USING THE UNIT SAFELY

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 to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

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.

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual. ..........................................................................................................
002d

001

• Do not open or perform any internal modifications on the unit or its AC adaptor. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 47, p. 50.) ..........................................................................................................

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock. .......................................................................................................... • Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device. ..........................................................................................................
009 008e

008c

003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page. .......................................................................................................... • Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are • Damp (e.g., baths, washrooms, on wet floors); or are • Humid; or are • Exposed to rain; or are • Dusty; or are • Subject to high levels of vibration. ..........................................................................................................

• Never use or store the unit in places that are:

004

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards! ..........................................................................................................

010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist. .......................................................................................................... • Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. ..........................................................................................................
011

• This unit should be used only with a BKT-S that is recommended by Roland (p. 30). ..........................................................................................................
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005

• When using the unit with the BKT-S and PDS-10 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. ..........................................................................................................

3

012b

• Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when: • The AC adaptor, the power-supply cord, or the plug has been damaged; or • If smoke or unusual odor occurs • Objects have fallen into, or liquid has been spilled onto the unit; or • The unit has been exposed to rain (or otherwise has become wet); or • The unit does not appear to operate normally or exhibits a marked change in performance. ..........................................................................................................

• At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire. ..........................................................................................................
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103b

• 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. .......................................................................................................... • Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit. ..........................................................................................................
108b 107c

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. ..........................................................................................................

• Protect the unit from strong impact. (Do not drop it!) ..........................................................................................................
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014

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices. ..........................................................................................................

109b

• 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. ..........................................................................................................

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 19). ..........................................................................................................

• Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet. .......................................................................................................... • Install only the specified circuit board(s) (model no. SRX series). Remove only the specified screws (p. 47, p. 50). ..........................................................................................................
118c 115a

110b

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. ..........................................................................................................

• Always turn the unit off and unplug the AC adaptor before attempting installation of the circuit board (model no. SRX series; p. 19). .......................................................................................................... • 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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022b

• Keep any screws you may remove and the included wrench in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally. ..........................................................................................................

120

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation. ..........................................................................................................

• Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that don’t require such power. Be sure to check the specifications of any microphone you intend to use by referring to the manual that came with it. (This instrument’s phantom power: 48 V DC, 10 mA Max) ..........................................................................................................

102c

• Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit. ..........................................................................................................

4

IMPORTANT NOTES
291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 3–4, please read and observe the following:

Power Supply
301

Maintenance
401a

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.
302

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, nonabrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth. • Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.
402

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

Repairs and Data
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307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/ or damage to speakers or other devices.

Placement
• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.
352a 351

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up on an USB memory, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

*** on a RAM card/DATA card

Additional Precautions
• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on an USB memory.
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• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.
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352b

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory or on an USB memory once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.
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553

• When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.
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355b

• Never strike or apply strong pressure to the display.
555

• A small amount of noise may be heard from the display during normal operation.
556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements. • To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

558a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

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5

* Mac OS is a trademark of Apple Inc. * SONAR is a registered trademark of Twelve Tone Systems. 206j 206e * Windows® is known officially as: “Microsoft® Windows® operating system. broadcasts. LTD. The SonicCell’s USB functionality uses MatrixQuest middleware technology from TEPCO UQUEST. Do not use cables that incorporate resistors for connecting to this unit. 213 220 209 * Pentium is a registered trademark of Intel Corporation. The use of such cables can cause the sound level to be extremely low. All rights reserved. distribution. 852a 851 • This product can be used to record or duplicate audio or visual material without being limited by certain technological copy-protection measures. 563 Handling CD-ROMs • Avoid touching or scratching the shiny underside (encoded surface) of the disc. Keep your discs clean using a commercially available CD cleaner. visual works. • Unauthorized duplication. * VST is a trademark of Steinberg Media Technologies AG. or broadcast of copyrighted material (musical works.) belonging to a third party in part or in whole without the permission of the copyright owner is forbidden by law. For information on cable specifications. Inc. lease. sale. Inc. This is due to the fact that this product is intended to be used for the purpose of producing original music or video material. etc. live performances. • Do not use this unit for purposes that could infringe on a copyright held by a third party. * All product names mentioned in this document are trademarks or registered trademarks of their respective owners. 204 853 * Microsoft and Windows are registered trademarks of Microsoft Corporation. Damaged or dirty CD-ROM discs may not be read properly. We assume no responsibility whatsoever with regard to any infringements of thirdparty copyrights arising through your use of this unit. * The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation. * MPEG Layer-3 audio compression technology is licensed from Fraunhofer IIS Corporation and THOMSON Multimedia Corporation. duplication. add 233 6 . LTD.” 207 * Apple and Macintosh are registered trademarks of Apple Computer. contact the manufacturer of the cable. your own original works) can be recorded or duplicated freely. * MatrixQuest™ 2007 TEPCO UQUEST. and lending prohibited. 801 Copyright • Recording. performance. or impossible to hear. reproduction. hiring.562 • Some connection cables contain resistors. and is therefore designed so that material that does not infringe copyrights belonging to others (for example.

......................................................................................................................................................................................................................................................................................................... 18 Basic Operation of the SonicCell .......................................................... 32 Windows XP users .......................................................... 20 Using the SonicCell as a MIDI Sound Module.. 16 Turning the Power On/Off ............................ 33 Windows Settings...................................................................................................................................................................................................... 14 Playing the Demo Songs......................................................................................... 34 Windows Vista Users ..................................................... 22 Playing the SonicCell in Patch Mode ........................................................................................................................................................................ 22 Playing the SonicCell in Performance Mode ....... 30 Performing via MIDI while a Song Plays ...................................................................................................................... 27 Playing Songs (Portable Backing Machine).......................................................... 37 Installing SonicCell Editor ................. 38 Settings ....... 37 Installing the Driver ........................................................................................................................................................................................................................................................................................................................................................................... 35 Installing the Driver . 30 Connecting the SonicCell to Your Computer.......................................................................................................................... 28 Playback Procedure ................................ 36 Mac OS X Users................... 33 Installing the Driver .................................................................................................................. 3 IMPORTANT NOTES ...................... 23 Modifying the Sound (editing a patch) ............................................................................................................................................................................................................ 36 Installing SonicCell Editor ................................................................................. 31 Specifications of the dedicated plug-in version of the editor ................................................................... 34 Installing SonicCell Editor ................. 14 Top Panel ................................ 20 About the display and [CURSOR/VALUE]........................................................................................................ 12 User Guide 13 Panel Descriptions........................................................................ 5 Main Features........ 15 Rear and Front Panels.......... 24 Using the Editor and Librarian ...................................... 40 Connecting a Mic.......................................................................................................... 41 7 ..........................Contents USING THE UNIT SAFELY. 35 Windows Settings.. 38 Recording a Mic or Guitar(USB/Audio Interface) .................................... 28 Creating a Playlist..........................................................................................................

......................................................................................... 57 Non-Rewritable memory ................. 62 If the patch type is Patch............... 60 Specifying the recommended performance tempo (Performance General screen)................................................ 46 How to Install a Wave Expansion Board ................................................................................................................................................................................. 48 Installation de la carte d’extension Wave (French language for Canadian Safety Standard) ..... 42 Adjusting the Input Volume ...................................................... 56 About Memory ............ 54 How a Performance is structured ....... 49 Precautions a prendre lors de l’installation d’une carte d’expansion Wave............. 67 8 ........................................ 46 Cautions When Installing an Wave Expansion Board................................................................................................................ 51 MIDI Sound Module 53 Overview ..................................... 50 Verification des cartes d’extension audio apres installation ........................................................................................................................................... 64 Selecting patches from a patch list by category (Patch List (Ctg) screen)...................................................................................... 59 Switching the sound mode (Sound Mode screen) ............................................................................................................................................. 58 Viewing the MIDI INST (MIDI sound module) screen ....................................................................................................................................................................... 66 Selecting a rhythm set from a list (Rhythm Set List screen) ..................................................................................................... 49 Installation d’une carte d’expansion Wave ..................................................................................................................................................... 65 Selecting patches from a patch list by group (Patch List (Grp) screen) ...................................... 55 About the Effects............................................................................................... 56 Effects in Patch Mode........................................................................................................ 54 Performance Mode and Patch Mode .................................................................................................................. 56 Effects in Performance Mode........................... 42 Input Effect Settings....................................... 62 If the patch type is Rhythm Set ....................................................................... 57 Temporary Memory ............................ 58 Viewing the menu screen (Performance Menu screen)...................................................................Contents Connecting a Guitar ........................................................ 43 Installing the Wave Expansion Board............................. 41 Using the Line Input....... 60 MIDI-related settings (Perform MIDI Filter screen)............................. 54 How a Patch is structured ................................................................................................................. 55 Calculating the Number of Voices Being Used ...... 47 Checking the Installed Wave Expansion Boards ............... 57 Using the SonicCell in Performance Mode ............. 60 Viewing the part settings (Part View screen).................................................................................... 57 Rewritable Memory.................. 54 How a Rhythm Set is structured.......................................................

........................................................................................................................................... 127 9 ..................................................... 79 Changing how the multi-effects are combined (MFX Structure screen) .....................................Contents Editing parts (Part Edit screen) ......................................... 90 Selecting how tones are combined (Patch Structure screen) ..... 86 Selecting a rhythm set from a list (Rhythm Set List screen) ......... 82 If the patch type is Rhythm Set .............. 109 Specifies how the tones will be heard (Patch TMT screen) ...................................................................................................................... 120 Specifying how a rhythm tone will be heard (Rhythm WMT screen) ....................... 78 Chorus-related settings (Chorus/Chorus Output screen) ...... 87 Editing patches (Patch Edit screen) .......................................................................... 88 Overall settings for the entire patch (Patch General screen) ................................................. 95 Waveform-related settings (Patch WG/Patch Pitch Env screen) .......... 124 TVA settings (Rhythm TVA/Rhythm TVA Env screen) ... 85 Selecting patches from a patch list by group (Patch List (Grp) screen) .......................... 98 TVF settings (Patch TVF/Patch TVF Env screen)....................................... 82 If the patch type is Patch............................................................................................................................................................................ 85 Selecting patches from a patch list by category (Patch List (Ctg) screen)................................................................. 84 Selecting patches from a patch list ................................. 82 Viewing the Patch Play screen . 80 Using MIDI to control the multi-effects (MFX1–3 Control screens)....... 80 Selecting how effects will operate (Effect Source screen) ................................................... 75 Selecting the item to edit (Effect Routing screen).................. 73 Performance Write................................................................... 122 Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen) ........................ 102 TVA settings (Patch TVA/Patch TVA Env screen) .............................. 73 Performance Initialize ................ 118 Waveform-related settings (Rhythm Wave screen) ................. 117 Edits overall settings for the entire rhythm set (Rhythm General screen) ................................................................................ 115 Patch Write ................................................ 81 Using the SonicCell in Patch Mode .................................................................................................................................................................. 72 Sound Control Initialize ............................ 77 Editing the multi-effects related settings (MFX1–3/MFX1–3 Output screens)............... 68 Scale Tune settings (Scale Tune screen) ............................................................................................................................................................................ 93 Settings for matrix control (Patch Mtrx Ctrl1–4 screens) .................................................... 2/Patch Step LFO screen) ..................... 122 TVF settings (Rhythm TVF/Rhythm TVF Env screen)................................................................................................... 73 Editing effects ......................... 84 Switching the sound mode (Sound Mode screen) ............................................................................. 105 Patch/Tone output-related settings (Patch Output screen)............................................................................ 112 Controller-related settings (Patch Ctrl screen) ...................................................................................................................................................... 83 Viewing the menu screen (Patch Menu screen) ............................... 116 Editing rhythm sets (Rhythm Edit screen) ........................................................................ 108 LFO settings (Patch LFO1.............................. 114 Tone Copy .......................................................................... 78 Reverb-related settings (Reverb/Reverb Output screen) ............................. 115 Patch Initialize ...........................................................................

...... 160 Logic Pro 7........................ 137 Audio Connections 139 Using the SonicCell with your computer (USB AUDIO) ............................................................... 143 Input/output and effect settings (In/Out Routing)........................ 130 Rhythm Tone Initialize .............................................. 134 Multi-effect settings (MFX/MFX Output screen)............................................ 149 Saving the MFX3 settings..................................................................................................................2 .............................................................. 132 Selecting the item to edit (Effect Routing screen).... 150 Using the plug-in version of SonicCell Editor 151 SONAR LE ....................................2 ....................................................................................................... 130 Rhythm Set Initialize ............... 141 Inputting sound from an external device (INPUT) ....... 136 Controlling the multi-effects via MIDI (MFX Control screen) .................................................................................................................................... 142 Accessing the Menu screen........................................ 163 10 . 129 Rhythm Tone Copy..................................................................................................................................................................................................................................................... 134 Chorus settings (Chorus/Chorus Output screens) .............. 142 Basic operation.....................................................Contents Output-related settings for the rhythm set and rhythm tones (Rhythm Output screen) ............... 149 System Write ......................................................................................................................................................... 135 Reverb settings (Reverb/Reverb Output screens) .................................................................................................. 144 Selecting the item to edit (In/Out Routing screen) .................................................................................................................................. 152 SONAR 6. 147 Selecting the signal sent to your computer (To Computer screen) .......................................................... 148 Specifies how MFX3 will be used (MFX3 Location screen) ........... 147 Input effect settings (Input Effect/Input FX Output screen) ................................................. 140 Accessing the Menu screen............ 131 Editing the effects (Patch/Rhythm Set) ......................................................................................................................................... 130 Rhythm Set Write................................................. 140 Basic operation............ 157 Cubase 4..............

242 MIDI Implementation...................... 222 Patch List ......................................................................... 173 Other Settings 175 System Settings........ 168 SMF/audio files that can be played .................................................................... 183 Initializing USB memory (USB Memory Format) ............................................................................................................................................................................................... 171 Playlist Write ...............Contents SMF/Audio File Player 167 Playing back songs.......................................................................................................................................... 183 Adjusting the overall tone of the audio output (Master Equalizer) ................................................................................................................................... 173 Changing the song order ............................................................................................................................................................................................................ 180 Viewing information about SonicCell (System SRX Info/System Version Info screens) .................................................................................... 191 Effects List............................................................................................................................. 178 Settings for the Preview function (System Preview screen) ........................ 182 Restoring backed-up data into the SonicCell (User Restore) .............................. 176 General settings (System screen)......... 279 11 ............................ 180 Editing the mastering effect (Mastering Effect screen) ..................................................................................................................................................... 179 Settings for Control-related functions (System Control screen)..................... 192 Performance List ................................................ 176 Patch Scale Tune settings......................................................................................................... 184 Appendices 185 Troubleshooting ....................................................................................................... 278 Index .................................................................................. 182 Backing up user data (User Backup) .................. 173 Deleting a song from the playlist ......................................................................................... 233 Waveform List .................................................................. 223 Rhythm Set List ................................................. 182 Returning to the factory settings (Factory Reset) .............. 179 MIDI-related settings (System MIDI screen) .......................... 186 Error Messages.............................................................................. 168 Selecting and playing a song from within a playlist ........................................................................................ 168 Song playback .............. 181 Utility functions ..................... 246 Specifications......................................................

WAV. AIFF and MP3 playback capability via optional USBmemory is perfect for the gig • Build playlists of any file-type combination using the playlist editor 12 .Main Features Superior Desktop Synthesizer • 128-voice sound module with new sound set featuring true-to-life instruments • Two SRX sound expansion slots for sound set personalization USB Audio/MIDI Interface • USB audio interface functionality w/MIC and GUITAR (Hi-Z) inputs • Record using the professional on-board DSP effects • PC/Mac VSTi/AU Editor and Cakewalk SONAR LE software included Portable Backing Machine • SMF.

User Guide 13 .

168 • Creating a playlist → p.eps USB MEMORY ACCESS Indicator This will light when you’re playing song data from USB memory that's connected to the SonicCell.USER‘S GUIDE Panel Descriptions Top Panel fig. 141. • Installation → p. p. 88. MENU Button You can press this button to switch to a menu screen for the current mode or editing screen. p. p.kakubu-topPanel. USB This will light when MIDI messages are being received from the connected computer. 84. 46 • Selecting a wave → p. SRX Slot You can install SRX series wave expansion boards here. Display Various information is shown here according to your operations. 117. 14 . p. 133. p. 76. or when you're saving data to USB memory. 181 EXIT Button Press this button to cancel an operation. p. 169. 98 SMF/AUDIO PLAYER Buttons Press these buttons when you’re using the SonicCell as an SMF/audio player. p. 59. 146. 28. p. 68. 171. 143. p. 30 (Play/Pause) Button Plays/pauses the song data. p. p. MIDI MESSAGE Indicator MIDI This will light when MIDI messages are being received from a MIDI device connected to the MIDI IN connector. p. • The menu screen of each main mode → p. • Playing a song → p. p.

personal enjoyment is a violation of applicable laws. No. Unauthorized use of this material for purposes other than private. 54). 23.eps 1 Press [SMF/AUDIO PLAYER]. 43 CURSOR/VALUE Dial Use this to move the cursor. select [Demo Songs] in the playlist list screen. • How to use [CURSOR/VALUE] → p. • USB AUDIO → p. 78 • Applying effects to a patch → p. or to make output-related settings. 28. 132 • Applying effects to the signal from the Input jack → p. • MIDI connections → p. refer to p. By pressing this button together with the [MIDI INST] button.Panel Descriptions ■ USER`S GUIDE MIDI INST Button Press this button when you want to use the SonicCell as a MIDI sound module. 82 USB AUDIO Button Press this button when you want to apply an effect to the audio signal from the connected computer.eps 2 Press [ ]. p. • Recording a mic or guitar → p. or edit a value. select a parameter. p. 1 2 3 4 * 981a Title Welcome Back Mach Juan Big & Bold Human Sonic Composer Yo Sakaue Adrian Scott Scott Tibbs YUHKI Copyright © 2007 Roland © 2007 Roland © 2007 Roland © 2007 Roland Corporation Corporation Corporation Corporation If USB memory containing song file is connected.disp-plylstslct-demo. • Applying effects to a performance → p. For details on playing from a playlist. 58 • Patch → p. 15 .142 PART VIEW Button If the MIDI sound module is in Performance mode (p. Press the dial to confirm the value. you can switch between Performance mode and Patch mode. 140 INPUT Button Press this button when you want to apply an effect to the signal from a device connected to the INPUT jack. 40 • Inputting sound from an external device → p. press this button when you want to make settings for each part. 22. p. EFFECTS Button Press this button when you want to make effect-related settings. 22. fig. * All rights reserved. p. * 982 No data for the music that is played will be output from MIDI OUT. 54 • Performance → p. Playback will start from the first song. or to make output-related settings. 20 ■ Playing the Demo Songs fig. 26.disp-demosongs.

167 MIDI IN/OUT Connectors You can connect these to other MIDI equipment to send and receive MIDI messages. After changing this setting. 22. 19).com PHONES Jack This is a stereo mini-type jack for connecting headphones. • Using the SonicCell as a MIDI sound module → p.USER‘S GUIDE Rear and Front Panels fig. 18). then on again. • Using the SonicCell with your computer → p. This jack will output the sound received from the INPUT jack mixed with the sound from the USB-connected computer and the sound from the SonicCell itself.135 Turns the power on/off (p. p. Be sure to set the [SAMPLING RATE] switch to match the sampling rate setting of the software you’re using.28. p. 54 Rear Panel Security Slot http://www. This connection can handle both MIDI and audio. 16 . Front Panel SAMPLING RATE Switch This specifies the sampling rate used to record or play back audio data. MASTER VOLUME Dial This adjusts the volume of the signals output from the PHONES jack and OUTPUT jacks (p. 18). • Playing back songs → p. you’ll also need to restart your software. you’ll need to turn the SonicCell’s power off. Do not use any AC adaptor other than the included one.eps POWER Switch USB COMPUTER Connector Use a USB cable to connect your computer here.kakubu-rearPanel.31. USB MEMORY Connector You can connect USB memory here and use the SonicCell to play back files (songs) that have been stored on USB memory.kensington. DC IN Jack Connect the included AC adaptor here (p. p. doing so may cause malfunctions. If you’re using software. Connecting headphones will not mute the sound from the OUTPUT jack.

Make connections after first checking the wiring diagrams of other equipment you intend to connect. input the signal for the R channel here.142) MIC Condenser -50 – -30 dBu 17 . XLR connector (48 V phantom power supported) Connecting a phantom-powered condenser mic →In the INPUT screen. If you’ve connected your source to the LINE (R) jack. • Recording a mic or guitar → p. LINE (R) Jack When using LINE (L) and LINE (R) for stereo input. INPUT LEVEL Knob Adjusts the input level of the signal received at INPUT. or line equipment here. you must set this switch to LINE (L). This instrument is equipped with balanced (XLR/TRS) type jacks. These jacks output the combined signals of the sound received from INPUT. 42 OUTPUT Jacks (R. connect it to the LINE (L) jack. the sound from the USB-connected computer. INPUT SOURCE Switch Set this as appropriate for the device you’ve connected to the LINE (L) jack. MIC: Connect a mic. Wiring diagrams for these jacks are shown below. • Recording a mic or guitar → p. XLR connector * Switch OFF “Phantom Power“ in the INPUT screen. guitar. and the sound from the SonicCell itself. turn “Phantom Power” on (p. 142 Nominal input level -30 – -10 dBu -30 – -10 dBu Switch LINE GUITAR Plug/connector accepted 1/4“ phone plug (unbalanced) 1/4“ phone plug (unbalanced) (High impedance supported) Dynamic 1/4“ phone plug (balanced or unbalanced).. If you’re outputting in mono. LINE (L): Connect a line-level device such as an audio device (e.Panel Descriptions ■ USER`S GUIDE INPUT/OUTPUT Jacks These jacks input or output audio signals. L/MONO) These jacks output the audio signal.g. CD player) or keyboard. connect to the L/MONO jack. * If you’re inputting in mono. 40. 142 L/GUITAR/MIC Jack (combo input jack) You can connect either a mic. You can’t use this jack if the INPUT gain select switch is not at the LINE (L) position. 40. GUITAR (Hi-Z): Connect an electric guitar that’s not being sent through an effects processor (high-impedance connection). • Adjusting the input level → p.

eps DC IN Place the AC adaptor so that its lamp light is on the top side. When the unit is grounded. depending on the particulars of your installation. or an authorized Roland distributor. get a bunch of newspapers or magazines. Also. and plug the power cord into an AC outlet. However. you should try to orient the unit so no buttons or controls get damaged. 18 . handle with care to avoid dropping it. such as guitars. Connect the AC adaptor to the SonicCell’s DC IN connector.eps * Depending on the circumstances of a particular setup. fig. (it lights up when connected to an AC outlet) AC Outlet Power Cord AC Adaptor (PSB-1U) Lamp fig. This is due to an infinitesimal electrical charge. a slight hum may occur. as listed on the “Information” page. or allowing it to fall or tip over. Connect the included power cord to the included AC adaptor. connect the ground terminal (see figure) with an external ground.AC-setsuzoku.USER‘S GUIDE Turning the Power On/Off ■ Connecting the AC Adaptor 1 2 3 Make sure that the [POWER] switch is off. If you are unsure of the connection method. or the metal portions of other objects. if you are concerned about this. or perceive that the surface feels gritty to the touch when you touch this device.AC-setchi. contact the nearest Roland Service Center. * When turning the unit upside-down. SonicCell Bottom Panel Ground Terminal Unsuitable places for connection • Water pipes (may result in shock or electrocution) • Gas pipes (may result in fire or explosion) • Telephone-line ground or lightning rod (may be dangerous in the event of lightning) * When turning the unit upside-down. and place them under the four corners or at both ends to prevent damage to the buttons and controls. you may experience a discomforting sensation. which is absolutely harmless. microphones connected to it.

Turning the Power On/Off ■ Turning the Power On NOTE Once the connections have been completed. you risk causing malfunction and/or damage to speakers and other devices. A brief interval (a few seconds) after power up is required before the unit will operate normally. By turning on devices in the wrong order. Turn off the [POWER] switch. Rear Panel POWER Switch Front Panel 3 Use the [MASTER VOLUME] knob to adjust the volume.eps ■ USER`S GUIDE 1 2 Minimize the volume of the SonicCell and of your connected audio equipment. The indications in the display will disappear. 19 . Turn on the [POWER] switch. MASTER VOLUME Knob ■ Turning the Power Off 1 2 3 Minimize the volume of the SonicCell and of your connected audio equipment.PowerOn. fig. Turn off the power of your connected audio equipment. turn on power to your various devices in the order specified. and the power will turn off. * This unit is equipped with a protection circuit.

exit-push.USER‘S GUIDE Basic Operation of the SonicCell About the display and [CURSOR/VALUE] We’ll explain this using the Performance mode Part View screen as an example.disp-cursor. the Name of the display Cursor Moving the Cursor 1 The cursor will move when you turn [CURSOR/VALUE].dispCursor3.eps. make sure that [MIDI INST] is lit. fig. Press fig.cursor-push-eps 2 Press [CURSOR/VALUE]. Press fig.disp-PatchEdit. Accessing the Part View Screen After turning the power on.eps The Patch Edit screen will appear. 20 .display-sample.eps Turn Cursor Cursor Moving Between Screens fig. fig.eps 3 Press [EXIT]. cursor. fig.eps You’ll return to the Part View screen.eps 1 Turn [CURSOR/VALUE] to move the cursor to [PATCH]. then press [PART VIEW].

” fig.dispCursorValue1 ■ USER`S GUIDE Let’s try changing the patch number.cursor-turn.disp-cursorValue4. 73 ). fig.dispCursorValue2 Press fig. Saving perfoemances ➝ Refer to “Performance Write (p. The value at the cursor is highlighted 3 Turn [CURSOR/VALUE]. The cursor will return to its original state. an “E” symbol may appear in the upper right of the screen. you can save the settings you’ve edited.eps Shown when you edit the value The value will change 1 4 Press [CURSOR/VALUE] once more. When you edit the value.eps The patch number will be highlighted.dispCursorValue3 The value will change. Turn fig.cursor-push-eps 2 Press [CURSOR/VALUE].Basic Operation of the SonicCell Editing a Value fig. 21 . 1 Turn [CURSOR/VALUE] to move the cursor to the patch number. In this case. Patch Number Cursor fig.

When connection cables with resistors are used.dispMIDIPrfmNum2. either Performance mode or Patch mode can be selected.eps MIDI OUT MIDI Keyboard MIDI IN OUTPUT Monitor Amplifier etc. fig. refer to p. 20 . The sound will change. NOTE To prevent malfunction and/or damage to speakers or other devices. Press [CURSOR/VALUE]. For details on using [CURSOR/VALUE]. the volume level of equipment connected to the inputs (INPUT) may be low.setsuzoku-MIDI. always turn down the volume.button-MIDI-INST-Lite.USER‘S GUIDE Using the SonicCell as a MIDI Sound Module ■ Connections fig.eps 4 1 5 1 Turn [CURSOR/VALUE] to change the performance number. ■ Performance mode and Patch mode When using the SonicCell as a MIDI sound module.dispMIDIInst1. Performance Number fig. Playing the SonicCell in Performance Mode ■ Selecting a Performance fig. For details on Performance mode and Patch mode. The MIDI INST screen will appear. When the power is turned on. Performance mode is selected. use connection cables that do not contain resistors. 22 .eps 1 Press [MIDI INST] so its indicator is lit. The value at the cursor will be highlighted.disp-MIDIINST. refer to p. and turn off the power on all devices before making any connections. If this happens.eps 2 3 1 Move the Cursor to the Performance Number.epsfig. Press [CURSOR/VALUE]. 54 .

Using the SonicCell as a MIDI Sound Module ■ USER`S GUIDE Playing the SonicCell in Patch Mode ■ Selecting Patch Mode fig. Turn [CURSOR/VALUE] to change the patch number. and the MIDI INST screen will appear.eps 1 2 3 In the Patch Play screen. The sound will change. The SonicCell will enter Patch mode. simultaneously press [MIDI INST] and [PART VIEW]. turn [CURSOR/VALUE] to move the cursor to “RxCh. Press [CURSOR/VALUE].dispPtchPlyRxch. you’ll switch to Performance mode.” Press [CURSOR/VALUE]. The RxCh value will be highlighted.eps 1 In the MIDI INST screen. turn [CURSOR/VALUE] to move the cursor to the patch number.eps/fig. and the Patch Play screen will appear.eps 1 2 3 In the Patch Play screen. ■ Selecting Sounds fig.dispPtchSelect.button-MIDI-PART. If you once again hold down [MIDI INST] and press [PART VIEW]. Turn [CURSOR/VALUE] to set the “RxCh” value to match the transmit channel of the connected equipment.disp-PatchPlay. ■ Setting the MIDI channel fig. 23 .

24 .” Press [CURSOR/VALUE]. Press [CURSOR/VALUE]. Access the Patch Edit Screen fig.dispPtchSlct01.dispPtchPly-Edithanten. Patch Group fig.eps The Patch TVA Envelope (T1) screen will appear.dispPtchEdtTVA. “Violin” will be selected. 5 Modifying the Sound (editing a patch) Before you continue.eps 1 2 In the Patch Play screen.” then press [CURSOR/VALUE]. The Patch Edit screen will appear.dispPtchSlct02.” then press [CURSOR/ VALUE].eps 3 Turn [CURSOR/VALUE] to select the graphic below Tone 1 “TVA. then press [CURSOR/VALUE]. fig. fig.USER‘S GUIDE Example: Selecting “037 Violin” from the “PR-C” group fig.eps 4 Turn [CURSOR/VALUE] to move the cursor to the patch number.disp-PatchTVAEnv. The patch number will be highlighted.eps 1 2 In the Patch Play screen. fig.eps 3 1 Turn [CURSOR/VALUE] to select “PR-C. use [CURSOR/VALUE] to move the corsor to the “EDIT. select “037 Violin” from “PR-C” as described in the procedure above. Turn [CURSOR/VALUE] to select “037” as the patch number. ■ Editing the Amp Envelope This specifies how the sound begins and decays. turn [CURSOR/VALUE] to move the cursor to the patch group.dispPtchSlct03.

eps T1(when you press a key) • To make the sound begin immediately when you press a key ➝ Set “A-Env Time1” to a low value fig.disp-TVAEnvT1h2.disp-TVAEnvT1h1.disp-TVAEnvT4h1.dispTVAEnv. fig.” Press [CURSOR/VALUE]. 116 .” Press [CURSOR/VALUE]. If you want to save the patch you modified.disp-TVAEnvT4h2. Turn [CURSOR/VALUE] to change the value. the graph in the lower part of the screen will also change.Using the SonicCell as a MIDI Sound Module Adjusting the Attack fig. The value will be highlighted.dispTVAEnvT4. The value will be highlighted. then press [CURSOR/VALUE].eps ■ USER`S GUIDE 4 5 6 Turn [CURSOR/VALUE] to move the cursor to “A-Env Time1.eps • To make the sound linger after you release a key ➝ Set “A-Env Time1” to a high value MEMO For details on amp envelope.eps 7 8 9 Turn [CURSOR/VALUE] to move the cursor to “A-Env Time4. fig. When you change the value.eps • To make the sound begin slowly when you press a key ➝ Set “A-Env Time1” to a high value Adjusting the Release fig. then press [CURSOR/VALUE].eps T4 (when you release a key) • To make the sound stop immediately when you release a key ➝ Set “A-Env Time4” to a low value fig. refer to p. refer to p. When you change the value. If you press [EXIT] you’ll return to the previous screen. 107 . If you press [EXIT] you’ll return to the previous screen. 25 . Turn [CURSOR/VALUE] to change the value. the graph in the lower part of the screen will also change.

116 .” Press [CURSOR/VALUE]. For details on filter.epsfig. The Patch Edit screen will appear. press [EFFECTS].eps 26 . fig. the graph in the lower part of the screen will also change. You can dramatically vary the character of the sound simply by changing the effect.” Press [CURSOR/VALUE].eps 1 2 In the Patch Play screen.USER‘S GUIDE ■ Editing the Filter By editing the filter settings you can make the tonal character of the sound brighter or darker. fig.disp-PatchTVF1. The Patch TVF screen will appear. fig.” Press [CURSOR/VALUE]. fig. MEMO ■ Changing the Effect Effects are various types of processing that you can apply to the sound.eps 2 Turn [CURSOR/VALUE] to move the cursor “MFX.eps 5 6 Turn [CURSOR/VALUE] to move the cursor the “Cutoff Frequency. and then press [CURSOR/VALUE].eps 3 4 Turn [CURSOR/VALUE] to move the cursor to the “TVF. The Effect Routing screen will appear.dispEfxRtF1.dispPtchPly-Edithanten. The value will be highlighted. fig.disp-PatchTVF-Cutoff.disp-EfxRouting.dispMFX. refer to p.button-EFFECTS.” fig.eps 7 Turn the [CURSOR/VALUE] to edit the value. refer to p. If you want to save the patch you modified. turn [CURSOR/VALUE] to move the cursor to the “EDIT. 102 .dispPtchEdtTVF. If you press [EXIT] you’ll return to the preceding screen. fig.eps 1 In the Patch Play screen. When you change the value.

MFX Type Use [CURSOR/VALUE] to select the MFX type. refer to p.eps Computer To USB Connector of Computer USB COMPUTER USB cable Dedicated editor and librarian software is included with the SonicCell. For details on using the software. 6 7 Use [CURSOR/VALUE] to change the MFX type.setsuzoku-MIDI-editor. fig. 132 . The MFX type indication will be highlighted.disp-MFX.Using the SonicCell as a MIDI Sound Module 3 4 5 Press [CURSOR/VALUE]. MEMO For details on effect editing.eps ■ USER`S GUIDE The MFX screen will appear. 27 . If you press [EXIT] you’ll return to the preceding screen. By using the editor you can edit the SonicCell’s performance and patch parameters on your computer. 31 . If you want to save the patch you modified. For details on installing the software. refer to p. Press [CURSOR/VALUE]. 116 . Using the Editor and Librarian Connections fig. refer to p. Press [CURSOR/VALUE]. refer to the PDF manual that is installed along with the software. You can edit the settings while viewing them in the large screen of your computer. By using the librarian you can manage the edited settings on your computer.

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

then on again. 29 . fig. SAMPLING RATE SWITCH 1 2 Change the setting of the [SAMPLING RATE] switch. If you press [EXIT] you’ll return to the preceding screen.disp-song-play. Switch off the SonicCell’s power. Songs whose sampling rate differs from the SonicCell’s setting will be shown in the list of songs.SmplRateSW. In this case. but cannot be selected or played. fig.button-PBM. then press [CURSOR/ VALUE].Playing Songs (Portable Backing Machine) 3 Press [CURSOR/VALUE]. The selected song will play. The selected song will be displayed.eps 4 Turn [CURSOR/VALUE] to select a song. * The song length indicated in the display may differ from the actual song length. 6 Press [ ] to stop the song.eps ■ USER`S GUIDE A list of the songs in the USB memory will appear.eps/fig. move the sampling rate switch to the rate of the song you want to play.eps 5 Press [ ].disp-PlayListC. fig.disp-PlayListSong.eps The SonicCell will play songs that were saved with the same sampling rate as the setting for the [SAMPLING RATE] switch on the front panel. About the Sampling Rate fig. then turn it back on. then turn the SonicCell’s power off.

USER‘S GUIDE Creating a Playlist You can use the included “SonicCell Playlist Editor” to create a playlist for playback by the SonicCell.eps MIDI Keyboard MIDI OUT Monitor Amplifier etc. For details on installing “SonicCell Playlist Editor. refer to the PDF manual that is installed along with the software. By using the separately available PDS-10 and BKT-S. 31 . screen-playlisteditor. For details on using the software. it’s convenient to create a playlist in the order you want the songs to play.setsuzoku-pbm-MIDI. you can set up the SonicCell as shown in the illustration.” refer to p. USB MEMORY MIDI IN OUTPUT PDS-10 BKT-S 30 . *If you use the PDS-10.setsuzoku-pds10.epsfig. spread the tripod to the maximum extent. If you want to use the SonicCell to play backing tracks. Ensure that the total height including the SonicCell does not exceed one meter.eps Performing via MIDI while a Song Plays ■ Connections fig.

■ Example Connections and Preparations for Installation fig. or SonicCell Playlist Editor for rental.eps Computer To USB Connector of Computer MIDI Keyboard Disconnect Power off USB cable MIDI OUT Monitor Amplifier etc. 31 . NOTE It is forbidden to use SonicCell Editor.setsuzoku-DAW. Unauthorized duplication is forbidden by law. USB COMPUTER MIDI IN OUTPUT Rear Panel In the System screen. always turn down the volume. If this happens. SonicCell Librarian. use connection cables that do not contain resistors. ■ USER`S GUIDE NOTE You must install the driver before you connect the SonicCell to your computer. When connection cables with resistors are used. lease. turn USB MIDI THRU “ON” (p. the volume level of equipment connected to the inputs (INPUT) may be low. and turn off the power on all devices before making any connections.1 kHz NOTE To prevent malfunction and/or damage to speakers or other devices.Connecting the SonicCell to Your Computer You can use the SonicCell as an external sound module for your DAW or sequencer software. or similar purposes without the permission of the copyright owner. 173) Power off Front Panel Set the sampling rate to 44.

.... * SonicCell may not perform to its full specs when used with an added USB 2.........USER‘S GUIDE dousa. p............... but we cannot guarantee that it will work with all host applications... • • • • * * SONAR LE ➝ p.....0 interface card. p. 157 CUBASE 4 ➝ p....... and has determined that on average.. ■ Installation Procedure Windows XP users. CPU/Clock : Pentium®/Celeron® processor 1...... 35 Mac OS users.. CD-ROM Drive Windows : Mac OS Operating System : Mac OS 10.... *In the interest of product improvement...0 CD-ROM Drive *Although Roland has tested numerous configurations.....4... p. p. This is because there are too many other variables that may influence the processing environment... The plug-in version of the editor has been tested and found to work with major host applications. 160 Logic Pro 7... Roland cannot guarantee that a given computer can be used satisfactorily with the SonicCell Applications based solely on the fact that it meets the left requirements.. a computer system similar to that described above will permit normal operation of the SonicCell Applications.... 163 In order to use plug-in version of the editor.... 37 Installing SONAR LE . 152 SONAR 6....2 ➝ p.... Audio Unit Host Applications in Which Operation has been Verified If you’re using the plug-in version of the editor.. 152 Specifications of the dedicated plug-in version of the editor SonicCell Editor is provided in two forms: a stand-alone version and a plug-in version.............2 ➝ p.............eps SonicCell Editor System Requirements Windows OS Microsoft® Windows® XP Microsoft® Windows Vista™ * This does not work with the 64-bit Edition of Windows Vista™.. the specifications and/or contents of this package are subject to change without prior notice.. please refer also to the applicable explanation......... Plug-in Formats • Windows: VSTi • Mac: VSTi..............3 or later CPU/Clock : PowerPC G4 1 GHz or higher/Intel processor RAM : 512 MB or more Hard Disk : 160 MB or more Display/Colors : 1280 x 800 or higher/1670 million colors or more Others : Apple Macintosh series computer with on-board USB 2...4 GHz or higher RAM : 512 MB or more Hard Disk : 160 MB or more Display/Colors : 1280 x 800 or higher/24 bit Full Color or more Others : A computer with a USB connector that supports USB Specification Revision 2..0 or higher * Intel chipset is recommended... your computer must meet the above operating requirements as well as the requirements of the host application you're using........ including differences in motherboard design and the particular combination of other devices involved. 33 Windows Vista users . 32 ...

Proceed with the driver installation as directed by the instructions in the screen. Be sure to read this file before using the software. Log on to Windows as one of the following users. The screen will indicate “Roland SonicCell Driver will be installed on your computer. navigate to the Driver folder | XP folder.Connecting the SonicCell to Your Computer ■ USER`S GUIDE Windows XP users In order to install the driver and software. Also close any anti-virus or system-monitoring software.” Click [Next]. * If any other message is displayed. contact the system administrator of the computer you’re using. such as Administrator • A user whose account type is Computer Administrator * For details. click [Next]” will appear. 6 The message “To begin installation. you must log on as a user who has administrative privileges. • A user belonging to the Administrators group.. 3 4 5 Close all applications. Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive.html). the XP folder located inside the Driver folder contains a Readme file (Readme_E. NOTE On the SonicCell Editor CD..exe. Installing the Driver 1 2 Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse. and double-click Setup. proceed as directed by the contents of the message. 33 . * For details. which explains how to install the driver and includes a number of troubleshooting tips. if used). ask the system administrator of your computer.

and verify that you hear the sound correctly.” then click “System.USER‘S GUIDE Windows Settings ■ System Settings These settings will prevent problems with the sound being interrupted when you play back audio from your computer. Audio. and Audio Devices.” ■ Settings for Using the Media Player Included with Windows 1 Open “Control Panel” and double-click “Sounds and Audio Devices. navigate to the Editor folder. The “Welcome” screen will appear.” * If you don’t see the above icon. the SonicCell Editor. SonicCell Playlist Editor. and double-click Setup.” then click “Sounds and Audio Devices. Choose “Background services” and click [OK]. SonicCell Librarian. Click [OK] to close “System Properties.exe. Follow the on-screen directions to install SonicCell Editor. play back an audio file and a MIDI file. Click the “Advanced” tab. and then in the Performance section click [Settings]. The online manuals are provided as PDF files. click “Sounds.” * If you don’t see the above icon. You’ll need Adobe Reader (available free of charge) in order to view PDF files. 34 . When you install SonicCell Editor.” Start up Windows Media Player. Installing SonicCell Editor 1 2 3 Insert the “SonicCell Driver CD-ROM” into your CD-ROM drive. and online manuals for each editor will be installed. 1 2 3 1 4 5 Open “Control Panel” and double-click “System.” 2 3 Click [OK] to close “Sounds and Audio Devices Properties. SonicCell Editor VSTi plugin. Click [Next].” Click the “Advanced” tab. click “Performance and Maintenance. The online manual for each editor can be found under Windows “Start | All Programs | SonicCell Editor” folder.

NOTE The Driver | Vista folder of the SonicCell Driver CD-ROM contains a Readme file (Readme_E. 6 The message “Click [Next] to begin the installation” will appear. A message of “Roland SonicCell Driver will be installed on your computer.exe.. log on to Windows as a user whose account type is Administrator. Click [Next]. and then perform the installation again. click [Continue]. * For details. 4 1 5 A User Account Control screen will appear. Place the “SonicCell Editor CD” into your CD-ROM drive.” will appear.” is displayed. Proceed with the driver installation as directed by the instructions in the screen.Connecting the SonicCell to Your Computer ■ USER`S GUIDE Windows Vista Users In order to install the driver and software.html) that describes driver installations and troubleshooting. Close all applications. navigate to the Driver folder | Vista folder. Be sure to read this before use. and double-click Setup. you must log on as a user who has administrative privileges. * If the message “Drivers must be installed by an administrator user. Installing the Driver 1 2 3 Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse. * If any other message is displayed. ask the system administrator of your computer. if used).. Also close any anti-virus or system-monitoring software. proceed as directed by the contents of the message. 35 .

A User Account Control screen will appear. Installing SonicCell Editor 1 2 3 4 Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive. The screen will indicate “An unidentified program is requesting access to this computer”.” click “Hardware and Sounds. the SonicCell Editor. SonicCell Playlist Editor. The online manual for each editor can be found under Windows “Start | All Programs | SonicCell Editor” folder.” * If you’ve chosen the Classic View. click [Continue].” In “Playback.” Start up Windows Media Player. play back an audio file. click [Allow].” then click “Sounds. 36 . The installer will start up. SonicCell Librarian. navigate to the Editor folder. You’ll need Adobe Reader (available free of charge) in order to view PDF files. and double-click Setup. When you install SonicCell Editor. The online manuals are provided as PDF files. SonicCell Editor VSTi plugin. and online manuals for each editor will be installed. double-click “Sounds.USER‘S GUIDE Windows Settings ■ Settings for using the Media Player included with Windows 1 2 3 4 Open “Control Panel. and verify that sound is produced correctly.” choose Roland SonicCell’s “OUT” and click “Set Default.” Click [OK] to close “Sounds.exe. Follow the on-screen instructions to proceed with installing SonicCell Editor.

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive. and double-click “SonicCellUSBDriver. navigate to the Driver folder. Click [Restart] to restart your computer.” Click [Continue]. A message will indicate “Select a Destination. Do you want to continue?” In this case. and then click [Continue]. A message will indicate “The software was successfully installed” will appear.” Click [Continue with installation].Connecting the SonicCell to Your Computer ■ USER`S GUIDE Mac OS X Users In order to install the driver and other software.” Click either [Install] or [Upgrade].” You may see the message “This installer package needs to run a program to determine if it can be installed. The included SONAR LE is not compatible with Mac OS.. A message will indicate “Installing this software requires you to restart.pkg. A message will indicate “Welcome to Roland SonicCell Driver installer. * * For details. enter your password and click [OK].” Click to select the drive in which the system is installed. 4 5 6 7 8 37 . A message will indicate “Easy install. 1 2 3 Start up your computer with all USB cables disconnected (except for the keyboard and mouse). ask the system administrator of the computer you’re using.. Installing the Driver * If an “Authentication” dialog box appears during the installation. click [Continue]. you must log on as a user who has an administrative account.

USER‘S GUIDE Installing SonicCell Editor 1 2 In the “SonicCell Editor CD-ROM. (** will depend on the sampling rate setting of the SonicCell itself. You’ll need Adobe Reader (available free of charge) in order to view PDF files.” The installer will start up. 38 . Follow the on-screen instructions to proceed with installing SonicCell Editor. then switch on the SonicCell’s power.Utilities” folder.) • In the “Sound Effects” tab. Settings ■ Mac OS X Audio Input/Output Settings 1 2 3 Use a USB cable to connect the SonicCell to your computer. SonicCell Librarian. In “System Preference. The “Manual” folder within the folder where SonicCell Editor is installed contains online manuals for each editor. “Choose a device for sound output” • In the “Input” tab. When you install SonicCell Editor. “Play alerts and sound effects through:” • In the “Output” tab.” navigate to the Editor folder and double-click “SonicCell EditorInstaller. double-click “Audio MIDI Setup” to start it up.” click “Sounds. and online manuals for each editor will be installed. SonicCell Playlist Editor.” Choose “Roland SonicCell ** kHz” for the following settings. In the “Applications . Click the “MIDI Devices” tab.mpkg. The online manuals are provided as PDF files. “Choose a device for sound input” ■ Mac OS X MIDI Input/Output Settings 1 2 3 Use a USB cable to connect the SonicCell to your computer. then switch on the SonicCell’s power. the SonicCell Editor.

Click the added external device.” First new external device SonicCell Drag with the mouse so that the up/down arrows indicating the input/output ports are connected as follows. the old settings may still exist. Click added “New External Device” that was added. • Click “Test Settings. click the grayed-out “SonicCell” or “Roland SonicCell” to select it. * If “SonicCell” is not shown. and then click “View Information. or if it is shown grayed-out. * If a different version of the driver had been installed. the settings are correct.” (** will depend on the sampling rate setting of the SonicCell itself. verify that “SonicCell” is shown. refer to the manual of the software you’re using.” Enter the following names in the “Device Name” field of each “New External Device.” You can also try switching off the SonicCell’s power. In this case. For details. then turning it back on. In the Audio Driver settings of the software you’re using. This completes the settings. choose “Roland SonicCell ** kHz. Click ”Test Setup” once again to end the test.” The mouse cursor will change to the shape of a musical note. ■ USER`S GUIDE 5 6 7 8 Click “Add Device. Try clicking “Re-scan MIDI. 9 10 11 12 ■ Before You Use the SonicCell with Your Software 1 2 3 Use a USB cable to connect the SonicCell to your computer before you start up your software.) In the MIDI Driver settings of the software you’re using.Connecting the SonicCell to Your Computer 4 2 In the “Audio MIDI Setup” dialog box. and then click “Delete device” to delete the settings. the SonicCell was not detected correctly. choose SonicCell. 39 . • Connect the first up/down arrow of “SonicCell” to the up/down arrow of the added “SonicCell” Verify that MIDI transmission and reception is occurring normally. If you hear sound from the sound module. Close the “Audio MIDI Settings” dialog box.” A “New External Device” item will appear.

always turn down the volume. and turn off the power on all devices before making any connections. use connection cables that do not contain resistors. Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by: 1.USER‘S GUIDE Recording a Mic or Guitar (USB/Audio Interface) ■ Connections fig. the volume level of equipment connected to the inputs (INPUT) may be low.eps * This instrument is equipped with balanced (XLR/TRS) type jacks. 2. OUTPUT USB COMPUTER LINE (R) INPUT Set the INPUT LEVEL knob to “MIN” before making connections NOTE * * * To prevent malfunction and/or damage to speakers or other devices. Wiring diagrams for these jacks are shown below.eps Dynamic Mic Computer To USB Connector of Computer Guitar Acoustic Guitar etc. Lowering volume levels. Make connections after first checking the wiring diagrams of other equipment you intend to connect.XLR/TRSJack. When connection cables with resistors are used. Changing the orientation of the microphone(s). Relocating microphone(s) at a greater distance from speakers. fig. Keyboard Condenser Mic MIC (DC 48 V/10mA) USB cable LINE (L) GUITAR (Hi-Z) MIC Monitor Amplifier etc. 3.setsuzoku-Input. 40 . If this happens.

144 Input Source Switch 41 .Recording a Mic or Guitar (USB/Audio Interface) ■ USER`S GUIDE Connecting a Mic fig. 142 ) Condenser Mic L/GUITAR/MIC Input Source Switch Connecting a Guitar fig.setsuzoku-input-Mic. Settings Required INPUT SOURCE switch ➝ Set to “MIC” When connecting a condenser mic that requires phantom power ➝ Turn phantom power on (p.setsuzoku-input-guitar.eps Settings Required Guitar INPUT SOURCE switch When sending your guitar through an effects unit before connecting it to the SonicCell ➝ Set to “LINE” When connecting your guitar directly to the SonicCell without passing through an effects unit ➝ Set to “GUITAR” L/GUITAR/MIC If you want to apply an effect ➝ Refer to p.eps Dynamic Mic Acoustic Guitar etc.

eps 1 Press [INPUT] so it’s lit. the level meter at the bottom of the Input screen will indicate “CLIP.dispInputLvmtr.USER‘S GUIDE Using the Line Input fig. 144 LINE (R) L/GUITAR/MIC Input Source Switch Adjusting the Input Volume Checking the Volume Level fig.eps Keyboard Settings Required INPUT SOURCE switch ➝ Set to “LINE” OUTPUT If you’re inputting in mono (one cable) ➝ Connect to L (MONO) If you want to apply an effect ➝ Refer to p.” Adjusting the Volume 1 Use the rear panel [INPUT LEVEL] to adjust the input volume.eps INPUT LEVEL 42 . The Input screen will appear. fig. If the volume is too high. Raise the volume as high as you can without causing the “CLIP” indication to appear in the level meter of the Input screen.InputVolume.setsuzoku-input-Line.

142 To select the type of input effect ➝ p. The Input screen will appear. * The illustration at right is an example of the IN/OUT Routing screen in Performance mode.epsfig.” Press [CURSOR/VALUE]. Chorus.eps Setting the Output to Computer 5 Press [EFFECT] to access the In/Out Routing screen.Recording a Mic or Guitar (USB/Audio Interface) ■ USER`S GUIDE Input Effect Settings If you want to apply an effect to the sound from the Input jack. 6 7 Turn [CURSOR/VALUE] to move the cursor to “To Com.eps SonicCell Patch.disp-Input-Assign. 43 . change the settings as appropriate for your situation. Routing the Sound Through InputFX (input effect) fig. 147 fig. Mic Input Computer ■ Settings Required 1 Press [INPUT] so it’s lit. Mastering Effect Input FX Monitor Amplifier etc. Performance Reverb. ■ Sending the Same Sound as Heard From the Speakers to Your Computer Input-b.eps 2 3 4 Turn [CURSOR/VALUE] to move the cursor to the “Assign. The To Computer screen will appear. Change the value to “To Input FX.disp-InOutRouting-ToCom.” For more about the Input “Assign” setting ➝ p.disp-InOutRouting.” Press [CURSOR/VALUE].

press [MENU] to access the Menu screen. MEMO • Input Effect ➝ p. Mastering Effect Input FX Mic Input Computer ■ Settings Required 1 Press [INPUT] so it’s lit.eps 8 9 10 Turn [CURSOR/VALUE] to move the cursor to the “Type. The Input screen will appear. while recording the unprocessed sound to your computer Input-a. fig.eps Monitor Amplifier etc. 148 • Mastering Effect ➝ p. 147 • Chorus Send Level ➝ p.disp-EffectSwitch.” Press [CURSOR/VALUE].” If you want to make more detailed effect settings. Turn the Input Effect “ON. refer to the following pages.USER‘S GUIDE fig. Chorus.eps If the Input Effect is Not Applied In the In/Out Routing screen. Performance Reverb. 44 . 148 • Reverb Send Level ➝ p.” For more about the “Type” setting of To Computer screen ➝ p.disp-Input-Assign.disp-ToCom-Type-Mix. SonicCell Patch.eps Routing the Sound Through InputFX (input effect) 2 3 Turn [CURSOR/VALUE] to move the cursor to the “Assign. Change the value of Type to “MIX. 181 ■ Applying an effect such as reverb to the sound heard from the speakers. 148 fig.” Press [CURSOR/VALUE].

” MEMO If you want to make more detailed effect settings. 148 • Mastering Effect ➝ p. refer to the following pages. 142 To select the type of input effect ➝ p.” Press [CURSOR/VALUE]. 147 To adjust the depth of chorus or reverb ➝ p.eps 8 9 10 Turn [CURSOR/VALUE] to move the cursor to the “Type. The To Computer screen will appear.disp-ToComputer.disp-EffectSwitch.” Press [CURSOR/VALUE]. 148 • Reverb Send Level ➝ p.eps ■ USER`S GUIDE Setting the Output to Computer 5 Press [EFFECT] to access the In/Out Routing screen. press [MENU] to access the Menu screen.disp-InOutRouting-ToCom. 148 fig.” For more about the “Type” setting of To Computer screen ➝ p. * The illustration at right is an example of the IN/OUT Routing screen in Performance mode. 181 45 . Turn the Input Effect “ON. • Input Effect ➝ p. fig. 147 • Chorus Send Level ➝ p.Recording a Mic or Guitar (USB/Audio Interface) 4 Change the value to “To Input FX. 6 7 Turn [CURSOR/VALUE] to move the cursor to “To Com. Change the value of Type to “INPUT FX. 148 fig.eps If the Input Effect is Not Applied In the In/Out Routing screen.” For more about the Input “Assign” setting ➝ p.epsfig.disp-InOutRouting.

USER‘S GUIDE

Installing the Wave Expansion Board

Two Wave Expansion Boards (SRX series; sold separately) can be installed in the SonicCell. Waveform data, patches and rhythm sets are stored on the Wave Expansion Board, so you can increase the number of available sounds by installing the board in the SonicCell.

NOTE
Installing a Wave Expansion Board increases the patches and drum sets for Parts, but the number of Parts doesn’t change. The Wave Expansion Board can be installed by removing the top cover.

Cautions When Installing an Wave Expansion Board
● To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board. ❍ Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged. ❍ When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors. ● When removing the screws, you must use the included Allen wrench. If you use the wrong tool, you risk damaging the screw head.
fig.30-001-e

● To remove a screw, rotate the Allen wrench counter-clockwise. To tighten the screws, rotate the Allen wrench clockwise. ● When you tighten the screws, take care not to overtighten them. Doing so may cause the screw head to be stripped, allowing the Allen wrench to turn uselessly. ● When installing Wave Expansion Boards, remove only the specified screws. ● Be careful that the screws you remove do not drop into the interior of the SonicCell. ● Do not leave the cover removed. After installation of the Wave Expansion Boards is complete, be sure to replace the cover. ● Be careful not to cut your hand on the opening for installing the board.
911

loosen

tighten

● Do not touch any of the printed circuit pathways or connection terminals.

912

● Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, remove the board and try again.

● When circuit board installation is complete, double-check your work.

913

46

Installing the Wave Expansion Board

■ USER`S GUIDE

How to Install a Wave Expansion Board
To install a wave expansion board, you’ll need to remove the top panel cover. Boards can be installed in the EXP A-EXP B slots. These slots correspond with the Wave Expansion Board groups (XP-A-XP-B) when the expansion Wave, patches, and rhythm sets are used.

1 2

Before installing the Wave Expansion Board, turn off the power of the SonicCell and all connected devices, and disconnect all cables, including the Power cable, from the SonicCell.
fig.SRX-Install0-e.eps

From the SonicCell, remove only the screws shown in the following diagram, and detach the top panel cover.
Allen Wrench (2mm)

Screws to be removed

vfig.SRX-Install3-e.eps

3

As shown in the following illustration, plug the connector of the Wave Expansion Board into the connector of the relevant slot, and at the same time insert the board holder through the hole of the Wave Expansion Board.
* If you install expansion boards of the same type, only one board will be detected.

Wave Expansion Board (SRX series)

Board holder Connector Position them as shown before you install the board.

fig.SRX-Install4-e.eps

4

Use the Installation Tool supplied with the Wave Expansion Board to turn the holders in the LOCK direction, so the board will be fastened in place. Use the screws that you removed in step 2 to fasten the cover back in place.

Installation tool

LOCK

5

47

USER‘S GUIDE

Checking the Installed Wave Expansion Boards
After installation of the Wave Expansion Boards has been completed, check to confirm that the installed boards are being recognized correctly.

1 2 1

Turn on the power, as described in “Turning the Power On” (p. 19 ).
fig.disp-Menu-left-Snd.eps

Press [MENU].
The Menu screen will appear.

fig.disp-menu-right-info.eps

3

Turn [CURSOR/VALUE] to select “SRX Info.”

fig.disp-SysSRXInfo.eps

4

Press [CURSOR/VALUE].
Press or to display System SRX Info screen. The System screen will appear. Verify that the name of the installed Wave Expansion Board is displayed.

NOTE
If “- - - - - - - ” appears next to the installed slot name, it’s possible that the installed Wave Expansion Board is not being recognized correctly. Re-install the Wave Expansion Board correctly.

5

Press [EXIT] to exit the System screen.

48

Installation de la carte d’extension Wave
(French language for Canadian Safety Standard)

fig.French_CSA

■ USER`S GUIDE

Deux cartes d’expansion Wave (serie SRX; vendues separement) peuvent etre installees dans le SonicCell. Les donnees Waveform, les retouches et les groupes de rythme sont stockes sur la carte d’expansion Wave; vous pouvez donc augmenter le nombre de sons disponibles en installant la carte dans le SonicCell.

NOTE
Installer une carte d’expansion Wave augmente les retouches et les groupes de percussion pour les partitions mais le nombre de partitions ne change pas.

Precautions a prendre lors de l’installation d’une carte d’expansion Wave
● Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’eviter tout risque d’endommagement des pieces internes par l’electricite statique. ❍ Toujours toucher un objet metallique relie a la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous decharger de l’electricite statique que vous auriez pu accumuler. ❍ Lorsque vous manipulez la carte, la tenir par les cotes. Evitez de toucher aux composants ou aux connecteurs. ● Utiliser la clé Allen incluse pour retirer les vis. L'utilisation d'un outil inadéquat risque d'endommager la tête de la vis.
fig.30-001-f

● Pour retirer une vis, tourner la clé hexagonale dans le sens contraire des aiguilles d'une montre. Pour serrer les vis, tourner la clé hexagonale dans le sens des aiguilles d'une montre.

desserrer

resserrer

● Veiller à ne pas trop serrer les vis. Un serrage excessif peut fausser la tête des vis et la clé Allen tournerait alors inutilement. ● Pour installer les cartes d’expansion Wave, retirer uniquement les vis mentionnees.. ● Assurez-vous que les vis retirees ne tombent pas dans le SonicCell. ● Replacer le couvercle pour ne pas laisser l'ouverture béante. S’assurer de l’avoir rattacher apres avoir installe le disque dur. ● Faites attention de ne pas vous couper sur l’ouverture d’installation de la carte. ● Ne pas toucher aux circuits imprimes ou aux connecteurs. ● Ne jamais forcer lors de l’installation de la carte de circuits imprimes. Si la carte s’ajuste mal au premier essai, enlevez la carte et recommencez l’installation. ● Quand l’installation de la carte de circuits imprimes est terminee, reverifiez si tout est bien installe.

49

USER‘S GUIDE

Installation d’une carte d’expansion Wave
Pour installer une carte d’expansion Wave, il faut retirer le couvercle superieur. Les cartes peuvent etre installees dans les emplacements SRX-A- SRX-B. Ces fentes correspondent aux groupes de cartes d’expansion Wave (XP-A- XP-B) lorsque l’expansion Wave, les correctifs et rythmes sont utilises.

1

Avant d’installer la carte d’expansion Wave, coupez l’alimentation du SonicCell et de tous les appareils branches, et debranchez tous les cables du SonicCell, y compris le cable d’alimentation.
fig.SRX-Install0-f.eps

2 1

Retirer du SonicCell, uniquement les vis montrees dans le diagramme ci-dessous et detacher le couvercle superieur.
Clé hexagonale (2 mm)

Vis à enlever

fig.SRX-Install3-f.eps

3

Comme le montre l’illustration ci-dessous, branchez le connecteur de la carte d’expansion Wave dans la fente appropriee et, en meme temps, inserez le support de carte de circuits imprimes dans l’ouverture de la carte d’expansion Wave.
* Si plusieurs cartes d’expansion du meme type sont installees, une seule sera detectee.

Carte d’extension Wave (serie SRX)

Support à carte Connecteur Avant l’installation, orienter les supports à carte tel qu’indiqué sur le schéma.

fig.SRX-Install4-f.eps

4

Utilisez l’outil d’installation fourni avec la carte d’expansion Wave pour tourner les supports en position LOCK (verrouille) afin de retenir la carte en place. Remettez le couvercle en place a l’aide des vis retirees a l’etape 2.

Outil d’installation

LOCK

5

50

eps 4 Appuyer sur [CURSOR/VALUE]. L’ecran System Edit s’affiche. 19 ). proceder a une verification pour s’assurer que l’ordinateur les identifie correctement..disp-Menu-left-Snd.Installation de la carte d’extension Wave (French language for Canadian Safety Standard) ■ USER`S GUIDE Verification des cartes d’extension audio apres installation Lorsque l’installation des cartes d’extension audio est terminee. Reinstaller correctement la carte d’extension audio..” fig.. il est possible que la carte d’extension audio installee ne soit pas reconnue correctement. Verifiez que le nom de la carte d’expansion Wave installee s’est affiche.eps 3 Tourner [CURSEUR/VALEUR] pour sélectionner “SRX Info. NOTE Si “. 5 Appuyer sur [EXIT] pour quitter la fenetre du systeme.disp-menu-right-info. 51 . fig. 1 2 1 Mettre sous tension de la facon decrite sous “Turning the Power On” (p.disp-SysSRXInfo..eps Appuyer sur [MENU]. L'écran Menu s'affichera à l'écran. fig.-” est affiche a cote du nom de la fente dans laquelle la carte est installee..

MEMO 52 .

MIDI Sound Module 53 .

How a Patch is structured Patches are the basic sound configurations that you play during a performance. and use them as an ensemble. Performance Part 16 Tone LFO 1 LFO 2 WG Part 1 TVF TVF Envelope TVA TVA Envelope Patch/ Rhythm Set Pitch Envelope audio signal control signal WG (Wave Generator) Specifies the PCM waveform (wave) that is the basis of the 54 . and can simultaneously handle 16 sounds. Since in Performance mode you can use an external MIDI device or sequencer software to independently control each of the SonicCell’s sixteen parts. Performance Mode and Patch Mode ■ Performance mode In Performance mode you can use multiple patches or rhythm sets simultaneously. Each patch can be configured by combining up to four tones. Example 1: A Patch consisting of only one Tone (Tones 2–4 are turned off). Patch Tone 1 Tone 2 Tone 3 Tone 4 Example 2: A Patch consisting of four Tones. so this is the mode to use when editing or creating your own sounds. or layer sounds to create rich textures. you can play very rich textures. Performance mode is selected. A performance contains sixteen “Parts.Overview You can use the SonicCell as a MIDI sound module in either of two modes: Performance mode or Patch mode. How a Performance is structured A performance has a patch or rhythm set assigned to each of the 16 parts. The patch is the unit of sound which can be played. ■ Part On the SonicCell. With the factory settings. In Patch mode it’s also easy to edit the selected sound. Since Patch mode lets you use a variety of effects on a single patch. and the tones are the basic building blocks which make up the patch. the tones are the smallest unit of sound. ■ Tones On the SonicCell. In Performance mode. PRST01–33 For song production PRST34–64 For playing Patch Tone 1 Tone 2 Tone 3 Tone 4 ■ Patch mode In Patch mode you can use a connected keyboard or other device to play a single Patch on the SonicCell. The SonicCell’s sixty-four preset performances have been created to be appropriate for the following uses. it is not possible to play a tone by itself. and you can assign a patch or rhythm set to each part. Because the SonicCell sound generator can control multiple sounds (instruments) it is called a Multi-timbral sound generator. each performance has sixteen parts. a “part” is something to which you assign a patch or rhythm set. this is the mode to use when you’re creating a song. However. How the four tones are combined is determined by the Structure Type parameter.” You can assign a patch or rhythm set to each part.

a patch that combines four tones. Rhythm Set Note number 98 (D7) Note number 97 (C#7) Note number 36 (C2) Note number 35 (B1) Rhythm Tone (Percussion instrument sound) WG Pitch Envelope TVF TVF Envelope TVA TVA Envelope ■ Voice Reserve The SonicCell has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each part. and determines how the pitch of the sound will change. The order of priority is determined by the Patch Priority setting (p. the number of sounds for each part is counted to obtain the total number of sounds for all parts. The note with the lowest priority will be turned off first. or the number of voices (sounds) does not refer only to the number of patches actually being played. 71). currently sounding notes will be turned off to make room for newly requested notes. * There are four wave generators for each rhythm tone (percussion instrument sounds). LFO (Low Frequency Oscillator) Use the LFO to create cyclic changes (modulation) in a sound. For example if Voice Reserve is set to “10” for part 16. more important that as many percussion instruments as possible be available to you at the same time. When an LFO is applied to the TVA volume. however. Priority is specified by the Voice Reserve settings (p. there is no need for a percussion instrument sound to be able to play a scale on the keyboard. each key (note number) of a rhythm set will produce a different percussion instrument. 90). it is important to decide which parts take priority. (Number of patches being played) x (Number of tones used by patches being played) x (Number of waves used in the tones) For example. When you make Voice Reserve settings. When an LFO is applied to the WG pitch. a wah effect is produced. Patch Priority can be set either to “LAST” or “LOUDEST. * LFO is not included in the rhythm tones (percussion instrument sounds). but changes according to the number of tones used in the patches. Either one or both can be applied to effect the WG (pitch). and TVA (volume). and the number of waves used in the tones. When a note within a patch needs to be turned off to make room for a new note. There are separate envelopes for Pitch. a tremolo effect is produced. The following method is used to calculate the number of sounds used for one patch being played. Usually. TVF (filter). Calculating the Number of Voices Being Used The SonicCell is able to play up to 128 notes simultaneously. the Patch Priority setting of the patch will apply (p. TVF (filter) and/or TVA (volume). will use eight notes of polyphony at once. “LAST” is selected. 90). when playing in Performance mode. each of which use two waves. ■ Note priority in Performance Mode Since Performance mode is usually used to play an ensemble consisting of several patches. Therefore.” When “LAST” is selected. When an LFO is applied to the TVF cutoff frequency. a vibrato effect is produced. Envelope You use Envelope to initiate changes to occur to a sound over time. 71). The polyphony. the quietest of the currently sounding notes will be turned off.Overview sound. a newly requested note that exceeds the 128 voice limit will cause the first-played of the currently sounding notes to be turned off. TVF (Time Variant Filter) Specifies how the frequency components of the sound will change. 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 (p. It is. The SonicCell has two LFOs. Since percussion instruments generally do not play melodies. ■ How a Patch Sounds When the SonicCell is requested to play more than 128 voices simultaneously. When “LOUDEST” is selected. TVA (Time Variant Amplifier) Specifies the volume changes and the sound’s position in a stereo soundfield. Also. 55 . part 16 will always have 10 notes of soundproducing capacity available to it even if a total of more than 128 notes (total for all parts) are being requested. How a Rhythm Set is structured Rhythm sets are groups of a number of different percussion instrument sounds. It is not possible to make Voice Reserve settings that would cause the total of all parts to be greater than 64 voices.

you can have effect settings for a patch or rhythm set assigned to a part applied to the entire performance. In addition to effects types composed of simple effects such as Distortion. three types of multieffect can be used simultaneously. You can select whether to use this as a chorus effect or a delay effect. Independently for the high-frequency. while chorus and reverb can be found among the multi-effects types. Performance Part 1 Part 16 Patch Tone ■ Multi-Effects The multi-effects are multi-purpose effects that completely change the sound type by changing the sound itself. Multi-Effects Chorus Reverb Rhythm Set A0 C8 Rhythm Tone Multi-Effects Chorus Reverb 56 . chorus and reverb effects can be set up individually for each patch/rhythm set. you can use one multi-effect. even connecting effects in series or in parallel. and you can independently edit each unit’s settings. Patch Tone ■ Mastering Effect This is a stereo compressor (limiter) that is applied to the final output of the SonicCell. the effect settings of the patch or rhythm set assigned to each part will be ignored. you can also set up a wide variety of other effects. the following chorus and reverb are handled with a different system. chorus and reverb effects can be set individually for each performance. so you can select and use the type that suits your purpose. the effects for the same patch or rhythm set may differ when played in Patch mode and in Performance mode. select and use the type that suits your aims. 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. making the volume more consistent. Contained are 78 different effects types. Effects in Performance Mode The multi-effects. this compresses any sounds that exceed the specified level. When you apply effects in Performance mode. and low-frequency regions. Furthermore. Thus. Flanger. and MFX3. MFX2. mid-frequency. In Patch mode.Overview About the Effects The SonicCell has built-in effect units. The intensity of each effect will be set for each part. In Performance mode. ■ Reverb Reverb adds the reverberation characteristics of halls or auditoriums. Effects in Patch Mode The multi-effects. Five different types are offered. However. these are referred to as MFX1. It has independent high. and the effect settings of the performance will be used. mid. and other such effects. and low ranges. depending on the settings. Multi-Effects Chorus Reverb ■ Chorus Chorus adds depth and spaciousness to the sound.

Wave Expansion Boards contain Wave data. 116). To store a Rhythm Set. However. you can call up settings from preset memory into the temporary area. and non-rewritable. Song SMF Audio File System Patch 256 Rhythm Set 32 Performance 64 Restore Backup Rewritable Memory ■ System Memory Preset Performance 64 Rhythm Set 32 System Preset G (PR-G) Preset F (PR-F) Preset E (PR-E) Preset D (PR-D) Preset C (PR-C) Preset B (PR-B) GM (GM2) Patch 256 Rhythm Set 9 Patch 256 Rhythm Set 32 Performance 64 User System memory stores system parameter settings that determine how the SonicCell functions. 131). as well as patches and rhythm sets that use this Wave data. Settings in the temporary area are temporary. To store a patch. 73). Preset A (PR-A) Patch 128 Select Select Select Write ■ USB Memory The performances/patches/rhythm sets in user memory and the system settings in system memory can be backed up together to USB memory. rewritable. USB Memory Temporary Memory ■ Temporary Area This is the area that holds the data for the patch or performance that you’ve selected using the panel buttons. you do not directly modify the data in memory. execute Rhythm Set Write (p. p. There are three kind of memory: temporary.Overview About Memory Patch and performance settings are stored in what is referred to as memory. When you play the SonicCell. which can be called directly into the temporary area and played. To store a performance. ■ User Memory User memory is where you normally store the data you need. and edit it there. Temporary Area Select Select Non-Rewritable memory ■ Preset memory EXP A slot EXP B slot Patch Rhythm Set Patch Rhythm Set Data in Preset memory cannot be rewritten. execute Performance Write (p. execute System Write (p. sound is produced based on data in the temporary area. you must write them into rewritable memory. 176. you call up the data into the temporary area. 57 . To store system parameters. 150). Wave Expansion Board ■ Wave Expansion Boards (optional: SRX Series) The SonicCell can be equipped with up to two Wave Expansion Boards (optional: SRX Series). rather. execute Patch Write (p. and will be lost when the power is turned off or when you select another patch/performance. To keep the settings you have modified. When you edit a patch or performance. modify them and then store the modified data in rewritable memory.

Press [MIDI INST] so its indicator is lit. In this case. USER: User PRST: Preset Selects the performance. you can specify whether sound will be heard. 60) is set to “Patch. fig. Turn [CURSOR/VALUE] to edit the value.Using the SonicCell in Performance Mode Viewing the MIDI INST (MIDI sound module) screen 1. Press [CURSOR/VALUE] to highlight the value. PRST01–33 For song production PRST34–64 For playing For each part.” the Patch Play screen (p. S. 5. M (mute): The sound will be temporarily muted (silenced). “*” is shown for parts for which both mute and solo have been specified. 82) will appear. fig. M. simultaneously press [MIDI INST] and [PART VIEW] to switch to the MIDI INST screen of Performance mode. press [CURSOR/VALUE]. Press [MIDI INST] so its indicator is lit. When you’ve finished editing.disp-MIDI-top02 (1) (2) 4. Parts other than the one set to “S” will be muted. (2) Performance number/name 01–64 The SonicCell’s sixty-four preset performances have been created to be appropriate for the following uses. In this case. The MIDI INST screen will appear. The MIDI INST screen will appear. -: Sound can be heard. 3. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 58 .disp-MIDI-top01 2. S (solo): Selects the one part that will be heard. (3) Settings for each part -. PRST Explanation Selects the performance group. * Viewing the menu screen (Performance Menu screen) 1. *: In the SonicCell Editor you can set mute and solo separately. Parameter (1) Performance group Value USER. (3) * If Sound Mode (p.

