OBOSS SX- 700 rrecessoe Qs ° Oo Se ——— =e. OCOs eT 8 INSTRUCTIONS FOR THE PREVENTION OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS ‘About ASWARNING and ACAUTION Notices ‘About the Symbols AXWARNING | ijury"should “the unit" Se {improperly ‘Used for instructions intended to alert the user to the risk of death or severe ‘used damage should te unt be Ascaution |e other adverse effects caused animals oF pets ‘Used for instructions intended to alert the user tothe risk of injury or material used * Material damage refers to damage or “with fespect to. the home and all” its furnishings, as well to domestic The A sy ‘alerts the user to important instructions] Pe Ai eae Orr aaa An SER Be es meng os ta Sphwwanwhetcinnt anne otter a yo let the user fo items that must never ut re orden. The ope thing at @ | must not be done i indcated by ‘wih the cele: In the case o Seca Teun tat he unt must peer be Gesnebled. ALWAYS OBSERVE THE FOLLOWING ‘The @ symbol alerts the user to things that must be| Jared out. The specific thing that must be done is | iicsted by the design contained within the cle. In the case ofthe symbol a lef, it means thatthe power cord plug must be unplugged from the outlet, ZAWARNING AXWARNING + Do.not open (or modify in any way) the uni or its ‘ACadaplor. ees ® * Do not attempt to repair the unit, or replace parts within It (except when this manual provides specific instructions directing you to do 20). Refer Tsering to your desler, or qualified Roland Service personnel 8 ‘+ Never use or store the nit in places that ae: * Subject to temperature extremes (eg, direct sunlight inan enclosed vehicle, near a heating duct, on top of heat-generating equipment); OF + Damp (eg, baths, washrooms, on wet floors); + Humid; Dusty; or are 1 subject to high levels of vibration. @ + Immediately tam the power off, remove the AC adaptor fom the oul and eqs servicing by Your dealer or qualified Roland service personnel hen "The AC adaptor, the power-supply cond, or the plug tas been damaged: or + Objects have fallen into, oF liquid has been ‘onto the unit or + Rhe"unit has Been exposed tor otherwise hastbcome wel or «The unt doesnot appear fo operate normal corexhibitss marked change im performance. aA or + In households with small children, an adult should Prarie supervision unt the cd capa of following all the rules eseential for the safe ‘operation ofthe unit 4A ‘This unit should be used only witha rack or stand that ie recommended by Roland, * Protect the unit from strong impact. (onot drop it) simpae A When wang the unit with a rack or stand senna by Rl he acho ond mt care oti level and sure foreman able: nt using a rack or sand, you still need to make sure that any location yu choose Tor acing the unit provides a level surface that will properly support the uni and keep i from wobbling + Do nt force the unit's power-supply cord to share fn outlet with an savearonable number of other devices. Be especially careful when sing fextension cords" the total power ‘used by a devices you have connected td the extension cords Sutlet must never exceed. the power rating {ratts/ampere) forthe extension cord. Excesive loads can case the insulation onthe cord to heat ‘sp and eventually mel through. 8 + Avoid damaging the power cord. Do not bend it ‘excestively, step on if pace heavy ebjects on ste, A damaged cord can easly becomes shock of fire hazard."Never use a power cord ater it has been damaged + Do not allow any objects (eg, flammable mater coins, pine); or liquids of any kind (water, soft drinks, ete) to penetrate the unit. + Before using the unit in a foreign county, consult Ywih your ‘dealer, or qualified Roland service personeAXCAUTION AXCAUTION ‘The unt and the AC adaptor should be located so their location oF position does not interfere with their proper ventilation. * Always grasp only the plug on the AC adaptor cord when plugging nto, of unplugging fo a ‘+ Whenever the unit is to remain unused for an ‘extended period of time, disconnect the AC ‘adaptor «Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out ofthe reach of children. ‘+ Never climb on top of, nor place heavy objects on the unit + Never handle he AC adaptor or i pgs with wet ands when plugging ino, or unplugging fom, thoutet ort eat pees + Before moving the unit disconnect the AC adaptor and all cords coming from external devices. * Before leaning the uni turnoff he power and ‘unplug the AC adaptor from the outiet (p. 8). + Whenever you suspect the passbilty of light Inout arc dacchnet te AC adapor fon BE ull ©16/6| GO| P| o|o|Introduction Thank you for purchasing the BOSS SX-700 Studio Effects Processor. n order to take full advantage ofthe SX-700's functionality, and to enjoy years of trouble-free service, please read this manval carefully. Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY" and "IMPORTANT NOTES" (p. 2-3; p. 6). These sections provide importantinformation concerning the proper operation ofthe unit. Additionally, in orderto feel assured that you have gained a good grasp of every feature provided by your new unit this manual should be readin its entirety. The manual should be saved and kept on hand as a convenient reference Main Features High-quality Effects The SK-700's specially designed circuitry creates effects Which rival the quality of studio equipment costing much Assignable Etfectors The effectors can be assigned to various algorithms. This gives you the freedom to make and change the sequence of Connections without the restrictions of fixed algorithms. A“Harmonist” Generates Four-note Hamony The on-board Harmonist (real-time harmonizer) makes it possible to add harmonies of up to four parts to the input Signal..ineluding vocal input! Built-in RSS (Roland Sound Space) RSS, which creates stereophonic sonic images in three- dimensional spaces, are to built into the unit, luminated Buttons Illuminated panel buttons for each effector not only let you select and edt the Efectos directly, but aso let you know at a glance which Efectors are on, Copyright © 1996 BOSS Corporation all CORPORATION. How to Use This Manual ‘This manual explains the procedures and functions for nor- mal use, and how to make various setings. Its divided into five major sections. Read each section as necessary. ‘tthe end of the manual an alphabetical index is provided. you have questions about operation, refer to the index. Section 1_Try out the Sx-700 ‘This ection explains the basic setup and operation ofthe SX- ‘700, suchas connecting external devices and selecting effect settings stored in memory. Section 2_Moditying Various Settings This section explains how to madify effec settings. Read this section when you wish to change the settings of various functions. Section’3 Effect Guide ‘This section explains the functions ofthe effect parameters. Section 4_ Using MIDI This section explains how external MIDI devices can be used ta contol the SX-700, and how data can be transmitted and received via MIDI, Read this section when you wish tousethe ‘MIDI functions ofthe SX-700, Section Appendix This section contains information about matters such as factory-cefault settings and what to do when the SX-700 doesn’t work as expected, ight reserved. No part ofthis publication may be reproduced in any form without the written permission of BOSS 7Contents USING THE UNIT SAFELY... Main Features. How to Use This Manual. IMPORTANT NOTES ... Panel Descriptions Section 1 Try out the $X-700 ‘Connections... Power-on/Standby ... Power-on ve ‘Adjusting the Input Level Adjusting the Output Level Selecting an Effect, ‘About the Screen Display on nt fet Status 10 Selecting Effect Sounds from the Front Panel 10 Selecting Effect Sounds by MIDI Messages ov snso0 10 ‘Switching Bypass On/OM. all Switching Bypass OrvOff from the Panel 1 Switching Bypass Orv with a Foot switch on Before You Begin Creating Sounds User Area and Preset Area ‘About the Contents ofthe Display ‘The Strvture of ACHES nur Sound Editing Procedure Effect Sound Settings Copying a Patch Seeing unt ei connec am anon spins. 15 ‘Assigning Effector to unt. 7 vn “Turing Efectos on or off. 16 Setings for Each Effects Processor 16 fect Copy. 7 Setings forthe output level and jt Balances 37 Contr Assign Sein. nnn = 10 ‘Modifying the Patch Name Canceling Changes Storing the Modified Setings tilly Function Settings. Utility Function Parameters. Write Operation) Section 3 Effect Guide....... 24 The Structure of Algorithms . 24 ‘Tho Functions of Effector... EQUALIZER, MODULATION Stereo Chovus 28 Stereo 2Band Chocus 28 Stereo Flanger 29 Stereo Phaser 30 2oices Harmonia ne 31 §4Voices Harmonist 31 2Vo\ces Pitch Shier 33 ‘Voices Pitch Shite 33 Rotary Space Chorus DELAY, Simple Delay no 3Tap Delay. ‘Tap Delay Stereo Delay (Quad Delay... Bucking Delay ‘Band Pass Delay Reve sn Roomi/2/3 all/2 Garage Plate. Non-Linear RSS rrr 530 Panne Single 3D . ual 3D. Quad 30. Betore Using RSS .. Section 4 Using MIDI How MIDI Can Be Used MIDI utity Function Settings. MIDI Related Parameters Program Change Map Settings Transmitting/Recelving Data Via MIDI “ransmiting Data (Bulk Dump) Receiving Data (Bulk Loa). Section 5 Appendix...... ‘About MIDI... 1. How MIDI messages are wansmited and recived 2. Main types of MIDI message used by the SX-700.. ‘About the MID! Implementation Char Restoring the Factory Settings (initialization) Troubleshooting. MIDI Implementation Chat SPECICAHON sonnnsn Index.IMPORTANT NOTES In addition to the items listed under “USING THE UNIT SAFELY" on page 2~3, please read and observe the following: Power Supply 4+ Do not use this unit on the same power circuit with any device that will generate line noise (such a5 an electric ‘motor or variable lighting system) ‘The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern. ' 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 * Usingthe unitnear power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation ofthis. unit; or move it farther away from the source of interfer. + Thisdevice may interfere with radio andtelevision recep- tion. Do not use this device in the vicinity of such * Do not expose the unit to direct sunlight, place it near evices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit Maintenance + Foreveryday cleaning wipe the unit with a sof, dry cloth ‘or one that has been slightly dampened with water. To remove stubborn di, use a mild, non-abrasive detergent. ‘Afterwards, be sure to wipe the unit thoroughly soft dry cloth Never use benzene, thinners, alcohol or solvents of any kind, to avoid the possibilty of discoloration and/or deformation. Repairs and Data + Please be aware that all data contained in the unit's memory may be lost when the unit is sent for repairs. Important data should always be backed up in another MiDIdevice(e-g,,asequencerl, or written downon paper (hen possible). Duringrepairs, duecareistaken toavoid the loss of data. However, in certain cases (such as when circuitry related to memory itselfisoutof order), weregret thatitmay not be possible to restore the data, and Roland assumes no liability concerning such loss of data Memory Backup “+ This unit contains a battery which powers the unit's ‘memory clecuts while the main power i of. When this battery becomes weak, the message shown below will ‘appear in the display. Once you see this message, have the battery replaced with afresh one as soon as possible toavoid the oss fall data in memory. Tohavethe battery replaced, consult with your dealer, or qualified Roland service personnel. Battery Low |! Please Change ‘Additional Precautions + Please be aware that the contents of memory can be lnretrievably lost as a result of a malfunction, or the ‘improper operation ofthe 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 in another MIDI device eg, a sequencer + Unfortunately, it may be impossible to restore the con tents of data that was stored inthe unit's memory once it has been lost. Roland Corporation assumes no liability concerning such los of data ‘+ Use a reasonable amount of care when using the units buttons, sliders, or other controls: and when using is jacks and connectors. Rough handling can lead to mal- functions + When connecting / disconnecting all cables, grasp the Connector itsel—never pul on the cable. This way you will avoid causing shorts, oF damage to the cable's intemal elements. ‘+ When youneedto transport the unit, package itn the box. (including padding) that it came in, if possible. Other- Wise, you will need to use equivalent packaging materi= als.Panel Descriptions < Front Panel > INPUT LEVEL Knob NUMBER / VALUE Knob | PEAK Indicator EFFECT PARAMETER Buttons | BYPASS Buton POWER Switch S35 == 2 OO S | me ae @ O a ses See. . TT lo o ee Eo 7 lpia =a Display ‘COMMON Button [ | UTILITY Button LEVEL Button PARAMETER Butons NAME Button | WRITE Button EXIT Button + In this manual, the number/value kno is referred to as either the NUMBER knob or asthe VALUE knob. < Rear Panel > MIDI Connectors (N,OUT,THRU) BYPASS Jack LEVEL Switch umm ene eee ge, a = "OO O:.9:5 99-55 525 ¢ EXPRESSION t PEDAL Jack uTPUT Jacks INPUT Jacks ‘CONTROL Jack (UIMONO).A) (LIMONG).R)Connections Make the connections as described below, depending on 1 how you want to use the SX-700. Section * Before making any connections be sure to turn down the volume 1 ti ‘on your amp and/or mixer, and be sure to turn off the power to all the components in your system. This will help prevent equip ‘ment from damage or malfunction * The volume on your amplifier should be turned up only after switching on all the other units. ) “1 your amp/speaker system is monaural, connect the SX-700 ‘sing the LOMONO) jack. Try out the SX-700 ‘Connecting a Mixer (SEND/RETURN) fF M0500 “oog000 revue WV | | sexo ih a * be sure the setting ofthe LEVEL switch matches the input and output levels ofthe mixer that you're using. Connecting a Keyboard i iNPur Te oy Ears Eee + The LEVEL switch will normally be set at -20 dBm.Connecting Extemal Devices 9.0000 favrass EF B'O6O- a0 conTAo]| (Ee. PEDAL FSSUISt st Bas ‘se V5 (Roland) FeSocere + When using an expression pedal, be sure to use ither 2 Boss FV- [3001 + PCS-39 (Roland) oF an EV-5 (Roland) * Set the volume ofthe expression pedal (connected to the EXP PEDAL jac) tothe *MIN" position. + Hoviing could be produced depending onthe location of miro- ‘hones relative to speakers. This can be remedied by 1. Changing the orientation of the microphones. 