press [ENTER]. Press [UTIL/CARD] so its indicator blinks. Press [ENTER] to execute the function. Basic Procedure in Utility/ Card Mode * In order to use a memory card. fig. Performance or Rhythm Set into the current Patch. The XP-30 will switch to Utility/Card mode. copied and initialize depends on the mode you are in when you press [UTIL/CARD]. To return to the UTIL 1 or UTIL 2 displays. Use [ ] or [ ] to select the desired function (the function name will blink). * The type of data that will be written.3-20 COPY This function copies data from a Patch. UTIL 1 (Utility 1) fig. To return to the display of the previous mode. 119). Performance or Rhythm Set to default factory settings (p.Chapter 4. press [EXIT]. and then insert a memory card into the card slot. Performance. Rhythm Set or System settings to an external MIDI device (p.” the CARD display will appear. Set parameters as necessary on each function’s display.” 6. The display of the function you’ve selected will appear. * If you selected the UTIL 2 group function “1: CARD. Press [ ] or [ ] to select the group (UTIL 1. The indicator will blink. Performance or Rhythm Set (p. 1. INIT (Initialize) This resets parameters of the current Patch.4-01 CARD Here you can make settings related to memory cards (p. FACTORY RESET This function resets all the settings stored in the XP-30 to the factory default settings (p.

To play the Rhythm Set of the writing destination. * Please be aware that when the Compare function is used to play a Rhythm Set. or Rhythm Set after you have modified a Patch. fig.e s Performance Write The settings of the current Performance will be written into user memory. you need to turn off Internal Write Protect. If you attempt to write data when Internal Write Protect is on.e[ Internal Write Protect An Internal Write Protect setting is provided to prevent the settings in user memory from being overwritten accidentally.e Writing destination Patch (group. The Compare Function Writing destination Performance (group. press [UNDO/COMPARE] to access the PATCH COMPARE display. s Patch Write The settings of the current Patch will be written into user memory. or Rhythm Set settings. then perform Write operation. number. If you wish to keep the data. then perform Write operation.Chapter 4. After selecting the writing destination Patch. number. it may sound slightly different than when it is played normally. and the data will be written into user memory. so that you can check whether you really want to overwrite it. fig. After selecting the writing destination Rhythm Set. Press [UTIL/CARD] in Performance mode. you can move directly to the PATCH WRITE display. You can select the writing destination Patch in this display as well. name) * By holding down [SHIFT] and pressing [UTIL/CARD]. fig. Change the displayed ON to OFF and press [ENTER] to turn Internal Write Protect off.4-07.4-03.4-05. Memory Settings (Utility/Card Mode) Storing Sound Data in User Memory (WRITE) If you turn the power off or select another Patch. press [UNDO/COMPARE] to access the RHYTHM COMPARE display.4-06. so that you can check whether you really want to overwrite it.e Writing destination Rhythm Set (group. the following display will appear. the modified data will be lost. number. it may sound slightly different than when it is played normally. press [EXIT] to return to the previous display. Press [UTIL/CARD] in Rhythm Set mode. and perform Write operation. You can select the writing destination Rhythm Set in this display as well. To play the Patch of the writing destination. name) Writing destination Rhythm Set (group. fig.3-22 Writing destination Patch (group. Once you turn Internal Write Protect off. number. When rewriting user memory settings. name) * Please be aware that when the Compare function is used to play a Patch. fig. Performance. name) * By holding down [SHIFT] and pressing [UTIL/CARD]. s Rhythm Set Write The settings of the current Rhythm Set will be written into user memory. Press [UTIL/CARD] in Patch mode. press [EXIT] to return to the previous display.4-04. name) * By holding down [SHIFT] and pressing [UTIL/CARD]. you can move directly to the PERFORM WRITE display. it will remain off until the XP-30’s power is turned off. fig.e The Compare function allows you to play the Rhythm Set currently occupying the writing destination. The Compare Function The Compare function allows you to play the Patch currently occupying the writing destination. Performance. you can move directly to the RHYTHM WRITE display. number. Press [ENTER] once again. 116 . store it into user memory.

e Copy source Performance (group. press [UTIL/CARD] in Performance mode.e Copy source Copy source Patch/Performance (group. * When the Copy operation is executed. an “*” will be displayed in front of the copy-destination tone. Copy source Patch name Copy destination Tone Copy source Tone * To specify the currently selected Patch as the copy source.e Copy type ALL: EFX: CHORUS: REVERB: CHO&REV: Multi-effects. number. Performance. Performance. Using this function effectively makes editing easier.e Copy source Performance (group. set Source to TEMP. number.4-13.e Copy source Copy source Patch/Performance (group.4-09.4-10. fig. fig. number. name) Press [ ] to move to the next display. or Rhythm Set into the current Patch. an “*” will be displayed in front of the copy-destination part name. fig. then perform Copy operation. number) Copy source Performance name Copy destination Part Copy source Part Copy source Patch (group. s Patch Copy When you want to copy Patch settings to the current Patch. name) s Performance Copy To copy the settings of a Performance. number) * To specify the currently selected Performance as the copy source.Chapter 4. Performance Effects Copy The effects settings of a Performance or Patch will be copied to the current Performance. set Source to TEMP. Performance Part Copy The Part settings of a Performance will be copied to the Part you specify of the current Performance. press [UTIL/CARD] in Patch mode and perform Copy operation. * When the Copy operation is executed. fig. Performance Name Copy The name of a Performance will be copied to the current Performance. name) Press [ ] to move to the next display. chorus. and then select the contents of the effect that you wish to copy. and reverb settings Multi-effects settings Chorus settings Reverb settings Chorus and reverb settings 117 Chapter 4 .4-14. and then select the contents of the effect that you wish to copy. Memory Settings (Utility/Card Mode) Copying Sound Source Settings (COPY) This function lets you copy data of any Patch.4-12.4-08. fig. or Rhythm Set. chorus.e Patch Effects Copy The effects settings of a Patch or Performance will be copied to the current Patch. fig.4-11. fig. and reverb settings Multi-effects settings Chorus settings Reverb settings Chorus and reverb settings Copy type ALL: EFX: CHORUS: REVERB: CHO&REV: Multi-effects.e Patch Tone Copy Tone settings of a Patch will be copied to the Tone you specify of the current Patch.

name) * The Compare function cannot be used with Patch Tone Copy if either TEMP or an XP-A–E patch is selected as the copy source patch (Source).e Copy source Rhythm Set (group.Chapter 4. name) Copy source Rhythm Set (group.e Copy source Rhythm Set (group. name) 118 . it may sound slightly different than when it is played normally.4-16. fig. name) * If one of the XP-A–E Rhythm Sets is selected as the copysource Rhythm Set (Source). number) Copy source Rhythm Set name Copy destination Key Copy source Key Copy source Patch (group. number. To play the Rhythm Set of the copy source. After selecting the copy source Patch. press [UNDO/ COMPARE] to access the RHYTHM COMPARE display. number. Rhythm Key Copy Individual key settings in a Rhythm Set will be copied to each key in the current Rhythm Set. * Please be aware that when the Compare function is used to play a Patch. but it is not possible to select patches from XP-A–E. press [UNDO/COMPARE] to access the PATCH COMPARE display. The Compare function allows you to play the Patch currently occupying the copy source. press [UTIL/CARD] in Rhythm Set mode and perform Copy operation. The Compare Function The Compare function can be used during the Rhythm Key Copy operation. an “*” will be displayed in front of the copy-destination key. fig. fig. press [EXIT] to return to the previous display. Rhythm Set Name Copy The name of a Rhythm Set will be copied to the current Rhythm Set.4-15. number. Memory Settings (Utility/Card Mode) The Compare Function For the Patch Tone Copy and Patch Effect Copy operations. The copy-source Patch can be changed in this display as well. The Compare function allows you to play the Rhythm Set currently occupying the copy source.e Patch Name Copy The name of a Patch will be copied to the current Patch. To play the Patch of the copy source. fig. the Compare function is not available.e s Rhythm Set Copy When you want to copy Rhythm Set settings to the current Rhythm Set. you can use the Compare function. but it is not possible to select patches from XP-A–E. press [EXIT] to return to the previous display.e Copy source Patch (group. * The copy source and copy destination Key parameters can also be set by pressing a key on the keyboard. number.4-19. * The Compare function cannot be used with Patch Effect Copy if PERFORM is selected as the copy source (Source). fig.4-18.4-17. it may sound slightly different than when it is played normally. The copy-source Rhythm Set can be changed in this display as well. * Please be aware that when the Compare function is used to play a Rhythm Set. * When the Copy operation is executed. After selecting the copy source Rhythm Set.

INIT PERFORM or INIT SET). or JV-1010/1080/2080). move the cursor to Key. Rhythm Set or System data into an external MIDI device as a backup for accidental data deletion. Performance and/or Rhythm Set settings are connected for performance or when recording Patch. Rhythm Set or System data to an external MIDI device is called Bulk dump. Performance or Rhythm Set in preset memory (PR-A–PR-C.4-23. and data resident in user memory will not be rewritten. Performance. s Rhythm Set Initialize To initialize Rhythm Set settings. * If you expect to successfully use settings that stipulate the use of XP-A/B/C waves and patches after they’ve been sent to another unit (XP-50/60/80. fig. fig. the following display will appear. and select the percussion instrument sound that you wish to initialize. 119 Chapter 4 s Transmitting Data to an External MIDI Device . Data can be initialized in two ways depending on the application. execute Factory Reset (UTILITY/UTIL 2/FACTORY RESET). * Only current data will be initialized.4-21 The process of transmitting Patch.4-22 Mode (Initialize Mode) DEFAULT: Resets current data to the standard values called “Initial data” (INIT PATCH. the data will be reset to the value of the correspondingly numbered user memory. or Rhythm Set to a standard value or to factory default settings. Performance. E. To reset all settings to factory defaults.4-20 s Patch Initialize To initialize Patch settings. The Rhythm Set Initialize operation can also be used to initialize the settings of only an individual percussion instrument sound (key) that you specify. or by pressing TONE SELECT [1]–[4]. press [UTIL/CARD] in Patch mode and execute initialization. fig. fig. You can specify the percussion instrument sound either from the keyboard. Performance.e Data type Source block Destination While data is being transmitted. and initialization is performed with PRESET specified. fig.4-24 * To cancel data transmission. you first need to make sure that the relevant Wave Expansion Boards are installed in the other unit. In this case. press [EXIT]. s Performance Initialize To initialize Performance settings. PRESET: Resets the current data in user memory to the factory settings.Chapter 4. Memory Settings (Utility/Card Mode) Initializing Sound Source Settings (INIT) This function resets settings of the current Patch. This mode is selected when creating sound from scratches. Transmitting Sound Settings (XFER) This function lets you transmit sound source or System settings that are in the XP-30’s memory or stored on memory card to an external MIDI device or User memory. This process is used when two XP-30s with the same Patch. press [UTIL/CARD] in Performance mode and execute initialization. press [UTIL/CARD] in Rhythm Set mode and execute initialization. GM). * If the current data is a Patch.

C XP-D. For example. Performance or Rhythm Set settings to the user memory and System settings to the system memory. Type (Data Type) Specify the type of data to be transmitted. E CARD USER PR-A–C. (Example) Block Destination PATCH PR-A:001—005 User:127 If the above settings are made and transmission is executed. as much of the data as will fit will be transmitted.4-27. Type ALL PERFORM Block PR-A PR-B USER PR-A. TEMP: Transmit the data from the temporary area. ALL: Performance. By loading sound data from memory card or Wave Expansion Boards to user memory. starting at the first number of the specified transmission destination. specify “PATCH PR-A:001-001” * If the specified data will not fit completely into the transmission destination. RHYTHM *2 *1 *1 Specified by file number Depends on the Wave Expansion Board installed Destination Set the transmission destination to MIDI. Patch. GM. For example if you wish to transmit only the PR-A group Patch 001. you would specify “PATCH USER:001-020. PR-E XP-A. USER: Transmit the data from user memory. fig. and Rhythm Set PERFORM: Performance PATCH: Patch RHYTHM: Rhythm Set SYSTEM: System (other than sequencer section) s Transmitting Data to User Memory You can transmit Patch. GM. E CARD SYSTEM *1 *2 Card 01–32 01–32 ** 001–128 001–128 001–255 001–256 001–*** ** 001–002 001–002 001–008 001–*** ** ** *1 The current Performance The current Performance and the Patch or Rhythm Set assigned to each Part of the Performance Type (Data Type) Specify the type of data to be transmitted. Performance program change. B XP-C XP-D. if you wish to transmit the USER group Patches 001–020. you can add many different sounds to your performance.e Data type Source block Destination 120 . Memory Settings (Utility/Card Mode) Specifies the data to be transmitted through the combinations as shown below. ALL: Performance. Patch.Chapter 4. and Rhythm Set PERFORM: Performance PATCH: Patch RHYTHM: Rhythm Set SYSTEM: System *2 *1 Block (Source Block) Specify the source of the data to be transmitted.” Type ALL PERFORM Block USER TEMP USER TEMP CTRL PATCH RHYTHM SYSTEM *1 *2 USER TEMP USER TEMP USER 001–002 001–128 01–32 -PATCH +PATCH *1 *2 Specifies the data to be transmitted through the combinations as shown below. only the two PR-A group Patches 01 and 02 will be transmitted to USER group Patches 127 and 128. and Volume and Pan messages for the Parts whose Rx parameter (PERFORM/MIDI/MIDI) is turned ON. PR-E XP-A. CTRL: Transmit messages for Performance bank select. B CARD PATCH USER PR-A–C.

It is also possible to turn this setting OFF as part of the Write procedure. the data in the memory card may be destroyed. fig.4-30 * Never remove the memory card or turn off the power while an operation (formatting. XP-A–E: Data from an Wave Expansion Board will be transmitted. it will be impossible to format the card or write data to it. fig. * Be sure to insert the memory card all the way into the slot. E can be selected only if the corresponding Wave Expansion Board is installed. This function prevents user memory from being rewritten to ensure Patch. Performance or Rhythm Set data will not accidentally be lost.4-31 File number File name Destination Set the transmission destination to USER. When the XP-30’s power is turned on. When this is OFF. When this is OFF. or so that the data you created can be used on another XP-30. or allow them to become soiled. fig. If a memory card is inserted when the power is turned on. When this setting is ON. Memory Settings (Utility/Card Mode) Block (Source Block) Specify the source of the data to be transmitted. Select the function you wish to execute.Chapter 4. 121 Chapter 4 Preventing User Memory Writing Operation (PROTECT) * Do not touch the contacts of the memory card. * If you affix the write protect label to the write protect area of the memory card. When this setting is ON.e Memory Card-Related Settings (CARD) XP-30 can use an optional memory card (S2M-5 (2MByte) or S4M-5 (4MByte)). do so without the label affixed.4-32 Internal (Internal Write Protect) The Internal write Protect setting prevents the Write operation from rewriting user memory. * When you select “1: CARD” in the UTIL 2 group. the data cannot be rewritten. the data can be rewritten by an incoming exclusive message. the following message will appear. USER: Data from user memory will be transmitted. Exclusive (Exclusive Protect) The Exclusive Protect setting prevents System Exclusive messages received from an external MIDI device from rewriting user memory settings. Use this card when you wish to save data for which there is no more space in the internal USER group. GM: GM data will be transmitted. Doing so will destroy the data in the memory card and/or render the memory card unusable. * If the Type parameter has been set to PERFORM. If you attempt to format the card or write data to it when the write protect label is affixed. PR-A–C. Before Using a Memory Card * The power of the XP-30 must be turned off before inserting or removing a memory card. * XP-D. refer to the instruction included with your memory card. fig. the following CARD display will appear. If you wish to format the card or write data to it. the data can be rewritten. so you will need to turn it OFF before rewriting user memory settings.4-29. PATCH. E: Preset A/B/C/E data will be transmitted. For details on the write protect label. or the memory card may become unusable. or RHYTHM. Memory card must be formatted before they can be used. the data cannot be rewritten. or data read/write) is being performed on the memory card. . CARD: Performance/Patch/Rhythm Set/System data stored on memory card will be transmitted. even if the Internal Write Protect setting is ON. specify the first number of the transmission destination. this setting is always turned ON.

select the file number of that file.4-39 Original file name New file name s Deleting Unwanted Files (DELETE) Use this function to delete unwanted files from memory card. fig. and the size of each file. the free area of the disk. Saving Data to Memory Card (SAVE) The Patch. refer to “Assigning a Name” (p. 120). and System settings in internal memory will be saved as a single file to memory card. it must be formatted on the XP-30. Performance.4-38 s Renaming a File (RENAME) This function changes the name of a file on the memory card. with the name you specify. fig.4-34. * Loading a new file will rewrite data currently resident in memory.Chapter 4. s Checking the Contents Memory Card (INFO) This function displays the number of files on the memory card. S2M-5 (2MB type): approximately 29 files S4M-5 (4MB type): approximately 59 files File number File name File size Number of files on memory card Free area 122 . To overwrite a previously existing file on the memory card. For details on assigning a name. fig. Rhythm Set settings and System settings will be loaded into internal memory.4-36. refer to “Transmitting Data to User Memory” (p.4-33 Loading a File from Memory Card into the XP-30 (LOAD) A data file containing Patch. Memory Settings (Utility/Card Mode) s Formatting the Memory Card for the XP-30 (FORMAT) This function initializes (formats) a memory card so that XP30 data can be saved to it. Performance. For details on assigning a name. It is not possible to save individual Patches or Performances to memory card. Before a new memory card or a memory card used on another device can be used on the XP30. 46). fig. * A file name of up to eight characters can be assigned. refer to “Assigning a Name” (p.e The number of files that can be saved will depend on the memory card you use.4-35 * Data files contain an entire set of parameter settings for the sound source. To keep existing data. * File name extensions cannot be changed. fig. save it to memory card before loading new data.e * If you wish to load only a portion of data from the file. Rhythm Set. * Please be aware that formatting will erase all the data already resident on the memory card. 46). * A file name of up to eight characters can be assigned. fig.

123 Chapter 4 . fig. and the Factory Reset operation will not be executed.Chapter 4. “Are You Sure?” will be displayed. fig. Memory Settings (Utility/Card Mode) Recalling Factory Default Settings (FACTORY RESET) This operation will restore all the data in the XP-30 to the factory settings. 122) or on an external MIDI sequencer (p.3-22 Change the displayed ON to OFF and press [ENTER] to turn Internal Write Protect off. this operation will cause all of this data to be lost.4-40 * If Internal Write Protect is turned ON. the following display will appear. If you wish to keep the data. press [ENTER]. you must save it on an optional memory card (p. 119). * If the XP-30 internal memory already contains important data that you have created.

Music files bearing the GS logo (GS music data) may therefore not play back correctly on the XP-30. 1.When the XP-30 is switched to GM mode . 128). When you switch the XP-30 into GM mode. The XP-30’s sound source is initialized in the following situations: . You can also select other GM Patches and GM Drum Sets for each Part to match the performance. But however. all Parts will be set to receive MIDI messages. * The XP-30 is not compatible with the GS format (standard format for multitimbral sound sources advocated by Roland). your song may not play back correctly on other GMcompatible sound modules. Lit is on. press [EDIT] to turn it off. the sound source must first be initialized to basic GM system settings. and the GM score may not play back correctly. s Initializing the Sound Source for GM System Basic Settings To play back a GM score correctly. Basically GM mode is similar to a special kind of Performance in which a GM System Rhythm Set is assigned to Part 10. To change the current Part. When [1-8/9-16] indicator is dark. XP-30 may not switch itself to GM mode. they will not initialize to factory settings unless the GM Initialize (DEFAULT) or Factory Reset is executed. set the Recieve Switch to OFF for the Part. the GM Drum Set is assigned to Part 10. * The beginning of a GM score normally contains a GM System On message. To change the GM Patch or GM Rhythm Set assigned to the Part. perform the same procedure as you do when you select a Patch or Rhythm Set. 1. When [1-8/9-16] indicator is lit.Chapter 5. Each time you enter GM mode. Using the XP-30 as the GM Sound Module The XP-30 features a GM mode—a convenient way to play back or create GM score data (music files for GM sound module). press [ ] or [ ]. So if you play back a GM score starting in the top of a song. you can’t store GM mode settings in user memory. 3. it plays back GM scores correctly. the sound source initializes itself for basic GM System settings. GM System On Message The GM System On message puts the unit in a state that conforms to the GM System and initializes a GMcompatible sound module. group) Part number The GM PLAY display shows a Patch or Rhythm Set assigned to each Part. Press the function button to switch Parts on/off. If it is lit. GM Patch/Rhythm Set (number. the function button indicators will indicate the on/off status of each Part. But beyond this. GM System On messages cannot be received. * Because effects settings are not defined in the GM System. Make sure that [EDIT] indicator is dark. You’re able to play back commercial GM score data releases and even modify various parameter settings for enhanced musical expression. Hold down [SHIFT] and press [PERFORM] to call up the GM PLAY display. Muting a Specific Part When you switch over to GM mode. XP-30 will switch itself to GM mode. To turn off a specific Part so that it will not sound. At this time. But if you play back a GM score starting in the middle of a song. and if you create music files using these extended features. 124 . 2.5-01.When you execute the GM Initialize function (p. the XP-30 provides many extended features not defined in GM System specifications. So to be safe. and GM System Patches are assigned to other Parts.When a GM System On message is encountered in the song data being played back At power on . the function button indicators will indicate the status of Parts 1-8. and dark is off.When it receives a GM System On message from an external MIDI device . Entering GM Mode Use GM mode to place the XP-30’s sound source in GM System compatible mode. 2. and Piano 1 is assigned to other Parts. the function button indicators will indicate the status of Parts 9-16. it’s recommended to manually set the XP-30 to GM mode before playing back a GM score.e s Playing Back a GM Score When the XP-30 is in GM mode. * If the Rx GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) is set OFF. fig.

Use [ ] or [ ] to move the cursor to the parameter Chorus (Chorus Send Level) Adjust the amount of chorus for each Part. [4/12(PART)]. Repeat steps 3–8 to complete a GM mode settings. you wish to modify. 9. Use the VALUE dial. the output assign settings of the GM Patch assigned to the Part will be used. For details refer to “MultiEffects Types (EFX Parameter)” (p. 125 Chapter 5 . When you finish making settings. and use [1-8/9-16] and the function buttons to select a Part. [INC]/[DEC] or numeric keys and modify the parameter value. 128). If you wish to move to another display group. * If you’ve made a mistake in setting the parameter value or you don’t like the changes. * The settings in this display have no effect on Parts whose Output Assign is set to MIX. the output will be passed through Multi-Effects. press [EDIT] to make the indicator light. it is a faster way to get around because you don’t have to turn on [EDIT] indicator each time. * You can also use the Palette display in the same manner when you edit in Performance mode (p. press [EDIT] to temporarily turn off the indicator. Hold down [SHIFT] and press [PERFORM] to call up the GM PLAY display. 10. 84). the output of each Part will be sent to the OUTPUT jacks without passing through Multi-Effects. and [8/16(INFO)]. Mix Out (EFX Output Level) Adjust the volume balance of the direct sound and the MultiEffects sound. * In GM mode. For details refer to “Setting Effects for a Performance (EFFECTS)” (p. the number of the Part selected for editing will be shown in the display. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. you can press the function buttons [2/ 10(EFFECTS)]. pan and level to customize a GM score playback to your preference. 65). If PATCH is selected. Reverb (Reverb Send Level) Adjust the amount of reverb for each Part. * If an “x” mark is displayed at the right of the display name. Using the XP-30 as the GM Sound Module Modifying GM Mode Settings GM mode also offers parameters that you can modify for each Part. Turn the corresponding effect on before you make settings (p. the effect for that display has been turned off.5-02 s Making Effects Settings in GM Mode (EFFECTS) Parameter configurations of GM effects and Performance effects are almost the same. 1. 8. Press [EDIT] to make the indicator light. Use [ ] or [ ] to select a display page. just press [UNDO/COMPARE] to restore the value to what it was. Make settings for the Multi-Effects/Chorus/Reverb effects used in GM mode. 5.Chapter 5. The button indicator of the selected display group will blink. Use the function buttons to select a display group. For details refer to “Multi-Effects Types (EFX Parameter)” (p. Type (EFX Type) Select the type of Multi-Effects. fig. 93). 93). 62). press [EXIT] to return to the GM PLAY display. and use the function buttons. GM EFX TYPE (EFX Type) Specify the type of Multi-Effects that will be used in GM mode. Chorus (Chorus Send Level) Adjust the amount of chorus applied to the sound that passed through Multi-Effects. 7. all these settings will be lost. GM EFX PRM (GM EFX Parameters) Make parameter settings for the EFX type selected by the Type parameter. You can modify settings like effects. OUTPUT Make settings to specify how each Part will be output. If you have selected a parameter display that can be set independently for each Part. 4. To select a different Part. Since this can be done even when [EDIT] indicator is dark. * When GM mode is initialized (p. 6. If this parameter is set to EFX. 3. GM EFX OUT (GM EFX Output) Specify the output routing for Parts whose Output Assign is set to EFX. The Output Level parameter adjusts the volume of each Part. 2. Output Assign (Output Assign/Output Level) When the Output Assign parameter is set to MIX.

Type (Reverb/Delay Type) Select the type of Reverb effect. HF Damp (Reverb/Delay HF Damp) Reverb OUTPUT Chorus input Reverb input Chorus Adjust the frequency above which the reverberant sound will be cut. fig. This means that song data created for the XP-30’s GM mode that uses Multi-Effects/Reverb/Chorus may not playback correctly on other GM-compatible sound sources. * In GM mode. the reverb effect settings for the GM Patch assigned to each Part will be ignored (except for the Send Level parameter). this parameter will adjust the time delay from the original sound until when the first echo will sound. As the frequency is set lower. Higher settings will create a more spacious sound. Time (Reverb/Delay Time) Adjust the time of reverberation. GM CHORUS Make settings for the chorus effect used in GM mode. set this parameter to BYPASS. but the use of effects is not included in the GM System Level 1 guidelines. Fbk (Delay Feedback Level) Adjust the amount of delayed sound that is returned (fed back) to the delay. * If you have selected any one of the Reverb types (ROOM1– HALL2). ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear reverberance HALL2: reverb with rich reverberance DELAY: a conventional delay PAN-DLY: a delay with echoes that move left and right Rate (Chorus Rate) Adjust the speed of modulation for the chorus sound. GM REVERB Make GM mode reverb settings. Using the XP-30 as the GM Sound Module Reverb (Reverb Send Level) Adjust the amount of reverb applied to the sound that passed through Multi-Effects.e Reverb input Chorus Reverb OUTPUT Chorus input 126 . resulting in a softer and more muted reverberance. REV: Apply reverb to the chorus sound. the chorus effect settings for the GM Patch assigned to each Part will be ignored (except for the Send Level parameter). Higher settings will result in a more intense effect.3-27. * In GM mode. fig. MIX: fig. Delay (Chorus Pre Delay) Adjust the time delay from the original sound until when the chorus sound is heard. M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied. Level (Chorus Level) Adjust the volume of the chorus sound.3-28.e The Chorus sound and the Reverb sound are mixed.3-29. Fbk (Chorus Feedback Level) Adjust the amount of sound from the chorus that is returned (fed back) to the input of the chorus. If the Type parameter is set to DELAY or PAN-DLY. If you do not want the high frequencies to be cut. Higher values result in more delay repeats.Chapter 5. more of the high frequencies will be cut.e Level (Reverb/Delay Level) Adjust the volume of the reverberant (or delayed) sound. Out (Chorus Output Assign) Select the way in which the Chorus and Reverb are connected. Chorus input Chorus Reverb input Reverb OUTPUT About Effects for GM-Compatible Sound Modules Most GM-compatible sound sources provide effects such as reverb and chorus. this parameter has no effect. Depth (Chorus Depth) Adjust the depth of modulation for the chorus sound.

the display will briefly indicate “COMPLETED. Coarse (Coarse Tune) Adjust the pitch of each Part in semitone steps (-4–+4 octaves). using the Utility functions. you can copy effects settings. press [EXIT]. Pan Adjust the stereo position of each Part. Convenient Functions in GM Mode (GM Utility) In the GM mode. Number (GM Patch Number) Select the number (001–128) of the GM Patch. * The functions of the UTIL 2 group can also be executed from GM mode. When you do so. etc. 3. and 63R is full right. * In GM mode it is not possible to select USER or PRESET A/B/ C/E Patches. 4. you may modify the values.Chapter 5. (-50–+50 cents) * 1 cent is 1/100th of a semitone. and can be recorded on the sequencer. This is a convenient way to check that the sound source is responding correctly to messages from the keyboard or external MIDI controllers. Set parameters as necessary on each function’s display. The XP-30 will switch to Utility/Card mode.5-03 SETTING Make settings for the volume. Using the XP-30 as the GM Sound Module s Setting a Part (PART) PATCH Select the GM Patch assigned to each Part. For items other than Voice. The display of the function you’ve selected will appear. To return to the UTIL 1 display. Press [ENTER] to execute the function. they will be reflected in the following INFO group displays. To return to the GM PLAY display. 0 is center. s Confirming MIDI Information of Each Part (INFO) In this display you can check the receive status of various types of MIDI message for each Part. L64 is full left. Fine (Fine Tune) Make fine adjustments in 1-cent steps to the pitch specified in Coarse Tune. Press [ ] or [ ] to select the UTIL 1 group. * You can also access the desired function display by using the numeric keys or function buttons to specify the number of the function. fig. Mod (Modulation Information) Breath (Breath Information) Foot (Foot Information) Vol (Volume Information) Pan (Pan Information) Exp (Expression Information) Hold (Hold 1 Information) Bend (Pitch Bend Information) Aftertouch (Aftertouch Information) Voices (Voice Information) The number of voices used. pan. Volume Adjust the volume of each Part. * To cancel the operation. press [UTIL/CARD] to make the indicator go dark. The operation is the same as in other modes. In the GM mode. and transmit GM mode settings. 127 Chapter 5 . press [EXIT]. When the operation is completed. 5. initialize GM mode. and pitch of each Part. Basic Procedure 1. 2. * If you modify the settings of the Volume parameter or Pan parameter. and press [ENTER]. press [UTIL/CARD] so its indicator blinks. Press [ ] or [ ] to select the desired function (the function name will blink).” 6. a MIDI message will be transmitted.

DEFAULT: Initializes all GM mode settings including effects settings to factory settings.e s Transmitting GM Mode Settings (XFER) fig. The following GM mode settings for each Part are transmitted. 124). and press [ENTER]. number. and then select the contents of the effect that you wish to copy. Prepare the external MIDI device to record data. GM-ON: Initializes GM mode settings using a GM System On message.5-04. . 128 .5-07 Copy source Copy source Patch/Performance (group. Using the XP-30 as the GM Sound Module s Copying Effects Settings (COPY) This function copies effects settings from a Patch or Performance to the GM mode.Pan (control number 10) . data stored in user memory will not be initialized. 27).Program number of the GM Patch .Fine tune .Coarse tune * If you do not want the settings of a specific Part to be transmitted. There are two initialize methods. fig.5-06 * As GM Initialize initializes only GM mode data. chorus.5-05.Chapter 5. use Factory Reset (UTILITY/UTIL 2/ FACTORY RESET) (p. you can transmit them as a MIDI message to an external MIDI device. turn off the Recieve Switch for that Part (p.e Copy type ALL: EFX: CHORUS: REVERB: CHO&REV: Multi-effects. If you wish to keep your GM mode settings.Reverb send level (control number 91) . fig. To initialize all settings to factory settings.Volume (control number 7) .Pitch bend sensitivity . and reverb settings Multi-effects settings Chorus settings Reverb settings Chorus and reverb settings It is not possible to store GM mode settings in user memory. s Initializing GM Mode (INIT) fig.Chorus send level (control number 93) . name) Press [ ] to move to the next display.

5. * If the result is difficult to hear. 4. Try it. 6. for instance use different wave or modify the pitch. pressing the Hold pedal makes a note continue to sound. Notice the effectiveness of the filter has changed. Select PR-C:014 MKS-80 Brass on the Play display (PATCH). Set Tone 1’s Mode parameter to PLAYMATE and the Time parameter to 32. set the Type parameter (PATCH/COMMON/STRUCT) to 2. 62). Set the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) to INT. 1. perform the following procedure. move the CUTOFF and RESO. Reverb) (p. 5.” 1. Press [FILTER/ENV] to light the indicator. s Making the Up-Beat Note Sound at the Same Time You Play a Down-Beat Note 1. Select Tone 1. it is also possible to synchronize the LFO to the system’s tempo clock by setting the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM. However. Call up the PEAK & HOLD display (PATCH/ CONTROL) and set Ctrl 1 parameter to HOLD. press [EFFECTS ON/OFF] to turn off each effect unit (Multi-Effects. 4. Select PR-B:052 Blade Racer on the PATCH PLAY display. Set the Type parameter (PATCH/COMMON/STRUCT) to 2. 3. 2. Call up the TONE DELAY display (PATCH/WAVE). Getting the Full Potential of the XP-30 This section discusses various techniques for effectively using the XP-30 for specific applications. * Tone 1 will not sound if the two keys are pressed at an interval of 2 seconds or longer. sliders and hear how the sound changes. 6. 2. the faster you’ll appreciate the real power of this unit. * When you have selected PR-B:047. 3. 093. 4. 129 Chapter 6 . To keep other effects effective as well. Set the modulation depth as desired using LFO DEPTH1:2 display (PATCH/LFO) of each Tone. 099. Again. If not. PRC:034. 5. s Holding a Note with Modulation Retained In general. both the note and the effect produced by the modulation lever will be held. etc.) to which an effect will be applied when the modulation lever is moved on the PATCH PLAY display. 069. Techniques for Using Patches s Reinforcing Filter Characteristics If you want to reinforce filter characteristics. reset. you can achieve synchronization with the tempo of an external MIDI device. 2. and seriesconnect the TVFs of Tones 1 and 2. 3. This example shows how to boost the effectiveness of the filter for “PR-C:014 MKS-80 Brass. 2) is set to CLOCK. The more you use the XP-30. Chorus. Select PR-A:087 Music Bells on the PATCH PLAY display and listen to the sound. or 123. 4. s Syncing the LFO Cycle to System Tempo 1. Set the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM. Press a note and press the pedal switch as you move the modulation lever forward. Play the XP-30’s keyboard keeping a constant tempo. 049. 5. 051–056. sliders while you play notes and hear how sound changes. 3. Make sure that each Tone’s EXTSync parameter (PATCH/LFO/LFO 1. Set the Hold parameter (SYSTEM/CONTROL/ CONTROL SOURCE) to HOLD1. Select a Patch (PR-C:110 Crash Pad. Move the CUTOFF and RESO. Connect an optional pedal switch to the HOLD PEDAL jack. Tones 1 and 2 sound alternately. Try various settings. When the note and modulation lever are released. Tone 1 will sound at the timing point exactly between a note you press and the following note.Chapter 6. 2. * When the Clock Source parameter is set to MIDI. other effects will go off. Try playing the keyboard while you change the System Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP) to various values. 097.

6. 2. Select XP-C:001 Teknoperator on the PATCH PLAY display. Set the Tone 1’s Mode parameter to TEMPO-SYNC. Patch Tone 1 uses a phrase loop called 132:Detroit. PR-C:094. 6. Select PR-C:094 Albion on the PATCH PLAY display. Select PR-A:054 Rocker Spin on the PATCH PLAY display. 5. 4. When you wish to speed up the rotary effect. Set the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) to INT. * When you have selected PR-B:057. 130 . 3. 068. You’ll notice that the tempo of the Patch’s modulation changes in accordance to the tempo clock of the XP-30’s system. 4. 096. s Using a Pedal Switch to Modify the Rotary Speed of the Rotary Effect 1. This Patch uses ROTARY as the EFX type. Try it and see. Call up the WAVE display (PATCH/WAVE). Make sure that the Type parameter (PATCH/EFFECTS/ PATCH EFX TYPE) is set to STEP-FLANGER. 5. Type 16: STEP-FLANGER 19: TRIPLE-TAP-DELAY 20: QUADRUPLE-TAP-DELAY EFX Parameter Step Rate parameter Delay L–R parameter Delay 1–4 parameter s Playing Phrase Loops at a System’s Tempo The internal wave expansion XP-C group contains Patches derived from waveforms with tempo (BPM) indication (phrase loops). press the pedal switch. 2. You can play these phrase loops in sync with the system’s tempo. 065. Set the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) to INT. 8. 7. If not. 2. The settings for pitch and FXM will be ignored. Releasing the pedal switch will slow down the rotary effect. You’ll notice that for this example. then set the Speed parameter to FOOT:+63. and 098. Getting the Full Potential of the XP-30 s Modifying Multi-Effects to Match the System’s Tempo 1.Chapter 6. it is also possible to sync the EFX parameter variations of the sequencer’s tempo clock by setting the Source parameter (PATCH/ COMMON/PATCH CLOCK) to SYSTEM. reset using a note value. Make sure that the Step Rate parameter (PATCH/ EFFECTS/PATCH EFX PRM) is set as a note value. 1. when you have selected the following types for the EFX Type parameter. You can modify EFX parameter values in accordance to the system’s tempo clock. Try playing the keyboard while you change the System Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP) to various values. * The phrase loop will sound with the system’s tempo regardless of which key you press. 3. Change the Tone by pressing TONE SELECT [1]–[4] and look for the Tone that uses waveforms with BPM indication. Call up the CONTROL PEDAL display (SYSTEM/ CONTROL) and set the Assign parameter to CC04:FOOT-TYPE. If not. Try playing the keyboard while you change the System Tempo parameter (SYSTEM/SETUP/SYSTEM SETUP) to various values. The wave name will appear in parentheses ( ) below the Number parameter. Call up the TONE DELAY display (PATCH/WAVE). The phrase loop speed will change in accordance to the system’s tempo clock. 5. Set the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM. Set the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM. Call up the PATCH EFX CTRL display (PATCH/ EFFECTS). reset. 4. 3. Connect an optional pedal switch to the CONTROL PEDAL jack.

and see if the sound of the external MIDI device changes to what you want. Connect a pedal switch to a CONTROL PEDAL jack. you call up the next Patch. turn the Switch parameter ON for that group. After switching to the MIDI display (PERFORM/MIDI) for the part that will control the external MIDI device. Call up the CONTROL PEDAL display (SYSTEM/ CONTROL) and set the Assign parameter to 98:PROGUP. Select the TRANSMIT (PERFORM/MIDI) display.C Number parameter by adding 1 to the external MIDI device’s value. Call up the C1 ASSIGN display (SYSTEM/CONTROL). you can try different variations. 1. Using the XP-30 to Play Live s Changing Multiple Sounds of an External MIDI Device Simultaneously When a different Performance is selected. you can select several sounds on the external MIDI device by changing the Performance. and turn the Tx parameter ON. 4. 2. Set the Number parameter to select the appropriate bank select group to match the bank select of your external MIDI device. 1. 1. Getting the Full Potential of the XP-30 s Using the Slider to Pan Sounds in Real Time You can assign various functions to the C1 slider. Once you have set the Bank Select number and Program number for each Part to match the desired sound of the external MIDI device. 2. 5. 2. press [EFFECTS ON/OFF] to turn off each effect unit (Multi-Effects. the stereo location (pan position) of a Patch will change by moving the C1 sliders up or down. s Changing Sounds with a Pedal Switch You can change Patch/Performance/Rhythm Set in succession using a pedal switch. 3. 5. Reverb) (p. Call up the BANK-SEL GROUP display (SYSTEM/ MIDI). Call up the PLAY display of a sound source. * If the Program number of the external MIDI device reads 0–127. If not. 62). the sound corresponding to the Bank Select number and Program number of the selected Performance will usually be chosen on the external MIDI device. Select a Patch on the PATCH PLAY display. Select the Part to be used to control the external MIDI device. Call up the PATCH display (PERFORM/PART) and set the Number parameter to the same number as the Program number of the sound you wish to play from the external MIDI device. Each time you press the pedal. set the P.Chapter 6. Press [CONTROLLER] to light the indicator. 3. Try changing from another Performance to the Performance just saved. You’ll notice that sound will pan right and left. In this example. set the Channel parameter to match the receive channel of the external MIDI device. 4. Performance or Rhythm Set. Chorus. * With other Assign parameter settings. and set the Bank Select Group parameter to the bank select group that you selected in step 3. 4. 3. 131 Chapter 6 . Set the Assign parameter to CC10:PANPOT. Save the Performance. * If the stereo location of the sound is difficult to hear. 7. 8. 6. Move the C1 slider while you play the keyboard. and set the LSB and MSB parameters. check your settings and the external MIDI device.

e XP-30 MIDI IN MIDI IN MIDI Keyboard 2. use the MIDI THRU connector of the external MIDI device. fig. MIDI OUT s Playing the XP-30’s Sound Source from an External MIDI Device 1.Performance mode Channel parameter (PERFORM/MIDI/MIDI) Turn the Rx parameter (PERFORM/MIDI/MIDI) to ON. and data errors may occur.6-02. you can select Patches. Getting the Full Potential of the XP-30 Using External MIDI Devices s Using the XP-30 to Control External MIDI Devices 1. If you want to play only the sound source of the external MIDI device. causing the XP-30 to select the appropriate Patch. Set the XP-30’s receive channel to match the external MIDI device’s transmit channel. set the Local parameter (SYSTEM/MIDI/ PATCH MIDI) / (SYSTEM/MIDI/PERFORM MIDI) to OFF.6-03.. it will select sounds only from the currently selected group such as PR-A or USER. Set the XP-30’s transmit channel to match the external MIDI device’s receive channel. * If the XP-30 receives only Program Change messages without receiving Bank Select messages. fig. the corresponding MIDI message will be transmitted to the XP30.e XP-30 MIDI OUT MIDI Keyboard 2. when you select sounds on an external MIDI keyboard. In other words. fig. The transmit channel is determined by the following parameters.. Use a MIDI cable to connect the external MIDI device’s MIDI OUT connector to the XP-30’s MIDI IN connector.Patch mode Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) . the MIDI signal may become garbled.e * If you “daisy-chain” three or more MIDI devices using IN → THRU → IN → THRU . 3. Use a MIDI cable to connect the MIDI OUT connector of the XP-30 to the MIDI IN connector of the external MIDI device. use a MIDI Thru Box.6-01. The receive channel is determined by the following parameters.Chapter 6. Performances. If you wish to connect two or more external MIDI devices. . etc. or Rhythm Sets. MIDI Thru Boxes are devices that allow a single stream of MIDI data to be sent to a large number of MIDI devices without causing data errors. . In such cases. XP-30 MIDI IN MIDI THRU MIDI Keyboard MIDI IN MIDI Keyboard 132 .Patch mode Rx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) . MIDI OUT s Selecting XP-30 Sounds from an External MIDI Device By transmitting Bank Select messages (controller number 0 and 32) and Program Change messages from the external MIDI device to the XP-30..Performance mode Channel parameter (PERFORM/MIDI/MIDI) Turn the Tx parameter (PERFORM/MIDI/MIDI) to ON.

Getting the Full Potential of the XP-30 Selecting Patches The MIDI messages transmitted by the external MIDI device will be received by the XP-30 to select Patches as shown in the following table. 2 1. Part 10 is set to MIDI channel 10. 2 1. Group USER PR-A PR-B PR-C PR-D (GM) PR-E XP-A XP-C XP-D XP-D XP-E XP-E Number 1. When the XP-30 is shipped. value 1 Program number 10 In order to select Rhythm Sets. 2 1. 2 1. 2 1. Group USER PR-A PR-B Number 1–32 1–32 1–32 80 81 81 0 0 1 1–32 1–32 1–32 In order to select a Performance. 2 1. Group USER PR-A PR-B PR-C PR-D (GM) PR-E XP-A XP-A XP-B XP-B XP-C XP-C XP-D XP-D XP-E XP-E Number 1–128 1–128 1–128 1–128 1–128 1–128 1–128 129–255 1–128 129–255 1–128 129–256 1–128 129–256 1–128 129–256 Bank Select MSB LSB 80 81 81 81 81 81 84 84 84 84 84 84 84 84 84 84 0 0 1 2 3 4 0 1 2 3 4 5 6 7 8 9 Program Number 1–128 1–128 1–128 1–128 1–128 1–128 1–128 1–127 1–128 1–127 1–128 1–128 1–128 1–128 1–128 1–128 Selecting Rhythm Sets The MIDI messages transmitted by the external MIDI device will be received by the XP-30 to select Rhythm Sets as shown in the following table. 2 1. (Values are in decimal.Chapter 6. the Control Channel parameter setting will take priority so that messages received on this channel will select Performances. the MIDI channel of the transmitting device must match the receive channel of Part 10 of the Performance. 2 1–8 1–8 1–128 129–256 1–128 129–256 Bank Select MSB LSB 80 81 81 81 81 81 84 84 84 84 84 84 0 0 1 2 3 4 0 4 6 7 8 9 Program Number 1. 2 1. 133 Chapter 6 Bank Select MSB LSB Program Number . 2 1–8 1–8 1–128 1–128 1–128 1–128 <Example> Selecting PR-B Patch number 10 from an external MIDI device Transmit data to the XP-30 in the following order.) Controller number 0 (Bank Select MSB button). the transmit channel must match the receive channel of the Part. Selecting Performances The MIDI messages transmitted by the external MIDI device will be received by the XP-30 to select Performances as shown in the following table. 2 1. However if the Control Channel parameter and the receive channel of a Part have the same setting. value 81 Controller number 32 (Bank Select LSB button). the MIDI channel of the transmitting device must match the XP-30’s Control Channel parameter (SYSTEM/MIDI/PERFORM MIDI). 2 1. In order to select the Patch or Rhythm Set of a Part.

so it is important that you choose software suited to your needs. Getting the Full Potential of the XP-30 Enjoying Desktop Music The XP-30 can be controlled by music software running on a computer. carefully read the owner’s manual that was included with your driver. To make connections via MIDI. depending on the software you use.e Apple Macintosh PC * Before changing the setting of the Computer switch. settings may be different than the above. and also to select sounds or edit sounds from the computer display. read from p. If you need a 25 pin cable. If you are making connections using MIDI. This will allow you to create your own songs. Connecting with Computer Connector 1. Set the COMPUTER switch on the rear panel of the XP-30 as the following figure. (p. In step 3. 3a. Use MIDI cables to connect the XP-30’s MIDI connectors to the MIDI connectors of the MIDI interface.4 (kbit/sec).6-04. If you’re using an Apple Macintosh computer. you must first turn off the power on the XP-30. you will need a MIDI interface (such as the Roland Super MPU64. In general. you will need to make settings for your software. 208) and purchase an appropriate cable. 3b) that applies to you. so read the section (3a. * This setting determines the transmission speed (baud rate) between your computer and the MIDI sound module (the XP30). use a Computer cable to connect the serial port (RS-232C connector) of your computer to the Computer connector of the XP-30. To make connections via the Computer connector. and turn off the power on all devices before making any connections. Turn off the XP-30. refer to “Computer Cable Wiring Diagrams” (p. connect the computer cable to the serial port (RS-232C) connector on the rear of the computer. If so. 134 . The features available to you when using a computer will vary greatly.25 (kbit/sec). or by using the MIDI connectors. If you’re using a PC.Chapter 6. If you are using Windows. Computer cable: RSC-15APL (sold separately) s Connecting to Your Computer Two Connection Methods There are two ways to connect the XP-30 to your computer: by means of the Computer connector. * The PC-1 baud rate is 31. etc. and the PC-2 baud rate is 38. always turn down the volume. the connections will be slightly different depending on the type of computer you are using. 135). after it has been connected to your computer. Computer cable: RSC-15AT (sold separately) This is a 9 pin cable. Here we explained how to make the setting on the XP-30.). To make settings on your computer. connect the computer cable to the modem port or printer port on the rear of the computer. Connect the XP-30 to your computer using the method that is appropriate for your setup. your computer and all peripheral devices. and to Mac for Apple Macintosh series. fig. * To prevent malfunction and/or damage to speakers or other devices. 2. set the switch to PC-2 for PC. and the setting used by the computer must match the setting on the XP-30. depending on your driver settings. 3b.

always turn down the volume. Connecting with MIDI Connectors If a MIDI interface (Roland Super MPU64. and turn off the power on all devices before making any connections. Turn off the XP-30. 26). 1. 2. and audio cables or headphones.e Apple Macintosh Modem Port or Printer Port XP-30 Rear Panel PC Optional computer cable RSC-15APL Serial Port (|O|O|) Optional computer cable RSC-15AT * In order to hear the sounds of the XP-30. refer to the owner’s manual for your MIDI interface. If you are finished making connections.Chapter 6.) is connected to your computer. * For details on how to install the MIDI interface. read from the “Turning On the Power” (p. If you have not yet made connections. Set the COMPUTER switch on the rear panel of the XP-30 to MIDI. your computer and all peripheral devices.6-06 * Before changing the setting of the Computer switch. 135 Chapter 6 . you will also need to connect an AC cord. * To prevent malfunction and/or damage to speakers or other devices. 24). Getting the Full Potential of the XP-30 4. you must first turn off the power on the XP-30. or if a MIDI interface adaptor is connected. please read “Making Connections” (p.6-05. fig. fig. Connect the other end of the Computer cable to the COMPUTER connector on the left side of the XP-30. etc. you can use the MIDI connectors to make connections.

