VA-76
V-Arranger Keyboard
128-voice polyphony
Owner’s Manual
Thank you, and congratulations on your choice of the Roland VA-76 V-Arranger Keyboard.
The VA-76 is the 76-key (weighted synthesizer action), professional version of the widely acclaimed VA-7. VariPhrase,
brandnew and strikingly realistic sounds and Drum Sets, all-new Music Styles, an animated touch screen, an Audio In
connector with separate effects, 2 programmable “Pad” buttons, a programmable Lyrics function, 4 assignable outputs
– and a sober, intuitive user interface are just the most exciting new features.
To get the most out of the VA-76 and to ensure many years of trouble-free service, we urge you to read through this
Owner’s Manual thoroughly.
• To avoid confusion, let’s agree to use the word “button” for all keys on the front panel, and only use “key” when refer-
ring to the VA-76’s keyboard. Also, in order to avoid mixups between the “real” buttons on the front panel and the “soft-
ware buttons” on the touch screen, we shall use the word “field” for the on-screen buttons.
• The contents of the illustrations appearing in this manual may differ slightly from what you see when you start using
your instrument.
Before using this instrument, carefully read the sections entitled, “Using the unit safely”, and “Important notes”. These
sections provide important information concerning the proper operation of the VA-76. Be sure to keep this manual in a
safe place for future reference.
Iomega® is a registered trademark. Zip™ is a trademark of Iomega Corporation. All other trademarks in this manual are
the property of the respective companies.
Copyright © 2001 ROLAND EUROPE. All rights reserved.
No part of this publication may be reproduced in any form without the written permission of Roland Europe s.p.a.
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VA-76 – Owner’s Manual
• The instrument and the power cord should be
located so their position does not interfere with
their proper ventilation.
..............................................................................................................
• Always grasp only the plug or the body of the
power cord when plugging into, or unplugging
from, an outlet or this instrument.
..............................................................................................................
• Whenever the instrument is to remain unused for
an extended period of time, disconnect the power
cord.
..............................................................................................................
• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..............................................................................................................
• Never climb on top of, nor place heavy objects on
the instrument.
..............................................................................................................
• Never handle the power cord with wet hands
when plugging into, or unplugging from, an out-
let or this unit.
• Before cleaning the unit, turn off the power and
unplug the power cord from the outlet.
..............................................................................................................
• Whenever you suspect the possibility of lightning
in your area, disconnect the power cord from the
outlet.
..............................................................................................................
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Features
VariPhrase processor
The VA-76 features a new breakthrough in sampling technology that allows for “elastic”
processing and MIDI data-like manipulation of sampled audio phrases. You can now
combine Arranger playback (accompaniments) with realtime triggering of sampled
phrases so as to (re)create vocals, “acoustic” solo parts, etc., while giving the impression
that the part in question is being sung or played to the VA-76’s Music Styles. Thanks to its
exceptional quality, the VariPhrase processor allows you to play the samples in ROM or
your own sampled phrases polyphonically with little or no artifacts so typical of conven-
tional samplers. For the first time ever, this is achieved based on single samples rather than
time-consuming and intricate multisampling techniques. Furthermore, you can assign the
VariPhrase part to the desired keyboard zone.
VariPhrase provides for automatic synchronization (without sonic alterations) of sampled
material with the Arranger or Song Composer. It also allows you to divide longer phrases
(e.g. an entire verse or chorus) into individual syllables and to play these one after the
other – in perfect sync with the Arranger or Song tempo. The effect is truly stunning – and
there is more. See page 29 for a first impression.
76-key velocity-sensitive
keyboard with channel
Aftertouch
The VA-76’s keyboard is a delight to play. Capable of generating channel Aftertouch mes-
sages, it allows you to control the volume, timbre, and Arranger functions in an intuitive
way.
D-Beam and Ribbon
Controllers
The VA-76 also boasts the acclaimed D-Beam Controller* for intuitive Tone and Arranger
control via movements over an invisible beam of infrared light. There is also a Ribbon
Controller that can be used for controlling the same or complementary functions. And, of
course, the BENDER/MODULATION lever and Aftertouch control are there, too.
New sound source
The VA-76 comes with a 128-voice polyphonic sound source with 3,646 instrument
sounds and 116 Drum Sets that cover everything from incredibly realistic acoustic instru-
ments to cooking Techno sounds. Never before has an electronic instrument produced
such true-to-life instrument and drum sounds, including subtle tonal changes and all the
“noises” associated with acoustic instruments (scraping for guitar sounds, resonance for
drum sounds, etc.).
Effects galore
In addition to the indispensable digital Chorus, Reverb, Delay and 2-band Equalizer, the
VA-76 also features a multi-effector with a stunning 89 effects and combinations (called
“algorithms”).
Customizable even
without using the User
Programs
The VA-76 is among the first Roland instrument that allows you to select your favorite
sounds using five convenient SUPER TONES buttons on the front panel. The preset
assignments for these buttons can be changed.
Furthermore, the One Touch Program functionality already available on previous models
has been expanded to include four memories per Music Style – including the Disk Link
Styles – and the possibility to assign your favorite settings to these memories.
Of course, the VA-76 also sports 128 User Programs where you can save your own panel
registrations.
On-board Zip™ drive and
floppy disk drive
The VA-76 engineers also thought you might appreciate a 100MB Zip drive for data stor-
age and therefore wrote operating software that provides direct access to data on a Zip
disk. Of course, the VA-76 also provides a convenient database function.
128 User Programs
Apart from allowing you to customize existing Styles quickly, the User Programs are also
used to save all panel settings. If you need more than 128 memories, you can save the con-
tents of the User Programs to Zip or floppy disk and load them whenever necessary.
If you do not wish to program Styles, or if you are too busy to delve into this matter, you
can personalize existing Styles by modifying the instrument assignments to any given
Arranger part (bass, drums, chord backing, etc.), and then save these changes to one of the
128 User Programs in RAM.
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VA-76 – Owner’s Manual
128 High-definition Music
Styles, plus 559 Music
Styles on the supplied Zip
disk
The VA-76 comes loaded with an impressive 128 high-definition Music Styles covering
every musical genre you need. Each Style comprises four versions (Basic, Advanced, Orig-
inal, and Variation), two Intros, two Endings, four orchestrations, and various other ele-
ments that actually add up to far more than 128 accompaniments.
64 “Disk Link” memories allow you to assign Music Styles on Zip or floppy disk (VA-76)
to the front-panel buttons for quick recall.
And if this impressive offer still isn’t enough, the supplied Zip disk provides 559 additional
Music Styles to choose from.
Of course, the VA-76 also allows you to program your own Music Styles (called User
Styles). They even provide a nifty function that allows you to convert carefully selected sec-
tions of a Standard MIDI File into a Style.
Virtual Band for interactive
registration
The Virtual Band button provides access to a step-by-step help function that asks you a
few questions and then configures the VA-76 according to your answers. Registering an
arranger keyboard has never been easier.
16-track sequencer
Three trigger modes
The VA-76 comes with a 16-track sequencer with a host of edit functions.
The Music Styles of your VA-76 can be triggered in one of three modes: Standard, Intelli-
gent or Piano Style. In Standard mode, the Arranger’s chord recognition works the way
you would expect an intelligent keyboard to operate.
In Intelligent mode, you do not have to play complete chords in order to hear them. Press-
ing one, two, or three keys will produce even the most complex chords you can think of.
The Piano Style mode, finally, is provided for those with a “pianistic” background even
though it can be used for playing any sound, i.e. not just piano.
Intuitive user interface
Lyrics display
The large touch screen keeps you posted about the status of the VA-76 and allows you to
almost all functions by touching the on-screen fields.
The VA-76 displays Standard MIDI File (SMF) lyrics and can also transmit Lyrics data to
an optional LVC-1 Lyrics Converter. This should help you remember the words of every
song you wish to sing. The VA-76 also boasts a function that allows you to edit Lyrics data.
Furthermore, the VA-76 also features an Audio Input that can be used for sampling
phrases as well as for connecting a microphone. Two dedicated effects (Chorus and
Reverb) are provided for processing your vocals.
Unpacking your VA-76
Your VA-76 comes with the following items. Please check the contents of the cardboard
box and report any problems to the Roland dealer you purchased the VA-76 from.
• This Owner’s Manual.
• A Zip disk with useful supplementary files (see the booklet included with the Zip disk
for its contents).
• A metal music stand.
• A power cable.
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Features
Useful options
FC-7 Foot Controller
The FC-7 Foot Controller allows you to perform various Style selection functions (Fill In
To Original/To Variation, Start/Stop, etc.) by foot. Connect it to the FC7 PEDAL socket at
the back of your VA-76. The functions performed by the FC-7’s foot switches is program-
mable.
Note: The FC-7 cannot be used as MIDI pedal board because it transmits pulses rather than MIDI
messages. Do not try to connect it to the MIDI IN jack of your VA-76, or any other instrument.
EV-5 or BOSS FV-300L
expression pedal
An optional EV-5 or BOSS FV-300L expression pedal can be used to perform various
tasks, such as master volume changes.
DP-2, DP-6, or
FS-5U Foot Switch
You will probably need two DP-2 (DP-6 or Boss FS-5U) footswitches. One should be con-
nected to the SUSTAIN FOOTSWITCH socket to function as Hold pedal.
A second DP-2 (DP-6 or Boss FS-5U) can be used to perform various selectable tasks. The
FOOT SWITCH assignment can be saved to a User Program along with all other settings.
MSA, MSD, and MSE series
Style Disks
The MSA, MSD, and MSE series Music Style disks contain new Styles. The MSE Music
Style series was specially developed for the VA-76, G-1000, EM-2000, G-800, G-600, E-96,
and RA-800. The MSE series Styles take advantage of the VA-76’s new sounds. You will
have no trouble reading MSA and MSD series Style disks on your VA-76 (upward compat-
ibility).
RH series headphones
A pair of Roland RH series headphones (RH-25 or RH-50) can be connected to the
PHONES socket.
Compatibility note
Though Music Styles for previous Roland arranger instruments can be used with the
VA-76, Performance Memories (G-1000) or User Programs (EM-2000) are not compati-
ble. You can, however, share User Programs, Styles, etc. with VA-7, VA-5, and VA-3 users.
Furthermore, the VA-7’s VariPhrases are fully compatible with the VA-76 (and vice versa).
General MIDI 2
The upwardly compatible General MIDI 2 (
) recommendations pick up where the
original General MIDI left off, offering enhanced expressive capabilities, and even greater
compatibility. Issues that were not covered by the original General MIDI recommenda-
tions, such as how sounds are to be edited, and how effects should be handled, have now
been precisely defined. Moreover, the available sounds have been expanded. General
MIDI 2-compliant sound generators are capable of reliably playing back music files that
carry either the General MIDI or General MIDI 2 logo. In some cases, the conventional
form of General MIDI, which does not include the new enhancements, is referred to as
“General MIDI 1” as a way of distinguishing it from General MIDI 2.
Note: Only the VA-76’s Song Composer is fully GM2 compatible.
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Important notes
In addition to the items listed under “USING THE UNIT SAFELY” (see page 4), please read and observe the following:
• To avoid disturbing your neighbors, try to keep the vol-
ume at reasonable levels. You may prefer to use head-
Power supply
• Do not use this instrument on the same power circuit
phones, so you do not need to be concerned about those
with any device that will generate line noise (such as an
around you (especially late at night).
electric motor or variable lighting system).
• When you need to transport the instrument, package it in
• Before connecting the VA-76 to other devices, turn off
the box (including padding) that it came in. Otherwise,
the power to all units. This will help prevent malfunc-
you will need to use equivalent packaging materials, or a
tions and/or damage to speakers or other devices.
flightcase.
Placement
Handling Zip disks
• When inserting the Zip disk, hold it horizontally and
• Using the VA-76 near power amplifiers (or other equip-
ment containing large power transformers) may induce
gently push it downward into the drive until it snaps into
hum. To alleviate the problem, change the orientation of
place. If the mechanism fails to load the disk completely,
this instrument; or move it farther away from the source
gently push the Zip disk downward.
of interference.
• To remove a Zip disk, use the ZIP Eject function (see
• This instrument may interfere with radio and television
page 62). Never force the Zip disk into or out of the drive.
reception. Do not use it in the vicinity of such receivers.
• Store the Zip disk in its protective case when it is not in
use.
• Do not expose the VA-76 to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed vehi-
• Avoid exposing the Zip disk to direct sunlight, high tem-
perature, moisture, and magnetic fields.
cle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the instrument.
• Never insert a floppy disk into the Zip drive, and never
try to clean the drive with a 3,5” head cleaning diskette.
Maintenance
• For everyday cleaning wipe the VA-76 with a soft, dry
cloth or one that has been slightly dampened with water.
To remove stubborn dirt, use a mild, non-abrasive deter-
gent. Afterwards, be sure to wipe the instrument thor-
oughly with a soft, dry cloth.
About the touch screen
• Wipe off stains on the touch screen using ethanol, but do
not allow the ethanol to soak into the joint of the upper
fume and the bottom glass, for it may otherwise cause
peeling or malfunction. Do not use organic solvents or
detergents other than ethyl alcohol (ethanol).
• Never use benzene, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
Handling floppy disks
Repairs and data
• Floppy disks contain a plastic disk with a thin magnetic
coating. Microscopic precision is required to enable stor-
age of large amounts of data on such a small surface area.
To preserve their integrity, please observe the following
when handling floppy disks:
• Please be aware that all data contained in the instru-
ment’s memory may be lost when it is sent for repairs.
Important data should always be saved to Zip or floppy
disk. In certain cases (such as when circuitry related to
memory itself is out of order), we regret that it may not
be possible to restore the data. Roland assumes no liabil-
ity concerning such loss of data.
• Never touch the magnetic medium inside the disk.
• Do not use or store floppy disks in dirty or dusty areas.
• Do not subject floppy disks to temperature extremes
(e.g., direct sunlight in an enclosed vehicle). Recom-
mended temperature range: 10 to 50° C (50 to 122° F).
Additional precautions
• Please be aware that the memory contents can be irre-
trievably lost as a result of a malfunction, or the improper
operation of the instrument. To protect yourself against
the risk of losing important data, we recommend that
you periodically save a backup copy of important data in
the instrument’s memory.
• Do not expose floppy disks to strong magnetic fields,
such as those generated by loudspeakers.
• Floppy disks have a “write protect” tab which can protect
the disk from accidental erasure. It is recommended that
the tab be kept in the PROTECT position, and moved to
the WRITE position only when you wish to write new
data onto the disk.
• Use a reasonable amount of care when using the instru-
ment’s buttons, other controls, and jacks/connectors.
Rough handling can lead to malfunctions.
• Never strike or apply strong pressure to the display.
• When connecting/disconnecting all cables, grasp the con-
nector itself—never pull on the cable. This way you will
avoid causing shorts, or damage to the cable’s internal
elements.
• A small amount of heat will radiate from the instrument
during normal operation. This is perfectly normal.
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Important notes
Rear side of the disk
WRITE
(you can save new data to disk)
Write protect tab
PROTECT
(prevents writing to disk)
• Disks containing important performance data for this
instrument should always be locked (have their write
protect tab slid to the PROTECT position) before you
insert them into the drive of another instrument.
• The identification label should be firmly affixed to the
disk. If the label comes loose while the disk is in the drive,
it may be difficult to remove the disk.
• Put the disk back into its case for storage.
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Contents
4.6 Arranger/Music Style clinic . . . . . . . . . . . . . . . . . . . . . 59
Selecting Music Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Orchestrator and Morphing . . . . . . . . . . . . . . . . . . . . . . . 62
1. Panel descriptions. . . . . . . . . . . . . . . . . . . . . .14
1.1 Front panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.2 Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
4.7 Song Composer clinic . . . . . . . . . . . . . . . . . . . . . . . . . 65
Recording your music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Redoing the melody (2nd Trk) . . . . . . . . . . . . . . . . . . . . . 66
Saving your song to disk . . . . . . . . . . . . . . . . . . . . . . . . . . 67
2. Setting up and demo songs. . . . . . . . . . . . .19
2.1 Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.2 Listening to the demo songs. . . . . . . . . . . . . . . . . . . . 19
5. More about the VariPhrase part . . . . . . . .69
5.1 Playing with the User memories. . . . . . . . . . . . . . . . . 69
Loading VariPhrases, VariPhrase Sets or audio files. . . . 69
Selecting a User memory . . . . . . . . . . . . . . . . . . . . . . . . . . 70
3. Scratching the surface. . . . . . . . . . . . . . . . . .22
3.1 The general idea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
3.2 Easy Routing: quick registration. . . . . . . . . . . . . . . . . 22
3.3 The Master page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
3.4 Using the VA-76’s Arranger . . . . . . . . . . . . . . . . . . . . 25
5.2 Sampling your own phrases . . . . . . . . . . . . . . . . . . . . 70
Phrase Edit: touching up the audio material . . . . . . . . . . 72
Encoding the phrase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Saving your VariPhrase . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
3.5 Adding a melody to the accompaniment . . . . . . . . . 27
Changing the tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Balance: if the melody is too soft or too loud . . . . . . . . . 27
Selecting sounds for the right hand . . . . . . . . . . . . . . . . . 27
Using VariPhrases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
5.3 Phrase Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Phrase Ctrl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Portamento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3.6 Listening to Standard MIDI Files. . . . . . . . . . . . . . . . . 31
Minus One playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
5.4 Global VariPhrase functions . . . . . . . . . . . . . . . . . . . . 81
Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
4. VA-76 clinics . . . . . . . . . . . . . . . . . . . . . . . . . . .34
4.1 Keyboard Mode clinic . . . . . . . . . . . . . . . . . . . . . . . . . 34
Arranger and Piano modes . . . . . . . . . . . . . . . . . . . . . . . . 34
Split point in Arranger mode . . . . . . . . . . . . . . . . . . . . . . 35
Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5.5 Controller functions for the VariPhrase part. . . . . . . 82
5.6 Truly “global” VariPhrase parameters . . . . . . . . . . . . 83
Style Linked (Phrase Select). . . . . . . . . . . . . . . . . . . . . . . . 83
Sync Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.2 Tone clinic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Selecting Tones for the Keyboard parts . . . . . . . . . . . . . . 37
Choosing your own Tone favorites (Customize
Preferred Tone). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Selecting different Tone Maps. . . . . . . . . . . . . . . . . . . . . . 41
Drumming on the keyboard . . . . . . . . . . . . . . . . . . . . . . . 42
6. Advanced Keyboard part functions . . . . .85
6.1 Upper1 functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
More about the Super Tones. . . . . . . . . . . . . . . . . . . . . . . 85
4.3 VariPhrase clinic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Switching on the VariPhrase part . . . . . . . . . . . . . . . . . . . 45
Selecting other phrases for playing . . . . . . . . . . . . . . . . . . 45
Combining/splitting a VariPhrase with
another Keyboard part . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
“Playing” with the VariPhrases . . . . . . . . . . . . . . . . . . . . . 46
Adding realtime expression. . . . . . . . . . . . . . . . . . . . . . . . 48
Realtime VariPhrase control via the display . . . . . . . . . . 49
Adding effects to the VariPhrase part. . . . . . . . . . . . . . . . 50
6.2 Upper2 functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Upper 2 Split. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
‘Dynamic’ second split point: UP2 to Left . . . . . . . . . . . 88
Tuning Upper2: Coarse and Fine . . . . . . . . . . . . . . . . . . . 88
Portamento (Upper 1-2 Portam) . . . . . . . . . . . . . . . . . . . 89
6.3 LWR Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
6.4 Velocity sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
6.5 Scale Tuning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
4.4 Expression clinic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
D Beam Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Ribbon controller (Touch control) . . . . . . . . . . . . . . . . . 52
Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Pitch Bend/Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Octave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
PAD buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
FC-7 Foot Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Sustain Footswitch (Hold) . . . . . . . . . . . . . . . . . . . . . . . . 55
Foot Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Expression (Foot Pedal) . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Master Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
7. More about the Arranger. . . . . . . . . . . . . . .95
7.1 Arranger and Music Styles . . . . . . . . . . . . . . . . . . . . . 95
Starting a Music Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Stopping a Music Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Sync (Options) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
7.2 Selecting other Style divisions . . . . . . . . . . . . . . . . . . 96
Fill In Half Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Major, minor, seventh . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Using Aftertouch to select Arranger patterns . . . . . . . . . 97
Style Morphing (part 2). . . . . . . . . . . . . . . . . . . . . . . . . . . 98
7.3 Melody Intelligence. . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.5 Using live vocals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
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Contents
7.4 One Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Ignoring certain One Touch settings (Cancel Options) 100
Programming your own Tone selections (Memorize) .100
10.2 Song List: searching songs on disk (Find) . . . . . . . . 133
Play & Search: finding Songs by playing a few notes . . .133
10.3 Song playback functions . . . . . . . . . . . . . . . . . . . . . 134
Lyrics function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Fast Forward, Rewind, and Reset. . . . . . . . . . . . . . . . . . .135
Loop playback (Markers) . . . . . . . . . . . . . . . . . . . . . . . . .135
Changing the song tempo . . . . . . . . . . . . . . . . . . . . . . . .135
Soloing and muting parts . . . . . . . . . . . . . . . . . . . . . . . . .135
Song/Keyboard-part balance . . . . . . . . . . . . . . . . . . . . . .136
Transpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
7.5 More refined Arranger settings . . . . . . . . . . . . . . . .101
ARR(anger) Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Chord recognition area. . . . . . . . . . . . . . . . . . . . . . . . . . .101
Arranger Chord Mode . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Bass Inversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Dynamic Arranger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
7.6 Arranger Options. . . . . . . . . . . . . . . . . . . . . . . . . . . .104
(Arranger) Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Chord Family Assign, Alteratn. . . . . . . . . . . . . . . . . . . . .105
Intro& Ending Alteration. . . . . . . . . . . . . . . . . . . . . . . . . 106
Musical Style playback: Wrap . . . . . . . . . . . . . . . . . . . . . 106
10.4 Song Chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Compiling or editing a Song Chain. . . . . . . . . . . . . . . . .137
Playing back a Song Chain . . . . . . . . . . . . . . . . . . . . . . . .138
Chain Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Deleting a Song Chain . . . . . . . . . . . . . . . . . . . . . . . . . . .139
7.7 Selecting Tones for the Arranger parts . . . . . . . . . .107
10.5 Song Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
P&S Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
7.8 Working with Styles on Disk . . . . . . . . . . . . . . . . . . .108
Programming your own Disk Link assignments . . . . . .108
Find: locating Styles on a Zip disk. . . . . . . . . . . . . . . . . . 109
Rename (Style Options) . . . . . . . . . . . . . . . . . . . . . . . . . .110
Style Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
11. Song Composer (16-track, etc.) . . . . . . . 141
11.1 16-track Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . 141
General considerations . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Example 1: Recording a track. . . . . . . . . . . . . . . . . . . . . . 142
Saving your song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Example 2: Recording a song from scratch. . . . . . . . . . . 145
8. Mixer, effects and editing . . . . . . . . . . . . . 112
8.1 Structure of the Mixer pages . . . . . . . . . . . . . . . . . .112
8.2 Volume and pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Global Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Muting parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Keybrd Mixer (volume of the Keyboard parts) . . . . . . .114
Style Mixer (volume of the Arranger parts) . . . . . . . . . .114
PanPot (stereo position). . . . . . . . . . . . . . . . . . . . . . . . . .114
More locks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
11.2 Editing 16-track songs . . . . . . . . . . . . . . . . . . . . . . . 147
Easy editing and useful functions . . . . . . . . . . . . . . . . . . 147
In-depth editing of a 16-track song. . . . . . . . . . . . . . . . . 148
Utility: other useful functions . . . . . . . . . . . . . . . . . . . . . 152
11.3 Style Converter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
11.4 Edit Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
‘Utility’ functions for Edit Lyrics . . . . . . . . . . . . . . . . . . .159
8.3 Output Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
8.4 Effects and Equalizer . . . . . . . . . . . . . . . . . . . . . . . . .116
Applying Reverb, Chorus, or Delay to a part . . . . . . . . .116
Effects settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Delay types & Parameters. . . . . . . . . . . . . . . . . . . . . . . . .119
Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
11.5 Header Post Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
12. Programming User Styles . . . . . . . . . . . . 163
12.1 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Selecting the User Style Composer . . . . . . . . . . . . . . . . .165
8.5 Insertion effect (M-FX). . . . . . . . . . . . . . . . . . . . . . . .120
Using the insertion effect . . . . . . . . . . . . . . . . . . . . . . . . . 120
Selecting an M-FX type. . . . . . . . . . . . . . . . . . . . . . . . . . . 123
12.2 Recording User Styles from scratch. . . . . . . . . . . . . 165
Selecting the track, the Mode, the Type and the
Division. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Specifying the key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Tone selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Time signature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Length: specifying the pattern length . . . . . . . . . . . . . . .167
Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Audition your pattern and then keep or redo?. . . . . . . .169
Saving your Style to disk. . . . . . . . . . . . . . . . . . . . . . . . . . 170
Programming other parts and divisions . . . . . . . . . . . . .170
Muting parts while recording others. . . . . . . . . . . . . . . .170
Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Copying entire Styles using Load (all tracks) . . . . . . . . .172
8.6 VariPhrase and Audio In effects . . . . . . . . . . . . . . . .124
8.7 Sound Palette: editing Keyboard part parameters .125
9. Registrations – User Programs . . . . . . . . . 127
9.1 Writing your settings to a User Program . . . . . . . . .127
9.2 Selecting User Programs . . . . . . . . . . . . . . . . . . . . . .128
Free Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Selecting a User Program (Group, Bank, Number). . . .128
Selecting User Programs using the [DOWN][UP]
buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Selectively loading User Program settings (User
Program Cancel Options). . . . . . . . . . . . . . . . . . . . . . . .129
9.3 Automatic functions for User Programs . . . . . . . . . .130
Song & MIDI (Set) Link . . . . . . . . . . . . . . . . . . . . . . . . . . 130
User Program selection at power-on. . . . . . . . . . . . . . . .131
12.3 Copying existing Styles . . . . . . . . . . . . . . . . . . . . . . 172
Copying individual Style tracks . . . . . . . . . . . . . . . . . . . .172
Editing on the fly by recording . . . . . . . . . . . . . . . . . . . . 174
10. Song Composer (the basics) . . . . . . . . . . 132
10.1 A few remarks about recording songs . . . . . . . . . .132
Formatting a disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
12.4 Editing User Styles . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Edit functions that are not part of the User Style
Edit mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
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VA-76 – Owner’s Manual
12.5 User Style Edit mode . . . . . . . . . . . . . . . . . . . . . . . . 177
Erase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Delete. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Gate T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
15. Disk functions. . . . . . . . . . . . . . . . . . . . . . . .209
15.1 Autoload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
15.2 Disk Load (loading data from disk) . . . . . . . . . . . . 209
Load Style/copy Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Load User Prg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Load MIDI Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Load Phrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
15.3 Disk Save (saving data to disk) . . . . . . . . . . . . . . . . 211
15.4 Delete. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
12.6 User Style Micro mode. . . . . . . . . . . . . . . . . . . . . . . 181
Change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Move Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Copy Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
15.5 Disk Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Copy functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Rename . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
12.7 User Style Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
16. Specifications . . . . . . . . . . . . . . . . . . . . . . . .218
17. M-FX Types & controllable
13. Miscellaneous. . . . . . . . . . . . . . . . . . . . . . . .186
parameters . . . . . . . . . . . . . . . . . . . . . . . . . . .219
13.1 Choosing performance functions (Controllers) . . . 186
D Beam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Pitch Bender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Touch Control (Ribbon) . . . . . . . . . . . . . . . . . . . . . . . . . 189
Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Sustain Switch (CC64). . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Foot Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Foot Pedal (Expression). . . . . . . . . . . . . . . . . . . . . . . . . . 192
18. Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
18.1 Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
18.2 Drum Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233
18.3 Internal Music Styles . . . . . . . . . . . . . . . . . . . . . . . .251
18.4 Chord Intelligence . . . . . . . . . . . . . . . . . . . . . . . . . .252
18.5 MIDI Implementation Chart . . . . . . . . . . . . . . . . . .254
13.2 FC-7 & Pad parameters . . . . . . . . . . . . . . . . . . . . . . 193
FC-7 Foot Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
PAD buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
19. Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255
13.3 Global parameters (for the entire VA-76) . . . . . . . 195
Tone Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Factory Resume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Virtual Band Autorun . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
14. MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197
14.1 MIDI in general . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
MIDI messages used by the VA-76. . . . . . . . . . . . . . . . . 197
About MIDI implementation charts . . . . . . . . . . . . . . . 199
14.2 Preparations for using the MIDI functions. . . . . . . 200
Transmitting MIDI data (TX). . . . . . . . . . . . . . . . . . . . . 200
The how-to’s…. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
14.3 Keyboard MIDI, Style MIDI, Song MIDI. . . . . . . . . . 201
14.4 Utilities MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
MIDI Sync RX/TX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Style TX Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Song TX Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Basic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
NTA: Note-to-Arranger. . . . . . . . . . . . . . . . . . . . . . . . . . 205
MIDI parameters (Param). . . . . . . . . . . . . . . . . . . . . . . . 205
14.5 MIDI Sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
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1. Panel descriptions
1.1 Front panel
D BEAM CONTROLLER
A
ON/OFF
F
CONTROLLERS
G
EFFECTS
H
ONE TOUCH
M-FX
B VOLUME
C
E
MELODY
INTELL
MIN
MAX
MIN
MAX
TRANSPOSE
M-VALUE
BALANCE
D
KEYBOARD MODE
USER PROGRAM
SYNC
OTHER
ARRANGER
PIANO
ON/OFF
DOWN
UP
FREE PANEL
ACCOMP
KEYBOARD
I
J
K
A
D BEAM CONTROLLER section
E
MELODY INTELL button
Use the [ON/OFF] button to switch the D Beam Con-
troller on (the button lights) or off (button dark). By
holding down the [ON/OFF] button for more than a
second, you call up the display page where you can
select the parameter to be controlled via the D Beam.
(These parameters can also be selected by pressing the
[CONTROLLERS] button.)
Press this button (so that it lights) to add an automatic
counter-melody (second and third voice) to your solos
or melodies. Press and hold this button to call up a
page where you can select the harmony type.
F
CONTROLLERS button
This button provides access to a display page where
you can define the functions of the VA-76’s standard
and optional realtime controls. These include the D
Beam Controller as well as an optional footswitch and
expression pedal, and three sliders for controlling
VariPhrase playback.
Note: The D Beam technology has been licensed from Inter-
active Light, Inc.
Move your hand or body over the two “eyes” to con-
trol the volume, filter setting, modulation depth, etc.,
of the currently active Keyboard parts.
G
H
EFFECTS button
B
C
VOLUME knob
Press this button to call up the display page where you
can set all effects parameters. The VA-76 provides two
sets of effects: a group of four that are accessible to
most parts, and a group of two that are reserved for
the VariPhrase processor and the Audio In part.
Use this knob to set the VA-76’s global output volume
(all sections) both in the speakers and the headphones
you may have connected. The setting of this knob also
determines the volume of the signals sent to the out-
puts.
ONE TOUCH button
M-FX knob and ON/OFF button
This button has two functions: when pressed in isola-
tion, it takes you to the display page where you can
select/program so-called One-Touch memories for the
currently selected Music Style (see page 29).
By holding it down while pressing the USER PRO-
GRAM [DOWN] or [UP] button, you transpose the
VA-76 in semitone steps.
The [M-FX] knob allows you to control one multi-
effects parameter in realtime. The [ON/OFF] button is
used to switch the multi-effects on or off. Press and
hold it to call up a display page where you can set the
M-FX parameters. Please note that this only affects the
parts that have been assigned to the multi-effects.
D
BALANCE knob
I
SYNC button
This knob allows you to set the balance between the
Arranger parts (“ACCOMP”) and the solo sounds
(“KEYBOARD”).
Press this button to activate one (or two) SYNC func-
tion(s). By default, SYNC START is selected. Hold this
button down to call up a display page where you can
select another SYNC option.
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VA-76 – Front panel
J
KEYBOARD MODE section
K
USER PROGRAM [DOWN]/[UP] buttons
These three buttons are used to specify whether the
keyboard will be split or whether one sound can be
played using the entire keyboard. Press the [OTHER]
button if you want to use other configurations than
“Arranger left/melody right” (ARRANGER) or “one
sound for the entire keyboard” (PIANO).
These buttons allow you to select the previous
(DOWN) or next (UP) User Program. User Programs
are registration memories.
Press either or both of them while holding down the
[ONE TOUCH] button (see page 14) to transpose the
VA-76 in semitone steps, or to return to the ‘no trans-
position’ (0 semitones) setting.
[OTHER] also provides access to other keyboard-
related functions, such as transposition, the Octave
function, and parameters for fine-tuning Arranger
response.
L
DISK
O
VIRTUAL
BAND
SONG
COMPOSER
FUNCTION
MENU
ORCHESTRATOR
M
N
P
Q
INTRO ORIGINAL
FILL
VARIATION ENDING
START/STOP
R
L
Display
Q
FUNCTION MENU button
This is a so-called touch screen that allows you to
select functions, parameter values, etc., simply by
touching the corresponding fields. Please note that the
bulk of the VA-76’s functions can only be selected via
the display.
This button allows you to access the VA-76’s function
menu where you can find all functions you probably
only need sporadically.
Note: The FUNCTION MENU page also contains a
PANEL INFO field. Press this field to get at-a-glance infor-
mation about the special functions assigned to the front-
panel buttons.
M
N
ORCHESTRATOR button
This button allows you to call up a display page where
you can select another orchestration for the currently
selected Music Style and/or take advantage of the Style
Morphing feature. See page 62 for details.
R
Arranger control buttons
Use these buttons to select the desired Music Style pat-
tern, and to start/stop Music Style playback.
VIRTUAL BAND button
Press this button if you wish to listen to the VA-76’s
demo songs, or take advantage of a very powerful fea-
ture that allows you to configure the VA-76 simply by
answering a few questions. This is called “Easy Rout-
ing” and is available in 6 languages.
O
P
DISK indicator
This indicator lights when the VA-76 reads or writes
data from/to disk (Zip or floppy).
SONG COMPOSER button
Press this button if you want to play back, or record
and edit your music with the VA-76’s digital recording
function called “Song Composer”.
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VA-76 Owner’s Manual—Panel descriptions
MONO
STEP
ENCODE
CAPTURE
S
GROUP
BACKGROUND
MELODIC
BACKGROUND 3
RHYTHMIC
USER
BACKGROUND 2
RHYTHMIC 2
USER 2
T
W
TONE
STYLE
USER PROGRAM
DATA
TEMPO/TAP
U
V
BANK
GROUP
A
C
B
PIANO CHR PERC ORGAN
GUITAR
BASS
5
ORCHESTRA ENSEMBLE BRASS
1
2
3
4
6
7
8
REED
SYN SFX
PIPE
SYN LEAD SYN PAD
ETHNIC PERCUSSIVE SFX
Z
NUMBER
PART
1
2
3
4
5
6
7
8
TEMPO
DATA
X
Y
S
T
VariPhrase section
These buttons provide access to the revolutionary
VariPhrase function of your VA-76.
X
TEMPO/DATA dial
The function of this dial depends on the status of the
[TEMPO/TAP] and [DATA] buttons. If the [TEMPO/
TAP] button lights, the dial can be used to set the
desired tempo. If the [DATA] button lights, the dial
can be used for setting the value of the currently
selected parameter.
SUPER TONES buttons
Use these buttons to select one of the five so-called
“Super Tones”. These are sounds for the Upper 1 part
you may want to use more often than others. There are
two sets of five that can both be edited: the FACTORY
and the USER group. You can thus prepare 10 favorite
Tones. See page 40 for details.
Y
PART button
Hold down this button while pressing a NUMBER
button to specify a Keyboard part for Tone selection
and to call up the Part Select page (where the specified
part is already selected). The assignments are as fol-
lows:
U
V
DATA button
When this button lights (which is sometimes the case
every time you select an adjustable parameter), you
can press it to call up an on-screen 10-key pad. Use
this pad for entering the desired parameter value.
PART + NUMBER [1] Upper 1
PART + NUMBER [2] Upper 2
PART + NUMBER [3] Manual Drums
PART + NUMBER [4] -– – –
TEMPO/TAP button
If the [DATA] button lights, press this button (so that
it lights) whenever you need to change the Style or
Song tempo. Then use the [TEMPO/DATA] dial to set
the desired value. Press and hold this button to have
access to various tempo options. You can also press it
rhythmically to enter the tempo like musicians do: by
tapping it.
PART + NUMBER [5] Melody Intelligence
PART + NUMBER [6] Lower1
PART + NUMBER [7] Lower2
PART + NUMBER [8] Manual Bass
Press and hold it for a second (all GROUP/BANK/
STYLE/TONE/USER PROGRAM indicators except
the NUMBER button of the currently selected part go
off). Then release it to select the PART SELECT page.
W
STYLE, TONE and USER PROGRAM buttons
These buttons allow you to specify the function of the
BANK and NUMBER buttons. They are color-coded
for easy identification: [STYLE]= green, [TONE]=
red, [USER PROGRAM]= orange. These colors are
reflected by the active BANK/NUMBER buttons.
Z
GROUP, BANK, NUMBER buttons
This section allows you to select the desired Music
Style, Tone, or User Program memory.
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VA-76 – Front panel
e
d
f
a
b
g
c
a
Floppy disk drive
d
e
Ribbon controller
This is where you can insert 2DD or 2HD floppy disks
for external storage of your Music Styles, User Pro-
grams, Composer Songs, and MIDI Sets. Press the
eject button to remove the disk from the drive.
Note: Do not remove the floppy disk while the DISK indica-
tor on the front panel lights or flashes. Doing so may indeed
damage both the floppy disk and the drive’s head.
Slide your finger on the ribbon or press a given posi-
tion in order to modify the value of the parameter that
is being controlled. You can select the parameter to be
controlled.
PAD buttons
These two buttons are meant for assigning the desired
functions you wish to have direct access to. The
assignments are part of the parameter settings that can
be saved to a User Program, so that redefining the
functions of these buttons is a matter of selecting
another User Program.
b
c
BENDER/MODULATION lever
When pushed towards the back of the VA-76, this lever
will add modulation to the notes of the Keyboard
parts you are playing at that time. Move it to the left or
right to temporarily lower or increase the pitch of the
Keyboard part notes you are playing.
f
g
KEYBOARD PARTS buttons
These buttons allow you to switch the desired Key-
board parts (the one you can play yourself) and and
off.
Zip drive
The Zip drive can be used to save and playback Com-
poser Songs, and to save or load User Styles, User Pro-
grams, MIDI Sets, VariPhrases, etc.
Note: To prevent damaging your Zip disk (it can hold up to
100MB worth of precious data), you cannot remove it man-
ually.
PHONES socket
The VA-76 comes with a headphone socket. Be sure to
connect high-quality headphones to this socket
(Roland RH-25 or RH-50, optional).
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VA-76 Owner’s Manual—Panel descriptions
1.2 Rear panel
SUSTAIN
FOOT
FOOT
PEDAL
MIDI
OUT
FOOTSWITCH SWITCH
THRU
IN
C
POWER ON
AC
LCD
CONTRAST
FC7 PEDAL
A
B
D
E
F
G
H
A
B
POWER ON button
Press this button to switch the VA-76 on and off.
E SUSTAIN FOOTSWITCH socket
Connect an optional DP-2, DP-6, or BOSS FS-5U
footswitch to this socket to sustain the notes of the
Keyboard parts even after releasing the key(s) you
pressed.
AC socket
This is where you need to connect the supplied power
cord. Be sure to only use a wall outlet that delivers the
correct voltage.
F
G
H
FOOT SWITCH socket
Connecting an optional DP-2, DP-6, or FS-5U to this
socket allows you to control an assignable function by
foot.
C
D
LCD CONTRAST knob
Use this knob to set the contrast when you are having
problems reading what is written on the display.
Note: The LCD may take some time to warm up. That is
why you may have to change the contrast several times after
powering on.
FOOT PEDAL socket
Connect an optional EV-5 or BOSS FV-300L expres-
sion pedal to this socket to control the volume of one
or several parts or another parameter by foot.
FC7 PEDAL socket
This is where you connect an optional FC-7 foot-
switch unit that allows you to start, stop, and select
Style divisions by foot. The functions of this foot
switch unit are programmable (and apply to all User
Programs).
MIDI connectors
These sockets allow you to use your VA-76 along with
other MIDI instruments.
METRONOME
VARIPHRASE
GAIN
OUTPUT 2
OUTPUT 1
L/MONO
LEVEL
INPUT
R
L
R
LEVEL
OUT
MIN
MAX
MIC LINE
I
J
K
L
I
METRONOME LEVEL knob and OUT socket
on one side, and an RCA/phono jack on the other.
Alternatively, you can use an optional PJ-1M cable
available at your Roland dealer.
The VA-76’sa metronome signals can be transmitted
to the METRONOME OUT socket. You can connect
headphones (Roland RH-25 or RH-50) to this socket.
This is useful for a drummer, for example (as “Click
Track”). Use the METRONOME LEVEL knob to set
the metronome volume in the headphones.
K
L
OUTPUT 2 L/R sockets
When you first switch on the VA-76, these audio out-
puts are not used (all signals are sent to the OUTPUT
1 sockets). You can, however, assign any desired signal
to these sockets xx.
J
VARIPHRASE section
LEVEL knob: This knob allows you to fine-tune the
VariPhrase processor’s input sensitivity. Always select
a setting where no distortion is audible.
OUTPUT 1 R, L/MONO sockets
These sockets allow you to connect the VA-76 to a
mixing console, PA system, or audio recorder. We rec-
ommend you always use both sockets so as to transmit
the VA-76’s audio signals in stereo.
GAIN switch: Set this switch according to the signal
source you have connected to the INPUT jack: Select
“MIC” after connecting a microphone, and “LINE” if
you connect a CD or MD player, etc.
INPUT socket: This mono 1/4” phone socket is where
you need to connect the signal source you wish to
“capture” (another word for “sampling”). Unless you
buy or solder a special cable, you can only connect one
output of your CD player, etc., to this socket. A micro-
phone, on the other hand, can be connected straight
away. For CD or MD players you may need to pur-
chase an adapter plug or cable with a 1/4” phone jack
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2. Setting up and demo songs
2.1 Audio connections
The VA-76 does not contain an internal amplification
system. You will either have to use stereo headphones
or connect the VA-76 to a keyboard or other type of
amplifier and speaker system. You could also connect
it to a PA system, power amplifiers, etc.
OUTPUT 2 sockets— Use these sockets whenever you
wish to amplify certain parts of your VA-76 without
the internal effects. Using these sockets can be useful
for multi-track recordings involving your VA-76.
PHONES— The PHONES socket is located at the
front right. You can connect one pair of headphones.
For optimum sound quality, be sure to use Roland
RH-25 or RH-50 headphones.
OUTPUT 1 sockets— Connect these sockets to the
inputs of a mixing console, stage box, HiFi or power
amplifier, etc. You can also connect them to the inputs
of a cassette deck, etc. to make an audio recording of
your playing.
Left
LINE IN
Right
Stereo set,
KC series keyboard amplifier, etc.
Powered speakers
or mixing console
Separate amplifier(s)/mixer
channels, etc.
OUTPUT 1
OUTPUT 2
VA-76
2.2 Listening to the demo songs
Your VA-76 comes with a number of demonstration
songs that give you an accurate impression of what
you can do with your V-Arranger Keyboard. Here is
how to listen to the demo songs:
3. Set the [VOLUME] knob to the MIN position.
VOLUM
M-FX
CONTROLLERS
EFFECTS
MELODY
INTELL
Note: All demosongs © 2001 by Roland Europe in collabo-
ration with Luigi Bruti and Roberto Lanciotti. All rights
reserved.
MIN
N
MAX
VALUE
BALANCE
KEYBOARD MODE
SYNC
OTHER
ARRANGER
PIANO
ON/OFF
1. Unpack the VA-76 and place it on a stable surface.
ACCOMP
KEYBOARD
2. Connect the supplied power cord to the VA-76’s AC
socket, and the other end to a suitable wall outlet.
Set to the MIN position
4. Press the [POWER ON] button next to the AC
socket on the rear panel.
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VA-76 Owner’s Manual—Setting up and demo songs
Once the internal circuit tests have been completed,
the display looks as follows:
The demo songs do not reside in the VA-76’s internal
memory but on the supplied Zip. If you do not insert
that disk before proceeding, the following message is
displayed:
This page will be displayed automatically whenever
you leave the VA-76 unattended for more than five
minutes.
Note: You can prevent the VA-76 from automatically select-
ing this display page at start-up, or from returning to it at
power-on. See page 195 for details.
8. Press a “DEMO” field to select the demo songs you
want to listen to:
ALL DEMO— The VA-76 plays back all of the follow-
ing demo songs.
Note: If you want to select this page at a later stage (after
playing the VA-76), press the [VIRTUAL BAND] button.
TONE DEMO— The VA-76 plays back the demon-
stration songs that illustrate the variety and realism of
its sounds.
If you like, you can press a language field. That way, all
demo song messages will be displayed in your lan-
guage (if supported).
STYLE DEMO— The VA-76 plays back the demo
songs that illustrate the quality of its automatic
accompaniments (called “Music Styles”).
Note: Depending on the country where you bought the
VA-76, other language options than the above may be avail-
able.
VariPhrase DEMO— Press this field to listen to the
exciting possibilities of the VA-76’s VariPhrase proces-
sor.
5. Press the [DEMO] field. The display now looks as
follows:
What happens now depends on the selected demo
option:
If you selected ALL DEMO
Note: If you selected another language, the question is dis-
played in that language. All other functions are the same,
however.
6. Slightly increase the setting of the [VOLUME]
knob. You may have to adjust it once demo song play-
back is up and running.
• Playback starts automatically. If you don’t want to wait
until the end of the current song, press [SKIP NEXT
®®]. This takes you to the beginning of the next
demo song.
7. Insert the supplied Zip disk into the drive.
• Press the [STOP G] field to stop demo song playback.
• You can continue playback from the beginning of the
current or next song (after pressing the
[SKIP NEXT ®®] field) by pressing [PLAY ®].
• Press the [oBACK] field to return to the demo song
selection page.
• Press [EXIT] to leave the Virtual Band mode and to
jump to the Master page (see page 24).
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VA-76 – Listening to the demo songs
If you selected TONE DEMO:
If you selected VariPhrase DEMO:
• Demo playback starts automatically. But you can press
a Tone family field (“Piano”, “CPerc”, etc.) to select
another demo song that features the Tones of that
family.
The abbreviations on the above display page reflect the
names of the BANK buttons on the front panel (right
side). Some demo songs feature several Tones.
Note: You can select another Tone demo while demo play-
back of the current Tone demo is still running.
• Playback starts automatically. Press the [STOP G] field
to stop demo song playback. Press [PLAY ®] to start
it again.
• Press [EXIT] to leave the Virtual Band mode and to
jump to the Master page (see page 24).
9. Press [oBACK] to return to the demo selection
page, and again to return to the first Virtual Band
page.
• Press the [STOP G] field to stop demo song playback.
Press [PLAY ®] to start it again.
• Press the [oBACK] field to return to the demo song
selection page.
Press [EXIT] to leave the Virtual Band mode and to
jump to the Master page (see page 24).
If you selected STYLE DEMO:
• Demo playback starts automatically. But you can press
a Style name field (“Rock”, “Dance”, etc.) to start the
demonstration of another Music Style.
“Music Styles” are the VA-76 accompaniment pat-
terns. These can be transposed and varied in realtime.
• Press the [STOP G] field to stop demo song playback.
Press [PLAY ®] to start it again.
• Press the [oBACK] field to return to the demo song
selection page.
• Press [EXIT] to leave the Virtual Band mode and to
jump to the Master page (see page 24).
21
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3. Scratching the surface
3.1 The general idea
Your VA-76 is two instruments in one: one half pro-
vides the backing for the melody you play in the other
half.
3.2 Easy Routing: quick
registration
The Virtual Band page is the first page that is displayed
after switching on the VA-76:
Left hand:
Arranger control
Right hand: melody (Key-
board parts/VariPhrase
part)
There are two main sections you can use for playing
live. (The third section, the Song Composer, can also
be used for live applications, but is mainly intended
for recording and playing back your music.)
You already know what the [DEMO] field is for. Let us
therefore have a look at the VA-76’s Easy Routing
function. It allows you to tell your V-Arranger Key-
board how to behave simply by answering a series of
interactive questions.
A
Keyboard parts:
This section consists of parts you need to play via the
keyboard, hence the name “Keyboard”. The VA-76
provides eight Keyboard parts, six of which can be
used simultaneously: Upper 1/2, VariPhrase, Lower 1
& 2, and Manual Bass (called M.Bass or just MBS).
The seventh part, Manual Drums (called M.Drums or
MDR), can only be played in isolation, i.e. you cannot
combine it with Upper1/2 or the VariPhrase part,
though you can assign it to only the right half of the
keyboard and use it along with Lower1/2 (that can be
played in the left half). See page 42 for details. The
eighth part, “MInt”, is what computer buffs would call
a “cross-platform part”: it belongs to the Keyboard
section but it is in part controlled by the Arranger. See
“Melody Intelligence” on page 99.
1. If the above Virtual Band page is not displayed,
either switch your VA-76 off and back on again, or
press the [VIRTUAL BAND] button.
Note: You can prevent the VA-76 from automatically select-
ing this display page at start-up, or from returning to it at
power-on. See page 195 for details.
2. Choose your language by pressing the appropriate
field.
If your language is supported, it would be a good idea
to select it, as that will further simplify the interactive
selection process.
Note: This language selection is stored and will be used
again next time you switch on the VA-76.
3. Press the [EASY ROUTING] field.
The display now looks as follows:
B
Arranger/Style section:
The Arranger is your backing band. It plays an accom-
paniment (called Music Style) recorded by Roland,
third-party suppliers, friends/colleagues, or yourself.
In a way, the Arranger works like a drum machine
because it uses accompaniment patterns.
Unlike a drum machine, however, you can easily select
the desired pattern while you play. So you do not need
to program the order in which you intend to use the
patterns. Furthermore, the Arranger not only provides
a rhythm section but also chords, guitar and synthe-
sizer riffs, and so on. The accompaniment can be
transposed in realtime. All you have to do is play a dif-
ferent chord (usually with your left hand).
Given the number of options and the “easy” character
of this interactive function, describing every possibil-
ity would confuse you and make the Easy Routing
function look extremely intricate.
You can add vocals to your music using the Vari-
Phrase function (see page 29) or by singing live (see
page 57).
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VA-76 – Easy Routing: quick registration
Note: If you press [EXIT], the selected settings will not be
used. You need to press [FINISH] to confirm your choices.
Here is how it is structured:
• Specify whether you want to play with ([In a BAND])
or without accompaniment ([As a SOLOIST]). This is
important for the remaining questions and answers.
• If one or both arrows (o and k) are displayed in
“solid”, you can call up additional options by pressing
the arrow field in question.
• The
symbol refers to the VariPhrase function.
If you press the [As a SOLOIST] field, there are two
This is a very sophisticated sampler that allows you to
play back audio phrases in sync with the Arranger
tempo, and at the correct pitch.
options:
• ORGANIST means that you can play two different
sounds with your left and right hands (the keyboard is
split). Despite the name, you can also select other
combinations, such as a synthesizer sound for the left
hand and a saxophone sound for the right.
4. Start playing on the VA-76.
You probably want to try out the VA-76 straight away
without first reading the following pages. Just remem-
ber the following:
• PIANIST means that one sound will be assigned to all
keys. Again, you’ll be offered a wider choice than just
piano sounds.
Note: After selecting the “As a SOLOIST” option, you can
still use the Arranger’s drum patterns for rhythm backing
simply by pressing the [START/STOP] button.
• You can start and stop Arranger playback (automatic
accompaniments) by pressing the [START/STOP]
button.
• In some cases, the melodic accompaniment (bass,
chords, etc.) may not be audible. This is due to the set-
tings you have selected. Later on in this manual, we
will show you how to change these settings.
Note: Once you are more familiar with the VA-76, you will
realize that this specifies the Keyboard Mode (see page 34).
Note: Though the VA-76 contains a lot more parameters for
fine-tuning the Arranger’s behavior, you could already
decide to write the current settings to a User Program (see
page 127). That way, you can return to them time and
again without having to use the Easy Routing function.
If you pressed [In a BAND]:
The keyboard will be split into a left section for Arran-
ger control and a right section for playing a live mel-
ody to the accompaniment.
• You then need to specify how many instruments the
accompaniment should contain: Drums, Drm&Bass
(drums & bass), Combo (small band), or Big Band
(which can also be an orchestra).
Note: Once you are more familiar with the VA-76, you will
realize that this selects the Orchestrator version (see
page 62).
• You are then given three options for the kind of music
you want to play: ROMANTIC, BALL ROOM, or
HEAVY. Again, these should be taken as generic terms,
for ROMANTIC also includes musical genres like
HipHop, for example.
• Finally, you can choose an automatic accompaniment
(“Music Style”) and select a sound for your right
hand. There are eight Tone suggestions for every Style
for you to choose from.
Other steps and tips:
• The [oBACK] field takes you back to the previous
display page. Press it whenever you wish to change a
previous selection.
• If the [FINISH] field is displayed, you can press it to
confirm your settings and use them right away.
• Press [EXIT] to jump to the Master page (see page 24).
If you pressed this field by accident, you can return to
the Virtual Band page by pressing the [VIRTUAL
BAND] button below the display.
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VA-76 Owner’s Manual—Scratching the surface
Which button does what? (Panel Info)
3.3 The Master page
There may be situations where you don’t remember
exactly what you need to do in order to select a given
function. The VA-76 provides a display page where
you can check the (usually) “second” function of cer-
tain buttons. Note that not all button functions are
explained on that page, so you still need to read the
rest of this manual…
Whenever you leave the DEMO or EASY ROUTING
mode by pressing [EXIT] or [FINISH], the display
looks more or less as follows:
A
B
C
D
Here is how to select the Panel Info function:
1. Press the [FUNCTION MENU] button.
E
A
B
C
D
E
Press this field if you want to select another Music Style
(see page 59).
Press this field if you want to select other Tones (sounds)
(see page 37).
The display now looks as follows:
Press this field if you want to select a User Program (see
page 128).
The metronome field allows you to switch the metro-
nome on/off.
Press this field to call up the Mixer functions (see
page 112).
Let us agree to call this the Master page. There are, in
fact, two Master pages: one for Arranger playback, and
another for the Song Composer. The difference
between these two will be explained later on in this
manual.
Note: If you switched off the automatic jump to the Virtual
Band mode (see page 195), the Master page appears imme-
diately after switching on the VA-76.
2. Press the [(i) Panel Info] field.
The number of items displayed on the Master page
varies. Here is what it can look like in some situations:
This page provides an overview of the display pages or
functions that can be selected by holding down a given
button, by pressing it when it lights, by pressing it
twice in succession, or when pressed in combination
with other buttons. Try to remember that it exists, and
how to select it, because it may come in handy.
That way, you know exactly which functions are cur-
rently active.
3. Press [EXIT] to return to the Master page.
You can also press [oBACK] to return to the Func-
tion Menu, if you like, but that is not what we need
here.
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VA-76 – Using the VA-76’s Arranger
chord you played. The name of the chord you are play-
ing is displayed below the name of the currently
selected Music Style:
3.4 Using the VA-76’s Arranger
The Arranger is an interactive “playback sequencer”
that provides the accompaniments. These accompani-
ments are called “Music Styles”, because they provide
an 8-track backing for a given musical genre (Rock,
Pop, Dance, Waltz, etc.).
The Arranger is interactive because it allows you to
transpose the melodic accompaniment parts (bass,
piano, guitar, etc.) simply by playing chords. In most
instances, you will probably do so with your left hand.
Each Music Style comprises several patterns so that
you can vary the accompaniment by starting with an
introduction, using a simple accompaniment for the
verses, a more elaborate one for the choruses, and by
ending your songs with an “Ending” pattern.
6. Play another chord in the left half of the keyboard.
The same pattern is now played in that key. In fact,
you don’t even have to play full chords:
• For major chords, playing just the root note is enough
(e.g. “C” for C major, “A” for A major, etc.)
Let us first look at the most important aspects for
operating the Arranger:
• For minor chords, playing the root note and the third
key to its right will do.
1. Switch on the VA-76 and use the Easy Routing
function (see page 22) to select a “In a BAND” regis-
tration with a “Combo” or “Big Band” option.
Of course, you can also register the VA-76 manually.
But using the Easy Routing function is probably
quicker.
• For seventh chords, playing the root and the second
key to its left is enough.
C major
C minor
2. If the [SYNC] button lights (which is probably the
case), press it to switch it off.
Only the key that corresponds
to the chord's name.
Root note + third key to
the right.
M-FX
CONTROLLERS
EFFECTS
ONE TOUCH
C 7
MELODY
INTELL
MIN
MAX
TRANSPOSE
M-VALUE
KEYBOARD MODE
ARRANGER PIANO
USER PROGRAM
SYNC
OTHER
ON/OFF
DOWN
UP
FREE PANEL
Root note + second key to
the left.
The [SYNC] button must be off.
The [ARRANGER] button must light.
Note: The function that takes care of this easy fingering is
called “Intelligent” (see page 102). See also page 252 for a
list of other chords that can be played using this system
(augmented, diminished, etc.).
3. Set the [VOLUME] knob to a reasonable level (e.g.
about “1/4”).
4. Check whether the Keyboard Mode [ARRANGER]
button lights, and press it if it doesn’t.
What you hear now is the “ORIGINAL” pattern (the
[ORIGINAL] button lights). This is the simple accom-
paniment of the selected Music Style. Let’s listen to the
accompaniment your could use for your choruses:
5. Play a chord in the left half of the keyboard (to the
left of the C key below the USER PROGRAM [UP]
button), then press the [START/STOP] button.
7. Press the [VARIATION] button.
The [START/STOP] button lights, and the Arranger
starts playing the accompaniment of the selected
Music Style. The accompaniment pattern (“Music
Style”) is sounded in the key that corresponds to the
As soon as the ORIGINAL pattern is finished, the
[VARIATION] button lights steadily, and the Arranger
plays a different accompaniment called VARIATION.
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VA-76 Owner’s Manual—Scratching the surface
Note: There are four more patterns for the ORIGINAL and
VARIATION levels. See “Orchestrator” on page 62 for how
to select them.
Intro & Ending
Now that we’ve got the transitions covered, you may
start wondering how to create more professional
intros for your songs – and indeed how to end them in
style. That is what the [INTRO] and [ENDING] but-
tons are for.
Professional transitions: Fill
So far, we have only used the ORIGINAL and VARIA-
TION patterns. ORIGINAL is great for verses, while
VARIATION could be used for choruses. Switching
between these two is a matter of pressing the [ORIGI-
NAL] and [VARIATION] buttons. Yet, that will pro-
duce instant changes of the accompaniment, while
“real” musicians tend to “announce” new song parts
by means of roll in the drums, or slightly different
accompaniment notes.
While the VARIATION and ORIGINAL patterns (as
well as their ORCHESTRATOR versions) keep repeat-
ing the same accompaniment until you select another
one, or until you stop Arranger playback, Fill-Ins (see
above), Intros, and Endings are played only once.
Once the Intro pattern is finished, the Arranger auto-
matically proceeds with the ORIGINAL or VARIA-
TION pattern (depending on which of these two but-
tons flashes). At the end of the Ending pattern, how-
ever, the Arranger stops.
The VA-76 allows you to make such “announcements”
in the following way:
1. Start playback of the ORIGINAL pattern (see
above).
1. Stop Arranger playback by pressing the [START/
STOP] button (it goes dark).
2. Play a chord in the left half of the keyboard.
2. Play a chord in the left half of the keyboard to select
the key of the Intro pattern.
3. Press the [FILL] button.
DISK
3. Press the [INTRO] button.
VIRTUAL
BAND
SONG
COMPOSER
FUNCTION
MENU
ORCHESTRATOR
DISK
VIRTUAL
BAND
SONG
COMPOSER
FUNCTION
MENU
ORCHESTRATOR
INTRO ORIGINAL
FILL
VARIATION ENDING
START/STOP
INTRO ORIGINAL
FILL
VARIATION ENDING
START/STOP
If pressed while [ORIGINAL] lights:
ORIGINAL
2~4 bars
FILL-IN
VARIATION
2~4 bars
4. Press the [START/STOP] button to start Arranger
playback.
max. 1 bar
The Arranger plays the introduction of the currently
selected Music Style.
Note: Avoid playing chords while the Intro is running. Most
Intro patterns indeed contain chord changes, so that playing
different chords may lead to highly annoying results.
If pressed while [VARIATION] lights:
VARIATION
2~4 bars
FILL-IN
ORIGINAL
2~4 bars
max. 1 bar
What happens now, depends on when you press the
[FILL] button:
5. Press the [ORIGINAL] or [VARIATION] button
while the Intro is still running.
The button in question starts flashing to signal that
the corresponding pattern is ready to take over once
the Intro is finished.
• If you press it on any beat before the last one of the
current bar, the Arranger plays a Fill-In pattern that
lasts until the end of the current bar. It then changes to
the VARIATION pattern.
6. Wait until the ORIGINAL or VARIATION pattern
is playing, then press the [ENDING] button.
At the end of the current pattern cycle, the Arranger
will start playing the Ending pattern and then stop.
Note: Here again, it would be wiser not to play chords dur-
ing playback of the Ending phrase.
• If you press it on the last beat of the current bar, the
Fill-In will start on the next downbeat and last an entire
bar, after which the Arranger automatically selects the
VARIATION pattern.
The [FILL] button can also be used for transitions
from the VARIATION pattern to the ORIGINAL
accompaniment. All you need to do is press it while
the [VARIATION] button lights.
Note: See “Arranger/Music Style clinic” on page 59 for other
Arranger functions.
Note: You can also select patterns via the Aftertouch. See
page 96.
• If you press the [FILL] button twice in succession, you
select the fill that usually leads to the “other” pattern,
but here once again selects the previously selected pat-
tern. This is also called “Fill In To Previous”, which can
also be assigned to the Aftertouch (see page 98).
Note: The length of a Fill-In can be halved. See page 97.
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VA-76 – Adding a melody to the accompaniment
The new tempo is displayed in the upper right corner
of the display:
3.5 Adding a melody to the
accompaniment
If you set up the VA-76 using the Easy Routing func-
tion, you not only select a Music Style but also a sound
for your right hand. Let’s add a live melody to the
accompaniment.
1. Press the [ORIGINAL] or [VARIATION] button
and play a chord in the left half of the keyboard.
It doesn’t matter which of these two patterns you
select as long as it keeps playing all the time. Also note
that you could play only one note in the left half,
because the Intelligent function is currently on.
You can also press the [TEMPO/TAP] button several
times in the rhythm of the desired tempo. This is
called the Tap Tempo function. It sets the tempo based
on the speed at which you press the button.
2. Press the [START/STOP] button to start Arranger
playback.
To quickly return to the default tempo, do the follow-
ing:
3. Press and hold the [TEMPO/TAP] button.
The display now looks as follows:
3. Play a melody in the right half of the keyboard.
4. While doing so, try to play the chords (or notes)
that match the melody you are playing.
Note: There is no need to hold down the chord notes all the
time, because the Arranger does this automatically. Briefly
pressing the appropriate left-hand notes is thus enough. The
function that takes care of this is called “ARR Hold” (see
page 101).
4. On this page, press the [Default Tempo] field.
See page 104 for the remaining tempo options.
5. Press [EXIT] to return to the Master page.
Changing the tempo
If the Arranger is too fast (or too slow), here is how to
change the Music Style tempo:
Balance: if the melody is too soft or too
loud
You may find that the melody sound is too soft, or too
loud, with respect to the Music Style accompaniment.
In that case…
1. If the [TEMPO/TAP] button does not light, press it.
STYLE
TONE
DATA
TEMPO/TAP
BANK
GROUP
PART
A
C
B
PIANO CHR PERC ORGAN
GUITAR
BASS
5
1
2
3
4
Use the [BALANCE] knob to correct the volume bal-
ance between the accompaniment and your solo play-
ing.
REED
PIPE
SYN LEAD SYN PAD SYN SFX
NUMBER
1
2
3
4
5
DA
VOLUME
M-FX
CONTROLLERS
EFFECTS
2. Use the [TEMPO/DATA] dial to set the desired
tempo value.
MELODY
INTELL
MIN
MAX
MIN
M-VALUE
MAX
BALANCE
KEYBOARD MODE
SYNC
OTHER
ARRANGER
PIANO
ON/OFF
ACCOMP
Turn it towards the left (ACCOMP) if you can’t hear
the accompaniment. Turn it towards the right if the
melody is too soft.
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VA-76 Owner’s Manual—Scratching the surface
an
t
There is a second set called USER to which you can
assign one of the 3,646 Tones to each SUPER TONES
button. See page 85.
Selecting sounds for the right hand
Suppose you like the sound for the right hand but
think that it is not really suited for the currently
selected Music Style. Here are two easy ways of assign-
ing a different sound to the right hand.
5. You may want to press the [START/STOP] button
to find out whether the newly selected Tone is better
suited for the Music Style.
Let’s agree to use the word “Tones” for the VA-76’s
sounds.
Just for your reference: if you hold down a SUPER
TONES button, the following display page appears:
Note: In the following, we’ll assume that the Arranger is still
active (the [ARRANGER] button should light).
Note: There is also the “classic” way of selecting Tones that
we’ll skip here. See page 37 for details.
Super Tones
One of the VA-76’s user-friendly functions is the pos-
sibility to “earmark” 5 (Factory) + 5 (User) Tones and
to select them almost instantly. Here is how this works:
1. Stop Arranger playback by pressing the [START/
STOP] button (it goes dark).
In that case, press the [EXIT] field as we do not need
this function here. See page 85 for details.
2. Press a SUPER TONES [1]~[5] button.
6. Press another SUPER TONES button.
MONO
STEP
ENCODE
CAPTURE
Again, there are 8 possibilities, one of which is already
selected. Press another displayed field to change the
assignment for the active SUPER TONES button.
Note: The [CUSTOMIZE] field allows you to store a new
assignment (after pressing another instrument field on the
display). The Tone in question will then be selected next
time you press the corresponding SUPER TONES button.
GROUP
BACKGROUND
MELODIC
BACKGROUND
RHYTHMIC
USER
BACKGROUND
2
3
RHYTHMIC
2
USER
2
7. Stop Arranger playback by pressing the [START/
STOP] button (it goes dark).
This selects the Tone that is currently assigned to the
button you pressed (see the display page below). This
Tone is selected for the Upper1 part.
Note: See “What are ‘parts’?” on page 35 for more informa-
tion about Upper1. For now, it is enough to know that
Upper1 is the part that is assigned to the right half of the
keyboard (unless you selected the VariPhrase).
The display now looks as follows:
The above illustration shows the Factory Tones that
can be assigned to the SUPER TONES [1] button.
There are two assignment sets: “FACTORY” and
“USER”. See page 85 for details. “Factory” only means
that the number of possible options is restricted to 40
Tones (rather than 3,646).
3. Play a few notes in the right half of the keyboard.
4. If you like, you can try out a different sound by
pressing another field (e.g. “Vibraphone w”).
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VA-76 – Adding a melody to the accompaniment
If you do not press the [OFF] field, the [ONE
TOUCH] button keeps lighting to signal that you are
still using a One Touch program.
One Touch
Another way of selecting a suitable Tone for the right-
hand part while working with the Arranger is by using
the ONE TOUCH feature. In fact, One Touch does a
lot more than selecting a Tone for Upper1. See page 99
for details.
4. Press [EXIT] to return to the Master page.
Using VariPhrases
Note: One Touch is intended for quick registration of the
Upper1 and Upper2 parts when used in conjunction with
the Arranger. If you press the [ONE TOUCH] button while
the Arranger is not available, the selection page appears. If
you then select a One Touch memory, the Keyboard Mode
[ARRANGER] button lights. This means that the Arranger
has been switched on.
The VariPhrase function is a revolutionary Roland
technology that allows you to manipulate audio data
(samples) in an incredibly flexible way.
Once the audio data have been sampled and encoded,
they can be played like any of the “regular” sounds
(the ones we have been using so far), while they have
the advantage that you can use vocal phrases, etc., that
sound perfect in any key, and at any tempo. VariPhrase
is thus ideal for adding seemingly live vocals or solos
to the VA-76’s accompaniments.
1. Press the [ONE TOUCH] button.
Six phrases have been preprogrammed for each of the
128 internal Music Styles. You can also sample or
import your own audio material and use it with any
Music Style you see fit. See “More about the Vari-
Phrase part” on page 69.
The display now changes to:
Here’s how to use the pre-programmed VariPhrases:
Note: Feel free to ignore steps (1)~(5) if you don’t want to
select another Music Style (for that’s what these steps are all
about).
1. Press the [VIRTUAL BAND] button to select the
following display page:
The important thing to note, however, is that there are
four One Touch memories per Music Style (for the
128 ROM Styles, the 64 Disk Link memories and the
Disk User memory).
2. Press one of the big [1]~[4] fields to select the cor-
responding One Touch memory.
If you press the third field, the display looks as follows:
2. Press the [EASY ROUTING] field.
3. Press the [In A BAND] field.
4. Make all necessary selections.
5. On the “Select a solo instrument for your right
hand” page select any sound you like.
We’re not going to use it here, so pick any sound you
like.
6. Check whether the Keyboard Mode [ARRANGER]
button lights, and press it if it doesn’t.
Note: If the Arranger suddenly starts playing, first press the
[START/STOP] button and then the [SYNC] button. One
Touch indeed activates the SYNC function.
3. Press the [OFF] field if you no longer need the One
Touch setting.
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VA-76 Owner’s Manual—Scratching the surface
7. Press the VARIPHRASE [MELODIC] button (so
that it lights).
11. Select the Original or Variation pattern (see
page 25), play a chord in the left half of the keyboard,
and press the [START/STOP] button to start Arran-
ger playback.
MONO
STEP
ENCODE
CAPTURE
GROUP
BACKGROUND
MELODIC
BACKGROUND
RHYTHMIC
USER
BAROUND
2
3
RHYTHMIC
2
USER
2
The display briefly shows the following page where
you could select another phrase. But please ignore it
here. It will disappear after a few seconds.
12. Again change the tempo while the Arranger is run-
ning, and play a few VariPhrase notes.
13. Now try out the two remaining preset phrases by
pressing first the [BACKGROUND] and then the
[RHYTHMIC] button.
The difference between BACKGROUND, MELODIC,
and RHYTHMIC phrases lies in their use: Background
phrases are perfect for backing vocal effects, Melodic
phrases can replace a vocalist, and Rhythmic phrases
could be seen as “melodic raps”.
Note: See page 45 for some examples of the VariPhrases
assigned to the Music Styles. Please note that not all
VariPhrases start on the first beat. These are indicated in
bold type in the list.
The VariPhrase part is switched on, while the Upper1
part is automatically switched off. You can check this
by pressing the Keyboard Mode [OTHER] button: the
field should be displayed in white, while [UP1]
should be blue. Press [EXIT] to return to the Master
page.
Of course there is a lot more you can do, so be sure to
read the “VariPhrase clinic” on page 45.
Note: In SPLIT mode (see page 36), you can decide whether
to play the VariPhrase part via the left or right half of the
keyboard.
Note: See “What are ‘parts’?” on page 35 for details about
UP1, UP2, etc.
Note: You can also sing yourself by connecting a microphone
to the VARIPHRASE [INPUT] socket. See “Using live
vocals” on page 57.
(Note that, after switching on the VariPhrase part, you
can add the Upper1 and other Keyboard parts. Be sure
to first activate the
part, then switch on UP1, etc.)
8. Play a few notes in the right half of the keyboard.
Start by playing one note at the time, then try chords.
Amazing isn’t it? But the realism of the sounds you
hear is not even half the story:
9. Use the [TEMPO/DATA] dial to change the tempo.
You can also press [TEMPO/TAP] several times (Tap
Tempo function).
10. Again play a few notes in the right half of the key-
board and change the tempo while doing so.
The audio follows your every tempo move – and keeps
sounding just perfect! The phrase continues but is
transposed halfway trough.
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VA-76 – Listening to Standard MIDI Files
You can also use the [TEMPO/DATA] dial for doing
so.
3.6 Listening to Standard MIDI
Files
7. Press a song field to select the song you want to lis-
ten to.
Standard MIDI Files are sequences almost any
sequencer can read. Though you can use your VA-76
as “playback machine” of such Standard MIDI Files, it
is also possible to mute the melody part and to play it
yourself.
The RAM information field is still empty.
RAM information field
1. Insert the supplied Zip™ disk into the appropriate
drive (the one below the keyboard).
Note: While Zip disks are too large for the floppy drive, be
careful never to insert a floppy disk into the Zip drive as
that may damage the drive or its heads.
That is because the selected song has not yet been
loaded into the VA-76’s RAM memory and thus can-
not be played back straight away.
8. Press the [Load] field.
This time, the name of the selected song is displayed in
the RAM information field.
2. If necessary, press the [START/STOP] button to
stop Arranger playback.
9. Press the [PLAY ®] field to start playback.
If you like, you can now play along to this Standard
MIDI File. The Arranger, however, cannot be used
while the Song Composer is running.
3. Press the [SONG COMPOSER] button.
10. Press the [STOP G|√] field to stop playback.
If you like, you can press the [oBack] field to return
to the initial Song Composer page:
The display now looks as follows:
You can then use [√√ BWD] and [FFW ®®] to
rewind to an earlier measure or fast forward to a later
one. See “Song Composer clinic” on page 65, for
details.
(There may be a different name or no name at all in
the upper white field on your VA-76.)
You could also press the [EXIT] field to return to the
Master page, though that would not be practical.
4. Press the [Song List] field.
• During Song Composer playback the Master page
looks as follows:
Wait for the Zip (or floppy) drive to read what is on
the disk.
Pressing the [Song] field takes you back to the display
page where you can select another song. However, on
the Master page you cannot control Song Composer
playback (Start, Stop, REW, FFW, etc.).
5. If the [ZIP] field is not displayed in white, press it.
6. Use the [o][k] fields to select the next or previous
group of four songs if the one you want to listen to is
not displayed.
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VA-76 Owner’s Manual—Scratching the surface
• If Song Composer playback is stopped, selecting the
Master page would switch off the Song Composer
mode and take you back to Arranger mode where you
can use the automatic accompaniment function.
5. On the Song Composer page, press the [Minus One]
field.
Minus One playback
Your VA-76 allows you to mute any given part of the
song you are currently playing back. You could use this
feature to mute the solo part on disk so that you can
play it yourself. This is called Minus One playback
(because one part of the original song is muted).
You can solo whichever part you like, and even mute
several parts simultaneously.
The display now looks as follows:
All Keyboard parts remain active. In other words, you
are free to use the Upper1/2, VariPhrase, Lower1/2,
and M.Bass parts in whichever split or layer combina-
tion (see page 35) you like. The MDR part is also avail-
able but selecting this part means that other Keyboard
parts are temporarily deactivated.
Note: Whenever you start playing back a new song or
return to the beginning of the current song (by pressing the
[STOP G|√] field), all Keyboard parts, except Upper1, are
be switched off and the VA-76 selects the Whole Keyboard
mode. This is not the case however, if you select a User Pro-
gram memory.
The numbers 1~16 represent the tracks of the selected
Standard MIDI File. Standard MIDI Files can contain
up to 16 different parts that each receive on a different
MIDI channel.
Note: When playing back one of your songs in which you
used the VariPhrase part and one of your own phrases (User
memory), you must load the phrase(s) in question before
you start playback. See page 69.
The [ON]/[OFF] fields next to the numbers indicate
whether the tracks in question will be played back or
not. No field means that the track in question contains
no data.
1. Insert the supplied Zip™ disk into the appropriate
drive (the one below the keyboard).
You can also use any other Zip or floppy disk, of
course. It must contain a Standard MIDI File, though.
6. Press the [ON] field next to track/channel [4].
In most Standard MIDI Files, the melody part is
assigned to track/channel 4. Pressing this field (to
make it read [OFF]) is thus a good guess. This channel
corresponds to the VA-76’s UP1 part.
2. If necessary, press the [START/STOP] button to
stop Arranger playback.
3. Press the [SONG COMPOSER] button.
Note: The on/off status of the tracks can be written to a User
Program (see page 127).
7. Select a Tone for the Upper1 (UP1) part.
See “Super Tones” on page 28 or “Selecting Tones for
the Keyboard parts” on page 37. There is a function
that allows you to link Tone selection for the Upper1
part to the parameter settings of the selected song so
that your melody will sound exactly like the original
part. See below.
4. See steps (4)~(8) above for how to select the desired
song on disk.
It would be a good idea to start playback and to stop it
after a few measures.
8. Press the [STOP G|√] field twice to return to the
beginning of the song.
9. Press the [PLAY ®] field to start playback, and play
along to the Standard MIDI File.
Feel free to use the performance functions (see
page 51). If necessary, use the [TEMPO/DATA] dial or
the [TEMPO/TAP] button to change the tempo.
Note: If the field in the upper left corner on the Master page
reads [Song], you can press it to jump to the page where you
can select a Standard MIDI File.
10. Press the [STOP G|√] field to stop playback.
11. Press the [oBack] field to return to the Song
Composer page.
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VA-76 – Listening to Standard MIDI Files
12. Press [EXIT] to return to the Master page.
The Master page now looks different, because the field
in the upper left corner is called [Song]. See page 31.
The Upper1 part is now linked to track 4 of the Stan-
dard MIDI File you are playing back. In some cases,
this may mean that the sound changes somewhere in
the middle of the song – but at least it does so in per-
fect sync with the accompaniment so that you don’t
have to worry about it.
Note: The default setting for this parameter is “ON”.
4. Press [EXIT] to return to the Master page.
5. Press [SONG COMPOSER] to return to the song
page.
13. Press the Keyboard Mode [ARRANGER] button if
you once again want to use the Arranger.
UP1 linked to Song
Here is a function that may come in handy when play-
ing back Standard MIDI Files with the melody part
muted (something we call “Minus One”) so that you
can play it yourself. See page 32 for details about
Minus One performances.
Linking the Upper1 part to the Song Composer means
that it will use the same Tone as the original melody
part (on track 4) of the Standard MIDI File/song.
Pitch Bend, Modulation, and other performance
effects will also be muted.
1. Press the Keyboard Mode [OTHER] button.
2. On the display page that appears now, press the
[KEYBOARD MODE] field in the upper right corner
(if it is not displayed in white).
Press the [Options] field. The display now looks as fol-
lows:
3. Press the UP1 Linked to Song [OFF] field to make it
read [ON].
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4. VA-76 clinics
In this chapter, we will have a closer look at some of
the VA-76’s functions. While “Scratching the surface”
on page 22 only showed you what to expect and how
to obtain instant gratification, this chapter is already a
little more technical. But again, not all parameters and
functions will be covered here so as not to overwhelm
you. So be sure to also read the rest of this manual.
Note: The alphabetic index at the end of this manual may
prove invaluable for locating the desired information at a
later stage.
matic accompaniment. This melody can be played
using the Upper1 (UP1) part. Feel free to add other
parts for creating richer sounds. See page 36.
Arranger control
Upper1
The settings affected by the KEYBOARD MODE
[ARRANGER] button are:
Split mode with the split point at the C4.
Only the UP1 part is active in the right half of the keyboard (see
“What are ‘parts’?” below for an explanation of this concept).
4.1 Keyboard Mode clinic
Arranger Chord= Left (see page 102).
The KEYBOARD MODE setting is the singlemost
important parameter of your VA-76 because it deter-
mines which parts (or Tones) and sections are avail-
able. Though the Easy Routing function (see page 22)
sets these parameters automatically based on your
answers, you should familiarize yourself with the
KEYBOARD MODE concept.
Intelligent chord recognition (see page 101).
This means that one button (here [ARRANGER]) allows you to pre-
pare the main parameters for working with the automatic accompa-
niment (called “Arranger”).
In PIANO mode, the Upper1 part is assigned to the
entire keyboard.
Arranger and Piano modes
The VA-76 has two major keyboard modes:
ARRANGER and PIANO. These can be selected using
the [ARRANGER] and [PIANO] buttons.
Upper 1 (UP1) using the A11 St.AcPiano 1 Tone
Later on, you will discover that this way of using the
keyboard is also called Whole, and that you do not
need to work with a piano sound.
In many instances, pressing [ARRANGER] or
[PIANO] provides a nice starting point for further
fine-tuning. Select ARRANGER when you need the
automatic accompaniment function and wish to acti-
vate its chord recognition in the left half (see page 102
for details). Select PIANO to switch off the Arranger’s
chord recognition.
The settings affected by the KEYBOARD MODE
[PIANO] button are:
Whole mode with only UP1 active.
The 11 St.AcPiano 1 Tone is assigned to UP1.
Arranger Chord= Off (see page 102).
M-FX
CONTROLLERS
EFFECTS
ONE TOUCH
This means that the Arranger cannot be transposed in realtime while
the [PIANO] button lights. You could, however, use the Arranger’s
drum accompaniment for rhythmic backing. Press the [START/STOP]
button to start and stop it.
MELODY
INTELL
MIN
M-VALUE
MAX
TRANSPOSE
KEYBOARD MODE
ARRANGER PIANO
USER PROGRAM
SYNC
OTHER
ON/OFF
DOWN
UP
FREE PANEL
Note: There is a Global Parameter that allows you to block
the selection of the piano Tone for UP1 and go on using the
Tone that is currently assigned to the Upper1 part. See
page 195.
Note: Pressing either button not only selects the desired Key-
board Mode but also sets a series of other parameters. In
some cases, the parts you may have been using up to that
point are suddenly muted. Another important aspect is that
the split point (see below) will be set to “C4” when you press
[ARRANGER].
In ARRANGER mode, the keyboard is split into two
halves. The left half is used for playing chords that the
Arranger uses for transposing the Music Style patterns
in realtime. The right half, on the other hand, can be
used for adding a live melody to the Arranger’s auto-
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VA-76 – Keyboard Mode clinic
What are ‘parts’?
Split point in Arranger mode
When the [ARRANGER] button lights, the keyboard
is split in two halves. The split point is located at a C
key. This key is called the “C4”:
The VA-76 allows you to use several sounds simulta-
neously. Some of these sounds can be played in real-
time. These are the Keyboard parts. Other parts are
played by the Arranger/Music Styles and are called
Style parts. And finally, there are the Song parts that are
controlled by the Song Composer function.
Below please find an explanation of the Keyboard
parts. (See page 107 for the Style parts.)
Arranger control
Upper1
There may be situations where the automatically
assigned range is not what you need. In that case, you
can change the split point:
• UP1 (Upper1): Though there are only slight differ-
ences between Upper1 and Upper2, Upper1 is nor-
mally the main solo part (and switched on
automatically in Piano mode).
1. Press the Keyboard Mode [ARRANGER] button
(so that it lights).
This switches on the Arranger and splits the keyboard.
• UP2: The Upper2 part can be used as additional solo
part to be layered with the Upper1 part, or as an alter-
native melody sound. Except when the UP2 Split func-
tion is activated (see page 86), it is perfectly possible to
switch on Upper2 while Upper1 is off.
2. Press the Keyboard Mode [OTHER] button.
M-FX
CONTROLLERS
EFFECTS
ONE TOUCH
•
(VariPhrase): This part triggers the VariPhrase
MELODY
INTELL
MIN
MAX
TRANSPOSE
function (see page 29).
M-VALUE
• MEL Int (Melody Intelligence): This part is triggered
by the Arranger and plays automatic harmonies. You
cannot play it yourself.You can choose from among 18
harmony types (see page 99).
KEYBOARD MODE
USER PROGRAM
SYNC
OTHER
ARRANGER
PIANO
ON/OFF
DOWN
UP
FREE PANEL
The display now looks more or less as follows:
• LW1: The Lower1 part allows you to play chords with
your left hand. Use it whenever you want to add live
chords, such as strings, to your right-hand melody.
• LW2: The Lower2 part is to Lower1 what Upper2 is to
Upper1, i.e. it allows you to add a second sound to the
notes you play with your left hand, or to alternate
between two sounds.
• MBS: The Manual Bass part can supply a semi-auto-
matic bass part to your left-hand notes. It is only avail-
able in SPLIT mode (see below). If activated while the
Lower parts are off, it is no longer triggered automati-
cally, in which case you can also play chords.
If this page is not displayed, press the [SPLIT] field so
that it is displayed in white.
• MDR: The Manual Drums part is somewhat different
from the other Keyboard parts in that you can only
select Drum Sets for this part. It does not allow you to
play melodies because every key is assigned to a differ-
ent sound. Select this part whenever you feel like
drumming on the keyboard. See page 42.
3. Use the [o][k] fields to the left and right of the
displayed keyboard to select the new split point.
The setting range is F1~F#7.
Note: Your settings can be written to a User Program and
recalled at a later stage. See page 127.
Using the WHOLE Keyboard Mode
Other
Whole means that all keys trigger the same part(s).
There is thus no split. You can assign up to five parts to
the entire keyboard: LW1, LW2, UP2, UP1, and the
part. The MDR part cannot be layered with
As soon as you change any of the Other parameters,
the [ARRANGER] or [PIANO] button goes dark (if it
was on). This is done to signal that the current settings
no longer correspond to the preset settings of the
Arranger or Piano mode.
(added to) the other parts. Also note that when you
switch on the
part, all other parts (except UP2)
As stated above, the Keyboard Mode [ARRANGER]
and [PIANO] buttons select the Arranger or Piano
mode and also make a number of preset settings. In
most instances, these settings work just fine. There are,
however, other possibilities that allow you to use the
VA-76 in an even more flexible way. Before looking at
them we’d like to clarify the following:
will be deactivated. You can, however, add UP1, LW1,
and LW2 to the VariPhrase part once it has been
switched on.
1. Press the Keyboard Mode [OTHER] button.
2. Press the [KEYBOARD MODE] field in the upper
right corner (so that it is displayed in white).
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The display now looks as follows (the [KEYBOARD
MODE] field must be white):
Using the SPLIT Keyboard Mode
Split means that the keyboard is divided into two
halves (at the C4 mentioned above). You can use the
VariPhrase (
), LW1, LW2, and MBS parts in the
left half, and the UP1 and UP2 parts in the right. (It is
also possible to use an additional split between UP1
and UP2, see “Upper 2 Split” on page 86.)
LW1, LW2, MBS,
UP1, UP2
MDR or
3. If the [WHOLE] field is not displayed in white,
press it to make the display look like in the above
illustration.
In the central part of this page, you can switch on all
Keyboard parts you need, and switch off those you
don’t need.
Alternatively, you can use the MDR part in the right
half and drum to the chords you play with the LW
parts. Yet another option would be to use the Vari-
Phrase (
) part in the right half and LW1 and/or
LW2 (with or without the MBS part) in the left. Note
that it is also possible to assign the VariPhrase part to
the left half of the keyboard.
Switching parts on and off
4. Press the fields of the parts (LW2, LW1, etc.) you
want to play via the keyboard and switch off the parts
you do not need.
Active parts are displayed in white fields (and their
button lights, see below), while switched-off parts are
displayed in blue.
Here’s how to activate the SPLIT keyboard mode:
1. Press the Keyboard Mode [OTHER] button.
2. Press the [KEYBOARD MODE] field in the upper
right corner (so that it is displayed in white).
The display now looks as follows (the [KEYBOARD
MODE] field must be white):
Be aware, however, that activating the [MDR] or
field means that [LW1], [LW2], and [UP1] (as well as
[MDR] or
) will be switched off. After activating
the VariPhrase part, you can, however, add the UP1,
UP2, LW1, and LW2 parts if you like.
Yet another way of switching keyboard parts on and
off is by using the KEYBOARD PARTS buttons to the
right of the BANK/NUMBER section:
PAD
1
2
3. If the [SPLIT] field is not displayed in white, press
it to make the display look like in the above illustra-
tion.
KEYBOARD PARTS
M.BASS
LOWER2
LOWER1
M.DRUM
UPPER2
UPPER1
In the central part of this page, you can switch on all
Keyboard parts you need, and switch off those you
don’t need.
If a part is on, its button lights (Upper2 in the above
Note the line that separates the
MBS parts from the UP1, UP2, MDR, and
, LW1, LW2, and
parts.
illustration).
Note: The [M.BASS] button can only be activated in SPLIT
mode.
Unlike previous Roland arranger instruments, the
VA-76 allows you to play chords (and add an auto-
matic bass part) with your left hand, while drumming
with your right. In the past, the MDR (or M. Drums)
part used to be automatically assigned to the entire
keyboard, which is still possible (in WHOLE mode)
but not mandatory.
Note: If none of the part fields is displayed in white (and if
non of the KEYBOARD PARTS buttons lights), the notes
you play on the keyboard will not be audible. (It would,
however, be possible to go on controlling the Arranger.)
By the way: selecting WHOLE does not mean that the
Arranger is automatically switched off, or can no
longer be used. See “Arranger Chord Mode” on
page 102 for details.
Note: See “Drumming on the keyboard” on page 42 for
more information about the MDR part.
Note: Your settings can be written to a User Program and
recalled at a later stage. See page 127.
4. Press the fields of the parts (LW2, LW1, etc.) you
want to play via the keyboard and switch off the parts
you do not need.
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VA-76 – Tone clinic
Active parts are displayed in white fields (and their
button lights, see below), while switched-off parts are
displayed in blue.
4.2 Tone clinic
5. If necessary, change the split point. See “Split point
in Arranger mode” on page 35.
This split point indeed applies both to the chord rec-
ognition area of the Arranger and the SPLIT keyboard
mode.
Note: If you like, you can activate a Hold function for the
LW1/2 parts. That way, briefly pressing the notes to be
played by the LW1/2 parts is enough. The Arranger has a
similar function (called ARR Hold). See also “LWR Hold”
on page 90.
Selecting Tones for the Keyboard parts
On page 28 we already mentioned the SUPER TONES
buttons that can be used for selecting one of 40 Tones
for the UP1 part, and the One Touch function that
prepares 4 different Tones for both the UP1 and UP2
parts. See also “One Touch” on page 99.
Let us now have a look at the “classic” way of selecting
Tones. This selection method is available for all Key-
board parts.
Note: If none of the part fields is displayed in white (and if
non of the KEYBOARD PARTS buttons lights), the notes
you play on the keyboard will not be audible. (It would,
however, be possible to go on controlling the Arranger.)
In fact, there are two possibilities that can be used
indiscriminately at any stage, except for selecting a
Variation (only via the display). For the sake of clarity,
however, we shall treat them as separate items.
Note: Your settings can be written to a User Program and
recalled at a later stage. See page 127.
Tone selection via the front panel
Note: All button actions are also reflected by the display. See
“Tone selection via the display” on page 39 for the informa-
tion that appears on-screen.
1. Tell the VA-76 that you wish to select a Tone
(sound): press the [TONE] button.
The VA-76 uses a nifty color coding system. As soon as
you press the [TONE] button, its indicator as well as
the BANK and NUMBER buttons of the currently
selected Tone light in red. The color for Music Style
selection (see page 59) is green, while orange is used
for selecting User Programs.
The display now looks as follows:
The name next to the [A]/[B] fields tells you which
Keyboard part is currently active for Tone selection:
You can select a Tone for Upper1 (UP1).
Note: The numbers in the upper right corner of the display
indicate the MIDI address of the selected Tone (“Organ 1”).
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2. Specify the part for which you want to select
another Tone:
Each Tone group (A and B) contains eight banks.
Here are two examples:
Hold down the [PART] button and press one of the
NUMBER buttons.
a) for a solo synthesizer sound, select GROUP B and
BANK 3 (SYN LEAD);
b) for a trumpet sound, select GROUP A and BANK 8.
5. Press a NUMBER [1]~[8] button to select a Tone
within the active bank.
Only now will the new Tone be loaded. You could take
advantage of this system to prepare the group and
bank with your left hand, while continuing to play the
melody with your right hand. Then, all you need to do
is press the desired NUMBER button just before the
beat where you wish the new Tone to take effect.
Hold down…
…and press a NUMBER button.
6. Play a few notes on the keyboard to check whether
you like the Tone you have just selected.
In many instances, the VA-76 does not select the
requested Tone but an even better one (our “favorite”
for that particular Tone family). That is because there
is yet another Tone category called “Variation”.
PART + NUMBER [1] Upper 1
PART + NUMBER [2] Upper 2
PART + NUMBER [3] Manual Drums
PART + NUMBER [4] -– – –
PART + NUMBER [5] Melody Intelligence
PART + NUMBER [6] Lower1
PART + NUMBER [7] Lower2
Let us briefly summarize the various Tone categories:
PART + NUMBER [8] Manual Bass
Tone category
Meaning
If you only press the [PART] button, all GROUP and
BANK indicators go off, while the NUMBER indicator
that corresponds to the currently selected part lights.
If you then release it, the part select page appears on
the display. See also page 39.
Group
[Example: B]
The highest level that specifies which 8 Tone
banks are available.
The second level whose contents depend on
the selected group. Each bank contains 8
Tones (numbers).
Bank
[Example: B3–]
Note: The VariPhrase part (
) cannot be selected here.
Number
A memory within the selected bank. This
[Example: B38]
specifies the desired Tone.
Use the [BACKGROUND], [MELODIC], [RHYTHMIC],
and [USER] buttons for choosing the desired VariPhrase.
See the “VariPhrase clinic” on page 45.
An alternative sound for the selected Tone/
number that is either directly or indirectly
related to the same Tone family.
Variation
[Example: B38 <2>]
3. Press the [GROUP] button to select the group that
contains the desired Tone (A or B, the corresponding
indicator lights).
The above display contains eight Bank selection fields
that tell you more about the contents of the Tone
banks in the selected Group.
7. If necessary, select another Variation. This is only
possible via the display. See step (8) under “Tone
selection via the display” on page 39.
The number of Variations depends on the selected
Tone number. There may be as many as 30. It is also
possible to select “no Variation”. This is the Tone
proper, referred to as Capital (it is displayed without a
number between < >).
Note: It is possible to change the “preset” Variation (or Cap-
ital) that is recalled when you select a Tone. You can take
advantage of this when you don’t agree with our “favorite”
selection. See “Choosing your own Tone favorites
(Customize Preferred Tone)” on page 40.
Note: See also the Tone lists starting on page 222 for the
address of the desired Tone.
When you select a GROUP, the VA-76 automatically
activates the BANK that was active in the previous
group. Here is an example: if the Upper1 part cur-
rently uses the “A31 Organ 1” Tone, selecting group B
means that bank 3 (SYN LEAD) is automatically sug-
gested (but you still hear the organ).
Another way of deciding which group you need is by
looking at the BANK buttons on the front panel. The
banks of group A are printed above the BANK but-
tons, and the banks of group B appear below the
BANK buttons:
Note: Apart from the Variations, there are also Tone Maps.
See page 41 for details.
4. Press a BANK [1]~[8] button (so that it lights) to
select a Tone bank within the active group.
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VA-76 – Tone clinic
Alternatively, you can hold down the [PART] button
for about one second, and then release it. This will also
take you to the following display page.
The Tone selection display behaves as follows:
a) If you only select a number (using the BANK/
NUMBER pad), the Tone selection page is not dis-
played.
The display now looks as follows. The currently
selected part (the one whose name appears inside the
arrow on the Master page, see above) is highlighted:
b) If you press a BANK button, the Tone selection
display waits until you have specified a NUMBER,
after which it disappears.
c) If you press the [TONE] button (or [Tone] field)
and then select a Tone, the Tone selection display
does not disappear automatically. In that case, you
need to press [EXIT].
Tone selection via the display
Let us now look at how to use the display for selecting
Tones. For details about the terms used in this para-
graph, see “Tone selection via the front panel” on
page 37.
3. Press the field of the Keyboard part you wish to
select (UP1, UP2, etc. – left column).
1. Press the [Tone] field in the display.
That field is now displayed white-on-blue.
Note: The VariPhrase part ( ) cannot be selected here.
Use the [BACKGROUND], [MELODIC], [RHYTHMIC],
and [USER] buttons for choosing the desired VariPhrase.
See the “VariPhrase clinic” on page 45.
Note: If this page is not displayed, press the [Keyboard]
field. It must be displayed in white.
If you select the MEL Int (M Int) part, the display
looks somewhat different:
The display now looks as follows:
The lock allows you to override the preset settings. See
page 99 for details. It is also displayed for the Arranger
parts.
Note: You can also use the [PART] button and the NUM-
BER pad for selecting the desired part (see page 38).
If you look at the BANK/NUMBER buttons, you will
notice that they now light in red.
The name next to the [A]/[B] fields tells you which
Keyboard part is currently active for Tone selection:
4. Press the [Tone] field to return to the Tone selec-
tion page.
You can select a Tone for Upper1 (UP1).
Now we’re back on the following display page:
Note: The numbers in the upper right corner of the display
indicate the MIDI address of the selected Tone (“Organ 1”).
2. Press the [Part] field in the lower left corner of the
display.
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5. Press the [A] or [B] field to select the desired Tone
10. Press the [EXIT] field to return to the Master
group.
page.
6. Press one of the following fields to select a bank
within that group:
Choosing your own Tone favorites
(Customize Preferred Tone)
Use these fields to select a Tone Bank:
As stated earlier, selecting a Tone via the display or the
BANK/NUMBER buttons very often means that the
VA-76 uses an even better sound than the one you
requested— or so the Roland engineers think.
7. Press a Tone field to select a Tone (number).
Again, the VA-76 may actually load another Tone than
the one you selected. We believe that Tone is even bet-
ter than the one you set out to recall. If you disagree,
see “Choosing your own Tone favorites (Customize
Preferred Tone)” for how to change that particular
“favorite” Tone.
You may not agree with the automatic substitutions
and grow weary of always having to select correct Vari-
ation you do actually mean when you select the
address in question (group, bank number).
Here is how to substitute your “favorites” for Roland’s
preselections. Note that this can be programmed for
all 128 Tone addresses (A11~A88, B11~B88). Here, we
shall only show you how to do it for one Tone.
Note: These selections are stored automatically. So be sure
to either select the Variation you do actually like as favorite,
or change the setting back to the previous version before
continuing.
If the Tone name is followed by a number in angled
brackets < >, a Variation Tone has been selected. If
there are no angled brackets, the Capital has been
selected.
8. Press the [Variations] field to call up the following
display page:
1. See “Tone selection via the front panel” on page 37
and “Tone selection via the display” on page 39 for
how to select the desired Tone.
For this example, select Tone A31, so that the display
looks as follows:
The field of the currently selected Variation is high-
lighted.
There are 28 Variations for the A31 Tone (watch the
numbers inside the selection fields).
a) Press another Variation field on this page to select
that Variation.
The Organ 1 Tone is automatically selected. Suppose
you prefer Variation <8> Trem Organ and want that to
be selected when you enter the “A31” address.
b) If none of the Variations on offer corresponds to
what you have in mind, press the upward arrow (
)
to select the page that contains Variations 1~9 (if that
is possible).
2. Press the [Variations] field to call up the following
display page:
You will have guessed that the downward arrow (
usually allows you to select the next page – unless it is
grayed out, as is the case here.
)
c) To use the “main” Tone (Capital), press the Varia-
tion field on the first page that has no small number
(the topmost field in the left column on the first Varia-
tion page). The angled brackets < > next to the Tone
address disappear.
Note: Just for your reference: the term “Variation” refers to
Tones here, and has nothing to do with the [VARIATION]
button on the front panel, or the Music Style pattern of the
same name.
(Press the [m] field to select the page with Variations
10~19 or 20~28.)
9. Press the [oBack] field to select another Tone (if
none of the Variations fits the bill).
3. Press the [8 Trem Organ] field to select that Varia-
tion.
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Note: Press the Variation field without a number (“Organ
1” in our example) to preset the Capital Tone as “Preferred
Tone”.
• Tone Maps 1~3 ensure perfect compatibility with
older Music Styles and Standard MIDI Files. Besides,
these Maps contain some “classic” sounds you
wouldn’t want to miss.
4. Press the [Customize] field to store this Variation as
your new favorite.
The display responds with:
• Tone Map 4 (the brand-new sounds) contains 1,616
new Tones with the best material ever released by
Roland.
Here’s how to select the desired Tone Map:
1. On the Tone selection page, press the [Map] field.
This means that your selection has been stored. After a
brief interval, the display returns to the Group/Bank/
Number page.
5. Repeat this operation for all other Tone addresses
you wish to assign a different preferred Tone to.
Press to open the Map selection page
6. Press the [EXIT] field to return to the Master page.
Note: These “Preferred Tone” settings will be saved to disk
whenever you use the Save User Program Set function. See
page 211 for details.