2. Relocating microphone(s2ta greater distance rom speak: 3. Lowering volume levels. “To prevent the inadvertent disruption of power to your walt (hould the plug be pulled out accidently), and to avoid ‘applying unde street to the AC adaptor ack, anchor the power ‘ord using the cord hook, as shown ia the illustration. W oo + When connecting an F5:5U/SL foot pedal (old separately) tothe ‘CONTROL oF BYPASS jac, set the polarity switch a shown in the following figure Polarity Switch Power-on/Standby INPUT LEVEL Knob || OUTPUT LEVEL Knob Power-on COncetheconnectionshave been completed p.8-9),turnon power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing ‘malfunction andlor damage to speakers and other devices. (Sound Module) > $X-700 > Extemal Effects Device > Mixer > Power Amplifier The following display will appear, and after several seconds the 5X.700 willbe ready for use. This display indicates that the unit isn the “Play mode.” SOE "Erba! * Raise the amplifer/mizer volume afterall devices have been turned on. + When the power i tumed on, the lst-seleted Patch number an the SX.700 wil be selected. + The unit containga protection circuit that momentarlly mutes the ‘output after the power is tuned on. Normal operation willbe ‘posible na second or two. "To adjust the display contrast, refer to p.23. Adjusting the Input Level Use the INPUT LEVEL knob to adjust the input level ofthe connected instrument. Rotate the knob so that the orange light ofthe PEAK indicator lights during input peaks. +The PEAK indicator lights o indicate the input or output level: Green: Lights when an input signal is present ‘Orange: Lights 6 d8 before reaching the clipping level (he level at which distortion occurs). Red: Lights 1 d8 before reaching the clipping evel (the level at which distonion occur). IF the input level is t00 high, the $X-700 will nt produce the esired effects. Adjusting the Output Level Adjust the output level fr the $X-700. Section 1 Try out the S700 9Selecting an Effect Use the panel controls to choose the Patch number that corresponds to the effect that you want to use. The effect sounds ate grouped into a total of 256 Patch numbers made Up of U1 to U128 (User area) and PY to P126 (Preset areal Patch numbers can be selected only when the Play mode is selected. If something other than the Play mode is shown in the display, press [EXIT to return to the Play mode. * The effects stored inthe Patch numbers in the preset area are described in Patch Name Table”. When the SX700 ls shipped, the contents ofthe User area and the Preset area ae identical About the Screen Display ‘The following information is shown in the Play mode. U:User Area P: Preset Area RAE Tyre A SX-788 Name Effect Status ‘When an effectstored ina Patch aumberis switched on orof, the Effect Parameter button for the corresponding E'fector lights or goes out Selecting Effect Sounds from the Front Panel 1,2 my © = Bases oo6 1 Rotate the NUMBER knob to choosethe Patch number you wish 0 use. ‘Simply choosing aPatch number does not causethe effect sound to be heard. The display shows some information about the selected Patch number (the algorithm name and the Patch name) and the Patch name will ash 2 Press the NUMBER knob. ‘The effect sound is switched and the Patch name stops flashing. Selecting Effect Sounds by MIDI Messages SX-700 Patches can be selected by Program Change mes- sages from an extemal MIDI device. The relationship be- tween Program Numbers and SX-700 Patch numbers can be changed by editing the settings ofthe Program Change Map (p50). 10Switching Bypass On/Off you wish o output only the direct input sound, switch the Bypass circuit on. (The Bypass function on the SX-700 doesn’t use any digital circuits, only analog circuits) You can switch Bypass on and off using the [BYPASS] button fon the front panel or with a foot switch connected to the BYPASS jack on the rear panel, +The Bypass function can be converted toa Mute function. For details refer “BYPASS MODE” (p.23)- Switching Bypass On/Off from the Panel mew © 2 a Seeee me a ieee eran ee ee Bypass is tumed ON and OFF by pressing the panel's [BYPASS] button. Bypass is ON when the bution’s indicator isliv Switching Bypass On/Off with a Foot switch a OcO © 0ceO Polarity Switch ae il When afoot pedal (such asthe Roland FS-5L or Roland FS- 1: optional) has been connected to the BYPASS jack, each press ofthe pedal switches Bypass on of off Section + Try out the SX-700 TTSection Modifying | Various Settings The settings that determine the connection order of the internal effects processors, and the setings for ‘each processor, are collectively known as a "Patch rrumber.” The SX-700 contains 256 Patch numbers This section explains how to edit the contents of 8 Patch number to create a new effect sound, and how to store your new setings. Before You Begin Creating Sounds Before youbegin creating sounds there are severalthingsthat, you need to understand. User Area and Preset Area ‘The 256 Patchesin the SX-700 are divided into the User area and the Preset area. User area (U1 - U128) Patch numbers in the User area can be used to store effect sounds that you create Preset area (P1 - P128) ‘The Preset area contains 128 Patch numbers already st wth a variety of effects. You can't stowe an effect sound you've made in the Preset area, but you can use the effect sounds in the Preset area as a basis for creating new effect sounds. The new effects you czeate can be stored under Patch numbers in the User area, About the Contents of the Display The following information appears in the display during eaiing. << When Parameter Settings Are Being Modified > The Effector name boing changed fs cisplayed < When EXIT Is Pressed to Display the Screen for the Play Mode > inpate ecing pages Meses ¢ ri RThe Structure of Patches Each of the $X-700's Patch numbers is made up of the following elements. You should understand how these ele- ‘ments are related to each other before you start using them. Assignment of Effectors to Units The five Efectos can be assigned to five units. The same Efector cannot be assigned to two or more units tthe same time. There are also some algorithms with fixed Effector assignments that can't be changed. Five Types of Effectors EQ (REVERB)(_RSS Te S4.700conins vee Econ These ve pes J ] 1 m=O PE aos 5) Algorithms That Determine EffectorCon- nections Theconnections forthe EMfectorsareselected fromamongthe 19 preset algorithms, neura 243) Borer fr wn =! (MODULATION) (DELAY) Additional Information In addition tothe element that determine Effector connec- tions, each Patch number contains the elements described below. = Onjoff for each effects processor This parameter turs the effect on or off for each Effector. = Settings for each effects processor Each Effector is made up of a number of Parameters. This. determines the settings fr each of the Parameters. = Setting forthe output evel ‘This parameter balances the volume ofthe effect sound, (output) and the direct sound {input = Control assign (three types) Thiscontrolsthe target parameters set foreach Patch from an external instrument. Threetypes of control assigns can beset for each Patch, = Patch name This parameter attaches a name to effect sounds created for each Patch (to facilitate grouping) ‘Section 2 Modifying Various Settings — 13Sound Editing Procedure 1 Select a Patch that is close to the effect sound you want to 2 Copy the contents of the selected Patch rumber tan unneeded Patch number (i the User areal. +1 you wish to modify the contents of the Patch number selected in lep 1, there is no need to copy the data. 3. Modifying the contents of the selected Patch number. Follow the appropriate procedure for the kind of modlii- cations you want to make. 31 Selecting unit (Ffector connections from among algorithms (p.15) B2_ Assigning efector o unis (.15) “Turning Electors on or of p16) t Setting Electors (p.16) Setting the output levels (p17) 346 Sewing contol assigns (9.18) 37 Assigning a name tothe new efect sound .21) 4: Storing the new effect sound. (9.22) ‘The new effect sound is temporary, and unless you save it, will revert to its previous settings when you switch off the power orswitch Patches. f you wantto save yournew effet sound, use “The Write Operation” (p.22) Effect Sound Settings CCheck out “Section 3 Effect Guide" (p.24) for an explanation ofthe abbreviations and notation conventions for Efectos and Parameters Copying a Patch ‘This function copies the settings for one Patch number to another Patch number without changing the settings. (Procedure) 13 i Py © = géess S06 24 1 Rotate the NUMBER knob to choose the Patch number that you want to copy from (ie, the source Patch). Then press the NUMBER knob to switch to the source Patch, 2 Press IWRITE}. The copy page will appear. PATCH COPY TO Cugary > tu 3. Usethe NUMBER nobtoslectthe Patch numberinatyou want to copyo the desination Patch number The effect sound switches to the effect sound of the destination Patch. * To cancel the operation, press [EXIT] and you will return to the Play mode. 4 Press [WRITE] to execute the copy oper The copy destination Patch number willbe selected, and you will return tothe Play mode. iSelecting unit (Effector) connec- tions from among algorithms The connections for the units (Effector) are selected from among the 19 preset algorithms (Procedure) 2 t BSS5S5S an PEW © = aa 5 SSSSS SS 1 1 Press the [COMMON] bution several ines to call up the algorithm selection screen The curently selected algorithm appears in the display. * Tae aloo at The Suuctre of Algorithms” (p20) fran explanation of how the information onthe dplay corre: sponds tothe actual connection. 2 Roxate the VALUE knob to select the desied algorithm, ‘The connections forthe algorithms appear inthe display. + Each pres of the VALUE knob toggles between a diplay of the connection dagramand a display ofthe algorith name. ‘3 When you'te finished making your selection = you want to continue with changing another iter, make the modification according what you wantto do. ~ Myouwishto savethesettings,usethe Write operation (22). Assigning Effectors to units “The five Effectors can be assigned to five units, ‘The same Effector cannot be asigned to wo or more units at the same time. + There are also some algorithms with fixed Effector assignments that can't be changed by these procedures. (Procedure) 1 Press the [COMMON] button several times to call up the screen for asigning Efectos to unis. ‘The current settings appear in the display. Figgh fF Unitl Unit2 CEQ) (MOD) CM 2 Use the PARAMETER fat] [>] to make the unit withthe Eflactr to be changed start to lash * Make the changes in sequence, satng wih the lowest unit umber tog). ‘3. Rotate the VALUE knob to astgn the Elector. * You cant select an Ector already assigned to 4 unit umber 4: Repeat steps 2 and 3 unl you've assigned Electors to all 5 When you'te finished making your selection. = Ifyou want to continue with changing another item, make the modification described below according to what you want to do, fyouwish o savethe settings, usethe Write operation (p22. Section 2 Modifying Various Settings 15Turing Effectors on or off This parameter turns the Effector in use to “Effect On,” and theanes notin use to “Effect Of." The corresponding EFFECT PARAMETER buttons for Electors st to “Effect On" light to show that they are active ‘An Effector set to “Elect OF" nomally sends input sound ‘unchanged to output. (That i, throughput occurs) If Eectors ‘connected ia parallel are all et to “Elect OF,” their sound is ‘muted. (Procedure) 1,2 (2) Bases eos 1 Press the EFFECT PARAMETER bution that corresponds to the effect you wish to tun on or of ‘The settings forthe selected Effector appearin the display. Etiect Oro 2 Once again, press the EFFECT PARAMETER button that conespondstothe eect youwishtswtch The fect wl be tumed on or of You can also togle the eect on or of by rotating the VALUE knob 3. Repeat steps 1 and 21 tm each eet ono 4: when you finish making stings. = you want continue wth changing aotherite, make the modification according to wha! you wart 10 6, you wishto savethe settings, use the Writeoperation| (p22) ‘While setings parameters Gee the next section), pressing the EFFECT PARAMETER button that corresponds tothe Effector that you're making settings forcausestheerfecttobe switched ‘0n ot off while maintaining the parameter settings. Settings for Each Eftects Processor Each Effector is made up of a number of Parameters. By individually modifying the values for these parameters, you ‘can create original effect sounds. (Procedure) 1 Press the EFFECT PARAMETER button that corresponds to the effect you wish to edit ‘The parameters forthe selected Eifector appear in the display. Say Mop eer Ss ea The Etector namo “ being changed Is splayed ‘The Parametor for the seting being changed flashes REV! RuCt] Rut ON Roo Value 2 Use the PARAMETER [4d] [to make the unit withthe Effector to be changed start to flash. * Holding down 2 PARAMETER ft] ] causes the displayed parameters o change sequentially. 3 Usethe VALUE knob ochangetheseting By pressing the VALUE kab while you rotate it you can make the valve change faster, 4: Repeat steps 2 and 3 to finish making fect stings. 5 itnecessary, switch the Effectorin step 1 and continue with the procedure {6 When you irish making sings. —fyouwanttoconsinve wth changing another item, make the modification according to wht you want todo, = Ifyouwishtosavethesettings,usethe Write operation (p22), 16BiectCopy This fron copies parameter seting nuns fa n- Vial fc fom ancther Pach number kiscomeriento tie ths uncon when you wish our he are stn agen fet in several Pach nurs * An Effector of identical type is automaticaly selected. (Procedure) 11 Press the Effect Parameter burton that corresponds to the cefiect that you wish to copy. 2 Use PARAMETER [4] [>] to access the following pram ter (EFFECT COPY). Corel 15 3. Use the NUMBER knob to select the copy-source Patch ‘number. Theeffectsoundswitchestothe effectsound ofthe source Patch. 1 The Patch number using an Efector of the same type is automaticaly selected for the copy source. + Ifyou want f0 return to the setting in use before copying choose “EDIT.” 4. When you finish making settings = you want to continue with changing another ite, ‘make the modification described below according to what you want todo. Settings for the output level and output balance This sets the master and direct output levels, as well as the output level and output balance of the effect and direct sounds for each Effector (except the Equalizer Thelevelandbalancesettingsthat canbe madearedescribed below. The balance and output level setings for the effectors are structured follows. ca veut} Fone ste Int [sen (UT_L: Output Level Ly (OUT_R: Output Level R) ‘This adjusts the output evel foreach channel (irct: Direct Level) ‘This adjusts the output level for the drect sound. Setting the value to "Thru" causes analog direct output to be made. (MBall: Modulation Balance L) (MBaiR: Modulation Balance R) (M_OUT: Modulation Output Level) This adjusts the volume balance of the direct and effect sounds of Modulation for each channel. It also adjusts the ‘output level for Modulation. (PBall: Delay Balance l) (DBalR: Delay Balance R) (D_OUT: Delay Output Leve) This adjusts the volume balance of the direct and effect sounds of Delay for each channel. It also adjusts the output level for Delay. Section 2 Modifying Various Settings 17{RBalL: Reverb Balance L) {RBaIR: Reverb Balance R) {R_OUT: Reverts Output Level) This adjusts the volume balance of the direct and effect sounds of Reverb foreach channel. Italo adjust the output level for Reverb. (Ball: RSS Balance Ly BAIR: RSS Balance R OUT: RSS Output Level) ‘This adjusts the volume balance of the direct and effect sounds ofRSS foreach channel. talsoadjuststhe outputlevel for RSS. (Procedure) PPP © = seases 8o5 1 2 1. Press [LEVEL to call up the level sting screen. Fish Lvl? QUT_L OUT_R 198 188 2. Usethe PARAMETER (][Btomakethe parameter forthe ‘output balance or output level to be changed stato flash. 