Parameter Guide - Roland Corporation · Ext C. Tune (Coarse Tune) MIDI device. OFF, -48–+48 Sets the Coarse Tune of the external Parameter Value Explanation Ext F. Tune (Fine Tune)

Parameter Guide

© 2020 Roland Corporation 03

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ContentsScene Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4ZONE EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

INTERNAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4EXTERNAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

KEY TOUCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

PEDAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6WHEEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6KNOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7CTRL SRC SEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ZONE SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7TONE COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8MODIFY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8SCALE TUNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ZONE EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9MFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

SCENE EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9SYMPATHETIC RESO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

SYSTEM EFFECTS Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

SYS CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14SYS REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14MASTER COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

SYSTEM Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16KEY TOUCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

PEDAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17WHEEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17KNOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18MIDI RX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18LOCAL SW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

USB AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19SCALE TUNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

INPUT SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20INPUT REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20INPUT EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

MFX/IFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Isolator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Low Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22SuperFilter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Step Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Auto Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Humanizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Speaker Sim (Speaker Simulater) . . . . . . . . . . . . . . . . . . . . . . . . . . 24Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Small Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Script 90 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Step Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26M StagePhsr (Multi Stage Phaser) . . . . . . . . . . . . . . . . . . . . . . . . . 26Inf Phaser (Infinite Phaser) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Ring Mod (Ring Modulator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Slicer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28VK Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30StepFlanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Hexa-Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Trem Chorus (Tremolo Chorus) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Space-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Overdrive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32T-Scream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Gt Amp Sim (Guitar Amp Simulator) . . . . . . . . . . . . . . . . . . . . . . . 33Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Sustainer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Mod Delay (Modulation Delay) . . . . . . . . . . . . . . . . . . . . . . . . . . . 353Tap PanDly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364Tap PanDly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37MultiTapDly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Reverse Dly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39TimeCtrlDly (Time Control Delay) . . . . . . . . . . . . . . . . . . . . . . . . . 40Tape Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40LOFI Comp (Lo-Fi Compressor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Bit Crasher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41PitchShiftr (Pitch Shifter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412V PShifter (2 Voice Pitch Shifter) . . . . . . . . . . . . . . . . . . . . . . . . . . 42OD 0 Chorus (Overdrive 0 Chorus) . . . . . . . . . . . . . . . . . . . . . . 42OD 0 Flanger (Overdrive 0 Flanger) . . . . . . . . . . . . . . . . . . . . . 43OD 0 Delay (Overdrive 0 Delay) . . . . . . . . . . . . . . . . . . . . . . . . . 43DS 0 Chorus (Distortion 0 Chorus) . . . . . . . . . . . . . . . . . . . . . . . 44DS 0 Flanger (Distortion 0 Flanger) . . . . . . . . . . . . . . . . . . . . . . 44DS 0 Delay (Distortion 0 Delay) . . . . . . . . . . . . . . . . . . . . . . . . . 45OD/DS 0 T. Wah (Overdrive/Distortion 0 Touch Wah) . . . . . . 45OD/DS 0 A. Wah (Overdrive/Distortion 0 Auto Wah) . . . . . . 46Gt 0 Chorus (Guitar Amp Simulator 0 Chorus) . . . . . . . . . . 47GT 0 Flanger (Guitar Amp Simulator 0 Flanger) . . . . . . . . 48Gt 0 Phaser (Guitar Amp Simulator 0 Phaser) . . . . . . . . . . 49Gt 0 Delay (Guitar Amp Simulator 0 Delay) . . . . . . . . . . . . 50EP 0 Tremolo (EP Amp Simulator 0 Tremolo) . . . . . . . . . . . 51EP 0 Chorus (EP Amp Simulator 0 Chorus) . . . . . . . . . . . . . 51EP 0 Flanger (EP Amp Simulator 0 Flanger) . . . . . . . . . . . . 52EP 0 Phaser (EP Amp Simulator 0 Phaser) . . . . . . . . . . . . . . 52EP 0 Delay (EP Amp Simulator 0 Delay) . . . . . . . . . . . . . . . . 53Enhncr 0 Cho (Enhancer 0 Chorus) . . . . . . . . . . . . . . . . . . . . 53Enhncr 0 Fl (Enhancer 0 Flanger) . . . . . . . . . . . . . . . . . . . . . . 54Enhncr 0 Dly (Enhancer0 Delay) . . . . . . . . . . . . . . . . . . . . . . . . . 54Chorus 0 Dly (Chorus 0 Delay) . . . . . . . . . . . . . . . . . . . . . . . . . 55Flanger 0 Dly (Flanger 0 Delay) . . . . . . . . . . . . . . . . . . . . . . . . 55Chorus 0 Fl (Chorus 0 Flanger) . . . . . . . . . . . . . . . . . . . . . . . . 56CE-1 (Chorus) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

3

Contents

SBF-325 (Flanger) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56SDD-320 (Dimension D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572Tap PanDly (2 Tap Pan Delay) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Transient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Mid-Side EQ (Mid-Side Equalizer) . . . . . . . . . . . . . . . . . . . . . . . . . . 58M/S Comp (Mid-Side Compressor) . . . . . . . . . . . . . . . . . . . . . . . . . 59Fattener (Tone Fattener) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60M/S Delay (Mid Side Delay) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60EP Amp Sim (RD EP Amp Simulator) . . . . . . . . . . . . . . . . . . . . . . . 61DJFX Looper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61BPM Looper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Saturator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62W Saturator (Worm Saturator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Fuzz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63JUNO Chorus (JUNO-106Chorus) . . . . . . . . . . . . . . . . . . . . . . . . . . 63MM Filter (Multimode Filter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64HMS Distort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Script 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

4

Scene ParameterHere’s how to edit settings for the currently selected scene.

1 . Press the [MENU] button.

2 . Use the cursor [ ] [ ] buttons to select “SCENE EDIT,” and press the [ENTER] button.

3 . Use the cursor [ ] [ ] buttons to select the item that you want to edit, and press the [ENTER] button.

4 . Use the cursor [ ] [ ] buttons to select a parameter, and use the [DEC] [INC] buttons to edit the value.

COMMONSettings for the entire scene.

Parameter Value Explanation

Level 0–127 Specifies the volume of the scene.

Tempo 20–250 Specifies the tempo of the scene. This affects the effect settings, etc.

Voice Reserve Z1–Z3

0–10

Specifies the number of voices that are reserved for each zone when you attempt to play more voices than the maximum available.

ZONE EDITSettings for zones 1–3 (UP1/UP2/LOW).

* Settings for sound engine control.

INTERNALSettings for each zone for the internal sound engine of the RD-88 unit.


Bank

SN PR-A, SN PR-B, RD-88, PR-A, PR-B, PR-C, PR-D, PR-E, COMMON, USER, EXZ001

Selects the tone bank.

(Number / Name) **** Selects the tone.

Level 0–127 Specifies the volume of each zone.

Pan L64–63R Specifies the panning of each zone when using stereo output.

Kbd Sw(Keyboard Switch)

OFF, ON Switches the zone on/off for playing from the keyboard.

Rx Ch(Rx Channel)

1–16 Specifies the MIDI receive channel of each zone.

Cho Send(Chorus Send Level)

0–127 Specifies the send level to chorus.

Rev Send(Reverb Send Level)

0–127 Specifies the send level to reverb.

Output(Output Assign)

Selects the output destination.

DRY Output without passing through the effects.

IFX Send to IFX.

SYM-RESO Send to Sympathetic Resonance.


Key Rng Low(Key Range Lower)

C-1–UPPER Specifies each zone’s key range. Make this setting when you want to play different tones in different regions of the keyboard. Specify the lowest key (Key Rng Low) and the highest key (Key Rng Upp) of the desired region.

Key Rng Upp(Key Range Upper)

LOWER–G9

Velo Max(Velocity Max)

1–127

Specifies the maximum velocity when you play a key. With a low value of this setting, the volume will not become very loud even if you play a key strongly.

Velo Sens(Velocity Sensitivity)

-63–+63

Specifies how the volume responds to the key velocity.

With positive (+) values, the volume increases as you play more strongly; with negative values (-), the volume decreases as you play more strongly.

Velo Rng Low(Velocity Range Lower)

1–UPPER Specify the lower limit (Velo Rng Low) and upper limit (Velo Rng Upp) of key velocities that will play the tone. Make these settings when you want to use velocity to switch between tones.

Velo Rng Upp(Velocity Range Upper)

LOWER–127

Coarse Tune -48–+48 Specifies the pitch in semitone units.

Fine Tune -50–+50 Finely adjusts the pitch in one-cent units.

Ctrl Damper(Damper Pedal)

OFF, ONSpecifies whether damper pedal operations are received (ON) or not received (OFF).

Ctrl FC1(FC1 Pedal)

OFF, ONSpecifies whether FC1 pedal operations are received (ON) or not received (OFF).

Ctrl FC2(FC2 Pedal)

OFF, ONSpecifies whether FC2 pedal operations are received (ON) or not received (OFF).

Ctrl Wheel1(Wheel 1)

OFF, ONSpecifies whether WHEEL1 operations are received (ON) or not received (OFF).

Ctrl Wheel2(Wheel 2)

OFF, ONSpecifies whether WHEEL2 operations are received (ON) or not received (OFF).

Ctrl Knob1(Control Knob 1)

OFF, ONSpecifies whether KNOB1 operations are received (ON) or not received (OFF).















5

Scene Parameter

EXTERNALExternal MIDI device settings for each zone.


Tx Mode(Tx Mode)

ON

Normally, you’ll use this value. The same MIDI messages are transmitted to the RD-88’s internal sound engine and to an external MIDI device. Tone selection and switching messages (bank select and program change) will be the settings of the tone selected for that zone.

MEMO

If Tx Mode is ON, the settings of the [INTERNAL] tab are enabled, and the settings of the [EXTERNAL] tab are ignored. If you want to enable the parameters of the [EXTERNAL] tab and control an external device, set Tx Mode to “EXT .”

INT

Use this setting if you want a specific zone to not transmit MIDI messages to an external MIDI device. Use the INT setting if you want to play only the internal sounds of the RD-88.

EXTChoose this setting if you’re using the RD-88 as a master keyboard to control an external MIDI device.

Ext Port(Output Port)

ALL, MIDI, USB

Specifies the connector that transmits control messages.

If this is “ALL,” messages are transmitted both from the MIDI OUT connector and the USB port.

Ext Ch(Tx Channel)

1–16 Specifies the MIDI transmit channel.

Bank MSB OFF, 0–127Enter numerical values for the program number and bank select MSB/LSB to switch sounds on an external MIDI device.

Bank LSB OFF, 0–127

Ext PC(Program Change)

OFF, 1–128

Ext Volume(Volume)

OFF, 0–127 Adjusts the volume of the external MIDI device.

Ext Pan(Pan)

OFF, L64–63R Sets the pan of the external MIDI device.

Ext Chorus(Chorus Send Level)

OFF, 0–127 Sets the Chorus Send Level of the external MIDI device.

Ext Reverb(Reverb Send Level)

OFF, 0–127 Sets the Reverb Send Level of the external MIDI device.

Ext Mono/Poly(Mono/Poly)

OFF, MONO, POLY Sets the Mono/Poly setting of the external MIDI device.

Ext Attack(Attack Time Offset)

OFF, 0–127 Sets the Attack Time Offset of the external MIDI device.

Ext Decay(Decay Time Offset)

OFF, 0–127 Sets the Decay Time Offset of the external MIDI device.

Ext Release(Release Time Offset)

OFF, 0–127 Sets the Release Time Offset of the external MIDI device.

Ext Cutoff(Cutoff Offset)

OFF, 0–127 Sets the Cutoff Offset of the external MIDI device.

Ext Reso(Resonance Offset)

OFF, 0–127 Sets the Resonance Offset of the external MIDI device.

Ext Porta Sw(Portamento Switch)

OFF, P-OFF, P-ON Sets the Portamento of the external MIDI device.

Ext Porta Tm(Portamento Time)

OFF, 0–127 Sets the Portamento Time of the external MIDI device.

Ext C. Tune(Coarse Tune)

OFF, -48–+48 Sets the Coarse Tune of the external MIDI device.


Ext F. Tune(Fine Tune)

OFF, -50–+50 Sets the Fine Tune of the external MIDI device.

Ext Bend Rng(Bend Range)

OFF, 0–48 Sets the Bend Range of the external MIDI device.

Ext Mod Dpth(Modulation Depth)

OFF, 0–127 Sets the Modulation Depth of the external MIDI device.

Ext M. Vol Sw(External Control Volume

Knob) OFF, ON

Specifies whether master volume operations are transmitted (ON) or not transmitted (OFF).

Turn the Ext M. Vol Sh ON when you want to use the master volume to also adjust the volume of the external MIDI device.

Ext CC1 Num(User Control Change 1

Number) OFF, 0–127

These parameters let you specify and transmit two types of control change message.

Ext CC1 Val(User Control Change

1 Value) 0–127

Ext CC2 Num(User Control Change 2

Number) OFF, 0–127

Ext CC2 Val(User Control Change

2 Value) 0–127

6

Scene Parameter

KEY TOUCHExternal MIDI device settings for each zone.


Source SCENE, SYS

Specifies whether the keyboard touch settings are specified by the settings of the scene (SCENE) or by the system settings (SYS).

Velo Crv(Velocity Curve)

SPR LIGHT An even lighter setting than LIGHT.

LIGHT

Specifies a light keyboard touch response. Since you can produce fortissimo (ff) using an even lighter touch than with the MEDIUM setting, this feels as though the keyboard is lighter. This setting is easy to play even by those whose hands have less strength.

MEDIUM

Specifies the standard keyboard touch response. This allows playing with the most natural touch. This is closest to the touch of an acoustic piano.

HEAVY

Specifies a heavy keyboard touch response. Since producing fortissimo (ff) requires you to play with a stronger touch than with the MEDIUM setting, this feels as though the keyboard is heavier. This setting allows even greater expressiveness when you play dynamically.

SPR HEAVY An even heavier setting than HEAVY.

Velo Offset(Velocity Sense Offset)

-10–+9

Finely adjusts the keyboard touch response in greater detail than the Velocity Curve setting. This lets you specify detailed settings between the various Velocity Curve values. Higher values make the touch feel heavier.

If this value exceeds the upper or lower limit, the Velocity Curve also switches automatically between its five values as appropriate.

Velocity

REAL,The volume and character of the sound responds to your keyboard playing dynamics.

1–127The volume and character of the sound remains fixed regardless of your keyboard playing dynamics.

Velo Dly Sens(Velocity Delay Sense)

-63–+63

Specifies the delay from the moment you press the key until the sound is heard.

Negative values delay the timing at which the sound is heard when you press the key strongly. Positive values delay the timing at which the sound is heard when you press the key softly.

Velo Keyfollow(Velocity Key Follow

Sense) -63–+63

Specifies how keyboard touch is affected by the keyboard range.

With higher values, the keyboard feels heavier as you play upward and lighter as you play downward.

KeyOff Pos(Key Off Position)

STANDARD Note-off occurs at the same key depth as a conventional piano.

DEEPNote-off occurs at a deeper key depth. This is appropriate for sounds such as electric piano.

ASSIGNKeyboard touch settings (for each individual scene).