The display now looks as follows:
Selecting different Tone Maps
As you know, the VA-76 comes with 3,646 Tones,
which is an impressive number, especially when it
comes to selecting a Tone.
That is why there are not only groups (A, B), banks
(1~8), numbers (1~8), and Variations (varying num-
ber), but also “Tone Maps”.
The “CC32” messages refer to a MIDI control change
that allows you to select the Maps from an external
MIDI sequencer or any other MIDI instrument capa-
ble of sending these messages.
Tone Maps emulate the behavior of a given tone gen-
erator. By selecting Tone Map “1”, for example, you tell
the VA-76 to use the SC-55 Tones rather than the
brand-new Tones especially developed for this V-
Arranger Keyboard.
This information is also important for you when you
browse through the Tone Lists on page 222 in search
of a given Tone. Always look at what it says behind the
“CC32=”. That number (1~4) tells you which Tone
Map to select.
Note: This Tone Map system can also be used for editing
Standard MIDI Files. See “Change” on page 152.
There are four Tone Maps that correspond to the fol-
lowing instrument models:
2. Press the [Tone Map] field you wish to select.
This means that all Tones you select from now on
belong to that Tone Map until you change this setting
again.
Tone Map
Correspondence
The Tones found on the E-86 and SC-55 Sound
Canvas.
1
The Tones found on the G-800, RA-800, and the
SC-88 Sound Canvas.
2
3
The Tones found on the G-1000, EM-2000 and
SC-88 Pro Sound Canvas.
New Tones especially developed for the VA-76,
VA-7, VA-5 and VA-3; some of them can also be
found on the SC-8850.
4
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Here’s how you can tell which Tone Map is currently
being used:
Alternatively…
Assign the same “V” guitar Tone to the UP1 (or
UP2) and LW1 (or LW2) part, select the SPLIT Key-
board mode (see page 36), and transpose the LW1
(or LW2) part 3 octaves down using the Octave
function (see page 54). That should allow you to
throw in the odd scrape or knock. You may want to
select a relatively low split point (see page 35). This
approach “works” because most Tones are musically
useless below a certain note, so why not use the
remaining notes to the left for the playing noises?
Map information
Drumming on the keyboard
This information is also displayed on other pages
(mark the “Map” field). Here is another example:
The MDR (M. Drums) part allows you to drum on the
keyboard. As stated above, this part is available in both
SPLIT and WHOLE modes. When used in SPLIT Key-
board Mode, it is assigned to the right half of the key-
board (which means that the notes pictured below are
masked until you select another Octave for the MDR
part).
The MDR part differs from the other Keyboard parts
in that it assigns different sounds to every key. If you
select the WHOLE mode and press the C2 (second C
from the left), you trigger a bass drum sound. Press
the D2 key (the D to the right of the C2) to trigger a
snare drum sound, and so on. Consequently, you
won’t be able to play melodies. Consider the following
illustration:
Note: Tones without a “Map” indication belong to Map 4
(the new VA-76 sounds).
A word about the new Tones
All new VA-76 Tones (Map 4) are fantastic, of course,
but some of them are truly amazing. In the Tone List
on page 222 (and on the display pages), look out for
Tones that start with a “V” (for “virtual”).
Select them and try playing at different velocities
(strengths) to discover the rich nuances that can be
obtained. There is a trumpet Tone, for example (“V
Trumpet”, A81, Variation 13) that allows you to alter-
nate between a muted and a “full blown” trumpet sim-
ply by hitting the keys softer or harder. Various guitar
Tones provide a hammering-on/bending sounds when
you strike the keys as hard as you can. And there’s
more.
C2
C3
Here’s how to activate the MDR part:
1. Press the Keyboard Mode [OTHER] button.
M-FX
CONTROLLERS
EFFECTS
ONE TOUCH
MELODY
INTELL
MIN
M-VALUE
MAX
TRANSPOSE
On top of that, transposing the keyboard to the lowest
octave sometimes provides access to some typical
noises (scraping over the strings, hitting the body of
an acoustic guitar, etc.). See page 54 for how to select
the lowest octave. Though these “beautiful noises” are
probably too far away for live use, consider throwing
them in when recording your own songs. Your
sequences will sound even better!
KEYBOARD MODE
ARRANGER PIANO
USER PROGRAM
SYNC
OTHER
ON/OFF
DOWN
UP
FREE PANEL
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VA-76 – Tone clinic
The display now changes to:
Roll
The Roll function allows you to play perfect drum
rolls whose tempo is synchronized with the Arranger
or a Composer Song.
1. On the above display page (in SPLIT or WHOLE
mode), press the [Options] field.
If you lost the above display page, first press the
[OTHER] button on the front panel.
2. Press the [MDrums Roll] field (left column, central
field).
The display now looks as follows:
This page means that the WHOLE Keyboard Mode is
currently selected (see page 35). If you don’t see this
page, press the [KEYBOARD MODE] field in the
upper right corner.
2. Press the [SPLIT] or the [WHOLE] field, depend-
ing on whether you wish to assign the MDR part to
the entire keyboard (WHOLE), or just the right half
(SPLIT).
If you press [SPLIT], the display now looks more or
less as follows:
3. Press the indicated [ON/OFF] field so that it reads
“ON” and is displayed in white.
4. Again play a note.
The drum sound will now be played as a roll. Rolls are
always played in time with the tempo displayed on the
Master page. Try this out by changing the tempo using
the [TEMPO/DATA] dial.
Using the Modulation lever (press the lever away from
you), you can modify the volume of the drum roll. Try
this out now.
SPLIT would be a good choice if you wanted to con-
trol the Arranger with your left hand, while adding a
percussion solo with your right.
Setting the Roll resolution (speed)
You can specify the number of notes per beat for the
Roll function.
If you work in SPLIT mode and need to play the Kick,
Snare, HiHat, etc. sounds (assigned to the keys that
cannot be triggered by the MDR part), consider using
the Octave function (see page 54).
5. Press another note value field than the one that is
currently active.
There are six options that have the following meaning:
Symbol
Meaning
3. Press the [MDR] field.
All part fields (WHOLE mode), or all part fields to the
right of the dividing line (SPLIT) turn blue (and the
KEYBOARD PARTS buttons go dark), while the
[MDR] field turns white. That is because you cannot
use both the MDR part and UP1, UP2, etc. This
wouldn’t make sense: playing a drum part often means
that you have to play semitone intervals (e.g. C4 →
C#4, etc.), while playing a melody would lead to sur-
prising percussion or drum lines if the MDR was also
on.
1/16
1/32
t
Sixteenth notes.
Thirty-second notes (half the duration of 1/16 notes).
Triplet (three notes in the space of 2).
Swing (syncopated notes, where the second note of a
pair drags a little).
s
The default value is “1/32”. Selecting shorter values
may result in machine-gun type rolls at high tempo
values. Always specify the resolution after setting the
Style or Song tempo, or change it to a more usable
value if your setting turns out to be too optimistic to
produce natural rolls.
4. Play a few notes on the keyboard to try out the
drum sounds.
You may also want to try out the following:
6. Press [EXIT] to return to the Master page.
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See “Tone selection via the front panel” on page 37
and “Tone selection via the display” on page 39.
Selecting Drum Sets for the MDR part
The MDR part may already be a remarkable function
by itself. But things really become interesting when we
tell you that the VA-76 comes with 116 different Drum
Sets to choose from.
Be sure to try out at least the Drum Sets whose names
start with a “V”. The V-VoxDrum Set (Tone Map 4, 88)
is especially interesting for voice percussion. If you
take a close look at the table below, you will recognize
that they follow a pattern: bank “1” of all Maps con-
tains generally usable Drum Sets, bank “2” Drum Sets
with effects (ambience, special Dance noises), bank
“3” rock kits, etc.
Note: The Drum Sets labelled CC32= 122 (General MIDI
2) and CC32= 119 (XG) cannot be selected via the front
panel. You need to play back a Standard MIDI File using
the Composer, or transmit these CC32 values to the VA-76
via MIDI.
There are Drum Sets for just about any musical genre
you can think of – and usually, you can even choose
among several alternatives. See page 233 for a list of
the available Drum Sets. While looking at that list,
remember that every note plays a different drum
sound.
The notes have two “addresses” (see also the chapter
about MIDI): a note number (0~127), and a note
name (C–1~G9). The sounds that can be triggered in
WHOLE mode without transposing the keyboard are
E0 (16)~G6 (91). Lower and higher notes require that
you transpose the MDR part using the Octave func-
tion (see page 54).
Tone Map 4
11 STANDARD 1
12 STANDARD 2
13 STANDARD L/R 77 GAMELAN 1
14 V-Pop1St
15 V-R&B
74 KICK&SNARE 2 71 ORCHESTRA
75 ASIA 72 ETHNIC
41 ELECTRONIC
42 TR-808
76 CYMBAL&CLAP 73 KICK & SNARE 51 JAZZ
75 ASIA 61 BRUSH
76 CYMBAL&CLAP 71 ORCHESTRA
78 GAMELAN 2
81 SFX
The readily available drum sounds are indicated by
means of greyed keys in the list for easy identification.
Remember, however, that in SPLIT mode, only the
notes C3 (48)~G6 (91) are available – unless you
change the split point (see page 35).
81 SFX
81 SFX
16 V-Fiesta
21 ROOM
22 HIP HOP
23 JUNGLE
24 TECHNO
25 ROOM L/R
26 HOUSE
31 POWER
32 V-Rock1St
33 V-Rock2St
41 ELECTRONIC
42 TR-808
82 RHYTHM FX
82 RHYTHM FX
88 CM-64 / 32L
83 RHYTHM FX 2 83 RHYTHM FX 2
84 RHYTHM FX 3 128CM-64/32L
85 SFX 2
87 CYM&CLAPS 2 Tone Map 2
88 V-VoxDrum
CC32= 122
(General MIDI 2)
1 GM2
9 GM2 ROOM
17 GM2 POWER
25 GM2 ELECTRIC
26 GM2 ANALOG
33 GM2 JAZZ
41 GM2 BRUSH
49 GM2
11 STANDARD 1
12 STANDARD 2
21 ROOM
128CM-64/32L
1. See “Selecting Tones for the Keyboard parts” on
page 37 for the basic operation.
Remember that you can either work via the display or
with the BANK/NUMBER pad after pressing the
[TONE] button. The display should look as follows:
Tone Map 3
11 STANDARD 1
12 STANDARD 2
13 STANDARD 3
21 ROOM
31 POWER
41 ELECTRONIC
42 TR-808/909
43 DANCE
43 DANCE
51 JAZZ
57 GM2 SFX
44 CR-78
45 TR-606
46 TR-707
47 TR-909
51 JAZZ
52 JAZZ L/R
61 BRUSH
62 BRUSH 2
63 BRUSH 2 L/R
64 V-JazzBrush
71 ORCHESTRA
72 ETHNIC
22 Hip-Hop
23 JUNGLE
24 TECHNO
31 POWER
41 ELECTRONIC
42 TR-808
43 DANCE
44 CR-78
45 TR-606
46 TR-707
61 BRUSH
71 ORCHESTRA
72 ETHNIC
73 KICK&SNARE
74 E-40 Modified 9 room kit XG
81 SFX
82 RHYTHM FX
128CM-64/32L
CC32= 119 (XG)
1 standard kit XG
2 standrd kit2 XG
17 rock kit XG
25 electro kit XG
26 analog kit XG
33 jazz kit XG
41 brush kit XG
49 classic kit XG
121SFX 1 kit XG
122SFX 2 kit XG
Tone Map 1
11 STANDARD
21 ROOM
47 TR-909
51 JAZZ
73 KICK & SNARE 61 BRUSH
31 POWER
®
Numbers indicated as “123”are MIDI Program Change numbers
Note: As you see, the Sets are divided over several Tone
Maps. See also page 41.
Note: There are no Variation Drum Sets, which is why the
[Variations] field is not displayed when the MDR part is
selected.
2. Select the MDR part:
• Either hold down the [PART] button while pressing
NUMBER [3]; —or—
• Press the [Part] field on the above page, and then press
the [MDR] field. (Then press the [Tone] field to
return to the above page.)
3. Select the desired Drum Set (here you only need to
select a bank and a number).
44
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VA-76 – VariPhrase clinic
See page 59 for how to select Music Styles.
4.3 VariPhrase clinic
Let us now look at another way of switching on the
VariPhrase part. Though you do not need this proce-
dure for activating the VariPhrase part, it will help you
add the Upper1 part to the phrase if you so wish.
The revolutionary VariPhrase function allows you to
play vocals or other sampled phrases via the keyboard
– at any pitch, and at any tempo. 48 of those phrases
reside in the VA-76’s ROM memory. They are divided
over two groups (A & B), with 3 banks per group, and
8 memories per bank (1~8).
1. Press the Keyboard Mode [OTHER] button.
The display now looks as follows:
For easy identification, the banks are called Back-
ground, Melodic, Rhythmic, Background 2, Back-
ground 3, and Rhythmic 2 (unlike the Tone and
Drum Set banks that only have a number).
Furthermore, there is a RAM area where you can
buffer 16 phrases you made yourself or that you
loaded from the supplied Zip disk (it contains 62
additional VariPhrases). The contents of the User
area are erased when you switch off the VA-76. Do
not forget to save newly created phrases to Zip before
switching off the VA-76. Failure to do so means that
you lose them.
2. Press the VariPhrase field (
played in white.
) so that it is dis-
You will notice that the [UP1] (or LW1) field turns
blue if it was white. That is because every time you
switch on the VariPhrase part, the UP1 (or LW1) part
is switched off. You can, however, activate UP1 and/or
UP2 (or LW1) after switching on the VariPhrase part,
while it is also possible to add the LW1, LW2, and MBS
parts.
Note: The VariPhrase part is available both in WHOLE and
SPLIT modes. In SPLIT mode, it can also be assigned to the
left half of the keyboard, which is useful for BACK-
GROUND and RHYTHMIC phrases (see page 35 for
details about the WHOLE and SPLIT modes).
The User area contains two banks (A, B) of 8 memo-
ries for a total of 16 VariPhrases.
Switching on the VariPhrase part
Switching on the VariPhrase part ( ) is simple: press
a bank button (Background, Melodic, Rhythmic) and
you’re there.
3. If you also need the Upper1 part, press the [UP1]
field.
4. Press [EXIT] to return to the Master page.
Selecting other phrases for playing
Selecting other phrases is a matter of using the follow-
ing buttons:
You will notice that one of the number buttons lights.
If you press a bank button while the Arranger can be
used (i.e. as long as you do not playback a Composer
song/Standard MIDI File), the VA-76 automatically
selects a phrase for you. Six of these selections have
been prepared for each Music Style in ROM.
The VariPhrase part allows you to play four notes
simultaneously.
• Press [GROUP] to select group A or B. The indicator
of the selected group lights.
Here are three examples of the phrases that have been
prepared for Music Styles A11, A12, and A13:
A11 LightRk1
Background
Melodic
A13 LightRk3
Background
Melodic
A1-4 Uaah uuh
A2-3 Ooh, Baby M
A3-4 DoYeahDat M
F
A1-8 Na,nanana F
A2-6 OohDarlin M
A3-4 DoYeahDat M
Rhythmic
Rhythmic
• Press [BACKGROUND], [MELODIC], or [RHYTH-
MIC] to select a bank. Depending on the group you
select, these banks are called:
Background2 B1-5 Yeah,ah
Background3 B2-6 Wow,wow
M
Background2 B1-5 Yeah,ah
Background3 B2-6 Wow,wow
Rhythmic2 B3-8 Keep on
M
F
F
Rhythmic2
B3-8 Keep on
F
F
A12 LightRk2
Background
Melodic
Rhythmic
Background2 B1-7 Eh,eh,eeh F
Background3 B2-6 Wow,wow
A1-8 Na,nanana F
A2-7 HoneyINed M
A3-4 DoYeahDat M
Group A
Group B
Background
Melodic
Rhythmic
Background 2
Background 3
Rhythmic 2
F
Rhythmic2
B3-8 Keep on
F
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The bank names tell you something about the kind of
situations for which the phrases were originally
intended. The Melodic phrases can be used for playing
solo lines, while the Rhythmic and Background phrases
are probably more convincing for spicing up your
music with the odd vocal accent. But there is no need
to use the phrases in this way. A Rhythmic phrase
might work equally well as solo line.
Combining/splitting a VariPhrase with
another Keyboard part
It is also possible to add either or both Upper parts
(UP1 and UP2) to your VariPhrase playing, which
allows you to double the vocals with a piano, trumpet,
organ, etc. part, or to add a chord backing to your left-
hand VariPhrase part.
The important thing to remember is that you need to
switch on UP1 or LW1 after activating the VariPhrase
part, for the VariPhrase part at first cancels the UP1 or
LW1 part. You can however, write your VariPhrase lay-
ers to a User Program. See page 127.
• Use the number buttons ([1]~[8]) to select a memory
of the active bank.
As always, the buttons you press light. In the case of
the [GROUP] button, however, the “A” or “B” indica-
tor lights.
Note: You can switch off the VariPhrase part by pressing the
bank button that lights. This will once again switch on the
UP1 (or LW1) part. You could use this for alternating
between instrumental and vocal parts.
“Playing” with the VariPhrases
There is a lot more you can do with the on-board (and
your own User) phrases than we have seen so far. Let
us have a look at a few examples.
Below please find a list of all internal VariPhrases. It
also contains the MIDI addresses of these phrases
(Program Change and CC00/CC32 Bank Select) that
you may not need here, but they may come in handy
at a later stage. The VariPhrase part receives on MIDI
channel 13. See page 197 for details about MIDI.
Key Assign
The Key Assign parameter allows you specify whether
or not you can play chords with the VariPhrase part
(
). Why would you want to do that?
Selecting Mono means that the VariPhrase part only
sounds one note you play with your right hand, even
though you may be playing two-voice lines or even
chords. In a layer combination, the VariPhrase part
would thus allow you to combine a chordal part
(Upper1 or Lower1) with a solo vocal line. Here’s an
example: Suppose you switch on the VariPhrase and
Upper1 parts. Here’s what happens when you play
chords in the right half (in SPLIT mode):
One last thing: you can ignore the first number (“1–”,
for example) as this corresponds to the bank button
you pressed (1= Background, 2= Melodic, 3= Rhyth-
mic).
GBN PC
CC00 CC32 Phrase Name
GBN PC
CC00 CC32 Phrase Name
BACKGROUND
A1-1 001 096 096 Uaah uaah M
A1-2 002 096 096 Uaah uaah F
A1-3 003 096 096 Uaah uuh
A1-4 004 096 096 Uaah uuh
BACKGROUND 2
B1-1 025 096 096 Hah,ha,ha M
B1-2 026 096 096 Hah,ha,ha M
B1-3 027 096 096 Ahi,ai,ai M
B1-4 028 096 096 Ahi,ai,ai F
M
F
A1-5 005 096 096 Uah Uah U M
A1-6 006 096 096 Uah Uah U F
A1-7 007 096 096 Uahua Uah F
A1-8 008 096 096 Na,nanana F
B1-5 029 096 096 Yeah,ah
B1-6 030 096 096 Yeah,ah
B1-7 031 096 096 Eh,eh,eeh F
M
F
B1-8 032 096 096 Sha la la F
VariPhrase part (Mono mode)
MELODIC
BACKGROUND 3
A2-1 009 096 096 Baby,Baby M
A2-2 010 096 096 Your Love M
A2-3 011 096 096 Ooh, Baby M
B2-1 033 096 096 Humaah,hu M
B2-2 034 096 096 Humaah,hu F
B2-3 035 096 096 TuruTuruh M
B2-4 036 096 096 TuruTuruh F
B2-5 037 096 096 Wow,wow M
A2-4 012 096 096 Com'on
M
If you play this with
your right hand…
A2-5 013 096 096 SetMeFree M
A2-6 014 096 096 OohDarlin M
A2-7 015 096 096 HoneyINed M
A2-8 016 096 096 HoneyINed F
B2-6 038 096 096 Wow,wow
F
B2-7 039 096 096 BlaimBlai M
B2-8 040 096 096 BlaimBlai F
Upper1 part
RHYTHMIC
RHYTHMIC 2
B3-1 041 096 096 Tutu tah
B3-2 042 096 096 Tutu tah
B3-3 043 096 096 Lero,lero M
B3-4 044 096 096 Lero,lero F
B3-5 045 096 096 Eih!Olele M
B3-6 046 096 096 Eih!Olele F
B3-7 047 096 096 Ma,ma,mma F
B3-8 048 096 096 Keep on F
A3-1 017 096 096 Dot,do,do M
A3-2 018 096 096 Tururu,Tu M
A3-3 019 096 096 DoidiDatt M
A3-4 020 096 096 DoYeahDat M
A3-5 021 096 096 Dabut,Dab M
A3-6 022 096 096 Dabada,Da M
A3-7 023 096 096 Taratta,T M
M
F
Note: The exact notes sounded by the VariPhrase part
depend on which chord note you strike last. The above
result may require some practice.
Mono can be used very effectively: if you press one key
to start the selected VariPhrase and then add a second
key, the phrase is transposed up or down – but contin-
ues. With the “Honey, I need you” phrase, for instance,
you could press a C for playing “Honey”, then add the
E to the right of the C just before “I”. This would trans-
pose the pitch of the “I” to E. If you then release the C
(but not the E), while playing a G, the rest of the
phrase (“need you”) will be played in G. In other
words: the phrase runs from start to finish but changes
its pitch whenever you press another key. (If you select
Poly, the “I” and “need you” would be played using two
voices. Poly allows you to play chords.)
A3-8 024 096 096 ShuShuDo
F
The VariPhrases in Bold-Italic do not start on the first
beat. You thus have to play them with a different tim-
ing, such as on the second beat of a bar, etc.
Note: Though they sound just fine by themselves, using the
VariPhrases in combination with the Arranger is an even
more rewarding experience. See page 29 for how to do that.
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Here’s how to select the Mono mode:
mentioned under “Which button does what? (Panel
Info)” on page 24 for calling up a page that cannot be
selected directly. (If you want to select the Trigger
parameters “the hard way”, see step (b) above.)
1. Press the Mode [MONO/POLY] button to make it
light.
3. Press and hold the Mode [STEP/SYNC] field.
This calls up the following display page:
If the indicator doesn’t light, the POLY mode is
selected. Here, we need the MONO mode.
2. Switch on the Upper1 part (see page 45) and select
the SPLIT Keyboard mode (see page 36).
3. Play a few chords with your right hand and listen to
what happens.
Here are two other ways of selecting the MONO
mode:
This is not the page we need, but the one we do need is
only one press away:
4. Press the [Trigger] field.
a) Press and hold the Mode [MONO/POLY] button.
—or—
b) Proceed as follows:
• Press the [FUNCTION MENU] button.
• On the Function Menu page, press the [ VariPhrase]
field.
• On the VariPhrase page, press the [Global] field.
• On the
Global Parameters page, press the [Key
Assign] field.
Now look at the three icons in the right section. They
already tell you how a running phrase will be stopped:
The display now looks as follows:
Gate— This means that the phrase will play for as
long as you hold a key down. When you release it, the
phrase stops. (Depending on the Mode setting, see
page 82, holding the key down for a long time may
mean that the selected phrase is repeated.)
Trigger— Press a key once to start playback of the
phrase. Release the key and press it again to stop play-
back. This is similar to using a casette deck: you press
the Play button to start playback, and the Stop button
to stop it. Here, of course, the key acts as Play and Stop
button.
4. Press the [Mono] field.
Drum— This setting means that pressing a key will
start playback of the selected phrase and that you can-
not stop it: it will go on sounding until it is finished.
The phrase is not looped, however. This setting is par-
ticularly useful for (rap) phrases you want to start at
given intervals without worrying about stopping
them.
5. Press [EXIT] to return to the Master page.
Trigger
Yet another way of changing VariPhrase playback is to
select how the selected phrase behaves once you have
started it, and how it will be stopped. The VA-76 pro-
vides three options you will find on the “Trigger” page.
Note: Selecting this Trigger mode means that the phrases
cannot be looped (because there would be no way of stop-
ping them).
1. Activate the VariPhrase part (see page 45) and
switch off all other parts (see page 36).
2. Select a VariPhrase.
5. Press [EXIT] to return to the Master page.
Note: See also page 77 for additional VariPhrase parame-
ters.
The following may not be what you think is necessary,
but it shows you just how user-friendly the VA-76 is.
We will indeed take advantage of the jump functions
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VariPhrase analyses the frequency content of your
audio material and is therefore capable of (a) keeping
the formant constant, or (b) deliberately changing the
formant, so that you can modify the character of a
phrase to an extent that it almost sounds as though
you had changed a woman’s voice into a man’s, or vice
versa.
Adding realtime expression
Things you ought to know about VariPhrase
The VariPhrase technology allows you to change the
pitch of a phrase (by playing melodies) while the
speed (tempo) and character/timbre are kept constant.
On the other hand, you are free to change the tempo
without affecting the pitch/timbre of a phrase.
The VA-76’s controllers can be used to modify these –
and other– aspects. Here’s how:
This is remarkable for two reasons:
a) Usually, the pitch of recorded/sampled material can
be changed only by playing the data at a higher or
slower speed, so that the tempo changes. (Conversely,
changing the tempo also means that the pitch
changes.) Consider the following illustration.
D Beam controller
1. Press the D Beam Controller [ON/OFF] button
(button must light) to activate the D Beam Control-
ler.
2. Select a phrase with a man’s face (for “male voice”).
See the table on page 46.
Traditional Sampler
Too fast &
too brittle
3. Activate the VariPhrase part.
"Here comes VariPhrase"
4. Move your hand over the “eyes” while playing
something.
The function currently assigned to the D Beam Con-
"Here comes VariPhrase"
Original
"Here comes VariPhrase"
"Here comes VariPhrase"
"Here comes VariPhrase"
Sounds like a
tape played
back at half
speed
troller is called “Cut & Reso Up and
(Cut& Reso is for the VA-76’s Keyboard parts, while
Formant Up is for the VariPhrase part.)
Formant Up”.
The male voice you selected in step (2) changes drasti-
cally as you move your hand closer to the D Beam’s
eyes.
On a sampler, playing higher notes will speed up the
phrase, so that a ꢀ = 120 rhythm suddenly changes to
e.g. ꢀ = 144, which would make the material useless for
live performances. Besides, traditional samplers do
not allow you to lock a phrase’s tempo to the tempo of
a sequencer (or Arranger), while VariPhrase does.
Other controllers
Of course, you can also use the remaining controllers:
the Ribbon, the BENDER/MODULATION lever,
Aftertouch, the Foot Switch and the Foot Pedal. Based
on what you will learn on page 55 and following, you
should be able to try them out now. See page 186 for
how to assign other functions to these controllers. The
important thing to remember is that only the parame-
VariPhrase
Higher, but
natural. No
tempo change.
"Here comes VariPhrase"
"Here comes VariPhrase"
"Here comes VariPhrase"
"Here comes VariPhrase"
"Here comes VariPhrase"
Original
ters marked with a
part.
will influence the VariPhrase
Lower, but natural.
No tempo change.
Please bear in mind that the formant is only one
aspect that can be influenced in this way. The others
are: Pitch, Time (speed), and sometimes Level (vol-
ume).
b) Sampled or recorded audio consists of frequency
clusters that describe the kind of sound, its timbre, etc.
We’ll spare you the details… Such clusters also contain
certain frequencies that make a sound (e.g. your voice)
recognizable. No matter how hard you try to imitate
someone else’s voice, you will always produce fre-
quency clusters that will betray you. Such frequency
clusters (partials) are called the formant.
Yet other parameters affect the VariPhrase indirectly
or change its behavior. They allow you to use a con-
troller to increase or decrease the influence of an LFO
(an oscillator used for modulation effects that result in
vibrato, WahWah, etc.) on various VariPhrase parame-
ters.
Changing the pitch of recorded/sampled audio mate-
rial means that the formant is also transposed. And
that’s precisely why a piano sample of the note “A4”
sounds like a cheap electronic piano when you use it
for the note “D5” (the D further to the right). Why?
Because the speed is different (see above), and –more
importantly– because the “typical piano frequencies”
are shifted to a different range.
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Note: Enter the value “0” (or return the slider to its central
position) to once again use the normal Pitch, Time, or For-
mant value.
Realtime VariPhrase control via the
display
There may be times where you don’t feel like using any
of the controllers mentioned above – or where they
have been assigned other functions you do not want to
change.
A note about the [DATA] button
If you look at the [DATA] button, you will notice
that it lights, while the [TEMPO/TAP] button is
dark:
In that case, consider using three on-screen sliders in
the touch screen for adding some mild (or wild)
changes to the currently selected VariPhrase:
DATA
TEMPO/TAP
Lights
1. Activate the VariPhrase part (see page 45) and
switch off all other parts (see page 36).
2. Press the [CONTROLLERS] button.
TEMPO
DATA
This means that you can press and hold the [DATA]
button. The display now looks as follows:
The display now looks more or less as follows:
Enter the desired value using the [0]~[9] fields.
Press [+/–] to change a positive value into a negative
one, and vice versa.
3. Press the [
The display changes to:
VariPhrase] field.
Press the [Delete] field to erase the last (rightmost)
value you have entered whenever you make a mis-
take.
Alternatively (and rather than using [Delete]), you
can use [–10%] and [+10%] to increase or decrease
the current value by 10%.
Press the [Enter] field to confirm your value, and
[Exit] to leave this page. Press only [Exit] if you
don’t want to use the new value.
Note: Though you can enter astronomical values, the
VA-76 will correct them to the highest possible value for
the selected parameter.
4. Use the on-screen sliders to modify the pitch, the
speed (Time), and/or the formant of the currently
selected VariPhrase.
Positive values (+) mean that you increase the basic
Pitch, Time, or Formant settings, while negative values
(–) mean that you decrease that value. You can thus
influence these parameters in either direction.
Note: The last settings (slider positions) you make here will
be written to a User Program (see page 127). Be sure to
select the values you really do want to change, or else set
these values back to 0 before writing your settings to a User
Program.
If you press the field of the slider’s name (Pitch, Time,
Formant) so that it is displayed in white (“Formant”
in the above illustration), you can also use the
[TEMPO/DATA] dial or the Numeric Entry pad for
setting the desired value.
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Let us now add some Chorus to the VariPhrase part.
Adding effects to the VariPhrase part
Though already amazingly flexible by itself, the Vari-
Phrase part can even be enhanced using two dedicated
effects. These Reverb and Chorus effects operate inde-
pendently from the “main” Reverb and Chorus effects.
In many instances, the Reverb effect is already
switched on but let’s go through the motions.
6. Press the [Chorus] field in the left column.
The display now changes to:
Note: The VariPhrase part’s assignment to the OUTPUT 1
sockets cannot be changed. This means that the following
effects are always available. (The other parts can also be
assigned to the OUTPUT 2 sockets, in which case they are
no longer processed by the internal effects.)
Reverb and Chorus depth
1. Activate the VariPhrase part (see page 45) and
switch off all other parts (see page 36).
Note: The following affects the VariPhrase part – not just
the currently selected phrase. Thus, if you select another
phrase at a later stage, it will use the effects settings you
make here.
7. Again use the leftmost slider to increase or decrease
the Chorus depth while playing a few notes on the
keyboard.
Note: See page 124 for how to select another Reverb and/or
Chorus type.
Single Part/Palette
2. Press the [EFFECTS] button.
Suppose you are finalizing a new song. All settings are
ready (Music Style, tempo, Keyboard part Tones, etc.).
The only thing that’s missing are the effects settings
that sound just right for the VariPhrase part. On the
pages shown so far, you always see the Reverb/Chorus
depth settings of other parts as well.
That may not always be to your liking, because you
wish to concentrate on the VariPhrase (or any other)
part. In that case, proceed as follows:
3. On the display page that appears now, press the
[Keybrd Mixer] field.
1. On any of the above pages, press the [Single Part]
field.
The display now changes to:
The display now looks as follows:
2. Use the [i][m] fields to select this page if the
name in the upper left corner does not read “ ”.
You can now press the [Reverb] or [Chorus] field and
use the slider in the right column to change the Reverb
or Chorus depth.
Note: You can also use the [TEMPO/DATA] dial and the
Numeric Pad page (see page 49).
3. Press the [Palette] field to return to the “mixer”
pages of steps (3) and (6).
[Single Part] and [Palette] are also available for the
other effects and parts.
4. Press the [Reverb] field if it is not displayed in
white.
5. Move the leftmost slider ( ) while playing on the
keyboard and listen to how the sound changes.
Note: If the VariPhrase part is not displayed, press the [o]
field several times.
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Note that the D Beam Controller also applies to the
other Keyboard and the VariPhrase parts, while it also
allows you to control certain Arranger functions.
Here, however, we’ll keep things simple by showing
you how it influences the UP1 part.
4.4 Expression clinic
Allow us to introduce the VA-76’s performance func-
tions. Also called Controllers, they allow you to add
expression to your playing, which is a very important
aspect for simulating glissando’s, bendings, and other
changes to the timbre that will make your melodies
even more convincing.
3. Move your hand over the “eyes” while playing
something.
Listen to how the UP1 sound becomes brighter and
mellower as you move your hand up or down. Fur-
thermore, the sound becomes more synthesizer-like.
That is because the “Cut & Reso Up and Formant Up”
function is assigned, which means that you can change
the filter setting. (If you activate the VariPhrase part,
this function allows you to change the characteristics
of the selected phrase by turning it into a man’s or
woman’s voice, see page 48.)
Note: See page 91 for details about the VA-76’s velocity sen-
sitivity and related possibilities.
D Beam Controller
The D Beam Controller is no doubt the most exciting
and spectacular performance function of your VA-76.
You can use it to modify various aspects of your V-
Arranger Keyboard, such as bending the notes, inten-
sify their vibrato, change the filter frequency (to make
the sound brighter or mellower), and even to play
arpeggios or chords.
4. If you no longer need the D Beam Controller, press
its [ON/OFF] button again (indicator goes dark).
Example (Flamenco Roll)
Here’s another spectacular use for the D Beam Con-
troller:
1. Assign the A41 <9> V FL GtrRoll Tone to the
Lower2 part (LW2).
2. Press the [CONTROLLERS] button. On the dis-
play page that appears now, press the [Hand] field,
followed by the [D Beam] field.
3. Use the [o][k] fields to select the following dis-
play page:
The D Beam Controller has two sensors that detect
motion (such as your hand or body movements) in
front of it. These “sensed” positions are translated into
MIDI messages that can be assigned to a variety of
parameters. See page 186.
4. Press the [Chord 2] field.
5. Press the Keyboard Mode [ARRANGER] button
so that it lights.
6. Switch on the D Beam with its [ON/OFF] button,
play a note in the left half, hold your hand over the
D Beam… and olé!
Depending on where the chord recognition area is
located (see page 101), you can change the pitch of
the rolls by playing single notes in the chord recog-
nition area (probably in the left half of the key-
board).
1. Press the D Beam Controller [ON/OFF] button
(button must light) to activate the D Beam Control-
ler.
2. Activate the UP1 part.
The easiest way to do so is by pressing the Keyboard
Mode [ARRANGER] or [PIANO] button. See also
page 34.
Note: Be sure to switch off the LW2 part so that you can’t
trigger it via the keyboard.
Note: The values generated by the D Beam Controller can
be recorded by the Composer and are transmitted to the
VA-76’s MIDI OUT port.
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Ribbon controller (Touch control)
Aftertouch
The Ribbon/Touch controller is a performance func-
tion that was already available on vintage analogue
synthesizers, the Roland JP-8000, and the EM-20. We
included it because we figured that you might like to
influence one of the VA-76’s parameters by sliding a
finger over the ribbon located below the BENDER/
MODULATION lever for a more natural “feel” of the
temporary change you’d like to produce.
The VA-76 is equipped with an Aftertouch-sensitive
keyboard. Like most instruments supporting After-
touch, it generates channel Aftertouch messages,
which means that one Aftertouch value will be trans-
mitted by each MIDI channel (or part).
Aftertouch is generated when you press a key even fur-
ther down after playing a note. The effect obtained is
usually similar to the one you can achieve with the
BENDER/MODULATION lever: you can change the
pitch, modify the volume, intensify the modulation,
etc.
In the VA-76’s case, however, you can also control the
Arranger and even the VariPhrase part.
Aftertouch data can only be received by the following
parts: Upper 1/2 and Lower 1/2, the VariPhrase part,
and the Arranger.
0
Maximum
value
Pitch Bend/Modulation
1. Activate the UP1 part.
MODULATION
The easiest way to do so is by pressing the Keyboard
Mode [ARRANGER] or [PIANO] button. See also
page 34.
Lowers the
pitch
Raises the
pitch
Note that the Ribbon/Touch controller also applies to
the other Keyboard and the VariPhrase parts, while it
also allows you to control certain Arranger functions.
Here, however, we’ll keep things simple by showing
you how it influences the UP1 part.
BENDER
Turn the BENDER/MODULATION lever towards the
right to bend the notes you are playing upwards, or to
the left to lower the pitch. Release the lever to return to
the standard pitch. The Pitch Bend function can also
be used for controlling various VariPhrase aspects
(pitch, formant, level, tempo).
2. Slide your finger from left to right while playing
something, then release it again.
Listen to how the UP1 sound becomes brighter and
mellower as you slide your finger to the right or left.
That is because the “Cut & Reso Up and Formant Up”
function is assigned. (If you activate the VariPhrase
part, this function allows you to change the character-
istics of the selected phrase by turning it into a man’s
or woman’s voice.) At first, the Ribbon controller’s
function is the same as that of the D Beam Controller,
but you can change that (see page 186).
Push the lever away from you to add vibrato to the
notes you are playing (Modulation). Release the lever
to remove the vibrato. See page 188 for how to set the
Pitch Bend interval.
Note that it is also possible to directly press the posi-
tion you think corresponds to the desired parameter
value for “stepped” changes. You thus do not need to
slide your finger to the left and right all the time.
The Ribbon controller always works from left (0) to
right (maximum value). That is why most assignable
parameters are labelled “Up” or “Down”. Moving your
finger to the far right will thus increase (Up) or reduce
(Down) the value of the parameter being controlled.
Once you release the Ribbon, the value of the parame-
ter being controlled returns to the “no change” posi-
tion.
Note: The values generated by the Ribbon controller can be
recorded by the Composer and are transmitted to the
VA-76’s MIDI OUT port.
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Setting the transposition interval via the display
If you prefer to set the transposition interval via the
touch screen with a nice graphic, way, here is how to.
Transposition
If you are used to playing a song in a particular key,
the Transpose function will help you go on playing in
that key while sounding in another one. That way, you
can accompany a singer or instrument without chang-
ing your fingering.
1. Press the Keyboard Mode [OTHER] button.
What you see now, depends on the currently selected
keyboard mode. The things to look out for here are
the [ARRANGER CHORD] and [KEYBOARD
MODE] fields in the upper left and right corners.
Hold down the [ONE TOUCH] button while pressing
User Program [DOWN] or [UP].
Press [DOWN] to lower the pitch in semitone steps (a
C to B, an E to Eꢁ etc.).
2. Press the [KEYBOARD MODE] field in the upper
right corner (so that it is displayed in white).
3. Press the [Transpose] field.
Note: Transposition applies to all parts except the MDR
(Manual Drums) and ADR (Accompaniment Drums)
parts.
To transpose from the key of C to G, hold down [ONE
TOUCH] and press User Program [UP] seven times
(or User Program [DOWN] five times).
4. In the display, press the key that corresponds to the
note you would like to hear every time you play a C.
Note: Selecting “0” means that the transposition is off. This
is the only way to activate or switch off this function. Your
setting can, however, be written to a User Program (see
page 127).
Be sure to return to the original setting (no transposi-
tion) by pressing the “opposite” User Program button
([DOWN] or [UP]) the same number of times as the
one ([UP] or [DOWN]) you pressed first.
See below for details about the Transpose Mode
options. You can activate all three simultaneously, if
you like.
The transposition is indicated on the Master page:
Note: The MDR and ADR parts are never transposed. Every
key (note) of the MDR/ADR parts is assigned to a different
percussion sound. It is thus in your best interest to leave the
Manual and Accompaniment Drums parts alone.
Selecting the sections to be transposed
The three fields below the keyboard allow you to spec-
ify which parts should be affected by the Transpose
setting:
Internal— The Keyboard and Arranger parts will be
transposed. Notes received via MIDI, however, will be
played without change.
The “Cꢂ” actually refers to a semitone increase of the
pitch, so that you hear a “C sharp” every time you play
a C. This also means that rather than the A you press,
you will hear “A sharp” (or “B flat”). The above setting
corresponds to pressing User Program [UP] once
while holding down the [ONE TOUCH] button.
Note: This setting is also reflected on the Transpose display
page (see below).
Song— Only the Song parts will be transposed. This is
only meaningful when you play back a Standard MIDI
File or one of your own songs with the VA-76’s Song
Composer.
MIDI “IN”— Only the notes received via MIDI IN
will be transposed. In a way, this is the same as the Rx
Shift parameter in MIDI mode (see page 201).
Though it is perfectly possible to switch on all three
options, you can never switch off all three of them. At
least one of them must be on. Internal could be useful
to transpose only the Keyboard parts so that you can
play to a Composer song in “your” key but sound in
the song’s key.
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5. Press [oBACK] to return to the previous display
3. Press the [Octave] field.
page, or [EXIT] to return to the Master page.
Octave
The Octave function is another useful parameter that
allows you to change the pitch of the selected part in
octave steps (12 semitones).
You could take advantage of this function for solo
parts where you need the UP1 and UP2 parts to trig-
ger the same Tone, while UP2 plays one octave above
or below UP1. Another use for this function is to pro-
vide access to the “noises” of the VA-76’s new “V”
Tones so as to be able to trigger the scraping, knock-
ing, etc.
4. Press the field that corresponds to the Keyboard
part you wish to transpose in octave steps (UP1, UP2,
etc.).
This probably only works when you use a Keyboard
part (UP1, UP2, LW1, or LW2) in WHOLE Keyboard
Mode (see page 35). Working in SPLIT mode indeed
means that you can only play the notes up to a certain
point (the split point). For the “noises”, you need to
select the setting “–3”. Note that this also means that
you need to play the “real” notes at the right end of the
keyboard, because the entire part/Tone is transposed
down.
As you see, the display also indicates the current
Octave settings for all Keyboard parts.
5. Now press the field that corresponds to the desired
Octave setting.
“–” values mean “down/lower”. Example: “–3” means
that the part in question is transposed three octaves
down. All other values (except “0”) mean “up/higher”.
6. Press [oBACK] to return to the previous display
page, or [EXIT] to return to the Master page.
OCTAVE= 0
PAD buttons
PAD
1
2
C2
C3
KEYBOARD PARTS
M
WER2
LOWER1
M.DRUM
UPPER2
UPPER1
OCTAVE= –1
The PAD buttons [1] and [2] allow you to quickly
access a function you would normally have to select
via the display (which may involve several presses). At
first, PAD [1] is used to immediately return to the
beginning of the current Style pattern (useful when
you are out of sync with a singer or other musician
and want to “re-synchronize” the accompaniment
with the singer/soloist). PAD [2], on the other hand,
allows you to switch the Bass Inversion function on
and off (see page 102).
C2
C3
This parameter also comes in handy when you wish to
trigger Drum Set sounds (using the MDR part) that
are not accessible via the keyboard in its normal state.
Remember that there are 76 keys, while some Drum
Sets provide drum/percussion sounds for all 128 notes
supported by the MIDI standard.
Holding [1] or [2] down for more than a second takes
you to a display page where you can assign other func-
tions to these buttons (see page 194). The PAD func-
tions can be written to a User Program.
1. Press the Keyboard Mode [OTHER] button.
2. Press the [KEYBOARD MODE] field in the upper
right corner (so that it is displayed in white).
FC-7 Foot Controller
The VA-76 allows you to connect an optional FC-7
Foot Controller to the FC7 PEDAL socket.
SUSTAIN
FOOT
FOOT
PEDAL
FOOTSWITCH SWITCH
LCD
CONTRAST
FC7 PEDAL
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At first, the switches of this controller are assigned
Arranger control functions. You can, however, assign
other functions to these switches. See page 193 for
details.
Master Tune
This is not really a performance function, but it allows
you to tune your VA-76 to acoustic instruments that
cannot be tuned.
Note: The FC-7 assignments apply to the VA-76 and are not
written to individual User Programs. Selecting another User
Program is therefore not enough to reconfigure the FC-7.
1. Press the [FUNCTION MENU] button.
Sustain Footswitch (Hold)
The Hold function can be used for the following parts
in isolation or in combination: Upper 1/2, Lower 1/2,
and M.Bass, on condition that you select the WHOLE
keyboard mode. In SPLIT mode, the sustain pedal’s
Hold function only works for the right-most part.
When Upper 1 and 2 are layered, the Hold effect will
work for both of them. In UP2 Split (see page 86) and
UP2-to-Left modes, the Hold only applies to the
Upper1 part.
The display now looks as follows:
Note: Do not forget to connect an optional DP-2, DP-6, or
BOSS FS-5U footswitch to the SUSTAIN FOOTSWITCH
socket.
Foot Switch
An optional DP-2, DP-6, or BOSS FS-5U footswitch
connected to the FOOT SWITCH socket can be used
to perform various functions. If you do not change the
factory setting, this footswitch allows you to start and
stop Arranger playback.
2. Press the [Global Parameter] field.
The footswitch assignment can be saved to a User Pro-
gram. See page 191 for how to assign the desired func-
tion to the footswitch.
Expression (Foot Pedal)
An optional EV-5 or BOSS FV-300L expression pedal
connected to the FOOT PEDAL socket allows you to
control the volume of all parts by foot. You can reverse
the expression pedal’s effect and specify that certain
parts are not to be controlled by the expression pedal.
If this page is not displayed, press the [Keyboard] field
so that it is displayed in white.
Furthermore, you can use this pedal for controlling
M-FX parameters, in which case the expression func-
tion is no longer available for other Keyboard parts.
(The Formant of the selected VariPhrase can also be
controlled using this pedal.)
3. Play the A below the [ENDING] button while using
the [i][m] fields to set the desired tuning.
The default value is “440.0”. You can return to this
value by pressing the [Default] field.
Alternatively, you can press the [Value] field and set
the desired value using the [TEMPO/DATA] dial.
4. Press the [EXIT] field to return to the Master page.
Press the [oBack] field to return to the Function
Menu if you need to set other functions.
Scale Tuning
Another useful function is called Scale Tuning. This
allows you to use oriental, asian, and other scales in
much the same way as on an oriental keyboard
(EM-50 OR, etc.). See page 92 for details.
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The display now looks as follows:
Metronome
The VA-76 is equipped with three metronomes: one
for Style playback, one for Song Composer recording/
playback, and one for User Style Composer program-
ming.
If you wish to hear a metronome during Style play-
back, here is what you need to do:
1. On the Master page, press the metronome field (so
that it turns white).
If it doesn’t, press the [Style] field (it must be dis-
played in white).
2. Select one of the following options:
Int— The metronome signal is played by the Drum
Set currently assigned to the MDR part (see page 44)
and thus transmitted to the OUTPUT 1 & 2 and
PHONES socket.
Midi— The metronome signal is sent to the VA-76’s
MIDI OUT port and can be played by an external
module. This module must receive on MIDI channel
16. The safest would be to assign MIDI channel 16 to
part 10 of a multitimbral module. That way, its Drum
Set is triggered by the metronome. (The MDR part
transmits on MIDI channel 16.)
2. Start Arranger playback, and you will hear the met-
ronome.
3. Press the metronome field again to switch off the
metronome.
Metronome Output
The VA-76 also allows you to select how the metro-
nome is played back:
EXT— The metronome signal is sent to the VA-76’s
METRONOME OUT socket (rear panel). You can
connect headphones to this socket and set the metro-
nome’s volume using the LEVEL knob. This option
may be useful as “click track” for a drummer.
1. Press the [CONTROLLERS] button.
ALL— The metronome is played by the VA-76’s MDR
part and transmitted to MIDI OUT, the OUTPUT 1 &
2 sockets as well as the METRONOME OUT socket.
Metronome Mode
Yet another option on the above display page is to
specify when the metronome should be sounded:
This selects a display page with controller options. The
exact look of that page is of little importance, for you
need to press the [Metronome] field at the bottom of
the screen, which is available on all pages:
Always— The metronome even counts when Arran-
ger playback is stopped. Press this field if you want to
hear the metronome at all times (which is probably
only useful when practising a new song).
Play— Press this field (so that it is displayed in white)
if the metronome should only be sounded while the
Arranger is playing back a Music Style pattern (Intro,
Original, etc.).
Count-In
This parameter allows you to switch the Count-In
function on or off. When on, the metronome will
count in the specified number of measures (bars)
before the Arranger starts playing.
Note: This count-in is also available when you are using the
Sync Start function. In that case, playing a chord means
that the Arranger only starts after 1 or 2 measures.
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VA-76 – Using live vocals
1. See “Metronome Output” for how to select the dis-
play page with the metronome options.
4.5 Using live vocals
2. Select an option in the Count-In section:
OFF— The count-in function is off.
The VA-76 also provides a special part you can use
when you want to sing to the music you play on the
VA-76. You can also use this part for other audio sig-
nals, but please bear in mind that the Audio In part is
mono.
1Bar, 2Bar— Whenever you start Arranger playback,
the metronome counts in 1 or 2 bars before the
selected Music Style pattern starts playing.
Note: The Count-In function can be used independently of
the metronome. There is thus no need to activate the metro-
nome in order to hear the count-in.
The audio signal received by the Audio In part is
transmitted to the OUTPUT 1 and PHONES sockets.
1. Set the [VOLUME] knob to the “MIN” position.
3. Press the [EXIT] field to return to the Master page.
2. Connect a microphone to the VariPhrase INPUT
socket.
Please use a dynamic microphone. Two models are
available from Roland: the DR-10 and the DR-20.
3. Set the [LEVEL] knob to the “MIN” position and
the [GAIN] switch to “MIC”.
4. Press the [EFFECTS] button.
5. On the display page that appears now, press the
[Keybrd Mixer] field.
The display now contains a page similar to the follow-
ing:
It doesn’t really matter which effet is currently
selected. Just make sure the [Keybrd Mixer] field is
displayed in white.
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6. Press the [k] field several times until the following
page is displayed:
14. To quickly switch on/off the Audio In part, press
the [ON] (or [OFF]) field below the on-screen
[Volume] slider.
Note: While the above on-screen settings can be written into
a User Program, the settings of the [GAIN] switch and
[LEVEL] knob on the rear panel cannot. You may want to
write them down for future reference.
15. Now try singing and playing together. If your
voice is too soft, increase the setting of the [Volume]
slider in the display.
16. Press [EXIT] to return to the Master page.
Single Part
7. Set the [Volume] slider to “0”, and press the [ON/
OFF] field below this slider to select “OFF” (if neces-
sary).
Let us now set the input sensitivity of the VariPhrase
[INPUT] socket.
By pressing the [Single Part] field on the above display
page, you select a page where the above parameters are
displayed in the following manner. Choose whichever
is more convenient for you.
8. Sing into the microphone and gradually increase
the VariPhrase [LEVEL] setting (rear panel).
Set it so that the INPUT OVER indicator in the Vari-
Phrase section does not light even when you sing at
the top of your voice.
This indicator should not light.
Note: At this point, you won’t hear your voice because the
Audio In part is off.
9. Locate the microphone in such a way that it cannot
pick up the signal from the external speakers.
Failure to do so will result in a nasty howling tone also
known as feedback. This should be avoided at all costs.
10. Press the [OFF] field below the [Volume] slider to
make it read [ON].
11. Set the VA-76’s [VOLUME] knob to a comfortable
listening level (about halfway for the time being).
12. Gradually increase the setting of the on-screen
[Volume] slider while singing or talking into the
microphone.
You should now be able to hear your voice.
13. You can also add Reverb and Chorus to your voice:
• Press the [ON/OFF] field between the [Chorus] and
[Reverb] sliders to make it read “ON”. This field can
also be used for muting the effects when you need to
make an announcement and don’t want it to sound
like you are in a church, etc.
Note: This function can also be controlled via the assignable
footswitch (see page 192).
• Use the [Chorus] and [Reverb] sliders for setting the
desired Chorus/Reverb depth. See page 124 for details
about these effects.
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VA-76 – Arranger/Music Style clinic
The display now looks as follows:
4.6 Arranger/Music Style clinic
Before telling you more about the Music Styles, we’d
like to explain the difference between Music Styles and
the Arranger. The Arranger is in fact the function (or
sequencer) that plays the accompaniments you select.
These accompaniments are always related to a given
musical genre (or “style”), and are therefore called
Music Styles. As the VA-76’s accompaniments are a lot
more than just one pattern that goes on playing until
you stop it, the Music Styles comprise several patterns
(or divisions).
The name next to the [A]/[B]/[C] fields tells you
which Music Style is currently selected.
The Arranger is interactive in two respects: you can
tell it in what key it should sound by playing chords;
and you can also tell it what kind of of accompani-
ment it should play by selecting other divisions via the
front panel or the touch screen. The Arranger (the
“hardware”) would be nothing without the Music
Styles (the “software”), while the Music Styles would
become repetitive after a while without the various
divisions.
Note: The numbers in the upper right corner of the display
indicate the MIDI address of the currently selected Music
Style (“B15 ScatSwing”).
2. Press the [GROUP] button to select the group that
contains the desired Music Style.
Selecting Music Styles
Like for Tone selection, there are two possibilities that
can be used indiscriminately: you can work the tradi-
tional way (using the buttons), or via the display – or
mix these two approaches as you see fit.
There are three Music Style groups with 64 memories
each (for a total of 192 Styles):
Style selection via the front panel
Note: All button actions are also reflected by the display. See
“Style selection via the display” on page 60 for the informa-
tion that appears on-screen.
Group A is selected
Group B
Group C
1. Tell the VA-76 that you wish to select a Music Style:
press the [STYLE] button (so that it lights).
A & B— These two groups refer to the Music Styles in
ROM.
C— This group represents the Disk Link group. These
are memories that can be selected in the same way as
the ROM memories, even though they load Music
Styles directly from Zip or floppy disk.
Note: See also the Music Style list starting on page 251 for
the names and addresses of the Music Styles.
When you select a GROUP, the VA-76 automatically
activates the BANK that was active in the previous
group. Here is an example: if you are currently work-
ing with the B15 ScatSwing Style, selecting group A
means that bank 5 is automatically selected.
As soon as you press the [STYLE] button, it lights in
green, as well as the BANK and NUMBER buttons of
the currently selected Music Style. (The color for Tone
selection is red, while orange is used for selecting User
Programs.)
3. Press a BANK [1]~[8] button (so that it lights) to
select a Style bank within the active group.
Each Style group contains eight banks.
4. Press a NUMBER [1]~[8] button to select a Style
within the active bank.
Only now will the new Music Style be selected. You
could take advantage of this system to prepare the
group and bank with your left hand, while continuing
to play the melody with your right hand. Then, all you
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need to do is press the desired NUMBER button just
before the beat where you wish the new Music Style to
take effect.
Working with the Disk Link memories
The VA-76 provides 64 memories (8 banks x 8 num-
bers) that refer to Music Styles on a Zip or floppy disk.
Though these memories behave exactly like the mem-
ories of groups A and B (that provide access to the 128
internal Music Styles), they only “work” if the disk in
question has been inserted into the drive. Thanks to
the VA-76’s powerful software, loading a Disk Link
Style is as swift as working with internal Styles.
Style selection via the display
Let us now look at how to use the display for selecting
Styles.
1. Press the [Style] field in the display.
The Music Style referenced by the Disk Link memory
you select is automatically loaded from disk and cop-
ied to the Disk User memory (see also page 61). This is
a RAM memory whose contents are erased when you
switch off the VA-76, and overwritten when you select
another Disk Link memory (or use the Disk User
function).
Here’s in a nutshell what happens when you select a
Disk Link memory. (Even though the drawing may
suggest that this takes quite some time, the VA-76 per-
forms these steps in a split second.)
The display now looks as follows:
You select a Disk
Link memory
(group C).
The VA-76 looks up the
name of the referenced
Music Style
If you look at the BANK/NUMBER buttons, you will
notice that they now light in green.
C11 C21 C31 C41 C51 C61 C71 C81
C12 C22 C32 C42 C52 C62 C72 C82
C13 C23 C33 C43 C53 C63 C73 C83
C14 C24 C34 C44 C54 C64 C74 C84
C15 C25 C35 C45 C55 C65 C75 C85
2. Press the [A], [B], or [C] field to select the desired
Music Style group.
3. Press one of the following fields to select a bank
within that group:
C16 C26 C36 C46 C56 C66 C76 C86
The data are
Use these fields for selecting a Music Style bank:
C17 C27 C37 C47 C57 C67 C77 C87
loaded from
Zip/floppy
C18 C28 C38 C48 C58 C68 C78 C88
4. Press a Style field to select a Music Style (number).
While you’re at it, you may want to prepare the desired
Orchestrator “version” so as to be all set for the next
song you want to play. In that case, press the [Orches-
trator] field and see page 62 for what to do next.
Disk
User
This memory contains
the Music Style data
The Style can be played
back.
After unpacking the VA-76, these memories already
contain links to 64 Music Styles on the supplied Zip
disk. You can also program your own references to
other Music Styles on disk (see page 108). You could
even “mix” references to a Zip and a floppy disk.
The Disk Link memories are assigned to group C. You
can use either of the above procedures for selecting
them (“Style selection via the front panel”, “Style
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selection via the display”). Just be sure to select group
C. Here’s what the display looks like when group C has
been selected:
In the case of a Music Style on floppy disk, the message
about a missing Music Style would be:
In that case, press the Eject button on the floppy drive,
insert the correct floppy disk, and press the [RETRY]
field.
Note: If you do not wish to use the Music Style after all,
press [EXIT]. In that case, the VA-76 will go on using the
last Music Style it did find.
Even for Music Styles on Zip/floppy, the VA-76 thus
displays their names. In fact, it’s the names that are
important for finding the Styles on a disk. If you
change the name of a Music Style that is referenced by
one of the Disk Link memories (see page 110), the
VA-76 can no longer find it. Conversely, if you have
two Zip disks (for example) that both contain a Music
Style called “Reggae1”, even inserting the “wrong” Zip
disk would recall a “Reggae1” Style – but it might be
the wrong one (and quite a few other Disk Link mem-
ories might not recall any Style at all, because the
other names only exist on the “other” disk).
Note: See page 62 for the meaning of the [Orchestrator]
field.
Disk User
You can also load one Music Style directly into the
VA-76’s Disk User memory and use it as if it were a
193rd Music Style. You could take advantage of this
function whenever none of the 64 Disk Link memo-
ries refer to the Music Style you need for playing a
given song.
Note: The Music Style in this memory is only available until
you switch off the VA-76 or load another Style. Be aware
that selecting a Disk Link Style will also overwrite the last
Disk User Style you selected.
Do not forget to insert the required Zip and/or floppy
disk into the VA-76’s drive. Failure to do so may lead
to the following message being displayed:
Note: Unlike the Disk Link memories, the reference to the
selected Music Style is not remembered (and therefore not
“fixed”).
1. Insert the Zip or floppy disk with the desired Music
Style into the (appropriate) drive.
2. On the Music Style selection page (see above), press
the [Disk User] field.
The display now looks as follows:
If the Zip drive currently contains another disk, press
the [ZIP Eject] field to eject that Zip disk. Then insert
the disk that contains the referenced Music Style.
Note: If you do not wish to use the Music Style after all,
press [EXIT]. In that case, the VA-76 will go on using the
last Music Style it did find.
3. Press the [FLOPPY] or [ZIP] field to specify
whether you want to load a Music Style from a Zip or
a floppy disk.
4. Press the field that contains the name of the Music
Style you want to load.
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5. If the desired Music Style is not displayed, use
[o][k] to select another group of 4 Styles.
You can also use the [TEMPO/DATA] dial for select-
ing other pages with different Music Styles on the
inserted disk.
Note: The VA-76 contains a powerful search engine for
quickly locating the desired Music Style on a Zip disk (see
page 109). See page 110 for the [Options] field.
Ejecting the Zip disk
OK, so you’ve inserted the Zip disk, and now press
the eject button on the drive because you want to
insert another Zip disk. But the Zip disk won’t come
out of the drive…
This was done as a safety precaution because the
VA-76 may still need to access the Zip for certain
operations. Making it “official” that you no longer
want to use the current Zip disk is thus the only way
to remove the Zip disk.
Note: Press the [EXIT] field if you do not want to use a Style
on disk after all.
6. Press the [LOAD] field to copy the data of the
selected Music Style to the VA-76’s Disk User mem-
ory.
(A floppy disk, on the other hand, can be ejected
simply by pressing the eject button on the drive.)
The display page does not change. This was done to
allow you… to select another Music Style on Zip or
floppy disk. Repeat the above procedure. As soon as
you press the [LOAD] field, the name of the newly
selected Style will appear in the “User” field in the
upper left corner. When the pattern of the currently
selected Music Style is finished, the VA-76 switches to
the newly selected Style on disk.
1. Press the [FUNCTION MENU] button.
2. Press the [Floppy/ZIP Disk] field.
3. On the page that appears now, press the [Utility]
field.
7. Start playing with the newly selected Style.
The selection of the Disk User Style will be written to a
User Program (see page 127). The User Program in
question, however, refers to the memory address – not
its contents. Next time you recall such a User Program,
the VA-76 will therefore use the Style that resides in
the Disk User memory at that time.
4. Press the [ZIP Eject] field.
The Zip disk is ejected – so you don’t even have to
press the eject button on the drive.
If, at that time, you haven’t loaded a User Style, the
VA-76 will go on using the last Disk Link Style you
selected. That is because the Disk User memory also
acts as buffer for the Music Styles referenced by the
Disk Link memories. If you haven’t selected any Disk
Link Style since switching on the VA-76, it will go on
using the last ROM Style.
5. Press [EXIT] to return to the Master page.
Orchestrator and Morphing
The VA-76’s Music Styles are far more versatile than
we have seen so far. For one, you can vary the repeat-
ing accompaniment patterns (Basic, Advanced, Origi-
nal and Variation). And you can also mix the parts of
two Music Styles so as to create new Music Styles on
the fly (Morphing).
8. Press [EXIT] to return to the Master page.
The “User” message to the right of the [Style] field
alerts you to the fact that you are currently using a
Disk User Style.
Orchestrator
The Original and Variation patterns are the two
“basic” Music Style patterns that can be selected by
pressing the corresponding buttons on the front panel:
(Note that only one of them can be active.) Whereas
[ORIGINAL] selects the simpler version of the repeat-
ing (“looped”) accompaniment, [VARIATION] calls
up a more “stuffed” version.
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VA-76 – Arranger/Music Style clinic
Note: The last version you select will be written to a User
Program (see page 127), so be sure to prepare the one you
want to start with next time you select that User Program.
With the ORCHESTRATOR function, you can further
refine and vary the Original and Variation patterns
played by the Arranger. This is like orchestrating the
accompaniment in realtime, because you can leave out
parts, thin out the drum part, or even select a totally
different accompaniment.
Note: The Music Styles on the supplied Zip disk also contain
suitable Orchestrator versions. Other Music Styles you can
load with the VA-76, however, may not provide the same
flexibility.
There are four options for both Original and Varia-
tion, while the selected Orchestrator option also
affects the Intro and Ending patterns.
Morphing
The Morphing function allows you to create a mix of
two Music Styles by using certain accompaniment
parts from one Style, and other parts from another
Style.
1. Activate the VA-76’s Arranger and start playback of
the [ORIGINAL] or [VARIATION] pattern.
See “Using the VA-76’s Arranger” on page 25.
The mixable parts are: Drums, Bass, and Accomp. The
latter includes all melodic parts (for a maximum of
six) except for the bass. These may be piano, guitar,
brass, etc. lines. Morphing allows you to create combi-
nations like the following:
2. Do one of the following:
• Press the [Style] field on the Master page (as though
you wanted to select a Music Style).
• On the page that appears next, press the [Orchestra-
tor/Morphing] field.
1st Style
2nd Style
—OR—
Drums
Bass
Bass, Accomp
Drums, Accomp
Drums, Bass
• Press the [ORCHESTRATOR] button.
Accomp
Of course, you can also use just one part of the “2nd
Style” and two of the “1st Style”. It is not possible,
however, to switch on two identical parts (i.e. the Bass
parts of the “1st Style” and the “2nd Style”). Nor can
you switch off e.g. the drums altogether (neither “1st
Style”, nor “2nd Style”). See page 114 for how to do
that.
In either case, the display now looks as follows:
On the other hand, it is perfectly possible to combine
the drums of a waltz with the bass and accompani-
ment parts of a 16-beat Style, for example. Using two
Styles with different time signatures is absolutely no
problem. Be aware, though, that the result of your
morphing may not be usable in a real-life situation.
If you do use two Styles with different time signatures,
the “1st Style” determines the time signature of your
morphed Style. In other words: if your “1st Style” is a
waltz, the morphed result will use the 3/4 time signa-
ture.
The possibilities are endless, because you can not only
use the internal Music Styles (groups A and B) but also
Styles on Zip or floppy disk (via the Disk Link or Disk
User function).
3. Press an Orchestrator field to select the desired
“orchestration”.
As you see, there are four fields. B corresponds to the
Basic level found on previous Roland arranger key-
boards. A provides a slightly more sober version of
the Basic pattern. D corresponds to the Advanced
level on older Roland models, while C is a slightly
simpler version.
Let us morph (i.e. create) a new Music Style now to see
how it works:
With these fields, you can thus vary your accompani-
ments at will so as to make them sound really profes-
sional.
Levels B and D can also be selected by pressing either
[ORIGINAL] or [VARIATION] twice in succession.
There are indeed two Basic and Variation patterns: one
for the Original and a second for the Variation level.
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1. See steps (1) and (2) above.
8. Press the [2nd Style] field.
The “1st Style” is the one you (or the Virtual Band)
selected last, while the “2nd Style” is prepared auto-
matically. What you hear now is the “1st Style” (all
three fields in the left column are white).
Note: See below for how to select other Music Styles for the
Morphing function.
Again a familiar display page. Note, however, that the
[C] and [Disk User] fields are no longer there. While
the “1st Style” can be taken from the ROM memory
(groups A and B) or a Zip/floppy disk (group C or
Disk User), the “2nd Style” must be a ROM Style. That
is why you can only select group A or B.
2. Press the [Drum] field in the right column.
The [Drum] field in the left column turns blue, while
the one in the right column turns white. You are now
using the drum part of the “2nd Style” with the Bass
and Accompaniment of the “1st Style”.
9. Assign a Music Style to the “2nd Style” memory.
10. Press the [oBack] field to return to the Orches-
trator/Morphing page, and start morphing again.
Note: Your “2nd Style” will also be stored when you write
your settings to a User Program (see page 127). You thus do
not have to perform the selection process every time you
want to morph.
3. Press the [Bass] field in the right column.
This switches off the Bass line of the “1st Style”, while
the Bass line of the “2nd Style” is activated.
4. Try out other combinations.
5. Press [START/STOP] to stop Arranger playback.
Let us now select other Music Styles for the “1st Style”
and the “2nd Style”.
6. Press the [1st Style] field in the display.
This page should look familiar. It allows you to select a
Music Style.
7. Assign a Music Style to the “1st Style” memory.
Remember that it is also possible to use the BANK/
NUMBER buttons. See “Selecting Music Styles” on
page 59 and “Style Morphing (part 2)” on page 98 for
operation details.
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VA-76 – Song Composer clinic
7. Press the [SONG COMPOSER] button.
4.7 Song Composer clinic
On page 31 we already showed you how to play back a
Standard MIDI File on Zip or floppy disk. Here we’ll
record a song using the Arranger as accompaniment.
Recording your music
You can record your music as “Songs” that can be
saved to Zip or floppy disk.
The display now looks as follows:
Note: Your singing using the Audio In part (see page 57) is
not recorded. If you use User VariPhrases during your
recordings, do not forget to load them before starting play-
back of one of your own songs.
Though the following series of steps may seem rather
long to perform, you could skip the ones you do not
need, while you may want to perform other actions for
certain steps. Here, we will take advantage of all “auto-
matic” functions the VA-76 contains with occasional
hints for alternatives.
Note: See also “A few remarks about recording songs” on
page 132.
See page 132 and following for an explanation of the
various fields.
1. Press the [VIRTUAL BAND] button.
8. Press the [REC G] field (so that it is displayed in
white).
2. Press the [EASY ROUTING] field, followed by the
[In a BAND] field.
If you like, you can press the [SYNC] button (so that it
lights). In that case, you can skip the next step.
3. Now follow the on-screen instructions to select a
Music Style and a Tone for your right hand.
9. Press the [START/STOP] button.
4. After selecting the “solo instrument”, press the
[FINISH] field.
Here are other settings you could select:
Arranger playback and recording start.
Note: You can also start recording by pressing the
[PLAY ®] field, in which case the Song Composer starts
without the Arranger. Press the [START/STOP] button to
add the Arranger at a later stage.
• See page 59 for selecting another Music Style and
page 25 for selecting the pattern you want to start
with.
10. Play the Arranger chords with your left hand, and
the melody with your right.
• Press [ORIGINAL] or [VARIATION] if you want to
start without the introduction. Use the Orchestrator
for selecting another Intro or Original/Variation ver-
sion (see page 62).
If you need more than the Upper1 part, select addi-
tional Keyboard parts (see page 34). It is also possible
to use the VariPhrase part for recording and to work
with a second (see page 86) or a dynamic split (see
page 88).
If you think that playing the chords for the Arranger
and the melody simultaneously is too difficult, leave
the melody for later (see “Redoing the melody (2nd
Trk)”) and only play the chords used for transposing
the Arranger in realtime. This is similar to working
with the Chord Sequencer on previous models. On the
VA-76 however, recording the chord changes for the
Arranger is part of one integrated, seamless process.
Note: You can also use the VA-76’s performance functions
for your melody playing. See “Expression clinic” on page 51.
Note: Rather than performing the above steps, you could
recall a User Program with the desired settings (see
page 128).
11. To stop recording, do one of the following:
5. Press the [START/STOP] button and listen to the
tempo. If it is too fast, change it now (see page 27).
• Press the [ENDING] button. The Arranger will play
the Ending. When it is finished, Arranger playback
and Song Composer recording stop.
6. Press [START/STOP] again to stop playback.
This tempo will be used every time you start playback
of this song. You can, however change it temporarily
during playback, or edit it later (see page 161).
• Press the [START/STOP] button. This will stop Arran-
ger playback, while recording goes on. This allows you
to improvize without accompaniment. (You will also
need to perform the following step.)
• Press the [STOP G|√] field to stop recording.
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2. Select a Tone for the new melody part:
See “Super Tones” on page 28 or “Selecting Tones for
the Keyboard parts” on page 37.
Listening to your song
You probably want to listen to your song now. If you
like it, be sure to save it to Zip or floppy disk (see “Sav-
ing your song to disk”).
Count-In and/or metronome
1. Press the [STOP G|√] field twice.
This returns the Song Composer to the beginning of
your new song.
If you need to start on the first beat of the song, it
would be a good idea to switch on the Count-In
function. The metronome may come in handy for
accompaniments without a clearly defined rhythm.
Note: Though you could also press the [CONTROLLERS]
button (see page 56), that would force you to leave the
Song Composer mode and to save your song to disk. The
following method is therefore more practical once you are
in Song Composer mode, even though it may not seem
logical at first sight.
2. Press the [PLAY ®] field to start playback.
Playback of your freshly recorded song starts.
3. Press [STOP G|√] again to stop playback, and
again to return to beginning of the song.
If you made a mistake in the Arranger chords and
would like to record that part again, go back to step
(8) above. Make sure that the [2nd Trk] field is not dis-
played in white (press it if it is), and start again.
Note: This will also erase your melody, so be sure to play it
again – or leave it for later (see “Redoing the melody (2nd
Trk)”).
a) Press the [Minus One] field to go to the following
page:
Redoing the melody (2nd Trk)
Note: 2nd Trk is only available for newly recorded songs.
You cannot use it for adding a new melody to a song loaded
from Zip or floppy disk. You can, however, use the 16-track
sequencer for doing so. See page 141.
See “Minus One playback” on page 32 for details
about the functions on this page. Ignore them for
now.
Note: Please be aware that 2nd Trk will erase all Keyboard
b) Press the Metronome [Mode] field.
parts, even if you only play the Upper1 part again.
The 2nd Trk function allows you to redo part of your
recording. The previous melody version is erased in
the process, while the Arranger parts are left
untouched. You cannot use 2nd Trk for adding notes
to the melody, or for adding additional lines using
other Keyboard parts.
Your playing is recorded
Arranger playback is recorded
This page is very similar to the Metronome page that
can be selected via the [CONTROLLERS] button,
except that only the metronome options for the
Song Composer are available here. See “Metro-
nome” on page 56 for details.
Your playing is recorded again
Arranger parts are played back
Note: From now on, the VA-76’s Song Composer takes con-
trol over the tone generator. This means that the Arranger
can no longer be started/stopped or otherwise controlled.
You can, however, use all Keyboard parts (in SPLIT or
WHOLE mode).
c) Set the Count-In function to “1Bar” or “2Bars”.
d) If you need the metronome, you can switch it on
by pressing the [OFF] field so that it changes to
[ON].
Note: You could record the melody using the Upper1 and 2
parts or the VariPhrase part. Even the “Keyboard Mode”
WHOLE or SPLIT modes, as well as UP2 to Left (see
page 88) and UP2 Split (see page 86) are available.
You can also activate/switch off the metronome by
pressing the
field on the Song Composer page.
e) Press the [oBack] field once to return to the
Minus One page, and again to return to the Song
Composer page.
1. Press the [STOP G|√] field to return to the begin-
ning of the song.
The measure indication above the [PLAY ®] field
must read “1.1”.
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3. Press the [REC G] field (so that it is displayed in
white).
Saving your song to disk
A Composer song you save to disk becomes a Standard
MIDI File that can be played back with the VA-76, but
also with any other SMF-compatible sequencer.
4. Press the [2nd Trk] field.
This means “redo the melody but leave the Arranger
parts unchanged”. The relevant part of the display now
looks as follows:
Be aware that, once a song has been saved to disk, the
2nd Trk option can no longer be used for redoing the
melody. You can, however, use the 16-track sequencer
for achieving exactly the same effect.
There are two ways of saving new or edited songs:
a) Via the [FUNCTION MENU] button and the Disk
menu (you will have to press the [Save] field).
5. If you’re ready, press the [PLAY ®] field to start
recording.
Remember that this time, there is no keyboard split
(but you could select it), so that you could also play
with you left hand. This is ideal for recording piano
parts, for example.
b) By leaving the Song Composer page.
Here, we will show you how to save your song simply
by returning to the Master page.
1. On the Song Composer page, press the [EXIT] field.
The display now responds with:
6. At the end of the song, press the [STOP G|√] field
to stop recording.
7. Listen to your song (see page 66).
If you like it, save it to disk, if you’re still not happy
with your melody, go back to “Redoing the melody
(2nd Trk)” on page 66.
Note: See page 147 if you want to change just single notes or
other aspects of your song (which is called “editing”).
2. Press the [YES] field.
3. Insert a Zip or floppy disk into the appropriate
drive, and press the [FLOPPY] or [ZIP] field to select
the drive you want to save your song to.
Note: Do not use the supplied Zip disk for saving your own
data. Use a new disk for your own data.
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VA-76 Owner’s Manual—VA-76 clinics
4. Press the [Name] field, because you need to give
your brand-new song a name.
If your disk is not formatted (either for VA series
instrument or for MS-DOS), the following message
appears:
Alphanumeric keypad
In fact, you even need to give your song two names: a
Song Name, and a File Name. See page 109 for the dif-
ference.
a) Press the [FORMAT] field. This display now looks
as follows:
5. Press the [Song Name] field.
6. Enter the name:
• Move the cursor to the desired position using [o] and
[k].
• Enter the character for that position using the alpha-
numeric keypad. In many instances, you will have to
press the desired field several times to select the
desired character.
• Use the [A/a] field to alternate between captitals and
b) Press the [Quick] field. This should do in most
instances. See page 132 for the [Full] option. The
VA-76 starts formatting the disk. Once this has been
completed, the following message appears:
small letters.
• Press the [Delete] field to delete the character indi-
cated by the cursor (“_”). Press [Space] to insert a
space. Press [Insert] to insert a character at the cur-
rent position. All characters behind this position move
one position further to the right.
7. Press the [File Name] field and enter the file name.
See page 109 for details. Here, you can only enter 8
characters. All characters will be capitals.
8. Press the [EXECUTE] field to save your song.
The display tells you that the data are being saved,
after which it returns to the Save Disk page.
The display now returns to the Disk Save page.
Note: If you want to save the song under its current name,
or the name assigned by default (Song_001), you can skip
steps (4)~(7).
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5. More about the VariPhrase part
The display now looks as follows:
5.1 Playing with the User
memories
Loading VariPhrases, VariPhrase Sets or
audio files
As stated earlier, you can also use your own VariPhra-
ses, or load up to 16 phrases from the supplied Zip
disk. (The Zip disk contains 62 User VariPhrases and 7
Phrase Sets.)
This allows you to expand the “repertoire” of your vir-
tual vocalist. You can also sample your own phrases,
save them to Zip and then load them again. It is even
possible to load phrases created on a Roland VP-9000,
.WAV and AIFF files. These data must reside on an
MS-DOS formatted floppy or Zip disk. Careful: the
VA-76 cannot read 250MB Zip disks.
Now decide whether you wish to load just one Vari-
Phrase (Single Phrase), a set of 16 VariPhrases (Phrase
Set), or a .WAV/AIFF file (Other Sample Format).
If you press [Single Phrase]
The display now looks more or less as follows:
Note: The contents of the User memories are erased when
you switch off the VA-76. After sampling your own phrases,
do not forget to save them to disk.
Note: You can also load –and even sample– new VariPhra-
ses while the Arranger/Recorder is playing back. Loading is
so smooth that you can take advantage of this any time you
need new User phrases.
1. Insert the supplied (or another 100MB) Zip disk
into the Zip drive.
This disk (if it is not the supplied one) must contain at
least one .WAV/AIFF file or VariPhrase. You could also
load VariPhrases from floppy disk. (You could even
save VariPhrases to floppy disk, but be aware that the
capacity of a floppy is rather limited.)
a) Use the [o][k] fields to step through groups of
eight VariPhrases on the selected disk (Zip or floppy).
b) Press the field that corresponds to the VariPhrase
you want to load (so that it is displayed in white).
2. Press the [FUNCTION MENU] button.
c) Use the [i][m] fields to select the VariPhrase User
memory that should contain the selected VariPhrase.
Here, the memories are numbered A1, A2, A3,…B7,
B8.
3. In the Function Menu, press the [Disk] field.
d) Press [EXECUTE]. The display now informs you
that the selected VariPhrase is being loaded, after
which the above page is once again displayed.
You could now load additional VariPhrases.
If the selected User memory already contains a phrase,
there will be a warning.
4. Press the [FLOPPY] or [ZIP] field in the upper
right corner.
This depends on whether the desired phrase resides on
a floppy or Zip disk.
5. Press the [
Phrase] field in the left column.
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VA-76 Owner’s Manual—More about the VariPhrase part
Press the [YES] field if it is OK to overwrite the phrase
in the selected User memory. Press the [NO] field to
return to the Disk Load page. Press [oBack] to return
to the previous page and select another memory.
Selecting a User memory
To use the VariPhrase(s) or audio file(s) you have just
loaded, press the VariPhrase [USER] button and use
the [GROUP] & [1]~[8] buttons to select the group
(A or B) and the memory that contains the desired
User phrase.
If you press [Phrase Set]
The display now looks more or less as follows:
As soon as the [USER] and a number button in the
VariPhrase pad light, the VariPhrase part is switched
on. To switch the VariPhrase part off, again press the
[USER] button so that it goes dark. Remember that
switching on the VariPhrase part will deactivate the
Upper1 part. You must switch it on manually if you
wish to add it to the VariPhrase part.
Here, you can load 16 VariPhrases in one go (so-called
Phrase Sets), which means that the phrases in the
VA-76’s User area will be overwritten.
a) If necessary, use the [o][k] fields to select the page
that contains the desired Phrase Set.
b) Press the field that corresponds to the name of the
Phrase Set you wish to load.
5.2 Sampling your own phrases
You can also sample your own audio phrases and turn
them into fully functional and interactive VariPhrases.
c) Press [EXECUTE]. The Phrase Set is loaded.
If you select [Other Sample Format]
1. Connect a signal source to the VariPhrase [INPUT]
socket on the rear panel.
Use a dynamic microphone, or a cassette deck, MD
player, etc.
This option allows you to load .WAV or AIFF files
from Zip or floppy disk. These files must reside in the
root directory of the Zip/floppy disk. If they reside in
a sub-directory, the VA-76 cannot not find them. Fur-
thermore, the disk in question must be MS-DOS for-
matted. Mac OS-format disks are not supported.
2. Set the [GAIN] switch to match the kind of audio
signal you wish to sample.
If you connect a microphone (Roland DR-10 or
DR-20), set this switch to MIC. If you connect a cas-
sette deck, etc., set it to LINE.
The display now looks more or less as follows:
Note: If you’re thinking of using copyrighted material
(from a CD, etc.), be aware that you may only use the
resulting phrases for private enjoyment. Roland assumes
no responsibility for unauthorized use of copyrighted
audio material and the possible legal consequences.
3. Talk or sing into the microphone or start playback
of the external signal source.
4. Watch the INPUT OVER indicator while gradually
increasing the setting of the VariPhrase [LEVEL]
knob on the rear panel.
a) Use the [o][k] arrows to step through groups of
eight .WAV/AIFF files on the selected disk (Zip or
floppy).
The INPUT OVER indicator must never light.
b) Press the field that corresponds to the audio file you
want to load. The icon in the left column tells you
whether that is a .WAV or an AIFF file.
Note: .WAV and AIFF files are audio files you can play back
as such (at a fixed pitch). If you want to use them as
VariPhrases, you need to encode and possibly edit them. See
page 74 and following.
5. Select a Music Style that uses the time signature of
the material you want to sample.
You only need to do this if you intend to use the met-
ronome while recording (see below).
6. Press [EXIT] to return to the Master page.
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VA-76 – Sampling your own phrases
6. Press the SAMPLING [CAPTURE] button.
10. Enter a name for the phrase you are about to cre-
ate.
See page 68.
11. Press the [EXECUTE] field.
The display now looks more or less as follows:
The display now looks more or less as follows:
Check the Capturing Free Area field
If the value is less than “4 s”, it would be a good idea
to delete a User phrase you have already saved to
disk (see page 76) to free up sampling memory.
Most audio phrases indeed require about four sec-
onds. If the remaining time is less than this value,
your sample may be stopped prematurely, which
means that you won’t be able to record the entire
audio phrase.
7. Press the [A] or [B] field to select the desired User
Phrase group.
8. Press a Phrase memory field (so that it is displayed
in white).
9. Press the [Capture] field.
Try to select a field that reads NO PHRASE. Memories
of that name indeed contain no data.
a) Press the [oBack] field twice.
b) On the display page that appears now (Phrase
Source), press the field of a User phrase you no
longer need so that it is displayed in white.
Note: Be careful not to select the memory you have just
selected for sampling, for that won’t help you recover any
memory capacity, because that memory is still empty.
If all memories are occupied by previously loaded
phrases, press a field that contains a phrase you no
longer need, then press the [Delete] field. The display
responds with:
c) Press the [Delete] field to dispose of that phrase.
d) Press the [Capture] field again.
About the phrase RAM memory
The total duration available for all 16 User Vari-
Phrase memories is 54 seconds. The required
capacity is allocated intelligently. If you work with
long phrases, however, you may not be able to take
advantage of all 16 memory locations.
Here is an example: if User phrase A1 is 30 seconds
long, while A2 uses 14 seconds, and A3 10 seconds,
you’ve already used up the available 54 seconds, so
that memories A4~B8 are of no use to you.
Press [YES] to erase the selected User memory. Press
[oBack] to return to the previous page and select
another memory. Press [NO] to abort the sampling
process.
12. Press the [TEMPO/TAP] button at the desired
tempo, or set the tempo value using the [TEMPO/
DATA] dial.
The display now looks more or less as follows:
You can also specify the tempo value of the phrase at a
later stage (see page 75). But if you do it here, you
won’t have to worry about the tempo at a later stage.
Besides, setting the correct tempo also allows you to
take advantage of the metronome.
13. (Optional) Press the Metronome [OFF] field to
activate the metronome.
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VA-76 Owner’s Manual—More about the VariPhrase part
Note: The time signature cannot be changed here. That
explains why we suggested selecting a Music Style with the
correct time signature before calling up the Capture func-
tion.
Phrase Edit: touching up the audio
material
Note: The following settings need to be finalized by pressing
the [EXECUTE] field. This “encodes” the phrase and
“burns” these settings into the wave information.
14. Press the [START/STOP] button and start singing
or playback of the external audio source.
Note: The Reverb or Chorus effect you may hear while
recording is not sampled. It may help you make your perfor-
mance sound more “convincing” though. See page 58 for
how to switch it off.
There are a number of additional steps you need to
perform before your audio material behaves like the
internal VariPhrases and the ones on the supplied Zip
disk.
Note: For optimum results, try to sing all notes at the same
pitch. If that is impossible, consider using the Robot func-
tion (see page 82) but bear in mind that this may affect the
sound quality.
Truncate
17. Press the [Edit] field.
15. Press [START/STOP] again to stop sampling.
The display now indicates the length of your sample
(Current Capturing Area) and how much time you
have left for other samples (Capturing Free Area).
16. Press the [Preview] field to listen to your sample.
Truncate allows you to shorten the phrase. This may
be necessary if the beginning of the phrase contains a
blank (or noise) you do not need when performing
with the phrase, while the end is a little long for a per-
fect loop.
You can also play on the keyboard to audition your
sample. The audio material will be looped and
repeated until you release the [Preview] field or the
key you pressed. (If you’re not happy with your sam-
ple, press [Capture Retry] and start again.)
Consider the following illustration:
Start
End
Here, we will assume that you are happy with your
recording. What you have now, is a rough audio sam-
ple that needs some cleaning up and a special process-
ing step that is called Encode. It is this encoding
operation that transforms an audio file (a regular sam-
ple) into a VariPhrase whose tempo remains the same
regardless of the pitch at which you are playing back
the sample, and whose formant, etc. can be changed in
a creative and –above all– controlled way.
I wanna be phrased by you
The above audio phrase runs from the “Start” till the
“End” position. The grayed areas denote noise or
blanks you don’t need because they delay the onset of
the future phrase (Start), while also making a smooth
loop impossible (End). These areas need to be dis-
posed of.
Note: If you save this audio file to disk before doing the
touching up, it will also be saved as an encoded phrase. But
it would be relatively useless, so please bear with us.
This means you need to move the Edit Start address to
a position just before “I”, while the Edit End address
must be shifted to a position just after “you”.
Another use for Truncate is to shorten a phrase by dis-
posing of the parts you don’t need. Here’s an example:
suppose it turns out that “I wanna be” is all you need.
In that case, set the Edit Start address like in the pre-
ceding example, and move the Edit End address to the
position immediately before “phrased”.
18. Press the [Truncate] field in the upper left corner
so that it is displayed in white.
19. Press the [Edit Start] field so that it is displayed in
white.
20. Use the [TEMPO/DATA] dial to change the Edit
Start point.
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VA-76 – Sampling your own phrases
Press a key on the keyboard (or the [Preview] field) to
play back the audio material, and adjust the Edit Start
position so that the phrase starts at the desired posi-
tion whenever you press a key on the keyboard (or the
[Preview] field).
Normalize
Another thing you may want to do before going on, is
maximize the level of the phrase you have just sam-
pled. This sometimes improves the dynamics of your
audio data, while it certainly increases the level. This
may come in handy if the recording level was a little
low, so that the phrase is a bit too soft.
Use the [Coarse] and [Fine] fields to select the reso-
lution of the [TEMPO/DATA] dial. [Coarse] is help-
ful for roughly locating the desired beginning of the
phrase (somewhere around “I”). Once you have
found that position, select [Fine] to move the Edit
Start address to the exact position where you want
the sample to start. Don’t forget to repeatedly press a
key while setting the Edit Start value. Coarse and
Fine can be real time savers.
Note: See also “Amplitude” on page 78 for how to change
the volume of a phrase at a later stage.
Normalize boosts the level of the audio data in such a
way that the volume is maximized, while distortion is
avoided.
Maximum
level without
distortion
Original
level
I wanna be phrased by you
Note: It would be a good idea to work with headphones at
this stage, switch off the external amplifier, and set a rather
high volume. If you listen very carefully, you will notice that
a properly pronounced “I” starts with a slight pressure.
Don’t discard that. Likewise, be careful no to create too
short a “you”. A good indicator for both addresses is to listen
to the phrase in a loop (by holding down the [Preview] field
or the key you pressed). If the rhythm “fits”, your Edit Start
and End points are perfect.
The phrase’s
volume
increases
After using
Normalize
I wanna be phrased by you
21. Press the [Edit End] field.
1. On the Phrase Edit page (see above), press the
[Normalize] field in the upper right corner.
The display now looks more or less as follows:
22. Use the [TEMPO/DATA] dial to select a different
Edit End point.
The [Step] field (which is in fact an on/off switch for
the [Preview] field) allows you to listen to the vari-
ous steps created with the Event Sense parameter. If
the [Step] field is displayed in white, press the [Pre-
view] field or any key on the keyboard repeatedly to
step through the various “audio events”. See page 75
for details. You probably don’t really need it here.
If you are sure the sample sounds alright with the new
Start and End positions, you can finalize its new size
by erasing the audio information before the Edit Start
and after the Edit End position.
2. Use the [i][m] fields to set the desired Normalize
percentage.
In most instances, “97%” is probably a good choice.
Do not select a higher value because that may lead to
distortion.
Note: Be aware that if the audio data contain noise, that
noise will also be amplified.
23. Press the [EXECUTE] field to truncate the sample.
The animated clock tells you that the audio data are
being edited.
3. Press [EXECUTE] to change the level of the
selected phrase.
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VA-76 Owner’s Manual—More about the VariPhrase part
Original Key
Encoding the phrase
Original Key allows you to ensure that your VariPhrase
will be played back at the right pitch (so that you hear
a C when you press a C key). Here’s an example: sup-
pose you sampled a phrase in the key of A (major or
minor) that actually starts with an A. Right now, the
VA-76 doesn’t know the phrase is in A. That is why the
phrase will be played back in A whenever you press the
[Preview] field or the C4 (the C more or less in the
middle of the keyboard). If you then press the D4, the
phrase will be played back in B, etc.
So far, we have been working with audio data that you
could already save to disk (see page 76). That, how-
ever, would not allow you to use this phrase in sync
with the Arranger tempo. That is because the audio
file hasn’t been turned into a VariPhrase yet. The func-
tion that allows you to do so is called Encode. And
again, there are a few parameters you can set to opti-
mize the audio data for “intelligent”VariPhrase appli-
cations that sound just as impressive as the phrases
prepared by Roland.
This is no good for melodic applications and would do
away with the advantages of the VariPhrase technol-
ogy. You therefore need to change the Original Key
parameter so that the phrase is played back in A when
you press an A key on the keyboard. Consider the
illustration:
1. Press the [FUNCTION MENU] button.
2. In the menu that is displayed now, press the
[
VariPhrase] field.
The display now looks as follows:
Before setting the correct
Original Key: the phrase
is played in A when you
press a C.
After setting the correct
Original Key: the phrase
is played in A when you
press an A (and in C
Note: You can also select this page by pressing and holding a
VariPhrase bank button ([BACKGROUND], [MELODIC],
[RHYTHMIC], or [USER]) and by pressing the [oBack]
field on the display page that is displayed then.
when you press a C).
3. Press the [Encode] field.
Note: The “Key” parameter of the User Style Composer (see
page 166) has a similar function. But while “Key” is used
for MIDI data, “Original Key” bears on audio data.
1. Press the Keyboard Mode [OTHER] button and the
[KEYBOARD MODE] field (it must be displayed in
white).
2. Press the [UP1] field to switch on the Upper1 part.
Now, when you play on the keyboard, you will hear
both the VariPhrase and the Upper1 part. This will
allow you to set the correct Original Key value.
Note: You will notice that the tempo of the phrase does not
change, while the pitch does.
Use the [Preview] function or the keyboard to listen to
the current state of the phrase. If you press [Step] (so
that it is displayed in white), you can step through the
various “chunks”. Note that even though the Event
Sense parameter allows you to change the way in
which the phrase is chopped up, you cannot “preview”
the result of your setting. [Preview] reflects the cur-
rent (executed) state of the phrase – without the value
changes entered on this page but not yet executed. You
can, however, correct this setting if it does not yield
the expected result.
3. Press the [EXIT] field to return to the Phrase Edit
page.
4. Press the [Original Key] field.
5. Press the [i][m] arrows while playing the same
note repeatedly (C–1~G9).
6. When the pitch of your phrase corresponds to that
of the Upper1 note (in any octave), stop pressing [i]
or [m].
7. Press the [EXECUTE] field, or go on to the next
parameter.
Note: See page 78 if your phrase is still flat or sharp.
Note: Some parameters on this page are related to one
another, while others are separate items. That is why some
parameters will be described together.
You can also use this parameter for causing the phrase
to change octaves. Here’s an example: if the sampled
phrase is in A, selecting “A4” may yield the correct
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VA-76 – Sampling your own phrases
pitch, while the phrase is actually too low. To “trans-
pose” it one octave up (when you press the same key
on the keyboard), you would have to select “A3” as
Original Key.
B
Method 2: entering the tempo value right away
If you know the tempo value of the audio phrase you
have just sampled, you can press the [New] field and
enter the value using the [TEMPO/DATA] dial.
8. Press the [EXECUTE] field, or go on to the next
parameter.
Specifying the phrase’s tempo: Time Signature,
Measure, Beat, Tempo
If you decided not to use the metronome while
recording your sample (which also means that you did
not set the tempo), the VA-76 is still unaware of the
phrase’s tempo. Yet that is important for the correct
synchronization of the phrase with the Arranger/Song
tempo.
Note: Be sure to select the Phrase you want to edit on the
Phrase Source page (see page 71).
Note: Before using Method 1, it would be a good idea to cut
the phrase to the part you really need. See “Truncate” on
page 72.
After encoding the data, the display returns to the
There are two approaches for specifying the tempo:
VariPhrase Source page.
A
Method 1: specify the length of the sample and have the
VariPhrase function calculate the tempo
Event Sense
This parameter is important for the Step function (see
page 81). It allows you to set the VariPhrase proces-
sor’s sensitivity to sudden volume drops. The (slightly
more) silent passages are considered the end of a step.
As soon as the volume of the audio phrase rises again,
the audio data that follow will be considered a new
step. As the term“Step” already indicates, this function
allows you to chop up an audio phrase into smaller
units that you can play one after the other. In our
example on page 72, this would allow you to play a
melody using the following syllables: “I-wan-na-be-
phrased-by-you” (rather than “I wanna be phrased by
you” in one go). This is in fact one of the most creative
uses of the VariPhrase processor.
• Use the Time Signature fields to specify the time signa-
ture of the phrase. Press the field before the “/” and
enter the number of beats per measure (for a 6/8 mea-
sure, enter “6”). Use the [TEMPO/DATA] dial.
Press the field behind the “/” and enter the note value
of the beats (for a 6/8 measure, enter “8”).
• Press the [Measure] field and specify the length of the
phrase in measures. For a phrase that is 2 measures
and 3 beats long, enter “2”.
Event Sense allows you to specify how sensitive the
processor should be to silences between two audio
events. Here’s an example:
• Press the [Beat] field and specify the number of addi-
tional beats. If your phrase is 2 measures and 3 beats
long, you need to set Beat to “3”.
These could be individual steps
• Press the [Calculate] field to have the VA-76 calculate
the tempo (BPM).
What you do here, is in fact ask the VA-76 a question:
“if I tell you that the present audio phrase is two (Mea-
sure) 4/4 (Time Signature) measures and three beats
(Beat) long, what is its tempo value (BPM)?” The
result is displayed in the [New] field.
If the Playback parameter (see page 81) is set to STEP,
the sample will play to the next event each time you
press a key.
The higher the Event Sense value you set, the more
steps will be generated.
9. Press the [Event Sense] field and enter the desired
value (0~127) with the [TEMPO/DATA] dial.
Note: If you set this parameter to a high value, a large num-
ber of steps may be detected. If you encode in such a state,
the intervals between the steps may be too short and there-
fore musically useless.
10. Press the [EXECUTE] field to encode the phrase.
This finalizes all of the above settings (New Tempo,
Original Key, and Event Sense) and turns your audio
phrase into a fully functional VariPhrase.
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VA-76 Owner’s Manual—More about the VariPhrase part
11. Play a few notes on the keyboard to try out the
phrase. If necessary, correct any of the above parame-
ters, and press [EXECUTE] again.
Note: If you change a setting after pressing [EXECUTE],
you must encode the phrase again (by pressing [EXECUTE]
yet again).
4. Insert a Zip disk into the Zip drive and press the
[ZIP] field.
Though you could also use a floppy disk (and press
[FLOPPY]), we strongly recommend to work with Zip
disks. After all, a floppy may be just enough for one
phrase (if that), while a Zip disk allows you to build
your own libraries.
There is also another way of working with audio
fragments: turn all syllables or sentences you need
into separate VariPhrases and switch between them
by pressing the VariPhrase [1]~[8] buttons while
you are playing (use the [GROUP] button to switch
between groups A and B). These changes are so fast
(no delays) that you can take advantage of them for
“meaningful” vocal lines.
Note: Do not use the Zip disk that came with your VA-76.
As a rule, you should not save any of your own data to the
supplied Zip disk.
Note: You may have to format the Zip disk (see page 132).
5. Press the [Name] field.
Note: Do not forget to load all VariPhrases that make up
the “entire” song at a later stage (see page 69).
Saving your VariPhrase
Now that you have created your first phrase, there is
one important step before you can take a break or start
“playing” with it: you must save it to disk. It will
indeed be erased as soon as you switch off the VA-76.
6. Enter the name of your new VariPhrase.
See page 68.
Note: Note that what you are entering here is the “File
Name” for the VariPhrase. This can only be 8 characters
long, and is used for identification purposes by the VA-76.
1. If you followed our steps above, press the [oBack]
field to return to the VariPhrase menu.
2. On the VariPhrase menu page, press the [Capture]
field.
7. Press the [EXECUTE] field.
The animated clock indicates that the data are being
saved to disk, after which a “Complete” message is dis-
played.
8. Press [EXIT] to return to the VariPhrase menu (if
that is where you came from).
Note: You can also save all 16 User phrases as a so-called
Phrase Set. See page 212. It is even possible to have the
VA-76 load such a Set automatically when you switch it on.
See page 209.
You can also press the [Save] field. (Otherwise, press
the [FUNCTION MENU] button, the [Disk] field, the
[
Phrase] field, [Single Phrase], select the Save
page, and press [Proceed].)
3. Press [Save].
If you have already saved a previous version of this
phrase to disk, and wish to overwrite the older ver-
sion, you can skip to step (7).
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VA-76 – Phrase Parameters
Pitch
5.3 Phrase Parameters
Press the [Pitch] field to select the following page.
As you know, there are some parameters you usually
set immediately after sampling an audio phrase and
before saving it to disk. “Executing” those changes
transforms such a phrase into a VariPhrase (a process
we call “encoding”). VariPhrases are the audio “tracks”
you can use in combination with the Arranger/Song
Composer. Their main feature is that, while their pitch
usually changes as expected, the tempo remains the
same for all notes – and is synchronized to the Arran-
ger/Song Composer.
Even though the following parameters also modify the
selected phrase, you can reverse those changes by
selecting other settings. (By contrast, a “truncated”
phrase cannot be restored to its original length.) Be
aware, though, that these changes need to be saved to
disk if you want them to take effect each time you load
such a phrase. Also note that these parameters are
only available for User phrases – not for the phrases
in ROM.
Coarse Tune
(–24~+24) This parameter is similar to the Original
Key parameter on the Edit page (see page 74). The
main use for this parameter will probably be to trans-
pose a phrase in octave steps depending on which keys
you use for playing it.
This may greatly enhance the realism of the audio
phrases you use. Being able to play a phrase at any
pitch indeed means two things:
1. Select the phrase to be edited by pressing
[GROUP], [USER] and a number button [1]~[8].
