: Roland’ ini GM DAUGHTER BOARD SCp-7 OWNER'S MANUALFos Garmany Bescheinigung des Herstellers/Importeurs Hermitwitd bescheinit da deioetaas Roland GM Daughter Board SCB. dos invetervorngen Geses.Gerales angezeigl und die =—_ Berechigung2ur Uberrting der Sen aul de Eran dor (0, Typ, Bezier Betimungen singeburt Dem Zentralam ur Zuassungen im Femmeldeweven wurde in Obersinsimmung mit den Bestinmungen der EMPT- loland Corporation Aisbig 243'1091 lurk i, Der vorsctitamage Bred mancher Gute (2 8 HaBsonde) Lom along $16 Dojirahama 1-Chome Kila-ku Osaka 690 Japan SrwstenEnacrinurgenurtsiogen Beacon SGC ang pe a die Hinweise in der Bedisnungsanieltung, (tame und Anechrih dat Hore rsiimporteurs) Ferthe USA FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has teen tested and found o comply withthe iis for Clas B ctl devi, pursuant to Part 180! the FCC. Figs. These limits are designed ic prowde reasonable prolecion against hemi interference ma ratcentlwslababon, Ths equipment generates. uses, and can radiate ado Veguency energy anc, #'9ot nstallee ahd used in acordones wth the instructions, may cause harmiuinferterence fo radio cammuntcatons, However, there no guarantee hat nererence walt ‘secur ina particular instalation its equipment does cause harmful itttrence lo radio oc Tslesion toespton hich can be Selermned by turing te equipment of and an, the user is encouraged Wo ty to cored he ineratence by one ot more line Following measures Bernt oF relocale the receiving antenna. Increase the separation between the equpment and receive Connect the equipment ino an oullat en 2 creukcilarent om Consul the dealer ar an experienced rac technician for hap auton Unauthorized changes ar mosiicaion fo Wis system can ‘This equpment requires sheidea nertace cables in crder to moet FOC class 8 Umi J For Canada CLASS B “NOTICE = _ 1 This digtal azparetus does not exceed the Glass @ finils for radio nite emissions s Regulations of he Canadian Department of Convmurications, CLASSEB AVIS 1 numérique ne dépasse pas les iit dela classe B au niveau de danse des sgnaus pstasies pa la ministre canadian des CommunicationsGM DAUGHTER BOARD SCB-7 We'd like to take a moment to thank you for purchasing the SCB-7 GM Daughter Board The SCB-7 is a daughterboard containing high-quality sounds compatible with the GM (General MIDI) system In order to gain a thorough understanding of the SCB-7's many features, please take the time to read this manual carefully CONTENTS FEATURES IMPORTANT NOTES... 1. INSTALLING THE SCB-7... 2. THE GENERAL MIDI SYSTEM 3. PARTS, VOICES AND POLYPHONY Q) Parts (2) Voices and Polyphony (3) Maximum Polyphony 4, ABOUT MIDI () MIDI Message Exchange @) NIIDI Messages Handled by the SCB-7 @) Default Settings u (2) About the MIDI implementation Chart ... son n 5. TONETABLE . = 6. DRUM SET TABLE @VNoauane MIDI IMPLEMENTATION PARAMETER LIST SPECIFICATIONS. IBM is a registered trademark of International Business Machines Corporation. Microsoft is a registered trademark of Microsoft Corporation. Windows is a trademark of Microsoft Corporation. Sound Blaster is a trademark of Creative Labs, Inc. Sound Galaxy is a registered trademark of Aztech Labs, Inc. '4865X is a trademark of Intel Corporation All other products are tademarks or registered trademarks of their respective owners. Copyright © 1994 ROLAND CORPORATION Al rights reserved, No par ofthis publication may be reproduced in any form without the written permission of ROLAND CORPORATION,FEATURES Easy Installation Al you need to do is to mount the SCB-7 onto a sound card compatible with Sound Blaster, and you can enjoy high-quality sounds with music or game software. 16-part Multi-Timbral Sound Generator The SCB-7 isa 16-part multi-timbral (including the drum part) sound generator. tt can play up to 28 notes simultaneously, making possible ensembles of up to 16 parts. Reverb and Chorus Effects The onboard reverb enhances expressiveness by adding an expansive feeling, while cho- rus can be used to acld fullness to the souncl for majestic ensembles. These digital effects let you create music with virtually the same Fidelity and acoustics as a concert hall Compatible with GM (General MIDI) System Level 1 ‘The SCB-7 is compatible with GM System Level 1, which was designed to transcend variations among different manufacturers and models, and allow for sound generators to respond in a more standardized way. This means you can play music data for GM. sound sources without any additional modification. IMPORTANT NOTES [Placement] * Do not subject the unit to temperature extremes (e.g. direct sunlight in an enclosed vehi- cle). Avoid using or storing the unit in dusty or humid areas, or areas that are subject to high levels of vibration, * Using the unit near pow formers} may incluce hum, amplifiers (or other equipment containing large power trans- * This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers. [Additional Precautions] + Protect the unit from strong impact. * Do not allow objects or liquids of any kind to penetrate the