PEDALParameter Value Explanation

Source SCENE, SYS

Specifies whether the parameters controlled by the pedals are specified by the settings of the scene (SCENE) or by the system settings (SYS).

FC1(FC1 Function)

Specifies the function that is assigned to the FC1 pedal when Source is set to “SCENE.”

OFF No function is assigned.

CC01–31, 32 (OFF), 33–95 Controller number 1–31, 32, 33–95

AFT Aftertouch

BEND DOWN Lower the pitch.

BEND UP Raise the pitch.

SCENE DOWN Switch the scene to the previous number.

SCENE UP Switch the scene to the next number.

START/STOP Play/stop the rhythm or audio file.

FC2(FC2 Function)

Specifies the function that is assigned to the FC2 pedal when Source is set to “SCENE.”



AFT Aftertouch






WHEELParameter Value Explanation

Wheel1 Src(Wheel1 Source)

SCENE, SYS

Specifies whether the parameter controlled by WHEEL1 is specified by the settings of the scene (SCENE) or by the system settings (SYS).

Wheel1(Wheel1 Function)

Specifies the function that is assigned to WHEEL1 when Source is set to “SCENE.”



AFT Aftertouch

PITCH BEND Raise or lower the pitch.

Wheel2 Src(Wheel2 Source)

SCENE, SYS

Specifies whether the parameter controlled by WHEEL2 is specified by the settings of the scene (SCENE) or by the system settings (SYS).

7

Scene Parameter



Specifies the function that is assigned to WHEEL2 when Source is set to “SCENE.”



AFT Aftertouch



KNOBParameter Value Explanation

Source SCENE, SYS

Specifies whether the parameters controlled by KNOB 1–8 are specified by the settings of the scene (SCENE) or by the system settings (SYS).

Knob1–Knob8Knob1 Function–Knob 8 Function

Specify the functions that are assigned to KNOB 1–8 when Source is set to “SCENE.”



AFT Aftertouch



CTRL SRC SELParameter Value Explanation

Src1(Control Source (1))

OFF, CC01–CC31, CC33–CC95, BEND, AFT

Specify the MIDI message that modifies the parameter.




ZONE SOUNDSettings for zones 1–3 (UP1/UP2/LOW).

* Settings for sound engine control.

TONE COLORParameter Value Explanation

Type(Tone Color Type)

EQ

Lets you adjust EQ with a single knob. Turning the knob toward the left boosts the mid-frequency range, and turning the knob toward the right boosts the high- and low-frequency ranges. By adjusting this appropriately for the conditions of your performance, you can make the sound easier to hear.

STEREO WIDTH

If the sound is being output in stereo, turning the knob toward the left gradually changes the output to mono, and turning the knob toward the right gradually changes to stereo. Depending on the conditions of your performance, mono output might be easier to hear.

Level(Tone Color Level)

0–127 Adjusts the depth of TONE COLOR.

GENERALParameter Value Explanation

Mono/Poly MONO, POLY, TONE

Choose “MONO” if you want the tone assigned to the zone to play monophonically, or “POLY” if you want it to play polyphonically. Choose “TONE” if you want to use the setting of the tone.

Legato Sw(Legato Switch)

OFF, ON, TONE

When playing monophonically, you can apply legato. “Legato” is a playing technique in which notes are played smoothly without a break between them. This produces an effect similar to the guitar technique of hammering-on and pulling-off. Choose “ON” to apply legato, or “OFF” if you don’t want to apply legato. Choose “TONE” if you want to use the setting of the tone.

Porta Sw(Portamento Switch)

OFF, ON, TONE

Specifies whether portamento is applied. Choose “ON” if you want to apply portamento, or “OFF” if you don’t want to apply portamento. Choose “TONE” if you want to use the setting of the tone.

Porta Time(Portamento Time)

0–127, TONE

Specifies the time over which the pitch changes when applying portamento. With higher values, the pitch change to the next note takes longer. Choose “TONE” if you want to use the setting of the tone.

Unison Sw(Unison Switch)

OFF, ON, TONE

This function layers a single sound. Choose “ON” if you want to apply unison, or “OFF” if not. Choose “TONE” if you want to use the setting of the tone.

Velo Crv Type(Velocity Curve Type)

OFF, 1–4

For each zone, selects one of four velocity curves suitable for the keyboard touch of your MIDI keyboard. If you want to play the sounds using the velocity curve of this unit’s keyboard, choose “OFF .”

8

Scene Parameter

PitchParameter Value Explanation

Bend Range 0–24, TONE

Specifies the amount of pitch change that occurs when you move a controller if pitch bend is assigned to that controller (maximum two octaves).

Bend Mode

Specifies the behavior of a controller if pitch bend is assigned to that controller.

NORMAL The conventional pitch bend effect is applied.

C+L

(CATCH+LAST)

The pitch bend effect applies only to the last-played note. If a note-on occurs while pitch bend is already applied, that note sounds at its center pitch. Its pitch begins changing after the controller passes through the center position.

TONE The setting of the tone is used.

MODIFYParameter Value Explanation

Cutoff(Cutoff Offset)

-64–+63

Adjusts the openness of the filter. Higher values make the sound brighter, and lower values make it darker.

Resonance(Resonance Offset)

Boosts the sound in the region of the cutoff frequency, giving it a distinctive character. Raising this value excessively might cause oscillation and distortion. Higher values produce a stronger character, and lower values produce a weaker character.

Attack(Attack Time Offset)

Adjusts the time from when the key is pressed until the attack is completed. Higher values make the attack more gradual, and lower values make the attack sharper.

Decay(Decay Time Offset)

Adjusts the time over which the volume decreases after the attack. Higher values lengthen this decay time, and lower values shorten it.

Release(Release Time Offset)

Adjusts the time from when the key is released until the sound diminishes to silence. Higher values lengthen this release time, and lower values produce a crisper sound.

Vib Rate(Vibrato Rate)

Adjusts the vibrato rate (the speed at which the pitch is modulated). Higher values make pitch modulation faster, and lower values make it slower.

Vib Depth(Vibrato Depth)

Adjusts the vibrato depth (the depth to which the pitch is modulated). Higher values make vibrato deeper, and lower values make it less deep.

Vib Delay(Vibrato Delay)

Adjusts the time until the vibrato (pitch modulation) effect starts being applied. Higher values produce a longer delay until the effect is applied, and lower values produce a shorter delay.

Velo Sens(Velocity Sens Offset)

Adjusts the velocity sensitivity. Higher values make the sensitivity greater.

SCALE TUNE Parameter Value Explanation

Source SCENE, SYSSpecifies whether scale tune is specified by the scene setting (SCENE) or by the system setting (SYS).

Type(Scale Tune Type)

CUSTOM Custom: Allows you to specify a custom temperament.

EQUAL

Equal temperament: This temperament divides the octave into 12 equal parts. Slight inharmonicity is equally present in all intervals.

JUST-MAJ

Just intonation (major): This temperament produces pure fifths and thirds. It is not suitable for melodic playing and does not allow modulation to another key, but produces beautiful-sounding chords.

JUST-MIN

Just intonation (minor): Just intonation differs between major and minor. This produces the same effect as “Just intonation (major)” but for a minor key.

PYTHAGORE

Pythagorean temperament: This is based on the theories of the philosopher Pythagoras, and eliminates inharmonicity in the fourth and fifth. Third interval chords are imperfect, but melodies will sound good.

KIRNBERGE

Kirnberger: This temperament improves meantone temperament and just intonation to allow greater freedom of modulation. It allows performance in all keys (Type III).

MEANTONE

Meantone temperament: This temperament is a partial compromise of just intonation that allows modulation.

WERCKMEIS

Werckmeister: This temperament combines meantone temperament and Pythagorean temperament. It allows performance in all keys (Werckmeister I (III)).

ARABICArabic temperament: This temperament is suitable for Arabic music.

Key(Scale Tune Key)

C–B Sets the keynote.

C–B -64–+63 Finely adjusts the pitch.

9

Scene Parameter

ZONE EFFECTSSettings for zones 1–3 (UP1/UP2/LOW).

* Effect-related settings.

EQParameter Value Explanation

Switch OFF, ON Switches the equalizer (EQ) on/off.

In Gain(Input Gain)

-24–+24 [dB] Specifies the amount of boost/cut for the input audio.

Low Gain(Low Gain)

-24–+24 [dB] Specifies the amount of boost/cut for the low-frequency region.

Low Freq(Low Frequency)

20–16000 [Hz] Frequency of the low range.

Mid Gain(Mid Gain)

-24–+24 [dB] Specifies the amount of boost/cut for the mid-frequency region.

Mid Freq(Mid Frequency)

20–16000 [Hz] Specifies the center frequency of the mid-frequency region.

Mid Q(Mid Q)

0.5–16.0

Specifies the width of the mid-frequency region.

Set a higher value for Q to narrow the range to be affected.

High Gain -24–+24 [dB] Specifies the amount of boost/cut for the high-frequency region.

HighFreq(High Frequency)

20–16000 [Hz] Frequency of the high range.

MFXParameter Value Explanation

FllwToneMFX(Follow Tone MFX)

OFF, ON

Turn this “ON” if you want to use the MFX settings of the tone. If this is “OFF,” you can edit the MFX type and parameters.

Press the [Enter] button to enter the MFX Edit screen and edit the MFX parameters. To exit the MFX Edit screen, press the [EXIT] button.

If FllwToneMfx is ON, the MFX settings of the tone are used, so you can’t change the value. &“MFX/IFX Parameters” (p. 21)

Type(MFX Type)

Selects the MFX type.

Switch OFF, ON Turns MFX on/off.


0–127

Specifies the chorus send level of the sound after MFX is applied.

* If FllwToneMfx is ON, the MFX settings of the tone are used, so you can’t change the value.


0–127

Specifies the reverb send level of the sound after MFX is applied.

* If FllwToneMfx is ON, the MFX settings of the tone are used, so you can’t change the value.

SCENE EFFECTSSettings for the effects applied to the entire scene.

SYMPATHETIC RESOThese parameters adjust the resonance (sympathetic resonance) that occurs when you hold down the damper pedal. On an acoustic piano, holding down the damper pedal allows strings other than those that you play to resonate sympathetically with the played strings, creating a richly expansive resonance. This effect simulates that behavior.


Switch OFF, ON With the ON setting, the effect is applied.

Depth 0–127 Effect depth

Cabinet Reso 0–127 Depth of the resonance when the damper pedal is not pressed.

Atk LPF 16–15000 [Hz], BYPASS

Frequency of the filter that cuts the high-frequency portion of the input sound.

(BYPASS: no cut)

Atk HPF BYPASS, 16–15000 [Hz]

Frequency of the filter that cuts the low-frequency portion of the input sound.

(BYPASS: no cut)

AtkPkg Freq 16–15000 [Hz] Center frequency of the filter that boosts/cuts the specified region of the input sound.

AtkPkg Gain -15–+15 [dB] Amount of boost/cut for the filter that boosts/cuts the specified region of the input sound.

AtkPkg Q 0.5, 1.0, 2.0, 4.0, 8.0Width of the frequency region boosted/cut by Peaking Gain (higher values make the region narrower).

Rev HF Damp 16–15000 [Hz], BYPASS

Frequency at which the high-frequency portion of the resonance sound is cut.

(BYPASS: no cut)

Rev LF Damp BYPASS, 16–15000 [Hz]

Frequency at which the low-frequency portion of the resonance sound is cut.

(BYPASS: no cut)

Aliquot Level 0–127

Adjusts the level of the sound of an acoustic piano’s resonating aliquot strings (duplex scaling). Higher values make the resonant sound louder.

Level 0–127 Output Level

IFXThese are settings for the IFX (insertion effect) of which the scene can use one instance.Parameter Value Explanation

Type(IFX Type)

Selects the IFX type.

If you press the [Enter] button, you enter the IFX Edit screen where you can edit the IFX parameters. To leave the IFX Edit screen, press the [EXIT] button.

* The types and parameters that can be selected are the same for MFX and IFX. &“MFX/IFX Parameters” (p. 21)

Switch OFF, ON Turns IFX on/off.


0–127 Specifies the chorus send level of the sound after MFX is applied.


0–127 Specifies the reverb send level of the sound after MFX is applied.

10

Scene Parameter

CHORUSThese parameters are chorus settings for each scene.Parameter Value Explanation

Source SCENE, SYSSpecifies whether the chorus settings follow the settings of the scene (SCENE) or the system settings (SYS).

Type(Chorus Type)

If Source is “SCENE,” you can edit the chorus type and the other parameters.

In the chorus type page, press the [Enter] button to enter the chorus parameter page. &“CHORUS Parameter” (p. 10)

Switch OFF, ON Turns chorus on/off.

Level(Chorus Level)

0–127 Specifies the output level of the sound to which chorus is applied.

Rev Send(Reverb Send)

0–127 Specifies the send level to reverb.

CHORUS Parameter

ChorusThis is a stereo chorus.


Rate 0–127 Adjusts the rate of modulation.

Depth 0–127 Adjusts the depth of modulation.

Feedback 0–127 Adjusts the level of the chorus sound that is returned to the input.

CE-1This models the classic CE-1 chorus effect unit made by BOSS in years past.

It produces a chorus sound with distinctive analog warmth.


Intensity 0–127 Adjusts the depth of chorus.

SDD-320This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.


Mode 1–4, 1+4, 2+4, 3+4 Switches the mode.

Delay

This is a stereo delay.


Dly Sync(sync sw)

OFF, ON If this is ON, the delay is synchronized to the tempo.

Dly Msec(msec) Dly Note(note)

1–1300 [msec] Adjusts the delay time from the original sound until the delay sound is heard.

Note

& “Note” (p. 64)

Feedback -98–+98 [%] Adjusts the proportion at which the delay sound is returned to the input (negative values: reverse phase).

HF Damp 200–8000 [Hz], BYPASS

Adjusts the frequency above which the high-frequency portion of the delay sound returned to the input is cut (BYPASS: no cut).

T-Ctrl DlyA stereo delay in which the delay time can be varied smoothly.


Dly Sync(sync sw)

OFF, ON If this is on, the delay is synchronized to the tempo.



Note

& “Note” (p. 64)

Acceleration 0–15

Adjusts the duration between when you vary the delay time until it changes from the current delay time to the specified delay time. The speed of pitch change also changes with the delay time.




Delay 0 TremThis applies tremolo to the delay sound.


InputMONAURAL Mixes the input to mono.

STEREO Inputs in stereo.

Dly Sync(sync sw)




Note

& “Note” (p. 64)




Trm Switch OFF, ON Turns the tremolo effect on/off.

Trm ModWave

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1Sawtooth wave

SAW2

TRP Trapezoid wave

Trm Sync(sync sw)

OFF, ON If this is ON, the tremolo is synchronized to the tempo.

Trm Hz(Hz) Trm Note(note)

0.05–10.00 [Hz] Adjusts the rate at which tremolo is applied.Note

& “Note” (p. 64)

Trm Depth 0–127 Adjusts the depth to which tremolo is applied.

11

Scene Parameter

2Tap PanDlyThis produces delay sound in the two directions that you specify.


Dly Sync(sync sw)



1–1300 [msec] Adjusts the delay time from the original sound until the second delay sound is heard.Note

& “Note” (p. 64)

Feedback -98–+98 [%]Adjusts the proportion at which the delay sound is returned to the input (negative values: reverse phase).