• the VariPhrase processor has to adapt the tempo of
each note that is different from the Original Key.
2. Press the [FUNCTION MENU] button.
3. Press the [ VariPhrase] field.
• while changing the pitch in realtime, the processor
also shifts the Formant to avoid the dreaded “chip-
munk” effect (see also page 48). These shifts are usu-
ally very good, so that you may not even notice that
the phrase is being played way above or below the
pitch of the original audio signal.
4. Press the [Select Phrase] field.
You can also select the Phrase Parameter page by hold-
ing the [USER] button and pressing [Phrase Parame-
ter] on the page that appears then:
As a rule, however, you should use this parameter for
ensuring that the original pitch of the audio phrase
falls within the keyboard range where you’ll be most
likely to play the phrase. This will further improve the
sound quality.
(1) If this key corresponds to the
(3)… set Coarse
Tune to “–12”.
sampled pitch,…
B3
B5
The display now looks more or less as follows:
(2)… while the phrase will
be played in this range,…
Note: You could also select other values to create fifths inter-
vals with respect to the Upper1/Upper2 (or Lower1/Lower2)
part(s).
The following parameters can be set by touching the
corresponding field and by using the [TEMPO/DATA]
dial .
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VA-76 Owner’s Manual—More about the VariPhrase part
Note: Avoid choosing too high a value, for that may mean
that you’ll never hear the phrase (e.g. if it’s less than two
seconds long).
Fine Tune
(–50~50) This parameter allows you to tune the Vari-
Phrase if it turns out that it is slightly sharp or flat. Just
in case you have already worked with a sampler: this
parameter is not meant for tempo-matching purposes:
it merely corrects the tuning of your phrase. Like for
guitar tuners, this value refers to cents, which is a very
fine unit (1 cent= 1/100th of a semitone).
The Fade Out parameter (0.00~6.00 seconds) allows
you to cause the phrase to gradually become softer
when it stops sounding. Once the Fade Out time is
completed, the phrase’s volume will be 0. Again, be
careful not to set too high a value.
The best way to check the tuning of the phrase is by
switching on the UP1 part so that you hear both the
VariPhrase and the Upper1 parts:
Phrase Ctrl
The parameters on this page allow you to stray away
from the “clever” concept of the VariPhrase technol-
ogy. As you know, the pitch, tempo and formant are
adapted in realtime to yield the expected pitch at a sta-
ble tempo (same tempo for all notes, which can, how-
ever, be changed by the Arranger/Song Composer).
The formant, too, is adapted so as to yield a natural
result for any note at any pitch. See also “Things you
ought to know about VariPhrase” on page 48.
• Press the Keyboard Mode [OTHER] button and the
[KEYBOARD MODE] field (it must be displayed in
white).
• Press the [UP1] field to switch on the Upper1 part.
Alternatively, you can press the KEYBOARD PARTS
[UPPER 1] button on the front panel.
Amplitude
After selecting the Phrase Parameters page and the
phrase to be edited (see page 77), press the [Ampli-
tude] field.
The Pitch Keyfollow parameter is usually set to “+100”,
which means that the pitch increases by a semitone
between two keys (e.g. C4 and C#4), which corre-
sponds to the normal behavior of a keyboard instru-
ment. If you want the tempo and/or formant to
change according to the notes you play on the key-
board, this page will allow you to do so. Here’s an
example: if you set the Time Keyfollow parameter to
“+30”, the phrase will be played back at a faster tempo
as you play higher notes (and at a slower tempo as you
play lower notes). The same value for Formant Keyfol-
low means that the phrase’s character changes from
something slightly “male” to a more “female” sound.
After selecting the Phrase Parameters page and the
phrase to be edited (see page 77), press the
[Phrase Ctrl] field.
The parameters on this page allow you to change the
volume of the selected phrase.
Phrase Gain
(–12dB~24dB) Press this field and use the [TEMPO/
DATA] dial to change the volume of the selected
phrase. Negative values mean that the phrase will be
softer, while positive values allow you to “amplify” the
phrase’s volume (which is why this parameter is called
“Gain”). You could use it to ensure that all phrases you
want to use in a given song have the same volume.
Note: If a phrase contains noise or clicks, these will also be
amplified.
Fade In/Out
Pitch Keyfollow
The Fade In parameter works a lot like the Attack
parameter of the remaining Keyboard parts (see
page 126): it allows you to create an automatic swell-
ing effect, whereby the phrase, once launched, starts at
a volume of 0 and then gradually reaches its maxi-
mum volume. The setting range is 0.00~2.00 seconds.
If you don’t want the phrase to have a slow attack,
select “0.00”.
(–200~+200) This allows you to specify how the pitch
should change as you play on the keyboard. “+100” is
the normal setting. All other settings mean that you
can no longer play meaningful melodies. Such settings
may be great for rap or other rhythmic phrases you
created yourself.
Note: This parameter does not allow you to create a more
“snappy” attack for a phrase with a rather laid back begin-
ning.
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VA-76 – Phrase Parameters
Time Keyfollow
Alternate
(–200~+200) This parameter allows you to vary the
tempo as you play higher or lower notes (with the
Original Key setting as origin, where the phrase will
run in sync with the Arranger/Song Composer). “0” is
the usual setting. Negative values (–) mean that the
tempo decreases as you play higher notes (while it
increases when you play lower notes), and positive val-
ues (+) mean the opposite.
(–64~63) Use this setting when you want the pan of
the sound to alternate between the left and right
speakers each time you press a key. Higher settings will
produce a greater amount of change. L or R settings
will reverse the order in which the pan will alternate
between left and right.
(Pan) Keyfollow
Specifies how the phrase’s stereo position will be
affected by the key that you play. With positive (+) set-
tings, playing keys higher than the original pitch (see
page 77) will move the pan toward the right. With
negative (–) settings, playing keys higher than the
original pitch will move the pan toward the left. Larger
values will produce greater changes.
Formant Keyfollow
(Depth: –200~+200) This parameter allows you to
vary the formant as you play higher or lower notes
(with the Original Key setting as origin, where the
phrase’s character corresponds to the sampled tim-
bre). “0” is the usual setting. Negative values (–) mean
that the character becomes darker (more like a male
voice) as you play higher notes (lower notes will grad-
ually transform the character into something that
reminds you of a female voice).
Values: –100, –70, –50, –40, –30, –20, –10, 0, +10, +20,
+30, +40, +50, +70, +100
Portamento
Note: The Formant Sw and Time Sw parameters only
“work” if Formant Keyfollow and Time Keyfollow are not
set to “0”. See “Phrase Ctrl” above.
Curve— (1~8) This parameter allows you to set the
curve for the formant changes. The higher the value,
the more outspoken the formant changes will be as
you play higher or lower notes. (Selecting “1” means
that the Keyfollow effect is hardly noticeable.)
Portamento is an effect which smoothly changes the
pitch from the first-played key to the next-played key.
Applying portamento will produce an effect similar to
the slide performance technique of a violinist. Porta-
mento can also be applied when Key Assign is poly-
phonic (POLY). See page 89 for details about
Portamento.
Pan
This parameter allows you to specify the position of
the selected phrase between the left and right speakers.
All three parameters are dynamic in nature, so that
every phrase note will be located elsewhere in the ste-
reo sound field.
After selecting the Phrase Parameters page and the
phrase to be edited (see page 77), press the [Porta-
mento] field.
After selecting the Phrase Parameters page and the
phrase to be edited (see page 77), press the [Pan]
field.
Master Sw (Portamento master switch)
Allows you to specify whether the Portamento effect
will be applied (ON) or not (OFF).
Random Pan
(–64~63) Use this when you want the pan of the
sound to change randomly each time you play a key.
Higher settings will produce a greater amount of
change between left and right.
Formant Sw
When Formant Keyfollow is set to a value other than
“0”, the Formant Sw parameter specifies whether dif-
ferences in formant between the first-played key and
the second-played key will be changed smoothly (ON)
or not (OFF).
Note: This function is only available when the Master Sw is
set to “ON”.
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VA-76 Owner’s Manual—More about the VariPhrase part
NOTE— Portamento will begin from the pitch where
the current change would have ended if you hadn’t
pressed another key before the transition was com-
plete.
Time Sw
When Time Keyfollow (see page 79) is set to a value
other than “0,” the Time Sw setting specifies whether
differences in the playback speed between the first-
played key will be smoothly changed to the playback
speed of the second-played key (ON), or whether it
will change abruptly (OFF).
Pitch
The transition starts at the C5
C5
Note: This function is only available when the Master Sw is
set to “ON”.
Mode
D4
C4
This parameter allows you to specify when the Porta-
mento effect should be applied:
Time
NORMAL— Portamento is used for all notes.
Third note: D4
Second note: C5
LEGATO— Portamento will be applied only when
you play legato (i.e., when you press the next key
before releasing the previous key).
First note: C4
Time (portamento time)
Type (portamento type)
(0~127) Allows you to specify how long it takes before
the pitch of the newly played note is reached. The
higher the value, the longer the transition.
This allows you to decide how the Portamento effect
should work:
RATE— The time of the pitch change depends on the
interval between the first and the second key you
press. For small intervals, the change will take longer,
while it will become progressively faster as you play
wider intervals. (Here, the Time value is adapted to the
interval so as to avoid excessively long glides.)
5. Press the [EXIT] field if you want to do something
else now.
TIME— The Time value (see below) will always be
used, no matter how big or small the interval between
two notes played in succession.
Start
When another key is pressed while the Portamento
effect is already executing the transition to the previ-
ously played note, a new transition will be started (to
the newly played note). Start allows you to specify the
pitch at which the new transition should begin.
PITCH— When another key is pressed while the pitch
is moving, the new transition starts from the pitch
that had been reached at that moment.
Pitch
C5
The transition starts
at the currently
reached pitch
D4
C4
Time
Third note: D4
Second note: C5
First note: C4
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VA-76 – Global VariPhrase functions
e) Press and hold the MODE [SYNC] button.
The display now looks as follows:
5.4 Global VariPhrase functions
The following parameters are Global parameters. This
means that they apply to the VariPhrase part itself –
not just the phrase that is currently selected. They can,
however, be written to a User Program (see page 127),
so that up to 128 different parameter combinations
are possible (because there are 128 User Programs).
These parameters allow you to specify how the
VariPhrases should be played back.
1. Press the [FUNCTION MENU] button.
2. Press the [VariPhrase] field.
3. On the page that appears now, press the [Global]
field.
(If you already performed steps (1) and (3) above, you
only need to select a VariPhrase and press the [Play-
back] field.)
What you hear now, is the VariPhrase singing a C. As
soon as you play the G, the VariPhrase goes on play-
ing, but adds the G to the C. That is because the [Time
Sync] function is currently selected. Whenever you
select this setting, the Loop function is automatically
switched on.
If you press the [Retrigger] field and once again start
with the C, to which you add the G, the G note once
again starts the phrase from the beginning, while the
loop started with the C note goes on at its own timing.
(Mind you, both phrases run at the correct tempo –
they just don’t do so together.)
4. Press a field in the left column to select the parame-
ters you wish to set.
Key Assign
Now press the [Step] field, and press the C key. What
you hear now, is the first “step” of the VariPhrase that
goes on repeating “Honey”. These repetitions are due
to the fact that the Trigger parameter (see page 47) is
currently set to Gate, while the Mode Loop parameter
(see page 82) is switched on. (It’s up to you to decide
whether or not the individual steps should be looped.)
See page 46.
Playback
The VA-76’s VariPhrases can be played back in three
ways. Let’s try out the three possibilities by means of
an example:
The important thing to note is that you need to press
the C again – or another key– to hear the second step
of this phrase (“I need you”). Try this out now. “Step”
literally means that at every note you play the phrase
advances by one step.
Note: You can also alternate between the Time Sync and
Step settings by pressing the Mode [STEP/SYNC] button in
the VariPhrase pad. If the button lights, “Step” is selected. If
the button is dark, the phrase will be played back in [Time
Sync] mode.
a) Press the Keyboard Mode [ARRANGER] button (so
that it lights).
b) Press the VariPhrase [MELODIC] button, followed
by the [8] button.
(Also make sure that the [GROUP] A indicator lights.
This means that the phrase“A Melodic H HoneyINed”
has been selected.)
If the VariPhrase selection page has disappeared, sim-
ply press the [8] button again to check the assignment.
c) Play a C note in the right half of the keyboard.
d) Keep holding this note, while also playing a G to the
right of the C.
Trigger
See page 47. If this is set to [Trigger] and you loose
track of which key you played, the sample may con-
tinue sounding. In that case, try to locate the key you
used for starting the prase and press it again.
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VA-76 Owner’s Manual—More about the VariPhrase part
pattern of a Music Style). The phrases in ROM contain
no such pitch shifts, which is why they sound just
right in any key and at any pitch.
Mode
1. Press the [FUNCTION MENU] button.
2. Press the [VariPhrase] field.
Your User phrases, however, may contain entire verses
of a song. What do you do then? Of course, you could
sample the vocal line yourself at the correct melody,
but maybe that wouldn’t provide quite the same “feel”.
You could also switch on the Robot function. This will
“equalize” all melodic shifts of the phrase, so that all
syllables are played back at the same pitch. When com-
bined with the Step parameter (see page 81), this
“equalized” phrase allows you to “build” an entirely
new vocal line based on the syllables of the phrase.
3. On the page that appears now, press the [Global]
field.
4. Press the [Mode] field in the left column.
Original audio phrase
(with pitch changes)
Phrase after activating
the Robot function
Loop
If you want the Phrase to play back as a loop (i.e. to be
repeated over and over), turn this ON. In the case of a
stepped phrase (see page 81), this means that the cur-
rent step will be looped for as long as you hold down
the key(s) you pressed. If you then press another key
after releasing the previous one(s), the next step will
be played in a loop.
Note that this is meant as a “special effect” similar to
that obtained with a Vocoder (an effect that gives the
impression that a synthesizer, guitar, etc. can talk).
Note: Even slight changes in pitch (grace notes, etc.) will be
equalized so that the result may sound slightly more
mechanical. But then again, that’s what a robot is all
about…
Note: For optimum results, be sure to play only notes close
to the Original Key note (see page 74).
You could also use this parameter for overriding the
automatic activation of the Loop function whenever
the Mode [STEP/SYNC] button in the VariPhrase pad
on the front panel is switched off. This selects the
Time Sync mode (see page 81) – and that, in turn,
switches on this Loop function, which may not always
be to your liking.
5.5 Controller functions for the
VariPhrase part
As shown on page 49, you can change the pitch, for-
mant and tempo of the currently selected VariPhrase
using the three on-screen sliders on the Controllers/
VariPhrase page. We also mentioned the possibility to
use the remaining performance functions, some of
which are built-in, while others are optional.
Note: If Trigger is set to [Drum] (see page 47), the LOOP
setting is ignored.
Note: The VA-76’s VariPhrases are always looped between
the Edit Start and End positions. If the rhythm of a User
phrase is odd, modify the Edit Start and/or Edit End posi-
tion(s) until it is just right. See page 72. Bear in mind,
though, that your phrase has to be encoded (EXECUTE)
again before these new positions become meaningful. Also,
do not forget to save your User phrase to disk after changing
its Edit Start and End positions (see page 76).
The following functions would already be worth the
purchase of an optional DP-2, DP-6, or BOSS FS-5U
footswitch, because they allow you to do something
truly amazing. There are also some convenient Hold
functions you may want to use at times (see page 192),
while you can also use the built-in controllers (Pitch
Bend/Modulation, Ribbon, etc.).
T. Quantize
This parameter allows you to ensure that the Vari-
Phrases can only be started at rhythmically meaning-
ful positions so that they always make musical sense.
Press the [OFF] field to make it read [ON] if you wish
to take advantage of the quantization.
Legto Lock
By assigning this function to the optional footswitch,
you can cause a phrase to go on running even when
you play no note at all. Play a note, press the foot-
switch and then release the key, only to press it again a
little later. You will notice that the phrase now sounds
from its “logical position” (i.e. the one it would have
reached if you had held the key down). This technique
is an intelligent “audible/muted” switch for the
Robot
Imagine you are using a phrase with lyrics that are just
right for a new song, while the melody isn’t. As you
know by now the melody of a sampled phrase can
change even though you press only one key (which is
about the same as the chords of the Intro or Ending
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VA-76 – Truly “global” VariPhrase parameters
selected phrase and similar to a noise gate in a record-
ing studio, with the additional advantage that you can
specify the pitch of the “audible bits”.
5.6 Truly “global” VariPhrase
parameters
The parameters discussed above apply to all VariPhra-
ses you may use for a given song. But they can be saved
to a User Program (see page 127). This means that you
can reconfigure them simply by selecting another User
Program (which allows for multiple simultaneous
parameter changes).
Gray areas: this is where you press a key. Only
these fragments will be audible.
The VA-76 also contains a number of Global Vari-
Phrase parameters that apply to the entire instrument
and cannot be changed simply by selecting another
User Program. The following Global parameters also
affect the way in which your VariPhrases are played
back:
This is where you
press the footswitch
This is where you
release the foot-
switch
Pause
Another remarkable footswitch function allows you to
“freeze” the audio data at the point where you press
the footswitch. It is called [ Pause]. Here is an
example:
1. Press the [FUNCTION MENU] button.
This part is held
This is where you
release the foot-
switch
This is where you
press the footswitch
Selecting the foot switch function
Selecting the foot switch function is as easy as most
other settings on the VA-76:
2. Press the [Global Parameter] field.
3. On the page that appears now, press the [ Vari-
Phrase] field.
The display now looks as follows:
1. Press the [CONTROLLERS] button.
2. On the page that appears now, press the [Foot]
field.
3. Press the [Foot Switch] field in the left column.
4. Press the [k] field several times to select the fol-
lowing display page:
Style Linked (Phrase Select)
Let us begin with this parameter. If you press the [ON/
OFF] field so that it reads [ON], selecting a Music
Style also prepares the VariPhrases assigned to that
Style for easy recall via the VariPhrase [BACK-
GROUND], [MELODIC], [RHYTHMIC] (and
[GROUP]) buttons.
5. Press the [
Legto Lock] or [
Pause] field.
6. Press [EXIT] to return to the Master page.
You may remember that there are six assignments for
each of the 128 Music Styles in ROM. In certain situa-
tions, this automatic “reshuffle” may not be conve-
nient. In that case, press the [ON] field to make it read
[OFF].
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VA-76 Owner’s Manual—More about the VariPhrase part
Sync Settings
The following parameters may turn out to be very use-
ful indeed. As you know, all VariPhrases (ROM and
User) are automatically synchronized to the Arranger/
Song Composer tempo. At extremely high or low val-
ues, however, the phrases may still be OK for “special
effects” but probably no longer for serious musical
applications. That is why you can set two tempo limits
for automatic changes below or above the specified
tempo value:
Double Speed On (BPM Lower Than)
Use this parameter for specifying whether ([ON] or
[OFF]) the VariPhrase tempo should be doubled once
the tempo is lower than the value you specify here, and
if so, what should be the lower tempo limit. The
default value is “75”. So every time you select a lower
tempo value, the current VariPhrase will be played at
twice its original speed – provided the [ON/OFF] field
next to it reads [ON].
Here’s how to set the tempo value:
• Press the [Double Speed On…] field.
• Use the [i][m] to set the desired lower tempo limit.
Press the [Default] field to return to the factory setting
(75).
• Press the [ON/OFF] field next to [Double Speed
On…] to make it read [ON]. The tempo doubling
function is now active.
Half Speed On (BPM Higher Than)
This parameter is the upper tempo limit. Whenever
you set a higher tempo than the value specified for this
parameter, the current VariPhrase will be played back
at half its original speed (tempo). See above for how to
set this parameter.
Sync Adjust
Here’s a parameter that allows you to use VariPhrases
in 4/4 time for Music Styles in 6/8. When the [ON/
OFF] field reads [ON], the VA-76 will see to it that
phrases in 4/4 time also “work” with Music Styles in
3/4 or 6/8. Note that VariPhrases designed for Music
Styles in 6/8 or 3/4 time may not work with Music
Styles in 4/4. In some cases, however, switching off
Sync Adjust might just do the trick.
4. Press [EXIT] to return to the Master page.
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6. Advanced Keyboard part functions
6.1 Upper1 functions
1 St.AcPiano
2 RockPiano
3 ItMuset
4 SoftAccord
5 Vibraphone w
6 Church Org.2
7 ChamberStr
8 St.Slow Str
1 JazzScat
2 Silent Night
3 WideFreHrns
4 Sax Section
5 Brass Sect 5
6 FatSynBrass
7 WarmSaw1
8 WarmSaw3
More about the Super Tones
The SUPER TONES buttons are intended to help you
select a Tone for the Upper1 (or UP1) part without
bothering to use the [Tones] field on the Master page
or the BANK/NUMBER buttons. They cannot be used
for the other parts.
1 DynoRhodes1
2 St.FM EP
3 L-Organ
4 Jazz Organ
5 B.Harp Basic
6 PhaseClav
7 WarmSaw1
8 JP8 Hollow
1 V Romantc Tp
2 V MuteTp1
3 Super Tenor
4 Clarinet
5 OboeExp.
6 Flute Exp.
Whenever you press a SUPER TONES button, a page
similar to the following appears:
7 Violin Atk
8 LM Blow Lead
1 V AcGuitar 1
2 V Fl.Gtr 1
3 Jazz Gt
4 JC Chorus Gt
5 Overdrive 3
6 DistortionGt
7 PM Lead
USER
SL
Voice Glass & Small Phono
8 PureFlatLead
Aou
Glam
Club Noise
This is the Factory set with fixed options for all five
SUPER TONES buttons. Although you are free to
select another option for a button, you cannot change
the options themselves. There are eight possibilities
per SUPER TONES button, and that’s it.
The white field indicates the Tone that is currently
assigned to the SUPER TONES button you pressed. By
pressing another field, you can override this setting.
But that is only temporary and cannot be written to a
User Program.
There is, however, a User set with five additional
SUPER TONES memories. At first, the assignments to
these buttons is as shown in the illustration below.
Here is how to access the User set:
You can, however, select another option by pressing
the appropriate field and then press the [Customize]
field. The display then responds with:
1. Press and hold any SUPER TONES button.
The display now looks as follows:
You can repeat this for the remaining SUPER TONES
buttons.
You can also select this page by pressing the [FUNC-
TION MENU] button followed by the [Super Tones]
field on the Function Menu.
As you see, there are 8 possibilities for each SUPER
TONES button, for a total of 40 Tones selected by the
Roland engineers. Here’s a list that may come in handy
for almost instant location of the desired Tone for the
Upper1 part:
2. Press the [USER] field so that it is displayed in
white.
3. Press [EXIT] to return to the Master page.
4. Use the SUPER TONES buttons for selecting one of
the five User assignments.
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VA-76 Owner’s Manual—Advanced Keyboard part functions
The display now responds with:
Memorize Super Tones: programming other
assignments for the buttons
As stated earlier, you are free to assign any five of the
VA-76’s 3,646 Tones to the User set memories for the
SUPER TONES buttons.
1. Select a Tone for the Upper1 part. See page 37.
2. Press the [FUNCTION MENU] button.
The display now looks as follows:
As soon as this message disappears, the display returns
to the Factory/User page.
8. Press [EXIT] to return to the Master page.
You could now try out the new assignment to check if
it works. Press the SUPER TONES button whose Tone
you changed.
3. Press the [Super Tones] field.
UP1 Linked to Song
See page 33.
4. Press the [User] field.
5. On the page that appears now, press the [Memo-
rize] field.
The display now looks as follows:
6.2 Upper2 functions
Upper 2 Split
On page 36, you learned how to split the keyboard
into a left half with the LW1, LW2, and possibly also
the MBS part, and a right half with the UP1, UP2 or
the VariPhrase/MDR part. You can program an addi-
tional split between the UP1 and the UP2 parts, which
is great for playing question-and-answer types of mel-
ody lines with a brass sound for Upper2, for example,
and a clarinet or flute for Upper1. If you like, you can
even add the VariPhrase part to the UP1 part – or use
it instead of the UP1 part (see “Splitting Upper2 and
the VariPhrase part” on page 88).
As you see, the name of the Tone selected for Upper1
appears above the five button icons. If you do not
agree with the current selection, you can use the
BANK/NUMBER buttons and/or the [TEMPO/
DATA] dial for selecting another Tone. It might be a
good idea to work with the [GROUP], BANK and
NUMBER buttons for selecting the Tone address (e.g.
B51), while using the [TEMPO/DATA] dial to specify
the desired Variation Tone (e.g. <12>).
The possibilities are as follows:
LW1 + LW2 (+ MBS) (+Vari-
Upper2
Upper 2
Upper 1 and/or
Upper 1 and/or
VariPhrase part
VariPhrase part
LW1 + LW2 (+ MBS)
Phrase) (+ Arranger
(+ Arranger control)
control)
Note: This does not allow you to change Tone Maps (see
page 41), so preparing the Upper1 Tone before selecting the
above page is definitely a better choice. That is also why we
didn’t tell you to press and hold a SUPER TONES button:
doing so would already select a Tone – and probably not the
one you want.
The default split point is located at the G5 (lowest note
of the Upper1 part).
Note: This function is only available in SPLIT Keyboard
Mode. You cannot use it in WHOLE mode.
In effect, the VA-76 allows you to play at least three
sounds assigned to three separate keyboard areas. On
top of that, you can select the Arranger’s chord recog-
nition area, i.e. the notes that feed the Arranger (see
page 101).
6. Press a numbered field (that corresponds to the
desired SUPER TONES button).
This field is now displayed in white.
7. Press the [EXECUTE] field to save your choice.
Here is how to activate the UP2 Split function:
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VA-76 – Upper2 functions
1. Press the Keyboard Mode [OTHER] button.
4. Press the [Options] field.
M-FX
CONTROLLERS
EFFECTS
ONE TOUCH
MELODY
INTELL
MIN
MAX
TRANSPOSE
M-VALUE
The display now looks more or less as follows:
KEYBOARD MODE
ARRANGER PIANO
USER PROGRAM
SYNC
OTHER
ON/OFF
DOWN
UP
FREE PANEL
The display now looks more or less as follows:
5. Press the [Upper2 Functions] field to select the fol-
lowing display page:
2. If the display does not look like in the above illus-
tration, press the [KEYBOARD MODE] field in the
upper right corner, and the [SPLIT] field.
Both must be displayed in white.
3. Press the [UP2 Split] field.
As you see, the [UP2 Split] on this page already lights.
If you no longer needed this function, you could use
this field to switch it back off again. But that is not
what we want to do here.
6. Use the [o][k] fields to the left and right of the
keyboard for selecting the new split point.
This field is now displayed in white and the keyboard
is split at the G5, with the UP1 part to the right, and
the UP2 part to the left of this second split point.
7. Press [EXIT] to return to the Master page.
Note: If you are satisfied with your split point, you should
save it to a User Program (see p. 127).
See page 37 for how to assign the desired Tone to the
Upper2 part.
Note: UP2 Split only works if the Upper1 (UP1) part is
active. It is impossible to program an Upper split without
using the Upper1 (or VariPhrase) part. Once UP1 has been
switched on (automatically or manually), you can, how-
ever, switch it off. Furthermore, the UP2 part will be
switched on as soon as you press the [UP2 Split] field.
The UP2 Split function can be cancelled in two ways:
• Press the [UP2 Split] field again so that it turns blue
(either on this page, or on the opening display page
when the [KEYBOARD MODE] and [SPLIT] fields
are displayed in white).
• After pressing the Keyboard Mode [OTHER] button,
press the [WHOLE] field to switch off the SPLIT
mode.
If you don’t agree with this split point (G5), you can
change it to any note between the F#1 and G7 (but
never to the left of the main split point):
Possible range for UP2 Split
This clever system helps you to avoid that the UP2
Split zone “covers” either the LW/Arranger or the UP1
zone. There will thus always be room for the zones to
the left and right of the UP2 zone.
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VA-76 Owner’s Manual—Advanced Keyboard part functions
…the Upper1 part sounds the grayed notes, while the
Upper2 part sounds the lower notes. Of course, you
can also hold the top note (UP1 and/or VariPhrase)
and play a melody to the left of it (UP2).
Splitting Upper2 and the VariPhrase part
Once you have completed the above and set the UP2
Split point to your liking, you can switch off the UP1
part and use the VariPhrase part
instead so as to
use a PCM (sampled) Tone for UP2 and a VariPhrase
in the rightmost keyboard zone. It is even possible to
add the VariPhrase part to the UP1 part.
You could further refine this by transposing the UP2
part one octave up using the Octave function (see
page 54) and by reducing the Upper1 part’s volume
using the Mixer. Of course, you can also turn this sys-
tem around, and play the “second voice” on top (E-G-
C), and the melody below. If you play three-note
chords, the Upper2 part sounds two notes, while the
Upper1 part sounds the highest notes.
1. Activate the UP2 Split function and set the desired
UP2 Split point (see page 86).
2. Do not press the [EXIT] field to return to the Mas-
ter page, but press [oBack] instead to jump to the
following page:
1. Press the Keyboard Mode [OTHER] button.
You can also select this page by pressing the Keyboard
Mode [OTHER] button. Furthermore, you can acti-
vate the VariPhrase part (and switch off UP1) simply
by pressing a VariPhrase bank button.
2. If the display does not look like in the above illus-
tration, press the [KEYBOARD MODE] field in the
upper right corner, and the [SPLIT] field.
Note: This function is only available in SPLIT Keyboard
Mode. You cannot use it in WHOLE mode.
3. Press the
(this field must be displayed in white).
field to switch on the VariPhrase part
The keyboard is now split into three zones, with the
VariPhrase part assigned to the rightmost zone.
Note: If you switch off the UP2 part while the [UP2 Split]
field is displayed in white, the split is temporarily cancelled,
so that UP1 (or the VariPhrase part) can be played all the
way to the main split point.
3. Press the [UP2 to Left] field to switch on this
dynamic split function.
4. Press [EXIT] to return to the Master page.
Note: Of course, UP2 Split and UP2 To Left are mutually
exclusive. Selecting one means that the other is automati-
cally switched off.
4. Press [EXIT] to return to the Master page.
Note: There is also a footswitch function that allows you to
alternate between Upper1 and Upper2 without splitting
them. See “Kbd Exc UP1/UP2” on page 192.
‘Dynamic’ second split point: UP2 to Left
While the UP2 Split function provides a static split
between UP2 to the left and UP1 and/or the Vari-
Phrase part to the right, there is a second way of play-
ing two distinct melody parts in the right half of the
keyboard, whereby the highest note is sounded by the
Upper 1 (and/or VariPhrase) part, while the lower
notes are sounded by Upper2. This is still a split, but it
can be shifted dynamically as you play in the right half
of the keyboard.
Note: This function can also be switched on and off using a
PAD button. See page 194.
Tuning Upper2: Coarse and Fine
The Upper2 part can be used as full-fledged solo or
melody sound or to “fatten” the sound of Upper1.
Note that the latter only works when you layer Upper2
and Upper1. By layering we mean that every time you
press a key in the right half of the keyboard (in SPLIT
Keyboard mode, page 36) or anywhere on the key-
board (WHOLE mode), you trigger two Tones: the
one assigned to Upper1 part and the one assigned to
Upper2. To layer the Upper1 and Upper2 parts, you
need to switch them both on. See “Keyboard Mode
clinic” on page 34.
Here is an example. If you play the following notes to
the right of the main split point, while [UP2 to Left] is
switched on…
Upper1
The following parameters allow you to transpose
(Coarse) or to detune (Fine) the Upper2 part relative
to the Upper1 part. Though this is also possible when
Upper2
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VA-76 – Upper2 functions
the Upper2 and Upper1 parts are split (UP2 Split or
UP2 To Left), detuning or shifting the UP2 part would
not be very meaningful.
8. Use the [TEMPO/DATA] dial or the [DATA] but-
ton/Numeric Entry field to enter the desired value.
Note: As stated earlier, (de)tuning Upper2 only makes sense
when you layer the Upper2 part with the Upper1 part.
You could use Coarse to program an interval of a fifth
(7 semitones) for Upper2, which is especially effective
for brass sounds and guitar power chords. Do not for-
get to activate both the Upper1 and Upper2 parts
when you want to take advantage of the Upper2
Coarse and Fine parameters. If only the Upper2 part is
active, the solos you play either sound off or flat.
9. Press [EXIT] to return to the Master page.
Portamento (Upper 1-2 Portam)
Here are two functions that may come in handy for
even more impressive solos involving the Upper parts.
Let us first select the display page and have a look at
how it is structured:
The Fine parameter works well when you assign the
same or similar Tones to Upper1 and Upper2. In those
cases, Fine creates a kind of natural Chorus effect that
you could enhance by panning Upper1 to the left and
Upper2 to the right (or vice versa, see page 114).
1. Press the Keyboard Mode [OTHER] button.
2. Press the [KEYBOARD MODE] field in the upper
right corner.
3. Press the [Options] field and the [Upper 1-2 Por-
tam] field.
1. Press the Keyboard Mode [OTHER] button.
The display now looks more or less as follows:
The display is split into two sections: one for the UP1
and a second for the UP2 part. The arrows in the mid-
dle (im) and the [Default] field always apply to the
currently selected [Portam. Time] field (i.e. the one
that is displayed in white).
2. If the [KEYBOARD MODE] field in the upper right
corner is not displayed in white, press it.
3. Press the [Options] field.
4. Press the [Upper2 Functions] field to select the fol-
lowing display page:
Portam Time
Portamento is a function that produces smoother
transitions between the notes you play:
5. Press the [Coarse] field if you want to change
Upper2’s pitch in semitone steps.
That field is displayed in white.
Portamento time= 0 — "Rough" pitch changes in
semitone steps (normal)
6. Use the [TEMPO/DATA] dial or the [DATA] but-
ton/Numeric Entry field to enter the desired value.
“–” means that Upper2 is transposed down, while “+”
means that Upper2’s pitch is shifted up. A very popu-
lar setting for UP1/UP2 layers is “+12” for Upper2, so
that it sounds one octave above Upper1.
7. Press the [Fine] field if you want to change
Upper2’s pitch in small steps (Cents).
That field is displayed in white.
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VA-76 Owner’s Manual—Advanced Keyboard part functions
6.3 LWR Hold
The VA-76 is an instrument that allows you to change
many settings in realtime. Because you can trigger the
Lower 1/2 parts and the Arranger simultaneously,
selecting another Music Style pattern usually means
that you have to lift your left hand from the keyboard.
If the LWR Hold function is not active in SPLIT mode,
the Lower (LW) parts stop sounding as soon as you
release all keys in the left area.
Pitch glides from one note to the next
If you press the [LWR Hold] field, however (so that is
its displayed in white), the notes of the Lower parts go
on sounding until you play other notes in the left key-
board area. It is probably a good idea to leave LWR
Hold on at all times.
Portamento time> 0 — Smooth pitch changes
Instead of jumping in semitone steps (as you would
expect), the pitch glides from one note to the next
whenever the Portamento time is higher than 0. The
higher the value you set, the slower the glide. This
effect is particularly useful for synthesizer or gypsy
violin parts.
If both the Lower and M.Bass parts are active, the
LWR Hold function sustains both the Lower and
M.Bass notes.
Here’s how to switch the LWR Hold function on and
off:
4. Press the [Portam Time] field of the Upper1 (UP1)
or Upper2 (UP2) part to select it.
1. Press the Keyboard Mode [OTHER] button.
The display now looks more or less as follows:
5. Set the desired value using the:
• “Value” arrows (im),
• the [TEMPO/DATA] dial, or the
• [DATA] button/Numeric Entry pad (see page 49).
• Press the [Default] field to reset the Portam Time
parameters of the UP1 or UP2 part back to “0”. It does
not change the Portamento Mode settings, however.
Portamento Mode: Mono/Poly
The VA-76 also allows you to set the Upper1 and
Upper2 parts to mono(phonic) mode. Mono means
that you can only play one note at a time. You could
select the Mono mode to play a trumpet or woodwind
part in a more natural way. Poly, on the other hand,
means that you can play chords using the selected
part.
2. If the display does not look like in the above illus-
tration, press the [KEYBOARD MODE] field in the
upper right corner, and the [SPLIT] field.
Note: The LWR Hold function is only available in SPLIT
mode.
6. Press the [Mono] or [Poly] field of the Upper part
whose setting you want to change.
3. Switch on at least one LW part (its field must be dis-
played in white).
7. Press [EXIT] to jump to the Master page (see
page 24).
4. Press the [LWR Hold] field so that it is displayed in
white.
Note: This field allows you to toggle between the “Lower
Hold” setting you make on the Options page and “Hold
Off”.
5. Play a short note in the left half of the keyboard,
and release the key.
This note goes on sounding until you press another
note or chord in the left half of the keyboard.
Assigning the Lower Hold function
As the VA-76 provides two Lower parts (LW1 and
LW2), there is also a parameter that allows you to
select whether the LWR Hold function should apply
only to the LW1 or LW2, or the both Lower (LW)
parts:
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VA-76 – Velocity sensitivity
1. On the above display page, press the [Options]
field.
6.4 Velocity sensitivity
Of course, the VA-76’s keyboard is also velocity sensi-
tive. This allows you to control the timbre and volume
of the Keyboard parts by varying the force with which
you strike the keys. See page 103 for how to control
the Arranger via the velocity.
2. On the page that appears now, press the [Lower
Hold] field.
1. Press the Keyboard Mode [OTHER] button.
2. If the display does not look like in the above illus-
tration, press the [KEYBOARD MODE] field in the
upper right corner, and the [SPLIT] field.
3. On the page that appears now, press the [Keyboard
Velocty] field.
3. Press the desired “Lower On/Off” fields to make
your selection.
If you select [Lower 1 Hold On] and [Lower 2 Hold
On], the [LWR Hold] field on the previous display
page allows you to toggle between LW 1 & 2 Hold
“On” and “Off”.
Note: It is also possible to obtain a similar effect by assign-
ing the LW1 and LW2 parts to the Sustain pedal or the
assignable footswitch (see page 186).
4. Press a part field in the center of this page to select
the Keyboard part whose velocity behavior you wish
to change (Upper1, Upper2, etc.).
4. Press [EXIT] to return to the Master page.
Note: See page 99 for details about the MEL Int part.
Key Touch
The [Key Touch] field allows you to specify a velocity
curve for the selected Keyboard part:
High— Select this setting for maximum expressive-
ness: even small variations of the force with which you
strike a key produce audible changes. The trade-off is,
however, that you have to strike the keys forcefully to
achieve the maximum volume. (This is the default set-
ting.)
Medium— Medium velocity sensitivity. The part still
responds to velocity changes, but the maximum vol-
ume can be obtained easier than with High.
Low— Select this setting if you are used to playing on
an electronic organ or if you do not want velocity
changes to bring about major volume changes.
5. Press the [Key Touch] field, and use the on-screen
slider at the right (or the [TEMPO/DATA] dial) to
select the desired velocity curve.
Velocity switching (Min and Max)
You can also specify the smallest (Min) and highest
(Max) velocity values with which you can trigger the
selected part. This is probably only useful when
applied to the Upper1 and Upper2 parts, or the
Upper1 and VariPhrase parts. Do not change these val-
ues if you have no intention of using a “complementary”
part because, otherwise, you may start wondering why
the LW1 part, for instance, only sounds at high or low
velocity values.
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VA-76 Owner’s Manual—Advanced Keyboard part functions
Min and Max can be used effectively for switching
between two Tones simply by striking the keys harder
or softer. Doing so allows you to alternate between two
sounds. Remember, though that some “V” Tones
already have this function built-in (see page 42). Using
such Tones for velocity switching applications is thus
unnecessary. But feel free to experiment. Some unique
effects could be obtained when using Min and Max for
the Upper1 and VariPhrase parts.
6.5 Scale Tuning
Another useful function is called Scale Tuning. It
allows you to use oriental, asian, and other scales in
much the same way as on an oriental keyboard
(EM-50 OR, etc.).
The VA-76 contains three memories where you can
store your favorite tunings. The contents of these
memories can be saved to disk along with the User
Program Set (see page 211) – i.e. these are three global
memories.
Consider the following example:
Part
Min
Max
Tone
1. Press the Keyboard Mode [OTHER] button.
2. If the [KEYBOARD MODE] field in the upper right
corner is not displayed in white, press it.
A81 <14> V Romantic Trp.
(Tone Map 4)
Upper1
1
114
A81 <17> V Tp Mar/Shk (Tone
Map 4)
3. Press the [Scale Tuning] field.
Upper2
115
127
Both parts must be on. The above settings allow you to
trigger the “normal” trumpet sound with velocity val-
ues between 1 and 114 (low to relatively high velocity),
while velocity values above 115 only trigger the
slightly more “lyrical” trumpet (a Tone, by the way,
that contains already a built-in velocity switch for
additional flexibility). Try this out: it sounds spectacu-
larly real.
Another example involving the Upper1 and Vari-
Phrase parts could be:
4. Press the [Upper Parts] or [All Parts] field.
All Parts means that all VA-76 parts will be affected by
the Scale Tune setting. This also includes the Vari-
Phrase and Arranger Parts. Upper Parts, on the other
hand, means that only Upper1 and Upper2 will use
the selected scale. There is also an off position (when
both fields are blue).
Part
Min
Max
Tone
Upper1
1
127
A76 <27> Humming (Map 4)
Vari-
Phrase
90
127
A-Melodic-6 OohDarlin M
Here, the Upper1 part sounds all notes at any velocity
value, while the VariPhrase part is added only when
you strike the keys rather forcefully. This could be
used for accents. Of course, there are countless other
possibilities, such as using Min= 90/Max= 127 for the
MEL Int part (see page 99), so that the automatic har-
monies are only added when you really want to hear
them.
Note: The [Upper Parts] function can also be switched on
and off using an optional footswitch (see page 191).
5. Press a [Mem 1]~[Mem 3] field to select a Scale
Tuning memory.
This will change the pitch of the following notes
(“–50” means that the note in question is tuned a
quarter tone down):
Note: See page 37 for how to select Tones for the Keyboard
parts, and page 45 for how to select a VariPhrase.
Mem 1
Mem 2
Mem 3
E (–50)
B (–50)
E (–50)
A (–50)
C# (–50)
F# (–50)
6. Press [EXIT] to return to the Master page.
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VA-76 – Scale Tuning
The pitch of the other notes is left unchanged. The
keys corresponding to the notes whose pitch is
changed are displayed in white for easy identification.
Here is an example:
Storing your new scale
Suppose you just switched on several on-screen keys,
while the ones that were originally on are now off. If
you think you’ll need that scale in the future, you
should save – or “Memorize”– it:
1. Program the scale you wish to save by switching the
desired notes on or off (see above).
2. Press the [Memorize] field in the upper right cor-
ner of the display.
The display now looks as follows:
You will notice that every note can be selected only
once. That is because the value you specify (using
Pitch EDIT, see below) applies to all notes of the same
name. In other words, if you change the tuning of the
C, that value will be added to or subtracted from all Cs
(C1, C2, C3, etc.). The on-screen keys are used as “on/
off switches”.
3. Press a [Mem 1]~[Mem 3] field to save your set-
tings in the corresponding Scale Tuning memory.
The display now responds with the following message
and then returns to the Scale Tuning page.
If you now returned to the Master page, you would
notice that the VA-76 alerts you to the fact that the
Scale Tuning function has been switched on:
But let us not return to the Master page just yet.
Customizing the pitch changes (Pitch EDIT)
At first, pressing an on-screen key so that it is dis-
played in white means that its pitch is lowered by 50
cents (1/4 tone, or “–50”). Though this system allows
you to use the desired arabic tuning, there may be sit-
uations where you actually want to raise the pitch of a
note, or select a different tuning:
Changing the pitch of other notes
Changing the pitch of other notes than the ones
already highlighted is a matter of pressing the desired
on-screen key in question. And defeating the pitch
change of a key displayed in white is as easy as pressing
that key again (it will once again be displayed in blue).
Press all white on-screen keys (or the [Mem] field that
is displayed in white) to switch the Scale Tuning func-
tion off again.
1. On the Scale Tuning page (see above), press the
[Pitch EDIT] field.
The display now looks as follows:
Note: See also “Customizing the pitch changes (Pitch
EDIT)” if you need to change the tuning of a given note to
something else than “–50”.
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VA-76 Owner’s Manual—Advanced Keyboard part functions
Here again, the white keys inform you about the notes
whose pitch is actually being affected.
2. Press the value field (or the on-screen key) of the
note/key whose pitch you want to change.
That field is displayed in white. As stated earlier, the
pitch of all notes is at first set to “–50” (one quarter
tone down). You can however, select any value
between “–64” (slightly lower than a quarter tone
down) and “63” (slightly higher than a quarter tone
up).
3. Use the [TEMPO/DATA] dial or the [DATA] but-
ton/Numeric Entry field to set the desired pitch.
These Pitch EDIT values only apply to the Scale Tun-
ing memory where you save your settings (see “Stor-
ing your new scale”). Values other than “–50” or “+50”
sound flat at best and are probably not really useful.
4. Repeat steps (2) and (3) for the other notes whose
pitch you want to change.
Note: This pitch is only used when the corresponding on-
screen key is displayed in white. Do not forget to switch it
on. Also, you need to press the [Upper Parts] or [ALL Parts]
field (both can indeed be switched off).
5. Press the [oBack] field to return to the Scale Tun-
ing page, or the [EXIT] field to jump to the Master
page.
Any changes to the standard tuning of the notes will
be indicated by means of the “Scale Tuning ON” mes-
sage on the Master page (see also page 93).
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7. More about the Arranger
3. Stop playback of the current Style (see below),
press the [INTRO] button (so that it lights) and then
the [START/STOP] button to start Style playback
with a musical introduction.
The length of the Intro depends on the Style you
selected. At the end of the Intro, the Arranger starts
playing the Music Style division you select while the
Intro is being played. In other words, you can select
whichever Type (Orchestrator Basic and Advanced)
and Division (Original, Variation) you like to be
played upon completion of the Intro.
7.1 Arranger and Music Styles
Think of the Arranger’s Music Styles as your backing
band. Your VA-76 is indeed capable of playing several
“versions” of a given accompaniment. All you need to
do is make up your mind about the kind of music you
want to play and to select a Music Style that comple-
ments it. You can choose how many bars there are to
each song part and how the melody and/or solo
should be accompanied.
Arranger parts
Each accompaniment (or Music Style) can consist of
up to eight parts:
OR:
4. Press the [SYNC] button (if it currently controls
the Start function, see below) and play a chord (or
just one note in Intelligent mode, see page 102). The
Arranger starts as soon as you play a note in the
chord recognition area (see page 101).
A. Drums (or ADR): Accompaniment Drums. This
part takes care of the rhythm. It triggers the drum and
percussion sounds of the Drum Set assigned to the
ADR part.
Note: Do not play chord changes while the Intro is running.
Unlike the “normal” patterns (Original, Variation), Intro
patterns usually contain chord changes. Chord recognition
is not deactivated during Intro playback, so that the begin-
ning of a song may jump from one key to another.
A. Bass (or ABS): Accompaniment Bass. This part
plays the bass line of the Music Style you selected.
Ac1~Ac6: These are the melodic accompaniment
parts. Depending on the Music Style you selected, only
a few of them actually play something, which can be
anything from a piano line, a guitar line, an organ line
to a synth pad line. Not all Accompaniment parts play
chords.
Note: You can also start and stop the Arranger with the D
Beam Controller (see page 187).
Stopping a Music Style
There are three ways to stop Style playback:
The ABS and Ac parts rely on the chord or note infor-
mation you play in the chord recognition area (see
page 101), i.e. the keyboard zone you assign to the
Arranger.
1. Press [START/STOP] to stop playback right away.
OR:
2. Press [ENDING] (so that it lights) to activate the
Ending function. The Ending (or coda) pattern will
start at the beginning of the next measure (next
downbeat).
Note: Do not play chord changes while the Ending is run-
ning. Unlike the “normal” accompaniments (Original,
Variation), Ending patterns usually contain chord changes.
Chord recognition is not deactivated during Intro or Ending
playback, so that the ending of a song may jump from one
key to another.
Starting a Music Style
Music Styles can be started in several ways:
1. Press the Keyboard Mode [ARRANGER] button.
2. Press the [START/STOP] button (so that it lights)
to start the Arranger right away.
OR:
3. Press [SYNC] and release all keys in the chord rec-
ognition area of the keyboard. The accompaniment
stops immediately.
There is no need to restart Style playback manually if
you also activate Sync Start (see below). Sync Stop is
only available if you activate it. See “Sync (Options)”.
If you start the Arranger without playing a chord in
the chord recognition area, you will only hear the
drums of the selected Music Style. In most cases, how-
ever, the VA-76 has already memorized a chord, so
that you will hear the full accompaniment.
OR:
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VA-76 Owner’s Manual—More about the Arranger
Note: Whenever you use One Touch or Virtual Band to con-
figure the VA-76, Sync Start will be selected.
Sync (Options)
If you’ve never used an arranger keyboard before, the
status of the [SYNC] button is the single most impor-
tant function to look out for after switching on your
instrument. After all, if it is on without you knowing
it, playing just one note on the keyboard may cause
the Arranger to start even though you don’t want it to.
Note: See also page 100 for how to prevent the VA-76 from
reverting to Sync Start and switching on the [SYNC] button
when you take advantage of the One Touch memories.
Once you get to know the VA-76 a little better, you will
appreciate this function, and you may want to take
advantage of its Sync functions. Sync Start means that
the Arranger starts as soon as you play a note or chord
in the chord recognition area of the keyboard. (If the
Keyboard Mode [ARRANGER] button lights, this area
is the left half of the keyboard. See page 101 for
details.)
7.2 Selecting other Style
divisions
As stated above, you can “professionalize” your perfor-
mance with the Arranger by selecting different accom-
paniment patterns. Let us agree to use the word
Division for any Music Style pattern the VA-76 can
play. We’ll need that term for programming User
Styles.
The VA-76 also provides a Sync Stop option. This will
cause the Arranger to stop playback as soon as you
release all keys in the chord recognition area. This is
great for songs where you need breaks (i.e. one or sev-
eral beats of silence).
Here’s a quick overview of how the VA-76’s Music
Styles (and the ones on Zip/floppy disk) are struc-
tured:
And finally, you can choose to activate both Sync Start
and Sync Stop.
Whenever you configure the VA-76 via the Virtual
Band function or by pressing the Keyboard Mode
[ARRANGER] button, the [SYNC] button lights.
Fill In
To Variation
Fill In
To Original
Press the [ORIGINAL] button to select the “normal”
accompaniment. ORIGINAL A is the simplest of the
four possible accompaniment patterns, while VARIA-
TION D is the most complex. B (“Basic”) and D
(“Advanced”) can also be selected by pressing [ORIGI-
NAL] or [VARIATION] twice in rapid succession. The
combination of ORIGINAL and VARIATION with the
four ORCHESTRATOR options already provides a
total of eight accompaniments per Music Style (multi-
plied by three, see the next paragraph).
This means that the currently selected Sync Option
has been switched on. As long as you do not select
another Sync Option, this will be Sync Start.
Here’s how to set another Sync option. This setting
can be written to a User Program (see page 127).
1. Press and hold the [SYNC] button until the follow-
ing page appears:
As you see, you can use the [FILL] button to go from
ORIGINAL to VARIATION, and back. In the first case,
you will hear the Fill-In To Variation pattern. When
going back from VARIATION to ORIGINAL, the
Arranger will play the Fill-In To Original pattern.
Note that you don’t have to use the [FILL] button: you
can also switch divisions by pressing [VARIATION] or
[ORIGINAL].
2. Press the Sync field that corresponds to the desired
Sync function(s).
Note: See also “Using the VA-76’s Arranger” on page 25.
Note: You can also press [INTRO] in the middle of a perfor-
mance. In that case, the indicator will flash until the end of
the current bar and then light on the next downbeat to indi-
cate that the Arranger is playing the introductory pattern.
3. Press [EXIT] to return to the Master page.
You can now use the [SYNC] button to switch the
selected Sync function off (button dark) and on (but-
ton lights).
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VA-76 – Selecting other Style divisions
Tip: The Intro is “renewable”, i.e. you can press the
[INTRO] button again while the Intro is playing.
Doing so on the fourth beat of the first Intro bar, for
instance, will retrigger the beginning of the Intro in
the second bar.
In other words, the number of certain divisions (such
as the Intros and Endings) is in fact multiplied by
three!
Note: The VA-76 is equipped with a function that allows
you to freely assign various chord types (7/5, dim etc.) to
one of these levels (see page 105).
Fill In Half Bar
Using Aftertouch to select Arranger
patterns
Certain pop songs in 4/4 contain bars that only last
two beats. The usual place for such a bar is between
the first and the second verse. Another favorite posi-
tion for “halved” bars is at the end of a chorus or the
bridge. Your VA-76 allows you to faithfully reproduce
these “anomalies”. Set the Fill-In Half Bar function to
[ON]. This does not change Style playback right away.
Only when you press the [FILL] button will the Half
Bar function be active and play half the number of
beats of the fill you selected.
Another way of switching between Types, Divisions,
and Fills is to use Aftertouch. Obviously, only one of
the following options can be selected because multi-
purpose assignments like for the Keyboard parts (see
page 189) would send the Arranger haywire.
Note: Selecting “Arranger” does not cancel the Aftertouch
settings you may have made for the Keyboard parts.
Here is how to activate the switching function for the
Arranger:
1. On the page that appears when you press the Key-
board Mode [OTHER] button, press the
[ARRANGER CHORD] field if it is not displayed in
white.
1. Press the [CONTROLLERS] button.
2. On the page that appears now, press the [After-
touch] field so that it is displayed in white.
2. Press the [Options] field.
3. Use the [i][m] fields to select Arranger.
In the case of the Keyboard parts, these fields are used
to select the part whose Aftertouch you want to pro-
gram (see page 189). Here, however, we want to spec-
ify an Aftertouch function for the Arranger, which is
why we need to select Arranger. The display now looks
more or less as follows:
3. Press the [Intro Ending Fill In] field in the left col-
umn.
The display now looks more or less as follows:
4. Press the [ON] field so that it is displayed in white.
5. Start Arranger playback and press the [FILL] but-
ton.
Notice how the Fill In is shortened.
6. Press the Fill In Half Bar [OFF] field to return to
the normal length of the Fill-In patterns.
7. Press [EXIT] to return to the Master page.
Major, minor, seventh
This is an “invisible” Style division function of your
VA-76. In time you will notice that the Intro and End-
ing patterns of a Music Style change according to the
chord you play. There are three possibilities:
Note the [ON/OFF] switch. You must press it to make
it read [ON] if you do want to use the Aftertouch for
selecting divisions. If you prefer not to use the After-
touch, press this switch again to make it read [OFF].
Major (M): Calls up the first (major chord) accompa-
niment level.
4. If necessary, press the [k] field to select the second
page with Arranger functions.
Minor (m): Calls up the second accompaniment level.
Seventh (7): By playing a seventh chord, you activate
yet another accompaniment level. Try this out by first
playing a major and then a seventh chord.
5. Press the field that corresponds to the switching
function you want the Arranger to perform.
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VA-76 Owner’s Manual—More about the Arranger
Bsc/Adv— Switches between the Basic (B) and
Advanced (D) levels. These two patterns are available
via the VA-76’s Orchestrator function.
The display now looks more or less as follows:
Or/Var— Switches between Original and Variation
and thus duplicates the functions of the [ORIGINAL]
and [VARIATION] buttons on the front panel.
FO/FV— Triggers the Fill-In To Original the first time
around, and the Fill-In To Variation the second time.
This duplicates the function of the [FILL] button that
leads you from the Original to the Variation pattern by
playing one Fill-In, and from the Variation to the
Original pattern by playing another Fill-In.
The rest is exactly the same as selecting a Disk User
Style:
Fill To Previous— This also starts a Fill-In but does
not switch to the Variation pattern (if the Original pat-
tern is currently selected), and vice versa.
5. Press the [FLOPPY] or [ZIP] field to specify
whether you want to load a Music Style from a Zip or
a floppy disk.
Intro, Ending— Same function as the [INTRO] or
[ENDING] button. If Arranger playback is stopped,
using the Aftertouch will select the Intro. If used dur-
ing Arranger playback, the Aftertouch will select the
Ending.
Note: Even Aftertouch messages generated outside the chord
recognition area (see below) will trigger the selected switch-
ing function.
6. Press the field that contains the name of the Music
Style you want to load.
7. If the desired Music Style is not displayed, use
[o][k] to select another group of 4 Styles.
8. Press the [LOAD] field to copy the data of the
selected Music Style to the VA-76’s Disk User mem-
ory.
6. Press [EXIT] to return to the Master page.
9. Start morphing with the Style in the Disk User
memory (1st Style) and the internal Style (2nd Style).
Style Morphing (part 2)
On page 63, we showed you how to morph using two
internal Styles. Morphing with one internal Style and
a Style on disk is just as easy:
10. Press [EXIT] to return to the Master page.
1. Select the following display page:
• Press the [Style] field on the Master page (as though
you wanted to select a Music Style). On the page that
appears next, press the [Orchestrator] field.
• Or press the [ORCHESTRATOR] button.
You can only assign a Style on Zip or floppy to the 1st
Style.
2. Insert a Zip or floppy disk into the (appropriate)
drive.
3. Press the [1st Style] field.
4. On the page that appears now, press the [Disk User]
field in the lower left corner of the display.
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VA-76 – Melody Intelligence
5. Press the [MELODY INTELL] button once again to
switch this function off again.
7.3 Melody Intelligence
The Arranger of your VA-76 can not only play chords
but also add a counter-melody to your melodies based
on the chords you play in the chord recognition area
(see page 101). This counter-melody will be played by
the Melody Intelligence part (MEL INT) and added to
the Upper1 part. You can assign whichever Tone you
like to the MEL INT part. Furthermore, there are 18
harmony types to choose from.
7.4 One Touch
You may find yourself using the One Touch function
at regular intervals because it automates quite a few
tasks. Press the [ONE TOUCH] button to select the
following display page:
1. Press the [MELODY INTELL] button (so that it
lights).
This adds a harmony to the notes you play. Do not
forget to switch on the Upper1 part (see page 36).
If the [OFF] field lights, the One Touch function is not
yet active. You still need to select one of the four mem-
ories by pressing one of the large fields. The One
Touch function makes a number of automatic settings
for you:
2. To select another harmony type, press and hold the
[MELODY INTELL] button until the following page
appears:
• Keyboard Mode [ARRANGER]. This corresponds to
pressing the button of the same name, and means that
the keyboard is split into two halves, with Arranger
control in the left, and Upper1 control in the right. (If
Upper2 is already on, it will not be switched off,
though.)
• The Music Style’s default tempo is selected.
• The [SYNC] button is assigned the Start function and
switched on (see also “Sync (Options)” on page 96).
• The VA-76 makes suitable settings for the Upper1 and
Upper2 parts. These comprise Tone selection and
appropriate Reverb, Chorus, and Delay settings.
3. Press the field of the desired harmony type.
Selecting a Harmony Type also means that the VA-76
automatically assigns a suitable Tone to the MEL INT
(and sometimes even to the Upper1) part (e.g. a trum-
pet sound for Big Band, etc.). You can, however, over-
ride this automatic setting (see “Selecting Tones for
the Keyboard parts” on page 37) and save your own
sound choice to a User Program.
• If Arranger playback is currently stopped, the
[INTRO] button is switched on, so that playing a
chord in the chord recognition area of the keyboard
will start Music Style playback with the Intro of the
selected Style.
There are four One Touch memories for all internal
Music Styles (A11~B88), all Disk Link Styles (C11~
C88), and the Disk User memory.
Note: On the Keyboard Tone selection page, you will notice
a lock
when you select the MEL INT part. It allows you
to specify whether or not selecting another harmony type
should automatically change the Tones of the MEL INT
part. See also “About the lock” on page 107. If the lock is
open, your own Tone selections for MEL INT are no longer
overridden by the Tone selection contained in the “Melody
Intelligence Types”.
Note: If a One Touch memory is selected when you recall a
User Program, the One Touch function is switched off.
Note: For “Traditional”, “Latin”, “CntryBallad”,
“OctaveType1”, and “OctaveType2”, only the Upper1 part is
used. All other Melody Intelligence Types, however, use both
the Upper1 and the MI part.
4. Press [EXIT] to return to the Master page.
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VA-76 Owner’s Manual—More about the Arranger
Sync Start— If this field is on, the function of the
[SYNC] button (see page 96) does not change. So if
you selected “Sync Stop”, this would not be reset to
“Sync Start”. Also, if the [SYNC] button is currently
dark, selecting another One Touch memory or Music
Style does not switch it back on.
If you select a One Touch memory while another
one is already active
In that case, the VA-76 selects the Tones and Reverb/
Chorus/Delay settings of that One Touch memory.
It may also switch on one of the following functions if
you switched them off after selecting the first One
Touch memory:
Intro— This option means that the [INTRO] button
is not automatically switched on when you select a
One Touch memory or Music Style while Arranger
playback is stopped.
• Sync Start
• [INTRO] (if Arranger playback is currently stopped).
Just for your information, the selection of a One
Touch memory is also indicated on the Master page.
Look out for the “OT” symbol.
If one of the cancel functions has been activated, the
[Cancel Options] field on the One Touch page con-
tains a tick (G):
Ignoring certain One Touch settings
(Cancel Options)
Now imagine that you have grown accustomed to
using the One Touch memories, because they are sim-
ilar to (though less comprehensive than) the User Pro-
grams. What if, for a given song, you want to use the
Tone and effects settings for the Upper1 and Upper2
parts without returning to the Music Style’s preset
tempo (because you are playing a medley)?
Note: The One Touch function will be switched off when-
ever you select a User Program.
Programming your own Tone selections
(Memorize)
The VA-76 also allows you to memorize your own
favorite Tones for the Upper1 and Upper2 parts in
case none of the four One Touch memories provide
the sounds you need.
In that case, you can take advantage of the One Touch
Cancel options. They act as filters for the functions
supported by the One Touch facility.
1. While on the One Touch page, press the [Cancel
Options] field.
The display now looks as follows:
Given the careful preparation of these selections, cus-
tomizing the Tone assignments may not be necessary
for the internal Music Styles. Yet they may come in
handy for Disk Link and Disk User Styles (see pages 60
and 61) for which there are no “presets”.
These customized One Touch settings are stored in a
special memory area inside the VA-76. Though they
are not part of the User Program parameters (because
User Programs and the One Touch facility are mutu-
ally exclusive), they will be saved to disk whenever you
use the Save User Program Set function (see
page 211).
2. Press the field corresponding to the settings that
should not be loaded when you select another One
Touch memory or Music Style.
If a field is displayed in white, the corresponding set-
tings are no longer loaded:
Suitable Tempo— The preset tempo of the selected
Music Style.
KBD Mode— The current Keyboard Mode settings.
You may have selected another chord recognition area
(the entire keyboard, for example). If this field lights,
the chord recognition area is not set back to the left
half of the keyboard.
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VA-76 – More refined Arranger settings
1. If necessary, switch off the One Touch memory that
is currently on:
7.5 More refined Arranger
settings
• Press the [ONE TOUCH] button to select the follow-
ing display page:
ARR(anger) Hold
The ARR Hold function is very similar to “LWR Hold”
on page 90: It sustains the notes you play in the chord
recognition area until you play other notes. At first,
this function is switched on, so that you can briefly
play the chord for a given bar and release all keys in
the chord recognition area. If [ARR Hold] is displayed
in blue, the melodic accompaniment (bass and other
parts) stop as soon as you release all keys in the chord
recognition area, so that only the drums keep playing.
You should try this out now – but you’ll probably stick
to the on status of this field, because that frees up your
“chord hand” for other things (such as using the D
Beam controller, Pitch Bend lever, etc.).
• Press the [OFF] field so that it is displayed in white.
The One Touch field (1~4) that was on, will go dark.
2. Select the Music Style you want to program a Tone
assignment for.
You can do so manually or by taking advantage of the
Virtual Band function.
1. Press the Keyboard Mode [OTHER] button.
3. Switch the Upper1 part on and all other Keyboard
parts off (see page 36).
4. Select a Tone for the Upper1 part (see page 37).
You could also press a SUPER TONES button.
5. Switch the Upper1 part off and the Upper2 part on.
6. Select a Tone for the Upper2 part.
7. Press the [MEMORIZE] field.
2. Press the [ARR Hold] field to switch the Arranger
Hold function off (blue), or on (white).
3. Press [EXIT] to return to the Master page.
As soon as you play another chord, the accompani-
ment changes, but as long as you don’t, the melodic
accompaniment keeps playing the previously specified
chord.
Chord recognition area
As stated on page 34, telling the VA-76 that you wish
to use the Arranger is a matter of pressing the Key-
board Mode [ARRANGER] button. That, however,
means that the key of the Music Style patterns can
only be controlled by playing chords in the left half of
the keyboard. You can also tell it to scan another part
of the keyboard for usable chords. Though Left is
probably the mode you will usually use, you could
select Right to have the Arranger scan the right half of
the keyboard. Note that it is possible to select Whole
so that you can feed the Arranger anywhere on the
keyboard. If you don’t want the Arranger to scan your
chords, choose Off.
8. Press the 1~4 field that should contain your new
Tone assignments for the Upper1 and Upper2 parts.
The display now shows the following message:
Note: Off can also be assigned to an optional footswitch (see
page 191).
9. Press the [EXIT] field to return to the Master page.
The range of the Left or Right keyboard area depends
on the current setting of the main split point (see
“Split point in Arranger mode” on page 35). The split
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VA-76 Owner’s Manual—More about the Arranger
point you set for the Keyboard parts will also be used
by the Arranger to determine the upper (Left) or lower
(Right) limit of the chord recognition area.
The Piano Style mode works as follows: the Arranger
decodes every chord you play – no matter where you
play it. Causing the Arranger to play another chord
requires that you play at least a triad (i.e. the three
notes that make up a chord). You are free to play more
than three chord notes but remember that two notes
won’t cause the Arranger to play another chord. Do
not forget to select a chord recognition area (see
above), because pressing Keyboard Mode [PIANO]
selects “OFF”. “WHOLE” would be a good choice here.
1. Press the Keyboard Mode [OTHER] button.
2. Press the [ARRANGER CHORD] field in the upper
left corner of the display (so that it is displayed in
white).
The display now looks more or less as follows:
Intelligent— Select Intelligent when you want the
Arranger to supply the missing notes of the chord you
want to play. See page 252 for a chart of intelligent
chords and the way to play them. The VA-76 can han-
dle virtually any chord you can think of – and playing
them requires no more than three (for minor and sev-
enth chords only two, and for major chords only one)
finger(s)! This is probably the mode you will select
most of the time.
3. Press the [LEFT], [WHOLE], [RIGHT] or [OFF]
field in the center to select the chord recognition area.
Your choice is reflected by the keyboard below the cen-
tral display section, so you can’t go wrong.
4. Press [EXIT] to return to the Master page.
Note: The choice you make here also affects the “Arpeg” and
“Chord” options of the D Beam Controller. See “Arpeg 1/2/3
Octv” on page 187.
4. Press [EXIT] to return to the Master page.
Note: Every time you press the Keyboard Mode
[ARRANGER] button, the [LEFT] setting is selected.
Bass Inversion
The Bass Inversion function allows you to change the
way the Arranger reads the chords you play.
Note: You can also use an optional footswitch for selecting
[OFF] (see page 191).
If the field is not displayed in white, the Accompani-
ment Bass part (ABS) plays the root of the chords that
feed the Arranger, while the chords of the Accompani-
ment 1~6 parts are voiced in such a way as to avoid
semitone intervals (for complex chords) that wouldn’t
sound very nice.
Arranger Chord Mode
Another important choice is how you want to trans-
mit note information to the Arranger so that it plays
the Music Style in the right key.
1. Press the Keyboard Mode [OTHER] button.
Bass Inversion gives you more artistic license because
you specify the notes played by the ABS part. Switch
on Bass Inversion for songs that rely on bass rather
than on chord patterns (for example C – C/B – C/Bꢁ,
etc.).
2. Press the [ARRANGER CHORD] field in the upper
left corner of the display (so that it is displayed in
white).
3. Press the [Standard], [PianoStyle], or [Intelligent]
field.
1. Press the Keyboard Mode [OTHER] button.
Standard— This is the normal chord recognition
mode. In Standard mode, the melodic accompani-
ment plays the chords you play in the chord recogni-
tion area of the keyboard. If you play only one note in
that area, the accompaniment plays only that note, i.e.
it assumes that you deliberately chose to omit the third
and the fifth of your “chord”.
To have the Music Style sound a major, minor or sev-
enth chord, you can suffice to play three notes, by the
way. Other, more complex, chords require that you
press four keys.
2. Press the [Bass Inv] field to switch the Bass Inver-
Piano Style— Piano Style means that you can play on
your VA-76 as you would on a piano. In this mode, it
is probably a good idea to press the Keyboard Mode
[PIANO] button (or to switch off all Keyboard parts
except Upper1).
sion function on (white) or off (blue).
3. Press [EXIT] to return to the Master page.
Note: By default, this function is also assigned to the PAD
[2] button, which may be more convenient to use for quick
toggles.
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VA-76 – More refined Arranger settings
You could use extreme positive/negative ACCOMP
pairs (i.e. “127” and “–127”) to alternate between
those two lines simply by varying your velocity. One
part would then only be audible when you strike the
keys softly, while the other would only be audible at
high velocity values.
Dynamic Arranger
The Dynamic Arranger function allows you to control
the volume of the Arranger parts via the way you
strike the keys in the chord recognition area (velocity).
If the selected Style uses a “V” Drum Set, this function
also influences the timbre of the drum sounds in a far
more natural way than before.
Subtler settings (i.e. 20 and –20 for a pair) can also be
effective, of course. Set the value to “0” for those parts
whose volume should not be affected by your velocity
values.
1. Press the Keyboard Mode [OTHER] button.
M-FX
CONTROLLERS
EFFECTS
ONE TOUCH
You could use the [Dynamic] field on this page to
switch this function on or off. By default, it is switched
off.
MELODY
INTELL
MIN
MAX
TRANSPOSE
M-VALUE
KEYBOARD MODE
USER PROGRAM
8. Press [EXIT] to return to the Master page.
You can also press the [oBack] field if you still need
to make other Arranger settings.
SYNC
OTHER
ARRANGER
PIANO
ON/OFF
DOWN
UP
FREE PANEL
2. On the page that appears now, press the [Dynamic]
field to switch the Dynamic Arranger function on
(white) or off (blue).
3. To return to the Master page, press [EXIT].
“Dynamic” only becomes meaningful if you also spec-
ify how the various Arranger parts should respond to
your velocity. There are eight Arranger parts: A Drum
(the drums), A Bass (the bass), and Accomp 1~6 (the
melodic accompaniment parts).
4. On the page that appears when you press the Key-
board Mode [OTHER] button, press the
[ARRANGER CHORD] field if it is not displayed in
white.
5. Press the [Dynamic Arr EDIT] field.
The display now looks more or less as follows:
6. Select the Arranger part whose velocity sensitivity
you wish to change by pressing its field.
7. Specify the velocity sensitivity value with the
[TEMPO/DATA] dial or using the [DATA] button/
Numeric Pad facility.
You can specify positive and negative sensitivity val-
ues. Positive values mean that the volume of the part
in question increases when you strike the chord recog-
nition area keys harder, while negative values mean
that the volume of the selected Arranger part increases
as your velocity becomes softer.
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VA-76 Owner’s Manual—More about the Arranger
• On the other hand, you are free to change a Music
Style’s tempo any time. See “Changing the tempo” on
page 27. That value can be written to a User Program
and will then be set every time you select that User
Program.
7.6 Arranger Options
1. On the page that appears when you press the Key-
board Mode [OTHER] button, press the
[ARRANGER CHORD] field if it is not displayed in
white.
• The Style (and also Composer Song) tempo is dis-
played on the Master page (upper right corner), but
also by the four tempo indicators above the [DATA]
and [TEMPO/TAP] buttons. The first indicator flashes
red to indicate the downbeat (the beginning) of a new
bar.
2. Press the [Options] field.
The display now looks more or less as follows:
Tempo indica-
tors
DATA
TEMPO/TAP
TEMPO
DATA
You can also select this particular page by pressing and
holding the [TEMPO/TAP] button.
For time signatures like 6/8, etc. the fourth indicator
flashes repeatedly to supply the “missing” beats.
[Auto] and [Lock] allow you to specify what happens
when you select another Style:
(Arranger) Tempo
3. Press the [Tempo] field so that it is displayed in
white.
If Arranger playback is
stopped when you
select another Style
If the Arranger is
running when you
select another Style
BPM field that
lights
Fill Ritardando
The Fill Ritardando function is suitable for ballads. It
causes the next fill (To Original, To Variation) to slow
down (“ritardando”). Try using this function now:
The Arranger loads the
preset tempo of the
new Style
[Auto]
The new Style is played
back at the tempo of
the previous Style.
The preset tempo of
the new Style is not
loaded. Instead, the
Style will be played at
the current tempo.
4. Start Arranger playback and press the [OFF] field
below the Fill Ritardando message (so that it reads
[ON]). Then press the [FILL] button on the front
panel.
The tempo slows down while the Fill is being played.
At the end of the fill, the Style returns to the previously
set tempo (this is called “a tempo”).
[Lock]
(none)
The Style's preset tempo is loaded.
To switch off both tempo options, press the [Auto] or
[Lock] field that is currently displayed in white.
5. Press the Fill Ritardando value field (next to the
RIT and ACC
[OFF/ON] field).
The [RIT] and [ACC] fields allow you to speed up or
slow down the Arranger tempo. The field you press
will be displayed in white, and change to blue again as
soon as the ritardando (RIT) or accelerando (ACC) is
completed. After pressing the [RIT] (slow down) or
[ACC] (speed up) field, you can use the “opposite”
field ([ACC] or [RIT]) to return to the initial tempo
value. This will gradually turn the tempo change back.
To immediately return to the Style’s default tempo,
press the [Default] field.
6. Use the [TEMPO/DATA] dial or the [DATA] button
(Numeric Entry) to enter the desired tempo change
value (5~92%).
The higher the value, the more dramatic the tempo
change.
BPM
Before telling you what this parameter is for, let us
briefly summarize everything that has already been
said about the tempo:
The two Tempo Change parameters allow you to set
the degree (ratio) to which the tempo changes when
you press the [RIT] or [ACC] field.
• Every Music Style has a preset tempo that is recalled
whenever you select that Style, or when you take
advantage of the One Touch function (see page 99).
The One Touch function, however, allows you to filter
the tempo setting (by activating [Suitable Tempo],
which means that the preset tempo is no longer loaded
automatically).
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VA-76 – Arranger Options
Press the first field (Rit/Acc) and use the [TEMPO/
DATA] dial or the [DATA] button/Numeric Entry pad
to select the ratio by which the tempo should increase/
decrease.
The name of that chord now appears to the right of
the “Chord” field.
Next, press the [CPT] field and enter the number of
clocks required for executing the requested tempo
change. “480” corresponds to one 4/4 measure. Enter
the value “120” if the tempo change should be exe-
cuted in one beat.
Chord Family Assign, Alteratn
On page 97, we told you about three complete sets of
Style divisions: one for major, one for minor, and one
for seventh chords. If you listen very carefully to the
internal Styles of your VA-76, you will notice that the
accompaniment for minor chords sometimes differs
from that for major and seventh chords. That is
because these accompaniments can be programmed
separately.
6. While still holding those keys, press the [CAP-
TURE] field.
The display now contains two arrows that are dis-
played below the [Family] field. Use [i][m] to select
the Chord division (pattern) you want to hear every
time you play your “Sus” chord (for example). Select
“Maj”, “min”, or “7th”.
The Chord Family Assign function allows you to spec-
ify which pattern (major, minor or seventh) should be
used for the chords you play. For instance, if you want
the Arranger to use the minor accompaniment for “6”
chords, you should use the Chord Family Assign func-
tion to assign the “6” chord family (for instance C6,
A6 etc.) to the minor accompaniment level.
1. On the page that appears when you press the Key-
board Mode [OTHER] button, press the
[ARRANGER CHORD] field if it is not displayed in
white.
Note: You cannot select “Maj” in this particular case,
because Sus chords are already assigned to the “Maj” family.
You could assign them to the “7th” divisions, however.
2. Press the [Options] field.
3. Press the [Chord Family Assign] field in the left col-
umn.
The display now looks more or less as follows:
Note the [DELETE] field. This means that you can
delete this assignment and program a new one if you
like.
7. Press the Chord [m] field to select memory 2.
Repeat the above steps to program other Chord Fam-
ily assignments. You can use [i] to return to memory
1, and change the assignment, or delete it.
8. Press [EXIT] to return to the Master page.
You can also press the [oBack] field if you still need
to make other Arranger settings… such as the follow-
ing, which is related to the Chord Family Assign func-
tion.
4. Press the Keyboard Mode [ARRANGER] button
(this is only necessary if it doesn’t light).
5. Play a chord in the left half of the keyboard.
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VA-76 Owner’s Manual—More about the Arranger
Intro& Ending Alteration
Musical Style playback: Wrap
Now suppose you like the accompaniment you
assigned your chord to (e.g. the “7th” pattern), but
think that the Intro and Ending sound odd when you
start a song with that chord (“Csus4” for instance).
Consider the following example: you assigned the C4
chord to the major family and the Intro of the Style
you are using contains the following progression:
C→ Am→ F→ G
The Wrap function is used to specify how the bass line
and accompaniment parts should be played. If the
bass, for instance, is programmed to play ascending
scales, some notes may be too high or too low to
sound natural in a given situation. Though perfectly
possible for the built-in tone generator, playing the
scales the way they were programmed affects the qual-
ity of your accompaniment.
Starting the Intro with the C4 chord memorized
would transform this progression into the following:
C4→ Am6→ F→ G7
The outcome is not really predictable. That is precisely
why you can turn the Alteration function off. Doing so
allows you to memorize the C4 chord but have the
Intro or Ending play the normal progression (e.g. C,
Am, F, G), and cause the Arranger to switch to the C4
chord when the Intro/Ending is finished.
So far, you may not have noticed the difference
because the default setting for the Wrap function is
“ON”, meaning that all parts are played in their natu-
ral range. The Wrap function transposes all accompa-
niment notes that are too low (for piccolo etc. sounds)
or too high (for bass sounds, etc.) one octave up or
down. The Wrap point is preset for each Tone and
cannot be changed.
The Accomp Wrap parameter allows you to activate or
cut the Wrap function. In most cases, ON is probably a
sensible setting.
1. On the page that appears when you press the Key-
board Mode [OTHER] button, press the
[ARRANGER CHORD] field if it is not displayed in
white.
1. On the page that appears when you press the Key-
board Mode [OTHER] button, press the
[ARRANGER CHORD] field if it is not displayed in
white.
2. Press the [Options] field.
3. Press the [Intro Ending Fill In] field in the left col-
umn.
2. Press the [Options] field.
The display now looks more or less as follows:
3. Press the [Accomp Wrap] field in the left column.
The display now looks more or less as follows:
Press the [OFF] field if you don’t want the Intro and
Ending patterns to be affected by the “special”
(unusual) chords you play. Press the [ON] field if your
“special” chords should also be reflected by the Intro
and Ending patterns.
4. Press the field of the Arranger part whose Wrap set-
ting you wish to change.
That field is displayed in white.
5. Use the [TEMPO/DATA] dial to select “ON” or
“OFF”.
ON— All notes played by the selected part will sound
in a “natural” range for the selected Tone, i.e. neither
too low nor too high.
4. Press [EXIT] to return to the Master page.
You could also stay on this page for the following
function:
OFF— All notes of the selected part will be played the
way they were programmed. Select “OFF” if the chord
progression you are playing requires ascending or
descending lines or consistent chord voicings (such as
when the User Style function is used for sequencing).
Note: The A Drum part cannot be selected because it doesn’t
contain melodies, so that the Wrap function wouldn’t make
sense.
6. Press [EXIT] to return to the Master page.
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VA-76 – Selecting Tones for the Arranger parts
5. Use the BANK/NUMBER buttons to select a Tone
for the active Arranger part (the one that is displayed
in white).
Alternatively, you can also press the [Tone] field and
work via the display. See also “Selecting different Tone
Maps” on page 41 if you can’t seem to find the Tone
you need in the current Map. See the Tone Lists on
page 222 for locating the desired Tone.
7.7 Selecting Tones for the
Arranger parts
You can select other Tones for the Arranger parts of
the currently selected Music Style. Assigning another
Drum Set to the A. Drums part, for instance, may
already dramatically change the Music Style’s charac-
ter. Likewise, replacing the acoustic piano by an elec-
tric one is an easy way of adapting a preset Music Style
to your specific needs.
About the lock
It is up to you to decide whether the VA-76 should
remember which Tones you assigned to the Arranger
parts. If you do not modify the setting of the lock, you
will notice that, after a while, the Music Style returns
to the original, preset, Tones.
Tone selection for the Arranger parts is very similar to
the procedure for the Keyboard parts. If in doubt,
please see “Selecting Tones for the Keyboard parts” on
page 37.
1. On the Master page, press the [Tone] field. You can
also press the [TONE] button in the BANK/NUM-
BER section.
Thanks to the lock, however, you can ensure that the
preset Tone selection will be overridden by your own
choices.
The display now looks more or less as follows:
Lock closed
— The Tone assignment contained in
the Music Style will be recalled at the beginning of a
loop. This may be after 2, 4, or even 8 measures.
(There are also locks for the volume, Reverb, Chorus,
etc. parameters.)
Lock open
— The Arranger part in question does
not change at the beginning of the loop. Selecting this
option is probably wiser when you are planning to
write your settings to a User Program (see page 127)
and recall them at a later stage. Otherwise, you might
just as well not bother with selecting other Tones for
the Arranger parts.
2. Press the [Part] field to select the following page:
This is an intelligent function: as soon as you select
another Tone (or Drum Set), the lock is automatically
opened.
Note: See also “More locks” on page 115.
6. Press [EXIT] to return to the Master page.
3. Press the [Style Part] field to select the following
page:
4. Press one of the part fields [ADR]~[AC6] to select
the part you wish to assign another Tone to.
[ADR] refers to the Accompaniment Drums part,
[ABS] to the Accompaniment Bass part, and [AC1]~
[AC6] to the melodic accompaniment parts.
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VA-76 Owner’s Manual—More about the Arranger
The display now looks more or less as follows:
7.8 Working with Styles on Disk
Programming your own Disk Link
assignments
The VA-76 comes with 64 preprogrammed assign-
ments to Music Styles on the supplied Zip disk. The
Zip disk, however, contains a lot more Music Styles
(559 in all), while you may in time also use other
Styles on different Zip or floppy disks.
If such disks contain Music Styles you want to be able
to select at the press of three buttons (without using
the Disk User memory), here is how to program an
assignment.
Note: If you take advantage of this, it would be wiser to have
all Disk Link memories refer to the same disk. This can be
one floppy and one Zip disk (but try to avoid two different
Zip disks). That way, you do not have to change disks while
playing, which is rather cumbersome in the case of a Zip
disk.
7. Use the [i][m] fields to select the Disk Link mem-
ory you wish to assign a new Style to.
Select C21, for example. The memories are numbered
from 1~8. This explains why the next Disk Link mem-
ory after “C18” is “C21” (“9” and ‘”0” are not used).
Note: This will overwrite the current assignment of the C21
memory. You may want to write it down before proceeding,
so as to be able to restore the factory setting.
8. Press the field of the Style you want to assign to this
memory.
1. Press the [STYLE] button or the [Style] field on the
Master page.
If necessary, use the [o][k] fields or the [TEMPO/
DATA] dial to select another group of four Styles.
Note: If you can’t seem to find the Style you wish to assign,
and if you know it exists on the selected disk, check the
“Find” field. It should read “(ALL)”. On the other hand,
you can also use the Find functions for locating the desired
Music Style before selecting the Disk Link page. See
page 133 for details about the Find functions.
The display now looks more or less as follows:
9. Press the [EXECUTE] field.
The VA-76 now briefly confirms that your selection
has been registered and then returns to this page. You
could now program other assignments if you wanted
to.
2. Insert a Zip or floppy disk into the (appropriate)
drive.
10. Press the [oBack] field to return to the previous
page and, at the first occasion, press [EXIT] to return
to the Master page.
3. Press the [Disk User] field.
Note: Disk Link assignments are stored internally but they
are not part of the User Programs. Thus, you can “only”
program 64 links in all (rather than 64 per User Program).
Note: Disk Link settings are saved to a global memory
whose contents are saved together with all User Program Set
data (page 211). When you transfer such a Set back to the
VA-76 using the “All” option of the User Program Set Load
function, the internal Disk Link settings will be replaced by
the settings you load. Be sure to save your settings to disk
before loading an entire User Program Set. Use “Save User
Program Set” on page 211 for saving the settings.
4. Press the [FLOPPY] or [ZIP] field in the upper
right corner.
This is necessary to specify whether you want to link a
Style on floppy or on Zip disk. You need to do this
before pressing the [Options] field.
5. Press the [Options] field.
6. Press the [Disk Link] field.
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VA-76 – Working with Styles on Disk
Here are the available Database entries for Music
Styles and Songs:
Find: locating Styles on a Zip disk
Working with Music Styles on Zip or floppy disk is
convenient and fast, as you know by now.
MUSIC STYLES
The Zip disk supplied with the VA-76, however, con-
tains 559 Music Styles. That is why there is also a pow-
erful Find function for quickly locating the Style you
need. Here is how to use this Find function:
Style Name
File Name
Genre
Country
SONGS
1. Press the [STYLE] button or the [Style] field on the
Master page.
Song Name
File Name
Genre
Author
2. Press the [Disk User] field.
(This procedure is the same as the one for using Disk
User Styles.) The display now looks more or less as fol-
lows:
3. Press the [Style Name], [Country], [Genre], or [File
Name] field, depending on the entry you want to base
your search on.
To locate all Styles for a given genre (e.g. Standard),
press the [Genre] field.
4. Press the [FIND] field.
The display now looks more or less as follows:
If you take a close look at the display, you’ll see that
there are four columns:
[Style Name]— This is the “internal” name of a
Music Style. This name appears on the Master page,
the Music Style selection page, etc. It is usually the
“meaningful” name.
5. Select the way in which the VA-76 should search the
Zip disk for the desired information:
• Press the [GO To…] field if the VA-76 should search
for all entries that start with the characters you enter
(“BEA”, for example). Note that by “entry”, we mean
the [Style Name], [File Name], etc. you selected on the
previous page or here. Files that match the specified
criteria will be displayed at the top of the display.
[Country]— Refers to the country where the Style
in question is most likely to be used.
[Genre]— Tells you more about the musical genre
(Waltz, Folk, Latin, etc.)
[File Name]— This is the name the Music Style has
on disk and by which the VA-76 recognizes it (its
“address”). If you change this name of a Music Style,
the Disk Link function no longer finds the Style.
• Press the [Find Only] field to have the VA-76 search
the selected column for files that contain the supplied
information. (This would allow you to also locate a file
called Raggabeat if you entered “BEA”.)
The information of these columns are supplied by a
special file on the Zip disk that is called Database.
Given that floppy disks cannot contain such a Data-
base file, only the “Style Name” and “File Name” are
available, while the Find function is not supported.
• The four fields below the [GO To…] and [Find Only]
fields allow you to specify the entry that should be
searched. The one that is displayed in white ([Style
Name] in the above illustration) is the active field.
You can supply the above information for your own
Styles – or change the information of the Styles on
the supplied Zip disk (though the latter is probably
not a very good idea).
Note: Music Styles you load from floppy disk and then
save to Zip are not automatically modified to include this
Database information. You need to program it yourself.
See “Rename (Style Options)” on page 110.
6. Use the keypad for entering the information to look
out for. Use the [o][k] fields to move the cursor to
the next/preceding position.
See also page 68. Use the [Delete] field to erase any
character you don’t want the VA-76 to look for. Such
“forgotten” characters can seriously affect the search
result.
Note: It would be a good idea to enter at least 2 characters,
possibly even 3 so as to narrow down your search to a
“workable” size.
7. Press the [EXECUTE] field and look at the “Find:”
field above the [Orchestrator] field.
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VA-76 Owner’s Manual—More about the Arranger
If it says “0 of 559”, the VA-76 was unable to find a file
that contains the desired information. In all other
cases, the field will read “XX of 559”, which means
“found XX Style Name, Country, Genre, or File Name
entries that match the characters you entered.”
4. Press the [Options] field.
8. Use the [o][k] fields or the [TEMPO/DATA] dial
to call up the desired Music Style and press its field to
select it.
If all columns are blank (because the Find function
was unable to find Music Styles that match the search
criteria), press the [Style Name], [Country], [Genre]
or [File Name] field. All Styles on disk will now be
sorted alphabetically according to the selected col-
umn. Here is an example: if you press the [Genre]
field, the Music Styles will be sorted in the alphabetical
order of the Genre column.
5. Select the Style you want to rename by touching it.
If necessary, use the [o][k] fields or the [TEMPO/
DATA] dial to locate it.
6. Press the [Rename] field to call up the following
page:
Note: Pressing an entry field on the database page will can-
cel the Find results you may have obtained previously with
the [GO To…] or [Find Only] option.
Let us now have a look at how to supply the informa-
tion the Database will be able to find. This is only pos-
sible for Zip disks and only necessary for files that do
not contain the desired information, or no informa-
tion at all.
Rename (Style Options)
As you see, the four entry fields [Style Name], [Coun-
try], [Genre], and [File Name] are once again dis-
played.
Note: If this is not the case, you forgot to select the Zip drive
earlier.
Note: The Rename and Delete options are also available for
floppy disks. In the case of “Rename”, however, you can only
change the [File Name] and [Style Name].
The ZIP Style Options page contains three options:
[Rename], [Delete], and [Disk Link]. You already
know what the Disk Link function is for (see
page 108). Here, we will have a look at the [Rename]
function. As stated above, it allows you to change (or
supply) the information for the various Database
entries.
7. Touch the field for which you wish to supply or
change the information.
8. Use the keypad to enter the desired name. See also
page 68.
Note: Except for the Style Name entry that allows for 16
characters, you can only enter 8 characters.
It is an “Option”, which means that you probably
won’t use it every day. If you do use it, be aware of the
following: the VA-76 remembers the File Name of the
referenced Music Styles for the Disk Link facility. If
you change the File Name (not the Style Name), the
VA-76 no longer finds it when you select the Disk Link
memory in question. We therefore recommend you
never change the File Name.
9. Press the [EXECUTE] field.
The new information is saved to the Zip disk while the
following animation is displayed:
1. Press the [STYLE] button or the [Style] field on the
Master page.
2. Press the [Disk User] field.
3. Press the [ZIP] field to select the Zip drive.
Though you could also press the [FLOPPY] field, you
would then be left with only the [Style Name] and
[File Name] to change. Renaming these two may be
useful at times, but it is usually very dangerous. It
would be wiser to use Rename only for changing or
supplying the [Country] or [Genre] information.
The display now returns to the Style Options page.
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VA-76 – Working with Styles on Disk
Style Delete
It is also possible to delete a Style from floppy or Zip
disk. You should use this as sparsely as possible – and
never for the supplied Zip or floppy disk. Once a
Style is gone, there is indeed no way to restore it. So
please be careful and try to forget this function even
exists.
1. Press the [STYLE] button or the [Style] field on the
Master page.
2. Press the [Disk User] field.
3. Press the [ZIP] field to select the Zip drive.
4. Press the [Options] field.
5. Select the Music Style you want to delete.
Use [o][k] fields or the [TEMPO/DATA] to call up
the Style’s name, then press its field (so that it is dis-
played in white).
6. Press the [Delete] field to call up the following
page:
7. Carefully look at the Style name that is displayed
here and check whether this is the correct one.
If this is the wrong Style, press [oBack] to return to
the Style Options page and select the correct one.
8. Press the [YES] field to go ahead and delete the
Style.
Press [NO] if you selected this function by accident.
If you press [YES], the Style is deleted, after which the
display confirms the operation and returns to the ZIP
Style Options or FDD Style Options page.
9. Press [EXIT] to return to the Master page.
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8. Mixer, effects and editing
The VA-76 also allows you to set the volume, the ste-
(1) Via sliders on so-called palette pages
reo position and the amount of effect the parts should
use. Of course, you can also program the effects them-
selves. All of these parameters can be found on the
Mixer pages.
In this case, you can edit the selected parameter (vol-
ume, pan, effect send) for several parts at once. If the
desired part is not displayed, use the [o][k] fields to
select another group of Keyboard or Style parts. A typ-
ical palette page looks like this:
There are three ways to select the VA-76’s Mixer. The
first is the most straightforward one, the others
require some additional operations.
Means that you are on a palette page
a) Press the [Mixer] field on the Master page.
[Single Part] and [PALETTE] are only available on
the pages you select via these fields
Press the [Palette] field (if available) so select the pal-
ette page. (If the [Single Part] field in the upper left
corner is displayed, you are on a palette page.)
b) Press the [EFFECTS] button, followed by the [Key-
brd Mixer], [Style Mixer], or [Global Volume] field.
c) Press and hold the M-FX [ON/OFF] button, fol-
lowed by the [Keybrd Mixer], [Style Mixer], or [Glo-
bal Volume] field.
On such palette pages, you need to proceed as follows:
1. Select one of the VA-76’s Mixer pages (see a~c).
2. Select the Mixer group that contains the part whose
settings you want to change by pressing the [Keybrd
Mixer] or [Style Mixer] field.
8.1 Structure of the Mixer pages
The main pages are structured in a very logical way:
The [Keybrd Mixer] field provides access to the
VA-76’s Keyboard parts: VariPhrase, Upper1, Upper2,
Lower1, Lower2, M.Bass, MEL INT, M.Drums and the
Audio In part.
3. If the part you want to change is not displayed, use
the [o][k] fields to call up another group of four
parts/sliders.
4. Select the desired parameter by pressing the
[Delay], [Chorus], [Reverb], [PanPot] or [Volume]
field.
Note: The Delay effect is not available for the A.Drums,
M.Drums, VariPhrase, and Audio In parts.
The [Style Mixer] field allows you to set various
parameters of the Arranger (or “Style”) parts:
A.Drums, A.Bass, Accomp 1~6.
5. Edit the selected parameter for one or several parts
in one of the following ways:
The [Global Volume] field allows you to set the vol-
ume of several part groups in one go. On a mixing
console, these sliders would be called the bus faders.
a) Use the on-screen sliders —or—
b) Press the name field (above the sliders) of the part
whose setting you wish to change and use the
[TEMPO/DATA] dial, or the [DATA] button/Numeric
Entry pad (see page 49).
In fact, the Mixer is very similar to a mixing console,
because you can not only set the volume of the above
parts, but also their stereo position (PanPot) and the
amount of effect they should use. In other words: this
is where you can “mix” the parts so as to create a con-
vincing sound image.
For your convenience, you can do the mixing accord-
ing to two approaches:
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VA-76 – Volume and pan
(2) Use a Single Part page
8.2 Volume and pan
Global Volume
1. Press the [Mixer] field in the display.
Single Part pages contain all available Mixer parame-
ters for the currently selected part. A typical Single
Part page looks like this:
Means that you are on a Single Part page
2. If necessary, press the [Global Volume] field:
Note: We strongly recommend that you first assign the
Tones you need to the parts you intend to play because the
character of the sounds you use affects the balance. Thus, a
trumpet sound will be perceived louder than a flute because
the former contains more harmonics (overtones).
Here, you need to proceed as follows:
1. Select one of the VA-76’s Mixer pages (see a~c on
page 112).
2. Select the Mixer group that contains the part whose
settings you want to change by pressing the [Keybrd
Mixer] or [Style Mixer] field.
The sliders on this page are group sliders that allow
you to set the volume of several parts at once:
3. If the [Single Part] field is displayed in the upper
left corner, press it.
Drum— Refers to the volume of the ADrums (ADR)
and MDrums parts (MDR). With this slider, you thus
affect the volume of two parts.
4. Use the [i][m] fields to select the desired part.
5. Select the desired parameter by pressing the
[Delay], [Chorus], [Reverb], [PanPot] or [Volume]
field.
Bass— Refers to the A Bass (Music Style bass) and the
MBS (Manual Bass) parts.
Accomp— Refers to the AC1~AC6 parts of the Arran-
6. Edit the selected parameter in one of the following
ger. These are the melodic accompaniment parts.
ways:
Lower— Refers to the LW1 and LW2 parts.
a) Use the slider to the right of the parameters —or—
Upper— Refers to the UP1, UP2, VariPhrase, Audio
b) Press the field of the parameter whose setting you
wish to change and use the [TEMPO/DATA] dial, or
the [DATA] button/Numeric Entry pad (see page 49).
Note: The Equalizer and Insertion M-FX parameters can
only be set on Single Part pages.
In, and MEL INT parts.
As the name implies, you could use this page for glo-
bal changes to the volume.
3. Press the name of the VA-76 part section whose vol-
ume you wish to change.
In the above illustration, the Upper slider (group) has
been selected.
About the Audio In part
The Audio In part has a special place among the “Key-
board parts”. That’s because it is not really a Keyboard
part: it allows you to mix your live vocals with the
music played by the VA-76.
4. Set the desired volume in one of the following ways:
• Using the on-screen slider;
• With the [TEMPO/DATA] dial;
This explains why it has two pages to itself (a Single
Part and a Palette page). Choose whichever is more
convenient for you. See page 58 for details.
• By pressing the [DATA] button and using the Numeric
Pad (see page 49).
If you only need to change the balance between the
Arranger (or Song) and Keyboard parts, using the
[BALANCE] knob on the front panel is even more
convenient.
Palette page
Single Part page
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VA-76 Owner’s Manual—Mixer, effects and editing
Note: The relative balance of two grouped parts is only
maintained as long as you do not decrease (or increase) the
volume once one of the faders on the other pages has
reached the value “0” (or “127”). If you increase the volume
of a group beyond the point where one of its members has
reached “127”, only the volume of the part(s) whose volume
hasn’t yet reached “127” will change. The same is true when
you decrease the volume of a grouped pair after one part has
reached the value “0”. There is no way to restore the relative
balance that was in effect before you destroyed it.
Style Mixer (volume of the Arranger
parts)
After selecting a Mixer page (see page 112), press the
[Style Mixer] field. The display now looks as follows:
Note that obtaining the right balance is not always a
matter of increasing the volume of one section. In
many instances decreasing the volume of the part or
section that is too loud with respect to the others, is
more effective.
Here, you can set the volume and on/off status of the
Arranger parts.
Muting parts
On the above page (as well as on the Keybrd Mixer and
Style Mixer pages) you can press the [ON/OFF] fields
below the sliders (Palette) or part name (Single Part)
to mute the selected group (or part). The [ON]
prompt then changes to [OFF].
1. Use the [o][k] fields to select the page that con-
tains the Arranger/Style part whose volume you want
to change or that you wish to switch off.
2. If the [Volume] field is not displayed in white, press
it. Otherwise, you’ll change another parameter set-
ting.
Note: See below for the remaining functions on the Mixer
pages.
5. Press [EXIT] to return to the Master page.
PanPot (stereo position)
The VA-76 allows you to specify the PanPot setting
(stereo position) of every part individually. One sensi-
ble way of using the PanPot parameter could be to
move the Upper1 part to the left output, while the
Upper2 part is moved to the right output. If you then
layer Upper1 and Upper2 (by activating [UP1] and
[UP2] on the page you select with the [OTHER] but-
ton), the Upper1 sound will come from the left
speaker, while that of the Upper2 part will come from
the right speaker.
Keybrd Mixer (volume of the Keyboard
parts)
After selecting a Mixer page (see page 112), press the
[Keybrd Mixer] field. The display now looks as fol-
lows:
Here is how to specify the PanPot setting of a part:
1. Select a Mixer page (see page 112).
2. Select the part group (Keyboard or Style) by press-
ing either [Keybrd Mixer] or [Style Mixer].
3. Select the Single Part or Palette page.
On the Palette page, use the [o][k] fields if the
desired part is not displayed.
Here you can set the volume of the individual Key-
board parts. If this page is not displayed, press the
[PALETTE] field in the middle of the display.
• If you chose to work with the Single Part page, select
the part whose setting you wish to change by pressing
[i] or [m].
The parts whose volume you can change here are:
VariPhrase, M Drums, Upper 2, Upper 1, M Bass,
Lower2, Lower1, MEL INT, and Audio In (see
page 57).
1. Use the [o][k] fields to select the page that con-
tains the Keyboard part whose volume you want to
change or that you wish to switch off.
2. If the [Volume] field is not displayed in white, press
it. Otherwise, you’ll change another parameter set-
ting.