3. Use the VALUE knob to change the ouput balance or ouput evel. ressingthe VALUE knob as youtunitcases the amount of change to increase. 4: Repeat steps 2 and 3 until you've irished changing each outputbalance or output level 5 When you're finshed with making your election. = Ifyou want to continue with changing another item, ‘make the modification according to what you wantto do. = Hfyouwishtosaverthe settings, usethe Write operation (p22. Control Assign Settings “These stings allow youto control SX-700 parametersas you play, either from extemal MIDI devices or from pedals onnected to the SX-700, For each Patch number, you can Speciy upto three parameters andthe conolle that will Control each parameter. Target: the parameter that will be controlled. Specify the parameter you wish to contol. The following parameters can be selected as targets Flash CNN? Units CiTra (RSS) OUT St Tage Paraeter Effect Or/OM for each effect ‘Output levels| Effect unit parameters BYPASS On/Off + You may assign two or more controllers to control the same target, but in such a case, avoid using two (or more) controllers tomate mode agp. Thican pode * When you switch to Patch number that uses the Controlassign function, aneflectsound that does’ use Control assigns output Initially. Once you operate the external instrument 10 send Information to the SX.700, the effect sound produced by the corresponding operation is output 3BTarget value range Operationson the external device will modifythevalue ofthe target parameter within the range of the “minimum” and ‘maximum’ values you speci Foron/oftype controller suchasfoot switches, “Of (CLOSE) will produce the “minimum value” and “On" (OPEN) will produce the “maximum value.” For continuous controllers such as expression pedals or pitch bend levers, the value will change within the range of the specified “minimum” and “maximum.” If the target fs an orf type parameter, it will be switched an oF off by values above or below the central value ofthe controller. CiMin CiMax o 198 MN? Minimum Maximum Value” Valve, -rpintl Crane n conte: “Paar wake ow: 100% Max Aihe of 0% connate “Pararet “ae Min + Therange avaiable fo setting wil depend onthe selected target + Htyou st the “inion value” above the “masimum vale,” the rection of parameter change wil be reversed. + Hafter setting the “minimum” and “maximum” values you then change the target, the settings may change. After changing the target, check that the target value range has not changed. Source: the controller that will control the parameter. Selection forthe controller (source) that will ontrolthe target parameter The following controllers can be selected as sources. CMM? CiSre Oo ExPd] ‘Source (No controller): Values ill not be altered under the control ofan external device. expat: ‘An expression pedal connected to the expression pedal jack (optional: FV-300L + PCS-33 (Roland), EV. (Ro- and) cis: ‘Afoot switch (optional: FS-SU, FS-SL, FS-1 Roland), DP- 2 (Roland) tc.) connected tothe Control jack PtBind: Pitch Bend messages from an external MIDI instrument: ‘Operation ofthe Pitch Bend lever (whee!) Force with which the keys on the keyboard are pressed (after initially being played) Notet: [Note number messages from an external MIDI instru: ment: Position of the keys on the keyboard Velo: ‘Velocity messages fom an external MIDI instrument: Force wih which the keys onthe keyboard are played crooe: ‘Control Change messages from an external MIDI insru- ment (Controller Number 31 964-95: Operation of Sliders, pedals, et. * Up to three Control Assign settings can be made foreach Patch (ased control assign source must be set to * +). ‘Section 2 Moditying Various Settings 19Source Mode: the result of operating a foot switch. ‘This setting determines how the target parameter value wil be affected when you operate a momentary-type foot switch (optional: F5-5U, DP-2 (Roland), etc) Norm (Normal): The parameter will normally be of (minimum value, willbe on (maximum value) only while the foot switch is depressed, ‘Toga! (Toggle: “The parameter will switch between off minimum) andon (maximum) value each time you press the foot switch, + you have connected alatch-type fot switch (optional: FS, 5-1 Roland), tc.) or fyouhavenotselected 2 footswitch asthe Controller, thi setting should be left at *Normal.” (Momentary-type and latch-type foot switches) Ifyou use a foot switch to switch Effects On/Off ‘You may use either a momentary.type or a latch-type foot switch, When using a momentary-type, select “Toggle.” ‘When using a latch-type, select “Normal.” In ether case, Effect On/OM will alternate each time you press the foot switch, It you want an effect to become more pro- nounced while you depress a foot switch, or for the effect to be on only while the foot switch is Use a momentary-type foot switch, and select “Normal.” In this case, the sexing forvof wil depend on whether the foot ‘Switch Is depressed or not. Ths type of operation is not possible with a latchype foot switch (Procedure) 3 mee © Si a 1 a B O o & 2 1 Press the [COMMON] button several times to call up the screen (ot assigning Efectrs to unis ‘The current settings appear in the display. CNN? Unitd Unit? Ce a] (MOD) 2. Usethe PARAMETER [at] [D>] to select the parametertobe ‘changed (rom among the those following) and get it 10 flash, Teraet Uris C1Tr3 tees OUTL ? CiMin CiMax “Target value rango| in. May Cla SoveelicMH? C1Sre Ct ExPdl | SoucoMosercHi: CiSre CiMod E-Pel_Norml 3. Rotate the VALUE knob to change the seting. 4 Repeat seps 2 and 3 to make all desired contol assign settings. 5 When you finish making setings. = you want to contin with changing another item, make the modification accordingto what you wantto &. = Hyouwish to savethesettings,usethe Write operation (22). 20Modifying the Patch Name Each Patch can havea name consisting ofp to 16 characters. You can freely assign names to each Patch you create 10 remind yourself ofthe typeof sound or the name of the song, twill be used with (Procedure) Canceling Changes To cancel changes edits) in aneffectsound and return tothe orginal values, use the following procedure, (Procedure) oS ae d 2 1 Press [NAME] NAME EDIT. STUDIO a8 Cursor 2 Use PARAMETER [4] [J] to move the cursor to the character you wish to edit 3. Use the VALUE knob to modify the character, * Pressing the VALUE knob switches you among uppercase characters lowercase characters, umeray and spaces. 4 Repeat steps 3 and 4to create the entire Patch name. 5 When you finish making settings. you want to continue with changing another ite, make the modification according o what you wantto do. ~ Myouwish o savethe settings, usethe Write operation (p22. 1. While making changes, press [EXIT] to return tthe Play mode. The play wll show a symbol indicating thatthe setings have been modified “U" oc“F" appears as highlights tox to init et eling propose O¢3¢3 STUbID 2 Rotate the NUMBER knob to choose another Patch num: ber. Simply choosing Patch number doesnotcausethe effect sound to be switched. ‘The display shows some information about the selected Patch number the algorithm name and the Patch name) The Patch name will flash. 3. Pressthe NUMBER knob to switchto the Patch number you! selected in step 2. ‘The display showsa confirmation message to tell youthat the Patch willbe switched without saving the changes in memory Change OK? YEENTER / N?EXIT Press the NUMBER knob again. The changes you've made are lost, and the SX-700 switches o the Patch number you. ‘chose instep 2. Press EXIT ‘Operation returns to the Play mode, keeping the changes you've made. ‘Section 2 Modiying Various Settings 21Storing the Modified Settings (The Write Operation) Patch settings youmodity are temporary nd wllrtuntothe ‘orginal seftings when you select another Patch (or tun the Unit off Hf you wish to keep the modified setngs, use the ‘Write operation. (Procedure) 2 maa © Seess Sos 13 1 When you finish making settings, press [WRITE]. The following display will appear PATCH WRITE TO CEDIT] > Cu) 2 Use the NUMBER knob to select the write-desination Patch number. +H you wich to store the new setings in the original Patch ‘number, this step snot necessary. + Patch numbers P1 ~ P120 are the Preset area and cannot be tied to store your new Patches. f you have modified the settings of Preset area Patch, you can storeit ina User area (U1 ~U128) Patch number. * To cancel the write operation and return to editing, press ext). 3. Press IWRITE|. ‘The modified settings wll be stored inthe Patch number you specified in step 2. When the Write operation is Completed, the Play mode screen will reappear. Utility Function Settings The following pages explain the SX-700's Utlity functions, which allow you to configure the unit forthe setup you are using. * For more information about MIDI, check out “MIDI Utility Function Setings” (9.43). + For more information about intalization, see “Restoring the Factory Settings (alization) (p55). (Procedure) 1 Press (UTILITY) ‘The button’ indicator wll up, and you're ready to make setings for the Ulty function. 2. Use PARAMETER 4] [>] to accessthe parameter that you wish 0 edt + Ifyou continue pressing a PARAMETER button, the param ‘ters willbe aplayed In succession 3. Use the VALUE knob to change the setting. The valve will change more rapidly if you press the VALUE knob as you rovate it. 4 Repent steps 2 and 3 to set the desired Utility parameter. 5 Press [EXIT] to return tothe Play made screen and end the operation. 2Utility Function Parameters (STANDARD PITCH) (435 - 445Hz) STANDARD PITCH A= 44GHz "Standard pitch” isthe frequency ofthe nate Ad (middle Aan 2 plano) that is used asthe standard to which all other notes ae tuned. ‘With the $X-700, you can setthe standard pitch forrecogniz- ing the names of notes input to the Harmonist. * At the factory settings this is set to 440 Hz. (BYPASS MODE) (BYPASS, MUTE) BYPASS MODE BYPASS, Specity the result of tuning BYPASS On. BYPASS: Input sounds are output unchanged. MUTE: Nothing will be output from any OUTPUT jack: ice, the 5X-700 will be muted (slen. This is set to “BYPASS* when the unit was shipped. (PARAMETER HELP) (ON, OFF) PARAMETER HELP ON When Parameter Helpissetio“ON,”detalsaboutparameter names appearin the display when you press the VALUEknob while making Effector settings (LCD CONTRAST (0-15) LCD CONTRAST Depending on the location ofthe SX-700, the display may be dificult to read. In such a case, adjust the display contrast. (MIDI CHANNEL) (1 ~ 16) (P.49) (MIDI OMNI MODE} (OMNI ON, OMNI OFF) (P.49) (MIDI DEVICE ID) (1-32) (P.49) (MIDI PROGRAM CHANGE RECEIVE) (ON, OFF) (P.49) (MIDI PROGRAM CHANGE MAP) (P.50) (MIDI BULK DUMP) (P.51) (MIDI BULK LOAD) (?.52) (FACTORY PRESEN) (P.55) ‘This procedure returns (initializes) the $X-700's setings to theiefactory-default values. For more information, check out “Restoring the Factory Settings (hitialization).(p.58) Section 2 Modifying Various Setings 23The Structure of Algorithms ‘An algorithm determines the connections ofthe units (ffec- tors). Some 19 Algorithms are available. This section de- sctibes how these algorithms are structured. eur. lourpurt worn 1 243) BF oureurs eR EB Ha ern ‘OUTPUT R rern 2] 45: Type AS 10: Type BI CMN? CMN? as Bi SEH a i SOARES HEB inn a THES Sl al Taber Boar 12: Type mg carts wre OS a orn ver. —{T eum, omen veut our ver _—{Q) 5] 9: Type A9 14: Type BS HN &5 vo 1} Born ture AS a or seurn {S14 5] Section Elect Guide 25ourrur., 16: Type soma AE ourrura [Sy EHD REVIT oes mney ond EQ, frevens|[ RSS eure: TE) — ourPur ‘Garege || Basa vers —{Q] 5 fevena|( Ass wo. —[T2}— or nur e. =e Type C1 Eo gar geunon evens cy oThe Functions of Effectors This section explains each effect and the function of the parameters which make up each effec. * The sound beng input to each effect iscalled the “iret sound,” andthe ound modified bythe effect called the “effect sound.” oN 3 Eqct EQONIOFF OFF, ON LowFq EQLow Frequency 200° 20k Hz) LowGn EQ Low Gain “120 +120 (48) Low.d EQLowa Shetv,0.3— 10 MidFq — EQMiddle Frequency 200° 8.0K [Ha] MidGn EQMiddleGain 120 +1208), Mid_Q EQMiddie os fc Higfq EQHigh Frequency 2.0K == 20.1% Ha) Hig@n EQHigh Gain “120 412.0 (68) Hig Q EQHigh Sheiv, 03-10 Qn EQ Total Gain “120° 412.0 {68} This is a thre-band parametic equalizer. (The three bands arebass, midrange and treble). The bass and treble bands can be switched between peaking ot shelving type by the "Q” parameter. Equalizer On/Off ‘This parameter turns the equalizer effect oro. Low Frequency This parameter sets the central frequency forthe bass equal Low Gain This parameter sets the gain {amount of boos or cut forthe bass equalizer. low @ ‘This parameter sets the range of change in gain (amount of boost or cut) for the frequency set by the Low Frequency parameter. A larger value results in a narrower range of ‘change. ‘Setting this value to "Shelv(Shelving)” makes the bass equal: iner act asa shelving equalizer. Middle Frequency ‘This parameter sets the central frequency for the midrange equalizer. Middle Gain ‘This parameter sets the gain (amount of boost or cut) forthe treble equalizer. Middle @ ‘This parameter sets the range of change in gain for the frequency set by the Middle Frequency parameter. A larger value results in a narrower range of change. High Frequency This parameter sts the central frequency for the treble equalizer, High Gain ‘This parameter sts the gan amount of boost or cu or the treble equalize. High @ ‘This parameter sets the range of change in gain for the frequency set by the High Frequency parameter. A larger value results in a narzower range of change. Setting this value to “Shelv (Shelving)* makes the treble equalizer act asa shelving equalizer. Total Gain ‘This parameter adjusts the volume after