unit. In the event of such an occurrence, discontinue use immediately. Contact qualified service personnel as soon as possible, + Should a malfunction occur, oF if you suspect there is a problem, discontinue use imme- diately. Contact qualified service personnel as soon as possible.1. INSTALLING THE SCB-7 Available Sound Cards Sound Blaster 16 Basic Sound Blaster 16 Sound Blaster 16 ASP Sound Blaster 16 SCSI-2 Sound Galaxy NX PRO 16 Sound Galaxy PRO 16 Extra 6 ‘Turn off your computer and all peripheral devices (such as printers and monitors connected to it) and unplug the power cable, Remove the computer's cover. For more information, see the owner's manual for your computer. Remove your sound card from the expansion slot of your computer. Connect the Extension Connector (your sound card may call it “the MIDI Connector") of the SCB-7 to your sound card as shown helow. Be sure to properly and securely attach the SCB-7. Your Sound Card Do not touch the printed circuit and terminals. I aplastic spacer touches parts on your sound card (e.g. an IC socket), remove the unnecessary plastic spacer from the SCB-7. Install the sound card in your computer. Replace the computer's cover,2. THE GENERAL MIDI SYSTEM MIDI is a universally recognized standard that was created as a means to exchange per formance information between electronic musical instruments—regardless of model or manufacturer. Thanks to MIDI, electronic musical instruments now enjoy a level of communicative freedom that was unimaginable a decade or so ago. Without MIDI. sequenced music and the use of computers running Desk Top Music Systems would not be possible. However, certain inconveniences have become more apparent, even while MIDI has become an indispensable part of electronic musical instruments. This is because many of the finer details concerning the communication of performance data were not origi nally decided upon. For example, MIDI defines things in terms such as “the Program Change message is used primarily to transmit the tone number when switching to different tones.” However, details such as which specific numbers will cause a change to a certain type of sound were never decided upon. As a result, the differences in the numbers and the actual sounds obtained can create a great deal of confusion when working with a variety of dit ferent devices. Given these circumstances, song data that was created using one sound generating, device will often not play as expected when played by some other sound generator. The General MIDI System was formulated in order to alleviate such problems. General MIDI System and General MIDI Scores ‘The General MIDI System is a universal set of specifications for sound generating devices which has been agreed upon by both the American MMA (MIDI Manufacturer's Association) and the Japanese MIDI Standards Committee, These specifications seek to allow for the creation of music data which is compatible with a much larger range of devices, without being limited to equipment by a particular manufacturer or to specific models ‘The General MIDI System defines a range of items, such as the minimum number of voices that need to be supported, the MIDI messages that must be recognized; and describes the specific sounds which correspond! to the range of Program Change num: bers, and the manner in which drum sounds should be assigned to positions on the key- board. Thanks to these specifications, any device that is equipped with sound sources supporting the General MIDI System will be able to correctly reproduce General MIDI Scores (music data created specifically for devices supporting the General MIDI System), regardless of the make or model However, the General MIDI System does not define what type of sound generation a device should use, or any of the details concerning the various kinds of expression that could be applied. This was done in orcer to provide for a greater amount of freedom, and allow manufacturers to design new features for sound generating devices. As a result, however, with each addition of some unique feature, the likelihood of complete compatibility with other devices decreases3. PARTS, VOICES AND POLYPHONY (1) Parts The SCB-7 provides 16 Parts, and thus allows for a maximum of 16 different perfor mance parts to be played at the same time, Part 10 is reserved for drum instruments MIDI deals with a great variety of data (or messages) which describe a performance. ‘One of the most common messages is the instruction to play a note—the *Note mes sage.” Though this is a simple message, it needs to include information about which key is to be played, at what velocity (volume), and for how long. MIDI performance data Consists of an ongoing stream of such messages. Each Part is assigned a MIDI channel on which it receives performance data, The Part will play any data that arrives on its channel, and ignore the data on all other channels, This is the reason why each Part is able to perform a different musical part. On the SCB- 7, the channel number and the Part number