73). 73). 168. 60). 15 and p. the demo song list will appear. Press [CURSOR/VALUE] to access the Sound Mode screen (p. You can turn [CURSOR/VALUE] to the right or left to switch screens. Vibrato Delay Initializes the settings of the current performance (p. 3. Vibrato Rate. Attack Offset. Press [CURSOR/VALUE] to access the Performance Name screen (p. Decay Offset. Saves the current performance as user data. 59 . • Cutoff Offset. 4. Turn [CURSOR/VALUE] to move the cursor to the item you want to edit. Parameter Snd (Sound) Mode General MIDI Filter Ctrl Init (Sound Control Initialize) Prf Init (Performance Initialize) Write (Performance Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Explanation Lets you switch between Performance mode and Patch mode. Press [CURSOR/VALUE] to access the System Version Info screen (p. Press [CURSOR/VALUE] to access the System SRX Info screen (p. * For details on how to play the demo songs. Press [CURSOR/VALUE] to access the Utility screen (p.Using the SonicCell in Performance Mode 2. Initializes the values of only the following sound-related parameters for the current performance (p. 60). 180). Turns reception of various MIDI messages on/off for each part. Press [MENU]. Press [CURSOR/VALUE] to access the System screen (p. Specifies the recommended tempo of the performance. 73). 176). 182). refer to p. Press [CURSOR/VALUE] to access the corresponding screen. The Performance Menu screen has the structure shown in the illustration at right. The Performance Menu screen will appear. Resonance Offset. Release Offset. 180). Press [CURSOR/VALUE] to access the Performance General screen (p. When you press [CURSOR/VALUE]. 60). Vibrato Depth. Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p.

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

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

only sounds that are within the category will appear when you select patches. XP-B unless a wave expansion board is inserted in to the corresponding slot. . Press [CURSOR/VALUE] to access the edit screen for the patch used by the current part (p. 179) lets you specify how the preview will be sounded. Switches the category.Using the SonicCell in Performance Mode Viewing the part settings (Part View screen) 1. 66). XP-B (2) (3) (4) Patch type Current part Patch number/name Category lock Patch category LIST PART PATCH Patch. If you switch the preview icon ( sound played by that patch.disp-PartView-01 If the patch type is Patch If in Performance mode you’ve set the current part’s patch type to “Patch..–CMB (10) Preview . The system Preview setting (p. If you lock the category. 68).disp-PartView-p (1) (2) (3) (4) (5) (6) (7) (8) (9) (10) Parameter Value Explanation Selects the patch group. fig. Press [MIDI INST] so its indicator is lit.” the following screen will appear. PR-A–PR-G. ) to ( ). 65. Move the cursor to the part that you want to edit. 62 . and press [PART VIEW]. Specifies whether the current part will use a patch or a rhythm set. The MIDI INST screen will appear. Selects the patch used by the current part. 2. The [PART VIEW] indicator will light. p. Wave Expansion Board B * It is not possible to choose XP-A. Specifies whether the category will be locked ( ) or not locked ( ) when you select patches. 88). USER: User PR-A–PR-G: Preset A–Preset G GM: General MIDI XP-A. you’ll be able to hear a preview (1) Patch group USER. and the Part View screen will appear. GM XP-A. XP-B: Wave Expansion Board A. Selects the part (current part) that will be affected by your operations. Press [CURSOR/VALUE] to access the Patch List screen (p. Rhythm Part1–Part 16 001– (5) (6) (7) (8) (9) . Press [CURSOR/VALUE] to access the Part Edit screen (p. fig..

Piano EL.Guitar EL. Harpsichord etc.Brass Synth Brass Sax Hard Lead Soft Lead Techno Synth Pulsating Synth FX Other Synth Bright Pad Soft Pad Vox Plucked Ethnic Fretted Percussion Sound FX Beat&Groove Drums Combination Contents No assign Acoustic Piano Electric Piano Other Keyboards (Clav.) Flute. Hit Winds (Oboe. Piccolo Acoustic Brass Synth Brass Sax Hard Synth Lead Soft Synth Lead Techno Synth Pulsating Synth Synth FX (Noise etc.Piano Keyboards Bell Mallet Organ Accordion Harmonica AC.Guitar Bass Synth Bass Strings Orchestra Hit&Stab Wind Flute AC.) Other Ethnic Fretted Inst (Mandolin etc.Guitar DIST. Bell Pad Mallet Electric and Church Organ Accordion Harmonica.Using the SonicCell in Performance Mode ■ Patch Category Category --PNO EP KEY BEL MLT ORG ACD HRM AGT EGT DGT BS SBS STR ORC HIT WND FLT BRS SBR SAX HLD SLD TEK PLS FX SYN BPD SPD VOX PLK ETH FRT PRC SFX BTS DRM CMB No Assign AC. Choir Plucked (Harp etc.) Percussion Sound FX Beat and Groove Drum Set Other patches which use Split and Layer 63 . Clarinet etc. Blues Harp Acoustic Guitar Electric Guitar Distortion Guitar Acoustic & Electric Bass Synth Bass Strings Orchestra Ensemble Orchestra Hit.) Bell.) Poly Synth Bright Pad Synth Soft Pad Synth Vox.

The system Preview setting (p. 67). 68). XP-A. Selects the rhythm set used by the current part. XP-B (2) (3) (4) (5) (6) (7) (8) Patch type Current part Rhythm Set number/name Editing key LIST PART RHY Patch. Selects the part (current part) that will be affected by your operations. PRST. ) to ( ).” the following screen will appear. XP-B: Wave Expansion Board A. 64 . GM. Press [CURSOR/VALUE] to access the Part Edit screen (p.Using the SonicCell in Performance Mode If the patch type is Rhythm Set If in Performance mode you’ve set the current part’s patch type to “Rhythm. If you switch the preview icon ( played by that rhythm set. Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. XP-B unless a wave expansion board is inserted in to the corresponding slot. (1) Rhythm Set group USER. Within the currently selected rhythm set. 117). Press [CURSOR/VALUE] to access the edit screen for the rhythm set used by the current part (p. Wave Expansion Board B * It is not possible to choose XP-A. USER: User PRST: Preset GM: General MIDI XP-A. 179) lets you specify how the preview will be sounded. Rhythm Part1–Part 16 001– A0–C8 Specifies whether the current part will use a patch or a rhythm set. selects the key that you’ll be editing.disp-PartView-r (1) (2) (3) (4) (5) (6) (7) (8) (9) Parameter Value Explanation Selects the rhythm set group. you’ll be able to hear a preview sound (9) Preview . fig.

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

.... 65).disp-PatchL-Grp ■ Menu screen.... Select “LIST” and press [CURSOR/VALUE]... From the Patch List (Grp) screen. EXB CATEG (Category) LIST 66 . Choose “GROUP LIST” and press [CURSOR/VALUE]..... The patch will change. * If the Patch List (Grp) was displayed last.... * Once you move to the Patch List (Ctg) screen.... 5. and press [PART VIEW]. EXB: Wave Expansion Board A.......... and you’ll be returned to the Part View screen.. 2... Turn [CURSOR/VALUE] to select a patch. Move the cursor to the part that you want to edit.. Press [MENU] once again to return to the Patch List (Grp) screen.... Wave Expansion Board B * It is not possible to choose EXA... the Patch List (Ctg) screen is selected....... The MIDI INST screen will appear.. Parameter Explanation Changes the group and returns to the patch list by group screen... The Patch List (Ctg) screen will appear..... the Patch List (Grp) screen will appear.. and the Part View screen will appear........... press [MENU] to access the Group Select screen... 6..... USR: User A–G: Preset A–Preset G GM: General MIDI EXA.. A–G... 1....... EXA.... EXB unless a wave expansion board is inserted in to the corresponding slot. Proceed to step 6.. 4..... fig.Using the SonicCell in Performance Mode Selecting patches from a patch list by group (Patch List (Grp) screen) You can choose the patch for each part from a list that’s arranged by group.. GM.. and press [CURSOR/VALUE]..... Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p.. Press [MIDI INST] so its indicator is lit... 3..... Press [MENU] to access the menu screen... USR........ The Patch List (Grp) screen will appear.. * When the power is turned on.. the Patch List (Ctg) screen will appear when you select “LIST” in the Part View screen. such as USER or expansion board.. The [PART VIEW] indicator will light....

.......... press [MENU] to access the Group Select screen..... EXB: Wave Expansion Board A. Turn [CURSOR/VALUE] to select a rhythm set. and press [PART VIEW].... USR: User PRESET: Preset GM: General MIDI EXA..... and the Part View screen will appear. From the Rhythm Set List screen....... fig. and press [CURSOR/VALUE]. 2. Rhythm Set List screen will appear.... Parameter Explanation Changes the group and returns to the patch list by group screen.Using the SonicCell in Performance Mode Selecting a rhythm set from a list (Rhythm Set List screen) If the current part’s patch type is “Rhythm. USR. The MIDI INST screen will appear.. ■ Menu screen. EXB 67 .. EXA............. PRESET...... Press [MIDI INST] so its indicator is lit........ and you’ll be returned to the Part View screen.... GM... Select “LIST” and press [CURSOR/VALUE]..... Wave Expansion Board B * It is not possible to choose EXA...... The patch will change........ EXB unless a wave expansion board is inserted in to the corresponding slot....disp-RhythmList 4. Move the cursor to the part that you want to edit...” you can choose a rhythm set from a list. 1............ 3........ Press [MENU] once again to return to the Rhythm Set List screen............ The [PART VIEW] indicator will light..

Vibrato Delay Initializes the settings of the current performance (p. The Part Edit screen will appear.Using the SonicCell in Performance Mode Editing parts (Part Edit screen) 1.. Lets you switch between Performance mode and Patch mode.. 73).. 2.... Turns reception of various MIDI messages on/off for each part.. Press [MIDI INST] so its indicator is lit. press [MENU] to access the Menu screen.. Move the cursor to the part that you want to edit. 180).. and press [CURSOR/VALUE]... Parameter Explanation 1–16 SND (Sound Mode) GEN (General) MIDI (MIDI Filter) CINI (Sound Control Initialize) PINI (Performance Initialize) Write (Performance Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Changes the current part and returns to the Part Edit screen.. When you press [CURSOR/VALUE]. 73).. 168.. Turn [CURSOR/VALUE] to edit the value.disp-PartEdit01 ■ Menu screen.. Turn [CURSOR/VALUE] to select the parameter that you want to edit..... Saves the current performance as user data........ Press [CURSOR/VALUE] to access the System Version Info screen (p.... 60). 60)... Press [MENU] once again to return to the Part Edit screen... Press [CURSOR/VALUE] to access the System screen (p.” an editing screen will appear. You can switch between screens by turning [CURSOR/VALUE] to the right or left. 182).... Turn [CURSOR/VALUE] to select “PART. Initializes the values of only the following sound-related parameters for the current performance (p.. then press [CURSOR/VALUE]. Release Offset.... the demo song list will appear. Decay Offset. 60)..... Press [CURSOR/VALUE] to access the Performance General screen (p.... Press [CURSOR/VALUE] to access the Performance Name screen (p. 68 ... Vibrato Depth.. fig. From the Part Edit screen....” and press [CURSOR/VALUE]...... The Menu screen is structured as shown in the illustration at right....... The MIDI INST screen will appear. Press [CURSOR/VALUE] to access the System SRX Info screen (p. refer to p... Press [CURSOR/VALUE] to access the Sound Mode screen (p........ 73).......... 180)...... and the Part View screen will appear. 176).. Vibrato Rate......... The [PART VIEW] indicator will light.... The value of the selected parameter will be highlighted. 15 and p... • Cutoff Offset. 5... Press [CURSOR/VALUE] to access the Utility screen (p. * For details on how to play the demo songs.. Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p... If you select “Scale Tune. and press [PART VIEW].. Resonance Offset.. Specifies the recommended tempo of the performance.... 4.. Attack Offset. 3.

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

PAT Vibrato Rate -64–+63 For each part. This setting is ignored for parts to which a rhythm set is assigned.The same applies to the TVF envelope. this specifies the time over which the pitch will change. there will be no change produced by setting the Attack Time Offset to a positive value. the patch’s Release Time Offset. set this to “PAT. pressing one key when another is already pressed causes the currently playing note’s pitch to change to that of the newly pressed key while continuing to sound.” This setting is ignored for parts to which a rhythm set is assigned. there will be no change produced by setting the resonance offset to a positive value. even when this is set to a positive value. If the tone’s Time 4 parameter is set to “127” (maximum). When PAT is selected.” This setting is ignored for parts to which a rhythm set is assigned. PAT Portamento Time 0–127. The final TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting. Resonance Offset -64–+63 Patches also have a Resonance Offset setting (p. Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. POLY: Two or more notes can be played simultaneously. Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part. Legato is a feature that works only when the Mono/Poly is MONO. Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. and the part’s Attack Time Offset. 70 . This can be effective when you wish to simulate performance techniques such as a guitarist’s hammering on and pulling off strings. Higher settings will cause the pitch change to the next note to take more time. Release Offset (Release Time Offset) -64–+63 Patches also contain a Release Offset setting (p. If you want to use the Portamento Switch setting of the patch assigned to the part. PAT Legato Switch OFF. 91). PAT: The Part uses the Patch’s Mono/Poly setting. Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part. If you want to use the Portamento Time setting of the patch assigned to the part. 91). The MONO setting is effective when playing a solo instrument Patch such as sax or flute. The pitch will be modulated more rapidly for higher settings. and more slowly with lower settings. the patch’s Attack Time Offset. The final TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting. there will be no change in the Release Time Offset. PAT Portamento Sw (Switch) OFF. If the tone’s resonance is already set to “127” (maximum). When portamento is used. POLY. MONO: Only one note sounds at a time. the Patch’s own settings take effect. Attack Offset (Attack Time Offset) -64–+63 Patches also contain the Attack Offset setting (p. adjust the vibrato speed (the rate at which the pitch is modulated). ON. Specify whether portamento will be applied. If the tone’s Time 1 parameter is already set to “127” (maximum). When Legato is ON. and the part’s Release Time Offset. ON. 91).Using the SonicCell in Performance Mode Parameter Value Explanation Adjusts the Resonance for the patch or rhythm set assigned to a part. Sets how the Patch’s notes play. Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part. Decay Offset (Decay Time Offset) -64–+63 Mono/Poly MONO. The final Resonance value is the sum of the tone Resonance value and the patch and part Resonance Offset values.The same applies to the TVF envelope. set this to “PAT. This setting is ignored for parts to which a rhythm set is assigned.

If you don’t want the Tone to sound at all when a note below the keyboard range is played. For example. Higher settings produce a more gradual change in volume. 91).Using the SonicCell in Performance Mode Parameter Vibrato Depth Value -64–+63 Explanation For each part. and each Tone uses two Waveforms. Add the number of Tones that use one Waveform. or Upper to a value less than the Lower value.” that the SonicCell can sound simultaneously depends on the number of Tones in the Patches you‘re using and the number of keys being pressed. regardless of the force with which the keys are played. you’ll use up one voice of polyphony. This number is obtained by performing the following calculation. The SonicCell can play up to 128 Tones simultaneously. the number of voices it requires is doubled. use negative (-) settings. Accordingly. For each part. Vibrato Delay -64–+63 Velocity Sens Off (Velocity Sensitivity Offset) -63–+63 Bend Range 0–24. The amount of change when the lever is tilted is set to the same value for both left and right sides. The ultimate Velocity Sensitivity Offset value is the sum of the part’s and the patch’s Velocity Sensitivity Offsets. set this parameter to 0. or “voices. there will be no change in the part’s Velocity Sensitivity Offset. * It is not possible for the settings of all Parts to total an amount greater than 64. If you want strongly played notes to raise the volume/cutoff frequency. When you’re using the SonicCell multitimbrally. FULL Specifies the number of voices that reserved for each Part when more than 128 voices are played simultaneously. Specifies the highest note that the tone will sound for each part. set this parameter to positive (+) settings. Count the number of Tones with two Waveforms and multiply this number by 2. this adjusts the depth of the vibrato effect (the depth at which the pitch is modulated). If two keys are pressed with a Patch that has four Tones. Receive Channel 1–16 71 . Key Fade Lower Key Range Lower Key Range Upper 0–127 C-1–UPPER LOWER–G9 Key Fade Upper 0–127 Level Key number 0 Lower Upper 127 Key Fade Lower value Key Fade Upper value Voice Reserve 0–63. If you want to use the Pitch Bend Range setting of the patch assigned to the part. a total of sixteen voices are used. if you play one note using a Patch that consists of only one Tone. and less with lower settings. PAT Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. Multiply this total by the number of keys pressed. set this parameter to 0. If you want strongly played notes to lower the volume/cutoff frequency. if the patch’s Velocity Sensitivity Offset parameter is set to “127” (maximum).” Determines what will happen to the Part’s level when a note that’s lower than its specified keyboard range is played. SonicCell Tones may use two Waveforms. If you don’t want the Tone to sound at all when a note above the keyboard range is played. Higher settings will produce a longer delay time before vibrato begins. If a Patch’s Tone uses two Waveforms. The pitch will be modulated more greatly for higher settings. Specifies the lowest note that the tone will sound for each part. This changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed. while lower settings produce a shorter time. keep this in mind. [Calculating the Number of Voices Being Used] The number of notes. this adjusts the time delay until the vibrato (pitch modulation) effect begins. Higher settings produce a more gradual change in volume. This determines what will happen to the Part’s level when a note that’s higher than its specified keyboard range is played. even when this is set to a positive value. and adjust your Voice Reserve settings so that each Part is guaranteed at least the minimum number of voices it requires. Set Velocity Sensitivity to “0” when you want sounds played at a fixed volume and cutoff frequency. * It is not possible to set Lower to a value greater than the Upper value. Specifies the MIDI receive channel for each part. set this to “PAT. Patches also contain a Velocity Sensitivity Offset setting (Velocity Sens: p.

However. In the Part Edit screen. F and G#. • Just Temperament (Tonic of C) Compared with equal temperament. However. • Arabian Scale In this scale. <Example> Note name Equal Temperament Just Temperament (tonic C) Arabian Scale 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 -6 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49 72 . or not (OFF).disp-ScaleTune 2. you can use Arabian temperament in the three keys of G. The Scale Tune screen will appear. E and B are a quarter note lower and C#. C and F. Turn [CURSOR/VALUE] to select the key that you want to edit. D. ON OFF. and is the most widely used method of temperament used in Western music. 3. and the triads will become ambiguous if you transpose. B Value -64–+63 Explanation Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch. F# and G# are a quarter-note higher compared to equal temperament. When you’ve finished editing. Bb. Eb. Parameter C. Press [CURSOR/VALUE] to access the Scale Tune screen (p. On the SonicCell. F. Bb and C#. fig. C and E. this effect is achieved only in one key. 72). The SonicCell allows you to use temperaments other than equal temperament. the principle triads sound pure in this tuning. then press [CURSOR/VALUE]. 1. G. this setting will be common to the entire performance. ON Explanation For each part. 4. E. then press [CURSOR/VALUE]. select “Scale Tune” and press [CURSOR/VALUE]. press [EXIT]. specify whether MIDI messages will be received (ON). Scale Tune settings (Scale Tune screen) In Performance mode you can specify a different scale tuning for each part. • Equal Temperament This tuning divides the octave into 12 equal parts. and Eb and F# have a natural thirdthe interval between a major third and a minor third.Using the SonicCell in Performance Mode Parameter Receive Switch Scale Tune Value OFF. A. G#. F#. C#. Turn [CURSOR/VALUE] to edit the value. The intervals between G and B.

58). 1. the Performance Name screen will appear. Release Offset. When you select “Write” from the Performance Menu screen (p. Turn [CURSOR/VALUE] to select the desired character. select “CANCEL” and press [CURSOR/VALUE]. Press [MENU] once again to return to the previous screen. a confirmation message will appear. 3. Function INSERT DELETE UNDO Explanation Press [CURSOR/VALUE] to insert a space (blank) at the cursor location. Attack Offset. then press [CURSOR/VALUE] to enter that character. 58). 73 . Revert to the unedited performance name. select “CANCEL” and press [CURSOR/VALUE]. Resonance Offset. 2. Decay Offset. Press [CURSOR/VALUE] to delete the character at the cursor location. Repeat steps 1 and 2 as many times as necessary. 1. Vibrato Depth. you’ll be returned to the previous screen. The Performance Write screen will appear. Vibrato Delay When you select “Ctrl Init” from the Performance Menu screen (p. You can press [MENU] to view convenient functions for text entry.Using the SonicCell in Performance Mode Sound Control Initialize Initializes the values of only the following sound-related parameters for the current performance. 1. Vibrato Rate. • Cutoff Offset. Move the cursor to the location where you want to enter a character. When you select “Perf Init” from the Performance Menu screen (p. If you want to carry out the initialization. and press [CURSOR/VALUE]. When you’ve finished entering the performance name. Performance Write Saves the current performance as user data. If you want to carry out the initialization. If you decide not to execute. In this screen you can assign a name (performance name) of up to twelve characters to the performance you’re saving. select “OK” and press [CURSOR/VALUE]. When initialization is completed. If you decide not to execute. Performance Initialize Initializes the settings of the current performance. subsequent characters will move forward. 58). select “OK” and press [CURSOR/VALUE]. a confirmation message will appear. you’ll be returned to the previous screen. 4. move the cursor to “WRITE” and press [CURSOR/VALUE]. When initialization is completed.

then press [CURSOR/VALUE]. If you decide you don’t want to carry out the write. To write the performance into memory. 74 . Once the data has been written. 6. select “OK” and press [CURSOR/VALUE]. Turn [CURSOR/VALUE] to select the save-destination performance.Using the SonicCell in Performance Mode 5. you’ll be returned to the previous screen. select “CANCEL” and press [CURSOR/VALUE]. A confirmation message will appear.

.... 69 p.. 9 : Reverb Send Level Make these settings in the Chorus screen.. 78 p............ • Output Level 75 ....... and one reverb. For each of the three multieffects..... 2 : Chorus Send... or you can connect two or three of them in series... 79 p..Using the SonicCell in Performance Mode Editing effects In Performance mode you can use three multi-effects (MFX1.. 3 : Reverb Send. • Select the chorus type and edit the parameters..... the chorus...... 4 : Output Assign.. 79 Make these settings in the MFX1–MFX3 screens............ MFX3). one chorus..... and the reverb..... 5 : Output MFX p.... • Select the multi-effect type and edit the parameters.. 12 : Output Select Make these settings in the Reverb screen.. 7 : Output Level. 1 : Output Level.. MFX Output Part 16 Part 3 Part 2 Part 1 6 7 8 9 MFX1 Patch (Rhythm) Output 1 4 2 3 6 7 8 9 MFX2 Patch (Rhythm) 5 6 7 8 9 10 11 MAIN REV MFX3 Chorus Output Chorus 12 1 2 3 4 5 6 7 8 9 10 11 12 13 Reverb Output 14 Reverb Mastering Effect L R OUTPUT 13 14 1 – 5 6 7 – 9 10 11 – 12 13 14 Make these settings in the Part Edit screen. 79 p.......... • Select the reverb type and edit the parameters. Make these settings in the Chorus Output screen......... 78 p... or according to the effect settings of the patch or rhythm set assigned to the part you specify... 8 : Chorus Send Level. The three multi-effects can be used independently..... Make these settings in the Reverb Output screen......... Make these settings in the MFX1–MFX3 Output screens.... ■ Signal flow........ you can specify whether it will operate according to the effect settings of the performance.. 78 p.. 11 : Output Level. MFX2..

. ON OFF..... Press [CURSOR/VALUE]. Press [CURSOR/VALUE] to highlight the value. Press [CURSOR/VALUE] to access the System SRX Info screen (p.. you can press [CURSOR/VALUE] to move to the editing screen for that parameter. and the Effect Routing screen will appear. Press [MENU] once again to return to the Effect Routing screen....... The Part View screen will appear..... Turn [CURSOR/VALUE] to edit the value..... When you’ve finished editing..... 2...... ■ Menu screens during effect editing .... ON OFF..disp-PerformEfxSW01 4... 182).................... The Menu screen is structured as shown in the illustration at right...... 15 and p. When you press [CURSOR/VALUE]. 7.......... press [EFFECTS]..... 3...... Press [CURSOR/VALUE] to access the Performance Name screen (p.........Using the SonicCell in Performance Mode ■ Procedure . 5.. 180)..... 180)........ From the MIDI INST screen or the Part View screen... Turn [CURSOR/VALUE] to move the cursor to the parameter that you want to edit. If there is a “SELECT” indicator for the value field.... the demo song list will appear. Press [CURSOR/VALUE] to access the System screen (p.......... Press [CURSOR/VALUE] to access the MFX 1–3 Control screen (p..... 76 ... 6. ON Explanation Specifies whether MFX 1–3 will be used (ON) or not used (OFF)... Saves the current performance as user data...... Specifies whether chorus will be used (ON) or not used (OFF)...... Parameter FX1–FX3 (MFX1–MFX3) CHO (Chorus Switch) REV (Reverb Switch) MST (Mastering Effect Switch) CTRL1–CTRL3 (MFX1–3 Control) Write (Performance Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Value OFF.. 168............ refer to p..... Specifies whether Reverb will be used (ON) or not used (OFF)..... 81). press [EXIT]. Turn [CURSOR/VALUE] to move the cursor to the parameter that you want to edit...... Specifies whether Mastering Effect will be used (ON) or not used (OFF).... From the Effect Routing screen.. * For details on how to play the demo songs. The [EFFECTS] indicator will light... then press [CURSOR/VALUE].... Press [CURSOR/VALUE] to access the System Version Info screen (p... You can switch between screens by turning [CURSOR/VALUE] to the right or left... ON OFF. 73). press [MENU] to access the Menu screen... Press [CURSOR/VALUE] to access the Utility screen (p...... fig... 1.. 176).. Make settings for controlling the multi-effects via MIDI.................

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

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

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

” If you wish to use the settings of the patch/rhythm set assigned to one of the parts. P1–P16 80 .” If you wish to use the settings of the patch/rhythm set assigned to one of the parts.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts. the SonicCell can play a maximum of 64 sounds simultaneously. select “PFM. select the part number (1–16). If you wish to use the performance settings. select “PFM. MFX Structure When TYPE05–TYPE10 is selected.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts. P1–P16 Chorus Source PFM. select the part number (1–16). select the part number (1–16). select “PFM. select the part number (1–16). MFX2 Source PFM. Selects the MFX3 settings that will be used by the performance.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts. select the part number (1–16). P1–P16 MFX3 Source PFM. If you wish to use the performance settings. Selects the MFX2 settings that will be used by the performance. Selects the chorus settings that will be used by the performance. If you wish to use the performance settings. select “PFM. P1–P16 Reverb Source PFM. If you wish to use the performance settings. P1–P16 Explanation Selects the MFX1 settings that will be used by the performance. select “PFM. Selects the reverb settings that will be used by the performance. If you wish to use the performance settings.Using the SonicCell in Performance Mode Changing how the multi-effects are combined (MFX Structure screen) Parameter Value TYPE01– TYPE16 Explanation Specify how MFX1–3 will be connected. Selecting how effects will operate (Effect Source screen) Parameter MFX1 Source Value PFM.

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

5. 86). 85. Switches the category. 84) is set to “Performance. 3.Using the SonicCell in Patch Mode Viewing the Patch Play screen 1. 4. p. . you’ll be able to hear a preview (1) Patch group USER. only sounds that are within the category will appear when you select patches. the [PART VIEW] indicator will also light. Press [CURSOR/VALUE] to highlight the value. Press [CURSOR/VALUE] to access the Patch List screen (p. If the patch type is Patch If in Patch mode you’ve set the current patch type to “Patch. Selects the patch. Press [MIDI INST] so its indicator is lit. (1) (2) (3) (4) (5) (6) (7) (8) (9) Parameter Value Explanation Selects the patch group. XP-B (2) (3) (4) Patch type Current part Patch number/name Category lock Patch category LIST EDIT Patch. Press [CURSOR/VALUE] to access the Patch Edit screen (p.” the MIDI INST screen (p. When you’ve finished editing. fig. Wave Expansion Board B * It is not possible to choose XP-A. When you select “LIST” or “PATCH” and press [CURSOR/ VALUE].. an editing screen will appear. Rhythm Part1–Part 16 001– (5) (6) (7) (8) . XP-B: Wave Expansion Board A. USER: User PR-A–PR-G: Preset A–Preset G GM: General MIDI XP-A. Specifies whether the current part will use a patch or a rhythm set.disp-PartView-01 2. ) to ( ). and the Patch Play screen will appear. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. If you switch the preview icon ( sound played by that patch. 58) will appear. 89). simultaneously press [MIDI INST] and [PART VIEW] to switch to the Patch screen. Specifies whether the category will be locked ( ) or not locked ( ) when you select patches. Turn [CURSOR/VALUE] to edit the value. If you lock the category. PR-A–PR-G.. 82 .” the following screen will appear. In this case. The system Preview setting (p. press [CURSOR/VALUE]. Selects the part (current part) that will be affected by your operations. GM XP-A. XP-B unless a wave expansion board is inserted in to the corresponding slot. 179) lets you specify how the preview will be sounded.disp-PatchPlay-top02 * If Sound Mode (p. At the same time. fig.–CMB (9) Preview .

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

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

Piano Keyboards.... VCL... Synth FX. * When the power is turned on.” then press [CURSOR/ VALUE] to access the Patch List (Ctg) screen. Harmonica AC..... Synth Bass Strings. and you’ll be returned to the Part View screen. You can change the category by moving the cursor to the currently selected category (at the top of the screen) and pressing [CURSOR/VALUE]... Drums. 3. ORC.. Pulsating.. Hit&Stab Wind. EL... Select “LIST” and press [CURSOR/VALUE]. Flute...... 85 . Turn [CURSOR/VALUE] to select a patch.. press [MENU] to access the Group Select screen. fig... * Once you move to the Patch List (Grp) screen.. select “CATEG LIST.. Beat&Groove.... KBD.. AC.. Sound FX.... the Patch List (Grp) screen will appear when you select “LIST” in the Patch Play screen. Percussion....Guitar Bass... Vox Plucked.... Press [MENU] once again to return to the Patch List (Ctg) screen. Accordion.. and press [CURSOR/VALUE]. Sax Hard Lead.... press [MENU] to access the Category Select screen. Soft Pad... SYN.........Brass... WLD PNO: KBD: GTR: BAS: ORC: BRS: SYN: VCL: WLD: Category AC.... 86).Piano.. Techno Synth..... EL........ Bell.. Organ....... BAS.. Mallet.. the Patch List (Ctg) screen is selected. Dist. Fretted... 2..Using the SonicCell in Patch Mode Selecting patches from a patch list Selecting patches from a patch list by category (Patch List (Ctg) screen) You can choose the patch from a list that’s arranged by category... The patch will change.. the Patch List (Grp) screen will appear. In this case. Synth Brass..Guitar... Soft Lead.. GTR.. Orchestra. BRS.. The Patch List (Ctg) screen will appear.disp-PatchL-Ctg * If the Patch List (Grp) screen was displayed last..... Other Synth Bright Pad... ■ Menu screen. Major Classification PNO. From the Patch List (Ctg) screen.. Ethnic.......... Combination GROUP LIST Press [CURSOR/VALUE] to access the Patch List (Grp) screen (p.. Display the Patch Play screen.Guitar. 1... Parameter Explanation Changes the category (major classification) and returns to the patch list screen organized by category.

Display the Patch Play screen...... the Patch List (Ctg) screen will appear when you select “LIST” in the Patch Play screen...... 2.... Parameter Explanation Changes the group and returns to the patch list by group screen. Proceed to step 5.. 85)..... Press [MENU] once again to return to the Patch List (Grp) screen..... Turn [CURSOR/VALUE] to select a patch.... EXB: Wave Expansion Board A.. EXA.. The patch will change...... From the Patch List (Grp) screen...........Using the SonicCell in Patch Mode Selecting patches from a patch list by group (Patch List (Grp) screen) You can choose the patch from a list that’s arranged by group. Press [MENU] to access the Category Select screen........ * If the Patch List (Grp) was displayed last....... The Patch List (Grp) screen will appear. Wave Expansion Board B * It is not possible to choose EXA......disp-PatchL-Grp 5. press [MENU] to access the Group Select screen.... GM... Choose “GROUP LIST” and press [CURSOR/VALUE]....... USR. 1.. such as USER or expansion board.. USR: User A–G: Preset A–Preset G GM: General MIDI EXA... the Patch List (Ctg) screen is selected.. Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p..... EXB unless a wave expansion board is inserted in to the corresponding slot. the Patch List (Grp) screen will appear... and press [CURSOR/VALUE]........... * Once you move to the Patch List (Ctg) screen. EXB CATEG (Category) LIST 86 .. and you’ll be returned to the Patch Play screen... A–G. Select “LIST” and press [CURSOR/VALUE].. 3. The Patch List (Ctg) screen will appear...... fig...... 4. ■ Menu screen. * When the power is turned on.......

......... EXB unless a wave expansion board is inserted in to the corresponding slot.. fig... EXB: Wave Expansion Board A.... and press [CURSOR/VALUE].... Wave Expansion Board B * It is not possible to choose EXA.. Parameter Explanation Changes the group and returns to the patch list by group screen............ PRESET..... press [MENU] to access the Group Select screen. USR..Using the SonicCell in Patch Mode Selecting a rhythm set from a list (Rhythm Set List screen) If the patch type is “Rhythm. GM... ■ Menu screen.... Press [MENU] once again to return to the Rhythm Set List screen............. Display the Patch Play screen. 1..... and you’ll be returned to the Patch Play screen. EXB 87 ......” you can choose a rhythm set from a list..... EXA.. 2..... Turn [CURSOR/VALUE] to select a rhythm set......... The patch will change........ Select “LIST” and press [CURSOR/VALUE].disp-RhythmList 3................. Rhythm Set List screen will appear...... From the Rhythm Set List screen...... USR: User PRESET: Preset GM: General MIDI EXA..

the menu screen will appear...... Turn [CURSOR/VALUE] to edit the value.... The Patch Edit screen will appear.. 180).... fig... and returns to the previous screen........ Press [CURSOR/VALUE] to access the Patch Name screen (p. Press [MIDI INST]..disp-PatchEdit01 3.. 4..... Returns the current patch settings to their initial values (p...... ■ Menu screens during patch editing . Turn [CURSOR/VALUE] to select the item you want to edit.. When you press [CURSOR/VALUE]. then press [CURSOR/VALUE]... Parameter Tone Select 1–4 Tone Switch 1–4 Tone Copy Patch Init (Patch Initialize) Write (Patch Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Explanation Changes the current tone (the one targeted for editing). and the Patch Play screen will appear....... Press [CURSOR/VALUE] to access the System screen (p. 182)... 88 . 115)....... 2... Press [CURSOR/VALUE] to access the System SRX Info screen (p. 168.. then press [CURSOR/VALUE].Using the SonicCell in Patch Mode Editing patches (Patch Edit screen) 1. * For details on how to play the demo songs.. The Menu screen is structured as shown in the illustration at right... Used to specify whether tones 1–4 will be used (ON) or not used (OFF).... [MIDI INST] and [PART VIEW] will light.. refer to p.. Saves the current patch as user data... 116). Press [CURSOR/VALUE] to access the Utility screen (p... Turn [CURSOR/VALUE] to select the parameter you want to edit.... 15 and p. 5. Press [CURSOR/VALUE] to access the System Version Info screen (p. 115)..” then press [CURSOR/VALUE]. the demo song list will appear... 176). Press [CURSOR/VALUE] to access the Patch Tone Copy screen (p. 180). You can switch between screens by turning [CURSOR/VALUE] to the right or left.. If you press [MENU] while editing a patch.. The editing screen for the selected item will appear. Turn [CURSOR/VALUE] to select “PATCH... The value of the selected parameter will be highlighted. Copies the settings of a patch’s tone to one of the tones of the currently selected patch...... then press [CURSOR/VALUE].

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

* You can specify the pan setting for each Tone in a Patch using the Tone Pan (TVA p. while preserving the relative differences between the cutoff frequency values set for each tone in the Cutoff Frequency (p. Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/-50 cents).Using the SonicCell in Patch Mode Overall settings for the entire patch (Patch General screen) Parameter Ctg (Category) Level Value refer to “Patch Category” (p. L64 pans the Patch all the way to the left. 106). This setting will have a subtle effect on the way in which chords resonate. LAST: The last-played voices will be given priority. LOUDEST: The voices with the loudest volume will be given priority. (Stretched tuning is a system by which acoustic pianos are normally tuned. beginning with the lowest-volume voice. ★ You can use matrix control to modify this. * You can specify the level of each Tone in a Patch using the Tone Level (TVA p. Pan L64–63R Priority LAST. The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. Sets the stereo position of the Patch. 102). and currently sounding notes will be turned off. (p. Specifies the volume of the Patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind. so if the cutoff frequency value of any tone is already set to “127” (maximum).” you can simulate the natural instability characteristic of an analog synthesizer. A setting of “3” will produce the greatest difference in the pitch of the low and high ranges. 90 . causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate. positive “+” settings here will not produce any change. 95) This setting allows you to apply “stretched tuning” to the patch.” the patch’s tuning will be equal temperament. Adjusts the pitch of the patch’s sound up or down in units of an octave (+/-3 octaves). 0 is center and 63R pans it hard right. 105). beginning with the first-played note. LOUDEST Octave Shift Coarse Tune Fine Tune ★ -3–+3 -48–+48 -50–+50 Strech Tune (Strech Tune Depth) OFF. * While each Tone in a Patch has its own Pan position. 1–3 Pitch difference from equal temperament OFF 1 2 Low note range 3 3 Parameter value 2 1 OFF High note range Analog Feel (Analog Feel Depth) 0–127 Specifies the depth of 1/f modulation that is to be applied to the patch. Cutoff Offset alters the cutoff frequency of the overall patch. and currently sounding notes will be turned off in order. Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves). 63) 0–127 Explanation Specifies the type (category) of the patch. Cutoff Offset -63–+63 This value is added to the cutoff frequency value of a tone. the Patch pan setting shifts the entire Patch—including all of its Tones—leftward or rightward This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).) By adding this “1/f modulation.) With a setting of “OFF.

FEnv Time 4 (p. as determined at the wave level. Additionally. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound. positive “+” settings here will not produce any change. so if the release time value of any tone is already set to “127” (maximum).” When “OFF. The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. so if the resonance value of any tone is already set to “127” (maximum). This value is added to the resonance value of a tone. 107). ON 91 . This setting specifies whether the Legato Switch will be used (ON) or not (OFF). MONO: Only the last-played note will sound. while preserving the relative differences between the attack time values set for each tone in the A-Env Time 1 (p. Attack Offset alters the attack time of the overall patch. The “MONO” setting is effective when playing a solo instrument patch such as sax or flute. This value is added to the attack time value of a tone. the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This value is added to the release time value of a tone. Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preserving the relative differences between the Velocity Sensitivity values set for each tone in the parameters below. This creates a smooth transition between notes. positive “+” settings here will not produce any change. only the pitch changes. Cutoff V-Sens (p. ON Legato Retriger (Retrigger) OFF. 105). it may stop being heard in MONO.” Legato Switch OFF. sounding all the while. POLY Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO). set the Legato Retrigger to “ON. which is effective when you wish to simulate the hammeringon and pulling-off techniques used by a guitarist. When making large pitch changes. * Resonance: emphasizes the overtones in the region of the cutoff frequency. Resonance Offset -63–+63 Attack Offset (Attack Time Offset) -63–+63 Release Offset (Release Time Offset) -63–+63 Velocity Sens (Velocity Sensitivity Offset) -63–+63 Mono/Poly MONO. This can occur because the limit of pitch rise. 105) * Velocity: Pressure with which the key is pressed. has been exceeded. Release Offset alters the release time of the overall patch.” When you try to sound a legato (by pressing a higher key while a lower key is held down). if differing upper pitch limits are used for the waves of a Patch that uses multiple tones. adding character to the sound. * Release Time: The time from when you take your finger off the key until the sound disappears. * Attack Time: The time it takes for a sound to reach maximum volume after the key is pressed and sound begun. while preserving the relative differences between the resonance values set for each tone in the Resonance (p.” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key. Let’s say you have the Legato Switch set to “ON. 103). so if the attack time value of any tone is already set to “127” (maximum). POLY: Two or more notes can be played simultaneously.” With the Legato Switch “ON.Using the SonicCell in Patch Mode Parameter Value Explanation Resonance Offset alters the resonance of the overall patch. 107). The Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to “ON. Legato Switch is valid when the Mono/Poly parameter is set to “MONO.” Normally you will leave this parameter “ON. so if the velocity sensitivity value of any tone is already set to “+63” (maximum). 103) Level V-Sens (p. while preserving the relative differences between the release time values set for each tone in the A-Env Time 4 (p.” when one key is held down and another key is then pressed. positive “+” settings here will not produce any change. This value is added to the velocity sensitivity value of a tone. F-Env Time 1 (p. positive “+” settings here will not produce any change. without the attack of the latter key being played.” and the Legato Retrigger set to “OFF. 105).

Specifies whether the part’s modulation depth range setting (the value specified by RPN) will be enabled (ON) or disabled (OFF). NOTE Starts a new portamento when another key is pressed while the pitch is changing. By applying portamento when the Mono/Poly is “MONO. TIME: The time it takes will be constant. When another key is pressed during a pitch change produced by portamento. TIME PITCH. NORMAL: Portamento will always be applied. when you press the next key before releasing the previous key). * Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. This setting specifies the pitch at which the change will begin. regardless of how far apart in pitch the notes are. Pitch C5 D4 C4 Time press D4 key press C5 key press C4 key D4 C4 Time press D4 key press C5 key press C4 key Porta Time (Portamento Time) Part Mod Sw (Part Modulation Depth Switch) 0–127 When portamento is used.” you can simulate slide performance techniques on a violin or similar instrument. NOTE: Portamento will begin anew from the pitch where the current change would end. ON 92 . Higher settings will cause the pitch change to the next note to take more time. this specifies the time over which the pitch will change.. ON Explanation Specifies whether the portamento effect will be applied (ON) or not (OFF). RATE: The time it takes will depend on the distance between the two pitches. OFF.Using the SonicCell in Patch Mode Parameter Porta Sw (Portamento Switch) Porta Mode (Portamento Mode) Porta Type (Portamento Type) Porta Start (Portamento Type) PITCH: Value OFF.e. LEGATO RATE. Specifies the performance conditions for which portamento will be applied. Pitch C5 NORMAL. LEGATO: Portamento will be applied only when you play legato (i. a new pitch change will begin. Specifies the type of portamento effect.

Using the SonicCell in Patch Mode Selecting how tones are combined (Patch Structure screen) Parameter Value Explanation Determines how Tone 1 and 2. and in addition mixes in the sound of tone 2 (4) and stacks the two filters. you can adjust the depth of the booster. applies a filter. Str (Structure) Type 1&2. +12. The displayed symbols have the following meanings. Type 5 TONE 1 (3) TONE 2 (4) WG TVA R WG TVF TVA TVF This type uses a ring modulator to create new overtones. +6. 93 . 3&4 Type 1 TONE 1 (3) TONE 2 (4) WG TVF 0. Since the ring-modulated sound can be mixed with tone 2 (4). Higher settings will produce more distortion. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone. and Tone 3 and 4 are connected. and then applies a booster to distort the waveform. 3&4 1–10 Booster 1&2. tones 1 and 2 (or 3 and 4) are independent. and combines the two filters. TVF TVA WG Type 3 TONE 1 (3) TONE 2 (4) WG TVA TVF B WG TVF TVA This type mixes the sound of tone 1 (3) and tone 2 (4). With this type. adjusting the depth of ring modulator. B: Booster R: Ring Modulator When a Structure Type of TYPE 3 or TYPE 4 is selected. and then combines the two filters. Type 6 TONE 1 (3) TONE 2 (4) WG TVA R WG TVF TVA TVF This type uses a ring modulator to create new overtones. +18 TVA WG TVF TVA Type 2 TONE 1 (3) TONE 2 (4) WG TVA TVF This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level. tone 1 (3) TVA can adjust the amount of the ring-modulated sound. The TVA for tone 1 (or 3) controls the volume balance between the two tones. The tone 1 (3) TVA will control the volume balance of the two tones. Type 4 TONE 1 (3) TONE 2 (4) WG TVA B WG TVF TVA TVF This type applies a booster to distort the waveform.

p. Since the ringmodulated sound can be mixed with tone 2 (4). (Unless one of the waveforms is a sine wave. adjusting the depth of ring modulator. notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting. This parameter works best when you use it in conjunction with the Wave Gain (p. generating many new overtones (in harmonic partials) which were not present in either waveform. Type 9 TONE 1 (3) TONE 2 (4) WG TVF TVA R WG TVF TVA This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones. 112. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound. 113). you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation). evenly-spaced frequency components will not usually be generated. • When TYPE 2–10 is selected and one tone of a pair is turned off. In addition to using this to create distortion. the other tone will be sounded as TYPE 1 regardless of the displayed setting. • If you limit the keyboard area in which a tone will sound (Keyboard Range p. 98).) As the pitch difference between the two waveforms changes the harmonic structure. and then mixes in the sound of tone 2 (4) and applies a filter to the result. This function is suitable for creating metallic sounds such as bells. the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. R WG TVF TVA Type 8 TONE 1 (3) TONE 2 (4) WG TVF TVA R WG TVF TVA This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator. Type 10 TONE 1 (3) TONE 2 (4) WG TVF TVA R WG TVF TVA This type passes the filtered sound of each tone through a ring modulator to create new overtones. tone 1 (3) TVA can adjust the amount of the ring-modulated sound. Ring Modulator A ring modulator multiplies the waveforms of two tones with each other. Uses WG1 as LFO Adjusts WG1 output WG2 Booster level WG1 TVA Adds to WG1 Booster WG2 Distorted area of the Waveform changes Shift in waveform by WG1 94 . the result will be an unpitched metallic sound. 113) or limit the range of velocities for which it will sound (Velocity Range p. and also mixes in the sound of tone 2 (4). Booster The Booster is used to distort the incoming signal.Using the SonicCell in Patch Mode Parameter Type 7 TONE 1 (3) TONE 2 (4) WG TVF TVA Value Explanation This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones.

Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. • If you want to use common controllers for the entire SonicCell. Parameter Value Explanation Sets the MIDI message used to change the tone parameter with the Matrix Control. Velocity and Keyfollow correspond to Note messages. LFO1: LFO 1 LFO2: LFO 2 PITCH ENV: Pitch envelope TVF ENV: TVF envelope TVA ENV: TVA envelope For more information about Control Change messages. When these settings are “ON. then when any change is made in the settings of the desired parameter. then set these to “OFF. Src (Control Source) 95 . and the amount of data that needs to be transmitted can get quite large. The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the “Matrix Control. select “SYS CTRL1”–”SYS CTRL4. 179). To use the Matrix Control. and how greatly (Sns). and the tone to which the effect is applied (Tone).Using the SonicCell in Patch Mode Settings for matrix control (Patch Mtrx Ctrl1–4 screens) Matrix Control Ordinarily. 246). There are parameters that determine whether or not Pitch Bend.” • There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. When a patch with Matrix Control settings is assigned to a part. 72). you can change the tone settings in realtime by playing patches. For example.” Up to four Matrix Controls can be used in a single patch. OFF: Matrix control will not be used. they can be used as Matrix Control. please refer to “MIDI Implementation” (p. CC01–31. VELOCITY: Velocity (pressure you press a key with) KEYFOLLOW: Keyfollow (keyboard position with C4 as 0) TEMPO: The system tempo (p. a number of the more typical of the SonicCell’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values.” MIDI messages used as System Control 1–4 are set with the Src1–4 (p. then the Matrix Control will not function. 33–95 PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch SYS CTRL1–4: MIDI messages used as common matrix controls. you would need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. Although there are no MIDI messages for LFO 1 through TVA Envelope. Expression. if you wanted to change tone parameters using an external MIDI device. This provides you with a variety of means of changing the way patches are played. If you want to change the targeted parameters only. specify which MIDI message (Src) will be used to control which parameter (Dest). If the SonicCell is set up such that reception of MIDI messages is disabled. and Hold 1 settings also change simultaneously. 177) or the tempo of an external MIDI sequencer. For that reason. 33–95: Controller numbers 1–31. In this case. However. confirm that any MIDI messages used for the Matrix Control will be received. or use the keyboard’s touch to open and close a filter. you can use the Pitch Bend lever to change the LFO cycle rate. 114). the Pitch Bend.” and the MIDI messages are received. System Exclusive messages tend to be complicated.

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

select a positive (+) value. The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms. such as piano-string resonant vibrations and the hollow sounds of brass instruments. or slower etc. REVS: The effect will be applied in reverse. If you were to program such an envelope. extreme timbral changes occur during the first few moments of each note. If you wish to modify the selected parameter in a positive (+) direction – i. A one-shot waveform records the initial rise and fall of the sound.. – from its current setting. and the envelope would have no effect. For either positive or negative settings. it is best to use the complex tonal changes of the attack portion of the waveform just as they are. j Looped: These waveforms include sounds with long decays as well as sustained sounds. Matrix Control Tone selects the tone to which the effect is applied when using the Matrix Control. the results will not be as you expect. These include attack components such as piano-hammer sounds and guitar fret noises. REVS ■ Cautions When Selecting a Waveform The sounds of the SonicCell are based on complex PCM waveforms. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. FXM DEPTH Dest (Control Destination) ● Changing MFX CTRL1–4: If you have not made the necessary settings for using the multi-effect.Using the SonicCell in Patch Mode Parameter Value ● Changing Explanation the Depth of Frequency Modulation for FXM Specific Multi-Effects Parameters Change the parameter that was specified by MFX Control 1–4 Assign parameter.e. toward the right.. Sens (Control Sensitivity) -63–+63 Sw1-T1–T4–Sw4-T1–T4 (Tone Control Switch T1–T4) OFF. The internal waveforms of the SonicCell fall into the following two groups. ON. Some of the SonicCell’s one-shot waveforms are sounds that are complete in themselves. – from its current setting. Sets the amount of the Matrix Control’s effect that is applied. such as percussive instrument sounds. One-shot: These waveforms contain sounds that have short decays. This initial attack is what defines much of the instrument’s character. you would be attempting to shape a portion of the sound that simply doesn’t exist. Cautions When Using a One-shot Waveform It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform. select a negative (-) value. and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well. and if you attempt to make settings that are contrary to the type of the original waveform. or to turn it into a sustaining sound. Cautions When Using a Loop Waveform With many acoustic instruments such as piano and sax. the characteristics of the original waveform may prevent you from getting the sound that you intend. OFF: The effect will not be applied. or faster etc. toward the left. If you wish to modify the selected parameter in a negative (-) direction – i. The SonicCell also contains many other one-shot waveforms that are elements of other sounds. a lower value. greater absolute values will allow greater amounts of change. TVA ENV for looped Organ waveform (sustain portion) Level TVA ENV for one-shot Key-click waveform (attack portion) Resulting TVA ENV change Level Tone change stored with the wave Looped portion Time Envelope for the TVF filter + Note off Time = Note off Resulting tone change 97 . a higher value. For such waveforms. The SonicCell’s looped waveforms also include components of other sounds. Set this to “0” if you don’t want to apply the effect. ON: The effect will be applied. the multi-effect will not be applied even if you attempt to control it as a Matrix Control destination.e.

. This is referred to as “Break Beats. INT: Waveforms stored in internal memory EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots... R Wave Gain -6... You can choose a separate waveform for the SonicCell’s left and right channels............. turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored... Sets the gain (amplification) of the waveform... If a waveform from a wave expansion board is selected for the tone. Selects the wave bank when the wave group is set to “EXP.... No sound will be heard if a waveform is set for only the R channel..... * In the case of a wave from a wave expansion board. Chooses the desired waveform.....” set the Tone Delay Time (p..... and then creating a new song with that Phrase used as the basic motif. set this parameter to its maximum value..... B --- Wave No. One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre.g.... creating complex overtones.. FXM Switch OFF.. 94) to distort the waveform’s sound.......” the “. • When the Wave Tempo Sync is set to “ON...... * You cannot select a wave bank of a Wave Expansion Board that is not installed.. ON Phrase Loop Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e. Wave Group INT..Using the SonicCell in Patch Mode Waveform-related settings (Patch WG/Patch Pitch Env screen) ■ Patch WG screen . a delay effect will be applied..” This sets whether FXM will be used (ON) or not (OFF)... 0. set this to “ON. ON FXM FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform... by using a sampler)........” With other settings.. This is useful for creating dramatic sounds or sound effects.... 100) to “0. Parameter Value Explanation Selects the group for the waveform that is to be the basis of the tone. the range (number of waveforms) will depend on the board you've selected.. If you intend to use the Booster (p. +12 Wave Tempo Sync OFF... EXP Wave Bank A... * For mono tones. +6..... assign a waveform to the L channel.....” This is valid only when a separately sold wave expansion board is installed.-” message appears and you cannot select a wave bank... 98 ..... L (MONO) 1–1401 Wave No. and a waveform that indicates a tempo (BPM) is selected as the sample for a tone... * It’s not possible to select EXP unless a wave expansion board is inserted into the corresponding slot.. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain....... and you will be not be able to play as you expect... for example dance music.” A: Wave Expansion Board A B: Wave Expansion Board B * When the wave group is set to “INT... When you wish to synchronize a Phrase Loop to the clock (tempo)..

” If the Str Type (p. 93) set in the range of “2”–”10. Higher settings result in a grainier sound. OFFN. however. Delay time Delay time Note on Note off Note on Note off • If you have selected a waveform that is a decay-type sound (i. and tone 3 will follow the settings of tone 4. This differs from the Delay in the internal effects. Tone Delay Tone Delay Mode NORM. a sound that fades away naturally even if the key is not released). the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. OFFD This produces a time delay between the moment a key is pressed (or released). Specifies the depth of the modulation produced by FXM. set Tone Delay to “NORM” and Tone Delay Time to “0. HOLD: Although the tone begins to play after the time specified in the Delay Time parameter has elapsed. For this reason. No Tone Delay Delay time Delay time No sound played Note on Note off Note on Note off OFFN: Rather than being played while the key is pressed. which in many cases means that only the sound from the release portion of the envelope is heard. NORM: The tone begins to play after the time specified in the Delay Time parameter has elapsed. Here.e. HOLD. selecting “OFFN” or “OFFD” may result in no sound being heard. the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key.Using the SonicCell in Patch Mode Parameter FXM Color FXM Depth ★ Value 1–4 0–16 Explanation Specifies how FXM will perform frequency modulation. • If you don’t wish to use Tone Delay.. This is effective in situations such as when simulating noises from guitars and other instruments. and the moment the tone actually begins to sound. you can also perform arpeggio-like passages just by pressing one key. ★ You can use matrix control to modify this. 99 . tone 1 will follow the settings of tone 2.” the output of tones 1 and 2 will be combined into tone 2. changes in the TVA Envelope begin while the key is pressed. You can also make settings that shift the timing at which each tone is sounded. while lower settings result in a more metallic sound. and the output of tones 3 and 4 will be combined into tone 4. in that by changing the sound qualities of the delayed tones and changing the pitch for each tone. 95) Selects the type of tone delay. if the key is released before the time specified in the Delay Time parameter has elapsed. You can also synchronize the tone delay time to the tempo of the external MIDI sequencer. the tone is not played. (p. OFFD: Rather than being played while the key is pressed.

★ You can use matrix control to modify this.” These values are in units of cents (1/100th of a semitone).. Bend Range Down *1 Note values Sixty-fourth-note triplet Sixteenth note Quarter note Whole note 0– -48 Sixty-fourth note Eighth-note triplet Half-note triplet Double-note triplet Thirty-second-note triplet Dotted sixteenth note Dotted quarter note Dotted whole note Thirty-second note Eighth note Half note Double note Sixteenth-note triplet Quarter-note triplet Whole-note triplet Dotted thirty-second note Dotted eighth note Dotted half note 100 . With a setting of “0. Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in an external MIDI sequencer. For example. 10–90. 12 keys upward on the keyboard). set this to “+200. Note (* 1) Tone Coarse Tune ★ -48–+48 Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves). If you do not want the pitch to change randomly.” If you want the pitch to rise two octaves. (p.” the time from when the key is released) until when the tone will sound. set this to “+100.” Conversely. ★ You can use matrix control to modify this. the pitch will fall 4 octaves. (Example) For a tempo of 120 (half note) (quarter note) (eighth note) (120 quarter notes occur in 1 minute (60 seconds)) 1 second (60/60= 1 (second)) 0.Using the SonicCell in Patch Mode Parameter Value Explanation Specifies the time from when the key is pressed (or if the Delay Mode parameter is set to “OFF-N” or “OFF-D. If you want the pitch to rise one octave as on a conventional keyboard. 100–1200 Pitch Keyfollow -200–+200 +50 0 -50 -200 C1 C2 C3 C4 C5 C6 -100 C7 Key Bend Range Up 0–+48 Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way right.25 seconds (60/240= 0. * One cent is 1/100th of a semitone. set this to a negative value if you want the pitch to fall.” all keys will produce the same pitch. set this to “0.5 seconds (60/120= 0. Pitch +200 +100 Tone Fine Tune ★ -50–+50 Random Pch Dpth (Random Pitch Depth) 0–9. (p.e. 95) Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-50 cents).25 (seconds)) Tone Delay Time 0127.5 (seconds)) 0. This specifies the amount of pitch change that will occur when you play a key one octave higher (i. Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left.” the pitch will rise one octave when the pitch bend lever is moved to the right-most position. 95) This specifies the width of random pitch deviation that will occur each time a key is pressed. For example if this is set to “-48” and you move the pitch bend lever all the way to the left. if this parameter is set to “12.

95) 101 ... Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope........ If you want it to be slowed down.... Parameter P-Env Depth (Pitch Envelope Depth) P-Env V-Sens (Pitch Envelope Velocity Sensitivity) P-Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity) P-Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity) Value -12–+12 Explanation Adjusts the effect of the Pitch Envelope. Based on the pitch envelope times for the C4 key... This allows keyboard dynamics to affect the Time 1 of the Pitch envelope.. If you want the pitch envelope to have less effect for strongly played notes........) T1 T2 T3 T4 P-Env Time 1–4 ★ (Pitch Envelope Time 1–4) 0–127 Pitch L0 L1 Note on L3 Note off L2 T: Time L: Level L4 Time ★ You can use matrix control to modify this.. set this to a negative (-) value....... Higher settings will cause the pitch envelope to produce greater change. If you want it to be slowed down. If you want the pitch envelope to have more effect for strongly played notes... Negative (-) settings will invert the shape of the envelope..... Keyboard playing dynamics can be used to control the depth of the pitch envelope... set this to a negative (-) value.. (p... positive (+) settings will cause notes higher than C4 to have increasingly shorter times. and negative (-) settings will cause them to have increasingly longer times....... set this parameter to a positive (+) value. (For example.... Larger settings will produce greater change...... Time -100 -63–+63 -63–+63 -63–+63 P-Env Time KF (Pitch Envelope Time Keyfollow) -100–+100 -50 0 +50 +100 C7 C1 C2 C3 C4 C5 C6 Key Specify the pitch envelope times (Time 1–Time 4).... If you want Time 1 to be speeded up for strongly played notes. set this to a negative (-) value... Higher settings will result in a longer time until the next pitch is reached.... Time 2 is the time over which the pitch changes from Level 1 to Level 2.............. set this parameter to a positive (+) value................. If you want Time 4 to be speeded up for quickly released notes..Using the SonicCell in Patch Mode ■ Patch Pitch Env screen.... Use this setting if you want the pitch envelope times (Time 2–Time 4) to be affected by the keyboard location.... set this parameter to a positive (+) value.

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

Cutoff frequency (Octave) +200 +100 Cutoff Freq KF (Cutoff Frequency keyfollow) -200–+200 +2 +50 +1 0 -1 -2 -200 C1 C2 C3 C4 C5 C6 -100 C7 0 -50 Key Cutoff V-Curve (Cutoff Frequency Velocity Curve) Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. use negative (-) settings. If you want strongly played notes to have a greater Resonance effect.Using the SonicCell in Patch Mode Parameter Value Explanation Emphasizes the portion of the sound in the region of the cutoff frequency. If you want strongly played notes to have less Resonance. causing the sound to distort. set the Velocity Sens (p. To edit the overall patch while preserving the relative differences in the Resonance values set for each tone. Resonance V-Sens (Resonance Velocity Sensitivity) -63–+63 This allows keyboard velocity to modify the amount of Resonance. 1–7 1 2 3 4 5 6 7 Cutoff V-Sens (Cutoff frequency Velocity Sensitivity) -63–+63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. 91). 103 . and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Set this to “FIXED” if you don’t want the Cutoff frequency to be affected by the keyboard velocity. use negative (-) settings. set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency. Excessively high settings can produce oscillation. However. (p. positive (+) settings will cause the cutoff frequency to rise for notes higher than C4. 91). 95) Use this parameter if you want the cutoff frequency to change according to the key that is pressed. To edit the overall patch while preserving the relative differences in the Cutoff VSens values set for each tone. 105). adding character to the sound. this setting is shared by the Level V-Sens (p. Level LPF High Frequency BPF HPF PKG Resonance ★ 0–127 parameter value Cutoff frequency Low ★ You can use matrix control to modify this. Relative to the cutoff frequency at the C4 key (center C). If you want strongly played notes to raise the cutoff frequency. FIXED. Larger settings will produce greater change. set this parameter to positive (+) settings. set the Resonance Offset (p.

.. Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location..... Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes...... Time -100 -63–+63 -63–+63 F-Env Time KF (TVF Envelope Time Keyfollow) -100–+100 -50 0 +50 +100 C7 C1 C2 C3 C4 C5 C6 Key 104 . set this to a negative (-) value. Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity......... Parameter F-Env Depth (TVF Envelope Depth) Value -63–+63 Explanation Specifies the depth of the TVF envelope... set this parameter to a positive (+) value. positive (+) settings will cause notes higher than C4 to have increasingly shorter times... If you want it to be slowed down..... and negative (-) settings will cause the effect to be less........ This allows keyboard dynamics to affect the Time 1 of the TVF envelope.... and negative (-) settings will cause them to have increasingly longer times. Based on the TVF envelope times for the C4 key (center C)........ Larger settings will produce greater change... set this parameter to a positive (+) value............ Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Higher settings will cause the TVF envelope to produce greater change........ 1–7 1 2 3 4 5 6 7 F-Env V-Sens (TVF Envelope Velocity Sensitivity) F-Env T1 V-Sens (TVF Envelope Time 1 Velocity Sensitivity) F-Env T4 V-Sens (TVF Envelope Time 4 Velocity Sensitivity) -63–+63 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes................Using the SonicCell in Patch Mode ■ Patch TVF Env screen . Negative (-) settings will invert the shape of the envelope... If you want it to be slowed down. The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. F-Env V-Curve (TVF Envelope Velocity Curve) FIX...... set this to a negative (-) value....... If you want Time 1 to be speeded up for strongly played notes........

Parameter Tone Level ★ Value 0–127 Explanation Sets the volume of the tone. (p.... set this to a negative (-) value.... to make the tone play more softly as you play harder. 91).. This setting is useful primarily for adjusting the volume balance between tones. set this to “FIX. adjust the Velocity Sens (p. 1–7 1 2 3 4 5 6 7 Level V-Sens (TVA Level Velocity Sensitivity) -63–+63 Set this when you want the volume of the tone to change depending on the force with which you press the keys.. If you wish to make adjustments to the entire patch while maintaining the relative values of Level V-Sens among tones............) T1 T2 T3 T4 F-Env Time1–4 ★ (TVF Envelope Time 1–4) 0–127 Cutoff Frequency L0 L1 Note on T: Time L2 L3 Note off L: Level L4 Time ★ You can use matrix control to modify this........ 95) F-Env Level0–4 (TVF Envelope Level 0–4) 0–127 Specify the TVF envelope levels (Level 0–Level 4).... TVA settings (Patch TVA/Patch TVA Env screen) ■ Patch TVA screen............... If you do not want the volume of the tone to be affected by the force with which you play the key.. (p... Specifies the key relative to which the volume will be modified...... this setting is shared by the Cutoff V-Sens (p.... Time 2 is the time over which Level 1 will change to Level 2..” Level V-Curve (TVA Level Velocity Curve) FIX...Using the SonicCell in Patch Mode Parameter Value Explanation Specify the TVF envelope times (Time 1–Time 4)........... Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played. relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).. 105 . 95) You can select from seven curves that determine how keyboard playing strength will affect the volume..... However..... 103). (For example.................. These settings specify how the cutoff frequency will change at each point.. Higher settings will lengthen the time until the next cutoff frequency level is reached. ★ You can use matrix control to modify this... Larger settings will produce greater change.. Negative (-) values will invert the change direction... Bias Level Bias Position -100–+100 C-1–G9 Adjusts the angle of the volume change that will occur in the selected Bias Direction.......

LO&UP: The volume will be modified symmetrically toward the left and right of the Bias Point. Alter Pan Depth settings. ALL Bias Bias causes the volume to be affected by the keyboard position. and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Bias Direction LOWER. LO&UP. Pitch +200 +100 Pan Keyfollow -100–+100 +50 0 -50 -200 C1 C2 C3 C4 C5 C6 -100 C7 Key Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key. LOWER + Level 0 – C-1 UPPER Level + 0 LO&UP + Level 0 + 0 – ALL Level – 0 + 0 – Key Bias Position G9 C-1 – Key G9 C-1 – Key G9 C-1 + Key G9 Bias Position Bias Position Bias Position Tone Pan ★ L64–0–63R Sets the pan of the tone.Using the SonicCell in Patch Mode Parameter Value Explanation Selects the direction in which change will occur starting from the Bias Position. and “63R” is far right. Higher settings will produce a greater amount of change. UPPER: The volume will be modified for the keyboard area above the Bias Point. 106 . This setting causes panning to be alternated between left and right each time a key is pressed. the panning of the two tones will alternate each time they are played. (p. “L64” is far left. and the output of tones 3 and 4 are joined in tone 4. tone 1 will follow the settings of tone 2. 95) Use this parameter if you want key position to affect panning. Higher settings will produce a greater amount of change. ★ You can use matrix control to modify this. “0” is center. Alter (Alternate) Pan Depth L63–63R When any value from Type “2”–”10” is selected for the Str Type (p. ALL: The volume changes linearly with the bias point at the center. Random Pan Depth. Larger settings will produce greater change. For this reason. the output of tones 1 and 2 are joined in tone 2. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments. 93) in the Pan Keyfollow. and tone 3 will follow the settings of tone 4. LOWER: The volume will be modified for the keyboard area below the Bias Point. For example if two tones are set to “L” and “R” respectively. UPPER. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right.

.. Parameter A-Env T1 V-Sens (TVA Envelope Time 1 Velocity Sensitivity) A-Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity) Value -63–+63 Explanation This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want it to be slowed down....... T1 T2 T3 T4 A-Env Level1–3 (TVA Envelope Level 1–3) 0–127 Level L1 L2 Note on T: Time L3 Note off L: Level Time 107 . set this to a negative (-) value.......... 95) Specify the TVA envelope levels (Level 1–Level 3)... If you want Time 4 to be speeded up for quickly released notes.... (For example...) ★ You can use matrix control to modify this....... Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location...... positive (+) settings will cause notes higher than C4 to have increasingly shorter times... and negative (-) settings will cause them to have increasingly longer times....... The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope.. Higher settings will lengthen the time until the next volume level is reached. If you want Time 1 to be speeded up for strongly played notes. set this parameter to a positive (+) value.. Time -100 -63–+63 A-Env Time KF (TVA Envelope Time Keyfollow) -100–+100 -50 0 +50 +100 C7 C1 C2 C3 C4 C5 C6 Key A-Env Time1–4 ★ (TVA Envelope Time 1–4) 0–127 Specify the TVA envelope times (Time 1– Time 4)... If you want it to be slowed down. Time 2 is the time over which Level 1 will change to Level 2......... set this to a negative (-) value... Larger settings will produce greater change....Using the SonicCell in Patch Mode ■ Patch TVA Env screen......... relative to the standard volume (the Tone Level value specified in the TVA screen)......... These settings specify how the volume will change at each point.................... set this parameter to a positive (+) value.. Based on the TVA envelope times for the C4 key (center C). (p....

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

. Each tone has two LFOs (LFO1/LFO2).. 0... of the LFO. Higher settings will cause greater change.. Offset -100... Adjusts the modulation rate..” you must turn the Key Trigger to “ON... Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Both LFOs have the same parameters so only one explanation is needed..” it will have no effect. LFO value is changed) CHAOS: Chaos wave VSIN: Modified sine wave.. This parameter is invalid when Rate is set to “note. If you set this to “BND-U” or “BND-D. Note (Refer to p. An LFO (Low Frequency Oscillator) causes change over a cycle in a sound....” If this is “OFF....... the waveform then continues without further change....) (Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds)) Setting (half note) (quarter note) (eighth note) LFO Rate 1 second (60/60= 1 (second)) 0.25 seconds (60/240= 0....... the waveform then continues without further change..... 0–127.... SIN: Sine wave TRI: Triangle wave SAW-U: Sawtooth wave SAW-D: Sawtooth wave (negative polarity) SQR: Square wave RND: Random wave BND-U: Once the attack of the waveform output by the LFO is allowed to develop in standard fashion.... Negative (-) settings will move the waveform so that modulation will occur from the central value downward. wah and tremolo..25 (seconds)) Rate ★ This setting will be ignored if the Waveform parameter is set to “CHAOS..... The amplitude of the sine wave is randomly varied once each cycle of the waveform..” Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency).... Parameter Value Explanation Waveform Selects the waveform of the LFO. cutoff frequency and volume to create modulation-type effects such as vibrato........... +100 109 .... like that created by a step modulator..5 seconds (60/120= 0.........” ★ You can use matrix control to modify this. 2 screens... TRP: Trapezoidal wave S&H: Sample & Hold wave (one time per cycle....Using the SonicCell in Patch Mode LFO settings (Patch LFO1..... or speed. LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in an external MIDI sequencer... 95) Rate Detune 0–127 LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed..... 100 for available note values. and these can be used to cyclically change the pitch. 2/Patch Step LFO screen) ■ Patch LFO1....... This produces a fixed pattern of stepwise change.. (p. -50.5 (seconds)) 0... +50.. STEP: A waveform generated by the data specified in LFO Step 1–16.. BND-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion..

111). When using violin. Adjusts the value for the Delay Time parameter depending on the key position. Specifies the time over which the LFO amplitude will reach the maximum (minimum). to increase the elapsed time. wind. select a positive value. OFF <. 110 . change the setting until the desired effect is achieved.” Time -100 Delay Time 0–127 Delay Time KF (Keyfollow) -100–100 -50 0 +50 +100 C7 C1 C2 C3 C4 C5 C6 Key Specifies how the LFO will be applied. relative to the C4 key (center C). or certain other instrument sounds in a performance. If you do not want the elapsed time before the LFO effect is applied (the effect is continuous) to change according to the key pressed. change the setting until the desired effect is achieved. This effect is called Delay Vibrato. it can be effective to add the vibrato after the note is drawn out somewhat. After referring to “How to Apply the LFO” (p. To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers. 111). the vibrato will be applied automatically following a certain interval after the key is pressed.Using the SonicCell in Patch Mode Parameter Value Explanation Delay Time (LFO Delay Time) specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released). 111). If you set the Delay Time in conjunction with the Pitch Depth and Rate. Larger settings will produce greater change. rather than having vibrato added immediately after the sounds are played. set this to “0. OFF > After referring to “How to Apply the LFO” (p. Fade Time 0–127 After referring to “How to Apply the LFO” (p. ON >. Fade Mode ON <. select a negative value. change the setting until the desired effect is achieved.

if you set the Depth to a positive (+) value for one tone. Positive (+) and negative (-) settings for the Depth result in differing kinds of change in pitch and volume. This applies to the Pan Depth settings. Delay Time Fade Time Depth high (more) Pitch Cutoff Frequency Level Pan Note Note low (less) on off Delay Time Fade Time Depth high (more) Pitch Cutoff Frequency Level Pan low (less) Note on Note off Key Trigger Pitch Depth ★ TVF Depth ★ TVA Depth ★ OFF. ● Apply the LFO from when the key is pressed until it is released. but make it negative (-). and tone 3 will follow the settings of tone 4.” the output of tones 1 and 2 will be combined into tone 2. This allows you to shift back and forth between two different tones. 95) Pan Depth ★ -63–+63 111 . For example. (p. ★ You can use matrix control to modify this. and the output of tones 3 and 4 will be combined into tone 4.Using the SonicCell in Patch Mode Parameter Value Explanation How to Apply the LFO ● Apply the LFO gradually after the key is pressed Fade Mode: Delay Time: Fade Time: ON < The time from when the keyboard is played until the LFO begins to be applied. 95) Specifies how deeply the LFO will affect the volume. 95) Specifies how deeply the LFO will affect the pan. ★ You can use matrix control to modify this. (p. The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed. ★ You can use matrix control to modify this. The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed. Delay Time Fade Time Depth ● Apply the LFO immediately when the key is pressed. Delay Time Fade Time Depth Note on high (more) high (more) Pitch Cutoff Frequency Level Pan Note on low (less) Pitch Cutoff Frequency Level Pan low (less) ● Apply the LFO gradually after the key is released Fade Mode: Delay Time: Fade Time: OFF < The time from when the keyboard is released until the LFO begins to be applied. (p. and gradually begin to decrease the effect when the key is released Fade Mode: Delay Time: Fade Time: OFF > The time that the LFO will continue after the keyboard is released. the modulation phase for the two tones will be the reverse of each other. The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed. 95) Specifies how deeply the LFO will affect the cutoff frequency. When the Str Type (p. Specifies how deeply the LFO will affect pitch. and then gradually begin to decrease the effect Fade Mode: Delay Time: Fade Time: ON > The time that the LFO will continue after the keyboard is played. or combine it with the Pan setting to cyclically change the location of the sound image. and set another tone to the same numerical value. (p. The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed. For this reason. ★ You can use matrix control to modify this. 93) is set to any value from “2” through “10. tone 1 will follow the settings of tone 2. ON -63–+63 -63–+63 -63–+63 This specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

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

” Key Fade Upper (Keyboard Fade Width Upper) 0–127 Level Pitch Fade Lower Range Lower Fade Upper Range Upper Velo Fade Lower (Velocity Fade Width Lower) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specified velocity range. the other value will automatically be adjusted to the same setting. set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used. When using the Matrix Control to have different tones played.” Level Velocity Fade Lower Range Lower Fade Upper Range Upper 113 .” This sets the lowest velocity at which the tone will sound. This determines what will happen to the tone’s level when a note that’s higher than the tone’s specified keyboard range is played. set this parameter to “0. set this to “0. Higher settings produce a more gradual change in volume. Make these settings when you want different tones to sound in response to notes played at different strengths. Key (Keyboard) Range Upper Lower–G9 If you attempt to raise the lower key higher than the upper key. or the Upper below the Lower. Velo (Velocity) Range Lower 1–UPPER Velo (Velocity) Range upper LOWER–127 Velo Fade Upper (Velocity Fade Width Upper) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range. Make these settings when you want different tones to sound in response to notes played at different strengths. or to lower the upper key below the lower key. If you want notes played outside the specified key velocity range to not be sounded at all. the other value will be automatically modified to the same setting. set this to “0. This sets the highest velocity at which the tone will sound.Using the SonicCell in Patch Mode Parameter Value Explanation Specifies the highest note that the tone will sound for each tone. If you don’t want the tone to sound at all when a note below the keyboard range is played. If you attempt to set the Lower velocity limit above the Upper. If you want notes played outside the specified key velocity range to not be sounded at all. Higher settings produce a more gradual change in volume. Higher settings produce a more gradual change in volume.