the equalizer stage. Section 3 Effect Guide 27iV le) Ue Nie) yy ‘One type each can be selected (rom among the following, Electors) as Modulation for each Patch number. + erfector selection i made with “MaTyp (Modulation Type.” Chors: Stereo Chorus Flang: Stereo Flanger Phase: Stereo Phaser 2Voices Harmonist _2Voices Pitch Shifter Stereo 2Band Chorus Voices Harmonist Voices Pitch Shifter Rotary Spacet: Space Chorus + electors indicated by an asterek (™) can be selected with algorithm numbers BY 1089. ‘Thisisa Chorus effect or stereo output. Asound witha subtly shifted pitch is added to the direct sound, making the final ‘output sound thicker and broader. With “Stereo 2Band Cho- rus,” the frequency components of the direct sound are split into two bands, anda split-band chorus that allows different ‘settings for each band ls applied to both bands. Modulation On/Off This parameter turns the chorus effect on/off, Modulation Type ‘This parameter selects the type of modulation. Input Mode ‘This parameter toggles between stereo and monaural signals. Mono: ‘This produces a chorus for mono input with the left and right channels mixed. Stero (Stereo): ‘This produces a chorus for stereo input with Chorus applied separately tothe left and right channels. Mo Stereo: Stereo Chorus roa Lads Stereo 2Band Chorus tone Jou < Stereo Chorus > MdCt Modulation Ovo —OFF,ON MéTyp Modulation Type Rate Input’ Input Modo Mone, Stero Rate Rate ott “This parameter adjusts the rate ofthe Chorus effect. Depth Depih 0 109 HPD ProDelay 00 500 ms} UFO LFO Waveform Th, Sin Depth Pruse Phase, «O360._ete]_—_—hispramete asthe det ofthe Const. Tose eet co pean itto produce a “doubling” effect, set the value to “0.” MPanR Pan 1000 0.100, Pre Delay << Stereo 2Band Chorus > ‘This parameter adjusts the time needed forthe eect sound treed, frmereseecces lel tobe output afer the direct sound has been output. By setting MaTyp ype «longer Pre Delay time, you can obtain an effec that sounds eae ee Tike more than one sound is being played atthe same time LoRt —LowBand Rate “00 Mecaeate Bo Lop LowBand Depth 0 +00 foubling LoPD LowBandPreDy 0.0 50.0 [ms] LeLFO Low LFO Wavelorm Th, Sin Low Phase oO 360 (dog) High Band Rate = 0100 High Band Doph 0 400 High Band PreDly 0.0 50.0 fms] High LFO Wavelorm Tr, Sin High Phase 0" 360 {deal Grossover Frequency 100 400k [Ha] Mix Love 1000 0:100,LFO Waveform This parameter selects an LFO (low-frequency oscillator) waveform for the Chorus. ‘el (Tiangle): This applies 2 Chorus effect with few undulations. (A standard Chorus effects applied with “ri.") Sin (Sine): Thisproducesa Choruseffectwith more undulationsthan Te Phase This parameter adjusts the dtference in LFO phase between the left and right channels. The two channels are perecty in phase with a value of 0," and completely out-of-phase with sewing of 780." Cross Mix Level This parameter adjusts the rate at which the output of one channel is added tothe output ofthe other channel. Varying thissetting can making the resting sound “fatter.” (Crossover Frequency * stereo 28and Chorus only ‘This parameter sets the frequency at which the frequency components ofthe direct sound are divided into bass and treble bands. Pan L- stereo Chorus only ‘This parameter adjusts the amount of pan Chorus sound (sere0 position) forthe left channel. Pan R * stereo Chorus only ‘This parameter adjusts the amount of pan Chorus sound (stereo position) forthe right channel. Mix Level * stereo 28and Chorus only ‘This parameter separately adjusts the volume levels of the "Low" and “High® Chorus sounds. Stereo Flanger MaCtl_ Modulation OnvOHt OFF, ON MéTyp Modulation Type Input” Input Mode Mono, Stero ale Rato ° 100 Depth Depth ° 100 Manu Manval ° 100 Fesre Resonance 100 100 UFO” LFO Wavetorm “Thi, Sin, Exp, Ow! Ow? Phase oO 360 (deg) MaIMd Gate Mode OFF, E, OsE NGISp Gate Siope 0 400 MGIRL Gato Rate 2 100 MGIWG Gate Wath 0 100 ‘Thisisatrue two-channelstereo flanger that adds undulations {othe sound. The depth ofthe effect canbe increased toobtain 2 sound tat moves up and down, Uke 2 et taking off or landing. Modulation On/Off This parameter turns the flanger effect oro. Modulation Type This parameter selects the type of modulation, Input Mode ‘This parameter toggles between stereo and monaural input signals ‘Mono: This produces a chorus for mone input with the lft and right channels mixed, Stero (Stereo): This produces a chorus for stereo input with Chorus applied separately tothe left and right channels Mono: Stereo: rower Rate This parameter sets the rate ofthe flanging effect. Depth ‘This parameter determines the depth of the flanging effect. ‘Section Effect Guide 29Manual ‘This parameter sets the central frequency for applying the fect Resonance ‘This parameter determines the amount of resonance (feed: ‘back. Increasing the value will emphasize the effect, creat ing a more unusual sound, Seting Ito a negative value will create resonance having a reversed phase. LFO Waveform This selects an LFO (low-frequency oscillator) waveform for the Flange. Ti Sin: Exp: fmt: twa: eSERE Phase This parameter adjusts the difference in LFO phase between the left and rightchannels, The two channels are perfectly in phase with a value of "0," and completely out-of-phase with 8 setting of "180." Gate Mode This makes the setting for operation of the Gate function, which cyclically opens and closes Flanger output ofr: The Gate function is not used. E (fect “The Gate function is applied only tothe effect sound. DoE (Direct + Effect “The Gate function i applied to bath the direct sound and the effect sound. Gate Slope This adjusts the time until the gale f opened or closed completely Gate Rate ‘This adjusts the length ofthe cycle for opening and closing the gate Gate Width Thisajuststhetime interval forwhich the gate remainsopen. ‘Stereo Phaser MgC Modulation Ovo OFF, ON MaTyp Modulation Type Input’ Input Mode Mono, Stero Mode Phaser Type Stag, 8Stag Rate Rate 1 00 Depth Depth ° 100 Manu Manual ° 100 Fssne Resonance ° 100 Phase Phase ° 360 (eg) ‘This is a true two-channel stereo phaser that takes the direct sound and adds a phase-hifted sound to it, producing a broader sound that seems to revolve. Modulation On/Oft ‘This parameter urs the phaser effect on/oft. Modulation Type ‘This parameter selects the type of modulation, Input Mode This parameter toggles between stereo and monaural input signals. Mono This produces a phaser effect for mono input with the left and right channels mixed. Stero (Stereo This produces a phaser effect fr stereo input with chorus applied separately to the left and cight channels. Mono: stereo: vont ot rein Up Phaser Type Selection for the type of phaser effect. Stag (AStage): This isa four-phase effect. light phaser effect is ob- tained. stag (9Stage This is an eight-phase effect. tis the most popular phaser effect 30Rate ‘This parameter sts the rate of the Phaser effect. Depth This parameter determines the depth ofthe Phaser effect. Manual ‘This parameter adjusts the center frequency of the phaser effect. Resonance ‘This parameter determines the amount of resonance (feed- bach. Increasing the value will emphasize the effect, creat ing a more unusual sound. Setting it to a negative value will create resonance having a reversed phase. Phase ‘This parameter adjuss the phase diference between the left and right channels. 2Voices Harmonist 4Voices Harmonist << 2Voices Harmonist > MgCti Modulation On/OH OFF, ON MéTyp Modulation Type Seale Scala Major, Minor Key Key ¢ 3 Invi Volen 1 Interval YOu — foct Inv Voice 2 Interval Foe — Zoct Voice 1 Level 0 ‘00 Voios + Pan 1000 0:100 Voice 2 Level ° 100 Voice 2 Pan 1000 0100 Pitch Detect Ch Norm, Loh, Reh Harmonist Soures Gilt, Grl2, Vocal Scale Table hn c B “User Scala Ouvay Foot Oct “User Scale ut} Foc — Zoct “user Scale uitva} Foc — Foct User Scale outa} Foct F0ct “User Scale «< 4Voices Harmonist > MC! Modulation Ovo OFF, ON MaTyp Modulation Type ‘Scale Seale Major, Minor Key Key ce 8 Invit Voice 1 Interval Yoo — S0et Inv2 Voice 2 interval Fou — Zoet Invs Voice 3 Interval Fou — Zoet Invlé Voice 4 Intarval Foc — Zoe Let Voiea # Level 8 too Pant Voice 1 Pan 1000 0:100 \w2 Voice 2 Level o 100 Pan-2 Voice? Pan 1000 0:100 Lt Voice 3 Level ° 100 Par-3 Voice Pan 100.0 0:100 Ld Voice 4 Level ° 100 Pan-é Voice 4 Pan too 0:10 Detet Pitch Detect ch Norm Lh, Roh HrSicHarmonist Source Grit, Gna, Vocal TEL] Scale Table in © B “User Scale Ounys] Zoot Oct ‘User Scale outva} Joa Foc “User Scale outa} Fo For -User Scale out} Fou Fost “User Scale ‘This function creates a harmony part (inthe scale ofthe song being played). You can add either a two- or four-voice harmony. ‘You should avoid playing chords when using the Harmonist. sue fo se the standard pitch (.23) before using the Harmon. ia. Modulation On/Off This parameter turns the Harmonist or/oft. Modulation Type This parameter selects the type of modulation. Scale ‘This parameter sts the scale forthe song. Key This parameter sels the key for the song. you make the appropriate key setng, the harmony thats generated willbe appropriate for the song, ‘The key of the song will be as follows depending on the number of symbols ( , 5) appearing in the stat. a Minor Am Om Gm Cm Fm atm em Miner = Em Bm Fim Chm Gln lm ‘Section 3 Effect Guide 37Interval ‘This parameter determines the pitch interval (eelative tothe ‘input note) at which the harmony willbe generated. You can specify an interval of up to +/-2 octaves relative to the input rote + tthe harmony part produced isnot what you expected, you can Set the Note name ofthe output sound with respect othe Note ‘name ofthe inputsound and switch tothe user scale Ifyouseect theater scale, the parameter wil be splayed as "USER." For al refer to “About the User Scale. lev ‘This parameter adjusts the volume level ofthe voices. Pan ‘Thisparameter adjusts the stereo position (pan) forthe voices Pitch Detect Channel ‘The Harmonist function detects the pitch ofthe input note and produces the appropriate harmony. This parameter sets the input channel that is used for detecting the pitch, ‘Norm! (Normal) This is for stereo input. The INPUT Jack Lis used to detect the pitch. Lich: The INPUT Jack L is used exclusively as input for detecting the itch, The effect is applied only to the INPUT Jack R, which is treated as 2 monaural input ‘The INPUT Jack R is used exclusively as input for detecting the pitch. The effect is applied only to the INPUT Jack L, which is treated as a monaural input. Harmonist Source ‘ThisParameter setsthe sound source used for input, allowing the Hacmonist to accurately recognize the input notes. Gorlt (General): Instruments (other than vocal) are used as the sound source; strings etc. Goria (Generat2): Instruments (other than vocal) are used as the sound source; hors et. Vocal ‘A vocal sound source is used, Scale Table ‘This sets the User Scale for the Harmonist. You can turn the VALUE knob to copy the User Scale for another Patch ‘number, or press the VALUE knob to set a new User Scale, ‘The ways to make settings ae explained in detail on the next About the User Scale Ifthe resulting harmony isnot what you had anticipated, you ‘cancteatetheharmony using the user scale you specify here. You can make separate user scale settings for each Patch ‘number and for each voice. (On the $X-700, make user scale settings as follows. (Procedure) 1 While editingthe Harmonist use PARAMETER fa] Ito get the next parameter ("Table") to flash, MOD? HeSrc CTBLJ Vocal FEdit < Copying and Using a Scale Stored for Another Patch Number > 2 Use the NUMBER knob to choose the Patch number that Yyou want to copy from (the source Patch) Selecting the Patch number makes the user scale change. < Setting a New User Scale or Changing he User Scale > 2 Press the NUMBER knob. The following display screen appesrs. {2Voices Harmonist] a In #1 vt U2 v2 pC +0 oC o0 ok In: The Note name ofthe input sound is displayed. V1, 2: The Note names of the output sounds (relative to the iputsound) are displayed. Thissetsthe names fof the notes output to Voice 1 and Voice 2 when the pitch of the input sound is higher than the sound input immediately before. V1, 2: The Note names ofthe output sounds (relative to theinputsound) are displayed. Tissetsthe names fof the notes output to Voice 1 and Voice 2 when thepitch ofthe inputsound islowerthan the sound input immediately before {4Voices Harmon) Ee ene In ?U1 U2 U3 U4 PC 40 4 40 oC In: The Note name ofthe input sound is displayed. 1-4: The Note names ofthe output sounds (relative to the input sound) are displayed. Ths is performed with VI ~ 4 for each voice 23. Use PARAMETER [od] [>] to get “IN” to flash Turn the VALUE knob to display the Note name of the input sound to be changed 4. Use PARAMETER [4] [>to getthe voice whose scale you want to change o fash, Rotate the VALUE knob to setthe Notenameofthe output sound relative tothe input sound 5 Repeat steps 2 and 3 to set the Note names ofthe output sounds relative to the Note names of each of the input sounds and complete the user scale. 6 Press [EXT 1 inish making stings forthe user scale. * When 2 user scale has been st, “User” is displayed forthe “interval” parameter. * tf you want to cancel the user scale and retun tothe orignal Scale, use the VALUE knob fo modify the “Interval” parameter “andset the heightinteral ofthe sound applied othe put sound for each voice 2Voices Pitch Shifter Voices Pitch Shifter < 2Voices Pitch Shifter > dCi! Modulation OnvOt MdTyp Modulation Type Mode Pitch Shier Mode OFF, ON 1,2,3, 4,8, Mono Crm —Voiee 1 Pitch 4 424 Fine! Voice 1 Fine 50450 POrm2 Voice 2 Pitch 2h 424 Fine? Volee 2 Fina “0450 Last Voice 1 Level ° 400 Pan-1 Voice 1 Pan 1000 o:100 Lv2 Voice 2 Level ° 100 Pan:2 Voiea 2 Pan 1000 0:10 Detct Pitch Detect Ch PsSre Input Source Norm, Lch,Fich, Gael, Gar, Vora, <4Voices Pitch Shifter > MJCH Modulation On/O# OFF, ON MdTyp Modulation Type Mode Pitch Sher Mode +1, 2,3, 4,5, Mono Porm! Voie t Pitch 44 Fine! Voice 1 Fine 30 450 PCrm2 Voice 2 Pitch fae Fine2 Voice 2 Fine sO 350 Porm Voice 3 Pitch 2 424 Fined Voice 3 Fine 50450 PCrmé Voice 4 Pitch ae Fined Voice 4 Fine ‘30480 Lv Voice t Lovel ° 100 Pant Volos 1 Pan 1000 01100 LM2 Volos 2 Level ° 100 Pan-2 Voice 2 Pan 1000 0100 LMS Voioe 3 Love! ° 100 Pan3 Voioe 3 Pan 100: 0:100 Ls Voice 4 Level ° 100 100: 0100 Norm), ch, Roh, Gorit, Gna, Vocal, Pané Voice 4 Detct Pitch Detect Ch PsSre_— Input Source ‘This Effector changes the pitch of the original sound (up or down) withinarange oftwo octaves. Two-orfour-voicepitch- shifted sounds are output simultaneously. Modulation On/Off ‘This parameter tuns the pitch shiter effect on/of. Modulation Type ‘This parameter selects the type of modulation. Piich Shifter Mode ‘This parameter selects the mode of the Pitch Shifter. 