Chapter 6. 4. fig. Use a MIDI cable (sold separately) to connect the MIDI OUT connector of the MIDI interface to the MIDI IN connector of the XP-30. Getting the Full Potential of the XP-30 3.e Apple Macintosh XP-30 Rear Panel MI IN DI Modem or Printer Port OU T MIDI Interface Adapter The setting is MIDI PC Super MPU64 XP-30 Rear Panel USB Connector The setting is MIDI USB Cable 136 .6-07. Use a MIDI cable to connect the MIDI IN connector on the MIDI interface to the MIDI OUT connector on the XP-30. * This connection is necessary in order to use the controller section (keyboard section) of the XP-30.

When you use the XP-30 by itself. when you are using it as a sound generator for a DTM (desktop music) system. Getting the Full Potential of the XP-30 s Disconnecting the Keyboard from the Internal Sound Source (Local OFF) The XP-30 contains a controller section (keyboard section) and sound generating section.Chapter 6. refer to the owner’s manual for your sequencing program. packaged as a single unit. For details on whether or not your sequencing program has a Thru function. MIDI messages received at MIDI IN will be retransmitted without change from MIDI OUT. System Exclusive messages are not transmitted by the Thru function. and how to set the Thru function. This means that you can make a setting (Local Control) that specifies whether or not the performance data from the keyboard will be transmitted directly to the sound source. so they will not directly control it. you should set the Local parameter (SYSTEM/MIDI/PERFORM MIDI) to OFF so that the keyboard will be disconnected from the internal sound generator. the XP-30’s keyboard and controllers are disconnected from the sound generating section. set the XP-30’s Local Control to ON. the Thru function of the sequencing program must be turned on. When the Thru function of the sequencing program is turned on. turn the XP-30’s Local Control setting ON. fig. If you are using such software and wish to record System Exclusive messages. you will normally set it to Local ON. * If your sequencing program does not have a Thru function.6-08. All performance data that arrives at MIDI IN will be output from MIDI OUT. Sequencer Recording Set to Thru Function On. However. .e Turn on the Thru Function of Your Sequencer Software In order for the musical data received by the computer from the XP-30 to be transmitted back to the XP-30. * For some sequencing programs. MIDI IN MIDI OUT MIDI OUT MIDI IN Sound Generating Section Set to Local Off. Keyboard Controller Section XP-30 137 Chapter 6 While at this setting.

138 .

Appendices 139 Appendices .

but not with the GS format. make the setting for the Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) (p. GM MIDI) to ON (p.Does the MIDI Receive channel of the Part match the MIDI Transmit channel of the connected MIDI device? Set the Channel parameter (PERFORM/MIDI/MIDI) to specify the MIDI receive channel (p.Is the rear panel COMPUTER switch set to the correct position? If you are using the XP-30 while connected to a computer. If this does not resolve the problem. . 24). is the specified Wave Expansion Board installed correctly? (p.Is the instrument set to transmit MIDI messages? In the Patch mode. Patch. 20) Song Does Not Playback Correctly . check whether the Local Switch. 86). Set the Local parameter (SYSTEM/MIDI/PATCH MIDI. 86). 113). connect audio cables or headphones (p. 134).Has the Receive GM Exclusive switch been turned ON? Set the Rx. set the Tx parameter (PERFORM/ MIDI/MIDI) to ON (p. . No Sound from Connected MIDI Device . is turned OFF. . access the INFO display (PERFORM/INFO) to check the settings of the Volume message (Vol) and Expression message (Exp) parameters. . consult your dealer or a nearby Roland Service Station (listed at the end of this manual). use a Computer cable or MIDI cables to connect it to the computer (p. . first check the following points. When using the XP-30 with a computer. the type of computer. or Rhythm Set. 86). is the sound source set to GM mode? Enter GM Mode (p. the problem may be that the audio cable transmitting the sound to the other devices is broken or incorrectly connected. .If you do not hear sound when you play the keyboard.Is the VOLUME slider turned all the way down? . 16. In the Performance mode.Is the power turned on for the other devices connected to the this unit? .GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) to ON (p.Have all tones in the patch been turned off? Press the TONE SWITCH [1]–[4] buttons to make the indicators light. 112). a System parameter.Has the volume been lowered by pedal operations or by MIDI messages (volume messages or expression messages) received from an external MIDI device? Use the Panic function to raise the volume (p. . 112).If a layer-type performance is selected. and make the appropriate settings.If you have selected settings that use an XP-D or E Wave.Is the instrument set to receive MIDI messages? Set the Rx parameter (PERFORM/MIDI/MIDI) to ON (p. 134). A Specific Part Does Not Sound . 124).Are you playing a GS format song? The XP-30 is compatible with the General MIDI System.When playing back a GM score. Cannot Turn the Power On . 87). or that there is a problem with your mixer/amp/speaker system. . PERFORM MIDI. * If a message appears during operation. 60). . 140 . consult the following section “Error Messages” (p.Has the volume level of the part been lowered? Adjust the Level parameter (PERFORM/PART/SETTING) to raise the volume of the part that is not heard (p. and the settings of the driver (p. 86). so a GS format song will not play back correctly on the XP-30. 142) . . 24). If you are in Performance mode.Is the power cable correctly plugged into an outlet? No Sound . make settings as appropriate for the connection method. You will also need to connect audio cables or headphones (p. * Turn off the XP-30’s power before changing the position of the COMPUTER switch.Can you hear sound through headphones? If you can hear sound through headphones.Are the connections correct? When using the XP-30 by itself.Troubleshooting If the this unit does not function in the way you expect. has the Local switch of the part been turned off? Set the Local parameter (PERFORM/MIDI/MIDI) to ON (p.

87). lower the volume level of those patches or parts (p. In this case. .Has a restricted range of notes been set? If a specific range of notes does not sound. 87). access the INFO display (PERFORM/INFO) to check the settings of the Pitch Bend Message parameter (Bend). this unit will not transmit data from the COMPUTER connector. and make the appropriate settings (p.If you wish to transmit this unit data via the Computer connector.Does the MIDI send channel for the XP-30’s controller match the MIDI receive channel for the connected MIDI instrument? In the Patch mode. . . 87). This Unit Does Not Transmit MIDI Data .Some sequencer software does not “soft-thru” system exclusive messages.If the sound is distorted for specific patches or parts. Reduce the number of Tones that you are using (p. 112). depending on the computer or software you are using (p. .Is an effect which distorts the sound being applied? (p.When the rear panel COMPUTER switch is set to MIDI. 62).Has the pitch been changed by pedal operations or by pitch change messages received from an external MIDI device? Use the Panic function to reset the original values (p. use the VOLUME slider to lower the volume level. 86). Sound Is Distorted . turn the XP-30’s Local parameter ON (p. If you are using this type of sequencer software and wish to record system exclusive messages. If you are in Performance mode. set the COMPUTER switch to PC-1. Operating the Sliders or Other Controls Does Not Affect the Sound . 134). sounds will be interrupted (p.Does the Device ID number of the transmitted exclusive message match the Device ID number of this unit? Check the Device# parameter (SYSTEM/MIDI/SYS-EXC MIDI) (p. Sounds Are Interrupted . set the MIDI send channel with the Channel parameter (PERFORM/MIDI/MIDI) (p. Increase the Voice Reserve setting for parts that must not drop out (p. press [EFFECTS ON/OFF] (p. only the notes specified in both settings will sound. 113).Have the Coarse Tune or Fine Tune parameters been set for specific parts? Check the Coarse parameter and Fine parameter (PERFORM/PART/SETTING) (p. If both key ranges have been set. PC-2 or Mac. 112). 87). 42).Is the tuning of the XP-30 incorrect? Check the Master parameter (SYSTEM/TUNE/TUNE) (p.If all sounds are distorted.If you attempt to play more than 64 voices at once. 93) . When Using Sequencing Software. check the Key Range settings for the patch and performance in the KEY RANG display (PATCH/COMMON) and KEY RANG display (PERFORM/COMMON). 81. 60). In the Performance mode. 141 Appendices Effects Do Not Apply . 50. . data will be transmitted from the MIDI OUT connector.Is the effect switch turned OFF for Multi-Effects. A Specific Keyboard Area Does Not Sound . make the setting for the Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) (p. 113).Troubleshooting . Pitch Is Incorrect . 76). Chorus. or Reverb? To check these settings. Exclusive Messages Are Not Received .

Either insert a different memory card. Delete the damaged file. and Exclusive messages cannot be received.Error Messages If there has been a mistake in operation. User Memory Write Protected Situation 1: The Internal parameter (UTILITY/UTIL 1/ PROTECT/WRITE PROTECT) is turned ON. If the memory card has been damaged. This section gives the error messages in alphabetical order. do not use that memory card. Memory Card Full Situation: Action: There is insufficient space available on the memory card to save the data. Memory Card not Ready Situation: Action: A memory card is not inserted in the MEMORY CARD slot. Use a different file name. Action: File Format Error Situation: The XP-30 cannot handle this file. Insert the memory card that contains the specified file. File Name Format Error Situation: Action: A file name has not been assigned. Action 1: Turn the Internal parameter OFF. File I/O Error Situation: Action: It was not possible to save/load a file. the XP-30 has failed to process them properly. an error message will appear in the display. If the same error message appears repeatedly. Memory Card I/O Error Situation: Action: It is possible that the memory card has been scratched or otherwise damaged. Memory Card Write Protected Situation: Since a write protect sticker is affixed to the memory card. Reduce the amount of MIDI messages to be transmitted. Remove the write protect sticker from the memory card. Check that MIDI cables are not broken or pulled out. If the same message appears. Consult your dealer or a nearby Roland service station to have the battery replaced. Battery Low Situation: Action: The internal backup battery that is preserving the contents of user memory has run down. or if the XP-30 is unable to continue processing as you directed. File Name Duplicate Situation: Action: A file of the same name exists on the memory card. Action 2: Turn the Exclusive parameter OFF. File not Found Situation: Action: The specified file was not found. Action: MIDI Communication Error Situation: Action: A problem has occurred with the MIDI cable connections. consult your dealer or a nearby Roland service station. Situation 2: The Exclusive parameter (UTILITY/UTIL 1/ PROTECT/WRITE PROTECT) is turned ON. Receive Data Error Situation: Action: A MIDI message was received incorrectly. that file has been damaged. there is a problem with the MIDI messages that are being transmitted to the XP30. Turn off the power. User Memory Damaged Situation: Action: The data in user memory has been lost. Assign a file name. Try the operation once again. and try the operation once again. or delete unnecessary data and try the operation once again. Format the memory card on the XP-30. If the same error message is displayed repeatedly. data cannot be saved to the card bank. Take the appropriate action for the displayed error message. Use the Factor Reset function (UTILITY/UTIL 2/FACTORY RESET) to initialize the memory to the factory settings. MIDI Buffer Full Situation: Due to an inordinate volume of MIDI messages received. Unformatted Memory Card Situation: Action: This memory card cannot be used by the XP-30. and insert a memory card. 142 .

Selecting a Patch Use the VALUE dial. Adjusting the Volume of a Patch Level parameter (PATCH/COMMON/PATCH COMMON) Adjusting the Pan Position of a Patch Pan parameter (PATCH/COMMON/PATCH COMMON) s Performance Mode Selecting the Performance Mode PLAY Display Press [PERFORM]. Press [PERFORM] + [PATCH]. [INC]/[DEC]. Changing the Patch Assigned to a Performance 1. or the numeric keys to select a Patch or Rhythm Set. s Patch Mode Selecting the Patch Mode PLAY Display Press [PATCH]. Use the numeric keys to specify the number of the one’s place. Use the VALUE dial. or the numeric keys to select a Patch. 2. This section gives the procedures for using some of the frequently-used functions. hold down the TONE SELECT [1]– [4] (function button) for one Tone. . 4. Transposing the Keyboard in Semitone Steps Transpose on/off: press [TRANSPOSE] Lower the keyboard: press [TRANSPOSE] + [-OCT] Raise the keyboard: press [TRANSPOSE] + [+OCT] Selecting a Part to Play from the Keyboard (for a Single-Type Performance) Use [ ]/[ ]. Use [ ]/[ ] to select the desired display page. [INC]/[DEC]. Use the VALUE dial. Use [ ]/[ ] to select a Part. Press [PERFORM] + [PATCH]. 2. * “[A] + [B]” indicates that you are to hold down [A] and press [B]. turn on the [EDIT] indicator. The rest is the same as for the basic procedure listed above. and press the button(s) for the other Tone(s) you want to edit. Press [SHIFT] + [ENTER] (turn on the Digit Hold function). or the numeric keys to modify the value. Selecting Patches Using the Digit Hold Function 1. only the “Parameter name (mode/ display group/display)” is listed. Use the VALUE dial. 7. 2. [INC]/[DEC]. Make the [EDIT] indicator light. Modifying a Patch (basic procedure) 1. Using the Numeric Keys to Select the Patch Group Press [SHIFT] + numeric keys. 2. Transposing the Keyboard by Octave Press [-OCT] or [+OCT]. 3. [INC]/[DEC]. Use TONE SELECT [1]–[4] (function buttons) to select the Tone. Use the function buttons to select the display group. press [SHIFT] + [ENTER] once again. Use [ ]/[ ] to select a Part. 6. Use [ ]/[ ] to select a parameter. Using the Numeric Keys to Select the Performance/Patch/Rhythm Set Group Press [SHIFT] + numeric keys. Changing the Patch/Rhythm Set Assigned to a Part 1. * If you wish to move to a different parameter group. 5. Turn off the [EDIT] indicator. Simultaneously Modifying the Values of Two or More Tones In a Tone setting display. 3. or numeric keys to select. 143 Appendices 3. For functions that are used simply by setting the applicable parameter.Quick Reference of Procedures The XP-30 has a large number of functions. * To turn off the Digit Hold function.

Use [ ]/[ ] to select the PART SETTING display. Use [ ]/[ ] to select the desired display page. Use [ ]/[ ] to select the desired display page. Use [ ]/[ ] to select the PART SETTING display. Use the VALUE dial. CONTROL PEDAL) (see above). Use [ ]/[ ] to select Part 10. However control source 1 is fixed at “modulation”. s Controller Settings Changing the Range of the Pitch Bend Lever (for each Patch) Bend Range parameter (PATCH/CONTROL/KEY MODE&BENDER) Modifying a Performance (basic procedure) 1. Make the [EDIT] indicator light. 4. Turn on the [EDIT] indicator. Set the Pan parameter.” and set the Control 1/2 parameters (SYSTEM/CONTROL/ SYS-CTRL ASSIGN) to the MIDI messages that you wish to use for control. 7. Adjusting the Pan Position of a Part 1. Controlling Patch Parameters with a Slider or Pedal You can specify up to three control sources (MIDI messages used for control). Specify the control destination (the parameter to be controlled). or the numeric keys to select a Rhythm Set. 3. 3. For each control source. 2. 8. Use [ ]/[ ] to select a parameter. Select the control source.Quick Reference of Procedures Selecting Performances Using the Digit Hold Function 1. you can specify up to four control destinations (parameters to be controlled). press [SHIFT] + [ENTER] once again. Turn off the [EDIT] indicator. or the numeric keys to modify the value. 9. 2. Specify the MIDI message to be controlled by each controller (C1–C4. turn on the [EDIT] indicator. 4. * To turn off the Digit Hold function. 4. 5. Use the numeric keys to specify the number of the one’s place. Use the keyboard to select a rhythm instrument. Press [PART] (function button). 4. 5. Press [PERFORM] + [PATCH]. [INC]/[DEC]. Press [SHIFT] + [ENTER] (turn on the Digit Hold function). 3. [INC]/[DEC]. Reversing the Polarity of CONTROL PEDAL (when using a pedal of another manufacturer whose polarity is reversed) Polarity parameter (SYSTEM/CONTROL/CONTROL PEDAL) Adjusting the Volume of a Part 1. Use [PART] (function button) to select the Tone. 2. Control 2/3 parameter (PATCH/CONTROL/CONTROL SOURCE) 3. Make the [EDIT] indicator light. Use the function buttons to select the parameter group. Set the Level parameter. * If you wish to move to a different parameter group. 3. 2. Turn on the [EDIT] indicator. 144 . Modifying a Rhythm Set (basic procedure) 1. Use the VALUE dial. 6. 2. Use the function buttons to select the display group. [INC]/[DEC]. 2. Press [PART] (function button). Use [ ]/[ ] to select a parameter. Use the VALUE dial. 6. Selecting the MIDI Messages Controlled by the C1–C4 Sliders Assign parameter (SYSTEM/CONTROL/C1–C4 ASSIGN) Selecting the MIDI Messages Controlled by the CONTROL PEDAL Polarity parameter (SYSTEM/CONTROL/CONTROL PEDAL) 7. Destination parameter (PATCH/CONTROL/CONTROL1–3) * If you do not need to set different control sources for each Patch. 1. or the numeric keys to modify the value. set the Control 2/3 parameters (PPATCH/CONTROL/ CONTROL SOURCE) to “SYS-CTRL1” or “SYS-CTRL2.

” 4. Select “3: SAVE” on the UTIL 2 display. * If you wish to hear the sound of the Patch in the selected writing destination. Select “4: INFO. 4. If a message of “Internal Write Protect=ON” appears. In Performance mode. 4. Specify the writing destination. Select “3: DELETE. 2. If a single-type Performance is selected. 5.” 4. Formatting a Memory Card 1. MIDI messages will be transmitted on the MIDI channel of the Parts whose Tx parameter (PERFORM/MIDI/ MIDI) is turned ON. 2. 145 Appendices . In Patch mode. Checking the Free Area of a Memory Card. etc. Saving Patch Settings 1. change it to “OFF” and press [ENTER] twice. In Rhythm Set mode.Quick Reference of Procedures Adjusting the Keyboard Response Sens parameter (SYSTEM/CONTROL/KEYBOARD) Saving User Memory Settings and System Settings to Memory Card as a Unit 1. Changing the Transmit Channel for Performance Mode (for each Part) Channel parameter (PERFORM/MIDI/MIDI) * Keyboard and controller movements (MIDI messages) from the controller section are transmitted differently depending on whether a single-type Performance or a layer-type Performance is selected. Press [UTIL/CARD]. Press [UTIL/CARD]. Press it once again to return to the previous display. press [UTIL/CARD]. 3. Deleting a File from Memory Card 1. 2. Specify the writing destination. Select “1: CARD” on the UTIL 2 display. If a message of “Internal Write Protect=ON” appears. 2. change it to “OFF” and press [ENTER] twice. 3. 3.” s Controlling External MIDI Devices Changing the Transmit Channel for Patch Mode Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) Saving Performance Settings 1. Select “1: WRITE” on the UTIL 1 display. Select “1: WRITE” on the UTIL 1 display. 4. Press [ENTER]. 4. Select the file that you wish to delete. Press [ENTER]. 3. press [UTIL/CARD]. Press [ENTER]. 2. 2. press [UTIL/CARD] to return to the PLAY display. Press [ENTER]. If a message of “Internal Write Protect=ON” appears. Select “1: CARD” on the UTIL 2 display. 2. Press [UTIL/CARD]. Select “1: WRITE” on the UTIL 1 display. 1. Select “1: FORMAT. Press [ENTER]. change it to “OFF” and press [ENTER] twice. If a layer-type Performance is selected. Saving Rhythm Set Settings 1. MIDI messages will be transmitted on the MIDI channel of the Part that is being played by the keyboard. Specify the writing destination. press [UTIL/CARD]. Assign a file name. Set the Keyboard to Produce a Fixed Velocity Vel parameter (SYSTEM/CONTROL/KEYBOARD) s Saving and Loading Data * After completing these procedures. 3. Press [ENTER]. press [UNDO/COMPARE]. Select “1: CARD” on the UTIL 2 display. Press [UTIL/CARD]. 3. 3.

s Controlling the XP-30 from an External MIDI Device Changing the Receive Channel on which Performances will be Selected Control Channel parameter (SYSTEM/MIDI/PERFORM MIDI) Changing the Receive Channel of a Part (Performance) Channel parameter (PERFORM/MIDI/MIDI) Restoring the XP-30 to the Factory Settings 1. Set the Bank Select Group parameter (PERFORM/MIDI/ TRANSMIT) to the desired Bank Select Group number (BS1–BS7). Select “3: INIT” on the UTIL 1 display. Select a Performance. Select “4: FACTORY RESET” on the UTIL 2 display. Patch. Adjusting the Tuning Master parameter (SYSTEM/TUNE/TUNE) Adjusting the Display Contrast LCD Contrast parameter (SYSTEM/SETUP/SYSTEM SETUP) Restoring the Temporary Performance/Patch/Rhythm Set to the Factory Setting 1. Turning Off Reception of Program Change/Bank Select MIDI Messages (System) RECEIVE MIDI display (SYSTEM/MIDI) Turning Reception of Volume/Hold 1/ Program Change MIDI Messages ON/ OFF for Each Part (Performance) Rx SWITCH display (PERFORM/MIDI) Turning Reception of Volume/Pan/Pitch Bend/Hold 1/Redamper MIDI Messages ON/OFF for Each Tone (Patch) Rx SWITCH/DAMPER display (PATCH/CONTROL) 146 . Press [UTIL/CARD]. Select a Performance. Press [UTIL/CARD]. Save the Performance. 3. or Rhythm Set. and specify the MSB and LSB.Quick Reference of Procedures Turning Off Transmission of Program Change/Bank Select MIDI Messages (System) TRANSMIT MIDI display (SYSTEM/MIDI) Checking the MIDI Message Reception Status (Performance mode) INFO display (PERFORM/INFO) s Other Using the Panic Function Press [SHIFT] + [PANIC]. 4. Transmitting Bank Select Messages for the Patch Assigned to a Specific Part when a Performance is Selected 1. 3. Changing the Receive Channel (Patch) Rx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) 3. Select “PRESET”. select the Bank Select Group that you specified in step 1. Press [ENTER]. 5. 2. 4. 2. Patch. 4. 2. In the BANK SEL-GROUP display (SYSTEM/MIDI/ BANK SEL-GROUP). Press [ENTER]. Turn the Switch parameter ON. or Rhythm Set.

2. LOUDEST OFF. HARMONICA. *2: OFF. BRIGHT PAD. SYNTH BRASS. FLUTE. BREATH. STAGE1. SYNTH FX. SYSETEM 20–250 0–127 L64–0–63R 0–127 -3–0–+3 OFF.BRASS. DELAY. 6300. SYS-CTRL1. +6. PAN-DLY 0–127 0–127 (*3) 0–127 T T T T PATCH EFX TYPE PATCH EFX PRM PATCH EFX OUT PATCH EFX CTRL PATCH CHORUS PATCH REVERB *1: Refer to EFX parameters.GUITAR. 630. HALL2. 12) (*1) PATCH. WIND. 800. FRETTED. OTHER SYNTH. EL. AC. SAX.PIANO.” COMMON Group (p. AC.Parameter List s Patch Parameters * Parameters that can be set independently for each Tone are indicated by “T. 3150. EL. PLUCKED. EXPRESSION. 1. SOFT PAD. VOLUME. 1600. VOX. FOOT. PULSATING. ON 1–Upper Lower–127 0–127 C-1–Upper Lower–G9 1–10 0.GUITAR. BASS. 315. ORCHESTRA. +18 dB VELOCITY KEY RANG STRUCT T T T T T T T *1: NO ASSIGN. 2 Chorus rate Chorus depth Chorus pre delay Chorus feedback level Chorus level Chorus output assign Reverb/Delay type Reverb/Delay time Delay feedback level Reverb/Delay HF damp Reverb/Delay level Value MIX. 2 EFX control depth1. BELL. PITCH BEND. 500. 68) Display PATCH NAME PATCH CATEGORY PATCH CLOCK PATCH COMMON Parameter — Category Source Tempo Level Pan Analog Feel Octave Stretch Priority VelRang Lower Upper Cross Fade Lower Upper Type Booster Patch name Patch category Patch clock source Patch tempo Level Pan Analog feel depth Octave shift Stretch tune depth Voice priority Velocity range switch Velocity range lower Velocity range upper Velocity cross fade Key range lower Key range upper Structure type Booster gain Value ASCII Characters (max. AFTERTOUCH *3: 200. 1000. KEYBOARDS. M+R ROOM1. DRUMS. SOFT LEAD. PERCUSSION. AC. 250. +12. 71) Display OUTPUT Parameter Output Assign Chorus Reverb Type (*1) Mix Out Chorus Reverb — — Rate Depth Delay Fbk Level Out Type Time Fbk HF Damp Level Output assign Output level Chorus send level Reverb send level EFX type Patch EFX parameter EFX output level Chorus send level Reverb send level EFX control source1. DIST. MODULATION. COMBINATION EFFECTS Group (p. PAN. 8000 Hz. HALL1. STRINGS. 400. 1250. 5000. MALLET. ETHNIC. HIT&STAB. 2500.PIANO. EFX 0–127 0–127 0–127 (*1) 0–127 0–127 0–127 (*2) -63–+63 0–127 0–127 0–127 0–127 0–127 MIX. STAGE2.GUITAR. TECHNO SYNTH. 4000. REV. BEAT&GROOVE. ROOM2. SYS-CTRL2. BYPASS 147 Appendices . 3 LAST. ACCORDION. HARD LEAD. SYNTH BASS. SOUND FX. 2000. ORGAN.

PEAK OFF. KEY-OFF-D. LFO2. XP-D. SQR.Parameter List CONTROL Group (p. ON 0–127 NORMAL. 0. RES. 148 . XP-A. KEY-ON OFF. HOLD. 73) Display KEY MODE&BENDER Parameter Assign Legato Bend Range Sw Time Mode Type Start Volume Pan Pitch Bend Hold-1 RxSwitch Redamper EfxCtrl Ctrl 1 Ctrl 2 Ctrl 3 Control 2 Control 3 Destination Depth Destination Depth Destination Depth Key assign mode Solo legato switch Bend range down Bend range up Portamento switch Portamento time Portamento mode Portamento type Portamento start pitch Receive volume switch Receive pan control switch Receive pitch bend switch Receive hold-1 switch Redamper switch EFX control peak/hold Control1 peak/hold Control2 peak/hold Control3 peak/hold Control source 2 Control source 3 Control destination 1–4 Control depth 1–4 Control destination 1–4 Control depth 1–4 Control destination 1–4 Control depth 1–4 Value POLY. SAW. OFF-IN. SYS-CTRL1. CUT. VOLUME. pL2. ON OFF. LEV. AFTERTOUCH. PLAYMATE *2: OFF. KEYFOLLOW. ON-OUT. EXPRESSION. HOLD. AL1. XP-C. AL2. +12 dB OFF. FOOT. PITCH BEND. 0–880 (*1) OFF. PEAK (*1) (*1) (*2) -63–+63 (*2) -63–+63 (*2) -63–+63 PORTAMENTO RxSWITCH DAMPER PEAK & HOLD T T T T T CONTROL SOURCE CONTROL 1 CONTROL 2 CONTROL 3 T T T T T T *1: OFF. 2 Pan LFO depth 1. PLAYMATE. LFO1. XP-B. MODULATION. FL1. FL2. PEAK OFF. ON OFF. XP-E 001–255 -6. CLOCK-SYNC. CONT. S&H. LEGATO RATE. REV. OFF-OUT 0–127 0–127 -100. *2: Same as LFO1. SYS-CTRL2. ON OFF. SOLO OFF. VELOCITY. 76) Display WAVE Parameter Group Number Gain Switch Switch Color Depth Mode Time Wave group Wave number Wave gain Tone switch Frequency cross modulation switch Frequency cross modulation color Frequency cross modulation depth Tone delay mode Tone delay time Value INT-A. LFO Group (p. ON -48–0 semitone 0–+12 semitone OFF. MIX. PCH. pL1. -50. 2 TVF LFO depth 1. L2R WAVE Group (p. SIN. PAN. CHO. PEAK OFF. ON OFF. INT-B. +50. PL2. BREATH. ON 0–127. HOLD. NOTE OFF. +6. PL1. ON 1–4 1–16 (*1) 0–127/0–880/0–5000 (*2) T T T T T T T T T FXM TONE DELAY *1: NORMAL. 0. PAN. 2 TVA LFO depth 1. L1R. CHS OFF. +100 -63–+63 -63–+63 -63–+63 -63–+63 T T T T T T T T T T T T T LFO2 LFO DEPTH1:2 *1: When the LFO External Sync parameter is set to “CLOCK” this is set as a Note value. ON OFF. 78) Display LFO1 Parameter Form Key Sync Rate ExtSync Mode Delay Fade Offset (*2) Pitch TVF TVA Pan LFO form LFO key Sync LFO rate LFO external sync LFO fade mode LFO delay time LFO fade time LFO offset Pitch LFO depth 1. RND. HOLD. CLOCK ON-IN. TIME PITCH. KEY-OFF-N. TRP. HOLD. 2 Value TRI. TEMPO-SYNC *2: When the Tone Delay Mode parameter is set to “CLOCK-SYNC” this is set as a Note value.

81) Display TVA Parameter Level Pan V-Sens V-Curve Bias Point Direction Keyfollow Random Alternate V-T1 V-T4 Time Keyfollow T1. -50. 80. T3. +20. 40.Parameter List PITCH Group (p. 1000. +10. 80) Display FILTER Parameter Type Cut Res Keyfollow Env Depth V-Sens V-Curve V-Resonance V-T1 V-T4 Time Keyfollow T1. T4 L1. 20. 700. -20. 10. T3. 60. +120. T3. +20. +50. +50. T4 L1. 0. 70. LPF. 200. L2. -70. +70. -50. 600. T2. -10. 0. +200 *3: -100. -30. 1100. 8. +40. BPF. 2. HPF. 50. +40. LOWER&UPPER. 0. +120. -10. +100. +30. ALL -100–+100 (*1) 0–63 L63–0–63R -100–+100 (*1) -100–+100 (*1) -100–+100 (*1) 0–127 0–127 T T T T T T T T T T T T T T T BIAS PAN MODULATE TVA TIME ENV TVA ENVELOPE *1: -100. 1. -20. 1200 *2: -100. T2. +70. 5. -10. 30. -20. 79) Display PITCH Parameter Coarse Fine Random Keyfollow Envelope Depth Velocity Sens V-T1 V-T4 Time Keyfollow T1. +30. -50. +10. -30. -50. L3. +100. L4 Filter type Cutoff frequency Resonance Cutoff frequency keyfollow TVF envelope depth TVF envelope velocity sens TVF envelope velocity curve Resonance velocity sens TVF envelope time1 velocity sens TVF envelope time4 velocity sens TVF envelope time keyfollow TVF envelope time 1–4 TVF envelope level 1–4 Value OFF. +50. +30. +50. T4 L1. 90. 800. 500. T2. +70. +100 TVF Group (p. +150. +70. L3. -40. +150. -10. -70. +200 *2: -100. +40. 400. +50. 900. 6. 3. 7. 0. +10. +10. +70. +20. +20. +40. +30. +40. -40. 4. PKG 0–127 0–127 -100–+200 (*1) -63–+63 -100–+150 1 –7 -100–+150 -100–+100 (*2) -100–+100 (*2) -100–+100 (*2) 0–127 0–127 T T T T T T T T T T T T T TVF VELOCITY TVF TIME ENV TVF ENVELOPE *1:-100. -70. 0. -30. +10. +100 149 Appendices . -40. L3 Level Pan TVA envelope velocity sens TVA envelope velocity curve Bias level Bias point Bias direction Pan keyfollow Random pan depth Alternate pan depth TVA envelope time1 velocity sens TVA envelope time4 velocity sens TVA envelope time keyfollow TVA envelope time 1–4 TVA envelope level 1–3 Value 0–127 L64–0–63R -100–+150 1 –7 -100–+100 (*1) C-1–G9 LOWER. UPPER. -30. -50. -70. +20. +100 TVA Group (p. L4 Coarse tune Fine tune Random pitch depth Pitch keyfollow Pitch envelope depth Pitch envelope velocity sens Pitch envelope time1 velocity sens Pitch envelope time4 velocity sens Pitch envelope time keyfollow Pitch envelope time 1–4 Pitch envelope level 1–4 Value -48–+48 semitone -50–+50 cent 0–1200 cent (*1) -100–+200 (*2) -12–+12 -100–+150 -100–+100 (*3) -100–+100 (*3) -100–+100 (*3) 0–127 -63–+63 T T T T T T T T T T T PCH ENVELOPE PCH TIME ENV PCH ENVELOPE *1: 0. L2. -70. 9. L2. +30. -30. 100. -10. 300.

ON OFF. ROOM2. 86) Display MIDI Parameter Channel MIDI channel Rx Receive switch Tx Transmit switch Local Local switch Volume Receive volume switch Hold-1 Receive hold-1 switch Program Change Receive program change switch BankSelectGroup Transmit bank select group Transmit Volume Transmit volume Value 1–16 OFF. 5000. BS1–BS7 0–127. EFX. 84) Display OUTPUT Parameter Output Assign Chorus Reverb Type Source (*1) Mix Out Chorus Reverb Output assign Output level Chorus send level Reverb send level EFX type EFX source Performance EFX parameters EFX output level Chorus send level Reverb send level EFX control source 1 EFX control depth 1 EFX control source 2 EFX control depth 2 Chorus rate Chorus depth Chorus pre delay Chorus feedback level Chorus level Chorus output assign Reverb/Delay type Reverb/Delay time Delay feedback level Reverb/Delay HF damp Reverb/Delay level Value MIX. 2500. 1000. *2: OFF. 400. FOOT. 83) Display PERFORM NAME PERFORM CLOCK PERFORM COMMON KEY RANG KEYBOARD Parameter — Source Tempo Key Mode Key Range Lower Upper Octave Shift Performance name Performance clock source Performance tempo Key mode key range switch Key range lower Key range upper Octave shift Value ASCII Characters (max. SINGLE OFF. 3150. PATCH 0–127 0–127 0–127 (*1) PERFORM. EXPRESSION. 1600. STAGE1. M+R ROOM1. OFF P P P P P P P P P RxSWITCH TRANSMIT 150 . ON PATCH. AFTERTOUCH *3: 200. 11–16 0–127 0–127 0–127 (*2) -63–+63 (*2) -63–+63 0–127 0–127 0–127 0–127 0–127 MIX. 8000 Hz. 2000. ON OFF. HALL2. 630. STAGE2. PAN-DLY 0–127 0–127 (*3) 0–127 P P P P PERFORM EFX TYPE PERFORM EFX PRM PERFORM EFX OUT PERFORM EFX CTRL PERFORM CHORUS PERFORM REVERB Rate Depth Delay Fbk Level Out Type Time Fbk HF Damp Level *1: Refer to EFX parameters. SYS-CTRL2. 315. SYSTEM 20–250 LAYER. MODULATION.” COMMON Group (p. SYS-CTRL1. 250. ON OFF. BREATH. 1250. ON OFF. HALL1. 12) PERFORM. 4000. DELAY. 1–9. REV. ON OFF. PITCH BEND. 500. PAN. VOLUME. 6300.Parameter List s Performance Parameters * Parameters that can be set independently for each Part are indicated by “P. 800. BYPASS MIDI Group (p. ON C-1–Upper Lower–G9 -3–+3 P P P EFFECTS Group (p.

VOLUME. GM. REV. 400. 3150. SYS-CTRL1. PR-C. 87) Display INFO Parameter Mod Breath Foot Vol Pan Exp Hold Bend Aft Sys1 Sys2 Voices Modulation information Breath information Foot information Volume information Pan information Expression information Hold1 information Pitch bend information Aftertouch information System control 1 information System control 2 information Voice information Value 0–127 0–127 0–127 0–127 L64–0–63R 0–127 0–127 -128–+127 0–127 0–127/-128–+127 0–127/-128–+127 0–64 P P P P P P P P P P P P s Rhythm Set Parameters COMMON Group (p. 315. 1–9. XP-E 001–256 0–127 L64–0–63R -48–+48 semitone -50–+50 cent 0–64 P P P P P P P SETTING RESERVE INFORMATION Group (p. HALL1. BYPASS 151 Appendices Rate Depth Delay Fbk Level Out Type Time Fbk HF Damp Level . MODULATION. HALL2. STAGE1. PAN-DLY 0–127 0–127 (*3) 0–127 PERFORM EFX TYPE PERFORM EFX PRM PERFORM EFX OUT PERFORM EFX CTRL PERFORM CHORUS PERFORM REVERB *1: Refer to EFX parameters. 2500. PR-B. 6300. STAGE2. XP-A. ROOM2. M+R ROOM1. DELAY. 1600. 87) Display PATCH Parameter Group Number Level Pan Coarse Fine Voice Reserve Patch group Patch number Level Pan Coarse tune Fine tune Voice reserve Value USER. PR-E. AFTERTOUCH *3: 200. XP-C. 630.Parameter List PART Group (p. 5000. SYS-CTRL2. 88) Display OUTPUT Parameter Output Assign Chorus Reverb Type Source (*1) Mix Out Chorus Reverb Output assign Output level Chorus send level Reverb send level EFX type EFX source Performance EFX parameters EFX output level Chorus send level Reverb send level EFX control source 1 EFX control depth 1 EFX control source 2 EFX control depth 2 Chorus rate Chorus depth Chorus pre delay Chorus feedback level Chorus level Chorus output assign Reverb/Delay type Reverb/Delay time Delay feedback level Reverb/Delay HF damp Reverb/Delay level Value MIX. 500. XP-B. 8000 Hz. 12) EFFECTS Group (p. 1250. 250. *2: OFF. PAN. 88) Display RHYTHM NAME Parameter — Rhythm set name Value ASCII Characters (max. EFX 0–127 0–127 0–127 (*1) PERFORM. 2000. FOOT. 1000. PR-A. XP-D. 800. EXPRESSION. 11–16 0–127 0–127 0–127 (*2) -63–+63 (*2) -63–+63 0–127 0–127 0–127 0–127 0–127 MIX. 4000. BREATH. PITCH BEND.

+40. +70. 50. 5. +70. -20. 1100. -10. -70. XP-A. CONT. 30. +20. -50. 90) Display CONTROL Parameter Bend Range Env Mode Mute Group Volume Pan Hold-1 Bend range Envelope mode Mute group Receive volume switch Receive pan control switch Receive hold-1 switch Value 0–12 NO-SUS. 0. 4. PKG 0–127 0–127 -63–+63 -100–+150 -100–+100 (*1) -100–+150 0–127 0–127 TVF VELOCITY TVF ENVELOPE *2: -100. -30. ON PITCH Group (p. L2. 6. +30. 90. XP-C. +30. -10. +12 dB OFF. +40. +100 152 . 92) Display TVA Parameter Level Pan Random Alternate Velocity Sens Velocity Time T1–4 L1–3 Level Pan Random pan depth Alternate pan depth TVA envelope velocity sens TVA envelope time velocity sens TVA envelope time 1–4 TVA envelope level 1–3 Value 0–127 L64–0–63R 0–63 L63–0–63R -100–+150 -100–+100 (*1) 0–127 0–127 TVA VELOCITY TVA ENVELOPE *1: -100. 90) Display WAVE Parameter Group Number Gain Switch Wave group Wave number Wave gain Key switch Value INT-A. XP-B. 1. 700. +70. 400. 500. T2. 91) Display FILTER Parameter Type Cutoff Resonance Env Depth V-Sens V-Time V-Resonance T1–4 L1–4 Filter type Cutoff frequency Resonance TVF Envelope depth TVF envelope velocity sens TVF envelope time velocity sens Resonance velocity sens TVF envelope time 1–4 TVF envelope level 1–4 Value OFF. 60. 1200 *2: -100. -40. XP-D. -20. 80. 0. INT-B. 8. 3. 40. -40. L3. 800. +10. +100 TVA Group (p. BPF. 10. +10.Parameter List CONTROL Group (p. -30. 20. L4 Coarse tune Fine tune Random pitch depth Pitch envelope depth Pitch envelope velocity sens Pitch envelope time velocity sens Pitch envelope time 1–4 Pitch envelope level 1–4 Value C-1–G9 -50–+50 cent 0–1200 cent (*1) -12–+12 -100–+150 -100–+100 (*2) 0–127 -63–+63 PCH VELOCITY PCH ENVELOPE *1: 0. 1000. LPF. -50. +40. KEY-ON OFF. 600. +100 TVF Group (p. -70. T3. +30. -10. -20. 100. 70. ON RxSWITCH WAVE Group (p. -50. -40. +6. ON OFF. 7. XP-E 001–255 -6. +10. +50. T4 L1. 200. 300. 91) Display PITCH Parameter Coarse Fine Random Env Depth Velocity Sens Velocity Time T1. 1–31 OFF. -70. +50. 0. 0. -30. 9. +20. 900. SUSTAIN OFF. +20. 2. HPF. +50.

STAGE2. PAN-DLY 0–127 0–127 (*2) 0–127 P P P P GM EFX TYPE GM EFX PRM GM EFX OUT GM CHORUS GM REVERB *1: Refer to EFX parameters. 4000. 2000. ROOM2.” EFFECTS Group (p. 250. EFX 0–127 0–127 0–127 (*1) 0–127 0–127 0–127 0–127 0–127 0–127 0–127 0–127 MIX. 8000 Hz. 127) Display INFO Parameter Mod Breath Foot Vol Pan Exp Hold Bend Aftertouch Voices Modulation information Breath information Foot information Volume information Pan information Expression information Hold1 information Pitch bend information Aftertouch information Voice information Value 0–127 0–127 0–127 0–127 L64–0–63R 0–127 0–127 -128–+127 0–127 0–64 P P P P P P P P P P 153 Appendices . 6300. 1600. 2500. *2: 200. STAGE1. 125) Display OUTPUT Parameter Output Assign Chorus Reverb Type (*1) Mix Out Chorus Reverb Rate Depth Delay Fbk Level Out Type Time Fbk HF Damp Level Output assign Output level Chorus send level Reverb send level EFX type GM EFX parameters EFX output level Chorus send level Reverb send level Chorus rate Chorus depth Chorus pre delay time Chorus feedback level Chorus level Chorus output assign Reverb/Delay type Reverb/Delay time Delay Feedback level Reverb/Delay HF damp Reverb/Delay level Value MIX. HALL1. 630. BYPASS PART Group (p. 127) Display PATCH SETTING Parameter Number Volume Pan Coarse Fine GMPatch number Volume Pan Coarse tune Fine tune Value 001–128 0–127 L64–0–63R -48–+48 semitone -50–+50 cent P P P P P INFORMATION Group (p. 5000.Parameter List s GM Mode Parameters * Parameters that can be set independently for each Part are indicated by “P. 800. M+R ROOM1. 315. HALL2. REV. 1000. 1250. 400. DELAY. 500. 3150.

05–10.0. 4:1. 2. 96) Parameter Attack Sustain Post Gain LowGain Hi Gain Pan Level Attack Sustain Post gain Low gain High gain Output pan Output level Value 0–127 0–127 0.0.0 ms 0.0 -15–+15 dB 200–8000 Hz (*1) 0. 800. 94) Parameter Band 1 Band 2 Band 3 Band 4 Band 5 Band 6 Band 7 Band 8 Q Pan Level Band1 gain Band2 gain Band3 gain Band4 gain Band5 gain Band6 gain Band7 gain Band8 gain Q Output pan Output level Value -15–+15 dB -15–+15 dB -15–+15 dB -15–+15 dB -15–+15 dB -15–+15 dB -15–+15 dB -15–+15 dB 0.05–10. +6. 8. 6300.05–10. 2-STACK. 2.00 Hz 0.00 Hz 0–15 0–127 0–127 SLOW.00 Hz 0–15 0–127 0.05–10.0 -15–+15 dB 0–127 6: ENHANCER (p. 2. 8000 Hz -15–+15 dB 200–8000Hz (*1) 0. 93) Parameter Drive Level LowGain Hi Gain AmpType Pan Drive Output level Low gain High gain Amp simulator type Output pan Value 0–127 0–127 -15–+15 dB -15–+15 dB SMALL.00 Hz 0–127 0–20 -20–+20 0–20 D100:0W–D0:100W 0–127 154 . +18 dB -15–+15 dB -15–+15 dB L64–0–63R 0–127 4: PHASER (p.05–10.Parameter List s EFX Parameters 1: STEREO-EQ (p. 4. 2000. 4. 630.0.0.00 Hz 0–127 0–127 *1: 200.5:1. 400. 250. 1250. 4000.00 Hz 0–127 0–127 0–127 L64–0–63R 0–127 10: LIMITER (p.00 Hz 0. 1000. 2500.0.05–10.5. 3150. 93) Parameter LowFreq LowGain Hi Freq Hi Gain P1 Freq P1 Q P1 Gain P2 Freq P2 Q P2 Gain Level Low frequency Low gain High frequency Hi gain Peaking1 frequency Peaking1 Q Peaking1 gain Peaking2 frequency Peaking2 Q Peaking2 gain Output level Value 200. 93) Parameter Drive Level LowGain Hi Gain AmpType Pan Drive Output level Low gain High gain Amp simulator type Output pan Value 0–127 0–127 -15–+15 dB -15–+15 dB SMALL. 95) Parameter Filter Sens Manual Peak Rate Depth Level Filter type Sens Manual Peak Rate Depth Output level Value LPF. 94) Parameter Manual Rate Depth Res Mix Pan Level Manual Rate Depth Resonance Mix level Output pan Output level Value 100–8000 Hz 0. 2:1. BUILT-IN. 1. 8.0.05–10. 94) Parameter Sens Mix Low Gain Hi Gain Level Sens Mix level Low gain High gain Output level Value 0–127 0–127 -15–+15 dB -15–+15 dB 0–127 7: AUTO-WAH (p.0. FAST 0–127 3: DISTORTION (p.5.0. +18 dB -15–+15 dB -15–+15 dB L64–0–63R 0–127 5: SPECTRUM (p. 8. 1. 1. +6. +12.0–100.5. 2-STACK.0 L64–0–63R 0–127 11: HEXA-CHORUS (p. 500. 3-STACK L64–0–63R 8: ROTARY (p. 95) Parameter LowSlow LowFast LowAccl Low Lvl Hi Slow Hi Fast Hi Accl Hi Lvl Separation Speed Level Low frequency slow rate Low frequency fast rate Low frequency acceleration Low frequency level High frequency slow rate High frequency fast rate High frequency acceleration High frequency level Separation Speed Output level Value 0. 100:1 0–127 0. BUILT-IN. 3-STACK L64–0–63R 9: COMPRESSOR (p. 5000. 4. 96) Parameter Thresh Ratio Release Gain LowGain Hi Gain Pan Level Threshold level Compression ratio Release time Post gain Low gain High gain Output pan Output level Value 0–127 1. 315. 8000 Hz 2: OVERDRIVE (p. BPF 0–127 0–127 0–127 0. 96) Parameter Pre Dly Rate Depth Dly Dev Dpt Dev Pan Dev Balance Level Pre delay time Rate Depth Pre delay deviation Depth deviation Pan deviation Effect balance Output level Value 0. +12. 400 Hz -15–+15 dB 4000. 1600.0.