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

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

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

131)... the demo song list will appear. and returns to the previous screen.. ■ Menu screens during rhythm editing.. 182). Press [CURSOR/VALUE] to access the Rhythm Set Name screen (p.... When you press [CURSOR/VALUE]...... Turn [CURSOR/VALUE] to select the item you want to edit.. Saves the current rhythm set as user data.. Used to individually specify whether waves 1–4 will be used (ON) or not used (OFF). 130)... then press [CURSOR/VALUE]..... The editing screen for the selected item will appear. 168.. refer to p.. Copies the settings of a rhythm tone to a rhythm tone in the currently selected rhythm set... Press [CURSOR/VALUE] to access the Rhythm Tone Copy screen (p. 180). 180). and the Patch Play screen will appear... The Menu screen is structured as shown in the illustration at right. * For details on how to play the demo songs..... Returns the settings of just a specific key in the current rhythm set to their initial values (p. then press [CURSOR/VALUE]. The Rhythm Edit screen will appear...” 2.. 15 and p... 130). Turn [CURSOR/VALUE] to edit the value... Selects the key that you’ll be editing. 5. Turn [CURSOR/VALUE] to select “EDIT. You can switch between screens by turning [CURSOR/VALUE] to the right or left...” then press [CURSOR/VALUE]. The value of the selected parameter will be highlighted.disp-RhythmEdit01 3.......... 4. Press [CURSOR/VALUE] to access the System screen (p.....Using the SonicCell in Patch Mode Editing rhythm sets (Rhythm Edit screen) 1.... 176).. If you press [MENU] while editing a patch.. 130)... Press [CURSOR/VALUE] to access the System Version Info screen (p.. the menu screen will appear... Turn [CURSOR/VALUE] to select the parameter you want to edit. Press [CURSOR/VALUE] to access the Utility screen (p..” change it to “Rhythm.. fig. Press [CURSOR/VALUE] to access the System SRX Info screen (p.... [MIDI INST] and [PART VIEW] will light. Parameter Sel 1–4 (Wave Select 1–4) Sw 1–4 (Wave Switch 1–4) Key Select TON COPY (Rhythm Tone Copy) TON INIT (Rhythm Tone Initialize) RHY INIT (Rhythm Set Initialize) Write (Rhythm Set Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Explanation Changes the current wave (the one targeted for editing)..... then press [CURSOR/VALUE].. If the patch type is set to “Patch.. Press [MIDI INST]. 117 ..... Returns the settings of the current rhythm set to their initial values (p.

. 127). Specifies how sounds are to be produced when you press the same key successively.. 129). Edits TVA envelope settings. 126). By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm Pitch Env screen (p. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm TVA Env screen (p...... Specifies how each rhythm tone will sound.. Edits pitch envelope settings...Using the SonicCell in Patch Mode ■ Rhythm Edit screen . SINGLE: The currently playing sound will be stopped before the new sound begins...... Press [CURSOR/VALUE] to access the Rhythm General screen.. Press [CURSOR/VALUE] to access the Rhythm TVA screen (p... Press [CURSOR/VALUE] to access the Rhythm WMT screen (p.... 127)........ 122)..... 128).... Assign Type MULTI. Edits waveform-related settings........... Press [CURSOR/VALUE] to access the Rhythm Pitch screen (p........ 120). SINGLE 118 . 121)..... Rhythm Level (Rhythm Set Level) 0–127 The volume levels of the tones from which the rhythm set is composed is set with the Tone Level (p.. Press [CURSOR/VALUE] to access the Rhythm Output screen (p............. 122)....... Parameter General WG WMT PCH PCH (Pitch Envelope) TVF TVF (TVF Envelope) TVA TVA (TVA Envelope) OUT (Output) Explanation Edits overall settings for the entire rhythm set. Edits overall settings for the entire rhythm set (Rhythm General screen) Parameter Value Explanation Sets the volume of the rhythm set. 124).... Edits TVF settings... Edits TVF envelope settings. 123)...... Press [CURSOR/VALUE] to access the Rhythm TVF screen (p. The volume levels of the Waves from which the rhythm tone is composed is set with the Wave Level (p......... Edits output-related settings for the rhythm set/rhythm tones..... Press [CURSOR/VALUE] to access the Rhythm Wave screen (p.. Edits pitch-related settings for each rhythm tone... Edits TVA settings... By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm TVF Env screen (p. MULTI: New sounds will be layered onto the currently playing sounds.

this setting will have no effect.” If the One Shot Mode (p. This parameter is set by the key-based controller system exclusive message. Rhythm Tone Name 12 characters 1. If “NO-SUS” is selected for Env Mode. specify whether MIDI Expression messages will be received (ON). You can assign a name of up to twelve characters to the currently selected rhythm tone. If you want the sound to decay naturally even if the key remains pressed. 97) is ON. 2. or not (OFF). CONTINUOUS: Whenever Pan messages are received. The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simultaneously. whichever comes first). For each rhythm tone. Move the cursor to the location at which you want to enter a character. The pan of the tone will be changed only when the next note is played. the volume will not increase beyond that point. it will not sustain even if this parameter is set to “SUSTAIN. Relative Level -64–+63 119 . KEY-ON KEY-ON: The channels cannot be set so as not to receive Pan messages. One Shot Mode OFF. set this to “NO-SUS. you should leave it set to 0. or not (OFF). The amount of change when the lever is tilted is set to the same value for both left and right sides. ON Rx Pan (Rhythm Tone Receive Pan Mode) CONTINUOUS. 1–31 Env Mode (Rhythm Tone Envelope Mode) NO-SUS. Normally. To reproduce the reality of this situation. then press [CURSOR/VALUE]. ON The sound will play back until the end of the waveform (or the end of the envelope. rhythm tones that are not belong to any such group should be set to “OFF.” Mute Group OFF. SUSTAIN Pitch Bend Range (Rhythm Tone Pitch Bend Range) Rx Expression (Rhythm Tone Receive Expression Switch) Rx Hold-1 (Rhythm Tone Receive Hold-1 Switch) 0–48 Specifies the amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved. ON OFF. 97) is selected. the sound will normally continue as long as the key is pressed.Using the SonicCell in Patch Mode Parameter Value Explanation On an actual acoustic drum set. the panning will not change until the next key is pressed. For each rhythm tone. you can set up a Mute Group. specify how pan messages will be received. Up to 31 Mute Groups can be used. then press [CURSOR/VALUE]. Corrects for the volume of the rhythm tone. the stereo position of the tone will be changed. Turn [CURSOR/VALUE] to select the character you want to enter. If the rhythm tone level is set to 127. The result will be the same as when the envelope’s Tone Env Mode is set to NO-SUS. For each rhythm tone. specify whether MIDI Hold-1 messages will be received (ON). If a pan message is received while a note is sounding.” When a loop waveform (p. OFF. an open hi-hat and a closed hi-hat sound can never occur simultaneously.

Selects the wave bank when the wave group is set to “EXP.” This is valid only when a separately sold wave expansion board is installed.” This sets whether FXM will be used (ON) or not (OFF). No sound will be heard if a waveform is set for only the R channel. * It’s not possible to select EXP unless a wave expansion board is inserted into the corresponding slot.Using the SonicCell in Patch Mode Waveform-related settings (Rhythm Wave screen) Parameter Value Explanation Select the groups containing the Waves comprising the rhythm tone. R Wave Gain -6. for example dance music. INT: Waveforms stored in internal memory EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain..” A: Wave Expansion Board A B: Wave Expansion Board B * When the wave group is set to “INT. You can choose a separate waveform for the SonicCell’s left and right channels. while lower settings result in a more metallic sound.-” message appears and you cannot select a wave bank. assign a waveform to the L channel. Higher settings result in a grainier sound. by using a sampler). B --- Wave No. * In the case of a wave from a wave expansion board. FXM Switch OFF. ON FXM FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform. L (MONO) 1–1401 Wave No. When you wish to synchronize a Phrase Loop to the clock (tempo). and then creating a new song with that Phrase used as the basic motif.. FXM Color 1–4 120 . set this to “ON. Wave Group INT. Specifies how FXM will perform frequency modulation. This is referred to as “Break Beats.” the “. This is useful for creating dramatic sounds or sound effects. 0. ON Phrase Loop Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e. One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre. creating complex overtones. +12 Wave Tempo Sync OFF. +6. turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored. This selects the Waves comprising the rhythm tone.g. * For mono tones. * You cannot select a wave bank of a Wave Expansion Board that is not installed. the range (number of waveforms) will depend on the board you've selected. If a waveform from a wave expansion board is selected for the tone. and a waveform that indicates a tempo (BPM) is selected as a rhythm tone. Sets the gain (amplification) of the waveform. EXP Wave Bank A.

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

Higher settings produce a more gradual change in volume..................... If you want notes played outside the specified key velocity range to not be sounded at all... These settings are collectively called the “Wave Mix Table (WMT).. Make these settings when you want different waveforms to sound in response to notes played at different strengths........ or the Upper below the Lower.. C-1–G9 Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune (p.... Make these settings when you want different waveforms to sound in response to notes played at different strengths...... set this to “0.....” the rhythm set’s constituent rhythm tones will sound randomly...... regardless of any Velocity messages..... This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specified velocity range.Using the SonicCell in Patch Mode Specifying how a rhythm tone will be heard (Rhythm WMT screen) You can use your keyboard playing dynamics to control the four waveforms assigned to the rhythm tone..... This sets the highest velocity at which the waveform will sound.. If you attempt to set the Lower velocity limit above the Upper...” Parameter WMT Velo Ctrl (WMT Velocity Control Switch) Velo Fade Lower (Velocity Fade Width Lower) Value OFF..” This sets the lowest velocity at which the waveform will sound. If you want notes played outside the specified key velocity range to not be sounded at all.. RANDOM Explanation WMT Velocity Control determines whether a different rhythm tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).... set this to “0..... 121)..... Higher settings produce a more gradual change in volume........ ON.... 122 .. When set to “RANDOM.. the other value will automatically be adjusted to the same setting......... Parameter Tone Coarse Tune (Rhythm Tone Coarse Tune) Value Explanation Selects the pitch at which a rhythm tone sounds....” Level Velocity Fade Lower Range Lower Fade Upper Range Upper Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen) ■ Rhythm Pitch screen..... 0–127 Velo (Velocity) Range Lower 1–UPPER Velo (Velocity) Range Upper LOWER–127 Velo Fade Upper (Velocity Fade Width Upper) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range...

.......... Higher settings will cause the pitch envelope to produce greater change. (For example. If you do not want the pitch to change randomly.. set this to “0... Tone Fine Tune (Rhythm Tone Fine Tune) -50–+50 Random Pch Dpth (Random Pitch Depth) 0–9.. set this to a negative (-) value.. If you want the pitch envelope to have more effect for strongly played notes...” These values are in units of cents (1/100th of a semitone)... 123 ....... Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope. and negative (-) settings will cause it to be lower.... It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point.. If you want Time 1 to be speeded up for strongly played notes..... 121).... Specify the pitch envelope times (Time 1–Time 4)....... Keyboard playing dynamics can be used to control the depth of the pitch envelope.....Using the SonicCell in Patch Mode Parameter Value Explanation Adjusts the pitch of the rhythm tone’s sound up or down in 1-cent steps (+/ -50 cents). ■ Rhythm Pch Env screen . Negative (-) settings will invert the shape of the envelope..... If you want Time 4 to be speeded up for quickly released notes. set this parameter to a positive (+) value. If you want it to be slowed down. Parameter P-Env Depth (Pitch Envelope Depth) P-Env V-Sens (Pitch Envelope Velocity Sensitivity) P-Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity) P-Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity) Value -12–+12 Explanation Adjusts the effect of the Pitch Envelope... Positive (+) settings will cause the pitch to be higher than the standard pitch.... 100–1200 This specifies the width of random pitch deviation that will occur each time a key is pressed.. Time 2 is the time over which the pitch changes from Level 1 to Level 2. This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. 10–90....... set this parameter to a positive (+) value.. If you want the pitch envelope to have less effect for strongly played notes... set this to a negative (-) value..........) T1 T2 T3 T4 -63–+63 -63–+63 -63–+63 P-Env Time 1–4 (Pitch Envelope Time 1–4) 0–127 Pitch L0 L1 Note on L3 Note off L2 T: Time L: Level L4 Time P-Env Level 0–4 (Pitch Envelope Level 0–4) -63–+63 Specify the pitch envelope levels (Level 0–Level 4).. If you want it to be slowed down...... Higher settings will result in a longer time until the next pitch is reached.. set this parameter to a positive (+) value............ set this to a negative (-) value. Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune (p... * One cent is 1/100th of a semitone...

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

Excessively high settings can produce oscillation. This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to raise the cutoff frequency. If you want strongly played notes to have a greater Resonance effect. FIXED. Set this to “FIXED” if you don’t want the Cutoff frequency to be affected by the keyboard velocity. -63–+63 parameter value Low 125 . use negative (-) settings. set this parameter to positive (+) settings. causing the sound to distort.Using the SonicCell in Patch Mode Parameter Value Explanation Emphasizes the portion of the sound in the region of the cutoff frequency. adding character to the sound. If you want strongly played notes to have less Resonance. If you want strongly played notes to lower the cutoff frequency. set this parameter to positive (+) settings. 1–7 1 2 3 4 5 6 7 Cutoff V-Sens (Cutoff frequency Velocity Sensitivity) Resonance V-Sens (Resonance Velocity Sensitivity) -63–+63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. Level LPF High Frequency BPF HPF PKG Cutoff frequency Resonance 0–127 Cutoff V-Curve (Cutoff Frequency Velocity Curve) Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. use negative (-) settings.

.. Time 2 is the time over which Level 1 will change to Level 2..... F-Env V-Curve (TVF Envelope Velocity Curve) FIX........ If you want Time 1 to be speeded up for strongly played notes. relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).... These settings specify how the cutoff frequency will change at each point. Specify the TVF envelope times (Time 1–Time 4).. The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope.. Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity... If you want it to be slowed down.) T1 T2 T3 T4 -63–+63 -63–+63 F-Env Time1–4 (TVF Envelope Time 1–4) 0–127 Cutoff Frequency L0 L1 Note on T: Time L2 L3 Note off L: Level L4 Time F-Env Level0–4 (TVF Envelope Level 0–4) 0–127 Specify the TVF envelope levels (Level 0–Level 4)........... set this to a negative (-) value. If you want it to be slowed down.......... 126 .... set this to a negative (-) value.... Higher settings will lengthen the time until the next cutoff frequency level is reached......... Higher settings will cause the TVF envelope to produce greater change....... If you want Time 4 to be speeded up for quickly released notes.. Negative (-) settings will invert the shape of the envelope. This allows keyboard dynamics to affect the Time 1 of the TVF envelope......Using the SonicCell in Patch Mode ■ Rhythm TVF Env screen .......... Parameter F-Env Depth (TVF Envelope Depth) Value -63–+63 Explanation Specifies the depth of the TVF envelope. (For example... Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope.. set this parameter to a positive (+) value.... 1–7 1 2 3 4 5 6 7 F-Env V-Sens (TVF Envelope Velocity Sensitivity) F-Env T1 V-Sens (TVF Envelope Time 1 Velocity Sensitivity) F-Env T4 V-Sens (TVF Envelope Time 4 Velocity Sensitivity) -63–+63 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope..... and negative (-) settings will cause the effect to be less.. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes.......... set this parameter to a positive (+) value...

... If you do not want the volume of the tone to be affected by the force with which you play the key.... Higher settings will produce a greater amount of change. 121). Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played. This setting is useful primarily for adjusting the volume balance between rhythm tones....... This will affect only waves whose Alter Pan Sw (p.... “L64” is far left........... 121) is ON or REVS....... “L” or “R” settings will reverse the order in which the pan will alternate between left and right..... Parameter Value Explanation Sets the volume of the rhythm tone. This will affect only waves whose Wave Rnd Pan Sw (p.. the panning of the two tones will alternate each time they are played.....Using the SonicCell in Patch Mode TVA settings (Rhythm TVA/Rhythm TVA Env screen) ■ Rhythm TVA screen. Random Pan Depth 0–63 Alter (Alternate) Pan Depth L63–63R 127 .. to make the tone play more softly as you play harder.” FIX.. Tone Pan L64–0–63R Set the Pan for Waves comprising the rhythm tones with the Wave Pan (p.. “0” is center.. This setting causes panning to be alternated between left and right each time a key is pressed. set this to “FIXED.............. and “63R” is far right.. For example if two tones are set to “L” and “R” respectively. 121) is ON........................ Higher settings will produce a greater amount of change.. set this to a negative (-) value....... 1–7 1 2 3 4 5 6 7 Level V-Curve (TVA Level Velocity Curve) Level V-Sens (TVA Level Velocity Sensitivity) -63–+63 Set this when you want the volume of the tone to change depending on the force with which you press the keys. Sets the pan of the tone.... Use this parameter when you want the stereo location to change randomly each time you press a key.... Tone Level 0–127 The volume levels of the Waves from which the rhythm tone is composed is set with the Wave Level (p.... You can select from seven curves that determine how keyboard playing strength will affect the volume.... 121)...

........... set this to a negative (-) value.) Specify the TVA envelope levels (Level 1–Level 3)... relative to the standard volume (the Tone Level value specified in the TVA screen).... set this parameter to a positive (+) value.. Specify the TVA envelope times (Time 1– Time 4).Using the SonicCell in Patch Mode ■ Rhythm TVA Env screen ...... set this to a negative (-) value....... Parameter A-Env T1 V-Sens (TVA Envelope Time 1 Velocity Sensitivity) A-Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity) A-Env Time1–4 (TVA Envelope Time 1–4) Value -63–+63 Explanation This allows keyboard dynamics to affect the Time 1 of the TVA envelope............. Time 2 is the time over which Level 1 will change to Level 2............ (For example...... If you want Time 4 to be speeded up for quickly released notes........... Higher settings will lengthen the time until the next volume level is reached... If you want it to be slowed down.. If you want Time 1 to be speeded up for strongly played notes.............. These settings specify how the volume will change at each point.. T1 T2 T3 T4 -63–+63 0–127 A-Env Level1–3 (TVA Envelope Level 1–3) 0–127 Level L1 L2 Note on T: Time L3 Note off L: Level Time 128 . set this parameter to a positive (+) value....... If you want it to be slowed down....... The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope.

Sets the level of the signal sent to reverb for each rhythm tone if the rhythm tone is not sent through MFX. L+R: Output to the OUTPUT jacks in stereo without passing through multi-effects. * Sounds are output to chorus and reverb in mono at all times. the sounds routed to OUTPUT L and OUTPUT R will be mixed and output from the OUTPUT L jack. and the outputs of tones 3 and 4 will be combined with tone 4. R: Output to the OUTPUT L jack or OUTPUT R jack in mono without passing through multi-effects. MFX: Output in stereo through multi-effects. L. * If you’ve made settings so that sounds are separately routed to the OUTPUT L jack and OUTPUT R jack. Specifies the level of the signal sent to the chorus for each rhythm tone if the rhythm tone is sent through MFX.” the outputs of tones 1 and 2 will be combined with tone 2. TONE: Outputs according to the settings for each tone. * If you’ve made settings so that sounds are separately routed to the OUTPUT L jack and OUTPUT R jack. L+R: Output to the OUTPUT jacks in stereo without passing through multi-effects. L. R Tone Out Level (Rhythm Tone Output Level) Cho Send (MFX) (Rhythm Tone Chorus Send Level (Output=MFX)) Rev Send (MFX) (Rhythm Tone Reverb Send Level (Output=MFX)) Cho Send (nonMFX) (Rhythm Tone Chorus Send Level (Output=non MFX)) Rev Send (nonMFX) (Tone Reverb Send Level (Output=non MFX)) 0–127 0–127 0–127 0–127 0–127 129 . * When the Str Type has a setting of Type “2”–”10. 135). * If the Rhy Out Assign is set to anything other than “TONE.Using the SonicCell in Patch Mode Output-related settings for the rhythm set and rhythm tones (Rhythm Output screen) Parameter Value Explanation Specifies for each rhythm set how the direct sound will be output. Rhy Out Assign (Rhythm Output Assign) MFX. L. MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. Specifies the level of the signal sent to the reverb for each rhythm tone if the rhythm tone is sent through MFX. L. For this reason. but no plug is actually inserted in the OUTPUT R jack. but no plug is actually inserted in the OUTPUT R jack. You can also apply chorus or reverb to the sound that passes through multi-effects. L+R. tone 1 will follow the settings. L+R. * The output destination of the signal after passing through the chorus is set with the Output Select (p. TONE Tone Out (Output) Assign MFX. Set the level of the signal that is sent to the output destination specified by Tone Out Assign.” these settings will be ignored. R: Output to the OUTPUT L jack or OUTPUT R jack in mono without passing through multi-effects. the sounds routed to OUTPUT L and OUTPUT R will be mixed and output from the OUTPUT L jack. Specifies how the direct sound of each tone will be output. Sets the level of the signal sent to chorus for each rhythm tone if the rhythm tone is not sent through MFX. R.

you’ll be returned to the previous screen. Move the cursor to “COPY” and press [CURSOR/VALUE]. select “CANCEL” and press [CURSOR/VALUE]. Parameter (1) (2) (3) (4) Group of the copy-source rhythm set Copy-source rhythm set Copy-source rhythm tone Copy-destination rhythm tone 1. If you decide not to initialize. 57). A confirmation message will appear. 117). Select the copy-source tone and copy-destination tone. Turn [CURSOR/VALUE] to select the key (A0–C8) that you want to initialize. 2. Once the copy has been completed. (1) (2) (3) (4) 1. 130 . * The copy-destination rhythm set is the rhythm set that's selected in the temporary area (p. select “CANCEL” and press [CURSOR/VALUE]. select “OK” and press [CURSOR/ VALUE]. 1. If you decide not to execute the copy. To execute the initialization. 3. If you decide not to initialize. To execute the copy. Move the cursor to “INIT” and press [CURSOR/VALUE]. select “TON INIT. From the Rhythm Edit menu screen (p. When initialization is finished. you’ll be returned to the previous screen. select “CANCEL” and press [CURSOR/VALUE].Using the SonicCell in Patch Mode Rhythm Tone Copy Copies the settings of a rhythm tone to a rhythm tone in the currently selected rhythm set. select “OK” and press [CURSOR/VALUE]. 117). When initialization is finished. Returns the settings of the current rhythm set to their initial values From the Rhythm Edit menu screen (p. select “TON COPY. 2.” A confirmation message will appear. Rhythm Set Initialize 3.” The Rhythm Tone Init screen will appear. 117). A confirmation message will appear. select “OK” and press [CURSOR/VALUE].” The Rhythm Tone Copy screen will appear. you’ll be returned to the previous screen. To execute the initialization. select “RHY INIT. Rhythm Tone Initialize Returns the settings of just a specific key in the current rhythm set to their initial values From the Rhythm Edit menu screen (p.

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

. make these settings in the Patch Output screen... 1 : Tone Out Level. 1 : Tone Out Level.................. 11 : Output Level.. 7 : Output Level.. • Output Level p.. Make these settings in the Chorus Output screen... 2 : Cho Send (MFX) / Cho Send (non MFX)...... 4 : Pat Out Assign. Make these settings in the Reverb Output screen.... and reverb.. • Select the chorus type and edit the parameters................ 135 p... 108 p... • Select the reverb type and edit the parameters.. 9 : Reverb Send Level Make these settings in the Chorus screen..... Tone 4 Tone 3 Tone 2 Patch (Rhythm) Output 1 4 5 6 3 7 8 9 10 MFX Output MFX Tone1 2 Chorus Output 11 MAIN 12 Chorus REV 1 2 3 4 5 6 7 8 9 10 11 12 13 Reverb Output Reverb 14 Mastering Effect L R OUTPUT 13 14 1 – 5 If the patch type is Patch.. 135 p..... 129 6 7 – 9 10 11 – 12 13 14 p... Make these settings in the MFX Output screen.. chorus...... 5 : Tone Out Assign Make these settings in the MFX screen.............. 2 : Cho Send (MFX) / Cho Send (non MFX). 135 p... ■ Signal flow..Using the SonicCell in Patch Mode Editing the effects (Patch/Rhythm Set) In Patch mode you can use multi-effects.. 5 : Tone Out Assign If the patch type is Rhythm......... 136 132 ..... • Select the multi-effect type and edit the parameters.... 12 : Output Select Make these settings in the Reverb screen.. 134 p.. 136 p.... make these settings in the Rhythm Output screen. 8 : Chorus Send Level..... 3 : Rev Send (MFX) / Rev Send (non MFX). 3 : Rev Send (MFX) / Rev Send (non MFX). 4 : Rhy Out Assign...

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

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

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

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

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

MEMO 138 .

Audio Connections 139 .

Press [USB AUDIO] so its indicator is lit.Using the SonicCell with your computer (USB AUDIO) Basic operation 1. 2.disp-USB-top01 3. The USB Audio screen will appear. press [MENU] to access the menu screen. USB Audio Input Effect To Input FX: Sent to the input effect. Press [CURSOR/VALUE] to highlight the value. Input/output of USB audio and MIDI messages cannot be used at the same time that the SMF/Audio File Player (p. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. and choose “Write” (System Write) to execute the Write operation (System Write: p. 144) to specify how the signal that has passed through the input effect will be output. fig. 167) will play audio files. 140 . To save the setting. and the volume at which the SMF/Audio File Player (p. To Input FX USB Audio Input Effect OUTPUT Use the “In/Out Routing” (p. When you’ve finished editing the value. To Output: Sent to OUTPUT. 150). OUTPUT Assign To Output. 167) is playing. 5. Parameter Audio level Value 0–127 Explanation This specifies the volume of the input from USB. Specifies where the input signal is to be sent. Turn [CURSOR/VALUE] to edit the value. 4. press [CURSOR/ VALUE].

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

To save the setting. fig.disp-Input-top02 4. When you’ve finished editing the value. Turn this “ON” if you’ve connected a phantom-powered condenser mic to the MIC INPUT jack. press [CURSOR/ VALUE]. and choose “Write” (System Write) to execute the Write operation (System Write: p. To Input FX To COM: Output to the computer. Computer OUTPUT Input Effect INPUT Computer 142 .Inputting sound from an external device (INPUT) Basic operation 1. Parameter Value Phantom Power OFF. 3. high-volume noise will be produced. 5. • When you turn the power on. For details on mic specifications. Press [INPUT] so its indicator is lit. To COM. 2. Press [CURSOR/VALUE] to highlight the value. refer to the owner’s manual for the mic you’re using. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 150). Explanation Turns phantom power on/off. Turn [CURSOR/VALUE] to edit the value.disp-Input-top01 fig. Supplying phantom power to a dynamic mic will cause malfunctions. possibly damaging your amp or speakers. OUTPUT Input Effect INPUT Assign To COM+Output. you must turn the front panel [VOLUME] knob to “0.” If you turn phantom power on/off with the volume raised. To COM+ Output: Sent to computer and OUTPUT. The Input screen will appear. • You must turn phantom power “OFF” unless a condenser mic that requires phantom power is connected. ON Specifies where the input signal is to be sent. the phantom power will always be OFF. • Before you switch phantom power on/off. press [MENU] to access the menu screen.

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

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

79) Tone Generator (TG) INPUT MFX1 MFX2 Reverb OUTPUT Settings Tone Generator: Performance mode INPUT: Assign (p. (Example) Tone Generator (TG) INPUT MFX1 MFX2 MFX3 Reverb OUTPUT Settings Tone Generator: Performance mode INPUT: Assign (p. 148) = Input FX Input Effect Computer Input Effect (p. You can also record the distorted guitar sound on your computer. 142) = To Input FX To Computer: Type (p. 148) = Input FX MFX3 Location: Type (p. such as distortion. For example. or apply reverb as well. 78) Reverb (p. and guitar amp simulator. You can also use the mastering effect. 79) 145 . 142) = To Input FX To Computer: Type (p. 147) MFX1–3 (p. while recording the unprocessed sound on your computer You can use the chorus/reverb that’s assigned to a performance/patch.Input/output and effect settings (In/Out Routing) Listen to the effect-processed sound from your speakers. In addition. 149) = TG Computer Input Effect Input Effect (p. you can choose how the signal that passes through the input effect will be output. Since the multi-effects provided include guitar-type effects. 142) = To Input FX To Computer: Type (p. 78) Reverb (p. 148) = Input FX MFX3 Location: Type (p. the effect will depend on the performance/ patch that's selected. 149) = Input FX Input Effect Computer MFX3 Input Effect (p. (Example) Tone Generator (TG) INPUT MFX1 MFX2 MFX3 Reverb OUTPUT Settings Tone Generator: Performance mode INPUT: Assign (p. this is convenient when you want to apply an effect to the guitar that's connected to INPUT. overdrive. In other words. 147) MFX1–3 (p. 79) Applying an effect such as distortion to the sound of a guitar connected to INPUT When using the sound module in Performance mode. 147) MFX1–3 (p. while recording the vocal “dry” (without reverb) for later processing. the MFX3 (multi-effect 3) of the performance can be used as an effect for the INPUT/USB input. 78) Reverb (p. you could listen to the vocal with reverb.

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

. 148). This is a convenient way to eliminate a vocal... Selects the signal that is sent to the computer. 149) is set to TG....... 221).. * This is not shown in Patch mode.. * This is not shown if the MFX 3 Location “Type” (p.................. 3: COMPRESSOR Input effect type Restrains high levels and boosts low levels to make the overall volume more consistent.. 78)......... Specifies how MFX3 will be used........... Edits the MFX3 settings... (Input Effect output) F3 (MFX3) TO COM (To Computer) MFX3 LOC (MFX3 Location) Input effect settings (Input Effect/Input FX Output screen) ■ Input Effect screen..... Press [CURSOR/VALUE] to access the MFX 3 screen (p. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Input FX Output screen (p.. Edits the output settings for the input effect........ 148). 4: LIMITER Compresses the sound when it exceeds a specified volume. to keep distortion from occurring... Explanation 1: EQUALIZER Adjusts the tone of the low-frequency and high-frequency ranges......... 147 .. Refer to “Input Effect Parameters” (p.. Parameters for each input effect type Here you can edit the parameters of the selected input effect type.. Press [CURSOR/VALUE] to access the MFX 3 Location screen (p.. Parameter Value Selects the input effect type... 2: ENHANCER Modifies the harmonic content of the high-frequency range to add sparkle to the sound.. * This is not shown in Patch mode...... Press [CURSOR/VALUE] to access the Input Effect screen.... Press [CURSOR/VALUE] to access the To Computer screen (p. 6: CENTER CANCELER Removes the sounds that are localized at the center of the stereo input.......Input/output and effect settings (In/Out Routing) Selecting the item to edit (In/Out Routing screen) Parameter IN FX (Input Effect) Explanation Edits the input effect settings... 5: NOISE SUPPRESSOR Suppresses noise during periods of silence......... 149)...

..... Parameter Output Level Chorus Send Level Reverb Send Level Value 0–127 0–127 0–127 Explanation Set the level of the signal that is sent to the OUTPUT.......... set it to “0. Tone Generator (TG) USB Audio INPUT MFX1 MFX2 MFX3 *1 Chorus Reverb Mastering OUTPUT Input Effect Computer *1 If you’re in Patch mode. set it to “0. MIX: The signals of the internal tone generator and external input (USB audio.. INPUT) unprocessed by the chorus/reverb/mastering effects will be sent........ If you don’t want to add the Chorus effect.” Selecting the signal sent to your computer (To Computer screen) Parameter Value Explanation Selects the signal sent to your computer....Input/output and effect settings (In/Out Routing) ■ Input FX Output screen .. this will be only MFX.......... If you don’t want to add the Reverb effect........... INPUT) will be sent....... 148 . Input FX Input FX: OUTPUT Input Effect Computer The external input signal (USB audio........” Adjusts the amount of reverb for the sound........... Adjusts the amount of chorus for the sound................. MFX1 MFX2 MFX3 *1 Chorus Reverb Mastering Tone Generator (TG) USB Audio INPUT Type MIX.............

Input/output and effect settings (In/Out Routing)

Specifies how MFX3 will be used (MFX3 Location screen)
This screen won’t appear in Patch mode.

Parameter

Value

Explanation

Specifies how MFX3 will be used.
TG: MFX3 will be used as the effect applied to the SonicCell’s tone generator (TG).

Tone Generator (TG) USB Audio INPUT
Input FX:

MFX1 MFX2 MFX3

Input Effect

MFX3 will be connected following the input effect. You'll be able to use MFX3 on the audio input via INPUT and USB.

Type

TG, Input FX

Tone Generator (TG) USB Audio INPUT

MFX1 MFX2

Input Effect

MFX3

If this is set to Input FX, you won’t be able to use MFX3 on the performance.

Editing the MFX3 settings
If you’ve selected the Input FX setting, the In/Out Routing screen will show “F3.” By choosing “F3” you can move to the MFX3 screen and edit the MFX3 settings. However, this will edit the MFX3 settings of the currently selected performance.

Saving the MFX3 settings
If you’ve edited the MFX3 effect type or parameter values, those settings will be saved as settings of the currently selected performance. To save the settings, from the MFX3 screen, press [MENU] to access the menu screen, and then choose “Write” (Performance Write). (Performance Write: p. 73) * In/Out routing settings are saved as system settings. (System Write: p. 150)

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Input/output and effect settings (In/Out Routing)

System Write
This saves the current system settings. In the menu screen (p. 141, p. 143, p. 146), choose “Write” (System Write) and you'll see a confirmation message.

1. If you want to write the settings, select “OK” and press [CURSOR/VALUE]. If you decide not to write the settings, select “CANCEL” and press [CURSOR/VALUE]. Once the settings have been written, you’ll be returned to the previous screen.

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Using the plug-in version of SonicCell Editor
This chapter explains how to use the plug-in version of SonicCell Editor as a plug-in module in your VSTi or AU compatible host application. The plug-in version of SonicCell Editor is a plug-in module that lets you edit the SonicCell’s parameters from within your host application. The results of your editing can be saved in a project file of your host application.

• In Performance mode, part ‘n’ of the SonicCell will normally be MIDI channel ‘n’. • In Patch mode, the SonicCell’s MIDI channel will normally be 1. • If you’ve changed the MIDI channel setting, please substitute the actual channel for any MIDI channel appearing in this explanation. • Functionality may be limited depending on the host application you’re using. For details, refer to the owner’s manual of your host application. • You can’t use the stand-alone version and plug-in version of SonicCell Editor at the same time. • The SonicCell Editor plug-in version cannot be plugged into multiple tracks of the same project at the same time. • The SonicCell Editor plug-in version cannot be plugged into multiple projects at the same time.

Connection example

Computer
To USB connector of your computer

MIDI Keyboad

USB Cable MIDI OUT

To Monitor Amplifier etc.

USB COMPUTER

MIDI IN

OUT PUT

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SONAR LE
Installing the driver and SonicCell Editor
Before you continue, install the driver, SonicCell Editor, Librarian, and Playlist Editor as described on p. 33–p. 36. • The stand-alone version of the editor, the librarian, and the playlist editor will be installed in C:\Program Files\Roland\SonicCellEditor. • The plug-in version of the editor (subsequently referred to as “the plug-in”) will be copied to C:\Program Files\Roland. When you start up SONAR LE on Windows Vista, a message of “An unidentified program wants access to your computer” will appear. Click [Allow] to start up SONAR LE.

Updating the VST Adapter
In order to register the software in SONAR LE, you’ll need to update VST Adapter. In order to perform the following procedure, you’ll need to log onto Windows as a user whose account type is Administrator. 1. Close all currently running software. 2. In the SonicCell Editor CD, navigate to the “Sonar Utility\VST Adapter updater” folder and double-click “VSTAdapter453Update_E.exe” to start up the installer.

Installing SONAR LE
Here’s how to install the included SONAR LE into your computer. In order to perform the following procedure, you’ll need to log onto Windows as a user whose account type is Administrator. 1. Place the SONAR LE installation CD-ROM into your CDROM drive. The installer will start up automatically. Proceed with the installation as directed by the on-screen instructions. * If the installer doesn’t start up automatically, please start it up using the following procedure. 1. From the Windows Start menu, choose “My Computer.” 2. The drives detected by your computer will be displayed; double-click the CD-ROM drive.

Windows Vista users:
The message “An unidentified program wants access to your computer” will appear; click [Allow]. 3. Proceed with the installation as directed by the on-screen instructions. 4. When the update is complete, the “Wrap VST Plugins” will run automatically. In this case, click [Cancel] to exit the wizard.

Windows Vista users:
The message “An unidentified program wants access to your computer” will appear. Click [Allow]. * When the “Installation Complete” dialog box appears, clear the “Launch SONAR LE” check box, and click [Finish]. If you failed to clear the check box and the program started up, close SONAR LE.

Initial MIDI and audio device settings for SONAR LE
1. Double-click the SONAR LE icon on your desktop to start up SONAR LE. The “Wave Profiler (WDM Kemel Streaming)” dialog box will appear. 2. Click [Yes] to execute audio device detection. When the process has been completed, click [Close]. * If the “Wave Profiler(WDM Kemel Streaming)” dialog box does not open automatically, select the SONAR LE “Options” menu command “Audio” to open the “Audio Options” dialog box, and in the “General” tab, click [Wave Profiler (WDM Kemel Streaming)]. 3. The “Online Registration” dialog box will open. Select “Please remind me to register later.,” and click [OK]. For details on activation, refer to online Help for SONAR LE. 4. The “Tip of the Day” will appear; click [Close] to close the dialog box.

Windows Vista users:
If you’re using SONAR LE on Windows Vista, you’ll need to make user account control settings after installing SONAR LE. 1. After installing SONAR LE, right-click the “SONAR LE” icon that was created on your desktop, and choose “Properties” from the menu that appears. 2. Click the “Compatibility” tab to open the Compatibility page. 3. In the “Privilege level” area, select “Run this program as an administrator.” 4. Click “OK” to close Properties.

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SONAR LE

5. A message telling you that “No MIDI Outputs Selected”; click [Choose MIDI Outputs Now] to open the “MIDI Devices” dialog box. * If the message “No MIDI Outputs Selected” does not appear, select SONAR LE’s Option menu command “MIDI Devices” to open the “MIDI Devices” dialog box. 6. In the MIDI Devices dialog box, click to make only the following items highlighted. Input Roland SonicCell Output Roland SonicCell

Registering the plug-in in SONAR LE
For details about registering a plug-in in SONAR LE, refer to the online help for Cakewalk VST Adapter. 1. Open the “Cakewalk VST Configuration Wizard: Search Paths” dialog box.

Windows XP users
From the Start menu, choose “All Programs” - “Cakewalk” - “Cakewalk VST Adapter 4” - “Cakewalk VST Adapter 4,” and click [Next].

7. Once you’ve made the above selections, click [OK] to close the dialog box. 8. The “Quick Start” dialog box will open; click “Close.” SONAR LE has now started up. Next, you need to make the audio device settings. 9. From the “Options” menu, select the “Audio” command to open the “Audio Options” dialog box. 10. Open the “Drivers” tab. For both “Input Drivers” and “Output Drivers,” click the device names so that only “Roland SonicCell” is highlighted for each. 11. Once you’ve made the device settings, click [OK] to close the dialog box. * If a message suggests that you restart SONAR LE, restart SONAR LE. 12. Once again, select the “Options” menu command “Audio” to open the “Audio Options” dialog box. 13. In the “General” tab, set “Audio Driver Bit Depth” to “24.” This completes the device settings. 14. In the “Audio Options” dialog box, click [OK] to close the dialog box. * If a message suggests that you restart SONAR LE, restart SONAR LE.

Windows Vista users
From the Start menu, choose “All Programs” - “Cakewalk” - “Cakewalk VST Adapter 4,” and then inside it right-click “Cakewalk VST Adapter 4.” From the menu that appears, choose [Run as administrator]. A message stating that “An unidentified program wants access to your computer” will appear; click [Allow] and click [Next]. 2. Click [Add], add “(the folder to which you copied the plugin)\Roland,” and then click [Next]. Normally, this will be C:\Program Files\Roland. If a message indicates “MIDI devices aren't set up correctly,” click [OK]. 3. When the “Cakewalk VST Configuration Wizard: Plugin Configuration” dialog box opens, click [Next].
fig.VST01.eps

4. When the “Cakewalk VST Configuration Wizard: Finished” dialog box appears, click [Finish].
fig.VST02.eps

153

SonicCell Editor may not operate correctly.” As the MIDI track’s output. 3. Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN. If this is on. 4. For details on how to make this setting. If this is ON. MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. Specify the SonicCell as the USB-MIDI interface for SONAR LE.“New” to open the “New Project File” dialog box. 154 . If necessary.“Global” to open the “Global Options” dialog box. Choose “Blank (no tracks or buses)” as the template. choose “Insert” . If a message indicates “MIDI devices aren’t set up correctly. Settings for SONAR LE Here we will use the SonicCell as a USB-MIDI interface for SONAR LE. select the menu button “Setup” . choose “Roland SonicCell.1. n (the number of the part you will record). In SonicCell Input/Output. refer to th online help for SONAR LE. From the menu. choose “Options” .“VST SonicCell Editor VST. For details on SONAR LE settings. choose “Roland SonicCell” “MIDI Ch. In SonicCell Editor. 3.SONAR LE Connections and settings 1.” As the MIDI track’s MIDI Ch. 2. 7.” 3. From the menu that appears. use a MIDI cable to connect your MIDI keyboard to the SonicCell.” click [OK]. 2. choose ‘n’ (the number of the part you will record). and click [OK]. choose “File” . 6. Steps 8–11 are needed only when starting the editor for the first time. 4. click [READ]. Make sure that you switch on the SonicCell’s power before you start up SONAR LE.” As the MIDI track’s MIDI Ch.“Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box.” As the MIDI track’s output. Start up SONAR LE. Turn on the power of the SonicCell. If the SonicCell is not connected correctly. Specify the channel of the MIDI track. From the menu. choose “1. 8. set the USB-MIDI Thru (p.“MIDI Track” to add a MIDI track. 2. From the menu. Starting up SonicCell Editor 1. Start up SONAR LE. 1. 10. refer to the online help for SONAR LE. Adding a MIDI track 1. Turn on the MIDI Thru setting. From the menu. The second and subsequent times. Select the “General” tab. 9. This will load the settings from the SonicCell into the editor. 5. choose “Roland SonicCell” and click [OK]. 11. and click [OK]. In SonicCell Editor.“Close” to close the project that was loaded at start-up. the SonicCell settings will be loaded into the editor from the port you specified. the MIDI messages received by SONAR LE will be sent back to the SonicCell’s sound generator. 2. choose “File” . choose “DXi Synth” . 177) setting on the SonicCell module to ON. From the menu. Use a USB cable to connect the SonicCell to your computer. Select the “Always Echo Current MIDI Track” check box. 5. Right-click the FX field located at the right of the Track Pane of the audio track.” The plug-in version of SonicCell Editor will start up. If using Performance mode: As the MIDI track’s input.“Audio Track” to add an audio track. 3. * Don’t disconnect the USB cable connected to the SonicCell while SONAR LE is running. choose “Insert” . choose “Roland SonicCell” “MIDI Ch. If using Patch mode: As the MIDI track’s input. choose “Roland SonicCell. Click the record-enable button in the track view.

and knobs. 2. click “PATCH NAME” [▼]. click “PATCH NAME” [▼]. 3. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. 2. make sure that you’ve selected the MIDI track you added. you’ll be able to record musical data from the keyboard. refer to “SonicCell Editor Manual. Editing patch parameters You can edit the patch parameters as desired.eps Saving the project file The SONAR LE project file also includes SonicCell Editor’s performance data and patch data. Click the record button in the Transport Toolbar. and SONAR LE. choose “File” . This means that if you save your project file. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. In the upper part of SonicCell Editor’s main window.“Save.” Keyboard MIDI OUT MIDI IN USB OUT USB IN Sound Generator SonicCell SONAR LE USB-MIDI Thru=ON Editor SonicCell Output SonicCell Input Track 1 In: SonicCell Thru Out: SonicCell Controllers You can edit the values by clicking (and dragging) the buttons. For details on editing the parameters. From the menu. you normally won’t need to save data in SonicCell Editor. If using Patch mode: 1.“SonicCell Editor Manual” SONAR LE’s “Track 2” (the MIDI track you added) corresponds to “Track 1” in the illustration. In the upper part of SonicCell Editor’s main window. In the upper part of SonicCell Editor’s main window. 1. The following illustration shows the relationship between the SonicCell module. sliders. and play your MIDI keyboard. Choose the desired patch from the menu that appears.Routing-SONARLE. MIDI Thru is enabled for the selected MIDI track. Click the stop button in the Transport Toolbar to stop recording. click “PART” [n (number of the part to record)].SONAR LE Selecting a patch If using Performance mode: 1. If you connect a MIDI keyboard to the SonicCell. fig. If playing the keyboard does not produce sound.” Select the menu button “Help” . 155 . 2. Recording MIDI data Here’s how to record your playing. your MIDI keyboard. SonicCell Editor. Choose the desired patch from the menu that appears.

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

2 owner’s manual. the SonicCell settings will be loaded into the editor from the port you specified. 2. 5. 4. Use a USB cable to connect the SonicCell to your computer. assign a name. Steps 7–10 are needed only when starting the editor for the first time. click [Scan VST Plug-ins] to register the plug-in version of SonicCell Editor.2 is running. 2. The second and subsequent times. Make sure that you switch on the SonicCell’s power before you start up SONAR 6.2. 4. 3. 4. Starting up SonicCell Editor 1. the librarian.2. Click [Add]. • The stand-alone version of the editor. Connections and settings 1. Select the “Always Echo Current MIDI Track” check box.“New” to open the “New Project File” dialog box. use a MIDI cable to connect your MIDI keyboard to the SonicCell. • The plug-in version of the editor (subsequently referred to as “the plug-in”) will be copied to C:\Program Files\Roland. Then click [Close]. If necessary. SonicCell Editor may not operate correctly. MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. install the driver. Start up SONAR 6. From the menu.2. Right-click the FX field located at the right of the Track Pane of the audio track. Turn on the power of the SonicCell.2. 177) setting on the SonicCell module to ON. select the menu button “Setup” . and add “(the folder to which you copied the plug-in)\Roland. 33–p.2 Here we will use the SonicCell as a USB-MIDI interface for SONAR 6. 3. 3. 5. 157 . 36. In the “VST Configuration” group box. 10. Specify the SonicCell as the USB-MIDI interface for SONAR 6. the MIDI messages received by SONAR 6.2 Installing the driver and SonicCell Editor Before you continue. choose “File” . If this is on.2. From the menu that appears. 2. choose “Tools” . Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN.“Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. 2. refer to the SONAR 6. SonicCell Editor. click [Options] to open the “Cakewalk VST Scan Paths” dialog box. From the menu. choose “Roland SonicCell” and click [OK]. If a message indicates “MIDI devices aren’t set up correctly. and click [OK]. 6. and click [OK].2 will be sent back to the SonicCell’s sound generator.“Global” to open the “Global Options” dialog box.” 7. Registering the plug-in in SONAR 6. In the “VST Settings” group box. and Playlist Editor as described on p. Start up SONAR 6. Turn on the MIDI Thru setting. For details on how to make this setting.2. choose “Insert” . Select the “General” tab.“Cakewalk Plug-in Manager” to open the “Cakewalk Plug-in Manager” dialog box. Librarian. In SonicCell Editor. set the USB-MIDI Thru (p.” Normally. From the menu. 6. From the menu.2 For details about registering a plug-in in SONAR 6. Click [OK] to close the [Cakewalk VST Scan Paths] dialog box. 5. click [READ].” click [OK]. Choose “Blank (no tracks or buses)” as the template. Settings for SONAR 6.2 owner’s manual. choose “Options” . refer to the SONAR 6. and the playlist editor will be installed in C:\Program Files\Roland\SonicCellEditor. If the SonicCell is not connected correctly.. In SonicCell Editor.2.“Audio Track” to add an audio track. * Don’t disconnect the USB cable connected to the SonicCell while SONAR 6. 3. 8. 1. choose “Soft Synths” “roland” . Start up SONAR 6. 9. This will load the settings from the SonicCell into the editor. In SonicCell Input/Output.SONAR 6. If this is ON. this will be C:\Program Files\Roland. 1.“SonicCell Editor VST.

In the upper part of SonicCell Editor’s main window.2 Adding a MIDI track 1. Choose the desired patch from the menu that appears. MIDI Thru is enabled for the selected MIDI track. 1. you’ll be able to record musical data from the keyboard. Click the stop button in the Transport Toolbar to stop recording. click “PART” [n (number of the part to record)]. Recording MIDI data Here’s how to record your playing. choose “Roland SonicCell.2 corresponds to “Track 1” in the illustration. Choose the desired patch from the menu that appears.2. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. fig.“SonicCell Editor Manual” “Track 2” (the MIDI track you added) in SONAR 6. and SONAR 6.eps If using Performance mode: As the MIDI track’s input. choose “Roland SonicCell” “MIDI Ch. and play your MIDI keyboard.” Select the menu button “Help” . Track 1 In: SonicCell Thru Out: SonicCell Controllers If using Patch mode: 1.2 Sound Generator SonicCell USB-MIDI Thru=ON Editor SonicCell Output SonicCell Input Selecting a patch If using Performance mode: 1. From the menu. If you connect a MIDI keyboard to the SonicCell. 2. refer to “SonicCell Editor Manual. If playing the keyboard does not produce sound. choose “Roland SonicCell. and knobs. 2. SonicCell Editor.” As the MIDI track’s output. make sure that you’ve selected the MIDI track you added.“MIDI Track” to add a MIDI track. 158 .“MIDI Ch.1. 2. In the upper part of SonicCell Editor’s main window. n (the number of the part you will record). click “PATCH NAME” [▼]. your MIDI keyboard.SONAR 6. choose “Insert” . The following illustration shows the relationship between the SonicCell module. Click the record-enable button in the track view. Specify the channel of the MIDI track. Editing patch parameters You can edit the patch parameters as desired.” Keyboard MIDI OUT MIDI IN USB OUT USB IN If using Patch mode: As the MIDI track’s input. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. You can edit the values by clicking (and dragging) the buttons. For details on editing the parameters. SONAR 6. Click the record button in the Transport Toolbar. 3. click “PATCH NAME” [▼]. In the upper part of SonicCell Editor’s main window.Routing-SONAR62.” 3. sliders. 2.” As the MIDI track’s output. you will normally choose “Roland SonicCell” .

This means that if you save your project file. and then try again. The performance data saved in the project file will be reproduced on the SonicCell module. 3. The patch data saved in the project file will be reproduced on the SonicCell module. choose “File” . 2. Repeat the following steps for the desired number of parts.SONAR 6.” Simply close the error message that was displayed.2 project file also includes SonicCell Editor’s performance data and patch data. This means that when you open a project file. execute “Save the project file” to save the multiple SonicCell parts along with the musical data. 159 . “Windows cannot find ‘(project file path)’. 2. and continue using SONAR 6. If using Performance mode: 1. Double-click the project file you saved earlier.2. SONAR 6. If using Patch mode: 1. 158) “Selecting a patch” (p.2 will start up. Make sure you typed the name correctly. Close SONAR 6.” Recording multiple parts If you’re using Performance mode. select a different performance than the one you’re currently using. 158) “Recording MIDI data” (p. 1.2. 158) 2. Double-click the project file you saved earlier. Close SONAR 6. On the SonicCell module. the following error message will appear. If you’re using Windows Vista and you double-click a project file to start up SONAR 6. Finally. SONAR 6. On the SonicCell module. “Adding a MIDI track” (p. 158) “Editing patch parameters” (p. This is so you can verify that the performance data is reproduced when you open a project.2 Saving the project file The SONAR 6. SonicCell Editor will open together with the project.2. Opening a project file SONAR 6.“Save. SonicCell Editor will open together with the project. From the menu. you normally won’t need to save data in SonicCell Editor.2 project files include SonicCell Editor’s performance data and patch data. you normally won’t need to open data in SonicCell Editor.2. 3.2 will start up. select a different patch than the one you’re currently using. you can edit and save the parameters for multiple SonicCell parts. This is so you can verify that the patch data is reproduced when you open a project.

” Mac: From the menu. • The plug-in version of the editor (subsequently referred to as “the plug-in”) will be copied to C:\Program Files\Roland. 3.“Preferences. 2. Mac: • The stand-alone version of the editor. • The VSTi version of the plug-in module will be copied to \Library\Audio\Plug-Ins\VST\Roland. From the menu. the MIDI messages received by Cubase 4 will be sent back to the SonicCell’s sound generator. and the playlist editor will be installed in C:\Program Files\Roland\SonicCellEditor. Registering the plug-in in Cubase 4 For details about registering a plug-in in Cubase 4. 4. 1. Normally. SonicCell Editor may not operate correctly. the plug-in will be registered automatically when you start up Cubase 4. the librarian. 160 . If necessary. 2.” 4. and click [OK]. 33–p. MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. In the list at left.x Plug-in Paths” to open the [VST 2. 5. For details on how to make this setting. this will be C:\Program Files\Roland. Specify the SonicCell as the USB-MIDI interface for Cubase 4. Use a USB cable to connect the SonicCell to your computer. Windows: From the menu. choose “File” . Open the “Preferences” dialog box. Librarian. If the SonicCell is not connected correctly. Start up Cubase 4. Click [Add]. 5. install the driver. If this is ON. 3. Connections and settings 1. If this is on. If SonicCell Editor VST does not appear in the list.“Plug-in Information” to open the “Plug-in Information” window. SonicCell Editor. Turn on the MIDI Thru setting. Turn on the power of the SonicCell. 177) setting on the SonicCell module to ON. set the USB-MIDI Thru (p. refer to the Cubase 4 owner’s manual. * Don’t disconnect the USB cable connected to the SonicCell while Cubase 4 is running.Cubase 4 Installing the driver and SonicCell Editor Before you continue. Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN. choose “MIDI” to see the MIDI preferences. Start up Cubase 4. and Playlist Editor as described on p. Click [Update]. refer to the owner’s manual of Cubase 4. choose “Cubase” .x Plug-in Paths] dialog box. Select the “MIDI Thru Active” check box. and the playlist editor will be installed in \Applications\Roland\SonicCell Editor. add “(folder to which you copied the plugin)\Roland”). and click [OK]. 2. use a MIDI cable to connect your MIDI keyboard to the SonicCell. Click “VST 2.“Preferences. Make sure that you switch on the SonicCell’s power before you start up Cubase 4. 3. Windows: 1. try restarting Cubase 4. Windows: • The stand-alone version of the editor. the librarian. choose “Devices” . Settings for Cubase 4 Here we will use the SonicCell as a USB-MIDI interface for Cubase 4. 39. Mac: Normally. Select the “VST PlugIns” tab. 6.

The following illustration shows the relationship between the SonicCell module. 2. 3. Selecting a patch If using Performance mode: 1. In the upper part of SonicCell Editor’s main window. If using Patch mode: 1. This will load the settings from the SonicCell into the editor. and knobs. SonicCell Editor.“VST Instruments” to open the “VST Instruments” window. 11. 9. In the upper part of SonicCell Editor’s main window. Specify the desired project folder and click [OK].. choose “Roland SonicCell” and click [OK]. 3. 3. From the menu. choose “Project” . The “Set Project Folder” dialog box will open.“New Project” to open the “New Project” dialog box. click “PART” [n (number of the part to record)]. make sure that you’ve selected the MIDI track you added. For details on editing the parameters. In SonicCell Input/Output.“SonicCell Editor Manual. 5. click “PATCH NAME” [▼]. In SonicCell Editor. Editing patch parameters You can edit the patch parameters as desired. sliders. The second and subsequent times.” Select the menu button “Help” . Specify the channel of the MIDI track. 8. * Steps 7 and 9–11 are needed only when starting the editor for the first time. Choose the desired patch from the menu that appears. If a message asks “Do you want to create a MIDI track assigned to plugin “SonicCell Editor VST”?”. In SonicCell Editor.” click [OK]. 6. your MIDI keyboard. Start up Cubase 4. In the upper part of SonicCell Editor’s main window.“Add Track” . You can edit the values by clicking (and dragging) the buttons. From the menu. MIDI Thru is enabled for the selected MIDI track. and Cubase 4. refer to “SonicCell Editor Manual. 2. click [Cancel]. choose “Devices” . specify the number of the part you want to record. 10.” 7. and click [OK]. Choose the desired patch from the menu that appears. 2. 161 . If a message indicates “MIDI devices aren’t set up correctly. click “PATCH NAME” [▼]. Select “Empty” as the template.Cubase 4 Starting up SonicCell Editor 1.“Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. 2. fig. From the menu. 4. Editor SonicCell Output SonicCell Input Track 1 In: SonicCell Thru Out: SonicCell Controllers If using Performance mode: As the channel of the MIDI track.“MIDI” to add a MIDI track.Routing-Cubase. If using Patch mode: Specify channel 1 for the MIDI track.eps Keyboard MIDI OUT MIDI IN USB OUT USB IN Sound Generator SonicCell Cubase 4 USB-MIDI Thru=ON Adding a MIDI track 1. select the menu button “Setup” . Click the first slot and select “SonicCell Editor VST. Select “Roland SonicCell” as the input/output of the MIDI track. click [READ]. the SonicCell settings will be loaded into the editor from the port you specified.” If playing the keyboard does not produce sound. choose “File” .

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

refer to the owner’s manual of Logic Pro 7. As the template.“SonicCell Editor AU. 11. install the driver. choose “Track” “Delete Unused. choose “SonicCell” and click [OK]. 2. This will load the settings from the SonicCell into the editor. the librarian. From the menu. For details on making this setting. Normally. the plug-in will be registered automatically when you start up Logic Pro 7. 163 .” An “audio instrument” object is assigned to track “Inst 1. 37–p. 3. Librarian.2.” click [OK]. Start up Logic Pro 7. If the SonicCell is not connected correctly. 5. Starting up SonicCell Editor 1. The second and subsequent times. Turn on the power of the SonicCell.” 6.” 9.2 is running. choose “Stereo” .2.“AU Instruments” .2 Specify the SonicCell as the USB-MIDI interface for Logic Pro 7.. select the menu button “Setup” .“Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. click the [I/O] button. If this is ON. Make sure that you switch on the SonicCell’s power before you start up Logic Pro 7. choose “File” . • The stand-alone version of the editor. click [READ]. In SonicCell Input/Output. and Playlist Editor as described on p. 10. SonicCell Editor may not operate correctly. the SonicCell settings will be loaded into the editor from the port you specified.2 For details about registering a plug-in in Logic Pro 7. In SonicCell Editor. and the playlist editor will be installed in \Applications\Roland\SonicCell Editor. choose “File” . 39. • The AU version of the plug-in module will be copied to \Library\Audio\Plug-Ins\Components. 12. and turn the “Use song template” check box [ON]. Steps 9–12 are needed only when starting the editor for the first time. 7. 2. choose “Power Book 15” . Connections and settings 1. In SonicCell Editor.Logic Pro 7.” Only the track “Inst 1” will remain.“Basic Production” and click [OK].2.2.2. set the USB-MIDI Thru (p.“Roland” . Use a USB cable to connect the SonicCell to your computer.2 Installing the driver and SonicCell Editor Before you continue. MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. 177) setting on the SonicCell module to ON. 8. Registering the plug-in in Logic Pro 7. SonicCell Editor.2. 4. From the menu. Click (select) track “Inst 1. From the menu that appears. If a message indicates “MIDI devices aren’t set up correctly. * Don’t disconnect the USB cable connected to the SonicCell while Logic Pro 7. If necessary. From the Arrange window’s sub-menu. 3.2 owner’s manual. Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN.“Close” to close the song that was loaded at start-up. refer to the Logic Pro 7. use a MIDI cable to connect your MIDI keyboard to the SonicCell. Settings for Logic Pro 7.“New” to open the “New” dialog box. In the channel strip at the lower left of the Arrange window.

“n (number of the part to record). If using Patch mode: Close the Environment window.” “SonicCell.“Instrument. If using Performance mode: In “SonicCell” at the right side of the Environment window. and knobs. click “(Instrument)” in “▼ (Instrument). 8.)” in “▼ (Multi instr. 164 .” The track “SonicCell n (number of the part to record)” has a “MIDI instrument” object assigned to it. Close the Environment window. set the “Port” parameter to SonicCell.” If using Patch mode: In the left side of the Environment window.” An identical track “Inst 1” will be added below the track “Inst 1. Selecting a patch If using Performance mode: 1. Specify the channel of the MIDI track. 2.” If using Patch mode: From the Environment window’s sub-menu. SonicCell Editor.2 Adding a MIDI track 1. fig. 3. Editor SonicCell Output SonicCell Input Track 1 In: SonicCell Thru Out: SonicCell Controllers You can edit the values by clicking (and dragging) the buttons. The following illustration shows the relationship between the SonicCell module.” The track “SonicCell” has a “MIDI instrument” object assigned to it. click [n (number of the part to record)] to close the Environment window. 6.” layer. click “PART” [n (number of the part to record)]. choose “New” . click “PATCH NAME” [▼]. In the upper part of SonicCell Editor’s main window. and Logic Pro 7.” 5. choose “Track” “Create. Editing patch parameters You can edit the patch parameters as desired. Sound Generator SonicCell Logic Pro 7. If using Patch mode: In the track “SonicCell” at the left side of the Arrange window.Logic Pro 7. Click and hold near the added track “Inst 1” icon. 2.eps Keyboard MIDI OUT MIDI IN USB OUT USB IN If using Performance mode: From the menu that appears. 9. If using Performance mode: In the left side of the Environment window. Change the instrument name. In the layer list at the left of the Environment window. Choose the desired patch from the menu that appears.” and rename it to “SonicCell.“Environment” to open the Environment window. click the [ ] located at the left of the track “SonicCell n” (or “SonicCell”) in the left side of the Arrange window. From the menu. choose “New” . Select the port.” “SonicCell” . If using Performance mode: In the track “SonicCell n (number of the part to record)” at the left side of the Arrange window. If using Performance mode: From the Environment window’s sub-menu.” 4.2 USB-MIDI Thru=ON If using Patch mode: From the menu that appears. choose “MIDI Instr. Choose the desired patch from the menu that appears. click “PATCH NAME” [▼].).” 7. In the upper part of SonicCell Editor’s main window. If using Patch mode: 1. chose “MIDI Instr.” and rename it to “SonicCell. your MIDI keyboard. choose the “MIDI Instr. click “(Multi instr.Routing-Logic72. 3.“Multi Instrument. set the “Port” parameter to SonicCell. sliders. Choose the following menu item. If the parameter “port” is not shown. 2. In the upper part of SonicCell Editor’s main window. From the Arrange window’s sub-menu. choose “Windows” .2.

If you connect a MIDI keyboard to the SonicCell. 165) 2.” • “port: SonicCell” of the Logic Pro 7. Select the menu button “Help” . 1. This means that when you open a song file. Recording MIDI data Here’s how to record your playing. The performance data saved in the song file will be reproduced on the SonicCell module. 1. Double-click the song file you saved earlier. SonicCell Editor will open together with the song. you normally won’t need to open data in SonicCell Editor. Logic Pro 7. This is so you can verify that the patch data is reproduced when you open a song.2. • The Physical Input setting in the “Click & Ports” layer of the Logic Pro 7.” • “port: SonicCell” of the Logic Pro 7.2 For details on editing the parameters. • The Physical Input setting in the “Click & Ports” layer of the Logic Pro 7.2 song file also includes SonicCell Editor’s performance data and patch data. Click the record button in the Transport window. make sure that the [R] button is on for the track “SonicCell. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. 2. 164) “Recording MIDI data” (p. you normally won’t need to save data in SonicCell Editor. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. 164) “Selecting a patch” (p.Logic Pro 7.2 track “SonicCell n (number of the part to record)” corresponds to “out: SonicCell” of the illustration.2 song files include SonicCell Editor’s performance data and patch data. Opening a song file Logic Pro 7. Close Logic Pro 7. You may leave the Physical Input setting at the default setting of “SUM. On the SonicCell module.“Save. If using Patch mode: • Logic Pro 7. 2.2 Environment window corresponds to “in: SonicCell” of the illustration. This is so you can verify that the performance data is reproduced when you open a song. This means that if you save your song file.2. “Adding a MIDI track” (p.2 owner’s manual. Logic Pro 7. choose “File” .2 track “SonicCell” corresponds to “Track 1” of the illustration.2 track “SonicCell” corresponds to “out: SonicCell” of the illustration.2 will start up. Close Logic Pro 7. refer to the Logic Pro 7.2 track “SonicCell n (number of the part to record)” corresponds to “Track 1” of the illustration.2 will start up. For details. From the menu. 165 . Repeat the following steps for the desired number of parts. select a different patch than the one you’re currently using. Click the stop button in the Transport window to stop recording.” If using Performance mode: • Logic Pro 7. On the SonicCell module.2 Environment window corresponds to “in: SonicCell” of the illustration. Double-click the song file you saved earlier. If using Patch mode: 1. you can edit and save the parameters for multiple SonicCell parts. Finally. refer to online manual. 3. select a different performance than the one you’re currently using.” Saving the song file The Logic Pro 7. The patch data saved in the song file will be reproduced on the SonicCell module. 2.” If using Performance mode: 1. and play your MIDI keyboard. 164) “Editing patch parameters” (p. If you don’t hear sound when you play the keyboard.“SonicCell Editor Manual. execute “Save the song file” to save the multiple SonicCell parts along with the musical data. 3. you’ll be able to record musical data from the keyboard. Recording multiple parts If you’re using Performance mode. SonicCell Editor will open together with the song. You may leave the Physical Input setting at the default setting of “SUM.

MEMO 166 .

refer to “SonicCellPlaylistEditorManualE. AIFF. place the SMF or audio files in the root directory of your USB memory. When you add audio files to a playlist. You cannot create playlists on SonicCell itself. then switch it back on again. 1 Copy your data to USB Memory SMF. WAV.pdf. MP3 files 2 Connect your USB Memory to the SonicCell USB Memory USB Memory Use only USB memory sold by Roland. • Only audio files that have the same sampling rate as the SonicCell’s own setting can be played.” or you can select and play back an individual song from a playlist. after a USB memory device has been removed. * For details on creating a playlist.SMF/Audio File Player SonicCell also has “SMF/Audio File Player” functionality. • You can play back individual songs even without creating a playlist.” which is installed together with “SonicCell Playlist Editor.” • Use the included “Sonic Playlist Editor” to create playlists. 167 . • If. Operation cannot be guaranteed when products other than there is used. we recommend that you keep the sampling rate the same for all files. you’ll need to switch the SonicCell’s power off. Proper operation cannot be guaranteed if other USB memory products is used. Creating a playlist Start up SonicCell Playlist Editor and create a playlist. To do this. “Songs” (SMF or audio files) and “playlists” that specify the playback order can be transferred from your computer via USB memory and used by SonicCell. you decide that you want to connect it again. You can play back songs in the order specified by a “playlist. • Connect the USB memory after the SonicCell’s power is turned on.

Playing back songs
SMF/audio files that can be played
SMF
Format File Size System Exclusive 0 or 1 * With format 1 SMFs, there are limitations on the tracks that will be played. 240 KB maximum (Note that this will vary slightly based on the SMF content.) Packet sizes of 512 bytes or less 44.1/48/96kHz 8/16/24 bits MPEG-1 audio layer 3 44.1/48kHz 32/40/48/56/64/80/96/112/128/160/192/224/256/320kbps, VBR (Variable Bit Rate)

Audio File
WAV/AIFF Sampling Rate Bit depth Format MP3 Sampling Rate Bit Rates

Song playback
• You can’t use the SMF/Audio File Player to play songs while also using USB audio/MIDI message input/output (p. 140). • If you play back a demo song or SMF while editing a performance or patch, the contents of the temporary area will be rewritten, causing your edits to be lost. If you want to keep your edited data, you must write it before you play back a demo song or SMF data. • Use the SonicCell in Performance mode when you’re playing back SMF data. • You can’t execute the Write operation or use Utility functions (p. 182) while a song is playing back. • The SonicCell can handle up to a maximum of 99 songs and playlists. (99 items in the root directory, and 99 items inside the SonicCell folder. The Playlist Editor can also handle up to 99 playlists.)

1. Connect the USB memory containing play lists and songs to SonicCell. 2. Press [SMF/AUDIO PLAYER]. The button’s indicator will light, and the Playlist Select screen will appear.

4. Press [ ]. The player screen will appear, and the song will begin playing. * If the song is an audio file, it will play only if its sampling rate matches the setting of the SonicCell. * If the sampling rate of the first song (audio file) in the playlist does not match the SonicCell’s sampling rate, none of the songs in that playlist will play.

Playlists that show a at the left of the name don’t allow you to edit the playlist settings or the settings of the songs in the playlist. 3. Move the cursor to the playlist that you want to play. * If you want to select and play a song from within the selected playlist, proceed to “Selecting and playing a song from within a playlist” (p. 171). 5. If you want to stop song playback, press [ ]. The next time you press [ ], playback will start from the point at which you stopped.

168

Playing back songs

(1) (2) (3)

(4)

(6)

(8)

(7)

(5)

Indication (1) (2) (3) (4) (5) (6) (7)

Content Name of the currently playing song SMF: Currently-playing measure, Audio file: Playback time Length of the currently-playing song * This is displayed correctly only if you created the playlist using Playlist Editor.

Move the cursor here and press [CURSOR/VALUE] to move to the beginning of the current song. Move the cursor here and press [CURSOR/VALUE] to move to the next song. Move the cursor here and press [CURSOR/VALUE] to rewind the song. Move the cursor here and press [CURSOR/VALUE] to fast-forward the song. Move the cursor here and press [CURSOR/VALUE] to view the current playback volume. Turn [CURSOR/VALUE] to adjust the volume. Range: 0--127

(8)

The parameter whose volume you’re adjusting will depend on the type of file. If an SMF is selected: If an audio file is selected: System setting “Master Level” (p. 176) USB Audio “Audio Level” (p. 140)

■ Menu screen.................................................................................................................
If you press [MENU] while the Playlist Select screen is displayed, the Playlist Menu screen will appear. The Playlist Menu is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the Playlist Select screen. Parameter Show Info (Playlist Information) Write (Playlist Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Explanation Shows the contents of the selected playlist. Press [CURSOR/VALUE] to access the Playlist Information screen (p. 170). Saves the current playlist settings. (p. 173) * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

169

Playing back songs

■ Playlist Information screen ............................................................................................

Indication Name

Content The name of the playlist. Specifies how the song will play.

Chain Play
If you move the cursor to this item and press [CURSOR/VALUE] to add a check mark (✔), Chain Play will be turned on. If this is on, the songs in the playlist will play consecutively. Playback will stop when the last song has ended. Playback Mode

Repeat All
If you move the cursor to this item and press [CURSOR/VALUE] to add a check mark (✔), Repeat All will be turned on. If this is on, the songs in the playlist will play consecutively, and when the last song has ended, the unit returns to the first song and enters pause mode. If Chain Play is on, consecutive playback will continue repeating. * This item will not appear for a playlist that has the indication at the left of the name.

If you want to save the modified setting, execute Playlist Write. Total Time Total Meas (Measure) Memo Total time (minutes: seconds) of the songs in the playlist * This item will not appear for a playlist that has the The total number of measures in the playlist. * This item will not appear for a playlist that has the A comment, etc. indication at the left of the name. indication at the left of the name.

If you press [MENU] when the Playlist Information screen is shown, the screen shown at the right will appear. If you want to execute Playlist Write, select “OK” and press [CURSOR/VALUE]. If you decide to cancel, select “CANCEL” and press [CURSOR/VALUE].