1 through 5: ‘These are standard Pitch Shifters that allow a chord to be input. Higher made numbers result in a slower response. but less feeling of discord (undulations in sound). ‘Mono : ‘Compared with conventional Pitch Shifters this produces, na feeling of discord (undulations in sound). This mode's. for monaural inp. Pitch This parameter adjusts the amount of change in the pitch- shied sound, in semi-tone steps. The setting can be made within a range of two octaves (+/- 24 semi-steps) Fine ‘This parameter is used for fine adjustment of the amount of change in the piteh-shifted sound, + Ifyou were to shit the value of this parameter through its entire ‘ange (starting at-50 and finishing at +50) you would realize a {otal change of one semitone ia the pitch Level ‘This parameter adjusts the volume of the pitch shifter sound. Pan ‘This parameter adjusts the amount of panning (stereo posi- tioning) in the pitch-shited sound. Section 3 Eflect Guide 33Pitch Detect Channel “rich sniter Mode: Mono" only ‘The Pitch Shiter function detects the pitch ofthe input note ‘and produces the appropriate harmony. This parameter sets the input channel that is used for detecting the pitch ‘Norml (Norm: This is for stereo input, The left channel is used to detect the pitch. ‘The left channel is used exclusively as input for detecting the pitch. The effect is applied only to the right channel, which is teated as a monaural input Rech: The right channel is used exclusively a5 input for detecting thepitch, The eflectisappliedonly tothe et channel, which is weated as a monaural input ‘The settings are such that this parameter isnot used. Input Source - Ptch snier Mode: Mono" only ‘This Parameter sets the sound source used for input, allowing the Pitch Shifter to accurately recognize the input pitch, nett (General): Instruments (other than vocal) are used as the sound source; strings ete Gola (General2): Instruments (other than vocal) are used as the sound source; horns etc. Vocal: 'A vocal sound source is used. ‘The settings are such that this parameter is not used, (OFF, ON ‘SLOW, FAST 500° 10.00 (Ha) Fast Roto: SpeedcFAST> 5.00 10.00 Ha). HSiow Hom SpeadeSLOWS 0.05 5.00—_[Ha]. RSiow Rotor Spesd 0.05 5.00 [He] 1 100 1 400 1 100 1 100 RH RHMixBalance 90:10 10:90 Mode Mic Setting Mode Mic, OnMic H-Dpt Horn Depth ° 109 RDpt Rotor Depth ° 100 HeTm Hor Tremolo ° 100 ReTrm Rotor Tremolo 0 100 Ditsn—Difusion ° 100 O0-SW Overdrive Ono OFF, ON Gain rive Gain ° 100, Drive Overdrive Drive 1 100, OD Overdive Level ° 109, ‘This parameter simulates an old-fashioned rotary speaker, which added undulations tothe sound by rotating the speaker asitplayed. ‘A real rotary speaker has a switch to select slow or fast rotation. shorn (treble-range speaker) and rotor (bass-range speaker) can also be rotated independently. The ROTARY ‘Effector has parameters that can be used to re-create these subtle effects. Ws also possible to simulate the distortion produced by a ‘rotary speaker's vacuum-tube amp (Overdrive), Modulation On/Off This parameter turns the rotary effect ont. Modulation Type This parameter selects the type of modulation. P ‘ype Speed Select This parameter changes the simulated speaker's rotating speed (SLOW or FAS. Hom Speed ‘Thisparameteradjusisthespeedofrotationforthehorn when setto “FAST.” Rotor Speed ‘This parameter adjusts the speed of rotation for the rotor when setto "FAST." Hom Speed Thisparameteradjuststhe speed of rotation forthehorn when sett0 "SLOW." Rotor Speed This parameter adjusts the speed of rotation forthe rotor when set ta "SLOW." Rise Time; Hom ‘This parameter adjusts the time it takes forthe rotation speed ff the hom to change when switched from “SLOW” to “EAST.” Rise Time; Rotor ‘This parameter adjusts the time it takes forthe rotation speed ‘of the rotor to change when switched from "SLOW" to FAST.” Fall Time; Horn This parameter adjusts the time it takes for the rotation speed cofthehornto change when switched from FAST" to "SLOW."Fall Time; Rotor ‘This parameter adjusts the time it takes forthe rotation speed ‘ofthe rotorto change when switched from FAST" to"SLOW." R: H Mix Balance ‘This parameter adjusts the volumebalance between the horn and rotor Mic Setting Mode This parameter switches the position ofthe microphone used to record the sound ofthe rotary speaker. OfMic (OF Mic): This simulates the sound recorded by a microphone postionedat a distance rom therotary speaker. There are few undulations in the sound. This setting is good for instruments such as a jazz organ. ‘OnMic (On Mic} This simulates the sound recorded by a microphone positioned close to the rotary speaker. The sound has ‘many undulations. This setting is good for instruments such as a rock organ. Hom Depth ‘This parameter adjusts the amount of depth inthe Doppler elect for the horn Rotor Depth ‘This parameter adjusts the amount of depth inthe Doppler effect for the rotor. Horn Tremolo ‘This parameter adjusts the amount of change in volume for the horn Rotor Tremolo ‘This parameter adjusts the amount of change in volume for the rotor Diffusion This parameter adjusts the “atness” of the sound. Overdrive On/Off This parameter tins Overdrive on and oft Overdrive Gain This parameter adjusts the input level for Overdrive. Larger values result in greater distortion, he settings are such that this parameters not used. + When 5210 0,” no sound is ouput Overdrive Drive This parameter adjusts the amount of distortion. «+4 The settings are such that this parameter isnot used. ‘Overdrive Level This parameter adjuss the output level for Overdrive. ‘The settings are such that this parameter is not used. Space Chorus MéCtl Modulation OvOH OFF, ON MéTyp Modulation Type input Input Mode Mono, Stero Mode Space Mode 1,2,3,4, 144,244, 944 ‘This chorus effect simulates the sound from Roland's well- known SDD-320 Dimension D. Modulation On/Off ‘This parameter turns the space chorus effect onoff Modulation Type This parameter selects the type of modulation Input Mode This parameter toggles between stereo and monaural input signals Mono: “Thisproduces aspace chorus for mono input withthe lft and right channels mixed. Steo (Stereo: “This produces aspace chorus for stereo input with Space Chorus applied separately to Ue left and right channels. Mono: veo pate Int J pte Space Mode ‘This parameter lets you choose how the chorus changes. ‘Section Effect Guide 35awe This parameter creates a distinctive elect (such asa thicker sound) by applying a delayed sound tothe direct sound, The Tempo function can be used to set the delay ime in real time with a foot pedal or an external MIDI instrument COnetype canbe selected foreach Patch number rom among the following "The selection ofthe Delay type is made with “DITyp (Delay Type.” Simp: Simple Delay 3Tap: 3Tap Delay 47ap: Tap Delay Stero: Stereo Delay Quad*; Quad Delay Ducking Delay Band Pass Delay * effectors indicated by asterisk "*") canbe selected with algo- iho numbers AT 10/49. Opa - A Dict! Delay Onvott OFF.ON DiTyp Delay Type Delay Dolay Tim 01 1400 {me} FoLvi Feedback Level “100 100 DLPan Delay Pan 1000 0:00 LOpFq Low Damp Frequency 50 4.00k {Ha} LDpGn Low DampGain -20.0 0.08) HOpFq High Damp Frequency 280 160k [Hz], HOpGn High DampGain —-20.0 0.08), Tempo Tempo a.) TpSte Tempo Source Manu, MIDI, CHSW,, MII C81 ~31, 64 95 Note Delay Time as Note =~», 41.0 This is simple, single delay for monaural input. pat. ICY Delay On10Ht OFF.ON Dityp Delay Type Dy-t 01 1400 ms) Dy-2 Delay Time 2 1 200%) Dy-3 Delay Time 3 1 200%) FoDy Feedback Delay Time 1 200 [%) FoLvi Feedback Level 100 100 Divi Delay Level t ° 100 DLv2 Delay Level 2 o 100 Dye Delay Level 3 ° 100 Pant Delay Pan 1 1000 o:100 DPan2 Delay Pan 2 1000 0:100 Pans Delay Pan 3 1009 0:100 LOpFq Low Damp Frequency 50 4.0K [Ha] LOpGn LowDampGain 20000 ——[8} HDpFq High Damp Frequency 250 160k [Hz] HDpGn- High Damp Gain -200 0.08] Tempo Tempo 25 20 TpSre Tempo Source *, Manu, MIDI, CUSW, MIDI CH ~31, 6495 Note! Delay Time 1 as Note *++, 1/4-1.0, The delay times for “Delay Time 2” and "Delay Time 3” are set asa ratio of “Delay Time 1” * tf delay tee exceeds the maxioum, the maximum delay time fused. 36Tap Delay npat npa- Dice oTyp Dy-t Dy-2 Diy-3 Diy-4 Febly Foust Pang) Dobe Oba DiLvs Pant DPanz Pans Pant HOpFq HOpGn Tompo TpSre Note! Notee Noted Noted Note Delay Ovor Delay Time 4 Feedback Delay Time Feedback Level Delay Lovel Delay Level 2 Delay Level 3 Delay Level 4 Delay Pan + Deiay Pan 2 Delay Pan 3 Delay Pan 4 High Damp Frequency High Damp Gain Tempo ‘Tempo Source Delay Time 1 as Note Delay Time 2 as Note Delay Time 3 as Note Delay Time 4 as Note Feedback Time as Note OFF, ON oa oa oa oa oa 00 250 ouput {ms} (ms) {os} ims) ims} a (03) Manu, MIDI, CUSW, MIDI Cet ~31, 64-95 M410 M8 1.0 41.0 oa =1.9 24= 1.0 ‘This delay allows four delay times to be set independently. lop opin ica OITyp Diy Dy-R Pow. FoLVAL DL, OR Pant DPanf OpFaL DpGnt. OpFaA DpGnR XFLML. XFL Tempo Tpsre Note Noto Delay Onvo#t Delay Type Delay Time L A Delay Lovet L Delay Level R Delay Pan L Delay Pan Fe i High Damp Frequency A HighDamp Gain R ‘Gross Feocback Lvel Cross Feedback Lovel Tempo Tempo Source Delay Time Las Note Delay Time Ras Note OFF, ON on {ms} os ms] “100 “100 o ° 1000 1000 250 [a] “200 [ea] 250 a] 200 [e8} 400 “100 2 250 “Manu, MIDI, CSW, MIDI Cat — 31, 64 ~95 v= 1.0 114-10 Tisisatruestreo delay apled independent totheleftand ght inputs. This can aloe used to apply croefeedback. ‘Section Effect Guide 37Dice Oftyp Diy-t Diy-2 Diya Diy FoLvt Folv2 Pola Folvs Dit De DoW Ont DPant DPan2 Pana DPand HOpFa HOpGn Delay Type Delay Time t Delay Time 2 Delay Tr Delay Time 4 Feedback Level 1 Feedback Level 2 Feedback Level 3 Feedback Level 4 Delay Level 1 Delay Level 2 Dolay Pan 2 Delay Pan 3 Delay Pan & High Damp Frequency High Damo Gain 00:0 1009 1009 10090 250 "200 Irs} (ms) irl 0:100 100 16.0 fH] oo 8) + Diy 1" + -Dly2" 6 Dyed" + *Dly-4" 1400 This algorithm connects four independent delays in series. Dict Delay Onott OFF, ON DiTyp Delay Type Diy-t Delay Time t 0.1 1400 {ms} Dy-2 Delay Time 2 01 1400 {ms} Dy-3 Delay Time a 04 1400 [me] FoDly Feedback Delay Time 0.1. 1400 {ms} Fol! Feedback Level 100 100 DiLv1 Delay Lovet + ° 100 DiLv2 Delay Level 2 0 100 DLLv3 Delay Level 3 ° 100 DPani Delay Pant 1000 —0:100 DPan2- Delay Pan2 1000 0:100 DPand Delay Pan 3 1000 0:100 HDpFq High Damp Frequency 250. 16.0k {ht} HDpGn HighDampGan 200 -0.0——[08) DekMd Ducking Mode (OFF, ON DckSs Ducking Sensivty 0 100 DckDp Ducking Depth ° 100 DckRs Ducking Rise Time 0 100 Tempo Tempo 2 250 TpSre Tempo Source Manu, MIDI, CUSW, MIDI G1 ~31, 64-95 Nolet Delay Time 1 as Note", 14-10 Note2 Delay Tima 2as Note, 144-10 Note3 Delay Time 3.as Note +, 1/4— 1.0 NoteF Feedback Time as Note *-, 1/4 — 1.0 This delay varies the output level of the delayed sound according to the level ofthe direct sound, Large levels forthe direct sound cause the delayed sound to be suppressed, whereas lowe levels resi in louder delayed sounds 8Band Pass Delay 7 regen vet wr} ome D1 Delay OvoH OFF, oN Diy Delay Tyoe Bie Bae Tow 01 1400 Ins) Diy-2 Delay Time 2 OF 1400 [ms} Dy3 Delay Timed 0} 4400 me) Dt Delay Tmo 0) 4400 ims) Dy5 Delay Tmo 5 1 $400 ime] Pols FeedbackLovei 100100 Divi Delay Levelt o 30 O-tve Daly Lovel2 6 40 DiLv3 Daly Lovel3 o 1 Dikvé Daly Covel 4 6 40 OLS Daly Love 5 8 $00 OPant Delay Pant 000 0100 DPan2 Delay Pan 2 100 0100 DPanS Delay Pan 3 100 100 DPand Delay Pan 4 1000 o:100 DPans Delay Pan 5 too 900 Freq BPF 1 Frequency Frag BPF 2 Frequency Freq BPF 3 Frequency Frege APF 4 Frequency FrogS BPF 5 Frequency 6016.4) (4.194) [He] CO(16.4) Cal. 19k) [Hal C0{16.4) Cate. 19K) He} C0(16.4) Cals 19K) [He C0[t6.4) Gate.104) He ane BPriza 19 260) ais apr aaa 19 260 Fill BPFMix Balance 10:0 0:100 ‘This delay is provided with band-pass filters for each of five delays. (A band-pass filer makes output for only a set frequency band.) Delay On/oft This parameter turns the delay effect onof Delay Type This parameter selects the type of delay. Tempo “This parameter sts the tempo forthe song. Tempo Source Thisparametersetsthe controller (source) used to manipulate the delay time. This is the normal setting, The delay time set for ‘Delay Time” is used, Manu The delay times set with “Tempo” and “note” are used. “mip: Thetempoissynchonized tothe MIDI clock received via the MIDI IN connector. This setting is used for synchroni- zation with a sequencer’s performance tempo. “cris: The tempo with which a foot pedal (connected to the CONTROL jack) is tapped is used. MIDI Cet ~31 or 64-95: Tempo is input by MIDI Control Change messages. The controller umber is specified here. Delay Time This parameter adjusts the delay time (i. the interval for which sound is delayed With *3Tap Delay” the delay time forthe “Delay Time 1" is taken tobe 100%, and the delay times of "Delay Time2" and “Delay Time 3” ae adjusted accordingly. Feedback Delay Time ‘Thisparameter adjusts the delay time forthe feedback sound. Feedback Level ‘This parameter adjusts the amount of feedback. Changing the amount of feedback causes the number oftimes the delayed sound is repeated to change as well. Negative values cause 2 feedback sound of inverted phase to be output. Section Effect Guide 39Level ‘Adjusts the volume of the delay sound. Delay Pan ‘Thisparameteradjusisthe stereo panning (UR position) ofthe effect sound. Low Damp This parameter adjusts the frequency at which the low. frequenciesare damped (Low Damp). Thedelay sound inthe band below this frequency is damped, Low Damp This parameter adjusts the amount of damping for Low Damp. No low-frequency damping occurs when set to “0.” High Damp This parameter adjusts the frequency at which highstrequen- cies are damped (High Damp). Delay sounds occurring beyond this frequency are damped. High Damp This parameter adjusts the amount of damping for High Damp. No high-frequency damping accurs when set to “0.” Ctoss Feedback Level This parameter adjuss the amount of feedback output tothe other channel. Negative values cause a feedback sound of inverted phase to be output Delay Time as Note This parameter sets delay time as notes. The delay time isset according to the tempo, with each beat taken to be one quarter note Feedback Time as Note This sets the delay time forthe feedback sound in terms of rote length. The delay time is set asa function ofthe tempo, ‘withthe tempo beat taken to be a quarter note Ducking Mode ‘This switches the ducking effect on or off, Ducking Sensitivity ‘This parameter sets the sensitivity of the ducking effect with respectto the level ofthe direct sound. Larger values result in 2 greater ducking effect at high levels. Ducking Depth This parameter adjusts the intensity ofthe ducking effect. Larger values produce a greater