Playing the Sounds Press the numeric keys ({1]-[0]) to specify the Tone number (User: 1-128, Preset: 1-512). Press [ENTER] to finalize the entry. Changing values by large amounts When changing values on the RS-5/9, press VALUE [-/[+]. Youcan change values by large amounts using the methods described below To increase the value, hold down VALUE [+] and press VALUE [1 ‘To decrease the value, hold down VALUE [+] and press VALUE [+] ‘To increase the value in units of ten, hold down [SHIFT] and press VALUE [+] ‘To decrease the value in units of ten, hold down [SHIFT] and press VALUE When you want to know the name and number of the Tone + "Tone List” (p. 148) When you want to know how to switch Tones with Key Mode set to Split or Dual + "Selecting Tones and Drum Sets” (p.37) To create Tones by yourself + "Creating a Tone” (p. 110) ‘When you want to store a Tone you have created to User memory + “Saving Tone / Drum Set / Performance” (p. 113) ‘When you want to switch Tones from an external MIDI device + "Selecting RS-5/9 Sounds from an External MIDI Device” (p. 123) I you makea mistake, press [EXIT] and specify the number once more HINT Instead of using Steps 4 and 5, you can also switch Tones by pressing VALUE Ft. 27Playing the Sounds Easy Tone Selection (Switching Parts) By switching Parts, you can select Tones easily The RS-5/9 has 16 Parts. Parts are the equivalent of performers playing instruments, and you can assign a different Tone to each individual Part ‘+ Selecting Tones By Category (TONE CATEGORY) ++ Selecting Tones by Specifying the Group and Number The two methods of selecting Tones shown above are used to change Tones while a single Part is selected Here, et’ select a Tone easily by switching Parts. 1 28 1 Press PART [ <@]/[ ® ] and select one of the Parts 1-16. HINT By selecting a Tone (p.23, 26) oF Deum Set (p. 28,30) after selecting a Part, you can then switch the Tone ot Drum Set fr that Part When you want to perform in ensemble using multiple parts + “Recording to an External juencer” (p. 124) + “Enjoying Computer Music” (p. 126) ‘When you want to know how to switch Parts with Key Mode set to Split or Dual + “Changing the Two Parts Being Used” (p. 39)Playing the Sounds Playing Percussion Instruments (Drum Sets) ‘The RS-5/9 contains Drum Sets that allow you to play different percussion instruments or sound effects from each Key of the keyboard, Changing a Drum Set Factory settings have a Drum Set assigned to Part 10, s0 you can immediately use the keyboard to play percussion instrument sounds by pressing PART [ =<4]/[ Be ] to select Part 10. Here, let's select Part 10 and lear how to switch Drum Sets. Press [PERFORM /TONE] to call up the Tone/Drum Set ‘HINT selection screen. Should "PERFORM" be displayed, simpy press [PERFORM TONE] once sore, and the Tone/Drum 2 ress PART [<4]/[m ] to select Part 10. eee displayed. Drum Set Drum Set ? selection screen Name ‘ rir t DRUM? RE Por Kit 1 uu t Part 10 UsertbRM + 4 Part Category Drum Set Number Drum Set Group Press VALUE [-]/[+] to switch the Drum Set. 29Playing the Sounds Selecting Drum Sets by Specifying the Group and Number Just as are Tones, Drum Sets are separated into two groups. You can also select Drum Sets by specifying the group and number. User Two Drum Sets can be stored here. You can overwrite these, replacing them with Drum Sets you create (p. 113) Preset This area holds twenty Drum Sets; these cannot be overwritten or replaced. However, you can change the settings of a currently selected Drum Set, and then store those settings in User memory 1-11 are the RS-5/9's original Drum Sets. Drum Sets 12-20 provide compliance with GM2, 1 2 3 Press [PERFORM/TONE] to call up the Tone/Drum Set HINT selection screen. ‘Should “PERFORM” be dlsplayed, simply press IPERFORM/TONE] once more, and the Tone/Dram Press [TONE CATEGORY] to make the indicator goes out. Set selection screen is ‘The following screen appears, displayed. Drum Set Drum Set selection soreen Name Part 19 User! oat t oe | pied Drum Set Number (FM || pa Re Poe aa uu i] Number Drum Set Group Press [USER/ PRESET] to select the group (User or Preset). NEM Ifyou make a mistake, press [EXIT] and specify Press the numeric keys ([1]-{0]) to specify the Drum Set, the number once again. number (USER: 1, 2, Preset: 1-20), 305 vin Press [ENTER] to finalize the entry Instead of using Steps 4 and 5 Drum Sets by pressing Playing a Drum Set in a Part Other Than Part 10 VALUE [1/E+l you can also switch You can also Play Drum Sets in Parts other than Part 10. 1 press [EDIT], getting the indicator to light ae ‘Tone Type settings can be made for cach individual Partin a Use VALUE [-]/[+] to select “Performance Part.” Performance (p. 54) Press [ENTER]. nets Press PART [ <4 ]/[P= ] to select the Part to which the Drum Whe Key Mode (p34) . setto Spit or Dal, you can Se soe see select only the Upper Patt and the Lower Pat. aR © ND Press [5] a number of times to select “Tone Type.” HINT PART 1 CONTROL If you hold down [SHIFT] Tone Tyre? DRUM and press {5}, you will return to the previous item, Press VALUE [-]/[+] to select “DRUMI" or “DRUM2.” NEMD + Ifyou wish to make 7 settings fr other Pats Press [EDIT] repeat steps 4-6 The [EDIT] indicator goes out, and you are retumed to the previous screen. _* Ifyou wantto go rom. Drum Sets back to regular Tones, press TONE” in Step 6 31Playing the Sounds Notes when selecting a Drum Set 32 Whether a Tone or a Drum Set is played in any Pastis determined with the selection of TONE, DRUM, or DRUM2 in the Tone Type setting as described. in Step 6 of “Playing a Drum Set in a Part Other Than Part 10” (p. 31), Up to 2 Drum Sets can be assigned to the Parts. The same Drum Set will be selected! for each Part whose Tone Type is set to DRUMI. The same is trae for a setting of DRUM2. Example: DRUMI hasbeen specified for Parts 1 and 2, and the STANDARD Drum Set is selected. In this situation if you change Part 1 from STANDARD to ELECTRONIC, Part 2 will automatically be set to ELECTRONIC. Pant Tone Tee OF [STANDARD vas 1 eiecroronc Tone ypu OF [STANDARD rats Ly azcronowe [Tone Type: ORUM2 [POWER Part 4 [Tone Types Tone | Paanot] Pan 16 2 [Tone Type: Tone [Strings When you want to play a percussion instrument assigned to a key outside the key range + “Transposing All the Parts (TRANSPOSE ON/OFF)" (p. 48) When you want to know a Drum Set’s name and number + “Drum Set List” (p. 151) To create your own Drum Sets + “Creating a Drum Set” (p. 112) When you want to store a Drum Set you have created to User memory + “Saving Tone / Drum Set / Performance” (p. 113) When you want to switch Drum Sets from an external MIDI device + “Selecting RS-5/9 Sounds from an External MIDI Device" (p. 123)Playing the Sounds Trying out tones (PHRASE PREVIEW) You can check out Tones using specially prepared phrases in each Tone Category Select a Tone or Drum Set (p. 23, 26, 29, 30). Press and hold [PHRASE PREVIEW] Release your finger from [PHRASE PREVIEW], and the phrase will stop playing. MEMD The selected Tone o Drum Set plays when Key Mode tp 3) set tpi Dual Note aceon ees Hy 33Playing Two Tones on the Keyboard The setting that determines whether one or two Tones are played by a key is referred to as “Key Mode,” There are three Key modes. Single: The same Tone is played by all keys on the keyboard. This is the normal playing mode. Split: One key acts as the division point (the “split point”) separating the Keyboard into left- and right-hand sides, with a different Tone played in each Dual: Two Tones can be layered together Dividing the Keyboard into Separate Ranges and Playing Different Tones in Each (SPLIT) Different Key Mode settings can be made for each individual Performance. 1,2 1 Press [SPLIT], getting the indicator to light. Try fingering the keyboard Tone selection Current Part screen Tone Namo inns LiL ft }+-category + tL tone Group Tone Number Upper Part Loner Pat In Split, two Parts are used. These are referred to as the “Upper Part” and. the “Lower Part.” The tone data for the currently selected parts appears in the display The above figure shows an example where Part 1 is used for the Upper Part, and Part 16 is used for the Lower Part. The split point is set to C4 at the factory. The upper range of the keyboard, including C4, plays the tone in the Upper Part, and the Lower Part Tone is, played in the range below Ci. HINT Insome Preset Performances, Key Made is sett Split or Dual (Performance Lis, p. 147). Try switching Performances (p. 56) and listening tothe various. combinations of tones. ‘itoPlaying Two Tones on the Keyboard TENET TTT AT MEAT TTT TTT \ (4 (Spits) Lower Upper If you press [SPLIT] once more, the indicator light goes and the keyboard returns to the normal performance mode (Single). out, When you want to switch Tones *# "Selecting Tones and Drum Sets” (p. 37) When you want to change the Parts used for the Upper and Lower Parts + "Changing the Two Parts Being Used” (p. 39) When you want to change the key dividing the keyboard into two ranges + “Changing the Split Point” (p. 40) 35Playing Two Tones on the Keyboard Playing two Tones from the keyboard (DUAL) Press [DUAL], getting the indicator to light. ‘Try fingering the keyboard Tenessleton Sine an spon / Toone An oo wet - f - |+Category Lower Part Just as in Split mode, two Parts are used. ‘The Tones selected for the Upper Part and Lower Part are played together when a key is pressed. If you press [DUAL] once more, the indicator light goes out, and the keyboard returms to the normal performance mode (Single) ‘When you want to switch Tones * “Selecting Tones and Drum Sets” (p. 37) ‘When you want to change the Parts used for the Upper and Lower Parts: + “Changing the Two Parts Being Used” (p. 39) 36Playing Two Tones on the Keyboard Selecting Tones and Drum Sets Use the following procedure to switch Tones when Key Mode is set to Split or Dual Selecting Tones By Category (TONE CATEGORY) Make sure that the [TONE CATEGORY] indicator is lit If the [TONE CATEGORY] indicator is not lit, press [TONE CATEGORY] Press PART [ <€]/[> ] to move the cursor to the Part whose Tone or Drum Set you want to switch. Current Part i The above figure is an example where the Upper Part is selected. Press the numeric keys ([1]-[0]) a number of times until you NEMO can select the Category you want. With Drum Sets, Step 3 is not required, Press VALUE [-]/[+] to select a Tone or Drum Set in the currently selected Category 37laying Two Tones on the Keyboard Selecting Categories from the Full List In Step 3, if you hold down [TONE CATEGORY] and press a numerical key ((HD0), the Category selection screen is displayed. The indicator will begin blinking, instead of lighting steadily. Category Select PNO Piano? AC. PIBNO. Press the numeric keys ([110)) a number of times, or press VALUE [-1/[+] to select the Category Pressing [TONE CATEGORY] or [EXIT] returns you to the original screen (the screen displayed in Step 2) ‘The indicator changes from blinking to lt. Selecting Tones by Specifying the Group and Number 1 Press [TONE CATEGORY] to make the indicator goes out. 2 Press PART [4]/[ ] to move the cursor to the Part whose Tone or Drum Set you want to switch. Current Part Upper Part Lower Part ‘The above figure is an example where the Upper Part is selected. 38g Two Tones on the Ke Press [USER/PRESET] to select the group (User, Preset) NEM IFyou make a mistake, 4 press [EXIT] and specify Press the numeric keys ([1]-[0]) to specify the Tone or Drum themnumber once more Set number HINT 5 Instead of using Steps 4 Press [ENTER] to finalize the entry. and 5, you can aso switch Tones by pressing VALUE ‘The Tone number or Drum Set number appears in the display Fea 2 Changing the Two Parts Being Used ‘Two Parts (Upper and Lower) are used when Key Mode is set to Split or Dual, You can select which of the 16 Parts will be the Upper Part and which Newb will be the Lower Part These settings can be ma for each Performance (. individually Press [EDIT], getting the indicator to light. Use VALUE [-]/[+] to select “Tone/Drum/PFMCommon.” Press [ENTER]. 39Playing Two Tones on the Keyboard Press [9] a number of times to select “Upper Part” or “Lower fl HINT Part. If you hold down [SHIFT] and press [9], you will PER Oe CE ARS YEOERD, return to the previous item, Urper Parti i PERFORMANCE KEVBOARD Lower Part? 16 Press VALUE [-]/+] to select the value (1-16) Press [EDIT]. The [EDI] indicator goes out, and you are returned to the previous screen, Which Part Is Used in Single Mode? When Key Mode is set to Single, the Upper Part is used. Therefore, ake care not to press PART { <4 ]/[ B ]and switch the Part while in Single Mode, or the “Upper Part” value will be overwritten, Changing the Split Point When Key Modeis set toSplit, you can set the key that divides the keyboard into two separate ranges anywhere from C2 to C#7. NEM ‘The split point can be set Individually for each TTT TTT TTT Peomane p56) ‘ (Ca (Spit Point) Lower Upper 40aR &O N a Press [EDIT], getting the indicator to light. Use VALUE [-]/[+] to select “Tone /Drum /PFMCommon.” Press [ENTER], [9] a number of times to select “Split Point.” PERFORMANCE KEYBOARD Slit Points c4 Press VALUE [-]/[+] to select the value (C-1-G9), Press [EDIT] ‘The [EDIT] indicator goes out, and you are returned to the previous screen. ‘A quick way to change the Split Point Ifyou hold down [SPLIT] and press :DIT], you can select the “Split Point” -6 of the above screen directly, Make settings as explained in steps procedure. Also, if you want be able to change the split point quickly, by holding down [SPLIT] and pressing VALUE [-/{+], you can change only the “Split Point” setting. When you release [SPLIT], the previous display will reappear. HINT you hold down (SHIFT) and press [9], you will, return to the previous item, 41Using the Convenient Functions in Performances This section explains how to utilize the different functions that are often Nia ‘used in performances. For instructions on making detailed settings, refer to Creating Arpeggios from the Chords the reference pages inthe You Play (ARPEGGIO ON/OFF) stam Justby playing ord yowcanplayanampeggio(achordthatisplyedone yg note at a time) using the notes making up that chord Arpeggis can be produced You can play arpeggios in all key ranges when Key Mode is set to Single or only by playing the RS-3/ Dual S's keyboard. Arpeggios When Key Mode is set to Split, you can play arpeggios in the Lower range. cannot be played! using, y ° play arpegg Note messages that ave atthe MIDI IN connector. Press [ARPEGGIO ON/OFF], getting the indicator to light + Arpeggio data is output 2 from the MIDI OUT Press the key as shown in the figure below connector. + the apg On/OH TEAL TOT TT TTT TTT setingeanbe made ta individually for each Performance (p. 56) C3 £3 G3 £3 C3 ES G3 ES ‘The arpeggio is played with the sequence of notes, C3, E3, G3, E 33, E3, and so on. Try playing some other chords, too. If you press [ARPEGGIO ON/OFF] once more, the indicator light goes out, and the keyboard returns to the normal performance mode. 42Using the Convenient Functions in Performances Continuing Arpeggios Without Having To Hold Down the Key Hold down the [SHIFT] bution and press [ARPEGGIO ON/OFF]. The [ARPEGGIO ON/OFF indicator starts blinking, and you can then have the anpeggio be played without having to continue pressing the chord, To cancel Arpeggio Hold, hold down [SHIFT] and press [ARPEGGIO ON/OFF} once Note also that if pedal switch (such as the optional DP-2/6),or a foot switch (such as the optional BOSS FS-SU) is connected to the PEDAL HOLD. jack, you can have arpeggios be played if you depress the pedal while pressing chords In this way, you can play arpeggios without having to continue pressing the chord When you want to know more about the arpeggio settings + “Chapter 5. Using the arpeggiator” (p.75) & 43Using the Convenient Functions in Performances Using Multi-effects, Chorus, and Reverb The RS-5/9 provides three independent intemal effect chann Multi-Effect This channel can provide 42 different effects, including distortion and rotary. effet, MEM The On/Off settings for Chorus each Effect affect the RS-5/ This channel adds depth and dimension to sounds. 9asa whole (i, are system settings). This Reverb sotting remains stored in ‘This channel creates an artificial ambience around the sound. ‘memory even while the powers off Turning the Effects On and Off (EFFECTS ON/OFF) ‘When shipped from the factory, all three effects are set to ON 24,6 1,3,5,7 Press [EFFECTS ON/OFF] to make the indicator blink. ‘The Multi-effects On/Off settings screen appears in the display. Multi-Fx Switch on Press VALUE [-]/[+] to turn the effect on or off. Press [EFFECTS ON/OFF] Next, the Chorus On/Off settings screen appears in the display. Chorus Switch oN 44Using the Convenient Functions in Performances Press VALUE [-]/[+] to turn the effect on or off. Press [EFFECTS ON/OFF] Then the Reverb On/Off settings screen appears in the display Nim + You can return tothe original screen during Reverb Switch ON the operation by pressing, (ex, Press VALUE [-]/[+] to turn the effect on or off. + Ifa three effects are tamed off the [EFFECTS ON/OFF] Press [EFFECTS ON/OFF] to return to the original screen. indicator light goes out. The [EFFECTS ON/OFF] indicator lights up whenever any of the three effects is on. When Using Multi-effects in Split or Dual Mode ‘The RS-5/9 cannot use more than one multi-effect ata time. Therefore, there isa “Source” parameter which is used for selecting the multi-effect settings Settings Values UPPER: The Upper Tone’s multieffect settings are used. The multi-efect is applied only to the Upper Part LOWER: The Lower Tone’s multi-effect settings are used. The :multi-effect is applied only to the Lower Part. PERFORMANCE: The Performance's multi-effect settings are used. The same multiveffect is applied to all Parts (1-16), Thus, you should note that depending on the Source setting, some Parts may not have multi-effects applied while in Split or Dual mode. For more detailed information, refer to "Making Mulli-Effects Settings” (p. 80). 45Setting the Amount of Chorus and Reverb a BR © ND Set the chorus or reverb to ON (refer to previous section), Separate settings for the Press [EDIT], getting the indicator to light. amount of chorus and reverb applied can bemade for each individual Partin Use VALUE [-]/[+] to select “Performance Part.” a Performance (p. 56). Press [ENTER]. Press PART [ <#]/[ B= ] to select the Part for which the Nore + When Key Mode (p. 38) {set toSplitor Dual, you can select ony the Upper Part and the Lower Part. amount of effect is to be set. If setting the chorus, press [7]; if setting the reverb, press [8] + Note that even ifthe PART 1 CHORUS chorus or reverb is set t0 Send Levelt a (ON, no effet is applied if ‘each Send Level is set 00 PART 1 REVERE Send Levelt 4a Use VALUE [-]/[+] to select the value (1-127) Press [EDIT] MEM Iyou wish to make ‘The [EDIT] indicator goes out, and you are returned tothe previous screen. geting for other Prt, repeat steps 5-7,Changing the Multi-effect Type Here's how to select the desired one of the 42 different Multi-effect settings. Set Multi-effects to ON (p. 44) ‘inp 2 YoucansetiheMuli-tiers IN P 2 Type for each Tone or H Press [EDIT], getting the indicator to light. Performance (.56) H individually withtheSource 3 seting 3 Use VALUE [-/[+] to select “Tone/Drum/PFMCommon.” $ ress ENTER] A 5 Press [6] a number of times to select “Type.” 3 vit A youhold down sitrr] and press [6], you will return tothe previous item, The figure above shows Source set to UPPER. You can see which multi- effects settings are being used in the upper left ofthe display. 6 re96 VALUE [/[+] to select the type. MEMD When et to O:THROUGH,”" he muli-efetsarethennot Press [EDIT]. ‘The [EDIT] indicator goes out, and you are returned tothe previous screen When you want to know about the Multi-effects in greater detail ‘+ “Chapter 6. Effect Settings’ (p.79) a7Performances Transposing All the Parts (TRANSPOSE ON/OFF) This function moves the key range in half-step units, This is convenient in situations like the ones below. When matching the vocalist’s register ‘Sometimes melodies may extend outside a vocalists register. Therefore, if ‘you want to perform with the song changed toa different key, you can play the song in a new key while still using the same fingering as before. When changing from a difficult key to one that is easy to play ‘You can use simple fingerings to play llficult songs that include numerous sharps or flats. When playing with the tone of a transposed instrument You can play the tones of transposed instrument justas itis writen inthe score, When Playing sounds outside the keyboard's range ‘aiip While the RS-5 features a 61-key keyboard, with some songs you may want cig aan ‘The Transpose On/Off settings can be set individually fr e acces. In such cases, you can use the Transpose function to play these notes. performance (p toplay notes even higheror lower. Also, when playing a Dram Set et, there may be percussion instruments that the RS-5/9’s keyboard is not able to A ie } Gy 1 Pi Transposeis set atthe factory to play notes at one actave below what is played. 