170

Playing back songs

Selecting and playing a song from within a playlist
4. Press [CURSOR/VALUE]. The songs in the selected playlist will be listed. 5. Move the cursor to the song that you want to play, and press [CURSOR/VALUE]. The player screen will appear.

A “?” mark is shown if the song’s sampling rate differs from the setting of the SonicCell module, or if the song is not in a file type that the SonicCell can play. This song cannot be played.

6. Press [ ]. The song will begin playing.

■ Menu screen.................................................................................................................
When the song list screen or the player screen is shown, you can press [MENU] to access the Song Menu screen. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the song list screen or the player screen. Parameter Song Info (Song Information) Playlist (Playlist Information) Change (Change Order) Delete (Song Delete) Write (Playlist Write) System Utility Demo Play SRX Info (SRX Information) Version (Version Information) Explanation Shows information about the selected song. Press [CURSOR/VALUE] to access the Song Information screen (p. 172). Shows the contents of the selected playlist. Press [CURSOR/VALUE] to access the Playlist Information screen (p. 170). Lets you change the order of songs in the playlist. Press [CURSOR/VALUE] to access the Change Order screen (p. 173). * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. Deletes the currently selected song from the playlist (p. 173). * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. Saves the current playlist settings. (p. 173) * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

171

Playing back songs

■ Song Information screen ...............................................................................................

Indication Title Artist Level Edit

Content Name of the song. Name of the artist. Lets you adjust the volume of the song. Press [CURSOR/VALUE] to access the Song Info (Level) screen. * This item is not shown for songs in the USB Memory or Demo Songs playlist. Number of measures in the song (for SMF)/Song length (for an audio file) * This item is not shown for songs in the USB Memory or Demo Songs playlist. File name * This item is not shown for songs in the Demo Songs playlist. The type of file (SMF/WAV/AIFF/MP3) * This item is not shown for songs in the Demo Songs playlist. Sampling rate * This item is not shown for WAV/AIFF/MP3 file types. Size of the file * This item is not shown for songs in the Demo Songs playlist. A comment, etc. * This item is not shown for songs in the USB Memory playlist.

Meas (Measure)/Time File Name File Type Sampling Rate File Size Memo

Song Info (Level) screen
For an SMF song For an audio file song This adjusts the volume of each song. If you want to keep the adjusted volume setting, you must write it (Playlist Write). If you select a different playlist without writing your settings, the settings will revert to their original state. Parameter Level Adjust Value -12–0–+12 Explanation Assuming that the original volume (the volume of the song in USB memory) is 0, you can adjust the volume within this range: -12–0–+12. If the song’s file type is SMF, you can adjust the volume individually for parts 1–16. Move the cursor to the part number shown at the bottom of the screen and press [CURSOR/VALUE], and you'll be able to adjust the volume of that part.

Part 1–16 Level

0–127

If you press [MENU] when the Song Information/Song Info (Level) screen is shown, the screen shown at the right will appear. If you want to execute Playlist Write, select “OK” and press [CURSOR/VALUE]. If you decide to cancel, select “CANCEL” and press [CURSOR/VALUE].

172

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

MEMO 174 .

Other Settings

175

System Settings
In the menu screen, choose “SYSTEM” to access the System screen. Here you can make settings for the “system functions,” which affect the operation of the entire SonicCell, such as the tuning, and how MIDI messages are received. 1. In the Menu screen, move the cursor to “SYSTEM” and press [CURSOR/VALUE]. The System screen will appear. 3. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. 4. When you’ve finished editing, press [MENU] to write the system settings. The following message will appear.

2. Turn [CURSOR/VALUE] to select the parameter you want to edit, then press [CURSOR/VALUE]. The value of the selected parameter will be highlighted.

5. If you want to write the settings, select “OK” and press [CURSOR/VALUE]. If you decide not to write the settings, select “CANCEL” and press [CURSOR/VALUE]. Once the settings have been written, you’ll be returned to the System screen.

If the value field shows the “SELECT” indication, you can press [CURSOR/VALUE] to move to the setting screen for that parameter.

General settings (System screen)
Parameter Disp (Display) Brigtness Master Level Master Tun (Tune) Output Gain Master Key Shift Value 1–10 0–127 415.3– 466.2 Hz -12–+12 dB -24–+24 Explanation This adjusts the contrast/brightness of the display. Higher values will make the characters darker. Adjusts the volume of the entire SonicCell. Adjusts the overall tuning of the SonicCell. The display shows the frequency of the A4 note (center A). This adjusts the output gain from the SonicCell’s Analog Out and Digital Out. When, for example, there are relatively few voices being sounded, boosting the output gain can let you attain the most suitable output level for recording and other purposes. Shifts the overall pitch of the SonicCell in semitone steps. Specifies whether currently sounding notes will continue sounding when another patch or rhythm set is selected (ON), or not (OFF). Also, when this is “ON,” changes produced by incoming MIDI messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLY ON), as well as tonal quality and volume changes produced by the various controllers will be inherited. Effects settings change as soon as you switch to a new patch or rhythm set, without being influenced by the Patch Remain setting. Because of this, certain effects settings can cause notes that were until then sounding to no longer be heard, even though Patch Remain has been set to on. Specifies the synchronization message that the SonicCell will use for operation. MASTER: The SonicCell will be the master. Choose this setting when using the SonicCell by itself without synchronizing to another device. SLAVE: The SonicCell will be the slave. Choose this setting when you want the SonicCell to synchronize to MIDI Clock messages received from another MIDI device.

Patch Remain (Patch Remain Switch)

OFF, ON

Sync Mode

MASTER, SLAVE

176

System Settings

Parameter

Value

Explanation Sets the system tempo. * When Sync Mode is set to “SLAVE,” the tempo will synchronize to the clock messages received from an external MIDI device, so the tempo value will be ignored. * The tempo value is not saved even if you save the System settings. Specify whether the system tempo will change (ON), or will not change (OFF) when you switch performance. When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number of the other MIDI device. Performance Ctrl Ch selects the MIDI receive channel used during switching of performances when MIDI messages (Program Change/Bank Select) are sent from an external MIDI device. Set this to “OFF” if performances are not to be switched from an external MIDI device. If only a program change is received, and if the Perform Ctrl Ch setting coincides with the MIDI receive channel of a part, priority will be given to switching the performance.

System Tempo

5–300

Tempo Override Device ID (Device ID Number)

OFF, ON 17–32

Perform Ctrl Ch (Performance Control Channel)

1–16, OFF

Patch Rx Ch (Patch Mode Receive Channel)

1–16

Specifies the channel used to receive MIDI messages in Patch mode. Determines the MIDI signal flow from the MIDI IN connector to the SonicCell's sound generator. OFF: Directly transmits the MIDI signals arriving at the MIDI IN connector to the sound generator, and plays the SonicCell's sound. ON: Transmits the MIDI signals arriving at the MIDI IN connector to the computer via the USB connector. Via its USB connector, the SonicCell receives the signals that have been THRU’ed by the computer's sequencer software, and uses them to produce sound with its sound generator.
MIDI OUT MIDI IN USB OUT USB IN MIDI OUT MIDI IN USB OUT USB IN

USB-MIDI Thru (USB-MIDI Thru Switch)

OFF, ON

Sound Generator Section

Sound Generator Section

SonicCell USB-MIDI Thru=OFF

SonicCell USB-MIDI Thru=ON

Powerup Mode

PATCH, PERFORM OFF, 5, 10–60 (min) 1–6

This setting allows you to choose the mode that you want the SonicCell to be in when it is powered up. PATCH: The SonicCell will be in Patch mode when you turn on the power. PERFORM: The SonicCell will be in Performance mode when you turn on the power. Set the time (minutes) until the screen saver begins working. If this is “OFF,” the screen saver will not appear. Select the type of screen saver. Turn this on when you wish to use a tuning scale other than equal temperament. One set of Scale Tune settings can be created in Patch mode. In Performance mode, this can be set for each part of the performance (p. 72). The SonicCell allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to the equal tempered pitch. * One-cent is 1/100th of a semitone. Specifies the scale tuning of the patch. Press [CURSOR/VALUE] to access the Patch Scale Tune screen (p. 178). Makes settings for the Preview function. Press [CURSOR/VALUE] to access the Preview screen (p. 179). Makes settings for the Control function. Press [CURSOR/VALUE] to access the System Control screen (p. 179). Makes MIDI-related settings. Press [CURSOR/VALUE] to access the System MIDI screen (p. 180).

Screen Saver Screen Saver Type

Scale Tune Sw (Switch)

OFF, ON

Scale Tune Preview System Control System MIDI

[SELECT] [SELECT] [SELECT] [SELECT]

177

System Settings

Patch Scale Tune settings
Here’s how to make scale tune settings for Patch mode. These settings are shared by all patches. For details on scale tune settings for Performance mode, refer to p. 72.

Parameter C, C#, D, Eb, E, F, F#, G, G#, A, Bb, B

Value -64–+63

Explanation Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch.

• Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. • Just Temperament (Tonic of C) Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose. • Arabian Scale In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural thirdthe interval between a major third and a minor third. On the SonicCell, you can use Arabian temperament in the three keys of G, C and F.

<Example>
Note name Equal Temperament Just Temperament (tonic C) Arabian Scale

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

-6 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49

178

System Settings

Settings for the Preview function (System Preview screen)

Parameter

Value

Explanation SINGLE: The notes specified by Note Number 1–4 parameter will sound successively one by one. The notes specified by Note Number 1–4 parameter will sound simultaneously. The Phrase associated with the patch’s type/category is played.

Preview Mode

SINGLE, CHORD, PHRASE

CHORD: PHRASE:

Preview 1–4 Note (Preview 1–4 Note Number)

Specify the pitch of the four notes that will sound when the Preview Mode parameter is set to “SINGLE” or “CHORD.” C-1–G9 If “PHRASE” is selected for the Preview Mode, these settings will have no effect. Specify the velocity of the four notes that will sound when the Preview Mode parameter is set to “SINGLE” or “CHORD.” OFF, 0–127 If “PHRASE” is selected for the Preview Mode, these settings will have no effect.

Preview 1–4 Velo (Preview 1–4 Note Velocity)

Settings for Control-related functions (System Control screen)

Parameter

Value

Explanation System Control Assign selects the MIDI message used as the System Control. OFF: CC01–31, 33–95: PITCH BEND: AFTERTOUCH: The system control knob will not be used. Controller numbers 1–31, 33–95 Pitch Bend Aftertouch

Src 1–4 (System Control 1–4 Source)

OFF, CC01–31, 33–95, PITCH BEND AFTERTOUCH

For details on control change messages, refer to “MIDI Implementation” (p. 246).

System Control
System Control settings apply to the entire SonicCell, and specify how MIDI messages will control the volume and sounds. You can specify up to four MIDI messages for control purposes. If you want to make individual settings for each performance, patch, or rhythm set to specify how sounds and effects will be controlled in real time, use “Matrix Control” (p. 95) or “Multi-effects Control” (p. 81, p. 137).

179

180 . Specify whether changes you make in the settings of a patch. performance will be transmitted as system exclusive messages (ON). ON Explanation Specifies whether MIDI messages received at MIDI IN will be re-transmitted without change from MIDI OUT (the ON setting). Specifies whether General MIDI 2 System On messages will be received (ON) or not (OFF). From the MENU screen. or will not be re-transmitted (the OFF setting). where you can view information about the expansion boards connected to the SonicCell. where you can view the version of the SonicCell system software. Specifies whether Bank Select messages will be received (ON) or not (OFF). ON OFF. ON OFF. Specifies whether General MIDI System On messages will be received (ON) or not (OFF). Specifies whether GS Reset messages will be received (ON) or not (OFF). ON OFF. Specifies whether Program Change messages will be received (ON) or not (OFF). * You can turn [CURSOR/VALUE] to move between these two screens. ON OFF.System Settings MIDI-related settings (System MIDI screen) Parameter Soft Through (Soft Through Switch) Tx Edit Data (Transmit Edit Data Switch) Rx Program Change (Receive Program Change Switch) Rx Bank Select (Receive Bank Select Switch) Rx Exclusive (Receive System Exclusive Switch) Rx GM System On (Receive GM System On Switch) Rx GM2 System On (Receive GM2 System On Switch) Rx GS Reset (Receive GS Reset Switch) Value OFF. Specifies whether System Exclusive messages will be received (ON) or not (OFF). ON Viewing information about SonicCell (System SRX Info/System Version Info screens) From the Menu screen. or will not be transmitted (OFF). selecting “Version” will access the System Version Info screen. ON OFF. selecting “SRX Info” will access the System SRX Info screen. ON OFF. Press [EXIT] to return to the previous screen. OFF.

. Parameter Split Freq L (Split Frequency Low) Split Freq H (Split Frequency High) Low/Mid/High Attack Low/Mid/High Release Value 200–800 Hz 2000–8000 Hz 0–100 ms 50–5000 ms Explanation Frequency at which the low-frequency (Low) and mid-frequency (Mid) bands are split..... THRESHOLD Input Level Low/Mid/High Level 0–24 dB Specifies the output volume for the low-frequency (Low).... Recalls preset settings of the type you select.. Specifies the volume levels at which compression will begin for the low-frequency (Low).... making the volume more consistent. these parameters determine how the volume is to be compressed..00:1– INF:1 (INF: infinity) Specifies the compression ratios for the low-frequency (Low)........ this compresses any sounds that exceed the specified level. midfrequency (Mid).... mid-frequency. 1:1 Low/Mid/High Threshold -36–0 dB RATIO Output Level 2:1 4:1 INF:1 Low/Mid/High Ratio 1. ■ Menu screen. and low-frequency regions. Recalls user settings you’ve saved... mid.... you can press [MENU] to access the Mastering Type screen.. When you procedure your own original audio CD...System Settings Editing the mastering effect (Mastering Effect screen) In Performance mode or Patch mode.. Parameter Write (System Write) Hard Comp... select “M” in the Effect Routing screen to access the Mastering Effect screen................ Independently for the high-frequency...... and high-frequency (High) ranges.. From the Mastering Effect screen....... this lets you master at an optimized level.. 181 .. and low ranges. mid-frequency (Mid).... and high-frequency (High) ranges... Mid Boost... and high-frequency (High) ranges. These settings are not for individual patches or performances...... Lo Boost...... (p..... Press [MENU] once again to return to the Mastering Effect screen. 150). Hi Boost User Explanation Saves the current settings as user settings..... Frequency at which the high-frequency (High) and mid-frequency (Mid) bands are split....... Soft Comp......... Time from when the volume falls below the threshold level until the compressor effect no longer applies.. It has independent high.. About THRESHOLD and RATIO As shown in the diagram below..... midfrequency (Mid).. Time from when the volume goes up the threshold level until the compressor effect applies.. Mastering effect settings apply to the entire SonicCell...

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

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

4. you’ll be returned to the Master EQ screen. 2. 400 Hz -15 dB–+15 dB 200–8000 Hz -15 dB–+15 dB 2000 Hz.5–8. 6. * If the output volume is excessive. Adjusts the volume of the high-frequency range. 5. choose “OK” and press [CURSOR/VALUE]. the “CLIP” indication will appear in the upper right of the screen. Specifies the center frequency of the mid-frequency range. Adjust the volume so that distortion does not occur. Get the indicators for [MIDI INST]. then press [CURSOR/VALUE]. 1. Choose “Write. Adjusts the volume of the mid-frequency range. Adjusts the overall volume of all frequency bands (low. [USB AUDIO]. mid. select “CANCEL” and press [CURSOR/VALUE]. To write the edited settings. Once the settings have been written.Adjusting the overall tone of the audio output (Master Equalizer) Here’s how to make final adjustments to the overall tone of SonicCell’s audio output (OUTPUT jacks and PHONS jack). press [MENU] to write the settings. Specifies the width of the mid-frequency range. The value of the selected parameter will be highlighted. 3. Turn [CURSOR/VALUE] to edit the value. 4000 Hz. Parameter LOW MID HIGH Q Total Gain Frequency Gain Frequency Gain Frequency Gain Value 200 Hz. Specifies the center frequency of the high-frequency range.” and press [CURSOR/VALUE]. 8000 Hz -15 dB–+15 dB 0. Turn [CURSOR/VALUE] to select the parameter that you want to edit. and [INPUT] to all go out. then press [CURSOR/VALUE]. The following message will appear.0 -15 dB–+15 dB Explanation Specifies the center frequency of the low-frequency range. When you’ve finished editing. The Master EQ screen will appear. and high). 184 . Adjusts the volume of the low-frequency range. If you decide not to keep the changes you made.

Appendices 185 .

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

the parameters of each part of the performance can apply further modification to parameters such as pan. Sometimes when playing the keys in the upper part of the SonicCell’s keyboard.Troubleshooting • Have the Coarse Tune or Fine Tune been set for specific Parts? Check the Coarse Tune and Fine Tune settings (p. • Increase the Voice Reserve setting for parts that must not drop out. switching the Patch also switches the type of multi-effects used. In certain situations. 100). which may result in sounds being different than intended. Q A Q A Q A Q A Q A Q A 187 . 183) Additionally. so this issue doesn’t arise in the ranges normally used.” and the Legato Retriger (p. (p. although a Patch may comprise tones created with the use of the multi-effects. then does the delay time not change beyond a fixed length when the tempo is slowed down? There is a maximum permissible value for the Tone Delay Time (p. octave. Patches in a Performance may sound different than they do when heard in Patch mode. Also do the same for the Chorus and Reverb settings. 91) is “ON. if differing upper pitch limits are used for the waves of a Patch that uses multiple tones. the level remains unchanged. (p. select the Patch after execute Factory Reset Temporary for the Performance. 91) is “OFF. 69). it does not indicate a malfunction. so even when switching a Patch whose level is turned all the way down by a Control Change volume message. Although the same Patch is selected. The volume level of the instrument connected to SonicCell’s INPUT is too low. such as when not using multi-effects that have a great influence on the sound. so sounds produced when Patches are switched may be muted when factory settings are in effect. When switching Patches in Patch mode.” and you hold down keys in the high register to play legato. and filter.” The notes sound strange in the upper registers of the keyboard. relative to the settings specified by the patch. and it cannot be increased further. Control Change messages that have been received are carried forward. Even when I set the Pan for a Patch completely to one side. Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor. Additionally. when playing legato. and the tempo is slowed down. the multi-effects used in the Performance may differ from the multi-effects selected by the Patch. the upper pitch limit of the wave may be exceeded. Thus. If the Tone Delay time value is set to the note. So. or the pitch may stop rising. if the time setting is specified in terms of a note value. Why is this? When the Legato Switch (p. discrepancies between the sound being produced and the multi-effects type can arise. • Reduce the number of Tones that you are using. or with certain keys. This occurs mainly when the SonicCell’s upper pitch limit is exceeded. in any case. In Performance mode. In such instances. The SonicCell’s internal effects are in stereo. the sound may stop. Q A The sound is interrupted. But.” Even once they have switched Patches. 176) to “ON” allows you to switch Patches without sounds being muted. so if you have effects applied to a Patch. even if the Pan is set all the way to one side. When making large pitch changes. it sounds different when I listen to it in the Performance. Check the multi-effect settings of the performance. there may be intermittent noise. Although you can apply a wide variety of multi-effects with the SonicCell’s multi-effects. but will stop rising at a certain point. 71) Q A The sound cuts off when I switch Patches in Patch mode. Set Patch Remain (p. 176) to “ON. remembering to set Patch Remain (p. set the Legato Retrigger to “ON. you will still be able to hear sounds of the effect component from the other channel. Sounds will be interrupted if more than 128 voices are used simultaneously. the volume and other parameters set with Control Changes end up being reset. Q A Sometimes. it may stop being heard in MONO. sound still comes from the other channel. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat. so that the pitch does not rise as far as you expect. the pitch won’t rise. To return these settings to their initial conditions. this maximum permissible value will be reached.

• If Output Assign is set to “PATCH” for each Part of the Performance. • The write operation cannot be used to save Patches as changed in Patch mode using Control Change messages from an external MIDI device. • The “MFX. there will be no effect. (These settings are not stored as part of a patch. • If you have modified the settings of a patch used by a performance. does the delay time not change beyond a fixed length? Such Delay time settings have an upper limit. • The Mastering Effect settings may have changed.” the performance’s effect settings will not be used. Although you can make Send level settings to the Chorus and Reverb for each individual Part in a Performance. (These settings are not stored as part of a performance. so if the upper limit of a value set to the note is exceeded when the tempo is retarded. 116) or rhythm set (p.” “Reverb” or “Mastering” effect switches may have been turned off. This means that if Output Assign for the Patch (each Tone) is set to other than “MFX. that upper value cannot rise any further.) Q A Q A Patches sound different than when written. and makes changes to the various Patch parameters based on these messages. Depending on these settings. Chorus Source.) Q A Q Data backed up to USB memory cannot be restored to the SonicCell. p. and then the tempo is slowed down. sudden Pan movements causing rapid changes in these levels creates large changes in volume. please re-format it using FAT. In such cases. Check the following points. I’ve saved (written) the effect settings of a performance. Using the Matrix Control or other such means to control the LFO results in noise when the Pan is changed suddenly. In addition. • It is possible that the USB memory was not formatted correctly. 73) again. • The Mastering Effect settings may have changed. the SonicCell will display a message asking whether you want to discard these patches. even when the value is set to the maximum of 127. Accordingly. Check the settings. 95) The SonicCell allows you to use the Matrix Control to control Patches in real time. if the Send level is lowered in the Patch being used. or Reverb Source setting is set to “P1--P16. the effect settings of the patch/rhythm set assigned to the specified part will be used instead. 188 . Could you be using the effect settings of the patch? If the MFX 1–3 Source. set this to “PFM” (p. If you want to use the performance’s effect settings.Troubleshooting Issues Related to Effects Q A Effects not applied. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat. which alters the volume level in each of the left and right sides. different Patch Chorus and Reverb Send level settings can be used according to whether or not the multi-effects are used. or if the temporary patch of the performance has been modified by an external MIDI device. the Chorus Level. these patches must also be saved. Q A Multi-effect 43: TAP DELAY or other delay time value is set to the note. 76. Check each setting. 132. • If Output Assign is set to other than “MFX. 131). (p. the effect will not be applied. but they don’t seem to be applied. Refer to “MIDI Implementation” (p. Q A Issues Related to Saving Data Q A The Performance sounds different than when it was written. 246) for more on the Control Change messages that are received. Check the following points. Lower the change in speed (LFO Rate). (p. 133) • Are the various effect settings correct? (p. first save the patch (p. Raising the chorus or reverb send level for each part of a performance still does not cause the effect to be applied sufficiently. If your USB memory was formatted using any other method. and noise from this may be audible as a result. • Even with send levels to each effect set at 0.” the Multieffects sound will not be output. the sound will be output according to the Output Assign settings of the Patch (for each Tone) which is assigned to those Parts. p. and may result the Patches sounding different than intended. effects are not applied if the Multi-effects Output Level. the SonicCell may be responding to MIDI messages sent from external MIDI devices. The SonicCell can use USB memory that has been formatted as FAT. Check the Matrix Controller settings. 144) • If the send level of each effect is set to 0. or the Reverb Level is set to 0. Due to the specialized processing used for the Pan. If patches used by a performance have been edited when you write that performance. 80).” the Multi-effects sound will not be output.” “Chorus. these values only set the upper limit of the Chorus and Reverb Send levels for the Patch used. p. 75. The Matrix Control functions as the control source for the Control Change and other MIDI messages received by the SonicCell. Q A The Modulation or other controller is always on. Turn the Effect Switch ON. Check the following points. and then save the performance (p.

rather than continuing to go up. Although a value of 12 is ensured for the upper limit of raised pitches. the performance data can differ from the actual number of voices being played. In some cases. Check the following points. • Is there an Aftertouch or other such large Control Change at the point where the song performance is sluggish? Move the location of the data. or have interruptions. • Is the data concentrated at the beginning of the beats in the sequence data? Avoid overlapping data with the same timing by setting an offset of 1-2 clocks instead. • Is there a System Exclusive message at the point where the song performance is sluggish? Move the location of the data. thus placing a heavy burden on sequencers and sound modules. • Is the instrument set to receive Exclusive messages? Set the Rx Exclusive to “ON” (p. the pitch does not rise sufficiently. and attempted to play a SonicCell rhythm set. even though only one sound may be heard. or if the data is quantized after being input with a keyboard in real time. 180). with certain sounds like continuous sounds with long releases. Rhythm Set performance data is generally received on MIDI Channel 10. Such large amounts of data can place an excessive load on your sequencer and sound module. Main causes and possible corrective measures are considered below.Troubleshooting Issues Related to MIDI and External Devices Q A Performances of the external sequencer are sluggish. so heavy use of the LFO slows down processing for the SonicCell overall. Data may easily become concentrated at the beginning of the beats in the song data when. 72) • Patch mode Patch Rx Ch (p. Is the SonicCell set to receive MIDI messages? • Performance mode The performance part’s Receive Channel (p. you may end up inputting huge amounts of data before realizing this is happening. processing for playing the sound is still underway. When the Bend Range for a Patch is increased (48). Check the following points. when using a keyboard that features aftertouch to input data. When Program Changes are inserted in songs. Problems of sluggish and interrupted performances can crop up very easily when the sequencer or sound generator used for the performance has to handle heavy data loads. Q A I connected an external sequencer or MIDI keyboard to the MIDI IN connector. 177) Q A Exclusive messages are not received. LFO processing invariably places a big load on the machine. 177). use caution when setting the Bend Range above this figure. • Are you using a Patch that uses a lot of LFO? Try changing to a different Patch. If the data is no longer needed. large amounts of data are sent to the SonicCell. the pitch may stop rising at a fixed point. delete the data. which may then cause the performance to become sluggish. Because of this. but there was no sound. When using such Patches. Try repositioning data and changing System Exclusive messages to Control Changes for any data for which Control Changes can be substituted. and the processing for expressing sounds becomes bogged down. System Exclusive messages contain large amounts of data. Why? Check to make sure that the MIDI Transmit channel of the external MIDI device and the SonicCell’s MIDI Receive channel are matched. when certain Waves in which the pitch is raised (in the + direction) are used. Q A 189 . which can end up having affecting the expression of sounds themselves. • Does the Device ID number of the transmitting device match the Device ID number of the SonicCell? Check the Device ID (p. so in these cases as well. In addition. 177). processing time for switching patches increases. it is actually eight sounds that are being played simultaneously. Q A Can’t receive MIDI messages correctly. While Patch Bend Ranges can be set anywhere between 0 and 48. The MIDI Receive channel used by the SonicCell in Patch mode is set with the Patch Rx Ch (p. the song data is input using Step Recording. 71) The performance part’s Receive Switch (p. • Is there a Program Change at the point where the song performance is sluggish? Change the position of the Program Change. for example. The composition of SonicCell Patches is such that up to eight Waves may be used for one Patch. • Are more than 128 voices playing simultaneously? Reduce the number of voices. even when a MIDI Pitch Bend message is received. even though the actual sound may not be audible to you.

The SonicCell can use USB memory that has been formatted as FAT. Q A No sound from the mic Could you have connected a condenser mic? If you’re using a condenser mic. • For some reason the USB memory is not recognized. • Are the audio cables connected correctly? Check the connections. 190 . If your USB memory was formatted using any other method. Can’t back up to USB memory Check the following points. The SonicCell can use USB memory that has been formatted as FAT. please re-format it using FAT. Change the SAMPLING RATE switch of the SonicCell to match the sampling rate of the song. (p. Q A • Could the USB memory be write protected? • Is there sufficient free space on the USB memory? Q A Can’t hear the playback sound Is the playback volume set correctly? Adjust the playback volume in the player screen. you’ll need to provide phantom power. The SonicCell can use USB memory that has been formatted as FAT. • It may be that the song data is damaged. please re-format it using FAT. • The file type of the song is not one of the file types that the SonicCell can play. • It is possible that the USB memory was not formatted correctly. Check the format of your USB memory.0 Hi-Speed connections. Q A Songs are not shown This may be due to the following reasons. you’ll need to turn the power off and on again. Turn Phantom Power “ON. • Songs cannot be played if you directly add/delete/ modify the song data in the SonicCell folder without using Playlist Editor. The files are not shown. 169) Issues related to USB connection Q A The SonicCell is not recognized by my computer You must connect the SonicCell to a computer whose USB port supports USB 2. If your USB memory was formatted using any other method. • Could an audio cable be broken? Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor • Could the INPUT LEVEL knob be set to “MIN”? Adjust the knob to an appropriate level.” (p. Issues related to USB memory Q A USB memory is not detected. 142) • Are the songs placed in the root directory? Songs may not be shown if you directly add/delete/ modify the song data in the SonicCell folder without using Playlist Editor.” Q A Songs won’t play This may be due to the following reasons. • It is possible that the USB memory was not formatted correctly. • Playlists may not be shown if you directly add/delete/ modify the song data in the SonicCell folder without using Playlist Editor. • Could a “?” symbol be shown in the song list of the playlist? The sampling rate of the song (audio file) differs from the sampling rate of the SonicCell itself.Troubleshooting Issues related to external input Q A The device connected to INPUT is inaudible or is not loud enough Check the following points. Issues related to songs Q A Playlists are not shown This may be due to the following reasons. • Is the INPUT gain select switch in the appropriate position? Set the INPUT gain select switch as appropriate for the equipment that is connected. * If you move the SAMPLING RATE switch while the power is on. If your USB memory was formatted using any other method. • Could the mic cable be broken? • Could the INPUT gain select switch be in a position other than “MIC”? Set the INPUT gain select switch to “MIC. please re-format it using FAT.

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

211 P.195 P.210 P.206 P.210 P.215 P. MFX) The multi-effects feature 78 different kinds of effects.198 P.206 P.215 P. (Two setting items will change simultaneously for “#1” and “#2”). Some of the effects consist of two or more different effects connected in series. 137) or Matrix Control (p.194 P.200 P.204 P. 81.Effects List Multi-Effects Parameter (MFX1–3.198 P.216 P.213 P.212 P.203 P.216 P.213 P.200 P.211 P.202 P.199 P. FILTER (10 types) 01 EQUALIZER 02 SPECTRUM 03 ISOLATOR 04 LOW BOOST 05 SUPER FILTER 06 STEP FILTER 07 ENHANCER 08 AUTO WAH 09 HUMANIZER 10 SPEAKER SIMULATOR MODULATION (12 types) 11 PHASER 12 STEP PHASER 13 MLT STAGE PHASER 14 INFINITE PHASER 15 RING MODULATOR 16 STEP RING MOD 17 TREMOLO 18 AUTO PAN 19 STEP PAN 20 SLICER 21 ROTARY 22 VK ROTARY CHORUS (12 types) 23 CHORUS 24 FLANGER 25 STEP FLANGER 26 HEXA-CHORUS 27 TREMOLO CHORUS 28 SPACE-D 29 3D CHORUS 30 3D FLANGER 31 3D STEP FLANGER 32 2BAND CHORUS 33 2BAND FLANGER 34 2BAND STEP FLNGR DYNAMICS (8 types) 35 OVERDRIVE 36 DISTORTION 37 VS OVERDRIVE 38 VS DISTORTION 39 GUITAR AMP SIMULATOR 40 COMPRESSOR 41 LIMITER 42 GATE DELAY (13 types) 43 DELAY 44 LONG DELAY 45 SERIAL DELAY 46 MODULATION DELAY 47 3TAP PAN DELAY 48 4TAP PAN DELAY 49 MULTI TAP DELAY 50 REVERSE DELAY 51 SHUFFLE DELAY 52 3D DELAY 53 TIME CTRL DELAY 54 LONG T CTL DELAY 55 TAPE ECHO LO-FI (5 types) 56 LOFI NOISE 57 LOFI COMPRESS 58 LOFI RADIO 59 TELEPHONE 60 PHONOGRAPH PITCH (3 types) 61 PITCH SHIFTER 62 2VOI PCH SHIFTER 63 STEP PCH SHIFTER REVERB (2 types) 64 REVERB 65 GATED REVERB COMBINATION (12 types) 66 OD → CHORUS 67 OD → FLANGER 68 OD → DELAY 69 DST → CHORUS 70 DST → FLANGER 71 DST → DELAY 72 ENH → CHORUS 73 ENH → FLANGER 74 ENH → DELAY 75 CHORUS → DELAY 76 FLANGER → DELAY 77 CHORUS → FLANGER PIANO (1 type) 78 SYMPATHETIC RESO P.201 P.199 P.217 P.207 P.195 P.197 P. 95).204 P.213 P.209 P.211 P.203 P.212 P.217 P.199 P.205 P.209 P.201 P.205 P.198 P.206 P.214 P. Parameters marked with a sharp “#” can be controlled using a Multi-Effecs Control (p.195 P.214 P.216 P.200 P.198 P.197 P.205 P.217 P.218 P.196 P.208 P.194 P.214 P.213 P.208 P.215 P.217 P.218 192 .215 P.205 P. p.196 P.202 P.194 P.216 P.201 P.209 P.205 P.196 P.203 P.216 P.194 P.197 P.202 P.207 P.

slowing down the tempo will not change the delay time beyond a certain length. This is because there is an upper limit for the delay time.33-002 30˚ 30˚ * If the Rate is specified as a note value. you would make the following settings. Source: CC01: MODULATION Destination: Step Reset Sens: +63 With these settings. or if there is too much reverberation. 52: 3D DELAY 29: 3D CHORUS 30: 3D FLANGER 31: 3D STEP FLANGER When using these effects. the modulation will be synchronized with the tempo when you play back SMF song data. chorus. 193 . p. you can use a multi-effect control (p. set this parameter to “SPEAKER. 81. set it to “PHONES. the full 3D effect may not appear. set the multi-effect control Destination to “Step Reset. If you specify the delay time as a note value.” num/note switch When Using 3D Effects The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay. For these types. 137) to reset the sequence to play from the first step. the sequence will play back from the first step whenever you operate the modulation lever. Such parameters have a num/note switch that lets you specify whether you will set the value as a note value or as a numerical value.” For example if you are using the modulation lever to control the effect. To do this. The above five types contain a sixteen-step sequencer. About the STEP RESET function 06: 16: 19: 20: 63: STEP FILTER STEP RING MOD STEP PAN SLICER STEP PCH SHIFTER If a parameter whose num/note switch is set to “NOTE” is specified as a destination for multi-effect control. you will not be able to use multi-effect control to control that parameter. If this parameter is not set correctly. set the num/note switch to “Hz” (“msec”). we recommend that you place your speakers as follows. fig. note: fig. etc.MFX-note2.e_88 Sixty-fourth-note triplet Thirty-second note Sixteenth note Eighth note Quarter note Half note Whole note Double note Sixty-fourth note Sixteenth-note triplet Eighth-note triplet Quarter-note triplet Half-note triplet Whole-note triplet Double-note triplet Thirty-second-note triplet Dotted thirty-second note Dotted sixteenth note Dotted eighth note Dotted quarter note Dotted half note Dotted whole note If the left and right speakers are too far apart. if the delay time is specified as a note value and you slow down the tempo until this upper limit is reached.” If the sound is to be heard through headphones. Each of these effects has an “Output Mode” parameter. reverb. If you want to set it as a note value. the delay time cannot change any further. the full 3D effect may not appear.Effects List About Note Some effect parameters (such as Rate or Delay Time) can be set in terms of a note value. If the sound from the OUTPUT jacks is to be heard through speakers. make sure that the speakers are at a sufficient distance from the walls on either side. If you want to set Rate (Delay Time) as a numerical value.” This will ensure that the optimal 3D effect will be heard. set the num/note switch to “NOTE. Also. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value.

0 dB is equivalent to the input level of the sound. * Depending on the Isolator and filter settings this effect may be hard to distinguish. 4.0. 4. fig. MID.0 0–127 Simultaneously adjusts the width of the adjusted ranges for all the frequency bands. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. ON 02: SPECTRUM This is a stereo spectrum. Frequency of the middle range 2 Gain of the middle range 2 Width of the middle range 2 Set a higher value for Q to narrow the range to be affected. and Low frequency ranges. 1. ON Anti Phase Low Level 0–127 Anti Phase Mid Sw OFF.MFX-03 L in 4-Band EQ L out L in R in Parameter Low Freq Low Gain # Mid1 Freq Mid1 Gain Mid1 Q Mid2 Freq Mid2 Gain Mid2 Q High Freq High Gain # Level # Isolator Low Boost L out 4-Band EQ Value 200. 2. Frequency of the high range Gain of the high range Output Level R in Parameter Boost/ Cut Low # Boost/ Cut Mid # Boost/ Cut High # Isolator Value Low Boost Description R out -60– +4 dB These boost and cut each of the High. 2. Output Level Parameter Boost Frequency # Boost Gain # Boost Width Low Gain High Gain Level Value 50–125 Hz 0– +12 dB WIDE. 400 Hz -15– +15 dB 200–8000 Hz -15– +15 dB 0. Adjusts the level settings for the Low frequency ranges.5.0. Adjusting this level for certain frequencies allows you to lend emphasis to specific parts.0 200–8000 Hz -15– +15 dB 0.MFX-01 03: ISOLATOR This is an equalizer which cuts the volume greatly. mid x 2. 4000. fig. Turns Low Booster on/off.0. allowing you to add a special effect to the sound by cutting the volume in varying ranges.Effects List 01: EQUALIZER This is a four-band stereo equalizer (low.) Settings of the Anti-Phase function for the Middle frequency ranges The parameters are the same as for the Low frequency ranges. high). the sound becomes inaudible.0.MFX-02 Anti Phase Mid Level Low Boost Sw Low Boost Level 0–127 L in Spectrum L out Level 0–127 R in Parameter Band1 (250Hz) Band2 (500Hz) Band3 (1000Hz) Band4 (1250Hz) Band5 (2000Hz) Band6 (3150Hz) Band7 (4000Hz) Band8 (8000Hz) Q Level # Spectrum Value R out Description 04: LOW BOOST Boosts the volume of the lower range. (This is effective only for stereo source. 8000 Hz -15– +15 dB 0–127 R out Description Frequency of the low range Gain of the low range Frequency of the middle range 1 Gain of the middle range 1 Width of the middle range 1 Set a higher value for Q to narrow the range to be affected. This emphasizes the bottom to create a heavy bass sound.0. creating powerful lows. ON 0–127 OFF.MFX-04 -15– +15 dB Gain of each frequency band L in R in Low Boost Low Boost 2-Band EQ 2-Band EQ L out R out 0. 8. 1. When turned on. Output Level Anti Phase Low Sw OFF. fig. 8. Turns the Anti-Phase function on and off for the Low frequency ranges.0. 4.5. Increasing this value gives you a heavier low end. fig. At -60 dB.5. NARROW -15– +15 dB -15– +15 dB 0–127 Description Center frequency at which the lower range will be boosted Amount by which the lower range will be boosted Width of the lower range that will be boosted Gain of the low frequency range Gain of the high frequency range Output level 194 .0 2000.0. the counter-channel of stereo sound is inverted and added to the signal.0. 2. Middle. 8. 1.0.

Filter resonance level Increasing this value will emphasize the region near the cutoff frequency. LPF: frequencies below the cutoff BPF: frequencies in the region of the cutoff NOTCH HPF: frequencies above the cutoff NOTCH: frequencies other than the region of the cutoff Amount of attenuation per octave -12 dB: gentle -12.Effects List 05: SUPER FILTER This is a filter with an extremely sharp slope. SQR. -24. BPF. -36 dB -24 dB: steep -36 dB: extremely steep Filter resonance level 0–127 Increasing this value will emphasize the region near the cutoff frequency. -24. Amount of boost for the filter output 0– +12 dB Output level 0–127 SAW1 SAW2 You can use multi-effect control to make the step sequence play again from the beginning (p. SAW2 Modulation Wave Cutoff frequency at each step 0–127 0. SAW1. fig. fig.00 Hz. BPF.MFX-05 06: STEP FILTER This is a filter whose cutoff frequency can be modulated in steps. Rate of modulation note Depth of modulation 0–127 0–127 0–127 Speed at which the cutoff frequency will change This is effective if Modulation Wave is SQR. Rate # Depth Attack # Level 0.05–10. You can specify the pattern by which the cutoff frequency will change. The cutoff frequency can be varied cyclically. 193). -36 dB Filter Type Filter Cutoff # Filter Resonance # Filter Gain Modulation Sw 0–127 0–127 0– +12 dB OFF. or SAW2. SIN. Rate of modulation note Speed at which the cutoff frequency 0–127 changes between steps Filter type Frequency range that will pass through each filter LPF. fig.05–10.MFX-06 L in R in Super Filter Super Filter L out R out L in R in Step Filter Step Filter L out R out Parameter Value Description Filter type Frequency range that will pass through each filter LPF: frequencies below the cutoff BPF: frequencies in the region of the cutoff HPF: frequencies above the cutoff NOTCH: frequencies other than the region of the cutoff Amount of attenuation per octave -36 dB: extremely steep -24 dB: steep -12 dB: gentle Cutoff frequency of the filter Increasing this value will raise the cutoff frequency.MFX-07 L in Enhancer Mix 2-Band EQ 2-Band EQ Description L out R in Enhancer Mix R out Parameter Sens # Mix # Low Gain High Gain Level Value 0–127 0–127 -15– +15 dB -15– +15 dB 0–127 Sensitivity of the enhancer Level of the overtones generated by the enhancer Gain of the low range Gain of the high range Output Level 195 . Amount of boost for the filter output On/off switch for cyclic change How the cutoff frequency will be modulated TRI: triangle wave SQR: square wave SIN: sine wave SAW1: sawtooth wave (upward) SAW2: sawtooth wave (downward) Parameter Step 01–16 Rate # Attack # Value Description Filter Type LPF. adding sparkle and tightness to the sound. HPF. HPF.00 Hz. NOTCH Filter Slope -12. SAW1.ON Filter Slope Filter Resonance # Filter Gain Level TRI. Output level 07: ENHANCER Controls the overtone structure of the high frequencies.

u 0.Effects List 08: AUTO WAH Cyclically controls a filter to create cyclic change in timbre. Set a higher value for Q to narrow the range to be affected. a. i. DOWN: The filter will change toward a lower frequency. ON 0–127 Description Turns Drive on/off. 3 Mic Level # Direct Level # Level # 0–127 0–127 0–127 Specifications of each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units. 50: Vowel 1 and 2 will be of equal duration.MFX-08 Parameter Value Description Point at which Vowel 1/2 switch 49 or less: Vowel 1 will have a longer duration. fig.05–10. This can be adjusted in three steps. with the mic becoming more distant in the order of 1. i. Type Cabinet small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open open open open back back back back enclosure enclosure enclosure enclosure 09: HUMANIZER Speaker 10 10 12 x 1 12 12 12 12 x x x x 2 2 2 2 Adds a vowel character to the sound. Adjusts the center frequency at which the effect is applied. BPF 2-Band EQ Description R out Parameter Filter Type Manual # 0–127 Peak 0–127 Sens # 0–127 Polarity UP. UP: The filter will change toward a higher frequency. u Selects the vowel. e. fig. Gain of the low frequency range Gain of the high frequency range Stereo location of the output Output level Manual # 0–100 L in Auto Wah 2-Band EQ L out Low Gain High Gain Pan # Level -15– +15 dB -15– +15 dB L64–63R 0–127 R in Auto Wah Value LPF. -15– +15 dB Gain of the low range -15– +15 dB Gain of the high range 0–127 Output Level Mic Setting 1.) R out Description Type of speaker Adjusts the location of the mic that is recording the sound of the speaker.05–10. Frequency at which the two vowels switch note 0–127 OFF. Volume of the microphone Volume of the direct sound Output Level Rate # Depth # Phase # Low Gain High Gain Level 0. BPF: The wah effect will be applied over a narrow frequency range.00 Hz.MFX-09 Microphone dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 METAL STACK 2-STACK 3-STACK L in Overdrive R in Parameter Drive Sw Drive # Vowel1 Vowel2 Rate # Depth # Input Sync Sw Input Sync Threshold L out Formant 2-Band EQ Pan L Pan R R out Value OFF. and 3. 2. Adjusts the amount of the wah effect that will occur in the range of the center frequency. 51 or more: Vowel 2 will have a longer duration. 2. ON 0–127 Effect depth Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF). Degree of distortion Also changes the volume. o. e. Volume level at which reset is applied sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack 12 x 2 12 x 2 12 x 2 12 12 12 12 12 x x x x x 2 4 4 4 4 12 x 4 196 . Adjusts the sensitivity with which the filter is controlled. Frequency of modulation note 0–127 Depth of modulation Adjusts the degree of phase shift of the left 0–180 deg and right sounds when the wah effect is applied.MFX-10 L in Speaker L out R in Parameter Speaker Type Speaker Value (See the table right. fig.00 Hz. making it similar to a human voice. o. 10: SPEAKER SIMULATOR Simulates the speaker type and mic settings used to record the speaker sound. a. Sets the direction in which the frequency will change when the auto-wah filter is modulated. DOWN Type of filter LPF: The wah effect will be applied over a wide frequency range.

this spreads the sound.MFX-13 L in Multi Stage Phaser R in Resonance L out Mix Resonance # Cross Feedback Mix # Low Gain High Gain Level 0–127 -98– +98% 0–127 -15– +15 dB -15– +15 dB 0–127 2-Band EQ Pan L Pan R R out Description Number of phaser stages Adjusts the basic frequency from which the sound will be modulated. this spreads the sound. note 0–127 -15– +15 dB -15– +15 dB 0–127 4-STAGE. Select this when inputting a stereo source. SYNCHRO Extremely high settings of the phase difference produce a deep phaser effect.MFX-12 Rate # Depth Resonance # Mix # Pan # L in Step Phaser Mix Mix 2-Band EQ L out Low Gain High Gain Level R in Step Phaser 2-Band EQ R out Parameter Mode Manual # Rate # Depth Value Description 4-STAGE.00 Hz. Frequency of modulation 0. Select this when inputting a stereo source. Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect. 0.Effects List 11: PHASER A phase-shifted sound is added to the original sound and modulated. fig. Negative (-) settings will invert the phase.10–20.05–10. 12-STAGE. note Depth of modulation 0–127 197 . When using a mono source. 24-STAGE 0–127 0. Frequency of modulation Depth of modulation Amount of feedback Level of the phase-shifted sound Stereo location of the output sound Gain of the low range Gain of the high range Output Level Parameter Mode Value 4-STAGE. 8-STAGE. SYNCHRO L in Phaser Mix Mix 2-Band EQ L out Resonance # 0–127 -98– +98% R in Phaser 2-Band EQ R out Cross Feedback Step Rate # Mix # Low Gain High Gain Level Parameter Mode Manual # Rate # Depth Value Description 0. fig. INVERSE: The left and right phase will be opposite. 12Number of stages in the phaser STAGE Adjusts the basic frequency from 0–127 which the sound will be modulated. fig. SYNCHRO: The left and right phase will be the same. 16-STAGE. Negative (-) settings will invert the phase.00 Hz. note 0–127 0–127 0–127 L64–63R -15– +15 dB -15– +15 dB 0–127 Manual # 12: STEP PHASER The phaser effect will be varied gradually. SYNCHRO: The left and right phase will be the same. 20-STAGE. Level of the phase-shifted sound Gain of the low range Gain of the high range Output Level 13: MLT STAGE PHASER (MULTI STAGE PHASER) Polarity INVERSE. note Frequency of modulation 0–127 Depth of modulation Selects whether the left and right phase of the modulation will be the same or the opposite.MFX-11 Parameter Value Description Selects whether the left and right phase of the modulation will be the same or the opposite. When using a mono source.00 Hz. 12Number of stages in the phaser STAGE Adjusts the basic frequency from which the sound will be modulat0–127 ed. INVERSE: The left and right phase will be opposite. Rate of the step-wise change in the phaser effect Level of the phase-shifted sound Gain of the low range Gain of the high range Output Level Polarity INVERSE. 8-STAGE.05–10.00 Hz. 8-STAGE.05–10. Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect.

Determines whether the frequency modulation moves towards higher frequencies (UP) or lower frequencies (DOWN).MFX-14 16: STEP RING MOD (STEP RING MODULATOR) L in Infinite Phaser R in Parameter Mode This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied. fig. 17: TREMOLO Cyclically modulates the volume to add tremolo effect to the sound. note 0–127 -15– +15 dB -15– +15 dB 0–127 Frequency of the change Depth to which the effect is applied Gain of the low range Gain of the high range Output Level 198 . SAW1.00 Hz. 193).05–10.Effects List 14: INFINITE PHASER A phaser that continues raising/lowering the frequency at which the sound is modulated. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect. 3.MFX-15 You can use multi-effect control to make the step sequence play again from the beginning (p. SIN. Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the effect sound (W) Output level Description Modulation Wave TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave TRI. SAW2 Mod Wave SAW1 SAW2 Rate # Depth # Low Gain High Gain Level 0. fig. fig. DOWN -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 Tremolo Tremolo Value 2-Band EQ 2-Band EQ L out R out 2-Band EQ Description R out R in Parameter Parameter Frequency # Sens # Polarity Low Gain High Gain Balance # Level Adjusts the frequency at which modulation is applied.MFX-17a L in Ring Mod 2-Band EQ L out L in R in Ring Mod Value 0–127 0–127 UP.05–10. producing bell-like sounds. 2. fig. Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward) Amount of feedback Volume of the phase-shifted sound Panning of the output sound Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Output volume Step Ring Mod Range 0–127 2-Band EQ R out Parameter Step 01–16 Rate # Attack # Low Gain High Gain Balance # Level Explanation Frequency of ring modulation at each step Rate at which the 16-step sequence will cycle Speed at which the modulation frequency changes between steps Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and effect sound (W) Output volume Speed # Resonance # Mix # Pan # Low Gain High Gain Level -100– +100 0–127 0–127 L64–63R -15– +15 dB -15– +15 dB 0–127 0. Adjusts the amount of frequency modulation applied.MFX-16 L out Pan L 2-Band EQ Pan R L in Step Ring Mod 2-Band EQ L out R out R in Range 1.00 Hz. 4 Explanation Higher values will produce a deeper phaser effect. note 0–127 -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 15: RING MODULATOR This is an effect that applies amplitude modulation (AM) to the input signal. SQR.

Timing of volume changes in levels for evennumbered steps (step 2. SQR. fig.MFX-20 L in R in Auto Pan Auto Pan Value 2-Band EQ 2-Band EQ L out R out L in Parameter Description Modulation Wave TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave Slicer L out TRI. note 0–127 -15– +15 dB -15– +15 dB 0–127 L Frequency of the change Depth to which the effect is applied Gain of the low range Gain of the high range Output Level Input Sync Sw Input Sync Threshold Mode LEGATO.05–10. step 6.05–10.. This change in volume occurs even if the level of the following step is the same as the preceding step. SAW1. SLASH 19: STEP PAN This uses a 16-step sequence to vary the panning of the sound.00 Hz. note 0–127 R out Explanation Pan at each step Rate at which the 16-step sequence will cycle Speed at which the pan changes between steps Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF) Volume at which an input note will be detected Output volume You can use multi-effect control to make the step sequence play again from the beginning (p. step 4.00 Hz. Output level Mod Wave SAW1 R SAW2 R L Rate # Depth # Low Gain High Gain Level 0. ON 0–127 R out Description Level at each step Rate at which the 16-step sequence will cycle Speed at which the level changes between steps Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF) Volume at which an input note will be detected Sets the manner in which the volume changes as one step progresses to the next. the later the beat progresses. If the level of a following step is the same as the one preceding it. SLASH: The level is momentarily set to 0 before progressing to the level of the next step.. 199 . there is no change in volume. note 0–127 OFF. 193).00 Hz. fig. 193). This is especially effective when applied to sustain-type sounds. Input Sync Sw Input Sync Threshold Level OFF. The higher the value.).Effects List 18: AUTO PAN Cyclically modulates the stereo location of the sound. LEGATO: The change in volume from one step’s level to the next remains unaltered. ON 0–127 0–127 You can use multi-effect control to make the step sequence play again from the beginning (p. this effect turns a conventional sound into a sound that appears to be played as a backing phrase.MFX-18a 20: SLICER By applying successive cuts to the sound. SAW2 R in Parameter Step 01–16 Rate # Attack # Slicer Value L64–63R 0. fig. SIN.MFX-19 L in Step Pan L out Shuffle # Level 0–127 0–127 R in Parameter Step 01–16 Rate # Attack # Step Pan Range L64–63R 0.05–10.

05–10.00 Hz.00 Hz Balance D Wf Acceleration 0–15 L in Chorus Chorus R in Balance D 2-Band EQ Balance W Balance W L out Wf Level Tw Slow Speed Tw Fast Speed Tw Acceleration Tw Level Separation Level # 0–127 0. the rotation will gradually resume. Since the movement of the high range and low range rotors can be set independently.MFX-23 Wf Slow Speed Wf Fast Speed 0. the wider the sound is spread out.05–10.05–10. with the low end boosted further.MFX-21 Parameter Wf Trans Up Value 0–127 Description Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast. fig. This effect is most suitable for electric organ Patches. ON Wf Slow Speed Wf Fast Speed 0. This effect features the same specifications as the VK-7’s builtin rotary speaker.MFX-22 Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from the direct sound until the chorus sound is heard.05–10.05–10. note 0–127 0–180 deg -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 L in Rotary R in 2-Band EQ L out 2-Band EQ R out Parameter Speed # Value SLOW.00 Hz 0.00 Hz 0.00 Hz 0–15 0–127 0–127 0–127 2-Band EQ Description R out Parameter Value Filter Type OFF.05–10. FAST 23: CHORUS This is a stereo chorus. The higher the value set. HPF 22: VK ROTARY This type provides modified response for the rotary speaker. Sets the rotary speaker stereo image. A filter is provided so that you can adjust the timbre of the chorus sound.0–100.00 Hz 0.05–10.0 ms 0. When this is turned on.00 Hz 0. the rotation will gradually stop. Volume of the low frequency rotor Settings of the high frequency rotor The parameters are the same as for the low frequency rotor Spatial dispersion of the sound Output Level Speed # SLOW. the unique type of modulation characteristic of these speakers can be simulated quite closely.00 Hz 0–127 0–127 0–127 0–10 -15– +15 dB -15– +15 dB 0–127 L in Rotary R in L out R out Parameter Value Description Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow. Low-speed rotation speed of the woofer High-speed rotation speed of the woofer Brake # OFF. LPF.05–10. When it is turned off. FAST Description Rotational speed of the rotating speaker Switches the rotation of the rotary speaker. Frequency of modulation Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level Cutoff Freq Pre Delay Rate # Depth Phase Low Gain High Gain Balance # Level 200–8000 Hz 0. SLOW: Slows down the rotation to the Slow Rate. Lower values will require longer times. Slow speed (SLOW) of the low frequency rotor Fast speed (FAST) of the low frequency rotor Adjusts 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.05–10. fig. fig. FAST: Speeds up the rotation to the Fast Rate.00 Hz 200 . Volume of the woofer Settings of the tweeter The parameters are the same as for the woofer. Gain of the low range Gain of the high range Output Level Wf Trans Down Wf Level Tw Slow Speed Tw Fast Speed Tw Trans Up Tw Trans Down Tw Level Spread Low Gain High Gain Level # 0–127 0–127 0.Effects List 21: ROTARY The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past.

note 0–127 0–20 Description Adjusts the delay time from the direct sound until the chorus sound is heard. Adjusts the difference in stereo location between each chorus sound. HPF Cutoff Freq Pre Delay Rate # Depth Phase Feedback # Low Gain High Gain Balance # Level 200–8000 Hz 0. LPF. LPF. Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. A filter is provided so that you can adjust the timbre of the flanged sound. Volume balance between the direct D100:0W–D0:100W sound (D) and the chorus sound (W) 0–127 Output Level Step Flanger R in Balance D Balance W 2-Band EQ R out Parameter Value Description Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Filter Type OFF. fig. fig.0 ms 0.MFX-24 Parameter Cutoff Freq Pre Delay Rate # Depth Phase Feedback # Step Rate # Low Gain High Gain Balance # Value 200–8000 Hz 0.00 Hz.00 Hz. Rate (period) of pitch change Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level Balance D L in Flanger Feedback Feedback 2-Band EQ Balance W L out Flanger R in Balance D Balance W 2-Band EQ R out Level Parameter Value Description Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard.Effects List 24: FLANGER This is a stereo flanger. note 0–127 0–180 deg -98– +98% 0.05–10.0–100.MFX-25 Depth Deviation Pan Deviation Balance D Balance # L in Step Flanger Feedback Feedback 2-Band EQ Balance W L out Level Depth of modulation Adjusts the differences in Pre Delay between each chorus sound.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing.00 Hz.0 ms 0. Gain of the low range Gain of the high range 26: HEXA-CHORUS Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.0–100. Negative (-) settings will invert the phase.MFX-26 Filter Type OFF.10–20. note 0–127 0–180 deg -98– +98% -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 L in Balance D L out Balance W Hexa Chorus Balance W R in Balance D R out Parameter Pre Delay Rate # Depth Pre Delay Deviation Value 0.00 Hz. Adjusts the difference in modulation -20– +20 depth between each chorus sound. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo. Negative (-) settings will invert the phase. fig. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center.0–100. Frequency of modulation Volume balance between the direct sound (D) and the flanger sound (W) Output Level 25: STEP FLANGER This is a flanger in which the flanger pitch changes in steps.05–10. 0: All chorus sounds will be in the 0–20 center.0 ms 0. note -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Description Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. HPF 201 .05–10. (The LFO has the same phase for left and right.

note 0–127 0–180 deg D100:0W–D0:100W 0–127 Description Adjusts the delay time from the direct sound until the chorus sound is heard. LPF. note 0–127 0–180 deg -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Adjusts the delay time from the direct sound until the chorus sound is heard.MFX-27 29: 3D CHORUS This applies a 3D effect to the chorus sound. Modulation frequency of the chorus effect Modulation depth of the chorus effect Modulation frequency of the tremolo effect Spread of the tremolo effect Spread of the tremolo effect Volume balance between the direct sound (D) and the tremolo chorus sound (W) Output Level Filter Type OFF.MFX-28 Low Gain High Gain Balance # Level -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Balance D L in Space D Space D R in Balance D 2-Band EQ Balance W Balance W L out 2-Band EQ Description R out Parameter Pre Delay Rate # Depth Phase Low Gain High Gain Balance # Level Value 0.00 Hz. note 0–127 0.0 ms 0. note 0–127 0–180 deg Output Mode SPEAKER. HPF Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from the direct sound until the chorus sound is heard.0–100.0–100. Frequency of modulation Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level 202 .MFX-29 L in Balance D L out Balance W L 3D Chorus 2-Band EQ L out Tremolo Chorus Balance W R R in Balance D R out Parameter Value 2-Band EQ Description R out Parameter Pre Delay Chorus Rate # Chorus Depth Tremolo Rate # Tremolo Separation Tremolo Phase Balance # Level Value 0.0 ms 0.00 Hz. PHONES 28: SPACE-D This is a multiple chorus that applies two-phase modulation in stereo. or PHONES when using headphones. The chorus sound will be positioned 90 degrees left and 90 degrees right. The optimal 3D effect will be achieved if you select SPEAKER when using speakers. but produces a transparent chorus effect. Frequency of modulation Modulation depth of the chorus effect Spatial spread of the sound Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. fig.05–10. fig.05–10.0–100.00 Hz.Effects List 27: TREMOLO CHORUS This is a chorus effect with added Tremolo (cyclic modulation of volume).00 Hz. It gives no impression of modulation. fig.0 ms 0. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level Cutoff Freq Pre Delay Rate # Depth Phase 200–8000 Hz 0.05–10.05–10.

Negative (-) settings will invert the phase.0–100. HPF Cutoff Freq Pre Delay 200–8000 Hz 0.00 Hz. Negative (-) settings will invert the phase. fig. fig.10–20. HPF Cutoff Freq Pre Delay Rate # Depth Phase Feedback # 200–8000 Hz 0. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level Low Gain High Gain Balance # Level -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 32: 2BAND CHORUS A chorus effect that lets you apply an effect independently to the low-frequency and high-frequency ranges. note 0–127 0–180 deg D100:0W–D0:100W 0–127 2-Band EQ Value Description R out Parameter Filter Type OFF. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level L 3D Flanger R 2-Band EQ L out 2-Band EQ Value Description R out Output Mode SPEAKER.00 Hz. The optimal 3D effect will be achieved if you select SPEAKER when using speakers. The flanger sound will be positioned 90 degrees left and 90 degrees right. 203 . note 0–127 0–180 deg -98– +98% Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. The optimal 3D effect will be achieved if you select SPEAKER when using speakers.0 ms L 3D Step Flanger R 2-Band EQ L out High Rate # High Depth High Phase Balance # Level 0. note 0–127 0–180 deg -98– +98% 0. PHONES Low Gain High Gain Balance # Level -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 R out Range 200–8000 Hz 0.05–10. Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.0 ms 0.05–10. or PHONES when using headphones. LPF.0 ms Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. The flanger sound will be positioned 90 degrees left and 90 degrees right.MFX-30 Parameter Rate # Depth Phase Feedback # Step Rate # Value 0.0–100.MFX-32 L in High Band Chorus Split Low Band Chorus High Band Chorus Split Low Band Chorus R in Parameter Split Freq Low Pre Delay L out Output Mode SPEAKER.05–10.0–100.05–10. fig. Rate (period) of pitch change Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect.00 Hz. PHONES Parameter Filter Type OFF. or PHONES when using headphones.0–100. note 0–127 0–180 deg Explanation Frequency at which the low and high ranges will be divided Delay time from when the original sound is heard to when the low-range chorus sound is heard Rate at which the low-range chorus sound is modulated Modulation depth for the lowrange chorus sound Spaciousness of the low-range chorus sound Delay time from when the original sound is heard to when the high-range chorus sound is heard Rate at which the low-range chorus sound is modulated Modulation depth for the highrange chorus sound Spaciousness of the high-range chorus sound Volume balance of the original sound (D) and chorus sound (W) Output volume 31: 3D STEP FLANGER This applies a 3D effect to the step flanger sound.0 ms 0.00 Hz. LPF.00 Hz.Effects List 30: 3D FLANGER This applies a 3D effect to the flanger sound. note Description Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect.MFX-31 Low Rate # Low Depth Low Phase High Pre Delay 0.

00 Hz.05–10. note 0–127 0–180 deg 0. fig.10–20. note D100:0W–D0:100W 0–127 204 .0 ms 0.00 Hz. note High Rate # High Depth High Phase High Feedback # Balance # Level 0. fig.05–10.00 Hz.0–100.0 ms 0. note 0–127 0–180 deg -98– +98% D100:0W–D0:100W 0–127 -98– +98% 0.0 ms 0.00 Hz. note 0–127 0–180 deg Explanation Frequency at which the low and high ranges will be divided Delay time from when the original sound is heard to when the low-range flanger sound is heard Rate at which the low-range flanger sound is modulated Modulation depth for the lowrange flanger sound Spaciousness of the low-range flanger sound Proportion of the low-range flanger sound that is to be returned to the input (negative values invert the phase) Delay time from when the original sound is heard to when the high-range flanger sound is heard Rate at which the high-range flanger sound is modulated Modulation depth for the highrange flanger sound Spaciousness of the high-range flanger sound Proportion of the high-range flanger sound that is to be returned to the input (negative values invert the phase) Volume balance of the original sound (D) and flanger sound (W) Output volume Parameter Split Freq Low Pre Delay Low Rate # Low Depth Low Phase Low Feedback # Low Step Rate # High Pre Delay Explanation Frequency at which the low and high ranges will be divided Delay time from when the original sound is heard to when the low-range flanger sound is heard Rate at which the low-range flanger sound is modulated Modulation depth for the lowrange flanger sound Spaciousness of the low-range flanger sound Proportion of the low-range flanger sound that is to be returned to the input (negative values invert the phase) Rate at which the steps will cycle for the low-range flanger sound Delay time from when the original sound is heard to when the high-range flanger sound is heard Rate at which the high-range flanger sound is modulated Modulation depth for the highrange flanger sound Spaciousness of the high-range flanger sound Proportion of the high-range flanger sound that is to be returned to the input (negative values invert the phase) Rate at which the steps will cycle for the high-range flanger sound Volume balance of the original sound (D) and flanger sound (W) Output volume -98– +98% -98– +98% High Pre Delay 0.10–20.MFX-33 34: 2BAND STEP FLNGR (2BAND STEP FLANGER) A step flanger that lets you apply an effect independently to the low-frequency and high-frequency ranges. note 0–127 0–180 deg Range 200–8000 Hz 0.MFX-34 L in High Band Flanger Split High Band Feedback L out L in High Band Step Flanger Split High Band Feedback L out Low Band Flanger Low Band Feedback High Band Feedback Low Band Step Flanger Low Band Feedback High Band Feedback High Band Flanger Split R in Parameter Split Freq Low Pre Delay Low Rate # Low Depth Low Phase Low Feedback # Low Band Feedback High Band Step Flanger Split R out R in Low Band Feedback Low Band Flanger Low Band Step Flanger R out Range 200–8000 Hz 0.00 Hz.05–10.0 ms High Rate # High Depth High Phase High Feedback # High Step Rate # Balance # Level 0.Effects List 33: 2BAND FLANGER A flanger that lets you apply an effect independently to the low-frequency and high-frequency ranges.0–100.0–100.00 Hz.0–100.05–10.

OD2 TURBO. MATCH DRIVE. fig.Effects List 35: OVERDRIVE Creates a soft distortion similar to that produced by vacuum tube amplifiers. 3-STACK L in Pre Amp R in Parameter Pre Amp Sw L out Pan L Low Gain High Gain Pan # Level -15– +15 dB -15– +15 dB L64–63R 0–127 Speaker Pan R R out Value Description Turns the amp switch on/off. The parameters are the same as for “37: VS OVERDRIVE. ON JC-120. ON SMALL.” fig. 2. 2STACK. BUILT-IN. DISTORTION. fig. Volume of the microphone Volume of the direct sound Stereo location of the output Output level 36: DISTORTION Produces a more intense distortion than Overdrive. The parameters are the same as for “35: OVERDRIVE.MFX-38 L in Over drive R in Parameter Drive # L out Amp Simulator 2-Band EQ Pan L Pan R L in Distortion R in Amp Simulator 2-Band EQ L out Pan L Pan R R out Value 0–127 R out Description Degree of distortion Also changes the volume.MFX-39 Amp Type SMALL. MIDDLE. ON R out Value 0–127 0–127 OFF. fig.” “Clean Twin. Type of guitar amp SLDN LEAD. Sound quality of the Overdrive effect Turns the Amp Simulator on/off. FUZZ Volume and amount of distortion 0–127 of the amp 0–127 LOW. Tone for the ultra-high frequency range Turning this “On” produces a sharper and brighter sound. with the mic becoming more distant as the value increases. MS1959I. OFF. Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp Gain of the low range Gain of the high range Stereo location of the output sound Output Level Mic Setting 1.MFX-35 38: VS DISTORTION This is a distortion effect that provides heavy distortion.) Description Degree of distortion Also changes the volume. METAL5150. ON (See the table below. Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp Gain of the low range Gain of the high range Stereo location of the output sound Output Level 39: GUITAR AMP SIMULATOR This is an effect that simulates the sound of a guitar amplifier. HIGH Volume of the entire pre-amp Amount of pre-amp distortion Tone of the bass/mid/treble frequency range * Middle cannot be set if “Match Drive” is selected as the Pre Amp Type. CLEAN TWIN. Determines whether the signal passes through the speaker (ON).MFX-36 Pre Amp Type L in Distortion R in Amp Simulator 2-Band EQ L out Pan L Pan R Pre Amp Volume # Pre Amp Master # Pre Amp Gain Pre Amp Bass Pre Amp Middle R out 0–127 37: VS OVERDRIVE This is an overdrive that provides heavy distortion. MS1959I+II. This can be adjusted in three steps. Type of speaker Adjusts the location of the mic that’s capturing the sound of the speaker. METAL LEAD.” and “BG Lead” Pre Amp Types. MS1959II.MFX-37 Pre Amp Treble Pre Amp Presence 0–127 L in Overdrive R in Parameter Drive # Tone # Amp Sw L out Amp Simulator 2-Band EQ Pan L Pan R Pre Amp Bright OFF. OD-1.” fig. or not (OFF). BUILT-IN. 2-STACK. 3-STACK -15– +15 dB -15– +15 dB L64–63R 0–127 Speaker Sw Speaker Type OFF. from 1 to 3. BG LEAD. 3 Amp Type Mic Level Direct Level Pan # Level # 0–127 0–127 L64–63R 0–127 Low Gain High Gain Pan # Level 205 . * This parameter applies to the “JC-120.

fig. Adjusts the volume at which compression begins Compression ratio Adjusts the output gain. DUCK (Ducking): The gate will close when the volume of the original sound increases. 100:1 0– +18 dB -15– +15 dB -15– +15 dB 0–127 2-Band EQ Description R out Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. preventing distortion from occurring. Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold. Gain of the low frequency range Gain of the high frequency range Output level Mode GATE. fig. Type SMALL 1 SMALL 2 MIDDLE JC-120 BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 METAL STACK 2-STACK 3-STACK 41: LIMITER Compresses signals that exceed a specified volume level. 2:1.MFX-41 Cabinet small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack Speaker 10 10 12 x 1 12 x 2 12 x 2 12 x 2 12 12 12 12 x x x x 2 2 2 2 Microphone dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser L in Limiter 2-Band EQ L out R in Parameter Release # Threshold # Ratio Post Gain Low Gain High Gain Level # Limiter Value 0–127 0–127 1. Volume balance between the direct sound (D) and the effect sound (W) Output level Sets the speed at which compression starts Adjusts the volume at which compression begins Adjusts the output gain. fig. Adjusts the time it takes the gate to fully close after the hold time.Effects List Specifications for each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units. DUCK Attack Hold Release Balance # Level 0–127 0–127 0–127 D100:0W– D0:100W 0–127 206 .MFX-42 L in Compressor 2-Band EQ L out L in R in Compressor Value 0–127 0–127 0– +18 dB -15– +15 dB -15– +15 dB 0–127 Gate L out 2-Band EQ Description R out R in Parameter Threshold # Parameter Attack # Threshold # Post Gain Low Gain High Gain Level # Gate Value 0–127 R out Description Volume level at which the gate begins to close Type of gate GATE: The gate will close when the volume of the original sound decreases. cutting the original sound. Use this when you want to create an artificial-sounding decrease in the reverb’s decay. Adjusts the time it takes for the gate to fully open after being triggered. cutting the original sound. Gain of the low frequency range Gain of the high frequency range Output level 12 x 2 12 x 4 12 x 4 12 x 4 12 x 4 12 x 4 40: COMPRESSOR Flattens out high levels and boosts low levels.5:1. 4:1. smoothing out fluctuations in volume.MFX-40 42: GATE Cuts the reverb’s delay according to the volume of the sound sent into the effect.

INVERSE -98– +98% 2-Band EQ When Feedback Mode is CROSS: fig.Effects List 43: DELAY This is a stereo delay. If you don’t want to filter out any high frequencies. fig.MFX-44 Balance D L in 2-Band EQ Balance W 2-Band EQ Pan L L out L in Delay Feedback Feedback L out Long Delay Pan R Feedback R in Parameter R out Delay Time Phase 2-Band EQ Explanation R out Delay R in Balance D Balance W Range 0–2600 ms. Negative (-) settings invert the phase. set this parameter to BYPASS.MFX-43b Feedback # Balance D L in Delay Feedback Feedback 2-Band EQ Balance W L out HF Damp Pan # Low Gain 200–8000 Hz. Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level HF Damp Low Gain High Gain Balance # Level 200–8000 Hz. When Feedback Mode is NORMAL: fig. Phase of the delay sound Selects the way in which delay sound is fed back into the effect. note NORMAL. BYPASS L64–63R -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Delay time from when the original sound is heard to when the delay sound is heard Phase of the delay (NORMAL: non-inverted.MFX-43a 44: LONG DELAY A delay that provides a long delay time. BYPASS -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 207 . INVERSE NORMAL. (See the figures above. CROSS -98– +98% Description Adjusts the time until the delay sound is heard. Adjusts the frequency above which sound fed back to the effect is filtered out.) Adjusts the amount of the delay sound that’s fed back into the effect. note NORMAL. INVERT: inverted) Proportion of the delay sound that is to be returned to the input (negative values invert the phase) Frequency at which the high-frequency content of the delayed sound will be cut (BYPASS: no cut) Panning of the delay sound Amount of boost/cut for the highfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and delay sound (W) Output volume Delay R in Balance D Balance W 2-Band EQ High Gain R out Balance # Level Parameter Delay Left Delay Right Phase Left Phase Right Feedback Mode Feedback # Value 0–1300 ms.

Adjusts the frequency above which sound fed back to the effect is filtered out. Negative (-) settings invert the phase.Effects List 45: SERIAL DELAY This delay connects two delay units in series. note Delay R in Modulation Balance D Balance W 2-Band EQ R out Delay2 Feedback # -98– +98% Parameter Delay Left Delay Right Feedback Mode Feedback # Value 0–1300 ms. BYPASS L64–63R -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 HF Damp 200–8000 Hz. Frequency of modulation note 0–127 Depth of modulation 0-180 deg Spatial spread of the sound -15– +15 dB Gain of the low frequency range -15– +15 dB D100:0W– D0:100W 0–127 Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level 208 . BYPASS Rate # Depth Phase Low Gain High Gain Balance # Level 0.MFX-46a Balance D L in L out Pan L L in Delay Feedback Feedback 2-Band EQ Balance W L out Modulation Delay 1 Feedback 1 Delay 2 Feedback 2 Pan R R in Parameter Delay1 Time R out Range 0–1300 ms. BYPASS Delay2 Time 0–1300 ms. set this parameter to BYPASS. If you don’t want to filter out any high frequencies. Delay2 HF Damp Pan # Low Gain High Gain Balance # Level 200–8000 Hz. Selects the way in which delay sound is fed back into the effect (See the figures above. fig.05–10. CROSS -98– +98% Description Adjusts the time until the delay sound is heard.00 Hz. note NORMAL.) Adjusts the amount of the delay sound that’s fed back into the effect.MFX-46b Balance D Delay1 Feedback # -98– +98% L in Delay Feedback Feedback 2-Band EQ Balance W L out Modulation Delay1 HF Damp 200–8000 Hz. Feedback can be applied independently to each delay unit. note Delay R in Modulation Balance D Balance W Explanation Delay time from when sound is input to delay 1 until the delay sound is heard Proportion of the delay sound that is to be returned to the input of delay 1 (negative values invert the phase) Frequency at which the high-frequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut) Delay time from when sound is input to delay 2 until the delay sound is heard Proportion of the delay sound that is to be returned to the input of delay 2 (negative values invert the phase) Frequency at which the high-frequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut) Panning of the delay sound Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and delay sound (W) Output volume 2-Band EQ R out When Feedback Mode is CROSS: fig. When Feedback Mode is NORMAL: fig. allowing you to produce complex delay sounds.MFX-45 46: MODULATION DELAY Adds modulation to the delayed sound.