are the same as the default setting, Part 10 is dedicated to drum instruments and therefore functions differently than the other Parts. In Part 10 a different percussion sound is assigned to each note (Note Number) on the keyboard. Any key you press will play the assigned sound, (2) Voices and Polyphony The SCB-7 contains 28 internal components (Voices), each of which is capable of gener. ating sound. ll 26 Voices can operate simultaneously. However, some sounds require 2 Voices to produce one note. For this reason, the number of notes actually available can be 28 or less. For example, if every sound you are using consists of 2 Voices, the maximum number of notes you could play at once would be 14 To determine how many Voices the SCB-7 is using, add up the number of Voices used! by all the Parts. Note that itis possible to have all 28 Voices working to produce the sound of only one Part. For information on the number of Voices used by particular sounds, refer to the "TONE TABLE" tp. 12),(3) Maximum Polyphony When the number of Voices being used exceeds 28, some of the notes that should be played could be cut. To avoid ‘loosing’ important notes, there ae two features you can Use Lo insure that a particular Par has all he notes iis supposed to. The settings for the parameters which control these features are made using Exclusive messages (p. 19) Part Priority ‘When the SCB-7 receives performance data which requests it to produce more than the 28 Voices available, priority is given to producing the most recently received note mes- sages. Those that have been sounding for a while will be cut, in order, stating with the oldest ones, and the ones that are assigned to the Parts with the lowest priority Pant Priority Ordering: 10> 1>2>354>5>6>7>8>9> 11> 12> 1351415 > 16 For this reason, consider a part’s importance (bass, chords, melody etc.) carefully when assigning it toa Part on the SCB-7, Voice Reserve The Voice Reserve function allows you to specify a minimum number of Voices that will always be reserved and made available for certain Parts. This becomes effective in instances when the total number of Voices that have been requested exceeds the capaci ty of the unit. When shipped, the following setings were made for Voice Reserve Part 1: 6 Parts 2-10: 2 Parts 11-16: 0 As Voice Reserve for Part 1 is set to "6", Part 1 will always have at least 6 Voices—even when all Parts combined are requesting more than 28 Voices. In other words, with Part 1 set this way, all the notes that it should play will be played faithfully (as long as the sounds assigned to it do not use more than 6 Voices).4, ABOUT MIDI MIDI stands for Musical Instrument Digital Interface. MIDI is a world-wide standard that allows musical instruments and computers to exchange musical data. Most electronic ‘musical instruments sold today are MIDI compatible. MIDI compatible devices have MIDI connectors which are used to physically link instruments (using special cables) MIDI does not transmit the sound of an instrument, but rather ‘messages’ in digital form. that tell the receiving instrument to “co something”. These are known as MIDI messages, (1) MIDI Message Exchange How the exchange of MIDI messages is carried out is explained in the following, MIDI Connectors In carrying out the exchange of MIDI messages, three connectors are used, MIDI cables are connected to these connectors in various ways depending on the desired! result psosemcemssimeng MIDE IN connector: ue : This connector receives incoming MIDI messages. mp1 MIDI OUT connector: This connector transmits outgoing MIDI messages to other devices, MIDI THRU connector: MIDI escapes eee ot NIN ave etn GG Bere ecor ite ec th on our MIDI Channels and Multi-Timbral Capabilities With MIDI, a single cable can be used for carrying differing sets of performance informa tion, for a number of MIDI devices. This is possible thanks tothe concept of MIDI chan nels, MIDI channels are easy to understand if we use the analogy of television broad: casting Many television programs are broadeast from many TV stations and your TV antenna, receives them all. By setting your television to a specific channel, you can watch only the desired program. The same idea applies to MIDI channels. The master device is somewhat like the broadcast station, and the slave device is like a television receiver. ‘The MIDI messages carried by the MIDI cable are like the programs that are transmitted from the broadcast stations, ‘Staion A (Ona 1V, ne channels sletesMIDI provides sixteen channels (1—16). When the channel which the sending device (the master is using to transmit on matches the channel which the receiving device (the slave) is using to receive on, the performance data is conveyed. When the MIDI chan- nels are set as illustrated below and you play the keyboard, sound will be produced only by sound module B. Sound module A will not sound. This is because only sound mod- ule B is set to receive on the same channel that the keyboard is using to transmit on. Sound module A’s