BYPASS (*1) -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 14: STEREO-CHORUS (p. 97) Parameter Pre Dly Rate Depth Phase Filter Type Cutoff LowGain Hi Gain Balance Level Pre delay time Rate Depth Phase Filter type Cutoff frequency Low gain High gain Effect balance Output level Value 0. 500. 1600. 800. 2000. 97) Parameter Pre Dly Rate Depth Phase LowGain Hi Gain Balance Level Pre delay time Rate Depth Phase Low gain High gain Effect balance Output level Value 0. 6300. 400. 4000. 630.0–500.00 Hz 0–127 0–180 degree -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 *1: 200. 2500. note -98–+98% 0–127 0–127 0–127 200–8000 Hz. 6300.0–100. 400.00 Hz 0–127 0–180 degree 200–8000 Hz.0–100. 800. BYPASS Parameter Pre Dly Rate Depth Fbk Phase Step Rate LowGain Hi Gain Balance Level Pre delay time Rate Depth Feedback level Phase Step rate Low gain High gain Effect balance Output level Value 0.00 Hz 0–127 -98–+98% 0–180 degree OFF.00 Hz 0–127 D100:0W–D0:100W 0–127 17: STEREO-DELAY (p.05–10.00 Hz. 315.0 ms 0.0 ms 0. 2500.Parameter List 12: TREMOLO-CHORUS (p. INVERT NORMAL. 1600. 3150. 4000. 315. 8000 Hz. 4000. 5000. 1600. 3150. 800. 1250.10–20. 800. note 200–1000 ms. note 200–1000 ms. 98) . 1000.05–10. 1250. 630. 315.05–10. BYPASS 18: MODULATION-DELAY (p. 630. BYPASS (*1) -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 13: SPACE-D (p. 800.0 ms 0. 8000 Hz. 1250.05–10. 4000. 97) Parameter Pre Dly ChoRate Cho Dpt Phase TrmRate Trm Sep Balance Level Pre delay time Chorus rate Chorus depth Tremolo phase Tremolo rate Tremolo separation Effect balance Output level Value 0. 400. 2000. 250. 1000. 6300. 500. 1250. 2500. 250. 98) Parameter Pre Dly Rate Depth Fbk Phase Filter Type Cutoff LowGain Hi Gain Balance Level Pre delay time Rate Depth Feedback level Phase Filter type Cutoff frequency Low gain High gain Effect balance Output level Value 0. 5000. BYPASS (*1) -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 Delay C Delay L Delay R Fbk Level C Level L Level R HF Damp LowGain Hi Gain Balance Level 15: STEREO-FLANGER (p.0–100. 8000 Hz. 2000.0 ms 0. 630. 315.0 ms 0. 100) Parameter Value Delay time center Delay time left Delay time right Feedback level Center level Left level Right level HF damp Low gain High gain Effect balance Output level 200–1000 ms.05–10. 4000. 400.0 ms 0. 99) * ParameterValue Delay L Delay R Fbk Mode Rate Depth Phase HF Damp LowGain Hi Gain Balance Level Delay time left Delay time right Feedback level Feedback mode Rate Depth Phase HF damp Low gain High gain Effect balance Output level 0. 1600. BYPASS *1: 200. 6300.0 ms -98–+98% NORMAL. note -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 155 Appendices 16: STEP-FLANGER (p.0–100. 8000 Hz *1: 200. 3150. 5000. 8000 Hz 19: TRIPLE-TAP-DELAY (p. 1000. 500. 2000. CROSS 0. 1250. 250. CROSS NORMAL. 2000.0–500. 99) Parameter Delay L Delay R Fbk Mode Phase L Phase R HF Damp LowGain Hi Gain Balance Level Delay time left Delay time right Feedback level Feedback mode Feedback phase left Feedback phase right HF damp Low gain High gain Effect balance Output level Value 0. 1000. 2500.05–10. 315. 6300. 250.0 ms -98–+98% NORMAL. 1600. 500. 630.0–500.0–500.0–100. 400. 5000.00 Hz 0–127 0–180 degree OFF. 250.00 Hz 0–127 -98–+98% 0–180 degree 0. HPF 200–8000 Hz (*1) -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 *1: 200.0 ms 0. LPF.05–10. 5000.00 Hz 0–127 0–180 degree 0. INVERT 200–8000 Hz. LPF. 500. HPF 200–8000 Hz (*1) -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 *1: 200. 3150. 3150. 2500. 1000.

2. HALL1. 103) Parameter OD Drive OD Pan Cho Dly ChoRate Chorus Depth Chorus Balance Level Drive Over drive pan Chorus pre delay time Chorus Rate Chorus depth Chorus balance Output level Value 0–127 L64–0–63R 0. 500. 630. 3. BYPASS 156 .0 ms 0. 4000.0 ms -24–+12 semitone -100–+100 cent L64–0–63R 0. BYPASS (*1) D100:0W–D0:100W 0–127 *1: 200. 315. 104) Parameter OD Drive OD Pan DlyTime Dly Fbk Delay HF Damp Delay Balance Level Drive Over drive pan Delay time Delay feedback level Delay HF damp Delay balance Output level Value 0–127 L64–0–63R 0. SWEEP1. 800. 315. HALL2 0. 500. 1250. BYPASS (*1) -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 Pre Dly Time HF Damp LowGain Hi Gain Balance Level Pre delay time Gate time HF damp Low gain High gain Effect balance Output level *1: 200.0–100. 2500. 8000 Hz.00 Hz 0–127 D100:0W–D0:100W 0–127 *1: 200. note 0–127 0–127 0–127 0–127 -98–+98% 200–8000 Hz. 101) Parameter Delay Accel Fbk HF Damp Pan LowGain Hi Gain Balance Level Delay time Acceleration Feedback level HF damp Output pan Low gain High gain Effect balance Output level Value 200–1000 ms 0–15 -98–+98% 200–8000 Hz. 3150. 8000 Hz. 8000 Hz.0–100. 250. 4. 103) Parameter Type Pre Dly Gate Time LowGain Hi Gain Balance Level Gate-Reverb type Pre delay time Gate time Low gain High gain Effect balance Output level Value NORMAL. 1600. 500. 1600. 3150. 2000. 250. 2000. 1000. 4000.0–500. STAGE1. 6300. ROOM2. 250. 6300.0–500. 315. 1600. 1000. 6300. note 200–1000 ms. 2000. 4000.0 ms 1. 630.05–10. 400. 8000 Hz. 102) Parameter Coarse Fine Fbk Pre Dly Mode Pan LowGain Hi Gain Balance Level Coarse pitch Fine pitch Feedback level Pre delay time Pitch shifter mode Output pan Low gain High gain Effect balance Output level Value -24–+12 semitone -100–+100 cent -98–+98% 0. BYPASS *1: 200. 4000. 104) Parameter OD Drive OD Pan Flg Dly FlgRate Flg Dpt Flg Fbk Flanger Balance Level Drive Over drive pan Flanger pre delay time Flanger rate Flanger depth Flanger feedback level Flanger balance Output level Value 0–127 L64–0–63R 0.0 ms 5–500 ms -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 21: TIME-CONTROL-DELAY (p.0–500. BYPASS 22: 2 VOICE-PITCH-SHIFTER (p.00 Hz 0–127 -98–+98% D100:0W–D0:100W 0–127 23: FBK-PITCH-SHIFTER (p.0–100. 3150. 5 L64–0–63R -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 28: OVERDRIVE→DELAY (p.0 ms -98–+98% 200–8000 Hz.0–500. 500. 315. 2. 1000. 800. 1250. BYPASS (*1) L64–0–63R -15–+15 dB -15–+15 dB D100:0W–D0:100W 0–127 26: OVERDRIVE→CHORUS (p. SWEEP2 0.0 ms 0. 101) Parameter Delay 1 Delay 2 Delay 3 Delay 4 Level 1 Level 2 Level 3 Level 4 Fbk HF Damp Balance Level Delay time 1 Delay time 2 Delay time 3 Delay time 4 Level 1 Level 2 Level 3 Level 4 Feedback level HF damp Effect balance Output level Value 200–1000 ms. 5000. 400. 400. BYPASS 25: GATE-REVERB (p. note 200–1000 ms. 400. 102) Parameter CoarseA Fine A Pan A PreDlyA CoarseB Fine B Pan B PreDlyB Mode Lvl Bal Balance Level Coarse pitch A Fine pitch A Output pan A Pre delay time A Coarse pitch B Fine pitch B Output pan B Pre delay time B Pitch shifter mode Level balance Effect balance Output level Value -24–+12 semitone -100–+100 cent L64–0–63R 0. 2500. 2500. 630. 5000. 103) Parameter Type Reverb type Value ROOM1. 5 A100:0B–A0:100B D100:0W–D0:100W 0–127 27: OVERDRIVE→FLANGER (p. 250. 1250.0 ms 0–127 200–8000 Hz. 1000. 5000. REVERSE. 3150.05–10. 2000.0–100. 3. 1600. STAGE2. 5000. 800. BYPASS (*1) D100:0W–D0:100W 0–127 24: REVERB (p. 4. 1250.Parameter List 20: QUADRUPLE-TAP-DELAY (p.0 ms 1. 630. 800. 2500. note 200–1000 ms. 6300.

BYPASS 157 Appendices . 500. BYPASS 35: CHORUS→DELAY (p. 2000.0–500. 3150.0–100. 4000.00 Hz 0–127 -98–+98% D100:0W–D0:100W 0. 3150. 250.0 ms -98–+98% 200–8000 Hz. 315.0–100.” 34: ENHANSER→DELAY (p.00 Hz 0–127 -98–+98% D100:0W–D0:100W 0–127 38: CHORUS/DELAY (p. 630. 106) Parameter Enhancer Sens Enhancer Mix Delay Dly Fb Delay HF Damp Delay Balance Level Enhancer sens Enhancer mix level Delay time Delay feedback level Delay HF damp Delay balance Output level Value 0–127 0–127 0. 315. 105) Parameter Enhancer Sens Enhancer Mix Flg Dly FlgRate Flg Dpt Flg Fbk Flanger Balance Level Enhancer sens Enhancer mix level Flanger pre delay time Flanger rate Flanger depth Flanger feedback level Flanger balance Output level Value 0–127 0–127 0.0–100. 1600.Parameter List 29: DISTORTION→CHORUS (p." with the exception of the following two. OD Drive →Dist Drive.05–10. 105) The parameters are essentially the same as "28: OVERDRIVE →DELAY. 1000. 105) Parameter Enhancer Sens Enhancer Mix Cho Dly ChoRate Chorus Depth Chorus Balance Level Enhancer sens Enhancer mix level Chorus pre delay time Chorus rate Chorus depth Chorus balance Output level Value 0–127 0–127 0." with the exception of the following two. 630.0 ms 0. OD Drive →Dist Drive.0–100.0 ms -98–+98% 200–8000 Hz. OD Pan →Dist Pan 31: DISTORTION→DELAY (p. 1000.05–10. BYPASS (*1) D100:0W–D0:100W 0–127 *1: 200.0–500. 106) Parameter Cho Dly ChoRate Cho Dpt Cho Bal DlyTime Dly Fbk Delay HF Damp Delay Balance Level Chorus pre delay time Chorus rate Chorus depth Chorus balance Delay time Delay Feedback level Delay HF damp Delay balance Output level Value 0.05–10.0 ms -98–+98% 200–8000 Hz. 105) The parameters are essentially the same as "27: OVERDRIVE →FLANGER. 3150.00 Hz 0–127 D100:0W–D0:100W 0. 4000. 8000 Hz.00 Hz 0–127 D100:0W–D0:100W 0–127 37: CHORUS→FLANGER (p. 1250.0–100. 2000. 1600.00 Hz 0–127 -98–+98% D100:0W–D0:100W 0–127 33: ENHANSER→FLANGER (p.0–100. BYPASS (*1) D100:0W–D0:100W 0–127 40: CHORUS/FLANGER (p.0 ms 0. 4000. BYPASS (*1) D100:0W–D0:100W 0–127 30: DISTORTION→FLANGER (p. BYPASS 32: ENHANSER→CHORUS (p. 8000 Hz. 630. 6300. 5000. OD Drive →Dist Drive. 400.0–500." with the exception of the following two.” *1: 200. 5000. 2500. 800. OD Pan →Dist Pan 36: FLANGER→DELAY (p. 107) Refer to “36: FLANGER →DELAY. 2500. 106) Parameter Flg Dly FlgRate Flg Dpt Flg Fbk Flg Bal DlyTime Dly Fbk HF Damp Delay Balance Level Flanger pre delay time Flanger rate Flanger depth Flanger feedback level Flanger balance Delay time Delay feedback level HF damp Delay balance Output level Value 0. 2000. 107) Parameter Cho Dly ChoRate Cho Dpt Cho Bal Flg Dly FlgRate Flg Dpt Flg Fbk Flanger Balance Level Chorus pre delay time Chorus rate Chorus depth Chorus balance Flanger pre delay time Flanger rate Flanger depth Flanger feedback level Flanger balance Output level Value 0.0 ms 0. 1600. 6300. 500.” 39: FLANGER/DELAY (p.05–10. 400. 107) Refer to “35: CHORUS→DELAY. 2500. 6300. 8000 Hz. 5000. 250. 104) The parameters are essentially the same as "26: OVERDRIVE →CHORUS. 1000. 800. 500. 107) Refer to “37: CHORUS→FLANGER. 800. 400. 250.0 ms 0. 1250. OD Pan →Dist Pan *1: 200.05–10.00 Hz 0–127 D100:0W–D0:100W 0.0 ms 0. 315. 1250.0 ms 0.05–10.

RHYTHM GTR D. SINGLE DOWN. REV CLA. SEQUENCE C. 1/6. DUAL UP. SOFT. PERCUSSION. REFRAIN 1–2. DEFAULT OFF. HOUSE. INT. PORTAMENTO A. 1/12. SEQ-B 1–5. REVERSE (*2) OFF. AFTERTOUCH 158 . SINGLE UP&DOWN. TANGO 1–4. TRIPLE UP&DOWN. SINGLE RANDOM. KBD COMPING D. NOTE ORDER. RHYTHM GTR C. BASS+CHORD1–5. AFTERTOUCH. HEAVY REAL. KBD COMPING B. POLY.Parameter List s System Parameters SETUP Group (p. SOST. TRIPLE DOWN. STRUMMING GTR. SALSA 1–4. 32-63). WALK BASS. DUAL UP&DOWN. TANGO. 1/16. KBD COMPING A. GLISSANDO. BOTH STANDARD. AGOGO. BOUND BALL. RANDOM. BOSSA NOVA. STRUM 1–8. BASS+UP+TOP *3: 1/4. PITCH BEND. BASS+UP1–8. OCT-UP. HOLD2 VOLUME. HOLD2 OFF. SEQUENCE A. SOST. 1–127 1–16 20–250 *1: 1/4. SLAP BASS A. MIDI. GUIRO. DUAL RANDOM. 1/32. TRIPLE RANDOM. HARP. 3 FINGER GTR. BOSSA NOVA. ON -5 (G)–+6 (F#) LIGHT. CHORD. PORTA-B 01–15. TOP+UP1–6. 108) Display ARPEGGIO Parameter Style Octave Range Motif Beat Pattern Accent Rate Shuffle Rate Key Velocity Part Tempo Style Octave range Motif Beat pattern Accent rate Shuffle rate Key velocity Arpeggio part Tempo Value (*1) -3–+3 (*2) (*3) 0–100% 50–90% REAL. 1/6. PORTA-A 01–11. 1–127 0–100 OFF. RHYTHM GTR B. MIDI. PROG-DOWN. TAP-TEMPO. BASS+RANDOM1–3. BOTH (*2) OFF. MAMBO. LATIN PERCUSSION. PORTAMENTO B. 108) Display SYSTEM SETUP Parameter LCD Power Up Mode Patch Remain Clock Source System Tempo Category Select Mode LCD contrast Power up mode Patch remain switch Clock source System tempo Category select mode Value 1–10 LAST-SET. SEQ-A 1–7. DUAL DOWN. SEQ-D 1–8. MUTE 01–16. SAMBA. SHAMISEN. 32-63). HOLD1. SAMBA. RHYTHM GTR E. INT. ON INT. MIDI. INT. 1/16 1–3. 1/8. SEQUENCE B. TRIPLE UP. MIDI 20–250 LAST-SET. KBD COMPING E. PROG-UP. ECHO 1–3. SOFT. 1/12. 110) Display KEYBOARD Parameter Transpose Sens Vel Aft Output Polarity Assign Output Polarity Assign Output Control 1/2 Hold Peak Volume Aftertouch Transpose switch Transpose value Keyboard sens Keyboard velocity Aftertouch sens Pedal output Pedal polarity Pedal assign Pedal output Pedal polarity C1/C2/C3/C4 slider assign C1/C2/C3/C4 slider output System control assign 1/2 Hold control source Peak control source Volume control source Aftertouch control source Value OFF. VOL&EXP CHANNEL. LIMITLESS *2: SINGLE UP. HOUSE 1–2 CONTROL Group (p. SEQUENCE D. CLAVE. RHYTHM GTR A. 1/32 1–3. PITCH BEND. SYNTH BASS. BOTH STANDARD. RANDOM. KBD COMPING C. WALKBS. BOUND. 1/8. GLISSANDO. SLAP BASS B. MAMBO 1–2. ECHO. DEFAULT ARPEGGIO Group (p. SALSA. REVERSE (*1) OFF. OCT-DOWN *2: CC00–95 (except for 6. CH&POLY HOLD PEDAL CONTROL PEDAL C1/2/3/4 ASSIGN SYS-CTRL ASSIGN CONTROL SOURCE *1: CC00–95 (except for 6. SEQ-C 1–2. HOLD1. REGGAE1–2. MEDIUM. HARP. PERC1–4.

OFF OFF. Rx-Ch.GM Number Switch MSB LSB Performance control channel Local switch Remote keyboard switch Patch mode receive channel Patch mode transmit channel Local switch Remote keyboard switch Local switch Receive program change switch Receive bank select switch Transmit program change switch Transmit bank select switch Transmit active sensing switch Exclusive device ID number Receive exclusive switch Transmit edit data switch Receive GM exclusive switch Bank select group number Bank select transmit switch Bank select MSB Bank select LSB Value 1–16. ON OFF. 114) Display INFO EXP BATTERY CHECK Parameter Expansion D Expansion E Internal Battery Expansion board name D Expansion board name E Battery check Value LOW. ON 1–16 1–16.Edit Rx. ON OFF. ON -64–+63 cent -64–+63 cent PATCH SCALE KEY SCALE PGM CHNG Group (p. OK 159 Appendices . ON OFF. ON 0–127 0–127 PATCH MIDI GM MIDI RECEIVE MIDI TRANSMIT MIDI SYS-EXC MIDI BANK-SEL GROUP PREVIEW Group (p.C Parameter Channel P.Parameter List MIDI Group (p. CHORD. ON OFF. ON OFF. ON 1–7 OFF. ON OFF. PHRASE C-1–G9 0–127 TUNE Group (p. ON OFF.4–452. ON OFF. ON 17–32 OFF. 113) Display PREVIEW MODE PREVIEW KEY PREVIEW VELOCITY Parameter Mode Note 1–4 Note 1–4 Preview sound mode Preview Note Set 1–4 Preview velocity Value SINGLE. 113) Display TUNE Parameter Master Key Shift Scale Tune C –B C–B Master tune Key shift Scale tune switch Scale tune C–B Scale tune C–B Value 427.C# Bnk-MSB Bnk-LSB Transmit MIDI channel Transmit program change Transmit bank select MSB Transmit bank select LSB Value 1–16 1–128 0–127 0–127 INFO Group (p.6 Hz -12–+12 semitone OFF. ON OFF. 114) Display TRANSMIT P.Exc Tx. ON OFF. OFF OFF. 112) Display PERFORM MIDI Parameter Control Channel Local Remote Rx-Ch Tx-Ch Local Remote Local Switch Program Change Bank Select Program Bank Sel Active Sensing Device# Rx.

103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 Name Syn Gtr B Syn Gtr C Harp 1A Harp 1B Harp 1C Banjo A Banjo B Banjo C Sitar A Sitar B Sitar C Dulcimer A Dulcimer B Dulcimer C Shamisen A Shamisen B Shamisen C Koto A Koto B Koto C Pick Bass A Pick Bass B Pick Bass C Fingerd Bs A Fingerd Bs B Fingerd Bs C E. 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 Name MC-202 Bs B MC-202 Bs C Flute 1A Flute 1B Flute 1C Blow Pipe Bottle Shakuhachi Clarinet A Clarinet B Clarinet C Oboe mf A Oboe mf B Oboe mf C Sop.Sax f C Harmonica A Harmonica B Harmonica C Chanter Tpt Sect.Sax mf A Sop.Waveform List INT-A (Internal A) No.Piano 3A E. 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 Name Nylon Gtr A Nylon Gtr B Nylon Gtr C 6-Str Gtr A 6-Str Gtr B 6-Str Gtr C Gtr Harm A Gtr Harm B Gtr Harm C Comp Gtr A Comp Gtr B Comp Gtr C Comp Gtr A+ Mute Gtr 1 Mute Gtr 2A Mute Gtr 2B Mute Gtr 2C Pop Strat A Pop Strat B Pop Strat C Jazz Gtr A Jazz Gtr B Jazz Gtr C JC Strat A JC Strat B JC Strat C JC Strat A+ JC Strat B+ JC Strat C+ Clean Gtr A Clean Gtr B Clean Gtr C Stratus A Stratus B Stratus C OD Gtr A OD Gtr B OD Gtr C OD Gtr A+ Heavy Gtr A Heavy Gtr B Heavy Gtr C Heavy Gtr A+ Heavy Gtr B+ Heavy Gtr C+ PowerChord A PowerChord B PowerChord C EG Harm Gt.Horns C Violin A Violin B Violin C No.Piano 1A E.FretNoise Syn Gtr A No.Horns B F.Sax mf C Alto Sax 1A Alto Sax 1B Alto Sax 1C Tenor Sax A Tenor Sax B Tenor Sax C Bari.Sax f B Bari.Sax f A Bari.Piano 3C MK-80 EP A MK-80 EP B MK-80 EP C D-50 EP A D-50 EP B D-50 EP C Celesta Music Box Clav 1A Clav 1B Clav 1C Organ 1 Jazz Organ 1 Jazz Organ 2 Organ 2 Organ 3 Organ 4 Rock Organ Dist.Sax mf B Sop.Horns A F.Piano 2A E.Org Fst Pipe Organ No.Bs Slap 1 Jz.Strings-R ST.Piano 2B E. 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 Name Cello A Cello B Cello C ST. Organ Rot. 160 .Bs Thumb Jz.Piano 1C E.Bs Pop Syn Bass A Syn Bass C Mini Bs 1A Mini Bs 1B Mini Bs 1C Mini Bs 2 Mini Bs 2+ MC-202 Bs A No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 Name Ac Piano1 A Ac Piano1 B Ac Piano1 C Ac Piano2 pA Ac Piano2 pB Ac Piano2 pC Ac Piano2 fA Ac Piano2 fB Ac Piano2 fC Piano Thump Piano Up TH MKS-20 P3 A MKS-20 P3 B MKS-20 P3 C SA Rhodes 1A SA Rhodes 1B SA Rhodes 1C SA Rhodes 2A SA Rhodes 2B SA Rhodes 2C E.Bs Slap 2 Jz. A Tpt Sect.Bs Slap 3 Jz. C Trumpet 1A Trumpet 1B Trumpet 1C Trumpet 2A Trumpet 2B Trumpet 2C HarmonMute1A HarmonMute1B HarmonMute1C Trombone 1 French 1A French 1C F.Org Slw Rot.Bass Fretless A Fretless B Fretless C UprightBs 1 UprightBs 2A UprightBs 2B UprightBs 2C Slap Bass 1 Slap & Pop Slap Bass 2 Slap Bass 3 Jz.Piano 2C E.Piano 3B E.Piano 1B E. B Tpt Sect.Strings-L MonoStringsA MonoStringsC Pizz JP Strings1A JP Strings1B JP Strings1C JP Strings2A JP Strings2B JP Strings2C Soft Pad A Soft Pad B Soft Pad C Fantasynth A Fantasynth B Fantasynth C D-50 HeavenA D-50 HeavenB D-50 HeavenC Fine Wine D-50 Brass A D-50 Brass B D-50 Brass C D-50 BrassA+ DualSquare A DualSquare C DualSquareA+ Pop Voice Syn Vox 1 Syn Vox 2 Voice Aahs A Voice Aahs B Voice Aahs C Voice Oohs1A Voice Oohs1B Voice Oohs1C Voice Oohs2A Voice Oohs2B Voice Oohs2C Voice Breath Male Ooh A Male Ooh B Male Ooh C Org Vox A Org Vox B Org Vox C Vox Noise * * * * * * * *: Waveform marked “*” are One-shot type waveforms (non-sustaining).

052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 Name Feedbackwave Spectrum BreathNoise Rattles Ice Rain Tin Wave Anklungs Wind Chimes Orch. 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 Name Cowbell 1 Wood Block Claves Bongo Hi Bongo Lo Cga Open Hi Cga Open Lo Cga Mute Hi Cga Mute Lo Cga Slap Timbale Cabasa Up Cabasa Down Cabasa Cut Maracas Long Guiro Tambourine Open Triangl Cuica Vibraslap Timpani Applause REV Orch.Hit REV TeknoHit REV Back Hit REV PhillHit REV Steel DR REV Tin Wave REV NatrlSN1 REV NatrlSN2 REV PiccloSN REV BalladSN REV Side Stk REV SN Roll REV Brush 1 REV Brush 2 REV Brush 3 REV LiteKick REV HybridK1 REV HybridK2 REV Old Kick REV Timpani REV VerbTomH REV VerbTomL REV DryTom H REV DryTom M REV ClHiHat1 REV ClHiHat2 REV Op HiHat REV Pedal HH REV 606HH Cl * * * * * * * * * * * * * * * * * * No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 Name Kalimba Marimba Wave Log Drum Vibes Bottle Hit Glockenspiel Tubular Steel Drums Fanta Bell A Fanta Bell B Fanta Bell C FantaBell A+ Org Bell Agogo DIGI Bell 1 DIGI Bell 1+ DIGI Chime Wave Scan Wire String 2.Waveform List INT-B (Internal B) No. 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 Name REV 606HH Op REV Ride REV Cup REV Crash 1 REV China REV DrySick REV RealCLP REV FingSnap REV Cowbell REV WoodBlck REV Clve REV Conga REV Tamb REV Maracas REV Guiro REV Cuica REV Metro Loop 1 Loop 2 Loop 3 Loop 4 Loop 5 Loop 6 Loop 7 R8 Click Metronome 1 Metronome 2 MC500 Beep 1 MC500 Beep 2 Low Saw Low Saw inv Low P5 Saw Low Pulse 1 Low Pulse 2 Low Square Low Sine Low Triangle Low White NZ Low Pink NZ DC * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *: Waveform marked “*” are One-shot type waveforms (non-sustaining). 161 Appendices . Hit Tekno Hit Back Hit Philly Hit Scratch 1 Scratch 2 Scratch 3 Natural SN1 Natural SN2 Piccolo SN Ballad SN SN Roll 808 SN Brush Slap Brush Swish Brush Roll Dry Stick Side Stick Lite Kick Hybrid Kick1 Hybrid Kick2 Old Kick Verb Kick Round Kick 808 Kick Verb Tom Hi Verb Tom Lo Dry Tom Hi Dry Tom Lo Cl HiHat 1 Cl HiHat 2 Op HiHat Pedal HiHat 606 HiHat Cl 606 HiHat Op 808 Claps Hand Claps Finger Snaps Ride 1 Ride 2 Ride Bell 1 Crash 1 China Cym No.2 Bellwave 2.2 Vibwave Spark VOX MMM VOX Lead Wave Synth Reed Synth Saw 1 Synth Saw 2 Syn Saw 2inv Synth Saw 3 JP-8 Saw A JP-8 Saw B JP-8 Saw C P5 Saw A P5 Saw B P5 Saw C D-50 Saw A D-50 Saw B D-50 Saw C Synth Square JP-8 SquareA JP-8 SquareB JP-8 SquareC Synth Pulse1 Synth Pulse2 Triangle Sine Org Click White Noise Pink Noise Metal Wind Wind Agogo No.

MuteGt p B D.Sax hrd A T.Solo Gtr C D.Club lp FX Bell 1 FX Bell 1fw FX Bell 2 FX Bell 2fw Auhvox Tekno Hit 2 Tekno Hit 3 Tekno Loop FX Bomb Kick MENU Deep Kick 3 TD7 Kick Dance Kick 2 Dance Kick 3 Mix Kick No.MuteGt mpC D.Snap 3 REV Bongo3 L REV Bongo3 H REV Tamb. A Solo Tpt.Sax hrd C Flute Vib A Flute Vib B Flute Vib C R&R Horns A R&R Horns B R&R Horns C Solo Tpt.Sht REV Tamb.Waveform List XP-A (WAVE EXPANSION A: Session) No.Club Sm. each one assigned to a different key.Bass 3 C Jazz Bass3 A Jazz Bass3 B Jazz Bass3 C Muted Bass A Muted Bass B Muted Bass C Blow Sax A Blow Sax B Blow Sax C T. Many different Waveforms are provided. 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 Name REV TeknHit3 REV Deep K 3 REV TD7 Kick REV Dance K2 REV Dance K3 REV Mix Kick REV K.MuteGt mfA D.MuteGt mpA D. C F. B Solo Tpt.MuteGt p C D.MuteGt p A D.Ghost REV LooseSnr REV Ring Snr REV 808 Snr2 REV 909 Snr2 REV 909 Snr3 REV 90’s Snr REV Solo Snr REV Rap Snr REV Talk Snr REV JinglSnr REV HouseSnr REV Snr Buzz REV TinySnr2 REV Mute Snr REV 909 Rim2 REV 909 Tom2 REV 909 Clp2 REV HC2 Clp1 REV 707 Clps REV HC2 Clp2 REV F. 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 Name Kick Ghost Snr&Tom MENU Loose Snr Ring Snr 808 Snr 2 909 Snr 2 909 Snr 3 90’s Snare Solo Snr Rap Snr Talk Snr Jingle Snr House Snr Snr Buzz Tiny Snr 2 Mute Snr 909 Rim 2 909 Tom 2 Clp&Snp MENU 909 Claps 2 HC2 Claps 1 707 Claps HC2 Claps 2 FingerSnaps2 FingerSnap 3 Bongo3 MENU Bongo3 Low Bongo3 High Tambrin MENU Tamb.Sax hrd B T.Solo Gtr B D.Long CR78 Tamb.MuteGt mfC Clean TC 1 A Clean TC 1 B Clean TC 1 C Clean TC2 pA Clean TC2 pB Clean TC2 pC Clean TC2 fA Clean TC2 fB Clean TC2 fC No.AccordionC Vibraphone A Vibraphone B Vibraphone C VocalWave2 A VocalWave2 B VocalWave2 C No.AccordionB F.Solo Gtr A D.MuteGt mpB D.Short Tamb. 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 Name NylonGt2 p A NylonGt2 p B NylonGt2 p C NylonGt2 mfA NylonGt2 mfB NylonGt2 mfC NylonGt2 f A NylonGt2 f B NylonGt2 f C P. 162 . 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 Name JP Hollo A JP Hollo B JP Hollo C Hard 5ths A Hard 5ths B Hard 5ths C Blaster A Blaster B Blaster C Juno Rave A Juno Rave B Juno Rave C Wah Gtr MENU Wah Down 1 Wah Up 1 Wah Down 2 Wah Up 2 Gtr FX MENU Gtr Feedback Gtr Scrap Gtr Slid Nz Gtr Cut Nz Gtr Slap FX MENU Sm. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 Name StGrand L pA StGrand L pB StGrand L pC StGrand R pA StGrand R pB StGrand R pC StGrand L fA StGrand L fB StGrand L fC StGrand R fA StGrand R fB StGrand R fC OrcStrings A OrcStrings B OrcStrings C Choir Aah A Choir Aah B Choir Aah C Choir Mmh A Choir Mmh B Choir Mmh C D.Bass 3 B P. Shaker MENU2 626 Shaker Shaker 3 Shaker 4 Shaker 5 REV Gt Scrap REV Gt SldNz REV Gt CutNz REV Gt Slap REV TeknHit2 * No.Bass 3 A P.Lng REV CR78Tamb REV 626Shakr REV Shaker 3 REV Shaker 4 REV Shaker 5 * * * * * * * * *:These are Menu Waveforms.Club fw Sm.Snaps2 REV F.MuteGt mfB D.AccordionA F.

146 147 148 149 150 151 Name 909 Claps 2 HC2 Claps 1 707 Claps HC2 Claps 2 FingerSnaps2 FingerSnap 3 4 98 4 99 4 100 4 101 102 Key C D E F G 4 4 4 4 4 Gtr FX MENU No. with each one assigned to a different key. Name Tamb.Club fw Sm. 103 104 105 106 107 Name Gtr Feedback Gtr Scrap Gtr Slid Nz Gtr Cut Nz Gtr Slap 128 Key C D E F G A B C D E F G A B C D 4 4 4 4 4 4 4 5 5 5 5 5 5 5 6 6 Snr&Tom MENU No.Club lp FX Bell 1 FX Bell 1fw FX Bell 2 FX Bell 2fw Tekno Hit 2 Tekno Hit 3 Tekno Loop FX Bomb C 4 156 D 4 157 E 4 158 159 Key C D E F 4 4 4 4 Shaker MENU2 No. 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 Name Loose Snr Ring Snr 808 Snr 2 909 Snr 2 909 Snr 3 90’s Snare Solo Snr Rap Snr Talk Snr Jingle Snr House Snr Snr Buzz Tiny Snr 2 Mute Snr 909 Rim 2 909 Tom 2 152 Key Bongo3 MENU No. 108 Key C D E F G A B C D E F G 4 4 4 4 4 4 4 5 5 5 5 5 FX MENU No. 122 123 124 125 126 127 Name Deep Kick 3 TD7 Kick Dance Kick 2 Dance Kick 3 Mix Kick Kick Ghost 145 Key C D E F G A 4 4 4 4 4 4 Clp&Snp MENU No.Long CR78 Tamb. Name Bongo3 Low Bongo3 High C 4 153 D 4 154 155 Key Tambrin MENU No.Waveform List q XP-A Menu Waveforms Menu Waveforms provide multiple Waveforms. 97 Key C D E F Wah Gtr MENU No.Club Sm. 116 109 110 111 112 113 114 115 117 118 119 120 Name Auhvox Sm. Name Wah Down 1 Wah Up 1 Wah Down 2 Wah Up 2 121 Key C D E F G A 4 4 4 4 4 4 Kick MENU No. 160 161 162 163 Name 626 Shaker Shaker 3 Shaker 4 Shaker 5 163 Appendices .Short Tamb.

001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 Name Vl Sect A Vl Sect B Vl Sect C Va Sect A Va Sect B Va Sect C Vc Sect A Vc Sect B Vc Sect C Cb Sect Multi STR A Multi STR B Multi STR C Vl Sect Lp Va Sect Lp Vc Sect Lp Cb Sect Lp Multi STR Lp Vl Solo A Vl Solo B Vl Solo C Va Solo A Va Solo B Va Solo C Vc Solo A Vc Solo B Vc Solo C Cb Solo Multi Solo 1 Multi Solo 2 Vls Spicc A Vls Spicc B Vls Spicc C Vas Spicc A Vas Spicc B No. 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 Name Flugelhorn Cornet HarmonMute2A HarmonMute2B HarmonMute2C Solo Tb A Solo Tb B Solo Tb C Bass Tb Tb Sect Tuba BRS Ensemble Brass ff Full Orch.Horn Sect1 F.Horn C Clarinet Bs Clarinet Multi Cla Bassoon Multi Reed Tnr.Horn Solo F.Horn A Eng.Recorder F. 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 Name Castanets 2 Slapstick Ratchet Sleigh Bell Tambourine Wind Chime 2 REV Hit Maj REV Hit Min REV Hit Dim REV Bell REV Timp 1 REV Timp 2 REV SNR 1 REV SNR 2 REV SNR 3 REV BD 1 REV BD 2 REV BD 3 REV BD Roll REV Crash REV Cym Hit REV Tam Tam REV Gong REV PercHit1 REV PercHit2 REV Casta 1 REV Casta 2 REV S. 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 Name Vas Spicc C Vcs Spicc A Vcs Spicc B Vcs Spicc C Cbs Spicc A Cbs Spicc B Cbs Spicc C Multi Spicc VlSolo Spicc VcSolo Spicc MultSl Spicc STR Attack Pizzicato 1 Pizzicato 2 Piccolo Oboe 1A Oboe 1B Oboe 1C Oboe 2A Oboe 2B Oboe 2C Eng. Orch Hit Maj Orch Hit Min Orch Hit Dim Choir A Choir B Choir C F.Horn Mute Trumpet 2 No.Hrn Sc2 Lp F.Stick REV Sleigh REV Tamb SNR Set Perc Set 1 Perc Set 2 Perc Set 3 164 .Hrn Sc1 Lp F.Horn B Eng.Horn Sect2 F. 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 Name EuroPiano fB EuroPiano fC Harpsichord Celesta A Celesta B Celesta C Harp A Harp B Harp C Glockenspiel Xylophone Bass Marimba TubularBells Church Bells Timpani p Timpani f Timp Roll p Timp Roll f Concert SNR1 Concert SNR2 Concert SNR3 SNR Roll Concert BD 1 Concert BD 2 Concert BD 3 BD Roll Crash Cymbal Crash Cym Lp Cymbal Hit Tam Tam Gong Perc Hit 1 Perc Hit 2 Triangle Castanets 1 No.Waveform List XP-B (WAVE EXPANSION B: Orchestral) No.Hrn MuteLp Tb Sect Lp BRS Ens Lp ff Brass Lp Full Orch Lp Breath Wind Breath Atack Breath Whisl Breath Hrmon EuroPiano pA EuroPiano pB EuroPiano pC EuroPiano fA No.

The numbers (116–184) included in the wave name represent the B.Waveform List XP-C (WAVE EXPANSION C: Techno Collection) No. 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 Name Uuh Formant Dist Ooh Vox Talkbox VOCODER MENU * TOM MENU * TR909 Tom TR909 DstTom TR808 Tom TR606 Tom TR606 CmpTom TR707 Tom TR707 CmpTom Deep Tom Kick Tom Natural Tom Can Tom PERCUSS MENU * TR808 Conga1 TR808 Conga2 Surdo mute Surdo open TMB&SKR MENU * Tambourine 2 Rattle Tamb TechnoShaker Dance Shaker COW&RIM MENU * TR808Cowbell TR707Cowbell CR78 Cowbell TR727 Agogo TR909 Rim TR808 Rim TR808 RimLng TR808 Claves CHH MENU 1 * CHH MENU 2 * TR909 CHH 1 TR909 CHH 2 TR909 CHH 3 TR808 CHH 1 TR808 CHH 2 TR606 CHH TR707 CHH CR78 CHH Pop CHH Bristol CHH PHH MENU * TR909 PHH 1 TR909 PHH 2 TR808 PHH No. 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 Name TR707 Snr 2 CR78 Snare Headz Snare Deep Snare Fat Snare Antigua Snr MC Snare DJ Snare Macho Snare Clap Snare Rage Snare Indus Snare TekRok Snare Jungle Snr 1 Jungle Snr 2 Jungle Snr 3 Jungle Snr 4 SideStiker Ragga Snr 2 Lo-Fi Snare Jungle Snr 5 Urban Snare Sim Snare Roll Snare KICK MENU 1 KICK MENU 2 TR909 Kick 1 TR909 Kick 2 Plastic BD 1 Plastic BD 2 TR808 Kick 1 TR808 Kick 2 TR808 Kick 3 TR606 Kick 1 TR606 Kick 2 TR707 Kick 1 TR707 Kick 2 Culture Kick Optic Kick Lo-Fi BD Wet Kick Video Kick JungleKick 1 Street Kick Turbo Kick JungleKick 2 Tekno Kick Sim Kick Amsterdam BD TR909 Dst BD Roll Kick * * * * * * * * * * * * * * *: These are Menu Waveforms. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 Name PHRASE MENU 120:House 1 120:House 2 120:House 3 120:TeknoBNG 144:Tekno BD 144:TeknoHAT 160:Drum’nBs 184:Gabba 132:Detroit 132:Agogo 116:Elect’80 120:Electro1 138:Electro2 TB Dst Saw TB Dst Sqr 1 TB Dst Sqr 2 TB Reso Sqr1 TB Reso Sqr2 TB Reso Sqr3 TB Saw TB Solid Saw TB Reso Saw TB Square 1 TB Square 2 TB Square 3 Octa Bass Rave Bass FM Pluck Bs FM Slide Bs Solid Bass JUNO-60 Bass SH-5 Bass Dirty Bass Sub Bass Jungle Bass JP8000 Saw 1 JP8000 Saw 2 JP-6 Saw Techno Saw SH-1 Square SH-1 Pulse JP8000 PWM JP8000 FBK 260 Sub OSC Dist Synth Dist Square P5 Pipe FM Garage JUNO Pluck Funky Synth * ** ** ** ** ** ** ** ** ** ** ** ** ** No. Many different Waveforms are provided.Beat Mental Perc May Day Perc PC-2 Spacers Techno Scene Pure Psycho TAO Hit Thin Beef Organ Hit 2 INDUST. 165 Appendices . **: These are the phrase loop waveforms.P.M. each one assigned to a different key. MENU PCM Press ElectricDunk Thrill Drill Hit MachineShout Air Gun Emergency Buzzer Tonality Aah Formant Eeh Formant Iih Formant Ooh Formant No. 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 Name JUNO Bowing JUNO Synth JX Synth Alpha Wave Killer Detuned Saw Fat JP-6 Euro Dance Noisy 101 Daft Wave Pizzy Techno Organ Pizz Garage Org FM Club Org Org Chord Dist TekGtr1 Dist TekGtr2 GTR FX MENU JP Siren Cold Dress HIT MENU 1 HIT MENU 2 Beam HiQ Analog Bird ElectronFall Retro UFO Jungle Beep PC-2 Machine Dr. (tempo) when played at the C4 key. And these waveforms can be synchronized to a device such as a sequencer. 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 Name TR606 PHH TR707 PHH OHH MENU TR909 OHH 1 TR909 OHH 2 TR909 OHH 3 TR909 DstOHH TR808 OHH TR606 DstOHH TR707 OHH CR78 OHH R8 OHH Cym OHH CYMBAL MENU TR606 Cym 1 TR606 Cym 2 TR606 DstCym TR909 Ride TR909DstRide TR707 Ride TR909 Crash TR909DsCrash CLAP MENU TR909 Clap TS Clap Clap Stop TR707 Clap HC2 Dry Clap Scratch Clap Comp Clap Claptail SNR MENU 1 SNR MENU 2 SNR MENU 3 SNR MENU 4 SNR MENU 5 TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR909 Snr 7 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR808 Snr 4 TR606 Snr 1 TR606 Snr 2 TR606 Snr 3 TR707 Snr 1 No.

F * Tabla Comp * 138 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 CHH MENU 1 No. 140 141 142 143 144 145 Name TR909 CHH 1 TR909 CHH 2 TR909 CHH 3 TR808 CHH 1 TR808 CHH 3 TR808 CHH 2 TR808 CHH 3 TR606 CHH TR606 CHH 2 TR606 CHH 3 TR707 CHH CR78 CHH DM CHH * * * * 122 123 146 147 89 Key INDUST MENU No. 74 Name Beam Hiq Noise Click * Electro Prc * Anaolog Bird ElectronFall Retro UFO Jungle Beep PC-2 Machine Dance Prc * Dr. Name VP “ei” * VP “ii” * VP “ai” * VP “ou” * VP “ju” * VP “one” * VP “two” * VP “three” * VP “four” * VP “music” * VP “techno” * VP “groove” * VP “dance” * VP “funky” * VP “rhythm” * VP “machine” * 119 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 PERCUSS MENU No.F * Hi Conga L.Beat CR78 Beat * Mental Perc May Day Perc PC-2 Spacers 75 76 77 78 79 80 81 82 83 C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 124 Key TMB&SKR MENU No. 84 85 86 87 88 Name Techno Scene Pure Psycho TAO Hit Thin Beef Techno Tone * Organ Hit 2 Scratch 4 * Scratch PUSH * Scratch PULL * Tape RWD * Reel Stop * 106 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5 VOCODER MENU No.F * Surdo mute Surdo open H Timbal L.F * Mute CGA L. *: This waveform is used only in the MENU WAVEFORM. with each one assigned to a different key. Name Indust Bomb Door Comp PCM Press ElectricDunk Thrill Drill Hit MachineShout Air Gun Swish Emergency Buzzer TB reso Tonality * * * 69 Key C 4 C# 4 GTR FX MENU No.F * L Timbal L.Waveform List q XP-C Menu Waveforms Menu Waveforms provide multiple Waveforms. 151 152 153 154 155 Name TR909 PHH 1 TR909 PHH 2 TR808 PHH TR808 PHH 2 * TR606 PHH TR606 PHH 2 * TR707 PHH HH Pedal * 129 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 COW&RIM MENU No. 1 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 PHRASE MENU No. 130 131 132 133 134 135 136 Name TR808Cowbell TR707Cowbell CR78 Cowbell TR727 Agogo TR909 Rim TR909 Dst Rim* TR808 Rim TR808 RimLng TR707 Rim * Ragga Rim * TR808 Claves C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 137 166 . Name Pop CHH Pop CHH 2 Bristol CHH Lithe CHH R8 CHH * * * 90 91 92 93 94 95 96 97 98 107 Key TOM MENU No. 120 121 Name TR808 Conga1 TR808 Conga3* TR808 Conga2 Hi Bongo L.F * Lo Bongo L. Name TR909 Tom TR909 DstTom TR808 Tom TR606 Tom TR606 TR707 Tom TR707 Deep Tom Kick Tom Natural Tom Can Tom * * C 4 108 C# 4 109 D 4 110 D# 4 111 E 4 112 CmpTom F 4 113 F# 4 114 CmpTom G 4 115 G# 4 116 A 4 117 A# 4 118 C C# D D# E * F 4 4 4 4 4 4 4 148 4 4 149 4 4 150 Key PHH MENU No. 125 126 127 128 Name Tambourine 2 Battle Tamb TechnoShaker Dance Shaker TR808 Maracas CR78 Guiro * 139 Key C C# D D# E CHH MENU 2 No. 2 3 4 5 6 7 8 9 10 11 12 13 14 Name 120:House 1 120:House 2 120:House 3 120:TeknoBNG 144:Tekno BD 144:TeknoHat 160:Drum’nBs 184:Gabba 132:Detroit 132:Agogo 116:Elect’80 120:Electro1 138:Electro2 73 Key C 4 C# 1 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 HIT MENU 2 No. Name GTR FX 1 GTR FX 2 * * 72 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 # 5 HIT MENU 1 No.F * Lo Conga L.