Negative (-) settings invert the phase. If you don’t want to filter out any the high frequencies. If you do not want to filter out any high frequencies.MFX-49 Balance D L in Left Tap Triple Tap Delay Feedback Center Tap 2-Band EQ Balance W L out Balance D L in Feed back Delay 1 Delay 3 Balance W 2-Band EQ L out Right Tap Balance D Balance W R in 2-Band EQ R out Multi Tap Delay Delay 4 Delay 2 Balance W Parameter Delay Left/ Right/Center Center Feedback # Value 0–2600 ms. center. Adjusts the amount of the delay sound that’s fed back into the effect. Adjusts the frequency above which sound fed back to the effect is filtered out. fig. set this parameter to BYPASS. Each of the Delay Time parameters can be set to a note length based on the selected tempo.Effects List 47: 3TAP PAN DELAY Produces three delay sounds. BYPASS Delay 1–4 Level 0–127 Low Gain -15– +15 dB High Gain -15– +15 dB D100:0W– Balance # D0:100W Level 0–127 209 . Adjusts the amount of the delay sound that’s fed back into the effect. Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase. left and right. BYPASS 0–127 -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 200–8000 Hz. You can also set the panning and level of each delay sound. Volume of each delay Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level 0–2600 ms. BYPASS Delay 1–4 Pan L64–63R Delay 1–4 Level 0–127 Low Gain -15– +15 dB High Gain Balance # Level -15– +15 dB D100:0W– D0:100W 0–127 48: 4TAP PAN DELAY This effect has four delays. note -98– +98% Description Adjusts the time until Delays 1–4 are heard. fig.MFX-48b R out 2 1 L Parameter Delay 1–4 Time Delay 1 Feedback # 3 4 R Value Stereo location of each delay Description Adjusts the time until the delay sound is heard. note -98– +98% HF Damp 200–8000 Hz. Stereo location of Delays 1–4 Output level of Delays 1–4 Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the effect sound (W) Output level HF Damp Left/Right/ Center Level Low Gain High Gain Balance # Level 200–8000 Hz. Adjusts the frequency above which sound fed back to the effect is filtered out. set this parameter to BYPASS. fig. Negative (-) settings invert the phase. If you do not want to filter out any high frequencies. note -98– +98% Description Adjusts the time until the delay sound is heard. set this parameter to BYPASS.MFX-48a Balance D L in Delay 1 Feedback Delay 2 L out Balance W Quadruple Tap Delay Delay 3 Delay 4 Balance W R in Balance D fig. Volume of each delay Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level HF Damp R in Balance D 2-Band EQ R out Parameter Delay 1–4 Time Delay 1 Feedback # Value 0–2600 ms. Adjusts the frequency above which sound fed back to the effect is filtered out.MFX-47 49: MULTI TAP DELAY This effect provides four delays.

MFX-51 L in Feedback Rev D1 L in 2-Band EQ L out Feedback 2-Band EQ Delay A L out A Delay Delay B D2 Rev. When set to 100%. set this parameter to BYPASS. fig.MFX-50 51: SHUFFLE DELAY Adds a shuffle to the delay sound. Volume of the tap delay sounds 0–127 ‘Delay 2 Level Amount of boost/cut for the lowLow Gain -15– +15 dB frequency range High Gain Balance # Level -15– +15 dB D100:0W–D0:100W 0–127 Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and delay sound (W) Output volume Shuffle Rate # 0–100% Acceleration 0–15 Feedback # -98– +98% HF Damp Pan A/B Level A/B Low Gain High Gain Balance # Level 200–8000 Hz. A tap delay is connected immediately after the reverse delay. the delay times are the same. giving the sound a bouncy delay effect with a swing feel. Adjusts the speed which the Delay Time changes from the current setting to its specified new setting. fig. Negative (-) settings invert the phase. quency content of the reverse-deRev Dly HF Damp BYPASS layed sound will be cut (BYPASS: no cut) Panning of the reverse delay Rev Dly Pan L64–63R sound Volume of the reverse delay Rev Dly Level 0–127 sound Delay time from when sound is Delay 1 – 3 Time 0–1300 ms.Effects List 50: REVERSE DELAY This is a reverse delay that adds a reversed and delayed sound to the input sound. Adjusts the amount of the delay that’s fed back into the effect. note Description Adjusts the time until the delay sound is heard. note input into the tap delay until the delay sound is heard Proportion of the delay sound that is to be returned to the input Delay 3 Feedback # -98– +98% of the tap delay (negative values invert the phase) Frequency at which the low-frequency content of the tap delay Delay HF Damp 200–8000 Hz. Stereo location of Delay A/B Volume of delay A/B Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the effect sound (W) Output level Parameter Threshold Range 0–127 Explanation Volume at which the reverse delay will begin to be applied Delay time from when sound is Rev Dly Time 0–1300 ms. L64–63R Panning of the tap delay sounds ‘Delay 2 Pan Delay 1 Level’. note input into the reverse delay until the delay sound is heard Proportion of the delay sound that is to be returned to the input Rev Dly Feedback # -98– +98% of the reverse delay (negative values invert the phase) Frequency at which the high-fre200–8000 Hz. BYPASS 0–127 0–127 -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 210 . If you don’t want to filter out any high frequencies. Delay Delay D3 B 2-Band EQ R in 2-Band EQ R out R in R out Parameter Delay Time # Value 0–2600 ms. Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds. BYPASS sound will be cut (BYPASS: no cut) Delay 1 Pan’. Adjusts the frequency above which sound fed back to the effect is filtered out.

The rate of change for the Delay Time directly affects the rate of pitch change.MFX-53 Pan # Low Gain High Gain Balance # Level L in Time Ctrl Delay Feedback Feedback Pan L 2-Band EQ L out Time Ctrl Delay R in Parameter Delay Time # Pan R 2-Band EQ Value 0–1300 ms. Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level L 3D Delay L 3D Delay C Feedback Level 2-Band EQ HF Damp L out Low Gain High Gain Balance # 200–8000 Hz. Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. Stereo location of the delay Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level Output Mode SPEAKER. PHONES Acceleration 0–15 Low Gain High Gain Balance # Level -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Feedback # -98– +98% HF Damp 200–8000 Hz. or PHONES when using headphones. set this parameter to BYPASS. Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies. BYPASS Time Control Delay Balance W Feedback Left Level Right Level Center Level 0–127 R in Balance D 2-Band EQ R out Parameter Delay Time # Value 0–2600 ms. Adjusts the amount of the delay that’s fed back into the effect. The rate of change for the Delay Time directly affects the rate of pitch change. fig. Adjusts the proportion of the delay sound that is fed back into the effect. fig. 211 . note Description Adjusts the time until the delay is heard.MFX-54 L in HF Damp Balance D 2-Band EQ Balance W L out 200–8000 Hz. Output level of the delay sound Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers.Effects List 52: 3D DELAY This applies a 3D effect to the delay sound. BYPASS L64–63R -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 53: TIME CTRL DELAY A stereo delay in which the delay time can be varied smoothly. BYPASS -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 3D Delay R R Parameter Delay Left Delay Right Delay Center Center Feedback # Level 2-Band EQ Value 0–2600 ms. Adjusts the frequency above which sound fed back to the effect is filtered out. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies. If you do not want to filter out any high frequencies. Negative (-) settings invert the phase.MFX-52 Parameter Feedback # Value -98– +98% Description Adjusts the amount of the delay that’s fed back into the effect. set this parameter to BYPASS. note R out Description Adjusts the time until the delay is heard. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Output Level 54: LONG T CTL DELAY (LONG TIME CONTROL DELAY) -98– +98% A delay in which the delay time can be varied smoothly. and allowing an extended delay to be produced. Acceleration 0–15 Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. fig. Negative (-) settings invert the phase. The delay sound will be positioned 90 degrees left and 90 degrees right. note R out Description Adjusts the delay time from the direct sound until the delay sound is heard. set this parameter to BYPASS.

Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Center frequency of the filter Switch between white noise and pink noise. Increasing this value will increase the distortion. S+M+L 0–127 0–127 -15– +15 dB -15– +15 dB L64–63R Parameter Mode Description Combination of playback heads to use Select from three different heads with different delay times. 60 Hz 200–8000 Hz. If you don’t want to filter out any high frequencies. BYPASS 0–127 50 Hz. BYPASS 0–127 LP. EP. middle. SP. The sound quality grows poorer as this value is increased. S: short.MFX-56 L in L in Direct Level L out Echo Level 2-Band EQ Lo-Fi Noise Gen. S+M. and long playback heads Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Center frequency of the low pass filter applied to the white/pink noise (BYPASS: no cut) Volume of the white/pink noise Type of record noise The frequency at which the noise is heard depends on the selected type. BYPASS 0–127 -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 Tape Distortion 0–5 Wow/Flutter Rate Wow/Flutter Depth Echo Level # Direct Level # Level 0–127 0–127 0–127 0–127 0–127 212 . S+L. this adds various types of noise such as white noise and disc noise. Amount of delay repeats Boost/cut for the lower range of the echo sound R in Parameter LoFi Type 2-Band EQ Value 1–9 R out Description Degrades the sound quality. Volume of the record noise Frequency of the hum noise Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut) Volume of the hum noise Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Output level Repeat Rate # Intensity # Bass Treble Head S Pan Head M Pan Head L Pan Filter Type OFF. RND 200–8000 Hz. set this parameter to BYPASS.MFX-55 56: LOFI NOISE In addition to a lo-fi effect. HPF Boost/cut for the upper range of the echo sound Independent panning for the short. Adjusts the cutoff frequency of the low pass filter applied to the record noise. Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity) Depth of wow/flutter Volume of the echo sound Volume of the original sound Output level Filter Cutoff W/P Noise Type W/P Noise LPF W/P Noise Level # Disc Noise Type Disc Noise LPF Disc Noise Level # Hum Noise Type Hum Noise LPF Hum Noise Level # Low Gain High Gain Balance # Level 200–8000 Hz WHITE. PINK 200–8000 Hz. L. This simulates the tape echo section of a Roland RE-201 Space Echo. M+L. LPF. M. fig. fig. M: middle.Effects List 55: TAPE ECHO A virtual tape echo that produces a realistic tape delay sound. Lo-Fi L out Tape Echo Echo Level R in Direct Level R out Value S. L: long Tape speed Increasing this value will shorten the spacing of the delayed sounds.

this effect also generates radio noise. 1: Compressor off 2–6: Compressor on Degrades the sound quality. HPF Post Fil Cutoff Low Gain High Gain Balance # Level # 200–8000 Hz -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 Balance D L in Phonograph Phonograph Balance W Balance W L out 58: LOFI RADIO In addition to a Lo-Fi effect. the tuning drifts further. Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Basic frequency of the Post Filter Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Output level LoFi Type 1–9 60: PHONOGRAPH Simulates a sound recorded on an analog record and played back on a record player.MFX-60 Post Fil Type OFF. Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Basic frequency of the Post Filter Simulates the tuning noise of a radio. fig. LPF. The sound quality grows poorer as this value is increased. LPF. EP. and even the rotational irregularities of an old turntable.Effects List 57: LOFI COMPRESS This is an effect that intentionally degrades the sound quality for creative purposes. Volume of the radio noise Volume balance between the direct sound (D) and the effect sound (W) Output level Filter Type OFF. SP 0–127 2-Band EQ Value 1–9 R out Dust Noise Lev0–127 el Hiss Noise Lev0–127 el Total Noise Lev0–127 el # Wow 0–127 Flutter Random Total Wow/ Flutter # Balance # Level 0–127 0–127 0–127 D100:0W– D0:100W 0–127 Parameter LoFi Type Description Degrades the sound quality. This effect also simulates the various types of noise that are typical of a record.MFX-59 L in R in Telephone Telephone L out R out L in Compressor Lo-Fi 2-Band EQ 2-Band EQ L out Parameter R in Compressor Value 1–6 Value 0–15 -15– +15 dB D100:0– D0:100W 0–127 Description Audio quality of the telephone voice Bandwidth of the telephone voice Volume balance between the direct sound (D) and the effect sound (W) Output level Lo-Fi Description R out Voice Quality # Treble Balance # Level Parameter Pre Fil Type Selects the type of filter applied to the sound before it passes through the Lo-Fi effect. Amount of noise due to scratches on the record Volume of noise due to dust on the record Volume of continuous “hiss” Volume of overall noise Depth of long-cycle rotational irregularity Depth of short-cycle rotational irregularity Depth of indefinite-cycle rotational irregularity Depth of overall rotational irregularity Volume balance between the direct sound (D) and the effect sound (W) Output level L in Lo-Fi Radio Lo-Fi R in 2-Band EQ L out 0–127 Disc Type Scratch Noise Level LP. Rotational speed of the turntable This will affect the frequency of the scratch noise.MFX-58 R in Balance D R out Parameter Signal Distortion Frequency Range Value 0–127 Description Depth of distortion Frequency response of the playback system Decreasing this value will produce the impression of an old system with a poor frequency response. fig.MFX-57 59: TELEPHONE fig. As this value is raised. The sound quality grows poorer as this value is increased. fig. HPF Filter Cutoff Radio Detune # Radio Noise Level # Balance # Level 200–8000 Hz 0–127 0–127 D100:0W– D0:100W 0–127 213 .

note -98– +98% L64-63R 0–127 -15– +15 dB -15– +15 dB A100:0B-A0:100B Description A stereo pitch shifter. note 0–127 0–127 -100– +100 cent 0–1300 ms. Negative (-) settings will invert the phase. Stereo location of the Pitch Shift 1 sound Volume of the Pitch Shift1 sound Pitch 1:Feedback # -98– +98% You can use multi-effect control to make the step sequence play again from the beginning (p. and can add two pitch shifted sounds to the original sound. This 2-voice pitch shifter has two pitch shifters. Adjusts the delay time from the direct sound until the pitch shifted sound is heard. Pitch 1:Pan # Pitch 1:Level L64-63R 0–127 214 .MFX-61 PITCH SHIFTER (Feedback Pitch Shifter) Parameter Pitch 2: Coarse #2 Pitch 2:Fine #2 Pitch 2:Delay Pitch 2:Feedback # Pitch 2:Pan # Pitch 2:Level Low Gain High Gain Value -24-+12 semi -100-+100 cent 0–1300 ms. note Description Adjusts the pitch of Pitch Shift 1 in semitone steps. Adjusts the proportion of the pitch shifted sound that is fed back into the effect.MFX-63 L in Step Pitch Shifter Step Pitch Shifter R in 2-Band EQ L out 2-Band EQ Range -24–+12 semi 0.MFX-62 Balance D L in Level 1 Pan 1 L Pan 1 R Pan 2 L Pan 2 R Balance D L out Balance W Fine Delay Time 2Voice Pitch Shifter Level 1 Balance W Feedback # -98– +98% R in R out Low Gain High Gain Balance # Level -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Parameter Pitch 1: Coarse #1 Pitch 1:Fine #1 Pitch 1:Delay Value -24-+12 semi -100-+100 cent 0–1300 ms.Effects List 61: fig. fig. Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.00 Hz. L in Pitch Shifter Pitch Shifter R in Parameter Coarse #1 Fine #1 Delay Time 2-Band EQ L out Settings of the Pitch Shift 2 sound. note R out Level Balance Description Adjusts the pitch of the pitch shifted sound in semitone steps. The parameters are the same as for the Pitch Shift 1 sound. Negative (-) settings will invert the phase. 193). Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.05–10. Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the pitch shifted sound (W) Output Level Balance Level D100:0W-D0:100W 0-127 Gain of the low range Gain of the high range Volume balance between the Pitch Shift 1 and Pitch Shift 2 sounds Volume balance between the direct sound (D) and the pitch shifted sound (W) Output Level 63: STEP PCH SHIFTER (STEP PITCH SHIFTER) Feedback # Low Gain High Gain Balance # Level -98– +98% -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence. fig. 2-Band EQ Value -24– +12 semi -100– +100 cent 0–1300 ms. note R out 62: 2VOI PCH SHIFTER (2VOICE PITCH SHIFTER) Parameter Step 01–16 Rate # Attack # Gate Time # Explanation Amount of pitch shift at each step (semitone units) Rate at which the 16-step sequence will cycle Speed at which the amount of pitch shift changes between steps Duration of the pitch shifted sound at each step Pitch shift adjustment for all steps (2-cent units) Delay time from the original sound until the pitch-shifted sound is heard Proportion of the pitch-shifted sound that is to be returned to the input (negative values invert the phase) Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and pitch-shifted sound (W) Output volume Shifts the pitch of the original sound. Adjusts the pitch of the pitch shifted sound in 2-cent steps.

more of the high frequencies will be cut. STAGE2.MFX-67 OD → FLANGER (OVERDRIVE → FLANGER) Balance D 65: GATED REVERB This is a special type of reverb in which the reverberant sound is cut off before its natural length. note 0–127 -98– +98% Description Degree of distortion Also changes the volume. note 0–127 Description Degree of distortion Also changes the volume.0–100. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Negative (-) settings will invert the phase. simulating an acoustic space. REVERSE.MFX-64 Parameter High Gain Balance # Level # Value -15– +15 dB D100:0W–D0:100W 0–127 Description Gain of the high range Volume balance between the direct sound (D) and the reverb sound (W) Output Level L in Balance D 2-Band EQ Balance W L out Reverb Balance W 66: R out fig. If you do not want to cut the high frequencies. fig. SWEEP1. Stereo location of the overdrive sound Adjusts the delay time from when the direct sound begins until the flanger sound is heard.00 Hz. Gain of the low range Fln Balance # D100:0W–D0:100W Level 0–127 215 .0 ms 0. Output Level R in Balance D 2-Band EQ Description R out Od Pan # Fln Pre Delay Fln Rate # Fln Depth Fln Feedback # Parameter Value Type NORMAL.00 Hz. ROOM2.0–100.MFX-66 R in Balance D 2-Band EQ Description OD → CHORUS (OVERDRIVE → CHORUS) L out Balance D Balance W Parameter Value L in Overdrive R in Type ROOM1. SWEEP2 Pre Delay Gate Time Low Gain 0.0 ms 0–127 HF Damp 200–8000 Hz. HALL1. As the frequency is set lower.0–100. Time length of reverberation Adjusts the frequency above which the reverberant sound will be cut. set this parameter to BYPASS. Stereo location of the overdrive sound Adjusts the delay time from the direct sound until the chorus sound is heard.0 ms 5–500 ms -15– +15 dB Type of reverb NORMAL: conventional gated reverb REVERSE: backwards reverb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right Adjusts the delay time from the direct sound until the reverb sound is heard. fig. Frequency of modulation Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect.Effects List 64: REVERB Adds reverberation to the sound.05–10. STAGE1.05–10. Output Level Cho Balance # D100:0W–D0:100W Level 0–127 Volume balance between the direct sound (D) and the reverb sound (W) Output Level 67: fig.0–100.0 ms 0.MFX-65 L in Feedback L out Balance W Balance W Overdrive Flanger L in Balance D 2-Band EQ Balance W L out R in Balance D R out Gated Reverb Balance W Parameter Od Drive # Value 0–127 L64–63R 0. Frequency of modulation Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Gain of the low range Gain of the high range Chorus Balance W R out Balance D Parameter Od Drive # Od Pan # Cho Pre Delay Cho Rate # Cho Depth Value 0–127 L64–63R 0. BYPASS Low Gain High Gain Balance # Level -15– +15 dB -15– +15 dB D100:0W–D0:100W 0–127 Type of reverb 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 Adjusts the delay time from the direct sound until the reverb sound is heard. Adjusts the time from when the reverb is heard until it disappears. resulting in a softer and more muted reverberance. HALL2 Pre Delay Time # 0.

set this parameter to BYPASS.MFX-68 OD → DELAY (OVERDRIVE → DELAY) L out Balance D Balance W 70: DST → FLANGER (DISTORTION → FLANGER) → L in The parameters are essentially the same as in “67: OD FLANGER. Negative (-) settings will invert the phase. Output Level R in Balance D R out Delay Feedback # -98– +98% 71: DST → DELAY (DISTORTION → DELAY) → Delay HF Damp 200–8000 Hz. Adjusts the frequency above which sound fed back to the effect will be cut. Stereo location of the overdrive sound Adjusts the delay time from the direct sound until the delay sound is heard.MFX-72 ENH → CHORUS (ENHANCER → CHORUS) Enhancer Mix Balance D Balance W L in L out Balance D Balance W L out Chorus Balance W L in Distortion R in Chorus Balance W R in Enhancer Mix Balance D R out R out Balance D Parameter Enh Sens # Enh Mix # Cho Pre Delay Cho Rate # Cho Depth Cho Balance # Level Value 0–127 0–127 0.00 Hz. note Description Degree of distortion Also changes the volume.05–10.0 ms 0.” with the exception of the following two.MFX-70 Overdrive Delay Balance W Feedback Balance D L in Feedback L out Balance W Balance W R in Balance D R out Distortion Parameter Od Drive # Od Pan # Delay Time Flanger Value 0–127 L64–63R 0–2600 ms. BYPASS The parameters are essentially the same as in “68: OD DELAY.” with the exception of the following two.MFX-71 L in Balance D L out Balance W Delay Balance # D100:0W–D0:100W Distortion Delay Balance W Feedback Level 0–127 R in Balance D R out 69: DST → CHORUS (DISTORTION → CHORUS) → The parameters are essentially the same as in “66: OD CHORUS. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level 216 .” with the exception of the following two. OD Drive → Dst Drive.MFX-69 72: fig. note 0–127 D100:0W– D0:100W 0–127 Description Sensitivity of the enhancer Level of the overtones generated by the enhancer Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Adjusts the proportion of the delay sound that is fed back into the effect. OD Pan → Dst Pan fig. OD Pan → Dst Pan fig.Effects List 68: fig. If you do not want to cut the high frequencies. OD Drive → Dst Drive. OD Drive → Dst Drive. OD Pan → Dst Pan fig.0–100.

Adjusts the proportion of the delay sound that is fed back into the effect. Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Volume balance between the direct sound (D) and the flanger sound (W) Adjusts the delay time from the direct sound until the delay sound is heard. note 217 .0 ms 0. Output Level Delay Time Parameter Enh Sens # Enh Mix # Fln Pre Delay Fln Rate # Fln Depth Fln Feedback # Value 0–127 0–127 0.Effects List 73: fig. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).0–100. note Description Sensitivity of the enhancer Level of the overtones generated by the enhancer Adjusts the delay time from the direct sound until the delay sound is heard.MFX-73 ENHANCER → FLANGER (ENH → FLANGER) Balance D 75: CHORUS → DELAY fig. Delay Feedback # -98– +98% Delay HF Damp 200–8000 Hz. Output Level Flanger R in Balance D Delay Balance W Feedback R out Balance D Parameter Fln Pre Delay Fln Rate # Fln Depth Fln Feedback # Value 0.00 Hz.0–100.0–100. If you do not want to cut the high frequencies. set this parameter to BYPASS. note 0–127 -98– +98% Parameter Cho Pre Delay Cho Rate # Cho Depth Cho Balance # Value 0.MFX-76 Delay Balance W Feedback R in Enhancer Mix Balance D R out Balance D L in Feedback Balance D Balance W Balance W L out Balance W Parameter Enh Sens # Enh Mix # Delay Time Value 0–127 0–127 0–2600 ms.00 Hz.0 ms 0. Negative (-) settings will invert the phase. Frequency of modulation Depth of modulation Volume balance between the direct sound (D) and the chorus sound (W) Adjusts the delay time from the direct sound until the delay sound is heard.00 Hz. Adjusts the frequency above which sound fed back to the effect will be cut.MFX-74 Delay Balance # Level D100:0W–D0:100W 0–127 L in Enhancer Mix Balance D L out Balance W 76: FLANGER → DELAY fig. BYPASS ENH → DELAY 74: (ENHANCER → DELAY) fig. Output Level 0–2600 ms. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).05–10. If you do not want to cut the high frequencies. note Delay Feedback # -98– +98% Fln Balance # Level D100:0W– D0:100W 0–127 Delay HF Damp 200–8000 Hz.05–10. Frequency of modulation Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. set this parameter to BYPASS.0 ms 0. Frequency of modulation Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. note 0–127 -98– +98% Description Adjusts the delay time from when the direct sound begins until the flanger sound is heard.MFX-75 Balance D L in L out Balance D Balance W L out Balance W L in Enhancer Mix Feedback Balance W Chorus Balance W Delay Balance W Feedback Flanger Balance W R in Balance D Balance D R out R in Enhancer Mix Balance D R out Description Sensitivity of the enhancer Level of the overtones generated by the enhancer Adjusts the delay time from when the direct sound begins until the flanger sound is heard. note 0–127 D100:0W–D0:100W Description Adjusts the delay time from the direct sound until the chorus sound is heard. Negative (-) settings will invert the phase. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut.05–10. BYPASS Delay Balance # D100:0W–D0:100W Fln Balance # D100:0W–D0:100W Level 0–127 Delay Time 0–2600 ms.

16–15000 Hz HF Damp LF Damp Lid EQ Low Freq EQ Low Gain EQ Mid Freq EQ Mid Gain EQ Mid Q EQ High Freq EQ High Gain Level 1–6 200. set this parameter to BYPASS. Frequency of the low-range EQ Amount of low-range boost/cut Frequency of the midrange EQ Amount of midrange boost/cut Width of midrange (larger values make the region narrower) Frequency of the high-range EQ Amount of high-range boost/cut Output Level 218 .0 ms Description Peaking Freq Fln Balance # Level Adjusts the delay time from the direct sound until the chorus sound is heard.0 2000.0–100.00 Hz. 1.0 16–15000 Hz.5. note effect 0–127 Modulation depth of the flanger effect Adjusts the proportion of the flanger sound that is fed back into the ef-98– +98% fect. Adjusts the volume balance between the sound that is sent through the D100:0W–D0:100W flanger (W) and the sound that is not sent through the flanger (D). Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).0.0–100. BYPASS BYPASS. 4000. 2.00 Hz. Negative (-) settings will invert the phase. BYPASS On an acoustic piano. 4. fig. Modulation frequency of the chorus 0. This effect simulates these sympathetic resonances.05–10. Modulation frequency of the flanger 0.0.0. Output Level 0–127 Peaking Gain -15– +15 dB Peaking Q 0.0.Effects List Parameter Delay Feedback # Value -98– +98% Description Adjusts the proportion of the delay sound that is fed back into the effect. If you do not want to cut the high frequencies.0.05–10.5. Resonance R in Parameter Range 0–127 0–127 16–15000 Hz. 8000 Hz -15–+15 dB 0–127 Depth to which the damper pedal is pressed (controls the resonant sound) Frequency of the filter that cuts the high-frequency content of the input sound (BYPASS: no cut) Frequency of the filter that cuts the low-frequency content of the input sound (BYPASS: no cut) Frequency of the filter that boosts/ cuts a specific frequency region of the input sound Amount of boost/cut produced by the filter at the specified frequency region of the input sound Width of the frequency region boosted/cut by the ‘Peaking Gain’ parameter (larger values make the region narrower) Frequency at which the high-frequency content of the resonant sound will be cut (BYPASS: no cut) Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut) This simulates the actual changes in sound that occur when the lid of a grand piano is set at different heights. 1. 4. 8. Negative (-) settings will invert the phase. note effect Modulation depth of the chorus effect 0–127 Volume balance between the direct D100:0W–D0:100W sound (D) and the chorus sound (W) Adjusts the delay time from when 0. BYPASS BYPASS.0. 400 Hz -15– +15 dB 200–8000 Hz -15– +15 dB 0. 2. holding down the damper pedal allows other strings to resonate in sympathy with the notes you play. Adjusts the frequency above which sound fed back to the effect will be cut. 16–15000 Hz 200–8000 Hz 3-Band EQ L out 77: CHORUS → FLANGER fig. creating rich and spacious resonances. Output Level 78: SYMPATHETIC RESO (SYMPATHETIC RESONANCE) Delay HF Damp 200–8000 Hz.0 ms the direct sound begins until the flanger sound is heard. 8.MFX-78 Delay Balance # Level D100:0W–D0:100W 0–127 L in Sym.MFX-77 3-Band EQ Explanation Depth of the effect R out Balance D Balance D Depth # L in Balance W Feedback L out Balance W Damper # Chorus Balance W Flanger Balance W Pre LPF R in Balance D Balance D R out Pre HPF Parameter Cho Pre Delay Cho Rate # Cho Depth Cho Balance # Fln Pre Delay Fln Rate # Fln Depth Fln Feedback # Value 0.

01: CHORUS Rate Depth Pre Delay Feedback 0. Volume of each delay sound Whole note Double note HF Damp 200–8000 Hz. Parameter Value 0 1 2 3 (OFF). 1 (CHORUS): Chorus is used. note: fig. Adjusts the amount of the chorus sound that is fed back into the effect. Adjusts the proportion of the delay sound that is fed back into the effect. This is because there is an upper limit for the delay time. slowing down the tempo will not change the delay time beyond a certain length. note 0–127 0. 2 (DELAY): Delay is used. if the delay time is specified as a note value and you slow down the tempo until this upper limit is reached. Adjusts the frequency above which sound fed back to the effect will be cut. 3 (GM2 CHORUS): GM2 Chorus is used. and the characteristics of the selected effect type. LPF.0 ms 0–127 Frequency of modulation Depth of modulation Adjusts the delay time from the direct sound until the chorus sound is heard. These settings allow you to select chorus or delay.05–10. Frequency of modulation Depth of modulation Adjusts the amount of chorus sound that will be sent to the reverb. Higher values will cut more of the high frequencies. the delay time cannot change any further. Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Spatial spread of the sound If you specify the delay time as a note value. set this parameter to BYPASS. BYPASS Left Level Right Level Center Level 0–127 03: GM2 CHORUS Pre-LPF Level Feedback Delay Rate Depth Send Level To Reverb 0–7 0–127 0–127 0–127 0–127 0–127 0–127 Cuts the high frequency range of the sound coming into the chorus. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value.0–100.00 Hz. 0 (OFF): Neither Chorus or Delay is used. 219 . (GM2 CHORUS) Chorus Type Description Selects either Chorus or Delay. (CHORUS). Adjusts the delay time from the direct sound until the chorus sound is heard. (DELAY). Negative (-) settings will invert the phase. note Adjusts the delay time from the direct sound until the delay sound is heard. If you do not want to cut the high frequencies.MFX-note2.Effects List Chorus Parameters The SonicCell’s Chorus effect unit can also be used as a stereo delay unit. HPF Cutoff Freq Phase 200–8000 Hz 0–180˚ 02: DELAY Delay Left Delay Right Delay Center Center Feedback -98–+98% 0–1000 ms. Volume of the chorus sound Adjusts the amount of the chorus sound that is fed back into the effect.e Sixty-fourth-note triplet Thirty-second note Sixteenth note Eighth note Quarter note Half note Sixty-fourth note Sixteenth-note triplet Eighth-note triplet Quarter-note triplet Half-note triplet Whole-note triplet Double-note triplet Thirty-second-note triplet Dotted thirty-second note Dotted sixteenth note Dotted eighth note Dotted quarter note Dotted half note Dotted whole note Filter Type OFF.

(SRV PLATE).” there will be no reduction of the reverb’s high-frequency content. 7: delay Cuts the high frequency range of the sound coming into the reverb. the more the density increases with time.” Adjusts the amount of damping applied to the frequency range selected with HF Damp. or “damped. Parameter Value Description Type of reverb 0 (OFF): Reverb is not used. HALL2.) Adjusts the frequency below which the low-frequency content of the reverb sound will be reduced. Time length of reverberation Size of the simulated room or hall Adjusts the frequency above which the highfrequency content of the reverb will be reduced. PAN-DELAY) Adjusts the frequency above which the high-frequency content of the reverb sound will be cut. ROOM2.” there will be no reduction of the reverb’s low-frequency content. HALL1. STAGE1. (SRV HALL). Output level of reverberation Time length of reverberation Adjusts the amount of the delay sound that is fed back into the effect when the Reverb Character setting is 6 or 7. Amount of delay sound returned to the input (this setting is valid only if Type is DELAY or PAN-DELAY) Type ROOM1. DELAY. or “damped. (REVERB). Density of reverb LF Damp Freq LF Damp Gain HF Damp Freq HF Damp Gain 50–4000 Hz -36–0 dB 4000 Hz–12. PAN-DELAY Time 0–127 HF Damp 200–8000 Hz.0–100.Effects List Reverb Parameters These settings allow you to select the desired type of reverb. (SRV ROOM).5 kHz -36–0 dB Adjusts the change in the density of the reverb over time.0 ms 0–127 1–8 160 Hz–12. Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY. (GM2 REVERB) Pre-LPF Level Time Delay Feedback 0–7 0–127 0–127 0–127 01: REVERB Type of reverb/delay ROOM1: short reverb with high density ROOM2: short reverb with low density STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: very clear-sounding reverb HALL2: rich reverb DELAY: conventional delay effect PAN-DELAY: delay effect with echoes that pan left and right Time length of reverberation (Type: ROOM1–HALL2) Delay time (Type: DELAY. BYPASS 0–127 0–127 Adjusts the delay time from the direct sound until the reverb sound is heard. 1 (REVERB): Normal reverb 2 (SRV ROOM): This simulates typical room acoustic reflections.” If you do not want to cut the high frequencies. Higher values will cut more of the high frequencies. or “damped. BYPASS Delay Feedback 0–127 02: SRV ROOM 03: SRV HALL 04: SRV PLATE Pre Delay Time Size High Cut Density Diffusion 0. (The effect of this setting is most pronounced with long reverb times. Adjusts the frequency above which the highfrequency content of the reverb sound will be reduced. set this parameter to BYPASS. set this parameter to BYPASS. 3 (SRV HALL): This simulates typical concert hall acoustic reflections. With a setting of “0.5 kHz. 4 (SRV PLATE): This simulates a reverb plate. With a setting of “0. a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. If you do not want to reduce the high frequencies. 5 (GM2 REVERB): GM2 Reverb Parameter Value Description 05: GM2 REVERB Character 0–7 Type of reverb 0–5: reverb 6. STAGE2. and its characteristics.” Adjusts the amount of damping applied to the frequency range selected with LF Damp. Reverb Type 0 1 2 3 4 5 (OFF). 220 . The higher the value.

400 Hz -15–+15 dB 2000. 8000 Hz -15–+15 dB Explanation Center frequency of the low-frequency range Amount of low-frequency boost/cut Center frequency of the high-frequency range Amount of high-frequency boost/cut 06: CENTER CANCELER Removes the sounds that are localized at the center of the stereo input. 01: EQUALIZER Adjusts the tone of the low-frequency and high-frequency ranges. Parameter Release Threshold Post Gain Range 0–127 0–127 0–+18 dB Explanation Time from when the input falls below the Threshold until compression ceases Volume level at which compression will begin Level of the output sound 221 . Range 200. to keep distortion from occurring. Parameter Threshold Release Range 0–127 0–127 Explanation Volume at which noise suppression will begin Time from when noise suppression begins until the volume reaches zero. Parameter Low Freq Low Gain High Freq High Gain 05: NOISE SUPPRESSOR Suppresses noise during periods of silence. Parameter Sens Mix Range -50– +50 16–15000 Hz 16–15000 Hz Explanation Volume balance of the L (left) and R (right) channels for removing the sound Lower frequency limit of the band to be removed Upper frequency limit of the band to be removed Range 0–127 0–127 Explanation Depth of the enhancer effect Volume of the harmonics that are generated 03: COMPRESSOR Restrains high levels and boosts low levels to make the overall volume more consistent. Parameter Attack Threshold Post Gain Range 0–127 0–127 0–+18 dB Explanation Time from when the input exceeds the Threshold until the volume begins to be compressed Volume level at which compression will begin Level of the output sound 04: LIMITER Compresses the sound when it exceeds a specified volume.Effects List Input Effect Parameters Selects the type of effect that will be applied to the external input source. This is a convenient way to eliminate a vocal. 4000. Parameter Ch Balance Range Low Range High 02: ENHANCER Modifies the harmonic content of the high-frequency range to add sparkle to the sound.

Performance List USER (USER GROUP) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name Seq:Template Seq:Temp 2 Seq:Temp 3 Seq:Temp 4 Seq:Temp 5 Seq:Temp 6 Seq:Temp 7 Seq:Temp 8 Seq:Temp 9 Seq:Temp 10 Seq:Temp 11 Seq:Temp 12 Seq:Temp 13 Seq:Temp 14 Seq:Temp 15 Seq:Temp 16 Seq:Temp 17 Seq:Temp 18 Seq:Temp 19 Seq:Temp 20 Seq:Temp 21 Seq:Temp 22 Seq:Temp 23 Seq:Temp 24 Seq:Temp 25 Seq:Temp 26 Seq:Temp 27 Seq:Temp 28 Seq:Temp 29 Seq:Temp 30 Seq:Temp 31 Seq:Temp 32 No 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Name GM2 Template SuperRichPNO Bs/Piano Brite Piano CrystalGrand SuperPhaseEP D50 Memories RockOrg Delicate SuperStrings Braves Orchestral Sonic Pole Twilight 3AM Ocean Jupiters Blizzard Horizon Buzz 80s TripTo80s 80s Stack AutoNoise World Lead XyloSawLead WoodyFltLd Saturn Tale Synchronize Gramophone PRST(PRESET GROUP) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name Seq:Template Seq:Temp 2 Seq:Temp 3 Seq:Temp 4 Seq:Temp 5 Seq:Temp 6 Seq:Temp 7 Seq:Temp 8 Seq:Temp 9 Seq:Temp 10 Seq:Temp 11 Seq:Temp 12 Seq:Temp 13 Seq:Temp 14 Seq:Temp 15 Seq:Temp 16 Seq:Temp 17 Seq:Temp 18 Seq:Temp 19 Seq:Temp 20 Seq:Temp 21 Seq:Temp 22 Seq:Temp 23 Seq:Temp 24 Seq:Temp 25 Seq:Temp 26 Seq:Temp 27 Seq:Temp 28 Seq:Temp 29 Seq:Temp 30 Seq:Temp 31 Seq:Temp 32 No 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Name GM2 Template SuperRichPNO Bs/Piano Brite Piano CrystalGrand SuperPhaseEP D50 Memories RockOrg Delicate SuperStrings Braves Orchestral Sonic Pole Twilight 3AM Ocean Jupiters Blizzard Horizon Buzz 80s TripTo80s 80s Stack AutoNoise World Lead XyloSawLead WoodyFltLd Saturn Tale Synchronize Gramophone 222 .

CC#32 = 0 ) User129-256 (CC#0 = 87.GUITAR EL.GUITAR DIST.GUITAR AC.PIANO AC.GUITAR DIST.PIANO COMBINATION EL.GUITAR DIST.PIANO EL.GUITAR PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED FLUTE FLUTE ETHNIC ETHNIC SAX SAX SAX WIND HARMONICA ACCRDION AC.PIANO ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS STRINGS STRINGS ORCHESTRA ORCHESTRA SOFT PAD SOFT PAD SOFT PAD SOFT PAD SOFT PAD SOFT PAD BRIGHT PAD BRIGHT PAD BRIGHT PAD BRIGHT PAD BRIGHT PAD AC.PIANO EL.GUITAR DIST.Patch List USER(User Group) User 1-128 (CC#0 = 87.BRASS SAX SYNTH BRASS SYNTH BRASS SYNTH BRASS 91 Wind Syn Ld 92 Follow Me 93 SC Saw Ld 1 94 Sync Ld Mono 95 SC Brt Nylon 96 So good ! 97 SC 12str Gtr 98 Jazz Guitar 99 Strat Gtr 100 Trem-o-Vibe 101 Searing COSM 102 Larsen /Aft 103 SC Loud Gtr 104 Sitar on C 105 Pat is away 106 Bosporus 107 Aerial Harp 108 Nice Kalimba 109 SC Flute 110 Andes Mood 111 LongDistance 112 Ambi Shaku 113 Soprano Sax 114 Solo AltoSax 115 XP TnrBrethy 116 Good Old Day 117 BluesHrp V/S 118 Squeeze Me! 119 Solo Tp 120 SC Violin No PatchName 121 SC Cello 122 Juno-D Maj7 123 Sweet House 124 ElectroDisco 125 Groove 007 126 Autotrance 127 Compusonic 2 128 Passing by PAD LEAD LEAD LEAD PatchCategory Voice STRINGS TECHNO SYNTH TECHNO SYNTH BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE SYNTH FX 1 4 4 5 4 4 4 4 User129–256: “INIT PATCH” 223 .GUITAR AC. CC#32 = 1 ) No Name 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 Rich Grand JD-800 Piano Stage Phazer Lounge Kit SC Trem Wuly FM-777 SA EPiano HardRockORG1 Rocky Organ FullStop Org R&B Organ 2 X Perc Organ Smoky Organ Crummy Organ Chapel Organ Mid Pipe Org VntgClav Phase Clavi Funky Line Harpsy Clavi SonicStrings String Ens Wind & Str 1 Soft Orch 2 SC Hollow Heaven Pad Soft OB Pad Reso Pad Slow Saw Str JP Strings 2 Cell Comb Super SynStr 80s Str Polar Night Distant Sun SC Brt Brass Horny Sax 80s Brass 1 Juno-106 Brs Poly Brass Category Voice 2 1 2 2 1 5 3 4 2 3 4 3 1 2 2 4 3 2 2 2 8 3 7 7 4 3 3 3 2 5 3 2 8 4 4 4 2 6 1 2 No Name 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 JP8000 Brass Sonic Brass SuperSawSlow Cell Trance Trancy Synth Stacc Heaven Sugar Synth Himalaya Ice Wine Glass Synergy MLT AirPluck SC Marimba Cmp'd Fng Bs FingerMaster Return2Base! Chicken Bass SC Fretnot 1 Got Pop? Sonic Ac Bs Low Bass Foundation SC Rubber Bs Punch MG 2 SC GarageBs2 SC AcidPunch Loco Voco VirtualHuman Strobot SC Strobe HPF Slicer Choir Aahs 1 Choir Aahs 2 Angels Choir Syn Opera Choir&Str Terra Nostra Aah Vox Cell SquLead Howards Lead Windy Synth Category SYNTH BRASS SYNTH BRASS OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH BELL BELL MALLET MALLET MALLET BASS BASS BASS BASS BASS BASS BASS SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS PULSATING PULSATING PULSATING PULSATING VOX VOX VOX VOX VOX SOFT VOX SOFT SOFT SOFT Voice 6 4 2 3 2 4 5 2 4 2 4 1 3 2 1 3 2 1 1 3 2 3 2 2 2 2 4 2 4 3 4 4 4 4 7 8 2 4 3 3 No Name 81 82 83 84 85 86 87 88 89 90 Sinetific SoloNzPeaker Juno SftLd R&B TriLead X-Pulse Lead Theramax GR Lead Chubby Lead Shaku Lead Porta SoloLd Category SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD AC.GUITAR EL.BRASS STRINGS Voice 2 1 1 1 2 1 2 2 5 2 2 2 2 1 1 2 3 1 1 2 2 2 3 6 5 3 2 1 2 1 1 3 1 1 1 3 1 4 2 1 AC.PIANO EL.

PIANO EL.PIANO EL.PIANO EL.PIANO AC.PIANO AC.PIANO AC.Piano StageEP Trem Back2the60s Stage EP Stage Phazer StageCabinet Tine EP LEO EP LonesomeRoad Age'n'Tines Brill TremEP Crystal EP Vintage Tine Celestial EP Psycho EP Mk2 Stg phsr Dreaming EP Balladeer Remember Vibe EP sin(EP) SC Pure Wuly SC Trem Wuly Super Wurly Wurly Trem VelSpdWurly Fonky Fonky Category AC.PIANO AC.PIANO EL.PIANO AC.PIANO AC.PIANO KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET ORGAN ORGAN Voice 6 5 3 4 3 4 3 2 1 3 2 2 2 2 2 1 2 2 1 2 2 3 2 4 8 1 2 4 3 4 4 4 4 1 2 1 2 2 4 2 2 1 4 1 2 2 2 2 1 2 4 1 4 1 2 2 4 2 4 2 3 4 4 5 (Preset#) PR-A065 PR-A066 PR-A067 PR-A068 PR-A069 PR-A070 PR-A071 PR-A072 PR-A073 PR-A074 PR-A075 PR-A076 PR-A077 PR-A078 PR-A079 PR-A080 PR-A081 PR-A082 PR-A083 PR-A084 PR-A085 PR-A086 PR-A087 PR-A088 PR-A089 PR-A090 PR-A091 PR-A092 PR-A093 PR-A094 PR-A095 PR-A096 PR-A097 PR-A098 PR-A099 PR-A100 PR-A101 PR-A102 PR-A103 PR-A104 PR-A105 PR-A106 PR-A107 PR-A108 PR-A109 PR-A110 PR-A111 PR-A112 PR-A113 PR-A114 PR-A115 PR-A116 PR-A117 PR-A118 PR-A119 PR-A120 PR-A121 PR-A122 PR-A123 PR-A124 PR-A125 PR-A126 PR-A127 PR-A128 224 .PIANO EL. CC#32 = 64) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Name Rich Grand 88ConcertPno UltimatGrand X Pure Grand So true.PIANO EL.PIANO EL.PIANO EL.PIANO AC.PIANO AC.PIANO EL.PIANO EL..PIANO AC.PIANO EL.PIANO AC.PIANO EL.PIANO EL.PIANO EL.PIANO AC.PIANO EL.PIANO EL.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO Voice 2 2 2 2 2 3 2 2 2 2 2 2 4 2 2 4 4 4 4 4 4 6 5 7 1 2 4 2 4 5 4 4 4 1 1 1 3 5 2 2 4 2 2 1 4 2 2 2 2 1 4 4 3 4 3 2 1 2 1 1 3 3 2 2 (Preset#) PR-A001 PR-A002 PR-A003 PR-A004 PR-A005 PR-A006 PR-A007 PR-A008 PR-A009 PR-A010 PR-A011 PR-A012 PR-A013 PR-A014 PR-A015 PR-A016 PR-A017 PR-A018 PR-A019 PR-A020 PR-A021 PR-A022 PR-A023 PR-A024 PR-A025 PR-A026 PR-A027 PR-A028 PR-A029 PR-A030 PR-A031 PR-A032 PR-A033 PR-A034 PR-A035 PR-A036 PR-A037 PR-A038 PR-A039 PR-A040 PR-A041 PR-A042 PR-A043 PR-A044 PR-A045 PR-A046 PR-A047 PR-A048 PR-A049 PR-A050 PR-A051 PR-A052 PR-A053 PR-A054 PR-A055 PR-A056 PR-A057 PR-A058 PR-A059 PR-A060 PR-A061 PR-A062 PR-A063 PR-A064 No 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 Name FM EP mix FM-777 FM EPad EP Stack EP Belle 80s EP SA EPiano BrillClav DB Cell Clav VntgClav Cutter Clavi Funky D Phase Clavi BPF Clavi Ph Pulse Clavi PWM Clav Funky Line Biting Clav Analog Clavi Reso Clavi Snappy Clav Over-D6 Harpsy Clavi SC Harpsi Amadeus SC Celesta Himalaya Ice FM Syn Bell D-50 Fantsia Wine Glass MuBox Pad SC Bell 1 FM Heaven SC Glocken Music Bells SC Musicbox Music Box 2 Kalimbells Step Ice SC Bell 2 Candy Bell SC Chime Bell Ring Tubular Bell 5th Key Bell Monitor TubyRuesday Vibrations SC Vibe Ringy Vibes Airie Vibez SC Marimba FM Wood SC Xylo Ethno Keys Synergy MLT Icy Keys Steel Drums 50`SteelDrms Xylosizer Toy Box AirPluck HardRockORG1 HardRockORG2 Category EL.PIANO EL.PIANO AC.PIANO EL.PIANO AC. ConcertPiano Warm Piano ConcertGrand Hall Concert Bright Tune Mellow Tune Studio Grand DryStudio88 First Choice Rokkin' pF Dark Grand SC Grand+Pad Warm Pad Pno SC Grand+Vox Cicada Piano X Piano +Str Warm Str Pno Grand Hall Rapsody JD-800 Piano SA Dance Pno SC E-Grand Back E-Grand SC Grand+FM SC Blend Pno Piano Oz FX Piano AmbientPiano SC Pure EP SC Trem EP SC Phase EP PhaseEPLayer SC E.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO AC.PIANO AC.PIANO EL.PIANO EL.PIANO AC.PIANO EL.PIANO AC.Patch List PR-A (Preset A Group) (CC#0 = 87.PIANO EL.PIANO EL.PIANO EL.PIANO AC.PIANO AC..PIANO EL.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO EL.PIANO EL.PIANO AC.PIANO AC.PIANO EL.PIANO AC.PIANO EL.PIANO EL.PIANO AC.PIANO EL.

GUITAR EL.GUITAR DIST.GUITAR EL.GUITAR DIST.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR DIST.GUITAR AC.GUITAR AC.GUITAR DIST. CC#32 = 65) 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 SuperDistORG SuperDistLd2 FullDraw Org StakDraw Org FullStop Org SC Perc Org VKHold4Speed X Perc Organ Rocky Organ Euro Organ Rhythm'n'B Phono Organ LoFi PercOrg Rochno Org R&B Organ 1 R&B Organ 2 SC Dist Bee 60's Org 1 60's Org 2 Smoky Organ SC SoapOpera Crummy Organ Chapel Organ Grand Pipe Pipe Org/Mod Masked Opera Mid Pipe Org Vodkakordion Squeeze Me! Guinguette HarWonderca BluesHrp V/S Green Bullet SC Brt Nylon SoftNyln Gtr SC Nylon Gt Wet Nyln Gtr Pre Mass Hum Thick Steel Uncle Martin Wide Ac Gtr Comp Stl Gtr Stl Gtr Duo SC 12str Gtr So good ! StratSeq'nce Jazz Guitar DynoJazz Gtr Clean Gtr Crimson Gtr Plug n' Gig Kinda Kurt Nice Oct Gtr Strat Gtr Touch Drive SC Chunk Trem-o-Vibe LP Dist Hurtling Gtr Searing COSM SC Loud Gtr SC Plugged!! Punker 1 SC PowerChd Category ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ACCRDION ACCRDION ACCRDION HARMONICA HARMONICA HARMONICA AC.GUITAR Voice 4 4 3 4 3 4 4 3 2 2 4 2 1 4 2 4 1 2 2 1 1 2 2 3 6 6 4 3 4 3 2 1 2 1 2 2 3 4 2 2 4 2 2 3 2 3 1 1 1 2 1 2 2 1 1 4 2 2 3 2 3 1 2 2 (Preset#) PR-B001 PR-B002 PR-B003 PR-B004 PR-B005 PR-B006 PR-B007 PR-B008 PR-B009 PR-B010 PR-B011 PR-B012 PR-B013 PR-B014 PR-B015 PR-B016 PR-B017 PR-B018 PR-B019 PR-B020 PR-B021 PR-B022 PR-B023 PR-B024 PR-B025 PR-B026 PR-B027 PR-B028 PR-B029 PR-B030 PR-B031 PR-B032 PR-B033 PR-B034 PR-B035 PR-B036 PR-B037 PR-B038 PR-B039 PR-B040 PR-B041 PR-B042 PR-B043 PR-B044 PR-B045 PR-B046 PR-B047 PR-B048 PR-B049 PR-B050 PR-B051 PR-B052 PR-B053 PR-B054 PR-B055 PR-B056 PR-B057 PR-B058 PR-B059 PR-B060 PR-B061 PR-B062 PR-B063 PR-B064 No 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 Punker 2 Larsen /Aft Rockin' Dly Sonic Ac Bs Ulti Ac Bass Downright Bs Cmp'd Fng Bs Sonic Fng Bs Ultimo Bass Roomy Bass FingerMaster All Round Bs R&B Bs/Slide Sonic Pck Bs Thumb Up! Tubby Mute Chicken Bass Snug Bass Return2Base! Chorus Bass A Big Pick Basement SC Fretnot 1 SC Fretnot 2 RichFretless NewAge Frtls SlapBass1 Slap2 w/Fx Got Pop? JBass v/Thmb SC Slap Bass X Slap Bass Low Bass Mini Like! MC-404 Bass SC Rubber Bs SH-101 Bs 1 SC Syn Bass1 Juno-106 Bs Smooth Bass SC Flat Bs Foundation Punch MG 2 Electro Rubb R&B Bass 1 Enorjizor LowFat Bass Doze Bass DCO Bass Virtual RnBs Saw&MG Bass MG+SubOsc Bs R&B Bass 2 R&B Bass 3 Not a Bass ResoSyn Bs 1 SH-1 Bass SH-101 Bs 2 Punch MG 1 MKS-50 SynBs Gashed Bass Q Bass Super-G DX Kickin' Bass Category DIST.GUITAR DIST.GUITAR BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH Voice 2 2 3 1 2 3 3 3 2 2 2 2 2 3 1 2 3 2 1 2 3 1 2 3 2 3 1 1 1 2 2 3 3 2 2 3 2 3 2 2 3 2 2 2 2 2 3 1 4 2 4 2 1 2 2 2 2 2 2 1 2 3 3 2 (Preset#) PR-B065 PR-B066 PR-B067 PR-B068 PR-B069 PR-B070 PR-B071 PR-B072 PR-B073 PR-B074 PR-B075 PR-B076 PR-B077 PR-B078 PR-B079 PR-B080 PR-B081 PR-B082 PR-B083 PR-B084 PR-B085 PR-B086 PR-B087 PR-B088 PR-B089 PR-B090 PR-B091 PR-B092 PR-B093 PR-B094 PR-B095 PR-B096 PR-B097 PR-B098 PR-B099 PR-B100 PR-B101 PR-B102 PR-B103 PR-B104 PR-B105 PR-B106 PR-B107 PR-B108 PR-B109 PR-B110 PR-B111 PR-B112 PR-B113 PR-B114 PR-B115 PR-B116 PR-B117 PR-B118 PR-B119 PR-B120 PR-B121 PR-B122 PR-B123 PR-B124 PR-B125 PR-B126 PR-B127 PR-B128 BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 225 .GUITAR DIST.GUITAR AC.GUITAR EL.GUITAR DIST.Patch List PR-B (Preset B Group) (CC#0 = 87.GUITAR EL.GUITAR AC.GUITAR AC.GUITAR EL.GUITAR AC.GUITAR DIST.GUITAR EL.GUITAR DIST.GUITAR EL.GUITAR EL.GUITAR AC.GUITAR AC.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR EL.

BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.Patch List PR-C (Preset C Group) (CC#0 = 87.BRASS AC.BRASS AC.BRASS Voice 6 4 4 4 8 4 6 3 2 2 7 5 6 5 4 7 4 4 8 4 4 1 2 2 4 4 4 2 2 3 2 2 3 3 2 1 1 1 1 2 2 1 4 2 2 1 3 3 1 2 1 2 1 2 1 4 5 2 4 7 8 2 5 6 (Preset#) PR-C065 PR-C066 PR-C067 PR-C068 PR-C069 PR-C070 PR-C071 PR-C072 PR-C073 PR-C074 PR-C075 PR-C076 PR-C077 PR-C078 PR-C079 PR-C080 PR-C081 PR-C082 PR-C083 PR-C084 PR-C085 PR-C086 PR-C087 PR-C088 PR-C089 PR-C090 PR-C091 PR-C092 PR-C093 PR-C094 PR-C095 PR-C096 PR-C097 PR-C098 PR-C099 PR-C100 PR-C101 PR-C102 PR-C103 PR-C104 PR-C105 PR-C106 PR-C107 PR-C108 PR-C109 PR-C110 PR-C111 PR-C112 PR-C113 PR-C114 PR-C115 PR-C116 PR-C117 PR-C118 PR-C119 PR-C120 PR-C121 PR-C122 PR-C123 PR-C124 PR-C125 PR-C126 PR-C127 PR-C128 SYNTH BASS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS 226 . SC Brt Brass SC BrsSect 1 SC BrsSect 2 Tpts & Tmbs Brass & Sax BrassPartOut Category STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB WIND WIND WIND WIND WIND WIND WIND FLUTE FLUTE FLUTE FLUTE AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC. CC#32 = 66) No 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 Name OilDrum Bass Dust Bass Glide-iator SC AcidPunch TBasic SC Unison Bs Detune Bass Lo Bass SC GarageBs1 SC GarageBs2 Sub Sonic SC Jungle Bs R&B Bass 4 Simply Basic Beepin Bass MC-TB Bass Acdg Bass Loco Voco Unplug it! S&H Bass Destroyed Bs SC Acid Bs Lo-Fi TB Drop Bass Big Mini Muffled MG Intrusive Bs Alpha SynBs TransistorBs Juno-60 Bass Storm Bass Alpha ResoBs SH-101 Vibe Fazee Bass Hi-Energy Bs SC Violin Violin Viola SC Cello Cello Contrabass Dolce Qrt Chamber Str Small Str Marcato Bright Str String Ens SonicStrings Stringz 101 Crossed Bows Warm Strings Stacc mp Str Movie Scene Hybrid Str 1 Gang Strangs Clustered!?! Full Strings X StrSection Oct Strings Sahara Str Random Mood X Hall Str SC Slow Str Hybrid Str 2 Category SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS Voice 3 4 2 2 1 2 2 3 3 2 4 2 1 2 2 2 2 2 1 2 2 2 1 3 3 2 2 2 3 2 4 2 4 4 2 1 1 3 1 1 4 2 3 7 2 2 3 8 2 5 5 4 4 6 6 8 4 4 6 4 6 8 8 7 (Preset#) PR-C001 PR-C002 PR-C003 PR-C004 PR-C005 PR-C006 PR-C007 PR-C008 PR-C009 PR-C010 PR-C011 PR-C012 PR-C013 PR-C014 PR-C015 PR-C016 PR-C017 PR-C018 PR-C019 PR-C020 PR-C021 PR-C022 PR-C023 PR-C024 PR-C025 PR-C026 PR-C027 PR-C028 PR-C029 PR-C030 PR-C031 PR-C032 PR-C033 PR-C034 PR-C035 PR-C036 PR-C037 PR-C038 PR-C039 PR-C040 PR-C041 PR-C042 PR-C043 PR-C044 PR-C045 PR-C046 PR-C047 PR-C048 PR-C049 PR-C050 PR-C051 PR-C052 PR-C053 PR-C054 PR-C055 PR-C056 PR-C057 PR-C058 PR-C059 PR-C060 PR-C061 PR-C062 PR-C063 PR-C064 No 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 Name Biggie Bows Staccato VS So Staccato DelicatePizz Vls PizzHall Orch Pizz Pizz'Stac VS Mellow Tron Tronic Str Tape Memory Wind & Str 1 Wind & Str 2 Farewell Orch & Horns Soft Orch 1 Soft Orch 2 Henry IX Ending Scene Symphonika Mix Hit 2 Cheezy Movie Philly Hit Smear Hit 1 Smear Hit 2 Good Old Hit Mix Hit 1 Lo-Fi Hit 2ble Action In da Cave Housechord Mod Chord Dance Steam Good Old Day SC WindWood Clarence.BRASS AC.BRASS AC.net SC Oboe Hall Oboe English Horn Bassoon SC Flute Piccolo Andes Mood HimalayaPipe Solo Tp Horn Chops Flugel Horn Spit Flugel Mute Tp /Mod Harmon Mute Soft Tb Solo Tb Solo Bone XP Horn Grande Tuba SC Tuba StackTp Sect Tb Section TpTb Sect.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.

1 Sax Sect.BRASS SYNTH BRASS SYNTH BRASS SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS Voice 2 3 4 4 2 2 6 6 4 5 3 6 4 4 4 2 4 4 2 2 1 8 2 4 2 1 2 4 1 1 1 1 1 1 1 2 3 1 3 4 2 1 2 2 2 2 2 2 2 2 1 2 2 2 1 2 2 2 2 2 2 4 2 2 (Preset#) PR-D001 PR-D002 PR-D003 PR-D004 PR-D005 PR-D006 PR-D007 PR-D008 PR-D009 PR-D010 PR-D011 PR-D012 PR-D013 PR-D014 PR-D015 PR-D016 PR-D017 PR-D018 PR-D019 PR-D020 PR-D021 PR-D022 PR-D023 PR-D024 PR-D025 PR-D026 PR-D027 PR-D028 PR-D029 PR-D030 PR-D031 PR-D032 PR-D033 PR-D034 PR-D035 PR-D036 PR-D037 PR-D038 PR-D039 PR-D040 PR-D041 PR-D042 PR-D043 PR-D044 PR-D045 PR-D046 PR-D047 PR-D048 PR-D049 PR-D050 PR-D051 PR-D052 PR-D053 PR-D054 PR-D055 PR-D056 PR-D057 PR-D058 PR-D059 PR-D060 PR-D061 PR-D062 PR-D063 PR-D064 No 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 Name X-Sink Delay Destroyed Ld Synchro Lead Sync Ld Mono SyncModulate Distorted MG SonicVampire Blue Meanie SC Dist Lead Ringmod Lead Stimulation BodyElectric Classic Lead Feat Lead Wire Sync Epic Lead Bag Lead Wezcoast HyperJupiter Vintagolizer C64 Lead 303 NRG Cell SquLead SC Sqr Lead SH Sqr Lead Round SQR Windy Synth Sqr Diamond Sinetific PeakArpSine Howards Lead SoloNzPeaker Juno SftLd R&B TriLead R&B Tri Ld2 Jupiter Lead Dig-n-Duke SC SoftLead Mid Saw Ld X-Pulse Lead Mild 2-SawLd Mew Lead Shy Soloist Theramax Therasqu GR Lead SH-2 Lead SC ResoLead Modulated Ld Synthi Fizz Waspy Lead Pulstar Ld Naked Lead Alpha Spit Vliolin Lead Mod Lead JP Saw Lead Tristar Chubby Lead Sneaky Leady Shaku Lead Legato Tkno SCResoSaw Ld SliCed Lead Category HARD LEAD HARD LEAD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD Voice 3 2 2 1 3 1 2 2 2 4 4 3 4 2 3 2 3 2 3 4 2 2 4 2 2 2 3 2 2 1 3 1 1 1 1 1 2 2 4 2 2 1 1 1 1 2 2 3 1 2 1 1 1 1 2 4 2 2 2 2 5 1 2 2 (Preset#) PR-D065 PR-D066 PR-D067 PR-D068 PR-D069 PR-D070 PR-D071 PR-D072 PR-D073 PR-D074 PR-D075 PR-D076 PR-D077 PR-D078 PR-D079 PR-D080 PR-D081 PR-D082 PR-D083 PR-D084 PR-D085 PR-D086 PR-D087 PR-D088 PR-D089 PR-D090 PR-D091 PR-D092 PR-D093 PR-D094 PR-D095 PR-D096 PR-D097 PR-D098 PR-D099 PR-D100 PR-D101 PR-D102 PR-D103 PR-D104 PR-D105 PR-D106 PR-D107 PR-D108 PR-D109 PR-D110 PR-D111 PR-D112 PR-D113 PR-D114 PR-D115 PR-D116 PR-D117 PR-D118 PR-D119 PR-D120 PR-D121 PR-D122 PR-D123 PR-D124 PR-D125 PR-D126 PR-D127 PR-D128 SYNTH BRASS SYNTH BRASS SAX SAX SAX SAX SAX SAX SAX SAX SAX SAX SAX SAX SAX SAX HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD SOFT LEAD SOFT LEAD 227 .BRASS AC.Patch List PR-D (Preset D Group) (CC#0 = 87.BRASS AC.Horns Sect Full sForza Stereo Brass Wide SynBrss DetuneSawBrs J-Pop Brass 80s Brass 1 80s Brass 2 Ana Brass Soft Brass JP8000 Brass Sonic Brass Syn Brass Syn Brass 2 Xpand Brass Xpand Brass2 Super Saw SoftSynBrass Silky JP Silk Brs Pad 80s Brass 3 X-Saw Brass1 Cheesy Brass Dual Saw Brs Juno-106 Brs Poly Brass Stacked Brs Soprano Sax Solo Sop Sax Alto mp Alto Sax Solo AltoSax AltoLead Sax XP TnrBrethy Tenor Sax Fat TenorSax Baritone Sax Sax Sect. CC#32 = 67) No 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 Name Simple Tutti F.BRASS AC. 2 Horny Sax FXM Alto Sax Porta SoloLd Porta Lead Wind Syn Ld SC Saw Ld 1 SC Saw Ld 2 Juno Lead Follow Me DC Triangle Sqr-Seqence Pure Square Griggley SC LegatoSaw Lone Prophat Dual Profs Gwyo Press "Q" DualSaws Mogulator Ld DirtyVoltage Clean? Distortion SC Syn Ld SynLead 0322 Category AC.

. AllinOneRiff YZ Again Flazzy Lead Coffee Bee SC-303 Dance Saws AluminmWires Fred&Barney Electrostars LoFiSequence MelodicDrums TB Wah Waving TB303 Digi Seq Seq Saw Reso Seq Saw DetuneSeqSaw Technotribe Teethy Grit Repertition Killerbeez Acid Lead Tranceformer Anadroid Shroomy Noize R us Beep Melodie Morpher Uni-G Power Synth Hoover Again Alpha Said.. Ravers Awake Tekno Gargle Tranceiver Techno Dream Techno Pizz VirtualHuman Strobot SC Strobe Strobe X Rhythmic 5th Cell Pad DarknessSide Shape of X Sonic Dance ShapeURMusic Synth Force Trance Split Step Trance Chop Synth Category SOFT LEAD SOFT LEAD SOFT LEAD TECHNO SYNTH TECHNO SYNTH TECHNO SYNTH TECHNO SYNTH TECHNO SYNTH TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH Voice 2 2 4 4 4 4 6 2 4 2 2 7 6 7 7 8 2 1 8 3 6 4 2 2 1 3 3 1 1 2 2 3 4 4 2 1 1 3 2 4 8 2 4 4 2 2 2 4 4 4 4 2 4 5 4 3 6 5 5 5 4 2 1 2 (Preset#) PR-E001 PR-E002 PR-E003 PR-E004 PR-E005 PR-E006 PR-E007 PR-E008 PR-E009 PR-E010 PR-E011 PR-E012 PR-E013 PR-E014 PR-E015 PR-E016 PR-E017 PR-E018 PR-E019 PR-E020 PR-E021 PR-E022 PR-E023 PR-E024 PR-E025 PR-E026 PR-E027 PR-E028 PR-E029 PR-E030 PR-E031 PR-E032 PR-E033 PR-E034 PR-E035 PR-E036 PR-E037 PR-E038 PR-E039 PR-E040 PR-E041 PR-E042 PR-E043 PR-E044 PR-E045 PR-E046 PR-E047 PR-E048 PR-E049 PR-E050 PR-E051 PR-E052 PR-E053 PR-E054 PR-E055 PR-E056 PR-E057 PR-E058 PR-E059 PR-E060 PR-E061 PR-E062 PR-E063 PR-E064 No 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 Name Euro Teuro Auto Trance Eureggae Sorry4theDLY Beat Pad TMT Seq Pad ForYourBreak HPF Slicer Sliced Choir Digi-Doo PanningFrmnt Dirty Beat Electrons Protons Brisk Vortex SC Throbulax SC Lonizer diGital Pad StepPitShift Pad Pulses Seq-Pad 2 DSP Chaos Dancefloor Minor Thirds FX World Mr. CC#32 = 68) No 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 Name Mini Growl Evangelized Air Lead Juno-D Maj7 Sweet House Periscope 5th Voice HPF Sweep BPF Saw Moon Synth DelyResoSaws R-Trance Braatz.Patch List PR-E (Preset E Group) (CC#0 = 87. Fourier Nu Trance X Auto 5thSaws Cross Talk Reanimation VoX Chopper Trevor's Pad Fantomas Pad Jazzy Arps Keep Running Step In Echo Echo Keep going Arposphere Voco Riff Pulsator Motion Bass Sine Magic Juno-D Slice Pulsatron Mega Sync Passing by Lazer Points Retro Sci-Fi Magic Chime SC Try This! New Planetz Jet Noise Chaos 2003 Control Room OutOf sortz Scatter Low Beat-S WaitnOutside Breath Echo SoundStrange Cosmic Pulse Faked Piano SC Crystal Category PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH FX FX FX FX FX FX FX FX FX FX Voice 6 2 2 2 3 4 4 3 6 2 2 7 1 2 3 2 4 4 2 3 8 1 4 2 2 3 2 4 1 2 2 4 5 4 4 4 8 4 4 4 4 2 3 3 4 2 4 2 4 4 3 4 4 4 4 5 7 5 2 1 3 2 4 2 (Preset#) PR-E065 PR-E066 PR-E067 PR-E068 PR-E069 PR-E070 PR-E071 PR-E072 PR-E073 PR-E074 PR-E075 PR-E076 PR-E077 PR-E078 PR-E079 PR-E080 PR-E081 PR-E082 PR-E083 PR-E084 PR-E085 PR-E086 PR-E087 PR-E088 PR-E089 PR-E090 PR-E091 PR-E092 PR-E093 PR-E094 PR-E095 PR-E096 PR-E097 PR-E098 PR-E099 PR-E100 PR-E101 PR-E102 PR-E103 PR-E104 PR-E105 PR-E106 PR-E107 PR-E108 PR-E109 PR-E110 PR-E111 PR-E112 PR-E113 PR-E114 PR-E115 PR-E116 PR-E117 PR-E118 PR-E119 PR-E120 PR-E121 PR-E122 PR-E123 PR-E124 PR-E125 PR-E126 PR-E127 PR-E128 TECHNO SYNTH TECHNO SYNTH PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 228 ..

two Pad SaturnHolida Neuro-Drone In The Pass Polar Night Cell 5th MistOver5ths Gritty Pad India Garden BillionStars Sand Pad ReverseSweep HugeSoundMod Metal Swell NuSoundtrack OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX OTHER SYNTH OTHER SYNTH OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH BRIGHT PAD BRIGHT PAD BRIGHT PAD BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 229 .2 Pad two. CC#32 = 69) No 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 Name ResoSweep Dn Zap B3 & C4 PolySweep Nz Strange Land S&H Voc 12th Planet Scare Hillside Mod Scanner SoundOnSound Gasp ResoSweep Up Magic Wave Shangri-La CerealKiller Cosmic Drops Space Echo Robot Sci-Fi Stacc Heaven Juno Poly DigitalDream Jucy Saw Cue Tip Waspy Synth TB-Sequence Europe Xpres Squeepy DOC Stack Sweep Lead 80s Saws 1 80s Saws 2 80s Saws 3 Digitaless Flip Pad Short Detune forSequence Memory Pluck Metalic Bass Aqua Big Planet Wet Atax Houze Clavi SuperSawSlow Cell Trance Trancy X Trancy Synth Juno Trnce Saw Stack Frgile Saws Steamed Sawz RAVtune Bustranza AftTch Ji-n JP OctAttack Oct Unison Xtatic Dirty Combo FM's Attack Digi-vox Syn Fairy Factor Tempest X-Racer TB Booster Syn-Orch/Mod Category SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH FX FX FX FX FX FX FX FX FX FX Voice 1 1 4 6 2 2 7 1 2 1 8 1 2 5 1 1 4 4 4 4 2 3 1 2 1 2 1 2 2 8 6 5 2 3 2 2 2 2 2 2 2 2 2 3 4 2 4 2 2 2 2 2 2 2 6 4 2 3 1 6 2 2 2 4 (Preset#) PR-F001 PR-F002 PR-F003 PR-F004 PR-F005 PR-F006 PR-F007 PR-F008 PR-F009 PR-F010 PR-F011 PR-F012 PR-F013 PR-F014 PR-F015 PR-F016 PR-F017 PR-F018 PR-F019 PR-F020 PR-F021 PR-F022 PR-F023 PR-F024 PR-F025 PR-F026 PR-F027 PR-F028 PR-F029 PR-F030 PR-F031 PR-F032 PR-F033 PR-F034 PR-F035 PR-F036 PR-F037 PR-F038 PR-F039 PR-F040 PR-F041 PR-F042 PR-F043 PR-F044 PR-F045 PR-F046 PR-F047 PR-F048 PR-F049 PR-F050 PR-F051 PR-F052 PR-F053 PR-F054 PR-F055 PR-F056 PR-F057 PR-F058 PR-F059 PR-F060 PR-F061 PR-F062 PR-F063 PR-F064 No 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 Name Category SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH Voice 2 2 4 5 4 5 4 7 5 2 2 2 2 2 1 2 2 8 3 4 3 2 4 3 2 8 2 4 4 4 4 2 3 2 3 4 2 4 4 3 2 4 4 4 4 4 4 7 7 4 2 7 3 4 3 4 1 6 4 2 2 4 5 4 (Preset#) PR-F065 PR-F066 PR-F067 PR-F068 PR-F069 PR-F070 PR-F071 PR-F072 PR-F073 PR-F074 PR-F075 PR-F076 PR-F077 PR-F078 PR-F079 PR-F080 PR-F081 PR-F082 PR-F083 PR-F084 PR-F085 PR-F086 PR-F087 PR-F088 PR-F089 PR-F090 PR-F091 PR-F092 PR-F093 PR-F094 PR-F095 PR-F096 PR-F097 PR-F098 PR-F099 PR-F100 PR-F101 PR-F102 PR-F103 PR-F104 PR-F105 PR-F106 PR-F107 PR-F108 PR-F109 PR-F110 PR-F111 PR-F112 PR-F113 PR-F114 PR-F115 PR-F116 PR-F117 PR-F118 PR-F119 PR-F120 PR-F121 PR-F122 PR-F123 PR-F124 PR-F125 PR-F126 PR-F127 PR-F128 Pressyn OTHER High Five OTHER 4DaCommonManOTHER Orgaenia OTHER Sleeper OTHER Sugar Synth OTHER Ice Palace Story Harp LostParadise Magnetic 5th DigimaX Exhale X-panda Saw Keystep 4mant Cycle Modular Angel Pipes Wired Synth Analog Dream DCO Bell Pad Cell Fanta Juno 5th DoubleBubble Cell Comb Super SynStr 80s Str PhaseStrings Voyager Cosmic Rays Stringship Fat Stacks Strings R Us Electric Pad Neo RS-202 OB Rezo Pad Synthi Ens Giant Sweep Mod Dare Cell Space Digi-Swell Sonic Surfer New Year Day Polar Morn Distant Sun PG Chimes Saturn Rings Brusky "2 Point 2" 2.Patch List PR-F (Preset F Group) (CC#0 = 87.