channel doesn’t match, so it won't sound, ema Charel 4 cin Chama? A ~~ snnsnooser (SQL =o sounawoam® | QQ (__|| stems] The SCB.7 is capable of simultaneously recognizing the MIDI messages on all 16 channels In other words, itis capable of playing 16 different Parts atthe same time. Of these, the Part which is set to receive on MIDI channel 10 is known as the Drum Part. This Part provides a collection of percussive instrument sounds, with a different sound for each Note Number (p. 14). The other Pats, those having a MIDI receive channel from 1-9 or 11-16, are known as Standard Parts, and are used for melody or ass, chords, etc. Sound modules such as the SCB-7 are multtimbral, which means they can simultane ously receive data on a multiple number of MIDI chanaels, and can play the musical data for a number of Parts simultaneously. (2) MIDI Messages Handled by the SCB-7 Each of the Parts on the SCB-7 is capable of receiving the following MIDI Messages: Note Messages ‘These messages convey what is played on a keyboard or other instrument. The types of Note messages are as follows: Note Number: ‘A number representing the position of a key on a keyboard, Note On: Indicates that a key has been pressed. Note Off Indicates that a key has been released. Note On Velocity: The strength with which a key has been pressed. Note Numbers range from 0—127 and correspond with the positions of keys on a key- board. Middle C (C4) is number 60. In the Drum Part, a different percussive instrument sound is assigned to each Note Number. Pitch Bend Change Messages These messages convey the action of the Bender Lever (wheel) that is found on many synthesizers. They allove for smooth changes in the pitch to be made‘Aftertouch Messages These messages convey attertouch (applying pressure to keyboard keys after the notes have been played intially). Many keyboards are equipped with this feature. ‘There are two types of altertouch; Channel and Polyphonic. Channel aftertouch provides aftertouch control for each MIDI channel, regardless of the pressure applied to individual keys. Polyphonic attertouch provides response to the pressure applied to individual keys Program Change Messages These messages are used for changing sounds. Control Change Messages ‘These messages are used to enhance the expressiveness of a performance, and include Vibrato, Hold, Volume, and Pan. Each function is idemttied by a Control Number rang- ing from 0—127, and the functions which can be controlled will vary depending on the MIDI di + Modulation (Control Number: 1) Adjusts the depth of the vibrato effect. The actual effect obtained is set individually for each sound, ‘Data Entry (Control Number: 6, 38) Used to supply the value for the parameter selected for NRPN and PN. + Volume (Control Number: 7) Provices adjustment of the volume for each Part and allows the balance to be con- trolled, The actual volume level obtained depencls on a combination of settings; Volume (Control Number: 7), Expression (Control Number: 11), and Master Volume (Exclusive) +Panpot (Control Number: 10) Provides adjustment for the sound location in the stereo field (UR). Ffiective only when 2 stereo output is used. Orientation | Lett Center Right Pan 0 6 wr Expression [Control Number: 11) Provides adjustment of the volume for each Part and allows the balance to be con- trolled. The actual volume level obtained depends on a combination of settings; Volume (Control Number: 7), Expression (Control Number: 11), and Master Volume (Exclusive) *Hold 1 (Control Number: 64) Allows the sound to be sustained. (Similar tothe function of a piano's damper pedal. ‘General Purpose Effect 1 (Reverb Send Level) (Control Number: 91) Adjusts the reverb level for each Part. ‘General Purpose Effect 3 (Chorus Send Level) (Control Number: 93) Adjusts the chorus level for each Par.‘*NRPN LSB, NRPN MSB (Control Number: 98, 99), *RPN LSB, RPN MSB (Control Number: 100, 101) Provide control over the sound source’s parameters. The parameter to be controlled is specified by means of NRPN MSB/LSB and RPN MSB/LSB. The Data Entry message is used to set the value for the selected parameter, * For a list of parameters which can be controlled, refer to the "MIDI IMPLEMENTA TION”. +All Sounds Oif (Control Number: 120) Cuts off all sounds. ‘Reset All Controllers (Control Number: 121) When this message is received, the controllers will be set as follows: Pitch Bendl Change ++/-0 (median) Channel Pressure Otmin.) Modulation Otmin.) Expression. 