218 219 220 221 222 Name Jungle Snr 1 Jungle Snr 2 Jungle Snr 3 Jungle Snr 6 * Jungle Snr 4 Jungle Snr 7 * SideStickr Cross Snr * Jungle Rim * Ragga Snr 2 Lo-fi Snare 229 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 KICK MENU 1 No.Waveform List 156 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5 OHH MENU No. 207 208 209 210 211 212 213 Name Headz Snare Deep Snare Fat Snare R&B Snare * Antigua Snr MC Snare DJ Snare Macro Snare Lofi Snare * Pistol Snr * Clap Snare Rage Snare Indus Snare TekRok Snare Indus Snare * 167 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 CYMBAL MENU No. 231 232 233 234 235 236 237 238 239 240 241 242 Name TR909 Kick 1 TR909 Kick 2 TR909 Kick 3 * Plastic BD 1 Plastic BD 2 TR909 Kick 4 * TR808 Kick 1 TR808 Kick 2 TR808 Kick 3 TR606 Kick 1 TR606 Kick 2 606 Dst Kick * TR707 Kick 1 TR707 Kick 1 Culture Kick * * 183 184 * * * * * 223 224 189 Key SNR MENU 5 No. 243 244 245 246 247 248 249 250 251 252 253 254 255 Name Hop Kick * Optic Kick Lo-Fi BD Wet Kick DR Cmp Kick * Video Kick JungleKick 1 Street Kick Turbo Kick JungleKick 2 Tekno KIck Sim Kick Dance Kick 2 * Amsterdam BD TR909 Dst BD Roll Kick * * * * 197 198 199 200 214 215 216 217 * 167 Appendices . 190 191 192 193 194 195 196 Name TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 8 TR909 Snr 6 TR909 Snr 7 909 Snr Dst 909 Snr Fuzz TR808 Snr 5 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR808 Snr 4 TR808 Snr 6 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 SNR MENU 3 No. 177 178 179 180 181 182 Name TR909 Clap TS Clap TR909 Clap 2 * Clap Stop 808 Comp Clp * TR707 Clap HC2 Dry Clap DM Clap * Scratch Clap Real Clap * Groove Clap * Comp Clap Claptail 909 Clp Fuzz * 186 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 SNR MENU 2 No. 157 158 159 160 161 162 163 164 Name TR909 OHH 1 TR909 OHH 2 TR909 OHH 4 * TR909 OHH 3 TR909 DstOHH TR808 OHH 2 * TR808 OHH TR808 OHH 3 * TR606 DstOHH TR707 HH * TR707 OHH CR78 OHH DM OHH * Hop OHH * R8 OHH Cym OHH 176 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 CLAP MENU No. 201 202 203 204 205 206 Name TR606 Snr 1 TR606 Snr 2 606 Snr Dst TR606 Snr 3 TR707 Snr 1 TR707 Snr 3 TR707 snr 2 CR78 Snare Clap Snare 2 Jungle Snr 9 Rage Snare 2 Clap Snare 3 Clap Snare 4 188 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 SNR MENU 4 No. 225 226 227 228 Name Jungle Snr 10 Jungle Snr 5 Jungle Snr 8 Urban Snare Lite Snare Sim Snare Electro Snr Roll Snare * * * * 165 166 187 185 Key SNR MENU 1 No. 168 169 170 171 172 173 174 175 Name TR606 Cym 1 TR606 Cym 2 TR606 DstCym TR909 Ride TR909DstRide TR707 Ride TR909 Crash TR909DsCrash C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5 C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 230 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5 KICK MENU 2 No.

Sax mf 2 Sweep Clav 2 3 Cold JX 1 Solo Vc 1 / 3 RichStrings2 4 Techno Dream 3 StateXLChord 4 Delicate EP 2 Bassic Needs 2 Perky B 2 SquareLead 2 2 Earth Blow 2 BassMarimba1 2 Morning Lite 2 Raggatronic 4 Brass ff 1 2 Acc. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No.Solo 3 Combing Slow 3 SessionNyln2 3 Celestial 2 4 Poly Brs 4 DanceStack 1 3 303 Ow Bass 1 Flying Waltz 4 Silky Way 2 Simply June 1 Solo Vln 1 / 4 Super Tenor 3 Metal Solo 4 Creator 3 Amsterdamer 2 Techno Pizz 1 SA Rhodes 3 3 Dim Hit 1 4 Pan Pipes 2 JP-8 Str 1 2 Pretty Bells 2 Aurora 4 Breathy Humz 2 Full Orch.2 4 Clean Tele 4 Dunes 4 Cyber-Trance 3 RiversOfTime 4 F.P.Recorder 3 FXM Saw Lead 4 Atlantis 2 4 Taj Mahal 1 X-hale 4 Stacc.Heaven 4 Altamira 2 Hit House 4 Solo F.A.de Paris 2 Oboe 1 2 Velo Power 4 Vintage Call 4 Steel Away 3 Spectrum Mod 4 Raverborg 4 Poly Saws 4 Adrenaline 4 Heirborne 4 Trumpet 2 Glistening 4 Banded Jupe 1 Singing’Mini 1 Chamber Ens2 2 DanceStack 5 4 SA Rhodes 4 4 Breathy Brs 3 Atmos Harp 4 303 Bass 2 Flute 1 Perc Hit 2 / 4 Oldies Organ 2 Dulcimer 2 Warmer Pad 2 2 ARPsychea 4 Choir 1 3 Agitato Str2 4 Pure Tibet 1 Flugelhorn 1 2 D-50 Stack 4 Noiz Mania 4 Slap Bass 2 1 Amazing Echo 4 Moving Glass 1 BluesHarp 1 Tria Bells 4 DirtyOrgan 2 2 Dawn 2 Dusk 3 Just Lovely 1 SquareKeys 2 1 Natural Vlns 2 Arasian Morn 4 Euro-Dance 2 3 5th Pad 4 Liquid Sky 4 Sci-Fi Bells 3 Nomad Perc 3 Orn.Concert 4 ViennaStrgs2 4 R&R Brass 3 Disto Stack 4 Tone Wh.Solo 3 Purple Spin 4 60’s LeadORG 2 Assalt Organ 3 D-50 Organ 2 Cathedral 4 Church Pipes 4 Poly Key 3 Poly Saws 4 Poly Pulse 4 Dual Profs 3 Saw Mass 4 Poly Split 4 Poly Brass 3 Stackoid 4 Poly Rock 4 D-50 Stack 4 Fantasia JV 4 Jimmee Dee 4 Heavenals 4 Mallet Pad 4 Huff N Stuff 3 Puff 1080 2 BellVox 1080 4 Fantasy Vox 4 Square Keys 2 Childlike 4 Music Box 3 Toy Box 2 Wave Bells 4 Tria Bells 4 Beauty Bells 4 Music Bells 2 Pretty Bells 2 Pulse Key 3 Wide Tubular 4 AmbienceVibe 4 Warm Vibes 2 Dyna Marimba 1 Bass Marimba 4 Nomad Perc 3 Ethno Metals 4 Islands Mlt 4 Steelin Keys 3 Steel Drums 1 Voicey Pizz 3 Sitar 2 Drone Split 4 Ethnopluck 4 Jamisen 2 Dulcimer 2 East Melody 2 MandolinTrem 4 Nylon Gtr 1 Gtr Strings 3 Steel Away 3 Heavenly Gtr 4 12str Gtr 1 2 12str Gtr 2 3 Jz Gtr Hall 1 LetterFrmPat 4 Jazz Scat 3 Lounge Gig 3 JC Strat 1 Twin Strats 3 JV Strat 2 Syn Strat 2 Rotary Gtr 2 Muted Gtr 1 SwitchOnMute 2 Power Trip 2 Crunch Split 4 Rezodrive 2 RockYurSocks 4 Voice: number of voice 168 .Patch List USER (User Group) No.E.Hrn Sect5/ 3 DreamVoices2 2 HeavenlyPad 2 Sop.Horn1 1 Celesta 1 1 ORBit Pad 2 SessionBrass 4 Sugar Bell 4 ChristmasFlt 2 Strobe Mode 4 Cave 4 TenorExprss2 2 Impact 4 X-Tronic Jam 4 WarmViolins2 4 Rain Forest 4 Brass Ens 4 3 Perelandra 4 Teknoperator 4 Crowds 4 PR-A (Preset A Group) No. Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY Temple of XP 4 Power Split 4 Symphonique2 4 Robot Voice 4 St.Grand 1 MIDIed Grand 3 Piano Blend 3 West Coast 4 PianoStrings 4 Bs/Pno+Brs 4 Waterhodes 2 S. Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO SOLO 64voicePiano 1 Bright Piano 1 Classique 2 Nice Piano 3 Piano Thang 3 Power Grand 3 House Piano 2 E.Mellow 4 Comp Clav 1 Klavinet 4 Winger Clav 4 Phaze Clav 1 2 Phaze Clav 2 1 Phuzz Clav 2 Chorus Clav 1 Claviduck 2 Velo-Rez Clv 1 Clavicembalo 4 Analog Clav1 1 Analog Clav2 1 Metal Clav 3 Full Stops 2 Ballad B 3 Mellow Bars 4 AugerMentive 3 Perky B 2 The Big Spin 3 Gospel Spin 3 Roller Spin 3 Rocker Spin 3 Tone Wh. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No. 3 SA Rhodes 1 4 SA Rhodes 2 2 Stiky Rhodes 3 Dig Rhodes 2 Nylon EPiano 4 Nylon Rhodes 4 Rhodes Mix 3 PsychoRhodes 2 Tremo Rhodes 4 MK-80 Rhodes 1 MK-80 Phaser 1 Delicate EP 2 Octa Rhodes1 4 Octa Rhodes2 4 JV Rhodes+ 4 EP+Mod Pad 4 Mr.

Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY SOLO SOLO SOLO SOLO SOLO SOLO SOLO POLY SOLO SOLO SOLO SOLO SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY Dist Gtr 1 3 Dist Gtr 2 3 R&R Chunk 4 Phripphuzz 1 Grungeroni 3 Black Widow 4 Velo-Wah Gtr 1 Mod-Wah Gtr 2 Pick Bass 1 Hip Bass 2 Perc..Strings 2 Warm Strings 4 Somber Str 4 Marcato 2 Bright Str 2 String Ens 4 TremoloStrng 2 Chambers 3 ViolinCello 4 Symphonique 4 Film Octaves 4 Film Layers 4 Bass Pizz 4 Real Pizz 3 Harp On It 3 Harp 2 JP-8 Str 1 2 JP-8 Str 2 3 E-Motion Pad 4 JP-8 Str 3 4 Vintage Orch 4 JUNO Strings 3 Gigantalog 4 PWM Strings 3 Warmth 2 ORBit Pad 2 Deep Strings 2 Pulsify 4 Pulse Pad 4 Greek Power 4 Harmonicum 2 D-50 Heaven 2 Afro Horns 3 Pop Pad 4 Dreamesque 4 Square Pad 4 JP-8 Hollow 4 JP-8Haunting 4 Heirborne 4 Hush Pad 4 Jet Pad 1 2 Jet Pad 2 2 Phaze Pad 3 Phaze Str 4 Jet Str Ens 2 Pivotal Pad 4 3D Flanged 1 Fantawine 4 Glassy Pad 3 Moving Glass 1 Glasswaves 3 Shiny Pad 4 ShiftedGlass 2 Chime Pad 3 Spin Pad 2 Rotary Pad 4 Dawn 2 Dusk 3 Aurora 4 Strobe Mode 4 Albion 2 Running Pad 4 Stepped Pad 4 Random Pad 4 SoundtrkDANC 4 Flying Waltz 4 Vanishing 1 5th Sweep 4 Phazweep 4 Big BPF 4 MG Sweep 4 CeremonyTimp 3 Dyno Toms 4 Sands ofTime 4 Inertia 4 Vektogram 4 Crash Pad 4 Feedback VOX4 Cascade 1 Shattered 2 NextFrontier 2 Pure Tibet 1 Chime Wash 4 Night Shade 4 Tortured 4 Dissimilate 4 Dunes 4 Ocean Floor 1 Cyber Space 3 Biosphere 2 Variable Run 4 Ice Hall 2 ComputerRoom 4 Inverted 4 Terminate 3 Voice: number of voice 169 Appendices .Sax mf 2 Alto Sax 3 AltoLead Sax 3 Tenor Sax 3 Baritone Sax 3 Take A Tenor 4 Sax Section 4 Bigband Sax 4 Harmonica 2 Harmo Blues 2 BluesHarp 1 Hillbillys 4 French Bags 4 Majestic Tpt 1 Voluntare 2 2Trumpets 2 Tpt Sect 4 Mute TP mod 4 PR-C (Preset C Group) No.Bass 3 Homey Bass 2 Finger Bass 1 Nylon Bass 2 Ac.Patch List PR-B (Preset B Group) No. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign POLY POLY POLY SOLO POLY POLY POLY POLY SOLO POLY SOLO SOLO SOLO POLY SOLO SOLO POLY POLY SOLO SOLO POLY SOLO SOLO SOLO SOLO SOLO POLY SOLO SOLO POLY POLY SOLO POLY SOLO SOLO SOLO SOLO SOLO SOLO POLY SOLO POLY POLY SOLO SOLO SOLO SOLO SOLO POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No.. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No.Upright 1 Wet Fretls 1 Fretls Dry 2 Slap Bass 1 2 Slap Bass 2 1 Slap Bass 3 1 Slap Bass 4 2 4 Pole Bass 1 Tick Bass 4 House Bass 3 Mondo Bass 3 Clk AnalogBs 2 Bass In Face 2 101 Bass 2 Noiz Bass 2 Super Jup Bs 2 Occitan Bass 3 Hugo Bass 4 Multi Bass 2 Moist Bass 2 BritelowBass 4 Untamed Bass 3 Rubber Bass 3 Stereoww Bs 3 Wonder Bass 3 Deep Bass 2 Super JX Bs 2 W<RED>-Bass 4 HI-Ring Bass 3 Euro Bass 2 SinusoidRave 1 Alternative 2 Acid Line 1 Auto TB-303 3 Hihat Tekno 2 Velo Tekno 1 3 Raggatronic 4 Blade Racer 4 S&H Pad 1 Syncrosonix 3 Fooled Again 1 Alive 3 Velo Tekno 2 2 Rezoid 4 Raverborg 4 Blow Hit 4 Hammer Bell 3 Seq Mallet 2 Intentions 3 Pick It 3 Analog Seq 2 Impact Vox 4 TeknoSoloVox 2 X-Mod Man 2 Paz <==> Zap 1 4 Hits 4 You 4 Impact 4 Phase Hit 3 Tekno Hit 1 2 Tekno Hit 2 2 Tekno Hit 3 4 Reverse Hit 3 SquareLead 1 3 SquareLead 2 2 You and Luck 2 Belly Lead 4 WhistlinAtom 2 Edye Boost 2 MG Solo 4 FXM Saw Lead 4 Sawteeth 3 Smoothe 2 MG Lead 2 MG Interval 4 Pulse Lead 1 3 Pulse Lead 2 4 Little Devil 4 Loud SynLead 4 Analog Lead 2 5th Lead 2 Flute 2 Piccolo 1 VOX Flute 4 Air Lead 2 Pan Pipes 2 Airplaaane 4 Taj Mahal 1 Raya Shaku 3 Oboe mf 1 Oboe Express 2 Clarinet mp 1 ClariExpress 2 Mitzva Split 4 ChamberWinds4 ChamberWoods3 Film Orch 4 Sop. 3 Arasian Morn 4 Beauty Vox 3 Mary-AnneVox 4 Belltree Vox 4 Vox Panner 2 Spaced Voxx 4 Glass Voices 3 Tubular Vox 4 Velo Voxx 2 Wavox 3 Doos 1 Synvox Comps 4 Vocal Oohz 3 LFO Vox 1 St. Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY Harmon Mute 1 Tp&Sax Sect 4 Sax+Tp+Tb 3 Brass Sect 4 Trombone 1 Hybrid Bones 4 Noble Horns 4 Massed Horns 3 Horn Swell 4 Brass It! 4 Brass Attack 3 Archimede 3 Rugby Horn 3 MKS-80 Brass 2 True ANALOG 2 Dark Vox 2 RandomVowels 4 Angels Sing 2 Pvox Oooze 3 Longing.

Gt Jazz Gt. Celesta Glockenspiel Music Box Vibraphone Marimba Xylophone Tubular-bell Santur Organ 1 Organ 2 Organ 3 Church Org. Slap Bass 1 Slap Bass 2 Synth Bass 1 Synth Bass 2 Violin Viola Cello Contrabass Tremolo Str PizzicatoStr Harp Timpani Strings Slow Strings Syn. Voice: number of voice 170 . Fingered Bs. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO SOLO SOLO POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No.Brass Grp 4 Royale 4 Brass Mutes 2 Breathy Brs 3 3 Osc Brass 3 P5 Polymod 2 Triumph Brs 3 Techno Dream 3 Organizer 3 Civilization 3 Mental Chord 4 House Chord 4 Sequalog 4 Booster Bips 2 VintagePlunk 4 Plik-Plok 2 RingSequence 4 Cyber Swing 4 Keep :-) 2 Resojuice 2 B’on d’moov! 3 Dist TB-303 2 Temple of JV 4 Planet Asia 4 Afterlife 3 Trancing Pad 2 Pulsatronic 3 Cyber Dreams 3 Warm Pipe 1 Pure Pipe 2 SH-2000 2 X. Clean Gt. Muted Gt.? Whistle 3 Jay Vee Solo 3 Progresso Ld 4 Adrenaline 4 Enlighten 4 Glass Blower 3 Earth Blow 2 JX SqrCarpet 2 Dimensional 2 Jupiterings 2 Analog Drama 3 Rich Dynapad 4 Silky Way 2 Gluey Pad 3 BandPass Mod 2 Soundtraque 2 Translucence 4 Darkshine 4 D’light 2 December Sky 4 Octapad 3 JUNO Power! 4 Spectrum Mod 4 Stringsheen 3 GR500 TmpDly 2 Mod DirtyWav 3 Silicon Str 4 D50FantaPerc 3 Rotodreams 3 Blue Notes 4 RiversOfTime 4 Phobos 2 2 0 8 0 4 Unearthly 4 Glistening 4 Sci-Fi Str 3 Shadows 4 Helium Queen 4 Sci-Fi FX x4 1 Perky Noize 3 Droplet 3 Rain Forest 4 *1: Uses XP-A (Session) waves.Patch List PR-D (GM Group) No. Gt. Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign POLY SOLO SOLO POLY POLY SOLO POLY POLY POLY POLY SOLO POLY SOLO POLY POLY POLY POLY POLY POLY SOLO POLY SOLO POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY Echo Piano 3 Upright Pno 3 RD-1000 3 Player’s EP 2 D-50 Rhodes 4 Innocent EP 2 Echo Rhodes 4 See-Thru EP 3 FM BellPiano 3 Ring E. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign 2 2 2 2 2 4 1 2 1 2 1 1 1 2 2 2 1 1 2 2 1 1 1 2 1 1 1 1 1 1 1 3 3 1 1 1 1 2 1 1 1 2 2 2 1 1 1 2 2 1 2 2 1 1 1 2 1 2 2 1 2 1 1 2 POLY *1 POLY *2 POLY POLY POLY POLY POLY *2 POLY POLY *2 POLY *2 POLY POLY POLY *2 POLY *2 POLY *2 POLY POLY POLY POLY POLY POLY POLY *1 POLY POLY POLY *1 POLY POLY POLY *1 POLY POLY POLY *1 POLY POLY POLY POLY *1 POLY POLY POLY POLY POLY POLY *2 POLY *2 POLY *2 POLY *2 POLY POLY *2 POLY *2 POLY *2 POLY POLY POLY POLY POLY *1 POLY POLY POLY *2 POLY *1 POLY *2 POLY *2 POLY *2 POLY *2 POLY *2 POLY POLY No. Tom 1 Synth Drum Reverse Cym.Strings2 Choir Aahs Voice Oohs SynVox OrchestraHit Trumpet Trombone Tuba MutedTrumpet French Horn Brass 1 Synth Brass1 Synth Brass2 Soprano Sax Alto Sax Tenor Sax Baritone Sax Oboe English Horn Bassoon Clarinet Piccolo Flute Recorder Pan Flute Bottle Blow Shakuhachi Whistle Ocarina Square Wave Saw Wave Syn. *2: Uses XP-B (Orchestral) waves.Piano 1 E. Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign 1 1 1 2 1 1 2 1 1 1 2 2 2 1 1 2 2 2 2 2 3 2 3 2 3 2 2 2 3 2 3 2 2 2 2 2 3 2 2 2 1 1 2 1 1 3 1 1 4 1 1 1 4 2 2 1 1 2 3 4 1 2 4 2 POLY POLY POLY *1 POLY POLY *2 POLY *2 POLY *2 POLY POLY *2 POLY POLY *2 POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY *2 POLY POLY POLY POLY POLY POLY POLY POLY Piano 1 Piano 2 Piano 3 Honky-tonk E.Calliope Chiffer Lead Charang Solo Vox 5th Saw Wave Bass & Lead Fantasia Warm Pad Polysynth Space Voice Bowed Glass Metal Pad Halo Pad Sweep Pad Ice Rain Soundtrack Crystal Atmosphere Brightness Goblin Echo Drops Star Theme Sitar Banjo Shamisen Koto Kalimba Bag Pipe Fiddle Shanai Tinkle Bell Agogo Steel Drums Woodblock Taiko Melo. Picked Bs.Piano 4 Soap Opera 1 Dirty Organ 3 Surf’s Up! 2 Organesque 3 pp Harmonium 1 PieceOfCheez 1 Harpsy Clav 2 Exotic Velo 4 HolidayCheer 4 Morning Lite 2 Prefab Chime 3 Belfry Chime 3 Stacc.Gt Steel-str.Strings1 Syn.1 Reed Organ Accordion Fr Harmonica Bandoneon Nylon-str. Fretless Bs.Harmonics Acoustic Bs.Heaven 4 2.FretNoise Breath Noise Seashore Bird Telephone 1 Helicopter Applause Gun Shot PR-E (Preset E Group) No..2 Bell Pad 4 Far East 4 Wire Pad 3 PhaseBlipper 2 Sweep Clav 3 Glider 2 Solo Steel 4 DesertCrystl 4 Clear Guitar 3 Solo Strat 3 Feed Me! 4 Tube Smoke 2 Creamy 2 Blusey OD 2 Grindstone 2 OD 5ths 3 East Europe 2 Dulcitar 4 Atmos Harp 4 Pilgrimage 4 202 Rude Bs 2 2pole Bass 2 4pole Bass 2 Phaser MC 2 Miniphaser 2 Acid TB 1 Full Orchest 4 Str + Winds 4 Flute 2080 2 Scat Flute 2 Sax Choir 4 Ballad Trump 4 Sm.Piano 2 Harpsichord Clav. Overdrive Gt DistortionGt Gt.

065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Name Fr.Coast Brs Bop Soli Soft Saxes Orchestral Octalog Hrn Tpt Soloist Legato Tpt Dyno Trumpet Ethno-Trumps Super Tenor TenorExpress T.Pno & Str Compress Pno LA Session Water Piano Vibra Rhodes Stack Rhodes ArcoEnsemble Vienna Strgs Str Adagio Oct Strings Silky Filter Soft Strings SlowStr.Bass DEMO SynBs DEMO SynLead DEMO Insect DEMO Buzzzzz DEMO Crowd Voice 3 4 4 4 2 2 4 4 3 2 4 2 3 4 3 2 3 3 3 2 2 4 2 2 2 4 3 3 1 2 4 3 2 4 4 4 3 1 4 4 3 2 2 2 2 4 2 1 3 1 2 4 4 4 3 3 2 1 2 4 4 2 4 Voice: number of voice 171 Appendices .Accordion Voice 4 4 4 2 4 1 4 4 3 4 2 3 2 3 2 2 2 4 4 4 4 2 2 2 1 3 4 4 4 3 3 4 3 4 2 3 4 4 2 4 4 2 1 2 2 2 3 2 1 2 2 1 2 2 3 2 2 2 2 4 4 2 3 1 No.Tpts R&R Brass Echo Brass E.Sect GiantStrings Str+Choir 1 Str+Choir 2 Str+Choir 3 Breathy Humz Dream Voices Mmmms Chorale Space Men Choir Mm+Aah Ivory Mist PercussiVox Mysteriouso Phase Mmhs AmbientStory Venus SessionBrass Port.Grand 1 9ft.Bass1 Rock P.Patch List XP-A (WAVE EXPANSION A: Session) No.Bass3 Big Jazz Bs BriteJazz Bs Ch.Concert 9ft.Bs Octabahn Bs Slobbery Bs Phase Worm Euro Rave Bs Pumpin’ Bs Tech NoBase Bad Acid Bs CheepEcho Bs Manic Bs JP6 Sqr Key Square drops Celestial Heavenly Eko JD-800 Nomad Vibrolater MartianChime Big Wet Blip Amazing Echo DelaySession Deletex Tarlia Mahoroba Eurotek Clav Dope Resoclv Tekno Juno Buzzzzzzzzzz Slop-a-rama Isn’t Pretty Polywasp Voice 2 3 3 3 2 4 3 3 2 4 1 4 2 2 2 4 1 1 4 2 4 4 4 4 4 1 4 1 2 4 3 1 2 2 1 4 2 2 2 3 2 2 3 4 2 1 3 4 3 4 4 4 4 4 4 3 4 2 1 2 2 2 3 1 No.de Paris Paris 50’s Musette Ens Montmartre Sad Akordion Fr.Sax f Legato Flute Touch Flute NewAge Flute Flute inMist Hybrid Flute Flute & Cla ChristmasFlt Fifth Flute Cosmic Flute Acc.Accord 2 Troubadour SessionNylon Solo Nylon 1 Solo Nylon 2 Nylon & Str Nylon & Flt Nylon Chord Stratar Clean Tele Nashville Super Trem SpaghettiGtr Duanne’sTone Big Hair Ld Metal Solo Crunch Tone Overdriven Blues Tele Tube Double Neil’s Rust Short Crunch X-Fade Metal Velo Power Phazy Chunk Reso Tele Wah Wah BPM Rock P.Jazz Bs Mellow Jz Bs Mute E.Grand 2 Euro Classic St. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Name St. 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 Name Quixelate Trangoa Wave Spiked Cheez Glassy Cheez Super 808Cow Arpeggiatoid Euro Hit 1 Euro Hit 2 Rave Slice Str Torture Juno Harpsi Big Mess Pad Harpsichoir Echo Juno Phazerave DanceStack 1 DanceStack 2 DanceStack 3 DanceStack 4 DanceStack 5 DanceStack 6 DanceStack 7 DanceStack 8 Eurotek Brs Synergy Brs PortaSynthex Razor VCOs Big PWM Flutey Stack Wobbly 5th Tekno Square Trance VoXxX Random Rave Raver Circus Resorave Flangomatic O-Zu-Nu Sub Divided Ancient Sqr Fat Flange Phaze NRG Phase Vox Systekno On the move! XP’ration Big Ensemble Lazerette Fazed String Combing Slow Jet Stack Phazeslopad Rize Mass Portent DCO Sweeper Sweep Rain Sweep Stack Big Vectors Poly Swell Alchemy Soli-na 90s Str Mach Ultra Cheez Juno-60 Pad Progressive Voice 4 2 3 3 4 4 4 2 1 2 3 4 4 3 2 3 4 4 3 4 3 4 4 4 4 3 4 2 2 4 3 4 3 4 2 2 4 1 2 2 1 3 4 2 2 4 3 4 3 4 4 3 2 3 4 3 4 2 3 2 4 2 3 2 No.Bass2 Rock P. 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 Name Build-Up Syn Atlantis 2 Perelandra Plutonium Nautilus Metal Dreams Glass Clouds Harmonicloud Shining Veil Ethereal JX Striking 5th Meow 5ths Stepflanger Happy LFOs Aero Insect Beat Sweeper Wormy Lead Atmo Lead Caliolead Tweedles Raw PWM Voc Solo 5th Dirty Lead Boostweeper1 Boostweeper2 B3 Filth Phazed Organ VSw Vibrafon SA Vibe Rich Vibes SpaceGamelan Toy Vibe Analog Bomb Seashore 2 Creation Cyberjunkie Sci-Fi Bells Shine on DEMO Piano1 DEMO Piano2 DEMO PnoVox DEMO Str 1 DEMO Str 2 DEMO Str 3 DEMO SynPuls DEMO 5thPad DEMO Choir DEMO Brass DEMO Tenor DEMO Tpt DEMO Flute DEMO Nylon DEMO PhaseGt DEMO DistGt1 DEMO DistGt2 DEMO Strat DEMO SlapBs DEMO P.

Hrn Sect6 F.Horn2 Sml F.Horn sfz Voice 3 2 1 1 2 2 2 2 2 3 1 2 1 4 3 2 2 4 4 4 3 4 1 4 1 2 1 2 2 2 2 2 1 1 1 1 1 1 2 2 2 1 3 2 2 1 1 2 1 1 4 2 1 2 1 2 2 2 1 1 3 4 1 2 No.3 Full Orch. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Name Warm Violins Slow Vlns 1 Vlns+Vlas 1 Vl Sect mono Arco Violins Marcato Vls1 Vlns+Vlas 2 Agitato Vls1 Rosin Pad 1 Dry Mid-High Natural Vlns Sad Vln Sect Marcato Vas Arco Violas Thick Violas Va Sect f Va Small Sec Agitato Vas1 Sad Violas Fast Cellos1 Vcs Legato 1 Marcato Vcs1 Small Vc Sec Agitato Vcs1 Small Cellos Sad CelloSec Cb Sect ff Wide Basses mf Basses Agitato Cbs1 Vcs+Cbs 2 Basses Euro Strings Rich Strings Multi Strs 1 VlsVasVcsCbs Bright Strs Classicl Str Full Strings Med Str Sec Small Strngs Strings Arco Vivace Strs Agitato STR1 LowSTR Attak Bad Guy STR Ominous Lo Express DramaStrings Solo Vln 1 / Solo Vln 2 Chorus Vln Stereo Vln Agitato Vln1 Solo Vla 1 / Solo Vla 2 Chorus Viola Stereo Viola Agitato Vla Solo Vc 1 / Solo Vc 2 Stereo Cello Chorus Cello Marcato Vc 1 Voice 3 3 4 2 4 4 2 4 2 4 2 2 2 2 2 1 3 4 2 4 1 3 2 4 1 2 4 2 1 4 2 2 4 4 2 4 4 3 4 2 1 4 4 4 4 3 4 4 4 4 2 2 3 2 3 2 2 3 2 3 2 3 2 1 No. 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Name Solo Cb 1 / Solo Cb 2 Marcato Cb 1 Chamber Ens1 Chamber Ens2 Vln+Vla Dble Vln+Vc Dbl1 Vla+Vc Dbl2 Vla+Vc Dble Pizzicato 1 Mono Pizz Pizzicato 2 Room Pizz Hall Pizz Tight Pizz Short Pizz STR Marcato1 Oct Marcato Lower Marc!! Big Marc! STR Spiccato Fast Attacks Flute Flute V-Sw Piccolo Piccolo Flt Recorder Oboe 1 Oboe 2 Oboe 3 Oboe 4 Oboe 5 English Hrn1 English Hrn2 English Hrn3 Bassoon 1 Bassoon 2 Clarinet 1 Clarinet 2 Bs Clarinet1 Bs Clarinet2 Trumpet 1 Trumpet 2 Trumpet 3 Flugelhorn 1 Flugelhorn 2 Cornet 1 Cornet 2 Solo Tb 1 Solo Tb 2 Solo Tb 3 / Solo Tb 4 / Bs Tb 1 Bs Tb 2 / Harmon Mute1 Harmon Mute2 Tuba 1 Tuba 2 Solo F.4 Maj Hit 1 Min Hit 1 Dim Hit 1 Major Stab! Maj Hit 2 Min Hit 2 Classical Gt Harp 1 Harp 2 Plucked Harp Harp StrumMj Harp StrumMn Water Harp ClasclPiano1 Voice 2 2 4 3 2 4 2 1 4 4 3 3 4 3 3 2 2 2 2 3 4 2 1 2 3 2 4 3 2 3 4 4 4 3 3 4 4 3 3 3 3 3 3 3 3 4 2 4 4 4 4 4 4 4 4 4 3 1 2 3 4 4 3 2 No.1 Full Orch.Hrn Sect5/ F.Horn sc x4 Fr.Horn1 Solo F.Hrn Sect8 MuteHrn Sect Horn+Wood 1 Horn+Wood 2 Horn+Wood 3 Wood Sect 1 Wood Sect 2 Wood Sect 3 Wood Sect 4 2 Oboes Oboe + Cla Flt + Piccl Flute + Cla Bassoon+EHrn Hi Woodwinds WoodwindSplt Multi Reed 4Trombones Tb Sect 1 Tb + Tp 4Trumpets 3 Trumpets Brass ff 1 Brass ff 2 Brass ff 3 McArthur Brs Big Bones BassBoneSect Brass Swell1 Full Brs 1 Brass Sect1/ Brass Ens 1 Brass Ens 2 Brass Ens 3 Brass Ens 4 Brass Ens 5 Brass Ens 6 Brass Ens 7 Brass Ens 8 Horn Strings Full Orch. 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 Name F.Hrn Sect4 F. 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 Name ClasclPiano2 ClasclPiano3 ClasclPiano4 Harpsichord1 Harpsichord2 Harpsichord3 Harpsichord4 Celesta 1 Celesta 2 Celesta 3 Glockenleste Marimba BassMarimba1 BassMarimba2 Vibe Xylophone 1 Xylophone 2 Xylophone 3 Glocken 1 Glocken 2 ChurchBells1 ChurchBells2 ChurchBells3 TubulaBells1 TubulaBells2 Big Tubulars Dawning MalletStack1 MalletStack2 MalletStack3 MalletStack4 MalletStack5 MalletStack6 MalletStack7 Choir 1 Choir 2 Snare Drum ConcertSNR1/ ConcertSNR2/ SNR Roll / Concert BD1 Concert BD2/ BD Roll / Timpani 1 / Timpani 2 / Timpani 3 Timpani 4 / Tam Tam Gong Piatti!! Sleigh Bells Slapstick / Wind Chimes1 Wind Chimes2 Tambourine / Castanets / Rhythm Set Perc Hit 1 Perc Hit 2 / Perc Hit 3 Presenting! Presto! Christmas!!! Voice 3 2 2 2 3 4 3 1 2 1 2 1 2 1 1 2 3 1 1 1 3 4 3 2 2 4 4 4 3 4 4 4 4 4 3 1 2 4 3 4 3 3 3 2 4 4 3 2 2 2 1 3 1 3 2 2 3 4 4 3 4 4 3 Voice: number of voice 172 .Hrn Sect7 F.Hrn Sect2/ F.2 Full Orch.Patch List XP-B (WAVE EXPANSION B: Orchestral) No.Hrn Sect3 F.Hrn sc Horn Sect 1/ F.

Patch List XP-C (WAVE EXPANSION C: Techno Collection) No.Raw SAW Crispy Lead Dirty Lead 2 Disto Stack Velo Cheese Noiz Mania Power Mutes V-Beep Freaky Fry SQ Formule DirtyOrgan 2 Oldies Organ Edgy Organ Juno Organ Space Org X Cabin Organ Dream Organ Club Organ Perc. 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Name Jericho Bass Slippy Bass Rise Bass Cyber Bass SH-2000 Bass FM Bass Razor Bass SquelchyBass RaversBass Compu Bass Jump Bass VocoBass Vocoder Menu 1.4.3.P.” the release portion of a previously sounding patch may continue to be heard even after switching to a new Voice: number of voice 173 Appendices . * Note that the Release Time has been set to a fairly long value for some of the patches. BPM TeknoMusic Retrocoder u/i/e/o V/Sw Talk Box 1 Talk Box 2 VT Vox Artificial BariVoise After D ! ARPsychea Vintage Call HarmoChimer Ring Bell 260 & JUNO 260 MIDI SquareKeys 2 Pure Sine Ambient ORG JX Planet Clavi-Club Sweep Clav 2 SquareTek Retro Party Rave Nature Alias Square Dirty Stack Phenomena Music Hi Euro-Dance 1 Euro-Dance 2 Dance Stack Raver Blade White Gloves Touchdown Rave Station Time Warp Thin Rave Igor Circus Alpha Zone Stars March JP Velo-Saw Rich Teeth After Saw Saw Cocktail Poly Message Xpressive Earblower Cutting Edge Stalactica LA Heaven Voice 2 2 2 2 2 1 2 2 4 2 2 2 1 4 3 2 4 3 1 2 4 1 4 4 4 2 2 3 1 1 1 2 1 2 3 2 3 2 2 1 4 1 3 3 4 4 1 4 2 3 4 3 4 4 2 4 4 3 2 4 3 4 4 4 No. 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 Name Euforia Labo-Feedbak Banded Jupe Killer Pad Mystic Pad D-Mention X-hale Sirena After’s Pad Warmer Pad Phatt Pad OB Sweep Pad Murk Pad Dense Floor SecretMelody Vaporish Vintage Revo Liquid Sky Exploration Drama Pad Vapor Style JP-6 Stack Obilator Glamour Medium Solo Singing’Mini Analog Flute SH-5 Bs/Lead Classy Pulse Jupiter-6 Ld Just Lovely DJ Devil Simply June Mr. Organ Organ Stabs Techno Pizz Captain Pizz Pizzatek Sleepless Mega 5th 2 Chord maj7th Chord min7th 5thDimension StateXLChord Sixth Sense Garage Chord Voice 3 4 1 1 4 4 4 4 3 2 2 3 4 4 4 4 3 4 3 4 4 1 1 3 3 1 1 2 1 2 1 1 1 1 4 3 4 3 4 2 1 1 1 2 2 4 2 3 2 3 2 2 2 1 4 2 4 2 4 4 4 4 4 4 No.2. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Name Teknoperator(132) Transmission(144) X-Tronic Jam(120) Dirt Jungle(160) DJ Spinnin(151) Zipper Beat(151) Tribal House(151) Obsession(144) Sonic Empire(144) Double Dutch(140) E-tronicBoom(116) Chillout =->(116) MecaTrip-Hop( 90) Hero Beat( 90) Hit House(120) Voco Groove(122) Hell Fire(151) Lo:BD Hi:HH(144) Detroit+Perc(132) Crossfader(120) Soft & Hard(120) Space Shake(130) Under Ether( 85) Confusion(147) Amsterdamer(184) House that?(120) Phrase Menu Cyber-Trance Creator Etherality Unplugged Acid Melt Brain Waves 1Shot Groove FirstContact Ambient S/H Deep Machine Big Blue TeeBee V/Sw 303 Agressor TB or not TB HiLo303ModSw 2Square Bass 303 HollowBS 303 Bass TB Saw Bass 303 Ow Bass TB Square 1 TB Square 2 TB Square 3 Solid Bass 1 Solid Bass 2 FM Tube Bass Drum’n’Bass Sub Bass Dirty Bass Gate Me Buzz Comprex Bass Bass Invader Ovdrive Bass Housy Bella Bassic Needs Raver Bass 1 Raver Bass 2 Voice 4 4 4 2 4 4 3 4 4 4 3 4 4 4 4 4 4 2 2 2 2 4 2 4 2 4 1 3 3 4 4 3 4 1 2 4 2 2 4 2 3 2 2 2 2 1 1 2 2 2 2 1 3 3 1 2 1 1 2 1 4 2 2 2 No. (tempo) when played at the C4 key. if your sound generator has been set so “Patch Remain” is “ON.M. 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 Name Chordmaj7/5Planet EKNO Optimum Rave Arpege Me VTransformer Analog Attax Maxi Fuzzy ! Only by FXM Hit & Run Photon Attak Predator Village Hit Hardcore Hit Short Chord ShortCircuit SonofaPitch Flutish SQUR FazzyCow 808 Blurpy Static Hit Hi Attack TonalTension Jungle Stabs Buzz Machine Zapper Blip Iron Hit Headz Direct Scratchy Hit Hit&IndsMenu GTR FX Menu GTR Power 1 GTR Power 2 Snr Menu 1 Snr Menu 2 Kick Menu Hi Hat Menu Perc Menu Tom&Cym Menu Metal Dream System D Mayday Ring Industrial Tranceporter Acid Copter Roll Over Gimme aBreak RadicalAbuse Echodrome Trance Chime Altamira Locko Motif SpaceFactory Get Busy Ayers Rock Altern Saw JP-6 Sync Cold JX Fancy Pad Tune Breath OrchestraGTR Gtr Sweep Trilly Good Bye Spk Voice 4 3 4 2 4 4 2 3 4 4 4 4 4 4 4 4 4 3 3 3 3 4 2 2 1 1 2 1 2 3 1 1 1 3 2 2 4 4 2 4 4 2 4 3 1 4 4 2 1 2 2 1 2 4 4 1 1 1 1 2 2 2 2 4 * The numbers in parenthesis following the Patch name represent the B. As a result.

For specifics. dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 Original B.t. refer to the separate B.P.M.P.t.M.t. to play a B. and you will see that the setting for “c. and that for “f.Patch List s B. CONVERSION TABLE By changing the pitch.” (Fine Tune) are at “0.M.P.P. The B.P.P.”(Coarse Tune) for the range C-1 through G9.P. or set “c.” should be -41 and that the C#4 key should be played.t +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +13 +13 f.” (Coarse Tune) to +12 and play the C4 key. 120: dst 116 : 120 key C 4 : : C# 4 c. key F# 2 F# 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 c.M.” (Fine Tune) in the table.M. you need to set “c.t -01 +41 -18 +22 -39 -01 +36 -28 +08 +43 -23 +11 +44 -24 +08 +39 -30 00 +30 -41 -13 +15 +43 -30 -03 +24 +50 -25 +01 +26 -50 -26 -02 +22 +45 -32 -09 +13 +35 -43 -22 -01 +20 +41 -38 -18 +02 +22 +41 -39 -20 -01 +17 +36 -46 -28 -10 +08 +26 +43 -40 -23 -06 +11 +28 +44 -40 -24 -08 +08 +24 +39 -45 -30 -15 00 +15 +30 +44 -41 -27 -13 +01 +15 +29 +43 -43 -30 -16 -03 +11 +24 +37 +50 -37 -25 -12 +01 +13 +26 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 116 key D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C# 5 C# 5 c.P.t.M. So.”should be +1..) is reproduced by the C4 key when both “c.t 00 : +01 f.” (Coarse Tune) and “f.) For example. is the B.”(Coarse Tune) and “f. obtained when the Waveform is played by the C4 key (when both Coarse and Fine Tune are at “0”).M.t -18 -18 -17 -17 -16 -16 -16 -15 -15 -15 -14 -14 -14 -13 -13 -13 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -09 -09 -09 -08 -08 -08 -08 -08 -07 -07 -07 -07 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 f.” To change the B. (tempo).P.t. 116 Waveform at B.M.t 00 -41 Method 1: Look up the “f. Method 2: Look up the “c.t. for a Phrase Loop Waveform in a Rhythm Set. the settings you should make change depending on whether you want to play using the same key or not. 174 . To play a Phrase Loop Waveform at the Original B. Conversion When Creating Patches The Original B.” should be -41.” (Fine Tune) to “0..” (Fine Tune) parameter in the table. (Marked with in table. q B.t +38 -50 -38 -26 -14 -02 +10 +22 +33 +45 -43 -32 -21 -09 +02 +13 +24 +35 +46 -43 -32 -22 -11 -01 +10 +20 +31 +41 -49 -38 -28 -18 -08 +02 +12 +22 +32 +41 -49 -39 -30 -20 -11 -01 +08 +17 +27 +36 +45 -46 -37 -28 -19 -10 -01 +08 +17 +26 +34 +43 -48 -40 -31 -23 -14 -06 +03 +11 +19 +28 +36 +44 -48 -40 -32 -24 -16 -08 00 +08 +16 +24 +32 +39 +47 -45 -38 -30 -23 -15 -07 00 +07 +15 +22 +30 +37 +44 -49 -41 How to Read the Table q B.P.P.t.t.M. either play the C5 key (key one octave above). set “c. Conversion Table.t. and that the C4 key should be played. and you will see that the setting for “f. Conversion When Creating Rhythm Sets Given that the Original Pitch for the Rhythm Set is C4.M.t.t.P.P. and make the necessary settings. used when sampling the original (Original B.M. look up “key” and “f.M.M. and “f. as you can see from the above example.” If you want to obtain twice the tempo of the original B.M.” (Fine Tune) parameters in the table.” (Coarse Tune) to C4.P. you can change the B.t.t.M.P.

M.t -21 -09 +04 +16 +28 +40 -49 -37 -25 -14 -02 +09 +21 +32 +43 -46 -35 -24 -13 -02 +09 +20 +30 +41 -49 -38 -28 -17 -07 +03 +13 +23 +33 +43 -47 -37 -27 -17 -08 +02 +12 +21 +31 +40 +49 -41 -32 -23 -14 -04 +05 +14 +23 +32 +41 +49 -42 -33 -24 -16 -07 +02 +10 +19 +27 +36 +44 -48 -39 -31 -23 -15 -07 +01 +10 +18 +26 +34 +41 +49 -43 -35 -27 -19 -12 -04 +04 +11 +19 +26 +34 +41 +49 -44 -36 -29 -22 -14 -07 00 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 Original B.t -01 +41 -19 +21 -40 -02 +35 -28 +07 +42 -23 +10 +43 -24 +07 +39 -31 -01 +29 -42 -13 +15 +43 -30 -03 +23 +49 -25 00 +25 +49 -26 -02 +21 +44 -33 -10 +12 +34 -44 -22 -01 +20 +41 -39 -19 +01 +21 +41 -40 -21 -02 +17 +35 -46 -28 -10 +07 +25 +42 -40 -23 -06 +10 +27 +43 -40 -24 -08 +07 +23 +39 -46 -31 -16 -01 +14 +29 +44 -42 -28 -13 +01 +15 +29 +43 -44 -30 -17 -03 +10 +23 +36 +49 -38 -25 -13 00 +12 +25 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 138 key C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 c.M.t +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 f.t +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +12 +12 +12 +12 +12 +12 +12 f.t +37 +49 -38 -26 -14 -02 +09 +21 +33 +44 -44 -33 -21 -10 +01 +12 +23 +34 +45 -44 -33 -22 -12 -01 +09 +20 +30 +41 -49 -39 -29 -19 -09 +01 +11 +21 +31 +41 -50 -40 -30 -21 -11 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G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 c.t -19 -18 -18 -17 -17 -17 -16 -16 -16 -15 -15 -14 -14 -14 -14 -13 -13 -13 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -09 -09 -09 -09 -08 -08 -08 -08 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 f.P.t -20 -20 -19 -19 -19 -18 -18 -18 -17 -17 -16 -16 -16 -15 -15 -15 -15 -14 -14 -14 -13 -13 -13 -13 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -10 -09 -09 -09 -09 -08 -08 -08 -08 -08 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 f.Patch List Original B. key D# 2 D# 2 E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 c.t 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 f.