ducking effect. Ducking Rise Time This parameter adjusts the time interval between the begin- ning ofthe delayed sound and the point at which it reaches its maximum volume level BPF Frequency (Band-pass Fier Frequency) Tis adjust the central frequency or the note name used as thecentr forthe band-pasefier,Thefrequency s adjusted ‘when “Parameter Help” (.23) is of, and the note name is ted fr adjustment when on BPF Q (Band-pass Fitter Q) ‘Ths adjusts the range of output wth respect tothe frequency set with the BPF Frequency parameter. Larger values result ina progressively narrower range (band) of output. BPF Mix Balance ‘This adjusts the output balance ofthe delay sound which does not use the band-pass filter and the delay sound which does use the band-pass filter 0What is Tempo Delay “Tempo Delay allows you osetthe delay oa desired tempo simpiyby tapping on oot witch intimetothesong you are playing (Procedure) 1. While editing Delay, use PARAMETER fa] [J to get the next parameter ("Tempo Source") to flash. Rotate the ‘VALUE knob to choose the controller (3Urce) used to ‘manipulate the delay MIDI: Thetempois synchronized othe MIDIclock received via the MIDI IN connector. This setting is used for synchronization with a sequencers performance tempo. cusw: “The tempo with which afoot pedal (connected to the CONTROL jack) is tapped is used. MIDIC#1 ~ 31 oF 64-95: ‘Tempo is input by MIDI Control Change messages. ‘The controller sumber is specified here. * Tempo delay isnot applied when ether of the following two types hasbeen selected. ‘The delay time set for "Delay Time” is used. Manu": ‘The delay times set with “Tempo” (song tempo) and *Note” ace used. 2. Use PARAMETER -4] [>] togetthenextparameter(*Delay Time as Note") to flash. Rotate the VALUE knob to set the delay interval. DLY: Hotel NoteR fle? fe ‘This setting determinesthe spacing ofthedelay eativeto the time between taps ofthe footswitch (standard tempo: the length of a quarter note) which is considered as "1." The tine betwee tp of theo sch nd the ne Ing wok ogee determine the Sly tne ‘ows puimp> — > o> wb en Souls ded nue? nak rin noe nin pve aa44 40 4 gap eaeeog ad sgagadeadad gaagaaaqaagaad jesapecaheceheees 3. Repeat step 210 setthe note forall delays + The number used forthe note setting vares according tothe type of delay. ForaPatch that uses tempo delay, tappingthe footswitch four ‘or more times at regularintervals in synchronization with the tempo ofthe song will determine the standard tempo. This standard tempo, together with the note setting, determine the delay time. * Once st the standard tempo will be retained until you tp the foot snitch fo set a new standard tempo, or uni the power i tuned of + Delay time can be set t0 2 maximum 1400 (700) ms. the Standard tempo and the note setting would speck a delay tne ‘of greater than 1400 (700) ms, the actual delay time willbe 1400 (700) ms. ‘Section Effect Guide 47NTT) Reverberation (or reverb isthe effect caused by sound waves decaying nan acoustic space, ora digital simulation thereof This decay occurs because sound waves bounce off many walls, ceilings, objects, etc. in a very complex way. These reflections, coupled with absorption by various objects, dissipate the acoustic energy over a certain period of time (called the decay time). The ear perceives this phenomenon 8 a continuous wash of sound. ‘TheSK.700 can createeighttypesof reverb, oneofwhichean be selected for each Patch number. + The selection ofthe type of reverb ie made with “RTyp (Reverb Typed” Room! Room2-——Room Ha Hall2 Garage Plate NLR: Non-Linear Room1/2/3 < Room! > FuCil Reverb OnvOt OFF,ON RvTyp Reverb Type Revtm Reverb Time 005320) PrDly” Reverb Pre Oeley 0 200 Ime] Size RaverdRoomSze 86 = «326 In) Onsty Density ° Py EAL ERLevol ° 99 Fins Release Density 0 rs LoDFq Low Damp Freq «$04.00 [Ha] LoDmp Low DampGain 3800048 HIDFa’ High Damp Frequency 400k 201k [Ha Hiomp High DampGain -36.0«-00—_—(¢8) HiGut High Cut Frequency 200 20k {Ha} iMod Gate Mode Thru, Duck, Gato GtTnr Gate Threshold 0 ‘oo GtATm Gate Attack Time 1 100 GtiTm GateHold Time 1 100 GIT Gate Release 4 100 FC! Reverb Ont OFF, ON RvTyp Reverb Type Revim Ti 00s 320s} PrDly” Raverb Pre Delay 0 200 Ima} RSize Reverb Room Size 1 10 Drsty Density ° 99 ERLM ER Level ° Fy LoDFq Low Damp Frequency 50 400k [Hz] Lodmp Low DampGain 980008) HiDFq) High Damp Frequency 400k 201k [Ha]. Hidmp High Damp Gai 338000 [68) HiCut High Gut Frequency 200 20.1k (He) < Rooms > FvCil Reverb OntOf (OFF.ON RvTyp Reverb Type Revim Reverb Time 008 320s) PiDly” Reverb Pre Delay 0 200 ms} Rize Reverb Room Size 4 8 Drsty Density ° 99 ERLM ERLevel ° 9 Fins lease Density 0 99 LoDFq Low Damp Frequency 50 4.0k (Ha) Lodmp Low Damp Gain 3600.08] HiDFq) High Damp Frequency 400k —20.1k {Ha} Hidmp High Damp Gain 36.0 0.048 HiCut’ High Gut Frequency 200 20.1k [Ha} ‘Simulates the reverberation ina small room. Room” is aso provided witha Gate function. Halll /2 FvCil Reverb OnOft OFF,ON RvTyp Reverb Type Revim Reverb Time 006 320s PrOly Reverb Pre Delay 0 200 ms} Size Reverb Room Size 1 10 Dnsty Density ° 99 EAL ERLovel ° 29 LoDFa Low Damp Frequency 50 4.00k {Hz} LoOmp Low Damp Gain 360 0.0 (dB) HiDFq) High Damp Frequency 4.00k 20.1k {Hz} Hidmp High Damp Gain 36,000.48} HiCut High Gut Frequency 200 20.1k (Ha) 2Avotl Reverb OvOtt OFF, ON Rviyp Reverb Type Revim Reverb Time 00s 320s] PrDly Reverb Pre Delay 0 200 {ms} Size Reverb Room Size t 8 Dnsty Density ° 99 ERLM ER Level ° 9 FlDns Release Density 0 9 LoDFq Low Damp Frequency 50 400k [Ha] LoOmp LowDampGain 3600048) HIDFq High Damp Frequency 400k 20th [Ha] High Damp Gain 60 (0.0 [68] HiCu! High Cut Frequency 200 20.1k Ha} Simulates the reverberation ina concert hal. Garage RVGt Reverb On/Of ‘OFF, ON RvTyp Reverb Type Revim Reverb Time 008 320s) PrOly Reverb Pre Delay 0200 mal. RSizo Reverb Room Size 1 8 Dnsty Density ° 99 ERLM ER Lovel ° 99 Dns Release Density 0 99 LoDFa Low Damp Frequency 50 400k {Hz} Lodmp LowDamp Gain 380 00—_—[eBy HIDFq) High Oamp Frequency 400k © 20.1k —_[H} Hidme High Damp Gain 98000 _—(a8} HiCul High Cut Frequency 200 20.1k [Hay ‘This type simulates the reverberations which occur ina garage. This produces a reverb with many reflected sounds, such as those obtained in an enclosed room with hard walls. Raver OvOrt OFF,ON Fooverb Type Reverb Tr 006 320s} Flverb Pre Delay 0 200 {ms} Raver Room Size t 6 Plate Type 1 4 Plate Briliance ° 100 Plate Depth ° 100 Density ° 99 ER Level ° 8 Low Damp Frequency 50 400k [Ha]. Log Damp Gain “36.0 00 (68 High Damp Frequency 4.00k 20.1k [Hal High Damp Gan 2600048 High Cut Frequency 200 20.1K [Ma] Simulates plate reverberation (a reverb unit that uses the vibration ofa large metallic plate). Non-Linear Rui Reverb Ont ‘OFF, ON Bviyp Reverb Type Pry Reverb ProDelay = 200s}. Dnsiy Density o | 88 EAL ER Level ° 99 NURe NLR Type Loo, Nor, Leo Ratio Envelope Time Ratio 50 120%) ET Envelope Time 01000 —_Ims) EnvT2EnvelopeTime2 0 = 1000s) EnvT3 Envelope Time 01000} Env Envelope Time = 0 1000s} Envi Envelope Level! 0 100 Enl2 Envelope Lovel2 0-100 En ° 400 Foply 1 1000 Pow! 100 100 Hicut High CutFrequency 200 20.1k [Ha] + av T¥" 4 “Env 12" + “Eav TS" + “Env T4 FODIy ‘This type uses digital processing to create an artificial reverb that is distinctly different from a natural reverb, Reverb On/Ott This parameter turns the reverb effect ono. Reverb Type This parameter selects the type of reverb. Reverb Time ‘This parameter adjusts the duration (time) ofthe reverb. Pre Delay ‘This parameter adjusts the time interval beween the direct sound and the beginning ofthe reverb sound Room Size ‘This parameter adjusts the size ofthe room which is simu- lated. The range of sertngsthat can be made varies according tothe type of reverb that you select. Section Effect Guide 43Density ‘This parameter adjusts the density ofthe reverb effects. Early Reflection Level This parameter adjusts the volume levet ofthe initial reflected sound, Release Density This parameter adjusts the density ofthe sound that reaches the listener after many repeated reflections. Low Damp “This parameter adjusts the frequency at which the low- frequencies are damped (Low Damp). The reverb sound in the band below this frequency is damped. low Damp This parameter adjusts the amount of damping for Low Damp. No low-frequency damping occurs when set to “0.” High Damp ‘This parameter adjusts the standard frequency at which the high-trequenciesare damped High Damp). Thereverbsound inthe band above the standard frequency is damped High Damp This parameter adjusts the amount of damping for High Damp. No high-frequency damping occurs when setto "0." High Cut Frequency ‘This parameter adjusts the frequency at which a low-pass filer stars to be applied. The effect is applied to the reverb sound. Gate Mode ‘This makes the setting fr operation of the Gate function, Theu: “The Gate function is nat used, Duck (Ducking): This does ust the opposite ofthe Gate function. The gate beginsto close when the levelof the direct sound exceeds the threshold level, and begins to open when the direct sound level falls below the threshold level Gate: ‘The gate beginsto open when the level ofthe direct sound ‘exceeds the threshold evel, and beginsto close when the direct sound level falls below the threshold level. Gate Threshold Level ‘This parameters forthe Gate function. tadjusts the standard level for controlling opening and closing ofthe gate. Gate Attack Time This parameters for the Gate function. it adjusts the time between the direct sound exceeding the theshold level and the opening of the gate. Gate Hold Time This parameter is for the Gate function. it adjusts the time interval between the gate opening and closing completely. Gate Release Time Thisparameterisforthe gate function. Itadjuststhetime from ‘when the hold time ends to when the sound is completely muted. Plate Type You can choose any of four diferent plates. Larger values esultina more metallic sound with expanded high frequen- Plate Briliance This parameter adjusts the brilliance of the reverb Plate Depth ‘This parameter adjusts the depth ofthe reverb, Non-linear Type This parameter select the type of panning for output. Lom: Panning is from the left channel to the right channel 'Norml (Normal): ‘A broader sound with no panning is output. Lek: Panning is rom the right channel tothe left channel. Envelope Time Ratio This parameter sets the amount of expansion or contraction of overall time while maintaining the time ratios of the various envelopes, wuEnvelope Time]; T! Envelope Timed; T4 ‘This parameter adjust the time to each point. This parameter adjusts the output level at each point. + nonlinear length (T1 + 12+ T3 + T4) exceeds 1,000 nthe ‘sound ofthe exceeding portion is cut off Time NLR Feedback Time This parameter adjusts the delay time for the nonlinear feedback sound. NLR Feedback Level ‘This parameter adjusts the volume level of the nonlinear feedback sound. RSS SS (Roland Sound Space) isan effector that creates athree- dimensional sonic field. RSS.can make the sound seem t0 revolve around he listener (30 Pannen), and can also et you rien the sonic image at a postion above, below, before, behind, or to one side or the other of the listener. * To get the most out ofthe effect that RSS can provide, be sure to read “Before Using RSS” (p47) ‘Thefollowing ourtypesare available, and you canselectany cone ofthese foreach Patch number. +The selection ofthe type is made with *RSTyp(RSS).” Paner: 30 Panner Singl: Single 3D Dual: Dual 30 Quad: Quad 30 * (quad 30 canbe selected with algorithm numbers A1 to AS. 3D Panner sci OFF, ON RSTyp ‘Speed 1 0 Dir Paner Direction «CWS. COWS. Stat Slart Position Lieto Elev Elevation 454 Tig Pannor Tigger Sign, CUSW This parameter creates an effect where the sound seems 10 revolve around the listener! Single 3D Dual 3D Quad 3D Single 30 > Rect ASS On/o# RSTyp RSS Type Aum Azimuth Rigo L180 Elev Elevation ay OFF, ON Section 3 Effect Guide 45 sod ASS OvOH OFF, ON FsTyp ASS Type amt Azimuth} Riso L180 ‘Aami2 Azimuth 2 Rieo L120 Elev! Elevaton1 SA Se Elev2 Elevation eB. Relvi ASS Levelt ° 00 FeL2 RSS Lovel2 ° 100 < Quad 3D > Rect ASSOVOH (OFF, ON RSTyp ASS Type ‘Azmi zimuth | Rigo L180 Elavt_ Elevation 1 a) Aslvi_ ASS Level 1 ° 00 ‘Azm2 Azimuth 2 Rigo L180 Elov2 Elevation 2 ar) AsLv2 ASS Level 2 o 100 Azmi Azimuth 3 Rie L180 Eleva Elevation 3 a) Fslv3 RSS Level ° 00 Armed Azimuth 4 Rio L180 Elevé Elevation 4 a) Relvs SS Level 4 ° 100 ‘The sound can be panned from side to side as well as forward ‘and backward and up and down from the standpoint ofthe listener. The position of the sound is determined by the ‘Azimuth and Elevation settings. single position with monau- ‘al input can be produced with “Single 3D,” single position withstereoleft-and rght-channel input canbe produced with “Dual 3D," and four positions can be produced with “Quad 30" + Thesound postioned with “Quad 30" depends on what Electors are connected before “Quad 30." ce Out inp Our ne out InR on ne Ink RSS On/Off This parameter tums the 30 Pan effect on oF of RSS Type This parameter selects the type of RS. Panner Speed This parameter adjusts the speed with which the postion of the sound moves. Panner Direction This sets the direction of rotation and the numberof turns for the stereo sound position, ‘When set to “CW” of “CCW,” the stereo position continues orotate, ‘When the number of tums has been set, rotation is begun fromthe *StartPosiion’ by the “Trigger,” continuesforthe set numberof turns, then returns tothe ordinary stereo position CW: Clockwise revolution (CCW: Counterclackvise revolution Start Position This parameter sets the positon fcom which the 3D Panner starts to revolve, This parameter moves the sound horizon- tally along the perimeter of an imaginary sphere. The setting can be made within a range of about 180 degrees to the let for right, with the standard seting “O") indicating a position directly infront of the listener. ‘Azirnuth This parameter moves the sound horizontally along the perimeter af an imaginary sphere. The seting can be made Within a range of about 180 degrees to the let or right, wth the standard setting ("0") indicating position directly infront ofthe listener. Elevation (With “30 Panner"| This parameter sets the height at which the position revolves. The setting is made asthe number of degrees above the front of the listener (0) [With Other Than “3D Panner"] ‘his parameter maves the sound vertically along the perim- ‘ter of an imaginary sphere. The setting is made as the number of degrees fom the front of the listener (0) Panner Trigger “This parameter specifies the information that serves asthe trigger or starting the revolution ofthe sound from the Start Poston.” The setings are such that this parameter