127 max.) Hold 1 0 (of NRPN No number selected; no change in internal data RPN. No number selected; no change in internal data Active Sensing Messages These messages monitor the integrity of MIDI connections. The reception of Active Sensing messages (at MIDI IN) will cause the SCB-7 to switch into a monitor mode where it continually watches for intermittent Active Sensing messages Wan interval of more than 420 milliseconds (on the SCB-7) should pass without an Active Sensing message being received, the unit will assume that a cable has been dis- connected or damaged. sa result, all sound production will stop, and the unit takes all the measures it normally would upon reception of a Reset All Controllers message. No {urther monitoring of Active Sensing messages occurs. Exclusive Messages Exclusive messages handle information that is unique to a particular device (such as sound editing data). For details, refer to *MIDI IMPLEMENTATION” (p. 15)(3) Default Settings Part Settings MIDI channePart_[ 1-9, 11-16 | 10 (Orum Part) | Tone Piano 1 (#1) [STANDARD set Part Volume 100 400 Pan Reverb Send _ Chorus Send Bend Sens. 2 2 Overall Part Settings IMaster Volume! Revers oes, Key Shit Type Level] Time |Level Feedback [Delay] Rate [Depth] v7 [Hai] es [ea ea] 6 [eo] s | is] o (4) About the MIDI Implementation Chart MIDI has made it possible fora wide variety of devices to exchange information, but itis, not always true that all types of MIDI messages can be exchanged between all types of devices. For example, if you use a synthesizer as a master device to control a digital piano, the pitch bender tthe lever or wheel that modifies the pitch) of the synthesizer will have no effect on the sound of the piano, ‘The imponant thing to keep in mind when using MIDI is that the slave device must be able to ‘understand’ what the master is ‘saying’. In other words, the MIDI messages must be common to both master and slave. To help you quickly determine what types of MIDI messages can be exchanged between master and slave, the Operation Manual of each MIDI device includes a MIDI Implementation chart. By looking at this chart, you can quickly see what messages the device is able to transmit and receive. The left side ofthe chart lists the names of a vari- ety of MIDI messages, and the Transmission and Reception columns use “0” and “x” marks to indicate whether or not each of these messages can be transmitted or received. This means that a specific MIDI message can be exchanged only if there is an "0" in both the Transmission column of the master and the Reception column of the slave device. MIDI implementation charts are standardized, so you can fold the charts from ‘wo manuals together to see at a glance how the two devices will communicate. A detailed explanation concerning the data format used for Exclusive messages, and the implementation of MIDI used on the SCB-7, can be found stanting on page 15. 75. TONE TABLE Pc# | ToneName |v| TVvF Pc# | ToneName | V| TVF 1 ooh] Piano 7 i 33 [20h] Acoustic Bs. i 2 [Oih| Piano 2 i 34 [21h] Fingered Bs 7 3 [02h] Piano 3 i 35 [22h | Picked Bs. i [4 [03h |Honky-tonk 2 | 36 [23h | Fretless Bs. 1 @| 5 [04h] E-Piano 1 1 0/37 |24h| Slap Bass 1 1 6 [05h] E Piano 2 1 36 [25h|Siap Bass 2 i 7 [06h] Harpsichord 1 39 [26h Synth Bass 1 1 8 [o7h| Clay. i 40 [27h [Synth Bass2 | 2 § | 9 osh|Cetesta 1 | 41 [28h | Violin 1 | 10 [09h | Glockenspiel 1 | 42 [29h [Viola 1 3 [11 [OAn| Music Box 1 § | 43 |2An|Cello 1 2 [12 [OBA] Vibraphone 7 § [44 [28h| Contrabass 1 (3 | 13 [OCh| Marimba 1 | 45 [2Ch| Tremolo Str i 8/74 [Dh] Xylophone 1 8] 46 [20h] Pizzicato Str 1 [16 [OEh| Tubular-bell i 5 | 47 [2Eh| Harp. 1 & [76 [OFh| Dulcimer 1 ? Vas [arn | Timpani 1 17 [10h [Organ 1 1 49 [30h| Strings 1 18 [17h| Organ 2 1 50 [31h] Slow Strings 1 19 [12h | Organ 3 2 @| 51 [32h] Syn Stringst 1 §|20[13h| Church Org.t i = | 52 [83h] Syn Strings? 2 5 | 21 | 14h| Reed Organ 1 3 53 |34h| Choir Aahs 1 22 [15h [Accordion Fr 2 i [54 [35h [Voice Oohs 1 23 | 16h | Harmonica i 55 [36h | SynVox 1 24 [17h| Tango Accordion | 2 56 [37h [Orchestra hit | 2 | OFF 25 [18h] Nylon-str.Gt 1 ‘7 [38h | Trumpet 1 26 | 19h| Steel-str.Gt 1 68 [39h| Trombone i 27 |1Ah [Jaz Gt. 1 59 [3Ah| Tuba i 8/28 [1Bh| Clean Gt i | 60 [38h] Muted Trumpet | 1 | 29 [1Ch| Muted Gt. i | 61 [8Ch] French Horn 2 30 |1Dh| Overdrive Gt 1 62 [3Dh| Brass 1 1 31 [1Eh| Distortion Gt 1 63 [3Eh| Synth Brass?__| 2 32 [iFh[GtHarmonics [4 64 [3Fh [Synth Brass2__| 2 PCH: Program Change Number V: Number of voices used TVF: Instruments marked “OFF” cannot have their TVF's (Time Variant Filter) modified by Channel altertouch, * Reception of channel attertouch on the SCB-7 is disabled as a default setting. When you wish to use this function, enable it trom your application software. See the MIDI Implementation for more detailsPCH Tone Name Vv TVF PCH Tone Name v VE 65 | 40h| Soprano Sax 7 97 [60h|ice Rain 2 66 | 41h| Alto Sax 1 98 | 61h| Soundtrack 2 67 | 42h| Tenor Sax = Pe 99 |62h| Crystal = "3 | 68 [43h [Baritone Sax 1 |100| 63h] Atmosphere 2 & | 69 [44h] Oboe 1 701 |64n| Brightness 2 | OFF 70 [45h] English Horn i 102] 65h |Goblin 2 71 | 46h} Bassoon 1 103] 66h | Echo Drops 1 72 | 47h) Clarinet : 104] 67h | Star Theme r 73 | 48h| Piccolo 1 105] 68h | Sitar 1 74 [49h| Flute 1 106] 69h | Banjo i 75 |4Ah| Recorder 1 B 107|6Ah|Shamisen 1 g| 76 | 4Bh| Pan Flute 1 7 108] 6Bh} Koto = @ | 77 |4Ch| Bottle Blow 2 “E|109/6Ch| Kalimba 1 78 [4Dh| Shakuhachi 2 £[110/6ph| Bag Pipe 1 79 [4Eh| Whistle + [OFF 1] 6Eh| Fiddle i 80 | 4Fh| Ocarina 1 112] 6Fh| Shannai 1 81 |50h| Square Wave = 113] 70h | Tinkle