Dly 1 Pan L64–63R Adjusts the panning of delay 1.


Dly 1 Level 0–127 Adjusts the volume of delay 1.


3Tap PanDlyThis produces delay sound in the three directions that you specify.


Dly Sync(sync sw)



1–2600 [msec] Adjusts the delay time from the original sound until the thrid delay sound is heard.

Note

& “Note” (p. 64)

Feedback -98–+98 [%]Adjusts the proportion at which the delay sound is returned to the input (negative values: reverse phase).









JUNO ChorusThis models the chorus section of the Roland JUNO-106.


Mode I, II, I+II, JX I, JX IISelects the type of chorus.

I+II: The state when the two buttons are pressed simultaneously.

Noise Level 0–127 Adjusts the volume of the noise that is produced by the chorus.

REVERBThese are reverb settings for each scene.


Source SCENE, SYSSpecifies whether the reverb settings follow the settings of the scene (SCENE) or the system settings (SYS).

Type

(Reverb Type)

If Source is “SCENE,” you can edit the reverb type and parameters. In the reverb type page, press the [Enter] button to enter the reverb parameter page. &“REVERB Parameter” (p. 11)

Switch OFF, ON Turns the reverb on/off.

Level

(Reverb Level) 0–127 Specifies the output level of the sound

to which reverb is applied.

REVERB Parameter

INTEGRA7RevParameter Value Explanation

Char

01: ROOM1

02: ROOM2

03: HALL1

04: HALL2

05: PLATE

Type of reverb

OFF: Reverb is not used

Room 1/2: Room

Hall 1/2: Hall

Plate: Plate

Pre Delay 0–100 [msec] Adjusts the delay time from the original sound until the reverb sound is heard.

Time 0.1–10.0 [sec] Adjusts the length of time over which the reverb sound decays.

Density 0–127 Adjusts the density of the reverb sound.

Diffusion 0–127

With higher values of this parameter, the density of the reverb sound increases as time passes. (The effect of this setting is most pronounced with long reverb times.)

LF Damp 0–100 Adjusts the low-frequency portion of the reverb.

HF Damp 0–100 Adjusts the high-frequency portion of the reverb.

Spread 0–127 Adjusts the spread of the reverb sound.

Tone 0–127 Adjusts the tonal character of the reverb sound.

12

Scene Parameter

Warm HallParameter Value Explanation

Pre Delay 0–100 [msec] Adjusts the delay time from the original sound until the reverb sound is heard.

Time 0.3–30.0 [sec] Adjusts the length of time over which the reverb sound decays.

Pre LPF 16–15000 [Hz], BYPASS

Adjusts the frequency above which the high-frequency portion of the sound being input to the reverb is cut.

Pre HPF 16–15000 [Hz], BYPASS

Adjusts the frequency below which the low-frequency portion of the sound being input to the reverb is cut.

PreLpLPF 16–15000 [Hz], BYPASS

Adjusts the frequency above which the high-frequency portion of the long reverb sound is cut.

Diffusion 0–127 Adjusts the time-varying change in the density of the reverb sound.

HF Damp F 1000–8000 [Hz] Adjusts the frequency above which the high-frequency portion of the reverb sound is cut.

HF Damp R 0.1–1.0Adjusts the amount of attenuation for the high-frequency portion of the reverb sound.

HallParameter Value Explanation

Pre Delay 0.0–100.0 [msec] Adjusts the delay time from the original sound until the reverb sound is heard.

Time 0–127 Adjusts the length of time over which the reverb sound decays.

Size 1–8 Adjusts the size of the room or hall.

High Cut 160–12500 [Hz], BYPASS

Adjusts the frequency above which the high-frequency portion of the final output sound is cut (BYPASS: no cut).

Density 0–127 Adjusts the density of the reverb sound.

Diffusion 0–127

With higher values of this parameter, the density of the reverb sound increases as time passes. (The effect of this setting is most pronounced with long reverb times.)

LF Damp F 50–4000 [Hz] Adjusts the frequency below which the low-frequency portion of the reverb sound is cut.

LF Damp G -36–0 [dB] Adjusts the amount of attenuation for LF damp (0: no effect).

HF Damp F 4000–12500 [Hz] Adjusts the frequency above which the high-frequency portion of the reverb sound is cut.

HF Damp G -36–0 [dB] Adjusts the amount of attenuation for HF damp (0: no effect).

GS ReverbParameter Value Explanation

CharROOM1–3, HALL1–2, PLATE, DELAY, PAN-DELAY

Selects the type of reverb.

Pre LPF 0–7Adjusts the amount of attenuation for the high-frequency portion of the sound being input to the reverb.


Feedback 0–127 Adjusts the level at which the reverb sound is returned to the input.

SRV-2000Parameter Value Explanation

Selection

Selects the type of reverb produced by the Roland SRV-2000 digital reverb unit.

R0.3–R37Room reverb.

Higher values increase the size of the room.

H15–H37Hall reverb.

Higher values increase the size of the concert hall.

P-BPlate reverb.

This is a more flamboyant reverb sound than P-A.

P-A Plate reverb.

Pre Delay 0–160Adjusts the delay time from the original sound until the reverb sound is heard.

Time 0.1s–99.0s [msec] Adjusts the length of time over which the reverb sound decays.

HF Damp 0.05–1.00 Adjusts the high-frequency portion of the reverb.

Density 0–9 Adjusts the density of the late reverberation.

Attack Gain 0–9 Adjusts the gain of the early reflections.

Attack Time 0–9 Adjusts the time of the early reflections.

ER Density 0–9 Adjusts the density of the early reflections.

ER Level 0–99 Adjusts the volume of the early reflections.

Low Freq 0.04–1.00 [kHz] Frequency of the low range.

Low Gain -24–+12 [dB] Gain of the low frequency range.

Mid Freq 0.25–9.99 [kHz] Specifies the center frequency of the mid-frequency region.

Mid Gain -24–+12 [dB] Adjusts the boost/cut of the mid-frequency range.

Mid Q 0.2–9.0

Specifies the bandwidth of the mid-frequency range.


High Freq 0.80–9.99 [kHz] Frequency of the high range.

High Gain -24–+12 [dB] Gain of the high frequency range.

HIGH Q 0.2–9.0

Specifies the bandwidth of the high-frequency range.


13

Scene Parameter

SRV-2000NL (NON-LINEAR) Parameter Value Explanation

PreDelay 0–120Adjusts the delay time from the original sound until the reverb sound is heard.

ReverbTime -0.9–+99.0 [sec] Adjusts the length of time over which the reverb sound decays.

GateTime 10–450 Adjusts the length of time over which the reverb sound decays.

Low Freq 0.04–1.00 [kHz] Frequency of the low range.


Mid Freq 0.25–9.99 [kHz] Specifies the center frequency of the mid-frequency region.

Mid Gain -24–+12 [dB] Adjusts the boost/cut of the mid-frequency range.

Mid Q 0.2–9.0

Specifies the bandwidth of the mid-frequency range.


HighFreq 0.80–9.99 [kHz] Frequency of the high range.

HighGain -24–+12 [dB] Gain of the high frequency range.

Hi Q 0.2–9.0

Specifies the bandwidth of the high-frequency range.


GM2 ReverbParameter Value Explanation

Char

SMALL ROOM

MEDIUM ROOM

LARGE ROOM

MEDIUM HALL

LARGE HALL

PLATE

Selects the type of reverb.

Pre LPF 0–7Adjusts the amount of attenuation for the high-frequency portion of the sound being input to the reverb.


14

SYSTEM EFFECTS ParameterHere’s how to edit the settings of the currently selected system effects.


2 . Use the cursor [ ] [ ] buttons to select “SYSTEM EFFECT,” and then press the [ENTER] button.

3 . Use the cursor [<] [>] buttons to select the effect that you want to edit, use the cursor [ ] [ ] buttons to select a parameter, and use the [DEC] [INC] buttons to edit the value.

SYS CHORUSThese are settings for the chorus effect that is applied to the entire system.


TypeSelects the type of chorus.

When you press the [Enter] button, the parameters for the selected type of chorus are shown.

Switch OFF, ON Turns chorus on/off.

Level 0–127 Specifies the output level of the sound to which chorus is applied.

CHORUS Parameter

Specifies the parameters of the selected type of chorus. The available parameters differ depending on the type of chorus selected in Type.&“CHORUS Parameter” (p. 10)

SYS REVERBThese are settings for the reverb that is applied to the entire system.


TypeType of reverb

When you press the [Enter] button, the parameters for the selected type of reverb are shown.

Switch OFF, ON Turns the reverb on/off.

Level 0–127 Specifies the output level of the sound to which reverb is applied.

REVERB Parameter

Specifies the parameters of the selected type of reverb. The available parameters differ depending on the type of reverb selected in Type.&“REVERB Parameter” (p. 11)

MASTER EQThese are settings for the EQ that is applied to the entire system.


Switch OFF, ON

Specifies whether the master EQ (an equalizer applied to the entire sound engine of the RD-88) is used (ON) or not used (OFF).

In Gain -24–+24 [dB] Adjusts the amount of boost/cut for the input to the EQ.


Low Freq 20–16000 [Hz] Frequency of the low range.

Mid1 Gain -24–+24 [dB] Gain of the middle frequency range 1.

Mid1 Freq 20–16000 [Hz] Frequency of the middle range 1.

Mid1 Q 0.5–16.0Specifies the bandwidth of middle frequency range 1. Higher values make the bandwidth narrower.








High Freq 20–16000 [Hz] Frequency of the high range.

15

SYSTEM EFFECTS Parameter

MASTER COMPThese are settings for the compressor that is applied to the entire system.


Switch OFF, ON

Specifies whether the master compressor (a compressor that is applied to the entire sound engine of the RD-88) is used (ON) or not used (OFF).

Split Low

16–16000 [Hz]

Specifies the frequency that separates the low-frequency (LOW) and mid-frequency (MID) regions.

Split HighSpecifies the frequency that separates the high-frequency (HIGH) and mid-frequency (MID) regions.

Low Attack 0.1–100 [ms]

Specifies the time from when input exceeds the Low Thres setting until the volume of the low-frequency region is compressed.

Low Rels 10–1000 [ms]

From a state in which compression is applied, this specifies the time after the input falls below the Low Thresh until the low-frequency region is no longer compressed.

Low Thres -60–0 [dB] Specifies the volume level at which compression of the low-frequency region begins.

Low Ratio1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

Specifies the compression ratio for the low-frequency region.

Low Knee 0–30 [dB]

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Low Thres. Higher values produce a smoother transition.

Low Gain -24.0–+24.0 [dB] Specifies the output volume of the low-frequency region.

Mid Attack 0.1–100 [ms]

Specifies the time from when input exceeds the Mid Thres setting until the volume of the mid-frequency region is compressed.

Mid Rels 10–1000 [ms]

From a state in which compression is applied, this specifies the time after the input falls below the Mid Thresh setting until the mid-frequency region is no longer compressed.

Mid Thres -60–0 [dB] Specifies the volume level at which compression of the mid-frequency region begins.

Mid Ratio1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

Specifies the compression ratio for the mid-frequency region.

Mid Knee 0–30 [dB]

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Mid Thres. Higher values produce a smoother transition.

Mid Gain -24.0–+24.0 [dB] Specifies the output volume of the mid-frequency region.

High Attack 0.1–100 [ms]

Specifies the time from when input exceeds the High Thres setting until the volume of the high-frequency region is compressed.

High Rels 10–1000 [ms]

From a state in which compression is applied, this specifies the time after the input falls below the High Thresh setting until the high-frequency region is no longer compressed.

High Thres -60–0 [dB] Specifies the volume level at which compression of the high-frequency region begins.


High Ratio1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

Specifies the compression ratio for the high-frequency region.

High Knee 0–30 [dB]

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than High Thres. Higher values produce a smoother transition.

High Gain -24.0–+24.0 [dB] Specifies the output volume of the high-frequency region.

16

SYSTEM ParameterHere you can edit the parameters that apply to the entire RD-88.


2 . Use the cursor [ ] [ ] buttons to select “SYSTEM,” and then press the [ENTER] button.

3 . Use the cursor [ ] [ ] buttons to select the item that you want to edit, and press the [ENTER] button.

4 . Use the cursor [ ] [ ] buttons to select the parameter that you want to edit, and use the [DEC] [INC] buttons to edit the value.


MasterTune(Master Tune)

415.3–466.2 [Hz] Tunes the entire unit. The displayed value is the frequency of the A4 key (middle A).

MasKeyShift(Master Key Shift)

-24–+24 Shifts the RD-88’s overall pitch range in semitone steps.

Tempo(Tempo)

20–250 Specifies the system tempo.

Tempo Src(Tempo Source)

SCENE, SYS

Specifies whether, when you switch scenes, the system tempo is used (SYS) or the tempo memorized in the scene is used (SCENE).

Rhy Ptn Level(Rhythm Pattern Level)

0–127 Adjusts the volume of the rhythm pattern.

Song Level(Song Player Level)

0–127 Adjusts the volume of the song on the USB flash drive.

Out Gain(Output Gain)

-12–+12 [dB] Adjusts the output gain.

Auto Off(Auto Off)

OFF, 30 [min], 240 [min]

Specifies a fixed time after which the power turns off automatically. If you don’t want the power to turn off automatically, choose the “OFF” setting.

LCD Contrast(LCD Contrast)

1–10 Adjusts the contrast of the display.

USB Driver(USB Driver)

GENERICChoose this if you want to use the standard USB driver that was included with your computer.

VENDORChoose this if you want to use a USB driver downloaded from the Roland website.

DamperPole(Damper Pedal Polarity)

STANDARD, REVERSE

Specifies the polarity of the pedal connected to the Damper Pedal jack.

KEY TOUCHThese are settings related to keyboard touch (for the entire system).


Velo Crv

SPR LIGHT An even lighter setting than LIGHT.

LIGHT

Specifies a light keyboard touch response. Since you can produce fortissimo (ff) using an even lighter touch than with the MEDIUM setting, this feels as though the keyboard is lighter. This setting is easy to play even by those whose hands have less strength.

MEDIUM

Specifies the standard keyboard touch response. This allows playing with the most natural touch. This is closest to the touch of an acoustic piano.

HEAVY

Specifies a heavy keyboard touch response. Since producing fortissimo (ff) requires you to play with a stronger touch than with the MEDIUM setting, this feels as though the keyboard is heavier. This setting allows even greater expressiveness when you play dynamically.

SPR HEAVY An even heavier setting than HEAVY.

Velo Offset -10–+9

Finely adjusts the keyboard touch response in greater detail than the Velocity Curve setting. This lets you specify detailed settings between the various Velocity Curve values. Higher values make the touch feel heavier.

If this value exceeds the upper or lower limit, the Velocity Curve also switches automatically between its five values as appropriate.

Velocity

REAL,The volume and character of the sound responds to your keyboard playing dynamics.

1–127The volume and character of the sound remains fixed regardless of your keyboard playing dynamics.

Velo Dly Sens -63–+63

Specifies the delay from the moment you press the key until the sound is heard.

Negative values delay the timing at which the sound is heard when you press the key strongly. Positive values delay the timing at which the sound is heard when you press the key softly.

Velo Keyfollow -63–+63

Specifies how keyboard touch is affected by the keyboard range.

With higher values, the keyboard feels heavier as you play upward and lighter as you play downward.