5 [TRANSPOSE ON / OFF] to light indicator. If you press [TRANSPOSE ON/OFF] once more, the indicator light goes out, and the keyboard returns to the normal performance mode. MEM Setting the Amount of Transposition The settings for the amount ‘You can set the amount of transposition thats to occur when Transpose is of transposition can be set switched on. The setting is made in semitone units, and can specify a rise or individually for each. lowering of up to three octaves. Performance (p. 3). 48Using the Convenient Functions in Performances KR © ND a Press [EDIT], getting the indicator to light. Use VALUE [-]/[+] to select “Tone/Drum/PFMCommon.” Press [ENTER] Press [9] a number of times to select “Transpose.” PERFORMANCE KEYBOARD Transroset 12, Press VALUE [-]/[+] to select the value (-36 to +36). Press [EDIT]. The [EDIT] indicator goes out, and you ate returned to the previous screen. An easy way to set Transpose You can select the “Transpose” sereen directly by holding down [TRANSPOSE ON/OFF]and pressing [EDIT], Make settings as explained in steps 5-6 ofthe above proceduce. Furthermore, to change the transposition even more rapidly, you can change only the “Transpose” setting by holding down [TRANSPOSE ON/OFF] and pressing VALUE [-//[+]. When you release [TRANSPOSE ON/OFF], the previous display will reappear. ‘When you want to transpose a specific Part + “Transposing a Specified Part (Key Shift)” (p. 69) noe [Note messages from MIDI IN connector will nat be transposed, HINT Lf you hold down [SHIFT] and press [9], you will return to the previous item, a9 EUsing the Convenient Functions in Performances Changing the Sound’s Pitch in Real Time (Pitch Bend Lever) BR © ND 50 The “height” of a sound is called “pitch. While playing the keyboard, move the lever to the let to lower the pitch, or to the right to raise the piteh, ‘When shipped from the factory, this is set so that the pitch is changed up or down one whole step, Pitch Bend You can set up to a two-octave pitch bend range, adjustable in half-steps. Press [EDIT], getting the indicator to light. Use VALUE [-]/[+] to select “Performance Part.” Press [ENTER] Press PART [ =4]/[ B= ] to select the Part for which the pitch bend is to be changed. Press [5] a number of times to select “Pitch Bend Range.” PART 1 CONTROL. Pitch Bend Ranget+ 2 nou Pitch Bend isnot applied to arpeggios. MEM The pitch bend range sctings can be made for ach naval Patina Performance (p56 no When Key Mode (p. 34) is sotto Split or Dual, youcan select only two Parts, the Upper Part and the Lower Part HINT If you hold down [SHIFT] and pres [5], you will return to the previous item,Using the Convenient Functions in Performances F dress VALUE [3/1 to select the value (010 #28) note Witha set will be no pitch bend effect, Press [EDIT] EMD Ifyou wish to make here The [EDIT] indicator goes out, and you are returned to the previous screen. eee repeat steps 46. Adding a Vibrato Effect to the Sound (Modulation Lever) While playing the keyboard, move the lever away from you to.add a vibrato effect note ‘The effect is applied to both the Upper Part and Lower Alc ene ae VE) Modulation When you want to use the Modulation Lever to add effects other than vibrato * "Using the Modulation Lever to modify the sound” (p.71) E 51Using the Convenient Functions in Performances Changing the Tone with the Knobs Using the six panel knobs, you can change the tone in real time. When knob is turned, the function assigned to the knob and its value NOTE appear temporarily in the display. ‘The effects applied toboth the Upper Part and Lower CUTOFF Part when Key Mode is set cord +63 to Splitand Dual Vibrato and Wah Effects (LFO) ‘The LFO, short for “low frequency oscillator,” makes changes to the sound in periodic fashion. Changing the pitch with the LFO produces the “vibrato effect,” and by changing the filter cutoff frequency with the LFO, you get what is called the “wah effect.” 1 si Confirm that the FILTER [LFO ON/OFF] is set to OFF. this is set to ON, press When [LFO ON/OFF] is set to OFF, you can use the LFO2 knob to change __[LFO.ON/OFF] once more the vibrato effect toswitch tot Turn the LFO DEPTH knob. Turing this to the right increases the depth of the undulating sound, while turning it to the left makes the undulation shallower and milder. Turn the LFO RATE knob. ‘Turning this to the right (clockwise) increases the speed of the undulating. sound, while turning it to the left (counterclockwise) slows the undulation down. Press FILTER [LFO ON/OFF], causing the indicator to light up. When [LFO ON/OFF] is set to ON, you can use the LFO 2 knob to change the vibrato effect. 52Performances Turn the LFO DEPTH knob. Turin this to the right increases the depth of the undulating sound, while turning itto the left makes the undulation shallower and milder Turn the LEO RATE knob. Turning this to the right (clockwise) increases the speed of the undulating sound, while turning it to the left (counterclockwise) slows the undulation down. z Hi : 53Performances Using the Convenient Fun Changing the sound’s volume (ENVELOPE) The volume continues to change fom the time a key is pressed to when its released |A:AtlckTime‘Thetimeittakesatter the key is pressed for sour o reach full volume R Release imerThe time it takes after the key is released fora sound become inaudible Use the ENVELOPE? knob to change the A and R times tack tine D: Decay time R: Release time sound ends Volume aA OD AOR Time Note-on Note-off Turn the ENVELOPE ATTACK knob. ‘Turning this tothe right (clockwise) increases the time it takes for the sound to rise, while tuning it to the left (counterclockwise) shortens this time. Turn the ENVELOPE RELEASE knob. Turning this to the right increases the time it takes for the sound to disappear, while turning it to the left shortens this time. 54Using the Convenient Functions in Performances Changing the Brightness of the Sound and Adding Special Qualities (FILTER) ‘You can change the brightness of the sound and give the sound peculiar characteristics using the FILTER 2 knob, Tum the FILTER CUTOFF knob. Turning this to the right (clockwise) brightens the sound, while turning it to the left (counterclockwise) makes the sound seem darker. 5 ‘Turn the FILTER RESONANCE knob. ‘Tuming this to the right makes the special quality of the sound stronger, while turning it to the left reduces these characteristics [MANUAL] and [ARPEGGIO/CONTROL] Functions When [ARPEGGIO /CONTROL| is set to ON, you then become able to control another parameter using the LFO ENVELOPE 4 knob (p.74). What's more, when [ARPEGGIO ON/OFF] is set to ON, and [ARPEGGIO/ CONTROL is flashing, you can use the four knobs to change the arpeggio settings in real time (p. 74. When you press [MANUAL], the parameters assigned to the six knobs are set to the values at the current knob positions (p. 74), When you want to know about changing the tone in real time in greater detail “Chapter 4. Changing Tones in Real Time" (p. 71) 55Using the Convenient Functions in Performances Changing the RS-5/9’s Settings All At Once (Selecting Performances) The group of Tones and Drum Sets assigned to the sixteen Parts is known as "Performance." Tone! rum Set ‘You can record the Tone numbers assigned to Parts as well as the! -y Mode, ‘Arpeggio, Transpose, and other settings to the Performance. If you store a group of settings in a Performance, you can then call up those settings instantly by simply selecting that Performance Performances, just like Tones, are divided into two groups. User Although this area comes provided with 128 prepared Performances, you can overwrite these with Performances that you create, Preset ‘This area holds 128 prepared Performances; these cannot be overwritten or replaced. But you can call up preset Performance settings into the temporary area, modify them, and then store them in user memory. 56Using the Convenient Functions in Performances HINT I "PERFORM" does not appear inthe display, press When in Single Mode [PERFORM /TONE] once more to switch to the Press [PERFORM/TONE] to call up the Performance selection screen, Performance selection screen Performance Name Performance selection PERFO! “gu i ES BasicPerforn| User: a1 Performance Number Performance Number vs Performance Group When in Split or Dual Mode Performance‘ Surrent Part selection soreen Performance Name Performance Number ‘Performance Group nn f| Li 1 Performance Number | Upper Part Lower Part Press [USER/PRESET] to select the group (User, Preset). cs MEM Press the numeric keys ({1]-{0]) to specify the Performance IF you make a mistake, number (1-128) pros EXT an spay Press [ENTER] to finalize the entry. HINT Instead of using Steps 3 and 4, you can also switch Performances by pressing VALUELI/U. When you want to know a Performance’s name and number + “Performance List” (p. 147) When you want to know what settings can be stored in a Performance + “Parameter List (Performance)” (p. 137) When you want to store a Performance you have created to User memory + "Saving Tone / Drum Set / Performance” (p. 113) 57Using the Convenient Functions in Performances Easily Selecting the Performances You Like (FAVORITE PERFORM BANK) ‘You can call up your favorite Performances merely by pressing a single i cas The FAVORITE PERFORM Use Performances after registering them tothe FAVORITE PERFORM BANK settings apply othe BANK buttons below the display R55/9 asa whole ie, are system stings). This Registering Performances setting remains stored in Although the RS-5/9 comes with Pesformanoes already registered tothe emery cues FAVORITE PERFORM BANK, you can change these to your own favorite Performances. 1 Select a Performance that you want to register (refer to previous section) 2 Hold down [SHIFT] and press one of the FAVORITE, PERFORM BANK buttons [1]-[8] The Performance is registered, and “Completed” appears in the display. ‘The indicator on the button that was pressed lights up. 58Using the Convenient Functions in Performances If the Performance is Not Saved After selecting a Performance, if you change the Performance's settings and carry out Step 2 without saving these changes, the RS-5/9 jumps to the Save RD 7 you make mistake, WRITE PERFORMEENT UsrtOG1:BasicPerform press [EXIT] and specify the number once again. ‘The Performance is saved while the Performance group and number are registered to the button atthe same time. ie 3, Press the numeric keys ([I HO) to specify the Save destination number Instead of wsing Steps 3 (128) and 4, you can alo speciy the number by pressing 4. Press [ENTER] to confirm the number. VALUE EY/[a} 5. Press [ENTER] once more to execute the save, 4 The Performance is saved, and “Completed” appears in the display. To cancel a save or Ez The Performance is saved while the Performance group and number are registration in progress, press EXIT} 4 | registered to the button at the same time. Easily Selecting Performances 1 Press one of the FAVORITE PERFORM BANK buttons [1]-[8], causing the button’s indicator to light up. ‘The Performance registered to the button that is pressed is called up. 59Using the Conver Performances Instantly Switching to Piano Mode You can get the perfect settings for piano performances with the press ofa single button. rr) Press [PIANO], getting the indicator to light. ‘The most suitable Performance for performing on the piano (Preset'127) is called up. 60 NOTE This feature is included only with the RS. Ie is not available withthe RSS. NOTE When [PIANO] is pressed, you cannot change the Performance that is called up.Chapter 1. An overview of the RS-5/9 Basic Organization of the RS-5/9 The RS-5/9 can be broadly divided into two sections: a keyboard controller section and a sound gonerator ‘ection, The two sections are connected internally by means of MIDI ‘Sound Generator ‘Section t... AEE EA Keyboard Controller Section (contoliers| ‘Sugh'as keyboard pitch bond fever ete) Keyboard Controller Section ‘This section includes the keyboard, the Pitch Bend/ ‘Modulation Lever, the panel knobs, and any pedal connected to the rear panel. Actions such as pressing and releasing of keyson the keyboard, depressing a pedal, and so forth, are converted to MIDI messages ancl sent tote sound generator section, or to an external MIDI device. Sound Generator Section The sound generator section produces the sound. Here, MIDI ‘messages received from the Keyboard controller section oF extemal MIDI device are converted to musical signals, which ave then output as analog signals from the OUTPUT and PHONES jacks Classification of RS-5/9 Sound Types ‘When using the RS-5/9, you wil noi dlfferent categories come into play when handling sounds. ‘What follows is a simple explanation of ench sound category hat a variety of Tone The individual sounds used when playing the RS-5/9 are referred to as “Tones.” The 6) Tones stored in the RS.5/9's memory aze divided into two types, with the memory containing 128 User Tones and 512 Preset Tones. Tones are assigned to each part ofa performance. Drum Set DDrum sets are groups of a numberof different percussion instrament sounds, Since percussion instruments generally do play melodies, tere is no need fora percussion instrament sound tobe able to play a sale on the keyboard. tis, howeve ore important that as many percussion instruments as possible be available ta you atthe same time. Th Drum sets are set up so that you ean get ifferent sets of fore, the percussion sounds by pressing different keys (note numbers). Drum sets are also assigned to each part ofa performance. Drum Sot Te Name 36 7) ~f rite Number 97 (C7) Fowenmnberseiey | A note wumber 35 (81) [Pesiaionbcioman sei Performance AA Performance isa collective set of assignments ofthe sixteen diferent Tones and Drum Sets In Performances you ‘can save whole colletions of settings, including the tone numbers assigned to eae of the Parts, lang with Key Mode, Arpeggio, Transpose, and other settings. Just ike Tones, Performances ate separated ino fo types, User and Preset, with 126 User Performances and 128 Preset Performances A maximum of vo Pazts can be handled simultaneously from the keyboard, Conzeeting an external sequencer allows ‘you to work with up to sixteen Parts simmaltaneously, which lets you enjoy full ensemble performance Performance Sy 62Chapter 1. An overview of the RS-5/9 About Memory Memory refers to the area where Tones and settings are stored. The memory ofthe RS-5/9 is divided into taree areas ‘System Memory, User Memory, and Preset Memory. ‘There isa Temporary Area within memory, into which data Js placed when you select tone or performance, and the dlata in the temporary area is what you are actually playing and editing System memory ‘System memory stores system setup settings that determine hhow the RS-5/9 functions User Memory ‘The contents of User Memory canbe overritien, and are used to store settings that you create, You can store 128 ‘Tones and 128 Performances inthe User Memory Preset Memory The contents of Preset Memory cannot be rewritten. Preset ‘Memory contains 512 tones and 128 performances, The temporary area When you set Tone o Peformance, whether pay ortochange thea called up toa ternporary holding memory calle the “Temporary Area. igs, the selected Tane or Performance is When a Performance is selected, the selected Performance is called up to the Temporary Area, and then itis played When a tone is selected, the selected Tone i called up to the Upper Part or Lower Patt ofthe Performance in the Temporary Area, ad then that is played. A Performance is called up to the Temporaty Area atall times. ‘The Upper or Lower Parts may use any ofthe Parts I-16 When the Key Mode is set to Single, the Upper Parti used, When Key Mode is sotto Split or Dual, both the Upper and Lower Parts are used, The data in memory will be preserved even i the power is tured off, ancl ean be recalled at any time. However, the dlata in the temporary area will be lost when the power is tamed off ‘When changing Tone or Performance setings, you don’t lirecty change the settings stored in memory, but rather the lata called up to the Temporary Area. Ifyou want to keep the changed! data in the Temporary Ares, you must then save ‘that data to the User Memory. {As for System settings, changing these settings directly aifects the cata in memory, so the data i always updated. Therefore, you do not need to do anything to save this data ——————— 63 CeaChapter 1. An overview of the RS-5/9 Maximum Polyphony The sound source ofthe RS-5/9 can produce up to 64 notes (voices) simultaneously. If lata i received that attempts to play more than this number of voices, notes will be dropped ‘out, When the numberof requested voices exceeds 64, the 5-5/9 wil give priority tothe later-played notes, and will consecutively turnoff the oldest sounding notes. An appropriate Voice Reserve setting should be made with respect fo any Parts that you cannot do without * Some Tones use 2 voices to crete a single Tone. For the uber of eoios used by each Tou, reer fo “Tone List” (p. 149) Preventing notes of an important Part from being cut off (Voice Reserve) “This setting specifies the number of voices thet will be reserved for each Part when more than 64 voices are played simultaneously. For example if Voice Reserve is set to 6 for Part 1, Pazt 1 will always have 6 notes of sound-producing ‘capacity available to it even if total of more than 64 notes (otal forall Parts) are being requested ‘You can make separate Voice Reserve settings foreach individual Part ina Performance 1s. Press [EDIT], getting the indicator to igh 2. Use VALUE [-/[+] to select “Performance Part.” 3. Press [ENTER] A, Press PART { = ]/[ D> ] to select the Part 5. Press the numeric key [5] severl times to select "Voice Reserve.” PART 1 CONTROL Voice Reserve 4(32) ‘Atleast these man eee Feemaining Voices, + If yr td dose ISHIET] and press previous ite tothe yo elle 6. Use VALUE [-/[+] to set the value, isnot posible forthe settings ofall Pats to foal mare than 64, The remaining numberof layed 10. You should check this rendowt as you set the Voice Reserve paneer eilable voices wil be. IF you wish 10 mate peat steps 1-6, 7. Press {EDIT} ‘The [EDIT] indicator goes out, and you are returned to the previous sereen, Modifying the Value of a Setting To modify a value, keys). the VALUE [-1/[+] o¢[0}-19] (rumeric 23 ta HS as & JHE) VALUE [-]/[+] Pressing VALUE [] increases the value, and VALUE -] decreases it. Keep the button pressed for continsons justmect For faster value increases, keep VALUE [+] pressed down and press VALUE [For decreasing value faster, keep VALUE [] pressed down and press VALUE (+) In addition, by holding dovn [SHIFT] and pressing VALUE [al or, you ean change the value ten uns at time [0}19] (Numeric Keys) ‘These allow you to specify the number directly when selecting Tones, Drum Sets, or Performances. When you enter the number, the number wil blink. This indicates that the number has not yet been finalized. To finalize the ‘number press the [ENTER] button, [exit] ress this in situations such as when you've makea mistake in pressing the numeri keys, when you want to cancel an ‘operation, oF wien you want to rtutn toa previous seen after settings have been made. — 64Chapter 1. An overview of the RS-5/9 Convenient shortcuts The Rt provides several convenient shortcuts * 11 +188 moms tat you shoul hold doen (**} ad press co Setting the Split Point (p. 40) [SPLITH(EOMT] The display will show the Spit Pint sting page [SPLIT] + VALUE [+] The split pint canbe set When you release [SPLIT the previous display will reappear Setting the Arpeggio (p. 77) [ARPEGGIO ON/OFFH{EDIT] The display will show the Arpegso Syl setting page [ARPEGGIO ON/OFF] + VALUE [-f+] ‘The arpeggto style can be set. When you release [ARPEGGIO ON/OFF the previous display will reappear. Setting the Transpose (p. 48) TRANSPOSE ONIOFF}{EDIT] ‘The display will show dhe Transpose setting page TRANSPOSE ON/OFF] + VALUE [+] The transpose can be st. When you release TRANSPOSE ON/OFF the previous display wil reappear Setting the LCD Contrast (p. 16) [SHIFTIPHRASE PREVIEW ‘The lsplay will show the LCD Conttast sting page If “Stuck” Notes Occur (PANIC) {f some operation causes sounds from the RS-5/9, or sounds from an external sound generator connected with a MIDI ‘able to fail to stop playing, use the Panic Function. ea When Sounds From the RS-5/9 Do Not Stop Playing 1. Hold down [SHIFT] and press [PANIC] Sounds from the RS-5/9 stop playing ‘The display will indicate “Panic! Novr Muting.” while the Panie function is being executed, When this message 08s off, you can start playing, Panic! Mow Muting. | What to Do When an External Sound Generator Fails to Stop Sounding 1. Hold down [SHIFT] and press [PANIC} for more than a Send the MIDI messages AllSound Of Reset All Controllers, Holdl (0), Hold? (0), and Sostenuto (0 for all MIDI channels (Part) ‘The display will indicate “Panic! Now Transmitting.” while the Panic function is being executed. When this message goes off, ou can start playing, Panic! How Transmitting. 