Bell : 82 [51h| Saw Wave 2 114]71n | Agogo 1 ‘3 [83 [52h] Syn.Calliope 2 115| 72h| Steel Drums 1 S84 [53h] Chiffer Lead 2 116] 73h | Woodblock 1 OFF € 85 |54h| Charang = 117} 74h | Taiko : || 86 |55h| Solo Vox y 118] 75h| Melo. Tom 1 Seeeseeeae 87 |56h| 5th Saw Wave 2 119] 76h| Synth Drum, 1 OFF 68 [57h| Bass &Lead | 2 | 120| 77h | Reverse Cyr. 1 |_OFF 89 | 58h| Fantasia 2 121] 78h | Gt.FretNoise 1 OFF 90 |59h| Warm Pad 1 122] 79h | Breath Noise 1 3/97 [San] Polysynth 2 123] 7Ah| Seashore 1 [92 [SBh| Space Voice 1 x<{124|7h| Bird 2 | OFF [93 [5Ch[BowedGiass | 2 [125|7Ch| Telephone + 1 [OFF |B 94 |SDh| Metal Pad 2 126] 7Dh| Helicopter 1 95 |5Eh| Halo Pad 2 '127|7Eh| Applause 2 96 |5Fh| Sweep Pad 1 128] 7Fh}| Gun Shot 1 OFF PC#: Program Change Number Vi Number of voices used Instruments marked “OFF” cannot have their TVF's (Time Variant Filter) modified by Channel altertouch, * Reception of channel atiertouch on the SCB-7 is disabled as a default setting. When you wish 10 Use this function, enable it from your application software, See the MIDI Implementation for more details, 136. DRUM SET TABLE Por 7 7 3% 3 a @ cumenl| Standard set | Powerset | lec. set | TRa0eset | Brush set | Orchestra set (60 tones) {60 tones) | (60 tones) (60 tones) (60 tones) (61 tones) pn — ae 28 ‘Slap (Pedal HH oa open i ‘Scratch Pull __ — [Ride Cymbal are fics t Snare OE fsa iveronome CHS [Se venscone bes 95 Mice Bram > = Conced BOF oe eee TORTS RE | BSE BO HOOT BATON Semen BOT 9198 ppp se sso : fora Eau rier Gaia SO—| eas 55 ——|0 Se Guin — [pease tear SOT fd oar oats 40 ‘Snare Drom 2 Gated SO_ (Beush Swirl C) an fume ee Lovo 608 To asad Fat TERCT] sos cH [EXC Tapa) fae ftow ont Cog LaaTonT fost tan Taser Pal at — ECT] aos or faa Gr a5 stone Tec isTana [woe Ten» Tame FE Spon 08 OF EXC Tips ene ise atom [oe Fon Tagan gfe tanta Een Ton? [ost Ton? Tapered 8 poo cain arr sos rt Tae aro ToceTomi— tess fant ae Sey aeons a Taare Cis Cabs Aaa Cabal Tian 7 = Teen Splash Gymbat Comb i Combat Crash Cynbal2 Gance Cuba Vibasiap 59 A [Rise cya? Gancor Cymbal feo ian Bona0 = 4 pw Borgo fe2. | Mut High Cangas 5 ‘Open High Conge BOs Mid Conga (1 64 Tow Conga BOS Law Conga os Ce Low Tina High Agogo. —— Law Ag Cabasa Maracas a ‘Short Wate EXC LC Lang Low White XC2 = Shor Gur EXC ong Guo ——exC3) claves [Oxon = igh Wad ok t — Low Wood Blok hua Cuca EXC ‘Open Cuca ——[ExCal angie [EXCH] a [EXC Sane at — 8) prop cssmas— = = 6 OO i oO pg A cess I i = 7 = = agian * The blank positions have the same instruments as the “Standard set means “emply.” + Instruments with the same [EXCH] (Exclusive group number) will mute each other when played in combination, + Instruments marked with “(#)” can have their TVF's (Time Variant Filter) modified by Channel atertouch,GM DAUGHTER BOARD Model : SCB-7 Date : Apr. 1. 1994 Version : 1.00 MIDI IMPLEMENTATION 1. RECEIVED DATA [Channel Voice Message ] NOTE OFF Sain Son! thi * Drum immer ecep Apis of Ovum Page bth mes <2> NOTE ON Sous Scud thal eeNebbety OOH THM -<3> CONTROL CHANGE ‘Con ake cafe when ecg Pagan Chon mesg. emeve th Bran Pt by RON ec when cee re (hire ess Rete NPN (1) Modul co ‘Sus Saad thal Se Nettiion gah OOF) + Ate ich lian tec Boe op 19 PATCH PARAM (2) Data entry (#6, #38) ‘Sats Second thd = MD chanel 5H eh) ho MS sae oh janes yee by RON oe NN Cime Mohave Son Ht0 827 + Ral sone determined by FMonime ae peso vale (Wt Volume ae 4) Panpot (10) n=MiDichawel OH, fH4chlcht6) Manian FE aDH F710.) a, Core, igh Pepe nent (5) Expression (nit) ae Sam at on aren tas" + tect vlune + Rests detest ‘Mame ae) Espeson ali) Mier Voki (©) Holdt (w64) aus Second th f= MDH channel OH. ch cht) lve OH) Wold OF {Ge PIM 27H ON (7) Effect depth (Reverb depth) (#91) aus Scand Td f= MID han om t4tent cm reso ee tani re 2 + ea sending eel dtm by Volume ve, penn ale ‘Maser wohote wae i ake, tReet bc hag on oe 20) (8) Effect3 depth (Chorus depth) (#93) Sun Second Thad + Real senee dtm by Volume wl apesion a (9) NRPN MSB/LSB (#98, #99) ae See Ovo OH FM ehh ch i he tate ce by NRPN ASB ee rete pc y REN * a per apo evivig To Gene ub System On HO7E PE {TF mene, NRO a cee NPR = OF Stn fake mee can eae NRPN (Refer 1 PAICH JINRPN/] 'NRPN Non Reel Pama Numb) he espa Cont ‘Chane meg conte mate cton each MDL arene [NRO cu © may tne pate ht ore eae sas Wom ‘eter ole vas. [SRPN MSHS i coe edi at ety. ‘su ss tor al she Dam Pain he S02 15KON Dat tay SBLSE” Descgion IAbLnHt ett —VAeel Drm tan noe change ~ nao teeter DH ttt Reve sr eth ol Dr ste ake cme ‘eon 71M 11 hay eb of Dr a Peco ‘<< How to use NRPN >> eons MPN ahs toe wh cv To CM Stem Om bea rater pete by NEPNean be soe ‘Save nti sch ADI ately cee bene Ustaales reser NN by Spo Echaie mee 411056 1201 Ot OF sun70167 ant) = Ora Sy t prcete 40 SRP ey nar De Se parame ae iy dey 1B) par sala ely MSBin SEH) (10) RPN MSB/LSB (#100, #101) ia et = AMD chanel 4, FH eed Fh 186 prameter speeie by APN ei chang in preter aes va PN by Pr Change 11RPN/] PW Rested Prameee Na theese Como Chane ms Spee the MD! snd ach PR une edce On 0 38 ca te era at ny "Upto ctv dt ti 2 