KeyOff Pos

STANDARD Note-off occurs at the same key depth as a conventional piano.

DEEPNote-off occurs at a deeper key depth. This is appropriate for sounds such as electric piano.

17

SYSTEM Parameter

ASSIGNThese settings specify the functions that are assigned to the various jacks (for the entire system).

PEDALParameter Value Explanation

FC1(FC1 Function)


CC01–31, 32(OFF), 33–95 Controller number 1–31, 32, 33–95

AFT Aftertouch






FC1 Pole(FC1 Pedal Polarity)

STANDARD, REVERSE

Specifies the polarity of the pedal that is connected to the FC1 PEDAL jack.

FC2(FC2 Function)



AFT Aftertouch






FC2 Pole(FC2 Pedal Polarity)

STANDARD, REVERSE

Specifies the polarity of the pedal that is connected to the FC2 PEDAL jack.

WHEELParameter Value Explanation




AFT Aftertouch

PITCH BEND Raise or lower the pitch.




AFT Aftertouch



KNOBParameter Value Explanation

Knob1–Knob8Knob1 Function–Knob 8 Function



AFT Aftertouch



18

SYSTEM Parameter

MIDI


Ctrl Ch 1–16, OFF

Specifies the MIDI receive channel that is used when an external MIDI device transmits MIDI messages (program change / bank select) to switch scenes.

If you don’t want to switch RD-88 scenes from a connected MIDI device, turn this “OFF .”

Ctrl Src SelSYS The system settings for CtrlSrc1–4 are

used for tone control.

SCENE The scene settings for CtrlSrc1–4 are used for tone control.

SysCtrlSrc1–4OFF, CC01–CC31, CC33–CC95, BEND, AFT

Specifies the MIDI messages that are used for system control.

System control settings specify the MIDI messages used by the entire RD-88 system to control the volume and tonal character.

You can specify up to four MIDI messages for control use.

USB-MIDIThru OFF, ON

Specifies whether MIDI messages received from the USB COMPUTER port are transmitted without change from the MIDI OUT connector and USB COMPUTER port (ON) or not transmitted (OFF).

Remote Kbd OFF, ON

Turn this “ON” if you are using an external MIDI keyboard instead of the keyboard of the RD-88. In this case, the MIDI transmit channel of the external MIDI keyboard can be any channel. Normally you will leave this “OFF .”

Device ID 17–32

When transmitting and receiving system exclusive messages, the device ID numbers of both devices must match.

MIDI TXParameter Value Explanation

Tx PC OFF, ONSpecifies whether program change messages are transmitted (ON) or not transmitted (OFF).

Tx Bank OFF, ONSpecifies whether bank select messages are transmitted (ON) or not transmitted (OFF).

Tx Edit OFF, ON

Specifies whether edits for scene settings are transmitted as system exclusive messages (ON) or not transmitted (OFF).

MIDI RXParameter Value Explanation

Rx PC OFF, ONSpecifies whether program change messages are received (ON) or not received (OFF).

Rx Bank OFF, ONSpecifies whether bank select messages are received (ON) or not received (OFF).

Rx Exclusive OFF, ONSpecifies whether system exclusive messages are received (ON) or not received (OFF).

LOCAL SWParameter Value Explanation

Local Sw OFF, ON

Specifies whether the keyboard of the RD-88 will play the internal sound engine (ON) or will not play it (OFF).

Turn this OFF if you want to play only an external MIDI device.

19

SYSTEM Parameter

USB AUDIOParameter Value Explanation

Audio In Level 0–127 Adjusts the input level of USB audio.

Audio Out Level 0–127 Adjusts the output level of USB audio.

Audio Out Src MIX, INPUT

Specify “INPUT” if you want the USB audio output to output only the audio of the LINE/MIC input. If this is set to “MIX,” the audio from both the RD-88 itself and from the LINE/MIC input is output via USB audio.

Audio Thru OFF, ON

Specifies whether the input from USB audio is sent through to USB audio output (ON) or not sent through (OFF).

* If this is set to “ON,” take care that an audio loop does not occur on your PC (DAW).

SCALE TUNEParameter Value Explanation

Type(Scale Tune Type)

CUSTOM Custom: Allows you to specify a custom temperament.

EQUAL

Equal temperament: This temperament divides the octave into 12 equal parts. Slight inharmonicity is equally present in all intervals.

JUST-MAJ

Just intonation (major): This temperament produces pure fifths and thirds. It is not suitable for melodic playing and does not allow modulation to another key, but produces beautiful-sounding chords.

JUST-MIN

Just intonation (minor): Just intonation differs between major and minor. This produces the same effect as “Just intonation (major)” but for a minor key.

PYTHAGORE

Pythagorean temperament: This is based on the theories of the philosopher Pythagoras, and eliminates inharmonicity in the fourth and fifth. Third interval chords are imperfect, but melodies will sound good.

KIRNBERGE

Kirnberger: This temperament improves meantone temperament and just intonation to allow greater freedom of modulation. It allows performance in all keys (Type III).

MEANTONE

Meantone temperament: This temperament is a partial compromise of just intonation that allows modulation.

WERCKMEIS

Werckmeister: This temperament combines meantone temperament and Pythagorean temperament. It allows performance in all keys (Werckmeister I (III)).

ARABICArabic temperament: This temperament is suitable for Arabic music.

Key(Scale Tune Key)

C–B Sets the keynote.

C–B -64–+63 Finely adjusts the pitch.

20

INPUT SETTINGThese are settings for LINE/MIC Input.


Input Level 0–127 Adjusts the level of the LINE/MIC input.

Mic Att Sw OFF, ON

Turn this ON if you want to lower the mic input gain. If the mic input is distorted, turn this ON and adjust the Input Level.

INPUT REVERBThese are settings for the input reverb.


Type

Type of reverb

When you press the [Enter] button, the parameters for the selected type of reverb are shown.&“REVERB Parameter” (p. 11)

Switch OFF, ON Turns on/off the reverb for the LINE/MIC input.

Level 0–127 Adjusts the reverb level.

INPUT EQThese are settings for the input EQ.


Switch OFF, ON

Specifies whether the master EQ (an equalizer applied to the entire sound engine of the RD-88) is used (ON) or not used (OFF).

In Gain -24–+24 [dB] Adjusts the amount of boost/cut for the input to the EQ.


Low Freq 20–16000 [Hz] Frequency of the low range.











High Freq 20–16000 [Hz] Frequency of the high range.

21

MFX/IFX ParametersMFX/IFX provides 79 different effect types.

Some of the effect types connect two or more types of effect in series.

ThruL in L out

R outR in

EqualizerThis is a four-band stereo equalizer (low, mid x 2, high).

L in L out

R outR in

4-Band EQ

4-Band EQ


Low Freq(Low Frequency)

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 [Hz]

Frequency of the low range

Low Gain -15–+15 [dB] Amount of boost/cut for the low-frequency range

Mid1 Freq(Mid1 Frequency)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Frequency of the middle range 1

Mid1 Gain -15–+15 [dB] Gain of the middle range 1

Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0Width of the middle range 1


Mid2 Freq(Mid2 Frequency)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


Mid2 Gain -15–+15 [dB] Gain of the middle range 2

Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0Width of the middle range 2


High Freq(High Frequency)

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]

Frequency of the high range

High Gain -15–+15 [dB] Amount of boost/cut for the high-frequency range


SpectrumThis is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.

L in L out

R outR in

Spectrum

Spectrum


Band1(Band1 (250 Hz))

-15–+15 [dB] Gain of each frequency band








Q 0.5, 1.0, 2.0, 4.0, 8.0Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.


22

MFX/IFX Parameters

IsolatorThis is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.

L in L out

R outR in

Isolator Low Boost

Isolator Low Boost


Low Level(Boost/Cut Low)

-60–+4 [dB] These boost and cut each of the High, Middle, and Low frequency ranges.

At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Mid Level(Boost/Cut Mid)

-60–+4 [dB]

High Level(Boost/Cut High)

-60–+4 [dB]

Low AP Sw(Anti Phase Low Switch)

OFF, ON

Turns the Anti-Phase function on and off for the Low frequency ranges.

When turned on, the counter-channel of stereo sound is inverted and added to the signal.

Low AP Lv(Anti Phase Low Level)

0–127

Adjusts the level settings for the Low frequency ranges.

Adjusting this level for certain frequencies allows you to lend emphasis to specific parts (This is effective only for stereo source.).

Mid AP Sw(Anti Phase Mid Switch)

OFF, ON Settings of the Anti-Phase function for the Middle frequency ranges.

The parameters are the same as for the Low frequency ranges.

Mid AP Lv(Anti Phase Mid Level)

0–127

Boost Sw(Low Boost Switch)

OFF, ONTurns Low Booster on/off.

This emphasizes the bottom to create a heavy bass sound.

Boost Lv(Low Boost Level)

0–127

Increasing this value gives you a heavier low end.

Depending on the Isolator and filter settings this effect may be hard to distinguish.


Low BoostBoosts the volume of the lower range, creating powerful lows.

L in L out

R outR in

Low Boost 2-Band EQ

Low Boost 2-Band EQ


Boost Freq(Boost Frequency)

50, 56, 63, 71, 80, 90, 100, 112, 125 [Hz]

Center frequency at which the lower range will be boosted

Boost Gain 0–+12 [dB] Center frequency at which the lower range will be boosted

Boost Wid(Boost Width)

WIDE, MID, NARROW

Width of the lower range that will be boosted




SuperFilterThis is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

L in L out

R outR in

Super Filter

Super Filter


Type(Filter Type)

LPF, BPF, HPF, NOTCH

Type of filter

Frequency range that will pass through each filter

LPF: Frequencies below the cutoff

BPF: Frequencies in the region of the cutoff

HPF: Frequencies above the cutoff

NOTCH: Frequencies other than the region of the cutoff

Slope(Filter Slope)

-12, -24, -36 [dB] Amount of attenuation per octave

-12 dB: Gentle, -24 dB: Steep, -36 dB: Extremely steep

Cutoff(Filter Cutoff)

0–127Cutoff frequency of the filter

Increasing this value will raise the cutoff frequency.

Resonance(Filter Resonance)

0–100Filter resonance level

Increasing this value will emphasize the region near the cutoff frequency.

Gain (Filter Gain)

0–+12 [dB] Amount of boost for the filter output

Mod Sw(Modulation Switch)

OFF, ON On/off switch for cyclic change

Mod Wave(Modulation Wave)

TRI, SQR, SIN, SAW1, SAW2

How the cutoff frequency will be modulated

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1: Sawtooth wave (upward)

SAW2: Sawtooth wave (downward)

SAW1 SAW2

Rate Sync(Rate (sync switch))

OFF, ONIf this is ON, the rate synchronizes with the tempo of the rhythm.& “Tempo” (p. 16)

Rate(Rate (Hz))

0.05–10.00 [Hz]

Frequency of modulationRate Note(Rate (note))

Note

& “Note” (p. 64)

Depth 0–127 Depth of modulation

Attack 0–127

Speed at which the cutoff frequency will change This is effective if Modulation Wave is SQR, SAW1, or SAW2.


23

MFX/IFX Parameters

Step FilterThis is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.

L in L out

R outR in

Step Filter

Step Filter


Step 1–16 0–127 Cutoff frequency at each step


OFF, ONIf this is ON, the rate synchronizes with the tempo of the rhythm.

& “Tempo” (p. 16)

Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)

Attack 0–127 Speed at which the cutoff frequency changes between steps

Type(Filter Type)

LPF, BPF, HPF, NOTCH

Type of filter

Frequency range that will pass through each filter

LPF: Frequencies below the cutoff

BPF: Frequencies in the region of the cutoff

HPF: Frequencies above the cutoff

NOTCH: Frequencies other than the region of the cutoff

Slope(Filter Slope)

-12, -24, -36 [dB] Amount of attenuation per octave

-12 dB: Gentle, -24 dB: Steep, -36 dB: Extremely steep

Reso(Filter Resonance)

0–127Filter resonance level

Increasing this value will emphasize the region near the cutoff frequency.

Gain (Filter Gain)

0–+12 [dB] Amount of boost for the filter output


EnhancerControls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in L out

R outR in

Mix

Mix

Enhancer 2-Band EQ

2-Band EQEnhancer


Sens 0–127 Sensitivity of the enhancer

Mix 0–127 Level of the overtones generated by the enhancer




Auto WahCyclically controls a filter to create cyclic change in timbre.

L in L out

R outR in

Auto Wah 2-Band EQ

Auto Wah 2-Band EQ

0Parameter Value Explanation

Mode(Filter Type)

LPF, BPF

Type of filter

LPF: The wah effect will be applied over a wide frequency range.

BPF: The wah effect will be applied over a narrow frequency range.

Manual 0–127 Center frequency at which the wah effect is applied

Peak 0–127

Width of the frequency region at which the wah effect is applied

Increasing this value will make the frequency region narrower.

Sens 0–127 Sensitivity with which the filter is modified

Polarity UP, DOWN

Direction in which the filter will move

UP: The filter will change toward a higher frequency.

DOWN: The filter will change toward a lower frequency.



Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)

Depth 0–127 Depth at which the wah effect is modulated

Phase 0–180 [deg] Adjusts the degree of phase shift of the left and right sounds when the wah effect is applied.




24

MFX/IFX Parameters

HumanizerAdds a vowel character to the sound, making it similar to a human voice.

L in

R in

L out

R out

Pan L

Pan RFormantOverdrive 2-Band EQ


Drive Sw (Drive Switch)

OFF, ON Overdrive on/off

Drive 0–127Degree of distortion

Also changes the volume.

Vowel1 a, e, i, o, uSelects the vowel.

Vowel2 a, e, i, o, u



Rate(Rate (Hz))

0.05–10.00 [Hz] Frequency at which the two vowels switchRate Note

(Rate (note))

Note

& “Note” (p. 64)

Depth 0–127 Effect depth

In Sync Sw(Input Sync Switch)

OFF, ON

LFO reset on/off

Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

InSyncThres(Input Sync Threshold)

0–127 Volume level at which reset is applied

Manual 0–100

Point at which Vowel 1/2 switch

0–49: Vowel 1 will have a longer duration.

50: Vowel 1 and 2 will be of equal duration.

51–100: Vowel 2 will have a longer duration.



Pan L64–63R Stereo location of the output sound


Speaker Sim (Speaker Simulater)Simulates the speaker type and mic settings used to record the speaker sound.

L in L out

R outR in

Speaker

Speaker


Type(Speaker Type)

Cabinet

Diameter (in inches)

and number of the

speaker

Microphone

SMALL 1small

open-back enclosure

10 dynamic

SMALL 2small

open-back enclosure

10 dynamic

MIDDLEopen back enclosure

12 x 1 dynamic

JC-120open back enclosure

12 x 2 dynamic

BUILT-IN 1open back enclosure

12 x 2 dynamic


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser

BG STACK 1sealed

enclosure12 x 2 condenser

BG STACK 2large sealed


MS STACK 1large sealed


MS STACK 2large sealed


METAL STACKlarge double

stack12 x 4 condenser

2-STACKlarge double


3-STACKlarge triple


Mic Setting 1, 2, 3

Adjusts the location of the mic that is recording the sound of the speaker.

This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.