65Chapter 2. Part Volume and Pan Settings ‘You can make separate volume andl pan (sound-image localization) settings foreach individual Partin a Performance e volume of each patt. Ths s mainly used to achieve the volume balance between Parts when Key Mode is set to Split oF Dual Value: 0-12 Pan When stereo output is used, this setting sets the pan position (stereo location) ofeach Part. With an increase in the value for L, more ofthe sound will be heard as coming from the left side, Similarly, more ofthe sound will originate atthe right if the value of Ris increased. When set to RANDOM, you obtain a specialized effect whereby the sound randomly roves leftand sight with each key stroke. Value: RANDOM, L63-0-69R In se case of Dru Set, hepa pos ‘enc percussion instrument (p. 112). When setting te pan for «Port to which w Drunt Sets assigned, the pong of the tion has been fs for tire rune 8 move 1. Press [EDIT], getting the indicator to light 2. Use VALUE [/[+] to select “Performance Part 3. Press [ENTER] 4, Press PART {a J/[BO to select the Part. 5. Press the numeric key [3] several times to select the tem LEVEL 160 PAN a 6. Use VALUE -/{¥] toset the value. 7. Press [EDIT] The [EDIT} indicator goes out, and you are retumed to the previous seenChapter 3. Mastering Use of the Performance Features Playing single-note lines (Solo) This function is effective when performing a solo using, single-note Tone like sax and flute. You can make separate Salo Switch settings foreach individual Partin a Performance, 1. Pross [EDIT] getting the indicator to ight, 2. Use VALUE [-/F+] to selet “Performance Part 3, Press[ENTER] 4, Press PART [ = /[ [10 ele * When Key Meat (p. 34) est to Split or Dua, you on select, only two Parts, the Upper Past andthe Lower Par, the Part '5. Press the numeric key [9] several times to select “Solo Switch.” PART 1 KEVEOARD: Solo Switcht OFF ‘you hold down {SHIET] and press [9], yon il return to the previous ite, 6. Use VALUE [-/[+] toset “ON.” 7. Press [EDIT] ‘The [EDIT] indicator goes out, and you are returned to the previous sereen Smoothly Changing the Pitch of the Sound (Portamento) Portamento isan effect which smoothly changes the pitch from the frstplayed key to the next played key. With the Solo Switch (refer tothe previous section) set to ON, portamento is especially effective when simulating playing techniques such as a violin glissands. Portamento can also be applied when Solo Switch is OFF. You can make separate Portamento settings for each individual Part in a Performance, Portamento SW (Portamento Switch) Specifies whether the portamento effect will be applied (ON) or not (OFF) Value: OFF, ON Portamente Time ‘When portamento is used, this specifics the time over which the pitch will change. Higher settings will cause the pitel change to the next nate to tke more time. Value: 0-127 * The Povtamensto Tine seting is disable sen the Poranento Site i off 1. Press [EDIT], geting the indicator to light 2. Use VALUE -/I+] to select "Performance Part 3. Press [ENTER] 4. Press PART [ = J/L BE | to solect the Pat. > When Key Mote (p, 34) is eo Split or Dual, you cn selet tly too Pats, he Upper Part ad the Lower Part ‘5. Press the numeric key [9] several times to selec the iter you wish to set PART 1 KEVBOARD| Portanento Swi OFF PART 1 KEYBOARD Portanento Time: 8 you hl dow 7) pn tothe (91, you wt iter 6. Use VALUE [+/[+] toset the value. 7. Press [EDIT] The [EDIT] indicator goes out, and you are returned to 67 CoenChapter 3. Mastering Use of the Performance Features Determining the Volume 1 from the Force Used To Play 2 the Keys (Velocity Sense) You can specify how your keyboard playing dynamics will 3. 4 affect the volume ‘You can make separate Velocity Sens settings for each individual Part in a Performance 5. Velo Sens Depth (Velocity Sens Depth) Press [EDIT], getting the indicator to light. Use VALUE [-/F+] t select “Performance Par.” Press [ENTER] Press PART 4 /[ > ]to select the Pat Wen Key Mode (p. 34) is ett Spit or Dun, you a select oly too Parts the Upper Part and the Lo art Press the numeric key [9] several times to select the item. you wish to set. IF this value is increased, smal differences in your playing ART 1 REVEGARD: dynamics will makea large difference inthe loudness ofthe lela Sens Dertht 64 sound, If this is decreased, even large differences in your playing dynamics will make only a small difference in the PART 1 KEVBORRD loudness ofthe sound Uelo Sens Offset? 64 Value: 0-127 . Velo Sens Offset (Velocity Sens Offset) ‘The higher above 64 the value is set, the louder the sound produced, even as the keyboard is played with lesser force. ‘The lower below 6 the value is set, the lower the sound produced, even as the keyboard is played with greater force Value: 0-127 VeoOgmss6 vaccines We ouph= 32 vba st Fig. Tenewcperaarance FIG? kepeenaarraanenice i Fig. vans remanence FIG 4 Keown FIG. 5 xopewzammmarones —FIQ© keewamyrg drain ‘you bol down (SHIFT} aa press 9}, you wil return othe 6. Use VALUE [+/[+] to set the value. 7. Press [EDIT] Te [EDIT] indicator goes out, andl you are returned to the previous screen, 68Chapter 3. Mastering Use of the Performance Features Transposing Performances The RS-5/9 has two functions, “Transpose” and "Key Shift,” that you can use to move the key range of what is being played in hal-step units. The Transpose function trangposes all Parts, whereas Key Shift tr specified Parts, Transposing All Parts (TRANSPOSE ON/OFF) Foristrctions on sting Tapas ref to Quick Start 4) Transposing a Specified Part (Key Shift) ‘This is convenient in siuntions such as the following, Layering Tones an octave apart ‘When the Keyboard Made is Dual, you can create a richer sound by setting the two Tones ta diferent octaves Having only the Tone of a selected Part be played at a lower pitch Tr the Keyboard Mode is set to Spit and you ae playing a ‘bass Tone inthe lower Part, you can use the Key Shift Function to play the bass at a lower pitch You can make separate Key Shift settings for exc Past in a Performance, individual > Note message fom MIDI IN co Sa ecto wil als be pose. the Drun Set is assign tothe Part sting ids he 1. Press (EDIT, getting the indicator to ight 2. Use VALUE [-/{+] to select "Performance Part” 3. Press {ENTER}, 4, Press PART [ = ]/(= | + Wen Key Mode (p. 34) only tivo Parts, the per select the Part Split or Dual, you ean select andthe Loser Pat. 5. Press the numeric key [4] several times to select “Key Shift PART 1 Key Shifts TUNE a 1 ou holed dowon [SHIFT] and pres [4 you wll rerio the previous ten 6. Press VALUE [-/[+] to select the value (24-424) 7. Press [EDIT], ‘The [EDIT] indicator goes out, and you are returned to the previous screen. Adding Breadth to the Sound by Layering Tones with Different Pitches (Fine Tune) ‘When Tones with slighty differ nt pitches are played together, it creates a sound with more fullness and breadth, ‘When Key Made is set to Dusl (p. 36), and the same Tone is assigned to both Parts (p. 37), make the Fine Tune setting for only one ofthe Pais, * The effc whereby sounds with layered iscaled "Detune.” You caa mal ightly ferent p Cer) separate Fine Tune setings for each individval Part in a Performance, 1, Press [EDIT], getting the indicator to light. Use VALUE [+/[+] to select “Performance Part” Press [ENTER], Bey Press PART [ <0 ]/[ BB ] to select the Part When Key Moe (p. 34 is ett Split or Dual, you nly ten Pats the Upper Part andthe Loser Par select 5. Press the numeric key [4] several times to select "Fine Tone PART 1 TUNE Fine Tune: Bent. > Ifyou bold down previous ite FT? wud press [4], you wil return fo the 6. Press VALUE [-/[+] to select the value (-100 to +100). One cent is 1/10 tf semitone 7. Press [EDIT] ‘The [EDIT] indicator goes out, and you are returned to the previous screen 69Chapter 3. Mastering Use of the Performance Features Changing to Pure Temperament | ° or an Arabic scale (Scale Tune) . pliable ee What are Equal Temperament, Pure Temperament, and Arabic scales? Equal Temperament Note Equal dust Temperament This tuning divides the octave into 12 equal part andi the name Temperament (tonle) ost widely sed method of temperament used in Westem = | —"C 7 susie a i 3 a Pure Temperament DE a Jn comparison to Equal Temperament, Pure Temperament E 0 allows the three principal chords to have a purer oud F a However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose Aral In comparison to Equal Temperament, E and Bare 1/2a semitone low, and Cl, F# and Gftare 1/2 a semitone high. The intervals of G-B, C-E,T-Gl, ACH and D-F¥ are ‘neuteal dhizds (an interval midway between a major thd and a minor third). ic Scale Making Scale Tune settings You can adjust the Scale Tune settings to make a variety of scale, These settings allow you tomake fine adjustments in 1 cent (1/100th ofa semitone) to the pitch of each note C-B. You can make separate Scale Tune settings foreach inivichal Partin a Performance. 1. Press [EDIT] getting the indicator to light 2. Use VALUE [-]/[+] to selec “Performance Part.” 3, Press {ENTER} 4, Press PART [ 9 ]/[ Bm | to select the Part '5._ Press numeric key [d] several times to select “Scale Tune C"-"Seale Tune B.” PART 1 TUNE cale Tune © a * Ifyou holt dow {SFHEFT} and press (4, yo previous item U return tothe = You on press te Key to diet select the nme ofthe sound whose pith you zon to change. 70 Press VALUE [1/[+] to select the value (64 to +63). you wish to makes ings fr otler Pas, repent steps 5-6 Press {EDIT} ‘The [EDIT] indicator ges out and you are returned to the previous screen Settings Example Ii this expe, the Arabic Sole cn be plage ys of G,C, ond FChapter 4. Changing Tones in Real Time You can use the RS-5/9's Pitch Bend lever, Modulation lever, and control knobs to make changes tothe Tones in rel ime. You can also alter the Tones with a pedal connected ta the PEDAL jack Changing the Pitch in Realtime (Pitch Bend Lever) ‘While playing the keyboard, move the lover to the lft to lower the pitch, orto the right to raise the pitch, Fora more detailed explanation ofthe Pitch Bend lever, refer to QuickStart. Pitch Bend Using the Modulation Lever to modify the sound MOD (Modulation Assign) Valu TxCCH_FunctionParamoter Changed “MODULATION COI Vibrato Effect PORTAMENTO COS Perform Part Poriamento TIME Time (p.67) “VOLUME CCii? Perform Part Level (p66) PAN _____CC10__Peorm Part Pan (p. 65) EXPRESSION CCI Perform Pare Level (p. 66) ‘PORTAMENTO CCE Perform Part Portamento Switch (p67), SOSTENUTO CCE Fos the sound of he Fey — being pressed SOFT C007 — Softens the Tone RESONANCE C71 Tone Fer Resonanee(p TIO) RELEASE TIME CC72 Tone Envelope Release Time (110) ‘RITACITINE C73 Tone Ewlope Avec Tine (.110) Gaon Asset at the factory, moving the lever away from you as you press key on the keyboarel produces a vibrate effect You can add effects other than vibrato with the Modulation Es Modulation sapped to both Key Mode i et to Ds i Upper Part and Lower Part when “COORG Tone Fier Cato (p THO) DECAYTIME C73 Tone Envelope Decay Time 00) “TFORATE C076 Tone LFO Rae (p11) UFO DEPTH TTone LFO Depth (p. 110) “TRODELAY C78 Tone LFO Delay (p. 0) CHOSEND C083 Pesform Part Chorus Send LEVEL Level (p. 108) REVSEND LEVEL COSI Perform Part Reverb Send Level (p. 108) “UPLOBALANCE CCl? Perform Part Upperand Lower Levels (p. 66) MPX CCI2_ Multi-Effects Parameter at PARAMETER 1 Marker #1 (p.81) MEK CCR Mult: Eects Parameter st PARAMETER 2 Marker 92(p. 81) OA ET TxCC#” refers to the controller number sent from the MIDI OUT connector when the Modulation lever is moved. When set to AFTERTOUCH, a Channel Aftertouch message is sent. Receiving these controller numbers from the MIDI IN connector gives the same effect as moving the Modulation, to AFTERTOUCH mainly when you want to contol the external sound generator with Aftetouch messages. 7‘han: Chapter 1g Tones in Real * Whe to MEX PARAMETER 1 or MFX PARAMETER 2, be sure to not the fects Type is set to OV: STEREO EQ (p. + When the mult 2) oF 1: LOFI (p. 105), Levels changed regardless of | ‘whether MFX PARAMETER 1 or MEX PARAMETER 2is, selected. | ‘+ When the multi-effects Type is set to SHIFTER (p. 86), the two parameters a simultaneously. ‘+ When the multi-efects Type is st to 23: FBK PITCH SHIFTER (p. 97), the two parameters are changed simultaneously when MFX PARAMETER 1 is selected 2VOICE PITCH anged + he following describes which Part or Parts are enabled according to the Source setting (p. 80) UPPER Upper LOWER = Lower PERFORMANCE Panis * Wen making the LFO RATE, LFO DEPTH or LEO DELAY settings, the eft achieved difers depen on wheter LEO ON/OFF] is oor off. When LFO ON/OFFI i off tes the pitch cibrato effect. When (LFO ON/OFFI is, the LEO changes the Filter Cutoff Different Modulation lever settings ean be made For each individual Performance 1. Press [EDIT], getting the indicator to light. 2. Use VALUE [-/[+] to select “Tone/Drum/ PFMComman.” 3. Press [ENTER] 4, Press the numeric key [5] several times to seleet“MOD." PERFORMANCE MOD) coat: MODULATION 1 you holt down {SHUET end press 15, yo 5. Use VALUE [+/L4] to set the value. 6. Press [EDIT]. The [EDIT] indicator goes out, and you are returned to the previous sereen, 72Chapter 4. Changing Tones in Real Time Using a pedal to modify the sound ‘With an extemal pedal, such as an expression pedal (2 optional EV-5,) pedal switch (the optional DP-2/6) or fo sswiteh (the optional BOSS FS-5U} connected to the PEDAL. CONTROL jack, you can then use the pedal to make changes in the Tone Justas with the Modulation lever, you can selec the function affected when the pedal is pressed. The pedal will mainly be ‘used for changing volume levels (VOLUME, EXPRESSION, and UP-LO BALANCE), sostenuto (SOSTENUTO),and asa soft pedal (SOFT), * This oppled to Both the Upper Part and Lower Part en Key Mode is se to Spit and Dual, Fora description ofthe settings values, refer to (p. 70) ‘To make the settings, select the “PEDAL” (Control Pedal Assign) in Step 4 above (p. 72. PERFORMANCE | PEDAL care VOLUME When you want to apply the eft tat enuses the sounds ing played to continue playing (clot the “hold effect”), connect pal sete (the optional DP-2/5) (jhe optional BOSS FS-SU to the PEDAL HOLD jack. When Apeggio is on, this changes an Arpupeio Hold fnetion. This ellows you to play arpeggics without hacig to continue Ilding chords. Hozecer, rl the Key Moe i et fo Spit, the Hold oot sit sm be alain wll espet Lo tli is plage {nthe upper pat ofthe keyboard while Arpeggio Hold will opply to notes played in the lower part of the eybond (p. 75) Switching the Pedal’s Polarity (Pedal Polarity) Select the polarity of the pedal. On some pedals, the electrical signal output by the pest when itis pressed or released is the opposite of other pedals. If your peda has an effect ‘opposite of what you expect, set this parameter to REVERSE. Ifyou are using a Roland pedal (hat has no polavty switch), his parameter to STANDARD. ‘The Pedal Polavty cetting affects the entire RS-5/9 (ie, isa ‘System setting). This setting remains stored in memory even while the power is of. 1,_ Press [EDIT], getting the indicator to light. 2. Use VALUE [-/L+] to select “System Setup.” Con 2 3. Pross [ENTER] 4 } Press mumeric key [5] several times to sl parameter to beset tthe If setting the polarity ofthe pedal connected to the PEDAL HOLD jack, select “CONTROL PEDAL Polarity.” If setting the polarity ofthe pedal connected to the PEDAL HOLD jack, select "HOLD PEDAL Polarity SYSTEM CONTROL PEDAL Polarity: STANDARD SYSTEM HOLD PEDAL Polarity: STANDARD * Ifyou itd dowon [SHIFT] and press 5], you previous item il veturn tthe 5. Press VALUE [+/{#] to set the value (STANDARD, REVERSE). 6. Press {EDIT} ‘The [EDIT] indicator goes out, and you are retumed to the previous sere 73Using a knob to modify the sound You can use the six panel knobs to modify Tones in realtime, Knob funetions change depending on whether [ARPEGGIO/ CONTROL] and /or [ARPEGGIO ON/OFF] are switched on oroft ay aAOO + The fet is appli to both the Upper Part Move ist to Spit ard Du. tl Lower Part When a knob is turned, the function assigned tothe knob and its value appear temporarily in the display. CUTOFF cord When [ARPEGGIO/CONTROL] is Off Te six knobs can be used to change the values of Tone [parameters as indicated on the panel Tone LFO Rate (p.110) Tone LEO Depth (p. 110) Tone Envelope Atack Time (p.110) Tone Envelope Release Time (p.110) FILTER CUTOFF Knob: Tone Filter Cutoff (p. 110) FILTER RESONANCE Knob: Tone Filter Resonance (p. 110) > The eft th the io LEO knobs difers depending ther [LEO ON/OFF] i sited on or off. When [LEO the LEO alters the pitch (brat eet) When ie LFO changes the Filter Cutoff LEO RATE Knob: LFO DEPTH Knob: ENVELOPE ATTACK Knob: ENVELOPE RELEASE Knob: + Pressing (LFO ON/OFEI when Key Mode i eto Split ar Dual ets the same LFO Filter Sw ue in bot ofthe Parts Tones. 