eons Nc tate and to REN aa <<< How to.use RPN >> 1 Speci he prance TET sa or proce nae 12 pater ss ety Sisto peter eae Sera onthe SB vl i pou the equ eon 0 he ‘ale 120 epe Omit se NB value owe, ee {Rs 8 0p pci by (ent65 2 6471 rch pries cy RPN Si a es et by dats ‘ety lS 2 erin ned ot ON ig he ‘She tov amy bene <> PROGRAM CHANGE oe ee GANGE meses Rew sounds wpe te eceningPRO- -<5> CHANNEL PRESSURE enUDIchanae OH, Fen ct he fer 11 cut sone, LF rat an pach eth can be cone Dest ie meet, Samm cle sagen eis change eye (Rete tp 1 PATCH PABAMITERS | -<6> PITCH BEND CHANGE aus Sua thud + The de ba ange a «2 ene, RPA{ Channel Mode Message | <1> ALL SOUNDS OFF (#120) + Alleueat ete oie imhe spe han wl Be sh <<2> RESET ALL CONTROLLERS (#121) aus Secor ud AWD chanel 04, hl oh tate esa a <<3> ALL NOTES OFF foams autor NOTE OHTs 1 HONDO Bese des ot ‘tome erie te OID OF a naman ae An of a Pa gre ths mes. <4> OMNI OFF Sats Sem hia ft 7G <5> OMNI ON Sos Second tha = MADE chanel OM FAG * OM ON nyc “ALL NOTES OF", Conta made <6> MONO Sue Second thd avehanae Hehehe + MONO i oly coped ALL NOTES OF” Curent mae dose ‘home. (ileayo Mae <7> POLY Sus Sem! thi + POY ney recone ae “AIL NOTES OF, Caen mae does hang abays at Mae [ system Realtime Message ] <<1> ACTIVE SENSING + Once reece tes meses monitor he mgt oe MUD cone ‘tom nner tenon mgr aay. “ALk SOUNDS (OFT ALL NOTTS ONT amd RESET A CONTBOLLIR ees, trai hen emit [ System Exclusive Message } Toe Mott TR OH Sot tor Sao ache Dimmer: hme mace Sn tc hie Me. Me vee: Dawn 718102129 SciL7 hn aig ota SC egies the allowing ste eel ND tem Mes nwt Ree yt as <<1> GENERAL MIDI SYSTEM MESSAGES Turn General MIDI System On sms 0: St tr Sao Exch Mest HM Brumley! nel Nowe anne Mesa HH Sanda (Gen! MDL message * Se GAL Gol MIDI Pennmace—Lesl and MN able * Aus et compl Ns ese -<2>UNIVERSAL REALTIME SYSTEM EXCLUSIVE MESSAGES TOP ACR sc om, omit 10 ator Sytem chine Mesa DIN Dre inves eahine Packie Mee | FIM: Deace19 (roaeat Tah std A Dee Contd Mena ios * Yh mesa nthe sa tc ty Vl aden 8000 (ittysem achnve Mesa Whichever mesage cee the {hotplate Maser Vole 17<3> DATA SET ne conv by Spt Fshuive Mesge nn Sie MHD = St ome dt ses Data Set 1 OT1 (12H) meses when sega psc het the una [ ADDRESS BLOCK MAP ] as Daa FOR TPT, S424, 12,0, HO. cCH, a eH, tm Fo) Sor Spam Echt Mes hist [xtniatarrD mumbo land Suet Nt SCR7 9+ Seda we 2H fant N rts es pr nt he of a ae) Thee Dao Nee ott ats) ced 1SBurdnakess (Lowery othe ott es Gi “Thas Sec date al eset n en * Some parameters tein data se, Tas pater ould be an Imad sc aesze don th he es deter eto Dra ds urea 25 yes inn twoooe paket conning, ‘Mone thon Ah ree ah okt, 1 Rar nCheckaon or cho See p20, 2. PARAMETER ADDRESS MAP Ih PARAMETER ADDRESS MAP sas el prot vr ah ‘eae chan ty the Da Set et Se Esc [PAEANEIER ADDRESS AAP cori Als. Dat siz, Daan, Paster ne, Deon, Brat ke print Se ‘Baur icine hy Da ‘aie range ot ae Deceupton Explanation o dat vale Deusen less Sie Onis Pater Descisin Deo 00009 OF WD.4 REVERB G0, Ram 1 0 ofa (OF Pang Ooty 010000 Fach [REET] we moot 10-5004 Eo [ PARAMETER ADDRESS MAP } SYSTEM PARAMETERS Rees mated" canoe eel hep fan ae, (1) Effect Control ( Recognized when MODEL ID = 56H } Aves Se Das ames Descent sro all> C006 01.71 EOL 0.927081 ob Htoenek cower oF o.2F GHOMN o.ne7 50 (2) System Common ( Recognized when MODEL ID = 42H ) its see Dan Foams Orrin Se 10900 04 OOT8..O7ED MASTER TUNE IMO. via! SOON GOED 0 14 Urenibbhecdst 1 Voruara °Ve SAACTHR UN +100 cr the ak sl eet. 7 Sepa OPH wt trie le & bs chase Charge ech ick on ye dat 6H 07H OE UHH sorta 3972800170808) (2 menage Bo the same ec ter Voli Una etn Som Face Menage, Wher mesg hte <<2> PATCH PARAMETER (1) Voice Reserve ( Recognized when MODEL ID = 42H) Soar Rishi PARI + ahesam arse eerie sil he 28 HC OF et 2 te favs hvethe loin pny Honea Pat Hays as trample Beene bis 10481042 124901 IWARGR A OLE ‘Sean ca 080808 et? ‘6121271212111 0108 GF OF OL OF OF Pat Vs ye 4 EDA DoDD Dede (2) PATCH PARAMETERS ( Recognized when MODEL 1D. = 56H) aes SL Data Paaneer —Doscrptan Dt orovor oF 0.0) RENRPN OIF [rH Th values mabe on forthe Da ft, Te ates aes 12,1 ole ay mah tl ate ale 8 1-1 th we al by chanel oi (2 Someones ae oY pe, th sat he as 19Block Diagram of the SCB-7 cfoet pyUseful Information * Decimal and Hexadecimal ‘ts cormmun tae 7 esi rene 8 MUD corto {hese na canvenion le bee cal aur an. Joes tin Deca Jr Om ia Osema| ea cee Slam) & | an] an a) ae] a) me] B | aa] % | foe] S| i] S| sh] S| ie] & | soe] st | * tte dec obo the AUD chanel Poa ibe, + Theoharis mrs 128, Use stl yen tor ‘his whch eat eae olan The manera It enc“ + Spo mm ed nO = 68 40H © 0,77 Sethe mr "sa ah ena" ‘Rupe mer go ys cae n 00 OOH = + hectic bia Hes me Ce ate was ve - Cane “SAH" in Helo Dec mane ing the obi SAH = Synge ble 32M 8, 3H = + Example of actual MIDI messages Seesnset a nove Onis andr M0 cate Naw ren ne al eh eo ial Vac 5, SExrinsunsol Progam chan hap, -n" MIDI chant ‘escola mane. Sica Puqgam hae me Dee, Pm Tce bye OOH 49 SB and de taba MS 9 Pach et ake esp So, this Pach bead charge