Mic Level 0–127 Volume of the microphone

Direct Lv 0–127 Volume of the direct sound


25

MFX/IFX Parameters

PhaserA phase-shifted sound is added to the original sound and modulated.

R outR in

L in L out

Mix

Mix

2-Band EQPhaser

Phaser 2-Band EQ


Mode 4-STAGE, 8-STAGE, 12-STAGE Number of stages in the phaser

Manual 0–127 Adjusts the basic frequency from which the sound will be modulated.



Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)


Polarity INVERSE, SYNCHRO

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be opposite.

When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the same.

Select this when inputting a stereo source.

Resonance 0–127 Amount of feedback

Feedback(Cross Feedback)

-98–+98 [%]

Adjusts the proportion of the phaser sound that is fed back into the effect.

Negative (-) settings will invert the phase.

Mix 0–127 Level of the phase-shifted sound




Small PhaserThis simulates an analog phaser of the past.

It is particularly suitable for electric piano.

L in L out

R outR in

Phaser 2-Band EQ

Phaser 2-Band EQ


Rate 0–100 Frequency of modulation

Color 1, 2 Modulation character




Script 90This simulates a different analog phaser than Small Phaser.

It is particularly suitable for electric piano.

L in L out

R outR in

Phaser 2-Band EQ

Phaser 2-Band EQ


Speed 0–100 Speed of modulation





26

MFX/IFX Parameters

Step PhaserThe phaser effect will be varied gradually.

R outR inMix

L in L outMix

2-Band EQStep Phaser

Step Phaser 2-Band EQ


Mode 4-STAGE, 8-STAGE, 12-STAGE Number of stages in the phaser




Rate Hz (Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)


Polarity INVERSE, SYNCHRO

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be opposite.

When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the same.

Select this when inputting a stereo source.


Feedback(Cross Feedback)

-98–+98 [%]

Adjusts the proportion of the phaser sound that is fed back into the effect.


S Rate Sync(Step Rate (sync switch))


S. Rate(Step Rate (Hz))

0.10–20.00 [Hz] Rate of the step-wise change in the phaser effectS. Rate Nt

(Step Rate (note))

Note

& “Note” (p. 64)





M StagePhsr (Multi Stage Phaser) Extremely high settings of the phase difference produce a deep phaser effect.

L out

R out

Pan L

Pan RMix

L in

R in

Multi Stage

Phaser2-Band EQ


Mode

4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

Number of stages in the phaser




Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)








Inf Phaser (Infinite Phaser) A phaser that continues raising/lowering the frequency at which the sound is modulated.

L in

R in

L out

R out

Pan L

Pan R

In�nitePhaser

2-Band EQ


Mode 1, 2, 3, 4 Higher values will produce a deeper phaser effect.

Speed -100–+100Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)







27

MFX/IFX Parameters

Ring Mod (Ring Modulator)This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect.

L in L out

R outR in

Ring Mod 2-Band EQ

Ring Mod 2-Band EQ


Frequency 0–127 Adjusts the frequency at which modulation is applied.

Sens 0–127 Adjusts the amount of frequency modulation applied.

Polarity UP, DOWN

Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.





Balance D100: 0W–D0: 100W

Volume balance between the direct sound (D) and the effect sound (W)


TremoloCyclically changes the volume.

L in L out

R outR in

Tremolo 2-Band EQ

Tremolo 2-Band EQ



TRI, SQR, SIN, SAW1, SAW2, TRP

Modulation Wave

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

SAW1 SAW2



Rate(Rate (Hz))

0.05–10.00 [Hz]

Frequency of the changeRate Note(Rate (note))

Note

& “Note” (p. 64)

Depth 0–127 Depth to which the effect is applied




Auto PanCyclically modulates the stereo location of the sound.

L in L out

R outR in

Auto Pan 2-Band EQ

Auto Pan 2-Band EQ



TRI, SQR, SIN, SAW1, SAW2, TRP

Modulation Wave

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

SAW1 SAW2R R

L L



Rate(Rate (Hz))

0.05–10.00 [Hz]

Frequency of the changeRate Note(Rate (note))

Note

& “Note” (p. 64)

Depth 0–127 Depth to which the effect is applied




28

MFX/IFX Parameters

SlicerBy applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds.

L in L out

R outR in

Slicer

Slicer


Step 1–16 0–127 Level at each step



Rate(Rate (Hz))

0.05–10.00 [Hz] Rate at which the 16-step sequence will cycleRate Note

(Rate (note))

Note

& “Note” (p. 64)

Attack 0–127 Speed at which the level changes between steps

In Sync Sw(Input Sync Sw)

OFF, ON

Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)

IInSyncThres(Input Sync Threshold)

0–127 Volume at which an input note will be detected

Mode LEGATO, SLASH

Sets the manner in which the volume changes as one step progresses to the next.

LEGATO: The change in volume from one step’s level to the next remains unaltered.

If the level of a following step is the same as the one preceding it, there is no change in volume.

SLASH: The level is momentarily set to 0 before progressing to the level of the next step.

This change in volume occurs even if the level of the following step is the same as the preceding step.

Shuffle 0–127

Timing of volume changes in levels for even numbered steps (step 2, step 4, step 6...).

The higher the value, the later the beat progresses.


RotaryThis simulates a classic rotary speaker of the past.

Since the operation of the high-frequency and low-frequency rotors can be specified independently, the distinctive modulation can be reproduced realistically. This is most effective on organ patches.

L in

R in

L out

R out

Rotary


Speed SLOW, FAST

Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.

SLOW: Slows down the rotation to the Slow Rate.

FAST: Speeds up the rotation to the Fast Rate.

Wf Slow(Woofer Slow Speed)

0.05–10.00 [Hz] Slow speed (SLOW) of the low frequency rotor

Wf Fast(Woofer Fast Speed)

0.05–10.00 [Hz] Fast speed (FAST) of the low frequency rotor

Wf Accel(Woofer Acceleration)

0–15

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

Wf Level(Woofer Level)

0–127 Volume of the low frequency rotor

Tw Slow(Tweeter Slow Speed)

0.05–10.00 [Hz]

Settings of the high frequency rotor

The parameters are the same as for the low frequency rotor

Tw Fast(Tweeter Fast Speed)

0.05–10.00 [Hz]

Tw Accel(Tweeter Acceleration)

0–15

Tw Level(Tweeter Level)

0–127

Separation 0–127 Spatial dispersion of the sound


29

MFX/IFX Parameters

VK RotaryThis type provides modified response for the rotary speaker, with the low end boosted further.

This effect features the same specifications as the VK-7’s built-in rotary speaker.

L in

R in

L out

R out

Rotary

2-Band EQ

2-Band EQ


Speed SLOW, FAST

Rotational speed of the rotating speaker

SLOW: Slow

FAST: Fast

Brake OFF, ON

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.

Wf Slow(Woofer Slow Speed)

0.05–10.00 [Hz] Low-speed rotation speed of the woofer

Wf Fast(Woofer Fast Speed)

0.05–10.00 [Hz] High-speed rotation speed of the woofer

Wf Trs Up(Woofer Trans Up)

0–127

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.

Wf Trs Dw(Woofer Trans Down)

0–127

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.

Wf Level(Woofer Level)

0–127 Volume of the woofer

Tw Slow(Tweeter Slow Speed)

0.05–10.00 [Hz]

Settings of the tweeter

The parameters are the same as for the woofer.

Tw Fast(Tweeter Fast Speed)

0.05–10.00 [Hz]

Tw Trs Up(Tweeter Trans Up)

0–127

Tw Trs Dw(Tweeter Trans Down)

0–127

Tw Level(Tweeter Level)

0–127

Spread 0–10

Sets the rotary speaker stereo image.

?The higher the value set, the wider the sound is spread out.




OD Switch(Overdrive Switch)


OD Gain(Overdrive Gain)

0–127Overdrive input level

Higher values will increase the distortion.

OD Drive(Overdrive Drive)

0–127 Degree of distortion


OD Level(Overdrive Level)

0–127 Volume of the overdrive

ChorusThis is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

2-Band EQ

2-Band EQ

Chorus

Chorus


Type OFF, LPF, HPF

Type of filter

OFF: No filter is used

LPF: Cuts the frequency range above the Cutoff Freq

HPF: Cuts the frequency range below the Cutoff Freq

Cutoff(Cutoff Freq)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Basic frequency of the filter

Pre Delay 0.0–100 [msec] Adjusts the delay time from the direct sound until the chorus sound is heard.



Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)


Phase 0–180 [deg] Spatial spread of the sound




Volume balance between the direct sound (D) and the chorus sound (W)


30

MFX/IFX Parameters

FlangerThis is a stereo flanger (The LFO has the same phase for left and right.).

Produces a metallic resonance reminiscent of a jet airplane taking off and landing.

A filter is provided so that you can adjust the timbre of the flanged sound.

R out

L out

Balance W

Balance W

Feedback

Feedback

Balance D

Balance D

L in

R in

2-Band EQ

2-Band EQ

Flanger

Flanger


Type OFF, LPF, HPF

Type of filter




Cutoff(Cutoff Freq)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


Pre Delay 0.0–100 [msec] Adjusts the delay time from when the direct sound begins until the flanger sound is heard.



Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)



Feedback -98–+98 [%]

Adjusts the proportion of the flanger sound that is fed back into the effect.





Volume balance between the direct sound (D) and the flanger sound (W)


StepFlangerThis is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.

R out

L out

Balance W

Balance W

Feedback

Feedback

Balance D

Balance D

L in

R in

2-Band EQ

2-Band EQ

Step Flanger

Step Flanger


Type OFF, LPF, HPF

Type of filter




Cutoff(Cutoff Freq)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


Pre Delay 0.0–100.0 [msec] Adjusts the delay time from when the direct sound begins until the flanger sound is heard.



Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)






S. Rate Sync(Step Rate (sync switch))


S. Rate(Step Rate (Hz))

0.10–20.00 [Hz]

Rate (period) of pitch changeS. Rate Nt(Step Rate (note))

Note

& “Note” (p. 64)






31

MFX/IFX Parameters

Hexa-ChorusUses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

Hexa Chorus





Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)


PreDly Dev(Pre Delay Deviation)

0–20 Adjusts the differences in Pre Delay between each chorus sound.

Depth Dev(Depth Deviation)

-20–+20 Adjusts the difference in modulation depth between each chorus sound.

Pan Dev(Pan Deviation)

0–20

Adjusts the difference in stereo location between each chorus sound.

0: All chorus sounds will be in the center.

20: Each chorus sound will be spaced at 60 degree intervals relative to the center.




Trem Chorus (Tremolo Chorus)This is a chorus effect with added Tremolo (cyclic modulation of volume).

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

Tremolo Chorus



Cho Sync(Chorus Rate (sync switch))


C. Rate(Chorus Rate (Hz))

0.05–10.00 [Hz] Modulation frequency of the chorus effectC. Rate Nt

(Chorus Rate (note))

Note

& “Note” (p. 64)

Cho Depth(Chorus Depth)

0–127 Modulation depth of the chorus effect

Trm Sync(Tremolo Rate (sync switch))


T. Rate(Tremolo Rate (Hz))

0.05–10.00 [Hz] Modulation frequency of the tremolo effectT. Rate Nt

(Tremolo Rate (note))

Note

& “Note” (p. 64)

Trm Separate(Tremolo Separation)

0–127 Spread of the tremolo effect

Trm Phase(Tremolo Phase)

0–180 [deg] Spread of the tremolo effect




32

MFX/IFX Parameters

Space-DThis is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

2-Band EQ

2-Band EQ

Space D

Space D





Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)








OverdriveThis is an overdrive that provides heavy distortion.

L in

R in

L out

R out

Pan L

Pan R

Amp SmlatorOverdrive 2-Band EQ




Tone 0–127 Sound quality of the Overdrive effect

Amp Switch OFF, ON Turns the Amp Simulator on/off.

Amp Type(Amp Type)

SMALL, BUILT-IN, 2-STACK, 3-STACK

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp





DistortionProduces a more intense distortion than Overdrive.

L in

R in

L out

R out

Pan L

Pan R

Amp SmlatorDistortion 2-Band EQ






Amp Type(Amp Type)


Type of guitar amp

SMALL: Small amp








T-ScreamThis models a classic analog overdrive. It is distinctive in adding an appropriate amount of overtones without muddying the sound.

L in L out

R outR in

Overdrive Tone

Overdrive Tone


Distortion 0–127Degree of distortion


Tone 0–127 Tonal character of the overdrive


33

MFX/IFX Parameters

Gt Amp Sim (Guitar Amp Simulator) This is an effect that simulates the sound of a guitar amplifier.

L in

R in

L out

R out

Pan L

Pan RSpeakerPre Amp


Pre Amp Sw(Pre Amp Switch)

OFF, ON Turns the amp switch on/off.

AmpType(Pre Amp Type)

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

This models the sound input to left input on a Matchless D/C-30.

A simulation of the latest tube amp widely used in styles from blues and rock.

BG LEAD

This models the lead sound of the MESA/ Boogie combo amp.

The sound of a tube amp typical of the late ‘70s to ‘80s.

MS1959I

This models the sound input to Input I on a Marshall 1959.

This is a trebly sound suited to hard rock.

MS1959II This models the sound input to Input II on a Marshall 1959.

MS1959I+IIThe sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.

SLDN LEAD This models a Soldano SLO-100. This is the typical sound of the eighties.

METAL 5150 This models the lead channel of a Peavey EVH 5150.

METAL LEAD This is distortion sound that is ideal for performances of heavy riffs.

OD-1This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

OD-2 TURBO This is the high-gain overdrive sound of the BOSS OD-2.

DISTORTION This gives a basic, traditional distortion sound.

FUZZ A fuzz sound with rich harmonic content.

Drive(Pre Amp Drive)

0–127 Volume and amount of distortion of the amp

Master Lv(Pre Amp Master)

0–127 Volume of the entire pre-amp

Gain(Pre Amp Gain)

LOW, MIDDLE, HIGH Amount of pre-amp distortion

Bass(Pre Amp Bass)

0–127

Tone of the bass/mid/treble frequency range

Middle cannot be set if “MATCH DRIVE” is selected as the Pre Amp Type.

Middle(Pre Amp Middle)

Treble(Pre Amp Treble)

Presence(Pre Amp Presence)

0–127 Tone for the ultra-high frequency range


Bright(Pre Amp Bright)

OFF, ON

Turning this “On” produces a sharper and brighter sound.

* This parameter applies to the “JC-120,” “CLEAN TWIN,” and “BG LEAD” Pre Amp Types.

Speaker Sw(Speaker Switch)

OFF, ONSelects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

SpType(Speaker Type)

Cabinet


and number of

the speaker

Microphone

SMALL 1small

open-back enclosure

10 dynamic

SMALL 2small

open-back enclosure

10 dynamic


12 x 1 dynamic


12 x 2 dynamic


12 x 2 dynamic


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser

BG STACK1sealed


BG STACK2large sealed


MS STACK1large sealed




MTL STACKlarge

double stack

12 x 4 condenser

2-STACKlarge

double stack

12 x 4 condenser

3-STACKlarge triple


Mic Setting 1, 2, 3

Adjusts the location of the mic that is recording the sound of the speaker.

This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound



34

MFX/IFX Parameters

CompressorFlattens out high levels and boosts low levels, smoothing out fluctuations in volume.