74 When [ARPEGGIO/CONTROL] is On Using the four LFO and ENVELOPE knobs, you can control [parameters that you select. The functions affected when the [knobs are turned can beset in the same manner as with the Modulation lever For a description of the settings val , refer to (p. 71). To make the settings, select one of the “CONTROL 1- CONTROL 4” (Knob Assign) in Step 4 (p. 72, PERFORMANCE CONTROLI CC16:LF0 FILTER RATE * Yow para When [ARPEGGIO ON/OFF] is On With [ARPEGGIO ON/OFF] set at ON, each press of [ARPEGGIO/CONTROL| takes you to the next state for the Indicator, among three possible choices: it, ashing, oF extinguished ‘When [ARPEGGIO/ CONTROL] is flashing, you can control the Arpeggio parameters using the four LPO and ENVELOPE knobs. Cx: Accent Rate (p.77) C2 Shute Rate (p.7) (Octave Range (p.77) Tempo (p.76) 1 use the fo FILTER pane! kbs to chang eter cals forthe Tone appearing in the display You can use the two FILTER pane knobs Bo ch ge the parameter a forthe Tone appenring in the display Switching to the Value at the Current Knob Positions (MANUAL) ‘When you press [MANUAL] the parameters assigned to the six knobs are set tothe values at the current knobs positions > This is applet to both the Upper Part and Lower Par Key Mode is o Split and Du.Chapter 5. Using the arpeggiator ‘The RS-5/9's arpeggiator lets you produce an arpeggio. (broken chord) simply by playing a chord, However, if this alone does nat produce the pattern you want, ry changing the settings forthe four parameters ‘marked with an asterisk below (Motif, Beat Ptr, Shuffle Rate, and Accent Rate) to get the desired result, ‘When the Key Mode i Single or Dual, arpeggios ean be played in all areas of the keyboard, ‘When the Key Mode is Split, chords played in the Lower area ofthe Keyboard willbe sounded as arpeggios. ying the RS-5P's peggios with Note Arpeggiator parameters you can set * Arps co be produced ony by p eyhoard, Its uot posible to prviuce messages frm the MIDI IN connect Style (Arpeggio Style) Sets the style * Arpeggio data are transmitted from MIDI OUT connector ine arpeggio, Select from the following 45 options. For creating your own style, choose LIMITLESS. Turning the Arpeggio Function On and Off (ARPEGGIO ON/OFF) ‘You can set the Arpeggio ON/OFF for each Performance separately 1._ Press the [ARPEGGIO ON/OFF] button, getting its indicator o light. AEON, the keyboard in placed in Arpeggio mode. 2. Press the [ARPEGGIO ON/OFF! button again, getting its indicator light to go out. ALOFF, the RS-5/9 operates in normal performance mode, * Hold dow te [SHIFT] button aul pres [ARPEGGIO ON/ OFF]. The [ARPEGGIO ON/OFF] iudicaorstris Blinking, nd yow ca He ha the arpggio be play roithout hing o continue pressing te chord, To cnncel Arpeggio Hold, hold dre [SHIFT and press (ARPEGGIO ON/OFF] once mor. Note also hat if pedal swith uch s the optional DP-2/6), ora fot swites uch as He optional BOSS FS.5U) is cunnected to the PEDAL HOLD jack, you can have arpegios be ployed if you depress the peal while pressing chords. this ny, you con play arpeggios without hing to conte pressing the chord Pitch Bend is not oppliad to arpeggios Tip for Creating Arpeggio Patterns There area total of nine items that you can set to control _arpeggttion, but the “Arpeggio Styl” is the most important, ‘The playback pattern of the arpeggio is determined! mainly by this selection ‘When you select an arpeggio style, the four parameters marked by an asterisk (* in thelist below willbe set automatically Thais allows you to eal up the most appropriate pattern simply, by solecting the arpeggio style. After selecting the arpeggio style, you can set Tempo and Octave Range etc. as appropriate Normally you will specify the patter in this way. Value rz 176 ww 1732 PORTAMENTO A,B GLSSANDO SEQUENCE A-D “CHO SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS "The rhythm willbe divided im quar teenotes ce iythanv ter note triple The shythun willbe divided in eighth Tbe divided in quar oad ‘The shythn willbe divided ineighih note tpiets, “The thythm willbe divided im Tah notes, The rhythm willbe divided in 32nd A sile wing ht portamento fed Ali do atv. Styles for sequenced patterns ‘An echolike styl Siyles appropriate for bass playing “RIVTHMGIRACE Styles t “SIRUMGTRUP, _G sTRUMGTRDOWN, STRUM GTR U&D PIANO BACKING CLAVICHORD WALTZ, SWING WALTZ REGGAE PERCUSSION HARP SHAMISEN BOUND BALL RANDOM Sips for guitar cutting, Siyles BE areeffective when 3-4 notes are held Threefinger gutarsiyle Guitar chordsstrammed both upand down. Effective when 5-6 notes are hel. Styles for keyboard instrument back: ing. ‘Siyles in tiple meter. ——Areagoo pestle Eecivewhen3 notes are held, Siyle effective for percusave itr The playing sive ofa harp The playing style ofa Shamisen A atyle suggestive ofa bouncing ball. ‘Astylein which the nates sound in random order a 75Chapter 5. Using the arpeggiator TOSSANOVAAsiple with bostanova gaftar car TRIPLERANDOM Notes you press wllsound ireeata fing Hold 3-4 notes for best results. time, random onde, ‘You can increase the tempo and use NOTE ORDER ‘Notes will sound in the order that this asa Samba, they were pressed. Up to 128 notes SAISK Typical sala sil Ho3-Tnotesfor can be stored, so you ean create mel bes eval coy ws by prasing kes in the ap AMES) propriate cre “URBANDO Notes willbe playedin anascending TATIN PERC “Athythim style with Latin percussion and descending chromatic scale be- instruments such as Clave, Cowbell, tween the lowest and the highest ‘Clap, Bongo, Conga, Agogo etc ‘keys that are pressed. Simply press SAMBA “Typical samba style. Use for rhythm wo nce the lowest and Nighest poles or bass nes CHORD Anos hat re presed will sound TANGO Cypser Tle eng | ee ee cami Rrra TASSICHORD 1-5 The lowest of the notes you ply wil eae sovand and the remaining notes will HOUSE ‘Astle for house piano backing eoundas acon Hold 3-4 notes for best results. BASS+UP 1-8 ‘The lowest of the notes you play will CL sounds adhe remaining ots wil Bere | TASSRANDOMT-S The lowest ofthe woke you play wil a sound, and the remaining notes wll Sets the order in which notes ofthe chord will ound. + Depeaing on the Stl settings (p. 75), some coves my nob ‘be moailabe. For deals on the possible values, refer 10 “Arpeggio StyleList” (p. 155). Value SINGLEUP, Noles you press willbe sounded in- DELAY (100) 29: DISTORTION» CHORUS (p. 101) 30: DISTORTION» FLANGER (p. 101) 31: DISTORTION - DELAY (p.101) 3% ENHANCER + CHORUS —(p.102) TERED £0) Weis indicate nthe upper-left part ofthe display zl lage depending on the value ofthe Source setting. {you hold down [SHEET] and press 16), you wil returat tothe previous it 5. Use VALUEF+/+| tose the vale ey conten ence om > whom seins foes Pais repels 5 ENHANCER DELAY (105) 6. Press (EDIT) 35 CHORUS DELAY (p05) The [EDIT] indicator goes out, and you are returned to 36: FLANGER ~ DELAY (p. 104) the previos screen, 57, CHORUS +FLANGER (p10 58 CHORUS/DELAY (p15 Type (Mult-Effects Type) 3% FLANGER/DELAY (p08) Selections are made rom the following 42 ferent ll ; Cees | ey ai 41: LOFL (p. 106) Reteeriy rere ee ee seen eae ee a ene > Values for paranctrs wrk with oF #2 can be change in Value: rea time withthe modultian fever rte obs. For details on: THROUGH (2) refer to (9.72). ot: STEREOEQ (82) (2 OVERDRIVE 8) (8: DISTORTION 85) ———— 381(Multi-effect send level to chorus) Sets the amount of the mult-effects sound that is sent chorus. Higher values sult in more sound being sent Value: 0-127 the > This prmmeter isch in ll mics types. Send Levl to Rev (Multi-effect send level to reverb) Sets the amount of the multi-ffects sound that is sent tothe reverb, Higher values result in more sound being sent Value: 0-127 + This porameter is nce ial ultefets types. 00: THROUGH Effects are not applied. Select when creating Tones or Drum Sets that do not use mult-ffects 01: STEREO EQ (Stereo Equalizer) Thisis a fourband stereo equalizer (low, mid x2, high). Lin “eband Eo Rin. ean Eo Low Freq (Low Frequency) low range (200 Fi2/400 Ha). Select the frequency Value: 200, 400 (Hz) Low Gain Adjust the gain of the low frequency. Value: -15-+15 (48), High Freq (High Frequency) Select the frequency ofthe high range (4000 Hz/8000 He), Value: 4900, 8000 [H2] High Gain Aajust the gain of the high frequency Value: -15- +15 (a) Mid! Freq (Middle 1 Frequency) ‘Aajust the frequency of Middle 1 (mid range). Value: 200-8000 [Hel 82 Chapter 6. Effect Settings Midi Q (Middle 1.) ‘This parameter adjusts the width ofthe area around the Mile 1 Frequency that wil be affected by the Gain setting. Higher values of Q will est ina narrower area being atfected. Value: 05, 1.0,20, 80 Mid1 Gain (Middle 1 Gain) Acfust the gain forthe area specified by the Middle 1 Frequency and Q settings 5 [a5] Value: -15-+! Mid2 Freq (Middle 2 Frequency) Adjust the Frequency of Middle 2 (mi range). Value: 200-8000 [Hz id2 Q (Middle 2 Q) ‘This parameter adjusts the width of the area around the Middle 2 Frequency that will be affected by the Gain setting, Higher values of Q will rest affected Value: 05, 1.0,20,4 na narrower area being 180 ‘Mid2 Goin (Middle 2 Gain) Adjust the gain forthe area specified by the Middle Frequency and Q settings. 15 [4B] Value: Level (Output Level) #1, #2 Adjust the output level Vatue: 0-127O02: OVERDRIVE 03: DISTORTION “This effect creates a sot clistortion similar to that produced ‘Tis effect produces a more intense distortion than by vacaum habe amplifiers. Overdtive. Lia Lot Lou eve [Lsimater) |” ea simulstor = Rin Rot Ri Rout Drive #1 Drive #1 Aadjust the degree of distortion. The volume will change | Adjust the degree of distortion. The volume will change together with the degree of distortion. | together with the dagrae of distortion Value: 0-127 Value: 0-127 Level (Output Level) Level (Output Level) Aaijust the output level Adjust the output leva Value: 0-127 Value: 0-127 Low Gain Low Gain Adds he gai ofthe low frequency range Adjust the gain ofthe low equency range Value: 15-15 [48 5+ +15 (dB) jh Gain jh Gain ‘Acs the goin of the high frequency ange Adjust the gain ofthe high frequency range. Value: 15-15 [4B Value: -15- 115 [4B] ‘Amp Type (Amp ‘Amp Type (Amp Simulator Type) Select the type of guitar amp. Select the type of gitar amp. Value Value SMALL: smallamp SMALL: smallamp BUILT-AN: single-unit type amp BUILT-IN: single-wit eypeamp 2-STACK: large double stack amp 2STACK: lange doublestack amp S-STACK: age triple stack amp SSTACK: lange tiple stack amp Pan (Output Pan) #2 Pan (Output Pan) #2 Agius he stereo locaton of the output sound. L6tis fale, | Aust he sterea location of the output sound. Lo is far et, O is center, and 63R is far right | Dis center, and 63R is far right. Value: Lot 63R | value: Lot oan 83Chapter 6. Effect Settings 04: PHASER A phaser adds a phase-shifted sound to the di sound, producing a twisting modulation that creates spaciousness and dept Lin Low R 3 Sh fe out Manual #1 ‘Adjust the basic frequency from which the sound will be modulated. Value: 100-8000 (F2} Rate #2 ‘Adjust the frequency (period) of modulation, Value: 0.05-10.00 (Hz) Depth Adjust the depth of modulation, Value: 0-127 ‘Adjust the amount of feedback forthe phaser. Value: 0-127 Mix (Mix Level) Aust the ratio with which the phase-shifted sound is combined with the direct sound. Value: 0-127 Pan (Output Pan) Adjust the stero locaton ofthe output sound. Lé4 is far left is center, and 638 is far right Value: Lst- 63 Level (Output Level) Adjust the output level Value: 127 84 05: SPECTRUM Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specie fixed Itis similar to an equalizer, but has 8 frequency poin at locations most suitable for adding character tothe sound. Lin Lou Alin ee Rout Band 1 (Band 1 Gain) ‘Adjust the 250 Hz level Value: -15- +15 {4B} Band 2 (Band 2 Gain) ‘Adjust the 500 Fz level Value: -15- +15 (4B) Band 3 (Band 3 Gain} ‘Adjust the 1000 Hz level Value: -15-+15 (8 Band 4 (Band 4 Gain} ‘Aajust the 1250 Hz level Value: -15- +15 {4B} Band 5 (Band 5 Gain) ‘Adjust the 2000 He tevel. Value: -15-+15 [48] Band 6 (Band 6 Gain) Adjust the 3150 He level Value: -15~ +15 [48] Band 7 (Band 7 Gain) Adjust the 4000 He level Value: -15- 15 (48), Band 8 (Band 8 Gain) Adjust the 8000 He level Value: 15- +15 (48) Q Simultaneously adjust the width of the adjusted areas for all the frequency bands Value: 05, 10,20, 40,80Chapter 6. Effect Settings Pan (Output Pan) #1 Adjust the stereo location ofthe output sound, L64 is far left, is center, and 63R is fr right, Value: L6t-63R, Level (Output Level) #2 Ajust the outpat level, Value: 0-127 06: ENHANCER ‘The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness tothe sound. nL peer oe bo £. eo. Ri. Enhancer 9 L-row Sens (Sensitivity) #1 Adjust the sensitivity of the enhancer Val oy (Mix Level) #2 Adjust the ratio with which the overtones generated by the enhancer are combined with the ditect sound. Value: 0- Low Gain Adjust the gain ofthe low froguency range. (dB Value: -15-+15 High Gain ‘Adjust the gain of the high frequency vange. Value: -15-+15 {4} Level (Output Level) Adjust the output level Value: 0-127 07: AUTO WAH ‘The Auto Wah cyclically controls after to create cycle change in timbre, Filter Type Select the typeof filter Value LPF: The wah effect willbe applied over a wide frequency range BPP, ‘The wah effect willbe applied aver a naerow frequency range Sens (Sensitivity) Adjust the sensitivity with which the fter is controlied Valu 04 27 Manual #1 Adjust the center frequency fcom which the effect is applied Value: 0-127 Peak Adjust the amount of the wah effet that will occur inthe area ofthe center frequency. Lovver settings will cause the cffect to be applied in a broad area around the center Frequency. Higher settings will eause the effec tobe applied ina more narrow range. Value: 0-127 Rate #2 ‘Adjust the frequency of the modulation. Value: 0.05-10.0 [Hz] Depth Ais the depth of the modulation Value: 0-127 Polarity Sets the cretion in which the Frequency will change when the auto-wal filter madulated. With a setting of Up, the filter will change toward a higher Iequency. With setting of Dow, it wll change toward a lower frequency. Value: UP, DOWN Level (Output Level) Aajust the output level Value: 0-127 85Chapter 6. Effect Settings 08: ROTARY The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past rotors Since the movement ofthe high range and lov rang can be sot independently, the unique type of modulation characteristic ofthese speakers can be simulated quite closely. This effect most suitable for electric organ Patches. \ Lou Low Slow (Low Frequency Slow Rate) Adjust the slow speed (SLOW) ofthe low frequency rotor Value: 0.08-10.00 [He] Tieiary Low Fast (Low Frequency Fast Rate) Adjust the fast speed (FAST) of the low frequency rotor. Value: 0.05-10.00[F2} Low Accel (Low Frequency Acceleration) Adjust the time it takes the low frequency rotor to reach the ted speed when switching from fast to slow (or slow to fas) speed. Lower values will require longer times. Value: 0-15, newly Low Level (Low Frequency Level) Aust the volume ofthe low frequency rotor Value: 0-127 High Slow (High Frequency Slow Rate) Adjust the slow speed (SLOW) of the high frequency rotor. Value: 0.05-10.00 fz} High Fast (High Frequency Fast Rate) Adjust the ast speed (FAST) ofthe high frequency soter Value: 0.05-10.00 [2] High Accel (High Frequency Acceleration) Adjust the ime it takes the high Frequency rotor to reach the newly seletel speed when switching from fast to slo (or slow to fas) speed. Lover values will equite longer times. Value: 0-15, High Level (High Frequency Level) Aust the volume ofthe high frequency rotor. Value: 0-127 Separation ‘Adjust the spatial dispersion ofthe sound, Value: 0-127 Speed #1 Simultaneously switch the rotational speed of the tow frequency rotor and high frequency roto Value SLOW: Slow down the rotation to the specified speed (the Low Slow /Hi Slow values) FAST: Speed up the rotation to the specified speed (the Low Fast/Hi Fast values) + When you swt to use the pda the Rotary rotation speed, select MEX PARAMETER 1 in Control Peal Assign (p. 73) itch to Level (Output Level) #2 Adjust the output level Value: 0-127 8609: COMPRESSOR The Compressor flattens out high levels andl boosts low levels, smoothing cut unevenness in volume = L-Band) Fant Attack (Attack ‘Adjust the attack time of an input sound. Value: 0-127 re) Sustain Adjust the time over which low level sounds are boosted he specified volume ‘until they read Value: 0-127 Post Gai Ajst the output gain Value: 0, +5, +12, +18 [4B] Low Gain Adjust the low frequency gain Value: -15- +15 (dB) igh Gain Adjust the high frequency gain. Value: -15- +15 148] Pan (Output Pan) #1 Adjust the stereo location of the output sound. L64 is far lef, Dis center, and 63R is far right. Value: L663 Level (Output Level) #2 Adjust the output level Value: 0-127 10: LIMITER ‘The Limiter compresses signals that exceed a specified volume level, preventing distortion from occurring, » a faba un Ban Ri Threshold (Threshold Level) Adjust the vohume at which compression will begin Rout Value: 0-127 Ratio (Compression Ratio) Adjust the compression ratio, Value: 15:1, 41,1008 Release (Release Time) Adjust the time fram when the volume falls below the ‘Threshold Level until compression is no longer applied Value: 0-227 Post Gain Fy Adjust dhe output gain Hy Value: 0, +6, +12, +18 [2] Low Gain Adjust the low frequency gain High Gain Aajust the high frequency gain Value: -15- +15 [a8] Pan (Output Pan) #1 ‘Adjust the stereo location ofthe output sound. L64is far left, Os center, andl 63R is far right Value: Lot- 63 Level (Output Level) #2 Adjust the output level Value: 0-127 87Chapter 11: HEXA-CHORUS Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread tothe sound. Hera honie Pre Delay (Pre Delay Time) Adjust the time delay from when the direct sound begins ‘until the chorus sound is heard, Value: 0.0-100 {ms} Rate #1 Adjust the rate of modulation, Value: 0.05-10.00 [F2 Depth Ajust the depth of modulation, Value: 0-127 Pre Delay Dev (Pre Delay Deviation) Pre Delay determines the time from when the direct sound begins until the processed sound is head Pre Delay Deviation adjusts the differences in Pre Delay between each chorus sound, Value: 0-20 Depth Dev (Depth Deviation) Adjust the difference in modulation depth between each chorus sound. Pan Dev (Pan Deviation) ‘Adjust the difference in stereo location between each cots sound, With a setting of, all chorus sounds will be in the center. With a seting of20, each chorus sound willbe spaced at 60 degre intervals relative tothe center. Value: 0-20 Balance (Effect Balance) #2 Aust the volume balance between the direct sound and the chorus sound. With a setting of D100W only the direct sound willbe output, and witha setting of DO:100W only the chorus sound will be output. valu n1a0:0W-Do-1a0W Level (Output Level) ‘Adjust the output level Value: 0-127 12: TREMOLO CHORUS Tremolo Chorus is a chorus ef (cyclic madulation of volume). ct with added Tremolo nas Pre Delay (Pre Delay Time) Adjust the time delay from when the direct sound begins ‘until the chorus sound is heard, Value: 00-100 [ms] Chorus Rate Adjust the modulation speed of the chorus effect. Value: 0.05-10.00 [Hz] Chorus Depth Aust the modulation depts ofthe chorus eect Value: 0-127 Tremolo Phase Adjust the spread of the tremolo effect. Value: 0-180 [deg] Tremolo Rate #1 Adjust the modulation speed ofthe tremolo effect, Value: 0.05-10,00 [Hz] Tremolo Sep (Tremolo Separation) Adjust the spread of the tremolo effect. Balance (Effect Balance) #2 ‘Adjust the volume balance between the direct sound and the tremolo chorus sound. With a setting of DIO0W only the direct sound will b output, and witha setting of DO100W only the tremolo chorus sound wil be outpst. Value: D100:0W"-Desi00W ————— eeeChapter 6. Effect Settings Level (Output Level) Aust the output level Value: 0-127 13: SPACE-D Space-D isa multiple chor that epplies two-phase ‘modulation in stereo. I gives no impression of modulation, but produces transparent chorus effect Pre Delay (Pre Delay Time) Adjust the time delay from when the direct sound begins ‘until the processed sound is heard Value: 9-100 [ms] Rate #1 Adjust the rate of modulation, Value: (.05-10.00 [Hz] Depth Adjust the depth of modulation. Value: 0-127 Phase Adjust the spatial spread ofthe sound, Value: 0-180 idee] Low Gain Aajust the gain ofthe love Frequency range. Value: -15~ +15 [2] jh Gain Adjust the gain ofthe high frequency range. Value: -15- +15 [45] Balance (Effect Balance) #2 just the volume balance between the direct sound and the ‘horus sound. With a setting of Di000W only the direct, sound will be output, and with a setting of DO:100W only th chorus sound will be output. Value: D100-0W'-Das1oqW Level (Output Level) Adjust the outputlevel Value: 0-127 14: STEREO CHORUS ‘Thisis a stereo chorus. A filter is provided so that you can. adjust the timbre ofthe chorus sound, Lin er Pad ow eo [ot Cane aaunce wd Crone Rin 28a | pow ‘alee sa [~* Pre Delay (Pre Delay Time) ‘Adjust the time delay from when the dix _untl the processed sound is heard Value: 0.9-100 {ms} sound begins Rate #1 Adjust the rate of modulation. Value: 0.05-10.00[F2} Depth Adjust the depth of modulation. Value: 0-127 Phase ‘Adjust the spatial spread ofthe souncl Value: 0-180 [des] Filter Type Select the typeof filter Value OFF: 9 flter will nthe wsed LPF: cut the frequency range above the cut frequency HPF: cut the frequency range below the cutoff frequency Cutoff Freq (Cutoff Frequency) Adjust the base frequency ofthe filter Value: 200-8000 [Hz] Low Gain Adjust the gain ofthe low frequency range. Value: 15-415 [a] 89 aodHigh Gain Adjust the gain ofthe high frequency range Value: -15-+15 [48] Balance (Effect Balance) #2 Adjust the volume balance between the direct sound anel the chorus sound. With 2 setting of D1OO:0W only the direct sound will be output, and with a setting of DO:100W only the chorus sound will be output Value: D100:0W-Do:100W Level (Output Level) Adjust the output level 15: STEREO FLANGER “This is a stereo flanger, (The LFO has the same phase fr left andl right) It produces a metallic resonance that rises and falls like ajet airplane taking off or landing, A fer is ‘provided so that you can adjust the timbre ofthe flanged sound, ® ‘Balance D £Q. * Pre Delay (Pre Delay Time) ‘Adjust the time delay from when the direct sound begins ‘until the flanger sound is hear. Value: 00-100 fms} Rate #1 “Adjust the rate of modulation, Value: 0.05-10.00 [Hz] Depth Adjust the depth of modulation, Value: 0-127 90 Feedback (Feedback Level) #2 Adjust the amount (%) ofthe processed sound thats, returned (fed back) into the input, Positive (¥) settings will return the sound in phase, and negative () settings will return the sound in reverse phase. Value: 98-+98(%, Phase ‘Adjust the spatial spread ofthe sound. Value: 0-160 [eg] Filter Type Select the type of filer. OFF: a iter will not be used LPF: cutthe frequency range