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VA-76 – Output Assign
Note: The lock settings have no effect on the reception of
MIDI messages via MIDI IN. However, the VA-76 is also
equipped with MIDI filters that allow you to suppress the
reception of certain MIDI messages.
4. Set a value between 1 and 63 to move the part fur-
ther to the left, or 65~127 to move the part further to
the right.
Note that you can also select Rnd (Random), which
means that the part will alternate between the left and
right channels in a random way.
Note: The percussion sounds of the M.Drums and A.Drums
parts are already panned in stereo. Changing the PanPot
setting for these parts means that the entire stereo distribu-
tion will be shifted to the left or right.
8.3 Output Assign
The VA-76 is equipped with four outputs grouped
into two pairs: OUTPUT 1 and OUTPUT 2.
OUTPUT 2
OUTPUT 1
L/MONO
R
L
R
More locks
You may have noticed the locks on the [Style Mixer]
Single Part page:
The OUTPUT 1 sockets are considered the main con-
nectors, which is why all parts are assigned to them by
default. In some cases, such as when using the VA-76
for multitrack recording or if a given part should be
processed using an external effects device, you may
want to take advantage of the OUTPUT 2 sockets.
The parts assigned to the OUTPUT 2 sockets are no
longer processed by the VA-76’s effects (or Equalizer),
nor controlled by the [VOLUME] knob on the front
panel.
Except for the VariPhrase and Audio In parts, all of the
VA-76’s parts can be freely assigned to the desired
OUTPUT socket(s).
They allow you to choose whether the Chorus (Send),
Reverb (Send), and PanPot settings for the Arranger/
Style parts will be used or not.
That is: the Keyboard parts…
On the Single Part page, press the [
Man] field.
Auto/
Man— The settings remain in effect until you change
them again, until you select another User Program, or
another Style. (Man is short for Manual).
Auto— In this case, the Arranger parts will use the set-
tings contained in the Music Style patterns you select.
Music Styles not only contain notes (i.e. the drum,
bass and accompaniment parts) but also a series of
settings that specify how the parts are to be played
back. These settings include Program Change mes-
sages, PanPot, volume, etc.
…the Arranger (“Style”) parts…
Music Styles are accompaniment patterns that are
repeated every so often (usually after four bars). The
non-note information is located at the beginning of a
pattern, so that, if you select Auto, the Mixer settings
of the Arranger parts will be reset as soon as the pat-
tern restarts from bar 1 – or every time you select
another division (Original, Variation, Fill, etc.).
… and the Recorder (“Song”) parts.
If you do not want your changes to be overwritten by
the information contained in a Music Style, select
Man.
Here is how to assign a part to the desired output:
Note: These locks are managed intelligently: as soon as you
modify one of the above parameters for an Arranger/Style
part, the lock is opened automatically (because the VA-76
assumes that you actually want to use the settings you
make).
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VA-76 Owner’s Manual—Mixer, effects and editing
1. Press the [FUNCTION MENU] button.
8.4 Effects and Equalizer
The VA-76 is equipped with three programmable
effects (Reverb, Chorus, and Delay), a multi-effector
(called Insertion M-FX) and a parametric two-band
equalizer.
Note: Any changes to the effects programs apply to all parts,
as there is only one Reverb, one Chorus, one Delay, and one
Equalizer (EQ). What can be specified for every part indi-
vidually, though, is the amount of effect to be applied (effect
depth/send).
Note: The M-FX is only available for the Keyboard parts,
while the Delay is not available for the M.Drums or
A.Drums part.
2. Press the [Output Assign] field in the bottom row.
Note: The VariPhrase and Audio In parts use separate
Reverb and Chorus effects.
Note: Parts assigned to an OUTPUT 2 socket cannot be
processed using the internal effects.
Applying Reverb, Chorus, or Delay to a
part
1. On the selected Mixer page (see page 112) select the
part group ([Keybrd] or [Style]) and the part whose
effect send setting you wish to change.
3. Depending on the group the desired part belongs
to, press the [Keyboard Parts], [Style Parts] or [Song
Parts] field so that it is displayed in white.
In the above example, the Keyboard Parts section has
been selected.
Do not forget to press the [Keybrd Mixer] or [Style
Mixer] field to gain access to the desired part. The
effect send settings specify the part level for the signal
that is fed to the Reverb, Chorus, and Delay effect
respectively. Setting high Reverb, Chorus, and Delay
values means that you effectively increase the effect
level.
4. Press the field assigned to the desired part so that it
is displayed in white.
5. Use the [TEMPO/DATA] dial or the [DATA] but-
ton/Numeric Entry to select the desired OUTPUT
socket(s):
1L/R— The part is connected to the OUTPUT 1 sock-
ets. Its stereo position can be controlled using the Pan-
Pot parameter. Such a part can also be processed by
the VA-76’s internal effects.
2L/R— The part is connected to the OUTPUT 2 [L]
and [R] sockets. Its stereo position can be set using the
PanPot parameter.
2L— The part is connected to the OUTPUT 2 [L]
socket.
2R— The part is connected to the OUTPUT 2 [R]
socket. Choosing “2L” for one part and “2R” for
another thus allows you to process two VA-76 parts
separately using external effects.
Note: If you select a “2” option, the part’s volume can no
longer be controlled using the [VOLUME] knob, nor can
such a part be connected to the internal effects.
As you see, one Palette page of the Keyboard Mixer
level looks a little different. That is because neither the
VariPhrase nor the M.Drums part can be processed
with the Delay effect.
2. Press the [Delay] field and modify the Delay send
level.
3. Press the [Chorus] field and modify the Chorus
send level.
6. Press [EXIT] to return to the Master page.
Note: The Output Assign settings are written to a User Pro-
gram, thus providing even greater flexibility.
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VA-76 – Effects and Equalizer
4. Press the [Reverb] field and modify the Reverb
The display now looks more or less as follows:
send level.
2. Press the field that is assigned to the effect you wish
to edit (left column).
3. Press a field in the center of the display to select an
effect type.
The number of types depends on the selected effect.
4. Use the [Level] slider in the right part of the display
for setting the output level of the effect processor
itself.
This parameter allows you to set the volume of the
selected effects processor. The connection is as follows:
Note: The Reverb, Delay and Chorus send levels cannot be
set for Keyboard parts you assign to the M-FX effect (see
page 122). The M-FX effect, however, has the same send
parameters (see page 123).
Level
Chorus
"Chorus"
Level
Level
Reverb
Delay
"Reverb"
Effects settings
"Delay"
Keyboard/Style
Three of the VA-76’s effects can be edited and thus tai-
lored to your needs. The settings you perform here
apply to all parts that use the effect in question. Espe-
cially for the Reverb and Chorus effects, it is therefore
wise to work with universally usable settings. Try to
consider these two as“general” effects that will be used
by several parts at once.
EQ
part
Volume
(e.g. Upper1)
OUTPUT 1
sockets
The [Level] sliders therefore allow you to change the
balance between the selected effect on the one hand
and the mix of the Keyboard and Style/Arranger parts
plus the remaining effects on the other hand.
Note: This slider duplicates the function of the “Level”
parameter found on the Parameters page (see page 118, for
example).
The Delay effect, on the other hand, is probably only
useful when applied to one part (because too many
repeated sounds clutter up the sound image).
Note: The VariPhrase and Audio In parts use separate
effects. See page 124.
1. Select the effects parameters you wish to edit:
5. Press the [Macro] field to recall the preset parame-
ters for the selected effects type (Room1, Room 2,
Room 3, etc. on the above page).
a) Select a Mixer page (see page 112) and press the
[Effect] field.
This recalls suitable preset values for all effects param-
eters (Pre-LPF~RevPre DlyT in the case of the Reverb
effect). The difference between Macro and Character
(see below) is that the former does what its name
implies: it calls up a program Macro that includes
Character selection and Parameters settings for the
selected effect.
—or—
b) Press the [EFFECTS] button.
Note: “Character” is only available for the Reverb effect.
Note: Do not press [Macro] after making your own settings
on one of the Parameters pages for that would reset all your
changes to the factory settings.
6. Press the [Param] field to jump to the Parameters
page of the selected effect.
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VA-76 Owner’s Manual—Mixer, effects and editing
7. On that page, press the field of the parameter you
want to edit and change its value with the slider, the
[TEMPO/DATA] dial, or the [DATA] button/Numeric
Entry pad.
Delay Fb (0~127)— This parameter is only available
when you select Character “6 Delay”, or “7 Panning
Delay”. It sets the way in which Delays repeat. Higher
values result in more repeats.
PreDlyT (0ms~127ms)— This parameter sets the
time interval between the original (“dry”) signal and
the onset of the selected Reverb effect. Higher values
result in a longer pre-Delay time, simulating a larger
Reverberant space.
Reverb types & Parameters
This is where you can edit the Reverb effects processor.
Note: Please bear in mind that any changes you make here
apply to all parts that use the effect. Therefore always check
what the settings sound like when you play other parts.
Note: Press the [Default Value] field to recall the factory set-
ting for the currently active (white) parameter. Press the
[oBack] field if you want to select another Macro.
These Reverbs simulate the reverberation of a
room. They provide a well-defined spacious
reverberation.
Room1, Room2,
Room3
Chorus types & Parameters
These Reverbs simulate the reverberation of a
concert hall with a deeper reverberation than
the Room Reverbs.
Hall1, Hall2
This effect type simulates a plate Reverb (a stu-
dio device using a metal plate to simulate natu-
ral Reverb).
Plate
This is a conventional Delay that produces echo
effects.
Delay
This is a special Delay in which the delayed
sounds move left and right. It is effective when
you are listening in stereo.
Chorus broadens the spatial image of the sound, add-
ing richness. You can choose from 8 types of Chorus.
Pan Delay
These are conventional Chorus effects that add
Chorus 1~4
Seeing that Delay usually only works for one part, use
the dedicated Delay processor for echo effects. That
way, the Reverb effect can be used to “deepen” the
sound field.
spaciousness and depth to the sound.
This is a Chorus with a Flanger-like effect and a
soft sound.
Fb Chorus
This is an effect sounding somewhat like a jet air-
plane taking off and landing.
Flanger
Character (0~7)— Character only specifies the Reverb
type you need. It does not load preset values for the
Pre-LPF~RevPreDlyT parameters. Selecting another
Character thus does not reset the other Parameter val-
ues to their factory settings. A Macro, on the other
hand, calls up a Reverb type and suitable settings for
that effect.
S Delay
This is a Delay with a short Delay time.
This is a short Delay with many repeats.
S Delay FB
Seeing that Delay usually only works for one part, use
the dedicated Delay for echo effects. That way, the
Chorus effect can be used to fatten the stereo image.
Pre-LPF (0~7)— A low-pass filter can be applied to
the Tone signal sent to the Reverb to cut the high fre-
quency range before it is processed by the Reverb.
Higher values will cut more of the high frequencies,
resulting in a more mellow Reverberation. Note that
this parameter only applies to the signal that is sent to
the Reverb effect. If you want to cut high frequencies
of the direct Tone signals, use the Equalizer instead
(see page 119).
Pre-LPF (0~7)— A low-pass filter can be applied to
the sound sent to the Chorus to cut the high frequency
range. Higher values will cut more of the high fre-
quencies, resulting in a more mellow Chorus sound.
Level (0~127)— This parameter sets the overall vol-
ume of the Chorus effect. If only one Tone contains
too much Chorus, reduce its Chorus Send value (see
page 116) rather than this Level value.
Feedback (0~127)— This parameter sets the level at
which the Chorus sound is re-input (fed back) into
the Chorus. By using Feedback, a denser Chorus
sound can be created. Higher values result in a greater
feedback level.
Level (0~127)— This parameter sets the volume of
the Reverb effect (or the Master AUX Return signal if
you are used to thinking in mixing console terms).
Higher values result in louder reverberation.
Time (0~127)— This parameter sets the time over
which the reverberation will continue. Higher values
result in longer reverberation.
Delay (0~127)— This parameter sets the Delay time
of the Chorus effect. Higher values will cause greater
deviation in pitch of the Chorus sound.
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VA-76 – Effects and Equalizer
Rate (0~127)— This parameter sets the speed (fre-
quency) at which the Chorus sound is modulated.
Higher values result in faster modulation.
Pre-LPF (0~7)— A low-pass filter can be applied to
the sound coming into the Delay to cut the high fre-
quency range. Higher values will cut more of the high
frequencies, resulting in a more mellow Delay sound.
Depth (0~127)— This parameter sets the depth at
which the Chorus sound is modulated. Higher values
result in deeper modulation.
Time C (0.1ms~1.0s)— The Delay effect of the VA-76
allows you to set three Delay times: center (C), left (L),
and right (R). Time C sets the Delay time of the Delay
located at the center.
Cho® Reverb (0~127)— This parameter sets the
amount of Chorus sound that will be sent to the
Reverb. Higher values result in more sound being sent.
The value “127” effectively allows you to connect the
Chorus and Reverb effects in series (Chorus before
Reverb). If you do not wish the Chorus signal to be
processed by the Reverb effect, set this value to “0”.
TRatioL/R (4%~500%)— This parameter sets the
delay time of the left- or right-channel Delay line as a
percentage of the central Delay. The value “100%”
means that the left or right Delay repeats at the same
speed as the center Delay.
Cho®Dly (0~127)— This parameter sets the amount
of Chorus sound that will be sent to the Delay. Higher
values result in more sound being sent. The value
“127”effectively allows you to connect the Chorus and
Delay effects in series (Chorus before Delay). If you do
not wish the Chorus signal to be processed by the
Delay effect, set this value to “0”.
Level C/L/R (0~127)— These parameters set the vol-
ume of the central, left, and right Delays. Higher val-
ues result in a louder Delay.
Level (0~127)— This parameter sets the overall vol-
ume of the three Delays (center, left and right). Higher
values result in a louder overall Delay.
Feedback (–64~ 0 ~+63)— This parameter specifies
the number of times the Delay will repeat. With a
value of “0”, the Delay will not repeat. With higher val-
ues there will be more repeats. With negative (–) val-
ues, the center Delay will be fed back with inverted
phase. Negative values are effective with short Delay
times.
Note: Press the [Default Value] field to recall the factory set-
ting for the currently active (white) parameter. Press the
[oBack] field if you want to select another Macro.
Delay types & Parameters
Dly®Rev (0~127)— This parameter sets the amount
of Delay sound that is sent to the Reverb. Higher val-
ues mean that the Reverb portion will be more promi-
nent in the Delay signal. Be careful not to overdo this
effect because it tends to blur the sound image.
Note: Press the [Default Value] field to recall the factory set-
ting for the currently active (white) parameter. Press the
[oBack] field if you want to select another Macro.
A Delay creates echoes. It is also possible to give depth
and width to a sound by adding a short Delay to the
original sound (a technique often used for rock-’n’-
roll songs and in Karaoke bars). You can choose from
among 10 types of Delay.
Equalizer
These are conventional Delays. 1, 2 and 3 have
Delay 1~3
progressively longer Delay times.
This is a Delay with a rather short Delay time (a
kind of “slap back” effect).
Delay 4
The Delay sound moves between left and right.
This is effective when listening in stereo. 1, 2 and
3 have progressively longer Delay times.
Pan Dlay 1~3
Pan Dlay 4
Dly To Rev
PanRpeat
This is a rather short Delay with the Delayed
sound moving between left and right. It is effec-
tive when listening in stereo (kind of stereo “slap
back” effect).
This equalizer works the same way as the Treble and
Bass knobs on an amplifier. It allows you to boost or
cut the high and/or low frequencies of the Tones. By
boost we mean that the volume of a certain frequency
band is increased, while cut means that the volume is
decreased. The Low and High frequencies to be
boosted or cut are selectable.
Reverb is added to the Delay sound which moves
between left and right. It is effective when lis-
tening in stereo.
The Delay sound moves between left and right
channels, but the pan position is different from
the effects listed above. It is effective when lis-
tening in stereo.
1. Select a Mixer page (see page 112), press the
[Effect] field, and the [Equalizer] field (left column).
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VA-76 Owner’s Manual—Mixer, effects and editing
2. Press the Low Gain [400Hz] or [200Hz] field to
select the low frequency to be boosted or cut.
8.5 Insertion effect (M-FX)
Using the insertion effect
3. Press the Low Gain value field and use the slider
(right), the [TEMPO/DATA] dial, or the [DATA] but-
ton/Numeric Entry pad to enter a positive (boost) or
negative value (cut) for the Low Gain parameter
(–12~+12dB).
Your VA-76 contains a multi-effect that can be
assigned to the Keyboard parts (if they are assigned to
the OUTPUT 1 sockets, see page 115). You can select
one type and decide which Keyboard part(s) should
use the effect. As applying this effect to one or several
Keyboard parts also changes the way in which the Key-
board part(s) can take advantage of the remaining
effects (Reverb, Chorus, Delay, and Equalizer), this
effect is called an insertion effect (because it is inserted
into the signal path). See page 123 for details.
4. Press the High Gain [6kHz] or [3kHz] field to select
the high frequency to be boosted or cut.
5. Press the High Gain value field and use the slider
(right), the [TEMPO/DATA] dial, or the [DATA] but-
ton/Numeric Entry pad to enter a positive (boost) or
negative value (cut) for the High Gain parameter
(–12~+12dB).
The [M-FX] knob on the front panel allows you to
control one parameter of the insertion effect in real-
time, and thus to add even more expression to the
parts you play.
Choosing the parts to be processed by the
equalizer
When you power on the VA-76, all parts are set to be
processed by the equalizer, so that you can use the
equalizer as master tone control that modifies the bass
and treble response of your instrument.
1. Press the [ON/OFF] button (so that it lights) to
switch the insertion effect on or off (the button goes
dark).
Doing so also changes the way in which the affected
Keyboard part(s) is processed by the other effects.
An equalizer is usually only effective when used to cor-
rect the frequency response of one sound that is in the
way of other sounds. Therefore, you now need to
switch the equalizer off for all parts that don’t require
tone correction.
2. Use the [M-FX] knob to control the assigned
parameter while playing.
1. Select a Mixer page (see page 112).
2. Select the Mixer group that contains the part whose
settings you want to change by pressing the [Keybrd
Mixer] or [Style Mixer] field.
3. Press the [Single Part] field.
This assignment is preset and cannot be changed. Bear
in mind, though that it varies according to the cur-
rently selected M-FX effect. It always influences the
parameter for which realtime control really makes
sense.
4. Use the [i][m] fields to select the desired part.
5. Press the Equalizer [ON/OFF] field to make it read
[OFF] (blue) if you don’t want the part in question to
be processed by the equalizer.
Realtime control via the display
If one effects parameter is not enough for the sound
changes you want to achieve, you can select the fol-
lowing display page where two M-FX parameters can
be controlled (one of which is also assigned to the
[M-FX] knob). For your convenience, the names of
these parameters are also displayed so that you know
exactly what you are doing.
Note: The parameters assigned to the [M-FX] knob are also
indicated by a “°” in the table starting on page 219.
Let’s have a look at how you can modify the two effects
parameters and add even more expression to your
music:
1. If the UP1 part is currently off, press the Keyboard
Mode [OTHER] button followed by the [KEYBOARD
MODE] field and switch it on (see page 36).
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VA-76 – Insertion effect (M-FX)
2. Press and hold the M-FX [ON/OFF] button to
jump to the following display page:
M-FX Selection Mode: automatic Tone link for
Upper1
The Upper1 part is considered to be the most impor-
tant part. The VA-76 therefore automatically loads the
M-FX type that is linked to the Tone you assigned to
the Upper1 part. A good example of this is the selec-
tion of the 13 Rotary type for organ Tones. The status
of the M-FX is also memorized and may thus change.
Though this is usually very convenient, there may be
times when you wish to remain in control yourself. In
that case, proceed as follows:
1. Press and hold the M-FX [ON/OFF] button.
This page may look vaguely familiar (especially the left
column). There are indeed other ways of selecting this
page: via the [Mixer] field on the Master page, or via
the [EFFECTS] button (see page 112). But you then
need to press a few other fields before reaching this
page, so pressing and holding M-FX [ON/OFF] is def-
initely faster.
2. On the page that appears now, press the [M-FX Sel
Mode] field.
The display now looks more or less as follows:
3. Check whether the M-FX [ON/OFF] button lights.
4. Press the [Param] field to jump to the following
page:
3. Do one of the following:
a) Press the [Auto] field if the VA-76 should choose a
suitable M-FX type for you.
b) Press the [Manual] field if you do not want the M-
FX to change automatically.
Note that it is perfectly possible to activate [Auto], to
select a different M-FX type by hand, and to save that
setting to a User Program (see page 127).
5. Depending on the kind of parameters that can be
controlled, use the two fields in the left half of the dis-
play (called Slow and Fast for the “13 Rotary” effect)
or the two M-Value sliders for realtime changes.
The parameters being controlled depend on the cur-
rently selected M-FX effect. See page 219 for details.
Here is an example: If you select the “15 SpFlangr”
type, the controllable parameters are Feedback (M-
Value 1) and Step Rate (M-Value 2). You could also
press the [M-Value 1] or [M-Value 2] field and use the
[TEMPO/DATA] dial or the [DATA] button/Numeric
Entry pad. Press the [Default Value] field to recall the
factory setting for the currently active (white) parame-
ter.
Below please find the factory assignments (to program
change numbers, which means that they apply to all
CC00 and CC32 banks that are linked to these pro-
gram change numbers):
Note: The current settings will also be written to a User
Program (along with all the other panel and parameter set-
tings).
Note: One M-Value parameter can be assigned to an
optional Expression pedal. See page 193 for details. This
allows you to control the “other” parameter (the one not
assigned to the [M-FX] knob) by foot.
Note: In the case of the Rotary effect, you can also toggle
between the “Slow” and “Fast” settings using an optional
FC-7 foot controller or a PAD button. See pages 193 and
194.
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VA-76 Owner’s Manual—Mixer, effects and editing
For a Keyboard part that is not assigned to the M-FX,
the connection between this part and the other effects/
OUTPUT 1 sockets is as follows:
PC Effect
On/Off
(Off)
(Off)
PC Effect
44 GteRevNr 39 (On)
45 Reverb 38 (On)
46 GteRevNr 39 (On)
On/Off
PC Effect
87 GteRevS2 42 (On)
88 StDelay 33
89 StDelay 33
90 ModDly 34 (On)
91 SpaceD 31 (On)
92 ModDly 34 (On)
93 ModDly 34 (On)
94 TmCtrDly 37 (On)
95 TmCtrDly 37 (On)
96 ModDly 34 (On)
97 GteRevS2 42 (On)
98 HexaCho 28 (On)
99 Reverb 38
100 Reverb 38
101 GteRevS2 42 (On)
102 3Ddelay 43 (On)
On/Off
1
2
3
4
5
6
7
8
9
Reverb 38
Reverb 38
100 50
100 50
33 120
33 120
50 64
60 55
35 120
36 16
60 96
42 112
60 96
60 55
33 120
42 112
100 50
100 50
33 120
100 50
33 120
100 50
100 50
100 50
100 50
100 50
100 50
100 50
33 120
60 41
100 50
100 50
33 120
33 120
33 120
100 50
33 120
60 110
60 110
100 50
42 112
42 112
33 120
100 50
100 50
33 120
33 120
33 120
33 120
33 120
100 50
100 50
100 50
33 120
42 112
80 40
42 112
35 120
80 40
42 112
80 40
42 112
80 40
80 40
12 40
(On)
(On)
GteRevNr 39 (Off)
GteRevNr 39 (Off)
RhodMlt1 78 (On)
TremCho 29 (On)
GteRevS1 41 (Off)
47 Reverb 38
48 Reverb 38
49 Reverb 38
50 Reverb 38
51 Reverb 38
52 Reverb 38
53 Reverb 38
(On)
(On)
(On)
(On)
(On)
(On)
(On)
Insertion M-FX
not assigned
8
64
Chorus
Reverb
Delay
12 40
12 40
60 41
60 41
12 40
42 112
Phaser 11
AutoPan1 21 (Off)
(On)
Insertion M-FX
10 GteRevS2 42 (Off)
11 AutoPan1 21 (On)
12 TremCho 29 (On)
13 GteRevNr 39 (On)
14 GteRevRv 40 (On)
15 Reverb 38
16 Reverb 38
17 Rotary 13
18 Rotary 13
19 Rotary 13
20 Reverb 38
21 Reverb 38
22 GteRevNr 39 (Off)
23 GteRevNr 39 (On)
24 GteRevNr 39 (Off)
25 GteRevS1 41 (On)
26 Enhancer 01 (On)
27 GteRevNr 39 (On)
28 EH>Delay 58 (On)
29 GteRevNr 39 (On)
30 GTRMlt2D70 (On)
31 OD>Delay 52 (On)
32 Distort4 10 (On)
33 GteRevNr 39 (On)
34 GteRevRv 40 (On)
35 GteRevRv 40 (On)
36 GteRevNr 39 (On)
37 GteRevNr 39 (On)
54 GteRevNr 39 (On)
55 TmCtrDly 37 (On)
8
64
56 Reverb 38
57 Reverb 38
(On)
(On)
(On)
(On)
100 50
100 50
42 112
41 48
100 50
60 41
100 50
42 112
100 50
100 50
35 120
100 50
100 50
100 50
100 50
42 112
35 120
42 112
35 120
35 120
42 112
42 112
42 112
42 112
100 50
100 50
60 41
80 40
100 50
100 50
Keyboard part
(e.g. Upper1)
EQ
(On)
(On)
(On)
(On)
(On)
(On)
(On)
58 GteRevNr 39 (On)
59 GteRevNr 39 (On)
60 GteRevNr 39 (On)
PanPot
0
0
0
127
127
127
103 Reverb 38
104 TmCtrDly 37 (On)
105 Reverb 38 (On)
106 GteRevRv 40 (On)
107 Reverb 38
108 Reverb 38
(On)
61 Reverb 38
(On)
62 GteRevNr 39 (On)
63 Enhancer 01 (On)
64 Enhancer 01 (On)
OUTPUT 1
sockets
100 50
100 50
33 120
33 120
33 120
35 120
60 110
33 120
64 48
33 120
80 25
64 48
76 64
33 120
42 112
42 112
33 120
33 120
36 16
(On)
(On)
65 Reverb 38
(On)
66 GteRevS2 42 (On)
67 GteRevS2 42 (On)
68 GteRevNr 39 (On)
109 GteRevS1 41 (On)
110 Reverb 38
111 Reverb 38
112 Reverb 38
113 Reverb 38
114 GteRevRv 40 (On)
115 GteRevS1 41 (On)
116 GteRevRv 40 (On)
117 GteRevS1 41 (On)
118 GteRevS1 41 (On)
119 GteRevS2 42 (On)
120 GteRevS2 42 (On)
121 GteRevS2 42 (On)
122 GteRevRv 40 (On)
123 Reverb 38
124 Reverb 38
125 TmCtrDly 37 (On)
126 StDelay 33
127 Reverb 38
128 Reverb 38
(On)
(On)
(On)
(On)
69 Reverb 38
70 Reverb 38
(On)
(On)
When a Keyboard part is assigned to the Insertion
M-FX, that part is no longer directly connected to the
Outputs or the other effects:
71 GteRevNr 39 (On)
72 GteRevNr 39 (On)
73 GteRevNr 39 (Off)
74 GteRevNr 39 (Off)
75 GteRevNr 39 (Off)
76 Reverb 38
77 Reverb 38
78 Reverb 38
(On)
(On)
(On)
Insertion M-FX
assigned
Chorus
Reverb
Delay
79 GteRevNr 39 (Off)
80 GteRevS2 42 (Off)
(On)
(On)
38 Phaser 11
39 SpaceD 31
40 SpaceD 31
41 GteRevNr 39 (On)
42 GteRevNr 39 (On)
43 GteRevNr 39 (On)
(On)
(On)
(On)
81 StDelay 33
(On)
Insertion M-FX
8
8
64
64
82 GteRevS2 42 (On)
83 GteRevS1 41 (On)
(On)
(On)
(On)
PanPot
33 120
33 120
33 120
84 StDelay 33
85 GteRevS2 42 (On)
86 StDelay 33 (On)
(On)
Keyboard part
(e.g. Upper1)
EQ
Assigning the M-FX to a Keyboard part
OUTPUT 1
sockets
You may have noticed the Insertion M-FX [ON/OFF]
field on the Single Part pages of the Keyboard parts
(see page 113). Here is an example:
This is also reflected in the display:
Press it (so that it reads [ON]) to assign the currently
selected Keyboard part to the M-FX.
Note: This effect is not available for the Arranger/Style
parts, nor for the VariPhrase or Audio In parts.
Notice how the [Delay], [Chorus], and [Reverb] fields
are displayed in gray. That is because they no longer
influence the signal of the Keyboard part in question.
And careful: if the M-FX [ON/OFF] button does not
light, any Keyboard part assigned to the M-FX will
not be audible.
By the way: the M-FX is also called Insertion effect
because this processor is located between the Key-
board parts and the other effects.
There is only one M-FX, so all Keyboard parts
assigned to it will use the same type. If the M-FX effect
is processed by the Reverb, Chorus, and Delay effects
(see page 123), the assigned Keyboard parts also use
the same Reverb/Chorus/Delay & EQ settings.
Note: Keyboard parts assigned to either or both OUTPUT 2
sockets cannot be processed using the M-FX.
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VA-76 – Insertion effect (M-FX)
The display now looks more or less as follows:
Selecting an M-FX type
Let us now have a look at how to select a different type
(effect) for the M-FX processor. Each type you select is
loaded with suitable preset settings that cannot be
edited on the VA-76 itself. You can, however, modify
two parameters per type via the [M-FX] knob on the
front panel and the two sliders on the M-FX Parame-
ters page (see page 121). See page 219 for a description
of the types and the controllable parameters.
1. Press and hold the M-FX [ON/OFF] button to
jump to the following display page:
3. Use the sliders, the [TEMPO/DATA] dial, or the
[DATA] button/Numeric Entry pad (see page 49) to
set the desired send values.
4. Press the [Default Value] field to reset all three slid-
ers to their factory setting (“40”, “0”, “0”).
5. Use the [Equalizer] field to divert the M-FX signal
to the EQ (white) or directly to the speakers and out-
puts (blue).
If another field in the left column is displayed in white,
press the [M-FX] field.
2. If necessary, use the [o][k] fields to select another
set of 15 types.
3. Press the field that corresponds to the M-FX type
you need.
You may want to set the M-FX to Manual mode to
avoid accidental changes when you select another
Tone for the Upper1 part. See page 121.
M-FX Send: processing the M-FX with the other
effects
As you know, Keyboard parts that you assign to the
M-FX lose the Reverb, Chorus, and Delay Send capa-
bilities, while their [Equalizer] field also becomes
inactive.
You could, however, set these parameters for the M-FX
itself, in which case, the signal is processed as follows:
a) The signals of all Keyboard parts assigned to the
M-FX are combined and transmitted to the M-FX.
b) The M-FX processes these signals.
c) By setting the parameters below, you can process the
output signal of the M-FX with the Reverb, Chorus,
and Delay effects, and also route it through the Equal-
izer.
You probably know how to do the above, so we’ll leave
you to it. (If not, see pages 116 and 119.) Here’s how to
select these parameters:
1. On the above display page, press the [Param] field.
2. On the page that appears now, press the [k] field.
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VA-76 Owner’s Manual—Mixer, effects and editing
VariPhrase/Audio In Chorus types
8.6 VariPhrase and Audio In
Chorus 1~4— See page 118. The difference between
these four lies in the speed of the undulations and the
depth of the effect.
effects
The VariPhrase and Audio In parts are two separate
entities, which is why they do not share the same
effects processors as the Keyboard and Arranger/Style
parts. The advantage is that your “virtual” (Vari-
Phrase) and “actual” (Audio In) vocals can be pro-
cessed with just the right effect settings, regardless of
how you set the “other” effects processors.
Fb Chorus— This Chorus effect is already reminis-
cent of a Flanger and creates a soft sound.
Flanger— This effect is similar to the sound evolution
of a jet plane taking off and landing.
Short Delay, Fb Delay— See “S Delay” and “S Delay
FB” on page 118.
Consequently: even though a
slider appears side
by side with the [M.Drums], [Upper2] and [Upper1]
sliders (see the illustration), and even though you can
set the Reverb Send and Chorus Send levels along with
those of the other Keyboard parts, their settings bear
in fact on different processors.
See page 57 for the Send sliders of the Audio In part.
Here’s how to select the desired Reverb and Chorus
effects for the VariPhrase and Audio In parts. There
are no parameters you can set. The Audio In part pro-
vides an [ON/OFF] field for quickly activating and
switching off both effects. This can also be done with a
footswitch, see page 192, or an optional FC-7. The lat-
ter also applies to the VariPhrase part.
1. Select a Mixer page (see page 112).
2. Press the [
EFFECT] field.
3. Press the [Reverb] or the [Chorus] field, depending
on whether you wish to select another effect type for
the Reverb or the Chorus effect.
4. Select an effect type by pressing the desired field:
VariPhrase/Audio In Reverb types:
Room 1~3, Hall 1~3— See page 118.
Garage— Simulates the Reverb of a relatively small,
but “live” space (with many reflections).
Plate— Simulates the Reverb of a mechanic device (a
metal plate) that was very popular a few years ago for
simulating Reverb. Digital simulations of these char-
acteristics are still widely used for vocals.
No Linear— A deliberately “unnatural” Reverb effect
that may be just what you need in a given situation.
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VA-76 – Sound Palette: editing Keyboard part parameters
3. Press the [Sound Palette] field.
8.7 Sound Palette: editing
Keyboard part parameters
Your VA-76 allows you to edit certain parameters that
affect the way a Keyboard part sounds when you play
it. These parameters will help you “modify” the parts
by adjusting their brilliance, their modulation speed
(Vibrato Rate), and so on.
Please bear in mind that the parameters discussed in
this chapter only apply to the following Keyboard
parts: Upper1, Upper2, Lower1, M.Bass (you must
select one of these to ensure that the [Sound Palette]
field is displayed). (The VariPhrase part provides its
own editable parameters, see page 77 and following.)
Assigning another Tone to a Keyboard part does not
reset the part parameters discussed below. In other
words, if you modify the envelope of the piano sound
assigned to the Upper1 part, you might be inclined to
think that you have changed the envelope of the piano
Tone and that selecting another Tone for Upper1 will
load other envelope settings. Though that is partly
correct, the part parameter settings are added to the
settings of the Tone you assign to a part.
4. In the left column, press the field of the Keyboard
part you wish to edit.
5. To quickly reset the selected parameter, press the
[Reset] field.
6. To edit one of the displayed parameters, press its
field and use the slider, the [TEMPO/DATA] dial, or
the [DATA] button/Numeric Entry pad (see page 49).
7. Use the [o][k] fields to select the remaining
Sound Palette parameters.
Here are the Part parameters you can edit:
Parts are in fact containers in which you can “put” a
Tone and whose sound can be modified using the
parameters described below.
Modulation (Vibrato)
Note: All Part parameters are relative parameters whose
values are added to or subtracted from the preset Tone
parameter values. That is why you can specify both positive
(“more”) and negative (“less”) values.
1. Press the [TONE] button in the BANK/NUMBER
section, or the [Tone] field on the Master page.
2. On the page that appears now, press the [Part] field
in the lower left corner.
Note: Rather than performing steps (1) and (2), you could
also press the [PART] button in the BANK/NUMBER sec-
tion.
Vibrato is an effect created by modulating the pitch.
Applying vibrato makes the sound more expressive.
Pitch modulation adds a pleasant “wobble” to the
notes you play. Use the following three parameters if
you think the part in question has too much (or could
use a little more) vibrato.
Note: Some “V” Tones contain natural (sampled) vibrato
whose depth or speed cannot be changed.
Vibrato Rate [-64~63]— This parameter adjusts the
speed of the pitch modulation. Positive (+) settings
make the preset pitch modulation faster, and negative
(–) settings make it slower.
Vibrato Depth [-64~63]— This parameter adjusts the
intensity of the pitch modulation. Positive (+) settings
mean that the “wobble” becomes more prominent,
while negative (–) settings make it shallower.
Vibrato Delay [–64~63]— This parameter adjusts the
time required for the vibrato effect to begin. Positive
(+) settings increase the time before vibrato will
begin, and negative settings shorten the time.
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VA-76 Owner’s Manual—Mixer, effects and editing
Note: There are additional modulation parameters that can
be controlled via the Aftertouch (see page 189). Use them
for WahWah (TVF modulation) or tremolo (amplitude
modulation).
Envelope
Timbre (TVF)
The volume of an instrument changes with time, from
the moment the note begins to sound to when it dis-
appears. This change can be indicated on a graph as
shown below. The envelope shape is unique to each
instrument, and is an important element in how we
distinguish the sounds we hear. The envelopes of
musical instrument sounds can change depending on
how the instrument is played. For example if a trum-
pet is played sharply and strongly, the attack will be
quick and the sound will be sharp. But if a trumpet is
played lightly and softly, the attack will be softer. In
order to adjust the attack of a sound, you can modify
the Attack Time of the envelope. By modifying the val-
ues of the envelope you can simulate the characteris-
tics of many different instruments.
By modifying the filter settings, you can control the
timbre (tone) of the sound. The VA-76 uses Low-Pass
Filters (LPF) that allow only frequencies below the
specified frequency to pass. The frequency where the
filter starts “cutting off” harmonics (or overtones) is
called the Cutoff Frequency. By modifying the setting
of the Cutoff Frequency you can make the sound
brighter or darker. The Cutoff Frequency can change
over time, controlled by the “envelope”. By adjusting
the filter and envelope settings, you can create sounds
that have movement and expression.
The envelope parameters affect both the volume (or
amplitude) and the filter. If the cutoff frequency has
been lowered, it will rise as the envelope rises, and will
fall as the envelope falls.
TVF Cutoff [-64~63]— Positive Cutoff settings mean
that more overtones will be allowed to pass, so that the
sound becomes brighter. The further this value is set
in the negative direction, the fewer overtones will be
allowed to pass, and the sound will become softer
(darker).
Volume
Sound ends
Low pass filter characteristics
Level
Sustain
Level
Time
Attack
This is where
you play a note
(Note-on)
Decay
Release
This is where you
release the key
(Note-off)
Frequency
Cutoff frequency
Note: For some sounds, positive (+) Cutoff settings will
cause no noticeable change because the preprogrammed
Cutoff parameter is already set to its maximum value.
Env Attack [–64~63]— This parameter adjusts the
onset of the sound. Negative values speed up the
attack, so that the sound becomes more aggressive.
TVF Resonance [–64~63]— This is a parameter one
invariably associates with a synthesizer. When the Res-
onance value is increased, the overtones in the area of
the cutoff frequency will be emphasized, creating a
sound with a strong character.
Note: For some sounds, negative (–) settings of Resonance
may produce no noticeable change because the Resonance is
already set to the minimum value.
Env Decay [–64 ~63]— This parameter adjusts the
time over which the sound will fall from the highest
point of the attack down to the sustain level.
Note: Percussive sounds usually have a sustain level of 0.
Piano and guitar sounds are in this category. Holding the
keys for a long time will thus have little effect on the dura-
tion of the notes you are playing.
Env Release [–64~63]— This parameter adjusts the
time over which the sound will decay after the note is
released until it is no longer heard. The cutoff fre-
quency will also fall according to this setting.
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9. Registrations – User Programs
The VA-76 is equipped with 128 User Programs that
allow you to store almost all settings (or registrations)
you make on the front panel. Before taking a closer
look at these User Programs, there is one thing we
have to point out. All settings relating to MIDI must be
written to a MIDI Set (see page 207).
9.1 Writing your settings to a
User Program
It is a good idea to save your settings frequently even if
you still need to do some touching up afterwards.
Those intermediary saves allow you to return to the
previous stage whenever you do not like your last
modifications. Try to use the User Programs as “recall
buffers” to be able to return to the previously edited
settings, discarding only the latest modifications.
MIDI settings are not saved to a User Program. The
reason for this is simple: You probably need a lot more
memories for your songs than you do for your MIDI
gear. Writing the MIDI settings to a User Program
would slow down the loading process.
Save your settings after...
Note: It is perfectly possible to link a MIDI Set to a User
Program, so that the User Program in question also recalls
the linked MIDI Set (see page 131).
• …setting the VariPhrase parameters;
• …changing the parts’ Output Assign settings;
• …defining the functions of the PAD buttons;
• …selecting Tones for the Keyboard parts;
For the Disk Link and the Disk User memories, your
VA-76 also memorizes the name. If, at the time you
recall such a User Program, that Style is not accessible,
the display will respond with:
• …selecting a Style, the first division, and after setting
the tempo;
• …assigning other Tones to the Arranger parts;
• …editing the Mixer settings.
In short, every time you like the settings you just
made. That way, subsequent modifications can be
undone by loading the “provisional” User Program
settings you do not want to lose.
1. Press the [Usr Prg] field on the Master page.
The display now looks more or less as follows:
(There is a similar message for Styles on floppy disk.)
Press [ZIP Eject] to eject the current Zip disk (or the
eject button on the floppy disk drive), and insert the
proper disk. If you are sure you don’t have the disk
with you, press the [EXIT] field. In that case, the
VA-76 will go on using the last Style you selected.
A similar system applies to Songs. A User Program can
indeed be programmed to automatically prepare the
desired song, so that all you have to do is press
[PLAY ®] to start playback. Here’s what happens if
you insert the wrong disk (Zip or floppy):
2. Press the [MEMORIZE] field.
See above for what to do then.
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VA-76 Owner’s Manual—Registrations – User Programs
3. Use the [A]/[B] and numeric fields to select the
group, the bank and the memory number where you
wish to write your settings.
a) Simultaneously press User Program [DOWN] and
[UP]; —or—
b) Press the [USER PROGRAM] button followed by
the [Free Panel] field on the display page that appears
then.
One final step before writing your settings to a User
Program is to assign a name to your settings. You only
have to do this the first time you write (or “memo-
rize”) new settings to a User Program. On the other
hand, you can also name your User Program at a later
stage and then write it again under the same address.
If you do it now, you do not have to worry about
renaming your User Program.
Note: Free Panel is read-only. You cannot write data to this
memory.
Note: Unless you specified a User Program for the Startup
function (see page 131), you can also load the Free Panel
settings by powering off your VA-76 and turning it back on
again.
Selecting a User Program (Group, Bank,
Number)
Selecting User Programs works exactly like selecting
Tones: you can work with the BANK/NUMBER sec-
tion (after pressing [USER PROGRAM]), via the dis-
play, or both. See pages 37 and 39 for details.
Use a name that somehow summarizes the memory’s
contents. The name of the song you will use these set-
tings for is probably the most explicit name you can
think of.
4. See page 68 for how to enter the desired name.
It is perfectly possible to program several User Pro-
grams for one song. Selecting a User Program is a lot
faster than calling up one of the VA-76’s functions,
modifying the settings, etc., while playing. You could
program one User Program for the first part of a song,
another one for the bridge, and a third one for the
closing section. Doing so allows you to “play” with the
effect settings of the Keyboard and/or Arranger parts,
or the VariPhrase part, for example.
Instead of pressing the [USER PROGRAM] button,
you can also press the [Usr Prg] field on the Master
page.
5. Press the [EXECUTE] field.
The display confirms that the settings have been writ-
ten to the selected memory and returns to the page of
step (1) on page 127.
There are two groups (A and B), with eight banks and
eight memories each. You can select the group (A or
B) and the bank (1~8) a little ahead of the song part
where you want the new settings to take effect. Only
when you specify the User Program number will the
corresponding settings be loaded.
9.2 Selecting User Programs
Free Panel
For Song Composer playback, or whenever you want
to start anew, you should always select the factory-set
FreePanel User Program that contains the default set-
tings of your VA-76.
The Free Panel settings can be changed and selected
any time, i.e. even after selecting a “regular” User Pro-
gram.
The Free Panel memory can be selected in two ways:
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VA-76 – Selecting User Programs
The name of the selected User Program is displayed on
the Master page:
Selectively loading User Program settings
(User Program Cancel Options)
The VA-76 is equipped with several options that allow
you to keep certain settings of the previous User Pro-
gram while selecting another User Program.You could
use this to quickly assign other Tones to the Keyboard
and/or Arranger parts without loading the Style
parameters contained in the new User Program, for
example.
Let’s have a look at the possibilities. The desired Can-
cel Option can be set via the display:
1. Press the [USER PROGRAM] button or the
The asterisk (*) only appears when you change a
parameter setting after loading a User Program. This
is to alert you to the fact that the current settings no
longer correspond to the ones you recalled. If you like
them better than the original settings, you must write
them again. See page 127.
[Usr Prg] field in the display.
2. If you need a different User Program, select it, oth-
erwise…
Note: You do not need to load all User Program settings. See
“Selectively loading User Program settings (User Program
Cancel Options)”.
Selecting User Programs using the
[DOWN][UP] buttons
The following method is especially useful if you pro-
grammed two or more User Programs for a song or if
the User Program sequence corresponds exactly to the
song sequence you are about to play (i.e. settings of
the first song or song part in memory A11, settings of
the second song or song part in A12, etc.). Pressing
[DOWN] or [UP] immediately selects the following
or preceding User Program.
3. …press the [Cancel Options] field.
The display now looks more or less as follows:
4. Press the field that corresponds to the settings you
do not want to recall.
To ignore the Tone selection data of a new User Pro-
gram, press the [Tone] field so that it is displayed in
white.
[UP]— Selects the following User Program (for exam-
ple A13 if you selected A12 before pressing this but-
ton).
Style & Song— Press this field if the settings related to
the Arranger (Style and Division) or the Song (see
“Linking a Song to a User Program” on page 130)
should no longer be loaded.
[DOWN]— Selects the preceding User Program (for
example A11 if you selected A12 before pressing this
button).
Note: If you press [UP] after selecting A88, your VA-76 will
call up B11. Likewise, if you press [DOWN] after selecting
B11, your VA-76 will call up A88, and so on.
Tones— Press this field to ignore Tone selection for
the Keyboard parts when a different User Program is
recalled.
KBD Mode— Press this field to ignore the Keyboard
Mode (Whole/Split) and Arranger Chord settings
(Standard/Piano Style, Left/Right, etc.).
User Programs can also be selected using the foot-
switch connected to the FOOT SWITCH socket on the
rear panel. See “UsrPrg Up” and “UsrPrgDown” on
page 191 for details.
Transpose— Press this field to ignore the Transpose
(value and mode) contained in every User Program.
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VA-76 Owner’s Manual—Registrations – User Programs
Tempo— Press this field if the tempo setting con-
1. Press the [USER PROGRAM] button or the
tained in every User Program should be ignored.
[Usr Prg] field in the display.
MIDI Set— Press this field if the linked MIDI Set (see
page 131) should not be recalled. This allows you to
use a User Program, that you originally programmed
for a given MIDI setup, even with a different MIDI
setup. The current MIDI channels, filter settings, etc.,
(see page 201) will thus not change.
2. On the display page that appears now, press the
[Song & MIDI Link] field:
Pressing one of the above fields without selecting a
User Program afterwards has no effect. Only when you
select another User Program will the selected data fil-
ter (because that is what the User Program Cancel
Options are) start working.
The display now looks more or less as follows:
To once again load all settings of the new User Pro-
gram, press the Cancel fields that are displayed in
white (so that they turn blue again).
If one of the Cancel options has been activated, the
[Cancel Options] field on the User Program selection
page contains a tick (G):
Linking a Song to a User Program
3. Insert a Zip or floppy disk into the (appropriate)
drive.
4. Press the [kSong List] field to jump to the display
page where you can select a song.
9.3 Automatic functions for User
Programs
Song & MIDI (Set) Link
Song & MIDI (Set) Link are two functions that allow
you to:
a) link a Song to every User Program, so that by recall-
ing the User Program, you also prepare the song in
question. Songs reside on disk, which means that the
disk must be inserted. Otherwise, this system won’t
work. All you need to do then, is hit the Song Com-
poser [PLAY ®] field to start playback of that song.
See page 31. You can select a Song from Zip or floppy.
Bear in mind that the Song data are not loaded into
the User Program memory. You will have to insert the
Zip or floppy in question into the drive before recall-
ing this User Program. (Otherwise, an error message is
displayed. See page 127.)
b) link a MIDI Set to every User Program. See page 207
for details about MIDI Sets. They contain all MIDI
settings for all sections and parts of your VA-76. By
linking a MIDI Set to a User Program, you could thus
completely reconfigure not only the VA-76 itself, but
also the way in which it (a) can control external MIDI
instruments and (b) can be controlled from other
MIDI instruments.
5. Press the Song [Link OFF] field to make it read
[Link ON] if the selected Song should be prepared
every time you select this User Program.
Note: Do not forget to write your User Program after chang-
ing these settings (see page 127).
Note: If the desired Song is not loaded, check the Cancel
Options (see page 129). The message in question might be
filtered.
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VA-76 – Automatic functions for User Programs
Linking a MIDI Set to a User Program
MIDI Sets are “User programs for MIDI parameters”.
There are eight such memories (see page 207). If you
regularly use the VA-76 in different MIDI environ-
ments (studio, live, band), preparing three MIDI Sets
and linking them to the User Programs you usually
use in the studio, on stage, etc., can be a time saver. In
other situations, such a link could be dangerous,
because it would reconfigure the VA-76’s MIDI
parameters without you actually knowing it.
6. Press a MIDI Set [1]~[8] field to select the desired
MIDI Set.
7. Press the MIDI Set [Link OFF] field to make it read
[Link ON] if the selected MIDI Set should be recalled
every time you select this User Program.
Note: Do not forget to write your User Program after chang-
ing these settings (see page 127).
8. Press the [oBack] field and the [EXIT] field to
return to the Master page.
User Program selection at power-on
Whenever you switch on the VA-76, it automatically
selects User Program 00 Free Panel (see page 128). But
maybe you prefer to be “operational” right away
(without using the Virtual Band function). In that
case, tell the VA-76 which User Program it should
recall whenever you switch it on:
1. Press the [FUNCTION MENU] button.
2. Press the [Global Parameter] field on the Function
Menu.
3. Press the [Startup] field in the bottom row of the
display.
4. Press the [Startup User Program] field so that it is
displayed in white.
5. Use [i][m] or the [TEMPO/DATA] dial, to select
the User Program to be recalled.
If you don’t want a User Program to be recalled, select
“Off”.
6. Press [EXIT] to return to the Master page.
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10. Song Composer (the basics)
The Song Composer of your VA-76 is a Standard
MIDI File player/recorder with the additional advan-
tage that is can double as 16-track sequencer whenever
you want it to.
The display now looks more or less as follows:
The VA-76’s Composer reads GM/GM2/GS compati-
ble Standard MIDI files.
Note: You may be confused by the words “Song” and “Stan-
dard MIDI File” we use in this chapter. There is absolutely
no difference because the VA-76’s songs are saved to disk as
Standard MIDI Files.
Note: The Chord Sequencer on previous Roland models has
been replaced by an even more userfriendly recording func-
tion (2nd Trk). See page 66.
5. On the display page that appears now, press the
[Format] field.
10.1 A few remarks about
recording songs
This section only contains a few hints about recording
your own songs. See the “Song Composer clinic” on
page 65 for hands-on information.
Formatting a disk
Songs that you record are first stored in the VA-76’s
Song RAM memory. When you press the [EXIT] field
while a Song Composer page is displayed, however,
you will be prompted to save it to disk. That is why
you should to prepare a floppy or Zip disk. If you pre-
fer to use a floppy disk, choose a reliable 2HD (high
density) disk.
6. Press the field that corresponds to the disk type you
wish to format (Zip or floppy).
7. Press the field that corresponds to the type of for-
matting you want to use:
Quick— Choose this option to “initialize” new (usu-
ally MS-DOS formatted) disks. This is a lot quicker
than the Full option.
Though the VA-76 can also read MS-DOS-formatted
disks, it would be a good idea to format all disks you
intend to use with the VA-76. This is especially true of
Zip disks: during formatting, the VA-76 indeed also
creates a number of folders where your various files
will be stored. An MS-DOS-formatted Zip disk does
not contain these folders, which might create prob-
lems.
Full— This option is only necessary for disks you used
on platforms with a different data and formatting
structure.
The display now responds with:
Note: Be careful never to format the Zip disk supplied with
your VA-76. It would be a pity to lose all the precious mate-
rial it contains.
1. Insert a Zip or floppy disk into the (appropriate)
drive.
2. Press the [FUNCTION MENU] button.
3. On the display page that appears now, press the
[Disk] field.
4. Press the [Utility] field in the bottom row.
(In the case of a floppy disk, the “ZIP” will read
“Floppy”, of course.)
8. Press the [YES] field to format your disk.
Press [NO] to return to the previous display page
without formatting.
Note: If necessary, see page 62 for how to eject the Zip disk.
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VA-76 – Song List: searching songs on disk (Find)
If you press [YES], the display shows an animated
clock to indicate that the disk is being formatted.
10.2 Song List: searching songs
on disk (Find)
Like the Arranger, the Song Composer provides a
clever system for locating the desired song on a Zip
disk. The display pages for floppy disks look similar,
but they neither provide the [Author] and [Genre]
fields, nor the Find functions.
The Song List Find function is very similar to the Find
function for Music Styles. See “Find: locating Styles on
a Zip disk” on page 109. One item has a different
name, though, because that makes more sense: Author
replaces the “Country” entry of the Music Style Find
function. Apart from that, the Song List function
should feel familiar. The “Author” can refer to the art-
ist who made the song famous, or to the composer
(who might be a different person, as you know).
You can exit this display page without interrupting the
formatting process by pressing the [EXIT] field. That
allows you to do something else while the VA-76 is
formatting.
1. Press the [SONG COMPOSER] button.
Before recording
2. On the display page that appears now, press the
[Song List] field.
Though you can record without using the Arranger,
that is probably not what you want to do. Here are a
few things you should do before starting to record:
1. Stop Arranger playback.
2. Assign the desired Tones to the Keyboard parts you
want to use for recording. Select the desired Vari-
Phrase if you wish to use it for recording.
Note: The notes played with the VariPhrase part will sound
different on other SMF-compatible instruments because the
VariPhrase processor does not conform to the GM/GM-2/
GS format. As long as you only want to play back your songs
using the VA-76 (or a VA-7), nothing should stop your from
taking advantage of the VariPhrase part.
3. See page 109 for the main operational steps.
3. Select the desired Keyboard Mode (see page 34).
4. Select the desired Arranger Chord mode (see
page 102).
Play & Search: finding Songs by playing a
few notes
The Play & Search function (or P&S) is like a very
gifted assistant. You can ask your VA-76 something
like the following: “what’s the name of the song that
goes like this…” (and then you play the main theme).
Here is how to use this exciting function:
5. Select the Style, the division etc. you want to use.
6. Prepare the desired Orchestrator and Morphing
settings (see page 62).
There are at least three other ways of configuring the
VA-76:
Note: This function is only available for Zip disks, so be sure
to press the [ZIP] field (next to [LOAD] and [FLOPPY]).
a) Use the Virtual Band function (see page 22).
b) Select the User Program that contains all the set-
tings you need for the song you are about to record
(see page 128).
1. On the Zip Song Options page (see above), press
the [Find] field.
There are now three options: [GO To…], [Find Only],
and [Play & Search].
c) Select a Style while the One Touch function (see
page 29) is on.
2. Press the [Play & Search] field.
7. See page 65 for what to do now.
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VA-76 Owner’s Manual—Song Composer (the basics)
The display now looks more or less as follows:
10.3 Song playback functions
Playing back a standard MIDI File requires that you
insert a disk containing song files into the correspond-
ing drive and that you select the desired song. See “Lis-
tening to Standard MIDI Files” on page 31 for details.
Song playback transforms the VA-76 into a GM2/GS
sound module, thereby deactivating the Arranger sec-
tion of your instrument. Leaving this mode is a matter
of pressing the [EXIT] field.
The Keyboard parts remain active in Composer mode,
and you can mute or solo any part of the song you are
playing back. That way, you can also use Standard
MIDI Files as backing tracks.
3. Play the notes of the Song you want the VA-76 to
find.
The key and rhythm are of little importance. (You
must get the intervals right, though!) The note boxes
will display a quarter note for every note you played.
Five “note boxes” thus mean that you played five
notes.
When playing back one of your own songs in which
you used the VariPhrase part and your own phrases
(User memory), you must load the phrase(s) in
question before starting playback. See page 69.
4. If you make a mistake, proceed as follows to correct
it:
Before starting playback of songs for which there is no
User Program, simultaneously press User Program
[DOWN] and [UP] to select the factory User Program
(Free Panel). The Free Panel memory contains the
default settings for all parts and is the only guarantee
that the songs on disk will sound exactly the way the
recording artist wanted them to.
• Press the [Delete Last Note] field if you only wish to
correct the last note.
• Press [Reset] to erase all notes you have played so far.
Then play the notes again.
5. Press the [SEARCH] field to launch the search for
Songs that match the melody you played.
On the other hand, the VA-76 also allows you to mod-
ify the way in which Standard MIDI Files are played
back (see “Header Post Edit” on page 161). You can
thus “customize” Standard MIDI File playback.
Note: The VA-76 allows you to program Song Chains (or
“Song Sets” on previous models). See “Song Chains” on
page 137 for details.
The display returns to the ZIP list page (see step (2)
above). This time, only the names of the songs that
contain the excerpt you played will appear in the List
window. That’s why the counter may display some-
thing like “12 of 301”.
6. Press the field of the Song you need, and then press
the [LOAD] field.
Note: Songs on floppy or Zip can be linked to a User Pro-
gram, so that selecting such a User Program automatically
prepares the desired song. All you have to do then is start
playback. See “Song & MIDI (Set) Link” on page 130.
Lyrics function
This function was provided to allow you to read the
lyrics of the song the Composer is playing back in a
karaoke fashion: the words to sing will be highlighted
at the right time. Note that this function is only avail-
able for Standard MIDI Files that contain lyrics. Ask
your dealer for details.
7. Press [oBack] to return to the main Song Com-
poser page and start playback of your song.
Please be aware that Play & Search is not supported by
just any song. In fact, the P&S information is not
“standard” Standard MIDI (and therefore not part of
the files themselves). It belongs to the Database infor-
mation to be found on a VA-76 Zip disk.
1. Insert a Zip or floppy disk into the appropriate
drive and select the Standard MIDI File with lyrics
data that you wish to play back.
Note: The Standard MIDI Files on the supplied Zip disk
contain no Lyrics data.
Songs for which there is Play & Search information are
flagged with a note symbol (ꢀ ) to the left of their
names on the Song List page.
2. Press the [SONG COMPOSER] button.
3. On the display page that appears now, press the
[Lyrics] field.
Note: You can also program this information for Songs for
which it is not yet available. See “P&S Input” on page 140.
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VA-76 – Song playback functions
The display now looks more or less as follows:
3. Fast forward to the measure where you want the
loop to end and press [B: ] (this field is also displayed
in white).
B: 4
B
A
You can also program loops on the fly. Remember,
however, that the Composer always memorizes the
beginning (downbeat) of the next measure.
4. To activate the loop you have just programmed,
press the
field.
4. Press the [PLAY ®] field to start Song playback.
At the end of the B measure, the Song Composer
The lyrics are now displayed on screen:
immediately jumps back to the beginning of measure
A.
5. To stop playback, press the [STOP G|√] field.
6. Press the
field again to deactivate the loop.
Changing the song tempo
You can change the (programmed) song tempo with
the [TEMPO/DATA] dial or the [TEMPO/TAP] but-
ton (by tapping the desired rhythm). Such changes are
only temporary, however, and will be overridden by
tempo change messages contained in the song data.
Furthermore, every time you jump back to the begin-
ning of the song using [STOP G|√], the preset song
tempo will be recalled.
5. Press the [STOP G|√] field to stop playback, or the
[oBack] field to return to the main Song Composer
page.
Note: You can also program and edit lyrics yourself. See
page 157.
Note: You can edit the tempo using “Header Post Edit” on
page 161.
Fast Forward, Rewind, and Reset
To fast forward or rewind within the current song,
first press the [PLAY ®] and then [FFW ®®] to fast
forward, or [√√ BWD] to rewind. Pressing
[FFW ®®] takes you to the next measure of the cur-
rent song, while [√√ BWD] takes you to the mea-
sure before the current one. You can hold down either
field to accelerate the fast forward or rewind process.
The measure indication in the display will help you
locate the measure you need.
Soloing and muting parts
Before muting a part for Minus One performances,
you have to know which part (MIDI channel/track)
plays the notes you do not want to hear. Unfortu-
nately, the Standard MIDI File format, specific though
it may about certain aspects, still leaves a considerable
amount of liberty for programmers. Finding the part
you want to mute is not always easy, though the VA-76
can help you find it.
Note: See also “Tracks and MIDI channels” on page 141.
Press the [STOP G|√] field once more after stopping
Song playback to return to the first measure of the
song (Reset).
Soloing parts
To find out which part is assigned to which MIDI
channel, you can use the Solo function. This function
mutes all other parts except the current one. Once one
part has been soloed, you can add other parts and so
switch on all Song parts one after the other. You could
use this facility for Dance/House “mixing” by first
switching on the bass, then the drums, etc., simply by
adding these tracks to the parts already soloed. The
Loop function (see above) might come in handy for
such DJ applications. Here is how to solo one or sev-
eral parts:
Loop playback (Markers)
Another clever feature of the Song Composer is that
you can program playback loops. You can do so dur-
ing playback or while the Song Composer is stopped.
1. Select a Song Composer page where the [A: ] and
[B: ] fields are displayed.
2. Press [A: ] where you want the loop to begin (that
field is displayed in white).
A: 2
1. Load a Standard MIDI File.
A
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VA-76 Owner’s Manual—Song Composer (the basics)
2. On the Song Composer page (see above), press the
[Minus One] field.
The display now looks more or less as follows:
Muting tracks/MIDI channels
On this page (and while the [Solo] field is displayed in
blue) you can also mute tracks/MIDI channels. Muted
Song parts do not sound during playback. This is thus
the opposite of the Solo function: here, you need to
select the tracks/MIDI channels you don’t want to
hear.
1. Select the above display page (see “Soloing parts”).
2. Press the [ON] field of the track you wish to mute
so that it reads [OFF].
Again, you can mute several tracks simultaneously. By
muting 15 tracks/MIDI channels, you effectively do
the same as when you press the [Solo] field and select
the track you wish to solo (except that you would then
have to press 15 [ON] fields, which is not very conve-
nient).
The [1]~[16] entries refers to the 16 MIDI channels of
the currently selected Standard MIDI File. The [ON]
and [OFF] switches are only displayed for tracks that
contain data. Careful, though: when you start play-
back of a newly loaded song, the [ON]/[OFF] indica-
tions are not always reliable. So please first start
playback of the first 15 measures, reset ([STOP G|√])
and then solo the part(s) you need. This also possible
during playback.
Note: The Solo status takes precedence over the Mute status.
To mute a soloed part, you must turn off the Solo function.
3. Press the [oBack] field to return to the Song Com-
poser page, or go on to the next section.
Note: The Mute settings can be written to a User Program
(see page 127) so be sure to only mute the tracks you do not
want to be active every time you select the User Program in
question.
3. Press the [Solo] field (so that it is displayed in
white). At first, this will solo track 4.
Note: See also “Header Post Edit” on page 161 for some
interesting parameters you can change and save along with
the song itself, as well as “In-depth editing of a 16-track
song” on page 148.
4. Now press the [OFF] field of the part you want to
listen to in isolation (so that it reads [ON]).
To “un-solo” track 4, press its [ON] field, so that it
reads [OFF]
It also possible to solo several tracks, which means that
you only hear the track/MIDI channels whose [ON/
OFF] field reads [ON].
Using the metronome
See page 66.
Song/Keyboard-part balance
5. Press the [Solo] field again to switch off the solo
function.
Note: The Solo settings are never written to a User Pro-
gram. Use the mute facility for switching off the tracks that
should be switched off when you select the User Program in
question.
Use the [BALANCE] knob on the front panel to mod-
ify the volume balance between the Standard MIDI
File and the Keyboard parts. Turn it to the left to
increase the Standard MIDI File’s volume
(ACCOMP), and to the right to increase the Keyboard
part volume (KEYBOARD).
VOLUME
M-FX
CONTROLLERS
EFFECTS
MELODY
INTELL
MIN
MAX
MIN
MAX
M-VALUE
BALANCE
KEYBOARD MODE
SYNC
OTHER
ARRANGER
PIANO
ON/OFF
ACCOMP
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VA-76 – Song Chains
The transposition interval and mode are displayed as
follows on the Song Composer page:
Transpose
Of course, it is also possible to take advantage of the
VA-76’s Transpose function, which may be convenient
if you are used to playing a given song in another key
than the one used by the selected Standard MIDI File.
There are two methods for setting the transposition:
A
Hold down the [ONE TOUCH] button while repeatedly
pressing the User Program [DOWN] or [UP] button.
10.4 Song Chains
Song Chains (called “Song Sets” on previous Roland
models) are another useful feature for performing art-
ists because they allow you to take a break without
leaving the audience without music. Song Chains are
in fact sequences that specify the order in which the
Standard MIDI Files on a given disk are to be played
back.
Repeat this operation with the “opposite” button (e.g.
[DOWN] if you pressed [UP] above) to return to stan-
dard pitch. See also page 53.
Song Chains can either produce continuous playback
of up to 99 songs on disk (floppy, Zip) or be pro-
grammed to stop at the end of each song, which
means that you have to start playback of next song
manually.
Note: Transposition applies to all parts except the MDR
(Manual Drums) and track/MIDI channel 10 (plus any
additional track that may use a Drum Set rather than a
Tone).
B
Proceed as follows:
a) Press the [SONG COMPOSER] button. The display
now looks more or less as follows:
Compiling or editing a Song Chain
1. Insert the Zip or floppy disk that contains the songs
you wish to combine to a Chain into the (appropri-
ate) drive.
Note: Do not use commercial Standard MIDI File floppy
disks or the supplied Zip or floppy disk. Also, Song Chains
can only refer to song files that reside on the same disk. You
may want to use a Copy function before proceeding (see
page 214).
2. Press the [SONG COMPOSER] button.
3. Press the [Song Chain] field.
b) Press the [Transpose] field. The display now looks
more or less as follows:
4. Press the [ZIP] or [FLOPPY] field to select the drive
that contains the songs you want to “chain”.
If you want to edit an existing Song Chain, select it
here by pressing the corresponding field. Use [i][m]
if the name of the desired Song Chain is not displayed.
c) Set the desired transposition interval (see page 53).
d) Select the desired transposition mode (see page 53).
To transpose both the Keyboard parts and the song
tracks, switch on the [Internal] and [Song] fields.
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VA-76 Owner’s Manual—Song Composer (the basics)
5. Press the [Edit] field.
In the case of a Zip disk, you could also press the
[Song List] field and use the Find function to narrow
down the search.
10. Press the Position “2” field so that it is displayed in
white.
11. Repeat steps (7)~(10) to compile your Song
Chain.
End is the last entry. Any song after the End marker
will not be included in your Song Chain.
12. Press the [Cancel] field to delete the currently
selected Position.
This is the Position that is displayed in white. You can-
not delete the “End” position.
(The display on your VA-76 may look slightly differ-
ent.)
6. Press the [New] field to create a new Song Chain.
Ignore this step if you want to edit (change) an exist-
ing Song Chain (the one you selected above).
If you are editing a Song Chain, you can use the
[i][m] fields to browse through the available steps.
13. Press the [Save] field to save your Song Chain.
Your Song Chain will be saved under the first available
number. You cannot name your Song Chain.
The display now looks as follows:
After saving the Song Chain to disk, the display
returns to the Song Chain page.
14. Press the [oBack] field to return to the Song
Composer page (see above).
Your new (or edited) Chain is already selected and can
be played back.
Playing back a Song Chain
To play back a Song Chain, proceed as follows:
7. Press the first list field (the one that reads “End”)
and [Song List].
1. See steps (1)~(4) on page 137.
2. Press the field of the Song Chain you wish to play
back.
Use the [i][m] fields if the desired Chain is not dis-
played in one of the 8 fields.
8. Use the [TEMPO/DATA] dial to select a song on
disk that is to be played first (assigned to Position 1).
9. Press the [CAPTURE] field.
The “End” entry now becomes Position “2”, while
Position “1” contains the name of the selected Stan-
dard MIDI File.
3. If you do not want to play back the entire Chain,
use the
or
field to select the position where
playback should start.
You can use these fields during playback or after press-
ing [STOP G|√] to jump to the next or previous step.
4. Press the [PLAY ®] field to start playback of your
Song Chain.
The songs of the selected Song Chain are played back
one after the other.
5. Press the [STOP G|√] field to stop playback.
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VA-76 – Song Options
Chain Mode
10.5 Song Options
The Chain Mode allows you to specify how the
selected Song Chain should be played back. This is
typically a function you set after selecting the desired
Song Chain but before starting playback.
As for the Style Find function, there also a number of
utilities for renaming or deleting Standard MIDI Files
on Zip or floppy disks. They work more or less the
same as the Style Options. See therefore page 110 and
following.
Press the [Auto] field if playback of the next song in
Chain is to start automatically when the current song
is finished.
Here’s how to select them:
1. Press the [SONG COMPOSER] button.
Press the [Manual] field if you wish to be in control of
when playback of the next song should start. This
means that playback stops automatically at the end of
the current song. To start the next song, you need to
press the [PLAY ®] field.
2. On the display page that appears now, press the
[Song List] field.
Note that it is perfectly possible to change this setting
during Song Chain playback. If you start out with
[Auto], you’ll have plenty of time for a drink during a
break. At the end of your break, you could press the
[Manual] field and wait until playback of the currently
selected song is finished. Then press [STOP G|√] –
and go on entertaining your audience!
3. On this display page, press the [FLOPPY] or [ZIP]
field.
Deleting a Song Chain
Deleting a Song Chain is a matter of pressing the
[Delete] field on the Song Chain page after selecting
the Song Chain you no longer need. A deleted Song
Chain cannot be restored (you will have to program it
again).
4. Press the [Options] field.
If you pressed the [ZIP] field, the display now looks
more or less as follows:
If you pressed the [FLOPPY] field, the display now
looks as follows:
5. Press the [Rename] or [Delete] field.
Bear in mind that there is no “Country” entry for
songs. This entry is called “Author”.
6. See page 110 for how to rename or delete a song.
Note: Songs referenced by a User Program (see page 130)
can no longer be loaded automatically if you change the
[File Name] or if you delete them.
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VA-76 Owner’s Manual—Song Composer (the basics)
Note: If you rename or delete a song that is referenced by a
Song Chain (see page 138), the Position in question will be
empty. The VA-76 will skip such empty Positions during
playback of the Chain in question. (Be aware that this may
shorten your break when you use the VA-76 for gigs.)
P&S Input
This option allows you to program the theme that by
which to find the Song using the Play & Search func-
tion (see page 133). It is only available for Zip disks.
1. Press the [SONG COMPOSER] button.
2. Press the [Song List] field, followed by the [ZIP]
field.
3. Select the song for which you want to program a
theme.
4. Press the [Options] field.
5. Press the [P&S Input] field.
6. Play the notes of the most characteristic theme (the
one you’ll be most likely to play when using Play &
Search for locating this song).
The key and rhythm are of little importance. (You
must get the intervals right, though!) The note boxes
will display a quarter note for every note you played.
Five “note boxes” thus mean that you played five
notes.
7. If you make a mistake, proceed as follows to correct
it:
a) Press the [Delete Last Note] field if you only wish to
correct the last note.
b) Press [Reset] to erase all notes you have played so
far.
Then play the notes again.
8. Press the [EXECUTE] field to save this information
to Zip disk.
Songs for which there is Play & Search information are
flagged with a note symbol (ꢀ ) to the left of their
names on the Song List page.
Note: The Play & Search function is Database information
that is not part of the songs themselves. It resides in a differ-
ent area on the Zip disk.
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11. Song Composer (16-track, etc.)
Tracks and MIDI channels
11.1 16-track Sequencer
Tracks are assigned to MIDI channels on a 1:1 basis
(i.e. Track 1= MIDI channel 1,… Track 12= MIDI
channel 12, etc.). Since the Keyboard parts have been
assigned to the MIDI channels in such a way as to
allow for easy Minus-One playing using the Song
Composer (see page 31), you should take a minute to
study the table below.
The Song Composer of your VA-76 is linked to a 16-
track sequencer with full-fledged editing functions
that allows you to refine your recordings in great
detail.
Selecting the 16-track sequencer
1. Press the [SONG COMPOSER] button.
Obviously, if you record a song with Arranger backing,
the respective parts (ADR, ABS, etc.) are recorded
onto the tracks that are assigned to their MIDI chan-
nels.
VA-76 parts
MIDI
Track (SMF part)
channel
Song Composer
Arranger
A.Drums
Accomp 1
A. Bass
10 (Drums)
1 (Piano)
10
1
M.Drums*
—
The display now looks as follows:
2 (Bass)
2
M.Bass*
—
3 (Chords)
3
Accomp 2
Upper1
4 (Solo/Melody)
5 (Not specified)
6 (Counter-melody)
7 (Not specified)
8 (Not specified)
9 (Not specified)
11 (Not specified)
12 (Not specified)
13 (Not specified)
14 (Not specified)
15 (Not Specified)
16 (Not specified)
4
Upper1
—
5
Accomp 3
Upper2
6
Upper2
—
7
Accomp 4
Accomp 5
Accomp 6
Lower1
8
—
9
—
11
12
13
14
15
16
Lower1
—
2. Press the [16 Tracks Sequencer] field to select 16-
track sequencer. The display may now look like this:
M.Bass*
VariPhrase
Lower2
MEL Int
—
VariPhrase
Lower2
MEL Int
M. Drums*
(*) The MIDI channel of these parts depends on whether you are
working with the Arranger (see page 65) or the Song Composer.
There is yet another track, called M, that is used for
recording the time signature, the tempo, as well as
general SysEx messages.
As you see, there are two Keyboard parts (M. Bass, M.
Drums) whose MIDI channel (and track) assignments
depend on whether you use the Song Composer for
recording a song with Arranger or not. If you are used
to working according to a given system, you could use
Exchange to transfer the data to the desired tracks
after recording them. See page 154 for details.
General considerations
The 16-track sequencer can be used to record sequen-
tially onto 16 tracks (one track after the other). Since
the 16-track sequencer and the Song Composer share
the same RAM memory, you can lay down your first
tracks using the Song Composer (with or without
Arranger), and then select the 16-track sequencer to
add new tracks or change existing ones. The Song
Composer indeed allows for simultaneous multitrack
recording, which is not possible with the 16-track
Sequencer where you can only record one track at a
time, and where the Arranger is not available.
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
Selecting the (Recording) Mode and the first mea-
sure
Example 1: Recording a track
Here’s how to add a track to a song in the VA-76’s
Song RAM memory. This is only meaningful after
recording a song using the Song Composer or after
playing back a song on disk. See page 145 for how to
start a new song.
Note: Though the following may seem confusing at first, you
will find very quickly that the 16-track Sequencer uses a
very logical structure. Please bear with us and perform all
indicated steps to get a feel for how the 16-track Sequencer
“ticks”. Besides, what you learn here will also come in handy
for recording your own Music Styles.
5. Press the [Mode] field and use the [TEMPO/DATA]
dial to specify how the new data should be recorded.
Select Erase if a track contains data you wish to
replace with new data. This erases all data of the
selected track from the place where you start recording
until the end. (Erase is selected by default for empty
tracks.)
Note: See also “Easy editing and useful functions” on
page 147 for some additional functions that are not covered
here.
Select Merge to add new notes to the ones already
recorded on the selected track. This recording mode is
particularly useful for recording the rhythm track (10)
because you can first record the bass and snare drums,
then add a few tom hits here and there, and record the
HiHat, for example.
1. Press the [SONG COMPOSER] button and the [16
Tracks Sequencer] field.
2. If the following page is not displayed, press the
[Rec] field in the bottom row of the display.
Punch In/Out allows you to re-record part of a track.
Select this mode to replace a phrase you do not like
with a new version. Doing so has the advantage that
only the area where you punch in and out will be over-
written. See also page 144.
A
B
Setting the Metronome and the Quantize, Octave
values (Options)
6. Press the [ON/OFF
] field to switch the metro-
nome “ON” (or “OFF” if you don’t need it).
If you also wish to specify when the metronome
should sound, proceed as follows:
3. Press the [Master] field in the upper left corner.
Field A in the upper right corner informs you about
the current measure and the time signature. You can
use [√√ BWD] and [FFW ®®] to jump to another
measure, or [STOP G|√] to return to the beginning
of the song. Field B shows which tracks contain data
and are active. No switch (neither [ON] nor [OFF])
means that the track in question doesn’t yet contain
data.
a) Press the [Options] field:
The display now looks more or less as follows:
4. Press the big [Track] field more or less in the mid-
dle and use the [TEMPO/DATA] dial to select the
track you wish to record.
The name of the selected track appears in the [Track]
field and is indicated by a white box (in the above
example, track 1 has been selected).
Note: Select track 13 to record using the VariPhrase part.
But be careful: You cannot work with the VariPhrase part if
it has not been assigned to the song. You need to initialize
the Song RAM memory and activate the VariPhrase part
for Composer use, or initialize track 13. See page 146.
b) Press the Metronome [Mode] field. This takes you
to a familiar display page. See page 66 for details.
c) Select the desired Metronome Mode and press
[oBack] to return to the above page.
The following two parameters can be set by pressing
the corresponding field and by using the [TEMPO/
TAP] dial and the [DATA] button/Numeric Entry
pad (see page 49).
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VA-76 – 16-track Sequencer
7. Press the [Octave] field.
Selecting a Tone or Drum Set
This is only necessary if you want your notes to be
sounded and recorded in a different octave than the
one you use for playing. This can be useful for record-
ing a part which is just a little too low (or too high)
and therefore does not“fit”into 61-note range covered
by the keyboard.
The following parameter allows you to assign a Tone
(normal track) or Drum Set (track 10 or the 2nd
Drum Track) for the selected track, or to modify/
replace existing setting.
9. Press the [Tone] field in the upper left corner.
Another creative use for this parameter is for record-
ing the “noises” of the “V” Tones mentioned on
page 42: select a track that already contains data, set
Octave to “–4”, select the Merge Mode (see above), and
start recording (see below) for adding your scrapes,
knocks, etc.
The display now looks more or less as follows:
8. Press the [Quantize] field and set the desired reso-
lution.
Quantize corrects the timing of your notes by shifting
them to the nearest grid mark. Use the [TEMPO/
DATA]dial to specify the number of grid marks per
measure (i.e., the Quantize resolution). Here is an
example:
1
1
1
2
2
2
3
3
3
4
4
4
1
1
1
This is how you
played it
For all tracks except track 10 (and another track that
also uses a Drum Set), the field to look out for is called
Current Tone. For track 10 (and any other drum
track), this parameter is called Current Drum Set.
Note: Use the VariPhrase pad to assign a phrase to the Vari-
Phrase part.
Value= 1/8
Value= 1/16
10. Press the [Current Tone/Current Drum Set] field
and use the BANK/NUMBER pad to select the
desired Tone/Drum Set.
Note: See “Using two drum tracks (2nd Drum Track)” on
page 145 for how to select a second drum track.
The setting range is: 1/8, 1/8t, 1/16, 1/16t, 1/32, 1/32t,
1/64t, and Off. As this Quantize function changes the
way in which your notes are recorded, you may want
to select Off here. The 16-track sequencer has a second
Quantize function that you can use more selectively
(i.e., for notes that are definitely late/early). See
page 151.
11. If necessary, press the [REC] field so that it is dis-
played in white.
In Merge mode (see page 142), you can specify
whether or not to record the settings made on this
page by switching the [REC] field on (white) or off
(blue). In Erase and Punch In/Out modes, it is auto-
matically switched on ([REC] is displayed in white).
Roll
For a drum track (10), you can press the Roll [ON/
OFF] field to switch on the Roll function. Press the
[Mode] field to set the Roll resolution. Such auto-
matic rolls are always played in sync with the
selected tempo. See also page 43.
12. Play a few notes on the keyboard to check whether
you like the selected Tone or Drum Set.
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
19. Use these three sliders to specify the selected
track’s Send level for the Reverb, Chorus and Delay
effects.
Volume (Level)
13. Press the [Mixer] field in the left column.
These sliders set the volume of the track signal that is
sent to the effect, and consequently how much effect
should be added to the track. See page 116 for how to
set the effects (type, parameters). Those “overall”
effect settings are part of the general SysEx settings of
the “M” track and must be set before recording the
first track.
The display now looks more or less as follows:
Note: The Delay effect is not available for drum tracks (10,
and any other track that uses a Drum Set) or track 13
(assigned to the VariPhrase part), while the M-FX is not
supported at all.
Use the [REC] fields to specify whether or not these
settings should be recorded.
20. Play a few notes on the keyboard to check whether
you like your settings.
21. Use the [FFW ®®] or [√√ BWD] field to select
the measure where you want to start recording.
For Punch In/Out recording, select a measure that lies
a little before the place where you wish to punch in.
14. Press the [Level] field in the left column so that it
is displayed in white.
15. If necessary, use the [VOLUME] slider for setting
the desired volume.
You can also touch it and use the [TEMPO/DATA] dial
or the [DATA] button/Numeric Entry pad for entering
the value. (You can also leave this for later.)
Recording in Erase or Merge mode
Press the [REC G] and [PLAY ®] fields. After a 1-
measure count-in, recording will begin.
Recording in Punch In/Out mode
16. If necessary, press the VOLUME [REC] field so
that it is displayed in white.
These fields (like the two remaining ones on this page)
follow the same system as Tone/Drum Set selection
above.
• To record in Punch In/Out mode, first press the
[REC G] field (it starts flashing). Next, press
[PLAY ®] to start playback.
As soon as the VA-76 reaches the point where you
want to punch in, press [REC G] to start recording.
(The [REC G] field is now displayed steadily.) You
could also use a footswitch for doing so. See “Punch I/
O” on page 191.
17. Play a few notes on the keyboard to check whether
you like your settings.
Note: See also “Mixer: Changing the volume, adding
effects” on page 147.
22. To stop recording, press [STOP G|√].
Want some effects?
18. Press the [Effect] field.
During Punch In/Out recording, you could also press
[REC G] or the footswitch. In that case, recording is
deactivated, while playback continues.
The display now looks more or less as follows:
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VA-76 – 16-track Sequencer
Saving your song
Example 2: Recording a song from scratch
Let us now record a Song from scratch using the 16-
track sequencer.
The 16-track sequencer uses a special portion of the
VA-76’s RAM memory where all editing takes place.
To ensure that you do not forget to save your song
after recording and/or editing it, you are given the
opportunity to do so upon leaving the Song Com-
poser page (by pressing [EXIT]):
1. Press the [SONG COMPOSER] button and the [16
Tracks Sequencer] field.
Let us suppose that you already played back a Song.
That means that the VA-76’s Song RAM memory
already contains song data we need to erase. (Even if
the VA-76’s Song RAM memory is still empty, using
the Initialize function would be a good idea.) Here is
how to:
2. Press the [Utility] field.
3. On the display page that appears now, press the
[Initialize] field.
The display now looks more or less as follows:
Note: The Song RAM memory is erased when you switch off
your VA-76.
1. Press [YES] to save your changes (and the entire
song). This will take you to the following display
page:
The warning alerts you to the fact that pressing [EXE-
CUTE] (see below) may have disastrous conse-
quences. See “Saving your song” if you still need to
save your previous song.
4. Press the following three fields and enter the
desired values using the [TEMPO/DATA] dial or the
[DATA] button/Numeric Entry pad.
Time Signature— If your new Song uses the 4/4 time
signature, there is no need to change this value. Other-
wise, enter the desired time signature (1/2~32/16).
If you don’t want to wait until the above warning
(“Song has been changed…”) is displayed automati-
cally, proceed as follows. Using this “manual” Save
function has the advantage that you can save your
song whenever you are happy with your latest record-
ing or edits. Bear in mind that a power failure is all it
takes to lose your song. Don’t wait until it is too late…
Tempo— Allows you to specify the initial tempo of
the new song (ꢀ = 20~250). Choose a tempo which is
comfortable for recording. You can set the final tempo
using the Song Header Edit function (see page 161).
a) Press the [Save] field in the bottom row.
b) Press the [Name] field.
Using two drum tracks (2nd Drum Track)
An additional advantage of the Initialize function is
that you can define a second track as drum track. This
allows you to use two Drum Sets: the one assigned to
track 10 (fixed, in accordance with GM-2/GS), and
another one assigned to the track you define here. This
allows you to use a “standard” drum kit alongside a
“beat box”, or to add orchestral percussion to a song
that also requires a “regular” drum kit.
c) On the display page that appears now, press the
[Save] field in the bottom line.
2. See page 67 for details about saving your song.
Your song data are saved in the Standard MIDI File
(SMF) format. You can therefore play them back using
your computer (with suitable software) and any GM/
GS compatible module or synthesizer. Bear in mind
though, that not all modules accept two Drum Sets.
You cannot define a second drum track for existing
songs. This is only possible when you initialize the
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
Song RAM memory. (Songs programmed on other
instruments that already contain two drum tracks can
be used like VA-76 songs with a “2nd Drum track”,
though.)
3. On the display page that appears now, press the
[Initialize 13th Track] field.
The display now looks more or less as follows:
Select Off if you don’t need a second Drum Set, or set
the number of the desired track. “10” is not available
here because it always functions as Drum track.
Assigning the VariPhrase part by initializing the
Song RAM memory
The [ on track 13] field allows you to decide
whether or not the VariPhrase part should be used in
your new song. Press this field and use the [TEMPO/
DATA] dial to select “On” if you want to assign the
VariPhrase part to track 13. Otherwise, leave this
parameter in the “Off” position.
4. Press the [EXECUTE] field to initialize track 13.
Remember that this erases the notes and other MIDI
messages of that track.
5. Press the [EXECUTE] field to really initialize the
Song RAM memory (which you haven’t done so far).
The VA-76 now confirms that the Song RAM memory
is initialized and then jumps to the [Master] 16-track
Sequencer page.
5. See “Example 1: Recording a track” on page 142 for
what to do now.
All tracks will be initialized as follows:
Volume
100
127
Expression
Tone/
Drum Set
“Piano 1”
“Standard” Set for track 10 + 2nd Drum Track
PanPot
Reverb
Chorus
Delay
64
40
0
0 (not available for drum tracks/VariPhrase part)
6. See “Example 1: Recording a track” on page 142 for
what to do now.
Initializing only track 13 for VariPhrase use
The following function allows you to initialize just
track 13 for VariPhrase use, leaving the rest of the song
untouched. This may come in handy when track 13 of
an existing song contains nothing at all (or a part you
no longer need). In that case, initialize it and record
the desired VariPhrase part.
1. Press the [SONG COMPOSER] button and the [16
Tracks Sequencer] field.
2. Press the [Utility] field.
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VA-76 – Editing 16-track songs
b) …and use the [TEMPO/DATA] dial to select the
track.
11.2 Editing 16-track songs
REC fields— In Merge mode (see page 142), you can
specify for each parameter whether or not to record
the settings made on these pages. In Erase and Punch
In/Out modes, all [REC] fields are displayed in white
(which means that the settings will be recorded).
Easy editing and useful functions
After recording a track, you may want to do some
touching up. Here are some easy things you can do.
See “In-depth editing of a 16-track song” on page 148
for more elaborate functions.
1. Use the sliders to set the values.
[Play Trk]
These parameters can also be changed in realtime:
select the Merge mode so as not to overwrite the notes,
and start recording from the position where the new
settings should take effect. You can stop recording
after one beat. For continuous changes, use the slider
in question to set the desired values and stop record-
ing when no further changes are required.
If this field is displayed in blue, you are currently on
the page you select with the [Options] field. Press
[Play Trk] to return to the [Master] 16-track
Sequencer page:
Note: Such edits are also possible on the [Tone] page (see
page 143). These allow you to “register” another Tone or
Drum Set for a track.
2. Switch the desired [REC] fields on (white) or off
(blue).
Volume— (0~127) Allows you to set the track volume
(CC07). Use this parameter to specify the initial vol-
ume. You can use Expression to program temporary
volume changes during the course of the song.
Muting tracks
Expression— (0~127) Allows you to program relative
volume changes (CC11). The value “127” means that
the resulting volume will be equal to the volume set
with the Volume parameter above. All other Express
values reduce the Volume value.
Sometimes, when recording rhythmically intricate
parts, it may be necessary to mute already recorded
parts that might distract you. To do so, press the [ON]
field of such a track so that it reads [OFF]. This setting
is not saved to disk.
Panpot— Use this parameter to specify the stereo
position of the selected track. “64” means dead center,
values between 0 and 63 shift the sound to the left,
while values between 65 and 127 shift the sound to the
right.
Solo
If you need to listen to a track in isolation, press the
[SOLO] field and the [OFF] field of the track you want
to solo, and start playback. This mutes all other tracks.
You can add other tracks to this Solo signal by pressing
the [OFF] fields. See page 136 for details about the
solo function.
Reverb, Chorus, Delay— Specify the Send level for
the effect in question. See also page 144.
3. Start recording in Merge mode but don’t play any
notes (because we’re only putting the icing on the
cake of an already perfect track).
Mixer: Changing the volume, adding effects
On the above display page, press the [Mixer] field.
As stated above, you can also move the sliders for real-
time changes. You can also use this procedure for add-
ing Pitch Bend, Aftertouch, etc. to the notes of a track.
The [Level] and [Effect] fields call up two sets of three
faders you can use to specify the initial settings for the
selected track, or to modify/replace existing settings. If
the “Track” field next to [Master] field does not dis-
play the number of the desired track, press [Master]
and select the desired track:
a) Press the [Track] field…
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
Only the notes between the [From Note] and
[To Note] will be affected.
In-depth editing of a 16-track song
The Edit level of the 16-track mode provides eight
functions: Erase, Delete, Insert, Transpose, Velocity,
Quantize, Gate T., and Shift.
Only notes below the selected one will be
affected (in this case “From Note” changes to Than
Note).
Here is how to select these Edit functions:
1. Load the song you wish to edit (if it does not yet
reside in the VA-76’s Song RAM memory).
See page 31.
Specify the note by pressing the [From Note] field
and by playing it on the keyboard or selecting it with
the [TEMPO/DATA] dial. You can also use the
[DATA] button/Numeric Entry pad. For [Between],
there is also a [To Note] field that allows you to set
the upper limit of the desired range.
2. Press the [SONG COMPOSER] button.
3. Press the [16 Tracks Sequencer] field.
4. Press the [Edit] field in the bottom row of the dis-
Note: If you enter “From Note” and “To Note” by pressing
the desired keys, the first note you play becomes the “From
Note”, while the second note will be used as “To Note”.
play.
Erase
Erase allows you to selectively delete data either within
a specified range of measures, beats or clocks, or from
the entire track(s). When Data Type is set to All, Erase
substitutes the required number of rests for the data
you delete, so that you end up with the equivalent
number of blank measures. If you also want to elimi-
nate the measures themselves, use Delete (see below).
5. Press a field in the left column to select the desired
function.
If, after selecting one of these functions, you decide
not to execute the transformation, do not press the
[EXECUTE] field.
Track (1~16, ALL, M)— Allows you to select the track
you wish to edit. You can also select “All” here, in
which case the operation applies to all tracks except
the Master track (M). The M track can only be
selected in isolation.
Here are a few guidelines for editing your 16-track
song:
From/To— “From” refers to the position where the
edit operation is to begin. That position is specified as
Bar-Beat-CPT values. “To” designates the position
where the edit operation is to end (Bar-Beat-CPT
value).
Note: Save your song to disk before continuing. That way,
you can always return to the original if your changes do
not work out as expected. See “Saving your song to disk”
on page 67 for details.
Bar (1~9999)— This is where you specify the bar
position. By default, the “From” and “To” values are
set to the beginning and end of the selected track(s).
At first, the “To” value always refers to the end of the
longest track.
a) Select the track(s) you wish to modify.
b) Select the range (From and To) for the edit opera-
tion.
c) Enter what should be changed and how it should
be changed. Press the desired field and use the
[TEMPO/DATA] dial, the [DATA] button/Numeric
Entry pad, or (for notes) the keyboard.
Beat (1~[number of beats per bar])— This is where
you specify the beat position. The number of select-
able beats obviously depends on the time signature of
the song.
d) Confirm the operation by pressing the
CPT— This is where you specify the CPT position of
the beginning and end. CPT is short for “Clock Pulse
Time”, the smallest step unit used by the VA-76.
(There are 120 CPTs to every beat of a bar.) Change
this setting only if your edit operation should not
commence or end exactly on the selected beat.
[EXECUTE] field.
e) Save your song to disk.
Available options for ‘Note’
For some functions, there is a Note parameter (called
Data Type) with the following options. Be sure to press
the correct option field one so as to achieve the desired
result:
Erase NOTE From 2.1.0 To 4.1.0
Only the selected note (note name/note num-
ber) will be affected.
Only notes above the selected one will be
affected (in this case “From Note” changes to Than
Note).
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VA-76 – Editing 16-track songs
To Note (C-1~G9)— This parameter allows you to
select the upper limit of the note range you wish to
edit. It is only displayed if the [Between] field is dis-
played in white. See also “Available options for ‘Note’”
on page 148.
Data Type
Allows you to select the data to be erased:
Allº:
Note:
All editable parameters listed below.
Only note messages.
Modul: Only modulation messages (CC01).
PBend: Pitch Bend data (i.e. use of the BENDER/
MODULATION lever).
Execute— Press this field to confirm your settings and
edit the data.
Volume: Volume (CC07) data.
Delete
Expre: Only Expression messages (CC11).
PanPt: Only pan (or PanPot) messages (CC10).
Reverb: Only Reverb Send messages (CC91).
Chorus : Only Chorus Send messages (CC93).
Delay : Only Delay Send messages.
CC16: M-Value 1 slider messages for the M-FX.
CC17: M-Value 2 slider messages for the M-FX.
Note: In the case of the VariPhrase track (13), CC16 is used
for controlling the Pitch and CC17 for Time. See also
page 49.
Unlike the Erase function, Delete not only erases the
data but also the measures, so that all measures that lie
behind the To position, will be shifted towards the
beginning of the track(s). Since Delete also disposes of
the measures themselves (see the illustration), you
cannot choose the data type to be erased.
Delete From 2.1.0 To 4.1.0
CC18: Only available if you recorded a VariPhrase
part on track 13. It allows you to change the
Formant.
PChng: Program change messages.
NRPN : Non-registered-parameter-number parame-
ters. These are parameter control functions
of the GS format that are easier to use than
SysEx messages (but have basically the same
function).
Track (1~16, ALL, M)— Allows you to select the track
you wish to edit. You can also select “ALL” here, in
which case the operation applies to all tracks.
From/To, Bar, Beat, CPT— See page 148.
Execute— Press this field to confirm your settings and
edit the data.
Note: Not all settings of the M track are erased: the time sig-
nature, the GM/GS Reset message, and the initial tempo
(all located at 1.1.0) remain. Lyrics events are only deleted
if you selected ALL rather than the M track.
RPN:
Registered-parameter-number parameters.
They work the same as NRPN messages,
except that they are also understood by GM
and GM2-compatible sound modules.
Channel Aftertouch messages. If you don’t
really need them, these messages should defi-
nitely be erased because they use a lot of
memory.
CAF:
Insert
SysExº: MIDI messages that allow you to change
parameter values. For music tracks, these
messages cannot be programmed on the
VA-76, but songs recorded on other devices
may contain them. In the case of the M track,
only SysEx messages (for Reverb, Chorus,
and Delay setup, etc.) located after 1-1-0 can
be erased.
Tempoº: Tempo change messages. The initial tempo
value (located at 1-1-0 of the song) cannot be
erased. You can change it with Header Post
Edit, however (see page 161).
Note: Parameters marked with (º) can be selected for the M
track. “Tempo” is only available for the M track.
Insert allows you to make an existing track longer by
adding rests at the specified position. This will make
room for new data and shift data that lie behind the
From position further to the right. New data can
either be added in realtime (do select the Merge mode,
see page 142) or by copying them to the specified posi-
tion (see page 153).
From Note/Than Note (C-1~G9)— This parameter is
only displayed if Data Type (see above) is set to “Note”.
It allows you to set the note (or lower limit of the note
range) to be modified within the specified From/To
time range. If you press [Higher] or [Lower], it is
called “Than Note”.
Note: The Insert function does not provide a To pointer.
Instead, you have to specify the length of the insert using the
For value. “For 2 Bars, 2 Beats, 240 CPT” thus means
“insert 2 bars, 2 beats and 2 beats” (because 120CPT= ꢀ ).
Track (1~16, ALL, M)— Allows you to select the track
you wish to edit. You can also select “ALL” here, in
which case the operation applies to all tracks.
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
From/For— The From level allows you to specify the
position where the selected number of bars, beats, and
clocks is to be inserted.
Velocity
For, on the other hand, specifies how many bars, beats,
and CPTs are to be inserted.
Bar, Beat, CPT— See page 148.
Time Signature— If Track= ALL, you can use these
fields to set the time signature of the new measures
(1/2~32/16).
Execute— Press this field to confirm your settings and
edit the data.
The Velocity function allows you to modify the
dynamics (called velocity) of a track or excerpt.
Increasing the velocity values means that the notes in
question will be louder and brighter than before, while
reducing the velocity values means the opposite. Use
this function when you are happy with the timing of
the notes but would like the sound to be brighter/
louder or rounder/softer. Executing this function
means that the velocity values will change proportion-
ally:
Transpose
Original velocity values
Value= +30
Transpose is used to transpose the notes of the selected
track (the other non-note data obviously cannot be
transposed).
From/To & Bar, Beat, CPT— See page 148.
From/To— “From” refers to the position where the
edit operation is to begin. That position is specified as
Bar-Beat-CPT values. “To” designates the position
where the edit operation is to end (Bar-Beat-CPT
value).
Track (1~16, ALL)— Allows you to select the track
you wish to transpose. You can also select “ALL” here,
in which case the operation applies to all tracks except
track 10 (Drum track) and any other track that uses a
Drum Set. Drum tracks can, however, be selected indi-
vidually. The M track obviously cannot be transposed.
When used with the [Equal] option, Transpose is also
useful for drum tracks. It allows you to select another
snare or kick sound, for example. Most Drum Sets
provide at least two snares, one assigned to note num-
ber 38 (D2), and a second assigned to note number 40
(E2). By selecting From Note= 38, pressing the [Equal]
field and selecting “+2”, you can change your D2 snare
to the E2 snare.
Bar, Beat, CPT— See page 148.
Track (1~16, All)— Allows you to select the track you
wish to edit. You can also select “ALL” here, in which
case the operation applies to all tracks.
From Note/To Note (0 C-1~127 G9)— See “Available
options for ‘Note’” on page 148 as well as page 149.
Value (–126~+126)— The Value parameter allows
you to set the velocity change level. Select a positive
value to increase the velocity of the selected track(s),
or a negative value to decrease the velocity values.
Value (–24~+24)— This is where you can set the
transposition interval in semi-tone steps. If you wish
to transpose a C part to D, enter the Value +2.
Note: Be careful when applying Transpose to a Drum track
(track 10 or any other track that uses a Drum Set). Trans-
posing all notes of such a track would mean that the drum
part changes dramatically.
This parameter can be particularly useful for velocity
switched sounds: slightly reducing or increasing the
overall velocity, allows you to “shift” all notes to the
“other” sound.
Note: Even the highest positive or negative Value doesn’t
allow you to go beyond “1” or “127”. There is a reason why
“0” is impossible: that value is used to indicate the end of a
note (note-off). “127”, on the other hand, is the highest
velocity value the MIDI standard can muster. Selecting a
high positive velocity value may thus lead to all notes being
played at “127”, which may be what you had in mind in the
first place...
From Note/To Note (0 C-1~127 G9)— See “Available
options for ‘Note’” on page 148 as well as page 149.
Execute— Press this field to confirm your settings and
edit the data.
Execute— Press this field to confirm your settings and
edit the data.
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VA-76 – Editing 16-track songs
Note: A similar system is also available for other parame-
ters. See “Change” on page 152.
release timing may have been correct for the original
Tone, you could use Gate Time to shorten all notes to
such a degree that they no longer overlap.
Quantize
Track— See page 149.
From, To, Bar, Beat, CPT— See page 148.
From Note/To Note (0 C-1~127 G9)— See “Available
options for ‘Note’” on page 148 as well as page 149.