Patch List Original B.t +39 -49 -36 -24 -12 00 +11 +23 +35 +46 -42 -31 -19 -08 +03 +14 +25 +36 +47 -42 -31 -20 -10 +01 +11 +22 +32 +43 -47 -37 -27 -17 -07 +03 +13 +23 +33 +43 -48 -38 -28 -19 -09 00 +09 +19 +28 +37 +46 -44 -35 -26 -17 -08 +01 +09 +18 +27 +36 +44 -47 -38 -30 -21 -13 -04 +04 +12 +21 +29 +37 +45 -47 -39 -30 -22 -14 -06 +01 +09 +17 +25 +33 +41 +48 -44 -36 -29 -21 -14 -06 +01 +09 +16 +24 +31 +38 +46 -47 -40 176 .P.t -36 -24 -12 00 +12 +24 +36 +47 -41 -29 -18 -06 +05 +16 +27 +39 +50 -39 -28 -18 -07 +04 +15 +25 +36 +46 -43 -33 -23 -13 -02 +08 +18 +28 +38 +47 -43 -33 -23 -14 -04 +05 +15 +24 +34 +43 -48 -38 -29 -20 -11 -02 +07 +16 +25 +34 +43 -49 -40 -31 -23 -14 -06 +03 +11 +20 +28 +37 +45 -47 -39 -30 -22 -14 -06 +02 +10 +18 +26 +34 +42 +49 -43 -35 -27 -20 -12 -04 +03 +11 +18 +26 +33 +41 +48 -45 -37 -30 -23 -16 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 Original B.t -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 f.M.t -05 -04 -04 -04 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 f.t +01 +43 -17 +23 -38 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4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 c.t +43 -16 +25 -35 +04 +42 -21 +16 -49 -14 +21 -46 -13 +20 -49 -17 +13 +43 -27 +02 +31 -41 -14 +14 +41 -33 -07 +19 +44 -31 -07 +18 +41 -35 -12 +11 +34 -44 -22 00 +22 +43 -36 -16 +05 +25 +45 -35 -15 +04 +23 +42 -39 -21 -02 +16 +34 -49 -31 -14 +04 +21 +37 -46 -29 -13 +03 +20 +36 -49 -33 -17 -02 +13 +28 +43 -42 -27 -13 +02 +16 +31 +45 -41 -27 -14 00 +14 +27 +41 -46 -33 -20 -07 +06 +19 +31 +44 -44 -31 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 160 key A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 c. key C 2 C# 2 C# 2 D 2 D 2 D 2 D# 2 D# 2 E 2 E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 c.t -22 -21 -21 21 -20 -20 -19 -19 -19 -18 -18 -18 -17 -17 -17 -16 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152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 144 key C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 c. dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 key D 2 D# 2 D# 2 D# 2 E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 c.t -19 -07 +06 +18 +30 +41 -47 -35 -23 -12 00 +11 +23 +34 +45 -44 -33 -22 -11 00 +11 +22 +32 +43 -47 -36 -26 -16 -05 +05 +15 +25 +35 +45 -45 -35 -25 -15 -06 +04 +14 +23 +33 +42 -49 -39 -30 -21 -12 -02 +07 +16 +25 +34 +42 -49 -40 -31 -22 -14 -05 +04 +12 +21 +29 +37 +46 -46 -37 -29 -21 -13 -05 +03 +12 +20 +28 +36 +43 -49 -41 -33 -25 -17 -10 -02 +06 +13 +21 +28 +36 +43 -49 -42 -34 -27 -20 -13 -05 +02 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 Original B. key A# 1 A# 1 B 1 B 1 C 2 C 2 C 2 C# 2 C# 2 C# 2 D 2 D 2 D 2 D# 2 D# 2 D# 2 E 2 E 2 E 2 F 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G 3 c.

Rhythm Set List USER (User) Note No. Hit Philly Hit REV Back Hit MC500 Beep 1 R8 Click MC500 Beep 2 002 JazzDrumSet1 Hybrid Kick2 Hybrid Kick1 Side Stick Ballad SN Brush Slap Brush Swish Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad B Soft Pad A Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Spectrum Wind Chimes Wood Block Cga Slap Dry Tom Lo Lite Kick Hybrid Kick2 Old Kick 808 Kick Natural SN1 Natural SN2 SN Roll Natural SN2 Metronome 2 R8 Click Metronome 1 PR-A (Preset A Group) 001 PopDrumSet 1 Verb Kick Hybrid Kick1 Side Stick Natural SN2 808 Claps SN Roll Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Cga Mute Hi Cga Mute Lo Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Spectrum Wind Chimes Wood Block Cga Slap Dry Tom Lo Lite Kick Hybrid Kick2 Old Kick Pop Voice Wind Agogo Op HiHat Anklungs Op HiHat Metronome 2 R8 Click Metronome 1 002 PopDrumSet 2 Hybrid Kick1 Round Kick Dry Stick Piccolo SN Hand Claps Piccolo SN Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 1 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Cga Mute Hi Cga Mute Lo Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Cabasa Down Cabasa Cut 808 Kick 808 SN DIGI Bell 1 808 SN 808 Kick Spectrum 808 Kick Spectrum 808 Kick Spectrum 808 Kick 808 Kick Feedbackwave 808 Kick Feedbackwave Pop Voice Pop Voice Wind Agogo Pop Voice Wind Agogo Op HiHat Anklungs Op HiHat Metronome 2 R8 Click Metronome 1 PR-B (Preset B Group) 001 PowerDrumSet Verb Kick Round Kick Dry Stick Piccolo SN 808 Claps Natural SN2 Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Lo Op HiHat Verb Tom Lo Verb Tom Hi Crash 1 Verb Tom Hi Ride 1 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 1 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Maracas Ice Rain Wind Chimes Claves 808 SN Verb Tom Hi Piccolo SN Scratch 3 Tin Wave Spectrum REV Steel DR REV Tin Wave REV PiccloSN REV Crash 1 Metronome 2 R8 Click Metronome 1 002 RaveDrumSet 808 Kick Round Kick Side Stick 808 SN 808 Claps 808 SN 808 Kick 606 HiHat Cl Tekno Hit 606 HiHat Cl 808 Kick 606 HiHat Op Tekno Hit 808 Kick Crash 1 Tekno Hit Voice Breath MC500 Beep 1 MC500 Beep 2 R8 Click Pizz DIGI Bell 1 Rattles Ride Bell 1 REV Tamb 2. 35 Scratch 1 C2 36 37 38 39 40 41 43 44 45 46 47 C3 48 49 50 51 52 53 55 56 57 58 59 C4 60 61 62 63 64 65 67 68 69 70 71 C5 72 73 74 75 76 77 79 80 81 82 83 C6 84 85 86 87 88 89 91 92 93 94 95 C7 96 97 98 90 78 66 54 42 001 HouseDrumSet 1 808 SN Dry Stick 808 SN 808 Claps 808 SN 808 Kick 606 HiHat Cl 808 SN 606 HiHat Cl 808 Kick 606 HiHat Op 808 SN 808 Kick Crash 1 808 SN Ride 2 REV Crash 1 Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Cut Maracas Soft Pad B Soft Pad A Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Tambourine Old Kick Scratch 1 Piccolo SN Scratch 3 White Noise Synth Saw 1 Synth Pulse1 Back Hit Tekno Hit Orch.2 Vibwave Low Pink NZ Kalimba Metal Wind Lead Wave Tin Wave Agogo Lite Kick Agogo Lite Kick Agogo Gtr Harm A Gtr Harm A Piano Thump Natural SN1 Hand Claps Natural SN1 808 SN PowerChord B Hybrid Kick2 PowerChord B Gt.FretNoise Banjo B Slap Bass 1 Oboe mf A Shakuhachi Pizz Syn Vox 1 Voice Aahs A Voice Oohs2A Pop Voice Male Ooh A Voice Breath Org Vox C Vox Noise Vox Noise Applause R8 Click Metronome 2 177 Appendices .

35 Round Kick C2 36 37 38 39 40 41 43 44 45 46 47 C3 48 49 50 51 52 53 55 56 57 58 59 C4 60 61 62 63 64 65 67 68 69 70 71 C5 72 73 74 75 76 77 79 80 81 82 83 C6 84 85 86 87 88 89 91 92 93 94 95 C7 96 97 98 90 78 66 54 42 001 JazzDrumSet2 Old Kick Side Stick Ballad SN Hand Claps SN Roll Verb Tom Lo Cl HiHat 2 Dry Tom Lo Pedal HiHat Verb Tom Lo Op HiHat Dry Tom Lo Verb Tom Hi Crash 1 Dry Tom Hi Ride 2 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Brush Swish Long Guiro Long Guiro Claves Wood Block Metronome 2 Cuica Cuica Open Triangl Open Triangl Cabasa Cut Spectrum Wind Chimes Wood Block Cga Slap Dry Tom Lo Lite Kick Hybrid Kick2 Old Kick Natural SN2 Natural SN1 Brush Swish Brush Roll Brush Slap Metronome 2 R8 Click Metronome 1 002 OrchDrumSet Old Kick Round Kick Side Stick Ballad SN 808 Claps SN Roll Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Timpani Tambourine Crash 1 Cowbell 1 Crash 1 Ride 1 Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Spectrum Wind Chimes Wood Block Cga Slap Dry Tom Lo Applause Hybrid Kick2 Cl HiHat 1 Round Kick Pedal HiHat Natural SN2 Op HiHat Brush Slap Brush Swish Brush Roll SN Roll PR-D (GM Group) 001 GM Drum Set Verb Kick Hybrid Kick1 Side Stick Ballad SN 808 Claps Piccolo SN Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Spectrum Wind Chimes Wood Block Cga Slap Dry Tom Lo Lite Kick Hybrid Kick2 Old Kick 808 Kick Natural SN1 Natural SN2 808 SN Brush Slap Brush Swish Brush Roll SN Roll 002 BrushDrumSet Hybrid Kick2 Hybrid Kick1 Side Stick Brush Swish Brush Slap Brush Roll Dry Tom Lo Cl HiHat 1 Dry Tom Lo Pedal HiHat Dry Tom Hi Op HiHat Dry Tom Hi Dry Tom Hi Crash 1 Dry Tom Hi Ride 2 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Cga Mute Hi Cga Mute Lo Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Spectrum Wind Chimes Wood Block Cga Slap Dry Tom Lo Lite Kick Hybrid Kick2 Old Kick 808 Kick Natural SN1 Natural SN2 SN Roll Brush Slap Metronome 2 R8 Click Metronome 1 PR-E (Preset E Group) 001 PowerDrmSet2 Verb Kick Round Kick Dry Stick Piccolo SN 808 Claps SN Roll Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Lo Op HiHat Verb Tom Lo Verb Tom Hi Crash 1 Verb Tom Hi Ride 1 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 1 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Maracas Ice Rain Wind Chimes Claves 808 SN Verb Tom Hi Piccolo SN Scratch 3 Tin Wave Spectrum REV Steel DR REV Tin Wave REV PiccloSN REV Crash 1 Metronome 2 R8 Click Metronome 1 002 PowerRaveSet Verb Kick Round Kick Dry Stick Piccolo SN 808 Claps Natural SN2 Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Lo Op HiHat Verb Tom Lo Verb Tom Hi Crash 1 Verb Tom Hi Ride 1 China Cym Ride Bell 1 Tambourine Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 1 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Agogo Maracas 606 HiHat Cl 606 HiHat Cl 606 HiHat Op Long Guiro Claves Wood Block Wood Block Pizz Syn Vox 1 Voice Aahs A Voice Oohs2A Male Ooh A Ice Rain 808 SN 808 SN 808 SN Hand Claps Voice Breath Scratch 3 Tin Wave Crash 1 Ride Bell 1 REV Tin Wave DIGI Bell 1 Metal Wind Applause R8 Click Metronome 1 178 .Rhythm Set List PR-C (Preset C Group) Note No.

Snap 3 REV F.Long Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Shaker 3 Cuica 606 HiHat Cl Open Triangl 606 HiHat Op Ride 2 Dance Kick 2 Dance Kick 2 House Snr Tiny Snr 2 Tiny Snr 2 Hybrid Kick2 Old Kick Dance Kick 2 Loose Snr Natural SN2 Tiny Snr 2 Wind Chimes Dry Tom Lo Piccolo SN Dry Tom Lo 179 Appendices .Sht REV Bongo3 H REV Bongo3 L REV F.Club Sm.Rhythm Set List XP-A (WAVE EXPANSION A: Session) 001 Note No.Long Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 FX Bell 2fw FX Bell 1fw FX Bomb Sm.Lng REV Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo 626 Shaker Shaker 4 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut REV Shaker 5 REV Shaker 4 REV Shaker 3 REV 626Shakr REV CR78Tamb REV Tamb.Club fw HC2 Claps 2 FingerSnaps2 707 Claps 626 Shaker Tamb. SessionSet 1 35 Deep Kick 3 C2 36 37 38 39 40 41 43 44 45 46 47 C3 48 49 50 51 52 53 55 56 57 58 59 C4 60 61 62 63 64 65 67 68 69 70 71 C5 72 73 74 75 76 77 79 80 81 82 83 C6 84 85 86 87 88 89 91 92 93 94 95 C7 96 97 98 90 78 66 54 42 Mix Kick Side Stick Solo Snr HC2 Claps 1 90’s Snare Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tamb.Snaps2 REV HC2 Clp2 REV 707 Clps REV HC2 Clp1 R8 Click REV 909 Clp2 008 Demo Drum Old Kick Hybrid Kick1 Side Stick Loose Snr Tambrin MENU Natural SN2 Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 1 China Cym Ride Bell 1 Tamb.Long Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut REV Gt Scrap REV Gt SldNz REV Gt CutNz REV Gt Slap REV TeknHit2 REV TeknHit3 REV Dance K3 REV 909 Snr2 REV 909 Snr3 REV Rap Snr REV Talk Snr REV JinglSnr REV HouseSnr REV Mute Snr R8 Click REV 909 Rim2 004 SessionSet 4 Dance Kick 2 Dance Kick 3 909 Rim 2 909 Snr 2 909 Claps 2 808 Snr 2 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Op 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb.Club fw HC2 Claps 2 Gtr Scrap 707 Claps Gtr Slid Nz Gtr Cut Nz R8 Click Gtr Slap 002 SessionSet 2 Mix Kick Deep Kick 3 Side Stick Loose Snr HC2 Claps 1 Ring Snr Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tamb.Long Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Gtr Feedback Gtr Scrap Gtr Slid Nz Gtr Cut Nz Gtr Slap Wah Down 1 Wah Up 1 Wah Down 2 Wah Up 2 Sm. R8 Click FingerSnap 3 007 SessionSet 7 Deep Kick 3 Mix Kick Side Stick Solo Snr 707 Claps Ring Snr 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Cl 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo 626 Shaker Shaker 4 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 REV Dance K3 REV TeknHit3 REV TeknHit3 REV TeknHit2 REV TeknHit2 REV 808 Snr2 REV 909 Snr2 REV 909 Snr3 REV HC2 Clp1 R8 Click REV 707 Clps 006 SessionSet 6 Dance Kick 3 Dance Kick 2 Mute Snr Jingle Snr HC2 Claps 2 Tiny Snr 2 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Op 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb.Short R8 Click Tamb.Club fw FX Bell 1fw FX Bell 2fw R8 Click REV Snr Buzz 003 SessionSet 3 Deep Kick 3 TD7 Kick Side Stick Rap Snr 707 Claps House Snr Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo 626 Shaker Shaker 4 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 Tekno Loop REV TeknHit3 REV TeknHit3 REV TeknHit2 REV TeknHit2 Blaster A Juno Rave A Hard 5ths A CR78 Tamb.Long 005 SessionSet 5 Kick Ghost Dance Kick 3 909 Rim 2 909 Snr 3 HC2 Claps 2 Talk Snr 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Op 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 FX Bell 2fw FX Bell 1fw FX Bomb Sm.

TR-909 SET 35 Plastic BD 1 C2 36 37 38 39 40 41 43 44 45 46 47 C3 48 49 50 51 52 53 55 56 57 58 59 C4 60 61 62 63 64 65 67 68 69 70 71 C5 72 73 74 75 76 77 79 80 81 82 83 C6 84 85 86 87 88 89 91 92 93 94 95 C7 96 97 98 90 78 66 54 42 TR909 Kick 1 TR909 Rim TR909 Snr 5 TR909 Clap TR909 Snr 1 TR909 DstTom TR909 CHH 3 TR909 Tom TR909 OHH 3 TR909 DstTom TR909 OHH 3 TR909 Tom TR909 DstTom TR909 Crash TR909 Tom TR909 Ride TR909 Crash TR909 Ride Tambourine 2 TR909DsCrash TR808Cowbell TR606 Cym 1 PC-2 Machine TR707 Ride Mental Perc Dr. MENU Thrill PCM Press Air Gun PCM Press TekRok Snare TR909 CHH 3 TekRok Snare TR909 PHH 1 TekRok Snare TR909 DstOHH TekRok Snare TekRok Snare Indus Snare TekRok Snare TR909 Ride Drill Hit ElectricDunk PCM Press TR606 Cym 1 PC-2 Machine TR909 Crash Crash 1 TR606 DstCym PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU Analog Bird Analog Bird TechnoShaker Dance Shaker TR909 Dst BD Turbo Kick Drill Hit SNR MENU 3 INDUST.Beat Cga Open Hi Cga Mute Hi Cga Open Lo Timbale PC-2 Spacers TR727 Agogo TR727 Agogo Cabasa Up TMB&SKR MENU Plastic BD 1 Culture Kick TR808 Rim CR78 Snare TS Clap TR606 Snr 3 TR606 CmpTom CR78 CHH TR606 CmpTom TR606 PHH TR606 CmpTom CR78 OHH Beam HiQ HIT MENU 1 May Day Perc Techno Scene Air Gun Tekno Hit Organ Hit 2 Analog Bird Retro UFO ElectronFall JP8000 FBK SNR MENU 2 TR808 Kick 1 KICK MENU 2 MC500 Beep 1 MC500 Beep 2 004 Techno SET Plastic BD 1 TR909 Kick 1 TR909 Rim TR909 Snr 5 CLAP MENU TR909 Snr 6 TR909 Tom TR909 CHH 1 TR909 Tom TR909 PHH 2 TR909 Tom OHH MENU TR909 Tom TR909 Tom TR909 Crash TR909 Tom TR707 Ride TR909 Crash China Cym Tambourine 2 TR909 Crash TR707Cowbell TR606 Cym 1 TR808Cowbell TR606 Cym 1 PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU HIT MENU 1 HIT MENU 1 TechnoShaker Dance Shaker TR909 Kick 2 Plastic BD 2 COW&RIM MENU TR909 Snr 3 TR909 Clap TR909 Snr 4 TR909 DstTom TR909 CHH 3 TR909 DstTom TR909 PHH 1 TR909 DstTom TR909 OHH 3 Air Gun VOCODER MENU Beam HiQ VOCODER MENU May Day Perc VOCODER MENU VOCODER MENU Techno Scene VOCODER MENU Analog Bird VOCODER MENU 144:TeknoHAT 144:Tekno BD 120:TeknoBNG MC500 Beep 1 MC500 Beep 2 005 House SET TR909 Kick 1 Tekno Kick TR909 Rim DJ Snare TR909 Clap TR909 Snr 5 TR707 Tom TR909 CHH 1 TR707 Tom TR909 PHH 1 TR707 Tom OHH MENU TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR909 Ride TR909 Crash Rattle Tamb Tambourine 2 TR909 Crash TR707Cowbell Crash 1 TR808Cowbell TR606 Cym 1 PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU HIT MENU 1 HIT MENU 1 Cabasa Up TechnoShaker Wet Kick Plastic BD 2 TR808 Rim SNR MENU 2 CLAP MENU SNR MENU 1 TR808 Tom TR707 CHH TR808 Tom TR707 PHH TR808 Tom OHH MENU Beam HiQ GTR FX MENU Org Chord GTR FX MENU Noisy 101 Claptail VOCODER MENU VOCODER MENU VOCODER MENU VOCODER MENU 120:House 1 120:House 2 120:House 3 120:TeknoBNG MC500 Beep 1 MC500 Beep 2 006 Jungle SET Tekno Kick JungleKick 2 Lo-Fi Snare Urban Snare SNR MENU 5 Jungle Snr 4 TR606 CmpTom CHH MENU 2 TR606 CmpTom Rattle Tamb TR606 CmpTom TR909 DstOHH TR606 CmpTom TR606 CmpTom R8 OHH TR606 CmpTom TR707 Ride TR909 Crash China Cym Tambourine 2 TR606 Cym 1 Cowbell 1 TR909 Crash MachineShout TR606 DstOHH PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU Surdo open Surdo mute TechnoShaker Dance Shaker KICK MENU 1 JungleKick 1 SideStiker MC Snare Comp Clap Ragga Snr 2 Jungle Snr 5 TR909 CHH 3 Jungle Snr 5 Tambourine 2 Jungle Snr 5 Cym OHH Beam HiQ HIT MENU 1 Thin Beef Analog Bird HIT MENU 2 Scratch Clap Emergency TR808Cowbell Talkbox Jungle Beep TR808 Kick 1 Roll Snare Roll Kick 160:Drum’nBs MC500 Beep 1 MC500 Beep 2 007 Gabba SET Amsterdam BD TR909 Dst BD TR808 RimLng SNR MENU 1 Comp Clap SNR MENU 1 TR909 DstTom TR909 PHH 1 TR909 DstTom TR909 PHH 2 TR909 DstTom TR909 DstOHH TR909 DstTom TR909 DstTom TR909 Crash TR909 DstTom TR707 Ride TR909DsCrash China Cym CR78 CHH Crash 1 TR808Cowbell TR909DsCrash MachineShout TR606 Cym 2 PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU TR727 Agogo TR727 Agogo TechnoShaker Dance Shaker TR909 Dst BD KICK MENU 2 SideStiker Jungle Snr 4 CLAP MENU TR909 Snr 5 TR606 CmpTom TR909 CHH 3 TR606 CmpTom TR909 PHH 1 TR606 CmpTom TR909 OHH 1 Beam HiQ Air Gun ElectricDunk Thin Beef Drill Hit TAO Hit Daft Wave Thrill Emergency Dist TekGtr1 Dist Synth 120:House 1 120:House 3 184:Gabba MC500 Beep 1 MC500 Beep 2 008 Indust. SET INDUST.Beat Cga Open Hi Cga Mute Hi Cga Open Lo Timbale PC-2 Spacers TR727 Agogo TR727 Agogo TMB&SKR MENU TMB&SKR MENU Plastic BD 2 TR909 Kick 2 TR808 Rim TR909 Snr 1 CLAP MENU TR909 Snr 6 TR707 Tom TR909 CHH 3 TR707 Tom TR909 PHH 2 TR707 Tom TR909 OHH 1 Beam HiQ HIT MENU 1 May Day Perc Techno Scene Air Gun Tekno Hit Organ Hit 2 Analog Bird Retro UFO ElectronFall JP8000 FBK SNR MENU 2 TR808 Kick 1 KICK MENU 2 MC500 Beep 1 MC500 Beep 2 002 TR-808 SET TR808 Kick 1 TR808 Kick 1 TR808 Rim TR808 Snr 1 Clap Stop TR808 Snr 3 TR808 Tom TR808 CHH 1 TR808 Tom TR808 CHH 2 TR808 Tom OHH MENU TR808 Tom TR808 Tom TR606 Cym 1 TR808 Tom TR606 Cym 1 TR909 Crash TR909 Ride Tambourine 2 TR909 Crash TR808Cowbell TR606 Cym 1 TMB&SKR MENU TR707 Ride Mental Perc Dr.Rhythm Set List XP-C (WAVE EXPANSION C: Techno Collection) 001 Note No. MENU INDUST.Beat Cga Open Hi Cga Mute Hi Cga Open Lo Timbale PC-2 Spacers TR727 Agogo TR727 Agogo Cabasa Up TMB&SKR MENU TR808 Kick 3 TR808 Kick 2 TR808 RimLng TR808 Snr 2 Clap Stop TR808 Snr 4 TR606 Tom TR808 CHH 2 TR606 Tom PHH MENU TR606 Tom OHH MENU Beam HiQ HIT MENU 1 May Day Perc Techno Scene Air Gun Tekno Hit White Noise ElectricDunk TR808 PHH SNR MENU 2 JP8000 FBK VOCODER MENU TR808 Kick 1 KICK MENU 2 MC500 Beep 1 MC500 Beep 2 003 TR-606 SET KICK MENU 1 TR606 Kick 1 TR808 Rim TR606 Snr 2 HC2 Dry Clap TR606 Snr 1 TR606 Tom TR606 CHH TR606 Tom PHH MENU TR606 Tom TR606 DstOHH TR606 Tom TR606 Tom TR606 Cym 2 TR606 Tom TR909 Ride TR606 Cym 1 TR707 Ride Tambourine TR909 Crash TR808Cowbell TR909 Crash TMB&SKR MENU TR707 Ride Mental Perc Dr. MENU Rage Snare Can Tom HIT MENU 1 Can Tom Beam HiQ Can Tom TR909 DstOHH Beam HiQ VOCODER MENU TR606 Cym 1 VOCODER MENU CLAP MENU VOCODER MENU VOCODER MENU Roll Kick Organ Hit 2 Roll Snare TR909 DstOHH Roll Kick TR909DsCrash CLAP MENU MC500 Beep 1 MC500 Beep 2 180 .

Performance List USER (User Group) No.Horn Sect SpaceCarrier Orchestral Nebular Vox Terminator Flying Jazz Sweeper Rave Split Multi Sax Cosmic Dawn Bass / Lead S&H / Pad AcPiano+Pad Kicks Attack Step Brass Drone / Pipe Chime Dreams Tekno Loop 2 Big Band Labyrinth White Hole Cyber Sweep Tekno Asia 1080 Fantasy Pop Ballad Rhythmatic Power JV Key Mode LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER PR-A (Preset A Group) No.A.Jazz Set Gospel Set All Strings All Brass All Piano 1 All Piano 2 All Keyboard All Organ All Winds All Bells Mlt & Perc All Seq All Bass All Pad All FX Key Mode SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE LAYER SINGLE SINGLE SINGLE SINGLE SINGLE 181 Appendices . 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name House Set Analectro Anatronic Tekno Pop 1 Tekno Pop 2 Hard Core Hi Energy Pop Dance Acid Set Ambient Set Electro Pop Pop Set 1 Pop Set 2 Pop Set 3 Pop Set 4 L. 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name Africa World Ethnic Asian Ethnic Asian Band 60’s Set Blues Band Country Band Folk Set Reggae Band FunkWah Band Funkin’Phaze Zydeco Band New Orleans Dixieland Big Band Set Cont. Ballad Hip Hop Set Funk Rock Funk Fusion Heavy Metal Heavy Kids Latin Set BrazilianSet New Age 1 New Age 2 Orchestra Concerto Film Score 1 Film Score 2 Symphonic Chamber Set Baroque Set Key Mode SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE LAYER SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE PR-B (Preset B Group) No. 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name EasternSplit Opening Orch Feedback EP Humming Vox Tekno Loop 1 Fr.Jazz 1 Cont.Jazz 2 Ac.

1/16 1–3. SINGLE RANDOM. 14 MUTE 08. NOTE ORDER. DUAL DOWN. DUAL RANDOM. GLISSANDO all all all all Beat Pattern 1/ 4 1/ 6 1/ 8 1/12 1/16 1–3 1/32 1–3 Accent Rate Shuffle Rate 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% PORTAMENTO A PORTAMENTO B GLISSANDO SEQUENCE A SEQUENCE B SEQUENCE C PORTA-A 01–11 PORTA-B 01–15 1/16 1–3. DUAL DOWN. SINGLE UP&DOWN. BASS+RANDOM 1–3 all all all SINGLE UP. 1/8. TOP+UP 1–6 all SINGLE UP. SINGLE DOWN BASS+UP+TOP SINGLE UP. BASS+RANDOM 2. 1/6. NOTE ORDER. 03 MUTE 02.Arpeggio Style List Style 1/4 1/6 1/8 1/12 1/16 1/32 Motif all all all all all SINGLE UP. BASS+CHORD 1 SINGLE UP. BASS+UP 2. BASS+RANDOM 1–3. 1/32 1–3. AGOGO 0–100% 0–100% 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% 50–90% 50–90% SAMBA TANGO HOUSE LIMITLESS SAMBA TANGO 1–4 HOUSE 1–2 all 0–100% 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% 50–90% all: there is no restriction on the value which can be set 182 . DUAL RANDOM. DUAL DOWN. NOTE ORDER. DUAL UP. DUAL UP&DOWN. BASS+UP 1–8. DUAL UP. DUAL RANDOM. REFRAIN 1 MUTE 01. RANDOM BOSSA NOVA SALSA 1–4 MAMBO 1–2 CLAVE. SINGLE UP&DOWN. DUAL DOWN. DUAL UP&DOWN. SINGLE UP&DOWN. DUAL UP&DOWN. 13. BASS+RANDOM 1–3. NOTE ORDER. GLISSANDO TOP+UP 4–6 SINGLE UP. SINGLE DOWN. BASS+RANDOM 1–3. 10. NOTE ORDER BASS+UP 2 BASS+UP 5. 1/12. SINGLE RANDOM. NOTE ORDER. DUAL UP. 16 STRUM 1–6 SEQ-A 7 STRUM 7. SINGLE UP&DOWN. NOTE ORDER. 12. TOP+UP 1–6 CHORD CHORD CHORD SINGLE UP. BASS+RANDOM 1–3. SINGLE DOWN CHORD BASS+CHORD 4. DUAL RANDOM. TOP+UP 1–6 SINGLE UP. GLISSANDO SINGLE RANDOM. DUAL UP&DOWN. SINGLE UP&DOWN. 1/12 1/16 1–3 REGGAE1–2 PERC1–4 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% HARP SHAMISEN BOUND BALL HARP SEQ-A 2 BOUND 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% RANDOM BOSSA NOVA SALSA MAMBO LATIN PERCUSSION 1/ 4. GLISSANDO SINGLE UP. SINGLE DOWN. TOP+UP 2 CHORD. BASS+UP 1–8. 11. SINGLE DOWN. BASS+CHORD 5 BASS+CHORD 2. SINGLE DOWN. SINGLE DOWN. SINGLE DOWN.04 0–100% 0–100% 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% 50–90% 50–90% RHYTHM GTR B RHYTHM GTR C RHYTHM GTR D RHYTHM GTR E 3 FINGER GTR STRUMMING GTR KBD COMPING A KBD COMPING B KBD COMPING C KBD COMPING D KBD COMPING E PERCUSSION MUTE 07. DUAL RANDOM. DUAL DOWN. SINGLE RANDOM. DUAL DOWN. DUAL UP&DOWN. DUAL RANDOM. REFRAIN 2 MUTE 05. SINGLE UP&DOWN. NOTE ORDER. SINGLE UP&DOWN. TOP+UP 5 SINGLE UP. BASS+UP 2. 03 WALKBS. SEQ-C 1 MUTE 02. DUAL UP. BASS+UP 1–8. SINGLE DOWN. DUAL RANDOM. DUAL RANDOM. BASS+UP 1–8. SINGLE RANDOM. TOP+UP 5 BASS+UP 5. DUAL DOWN. SINGLE RANDOM. SINGLE UP&DOWN. 15 MUTE 09. GUIRO. 1/32 1–3 SEQ-A 1–7 SEQ-B 1–5 SEQ-C 1–2 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 50–90% 50–90% 50–90% 50–90% 50–90% 50–90% SEQUENCE D ECHO SEQ-D 1–8 ECHO 1–3 0–100% 0–100% 50–90% 50–90% SYNTH BASS SLAP BASS A SLAP BASS B WALK BASS RHYTHM GTR A SEQ-A 1. DUAL UP&DOWN. BASS+RANDOM 2. DUAL UP. 8 MUTE 12. SINGLE DOWN. GLISSANDO. DUAL UP&DOWN. 06 1/ 6. TOP+UP 1–6 all all GLISSANDO all all SINGLE UP. DUAL UP. REV CLA. GLISSANDO. SINGLE UP&DOWN. DUAL UP. SINGLE RANDOM. SINGLE RANDOM. TOP+UP 2 BASS+CHORD 2. SINGLE RANDOM. SINGLE DOWN.

256 * The Performance corresponding to each Bank Select are as follows.ch.127 | XP-C (Techno Collection) 1 . the specified effect will apply if Control 2 parameter or Control 3 parameter (PATCH/CONTROL/ CONTROL SOURCE) is set to SYS-CTRL1 or SYS-CTRL2. Not received in GM mode. ❍Bank Select (Controller number 0.31 | PR-A 1 .1 | PR-C 1 .00 Jan.128 84 | 9 | 0 . Data Reception (sound source section) s Channel Voice Messages q Note Off status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H n=MIDI channel number: 0H .8 84 | 6 | 0 .FH (ch.2 81 | 3 | 0 .FH (ch.1 | User 1 .1 . 1.16) vv=control value: 00H .128 81 | 0 | 0 .127 | XP-E 1 .1 . ll=LSB ❍Volume (Controller number 7) status 2nd byte 3rd byte BnH 07H vvH n=MIDI channel number: 0H . ❍Data Entry (Controller number 6.bank.255 84 | 4 | 0 .7FH (0 .127 | PR-E 1 . the corresponding effect will occur.1 .127 | XP-D 129 .ch.127 | PR-B 1 .1 . Bank Select | Program No | Group Rhythm set No.128 84 | 7 | 0 .1 .2 81 | 0 | 0 .128 84 | 1 | 0 .127) 183 Appendices .127 | XP-E 1 .7FH (0 .126 | XP-A 129 .1 | GM 1 .ch.ch.1 | PR-A 1 .128 81 | 2 | 0 .32 81 | 0 | 0 . 18 1999 * The Patches corresponding to each Bank Select are as follows.7 | XP-A (Session) 1 .ch.127 | XP-B (Orchestral) 1 .32) status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH n=MIDI channel number: 0H .FH (ch.127 | XP-E 129 . Bank Select | Program No | Group Patch No.ch.7FH (1 .256 84 | 6 | 0 .ch.127 | XP-E 129 .FH (ch.7FH (0 .2 84 | 0 | 0 .16) kk=note number: 00H . MSB | LSB | | ——————+—————+————————————+———————————————————————————————————————— 80 | 0 | 0 .128 81 | 3 | 0 .FH (ch.128 84 | 5 | 0 .16) kk=note number: 00H .1 .2 81 | 1 | 0 .127 | XP-D 1 .127) * * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.1 | PR-B 1 . Not received in GM mode.7F 7FH (bank.FH (ch. 38) status 2nd byte 3rd byte BnH 06H mmH BnH 26H llH n=MIDI channel number: 0H . q Note On status 2nd byte 3rd byte 9nH kkH vvH n=MIDI channel number: 0H .7FH (0 .16) mm.16) vv=Modulation depth: 00H .127) ❍Breath Type (Controller number 2) status 2nd byte 3rd byte BnH 02H vvH n=MIDI channel number: 0H .1 .127 | PR-C 1 . Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.2 81 | 4 | 0 .127 | User 1 .127) vv=Note On velocity: 01H .31 | PR-B 1 .128 84 | 9 | 0 . MSB | LSB | | ——————+—————+————————————+———————————————————————————————————————— 80 | 0 | 0 .32 81 | 1 | 0 .16) kk=note number: 00H .FH (ch.7FH (0 .16) vv=Portamento Time: 00H .FH (ch.32 * The Rhythm set corresponding to each Bank Select are as follows.127) * The Time parameter (PATCH/CONTROL/PORTAMENTO) will change.7FH (0 .1 .8 84 | 4 | 0 .127) * * * This message is received if the Aftertouch parameter (SYSTEM/CONTROL/CONTROL SOURCE) is POLY or CH&POLY.7 | XP-C (Techno Collection) 1 .127 | XP-A (Session) 1 .ch.7FH (0 . Bank Select | Program No | Group Performance No.127 | PR-A 1 .128 81 | 1 | 0 .128 84 | 0 | 0 .7FH (0 .16) vv=Volume: 00H .127 | XP-C 129 .2 81 | 2 | 0 .7FH (0 .ch.31 | User 1 .128 84 | 7 | 0 . Not received by the Rhythm Part (Part 10) when the Env Mode parameter (RHYTHM/ CONTROL/CONTROL) is NO-SUS.127 | XP-D 1 .126 | XP-B 129 .128 81 | 4 | 0 .ch.1 .ll= the value of the parameter specified by RPN/NRPN mm=MSB. MSB | LSB | | ——————+—————+————————————+———————————————————————————————————————— 80 | 0 | 0 .127) * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.16) vv=control value: 00H .255 84 | 2 | 0 . Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) or the Control Change Receive Switch is OFF. If a Controller number that corresponds to the Control 1 parameter or Control 2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) is selected. q Polyphonic Aftertouch status 2nd byte 3rd byte AnH kkH vvH n=MIDI channel number: 0H .7FH (0 .256 84 | 8 | 0 .128 84 | 3 | 0 .FH (ch.1 .256 ❍Modulation (Controller number 1) status 2nd byte 3rd byte BnH 01H vvH n=MIDI channel number: 0H .1 .MIDI Implementation Model: Version: Date: XP-30 (64 Voice Expandable Synthesizer) 1.ll=Bank number: 00 00H . ❍Foot Type (Controller number 4) status 2nd byte 3rd byte BnH 04H vvH n=MIDI channel number: 0H .16384) * * Not received when the Program Change parameter or Bank Select parameter (SYSTEM/ MIDI/RECEIVE MIDI) is OFF.FH (ch.1 | PR-E 1 .16) mm.127) q Control Change * If the corresponding Controller number is selected for the Control 2 or Control 3 parameter (PATCH/CONTROL/CONTROL SOURCE).127) vv=Note Off velocity: 00H .127 | GM 1 .127) vv=Aftertouch: 00H .256 84 | 8 | 0 .127 | XP-D 129 .127) * * ❍Portamento Time (Controller number 5) status 2nd byte 3rd byte BnH 05H vvH n=MIDI channel number: 0H .

127) 0-63=OFF.40H .40H .FH (ch.7FH (left .40H .16) vv=control value: 00H .7FH (0 .ch.7FH (-128 . 64-127=ON * Not received when the Hold-1 RxSwitch parameter (PATCH/CONTROL/DAMPER) is OFF.16) vv=control value: 00H .FH (ch. 64-127=ON * The Sw parameter (PATCH/CONTROL/PORTAMENTO) will change.1 .1 .ch. the volume can always be controlled.16) vv=Panpot: 00H .+126) * The Res parameter (PATCH/TVF/FILTER) will change relatively.7FH (-128 .16) vv=control value: 00H .ch.ch.16) vv=Expression: 00H .ch.FH (ch.127) * A hold movement isn't done.7FH (-128 .FH (ch.7FH (0 . ❍Portamento Control (Controller number 84) status 2nd byte 3rd byte BnH 54H kkH n=MIDI channel number: 0H . and 127 is far right.7FH (0 .40H . where 0 is far left.7FH (0 . ❍General Purpose Controller 7 (Controller number 82) status 2nd byte 3rd byte BnH 52H vvH n=MIDI channel number: 0H . However this is not received if the Volume parameter (PATCH/CONTROL/RxSWITCH) is OFF.7FH (0 .16) kk=source note number: 00H .127) ❍Sound Controller 2 (Controller number 71) status 2nd byte 3rd byte BnH 47H vvH n=MIDI channel number: 0H .+126) * The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 1 will change relatively.16) vv=control value: 00H .+126) * The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 3 will change relatively. ❍Hold 1 (Controller number 64) status 2nd byte 3rd byte BnH 40H vvH n=MIDI channel number: 0H . * ❍General Purpose Controller 5 (Controller number 80) status 2nd byte 3rd byte BnH 50H vvH n=MIDI channel number: 0H .16) vv=Balance: 00H . ❍Hold 2 (Controller number 69) status 2nd byte 3rd byte BnH 45H vvH n=MIDI channel number: 0H .7FH (0 .FH (ch.ch.FH (ch.0 .e.1 .right) * Adjust the stereo location over 128 steps.0 .1 . 64 is center.1 .ch.16) vv=control value: 00H . ❍Sound Controller 5 (Controller number 74) status 2nd byte 3rd byte BnH 4AH vvH n=MIDI channel number: 0H .127) 0-63=OFF.0 .16) vv=control value: 00H . * A Note On message received immediately after a Portamento control will be sounded with the pitch changing smoothly from the source note number.127) * If the Volume parameter (SYSTEM/CONTROL/CONTROL SOURCE) is set to VOL&EXP. that voice will change pitch to the pitch of the newly received Note On. ❍Panpot (Controller number 10) status 2nd byte 3rd byte BnH 0AH vvH n=MIDI channel number: 0H .7FH (-128 .+126) * The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 2 will change relatively.FH (ch.0 .MIDI Implementation ❍Balance (Controller number 8) status 2nd byte 3rd byte BnH 08H vvH n=MIDI channel number: 0H .40H . If a voice is already sounding at the same note number as the source note number.7FH (0 .FH (ch.ch.FH (ch.0 .center . 64-127=ON ❍General Purpose Controller 8 (Controller number 83) ❍Soft (Controller number 67) status 2nd byte 3rd byte BnH 43H vvH n=MIDI channel number: 0H . The T1 parameter (PATCH/TVA/ TVA ENVELOPE) will change relatively.FH (ch.1 .ch.16) vv=control value: 00H . * 184 .1 .7FH (-128 .40H .FH (ch. ❍Portamento (Controller number 65) status 2nd byte 3rd byte BnH 41H vvH n=MIDI channel number: 0H .ch.1 .FH (ch.0 .7FH (-64 .FH (ch. The T2–4 parameter (PATCH/ TVA/TVA ENVELOPE) will change relatively.16) vv=control value: 00H ..1 .1 .+63) * The Cut parameter (PATCH/TVF/FILTER) will change relatively.7FH (-128 .0 .16) vv=control value: 00H .ch. and continue sounding (i.7FH (-128 .1 . The speed of the pitch change caused by Portamento is determined by the Time parameter (PATCH/CONTROL/PORTAMENTO) value. In GM mode. will be played legato).ch.1 .FH (ch. ❍Sostenuto (Controller number 66) status 2nd byte 3rd byte BnH 42H vvH n=MIDI channel number: 0H . However this is not received when the Pan parameter (PATCH/CONTROL/ RxSWITCH) is OFF.ch.FH (ch.FH (ch.ch. ❍General Purpose Controller 6 (Controller number 81) status 2nd byte 3rd byte BnH 51H vvH n=MIDI channel number: 0H .127) ❍Sound Controller 3 (Controller number 72) status 2nd byte 3rd byte BnH 48H vvH n=MIDI channel number: 0H .+126) * The T2–4 parameter (PATCH/TVF/TVF ENVELOPE).127) 0-63=OFF.+126) * The T1 parameter (PATCH/TVF/TVF ENVELOPE).1 .1 .ch.16) vv=control value: 00H . ❍Sound Controller 4 (Controller number 73) status 2nd byte 3rd byte BnH 49H vvH n=MIDI channel number: 0H .7FH (0 . the volume of the Part corresponding to the MIDI channel of the received message will be adjusted.16) vv=control value: 00H .FH (ch.16) vv=control value: 00H .40H .127) 0-63=OFF.40H .+126) * The L1–3 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 4 will change relatively.1 .1 .1 .0 . ❍Expression (Controller number 11) status 2nd byte 3rd byte BnH 0BH vvH n=MIDI channel number: 0H . 64-127=ON status 2nd byte 3rd byte BnH 53H vvH n=MIDI channel number: 0H .ch.40H .16) vv=control value: 00H .ch.

FH (ch.7FH (0 .FH (ch. the Coarse parameter (PERFORM/PART/SETTING) of each Part will change. the Chorus Send Level parameter of each Part will change. Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.7FH (prog.1 . the Master parameter (SYSTEM/ TUNE/TUNE) will change. first the RPN (Controller numbers 100 and 101. *In Performance mode.0 .” Once this setting has been made. *In Performance mode.1 .FH (ch.16) vv=Channel Aftertouch: 00H .0 .ch.1 .1 .prog.40H . ll : 20 00H . 101) status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH n=MIDI channel number: 0H .16) mm. the Performance will change.1 . Parameter values that were previously set will not change. Previously set data will not change.ch. ● Program Change status 2nd byte CnH ppH n=MIDI channel number: 0H .1 .70H (-48 . Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF. the Master parameter (SYSTEM/TUNE/TUNE) will change.MIDI Implementation ❍Effect 1 (Reverb Send Level) (Controller number 91) status 2nd byte 3rd byte BnH 5BH vvH n=MIDI channel number: 0H .16) pp=Program number: 00H . ll: ignored When this message is received.60 00H ( -4096 x 100 / 8192 . ■ Channel Mode Messages ● All Sound Off (Controller number 120) status BnH n=MIDI channel: * * 2nd byte 78H 3rd byte 00H 0H . (minimum) (minimum) 00H 01H mmH llH 00H 02H mmH - Controller Pitch Bend Change Polyphonic Key Pressure Channel Pressure Modulation Breath type Expression Hold 1 Sostenuto Soft Hold 2 RPN NRPN System General purpose controller 10 System General purpose controller 20 7FH 7FH -- 185 Appendices .ch.40 00H .1 .40 00H .7FH (0 . ❍RPN MSB/LSB (Controller number 100. the Reverb Send Level parameter of each Part will change.127) * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF. When received on the Control channel.12 semitones) ll : ignored (processed as 00H) Up to 1 octave can be specified in semitone steps. the Fine parameter (PERFORM/PART/SETTING) of each Part will change.16) vv=Reverb Send Level: 00H .16) mm=MSB of the parameter number specified by RPN ll=LSB of the parameter number specified by RPN <<< RPN >>> Control Changes include RPN (Registered Parameter Numbers). ● Reset All Controllers (Controller number 121) status 2nd byte 3rd byte BnH 79H 00H n=MIDI channel number: 0H . it is recommended that RPN be set to Null.127) * In Performance mode. Once a RPN parameter has been specified.FH (ch. Unset. Channel Fine Tuning mm. mm. When using RPNs.+8191) * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.FH (ch. all notes currently sounding on the corresponding channel will be turned off.16) * * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.+4096 x 100 / 8192 cent ) *In Patch mode.16) vv=Chorus Send Level: 00H .128) * * * Not received when the Program Change parameter (SYSTEM/MIDI/RECEIVE MIDI) is OFF.0 . 0 (off) 0 (off) 0 (off) 0 (off) Unset.127) * In Performance mode. the following controllers will be set to their reset values. (It is not necessary to transmit Data Entry for RPN Null settings. Reset value [+-]0 (center) 0 (off) 0 (off) 0 (off) 0 (minimum) 127 (maximum) However the controller will be at minimum.ch. Then. Channel Coarse Tuning mm : 10H . *The Bend Range parameter (PATCH/ CONTROL/KEY MODE & BENDER) will also be changed.16) Notes Pitch Bend Sensitivity mm : 00H .ch. When received on the Control channel.+48 semitones) ll : ignored (processed as 00H) *Not received in Patch mode.FH (ch.FH (ch. all further Data Entry messages on that channel are considered to apply to that specified parameter. Data Entry messages (Controller numbers 6 and 38) are used to set the value of the specified parameter. *Not received by the Rhythm Part (Part 10). When this message is received. RPN null RPN and NRPN will be set as “unspecified. Previously set data will not change.1 .7F 7FH (-8192 .ch. which are extended parameters whose function is defined in the MIDI specification.ch. RPN MSB LSB 00H 00H Data entry MSB LSB mmH - ● Pitch Bend Change status 2nd byte 3rd byte EnH llH mmH n=MIDI channel number: 0H .7FH (0 . In order to prevent accidents. ❍Effect 3 (Chorus Send Level) (Controller number 93) status 2nd byte 3rd byte BnH 5DH vvH n=MIDI channel number: 0H .ll=Pitch Bend value: 00 00H .0CH (0 .ch. ● Channel Aftertouch status 2nd byte DnH vvH n=MIDI channel number: 0H . This device receives the following RPNs. subsequent Data Entry messages will be ignored.FH (ch. when the desired setting has been made for the parameter.1 . they can be sent in any order) is transmitted to specify the parameter you wish to control.