above the cutoff frequency HPF: cut the frequency range below the cutoff frequency Cutoff Freq (Cutoff Frequency) Adjust the basic frequency ofthe filter. Value: 200-8000 [Hz] Low Gai Adjust the gain 15 [a6] 1 lor Frequency range, Value: 1 High Gain Adjust he gin of the igh frequency range Value: 15-15 [5] Balance (Effect Balance) Adjust the volume balance between the direct sound and the ‘anger sound. With a setting of D1OO-0W only the direct sound willbe output, and witha setting of DOOOW only the flanger sound willbe output. Value: D100:0W-Do:100W Level (Output Level) Adjust the output level Value: 0-12716: STEP FLANGER ine Step Flanger effect is 2 flanger in which the flanger pitch changes in steps. EB . — § ates Farper} cy tatance w aaron Ea Pre Delay (Pre Delay Time) Adjust the time delay from when the direct sound begins ‘until he anger sound is heard Value: 00-100 fens] Rate Adjust the rate of modulation, Value: 0.05-10.00 [H} Depth Adjust the depth of modulation, Value: 0-127 Feedback (Feedback Level) #1 Adjust the amount (1%) ofthe flanger sound that is returned (ed back) into the input. Negative (>) settings will invest the phase, Value: 98-498 [6] Phase Adjust the spatial spread of the sound. Value: 0-180 [deg] Step Rate #2 Adjust the rate (perio of pitch change. Value: 0 20.0 [H2], note-value symbols [ step Rate parameter can be set as a note-value of a specified tempo. In this case, specify the value ofthe desired note. The Tempo (p. 76 setting changes tothe basic tempo. | Low Gain ‘Adjust the gain ofthe low frequency range 8) Value: 5-15 Chapter High Gain ‘Adjust the gain ofthe high frequency range Value: -15-+15 (4B) Balance (Effect Balance) ‘Adjust the volume balance between the dsect sound and the flanger sound. With a seting of DIOD-OW only the disct sound willbe output, and witha setting of D-100W only the chorus sounel wll be output Level (Output Level) Adjust he outpot ove Vatu Cio — 1Chapter 6. Effect Settings 17: STEREO DELAY ‘Thisisa stereo delay. When Feedback Mode is NORMAL: PEEL ow 7 = Sand ateo® ca [ho When Feedback Mode is CROSS: Gales re [-row Balsa Eo. Delay Left (Delay Time Left) Aafjust the time from the ditect sound until wher the left delay sound is heard Value: 00-500 fms} Delay Right (Delay Time Right) Adjust the time from the direct sound until when the right delay sound is heard, Value: 0.0-500 {ms} Feedback (Feedback Level) #1 .) ofthe delay sound thats fed back Aj the propostion int the effect. Negative () settings will inver the phase Value: 98 +58 (%) Feedback Mode Select the way in which delay sound is fed back into the eifet Value NORMAL: The let delay sounel will be fe back into the left delay, ad the right delay sound into the right delay. CROSS: The left delay sound will be fed back into the right delay, and the right delay sound into the lett delay, 92 Phase Left (Feedback Phase Left) Select the phase of the lft delay sound, Value NORMAL: Phase is not changed, INVERT. Phase is inverted. Phase Right (Feedback Phase Right) Select the phase ofthe right delay sound, Value NORMAL: Phase s not changed INVERT: Phaseis inverted HF Damp. Adjust the frequency above which sound fed back to the effect will be cu. Ifyou do not want to cut the high frequencies ofthe feecback, set this parameter to BYPASS. Value: 200-8000 [Hz], BYPASS Low Gain Adjust the gain ofthe low frequency range. Value: -15-+15 4B] High Gain Adjust the gain of the high frequency range. Value: 15- +15 [48] Balance (Effect Balance) #2 Adjust the volume balance between the direct sound andi the delay sound. With a seting of D1004W only the direct sound, will be output, and with a setting of DO:LOOW only the delay sound will be output Value: D1a0.0w-Do-100W Level (Output Level) Adjust the output ove Value: 0-127Chapter 6. Effect Settings 18: MODULATION DELAY This effect ades modulation to the delayed sound, producing an effect similar toa flanger. ‘When Feedback Mode is NORMAL: Lin eo [PBL out eg tot paar} aaa aareew Baarce LEQ . When Feedback Mode Is CROSS: Lin Leow L-now Delay Left (Delay Time Left) Adjust the time from the direct sound until when the left delay sound is hear, Value: 0-500 fms} Delay Right (Delay Time Right) Aadjust the time from the direct sound until when the right delay sound is hear. Value: 0.0-500 ms Feedback (Feedback Level) Adjust the proportion (1) of the delay sound that i fed back Into the effect. Negative (- settings will invert the phase Feedback Mode Select the way in which delay sound is fed back into the effect Value NORMAL: The left delay sound will be fed back into the let lay, and the right delay sound into the right delay. CROSS: The et delay sound will be fed back into the right delay, and the right delay sound into the left delay. Rate #1 Adjust the speed of the modulation, Value: 0.05-10.00 [Hz] Depth Adjust the depth ofthe modulation. Value: 0-127 Phase Adjust the spatial spread ofthe sound. Value: 0-180 [eg] HF Damp ‘Adjust the frequency above which sound fel back tothe effect willbe cut. IF you do not want to cut the high frequencies ofthe feedback, set this parameter to BYPASS. Value: 200-8000 [He], BYPASS Low Gain Adjust the gain of the low frequency range Value: -15- +15 [a8] igh Gain Aust the gain ofthe high frequency rang. Value: -15- +15 [48 Balance (Effect Balance) #2 Aust the volume balance between the direct sound and the ‘modulation delay sound. With a setting of D1OG0W only direct sound will be output, and with a setting of DO:I00W only the medulation delay sound will be output Value: D100:0W-Da.100W Level (Output Level) Adjust the output level Value: 0-127 — 93 CerChapter 6. Effect Set 19: TRIPLE TAP DELAY ‘The Triple Tap Delay produces three delay soun left and right center, sarge D ard, Bard bot out 250d LR out eo P Delay Center (Delay Time Center) Adjust the time delay from the direct sound until when the center delay sound is heard. Value: 200-1000 fms}, note-value symbols Delay Left (Delay Time Left) Adjust the time delay from the dizect sound until when the left delay sound is heard. Value: 200-1000 [ms], note-value symbols Delay Right (Delay Time Right) Aafjust the time delay right delay sounel is heard. 1m the direct sound until when the Value: 200-1000 [ms], note-value symbols (Gan) Cony Land bony Ryommeescantesas ] | nota of speed tempo nis case spec the | value ofthe desired nate. The Tempo (p. 76) setting changes tothe basi emp, Feedback (Feedback Level) #1 Adjust the proportion (%) ofthe delay sound that is fed back ino the effet, Negative () settings will invert the phase. Value: 98-498 Center Level Aajst the volume ofthe center delay sound. Value: 0-127 Left Level Ast the volume ofthe left delay sound. Value: 0-127 94 Right Level Adjust te volume ofthe right delay sounel Value: 0-127 HF Damp. Adjust the frequency above which sound fed back tothe effect will be cut, Ifyou do not want to cut the high frequencies of the feedback, set this parameter t BYPASS. Value: 200-8000 [He], BYPASS Low Ge Adjust the gain ofthe low frequency range. Value: -15- +15 {48} High Gain Adjust the gain ofthe high frequency range. Value: -15- +15 [4B] Balance (Effect Balance) #2 Adjust the volume balance between the direct sound and the delay sound. With a setting of D100:0W only the direct sound willbe output, and witha setting of DO-0OW only the delay sound will be output. ‘Value: Di00:0W-Do00W Level (Output Level) Adjust the output level Vatue: 0-12720: QUADRUPLE TAP DELAY ‘The Quadruple Tap Delay has fou The stereo location of each delay sound is as follows, Delay 1 (Delay Time 1) Adjust the time delay from the diet sound antl when delay 1 sound is hear. Value: 200-1000 (ms, note-value symbols Delay 2 (Delay Time 2) Aust the time delay from the direct sound sntil when delay 2 sound is hear. Value: 200-1000 ms], note-value symbols Delay 3 (Delay Time 3) just the time delay from the dect sound until when delay 3 sound is heard Value: 200-1000 [ms], note-value symbols Delay 4 (Delay Time 4) Ajust the time delay from the iret sound until when delay 4 sound is heard Value: 200-1000 fo | note-value symbols { Delay 1-4 parameters canbe set asa note-value of a specified tempo In this case, speci the value ofthe desired note. The Tempo (9.76) sting changes to the | basic tempo. Level 1 Adjust the volume of delay 1 sound. Value: 0-127 Level 2 Adjust the volume of delay 2 sound Value: 0-127 Level 3 Adjust the volume of delay 3 sound. Value: 0-127 Level 4 ‘Adjust the volume of deta Value: 0-127 Feedback (Feedback Level) #1 Adist the proportion (%) ofthe delay sound that i fed backe into the effect. Negative (-) settings will invert the phase Value: -98- +98 (%) HF Damp Adjust the Frequency above which sound fed back tothe effect will be cut If you do not want o ext the high frequencies ofthe feedback, set this parameter to BYPASS. Value: 200-8000 [He], BYPASS eed Balance (Effect Balance) # Adjust the volume balance between the direct sound delay sound. With a setting of DIO0OW only thedltec sound. willbe output, and with a setting of O:100W only the delay sound will e output Value: D100.0W-Do:tonW he Level (Output Level) Adjust the output level Value: 0-127 95Chapter 6. Effect Settings 21: TIME CONTROL DELAY ‘You can use the modulation lever and nabs to change the delay time and pitch in rea time (p. 71). Lengthening the delay will lower the pitch, and shortening it will raise the pie. Lin fevow eared aaa} ier cory EA Ri Ler out Delay (Delay Time) #1 Adjust the time delay from the dliect sound until when each delay sound is heard Value: 200-1000 (ms) Acceleration This parameter adjusts the time over which the Delay Time ‘will change from the current setting to a newly specified setting. The rate of change for the Delay Time directly affects the rate of pitch change Value: 0-15, Feedback (Feedback Level) #2 ‘Adjust the proportion (%) ofthe delay sound that is fed back int the effect. Negative () settings will invert the phase Value: 98-498 [4] HF Damp Adjust the frequency above which sound fed back to the effect willbe cut. Ifyou do not want to cut the high frequencies of the feedback, set this parameter to BYPASS, Value: 200-8000 [Fz], BYPASS Pan (Output Pan) Adjust the stereo location ofthe delay sound. Ls far lft, 0 fs center, and 63R is far right. Value: Ls4-saR Low Gain Aaijust the gain ofthe low frequency range. Value: -15~ +15 [eB) High Gain Aalst the gain ofthe high frequency range. Value: -I5- +15 [48] 96 Balance (Effect Balance) Adjust the volume balance between the direct sound and the delay sound. Witha setting of D100: only the directsound. willbe output, and witha setting of D0:100W only the delay sound willbe output, Value: D100-0W-Do-tonW Level (Output Level) Adjust the output level Value: 0-127 22: 2VOICE PITCH SHIFTER ADPteh Shifter shifts the pitch of the direct sound, This = ‘voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds tothe direct sound. aie Ri CoarseA (Coarse ha) #1 Adjust the pitch of Pitch Shift A in semitone steps (2-41 octaves) Value: -21- +12 [semi Fine A (Fine Pitch A) #1 Make fine adjustments tothe pits of Pitch Shift A in cent steps (100-+100 cents (One cents 1/ 100th of a semitone. Value: -100- +100 [cent Pan A (Output Pan A) Aust the stereo location ofthe Pitch Shift A sound, L64 is far left, Dis center, and 63IR is far right Value: L6i-69R Pre Delay A (Pre Delay Time A) Acjust the time delay from when the dizec sound begins until ehe Pitch Shift A sound is heard Value: 0.0-500 fms]Chapter 6. Effect Settings CoarseB (Coarse Pitch B) #2 Adjust the pitch of Pitch Shift Bin semitone steps (-2-+1 octaves) Value: -24- +12 (semi) Fine B (Fine Pitch B) #2 ‘Make fine adjustments tothe pitch of Pitch Shift Bin 2cent steps (-100-+100 cents). (One cent is 1/100th ofa semitone Value: -100- +100 feet] Pan B (Output Pan B) Aalst the stereo location of the Piteh Shift B sound, Lo is far left, 0 is center, andl 63R is far right. Value: 161-63 Pre Delay B (Pre Delay Time B) ‘Adjust the time delay from when the dizect sound begins ‘until the Pitch Shift A sound is heard Value: 0-500 [ms} Mode (Pitch Shifter Mode) Higher settings ofthis parameter will result in slower response, but steadier pitch, Value: 1,2,3,4,5 Lev Belance (Level Balance) Adjust the volume balance between the Pitch Shift A and Pitch Shift B sounds, Value: A100:08-A0:1008 Balance (Effect Balance) ‘Adjust the volume balance between the direct sound and the piteh shift sound, With a setting of DIO0.0W oly the direct sour will be output and with a setting of DO:1O0W only the pitch shift sounel will be outp. Value: D100.0W-Do-100W Level (Output Level) Adjust the output level Value: 0-127 23: FBK PITCH SHIFTER (Feedback Pitch Shifter) This piteh shifter allows the pitch shifted sound to be fee back into the effect, Lin fetow -9—[Fieh Shier | ae Balance W Rin [PERL en out Coarse (Coarse Pitch) #1 Adjust the piteh ofthe pit shifted sound in semitone steps 1 octaves). Value: -24- +12 semi Fine (Fine Pitch) #1 Make fine adjustments to the pitch ofthe pitch shifted sound in 2-cent steps (2-11 octaves) Value: -100- +100 [cent] Feedback (Feedback Level) #2 Adjust the proportion (%) ofthe processed sound that is fed back into te effect. Negative (-)setings wil invert the coer) phase Value: -98- +98 [4] Pre Delay (Pre Delay Time) Adjust the ti we delay from when the direct sound begins until the pitch shifted sound is heard. Value: 0.0-500 [ms] Mode (Pitch Shifter Mode) Higher settings ofthis parameter will result in slower response, but steadier pitch Value: 1, 2,3, 4,5 Pan (Output Pan) ‘Adjust the stereo location ofthe pitch hited sound. is far let 0s center, and GBRis far right Value: Lsi-san Low Gain ‘Adjust the gain ofthe low frequeney range. Value: -15-+15 (4B) 7High Gain Aaijust the gain of the high frequency range. Value: 5-415 [48] Balance (Effect Balance) Acjust the volume balance between the direct sound and the pitch shift sound. With a setting of D100.0W only the dizect sound will be output, and with a setting of DO:1O0W only the pitch shift sound will be output Value: D100:0W-Do.100W Level (Output Level) Aaijust the output level, Value: 0-127 24: REVERB ‘The Reverb effect ads reverberation to the sound, simulating an acoustic space. £0 ew one Tae Band Bleed £0 Lemon Type (Reverb Type) Select the type of Reverb effect Value ROOML: dense reverb with short decay ROOM2: sparse reverb with short decay STAGEI: | revers with greater late reverberation STAGED: reverb with strong early reflections HALLI: reverb with clear reverberance HALL2: — severb with rich reverberance Pro Delay (Pre Delay Time) Adjust the ime delay from when the dec sound besins nti the reverb sound i heard Value: 0.0-100 (ns Time (Reverb Time) #1 Ajust the time length of reverberation Value: 0-127 98 HF Damp. Aajustthe frequency above which the reverberant sou will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a safer and more muted reverberance. If you do not want the high frequencies to be cut, et this parameter to BYPASS. Value: 200-8000 [H2}, BYPASS Low Gain Adjust the gain ofthe love frequency range Value: -15-+15 48) High Gain Aaijust the gain of the high frequency range. Value: -15- +45 [48] Balance (Effect Balance) #2 Adjust the volume balance between the direct sound and reverb sound, With a setting of D100-0W enly the direct sound will be output, and with a setting of DO:100W only the reverb sound will be output Value: Didn-W-Do-100W Level (Output Level) Adjust the output leve! Value: 0-127Chapter 6. Effect Settings 25: GATED REVERB Gate Reverb isa special type of reverb in which the reverberant sound is cutoff before its natural length ear |. Bar ou Gaed haves 2band ‘eles £0. Rin J rou Type (Gated Reverb Type) Select the type of reverb. Value NORMAL: conventional gate reverb REVERSE: backwards reverb SWEET": SWEEP2: the reverberant sound moves from right to lft the reverberant sound moves from lft t right Pre Delay (Pre Delay Time) Aciust te time delay from when the direct sound begins until the reverb sound is hen. Value: 0.0-100 ms} Gate Time Adjust the time from when the reverb is heard until when it dlisappears. Value: 5-500 {ms} Low Gain Adjust the gain ofthe low frequency range Value: -15-+15 48] High Gain -Aajust the gan of the high frequency range Value: 15- +15 [28] Balance (Effect Balance) #1 Adjust the volume balance between the dizect sound and the reverb sound. With a setting of D100-0W only the direct sound willbe output, and witha setting of DOs1A0W only the reverb sound will be outpat Value: D100:0W-Do:100W Level (Output Level) #2 Aust he output level Value: 0-127 26: OVERDRIVE->CHORUS ‘This effect connects an overdrive and chorus in series Lin o [ 4 S Low Ri. Rout ©D Drive ‘Adjust the degree of overdrive distortion. The volume will ange together with the degree of distortion Value: 0-127 OD Pan (Overdrive Pan) #1 ‘Adjust the stere location ofthe overdrive sound. L6tis far lef, Os center, and 63R sft right Value: Leta Chorus Delay (Chorus Pre Delay Time) Ajust the time delay from when the direct sound begins ‘unt the chorus sound is heard, Value: 00-100 ims} Chorus Rate Adjust the modulation speed of the chorus effect. Value: 0.05-10.00 (H2} Chorus Depth Adjust the modulation depth ofthe chorus effet Value: 0-127 Chorus Bal (Chorus Balance) #2 Adjust the volume balance between the overdrive sound that Is sent through the chorus and the overdrive sound that is dha setting of “DI000W,” only the overdrive sound will be output, With a setting of “DO:100W,” only the overdrive sound thats sent Hough the chorus willbe ostpt not sent through the chorus. Wi Value: Din:0\v-Da:100W Level (Output Level) Adjust the outpt evel Value: 0-127 9 coerChapter 6. Effect Settings 27: OVERDRIVE—-FLANGER ‘This effect connects an overdrive ancl flanger in series, Lin Fin ©D Drive Adjust the degree of overdsive distortion. The volume will, change together with the degree of distoréon. Value: 0-127 OD Pan (Overdrive Pan) #1 Adjust the stereo location of the overdrive sound. Létis far lefts center, and 63R is far right. Value: Leto Flg Pre Dly (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins until flanger soune is beard, Fig Rate (Flanger Rate) Adjust the modulation speed ofthe flanger effect, Value: 0.05-10.00[Hz} Fig Dpt (Flanger Depth) Adjust the modulation depth ofthe anger effec. Value: 0-327 Fig Feedback (Flanger Feedback Level) Adjust the proportion (0) ofthe flanger sound that is fed back into the fect, Negative () settings will invert the phase, Value: -98~ 498 [%] Flg Balance (Flanger Balance) #2 Adjust the volume balance between the overdrive sound that is sent through the anger and the averdrive sound thatis not sent through the flanger. With a setting of "DIO00W,” only the overdrive sound willbe output. With a setting of “DO-100W,”" only the overdrive sound that is sent through the Banger will be out. Value: D100:0W-Do:100 100 Level (Output Level) Adjust the output level Value: 0-127 28: OVERDRIVE—»DELAY This effect connects an overdrive and a delay in series, > ©-[_Delay } _ \ See mow OD Drive Adjust the degree of overdsive distortion, The volume will sige together with the degree of distortion, Value: 0 7 OD Pan (Overdrive Pan) #1 Ast the stereo location ofthe overdrive sound. L64 is far lef Os center, and 63R is far right Value: Lét-ca Delay Time just ‘until the delay sound is heat Value: 00-500 fms} o time delay from when the direct sound begins Delay Feedback (Delay Feedback Level) Adjust the proportion (%) ofthe delay sound that is fed back Into the effect, Negative (-) settings will invert the phase Value:-98- 598% Delay HF Damp Adjust the frequency above which delayed sound fel back to the effect will be cut. If you do not want to cut the high frequencies ofthe feecback, set this parameter to BYPASS. Value: 200-8000 [Fiz], BYPASS Delay Bal (Delay Balance) #2 ‘Adjust the volume balance between the overdrive sound that is sent through the delay and the overdrive sound that isnot sent through the delay. Witha setting of "D1000W,” only the overdrive sound will be output. With a setting of "DO:10W," only the overdrive sound thats sent through the delay will be output. Value: Di00.0W-Dos100WLevel (Output Level Adjust the output evel Value: 0-127 29: DISTORTION->CHORUS ‘This effect connects distortion and chorus in series. The [parameters ae essentially the same a5 "26: OVERDRIVE —» CHORUS," with the exception ofthe following two, (OD Drive + Dist Drive (Specify the amount of distortion) OD Pan + Dist Pan Specify the stereo location ofthe distortion sound.) Row 30: DISTORTION-FLANGER “This effect connects distortion and flanger in series. The parameters are essentially the same asin "27: OVERDRIVE. “+ FLANGER," withthe exception ofthe following two. (OD Drive + Dist Drive (Specify the amount of distortion.) ‘ODPan_— Dist Pan (Specify the stereo location of the distortion sound) 31: DISTORTION--DELAY ‘This effect connects distortion and delay in series. The parameters are essentially the same asin "28: OVERDRIVE = DELAY," with the exception ofthe following two. ‘OD Drive + Dist Drive (Specify the amount of distortion.) ODPan ~» Dist Pan (Specify the stereo location of the dlistortion sound} coer 101Chapter 6. Effect Settings 32: ENHANCER->CHORUS This effect connects an enhancer and a chorus in series. Lin Fo Low Rin Rout Enhancer Sens (Enhancer Sensitivity) #1 Aust the sensitivity ofthe enhancer: Value: 0-127 (Enhancer Mix Level) With which the overtones generated by the enhancer are combined with the direct sound. 