Value (–1920~+1920)— This parameter sets the
amount by which the duration (or gate time) of the
selected notes is to be changed. The shortest possible
Gate Time value is “1” (used for all drum notes), so
that selecting “–1000” for notes with a Gate Time
value of “1” in the specified time range still leaves you
with the same value. Allowing the value “0” would
effectively erase the notes, which can only be achieved
with Erase (see page 148). You cannot use Gate Time
to erase notes.
Use this function if you chose not to quantize your
music during recording (see page 142) and now realize
that the timing is not quite what you expected it to be.
Quantizing after recording has the advantage that you
can first listen to the original and then correct only
those notes whose timing is definitely off.
Execute— Press this field to confirm your settings and
edit the data.
Track— See page 149 for an explanation of this
parameter.
Shift
From, To, Bar, Beat, CPT, Execute— See page 148 for
an explanation of these parameters.
From Note/To Note (0 C-1~127 G9)— See “Available
options for ‘Note’” on page 148 as well as page 149.
Value— This parameter sets the resolution of the
Quantize function. The available values are: 1/8, 1/8t,
1/16, 1/16t, 1/32, 1/32t, 1/64t. Be sure to always select
the value that equals the shortest note you recorded.
Otherwise, your part no longer sounds the way you
played it.
Shift allows you to shift the notes within the selected
From/To range. It can be used for two things:
Gate T
1. To correct “slow” notes due to a slow(er) attack.
You may want to use Shift after assigning a Tone to a
track that has a considerably slower attack than the
Tone you used for recording the part in question. This
technique is frequently used in pop music to “time” 1/
16-note string arpeggios played with a “slow” pad
sound. Rather than have the notes begin at the mathe-
matically correct time (e.g. 2-1-0), you could shift
them to the left (e.g. to 1-4-110) of the previous mea-
sure, so that the peak volume of the attack is reached
on the next downbeat:
The Gate T. function allows you to modify the dura-
tion of the notes in the selected time (From/To) range.
We recommend you only use this function to shorten
notes that seem too long due to the Tone you assigned
to the track in question. There is indeed no way to
view the duration of the notes here, which makes edit-
ing the data “en bloc” a little bit hazardous.
Original positions (slow attack,
so timing seems off)
Shift= –5
(timing sounds OK)
2. To correct the timing of notes recorded via MIDI
without quantizing them.
You could use sequences, etc. as raw material for your
songs. Recording such excerpts via MIDI may cause a
slight delay (e.g. 5 CPT). If that is not acceptable, use
Shift to “push” all notes to the left (select “–5”). That
After selecting a Tone with a slow release (i.e. a sound
that lingers on after all notes have been released),
however, Gate Time will help you cut the notes down
to size and thus avoid overlaps. Even though your
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
allows you to tidy up the timing and still keep any
irregularities (music!) the original may contain
because it was not quantized.
Utility: other useful functions
The 16-track sequencer also provides a few practical
functions that help you save time. Here is how to select
them:
Track— See page 149. You can also select the M track
to shift tempo changes and SysEx messages. The initial
settings (located at 1.1.0), however, cannot be shifted.
1. Load the song you wish to edit (if it does not yet
reside in the VA-76’s Song RAM memory).
See page 31.
From, To, Bar, Beat, CPT— See page 148.
2. Press the [SONG COMPOSER] button.
3. Press the [16 Tracks Sequencer] field.
4. Press the [Utility] field in the bottom row.
From Note/To Note (0 C-1~127 G9)— See “Available
options for ‘Note’” on page 148 as well as page 149.
Value (–1920~+1920)— This parameter sets the
amount by which the notes are shifted. The Value
refers to CPT units (one CPT= 1/120 ꢀ ).
Here are a few guidelines for the Utility functions:
Note: Notes on the first beat of the first bar cannot be shifted
further to the left (that would mean shifting them to the “0”
measure, which doesn’t exist).
Note: Save your song to disk before continuing. That way,
you can always return to the original if your changes do
not work out as expected. See “Saving your song to disk”
on page 67 for details.
Execute— Press this field to confirm your settings and
edit the data.
a) Select the track(s) you wish to modify.
b) In the left column, select the Utility function you
need.
c) Press the field whose value you wish to change.
d) Enter the desired value or setting with the
[TEMPO/DATA] dial or the [DATA] button/
Numeric Entry pad.
e) Confirm the operation by pressing the
[EXECUTE] field.
f) Save your song to disk.
Change
This is a function that allows you to make quick
changes to certain settings. The selected change always
applies to entire tracks (you cannot use Change for
changing just a few measures). Designed to help you
prepare a Standard MIDI File in such a way as to
achieve quick and perfect results with the Style Con-
verter (see page 155), it is also a wonderful tool for the
following applications:
• for “upgrading” older Standard MIDI Files to take
advantage of the VA-76 new Tones.
• for global changes to the Reverb and/or Chorus Send
values, which is downright convenient if you pro-
grammed realtime changes (see “Mixer: Changing the
volume, adding effects” on page 147) and suddenly
notice that the effect is too prominent or not strong
enough.
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VA-76 – Editing 16-track songs
Track (1~16, All)— Allows you to select the track
whose data you wish to change. Though you can also
select ALL, this should be done with great caution.
Standard MIDI File in such a way that all tracks use
the new Tones. To do so, select “ALL” for From and “4”
for To. See also page 41.
If you look carefully at the layout in the center of the
display, you will notice that there are two kinds of
changes that can be applied:
PC (Program Change)— Use this parameter to
change the group/bank/number address of a Tone
(e.g. from “1” to “2”).
From/To (0~127, ALL)— Enter the original data
value (i.e. the value that is being used right now by the
selected track(s)) in the From column. For To, specify
the new value that should replace the From value. This
is what we call “absolute” changes: you don’t add or
subtract a value, you replace it with another.
Volume, Expression, Reverb, Chorus (–127~
+127)— These parameters allow you to add (+) or
subtract (–) a given value to/from the current Volume,
Expression, Reverb Send or Chorus Send values. This
may come in handy if the realtime changes you
recorded (see page 147) turn out to be too high or too
low.
Inc/Dec— These are so-called “relative” changes: the
positive or negative value you set here will be added to
or subtracted from the original values of the selected
tracks. This works exactly like “Velocity” on page 150,
except that it applies to other parameters. Use these
fields to globally increase or decrease the existing val-
ues.
Execute— Press this field to confirm your settings and
edit the data.
Note: Similar functions are also available for Standard
MIDI Files on disk. Though they have the advantage that
they are not permanent (and can thus be restored), they are
only understood by the VA-76, the VA-7, the VA-5, the
VA-3, the G-1000, and the EM-2000. See “Header Post
Edit” on page 161.
[Init Value]— Press this field to reset all values on this
page to their initial state if you want to start again.
CC00— This control change is the so-called “MSB”
Bank Select message. It allows you to select the Capital
Tone (select “0”) of a group/bank/number (A11~B88)
address if you don’t want to use Variations, or to spec-
ify another Variation level. The To value “0” can be
useful for ensuring GM compatibility, which (unlike
GM2) does not support Tone Variations.
Copy
The Copy function allows you to copy one track to
another track, or excerpts of one or all tracks to a dif-
ferent location. The latter is useful if you need to
repeat the chorus several times at the end of the song
but do not feel like recording all those notes.
In the Tone lists starting on page 222, you will see that
most Tones are Variations. The value “8” for CC00 is
probably the most popular one (as you would discover
if you spent your time studying the list of 3,646
Tones). Here are a few examples:
GBN
A11
A11
A11
A11
A11
A11
A11
A11
A11
A11
A11 10
A11 11
A11 12
A11 13
A11 14
Var PC CC00 Name
GBN
A12
A12
A12
A12
A12
A12
A12
A12
Var PC CC00 Name
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
1
2
8
9
16
24
25
26
27
45
46
47
126
127
Piano 1
2
2
2
2
2
2
2
2
0
1
2
8
9
16
126
127
Piano 2
1
2
3
4
5
6
7
8
9
UprightPiano
Mild Piano
Piano 1w
1
2
3
4
5
6
7
Pop Piano
Rock Piano
Piano 2w
Rock Piano w
Dance Piano
Piano 2
Mild Piano w
European Pf
Piano + Str.
Piano + Str2
Piano+Choir1
Piano+Choir2
MonoAc.Piano
St.AcPiano 2
St.AcPiano 1
Piano 2
Source Track (1~16, All)— Allows you to select the
track whose data you wish to copy.
Acou Piano2
From/To— “From” refers to the position where the
edit operation is to begin. That position is specified as
Bar-Beat-CPT values. “To” designates the position
where the edit operation is to end (Bar-Beat-CPT
value).
Acou Piano1
Bar (1~9999)— This is where you specify the bar
position. By default, the “From” and “To” values are
set to the beginning and end of the selected track(s).
At first, the “To” value always refers to the end of the
longest track.
To change any value for CC00 to “8”, for example,
enter “ALL” for From and “8” (which corresponds to
Piano 1w/Piano 2w) for To. To change all instances of
the CC00 value “8” to another value (e.g. “16”), enter
“8” for From and “16” for To.
Beat (1~[number of beats per bar])— This is where
you specify the beat position. The number of select-
able beats obviously depends on the time signature of
the song.
Note: Most Song Composer/16-track Sequencer tracks usu-
ally only contain one CC00 value.
CC32— This control change is the so-called “LSB”
Bank Select message. Most instruments (including
your VA-76) use it for specifying different Tone Maps.
You may want to use this parameter for changing a
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
CPT— This is where you specify the CPT position of
the beginning and end of the track to be copied.
Unless you do not need all notes within the last bar,
you should keep the default setting.
Exchange
Exchange allows you to copy the data of the source
track (above) to the destination track (below), and –at
the same time– the data from the destination track to
the source track.
Mode (Replace, Merge)— Selects the Copy mode:
Replace: The data in the selected range will be copied
to the destination track and overwrite all data (of the
destination track) in the selected source track range.
Merge: The data in the selected range will be added to
any existing data on the destination track.
In either case, the length of the destination track may
change to include all data of the source track. In other
words, you may find that the destination track is
longer after executing the copy function.
Note: The VA-76 has no Undo function. Saving your song
to disk before copying will allow you to load the previous
version if something goes wrong.
Track (1~16)— This is where you select the two tracks
to be exchanged. Obviously, there is no ALL option
here.
Note: Be careful when exchanging a Drum track and a
“musical” track. The result may not be what you had in
mind.
Destination Track— This is where you select the track
to which you want to copy the selected data.
Into— The bar, beat and CPT values the first data of
the source track will be copied to.
Name
Times (1~99)— Sets the number of copies you wish to
make. The value “3” means that you will end up with 3
contiguous copies, whereby the second copy is placed
immediately after the first, etc.
This page allows you to program the File Name for
your song. The “File Name” is the one that you see if
®
you use the dir command on an MS-DOS computer
(all VA-76 disks are MS-DOS compatible), while the
®
Execute— Press this field to confirm your settings and
edit the data.
Note: Though you can also copy data from track 10 (the
main Drum track) to a “music” track, and vice versa, be
careful. A drum track sounds odd when played by a piano,
for example (and a piano part is not necessarily suited for
drumming).
“Song Name” is the name that you will see on the
respective display pages. The File Name is more
important than the Song Name because the File Name
is the one that is written to disk – but it can only be 8
characters in length.
See page 68 for how to enter names.
Note: For MS-DOS® compatibility reasons, only the first
eight characters will be saved to disk (it’s impossible to enter
more than 8 characters for the File Name). Furthermore,
you cannot use the same name twice on the same disk.
Save— Press this field to jump to the Save Song page,
where you can save your Song to the desired disk (see
page 67). This function is very convenient for saving
your new version under a different File Name without
overwriting the original. That would leave you with
two similar versions on disk. If you like your new ver-
sion better (and wish to discard the previous version),
do not change the existing File Name.
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VA-76 – Style Converter
Note: If the original was referenced by a User Program and
if you now wish to use the new version (saved under a dif-
ferent File Name), do not forget to change the Song Link
setting (see page 130).
• Your new Style resides in the VA-76 Style RAM mem-
ory (Disk User). Do not forget to save it to disk before
selecting another Style (in Arranger mode) or switch-
ing off the VA-76.
• Commercially available Standard MIDI Files are pro-
tected by a copyright. Please note that the Style Con-
verter should only be used for creating Music Styles for
private use. Roland assumes no responsibility for copy-
right infringements that may result from the use of the
Style Converter.
Initialize
See page 145.
11.3 Style Converter
The VA-76’s Style Converter is an easy and intuitive
tool for creating your own Music Styles based on one
of your own songs or a Standard MIDI File. In either
case, it is enough to play back the song or Standard
MIDI File once to transfer its data into the VA-76’s
Song RAM memory where you can use the Style Con-
verter. You may want to edit the song before convert-
ing parts of it into a Music Style. See “In-depth editing
of a 16-track song” on page 148 and “Change” on
page 152 for details.
Using the Style Converter
1. If necessary, start playback of a Standard MIDI File
to load the data into the VA-76’s Song RAM. See “Lis-
tening to Standard MIDI Files” on page 31 for details.
2. Press the [SONG COMPOSER] button.
3. Press the [16 Tracks Sequencer] field.
4. Press the [Style Cnvrter] field in the bottom row. If
[Setup] is not displayed in white, press this field.
General considerations
Here are a few guidelines for converting song parts to
a User Style:
• See “Concept” on page 163 and “Looped vs one-shot”
on page 164 for details about User Styles.
• The resulting Music Style can be used in Arranger
mode (not in Song Composer/16-track Sequencer
mode).
• Music Styles are accompaniment patterns. If the new
Style should be generally usable (i.e., also for other
songs), try to avoid chord changes in the “basic” pat-
terns (Original, Variation, etc.). You can transpose
your Styles in realtime by playing different chords in
the chord recognition area. Also, avoid to include the
melody in your conversion.
This page allows you to assign the desired song tracks
to User Style tracks. Remember that a song can con-
tain up to 16 tracks, while a User Style “only” provides
eight. Be sure to select the tracks you want to include
in the resulting accompaniment.
Use the numbered Track fields (1~8) to assign a song
track to User Style tracks (ADrums, ABass, Acc1~
Acc6). You can press [Init Value] to load the default
assignments (see the above illustration).
• Try to isolate the parts that are really typical of the
song.
• Transitions, rolls, etc., should be converted to Fill-Ins.
The intro should be converted to an Intro pattern.
Please note that these defaults are only based on com-
mon sense and may not yield the desired accompani-
ment pattern. As a rule, you should always listen
carefully. But you may have noticed that track 4 (the
melody) is automatically omitted. You should keep it
that way.
Note: Be sure to make all desired assignments before press-
ing the [From] or [To] field. There, you can indeed only
work with the assigned tracks.
• For a really professional result, you will also have to
take advantage of the VA-76’s User Style mode to
ensure that your new Style also “works” for minor and
seventh chords. See “Programming User Styles” on
page 163.
• Though pattern length (and memory capacity) is no
issue, try to work in small but meaningful units.
Here’s an example: most songs rely on a structure
based on 4-measure blocks. Converting 6 measures is
thus a bit odd (though perfectly possible).
• Be sure to prepare a simple pattern for Original/Basic
(Orchestrator B) and more complex accompani-
ments for the remaining patterns.
• Be sure to set the right Key (see page 156). Only then
will the Style really work as expected when used in the
VA-76’s Arranger mode.
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
5. Press the [From] field to go to the next page.
(looped). This allows you to check whether the last
notes of your Style-to-be allow for a smooth transition
to other Music Style patterns, or sound natural when
the pattern is repeated. Sometimes, quantizing the last
few notes of an excerpt may be helpful to avoid includ-
ing notes that were played a little ahead of the beat
(and are part of the last beat you convert). See
page 151 for details.
6. Press the [To] field to go to the next page.
Here, you can listen to the song you wish to convert.
Press the [PLAY ®] field to start playback.
[√√ BWD] and [FFW ®®] are also available. The
[ON/OFF] fields denote the tracks that contain data.
Press an [ON] field to switch off (“mute”) a track you
do not want to hear. This is only for checking pur-
poses. The on/off status does not influence the selec-
tion of the data that will be converted.
Here, you can select the destination pattern, i.e.
whether the selected excerpt should become a Basic/
Original pattern, an Intro, etc. Note that you cannot
select tracks here. Go back to a previous page to do so.
The tracks in white squares have been assigned to
User Style tracks and can be converted. The num-
bers 1~16 refer to SMF tracks, while the [Track]
field and the [TEMPO/DATA] dial allow you to
select one or all User Style tracks for conversion.
That explains why the tracks you can select with
[Track] are called “ADrums”, “ABass”, etc., rather
than “1”, “5”, etc. You can either select the specific
track to be converted (“ADrums”, for example), or
“ALL”. The first approach (converting individual
tracks) forces you to repeat the conversion for all
tracks you need in your User Style, but has the
advantage that only the tracks you really need will be
converted. (Not all User Style patterns need to con-
tain data for all eight tracks.) “ALL” converts all
tracks surrounded by a white box to the selected
User Style pattern.
Key— (C, C#, D, Eb, F, F#, G, Ab, A, Bb, B) This
parameter allows you to tell your VA-76 what key the
track (or tracks) is in. Specifying the right key before
converting is crucial for realtime use of a pattern. The
chord recognition system of the Arranger is indeed
based on the assumption that all patterns are in the
key of C.
Thus, whenever you play a C (in Arranger Intelligent
mode) or C chord in the chord recognition area, the
Arranger will use the original notes of the pattern (no
realtime transposition). If that pattern is in F# and if
you forget to tell the VA-76 that it is, F# is what you
will hear when you play a C or C chord in Arranger
mode.
Note: There is no need to specify the key for ADR tracks.
You also need to specify which measures should be
converted. Here, you can only select whole measures.
Mode— Allows you to select the mode of your pat-
tern: “M” (major), “m” (minor) or “7” (seventh).
Choose the mode that matches the chord being used
in the excerpt.
A: /B:— Use these fields to specify the first (A:) and
last (B:) measures to be converted. If you don’t
remember the measure numbers, here is a convenient
way to set these positions:
Type— Allows you to select the pattern Type. See
page 95 for details.
Use [√√ BWD] to rewind to a measure that lies
before the presumed beginning. Press [PLAY ®] to
start playback.
Division— Allows you to select the Division of the
pattern: Or (Original) or Var (Variation), FO (Fill-In
To Original), FV (Fill-In To Variation), In (Intro), or
Ed (Ending). Furthermore, by selecting an option
indicated by “=”, you create several patterns at once.
That is what we call “cloning”, see also page 166.
Press the [Mark A] field at the beginning of first mea-
sure to be converted and [Mark B] when the VA-76
reaches the last measure to be converted. Alternatively,
you can stop playback, use [√√ BWD] and
[FFW ®®] to rewind/fast forward to the desired
measures, and set the points while the sequencer is
stopped.
Execute— After setting the above parameters, press
Part Select [UPPER1] to launch the conversion. As
you see in the right-most field, your User Style will be
temporarily stored in the VA-76’s Style RAM memory
(D88).
Playback loop
— Press this field to listen to the
selected excerpt repeatedly. The passage between the
“A:” and “B:” points will be continuously played back
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VA-76 – Edit Lyrics
The new User Style will be copied to the Disk User
memory. If that memory doesn’t yet contain data, the
new Style will use the current time signature and
tempo. If you like, you can set the default tempo in the
field next to [Key]. If the Disk User memory already
contains data, the new Division(s) will have the same
time signature and tempo as the Style data in the Disk
User memory.
11.4 Edit Lyrics
The VA-76 contains a group of functions that allow
you to add Lyrics to a Standard MIDI File that does
not contain them. It is also possible to edit the Lyrics
data of Standard MIDI Files that conform to the Tune
1000 format (other formats cannot be edited on the
VA-76).
Execute— Press this field to start the conversion.
Note: Do not forget to save your new User Style to floppy or
Zip disk.
This may come in handy when you keep forgetting the
words of a song you wish to use for your performances
and want them to be included in the SMF file.
Note: The VA-76 only allows you to link (“synchronize”)
Lyrics data to the note messages of the loaded Standard
MIDI File. The text data proper must be entered on a Win-
dows-compatible PC (or a Mac and saved as .TXT data for
Windows).
Here’s a step-by-step tour of how to add Lyrics data to
a Standard MIDI File:
1. Prepare the text file with the lyrics you wish to asso-
ciate with a given song.
Use a word processor program on your computer, tak-
ing care to type a return after every line or word you
wish to synchronize separately. The synchronization
function (see below) always works with entire lines of
text (i.e. until the following return). In any case, no
line should contain more than 28 characters.
Export the file as .TXT file and save it to a floppy or
Zip disk.
2. Load the song you wish to add Lyrics to.
See page 31.
3. Press the [SONG COMPOSER] button.
4. On the display page that appears now, press the
[Lyrics] field.
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
The display now changes to:
12. Press [oBack] to return to the Edit Lyrics page
(see above).
Now you’re all set for the synchronization work:
13. Press the [Lyrics Synchro] field.
5. Press the [Edit] field.
This is only possible while Song (or Arranger) play-
back is stopped. So be sure to stop playback before
pressing [Edit]. Otherwise a “CAN’T EXECUTE”
error message is displayed.
This display page should contain the first line of the
text you imported. (This function can also be used to
correct the synchronization of Lyrics data contained in
a Tune 1000-format SMF you loaded.)
If you like, you can now use the [PLAY ®],
[STOP G|√], [√√ BWD], and [FFW ®®] fields to
playback and navigate inside your song.
Here’s what we’re going to do: every line of the text we
imported can be associated with a given quarter note
of the song. We’ll do this while the song is playing
back, because that is faster and also more musical.
Synchronizing text lines is a matter of pressing the
[DATA] button on the beats where they should appear
during normal playback of the Standard MIDI File.
Every press of the [DATA] button will associate the
text line below the arrows (® √) with the quarter
note where the button was pressed. The preceding line
automatically scrolls above the (® √) section, while
the following line will appear below the arrows.
Now, we’re going to import the text file you created
earlier:
6. Insert the Zip or floppy disk that contains the text
file you wish to associate with the Standard MIDI File
in the VA-76’s Song RAM memory.
7. Press the [TXT Import] field.
14. Press [STOP G|√] twice to return to the begin-
ning of the song or use [√√ BWD] or [FFW ®®]
to jump to a measure that lies a little ahead of the
place where the first line should be displayed during
normal operation.
15. Press [REC G] (LyricsSync).
16. Press the [PLAY ®] field.
Playback (and Lyric synchronization recording) start.
17. On the beat where the first text line should be dis-
played, press the [DATA] button (front panel).
8. Press the [FLOPPY] or [ZIP] field to indicate which
drive contains the data with the text file to be
imported.
9. If necessary, press the [Import] field.
10. Press the field that contains the name of the
desired file.
If you don’t see the desired file name, use [o][k] to
select another group of 8 files. (If you still can’t find
the desired file, it may not end in “.txt” or not be a
text/ASCII file.)
11. Press the [EXECUTE] field to load the desired text
file.
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VA-76 – Edit Lyrics
18. Repeat this at the quarter note where the second
line should be displayed.
Deleting a text file on disk
This function allows you to delete a text file (ending in
“.txt”) of the selected Zip or Floppy disk.
1. Go to the TXT Import page.
19. Keep pressing [DATA] on all beats where the sub-
sequent text lines should appear.
See page 158.
20. Press the [STOP G|√] field when all Lyrics data
have been synchronized.
The display now again looks more or less as follows.
2. Select the drive and the file to be deleted.
3. Press the [Delete] field.
4. Press the [EXECUTE] field.
If you made a mistake somewhere, you can return to
that measure using [√√ BWD] and start anew from
that position. In that case, you will have to keep syn-
chronizing the remaining text until the end of the
song.
21. Press the [Save] field and save your song with the
synchronized lyrics to disk.
See page 67 for details on how to save your song.
Note: Do not forget to use the [Save] field to save your song
along with the lyrics when you are done (see step (21)).
‘Utility’ functions for Edit Lyrics
There are three functions you may want to use for
managing Lyrics files, or songs with associated lyrics.
All of them can be accessed via the Edit Lyrics menu:
(See page 157 for how to get there.)
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
Exporting the Lyrics data as text file
Save without Lyrics
Here’s what you need to do to export the Lyrics data
contained in a Standard MIDI File as text data. This
may be useful for editing or printing the lyrics using
your computer.
This function allows you to save the song in the
VA-76’s Song RAM to disk without the Lyrics data.
1. On the Edit Lyrics page, press the [Save without
Lyrics] field.
Note: This only works if the Standard MIDI File in the
VA-76’s Song RAM memory contains lyrics data.
1. On the Edit Lyrics page, press the [TXT Export]
field.
2. Press the [YES] field to erase all Lyrics data still
present in the VA-76’s Song RAM. This takes you to
the SAVE Song page where you can save the MIDI
data without lyrics.
2. Press the [ZIP] or [FLOPPY] field, depending on
See page 67 for what to do next.
where you would like to save the exported text file.
Press [NO] to return to the Edit Lyrics page without
erasing the Lyrics.
3. Press the [Name] field to name the text file.
This is only necessary if you do not agree with the pre-
set name (i.e. the one of the song in question). If you
press [Name], the display now looks as follows:
See page 68 for how to enter the desired name.
4. Press the [EXECUTE] field to save the file to the
selected disk.
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VA-76 – Header Post Edit
The available parameters are:
11.5 Header Post Edit
Parameter
Master Tune
Range
Default setting
The Header Post Edit function allows you to modify
certain playback parameters of the song that is cur-
rently in the VA-76’s Song RAM memory. These mod-
ifications are either global or track-specific in nature
and can be saved to disk along with the song data.
415.3~466.2
–12~+12 semitones
Song/UPr
Song setting
0
Transpose
Reverb Type
Chorus Type
Tempo
Song
Song/UPr
Song
ꢀ
= 20~250
Song setting
In a way, these settings are a “User Program” con-
tained in the song itself.
• The Transpose parameter does not change the note
numbers of Drum tracks (i.e. track 10 and any other
track that uses a Drum Set rather than a Tone).
These modifications are SysEx data that alter the
actual Song Header data (without replacing them).
And if we say “SysEx”, we mean that only the VA-76,
the VA-7, the VA-5, the VA-3, the G-1000, and the
EM-2000 can read these data. To other SMF players,
the song will still be the original SMF, i.e. they will
ignore these newly added SysEx data.
• The Reverb Type and Chorus Type parameters allow
you to decide whether the song should use the Reverb
and Chorus parameters (see also “Effects and Equal-
izer” on page 116) of the currently selected User Pro-
gram, or those contained in the song data.
1. On page 129, we told you that the VA-76 allows you
to ignore certain User Program settings, in which case
some of the settings below will not be used. Load the
song you wish to edit (if it does not yet reside in the
VA-76’s Song RAM memory).
• Tempo is a relative parameter that modifies all tempo
values of the song (including changes) by the same
amount. Tempo changes are thus not ruined.
[Reset]— Press this field to select the default values
for the Global and Part parameters.
2. Press the [SONG COMPOSER] button.
5. Use [i][m] to select a specific song part (1~16)
whose parameters you want to change.
3. Press the [Header Post Edit] field.
You can do this for all 16 song parts.
There is a reason why we chose to use the word Part
rather than track: the following parameters indeed
only affect the way in which the tracks will be played
back (without changing the track data themselves).
6. Press a field to select the parameter you wish to set
and enter the desired value with the [TEMPO/DATA]
dial or the [DATA] button/Numeric Entry pad.
Be careful to select the desired Song Part before edit-
ing these parameters (watch the name in the top left
field).
Note: If a given control change message for which the VA-76
provides a parameter is not available, the display will indi-
cate “---”.
The first set of parameters, called Global, allows you
to modify settings that apply to all 16 parts (or tracks)
of the song.
4. Press a field to select the parameter you wish to set
and enter the desired value with the [TEMPO/DATA]
dial or the [DATA] button/Numeric Entry pad.
The asterisks (*) indicate all parameters whose values
differ from the original Header settings.
CC00, CC32— (0~127) These are Bank Select mes-
sages. CC00 allows you to select other Tone/Drum Set
banks, while CC32 is used to choose the Tone level.
See also “Selecting different Tone Maps” on page 41.
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VA-76 Owner’s Manual—Song Composer (16-track, etc.)
PChange— (1~128) These are program change mes-
sages that allow you to select another Tone or Drum
Set. See page 222 for a list of the VA-76’s Tones and
Drum Sets.
Volume (07)— Control change messages (CC07) that
allow you to modify the Part volume.
Panpot— Control change messages (CC10) that allow
you to set the stereo position of the selected part. Val-
ues below “64” shift the part to the left, and values
above “65” shift it to the right. “64” means “dead cen-
ter”.
Reverb— The Reverb Send level (CC91) of the part,
i.e. how strongly it is processed by the Reverb effect.
Chorus— The Chorus Send level (CC93) of the part,
i.e. how strongly it is processed by the Chorus effect.
Tone Edit— (Yes/No) Allows you to specify whether
or not the Part in question should execute SysEx and
NRPN (CC98 and 99) contained in its track. If you
select “No”, such changes no longer affect the Part.
[Default setting: Yes.]
Octave— (–3~+3) Allows you to transpose a part up
to three octaves up or down, which may be necessary
after you assigned a flute Tone to a bass part (see
“CC00, CC32” and “PChange” above). [Default set-
ting: 0.]
Data Send— (All, Int, Mid) This parameter allows
you to specify where the data of the selected Part
should be transmitted to: to the MIDI OUT port
(Mid), to the VA-76’s tone generator (Int), or both
(All). [Default setting: All.]
Mute— This is a MIDI data filter that allows you to
specify which Part data should not be transmitted to
the Data Send destination. Select Note if the part
should no longer transmit note messages, Pitch Bend,
Modulation, Sustain, and Aftertouch messages. This is
the setting to choose for Minus-One performances. All
means that the part no longer transmits any MIDI
messages at all (not even Bank Select and program
change messages, etc.). Select Off if the Part in ques-
tion should transmit all MIDI data contained in the
track it is assigned to. [Default setting: Off.]
7. Press [Save] to jump to the Disk/Song Save page,
where you can save the song. See page 67 for details.
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12. Programming User Styles
You can program your own accompaniments (Styles)
on the VA-76. Styles you program do not reside in
ROM, which is why we call them User Styles, or Styles
created by a user (either you or someone else).
The VA-76 allows you to program 36 different pat-
terns per Style, some of which are selectable via dedi-
cated buttons ([ORIGINAL], [VARIATION] or via the
display, see “Orchestrator and Morphing” on
page 62), or that are selected on the basis of the chords
you play in the chord recognition area of the keyboard
(major, minor, seventh).
12.1 Concept
There are three ways of creating new Styles:
Tracks
• By converting portions of a Standard MIDI File into
an accompaniment to be played by the Arranger (see
page 155).
Unlike a drum machine, a Style not only contains the
rhythm part (drums & percussion) but also a melodic
accompaniment consisting of two to three musical
parts, such as piano, guitar, bass, and strings. That is
why the VA-76’s divisions work with tracks – eight to
be precise. See also “Arranger parts” on page 95.
• By creating new accompaniments from scratch (see
page 165).
• By editing existing Styles, which requires that you
copy them and then alter the settings or notes you do
not like (see page 172).
The third option is the fastest, because you only need
to substitute those parts that, in one way or another,
do not “work” for the song you want to play. Program-
ming Styles from scratch is a lot faster than you may
think because the VA-76 is equipped with a number of
functions that allow you to cut down programming
time to the absolute minimum.
The part-to-track assignment is fixed. You cannot
assign the ADrums part to track 6, for example.
The reason why the ADrums part is assigned to track 1
and the ABass part to track 2 is that most program-
mers and recording artists start by laying down the
rhythm section of a song.
There are exceptions to this rule, however, so feel free
to start with any other part if that is easier for the Style
you are programming.
Patterns
Note: Though there are six Acc (or Accomp) parts, most
Styles only contain two or three melodic accompaniment
lines. In most cases, less means more, i.e. do not program six
melodic accompaniments just because the VA-76 provides
that facility; too many accompaniment lines tend to blur
the arrangement. If you listen very carefully to a CD, you
will discover (perhaps to your surprise) that it is not the
number of instruments you use that makes a song sound
“big” but rather the right notes at the right time.
User Styles and internal Styles are short sequences or
patterns (usually only four, sometimes eight measures
long) you can select in realtime. That is precisely what
we showed you in “Using the VA-76’s Arranger” on
page 25. If you have ever worked with a rhythm pro-
grammer (the BOSS DR-770, for example), the pat-
tern concept may sound familiar. You program a
pattern only once and then use it at several points in a
song. In other words, one short musical phrase can go
a long way.
Pattern-based accompaniments usually consist of the
following elements:
• The basic groove, i.e. the rhythm that is the backbone
of the song.
• Several alternatives for the basic groove that keep the
accompaniment interesting and suggest some kind of
“evolution” or “variation”.
• Fill-Ins to announce the beginning of new parts.
• The beginning and ending of a song.
As a rule, programming four to eight drum patterns
for a three-minute song is enough. Just use them in
the right order to make them suitable for your song,
and you’re ready to play. In fact, what is called a “song”
on a drum machine, is called “Arranger” on the VA-76.
Drum machine songs have to be programmed before-
hand, while the Music Style patterns can be selected
on the fly by pressing the appropriate buttons or using
the Orchestrator/Morphing function.
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VA-76 Owner’s Manual—Programming User Styles
Looped vs one-shot
There are two kinds of patterns on the VA-76: looped divisions and one-shot divisions.
Looped divisions— Looped divisions are accompani-
ments that are repeated for as long as you do not select
another division or press [START/STOP] to stop
Arranger playback. The VA-76 provides four pro-
grammable looped divisions with three variations
each (levels A and C of the Orchestrator function
cannot be programmed). Let us agree to call the varia-
tions modes:
One-shot divisions— One-shot divisions are accom-
paniments that are only played once and then select a
looped division or stop the Arranger.
Division
Modes
Explanation
Major Introduction. Selects the Original
Intro
Minor
division of the level you selected
(Basic or Advanced).
(Basic or Advanced)
Seventh
Major Ending (or coda). As soon as the
Ending
(Basic or Advanced)
Minor
Ending is finished, the Arranger
stops.
Seventh
Division
Mode
Explanation
Major A musical transition that selects the
Major
Minor
Seventh
As the name implies, this is the
simplest accompaniment.
Fill-In To Original
Fill-In To Variation
Minor
Seventh
Original division of the currently
active level.
Basic/Original
Major A musical transition that selects the
Major
Minor
Seventh
Basic/Variation is an alternative for
the Basic accompaniment.
Minor
Seventh
Variation division of the currently
active level.
Basic/Variation
An alternative for the Basic level.
Usually contains more instruments
but could also be another kind of
accompaniment for a given style.
Major
Minor
Seventh
Advanced/Original
Advanced/Variation
The type of division (looped or one-shot) affects the
way in which the respective tracks are played back.
The Arranger will insert the required number of rests
for any one-shot track that is shorter than the longest
one.
Major
Minor
Seventh
Variation of the Advanced/Original
accompaniment.
Looped divisions do not select other divisions when
they are finished: they keep playing until you select
another division by hand (or by foot with an optional
FC-7).
Any track of a looped pattern that is shorter than the
longest track, however, will be repeated until the long-
est track is finished. In other words, a repetitive phrase
of a looped division needs to be recorded only once
because it will automatically be repeated until the
longest track is finished, after which the entire division
(including the “sub-loops”) will be repeated. For
instance, if the ADrums part is only four measures
long, while the ABass line is eight measures in length,
the ADrums part will be repeated once while the
Arranger plays measures 5~8 of the bass line.
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VA-76 – Recording User Styles from scratch
Clearing the Disk User memory (Delete)
12.2 Recording User Styles from
scratch
The first thing we need to do is clear the VA-76’s Style
RAM memory. That memory is indeed also used when
you select a Disk Link, or a Disk User Style. In other
words: this memory will not be empty when you select
the User Style Composer. On the other hand, this
“RAM sharing” system also allows you to prepare the
Style you want to edit in no time: all you need to do is
select it while in Arranger mode, then activate the User
Style Composer.
Note: The following sections also contain comments on
what we are doing and possible options. If all you want to
do is program a Style, just read everything that appears in
bold. You can come back to the related explanations when-
ever there is something you do not understand.
Important remark
To record a new User Style, however, you must first
clear the Style RAM memory:
User Style recording and editing is carried out in the
VA-76’s Style RAM memory (Disk User). Whenever
you leave the User Style mode after recording or
editing a Style (by pressing [EXIT]), the display will
warn you that you need to save your Style to disk. If
you haven’t yet done so, you should take advantage
of this security system.
3. Press the [Utility] field in the bottom row.
4. Press the [Delete] field in the left column.
5. Press the [EXECUTE] field to delete the Style that
is currently in the Disk User memory.
Press the [YES] field to save your Style to disk (see
page 170 for details), or [NO] if you think that is not
necessary.
Preparations
6. Press the [Rec] field in the bottom row to jump to
the User Style Composer Master page.
7. If necessary, press the [Master] field to make the
display look like in step (2).
Selecting the User Style Composer
1. Press the [FUNCTION MENU] button.
Selecting the track, the Mode, the Type
and the Division
To keep things easy, let’s start with the drums of the
Basic/Original pattern.
8. Press the [Track] field and use the [TEMPO/DATA]
dial to select the track you wish to record.
Select “ADrums”. Now select a pattern. Start with the
Basic/Original division (see the following steps):
2. On the display page that appears now, press the
[User Style Composer] field.
The display now looks more or less as follows:
9. Press the [Division] field and use the [TEMPO/
DATA] dial to select “Original”.
During Arranger playback (when you start using
your User Style like a “regular” Style), the Basic and
Advanced levels can be selected using the Orchestra-
tor function. See page 62.
Note: If the above parameters are not visible, press the
[Options] field.
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VA-76 Owner’s Manual—Programming User Styles
11. Press the [Key] field and use the [TEMPO/DATA]
dial to set the key.
Working with clones
On this page, you can activate three clone functions
that allow you to record one part and copy it to up to
three divisions and three modes each. The “=” sign
means that more than one pattern will be recorded.
10. Use the [Mode] field to select the mode(s), and the
[Type] field to select the type(s).
Let us use the following display settings, which mean
“record the Basic/Original/Major pattern and copy it
to all looped divisions”. Thus, by programming one
pattern, you will obtain 3 (M, m, 7) x 2 (Bsc, Adv) x 2
(Or, Va) = 12 identical drum patterns!
If you want to play in F#, set this value to F#; to play in
A, you must set this value to A, etc.
Note: There is no need to specify the key for the ADrums
part since that part is never transposed.
Note: You can only clone five parts for one-shot divisions
because there is no Original/Variation level for Intro, End-
ing, To Original, or To Variation: only Basic and Advanced
levels (see the illustration on page 164).
Octave
The field next to [Key] allows you to transpose the
keyboard in octave steps, which may be convenient for
playing extremely high or low notes – or for using the
special “noises” of the new “V” Tones.
Record mode
The [Merge] field allows you to select the recording
mode.
12. If necessary, press the [Octave] field and use the
[TEMPO/DATA] dial to transpose the keyboard up or
down (–4~+4 octaves).
Erase (if the [Merge] field is displayed in blue/
gray)— Everything you record will replace the data on
the selected track. This mode is automatically selected
when you activate the Record function for a track that
does not yet contain data. If you select a track that
already contains data, the [Merge] field is automati-
cally displayed in white but can be switched off so as to
overwrite the previous version.
Quantize
Quantize is a function that corrects minor timing
problems. See page 142 for details.
Quantize shifts the notes whose timing is not exactly
right to the nearest “correct” unit.
Always select a resolution value that is fine enough to
accept all note values you play, yet not finer than the
shortest note. If the shortest notes of your accompani-
ment are 1/16th note triplets, set the Quantize value to
1/16t.
Merge (if the [Merge] field is displayed in white)—
The music or data you are going to record will be
added to the existing data of the selected track.
Specifying the key
Here is how to set the Quantize function:
If you want to use the accompaniment in a musically
meaningful way (see “Remarks” on page 171), you
have to tell the VA-76 what key you are recording in.
That way, everything you play will be automatically
transposed to C during Arranger playback, so that
when you play a C (major, minor, or seventh) chord in
the chord recognition area of the keyboard, you hear a
C chord rather than an D chord.
13. Press the [Quantize] field and use the [TEMPO/
DATA] dial to specify the quantize value.
The preset value, 1/16, is OK for most situations. If
you do not want quantize your music while recording,
set this parameter to Off.
Off is a good choice here because you can also quan-
tize the part after recording it (see page 180). If you
quantize all parts, your User Style may sound too per-
fect. Remember that music is all about tiny imperfec-
tions, one of which is a somewhat “loose” timing.
The VA-76 allows you to play in the original (or your
favorite) key of the song. But do set the Key parameter
to the right value before recording.
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VA-76 – Recording User Styles from scratch
Tone selection
Time signature
Another important aspect is Tone selection because
the address (Group, Bank, Number, Variation) of the
Tones and Drum Set you select is recorded at the
beginning of every division.
Before you start recording, you must specify the time
signature of your accompaniment. Select 4/4 for 8- or
16-beat patterns, 3/4 for waltzes, 2/4 for polkas and 6/
8 (or 4/4) for marches. Note that it is also possible to
select 5/4, 7/4 etc. time signatures.
14. Press the [Tone] field in the left column.
15. Press the [Time Signature] field in the left column.
We are about to program the drums using the
ADrums part. This part works the same way as the
MDR part, so we now have to select a Drum Set rather
than a Tone. In the case of the ADrums part, the dis-
play therefore looks as follows:
If 4/4 is already selected, there is no need to change it.
To specify another time signature, proceed as follows:
a) Select the pattern whose time signature you wish to
change by pressing the corresponding field.
In most cases, pressing the [ALL] field in the right col-
umn is the most sensible choice. That way, your
change will apply to all User Style patterns. To do so,
first press [ALL], then select any time signature field.
b) Use the [TEMPO/DATA] dial to enter the new time
signature.
Note: You can also use this page for changing the time sig-
nature of already recorded patterns at a later stage (see
page 168).
16. Confirm the (new) time signature by pressing the
[EXECUTE] field.
Use the GROUP/BANK/NUMBER buttons to select a
Drum Set for the ADrums part (or a Tone for another
part).
Length: specifying the pattern length
User Styles are patterns, i.e. short musical phrases,
some of which will be continuously repeated during
Arranger playback. Every pattern must therefore have
a set length. A 5-bar Intro, for instance, is no good for
a song that has only four introductory bars. Setting
the length now will help you avoid a lot of confusion
once you start recording.
It is a good idea to play a few notes on the keyboard to
check whether the sounds of the selected Drum Set are
suitable for the accompaniment you are going to
record. Try other Drum Sets until you find the one
that sounds “right”.
The reason why we suggest you specify the length now
rather than cutting the pattern to size after recording it
(using the same Length function) is that the Arranger
tends to add blank bars at the end of a track, which is
usually due to the fact that you stopped the recording
a little late (i.e. after the last bar you played). This
means that you actually “record” five measures instead
of 4:
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VA-76 Owner’s Manual—Programming User Styles
Cloning and edit functions and possible warnings
(Shared)
When re-recording or editing just one pattern of a
clone group, the following warning may be displayed:
If you press [START/STOP] after bar 4…
…your Style will look (and sound) like this (5 bars):
Furthermore, in User Style Record mode, all patterns
are looped, so that the VA-76 keeps playing them back
until you press the [START/STOP] button. A wrong
number of measures (5 instead of 4, for example) is
very likely to put you off, so do take the time to set the
pattern length before you start recording.
17. Press the [Length] field. The display now looks
like this:
It means that you are about to do something that will
disrupt the uniformity of the patterns you have chosen
to be identical (by cloning them).
Note that this page only appears if, after cloning sev-
eral patterns, you decide to only redo or edit the M/
Bsc/Or (or Or-M-Bsc) pattern, for example. Since the
VA-76 “knows” which tracks are clones, it will warn
you that you are about to record or edit a version
without copying it to the “shared” patterns. For your
reference, the names are displayed.
This should allow you to make up your mind whether
to modify the selected pattern without changing the
clones, or apply the changes to all clones (or shared
patterns).
It is perfectly possible to specify a different length
value for each track and division. Remember, however,
that the Basic and Advanced (Original and Variation)
tracks are looped during “real-life” use, so that a
64CPT phrase will be repeated for as long as another
track of the current division contains data.
Note: Even one-shot patterns are looped by the User Style
Composer. That is not the case, however, during Arranger
playback (i.e. everyday use of the Styles).
• Press [Single] to edit the selected pattern without
changing the clones.
• Press [ALL] if the clones (or shared patterns) are to
change according to the modifications of the pattern
you are re-recording or editing.
• Press [ABORT] to leave this page without changing
anything, or [EXIT] to leave the User Style Composer
altogether.
18. Press the [Division] field to select the group of
divisions whose length you wish to set.
The other options on this page are [Shared], [ALL]
and [Single]. [Shared] allows you to select all patterns
that are being shared, i.e. patterns that have been –or
will be– “cloned” during recording using the M=m=7,
B=A etc. options (see page 165). [Single], on the other
hand, allows you to treat all divisions as if they were
independent patterns – and select only those whose
length you wish to change after recording them. [ALL]
allows you to select all currently displayed divisions. In
most instances, this is the most convenient setting.
Back to our accompaniment.
19. Start by selecting the Track whose length you wish
to set (using the [Track] field and the [TEMPO/
DATA] dial).
Rotating the dial fully clockwise will call up the ALL
option. Select ALL to set the length for all User Style
tracks (1~8).
20. Press the [Division] field and use the [TEMPO/
DATA] dial to select “ALL” Divisions.
Note: Selecting “ALL” means that you can specify the length
of all divisions that appear on this page.
To specify the length of only one pattern, press only
the corresponding field. To specify the length of sev-
eral patterns in one pass, press the field of every pat-
tern whose length you wish to set.
21. Press the [BAR] field.
As you see the bar values are now surrounded by a
box.
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VA-76 – Recording User Styles from scratch
22. Use the [TEMPO/DATA] dial to specify the num-
ber of bars. Our pattern should be 4 measures long,
so enter the value “4”.
around you could add the snare drum, the third time
the HiHat, and so on. – But you can also play the
drum part in one go, of course.
Note: You could also specify a CPT value by pressing the
[CPT] field and using the [TEMPO/DATA] dial. That CPT
value (ꢀ = 120CPT) will be added to the Bar length.
Though possible, length values like 4 (bars): 96 (CPT) are
probably not what you want to use every day.
When recording another part (ABass~Accomp6), do
everything you would do during a live performance.
Feel free to add modulation, Pitch Bend, and use the
Ribbon or D Beam controller as well as the hold pedal
connected to the SUSTAIN FOOTSWITCH jack.
Note: You may notice a short delay before the Arranger
jumps back to the beginning of the pattern. That delay is
due to the fact that the data you record are “being pro-
cessed”. During playback, the loop will be perfect, however.
23. Press [EXECUTE] to confirm the length you spec-
ified.
The display now contains an animated clock. Next, the
“OK Function Complete” message is displayed to sig-
nal that the Length value has been successfully set.
28. Press [START/STOP] again to stop recording.
If the above Mode, Type, and Division settings you
selected for recording do not include all the patterns
you wanted to clone, set the Mode, Type, and Division
parameters to the desired values to supply the missing
drum lines. Next, press [REC G] and [START/STOP]
to start recording. Stop recording after the first or sec-
ond beat (wait until the count-in is finished before
you start counting). Note that this function only adds
clones. It does not allow you to erase existing patterns.
24. Press the [Master] field in the upper left corner.
Tempo
25. The tempo (currently set to ꢀ =120) is probably a
bit fast for recording, so change it by pressing the
tempo field and using the [TEMPO/DATA] dial.
The tempo value you set here will be recorded and
regarded as preset tempo. You can change the preset
tempo at any stage in User Style Composer mode, so
start by selecting a tempo that allows you to record the
music the way you want it to sound. When all tracks
and divisions are programmed, you can record the
desired tempo value.
Audition your pattern and then keep or
redo?
1. Press the [START/STOP] button again to listen to
your performance.
If you like your drum part, continue with “Saving
your Style to disk”. If not, you probably want to give it
another try.
2. Press the [Edit] field in the bottom row, followed by
[Erase] in the left column.
Recording
26. Press the [REC G] field so that it is displayed in
white.
The display now looks as follows:
We’ll use Erase to erase the data because that way, the
Length settings do not change. See “Erase” on
page 178 for more information about this function.
The ADrums track is already selected, as is the pattern
that is used for cloning other tracks.
27. Press the [START/STOP] button. The metronome
counts in one measure (4 beats if you selected the 4/4
time signature), and recording starts on the next
downbeat.
Note: You can also start recording using an optional foot-
switch connected to the FOOT SWITCH jack. See “Start/
Stop” on page 191 for how to select the Arranger Start/Stop
function.
3. Press [i] to select ALL Events for “Data Type”.
4. Press the [EXECUTE] field to erase the pattern.
5. Press [Rec] in the bottom row to jump back to the
Master page.
6. Continue with step (26) above.
You could start by playing only the bass drum part. If
you specified the track length (see above) before
recording, the Arranger jumps back to the beginning
of the pattern after four measures. The second time
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VA-76 Owner’s Manual—Programming User Styles
5. Press the [Name] field.
Saving your Style to disk
If you are serious about programming your own
Styles, make it a habit to save them as frequently as
possible. After all, if someone decided to turn off your
VA-76 now, you would lose everything you have pro-
grammed so far.
That disk can also serve as backup whenever you erase
or change something you actually wanted to keep.
Naming your User Style
1. Press the [Utility] field in the bottom row and the
[Name] field in the left column.
You have just specified the Style name, so there is no
need to do so on this page.
6. Press the [File Name] field and enter the name
under which your User Style should be saved.
See page 109 for the difference between Style and File
Names.
Note: The [A/a] field is not displayed when you select the
[File Name] field. That is because the File Name conforms
to the MS-DOS standard and only allows for (eight) upper-
case characters.
7. Insert a floppy or Zip disk into the desired drive
and press [EXECUTE] to save your Style to disk.
Remember that your VA-76 is multitasking, so that
you can leave this page as soon as the VA-76 starts sav-
ing the Style to disk:
Before saving a Style to disk, you should name it.
Choose a name that tells you something about the
nature of the Style. The name you enter here will be
displayed on the Master page every time you select this
Style (via Disk Link, if assigned, or as “Disk User
Style”).
8. Press [oBack] to return to the User Style Com-
poser.
2. Enter the name that should be displayed whenever
you select this Style. See page 68 for the available
options.
9. Press [Rec] (below) and [Master] (left column) to
the User Style Master page.
Programming other parts and divisions
You can now record the second part – probably the
bass. If you’d like to do the guided tour again, go back
to page 165. Do not forget to set the key for the bass
part (see page 166).
Saving your Style
3. Press the [Save] field to jump to the Save Style page:
You probably know how to record other parts
(Accomp1~Accomp6), so we’ll leave you to it (see
“Recording User Styles from scratch” on page 165).
Once the first division is finished, you can record
other divisions. Use the clone function (see page 166)
to record several patterns in one go.
Do not forget to record the Fills and the Intro(s)/End-
ing(s) to complete your User Style.
Note: The ABass part is monophonic. You will not be able to
program two-note patterns.
4. Press the [ZIP] or [FLOPPY] field to select the drive
you wish to use for saving your User Style.
Muting parts while recording others
After programming a few tracks, you may find that
certain tracks tend to confuse you. Playing a steady
organ part while listening to a previously recorded
syncopated part may indeed be difficult. That is why
the VA-76 allows you to mute those parts that you do
not want to hear during recording.
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VA-76 – Recording User Styles from scratch
Note: The on/off status only applies to the User Style mode.
In normal Arranger playback mode, all tracks will be
played. In other words, this is a help function. To mute a
part in Arranger mode, see page 114.
Metronome and Count-In
In User Style mode, the metronome sounds during
recording, unless you switch it off using the [ON/
OFF
] field. If you also need the metronome when
Here is how to mute tracks in User Style mode:
listening to what you have just recorded, select
another metronome mode. Press the [Mode] field
(only visible when [Options] is displayed in white)
and see page 66 for how to select another metronome
mode.
1. On the User Style Master page, press the [Play Trk]
field:
2. Use the [ON/OFF] fields to switch the various User
Style tracks On or Off (mute).
Press [oBack] to return to the “regular” User Style
pages.
Note: Press the [Options] field if you need to set the Key,
etc., parameter for a new track. You can also start recording
on this page.
Playback in Arranger mode
Speed Options— The [Fast] and [Slow] fields allow
you to double or halve the playback tempo. The
[Slow] option is useful for checking difficult riffs to
find out whether all notes were played correctly.
[Fast], on the other hand, allows for a quick check of
the activated tracks. These options are only available
once you have started playback of your of your User
Style (by pressing the [START/STOP] button).
As stated on page 163, the Arranger of your VA-76 is
very similar to a drum machine, except for one thing:
you do not need to program the pattern sequence
beforehand. Just select the division you need while
playing and feed the Arranger with the right chords so
that all the lines you programmed sound in the right
key. In short: use your own Styles the way you use the
internal Styles.
Note: If, during playback in Arranger mode (i.e. normal
VA-76 mode), the Arranger stops unexpectedly, try different
chord modes. Chances are that you only programmed the
major division, so that the Arranger selects an empty pat-
tern when you play a minor or seventh chord. Remember to
always set the Mode parameter to M=m=7 until you have
come to grips with the possibilities of the VA-76’s Arranger.
That way, those three patterns will sound alike, but at least
you are sure that the Arranger does not stop when you play
a minor or seventh chord.
Remarks
Working from top to bottom – programming
hints
If you listen carefully to the factory Styles, you will
notice that most divisions are very similar to one
another and that the element of “evolution” or “ampli-
fication” between the Original/Variation and Basic/
Advanced levels is usually derived from adding instru-
ments to otherwise identical parts. The Advanced/
Original division may, for instance, add an electric
guitar to the drums, bass, and organ lines of the Basic
level, but the drum, bass, and organ lines of the
Advanced level are usually identical to those of the
Basic level.
In other words, start by recording the most complex
accompaniment while cloning all other looped divi-
sions (see page 165). If you then move to the
Advanced/Original level and delete the bells and whis-
tles (see page 178), that division is already simpler
than “the works”.
The next step would then be to select the Basic/Origi-
nal pattern and delete both the bells and whistles and
the distorted guitar.
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VA-76 Owner’s Manual—Programming User Styles
11. Press the [User Style Composer] field to return to
the User Style Composer.
Note: Pressing [oBack] takes you back to the User Style
Composer.
12.3 Copying existing Styles
Another way of programming User Styles is to use
parts from internal Styles in ROM or User Styles on
(floppy, Zip) disk. The VA-76 allows you to:
Note: This procedure is not really necessary because select-
ing a Disk Link or Disk User Style in the VA-76’s Arranger
mode has exactly the same effect as this function. Here,
however, you know exactly what you’re doing.
• Copy entire Styles to the Style RAM memory (Disk
User)
• Copy the selected division of one or all tracks
• Copy just a few notes of an existing part
Copying individual Style tracks
While the previous function allows you to copy entire
Styles, the Copy function can be used to copy individ-
ual tracks, modes, types, and divisions.
• Copy tracks or notes between divisions
This allows you to create new Styles by using tracks
from different existing Styles (the drums of Style B34,
the bass of Style A63, etc.).
1. Press the [Utility] field in the bottom row while a
User Style Composer page is displayed.
Note: You cannot copy an ADrums track to another track
(ABass~Accomp6). Likewise, the bass part can only be cop-
ied to an A.Bass track. As far as the ACC tracks are con-
cerned, you are free to copy them to whichever ACC track
you like.
2. Press the [Copy] field in the left column.
3. Press the [Source] field.
Note: If the Style RAM memory already contains new data,
save it to disk before copying. The VA-76 has no Undo func-
tion. Saving a Style to disk before copying will allow you to
load the previous version in case something goes wrong. See
“Saving your Style to disk” on page 170.
Copying entire Styles using Load (all
tracks)
1. Press [EXIT] to return to the Master page.
4. Press the [Track] field and use the [TEMPO/DATA]
dial to select the track to be copied.
2. Press the [FUNCTION MENU] button.
3. Press the [Disk] field to select the Disk mode.
5. Repeat this operation with the [Mode], [Type] and
[Division] fields to select the Mode (Maj, Min, 7th,
ALL), the Type (Bsc, Adv, ALL), and the Division (Or,
Va, Fo, Fv, In, Ed, ALL).
4. If the [Load] field in the bottom row is not high-
lighted, press it.
5. Press the [Style] field.
6. Next, select the Style (internal banks A~C) that
contains the track(s) to be copied:
a) Press the [GBN/Style Name] field.
b) Use the [TEMPO/DATA] dial or the BANK/NUM-
BER pad to select the desired Style.
Note: Do not forget to insert the required disk before select-
ing a Style from bank C (Disk Link).
6. Press the [INT A/B] field so that it is displayed in
white.
INT A/B allows you to select any internal Music Style
(A11~B88). If you wish to copy a Style from disk,
press the [FLOPPY] or [ZIP] field.
The window displays a list of Styles in the internal
memory (Int) or on the disk.
7. Use the [o][k] fields or the [TEMPO/DATA] dial
to scroll through the list of available Styles.
8. Press the field of the Style you wish to copy.
9. Press [EXECUTE] to load the Style.
10. Press [oBack] to return to the Function Menu.
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VA-76 – Copying existing Styles
11. Press the [Destination] field.
To use another Style on disk…
Here’s how to use a Style on the inserted floppy or
Zip disk:
a) Press the [Disk User] field. This takes you to a
familiar page. See “Disk User” on page 61 for what
to do now.
Copy mode
Copying can be carried out in one of two modes:
Replace— The data in the selected range will be cop-
ied and overwrite all data of the destination track in
the selected source track range.
b) After loading the desired Style, press the [oBack]
field to return to the User Style Composer.
Merge— The data in the selected range will be added
to any existing data on the destination track.
7. Press the [Listen] field to listen to the excerpt you
are about to copy.
In either case, the length of the destination track may
change to include all data of the source track.
Note: Listen is not available when you select ALL for one of
the above entries.
Note: If the Style RAM memory already contains new data,
save it to disk before copying. The VA-76 has no Undo func-
tion. Saving a Style to disk before copying will allow you to
load the previous version in case something goes wrong. See
“Saving your Style to disk” on page 170.
From
Start by specifying the position of the first event (or
note) of the source track to be copied.
12. Press the Mode [Replace] or [Merge] field.
8. Press the [Bar], [Beat], or [CPT] field in the From
row and use the [TEMPO/DATA] dial to set the Bar,
Beat and CPT units respectively.
By default, the From parameters are set to “Bar 1, Beat
1, CPT 0”.
13. Press the [Track] field and use the [TEMPO/
DATA] dial to select the track you wish to copy the
data to.
Note: It is impossible to copy ADrums data to other tracks
than ADrums tracks. Likewise, you cannot copy ABass data
to other tracks than ABass tracks.
You can also choose to copy only those notes that you
need, in which case, the Beat and CPT parameters will
help you select a starting point that lies behind the
first beat of the track you wish to copy.
14. Repeat this operation with the [Mode], [Type] and
[Division] fields to select the Mode (Maj, Min, 7th,
ALL), the Type (Bsc, Adv, ALL), and the Division (Or,
Va, Fo, Fv, In, Ed, ALL).
To
15. Press the [Listen] field to listen to the track you are
about to copy to.
The Into position indicates the beginning of the
excerpt you are about to copy. To copy the source data
to the beginning of the selected track, select Bar= 1,
Beat= 1, and CPT= 0.
The To position indicates the end of the excerpt to be
copied. By default, the To values are set to include the
entire track.
9. Press the [Bar], [Beat], or [CPT] field and use the
[TEMPO/DATA] dial to set the Bar, Beat and CPT
units respectively.
If you wish to copy an entire bar, select the Bar-Beat-
CPT “0” value of the next bar, i.e. to copy bars 1~4
specify “From 1-1-0/To 5-1-0”.
16. Press the [Bar], [Beat], or [CPT] field and use the
[TEMPO/DATA] dial to set the Bar, Beat and CPT
units respectively.
17. Press the [Times] field and use the [TEMPO/
DATA] dial or the [DATA] button/Numeric Entry pad
to specify the number of copies to be made. Select “1”
if the excerpt is to be copied only once.
10. Press [Listen] to listen to the excerpt again.
18. Press the [EXECUTE] field to copy the data.
The animated clock tells you that the data are being
copied.
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VA-76 Owner’s Manual—Programming User Styles
When the data are copied, the display will tell you:
12.4 Editing User Styles
Editing on the fly by recording
Adding notes in realtime
To add notes to an existing part, press the [Merge]
field so that it is displayed in white, select the track,
and start recording by pressing the [REC G] field and
the [START/STOP] button. Play the notes where you
want them to sound.
Note: Do not forget to select the desired Division, Mode,
and Type (see page 165).
Adding controller data in realtime
To add controller data (modulation, Pitch Bend, Hold,
expression) to an existing part, press the [Merge] field
so that it is displayed in white. Operate the controller
(Pitch Bend lever, modulation lever, optional DP-2,
DP-6, or FS-5U footswitch for Hold data, optional
EV-5 or BOSS FV-300L or EV-10 foot controller for
expression data) where needed.
Note: Do not forget to select the right Division, Mode, and
Type (see page 165).
Adding or changing settings of existing parts
The following operations require that you record in
[Merge] mode without touching the keyboard or con-
trollers, select the track and division whose settings
you wish to change, press the [Merge] field, and start
recording. Unless you wish to program continuous
value changes (Panpot data, for example), you can
stop recording after the first beat. Static settings are
always written at the beginning of the track in ques-
tion, so there is no need to record an entire cycle.
Tone/Drum Set selection— To select another Tone or
Drum Set for an existing User Style track, proceed as
follows:
1. Press the [Tone] field in the left column, and select
the Track you wish to assign another Tone or Drum
Set to.
2. Press the [Track] field and use the [TEMPO/DATA]
dial to select the desired track.
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VA-76 – Editing User Styles
Note: The names of the drum/percussion sounds depend on
the currently selected Drum Set. The sounds are usually
similar in nature, however.
If you select the ADrums track, the display looks
slightly different:
1. On the above display page, select the ADrums
track.
2. Select the division whose settings you wish to
change, and possibly also all clones (see page 165).
3. Press the [MERGE] field in the bottom row.
4. Press the [Drum Set Note] field and select the drum
sound whose pitch you wish to change with the
[TEMPO/DATA] dial.
5. Press the [Pitch] field and use the [TEMPO/DATA]
dial to set the desired pitch (–64~+63).
You can play on the keyboard to listen to the result.
That is because you can only assign Drum Sets to the
ADrums track.
3. Select the division whose settings you wish to
change, and possibly also all clones (see page 165).
6. Press the [REC] field below [Pitch].
4. Press the [MERGE] field in the bottom row. (Let us
assume that your part already contains data.)
5. Select the new Tone (or Drum Set) to be assigned to
the currently selected track and division by pressing
the [Current Tone]/[Current Drum Set] field and
using either the [TEMPO/DATA] dial or the BANK/
NUMBER buttons.
6. Press the [REC] field (see the circle in the above
illustration) so that it is displayed in white.
Depending on the selected track (ADrums or another
one), this field is located in a different place. It does
have the same function, though.
7. Press the [REC G] field.
8. Press [START/STOP] to start recording.
9. Press [START/STOP] again after the first or second
beat (but wait until the one-bar count-in is finished).
Expression, Panpot, Reverb, Chorus— Setting or
modifying the Expression, Panpot, Reverb (Send), and
Chorus (Send) parameters is similar to selecting
another Tone for existing tracks.
7. Press the [REC G] field.
8. Press [START/STOP] to start recording.
9. Press [START/STOP] again after the first or second
beat (but wait until the one-bar count-in is finished).
This completes Tone selection. The new Tone address
(Group, Bank, Number, Variation) automatically
replaces the old one.
a) Press the [Mixer] field on any User Style Com-
poser page where the [Rec] field in the bottom row
(left) is displayed in white.
Though you can use different Tones for every division
of a User Style, beware of too much “artistic license”.
Using another Acc track for additional parts (if still
available) will avoid a lot of confusion.
The display now looks more or less as follows:
Drum Set Note & Pitch— After selecting the ADrums
track, you can modify the pitch of certain sounds of
the selected Drum Set. The eligible sounds and corre-
sponding note numbers are:
C#2/37 Side Stick
D2/38 Stand.2 Snare 1
E2/40 Stand 2. Snare 2
F2/41 Low Tom 2
b) Select the track, the division, etc. whose settings
you want to change. See “Tone/Drum Set selection”
on page 174.
E3/52 Chinese Cymbal
G#3/56 Cowbell
A3/57 Crash Cymbal 2
F4/65 High Timbale
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VA-76 Owner’s Manual—Programming User Styles
Edit functions that are not part of the
User Style Edit mode
c) Press the [REC] field(s) below the slider(s) whose
setting(s) you want to record. Those [REC] fields
must be displayed in white.
Length
d) Either use the on-screen-sliders or touch a slider
name and use the [TEMPO/DATA] dial for setting
the desired value. (You can also use the [DATA] but-
ton/Numeric Entry pad.)
Press the [Length] field in the left column
The Reverb and Chorus settings represent Send values
(see page 116). The effect settings (Type, Character,
etc.) can only be saved to a User Program. In other
words, a Music Style’s character may change depend-
ing on the User Program you select.
You can create interesting panning effects by slowly
shifting the selected track from left to right (or vice
versa) in the course of a pattern. This is especially
effective for synthesizer or guitar riffs. Continuous
changes mean that you have to keep recording until
the end of the pattern.
The Length function allows you to modify the length
(number of bars, beats, and clocks) both before or
after recording. If used after recording, the data that lie
beyond the specified end will be discarded.
Note: There is no way to recall the previous version, so think
twice before executing the Length function.
Expression (control change CC11) is a subsidiary vol-
ume message that works relative to the volume (con-
trol change CC07) message. Whenever you set
See also “Length: specifying the pattern length” on
page 167.
Expression to “127” the resulting part volume will be
equal to the value specified for Volume (CC07).
Track (ADrums~Acc6, All)— Allows you to select the
track whose length setting you wish to change. If the
length does not have to be the same for all tracks
(which goes unnoticed for looped divisions, see
“Looped divisions” on page 164), try to use only inte-
ger multiples or fractions for longer or shorter tracks
(i.e. 4 bars for one track, while the others are 8 bars in
length; 3-bar patterns don’t loop well over 4- or 8-bar
tracks).
The Volume values of the Arranger parts can be set in
Mixer (see page 112) mode.
Setting the preset tempo
The preset tempo is the tempo the Arranger selects in
One Touch mode. By now, you know that the
[TEMPO/DATA] dial and [AUTO/LOCK] function
allow you to override the preset Style tempo and save
the new tempo value to a User Program. Setting the
right preset tempo is useful for those occasions where
you wish to use One Touch Program (see page 29).
Single— Press this field if you want to select only one
pattern of a clone group.
Shared— Press this field to select all shared patterns in
one pass. Doing so ensures that clones are always iden-
tical to the original.
To program another preset tempo, set it using the
[TEMPO/DATA] dial or the [TEMPO/TAP] button,
select any part on a User Style Composer page where
the [Rec] field in the bottom row is displayed in white,
press the [Merge] field, and record one or two beats.
ALL— Use the [ALL] field to select all patterns on the
current display page (i.e., all Original/Variation, Intro/
Ending, or Fill-In To Original/To Variation patterns).
BAR— Press this field and use the [TEMPO/DATA]
dial to set the length of the selected pattern(s) in steps
of one bar. Note that it is perfectly possible to make an
existing track longer by specifying a Bar value that lies
beyond the last notes (or current end).
Do not play on the keyboard or use any controllers con-
nected to the VA-76, though!
Note: The last tempo value you record automatically
becomes the Style’s preset tempo.
CPT— This is another length value that allows you to
“fine tune” the length. In most cases, you will probably
work with multiples of ꢀ notes (i.e. 120CPT) because
120CPT represent one beat of an X/4 bar (1/4, 2/4, 3/
4, 4/4, etc.). All intermediary steps are selectable,
though the musical functionality of “x-bars-and-a-
bit” patterns is questionable, to say the least.
EXECUTE— Press this field to apply the new length
value to all selected patterns on this page.
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VA-76 – User Style Edit mode
Time Signature
12.5 User Style Edit mode
Press the [Time Signature] field in the left column
All display pages of the User Style Edit mode feature a
[oBack] field that allows you to jump back to the
[Rec] page. Use it after editing a track (or all tracks) to
record new material straight away.
Before discussing the various User Style Edit func-
tions, please note the following: certain functions
allow you to select the data type to be edited. When-
ever that is the case, you can select one of the follow-
ing messages. The field in question is called Data Type.
The Time Signature page allows you to check and set
the time signature of certain or all patterns. The time
signature of the major (M), minor (m), and seventh
(7) patterns must always be the same. This security
system helps you avoid switching to another time sig-
nature simply by playing a major, minor, or seventh
chord in the chord recognition area of the keyboard.
Parameter
Explanation
All
All editable parameters listed below.
Note
Note messages
Modul
PanPt
Modulation messages (CC01)
Panpot messages (stereo position, CC10)
Expre
Revrb
Chrus
PChng
PBend
Expression messages (relative volume, CC11)
Reverb Send messages (CC91)
Use this parameter to specify the time signature of the
selected pattern (Division, see below). The most com-
monly used time signatures are: 2/4, 3/4, 4/4, 6/8, and
12/8. Other values (such as 7/4, 13/8, etc.) are also
possible.
Note: When you change the time signature of an already
recorded pattern, its notes and events are “reshuffled”
according to the new time signature, so that you may end
up with incomplete measures. However, none of your data
are deleted.
Chorus Send messages (CC93)
Program Change messages
The Pitch Bend range (i.e. the pitch change that
can be obtained by turning the Bender lever
fully to the left or right).
NRPN
Non-registered parameter number. A special
kind of MIDI message for setting parameter
values that is only understood by GS compatible
instruments.
These functions are very similar to those of the 16-
track Sequencer. If you know how to use those, you
will have little trouble understanding how the User
Style Edit functions work.
Bsc/Adv— This field (rightmost column) allows you
to link the selection of a pattern in the Bsc column
(left) to the corresponding pattern(s) in the right col-
umn (Adv). This is especially useful after selecting
multiple patterns.
Here are a few guidelines for editing your User Style:
Note: Save your Style to disk before continuing. That way,
you can always return to the original if your changes do
not work out as expected. See “Saving your Style to disk”
on page 170 for details.
Use the [TEMPO/DATA] dial to set the desired time
signature.
[Single]/[ALL]— Press [Single] if you only wish to
change the currently selected pattern. Press [ALL] to
select all patterns. If you want to edit multiple pat-
terns, first pressing [ALL] and then switching off the
fields of the patterns you don’t want to change may be
faster than selecting all desired patterns one after the
other.
a) Select the track(s) and pattern(s) you wish to
modify.
b) Select the range (From and To) for the edit opera-
tion.
c) Enter what should be changed and how it should
be changed. Press the desired field and use the
[TEMPO/DATA] dial, the [DATA] button/Numeric
Entry pad, or (for notes) the keyboard.
Execute— Press this field to confirm the new time sig-
nature and resize the selected pattern(s).
d) Execute the operation by pressing the [EXE-
CUTE] field.
e) Save your User Style to disk.
Note: See “Available options for ‘Note’” on page 148 for an
explanation of the [Equal], [Between], etc. fields.
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VA-76 Owner’s Manual—Programming User Styles
From Note/Than Note, To Note— See page 149.
Erase
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
Execute— Press this field to confirm your settings and
edit the data.
[Erase]
Delete
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
[Delete]
Erase allows you to selectively delete data either within
a specified range of the pattern(s), or from the entire
track(s). In Data Type ALL mode, Erase will substitute
the required number of rests for the data you delete, so
that you end up with the equivalent number of blank
measures. If you also want to eliminate the measures
themselves, use Delete (see page 178).
Unlike to the Erase function, Delete also erases the
measures, so that all measures that lie behind the “To”
position, will be shifted towards the beginning of the
track(s). Since Delete also disposes of the measures,
you cannot choose the data type to be erased.
Track (ADrums~Acc6, ALL)— Allows you to select
the track you wish to edit. You can also select ALL
here, in which case the operation applies to all tracks
of the selected pattern.
Track, Mode, Type, Division— See page 178 for
details.
Mode— Allows you to select the mode of the pattern
to be edited: Maj (major), min (minor) or 7 (seventh).
From/To— “From” refers to the position where the
edit operation is to begin. That position is specified as
Bar-Beat-CPT values. “To” designates the position
where the edit operation is to end (Bar-Beat-CPT
value).
Type— Allows you to select the pattern type to be
edited: Basic or Advanced.
Division— This parameter is used to select the Divi-
sion of the pattern: Original or Variation.
Bar, Beat, CPT— See page 178 for details.
From/To— “From” refers to the position where the
edit operation is to begin. That position can be speci-
fied in a Bar-Beat-CPT format. “To” designates the
position where the edit operation is to end (Bar-Beat-
CPT value).
Note that the Micro mode allows you to edit the data
on an event basis, which is more precise because there
you see the events to be edited, which is not the case
here. If you only wish to edit one event (or message),
you should definitely do so in the Microscope mode
(see page 181).
Bar (1~9999)— This is where you specify the bar
position. By default, the From and To values are set to
the beginning and end of the selected track(s). Note
that the To value always refers to the end of the longest
track.
Execute— Press this field to confirm your settings and
edit the data.
Beat (1~[number of beats per bar])— This is where
you specify the beat position. The number of select-
able beats obviously depends on the time signature of
the selected pattern.
CPT— This is where you specify the CPT position of
the beginning and end. Unless you do not need to edit
all the selected data within the last bar, you should
keep the default setting. Note that the Micro mode
allows you to edit the data on an event basis, which is
more precise because there you see the events to be
edited, which is not the case here. If you only wish to
edit one event (or message), you should definitely do
so in the Microscope mode (see page 181).
Data Type— Use [i][m] to select the data to be
edited. See the table above for a list of the available
data types.
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VA-76 – User Style Edit mode
In other words, never transpose an entire pattern as
that will invariably lead to a lot of confusion in the
Arranger mode.
Insert
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
[Insert]
Track, Mode, Type, Division— See page 178 for
details.
When combined with “From Note/Than Note” and
“To Note” (see below), Track Transpose is also useful
for the ADrums track. It allows you to select another
snare or kick sound, for example.
From/To— See page 178.
Bar, Beat, CPT— See page 178 for details.
Value (–24~+24)— This parameter is used to set the
transposition interval in semi-tone steps. If you wish
to transpose a C pattern to D, enter the Value +2.
Note: Be careful when applying Transpose to the ADrums
track. After all, transposing all notes of this track would
mean that the drum part changes dramatically.
The Insert function allows you to insert space in an
existing pattern. This means that all data lying behind
the position calculated by the “For” parameter are
shifted further towards the end of the pattern, effec-
tively making the pattern longer. You can only insert
blank measures here.
From Note/Than Note, To Note— See page 149.
Execute— Press this field to confirm your settings and
Track, Mode, Type, Division— See page 178 for
edit the data.
details.
From/For— “From” allows you to specify the position
where the selected number of bars, beats, and CPT is
to be inserted.
Velocity
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
[Velocity]
“For”, on the other hand, specifies how many bars,
beats, and CPTs are to be inserted.
The Microscope mode also provides an Insert func-
tion (see page 182) that allows you to add events with-
out shifting the subsequent events towards the end.
Bar, Beat, CPT— See page 178 for details.
Execute— Press this field to confirm your settings and
insert the requested number of bars, beats, and CPTs.
Transpose
The Velocity function allows you to modify the
dynamics (called velocity) of a track or excerpt. See
page 150 for details. Only note events can be changed,
which is why you cannot select the data type.
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
[Trnspose]
Track, Mode, Type, Division— See page 178 for
details.
From/To— See page 178.
Bar, Beat, CPT— See page 178 for details.
Value (–126~+126)— The Value parameter allows
you to set the velocity change level. Select a positive
value to increase the velocity of the selected track(s),
or a negative value to decrease the velocity values.
Note: Even the highest positive or negative Value doesn’t
allow you to go beyond “1” or “127”.
Transpose is used to change the pitch of the selected
pattern (the other non-note data obviously cannot be
transposed). Use this function with great caution
because the Key value (see page 166) is not updated –
even if you transpose entire track(s). We therefore sug-
gest you only use it for parts of an Intro or Ending pat-
tern – for example a difficult phrase you have recorded
only once and then copied using Copy (see page 184).
From Note, To Note— See page 149.
Execute— Press this field to confirm your settings and
edit the data.
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VA-76 Owner’s Manual—Programming User Styles
effectively erase the notes, which can only be achieved
with Erase (see page 178). You cannot use Gate Time
to erase notes.
Quantize
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
[Quantize]
Execute— Press this field to confirm your settings and
edit the data.
Shift
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
[Shift]
The Quantize function can be used after recording a
part if you don’t feel comfortable with the timing of
what you played. If only certain notes in a given time
range need to be quantized, you should narrow down
the edit range using the From/To parameters.
Track, Mode, Type, Division— See page 178 for
details.
Shift allows you to shift the the notes within the
selected From/To range. See page 151 for details.
Note: Before selecting a Shift value, you should have a look
at one track in the Microscope mode (see page 181) to deter-
mine which negative value to use. If the first note of a track
starts on 1-1-6, for example, set Shift to “–6”. Be sure to
apply the same Shift to all tracks to maintain the timing of
the original!
From, To, Bar, Beat, CPT— See page 178 for details.
Value— This parameter sets the resolution of the
Quantize function. The available values are: 1/8, 1/8t,
1/16, 1/16t, 1/32, 1/32t, 1/64t. See also page 142 for an
example.
Execute— Press this field to confirm your settings and
edit the data.
Track, Mode, Type, Division— See page 178 for
Note: Be sure to always select the value that equals the
shortest note you recorded. Otherwise, your part no longer
sounds the way you played it.
details.
From, To, Bar, Beat, CPT— See page 178 for details.
Value (–1920~+1920)— This parameter sets the
amount by which the notes are shifted. The Value
refers to CPT units (one CPT= 1/120 ꢀ ).
Gate T
[FUNCTION MENU] button→ [User Style Composer] field→ [Edit] field→
Note: Notes on the first beat of the first bar cannot be shifted
further to the left (that would mean shifting them to the “0”
measure, which doesn’t exist).
[Gate T]
Execute— Press this field to confirm your settings and
edit the data.
The Gate Time function allows you to modify the
duration of the notes in the selected time (From/To)
range. See page 151 for details.
Track, Mode, Type, Division— See page 178 for
details.
From, To, Bar, Beat, CPT— See page 178 for details.
Value (–1920~+1920)— This parameter sets the
amount by which the duration (or gate time) of the
selected notes is to be changed. The shortest possible
Gate Time value is “1”. Allowing the value “0” would
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VA-76 – User Style Micro mode
Auditioning the pattern
a) Press the [START/STOP] button to start playback
12.6 User Style Micro mode
of the selected pattern. The display now changes to:
Select this mode whenever you need to change just
one aspect of an otherwise perfect User Style (or cop-
ied ROM/Disk User Style).
In this section, we will use the word event for any kind
of message (identical to MIDI messages that cause the
Arranger to play or set something). An event is thus a
command (or instruction) for the Arranger.
You can only view and edit one track at a time. In
other words, do not forget to select the right track and
pattern before you select a Micro function.
b) Press the [Solo] field if you only want to listen to
the selected track (see above).
Here’s how to select the User Style Microscope mode
(steps (1)~(3) are only necessary if you have not yet
selected the User Style Composer):
c) If necessary, use the Speed Options [Slow] and
[Fast] fields to halve (Slow) or double (Fast) the
playback speed.
1. Press the [FUNCTION MENU] button.
2. Load the Style you want to change into the Disk
User memory.
d) Press [START/STOP] again to stop playback.
3. On the display page that appears now, press the
[User Style Composer] field.
6. Press Proceed [Single] if you only want to edit the
selected pattern, or [ALL] to modify all “shared” pat-
terns simultaneously.
4. Press the [Micro] field.
Note: To edit other tracks and/or patterns at a later stage,
you must return to this page by pressing the [oBack] field.
The display now looks more or less as follows:
Change
[FUNCTION MENU] button→ [User Style Composer] field→ [Micro] field→
[Change]
See “Cloning and edit functions and possible warnings
(Shared)” on page 168 for the meaning of the above
warning. This message only appears if the selected pat-
tern (Mode/Type/Division) is part of a cloning group.
5. Press the [Track] field and use the [TEMPO/DATA]
dial to select the track you wish to record. Next, select
the pattern you wish to edit.
The Microscope Change function is used to modify
existing events, which may be anything from trans-
forming a C#2 into a D2, velocity value “35” into “70”,
or control change CC01 into control change CC10.
See page 178 for details.
Event selection (Bar-Beat-CPT)— Allows you to
scroll through the events. You can only select Bar-
Beat-CPT positions that already contain data. Use the
[o][k] fields to scroll through the events. Press the
field of the event you want to change.
Listen [i][m] & [CURRENT]— To scroll through
the events while playing back the note events (such as
“C#2” in the above example), press the [i][m] fields.
The [Current] field allows you to sound the selected
event (if it is a note). You could use this function to
check the new velocity (Velo) value, and change it
again if necessary until the note sounds right. This
only works for notes.
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VA-76 Owner’s Manual—Programming User Styles
Status column— This column contains all the mes-
sage types you can assign to an event. See page 177 for
details. Use the [TEMPO/DATA] dial for selecting an
event.
Insert
[FUNCTION MENU] button→ [User Style Composer] field→ [Micro] field→
[Insert]
Don’t look for CC64 (Hold or Sustain) events because
you won’t find any. The use of the pedal connected to
the SUSTAIN FOOTSWITCH jack is converted into
the equivalent Gate T(ime) values. To change such
converted “Hold messages”, you thus have to modify
the duration (Gate T) of the affected notes.
Velo— Don’t let the name of this column fool you. It
does indeed display the velocity value of notes, but it
also contains the values assigned to a control change
number, a program change, or Pitch Bend event.
This Insert function is used to add events to an exist-
ing track – or to program a part in step time.
Gate T— The values in this column always represent
the duration (or Gate Time) of note events. That is
why all other events have no Gate T values.
Note: The Gate Time value of drum note events is always
“1”. The sounds being triggered are indeed one-shot samples
that stop automatically. Setting a longer Gate Time value
for drum notes (ADrums track) does not make them longer.
The Insert function consists of two pages: the first
page is used to add an event at the selected position
(using Bar, Beat and CPT), while the second page
allows you to define the Status (note, control change,
etc.) and values of that event.
Note: It is perfectly possible to insert an event at a position
that already contains an event. This allows you to add the
missing note of a chord, for example. Be sure, however, not
to assign two control changes of the same number (e.g. Pan,
CC10) and with different values to the same position.
Erase— Press this field to get rid of the currently
selected event. You can press any field ([Status], [Velo]
or [Gate T]) to select the event you wish to erase.
You can now select another function on the menu
(Insert, Move Mix, or Copy Mix) or press [oBack] to
return to the opening Microscope page in order to
select another track or pattern for editing. Press
[EXIT] to return to the Master page. As soon as you
do, the display will tell you that the new settings are
being processed:
Bar (1~9999)— As you see, the new event will at first
be assigned the position “1:1:000”, which is probably
not where you want it to be. Press this field and use the
[TEMPO/DATA] dial or the [DATA] button/Numeric
Entry pad to specify the bar where the new event
should be inserted.
Beat (1~[number of beats per bar])— Press this field
and specify the beat within the selected bar.
CPT ([BASS/BANK])— This parameter sets the CPT
value of the new event. Here is a table of the most
commonly used notes and their CPT values:
Note
CPT
Note
CPT
480
90
240
120
60
30
You can also decide to save your Style to disk:
[o][k]— Use these fields to scroll through the events
already recorded on the selected track/pattern. This is
only for viewing purposes or for locating the approxi-
mately correct position.
Proceed— After specifying the position of the new
event, press [Proceed] to select the second Insert page,
where you can assign a function (Status) and value(s)
to the new event:
There is no need to confirm your settings: all modifi-
cations will take effect as soon as you return to the
opening Microscope (or Master) page.
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VA-76 – User Style Micro mode
Move Mix
[FUNCTION MENU] button→ [User Style Composer] field→ [Micro] field→
[Move Mix]
Status— Use the [TEMPO/DATA] dial to select the
Status of the new event (note, control change, etc., see
the table on page 177). You may have to press the
[Type] field if it is not displayed in white. Then press
the [Value] field and specify the “identity” of the event
(CC number, note number – [Type] only allows you to
specify the kind of event to be inserted: note message,
control change, etc.).
The Move function allows you move the selected event
(or events) to another position. This is similar to using
the Shift function (see page 180) but it applies only to
one or a few events at a time.
From— Press the [From] field in the left column and
the field of the first event you wish to move (this field
must be displayed in white). Use the [o][k] fields or
the [TEMPO/DATA] dial to call up other groups of 5
events (these are not selected automatically).
To insert a note event, you can also press the corre-
sponding key on the VA-76’s keyboard. If the velocity
value is not the one you need, either press the same
key again (harder or softer) or use the [Velo] field to
set it. Depending on the selected parameter, the dis-
play now looks as follows:
To— Press the [To] field. Next, scroll through the
available events (using [o][k] or the [TEMPO/
DATA] dial) to jump to the page where the last event
you wish to move is displayed. Press the desired field.
All events between [From] and [To] are now selected.
Proceed— Now that the range of events to be moved
is selected, press the [PROCEED] field to go to the sec-
ond Move page:
Note: You can only program one note at a time. Playing a
chord will only enter the last note you played.
Velo— As stated above, the Velo value does not neces-
sarily refer to a velocity value. It is also used to indicate
and (on this page) set the value assigned to the control
change, etc. in question.
The parameters on this page are used to specify the
new position of the first event you selected on the pre-
vious display page. All subsequent events will be posi-
tioned relative to the first event (i.e. the distance
between the moved events remains the same).
Gate T— The Gate T value can only be set for note
events. Use it to specify the duration of the new note.
Remember that Gate Time value “1” is enough for
ADrums note events.
Erase— Press this field to get rid of the new event.
Note: Press [oBack] to jump back to the first Insert page if
you need to change something.
Bar, Beat, CPT— Use these fields and the [TEMPO/
DATA] dial to set the position the selected event(s) is
(are) to be moved to. Just for your information, the
Move function is automatically set to Mix, which
means that moving events does not overwrite events
that may be present at the selected destination.
Proceed— Press this field to confirm your settings and
assign them to the event.
Execute— Press this field to confirm your settings and
move the selected events to the new position.
You could now press [CopyMix] to jump to the Copy
function, or [oBack] to return to the opening Micro-
scope page.
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VA-76 Owner’s Manual—Programming User Styles
Copy Mix
12.7 User Style Utility
[FUNCTION MENU] button→ [User Style Composer] field→ [Micro] field→
[Copy Mix]
The User Style Utility mode contains four functions
you may need from time to time.
Change
[FUNCTION MENU] button→ [User Style Composer] field→ [Utility] field→
[Change]
The Copy Mix function allows you to copy the
selected events to another position. This means that
the events in question will be used twice.
From, To— See “Move Mix” for details. After select-
ing the events to be copied, press [Proceed] to jump to
the second Copy Mix page:
This function allows you to globally edit the Expres-
sion, Reverb Send, and/or Chorus Send values of all
User Style tracks (of all Divisions, Modes, etc.). This
may be necessary if you wish to change the character
of your User Style, e.g. when you think these values are
either too low or too high. Using this function is a lot
faster than returning to the [Rec] page and re-record-
ing these values for all tracks of all divisions. A similar
function is also available for the 16-track sequencer, so
please see page 153.
Track— Press this field and use the [TEMPO/DATA]
dial to select the track you wish to edit. Please note the
All Division Data Change message: your changes will
apply to all patterns of the selected User Style track.
Here, you can specify the Bar/Beat/CPT position for
the first event (of the selected range). Press [Bar],
[Beat], and [CPT], and use the [TEMPO/DATA] dial
to set the desired position.
Execute— After setting the desired values, press this
field to execute this global change function.
Execute— Press this field to confirm your settings and
copy the selected events to the new position.
Copy
[FUNCTION MENU] button→ [User Style Composer] field→ [Utility] field→
[Copy]
The Copy function allows you to copy one or all tracks
of a Style pattern to the selected User Style pattern.
The two important fields here are [Source] and [Desti-
nation]. When [Source] is displayed in white, you can
select the Style to be copied. When [Destination] is dis-
played in white, you can select the track and pattern
you want to copy the data to. See “Copying individual
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VA-76 – User Style Utility
Style tracks”on page 172 for a step-by-step tour of this
function. The following does not present all parame-
ters and settings available for the Copy function.
Name
[FUNCTION MENU] button→ [User Style Composer] field→ [Utility] field→
[Name]
Track (ADrums, ABass, Acc1~6, ALL)— Allows you
to select the track whose data you wish to copy (the
source pattern). Do not forget to select the right Style
(if it isn’t already selected).
Mode— Allows you to specify one third of the source
pattern’s address: Major, Minor, 7th, or All.
Type— Allows you to specify the type of the source
pattern: Basic, Advanced, or ALL.
Division— This parameter is used to select the Divi-
sion of the source pattern you wish to copy: Original,
Variation, or ALL.
See “Naming your User Style” on page 170 and
page 68 for details.
Style — Press this field and use the [TEMPO/DATA]
dial or the BANK/NUMBER pad to select the Style
that contains the desired source pattern. The name of
that Style is displayed in the second line.
Delete
[FUNCTION MENU] button→ [User Style Composer] field→ [Utility] field→
[Delete]
Disk User— Press this field and use the Find function
to select a Style on the inserted Zip or floppy disk.
The Destination page allows you to select the address
the selected source pattern is to be copied to (the desti-
nation pattern). Please be aware of the following:
a) ADrums patterns can only be copied to ADrums
tracks.
b) ABass patterns can only be copied to ABass tracks.
Unlike “Delete” on page 178, the User Style Delete
function is used to clear the VA-76’s Disk User mem-
ory. If you are sure you no longer need a given Style,
delete it using this function.
c) Acc patterns (e.g. Acc3~Acc6) can be copied to
any Acc – but never to an ADrums or ABass track.
d) If the destination track is set to a “forbidden”
value, the VA-76 automatically selects the corre-
sponding source value.
For example: if you selected an ADrums track as
source and the Acc3 track as destination, the VA-76
automatically selects “Acc3” as source track.
Times (1~99)— Sets the number of copies you wish to
make. The value “3” means that you will end up with 3
contiguous copies, whereby the second copy is placed
immediately after the first, etc.
Execute— Press this field to copy the data.
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13. Miscellaneous
e) Press the field of the desired function.
13.1 Choosing the performance
f) In some cases, you can also set a value. Use the on-
screen slider (if available), the [TEMPO/DATA] dial
or the [DATA] button/Numeric Entry pad for doing
so.
functions (Controllers)
The VA-76 provides several built-in controllers as well
as three sockets for connecting optional controllers
that will make your life a lot easier. It would thus be a
good idea to browse through this chapter. The assign-
ments you make here can be written to a User Pro-
gram (see page 127), which means that you can
“reconfigure” the performance functions simply by
selecting another User Program.
D Beam
The available controllers are:
D Beam controller (see right)
Pitch Bend (see page 186)
Modulation (see page 188)
Touch controller (see page 189)
Aftertouch (see page 189)
The VA-76’s D Beam Controller is a revolutionary
function that allows you to control a selectable param-
eter by moving your hand over two sensors to the left
of the display. On page 51, we showed you how to use
the D Beam Controller. Let us now have a look at how
to assign a function to it.
Sustain Switch (see page 190)
Foot Switch (see page 191)
Foot Pedal (expression) (see page 192)
Other realtime control possibilities include the Vari-
Phrase sliders (see page 49), an FC-7 foot controller
(see page 193), the PAD buttons (see page 194), and
the [M-FX] knob (see page 120), while the sliders of
the Mixer function can also be used for interesting
realtime effects.
One final note before we get down to the available
parameters: all options marked with a “º” apply to the
currently active Keyboard parts.
Note: If you plan to use the D Beam Controller while con-
trolling the Arranger, it is probably a good idea to activate
its Hold function (see page 101).
Selecting the desired parameter
a) Press the [CONTROLLERS] button.
Pitch Bend Upº— By moving your hand over the D
Beam, you can generate a value between “64” (no
Pitch Bend) and “127” (maximum upward bend). As
soon as you move your hand outside the D Beam’s
reach (higher than 40cm above the “eyes” or further
to the left or right), the value returns to “64” (no Pitch
Bend). The extent to which a Keyboard part can be
controlled depends on the Pitch setting (see page 188).
Pitch Bend Downº— By moving your hand over the
D Beam, you can generate a value between “64” (no
Pitch Bend) and “0” (maximum downward bend). As
soon as you move your hand outside the D Beam’s
reach, the value returns to “64” (no Pitch Bend). The
extent to which a Keyboard part can be controlled
depends on the Pitch setting (see page 188).
b) On the display page that appears now, press the
[Hand] or [Foot] field (see the table above).
Note: If you select [Foot], the function you select can only
be used if you connect an optional footswitch (DP-2,
DP-6, or BOSS FS-5U) or expression pedal (EV-5, BOSS
FV-300L or EV-10) to the appropriate socket on the
VA-76’s rear panel.
Cut&Reso Upº— (Only for Upper1 and/or 2) By
moving your hand over the D Beam, you can vary the
current TVF Cutoff value (see also page 126) of the
Upper1 and/or 2 part. The Resonance parameter will
be set to “+63” (maximum), while the Cutoff fre-
quency can be controlled between “0” (no change)
and “+63” (maximum increase). This allows you to
create some nifty filter effects that are particularly use-
ful for Dance/Techno music. When you move your
c) In the left column, press the field of the perfor-
mance function (controller) you want to set.
d) If several options are available, use the [o][k]
fields to select them.
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VA-76 – Choosing the performance functions (Controllers)
hand outside the D Beam’s range, both Resonance and
TVF Cutoff return to their original values (“0”= no
change).
“added chord”: 1= Aꢁ3~G4, 2= Aꢁ4~G5, and 3= Aꢁ5~
G6. Move your hand outside the D Beam’s range to
stop the Lower2 part from sounding the chord.
Note: If TVF Cutoff is already set to “+63”, you cannot
increase it using the D Beam Controller. In that case, the
following option is probably more useful. Also note that
some Tones already use the highest possible TVF Cutoff
value by default, in which case you cannot add more over-
tones (by opening the filter even further).
Arr Start/Stop— Depending on the current condition
of the Arranger (running or stopped), one move
inside the D Beam’s range stops (or starts) it. A second
movement will start (or stop) it again.
Fill To Var/Or— Here, too, the D Beam performs two
functions that depend on the currently selected Divi-
sion (Original or Variation). The first time the D
Beam senses your hand (or other limb), it activates the
Fill-In TO VARIATION function. Upon completion of
that Fill, the Arranger switches to the Variation pat-
tern. The second time, the Fill-In TO ORIGINAL is
activated.
Note: This function is only available while the Arranger is
available. During Composer or 16-track Sequencer play-
back, you may get the impression that the D Beam Control-
ler does not work. But as soon as you return to the Arranger
(normal VA-76) mode, everything will be back to normal
again.
Cut&Reso Downº— (Only for Upper1 or 2) By mov-
ing your hand over the D Beam, you can vary the cur-
rent TVF Cutoff value (see also page 126) of the
Upper1 and/or 2 part. The Resonance parameter will
be set to “+63” (maximum), while the Cutoff fre-
quency can be controlled between “0” (no change)
and “–64” (lowest possible TVF Cutoff setting). When
you move your hand outside the D Beam’s range, both
Resonance and TVF Cutoff return to their original
values (“0”= no change).
Note: See the above note. The TVF Cutoff frequency cannot
be lowered if TVF Cutoff is already set to “–64”.
Tempo Up/Down— Select one of these options if you
want to increase (Up) or decrease (Down) the current
Arranger or Song Composer tempo. By moving your
hand outside the D Beam’s range, you return to the
previous tempo value.
ADrum On/Off— This setting allows you to switch
the Arranger’s ADrums part on and off using the D
Beam Controller. There are also combined on/off
options (see below).
ABass On/Off— This setting allows you to switch the
ABass part on and off using the D Beam Controller.
Modulationº— Select this function if you want the D
Beam to duplicate the modulation function of the
Bender/Modulation lever.
Accomp On/Off— This setting allows you to switch
the Accompaniment parts (ACC1~6) on and off using
the D Beam Controller.
Arpeg 1/2/3 Octv— By moving your hand over the D
Beam, you cause the Lower2 part to play arpeggios
(broken chords) based on the notes you play in the
chord recognition area (see page 101). Depending on
the setting you select here, the notes of the chord rec-
ognition area will be arpeggiated over 1, 2, or 3
octaves.
Note: Do not forget to assign a suitable Tone to the Lower2
part. See “Selecting Tones for the Keyboard parts” on
page 37. Also, activate the Arranger Hold function (see
page 101).
ABs+ADr On/Off— This setting allows you to use the
D Beam for switching on and off the ABass and
ADrums parts.
Acc&ABs On/Off— This setting allows you to use the
D Beam for switching on and off the ABass and
ACC1~6 parts.
Acc&ADr On/Off— This setting allows you to use the
D Beam for switching on and off the ADrums and
ACC1~6 parts.
Chord 1/2/3 Octv— By positioning your hand inside
the D Beam’s range, you cause the Lower2 part to
sound the notes of the chords you play in the chord
recognition area. You could use this function to add
syncopated brass or guitar “hits” to your melody. The
velocity value used for playing these notes is “100”.
The number (1, 2, or 3) bears on the octave of this
Pitch Up/Down— These two options allow you to
raise (Up) or decrease (Down) the VariPhrase Pitch
parameter. This duplicates “one half” of the [Pitch]
slider (see page 49).
Time Up/Time Down— These two options allow
you to increase (Up) or decrease (Down) the playback
speed of the selected VariPhrase.
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VA-76 Owner’s Manual—Miscellaneous
Note: The Pitch value you set here will only be effective
when you turn the Bender lever fully to the left (downward
bends) or to the right (upward bends). Intermediary posi-
tions of the lever produce the resulting intermediary bend
value.
Formant Up/Down— These two options allow
you to change the character of the selected VariPhrase.
See page 48 for details. This function can also be con-
trolled via an on-screen slider (see page 49).
Cut&Reso Up and
Formant Up— This is a com-
For the VariPhrase part, the possibilities are as fol-
lows: Pitch (0~12), Time (0~63), Formant (0~63)
and Level (0~63). “Level” refers to the VariPhrase’s
volume. The other three parameters are the same as
the ones you can control via the on-screen sliders
(see page 49).
bination of two functions covered earlier and the only
one that allows you to control two aspects simulta-
neously using the D Beam controller. This is the
default setting.
Pitch Bender
Modulation
Use the fields in the center of the display to select the
Keyboard part whose Pitch Bend setting you want to
change. Surprising though it may be, you can also
specify a Pitch Bend range for the Manual Drums part.
Selecting values between “2” and “7” allows you to
achieve interesting effects that work well for timpani
sounds (of a 71 Orchestra set), for example.
Modulation allows you to add vibrato to the notes you
are playing. This is achieved via an LFO (a Low-Fre-
quency Oscillator) whose speed is preset. By pushing
the BENDER/MODULATION lever away from you,
you specify the depth of this cyclic modulation.
Assign— If this parameter name is not displayed,
press the [i] field. Auto means that the part in ques-
tion only responds to movements of the BENDER
lever if it is assigned to the right half (SPLIT) or the
entire keyboard (WHOLE). On means that the part in
question always responds to BENDER messages, even
if it is assigned to the left half of the keyboard. Off,
finally, means that the part does not respond to
BENDER messages.
Use the fields in the center of the display to select the
Keyboard part whose modulation setting you want to
change.
Assign— Auto means that the part in question only
responds to modulation messages if it is assigned to
the right half (SPLIT) or the entire keyboard
(WHOLE). On means that the part in question always
responds to modulation messages, even if it is assigned
to the left half of the keyboard. Off, finally, means that
the part does not respond to modulation messages.
Pitch — (0~24) Select this parameter by pressing [m]
once. It is used to specify the maximum pitch shift
that can be achieved by turning the BENDER lever
fully to the left or right. Since there is only one param-
eter, it applies to both upward and downward bends.