Patch List PR-G (Preset G Group) (CC#0 = 87. CC#32 = 70) No 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 Name Phat Strings Soft OB Pad SC Hollow SC Sqr Pad Silk Pad WarmReso Pad SC Soft Pad Air Pad Soft Breeze JP Strings 1 JP Strings 2 DelayStrings NorthStrings SC Syn Str Slow Saw Str Syn Strings OB Slow Str Strings Pad R&B SoftPad Reso Pad Phat Pad SC PhaserPad Mystic Str Glass Organ Wind Pad Combination HumanKindnes BeautyPad Atmospherics Terra Nostra OB Aaahs Vulcano Pad Cloud #9 Organic Pad Hum Pad Vox Pad Digital Aahs Tri 5th Pad SC MovinPad Seq-Pad 1 Follow Consolament Spacious Pad JD Pop Pad JP-8 Phase Nu Epic Pad Forever Flange Dream Evolution X Heaven Pad Angelis Pad Juno-106 Str JupiterMoves Oceanic Pad Fairy's Song Borealis JX Warm Pad Analog Bgrnd Choir Aahs 1 Choir Aahs 2 ChoirOoh/Aft Angels Choir Angelique Gospel Oohs Category BRIGHT PAD SOFT PAD SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT VOX VOX VOX VOX VOX VOX PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD Voice 4 3 4 4 3 2 3 4 2 3 5 3 4 5 2 2 2 2 2 3 2 2 5 3 4 4 4 4 2 8 4 5 3 3 4 4 3 4 8 8 2 3 4 3 4 2 5 4 2 3 4 1 2 2 4 2 2 3 4 4 4 4 4 2 (Preset#) PR-G001 PR-G002 PR-G003 PR-G004 PR-G005 PR-G006 PR-G007 PR-G008 PR-G009 PR-G010 PR-G011 PR-G012 PR-G013 PR-G014 PR-G015 PR-G016 PR-G017 PR-G018 PR-G019 PR-G020 PR-G021 PR-G022 PR-G023 PR-G024 PR-G025 PR-G026 PR-G027 PR-G028 PR-G029 PR-G030 PR-G031 PR-G032 PR-G033 PR-G034 PR-G035 PR-G036 PR-G037 PR-G038 PR-G039 PR-G040 PR-G041 PR-G042 PR-G043 PR-G044 PR-G045 PR-G046 PR-G047 PR-G048 PR-G049 PR-G050 PR-G051 PR-G052 PR-G053 PR-G054 PR-G055 PR-G056 PR-G057 PR-G058 PR-G059 PR-G060 PR-G061 PR-G062 PR-G063 PR-G064 No 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 Name Choir&Str Aah Vox Synvox Uhmmm Morning Star Syn Opera BeautifulOne Ooze Aerial Choir 3D Vox Film Cue Paradise Sad ceremony Lost Voices Jazz Doos Beat Vox Talk 2 Me FM Vox Let's Talk! Nice Kalimba Quiet River Teky Drop Pat is away SC Sitar 1 SC Sitar 2 Sitar on C Sitar Baby Elec Sitar Neo Sitar SaraswatiRvr Bosporus Santur Stack Aerial Harp Harpiness Skydiver TroubadorEns Jamisen Koto Monsoon Bend Koto LongDistance Ambi Shaku SC Lochscape SC PipeDream SC Far East Banjo Timpani+Low Timpani Roll Bass Drum Ambidextrous En-co-re Mobile Phone ElectroDisco Groove 007 In Da Groove Sweet 80s Autotrance Juno Pop Compusonic 1 Compusonic 2 80s Combo Analog Days Techno Craft Lounge Kit Category VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED ETHNIC ETHNIC ETHNIC ETHNIC ETHNIC FRETTED PERCUSSION PERCUSSION PERCUSSION SOUND FX SOUND FX SOUND FX BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE COMBINATION COMBINATION COMBINATION COMBINATION Voice 7 2 2 8 3 4 4 2 4 3 4 4 8 4 4 1 2 4 3 1 4 4 5 4 5 6 1 3 2 3 3 4 2 2 2 4 2 8 4 2 1 3 2 4 4 2 4 2 4 2 4 1 5 4 4 4 4 4 4 4 3 3 3 2 (Preset#) PR-G065 PR-G066 PR-G067 PR-G068 PR-G069 PR-G070 PR-G071 PR-G072 PR-G073 PR-G074 PR-G075 PR-G076 PR-G077 PR-G078 PR-G079 PR-G080 PR-G081 PR-G082 PR-G083 PR-G084 PR-G085 PR-G086 PR-G087 PR-G088 PR-G089 PR-G090 PR-G091 PR-G092 PR-G093 PR-G094 PR-G095 PR-G096 PR-G097 PR-G098 PR-G099 PR-G100 PR-G101 PR-G102 PR-G103 PR-G104 PR-G105 PR-G106 PR-G107 PR-G108 PR-G109 PR-G110 PR-G111 PR-G112 PR-G113 PR-G114 PR-G115 PR-G116 PR-G117 PR-G118 PR-G119 PR-G120 PR-G121 PR-G122 PR-G123 PR-G124 PR-G125 PR-G126 PR-G127 PR-G128 230 .

GUITAR EL.Strings2 Choir Aahs Chorus Aahs Voice Oohs Humming SynVox Analog Voice OrchestraHit Bass Hit 6th Hit Euro Hit Trumpet Dark Trumpet Trombone Trombone 2 Bright Tb Tuba MutedTrumpet MuteTrumpet2 Category EL.GUITAR EL.GUITAR AC. Organ Organ 3 Church Org.Piano 1 St.GUITAR DIST.GUITAR AC.BRASS AC.Soft EP FM+SA EP Wurly E.BRASS AC.3 Reed Organ Puff Organ Accordion Fr Accordion It Harmonica Bandoneon Nylon-str. Mid Tone GTR Muted Gt.o Clav.2 Church Org. Category AC.GUITAR EL. Finger Slap Picked Bass Fretless Bs. Slap Bass 1 Slap Bass 2 Synth Bass 1 SynthBass101 Acid Bass Clavi Bass Hammer Synth Bass 2 Beef FM Bass RubberBass 2 Attack Pulse Violin Slow Violin Viola Cello Contrabass Tremolo Str PizzicatoStr Harp Yang Qin Timpani Strings Orchestra 60s Strings Slow Strings Syn.Patch List GM (GM2 Group) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Name Piano 1 Piano 1w European Pf Piano 2 Piano 2w Piano 3 Piano 3w Honky-tonk Honky-tonk 2 E.PIANO AC.PIANO AC.GUITAR DIST. Pulse Clav Celesta Glockenspiel Music Box Vibraphone Vibraphone w Marimba Marimba w Xylophone Tubular-bell Church Bell Carillon Santur Organ 1 Trem.BRASS AC.BRASS AC.PIANO EL.GUITAR Voices 2 2 2 2 2 2 2 2 2 1 3 3 1 4 4 4 4 2 2 7 2 4 2 2 1 1 2 1 1 1 1 1 1 1 4 4 3 2 1 2 3 3 4 4 2 4 6 3 1 3 3 2 3 1 1 2 1 4 3 2 4 1 1 1 LSB 0 1 2 0 1 0 1 0 4 0 1 2 3 0 1 2 3 4 0 1 2 3 0 1 0 0 0 0 1 0 1 0 0 1 2 0 0 1 2 3 0 1 2 0 0 1 2 0 1 0 1 0 0 0 1 2 3 0 1 2 3 0 1 0 PC 1 2 3 4 5 No 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 Name Chorus Gt.o Nylon Gt.PIANO EL. Pedal Steel Clean Gt.Harmonics Gt.2 Jazz Man Overdrive Gt Guitar Pinch DistortionGt Feedback Gt.Piano 2 Detuned EP 2 St.PIANO AC.PIANO AC.PIANO EL.2 Perc.Strings1 Syn.PIANO EL.Gt 12-str.1 Church Org.BRASS 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 18 19 20 21 22 23 24 25 26 57 58 59 60 27 28 231 . Organ 60's Organ 1 70's E.GUITAR EL.GUITAR AC.GUITAR AC.GUITAR DIST.PIANO AC.PIANO EL.BRASS AC.w Harpsi.GUITAR EL.PIANO EL.Gt Mandolin Steel + Body Jazz Gt.PIANO KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS BELL BELL MALLET MALLET MALLET MALLET MALLET BELL BELL BELL PLUCKED ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ACCRDION ACCRDION HARMONICA ACCRDION AC.GUITAR DIST.Organ Organ 2 Chorus Or.PIANO AC.GUITAR EL.PIANO AC.PIANO EL.GUITAR EL.FM EP EP Legend EP Phase Harpsichord Coupled Hps.GUITAR BASS BASS BASS BASS BASS BASS BASS SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH Voices 2 1 1 1 1 1 2 1 1 2 2 2 1 1 3 3 3 2 2 3 1 1 1 2 2 3 2 2 1 1 1 1 1 1 4 4 2 3 4 4 7 4 4 3 3 2 4 4 4 4 4 2 2 2 2 2 2 1 1 2 2 1 3 1 LSB 1 2 0 1 2 3 0 1 0 1 2 0 1 0 0 1 0 0 0 0 0 1 2 3 4 0 1 2 3 0 1 0 0 0 0 0 0 1 0 0 1 2 0 0 1 0 0 1 0 1 0 1 0 1 2 3 0 1 0 1 2 0 0 1 PC 29 30 31 32 33 34 35 36 37 38 39 6 7 8 9 10 11 12 13 14 15 16 17 BASS BASS BASS BASS BASS BASS 40 SYNTH BASS SYNTH BASS SYNTH BASS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS PLUCKED PLUCKED PERCUSSION STRINGS ORCHESTRA STRINGS STRINGS STRINGS STRINGS SOFT PAD VOX VOX VOX VOX VOX VOX HIT&STAB HIT&STAB HIT&STAB HIT&STAB AC.GUITAR DIST.BRASS AC.Gt Ukulele Nylon Gt.PIANO AC.GUITAR AC. Harpsi.GUITAR EL. Funk Pop Funk Gt.GUITAR EL.Strings3 Syn.GUITAR EL. Dist Rtm GTR Gt.2 Steel-str.PIANO EL. Fingered Bs. Feedback Acoustic Bs.GUITAR AC.PIANO EL.BRASS AC.GUITAR AC.

FretNoise Gt.GUITAR OTHER SYNTH PULSATING BRIGHT PAD BRIGHT PAD BRIGHT PAD BRIGHT PAD Voices 3 1 4 4 4 4 4 3 3 2 2 1 1 1 1 3 1 1 2 2 2 1 1 2 2 2 3 2 1 1 2 1 2 2 2 2 2 2 2 2 2 2 2 4 1 2 2 4 3 3 4 3 3 3 5 2 2 3 4 3 2 3 2 3 LSB 0 1 0 1 0 1 2 3 0 1 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 0 1 2 3 4 0 0 0 1 0 0 0 1 0 0 1 0 0 1 0 0 0 0 0 0 0 1 0 0 0 0 1 2 0 PC 61 62 63 No 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 Sitar Sitar 2 Banjo Shamisen Koto Taisho Koto Kalimba Bagpipe Fiddle Shanai Tinkle Bell Agogo Steel Drums Woodblock Castanets Taiko Concert BD Melo.GUITAR AC.Key Click Seashore Rain Thunder Wind Stream Bubble Bird Dog Horse-Gallop Bird 2 Telephone 1 Telephone 2 DoorCreaking Door Scratch Wind Chimes Helicopter Car-Engine Car-Stop Car-Pass Car-Crash Siren Train Jetplane Starship Burst Noise Applause Laughing Screaming Punch Heart Beat Footsteps Gun Shot Machine Gun Lasergun Explosion Category PLUCKED PLUCKED FRETTED PLUCKED PLUCKED PLUCKED PLUCKED ETHNIC STRINGS ETHNIC BELL PERCUSSION MALLET PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION AC.GUITAR SYNTH FX SYNTH FX SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX Voices 2 5 2 2 4 3 1 3 1 2 3 1 2 1 1 3 4 1 1 1 1 1 1 1 1 1 1 1 2 2 1 2 2 2 2 1 1 1 1 1 1 1 1 2 1 1 1 1 2 1 1 3 4 2 2 1 1 1 1 1 1 1 1 2 LSB 0 1 0 0 0 1 0 0 0 0 0 0 0 0 1 0 1 0 1 0 1 1 0 0 1 2 0 1 0 1 2 3 4 5 0 1 2 3 0 1 2 3 4 5 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 0 1 2 3 PC 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 124 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 125 126 127 128 104 232 . Tom 2 Synth Drum 808 Tom Elec Perc Reverse Cym. Gt.Horn 2 Brass 1 Brass 2 Synth Brass1 JP Brass Oct SynBrass Jump Brass Synth Brass2 SynBrass sfz Velo Brass 1 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 MG Square 2600 Sine Saw Wave OB2 Saw Doctor Solo Natural Lead SequencedSaw Syn.GUITAR AC.Cut Noise String Slap Breath Noise Fl. Tom 1 Melo.BRASS AC.BRASS AC.Patch List 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 French Horns Fr.BRASS AC.BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SAX SAX SAX SAX WIND WIND WIND WIND FLUTE FLUTE FLUTE FLUTE FLUTE ETHNIC FLUTE FLUTE HARD LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD SOFT LEAD SOFT LEAD HARD LEAD HARD LEAD SOFT LEAD HARD LEAD HARD LEAD HARD LEAD OTHER SYNTH SOFT PAD SOFT PAD OTHER SYNTH VOX VOX SOFT PAD BRIGHT PAD BRIGHT PAD SOFT PAD OTHER SYNTH SOFT PAD BELL BELL AC.Calliope Chiffer Lead Charang Wire Lead Solo Vox 5th Saw Wave Bass & Lead Delayed Lead Fantasia Warm Pad Sine Pad Polysynth Space Voice Itopia Bowed Glass Metal Pad Halo Pad Sweep Pad Ice Rain Soundtrack Crystal Syn Mallet Atmosphere Brightness Goblin Echo Drops Echo Bell Echo Pan Star Theme Category AC.

233 .Rhythm Set List USER (User Group) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name SonicCellKit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2 StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 Kit Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POP House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick Menu Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX Menu Percussion Scrh&Voi&Wld PRST (Preset Group) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name SonicCellKit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2 StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 Kit Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POP House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick Menu Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX Menu Percussion Scrh&Voi&Wld GM (GM Group) No 1 2 3 4 5 6 7 8 9 Name GM2 STANDARD GM2 ROOM GM2 POWER GM2 ELECTRIC GM2 ANALOG GM2 JAZZ GM2 BRUSH GM2 ORCHSTRA GM2 SFX * Rhthm Set are common to Preset Group and User Group.

H.Tom Crash Cym1a SF HT Flm Rock Ride 1 China Cymbal Splash Cym Tamborine2 Rock Crash 1 Cowbell3 Crash Cym1b Cowbell2 Lng Rock Ride 2 Conga 2H Mt Conga 2L Mt Conga 2H Slp Conga 2H Op Conga 2L Op Timbare 4 Timbare 3 Agogo 2 Hi Agogo 2 Low Cabasa 2 Shaker 2 Whistle Shrt Whistle Long Guiro 2 Up Guiro 2 Down Claves 2 Wood Block2H Wood Block2L Cuica 2 Low Cuica 2 Hi Triangle Mt Triangle Op Cabasa2 Cut DigiSpectrum Wind Chime Wood Block2M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 Mix Kick 4 Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 2 2 WD Std Kit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Tom Reg.Tom Crash Cym1a TY H.CHH 1 TY L.H.Tom TY H.M.H.Snr 2 Reg.Tom Reg.Tom Reg.M.CHH 2 LD M.CHH 2 TY M.Tom Rock Ride 1 China Cymbal Splash Cym Tamborine 3 Rock Crash 1 Cowbell3 Crash Cym1b Cowbell2 Lng Rock Ride 2 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Mild Agogo H Mild Agogo L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut DigiSpectrum Wind Chime Wood Block M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 Mix Clap Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 3 3 LD Std Kit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Kick 2 Reg.Rhythm Set List USER (User Group)/PRS (Preset Group) Prst: User: Note No.Snr Gst LD Rim RR F.F.Snr 2p Power Kick Reg.Tom Crash Cym1a LD H.Kick 2 Reg.PHH Reg.CHH 2 Reg.Tom Reg.Snr 2 Reg.Tom Rock Ride 1 China Cymbal Splash Cym Tamborine 3 Rock Crash 1 Cowbell3 Crash Cym1 Cowbell Rock Ride 2 Conga 2H Mt Conga 2L Mt Conga 2H Slp Conga 2H Op Conga Lo Op Timbale 1 Timbale 2 Agogo 2 Hi Agogo 2 Low Cabasa 2 Shaker 2 Whistle Shrt Whistle Guiro 2 Up Guiro Long Claves 2 Wood Block2H Wood Block2L Cuica 2 Low Cuica 2 Hi Triangle Mt Triangle Op Cabasa2 Cut DigiSpectrum Wind Chime Wood Block2M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 Mix Kick 4 Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 4 4 TY Std Kit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.PHH Reg.Snr2 p Power Kick Reg.F.OHH Reg.Kick TY Kick TY CStk TY Snr SF SnrGst TY Rim RR F.CHH 1 Reg.CHH 2 TY M.H.Tom 2 Rock Ride China Cymbal Ride Edge Tamborine Crash Cym2a Cowbell Low Crash Cym2b Cowbell Hi Ride Bell Conga Hi Mt Conga Lo Mt Conga Lo Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut Castanet Bongo Hi Mt Bongo Hi Slp Bongo Lo Slp Bongo Hi Op Bongo Lo Op Cajon 1 Cajon 2 Cajon 3 Vint Snr 2 Shaker 3 WD Rim Mix Kick 1 Mix Kick 2 Mix Kick 3 Mix Kick 4 Mix Kick 5 Mix Clap 1 Wind Chime Tibet Cymbal Crotale 6 6 StandardKit2 Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Tom Reg.Tom Reg.OHH TY M.Snr 2 Power Kick Reg.Stick Reg.OHH SF MT Flm SF H. 28 29 31 32 33 34 35 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 99 100 101 102 103 90 78 66 54 42 30 1 1 SonicCellKit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.PHH Reg.Kick 1 Reg.Tom Reg.Tom Reg.Tom 2 Reg.Tom LD H.Kick 1 WD Kick WD CStk WD Snr SF Snr Gst WD Rim RR F.Tom Reg.CHH 1 TY L.Snr Gst Reg.Kick 1 Reg.Tom 1 Crash Cym1 Reg.CHH 2 SF M.OHH Reg.OHH LD M.Tom Reg.M.Snr Gst Amb.Tom TY H.Kick SF Kick 1 SF CStk SF Snr SF Snr Gst SF Rim RR F.Tom Crash Cym1a Reg.Kick 2 Wild Stick Amb.Tom Crash Cym 2 TY H.CHH 1 LD L.L.Tom Reg.PHH Reg.Tom Reg.Snr 1 Reg.OHH TY M.TomFlm Rock Ride 1 China Cymbal Splash Cym Tamborine Rock Crash 1 Cowbell Hi Crash Cym1b Cowbell Low Rock Ride 2 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Mild Agogo H Mild Agogo L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut DigiSpectrum Wind Chime Wood Block M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Mix Kick 1 Cajon 1 Mix Kick 2 Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 234 .Tom Reg.Tom Reg.PHH Reg.CHH 2 Reg.Snr 1 Reg.Kick 2 Reg.Snr 2 Reg.Tom Reg.M.Tom Reg.PHH Reg.L.CHH 1 Reg.Kick 1 LD Kick LD CStk LD Snr Reg.TomFlm Reg.Snr 2 Reg.Tom Reg.Tom Rock Ride 1 China Cymbal Splash Cym Tamborine2 Crash Cym1a Cowbell3 Crash Cym1b Cowbell2 Lng Rock Ride 2 Conga 2H Mt Conga 2L Mt Conga 2H Slp Conga 2H Op Conga 2L Op Timbare 4 Timbare 3 Agogo 2 Hi Agogo 2 Low Cabasa 2 Shaker 1 Whistle Shrt Whistle Long Guiro 2 Up Guiro 2 Down Claves 2 Wood Block2H Wood Block2L Cuica 2 Low Cuica 2 Hi Triangle Mt Triangle Op Cabasa2 Cut DigiSpectrum Wind Chime Wood Block2M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 TY Rim f Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 5 5 StandardKit1 MaxLow Kick2 Rk CmpKick Gospel Clap Sweep Bass Sft Snr Gst HipHop Kick2 Reg.Tom 1 Reg.CHH 1 SF L.

Tom Reg.H.Snr1 Sharp L.F.Tom 2 Jazz Cymbal Reg.H.Tom 2 Reg.CHH 2 Reg.Snr 1 Amb Clap TY Rim Jazz Lo Tom1 Reg.Tom 1 Reg.TomFlm Rock Ride 1 China Cymbal Splash Cym Tamborine Rock Crash 1 Cowbell Hi Crash Cym1b Cowbell Low Rock Ride 2 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut DigiSpectrum Wind Chime Dist Chord 1 Dist Chord 2 Dist Chord 3 Dist Chord 4 Dist Chord 5 Rock CHH 2 Cowbell 2a Rock CHH 1 Cowbell 2b Rock OHH Fng.TomFlm Jazz Ride 2 China Cym 2 Cajon 1 Cajon 2 Cajon 3 Vint Snr 2 Shaker 3 WD Rim f Mix Kick 1 Mix Kick 2 Mix Kick 3 Mix Kick 4 Mix Kick 5 Mix Clap 1 Wind Chime Tibet Cymbal Crotale 11 11 Orch Kit Timpani Roll ConcertBD 2 R8 Shaker 1 Jngl pkt Snr Reverse Cym Snr Roll Jazz Ride Timpani Roll ConcertBD 1 Hard Stick Amb.L.Tom 1 Reg.CHH 2 Reg.Tom 1 Jazz Ride 1 China Cym 1 Ride Edge Tamborine Crash Cym Cowbell Low Crash Cym Cowbell Hi Ride Bell Conga Hi Mt Conga Lo Mt Conga Lo Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Jazz Kick 1 Jazz Kick 2 Hard Stick Jazz Rim Sft Snr Gst Jazz Snr Reg.CHH 1 Reg.Kick 1 Reg.Tom3 Rock OHH Sharp H.Kick TR909 Snr 4 TR808 Snr 2 Short Snr1 Vint Snr 4 8 8 Rock Kit 1 R&B Kick Rk CmpKick Sft Snr Gst Dry Kick 4 Snr Roll SH32 Kick Reg.L.H.M.F.Snr 2 Gospel Clap Concert SD Timpani F Timpani F# Timpani G Timpani G# Timpani A Timpani A# Timpani B Timpani C Timpani C# Timpani D Timpani D# Timpani E Timpani f Tamborine 3 Concert Cym Cowbell Mute Concert Cym2 Ride Cymbal Crash Cym1 Bongo Hi Op Bongo Lo Op Conga Hi Mt Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut Finger Snap Wind Chime Tibet Cymbal Vibraslap Crotale Applause TubulrBel F TubulrBel F# TubulrBel G TubulrBel G# TubulrBel A TubulrBel A# TubulrBel B TubulrBel C TubulrBel C# TubulrBel D TubulrBel D# TubulrBel E TubulrBel f Church Bell1 Church Bell2 12 12 909 808 Kit TR909 Kick 2 TR909 Kick 4 Urbn Sn Roll TR909 Kick 5 TR909 Snr 3 TR909 Kick 3 TR909 PHH 2 TR909 Kick 6 TR909 Kick 1 TR909 Rim TR909 Snr 1 TR909 Clap 1 TR909 Snr 2 TR909 Tom L TR909 CHH 1 TR909 Tom L TR909 PHH 1 TR909 Tom M TR909 OHH 2 TR909 Tom M TR909 Tom H TR909 Crash TR909 Tom H TR909 Ride 1 TR909 Crash1 TR909 Ride 2 CR78 Tamb 1 TR909 Crash2 JD Sm Metal TR909 Ride 3 Syn Swt Atk3 TR808 Kick 1 TR808 Kick 2 TR808 Rim TR808 Snr 2 TR808 Clap 2 TR808 Snr 4 TR808 Tom L TR808 CHH 1 TR808 Tom L TR808 CHH 2 TR808 Tom M TR808 OHH 1 TR808 Tom M TR808 Tom H TR808Cowbell TR808 Tom H TR606 Cym TR606 OHH 1 TR606 OHH 2 CR78 Tamb 2 CR78 OHH 1 Cowbell Mute CR78 OHH 2 Syn Swt Atk5 TR808 OHH 2 808 Maracas TR808 Claves Triangle Mt Triangle Op Narrow Hit 2 TR808 Cym1 MG Zap 4 Scratch 1 MG Zap 1 TR606 Snr 2 Synth Saw Digi Breath TR808 Cym2 TR808 Conga1 TR808 Conga2 Cajon 1 Vint Snr 3 Door Creak Vint.EB2 Sld Cajon 3 Cajon 2 Cajon 1 Gospel Clap Rock Crash 2 Rock Rd Cup Club FinSnap TR909 Snr 6 9 9 Rock Kit 2 MaxLow Kick2 MaxLow Kick1 LD Rim mf Power Kick Mix Clap 2 Vint Kick Rock CHH2 Rock Kick Rk CmpKick Wild Stick Maple Snr Sft Snr Gst Reg. 28 29 31 32 33 34 35 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 99 100 101 102 103 90 78 66 54 42 30 7 7 StandardKit3 HipHop Kick2 Syn Swt Atk1 Lo-Bit Stk 1 TR707 Kick TR808 Snr 5 Vint Kick 1 Reg.Tom Crash Cym1a Reg.Stick Reg.Tom1 Sharp H.Tom Reg.Snr Gst Reg.CHH 1 Reg.H.M.Tom 1 Reg.Kick 2 Reg.Tom 1 Jazz Crash Reg.CHH 1 Reg.CHH 2 Jazz Mid Tom Reg.Tom3 Ride Cymbal China Cymbal Ride Bell Tamborine 3 Rock Crash 2 Cowbell Mute Splash Cym Cowbell Rock Rd Cup Conga Hi Mt Conga Lo Mt Conga Slp Op Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut Wind Chime Dist Chord 1 Dist Chord 2 Dist Chord 3 Dist Chord 4 Dist Chord 5 Dist Chord 6 Rock CHH 2 Dist Chord 7 DistGtr Nz 1 DistGtr Nz 2 DistGtr Nz 3 JD Switch Cajon 3 Cajon 2 Cajon 1 Real Clap Gospel Clap Tibet Cymbal Tamborine 1 Tamborine 2 10 10 Brush Jz Kit TR909 Kick1a TR909 Kick1b Jazz Snr Reg.Kick 1 Soft Jz Roll Reg.Tom2 Crash Cym1 Sharp H.PHH Sharp L.Tom2 Reg.M.L.CHH 2 Reg.M.Rhythm Set List Prst: User: Note No.H.M.H.TomFlm Reg.Kick 2 Reg.OHH Reg.M.Snr1 Reg.F.PHH Jazz Kick 1 Jazz Kick 2 Hard Stick Jazz Rim Jz Brsh Swsh Jazz Snr Reg.Tom 2 Reg.Phone Door Creak 235 .OHH Reg.PHH Vint Kick 2 Old Kick 1 Lo-Bit Stk 4 Reg.CHH 1 Jazz Lo Tom2 Reg.Tom1 Rock CHH 1 Sharp L.OHH Jazz Mid Tom Jazz Hi Tom Crash Cym1 Jazz Hi Tom Rock Rd Edge China Cymbal Rock Rd Cup Tamborine Splash Cym Cowbell Rock Crash 2 TR808 Cym Jazz Ride Bongo Hi Bongo Lo Conga Hi Mt Conga Hi Conga Lo Timbale Hi Timbale Low Cowbell Hi Cowbell Low Cabasa Shaker Noise OHH 2 Scratch 5 Syn Low Atk2 MG Zap 3 Syn Swt Atk1 Syn Swt Atk4 Bongo Hi Slp Noise OHH Noise CHH Triangle 1 Triangle 2 Cajon 1 Cajon 3 Wind Chime SprgDrm Hit Crotale R8 Click Metro Bell DR202 Beep Reverse Cym Xylo Seq.Tom 2 Reg.PHH Reg.Tom 1 Reg.Tom Reg.OHH Reg. Vinyl Noise Mobile Phone Group Snap Laser Siren AnalogKick 3 Old Kick 2 Reg.TomFlm Reg.Snr2 Reg.

H.Tom TR808 Tom 3 Rock Crash 1 Reg.Tom Sharp H.TomFlm Lo-Bit OHH 1 TR606 Cym 2 Jazz Ride 1 Tamborine 1 TR606 OHH Vibraslap Mix Kick 2 Hip PHH Mix Kick 2 Rough Kick Dry Stick GoodOld Snr5 R8 Clap Jngl pkt Snr TR808 Tom Noise CHH 1 TR808 Tom Noise CHH 2 TR606 Tom L1 Lo-Bit OHH 2 TR606 Tom L2 TR606 Tom H1 Crash Cym 2 TR606 Tom H2 Jazz Ride 2 Splash Cym Rock Rd Edge Tamborine 3 Guiro Long Gospel Clap Tibet Cymbal Wind Chime Mix Kick 1 Mix Kick 2 Mix Kick 4 Vint Snr 1 Vint Snr 2 Vint Snr 3 Vint Snr 4 Noise CHH CR78 CHH Noise CHH 3 Noise OHH 2 Noise OHH 1 Heartbeat Scratch 2 Scratch 5 Scratch 1 Scratch 4 Scratch 6 Mobile Phone Sweep Bass 1 Sweep Bass 2 14 14 HipHop Kit 1 PlasticKick2 Group Snap Snr Roll AnalogKick 3 GoodOld Snr5 Dist Kick Noise CHH TR707 Kick Dry Kick 4 Jazz Rim Dirty Snr 2 Old Clap Vint Snr 4a TR909 Tom L HipHop CHH 2 Deep Tom L Lo-Bit PHH TR909 Tom M Lo-Bit OHH 2 Deep Tom M TR909 Tom H Crash Cym1 p Deep Tom H Rock Crash 1 Rock Rd Edge China Cymbal Snap TR808 Conga2 Vint Snr 4 TR808Cowbell Guiro Long Guiro 2 Guiro 1 Shaker 3 Noise CHH Cabasa 2 Vibraslap Mix Kick 2 Dist Snr Sweep Bass Short Snr1 CR78 CHH Shaker 2 CR78 Tamb Noise OHH Slight Bell Tibet Cymbal Wind Chime Scratch 2 Scratch 1 Scratch 10 Scratch 9 Smear Hit 2 Lofi Min Hit Thin Beef Dist Hit Narrow Hit 2 MG Attack MG Zap 9 Mix Clap 3 R8 Shaker Cabasa Down Cabasa Cut MaxLow Kick1 MaxLow Kick2 Lo-Bit Snr 1 Dance CHH Wild Stick MC500 Beep 1 MC500 Beep 2 Gospel Clap TR606 Cym China Cymbal Rock Crash 2 CR78 OHH Concert Cym 15 15 R&B Kit 70's Kick AnalogKick 6 Urbn Sn Roll HipHop Kick2 R&B ShrtSnr1 Old Kick HipHop CHH EuroHit Kick TR909 Kick 1 Dry Stick 4 Dirty Snr 2 Maple Snr Short Snr2 TR808 Tom 1 TR606 CHH 2 Reg.M.Tom f Lo-Bit CHH 4 Reg.F.Tom1 TR909 PHH 1 Sharp M.Tom Crash Cym 1 Reg.Tom Splash Cym Rock Rd Edge Concert Cym Cheap Clap Snap Lo-Bit Snr 2 Wood Block Shaku Noise Syn Hrd Atk1 JD MetalWind Maracas Cabasa Up Cabasa Down Cabasa Cut Tamborine 1 Tamborine 2 Tamborine 1 Triangle Mt Triangle Op Xylo Seq.F.Tom TR909 CHH 2 TR808 Tom 2 Lo-Bit OHH 2 Reg.OHH TR606 Tom M TR606 Tom H TR909 Crash1 TR606 Tom H Lite OHH 1 TR909 Crash2 Lite OHH 2 CR78 Tamb 2 TR909 Crash JD Sm Metal2 Lite OHH 3 Syn Swt Atk1 TR808 OHH 2 808 Maracas TR808 Claves Triangle Mt Triangle Op Narrow Hit 2 Euro Hit MG Zap 4 Scratch 1 MG Zap 1 TR606 Snr 2 Synth Saw Digi Breath DigiSpectrum Shaker 3 Conga 2H Slp Cajon 1 Vint Snr 3 Door Creak 1 Vint.Tom Lo-Bit OHH 2 Reg.OHH Vint Snr 2 WD Snr TR808 Cym 1 GoodOld Snr6 TR606 Cym 2 White Noise Bright Form CR78 Tamb SBF Hrd Ld 1 JD Sm Metal TR808 Cym 2 Syn Swt Atk3 TR909 Kick4a TR909 Kick4b TR808 Rim TR808 Snr 2 TR808 Clap 2 TR808 Snr 4 TR808 Tom 4 TR808 CHH 1 TR808 Tom 3 TR808 CHH 2 TR808 Tom 2 TR808 OHH 1 TR808 Tom 1 Scratch 3 Scratch 4 Scratch 5 Scratch 6 Old Clap Hand Clap R8 Clap Cabasa Cut R8 Shaker Tamborine 2 Cabasa Down Cabasa Cut Tibet Cymbal Crotale Slight Bell Wind Chime Triangle 1 Mild CanWave Cheap Clap JD Plunk Syn Swt Atk2 DistGtr Nz 2 River Bubble Train Pass LoFi Min Hit Pink Noise Agogo Noise SynVox Nz 1 SynVox Nz 2 R8 Click Syn Swt Atk1 17 17 Machine Kit1 TR909 Kick 2 TR909 Kick 4 Light Snr Mix Kick 5 DR660 Snr Mix Kick 2 TR808 PHH AnalogKick 6 70's Kick 1 TR808 Rim Jngl pktSnr1 Funk Clap Jngl pktSnr2 MG Attack TR808 CHH 1 MG Attack TR808 PHH MG Blip TR808 OHH 1 MG Blip Beam HiQ TR606 Cym 2a Beam HiQ Lo-Bit OHH1a TR606 Cym 2 Lo-Bit OHH1b CR78 Tamb 1 TR606 Cym 2b JD Sm Metal1 Lo-Bit OHH1c Syn Swt Atk3 AnalogKick 6 70's Kick 2 R8 Comp Rim Pocket Snr TR909 Clap 2 Vint Snr 4 TR606 Tom L Dance CHH TR606 Tom L Lo-Bit CHH 1 TR606 Tom M Reg. 28 29 31 32 33 34 35 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 99 100 101 102 103 90 78 66 54 42 30 13 13 Limiter Kit Dance Kick 1 HipHop Kick1 WD CStk R&B Kick 1 Wild Stick Dance Kick 2 Hip PHH LD Kick R&B Kick 2 Lo-Bit Stk 2 Wild Stick Dist Clap DR660 Snr Reg.TomFlm Reg.F.H.Tom TR909 Ride China Cymbal Rock Rd Edge Tamborine 3 Crash Cym1 p Cowbell Rock Crash 2 Vibraslap TR606 Cym 2 Bongo Lo Op Bongo Hi Op Conga Hi Mt Conga Hi Op Conga Lo Op Conga Efx Shaker 3 Shaker 2 CR78 Beat Cabasa Cut 1 Cabasa Cut 2 Lo-Bit PHH Scratch 7 Syn Low Atk2 MG Zap 7 Syn Swt Atk1 Syn Swt Atk4 Conga Thumb Triangle 1 Triangle 2 Euro Hit 1 Tao Hit Narrow Hit 2 Euro Hit 2 Wind Chime Timpani Roll Crotale R8 Click Metro Bell MC500 Beep 1 MC500 Beep 2 Atmosphere Agogo Noise Car Slip Group Snap Laser ConcertBD AnalogKick 3 Old Kick Reg.L.Kick TR909 Snr 4b TR808 Snr 2 Vint Snr 4 Light Snr 236 .Tom p Lo-Bit CHH 2 Reg.Phone Door Creak 2 18 18 Kit-Euro:POP TR707 Kick AnalogKick 1 Dirty Snr 6 FB Kick BrushRoll PlasticKick2 Reg.Tom TR909 Crash Sharp H.Tom TR909 OHH 2 Sharp M.H.Lite OHH 16 16 HiFi R&B Kit MaxLow Kick2 FB Kick Rough Kick1a MaxLow Kick1 Rough Kick3 Rk CmpKick TR909 Kick 5 Rough Kick1b R&B Kick Hard Stick GoodOld Snr3 GoodOld Snr4 GoodOld Snr2 Lo-Bit Snr 1 Noise CHH Jazz Snr Hip PHH Lo-Bit Snr 2 Reg.L.Tom2 TR909 CHH 1 Sharp L.Rhythm Set List Prst: User: Note No.CHH 2 Power Kick TR909 Kick 6 R&B ShrtRim1 TR909 Snr 3 TR909 Clap 1 TR909 Snr 4a Sharp L. Philly Hit LoFi Min Hit Vinyl Noise Cajon 1 Cajon 2 Cajon 3 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Lo Slp Conga Hi Op Conga Lo Op Conga Slp Op Conga Efx Conga Thumb Noise OHH Shaker 3 Castanet CR78 Beat CR78 OHH CR78 CHH Lite OHH CR78 Tamb JD Vox Noise Guiro 2 Fast Metro Click Metro Bell Wind Chime Crotale Crash Cym1 p TR909 Crash CR78 OHH Rev.

Gtr Harm Narrow Hit2b Euro Hit Jazz Lo Tom1 TR909 D.Kick p Reg.TomL TR808 CHH 2 TR909 D.TomH TR909 Crash3 TR909 D.Kick f Reg.TomM TR909 D.TomH TR909 Ride 3 TR909 Crash4 TR909 Ride 4 Tamborine 2 MG Zap 2 Cowbell Low MG Zap 6 Cowbell Hi MG Zap 7 Conga Hi Mt Conga Lo Mt Conga Lo Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Down Maracas Guiro Short Guiro Long Claves Wood Block L Wood Block H Triangle Mt Triangle Op Castanet Whistle 20 20 Nu Technica SH32 Kick 1 JD EML 5th 1 AnalogKick 6 TR909 Kick 5 Plastic Kc3a R&B Kick TR707 Kick Plastic Kc3b SH32 Kick 2 TR909 Snr 5 Syn Mtl Atk2 Flange Snr TR909 Snr 3 Dance CHH TR606DstCHH1 TR909 PHH 2 TR606 PHH 2a TR909 OHH 1 Lite OHH Rock Rd Cup Syn Hrd Atk4 MG Zap 7a MG Zap 9 MG Zap 8 MG Zap 10 HipHop CHH 2 Syn Swt Atk3 Reg. DigiSpectrum Ice Crash Metal Vox L2 Thin Beef LoFi Min Hit Trance Saw TB DstSqr Finger Snap Conga Slp Op Conga Lo Op Conga Hi Op Triangle Mt Triangle Op Cabasa Cut R8 Shaker AnalogKick 1 PlasticKick2 PlasticKick3 TR909 Kick 1 AnalogKick 4 AnalogKick 6 TR909 Snr 2 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR808 Snr 1 TR808 Snr 2 TR808 CHH 1 TR808 OHH 1 TR909 CHH 2 TR909 OHH 2 Lite CHH Lite OHH TR606 Cym 2c China Cymbal 23 23 Noise Kit TR909 Kick 2 TR909 Kick 4 Urbn SnRoll1 TR909 Kick 5 Door Creak 1 TR909 Kick 1 SynSwt Atk7a Cajon 3a Cajon 3b Laser Door Creak2a Train Pass Door Creak2b Syn Swt AtkL SynSwt Atk7b Syn Swt AtkL Syn Mtl Atk2 Syn Swt AtkM White Noise Syn Swt AtkM Syn Swt AtkH Syn Mtl Atk1 Syn Swt AtkH SynLow Atk1a Crotale 1 Laser 1 MG Zap 11 Laser 2 MG Zap 4a Digi Loop 1 MG Zap 6a SynLow Atk2a SynLow Atk2b MG Attack Syn Hrd Atk4 Train Pass Syn Mtl Atk1 Syn Swt AtkL Syn Swt Atk7 Syn Swt AtkL Syn Mtl Atk2 Syn Swt AtkM DigiSpectrum Syn Swt AtkM Syn Swt AtkH Digi Loop 1 Syn Swt AtkH SynLow Atk1b Crotale 2 Laser 3 MG Zap 11 Laser 4 MG Zap 4b Crotale 3 MG Zap 6b Syn Low Atk2 808 Maracas TR808 Claves Triangle Mt Triangle Op Dry Lo Tom Conga Thumb Funk Gtr Digi Loop 1 MG Zap 4c Urbn SnRoll2 Sweep Saw White Noise Monsoon Shaker 3 Scream Cajon 1 Euro Hit Laugh ConcertBD Timpani 24 24 Kick Menu ----------------------------Reg.PHH Syn Swt Atk6 HipHop OHH TR909 OHH 2 TR909 R.Saw White Noise Blow Loop Shaker 2 Shaker 3 Cajon 1 Euro Hit Laugh Office Phone Door Creak 22 22 ArtificalKit TR909 Kick 2 AnalogKick 2 TR808 Snr 5 TR909 Kick 3 Vint Snr 3 FB Kick TR606 Cym 2a AnalogKick 3 TVF Trigger TR909 Rim TR909 Snr 1 Claptail TR909 Snr 3 TR909 Tom L2 TR909 CHH 1 TR909 Tom L1 TR909 PHH 1 TR909 Tom M2 TR909 OHH 2 TR909 Tom M1 TR909 Tom H2 TR909 Crash TR909 Tom H1 TR909 Ride White Noise1 CR78 Beat Tamborine 3 Atmosphere Cowbell Mute Syn Swt Atk1 Cowbell Reverse Cym AnalogKick 5 Metal Vox W1 Metal Vox W2 Metal Vox W3 White Noise2 White Noise3 TR606 Cym 2b MG Blip MG Blip Rev.TomL Jazz Lo Tom2 TR909 D.Crsh TR909 Crash Rock Crash 1 MG Zap 2 MG Zap 9 Smear Hit 2 Low Square JD WoodCrak1 Piano Atk Nz JD WoodCrak2 DR202 Beep 1 JD WoodCrak3 Syn Pulse 2 DR202 Beep 2 Narrow Hit2a E. 28 29 31 32 33 34 35 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 99 100 101 102 103 90 78 66 54 42 30 19 19 House Kit TR909 Kick 3 SH32 Kick Urbn Sn Roll TR909 Kick 2 TR909 Snr 6 TR909 Kick 5 TR909 PHH 2 TR909 Kick4a TR909 Kick4b TR909 Rim TR909 Snr 4 TR909 Clap 2 TR909 Snr 5 TR909 Tom L TR909 CHH 2 TR909 Tom L TR909 PHH 2 TR909 Tom M TR909 OHH 2 TR909 Tom M TR909 Tom H TR909 Crash1 TR909 Tom H TR909 Ride 1 TR909 Crash2 TR909 Ride 2 CR78 Tamb MG Zap 4 JD Sm Metal MG Zap 5 Syn Swt Atk3 AnalogKick 2 TR909 Kick 2 TR909 Rim TR909 Snr 1 TR909 Clap 1 TR909 Snr 2 TR909 D.Rhythm Set List Prst: User: Note No.Kick ff Rock Kick p Rock Kick f Jazz Kick p Jazz Kick mf Jazz Kick f Dry Kick 1 Tight Kick Old Kick Jz Dry Kick Dry Kick 2 Dry Kick 3 Power Kick R&B Kick L Rk CmpKick Dance Kick HipHop Kick1 HipHop Kick2 TR909 Kick 1 TR808 Kick TR909 Kick 4 WD Kick mf WD Kick f WD Kick ff LD Kick mf LD Kick f LD Kick ff TY Kick mf TY Kick f TY Kick ff SF Kick 1 SF Kick 2 MaxLow Kick1 MaxLow Kick2 Dist Kick FB Kick Rough Kick1 Rough Kick2 Rough Kick3 PlasticKick1 70's Kick AnalogKick 1 PlasticKick2 PlasticKick3 TR909 Kick 2 AnalogKick 2 TR909 Kick 3 AnalogKick 3 AnalogKick 4 AnalogKick 5 AnalogKick 6 TR606DstKick TR909 Kick 5 SH32 Kick TR707 Kick TR909 Kick 6 Mix Kick 1 Mix Kick 2 Mix Kick 3 Mix Kick 4 Mix Kick 5 Dry Kick 4 Sweep Bass Vint Kick Small Kick --------- 237 .TomL TR909 CHH 1 TR909 D.TomM Jazz Lo Tom3 TR909 D.TomM TR909 OHH 1 TR909 D.TomH AnalogKick 3 AnalogKick 5 Club Clap TR808 Snr 7 TR808 Snr 3 TR909 Snr 6a TR909 CHH 2 TR606DstCHH2 Dance CHH TR606 PHH 2b TR909 OHH 2 TR606 OHH CR78 OHH Juno Sqr HD TR909 Snr 6b TR808 Kick JD EML 5th 2 TR707 Clap Dist Clap MG Zap 5 MG Zap 7b 21 21 Machine Kit2 AnalogKick 5 AnalogKick6a Analog Snr 1 AnalogKick1a TR808 Snr 4 FB Kick TR808 PHH AnalogKick6b AnalogKick6c R&B ShrtRim2 TR909 Snr 1 TR707 Clap Lo-Bit Snr 2 Deep Tom L TR606 CHH 1 Deep Tom L TR606 PHH 1 Deep Tom M TR909 OHH 2 Deep Tom M Deep Tom H Lite OHH Deep Tom H TR808 OHH 1 TR606 Cym 2a TR909 Ride 1 CR78 Tamb TR606 Cym 2b JD Sm Metal TR909 Ride 2 Syn Swt Atk3 AnalogKick1b AnalogKick 4 Urbn SnRoll1 Analog Snr 2 Dist Clap Analog Snr 3 R8 Shaker TR909 CHH 2 R8 Shaker TR909 PHH 2 Syn Hrd Atk1 TR909 OHH 2 SynHrd Atk1a SynHrd Atk1b TR909 Crash SynHrd Atk1c TR909 Ride 3 TR909 Crash TR909 Ride 1 CR78 Tamb MG Zap 2 JD Sm Metal MG Zap 6 Syn Swt Atk1 MG Zap 7 808 Maracas TR808 Claves Triangle Mt Triangle Op Euro Hit Scratch 4 Brt Strat C Crotale MG Zap 4 Urbn SnRoll2 Calc.

Tom mf TY L.Tom f SF M.PHH mf Reg.Snr1ff Reg.Tom ff LD H.Tom ff SF H.Snr2 p Reg.Tom f RR F.Tom p Reg.Snr1 p Amb.Tom p Reg.M.L.Tom f Reg.Tom p Reg.Snr1 p Reg.Tom f Reg.Tom ff TY M.Tom f TY M.Tom ff TY H.Snr2 p Amb.Tom p Reg.Snr2 f Piccolo Snr Maple Snr Reg.Phone Office Phone Mobile Phone Door Creak Door Slam Car Engine Car Slip Car Pass Crash Seq.Tom mf TY H.Tom ff SF M.CHH 2 ff Reg.OHH f Reg.H.Tom ff LD M.Tom mp RR F.Tom f LD M.Snr1mf Reg.TomFlm Jazz Lo Tom Jazz Mid Tom Jazz Hi Tom Jazz Lo Flm Jazz Mid Flm Jazz Hi Flm Sharp Lo Tom Sharp Hi Tom Dry Lo Tom TR909 Tom TR909 DstTom TR808 Tom TR606 Tom Deep Tom RR F.CHH 1 p Reg.Tom ff SF L.Tom mf SF M.Snr2 f Reg.TomFlm Reg.Tom mf TY M.H. Hit Punch Hit O'Skool Hit Philly Hit ------------------------------------------------------------- 30 30 FX/SFX Menu ----------------------------MG Zap 1 MG Zap 2 MG Zap 3 MG Zap 4 MG Zap 5 MG Zap 6 MG Zap 7 MG Zap 8 MG Zap 9 MG Zap 10 MG Zap 11 MG Blip Beam HiQ MG Attack Syn Low Atk1 Syn Low Atk2 Syn Hrd Atk1 Syn Hrd Atk2 Syn Hrd Atk3 Syn Hrd Atk4 Syn Mtl Atk1 Syn Mtl Atk2 Syn Swt Atk1 Syn Swt Atk2 Syn Swt Atk3 Syn Swt Atk4 Syn Swt Atk5 Syn Swt Atk6 Syn Swt Atk7 R8 Click MC500 Beep 1 MC500 Beep 2 DR202 Beep JD Switch Cutting Nz Vinyl Noise Applause River Thunder Monsoon Stream Bubble Bird Song Dog Bark Gallop Vint.CHH 1 ff Reg.M.Tom mf LD L.TomFlm Reg.OHH mf Reg.Tom f SF H.PHH f Reg.Tom mf LD H. 28 29 31 32 33 34 35 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 99 100 101 102 103 90 78 66 54 42 30 25 25 Snare Menu ----------------------------Reg.Snr Gst Sft Snr Gst Jazz Snr p Jz Brsh Slap Jz Brsh Swsh Swish&Turn p Swish&Turn f Concert SD Snr Roll Lp BrushRoll Lp WD Snr p WD Snr mf WD Snr f WD Snr ff WD Rim p WD Rim mf WD Rim f WD Rim ff LD Snr p LD Snr mf LD Snr f LD Snr ff LD Rim mf LD Rim f LD Rim ff TY Snr p TY Snr mf TY Snr f TY Snr ff TY Rim p TY Rim mf TY Rim f TY Rim ff SF Snr p SF Snr mf SF Snr f SF Snr ff SF SnrGst1 SF SnrGst2 SF Rim p SF Rim mf SF Rim f SF Rim ff Light Snr ff Click Snr p Click Snr ff Jazz Snr mf Jazz Snr f Jazz Rim p Soft Jz Roll ------------------------- 26 26 Snr/Rim Menu ----------------------------GoodOld Snr1 GoodOld Snr2 GoodOld Snr3 GoodOld Snr4 GoodOld Snr5 GoodOld Snr6 Dirty Snr 1 Dirty Snr 2 Dirty Snr 4 Dirty Snr 5 Dirty Snr 6 Dirty Snr 7 Grit Snr 1 Grit Snr 2 Grit Snr 3 LoBit SnrFlm Lo-Bit Snr 1 Dirty Snr 3 Lo-Bit Snr 2 Analog Snr 1 Tiny Snare R&B ShrtSnr1 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR606 Snr 1 MrchCmp Snr Reggae Snr DR660 Snr Jngl pkt Snr Pocket Snr Flange Snr Analog Snr 2 Analog Snr 3 TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR808 Snr 4 Lite Snare TR808 Snr 5 TR808 Snr 6 TR606 Snr 2 CR78 Snare Urbn Sn Roll Reg. Gun Shot Siren Train Pass Airplane Laugh Scream Punch Heartbeat Footsteps Machine Gun Laser Thunder Lp Metro Bell Metro Click ----- 238 .M.Tom ff RR FT Flm ff SF LT Flm ff SF MT Flm f SF HT Flm p SF HT Flm f SF HT Flm ff ------------------------------------- 29 29 Clp&Cym&Hit ----------------------------Hand Clap Club Clap Real Clap Bright Clap R8 Clap Gospel Clap Amb Clap TR808 Clap 1 TR808 Clap 2 TR909 Clap 1 TR909 Clap 2 TR707 Clap Cheap Clap Mix Clap 1 Mix Clap 2 Mix Clap 3 Mix Clap 4 Dist Clap Dist Clap 2 Crash Cym1 p Crash Cym1 f Crash Cym 2 Rock Crash 1 Rock Crash 2 Splash Cym Jazz Crash Ride Cymbal Ride Bell Rock Rd Cup Rock Rd Edge Jazz Ride p Jazz Ride mf China Cymbal TR909 Crash TR909 Ride Concert Cym1 Concert Cym2 TR606 Cym TR808 Cym Reverse Cym ClassicHseHt Narrow Hit 1 Narrow Hit 2 Euro Hit Dist Hit Thin Beef Tao Hit Smear Hit 1 Smear Hit 2 LoFi Min Hit Orch.Tom f Reg.CHH 1 mf Reg.Tom mf SF H.CHH 1 f Reg.Snr1 f Amb.Tom f LD L.F.L.CHH 2 f Reg.Tom mf SF L.Tom f TY L.Snr1 f Reg.L.H.CHH 2 mf Reg.Tom f TY H.Tom ff LD L.Tom f LD H.Stick Soft Stick Hard Stick Wild Stick R&B ShrtRim1 R&B ShrtRim2 WD CStk mf WD CStk f LD CStk mf LD CStk f TY CStk mf TY CStk f SfCrsStk p SfCrsStk f Lo-Bit Stk 1 Lo-Bit Stk 2 Dry Stick 1 Dry Stick 2 Dry Stick 3 R8 Comp Rim TR909 Rim TR808 Rim 27 27 HiHat Menu ----------------------------Reg.Tom f Reg.Snr2ff Amb.Tom mf LD M.F.OHH ff Rock CHH1 mf Rock CHH1 f Rock CHH2 mf Rock CHH2 f Rock OHH Lo-Bit CHH 1 Lo-Bit CHH 2 Lo-Bit CHH 3 Lo-Bit CHH 4 Lo-Bit CHH 5 HipHop CHH TR909 CHH 1 TR909 CHH 2 TR808 CHH 1 TR808 CHH 2 TR606 CHH 1 TR606 CHH 2 TR606 DstCHH Noise CHH Lite CHH CR78 CHH Dance CHH Lo-Bit PHH Hip PHH TR909 PHH 1 TR909 PHH 2 TR808 PHH TR606 PHH 1 TR606 PHH 2 HipHop OHH TR909 OHH 1 TR909 OHH 2 TR808 OHH 1 TR808 OHH 2 TR606 OHH Lo-Bit OHH 1 Lo-Bit OHH 2 Lo-Bit OHH 3 Lite OHH CR78 OHH Noise OHH 1 Noise OHH 2 ------------------------------------------------------------- 28 28 Tom Menu ----------------------------Reg.Rhythm Set List Prst: User: Note No.Tom ff TY L.

Rhythm Set List Prst: User: Note No. 28 29 31 32 33 34 35 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 99 100 101 102 103 90 78 66 54 42 30 31 31 Percussion Cowbell Cowbell Mute Cowbell2 Lng Cowbell2 Edg Cowbell3 mf Cowbell3 f Wood Block Wood Block2H Wood Block2L Claves TR808 Claves Claves 2 CR78 Beat Castanet Whistle Whistle Long Whistle Shrt Bongo Hi Mt Bongo Hi Slp Bongo Lo Slp Bongo Hi Op Bongo Lo Op Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Lo Slp Conga Hi Op Conga Lo Op Conga Slp Op Conga Efx Conga Thumb Conga 2H Op Conga 2H Mt Conga 2H Slp Conga 2L Op Conga 2L Mt Timbale 1 Timbale 2 Timbare 3 Timbare 4 Cabasa Up Cabasa Down Cabasa Cut Cabasa2 Cabasa2 Cut Shaker Maracas 808 Maracas R8 Shaker Guiro 1 Guiro 2 Guiro Long Guiro 2 Up Guiro 2 Down Guiro 2 Fast Vibraslap Tamborine 1 Tamborine 2 Tamborine 3 Tamborine4 f Tamborine4 p CR78 Tamb Timpani p Timpani f Timpani Roll Timpani Lp ConcertBD p ConcertBD f ConcertBD ff ConcertBD Lp Triangle 1Op Triangle 1Mt Triangle 2 Tibet Cymbal Wind Chime Crotale 32 32 Scrh&Voi&Wld ----------------------------Scratch 1 Scratch 2 Scratch 3 Scratch 4 Scratch 5 Scratch 6 Scratch 7 Scratch 9 Scratch 10 Aah Formant Eeh Formant Iih Formant Ooh Formant Uuh Formant Metal Vox W1 Metal Vox W2 Metal Vox W3 JD Gamelan 1 JD Gamelan 2 JD Gamelan 3 JD Gamelan 4 JD Gamelan 5 JD Gamelan 6 JD Gamelan 7 JD Gamelan 8 JD Gamelan 9 JD Gamelan10 JD Gamelan11 JD Gamelan12 Cajon 1 Cajon 2 Cajon 3 Cajon 4 SprgDrm Hit Cuica Cuica 2 Hi Cuica 2 Low --------------------------------------------------------------------------------------------------------------------------------- 239 .

Snare Low Tom 2 ClosedHi-hat Low Tom 1 Pedal Hi-hat Mid Tom 2 Open Hi-hat Mid Tom 1 High Tom 2 CrashCymbal1 High Tom 1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 2(PC: 9) GM2 ROOM High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Kick Drum 1 Side Stick Aco.Low Tom 1 Pedal Hi-hat E.Hi Conga Ana.Mid Tom1 Ana.Hi Tom 1 Ride Cymbal1 Reverse Cym.Rhythm Set List GM (GM2 Group) Note No.Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo Ana.Snare Hand Clap Elec.Snare Hand Clap Elec.Snare Room LowTom2 ClosedHi-hat Room LowTom1 Pedal Hi-hat Room MidTom2 Open Hi-hat Room MidTom1 Room Hi Tom2 CrashCymbal1 Room Hi Tom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 3(PC: 17) GM2 POWER High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Power Kick 2 Power Kick 1 Side Stick PowerSnareDr Hand Clap Elec.Low Tom1 Ana.Hi Tom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Ana.Low Tom2 Ana.Snare 1 Hand Clap Elec.ClosedHH Ana. 27 28 29 31 32 33 34 35 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 78 66 54 42 30 1(PC: 1) GM2 STANDARD High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Kick Drum 1 Side Stick Aco.SnareDrum1 Hand Clap E.Kick 1 Ana.ClosedHH Ana.Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 6(PC: 33) GM2 JAZZ High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Jazz Kick 2 Jazz Kick 1 Side Stick Aco.Snare Ana.Mid Tom2 Ana.Snare Low Tom 2 ClosedHi-hat Low Tom 1 Pedal Hi-hat Mid Tom 2 Open Hi-hat Mid Tom 1 High Tom 2 CrashCymbal1 High Tom 1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 240 .Snare PowerLowTom2 ClosedHi-hat PowerLowTom1 Pedal Hi-hat PowerMidTom2 Open Hi-hat PowerMidTom1 Power HiTom2 CrashCymbal1 Power HiTom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 4(PC: 25) GM2 ELECTRIC High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Elec.Hi Tom2 Ana. Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 5(PC: 26) GM2 ANALOG High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Ana.Hi Tom 2 CrashCymbal1 E.Kick 1 Side Stick E.Cymbal Ana.LowConga High Timbale Low Timbale High Agogo Low Agogo Cabasa Ana.Mid Tom 1 E.Rim Sho Ana.Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Ana.Snare Hand Clap Elec.MidConga Ana.SnareDrum2 E.Low Tom 2 ClosedHi-hat E.Mid Tom 2 Open Hi-hat E.Open HH Ana.

Rhythm Set List Note No.Bass Fl. 27 28 29 31 32 33 34 35 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 78 66 54 42 30 7(PC: 41) GM2 BRUSH High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Jazz Kick 2 Jazz Kick 1 Side Stick Brush Tap Brush Slap Brush Swirl BrushLowTom2 ClosedHi-hat BrushLowTom1 Pedal Hi-hat BrushMidTom2 Open Hi-hat BrushMidTom1 Brush HiTom2 CrashCymbal1 Brush HiTom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 8(PC: 49) GM2 ORCHSTRA ClosedHi-hat Pedal Hi-hat Open Hi-hat Ride Cymbal1 Sticks Square Click Metron Click Metron Bell Concert BD 2 Concert BD 1 Side Stick Concert SD Castanets Concert SD Timpani F Timpani F# Timpani G Timpani G# Timpani A Timpani A# Timpani B Timpani c Timpani c# Timpani d Timpani d# Timpani e Timpani f Tambourine SplashCymbal Cowbell Concert Cym2 Vibra-slap Concert Cym1 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 9(PC: 57) GM2 SFX ------------------------------------------------High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell GtFret Noise Cut Noise Up Cut Noise Dw Slap_St.Key Click Laughing Scream Punch Heart Beat Footsteps 1 Footsteps 2 Applause Door Creak Door Scratch Wind Chimes Car-Engine Car-Stop Car-Pass Car-Crash Siren Train Jetplane Helicopter Starship Gun Shot Machine Gun Lasergun Explosion Dog Horse-Gallop Birds Rain Thunder Wind Seashore Stream Bubble ----------------- 241 .

Pno1f 80's E.Gtr p A BrtN.P* f A R XPr.EP ff B Vint.P*mp A R XPr.P*mp B R XPr.P mp B L Ult.Sitar C Santur A Santur B Santur C Dulcimer A Dulcimer B Dulcimer C Shamisen A Shamisen B Shamisen C Koto A Koto B Koto C FatAc.P mp B R XPr.P* f A R Ult.Gtr ffB BrtN.Piano C 80's E.EP f B Vint.Org 4 No.Sitar B E. 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 Name Wurly mf B Wurly mf C Wurly ff A Wurly ff B Wurly ff C Soft SA EP A Soft SA EP B Soft SA EP C Hard SA EP A Hard SA EP B Hard SA EP C SA E.Gtr ffC BrtN.P*mp C R XPr.Pno Ac.P*mp B R Ult.P* f A L Ult.P*mp C L XPr.Pno Ac.P*ff B R XPr.Pno f B R Ac.P Ult.P*mp C L Ult.P XPr.Pno Celesta Music Box ClavDB Brt A ClavDB Brt B ClavDB Brt C Reg. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 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 Name Ult.Gtr Hrm C Jazz Gtr A Jazz Gtr B Jazz Gtr C Clean Gtr A Clean Gtr B Clean Gtr C Clr Mt Gtr A Clr Mt Gtr B Clr Mt Gtr C E. note numbers 91–108 are set to Damper Free in order to accurately reproduce the characteristics of an acoustic piano.P* f B L Ult.P XPr.Gtr Sld C Ac.EB1 ff C Fng. No.P*ff A L Ult.Org 2 Vint.P XPr.P XPr.EP f A Vint.P*ff A R XPr. 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 Name E.Waveform List In waveform numbers 0001-0040.Gtr Harm Harp A Harp B Harp C Banjo A Banjo B Banjo C Sitar A Sitar B Sitar C Sitar Drn A Sitar Drn B Sitar Drn C E.Piano A SA E.Bass B Ac.Pno 1 80's E.Pno 2 80's E.P ff Ac.Gtr mfC BrtN.P Ult.EB1 mf B Fng.Bs f A FatAc.Gtr mp A Ac.P XPr.E.EB1 mf A Fng.P ff C R XPr.Bass C Fng.Gtr mfB BrtN.Org 1 Vint.Gtr p C BrtN.EP pp B Vint.Pno f B L Ac.Gtr ffA BrtN.P*ff C R Ult.Clav B Reg.P Ult.EB2 f A Fng.P* f C R Ult.Bs p C FatAc.EB1 mf C Fng.P ff XPr.Gtr p B BrtN.EP pp A Vint.Gtr mp C Ac.EP mp A Vint.EB2 f C FngrCmp Bs A FngrCmp Bs B FngrCmp Bs C Finger Bs A Finger Bs B Finger Bs C Precision Bs ThumbMtBs pA ThumbMtBs pB ThumbMtBs pC Fretlss Bs A Fretlss Bs B Fretlss Bs C Fretlss SftA Fretlss SftB Fretlss SftC Pick EB f A Pick EB f B Pick EB f C Pick Bass Slp.P mp C L mp C R fAL fAR fBL fBR fCL fCR ff A L ff A R No.Bass A Ac.Gtr Sld A Ac.Gtr Sld B Ac.Pno f C L Ac.EP ff A Vint.P XPr.P mp A R XPr.P*mp B L Ult.Clav C Retro Clav A Retro Clav B Retro Clav C Tight Clav A Tight Clav B Tight Clav C Hard Clav A Hard Clav B Hard Clav C ClvMtRs DB f Harpsi A Harpsi B Harpsi C JLOrg Slow L JLOrg Slow R JLOrg Fast L JLOrg Fast R JD Full Draw Org Basic 1 Org Basic 2 Ballad Org 3rd Perc Org Perc Organ Rock Organ A Rock Organ B Rock Organ C RtryOrg1 A L RtryOrg1 A R RtryOrg1 B L RtryOrg1 B R RtryOrg1 C L RtryOrg1 C R RtryOrg2 A L RtryOrg2 A R RtryOrg2 B L RtryOrg2 B R RtryOrg2 C L RtryOrg2 C R LoFi RtryOrg Vint.P Ult.P* f B R XPr.Gtr mfA BrtN.P*ff C L Ult.Pno CL CR pAL pAR pBL pBR pCL pCR fAL fAR No.Bs f B FatAc.P*ff C L XPr.Org 3 Vint.P mp B R Ult.Gtr mf B Ac.P*ff B L XPr.GtrSldA BrtN. 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 Name XPr.P ff B R Ult.P*mp A R Ult.P* f C R XPr.P* f C L Ult.GtrSldB BrtN.Clav A Reg.P*ff B R Ult.Gtr ff A Ac.Gtr ff C Ac.P*mp A L XPr.EB2 mf A Fng.GtrSldC Nylon Gtr1 A Nylon Gtr1 B Nylon Gtr1 C Nylon Gtr2 A Nylon Gtr2 B Nylon Gtr2 C Bright Gtr A Bright Gtr B Bright Gtr C Ac.Gtr Hrm B Ac.P XPr.Bs p B FatAc.EB2 f B Fng.Pno Ac.P mp A L XPr.P mp B L XPr.P*mp B L XPr.Gtr mf C Ac.P ff C L Ult.Bs p A FatAc.Pno Ac.Gtr Ld Brt Strat A Brt Strat B Brt Strat C FstPick70s A FstPick70s B FstPick70s C Funk Gtr A Funk Gtr B Funk Gtr C Funk MtGtr A Funk MtGtr B Funk MtGtr C Nasty Gtr Overdrive A Overdrive C Distortion A Distortion B Distortion C Dist Chord A Dist Chord B Dist Chord C No.P XPr.EP mp B Vint.EB1 ff B Fng.Sitar A E.P* f B L XPr.Pno Ac.Pno Ac.P*mp C R Ult.P*ff A L XPr.P*mp A L Ult.Pno2f Hard E.EB2 mf B Fng.P mp C R XPr.EB1 ff A Fng.EP ff C Stage EP p A Stage EP p B Stage EP p C Stage EP f A Stage EP f B Stage EP f C Tine EP p A Tine EP p B Tine EP p C Tine EP mf A Tine EP mf B Tine EP mf C Tine EP ff A Tine EP ff B Tine EP ff C Dyno EP mp A Dyno EP mp B Dyno EP mp C Dyno EP mf A Dyno EP mf B Dyno EP mf C Dyno EP ff A Dyno EP ff B Dyno EP ff C Wurly DI p A Wurly DI p B Wurly DI p C Wurly Wurly Wurly Wurly Wurly Wurly Wurly Wurly Wurly Wurly DI f A DI f B DI f C DI ffA DI ffB DI ffC mp A mp B mp C mf A Ult.P*ff B L Ult. 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 Name Positive '8 Pipe Organ Cathedrl Org BrtN.P Ult.Piano B SA E.P* f B R Ult.BassA Ac.P*ff A R Ult.P Ult.P* f C L XPr.P*ff C R XPr.Pno f C R JD Piano A JD Piano B JD Piano C Piano Atk Nz MKS Piano A MKS Piano B MKS Piano C Vint.EP pp C Vint.Gtr ff B Ac.P mp A L Ult.P* f A L XPr.P ff B L Ult.P Ult.EP mp C Vint.Gtr Hrm A Ac.P mp A R Ult.EP f C Vint.Bs f C Ac.Gtr mf A Ac.P Ult.P Ult.Pno Ac.P XPr.Gtr mp B Ac.EB2 mf C Fng.P fAL fAR fBL fBR fCL fCR ff A L ff A R ff B L ff B R 242 .P mp C L XPr.

C L Vl Sect. 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 Name Wide Sax C BreathySax A BreathySax B BreathySax C TenorBreathy Tenor Sax A Tenor Sax B Tenor Sax C Bari. 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 Name D-50 Bell A D-50 Bell B D-50 Bell C D-50 Bell Lp Agogo Bell Agogo 2 Hi Agogo 2 Low Finger Bell JD Cowbell Tubular Bell Church Bell Mild CanWave JD Crystal Bell Organ Old DigiBell JD Bell Wave TinyBellWave Vib Wave JD Brt Digi Bagpipe Digital Vox JD WallyWave JD Brusky Lp Bright Form JD Nasty JD Spark Vox JD Cutters SBF Hrd Ld JD EML 5th Juno Saw HD TB303 Saw HD Custm Saw HD MG Saw HD DigitalSawHD P5 Saw HD Calc.Saw inv Synth Saw JD Syn Saw JD Fat Saw JP-8 Saw D-50 Saw SH-1000 Saw SH-2 Saw LA-Saw Air Wave GR-300 Saw 1 GR-300 Saw 2 TB Dst Saw A TB Dst Saw B TB Dst Saw C Juno Sqr HD P5 Sqr HD Fat Square JP-8 Square SH-2 Square TB303 Sqr HD LA-Square TB DstSqr 1A TB DstSqr 1B TB DstSqr 1C Dist SquareA Dist SquareB Dist SquareC Juno Pls HD JP8 Pls 10HD JP8 Pls 15HD JP8 Pls 25HD JP8 Pls 30HD JP8 Pls 40HD 243 .E.Horn C Bassoon A Bassoon B Bassoon C Recorder A Recorder B Recorder C SopranoSax A SopranoSax B SopranoSax C Alto Sax Vib Soft Alto A Soft Alto B Soft Alto C Wide Sax A Wide Sax B No.HornSect A F.StrStacB L F. 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 Name ChmbrStrRevC Vls Pizz A Vls Pizz B Vls Pizz C VlsPizzRev A VlsPizzRev B VlsPizzRev C Vcs Pizz A Vcs Pizz B Vcs Pizz C Unison Saw A Unison Saw B Unison Saw C Super Saw A Super Saw B Super Saw C Trance Saw A Trance Saw B Trance Saw C Warm Pad A Warm Pad B Warm Pad C OB2 Pad 1 A OB2 Pad 1 B OB2 Pad 1 C OB2 Pad 2 A OB2 Pad 2 B OB2 Pad 2 C D-50 HeavenA D-50 HeavenB D-50 HeavenC SBF Vox A SBF Vox B SBF Vox C Syn Vox 1 A Syn Vox 1 B Syn Vox 1 C Syn Vox 2 A Syn Vox 2 B Syn Vox 2 C Female Ahs A Female Ahs B Female Ahs C Female Oos A Female Oos B Female Oos C Male Aahs A Male Aahs B Male Aahs C Jazz Doos A Jazz Doos B Jazz Doos C Jz Doos Lp A Jz Doos Lp B Jz Doos Lp C Gospel Hum A Gospel Hum B Gospel Hum C Soprano Vox Kalimba JD Klmba Atk JD Wood Crak JD Gamelan 1 JD Gamelan 2 JD Log Drum JD Xylo Marimba Vibraphone Glocken Steel Drums No.Str ff lpR F.Str ff lpL F.EB HO B Pul.Sax 2 C Musette Accord 4' A Accord 4' B Accord 4' C Accord 8' A Accord 8' B Accord 8' C Accord PadNz Harmonica A Harmonica B Harmonica C Blues G-harp Flugel A Flugel B Flugel C Trumpet A Trumpet B Trumpet C Wide Tp A Wide Tp B Wide Tp C Mute Tp A Mute Tp B Mute Tp C Trombone A Trombone B Trombone C Tbn mf A Tbn mf B Tbn mf C Tuba A Tuba B Tuba C Sft F.Str mf C R F.Str ff B R F.Waveform List No. B R Vl Sect.Sax 1 A Bari.E.HornSect C Tp Section A Tp Section B Tp Section C OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs pAL pAR pBL pBR pCL pCR fAL fAR fBL fBR No.Horn A E.E.Str mf B R F.StrStacA R F. C L Vc Sect. 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 Name OctBrs f C L OctBrs f C R XP Brass OrchUnis A L OrchUnis A R OrchUnis B L OrchUnis B R OrchUnis C L OrchUnis C R Violin f A Violin f B Violin f C Violin Vib A Violin Vib B Violin Vib C Cello f A Cello f B Cello f C Cello Vib A Cello Vib B Cello Vib C Vl Sect.BassB Slp. A L Vl Sect.Str ff A R F.EB HO C Pul. B L Vl Sect.Str mf A R F.EB HO B Slp.EB HO A Slp. A L Vc Sect.StrStacB R F.Sax 2 A Bari.Str ff C R F. C R Vc Sect.Sax 2 B Bari.Str mf C L F. A R Vl Sect.Str mf lpR F. C R Full Str A L Full Str A R Full Str B L Full Str B R Full Str C L Full Str C R JV Strings L JV Strings R JV Strings A JV Strings C F.Sax 1 C Bari.BassC Slp. B R Vc Sect.Str ff C L F.HornSect B F.Saw Calc.Horn B E.Str ff B L F.BassA Pul.E. 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 Name Slp.StrStacA L F.Str mf B L F.BassB Pul.StrStacC R ChmbrStrAtkA ChmbrStrAtkB ChmbrStrAtkC ChmbrStrRevA ChmbrStrRevB No.Str mf lpL F.StrStacC L F.E.Str mf A L F.BassC Pul.Horn B Sft F.Str ff A L F.EB HO C Slap Bass Slap +Pull 1 Slap +Pull 2 Slap +Pull 3 Jz Slap Bass Jz Slp+Pull1 Jz Slp+Pull2 Jz Slp+Pull3 Jungle Bass Garage Bass SH-101 Bs A SH-101 Bs B SH-101 Bs C Organ Bass MG Bass 1 A MG Bass 1 B MG Bass 1 C MG Bass 2 MG Bass 3 MC Bass A MC Bass B MC Bass C Atk Syn Bass Flute A Flute B Flute C Piccolo A Piccolo B Piccolo C Pan Flute Shakuhachi JD Fl Push Clarinet A Clarinet B Clarinet C Oboe Mezzo A Oboe Mezzo B Oboe Mezzo C Oboe Forte A Oboe Forte B Oboe Forte C E.Horn A Sft F. A R Vc Sect. B L Vc Sect.Horn C French Hrn A French Hrn C XP Horn A XP Horn B F.EB HO A Pul.Sax 1 B Bari.