186 .ch. 7FH.FH (ch.. status F0H Byte F0H 7EH 7FH 09H 02H F7H * data byte status 7EH. Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF. ee = data: F7H: System Exclusive message status This is the ID number (manufacturer ID) that specifies the manufacturer whose exclusive message this is. this instrument will return to the performance mode.. Identity Reply message (p.GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. s System Realtime Messages q Timing Clock status F8H * This message will be received if the Clock Source parameter (SYSTEM/SETUP/SYSTEM SETUP) is MIDI (p. and the Assign parameter (PATCH/CONTROL/KEY MODE & BENDER) will be set to POLY. (Universal Non-realtime message) (Broadcast) (General MIDI Message) (General MIDI Off) (End Of Exclusive) Not received when the Rx.MIDI Implementation q All Note Off (Controller number 123) status 2nd byte 3rd byte BnH 7BH 00H n=MIDI channel number: 0H . ddH. dd.16) * * The same processing as when All Note Off is received will be done. Then monitoring will be halted.16) * When All Note Off is received. Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF. The instrument will not be set to OMNI ON. During monitoring. All Note Off. 189) will be transmitted. 09H. Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF. 06H.FH (ch.1 .16) mm=Mono number: 00H .16) * * The same processing as when All Note Off is received will be done.1 . dev.1 . However if Hold 1 or Sostenuto are on.10H (0 . ❍GM System Off When this messages is received. s System Exclusive Messages status F0H F0H: ii = ID number: data byte iiH.ch..16) * * The same processing as when All Note Off is received will be done.GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. 129).ID numbers 7EH and 7FH are defined in an expansion of the MIDI standard as Universal Non-realtime messages (7EH) and Universal Realtime Messages (7FH). all currently sounding notes of the corresponding channel will be turned off. eeH status F7H * q Omni Off (Controller number 124) status 2nd byte 3rd byte BnH 7CH 00H n=MIDI channel number: 0H . 00H . status F0H Byte F0H 7EH dev 06H 01H F7H * data byte status 7EH.ch. Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF. (Universal Non-realtime message) (dev: 10H . and the Assign parameter (PATCH/CONTROL/KEY MODE & BENDER) will be set to SOLO. the Universal Non-realtime messages and the Universal Realtime messages and the Data Request (RQ1) messages and the Data Set (DT1) messages will be set automatically.1 .. the sound will be held until these are turned off..1FH) (General Information) (Identity Request) (End Of Exclusive) The “dev” is own device number or 7FH (Broadcast).FH (ch.1 . ❍GM System On “GM System On” is a command message that resets the internal settings of the instrument to the GM initial state (General MIDI System . the same processing will be done as when All Sound Off.. 09H. q Universal Non-realtime System Exclusive Messages ❍Identity Request Message When this message is received.ch.7FH (0 . Not received in Performance mode if Rx parameter (PERFORM/MIDI/MIDI) is OFF. 02H F7H Remarks Exclusive status ID number device ID sub ID#1 sub ID#2 EOX q Active Sensing status FEH * When an Active Sensing message is received.16) * * The same processing as when All Note Off is received will be done.... and Reset All Controllers messages are received.ch. 7FH. status F0H Byte F0H 7EH 7FH 09H 01H F7H * data byte status 7EH. A GM instrument that receives this message will automatically enter a state in which it can correctly perform a GM score. the unit will begin monitoring the interval at which MIDI messages are received. 01H F7H Remarks Exclusive status ID number device ID sub ID#1 sub ID#2 EOX q Omni On (Controller number 125) status 2nd byte 3rd byte BnH 7DH 00H n=MIDI channel number: 0H .FH (ch.127) EOX (End Of Exclusive) Of the System Exclusive messages received by this device..Level 1). . if more than 420 ms passes without a message being received. 01H F7H Remarks Exclusive status ID number device ID sub ID#1 sub ID#2 EOX q Poly (Controller number 127) status 2nd byte 3rd byte BnH 7FH 00H n=MIDI channel number:0H . Roland's manufacturer ID is 41H. (Universal Non-realtime message) (Broadcast) (General MIDI Message) (General MIDI On) (End Of Exclusive) Not received when the Rx.FH (ch. q Mono (Controller number 126) status 2nd byte 3rd byte BnH 7EH mmH n=MIDI channel number: 0H .

When a Data Request message is received. dev. mmH status F7H ❍Data Set 1 DT1 This message transmits the actual data. 190). This message is not received if Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. dev. 7FH. sum Remarks Exclusive status ID number device ID model ID command ID address MSB address address address LSB data: : data checksum EOX (Roland) (dev: 10H . q Data Transmission This instrument can use exclusive messages to exchange many varieties of internal settings with other devices. vvH.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. refer to (p. Multi-byte data is transmitted in the order of the address. ccH. status F0H data byte 41H. status F0H data byte 41H. and is used when you wish to set the data of the receiving device.. . This device is able to receive GS Exclusive messages only for Scale Tune settings. 12H. This message is not received in GM mode. Byte F0H 41H dev 6AH 12H aaH bbH ccH ddH eeH : ffH sum F7H * The actual data to be transmitted. 204). ssH. 12H. bbH. Multi-byte data is transmitted in the address order. 42H. The actual data to be transmitted. For the checksum.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. ttH. For the checksum. bbH. If the conditions are not met. Refer to the address and size given in “Parameter Address Map” (p. eeH. . Successive “Data Set 1” messages should have at least 20 ms of time interval between them. ddH. if the device is in a state in which it is able to transmit data. (End Of Exclusive) ❍Data Request 1 RQ1 This message requests the other device to transmit data.1FH) (GS) (DT1) * * * The size of data that can be transmitted at one time is fixed for each type of data. This message is not received in GM mode. aaH. eeH.MIDI Implementation q Universal Realtime System Exclusive messages ❍Master Volume status F0H Byte F0H 7FH 7FH 04H 01H llH mmH F7H * * * data byte 7FH. llH. 6AH.1FH) (XP-30) (RQ1) This message transmits the actual data. 04H. This message is not received if the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. 190).1FH) (XP-30) (DT1) status F7H Remarks Exclusive status ID number (Universal Realtime message) device ID (Broadcast) sub ID#1 (Device Control Message) sub ID#2 (Master Volume) LSB of Master Volume MSB of Master Volume EOX (End Of Exclusive) LSB of Master Volume (llH) is processed as 00H. uuH. This message is not received if the Rx. This message is not received in GM mode. The address and size indicate the type and amount of data that is requested. bbH. dev. status F0H data byte 41H. and only data of the fixed starting address and size will be transmitted. and is used when you wish to set the data of the receiving device. and if the address and size are appropriate. .. (End Of Exclusive) 187 Appendices This message is not received when the Rx. the requested data is transmitted as a Data Set 1 (DT1) message.. 6AH. 11H. ccH. Refer to the address and size given in “Parameter Address Map” (p. sum Remarks Exclusive status ID number device ID model ID command ID address MSB address address address LSB size MSB size size size LSB checksum EOX status F7H * * * * The amount of data that is transmitted at one time is fixed for the type of data. 01H.. nothing is transmitted. This message is not received in GM mode. 204). ffH. and data requests must be made with a fixed starting address and size. aaH. ❍Data Set 1 Byte F0H 41H dev 6AH 11H aaH bbH ccH ddH ssH ttH uuH vvH sum F7H * DT1 (Roland) (dev: 10H . ddH. Data whose size is greater than 128 bytes should be divided into packets of 128 bytes or less and transmitted. refer to (p. aaH. sum Remarks Exclusive status ID number device ID model ID command ID address MSB address middle byte address LSB data: : data checksum EOX status F7H (End Of Exclusive) Byte F0H 41H dev 42H 12H aaH bbH ccH ddH : eeH sum F7H * * (Roland) (dev: 10H . ccH. The model ID of the exclusive messages used by this instrument is 6AH. ddH.

1 .7FH (-128 .7FH (0 .16) vv=control value: 00H .7F 7FH (bank.ch.ch.1 .127) ❍General Purpose Controller 5 (Controller number 80) status 2nd byte 3rd byte BnH 50H vvH n=MIDI channel number: 0H .40H .1 .1 .1 .1 .16) vv=Volume: 00H .7FH (0 .ch.0 .FH (ch.ch.1 .0 .16) vv=control value: 00H .+126) ❍Foot Type (Controller number 4) status 2nd byte 3rd byte BnH 04H vvH n=MIDI channel number: 0H .ch.32) status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH n=MIDI channel number: 0H .1 .FH (ch. you can transmit any desired control change.16) vv=Portamento Time: 00H .FH (ch.ch.127) ❍Panpot (Controller number 10) status 2nd byte 3rd byte BnH 0AH vvH n=MIDI channel number: 0H .7FH (0 .16) vv=Balance: 00H .7FH (-128 .127) ❍Sound Controller 4 (Controller number 73) status 2nd byte 3rd byte BnH 49H vvH n=MIDI channel number: 0H .1 .127) vv=Note On velocity: 01H .7FH (0 .center .FH (ch.127) ❍Sound Controller 5 (Controller number 74) status 2nd byte 3rd byte BnH 4AH vvH n=MIDI channel number: 0H .7FH (0 .ch.ch.1 .ll=Bank number: 00 00H .7FH (0 .127) ❍Sound Controller 2 (Controller number 71) status 2nd byte 3rd byte BnH 47H vvH n=MIDI channel number: 0H .1 . This message is not transmitted in GM mode ❍Sostenuto (Controller number 66) status 2nd byte 3rd byte BnH 42H vvH n=MIDI channel number: 0H .FH (ch.16) kk=note number: 00H .7FH (0 .1 .40H .0 .16) vv=control value: 00H .7FH (1 .ch.FH (ch.ch.16) vv=control value: 00H .16384) * * * This message is not transmitted if Program parameter (SYSTEM/MIDI/TRANSMIT MIDI) or Bank Sel parameter (SYSTEM/MIDI/TRANSMIT MIDI) is OFF.FH (ch.FH (ch.7FH (-64 . 64-127=ON ❍Soft (Controller number 67) status 2nd byte 3rd byte BnH 43H vvH n=MIDI channel number: 0H .ch. ❍Bank Select (Controller number 0.127) q Note On status 2nd byte 3rd byte 9nH kkH vvH n=MIDI channel number: 0H .40H .127) ❍Hold 1 (Controller number 64) status 2nd byte 3rd byte BnH 40H vvH n=MIDI channel number: 0H .FH (ch.1 .127) ❍Sound Controller 3 (Controller number 72) status 2nd byte 3rd byte BnH 48H vvH n=MIDI channel number: 0H . 64-127=ON ❍Modulation (Controller number 1) status 2nd byte 3rd byte BnH 01H vvH n=MIDI channel number: 0H .16) vv=control value: 00H .1 .16) vv=control value: 00H .FH (ch.1 .7FH (0 .FH (ch.FH (ch.FH (ch.1 .16) vv=panpot: 00H .ch.0 .7FH (0 .bank.127) ❍Breath type (Controller number 2) status 2nd byte 3rd byte BnH 02H vvH n=MIDI channel number: 0H .ch.7FH (0 .FH (ch.127) ❍ Hold 2 (Controller number 69) status 2nd byte 3rd byte BnH 45H vvH n=MIDI channel number: 0H .40H .7FH (left .FH (ch.16) vv=control value: 00H .right) ❍Expression (Controller number 11) status 2nd byte 3rd byte BnH 0BH vvH n=MIDI channel number: 0H .+63) ❍Balance (Controller number 8) status 2nd byte 3rd byte BnH 08H vvH n=MIDI channel number: 0H .ch.+126) ❍Volume (Controller number 7) status 2nd byte 3rd byte BnH 07H vvH n=MIDI channel number: 0H .7FH (-128 .7FH (0 .40H .ch. 64-127=ON q Control Change * By selecting a controller number that corresponds to the setting of the Assign parameter (SYSTEM/CONTROL/CONTROL PEDAL) or each Assign parameter of C1–4 Slider (SYSTEM/CONTROL/ASSIGN).ch.7FH (0 .127) 0-63=OFF.16) vv=control value: 00H .1 .16) vv=control value: 00H .+126) ❍Portamento Time (Controller number 5) status 2nd byte 3rd byte BnH 05H vvH n=MIDI channel number: 0H .127) vv=Note Off Velocity: 00H .ch. 64-127=ON ❍Portamento (Controller number 65) status 2nd byte 3rd byte BnH 41H vvH n=MIDI channel number: 0H .0 .16) kk=Note Number: 00H .FH (ch.ch.ch. refer to section 1.FH (ch.16) vv=control value: 00H .7FH (0 .MIDI Implementation 2.16) vv=Modulation Depth: 00H .FH (ch.1 .ch.FH (ch.16) mm.1 . Data transmission (sound source section) s Channel Voice Messages q Note Off status 2nd byte 3rd byte 8nH kkH vvH n=MIDI channel: 0H .40H .16) vv=control value: 00H .+126) 188 .127) 0-63=OFF.1 .7FH (0 .ch.16) vv=Expression: 00H . For the Bank Select that corresponds to each Patch.127) 0-63=OFF.1 .FH (ch.127) 0-63=OFF.7FH (0 .FH (ch.7FH (-128 .16) vv=control value: 00H .1 .

16) kk=source note number: 00H .40H .FH (ch. ❍General Purpose Controller 8 (Controller number 83) status 2nd byte 3rd byte BnH 53H vvH n=MIDI channel number: 0H .ch.ch. dev.+8191) ❍General Purpose Controller 7 (Controller number 82) status 2nd byte 3rd byte BnH 52H vvH n=MIDI channel number: 0H . ddH.1 .1 .7FH (-128 .FH (ch.prog.FH (ch.1 .1 .12 semitones) ll : 00H Channel Fine Tuning mm.40 00H . eeH.ll=Pitch Bend value: 00 00H .128) * * The amount of data transmitted at one time is fixed for the type of data.7F 7FH (-8192 ..FH (ch. : ffH sum F7H * (End Of Exclusive) ● Channel Aftertouch status 2nd byte DnH vvH n=MIDI channel: 0H .40H .7FH (0 .16) mm=MSB of the parameter number specified by RPN ll=LSB of the parameter number specified by RPN This device transmits the following RPNs. and the data will be transmitted with the fixed starting address and size.0 .+48 semitones) ll : 00H status F0H DT1 data byte 41H.40H . 00H.1 .+4096 x 100 / 8192 cent ) Channel Coarse Tuning mm : 10H .7FH (1 .0 .1 .7FH (0 .ch. 186) is received.0 .ch.127) ■ System Exclusive Messages There is a kind of the Universal Non-realtime messages and the Data Set (DT1) messages in the System Exclusive messages transmitted by this device.70H (-48 . ccH. ffH.1 .FH (ch. 06H. refer to (p.40H . ● Universal Non-realtime System Exclusive Messages ❍Effect 1 (Reverb Send Level) (Controller number 91) status 2nd byte 3rd byte BnH 5BH vvH n=MIDI channel number: 0H . 01H.127) Byte F0H 7EH dev 06H 02H 41H 6AH 00H 04H 00H 00H 01H 00H 00H F7H ❍RPN MSB/LSB (Controller number 100. RPN MSB LSB 00H 00H Data entry MSB LSB mmH - Remarks Exclusive status ID number (Universal Non-realtime message) device ID (dev: 10H .7FH (0 .ch. 00H. status F0H data byte 7EH.FH (ch.1 .127) ❍Identity Reply Message When Identity Request message (p.. 6AH.128) * This message is not transmitted when the Program parameter (SYSTEM/MIDI/ TRANSMIT MIDI) is OFF.7FH (prog.16) vv=Reverb Send Level: 00H .ch.0 .16) vv=control value: 00H .0 . Refer to the address and size given in “Parameter Address Map” (p. this message will be transmitted. 00H status F7H ❍Effect 3 (Chorus Send Level) (Controller number 93) status 2nd byte 3rd byte BnH 5DH vvH n=MIDI channel: 0H . 04H. sum Remarks Exclusive status ID number device ID model ID command ID address MSB address address address LSB data: : data checksum EOX status F7H 00H 01H mmH llH 00H 02H mmH - ● Program Change status 2nd byte CnH ppH n=MIDI channel: 0H .ch.0 .MIDI Implementation ❍General Purpose Controller 6 (Controller number 81) status 2nd byte 3rd byte BnH 51H vvH n=MIDI channel number: 0H .1 .60 00H ( -4096 x 100 / 8192 . 00H.+126) ● Pitch Bend Change status 2nd byte 3rd byte EnH llH mmH n=MIDI channel number: 0H . 6AH. aaH.16) vv=control value: 00H .FH (ch.16) mm.101) status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH n=MIDI channel number: 0H .ch. 41H.16) pp=Program number: 00H . ll : 20 00H . Large amounts of data must be divided into packets of 128 bytes or less. 02H. and transmitted at intervals of approximately 20 ms.FH (ch.16) vv=Channel Aftertouch: 00H .+126) ■ System Realtime Messages ● Active Sensing status FEH * * Transmitted at intervals of approximately 250ms.1 .0CH (0 .7FH (-128 .16) vv=control value: 00H . 204). .7FH (-128 .1FH) (XP-30) (DT1) The actual data to be transmitted.1FH) sub ID#1 (General Information) sub ID#2 (Identity Reply) ID number (Roland) Device family code Device family number code Software revision level EOX (End Of Exclusive) ● Data Transmission ❍Data Set1 Notes Pitch Bend Sensitivity mm : 00H . bbH.ch.40 00H . 189 Appendices Byte F0H 41H dev 6AH 12H aaH bbH ccH ddH eeH (Roland) (dev: 10H . 12H. . For the checksum. Not transmitted if the Active Sensing parameter (SYSTEM/MIDI/TRANSMIT MIDI) is OFF.ch.FH (ch. 190).FH (ch. 00H.16) vv=Chorus Send Level: 00H .+126) ❍Portamento Control (Controller number 84) status 2nd byte 3rd byte BnH 54H kkH n=MIDI channel number: 0H . Multi-byte data is transmitted in the address order.1 . dev.

1 *7 | | 00 11 | 0000 00aa | Aftertouch Source 0 .128) | | PR-E | 0 | 7 | 0 .1 (<OFF.127 (C-1 .4 *6 | | 00 10 | 0000 000a | Volume Control Source 0 .1 (<OFF.System Common +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 00aa | Sound Mode 0 .127 (001 .127 (001 .128) | | PR-D | 0 | 6 | 0 .1 (<OFF.127 | 0 .254 (001 .ON>) | | 00 1A | 0000 000a | Receive Pitch Bend 0 .256) | | XP-D | 2 | 1 .+6) | | 00 2D | 0000 0aaa | Octave Shift 0 .2 *8 | | 00 12 | 0aaa aaaa | System Control Source 1 1 .128) | | <PCM | 1 | 1 .255 (001 .128) | | <CARD | 0 | 2 | 0 .2 *11 | | 00 20 | 0aaa aaaa | Preview Note Set 1 0 .ON) | | 00 2A | 000a aaaa | Patch Transmit Channel 0 .ON>) | | 00 1B | 0000 000a | Receive Aftertouch 0 .G9) | | 00 21 | 0aaa aaaa | Preview Velocity Set 1 0 .ON) | | 00 2C | 0000 aaaa | Transpose Value 0 .OFF)| | 00 1D | 0000 aaaa | Patch Receive Channel 0 .127 *12 | | 00 24 | 0aaa aaaa | Preview Note Set 3 0 .1 (OFF.MIDI) | | 00 0D | 0000 0aaa | TAP Control Source 0 .127 (001 .127 *2 | | 00 02 | 0000 00aa | Patch Group Type 0 .127 (001 .1 (OFF.255 -> | | | 0000 bbbb | (001 .ON>) | | 00 19 | 0000 000a | Receive Hold-1 0 .15 (1 .ON) | | 00 09 | 0000 000a | Chorus Switch 0 .1 (OFF.MIDI Implementation 3.127 -> | |# 00 04 | 0000 aaaa | Patch Number 0 .1 (OFF.1 *10 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 1F | 0000 00aa | Preview Sound Mode 0 .16.16 (1 .126 *4 | | 00 07 | 0000 000a | Scale Tune Switch 0 .127 *12 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 28 | 0000 000a | Transmit Program Change 0 .ON) | | 00 0A | 0000 000a | Reverb Switch 0 .127 *12 | | 00 26 | 0aaa aaaa | Preview Note Set 4 0 .ON) | | 00 08 | 0000 000a | EFX Switch 0 .ON) | | 00 15 | 0000 000a | Receive Bank Select 0 . the data must be divided into 2 parts for transmission.1 (OFF.) | 2 | 2 | 0 .254 (001 .256) | | XP-E | 2 | 1 . +——————————————————————————————————————————————————————————————————————————————+ | Start | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 00 | System 1-1 | |—————————————+————————————————————————————————————————————————————————————————| | 01 00 00 00 | Temporary Performance 1-2 | | 02 00 00 00 | Performance Mode Temporary Patch(part 1) 1-3 | | 02 01 00 00 | Performance Mode Temporary Patch(part 2) | | : | | | 02 08 00 00 | Performance Mode Temporary Patch(part 9) | | 02 09 00 00 | Temporary Rhythm Setup 1-4 | | 02 0A 00 00 | Performance Mode Temporary Patch(part 11) 1-3 | | : | | | 02 0F 00 00 | Performance Mode Temporary Patch(part 16) | | 03 00 00 00 | Patch Mode Temporary Patch 1-3 | |—————————————+————————————————————————————————————————————————————————————————| | 10 00 00 00 | User Performance USER:01 1-2 | | 10 01 00 00 | User Performance USER:02 | | : | | | 10 1F 00 00 | User Performance USER:32 | | 10 40 00 00 | User Rhythm Setup USER:1 1-4 | | 10 41 00 00 | User Rhythm Setup USER:2 | | 11 00 00 00 | User Patch USER:001 1-3 | | 11 01 00 00 | User Patch USER:002 | | : | | | 11 7F 00 00 | User Patch USER:128 | +——————————————————————————————————————————————————————————————————————————————+ q 1-1.1 (<OFF.1 (OFF.ON) | | 00 0B | 0000 000a | Patch Remain 0 .G9) | | 00 23 | 0aaa aaaa | Preview Velocity Set 2 0 .1 (OFF.2 *1 | | 00 01 | 0aaa aaaa | Performance Number 0 .1 (<OFF. Parameter values enclosed in < > are for the JV-1010 / JV-1080 / JV-2080 / XP-50 / XP-60 / XP-80.17 *13 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 2B | 0000 000a | Transpose Switch 0 .255 (001 . and will be ignored if received by the XP-30.ON) | | 00 16 | 0000 000a | Receive Control Change 0 .128) | | PR-C | 0 | 5 | 0 .127 (001 .4 *5 | | 00 0E | 0000 0aaa | Hold Control Source 0 .ON) | | 00 29 | 0000 000a | Transmit Bank Select 0 .128) | | PR-B | 0 | 4 | 0 .97 *9 | | 00 13 | 0aaa aaaa | System Control Source 2 1 .255 (001 .System +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | System Common 1-1-1 | | 10 00 | Part 1 Scale Tune 1-1-2 | | 11 00 | Part 2 Scale Tune | | : | | | 1F 00 | Part 16 Scale Tune | | 20 00 | Patch Mode Scale Tune 1-1-2 | +——————————————————————————————————————————————————————————————————————————————+ q 1-1-1.127 (001 .1 (OFF.127 *14 | | 00 2F | 0000 00aa | Keyboard Sens 0 .127 (C-1 .127 (001 .104 *16 | | 00 32 | 0000 00aa | Pedal(1) Output Mode 0 .255) | | XP-B(Orch. For example.ON) | | 00 0C | 0000 000a | Clock Source 0 .2 *15 | | 00 30 | 0aaa aaaa | Aftertouch Sens 0 .ON>) | | 00 17 | 0000 000a | Receive Modulation 0 .6 (-3 .2 *3 -> | | 00 03 | 0aaa aaaa | Patch Group ID 0 .ON>) | | 00 1C | 000a aaaa | Control Channel 0 .+3) | | 00 2E | 0aaa aaaa | Keyboard Velocity 0 .3 *18 | +———————————————————————————————————————————————————————————+ | Patch Group | Group Type | Group ID | Number (value) | |—————————————+————————————+——————————+—————————————————————| | USER | 0 | 1 | 0 .128)>| |XP-A(Session)| 2 | 9 | 0 .G9) | | 00 27 | 0aaa aaaa | Preview Velocity Set 4 0 .16) | | 00 1E | 0000 000a | Rhythm Edit Source 0 .127 | 0 .127 (C-1 .256) | | 00 06 | 0aaa aaaa | Master Tune 0 . data with the hexadecimal value ABH would be divided into 0AH and 0BH. Parameter Address Map 1.127 (001 . XP-30 (Model ID=6AH) * * For addresses marked by a #.97 *9 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 14 | 0000 000a | Receive Program Change 0 . and transmitted in that order.256) | +-----------------------------------------------------------+ 190 .G9) | | 00 25 | 0aaa aaaa | Preview Velocity Set 3 0 .1 (<OFF.128)>| | PR-A | 0 | 3 | 0 .1 (OFF.1 (OFF.127 (C-1 .127 *12 | | 00 22 | 0aaa aaaa | Preview Note Set 2 0 .ON>) | | 00 18 | 0000 000a | Receive Volume 0 .100 | | 00 31 | 0aaa aaaa | Pedal(1) Assign 1 .1 (INT.4 *6 | | 00 0F | 0000 0aaa | Peak Control Source 0 .127 | 0 .11 (-5 .255) | | XP-C(Techno)| 2 | 11 | 0 .

PROG-UP.127 (-64 . PHRASE OFF. PITCH BEND.6 (-3 .42 (1 . AFTERTOUCH <PANEL.104 *17 | | 00 56 | 0000 00aa | Pedal4 Output Mode 0 .ON) | | 00 41 | 0aaa aaaa | Bank Select Group2 MSB 0 .127 (-64 .1 *20 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 3D | 0000 000a | Bank Select Group1 Switch 0 .3 *19 | | 00 54 | 0000 000a | Pedal3 Polarity 0 .1 (OFF.ON) | | 00 50 | 0aaa aaaa | Bank Select Group7 MSB 0 . REVERSE> PART1–PART16 +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0aaa aaaa | Scale Tune for C 0 . CC64–CC95.+63)| | 00 0B | 0aaa aaaa | Scale Tune for B 0 .1 (OFF. PITCH BEND.+63)| | 00 0A | 0aaa aaaa | Scale Tune for A# 0 . HOLD-1. CC07–CC31.1 *21 | | 00 37 | 0aaa aaaa | C1 Assign 1 .127 *14 | | 00 5E | 0000 0aaa | Arpeggio Octave Range 0 .127 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 52 | 0aaa aaaa | Pedal3 Assign 1 .127 | | 00 4B | 0aaa aaaa | Bank Select Group5 LSB 0 .114 (1 . PROG-DOWN.115) | | 00 5B | 0aaa aaaa | Arpeggio Accent Rate 0 . PR-B:01–PR-B:32 USER&PRESET.+63)| |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 0C | +——————————————————————————————————————————————————————————————————————————————+ 191 Appendices q 1-1-2.MIDI Implementation | 00 33 | 0000 000a | Pedal(1) Polarity 0 .+63)| | 00 01 | 0aaa aaaa | Scale Tune for C# 0 . OFF REAL. OCTAVE-DOWN <CC01–CC05.+63)| | 00 09 | 0aaa aaaa | Scale Tune for A 0 .1 *21 | | 00 55 | 0aaa aaaa | Pedal4 Assign 1 . PATCH.127 (-64 .127 (-64 . <START/STOP>. <START/STOP>.127 | | 00 43 | 0000 000a | Bank Select Group3 Switch 0 .Scale Tune .127 | | 00 40 | 0000 000a | Bank Select Group2 Switch 0 .97 *9 | | 00 3A | 0000 00aa | C2 Output Mode 0 . OCTAVE-DOWN> OFF.127 | | 00 45 | 0aaa aaaa | Bank Select Group3 LSB 0 .15 *22 | |—————————————+———————————+————————————————————————————————————————————————————| |# 00 60 | 0000 aaaa | System Tempo 20 .+63)| | 00 08 | 0aaa aaaa | Scale Tune for G# 0 .38) | | 00 5A | 0aaa aaaa | Arpeggio Beat Pattern 0 . POLY.127 (-64 .127 | | 00 49 | 0000 000a | Bank Select Group5 Switch 0 . SOFT. VOLUME&EXPRESSION CHANNEL.4–452. SOSTENUTO.1 (OFF. TAP-TEMPO. EXP 427.3 *18 | | 00 3B | 0000 00aa | Hold Pedal Output Mode 0 .97 *9 | | 00 65 | 0000 00aa | C4 Output Mode 0 . GM USER:01–USER:32.1 (OFF.37 (1 .3 *18 | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 66 | +——————————————————————————————————————————————————————————————————————————————+ *1 *2 *3 *4 *5 *6 *7 *8 *9 *10 *11 *12 *13 *14 *15 *16 *17 *18 *19 *20 *21 *22 PERFORMANCE. <PUNCH-IN/OUT>. OCTAVE-UP. CHORD. PITCH BEND.127 | | 00 48 | 0aaa aaaa | Bank Select Group4 LSB 0 .+63)| | 00 04 | 0aaa aaaa | Scale Tune for E 0 .+63)| | 00 03 | 0aaa aaaa | Scale Tune for D# 0 .127 (-64 . <CARD:01–CARD:32>.3 *19 | | 00 36 | 0000 000a | Pedal2 Polarity 0 . INT&MIDI <OFF. INT.127 | | 00 51 | 0aaa aaaa | Bank Select Group7 LSB 0 . 1–127 LIGHT.127 | | 00 4E | 0aaa aaaa | Bank Select Group6 LSB 0 . 1–127 1–16.104 *17 | | 00 35 | 0000 00aa | Pedal2 Output Mode 0 . INT&MIDI> STANDARD.+63)| | 00 07 | 0aaa aaaa | Scale Tune for G 0 .104 *17 | | 00 53 | 0000 00aa | Pedal3 Output Mode 0 . CH&POLY CC01–CC05. CC64–CC95.ON) | | 00 4D | 0aaa aaaa | Bank Select Group6 MSB 0 . TAP-TEMPO.127 | | 00 46 | 0000 000a | Bank Select Group4 Switch 0 . PR-A:01–PR-A:32.ON) | | 00 3E | 0aaa aaaa | Bank Select Group1 MSB 0 .3 *18 | | 00 3C | 0000 000a | Hold Pedal Polarity 0 . <PUNCH-IN/OUT>.1 *21 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 58 | 00aa aaaa | Arpeggio Style 0 .127 (-64 .+3) | | 00 5F | 0000 aaaa | Arpeggio Part Number 0 .1 (OFF.127 (-64 .1 (OFF. HOLD-2 VOLUME.97 *9 | | 00 63 | 0000 00aa | C3 Output Mode 0 . INT.90 | | 00 5D | 0aaa aaaa | Arpeggio Keyboard Velocity 0 . SOSTENUTO. SOFT.ON) | | 00 47 | 0aaa aaaa | Bank Select Group4 MSB 0 .100 | | 00 5C | 0aaa aaaa | Arpeggio Shuffle Rate 50 .6 <OFF. CC07–CC31.ON) | | 00 4A | 0aaa aaaa | Bank Select Group5 MSB 0 . OCTAVE-UP.ON) | | 00 44 | 0aaa aaaa | Bank Select Group3 MSB 0 .1 *20 | | 00 34 | 0aaa aaaa | Pedal2 Assign 1 . <PCM>.+63)| | 00 05 | 0aaa aaaa | Scale Tune for F 0 . HOLD-1. PROG-DOWN. CC64–CC95.127 (-64 .127 | | 00 4F | 0000 000a | Bank Select Group7 Switch 0 .+63)| | 00 06 | 0aaa aaaa | Scale Tune for F# 0 . CC07–CC31. MIDI. HOLD-2> OFF.127 | | 00 4C | 0000 000a | Bank Select Group6 Switch 0 .127 (-64 . RX-CH.127 | | 00 3F | 0aaa aaaa | Bank Select Group1 LSB 0 . HEAVY CC01–CC05. REVERSE <STANDARD.1 (OFF. PROG-UP.127 (-64 .127 | | 00 42 | 0aaa aaaa | Bank Select Group2 LSB 0 .97 *9 | | 00 38 | 0000 00aa | C1 Output Mode 0 . MIDI.3 *18 | | 00 64 | 0aaa aaaa | C4 Assign 1 . AFTERTOUCH. PANEL&MIDI> SINGLE.3 *18 | | 00 39 | 0aaa aaaa | C2 Assign 1 .+63)| | 00 02 | 0aaa aaaa | Scale Tune for D 0 .3 *19 | | 00 57 | 0000 000a | Pedal4 Polarity 0 . AFTERTOUCH.127 (-64 .250 | | | 0000 bbbb | | |—————————————+———————————+————————————————————————————————————————————————————| | 00 62 | 0aaa aaaa | C3 Assign 1 .43) | | 00 59 | 00aa aaaa | Arpeggio Motif 0 . MEDIUM.

500. 8000. DELAY.+63)| | 00 20 | 0000 aaaa | EFX Control Source 2 0 . ROOM2.127 | | 00 24 | 0aaa aaaa | Chorus Depth 0 .127 | | 00 05 | 0aaa aaaa | Performance Name 6 32 .64 | | 00 3F | 0aaa aaaa | Voice Reserve 16 0 . 4000.127 | | 00 19 | 0aaa aaaa | EFX Parameter 12 0 .127 | | 00 27 | 0000 00aa | Chorus Output 0 .64 | | 00 36 | 0aaa aaaa | Voice Reserve 7 0 .64 | | 00 3A | 0aaa aaaa | Voice Reserve 11 0 .2 *4 | | 00 28 | 0000 0aaa | Reverb Type 0 . 1600.64 | | 00 38 | 0aaa aaaa | Voice Reserve 9 0 .ON) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 30 | 0aaa aaaa | Voice Reserve 1 0 .39 (1 .127 | | 00 1A | 0000 00aa | EFX Output Assign 0 . BREATH.127 | | 00 0B | 0aaa aaaa | Performance Name 12 32 . HALL2.1 *7 | | 00 41 | 0000 000a | Clock Source 0 . PAN-DLY 200. 315.64 | | 00 3E | 0aaa aaaa | Voice Reserve 15 0 . 2000.2 *2 | | 00 1B | 0aaa aaaa | EFX Mix Out Send Level 0 .127 | | 00 12 | 0aaa aaaa | EFX Parameter 5 0 .64 | | 00 33 | 0aaa aaaa | Voice Reserve 4 0 .127 | | 00 1E | 0000 aaaa | EFX Control Source 1 0 .40) | | 00 0E | 0aaa aaaa | EFX Parameter 1 0 . STAGE2.126 (-63 .15 *1 | | 00 0D | 00aa aaaa | EFX Type 0 .64 | | 00 3C | 0aaa aaaa | Voice Reserve 13 0 .127 | | 00 02 | 0aaa aaaa | Performance Name 3 32 . EXPRESSION.64 | | 00 3D | 0aaa aaaa | Voice Reserve 14 0 . VOLUME. 11–16 MIX. 5000. 1000. FOOT.MIDI Implementation q 1-2.64 | | 00 32 | 0aaa aaaa | Voice Reserve 3 0 .64 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 40 | 0000 000a | Keyboard Mode 0 . 1250.17 *6 | | 00 2C | 0aaa aaaa | Delay Feedback 0 .127 | | 00 18 | 0aaa aaaa | EFX Parameter 11 0 . <DIRECT-1>.127 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0C | 0000 aaaa | EFX Source 0 .127 | | 00 15 | 0aaa aaaa | EFX Parameter 8 0 .127 | | 00 08 | 0aaa aaaa | Performance Name 9 32 .7 *5 | | 00 29 | 0aaa aaaa | Reverb Level 0 . SINGLE PERFORMANCE.64 | | 00 35 | 0aaa aaaa | Voice Reserve 6 0 . 1–9. PITCH BEND.127 | | 00 03 | 0aaa aaaa | Performance Name 4 32 .127 | | 00 1C | 0aaa aaaa | EFX Chorus Send Level 0 . 6300. MODULATION.64 | | 00 37 | 0aaa aaaa | Voice Reserve 8 0 .64 | | 00 3B | 0aaa aaaa | Voice Reserve 12 0 . SYS-CTRL2.127 | | 00 25 | 0aaa aaaa | Chorus Pre-Delay 0 .127 | | 00 06 | 0aaa aaaa | Performance Name 7 32 . 3150.127 | | 00 17 | 0aaa aaaa | EFX Parameter 10 0 .127 | | 00 01 | 0aaa aaaa | Performance Name 2 32 .127 | | 00 10 | 0aaa aaaa | EFX Parameter 3 0 . 2500.127 | | 00 0A | 0aaa aaaa | Performance Name 11 32 .127 | | 00 1D | 0aaa aaaa | EFX Reverb Send Level 0 .10 *3 | | 00 21 | 0aaa aaaa | EFX Control Depth 2 0 . AFTERTOUCH MIX. 800.127 | | 00 11 | 0aaa aaaa | EFX Parameter 4 0 . STAGE1.126 (-63 .Performance +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | Performance Common 1-2-1 | | 10 00 | Performance Part 1 1-2-2 | | 11 00 | Performance Part 2 | | : | | | 1F 00 | Performance Part 16 | +——————————————————————————————————————————————————————————————————————————————+ q 1-2-1.127 | | 00 14 | 0aaa aaaa | EFX Parameter 7 0 .Performance Common +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0aaa aaaa | Performance Name 1 32 .127 | | 00 16 | 0aaa aaaa | EFX Parameter 9 0 .127 | | 00 0F | 0aaa aaaa | EFX Parameter 2 0 .+63)| | 00 22 | 0aaa aaaa | Chorus Level 0 .127 | | 00 2B | 000a aaaa | Reverb HF Damp 0 . MIX+REV ROOM1.1 *8 | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 42 | +——————————————————————————————————————————————————————————————————————————————+ *1 *2 *3 *4 *5 *6 *7 *8 PERFORM.127 | | 00 07 | 0aaa aaaa | Performance Name 8 32 . BYPASS LAYER. SYS-CTRL1.127 | |—————————————+———————————+————————————————————————————————————————————————————| |# 00 2D | 0000 aaaa | Performance Tempo 20 .127 | | 00 23 | 0aaa aaaa | Chorus Rate 0 .1 (OFF.250 | | | 0000 bbbb | | | 00 2F | 0000 000a | Keyboard Range Switch 0 .127 | | 00 26 | 0aaa aaaa | Chorus Feedback 0 .127 | | 00 04 | 0aaa aaaa | Performance Name 5 32 .10 *3 | | 00 1F | 0aaa aaaa | EFX Control Depth 1 0 .64 | | 00 31 | 0aaa aaaa | Voice Reserve 2 0 . 630.127 | | 00 09 | 0aaa aaaa | Performance Name 10 32 .64 | | 00 39 | 0aaa aaaa | Voice Reserve 10 0 .127 | | 00 13 | 0aaa aaaa | EFX Parameter 6 0 . SYSTEM 192 .64 | | 00 34 | 0aaa aaaa | Voice Reserve 5 0 . 250. 400. <DIRECT-2> OFF. REV.127 | | 00 2A | 0aaa aaaa | Reverb Time 0 . HALL1. PAN.

Patch Common +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0aaa aaaa | Patch Name 1 32 .1 (OFF.ON) | | 00 10 | 0000 000a | Receive Hold-1 Switch 0 .ON) | | 00 0F | 0000 000a | Receive Volume Switch 0 .127 | | 00 1B | 0aaa aaaa | EFX Chorus Send Level 0 .OFF) | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 19 | +——————————————————————————————————————————————————————————————————————————————+ *1 *2 *3 *4 *5 USER&PRESET.255 (001 .127 | | 00 09 | 0aaa aaaa | Patch Name 10 32 .254 (001 .17 *5 | | 00 2B | 0aaa aaaa | Delay Feedback 0 .127 | | 00 0C | 0aaa aaaa | Chorus Send Level 0 .1 (OFF.126 (-63 .127 | | 00 0B | 0aaa aaaa | Patch Name 12 32 .127 | | 00 14 | 0aaa aaaa | EFX Parameter 8 0 .+48)| | 00 09 | 0aaa aaaa | Part Fine Tune 0 .127 | | 00 08 | 0aaa aaaa | Patch Name 9 32 .127 | | 00 18 | 0aaa aaaa | EFX Parameter 12 0 .ON) | | 00 15 | 0000 000a | Transmit Switch 0 .127 | | 00 10 | 0aaa aaaa | EFX Parameter 4 0 .96 (-48 .MIDI Implementation q 1-2-2.256) | | XP-E | 2 | 1 .127 | | 00 16 | 0aaa aaaa | EFX Parameter 10 0 .127 | 0 .254 (001 .128) | | <CARD | 0 | 2 | 0 .127 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0C | 00aa aaaa | EFX Type 0 .127 | | 00 03 | 0aaa aaaa | Patch Name 4 32 .127 | 193 Appendices .127 (001 .127 | | 00 22 | 0aaa aaaa | Chorus Rate 0 .127 (001 .1 (OFF.127 | 0 .127 (001 .127 (001 . <DIRECT-2>.127 | | 00 0F | 0aaa aaaa | EFX Parameter 3 0 . <DIRECT-1>.15 (1 .2 *1 -> | | 00 03 | 0aaa aaaa | Patch Group ID 0 .127 | | 00 17 | 0aaa aaaa | EFX Parameter 11 0 .127 | 0 .127 | | 00 2A | 000a aaaa | Reverb HF Damp 0 .256)| | 00 06 | 0aaa aaaa | Part Level 0 .10 | | 00 20 | 0aaa aaaa | EFX Control Depth 2 0 .127 | | 00 26 | 0000 00aa | Chorus Output 0 . GROUP1–GROUP7 +———————————————————————————————————————————————————————————+ | Patch Group | Group Type | Group ID | Number (value) | |—————————————+————————————+——————————+—————————————————————| | USER | 0 | 1 | 0 . EXP MIX.128)>| |XP-A(Session)| 2 | 9 | 0 .1 (OFF.127 | | 00 04 | 0aaa aaaa | Patch Name 5 32 .127 (001 .127 | | 00 15 | 0aaa aaaa | EFX Parameter 9 0 .127 | | 00 23 | 0aaa aaaa | Chorus Depth 0 .2 *3 | | 00 27 | 0000 0aaa | Reverb Type 0 .127 *4 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 13 | 0000 0aaa | Octave Shift 0 .40) | | 00 0D | 0aaa aaaa | EFX Parameter 1 0 .39 (1 .7 *4 | | 00 28 | 0aaa aaaa | Reverb Level 0 .127 | | 00 05 | 0aaa aaaa | Patch Name 6 32 .4 *2 | | 00 0B | 0aaa aaaa | Mix/EFX Send Level 0 .255 (001 .127 | | 00 06 | 0aaa aaaa | Patch Name 7 32 .63R)| | 00 08 | 0aaa aaaa | Part Coarse Tune 0 .255 -> | | | 0000 bbbb | (001 .127 *3 | | 00 12 | 0aaa aaaa | Keyboard Range Upper 0 .100 (-50 .255 (001 .127 | | 00 19 | 0000 00aa | EFX Output Assign 0 .256) | | XP-D | 2 | 1 .127 | | 00 02 | 0aaa aaaa | Patch Name 3 32 .2 *1 | | 00 1A | 0aaa aaaa | EFX Mix Out Send Level 0 .+3) | | 00 14 | 0000 000a | Local Switch 0 .7 *5 | |# 00 17 | 0000 aaaa | Transmit Volume 0 .1 (OFF.127 | | 00 07 | 0aaa aaaa | Part Pan 0 .+63)| | 00 1F | 0000 aaaa | EFX Control Source 2 0 .127 | | 00 12 | 0aaa aaaa | EFX Parameter 6 0 .+63)| | 00 21 | 0aaa aaaa | Chorus Level 0 . <PCM>.128 | | | 0000 bbbb | (0 .128) | | PR-E | 0 | 7 | 0 .127.ON) | | 00 16 | 0000 0aaa | Transmit Bank Select Group 0 .127 (001 .127 (001 .+50)| | 00 0A | 0000 0aaa | Output Assign 0 .127 -> | |# 00 04 | 0000 aaaa | Patch Number 0 .127 | | 00 07 | 0aaa aaaa | Patch Name 8 32 .Patch +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | Patch Common 1-3-1 | | 10 00 | Patch Tone 1 1-3-2 | | 12 00 | Patch Tone 2 | | 14 00 | Patch Tone 3 | | 16 00 | Patch Tone 4 | +——————————————————————————————————————————————————————————————————————————————+ q 1-3-1.128) | | PR-B | 0 | 4 | 0 .ON) | | 00 01 | 0000 aaaa | MIDI Channel 0 .128) | | PR-D | 0 | 6 | 0 .256) | +———————————————————————————————————————————————————————————+ q 1-3.128) | | PR-C | 0 | 5 | 0 .127 | | 00 11 | 0aaa aaaa | EFX Parameter 5 0 .6 (-3 .255) | | XP-C(Techno)| 2 | 11 | 0 .127 | | 00 0E | 0aaa aaaa | EFX Parameter 2 0 .ON) | | 00 11 | 0aaa aaaa | Keyboard Range Lower 0 .127 | | 00 29 | 0aaa aaaa | Reverb Time 0 .) | 2 | 2 | 0 .255) | | XP-B(Orch.127 | | 00 24 | 0aaa aaaa | Chorus Pre-Delay 0 . EFX.127 (L64 .127 | | 00 13 | 0aaa aaaa | EFX Parameter 7 0 .10 *2 | | 00 1E | 0aaa aaaa | EFX Control Depth 1 0 .127 | | 00 01 | 0aaa aaaa | Patch Name 2 32 .127 | | 00 0D | 0aaa aaaa | Reverb Send Level 0 .127 | | 00 25 | 0aaa aaaa | Chorus Feedback 0 .Performance Part +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 000a | Receive Switch 0 .127 | | 00 0E | 0000 000a | Receive Program Change Switch 0 .128)>| | PR-A | 0 | 3 | 0 .126 (-63 . PATCH C-1–Upper Lower–G9 PATCH.127 (001 .1 (OFF.127 | | 00 1D | 0000 aaaa | EFX Control Source 1 0 .127 | | 00 0A | 0aaa aaaa | Patch Name 11 32 .127 | | 00 1C | 0aaa aaaa | EFX Reverb Send Level 0 .128) | | <PCM | 1 | 1 .16) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 02 | 0000 00aa | Patch Group Type 0 .