L in L out

R outR in

Compressor 2-Band EQ

Compressor 2-Band EQ


Attack 0–124 Sets the speed at which compression starts

Release 0–124Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Threshold -60–0 [dB] Adjusts the volume at which compression begins

Knee 0–30 [dB]

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.

Ratio 1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1 Compression ratio

Post Gain 0–+18 [dB] Adjusts the output gain.


LimiterCompresses signals that exceed a specified volume level, preventing distortion from occurring.

L in L out

R outR in

Limiter 2-Band EQ

Limiter 2-Band EQ


Release 0–127Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Threshold 0–127 Adjusts the volume at which compression begins

Ratio 1.5: 1, 2: 1, 4: 1, 100: 1 Compression ratio

Post Gain 0–+18 [dB] Adjusts the output gain.




SustainerBy compressing loud input and boosting low input, this effect keeps the volume consistent to produce a sustain effect without distortion.

L in L out

R outR in

Sustainer 2-Band EQ

Sustainer 2-Band EQ


Sustain 0–127Adjusts the range in which a low input signal is boosted to a consistent volume.

Higher values produce longer sustain.

Attack 0–127 Time until the volume is compressed

Release 0–127 Time until compression is removed

Post Gain -15–+15 [dB] Adjusts the output gain.




GateCuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial-sounding decrease in the reverb’s decay.

L in L out

R outR in

Gate

Gate


Threshold 0–127 Volume level at which the gate begins to close

Mode GATE, DUCK

Type of gate

GATE: The gate will close when the volume of the original sound decreases, cutting the original sound.

DUCK (Duking): The gate will close when the volume of the original sound increases, cutting the original sound.

Attack 0–127 Adjusts the time it takes for the gate to fully open after being triggered.

Hold 0–127Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Release 0–127 Adjusts the time it takes the gate to fully close after the hold time.




35

MFX/IFX Parameters

DelayThis is a stereo delay.

When Feedback Mode is NORMAL:

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

Feedback

Feedback

2-Band EQ

2-Band EQ

Delay

Delay

When Feedback Mode is CROSS:

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

Feedback

Feedback

2-Band EQ

2-Band EQ

Delay

Delay


Dly L Sync(Delay Left (sync switch))


DL. Time(Delay Left (msec))

1–1300Adjusts the time until the left delay sound is heard.DLTime Nt

(Delay Left (note))

Note

& “Note” (p. 64)

Dly R Sync(Delay Right (sync switch))


DR. Time(Delay Right (msec))

1–1300Adjusts the time until the right delay sound is heard.DRTime Nt

(Delay Right (note))

Note

& “Note” (p. 64)

Phase L (Phase Left)

NORMAL, INVERSE

Phase of left and right delay sound

NORMAL: Non-inverted

INVERT: InvertedPhase R (Phase Right)

Fbk Mode(Feedback Mode)

NORMAL, CROSSSelects the way in which delay sound is fed back into the effect. (See the figures above.)


Adjusts the proportion of the delay sound that is fed back into the effect.


HF Damp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.





Volume balance between the direct sound (D) and the delay sound (W)


Mod Delay (Modulation Delay) Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

R out

L out

Balance W

Feedback

Feedback

Balance D

Balance D

L in

R in

Balance W

2-Band EQ

2-Band EQ

Delay Modulation

Delay Modulation

When Feedback Mode is CROSS:

R out

L out

Balance W

Feedback

Feedback

Balance D

Balance D

L in

R in

Balance W

2-Band EQ

Delay

Delay Modulation

2-Band EQ

Modulation






(Delay Left (note))

Note

& “Note” (p. 64)






Note

& “Note” (p. 64)

Fbk Mode(Feedback Mode)

NORMAL, CROSSSelects the way in which delay sound is fed back into the effect. (See the figures above.)




HF Damp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]


36

MFX/IFX Parameters




Rate(Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)








3Tap PanDlyProduces three delay sounds; center, left and right.

R out

L out

Balance W

Center Tap

Balance WFeedback

Balance D

Balance D

L in

R in

Left Tap

Right Tap

2-Band EQ

2-Band EQ

Triple Tap Delay






(Delay Left (note))

Note

& “Note” (p. 64)






Note

& “Note” (p. 64)

Dly C Sync(Delay Center (sync switch))


DC. Time(Delay Center (msec))

1–2600Adjusts the time until the center delay sound is heard.DCTime Nt

(Delay Center (note))

Note

& “Note” (p. 64)

C Feedback(Center Feedback)

-98–+98 [%]



HF Damp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]


Left Lv 0–127

Volume of each delay soundRight Lv 0–127

Center Lv 0–127






37

MFX/IFX Parameters

4Tap PanDlyThis effect has four delays.

R out

L out

Balance W

Balance W

Balance D

Balance D

Delay 2

Delay 3

L in

R in

Feedback

1

L

2 3

4

R

Delay 1

Delay 4

Quadruple Tap Delay


Dly1 Sync(Delay 1 Time (sync switch))


D1. Time(Delay 1 Time (msec))

1–2600Adjusts the time from the original sound until delay 1 sounds is heard.D1Time Nt

(Delay 1 Time (note))

Note

& “Note” (p. 64)






Note

& “Note” (p. 64)






Note

& “Note” (p. 64)






Note

& “Note” (p. 64)

Dly1 Fbk(Delay 1 Feedback)

-98–+98 [%]



HF Damp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]


Dly1 Lv(Delay 1 Level)

0–127 Volume of each delay










38

MFX/IFX Parameters

MultiTapDlyThis effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

0

R out

L out

Balance W

Balance W

Balance D

L in

Balance D

Delay 1FeedbackDelay 2

Delay 3

Delay 4

R in

Multi Tap Delay

2-Band EQ

2-Band EQ







Note

& “Note” (p. 64)






Note

& “Note” (p. 64)






Note

& “Note” (p. 64)






Note

& “Note” (p. 64)


-98–+98 [%]



HF Damp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]


Dly1 Pan(Delay 1 Pan)

L64–63R Stereo location of Delays 1–4





Dly1 Level(Delay 1 Level)

0–127 Volume of each delay









39

MFX/IFX Parameters

Reverse DlyThis is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

R out

L outL in

D1Rev

D2D3Feedback

R in

Rev. Delay

2-Band EQ

2-Band EQ

Delay


Threshold 0–127 Volume at which the reverse delay will begin to be applied

RDly Sync(Reverse Delay Time (sync switch))


RD Time(Reverse Delay Time (msec))

1–1300Delay time from when sound is input into the reverse delay until the delay sound is heardRD. Time Nt

(Reverse Delay Time (note))

Note

& “Note” (p. 64)

RDly Fbk(Reverse Delay Feedback)

-98–+98 [%]

Proportion of the delay sound that is to be returned to the input of the reverse delay negative (-) values invert the phase

RDly HF(Reverse Delay HF Damp)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

RDly Pan(Reverse Delay Pan)

L64–63R Panning of the reverse delay sound

RDly Level(Reverse Delay Level)

0–127 Volume of the reverse delay sound




1–1300 Delay time from when sound is input into the tap delay until the delay sound is heardD1Time Nt


Note

& “Note” (p. 64)






Note

& “Note” (p. 64)






Note

& “Note” (p. 64)


-98–+98 [%]

Proportion of the delay sound that is to be returned to the input of the tap delay (negative (-) values invert the phase)


Dly HF(Delay HF Damp)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)


L64–63R

Panning of the tap delay soundsDly2 Pan(Delay 2 Pan)

L64–63R


0–127

Volume of the tap delay soundsDly2 Lv(Delay 2 Level)

0–127






40

MFX/IFX Parameters

TimeCtrlDly (Time Control Delay) A stereo delay in which the delay time can be varied smoothly.

R out

L out

Balance W

Balance W

Feedback

Feedback

Balance D

Balance D

L in

R in

2-Band EQ

2-Band EQ

Time Ctrl Delay

Time Ctrl Delay


Delay Sync(Delay Time (sync switch))


D. Time(Delay Time (msec))

1–1300Adjusts the delay time from the direct sound until the delay sound is heard.D. Time Nt

(Delay Time (note))

Note

& “Note” (p. 64)

Acceleration 0–15

Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change.




HF Damp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]







Tape EchoA virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

R out

L out

Echo Level

Echo Level

Direct Level

Direct Level

L in

R in

Tape Echo


Mode S, M, L, S+M, S+L, M+L, S+M+L

Combination of playback heads to use

Select from three different heads with different delay times.

S: short

M: middle

L: long

Repeat Rate 0–127Tape speed

Increasing this value will shorten the spacing of the delayed sounds.

Intensity 0–127 Amount of delay repeats

Bass -15–+15 [dB] Boost/cut for the lower range of the echo sound

Treble -15–+15 [dB] Boost/cut for the upper range of the echo sound

Head S Pan L64–63RIndependent panning for the short, middle, and long playback headsHead M Pan L64–63R

Head L Pan L64–63R

Distortion(Tape Distortion)

0–5

Amount of tape-dependent distortion to be added

This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Wf Rate(W/F Rate)

0–127Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity)

Wf Depth(W/F Depth)

0–127 Depth of wow/flutter

Echo Level 0–127 Volume of the echo sound

Direct Lv 0–127 Volume of the original sound


41

MFX/IFX Parameters

LOFI Comp (Lo-Fi Compressor)This is an effect that intentionally degrades the sound quality for creative purposes.

L in L out

R outR in Compressor Lo-Fi 2-Band EQ

Compressor Lo-Fi 2-Band EQ


Pre Filter(Pre Filter Type)

1, 2, 3, 4, 5, 6

Selects the type of filter applied to the sound before it passes through the Lo-Fi effect.

1: Compressor off

2–6: Compressor on

LoFi Type 1, 2, 3, 4, 5, 6, 7, 8, 9Degrades the sound quality. The sound quality grows poorer as this value is increased.

Post Filter(Post Filter Type)

OFF, LPF, HPF

Type of filter




Cutoff(Post Filter Cutoff)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Basic frequency of the Post Filter






Bit CrasherThis creates a lo-fi sound.

L in L out

R outR in

Bit Crusher 2-Band EQ

Bit Crusher 2-Band EQ


Sample Rate 0–127 Adjusts the sample rate.

Bit Down 0–20 Adjusts the bit depth.

Filter 0–127 Adjusts the filter depth.




PitchShiftr (Pitch Shifter)A stereo pitch shifter.

R out

L outL in

R in

2-Band EQ

2-Band EQ

Pitch Shifter

Pitch Shifter


Coarse -24–+12 [semi] Adjusts the pitch of the pitch shifted sound in semitone steps.

Fine -100–+100 [cent] Adjusts the pitch of the pitch shifted sound in 2-cent steps.




1–1300 Adjusts the delay time from the direct sound until the pitch shifted sound is heard.D. Time Nt

(Delay Time (note))

Note

& “Note” (p. 64)


Adjusts the proportion of the pitch shifted sound that is fed back into the effect.





Volume balance between the direct sound (D) and the pitch shifted sound (W)


42

MFX/IFX Parameters

2V PShifter (2 Voice Pitch Shifter)Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

Pan 1 R

R out

L out

Balance W

Balance W

Balance D

L in

Balance D

Level 1 Pan 1 L

Pan 2 L

Pan 2 R Level 2

R in

2 Voice Pitch Shifter

2-Band EQ

2-Band EQ


P1 Coarse(Pitch1 Coarse)

-24–+12 [semi] Adjusts the pitch of Pitch Shift 1 in semitone steps.

P1 Fine(Pitch1 Fine)

-100–+100 [cent] Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

P1 Dly Sync(Pitch1 Delay (sync switch))


P1 D. Time(Pitch1 Delay (msec))

1–1300 Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.P1 DTime Nt

(Pitch1 Delay (note))

Note

& “Note” (p. 64)

P1 Feedback(Pitch1 Feedback)

-98–+98 [%]

Adjusts the proportion of the pitch shifted sound that is fed back into the effect.


P1 Pan (Pitch1 Pan)

L64–63R Stereo location of the Pitch Shift 1 sound

P1 Level (Pitch1 Level)

0–127 Volume of the Pitch Shift 1 sound

P2 Coarse(Pitch2 Coarse)

-24–+12 [semi]

Settings of the Pitch Shift 2 sound.

The parameters are the same as for the Pitch Shift 1 sound.

P2 Fine(Pitch2 Fine)

-100–+100 [cent]

P2 Dly Sync(Pitch2 Delay (sync switch))

OFF, ON

P2 D. Time(Pitch2 Delay (msec))

1–1300

P2 DTime Nt(Pitch2 Delay (note))

Note

& “Note” (p. 64)

P2 Feedback(Pitch2 Feedback)

-98–+98 [%]

P2 Pan (Pitch2 Pan)

L64–63R

P2 Level (Pitch2 Level)

0–127




Volume balance between the direct sound (D) and the pitch shifted sound (W)


OD 0 Chorus (Overdrive 0 Chorus)

L in

R in

L out

R out

Balance W

Balance W

Balance D

Balance D

Overdrive Chorus



0–127Degree of distortion


OD Pan(Overdrive Pan)

L64–63R Stereo location of the overdrive sound

Cho PreDly(Chorus Pre Delay)

0.0–100 [msec] Adjusts the delay time from the direct sound until the chorus sound is heard.




0.05–10.00 [Hz]

Frequency of modulationC. Rate Nt(Chorus Rate (note))

Note

& “Note” (p. 64)


0–127 Depth of modulation

Cho Bal(Chorus Balance)

D100: 0W–D0: 100W

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).


43

MFX/IFX Parameters

OD 0 Flanger (Overdrive 0 Flanger)

L out

R out

Balance W Feedback

Balance W

Balance D

Balance D

L in

R in

FlangerOverdrive







Flg PreDly(Flanger Pre Delay)

0.0–100 [msec] Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

Flg Sync(Flanger Rate (sync switch))


F. Delay(Flanger Rate (Hz))

0.05–10.00 [Hz]

Frequency of modulationF. Rate Nt(Flanger Rate (note))

Note

& “Note” (p. 64)

Flg Depth(Flanger Depth)


Flg Fbk(Flanger Feedback)

-98–+98 [%]



Flg Bal(Flanger Balance)

D100: 0W–D0: 100W

Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).


OD 0 Delay (Overdrive 0 Delay)

L out

R out

Balance W

FeedbackBalance W

Balance D

Balance D

L in

R in

DelayOverdrive







Delay Sync (Delay Time (sync switch))




(Delay Time (note))

Note

& “Note” (p. 64)

Delay Fbk(Delay Feedback)

-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Dly Bal(Delay Balance)

D100: 0W–D0: 100W

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).


44

MFX/IFX Parameters

DS 0 Chorus (Distortion 0 Chorus)

L in

R in

L out

R out

Balance W

Balance W

Balance D

Balance D

Distortion Chorus


Dist Drive(Distortion Drive)



Dist Pan(Distortion Pan)







0.05–10.00 [Hz]


Note

& “Note” (p. 64)




D100: 0W–D0: 100W



DS 0 Flanger (Distortion 0 Flanger)

L out

R out

Balance W Feedback

Balance W

Balance D

Balance D

L in

R in

FlangerDistortion











F. Delay(Flanger Rate (Hz))

0.05–10.00 [Hz]


Note

& “Note” (p. 64)




-98–+98 [%]




D100: 0W–D0: 100W



45

MFX/IFX Parameters

DS 0 Delay (Distortion 0 Delay)

L out

R out

Balance W

FeedbackBalance W

Balance D

Balance D

L in

R in

DelayDistortion










1–2600 Adjusts the delay time from the direct sound until the delay sound is heard.D. Time Nt

(Delay Time (note))

Note

& “Note” (p. 64)


-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]



D100: 0W–D0: 100W



OD/DS 0 T. Wah (Overdrive/Distortion 0 Touch Wah)

L out

R out

Pan L

Pan R

L in

R in

Touch Wah

Overdrive/Distortion

Amp Simulator

2-Band EQ


Drive Switch OFF, ON Turns overdrive/distortion on/off

D. Type(Drive Type)

OVERDRIVE, DISTORTION Type of distortion

Drive 0–127 Degree of distortion. Also changes the volume.