Snr1 p R Reg.Kick f R Reg.SnrGst L Reg. 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 Name PlasticKick1 70's Kick Dance Kick HipHop Kick1 HipHop Kick2 AnalogKick 1 PlasticKick2 PlasticKick3 TR909 Kick 1 TR909 Kick 2 AnalogKick 2 TR909 Kick 3 AnalogKick 3 AnalogKick 4 AnalogKick 5 AnalogKick 6 TR606DstKick TR808 Kick TR909 Kick 4 TR909 Kick 5 SH32 Kick TR707 Kick TR909 Kick 6 Mix Kick 1 L Mix Kick 1 R Mix Kick 2 L Mix Kick 2 R Mix Kick 3 Mix Kick 4 Mix Kick 5 Dry Kick 4 Small Kick Vint Kick Sweep Bass WD Snr p L WD Snr p R WD Snr mf L WD Snr mf R WD Snr f L WD Snr f R WD WD WD WD WD WD WD WD WD WD LD LD LD LD LD LD LD LD LD LD Snr ff L Snr ff R Rim p L Rim p R Rim mf L Rim mf R Rim f L Rim f R Rim ff L Rim ff R No.Snr2ff L Reg.Bass Body Flute Pad Nz Applause River Thunder Monsoon Stream Bubble Bird Song Dog Bark No.EB2 Sld DistGtr Nz 1 DistGtr Nz 2 DistGtr Nz 3 Gtr Fret Nz1 Gtr Fret Nz2 ClassicHseHt Narrow Hit 1 Narrow Hit 2 Euro Hit Dist Hit Thin Beef Tao Hit Smear Hit 1 Smear Hit 2 LoFi Min Hit Orch.Snr2 p L Reg.Snr2 p R Reg.Bass Nz E. Hit Punch Hit O'Skool Hit Philly Hit Scratch 1 Scratch Scratch Scratch Scratch Scratch Scratch Scratch Scratch Scratch Scratch MG MG MG MG MG MG MG MG MG MG 2 3 4 5 6 7 9 10 Push Pull 1 2 3 4 5 6 7 8 9 10 No.Snr1 f R Reg.Snr2 p L Amb. 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 Name Gallop Vint.Snr1mf R Reg. 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 Name MG Zap 11 MG Blip Beam HiQ MG Attack Syn Low Atk1 Syn Low Atk2 Syn Hrd Atk1 Syn Hrd Atk2 Syn Hrd Atk3 Syn Hrd Atk4 Syn Mtl Atk1 Syn Mtl Atk2 Syn Swt Atk1 Syn Swt Atk2 Syn Swt Atk3 Syn Swt Atk4 Syn Swt Atk5 Syn Swt Atk6 Syn Swt Atk7 WD Kick mf L WD Kick mf R WD Kick f L WD Kick f R WD Kick ff L WD Kick ff R LD Kick mf L LD Kick mf R LD Kick f L LD Kick f R LD Kick ff L LD Kick ff R TY Kick mf L TY Kick mf R TY Kick f L TY Kick f R TY Kick ff L TY Kick ff R SF Kick 1 L SF Kick 1 R SF Kick 2 L SF Kick 2 R Reg. 981 982 983 984 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 1031 1032 1033 1034 1035 1036 1037 1038 1039 1040 1041 1042 1043 1044 1045 1046 1047 1048 1049 1050 Name TY TY TY TY TY TY TY TY TY TY SF SF SF SF SF SF SF SF SF SF Snr ff L Snr ff R Rim p L Rim p R Rim mf L Rim mf R Rim f L Rim f R Rim ff L Rim ff R Snr p L Snr p R Snr mf L Snr mf R Snr f L Snr f R Snr ff L Snr ff R Rim p L Rim p R SF Rim mf L SF Rim mf R SF Rim f L SF Rim f R SF Rim ff L SF Rim ff R Reg.SnrGst R Sft Snr Gst Jazz Snr p Jazz Snr mf Jazz Snr f Jazz Rim p Jz Brsh Slap Jz Brsh Swsh Swish&Turn p Swish&Turn f Snr Roll Lp BrushRoll Lp Snr p L Snr p R Snr mf L Snr mf R Snr f L Snr f R Snr ff L Snr ff R Rim mf L Rim mf R Zap Zap Zap Zap Zap Zap Zap Zap Zap Zap LD Rim f L LD Rim f R LD Rim ff L LD Rim ff R TY Snr p L TY Snr p R TY Snr mf L TY Snr mf R TY Snr f L TY Snr f R 244 .Kick f L Reg.Snr1 p L Amb.Bass Nz 2 E.Waveform List No.Snr1ff R Reg.Snr1 f R Amb.Snr2 f L Amb. 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 Name JP8 Pls 45HD Syn Pulse 1 Syn Pulse 2 SH-1000 Puls 700 Triangle Syn Triangle JD Triangle VS-Triangle Mild Form VS-Ramp Sync Sweep Sine JD Fine Wine Digi Loop JD MetalWind Atmosphere DigiSpectrum JD Vox Noise SynVox Noise Shaku Noise Digi Breath Agogo Noise Vinyl Noise White Noise Pink Noise Aah Formant Eeh Formant Iih Formant Ooh Formant Uuh Formant Metal Vox W1 Metal Vox L1 Metal Vox W2 Metal Vox L2 Metal Vox W3 Metal Vox L3 JD Rattles Xylo Seq.Snr1mf L Reg.Snr1 f L Amb. Gun Shot Siren Train Pass Airplane Helicopter Space Voyage Blow Loop Laugh Scream Punch Heartbeat Footsteps Machine Gun Laser Thunder Lp Ac.Snr1 p R Amb.Snr1 p L Reg.Snr2 f R Reg.Snr2 p R Amb.Snr2 f R Piccolo Snr Maple Snr Light Snr ff Click Snr p Click Snr ff SF SnrGst1 L SF SnrGst1 R SF SnrGst2 L SF SnrGst2 R Reg.Kick p L Reg.Kick p R Reg.Snr1 f L Reg.Bass Slide Fng.Kick ffL Reg.Snr2 f L Reg. JD Anklungs JD Shami SynBassClick JD EP Atk Key On Click Org Click 1 Org Click 2 Org Click 3 Org Click 4 Org Click 5 JD Sm Metal Ice Crash JD Switch JD Tuba Slap JD Plink JD Plunk TVF Trigger Hi Q Slap Stick Click Cutting Nz Ac.Snr2ff R Amb.Phone Office Phone Mobile Phone Door Creak Door Slam Car Engine Car Slip Car Pass Crash Seq.Kick ffR Rock Kick p Rock Kick f Jazz Kick p Jazz Kick mf Jazz Kick f Dry Kick 1 Tight Kick Old Kick Jz Dry Kick Dry Kick 2 Dry Kick 3 Power Kick R&B Kick L R&B Kick R Rk CmpKick L Rk CmpKick R MaxLow Kick1 MaxLow Kick2 Dist Kick FB Kick Rough Kick1 Rough Kick2 Rough Kick3 No.Snr1ff L Reg.Bass Nz 1 E.

Tom f Reg.TomFlm Jazz Lo Tom Jazz Mid Tom Jazz Hi Tom Jazz Lo Flm Jazz Mid Flm Jazz Hi Flm Sharp Lo Tom No.Tom ff SF M.CHH 2 f Reg.Tom f SF H.Tom f LD H. 1331 1332 1333 1334 1335 1336 1337 1338 1339 1340 1341 1342 1343 1344 1345 1346 1347 1348 1349 1350 1351 1352 1353 1354 1355 1356 1357 1358 1359 1360 1361 1362 1363 1364 1365 1366 1367 1368 1369 1370 1371 1372 1373 1374 1375 1376 1377 1378 1379 1380 1381 1382 1383 1384 1385 1386 1387 1388 1389 1390 1391 1392 1393 1394 1395 1396 1397 1398 1399 1400 1401 Name Conga Lo Op Conga Slp Op Conga Efx Conga Thumb Conga 2H Op Conga 2H Mt Conga 2H Slp Conga 2L Op Conga 2L Mt TR808 Conga1 TR808 Conga2 Timbale 1 Timbale 2 Timbare 3 Timbare 4 Cabasa Up Cabasa Down Cabasa Cut Cabasa 2 Cabasa 2 Cut Maracas 808 Maracas R8 Shaker Shaker 1 Shaker 2 Shaker 3 Guiro 1 Guiro 2 Guiro Long Guiro 2 Up Guiro 2 Down Guiro 2 Fast Vibraslap Tamborine 1 Tamborine 2 Tamborine 3 Tamborine4 p Tamborine4 f CR78 Tamb Cajon 1 Cajon 2 Cajon 3 Cajon 4 SprgDrm Hit Cuica Cuica 2 Hi Cuica 2 Low Timpani p Timpani f Timpani Roll Timpani Lp ConcertBD p ConcertBD f ConcertBD ff ConcertBD Lp Triangle 1 Triangle 2 Tibet Cymbal Slight Bell Wind Chime Crotale R8 Click Metro Bell Metro Click MC500 Beep 1 MC500 Beep 2 DR202 Beep Low Square Low Sine DC Reverse Cym 1 1 2 2 TR707 Clap Cheap Clap Mix Clap 1 L Mix Clap 1 R Mix Clap 2 L Mix Clap 2 R Mix Clap 3 Mix Clap 4 Finger Snap Club FinSnap Snap Group Snap Cowbell Cowbell Mute Cowbell2 Lng Cowbell2 Edg Cowbell3 mf Cowbell3 f TR808Cowbell Wood Block Wood Block2H Wood Block2L Claves Claves 2 TR808 Claves CR78 Beat Castanet Whistle Whistle Long Whistle Shrt Bongo Hi Mt Bongo Hi Slp Bongo Hi Op Bongo Lo Op Bongo Lo Slp Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Lo Slp Conga Hi Op 245 .Tom mp RR F.Tom f SF M.Tom ff RR FT Flm ff SF LT Flm ff SF MT Flm f SF HT Flm p SF HT Flm f SF HT Flm ff Reg.Tom p Reg.Tom f Reg.CHH 2 ff Reg. 1261 1262 1263 1264 1265 1266 1267 1268 1269 1270 1271 1272 1273 1274 1275 1276 1277 1278 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 1321 1322 1323 1324 1325 1326 1327 1328 1329 1330 Name TR808 Cym TR606 Cym 2 Ride Cymbal Ride Bell Rock Rd Cup Rock Rd Edge Jazz Ride p Jazz Ride mf TR909 Ride China Cymbal Concert Cym Concert Cym2 Hand Clap Club Clap Real Clap Bright Clap R8 Clap Gospel Clap Amb Clap Hip Clap Funk Clap Claptail TR808 Clap Disc Clap Dist Clap Dist Clap 2 Old Clap TR909 Clap TR909 Clap TR808 Clap No.Tom mf SF H.PHH f Reg.PHH mf Reg.CHH 1 f Reg.Tom p Reg.CHH 1 ff Reg.Tom f RR F. 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1153 1154 1155 1156 1157 1158 1159 1160 1161 1162 1163 1164 1165 1166 1167 1168 1169 1170 1171 1172 1173 1174 1175 1176 1177 1178 1179 1180 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 Name SF CStk f L SF CStk f R Reg.Tom ff RR F.OHH f Reg.Tom ff SF H.Tom p Reg.CHH 1 p Reg.Tom mf LD L.Stick L Reg.CHH 2 mf Reg.Tom f TY L.Tom mf SF M. 1051 1052 1053 1054 1055 1056 1057 1058 1059 1060 1061 1062 1063 1064 1065 1066 1067 1068 1069 1070 1071 1072 1073 1074 1075 1076 1077 1078 1079 1080 1081 1082 1083 1084 1085 1086 1087 1088 1089 1090 1091 1092 1093 1094 1095 1096 1097 1098 1099 1100 1101 1102 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 Name Soft Jz Roll Concert SD GoodOld Snr1 GoodOld Snr2 GoodOld Snr3 GoodOld Snr4 GoodOld Snr5 GoodOld Snr6 Dirty Snr 1 Dirty Snr 2 Dirty Snr 3 Dirty Snr 4 Dirty Snr 5 Dirty Snr 6 Dirty Snr 7 Grit Snr 1 Grit Snr 2 Grit Snr 3 LoBit SnrFlm Lo-Bit Snr 1 Lo-Bit Snr 2 MrchCmp Snr Reggae Snr DR660 Snr Jngl pkt Snr Pocket Snr Flange Snr Analog Snr 1 Analog Snr 2 Analog Snr 3 Tiny Snare R&B ShrtSnr1 TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR808 Snr 4 Lite Snare TR808 Snr 5 TR808 Snr 6 TR606 Snr 1 TR606 Snr 2 CR78 Snare Urbn Sn Roll Vint Snr 1 Vint Snr 2 Vint Snr 3 Vint Snr 4 Dist Snr Short Snr1 Short Snr2 WD CStk mf L WD CStk mf R WD CStk f L WD CStk f R LD CStk mf L LD CStk mf R LD CStk f L LD CStk f R TY CStk mf L TY CStk mf R TY CStk f L TY CStk f R SF CStk p L SF CStk p R No.Tom p Reg.Tom ff SF L.Tom ff LD M.Tom mf LD M.L. 1191 1192 1193 1194 1195 1196 1197 1198 1199 1200 1201 1202 1203 1204 1205 1206 1207 1208 1209 1210 1211 1212 1213 1214 1215 1216 1217 1218 1219 1220 1221 1222 1223 1224 1225 1226 1227 1228 1229 1230 1231 1232 1233 1234 1235 1236 1237 1238 1239 1240 1241 1242 1243 1244 1245 1246 1247 1248 1249 1250 1251 1252 1253 1254 1255 1256 1257 1258 1259 1260 Name Sharp Hi Tom Dry Lo Tom TR909 Tom TR909 DstTom TR808 Tom TR606 Tom Deep Tom Reg.Tom mf LD H.OHH ff Rock CHH1 mf Rock CHH1 f Rock CHH2 mf Rock CHH2 f Rock OHH Lo-Bit CHH 1 Lo-Bit CHH 2 Lo-Bit CHH 3 Lo-Bit CHH 4 Lo-Bit CHH 5 HipHop CHH TR909 CHH 1 TR909 CHH 2 TR808 CHH 1 TR808 CHH 2 TR606 CHH 1 TR606 CHH 2 TR606 DstCHH Lite CHH CR78 CHH Dance CHH Noise CHH Hip PHH TR909 PHH 1 TR909 PHH 2 TR808 PHH TR606 PHH 1 TR606 PHH 2 Lo-Bit PHH Lo-Bit OHH 1 Lo-Bit OHH 2 Lo-Bit OHH 3 HipHop OHH TR909 OHH 1 TR909 OHH 2 TR808 OHH 1 TR808 OHH 2 TR606 OHH Lite OHH CR78 OHH Noise OHH Noise OHH 2 Crash Cym1 p Crash Cym1 f Crash Cym 2 Rock Crash 1 Rock Crash 2 Splash Cym Jazz Crash TR909 Crash TR909 Crash2 No.Tom f LD M.Tom mf SF L.Tom f LD L.M.L.Stick R Soft Stick Hard Stick Wild Stick Lo-Bit Stk 1 Lo-Bit Stk 2 Dry Stick 1 Dry Stick 2 Dry Stick 3 R8 Comp Rim R&B ShrtRim1 R&B ShrtRim2 TR909 Rim TR808 Rim LD L.TomFlm Reg.H.OHH mf Reg.F.Tom ff TY L.L.Tom f TY H.H.F.M.Tom f Reg.H.Tom ff TY H.Tom ff TY M.Tom f TY M.Tom mf TY M.CHH 1 mf Reg.Tom mf TY H.Tom ff LD H.M.Tom mf TY L.Waveform List No.TomFlm Reg.Tom f Reg.

1 .009 121 | 000 | 001 .16) 00H . SYS CTRL3 or SYS CTRL4.127) BnH 02H n = MIDI channel number: vv = Control value: * Not received in Performance mode when the Receive Poly Key Pressure parameter (Performance MIDI) is OFF.16) 00H .00 * The SRX series corresponding to each Bank Select are to see the SRX series owner's manual. and Rhythms corresponding to each Bank Select are as follows.FH (ch. 246 . * The Performances.16) 00H .7FH (0 . Model: Date: SonicCell 2007.128 | GM Patch | 001 .16) 00H .FH (ch.1 .127) AnH kkH n = MIDI channel number: kk = note number: vv = Polyphonic Key Pressure: ❍Breath type (Controller number 2) Status 2nd byte 3rd byte vvH 0H .1 . ❍Portamento Time (Controller number 5) Status 2nd byte BnH 05H n = MIDI channel number: vv = Portamento Time: 3rd byte vvH 0H .7FH (0 .16) 00H .032 | Preset Rhythm | 001 . ❍Foot type (Controller number 4) Status 2nd byte BnH 04H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H .128 | GM Patch | 001 . ❍Data Entry (Controller number 6.7FH (0 . ●Polyphonic Key Pressure Status 2nd byte 3rd byte vvH 0H .16) 00 00H . ll = LSB * Not received in Performance mode when the Receive Bank Select (Performance MIDI) is OFF.16) 00H .1 .7FH (0 .16) 00H . Patches.FH (ch.064 | Preset Performance | 001 .15 Version: 1.7FH (0 .7FH (0 .127) 00H . 2. 32) Status 2nd byte BnH 00H BnH 20H n = MIDI channel number: mm.256 : | | | | 063 | | 001 .FH (ch.032 | User Rhythm | 001 . the specified effect will apply if Patch Control Source 1.7FH (0 . ●Note on Status 2nd byte 3rd byte vvH 0H .127) 9nH kkH n = MIDI channel number: kk = note number: vv = note off velocity: * Not received when the Tone Env Mode parameter (Patch Ctrl and Rhythm General) is NO-SUS. SYS CTRL2.1 .127) BnH 01H n = MIDI channel number: vv = Modulation depth: * Not received in Performance mode when the Receive Modulation parameter (Performance MIDI) is OFF.128 | Preset Patch B | 001 .256 ●Note off Status 8nH 2nd byte kkH 3rd byte vvH 00H 0H .16) mm.128 | 001 | 001 .127) ❍Bank Select (Controller number 0.127) 01H .128 | User Patch | 129 . ll = Bank number: 3rd byte mmH llH 0H .128 | 065 | 001 .FH (ch. 3 or 4 parameter (System Control) is selected.7FH (1 . the corresponding effect will occur.1 . ll = the value of the parameter specified by RPN/NRPN mm = MSB.1 .MIDI Implementation 1.032 | 064 | 001 .FH (ch.128 | : | | : | 092 | 000 | 001 | SRX Rhythm | 001 | : | | : | 093 | 000 | 001 | SRX Patch | 001 | : | | : | 120 | | 001 .7FH (0 . Receive data ■Channel Voice Messages * Not received in Performance mode when the Receive Switch parameter (Part Edit) is OFF.057 | GM Rhythm | 001 . 38) 2nd byte 3rd byte Status BnH 06H mmH BnH 26H llH n = MIDI channel number: 0H .FH (ch.064 | 064 | 001 . 2. * If a Controller number that corresponds to the System Control Source 1.1 .128 | Preset Patch A | 001 .032 087 | 000 | 001 .127) ●Control Change * If the corresponding Controller number is selected for the Patch Matrix Control Source parameter (Patch Mtrx Ctrl1-4). BANK SELECT | PROGRAM | GROUP | NUMBER MSB | LSB | NUMBER | | -----+-----------+-----------+----------------------+----------000 | | 001 .127) 00H .6.256 | 064 | 001 .7FH (0 .1 .1 .FH (ch.128 | GM Patch | 001 .256 085 | 000 | 001 .064 | User Performance | 001 .16384) * In Performance mode the Part Portament Time parameter (Part Edit) will change. 3 or 4 parameter (Patch Mtrx Ctrl1-4) is set to SYS CTRL1.bank.FH (ch.7F 7FH (bank.128 | User Patch | 001 .127) 9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity: ❍Modulation (Controller number 1) Status 2nd byte 3rd byte vvH 0H .064 086 | 000 | 001 .

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

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

02H Channel Coarse Tuning mm: 10H .FH (ch. ll: ignored 249 .16) 00H . * In Performance mode. first RPN (Controller numbers 100 and 101.FH (ch. LSB 00H.prog. 00H. 7FH. RPN MSB. the Part Bend Range parameter (Part Edit) will change. transmitting RPN Null is recommended after setting parameters you need. 01H mmH. * Not received in Patch mode.MIDI Implementation ❍RPN MSB/LSB (Controller number 100.40H .0 .FH (ch.7FH (0 .70H (-48 . llH ●All Sounds Off (Controller number 120) Status 2nd byte 3rd byte BnH 78H 00H n = MIDI channel number: 0H .1 .18H (0 . llH * Not received in Performance mode when the Receive Program Change parameter (Performance MIDI) is OFF. the Part Coarse Tune parameter (Part Edit) will change. subsequent Parameter values that were previously set will not change.1 .FH (ch. then Data Entry (Controller numbers 6 and 38) should be sent to set the value. / 8192 cent) * In Performance mode. they can be sent in any order) should be sent in order to select the parameter. llH Modulation Depth Range mm: 00 00H .16) 00 00H .1 .06 00H (0 .40 00H .16384 x 600 / 16384 cent) mmH.24 semitones) ll: ignored (processed as 00H) Up to 2 octave can be specified in semitone steps. ●Pitch Bend Change Status 2nd byte 3rd byte mmH 0H .16) mm = upper byte (MSB) of parameter number specified by RPN ll = lower byte (LSB) of parameter number specified by RPN <<< RPN >>> Control Changes include RPN (Registered Parameter Numbers). the Part Fine Tune parameter (Part Edit) will change.1 . In order not to make any mistakes.16) * When this message is received. --RPN null RPN and NRPN will be set as “unspecified. which are extended. LSB mmH. 00H Data entry MSB. all notes currently sounding on the corresponding channel will be turned off. * Not received in Performance mode when the Receive Pitch Bend parameter (Performance MIDI) is OFF. ■Channel Mode Messages * Not received in Performance mode when the Receive Switch parameter (Part Edit) is OFF. ll: 20 00H . mm.0 .+4096 x 100 * Not received when the Tone Receive Bender parameter (Patch Ctrl) is OFF. 00H. 101) Status BnH BnH 2nd byte 65H 64H 3rd byte mmH llH ●Program Change Status CnH 2nd byte ppH 0H .7FH (prog. Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. 7FH ---.+48 semitones) ll: ignored (processed as 00H) * In Performance mode. ●Channel Pressure Status DnH 2nd byte vvH 0H .128) n = MIDI channel number: pp = Program number: n = MIDI channel number: 0H .127) n = MIDI channel number: vv = Channel Pressure: * Not received in Performance mode when the Receive Channel Pressure parameter (Performance MIDI) is OFF.0 . This device receives the following RPNs.7F 7FH (-8192 .1 .16) 00H . 05H mmH. llH Channel Fine Tuning mm.60 00H (-4096 x 100 / 8192 . Once RPN messages are received.FH (ch. When using RPNs.1 .40 00H .” Once this setting has been made. ll = Pitch Bend value: Notes Pitch Bend Sensitivity mm: 00H . 00H.+8191) EnH llH n = MIDI channel number: mm.

●Active Sensing Status FEH * When Active Sensing is received. ●OMNI ON (Controller number 125) Status 2nd byte 3rd byte BnH 7DH 00H n = MIDI channel number: 0H . 0 (off) 0 (off) 0 (off) 0 (off) unset.16) * When this message is received.FH (ch.FH (ch.16) * The same processing will be carried out as when All Notes Off is received. 250 .MIDI Implementation ●Reset All Controllers (Controller number 121) Status BnH 2nd byte 79H 3rd byte 00H n = MIDI channel number: 0H . However.16) * The same processing will be carried out as when All Notes Off is received. ■System Realtime Message ●Timing Clock Status F8H * This is received when Sync Mode parameter (System) is SLAVE.1 .1 .1 . OMNI ON will not be turned on.1 . All Notes Off and Reset All Controllers are received.1 . and message interval monitoring will be halted.16) * The same processing will be carried out as when All Notes Off is received. if the interval between messages exceeds 420 ms.16) 00H .FH (ch.FH (ch. previously set data will not change unset.16) * When All Notes Off is received. ●All Notes Off (Controller number 123) Status 2nd byte 3rd byte BnH 7BH 00H n = MIDI channel number: 0H . ●POLY (Controller number 127) Status BnH 2nd byte 7FH 3rd byte 00H n = MIDI channel number: 0H . the Part Mono/Poly parameter (Part Edit) will change. the following controllers will be set to their reset values. Controller Pitch Bend Change Polyphonic Key Pressure Channel Pressure Modulation Breath Type Expression Hold 1 Sostenuto Soft Hold 2 RPN NRPN Reset value +/-0 (center) 0 (off) 0 (off) 0 (off) 0 (min) 127 (max) However the controller will be at minimum.FH (ch. all notes on the corresponding channel will be turned off.10H (0 .1 . ●OMNI OFF (Controller number 124) Status 2nd byte 3rd byte BnH 7CH 00H n = MIDI channel number: 0H . While monitoring. the sound will be continued until these are turned off. the same processing will be carried out as when All Sounds Off. the unit will begin monitoring the intervals of all further messages. * In Performance mode. * In Performance mode. the Part Mono/Poly parameter (Part Edit) will change. if Hold 1 or Sostenuto is ON.FH (ch.16) n = MIDI channel number: mm = mono number: * The same processing will be carried out as when All Notes Off is received. previously set data will not change ●MONO (Controller number 126) Status BnH 2nd byte 7EH 3rd byte mmH 0H .

* The Master Level parameter (System) will change. ID numbers 7EH and 7FH are extensions of the MIDI standard. ddH. 02H Status F7H ●Universal Non-realtime System Exclusive Messages ❍Identity Request Message Status F0H Byte F0H 7EH dev 06H 01H F7H Data byte 7EH. Universal Non-realtime and Universal Realtime dd. . ●Universal Realtime System Exclusive Messages ❍Master Volume Status F0H Byte F0H 7FH 7FH 04H 01H llH mmH F7H Data byte 7FH. Messages (7EH) Messages (7FH). mmH Status F7H * When this message is received.. 06H. 7FH) Sub ID#1 (General Information) Sub ID#2 (Identity Request) EOX (End Of Exclusive) * When this messages is received.. ❍GM1 System On Status F0H Byte F0H 7EH 7FH 09H 01H F7H Data byte 7EH.. * Not received when the Receive GM1 System On parameter (System MIDI) is OFF. 256) will be transmitted. * When this messages is received. this instrument will turn to the Performance mode.. 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.1FH.MIDI Implementation ■System Exclusive Message Status F0H F0H: ii = ID number: Data byte iiH. Of the System Exclusive messages received by this device.127) EOX (End Of Exclusive) * When this messages is received. ❍GM System Off Status F0H Data byte 7EH. 01H Status F7H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI 1 On) EOX (End Of Exclusive) Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Volume) Master Volume lower byte Master Volume upper byte EOX (End Of Exclusive) * The lower byte (llH) of Master Volume will be handled as 00H. this instrument will turn to the Performance mode. 251 . dev. 04H... Identity Reply message (p. llH. 01H Status F7H Byte F0H 7EH 7FH 09H 02H F7H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI Off) EOX (End Of Exclusive) Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 10H . Roland's manufacturer ID is 41H...ee = data: F7H: 00H .. 7FH. 09H. * Not received when the Receive GM2 System On parameter (System MIDI) is OFF.. 7F. 7FH.eeH Status F7H ❍GM2 System On Status F0H Byte F0H 7EH 7FH 09H 03H F7H Data byte 7EH 7FH 09H 03H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI 2 On) EOX (End Of Exclusive) Status F7H System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. 01H. 09H.7FH (0 . this instrument will return to the Performance mode.

MIDI Implementation ❍Master Fine Tuning Status F0H Byte F0H 7FH 7FH 04H 03H llH mmH F7H Data byte 7FH.+24 [semitones]) * The Master Key Shift parameter (System) will change. 01H.127 EOX (End Of Exclusive) Status F7H mm. 7FH.+99. Value for the parameter.0 . vvH Byte F0H 7FH 7FH 04H 05H 01H 01H 01H 01H 01H ppH vvH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Global Parameter Control) Slot path length Parameter ID width Value width Slot path MSB Slot path LSB (Effect 0101: Reverb) Parameter to be controlled.127 pp=4 Send To Reverb vv = 00H . ❍Reverb Parameters Status F0H Data byte 7FH. 04H.40H . 7FH. pp=0 Chorus Type vv=0 Chorus1 vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger pp=1 Mod Rate vv= 00H .127 EOX (End Of Exclusive) ❍Chorus Parameters Status F0H Data byte 7FH. 01H.7FH 0 .7FH 0 . 7FH. llH. 01H.58H (-24 .7FH 0 . 04H. ppH. 252 .7F 7FH (-100 . ll: 00 00H . 03H.9 [cents]) * The Master Tune parameter (System) will change.0 . ●Global Parameter Control * Not received in Patch mode. vvH Byte F0H 7FH 7FH 04H 05H 01H 01H 01H 01H 02H ppH vvH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Global Parameter Control) Slot path length Parameter ID width Value width Slot path MSB Slot path LSB (Effect 0102: Chorus) Parameter to be controlled. 04H. 05H. ppH. 01H. 01H.7FH 0 . 7FH. 01H. 05H. ❍Master Coarse Tuning Status F0H Byte F0H 7FH 7FH 04H 04H llH mmH F7H llH: mmH: Data byte 7FH. Value for the parameter. 04H. 01H.40 00H . mmH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Fine Tuning) Master Fine Tuning LSB Master Fine Tuning MSB EOX (End Of Exclusive) F7H Status F7H pp=0 Reverb Type vv = 00H Small Room vv = 01H Medium Room vv = 02H Large Room vv = 03H Medium Hall vv = 04H Large Hall vv = 08H Plate pp=1 Reverb Time vv = 00H . llH.7FH 0 . mmH Status F7 Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Coarse Tuning) Master Coarse Tuning LSB Master Coarse Tuning MSB EOX (End Of Exclusive) ignored (processed as 00H) 28H . 04H. 01H. 01H.127 Status F7H F7H pp=3 Feedback vv = 00H . 02H.127 pp=2 Mod Depth vv = 00H .

08H.0F) Controlled parameter Controlled range pp=0 Pitch Control rr = 28H .7FH 0 . ggH. The model ID of the exclusive messages used by this instrument is 00H 00H 25H.200% pp=3 LFO Pitch Depth rr = 00H . kkH.200% (Relative) nn=0AH Pan vv = 00H .5F) Controlled parameter Controlled range pp=0 Pitch Control rr = 28H ..+24 [semitones] pp=1 Filter Cutoff Control rr = 00H .2400 [cents] pp=5 LFO Amplitude Depth rr = 00H .600 [cents] pp=4 LFO Filter Depth rr = 00H .0F) Controller number (01 .7FH -9600 . 0nH.7FH 0 . 0nH.+9450 [cents] pp=2 Amplitude Control rr = 00H .+9450 [cents] pp=2 Amplitude Control rr = 00H .2400 [cents] pp=5 LFO Amplitude Depth rr = 00H . ccH.7FH 0 .0FH) Key Number Control Number Value nn=07H Level vv = 00H .200% pp=3 LFO Pitch Depth rr = 00H . F7H 253 . 0AH.Right (Absolute) nn=5BH Reverb Send vv = 00H .7FH 0 . 7FH. 40 .7FH -9600 .7FH Left .100% EOX (End Of Exclusive) Status F7H : F7 * This parameter affects drum instruments only.7FH 0 .127 (Absolute) nn=5D Chorus Send vv = 00H . 08H. 09H. ffH.7FH 0 . 7FH. hhH. rrH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Controller Destination Setting) Sub ID#2 (Channel Pressure) MIDI Channel (00 . nnH. 03H. ppH.+24 [semitones] pp=1 Filter Cutoff Control rr = 00H .100% F7H EOX (End Of Exclusive) Status F7H ❍Scale/Octave Tuning Adjust Status F0H Byte F0H 7EH 7FH 08H 08H ffH Data byte Status 7EH. 0nH. rrH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Controller Destination Setting) Sub ID#2 (Control Change) MIDI Channel (00 . 09H. 01H.7FH 0 . vvH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Key-Based Instrument Control) Sub ID#2 (Controller) MIDI Channel (00 .7FH 0 . ssH. 7FH.600 [cents] pp=4 LFO Filter Depth rr = 00H .. F7 Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (MIDI Tuning Standard) Sub ID#2 (scale/octave tuning 1-byte form) Channel/Option byte 1 bits 0 to 1 = channel 15 to 16 bit 2 to 6 = Undefined Channel byte 2 bits 0 to 6 = channel 8 to 14 hhH ssH Channel byte 3 bits 0 to 6 = channel 1 to 7 12 byte tuning offset of 12 semitones from C to B 00H = -64 [cents] 40H = 0 [cents] (equal temperament) 7FH = +63 [cents] EOX (End Of Exclusive) ggH F7H ❍Key-based Instrument Controllers Status F0H Byte F0H 7FH 7FH 0AH 01H 0nH kkH nnH vvH Data byte 7FH.58H -24 . 7FH. 01H.127 (Absolute) : EOX (End Of Exclusive) Status F7H ❍Controller Status F0H Byte F0H 7FH 7FH 09H 03H 0nH ccH ppH rrH Data byte 7FH.58H -24 .7FH 0 .7FH 0 .1F. ppH.7FH 0 .MIDI Implementation ❍Channel Pressure Status F0H Byte F0H 7FH 7FH 09H 01H 0nH ppH rrH Data byte 7FH. ●Data Transmission This instrument can use exclusive messages to exchange many varieties of internal settings with other devices.

* Data larger than 256 bytes will be divided into packets of 256 bytes or less. ssH. ttH. When a Data Request message is received. * Data larger than 256 bytes will be divided into packets of 256 bytes or less.1FH. please refer to (p. Refer to the address and size given in “Parameter Address Map” (p. ccH. Refer to the address and size given in “Parameter Address Map” (p.. 7FH) Model ID (GS) Command ID (DT1) Address MSB: upper byte of the starting address of the transmitted data Address: middle byte of the starting address of the transmitted data Address LSB: lower byte of the starting address of the transmitted data Data: the actual data to be transmitted. 25H. aaH. Status F0H Data byte 41H. refer to (p. sum Byte F0H 41H dev 00H 00H 25H 11H aaH bbH ccH ddH ssH ttH uuH vvH sum F7H Remarks Exclusive status ID number (Roland) device ID (dev: 10H . ccH. * Regarding the checksum. eeH. sum Byte F0H 41H dev 00H 00H 25H 12H aaH bbH ccH Explanation Exclusive status ID number (Roland) Device ID (dev: 00H .. eeH. : ffH sum F7H : Data Checksum EOX (End Of Exclusive) * The amount of data that can be transmitted at one time depends on the type of data. Multiple bytes of data are transmitted starting from the Status F7H : eeH sum F7H address. bbH. dev.1FH. * Regarding the checksum. 257). Refer to the address and size given in “Parameter Address Map” (p. nothing is transmitted. aaH. and each packet will be sent at an interval of about 20 ms. please refer to (p. uuH. and data will be transmitted from the specified starting address and size. ccH. 42H. ddH. 7FH) Model ID #1 (SonicCell) Model ID #2 (SonicCell) Model ID #3 (SonicCell) Command ID (DT1) Address MSB: upper byte of the starting address of the data to be sent Address: upper middle byte of the starting address of the data to be sent Address: lower middle byte of the starting address of the data to be sent * The amount of data that can be transmitted at one time depends on the type of data. ddH. aaH. ddH. bbH. the requested data is transmitted as a Data Set 1 (DT1) message. dev. 12H. ffH. 00H.MIDI Implementation ❍Data Request 1 RQ1 (11H) This message requests the other device to transmit data. 257). 275) * Not received when the Receive Exclusive parameter (System MIDI) is OFF.1FH. 7FH) model ID #1 (SonicCell) model ID #2 (SonicCell) model ID #3 (SonicCell) command ID (RQ1) address MSB address address address LSB size MSB size size size LSB checksum EOX (End Of Exclusive) status F7H ddH eeH Address LSB: Data: lower byte of the starting address of the data to be sent. the actual data to be sent. 275) * Not received when the Receive Exclusive parameter (System MIDI) is OFF. * For the checksum. and if the address and size are appropriate. 257). 11H. 00H. bbH. 25H. * Not received when the Receive Exclusive parameter (System MIDI) is OFF. and each packet will be sent at an interval of about 20 ms. The address and size indicate the type and amount of data that is requested. 275). 00H. 254 . 00H. vvH. . Multiple bytes of data are transmitted in order starting from the address. and data will be transmitted from the specified starting address and size. : Data Checksum EOX (End Of Exclusive) Status F7H Byte F0H 41H dev 42H 12H aaH * The size of data that can be transmitted at one time is fixed for each type of data. bbH ccH ddH ❍Data set 1 DT1 (12H) Status F0H Data byte 41H. dev. sum Explanation Exclusive status ID number (Roland) Device ID (dev: 10H . if the device is in a state in which it is able to transmit data.. And data requests must be made with a fixed starting address and size.. . If the conditions are not met. status F0H data byte 41H. 12H.

7FH (0 .1 .10H (0 .16) 00H .127) n = MIDI channel number: vv = Channel Pressure: ■Channel Voice Messages ●Note off Status 8nH 2nd byte kkH 3rd byte vvH 00H 0H . ●Pitch Bend Change Status EnH 2nd byte llH 3rd byte mmH 0H . ■Channel Mode Messages ●All Sounds Off (Controller number 120) Status 2nd byte 3rd byte BnH 78H 00H n = MIDI channel number: 0H .7FH (0 .7FH (0 .16) BnH 7EH n = MIDI channel number: mm = mono number: * This message is transmitted from SMF Player. ●Polyphonic Key Pressure 2nd byte AnH kkH n = MIDI channel number: kk = note number: vv = Polyphonic Key Pressure: Status 3rd byte vvH 0H .127) 9nH kkH n = MIDI channel number: kk = note number: vv = note off velocity: * This message is transmitted from SMF Player.MIDI Implementation 2.0 .16) 00H . ●Channel Pressure Status DnH 2nd byte vvH 0H .16) 00H .1 .77H (0 .16) * This message is transmitted from SMF Player.127) 01H .FH (ch.127) ●All Notes Off (Controller number 123) Status 2nd byte 3rd byte BnH 7BH 00H n = MIDI channel number: 0H .FH (ch.16) 00H .119) 00H .7FH (0 .1 . ●Control Change BnH kkH n = MIDI channel number: kk = Controller number: vv = Control value: vvH 0H .7FH (1 .FH (ch.128) * This message is transmitted from SMF Player.127) 00H . * This message is transmitted from SMF Player.prog.1 .16) * This message is transmitted from SMF Player.FH (ch.FH (ch. Data Transmission Messages (except System Common and System Realtime Messages) that are received are then sent out when Soft Thru parameter (System MIDI) is switched to ON.1 .+8191) n = MIDI channel number: mm.1 .7FH (0 .16) * This message is transmitted from SMF Player.FH (ch.16) 00H .7FH (0 .127) 9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity: * This message is transmitted from SMF Player.1 .1 . * This message is transmitted from SMF Player.16) 00H .FH (ch. 255 . ●Program Change Status 2nd byte CnH ppH n = MIDI channel number: pp = Program number: 0H .1 .40 00H . ●Reset All Controllers (Controller number 121) Status 2nd byte 3rd byte BnH 79H 00H n = MIDI channel number: 0H .FH (ch.16) 00H . ●Note on Status 2nd byte 3rd byte vvH 0H .127) ●MONO (Controller number 126) Status 2nd byte 3rd byte mmH 0H . ●POLY (Controller number 127) Status 2nd byte 3rd byte BnH 7FH 00H n = MIDI channel number: 0H .1 .FH (ch. ll = Pitch Bend value: * This message is transmitted from SMF Player.7F 7FH (-8192 .7FH (0 .16) 00 00H .127) 00H .1 .1 .16) * This message is transmitted from SMF Player.FH (ch.FH (ch. * This message is transmitted from SMF Player.1 .7FH (prog.FH (ch.

00H Status F7H Byte F0H 7EH dev 06H 02H 41H 25H 02H 00H 00H 00H 00H 00H 00H F7H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 10H . 00H.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 set 1 DT1 (12H) Status F0H Data byte 41H... 41H. 00H. ffH. * The amount of data that can be transmitted at one time depends on the type of data.. ●Universal Non-realtime System Exclusive Message ❍Identity Reply Message (SonicCell) Receiving Identity Request Message. * Data larger than 256 bytes will be divided into packets of 256 bytes or less. 00H. bbH. 06H. 00H.. dev. Status F0H Data byte 7EH.ee = data: F7H: 00H . 02H. 25H. ID numbers 7EH and 7FH are extensions of the MIDI standard. 00H. . 02H. eeH.. the actual data to be sent.1FH. 00H. Multiple bytes of data are transmitted in order starting from the address.7FH (0 .127) EOX (End Of Exclusive) : ffH sum F7H : Data Checksum EOX (End Of Exclusive) Universal Non-realtime System Exclusive Messagé” and Data Set 1 (DT1) are the only System Exclusive messages transmitted by the SonicCell. Byte F0H 41H dev 00H 00H 25H 12H aaH bbH ccH ddH eeH Explanation Exclusive status ID number (Roland) Device ID (dev: 00H . 12H.... aaH.. Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH). ddH. 7FH) Model ID #1 (SonicCell) Model ID #2 (SonicCell) Model ID #3 (SonicCell) Command ID (DT1) Address MSB: upper byte of the starting address of Address: Address: Address LSB: Data: the data to be sent upper middle byte of the starting address of the data to be sent lower middle byte of the starting address of the data to be sent lower byte of the starting address of the data to be sent.. . dev. 25H. the SonicCell send this message. sum Status F7H 256 . 00H.. ccH.MIDI Implementation ■System Realtime Messages ●Active Sensing Status FEH * This message is transmitted at intervals of approximately 250 msec. and each packet will be sent at an interval of about 20 ms. ■System Exclusive Message Status F0H F0H: ii = ID number: Data byte iiH.eeH Status F7H System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. and data will be transmitted from the specified starting address and size. dd. ddH.. Roland's manufacturer ID is 41H. Refer to the address and size given in “Parameter Address Map” (see right).

127) | | 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 . GS | |-------------+-----------+----------------------------------------------------| | 00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0) (0 . For example. Sonic Cell (ModelID = 00H 00H 25H) +------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 01 00 00 00 | Setup | |-------------+----------------------------------------------------------------| | 02 00 00 00 | System | |-------------+----------------------------------------------------------------| | 10 00 00 00 | Temporary Performance | | 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1) | | 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2) | | : | | | 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16) | | 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode) | |-------------+----------------------------------------------------------------| | 20 00 00 00 | User Performance (01) | | 20 01 00 00 | User Performance (02) | | : | | | 20 3F 00 00 | User Performance (64) | |-------------+----------------------------------------------------------------| | 30 00 00 00 | User Patch (001) | | 30 01 00 00 | User Patch (002) | | : | | | 31 7F 00 00 | User Patch (256) | |-------------+----------------------------------------------------------------| | 40 00 00 00 | User Rhythm Set (001) | | 40 10 00 00 | User Rhythm Set (002) | | : | | | 43 70 00 00 | User Rhythm Set (032) | +------------------------------------------------------------------------------+ * Rhythm +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Rhythm Common | | 00 02 00 | Rhythm Common MFX | | 00 04 00 | Rhythm Common Chorus | | 00 06 00 | Rhythm Common Reverb | | 00 10 00 | Rhythm Tone (Key # 21) | | 00 12 00 | Rhythm Tone (Key # 22) | | : | | | 01 3E 00 | Rhythm Tone (Key # 108) | +------------------------------------------------------------------------------+ * Setup +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 0aaa | Sound Mode (0 . ON | | 00 0E | 0000 000a | Reverb Switch (0 . * “<*>” marked address or parameters are ignored when the SonicCell received them.MIDI Implementation 3. ON | | 00 10 | 0000 000a | (reserve) <*> | | 00 11 | 0000 000a | (reserve) <*> | | 00 12 | 0000 aaaa | (reserve) <*> | | 00 13 | 0000 0aaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 14 | 0000 0aaa | (reserve) <*> | | 00 15 | 0000 00aa | (reserve) <*> | | 00 16 | 0000 000a | (reserve) <*> | | 00 17 | 0aaa aaaa | (reserve) <*> | | 00 18 | 0aaa aaaa | (reserve) <*> | | 00 19 | 0000 000a | (reserve) <*> | | 00 1A | 0aaa aaaa | (reserve) <*> | | 00 1B | 0aaa aaaa | (reserve) <*> | | 00 1C | 0aaa aaaa | (reserve) <*> | | 00 1D | 0000 0aaa | (reserve) <*> | | 00 1E | 0000 000a | (reserve) <*> | | 00 1F | 0aaa aaaa | (reserve) <*> | | 00 20 | 0aaa aaaa | (reserve) <*> | | 00 21 | 0000 000a | (reserve) <*> | | 00 22 | 0aaa aaaa | (reserve) <*> | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | (reserve) <*> | | 00 25 | 0000 000a | (reserve) <*> | | 00 26 | 0aaa aaaa | (reserve) <*> | | 00 27 | 0aaa aaaa | (reserve) <*> | | 00 28 | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 29 | 0000 000a | (reserve) <*> | | 00 2A | 0aaa aaaa | (reserve) <*> | | 00 2B | 00aa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 2C | 0000 000a | (reserve) <*> | | 00 2D | 0000 000a | (reserve) <*> | * System +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | System Common | | 00 02 00 | System Mastering | | 00 03 00 | System External Input | +------------------------------------------------------------------------------+ * Temporary Patch/Rhythm +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Temporary Patch | | 10 00 00 | Temporary Rhythm | +------------------------------------------------------------------------------+ * Performance +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Performance Common | | 00 02 00 | Performance Common MFX1 | | 00 04 00 | Performance Common Chorus | | 00 06 00 | Performance Common Reverb | | 00 08 00 | Performance Common MFX2 | | 00 0A 00 | Performance Common MFX3 | | 00 10 00 | Performance MIDI (Channel 1) | | 00 11 00 | Performance MIDI (Channel 2) | | : | | | 00 1F 00 | Performance MIDI (Channel 16) | | 00 20 00 | Performance Part (Part 1) | | 00 21 00 | Performance Part (Part 2) | | : | | | 00 2F 00 | Performance Part (Part 16) | | 00 60 00 | Performance Controller | +------------------------------------------------------------------------------+ 257 .1) | | | | BYPASS. ON | | 00 0B | 0000 000a | MFX2 Switch (0 . * Patch +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Patch Common | | 00 02 00 | Patch Common MFX | | 00 04 00 | Patch Common Chorus | | 00 06 00 | Patch Common Reverb | | 00 10 00 | Patch TMT (Tone Mix Table) | | 00 20 00 | Patch Tone (Tone 1) | | 00 22 00 | Patch Tone (Tone 2) | | 00 24 00 | Patch Tone (Tone 3) | | 00 26 00 | Patch Tone (Tone 4) | +------------------------------------------------------------------------------+ 1.1) | | | | BYPASS.127) | | 00 03 | 0aaa aaaa | Performance Program Number (PC) (0 .1) | | | | BYPASS. PERFORM. GM1.127) | | 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 . ON | | 00 0F | 0000 000a | Input Effect Switch (0 . and is sent/received in this order. ON | | 00 0C | 0000 000a | MFX3 Switch (0 . Parameter Address Map * Transmission of “#” marked address is divided to some packets.1) | | | | OFF.4) | | | | PATCH.127) | | 00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32) (0 .127) | | 00 07 | 0aaa aaaa | (reserve) <*> | | 00 08 | 0aaa aaaa | (reserve) <*> | | 00 09 | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 0A | 0000 000a | MFX1 Switch (0 .1) | | | | OFF. GM2.127) | |-------------+-----------+----------------------------------------------------| | 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 . ON | | 00 0D | 0000 000a | Chorus Switch (0 . ABH in hexadecimal notation will be divided to 0AH and 0BH.1) | | | | OFF.

| | | | 630.2.127) | | | | -64 .+63 | | 00 17 | 0aaa aaaa | Patch Scale Tune for B (0 .6) | |-------------+-----------+----------------------------------------------------| |# 00 06 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 1 (12768 . -15. 14. | | | | 16.8. 21. CC33 . -22.127) | | | | -64 . -35. 24 [dB] | | 00 06 | 0aaa aaaa | Mid band Attack time (0 . -20.0. | | | | -6. 13. AFT | |-------------+-----------+----------------------------------------------------| | 00 1C | 0000 000a | Receive Program Change (0 . 3.4.127) | | 00 06 | 0000 000a | Scale Tune Switch (0 . -4. -8. 8000 [Hz] | |-------------+----------------------------------------------------------------| | 00 00 00 12 | Total Size | +------------------------------------------------------------------------------+ * System External Input +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | External Dry Send Level (0 . ON | | 00 01 | 0aaa aaaa | Low band Attack time (0 . -16. 19.1) | | | | OFF. 1:1. 1:1.+63 | | 00 15 | 0aaa aaaa | Patch Scale Tune for A (0 . -13.6. 2. | | | | 1:16.13) | | | | 1:1.1) | | | | OFF. -19. AFT | | 00 1B | 0aaa aaaa | System Control 4 Source (0 .CC31.24) | | | | 0. 15. -21.+63 | | 00 0F | 0aaa aaaa | Patch Scale Tune for D# (0 .+63 | | 00 13 | 0aaa aaaa | Patch Scale Tune for G (0 . -9. 2500.13) | | | | 1:1. -31.1. AFT | | 00 1A | 0aaa aaaa | System Control 3 Source (0 . 10. 500.CC95. 12. -17. | | | | -18.+63 | | 00 10 | 0aaa aaaa | Patch Scale Tune for E (0 . -10. 7. -35.127) | | | | -64 . -23. AFT | | 00 19 | 0aaa aaaa | System Control 2 Source (0 . 10.5. 5000. OFF | | 00 0A | 0000 aaaa | Patch Receive Channel (0 .127) | | 00 02 | 0aaa aaaa | External Reverb Send Level (0 . 24 [dB] | | 00 0B | 0aaa aaaa | High band Attack time (0 . -8. -33. -5. -10. -3.100) | | 00 08 | 00aa aaaa | Mid band Threshold (0 . | | | | -24.8. -28. 1:8. | | | | BEND. | | | | -6.127) | | | | -64 . | | | | 23.+24 | | 00 05 | 0aaa aaaa | Master Level (0 . -11.127) | | 00 01 | 0aaa aaaa | External Chorus Send Level (0 . CC33 . 19. 6. 6. | | | | 1:3.127) | | | | -64 .CC95. 3. 20. 2. -32.4.16) | | | | 1 . | | | | 1:16.0. 1:1. -23. 1:4. -2. -25.100) | | 00 02 | 0aaa aaaa | Low band Release time (0 .2. 1. CC01 . 18.2024) | | | | -100. | | | | BEND. 1. | | | | 1:3. 7. 6.0.+63 | | 00 0E | 0aaa aaaa | Patch Scale Tune for D (0 . | | | | 9. 22. | | | | 1:3. -26. -13. 12. -11.100) | | 00 07 | 0aaa aaaa | Mid band Release time (0 .0. -33. 1:5.97) | | | | OFF.52768) | | | | -20000 . -35.0. 11. 4000. -26.1. | | | | -18.CC31. -34. -1.6.+63 | | 00 16 | 0aaa aaaa | Patch Scale Tune for A# (0 . CC01 .+20000 | |# 00 0A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 2 (12768 .0 [cent] | | 00 04 | 00aa aaaa | Master Key Shift (40 . 11. | | | | BEND. | | | | -30. 800 [Hz] | | 00 11 | 0000 0aaa | Split Freq High (0 . -4. 14.16 | | 00 0B | 0000 aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Patch Scale Tune for C (0 .127) | | 00 03 | 0000 aaaa | External Output Assign (0 . | | | | 1:1. -17. -16.0 . 1:INF | | 00 05 | 000a aaaa | Low band Level (0 . -5. -25. | | | | 23. 4.0. -1.0. | | | | 9. | | | | -24. | | | | 1:1. MFX3 | |-------------+-----------+----------------------------------------------------| | 00 05 | 0000 aaaa | Input Effect Type (0 . 1:1. -20. | 258 . -9.1.+63 | | 00 0D | 0aaa aaaa | Patch Scale Tune for C# (0 . | | | | 1:16.+63 | | 00 14 | 0aaa aaaa | Patch Scale Tune for G# (0 .0. -7.100) | | 00 0D | 00aa aaaa | High band Threshold (0 . 1:4.2. | | | | 23. -21.+63 | | 00 11 | 0aaa aaaa | Patch Scale Tune for F (0 .127) | | | | -64 .24) | | | | 0.6. 13. -17.13) | | | | 1:1. 250. -25. -22.CC31. 1:1.CC95. -31. 15.+20000 | |# 00 0E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 3 (12768 . 0 [dB] | | 00 09 | 0000 aaaa | Mid band Ratio (0 .+63 | |-------------+-----------+----------------------------------------------------| | 00 18 | 0aaa aaaa | System Control 1 Source (0 .0. -14.36) | | | | -36.97) | | | | OFF.1) | | | | OFF. -5. -9. 8. | | | | 9. -32. 1:8. -1.6) | | | | 200. -2.MIDI Implementation | 00 2E | 0000 000a | (reserve) <*> | | 00 2F | 0000 000a | (reserve) <*> | | 00 30 | 0aaa aaaa | (reserve) <*> | | 00 31 | 0000 000a | (reserve) <*> | | 00 32 | 0000 00aa | (reserve) <*> | | 00 33 | 00aa aaaa | (reserve) <*> | |-------------+----------------------------------------------------------------| | 00 00 00 34 | Total Size | +------------------------------------------------------------------------------+ * System Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| |# 00 00 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Master Tune (24 . 17. | | | | 16.127) | | | | -64 . -34. 14. 13. -19. -27. 1:INF | | 00 0A | 000a aaaa | Mid band Level (0 . 4. 5.52768) | | | | -20000 . 17. 0 [dB] | | 00 04 | 0000 aaaa | Low band Ratio (0 .127) | | | | -64 . 1:1. -31. 17. ON | | 00 08 | 0000 000a | Mix/Parallel <*> | | | | ---.2.5. CC01 .100. 1:2. 400. 1:2. -28. -15. 1:1. 18. | | | | -12.127) | | | | -64 .+20000 | |# 00 16 | 0000 aaaa | | | | 0000 bbbb | | * System Mastering +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 000a | Mastering Switch (0 .1) | | | | OFF. 8.0. 1:8.1) | | | | OFF. | | | | 6300. -29. MFX2.0. -27.100) | | 00 0C | 0aaa aaaa | High band Release time (0 . 10. | | | | BEND.97) | | | | OFF. -13. 15. 1:1. 1. -14. 19.6) | | | | 2000. | | | | -24.2. 1:1. 4. -11. 24 [dB] | | 00 10 | 0000 0aaa | Split Freq Low (0 .+20000 | |# 00 12 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 4 (12768 . 22. -22. -14. -16. 12. -27.CC31.88) | | | | -24 .1) | | | | MFX. -21. 1:1. 20. ON | | 00 1D | 0000 000a | Receive Bank Select (0 . -23. 0 [dB] | | 00 0E | 0000 aaaa | High band Ratio (0 . -32. 1:2. -33.36) | | | | -36.15) | | | | 1 .6. 5. 1:2. 3150. -28. 7.2) | | | | MFX1.4.5.CC95. | | | | -12.97) | | | | OFF.2. 1:5. CC33 . | | | | -30. 11. -7. -4.127) | | | | -64 . 2.6. 1:2. -20. -26. PARALLEL | |-------------+-----------+----------------------------------------------------| | 00 09 | 000a aaaa | Performance Control Channel (0 . | | | | -6. -8. -3.16. -10. 1:5.+63 | | 00 12 | 0aaa aaaa | Patch Scale Tune for F# (0 . -2.24) | | | | 0.52768) | | | | -20000 . 21. -29.36) | | | | -36.127) | | | | -64 . 1:4. 1:INF | | 00 0F | 000a aaaa | High band Level (0 .6. 1:2. -3.8. 315. DRY | | 00 04 | 0000 00aa | External Output MFX Select (0 . 18. 1:1.0. 3.127) | | | | -64 . 5. -29. | | | | -18. 8. -15. -19. -7. 1:1. | | | | 1:1. | | | | 16. 21. CC33 .100) | | 00 03 | 00aa aaaa | Low band Threshold (0 .52768) | | | | -20000 . CC01 . | | | | -30. 20. ON | | 00 07 | 0000 000a | Patch Remain (0 . 22. -34. ON | |-------------+----------------------------------------------------------------| | 00 00 00 1E | Total Size | +------------------------------------------------------------------------------+ | | | -12.

+20000 | |# 00 36 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 13 (12768 .64) | | | | | | 00 26 | 0aaa aaaa | (reserve) <*> (0 .127 [ASCII] | | 00 05 | 0aaa aaaa | Performance Name 6 (32 .52768) | | | | -20000 .16 | | 00 0D | 000a aaaa | MFX1 Control Channel (0 . FULL | | 00 14 | 0aaa aaaa | Voice Reserve 5 (0 .0) | | | | | |-------------+-----------+----------------------------------------------------| | 00 10 | 0aaa aaaa | Voice Reserve 1 (0 .64) | | | | | | 00 2A | 0aaa aaaa | (reserve) <*> (0 . INPUT FX | | 00 59 | 0000 000a | MFX3 Location (0 .63.52768) | | | | -20000 .64) | | | | | | 00 24 | 0aaa aaaa | (reserve) <*> (0 .52768) | | | | -20000 . FULL | | 00 17 | 0aaa aaaa | Voice Reserve 8 (0 .+20000 | |# 00 1E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 7 (12768 .+20000 | |# 00 1A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 6 (12768 .64) | 259 .127) | | | | 32 .52768) | | | | -20000 .64) | | | | | | 00 2D | 0aaa aaaa | (reserve) <*> (0 . 1 .52768) | | | | -20000 .63.64) | | | | | | 00 23 | 0aaa aaaa | (reserve) <*> (0 .16) | | | | OFF.64) | | | | 0 .63.127 [ASCII] | | 00 02 | 0aaa aaaa | Performance Name 3 (32 .64) | | | | 0 .64) | | | | 0 .+20000 | |# 00 4E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 19 (12768 .64) | | | | | | 00 21 | 0aaa aaaa | (reserve) <*> (0 .63. FULL | | 00 13 | 0aaa aaaa | Voice Reserve 4 (0 .63.127) | | | | 32 .63.52768) | | | | -20000 . FULL | | 00 20 | 0aaa aaaa | (reserve) <*> (0 .64) | | | | 0 .127) | | | | 32 .64) | | | | 0 . FULL | | 00 11 | 0aaa aaaa | Voice Reserve 2 (0 .64) | | | | | | 00 22 | 0aaa aaaa | (reserve) <*> (0 .64) | | | | 0 .+20000 | |# 00 2E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 11 (12768 .63. FULL | | 00 1A | 0aaa aaaa | Voice Reserve 11 (0 .64) | | | | 0 . FULL | | 00 16 | 0aaa aaaa | Voice Reserve 7 (0 .127 [ASCII] | | 00 01 | 0aaa aaaa | Performance Name 2 (32 .64) | | | | | | 00 28 | 0aaa aaaa | (reserve) <*> (0 .127 [ASCII] | | 00 06 | 0aaa aaaa | Performance Name 7 (32 .1) | | | | MIX.MIDI Implementation | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 5 (12768 .+20000 | |# 00 3E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 15 (12768 .64) | | | | 0 .127) | | | | 32 .127 [ASCII] | | 00 0A | 0aaa aaaa | Performance Name 11 (32 . FULL | | 00 18 | 0aaa aaaa | Voice Reserve 9 (0 .52768) | | | | -20000 .127 [ASCII] | | 00 03 | 0aaa aaaa | Performance Name 4 (32 .64) | | | | | | 00 2C | 0aaa aaaa | (reserve) <*> (0 .64) | | | | | | 00 29 | 0aaa aaaa | (reserve) <*> (0 .64) | | | | | | 00 27 | 0aaa aaaa | (reserve) <*> (0 .+20000 | |# 00 32 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 12 (12768 . FULL | | 00 1C | 0aaa aaaa | Voice Reserve 13 (0 .1) | | | | TO OUTPUT. FULL | | 00 1D | 0aaa aaaa | Voice Reserve 14 (0 .127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 00aa aaaa | Solo Part Select (0 . TO COM.64) | | | | | | 00 2B | 0aaa aaaa | (reserve) <*> (0 .127 [ASCII] | | 00 0B | 0aaa aaaa | Performance Name 12 (32 .127) | | | | 32 .52768) | | | | -20000 .+20000 | |# 00 3A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 14 (12768 . FULL | | 00 1B | 0aaa aaaa | Voice Reserve 12 (0 .64) | | | | 0 .127) | | | | 32 .16.+20000 | |# 00 22 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 8 (12768 .127) | | | | 32 .52768) | | | | -20000 .127) | | | | 32 .52768) | | | | -20000 . OFF | | 00 0E | 0000 000a | (reserve) <*> (1 .52768) | | | | -20000 .+20000 | |# 00 42 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 16 (12768 .16) | | | | 1 .52768) | | | | -20000 . FULL | | 00 1E | 0aaa aaaa | Voice Reserve 15 (0 .2) | | | | TO COM+OUT.64) | | | | 0 .+20000 | |-------------+-----------+----------------------------------------------------| | 00 56 | 0000 000a | USB Audio Assign (0 .63. FULL | | 00 1F | 0aaa aaaa | Voice Reserve 16 (0 .63.52768) | | | | -20000 .127) | | | | 32 .63.+20000 | |# 00 52 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 20 (12768 .127 [ASCII] | | 00 09 | 0aaa aaaa | Performance Name 10 (32 .64) | | | | | | 00 25 | 0aaa aaaa | (reserve) <*> (0 .127) | | | | 32 .0) | | | | | | 00 0F | 0000 000a | (reserve) <*> (1 .+20000 | |# 00 26 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 9 (12768 .63. TO INPUT FX | | 00 58 | 0000 000a | To Computer (0 .127) | | | | 32 .63.127 [ASCII] | | 00 04 | 0aaa aaaa | Performance Name 5 (32 .64) | | | | 0 .127 [ASCII] | | 00 08 | 0aaa aaaa | Performance Name 9 (32 .1) | | | | TG. FULL | | 00 12 | 0aaa aaaa | Voice Reserve 3 (0 .63.63. FULL | | 00 15 | 0aaa aaaa | Voice Reserve 6 (0 .64) | | | | 0 .64) | | | | 0 .52768) | | | | -20000 .+20000 | |# 00 2A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 10 (12768 .64) | | | | 0 .+20000 | |# 00 4A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 18 (12768 .64) | | | | 0 .63.+20000 | |# 00 46 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 17 (12768 . INPUT FX | |-------------+----------------------------------------------------------------| | 00 00 00 5A | Total Size | +------------------------------------------------------------------------------+ * Performance Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Performance Name 1 (32 .127 [ASCII] | | 00 07 | 0aaa aaaa | Performance Name 8 (32 .64) | | | | 0 . FULL | | 00 19 | 0aaa aaaa | Voice Reserve 10 (0 .63. TO INPUT FX | | 00 57 | 0000 00aa | Input Assign (0 .127) | | | | 32 .52768) | | | | -20000 .52768) | | | | -20000 .

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

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

1) | | | | OFF.+20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 .+3 | | 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 .127) | | | | -64 .1) | | | | OFF. 1 .+63 | | 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 .+50 | | 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 . ---.+63 | | 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 . MUTE | |-------------+-----------+----------------------------------------------------| | 00 1C | 0aaa aaaa | Part Dry Send Level (0 . ON | 262 .1) | | | | OFF. MFX3 | |-------------+-----------+----------------------------------------------------| | 00 21 | 0aaa aaaa | Part Decay Offset (CC# 75) (0 .52768) | | | | -20000 .127.127) | | | | -64 .127) | | | | -64 . POLY.127) | | 00 1F | 0000 aaaa | Part Output Assign (0 .+48 | | 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 . MFX2. ON | | 00 0B | 0000 0aaa | Velocity Curve Type (0 .1) | | | | OFF.2) | | | | MONO.52768) | | | | -20000 .2) | | | | OFF.16 | | 00 01 | 0000 000a | Receive Switch (0 .52768) | | | | -20000 .1) | | | | OFF.52768) | | | | -20000 .+63 | |-------------+-----------+----------------------------------------------------| | 00 25 | 0aaa aaaa | Part Scale Tune for C (0 .127) | | 00 1A | 0aaa aaaa | Keyboard Fade Width Upper (0 .+63 | | 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 .52768) | | | | -20000 . ---.13) | | | | MFX. | | | | PATCH | | 00 20 | 0000 00aa | Part Output MFX Select (0 .127) | | | | -64 .MIDI Implementation | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 .+63 | |-------------+-----------+----------------------------------------------------| | 00 15 | 0000 0aaa | Part Octave Shift (61 .127) | | | | -64 .+20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 .127) | |-------------+-----------+----------------------------------------------------| | 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 .+20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+ |-------------+-----------+----------------------------------------------------| | 00 0A | 0000 000a | Phase Lock (0 .+20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 .+63 | | 00 13 | 0aaa aaaa | Part Attack Offset (CC# 73) (0 .1) | | | | OFF.127) | | | | -64 .1) | | | | OFF. ON | | 00 08 | 0000 000a | Receive Expression (0 .67) | | | | -3 .1) | | | | OFF.4) | | | | OFF. ON | | 00 06 | 0000 000a | Receive Volume (0 .+63 | | 00 14 | 0aaa aaaa | Part Release Offset (CC# 72) (0 . ON | | 00 02 | 0000 000a | Receive Bender (0 .+63 | | 00 17 | 0aaa aaaa | Keyboard Range Lower (0 .127) | | 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 .127) | | | | -64 .0) | | | | | |-------------+-----------+----------------------------------------------------| | 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 .128) | | | | 0 .15) | | | | 1 . ON | | 00 02 | 0000 0000 | (reserve) <*> (1 .24.127) | | | | C-1 .+20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 .+63 | | 00 27 | 0aaa aaaa | Part Scale Tune for D (0 .+20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 . PATCH | | 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 . ---.114) | | | | -50 .127) | | 00 1B | 0000 000a | Mute Switch (0 .112) | | | | -48 .+20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 .52768) | | | | -20000 .52768) | | | | -20000 .127) | | | | -64 .+63 | * Performance MIDI +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 000a | Receive Program Change (0 . A. ON | | 00 09 | 0000 000a | Receive Hold-1 (0 . ---.+63 | | 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 . ---.52768) | | | | -20000 .52768) | | | | -20000 .+63 | |-------------+-----------+----------------------------------------------------| | 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 .1) | | | | OFF.4 | |-------------+----------------------------------------------------------------| | 00 00 00 0C | Total Size | +------------------------------------------------------------------------------+ * Performance Part +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Receive Channel (0 . PATCH | | 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 .+63 | | 00 29 | 0aaa aaaa | Part Scale Tune for E (0 .127) | | | | -64 .+20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 .52768) | | | | -20000 . ON.127) | | | | -64 .63R | | 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 . PATCH | | 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 .+20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 . ON | | 00 07 | 0000 000a | Receive Pan (0 . ---.127) | | 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 .127) | | | | -64 .+20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 .52768) | | | | -20000 .127) | | | | -63 .52768) | | | | -20000 . 2.127) | | | | L64 .+20000 | |# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 . | | | | 1. ---.127) | | | | LOWER . PATCH | | 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 .127) | | | | -64 . ON.UPPER | | 00 18 | 0aaa aaaa | Keyboard Range Upper (0 .2) | | | | MFX1. ---.52768) | | | | -20000 . ON | | 00 05 | 0000 000a | Receive Modulation (0 .+63 | | 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 . ---.52768) | | | | -20000 .127) | | | | -64 .+20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 . ON | | 00 04 | 0000 000a | Receive Channel Pressure (0 .2) | | | | OFF.0) | | | | | | 00 03 | 0000 0000 | (reserve) <*> (1 .G9 | | 00 19 | 0aaa aaaa | Keyboard Fade Width Lower (0 .1) | | | | OFF.127) | | 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 .127) | | 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 . ON | | 00 01 | 0000 000a | Receive Bank Select (0 .+20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 .1) | | | | OFF.127) | | 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 .1) | | | | OFF. ON | | 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 .+20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 . PATCH | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | Part Portamento Time (CC# 5) (0 .25) | | | | 0 .1) | | | | OFF.