Remember, however, that the Pitch value can be set
individually for each Keyboard part, so be careful to
set musically useful Pitch values. Select “0” for Key-
board parts whose pitch should not change in
response to Pitch Bend messages (alternatively, you
can set Assign to “Off”).
If you select the VariPhrase part, you can also select
and set additional parameters. Use the [i][m] fields
to select: LFO Pitch (tantamount to vibrato), LFO
Formnt (modulation of the character), LFO Level
(tantamount to a tremolo effect), or LFO Pan (cyclic
movements between the left and right stereo chan-
nels). The LFO’s speed is preset. The setting range for
these three parameters is 0~63.
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VA-76 – Choosing the performance functions (Controllers)
3. Press the field of the parameter whose setting you
wish to change. If the desired parameter is not dis-
played, use the [o][k] fields to select it.
Touch Control (Ribbon)
4. Enter the desired value using the on-screen slider,
the [TEMPO/DATA] dial, or the [DATA] button/
Numeric Entry pad.
Press the [Reset] field to set all parameter values for
the currently selected part back to “0”. This even
applies to parameters that are not visible at the
moment – but only for the currently selected part.
This page contains the functions that can be assigned
to the Touch Control (also called “Ribbon”). With the
exception of Off (that deactivates the Ribbon control-
ler), the parameters are identical to the ones of the D
Beam controller (see page 186).
Note: Select Arranger with the [m] field to set the effect the
Aftertouch can have on the Arranger (see page 97).
Parameters for Keyboard parts (excluding the
VariPhrase part)
Aftertouch only works in one direction (i.e., it gener-
ates either positive or negative values).
Aftertouch
Pitch (–24~24): This parameter has the same effect as
the Pitch Bend feature (see page 188). Bear in mind
that it only allows for upward (+) or downward (–)
bends.
TVF Cutoff— (–64~63) Setting a positive or negative
value for this parameter means that the cutoff fre-
quency of the Tone assigned to the selected part can be
increased or decreased.
Note: Depending on the value you set for TVF Cutoff (see
page 126), high positive or negative settings may have no
audible effect. That is also the case of Tones whose cutoff fre-
quency is already preset to the maximum value.
This page does not follow the pattern of the other
“Hand” controllers: you cannot select a Keyboard part
simply by pressing the corresponding field. There are
two reasons for this:
Amplitude— (–64~63) Setting a positive or negative
value for this parameter allows you to increase or
decrease the volume of the selected part using the
Aftertouch.
Note: Again, the volume cannot be increased (or decreased)
beyond “127” (or “0”). If the volume of the part is question
is already set to “127” (or “0”), the Aftertouch will produce
no audible effect.
a) You can set multiple parameter values for one, sev-
eral or all available Keyboard parts. These will be
applied simultaneously whenever you press the keys
down even further after playing the desired notes.
b) Aftertouch can also be used for controlling the
Arranger. You can even control one or several Key-
board parts and the Arranger simultaneously.
LFO1 Rate— (–64~63) This parameter allows you to
increase or decrease the modulation speed of LFO1.
Use this function in combination with the Modulation
axis of the Bender/Modulation lever, or to change the
modulation speed of the preset automatic modula-
tion.
The best way to proceed is as follows:
1. First select the part whose parameters you wish to
assign to the Aftertouch ([i][m]).
The options are: Upper1, Upper2, Lower1, Lower2,
LFO1 Pitch— (0~127) This parameter allows you to
add pitch modulation using the Aftertouch feature.
Pitch modulation is usually referred to as vibrato.
and
(VariPhrase) (and Arranger).
2. Decide whether or not the part in question should
respond to Aftertouch messages by pressing the [ON/
OFF] field.
LFO1 TVF— (0~127) This parameter allows you to
add cutoff frequency modulation via the Aftertouch.
This is also known as WahWah.
Obviously, [ON] means “yes”, and [OFF] means “no”.
You can set the Value of several available parameters,
so that the Aftertouch allows you to control several
parameters simultaneously.
LFO1 TVA— (0~127) This parameter allows you to
add amplitude modulation using the Aftertouch func-
tion. This is also known as tremolo.
Note: Aftertouch only applies to Keyboard parts that are
currently accessible (Keyboard Mode setting, Keyboard part
on/off (see page 36)).
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VA-76 Owner’s Manual—Miscellaneous
LFO2 Rate, LFO2 Pitch, LFO2 TVF, LFO2 TVA—
Same setting range and meaning as the corresponding
LFO1 parameters. Note that not all Tones use a second
LFO, which is why these settings do not always yield
the desired effect.
Sustain Switch (CC64)
Note: Except for Rate, the LFO parameters are absolute set-
tings that do not alter existing values. That explains why
their setting range is 0~127 rather than –64~63. Use these
parameters (Pitch~TVA) to add a new aspect to the selected
Tone.
Note: Like the Part parameters (see page 125), the After-
touch settings apply to the Keyboard part in question, so
that selecting another Tone for such a part does not mean
that the values will be reset to “0”.
The parameters on this page are related to an optional
DP-2, DP-6, or BOSS FS-5U footswitch you connect
to the SUSTAIN FOOTSWITCH socket. Also called
“Hold pedal” or “Damper” pedal, this switch allows
you to hold the notes you play on the keyboard in
much the same way as on an acoustic piano.
Parameters for the VariPhrase part
The following VariPhrase parameters can be con-
trolled via the Aftertouch:
Pitch— (Up, Down, Off) Select “Up” if you want
to be able to raise the VariPhrase’s pitch via the After-
touch. “Down” means that you can lower the pitch.
Select “Off” if the pitch should not be controlled via
the Aftertouch.
Though you cannot assign other functions to this
footswitch, you can decide when a given part should
respond to these messages. Note that for the Vari-
Phrase part, more refined hold options can be
assigned to the optional footswitch (see below), while
you could use that optional footswitch as a separate
Hold pedal for the Lower1 and/or 2 part.
Time— (Up, Down, Off) Select “Up” or “Down”
to be able to increase/decrease the speed of the selected
VariPhrase via the Aftertouch. Select “Off” if that is
not necessary.
Use the fields in the center of the display to select the
Keyboard part whose Sustain setting you want to
change.
Formant— (Up, Down, Off) Select “Up” or
“Down” to be able to raise/lower the Formant of the
selected VariPhrase via the Aftertouch. Select “Off” if
that is not necessary. See “Things you ought to know
about VariPhrase” on page 48 for details about the for-
mant.
Assign— Auto means that the part in question only
responds to Sustain messages if it is assigned to the
right half (SPLIT) or the entire keyboard (WHOLE).
On means that the part in question always responds to
Hold messages, even if it is assigned to the left half of
the keyboard. Off, finally, means that the part does not
respond to Hold messages.
LFO Pitch, LFO Frmnt, LFO Level, LFO Pan—
(0~63) These parameters behave exactly like the ones
you can assign to the Modulation axis of the
BENDER/MODULATION lever. See page 188.
Parameters for Arranger control
Use the [m] field to select Arranger. The display
should now look like this:
Press the [ON/OFF] field to make it read [ON] if you
want to control the Arranger. See page 97.
Note: Even Aftertouch messages generated outside the chord
recognition area will trigger the selected switching function.
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VA-76 – Choosing the performance functions (Controllers)
cally set to Whole. Furthermore, the Keyboard Mode is
set to WHOLE, while the Upper 1 part is activated (if
it was off).
Foot Switch
Note: This switches off the VariPhrase part if it is on at that
time.
This parameter allows you to specify the function of
the optional DP-2, DP-6, or BOSS FS-5U connected
to the FOOT SWITCH socket on the rear panel. The
default setting is Start/Stop, which allows you to start
and stop Arranger playback. Note also the Soft and
Sostenuto options as well as the possibility to select
several Hold functions. The footswitch can only per-
form one function at a time, though.
Rotary S/F— Allows you to select the slow or fast
speed of the Rotary effect. This only works, if the
Rotary effect is currently assigned to the M-FX.
Note: The Rotary effect is available in the following M-FX
types: 13 Rotary, 62 Rotar/Mlt, 85 OD/Rotar, and 88 PH/
Rotar.
Start/Stop— Starts and stops Arranger playback.
Same function as the [START/STOP] button.
Upper 1-2 Scale— Allows you to switch the Scale Tun-
ing function on and off for the Upper1 and Upper2
parts (see page 92).
Play/Stop— Starts and stops the Composer. Same
function as the [PLAY ®] field.
Intro— Selects the Intro of the current Style Type
during Arranger playback. Same function as
[INTRO].
Arr Chord Off— Allows you to switch chord recogni-
tion on and off. When off, the notes you play in the
chord recognition area of the keyboard no longer
cause the Arranger to play another chord. Works well
for long piano arpeggios (see page 101).
Ending— Selects the Ending of the current Style Type
during Arranger playback. Same function as [END-
ING].
UsrPrg Up— Selects the next User Program (i.e. A12
if A11 is currently active).
Note: The footswitch function can also be written to a User
Program, so that the memory you select using the footswitch
in Usr Prg Up mode may contain another footswitch assign-
ment. You could then no longer select the next User Program
(i.e. A13) by foot.
Fill— Triggers either the To Original or To Variation
fill, depending on whether the Original or Variation
Division is currently active. Upon completion of the
Fill, the Arranger will play the Division selected by the
Fill.
Bsc/Adv— Selects either the Basic (Bsc) or Advanced
(Adv) Type (levels B or D in Orchestrator terms, see
page 62), depending on which one is active at the time
you press the footswitch.
UsrPrgDown— Selects the previous User Program
(i.e. B88 if A11 is currently active). See also the note
above.
Org/Var— Selects either the Original or Variation
Division of the currently active Type, depending on
which one is active at the time you press the foot-
switch. Same function as [ORIGINAL] and [VARIA-
TION].
Punch I/O— The footswitch can be used to activate
and switch off punch in/out recording of the VA-76’s
sequencer (see page 144).
Portamento— Switches the Portamento function (see
page 89) on and off.
Bass Inversion— Switches the Bass Inversion function
on and off (see page 102).
Soft— In this case, the footswitch functions as Soft
pedal (a pedal found on grand and digital pianos that
reduces the volume).
Arr/M.Bass— Allows you to set the Arranger Chord
parameter to “Off” (chord recognition plus ABass rec-
ognition off, see page 101) and, at the same time,
select the Keyboard Mode SPLIT mode and activate
the M.Bass part – and vice versa.
Note: This function only applies to the Keyboard parts.
Sostenuto— In this case, the footswitch functions as
Sostenuto pedal (another pedal found on grand and
digital pianos that allows you to sustain only those
notes you played at the time you pressed the pedal).
Note: This function only applies to the Keyboard parts.
PianoSt/Stand— You alternate between the Standard
and Piano Style Arranger Chord modes. When the
former is selected, the chord recognition area (see
page 102) is automatically set to Left. When you switch
to Piano Style, the chord recognition area is automati-
Hold— The footswitch has the same function as a
DP-2, DP-6, or BOSS FS-5U connected to the SUS-
TAIN FOOTSWITCH socket.
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VA-76 Owner’s Manual—Miscellaneous
Note the Soft and Sostenuto options as well as the pos-
sibility to select Hold. Though there is a dedicated
SUSTAIN FOOTSWITCH jack that serves the same
purpose, you may want to select Hold for certain User
Programs.
Foot Pedal (Expression)
The expression pedal can be used for several purposes.
The default setting of the VA-76 is that the volume of
all parts is affected by the position of the optional
expression pedal. You could, however, use it to control
the M-FX or the VariPhrase part. Note that only one
option can be used at a time.
Hold Lower1— In this case, the footswitch performs
the same function as the Lower Hold function when it
is assigned to the Lower1 part (see also page 90).
Here’s how to assign a Foot Pedal function to a part:
Hold Lower2— The footswitch performs the same
function as the Lower Hold parameter. This time,
however, it only applies to the Lower2 part.
No function for a part (Off)
1. Start by selecting all parts that should not be
affected by the expression pedal:
Hold Lower 1–2— The footswitch performs the same
function as the Lower Hold parameter when it is
assigned to the Lower1 and 2 parts.
a) Press the field of a part that should use the “Off”
setting (no response to the expression pedal).
Parameters for the VariPhrase part
The following VariPhrase parameters can be con-
trolled via the footswitch:
b) Press [m] to have access to the Arranger parts.
2. Press the [Assign] field and use the slider in the
right column or the [TEMPO/DATA] dial to select
“Off”.
Phrase Loop— The footswitch allows you to
switch the Loop function on or off. See also page 82.
3. Repeat steps (1) and (2) for other parts that must
not respond to expression messages.
Note: There are also other VariPhrase functions you could
assign (see below).
Pause— Allows you to “freeze” the VariPhrase at
the current position, so that the syllable or sound can
be held indefinitely. See also page 83.
Legto Lock— Allows you to use the footswitch as
“play/stop” button, while the keys work as intelligent
(pitch-sensitive) “mute switches”. See also page 82.
Volume control (Expression)
4. Press the field of a part that should respond to vol-
ume messages transmitted by the expression pedal.
Press [m] to have access to the Arranger parts.
Hold— In this case, the footswitch functions as
dedicated Hold pedal for the VariPhrase part.
Audio In Rev and Ch On/Off— In this case, the foot-
switch performs the same function as the [ON/OFF]
field for the Reverb and Chorus effects on the Audio In
page. You could take advantage of this for announce-
ments between songs. See also page 58.
5. Press the [Assign] field and use the slider in the
right column or the [TEMPO/DATA] dial to select
“Expression”.
6. Press the [Up] or [Down] field and use the slider,
the [TEMPO/DATA] dial, or the [DATA] button/
Numeric Entry pad to set the value.
These two fields refer to the volume to be obtained
when the expression pedal is depressed ([Down],
highest volume) or closed ([Up], lowest volume).
Kbd Exc UP1/UP2— Allows you to switch off the
Upper1 part and activate the Upper2 part, and vice
versa.
Up/Down (0~127)— You do not need to specify “0”
for the Up position. Selecting any other value will
reduce the volume of the selected parts up to the “Up”
value. Likewise, you do not need to specify “127” as
maximum value.
Note: If you select Expression, the Down and Up values rep-
resent MIDI Expression (CC11) values.
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VA-76 – FC-7 & Pad parameters
Note: It is perfectly possible to set the Up value to “127” and
the Down value to “0”, so that the selected part only sounds
when the Expression pedal is up (closed).
13.2 FC-7 & Pad parameters
The display page for the following two parameters can
be selected in two ways:
The Expression function can also be used for some
clever effects. Instead of alternating between Upper1
and Upper2 by varying your velocity (see page 91),
which requires a considerable amount of “striking pre-
cision”, you could invert Upper2’s response to the
expression pedal, so that Upper1 does not sound when
Upper2 does, and vice versa.
1. Press and hold a PAD button for at least one sec-
ond.
The VA-76 jumps to the following display page:
M-FX Value 1/2
If you select M-Value 1 or M-Value 2, the foot pedal
performs the same function as the corresponding
M-FX slider (see page 120) with the additional advan-
tage that you can narrow down the setting range (and
use e.g. 40~80 rather than 0~127). These parameters
apply to all Keyboard parts that use the Insertion
effect. In that case, the display looks like this:
2. Or proceed as follows:
a) Press the [FUNCTION MENU] button.
b) Press the [FC-7 and PAD] field in the lower left cor-
ner to jump to the display page of the same name (see
above).
Up/Down (0~127)— Press the [Up] or [Down] field
and use the slider, the [TEMPO/DATA] dial, or the
[DATA] button/Numeric Entry pad to set the effect
parameter value to be obtained when the expression
pedal is depressed (Down) or closed (Up).
FC-7 Foot Controller
As stated earlier, you can connect an optional FC-7
Foot Controller to the FC7 PEDAL socket. The VA-76
allows you to assign the desired function to each of the
seven pedals (foot switches).
Note: The assigned functions apply to the VA-76 as a whole
and are not written to individual User Programs. They can,
however, be saved to disk (along with all User Programs)
using “Save User Program Set” on page 211.
Note: You do not need to specify “0” for the Up position.
Likewise, you do not need to specify “127” as maximum
value.
Formant Up/Down
If you select
Formant Up or
Formant Down,
the expression pedal performs the same function as
the [Formant] slider on the “Controllers/VariPhrase”
page (see page 49).
1. Jump to the FC-7 and PAD display page (see
above).
[Up] and [Down] fields: see above.
2. In the upper half, press the pedal field that is
assigned to the footswitch you wish to assign another
function to.
To change the assignment of the second pedal from
the right, press the last-but-one pedal field.
3. Use the [TEMPO/DATA] dial to select the desired
function:
Start/Stop, Intro, Basic/Advanced, Fill To Variation,
Fill To Original, Original/Variation, Ending— These
are the default functions of the FC-7’s footswitches
(1~7). They duplicate the functions of the Arranger
control buttons.
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VA-76 Owner’s Manual—Miscellaneous
Orchestrator 1~4— These functions allow you to
select the corresponding Orchestrator level (see
page 62).
PAD buttons
PAD [1] and [2] to the left of the BANK/NUMBER
section are freely assignable buttons. The default set-
tings for these buttons are:
Break Mute— This function can only be accessed via
the FC-7. When you press the assigned footswitch,
Arranger playback will be muted for the remainder of
the current measure. This is great for rock’n’roll songs.
PAD [1]— Reset. This function allows you have the
Arranger start on the first beat of the currently
selected Music Style pattern when you press the PAD
button. Use it when you are accompanying a singer or
soloist whose timing is a little shaky, and suddenly
notice that the Arranger lags one or two beats behind
the singer/soloist.
Arranger RIT Tempo, Arranger ACC Tempo— The
assigned footswitch performs the same function as the
RIT or ACC field (see page 104).
Arranger Default Tempo— The assigned FC-7 foot-
switch allows you to reset the Arranger tempo to the
preset value (contained in the Music Style itself). This
is also the default function of the PAD [1] button (see
“Reset Tempo” on page 194).
PAD [2]— Bass Inversion. This button allows you to
switch the Bass Inversion function (see page 102) on
and off.
Note: The PAD assignments can be written to a User Pro-
gram, so that you could work with 128 different combina-
tions.
Tap Tempo— Same function as the [TEMPO/TAP]
button.
Bass Inversion— Allows you to switch the Bass Inver-
sion function on and off (see page 102). This is also
the default function of the PAD [2] button.
To assign a different function to these buttons:
1. Jump to the FC-7 and PAD display page (see
page 193).
Melody Intelligent— Same function as the button of
the same name on the VA-76’s front panel: it allows
you to switch Melody Intelligence on and off.
2. Press the [Pad 1] or [Pad 2] field, depending on
whose button’s assignment you wish to change.
3. Use the [TEMPO/DATA] dial to select the desired
function:
Off— The PAD button in question has no function at
all.
Keyboard Exchange UP1/2— Allows you to switch
off the Upper1 part and activate the Upper2 part, and
vice versa.
Soft, Sostenuto, Sustain— The assigned footswitch
can be used as a Soft, Sostenuto, or Sustain (Hold
pedal). Note that Sustain is also available via a dedi-
cated (but optional) DP-2, DP-6, or BOSS FS-5U
footswitch connected to the SUSTAIN FOOT-
SWITCH socket.
Rotary Slow/Fast— Allows you to select the slow or
fast speed of the Rotary effect. This only works, if the
Rotary effect is currently assigned to the M-FX.
Stop/Play Song— Starts and stops the Composer.
Same function as the [PLAY ®] field.
Count In— The assigned PAD button can be used to
switch the Count-In function (see page 56) on and off.
Sustain LW1, Sustain LW2, Sustain LW1-2— See
“Hold Lower1”, “Hold Lower2”, and “Hold Lower 1–
2” on page 192.
Reset Tempo— See “PAD [1]” above.
Rotary Slow/Fast— Allows you to select the slow or
fast speed of the Rotary effect. This only works, if the
Rotary effect is currently assigned to the M-FX.
Half Bar on Fill In— The assigned PAD button allows
you to switch the Half Bar function on and off. See
also page 97.
User Program Up, User Program Down— Selects the
Arranger Hold— Allows you to switch the Arranger
next (“Up”) or previous (“Down”) User Program.
Hold function on and off. See page 101.
Play/Stop Song— Starts and stops the Composer.
Same function as the [PLAY ®] field.
Dynamic Arranger— Allows you to switch the
Dynamic Arranger function on and off. See page 103
for details.
VariPhrase On/Off
Audio In Rev&Cho On/Off— In this case, the
assigned FC-7 footswitch performs between two func-
tions simultaneously: it switches the VariPhrase part
as well as the Reverb and Chorus effects of the Audio
In part on or off.
Keyboard Exchange UP2/1— Allows you to switch
off the Upper 1 part and activate the Upper 2 part, and
vice versa.
Keyboard Exchange LW2/1— Allows you to switch
off the Lower1 part and activate the Lower2, and vice
versa.
Note: If neither Lower1 nor Lower2 are on when you first
press the PAD button, one of them will be activated.
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VA-76 – Global parameters (for the entire VA-76)
MBass/Keyboard Arranger— Allows you to set the
Arranger Chord parameter to “Off” (chord recogni-
tion as well as ABS recognition off, see page 102) and,
at the same time, select the SPLIT Keyboard mode and
activate the M.Bass part – and vice versa.
13.3 Global parameters (for the
entire VA-76)
The VA-76 also provides a number of settings that
apply to the entire instrument (which is also the case
of the FC-7 assignments, see page 193). Here’s how to
change the behavior of your VA-76:
Note: Pressing the PAD button you assign this function to
does not mean that the Arranger stops. If you switched on
the Arr Hold function (see page 102), the last recognized
chord will go on sounding, so that your M.Bass part may
drown in the accompaniment. We therefore suggest you
assign the “Arranger Hold” function (see above) to the other
PAD button. You can then switch off the Arranger Hold
function, so that the Arranger only plays the drum pattern
of the selected Music Style.
1. Press the [FUNCTION MENU] button.
Piano/Standard— By pressing the PAD button, you
alternate between the Standard and Piano Style Arran-
ger Chord modes. When the former is selected, the
chord recognition area (see page 102) is automatically
set to LEFT. When you switch to Piano Style, the chord
recognition area is automatically set to WHOLE. Fur-
thermore, the Upper 1 part is activated (if it was off).
The display now looks as follows:
Bass Inversion — See “PAD [2]”.
Upper 2 to Left — Allows you to switch the function
of the same name on and off (see page 88).
Fade In, Fade Out— Fade In is a function you may
want to use occasionally. Fading in means that the vol-
ume of both the Arranger (Style) and Keyboard parts
gradually increases, giving the impression that you
have been playing for a long time before what you play
becomes audible. The volume is automatically set to
zero and then gradually increased to the value speci-
fied with the [VOLUME] knob. When the Fade In is
completed, the indicator of the PAD button goes dark.
Fade Outs are extremely popular in pop music, and the
VA-76 allows you to end a song just like the original.
To do so, press the assigned PAD button. The volume
then gradually decreases until it reaches zero (indica-
tor lights steadily).
2. Press the [Global Parameter] field.
3. If necessary, press the [Keyboard] field in the bot-
tom row.
Master Tune
See page 55.
Tone Recall
When this parameter is set to [ON], the VA-76 assigns
the “11 St.AcPiano 1” Tone to the Upper1 part when-
ever you press the Keyboard Mode [PIANO] button.
You can, however, block this automatic Tone selection,
so that pressing the [PIANO] button only selects the
WHOLE mode with only Upper1 (UP1) active. That
part will go on using the last Tone you selected for it.
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VA-76 Owner’s Manual—Miscellaneous
Factory Resume
Virtual Band Autorun
When this parameter is set to [OFF], the Virtual Band
page is no longer displayed automatically every time
you switch on the VA-76. This also means that the Vir-
tual Band page does not automatically appear after a
few moments of inactivity. It’s up to you to decide
whether or not the Virtual Band is solicited automati-
cally.
The Factory Resume fields allow you to select all or
only certain settings of the “Free Panel” User Program
so as to initialize the section in question. Why would
you need such a function since you can also select the
“Free Panel” memory by simultaneously pressing User
Program [UP] and [DOWN]?
Note that even if you select [OFF], you can still select
the Virtual Band page by pressing the [VIRTUAL
BAND] button.
1. Select a [Global Parameter] page (see page 195).
That is because the “Free Panel” memory is, in fact, a
RAM memory where your settings are buffered. After
switching on the VA-76, the Free Panel settings are
identical to the ones you can recall with the [ALL]
field. But just one change to the VA-76’s parameters
(e.g. the selection of another Tone) means that the
“Free Panel” settings are different from the factory set-
tings.
2. Press the [Startup] field.
If you really want to start anew without switching the
VA-76 off and back on again, you must press one of
the above fields.
All— All settings of the factory “Free Panel” memory
will be loaded.
3. Press the [ON/OFF] field to select “On” (Virtual
Band is selected automatically) or “Off” (Virtual
Band can only be selected via the button of the same
name).
See “User Program selection at power-on”on page 131
for details about [Startup User Program], and “MIDI
Set selection at power-on” on page 207 for [Startup
MIDI Set].
Tone— Only Tone selection and the lock settings (for
Arranger parts) of the factory “Free Panel” memory
will be loaded (see below).
Param— Only the “parameter” settings will be initial-
ized. These include such diverse things as the control-
ler assignments, the UP2 Split/UP2 to Left setting, the
Scale Tuning setting… In short: all parameters that are
neither related to [Tone] nor to [Mixer]. This allows
you to reset those slightly more “specific” parameters
without changing the current Tone assignments and
volume/effect settings.
Mixer— Only the Mixer settings of the factory “Free
Panel” memory will be loaded (see below).
Main Factory Resume settings
Reverb
Hall2
Upper 1 A1112
Upper 2 A1511
MDums 14
St.AcPiano 1
DynoRhodes 1
V-Pop1St
Charactr 4, Pre-LPF 0,
Level 64, Time 64,
DelayFb 0, PreDlyT 0
MInt
Lower 1 A725
Lower 2 B4216
MBass
VPh
A1112
St.AcPiano 1
St.Slow Str.
WarmSaw3
Acoustic Bs.
1 Uaah uaah M
3 Ooh, Baby M
2 Tururu, Tu M
Chorus
(*) [Mixer] also
includes the Level set-
tings (not pictured
here).
Chorus3 Pre-LPF 0, Level 64, Feedback 8,
Delay 80, Rate 3, Depth 19,
Cho→Rev 0, Cho→Dly 0
Delay
Delay1 Pre-LPF 0, Time C 340,
TRatioL 4%, TRatioR 4%,
LevelC 127, LevelL 0, LevelR 0,
Level 64, Fback +16, Dly→Rev 0
Equalizer
A51
Background
Melodic
Rhythmic
Background 2 7 Eh,eh, eeh F
Background 3 6 Wow,wow F
Rhythmic 2
6 Eih!Olele F
L-Freq 200 Hz, L-Gain 0dB
H-Freq 3KHz, H-Gain 0dB
M-FX
38-Reverb
Off, (knob) M-Value 2
Type
M-Value1: Time 120
M-Value 2: Balance 64
To Reverb: 40, To Chorus: 0,
To Delay: 0, EQ: On
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14. MIDI
MIDI messages used by the VA-76
14.1 MIDI in general
The way a device responds when it receives MIDI mes-
sages (i.e. how it produces sound, etc.) depends on the
specifications of that device. If the receiving device is
not able to perform the function specified by the
incoming message, the musical result will not be what
you expected. What it comes down to is this: there are
several levels of MIDI compatibility, and not all MIDI
compatible instruments understand (i.e. receive) all
existing MIDI messages.
MIDI connectors
MIDI messages are transmitted and received using
three connectors and special MIDI cables:
Note: MIDI messages for which reception capability is
required by the GM system (level 1) are marked by a * sign.
MIDI IN— This connector receives messages from
other MIDI devices.
Note messages *— These messages convey notes
played on the keyboard. They include the following
information:
MIDI OUT— This connector transmits MIDI mes-
sages generated on your VA-76
MIDI THRU— This connector “echoes back” all
MIDI messages received via MIDI IN
Message
Explanation
Note number A number describing the note corresponding
to the key you pressed or released.
Channels
Note-on
A message signalling that you pressed a key
MIDI can simultaneously transmit and receive mes-
sages on 16 channels, so that up to 16 instruments can
be controlled. Nowadays, most instruments –like your
VA-76– are multitimbral, which means that they can
play several musical parts with different sounds.
(i.e. “start playing now”).
Note-off
Velocity
A message signalling that a key was released.
A value describing how strongly you pressed
a key.
On many instruments (such as your VA-76), a note-on
message with the velocity value “0” is used to signal
the end of a note (i.e. velocity value “0” effectively
functions as note-off message).
That concept is not difficult to understand. Just think
of your VA-76: it is equipped with an Arranger capable
of playing the drums, the bass, and up to six accompa-
niment parts, while at the same time allowing you to
play up to seven Keyboard parts.
Pitch Bend *— This message conveys the position of
the Bender lever (or pitch bend wheel). The pitch will
change when this message is received.
MIDI data types
The most important aspect of the MIDI standard is
that it allows one instrument to tell another when to
play a note, for how long, and how strongly it should
be played.
Bank Select (CC00 and CC32), Program Change *—
On the VA-76, these messages are used to select Tones,
Styles, and User Programs. By using Bank Select mes-
sages (which are in fact control change messages), an
even wider variety of memory locations can be
selected. Control change messages were added when it
became clear that the maximum number of sounds
selectable using Program Change messages (128) was
no longer sufficient to access all sounds of a given
instrument.
Other aspects of a musical performance include mod-
ulation (vibrato), Pitch Bend (bending), volume, Pan-
Pot, etc.
Yet another group of MIDI messages is used to tell the
receiver when to select another sound and which
sound to select. These messages are called Bank Select,
and Program Change. In fact, these are the messages
that are automatically recorded at the beginning of
each Style division and written to a User Program so
that you can recall the Tone selection for all available
parts simply by selecting a User Program. Program
Change and Bank Select messages also allow you to
select User Programs, Styles, and Drum Sets.
Note: Do not forget to send a Program Change message
after a Bank Select message because sending only Bank
Select messages does nothing whatsoever. The right order for
sending these messages is (pay attention to the CPT values):
1.1.0 Bank Select CC00 + value
1.1.1 Bank Select CC32 + value (0, 1, 2, 3, or 4)
1.1.2 Program Change
On the VA-76, CC32 messages are used to select the
Tone Map: “0” (don’t leave current Tone Map), “1”
(SC-55 mode), “2” (G-800), “3” (G-1000 or
EM-2000), or “4” (VA-76).
Still other MIDI data allow you to synchronize two
MIDI instruments so that they start and stop at the
same time and run at the same tempo.
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VA-76 Owner’s Manual—MIDI
Delay Send Level (CC94) — This message adds a
Delay effect to the part. Delay is not available for the
Drums (ADrums and M.Drums) parts, nor for the
VariPhrase/Audio In parts (VA-7).
Control change messages
These messages control parameters such as modula-
tion and pan. The function of a message is determined
by its control change (e.g. ID) number.
Modulation (CC01) *— This message controls
vibrato.
Portamento (CC65), Portamento Time (CC05), Por-
tamento Control (CC84)— See page 89 for details.
When a Portamento message is received, the Porta-
mento effect will be turned on or off. Portamento
Time controls the speed of the pitch change. Porta-
mento Control specifies the source note number (the
previously played note).
Volume (CC07) *— This message controls the volume
of a part. When this message is received, the volume of
the part receiving on that MIDI channel will change.
Expression (CC11) *— This message conveys volume
changes. It can be used to add expression. The volume
of a part will be affected both by Volume messages
(CC07) and Expression messages (CC11). If a value of
“0” is received for either of these messages, the part
volume will be 0 and will not rise even if the other
message is sent with a higher value.
RPN LSB, MSB (CC100/101) *, Data Entry (CC06/
38) *— Since the function of RPN (Registered Param-
eter Number) messages is defined in the MIDI specifi-
cation, this message can be used between devices of
different types. The RPN MSB and LSB messages
specify the parameter which is to be modified. Data
Entry messages can be used to modify the value of that
parameter. RPN can be used to adjust Pitch Bend Sen-
sitivity, Master Coarse Tune, and Master Fine Tune.
Note: The values modified using RPN messages will not be
initialized even if Program Change messages etc. are
received to select other sounds.
Pan(pot) (CC10) *— This message controls the ste-
reo position of a part.
General purpose controllers (CC16~19)— These are
control change messages that have no set function
within the MIDI standard. On the VA-76, CC16 and
CC17 allow you to control two parameters of the M-
FX. CC16 is assigned to the [M-Value 1] slider, and
CC17 to the [M-Value 2] slider. See also page 219 for
the parameters that can be controlled. CC18 and
CC19 (as well as CC16 and CC17) are also used for
VariPhrase control.
NRPN LSB, MSB (CC98/99), Data Entry (CC06/
38)— NRPN (Non-registered Parameter Number)
messages can be used to modify the values of sound
parameters unique to a particular device. The NRPN
MSB and LSB messages specify the parameter which is
to be modified, and then Data Entry messages can be
used to modify the value of that parameter.
Hold (1) (CC64) *— This message conveys the up/
down movements of the Damper (Sustain, Hold)
pedal. When a Hold On message is received, notes will
be sustained. In the case of decay-type instruments
such as a piano, the sound will decay gradually until a
Hold Off message is received. In the case of sustain-
type instruments such as an organ, the sound will
continue sustaining until a Hold Off message is
received.
Since the GS format defines the function of several
NRPN messages, GS compatible application programs
can use NRPN messages to modify sound data param-
eters for Vibrato, Cutoff Frequency, Resonance, and
Envelope values.
Note: The values modified using NRPN messages will not
be initialized even if program change messages etc. are
received to select other sounds.
Sostenuto (CC 66)— The Sostenuto pedal on a piano
sustains only the notes that were already sounding at
the moment the pedal was pressed. The Sostenuto
message conveys the movement of this pedal.
Note: This function can be assigned to the optional foot-
switch (see page 191) and an optional FC-7 (see page 194).
Note: With the factory settings, the VA-76 will ignore
NRPN messages. After a GS Reset message is received,
NRPN messages will be received. You can also manually
turn on Rx NRPN (NRPN Receive Switch), so that NRPN
messages will be received.
Aftertouch (Channel Pressure only *) — Aftertouch
is a message that conveys the pressure applied to the
keyboard after playing a note, so that this information
can be used to control various aspects of the sound.
There are two types of Aftertouch message: Poly-
phonic Key Pressure which is transmitted separately
for each note, and Channel Aftertouch which is trans-
mitted as one value that affects all notes on the speci-
fied MIDI channel.
Soft (CC67)— The Soft pedal on a piano softens the
tone during the time the pedal is pressed. The Soft
message conveys the movement of this pedal. When
Soft On is received, the cutoff frequency will be low-
ered, causing a softer sound. When Soft Off is
received, the previous sound will return.
Note: This function can be assigned to the optional foot-
switch (see page 191) and an optional FC-7 (see page 194).
Reverb Send Level (CC91)— This message adds a
All Sounds Off— This message turns off all currently-
Reverb effect to the part.
sounding notes.
Chorus Send Level (CC93)— This message adds a
Chorus effect to the part.
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VA-76 – MIDI in general
All Note Off message *— This message causes a note-
off message to be sent to each note of the specified
channel that is currently on. However, if Hold 1 or
Sostenuto are on, the sound will continue until these
are turned off.
logo contains a GM System On message. This means
that if you play back the data from the beginning, the
sound generator will be automatically initialized to the
basic settings.
GS Reset (GS Format System Exclusive)— When GS
Reset is received, the VA-76 will be set to the basic GS
settings. The beginning of song data bearing the GS
logo contains a GS System Reset message. This means
that if you play back the data from the beginning, the
sound generating device will be automatically initial-
ized to the basic settings.
Reset All Controllers *— This message returns con-
troller values (modulation, Pitch Bend, etc.) to their
initial settings. The following controller values for the
specified channel will be reset to their initial values.
MIDI message
Initial value
Pitch Bend
0 (center)
Master Volume (Universal System Exclusive)— This
is an exclusive message common to all newer MIDI
devices. It controls the master volume of the entire
VA-76.
Polyphonic Aftertouch
Channel Aftertouch
Modulation
Expression
Hold
0 (minimum)
0 (minimum)
0 (minimum)
127 (maximum)
0 (off)
Other System exclusive (SysEx) messages— The
VA-76 can receive GS format exclusive messages
(model ID 42H) that are common to all GS sound
generators.
Portamento
Soft
0 (off)
0 (off)
Sostenuto
RPN
0 (off)
About MIDI implementation charts
MIDI allows many different types of instruments to be
connected, but in some cases there will be messages
that cannot be conveyed meaningfully. For example, if
you wish to use Aftertouch of an external instrument
to control the sound, while the sound generator con-
nected to the keyboard does not receive Aftertouch
messages, you will not get the musical result you
intend. Only messages that are used by both devices
will actually be executed.
no change
no change
NRPN
Note: Parameter values that were modified using RPN or
NRPN will not change even when a Reset All Controller
message is received.
Active Sensing— This message is used to check for
broken MIDI connections, such as MIDI cables that
have been disconnected, or are defective. The VA-76
transmits Active Sensing messages at set intervals.
Once an Active Sensing message is received via MIDI
IN, Active Sensing monitoring will begin, and if an
Active Sensing message fails to arrive for more than
420ms, it is assumed that the cable has been discon-
nected. If this happens, all currently sounding notes
will be turned off, the same procedure will be executed
as if a Reset All Controller message was received, and
Active Sensing monitoring will stop.
The MIDI specification requires that the owner's
manual for each MIDI device include a “MIDI Imple-
mentation Chart” that shows the types of MIDI mes-
sages which are actually transmitted and received by a
device. Put the Transmitted column of the transmit-
ting device’s implementation chart side by side with
the Received column of the receiving device’s imple-
mentation chart. Messages which are marked as “0” in
both charts can be conveyed successfully. If either
chart shows a “X” for a certain type of message, that
message cannot be conveyed.
System Exclusive messages
System Exclusive (SysEx) messages are used to control
functions which are unique to specific devices.
Although Universal System Exclusive messages can be
used even between devices of different manufacturers,
most exclusive messages only apply to one type of
instrument.
In order to recognize the device for which the data are
intended, Roland exclusive messages contain a manu-
facturer ID, device ID and model ID.
Note: See the separate MIDI booklet for details about the
SysEx messages recognized by the VA-76.
Universal System Exclusive— When a GM System
On message is received, the VA-76 will be set to the
basic GM settings. Also, NRPN and Bank Select mes-
sages will no longer be received once GM System On is
received. The beginning of song data bearing the GM
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VA-76 Owner’s Manual—MIDI
The how-to’s…
14.2 Preparations for using the
MIDI functions
Selecting the MIDI mode
Do the following to gain access to the MIDI functions:
1. Press the [FUNCTION MENU] button.
Receiving MIDI data (RX)
2. On the display page that appears now, press the
[MIDI] field.
To take advantage of the VA-76’s sounds while playing
on an external keyboard or using a computer or
The display now looks more or less as follows:
sequencer, you must make the following connections:
MIDI keyboard, sequencer, or other controller
MIDI OUT
3. Press the [Edit] field.
MIDI OUT
Working with Macros (this is optional)
Computer with MIDI
interface
The opening “MIDI” page contains five big fields with
preset settings that you can select by pressing the cor-
responding fields. In fact, these fields perform the
same function as the Resume fields for User Program
00 (see page 196). All you need to do is press them to
restore the default settings for the sections or aspects
in question.
MIDI IN
Keybrd & Style— This field recalls the factory MIDI
settings for the Keyboard (Upper 1/2, Lower 1/2, Vari-
Phrase, MEL Int, M.Drums) and Arranger parts
(ADrums, ABass, Acc1~6). The most important (and
practical) use for this field is to select the default MIDI
channels after trying out several possibilities.
Note: This field applies to both reception (RX) and trans-
mission (TX). The VA-76 indeed allows you to set separate
TX and RX channels for each part.
Transmitting MIDI data (TX)
To have another instrument sound in response to the
notes you play on the VA-76, or to record your music
with a computer or external sequencer, you must
make the following connections:
MIDI tone generator
Only Song— This field restores the factory settings for
the VA-76’s Song Composer parts. You may not have
noticed it so far, but these are separate parts. Your
VA-76 is indeed 32-part multitimbral.
MIDI IN
All Parts Local On— See page 201 for details about
the meaning of “Local”. This parameter allows you to
once again establish the connection between all VA-76
parts and the internal tone generator. This can be a big
time saver if you don’t remember which parts were set
to Local “Off”.
MIDI IN
All Parts Local Off— Does the opposite of the above:
it breaks the connections between all VA-76 parts and
the internal tone generator.
Computer with MIDI
interface
MIDI OUT
Factory Resume— This field does all of the above
(except Local Off) in one pass.
As soon as you press one of these fields, the number of
the currently selected MIDI Set is indicated with an
asterisk (*) to signal that the current settings no longer
correspond to the written settings. See page 207 for
details about the MIDI Sets. MIDI Set [0] behaves
Note: Use only dedicated MIDI cables (optional) for estab-
lishing the connections.
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VA-76 – Keyboard MIDI, Style MIDI, Song MIDI
exactly like the Free Panel buffer for User Programs: it
is a buffer memory where your changes are stored
temporarily. The VA-76’s ROM chip also contains pre-
set settings for this memory: those are the ones you
select by pressing the [Factory Resume] field. See
page 196 for a more detailed description. The explana-
tions about the User Programs there are also true of
the MIDI Sets and Macro Settings.
14.3 Keyboard MIDI, Style MIDI,
Song MIDI
Keyboard parts: [FUNCTION MENU]→ [MIDI] field→ [Keyboard MIDI] field
Style parts: [FUNCTION MENU]→ [MIDI] field→ [Style MIDI] field
Song parts: [FUNCTION MENU]→ [MIDI] field→ [Song MIDI] field
After setting the MIDI parameters, you may wish to
write them to a MIDI Set (see page 207), so that they
can be recalled when required. Selecting another
MIDI Set may have a drastic effect on the way your
VA-76 behaves in a MIDI setup.
What’s next?
After performing step (3) above, you will notice four
fields in the bottom row of the display.
Seeing that these three pages feature the same parame-
ters, we will discuss them together. Just remember to
press the right field.
4. Press one of these fields to select the desired part
group or the Utility functions:
Part (left column)— This is where you select the part
whose MIDI settings you wish to change. The select-
able parts are:
Field
Available parts
Refers to the
Keyboard parts
Song Composer
parts
Upper1, Upper2, Lower1, Lower2, M.Bass,
Keyboard MIDI
M.Drums, MEL Int,
, Audio In
Refers to the Arran-
ger parts
Synchronization &
other more refined
parameters
Style MIDI
Song MIDI
ADrums, ABass, Acc1~Acc6
Part 1~Part 16
5. On the first three pages (Keyboard MIDI, Style
MIDI, Song MIDI), use the [i][m] fields in the left
column to select the part whose MIDI parameters
you wish to set.
The Song parts are 16 additional parts that are avail-
able at all times for MIDI control. Of course, these
parts are also used by the Song Composer and the 16-
track Sequencer, in which case they also transmit data.
6. Press the parameter fields in the “TX” or “RX” col-
umn and choose the desired setting with the VALUE
[i][m] fields at the center of the display.
You can also use the [TEMPO/DATA] dial.
TX is short for “transmission” (the data the VA-76
sends), while RX refers to “reception”.
Channel (1~16)— Allows you to assign a MIDI
receive (RX) or transmit channel (TX).
Note: Unless you have a very good reason to do otherwise,
we suggest you always select the same TX (transmit) and
receive (RX) channel numbers for a part.
Press the [Tx ON] or [Rx ON] field in the left column
to select“Off”if the selected part must not transmit or
receive MIDI data.
Press the [Default] field to select the preset (factory)
values for the selected parameter.
Shift— (–48~48) This parameter allows you to trans-
pose the received or transmitted note messages before
sending them to the VA-76’s tone generator (RX) or
an external instrument (TX). You could change the
pitch of the received MIDI note messages, which may
be useful if you are used to playing a song (that is
being received via MIDI) in another key than the one
the data were programmed in. The maximum possible
transposition is four octaves up (48) or down (–48),
each step representing a semitone.
Local
(On, Off – TX only) Set Local to On (default setting)
whenever you want the VA-76 to respond to the notes
you play on the keyboard. Setting Local to Off means
that the part in question no longer controls the inter-
nal tone generator. When working with a sequencer
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VA-76 Owner’s Manual—MIDI
equipped with a Soft Thru (MIDI echo) function –
and only if (i) you connect the VA-76’s MIDI IN and
OUT connectors to the external sequencer or com-
puter, and (ii) use the VA-76 as MIDI master keyboard
for sequencing – you may have to set this parameter to
Off to avoid that each note is sounded twice (produc-
ing an unpleasant sound called MIDI loop). In all
other cases, select On.
Expre— Expression messages (CC11)
Hold— Hold (Sustain, Damper) messages (CC64)
Sostn— Sostenuto messages (CC66)
Soft— Soft messages (CC67)
CC69— Hold 2.
Revrb— Reverb Send messages (CC91)
Chrus— Chorus Send messages (CC93)
Delay— Delay Send messages (CC94)
CAF— Channel Aftertouch
RPN— Registered parameter number (CC100/101)
NRPN— Non-registered parameter number (CC98/
99)
SysEx— SysEx messages (system exclusive)
CC16, CC17— M-Value 1 & 2 settings.
CC32= 0— (RX only) What to do when the received
CC32 message equals 0 or is missing. For this parame-
ter, you can select “4” (VA-76), “1”, “2”, or “3”. You can-
not filter this Bank Select message.
Note: A setting tantamount to Local Off can be achieved by
muting a part (see page 114) and setting the Part Switch
(see page 206) to Int.
Limit
(High, Low: C-1~G9, RX only) High and Low allow
you to set the note range to be received. If not all note
messages on the selected MIDI channel should be
received by the selected part, set the range to the
desired values. This may be necessary when control-
ling the VA-76 from a MIDI accordion that sends the
chord and bass notes on the same channel.
Note: The Low Limit cannot be set to a higher value than
the High Limit (and vice versa).
Note: See “MIDI messages used by the VA-76” on page 197
for details about these MIDI messages.
Press the [oBack] field to return to the “regular”
MIDI parameters.
Note: Some instruments start at C-2 and end at G8
(instead of C-1 and G9). You may have to “add an octave”
to the value you see on the screen of your computer or exter-
nal sequencer.
Tx Filter page of the Style parts
The Style/Arranger parts only transmit and receive the
following MIDI messages, which is why the list of
parameters that can be filtered is a lot shorter:
For the Audio In part, you can only set the MIDI TX
and RX channels. Furthermore, this “part” only
transmits and receives Volume, PanPot, Reverb
Send, and Chorus Send messages – no notes. You
could take advantage of this for remotely controlling
the Audio In part’s settings from a sequencer, etc.
Filter
Press the [Tx Filter] field to filter outgoing MIDI mes-
sages. Press the [Rx Filter] field to prevent the recep-
tion of certain MIDI messages.
Here, you can specify for each parameter whether
(On) or not (Off) the selected message should be
received or transmitted. The MIDI messages you can
filter are:
Note that the [NRPN] parameter is only available for
the ADrums part – not for the melodic Arranger parts.
The NRPN messages are used for “Drum Set Note &
Pitch” (see page 175).
PChng— Program change messages (including Bank
Select)
PBend— Pitch Bend messages
Modul— Modulation messages (CC01)
Volume— Volume messages (CC07)
PanPot— Pan(pot) messages (CC10)
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VA-76 – Utilities MIDI
14.4 Utilities MIDI
Tx/Rx Filter of the VariPhrase part
The VariPhrase part is an altogether different tone
generator. That explains why it doesn’t respond to
CC32 messages and why the two filter pages look a lit-
tle different:
MIDI Sync R→X/TX
[FUNCTION MENU]
[MIDI] field→ [Utilities MIDI] field→ [Sync] field
Tx Filter page
Rx Filter page
Style TX Sync
See above for an explanation of these parameters. The
new or different functions are:
The Style TX Sync parameters allow you to specify
whether or not the VA-76 should send MIDI realtime
messages whenever you start the Arranger. Sending
MIDI realtime (start, stop, clock) messages has the
advantage that you can synchronize external instru-
ments or computers with your VA-76.
CC16, 17, 18— Correspond to the [Pitch], [Time],
and [Formant] sliders respectively (see page 49).
CC19— General-purpose message for VariPhrase
control.
SYNC— Allows you to specify whether the Vari-
Phrase’s tempo should run in sync with the internal
(INT) or an external (EXT) MIDI Clock signal
received from a sequencer, etc.
Start/Stop— If you activate this option, the VA-76
will only send start or stop messages whenever you
start (or stop) Arranger playback. In this case, no
Clock messages are sent.
Clock— This option means that the Arranger sends
Clock messages (usual synchronization method).
Tx/Rx Filter of the Audio In part
We already mentioned that the Audio In part does not
transmit or receive note messages because it is used for
for amplifying your singing. You can, however, trans-
mit and receive its effects, volume, and PanPot settings
for remote control. It follows that the list of parame-
ters that can be filtered is the shortest of all Keyboard
parts:
Use the [ON/OFF] fields to specify whether or not
these messages should be transmitted.
Song TX Sync
Here are the switches for the transmission of MIDI
realtime messages whenever you play back a Song
using the VA-76’s Song Composer:
Start/Stop/Continue— If you activate this option, the
VA-76’s Song Composer sends only Start/Stop and
Continue messages. Continue, by the way, is a message
used to signal that playback is not started from the
beginning of a Song.
Clock— This option means that the Song Composer
sends Clock messages. These are used to specify the
tempo.
Same parameters for the Rx Filter page
Song Position Pointer— If you select [ON], the Song
Composer sends Song Position Pointer (SPP) mes-
sages. These messages are used to signal the current
playback position, so that the slaved (synchronized)
drum machine, sequencer, etc., automatically jumps
to the correct position upon receiving a Song Position
Pointer message.
Note: See your sequencer’s etc. manual to find out whether
it accepts Song Position Pointer messages.
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VA-76 Owner’s Manual—MIDI
Style RX Sync, Song RX Sync
TX/RX Channel
The Style RX Sync and Song RX Sync parameters are
used to specify whether and how the Arranger or
Composer should be synchronized to external
sequencers or drum machines. The available options
are:
(1~16) Use these parameters to assign an RX (receive)
or transmit (TX) channel to the Basic Channel func-
tion. If you do not want the Basic Channel messages to
be received (or transmitted), press the [ON/OFF] field
so that it reads [OFF].
Internal— The Arranger or Song Composer will fol-
low its own internal tempo.
Filter
There are three functions for which you can specify
whether (On) or not (Off) the corresponding MIDI
messages should be received (or transmitted):
Auto— This is a function for remote control of Arran-
ger/Song Composer playback (using a PK-5, for exam-
ple). If the VA-76 receives a MIDI Start message (FA),
it looks out for Clock messages. If those Clock mes-
sages are not received (a PK-5, for instance, doesn’t
send them), the VA-76 starts playback using its inter-
nal tempo. If those Clock messages (F8) follow the
Start message, the VA-76 uses the external tempo. You
can, however, go on using the Arranger/Song Com-
poser without MIDI Start/Clock messages, which is
not possible when you select MIDI.
PartSwtc— Whenever you mute or un-mute a part on
the Mixer pages, your VA-76 sends an NRPN message
that describes your action. The VA-76 allows you to
keep it from sending that message (or to respond to it
whenever it is received from an external instrument).
Filtering these messages on the TX side may be useful
to keep your external sequencer from recording them
– or the receiving GS module from muting the part
assigned to that channel.
MIDI— The Arranger or Song can only be started or
stopped with MIDI realtime messages (Start, Stop,
Clock) coming from an external clock source.
UsrPrgPC— This parameter is used to filter the trans-
mission (TX) or reception (RX) of program change
and bank select messages relative to User Program
selection.
Remote— The Arranger or Song Composer waits for
a start message to start playback at its own tempo. As
soon as it receives a stop message, playback will stop.
MstVolum (RX only)— This parameter allows you to
enable or disable the reception of Master Volume mes-
sages (see page 199) that would change the volume of
the entire VA-76.
On/Off
Use these switches to enable (On) or disable (Off) the
reception of these messages.
Lyrics (TX only)— The Lyrics function of your VA-76
is MIDI message used to transmit the words (or lyrics)
contained in a Standard MIDI File (as meta-text
events). Playing back Standard MIDI Files that con-
tain lyrics data causes the VA-76 to send these data on
the Basic Channel – unless you set this filter to [OFF].
Select [ON] if you want to transmit Lyrics data to an
LVC-1 Lyrics-to-Video Converter.
Basic
[FUNCTION MENU]→ [MIDI] field→ [Utilities MIDI] field→ [Basic] field
Style
[FUNCTION MENU]→ [MIDI] field→ [Utilities MIDI] field→ [Style] field
The Basic Channel is used for several things: to receive
and transmit Program Change and Bank Select mes-
sages for selecting User Programs, as well as for the
reception and transmission of other kinds of messages
that are not directly related to a specific MIDI channel
but may affect the VA-76’s parts (such as the Part
Switch function, for example). That doesn’t mean that
the MIDI channel assigned to the Basic Channel func-
tion is of no importance. Only, the messages received
on that channel may also apply to other aspects of
your VA-76.
The Style Channel is a MIDI channel used for receiv-
ing and transmitting Program Change and Bank
Select messages allowing you to select Styles via MIDI,
and volume messages that change the volume of a
Style. Note that these two message types can only be
filtered individually in the RX column (i.e. you can
select whether or not to receive them).
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VA-76 – Utilities MIDI
Style selection via MIDI
1 Channel Rx/2 Channel Rx
The MIDI address of a Music Style consists of three
elements: a Program Change number, a CC00 num-
ber, and a CC32 number. CC00 and CC32 are Bank
Select messages. The values assigned to CC00 and
CC32 define the Style, whereas the Program Change
number defines the pattern (Intro, Ending, etc.).
Sending only a Program Change number will select
another pattern of the currently active Style. Only
when the Program Change number is preceded by two
values (for CC00 and CC32) will the VA-76 select
another Music Style.
(1~16) The NTA notes can be received on two MIDI
channels, so that you could control the VA-76’s Arran-
ger using a MIDIfied accordion or any other instru-
ment capable of sending accompaniment data (or data
used to control the accompaniment) on two channels
(such as organs with bass pedals, for example). Use the
[i][m] fields in the right column to set the desired
value. Either channel can be switched off using its
[ON/OFF] field.
Note: You cannot assign the same MIDI channel to 1 & 2
Channl Rx.
Note: Whenever you select another Style on your VA-76, it
transmits a CC00-CC32-PC cluster on the Style channel.
Shift
(–48~48) This parameter allows you to transpose the
received note messages before sending them to the
Arranger. The maximum possible transposition is four
octaves up (48) or down (–48), each step representing
a semitone.
Channel
(1~16) Allows you to assign a MIDI channel to the
Style select feature. If you don’t want the Style Chan-
nel messages to be received (or transmitted), press the
[ON/OFF] field in question so that it reads [OFF].
1 Ch Limit, 2 Ch Limit (C-1~G9)
High and Low allow you to set the note range to be
received. If not all note messages on the selected MIDI
channel should be received by the NTA “part”, set the
range to the desired values.
Filter (RX only)
You can filter two types of messages:
StlVolum— Volume messages relating to the Music
Styles. Select Off if the VA-76 must not receive them.
Note: The Low Limit cannot be set to a higher value than
the High Limit (and vice versa).
StylePC— Program Change and Bank Select messages
for Style selection. Select Off if the VA-76 must not
select other Styles or patterns in response to these
incoming messages.
Note: Some instruments start at C-2 and end at G8
(instead of C-1 and G9). You may have to “add an octave”
to the value you see on the screen of your computer or exter-
nal sequencer.
NTA: Note-t→o-Arran→ger
[FUNCTION MENU]
[MIDI] field
[Utilities MIDI] field→ [NTA] field
MIDI param→eters (Param)
[FUNCTION MENU]
[MIDI] field→ [Utilities MIDI] field→ [Param] field
NTA notes are only received from an external MIDI
instrument. Whatever you play in the chord recogni-
tion area of the keyboard to feed the Arranger is auto-
matically converted to the corresponding MIDI note
numbers. Unlike other arranger instruments, your
VA-76 is blessed with the capability of sending the
note numbers of all Arranger parts, so that you could
use the internal or your own Styles to quickly record a
song with band backing on an external sequencer. As
every single note of the Music Style is recorded, there
is no need to transmit the note messages used to feed
the Arranger (the NTA notes).
This page contains several parameters that are not
related to one other (the other MIDI pages always
concentrate on one aspect).
Tx Octave
(Absolute, Relative) The TX Octave parameter can be
set to Absolute or Relative. It applies to Tone selec-
tion. You may have noticed that whenever you assign a
bass sound to the Upper1 part in SPLIT mode, the
notes are transposed in such a way that you can play a
meaningful bass line using the Upper1 part. Relative
means that this internal (and automatic) transposition
is translated into note numbers, so that playing a C4
(note number 60) may actually result in note number
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VA-76 Owner’s Manual—MIDI
36 being used and sent to the MIDI OUT port. This,
of course, depends on the Tone you assign to the
Upper1 part.
be used for all notes received via MIDI IN (RX) or sent
to MIDI OUT (TX) – but only when the correspond-
ing velocity filter is set to [OFF].
In Absolute mode, however, the MIDI note number
sent to the MIDI OUT port will be the one assigned to
the key you press (e.g. note number 60). The advan-
tage of Absolute is that you can play a bass line using
the VA-76’s Upper1 part and double it with a trumpet
of an external instrument.
SoftThru for Local
This function actually overrides the MIDI specifica-
tions, according to which the MIDI OUTput of an
instrument only sends messages generated on the
instrument itself (e.g. your VA-76). When you set Soft
Thru to On, all notes received on the NTA channel
beyond the NTA’s High and Low Limits are re-trans-
mitted to the MIDI OUTput. Use the Soft Thru fea-
ture for a digital piano or other keyboard instrument
without split function.
PartSwtc
The Part Switch parameter allows you determine what
happens when you mute a part (see “Muting parts” on
page 114). One thing you know will happen is that the
part in question no longer sounds when you play on
the keyboard – even though its field on the KEY-
BOARD MODE page (accessible via the [OTHER]
button) is displayed in white, or even though the
Arranger is playing. What you do not see, however, is
whether a muted part still sends MIDI data. PartSwtc
allows you to specify whether or not a muted part
should go on sending MIDI messages:
When you set Soft Thru to On, The VA-76 sends a
Local message (CC122) with a value “0” to the digital
piano, so that the piano’s sound source no longer
responds to the notes you play on its keyboard. Seeing
that the VA-76 echoes back all notes that are not used
to trigger the Arranger, you hear what you play on the
piano – except in the zone set apart for the Arranger.
(This requires that you also connect the VA-76’s MIDI
OUTput to the digital piano’s MIDI INput.)
Int— A muted part can no longer be played via the
VA-76’s keyboard or Arranger but continues to send
MIDI messages to MIDI OUT.
When you set Soft Thru back to Off, the VA-76 sends a
Local message with a value “127”, thereby switching
the piano’s Local function back on.
Int+Mid— A muted part can no longer be played via
the VA-76’s keyboard or Arranger and no longer sends
MIDI messages.
Selecting Int and muting a part thus has the same
effect as selecting Local Off (see page 201). Choose
whichever is more convenient in a given situation:
part mute can be saved to a User Program, while Local
and Part Switch can only be saved to a MIDI Set.
Rx Velocity, Tx Velocity
Your VA-76 is equipped with a velocity-sensitive key-
board and a tone generator capable of responding to
velocity messages. Velocity messages are an important
element for musical expression because the way you
strike a key results in a loud/bright or soft/round note,
telling the listener something about your feelings.
In some cases, however, it may be wiser not to convey
the velocity aspect of music making to emulate instru-
ments that are not velocity sensitive (such as organs,
for example). The VA-76 allows you to activate or
deactivate the transmission and/or reception of veloc-
ity messages. Use the associated [ON/OFF] fields to
switch the reception (RX) or transmission (TX) of
velocity messages on or off.
If you select [OFF], you have to tell your VA-76 which
velocity value to use instead of the continuous flux
normally received (in this case, the word receive
applies to both incoming MIDI data and the messages
received from the VA-76’s keyboard). That is what Rx
Velocity and Tx Velocity are for. The value you set will
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VA-76 – MIDI Sets
The Master page looks as follows when you work with
a MIDI Set:
14.5 MIDI Sets
MIDI Sets are memories for the settings you make in
MIDI mode. The VA-76 has eight MIDI Set memories
on board that you can use to change your MIDI con-
figuration. You can also save your MIDI Sets to disk
and load them whenever necessary. Furthermore, you
can link a MIDI Set to a User Program (see page 131),
and specify which MIDI Set should be loaded each
time you switch on the VA-76 (see below). If you need
to reset some or all MIDI parameters to their default
values, loading the Macro Settings (see page 200) may
be a wiser choice than selecting a MIDI Set.
MIDI Set selection at power-on
Saving a MIDI Set
Whenever you switch on the VA-76, it automatically
selects MIDI Set 0. But maybe you prefer to be “opera-
tional” right away. In that case, tell the VA-76 which
MIDI Set it should recall whenever you switch it on:
1. Press the [FUNCTION MENU] button.
2. On the display page that appears now, press the
[MIDI] field.
The display now looks more or less as follows:
1. Press the [FUNCTION MENU] button.
2. Press the [Global Parameter] field on the Function
Menu.
3. Press the [Startup] field in the bottom row of the
display.
3. Press the [Memorize] field.
4. Press the [Startup MIDI Set] field so that it is dis-
played in white.
5. Use [i][m] or the [TEMPO/DATA] dial to select
the MIDI Set to be recalled.
If you don’t want a MIDI Set to be recalled, select
“Off”.
6. Press [EXIT] to return to the Master page.
4. Press the field that corresponds to the MIDI Set
that should contain your MIDI settings ([1]~[8]).
Saving MIDI Sets to disk
5. Press the [EXECUTE] field.
After programming 8 MIDI Sets, you may find that
The display confirms that the settings have been writ-
ten to the selected memory and returns to the page of
step (1) on page 127.
you need a few more and that you have to make room
for the new MIDI Sets. To do so without losing the
previously saved MIDI Sets, you must save the “old”
set to disk. Even if you do not program more than 8
MIDI Sets, it is a good idea to make a backup copy of
your MIDI Sets in case someone else starts fiddling
around with your settings.
Selecting a MIDI Set
1. See steps (1) and (2) under “Saving a MIDI Set”.
2. Press a [1]~[8] field that corresponds to the MIDI
Set you need.
1. Press the [FUNCTION MENU] button.
You can also select MIDI Set [0] so as to work with the
(temporary) setting in that memory. See also
page 200.
2. Press the [Disk] field.
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VA-76 Owner’s Manual—MIDI
3. On the display page that appears now, press the
[Save] field in the bottom row and the [Midi Set] field
in the left column.
Loading a MIDI Set from disk
As stated in the above note, you are free to load just
one MIDI Set container of a given MIDI Set on the
selected disk. Feel free to only load MIDI Set container
3 from a given MIDI Set if you do not need the other 7
settings of that Set.
1. Press the [FUNCTION MENU] button.
2. Press the [Disk] field.
3. On the display page that appears now, press the
[Load] field in the bottom row and the [Midi Set]
field in the left column.
Before saving a MIDI Set to disk, you should name it.
Press the [Name] field and choose a name that tells
you something about the contents. (You can only pro-
gram a “File Name”, because the names of the MIDI
Sets are never displayed.) See page 68 for how to enter
the name.
4. Insert a formatted Zip or floppy disk into the
desired drive.
5. Select the drive you want to save the data to by
pressing the [ZIP] or [FLOPPY] icon.
4. Select the drive you want to load the data from by
pressing the [ZIP] or [FLOPPY] icon.
6. Press [EXECUTE] to save your MIDI Set to disk.
Remember that your VA-76 is multitasking, so that
you can leave this page as soon as the VA-76 starts sav-
ing the MIDI Set to disk.
5. Press the field that corresponds to the MIDI Set
whose data you wish to (partially) load.
If the name of the desired MIDI Set is not displayed,
use the [o][k] fields to select another group of eight
MIDI Set names.
7. Press [EXIT] to return to the Master page.
Note: When saving, the term “Set” is used to refer to all 8
MIDI Set memories. In others words, when you save “a”
MIDI Set to disk, you save in fact the contents of all eight
MIDI Set memories. Loading, on the other hand can be car-
ried out selectively.
6. Use the“Disk”[i][m] fields to select the MIDI Set
container to be loaded from disk.
You can also select ALL, which means that all eight
containers of the selected MIDI Set will be loaded. In
that case, you cannot select the destination memory
(see below).
7. Use the“To Int”[i][m] fields to select the internal
MIDI Set memory you wish to load the selected set-
tings to.
You can select “To Int”= 1, =2, =3..., =8. Note that this
is only possible if you did not select “ALL” for “Disk”.
8. Press the [EXECUTE] field to load the MIDI Set
data.
9. Press [EXIT] to return to the Master page.
The possibility to selectively load MIDI Set containers
allows you to compile “Best Of” MIDI settings by
loading them to different internal MIDI Set memo-
ries. After loading your 8 favorite MIDI settings, use
the Save function to save the “Best Of” MIDI Set to
disk.
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15. Disk functions
This is where you will find functions and parameters
relating to saving, loading, deleting files, and to for-
matting new disks or disks previously used on other
instruments or devices. The word “disk” refers to both
floppy and Zip disks.
15.2 Disk Load (loading data
from disk)
Load Style/copy Style
[FUNCTION MENU]→ [Disk] field→ [Load] field→ [Style] field
Procedure
1. Press the [FUNCTION MENU] button.
2. Press the [Disk] field.
3. On the display page that appears now, press the
[Load], [Save], [Delete], or [Utility] field in the bot-
tom row.
(see below)
page 211
page 213
page 213
This page allows you to load Styles from disk or to
copy a ROM Style to the Style RAM memory (Disk
User).
(source)— These fields allow you to
select the internal memory (ROM Styles) or a disk.
Press [INT A/B] to copy a ROM Style (i.e. one of the
128 factory Styles) to the Disk User memory. Press
[FLOPPY] or [ZIP] to load a Style from disk. When
you press [INT A/B], the Style names in the Music
Style window are preceded by a number (A11~B88).
When you select a disk, only the Style name is dis-
played.
15.1 Autoload
The VA-76 provides an Autoload function for the fol-
lowing file types: VariPhrase Sets, Songs, MIDI Sets,
and User Programs. This function (semi)automati-
cally loads files called“AUTOLOAD” from the inserted
Zip disk (it is not available for floppy disks).
A VariPhrase Set is the most likely candidate for this
function. Taking advantage of the Autoload function
for the remaining file types (except Songs) is a bit haz-
ardous, because doing so will overwrite the corre-
sponding settings in the VA-76’s internal memory.
Selection— Press the field of the Style you wish to
load (or copy). If the desired Style is not displayed, use
the [o][k] fields to scroll through the list of available
Styles. You can also use the [TEMPO/DATA] dial and
–for ROM Styles– the BANK/NUMBER pad.
Note that a Zip disk can only contain one “AUTO-
LOAD” file for each type (VariPhrase Set, Song, MIDI
Set, User Program Set). So be sure to work with the
file(s) you need most often.
Execute— Press this field to confirm your settings and
load the data.
Here is what you need to do:
1. Save the data that should be loaded at power-on to
a Zip disk (see page 211).
Use the correct save function: Save User Program Set,
Save MIDI Set, Save Phrase Set, Save Song.
Load Song
[FUNCTION MENU]→ [Disk] field→ [Load] field→ [Song] field
The name of the file in question (the VariPhrase Set,
for example) must be “AUTOLOAD”. If the file already
resides on the Zip disk, use “Rename” on page 216 to
change its name.
2. Insert the Zip disk into the appropriate drive.
3. Switch off the VA-76.
4. Hold down the [DATA] button while switching the
VA-76 back on until the message “Autoload Function
Activated” appears.
The VA-76 boots and all files called “AUTOLOAD”
(one per type) will be loaded automatically.
This function allows you to load a song from disk,
thereby overwriting the song currently in the VA-76’s
Song RAM memory.
— Press one of these fields to select the
drive that contains the data you wish to load.
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VA-76 Owner’s Manual—Disk functions
Selection— Press the field of the song you wish to
load. If the desired song is not displayed, use the
[o][k] fields to scroll through the list of available
songs. You can also use the [TEMPO/DATA] dial.
Load MIDI Set
[FUNCTION MENU]→ [Disk] field→ [Load] field→ [Midi Set] field
Execute— Press this field to confirm your settings and
load the data.
Load User P→rg
[FUNCTION MENU]
[Disk] field→ [Load] field→ [User Prg] field
Loading MIDI Sets from disk can be selective, i.e. feel
free to load only one MIDI Set of a “MIDI Set-Set”
(consisting of eight MIDI Sets). See page 208 for
details. If you select ALL for Disk, all 8 MIDI Set mem-
ories will be overwritten.
Load
Phr→ase
[FUNCTION MENU]
[Disk] field→ [Load] field→
[
Phrase] field
This where you can load User Program Sets. These are
groups of 128 User Programs whose main use is for
archiving your internal settings. Loading User Pro-
gram Sets from disk can be selective, i.e. feel free to
load only one User Program, or comprehensive (the
contents of all 128 User Programs).
— Press one of these fields to select the
drive that contains the data you wish to load.
Selection— Press the field of the User Program Set
whose data you wish to load. If the desired name is not
displayed, use the [o][k] fields to scroll through the
list. You can also use the [TEMPO/DATA] dial.
There are three Load functions for VariPhrases: you
can load one VariPhrase, a VariPhrase Set, or .WAV or
AIFF file. See page 69 for details. Remember that a
VariPhrase Set replaces all 16 VariPhrases in the User
memory. Do not forget to save edited phrases before
using this function.
Disk (1~128, All)— Use these two [i][m] fields to
select a specific User Program from the selected User
Program Set on disk, or select “ALL” to load all User
Programs of that Set.
To Int (1~128, ALL)— Use these two [i][m] fields
to specify the User Program memory that should con-
tain the selected data. If you select ALL for Disk, ALL is
the only option here. Furthermore, ALL cannot be
selected when you selected a specific User Program for
Disk.
Note: By selecting ALL, you not only load the User Program
Set data but also the Disk Link settings it contains. These
will replace the internal settings, so be sure to save the cur-
rent Disk Link settings to disk before loading an entire User
Program Set. Use “Save User Program Set” on page 211 to
do so.
Execute— Press this field to confirm your settings and
load the data.
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VA-76 – Disk Save (saving data to disk)
Save Song
15.3 Disk Save (saving data to
[FUNCTION MENU]→ [Disk] field→ [Save] field→ [Song] field
disk)
In this manual and while designing the VA-76, we
tried to make a clear distinction between saving and
writing/memorizing data. The terms write/Memorize
are used to describe actions that cause certain settings
to be saved to an internal memory. Save, on the other
hand refers to the act of copying internal memory set-
tings to disk.
Save Style
[FUNCTION MENU]→ [Disk] field→ [Save] field→ [Style] field
This page allows you to save the Song that is currently
in the VA-76’s Song RAM memory to disk. See page 67
for details.
Save User P→rogram→Set
[FUNCTION MENU]
[Disk] field
[Save] field→ [User Prg] field
Use this function to save a newly programmed or
edited User Style to disk. You should do so as fre-
quently as possible.
— These fields allow you to select the disk
you want to save the data to.
This function allows you to save all 128 User Programs
as a set. This also includes the Scale Tuning memories,
One Touch assignments, Preferred Tone, and Disk
Link Style assignments. The Size value indicates the
capacity required to save the User Program Set to disk,
while Free Disk Area tells you something about the
remaining disk capacity.
Execute— Press [EXECUTE] to confirm your settings
and save the data to disk.
Press the [Name] field if you want to name your
Style
— These fields allow you to select the disk
you want to save the data to.
[Name]— Press this field to name your User Program
Set.
File Name— See above for details.
Execute— Press [EXECUTE] to confirm your settings
and save the data to disk.
Style Name— This is the “internal” name of a Music
Style. This name appears on the Master page, the
Music Style selection page, etc. It is usually the “mean-
ingful” name. Press this field and enter the Style
Name. See page 68 for details.
File Name— This is the name the Music Style has on
disk and by which the VA-76 recognizes it (its
“address”). If you change this name of a Music Style,
the Disk Link function no longer finds the Style. Press
this field and enter the desired name. See page 68 and
page 170 for details.
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VA-76 Owner’s Manual—Disk functions
It is most unlikely that you will be able to save a Vari-
Phrase Set (16 phrases!) to floppy disk. Using a Zip
disk is therefore a much better idea. If not all data can
be saved to the selected disk, the display responds
with:
Save MIDI S→et
[FUNCTION MENU]
[Disk] field→ [Save] field→ [Midi Set] field
This function allows you to save all 8 MIDI Sets as a
set. The Size value indicates the capacity required to
save the “MIDI Set-Set” to disk, while Free Disk tells
you something about the remaining disk capacity. See
also “Saving MIDI Sets to disk” on page 207.
If this message is displayed, none of your User phrases
have been saved to disk (and if they had, they would
be unreadable). Do not switch off the VA-76 at this
point: eject the disk, and insert another one. If it is not
formatted, you will be given the opportunity to do so.
Note: A single VariPhrase file or a VariPhrase Set cannot be
divided over several floppy disks.
Save
Phr→ase
[FUNCTION MENU]
[Disk] field→ [Save] field→
[
Phrase] field
3. Press the [Name] field.
There are two options on this page: you can either save
the currently selected User phrase, or the contents of
all 16 phrases in the VariPhrase User memory. Press
the field that corresponds to the desired option. See
page 76 for how to save a single phrase to disk.
4. Enter the name of your VariPhrase Set (8 charac-
ters). See page 68 for details.
1. To save a VariPhrase Set, press the [Phrase Set]
field.
5. Press [EXECUTE] to confirm your settings and
save the data to disk.
To save the Set under the default name (“PHRASE
S_XX”) you can [EXECUTE] right away.
2. Insert a disk into the appropriate drive and select
that drive using the [FLOPPY] or [ZIP] field.
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VA-76 – Delete
15.4 Delet→e
15.5 Disk Utility
[FUNCTION MENU]
[Disk] field→ [Delete] field
1. Press the [FUNCTION MENU] button.
2. Press the [Disk] field.
3. Press the [Utility] field.
The display now looks as follows:
The Delete function allows you to erase the selected
file, which may be necessary if the “Disk Full” message
is displayed when you try to save a file to disk. Be care-
ful to select the right file type using the fields in the left
column before pressing [EXECUTE]. Also note that
User Program and MIDI Sets contain 128 or 8 differ-
ent settings, which means that you may lose a lot more
than originally intended.
4. Press the field that corresponds to the desired
option.
Format
Deleting a VariPhrase Set means that a Set with up to
16 phrases disappears. If in doubt about the selected
VariPhrase file type, press the [oBack] field to return
to the following selection page:
[FUNCTION MENU]→ [Disk] field→ [Utility] field→ [Format]
Then press [Single Phrase] or [Phrase Set] to select the
file type you want to delete.
Here’s what the Delete functions allow you to throw
away:
This function allows you to format the disk in the
selected drive. It would be a good idea to also format
floppy disks formatted for MS-DOS® because that
speeds up disk access. All other disks must be format-
ted by the VA-76 to be usable. To this end, the VA-76
provides two formatting options. See “Formatting a
disk” on page 132 for details.
File Type (field)
What’s deleted
Style
Song
One Style on the selected disk.
One song on the selected disk.
A User Program Set that contains 128 User Pro-
grams (plus the Disk Link assignments, 3 Scale
Tuning memories, plus other settings).
User Prg
Midi Set
Phrase
A MIDI Set Set of 8 MIDI Set memories.
Depends on whether you selected [Single
Phrase] or [Phrase Set] (see above).
— These fields allow you to select the disk
that contains the file to be deleted.
Selection— Press the field of the file you wish to
delete. If the desired file is not displayed, use the
[o][k] fields to scroll through the list. You can also
use the [TEMPO/DATA] dial.
Execute— Check again whether you really selected the
file you wanted to delete, then press [EXECUTE] to
delete the file.
Note: The Delete operation cannot be undone.
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VA-76 Owner’s Manual—Disk functions
Note: It will be impossible to copy the desired floppy disk if
you do not write-protect it. In that case, the message
“Source Disk unprotected” appears and the display returns
to the following page.
Copy functions
You can copy from Zip to floppy (and vice versa), or
from one floppy disk to another floppy disk, which
requires changing disks. Let’s have a look at a few
hands-on examples:
Copying an entire floppy disk to another
floppy
WARNING— Copying files from a disk means that
the VA-76’s Style RAM and Song RAM memories are
erased. If you haven’t yet saved your last song to disk,
you should do so before proceeding. See page 67 for
details. For safety reasons, it would be a good idea to
also save your User VariPhrases to disk before pro-
ceeding (see page 76).
6. Press the [EXECUTE] field to start the copy opera-
tion.
1. On the Disk Utility menu, press the [Copy] field.
The display now responds with a warning regarding
copyright legislation.
Note: Press the [ABORT] field if you do not want to copy
the floppy disk after all.
The display now displays an animated clock to signal
that some (or all) data are being copied to the VA-76’s
RAM memory.
2. Press the [Proceed] field.
3. On the page that appears now, press the [Disk] field
in the left column.
Once the first chunk of data has been loaded, follow-
ing message appears:
4. Press the [From FDD→ To FDD] field.
The display now responds with Insert Source Protected
Disk.
7. Remove the original floppy (the SOURCE disk)
from the drive and insert the one (DESTINATION)
you wish to copy the data to.
Note: Be careful to set the PROTECT tab of the Destination
disk to the WRITE (or OFF) position.
5. Slide the protect tab of the disk you wish to copy in
the Protect position and insert the floppy into the
floppy disk drive.
Note: You need to use the same disk type as the one of the
Source disk. If that was a 2DD disk, insert a 2DD disk. If
the Source disk is a 2HD disk, use a 2HD disk.
8. Press [EXECUTE] again.
This time, the data in the VA-76’s RAM memory are
copied (saved) to the destination disk. If all data were
copied in one go, the “Function complete” message
appears and you’re done. If only part of the data was
loaded from the source disk, the “Insert SOURCE Pro-
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VA-76 – Disk Utility
tected Floppy Disk” message appears again. In that
case, go back to step (5) and continue until the mes-
sage “OK Function Complete” is displayed.
You are now asked whether it is OK to overwrite all
files on the Destination disk that have the same file
names as the Songs you are about to copy.
9. Press [EXIT] to jump to the Master page (see
page 24).
There is no function for copying entire Zip disks. Use
the [ALL FILES] field to select all files of the selected
type for copies towards a Zip disk. You could, however,
copy Zip disks on a PC compatible computer (using
Iomega’s Copy Machine™ utility, for example). If in
doubt, try to stick to the VA-76’s Disk Copy functions.
They may take a little longer, but at least, they allow
you to put all songs on a Song Zip, all Styles on a Style
Zip, etc.
9. Press the [YES] field if it is OK to overwrite any
song with the same file name on the destination disk.
Press the [NO] field if files on the Source disk that
have the same name as existing files on the Destina-
tion disk should not be copied (only files with “origi-
nal” names will be copied in that case). Press [EXIT]
to abort the Copy operation.
Copying single files from floppy to floppy
(example: copying songs)
WARNING— Copying files from a disk means that
the VA-76’s Style RAM and Song RAM memories are
erased. If you haven’t yet saved your last song to disk,
you should do so before proceeding. See page 67 for
details. For safety reasons, it would be a good idea to
also save your User VariPhrases to disk before pro-
ceeding (see page 76).
If you press [YES] or [NO], the VA-76 copies the first
chunk of data to its RAM memory, after which the dis-
play asks you to insert the destination disk.
Note: If the display tells you “Disk busy, can’t execute”,
you should stop Arranger or Song Composer playback.
This message means that the function cannot be executed
because that RAM memory (Style or Song) is being
accessed for playback, which is why it is impossible to
copy the Song.
1. On the Disk Utility menu, press the [Copy] field.
The display now responds with a warning regarding
copyright legislation.
2. Press the [Proceed] field.
3. Insert the floppy disk that contains data you wish to
copy into the (appropriate) drive.
10. Remove the original floppy (the SOURCE disk)
from the drive and insert the one (DESTINATION)
you wish to copy the data to.
4. Press the field that corresponds to the file type you
wish to copy. To copy songs, for example, press the
[Song] field:
11. Press [EXECUTE] again.
The song file(s) is/are now transferred from the
VA-76’s internal memory to the Destination floppy
disk.
Copying from Zip to floppy disk (example: copy-
ing Styles)
You can also copy Styles (and other file types) from a
Zip disk to a floppy (and vice versa). It is also possible,
to copy from one Zip disk in the internal drive to
another Zip disk.
5. Press the [FDD] field below the “From” message
WARNING— Copying files from a disk means that
the VA-76’s Style RAM and Song RAM memories are
erased. If you haven’t yet saved your last song to disk,
you should do so before proceeding. See page 67 for
details. For safety reasons, it would be a good idea to
also save your User VariPhrases to disk before pro-
ceeding (see page 76).
(“copy from floppy”).
6. Press the [FDD] field below the “To” message.
7. Press the fields of all songs you wish to copy.
Press the [ALL FILES] field to select all songs on the
inserted floppy disk. Use the [o][k] fields or the
[TEMPO/DATA] dial to select other groups of 8 files.
Note: Pressing a white field again will “unmark” the song
file in question. Files whose fields are blue are not copied.
1. On the Disk Utility menu, press the [Copy] field.
2. Press the [Proceed] field.
8. Press the [EXECUTE] field to start the copy opera-
3. Insert the Zip disk you wish to copy into the Zip
tion.
drive.
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VA-76 Owner’s Manual—Disk functions
4. Insert the floppy disk that should contain the cop-
ied data into the floppy drive.
Rename
The Rename functions allow you to modify the name
of a file on the disk you inserted into the VA-76’s disk
drive. Please be aware that the selected file cannot be
assigned the same name as that of another file on the
same disk.
5. Press the field that corresponds to the file type you
wish to copy. To copy Styles, for example, press the
[Style] field:
If you try to assign an already existing name to
another file on the same disk, the display will respond
with a message telling you that this is impossible:
6. Press the [ZIP] field below the “From” message
(“copy from Zip”).
7. Press the [FDD] field below the “To” message.
8. Press the fields of all Styles you wish to copy. See
also step (7) in the right column on page 215.
Note: To copy from floppy to Zip, press the [FDD] field
below “From” and the [ZIP] field below “To”. To copy from
Zip to Zip, press the [ZIP] fields below “From” and “To”.
Press the [REPLACE] field to overwrite the other file,
or the [EXIT] field if you wish to assign another name
to the currently selected file.
1. Press the [FUNCTION MENU] button.
2. Press the [Disk] field.
Copying other file types
3. Press the [Utility] field.
You can also copy other file types, either individually
4. Press the [Rename] field.
or as a bunch (with the [ALL FILES] field):
• Styles (Style),
• User Program Sets (User Prg),
• MIDI Sets (Midi Set),
• Single VariPhrases or VariPhrase Sets (see below).
With the exception of the fact that you need to select
the desired file type using the fields in the left column,
the procedure is exactly the same as for copying songs.
Please see above for details.
Copying VariPhrases or VariPhrase Sets
between disks
5. Select the drive that contains the file to be renamed
by pressing the [ZIP] or [FLOPPY] field.
Copying VariPhrases or VariPhrase Sets works exactly
like copying other file types. There is one thing we’d
like to point out, though: after pressing the [
Phrase] field, you need to select whether to copy single
VariPhrases (one, several, or all) or VariPhrase Sets.
Press the appropriate field:
6. Press the field of the file type you wish to rename
(left column):
Styles (Style), User Program Sets (User Prg), MIDI
Sets (Midi Set), Single VariPhrases or VariPhrase Sets.
7. Press the field of the file you wish to rename.
Use the [o][k] fields or the [TEMPO/DATA] dial to
select other groups of 8 files.
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VA-76 – Disk Utility
8. Press the [PROCEED] field.
For Styles, and Songs, you can enter two names: the
File Name and the Style/Song Name. The first is the
file’s “address” on the disk, while the second some-
times appears on the VA-76’s display (see also
page 68). For the remaining files, only the File Name
can be set.
9. Press the [EXECUTE] field to save the file under the
new name.
10. Press [EXIT] to return to the Master page.
217
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16. Specifications
VA-76 V-Arranger Keyboard
Keyboard
76 keys, weighted synthesizer action, velocity-sensitive, Aftertouch
Tempo/Data dial, assignable PAD buttons x2, D Beam Controller, Bender/Modulation Lever,
Touch Controller (Ribbon Controller), Master Volume knob, Keyboard/Accomp Balance knob,
M-FX knob (Multi-effect control)
Controllers
128-voice polyphonic, GM2/GS compatible, 32 multitimbral parts
3,646 sounds (48 MB worth of PCM samples)
PCM
116 Drum Sets incl. oriental Drum Sets
Tone generation
Digital effects
4 Phrase lines, realtime change of Formant, Pitch and Time Stretch,
48 Factory Phrases (16 MB), 16 User phrases (max. 8 MB in RAM)
VariPhrase
Reverb (8 types), Chorus (8 types), Delay (10 types), Parametric EQ,
M-FX (DSP, 89 types)
128 Music Styles in ROM, 64 Disk Link Styles from Zip or floppy disk,
Disk User Style (instant access to one Style on Zip/floppy disk), 16 Acoustic Styles, Style
Orchestrator & Morphing
Arranger (automatic
accompaniment)
8-track User Styles Composer, SMF-to-Style Converter
128 User Programs, 4 programmable One Touch memories for each Style
5 Super Tones memories for instant Tone access (with programmable User level)
Memories
Display
Backlit VGA Touch Screen (LCD), new graphic user interface with animated icons
Virtual Band (interactive Easy Routing), automatic and/or via button
Song and Style navigation system on Zip
Navigation
Realtime SMF Player (with Minus-One function), Easy 2-track Recorder,
16-track sequencer with extensive editing functions, Song Header Post Edit, Lyrics (edit &
display)
Sequencer
Zip drive (IDE/ATAPI), floppy disk drive (2DD/2HD), realtime load from Zip & FDD, File
types managed: Styles, Song SMF, User Program, MIDI Sets, VariPhrases
Data storage
Connections
Output 1 (L/mono, R), Output 2 (L/R), VariPhrase Sampling Input & Gain, Sustain, Foot
Pedal (expression), Foot Switch, Foot Controller (FC-7), Phones
Power supply
Dimensions
Weight
100V~240 (universal)
1267 (W) x 150 (H) x 407 (D) mm
19kg
Zip disk with a series of useful supplementary files (see the booklet included with the Zip disk
for its contents), metal music stand, Owner’s Manual
Accessories
PK-5 Dynamic MIDI Pedal, FC-7 Foot Controller,
MSA/MSD/MSE series floppy disks (Roland & third-party),
RH-25/50 Headphones,
Options
DP-2 Pedal switch, DP-6 Pedal switch (piano type), BOSS FS-5U Foot Switch,
EV-5 Expression pedal, BOSS FV-300L Foot Volume/Expression Pedal,
KC-100/300/500 Keyboard Amplifiers
Specifications subject to change without prior notice.
Iomega® is a registered trademark. Zip™ is a trademark of Iomega Corporation.
All other trademarks mentioned in this manual are the property of the respective companies.
218
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17. M-FX Types & controllable parameters
Below please find a list of the M-FX Types available on the VA-76. As stated on page 123, each type provides two param-
eters that can be controlled via the M-Value 1 and M-Value 2 sliders in the display. Parameters indicated with an asterisk
(*) can also be controlled via an optional footswitch. See “Rotary S/F” on page 191 for details. The “°” indicate the
assignment to the [M-FX] knob.
*M-Val 1° Speed
M-Val 2 Level
Slow/Fast
0~127
TONE COLOR (filter type)
13 Rotary
M-Val 1° Sens
M-Val 2 Mix
0~127
0~127
01 Enhancer
The Rotary effect simulates the sound of a classic rotary speaker. The
unique type of modulation characteristic of these speakers is of a
striking realism. This effect is most suitable for electric organ.
The Enhancer controls the overtone structure of the high frequen-
cies, adding sparkle and tightness to the sound.
M-Val 1° Rate
M-Val 2 Feedback -98% ~+98%
0.05~10.0 Hz
14 StFlangr
M-Val 1° Vowel
M-Val 2 Level
a/i/u/e/o
0~127
02 Humanizer
This adds a vowel character to the sound, making it similar to a
human voice.
This is a stereo Flanger. It produces a metallic resonance that rises
and falls like a jet airplane taking off or landing.
M-Val 1
Feedback -98% ~+98%
15 SpFlangr
M-Val 2° Step Rate 0.05~10.0 Hz
GUITAR AMPLIFIER EFFECTS
Here is what the abbreviations mean:
A Step Flanger is an effect in which the Flanger pitch changes in
audible steps.
Small:
BltIn:
2-Stk:
3-Stk:
small amp
single-unit type amp
large double-stack amp
large triple-stack amp
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
16 Tremolo1 (Tri)
(Triangular wave)
M-Val 1° Drive
0~127
L63~0~R63
Tremolo cyclically modulates the volume to add tremolo effect to the
sound.
03 Overdrv1 (Small)
M-Val 2
Pan
Overdrive creates a soft distortion similar to that produced by tube
amplifiers. Several types of overdrive are available (see the names
between brackets).
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
17 Tremolo2 (Sqr)
(Square wave)
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
18 Tremolo3 (Sin)
(Sine wave)
M-Val 1° Drive
0~127
L63 ~0~ R63
04 Overdrv2 (Bltln)
05 Overdrv3 (2-Stk)
06 Overdrv4 (3-Stk)
07 Distort1 (Small)
M-Val 2
Pan
M-Val 1° Mod Rate 0.05~10.0 Hz
19 Tremolo4 (Saw1)
(Normal saw wave)
M-Val 1° Drive
M-Val 2 Pan
0~127
L63~0~R63
M-Val 2
Mod Depth 0~127
M-Val 1° Mod Rate 0.05~10.0 Hz
20 Tremolo5 (Saw2)
(“Flipped” saw wave)
M-Val 1° Drive
M-Val 2 Pan
0~127
L63~0~R63
M-Val 2
Mod Depth 0~127
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
21 AutoPan1 (Tri)
M-Val 1° Drive
M-Val 2 Pan
0~127
L63~0~R63
The Auto Pan effect cyclically modulates the stereo location of the
sound.
This effect produces a more intense distortion than Overdrive.
M-Val 1° Drive
M-Val 2 Pan
0~127
L63~0~R63
M-Val 1° Mod Rate 0.05~10.0 Hz
08 Distort2 (Bltln)
09 Distort3 (2-Stk)
10 Distort4 (3-Stk)
22 AutoPan2 (Sqr)
23 AutoPan3 (Sin)
24 AutoPan4 (Saw1)
25 AutoPan5 (Saw2)
M-Val 2
Mod Depth 0~127
M-Val 1° Drive
M-Val 2 Pan
0~127
L63~0~R63
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
M-Val 1° Drive
M-Val 2 Pan
0~127
L63~0~R63
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
M-Val 1° Mod Rate 0.05~10.0 Hz
M-Val 2 Mod Depth 0~127
MODULATION EFFECTS (EXCEPT CHORUS)
M-Val 1° Manual
M-Val 2 Rate
100Hz~8.0kHz
0.05~10.0 Hz
11 Phaser
DYNAMICS EFFECTS
26 Compress
A phaser adds a phase-shifted sound to the original sound, produc-
ing a twisting modulation that creates spaciousness and depth.
M-Val 1° Pan
M-Val 2 Level
L63~0~R63
0~127
M-Val 1° Manual
M-Val 2 Rate
0~127
0.05~10.0 Hz
A compressor reduces signal peaks and boosts low levels, smoothing
out unevenness in volume.
12 Auto Wah
The Auto Wah cyclically controls a filter to create cyclic change in
timbre.
M-Val 1° Pan
M-Val 2 Level
L63 ~0~ R63
0~127
27 Limiter
A limiter prevents the volume from exceeding a certain level (Thresh-
old) without boosting low levels.
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VA-76 Owner’s Manual—M-FX Types & controllable parameters
M-Val 1° Balance
M-Val 2 Level
D>0E~D0<E
0~127
CHORUS EFFECTS
“D” means dry (no effect), while “E” means effect (no unprocessed
signal); “0” refers to the level.
40 GteRevRv
(Reversed gated reverb)
M-Val 1° Balance
M-Val 2 Level
D>0E~D0<E
0~127
41 GteRevS1
(Sweep 1)
M-Val 1
M-Val 2° Balance
Rate
0.05~10.0 Hz
D>0E~D0<E
28 Hexa Cho
The reverberant sound moves from right to left.
Hexa Chorus uses a six-phase chorus (six layers of chorused sound) to
give richness and spatial spread to the sound.
M-Val 1° Balance
M-Val 2 Level
D>0E~D0<E
0~127
42 GteRevS2
(Sweep 2)
M-Val 1° Trem. Rate 0.05~10.0 Hz
M-Val 2 Balance D>0E~D0<E
29 Trem Cho
The reverberant sound moves from left to right.
M-Val 1
M-Val 2° Balance
Feedback -98% ~+98%
D>0E~D0<E
43 3D Delay
Tremolo Chorus is a chorus effect with added Tremolo (cyclic modula-
tion of the volume).
This applies a 3D effect to the delay sound. The delay sound will be
positioned 90 degrees left and 90 degrees right.
M-Val 1° Rate
0.05~10.0 Hz
D>0E~D0<E
30 StChorus
M-Val 2
Balance
This is a stereo chorus.
PITCH SHIFT (TRANSPOSITION) EFFECTS
M-Val 1
M-Val 2° Balance
Rate
0.05~10.0 Hz
D>0E~D0<E
31 Space D
M-Val 1
M-Val 2° Coarse2
Coarse1
-24 ~0~ +12
-24 ~0~ +12
44 2PitchSh
Space-D is a multiple chorus that applies two-phase modulation in
stereo. It gives no impression of modulation, but produces a trans-
parent chorus effect (the perfect “stereo maker”).
A Pitch Shifter shifts the pitch of the original sound. This 2-voice
effect has two pitch shifters, and can add two pitch shifted sounds to
the original sound.
M-Val 1
M-Val 2° Balance
Cho. Rate 0.05~10.0 Hz
D>0E~D0<E
32 3DChorus
M-Val 1° Coarse1
M-Val 2 Feedback –98% ~+98%
–24 ~0~ +12
45 Fb P.Shf
This applies a 3D effect to the chorus sound. The chorus sound will be
positioned 90 degrees left and 90 degrees right.
OTHER EFFECTS
46 3D Auto
M-Val 1° Speed
M-Val 2 Turn
0.05~10.0 Hz
Effect on/off
DELAY & REVERB EFFECTS
“D” means dry (no effect), while “E” means only effect (no unproc-
essed signal).
The 3D Auto effect moves the location of the sound. This effect is
derived from Roland’s 3-D Sound Space technology (RSS).
M-Val 1
M-Val 2° Balance
Feedback -98% ~+98%
D>0E~D0<E
33 St Delay
M-Val 1° Azimuth
M-Val 2 Level
180/L168~0~R168
0~127
47 3DManual
Delay is an effect that allows you repeat the input signal. By increas-
ing the Feedback value (M-Val 1), you can control the number of rep-
etitions. Negative values (–) invert the phase of the repeated signals.
Allows you to manually move the sound in a 3-D sound space.
M-Val 1° Balance
M-Val 2 Pan
D>0E~D0<E
L63 ~0~ R63
48 Lo-Fi 1
M-Val 1
M-Val 2° Balance
Mod Rate 0.05~10.0 Hz
D>0E~D0<E
34 Mod Dly
Lo-Fi 1 is an effect that intentionally degrades the sound quality.
This effect adds modulation to the delayed sound, producing an
effect similar to a Flanger.
M-Val 1° R.Detune 0~127
M-Val 2 Balance D>0E~D0<E
49 Lo-Fi 2
M-Val 1
M-Val 2° Balance
Feedback -98% ~+98%
D>0E~D0<E
Lo-Fi 2 also degrades the sound quality and adds some noise to fur-
ther “worsen” the quality.
35 3Tap Dly
The Triple Tap Delay produces three delay sounds; center, left and
right.
M-Val 1
M-Val 2° ChoBalance D>0E~D0<E
This effect connects an Overdrive and a Chorus in series.
OD Pan
L63 ~0~ R63
50 OD→ Chors
M-Val 1
M-Val 2° Balance
The Quadruple Tap Delay has four delays.
Feedback -98% ~+98%
36 4Tap Dly
D>0E~D0<E
M-Val 1
M-Val 2° FLBalance D>0E~D0<E
This effect connects an Overdrive and a Flanger in series.
OD Pan
L63 ~0~ R63
51 OD→ Flger
M-Val 1° Dly Time
200m-990m/1sec
37 TmCtrDly
M-Val 2
Feedback -98% ~+98%
M-Val 1
M-Val 2° DlyBalance D>0E~D0<E
This effect connects an Overdrive and a Delay in series.
OD Pan
L63 ~0~ R63
52 OD→ Delay
This effect allows you to use M-Val 1 to control the delay time and
pitch in realtime. Lengthening the delay time will lower the pitch,
and shortening it will raise the pitch.
M-Val 1
M-Val 2° ChoBalance D>0E~D0<E
This effect connects a Distortion effect and a Chorus in series.
DS Pan
L63 ~0~ R63
53 DS→ Chors
M-Val 1
M-Val 2° Balance
Time
0~127
D>0E~D0<E
38 Reverb
M-Val 1° Balance
D>0E~D0<E
0~127
39 GteRevNr
(Normal gated reverb)
M-Val 1
M-Val 2° FLBalance D>0E~D0<E
This effect connects a Distortion effect and a Flanger in series.
DS Pan
L63 ~0~ R63
54 DS→ Flger
M-Val 2
Level
Gate Reverb is a special type of reverb in which the reverberant
sound is suddenly cut off (and does not gradually decrease).
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VA-76 – Disk Utility
M-Val 1
M-Val 2° DlyBalance D>0E~D0<E
This effect connects a Distortion effect and a Delay in series.
DS Pan
L63 ~0~ R63
M-Val 1° Wah Man 0~127
M-Val 2 OD Drive 0~127
73 GTRMlt3C
(OD Amp 2-Stk)
55 DS→ Delay
M-Val 1° Wah Man 0~127
74 GTRMlt3D
(OD Amp 3-Stk)
M-Val 2
OD Drive
0~127
M-Val 1
M-Val 2° ChoBalance D>0E~D0<E
This effect connects an Enhancer and a Chorus in series.
EH Sens
0~127
56 EH→ Chors
M-Val 1° CF Mix
M-Val 2 Dly Mix
0~127
0~127
75 ClGtMlt1
Clean Guitar Multi 1 connects Compressor, Equalizer, Chorus (CF),
and Delay (Dly) effects in series.
M-Val 1
M-Val 2° FLBalance D>0E~D0<E
This effect connects an Enhancer and a Flanger in series.
EH Sens
0~127
57 EH→ Flger
M-Val 1° AW Man
M-Val 2 Dly Mix
0~127
0~127
76 ClGtMlt2
Dly Time value 60m
M-Val 1
M-Val 2° DlyBalance D>0E~D0<E
This effect connects an Enhancer and a Delay in series.
EH Sens
0~127
58 EH→ Delay
Clean Guitar Multi 2 provides Auto-wah (AW), Equalizer, Chorus, and
Delay (Dly) effects connected in series.
M-Val 1° OD Drive
M-Val 2 CF Mix
0~127
0~127
77 BassMlti
M-Val 1
ChoBalance D>0E~D0<E
59 Cho→ Dly
M-Val 2° DlyBalance D>0E~D0<E
Bass Multi provides Compressor, Overdrive (OD), Equalizer, and Cho-
rus (CF) effects connected in series.
This effect connects a Chorus and a Delay in series.
M-Val 1
M-Val 2° DlyBalance D>0E~D0<E
This effect connects a Flanger and a Delay in series.
FL Fb
–98% ~+98%
60 FL→ Delay
M-Val 1
M-Val 2° TP ModDep 0~127
TP ModRT 0.05~6.40 Hz
78 RhodMlt1
(Pan)
Rhodes Multi 1 provides Enhancer, Phaser, Chorus, and Pan (TP)
effects connected in series.