Patch Tone +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 000a | Tone Switch 0 . ORGAN. PEAK LAST. LOUDEST 0.3)| | 00 43 | 0000 000a | Voice Priority 0 . MIX+REV ROOM1.1 *10 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 44 | 0000 aaaa | Structure Type 1&2 0 .254 (001 .126 (-63 .+63)| | 00 21 | 000a aaaa | Controller 2 Destination 3 0 .+63)| +———————————————————————————————————————————————————————————+ | Wave Group | Group Type | Group ID | Number (value) | |—————————————+————————————+——————————+—————————————————————| | INT-A | 0 | 1 | 0 . 1600.ON) | | 00 11 | 0000 000a | Volume Control Switch 0 .127 *5 | | 00 0E | 0aaa aaaa | Keyboard Range Lower 0 . 6300.GUITAR. STAGE2. PULSATING.+63)| | 00 17 | 000a aaaa | Controller 1 Destination 2 0 . OTHER SYNTH. 630.ON) | | 00 13 | 0000 000a | Pitch Bend Control Switch 0 . EL. 500.126 (-63 .ON) | | 00 36 | 0000 000a | Portamento Mode 0 .255) | +———————————————————————————————————————————————————————————+ 194 .127 | | 00 31 | 0000 aaaa | Bend Range Up 0 . AC.+63)| | 00 1B | 000a aaaa | Controller 1 Destination 4 0 .16) | | 00 09 | 0000 0aaa | Tone Delay Mode 0 .254 (001 .+63)| | 00 27 | 000a aaaa | Controller 3 Destination 2 0 .192 (001 .127 | | 00 3A | 0000 aaaa | Patch Control Source 2 0 . PAN-DLY 200.127 *4 | | 00 0D | 0aaa aaaa | Velocity Range Upper 1 .ON) | | 00 12 | 0000 000a | Hold-1 Control Switch 0 . <DIRECT-2> OFF.255)>| |XP-A(Session)| 2 | 9 | 0 . 315.1 (OFF.126 (-63 . SYS-CTRL2.127 | 0 . SYSTEM NO ASSIGN.PIANO.250 | | | 0000 bbbb | | | 00 2E | 0aaa aaaa | Patch Level 0 .126 (-63 . LFO1.18 *9 | | 00 22 | 0aaa aaaa | Controller 2 Depth 3 0 .1 (OFF. PAN. 5000. SAX.18 *9 | | 00 2A | 0aaa aaaa | Controller 3 Depth 3 0 .18 *9 | | 00 16 | 0aaa aaaa | Controller 1 Depth 1 0 . DIST.126 (-63 .173 (001 . 3150. STRINGS.3 *11 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 48 | 0000 000a | Clock Source 0 .+63)| | 00 19 | 000a aaaa | Controller 1 Destination 3 0 . 8000.3 (1 . REV.2 *9 | | 00 3F | 0000 00aa | Control 3 Hold/Peak 0 . 400.255) | | INT-B | 0 | 2 | 0 .10) | | 00 47 | 0000 00aa | Booster 3&4 0 .2 *9 | | 00 3E | 0000 00aa | Control 2 Hold/Peak 0 . 4000. PITCH BEND.4) | | 00 08 | 0000 aaaa | FXM Depth 0 .PIANO. +12.ON) | | 00 41 | 0000 0aaa | Octave Shift 0 .1 (OFF.127 *6 | | 00 0F | 0aaa aaaa | Keyboard Range Upper 0 . PITCH BEND. VOX.MIDI Implementation |—————————————+———————————+————————————————————————————————————————————————————| |# 00 2C | 0000 aaaa | Patch Tempo 20 . DRUMS. 1000. LEGATO PITCH.126 (-63 .ON) | | 00 14 | 0000 00aa | Pan Control Switch 0 .127 -> | |# 00 03 | 0000 aaaa | Wave Number 0 .126 (-63 . 250.9 (1 .1 *12 | | 00 49 | 0aaa aaaa | Patch Category 0 .18 *9 | | 00 1E | 0aaa aaaa | Controller 2 Depth 1 0 .206) | | XP-B(Orch. ETHNIC.6 (-3 .255) | | XP-E | 2 | 1 .3 *2 | | 00 06 | 0000 000a | FXM Switch 0 .127 | | 00 0C | 0aaa aaaa | Velocity Range Lower 1 .126 (-63 . BREATH.2 *1 -> | | 00 02 | 0aaa aaaa | Wave Group ID 0 .7 *3 | | 00 0A | 0aaa aaaa | Tone Delay Time 0 . BRIGHT PAD. BREATH.255) | | XP-D | 2 | 1 . ACCORDION.12 | | 00 32 | 00aa aaaa | Bend Range Down 0 .9 (1 . VOLUME.+63)| | 00 29 | 000a aaaa | Controller 3 Destination 3 0 . SYS-CTRL2. ORCHESTRA.1 (RATE.2 *9 | | 00 40 | 0000 000a | Velocity Range Switch 0 . BEAT&GROOVE.BRASS. +6.18 *9 | | 00 26 | 0aaa aaaa | Controller 3 Depth 1 0 . KEYBOARDS.+63)| | 00 25 | 000a aaaa | Controller 3 Destination 1 0 . HOLD.18 *9 | | 00 28 | 0aaa aaaa | Controller 3 Depth 2 0 . AFTERTOUCH. SYNTH FX. FOOT. PLUCKED. HALL2.) | 2 | 2 | 0 .193) | | <PCM | 1 | 1 .1 *6 | | 00 37 | 0000 000a | Portamento Type 0 . FLUTE. HARMONICA. BYPASS NORMAL. PAN. COMBINATION (0–38) q 1-3-2.15 *8 | | 00 3C | 0000 00aa | EFX Control Hold/Peak 0 .15 (1 .18 *9 | | 00 24 | 0aaa aaaa | Controller 2 Depth 4 0 . NOTE OFF.+63)| | 00 1F | 000a aaaa | Controller 2 Destination 2 0 . MODULATION.254 -> | | | 0000 bbbb | (001 .GUITAR. LFO2.+63)| | 00 23 | 000a aaaa | Controller 2 Destination 4 0 .127 | 0 .255)| | 00 05 | 0000 00aa | Wave Gain 0 . EL.+63)| | 00 1D | 000a aaaa | Controller 2 Destination 1 0 .48 (0 . SYS-CTRL1.2 *9 | | 00 3D | 0000 00aa | Control 1 Hold/Peak 0 . 2000. PLAYMATE OFF. SYS-CTRL1.2 *8 | | 00 15 | 000a aaaa | Controller 1 Destination 1 0 . +18 PATCH. MODULATION.126 (-63 . SYNTH BASS.GUITAR.18 *9 | | 00 18 | 0aaa aaaa | Controller 1 Depth 2 0 . ROOM2. 800.18 *9 | | 00 20 | 0aaa aaaa | Controller 2 Depth 2 0 .1 (OFF.1 (POLY.174) | | XP-C(Techno)| 2 | 11 | 0 .3 *11 | | 00 46 | 0000 aaaa | Structure Type 3&4 0 .126 (-63 .-48) | | 00 33 | 0000 000a | Key Assign Mode 0 .127 | | 00 2F | 0aaa aaaa | Patch Pan 0 .+3) | | 00 42 | 0000 00aa | Stretch Tune Depth 0 . 1250. HIT&STAB.1 (OFF. TECHNO SYNTH.1 .126 (-63 .127 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0B | 0aaa aaaa | Velocity Cross Fade 0 .ON) | | 00 35 | 0000 000a | Portamento Switch 0 .1 *7 | | 00 39 | 0aaa aaaa | Portamento Time 0 .1 (OFF. 2500.126 (-63 .127 | 0 . AC. FRETTED.63R)| | 00 30 | 0aaa aaaa | Analog Feel 0 .127 *13 | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 4A | +——————————————————————————————————————————————————————————————————————————————+ *1 *2 *3 *4 *5 *6 *7 *8 *9 *10 *11 *12 *13 MIX. AFTERTOUCH MIX.+63)| | 00 2B | 000a aaaa | Controller 3 Destination 4 0 . SOUND FX. STAGE1. SOFT PAD. <DIRECT-1>. KEYFOLLOW.1 (OFF. EXPRESSION.15 *8 | | 00 3B | 0000 aaaa | Patch Control Source 3 0 .254 (001 . WIND. BASS.1 (OFF. EXPRESSION. FOOT. MALLET. VOLUME.TIME)| | 00 38 | 0000 000a | Portamento Start 0 . SYNTH BRASS. BELL.18 *9 | | 00 1C | 0aaa aaaa | Controller 1 Depth 4 0 .10) | | 00 45 | 0000 00aa | Booster 1&2 0 .18 *9 | | 00 2C | 0aaa aaaa | Controller 3 Depth 4 0 .SOLO)| | 00 34 | 0000 000a | Solo Legato 0 .205 (001 .18 *9 | | 00 1A | 0aaa aaaa | Controller 1 Depth 3 0 . HALL1.254 (001 . HARD LEAD.127 *7 | | 00 10 | 0000 000a | Redamper Control Switch 0 . DELAY. AC. PERCUSSION.ON) | | 00 07 | 0000 00aa | FXM Color 0 .1 (OFF. SOFT LEAD.ON) | | 00 01 | 0000 00aa | Wave Group Type 0 .3 (OFF. VELOCITY.127 (L64 .254 (001 .

<TAP> 0.4 *11 | | 00 39 | 0aaa aaaa | LFO2 Delay Time 0 . L2R TRI.14 *17 | | 00 5A | 0000 aaaa | Filter Envelope Time Keyfollow 0 . 0.127 | | 00 3C | 0000 00aa | LFO2 External Sync 0 .+63)| | 00 76 | 0aaa aaaa | Level LFO2 Depth 0 . FL2.127 | | 00 5D | 0aaa aaaa | Filter Envelope Time 3 0 .6 (1 . KEY-OFF-D.1 (OFF. 300. 10. KEY-OFF-OUT OFF. FL1.7) | | 00 6A | 0aaa aaaa | Level Envelope Velocity Sens 0 .14 *17 | | 00 6D | 0000 aaaa | Level Envelope Time Keyfollow 0 . +50.127 | | 00 49 | 0aaa aaaa | Pitch Envelope Time 4 0 . 500.15 *15 | | 00 41 | 000a aaaa | Pitch Envelope Depth 0 .+63)| | 00 77 | 0aaa aaaa | Tone Pan 0 .127 | | 00 30 | 0000 0aaa | LFO1 Offset 0 .126 (-63 .63 | | 00 7A | 0aaa aaaa | Alternate Pan Depth 1 .127 | | 00 5E | 0aaa aaaa | Filter Envelope Time 4 0 .127 | | 00 66 | 0000 00aa | Bias Direction 0 . <PCM>.96 (-48 . AL2.3 *20 | | 00 7E | 0aaa aaaa | Mix/EFX Send Level 0 .14 *17 | | 00 69 | 0000 0aaa | Level Envelope Velocity Curve 0 . 1200 -100. +40.126 (-63 .63R)| |—————————————+———————————+————————————————————————————————————————————————————| | 00 7D | 0000 00aa | Output Assign 0 . +70. +12 NORMAL.127 | | 00 4A | 0aaa aaaa | Pitch Envelope Level 1 0 . 9. 30.127 | | 00 61 | 0aaa aaaa | Filter Envelope Level 3 0 . 0.ON) | | 00 2F | 0aaa aaaa | LFO1 Rate 0 .2 *13 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 3D | 0aaa aaaa | Coarse Tune 0 .14 *17 | | 00 59 | 0000 aaaa | Filter Envelope Velocity Time4 0 . 1100.127 | | 00 63 | 0aaa aaaa | Filter LFO1 Depth 0 .127 | | 00 47 | 0aaa aaaa | Pitch Envelope Time 2 0 .127 | | 00 5C | 0aaa aaaa | Filter Envelope Time 2 0 . 4.127 (C-1 .+63)| | 00 4D | 0aaa aaaa | Pitch Envelope Level 4 0 . 6.63R)| | 00 78 | 0000 aaaa | Pan Keyfollow 0 .125 *16 | | 00 55 | 0aaa aaaa | Filter Envelope Depth 0 .30 *14 | | 00 40 | 0000 aaaa | Pitch Keyfollow 0 .127 | | 00 48 | 0aaa aaaa | Pitch Envelope Time 3 0 .125 *16 | | 00 43 | 0000 aaaa | Pitch Envelope Velocity Time1 0 . 80.2 *13 | | 00 35 | 0000 0aaa | LFO2 Waveform 0 .127 | | 00 60 | 0aaa aaaa | Filter Envelope Level 2 0 . +30.+63)| | 00 56 | 0000 0aaa | Filter Envelope Velocity Curve 0 .3 *12 | | 00 3B | 0aaa aaaa | LFO2 Fade Time 0 .127 | | 00 7F | 0aaa aaaa | Chorus Send Level 0 . 20.3 *19 | | 00 67 | 0aaa aaaa | Bias Position 0 .1 (OFF.G9) | | 00 68 | 0000 aaaa | Bias Level 0 .127 | | 00 3A | 0000 00aa | LFO2 Fade Mode 0 .127 | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 01 01 | +——————————————————————————————————————————————————————————————————————————————+ *1 *2 *3 *4 *5 *6 *7 *8 *9 *10 *11 *12 *13 *14 *15 INT. TEMPO-SYNC 1–Upper Lower–127 C-1–Upper Lower–G9 OFF. +200 195 Appendices . pL1.24 (-12 .4 *11 | | 00 31 | 0aaa aaaa | LFO1 Delay Time 0 .126 (-63 . 50. +10. +100 KEY-ON-IN.126 (-63 .127 | | 00 70 | 0aaa aaaa | Level Envelope Time 3 0 .+63)| |—————————————+———————————+————————————————————————————————————————————————————| | 00 50 | 0000 0aaa | Filter Type 0 . KEY-ON OFF. MIX. S&H. 200.+63)| |—————————————+———————————+————————————————————————————————————————————————————| | 00 65 | 0aaa aaaa | Tone Level 0 . SAW. 700. RES.127 | | 00 74 | 0aaa aaaa | Level Envelope Level 3 0 .126 (-63 . TRP.14 *17 | | 00 45 | 0000 aaaa | Pitch Envelope Time Keyfollow 0 . KEY-ON-OUT.127 | | 00 62 | 0aaa aaaa | Filter Envelope Level 4 0 . +120. 0. RND.14 *17 | | 00 44 | 0000 aaaa | Pitch Envelope Velocity Time4 0 .14 *17 | | 00 6C | 0000 aaaa | Level Envelope Velocity Time4 0 .126 (-63 . 1000.127 | | 00 54 | 0aaa aaaa | Resonance Velocity Sens 0 .125 *16 | | 00 6B | 0000 aaaa | Level Envelope Velocity Time1 0 . 70. CLOCK-SYNC.7 *10 | | 00 36 | 0000 000a | LFO2 Key Sync 0 .127 | | 00 5F | 0aaa aaaa | Filter Envelope Level 1 0 .+63)| | 00 64 | 0aaa aaaa | Filter LFO2 Depth 0 . 8.126 (-63 .126 (-63 .63R)| | 00 7C | 0aaa aaaa | Pan LFO2 Depth 0 .126 (L63 .7) | | 00 57 | 0aaa aaaa | Filter Envelope Velocity Sens 0 .127 | | 00 38 | 0000 0aaa | LFO2 Offset 0 .127 | | 00 6F | 0aaa aaaa | Level Envelope Time 2 0 . 900. L1R. pL2. 5. 90. +100.ON) | | 00 37 | 0aaa aaaa | LFO2 Rate 0 .126 (-63 .127 (L63 .+48)| | 00 3E | 0aaa aaaa | Fine Tune 0 . 100. 60.126 (-63 .127 | | 00 73 | 0aaa aaaa | Level Envelope Level 2 0 . SQR. <TAP-SYNC>. 1.+50)| | 00 3F | 000a aaaa | Random Pitch Depth 0 . PL1.+63)| | 00 4C | 0aaa aaaa | Pitch Envelope Level 3 0 .127 | | 00 52 | 0000 aaaa | Cutoff Keyfollow 0 . LEV. -50.127 (L64 .127 | | 00 75 | 0aaa aaaa | Level LFO1 Depth 0 . -50. PCH.14 *17 | | 00 6E | 0aaa aaaa | Level Envelope Time 1 0 . CUT.126 (L63 . 40. EXP -6.+12)| | 00 42 | 0aaa aaaa | Pitch Envelope Velocity Sens 0 .127 | | 00 32 | 0000 00aa | LFO1 Fade Mode 0 . KEY-OFF-IN.14 *17 | | 00 46 | 0aaa aaaa | Pitch Envelope Time 1 0 . KEY-OFF-N.127 | | 00 71 | 0aaa aaaa | Level Envelope Time 4 0 .15 *15 | | 00 53 | 0aaa aaaa | Resonance 0 . REV. 2.+63)| | 00 4E | 0aaa aaaa | Pitch LFO1 Depth 0 . 400. PLAYMATE.6 (1 . -70. CLOCK.3 *12 | | 00 33 | 0aaa aaaa | LFO1 Fade Time 0 .127 | | 00 34 | 0000 00aa | LFO1 External Sync 0 . +20. +6.126 (-63 . PAN. 7. HOLD.4 *18 | | 00 51 | 0aaa aaaa | Cutoff Frequency 0 . 3.MIDI Implementation |—————————————+———————————+————————————————————————————————————————————————————| | 00 2D | 0000 0aaa | LFO1 Waveform 0 .127 | | 00 72 | 0aaa aaaa | Level Envelope Level 1 0 .14 *17 | | 00 79 | 00aa aaaa | Random Pan Depth 0 . AL1. SIN. +50. PL2. 600. +150. CONTINUOUS. -30. -10.100 (-50 .+63)| | 00 4F | 0aaa aaaa | Pitch LFO2 Depth 0 .+63)| | 00 4B | 0aaa aaaa | Pitch Envelope Level 2 0 .7 *10 | | 00 2E | 0000 000a | LFO1 Key Sync 0 .14 *17 | | 00 5B | 0aaa aaaa | Filter Envelope Time 1 0 . CHS -100. 800.63R)| | 00 7B | 0aaa aaaa | Pan LFO1 Depth 0 .127 | | 01 00 | 0aaa aaaa | Reverb Send Level 0 .125 *16 | | 00 58 | 0000 aaaa | Filter Envelope Velocity Time1 0 . CHO.

127 | | 00 15 | 0aaa aaaa | Pitch Envelope Time 4 0 . -70.255) | | XP-D | 2 | 1 .205 (001 . EFX.2 *1 -> | | 00 02 | 0aaa aaaa | Wave Group ID 0 .ON) | | 00 0B | 0000 00aa | Pan Control Switch 0 . HPF.2 *4 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0C | 0aaa aaaa | Coarse Tune 0 .63R)| | 00 34 | 00aa aaaa | Random Pan Depth 0 . 0. -10.4 *8 | | 00 1B | 0aaa aaaa | Cutoff Frequency 0 .G9) | | 00 0D | 0aaa aaaa | Fine Tune 0 . +30.127 | | 00 2D | 0aaa aaaa | Level Envelope Time 2 0 . ALL MIX.31 (OFF.+63)| | 00 1F | 0aaa aaaa | Filter Envelope Velocity Sens 0 .Rhythm Common +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0aaa aaaa | Rhythm Name 1 32 .100 (-50 .127 | | 00 30 | 0aaa aaaa | Level Envelope Level 1 0 . -20.127 | | 00 09 | 0aaa aaaa | Rhythm Name 10 32 .127 | 0 .127 | | 00 06 | 0aaa aaaa | Rhythm Name 7 32 .+63)| |—————————————+———————————+————————————————————————————————————————————————————| | 00 1A | 0000 0aaa | Filter Type 0 .127 | | 00 08 | 0aaa aaaa | Rhythm Name 9 32 .) | 2 | 2 | 0 .254 (001 .Rhythm Setup +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | Rhythm Common 1-4-1 | | 23 00 | Rhythm Note for Key# 35 1-4-2 | | 24 00 | Rhythm Note for Key# 36 | | : | | | 62 00 | Rhythm Note for Key# 98 | +——————————————————————————————————————————————————————————————————————————————+ q 1-4-1.127 | | 00 38 | 0aaa aaaa | Chorus Send Level 0 .127 | | 00 1D | 0aaa aaaa | Resonance Velocity Sens 0 .127 | | 00 24 | 0aaa aaaa | Filter Envelope Time 4 0 .127 | | 00 01 | 0aaa aaaa | Rhythm Name 2 32 .125 *6 | | 00 11 | 0000 aaaa | Pitch Envelope Velocity Time 0 .127 | 0 . BPF.255) | +———————————————————————————————————————————————————————————+ 196 . -30. -40.1 (OFF.127 | 0 .127 (L64 . +40.127 (C-1 .126 (-63 .127 | | 00 23 | 0aaa aaaa | Filter Envelope Time 3 0 .127 | | 00 28 | 0aaa aaaa | Filter Envelope Level 4 0 .127 | | 00 32 | 0aaa aaaa | Level Envelope Level 3 0 .127 | | 00 02 | 0aaa aaaa | Rhythm Name 3 32 .254 (001 .ON) | | 00 01 | 0000 00aa | Wave Group Type 0 .127 | | 00 22 | 0aaa aaaa | Filter Envelope Time 2 0 .174) | | XP-C(Techno)| 2 | 11 | 0 .127 | | 00 03 | 0aaa aaaa | Rhythm Name 4 32 . LPF.255)>| |XP-A(Session)| 2 | 9 | 0 . +100 OFF.+63)| | 00 17 | 0aaa aaaa | Pitch Envelope Level 2 0 .125 *6 | | 00 1E | 0aaa aaaa | Filter Envelope Depth 0 . UPPER.125 *6 | | 00 20 | 0000 aaaa | Filter Envelope Velocity Time 0 .63 | | 00 35 | 0aaa aaaa | Alternate Pan Depth 1 .1 (OFF.127 | | 00 2E | 0aaa aaaa | Level Envelope Time 3 0 .192 (001 .126 (-63 .125 *6 | | 00 2B | 0000 aaaa | Level Envelope Velocity Time 0 .14 *7 | | 00 21 | 0aaa aaaa | Filter Envelope Time 1 0 . <DIRECT-1>.254 -> | | | 0000 bbbb | (001 . +50.127 | | 00 0B | 0aaa aaaa | Rhythm Name 12 32 .255) | | 00 05 | 0000 00aa | Wave Gain 0 .Rhythm Note +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Size | Description Data (Value) | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 000a | Tone Switch 0 .+63)| | 00 19 | 0aaa aaaa | Pitch Envelope Level 4 0 . LOWER&UPPER. PKG LOWER.255) | | INT-B | 0 | 2 | 0 .127 | | 00 31 | 0aaa aaaa | Level Envelope Level 2 0 . -50.193) | | <PCM | 1 | 1 .127 | | 00 07 | 0aaa aaaa | Rhythm Name 8 32 .3 *2 | | 00 06 | 0000 aaaa | Bend Range 0 .63R)| |—————————————+———————————+————————————————————————————————————————————————————| | 00 36 | 0000 00aa | Output Assign 0 .254 (001 .14 *7 | | 00 2C | 0aaa aaaa | Level Envelope Time 1 0 .127 -> | |# 00 03 | 0000 aaaa | Wave Number 0 .12 | | 00 07 | 000a aaaa | Mute Group 0 .126 (-63 .127 | | 00 2F | 0aaa aaaa | Level Envelope Time 4 0 . +70. <DIRECT-2> q 1-4.254 (001 .127 (L63 .127 | | 00 39 | 0aaa aaaa | Reverb Send Level 0 .173 (001 .1 (OFF.127 | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 0C | +——————————————————————————————————————————————————————————————————————————————+ q 1-4-2.31)| | 00 08 | 0000 000a | Envelope Mode 0 .206) | | XP-B(Orch.127 | | 00 1C | 0aaa aaaa | Resonance 0 .127 | | 00 13 | 0aaa aaaa | Pitch Envelope Time 2 0 .127 | | 00 26 | 0aaa aaaa | Filter Envelope Level 2 0 .127 | | 00 33 | 0aaa aaaa | Tone Pan 0 . +10.+12)| | 00 10 | 0aaa aaaa | Pitch Envelope Velocity Sens 0 .126 (-63 .127 | |—————————————+————————————————————————————————————————————————————————————————| |Total size | 00 00 00 3A | +——————————————————————————————————————————————————————————————————————————————+ +———————————————————————————————————————————————————————————+ | Wave Group | Group Type | Group ID | Number (value) | |—————————————+————————————+——————————+—————————————————————| | INT-A | 0 | 1 | 0 . +20.127 | | 00 2A | 0aaa aaaa | Level Envelope Velocity Sens 0 .+63)| | 00 18 | 0aaa aaaa | Pitch Envelope Level 3 0 .255) | | XP-E | 2 | 1 .127 | | 00 27 | 0aaa aaaa | Filter Envelope Level 3 0 .14 *7 | | 00 12 | 0aaa aaaa | Pitch Envelope Time 1 0 .127 | | 00 14 | 0aaa aaaa | Pitch Envelope Time 3 0 .127 | | 00 25 | 0aaa aaaa | Filter Envelope Level 1 0 .127 | | 00 16 | 0aaa aaaa | Pitch Envelope Level 1 0 .127 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 29 | 0aaa aaaa | Tone Level 0 .127 | | 00 05 | 0aaa aaaa | Rhythm Name 6 32 .30 *5 | | 00 0F | 000a aaaa | Pitch Envelope Depth 0 .24 (-12 .+50)| | 00 0E | 000a aaaa | Random Pitch Depth 0 .ON) | | 00 0A | 0000 000a | Hold-1 Control Switch 0 .254 (001 .1 *3 | | 00 09 | 0000 000a | Volume Control Switch 0 .MIDI Implementation *16 *17 *18 *19 *20 -100–+150 -100.127 | | 00 04 | 0aaa aaaa | Rhythm Name 5 32 .127 | | 00 0A | 0aaa aaaa | Rhythm Name 11 32 .1 .3 *9 | | 00 37 | 0aaa aaaa | Mix/EFX Send Level 0 .126 (-63 .

...... | Note# 98 | : : . 4......+——————————+ . | : | ..... | USER:128 | .. LPF. -40. +——————————+.....+——————————+.+——————————+ ..+———————+ |Scale tune | | Part 1 | | 1-1-2 | +——————————————————+.. 20.+———————+ : : .. +30.... +6. | Part 16 | : : . 500.+———————+ +——————————————————+.. <PCM>.... +——————————+...... | : | . 1200 -100–+150 -100.. EXP -6. 600..+———————+ +——————————————————+.. +——————————+ : : . +——————————+.... +——————————+..+———————+ | Performance mode | | Part 1 | | Common | | 1-3-1 | | temporary patch | +——————————+..... SUSTAIN OFF.. | Tone 4 | : : . | Note# 98 | : : ...+———————+ | System common | | 1-1-1 | +——————————————————+......+———————+ +——————————————————+.... | Note# 35 | | 1-4-2 | : : +——————————+ .... 3.......... +70.MIDI Implementation *1 *2 *3 *4 *5 *6 *7 *8 *9 INT. | : | : : ...... +20.....+———————+ | Temporary | | Common | | 1-4-1 | | rhythm setup | +——————————+.... | Tone 1 | | 1—3—2 | : : ... 60. +——————————+..... | USER:2 | .... +——————————+ : : ............... 1100... +——————————+.+———————+ | Performance mode | | Part 11 | | Common | | 1-3-1 | | temporary patch | +——————————+.+———————+ | User | | USER:1 | | Common | | 1-4-1 | | rhythm setup | +——————————+.. 0.... +——————————+ : : .........+——————————+ .+——————————+ 03 00 00 00 +——————————————————+....+———————+ +——————————————————+........ 90. +——————————+... | Tone 4 | : : . 700. +10.+——————————+. +40.... +——————————+ : : ....... +——————————+.+———————+ : : ... 1000.... 10. 900.. EFX.. | Part 16 | : : . PKG MIX.+——————————+. +——————————+ : : . | Part 9 | ....+——————————+. | Part 16 | . +——————————+.............+———————+ +——————————————————+.. +——————————+ : : ...+———————+ : : .... 100. 800.......+——————————+ 11 00 00 00 +——————————————————+......... | : | : : .+———————+ +——————————————————+.............. +——————————+ : : ...+——————————+ 01 00 00 00 +——————————————————+... 8...+———————+ : : ... 6........ +——————————+ : : .. 7. -20.... KEY-ON 0....+——————————+.+——————————+. 40... +——————————+....... -50.+——————————+........ HPF. 400...... +——————————+ : : ....+———————+ +——————————————————+.... | Part 1 | | 1—2—2 | : : .. 0....+———————+ : : .+———————+ : : ..... +——————————+. 50... | Patch | : : .... | Tone 1 | | 1—3—2 | : : ........ +——————————+ ..+———————+ | User | | USER:001 | | Common | | 1-3-1 | | patch | +——————————+... +——————————+........ +——————————+.+——————————+ 197 Appendices . 1.. | USER:32 | ...+——————————+............+——————————+ .. | Note# 35 | | 1-4-2 | : : ........ <DIRECT-2> s Address Block Map The following is an outline of the address map for Exclusive messages.... <DIRECT-1>.+———————+ : : ..+——————————+............+———————+ : : ........... +——————————+ : : ..+——————————+... +100 OFF......... Address(H) Block Sub Block Reference =========== ==================== =========================== ========= 00 00 00 00 +——————————————————+.. BPF..+———————+ | Temporary | | Common | | 1-2-1 | | performance | +——————————+....... 200..+——————————+ 02 00 00 00 +——————————————————+. +——————————+..+——————————+. +——————————+ .. +——————————+.. +——————————+..+———————+ : : .......+———————+ : : . +——————————+. +12 NO-SUS... 5. +——————————+....+——————————+ 10 00 00 00 +——————————————————+.+———————+ : : ..+——————————+..... | : | : : .. +——————————+.. -30. | : | ........+———————+ : : .......... -10. +——————————+..... | Part 16 | : : .......+———————+ : : .....+———————+ +——————————————————+... | : | : : .. | : | : : .....+———————+ | Patch mode | | Common | | 1-3-1 | | temporary patch | +——————————+..+——————————+ 02 0A 00 00 +——————————————————+....... | Tone 4 | : : .. 9.. +——————————+.+———————+ +——————————————————+..+———————+ : : . | : | : : . +——————————+ : : .. 300....... +50. CONTINUOUS..... -70. | : | ..........+———————+ | User | | USER:01 | | Common | | 1-2-1 | | performance | +——————————+. 2... | : | : : . | Part 1 | | 1-2-2 | : : .+——————————+..... | : | : : ...... | Tone 1 | | 1—3—2 | : : ......+——————————+ 02 09 00 00 +——————————————————+... +——————————+ .... +——————————+ .. 80.+———————+ : : ... 30..+———————+ : : ... | Tone 1 | | 1-3-2 | : : . +——————————+......+——————————+.+———————+ : : .+——————————+ 10 40 00 00 +——————————————————+........ +——————————+ .... 70... | Tone 4 | : : . | : | : : .....

+63) | | 46 | 0aaa aaaa | Scale Tune for F# 0 .+63) | | 41 | 0aaa aaaa | Scale Tune for C# 0 . i. 198 .127 | | | | (-64 .127 | | | | (-64 .127 | | | | (-64 . the starting address of the message must be the Start address of each Part (the address of Scale Tune C.127 | | | | (-64 .MIDI Implementation 2.+63) | | 42 | 0aaa aaaa | Scale Tune for D 0 .e.127 | | | | (-64 .127 | | | | (-64 .127 | | | | (-64 .+63) | |—————————————+———————————————————————————————————————————————————————————————| |Total Size | 00 00 0C | +—————————————————————————————————————————————————————————————————————————————+ * In order for a GS Exclusive message to be correctly received by the XP-30. GS (Model ID = 42H) +—————————————————————————————————————————————————————————————————————————————+ | Start | | | address | Description | |—————————————+———————————————————————————————————————————————————————————————| | 40 10 00 | Scale Tune Part10 2-1 | | 40 11 00 | : Part1 | | 40 12 00 | : Part2 | | 40 13 00 | : Part3 | | 40 14 00 | : Part4 | | 40 15 00 | : Part5 | | 40 16 00 | : Part6 | | 40 17 00 | : Part7 | | 40 18 00 | : Part8 | | 40 19 00 | : Part9 | | 40 1A 00 | : Part11 | | 40 1B 00 | : Part12 | | 40 1C 00 | : Part13 | | 40 1D 00 | : Part14 | | 40 1E 00 | : Part15 | | 40 1F 00 | : Part16 | +—————————————————————————————————————————————————————————————————————————————+ q 2-1..127 | | | | (-64 .127 | | | | (-64 .+63) | | 4A | 0aaa aaaa | Scale Tune for A# 0 .+63) | | 45 | 0aaa aaaa | Scale Tune for F 0 .+63) | | 47 | 0aaa aaaa | Scale Tune for G 0 . offset 40).127 | | | | (-64 .+63) | | 43 | 0aaa aaaa | Scale Tune for D# 0 .Scale Tune +—————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+———————————————————————————————————————————————————————————————| | 40 | 0aaa aaaa | Scale Tune for C 0 .+63) | | 44 | 0aaa aaaa | Scale Tune for E 0 .+63) | | 49 | 0aaa aaaa | Scale Tune for A 0 .127 | | | | (-64 .+63) | | 4B | 0aaa aaaa | Scale Tune for B 0 .127 | | | | (-64 .+63) | | 48 | 0aaa aaaa | Scale Tune for G# 0 .

125 prm3 | Depth | 0 .127 q Type13: SPACE-D ———————+————————————————————————————————+——————————————————————— prm1 | Pre Delay Time | 0 .125 prm2 | Rate | 0 .125 prm5 | Depth | 0 .30 prm5 | Output Level | 0 .16 prm6 | Peaking1 Q | 0 .127 q Type07: AUTO-WAH ———————+————————————————————————————————+——————————————————————— prm1 | Filter Type | 0 .127 prm6 | Peak | 0 .125 prm4 | Rate | 0 .127 q Type12: TREMOLO-CHORUS ———————+————————————————————————————————+——————————————————————— prm1 | Pre Delay Time | 0 .125 prm2 | Rate | 0 .90 prm5 | Low Gain | 0 .30 prm8 | Peaking2 Frequency | 0 .30 prm3 | Band3 Gain | 0 .127 q Type04: PHASER ———————+————————————————————————————————+——————————————————————— prm1 | Manual | 0 .1 prm4 | High Gain | 0 .125 prm2 | Rate | 0 .125 prm2 | Rate | 0 .1 prm6 | High Frequency Acceleration | 0 .127 prm2 | Output Pan | 0 .2 prm2 | Cutoff Frequency | 0 .3 prm4 | Output Pan | 0 .127 prm7 | Output Level | 0 .125 prm2 | Chorus Rate | 0 .30 prm9 | Q | 0 .125 prm3 | Depth | 0 .127 .127 prm6 | Phase | 0 .127 prm2 | Mix Level | 0 .127 q Type01: STEREO-EQ ———————+————————————————————————————————+——————————————————————— prm1 | Low Frequency | 0 .127 prm3 | Amp Simulator Type | 0 .100 prm8 | Output Level | 0 .127 prm4 | Phase | 0 .98 prm8 | Low Gain | 0 .125 prm3 | Depth | 0 .16 prm3 | Pre Delay Time | 0 .127 prm5 | Manual | 0 .127 prm9 | Low Frequency Level | 0 .100 prm11 | Output Level | 0 .3 prm5 | Low Gain | 0 .127 prm6 | Output Pan | 0 .127 prm4 | Resonance | 0 .100 prm10 | Output Level | 0 .30 prm10 | Effect Balance | 0 .30 prm7 | Output Level | 0 .127 prm11 | Output Level | 0 .125 prm2 | Low Frequency Slow Rate | 0 .15 prm8 | High Frequency Level | 0 .127 prm4 | Post Gain | 0 .127 prm3 | Amp Simulator Type | 0 .40 prm6 | Pan Deviation | 0 .127 q Type15: STEREO-FLANGER ———————+————————————————————————————————+——————————————————————— prm1 | Filter Type | 0 .30 prm5 | High Gain | 0 .127 q Type03: DISTORTION ———————+————————————————————————————————+——————————————————————— prm1 | Drive | 0 .98 prm5 | Step Rate | 0 .3 prm4 | Low Gain | 0 .127 q Type02: OVERDRIVE ———————+————————————————————————————————+——————————————————————— prm1 | Drive | 0 .127 199 Appendices ———————+————————————————————————————————+——————————————————————— prm1 | Pre Delay Time | 0 .100 prm11 | Output Level | 0 .125 prm3 | Chorus Depth | 0 .127 prm5 | Mix Level | 0 .127 prm6 | Tremolo Phase | 0 .127 prm11 | Output Level | 0 .30 prm3 | High Frequency | 0 .30 prm6 | Output Level | 0 .3 prm6 | Low Gain | 0 .125 prm6 | Phase | 0 .20 prm7 | Effect Balance | 0 .100 prm8 | Output Level | 0 .127 prm4 | Pre Delay Deviation | 0 .125 prm3 | Depth | 0 .90 prm7 | (not used) | prm8 | Low Gain | 0 .127 prm4 | Sens | 0 .30 prm6 | High Gain | 0 .30 prm6 | Band6 Gain | 0 .90 prm7 | Low Gain | 0 .2 prm2 | Cutoff Frequency | 0 .30 prm8 | Band8 Gain | 0 .30 prm8 | Output Level | 0 .4 prm10 | Output Pan | 0 .30 prm2 | Band2 Gain | 0 .125 prm5 | Tremolo Separation | 0 .125 prm4 | Low Frequency Fast Rate | 0 .127 prm4 | Tremolo Rate | 0 .125 prm4 | Rate | 0 .127 q Type11: HEXA-CHORUS ———————+————————————————————————————————+——————————————————————— prm1 | Pre Delay Time | 0 .30 prm9 | High Gain | 0 .127 prm4 | Feedback Level | 0 .20 prm5 | Depth Deviation | 0 .127 prm2 | Attack | 0 .127 q Type06: ENHANCER ———————+————————————————————————————————+——————————————————————— prm1 | Sens | 0 .125 prm3 | High Frequency Fast Rate | 0 .127 prm2 | Output Pan | 0 .127 prm3 | Low Gain | 0 .30 prm8 | High Gain | 0 .16 prm3 | Pre Delay Time | 0 .3 prm4 | Low Gain | 0 .127 prm3 | Output Pan | 0 .127 q Type05: SPECTRUM ———————+————————————————————————————————+——————————————————————— prm1 | Band1 Gain | 0 .30 prm10 | Effect Balance | 0 .30 prm7 | Band7 Gain | 0 .30 prm4 | Band4 Gain | 0 .127 q Type14: STEREO-CHORUS ———————+————————————————————————————————+——————————————————————— prm1 | Filter Type | 0 .30 prm9 | Effect Balance | 0 .90 prm7 | Effect Balance | 0 .30 prm5 | Peaking1 Frequency | 0 .125 prm5 | Speed | 0 .1 prm2 | Rate | 0 .MIDI Implementation 4.30 prm4 | High Gain | 0 .127 prm5 | Post Gain | 0 .100 prm8 | Output Level | 0 .90 prm7 | Feedback Level | 0 .30 prm9 | High Gain | 0 .30 prm6 | HiGH Gain | 0 .125 prm5 | Depth | 0 . Supplementary Material s Correspondence of the EFX Algorithm and Exclusive Address (EFX Parameter 1–12) EFX | Parameter | Value ———————+————————————————————————————————+——————————————————————— q Type09: COMPRESSOR ———————+————————————————————————————————+——————————————————————— prm1 | Sustain | 0 .30 prm5 | Band5 Gain | 0 .30 prm5 | High Gain | 0 .127 prm10 | Separation | 0 .127 prm2 | Release Time | 0 .15 prm7 | Low Frequency Acceleration | 0 .127 q Type10: LIMITER ———————+————————————————————————————————+——————————————————————— prm1 | Threshold Level | 0 .127 prm6 | Phase | 0 .30 prm7 | High Gain | 0 .30 prm11 | Level | 0 .127 q Type16: STEP-FLANGER q Type08: ROTARY ———————+————————————————————————————————+——————————————————————— prm1 | High Frequency Slow Rate | 0 .125 prm3 | Depth | 0 .1 prm2 | Low Gain | 0 .4 prm7 | Peaking1 Gain | 0 .127 prm3 | Compression Ratio | 0 .16 prm9 | Peaking2 Q | 0 .30 prm6 | Output Level | 0 .30 prm7 | Effect Balance | 0 .127 prm7 | Output Level | 0 .4 prm10 | Peaking2 Gain | 0 .

17 prm5 | Low Gain | 0 .100 prm7 | Output Level | 0 .100 prm7 | Output Level | 0 .127 q Type28: OVERDRIVE→DELAY (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Drive | 0 .127 prm3 | Delay Time | 0 .100 prm6 | Pre Delay Time A | 0 .127 prm7 | Right Level | 0 .127 prm2 | Over Drive Pan | 0 .125 prm5 | Flanger Depth | 0 .30 prm6 | High Gain | 0 .125 prm3 | Gate Time | 0 .126 prm3 | Delay Time Right | 0 .125 prm4 | Flanger Rate | 0 .30 prm7 | High Gain | 0 .125 prm4 | Feedback Level | 0 .30 prm8 | Effect Balance | 0 .5 prm2 | Pre Delay Time | 0 .30 prm7 | Effect Balance | 0 .127 prm3 | Chorus Pre Delay Time | 0 .100 prm8 | Output Level | 0 .100 prm11 | Output Level | 0 .1 prm5 | Feedback Phase Right | 0 .127 q Type19: TRIPLE-TAP-DELAY ———————+————————————————————————————————+——————————————————————— prm1 | Delay Time Left | 0 .4 prm2 | Coarse Pitch | 0 .30 prm6 | Effect Balance | 0 .MIDI Implementation q Type17: STEREO-DELAY ———————+————————————————————————————————+——————————————————————— prm1 | Feedback Mode | 0 .98 prm10 | HF Damp | 0 .127 q Type22: 2VOICE-PITCH-SHIFTER ———————+————————————————————————————————+——————————————————————— prm1 | Pitch Shifter Mode | 0 .127 q Type24: REVERB ———————+————————————————————————————————+——————————————————————— prm1 | Reverb Type | 0 .125 prm5 | Flanger Depth | 0 .127 q Type29: DISTORTION→CHORUS (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Distortion Drive | 0 .127 prm3 | Chorus Pre Delay Time | 0 .127 prm10 | Level Balance | 0 .127 prm6 | Flanger Feedback Level | 0 .100 prm7 | Output Level | 0 .125 prm7 | Depth | 0 .100 prm12 | Output Level | 0 .127 q Type18: MODULATION-DELAY ———————+————————————————————————————————+——————————————————————— prm1 | Feedback Mode | 0 .90 prm9 | Low Gain | 0 .127 prm6 | (not used) | prm7 | Chorus Balance | 0 .127 q Type31: DISTORTION→DELAY (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Distortion Drive | 0 .125 prm2 | Delay Time 2 | 0 .127 prm8 | Level 4 | 0 .127 q Type23: FBK-PITCH-SHIFTER ———————+————————————————————————————————+——————————————————————— prm1 | Pitch Shifter Mode | 0 .100 prm12 | Output Level | 0 .127 prm6 | Low Gain | 0 .127 prm2 | Distortion Pan | 0 .98 prm3 | Acceleration | 0 .30 prm9 | Effect Balance | 0 .125 prm5 | Chorus Depth | 0 .127 prm2 | Over Drive Pan | 0 .127 prm8 | Phase | 0 .30 prm11 | Effect Balance | 0 .127 prm6 | (not used) | prm7 | Chorus Balance | 0 .125 prm4 | Delay Time 4 | 0 .125 prm4 | Flanger Rate | 0 .127 prm2 | Over Drive Pan | 0 .125 prm2 | Delay Time Right | 0 .127 200 .30 prm9 | High Gain | 0 .4 prm2 | Coarse Pitch A | 0 .126 prm5 | Feedback Level | 0 .127 prm9 | Feedback Level | 0 .127 prm3 | Flanger Pre Delay Time | 0 .30 prm10 | Effect Balance | 0 .100 prm8 | Output Level | 0 .98 prm5 | HF Damp | 0 .30 prm11 | Effect Balance | 0 .98 prm5 | HF Damp | 0 .17 prm6 | Left Level | 0 .30 prm10 | High Gain | 0 .100 prm11 | Effect Balance | 0 .127 prm6 | (not used) | prm7 | Chorus Balance | 0 .125 prm4 | Chorus Rate | 0 .127 q Type21: TIME-CONTROL-DELAY ———————+————————————————————————————————+——————————————————————— prm1 | Delay Time | 0 .126 prm3 | Delay Time Right | 0 .127 prm6 | Flanger Feedback Level | 0 .127 prm9 | Low Gain | 0 .100 prm8 | Output Level | 0 .100 prm9 | Output Level | 0 .127 prm9 | Output Pan B | 0 .127 q Type26: OVERDRIVE→CHORUS ———————+————————————————————————————————+——————————————————————— prm1 | Drive | 0 .1 prm2 | Delay Time Left | 0 .98 prm5 | Delay HF Damp | 0 .127 prm4 | HF Damp | 0 .127 q Type20: QUADRUPLE-TAP-DELAY ———————+————————————————————————————————+——————————————————————— prm1 | Delay Time 1 | 0 .100 prm10 | Output Level | 0 .30 prm8 | High Gain | 0 .126 prm7 | Pre Delay Time B | 0 .98 prm5 | Delay HF Damp | 0 .100 prm8 | Output Level | 0 .126 prm4 | Delay Feedback Level | 0 .98 prm6 | Output Pan | 0 .100 prm8 | Output Level | 0 .127 prm2 | Distortion Pan | 0 .17 prm6 | Delay Balance | 0 .100 prm5 | Fine Pitch B | 0 .17 prm11 | Effect Balance | 0 .100 prm12 | Output Level | 0 .126 prm4 | Feedback Level | 0 .125 prm4 | Chorus Rate | 0 .30 prm10 | High Gain | 0 .100 prm8 | Output Level | 0 .125 prm5 | Chorus Depth | 0 .100 prm12 | Output Level | 0 .126 prm4 | Delay Feedback Level | 0 .127 prm3 | Flanger Pre Delay Time | 0 .3 prm2 | Pre Delay Time | 0 .17 prm5 | Output Pan | 0 .127 q Type32: ENHANCER→CHORUS (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Enhancer Sens | 0 .15 prm4 | HF Damp | 0 .127 prm8 | Center Level | 0 .99 prm4 | Low Gain | 0 .1 prm6 | Feedback Level | 0 .127 q Type30: DISTORTION→FLANGER (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Distortion Drive | 0 .127 prm6 | Level 2 | 0 .126 prm4 | Feedback Phase Left | 0 .125 prm3 | Delay Time Center | 0 .127 prm7 | Low Gain | 0 .127 prm3 | Chorus Pre Delay Time | 0 .17 prm8 | Low Gain | 0 .17 prm6 | Rate | 0 .1 prm2 | Delay Time Left | 0 .127 prm7 | Level 3 | 0 .127 q Type25: GATE-REVERB ———————+————————————————————————————————+——————————————————————— prm1 | Gate-Reverb Type | 0 .127 prm3 | Delay Time | 0 .126 prm8 | Output Pan A | 0 .36 prm3 | Coarse Pitch B | 0 .125 prm5 | Level 1 | 0 .98 prm7 | Flanger Balance | 0 .36 prm4 | Fine Pitch A | 0 .125 prm3 | Gate Time | 0 .100 prm4 | Pre Delay Time | 0 .125 prm4 | Chorus Rate | 0 .36 prm3 | Fine Pitch | 0 .17 prm6 | Delay Balance | 0 .127 prm2 | Enhancer Mix Level | 0 .98 prm7 | HF Damp | 0 .125 prm5 | Chorus Depth | 0 .98 prm7 | Flanger Balance | 0 .120 prm2 | Feedback Level | 0 .127 q Type27: OVERDRIVE→FLANGER (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Drive | 0 .127 prm2 | Distortion Pan | 0 .30 prm5 | High Gain | 0 .125 prm3 | Delay Time 3 | 0 .