AmpType(Amp Type)


Type of guitar amp

SMALL: Small amp




TWah Switch(TouchWah Switch)

OFF, ON Wah on/off

TWah Mode(TouchWah Mode)

LPF, BPF

Type of filter



TWah Polar(TouchWah Polarity)

DOWN, UP

Direction in which the filter will move



TWah Sens(TouchWah Sens)

0–127 Sensitivity with which the filter is modified

TWah Manual(TouchWah Manual)

0–127 Center frequency at which the wah effect is applied

TWah Peak(TouchWah Peak)

0–127



TWah Bal(TouchWah Balance)

D100: 0W–D0: 100W

Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).




46

MFX/IFX Parameters

OD/DS 0 A. Wah (Overdrive/Distortion 0 Auto Wah)

L out

R out

Pan L

Pan R

L in

R in

Auto WahOverdrive/Distortion

Amp Simulator

2-Band EQ


Drive Switch OFF, ON Turns overdrive/distortion on/off

D. Type(Drive Type)

OVERDRIVE, DISTORTION Type of distortion

Drive 0–127 Degree of distortion. Also changes the volume.



AmpType(Amp Type)


Type of guitar amp

SMALL: Small amp




AWah Switch(AutoWah Switch)

OFF, ON Wah on/off

AWah Mode(AutoWah Mode)

LPF, BPF

Type of filter



AWah Manual(AutoWah Manual)

0–127 Center frequency at which the wah effect is applied

AWah Peak(AutoWah Peak)

0–127



AWah Sync(AutoWah Rate (sync switch))


AWRate(AutoWah Rate (Hz))

0.05–10.00 [Hz]

Frequency of modulationAWRate Nt(AutoWah Rate (note))

Note

& “Note” (p. 64)

AWah Depth(AutoWah Depth)

0–127 Depth at which the wah effect is modulated

AWah Bal(AutoWah Balance)

D100: 0W–D0: 100W

Adjusts the volume balance between the sound that is sent through the wah (W) and the sound that is not sent through the wah (D).




47

MFX/IFX Parameters

Gt 0 Chorus (Guitar Amp Simulator 0 Chorus)

L outL in

R in R out

Balance W

Balance W

Balance D

Balance D

SpeakerPre Amp Chorus




Type(Pre Amp Type)

Type of guitar amp



MATCH DRIVE



BG LEAD



MS1959IThis models the sound input to Input I on a Marshall 1959.
















Gain(Pre Amp Gain)


Bass(Pre Amp Bass)

0–127




0–127


0–127





Cabinet


and number of the

speaker

Microphone

SMALL 1small

open-back enclosure

10 dynamic

SMALL 2small

open-back enclosure

10 dynamic


12 x 1 dynamic


12 x 2 dynamic

BUILT-IN1open back enclosure

12 x 2 dynamic


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser

BG STACK1sealed










2-STACKlarge double


3-STACKlarge triple


Chorus Sw(Chorus Switch)

OFF, ON Chorus on/off




0.05–10.00 [Hz] Frequency of modulation




D100: 0W–D0: 100W



48

MFX/IFX Parameters

GT 0 Flanger (Guitar Amp Simulator 0 Flanger)

L out

R out

Balance W Feedback

Balance W

Balance D

Balance D

L in

R in

FlangerPre Amp Speaker




Type(Pre Amp Type)

Type of guitar amp



MATCH DRIVE



BG LEAD



















Gain(Pre Amp Gain)


Bass(Pre Amp Bass)

0–127




0–127


0–127





Cabinet


and number of the

speaker

Microphone

SMALL 1small

open-back enclosure

10 dynamic

SMALL 2small

open-back enclosure

10 dynamic


12 x 1 dynamic


12 x 2 dynamic


12 x 2 dynamic


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser

BG STACK1sealed










2-STACKlarge double


3-STACKlarge triple


Flg Switch(Flanger Switch)

OFF, ON Flanger on/off



F. Rate(Flanger Rate (Hz))





-98–+98 [%]Adjusts the proportion of the flanger sound that is fed back into the effect.



D100: 0W–D0: 100W



49

MFX/IFX Parameters

Gt 0 Phaser (Guitar Amp Simulator 0 Phaser)

L in

R in

L out

R outResonance

Mix

PhaserPre Amp Speaker




Type(Pre Amp Type)

Type of guitar amp



MATCH DRIVE



BG LEAD



















Gain(Pre Amp Gain)


Bass(Pre Amp Bass)

0–127




0–127


0–127





Cabinet


and number of the

speaker

Microphone

SMALL 1small

open-back enclosure

10 dynamic

SMALL 2small

open-back enclosure

10 dynamic


12 x 1 dynamic


12 x 2 dynamic


12 x 2 dynamic


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser

BG STACK1sealed










2-STACKlarge double


3-STACKlarge triple


Phaser SW(Phaser Switch)

OFF, ON Phaser on/off

P. Rate(Phaser Rate (Hz))


Phs Manual(Phaser Manual)

0–127 Adjusts the basic frequency from which the sound will be modulated.

Phs Depth(Phaser Depth)


Phs Reso(Phaser Resonance)

0–127 Amount of feedback

Phs Mix(Phaser Mix)

0–127 Level of the phase-shifted sound


50

MFX/IFX Parameters

Gt 0 Delay (Guitar Amp Simulator 0 Delay)

L out

R out

Balance W

FeedbackBalance W

Balance D

Balance D

L in

R in

DelayPre Amp Speaker




Type(Pre Amp Type)

Type of guitar amp



MATCH DRIVE



BG LEAD



















Gain(Pre Amp Gain)


Bass(Pre Amp Bass)

0–127




0–127


0–127





Cabinet


and number of the

speaker

Microphone

SMALL 1small

open-back enclosure

10 dynamic

SMALL 2small

open-back enclosure

10 dynamic


12 x 1 dynamic


12 x 2 dynamic


12 x 2 dynamic


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser


12 x 2 condenser

BG STACK1sealed








MTL STACKlarge double


2-STACKlarge double


3-STACKlarge triple


Delay Sw(Delay Switch)

OFF, ON Delay on/off

Dly Time(Delay Time)

1–1300 Adjusts the delay time from the direct sound until the delay sound is heard.


-98–+98 [%]Adjusts the proportion of the delay sound that is fed back into the effect.



200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)


D100: 0W–D0: 100W



51

MFX/IFX Parameters

EP 0 Tremolo (EP Amp Simulator 0 Tremolo)L in

R in

L out

R out

SpeakerEP Amp Tremolo


Type

Type of amp

OLDCASE A standard electric piano sound of the early 70s

NEWCASE A standard electric piano sound of the late 70s and early 80s

WURLY A standard electric piano sound of the 60s

Bass -50–+50 Amount of low-frequency boost/cut

Treble -50–+50 Amount of high-frequency boost/cut

Tremolo Sw(Tremolo Switch)

OFF, ON Tremolo on/off

Tremolo Sync(Tremolo Speed (sync switch))


T. Speed(Tremolo Speed (Hz))

0.05–10.00 [Hz]

Rate of the tremolo effectT. Spd Nt(Tremolo Speed (note))

Note

& “Note” (p. 64)

Trm Depth(Tremolo Depth)

0–127 Depth of the tremolo effect

Trm Duty(Tremolo Duty)

-10–+10 Adjusts the duty cycle of the LFO waveform used to apply tremolo.

Sp Type(Speaker Type)

LINE, OLD, NEW, WURLY, TWIN

Type of speaker

If LINE is selected, the sound will not be sent through the speaker simulation.




0–127 Overdrive input level




EP 0 Chorus (EP Amp Simulator 0 Chorus)

L outL in

R in R out

Balance W

Balance W

Balance D

Balance D

SpeakerEP Amp Chorus


Type

Type of amp





Cho Switch(Chorus Switch)

OFF, ON Chorus on/off






0.05–10.00 [Hz]


Note

& “Note” (p. 64)




D100: 0W–D0: 100W




Type of speaker









52

MFX/IFX Parameters

EP 0 Flanger (EP Amp Simulator 0 Flanger)

L out

R out

Balance W Feedback

Balance W

Balance D

Balance D

L in

R in

FlangerEP Amp Speaker


Type

Type of amp





Flg Switch(Flanger Switch)

OFF, ON Flanger on/off






0.05–10.00 [Hz]


Note

& “Note” (p. 64)




-98–+98 [%]




D100: 0W–D0: 100W




Type of speaker









EP 0 Phaser (EP Amp Simulator 0 Phaser) L in

R in

L out

R outResonance

Mix

PhaserEP Amp Speaker


Type

Type of amp





Phs Switch(Phaser Switch)

OFF, ON Phaser on/off

Phs Sync(Phaser Rate (sync switch))


P. Rate(Phaser Rate (Hz))

0.05–10.00 [Hz]

Frequency of modulationP. Rate Nt(Phaser Rate (note))

Note

& “Note” (p. 64)

Phs Manual(Phaser Manual)

0–127 Adjusts the basic frequency from which the sound will be modulated.

Phs Depth(Phaser Depth)


Phs Reso(Phaser Resonance)

0–127 Amount of feedback

Phs Mix (Phaser Mix) 0–127 Level of the phase-shifted sound

Sp Type (Speaker Type)


Type of speaker









53

MFX/IFX Parameters

EP 0 Delay (EP Amp Simulator 0 Delay)

L out

R out

Balance W

FeedbackBalance W

Balance D

Balance D

L in

R in

Time Ctrl DelayEP Amp Speaker


Type

Type of amp





Dly Switch(Delay Switch)

OFF, ON Delay on/off





(Delay Time (note))

Note

& “Note” (p. 64)

Dly Accel(Delay Accel)

0–15

Speed at which the current delay time changes to the specified delay time when you change the delay time.

The speed of the pitch change will change simultaneously with the delay time.


-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)


D100: 0W–D0: 100W




Type of speaker









Enhncr 0 Cho (Enhancer 0 Chorus)

L out

R out

Balance D

Balance W

Balance W

Balance D Mix

Mix

L in

R in

Chorus

Enhancer

Enhancer


Enh Sens(Enhancer Sens)

0–127 Sensitivity of the enhancer

Enh Mix(Enhancer Mix)

0–127 Level of the overtones generated by the enhancer






0.05–10.00 [Hz]


Note

& “Note” (p. 64)




D100: 0W–D0: 100W



54

MFX/IFX Parameters

Enhncr 0 Fl (Enhancer 0 Flanger) Balance D

Balance D Mix

Mix

L out

R out

Balance W

Balance W W

L in

R in

Feedback

Flanger

Enhancer

Enhancer











0.05–10.00 [Hz]


Note

& “Note” (p. 64)




-98–+98 [%]




D100: 0W–D0: 100W



Enhncr 0 Dly (Enhancer0 Delay) Balance D

Balance D Mix

Mix

L out

R out

Balance W

Balance W

L in

R inFeedback

Enhancer

Enhancer

Delay






Dly Sync(Delay Time (sync switch))




(Delay Time (note))

Note

& “Note” (p. 64)


-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]



D100: 0W–D0: 100W



55

MFX/IFX Parameters

Chorus 0 Dly (Chorus 0 Delay) Balance D

Balance D

L out

R out

Balance W

Balance W Feedback

Balance D

Balance W

Balance W

Balance D

L in

R in

DelayChorus







0.05–10.00 [Hz]


Note

& “Note” (p. 64)




D100: 0W–D0: 100W






(Delay Time (note))

Note

& “Note” (p. 64)


-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]



D100: 0W–D0: 100W



Flanger 0 Dly (Flanger 0 Delay)

L in

R in

Balance D

Balance D

L out

R out

Balance

BalanceFeedback

Balance D

Balance D

Balance W

Balance W

Feedback

Flanger Delay







0.05–10.00 [Hz]


Note

& “Note” (p. 64)




-98–+98 [%]




D100: 0W–D0: 100W






(Delay Time (note))

Note

& “Note” (p. 64)


-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]



D100: 0W–D0: 100W



56

MFX/IFX Parameters

Chorus 0 Fl (Chorus 0 Flanger)

L out

R out

Balance D

Balance D

Balance W

Balance W

Feedback

Balance D

Balance W

Balance W

Balance D

L in

R in

Chorus Flanger







0.05–10.00 [Hz] Modulation frequency of the chorus effectC. Rate Nt

(Chorus Rate (note))

Note

& “Note” (p. 64)


0–127 Modulation depth of the chorus effect


D100: 0W–D0: 100W




Flg Sync (Flanger Rate (sync switch))



0.05–10.00 [Hz] Modulation frequency of the flanger effectF. Rate Nt

(Flanger Rate (note))

Note

& “Note” (p. 64)


0–127 Modulation depth of the flanger effect


-98–+98 [%]




D100: 0W–D0: 100W



CE-1 (Chorus) This models the classic BOSS CE-1 chorus effect unit. It provides a chorus sound with a distinctively analog warmth.

L in L out

R outR in

CE-1

2-Band EQ

2-Band EQ


Intensity 0–127 Chorus depth




SBF-325 (Flanger) This effect reproduces Roland’s SBF-325 analog flanger. It provides three types of flanging effect (which adds a metallic resonance to the original sound) and a chorus-type effect.

L in L out

R outR in

SBF-325


Mode

Types of flanging effect

FL1 A typical mono flanger

FL2A stereo flanger that preserves the stereo positioning of the original sound

FL3 A cross-mix flanger that produces a more intense effect

CHO A chorus effect


OFF, ONIf this is ON, the rate synchronizes with the tempo of the rhythm.

& “Tempo” (p. 16)

Rate(Rate (Hz))

0.02–5.00 [Hz] Modulation frequency of the flanger effectRate Note

(Rate (note))

Note

& “Note” (p. 64)

Depth 0–127 Modulation depth of the flanger effect

Manual 0–127 Center frequency at which the flanger effect is applied

Feedback 0–127Amount by which the flanging effect is boosted

If Mode is CHO, this setting is ignored.

RMod Phase(CH-R Modulation

Phase)

NORM, INV

Phase of the right channel modulation:

Normally, you will leave this at Normal (NORM).

If you specify Inverted (INV), the modulation (upward/downward movement) of the right channel is inverted.

L Phase(CH-L Phase)

Phase when mixing the flanging sound with the original sound

NORM: normal phase

INV: inverse phaseR Phase(CH-R Phase)


57

MFX/IFX Parameters

SDD-320 (Dimension D) This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

L in L out

R outR in

SDD-320

2-Band EQ

2-Band EQ


Mode 1, 2, 3, 4, 1+4, 2+4, 3+4 Switches the mode.