M-Val 1° ChoBalance D>0E~D0<E
M-Val 2 FLBalance D>0E~D0<E
This effect connects a Chorus and a Flanger in series.
61 Cho→ Flgr
M-Val 1
M-Val 2° TP ModDep 0~127
TP ModRT 0.05~6.40 Hz
79 RhodMlt2
(Tremolo)
M-Val 1° OD Drive
*M-Val 2 RT Speed
0~127
Slow/Fast
62 RotarMlt
Rhodes Multi 2 provides Enhancer, Phaser, Chorus, and Tremolo (TP)
effects connected in series.
This connects Overdrive (OD), 3-band equalizer (EQ), and Rotary (RT)
effects in series.
M-Val 1
M-Val 2
RM ModFrq 0~127
RMBalance D>0E~D0<E
80 KeybMlti
(Tremolo)
M-Val 1° OD Drive
M-Val 2 Dly Mix
0~127
0~127
63 GTRMlt1A
(OD Amp Small)
Keyboard Multi provides Ring Modulator (RM), Equalizer, Pitch
Shifter, Phaser, and Delay effects connected in series.
Guitar Multi 1 algorithms connect Compressor, Overdrive (OD), Cho-
rus, and Delay effects in series. Different amp types are available (see
below) so choose your Type with care.
EFFECTS CONNECTED IN PARALLEL
M-Val 1° OD Drive
M-Val 2 Dly Mix
0~127
0~127
64 GTRMlt1B
(OD Amp BltIn)
M-Val 1
M-Val 2° DlyBalance D>0E~D0<E
This effect connects a Chorus and a Delay in parallel.
ChoBalance D>0E~D0<E
81 Cho/Dly
M-Val 1° OD Drive
M-Val 2 Dly Mix
0~127
0~127
65 GTRMlt1C
(OD Amp 2-Stk)
M-Val 1
M-Val 2° DlyBalance D>0E~D0<E
This effect connects a Flanger and a Delay in parallel.
FLBalance D>0E~D0<E
82 FL/Delay
M-Val 1° OD Drive
0~127
0~127
66 GTRMlt1D
(OD Amp 3-Stk)
M-Val 2
Dly Mix
M-Val 1
OD Drive
0~127
0~127
67 GTRMlt2A
(OD Amp Small)
M-Val 1
M-Val 2° FLBalance D>0E~D0<E
This effect connects a Flanger and a Chorus in parallel.
ChoBalance D>0E~D0<E
83 Cho/Flgr
M-Val 2° CF Mix
Guitar Multi 2 algorithms provide Compressor, Overdrive (OD),
Equalizer, and Chorus or Flanger (CF) effects connected in series.
M-Val 1
M-Val 2° OD2 Drive 0~127
OD1 Drive 0~127
84 OD1/OD2
85 OD/Rotar
86 OD/Phase
M-Val 1
M-Val 2° CF Mix
OD Drive
0~127
0~127
68 GTRMlt2B
(OD Amp BltIn)
M-Val 1
OD Drive
0~127
M-Val 1
M-Val 2° CF Mix
OD Drive
0~127
0~127
69 GTRMlt2C
(OD Amp 2-Stk)
*M-Val 2° RTRT Speed Slow/Fast
M-Val 1
M-Val 2° PH Rate
OD Drive
0~127
M-Val 1
M-Val 2° CF Mix
OD Drive
0~127
0~127
70 GTRMlt2D
(OD Amp 3-Stk)
0.05~10.0 Hz
M-Val 1
M-Val 2° AW Man
OD Drive
0~127
0~127
87 OD/AtWah
(Overdrive + Auto Wah)
M-Val 1° Wah Man 0~127
M-Val 2 OD Drive 0~127
71 GTRMlt3A
(OD Amp Small)
M-Val 1
*M-Val 2° RT Speed
PH Rate
0.05~10.0 Hz
Slow/Fast
88 PH/Rotar
Guitar Multi 3 connects WahWah (Wah), Overdrive (OD), Chorus (CF),
and Delay effects in series.
M-Val 1
M-Val 2° AW Man
PH Rate
0.05~10.0 Hz
0~127
89 PH/AtWah
M-Val 1° Wah Man 0~127
M-Val 2 OD Drive 0~127
72 GTRMlt3B
(OD Amp BltIn)
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18. Reference
18.1 Tones
VA-76 Tones (Tone Map 4)
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
A11
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
0
1
2
8
9
16
24
25
26
27
45
46
47
126
127
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Piano 1
11 26
12 26
13 26
14 26 126
15 26 127
50
51
52
4
4
4
4
4
V AcGuitar 3
V Ac.GtrHrm
v Steel.Gt
Picked Bass
Syn Brass 2
14
15
16
8
8
8
39
126
127
4
4
4
Pulse Clav
E.Piano 1
Honkytonk
A32
18
18
18
18
18
18
18
18
18
18
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Organ 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
UprightPiano
Mild Piano
Piano 1w
1
2
3
4
5
6
7
8
9
Jazz Organ
E.Organ 16+2
Jazz Organ 2
Jazz Organ 3
Jazz Organ 4
Jazz Organ 5
Jazz Organ 6
Chorus Or.2
Octave Organ
Perc. Organ
Perc.Organ 2
Perc.Organ 3
Perc.Organ 4
Slap Bass 1
Mild Piano w
European Pf
Piano + Str.
Piano + Str2
Piano+Choir1
Piano+Choir2
MonoAc.Piano
St.AcPiano 2
St.AcPiano 1
Piano 2
A21
9
9
9
9
9
0
1
47
126
127
4
4
4
4
4
Celesta
1
2
3
4
Pop Celesta
CelestaBell
Detuned EP1
Elec Org 1
A43
A44
27
27
27
27
27
27
0
1
8
48
49
50
4
4
4
4
4
4
4
4
Jazz Gt.
1
2
3
4
5
6
7
Mellow Gt.
Pedal Steel
v Jazz Gt.
v Mellow Gt.
v PedalSteel
Picked Bass
Syn Brass 3
9
A22
A23
10
10 126
10 127
0
4
4
4
Glockenspiel
E.Piano 2
Elec Org 2
10 18
11 18
12 18
13 18
14 18 126
15 18 127
32
33
34
35
1
2
27 126
27 127
11
11
11
11 126
11 127
0
1
8
4
4
4
4
4
Music Box
Music Box 2
St.Music Box
Steel Gt.
Acou Piano1
28
28
28
28
28
28
28
28
28
28
0
1
2
3
4
5
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Clean Gt.
Clean Half
1
2
3
4
Harpsi 2
1
2
3
4
5
6
7
8
9
A12
A13
2
2
2
2
2
2
2
2
0
1
2
8
9
16
126
127
4
4
4
4
4
4
4
4
Piano 2
Open Hard 1
Open Hard 2
JC Clean Gt.
Atk CleanGt.
Chorus Gt.
JC Chorus Gt
TC FrontPick
TC Rear Pick
TC Clean ff
TC Clean 2 :
LP Rear Pick
LP Rear 2
LP RearAtack
Mid Tone GTR
Chung Ruan
Chung Ruan 2
v Clean Gt.
v Clean Half
v OpenHard1
v OpenHard2
v JC CleanGt
v AtkCleanGt
v Chorus Gt.
v JC ChorusGt
v TC FrntPick
v TC RearPk
v TC Cln ff
1
2
3
4
5
6
7
Pop Piano
Rock Piano
Piano 2w
Rock Piano w
Dance Piano
Piano 2
A33
19
19
19
19
19
19
19
0
8
16
17
18
24
47
4
4
4
4
4
4
4
4
4
Organ 3
Elec Org 3
1
2
3
4
5
6
7
8
Rotary Org.
Rotary Org.S
Rock Organ 1
Rock Organ 2
Rotary Org.F
L-Organ
A24
A25
12
12
12
12
12 126
12 127
0
1
8
9
4
4
4
4
4
4
Vibraphone
Pop Vibe.
Vibraphone w
Vibraphones
Steel Gt.
1
2
3
4
5
16
17
18
19
20
21
22
23
24
25
48
49
50
51
52
53
54
55
56
57
58
59
60
61
Acou Piano2
19 126
19 127
Slap Bass 1
Harpsi 3
3
3
3
3
3
3
3
0
1
2
4
4
4
4
4
4
4
Piano 3
10 28
11 28
12 28
13 28
14 28
15 28
16 28
17 28
18 28
19 28
20 28
21 28
22 28
23 28
24 28
25 28
26 28
27 28
28 28
29 28
30 28
31 28
Elec Org 4
1
2
3
4
5
6
EG+Rhodes 1
EG+Rhodes 2
Piano 3w
StackedPiano
Piano 2
13
13
13
13
13
13 126
13 127
0
8
16
17
24
4
4
4
4
4
4
4
Marimba
Marimba w
Barafon
Barafon 2
Log drum
12-str.Gt
A34
20
20
20
20
20
20
0
8
16
24
32
33
4
4
4
4
4
4
4
4
Church Org.1
Church Org.2
Church Org.3
Organ Flute
Trem.Flute
Theater Org.
Slap Bass 2
Clavi 1
1
2
3
4
5
6
8
1
2
3
4
5
6
7
47
126
127
Acou Piano3
A14
A15
4
4
4
4
0
8
126
127
4
4
4
4
Honky-tonk
Honky-tonk 2
Honky-tonk
Elec Piano1
Pipe Org 1
20 126
20 127
1
2
3
A26
A27
14
14
14 126
14 127
0
8
4
4
4
4
Xylophone
Xylophone w
Funk Gt.
1
2
3
A35
A36
21
21
21
21 126
21 127
0
8
16
4
4
4
4
4
Reed Organ
Wind Organ
Puff Organ
Slap Bass 2
Clavi 2
1
2
3
4
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
0
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
E.Piano 1
St.Soft EP
Cho. E.Piano
SilentRhodes
FM+SA EP
Dist E.Piano
Wurly
Hard Rhodes
MellowRhodes
PhaseRhodes
SA EPiano
DynoRhodes2
DynoRhodes1
Piano 1
Pipe Org 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
15
15
15
15
15 126
15 127
0
8
9
10
16
4
4
4
4
4
4
4
Tubular-bell
Church Bell
Carillon
Church Bell2
Tubularbellw
Muted Gt.
Pipe Org 3
1
2
3
4
5
6
10
16
17
24
25
26
44
45
46
47
126
127
22
22
22
22
22
22
22
0
8
9
16
24
25
47
4
4
4
4
4
4
4
4
4
Accordion Fr
Accordion It
Dist. Accord
Cho. Accord
Hard Accord
Soft Accord
It Muset
1
2
3
4
5
6
7
8
v LP Rear Pk
v LP Rear 2
v LP RearAtk
Fretless Bs
32 28 126
33 28 127
A28
16
16
16
16
16
16
16
0
1
2
4
4
4
4
4
4
4
4
4
Santur
Syn Brass 4
1
2
3
4
5
6
7
8
Santur 2
Santur 3
Cimbalom
Zither 1
22 126
22 127
Slap Bass 2
Clavi 3
A45
29
29
29
29
29
29
29
29
29
29
0
1
2
8
16
24
48
49
50
51
52
4
4
4
4
4
4
4
4
4
4
4
4
4
Muted Gt.
8
1
2
3
4
5
6
7
8
9
Muted Dis.Gt
TC Muted Gt.
Funk Pop
Funk Gt.2
Jazz Man
v Muted Gt.
v MuteDistGt
v TC MutedGt
v Funk Pop
v Funk Gt.2
Acoustic Bs
Syn Bass 1
16
17
24
Elec Piano2
A37
23
23
23
23
23 126
23 127
0
1
8
9
4
4
4
4
4
4
Harmonica
Harmonica 2
B.Harp Basic
B.Harp Suppl
Slap Bass 2
Celesta 1
Zither 2
1
2
3
4
5
Dulcimer
Slap Bass 1
Accordion
A16
6
6
6
6
6
6
6
6
6
6
6
0
1
8
4
4
4
4
4
4
4
4
4
4
4
E.Piano 2
E.Piano 3
16 126
16 127
1
2
3
4
5
6
7
8
9
Detuned EP 2
Detuned EP 3
EP Legend
St.FM EP
Hard FM EP
EP Phase
Stack Epiano
Piano 2
Elec Piano3
9
A31
17
17
17
17
17
17
17
17
17
17
0
1
2
3
4
5
6
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Organ 1
10
16
24
32
47
126
127
1
2
3
4
5
6
7
8
9
Organ 101
Ful Organ 1
Ful Organ 2
Ful Organ 3
Ful Organ 4
Ful Organ 5
Ful Organ 6
Trem. Organ
Organ o
Ful Organ 7
Ful Organ 8
Ful Organ 9
60's Organ 1
60's Organ 2
60's Organ 3
Farf Organ
Cheese Organ
D-50 Organ
JUNO Organ
Hybrid Organ
VS Organ
Digi Church
JX8 Organ
FM Organ
70's E.Organ
Even Bar
Organ Bass
5th Organ
Slap Bass 1
Harpsi 1
A38
A41
24
24
24
24 126
24 127
0
8
16
4
4
4
4
4
Bandoneon
Bandoneon 2
Bandoneon 3
Fingered Bs
Celesta 2
1
2
3
4
10 29
11 29 126
12 29 127
10
A46
30
30
30
30
30
30
30
30
30
30
0
1
2
3
4
5
8
9
10
11
12
48
49
50
51
52
53
54
55
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Overdrive Gt
Overdrive 2
Overdrive 3
More Drive
Guitar Pinch
Attack Drive
LP OverDrvGt
LP OverDrv :
LP Half Drv
LP Half Drv2
LP Chorus
v Overdrv Gt
v Overdrive2
v Overdrive3
v MoreDrive
v LP OvDrvGt
v LP HalfDrv
vLP HalfDrv2
v LP Chorus
Choir Aahs
25
25
25
25
25
25
25
25
25
25
0
8
4
4
4
4
4
4
4
4
4
4
4
4
4
Nylon-str.Gt
Ukulele
Nylon Gt.o
Velo Harmnix
Nylon Gt.2
Requint Gt.
V Fl.Gtr 1
V Fl.Gtr 2
V Fl.Gtr 3
V Fl.GtrRoll
V Requint Gt2
Fingered Bs
Syn Brass 1
1
2
3
4
5
6
7
8
9
8
9
A17
7
7
7
7
7
7
7
7
7
0
1
2
4
4
4
4
4
4
4
4
4
Harpsichord
Harpsichord2
Harpsichord3
Coupled Hps.
Harpsi.w
Harpsi.o
Synth Harpsi
Piano 2
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
16
24
32
40
48
49
50
51
52
10 17
11 17
12 17
13 17
14 17
15 17
16 17
17 17
18 17
19 17
20 17
21 17
22 17
23 17
24 17
25 17
26 17
27 17
28 17
10
11
12
16
17
18
19
24
25
26
27
28
29
30
31
32
33
40
48
8
16
24
32
126
127
Elec Piano4
10 30
11 30
12 30
13 30
14 30
15 30
16 30
17 30
18 30
10 25
11 25 126
12 25 127
A18
8
8
8
8
8
8
8
8
8
8
8
8
8
8
0
1
2
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Clav.
Clav. 2
1
2
3
4
5
6
7
8
9
10
11
12
13
Atk Clav.1
Atk Clav.2
Comp Clav.
Reso Clav.
Phase Clav
Clav.o
Analog Clav.
JP8 Clav. 1
JP8 Clav. 2
SynRingClav.
SynDistClav.
JP8000 Clav.
A42
26
26
26
26
26
26
26
26
26
26
0
8
9
4
4
4
4
4
4
4
4
4
4
4
Steel-str.Gt
12-str.Gt
Nylon+Steel
Atk Steel Gt
Mandolin
Mandolin 2
MandolinTrem
Steel Gt.2
Steel + Body
V AcGuitar 1
V AcGuitar 2
8
1
2
3
4
5
6
7
8
9
16
17
24
32
33
35
36
37
38
10
16
17
18
32
33
48
49
19 30 126
20 30 127
Syn Bass 2
A47
31
31
31
0
1
2
4
4
4
DistortionGt
Dist. Gt2 :
Dazed Guitar
29 17 126
30 17 127
1
2
10 26
222
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VA-76 – Tones
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
2
3
4
5
6
7
8
9
39
39
39
39
39
39
39
39
2
3
4
5
6
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
CS Bass
JP-4 Bass
JP-8 Bass
P5 Bass
JPMG Bass
Acid Bass
TB303 Bass
Tekno Bass
TB303 Bass 2
Kicked TB303
TB303 Saw Bs
Rubber303 Bs
Reso 303 Bs
Reso SH Bass
TB303 Sqr Bs
TB303 DistBs
Clavi Bass
A64
44
44 126
44 127
0
4
4
4
Contrabass
Organ 2
Echo Pan
5
6
7
8
9
52
52
52
52
52
5
6
7
8
9
4
4
4
4
4
4
4
4
Hybrid Str.2
DistStrings
JUNOFullStr.
Air Strings
Atk Syn Str.
StraightStr.
Trombone
Pizzicato
3
4
5
6
7
8
9
31
31
31
31
31
31
31
3
4
5
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Distortion :
Dist.Fast :
1
2
Attack Dist
Feedback Gt.
Feedback Gt2
Power Guitar
Power Gt.2
5th Dist.
Rock Rhythm
Rock Rhythm2
Dist Rtm GTR
v Dist.Gt
v Dazed Gtr
v FeedbackGt
v Feedbk Gt2
v Power Gtr
v Power Gt.2
v 5th Dist.
v RockRhythm
vRockRhythm2
Choir Aahs
A65
45
45
45
45
45
45 126
45 127
0
2
8
9
10
4
4
4
4
4
4
4
Tremolo Str
Trem Str.St.
Slow Tremolo
Suspense Str
SuspenseStr2
Organ 2
9
1
2
3
4
5
6
10 52
11 52 126
12 52 127
10
16
17
18
24
25
26
48
49
50
51
52
53
54
55
56
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
32
33
34
35
36
40
41
42
43
44
10 31
11 31
12 31
13 31
14 31
15 31
16 31
17 31
18 31
19 31
20 31
21 31
22 31
10 39
11 39
12 39
13 39
14 39
15 39
16 39
17 39
18 39
19 39
20 39
21 39
22 39
23 39
24 39
25 39
26 39
27 39
28 39
29 39
30 39
31 39
32 39
33 39
A75
53
53
53
53
53
53
53
53
53
53
0
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Choir Aahs
Doctor Solo
1
2
3
4
5
6
7
8
9
St.ChoirAahs
Melted Choir
Church Choir
Boys Choir 1
Boys Choir 2
St.BoysChoir
Rich Choir
A66
46
46
46
46
46
46
46
0
1
2
3
8
16
17
4
4
4
4
4
4
4
4
4
PizzicatoStr
Vcs&Cbs Pizz
Chamber Pizz
St.Pizzicato
Solo Pizz.
Solo Spic.
StringsSpic.
Organ 2
10
11
12
13
14
16
24
32
33
48
49
50
51
52
53
54
1
2
3
4
5
6
7
8
Choir Hahs
Hammer
Chorus Lahs
Chorus Aahs
Male Aah+Str
v Choir Aahs
v Melted Choir
v Church Chr
v Choir Hahs
v ChorusLahs
v ChorusAahs
vMaleAah+Str
Trombone
Jungle Bass
Square Bass
Square Bass2
Arpeggio Bs
Hit&Saw Bass
Ring Bass
AtkSineBass
OB sine Bass
Auxiliary Bs
303SqDistBs
303SqDistBs2
303SqDistBs3
303Sqr.Rev
TeeBee
46 126
46 127
10 53
11 53
12 53
13 53
14 53
15 53
16 53
17 53
18 53
School Daze
23 31 126
24 31 127
Syn Bass 3
A67
47
47
47
47
47
47
47
47
0
1
2
4
4
4
4
4
4
4
4
4
4
Harp
Harp&Strings
Harp St.
Uillean Harp
Synth Harp
Yang Qin
Yang Qin 2
SynthYangQin
Trumpet
1
2
3
4
5
6
7
8
9
A48
32
32
32
32
32
32
32
32
32
0
8
9
16
24
48
49
50
51
4
4
4
4
4
4
4
4
4
4
4
Gt.Harmonics
Gt. Feedback
Gt.Feedback2
Ac.Gt.Harmnx
E.Bass Harm.
v Gt. Feedbk
v Gt.Feedbk2
v AcGtHarmnx
v E.Bass Harm
Choir Aahs
1
2
3
4
5
6
7
8
9
8
16
24
25
26
19 53 126
20 53 127
Violin 1
47 126
47 127
Bellsinger
A76
54
54
54
54
54
54
54
54
54
54
0
1
2
3
4
5
6
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Voice Oohs
1
2
3
4
5
6
7
8
9
Chorus Oohs
Voice Oohs 2
Chorus Oohs2
OohsCodeMaj7
OohsCodeSus4
Jazz Scat
Voice Dahs
JzVoice Dat
JzVoice Bap
JzVoice Dow
JzVoice Thum
VoiceLah Fem
ChorusLahFem
VoiceLuh Fem
ChorusLuhFem
VoiceLan Fem
ChorusLanFem
VoiceAah Fem
VoiceUuh Fem
Fem Lah&Lan
VoiceWah Mal
ChorusWahMal
VoiceWoh Mal
ChorusWohMal
VoiceAah Mal
VoiceOoh Mal
Humming
34 39 126
35 39 127
Organ 1
Warm Bell
32 126
A68
A71
48
48 126
48 127
0
4
4
4
Timpani
Trumpet
Square Wave
10 32 127
Syn Bass 4
1
2
A58
40
40
40
40
40
40
40
40
40
40
0
1
2
3
4
5
6
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Synth Bass 2
SynthBass201
Modular Bass
Seq Bass
A51
33
33
33
33
33
33
33
33
33
33
0
1
8
9
16
17
45
46
47
48
49
50
51
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Acoustic Bs.
Rockabilly
Wild A.Bass
Atk A.Bass
Bass + OHH
Bass + Ride
AcBass 55
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
49
49
49
49
49
49
49
49
49
49
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Strings
1
2
3
4
5
6
7
8
9
Bright Str :
ChamberStr
Cello sect.
Bright Str.2
Bright Str.3
Quad Strings
Mild Strings
Orchestra
Orchestra 2
Tremolo Orch
Choir Str.
Strings+Horn
Str.+Flute
9
MG Bass
10
11
12
16
17
18
19
20
21
22
23
24
32
33
34
35
36
37
40
48
49
50
51
52
53
54
55
56
Mg Oct Bass1
MG Oct Bass2
MG Blip Bs :
Beef FM Bass
Dly Bass
X Wire Bass
WireStr Bass
Blip Bass :
RubberBass 1
Syn Bell Bs
Odd Bass
RubberBass 2
SH101 Bass 1
SH101 Bass 2
Smooth Bass
SH101 Bass 3
Spike Bass
House Bass :
KG Bass
Sync Bass
MG 5th Bass
RND Bass
WowMG Bass
Bubble Bass
Attack Pulse
Sync Bass 2
Pulse Mix Bs
MG Dist Bass
Seq Bass 2
10 54
11 54
12 54
13 54
14 54
15 54
16 54
17 54
18 54
19 54
20 54
21 54
22 54
23 54
24 54
25 54
26 54
27 54
28 54
29 54
30 54
31 54
32 54
33 54
34 54
35 54
36 54
AcBass 88Pro
AcBass 88
8
9
V Guitaron
vAcoustic Bs.
v Rockabilly
v Wild A.Bs
Choir Aahs
Fantasy
10 40
11 40
12 40
13 40
14 40
15 40
16 40
17 40
18 40
19 40
20 40
21 40
22 40
23 40
24 40
25 40
26 40
27 40
28 40
29 40
30 40
31 40
32 40
33 40
34 40
35 40
36 40
37 40
38 40
39 40
40 40
41 40
42 40
43 40
44 40
45 40
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
45
46
47
10 33
11 33
12 33
13 33 126
14 33 127
9
10 49
11 49
12 49
13 49
14 49
15 49
16 49
17 49
18 49
19 49
20 49
21 49
22 49
23 49
24 49
25 49
10
11
12
13
14
15
16
17
18
19
20
24
32
33
34
40
Choir Str.2
Choir Str.3
St. Strings
A52
34
34
34
34
34
34
34
34
34
34
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
Fingered Bs.
Fingered Bs2
Jazz Bass
Jazz Bass 2
Rock Bass
Heart Bass
AttackFinger
Finger Slap
ChorusJazzBs
F.Bass/Harm.
V BabyBass
SlowStrings
Harmo Pan
1
2
3
4
5
6
7
8
9
St.Strings 2
St.Strings 3
Orchestra 3
Orchestra 4
Velo Strings
Oct Strings1
Oct Strings2
ContraBsSect
60s Strings
Trombone
Str Sect 1
v Voice Oohs
v VoiceOohs 2
v OohsMaj7
16
48
10 34
11 34 126
12 34 127
v OohsSus4
26 49 126
27 49 127
v Voice Dahs
v JzVoiceDat
v JzVoiceBap
v JzVoiceDow
v JzVox Thum
Trombone
A53
A54
A55
35
35
35
35
35
35
35
0
1
2
3
4
8
16
4
4
4
4
4
4
4
4
4
Picked Bass
Picked Bass2
Picked Bass3
Picked Bass4
Double Pick
Muted PickBs
P.Bass/Harm.
Strings
A72
50
50
50
50
50
50
50
50
50
0
1
2
8
9
10
11
12
13
4
4
4
4
4
4
4
4
4
4
4
Slow Strings
SlowStrings2
SlowStrings3
Legato Str.
Warm Strings
St.Slow Str.
St.Slow Str2
S.Str+Choir
S.Str+Choir2
Trombone
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
9
37 54 126
38 54 127
Violin 2
3rd Bass
MG Oct Bass
SlowEnvBass
Mild Bass
DistEnvBass
MG LightBass
DistSynBass
Rise Bass
Cyber Bass
LightSynBass
PopSynthBass
101 Bass
A77
55
55
55
55
55
55
55
55
55
55
0
1
2
8
9
10
16
17
18
19
4
4
4
4
4
4
4
4
4
4
4
4
SynVox
1
2
3
4
5
6
7
8
9
SynVox 2
SynVox 3
Syn.Voice
Silent Night
Syn.Voice 2
VP330 Choir
Vinyl Choir
JX8P Vox
Analog Voice
Alto Sax
35 126
35 127
Chorale
50 126
36
36
36
36
36
36
36
0
1
2
3
4
5
8
4
4
4
4
4
4
4
4
4
Fretless Bs.
Fretless Bs2
Fretless Bs3
Fretless Bs4
Syn Fretless
Mr.Smooth
Wood+FlessBs
SynStrings3
Glasses
10 50 127
Str Sect 2
1
2
3
4
5
6
7
8
A73
51
51
51
51
51
51
51
51
51
51
0
1
2
3
4
8
9
10
11
12
16
17
24
25
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Syn.Strings1
OB Strings
StackStrings
JP Strings
1
2
3
4
5
6
7
8
9
10 55 126
11 55 127
46 40 126
47 40 127
Organ 1
Funny Vox
Chorus Str.
Syn.Strings3
Syn.Strings4
Syn.Strings6
Syn.Strings7
LoFi Strings
High Strings
Hybrid Str.
Tron Strings
Noiz Strings
Trombone
Str Sect 3
Cello 1
36 126
36 127
A78
56
56
56
56
56
56
56
56
56
56
0
1
2
3
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
OrchestraHit
Bass Hit
6th Hit
A61
41
41
41
41 126
41 127
0
1
8
4
4
4
4
4
Violin :
1
2
3
4
5
6
7
8
9
37
37
37
37
37 126
37 127
0
1
8
9
4
4
4
4
4
4
Slap Bass 1
Slap Pop
Reso Slap
Unison Slap
SynStrings3
Soundtrack
1
2
3
4
Violin Atk :
Slow Violin
Organ 2
1
2
3
4
5
Euro Hit
10 51
11 51
12 51
13 51
14 51 126
15 51 127
Impact Hit
Philly Hit
Double Hit
Perc. Hit
Shock Wave
Bounce Hit
Drill Hit
Thrill Hit
Lo Fi Rave
Techno Hit
Dist. Hit
Echo Bell
9
10
11
12
13
14
15
16
17
18
A62
A63
42
42
42 126
42 127
0
1
4
4
4
4
Viola :
1
2
3
Viola Atk. :
Organ 1
Ice Rain
A56
A57
38
38
38
38 126
38 127
0
1
8
4
4
4
4
4
Slap Bass 2
Slap Bass 3
FM Slap
Organ 1
Atmosphere
1
2
3
4
10 56
11 56
12 56
13 56
14 56
A74
52
52
52
52
52
0
1
2
3
4
4
4
4
4
4
Syn.Strings2
Syn.Strings5
JUNO Strings
FilteredOrch
JP Saw Str.
43
43
43 126
43 127
0
1
4
4
4
4
Cello :
Cello Atk. :
Organ 1
1
2
3
4
1
2
3
39
39
0
1
4
4
Synth Bass 1
SynthBass101
Oboe 2001
1
223
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VA-76 Owner’s Manual—Reference
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15 56
16 56
17 56
18 56
19 56
20 56
21 56
22 56
23 56
19
20
21
22
23
24
25
26
27
4
4
4
4
4
4
4
4
4
4
4
Bam Hit
Bit Hit
Bim Hit
Technorg Hit
Rave Hit
Strings Hit
Stack Hit
Industry Hit
Clap Hit
19 62
20 62
21 62
22 62
23 62
24 62
25 62
26 62
36
37
38
43
44
45
46
47
4
4
4
4
4
4
4
4
4
4
St.Orch Brs
St.Orch Brs2
St.Orch Brs3
Brass Sect 5
Brass Sect 4
Brass Sect 3
Brass Sect 2
Brass Sect 1
Brass 2
2
3
4
5
6
7
8
9
74
74
74
74
74
74
74
74
2
3
8
4
4
4
4
4
4
4
4
4
4
4
Flute Exp.
Flt Travelso
Flute + Vln
Pipe & Reed
Tron Flute
Indian Flute
v Flute
v Flute Exp.
v Flt Travelso
v Tron Flute
Flute 2
23 82
24 82
25 82
26 82
27 82
28 82
29 82
30 82
31 82
32 82
33 82
34 82
35 82
36 82
37 82
38 82
39 82
40 82
41 82
28
29
30
31
32
33
34
35
36
38
39
40
41
42
43
44
45
46
47
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
D-50 Saw
SH-101 Saw
CS Saw
9
MG Saw Lead
OB Saw Lead
P5 Saw Lead
MG unison
Oct Saw Lead
Natural Lead
Synchronized
MG SawLead 2
SequenceSaw1
SequenceSaw2
Reso Saw
Cheese Saw 1
Cheese Saw 2
Rhythmic Saw
SequencedSaw
Techno Saw
Sax 4
16
17
48
49
50
51
27 62 126
28 62 127
10 74
11 74
12 74 127
24 56 126
25 56 127
Tenor Sax
Cello 2
Elec Gtr 1
A87
63
63
63
63
63
63
63
63
63
63
0
1
2
3
4
5
8
9
10
16
17
18
19
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Synth Brass1
JUNO Brass
Stack Brass
SH-5 Brass
MKS Brass
Jump Brass
Pro Brass
1
2
3
4
5
6
7
8
9
B23
B24
75
75 127
0
4
4
Recorder
Piccolo 1
A81
57
57
57
57
57
57
57
57
57
57
0
1
2
3
4
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Trumpet
Trumpet 2
Trumpet :
1
1
2
3
4
5
6
7
8
9
76
76
76
76
76
76
76
76
76
0
8
4
4
4
4
4
4
4
4
4
4
Pan Flute
Kawala
Zampona
Zampona Atk
Tin Whistle
TinWhtsle Nm
TinWhtsle Or
TinWhistle2
PanPipe2
Dark Trumpet
Trumpet & Nz
Flugel Horn
4th Trumpets
Bright Tp.
Warm Tp.
Warm Tp.2
Twin Tp.
1
2
3
4
5
6
7
8
9
16
17
24
25
26
46
47
P5 Brass
16
24
25
26
27
32
47
48
49
50
51
52
53
54
55
56
OrchSynBrass
Oct SynBrass
Hybrid Brass
OctSynBrass2
BPF Brass
Brass 1
Elec Gtr 2
42 82 127
10 63
11 63
12 63
13 63 126
14 63 127
B33
B34
83
83
83
83
83
0
1
2
8
9
4
4
4
4
4
4
Syn.Calliope
Vent Synth
Pure PanLead
LM Pure Lead
LM Blow Lead
Clarinet 1
1
2
3
4
5
10 57
11 57
12 57
13 57
14 57
15 57
16 57
17 57
18 57
19 57
20 57
21 57
Syn. Trumpet
Atk Trumpet
V Trumpet
76 127
Piccolo 2
B25
B26
B27
77
77
77
0
46
47
4
4
4
4
Bottle Blow
The Bottle
BottleBlow2
Recorder
83 127
V Romantc Tp
V Mariachi Tp
V Rom/Mar Tp
V Tp Mar/Shk
V Tp Shake
v Trumpet 2
v Flugel Horn
v 4th Tpts
1
2
3
A88
64
64
64
64
64
64
64
64
64
64
0
1
2
3
4
5
6
8
9
10
11
12
16
17
46
47
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Synth Brass2
Soft Brass
Warm Brass
Synth Brass3
Sync Brass
Fat SynBrass
DeepSynBrass
SynBrass sfz
OB Brass
Reso Brass
DistSqrBrass
JP8000SawBrs
Velo Brass 1
Transbrass
SoaringHorns
Henry IV
1
2
3
4
5
6
7
8
9
84
84
84
84
84
84
84
84
84
84
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
Chiffer Lead
TB Lead
77 127
1
2
3
4
5
6
7
8
9
Hybrid Lead
Unison SqrLd
FatSolo Lead
ForcefulLead
Oct.UnisonLd
Unison SawLd
Mad Lead
CrowdingLead
Double Sqr.
PureFlatLead
Clarinet 2
78
78
78
0
1
47
4
4
4
4
Shakuhachi
Shakuhachi :
ShakuBamboo
Pan Pipes
1
2
3
78 127
22 57 126
23 57 127
BaritoneSax
Contrabass
79
79
79 127
0
1
4
4
4
Whistle
Whistle 2
Sax 1
1
2
10 64
11 64
12 64
13 64
14 64
15 64
9
10
47
A82
58
58
58
58
58
58
58
58
58
58
0
1
2
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Trombone
Trombone 2
Twin bones
Bones & Tuba
Bright Tb
Bs. Trombone
Euphonium
v Trombone
v Trombone 2
v Twin bones
v Bs. Tbn
10 84
11 84
12 84 127
1
2
3
4
5
6
7
8
9
B28
B31
80
80 127
0
4
4
Ocarina
Sax 2
1
B35
85
85
85
85
85
85
85
85
85
85
0
1
2
3
4
5
6
8
9
10
11
12
16
17
18
19
20
21
22
24
25
26
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Charang
Wire Lead
8
81
81
81
81
81
81
81
81
81
81
0
1
2
3
4
5
6
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Square Wave
MG Square
Hollow Mini
Mellow FM
CC Solo
1
2
3
4
5
6
7
8
9
16 64 126
17 64 127
Orchest.Hit
Sitar
16
48
49
50
51
52
1
2
3
4
5
6
7
8
9
FB.Charang
Fat GR Lead
Windy GR Ld
Mellow GR Ld
GR & Pulse
Dist.Lead
Acid Guitar1
Acid Guitar2
Dance Dst.Gt
DanceDst.Gt2
P5 Sync Lead
Fat SyncLead
Rock Lead
B11
B12
65
65
65 127
0
8
4
4
4
Soprano Sax
Soprano Exp.
Acou Bass 1
1
2
10 58
11 58
12 58 126
13 58 127
Shmoog
v Euphonium
Alto Sax
Harp 1
LM Square
JP8000 TWM
2600 Sine
Sine Lead
KG Lead
Twin Sine
P5 Square
66
66
66
66
66
66
66
0
8
9
16
17
46
47
4
4
4
4
4
4
4
4
Alto Sax
AltoSax Exp.
Grow Sax
AltoSax + Tp
Sax Section
AltoSax Soft
Alto Sax 2
Acou Bass 2
8
9
1
2
3
4
5
6
7
10 85
11 85
12 85
13 85
14 85
15 85
16 85
17 85
18 85
19 85
20 85
21 85
A83
A84
59
59
59
59
59 126
59 127
0
1
8
4
4
4
4
4
4
Tuba
10 81
11 81
12 81
13 81
14 81
15 81
16 81
17 81
18 81
19 81
20 81
21 81
22 81
23 81
24 81
25 81
26 81
27 81
28 81
29 81
30 81
31 81
10
11
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
1
2
3
4
5
Tuba 2
Tuba + Horn
Tuba 3
Brass 1
Harp 2
47
OB Square
JP-8 Square
Dist Square
303SquarDst1
303SquarDst2
303 Mix Sqr
Dual Sqr&Saw
Pulse Lead
JP8 PulseLd1
JP8 PulseLd2
MG Reso. Pls
JP8 PulseLd3
260RingLead
303DistLead
JP8000DistLd
HipHop SinLd
HipHop SqrLd
HipHop PlsLd
Flux Pulse
66 127
5th DecaSync
Dirty Sync
B13
67
67
67
67
67
67
67
67
0
1
8
4
4
4
4
4
4
4
4
4
Tenor Sax
60
60
60
60
60
60
60
0
1
2
3
8
48
49
4
4
4
4
4
4
4
4
4
MutedTrumpet
Cup Mute Tp
MuteTrumpet2
MuteTrumpet3
Muted Horns
V MuteTp1
V MuteTp2
Brass 1
DualSyncLead
LA Brass Ld
JUNO Sub Osc
2600 Sub Osc
JP8000Fd Osc
Oboe
1
2
3
4
5
6
7
8
Tenor Sax :
BreathyTn. :
St.Tenor Sax
Latin Tenor
Tenor Sax F
Blowd Tenor
Super Tenor
Elec Bass 1
1
2
3
4
5
6
7
8
9
44
45
46
47
22 85 127
B36
B37
86
86
86
86
86
0
1
8
9
10
4
4
4
4
4
4
Solo Vox
60 126
60 127
67 127
1
2
3
4
5
Solo Vox 2
Vox Lead
LFO Vox
Vox Lead 2
Engl Horn
Guitar 1
B14
B15
68
68
68
0
1
8
4
4
4
4
Baritone Sax
Bari. Sax :
Bari & Tenor
Elec Bass 2
A85
61
61
61
61
61
61
61
61
0
1
2
3
8
9
16
24
4
4
4
4
4
4
4
4
4
4
French Horns
Fr.Horn 2
1
2
3
1
2
3
4
5
6
7
8
9
Horn + Orche
Wide FreHrns
F.Hrn Slow
Dual Horns
Synth Horn
F.Horn Rip
Brass 2
86 127
68 127
87
87
87
87
87
87
87
87
0
1
2
3
4
5
6
8
4
4
4
4
4
4
4
4
4
5th Saw Wave
Big Fives
5th Lead
5th Ana.Clav
5th Pulse
JP 5th Saw
JP8000 5thFB
4th Lead
69
69
69
0
8
16
4
4
4
4
Oboe
1
2
3
4
5
6
7
8
1
2
3
Oboe Exp.
Multi Reed
Slap Bass 1
32 81 127
Sax 3
B32
82
82
82
82
82
82
82
82
82
82
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Saw Wave
OB2 Saw
Pulse Saw
Feline GR
Big Lead
Velo Lead
GR-300
LA Saw
Doctor Solo
Fat Saw Lead
JP8000 Saw
D-50 Fat Saw
OB DoubleSaw
JP DoubleSaw
FatSawLead 2
JP SuperSaw
Waspy Synth
PM Lead
CS Saw Lead
MG Saw 1
MG Saw 2
OB Saw 1
69 127
61 126
61 127
1
2
3
4
5
6
7
8
9
Guitar 2
B16
B17
B18
70
70 127
0
4
4
English Horn
Slap Bass 2
1
1
A86
62
62
62
62
62
62
62
62
62
62
0
1
2
3
4
5
8
9
10
12
14
16
17
24
25
26
32
33
35
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Brass 1
Brass ff
Bones Sect.
St. Brass ff
Quad Brass1
Quad Brass2
Brass 2
1
2
3
4
5
6
7
8
9
87 127
Bassoon
71
71 127
0
4
4
Bassoon
Fretless 1
B38
88
88
88
88
88
88
88
88
0
1
2
3
4
5
6
7
4
4
4
4
4
4
4
4
4
Bass & Lead
Big & Raw
1
2
3
4
5
6
7
8
72
72
72
72
0
8
16
17
4
4
4
4
4
Clarinet
Fat & Perky
JUNO Rave
JP8 BsLead 1
JP8 BsLead 2
SH-5 Bs.Lead
Delayed Lead
Harmonica
1
2
3
4
Bs Clarinet
Multi Wind
Quad Wind
Fretless 2
9
10 82
11 82
12 82
13 82
14 82
15 82
16 82
17 82
18 82
19 82
20 82
21 82
22 82
10
11
12
13
14
15
16
17
18
24
25
26
27
Brass 3
Brass sfz
72 127
Brass sfz 2
FatPop Brass
Brass Fall
Trumpet Fall
Octave Brass
Brass + Reed
Fat + Reed
Orch Brass
Orch Brass 2
St.FatPopBrs
10 62
11 62
12 62
13 62
14 62
15 62
16 62
17 62
18 62
B21
B22
73
73
73
73
73
0
1
8
9
16
4
4
4
4
4
4
Piccolo
Piccolo :
Nay
Nay Tremolo
Di
88 127
1
2
3
4
5
B41
89
89
89
89
89
89
89
0
1
2
3
4
5
6
4
4
4
4
4
4
4
Fantasia
1
2
3
4
5
6
Fantasia 2
New Age Pad
Bell Heaven
Fantasia 3
Fantasia 4
After D !
73 127
Flute 1
74
74
0
1
4
4
Flute
Flute 2 :
1
OB Saw 2
224
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VA-76 – Tones
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32Name
102 16 Sweep FX
GBN Var PC CC00 CC32 Name
7
8
9
89
89
89
7
4
4
4
4
4
4
260HarmPad
EP Heaven
HeavenKey
BriteSawKey
VoxKey1
6
7
8
9
96
96
96
96
9
4
4
4
4
4
4
4
4
4
4
Shwimmer
Celestial Pd
Bag Sweep
Sweep Pipe
Sweep Stack
Deep Sweep
Stray Pad
SoftSweep
SawsSweep
Brs Sect 1
16
4
B68
112
112
112
112 16
112 24
112 32
112 33
112 127
0
1
8
4
4
4
4
4
4
4
4
Shanai
Shanai 2
Pungi
Hichiriki
Mizmar
Suona 1
Suona 2
Breathpipe
44
45
46
47
10
11
12
13
14
15
46
47
17 102 17
18 102 18
19 102 19
20 102 20
21 102 21
22 102 22
23 102 23
24 102 24
25 102 25
26 102 26
27 102 27
28 102 28
29 102 29
30 102 30
31 102 31
32 102 32
33 102 127
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
LM Has Come
1
2
3
4
5
6
7
FallinInsect
LFO Oct.Rave
Just Before
RND Fl.Chord
RandomEnding
Random Sine
EatingFilter
Noise&SawHit
Pour Magic
DancingDrill
Dirty Stack
Big Blue
10 89
11 89
12 89 127
10 96
11 96
12 96
13 96
14 96
Trumpet 1
B42
B43
B44
B45
90
90
90
90
90
90
90
90
90
90
0
1
2
3
4
5
6
8
9
10
11
12
13
43
44
45
46
47
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Warm Pad
Thick Matrix
Horn Pad
Rotary Strng
OB Soft Pad
Sine Pad
OB Soft Pad2
Octave Pad
Stack Pad
Human Pad
Sync Brs.Pad
Oct.PWM Pad
JP Soft Pad
PWM Soft Pad
LFO Pad 2
1
2
3
4
5
6
7
8
9
B71
113
113
113
113 10
113 11
113 12
113 13
113 14
113 15
113 16
0
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Tinkle Bell
Bonang
Gender
Gamelan Gong
St.Gamelan
Jang Gu
Jegogan
Jublag
Pemade
RAMA Cymbal
Kajar
15 96 127
1
2
3
4
5
6
7
8
9
B51
97
97
97
97
97
97
97
97
97
97
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
Ice Rain
1
2
3
4
5
6
7
8
9
Harmo Rain
African wood
Anklung Pad
Rattle Pad
Saw Impulse
Strange Str.
FastFWD Pad
Clavi Pad
Static Hit
Atl.Mod.FX
Acid Copter
Glock
10 90
11 90
12 90
13 90
14 90
15 90
16 90
17 90
B57
103
103
103
103
103
103
103
103
103
103
0
1
2
3
4
5
6
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
Echo Drops
Echo Bell
Echo Pan
10 113 17
11 113 18
12 113 19
13 113 20
14 113 21
15 113 22
16 113 23
17 113 24
18 113 25
19 113 32
20 113 40
21 113 41
22 113 42
23 113 47
24 113 127
9
10
11
EP Pad
Tambra Pad
CP Pad
1
2
3
4
5
6
7
8
9
Kelontuk
10 97
11 97
12 97 127
Kelontuk Mt
Kelontuk Sid
Kopyak Op
Kopyak Mt
Ceng Ceng
Reyoung
WarmSaw2
WarmSaw3
WarmSaw1
Trumpet 2
Echo Pan 2
Big Panner
Reso Panner
Water Piano
Echo SynBass
Pan Sequence
Aqua
Panning Lead
PanningBrass
Tube Bell
Brs Sect 2
B52
B53
98
98
98
98
98
98
98
0
1
2
3
4
5
8
4
4
4
4
4
4
4
4
Soundtrack
Ancestral
Prologue
Prologue 2
Hols Strings
HistoryWave
Rave
18 90 127
1
2
3
4
5
6
7
91
91
91
91
91
91
91
91
91
91
0
1
2
3
4
8
9
10
11
12
13
14
15
16
17
24
46
47
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Polysynth
Kempur
1
2
3
4
5
6
7
8
9
80's PolySyn
Polysynth 2
Poly King
Jngl Crash
Crash Menu
RideCym Menu
RideBellMenu
CymbalRoll
Timpani
10 103 10
11 103 11
12 103 127
Super Poly
Power Stack
Octave Stack
Reso Stack
Techno Stack
Pulse Stack
TwinOct.Rave
Oct.Rave
Happy Synth
ForwardSweep
ReverseSweep
Minor Rave
SuperSaws 2
SuperSaws 1
Trombone 1
98 127
Vibe 1
B58
104
104
104
104
104
104
104
104
104
0
1
2
3
4
5
6
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Star Theme
Star Theme 2
Star Mind
Star Dust
Rep.Trance
Etherality
Mystic Pad
Dream Pad
Silky Pad
Dream Pad 2
Silky Pad 2
New Century
7th Atmos.
Galaxy Way
Rising OSC.
Xylophone
99
99
99
99
99
99
99
99
99
99
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Crystal
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
Syn Mallet
Soft Crystal
Round Glock
Loud Glock
GlockenChime
Clear Bells
ChristmasBel
Vibra Bells
Digi Bells
Music Bell
Analog Bell
Blow Bell
Hyper Bell
Choral Bells
Air Bells
B72
114
114
114 16
114 127
0
8
4
4
4
4
Agogo
1
2
3
Atarigane
Tambourine
Melodic Tom
10 91
11 91
12 91
13 91
14 91
15 91
16 91
17 91
B73
B74
115
115
115 127
0
1
4
4
4
Steel Drums
Island Mlt
Deep Snare
1
2
104 10
9
10 104 11
11 104 16
12 104 17
13 104 18
14 104 19
15 104 127
116
116
0
8
4
4
4
4
4
4
4
4
Woodblock
Castanets
Angklung
Angkl Rhythm
Finger Snaps
909 HandClap
HandClapMenu
Elec Perc 1
10 99
11 99
12 99
13 99
14 99
15 99
16 99
17 99
18 99
19 99
20 99
21 99
10
11
12
13
16
17
18
19
20
21
22
23
1
2
3
4
5
6
7
18 91 127
116 16
116 17
116 24
116 32
116 40
116 127
92
92
92
92
92
92
92
92
92
92
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Space Voice
Heaven II
SC Heaven
Itopia
Water Space
Cold Space
Noise Peaker
Bamboo Hit
Cosmic Voice
Auh Vox
1
2
3
4
5
6
7
8
9
Bell Harp
B61
105
105
105
105
105
105
105
0
1
2
3
4
5
8
4
4
4
4
4
4
4
4
4
Sitar
Sitar 2
Detune Sitar
Sitar 3
Sitar/Drone
Sitar 4
Tambra
Tamboura
Marimba
Gamelimba
JUNO Bell
JP Bell
Pizz Bell
Bottom Bell
Vibe 2
1
2
3
4
5
6
7
8
B75
B76
B77
117
117
117
117
117 16
117 17
117 18
117 24
117 25
117 26
0
1
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Taiko
1
2
3
4
5
6
7
8
9
Small Taiko
Concert BD
ConcertBD Mt
Jungle BD
Techno BD
Bounce
KendangWadon
Bebarongan
Pelegongan
Dholak 1
9
22 99 127
10 92
11 92
12 92
13 92
14 92
15 92
16 92
17 92
10
11
12
43
44
45
46
47
AuhAuh
105 16
105 127
B54
100
100
100
100
100
100
100
100
100
100
0
1
2
3
4
5
6
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
Atmosphere
Warm Atmos
Nylon Harp
Harpvox
HollowReleas
Nylon+Rhodes
Ambient Pad
Invisible
Vocoderman
Holy Voices
JP8Haunting
JP8 Hollow
WarmSqu3
WarmSqu2
WarmSqu1
Trombone 2
1
2
3
4
5
6
7
8
9
B62
106
106
106
106
106 16
106 24
106 28
106 32
106 127
0
1
8
9
4
4
4
4
4
4
4
4
4
Banjo
Muted Banjo
Rabab
San Xian
Gopichant
Oud
Oud+Strings
Pi Pa
1
2
3
4
5
6
7
8
10 117 27
11 117 28
12 117 32
13 117 40
14 117 41
15 117 42
16 117 43
17 117 127
Dholak 2
Jngl BD Roll
Kick Menu 1
Kick Menu 2
Kick Menu 3
Kick Menu 4
Elec Perc 2
18 92 127
Pulsey Key
93
93
93
93
93
93
93
0
1
2
3
4
5
47
4
4
4
4
4
4
4
4
Bowed Glass
SoftBellPad
JP8 Sqr Pad
7thBelPad
Steel Glass
Bottle Stack
Gtr Pad
Noise Piano
Heaven Atmos
Tambra Atmos
Syn Mallet
1
2
3
4
5
6
7
10 100 10
11 100 11
12 100 127
Koto
B63
B64
107
107
107
0
1
8
4
4
4
4
Shamisen
Tsugaru
Syn Shamisen
Sho
1
2
3
118
118
118
118
118
118
118
118 16
118 17
118 18
0
1
2
3
4
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Melo. Tom 1
Real Tom
Real Tom 2
Jazz Tom
Brush Tom
Melo. Tom 2
Rock Tom
Rash SD
House SD
Jungle SD
909 SD
Jngl SD Roll
SD Menu 1
SD Menu 2
SD Menu 3
SD Menu 4
SD Menu 5
Taiko
B55
101
101
101
101
101
101
101
101
101
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
Brightness
Shining Star
OB Stab
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
107 127
93 127
Fr Horn 1
108
108
108
108 16
108 19
108 24
108 127
0
1
8
4
4
4
4
4
4
4
Koto
Brass Star
1
2
3
4
5
6
Gu Zheng
Taisho Koto
Kanoon
Kanoon+Choir
Oct Harp
B46
B47
94
94
94
94
94
94
0
1
2
3
4
5
4
4
4
4
4
4
4
Metal Pad
Tine Pad
Panner Pad
Steel Pad
Special Rave
Metal Pad 2
Fr Horn 2
Choir Stab
D-50 Retour
SouthernWind
SymbolicBell
Org Bell
1
2
3
4
5
6
Shakuhachi
101 127
Windbell
10 118 19
11 118 24
12 118 40
13 118 41
14 118 42
15 118 43
16 118 44
17 118 127
94 127
B65
B66
109
109
109
109 10
109 127
0
8
9
4
4
4
4
4
Kalimba
Sanza
Bodhran
Bodhran Mute
Whistle 1
B56
102
102
102
102
102
102
102
102
102
102
0
1
2
3
4
5
6
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Goblin
Goblinson
50's Sci-Fi
Abduction
Auhbient
LFO Pad
Random Str
Random Pad
LowBirds Pad
Falling Down
LFO RAVE
LFO Horror
LFO Techno
Alternative
UFO FX
1
2
3
4
95
95
95
95
95
95
95
95
0
1
2
8
9
10
11
12
4
4
4
4
4
4
4
4
4
Halo Pad
Vox Pad
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
Vox Sweep
Horror Pad
SynVox Pad
SynVox Pad 2
Breath&Rise
Tears Voices
Tuba
110
110
110
110 10
110 11
110 127
0
8
9
4
4
4
4
4
4
Bagpipe
1
2
3
4
5
Didgeridoo
Uillean Pipe
UillnPipe Nm
UillnPipe Or
Whistle 2
119
119
119
119 10
119 11
119 12
119 13
119 127
0
8
9
4
4
4
4
4
4
4
4
Synth Drum
808 Tom
Elec Perc
Sine Perc.
606 Tom
909 Tom
1
2
3
4
5
6
7
95 127
10 102 10
11 102 11
12 102 12
13 102 13
14 102 14
15 102 15
B48
96
96
96
96
96
96
0
1
2
3
4
8
4
4
4
4
4
4
Sweep Pad
Polar Pad
Ambient BPF
Sync Pad
Warriors
Converge
1
2
3
4
5
B67
111
111
111
0
8
9
4
4
4
4
Fiddle
Er Hu
Gao Hu
Bottleblow
1
2
3
606 Dist.Tom
Taiko Rim
Gargle Man
111 127
225
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VA-76 Owner’s Manual—Reference
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
B78
120
120
120
120
120
120
120 16
120 17
120 24
120 25
0
1
2
3
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Reverse Cym.
Reverse Cym2
Reverse Cym3
Reverse Cym4
Rev.Snare 1
Rev.Snare 2
Rev.Kick 1
Rev.ConBD
Rev.Tom 1
Rev.Tom 2
Rev.Tom 3
25 121 28
26 121 29
27 121 30
28 121 31
29 121 32
30 121 34
31 121 35
32 121 36
33 121 37
34 121 38
35 121 39
36 121 40
37 121 41
38 121 42
39 121 44
40 121 45
41 121 46
42 121 47
43 121 127
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
TC Dowm Nz
DstGT.Up Nz
DstGT.DwnNz1
DstGT.DwnNz2
DstGT.MuteNz
Gt.StrokeNz5
StlGt.SldNz1
StlGt.SldNz2
StlGt.SldNz3
StlGt.SldNz4
Gt.StrokeNz1
Gt.StrokeNz2
Gt.StrokeNz3
Gt.StrokeNz4
EGtrNzMenu
AGtrNzMenu
BassNzMenu
Bass Slide
B84
124
124
124
124
124
124
124
124
124
0
1
2
3
4
5
6
7
8
4
4
4
4
4
4
4
4
4
4
Bird
Dog
Horse-Gallop
Bird 2
Kitty
18 126 18
19 126 19
20 126 20
21 126 21
22 126 22
23 126 23
24 126 24
25 126 25
26 126 26
27 126 27
28 126 28
29 126 29
30 126 30
31 126 31
32 126 32
33 126 127
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Soda
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
Open CD Tray
Audio Switch
Key Typing
SL 1
Growl
SL 2
Growl 2
Fancy Animal
Seal
Car Engine 2
Car Horn
Boeeeen
R.Crossing
Compresser
Sword Boom!
Sword Cross
Stab! 1
124 127
Telephone
10 120 26
11 120 27
12 120 40
13 120 41
14 120 42
15 120 43
16 120 44
17 120 45
18 120 46
19 120 127
B85
125
125
125
125
125
125
125
125
125
0
1
2
3
4
5
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Scratch 2
ScratchKey
TapeRewind
Phono Noise
MC-500 Beep
Scratch 3
Scratch 4
Scratch 5
Rev.Tom 4
1
2
3
4
5
6
7
8
9
Rev.SD Menu1
Rev.SD Menu2
Rev.SD Menu3
Rev.BD Menu1
Rev.BD Menu2
Rev.BD Menu3
Rev.ClapMenu
Cymbal
Stab! 2
OneNote Jam
B87
127
127
127
127
127
127
127
127
127
127
0
1
2
3
4
5
6
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Applause 2
Small Club
ApplauseWave
BabyLaughing
Voice One
Voice Two
Voice Three
Voice Tah
Voice Whey
Voice Kikit
Voice ComeOn
Voice Aou
Voice Oou
Voice Hie
1
2
3
4
5
6
7
8
9
Castanets
B82
122
122
122
122
122
122
122
122
122
122
0
1
2
3
4
5
6
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
Breath Noise
Fl.Key Click
Brth Nz Menu
Fl.Breath 1
Fl.Breath 2
Fl.Breath 3
Vox Breath 1
Vox Breath 2
Trombone Nz
Trumpet Nz
BrthNzMenu
Triangle
125 10
B81
121
121
121
121
121
121
121
121
121
0
1
2
3
4
5
6
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Gt.FretNoise
Gt.Cut Noise
String Slap
Gt.CutNoise2
Dist.CutNoiz
Bass Slide
1
2
3
4
5
6
7
8
9
10 125 11
11 125 12
12 125 13
13 125 14
14 125 15
15 125 16
16 125 127
1
2
3
4
5
6
7
8
9
Scratch 6
Scratch 7
Bird Tweet
Pick Scrape
10 127 16
11 127 17
12 127 18
13 127 19
14 127 20
15 127 22
16 127 23
17 127 24
18 127 25
19 127 26
20 127 127
Gt. FX Menu
Bartok Pizz.
Guitar Slap
B86
126
126
126
126
126
126
126
126
126
126
0
1
2
3
4
5
6
7
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
Calculating
Perc. Bang
Burner
Glass & Glam
Ice Ring
Over Blow
Crack Bottle
Pour Bottle
1
2
3
4
5
6
7
8
9
121 10
10 122 47
11 122 127
10 121 11
11 121 12
12 121 13
13 121 16
14 121 17
15 121 18
16 121 19
17 121 20
18 121 21
19 121 22
20 121 23
21 121 24
22 121 25
23 121 26
24 121 27
Chord Stroke
Biwa Stroke
Biwa Tremolo
A.Bs.Nz Menu
D.Gt.Nz Menu
E.Gt.NzMenu1
E.Gt.NzMenu2
G.StrokeMenu
Gt.SlideMenu
A.Bs.Mute Nz
A.Bs.TouchNz
A.Bs.AtackNz
TC Up Nz
B83
123
123
123
123
123
123
123
123
0
1
2
3
4
5
6
7
4
4
4
4
4
4
4
4
4
4
4
4
Seashore
Rain
Thunder
Wind
Stream
Bubble
Wind 2
Cricket
Pink Noise
White Noise
WindsHit
Orche Hit
1
2
3
4
5
6
7
8
9
Water Bell
10 126 10
11 126 11
12 126 12
13 126 13
14 126 14
15 126 15
16 126 16
17 126 17
B88
128
128
128
128
128
128
128
0
1
2
3
4
5
6
4
4
4
4
4
4
4
4
Gun Shot
Machine Gun
Lasergun
Explosion
Eruption
Big Shot
Explosion 2
Jungle Tune
1
2
3
4
5
6
7
123 16
123 17
10 123 47
11 123 127
TC DownMt.Nz
TC UpMt.Nz
128 127
Tone Map 3
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
A11
1
1
1
1
1
1
0
8
16
24
126
127
3
3
3
3
3
3
Piano 1
3
4
5
6
7
7
7
7
7
7
16
24
32
126
127
3
3
3
3
3
Harpsi.w
Harpsi.o
Synth Harpsi
Piano 2
Elec Piano4
A26
14
14 126
14 127
0
3
3
3
Xylophone
Funk Gt.
Pipe Org 2
6
7
18 126
18 127
3
3
Slap Bass 1
Harpsi 2
1
2
3
4
5
Piano 1w
European Pf
Piano + Str.
Piano 2
1
2
A33
19
19
19
19
19
19
0
8
16
17
18
24
3
3
3
3
3
3
3
3
Organ 3
A27
15
15
15
15 126
15 127
0
8
9
3
3
3
3
3
Tubular-bell
Church Bell
Carillon
Muted Gt.
Pipe Org3
1
2
3
4
5
6
7
Rotary Org.
Rotary Org.S
Rock Organ 1
Rock Organ 2
Rotary Org.F
Slap Bass 1
Harpsi 3
1
2
3
4
Acou Piano1
A18
8
8
8
8
8
8
8
8
8
0
8
3
3
3
3
3
3
3
3
3
Clav.
A12
A13
2
2
2
2
2
0
8
16
126
127
3
3
3
3
3
Piano 2
1
2
3
4
5
6
7
8
Comp Clav.
Reso Clav.
Clav.o
Analog Clav.
JP8 Clav. 1
JP8 Clav. 2
E.Piano 1
Honkytonk
1
2
3
4
Piano 2w
Dance Piano
Piano 2
16
24
32
33
35
126
127
19 126
19 127
A28
A31
16
16
16
16
16
16
0
1
8
16
17
24
3
3
3
3
3
3
3
3
Santur
1
2
3
4
5
6
7
Santur 2
Cimbalom
Zither 1
Acou Piano2
A34
20
20
20
20
20
20
0
8
16
24
32
33
3
3
3
3
3
3
3
3
Church Org.1
Church Org.2
Church Org.3
Organ Flute
Trem.Flute
Theater Org.
Slap Bass 2
Clavi 1
3
3
3
3
3
3
0
1
2
8
126
127
3
3
3
3
3
3
Piano 3
1
2
3
4
5
6
7
1
2
3
4
5
EG+Rhodes 1
EG+Rhodes 2
Piano 3w
Piano 2
Acou Piano3
Zither 2
Dulcimer
Slap Bass 1
Accordion
A21
9
9
9
9
0
1
126
127
3
3
3
3
Celesta
16 126
16 127
1
2
3
Pop Celesta
Detuned EP1
Elec Org 1
20 126
20 127
17
17
17
17
17
17
17
17
17
17
0
1
8
9
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Organ 1
A14
A15
4
4
4
4
0
8
126
127
3
3
3
3
Honky-tonk
Honky-tonk 2
Honky-tonk
Elec Piano1
1
2
3
4
5
6
7
8
9
Organ 101
Trem. Organ
Organ.o
1
2
3
A22
A23
A24
10
10 126
10 127
0
3
3
3
Glockenspiel
E.Piano 2
Elec Org 2
A35
A36
21
21
21 126
21 127
0
8
3
3
3
3
Reed Organ
Wind Organ
Slap Bass 2
Clavi 2
1
2
1
2
3
16
17
18
19
24
25
26
27
28
29
32
33
40
48
60's Organ 1
60's Organ 2
60's Organ 3
Farf Organ
Cheese Organ
D-50 Organ
JUNO Organ
Hybrid Organ
VS Organ
Digi Church
70's E.Organ
Even Bar
Organ Bass
5th Organ
Slap Bass 1
Harpsi 1
5
5
5
5
5
5
5
5
5
5
5
0
8
9
3
3
3
3
3
3
3
3
3
3
3
E.Piano 1
St.Soft EP
11
11 126
11 127
0
3
3
3
Music Box
Steel Gt.
Elec Org 3
1
2
3
4
5
6
7
8
9
1
2
22
22
22
22
22
22
0
8
9
16
24
25
3
3
3
3
3
3
3
3
Accordion Fr
Accordion It
Dist. Accord
Cho. Accord
Hard Accord
Soft Accord
Slap Bass 2
Clavi 3
Cho. E.Piano
SilentRhodes
FM+SA EP
Dist E.Piano
Wurly
Hard Rhodes
MellowRhodes
Piano 1
1
2
3
4
5
6
7
10
16
17
24
25
26
126
127
12
12
12
12
12 126
12 127
0
1
8
9
3
3
3
3
3
3
Vibraphone
Pop Vibe.
Vibraphone w
Vibraphones
Steel Gt.
10 17
11 17
12 17
13 17
14 17
15 17
16 17
17 17
1
2
3
4
5
22 126
22 127
Elec Org 4
A37
A38
23
23
23 126
23 127
0
1
3
3
3
3
Harmonica
Harmonica 2
Slap Bass 2
Celesta 1
10
Elec Piano2
A25
13
13
13
13
13
13 126
13 127
0
8
16
17
24
3
3
3
3
3
3
3
Marimba
Marimba w
Barafon
Barafon 2
Log drum
12-str.Gt
1
2
3
1
2
3
4
5
6
A16
6
6
6
6
6
6
7
7
7
0
8
16
24
126
127
0
3
3
3
3
3
3
3
3
3
E.Piano 2
Detuned EP 2
St.FM EP
Hard FM EP
Piano 2
Elec Piano3
Harpsichord
Harpsichord2
Coupled Hps.
18 17 126
19 17 127
1
2
3
4
5
24
24
24
24 126
24 127
0
8
16
3
3
3
3
3
Bandoneon
Bandoneon 2
Bandoneon 3
Fingered Bs
Celesta 2
A32
18
18
18
18
18
18
0
1
2
8
9
3
3
3
3
3
3
Organ 2
1
2
3
4
1
2
3
4
5
Jazz Organ
E.Organ 16+2
Chorus Or.2
Octave Organ
Perc. Organ
Pipe Org 1
A17
1
2
1
8
32
226
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VA-76 – Tones
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
A41
25
25
25
25
25
25
0
8
16
24
32
40
3
3
3
3
3
3
3
3
Nylon-str.Gt
Ukulele
4
5
6
7
35
35
35 126
35 127
8
16
3
3
3
3
Muted PickBs
P.Bass/Harm.
Strings
A65
45
45
45
45 126
45 127
0
8
9
3
3
3
3
3
Tremolo Str
Slow Tremolo
Suspense Str
Organ 2
10 56
11 56
12 56
13 56
14 56
15 56
20
21
22
23
24
25
3
3
3
3
3
3
3
3
Bit Hit
Bim Hit
1
2
3
4
5
6
7
1
2
3
4
Nylon Gt.o
Velo Harmnix
Nylon Gt.2
Lequint Gt.
Fingered Bs
Syn Brass 1
Technorg Hit
Rave Hit
Strings Hit
Stack Hit
Tenor Sax
Cello 2
Chorale
Doctor Solo
A54
36
36
36
36
36
36
36
0
1
2
3
4
5
8
3
3
3
3
3
3
3
3
3
Fretless Bs.
Fretless Bs2
Fretless Bs3
Fretless Bs4
Syn Fretless
Mr.Smooth
Wood+FlessBs
SynStrings3
Glasses
1
2
3
4
5
6
7
8
A66
46
46
46
46
46
46
0
1
2
3
8
3
3
3
3
3
3
3
3
PizzicatoStr
Vcs&Cbs Pizz
Chamber Pizz
St.Pizzicato
Solo Pizz.
Solo Spic.
Organ 2
25 126
25 127
16 56 126
17 56 127
1
2
3
4
5
6
7
A42
26
26
26
26
26
26
26
0
8
9
16
17
18
32
3
3
3
3
3
3
3
3
3
Steel-str.Gt
12-str.Gt
Nylon+Steel
Mandolin
Mandolin 2
MandolinTrem
Steel Gt.2
Picked Bass
Syn Brass 2
A81
57
1
2
0
3
3
3
3
3
3
3
3
3
3Trumpet
Trumpet 2
Trumpet :
Flugel Horn
4th Trumpets
Bright Tp.
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
9
57
57
57
57
57
57
57
16
36 126
36 127
46 126
46 127
8
School Daze
16
24
25
32
A55
37
37
37
37
37 126
37 127
0
1
8
9
3
3
3
3
3
3
Slap Bass 1
Slap Pop
Reso Slap
Unison Slap
SynStrings3
Soundtrack
A67
47
47
47 126
47 127
0
16
3
3
3
3
Harp
Warm Tp.
1
2
3
4
5
1
2
3
Synth Harp
Trumpet
Bellsinger
26 126
26 127
Syn. Trumpet
BaritoneSax
Contrabass
57 126
57 127
A43
A44
27
27
27
27 126
27 127
0
1
8
3
3
3
3
3
Jazz Gt.
A68
A71
48
48 126
48 127
0
3
3
3
Timpani
Trumpet
Square Wave
1
2
3
4
Mellow Gt.
Pedal Steel
Picked Bass
Syn Brass3
A82
58
0
3
3
3
3
3
3Trombone
Trombone 2
Twin bones
Bs. Trombone
Alto Sax
1
2
1
2
3
4
5
58
58
58
1
2
8
A56
A57
38
38
38 126
38 127
0
8
3
3
3
3
Slap Bass 2
FM Slap
Organ 1
1
2
3
49
49
49
49
49
49
49
49
49
49
0
1
2
3
8
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Strings :
58 126
58 127
1
2
3
4
5
6
7
8
9
Bright Str :
ChamberStr :
Cello sect.
Orchestra
Orchestra 2
Tremolo Orch
Choir Str.
Strings+Horn
St. Strings
Velo Strings
Oct Strings1
Oct Strings2
Trombone
Str Sect 1
28
28
28
28
28
28
28
28
28
28
0
1
2
3
4
8
9
16
17
18
19
3
3
3
3
3
3
3
3
3
3
3
3
3
Clean Gt.
Atmosphere
Harp 1
1
2
3
4
5
6
7
8
9
Clean Half
Open Hard 1
Open Hard 2
JC Clean Gt.
Chorus Gt.
JC Chorus Gt
TC FrontPick
TC Rear Pick
TC Clean ff
TC Clean 2 :
Fretless Bs
39
39
39
39
39
39
39
39
39
39
0
1
2
3
4
5
6
8
9
10
11
12
13
14
15
16
17
18
24
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Synth Bass 1
SynthBass101
CS Bass
JP-4 Bass
JP-8 Bass
P5 Bass
JPMG Bass
Acid Bass
TB303 Bass
Tekno Bass
TB303 Bass 2
Kicked TB303
TB303 Saw Bs
Rubber303 Bs
Reso 303 Bs
Reso SH Bass
TB303 Sqr Bs
TB303 DistBs
Arpeggio Bs
Organ 1
A83
A84
A85
59
1
59 126
59 127
0
3
3
3
3Tuba
Tuba 2
Brass 1
Harp 2
1
2
3
4
5
6
7
8
9
1
2
3
59
9
10
11
12
16
24
32
33
60
60
0
8
3
3
3
3
MutedTrumpet
Muted Horns
Brass 1
1
2
3
10 49
11 49
12 49
13 49 126
14 49 127
60 126
60 127
Guitar 1
10 28
11 28 126
12 28 127
61
61
61
61
61
61
61
61
0
1
2
3
8
9
16
24
3
3
3
3
3
3
3
3
3
3
French Horns
Fr.Horn 2
10 39
11 39
12 39
13 39
14 39
15 39
16 39
17 39
18 39
Syn Brass4
1
2
3
4
5
6
7
8
9
Horn + Orche
Wide FreHrns
F.Hrn Slow :
Dual Horns
Synth Horn
F.Horn Rip
Brass 2
A45
A46
29
29
29
29
29
29 126
29 127
0
1
2
8
16
3
3
3
3
3
3
3
Muted Gt.
Muted Dis.Gt
TC Muted Gt.
Funk Pop
Funk Gt.2
Acoustic Bs
Syn Bass 1
A72
A73
50
50
50
50
50
50 126
50 127
0
1
8
9
10
3
3
3
3
3
3
3
Slow Strings
SlowStrings2
Legato Str.
Warm Strings
St.Slow Str.
Trombone
1
2
3
4
5
6
1
2
3
4
5
6
61 126
61 127
Str Sect 2
Guitar 2
19 39 126
20 39 127
30
30
30
30
30
30
0
1
2
3
8
9
3
3
3
3
3
3
3
3
Overdrive Gt
Overdrive 2
Overdrive 3
More Drive
LP OverDrvGt
LP OverDrv :
Choir Aahs
Syn Bass 2
Warm Bell
51
51
51
51
51
51
51
51
51
51
0
1
2
3
8
3
3
3
3
3
3
3
3
3
3
3
3
Syn.Strings1
OB Strings
StackStrings
JP Strings
Syn.Strings3
Syn.Strings4
High Strings
Hybrid Str.
Tron Strings
Noiz Strings
Trombone
Str Sect3
A86
62
62
62
62
62
62
62
62
62
62
0
1
2
8
9
10
16
17
24
25
3
3
3
3
3
3
3
3
3
3
3
3
Brass 1
Brass ff
Bones Sect.
Brass 2
Brass 3
1
2
3
4
5
6
7
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
A58
40
40
40
40
40
40
40
40
40
40
0
1
2
3
4
5
6
7
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Synth Bass 2
SynthBass201
Modular Bass
Seq Bass
1
2
3
4
5
6
7
8
9
9
Brass sfz
30 126
30 127
MG Bass
16
17
24
25
Brass Fall
Trumpet Fall
Octave Brass
Brass + Reed
Brass 2
MG Oct Bass1
MG Oct Bass2
MG Blip Bs :
Beef FM Bass
Dly Bass
X Wire Bass
WireStr Bass
Blip Bass :
RubberBass 1
RubberBass 2
SH101 Bass 1
SH101 Bass 2
Smooth Bass
SH101 Bass 3
Spike Bass
House Bass :
KG Bass
Sync Bass
MG 5th Bass
RND Bass
WowMG Bass
Bubble Bass
Organ 1
A47
31
31
31
31
31
31
31
31
31
31
0
1
2
3
4
8
9
16
17
18
24
25
3
3
3
3
3
3
3
3
3
3
3
3
3
3
DistortionGt
Dist. Gt2 :
Dazed Guitar
Distortion :
Dist.Fast :
Feedback Gt.
Feedback Gt2
Power Guitar
Power Gt.2
5th Dist.
Rock Rhythm
Rock Rhythm2
Choir Aahs
Syn Bass3
1
2
3
4
5
6
7
8
9
8
9
10 51 126
11 51 127
10 62 126
11 62 127
Elec Gtr 1
10 40
11 40
12 40
13 40
14 40
15 40
16 40
17 40
18 40
19 40
20 40
21 40
22 40
23 40
24 40
25 40
26 40
10
11
12
13
16
17
18
19
20
21
22
23
24
25
26
27
28
A74
A75
52
52
52
52
52 126
52 127
0
1
2
8
3
3
3
3
3
3
Syn.Strings2
Syn.Strings5
JUNO Strings
Air Strings
Trombone
Pizzicato
A87
63
63
63
63
63
63
63
63
63
0
1
2
3
4
8
9
16
17
3
3
3
3
3
3
3
3
3
3
3
Synth Brass1
JUNO Brass
Stack Brass
SH-5 Brass
MKS Brass
Pro Brass
1
2
3
4
5
1
2
3
4
5
6
7
8
9
10 31
11 31
12 31 126
13 31 127
P5 Brass
53
53
53
53
53
53
53
53
0
8
9
10
16
24
32
33
3
3
3
3
3
3
3
3
3
3
Choir Aahs
St.ChoirAahs
Melted Choir
Church Choir
Choir Hahs
Chorus Lahs
Chorus Aahs
Male Aah+Str
Trombone
Oct SynBrass
Hybrid Brass
Brass 1
1
2
3
4
5
6
7
8
9
63 126
A48
32
32
32
32
32
32 126
32 127
0
8
9
16
24
3
3
3
3
3
3
3
Gt.Harmonics
Gt. Feedback
Gt.Feedback2
Ac.Gt.Harmnx
E.Bass Harm.
Choir Aahs
10 63 127
Elec Gtr 2
1
2
3
4
5
6
A88
64
64
64
64
64
64
64
64
0
1
2
8
9
10
16
17
3
3
3
3
3
3
3
3
3
3
Synth Brass2
Soft Brass
Warm Brass
SynBrass sfz
OB Brass
Reso Brass
Velo Brass 1
Transbrass
Orchest.Hit
Sitar
1
2
3
4
5
6
7
8
9
53 126
53 127
27 40 126
28 40 127
Violin 1
Syn Bass4
Funny Vox
A76
A77
54
54
54 126
54 127
55
55
55
55
55
55 126
55 127
56
56
56
56
56
56
56
56
56
56
0
8
3
3
3
3
0
3
3
3
3
3
3
0
3
3
3
3
3
3
3
3
3
Voice Oohs
Voice Dahs
Trombone
Violin 2
A51
A52
33
33
33
33
33 126
33 127
0
1
8
3
3
3
3
3
3
Acoustic Bs.
Rockabilly
Wild A.Bass
Bass + OHH
Choir Aahs
Fantasy
A61
41
41
41
41 126
41 127
0
1
8
3
3
3
3
3
Violin :
1
2
3
1
2
3
4
5
1
2
3
4
Violin Atk :
Slow Violin
Organ 2
64 126
64 127
16
3SynVox
Echo Bell
1
2
3
4
5
6
8
9
16
17
Syn.Voice
Silent Night
VP330 Choir
Vinyl Choir
Alto Sax
B11
B12
65
65
65 127
0
8
3
3
3
Soprano Sax
Soprano Exp.
Acou Bass 1
1
2
A62
A63
A64
42
42
42 126
42 127
0
1
3
3
3
3
Viola :
34
34
34
34
34
34
34
0
1
2
3
4
8
16
3
3
3
3
3
3
3
3
3
Fingered Bs.
Fingered Bs2
Jazz Bass
Jazz Bass 2
Rock Bass
ChorusJazzBs
F.Bass/Harm.
SlowStrings
Harmo Pan
1
2
3
Viola Atk. :
Organ 1
Ice Rain
1
2
3
4
5
6
7
8
66
66
66
66
0
8
9
3
3
3
3
3
Alto Sax
AltoSax Exp.
Grow Sax
AltoSax + Tp
Acou Bass 2
1
2
3
4
Cello 1
A78
3OrchestraHit
Impact Hit
Philly Hit
Double Hit
Perc. Hit
Shock Wave
Lo Fi Rave
Techno Hit
Dist. Hit
43
43
43 126
43 127
0
1
3
3
3
3
Cello :
Cello Atk. :
Organ 1
16
1
2
3
4
5
6
7
8
9
8
9
1
2
3
66 127
34 126
34 127
10
11
12
16
17
18
19
Oboe 2001
B13
67
67
67
67
0
1
8
9
3
3
3
3
3
Tenor Sax
1
2
3
4
Tenor Sax :
BreathyTn. :
St.Tenor Sax
Elec Bass 1
44
44 126
44 127
0
3
3
3
Contrabass
Organ 2
Echo Pan
A53
35
35
35
35
0
1
2
3
3
3
3
3
Picked Bass
Picked Bass2
Picked Bass3
Picked Bass4
1
2
1
2
3
67 127
Bam Hit
227
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VA-76 Owner’s Manual—Reference
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
B14
68
68
68 127
69
69
69
0
1
3
3
3
3
3
3
3
Baritone Sax
Bari. Sax :
Elec Bass 2
Oboe
Oboe Exp.
Multi Reed
Slap Bass 1
25 82
26 82
27 82
28 82
29 82
30 82
31 82
35
40
41
42
43
44
45
3
3
3
3
3
3
3
3
3
3
3
3
Oct Saw Lead
SequenceSaw1
SequenceSaw2
Reso Saw
Cheese Saw 1
Cheese Saw 2
Rhythmic Saw
Sax 4
Syn.Calliope
Vent Synth
Pure PanLead
Clarinet 1
B48
B51
B52
B53
96
96
96
96
96
96
0
1
8
9
11
12
3
3
3
3
3
3
3
Sweep Pad
Polar Pad
Converge
Shwimmer
Celestial Pd
Bag Sweep
Brs Sect 1
B61
105
105
105
105
105
105 16
105 127
0
1
2
3
8
3
3
3
3
3
3
3
Sitar
Sitar 2
Detune Sitar
Sitar 3
Tambra
Tamboura
Marimba
1
2
1
2
3
4
5
6
1
2
3
4
5
6
B15
0
8
16
1
2
3
69 127
96 127
32 82 127
B16
B17
B18
70
70 127
0
3
3
English Horn
Slap Bass 2
97
97
97
97
97
97
0
1
2
3
4
8
3
3
3
3
3
3
3
Ice Rain
B62
106
106
106
106
106 16
106 24
106 28
106 32
106 127
0
1
8
9
3
3
3
3
3
3
3
3
3
Banjo
Muted Banjo
Rabab
San Xian
Gopichant
Oud
Oud+Strings
Pi Pa
B33
B34
B35
83
83
83
0
1
2
1
1
1
2
3
4
5
6
Harmo Rain
African wood
Anklung Pad
Rattle Pad
Clavi Pad
1
2
3
4
5
6
7
8
1
2
3
71
71 127
0
3
3
Bassoon
Fretless 1
83 127
84
84
84
0
1
8
3
3
3
3
Chiffer Lead
TB Lead
Mad Lead
Clarinet 2
72
72
72
0
8
16
3
3
3
3
Clarinet
1
2
3
97 127
Brs Sect 2
1
2
3
Bs Clarinet
Multi Wind
Fretless 2
98
98
98
98
98
98
0
1
2
3
4
8
3
3
3
3
3
3
3
Soundtrack
Ancestral
Prologue
Prologue 2
Hols Strings
Rave
84 127
Koto
72 127
1
2
3
4
5
6
85
85
85
85
85
85
85
85
85
85
0
8
9
10
16
17
18
19
20
24
3
3
3
3
3
3
3
3
3
3
3
Charang
Dist.Lead
B63
B64
107
107
107
0
1
8
3
3
3
3
Shamisen
Tsugaru
Syn Shamisen
Sho
B21
B22
73
73
73
73
73
0
1
8
9
16
3
3
3
3
3
3
Piccolo
Piccolo :
Nay
Nay Tremolo
Di
1
2
3
4
5
6
7
8
9
1
2
3
1
2
3
4
5
Acid Guitar1
Acid Guitar2
P5 Sync Lead
Fat SyncLead
Rock Lead
5th DecaSync
Dirty Sync
107 127
98 127
Vibe 1
108
108
108
108 16
108 19
108 24
108 127
0
1
8
3
3
3
3
3
3
3
Koto
73 127
Flute 1
99
99
99
99
99
99
99
99
99
99
0
1
2
3
4
5
6
7
8
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Crystal
1
2
3
4
5
6
Gu Zheng
Taisho Koto
Kanoon
Kanoon+Choir
Oct Harp
1
2
3
4
5
6
7
8
9
Syn Mallet
Soft Crystal
Round Glock
Loud Glock
GlockenChime
Clear Bells
ChristmasBel
Vibra Bells
Digi Bells
Music Bell
Analog Bell
Choral Bells
Air Bells
74
74
74
74
74
74
0
1
2
3
8
3
3
3
3
3
3
3
Flute
Flute 2 :
Flute Exp.
Flt Traverso
Flute + Vln
Tron Flute
Flute 2
1
2
3
4
5
6
JUNO Sub Osc
Oboe
10 85 127
Shakuhachi
B36
B37
86
86
86
0
8
9
3
3
3
3
3
3
3
3
3
3
Solo Vox
Vox Lead
LFO Vox
Engl Horn
5th Saw Wave
Big Fives
5th Lead
5th Ana.Clav
4th Lead
16
B65
B66
B67
109
109
109 127
0
8
3
3
3
Kalimba
Sanza
Whistle 1
1
2
3
74 127
1
2
86 127
9
B23
B24
75
75 127
0
3
3
Recorder
Piccolo 1
87
87
87
87
87
0
1
2
3
8
10 99
11 99
12 99
13 99
14 99
15 99
16 99
10
11
16
17
18
19
20
1
110
110
110 127
0
8
3
3
3
Bagpipe
Didgeridoo
Whistle 2
1
2
3
4
5
1
2
76
76
76
76
0
8
16
17
3
3
3
3
3
Pan Flute
Kawala
Zampona
Zampona Atk
Piccolo 2
1
2
3
4
Bell Harp
111
111
111
0
8
9
3
3
3
3
Fiddle
Er Hu
Gao Hu
Bottleblow
87 127
Bassoon
Gamelimba
JUNO Bell
Vibe 2
1
2
3
76 127
B38
88
88
88
88
88
88
88
0
1
2
3
4
5
6
3
3
3
3
3
3
3
3
Bass & Lead
Big & Raw
17 99 127
111 127
1
2
3
4
5
6
7
B25
B26
77
77 127
0
3
3
Bottle Blow
Recorder
Fat & Perky
JUNO Rave
JP8 BsLead 1
JP8 BsLead 2
SH-5 Bs.Lead
Harmonica
B54
100
100
100
100
100
100
100
100
100
100
0
1
2
3
4
5
6
7
8
9
3
3
3
3
3
3
3
3
3
3
3
Atmosphere
Warm Atmos
Nylon Harp
Harpvox
HollowReleas
Nylon+Rhodes
Ambient Pad
Invisible
1
B68
B71
B72
112
112
112
112 16
112 24
112 32
112 33
112 127
0
1
8
3
3
3
3
3
3
3
3
Shanai
Shanai 2
Pungi
Hichiriki
Mizmar
Suona 1
Suona 2
Breathpipe
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
78
78
78 127
0
1
3
3
3
Shakuhachi
Shakuhachi :
Pan Pipes
1
2
88 127
B27
79
79
79 127
0
1
3
3
3
Whistle
Whistle 2
Sax 1
B41
B42
89
89
89
89
0
1
2
3
3
3
3
3
3
Fantasia
1
2
1
2
3
4
Fantasia 2
New Age Pad
Bell Heaven
Trumpet 1
Pulsey Key
Noise Piano
Syn Mallet
113
113
113
113 10
113 11
113 12
113 16
113 127
0
8
9
3
3
3
3
3
3
3
3
Tinkle Bell
Bonang
Gender
Gamelan Gong
St.Gamelan
Jang Gu
RAMA Cymbal
Timpani
B28
B31
80
80 127
0
3
3
Ocarina
Sax 2
10 100 127
1
2
3
4
5
6
7
1
89 127
B55
B56
101
101
101
101
0
1
2
8
3
3
3
3
3
Brightness
Shining Star
OB Stab
Org Bell
Windbell
81
81
81
81
81
81
81
81
81
81
0
1
2
3
4
5
6
8
9
10
16
17
18
24
25
26
27
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Square Wave
MG Square
Hollow Mini
Mellow FM
CC Solo
90
90
90
90
90
90
90
0
1
2
3
4
8
9
3
3
3
3
3
3
3
3
Warm Pad
Thick Matrix
Horn Pad
Rotary Strng
OB Soft Pad
Octave Pad
Stack Pad
1
2
3
4
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
101 127
Shmoog
102
102
102
102
102
102
102
102
102
102
0
1
2
3
4
5
6
7
8
9
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Goblin
114
114
114 16
114 127
0
8
3
3
3
3
Agogo
LM Square
2600 Sine
Sine Lead
KG Lead
P5 Square
OB Square
JP-8 Square
Pulse Lead
JP8 PulseLd1
JP8 PulseLd2
MG Reso. Pls
Sax 3
1
2
3
4
5
6
7
8
9
Goblinson
50's Sci-Fi
Abduction
Auhbient
LFO Pad
Random Str
Random Pad
LowBirds Pad
Falling Down
LFO RAVE
LFO Horror
LFO Techno
Alternative
UFO FX
1
2
3
Atarigane
Tambourine
Melodic Tom
90 127
Trumpet 2
B43
91
91
91
91
91
91
91
91
0
1
2
3
8
9
10
11
3
3
3
3
3
3
3
3
3
Polysynth
1
2
3
4
5
6
7
8
80's PolySyn
Polysynth 2
Poly King
Power Stack
Octave Stack
Reso Stack
Techno Stack
Trombone 1
10 81
11 81
12 81
13 81
14 81
15 81
16 81
B73
B74
115
115
115 127
0
1
3
3
3
Steel Drums
Island Mlt
Deep Snare
1
2
116
116
116 16
116 17
116 24
116 32
116 127
0
8
3
3
3
3
3
3
3
Woodblock
Castanets
Angklung
Angkl Rhythm
Finger Snaps
909 HandClap
Elec Perc 1
10 102 10
11 102 11
12 102 12
13 102 13
14 102 14
15 102 15
16 102 16
17 102 127
1
2
3
4
5
6
91 127
17 81 127
B44
B45
92
92
92
92
92
92
92
0
1
2
8
9
11
12
3
3
3
3
3
3
3
3
Space Voice
Heaven II
SC Heaven
Cosmic Voice
Auh Vox
AuhAuh
Vocorderman
Trombone 2
B32
82
82
82
82
82
82
82
82
82
82
0
1
2
3
4
5
6
7
8
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Saw Wave
OB2 Saw
Pulse Saw
Feline GR
Big Lead
Velo Lead
GR-300
1
2
3
4
5
6
7
1
2
3
4
5
6
7
8
9
Gargle Man
Sweep FX
Glock
B75
B76
117
117
117
117 16
117 17
117 18
117 127
0
1
8
3
3
3
3
3
3
3
Taiko
1
2
3
4
5
6
Small Taiko
Concert BD
Jungle BD
Techno BD
Bounce
B57
103
103
103
103
103
103
103
103
103
0
1
2
3
4
5
6
8
9
3
3
3
3
3
3
3
3
3
3
Echo Drops
Echo Bell
Echo Pan
Echo Pan 2
Big Panner
Reso Panner
Water Piano
Pan Sequence
Aqua
1
2
3
4
5
6
7
8
9
92 127
LA Saw
Doctor Solo
Fat Saw Lead
D-50 Fat Saw
Waspy Synth
PM Lead
CS Saw Lead
MG Saw 1
MG Saw 2
OB Saw 1
93
93
93
93
0
1
2
3
3
3
3
3
3
Bowed Glass
SoftBellPad
JP8 Sqr Pad
7thBelPad
Fr Horn 1
9
Elec Perc 2
1
2
3
4
10 82
11 82
12 82
13 82
14 82
15 82
16 82
17 82
18 82
19 82
20 82
21 82
22 82
23 82
24 82
11
16
17
18
24
25
26
27
28
29
30
31
32
33
34
118
118
118
118
118 16
118 17
118 18
118 19
118 127
0
1
8
9
3
3
3
3
3
3
3
3
3
Melo. Tom 1
Real Tom
Melo. Tom 2
Rock Tom
Rash SD
House SD
Jungle SD
909 SD
1
2
3
4
5
6
7
8
93 127
103 127
Tube Bell
B46
B47
94
94
94
0
1
2
3
3
3
3
Metal Pad
Tine Pad
Panner Pad
Fr Horn 2
1
2
3
B58
104
104
104
104
104 16
104 17
104 18
104 127
0
1
8
9
3
3
3
3
3
3
3
3
Star Theme
Star Theme 2
Dream Pad
Silky Pad
New Century
7th Atmos.
Galaxy Way
Xylophone
1
2
3
4
5
6
7
OB Saw 2
D-50 Saw
94 127
SH-101 Saw
CS Saw
MG Saw Lead
OB Saw Lead
P5 Saw Lead
MG unison
Taiko
95
95
95
95
0
1
2
8
3
3
3
3
3
Halo Pad
Vox Pad
Vox Sweep
Horror Pad
Tuba
1
2
3
4
B77
119
119
119
0
8
9
3
3
3
3
Synth Drum
808 Tom
Elec Perc
1
2
3
95 127
119 10
Sine Perc.
228
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VA-76 – Tones
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
4
5
6
119 11
119 12
119 127
3
3
3
606 Tom
909 Tom
Taiko Rim
10 121 11
11 121 12
12 121 13
13 121 127
3
3
3
3
Chord Stroke
Biwa Stroke
Biwa Tremolo
Castanets
6
124 127
3
Telephone
11 126 11
12 126 127
3
3
Perc. Bang
OneNote Jam
B85
125
125
125
125
125
125
125
125
125
0
1
2
3
4
5
7
8
9
3
3
3
3
3
3
3
3
3
3
3
3
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Scratch 2
ScratchKey
TapeRewind
Phono Noise
MC-500 Beep
Bird Tweet
1
2
3
4
5
6
7
8
9
B87
127
127
127
127
127
127
127
127
127
0
1
2
3
4
5
6
7
8
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Applause
Laughing
Screaming
Punch
B78
120
120
120
120
120
120 16
120 17
120 24
120 25
120 127
0
1
2
8
9
3
3
3
3
3
3
3
3
3
3
Reverse Cym.
Reverse Cym2
Reverse Cym3
Rev.Snare 1
Rev.Snare 2
Rev.Kick 1
Rev.ConBD
Rev.Tom 1
Rev.Tom 2
Cymbal
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
B82
B83
122
122
122 127
0
1
3
3
3
Breath Noise
Fl.Key Click
Triangle
1
2
Heart Beat
Footsteps
Applause 2
Small Club
ApplauseWave
Voice One
Voice Two
Voice Three
Voice Tah
Voice Whey
Water Bell
123
123
123
123
123
123
123
123 16
123 17
123 127
0
1
2
3
4
5
6
3
3
3
3
3
3
3
3
3
3
Seashore
Rain
Thunder
Wind
Stream
Bubble
1
2
3
4
5
6
7
8
9
125 10
10 125 11
11 125 127
127 16
10 127 17
11 127 18
12 127 19
13 127 20
14 127 127
B81
121
121
121
121
121
121
121
121
121
0
1
2
3
4
5
6
8
9
3
3
3
3
3
3
3
3
3
3
Gt.FretNoise
Gt.Cut Noise
String Slap
Gt.CutNoise2
Dist.CutNoiz
Bass Slide
Pick Scrape
Gt. FX Menu
Bartok Pizz.
Guitar Slap
Wind 2
B86
126
126
126
126
126
126
126
126
126
126
0
1
2
3
4
5
6
7
8
9
3
3
3
3
3
3
3
3
3
3
3
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
1
2
3
4
5
6
7
8
9
Pink Noise
White Noise
Orche Hit
1
2
3
4
5
6
7
8
9
B88
128
128
128
128
128
128
0
1
2
3
4
5
3
3
3
3
3
3
3
Gun Shot
Machine Gun
Lasergun
Explosion
Eruption
Big Shot
Jungle Tune
B84
124
124
124
124
124
124
0
1
2
3
4
5
3
3
3
3
3
3
Bird
Dog
Horse-Gallop
Bird 2
Kitty
1
2
3
4
5
6
1
2
3
4
5
Train
Jetplane
Starship
Burst Noise
Calculating
121 10
Growl
10 126 10
128 127
Tone Map 2
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
A11
1
1
1
1
1
0
8
16
126
127
2
2
2
2
2
Piano 1
3
4
12 126
12 127
2
2
Steel Gt.
Elec Org 4
A36
22
22
22
22
22
22 126
22 127
0
8
16
24
25
2
2
2
2
2
2
2
AccordionFr
AccordionIt
Detuned Acc
Accordion 1
Accordion 2
Slap Bass 2
Clavi 3
3
4
5
6
7
8
9
31
31
31
31
31
31
31
8
9
16
17
18
24
25
2
2
2
2
2
2
2
2
2
FeedbackGt.
FeedbackGt2
PowerGuitar
Power Gt.2
5th Dist.
Rock Rhythm
RockRhythm2
Choir Aahs
Syn Bass3
1
2
3
4
Piano 1w
Piano 1d
Piano 2
1
2
3
4
5
6
A25
13
13
13
13
13
13 126
13 127
0
8
16
17
24
2
2
2
2
2
2
2
Marimba
Marimba w
Barafon
Barafon 2
Log drum
12-str.Gt
1
2
3
4
5
6
Acou Piano1
A12
A13
2
2
2
2
0
8
126
127
2
2
2
2
Piano 2
Piano 2w
Piano 2
1
2
3
10 31 126
11 31 127
A37
A38
23
23
23 126
23 127
0
1
2
2
2
2
Harmonica
Harmonica 2
Slap Bass 2
Celesta 1
Acou Piano2
Pipe Org 1
1
2
3
A48
32
32
32
32 126
32 127
0
8
16
2
2
2
2
2
Gt.Harmonix
Gt.Feedback
Ac.Gt.Harm.
Choir Aahs
Syn Bass4
3
3
3
3
3
3
0
1
2
8
126
127
2
2
2
2
2
2
Piano3
A26
A27
14
14 126
14 127
0
2
2
2
Xylophone
Funk Gt.
Pipe Org 2
1
2
3
4
1
2
3
4
5
EG+Rhodes 1
EG+Rhodes 2
Piano 3w
Piano 2
Acou Piano3
1
2
24
24
24
24
24 126
24 127
0
8
16
17
2
2
2
2
2
2
Bandoneon
AccJuno-106
DetunedAcc2
It. Musette
Fingered Bs
Celesta 2
1
2
3
4
5
15
15
15
15 126
15 127
0
8
9
2
2
2
2
2
Tubularbell
Church Bell
Carillon
Muted Gt.
Pipe Org3
1
2
3
4
A51
A52
33
33 126
33 127
0
2
2
2
AcousticBs.
Choir Aahs
Fantasy
1
2
A14
A15
4
4
4
4
0
8
126
127
2
2
2
2
Honky-tonk
Old Upright
Honky-tonk
Elec Piano1
1
2
3
A41
A42
25
25
25
25
25
25
0
8
16
24
32
40
2
2
2
2
2
2
2
2
Nylonstr.Gt
Ukulele
34
34
34
34 126
34 127
0
1
2
2
2
2
2
2
FingeredBs.
FingeredBs2
Jazz Bass
SlowStrings
Harmo Pan
A28
A31
16
16
16
0
1
8
2
2
2
Santur
Santur 2
Cimbalom
1
2
3
4
5
6
7
1
2
3
4
1
2
Nylon Gt.o
VeloHarmnix
Nylon Gt.2
Lequint Gt.
Fingered Bs
Syn Brass 1
5
5
5
5
5
5
5
5
5
5
5
0
8
9
2
2
2
2
2
2
2
2
2
2
2
E.Piano 1
St.Soft EP
1
2
3
4
5
6
7
8
9
17
17
17
17
17
17
17
17
17
17
0
1
8
9
16
17
18
24
32
33
40
48
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Organ 1
SA E.Piano
FM+SA EP
Stiky Rhodes
60's EPiano
Hard Rhodes
MellwRhodes
60'sE.Piano2
Piano 1
1
2
3
4
5
6
7
8
9
Organ 101
DetunedOr.1
Organ 109
60'sOrgan 1
60'sOrgan 2
60'sOrgan 3
CheeseOrgan
Organ 4
16
17
24
25
26
27
126
127
A53
A54
35
8
35 126
35 127
0
2
2
2
2Picked Bass
MutePickBs.
Strings
25 126
25 127
1
2
3
35
26
26
26
26
26
26
26
0
8
9
16
17
18
32
2
2
2
2
2
2
2
2
2
Steelstr.Gt
12-str.Gt
Nylon+Steel
Mandolin
Mandolin 2
Mandolin Tr
Steel Gt.2
Picked Bass
Syn Brass 2
Chorale
1
2
3
4
5
6
7
8
36
36
36
36
36
36
0
1
2
3
4
5
2
2
2
2
2
2
2
2
FretlessBs.
FretlessBs2
FretlessBs3
FretlessBs4
SynFretless
Mr.Smooth
SynStrings3
Glasses
1
2
3
4
5
6
7
10
Elec Piano2
Even Bar
A16
A17
6
6
6
6
6
6
0
8
16
24
126
127
2
2
2
2
2
2
E.Piano 2
Detuned EP2
St.FM EP
Hard FM EP
Piano 2
Elec Piano3
10 17
11 17
12 17 126
13 17 127
Organ Bass
Organ Oct 1
Slap Bass 1
Harpsi 1
1
2
3
4
5
26 126
26 127
36 126
36 127
A43
A44
27
27
27
27 126
27 127
0
1
8
2
2
2
2
2
Jazz Gt.
A32
A33
A34
18
18
18
18
18 126
18 127
0
1
8
2
2
2
2
2
2
Organ 2
A55
37
37
37 126
37 127
0
8
2
2
2
2
Slap Bass 1
Reso Slap
SynStrings3
Soundtrack
1
2
3
4
Mellow Gt.