126 prm7 | Delay Feedback Level | 0 .100 prm10 | Output Level | 0 .100 prm8 | Output Level | 0 .98 prm8 | Delay HF Damp | 0 .100 prm10 | Output Level | 0 .17 prm9 | Delay Balance | 0 .100 prm6 | Delay Time | 0 .17 prm9 | Delay Balance | 0 .127 201 Appendices .100 prm5 | Flanger Pre Delay Time | 0 .127 q Type35: CHORUS→DELAY (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Chorus Pre Delay Time | 0 .125 prm6 | Flanger Rate | 0 .125 prm2 | Flanger Rate | 0 .126 prm7 | Delay Feedback Level | 0 .125 prm3 | Flanger Depth | 0 .17 prm6 | (not used) | prm7 | Delay Balance | 0 .125 prm3 | Chorus Depth | 0 .125 prm3 | Chorus Depth | 0 .125 prm2 | Chorus Rate | 0 .127 q Type37: CHORUS→FLANGER (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Chorus Pre Delay Time | 0 .126 prm7 | Delay Feedback Level | 0 .127 prm2 | Enhancer Mix Level | 0 .98 prm8 | Delay HF Damp | 0 .98 prm7 | Flanger Balance | 0 .125 prm2 | Flanger Rate | 0 .100 prm5 | Flanger Pre Delay Time | 0 .98 prm5 | Flanger Balance | 0 .127 prm4 | (not used) | prm5 | Chorus Balance | 0 .100 prm6 | Delay Time | 0 .17 prm9 | Delay Balance | 0 .125 prm3 | Chorus Depth | 0 .127 prm8 | Flanger Feedback Level | 0 .100 prm10 | Output Level | 0 .127 q Type38: CHORUS/DELAY (parallel) ———————+————————————————————————————————+——————————————————————— prm1 | Chorus Pre Delay Time | 0 .100 prm10 | Output Level | 0 .127 prm6 | Flanger Feedback Level | 0 .100 prm10 | Output Level | 0 .127 q Type36: FLANGER→DELAY (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Flanger Pre Delay Time | 0 .126 prm7 | Delay Feedback Level | 0 .125 prm7 | Flanger Depth | 0 .127 q Type34: ENHANCER→DELAY (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Enhancer Sens | 0 .125 prm4 | Flanger Rate | 0 .127 prm4 | Chorus Balance | 0 .MIDI Implementation q Type33: ENHANCER→FLANGER (serial) ———————+————————————————————————————————+——————————————————————— prm1 | Enhancer Sens | 0 .125 prm2 | Chorus Rate | 0 .125 prm2 | Chorus Rate | 0 .98 prm5 | Flanger Balance | 0 .126 prm4 | Delay Feedback Level | 0 .125 prm6 | Flanger Rate | 0 .125 prm3 | Chorus Depth | 0 .100 prm6 | Delay Time | 0 .127 q Type39: FLANGER/DELAY (parallel) ———————+————————————————————————————————+——————————————————————— prm1 | Flanger Pre Delay Time | 0 .98 prm8 | Delay HF Damp | 0 .100 prm10 | Output Level | 0 .100 prm8 | Output Level | 0 .127 prm4 | Chorus Balance | 0 .125 prm5 | Flanger Depth | 0 .125 prm2 | Chorus Rate | 0 .98 prm9 | Flanger Balance | 0 .127 prm4 | Flanger Feedback Level | 0 .127 prm8 | Flanger Feedback Level | 0 .125 prm3 | Flanger Depth | 0 .127 q Type40: CHORUS/FLANGER (parallel) ———————+————————————————————————————————+——————————————————————— prm1 | Chorus Pre Delay Time | 0 .17 prm9 | Delay Balance | 0 .127 prm3 | Flanger Pre Delay Time | 0 .100 prm6 | Delay Time | 0 .98 prm8 | Delay HF Damp | 0 .127 prm2 | Enhancer Mix Level | 0 .98 prm5 | Delay HF Damp | 0 .127 prm4 | (not used) | prm5 | Chorus Balance | 0 .98 prm9 | Flanger Balance | 0 .127 prm3 | Delay Time | 0 .127 prm4 | Flanger Feedback Level | 0 .125 prm7 | Flanger Depth | 0 .

MIDI Implementation

s List of the Arpeggio Parameter
q Arpeggio Style
+—————————————————————————+—————————————————————————+—————————————————————————+ |value| parameter |value| parameter |value| parameter | +—————————————————————————+—————————————————————————+—————————————————————————+ | 0 | 1/ 4 | 15 | RHYTHM GTR A | 30 | BOUND BOLL | | 1 | 1/ 6 | 16 | RHYTHM GTR B | 31 | RANDOM | | 2 | 1/ 8 | 17 | RHYTHM GTR C | 32 | LIMITLESS | | 3 | 1/12 | 18 | RHYTHM GTR D | 33 | PORTAMENTO A | | 4 | 1/16 | 19 | RHYTHM GTR E | 34 | PORTAMENTO B | | 5 | 1/32 | 20 | 3 FINGER GTR | 35 | SEQUENCE D | | 6 | GLISSANDO | 21 | STRUMMING GTR | 36 | BOSSA NOVA | | 7 | SEQUENCE A | 22 | KBD COMPING A | 37 | SALSA | | 8 | SEQUENCE B | 23 | KBD COMPING B | 38 | MAMBO | | 9 | SEQUENCE C | 24 | KBD COMPING C | 39 | LATIN PERCUSSION | | 10 | ECHO | 25 | KBD COMPING D | 40 | SAMBA | | 11 | SYNTH BASS | 26 | KBD COMPING E | 41 | TANGO | | 12 | SLAP BASS A | 27 | PERCUSSION | 42 | HOUSE | | 13 | SLAP BASS B | 28 | HARP | | | | 14 | WALK BASS | 29 | SHAMISEN | | | +—————————————————————————+—————————————————————————+—————————————————————————+

q Arpeggio Motif
+—————————————————————————+—————————————————————————+—————————————————————————+ |value| parameter |value| parameter |value| parameter | +—————————————————————————+—————————————————————————+—————————————————————————+ | 0 | SINGLE UP | 13 | BASS+CHORD 3 | 26 | BASS+RANDOM 3 | | 1 | SINGLE DOWN | 14 | BASS+CHORD 4 | 27 | TOP+UP 1 | | 2 | SINGLE UP&DOWN | 15 | BASS+CHORD 5 | 28 | TOP+UP 2 | | 3 | SINGLE RANDOM | 16 | BASS+UP 1 | 29 | TOP+UP 3 | | 4 | DUAL UP | 17 | BASS+UP 2 | 30 | TOP+UP 4 | | 5 | DUAL DOWN | 18 | BASS+UP 3 | 31 | TOP+UP 5 | | 6 | DUAL UP&DOWN | 19 | BASS+UP 4 | 32 | TOP+UP 6 | | 7 | DUAL RANDOM | 20 | BASS+UP 5 | 33 | BASS+UP+TOP | | 8 | NOTE ORDER | 21 | BASS+UP 6 | 34 | TRIPLE UP | | 9 | GLISSANDO | 22 | BASS+UP 7 | 35 | TRIPLE DOWN | | 10 | CHORD | 23 | BASS+UP 8 | 36 | TRIPLE UP&DOWN | | 11 | BASS+CHORD 1 | 24 | BASS+RANDOM 1 | 37 | TRIPLE RANDOM | | 12 | BASS+CHORD 2 | 25 | BASS+RANDOM 2 | | | +—————————————————————————+—————————————————————————+—————————————————————————+

q Arpeggio Beat Pattern
+—————————————————————————+—————————————————————————+—————————————————————————+ |value| parameter |value| parameter |value| parameter | +—————————————————————————+—————————————————————————+—————————————————————————+ | 0 | 1/ 4 | 40 | MUTE 15 | 80 | PORTA-B 09 | | 1 | 1/ 6 | 41 | MUTE 16 | 81 | PORTA-B 10 | | 2 | 1/ 8 | 42 | STRUM 1 | 82 | PORTA-B 11 | | 3 | 1/12 | 43 | STRUM 2 | 83 | PORTA-B 12 | | 4 | 1/16 1 | 44 | STRUM 3 | 84 | PORTA-B 13 | | 5 | 1/16 2 | 45 | STRUM 4 | 85 | PORTA-B 14 | | 6 | 1/16 3 | 46 | STRUM 5 | 86 | PORTA-B 15 | | 7 | 1/32 1 | 47 | STRUM 6 | 87 | SEQ-B 5 | | 8 | 1/32 2 | 48 | STRUM 7 | 88 | SEQ-D 1 | | 9 | 1/32 3 | 49 | STRUM 8 | 89 | SEQ-D 2 | | 10 | SEQ-A 1 | 50 | REGGAE1 | 90 | SEQ-D 3 | | 11 | SEQ-A 2 | 51 | REFRAIN1 | 91 | SEQ-D 4 | | 12 | SEQ-A 3 | 52 | REFRAIN2 | 92 | SEQ-D 5 | | 13 | SEQ-A 4 | 53 | PERC1 | 93 | SEQ-D 6 | | 14 | SEQ-A 5 | 54 | PERC2 | 94 | SEQ-D 7 | | 15 | SEQ-A 6 | 55 | PERC3 | 95 | SEQ-D 8 | | 16 | SEQ-A 7 | 56 | PERC4 | 96 | REGGAE2 | | 17 | SEQ-B 1 | 57 | WALKBS | 97 | BOSSA NOVA | | 18 | SEQ-B 2 | 58 | HARP | 98 | SALSA 1 | | 19 | SEQ-B 3 | 59 | BOUND | 99 | SALSA 2 | | 20 | SEQ-B 4 | 60 | RANDOM | 100 | SALSA 3 | | 21 | SEQ-C 1 | 61 | PORTA-A 01 | 101 | SALSA 4 | | 22 | SEQ-C 2 | 62 | PORTA-A 02 | 102 | MAMBO 1 | | 23 | ECHO 1 | 63 | PORTA-A 03 | 103 | MAMBO 2 | | 24 | ECHO 2 | 64 | PORTA-A 04 | 104 | CLAVE | | 25 | ECHO 3 | 65 | PORTA-A 05 | 105 | REV CLA | | 26 | MUTE 01 | 66 | PORTA-A 06 | 106 | GUIRO | | 27 | MUTE 02 | 67 | PORTA-A 07 | 107 | AGOGO | | 28 | MUTE 03 | 68 | PORTA-A 08 | 108 | SAMBA | | 29 | MUTE 04 | 69 | PORTA-A 09 | 109 | TANGO 1 | | 30 | MUTE 05 | 70 | PORTA-A 10 | 110 | TANGO 2 | | 31 | MUTE 06 | 71 | PORTA-A 11 | 111 | TANGO 3 | | 32 | MUTE 07 | 72 | PORTA-B 01 | 112 | TANGO 4 | | 33 | MUTE 08 | 73 | PORTA-B 02 | 113 | HOUSE 1 | | 34 | MUTE 09 | 74 | PORTA-B 03 | 114 | HOUSE 2 | | 35 | MUTE 10 | 75 | PORTA-B 04 | | | | 36 | MUTE 11 | 76 | PORTA-B 05 | | | | 37 | MUTE 12 | 77 | PORTA-B 06 | | | | 38 | MUTE 13 | 78 | PORTA-B 07 | | | | 39 | MUTE 14 | 79 | PORTA-B 08 | | | +—————————————————————————+—————————————————————————+—————————————————————————+

202

MIDI Implementation

s Decimal/Hexadecimal Table (hexadecimal values are indicated by a following “H”)
MIDI uses 7-bit hexadecimal values to indicate data values and the address and size of exclusive messages. The following table shows the correspondence between decimal and hexadecimal numbers. +——————+——————++——————+——————++——————+——————++——————+——————+ | D | H || D | H || D | H || D | H | +——————+——————++——————+——————++——————+——————++——————+——————+ | 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H | | 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | | 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | | 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H | | 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H | | 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | | 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H | | 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | | 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H | | 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | | 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | | 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | | 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | | 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | | 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | | 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | | 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | | 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | | 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H | | 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | | 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | | 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | | 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | | 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | | 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | | 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H | | 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | | 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | | 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | | 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | | 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | | 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | +——————+——————++——————+——————++——————+——————++——————+——————+ D: decimal H: hexadecimal * * Decimal expressions such as used for MIDI channel, Bank Select, and Program Change will be the value 1 greater than the decimal value given in the above table. Since each MIDI byte carries 7 significant data bits, each byte can express a maximum of 128 different values. Data for which higher resolution is required must be transmitted using two or more bytes. For example a value indicated as a two-byte value of aa bbH would have a value of aa x 128 + bb. For a signed number (+/-), 00H = -64, 40H = +/-0, and 7FH = +63. I.e., the decimal equivalent will be 64 less than the decimal value given in the above table. For a two-byte signed number, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example the decimal expression of aa bbH would be aa bbH - 40 00H = (aa x 128 + bb - 64 x 128. Hexadecimal notation in two 4-bit units is used for data indicated as “nibbled”. The nibbled two-byte value of 0a 0b H would be a x 16 + b.

s Examples of Actual MIDI Messages
<Example 1> 92 3E 5F 9n is the Note On status and `n' is the MIDI channel number. Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note On message of MIDI CH = 3, note number 62 (note name D4) and velocity 95. <Example 2> CE 49 CnH is the Program Change status and `n' is the MIDI channel number. Since EH = 14, and 49H = 73, this is a Program Change message of MIDI CH = 15, Program number 74 (in the GS sound map, Flute). <Example 3> EA 00 28 EnH is the Pitch Bend Change status and `n' is the MIDI channel number. The 2nd byte (00H=0) is the LSB of the Pitch Bend value, and the 3rd byte (28H=40) is the MSB. However since the Pitch Bend is a signed number with 0 at 40 00H ( = 64 x 128 + 0 = 8192), the Pitch Bend value in this case is 28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072 If we assume that the Pitch Bend Sensitivity is set to two semitones, the pitch will change only -200 cents for a Pitch Bend value of -8192 (00 00H). Thus, this message is specifying a Pitch Bend of -200 x (-3072) / (-8192) = -75 cents on MIDI CH = 11. <Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F BnH is the Control Change status, and `n' is the MIDI channel number. In Control Change messages, the 2nd byte is the controller number, and the 3rd byte is the parameter value. MIDI allows what is known as “running status,” when if messages of the the same status follow each other, it is permitted to omit the second and following status bytes. In the message above, running status is being used, meaning that the message has the following content. B3 64 00 (B3) 65 00 (B3) 06 0C (B3) 26 00 (B3) 64 7F (B3) 65 7F MIDI CH = 4, RPN parameter number LSB: 00H MIDI CH = 4, RPN parameter number MSB: 00H MIDI CH = 4, parameter value MSB: 0CH MIDI CH = 4, parameter value LSB: 00H MIDI CH = 4, RPN parameter number LSB: 7FH MIDI CH = 4, RPN parameter number MSB: 7FH

Thus, this message transmits a parameter value of 0C 00H to RPN parameter number 00 00H on MIDI CH = 4, and then sets the RPN parameter number to 7F 7FH.

*

*

The function assigned to RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the parameter value indicates semitone steps. Since the MSB of this parameter value is 0CH = 12, the maximum width of pitch bend is being set to [+-]12 semitones (1 octave) (GS sound sources ignore the LSB of Pitch Bend Sensitivity, but it is best to transmit the LSB (parameter value 0) as well, so that the message can be correctly received by any device. Once the parameter number has been set for RPN or NRPN, all subsequent Data Entry messages on that channel will be effective. Thus, it is recommended that after you have made the change you want, you set the parameter number to 7F 7FH (an “unset” or “null” setting). The final (B3) 64 7F (B3) 65 7F is for this purpose. It is not a good idea to store many events within the data of a song (e.g., a Standard MIDI File song) using running status as shown in <Example 4>. When the song is paused, fastforwarded or rewound, the sequencer may not be able to transmit the proper status, causing the sound source to misinterpret the data. It is best to attach the proper status byte to all events. It is also important to transmit RPN or NRPN parameter number settings and parameter values in the correct order. In some sequencers, data events recorded in the same clock (or a nearby clock) can sometimes be transmitted in an order other than the order in which they were recorded. It is best to record such events at an appropriate interval (1 tick at TPQN=96, or 5 ticks at TPQN=480). * TPQN: Ticks Per Quarter Note (i.e., the time resolution of the sequencer)

<Example 1> What is the decimal equivalent of 5AH? From the above table, 5AH = 90. <Example 2> What is the decimal equivalent of the 7-bit hexadecimal values 12 34H? From the above table, 12H = 18 and 34H = 52 Thus, 18 x 128 + 52 = 2356 <Example 3> What is the decimal equivalent of the nibbled expression 0A 03 09 0DH? From the above table, 0AH = 10, 03H = 3, 09H = 9, 0DH = 13 Thus, the result is ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885 <Example 4> What is the nibbled equivalent of the decimal number 1258? 16 ) 1258 16 ) 78...10 16 ) 4...14 0... 4 From the above table, 0=00H, 4=04H, 14=0EH, 10=0AH Thus the result is 00 04 0E 0AH

203

Appendices

MIDI Implementation

s Examples of Exclusive Messages and Calculating the Checksum
Roland exclusive messages (RQ1, DT1) are transmitted with a checksum at the end of the data (before F7) to check that the data was received correctly. The value of the checksum is determined by the address and data (or size) of the exclusive message.

<Example 3> Retrieving data for Temporary Performance (RQ1) * When a data transfer is executed in Utility mode, data that is accessed will be the same as that which is transmitted when the Type parameter is set to PERFORM and the Source parameter is set to TEMP: -PATCH The “Parameter Address Map” gives the following start addresses for Temporary Performance data. 01 00 00 00H 01 00 10 00H : 01 00 1F 00H Temporary Performance Common Temporary Performance Part 1 Temporary Performance Part 16

q How to Calculate the Checksum (hexadecimal values are indicated by a “H”)
The checksum consists of a value whose lower 7 bits are 0 when the address, size and checksum itself are added. The following formula shows how to calculate the checksum when the exclusive message to be transmitted has an address of aa bb cc ddH, and data or size of ee ffH. aa + bb + cc + dd + ee + ff = total total / 128 = quotient ... remainder 128 - remainder = checksum <Example 1> Setting the Performance Common REVERB TYPE to DELAY (DT1) The “Parameter address map” indicates that the starting address of the Temporary Performance is 01 00 00 00H, that the Performance Common offset address is 00 00H, and that the REVERB TYPE address is 00 28H. Thus, the address is: 01 00 00 00 00 01 00 00 00H 00H 28H 28H

Since Performance Part has a size of 00 00 00 19H, we add that size to the start address of the Temporary Performance Part 16, resulting in: 01 00 1F 00H +) 00 00 00 19H 01 00 1F 19H Thus, the Size for the retrieved data will be: 01 00 1F 19H -) 01 00 00 00H 00 00 1F 19H F0 (1) 41 (2) 10 (3) 6A (4) 11 (5) 01 00 00 00 address 00 00 1F 19 size ?? checksum F7 (6)

+)

Since DELAY is parameter value 06H, F0 (1) 41 (2) 10 (3) 6A (4) 12 (5) 01 00 00 28 address 06 data ?? checksum F7 (6)

(1) Exclusive status (4) Model ID (XP-30)

(2) ID number (Roland) (5) Command ID (RQ1)

(3) Device ID (17) (6) EOX

Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01 00 00 00 00 00 1F 19 47 F7 to be transmitted. <Example 4> Retrieving the Temporary Performance data together with all Temporary Part and Rhythm Set data (RQ1) * When a data transfer is executed in Utility mode, the data that is accessed will be the same as that which is transmitted when the Type parameter is set to PERFORM and the Source parameter is set to TEMP: +PATCH The “Parameter Address Map” gives the following start addresses for Temporary Performance, Performance Mode Temporary Patch and Performance Mode Temporary Rhythm. 01 00 00 00H Temporary Performance 02 00 00 00H Performance Mode Temporary Patch(part 1) : 02 08 00 00H Performance Mode Temporary Patch(part 9) 02 09 00 00H Temporary Rhythm Setup 02 0A 00 00H Performance Mode Temporary Patch(part 11) : 02 0F 00 00H Performance Mode Temporary Patch(part 16) The Patch offset addresses are as follows. 00 00H Patch Common 10 00H Patch Tone 1 : 16 00H Patch Tone 4 Since Patch Tone has a size of 00 00 01 01H, we add this size to the start address of Performance Mode Temporary Patch (Part 16) Tone 4, to get: 02 0F 00 16 +) 00 00 01 02 0F 17 00H 00H 01H 01H

(1) Exclusive status (4) Model ID (XP-30)

(2) ID number (Roland) (5) Command ID (DT1)

(3) Device ID (17) (6) EOX

Next we calculate the checksum. 01H + 00H + 00H + 28H + 06H = 1 + 0 + 0 + 40 + 6 = 47 (sum) 47 (total) / 128 = 0 (quotient) ... 47 (remainder) checksum = 128 - 47 (quotient) = 81 = 51H This means that the message transmitted will be F0 41 10 6A 12 01 00 00 28 06 51 F7. <Example 2> Retrieving data for USER:03 Performance Part 3 (RQ1) The “Parameter Address Map” indicates that the starting address of USER:03 is 10 02 00 00H, and that the offset address of Performance Part 3 is 12 00H. Thus, the address is: 10 02 00 00H 12 00H 10 02 12 00H

+)

Since the size of the Performance Part is 00 00 00 19H, F0 (1) 41 (2) 10 (3) 6A (4) 11 (5) 10 02 12 00 address 00 00 00 19 size ?? checksum F7 (6)

(1) Exclusive status (4) Model ID (XP-30)

(2) ID number (Roland) (5) Command ID (RQ1)

(3) Device ID (17) (6) EOX

Next we calculate the checksum. 10H + 02H + 12H + 00H + 00H + 00H + 00H + 19H = 16 + 2 + 18 + 0 + 0 + 0 + 0 + 25 = 61 (sum) 61 (total) / 128 = 0 (product) ... 61 (remainder) checksum = 128 - 61 (remainder) = 67 = 43H Thus, a message of F0 41 10 6A 11 10 02 12 00 00 00 00 19 43 F7 would be transmitted.

Thus, the size of the retrieved data will be: 02 0F 17 01H -) 01 00 00 00H 01 0F 17 01H F0 (1) 41 (2) 10 (3) 6A (4) 11 (5) 01 00 00 00 address 01 0F 17 01 size ?? checksum F7 (6)

(1) Exclusive status (4) Model ID (XP-30)

(2) ID number (Roland) (5) Command ID (RQ1)

(3) Device ID (17) (6) EOX

Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01 00 00 00 01 0F 17 01 57 F7 to be transmitted.

204

MIDI Implementation

s Scale Tune Function (Model ID : 42H (GS), address: 40 1x 40H)
Scale Tune is a function that makes fine adjustments to the pitch of each note C-B. Settings are made for one octave, and applied to the notes of all octaves. By making Scale Tune settings you can use tunings and temperaments other than the standard Equal Temperament. Here we give three types of settings as examples. * Scale tune messages for any parts are recognized in the patch mode.

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

❍Equal Temperament
This temperament divides the octave into 12 equal steps, and is the temperament most frequently used today, especially in western music. Initially, the Scale Tune function of this instrument is set to Equal Temperament.

❍Just Intonation (tonic of C)
The primary triads sound more beautiful in just intonation than in equal temperament. However, this applies only in one key, and chords will be discordant if you play in a different key. The settings here are for a tonic of C.

❍Arabian-type Scale
The Scale Tune function allow you to use various tunings of ethnic music. Here is one of the Arabian scales. Setting Examples Note C C# D Eb E F F# G G# A Bb B Equal Temp. 0 0 0 0 0 0 0 0 0 0 0 0 Just (in C) 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 Arabian-type Scale -6 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49

The values in the above table are in units of 1 cent. Convert these values to hexadecimal, and transmit them as exclusive data. For example to set the Scale Tune of Part 1 to an Arabian-type scale, transmit the following data. F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7

205

Appendices

MONO Mode 4 : OMNI OFF. 99 100. 64–95 *3 1–5.64 Voice Expandable Synthesizer Model XP-30 Function. 127) O X O (123–127) O X *1 Program No. 1–128 *1 System Exclusive : Song Position System : Song Select Common : Tune Request : Clock System Real Time : Commands O X X X X X *1 X : All Sound Off : Reset All Controllers X Aux X : Local On/Off Messages : All Notes Off X O : Active Sensing X : System Reset Notes Mode 1 : OMNI ON. POLY *1 * 1 O X is selectable.00 Remarks MIDI Implementation Chart Transmitted X X X X ************** Recognized 1–16 1–16 Mode 3 Mode 3. 7–31. MSB RPN LSB.. 4 (M = 1) Basic Channel Default Changed Default Messages Altered Mode *2 Note Number : True Voice Velocity After Touch Pitch Bend 0. 64–95 *3 98. * 2 Recognized as M=1 even if M≠1. MSB Control Change Program Change O : True Number ************** *1 O 0–127 O X X X O X O (120. 32 1 2 4 5 6. 38 7 8 10 11 64 65 66 67 69 71 72 73 74 80 81 82 83 84 91 93 1–5. POLY Mode 3 : OMNI OFF. 1999 Version : 1. Mode 2 : OMNI ON. * 3 Can be changed settings. MONO O : Yes X : No 206 .. 18. 101 0 ************** 0–127 0–127 O O O O O *1 O O O O O O O O O O O O O O O O (Resonance) O (Decay Time) O (Attack Time) O (Cutoff) O (Tone 1 Level) O (Tone 2 Level) O (Tone 3 Level) O (Tone 4 Level) O O (Reverb) O (Chorus) O O X O *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 Note On Note Off Key's Channel's O O X O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O X O *1 *1 *1 Bank select Modulation Breath type Foot type Portamento time Data entry Volume Balance Panpot Expression Hold 1 Portamento Sostenuto Soft Hold 2 Sound Controller 2 Sound Controller 3 Sound Controller 4 Sound Controller 5 General Purpose Controller 5 General Purpose Controller 6 General Purpose Controller 7 General Purpose Controller 8 Portamento control General purpose effects 1 General purpose effects 3 CC1 (General purpose controller 1) CC2 (General purpose controller 2) NRPN LSB. Date : Jan. 7–31. 126.

8 kg / 17 lbs 4 oz (except Power cord) q Accessories Owner’s Manual Power Cable (Not included with XP-30 designed for 117 V power supply) CD-ROM (SoundDiver JV/XP) q Wave Expansion Boards (sold separately) Max. S4M-5 (4M bytes) *In the interest of product improvement. THRU) Computer Connector (Mac. 2 lines (backlit LCD) q Number of Parts 16 (Part 10 is Rhythm Part) q Connectors Output Jacks (L (MONO). 2 Boards (D. the specifications and/or appearance of this unit are subject to change without prior notice. channel aftertouch) q Display 40 characters. AC 240 V q Preset Memory Patches: 1406 (640 same as the JV-2080 + 766 from “Session. E) * Each Wave Expansion Board includes Patches / Rhythm Sets that make use of the waves on the board.” “Orchestral” and “Techno Collection”) Performances: 64 Rhythm Sets: 26 (10 same as the JV-2080 + 16 from “Session” and “Techno Collection”") q Power Consumption 10 W (AC 117 V). MIDI) Hold Pedal Jack Control Pedal Jack Memory Card Slot q Maximum Polyphony 64 voices q Effects EFX: 40 sets Reverb: 1 set (8 types) Chorus: 1 set q Power Supply AC 117 V. PC-2. OUT. 207 . q Arpeggiator 43 Styles q Options Wave Expansion Boards: SR-JV80 series SmartMedia: S2M-5 (2M bytes). 10 W (AC 240 V) q Dimensions 1011 (W) x 289 (D) x 88 (H) mm 39-13/16 (W) x 11-7/16 (D) x 3-1/2 (H) inches q User Memory Patches: 128 Performances: 32 Rhythm Sets: 2 q Weight 7. R) Headphones Jack MIDI Connectors (IN. 10 W (AC 230 V). AC 230 V.Specifications XP-30: 64 Voice Expandable Synthesizer(Conforms to General MIDI System) q Keyboard 61 keys (with velocity. PC-1.

Computer Cable Wiring Diagrams
For Apple Macintosh (Sold separately: RSC-15APL)

mini DIN, 8-pin, male 6 78 mini DIN, 8-pin, male HSKo HSKi TXDGND RXDTXD+ GPi RXD+ 1 2 3 4 5 6 7 8 mini DIN, 8-pin, male 1 2 3 4 5 6 7 8 HSKo HSKi TXDGND RXDTXD+ GPi RXD+

mini DIN, 8-pin, male 6 7 8

3 4 5 1 2

3 4 5 1 2

For PC (9-pin) (Sold separately: RSC-15AT)

mini DIN, 8-pin, male 6 78 mini DIN, 8-pin, male HSKo HSKi TXDGND RXD1 2 3 4 5 D-sub, 9-pin, female 7 RTS 8 CTS 3 TXD 5 GND 2 RXD D-sub, 9-pin, female 5 1

3 4 5 1 2

9

6

For PC (25-pin)

mini DIN, 8-pin, male 6 78 mini DIN, 8-pin, male HSKo HSKi TXDGND RXD1 2 3 4 5 D-sub, 25-pin, female 4 RTS 5 CTS 2 TXD 7 GND 3 RXD D-sub, 25-pin, female 13 1

3 4 5 1 2

25

14

208

Index
Symbols
[+OCT] .......................................................................12, 59 [-OCT] ........................................................................12, 59

C
C1/C2/C3/C4 slider assign .......................................111 C1/C2/C3/C4 slider output ......................................111 C1–C4 slider ....................................................................34 Card ................................................................................115 [CATEGORY] ......................................................13, 32, 48 Category ...............................................................32, 48–49 Category group ...............................................................32 Category select mode ...................................................108 Chorus ..............................................................................61 Chorus depth ..............................................72, 85, 89, 126 Chorus feedback level ................................72, 85, 89, 126 Chorus level ................................................72, 85, 89, 126 Chorus output assign .................................72, 85, 89, 126 Chorus pre delay ........................................72, 85, 89, 126 Chorus rate ..................................................72, 85, 89, 126 Chorus send level .................................71–72, 84, 88, 125 CHORUS/DELAY .......................................................107 CHORUS/FLANGER ..................................................107 CHORUS→DELAY ......................................................106 CHORUS→FLANGER ................................................107 Clock source ..................................................................108 Coarse tune ..................................................79, 87, 91, 127 Compare function .................................................116, 118 COMPRESSOR ...............................................................96 Computer .......................................................................134 Computer cable .....................................................134, 208 COMPUTER connector ..........................................14, 135 COMPUTER switch .......................................14, 134–135 Connection ..............................................................24, 134 Control 1 peak/hold ......................................................75 Control 2 peak/hold ......................................................75 Control 3 peak/hold ......................................................75 CONTROL PEDAL jack ................................................14 Control source 2 ..............................................................75 Control source 3 ..............................................................75 [CONTROLLER] .......................................................12, 34 Controller .........................................................................40 Copy ...............................................................................115 Copying .................................................................117, 128 Current part .....................................................................53 Cursor ..............................................................................45 Cursor button ............................................................13, 44 Cutoff frequency .......................................................80, 91 Cutoff frequency key follow .........................................80

Numerics
[1–8/9–16] ........................................................................13 2VOICE-PITCH-SHIFTER ..........................................102

A
AC inlet ............................................................................14 AC power cable ..............................................................25 Accent rate .....................................................................109 Aftertouch .......................................................................34 Aftertouch control source ...........................................111 Aftertouch information .........................................87, 127 Aftertouch sens .............................................................110 Alternate pan depth .................................................82, 92 Analog feel depth ...........................................................69 Arabian scale .................................................................114 ARP SELECT display ...............................................37, 56 Arpeggiator ...............................................................36, 56 [ARPEGGIO] .......................................................12, 36, 56 Arpeggio ..................................................................36, 108 arpeggio ...........................................................................56 ARPEGGIO display .......................................................59 Arpeggio part ................................................................110 Arpeggio style ...............................................................182 Audio cable .....................................................................25 AUTO-WAH ...................................................................95

B
Back select transmit switch .........................................113 Bank select group number ..........................................113 Bank select LSB .............................................................113 Bank select MSB ............................................................113 Battery check .................................................................114 Beat pattern ...................................................................109 Bend range ................................................................73, 90 Bender information ........................................................87 Bias direction ..................................................................82 Bias level ..........................................................................82 Bias point .........................................................................82 Booster gain .....................................................................71 Breath information .................................................87, 127 Bulk dump .....................................................................119

209

Index

D
Data transfer .................................................................115 Data type .......................................................................120 [DEC] ..........................................................................13, 45 Delay feedback level ..................................73, 86, 90, 126 [DEMO] ...........................................................................13 Demo play .......................................................................28 DEMO PLAY display ....................................................28 Demo song ......................................................................28 Depth 1–4 .........................................................................75 Desktop music ..............................................................134 Destination ............................................................120–121 Destination 1–4 ...............................................................75 [DIGIT HOLD] ................................................................13 Digit hold .........................................................................48 DISTORTION ..................................................................93 DISTORTION→CHORUS ..........................................104 DISTORTION→DELAY ..............................................105 DISTORTION→FLANGER ........................................105

F
Factory default settings ...............................................123 Factory reset ....................................................27, 115, 123 FACTORY RESET display ............................................27 FBK-PITCH-SHIFTER ..................................................102 Filter type ...................................................................80, 91 [FILTER/ENV] .............................................12, 36, 51, 54 Fine tune ......................................................79, 87, 91, 127 FLANGER/DELAY .....................................................107 FLANGER→DELAY ....................................................106 Foot information .....................................................87, 127 Format ............................................................................122 Front panel ......................................................................12 Function button ........................................................13, 43 FXM color ........................................................................76 FXM depth .......................................................................76 FXM switch ......................................................................76

G
GATE-REVERB .............................................................103 General MIDI system .....................................................11 [GM] .................................................................................12 GM initialize ..................................................................128 GM mode .................................................................43, 124 GM mode parameter ....................................................153 GM patch number ........................................................127 GM PLAY display ........................................................124 GM score data ...............................................................124 GM sound module .......................................................124 GM system on message ...............................................124

E
[EDIT] ...............................................................................13 Effects ...............................................................................61 [EFFECTS ON/OFF] ................................................12, 62 EFFECTS ON/OFF display ..........................................62 EFX control depth 1, 2 .......................................72, 85, 89 EFX control peak/hold ..................................................75 EFX control source 1, 2 ......................................72, 85, 89 EFX output level .........................................72, 84, 88, 125 EFX parameter ........................................................93, 154 EFX source .................................................................84, 88 EFX type ..............................................................71, 84, 88 ENHANCER ...................................................................94 ENHANCER→CHORUS ............................................105 ENHANCER→DELAY ...............................................106 ENHANCER→FLANGER ..........................................105 [ENTER] ...........................................................................13 Envelope mode ...............................................................90 Equal temperament ......................................................114 Error message ...............................................................142 Exclusive device ID number .......................................113 Exclusive protect ..........................................................121 [EXIT] ...............................................................................13 [EXP A] ......................................................................13, 31 [EXP B] .......................................................................13, 31 [EXP C] .......................................................................13, 31 [EXP D] ......................................................................13, 31 [EXP E] .......................................................................13, 31 Expression information .........................................87, 127 Expression pedal ......................................................25, 35 External MIDI device ...........................................131–132

H
Headphones ....................................................................25 HEXA-CHORUS .............................................................96 Hold 1 information .................................................87, 127 Hold control source ......................................................111 Hold pedal .................................................................35, 58 HOLD PEDAL jack ........................................................14

I
[INC] ...........................................................................13, 45 Initial data ......................................................................119 Initialize .........................................................................115 Initialize mode ..............................................................119 Initializing .............................................................119, 128 Internal write protect .....................................68, 116, 121

210

Index

K
Key assign mode ............................................................73 KEY EFFECTS section ....................................................12 Key mode .........................................................................83 Key range lower .......................................................70, 83 Key range switch ............................................................83 Key range upper .......................................................70, 83 Key scale ........................................................................114 Key shift .........................................................................113 Key switch .......................................................................90 Key velocity ...................................................................109 Keyboard sensitivity ....................................................110 Keyboard velocity ........................................................110

N
Name ................................................................................46 Number of simultaneous voices ..................................42 Numeric Key .............................................................13, 45

O
Octave range .................................................................109 Octave shift ..........................................................59, 69, 83 One-shot ...........................................................................64 Operating environment ...............................................108 Orchestral ..................................................................31, 47 Output assign/Output level .....................71, 84, 88, 125 OUTPUT jacks (L (MONO), R) .....................................14 OVERDRIVE ...................................................................93 OVERDRIVE→DELAY ...............................................104 OVERDRIVE→FLANGER ..........................................104

L
Layer ................................................................................52 Layer performance .........................................................51 LCD contrast .................................................................108 [LEVEL] .........................................................12, 36, 51, 54 Level ...............................................................68, 81, 87, 92 LFO ...................................................................................78 LFO delay time ...............................................................79 LFO external sync ...........................................................78 LFO fade mode ...............................................................78 LFO fade time .................................................................79 LFO form .........................................................................78 LFO key sync ..................................................................78 LFO offset ........................................................................79 LFO rate ...........................................................................78 LIMITER ..........................................................................96 Load ................................................................................115 Local OFF ......................................................................137 Local switch ............................................................86, 112 Looped .............................................................................64

P
Page button .....................................................................13 Palette display ...........................................................63, 65 [PALETTE EDIT] ................................................13, 63, 65 PALETTE section ............................................................12 Pan ..........................................................69, 81, 87, 92, 127 Pan information ......................................................87, 127 Pan key follow ................................................................82 Pan LFO depth 1, 2 .........................................................79 [PANIC] ...........................................................................13 Panic .................................................................................60 Parameter .......................................................................147 [PART] .............................................................................12 Part ...................................................................................41 Part button .......................................................................43 [PATCH] ..............................................................12, 30, 47 Patch .............................................................30, 41, 47, 168 Patch category .................................................................68 Patch clock source ..........................................................68 Patch copy .....................................................................117 Patch effects copy .........................................................117 Patch group .....................................................................87 Patch initialize ...............................................................119 Patch mode ................................................................42, 47 Patch mode receive channel ........................................112 Patch mode transmit channel .....................................112 Patch name ......................................................................68 Patch name copy ...........................................................118 Patch number ..................................................................87 Patch parameter ......................................................68, 147 PATCH PLAY display .............................................30, 47 Patch remain switch .....................................................108 Patch scale .....................................................................114 Patch search function ...............................................32, 48 Patch tempo .....................................................................68 Patch tone copy .............................................................117 Patch write .....................................................................116 Peak control source ......................................................111 Pedal assign ...................................................................110 Pedal output ..................................................................110 Pedal polarity ........................................................110–111

M
Master tune ...................................................................113 Memory ...................................................................67, 115 Memory card ...................................................67, 115, 121 MEMORY CARD slot ....................................................14 MIDI ...............................................................................112 MIDI cable .......................................................................25 MIDI channel ..................................................................86 MIDI connectors (IN, OUT, THRU) ............................14 MIDI information .........................................................127 MIDI interface ...............................................................135 MODE section .................................................................12 Modulation ......................................................................34 Modulation information ........................................87, 127 MODULATION-DELAY ...............................................99 Motif ...............................................................................109 Multi-effects ..............................................................61, 93 Multitimbral sound source .....................................41, 53 Mute group .....................................................................90

211

.......................74 Remote keyboard switch ............................. 55 Rhythm set ...... 113 Preview velocity ................................................................127 Pitch bend/Modulation lever ................................................ 55 Rhythm set name ......................................................113 Receive GM exclusive switch ....................... 34 Pitch envelope depth . 90 Receive pitch bend switch ........................35................................74 Receive program change switch ........... 90.....................112 Receive exclusive switch .80..........................118 Rhythm set parameter ..............73.....41....................................80......... 181 Performance clock source ..........................101 212 .................117 Performance initialize .......................................113 Receive hold 1 switch .................................... 126 [RHYTHM] .......................................88 Rhythm set name copy ............................................................................................. 85.....................................................................114 Pure temperament ..... 92 Random pitch depth ...... 89...12......................................113 Program change ...........................................................95 Q QUADRUPLE-TAP-DELAY .86............81............................ 90....... 91 Pitch envelope time 1 velocity sensitivity .....42.......................................83 Performance name copy ..................................14........42........... 90 Receive volume switch .Index Pedal switch ..................... 151 Rhythm set write . 91 Pitch envelope time 4 velocity sensitivity .. 177 Rhythm set copy ................................................................................................... 90 Receive pan control switch .. 85.......................................................114 R Random pan depth ...................................................................71–72............ 2 ..................80..................... 92 REVERB ................................73 Portamento time ... 89........ 51 PERFORM NAME ................... 50 Portamento mode .........................................................................................................................................80 Pitch envelope time 1–4 ..............73 Portamento start pitch ...........................................80 Pitch envelope time velocity sensitivity ....................................................................33........................... 91 Pitch envelope level 1–4 ..................... 126 Reverb/Delay type ................................................................117 Performance tempo .................................................................... 90 Redamper switch .................................................................................... 49..74..... 91 Rear panel ............108 Preset memory ..49.......................... 112 Receive switch .................................................. 41.79............................................................................74 Portamento switch ..118 Rhythm set initialize .....116 Ring modulator .................................... 113 Pitch bend ........................ 150 Performance part copy ..........80............. 33.83 PERFORM PLAY display ................... 49 Phrase preview . 35..............12................................................ 86.....................................................51 Performance .......... 51 Performance name .........71 ROTARY .............38...............................................79............91 Pitch envelope velocity sensitivity ......................113 PREVIEW SELECT display ................................................................................................... 86..................119 Rhythm set mode ........................................................................82.............. 55.67 Preview note set 1–4 .............................13......................80 Pitch envelope time key follow ................................................74............................... 126 Reverb/Delay time ........73 Portamento type .................................... 50 Portamento ........................14 Receive bank select switch . 125–126 Reverb/Delay HF damp .........................................................................................................88.......................................................83 Performance write .............................119 Performance mode .................................................. 26 Power up mode .......116 PHASER ................................... 51...............79 Pitch LFO depth 1....................112 Resonance ............25......................................................83................................................................................... 55 Rhythm key copy .................................................................34 Pitch bend information .......................................73.94 PHONES jack ......................................73.86......................................................................................................83 Performance control channel ..........................................................................................12........................................................118 RHYTHM PLAY display ..........117 Performance parameter .........................61 Reverb send level ........................................38.............................. 88.................................112 Performance copy .....73 Power switch .......... 91 Pitch key follow ................. 91 Resonance velocity sensitivity ........................................................74...............117 Performance effects copy ......................................................49 Preview sound mode ...............................................................................................79 [PORTAMENTO] ...........103 Reverb ................................14 [PHRASE PREVIEW] ................... 126 Reverb/Delay level ....... 38..................................... 84............................................................................ 131 [PERFORM] ...............................12.73........... 86............................. 86.............................................................................

..............119.......80..........67 Thru function ...87 System controller 2 information .....80................................67 [SOLO] ......................40...............................................76 Tone switch button ............................70 Style ...................114 Transmit bank select switch ....35...................................................................................................................................................92 TVA envelope velocity curve ...................114 Transmit bank select MSB ................................86 Transmit volume ................................................................................................ 92 TVA envelope 1–3 ..................................................................................................................................................... 50 Tone delay mode ....................................................52 SR-JV80 series .............................................................43 System parameter .....................................................................108 [SYSTEM] ..... 35..............................16...101 Tone .......................12.......................................................... 158 System tempo .........114 Transmit program change switch .......... 114 SmartMedia ...................................... 55 [SHIFT] ......................81........................................................................113 Session .94 Split .............81....................................................................................................................82 TVA envelope level 1–3 ..........................67 System mode .............................................................................................................................................................................................113 Transmit MIDI channel .............................................................................................................................114 Transmit program change ................82 TVA envelope time key follow .............31......................................... 47......109 Single performance ...82 TVA envelope time velocity sensitivity ........................................................98 Storing .............................................................................97 SPECTRUM ...................................................86 Transmit bank select LSB ....Index S Save ....................... 42 Source block .....................110 TREMOLO-CHORUS ....................13 Shuffle rate .......................97 TRIPLE-TAP-DELAY ..........................31.......93 STEREO-FLANGER ...................................................................................................................81 TVA envelope velocity sensitivity ........................................................111 System controller 1 information ........................................................................................................87 System memory ...............................108 T Techno ..............................................................................................................................................................................................81 TVF envelope time velocity sensitivity ...44 Transmit active sensing switch ...............................................................16................ 55 Tempo ............99 STEREO-EQ ................................... 2 ...........................................................................................................44 [TONE SWITCH] ...............................................................108...........112 Transmit edit data switch .............50.........92 TVA envelope time 4 velocity sensitivity .................................................................................97 STEREO-DELAY ........................................36 Sound palette function .............................. 92 TVA LFO depth 1..69 Stretched tuning ................ 128 [TRANSPOSE] ............................................................................................................92 TVA envelope time 1–4 ...113 TVA ......................................................................... 91 TVF envelope depth ....................81–82 TVF envelope time 1–4 ......................................81 TVF envelope time key follow .................................................................79 213 ................................................................................137 TIME-CONTROL-DELAY ...........98 STEREO-CHORUS ....81..........................73 Sound palette .......60 Transpose switch/value ..........76 Tone delay time ...............................................................................113 Transmit bank select group .......................................................... 91 TVF envelope level 1–4 ...............................................................................44 Tone switch ......................................................................................................................................77 [TONE SELECT] ................................................ 47.............81....................................................................................................116 Stretch tuning depth ..... 54 Sound source ....................51 Slots EXP-D and E ...110 Temporary area .............. 92 TVF LFO depth 1..................................69 Structure ........... 92 TVF envelope time 4 velocity sensitivity ......................................................................................................100 Tuning ..115 Scale tune switch .................................................................................................................... 92 TVF envelope time 1 velocity sensitivity ..................120–121 SPACE-D ......................112 Transmit switch .......81 TVF envelope velocity sensitivity ...................................................79 TVF ..................82 TVA envelope 1–4 ....................... 67 STEP-FLANGER .......................................70 Structure type .............44 Tone select button ................................................................................81............................................................................ 50 Solo ...............................................40.................................................................................92 TVF envelope velocity curve ..................................................47 Techno Collection ............12 System control assign 1/2 ......................................... 60 Transpose ........................................12................................ 50 Solo legato switch ................. 2 ..................................87 Transmitting ............................................................................................................................................................................................

............................ 27...................69 Voice reserve .76...69 Velocity range switch ...... 115 Utility/Card mode ..................................Index U Undo ..................................................................................................................13.................................................................115 UTIL 1 display ...13................................................69 Voice information .................... 90 Waveform .................43......... 90 Wave group ..........34 Velocity cross fade ............16................................ 87 Volume .....................................................................27.................................................................27 [UTIL/CARD] .12.......................................................................76.................................68 214 ..... 116......26 Volume slider ..............69 Velocity range upper ...........................42...160 Write ............................................ 68 UTIL 2 display ....... 47..................................... 67.....12 W Wave ............................... 55..... 118 User memory .................... 90 Wave number . 45 Velocity ....87.............................................................................87.......................................................................................................................................115 WRITE display ...............................127 Volume control source .............................. 68....45 [UNDO/COMPARE] ................................................................ 114 WAVE EXPANSION section ....................................67–68.................................76........................................ 127 VOLUME slider ..............................69 Velocity range lower ................................................111 Volume information ..............................................13 Wave gain ....................... 115 V VALUE dial ............................47 Wave expansion board ........................................................................................................................................ 45.......................................................................................... 127 Voice priority ............................................................... 116 User memory protect ..........................................

jos se on virheellisesti asennettu. These limits are designed to provide reasonable protection against harmful interference in a residential installation. Brukte batterier kasseres i henhold til fabrikantens instruks joner. Levér det brugte batteri tilbage til leverandøren. ADVARSEL! Lithiumbatteri . Udskiftning må kun ske med batteri af samme fabrikat og type. – Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. This equipment requires shielded interface cables in order to meet FCC class B Limit. the user is encouraged to try to correct the interference by one or more of the following measures: – Reorient or relocate the receiving antenna. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. If this equipment does cause harmful interference to radio or television reception. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. ADVARSEL Eksplosjonsfare ved feilaktig skifte av batteri. if not installed and used in accordance with the instructions. For EU Countries This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.For EU Countries CAUTION Apparatus containing Lithium batteries Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type recommended by the manufacturer. Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten. . – Consult the dealer or an experienced radio/TV technician for help.Eksplosionsfare ved fejlagtig håndtering. For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device. – Increase the separation between the equipment and receiver. uses. VARNING Explosionsfara vid felaktigt batteribyte. For Canada NOTICE This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. This equipment generates. may cause harmful interference to radio communications. and can radiate radio frequency energy and. pursuant to Part 15 of the FCC Rules. there is no guarantee that interference will not occur in a particular installation. which can be determined by turning the equipment off and on. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. Kassera använt batteri enligt fabrikantens instruktion. VAROITUS Paristo voi räjähtää. AVIS Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. However. Unauthorized changes or modification to this system can void the users authority to operate this equipment. Discard used batteries according to the manufacturer’s instructions.

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