127 ‘Adjust the rat Value: Chorus Delay (Chorus Pre Delay Time) Adjust the time delay from whe until the chorus sound is heard Value: 0.0-100 ms] direct sound begins Chorus Rate Adjust the modulation speed of the chorus efect Value: 0.05-10.00(H2} Chorus Depth Adjust the modulation cepth ofthe chorus eect. Value: 0-127 Chorus Bal (Chorus Balance) #2 Adjust the volume balance between the enhancer sound that {is sent through the chorus and the enhancer sound that isnot sent through the chorus. With a setting of "DI00-0W,” nly the enhancer sound will be output. With a setting of "DO-1OQW,” only the enhancer sound thats sent through the chorus will be output Value: D100:0W-Do:100W Level (Output Level) Aust the output level Value: 0-127 102 33: ENHANCER-FLANGER This effect connects an enhancer and a flange in seves. Rou Enhancer Sens (Enhancer Sensitivity) #1 sensitivity ofthe enhancer Enhancer Mix (Enhancer Mix Level) ‘Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound. Value: 0-127 Flg Pre Dly (Flanger Pre Delay Time) Adjust the time delay fom when the direct sound begins antl he flanger sound iheard Vatue: 00-100 (es) Flg Rate (Flanger Rate) Aust the m Value: 0.05-10.0 2] Julation speed ofthe flanger effec. Flg Depth (Flanger Depth) ‘Aust the modulation depth ofthe anger effec. Value: 0-127 Fig Feedback (Flanger Feedback Level) Adjust the proportion (%) ofthe an back into the effect. Negetive() settings will invert the phase, Value: 98- +98 Fig Balance (Flanger Balance) #2 Aust the volume balance between the enhancer sounel that is sent through the flanger and the enhancer sourd that isnot sent dhrough the flanger. With a setting of "D1O00W," only the enhancer sound will be output With a setting of “D0:100W," only he enhancer sound that is sent through the Aanger willbe output Value: D100.0W-Dosto0WLevel (Output Level) Aust the output level Value: 0-127 34: ENHANCER->DELAY This effect connects an enhancer and a delay in series, (in-ear Low Enhancer Sens (Enhancer Sensitivity) #1 Adjust the sensitivity ofthe enhancer 7 Value: 0 Enhancer Mix (Enhancer Mix Level) Adjust the ratio with which the evertones generated by the enhancer are combined with the direct sound, Value: 0-127 Delay Time Aust the time delay from when the direct sound begins il the delay sound is hear, Value: 0.0-500 fms] Delay Feedback (Delay Feedback Level) Adjust the proportion (5) of the delay sound that is fed back {nto the delay input. Negative ( settings wil invert the phase. Value: 5-498 [% Delay HF Damp Adjust he frequency above which delayed sound fd back to the delay input will be cut Ifyou donot want to cut the high frequencies ofthe delay feedback, st this parameter 9 BYPASS. Value: 200-8000 [Hz], BYPASS Delay Bal (Delay Balance) #2 ‘Adjust the volume balance between the enhancer sound that is sent through te delay and the enhancer sound that isnot sent through the dela. Witha sting of “D100.0W” only the enhancer sound willbe output With setting of "DDIO0W,” only the enhancer sound that is sent through the delay will be output Value: D100;0W-Des100W Chapter 6. Effect Settings Level (Output Level) Adjust the output level, Value: 0-127 35: CHORUS->DELAY This effect connects a chorus and a delay unit in series. Chorus Delay (Chorus Pre Delay Time) Adjust the time delay from when the direct sound begins until the chorus sound is heard, Value: 010-100 [ms] Chorus Rate Aust the modulation speed ofthe chorus effect. Value: 0.05-10.00 (F42} coer Chorus Depth Adjust the modulation depth ofthe chorus eect. Value: 0-127 Chorus Bal (Chorus Balance) #1 Aaiust the volume balance between the direct sound and the chorus sound, With a setting of "D100:0W,”" only the direct sound will be output, With a setting of "DO:100W," only the chorus sound will be output. Value: Dio0.0W-D0-100" Delay Time ‘Adjust the time delay from when the direct sound begins ‘until the delay sound is heard, Value: 0.0-500 {ms} Delay Feedback (Delay Feedback Level) Adjust the proportion (4) ofthe delay sound that i fd back into the delay input, Negative () settings wil invert the phase Value: 98-498 [4] —— 103Chapter 6. Effect Settings Delay HF Damp Aajustthe frequency above which delayed sound fed back the delay inpat willbe cut. Ifyou do not want to at the high frequencies of the feedback, st this parameter to BYPASS. Value: 200-8000 [Hz], BYPASS Delay Bal (Delay Balance) #2 Adjust the volume balance between the chorus sound that sent through the delay and the chorus sound that is not sent though the delay. With a setting of “‘D100-0W," only the chorus sound will be output. With a setting of “0:00 nly the chorus sounel thts sent through Se delay willbe output Value: D100.0W-Da.100W Level (Output Level) Adjust the output level Value: 0-127 36: FLANGER-DELAY ‘This effect connects a flanger and a delay in seves. Fig Pre Delay (Flanger Pre Delay Time) Adjust the time delay from when the direct sound begins nti the flanger sound is heard Value: 0.0 [ims] Fig Rate (Flanger Rate) Adjust the modulation speed of Value: 0.05-10.00 [32] 3 Hanger eect Flg Depth (Flanger Depth) ‘Adjust the modulation depth of the langer effect. Value: par Fig Feedback (Flanger Feedback Level) Adjust the proportion (%) ofthe Ranger sou back into the effect. Negative () settings wil invert the phase Value: 98 +98 [4] fee Fig Balance (Flanger Balance) #1 Adjust the volume bolance between the dzect sound and the flanger sound, With a setting of "D100," only the direct sound willbe output. Witha setting of "DO:100W," only the flanger sound will be output Value: Dio0-0W-Dostoqw Delay Time ‘Adjust the ime delay from when the diret sound begins conti he delay sound is heard Value: 00-500 ms] Delay Feedback (Delay Feedback Level) ‘Adjust the proportion (0) ofthe delay sound that is fed back {nto the delay input. Negative () settings wil invert the phase Value: -98- +98 4] Delay HF Damp Adjust the frequency above which delayed sound fed back to the delay input will be cut. f you do not want to eu the high Frequencies ofthe delay feedback, se this parameter to BYPASS. ‘Value: 200-8000 {Fiz}, BYPASS Delay Bal (Delay Balance) #2 ‘Adjust the volume balance between the flanger sounel that is sent through the delay and the la through the delay. With a setting of “DIOOOW,"” only the flanger sound will be output, With aseting of “DO-10OW,” only the flanger sound that is sent through the delay will be output Value: Din0-0W-Do:100W sound that isnot sent Level (Output Level) ‘Adjust the output level Value: 0-127 37: CHORUS—FLANGER This effect connects a chorus and a flanger in series. 104Chapter 6. Effect Settings Cho Delay (Chorus Pre Delay Time) Adjust the time delay fom when the direct sound begins ‘nti the chorus sound is heard Value: 0.0-100 [ms] Chorus Rate Adjust the modulation speed of the chorus eect: Value: 1:05-10.00 (F¥2} Chorus Depth Aajust the modulation depth ofthe chorus eect. Value: 0-127 Chorus Bal (Chorus Balance) #1 ‘Adjust the volume balance between te direct sound and the chorus sound. With a setting of "DIOLOW,” only the ditect sound will be output With a setting of *DO:1ONW,” only the chorus sound will be output. Value: D100:0W-Dos190W Fig Pre Delay (Flanger Pre Delay Time) Adjust the ime delay from when the direct sound begins unt he flanger sound is heard Value: 0.0-100 [rs] Fig Rate (Flanger Rate) Adjust the modulation speed ofthe flanger effect. Value: 0.05-10.00 [+2] Flg Depth (Flanger Depth) Ast the modulation depth ofthe Fan Value: 0-127 Fig Feedback (Flanger Feedback Level) ‘Adjust the proportion (%) ofthe flanger sound thats fet back into the effect. Negative () settings will invert the Value: -98- +98 [%] Fig Balance (Flanger Balance) #2 Adjust the volume balance between the chorus sound and the chorus sound that is passed through the flanger. With a setting of “D100W,” only the chorus sound will be output. With a setting of "D0:100W,” only the chorus sound that passes through the flanger will be output. Value: D100-0W-Do-100" Level (Output Level) Adjust the output level Value: 0-127 38: CHORUS/DELAY ‘This effect connects a chorus ad a delay in parallel, The parameters are the same as for "35: CHORUS -> DELAY." However, the Delay Balance parameter adjusts the volume balance betwen the direct sound and the delay sound, Lin o—Lout A avancew 39: FLANGER/DELAY This effect connects a flanger and a delay in parallel. The ‘parameters ace the same as for "36: FLANGER -» DELAY. However, the Delay Balance parameter adjusts the volume [AE balance between the direct sound and the delay sound Hi E 40: CHORUS/FLANGER “This effect connects a chorus and a flanger parallel The parameters are the same as for "37: CHORUS + FLANGER” However, the Flanger Balance parameter adjusts the volume balance between the ditect sound ari the flanger sound, == aa alien W | of A aut 105Chapter 6. Effect Sei 41: LOFI ‘This effect intentionally degrades audio quality to simolate a Lo-Fi sound, It's particularly effective on drums tne 2eandeO }> Low rin{_ to 2Bandeo J Rout it Down, This setting lowers the audio quality. The audio quality will, worsen as this setting is increased, Value: 0-7 $-Rate Down (Sample-Rate Down) ‘This conrsens the output signal. The sound will become coarser as this setting is lowered. Value: 22,16, 8, 4[kH2] Post Gain Adjusts the output signal Value: 0, +6, +12, +18 [4B] Low Gain Adjust the gain ofthe low frequency cange. Value: 15-415 {a6} High Ge Adjust the gain ofthe high frequency range. Value: 15-415 [a6] Output Specifies how the sound wil be output, With a setting of "MONO," the output sound will be monaural Value: MONO, STEREO Level (Output Level) #1 #2 Specifies the output volume from the Lo-F effec. Value: 0-127 106 42: SLICER By applying successive cus tothe sound) this effect tums a conventional sound into a Sound that appears tobe played as a backing phrase. This s especially effective when applied to sustain-type soun Lin ‘Slee Lout in Sheer Rout Timing Pttern (Timing Pattern) Select a pat becut Value: 1-34 x to specify the timing at which the sound will ‘Accent Pttern (Accent Pattern) Specifies the location of the accents Value: 1-16 ‘Accent Level Adjusts the volume ofthe accents As this setting is increase the accent will e more pronounce. Value: 0-127 Attack Adjusts the attack speed ofthe sound. As thie setting is increased, the attack will become faster Value: 1-10 Rate #1 This sets the period forthe pattern Value: 0.05-10.00 [Hz], note-value symbols Rate parameters can be ct asa note-valne ofa specified} tempo. In this case, specify the value of the dasired note The Tempo (p. 76) setting changes tothe basic tempo, Reset #2 This setting determines whether the pattern is reset (ON), or ‘not (OFF) when sounds are played. Value: OFF, ON Level (Output Level) Aust the output level Value: 0-127Chapter 6. Effect Settings Setting Multi-Effects as On/Off | for Individual Parts You can specify whether to have multi-effects used (ON), oF not used (OFF) for individual Parts only when Source is set to PERFORMANCE, 1. Press [EDIT geting the indicator to light, | 2. Use VALUE [-/[+ to select “Performance Part” 3. Press [ENTER} 4, Press PART | ]/[ BE] to select the Part. 55. Press the numeric key [6] several times to select “Switch.” PART i NFXESTEREO EO Suitcht OFF 6. Press VALUE [/{+] to select the value (OFF, ON), 7, Press [EDIT] The [EDIT] indicator goes out, and you are returned to the previous screen, Mal You can make different chorus settings for each individval g Chorus Settings Performance There are eight types of chorus. You can select any one of these. After selecting the Type, you can change the values for cach ofthe parameters Farthermore, you can set the chorus depth (the amount applied) differently for each individual Partin a Performance Select the Type and Set Each Parameter ‘When you change the Chorus Type, eight different Chosus/ chorus parameters are changed automaticaly to the optimum values. Rather than setting the chorus parameters fone by one, you can make the settings more easly by fist setting the Chorus Type and ther changing only the necessary parameters. These seitings care made differently for each individual Performance. 1. Press [EDIT] zelting the indicator to Tight, 2. Use VALUE [1/[#] to selet “Tone/Drum/ PFMComman.” 3, Press [ENTER] 4, Press the numeric key [7] several times to select the iter you wish to set. PERFORMANCE Ture? CHORUS CHORUS If you hol down [SHIFT] an press 71, you precious item 5. Use VALUE [+/[#] to set the value If you mish to mk settings fr other Parts, repent steps 4-6 6. Press [EDIT] Tire [EDIT] indicator goes out, and you are returned to the previous screen, Type (Chorus Type) ‘You can choose from & types of chorus. Value: (CHORUSI-# General chorus settings. Adds breadth and fullness tothe sound FEEDBACK CHORUS: Chorus that produces # langer-like cffect, creating a sot sound. FLANGER! ‘This effect produces a rising and falling sweep reminiscent ofa jet airplane. SHORT DELAY: This is a delay witha short delay time SHORT DELAY(FB}: This isa delay witha short delay time and many repeats Pre-LPF (Chorus pre-low pass filter) A low-pass filter can be applied tothe sound cominginto the chorus to cut the high feequency range. Higher values wi cat more of the high frequencies, resulting ina more mellow chorus sound. Value: 0-7 Level (Chorus Level) Sets the amount ofthe chorus sound. Value: 0-127 Feedback (Chorus Feedback Level Sets the eve at which the chorus sound is re-inpst (ed back) into the chorus. By using feedback, a denser choris sound can be created, Higher values result ina greater feedback level Value: 0-127 107 CoenDelay (Chorus Delay Time) Sets the delay time ofthe chorus effect. Value: 0-127 Rate (Chorus Rate) Seis the speed (frequency) at which the ch modulated. Higher values result in faster modulation, Value: 0-127 cas sound is Depth (Chorus Depth) Sets the depth at which the chorus sound is modulated Higher values result in deeper modulation Values 0-127 Send levi to Rev (Chorus send level to reverb) es the amount of chorus sound that will be sent tothe reverb, Higher values result in more sound being sent Value: 0-127 Setting the Chorus Depth for Each Part Send Level (Chorus send level) Sets the amount of chorus effect applied in each Part Value: 0-127 1. Press [EDIT], getting the indicator light. 2. Use VALUE [j/[+] toseect“Pesformance Past.” 3, Press [ENTER] AL Press PART [ =] /{ Be | to select the Part 5. Press the numeric key [7] several times tose Level” PART i CHO Send Levelt a 6. Use VALUE [-/[+] to select the value (0-127) 7. Press [EDIT The [EDIT] indicator goes out, and you are returned to the previous screen 108 Chapter 6. Effect Settings Making Reverb Settings You can make different Reverb settings individual Performance. There are eight types of reverb. You can select any one of these. Aftor selecting the Type, you can change the values for neh of the parameters Furthermore, you can make different reverb depth (the amount applied) settings for each individual Par in a Performance. Selecting the Type and Setting Each Parameter ‘When you change the Reverb Type, six different reverb ameters, including Reverb character are changed Automatically to the optimum values. Rather than setting the reverb parameters one by one, you can make the settings ‘more easily by frst setting the Reverb Type and then changing only the necessary parameters, ‘These settings can be made differently foreach icividual Performance. 1, Press [EDITI getting the indicator to light. 2. Use VALUE [/[+] to elect "Tone/Drum/ PEMComman.” 3. Press [ENTER] A, Press the numeri key [S] several times to you wish to set, PERFORMANCE REVERS Ture HELL2 * Ifyou okt down (SHIFT ond press 8, you wil return to the resins tem 5. Use VALUE [/[+] to set the value. © yo wish to ngs for other Pots, repent steps 45. 6. Press [EDIT] “The [EDIT] indicator goes out, and you are returned to the previous screenChapter 6. Effect Settings Type (Reverb Type) ‘You can choose from 8 types of reverb. Value: ROOMI-3: Simulates the reverberation of room, interior. Ie produces a well-defined and spacious reverberation, HALL1,2: Simulates the reverberation exhibited by halls. They provide a deeper reverberation than the Room reverbs. Simulates a plate reverb unit (a type of tifical reverb that utilized a metal plate) DELAY: AA standard delay, that produces ecko elfects PANNING DELAY: This isa special delay in which the delayed sound alternates between left and right, It is effective when you are listening in stereo. Character (Reverb Character) ate reverb effects and 6 and 7 Selects the type of reverb. 0+ are delay effects Value: 0-7, Pre-LPF (Reverb pre-low pass filter) ‘Allow pass filter can be apple to the sound coming int the reverb to cut the high frequency range. Higher values will, cut more ofthe high frequencies, resulting in a more mellow severberation. Value: 0-7 Level (Reverb Level) Sets the amount of the everberant sound, Higher values result in louder reverberation Value: 0-127 Time (Reverb Time) Sets the time over which the reverberation will continue Higher values result in longer reverberation Value: 0-127 Delay Feedback (Reverb Delay Feedback) This parameter is available when the Reverb Character (Character is sett 6,7 or the Reverb Type (Type) is set 10 Delay of Panning Delay sets the way in which delays repeat, Higher values result in more delay repeats Value: 0-127 Setting the Reverb Depth of Each Individual Part Send Level (Reverb send level) Sets the amount ofthe reverb used in each Pat. Value: 0 1. Press [EDIT], getting he indicator to ight 2. Use VALUE [/[#] to select “Performance Part” 3. Press [ENTER] 4. Press PART | <4 J/[ Be | o select the Part 15. Press the numeri key [s] several times to select “Send Level” PART 1 REVERE nd Levelt 48 6. Use VALUE[-J/[¥] to solect the value (0-127) 7. Press [EDIT] ‘The [EDIT] indicator goes eu, and you ae: the previous seen, etumed to aoa 109Chapter 7. Creating your original Tone or Drum Set Creating a Tone ‘You can motify the settings of Preset Tone to create you own original Tone. A Tone that you create can be stored as a User Tone Tones feature ten different parameters, pus multi-etfects, parameters, To create your own Tone, you will modify these parameters, Refer tothe instructions for making the Tone multifcts settings (p. 80. + Youean use the knobs to change parameters other tha the ep. 7H Tone Parameters That Can Be Set [1] TONE Tone Name You can change the name ofthe tone which you created. The numberof characters in names seta twelve Value: space, A~Z, 2-2, 0-9," 88% &"()"4 20/33 reryyy iil LFO Rate Adjusts the modulation rate, or speed, ofthe LFO. Value: -6+- +63 LFO Depth Species the depth of FO. Value: -61— +63 LF0 Delay This setting allows you to adj the interval tat to pass from the momenta key is pressed until the moment that FO begins to take effect Value: 61-469 LFO Filter Sw (LFO filter switch) ‘This determines whether the LEO changes the filler cutoff frequency (ON) or the pitch (OFF), The parameter value is ‘changed when FILTER [LFO ON/OFF] is pressed. Value: OFF, ON (Wab Effect and Vibrato Effect (Changing the filter cutoff frequency with the LFO procluces the “wah effect,” and by changing the pitch with the LFO, you get what is called the “vibrato effect.” 