is nt used Sign (Signal) Revolution is started by @ sound input to the SX-700. CCAISW (Control Switch): Revolution is stated by depressing a foot pedal con- ‘nected o the CONTROL jack. RSS Level This parameter adjusts the volume level 46Before Using RSS SS creates athree-dimensional stereo sound position and can make the sound seem to come the font, back, or sides of the listener, or even from above or below. However, afew. conditions need to be met in order to demonstrate the full feffect of RSS. You should give special attention to the {allowing point When using loud speakers + A non-teverberant control room is suitable for use with the RSS, + Speaker system of coaxial or vinual coaxial design are Ssultable for use withthe RSS. “+ Monitor the sound atthe sweet spt of the RS. + For best esults the speaker should be placed closet the rear wall and far from the side wall. Do not place the speakers too far apart. Excessive room reverberation will also have an adverse affect upon the sonic result. * Confirming sound postion may be difficult ithe volume is {00 low (or too high). ‘About Connection with Other Etfectors For the $X-700, assign RSS to a unit close to output. The desired effect may notbe obtained ifthe Pitch Shifter orsome other effector which changes the tone ofthe original sound isconnected after RSS. The connection should alsobe made before the $X-700 when using in combination with other effecter devices. ‘When Using the SX-700's “Dual 3D" and “Quad 3D" ‘Whenusing “Dual 30” and “Quad 30" witheachoftheseset toacdfferet stereo position, the output sounds may interfere ‘with each other and cause the stereo effecttobe lost wen the same sound is input to the let and right channels ofthe nit ‘which has RSS, Section 3 Effect Guide aSection Using MIDI How MIDI Can Be Used ‘On the $X-700 you can use MIDI to perform the following, ‘operations. Select Patches Program Change messages received from an external MIDI device can select Patches on the SX-700. The relationship between MIDI Program Change numbers and the SX-700 Patches can be set by the Program Change Map (p50). With the connections in the following diagram, changing, Program Numbers on an external MIDI device will cause Program Change messages to be transmitted tothe SX-700, ‘causing itto select the appropriate Patch number. [re : ior iN weses On Control specified parameters ‘Control Changes can be used to control specified SX-700 parameters during your performance. The Control Assign settings (p18) determine the SX-700 parameter that is con- trolled by each MIDI message. Transmit data SX-700 settings, such as effect soundsetc.,can betransmitted as exclusive messages to other MIDI devices. This allows another $X-700 tobe given the same settings, or effect sound settings to be stored in a sequencer or other data storage device.MIDI Utility Function Settings The following pages explain the MIDI-elated utility func- tions ofthe SX-700, Make settings as needed for your stua- tion. The following utility enetions are provided. [MIDI CHANNEL] 1-16 IDI OMNI MODE] OMNI ON, OMNI OFF aiD1 DEVICE 1D} 1 ~ 32 IMIDI PROGRAM CHANGE RECEIVE] ON, OFF IMIDI PROGRAM MAP] MIDI BULK DUMP] [MIDI BULK LOAD} (Procedure) * When using the following functions, please refer tothe proce. ‘dre given fr each. [MIDI PROGRAM MAP] (P50), [MIDI BULK DUMP] (P51) [MIDI BULK LOAD} (P52) Bases 5 204 1 ress [UTILITY]. The baton’ indicator gh to show that setings can be made forthe Uslity func 2 Use PARAMETER [4] Del to get the parameter to be changed to flash 3. Usethe VALUE knobto change the parameter. Ifyou press. the VALUE knob while you rotate, he value wil change more rapidly. 4 Repeat steps 2 and 3 to set the desired utility function parameters 5 Pres (EXIT to end the procedure and return to the Play mode. MIDI Related Parameters (MIDI CHANNEL) (1 ~ 16) MIDI CHANNEL Set the MIDI channel used for transmitting and receiving, MIDI messages. + With the factory setting, the MIDI channel willbe chanael 1." (MIDI OMNI MODE} (OMNI ON, OMNI OFF) MIDI OMNI MODE OMNI ON |¥Omni Mode ised on, MIDI data will bereceived on all channels, regardless ofthe MIDI Channel setting. + venif Omni mode sturedon system exclusive dtals received only ithe deview ID mambers match ("Device 1D” setting + Wath the factory setings, he setting is Omi On. (MIDI DEVICE ID) (1 - 32) MIDI DEVICE ID t Determines the device 1D used for transmitting and receiving, exclusive messages. + AL the factory settings, the device ID is set to 1." (MIDI PROGRAM CHANGE RECEIVE) (ON, OFF) Rx PRG CHANGE OW This setting determines whether Program Change messages from an esteznal MIDI instrument are received. ON: Program Change messages are received and Patch ‘numbers on the SX-700 are switched. OFF: Program Change messages are not received. «This parameter it set to “ON* when the SX-700 i shipped from the factory Section 4 Using MIDI 49Program Change MapSettings \When using Program Change messages sent from an external MIDI device to select SX-700 Patches, you can freely specify the relationship between the Program Change number that was received and the 5X-700 Patch that will be selected, \When shipped from the factory, the MIDI Program Change ‘numbers correspond to the same numbers in the 5X-700's User area. (Procedure) 34 MPPPEPy © = Sasss eos j rt 6 23,4 1 Press [UTIUTY]. The buton'sindieator ight to show that stings canbe made forthe Usilty function. x Use PARAMETER [at] [D>] to access the following param. er (PROGRAM CHANGE MAP) in the display PROG CHANGE MAP MIDI# 1 > U-@81 yam Change Pach Perr oer ° Number 3. Use PARAMETER [4] [} to move the cursor to the Program Change number, and use the VALUE knob to specify the Program Change number to be received, 4 Use PARAMETER [44] [2] to move the cursor tothe Patch ‘umber, and use the VALUE knob to specify the $X-700 Patch number that wll correspond othe received Program. Change number, 5. Repeatsteps3 and 4 to complete the Program Change map by specifying the Patch numberthatwillcorespondtoeach Program Change number. 6 Press [EXIT to return tothe Play mode. “+ When sending Bank Select mesages (Controller Number 0 and 2) from an external MIDI Instrument, you can switch Patches “directly a8 shown below. Bank Select 0: This switches to the Program Change number of the MIDI Program Change Map. Bank Select 1: This switches directly tothe Patch number inthe User area, Bank Select 2: This switches directly to a Patch number in the Preset Ava,Transmitting/Receiving Data Via MIDI The SX-700 can use exclusive messages to set another SK- 700 tothe same settings, o to transmit its settings toa device (auch asa sequencer) for storage, The process of transmiting such data is called a “Bulk Dump,” and the process of receiving such data is called a “Bulk Load.” Data that can be transmitted ‘The following types of data can be wansmitted. When trans- sitting data, you ean specily the stating and ending points ‘ofthe data tobe sent, so only the desired data is transmitted, SYSTEM All data not included in the Patches U1=U126. The setting contents of Patches Ut ~ 128 Transmitting Data (Bulk Dump) When saving the data to a sequencer Make connections as shown below, and set the sequencerto 8 condition ready to receive exclusive messages. + For details on sequencer operation, refer tothe manual forthe sequencer you ae using. When copying the data to another $X-700 ‘Make the connections shown inthe figure below, and set the receiving and sending instturents tothe same Device 1D. wiorouT MIOLIN wesse Os co Ea < Transmission Procedure > 34 ry © - SSasss es asses 56 5 23,4 1 olf 1 Press [UTILITY], The buttons indicator lights to show that settings can be made fr the Utility function. 2. Use PARAMETER fa) [>] to access the following param- er (BULK DUMP) in the display. BULK DUMPCWRITE] SYSTEM > U-129 ‘Starting Point Ending Point 3. Use PARAMETER [4] tomovethecursorto “start” and tse the VALUE knob to display the frst data 4. Use PARAMETER fl] [>] t0 move the cursorto “end,” and tse the VALUE knob to display the last data 5 Press [WRITE] 10 send the data BULK DUMPCWRITE] data duneing... ‘When the transmission has been completed, theprevious display wll reappear. 6 Press [EXIT to return tothe Play mode. Section 4 Using MIDI 57Receiving Data (Bulk Load) < Connections > When transferring data in a sequencer to the SX-700 ‘Mae the connections shown below. Set the SX-700 to the same Device ID that was used when the data was stored on the sequencer. worouT 011 20° ESA. sss Osa * For details on sequencer operation, refer to the manual forthe device you are using. < Reception Procedure > Exclusive (SysEX) messages, including bulk load data, can be received atanytime. When such data sreceived, the display changes to show the following screen, [MIDI BULK LOAD ] receiving, +All operations on the SX-70 are dsl while yx messages tne eng recta + only yx mssger on the atching Device ID are recive + ity aren the process of changing the sting foram eect when datas received, the settings for the effect beng changed 2re not affected by the incoming daa RDAbout MIDI MIDI is an acronym for Musical Instrument Digital Interface, and sa world.wide standard for allowing electronic musical ‘equipment to communicate by transmiting digital messages {suchas performance information and sound selections). Any MIDI equipped device is able to tansmit applicable types of data to another MIDI equipped device, even if the two devices are different models or were made by different manufacturers. With MIDI, performance information such as playing a key or pressing a pedal is transmitted as MIDI Messages. 1. How MIDI messages are frans- mitted and received First, wewillexplain briefly how MIDI messages aretransmit- ted and received, MIDI connectors ‘The following three connectors are used to convey MIDI messages. MIDI cables ae connected to these connectors as — ee Ye MIDIIN: This connector receives messages from an- other MIDI device. MIDI OUT: This connector transmits messages from this device. MIDI THRU: This connector r-transmits the messages that are received at MIDI IN. MIDI channels MIDI is able to independently control more than one MIDI device over a single MIDI cable. Thisis possible because of the concept of MIDI channels. ‘The idea of MIDI channels is somewhat similar tothe idea of television channels. By changing channels on 2 television se, you can view a variety of programs. This is because the information of a particular channel is received when the channels ofthe transmitter and receiver match, ‘Section 5 Appendix 53(2n87¥ yu swe taro wach Gaon] mba ston ogra) you van 2s — Sion a Salone —— tommrscar he Biaareetraveony MIDI uses sixteen channels (1-16), and MIDI messages will be received by the instrument ithe eceiving device) whose channel matches the channel ofthe transmiter. + 1fOmai mode ison, data of al MIDI channel wll be received regardless ofthe MIDI channel seting. Ifyou do not need to Control a specific MIDI channel, you may use Oma On. 2. Main types of MIDI message used by the SX-700 ‘MID! includes many types of messages that can convey a varie of information. MIDI messages can be broadly di: vided intotwotypes; messages that are handled separately by a MIDI channel (channel messages), and messages that are handled without reference to a particular MIDI channel (eystem messages). < Channel Messages > These messages are used to convey performance informa: tion. Normally these messages perform mos of the contol The way in which a receiving device will react to each type of MIDI message will be determined by the setings (and design) of the receiving device. Program Change messages ‘These messages are generally used to select sounds, and include a Program number from 1 10 128 which specifies the desired sound, Control Change messages These messages are used to enhance the expressiveness of @ Performance. Each message includes a controller number, and the settings ofthe receiving device will determine what aspect of the sound will be affected by Contral Change messages ofa given control number. ‘The specified parameters can be contolled with the SX-700, Affertouch Messages ‘These messages convey the ongoing changes inthe value of ‘Aftertouch.’ They contain information about the amount of pressure applied to keys on a keyboard, and usually are used to cause a change in the nuance of the sound (vibrato or ‘modulation, for example). There are two types of Aftertouch Channel and Polyphonic. Channel Afteriouch provides control based on individual MIDI channels, No matter which specific keys are pressed more firmly, the effect i applied equally to all notes on the same MIDI channel Polyphonic Aftertouch provides control on an individual key (nate) basis. Eventhough itmay share the same MIDIchannel with other notes, any particular key that has moce pressure put on it will produce a unique effect. ‘The SK-700 respondsta Channel Aftertouch messages which ‘can be assigned to contral a selected parameter. Pitch Bend Messages ‘These messages convey the action of a Pitch Bend Lever (Whee! that is found on many synthesizers. On the SX-700, these messages can be used to control selected parameters. Note Messages Note messages convey the musical notes played during a performance. On the SX-700, Note On/Off messages (press! ‘release of keys for specific Note Numbers (postion on the keyboarl, as well as Velocity messages (lorce applied when pressing a key) can be used to contol selected parameters. < System Messages > System messagesinclude exclusive messages, messagesused for synchronization, and messages used to keep the MIDI system running correctly. Exclusive messages are the main type of message in ths category used by the SX-700. Exclusive Messages Exclusive messages handle information related to a unit's ‘own unique sounds, or other device-specific information, Generally, such messages can only be exchanged between devices of the same model by the same manufacturer. Exclusive messages ean be employed to save the settings for Effects Programs into a sequence’, or fr transfering such data to another SX-700, The two instruments must be set to the same device ID numbers when exchanging Systx messages. 