2Tap PanDly (2 Tap Pan Delay)

R out

L out

Balance W

Balance W

Balance D

Balance D

L in

R in

Delay 1

Feedback Delay 2

Double Tap Delay



OFF, ON If this is ON, the delay synchronizes with the tempo.

D. Time(ms)(Delay Time (msec))

1–2600Adjusts the time until the second delay sound is heard.D. Time(Nt)

(Delay Time (note))

Note

& “Note” (p. 64)

Dly Fbk(Delay Feedback)

-98–+98 [%]




200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]



L64–63R Stereo location of Delay 1


L64–63R Stereo location of Delay 2


0–127 Volume of delay 1


0–127 Volume of delay 2






58

MFX/IFX Parameters

TransientThis effect lets you control the way in which the sound attacks and decays.

L outL in

R in R out

Envelope Controller


Attack -50–+50

Character of the attack.

Higher values make the attack more aggressive; lower values make the attack milder.

Release -50–+50

Character of the decay.

Higher values make the sound linger; lower values make the sound cut off quickly.

Out Gain(Output Gain)

-24–+12 [dB] Output gain

Sens(Sense)

LOW, MID, HIGH Quickness with which the attack is detected


Mid-Side EQ (Mid-Side Equalizer)This effect allows the left/right signals that have similar phase to be tonally adjusted in a different way than the left/right signals that have different phase.

L in L out

R outR in

Mid

Side


M EQ Switch OFF, ONSwitches whether to apply tonal adjustment to left/right input signals whose phase is similar (in phase).

M In G(M Input Gain)

-12.00–+12.00 [dB] Volume of left/right input signals whose phase is similar (in phase)

M Low F(M Low Frequency)

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 [Hz]


M Low G(M Low Gain)

-12.00–+12.00 [dB] Amount of boost/cut for the low-frequency range

M Mid1 F(M Mid1 Frequency)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


M Mid1 G(M Mid1 Gain)

-12.00–+12.00 [dB] Gain of the middle range 1

M Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0Width of the middle range 1



200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]







200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]






M High F(M High Frequency)

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]


M HighG(M High Gain)

-12.00–+12.00 [dB] Amount of boost/cut for the high-frequency range

S EQ Switch OFF, ON

Switches whether to apply tonal adjustment to left/right input signals whose phase is distant (opposite phase).

S In G(S Input Gain)

-12.00–+12.00 [dB] Volume of left/right signals whose phase is distant (opposite phase)

59

MFX/IFX Parameters


S Low F(S Low Frequency)

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 [Hz]


S Low G(S Low Gain)

-12.00–+12.00 [dB] Amount of boost/cut for the low-frequency range

S Mid1 F(S Mid1 Frequency)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


S Mid1 G(S Mid1 Gain)


S Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0Width of the middle range 1



200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


S Mid2 G(S Mid2 Gain)





200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]


S Mid3 G (S Mid3 Gain)




S High F(S High Frequency)

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]


S HighG (S High Gain)

-12.00–+12.00 [dB] Amount of boost/cut for the high-frequency range


M/S Comp (Mid-Side Compressor)This effect allows the left/right signals that have similar phase to be adjusted to a different sense of volume than the left/right signals that have different phase.

L in L out

R outR inSide

Mid

LR/MS

MS/LR

Compressor

Compressor


M Comp Sw(M Comp Switch)

OFF, ONSwitches whether to adjust the sense of volume for left/right input signals whose phase is similar (in phase).

M Attack 0–124 Sets the speed at which compression starts

M Release 0–124Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

M Thres (M Threshold)

-60–0 [dB] Adjusts the volume at which compression begins

M Knee 0–30 [dB]


M Ratio 1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1 Compression ratio

M Gain (M Post Gain)

0–+18 [dB] Adjusts the output gain.

S Comp Sw (S

Compressor Switch) OFF, ON

Switches whether to adjust the sense of volume for left/right input signals whose phase is distant (opposite phase).

S Attack 0–124 Sets the speed at which compression starts

S Release 0–124Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

S Thres (S Threshold)

-60–0 [dB] Adjusts the volume at which compression begins

S Knee 0–30 [dB]


S Ratio 1: 1, 1.5: 1, 2: 1, 4: 1, 16: 1, INF: 1 Compression ratio

S Gain (S Post Gain) 0–+18 [dB] Adjusts the output gain.


60

MFX/IFX Parameters

Fattener (Tone Fattener)This effect applies distinctive distortion, adding overtones to give more depth to the sound.

L outL in

R inR in

Odd Overtone Generator

Even Overtone Generator

Odd Overtone Generator

Even Overtone Generator


Odd Level 0–400 [%] Raising the value adds odd-order overtones.

Even Level 0–400 [%] Raising the value adds even-order overtones.


M/S Delay (Mid Side Delay) This effect applies different amounts of delay to left/right signals of similar phase and differing phase.

L in L out

R outR inSide

Mid

LR/MS

MS/LR

Multi-TapDelay

Multi-TapDelay


MD Level 0–127 Delay volume of left/right input signals whose phase is similar (in phase)

MD Mode 2TAP, 3TAP, 4TAPDelay divisions for the input signals whose left/right phase is similar (identical phase)

MD Tm Sync OFF, ON If this is ON, the delay synchronizes with the tempo.

MD. Time 1–1300Adjusts the delay time from the direct sound until the delay sound is heard.MDTime Nt

Note

& “Note” (p. 64)

MD Feedback -98–+98 [%]



MD HFDamp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]


MD1 Pan L64–63R Panning of the first delay sound

MD2 Pan L64–63R Panning of the second delay sound

MD3 Pan L64–63R Panning of the third delay sound

MD4 Pan L64–63R Panning of the fourth delay sound

SD Level 0–127 Delay volume of left/right input signals whose phase is distant (opposite phase)

SD Mode 2TAP, 3TAP, 4TAPDelay divisions for the input signals whose left/right phase is distant (reverse phase)

SD Tm Sync OFF, ON If this is ON, the delay synchronizes with the tempo.

SD Time 1–1300Adjusts the delay time from the direct sound until the delay sound is heard.SDTime Nt

Note

& “Note” (p. 64)

SD Feedback -98–+98 [%]



SD HFDamp

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]


SD1 Pan L64–63R Panning of the first delay sound

SD2 Pan L64–63R Panning of the second delay sound

SD3 Pan L64–63R Panning of the third delay sound

SD4 Pan L64–63R Panning of the fourth delay sound


61

MFX/IFX Parameters

EP Amp Sim (RD EP Amp Simulator)This is an effect that was developed for the RD series SuperNatural E.Piano.

L out

R out

L in

R in

SpeakerBass/Treble Overdrive Tremolo




Tremolo Sw OFF, ON Tremolo on/off

Type

Type of tremolo effect

OLDCASE MO A standard electric piano sound of the early 70s (mono)

OLDCASE ST A standard electric piano sound of the early 70s (stereo)


DYNO A classic modified electric piano

WURLY A classic electric piano of the ‘60s

Speed Sync OFF, ONIf this is ON, the rate synchronizes with the tempo of the rhythm.

& “Tempo” (p. 16)

Speed 0.05–10.00 [Hz]

Rate of the tremolo effectSpeed Nt

Note

& “Note” (p. 64)

Depth 0–127 Depth of the tremolo effect

Shape 0–20 Adjusts the waveform of the tremolo.

AMP OFF, ON Turns the speaker and distortion on/off

Speaker LINE, OLD, NEW, WURLY, TWIN

Type of speaker If LINE is selected, the sound will not be sent through the speaker simulation.




DJFX LooperLoops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntable-type effects.

R out

L out

Loop Sw

Loop Sw

Loop Sw

L in

R inLoop Sw

Speed Control

Delay

Delay


Length 230–23 (not straight) Specifies the length of the loop.

Speed -1.00–+1.00

Specifies the playback direction and playback speed.

- direction: Reverse playback

+ direction: Normal playback

0: Stop playback

As the value moves away from 0, the playback speed becomes faster.

Loop Sw OFF, ON

If you turn this on while the sound is heard, the sound at that point will be looped. Turn this off to cancel the loop.

* If the effect is recalled with this ON, this parameter must be turned OFF and then turned ON again in order to make the loop operate.


62

MFX/IFX Parameters

BPM LooperLoops a short portion of the input sound. This can automatically turn the loop on/off in synchronization with the rhythm.

R out

L outL in

R in

Loop Sw Control

Delay

Delay


Length 230–23 (not straight) Specifies the length of the loop.

Rate Sync OFF, ONIf this is ON, the rate synchronizes with the tempo of the rhythm.

& “Tempo” (p. 16)

Rate 0.05–10.00 [Hz] Cycle at which the loop automatically turns on/offRate Note

Note

& “Note” (p. 64)

Timing 1–8

Specifies the timing within the cycle at which the loop automatically starts (which step of the eight timing divisions at which the sound is heard)

Lenth 1–8

Specifies the length at which the loop automatically ends within the cycle (the number of times that the 1/8-length of sound is heard)

Loop Mode OFF, AUTO, ON

If this is AUTO, the loop automatically turns on/off in synchronization with the rhythm.

* If the effect is recalled with this ON, this parameter must first be set to something other than ON in order to make the loop operate.


SaturatorThis effect combines overdrive and filter.

Balance W

Balance D

Balance D

Pre Filter Overdrive Post Filter1-3

Pre Filter Overdrive Post Filter1-3L in L out

R outR in


Pre Type THRU, LPF, HPF, LSV, HSV

Type of filter that precedes the distortion processing

THRU: No filter is applied

LPF: A filter that passes the sound below the specified frequency

HPF: A filter that passes the sound above the specified frequency

LSV: A filter that boosts/cuts the sound below the specified frequency

HSV: A filter that boosts/cuts the sound above the specified frequency

Pre Freq 20–16000 [Hz] Frequency at which the pre-distortion filter operates

Pre Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut

Drive 0.0–48.0 [dB] Strength of distortion

Post1 Type THRU, LPF, HPF, LSV, HSV

Type of filter 1 which follows the distortion processing

Post1Frq 20–16000 [Hz] Frequency at which post-distortion filter 1 operates

Post1Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut





Post3 Type THRU, LPF, HPF, BPF, PKG





BPF: A filter that passes only the specified frequency

PKG: A filter that boosts/cuts the specified frequency


Post3Gain -24.0–+24.0 [dB] For the PKG type, the amount of boost/cut

Post3 Q 0.5–16.0 Width of the frequency range affected by the filter

Sense -60.0–0.0 [dB] Adjust this value so that the sound is not made louder when distortion is applied.

PostGain -48.0 +12.0 [dB] Gain following distortion processing


Volume balance between the dry sound (D) and effect sound (W)


63

MFX/IFX Parameters

W Saturator (Worm Saturator)This is a variety of saturator, and is distinctive for its warmer sound.

Balance W

Balance D

Balance D

L in L out

R outR in

Pre FilterLow/High

Low/High

Overdrive Post Filter1-3

Pre Filter Overdrive Post Filter1-3


LowFreq 20–16000 [Hz] Input filter (low range)

Boosts/cuts the sound below the specified frequency.

LowGain -24.0–+24.0 [dB] Amount of boost/cut

Hi Slope THRU, -12dB, -24dBInput filter (high range)

Boosts/cuts the sound above the specified frequency.

Hi Freq 20–16000 [Hz] Amount of boost/cut

Pre1 Type THRU, LPF, HPF, LSV, HSV

Type of filter that precedes the distortion processing




LSV: A filter that boosts/cuts the sound below the specified frequency

HSV: A filter that boosts/cuts the sound above the specified frequency

Pre1Freq 20–16000 [Hz] Frequency at which the pre-distortion filter operates

Pre1Gain -24.0–+24.0 [dB] For the LSV/HSV types, the amount of boost/cut

Drive 0.0–48.0 [dB] Strength of distortion









Post3 Type THRU, LPF, HPF, BPF, PKG





BPF: A filter that passes only the specified frequency

PKG: A filter that boosts/cuts the specified frequency


Post3Gain -24.0–+24.0 [dB] For the PKG type, the amount of boost/cut

Post3 Q 0.5–16.0 Width of the frequency range affected by the filter


Sense -60.0–0.0 [dB] Adjust this value so that the sound is not made louder when distortion is applied.

PostGain -48.0–+12.0 [dB] Gain following distortion processing




FuzzAdds overtones and intensely distorts the sound.

L in L out

R outR in

Pre Filter

Pre Filter

Tone Control

Tone Control

Overdrive

Overdrive

Post Filter

Post Filter


Drive 0–127Adjusts the depth of distortion.

This also changes the volume.



JUNO Chorus (JUNO-106Chorus) This models the chorus effects of the Roland JUNO-106.

L out

R out

L in

R in

Chorus Noise Generator


Mode I, II, I+II, JX I, JX IIType of Chorus

I+II: The state in which two buttons are pressed simultaneously.

Noise Lv 0–127 Volume of the noise produced by chorus




64

MFX/IFX Parameters

MM Filter (Multimode Filter)This is a filter that is adjusted for effective use in a DJ performance.

L in

R in

L out

R out

Multimode Filter

Multimode Filter

Multimode Filter

Multimode Filter


Type LPF/HPF, LPF, HPF, BPF

Type of filter

LPF/HPF: The filter type is automatically switched according to the Filter Tone parameter value.

Tone 0–255 Frequency at which the filter operates

Color 0–255Filter resonance level

Higher values more strongly emphasize the region of the operating frequency.

Slope -12, -24, -36 [dB]

Amount of attenuation per octave

-12 dB: gentle

-24 dB: steep

-36 dB: extremely steep

Gain 0–+12 [dB] Amount of boost for the filter output


HMS DistortThis is a distortion-type effect that models the vacuum tube amp section of a rotary speaker of the past.

L out

R out

L in

R in

Tube Model Distortion


Dist 0–127 Strength of distortion


Script 100This simulates an analog phaser of the past.

L in L out

R outR in

Phaser

Phaser


Rate Sync OFF, ONIf this is ON, the rate synchronizes with the tempo of the rhythm.

& “Tempo” (p. 16)

Rate 0.05–10.00 [Hz]

Frequency of modulationRate Note

Note

& “Note” (p. 64)

Duty -50–50 Adjusts the ratio of speeds at which the modulation rises or falls.

Min 0–100 Lower limit reached by modulation

Max 0–100 Upper limit reached by modulation

Manual Sw OFF, ONApplies modulation according to the value of the Manual parameter, rather than modulating automatically.





Note1/64T

1/16T

1/16D 1/8 1/4T 1/8D

1/8T1/32D 1/16

1/64 1/32T 1/32

1/4

1/1T

1/1D 2/1

1/2D 1/1 2/1T

1/2T 1/4D 1/2

Sixty-fourth-note triplet

Sixty-fourth note

Thirty-second-note triplet Thirty-second note

Sixteenth-note triplet

Dotted thirty-second note Sixteenth note Eighth-note triplet

Dotted sixteenth note Eighth note

Quarter-note triplet Dotted eighth note

Quarter note Half-note triplet

Dotted quarter note Half note

Whole-note triplet Dotted half note Whole note Double-note triplet

Dotted whole note Double note

Documents

Parameter Guide - Roland Corporation · Ext C. Tune (Coarse Tune) MIDI device. OFF, -48–+48 Sets the Coarse Tune of the external Parameter Value Explanation Ext F. Tune (Fine Tune)