message 08 MUD chan 11a ed ‘hte pach eed ak tba mies LL Checksums for Exclusive Messages ‘tera un tunetoRVesboble och wr comms [How to caloulate Checksums ("H” indicates Hexadecimal) } Theor eh roses snes Cheam which roi 3 amber where ssn? bn ave eo when aks ra de, at aa ne Checkmate ne Ua thes ae h ner Den ni a sake 1h es a thst 10 Wel ‘hates ne das chon sn m1 ce, am Daioh Pa tes eh = 4 EAM © OD OEE OAM aire Wie ommmmom es 2 i Gn Wt halen de hea Tach SnD (29 "Ronit (Command 101011) etn, he mes se 21PARAMETER LIST Parameters Common to All Parts System Exclusive Messages {System Common] MODEL ID=42H... (p.18) MASTER TUNE MASTER VOLUME (1) MASTER KEY-SHIFT {Effect Control] MODEL ID=56H..... “ sol. 18) REVERB CHARACTER REVERB LEVEL (2), REVERB TIME DELAY TIME DELAY FEEDBACK CHORUS LEVEL (3) CHORUS FEEDBACK CHORUS DELAY CHORUS RATE CHORUS DEPTH [GENERAL MIDI SYSTEM MESSAGES] (p17) Turn General MIDI System On [UNIVERSAL REALTIME SYSTEM EXCLUSIVE MESSAGES] (p. 17) Master Volume (4) (2) : Refer to “Block Diagram of the SCB-7" ip. 20),Parameters for Individual Parts CONTROL CHANGE...... alps 15) [Modulation] 15) {Volume] (5) 15) {Panpot] (6). 15) [Expression] (7)... 15) {Effectt depth (Reverb depth)] (8) 15) {Effect3 depth (Chorus depth)] (9) 15) [RPN] : nnnnnnnnnnsnnnds VO) Pitch bend sensitivity Master fine tuning Master coarse tuning, INRPN (NRPN is available for only Drum Part] (10) (p15) Pitch coarse of Drum Instrument TVA level of Drum Instrument Panpot of Drum Instrument Reverb send depth of Drum Instrument Chorus send depth of Drum Instrument System Exclusive Message [PATCH PARAMETER] MODEL 1D=42H. (p19) Voice Reserve [PATCH PARAMETER] MODEL II RX. CHANNEL RX. NRPN (available for only Drum Part) MOD LFO RATE CONTROL MOD LFO PITCH DEPTH CAF TVF CUT OFF CONTROL (Some of sounds have no TVF parameter, then this value has no effect on those sounds.) CAF AMPLITUDE CONTROL CAF LFO RATE CONTROL CAF LFO PITCH DEPTH 6H (p. 19) (2): Refer to “Block Diagram of the SCB-7" ip. 20)SPECIFICATIONS SCB-7 : GM Daughter Board * Sound Source RS-PCM Sound Generation Compatible with GM System Level 1 Number of Parts 16 pants Maximum Polyphony 28 voices Number of Sounds Tones 128 tones (includes 8 SFX tones) Drum Sets: 6 sets (Standard! set, Power set, Elec. set, TR-808 set, Brush set and Orchestra set) * This board contains a total of 119 different tones which are used in 6 drum sets oF approx. 60 tones each. + Effects Reverb : 8 types with 4 parameters Type Room 1, Room 2, Room 3, Hall 1, Hall 2, Plate, Delay and Panning Delay Parameter; Level, Time, Delay Time and Delay Feedback Chorus : | type with 5 parameters Parameter: Level, Feedback, Delay, Rate and Depth = Connector Extension Connector for Sound Blaster 16 series or Sound Galaxy PRO 16 series + Available Sound Cards Sound Blaster 16 Basic Sound Blaster 16 Sound Blaster 16 ASP Sound Blaster 16 SCSI-2 Sound Galaxy NX PRO 16 Sound Galaxy PRO 16 Extra + Power Supply Supplied from the attached sound card + Current Draw 150 mA/+5V, 20 mA /+12V, 15 mA/-12V yensions 138.4 (W) x 88.9 (D) x 19.5 (H) mm 5-1/2 (W) x 3-1/2 (D) x13/16 (H) inches + Weight 65 g/ 302 In the interest of product development, the specifications and/or appearance of this unit are subject to change without prior notice,GM DAUGHTER BOARD Date : Apr.1. 1994 Me eae MIDI Implementation Chart ee ne Transmitted Recognized Remarks Basic Default x 1-16 Channel Changed x 116 Default x Mode 3 Mode Messages | x x Altered Perrrerrery * Note x 0-127 Number True Voice seaeeneee 0-127 Velocity NoteON | x ° Note OFF | x x After Key's x a Touch Ch's x ° Pitch Bend x ° v/s . Mataion 6,98 |s ° Dass enry 7 |x e Volume 10 | e Panpot it |e ° Expression a a 5 Hold Control gi jx ‘9 (Reverb) Effect | depth: Change 93 |x ‘0 (Chorus) Effect 3 depth. 98,99 |x ve NRPN LSB. MSB(®) 100, 101 |s : RPN LSB. MSB io |s 3 Alsounds off 21 |x a Resta contvoles Prog x Change True # eoenenees Program number 1-128 System Exclusive [x 5 System SongPos |x 5 Common Song Sel x a True x : System Clock x 2 Real Time Commands x x Local ON/OFF] x x AUX All Notes OFF | x 0 (123-127) Messages Active Sense | * o Reset a x Notes “© NRPN can be enabled or disabled by System Exclusive Message Default is always dvb Mode 1 :OMNION, POLY Mode 2: OMNI ON, MONO oz yes Mode 3 : OMNI OFF, POLY Mode 4: OMNI OFF, MONO x: NoInformation When you need repair servic, call your nearest Roland Service Center or authorized Roland distributor in your country as showin below rover REUNION SOUTH AFRICA, Sere Shop (ca) CHINA Teamont Ceti eae Hone Kona INDIA INDONESIA MALAYSIA SINGAPORE TAIWAN, EXTEnvaise COU, THAILAND ‘VIETNAM AUSTRAUA, soa Pp NEW ZEALAND COSTA RICA TaN Renae ‘chine EL SALVADOR Mexico Roland Corporation PANAMA PARAGUAY PRU vurucuay VENEZUELA ausrRiA DENMARK. FRANCE coresce HUNGARY tsratt JORDAN Norway " xuwar POLAND Beatin about PORTUGAL eho Tenge Monn Audi, Soe a ee ee sien QATAR aes ‘Semel co Baie Sata russia sean oo 6h in Pupusa ee omer eran eee a = UNITED KINGDOM, wea USA. (Ran 0231801'@Roland* 00560434 Roland® 2-83S