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

PCH.48) | | 00 2A | 00aa aaaa | Pitch Bend Range Down (0 .CC31. CHO. CUT. TVA-REL.109) | | | | OFF. | | | | DRY. LFO1-RATE. MFX1. AFT. ON | | 00 29 | 00aa aaaa | Pitch Bend Range Up (0 . REV. | | | | PAN-LFO2. | | | | TVF-ATK. FXM. PAN. ---. | | | | TVA-ATK. PCH.127) | | | | -63 . CHO. | | | | TIME <*> | | 00 43 | 0aaa aaaa | Matrix Control 3 Sens 3 (1 . MFX4. PIT-DCY. PCH. | | | | TVA-ATK. PIT-DCY. TVF-ENV. | | | | TVF-ATK. MFX1.+63 | |-------------+-----------+----------------------------------------------------| | 00 27 | 0000 aaaa | Patch Output Assign (0 . TVF-ENV. | | | | TVA-LFO1.CC95. CC01 . | | | | PIT-LFO2. TVA-LFO2. LEV. RES. TVF-DCY. PAN. PIT-LFO1. CUT. CHO. TVA-REL. PIT-REL. | | | | TVA-LFO1. PIT-DCY. | | | | TVF-ATK. LFO1-RATE. TVF-ENV. | | | | PIT-ATK.127) | | | | -63 . TVF-DCY. | | | | KEYFOLLOW. LEV. TEMPO. LEV. PAN-LFO1. TVA-DCY. LFO2. | | | | PIT-ATK. TVA-DCY. TVA-LFO2. | | | | TMT. TVA-REL. TVF-LFO2. TVA-DCY. LEV. TVF-DCY. | | | | TVF-ATK. LFO2-RATE.127) | | | | -63 . TVF-LFO1. PCH. MFX2. PIT-DCY.109) | | | | OFF. TVF-DCY. LFO2-RATE. MFX4. CHO. RES. TVF-LFO1. CC01 . TVA-LFO2.127) | | | | -63 . PAN. MFX4. TVF-LFO1. | | | | TIME <*> | | 00 3C | 0aaa aaaa | Matrix Control 2 Sens 4 (1 . MFX4. PCH. LFO1. | | | | 1. | | | | TVA-ATK. MFX4. | | | | TMT.CC95. REV. | | | | PIT-ATK. PAN-LFO1. PAN-LFO1.CC95. RES. RES. CHO. TVA-DCY. | | | | TIME <*> | | 00 36 | 0aaa aaaa | Matrix Control 2 Sens 1 (1 . | | | | TVF-ATK. CHO. | | | | PAN-LFO2. | | | | PIT-LFO2. A. TVF-LFO2. | | | | PIT-ENV.+63 | |-------------+-----------+----------------------------------------------------| | 00 3D | 0aaa aaaa | Matrix Control 3 Source (0 . TVF-LFO1. MFX1. PIT-REL. MFX1.34) | | | | OFF.48) | |-------------+-----------+----------------------------------------------------| | 00 2B | 0aaa aaaa | Matrix Control 1 Source (0 .34) | | | | OFF.127) | | | | -63 . TVF-LFO1. TVF-REL. MFX2. | | | | TMT. RES. | | | | TVA-LFO1. PIT-LFO1. CUT. LFO1. PIT-LFO1. PAN. TVA-LFO2. PAN. LEV. MFX2. | | | | PAN-LFO2. CHO. | | | | TVA-ATK. RES. | | | | TVA-LFO1. CUT. SYS1 . TVF-LFO2. CC33 . TVA-LFO2. LFO2-RATE. | | | | PIT-ATK. PIT-REL. | | | | TVA-LFO1. MFX2. LFO2-RATE. MFX1. PIT-DCY. MFX2. ---. MFX1. TVF-REL.34) | | | | OFF. | | | | DRY. TVF-LFO2. TVF-DCY. TVA-LFO2. PIT-DCY. LEV. TVA-REL.1) | | | | OFF. PIT-LFO1.+63 | | 00 2E | 00aa aaaa | Matrix Control 1 Destination 2 (0 . REV. | | | | PAN-LFO2. MFX4.127) | | | | -63 . MFX1. | | | | TIME <*> | | 00 38 | 0aaa aaaa | Matrix Control 2 Sens 2 (1 . VELOCITY. PAN. | | | | PIT-ATK. TVA-DCY. TVA-REL. | | | | TIME <*> | | 00 33 | 0aaa aaaa | Matrix Control 1 Sens 4 (1 . | | | | DRY. | | | | TONE | |-------------+-----------+----------------------------------------------------| | 00 28 | 0000 000a | TMT Control Switch (0 . | | | | PIT-ATK. | | | | TIME <*> | | 00 31 | 0aaa aaaa | Matrix Control 1 Sens 3 (1 . TEMPO. CUT. TVF-DCY. PIT-REL.CC31. CHO. PIT-DCY. ---. TVF-LFO2.+63 | |-------------+-----------+----------------------------------------------------| | 00 34 | 0aaa aaaa | Matrix Control 2 Source (0 . | | | | TVA-LFO1. PIT-LFO1. | | | | TIME <*> | | 00 3A | 0aaa aaaa | Matrix Control 2 Sens 3 (1 . | | | | PAN-LFO2. | | | | TVA-ATK. REV. TVF-REL. | | | | TMT. | | | | TIME <*> | | 00 41 | 0aaa aaaa | Matrix Control 3 Sens 2 (1 .34) | | | | OFF. TVF-REL. TVA-DCY.SYS4. | | | | PIT-LFO2. PAN-LFO1. LFO2-RATE. PIT-REL. | | | | TVF-ATK. | | | | TIME <*> | | 00 2D | 0aaa aaaa | Matrix Control 1 Sens 1 (1 . LFO1-RATE. MFX3. | | | | TVA-ATK. TVF-DCY. PIT-REL. | | | | DRY. MFX3. SYS1 . PAN-LFO1. MFX4. MFX1. RES. TVA-ENV | | 00 35 | 00aa aaaa | Matrix Control 2 Destination 1 (0 . | | | | PIT-ENV. | | | | PIT-LFO2. LFO2-RATE. | | | | PAN-LFO2. PAN. TVF-DCY. CUT. ---.CC95. | | | | DRY. PCH. MFX2. PIT-REL. PIT-LFO1. | | | | PAN-LFO2. | | | | TVF-ATK.+63 | | 00 3B | 00aa aaaa | Matrix Control 2 Destination 4 (0 . RES. TVA-REL. | | | | PIT-ENV.127) | | | | -63 . MFX1. TVA-LFO2. PAN-LFO1. TVA-ENV | | 00 2C | 00aa aaaa | Matrix Control 1 Destination 1 (0 .34) | | | | OFF. TVA-LFO2. | | | | DRY. | | | | TVA-ATK. MFX4. LFO1-RATE. PCH. PCH. PAN-LFO1. PIT-DCY. CHO. MFX2. | | | | TVA-LFO1. PIT-DCY. TVF-DCY. TVA-DCY.+63 | | 00 37 | 00aa aaaa | Matrix Control 2 Destination 2 (0 . | | | | TMT. ---. TVA-DCY. | | | | PIT-ATK. | | | | PIT-LFO2. | | | | TVA-LFO1. PAN-LFO1. REV. | | | | DRY. TVF-LFO1. MFX4. | | | | PAN-LFO2. | | | | TVA-ATK. 2.127) | | | | -63 . LFO2-RATE. TVF-LFO2. PAN. PIT-LFO1. TVF-REL. TVF-LFO2. TVF-REL. TVA-DCY. TVF-LFO1. TVA-LFO2. | | | | PIT-ATK. | 264 . | | | | TMT. PCH. TVF-LFO2. LFO1-RATE. | | | | TVA-ATK. FXM. LFO1. RES.+63 | | 00 39 | 00aa aaaa | Matrix Control 2 Destination 3 (0 . PIT-LFO1. MFX4. TEMPO. | | | | TIME <*> | | 00 2F | 0aaa aaaa | Matrix Control 1 Sens 2 (1 . MFX3. | | | | PAN-LFO2. MFX3. CUT. | | | | PIT-LFO2. PIT-REL. CHO. | | | | KEYFOLLOW. REV. PIT-DCY. REV.34) | | | | OFF. LEV. ---. | | | | PIT-ATK. TVF-REL. LFO2-RATE.34) | | | | OFF. FXM. | | | | DRY. TVF-DCY. MFX3. TVA-LFO2. AFT. LFO2-RATE. | | | | KEYFOLLOW. REV. | | | | PIT-LFO2. | | | | PIT-ATK. | | | | TIME <*> | | 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 . PAN-LFO1.SYS4. LFO2-RATE.CC31. ---. | | | | TVA-ATK. | | | | BEND.CC31. RES. LEV. REV. MFX2. REV. | | | | TMT. FXM. TVF-LFO1. RES. FXM.127) | | | | -63 . REV. | | | | DRY. PAN. TVF-DCY. REV. PIT-LFO1. TVF-DCY. PIT-REL. PIT-LFO1. | | | | TVA-ATK. TVF-LFO2. VELOCITY.127) | | | | -63 . TVA-REL. LFO2. TVA-LFO2. CUT. MFX3.+63 | | 00 42 | 00aa aaaa | Matrix Control 3 Destination 3 (0 . TVF-LFO1. | | | | DRY. TVA-ENV | | 00 3E | 00aa aaaa | Matrix Control 3 Destination 1 (0 . | | | | TVF-ATK. | | | | KEYFOLLOW. | | | | PAN-LFO2. LEV.34) | | | | OFF. TVF-LFO2. FXM. MFX1. MFX1. | | | | PIT-ATK.+63 | | 00 26 | 0aaa aaaa | Velocity Sens Offset (1 . TVF-LFO1. TVA-REL. | | | | TVA-LFO1. FXM. | | | | PAN-LFO2. | | | | BEND. | | | | PAN-LFO2. PAN-LFO1. TVF-REL. | | | | TVF-ATK. TVF-LFO1. TVF-LFO2. VELOCITY. CUT. PCH. CC01 . TVF-REL. MFX3.34) | | | | OFF. PAN. TVF-LFO1. MFX2. MFX3. CC01 . | | | | TIME <*> | | 00 3F | 0aaa aaaa | Matrix Control 3 Sens 1 (1 .127) | | | | -63 . LFO1-RATE.13) | | | | MFX. TVF-LFO1. RES.+63 | | 00 44 | 00aa aaaa | Matrix Control 3 Destination 4 (0 .MIDI Implementation | | | -63 . TVF-REL. PIT-REL. TVA-LFO2. CUT. | | | | TVA-LFO1.109) | | | | OFF. LEV. LFO2. PAN-LFO1. MFX2. CC33 . | | | | PIT-ATK. | | | | BEND. TVA-REL. | | | | TVF-ATK.+63 | | 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 . TVA-DCY. TVF-ENV. LEV. | | | | TVA-LFO1. PAN-LFO1. | | | | PIT-LFO2.+63 | | 00 32 | 00aa aaaa | Matrix Control 1 Destination 4 (0 .34) | | | | OFF. TVA-LFO2. MFX1. PCH. PIT-DCY. CUT. | | | | DRY. MFX4. | | | | TMT. LEV. | | | | TMT. LFO1-RATE. TVA-REL.+63 | |-------------+-----------+----------------------------------------------------| | 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 . MFX3.+63 | | 00 40 | 00aa aaaa | Matrix Control 3 Destination 2 (0 . | | | | PIT-ENV. ---.127) | | | | -63 . TVF-LFO2. | | | | BEND. | | | | PIT-LFO2. TVF-REL. MFX3. PIT-DCY. MFX2. | | | | TVA-LFO1. MFX3. TEMPO. TVA-DCY. | | | | TMT. | | | | TVA-ATK. CC33 . FXM. | | | | PIT-LFO2.127) | | | | -63 . | | | | DRY. LFO1-RATE. | | | | TMT. AFT. | | | | TMT. CUT. PIT-REL. | | | | DRY. LFO1-RATE.34) | | | | OFF. PAN.34) | | | | OFF. LEV. CC33 . PCH. VELOCITY. TVA-REL. LFO2-RATE. TVA-ENV | | 00 47 | 00aa aaaa | Matrix Control 4 Destination 1 (0 . | | | | TVA-LFO1. FXM. AFT. CHO. MFX3. PIT-LFO1. PIT-LFO1.SYS4. PAN-LFO1. FXM. LFO2. REV. | | | | PIT-LFO2. PIT-LFO1.SYS4. LFO1-RATE. PAN. MFX4. LFO2-RATE. | | | | PIT-LFO2. CHO. RES. SYS1 . | | | | PIT-LFO2. ---. LFO1. FXM.109) | | | | OFF. LFO1-RATE. FXM. LFO1-RATE. PIT-REL. CUT. PAN.34) | | | | OFF. | | | | TVF-ATK. TVA-DCY. TVA-REL. | | | | TVF-ATK. SYS1 . CHO. TVF-LFO2. TVF-REL. MFX2. PCH.

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

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

127) | | 00 1C | 0aaa aaaa | TMT3 Velocity Range Lower (1 .52768) | | | | -20000 . 200.UPPER | | 00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper (0 . RANDOM. 6.127) | | | | C-1 .+20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 .127 | | 00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower (0 .127) | |-------------+-----------+----------------------------------------------------| | 00 17 | 0000 000a | TMT3 Tone Switch (0 . ON.52768) | | | | -20000 .52768) | | | | -20000 .1) | | | | OFF.127) | | | | C-1 .127) | | 00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper (0 .127) | | | | 1 .+20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 .G9 | | 00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower (0 .127) | | 00 0A | 0aaa aaaa | TMT1 Velocity Range Lower (1 . 400. +6. 2.52768) | | | | -20000 .30) | | | | 0. 50.52768) | | | | -20000 . ON | | 00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower (0 . 70.10 | | 00 03 | 0000 00aa | Booster 3 & 4 (0 .52768) | | | | -20000 . +6.1) | | | | OFF.114) | | | | -50 .1) | | | | OFF. 5.127) | | 00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper (0 . 80.127 | | 00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower (0 .52768) | | | | -20000 .+20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+ * Patch TMT (Tone Mix Table) +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Structure Type 1 & 2 (0 .127) | | 00 13 | 0aaa aaaa | TMT2 Velocity Range Lower (1 .1) | | | | OFF.52768) | | | | -20000 .UPPER | | 00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper (0 .127) | | | | LOWER .G9 | | 00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower (0 .127) | | 00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper (0 .9) | | | | 1 . 8. 9. 1000.127) | | | | LOWER .127) | | 00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper (0 .52768) | | | | -20000 .127) | | 00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper (0 .127) | |-------------+-----------+----------------------------------------------------| | 00 20 | 0000 000a | TMT4 Tone Switch (0 . 300. 7.112) | | | | -48 . | | | | 10. | | | | 1200 | | 00 04 | 0aaa aaaa | Tone Pan (0 .+20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 .127) | | | | LOWER . ON | | 00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower (0 .52768) | | | | -20000 . | | | | 600.52768) | | | | -20000 .+20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 .10 | | 00 01 | 0000 00aa | Booster 1 & 2 (0 . 3. ON | | 00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower (0 . +18 [dB] | |-------------+-----------+----------------------------------------------------| | 00 04 | 0000 00aa | TMT Velocity Control (0 .9) | | | | 1 . | | | | 90.+20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 .127) | | 00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper (0 .52768) | | | | -20000 .127) | | 00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper (0 . +18 [dB] | | 00 02 | 0000 aaaa | Structure Type 3 & 4 (0 .+20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 .127) | | | | LOWER .127) | | 00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper (0 .127) | | | | 1 .+48 | | 00 02 | 0aaa aaaa | Tone Fine Tune (14 .127) | |-------------+-----------+----------------------------------------------------| | 00 0E | 0000 000a | TMT2 Tone Switch (0 . 100.127) | |-------------+----------------------------------------------------------------| | 00 00 00 29 | Total Size | +------------------------------------------------------------------------------+ * Patch Tone +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Tone Level (0 .UPPER | | 00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper (0 .52768) | | | | -20000 .127) | | 00 25 | 0aaa aaaa | TMT4 Velocity Range Lower (1 .+20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 . +12.+20000 | |# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 .+20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 .+20000 | |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 . 60.+20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 .UPPER | | 00 1D | 0aaa aaaa | TMT3 Velocity Range Upper (1 .127) | | | | LOWER .127) | | | | LOWER .127) | | | | 1 . ON | | 00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower (0 .3) | | | | 0. CYCLE | |-------------+-----------+----------------------------------------------------| | 00 05 | 0000 000a | TMT1 Tone Switch (0 . 800.UPPER | | 00 14 | 0aaa aaaa | TMT2 Velocity Range Upper (1 .UPPER | | 00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper (0 . 900. 40.UPPER | | 00 0B | 0aaa aaaa | TMT1 Velocity Range Upper (1 .127) | | | | C-1 . +12.3) | | | | 0. 500.52768) | | | | -20000 .52768) | | | | -20000 . 30.+20000 | |# 00 13 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 .UPPER | | 00 26 | 0aaa aaaa | TMT4 Velocity Range Upper (1 .127 | | 00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower (0 .127) | | 00 01 | 0aaa aaaa | Tone Coarse Tune (16 .52768) | | | | -20000 .+50 | | 00 03 | 000a aaaa | Tone Random Pitch Depth (0 .+20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 .3) | | | | OFF.+20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 . 4. 1.127) | | | | LOWER .+20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 .52768) | | | | -20000 .52768) | | | | -20000 .+20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 .52768) | | | | -20000 . 700. 1100.127) | | | | LOWER . 20.G9 | | 00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower (0 .127) | 267 .127 | | 00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower (0 .G9 | | 00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower (0 .+20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 .127) | | | | 1 .127) | | | | C-1 .+20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 .MIDI Implementation |# 00 07 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 .

---.+63 | | 00 47 | 0aaa aaaa | Pitch Env Level 4 (1 .127) | | 00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 .127) | | | | -63 .16384) | | | | OFF.127) | | 00 76 | 0000 000a | LFO1 Key Trigger (0 . 0.4) | | | | -100.127) | | 00 43 | 0aaa aaaa | Pitch Env Level 0 (1 . REVERSE | | 00 1F | 0000 00aa | Tone Control 3 Switch 1 (0 .127) | | 00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX) (0 .127) | | | | -63 .127) | | | | -63 . LPF. ON.+63 | | 00 4D | 0aaa aaaa | TVF Resonance (0 .3) | | | | ON-IN. S&H. ON. OFF-IN. OFF-OUT | | 00 75 | 0aaa aaaa | LFO1 Fade Time (0 .+63 | | 00 44 | 0aaa aaaa | Pitch Env Level 1 (1 . | | | | RND.2) | | | | OFF.127) | | | | L63 .127) | | 00 6C | 0aaa aaaa | TVA Env Level 3 (0 .127) | | | | -63 .7 | | 00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens (1 .2) | | | | OFF.+63 | | 00 4F | 0aaa aaaa | TVF Env Depth (1 .16384 | | 00 34 | 0000 00aa | Wave Gain (0 .127) | | 00 11 | 0000 aaaa | Tone Output Assign (0 .16384) | | | | OFF.2) | | | | OFF. A. LOWER&UPPER.127) | | 00 41 | 0aaa aaaa | Pitch Env Time 3 (0 .7) | | | | FIXED.1) | | | | CONTINUOUS. | | | | LPF3 | | 00 49 | 0aaa aaaa | TVF Cutoff Frequency (0 . REVERSE | | 00 23 | 0000 00aa | Tone Control 4 Switch 1 (0 .63R | | 00 05 | 000a aaaa | Tone Pan Keyfollow (54 .7) | | | | FIXED. BEND-UP. REVERSE | | 00 20 | 0000 00aa | Tone Control 3 Switch 2 (0 .+200 | | 00 4B | 0000 0aaa | TVF Cutoff Velocity Curve (0 .1) | | | | OFF.+63 | | 00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 . LPF2.127) | | | | -63 .127) | | 00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 . SAW-UP.74) | | | | -100 . ON.1) | | | | INT. HOLD.2) | | | | OFF.127) | | 00 4A | 00aa aaaa | TVF Cutoff Keyfollow (44 .149) | | | | 0 .127) | | | | -63 .127) | | | | -63 .2) | | | | OFF. TRP. TRI. 1 .3) | | | | 1 .16384) | | | | OFF.2) | | | | OFF. ON. REVERSE | | 00 26 | 0000 00aa | Tone Control 4 Switch 4 (0 .127) | | 00 5A | 0aaa aaaa | TVF Env Level 1 (0 . +6. UPPER.127) | | 00 5B | 0aaa aaaa | TVF Env Level 2 (0 . ALL | | 00 61 | 0000 0aaa | TVA Level Velocity Curve (0 . 1 . ON. HPF. 1 .127) | | 00 5D | 0aaa aaaa | TVF Env Level 4 (0 .127) | | 00 40 | 0aaa aaaa | Pitch Env Time 2 (0 . SUSTAIN | | 00 09 | 0000 00aa | Tone Delay Mode (0 .+63 | | 00 65 | 000a aaaa | TVA Env Time Keyfollow (54 . 0. +100 | | 00 71 | 0aaa aaaa | LFO1 Rate Detune (0 .127) | | | | -63 .MIDI Implementation | | | L64 .2) | | | | OFF. STEP | |# 00 6E | 0000 aaaa | | | | 0000 bbbb | LFO1 Rate (0 .63) | | 00 07 | 0aaa aaaa | Tone Alternate Pan Depth (1 . ON. VSIN. ---.127) | | | | -63 .127.127. ON. ON.127) | | | | -63 .74) | | | | -100 . REVERSE | | 00 1C | 0000 00aa | Tone Control 2 Switch 2 (0 . SAW-DW.+200 | |-------------+-----------+----------------------------------------------------| | 00 3A | 000a aaaa | Pitch Env Depth (52 . REVERSE | | 00 18 | 0000 00aa | Tone Control 1 Switch 2 (0 . ---. REVERSE | |-------------+-----------+----------------------------------------------------| | 00 27 | 0000 00aa | Wave Group Type (0 .74) | | | | -100 . ON. ON-OUT. ---. ON. ON | | 00 36 | 0000 00aa | Wave FXM Color (0 . BPF.+63 | | 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 .+63 | | 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 . KEY-OFF-NORMAL. -50. SQR. ON. +50.+100 | | 00 06 | 00aa aaaa | Tone Random Pan Depth (0 . ---. REVERSE | | 00 1E | 0000 00aa | Tone Control 2 Switch 4 (0 . 1 .127) | | | | -63 .84) | | | | -200 . REVERSE | | 00 22 | 0000 00aa | Tone Control 3 Switch 4 (0 .127) | | 00 56 | 0aaa aaaa | TVF Env Time 2 (0 .127) | | 00 58 | 0aaa aaaa | TVF Env Time 4 (0 .| |-------------+-----------+----------------------------------------------------| | 00 12 | 0000 000a | Tone Receive Bender (0 .2) | | | | OFF.+63 | | 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 .127) | | 00 6B | 0aaa aaaa | TVA Env Level 2 (0 .+100 | | 00 66 | 0aaa aaaa | TVA Env Time 1 (0 .2) | | | | OFF.12) | | | | MFX. --.16) | | 00 38 | 0000 000a | Wave Tempo Sync (0 .2) | | | | OFF.+12 | | 00 3B | 0aaa aaaa | Pitch Env Velocity Sens (1 .127) | | | | -63 .+63 | | 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 .16384 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number R (0 . REVERSE | | 00 21 | 0000 00aa | Tone Control 3 Switch 3 (0 .6) | | | | OFF.1) | | | | OFF.1) | | | | OFF. ON | | 00 14 | 0000 000a | Tone Receive Hold-1 (0 .2) | | | | OFF. REVERSE | | 00 25 | 0000 00aa | Tone Control 4 Switch 3 (0 .+63 | | 00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 . ---.127) | | 00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX) (0 . ON | | 00 39 | 00aa aaaa | Wave Pitch Keyfollow (44 .127) | | | | -63 .127) | | 00 68 | 0aaa aaaa | TVA Env Time 3 (0 .127) | |-------------+-----------+----------------------------------------------------| | 00 6D | 0000 aaaa | LFO1 Waveform (0 . | | | | KEY-OFF-DECAY | |# 00 0A | 0000 aaaa | | | | 0000 bbbb | Tone Delay Time (0 . BEND-DW.127) | | | | -63 . MUSICAL-NOTES | | 00 70 | 0000 0aaa | LFO1 Offset (0 . ON | | 00 13 | 0000 000a | Tone Receive Expression (0 .127) | | 00 73 | 000a aaaa | LFO1 Delay Time Keyfollow (54 . ON.127) | | | | C-1 .2) | | | | OFF.127) | | 00 42 | 0aaa aaaa | Pitch Env Time 4 (0 .127) | | 00 6A | 0aaa aaaa | TVA Env Level 1 (0 .1) | | | | OFF. ON | |-------------+-----------+----------------------------------------------------| | 00 17 | 0000 00aa | Tone Control 1 Switch 1 (0 . 1 . ON.127) | | | | -63 .3) | | | | -6. REVERSE | | 00 19 | 0000 00aa | Tone Control 1 Switch 3 (0 .3) | | | | LOWER.76) | | | | -12 .7 | | 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 .127) | | 00 69 | 0aaa aaaa | TVA Env Time 4 (0 .2) | | | | OFF. ---.127) | | 00 59 | 0aaa aaaa | TVF Env Level 0 (0 .+63 | | 00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 .127) | | 00 57 | 0aaa aaaa | TVF Env Time 3 (0 .G9 | | 00 60 | 0000 00aa | Bias Direction (0 .7) | | | | FIXED.+63 | | 00 3E | 000a aaaa | Pitch Env Time Keyfollow (54 . ON. ---.127) | | 00 5C | 0aaa aaaa | TVF Env Level 3 (0 . REVERSE | | 00 1B | 0000 00aa | Tone Control 2 Switch 1 (0 .127) | | 00 67 | 0aaa aaaa | TVA Env Time 2 (0 . 2.127) | |-------------+-----------+----------------------------------------------------| | 00 5E | 000a aaaa | Bias Level (54 . ON.127) | | | | -63 .+63 | |-------------+-----------+----------------------------------------------------| | 00 48 | 0000 0aaa | TVF Filter Type (0 . | | | | 1.1) | | | | OFF. 1 .+100 | | 00 5F | 0aaa aaaa | Bias Position (0 . REVERSE | | 00 1D | 0000 00aa | Tone Control 2 Switch 3 (0 . PKG.127) | | | | -63 .16384 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number L (Mono) (0 .74) | | | | -100 .12) | | | | SIN.+63 | | 00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 .127) | | 00 72 | 0aaa aaaa | LFO1 Delay Time (0 .74) | | | | -100 .7 | | 00 62 | 0aaa aaaa | TVA Level Velocity Sens (1 . KEY-ON | | 00 16 | 0000 000a | Tone Redamper Switch (0 .+63 | | 00 46 | 0aaa aaaa | Pitch Env Level 3 (1 .127) | | 00 4E | 0aaa aaaa | TVF Resonance Velocity Sens (1 .3) | | | | NORMAL.2) | | | | OFF. REVERSE | | 00 24 | 0000 00aa | Tone Control 4 Switch 2 (0 .4 | | 00 37 | 000a aaaa | Wave FXM Depth (0 .+100 | | 00 74 | 0000 00aa | LFO1 Fade Mode (0 .2) | | | | OFF.+100 | | 00 3F | 0aaa aaaa | Pitch Env Time 1 (0 .1) | | | | NO-SUS.74) | | | | -100 .63R | | 00 08 | 0000 000a | Tone Env Mode (0 . MUSICAL-NOTES | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Tone Dry Send Level (0 .84) | | | | -200 .+63 | | 00 45 | 0aaa aaaa | Pitch Env Level 2 (1 . | | | | CHS. SRX | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Group ID (0 .2) | | | | OFF. REVERSE | | 00 1A | 0000 00aa | Tone Control 1 Switch 4 (0 .1) | | | | OFF. ON | | 00 15 | 0000 000a | Tone Receive Pan Mode (0 . ON.1) | 268 .+100 | | 00 55 | 0aaa aaaa | TVF Env Time 1 (0 .149) | | | | 0 . +12 [dB] | | 00 35 | 0000 000a | Wave FXM Switch (0 .

CC01 . | | | | BEND. 1 .+20000 | |# 00 21 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 5 (12768 . 1 . S&H. SYS1 .+36 | | 01 18 | 0aaa aaaa | LFO Step15 (28 .100) | | | | -36 .52768) | | | | -20000 . SYS1 . 2. AFT.127) | | | | 32 . ---.127) | | | | 32 .127) | | 00 04 | 0000 00aa | MFX Output Assign <*> | | | | A.1) | | | | OFF. CC01 . STEP | |# 00 7C | 0000 aaaa | | | | 0000 bbbb | LFO2 Rate (0 .+36 | |-------------+----------------------------------------------------------------| | 00 00 01 1A | Total Size | +------------------------------------------------------------------------------+ | | | 32 .127) | | | | -63 . ---.127) | | | | 32 .+63 | | 00 0B | 0aaa aaaa | MFX Control 4 Source (0 .+20000 | |# 00 25 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 6 (12768 .100) | | | | -36 .127) | | | | 32 . ---.127) | | 00 0D | 0000 000a | (reserve) | |# 00 0E | 0000 aaaa | | | | 0000 bbbb | (reserve) | | 00 10 | 0000 000a | (reserve) | |-------------+-----------+----------------------------------------------------| | 00 11 | 0000 aaaa | Rhythm Output Assign (0 . 1 . ---. CC33 .+36 | | 01 12 | 0aaa aaaa | LFO Step9 (28 .+63 | | 00 7B | 0000 aaaa | LFO2 Waveform (0 .127 [ASCII] | | 00 06 | 0aaa aaaa | Rhythm Name 7 (32 .+20000 | |# 00 1D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 4 (12768 .127) | 269 . BEND-UP.+63 | | 01 08 | 0aaa aaaa | LFO2 Pan Depth (1 .CC31.12) | | | | SIN.16) | | | | OFF.+36 | | 01 11 | 0aaa aaaa | LFO Step8 (28 .127 [ASCII] | | 00 0B | 0aaa aaaa | Rhythm Name 12 (32 .127 [ASCII] | | 00 04 | 0aaa aaaa | Rhythm Name 5 (32 .SYS4 | | 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 . ON-OUT.127 [ASCII] | | 00 02 | 0aaa aaaa | Rhythm Name 3 (32 .100) | | | | -36 .78) | | 00 01 | 0aaa aaaa | MFX Dry Send Level (0 . CC01 .52768) | | | | -20000 .100) | | | | -36 .127) | | | | -63 . ---.+63 | | 01 06 | 0aaa aaaa | LFO2 TVF Depth (1 .52768) | | | | -20000 .CC95. ---.+36 | | 01 19 | 0aaa aaaa | LFO Step16 (28 .101) | | | | OFF.100) | | | | -36 .100) | | | | -36 . | | | | CHS. | | | | BEND.100) | | | | -36 .127) | | | | 32 .1) | | 01 0A | 0aaa aaaa | LFO Step1 (28 .CC95. ON | | 00 77 | 0aaa aaaa | LFO1 Pitch Depth (1 .100) | | | | -36 .SYS4 | | 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 . +50.127) | | 01 00 | 0aaa aaaa | LFO2 Delay Time (0 .127) | | | | -63 .CC31.16) | | | | OFF.127) | | | | 32 .13) | | | | MFX. OFF-IN.100) | | | | -36 . ---. | | | | RND.127) | | | | -63 .127 [ASCII] | | 00 07 | 0aaa aaaa | Rhythm Name 8 (32 . AFT. -50.127) | | | | 32 .16 | | 00 0F | 000a aaaa | MFX Control Assign 3 (0 .127) | | | | -63 .127) | | | | 32 .127) | | | | -63 .52768) | | | | -20000 .+36 | | 01 0F | 0aaa aaaa | LFO Step6 (28 . SYS1 .101) | | | | OFF. MUSICAL-NOTES | | 00 7E | 0000 0aaa | LFO2 Offset (0 .+63 | | 00 07 | 0aaa aaaa | MFX Control 2 Source (0 .+63 | | 01 07 | 0aaa aaaa | LFO2 TVA Depth (1 . 0.127) | | | | 32 . | | | | BEND.SYS4 | | 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 . OFF-OUT | | 01 03 | 0aaa aaaa | LFO2 Fade Time (0 .127) | | | | 32 .CC95.52768) | | | | -20000 .100) | | | | -36 .+36 | | 01 0D | 0aaa aaaa | LFO Step4 (28 .74) | | | | -100 .+36 | | 01 0C | 0aaa aaaa | LFO Step3 (28 . SAW-DW.127. +100 | | 00 7F | 0aaa aaaa | LFO2 Rate Detune (0 .16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 1 (12768 .127) | | | | 32 .+63 | | 00 79 | 0aaa aaaa | LFO1 TVA Depth (1 . SYS1 .+36 | | 01 14 | 0aaa aaaa | LFO Step11 (28 .127) | | | | -63 .127) | | | | -63 .16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 . ---. SQR.3) | | | | ON-IN.+36 | | 01 16 | 0aaa aaaa | LFO Step13 (28 . ---.SYS4 | | 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 .127 [ASCII] | | 00 0A | 0aaa aaaa | Rhythm Name 11 (32 .100) | | | | -36 .127) | | | | -63 .52768) | | | | -20000 . VSIN. A.127) | | 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 .+63 | | 00 7A | 0aaa aaaa | LFO1 Pan Depth (1 .+20000 | |# 00 2D | 0000 aaaa | | * Rhythm Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Rhythm Name 1 (32 . BEND-DW.100) | | | | -36 .+20000 | |# 00 29 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 7 (12768 . TRI.4) | | | | -100. --.100) | | | | -36 .+36 | | 01 0E | 0aaa aaaa | LFO Step5 (28 . ON | | 01 05 | 0aaa aaaa | LFO2 Pitch Depth (1 .149) | | | | 0 . ---.52768) | | | | -20000 .CC31. CC33 .127) | | | | -63 .127) | | 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 . 1 . AFT.127 [ASCII] | | 00 03 | 0aaa aaaa | Rhythm Name 4 (32 .+36 | | 01 0B | 0aaa aaaa | LFO Step2 (28 .100) | | | | -36 .| |-------------+-----------+----------------------------------------------------| | 00 05 | 0aaa aaaa | MFX Control 1 Source (0 .127) | | 01 01 | 000a aaaa | LFO2 Delay Time Keyfollow (54 . CC01 .MIDI Implementation | | | OFF.+36 | | 01 10 | 0aaa aaaa | LFO Step7 (28 .127) | | | | -63 .127 [ASCII] | | 00 09 | 0aaa aaaa | Rhythm Name 10 (32 .CC31.16) | | | | OFF. TRP.+36 | | 01 13 | 0aaa aaaa | LFO Step10 (28 .+36 | | 01 17 | 0aaa aaaa | LFO Step14 (28 .+20000 | |# 00 15 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 2 (12768 .101) | | | | OFF.127) | | | | -63 . AFT. | | | | BEND.100) | | | | -36 .127 [ASCII] | | 00 01 | 0aaa aaaa | Rhythm Name 2 (32 .+63 | | 00 09 | 0aaa aaaa | MFX Control 3 Source (0 .+36 | | 01 15 | 0aaa aaaa | LFO Step12 (28 . CC33 . | | | | 1. SAW-UP.127 [ASCII] | | 00 08 | 0aaa aaaa | Rhythm Name 9 (32 . CC33 .127) | | 01 04 | 0000 000a | LFO2 Key Trigger (0 .127 [ASCII] | | 00 05 | 0aaa aaaa | Rhythm Name 6 (32 . | | | | TONE | |-------------+----------------------------------------------------------------| | 00 00 00 12 | Total Size | +------------------------------------------------------------------------------+ * Rhythm Common MFX +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | MFX Type (0 .+63 | | 00 78 | 0aaa aaaa | LFO1 TVF Depth (1 .+63 | |-------------+-----------+----------------------------------------------------| | 01 09 | 0000 aaaa | LFO Step Type (0 .+100 | | 01 02 | 0000 00aa | LFO2 Fade Mode (0 .16) | | | | OFF.101) | | | | OFF. ---.CC95.16 | | 00 0E | 000a aaaa | MFX Control Assign 2 (0 .100) | | | | -36 .+20000 | |# 00 19 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 3 (12768 .+63 | |-------------+-----------+----------------------------------------------------| | 00 0D | 000a aaaa | MFX Control Assign 1 (0 .127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Rhythm Level (0 .

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

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

127) | | | | C-1 .4 | Wave FXM Depth (0 .127) | | 00 0F | 0aaa aaaa | Tone Coarse Tune (0 .16384) | OFF.16384 | | 00 2F | 0000 00aa | WMT1 Wave Gain (0 .16) | | 00 33 | 0000 000a | WMT1 Wave Tempo Sync (0 .127) | Velocity Range Lower (1 .127) | 1 .1) | | | | OFF. REVERSE | Wave Level (0 .63R | | 00 37 | 0000 000a | WMT1 Wave Random Pan Switch (0 .16) | Wave Tempo Sync (0 . ON | Wave FXM Color (0 .G9 | | 00 10 | 0aaa aaaa | Tone Fine Tune (14 .1) | | | | OFF. ON | | 00 1F | 0000 000a | Tone Receive Pan Mode (0 .1) | | | | OFF. 70. 1 . ON | | 00 1E | 0000 000a | Tone Receive Hold-1 (0 . ---.16384) | OFF.16384) | OFF.UPPER | Velocity Range Upper (1 .112) | -48 .16384 | Wave Gain (0 .127) | | | | L64 .16384) | | | | OFF. ON | Wave Coarse Tune (16 .16384) | | | | OFF. 1 .1) | OFF.127) | 1 . +12 [dB] | Wave FXM Switch (0 . +6. 80. 8.16384 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | |# | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |# | | | | |# | | | | |# | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |# | | | | |# | | | | |# | | | | | | | | 00 48 | | | | | 00 4C | | 00 4D | | 00 4E | | 00 4F | 00 50 | | 00 51 | | 00 52 | | 00 53 | | 00 54 | | 00 55 | | 00 56 | 00 57 | | 00 58 | | 00 59 | 00 5A | 00 5B | | 00 5C | | 00 5D | | | | | 00 61 | | | | | 00 65 | | | | | 00 69 | | 00 6A | | 00 6B | | 00 6C | 00 6D | | 00 6E | | 00 6F | | 00 70 | | 00 71 | | 00 72 | | 00 73 | 00 74 | | 00 75 | | 00 76 | 00 77 | 00 78 | | 00 79 | | 00 7A | | | | | 00 7E | | | | | 01 02 | | | | | 01 06 | | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 00aa | | 0000 000a | | 0000 00aa | | 000a aaaa | 0000 000a | | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | | 0000 000a | | 0000 00aa | | 0aaa aaaa | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | 0aaa aaaa | 0000 000a | | 0000 00aa | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 00aa | | 0000 000a | | 0000 00aa | | 000a aaaa | 0000 000a | | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | | 0000 000a | | 0000 00aa | | 0aaa aaaa | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | 0aaa aaaa | 0000 000a | | 0000 00aa | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 00aa | | WMT2 Wave Number L (Mono) WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT4 WMT4 WMT4 WMT4 WMT4 WMT4 (0 .63) | | 00 14 | 0aaa aaaa | Tone Alternate Pan Depth (1 .1) | | | | INT. RANDOM | |-------------+-----------+----------------------------------------------------| | 00 21 | 0000 000a | WMT1 Wave Switch (0 .1) | | | | OFF.127) | | 00 18 | 0aaa aaaa | Tone Reverb Send Level (0 .127) | | 00 17 | 0aaa aaaa | Tone Chorus Send Level (0 . 7. 50.3) | -6.1) | OFF.112) | -48 .1) | | | | OFF.127) | Wave Switch (0 . 3.3) | | | | -6. 1 .127) | LOWER . 1 . 0.1) | INT.114) | -50 . 0. ON. ON. | | | | 1200 | | 00 12 | 0aaa aaaa | Tone Pan (0 .63R | Wave Random Pan Switch (0 .+50 | Wave Pan (0 . +6.+50 | | 00 11 | 000a aaaa | Tone Random Pitch Depth (0 .16384 | | | | Wave Number L (Mono) (0 . SUSTAIN | |-------------+-----------+----------------------------------------------------| | 00 16 | 0aaa aaaa | Tone Dry Send Level (0 .+48 | Wave Fine Tune (14 . 40.16384) | OFF. 1 . 300. 1 .16384) | | | | OFF.2) | OFF.1) | INT. +6.16384 | | | | Wave Number R (0 .3) | 1 .1) | OFF. 1 .127) | LOWER . 60. 0. | | | | 10.+48 | Wave Fine Tune (14 .127) | | | | L64 . 6. ON | Wave Alternate Pan Switch (0 . 1 .127) | Velocity Fade Width Upper (0 . 5. 900. 30. ON | Wave Group Type (0 .127 | Velocity Fade Width Lower (0 . ---. 4. ---. +12 [dB] | | 00 30 | 0000 000a | WMT1 Wave FXM Switch (0 .31) | | | | OFF.16384 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Number R (0 .16384) | OFF.1) | OFF.16384) | | | | OFF.16384 | | | | Wave Number L (Mono) (0 . ---. REVERSE | Wave Level (0 . | | | | 1.63R | | 00 13 | 00aa aaaa | Tone Random Pan Depth (0 .3) | -6. SRX | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Group ID (0 .1) | | | | INT.63R | | 00 15 | 0000 000a | Tone Env Mode (0 .16) | Wave Tempo Sync (0 .112) | | | | -48 .16384 | Wave Gain (0 .127) | | | | L63 .16384 | | | | Wave Number R (0 . 200. 1100. ---. A. 2.127) | Velocity Fade Width Upper (0 . 400.+50 | Wave Pan (0 . 2. ON.1) | | | | CONTINUOUS.127) | | 00 3E | 0000 000a | WMT2 Wave Switch (0 .4 | Wave FXM Depth (0 .127) | | 00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 . 1 .2) | OFF.+50 | | 00 36 | 0aaa aaaa | WMT1 Wave Pan (0 .127 | Velocity Fade Width Lower (0 .1) | OFF.127) | | | | 1 . ON | Wave Group Type (0 . ---. 9. 500.UPPER | Velocity Range Upper (1 .1) | OFF. ---.1) | OFF.127 | | 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 .UPPER | | 00 3B | 0aaa aaaa | WMT1 Velocity Range Upper (1 . REVERSE | | 00 39 | 0aaa aaaa | WMT1 Wave Level (0 . 1000.48) | | 00 1D | 0000 000a | Tone Receive Expression (0 . ON | | 00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch (0 . 800. 1 .2) | | | | OFF.114) | -50 .| |-------------+-----------+----------------------------------------------------| | 00 1C | 00aa aaaa | Tone Pitch Bend Range (0 .3) | 1 .30) | | | | 0.127) | | | | LOWER . SRX | | | | Wave Group ID (0 .16384) | OFF. ON | | 00 31 | 0000 00aa | WMT1 Wave FXM Color (0 .114) | | | | -50 .63R | Wave Random Pan Switch (0 .12) | | | | MFX.4 | | 00 32 | 000a aaaa | WMT1 Wave FXM Depth (0 .1) | | | | OFF.1) | OFF.3) | -6. KEY-ON | |-------------+-----------+----------------------------------------------------| | 00 20 | 0000 00aa | WMT Velocity Control (0 .16384) | OFF. --. 1. | | | | 90.127) | Wave Switch (0 .16384 | Wave Gain (0 .1) | | | | OFF.16384 | | | | Wave Number R (0 . 1 .127) | | 00 3A | 0aaa aaaa | WMT1 Velocity Range Lower (1 . 700. ON | Wave FXM Color (0 .MIDI Implementation | 00 0D | 000a aaaa | Mute Group (0 .16384 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Number L (Mono) (0 . +12 [dB] | Wave FXM Switch (0 . SRX | | | | Wave Group ID (0 .127) | L64 . ON. +12 [dB] | 272 . | | | | 600. +6.+48 | | 00 35 | 0aaa aaaa | WMT1 Wave Fine Tune (14 . ON | Wave Coarse Tune (16 .1) | | | | NO-SUS.127) | Velocity Range Lower (1 . 20. 0. ---. ON | | 00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune (16 . 1 .114) | | | | -50 .127) | L64 . ON | | 00 3F | 0000 00aa | WMT2 Wave Group Type (0 .127) | | 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 .127) | | 00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 .2) | | | | OFF. 1 .31 | |-------------+-----------+----------------------------------------------------| | 00 0E | 0aaa aaaa | Tone Level (0 . ON | | 00 22 | 0000 00aa | WMT1 Wave Group Type (0 .127) | | 00 1B | 0000 aaaa | Tone Output Assign (0 . SRX | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT2 Wave Group ID (0 . 100.16384) | OFF.3) | | | | 1 . ON | Wave Alternate Pan Switch (0 .

7) | | | | FIXED.127) | | | | -63 .7 | | 01 2A | 0aaa aaaa | TVF Env Velocity Sens (1 .+63 | | 01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 .+63 | |-------------+----------------------------------------------------------------| | 00 00 01 43 | Total Size | +------------------------------------------------------------------------------+ 2. ON | | 01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch (0 . 1 .127) | | 01 32 | 0aaa aaaa | TVF Env Level 1 (0 .3) | | | | 1 . | | | | LPF3 | | 01 23 | 0aaa aaaa | TVF Cutoff Frequency (0 .127) | | | | -63 .127) | | | | -64 .127) | | | | -64 .+63 | | 01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 .+63 | | 01 28 | 0aaa aaaa | TVF Env Depth (1 .127) | | | | -64 .+63 | | 01 20 | 0aaa aaaa | Pitch Env Level 3 (1 .127) | | 01 27 | 0aaa aaaa | TVF Resonance Velocity Sens (1 .127) | | 01 31 | 0aaa aaaa | TVF Env Level 0 (0 .4 | | 01 09 | 000a aaaa | WMT4 Wave FXM Depth (0 .127) | | 01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper (0 .127) | | | | LOWER .127) | | 01 1B | 0aaa aaaa | Pitch Env Time 3 (0 . ON | | 01 42 | 0aaa aaaa | Relative Level (0 .1) | | | | OFF.2) | | | | OFF. BPF.127) | | | | -64 .127) | | | | -63 .127) | | 01 35 | 0aaa aaaa | TVF Env Level 4 (0 .+63 | | 01 1F | 0aaa aaaa | Pitch Env Level 2 (1 .+63 | | 01 29 | 0000 0aaa | TVF Env Velocity Curve Type (0 .127) | | 01 2E | 0aaa aaaa | TVF Env Time 2 (0 .127) | | 01 40 | 0aaa aaaa | TVA Env Level 3 (0 .127) | | 01 2F | 0aaa aaaa | TVF Env Time 3 (0 . LPF.+63 | | 01 21 | 0aaa aaaa | Pitch Env Level 4 (1 .+63 | | 01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 .7) | | | | FIXED.127) | | 01 3C | 0aaa aaaa | TVA Env Time 3 (0 .114) | | | | -50 .76) | | | | -12 .+63 | | 01 1E | 0aaa aaaa | Pitch Env Level 1 (1 .+63 | | 01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 .127) | | | | -64 .127) | | 01 30 | 0aaa aaaa | TVF Env Time 4 (0 .UPPER | | 01 12 | 0aaa aaaa | WMT4 Velocity Range Upper (1 . REVERSE | | 01 10 | 0aaa aaaa | WMT4 Wave Level (0 .127) | | | | -63 .1) | | | | OFF. GS (Model ID = 42H) * System Parameter +------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 40 00 7F | 0aaa aaaa | Mode Set (0.127) | | 01 3F | 0aaa aaaa | TVA Env Level 2 (0 .127) | | 01 3B | 0aaa aaaa | TVA Env Time 2 (0 .6) | | | | OFF.+63 | | 01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 .127) | | | | -64 .+63 | |-------------+-----------+----------------------------------------------------| | 01 22 | 0000 0aaa | TVF Filter Type (0 .+50 | | 01 0D | 0aaa aaaa | WMT4 Wave Pan (0 .+63 [cent] | | 40 1x 47 | 0aaa aaaa | Scale Tuning G (0 .127) | | | | -63 .63R | | 01 0E | 0000 000a | WMT4 Wave Random Pan Switch (0 .127) | | | | -63 .127) | | | | -64 . 1 . 127) | | | | GS-RESET.+63 [cent] | | 40 1x 4A | 0aaa aaaa | Scale Tuning A# (0 .127) | | 01 3E | 0aaa aaaa | TVA Env Level 1 (0 .127) | | | | -63 .1) | | | | OFF.+63 [cent] | | 40 1x 4B | 0aaa aaaa | Scale Tuning B (0 .+63 [cent] | | 40 1x 43 | 0aaa aaaa | Scale Tuning D# (0 .+63 | | 01 3A | 0aaa aaaa | TVA Env Time 1 (0 .127) | | | | L64 .MIDI Implementation | 01 07 | 0000 000a | WMT4 Wave FXM Switch (0 . PKG.+63 | | 01 2D | 0aaa aaaa | TVF Env Time 1 (0 .127) | |-------------+-----------+----------------------------------------------------| | 01 36 | 0000 0aaa | TVA Level Velocity Curve (0 .+63 | | 01 26 | 0aaa aaaa | TVF Resonance (0 .127) | | 01 34 | 0aaa aaaa | TVF Env Level 3 (0 .127) | | | | -63 .127 | | 01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower (0 .127) | |-------------+-----------+----------------------------------------------------| | 01 41 | 0000 000a | One Shot Mode (0 . HPF.127) | | | | -63 .127) | | | | -63 .127) | | 01 11 | 0aaa aaaa | WMT4 Velocity Range Lower (1 . GS-EXIT | +------------------------------------------------------------------------------+ * Part Parameter +------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 40 1x 40 | 0aaa aaaa | Scale Tuning C (0 .7 | | 01 37 | 0aaa aaaa | TVA Level Velocity Sens (1 . LPF2.127) | | 01 3D | 0aaa aaaa | TVA Env Time 4 (0 .1) | | | | OFF. ON | | 01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune (16 .+63 [cent] | | 40 1x 46 | 0aaa aaaa | Scale Tuning F# (0 .+63 [cent] | +------------------------------------------------------------------------------+ x: BLOCK NUMBER (0-F) Part 1 (MIDI ch = 1) x = 1 Part 2 (MIDI ch = 2) x = 2 : : : Part 9 (MIDI ch = 9) x = 9 Part10 (MIDI ch = 10) x = 0 Part11 (MIDI ch = 11) x = A Part12 (MIDI ch = 12) x = B : : : Part16 (MIDI ch = 16) x = F 273 .127) | | | | -63 .127) | | | | -63 .127) | | 01 33 | 0aaa aaaa | TVF Env Level 2 (0 . ON | | 01 08 | 0000 00aa | WMT4 Wave FXM Color (0 .+63 [cent] | | 40 1x 49 | 0aaa aaaa | Scale Tuning A (0 .127) | | 01 24 | 0000 0aaa | TVF Cutoff Velocity Curve (0 .+63 | | 01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 .127) | | | | -64 .127) | | | | -64 .127) | | 01 1D | 0aaa aaaa | Pitch Env Level 0 (1 .127) | |-------------+-----------+----------------------------------------------------| | 01 15 | 000a aaaa | Pitch Env Depth (52 .+63 [cent] | | 40 1x 45 | 0aaa aaaa | Scale Tuning F (0 . 1 .+63 [cent] | | 40 1x 42 | 0aaa aaaa | Scale Tuning D (0 .+12 | | 01 16 | 0aaa aaaa | Pitch Env Velocity Sens (1 .127) | | | | -64 .127) | | | | -64 .127) | | | | -63 .127) | | | | 1 .+63 [cent] | | 40 1x 44 | 0aaa aaaa | Scale Tuning E (0 .127) | | | | -64 .+63 | | 01 19 | 0aaa aaaa | Pitch Env Time 1 (0 .+48 | | 01 0C | 0aaa aaaa | WMT4 Wave Fine Tune (14 .127) | | | | -64 .127) | | 01 1A | 0aaa aaaa | Pitch Env Time 2 (0 .+63 [cent] | | 40 1x 48 | 0aaa aaaa | Scale Tuning G# (0 .127) | | | | -63 .112) | | | | -48 .+63 [cent] | | 40 1x 41 | 0aaa aaaa | Scale Tuning C# (0 .7) | | | | FIXED.127) | | 01 1C | 0aaa aaaa | Pitch Env Time 4 (0 .127) | | | | -63 . ON.7 | | 01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens (1 .16) | | 01 0A | 0000 000a | WMT4 Wave Tempo Sync (0 .127) | | | | -63 .127) | | | | -63 .

.. 00 00H = -8192. and n is the MIDI channel number. H: hexadecimal * Decimal values such as MIDI channel. the above messages have the following meaning. 03H = 3. and the 3rd byte is the value. The 2nd byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB.MIDI Implementation 4. Since 2H = 2. Thus. For example.. two hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb. ■Examples of Actual MIDI Messages <Example 1> 92 3E 5F 9n is the Note-on status. but Pitch Bend Value is a signed number in which 40 00H (= 64 x 12+80 = 8192) is 0.. data values and addresses/sizes of Exclusive messages. note number 62 (note name is D4).64 x 128.14 0 . * In the case of values which have a +/. +------+------++------+------++------+------++------+------+ | 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 <Example 1> What is the decimal expression of 5AH? From the preceding table. 3EH = 62. are expressed as hexadecimal values for each 7 bits. this is a Note-on message with MIDI CH = 3.) In MIDI documentation. In a case in which two or more messages consecutive messages have the same status.. A value expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b. For example. * Data marked “Use nibbled data” is expressed in hexadecimal in 4bit units. 4 Since from the preceding table. 14 = 0EH.(64 x 12+80) = 5120 . 0DH = 13 ((10 x 16+3) x 16+9) x 16+13 = 41885 <Example 4> What is the nibbled expression of the decimal value 1258? 16 ) 1258 16 ) 78 . For Control Changes.40 00H = aa x 128+bb . In the case of two types. 09H = 9. 40H = +/-0.10 16 ) 4 . we must use two or more bytes.. <Example 3> EA 00 28 EnH is the Pitch Bend Change status. and 7F 7FH = +8191. and program change are listed as one greater than the values given in the above table. 0 = 00H. this would be aa bbH . <Example 2> CE 49 CnH is the Program Change status.8192 = -3072 If the Pitch Bend Sensitivity is set to 2 semitones. and 7FH = +63. -8192 (00 00H) will cause the pitch to change -200 cents. 40 00H = +/-0. and 5FH = 95. <Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F BnH is the Control Change status. since 0AH = 10. so in this case -200 x (-3072) ÷ (8192) = -75 cents of Pitch Bend is being applied to MIDI channel 11. MIDI has a provision called “running status” which allows the status byte of the second and following messages to be omitted. The following table shows how these correspond to decimal numbers. so that the decimal expression would be 64 less than the value given in the above chart. the 2nd byte is the control number. program number 74. and n is the MIDI channel number. * A 7-bit byte can express data in the range of 128 steps. 274 . and n is the MIDI channel number.sign. For data where greater precision is required. 5AH = 90 <Example 2> What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits? From the preceding table. and velocity 95. and n is the MIDI channel number. 4 = 04H. the result is: 00 04 0E 0AH. 00H = -64.40 00H = 40 x 12+80 . Supplementary Material ■Decimal and Hexadecimal Table (An "H" is appended to the end of numbers in hexadecimal notation. Since EH = 14 and 49H = 73. if aa bbH were expressed as decimal. bank select. etc. this is a Program Change message with MIDI CH = 15. since 12H = 18 and 34H = 52 18 x 128+52 = 2356 <Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D? From the preceding table. so this Pitch Bend Value is 28 00H . 10 = 0AH.

Take care to give each event its own status. 10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum) 22 (sum) ÷ 128 = 0 (quotient) . Therefore the address of CHORUS TYPE of PERFORMANCE COMMON is.. so a value of 0CH = 12 sets the maximum pitch bend range to +/-12 semitones (1 octave). ■The Scale Tune Feature (address: 40 1x 40) The scale Tune feature allows you to finely adjust the individual pitch of the notes from C through B. It is currently the most widely used form of tuning.remainder = checksum <Example> Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1) According to the "Parameter Address Map" (p. size. and the MSB of the value indicates semitone units. * TPQN: Ticks Per Quarter Note +) DELAY has the value of 02H. it is a good idea to set the parameter number to 7F 7FH to prevent accidents.. ❍Equal Temperament This method of tuning divides the octave into 12 equal parts. On the SonicCell. ❍Just Temperament (Tonic of C) The principal triads resound much more beautifully than with equal temperament. 275 . So the system exclusive message should be sent is. The value of the checksum is determined by the address and data (or size) of the transmitted Exclusive message.. F0 41 10 (1) (2) (3) 00 00 25 12 (4) (5) 10 00 04 00 address 02 data ?? checksum F7 (6) (1) Exclusive Status (2) ID (Roland) (3) Device ID (17) (4) Model ID (SonicCell) (5) Command ID (DT1) (6) End of Exclusive Then calculate the checksum. It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order.MIDI Implementation B3 64 00 MIDI ch. For example. especially in occidental music. If transposed. On some sequencers. Here's an example of how the checksum is calculated. 257).4) upper byte of RPN parameter number: (B3) 06 0C (MIDI ch. This is the reason for the (B3) 64 7F (B3) 65 7F at the end. remainder 128 . the settings introduced below will set the unit to use the Arabian Scale. DT1) are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received. For this reason it is a good idea to slightly skew the time of each event (about 1 tick for TPQN = 96. and then set the RPN parameter number to 7F 7FH.. The example given involves settings for a key in which C is the keynote. the address is aa bb cc ddH and the data or size is ee ffH. and the address of CHORUS TYPE is 00 00H. Though the settings are made while working with one octave.) Once the parameter number has been specified for RPN or NRPN. the sequencer may not be able to transmit the correct status. ❍Arabian Scale By altering the setting for Scale Tune. This is because if playback is halted during the song and then rewound or fast-forwarded. RPN parameter number 00 00H is Pitch Bend Sensitivity. and checksum itself and inverting the lower 7 bits. and the sound generator will then misinterpret the data. the offset address of CHORUS at PERFORMANCE COMMON is 04 00H.4) upper byte of parameter value: (B3) 26 00 (MIDI ch. events occurring in the same (or consecutive) clock may be transmitted in an order different than the order in which they were received. the chords tend to become ambiguous. 22 (remainder) checksum = 128 . (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored.4) lower byte of parameter value: (B3) 64 7F (MIDI ch. As examples. the fine adjustments will affect all octaves. By making the appropriate Scale Tune settings. 10 00 00 04 00 10 00 04 00H 00H 00H 00H (B3) 65 00 (MIDI ch.4.4) upper byte of RPN parameter number: In other words. all Data Entry messages transmitted on that same channel will be valid. lower byte of RPN parameter number: 00H 00H 0CH 00H 7FH 7FH aa + bb + cc + dd + ee + ff = sum sum ÷ 128 = quotient . the default settings for the Scale Tune feature produce equal temperament. We will assume that in the Exclusive message we are transmitting. three possible types of scale setting are explained below.4) lower byte of RPN parameter number: (B3) 65 7F (MIDI ch. so after the desired value has been transmitted. the start address of Temporary Performance is 10 00 00 00H. the above messages specify a value of 0C 00H for RPN parameter number 00 00H on MIDI channel 4. and about 5 ticks for TPQN = 480). but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device. ●How to calculate the checksum (hexadecimal numbers are indicated by "H") The checksum is a value derived by adding the address. ■Example of an Exclusive Message and Calculating a Checksum Roland Exclusive messages (RQ1. but this benefit can only be obtained in one key. you can obtain a complete variety of tuning methods other than equal temperament. It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. you can obtain a variety of other tunings suited for ethnic music.22 (remainder) = 106 = 6AH This means that F0 41 10 00 00 25 12 10 00 04 00 02 6A F7 is the message should be sent.

|| 77 | 4DH | M || 109 | 6DH | m | | 46 | 2EH | . For example. Convert these values to hexadecimal. send 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 ■ASCII Code Table Patch Name and Performance Name. etc. and transmit them as Exclusive data.MIDI Implementation Example Settings Note name Equal C C# D Eb E F F# G G# A Bb B 0 0 0 0 0 0 0 0 0 0 0 0 Just Temperament Arabian Scale Temperament(Key-tone C) 0 -6 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49 The values in the table are given in cents. 276 . of MIDI data are described the ASCII code in the table below. || 91 | 5BH | [ || 123 | 7BH | { | | 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | | | 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } | | 62 | 3EH | > || 94 | 5EH | ^ ||------+------+------+ | 63 | 3FH | ? || 95 | 5FH | _ | +------+------+------++------+------+------+ D: decimal H: hexadecimal * "SP" is space. to set the tune (C-B) of the Part 1 Arabian Scale. +------+------+------++------+------+------++------+------+------+ | 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 | . || 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 | ..

Basic Channel Mode Note Number : Velocity Aftertouch Pitch Bend 0.MIDI Implementation Chart Model: SonicCell Function. 15. 33–95 96. MONO Mode 4 : OMNI OFF. 97 98.MSB RPN LSB. 101 102–119 MIDI Implementation Transmitted 1–16 X X X ************** 0–127 ************** 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 O O O O O O O O O O O O O O O O O O O Date : June. Decrement NRPN LSB. Recognized as M=1 even if M≠1.. Transmitted when Tx Edit Data is ON. 99 100.MSB *1 *1 *1 *1 Control Change (Tone 1 Level) (Tone 2 Level) (Tone 3 Level) (Tone 4 Level) (Reverb) (Chorus) Program Change O : True Number ************** O X X X X X O O X O O X *1 *2 *3 *4 *4 *3 *4 O 0–127 O X X X O X *1 Program Number 1–128 *1 System Exclusive System Common System Realtime Aux Messages : Song Position : Song Select : Tune : Clock : Command : All Sound Off : Reset All Controllers : Local ON/OFF : All Note Off : Active Sensing : System Reset *4 *4 *4 O O X O (123–127) O X Notes O X is selectable. O : Yes X : No Mode 1 : OMNI ON. 2007 Version : 1. POLY Mode 3 : OMNI OFF.00 Chart Remarks Recognized 1–16 1–16 Mode 3 Mode 3. 32 1 2 4 5 6. POLY Mode 2 : OMNI ON. or when RQ1 is received. 4 (M = 1) 0–127 0–127 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 Default Changed Default Messages Altered True Voice Note ON Note OFF Key's Channel's *2 O O O O O O O O O O O O X O O X X X X O O O O O O X O O O O O O O O O O O O X O X O X X O X X O X *1 *1 *1 *1 *1 Bank select Modulation Breath type Foot type Portamento time Data entry Volume Balance Panpot Expression General purpose controller 1 General purpose controller 2 General purpose controller 3 General purpose controller 4 Hold1 Portamento Sostenuto Soft Legato foot switch Hold2 Sound variation Resonance Release time Attack time Cutoff Decay time Vibrato rate Vibrato depth Vibrato delay General purpose controller 5 General purpose controller 6 General purpose controller 7 General purpose controller 8 Portamento control General purpose effects 1 Tremoro General purpose effects 3 Celeste Phaser General purpose controller Increment. 38 7 8 10 11 16 17 18 19 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 80 81 82 83 84 91 92 93 94 95 1–31. MONO 277 . Transmitted from SMF Player..

and USB Audio) MEMORY (supports USB 2. R) Headphone jack Input jacks (MIC/GUITAR/LINE (L). 78 types Chorus: 3 types Reverb: 5 types Input Effect: 6 types Mastering Effect: 3 bands Compressor Weight 1. AIFF.775 V rms) * In the interest of product improvement. USB Driver) CD-ROM (SONAR LE) Wrench AC Adaptor (PSB-1U) Power Cord USB Cable ■ Audio Interface Section Number of Audio Input/Output Channels Input: 1 pair of stereo (MIC. Sampling Frequency AD/DA Conversion: 44. MP3 278 . LINE (R)) MIC: 1/4 inch phone type or XLR type (phantom power) GUITAR: 1/4 inch phones type (always Hi-Z) Line (L): 1/4 inch phone type LINE (R): 1/4 inch phone type MIDI Connectors (IN. the specifications and/or appearance of this unit are subject to change without prior notice.Specifications SonicCell: 128 Voices Sound Module with Audio Interface (Conforms to General MIDI 2 System) ■ Sound Generator Section Parts 16 parts ■ Others Display 128 x 64 dots organic EL graphic display Maximum Polyphony 128 voices Connectors Output jacks (L/MONO. Current Draw 800 mA External Memory USB Memory Dimensions 294 (W) x 175 (D) x 55 (H) mm 11-5/8 (W) x 6-15/16 (D) x 2-3/16 (H) inches Effects Multi-Effects: 3 systems.0 Hi-Speed Flash Memory) Wave Memory 128 M bytes (16-bit linear equivalent) Expansion Slots Expansion of waveforms and patchs for the internal sound generator SRX expansion boards: 2 slots Preset Memory Patches: 896 + 256 (GM2) Rhythm Sets: 32 + 9 (GM2) Performances: 64 User Memory Patches: 256 Rhythm Sets: 32 Performances: 64 Power Supply DC 9 V (AC Adaptor) * This product does not support USB bus power.1/48/96 kHz Nominal Input Level Input jack (MIC/GUITAR/LINE (L)) Mic: -50 – -30 dBu Guitar: -30 – -10 dBu Line: -30 – -10 dBu Input jack (LINE (R)) Line: -30 – -10 dBu Nominal Output Level Output jacks: -10 dBu ■ SMF/Audio File Player Section File Format Standard MIDI File: format-0/1 Audio File: WAV. GUITAR: Monaural/LINE: Stereo) Output: 1 pair of stereo Signal Processing PC interface: 24 bits AD/DA Conversion: 24 bits Options Wave Expansion Board: SRX Series USB Memory: M-UF128 SonicCell stand and PDS-10 bracket: BKT-S Pad Stand: PDS-10 (0 dBu = 0.2 kg / 2 lbs 11 oz (excluding AC Adaptor) Accessories Startup Guide Manual CD-ROM (Sound Editor. Playlist Editor. Librarian. OUT) USB Connectors COMPUTER (supports USB Hi-Speed USB MIDI.

................................ 142 Input Volume ....................................... 26...............................................................................2 ................................................... 56 Chorus Output screen ................................................................................ 35 Windows XP ................................ 134 MFX Structure screen ..................................................... 41 I In/Out Routing ......... 133 Effect Routing ....................................................................................... 75.......................... 66–67............................. 76 In/Out Routing ............ 78............. 57 Menu Effect Edit ......................................... 142 279 ............ 37 Master EQ screen ....................................................... 117 Rhythm Set List ... 163 M Mac OS X .......................................... 168 B Backup ................................................................... 59 Playlist Select ......................................................... 79................................................................................................... 20 L LFO (Low Frequency Oscillator) ................................... 169 Rhythm Edit ............................................................................................. 115 Rhythm Tone ........................................................................................Index Numerics 3D Effects ................................................................................................................................... 88 Patch List (Ctg) .................................................................................................. 30 C Category Select screen ....................................................................................................................... 87 song list ........................................... 184 Master Equalizer .................................................................................................................................................................................................................................................................................................................................................... 149 Mic ... 143 Part Edit ............................................. 191 F Factory Reset .................................................................... 65................................ 68 Patch ..................................................... 193 Input Effect ................................. 55 Librarian ........... 181 Matrix Control .................................................................... 134 Effect Source screen ......................................................................................................... 182 BKT-S ....... 78 MFX3 Location screen ............................... 76–77........................ 181 Mastering Type screen ................................................................................................................................................................................................................................................................... 147 Initialize Patch ... 15 E Editor ................................................................................................................... 81 MFX1–3 Output screens ..................................................................................................................... 146 Input ..... 33 A AC Adaptor ...................... 130 Sound Control ...................................................................................................................................... 173 Chorus .... 27............... 67................................................................. 184 MASTER VOLUME .......... 132 Effects List ......................... 192 Envelope ..................................................................................... 80 MFX1–3 Control screens ................................................................................................................................................. 80 Effect Switch screen ................... 219 Delete Playlist .............................. 56 Mastering Effect screen ............................ 137 MFX Output screen ........................ 168 Amp Envelope ....................................................................................................... 42 Installing Mac OS X ..... 87 Guitar ................................................................................................................................................................. 55 Error Messages ........................... 37 SONAR LE ............................................ 43 Input Effect Parameters ......................... 19 Mastering Effect ...................................................................................... 78 MFX1–3 screens ............ 41 D Delay ....... 43–44..................................................... 219 Chorus screen ......................... 46 Windows Vista ................................................................................................................................................................ 135 Chorus Parameters ..................................... 160 CURSOR/VALUE ................................................................... 61 Performance .............................. 27 Line ................................................. 42 Logic Pro 7................................ 86 Perform MIDI Filter ................................................................... 141 MFX Control screen . 183 G Group Select screen .................... 24 Audio File ......................... 56............................................................ 152 Wave Expansion Board ....... 65 Changing the song order ............................................................................. 18 AIFF .................................................. 135 Cubase 4 ................................................................................................................................................................ 221 Input Effect screen .............................................................................. 66........... 85 Patch List (Grp) ............................................................................................... 95 Memory ........... 173 Demo Songs ................ 84 Patch Edit ............................................................................................................................ 27 Effect Routing screen ......................... 144 In/Out Routing screen ................................................................................................. 146 Effects .................... 183 Format ...... 147 Input FX Output screen ............ 171 USB Audio ........................ 73 INPUT ................................................................ 135 MFX screen ....... 148 Input screen ...................................................

.............. 62 Part ViewâÊñ ............................. 54.......................................... 88–89 Patch Effect menu screen ..........................................Index MIDI channel ............................................................. 127 Rhythm TVF Env screen .................................................................. 108 Patch Pitch Env screen ......................... 20.................................. 101 Patch Play screen .................................................................... 28..................................... 73 Sound Mode screen ...................................................................................................................................................................................................................................................................................................................................................... 60–61 Performance General screen .......................................... 118 Rhythm Output screen ......................................... 23.. 112 Patch Structure screen ................... 171 Playlist Information screen ..................................... 98 Patch Write .......................................... 168 Playlist ................................ 93 Patch TMT screen ..................................................................... 130 Rhythm TVA Env screen ........................... 129 Rhythm Pch Env screen ....................................................................... 170 Playlist Select screen ................... 133 Patch General screen ......................................... 172 Song Information screen ................................................. 28 POWER switch .................................................. 122 Rhythm Set ................... 68–69 Part View screen ................................ 67........ 28..................................................................................... 79............... 54 Part Edit screen ........................................................... 136 Rhythm Edit screen ................................. 56 Reverb Output screen ........................................................... 90 Patch Initialize ....................................................................... 167................................................ 59 Performance Mode ............................................................................. 95 Patch Name screen ................................... 115 Patch LFO1...................... 104 Patch TVF screen ........... 62........... 126 Rhythm TVF screen ..... 19 Preset memory .................................................................................. 168 Playlist Write .............................................................................................. 84 SRX series ...... 173 Songs ................ 152 Song Info (Level) screen ................. 116 Patch Output screen ........... 72 SMF ..................................................... 26............................. 86 Patch Menu screen ......................................... 20 Patch ......................................... 173 Song order .............................................................................................................. 60 Performance Initialize ...................... 66................................................................. 168 Multi-Effects ............................... 178 Scale Tune screen .......................................................................................................................................................... 122 P Part ............................ 57 R Recording ............................................................................. 109 Patch List ............... 171.............................................................. 102 Patch WG screen ....................................... 178 Patch Step LFO screen ......................................................................... 123 Rhythm Pitch screen ........................................................................................ 30.... 107 Patch TVA screen ........................ 172 Song Menu screen ................................ 73 S SAMPLING RATE switch ........................... 233 Rhythm Set List screen ................................ 54 Performance Name screen .................................................................................................................................................................................................................................... 56 Multi-Effects Control .............................................................................................................................................................................................. 130 Rhythm Tone Initialize . 167 SONAR 6.................................................................. 168 SMF/Audio File Player ................................................................................... 128 Rhythm TVA screen ..................................................... 26.............. 83 Rhythm Set Initialize ......................................................... 117–118 Rhythm Effect menu screen ........................................................ 131 Rhythm Tone Copy ......... 23 MIDI Filter screen ............................... 182 Reverb .......................................................... 223 Patch List (Ctg) screen ........... 20............. 112 Patch TVA Env screen ..................... 114 Patch Edit screen ........... 65........................................................................ 137 N Note priority ............. 82 Patch Category ........................................................... 87 Rhythm Set Write .......................... 133 Rhythm General screen ........................................ 130 Rhythm Set List .................................................................................................................. 2 screens ................ 61 MIDI Implementation ................................................................ 60.. 29 Scale Tune ..................... 55 Performance Write ........................... 82 Patch Scale Tune screen ................................................. 82 Patch Mtrx Ctrl1–4 screens ......................................................... 120 Rhythm WMT screen ....... 79............... 157 SONAR LE ........................................................................................................................................................... 23........................................................... 73 Performance List ........... 222 Performance Menu screen ..... 277 MIDI INST screen ................................................................................................................. 57 280 ..2 ............................................. 220 Reverb screen ............................ 124 Rhythm Wave screen ............ 28................... 64......................................................................................................................... 58–59 MP3 .. 22.............. 246 MIDI Implementation Chart ...... 46..... 81..................... 168............................ 105 Patch TVF Env screen ............................. 173 Portable Backing Machine .................... 116 PDS-10 ........................................................... 55..................... 30 Perform MIDI Filter screen .................................................................................................................................................... 40 Restore ............................. 171 Sound Control Initialize .................................... 84 Patch Mode .................................................. 73 Playback ........................ 24...................................... 63 Patch Ctrl screen ...... 136 Reverb Parameters ........... 85 Patch List (Grp) screen ........ 24..........................

.................................................................................................................................................................. 55 U USB AUDIO ....... 57 USB memory . 179 Memory ............................................................. 140 USB Memory .............................................................................................................................................. 167.............................................................................................................. 176 Settings .................................... 57 To Computer screen ...................................................... 57 MIDI screen ....................................................................................... 182 V Voice Reserve ..................................................................................................................................... 168 Wave Expansion Board .... 35 Windows XP ................... 33 Write Patch ....................... 180 Version Info screen .................. 131 281 . 57 Waveform List .......................................................................................... 55 Windows Vista ... 242 WG (Wave Generator) ......................................... 54 Troubleshooting ....................................... 57 User Restore ........................... 115 Tones ............................ 116 Performance ........................... 186 TVA (Time Variant Amplifier) ............................... 182 User Memory ......................................................... 150 T Temporary Memory ................................................ 173 Rhythm Set ........ 183 USB/Audio Interface ............... 148 Tone Copy ..... 45................................................................................................................................................................. 55 TVF (Time Variant Filter) ............................................ 179 screen ...... 176 SRX Info screen ...................................................... 28......... 40 User Backup ...................................................................................................................................... 180 Write .... 180 Preview screen ................................................................................................................. 43................................................. 73 Playlist ..........Index System System System System System System System System System Control screen ................................................................. 42 W WAV .................... 140 USB Audio screen ...................................................................................... 46............................. 55 Volume Level .................................................................................................... 182 USB Memory Format ...............................................................................................................................................

For EU Countries For China 282 .

– Increase the separation between the equipment and receiver. and (2) This device must accept any interference received. may cause harmful interference to radio communications. However. This equipment requires shielded interface cables in order to meet FCC class B Limit. including interference that may cause undesired operation.For EU Countries This product complies with the requirements of European Directive 89/336/EEC. uses. 5100 S. the user is encouraged to try to correct the interference by one or more of the following measures: – Reorient or relocate the receiving antenna. Los Angeles. These limits are designed to provide reasonable protection against harmful interference in a residential installation. If this equipment does cause harmful interference to radio or television reception. AVIS Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference. Eastern Avenue. pursuant to Part 15 of the FCC Rules. For Canada NOTICE This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. if not installed and used in accordance with the instructions. Unauthorized changes or modification to this system can void the users authority to operate this equipment. For the USA DECLARATION OF CONFORMITY Compliance Information Statement Model Name : Type of Equipment : Responsible Party : Address : Telephone : SonicCell Sound Module with Audio Interface Roland Corporation U. which can be determined by turning the equipment off and on.S. and can radiate radio frequency energy and. – Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. – Consult the dealer or an experienced radio/TV technician for help. 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. This equipment generates. CA 90040-2938 (323) 890-3700 283 . there is no guarantee that interference will not occur in a particular installation.

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