110 Filter Cutoff Sets the frequency at which harmonics willbe cut, This changes the brightness ofthe sound. Value: 61-463 Filter Resonance Provides an adjustment for the amount of emphasis tobe placed on the harmonics in the vicinity of the Cutot? Frequency. The sound takes on a peculiar effec Value: 61-463 Envelope Attack (Envelope attack time) Adjusts the time it takes for the initial portion ofa sound (the ‘attack’ tobe hese after a key is pressed Value: 61-463 Envelope Decay (Envelope decay time) Adjusts the time it will take forthe sound to reach the ‘Sustain Level” The Sustain Level isthe pointat which most of the volume/cutoff frequency modifications have stabilized. Value: 61-9653 Envelope Release (Envelope release time) ‘Adjusts the rime it takes forthe sound to fade avvay after a ey is released, Value: -64- +63 A: Attack time D: Decay time Fi Release time Sound ends Volume | | sustain: Tevet me TOR Tine Nolen noteCreating a Tone 1. Select the Tone you want to edit, * Whe Key Mode i ett Spit or Dun, press PART ( =/ FP To select the Part vith the Tone your nt! fo I Upper Part Lower Part The figure above shows an example where the Upper Parti selected 2. Press [EDIT], getting the indicator to light. 3. Use VALUE [-}/(+] to select “Tone/Drum/ PFMCommon.” 4. Press [ENTER] 5. Press the numer you wish to set ey [1] several times to select the item 1DRS Piano LFO Rates 8 © Ifyou hold down (SEHIET) ond pres (1), you wll eb ts previous ite, Dress [ “2 ]/[ BJ to move the cursor to the name's first character position Note at ze servis other Yu the Tone Nowe scren are <4 J switches te Part displayed, pressing PART 7. Use VALUE [4] to set the value, © ifyow sk o make setings for other Parts, repent steps 5-7 DIT) The [EDIT] indicator goes out, and you are returned to the previous seven, B. Press 1al Tone or Drum Set eadChapter 7. Creating your Creating a Drum Set You can create your own Drum Set by editing the percussion instrument sounds in one of the Preset Drum Sets. A Drum Set that you create can be saved as a User Drum Set. Five parameters (aspects) of Drum Set can be modified. To czeate Your own Drum Se, you will modify these parameters Drum Set Parameters That Can Be Set [2] Drum (DRUMS) DrumSet Name (Drum set name) You can change the name ofthe drum set which you created. The number of characters in names is set at twelve, Value: ere space, AZ, 3-2, 0-9, 1°88 rere ty fis Pitch Adjusts the pitch ofthe percussive sound in semitone steps. Value: 60-467 Level Pon Allows you to set the panning (localization of sound image) for each sound (obtained only witha stereo output). With an increase inthe walue for L, more of the sound will be heard as coming from the let side. Similarly, more ofthe soune will originate at the right if the value of R is increased. When set toRANDOM, you obtain a specialized effect whereby the souind randomly moves left and right with eoch key stroke Value: RANDOM, L63-0-638 Reverb Depth Adjusts the depth of reverb, Value: 27 112 Creating a Drum Set 1. Selec the Drum St you wish o mod. * When Key Mose is se to Split or Dual, pres [b> Ho select the Port PART! = i/ yon at eit “The figure above shows an example where the Lower Parts selected 2. Press [EDIT], getting the indicator to light 3. Use VALUE [4/[#] toselect “Tone/Drum/ PFMCommon.” ‘4, Press [ENTER] 5. Press the numeric key [2] several times to selec the item you wish to set. + you ota dvon {SHIFT} a precious item, f press 21, you wil return to the 6, Except for when you are naming the Drumm Set, press a key to select the percussion instrument you want to et Por Hi Bon3o Pitch’ * If yu wish ta mify the percussion sound of «key outside the sage of the keyboard, use the Transpose function (48) to sift the range of the keyboard. 7. Press [ —]/[ Pe ] to move the cursor to the name's first characte position, [Note that sole screens aber are displayed, pressing PART { = J Part a the Drum Set Name sereen Pe switches the 8. Use VALUE [-]/[+] to set the value. Jao 9, Press [EDIT st to mune seting or other Parts, repent steps 58. The [EDIT] indicator goes out, and you are returned to the previous screen.Chapter 8. Saving Your Settings Saving Tone / Drum Set / Performance When the Tone settings are changed, the ”." inthe lower rightof the LED display lights up, indicating thatthe settings for the selected Tone, Drum Set, or Performance have been changed, ‘When a Tone is being edited, press numeric key [1] several times to select "Tone Name.” When a Drum Setis being edited, press numeric key 2] several times to select ‘DrumSet Name.” When a Performance is being edited, press numeric key [3] to select “PERFORMANCE Name, Tone Name [4PARTPI ‘When Tone settings are changed PNOERS Piano awn TONE? DrunSet Nanel4PaRThl (LILI Part 1 RS Por Kit When Brum Sei stings are changed PERFORMANCE C4PARTPI (a3 || (freee | (Name WLI Gy part a > By ling do [SHIFT] and pressing 1} 0 2, yon will When Performance sotings ate changed PERFORNE POR T Part 1 User: 601 If you select acifferent Tone, Drum Set, or Performance while the dot is it, the current settings are deleted. If there are any settings you want to retain, save them to the User Memory. oe oan ext Tone, Drum Set, cena save Poyformance settings sesncer(p. 115) Assigning a name ‘Changing the name before saving i convenient way to allow you to distinguish differen settings 1, Select the Tone, Drum Set or Performance whose name you want to change (p. 23,26, 29, 30,56), When changing Tone or Dram Set names, f Key Mode is et to Split or Dut, press PART [ = 1 Bm Jt select the Part whose Tone or Drum Seis tobe etd Upper ean be edited 2. Press [EDIT, getting the indicator to light. 3. Use VALUE [1/f+] to select “Tone/Drum/ PFMCommon.” 4, Press [ENTER] return to the precious ites, 6. Press [ <1 ]/[ Be | to move the cursor tothe name’s fist character position, 7. Use VALUE []/[+] toset the value. “The following characters are available. Value: space, A~Z,2-7,0-9,!°#S%&E"()*4)-./:3€ => [yr U1 8. Repeat steps 6-7 to input the name. 9. Press (EDIT) ‘The [EDIT] indicator goes out, and you are retumed to the previous screen, { When inputting characters, you can perform following operations conveniently by pressing FAVORITE PERFORM BANK [= [8] Caron [1}: Displays a" atthe cursor position, 12}: Displaysa space atthe cursor position [B}: Displays an “A” atthe cursor position. Ia}: Displays an “a” atthe cursor position (5): Displays atthe cursor position. (6): Converts capital and lowercase characters. [UI Inserts a space at the cursor position, [8}: Deletes a character atthe cursor positon and moves the following characters tothe left. 113Chay How to Save * When saving a Tone or Dru Set oe Key Moat i set to Split ov Dut, she Tone oF Dram Set ossigi ed to the select ‘When data is being waite to the User Memory, the | message "KEEP FOWER ON?” appears inthe display: be | surenot totum off the power while tis message is | displayed Ifthe powers tumed off or interrupted while data is being written to memory, the internal data may become | | corrupted and you may notbeableto tum the power | |) back on. Ifyou have confirmed that the internal data has || been ost ora sinilar problem exists consult the | | retater from whom you purchased the instrament, or | | thenearest Roland Service Center. Note, however, hat | | floaasumenotabity eatingcompeton. or | | consequences arising from any los of data | + wercannent int ou se Buk Danpopeation | rapper | terual sequencer 1. Pross [UTILITY], getting the indicator to light. 2. Press VALUE [1/[#] to select “Write Tone/Drum” or "Write Performance." > Wet soving Tones or Dram Ses, select “Write Tamera.” Wiher saving Performances, select “Write Performance 3, Press [ENTER] When saving Tones WRITE TONE jer tGO1 2k ENTER] When saving Drum Sots WRITE DRUM CENTER] Usri@Oi:RS Por Kit 1 ‘When saving Performances WRITE PERFORMCENTER] Usr!GB1!BasicPerfor 14 A, Press the numeric keys (F110) to specify the save {destination namber Tone: 1-128 Drum set Performance: 01-128 01, 002 If you make a mistake, press [EXIT] and specify the number * yd fe mumber by presing VALUE Lf In this ease, there is no need to press [ENTER instep 5. 5. Pross [ENTER] to finalize the number. 6. Press [ENTER] once again to execute the Save operation, After the Save operation is finished, the display will jcate “Completed, The [UTILITY] indicator goes out, and you are returned to the previous screen, Ifyou change a Tone's/Drum Set's settings without having saved the Tone/Drum Set, and then attempt to save the Performance, the following message appears in the display. If this message does appear, ‘save the Tone/Drum Set with the changed settings before saving the Performance. Edited Tone/Drum Set Exists. lirite Them.Chapter 8. Saving Your Settings Saving settings on an external sequencer (Bulk Dump) The act of transmitting Tone, Drum Set, Performance ot System settings to an external MIDI device i called a “Bulk Dump.” You can perform a bulk dump when two R5.5/9s are connected to each other, oF when you wish to store Tone, Drum Set, Performance or System settings on an external MIDI device asa safety backup of your RS-5/9 data, Setting the Device ID Number ‘When careying out Bulk Dump, set the Device ID number. ‘When shipped from the factory this i set to "17." Normally, there is no need to change this number when transmitting data toa sequencer or ather such device. f you do want to change it, use the following procedure to make the setings. + fy wnt set the D. ake setting luancousy forte RS-5As, ie ID mambo youn 1 othe some value. 1. Press [EDIT], getting the indicator ta ight 2. Use VALUE [+/[+] to select “System Setup.” 3. Press [ENTER] 4, Press the numeric key [4 several times to select “Device De” SYSTEM HIDE Dewice IDs 17, > Ifyou hod down SHIFT] anu pres 41, you wl rear to te previ iter 5. Pross VALUE [-/f+] to select the value (17 to 32). 6. Press [EDIT] The [EDIT] inclicator goes out, and you are retumed to the previous screen, {What kind of data is Bul Dump? | This is data of the pe called “Exclusive messages.” | au: 2 3. 4 5. Bi 6 7% User Tone User Drum Se: User Pesfor System Setup: Tenror: Bulk dump procedure Types of bulk dump Temporary, Settings of temporary area Settings ofall User Tones Settings ofall User Drum Sets ance: Settings ofall User Performances Settings of System Setup However, the following system setup parameters will not ‘be transmitted via bulk dump, + GM System ON Sw + GM2 System ON Sw + Rx SysBx Sw + Device ID# + LCD Contrast All five of the above settings Use a MIDI cable to connect the RS-8/9’s MIDI OUT connector fo the MIDIIN connector of the external sequencer. Press [UTILITY], getting the indicator to light Use VALUE [-/[+] to select “Bulk Dump.” Press [ENTER] Use the VALUE L1/I#] to select the types of Bulk Dump. DUMP TENTERT Put the externa sequencer in record mode. coer ross [ENTER] to transmit the settings The message "Transtniting..” appears inthe display luring transmission ofthe dat, Do ot pss any Key on the eho while Bult Dun progress. Pressing ky sen the MIDI (OU eannector To cance! the Balk Dump, press (EXIT). [Note messages from Aer the transiting is finished, the display will indicate "Completed." The [UTILITY] indicator goes out, and you are retuened tothe previous seeen, Stop the external sequencer 115Chapter 1g Your Settings Setting the System Exclusive Receive Switch When rturning saved setings tothe RS 5/9, set the Exclusive Receive switch to ON, With the factory settings, this will be “ON.” 1. 3s (EDIT, get ting the indicator to light. 2. Use VALUE [+/[+I to select “System Setup.” 3. Press [ENTER] 4, Press the numeric key [4] several times to select "System Exclusive.” SYSTEM MIDI Rx System Exclusive: ON + If yh coc n (SHIFT) and pres (4), yo will return to the 5. Use VALUE [-/[+] to set “ON.” 6. Press (EDIT. ‘The [EDIT] indicator goes out, and you are returned to the previous screen, 116 Restoring saved settings to the RS-5/9 Besse that sen you restore dat othe RS, the data the RS/9 il be overated ot Notes bing written to memory, the internal data may become corrupted, and you may not be abe to turn the power back on. Ifyou have confirmed that internal data as been lost, or ifs similar problem exists, consult your Roland dealer or Roland Service. Note, however, that slsplayed. If the power is tusned off or interrupted while data is | Roland assumes no lability, including compensation, for consequences asising from loss of data, ae 1, Usea MIDI cable to connect the MIDI OUT connector of the external sequencer to the MIDLIN connector of the RS5/a 2, Set the device ID number to the same setting as when you performed the bulk clump. System Setup Numeric Key [J}- Device 1D (p. 115) 3, Turn on the exclusive receive switch System Sotup Numeric Key [4]: System Exclusive (refer to the previous section) 4, Transmit (play back) the data from the external sequencer ‘When the transiting is finished, you are returned to the previous seen, Play back the external tolen performing the bulk dump. f you nse faster tempo, the Alta may not be restored correctly, quence atthe same tmp you usedChapter 9. Restoring the Original Settings Restoring the Factory Settings (Factory Reset) 5. Press [ENTER] A confiemation message appears. ‘You can estore all User Performance, User Tone, User Drum Set andl System Setup settings tothe factory condition. + ifthe RS-5P's internal memory already contains impor sta that you rae create, this operation wil cause all ofthis its to be os. Save data thet you roto sti by sensing ‘he data tan external sequencer (p. 115). | message "KEEP POWER ON" appeassin the display; be | sure not to tum of the power while this message's [being spayed | tite power is tumed of or inerupted while datas being writen to memory, the internal data may become compte, and you may notbe able to tum the power tacken.I'you have confirmed that internal data has teen lost ofa similar problem ens, consul your | Roland dealer or Roland Service. Not, however, that | Rowe assumes no liability, including compensation, for [consequences arising from loss of data Five types of Factory Reset are provided depending on the application Use Tone: User Drum Set: Settings of all User Tones Settings ofall User Drum Sets User Performance: Settings of all User Performances Settings of System Setup All four ofthe sbove settings 1, Press [UTILITY], getting the indicator to ight. 2. Use VALUE [/[+] to select “Factory Reset” 3. Press {ENTER} 4 J. Use the VALUE [-/[+] to select the types of Factory Reset FACTORY User Ti TENTERI Are vou sure? YES=LENTERINO=CEXITI 6. Press [ENTER] to execute the Factory Reset operation. After the Factory Reset operation is finished, the display ‘ill indicate “Completed ‘The [UTILITY] indicator goes out, and you ace setened to the previous screen Restoring GM/GM2 Basic Settings (GM/GM2 SYSTEM ON) limo GM or GM System On message is included at the very beginning ofa song you have created for use with a GM or GM2 sound generator, you must restore the RS-5/9's sound {generator tothe GM/GM2 basic settings before pl Additionally, 10 restore the sound generator settings to the GM or GM2 intial settings when creating songs for use with GM or GM2 sound generators fack. co must 1, Pross [UITILITVL, getting the indicator to light 2. Use VALUE [-/[+] to select “Initialize.” 3. Press [ENTER}, 4, Press VALUE [+/[#] to select “GM System ON" or "GM System ON.” INITIALIZE BM System ON CENTER] 5. Press [ENTER] to execute the Initialize operation. After the Initialize operation is finished, the display will indicate “Completed.” The [UTILITY| indicator will go dark, When the RS'5/9 is functioning as a GM/GM2 compatible sound module, tke Performance Select display will be as follows, PERFORTF Init Parfaral [part 1 __(Giis===) Part Gre © To return tothe normal settings ade afer beg sett the stitch Performances, GM System Of fiom theesternal sound generator to the RS-50. GMIGM2 iso settings, you en 117 CaerChapter 10. Performing With An External MIDI Device About MIDI MIDI (Musical instruments Digital Interface) isa standard specification that allows musical data to be exchanged ‘between electronic musical instruments and computers. MIDI With a MIDI cable connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance asthe song, progresses, andl more. Ifyou mainly use the Instrument, you may really not about MIDI. However, the following MIDE-elated information is provided so you can play the RS-5/9 using an extemal MIDI device, or master other advanced techniques, 5-5/9 as a standalone keyboard red to know mich at all MIDI connectors ‘The RS.S/9 has the following three types of MIDI connectors, MIDI IN Connector Performance messages from an extemal MIDI device re received here, The RS-5/9 that receives MIDI messages can output sounds, exchange tones, and perform ote operations. MIDI OUT Connector ‘These connectors transmit MIDI messages o external MIDI devices, The RS-5/'s MIDI OUT connector is used for sendling the performance data ofthe keyboard controller section as well as data used for saving various settings (Bulle Dump: p. 115). MIDI THRU Connector [MIDI messages received at MIDIIN connector are re transmitted without change from ‘external MIDI clevice. Use this in situations such as when you use multiple MIDI devices simultaneously 118 MIDI Channels and Mult Sound Generators MIDI transmits many types of data over a single MIDI cable, This fs made possible by MIDI channels, MIDI channels allow messages intended fora given instrument to be dlistinguished from messages intended for another instrument In some ways, MIDI channels ae similar to television channels. By changing the channel on a TV imbral receiver you can view the programs of different stations. This is bocause the television set has thus been directed to selectively display only the information being transmitted by 8 particular station. Int device to select the information intended for that device out ofthe variety of information that is being transmitted to it ne way, MIDI also allows @ i yosenowaion MIDI uses sixteen channels, naumbbere! 