7About the MIDI Implementation Chart MIDI allows a variety of messages tobe exchanged between instruments, but itis nox necessarily the case that all types of smessage can be exchanged between any two MIDI devices. Twodevicescan communicateonly fthey both usethetypes, ‘of messages that they have in common, ‘Thus, every owner's manual for a MIDI device includes a “MIDI Implementation Chart.” This chart shows the types of message that the device is able to transmit and receive. By ‘comparing the MIDI implementation chars of two devices, you can el at a glance which messages they wll be able t0 ‘exchange. Since the chars are always of uniform size, you can simply place the two charts side by side. Fold MIDI Device A MIDI Device B * A -MIDI Implementation” booklet (optional) containing 2 de- tailed explanation of the SX-700's MIDI capabilites Is ao svalable: Programmers or othe interested users can order this booklet rom a Roland dealer. Restoring Settings (Initialization) the Factory If you wish to restore the SX-700 to the factory settings, use the following procedure (initialization), You can choose to initialize all settings or initialize only aspecitied area ofdata, such as Patch data in the User area or system settings such as Utility data The following types of data can be ini ed, [sain Stow] Settings niaized ‘System _| Aiporanaio sxsssd ough te UTLTY Woes 'U-1__| Serings for Patch Number U- [U2 | Setgs for Path Number U2 x27 Savings a Patch Number U-127 1126 | Setings fer Patch Number U-128 (Procedure) 34 Bs Bees SmS 65 23,4 1 1 ress UTILITY The buts indicator lights to show hat setings can be made fr he Uti function. 2. Use PARAMETER [-4] [> to access the following param- ‘ter (FACTORY PRESET) in the display. FACT INITCWRITE] SYSTEM > U+128 Staring Point Ending Point 3. Use PARAMETER [4] [> tomovethecursorto “stan,” and Usethe VALUE knob odsplaythe ist datato beintialized. 4. Use PARAMETER [4] [>] to move the cursorto “end,” and usethe VALUE knobito display thelastdatato be nitalized. 5 Press WRITE], and the data ofthe specified area will be initialized, 6 Press [EXIT] to retum tothe Play mode. ‘Section Appendix 55Troubleshooting there is no sound or ether operational problems accur, fst check through the following solutions. If you cannot resolve the problem, contact your dealer ora Roland service station. No Sound / Volume Too Low ‘Are the connection cables broken? “Try using a different set of connection cables. 1s the SX-700 correctly connected tothe other devicest Check connections with the other devices. (.8) 1s the connected amp/mixer turned off, oF the volume low: ered? (Check the settings of your amp/mixer sytem, 's the INPUT Level knob lowered? ‘Adjust the INPUT Level knob to an appropriate postion. co) |s the OUTPUT Level knob lowered? ‘Adjust the OUTPUT Level knob to an appropriate posi tion. (p.9) 1s Bypass turned ont Ifthe BYPASS On operation has been set to “MUTE,” setting BYPASS On will mean thatthe direct sound isnot ‘ourput either. (p.11, 23) Iseeach effect set correctly? ‘There may be litle or no sound ifthe values for Level parameters are 100 low. 1s “Output Level” specified asa control assign Target? ‘Move the controller to which itis assigned. Sound Is Distorted (the clip indicator lights frequently) Have you adjusted the INPUT LEVEL knob? ‘Adjust the INPUT LEVEL knob to an appropriate seting, 3) ‘Adjust the OUTPUT LEVEL knob to an appropriate set ting. (9.9) ‘Are the output levels set appropriately? “Adjust the output levels ‘Are the levels of connected devices excessively high? ‘Adjust the output levels of connected devices to an ‘appropriate setting. Patch Number Does Not Change. {something other than the Play mode screen (p.9) shown in the displayt (On the $X-700, Patches can be selected only when the Play mode screen i displayed. Press [EXIT toretumtothe Play mode screen. Parameters Specified with Control As- sign Can't Be Controlled ‘When using afoot switch connected to the CONTROL jack ‘Check the Control assign setting (p.18). ‘When using MIDI fo control parameters ‘Make sure that the MIDI channels of bath devices match. (p49) ‘Make sure that the Controller numbers you are using match. (p-18) MIDI Messages Are Not Received ‘Are the MIDI cables damaged or broken? Try another set of MIDI cables, 's the SX.700 connected correctly to the other MIDI device? CCheck connections with the other MIDI device Do the MIDI channel settings of both devices matcht ‘Make sure that the MIDI channels ofboth devices match, (p49) 56STUDIO EFFECTS PROCESSOR Date : Nov.17, 1995 Le MIDI Implementation Chart Version : 1.00 Functions | Transmitted Recognized | Remarks Basic Default 1-16 116 | Memorzed Channel Changed | Default x | ona oxorF Memorize Mode Messages | x x Altered foesenneee ‘ Note x on Number True Voice _| sensseseve Sesveasees Velocity NoteON |x Jon Note OFF | x |x Atter Key's x x Touch Ch’s, x on Pitch Bend x onl | 0,32 | x on Bank Select | | sar |x on 33-63 | x ores 64-95 | x on |Controt | Change — |Prog x ona |Change True # seenwenees 0-127 1-128 system Exclusive fe ° [system — SongPos |x x |Gommon Song Sel | x x | Tune x x |system Clock x ° Real Time Commands | x x Local ON/OFF] x x AUX Al Notes OFF | x x Messages Active Sense | x x | Reset x x | Notes ie Recognizes messages designated for use for"realime conwol over parameters” | #2; MSB data of «vale of 3H or higher, and the LSB are ignored #3: LSB of Consoler Number 1-31 4: Canbe set manually tof, and permanently memorized Mode + : OMNI ON, POLY Mode 2: OMNI ON, MONO ©: Yes Mode 3: OMNI OFF, POLY Mode 4 : OMNI OFF, MONO. xNoSpecifications ‘$X-700 : Studio Effects Processor ‘AD Conversion 18 bit 128 times Oversampling aS Modulation DA Conversion V6 bit 16 times Oversampling AE Modulation Sampling Frequency 44.1 ke Program Memories 256: 128 (User) + 128 (Presed Frequency Response 5 Hz to 55 kHz -1/+0 dB (Direct) 12 Hz to 20 kHz -1/40 48 (fect) Nominal input Level +420 dBm (Selectable wth LEVEL Switch) Input impedance 40010. Nominal Output Level +420 dim (Selectable with LEVEL Switch) Output Impedance 3.6 KR or less Dynamic Range 105 dB or greater IHF-A, LEVEL Switch: +4 dBm) (Direct) 95 dB or greater (IHF-A, LEVEL Switch: +4 dBm) (Effect) Controls ‘ INPUT LEVEL Knob ‘OUTPUT LEVEL Knob NUMBER/VALUE Knob POWER Switch EFFECT PARAMETER Buttons &Q MoD DELAY REVERB RSS COMMON Button LEVEL Button NAME Button EXIT Button WRITE Button PARAMETER Bution UR BYPASS Button UTILITY Button LEVEL Switeh Display V6 characters, 2 lines (backlit LCD) Indicator PEAK Indicator Connectors INPUT Jack LIMONOVR ‘OUTPUT Jack LIMONOYR BYPASS lack Expression Pedal Jack ‘CONTROL Jack MIDI ConnectorsIN, OUT, THRU) [AC ADAPTOR Jack Power Supply ‘AC 14 V: Supply AC Adaptor (BOSS BRC-120, 230, 240) ‘Current Draw 700 ma Dimensions 482 (W) x 197 (D) x 44 (H) mm 19 (W) x 7-3/4 (D) x 1-3/4 (HI inches (EIA-TU rack mount type) Weight 220 kg Ibs 702 (excluding the AC Adaptor) Accessories ‘Owner's Manual [AC Adaptor: BOSS BRC-120, 230, 240 ‘Options Foot Switch FS-5U, F5.5L Expression Pedal: EV.5 (Roland), FV-300L + PCS-33 (Roland) + 0m = 0.775 Vrms * The specifications fr this product are subject to change without prior notice. 38Index ‘Symbols H R Voices Harmonis 31 Hal 42 Receiving Data : 2oles Pen Serc33 Howie Tianhe Rsong the Fairy Sting nn 8 3D Panner 45 Reve vee 3Yep Delay = a 4 Reverb Glance. ‘Tap Dea : 37 everb Output eve ‘eset 31 Implementation char 55 foomeneens 2 ‘Voices Pitch Shier 33 IMPORTANT NOTES nnnnnens6 Rotary 34 Iniazation Cs oo A ‘nput eve 9 RSS Balance Ea ee . RSS Ouput Level. 18 ‘Atertouch Mesages sO ‘gorithms CARTS 24 LOD CONTRAST. 2 § ‘Assigning Eco 10 ironman nd LEVEL SHRM oonnnnnnnnnnn® Selecting an fect 10 Seng for Each Elects Processor 16 B M Simple Delay Band Pass Delay nn el 48 Single 30. Bulk Dump: MiDI channels 53 Source BuleLoad MIDI DEVICE ID fo Source Made Bypots MIL impemetaion Cha u.57 Space Chon. MIDI PROGRAM CHANGERECEIVE.49 Specifications bitter lot Uilty STANDARO PITCH 23 MODULATION Stereo 2Band Chorus 28 c Modulation Balance Stereo Chorus Canceling Changes 21 Modulation Output Level Stereo Delay. Channel Messages Stereo Fanger Connections nT Stereo Phaser Control Assign Storing the Modified Seng, Control Change messages sna se Name System Messages Copying a Patch na Nowbinear ote Mesages 7 NUMBER knob sna D Faget DELAY. 3% Og Target value ange Delay Balance vs snsnnnnns 7 Tempo Delay Dela) Output Level 13 Ouipu Balance The Soucture of Patches Dire Level 17 Oput Level Tossle ne Display INI 12 Teansmiting Dts Dual 30 peceerrenrenerds| Troubleshooting Docking Day 38 Panel Descpiom nunnnany — ‘TWRA PARAMETER HELP an Tye E Ce er Efect Copy 17 Rich end Manag ese fect Sound Setingswaceoet# ate “aU es sea oma weet laymode nano Unit 13,15 tear G01 Polanty switch 9 User area 2 Efeciors on oof Je Pome nan —— User Sale santa EQUALIZER, “mma? Preset area 12 USING THE UNIT SAFELY 2 eas 3, —_Program Change Map wovnnnonrS USMY Func wnrennnccrrcceed? Program Change messages. 54 c v Garage nS VALUE knob 7 Quad 30 Quad Delay w ‘Write Operation 2 ‘Section Appendix 59Memo 60Memo 61Information ‘When you need repair service, call your local Roland Service Station or the authorized Roland distributor in your country 13 shown below. [ARGENTINA BRAZIL Role Bea a, CANADA (tend oreo (ovis Oe) mexico Gia Vetany td a Cana Wagner de Sonia ew PANAMA Proctos Superiore 5 U.S.A. sland Corporation US. apt Cn 0, VENEZUELA AUSTRALIA Rolind Corporation ‘AvslaPy t Deawapet Now 207 (NEW ZEALAND aind Coperain 2) HONG KONG: ‘om Le Mane Co, Ld INDONESIA SEANTIRA HSpniesensSs tar von [ngetin coe MALAYSIA PHILIPPINES: GA Yupangeo& Co. Ine Sei rates Ses han Comp TAIWAN Secs Fo THAILAND BAHRAIN IRAN TARADIS 1SRAEL JORDAN Shem DAN Pe tetas a Zac ‘OMAN. Ont ean Foto @arar Seas SYRIA “echnical Light Sound vurKey vat rover wee tot ie ‘mauRmous Piene Manone REUNION SOUTH AFRICA Recor Sop enean es austRa LUXEMBOURG Rolnd Berean NV. crpRus Rader Sound Equipment te FRANCE allrdaiue Role FINLAND Rela Scandinavia As ‘a tnd GERMANY Handgun wb onerce Dimi Co. HUNGARY IRELAND ‘he Dall Serie Centre Norway [Sorry rats POLAND PORTUGAL ates Tecnologia Auioe Meese SPAIN Se Sein mets, SWITZERLAND Montronic AG. wire xincDoM Boland (UK) Le, Sven Asot September 6,195SX-700 Patch Name Table OBOoOSsS No. Patch Name Algorithm, No. Patch Name Algorithm 001: WIDE REVERB See 033; CONCERT HALL 002: BELL REVERB (Seer 034: SIDE REF. HALL 003: CHORUS REVERB 035: BATHROOM 004: 3D FLANGE REV “=3EGRES 036: SPREAD IMAGE Seer 005: 3D PHASE REV Seat 037: WARM PLATE 006: ROTARY OD 038: WARM ROOM 007: HI BAND CHORUS 039: REVOLUTION 008: LARGE HALL #1 040: MODEL 147 009; LARGE HALL #2 041: FAST CHURCH 010: PHASE CHORUS 042; SLOW OVERDRIVE =ESBSSS O11: | 4TAP DELAY 043; FAST CHURCHEESE 012: 320+SPACE DELAY 044: FAT DRIVE Lee. 013: ROTATE FLANGER 045: WIDE ENSEMBLE CEE OGRE 014: ENSEMBLE REVERB 046: NLR PHASER 015; GARAGE 047: ROOF REFLECTION O16: ARENA 048: OCEAN FLOOR 017: FALLIN DOWN 049: WAREHOUSE O18: RISE UP 050: RICH REFLECTION 019: 3D HR ROOM REV 051: CAVE 020: SLIGHT CHORUS -oosaeaeame 052: BLIZZARD 021: SPIRAL 053: LIVE HOUSE 022: TINY BUBBLES 054: FLYING BIRD 023: MELLOW DELAY 055: BIG FOOT 024: BELL RSS 056: REBOUND DELAY 025: RADIO VOICE 057: BALLROOM 026: HOPPING DELAY 058: MUSIC CLUB 027: DELAY PANNER 059: LIGHT REVERB 028: PANNING DLY+REV° RES — 960: ILLUSION 029: METALGARAGE = Ff 061; TWINKLE DELAY 030: WIDE ROOM 062: DISTANCE CHORUS =e 031: LARGE ROOM 063: DUCKING REVERB 032: DEEP HALL 064: CATHEDRAL SasSX-700 PatchName Table [JBOSS No. Patch Name No. Patch Name Algorithm 065: CHURCH 097: WATER as 066; THEATER 098: PS DOUBLING 3p OTE 067: TRIPLE TEMP DLY 099: SHAKE DELAY #2 “CZF FGA CO y= 068: SPECIAL REVERB 100: STEREO ALTERNATE 069: MONO>STEREO 101: SHORT WAVE 070: MONO>STEREO 2 102: QUAD DELAY 071: RHODES 1 103: 140 PLATE 072: OCT+1&-1 104: WIDE PLATE 073: RICH PLATE 105: ANSWER PLATE 074: GATE PANNER 106: DRUM AMBIENCE +74 075: JET PANNER 107: TILED ROOM 076; NIAGARA 108: STRINGS HALL eae 077: MURMUR DELAY 109: KICK GATE 078: DETUNE CHORUS 110: BIG SNARE 079: DENSE PLATE 111: CLEAR ROOM 080: BRIGHT PLATE 112: VOCAL ROOM 081: BASEMENT 113: REFLECT AMBIENCE 082: CORRIDOR 114: WARM CORRIDOR 083: DEEP CORRIDOR 115: KARAOKE 084: GALACTIC HALL 116: SIMPLE DLY>REV 085: OUTER SPACE 117: BPF-DELAY + NLR 086: | ROUND DELAY 118: TEMPO DLY CrISW 087: SPACE LEAD 119: MIDICLK DELAY 088: 120: CTL TRIG PANNER 089: 121: GATE FLANGER Lee. 090: TRILFO 122: SORROW 091: MINOR CHORD 123: PANNER DELAY 092: OCT UP & DOWN 124: ROTATE LOW, 093: ODLFO 125: ROTATE HIGH 094: BROKEN PIANO 126: HUMAN VOICE 095: WAVELET 127: WONDER PHASE 096: FANTASIA 128: ROTARY & RSSForthe UK. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE ‘As th colours of he wires ine mais load ofthis agparaue may nat correspond wih the coloured martings ideitying {Mo terminal n your pup, procsed as fotos ‘Tho wr which Is coloured BLUE mus! be connected othe erinal which fe marked wi he lair N o coloured BLACK. ‘The wre which ie coloured BROWN must be connects fo he forminal which a markad with later Lo coloured RED. Under no cieumstances must shar ofthe above wires be connects tothe arth rminal oa twee pin pup For Nordle Countries, ‘Apparatus containing Lithium batteries ADVARSEL! VARNING! Lutiumbatr-Ekspiosinsar vod Eloioretra vid lag bateroyt, felagtg nancteeng ‘Anvana sara batty ste siting ma ka ska ec bate a ‘evnalont yp om rekormenceae a ‘samme febsat og, ‘pparatvedaron vd dt brug Bat age ateora ave ate ent lovoranderan ‘abrartens Iselin. ‘ADVARSEL! vaRoITus! Lumbar Exeplejnstare Part vo MBA 8 Veo using anys un bat som ‘boast acorn noel ay apparaarharton Vahda prt anoastan Brat baton retina latevamataan suotolomaan spparateveransoen ‘iypein Movs kaye parce ‘alten aiden mkacest road ee For the USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT ‘This equipment has boon tesiod and found te comply wih the mis fr» CiessB ga! device, pursuant f Pat 15 of he FCG‘Fules. Those mts ero dang To pongo roatonsble poecion agarst harmka mirernce ns Tsien Iestataion. Tha equipment generates. uses and can raga rad requancy engy and, W not faled and used nt {ceotdance wih the attr, ray case atm mererncs fo redo sommunians, However, ere sno arson ie ere we nt apart eae Sn ce um rere 0. {selon reoptin,fich ean ba dteminesy turing he eqaprantal ard on, haut is encourage oy cored Itertrnce by ane oy mors ha alow mecaae > a eon or rloat ha ecavang aera. lpefeas the separation between he squpment and recavr. = Sonne he ogtpmert ino an out ota creut afer rom ato weih he ecevers connected = ena th dolore an experienced radar technica or hap [Unauthorized changes or mosfleaton fo his cyte can voi he user authrly fo operate Wis equipment ‘This equipment requires shekded Ietace cables inde’ o meet FCC Gass 8 Um For Canada CLASS B NOTICE ‘This digital apparatue does not exceed the Case limi fr redo neice emisioné set out n the Fao Interference Rapuatione ofthe Canadian Department of Communcatons, CLASSE B AVIS Got apparel numérique ne ddpasse pas ls tits da class B au iva dos émissione do brut rasiotioctiques| fines Sans o Roglomont des signaueparaies parle mitre canadian Sos Communications, For Australia “The supply cord of is ransformer cant be replaced I th cords damage, the wanslrmer shouldbe decarded.f@Roland* 70783723 wun OBoOss