1-16. Set the receiving device so that twill seeive only the channel that it needs to Example: Set the RS-5/9 to send Channel 1 ane Channel 2 then set sound module A to receive only Channel 1 and sound module B only Channel 2, With this setup, you can get an ‘ensemble performance, with for example, a guitar sound from sound module A and bass from sound module B UTE ‘When used as a sound module, the RS-5/9 can receive on up to sixteen MIDI channels Sound modules like the RS-5/9 ‘which can receive multiple MIDI channels sia cously to play different sounds on each channel are called “multe timbral sound modules.”Chapter 10, Performing With An External MIDI Device MIDI messages used by the RS-5/9 MIDI uses various types of message to transmit a wide variety of information. MIDI messages are broadly divided into wvo different categories, those handled through individual MIDI channels (Channel messages), and messages that are not related to separate channels (System messages). ‘The RS-5/9 mainly uses the following MIDI messages, Channel messages These are messages used for relating whats happening in a Performance. These comprise the bulk: of MIDI messages Note On This message fs sent when a key i pressed. A Note-on message contains the following 3 types of information. Anotehas been played. Note number: which note was played Velocity Note-en The amount of fore (velocity) useel when the note was played The Note Numbers fall within the range of 0-127, with midlle C (C4) as number 60. ce —~ 02 + 4 = + 0 9 — 49 > 9 —> 2 — ea? Noto ourbor Note Off “This message is sent when a key is released. When a Note-off message is received, that note will be turned off. A Note-off message contains the fllawing 3 types of information Note-of ‘Note mumber-which note was released Velocity: The foree of the pl (velocity) used when the note was released, a note was released Pitch Bend Change ‘This message transmits whatever motion is made by the Pitch Bend lever. Aftertouch “These messages indicates how strongly the keyboard was prested after playing a note, There are two types of Aftertouch message; Channel Aftertouch which applies to an centre channel, ané Polyphonic Aftertouch which applies to an individual note. ‘The RS 5/9 cannot transmit Aftertouch messages when its keys are presse. Instead, you can do this by transmitting the Aftertouch assigned tothe Modulation ever, a pedal, ora kao Program Change ‘This message changes the instrument sound. You can switch Tones and Drums sets on the R5-5/9 using program numbers 1-128 (p. 121, 123). Control Change ‘These are messages used for increasing performance expression. By assigning Modulation (CC# (Controller Number) 1), Pan (CC810), Expression (CC#11), and other ‘Control Change messages to the Modulation lever, pedals, and knobs, you can then use these controls to change Performances (p. 71). Bank Select (CC#0, CC#2) switch Tones and Drum Ses, s0 these are used in combination with Program Change messages (p. 121,123) System messages ‘This category incldesexclisive messages messages ec forsynchronization, and messages that keep a MIDI sytem running comectl Exclusive messages [Exclusive messages are messages use for exchanging Tones and other set kinds of data between compatibie devices from thesame manufacture: fmessages exchanged using MIDI were limited only to those conforming tothe common MIDI standard it would rot be possible to transmit messages particular to one manufacture or messages fixed fr a certain device. ‘Therefore, with a format having been determined by each manufacturer, a variety of diferent messages can ten be ‘exchanged, ‘With the R5-5/9, you ean use Exclusive messages to store ‘Tene settings and other data to sequencers (p. 115) ‘About HlIDI Implementation Charts Although a variety of messages for performances can be handled using MIDI, depending on the functions of the connected device, the messages that can be sent and received may differ, Tose which types of MIDI message ‘device can transmit and receive, refer to the MIDI Implementation Chart that i included inthe manual of each device. Messages which are marked by a ceclein the charts ofboth deviees can be transmitted between the two devices 119 Chapter 10Playing Sounds from an External MIDI Sound Generator With the RS-5/9 By connecting the RS-5/9 to an extemal MIDI device with a MIDI eable and setting the channels, you can then produce souls from the external MIDI device's sound generator by playing the RS, MIDI sound generators Tones from the RS-5/9 as well. 9's keyboard, You can switch the external Connecting to External MIDI Sound Generators Example 1: Connecting to one external MIDI sound generator moun aS Moi our Sour Module A RSS Example 2: Connecting to two external MIDI sound generators ‘Message cece atthe MIDI IN connector are the MIDI THRU connector unchanged, Chapter 10, Performing With An External MIDI Device Example 3: Connecting to three or more external MIDI sound generators IN Ba MIDI Patchar Ts 1" SSS —5 ‘Sure Worle A OLN Sure Module B + If you “daisy” tree THRU-> IN-> THRU... _gorbled, an data errors may occur. Ins ‘Tien Bos: MIDI Tew Boses ore devices that all a single stream of MIDI dat tobe sent ta large number of MIDI nore MIDI devies using IN > ie MIDI signal may become Henses sea MIDI levies rithout causing dat eves 1. Before starting the connection procedure, make sure that the power tall devices has been tured off 2. After reading “Connecting the KS-5/9 to external equipment” (p. 14), connect a headphones. dio device/system or 3. Connect the externa MIDI sound device with the MIDE cable as shown in the figure below As described in "Taming On the Power" (p15), turn on the power ofeach device. Set the Keyboard Transmit Channel When you have Finished connecting the external MIDE device, match the keyboard's Transmit channel and the Receive channel for each of the external MIDI sound ‘generators Ports Settings PART: Transmits performance data over the same channel 1s the performing Parts Receive channel (p12). 1416: 5-5/9 performance datas sent over a selected channel (Ordinarily, this is set to PART. Particularly when Key Mode is st to Split or Dual, the performance data from the Upper and Lower Parts are sent over separate channels. Therefore, ‘you can contro two extemal MIDI sound generators You might want tose these to Channels 1-16 in situations such as when you want to switch the RS-5/9's Parts as you play 120Chapter 10. Performing With An External MIDI De Different keyboard Transmit channel settings can be made for each individual Performance, 1. Press [EDIT], getting the indicator to light 2, Use VALUE [/[#] to select “Tone/Deum/ PFMCommon.” 3. Pross [ENTER] ‘A, Press the numeric key [4] several times to select “Channel.” PERFORMANCE MIDI Tx hanne Lt PART '5._ Press VALUE [-1/[+] to selec the value (1-16, PART), 6. Press [EDIT]. ‘The [EDIT] indicator goes out, and you are returned to the previous screen When the RS-5/9s keyboard is played, sounds are simultaneously played by the RS-5/9 and the external MIDI sound generator. For instructions om sett nc ofthe external MIDI soured _genterator's Parts Receive channel, refer tothe owner's ural for eel 1f you roan sounds t be played only by the exteraal MIDI sowed generator et the Local control to OFF (p. 124) Selecting sounds on another device using the RS-5/9 When you have finished making the cones jons and setting channels, ry switching the external MIDI sound .generator's Tones from the RS-5/9, When you switch the Tone or Drum Set with the buttons on the RS-5/9"s panel, Bank Select (Controller Number 0,32) ‘and Program Change mestages for the selected Tone or [Drum Set are sent from the MIDI OUT connector, The Tone played by the external MIDI sound generator switches to the Tone corresponding to these MIDI messages. If the RS-5/9 is connected to a GM2-compatible sound generator, then when choosing a GM? format Tone, select Preset Tone 257-512 oF Drum Set 12-20. With Preset Tones 1-128 and User Tones 1-128, the Program ‘numbers output are the same as those for the corresponding, ‘Tones, Ifyou want to switch the Tones with attention to the Program number, ist set the Bank Select Transmit Switch to (OFF (refer to the information belovs), and then you can select ‘your Tones. I | Tone switching messages are sent through the keyboard's ‘Transmit channel (refer tothe information below) in the following sequence, Bank Select MSB (controller number 0) (Bn 00H met) 2. Bank Select LSB (controller number 32) (Bn 20H min} 9, Program Change (CnH pH) i MiDIchannel number sm, li: Bank number pp! Program number no trsitd MIDI messages on you selec different ‘ome or Drum Set by mouing too diferent Part, The snges fr sou selection are no! lasiited lon ow select Perforce For Bank unbers and Program rnsubers sen sith the selection of cit Tone and Drum Set, refer to (p. 123), "Tone List” (p. 149,150) and “Drum Set Lis" (p. 151-154) Transmitting Only Program Numbers the external MIDI sound generator receives a Bank number for which no Tone has been assigned, an altemate Tone may be selected, or in some cases, there may be no sound played To ensure the proper Toneis selected, you may be better off selecting the Tone group for the external MIDI sound generator fits, and then transmitting only the Programm number. You can then switch tones within the same grou, To transmit only the Program number, set the Bank Select ‘Transmit Switch to OFF. ‘The Bank Select Transmit Switch affects the entire RS-5/9 (ie, ea System setting). This setting remains stored in ‘memory even while the power is off Press [EDIT], getting the indicator to light 2. Use VALUE [+/[+] to select "System Setup,” 3. Press [ENTER] ,_ Press the numeric key [4] several times to select "Bank Selec. SYSTEM MIDE Tx Bank Select: oN + Ifyou hot davon [SHIFT] ad press Fl, you wil ret fo he previous item, 5. Use VALUE [/[+] to et “OFF.” 6. ress [EDIT]. The [EDIT] indicator goes out, and you are retumed to the previous sereen. 121Chapter 10, Performing With An External MIDI Device Playing the RS-5/9’s Sound Generator from an External MIDI Device Next, try playing the RS-5/9 from an external MIDI device. Tone Change (Tone Change Receive Switch) Value: OFF, ON of be switch fro nal MIDI avi Tone Change Receive Switch is set to OFF. Different Receive Channel and Tone Change Receive Switch Connecting External MIDI Device settings can be made foreach individual Pat in a Performance Press [EDIT], getting the indicator to light Setting the Receive Channel and Trost channel, eer to theo anual for that device wwo1our 2. Use VALUE [1/1] oset “Performance Par | 3. Press (ene | 4. Press PART [ << ]/[ I ] to select Par | = er Key Mae (388s pit Dual so ean eke I ae ea only the Lipper Part and the Lower Part. } TT 1 ae | 5. Press numeric key {4} several times to select the = HITE | ponte 55.89 | | MIDI 1, Bee aring teceneson peaturematesuetat_| the power gal devies has teen turned of \ieeeraa mip 2. After reading “Connecting the RS-5/9 to external | [Tone Changer ON exuipment”(p.1),comectanauiodevce/system or | —* Ifyou ol down [SHIFT ant prs 4, yu wl eur othe headphones. | recs ito 8. Connect the extemal MIDI sound generator wth he 6. Use VALUE [/[+]t0set the vate, MIDI ables shown in he Pg ele |. msreom 4 As dscrbedin“TuningOn the Power” (p.18)-unvon | The (EDT incr goes out an you re reured to the power ofench devi | theprevius seen. |» Fovindretonon sing he ete MIDI devi’ Tone Change Receive Switch When you have finished connecting the extemal MIDI device, match each Part’s Receive channel with the external MIDI device's Transmit channel Also, to enable Tones tobe switched from the external MIDI device, set the Tone Change Receive Switch for each Part to ON. Factory settings have this set to ON forall Parts. Channel (Receive Channel) Ifthe Receive Channel is set to a value of 1-16, that Part will receive musical data on t Value: 1-16, OFF e specified channel * Since performance data const be receaed won the Recene ‘hantel set to OFF, nosound is produced. 122Chapter 10, Performing With An External Mil Selecting RS-5/9 Sounds from an External MIDI Device Transmitting Bank Select (Controller Number 0,32) ana rogram Change messages from the external MIDI device to the RS-5/9 allows you to switch Tones and Drum Sets, 1, Transmit a value for the Bank Select MSB (controller number 0) (BaH OOH mmil) message to the RS-5/9, 2, Transmit a value for the Bank Select LSB (controller ‘number 32) (BaF 20H mm) message to the RS-5/9. 3, Transmit Program Change (CaH ppH) to the RS-5/9. + Win Bank Selects and Progen riges, you enor ste Pexformances using a external MIDI device coected tothe | R558, Bank Number/Program Number Correspondence Table The MIDI messages transite by the external MIDI device willbe recived bythe RS-5/9 to select Tones/ Drum Sets as shown inthe following tbl. «Ifthe Program numbers on your exiemal MIDI device axe ference as value from 0 to 127, find the appropriate numberby subtracting rom the number in the following comespondence char. + When the RS-5/9 recive a Program Change message witha receoing the Bank Slot switehes fo the Tan or Dr Set twill the some Bank numbers He currently selected Tone oF Drum Set Tone Bank Number Program Group Number agg LSB ‘Number a Preset 00-D2B SSC mi Preset 129-256 —66_—iO~S—=COT + Foy Bank munbers and Program numbers corresponding 10 Preset Tone manners 257-512, fer to (p. 189,150) Drum Set Group Number __BankNumber Program ise tse Number ter oo CL Preset dolor ~~~ SC Preset 012 a Fees wo oC cst se C15 S120 SOD ome Preset tie ——SCOSCSSSC Piet 17120 OU ets Uc ea Preset ols a= on i bcose ns U1 Ren Oe) oa Pe a oF Using an External MIDI Controller to Change the RS-5/9’s Tones Use of the Modulation lever, pedals, andl control knobs to make changes to the RS-3/9's Tones in real time is explained in Chapter 4 ‘Transmitting Controller mumbers set with Modulation Assign (p.71), Control Pedal Assign (p.73), and Knob Assign (p. 74) to the RS.5/9 achieves the same elfect as working the Modulation lever, pedals, and knobs. Chapter 10 123Recording to an External Sequencer Now, try using an external sequencer to record your musie onto multiple tracks, and then play back the recorded performance, Connecting to an External Sequencer MIDI Sequencer pin iol our S89 1. Before starting the connection procedure, make sure that the power to all devices has been turned of 2. Alter reading "Connecting the equipment” (p. 14, conneet an audio device /system ot headphones 9 to external 3. Connect the RS-5/9 and the extemal sequencer es shown inthe figure. 4. As described in "Taming On the Power” (p. 15), turn on the power of each device Making Settings Before Recording When recording oan externa sequence, the flowing steps ims be cried out + Set the RS.5/9's Local Control to OFF (reer to the next section) + Turn on the external sequencer’s Thru funetion (p. 125), + Set the Performance (p. 125. + Set the Device ID number (p. 125), Chapter 11. Recording Performances on the RS-5/9 to an External Device Setting the RS-5/9’s Local Control to OFF The setting that determines whether the keyboard controller section (p. 62) and sound generator section ate separated is roferred to as “Local Control.” When Local Control is on, playing the keyboard will produce sound, and moving the pitch bend lever will control the pitch When Local Contral is off, playing the keyboard will not produce sound, and moving the pitch bend lever will no oF the RS8/9 will produce sages received from an control pitch. The sound sos sounel only in response to mes extemnal MIDI device. Sequencer Recording Al performance data Setto Thru that arrives at MIDI IN Function On. willbe output from MIDI OUT. MiDIIN | MIDIOUT = Miptout_} roti ‘Sound Generating ee Section setto While at this setting, Local Off. the RS-5/9s keyboard and controllers are disconnected trom the sound generating section, so thoy wil not rectly contol. Keyboard Controler Section Rs-5/9 The performance data from the RS-5/9's keyboard cantrller section is output from the MIDI OUT connector and recorded by the sequencer. This performance data is then also output back to the RS-5/9 from the sequencer’s MIDI OUT connector and played by the RS-5/9's sound generator If Locel Control were ON, each note would be played twice; ‘once by the musical data from the keyboard controller section, and once again by the data sent from the sequencer. In order to prevent such double triggering, the Local Control setting is turned off to separate the keyboard controller section from the sound source section The Local Control setting affects the RS-5/9 as a whole (ie. isa system setting). This setting remains stored in memory leven while the power is off 1. Press [EDIT], getting the indica tolight 2. Use VALUE [1/[+] select “System Setup.” ——————— 1248. Press [ENTER] A, Press [8] a numberof times to select “Local Control.” ‘SYSTEM Local Control MIDT ON SHIFT) and pres (4, you sf you to previous item, return tothe 5. Use VALU E [/{+] to set “OF 6. Press [EDIT] ‘The [EDIT] indicator goes out, and you are returned to the previous screen, If your sequencer does 9's Local Control to ON. ave a Tau function, set the RS-5/ goles of the Local Control sei external MIDI device isatoays receive ond tanta play he internal sound source. Turning On the External Sequencer’s Thru Func Tuun the sequencer’s Thru function ON. The sequencer takes the performance data received atthe MIDIIN connector and outputs the data unchanged from the MIDI OUT connector (fer tothe previous section) “To determine whether or nat your sequencer features » MIDI ‘Thr function and for instructions on making the Thr function | stings, refer tothe owners manual for your sequences. your sequencer does not ce a Thru fe 9's Local Control to ON. tie RS-5/ Setting the Performance Before beginning to record, first make the Performance settings (selec the Tones and Key mode, make any multi ‘fects, chorus, and never settings sat he knobs, and s0 on). “The following settings are especially important. Setting the Keyboard Send Channel to PART (p- 120) If hisisset to PART, your playing willbe transmitted on the same channel asthe Receive Channel of the Pat that you are playing, When recording toa sequencer, se this to PART Setting the Receive Channel for Each Part (p. 122) Setting the Tone Change Receive Switch for Each Part to ON (p. 122) Setting the Device ID Number Set the Device ID Number (p. 115) sa thatthe Performance's settings are recorded at the beginning of the song (refer tothe next section). Recording Recording the Performances Settings at the Beginning of the Song First, recon the Performance stings atthe begining song. If this is done, playing back the song fom the bein ing will automaticaly st the RS-5/9 tothe Performance settings that were used during recording (og playback began) ensuring that playback will use the correct sounds and settings. leas of the Performance that was selected when * Record the song a he tempo a oki it is to layed ck. IF nyo used for payback ofa song is changed row the tempo slete othe tine of reording, the RS-5/9auay not be abl to correctly rec i or the cored Performance zokich may prevent proper playback ofthe bey the sti nance data 1, Pross [UTILITY], getting the indicator to light, 2. Use VALUE [+/[#] to select “Bulk Dump, 3, Press [ENTER] 4, Use VALUE [1/[+] to select "Temporary: ERI 5, Put the external sequencer in record mode, 6. Press [ENTER] to transmit the settings ‘The message "Transmiting..” appears in the display during transmission ofthe cate, Do wot press any key on the yon oie Buk Du i i progres, Pressing a key sends Nole messages from the MIDI (OUT connector. To coc! the Bulk Dump, press (EXIT. Aer the transmitting i finished, the display will Indicate "Completee.” The [UTILITY] indicator goes out, and you are returned to the previous screen 7. Stop the external sequencer Chepter 11 125Chapter 11, Recording Performances on the RS5/9 to an External Devi Recording Each Part Separately Next we will record the musical data for each Part onto separate tracks ofthe sequencer. So 2s not to erase the Performance settings that we recorded atthe beginning of the song, we will start recording the song from the following ‘measure which recorded the Performance settings We will cord tracks in the order of deums-> bass -> accompaniment-> melody, while listening to the tracks that were recorded on previous passes. For example, assign Tones o each Part as shown below. Drums: Part 10 Bass: Part2 Accompaniment: Part Melody: Part te + Tone clang, on soft Pitty Bel lec Mods ation leer, knobs, nd oer contra are also recorded. * Te iswot necessary to record the song a the lena at whic it to be played back Listening to the Recorded Performance When you finish recording al Pats, playback an listen to the result. Note the fllving when playing back a song, + you mo et) you wl ee to cord te mei Feformice setings a the begining ofthe sng. (p. 125) settings of onch Port (column panning Set the System Exclusive Receive Switch to ON (p. 116) ‘When seo OFF, the Performance settings recorded at the beginning ofthe song eannot be received. With the factory this willbe “ON.” Set the Same Device ID Number Used for Recording (p. 115) not se tothe same Device ID number, the Performance settings recorded at the beginning ofthe song ennot be receive. Make Sure to Start Playback at the Beginning of the Song When playback ofa song is started atany point other than the beginning, the Performance settings atthe time of recording, are not used, and the song isnot played back correctly. Playing Together with the Playback of a Recorded Performance ‘You can play the RS-5/9's keyboard along with a previous performance by playing while the played back. In this case, select a Part that was not recorded sded material is for playing the keyboard Transposing Playback of Performances (Master Key Shift) If you wish to transpose the playback ofa song, use the Master Key Shift setting, This setting will transpose all Parts ‘except for the Drum Part. You can specify a transposition of ‘up to +/-2 octaves in semitone steps, Tae Master Key Shift setting isa system setting that is applied to the entire RS-5/9 (ie, sa system setting). This setting remains stored in memory even while th off Ve. Press [EDI getting the in (orto light 2 Use VALUE [-/f+] to solect “System Setup. 9. Press [ENTER] 4, Press the numeric key [4] several times to select "Master Key Shift” SVSTEN Master Key Shift > Ifyou hold down {SHIFT} and press [4], you wil previous it TUNE 5. Press VALUE [1/[#] to select the value (24 t9 +2 6. Press [EDIT] The [EDIT] indicator yoes out, and you are returned to the previous screen Enjoying Computer Music You can use a computer and sequencer software instead of a hareiware sequencer to record the music you play onto multiple tracks (perhaps over a numberof sessions), and then play back the recorded result Connecting a Computer When connecting the RS-5/9 to a computer, one of the followings required + USB MIDI interac cable (Roland ED UM) + USB MIDI interface (Roland ED UM-2/4) and MIDI cable * Interface equipped with a MIDI connector (Roland Super MPU I) ancl MIDI Cable ‘+ MIDLinterface adapter and MIDI Cable 126