Pedal Steel
Picked Bass
Syn Brass3
1
2
3
4
5
Organ 201
DetunedOr.2
Organ 5
Slap Bass 1
Harpsi 2
1
2
3
7
7
7
7
7
7
0
8
16
24
126
127
2
2
2
2
2
2
Harpsichord
Coupled Hps
Harpsi.w
Harpsi.o
Piano 2
1
2
3
4
5
32
A56
A57
38
38 126
38 127
0
2
2
2
Slap Bass 2
Organ 1
Atmosphere
28
28
28
28
28
28 126
28 127
0
1
2
8
9
2
2
2
2
2
2
2
Clean Gt.
1
2
1
2
3
4
5
6
Clean Gt. 2
OpenHard Gt
Chorus Gt.
JC Strat Gt
Fretless Bs
Syn Brass4
19
19
19
19
19 126
19 127
0
8
16
24
2
2
2
2
2
2
Organ 3
Elec Piano4
1
2
3
4
5
Rotary Org.
RotaryOrg.S
RotaryOrg.F
Slap Bass 1
Harpsi 3
39
39
39
39
39
39
0
1
8
9
10
16
2
2
2
2
2
2
2
2
SynthBass 1
Syn.Bass101
Acid Bass
TB303 Bass
Tekno Bass
Reso SHBass
Organ 1
A18
A21
A22
A23
A24
8
8
8
0
126
127
2
2
2
Clav.
E.Piano 1
Honkytonk
1
2
3
4
5
6
7
1
2
9
9
9
0
126
127
2
2
2
Celesta
Detuned EP1
Elec Org 1
A45
29
29
29
29
29
29 126
29 127
0
1
2
8
16
2
2
2
2
2
2
2
Muted Gt.
MutedDis.Gt
Muted Gt. 2
Funk Pop
Funk Gt.2
Acoustic Bs
Syn Bass 1
1
2
20
20
20
20
20
20
0
8
9
16
24
32
2
2
2
2
2
2
2
2
ChurchOrg.1
ChurchOrg.2
Organ Oct 2
ChurchOrg.3
Organ Flute
Trem.Flute
Slap Bass 2
Clavi 1
1
2
3
4
5
6
1
2
3
4
5
6
7
39 126
39 127
Warm Bell
10
10 126
10 127
0
2
2
2
Glocknspiel
E.Piano 2
Elec Org 2
1
2
A58
40
40
40
40
40
40
40
40
40
40
0
1
2
3
8
2
2
2
2
2
2
2
2
2
2
SynthBass 2
Syn.Bass201
ModularBass
Seq Bass
Beef FMBass
X Wire Bass
Rubber Bass
SH101Bass 1
SH101Bass 2
Smooth Bass
1
2
3
4
5
6
7
8
9
20 126
20 127
11
11 126
11 127
0
2
2
2
Music Box
Steel Gt.
Elec Org 3
A46
A47
30
30 126
30 127
0
2
2
2
OverdriveGt
Choir Aahs
Syn Bass 2
1
2
1
2
A35
21
21 126
21 127
0
2
2
2
Reed Organ
Slap Bass 2
Clavi 2
9
1
2
16
17
18
19
12
12
12
0
1
8
2
2
2
Vibraphone
Hard Vibe
Vib.w
31
31
31
0
1
2
2
2
2
DistortionG
Dist. Gt2
DazedGuitar
1
2
1
2
229
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VA-76 Owner’s Manual—Reference
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
10 40 126
11 40 127
2
2
Organ 1
Funny Vox
A82
58
58
58 126
58 127
0
1
2
2
2
2
Trombone
Trombone 2
Alto Sax
B28
80
80 127
0
2
2
Ocarina
Sax 2
7
8
9
99
99
99
7
8
9
16
17
18
19
2
2
2
2
2
2
2
2
X'mas Bell
Vibra Bells
Digi Bells
ChoralBells
Air Bells
Bell Harp
Gamelimba
Vibe 2
1
2
3
1
A61
41
41
41
41
41 126
41 127
0
8
16
17
2
2
2
2
2
2
Violin
B31
81
81
81
81
81
81
81
81
0
1
2
3
4
5
6
8
2
2
2
2
2
2
2
2
2
Square Wave
Square
Hollow Mini
Mellow FM
CC Solo
Harp 1
10 99
11 99
12 99
13 99
1
2
3
4
5
Slow Violin
Folk Violin
FolkViolnVb
Organ 2
1
2
3
4
5
6
7
8
A83
59
59
59 126
59 127
0
1
2
2
2
2
Tuba
1
2
3
Tuba 2
Brass 1
Harp 2
14 99 127
Echo Bell
Shmoog
LM Square
Sine Wave
Sax 3
B54
100
100
100
100
100
100
100
0
1
2
3
4
5
6
2
2
2
2
2
2
2
2
Atmosphere
Warm Atmos
Nylon Harp
Harpvox
HollowRels.
NylonRhodes
Ambient Pad
Syn Mallet
A62
A63
42
42 126
42 127
0
2
2
2
Viola
Organ 1
Ice Rain
A84
A85
60
60 126
60 127
0
2
2
2
Muted Tp.
Brass 1
Guitar 1
1
2
3
4
5
6
7
1
2
1
2
81 127
B32
82
82
82
82
82
82
82
82
82
82
0
1
2
3
4
5
6
7
8
2
2
2
2
2
2
2
2
2
2
2
Saw Wave
Saw
Pulse Saw
Feline GR
Big Lead
Velo Lead
GR-300
43
43 126
43 127
0
2
2
2
Cello
Organ 1
Oboe 2001
61
61
61
61
61 126
61 127
0
1
8
2
2
2
2
2
2
FrenchHorns
Fr.Horn 2
Fr.HornSolo
Horn Orch
Brass 2
1
2
3
4
5
6
7
8
9
1
2
1
2
3
4
5
100 127
16
A64
A65
44
0
2
Contrabass
B55
B56
101
101 127
0
2
2
Brightness
Windbell
Guitar 2
1
45
45
45
45 126
45 127
0
8
9
2
2
2
2
2
Tremolo Str
SlowTremolo
SuspenseStr
Organ 2
LA Saw
1
2
3
4
A86
A87
62
62
62
62
62 126
62 127
0
8
16
24
2
2
2
2
2
2
Brass 1
Brass 2
Brass Fall
Brass Oct
Brass 2
102
102
102
0
1
2
2
2
2
2
Goblin
Doctor Solo
Waspy Synth
Sax 4
1
2
3
4
5
1
2
3
Goblinson
50's Sci-Fi
Glock
16
10 82 127
Doctor Solo
102 127
B33
83
83
83
83 127
84
84 127
85
85
85 127
86
0
1
2
2
2
2
2
2
2
2
2
2
2
2
SynCalliope
Vent Synth
PurePanLead
Clarinet 1
ChifferLead
Clarinet 2
Charang
Dist.Lead
Oboe
Solo Vox
A66
A67
A68
A71
46
46 126
46 127
0
2
2
2
Pizz. Str.
Organ 2
School Daze
Elec Gtr 1
B57
103
103
103
103
103
103
103
0
1
2
3
4
5
6
2
2
2
2
2
2
2
2
Echo Drops
Echo Bell
Echo Pan
Echo Pan 2
Big Panner
Reso Panner
Water Piano
Tube Bell
1
2
3
1
2
1
2
3
4
5
6
7
63
63
63
63
63
63 126
63 127
0
1
8
9
16
2
2
2
2
2
2
2
SynthBrass1
Poly Brass
Syn.Brass 3
Quack Brass
OctaveBrass
Brass 1
1
2
3
4
5
6
B34
B35
0
47
47 126
47 127
0
2
2
2
Harp
Trumpet
Bellsinger
1
1
2
0
8
1
2
103 127
48
48 126
48 127
0
2
2
2
Timpani
Trumpet
Square Wave
Elec Gtr 2
B36
B37
0
1
2
B58
B61
104
104
104 127
0
1
2
2
2
Star Theme
StarTheme 2
Xylophone
1
86 127
Engl Horn
A88
64
64
64
64
64
64 126
64 127
0
1
8
16
17
2
2
2
2
2
2
2
Syn.Brass 2
Soft Brass
Syn.Brass 4
VeloBrass 1
VeloBrass 2
Orchest.Hit
Sitar
1
2
1
2
3
4
5
6
87
1
0
2
2
25th Saw
Big Fives
Bassoon
49
49
49
49
49
49
49
49
49
0
1
8
2
2
2
2
2
2
2
2
2
2
2
Strings
Strings 2
1
2
87
87 127
1
2
3
4
5
6
7
8
9
105
105
105
105
105 16
105 127
0
1
2
8
2
2
2
2
2
2
Sitar
Sitar 2
DetuneSitar
Tambra
Tamboura
Marimba
Orchestra
Orchestra 2
TremoloOrch
Choir Str.
St.Strings
VeloStrings
Strings Oct
Trombone
Str Sect 1
1
2
3
4
5
9
B38
88
88
88
0
1
2
2
2
2
2
Bass & Lead
Big & Raw
Fat & Perky
Harmonica
10
11
16
24
32
1
2
3
B11
B12
65
65 127
0
2
2
Soprano Sax
Acou Bass 1
88 127
1
B62
106
106
106
106 16
106 24
106 25
106 28
106 127
0
1
8
2
2
2
2
2
2
2
2
Banjo
Muted Banjo
Rabab
Gopichant
Oud
Oud 2
B41
B42
89
89
89 127
0
1
2
2
2
Fantasia
Fantasia 2
Trumpet 1
49 126
66
66
66
66
66
0
8
9
17
18
2
2
2
2
2
2
Alto Sax
1
2
3
4
5
6
7
1
2
10 49 127
1
2
3
4
5
Hyper Alto
Alto Sax 2
Folk A.Sax
FolkA.SaxVb
Acou Bass 2
A72
A73
50
50
50
50
50
50 126
50 127
0
1
8
9
10
2
2
2
2
2
2
2
SlowStrings
Slow Str. 2
Legato Str.
WarmStrings
St.SlowStr.
Trombone
Str Sect 2
90
90
90
90
90
0
1
2
3
4
2
2
2
2
2
2
Warm Pad
Thick Pad
Horn Pad
RotaryStrng
Soft Pad
1
2
3
4
5
6
1
2
3
4
5
66 127
Oud&Strings
Koto
B13
67
67
67
0
1
8
2
2
2
2
Tenor Sax
1
2
3
Tenor Sax 2
BreathyTnr.
Elec Bass 1
B63
B64
107
107
107 127
0
1
2
2
2
Shamisen
Tsugaru
Sho
90 127
Trumpet 2
1
2
67 127
B43
B44
91
91
91 127
0
1
2
2
2
Polysynth
80'sPolySyn
Trombone 1
51
51
51
51 126
51 127
0
1
8
2
2
2
2
2
SynStrings1
OB Strings
SynStrings3
Trombone
Str Sect3
1
2
1
2
3
4
B14
B15
B16
B17
B18
68
68 127
0
2
2
BaritoneSax
Elec Bass 2
108
108
108 16
108 17
108 18
108 19
108 127
0
8
2
2
2
2
2
2
2
Koto
Taisho Koto
Kanoon
Kanoon 2
Kanoon Oct
Knoon&Choir
Shakuhachi
1
1
1
1
1
2
3
4
5
6
92
92
92 127
0
1
2
2
2
Space Voice
Heaven II
Trombone 2
69
69 127
0
2
2
Oboe
Slap Bass 1
1
2
A74
A75
52
52 126
52 127
0
2
2
2
SynStrings2
Trombone
Pizzicato
1
2
70
70 127
0
2
2
EnglishHorn
Slap Bass 2
B45
B46
93
93 127
0
2
2
Bowed Glass
Fr Horn 1
1
B65
B66
109
109 127
0
2
2
Kalimba
Whistle 1
53
53
53
53
53 126
53 127
0
8
9
2
2
2
2
2
2
Choir Aahs
St.Choir
Mello Choir
ChoirAahs 2
Trombone
Violin 1
71
71 127
0
2
2
Bassoon
Fretless 1
94
94
94
0
1
2
2
2
2
2
Metal Pad
Tine Pad
Panner Pad
Fr Horn 2
1
1
2
3
4
5
1
2
3
110
110
110
110 10
110 127
0
8
9
2
2
2
2
2
Bagpipe
Mizmar
Mizmar Oct
Mizmar Dual
Whistle 2
72
72
72
72
0
8
16
17
2
2
2
2
2
Clarinet
32
94 127
1
2
3
4
1
2
3
4
Bs Clarinet
Folk Clarin
FolkClarnVb
Fretless 2
B47
B48
95
95 127
0
2
2
Halo Pad
Tuba
1
A76
A77
54
54 126
54 127
0
2
2
2
Voice Oohs
Trombone
Violin 2
72 127
1
2
96
96
96
96
96
0
1
8
9
10
2
2
2
2
2
2
Sweep Pad
Polar Pad
Converge
Shwimmer
CelestialPd
Brs Sect 1
B67
B68
111
111 127
0
2
2
Fiddle
Bottleblow
B21
73
73
73
0
8
9
2
2
2
2
Piccolo
Nay
Nay Oct
Flute 1
1
2
3
4
5
1
1
2
3
55
55
55 126
55 127
0
8
2
2
2
2
SynVox
Syn.Voice
Alto Sax
Cello 1
112
112
112
112 16
112 127
0
1
8
2
2
2
2
2
Shanai
Shanai 2
Pungi
Hichiriki
Breathpipe
1
2
3
73 127
1
2
3
4
96 127
B22
B23
B24
74
74 127
0
2
2
Flute
Flute 2
1
1
B51
97
97
97
97
0
1
2
8
2
2
2
2
2
Ice Rain
A78
A81
56
56
56
56
56
56 126
56 127
0
8
9
10
16
2
2
2
2
2
2
2
Orch. Hit
Impact Hit
Philly Hit
Double Hit
Lo Fi Rave
Tenor Sax
Cello 2
1
2
3
4
Harmo Rain
AfricanWood
Clavi Pad
75
75 127
0
2
2
Recorder
Piccolo 1
1
2
3
4
5
6
B71
113
113
113
113 10
113 11
113 16
113 127
0
8
9
2
2
2
2
2
2
2
Tinkle Bell
Bonang
Gender
GamelanGong
St.Gamelan
RAMA Cymbal
Timpani
1
2
3
4
5
6
97 127
Brs Sect 2
76
76
76
76
0
8
9
2
2
2
2
2
Pan Flute
Kawala
Kawala 2
Kawala Oct
Piccolo 2
1
2
3
4
B52
B53
98
98
98
98
0
1
2
8
2
2
2
2
Soundtrack
Ancestral
Prologue
Rave
1
2
3
10
76 127
57
57
57
57
57
57
57
0
1
8
17
18
24
25
2
2
2
2
2
2
2
2
2
Trumpet
1
2
3
4
5
6
7
8
Trumpet 2
Flugel Horn
FolkTrumpet
FolkTrumpVb
Bright Tp.
Warm Tp.
BaritoneSax
Contrabass
B72
B73
114
114
114 127
0
8
2
2
2
Agogo
Atarigane
Melodic Tom
B25
B26
B27
77
77 127
0
2
2
Bottle Blow
Recorder
99
99
99
99
99
99
99
0
1
2
3
4
5
6
2
2
2
2
2
2
2
Crystal
1
2
1
1
1
1
2
3
4
5
6
Syn Mallet
SoftCrystal
Round Glock
Loud Glock
GlocknChime
Clear Bells
78
78 127
0
2
2
Shakuhachi
Pan Pipes
115
115 127
0
2
2
Steel Drums
Deep Snare
1
57 126
57 127
79
79 127
0
2
2
Whistle
Sax 1
230
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VA-76 – Tones
2
3
4
5
6
7
8
9
126
126
126
126
126
126
126
126
2
3
4
5
6
7
8
9
2
2
2
2
2
2
2
2
2
Car-Stop
Car-Pass
Car-Crash
Siren
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
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B74
B75
B76
116
116
116 127
0
8
2
2
2
Woodblock
Castanets
Elec Perc 1
4
5
6
7
8
120 16
120 17
120 24
120 25
120 127
2
2
2
2
2
Rev.Kick 1
Rev.ConBD
Rev.Tom 1
Rev.Tom 2
Cymbal
4
5
6
123
123
123 127
4
5
2
2
2
Stream
Bubble
Orche Hit
1
2
Train
Jetplane
Starship
Burst Noise
OneNote Jam
117
117
117 127
0
8
2
2
2
Taiko
Concert BD
Elec Perc 2
B84
B85
124
124
124
124
124
124
0
1
2
3
4
5
2
2
2
2
2
2
2
Bird
Dog
HorseGallop
Bird 2
Kitty
Growl
Telephone
1
2
1
2
3
4
5
6
B81
121
121
121
121
121
121
121
0
1
2
3
4
5
6
2
2
2
2
2
2
2
2
Gt.FretNoiz
Gt.CutNoise
String Slap
Gt.CutNz. 2
Dist.CutNz.
Bass Slide
10 126 127
1
2
3
4
5
6
7
118
118
118
118
0
1
8
9
2
2
2
2
2
Melo. Tom 1
Real Tom
Melo. Tom 2
Rock Tom
Taiko
B87
B88
127
127
127
127
127
127
127
0
1
2
3
4
5
6
2
2
2
2
2
2
2
2
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Applause 2
Water Bell
1
2
3
4
1
2
3
4
5
6
7
124 127
118 127
125
125
125
125
125
125
125
0
1
2
3
4
5
7
2
2
2
2
2
2
2
2
Telephone 1
Telephone 2
Creaking
Door
Scratch
Wind Chimes
Scratch 2
Bird Tweet
Pick Scrape
Castanets
1
2
3
4
5
6
7
121 127
B77
B78
119
119
119
0
8
9
2
2
2
2
Synth Drum
808 Tom
Elec Perc
1
2
3
B82
B83
122
122
122 127
0
1
2
2
2
BreathNoise
Fl.KeyClick
Triangle
127 127
1
2
119 127
Taiko Rim
128
128
128
128
0
1
2
3
2
2
2
2
2
Gun Shot
Machine Gun
Lasergun
Explosion
Jungle Tune
1
2
3
4
120
120
120
120
0
1
8
9
2
2
2
2
Reverse Cym
ReverseCym2
Rev.Snare 1
Rev.Snare 2
123
123
123
123
0
1
2
3
2
2
2
2
Seashore
Rain
Thunder
Wind
125 127
1
2
3
1
2
3
B86
126
126
0
1
2
2
Helicopter
Car-Engine
128 127
1
Tone Map 1
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GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
A11
1
1
1
1
1
0
8
16
126
127
1
1
1
1
1
Piano 1
A27
15
15
15
15 126
15 127
0
8
9
1
1
1
1
1
Tubularbell
Church Bell
Carillon
Muted Gt.
Pipe Org3
3
28 127
1
Syn Brass4
A64
A65
A66
A67
A68
A71
44
44 126
44 127
0
1
1
1
Contrabass
Organ 2
Echo Pan
1
2
3
4
Piano 1w
Piano 1d
Piano 2
1
2
3
4
1
2
A45
29
29
29
29 126
29 127
0
8
16
1
1
1
1
1
Muted Gt.
Funk Gt.
Funk Gt.2
Acoustic Bs
Syn Bass 1
1
2
3
4
45
45 126
45 127
0
1
1
1
Tremolo Str
Organ 2
Doctor Solo
Acou Piano1
1
2
A12
A13
A14
A15
2
2
2
2
0
8
126
127
1
1
1
1
Piano 2
Piano 2w
Piano 2
A28
A31
16
16 126
16 127
0
1
1
1
Santur
Slap Bass 1
Accordion
1
2
3
1
2
A46
A47
30
30 126
30 127
0
1
1
1
OverdriveGt
Choir Aahs
Syn Bass 2
46
46 126
46 127
0
1
1
1
Pizzicato
Organ 2
School Daze
1
2
1
2
Acou Piano2
17
17
17
17
17 126
17 127
0
8
16
32
1
1
1
1
1
1
Organ 1
3
3
3
3
0
8
126
127
1
1
1
1
Piano 3
Piano 3w
Piano 2
1
2
3
4
5
Detuned Or1
60's Organ1
Organ 4
Slap Bass 1
Harpsi 1
31
31
31 126
31 127
0
8
1
1
1
1
Dist.Gt.
47
47 126
47 127
0
1
1
1
Harp
Trumpet
Bellsinger
1
2
3
1
2
3
Feedback Gt
Choir Aahs
Syn Bass3
1
2
Acou Piano3
48
48 126
48 127
0
1
1
1
Timpani
Trumpet
Square Wave
4
4
4
4
0
8
126
127
1
1
1
1
Honky-tonk
HonkyTonk w
Honky-tonk
Elec Piano1
A48
32
32
32 126
32 127
0
8
1
1
1
1
Gt.Harmonix
Gt.Feedback
Choir Aahs
Syn Bass4
1
2
1
2
3
A32
18
18
18
18 126
18 127
0
8
32
1
1
1
1
1
Organ 2
Detuned Or2
Organ 5
Slap Bass 1
Harpsi 2
1
2
3
1
2
3
4
49
49
49 126
49 127
0
8
1
1
1
1
Strings
1
2
3
Orchestra
Trombone
Str Sect 1
5
5
5
5
5
5
0
8
16
24
126
127
1
1
1
1
1
1
E.Piano 1
A51
A52
A53
A54
A55
A56
A57
33
33 126
33 127
0
1
1
1
Acoustic Bs
Choir Aahs
Fantasy
1
2
3
4
5
Detuned EP1
E.Piano 1v
60s E.Piano
Piano 1
1
2
A33
A34
19
19 126
19 127
0
1
1
1
Organ 3
Slap Bass 1
Harpsi 3
1
2
A72
A73
50
50 126
50 127
0
1
1
1
SlowStrings
Trombone
Str Sect 2
34
34 126
34 127
0
1
1
1
Fingered Bs
SlowStrings
Harmo Pan
1
2
Elec Piano2
1
2
20
20
20
20 126
20 127
0
8
16
1
1
1
1
1
Church Org1
Church Org2
Church Org3
Slap Bass 2
Clavi 1
A16
A17
6
6
6
6
6
0
8
16
126
127
1
1
1
1
1
E.Piano 2
1
2
3
4
51
51
51 126
51 127
0
8
1
1
1
1
SynStrings1
SynStrings3
Trombone
Str Sect3
1
2
3
4
Detuned EP2
E.Piano 2v
Piano 2
35
35 126
35 127
0
1
1
1
Picked Bass
Strings
Chorale
1
2
3
1
2
Elec Piano3
A35
A36
21
21 126
21 127
0
1
1
1
Reed Organ
Slap Bass 2
Clavi 2
36
36 126
36 127
0
1
1
1
Fretless Bs
SynStrings3
Glasses
A74
A75
52
52 126
52 127
0
1
1
1
SynStrings2
Trombone
Pizzicato
7
7
7
7
7
7
0
8
16
24
126
127
1
1
1
1
1
1
Harpsichord
Coupled Hps
Harpsi.w
Harpsi.o
Piano 2
1
2
1
2
1
2
1
2
3
4
5
22
22
22 126
22 127
0
8
1
1
1
1
Accordion F
Accordion I
Slap Bass 2
Clavi 3
37
37 126
37 127
0
1
1
1
Slap Bass 1
SynStrings3
Soundtrack
53
53
53 126
53 127
0
32
1
1
1
1
Choir Aahs
Choir Aahs2
Trombone
Violin 1
1
2
3
1
2
1
2
3
Elec Piano4
A18
A21
A22
A23
A24
8
8
8
0
126
127
1
1
1
Clav.
E.Piano 1
Honkytonk
38
38 126
38 127
0
1
1
1
Slap Bass 2
Organ 1
Atmosphere
A37
A38
A41
23
23 126
23 127
0
1
1
1
Harmonica
Slap Bass 2
Celesta 1
1
2
1
2
A76
A77
A78
A81
A82
54
54 126
54 127
0
1
1
1
Voice Oohs
Trombone
Violin 2
1
2
1
2
9
9
9
0
126
127
1
1
1
Celesta
Detuned EP1
Elec Org 1
39
39
39
39 126
39 127
0
1
8
1
1
1
1
1
Syn.Bass 1
Syn.Bass101
Syn.Bass 3
Organ 1
24
24 126
24 127
0
1
1
1
Bandoneon
Fingered Bs
Celesta 2
1
2
1
2
3
4
55
55 126
55 127
0
1
1
1
SynVox
Alto Sax
Cello 1
1
2
1
2
10
10 126
10 127
0
1
1
1
Glockenspl
E.Piano 2
Elec Org 2
Warm Bell
25
25
25
25
25 126
25 127
0
8
16
32
1
1
1
1
1
1
Nylon Gt.
Ukulele
Nylon Gt.o
Nylon Gt.2
Fingered Bs
Syn Brass 1
1
2
56
56 126
56 127
0
1
1
1
Orchest.Hit
Tenor Sax
Cello 2
1
2
3
4
5
A58
A61
40
40
40
40 126
40 127
0
8
16
1
1
1
1
1
Syn.Bass 2
Syn.Bass 4
Rubber Bass
Organ 1
1
2
1
2
3
4
11
11 126
11 127
0
1
1
1
Music Box
Steel Gt.
Elec Org 3
1
2
57
57 126
57 127
0
1
1
1
Trumpet
BaritoneSax
Contrabass
1
2
Funny Vox
12
12
12 126
12 127
0
8
1
1
1
1
Vibraphone
Vib.w
Steel Gt.
Elec Org 4
A42
26
26
26
26 126
26 127
0
8
16
1
1
1
1
1
Steel Gt.
12-str.Gt
Mandolin
Picked Bass
Syn Brass 2
41
41
41 126
41 127
0
8
1
1
1
1
Violin
1
2
3
1
2
3
4
58
58
58 126
58 127
0
1
1
1
1
1
Trombone
Trombone 2
Alto Sax
1
2
3
Slow Violin
Organ 2
Echo Bell
1
2
3
Harp 1
A25
A26
13
13
13 126
13 127
0
8
1
1
1
1
Marimba
Marimba w
12-str.Gt
A62
A63
42
42 126
42 127
0
1
1
1
Viola
Organ 1
Ice Rain
1
2
3
A43
A44
27
27
27 126
27 127
0
8
1
1
1
1
Jazz Gt.
A83
A84
59
59 126
59 127
0
1
1
1
Tuba
Brass 1
Harp 2
1
2
1
2
3
Hawaiian Gt
Picked Bass
Syn Brass3
1
2
Pipe Org 1
43
43 126
43 127
0
1
1
1
Cello
Organ 1
Oboe 2001
14
14 126
14 127
0
1
1
1
Xylophone
Funk Gt.
Pipe Org 2
60
60 126
60 127
0
1
1
1
MuteTrumpet
Brass 1
Guitar 1
1
2
1
2
28
28
28 126
0
8
1
1
1
Clean Gt.
Chorus Gt.
Fretless Bs
1
2
1
2
231
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VA-76 Owner’s Manual—Reference
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
GBN Var PC CC00 CC32 Name
A85
A86
A87
61
61
61 126
61 127
0
1
1
1
1
1
French Horn
Fr.Horn 2
Brass 2
B43
B44
B45
B46
B47
B48
B51
B52
B53
91
91 127
0
1
1
Polysynth
Trombone 1
3
121 127
1
Castanets
1
2
3
1
1
1
1
1
1
1
1
B82
B83
122
122
122 127
0
1
1
1
1
BreathNoise
Fl.KeyClick
Triangle
92
92 127
0
1
1
Space Voice
Trombone 2
1
2
Guitar 2
62
62
62 126
62 127
0
8
1
1
1
1
Brass 1
Brass 2
Brass 2
Elec Gtr 1
93
93 127
0
1
1
Bowed Glass
Fr Horn 1
123
123
123
123
123
123
0
1
2
3
4
5
1
1
1
1
1
1
1
Seashore
Rain
Thunder
Wind
Stream
Bubble
Orche Hit
1
2
3
1
2
3
4
5
6
94
94 127
0
1
1
Metal Pad
Fr Horn 2
63
63
63
63 126
63 127
0
8
16
1
1
1
1
1
Syn.Brass 1
Syn.Brass 3
Analog Brs1
Brass 1
1
2
3
4
95
95 127
0
1
1
Halo Pad
Tuba
123 127
B84
B85
124
124
124
124
0
1
2
3
1
1
1
1
1
Bird
Dog
HorseGallop
Bird 2
Telephone
Elec Gtr 2
96
96 127
0
1
1
Sweep Pad
Brs Sect 1
1
2
3
4
A88
64
64
64
64 126
64 127
0
8
16
1
1
1
1
1
Syn.Brass 2
Syn.Brass 4
Analog Brs2
Orchest.Hit
Sitar
1
2
3
4
97
97 127
0
1
1
Ice Rain
Brs Sect 2
124 127
125
125
125
125
125
125
0
1
2
3
4
5
1
1
1
1
1
1
1
Telephone 1
Telephone 2
Creaking
Door
Scratch
Wind Chimes
Bird Tweet
98
98 127
0
1
1
Soundtrack
Vibe 1
1
2
3
4
5
6
B11
B12
B13
B14
B15
B16
B17
B18
B21
B22
B23
B24
B25
B26
B27
B28
B31
65
65 127
0
1
1
Soprano Sax
Acou Bass 1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
99
99
99 127
0
1
1
1
1
Crystal
Syn Mallet
Vibe 2
1
2
66
66 127
0
1
1
Alto Sax
Acou Bass 2
125 127
B54
B55
B56
B57
100
100 127
0
1
1
Atmosphere
Syn Mallet
67
67 127
0
1
1
Tenor Sax
Elec Bass 1
B86
126
126
126
126
126
126
126
126
126
126
0
1
2
3
4
5
6
7
8
9
1
1
1
1
1
1
1
1
1
1
1
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
1
1
1
1
2
3
4
5
6
7
8
9
101
101 127
0
1
1
Brightness
Windbell
68
68 127
0
1
1
BaritoneSax
Elec Bass 2
102
102 127
0
1
1
Goblin
Glock
69
69 127
0
1
1
Oboe
Slap Bass 1
103
103
103
0
1
2
1
1
1
1
Echo Drops
Echo Bell
Echo Pan
Tube Bell
70
70 127
0
1
1
EnglishHorn
Slap Bass 2
1
2
3
Burst Noise
OneNote Jam
10 126 127
103 127
71
71 127
0
1
1
Bassoon
Fretless 1
B87
B88
127
127
127
127
127
127
0
1
2
3
4
5
1
1
1
1
1
1
1
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Water Bell
B58
B61
104
104 127
0
1
1
Star Theme
Xylophone
1
2
3
4
5
6
1
72
72 127
0
1
1
Clarinet
Fretless 2
105
105
105 127
0
1
1
1
1
Sitar
Sitar 2
Marimba
1
2
73
73 127
0
1
1
Piccolo
Flute 1
127 127
B62
B63
B64
106
106 127
0
1
1
Banjo
Koto
74
74 127
0
1
1
Flute
Flute 2
128
128
128
128
0
1
2
3
1
1
1
1
1
Gun Shot
Machine Gun
Lasergun
Explosion
Jungle Tune
1
1
1
2
3
4
107
107 127
0
1
1
Shamisen
Sho
75
75 127
0
1
1
Recorder
Piccolo 1
128 127
108
108
108 127
0
8
1
1
1
Koto
Taisho Koto
Shakuhachi
76
76 127
0
1
1
Pan Flute
Piccolo 2
1
2
77
77 127
0
1
1
Bottle Blow
Recorder
B65
B66
B67
B68
B71
B72
B73
B74
109
109 127
0
1
1
Kalimba
Whistle 1
1
1
1
1
1
1
1
78
78 127
0
1
1
Shakuhachi
Pan Pipes
110
110 127
0
1
1
Bagpipe
Whistle 2
79
79 127
0
1
1
Whistle
Sax 1
111
111 127
0
1
1
Fiddle
Bottleblow
80
80 127
0
1
1
Ocarina
Sax 2
112
112 127
0
1
1
Shanai
Breathpipe
81
81
81
0
1
8
1
1
1
1
Square Wave
Square
Sine Wave
Sax 3
113
113 127
0
1
1
Tinkle Bell
Timpani
1
2
3
81 127
114
114 127
0
1
1
Agogo
Melodic Tom
B32
82
82
82
0
1
8
1
1
1
1
Saw Wave
Saw
Doctor Solo
Sax 4
1
2
3
115
0
1
1Steel Drums
Deep Snare
115 127
82 127
116
116
116 127
0
8
1
1
1
Woodblock
Castanets
Elec Perc 1
B33
B34
B35
B36
B37
B38
B41
B42
83
83 127
0
1
1
SynCalliope
Clarinet 1
1
2
1
1
1
1
1
1
1
1
84
84 127
0
1
1
ChifferLead
Clarinet 2
B75
B76
B77
117
117
117 127
0
8
1
1
1
Taiko
Concert BD
Elec Perc 2
1
2
85
85 127
0
1
1
Charang
Oboe
118
118
118 127
0
8
1
1
1
Melo. Tom 1
Melo. Tom 2
Taiko
1
2
86
86 127
0
1
1
Solo Vox
Engl Horn
119
119
119
0
8
9
1
1
1
1
Synth Drum
808 Tom
Elec Perc
87
87 127
0
1
1
5th Saw
Bassoon
1
2
3
119 127
Taiko Rim
88
88 127
0
1
1
Bass & Lead
Harmonica
B78
B81
120
120 127
0
1
1
Reverse Cym
Cymbal
1
89
89 127
0
1
1
Fantasia
Trumpet 1
121
121
121
0
1
2
1
1
1
Gt.FretNoiz
Gt.CutNoise
String Slap
1
2
90
90 127
0
1
1
Warm Pad
Trumpet 2
232
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VA-76 – Drum Sets
18.2 Drum Sets
VA-7 Kits
PC: 1 [CC32: 4]
STANDARD 1
PC: 2 [CC32: 4]
STANDARD 2
PC: 3 [CC32: 4]
STANDARD L/R
PC: 4 [CC32: 4]
V-Pop1St
PC: 5 [CC32: 4]
V-R&B
PC: 6 [CC32: 4]
V-Fiesta
PC: 9 [CC32: 4]
ROOM
PC: 10 [CC32: 4]
HIP HOP
PC: 11 [CC32: 4]
STANDARD 1
PC: 12 [CC32: 4]
TECHNO
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
---
HipHop BD1
Jazz Kick 1
HipHop BD1
Jazz Kick 1
HipHop BD1
Jazz Kick 1
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
C–1
0
---
1
3
---
Mex_Kik36
85RmBsDrum1B
85RmBsDrum2B
909 BD
Mex_Kik36
Mex_Kik36
2
---
85RmBsDrum1B
85RmBsDrum2B
909 BD
85RmBsDrum1B
85RmBsDrum2B
909 BD
4
5
---
Kick 2
Kick 2
---
Kick 2
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
85Rm BsDrum1
85Rm BsDrum2
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
---
---
909 BD 2
909 BD 2
909 BD 2
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
85St BsDrum1
85St BsDrum2
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
6
---
Jngl BD 2
Jngl BD 2
Jngl BD 2
TR-808 Kick
808 BD
TR-808 Kick
808 BD
TR-808 Kick
808 BD
7
9
8
---
HipHop BD
HipHop BD 2
85StBsDrum1B
NewJzKik
HipHop BD
HipHop BD 2
85StBsDrum1B
NewJzKik
HipHop BD
HipHop BD 2
85StBsDrum1B
NewJzKik
---
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
10
---
11
---
---
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
C0 12
---
13
15
---
14
---
16
17
---
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
Jngl BD
Voice One
Voice Two
Voice Three
HipHop BD 2
HipHop BD
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
Voice One
Voice Two
Voice Three
909 BD
18
20
22
19
21
NewJzSn1
NewJzSn1
NewJzSn1
---
---
NewR&BSn
NewRockSn2mn
NewRockSn1mn
IPopSn38mn
IPopGstS39mn
IPopSn38mn
FingerSnaps2
707 Claps
NewR&BSn
NewRockSn2mn
NewRockSn1mn
IPopSn38mn
IPopGstS39mn
IPopSn38mn
FingerSnaps2
707 Claps
NewR&BSn
NewRockSn2mn
NewRockSn1mn
IPopSn38mn
IPopGstS39mn
IPopSn38mn
FingerSnaps2
707 Claps
Jngl BD 2
Fat BD
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
23
C1 24
25
27
26
28
29
Slap
Slap
Slap
Slap
Slap
Slap
Slap
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
808clap
808clap
808clap
ScratchPush
ScratchPull
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Hand clap2
909 HandClap
IPopPHat32
GospelHClp1
IPopSRll30st
IPopKik35
Hand clap2
909 HandClap
IPopPHat32
GospelHClp1
IPopSRll30mn
IPopKik35
Hand clap2
909 HandClap
Mex_PHat32
GospelHClp1
Mex_SnrRol34
Mex_Kik35
30
32
34
31
33
SquareClick
Mtrnm.Click
Mtrnm. Bell
BsDrum1
SquareClick
Mtrnm.Click
Mtrnm. Bell
Std2 Kick2
Std.2 Kick1
Side Stick
Std.2 Snare1
808clap
SquareClick
Mtrnm.Click
Mtrnm. Bell
85StBsDrum1B
85StBsDrum2B
Side Stick
85StSnare2B
909 HandClap
85StSnare1B
85StTom16B
85StClsHatB
85StTom16B
Pedal HiHat2
85StTom12B
85StOpenHatB
85StTom12B
85StTom10B
85StCrsCym1B
85StTom10B
85StRdCymB
ChinaCymbal
85StRdBellB
Tambourine
Splash Cym.
Cowbell
SquareClick
Mtrnm.Click
Mtrnm. Bell
85Rm BsDrum1
85Rm BsDrum2
Side Stick
SquareClick
Mtrnm.Click
Mtrnm. Bell
HipHop BD 2
HipHop BD
808 Rimshot
LoFi SD 1
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jngl BD
SquareClick
Mtrnm.Click
Mtrnm. Bell
808 BD
35
85St BsDrum2
Side Stick
IPopKik36
IPopKik36
Mex_Kik36
Jngl BD 2
909 BD 2
C2 36
IPopCStk37st
IPopSn38st
IPopCStk37mn
NewR&BSn
NewR&BSnGst
IPopSn40mn
IPopTomLFl41
IPopHat1_42
IPopTomL43
IPopHat2_44
IPopTomMFl45
IPopHat3_46
IPopTomM47
IPopTomHFl48
IPopCym1_49
IPopTomH50
IPopRd1_51
IPopCyml2_52
IPopRd2_55
Tambourine
Splash Cym.
ChaChaCBell
NewRkCrCym2
Vibraslap
IPopCStk37mn
Mex_Snr38
Jngl SD Rim
HipHop SD 1
R&B Claps 1
Jngl SD
909 SD Rim
606 SD 2
37
39
85St Snare2
909 HandClap
85St Snare1
85St Tom16
85St ClsHat
85St Tom16
Pedal HiHat2
85St Tom12
85St OpenHat
85St Tom12
85St Tom10
85St CrsCym1
85St Tom10
85St RdCym
ChinaCymbal
85St RdBell
Tambourine
Splash Cym.
Cowbell
85Rm Snare2
808clap
38
IPopGstS39st
IPopSn40st
Mex_GstS39
Mex_Snr40
707 Claps
909 Claps
40
41
Std.2 Snare2
Real Tom 6
Jazz Clsd.HH
Real Tom 6
Pedal HiHat
Real Tom 4
Jazz Open HH
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
85Rm Snare1
Room Tom 5
85Rm ClsHat
Room Tom 5
Pedal HiHat
Room Tom 2
85Rm OpenHat
Room Tom 2
Room Tom 2
85Rm CrsCym1
Room Tom 2
85Rm RdCym
ChinaCymbal
85Rm RdBell
Tambourine
Splash Cym.
Cowbell
LoFi SD 2
Techno SD
606 Dist.Tom
TR-707 HH-c
606 Dist.Tom
CR-78 chh
606 Dist.Tom
909 OH
IPopTomLFl41
IPopHat1_42
IPopTomL43
IPopHat2_44
IPopTomMFl45
IPopHat3_46
IPopTomM47
IPopTomHFl48
IPopCyml2_52
IPopTomH50
IPopRd1_51
IPopCym1_49
IPopRd2_55
Tambourine
Splash Cym.
ChaChaCBell
NewRkCrCym2
Vibraslap
IPopTomLFl41
Mex_Hat1_42
IPopTomL43
Mex_Hat2_44
IPopTomMFl45
Mex_Hat3_46
IPopTomM47
IPopTomHFl48
IPopCym1_49
IPopTomH50
IPopRd1_51
IPopCyml2_52
IPopRd2_55
Tambourine
Splash Cym.
ChaChaCBell
NewRkCrCym2
Vibraslap
85Jz Tom16
Room Chh
85Jz Tom16
Pedal HiHat
85Jz Tom13
R8 Ohh2
909 Tom
606 CH
42
44
46
909 Tom
43
45
Jungle HH
909 Tom
606 HiHat Op
909 Tom
47
85Jz Tom13
85Jz Tom12
909 Crash
606 Dist.Tom
606 Dist.Tom
909 Crash
606 Dist.Tom
Ride Cymbal
ReverseCymbl
Ride Bell
909 Tom
C3 48
Jngl Crash
909 Tom
49
51
85Jz Tom12
Ride Cymbal
ReverseCymbl
Ride Bell
50
Ride Cymbal
ReverseCymbl
Ride Bell
52
53
Tambourine
Splash Cym.
Cowbell Snare
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Shake Tamb
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Shake Tamb
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Shake Tamb
Splash Cym.
808cowbe
909 Crash
Vibraslap
54
56
58
55
57
Crash Cym.2
Vibraslap
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Crash Cym.2
Vibraslap
59
Ride Cymbal
Bongo High
Bongo Lo
NewRkRdCym1
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
NewRkRdCym1
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
NewRkRdCym1
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
Ride Cymbal
Bongo High
Bongo Lo
Ride Cymbal
Bongo High
Bongo Lo
Ride Cymbal
Bongo High
Bongo Lo
Ride Cymbal
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
C4 60
61
63
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
62
64
65
66
68
70
67
69
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Cabasa
Cabasa
Cabasa
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
Cabasa
Cabasa
Cabasa
Cabasa
Maracas
Maracas
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
808marac
808marac
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
808clave
808marac
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
808clave
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
808clave
C5 72
73
75
74
76
77
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Hoo
78
80
82
Hoo
Hoo
Hoo
79
81
MuteTriangl
OpenTriangl
Shaker 2
MuteTriangl
OpenTriangl
Jngl Shaker
Jingle Bell
Bell Tree
MuteTriangl
OpenTriangl
626 Shaker
Jingle Bell
Bell Tree
83
Jingle Bell
Bell Tree
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Jingle Bell
Jingle Bell
Jingle Bell
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Bell Tree
Bell Tree
Bell Tree
C6 84
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
85
87
Mute Surdo
Open Surdo
Applause 2
---
Mute Surdo
Open Surdo
CRcir
Mute Surdo
Open Surdo
CRcir
Mute Surdo
Open Surdo
CRcir
Mute Surdo
Open Surdo
Applause 2
---
Mute Surdo
Open Surdo
Small Club
HipHop SD 2
LoFi SD Rim
HipHop Claps
85St Snare1
85St Snare2
85Rm Snare1
85Rm Snare2
Dance SD
Mute Surdo
Open Surdo
Small Club
Jngl BD Roll
Jngl SD Roll
606 SD 2
Mute Surdo
Open Surdo
Applause 2
Dance SD
86
88
89
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
---
---
---
---
House SD
90
92
94
---
---
---
---
Rock SD Dry
Jngl SD
91
93
---
---
---
---
Dance SD
---
---
---
---
Techno SD
House SD
LoFi SD 1
---
---
---
---
LoFi SD 2
95
85Rm Snare2
85Rm Snare1
---
85St BsDrum1
85St BsDrum2
85St Snare2
85St Snare1
Rock SD Dry
LoFi SD 1
HipHop SD 1
HipHop SD 2
---
C7 96
233
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VA-76 Owner’s Manual—Reference
PC: 1 [CC32: 4]
STANDARD 1
PC: 2 [CC32: 4]
STANDARD 2
PC: 3 [CC32: 4]
STANDARD L/R
PC: 4 [CC32: 4]
V-Pop1St
PC: 5 [CC32: 4]
V-R&B
PC: 6 [CC32: 4]
V-Fiesta
PC: 9 [CC32: 4]
ROOM
PC: 10 [CC32: 4]
HIP HOP
PC: 11 [CC32: 4]
STANDARD 1
PC: 12 [CC32: 4]
TECHNO
(85Rm Snare1)
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
---
(85St BsDrum2)
85St CrsCym1
85St Snare2
85St RdCym
85St Snare1
85St Tom16
85St ClsHat
85St Tom12
85St RdBell
85St Tom10
85St OpenHat
85StBsDrum1P
85StBsDrum2P
85StCrsCym1P
85StSnare2P
85St RdCym P
85St Snare1P
85St Tom16 P
85St ClsHatP
85St Tom12 P
85St RdBellP
85St Tom10 P
85StOpenHatP
---
(CajonHi)
(CajonHi)
(CajonHi )
(85St Snare1)
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
(Dance SD)
Techno Hit
Philly Hit
(LoFi SD 1)
Techno Hit
Philly Hit
(HipHop SD 2 )
Techno Hit
Philly Hit
(C7) (96)
97
99
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
CajonHiFlm
CajonLo
CajonHiFlm
CajonLo
CajonHiFlm
CajonLo
98
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
100
101
102
104
106
Bim Hit
Bim Hit
Bim Hit
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
103
105
MamboCowBell
MexFVox2
MamboCowBell
MexFVox2
MamboCowBell
MexFVox2
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
AfFoots
AfFoots
AfFoots
107
MexFVox1
MexFVox1
MexFVox1
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
C8 108
109
111
110
112
113
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
TR-707 SD
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
114
116
118
115
117
Elec Snare 3
TR-707 SD
Elec Snare 3
TR-707 SD
119
808 Snare 1
808 Snare 2
909 Snare 1
909 Snare 2
Rap Snare
808 Snare 1
808 Snare 2
909 Snare 1
909 Snare 2
Rap Snare
808 Snare 1
808 Snare 2
909 Snare 1
909 Snare 2
Rap Snare
---
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
C9 120
121
123
---
122
---
---
124
125
JungleSD1
JungleSD1
---
JungleSD1
House Snare
House SD
House Snare
House SD
House Snare
House SD
House SD
House SD
---
House SD
126
House Snare
House SD
House Snare
House SD
---
p33137v
p33137v
p33137v
House Snare
House SD
Voice Tah
Voice Tah
Voice Tah
--
p33168v
p33168v
p33168v
Noise Slap
Noise Slap
Noise Slap
127
G9
PC: 13 [CC32: 4]
ROOM L/R
PC: 14 [CC32: 4]
HOUSE
PC: 17 [CC32: 4]
POWER
PC: 18 [CC32: 4]
V-Rock1St
PC: 19 [CC32: 4]
V-Rock1St
PC: 25 [CC32: 4]
ELECTRONIC
PC: 26 [CC32: 4]
TR-808
PC: 27 [CC32: 4]
DANCE
PC: 28 [CC32: 4]
CR-78
PC: 29 [CC32: 4]
TR-606
(85Rm BsDrum2)
85Rm CrsCym1
85Rm Snare2
85Rm RdCym
85Rm Snare1
Room Tom 5
85Rm ClsHat
Room Tom 2
85Rm RdBell
Room Tom 2
85Rm OpenHat
85RmBsDrum1P
85RmBsDrum2P
85RmCrsCym1P
85RmSnare2 P
85Rm RdCymP
85RmSnare1P
Room Tom 5 P
85Rm ClsHatP
Room Tom 2 P
85Rm RdCymP
Room Tom 2 P
85RmOpenHatP
---
(Jngl SD)
(---)
(CajonHi)
(CajonHi)
(---)
(---)
(HipHop SD 2)
Techno Hit
Philly Hit
(---)
(---)
(C7) (96)
97
99
Techno Hit
Philly Hit
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
CajonHiFlm
CajonLo
CajonHiFlm
CajonLo
Techno Hit
Philly Hit
Techno Hit
Philly Hit
Techno Hit
Philly Hit
Techno Hit
Philly Hit
98
Shock Wave
Lo Fi Rave
Bam Hit
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
100
101
102
104
106
Bim Hit
Bim Hit
Bim Hit
Bim Hit
Bim Hit
Bim Hit
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
103
105
MamboCowBell
MexFVox2
MamboCowBell
MexFVox2
AfFoots
AfFoots
107
MexFVox1
MexFVox1
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
C8 108
109
111
110
112
113
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
TR-707 SD
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
114
116
118
115
117
119
808 Snare 1
808 Snare 2
909 Snare 1
909 Snare 2
Rap Snare
---
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
C9 120
121
123
---
122
---
---
124
125
---
House Snare
House SD
JungleSD1
House Snare
House SD
House Snare
House SD
House Snare
House SD
House Snare
House SD
House Snare
House SD
---
House SD
126
---
Voice Tah
House Snare
House SD
p33137v
p33137v
Voice Tah
Noise Slap
Voice Tah
Noise Slap
Voice Tah
Voice Tah
Noise Slap
Voice Tah
Noise Slap
---
Noise Slap
p33168v
p33168v
Noise Slap
127
G9
234
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VA-76 – Drum Sets
VA-7 Kits
PC: 13 [CC32: 4]
ROOM L/R
PC: 14 [CC32: 4]
HOUSE
PC: 17 [CC32: 4]
POWER
PC: 18 [CC32: 4]
V-Rock1St
PC: 19 [CC32: 4]
V-Rock2St
PC: 25 [CC32: 4]
ELECTRONIC
PC: 26 [CC32: 4]
TR-808
PC: 27 [CC32: 4]
DANCE
PC: 28 [CC32: 4]
CR-78
PC: 29 [CC32: 4]
TR-606
---
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
HipHop BD1
Jazz Kick 1
HipHop BD1
Jazz Kick 1
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
C–1
0
2
---
1
3
---
Mex_Kik36
Mex_Kik36
---
85RmBsDrum1B
85RmBsDrum2B
909 BD
85RmBsDrum1B
85RmBsDrum2B
909 BD
4
5
---
---
Kick 2
---
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
---
909 BD 2
909 BD 2
6
---
TR-808 Kick
808 BD
Jngl BD 2
Jngl BD 2
TR-808 Kick
808 BD
TR-808 Kick
808 BD
TR-808 Kick
808 BD
TR-808 Kick
808 BD
TR-808 Kick
808 BD
7
9
8
---
HipHop BD
HipHop BD
---
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
HipHop BD 2
85StBsDrum1B
NewJzKik
HipHop BD 2
85StBsDrum1B
NewJzKik
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
10
---
11
---
---
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
C0 12
---
13
15
---
14
---
16
17
---
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
Fat BD
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
909 BD
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
---
18
20
22
19
21
NewJzSn1
NewJzSn1
---
Dance BD
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
--
NewR&BSn
NewR&BSn
---
---
909 BD 2
---
---
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
IPopSn40mn
IPopSn38mn
IPopSn38mn
IPopGstS39mn
IPopSn40mn
FingerSnaps2
707 Claps
IPopSn40mn
IPopSn38mn
IPopSn38mn
IPopGstS39mn
IPopSn38mn
FingerSnaps2
707 Claps
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
23
C1 24
25
27
26
28
29
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Slap
ScratchPush
ScratchPull
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
ScratchPush
ScratchPull
Sticks
808clap
808clap
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
Hand clap2
909 HandClap
NewRkHatPdl
GospelHClp1
NewRkSnRllSt
NewRockKik
NewRockKik
NewRkCStkSt
NewRockSn1st
NewRkSnGstSt
NewRockSn2st
NewRkTomL2Fl
NewRkHat1
NewRkTomL2
NewRkHat2
NewRkTomL1Fl
NewRkHat3
NewRkTomL1
NewRkTomMFl
NewRkCrCym1
NewRkTomM
NewRkRdCym1
NewRkCrCym2
NewRkRdCym2
Tambourine
NewRkCrCym3
ChaChaCBell
NewRkCrCym4
Vibraslap
Hand clap2
909 HandClap
NewRkHatPdl
GospelHClp1
NewRkSnRllSt
NewRockKik
NewRockKik
NewRkCStkSt
NewRockSn1st
NewRkSnGstSt
NewRockSn2st
NewRkTomL1Fl
NewRkHat1
NewRkTomL1
NewRkHat2
NewRkTomMFl
NewRkHat3
NewRkTomM
NewRkTomHiFl
NewRkCrCym1
NewRkTomHi
NewRkRdCym1
NewRkCrCym2
NewRkRdCym2
Tambourine
NewRkCrCym3
ChaChaCBell
NewRkCrCym4
Vibraslap
30
32
34
31
33
SquareClick
Mtrnm.Click
Mtrnm. Bell
85RmBsDrum1B
85RmBsDrum2B
Side Stick
85RmSnare2B
808clap
SquareClick
Mtrnm.Click
Mtrnm. Bell
909 BD
SquareClick
Mtrnm.Click
Mtrnm. Bell
Power Kick2
Power Kick1
Side Stick
Dance Snare1
808clap
SquareClick
Mtrnm.Click
Mtrnm. Bell
Elec Kick 2
Elec Kick 1
Side Stick
Elec. Snare
808clap
SquareClick
Mtrnm.Click
Mtrnm. Bell
808 BD
SquareClick
Mtrnm.Click
Mtrnm. Bell
Fat BD
SquareClick
Mtrnm.Click
Mtrnm. Bell
CR78 BD 2
CR78 BD 1
CR78 Rim
CR78 SD 1
707 Claps
CR78 SD 2
78 TOM
SquareClick
Mtrnm.Click
Mtrnm. Bell
CR78 BD 2
TR-606 BD1
CR78 Rim
66sn160
35
909 BD 2
TR-808 Kick
808 Rimshot
808 Snare 1
808clap
Dance BD
C2 36
House SD Rim
House SD
909 Claps
House SD
909 Tom
Dance SD Rim
Dance SD
37
39
38
Comp Claps 2
Rock SD Dry
Synth Drum 2
CR-78 chh
Synth Drum 2
808__chh
707 Claps
66sn260
40
41
85RmSnare1B
Room Tom 5
85RmClsHatB
Room Tom 5
Pedal HiHat
Room Tom 2
85RmOpenHatB
Room Tom 2
Room Tom 2
85RmCrsCym1B
Room Tom 2
85RmRdCymB
ChinaCymbal
85RmRdCymB
Tambourine
Splash Cym.
Cowbell
Power Snare1
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Elec Snare 2
Synth Drum 2
Jazz Clsd.HH
Synth Drum 2
Pedal HiHat
Synth Drum 2
Jazz Open HH
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
TR-808 SD2
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
606 Ride Cym
ChinaCymbal
Ride Bell
606 Tom
TR-707 HH-c
909 Tom
CR-78 chh
78 TOM
606 CH
42
44
46
606 Tom
43
45
CR-78 chh
909 Tom
606 CH
606 CH
Synth Drum 2
CR-78 ohh
Synth Drum 2
Synth Drum 2
808 Crash
78 TOM
606 Tom
909 OH
CR-78 ohh
78 TOM
606 HiHat Op
606 Tom
47
909 Tom
909 Tom
78 TOM
606 Tom
C3 48
909 Crash
909 Tom
808 Crash
78 TOM
808 Crash
606 Tom
49
51
Synth Drum 2
606 Ride Cym
ReverseCymbl
Ride Bell
50
909 Ride Cym
ReverseCymbl
Ride Bell
606 Ride Cym
ChinaCymbal
Ride Bell
CR78 Tmb
Splash Cym.
CR78 Cow
909 Crash
Vibraslap
RideCym Edge
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
606 Ride Cym
ChinaCymbal
Ride Bell
CR78 Tmb
Splash Cym.
CR78 Cow
909 Crash
Vibraslap
RideCym Edge
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
52
53
Shake Tamb
Splash Cym.
808cowbe
909 Crash
Vibraslap
Tambourine
Splash Cym.
Cowbell
Tambourine
Splash Cym.
Cowbell
CR78 Tmb
Splash Cym.
808cowbe
909 Crash
Vibraslap
RideCym Edge
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
Shake Tamb
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
54
56
58
55
57
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
59
Ride Cymbal
CR78 HiBongo
CR78 LoBongo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
IPopRd1_51
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
IPopRd1_51
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
Ride Cymbal
Bongo High
Bongo Lo
C4 60
61
63
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
62
64
65
66
68
70
67
69
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Cabasa
Cabasa
Cabasa
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Maracas
808marac
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
808clave
Maracas
Maracas
808marac
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
808clave
Maracas
CR78 Maracas
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
CR78 Clv
CR78 Maracas
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
CR78 Clv
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
C5 72
73
75
74
76
77
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Hoo
78
80
82
Hoo
Hoo
Hoo
Hoo
Hoo
79
81
MuteTriangl
OpenTriangl
626 Shaker
Jingle Bell
Bell Tree
MuteTriangl
OpenTriangl
626 Shaker
Jingle Bell
Bell Tree
MuteTriangl
OpenTriangl
626 Shaker
Jingle Bell
Bell Tree
CR78 M.Beat
CR78 M.Beat
626 Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Small Club
---
CR78 M.Beat
CR78 M.Beat
626 Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Small Club
---
83
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Jingle Bell
Bell Tree
Jingle Bell
Jingle Bell
Jingle Bell
Bell Tree
Bell Tree
Bell Tree
C6 84
Castanets
Mute Surdo
Open Surdo
Applause 2
606 SD 2
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Castanets
Castanets
Castanets
Mute Surdo
Open Surdo
Small Club
---
Castanets
Mute Surdo
Open Surdo
Small Club
---
Castanets
85
87
Mute Surdo
Open Surdo
CRcir
Mute Surdo
Open Surdo
CRcir
Mute Surdo
Open Surdo
Small Club
606 SD 2
86
88
89
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
---
Dance SD
Techno SD
Rock SD Dry
HipHop SD 1
LoFi SD 1
---
---
---
Techno SD
House SD
---
---
90
92
94
---
---
---
---
---
---
91
93
---
---
---
---
Jngl SD
---
---
---
---
---
---
LoFi SD 1
---
---
---
---
---
---
LoFi SD 2
---
---
95
85Rm BsDrum1
85Rm BsDrum2
LoFi SD 2
---
---
---
HipHop SD 1
HipHop SD 2
---
---
Jngl SD
---
---
---
---
---
C7 96
235
Download from Www.Somanuals.com. All Manuals Search And Download.
VA-76 Owner’s Manual—Reference
VA-7 Kits
PC: 30 [CC32: 4]
TR-707
PC: 31 [CC32: 4]
TR-909
PC: 33 [CC32: 4]
JAZZ
PC: 34 [CC32: 4]
JAZZ L/R
PC: 41 [CC32: 4]
BRUSH
PC: 42 [CC32: 4]
BRUSH 2
PC: 43 [CC32: 4]
BRUSH 2 L/R
PC: 44 [CC32: 4]
V-JazzBrush
PC: 49 [CC32: 4]
ORCHESTRA
PC: 50 [CC32: 4]
ETHNIC
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Elec Kick 2
Elec Kick 1
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 Kick
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
---
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
---
HipHop BD1
Jazz Kick 1
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
---
C–1
0
2
---
---
---
1
3
---
---
Mex_Kik36
85RmBsDrum1B
85RmBsDrum2B
909 BD
---
---
---
---
4
5
---
---
---
Kick 2
---
Kick 2
Kick 2
---
Kick 2
---
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
85Br BsDrum1
85Br BsDrum2
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
---
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
---
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
85Jz BsDrum1
85Jz BsDrum2
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
---
909 BD 2
Jazz Kick 1
Jazz Kick 2
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
TR-808 Kick
TR-909 Kick
Dance Kick 2
Voice One
Voice Two
Voice Three
---
---
6
TR-808 Kick
808 BD
TR-808 Kick
808 BD
---
---
Jngl BD 2
---
7
9
8
---
---
HipHop BD
HipHop BD 2
85StBsDrum1B
NewJzKik
---
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
TR-909 Kick
Dance Kick 2
909 Comp BD
TR-909 BD2
HipHop BD2
JungleBD Set
Techno BD1
Bounce
---
---
---
10
---
---
---
11
---
---
---
---
---
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
---
C0 12
---
---
---
13
15
---
---
---
14
---
---
---
16
17
---
---
---
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
---
Voice One
Voice Two
Voice Three
---
---
---
18
20
22
---
19
21
NewJzSn1
---
---
---
---
---
---
NewR&BSn
IPopSn38mn
IPopSn40mn
IPopSn38mn
IPopGstS39mn
IPopSn38mn
FingerSnaps2
707 Claps
---
---
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
FingerSnaps2
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
High-Q
MC-500 Beep
MC-500 Beep
Concert Snr
Snare Roll
Finger Snap
Jazz Clsd.HH
Pedal HiHat
Jazz Open HH
Ride Cymbal
Sticks
---
23
---
---
C1 24
Finger Snap
Tambourine
Castanets
Crash Cym.1
Snare Roll
Concert Snr
Concert Cym
Concert BD
Jingle Bell
Bell Tree
Bar Chimes
Wadaiko
Wadaiko Rim
Shimedaiko
Atarigane
Hyoushigi
Ohkawa
H kotsuzumi
L Kotsuzumi
Ban_Gu
25
27
26
28
29
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Scrtch Push2
Scrtch Pull2
Sticks
Scrtch Push2
Scrtch Pull2
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
808clap
Hand clap2
909 HandClap
NewJzHatPdl
GospelHClp1
IPopSRll30st
NewJzKik
30
32
34
31
33
SquareClick
Mtrnm.Click
Mtrnm. Bell
TR-707 BD 2
TR-707 BD
TR-707 Rim
TR-707 SD
707 Claps
TR-707 SD 2
TR-707 Tom
TR-707 HH-c
TR-707 Tom
TR-707 HH-c
TR-707 Tom
TR-707 OHH
TR-707 Tom
TR-707 Tom
909 Crash
TR-707 Tom
909 Ride Cym
ChinaCymbal
Ride Bell
SquareClick
Mtrnm.Click
Mtrnm. Bell
Techno BD2
TR-909 BD2
TR-909 Rim
909 SD 1
SquareClick
Mtrnm.Click
Mtrnm. Bell
85Jz BsDrum1
85Jz BsDrum2
Side Stick
85Jz Snare1
Hand clap2
85Jz Snare2
85Jz Tom16
85Jz ClsHat
85Jz Tom16
Pedal HiHat
85Jz Tom13
85Jz OpenHat
85Jz Tom13
85Jz Tom12
85Jz CrsCym1
85Jz Tom12
85Jz RdCym
ChinaCymbal
85Jz RdBell
Tambourine
Splash Cym.
Cowbell
SquareClick
Mtrnm.Click
Mtrnm. Bell
85JzBsDrum1B
85JzBsDrum2B
Side Stick
85JzSnare1B
Hand clap2
85JzSnare2B
85JzTom16B
85JzClsHatB
85JzTom16B
Pedal HiHat
85JzTom13B
85JzOpenHatB
85JzTom13B
85JzTom12B
85JzCrsCym1B
85JzTom12B
85JzRdCymB
ChinaCymbal
85JzRdBellB
Tambourine
Splash Cym.
Cowbell
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Lite Tom 4
Brs Chh
SquareClick
Mtrnm.Click
Mtrnm. Bell
85Br BsDrum1
85Br BsDrum2
Side Stick
85Br Snare1
85Br Snare2
Brush Swirl
85Br Tom1
85Br ClsHat
85Br Tom1
Pedal HiHat
85Br Tom2
85Br OpenHat
85Br Tom2
85Br Tom3
85Br CrsCym1
85Br Tom3
85Br RdCym
ChinaCymbal
85Br RdBell
Tambourine
Splash Cym.
Cowbell
SquareClick
Mtrnm.Click
Mtrnm. Bell
85BrBsDrum1B
85BrBsDrum2B
Side Stick
85BrSnare1B
85BrSnare2B
Brush Swirl
85BrTom1B
85BrClsHatB
85BrTom1B
Pedal HiHat
85BrTom2B
85BrOpenHatB
85BrTom2B
85BrTom3B
85BrCrsCym1B
85BrTom3B
85BrRdCymB
ChinaCymbal
85BrRdBellB
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 1
Concert BD
Side Stick
Concert Snr
Castanets
Concert Snr
Timpani
35
NewJzKik
C2 36
NewJzSW1
37
39
NewJzSn1
38
909 HandClap
TR-909 SD2
909 Tom
NewJzSW2
40
41
NewJzSn2
NewJzTomLoFl
NewJzHat1
NewJzTomLo
NewJzHat2
NewJzTomMFl
NewJzHat3
NewRkTomMid
NewJzTomHiFl
NewJzCrCym1
NewJzTomHi
NewJzRide1
NewJzCrCym2
NewJzRide2
Tambourine
Splash Cym.
ChaChaCBell
NewJzCrCym1
Vibraslap
TR-707 HH-c
909 Tom
Timpani
42
44
46
Lite Tom 4
Pedal HiHat
Lite Tom 4
Brush Ohh
Lite Tom 4
Lite Tom 4
Brush Crash
Lite Tom 4
Ride Cym IN
ChinaCymbal
Brush RideBL
Tambourine
Splash Cym.
Cowbell
Timpani
43
45
TR-707 HH-c
909 Tom
Timpani
Timpani
Big Gong
Small Gong
Bend Gong
RAMA Cymbal
RAMA Cymbal
Gamelan Gong
Udo_Short
Udo_Long
Udo_slap
Bendir
909 OH
Timpani
47
909 Tom
Timpani
909 Tom
Timpani
C3 48
909 Crash
909 Tom
Timpani
49
51
Timpani
50
909 Ride Cym
ChinaCymbal
Ride Bell
Timpani
52
53
Timpani
Timpani
344Tambourn
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
344Tambourn
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Tambourine
Splash Cym.
Cowbell
54
56
58
Req_Dum
Req_tik
55
57
Crash Cym.2
Vibraslap
Crash Cym.2
Vibraslap
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Crash Cym.2
Vibraslap
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Crash Cym.2
Vibraslap
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Tabla_Te
Tabla_Na
Tabla_Tun
Tabla_Ge
Tabla Ge Hi
Talking Drum
Bend tlk_drm
Caxixi
59
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
RideCym Edge
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
NewRkRdCym1
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
C4 60
61
63
62
64
65
DJembe
Djembe_rim
Low Timbale
Timbl Paila
High Timbale
Cowbell
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga MtLow
Conga Slap
Conga Lo Opn
Conga Slide
Mut Pandiero
Opn Pandiero
Open Surdo
Mute Surdo
Tamborim
Agogo
66
68
70
67
69
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
Cabasa
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
808marac
ShrtWhistle
LongWhistle
Short Guiro
CR78 Guiro
808clave
Maracas
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
Maracas
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
C5 72
73
75
74
76
77
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Hoo
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
78
80
82
Hoo
Hoo
79
81
MuteTriangl
OpenTriangl
626 Shaker
Jingle Bell
Bell Tree
MuteTriangl
OpenTriangl
626 Shaker
Jingle Bell
Bell Tree
83
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause
---
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause
---
Jingle Bell
Jingle Bell
Bell Tree
Bell Tree
C6 84
Castanets
Mute Surdo
Open Surdo
Small Club
---
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Castanets
Mute Surdo
Open Surdo
Applause
Castanets
Mute Surdo
Open Surdo
Applause
---
Castanets
Mute Surdo
Open Surdo
Applause
Castanets
Castanets
Mute Surdo
Open Surdo
Applause
---
Agogo
85
87
Mute Surdo
Open Surdo
CRcir
Shaker
86
Low Whistle
Low Whistle
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Short Guiro
Long Guiro
Cabasa Up
Cabasa Down
88
89
---
---
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
---
---
---
---
91
93
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
95
---
---
---
85Jz BsDrum1
85Jz BsDrum2
---
---
85Br BsDrum1
85Br BsDrum2
---
---
---
---
---
---
---
C7 96
236
Download from Www.Somanuals.com. All Manuals Search And Download.
VA-76 – Drum Sets
PC: 30 [CC32: 4]
TR-707
PC: 31 [CC32: 4]
TR-909
PC: 33 [CC32: 4]
JAZZ
PC: 34 [CC32: 4]
JAZZ L/R
PC: 41 [CC32: 4]
BRUSH
PC: 42 [CC32: 4]
BRUSH 2
PC: 43 [CC32: 4]
BRUSH 2 L/R
PC: 44 [CC32: 4]
V-JazzBrush
PC: 49 [CC32: 4]
ORCHESTRA
PC: 50 [CC32: 4]
ETHNIC
(---)
(---)
(---)
(85Jz BsDrum2)
85Jz CrsCym1
85Jz Snare1
85Jz RdCym
85Jz Snare2
85Jz Tom16
85Jz ClsHat
85Jz Tom13
85Jz RdBell
85Jz Tom12
85Jz OpenHat
85JzBsDrum1P
85JzBsDrum2P
85JzCrsCym1P
85Jz Snare1P
85Jz RdCym P
85Jz Snare2P
85Jz Tom16 P
85Jz ClsHatP
85Jz Tom13 P
85Jz RdBellP
85Jz Tom12 P
85JzOpenHatP
---
(---)
(---)
(85Br BsDrum2)
85Br CrsCym1
85Br Snare1
85Br RdCym
85Br Snare2
85Br Tom3
85Br ClsHat
85Br Tom2
85Br RdBell
85Br Tom1
85Br OpenHat
85BrBsDrum1P
85BrBsDrum2P
85BrCrsCym1P
85Br Snare1P
85Br RdCym P
85Br Snare2P
85Br Tom3 P
85BrClsHat P
85Br Tom2 P
85Br RdBellP
85Br Tom1 P
85BrOpenHatP
---
(CajonHi )
(---)
(Cabasa Down)
(C7) (96)
97
99
Techno Hit
Philly Hit
Techno Hit
Philly Hit
---
---
---
CajonHiFlm
CajonLo
Applause 2
Small Club
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
---
Claves
98
85Br Snare1
85Br Snare2
Brush Swirl
Brush Tap
---
85Jz Snare1
85Jz Snare2
Brush Swirl
Brush Tap
Woodblock
Shock Wave
Lo Fi Rave
Bam Hit
Shock Wave
Lo Fi Rave
Bam Hit
---
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
Woodblock
100
101
Brush Swirl
Brush Tap
Brush Slap1
Brush Slap2
Brush Slap
Brush Swirl
Brush Swirl
Long Swirl
Jazz Snare 1
Jazz Snare 2
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
102
104
106
Bim Hit
Bim Hit
Brush Slap1
Brush Slap2
Brush Slap
Brush Slap1
Brush Slap2
Brush Slap
Brush Swirl
Brush Swirl
Long Swirl
Jazz Snare 1
Jazz Snare 2
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
TapeRewind
Phono Noise
Dance Snare1
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec. Snare
Elec Snare 3
66sn260
103
105
MamboCowBell
MexFVox2
Brush Swirl
Brush Swirl
Long Swirl
Jazz Snare 1
Jazz Snare 2
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Standard SN1
LD Snare M
LD Snare C
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
AfFoots
107
MexFVox1
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
C8 108
109
111
110
112
113
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
TR-707 SD
808 Snare 1
808 Snare 2
TR-808 SD2
909 Snare 1
909 Snare 2
909 SD 1
114
116
118
---
115
117
---
---
---
119
---
TR-909 SD2
Rap Snare
JungleSD1
House SD
TR-909 SD2
Rap Snare
JungleSD1
House SD
---
---
---
C9 120
121
123
---
---
---
122
---
---
---
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec Snare 3
---
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec Snare 3
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
Elec Snare 3
---
---
124
125
House Snare
House SD
House Snare
House SD
---
---
---
---
---
---
126
Voice Tah
Noise Slap
Voice Tah
Noise Slap
---
---
p33137v
---
---
---
p33168v
---
127
G9
PC: 51 [CC32: 4]
KICK & SNARE
PC: 52 [CC32: 4]
KICK & SNARE 2
PC: 53 [CC32: 4]
ASIA
PC: 54 [CC32: 4]
CYMBAL&CLAPS
PC: 55 [CC32: 4]
GAMELAN 1
PC: 56 [CC32: 4]
GAMELAN 2
PC: 57 [CC32: 4]
SFX
PC: 58 [CC32: 4]
RHYTHM FX
PC: 59 [CC32: 4]
RHYTHM FX 2
PC: 60 [CC32: 4]
RHYTHM FX 3
(HipHop SD2)
(HipHop SD2)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(Perc. Bang)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(R Boeeeen)
R Bounce
R CD Tray
R Drill
(C7) (96)
97
99
JungleSD1
JungleSD1
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
98
Jungle SD2
Jungle SD2
Slap
Slap
100
101
MG_Blip
MG_Blip
R Glass Stir
R Ice Ring
R Klnzapcm
R Scratch 4
R Scratch 5
R Scratch 6
R Scratch 7
R Seal
House SD
House SD
102
104
106
CR78 SD 1
CR78 SD 1
CR78 SD 2
CR78 SD 2
103
105
66sn160
66sn160
66sn260
66sn260
TR-707 SD
TR-707 SD
107
TR-707 SD 2
TR-707 SD 2
TR-707 SD 3
TR-707 SD 3
R Stab! 1
R Stab! 2
R Swrd Boom!
R Swrd Cross
R Thrill Hit
R Audio Sw
R Typing 1
R Typing 2
R Typing 3
R Typing 4
R Typing 5
R Typing 6
---
C8 108
109
111
TR-808 SD2
TR-808 SD2
110
909 SD 1
909 SD 1
TR-909 SD2
TR-909 SD2
112
113
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
114
116
118
115
117
119
C9 120
121
123
---
122
---
---
124
125
---
---
126
---
---
127
G9
237
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VA-76 Owner’s Manual—Reference
VA-7 Kits
PC: 51 [CC32: 4]
KICK & SNARE
PC: 52 [CC32: 4]
KICK&SNARE 2
PC: 53 [CC32: 4]
ASIA
PC: 54 [CC32: 4]
CYMBAL&CLAPS
PC: 55 [CC32: 4]
GAMELAN 1
PC: 56 [CC32: 4]
GAMELAN 2
PC: 57 [CC32: 4]
SFX
PC: 58 [CC32: 4]
RHYTHM FX
PC: 59 [CC32: 4]
RHYTHM FX 2
PC: 60 [CC32: 4]
RHYTHM FX 3
---
---
---
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
---
---
---
---
---
---
1
3
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
---
---
---
---
---
---
7
9
8
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
10
---
---
---
---
---
---
---
---
---
---
11
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C0 12
---
---
---
---
---
---
---
---
---
---
13
15
---
---
---
---
---
---
---
---
---
---
14
---
---
---
---
---
---
---
---
---
---
16
17
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
R Bs Mute NZ
R Bs StQuail
R Bs Atk NZ
R ClnGtCutUp
R ClnGtCutDn
R ClnGtrMtUp
R ClnGtrMtDn
R DstGtCutUp
R DstGtCutDn
R DstGtrSgdn
R DstGtrMute
R SlGtrSdNz1
R SlGtrSdNz2
R SlGtrSdNz3
R SlGtrSdNz4
R SlGtrStkSD
R SlGtrStkU1
R SlGtrStkD1
R SlGtrStkU2
R SlGtrStkD2
R Tbone NZ
R Tpet NZ
R St BsDrum1
R St BsDrum2
R Rm BsDrum1
R Rm BsDrum2
R Jz BsDrum1
R Jz BsDrum2
R Br BsDrum1
R Br BsDrum2
R HipHop BD2
R HipHop BD
R Jngl BD
---
---
---
---
---
---
---
---
---
18
20
22
---
---
---
---
---
---
---
---
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
MC-500 Beep
MC-500 Beep
ytwn3.xtp
ytwn2.xtp
Guitar Slap
Chord Stroke
Chord Stroke
Biwa 3
---
---
---
---
---
---
---
---
---
---
23
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C1 24
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 BD
CR78 BD 1
CR78 BD 2
TR-606 BD1
TR-707 BD
808 BD
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gamelan Gong
Gender
Gender
Gender
Gender
Gender
Bonang
Bonang
Bonang
Bonang
Bonang
RAMA Cymbal
RAMA Cymbal
Sagat R
Sagat L-c
Jaw Harp Wow
Wadaiko
Wadaiko Rim
Taiko
---
---
---
---
---
25
27
---
---
---
---
---
26
---
---
---
---
---
28
29
---
---
---
---
---
---
---
---
Phono Noise
TapeRewind
Scrtch Push2
Scrtch Pull2
Gt.CutNoise2
Gt.CutNoise2
Dist.CutNoiz
Dist.CutNoiz
Bass Slide
Pick Scrape
High-Q
---
---
909 Comp BD
TR-909 BD2
HipHop BD2
HipHop BD1
Jungle BD2
JungleBD Set
Techno BD2
Techno BD1
Mix Kick
Standard KK1
Std.1 Kick1
Std.1 Kick2
Std.2 Kick1
Std2 Kick2
Kick 1
909 Comp BD
TR-909 BD2
HipHop BD2
HipHop BD1
Jungle BD2
JungleBD Set
Techno BD2
Techno BD1
Mix Kick
Standard KK1
85St BsDrum1
85St BsDrum2
85Br BsDrum1
85Br BsDrum2
85Jz BsDrum1
85Jz BsDrum2
HipHop BD 2
HipHop BD
ConcertBD Mt
Concert BD
85Rm BsDrum1
85Rm BsDrum2
Jngl BD
---
---
---
---
---
30
32
34
---
---
---
---
---
31
33
rev.lvohh
Rev. LVCHH 1
Rev. LVCHH 2
Jungle HH
Close HiHat
Jazz Clsd.HH
Room Chh
Close HiHat1
Close HiHat2
TR-707 HH-c
606 CH
---
---
---
---
---
---
---
---
---
---
---
---
35
---
---
---
---
KendangWadon
KendangWadon
Bebarongan
Pelegongan
Kelontuk
Kelontuk Mt
Kelontuk Sid
Gong Wadon
Gong Lanang
Ceng Ceng
Kopyak Op
Kopyak Mt
Kajar
KendangWadon
KendangWadon
Bebarongan
Pelegongan
Kelontuk
Kelontuk Mt
Kelontuk Sid
Gong Wadon
Gong Lanang
Ceng Ceng
Kopyak Op
Kopyak Mt
Kajar
Rev.Kick 1
Rev.ConBD
Rev.PowerK1
Rev.Elec.K1
Rev.Snare 1
Rev.Snare 2
Rev.Std1SD1
Rev.TightSD
Rev.DanceSD
Rev.808SD
Rev.Tom 1
Rev.Tom 2
Rev.Sticks
Rev.Slap
ReverseCymbl
Rev.Cymbal2
Rev.Open HH
Rev.RideCym.
Rev.CR-78OHH
Rev.Clsd.HH
Rev.BendGong
Rev.Belltree
Rev.Guiro
Rev.Bendir
Rev.GunShot
Rev.Scratch
Rev.Lasergun
Click
rev.707bd
rev.909bd2
rev.hphp_bd1
rev.jgl_bd2
rev.tech_bd2
rev.606sn2
rev.cr78sd1
rev.cr78sd2
rev.jgl_sd2
rev.tech_sd2
rev.707sd
rev.606sn1
rev.909sd1
rev.hphp_sd2
rev.jgl_sd1
Rev House SD
Rev. LVCHH 1
rev.606htcl
rev.707chh
rev.808chh
rev.jgl_hh
rev.344tmb2
rev.344tmb3
rev.808ohh
rev.707ohh
rev.lvohh
rev.606cym
Rev. HynLuo
rev.707fx
Voice One
rev.one
Voice Two
rev.two
Voice Three
rev.three
Voice Tah
rev.tah
Voice 1
Voice Au
Voice Whey
Frog Vpoce
rev.yyooh
Douby
rev.douby
Baert
C2 36
37
39
38
40
41
Slap
ScratchPush
ScratchPull
Sticks
42
44
46
808__chh
TR-808 CHH
CR-78 chh
GS Pedal HH
Pedal HiHat
Pedal HiHat2
Half OpenHH1
Half OpenHH2
Open Hi Hat
Jazz Open HH
R8 Ohh2
Open HiHat2
909 OH
43
45
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise
Gt.CutNoise
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Kick 2
Soft Kick
Jazz Kick 1
Jazz Kick 2
Concert BD
Room Kick 1
Room Kick 2
Power Kick1
Power Kick2
Elec Kick 2
Elec Kick 1
Elec. Kick
TR-808 Kick
TR-909 Kick
Dance Kick 2
Std.1 Snare1
Std.1 Snare2
Std.2 Snare1
Std.2 Snare2
Tight Snare
Concert Snr
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Dance Snare1
Power Snare1
Rev.Snare
Power Snare2
Elec Snare 1
Dance Snare2
Elec Snare 2
House Snare
Elec. Snare
Elec Snare 3
808 Snare 1
808 Snare 2
909 Snare 1
909 Snare 2
Brush Swirl
Brush Tap
Brush Slap1
Brush Slap2
Brush Slap
Brush Swirl
Brush Swirl
Long Swirl
Standard SN1
LD Snare M
LD Snare C
Rap Snare
HipHop SD2
47
C3 48
Kempur
Jegogan
Jegogan33up
Jegogan33dw
Jegogan33dw
Jegogan
Jublag
Kempur
Jegogan
Jegogan40up
Jegogan20dw
Jegogan20up
Jegogan40up
Jublag
49
51
R Jngl BD 2
R 808 BD
50
52
53
R 909 BD
Jngl BD 2
Jngl BD Roll
Fat BD
Shimedaiko
Atarigane
Hyoushigi
Ohkawa
H kotsuzumi
L Kotsuzumi
Yyoo Dude
Buk_f
R 909 BD 2
R Fat BD
54
56
58
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
R Dance BD
R St Snare2
R St Snare1
R Rm Snare2
R Rm Snare1
R Jz Snare1
R Jz Snare2
R Br Snare1
R Br Snare2
R LoFi SD 1
R LoFi SD 2
R HipHop SD1
R HipHop SD2
R House SD
R Jngl SD
55
57
Dance BD
808 BD
TR-707 OHH
606 HiHat Op
808__ohh
TR-808 OHH
CR-78 ohh
Crash Cym.1
Crash Cym.2
GS Crash
Brush Crash
Hard Crash
909 Crash
808 Crash
Crash Mute 1
Crash Mute 2
ReverseCymbl
Rev.Cymbal2
Reverse Cym.
rev.tra_crsm
Crash Cym.1
Splash Cym.
Ride Bell
Brush RideBL
Ride Cymbal
Ride Cymbal
Brush Ride
Ride Cym IN
Ride Cym IN
Ride Cym IN
RideCym Edge
RideCym Edge
RideCym Edge
606 Ride Cym
TR808 Ride
ChinaCymbal
Chaina Cym2
Hand Clap
Hand clap2
808clap
Jublag33up
Jublag33dw
Jublag33dw
Jublag
Jublag40up
Jublag20dw
Jublag20up
Jublag40up
Penyacah20up
Penyacah40up
Penyacah
Penyacah40up
Penyacah20dw
Penyacah20up
Penyacah40up
Pemade40up
Pemade20dw
Pemade20up
Pemade20up
Pemade
Pemade40up
Pemade20dw
Pemade20up
Pemade20up
Pemade
Reyong20dw
Reyong20up
Reyong20up
Reyoung
Reyong40up
Reyong20dw
Reyong20up
Reyong40up
Reyoung
Reyong40up
Reyong20dw
Reyong20up
---
909 BD
59
909 BD 2
85St Snare2
85St Snare1
Std.2 Snare1
Std.2 Snare2
Tight Snare
Concert Snr
85Jz Snare1
85Jz Snare2
85Rm Snare2
85Rm Snare1
LoFi SD 1
LoFi SD 2
Rev.Snare
LoFi SD Rim
Elec Snare 1
HipHop SD 1
HipHop SD 2
Dance SD
606 SD 2
Techno SD
House SD
Rock SD Dry
Jngl SD
Penyacah33dw
Penyacah
Penyacah
Penyacah33up
Penyacah33dw
Penyacah33dw
Penyacah
Pemade33up
Pemade33dw
Pemade33dw
Pemade
Pemade
Pemade33up
Pemade33dw
Pemade33dw
Pemade
Pemade33up
Reyong33dw
Reyong33dw
Reyoung
Reyoung
Reyong33up
Reyong33dw
Reyong33dw
Reyoung
Reyoung
Reyong33up
Reyong33dw
Reyong33dw
---
C4 60
Buk_r
Scratch
61
63
Gengari_p
Gengari_m
Gengari_f
Gengari_m
Gengari S
Jang-Gu_c
Jang-Gu_k
Jang-Gu_r
Jing_p
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
62
64
65
Tekno Thip
Pop Drop
Wood Slap
Dist.Kick
Syn.Drops
Rev.Hi-Q
ShrtWhistle
Ice Block
Digi Tambrn.
Alias
66
68
70
67
69
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
R 606 SD 2
R Techno SD
R Dance SD
R RockSD Dry
R LoFi SDRim
R 909 SD Rim
R Jngl SDRim
R DanceSDRim
R HouseSDRim
R Brsh Tom1
R Brsh Tom2
R Brsh Tom3
R 606 Tom
R Jngl Crash
R St ClsHat
R Rm ClsHat
R Jz ClsHat
R Br ClsHat
R 707 Claps
R 909 Claps
R R&B Claps1
R HipHopClap
R CompClaps2
R Shaker 2
R JnglShaker
R Clap Hit
R Boeeeen
71
Jing_f
Jing_m
C5 72
Asian Gong 1
Big Gong
Small Gong
Pai Ban
Ban_Gu
tangu60
tanmt60
Bend Gong L
Bend Gong
Huyin Luo L
hynlo60
Huyin Luo Mt
Hu yin Luo H
Hynlo mute
naobo60
xaobo60
Dholak 1
Dholak 2
---
73
75
Mod.Bell
Tambourine
Metalic Perc
Velo FX Noiz
St.NoiseClap
Swish
74
76
77
HorseGallop
Bird
78
80
82
Rain
79
81
Thunder
Wind
Noise Slap
Voice 1
Voice Au
Hoo
Baert
Seashore
Stream
Bounce
rev.bounce
Dist Knock
ytwn3.xtp
xxx
83
Jngl SD Roll
Brush Swirl
Brush Tap
85Br Snare1
85Br Snare2
Brush Slap
Brush Swirl
Brush Swirl
Long Swirl
Standard SN1
LD Snare M
LD Snare C
Rap Snare
HipHop SD2
Bubble
Tape Stop 1
Tape Stop 2
Missile
Space Birds
FlyingMonstr
---
C6 84
Kitty
85
87
Bird 2
86
Growl
Noise Attack
SpaceWorms
Emergency!
Calculating
SawLFOSaw
---
88
89
Applause 2
Telephone 1
Telephone 2
Small Club
Small Club 2
ApplauseWave
Eruption
Big Shot
Perc. Bang
---
---
---
90
92
94
---
---
---
91
93
---
---
---
---
---
---
---
---
---
---
909 HandClap
HC2 Claps 2
707 Claps
---
---
---
---
95
---
---
---
---
---
---
---
---
---
---
C7 96
238
Download from Www.Somanuals.com. All Manuals Search And Download.
VA-76 – Drum Sets
VA-7 Kits
PC: 61 [CC32: 4]
SFX 2
PC: 63 [CC32: 4]
CYM&CLAPS 2
PC: 64 [CC32: 4]
V-VoxDrum
PC: 128 [CC32: 4]
CM-64/32L
PC: 1 [CC32: 122]
GM2 STANDARD
PC: 9 [CC32: 122]
GM2 ROOM
PC: 17 [CC32: 122]
GM2 POWER
PC: 25 [CC32: 122]
GM2 ELECTRIC
PC: 26 [CC32: 122]
GM2 ANALOG
PC: 33 [CC32: 122]
GM2 JAZZ
---
---
HipHop BD1
Jazz Kick 1
p05002v
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
---
---
---
---
---
1
3
---
---
---
---
---
---
---
---
---
---
---
85RmBsDrum1B
85RmBsDrum2B
909 BD
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
909 BD 2
---
---
---
---
---
---
---
6
---
---
Jngl BD 2
---
---
---
---
---
---
---
7
9
8
---
---
HipHop BD
HipHop BD 2
85StBsDrum1B
NewJzKik
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
10
---
---
---
---
---
---
---
---
---
11
---
---
---
---
---
---
---
---
---
---
---
NewRockKik
CymbalRoll
NewRkCStkMn
85RmSnare1B
85RmSnare2B
85StSnare1B
85StSnare2B
NewJzSn2
NewJzSn1
NewR&BSn
NewRockSn2mn
NewRockSn1mn
IPopSn38mn
IPopGstS39mn
IPopSn38mn
FingerSnaps2
707 Claps
---
---
---
---
---
---
---
C0 12
---
---
---
---
---
---
---
---
---
13
15
---
---
---
---
---
---
---
---
---
14
---
---
---
---
---
---
---
---
---
16
17
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
18
20
22
---
---
---
---
---
---
---
---
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
23
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C1 24
---
---
---
---
---
---
---
---
---
25
27
---
---
---
---
---
---
---
---
---
26
---
---
---
High-Q
Slap
High-Q
Slap
High-Q
Slap
High-Q
Slap
High-Q
Slap
High-Q
Slap
28
29
---
---
---
---
---
808clap
---
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
ScratchPush
ScratchPull
Sticks
---
---
Hand clap2
909 HandClap
IPopPHat32
GospelHClp1
p35010v
---
30
32
34
A.Bs.Mute Nz
A.Bs.TouchNz
A.Bs.AtackNz
DstGT.MuteNz
StlGt.SldNz1
StlGt.SldNz2
StlGt.SldNz3
StlGt.SldNz4
Gt.StrokeNz1
Gt.StrokeNz2
Gt.StrokeNz3
Gt.StrokeNz4
Gt.StrokeNz5
Open CD Tray
Audio Switch
Key Typing 1
Key Typing 2
Key Typing 3
Key Typing 4
Key Typing 5
Key Typing 6
BabyLaughing
Clap Hit
Stab! 1
Stab! 2
Bounce Hit
Boeeeen
Glass & Glam
Ice Ring
Crack Bottle
Pour Bottle
Soda
---
---
31
33
R St ClsHat
R Rm ClsHat
R Jz ClsHat
R Br ClsHat
85St ClsHat
85Rm ClsHat
85Jz ClsHat
85Br ClsHat
TR-707 HH-c
606 CH
---
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Room Tom 5
Close HiHat2
Room Tom 5
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Room Tom 2
Crash Cym.1
Room Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Power Kick1
Side Stick
Dance Snare1
909 HandClap
Elec Snare 3
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Elec Kick 1
Side Stick
Elec. Snare
909 HandClap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
TR-808 Kick
808 Rimshot
808 Snare 1
909 HandClap
Elec Snare 3
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
808clave
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
---
---
35
p05006v
Kick 1
Kick 1
Side Stick
Fat Snare
Hand Clap
Elec. Snare
Tom
p33079v
C2 36
p33146v
37
39
p32011v
38
p43001v
40
41
p33137v
p33168v
TR-808 CHH
CR-78 chh
GS Pedal HH
Pedal HiHat
Pedal HiHat2
Half OpenHH1
Half OpenHH2
85St OpenHat
85Rm OpenHat
85Jz OpenHat
85Br OpenHat
909 OH
p33012v
Close HiHat
Tom
42
44
46
p34001v
43
45
p33014v
Open HiHat2
Tom
p33157v
p33019v
Open Hi Hat
Tom
47
p33164v
p33159v
Tom
C3 48
p35029v
GS Crash
Tom
49
51
p33158v
50
p43002v
Ride Cymbal
---
52
53
cym013v
p45002v
---
TR-707 OHH
606 HiHat Op
TR-808 OHH
CR-78 ohh
85St CrsCym1
85Rm CrsCym1
85Jz CrsCym1
85Br CrsCym1
Hard Crash
909 Crash
Jngl Crash
808 Crash
Std4 CrsCym1
Rom2 CrsCym1
Jaz2 CrsCym1
Brs2 CrsCym1
Crash Mute 1
Crash Mute 2
rStd4CrhSym1
rev.tra_crsm
rJaz2CrhSym1
rBrs2CrhSym1
Splash Cym.
85St RdBell
85Rm RdBell
85Jz RdBell
85Br RdBell
85St RdCym
85Rm RdCym
85Jz RdCym
85Br RdCym
606 Ride Cym
TR808 Ride
ChinaCymbal
Chaina Cym2
707 Claps
HipHop Claps
R&B Claps 1
909 Claps
Comp Claps 2
909 HandClap
HC2 Claps 2
707 Claps
p36017v
Tambourine
---
54
56
58
p34109v
55
57
p36019v
Cowbell
---
p44001v
p36009v
---
59
AfAahhh
---
NewHiBongo
NewLoBongo
NewCongaSlp
NewCongaOp
NewLoConga
NewTmblHi
NewTmblLo
Agogo
High Bongo
Low Bongo
Mute Conga
Conga
Conga
Timbales
Timbales
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Vibraslap
---
C4 60
61
63
62
Car Engine 2
Car Horn
R.Crossing
SL 1
64
65
66
68
70
SL 2
67
69
Over Blow
Sword Boom!
Sword Cross
Industry Hit
Drill Hit
Compresser
Thrill Hit
Explosion 2
Seal
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
NewShaker2
NewShaker1
ShrtWhistle
LongWhistle
NewQuide1
NewQuide2
NewClaves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Cabasa
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Cabasa
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
71
C5 72
73
75
74
Claves
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
76
77
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Fancy Animal
Cricket
Baert
78
80
82
79
81
Frog Vpoce
Wind 2
Scratch 3
Scratch 4
Scratch 5
Scratch 6
Scratch 7
Noise Attack
Bounce
Dist Knock
xxx
83
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
C6 84
Castanets
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
85
87
Mute Surdo
Open Surdo
CRcir
86
88
89
NewTmblHiFlm
NewTmblLoFlm
NewTmblPHS
NewShekere1
NewShekere2
NHBngoMute
NewLBngoMute
CajonHi
---
---
---
---
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
---
---
---
91
93
---
Train
---
---
---
---
---
---
---
Jetplane
Helicopter
Starship
Gun Shot
---
---
---
---
---
---
---
---
---
---
---
---
---
95
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C7 96
(CC32=122 only via MIDI)
239
Download from Www.Somanuals.com. All Manuals Search And Download.
VA-76 Owner’s Manual—Reference
PC: 25 [CC32: 122]
GM2 ELECTRIC
PC: 26 [CC32: 122]
GM2 ANALOG
PC: 61 [CC32: 4]
SFX 2
PC: 63 [CC32: 4]
CYM&CLAPS 2
PC: 64 [CC32: 4]
V-VoxDrum
PC: 128 [CC32: 4]
CM-64/32L
PC: 1 [CC32: 122]
GM2 STANDARD
PC: 9 [CC32: 122]
GM2 ROOM
PC: 17 [CC32: 122]
GM2 POWER
PC: 33 [CC32: 122]
GM2 JAZZ
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(707 Claps)
---
(CajonHi)
(Gun Shot)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(C7) (96)
97
99
CajonHiFlm
CajonLo
Machine Gun
98
---
Lasergun
---
CajonLoFlm
FlmncoHClp1
FlmncoHClp1
BongoCowBell
AfHey
Explosion
100
101
---
Dog
---
HorseGallop
102
104
106
---
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
---
---
103
105
---
MamboCowBell
MexFVox2
---
---
AfFoots
107
---
MexFVox1
---
MexMVox1
YodelFVox1
MexMVox2
YodelMVox1
MexMVox3
FlmncoFVox1
YodelFVox2
FlmncoFVox2
NewWhistle1
FlmncoFVox3
NewWhistle2
FlmncoMVox1
FlmncoMVox2
BrazilVox1
FlmncoMVox3
BrazilVox2
BrazilVox3
AfAahhh
C8 108
109
111
---
110
---
---
---
---
112
113
---
---
---
---
114
116
118
---
---
---
---
115
117
---
---
---
---
---
---
119
---
---
---
---
C9 120
121
123
---
---
122
---
---
---
---
124
125
---
---
---
---
126
---
p33137v
---
---
p33168v
---
127
G9
(CC32=122 only via MIDI)
(CC32= 119 only via MIDI)
240
Download from Www.Somanuals.com. All Manuals Search And Download.
VA-76 – Drum Sets
PC: 41 [CC32: 122]
GM2 BRUSH
PC: 49 [CC32: 122]
GM2 ORCHSTRA
PC: 57 [CC32: 122]
GM2 SFX
PC: 1 [CC32: 119]
standard kit
PC: 2 [CC32: 119]
standrd kit2
PC: 9 [CC32: 119]
room kit
PC: 17 [CC32: 119]
rock kit
PC: 25 [CC32: 119]
electro kit
PC: 26 [CC32: 119]
analog kit
PC: 33 [CC32: 119]
jazz kit
---
---
---
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
---
---
---
---
---
---
1
3
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
---
---
---
---
---
---
7
8
---
---
---
---
---
---
---
---
---
---
9
---
---
---
---
---
---
---
---
---
---
10
---
---
---
---
---
---
---
---
---
---
11
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C0 12
---
---
---
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
13
15
---
---
---
14
---
---
---
16
17
---
---
---
Slap
Slap
Slap
Slap
Slap
Slap
Slap
---
---
---
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Concert Snr
Sticks
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Concert Snr
Sticks
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Concert Snr
Sticks
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Room Snare 1
Sticks
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
ReverseCymbl
Snare Roll
High-Q
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
ReverseCymbl
Snare Roll
High-Q
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Concert Snr
Sticks
---
---
---
18
20
22
---
---
---
19
21
---
---
---
---
---
---
---
---
---
23
---
---
---
---
---
---
C1 24
---
---
---
25
27
---
---
---
26
High-Q
Slap
Jazz Clsd.HH
Pedal HiHat
Jazz Open HH
Ride Cymbal
Sticks
---
28
29
---
ScratchPush
ScratchPull
Sticks
---
---
30
32
34
---
Standard SN1
Sticks
Power Snare1
Sticks
31
33
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
ConcertBD Mt
Side Stick
Concert Snr
Castanets
Concert Snr
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
---
---
Jazz Kick 1
Jazz Snare 2
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
LD Snare M
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Jazz Kick 1
Jazz Snare 2
Std2 Kick2
Std.2 Kick1
Side Stick
Std.2 Snare1
909 HandClap
Std.2 Snare2
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Jazz Kick 1
Jazz Snare 2
Mix Kick
Room Kick 1
Side Stick
Standard SN1
909 HandClap
LD Snare M
Room Tom 5
Close HiHat2
Room Tom 5
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Room Tom 2
Crash Cym.1
Room Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Room Kick 2
Jazz Snare 2
Std2 Kick2
Std.2 Kick1
Side Stick
LD Snare M
909 HandClap
Jazz Snare 2
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Std2 Kick2
Jazz Snare 2
Elec Kick 2
Power Kick1
Side Stick
Dance Snare1
909 HandClap
Power Snare1
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Mix Kick
Jazz Snare 2
808 BD
Jazz Kick 1
Jazz Snare 2
Mix Kick
Jazz Kick 2
Side Stick
Standard SN1
909 HandClap
LD Snare M
Real Tom 6
Close HiHat2
Real Tom 4
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 1
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
---
35
---
---
TR-808 Kick
808 Rimshot
808 Snare 1
808clap
C2 36
---
37
39
---
38
High-Q
Slap
40
41
TR-808 SD2
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise
Gt.CutNoise
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
42
44
46
43
45
47
C3 48
49
51
50
52
53
54
56
58
55
57
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
59
C4 60
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
61
63
62
64
65
66
68
70
67
69
Agogo
Train
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
808clave
Woodblock
Woodblock
ScratchPush
ScratchPull
MuteTriangl
OpenTriangl
Shaker
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
71
C5 72
73
75
74
76
77
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause
---
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
ScratchPush
ScratchPull
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
HorseGallop
Bird
78
80
82
Rain
79
81
Thunder
Wind
Seashore
Stream
Bubble
---
83
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
C6 84
85
87
---
---
---
---
---
---
---
---
86
---
---
---
---
---
---
---
---
88
89
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
---
---
---
---
---
---
91
93
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
95
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C7 96
(CC32= 119 only via MIDI)
(CC32=122 only via MIDI)
241
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VA-76 Owner’s Manual—Reference
PC: 41 [CC32: 119]
brush kit
PC: 49 [CC32: 119]
PC: 121 [CC32: 122]
SFX 1 kit
PC: 122 [CC32: 122]
SFX 2 kit
3
PC: 1 [CC32: 3]
STANDARD 1
PC: 2 [CC32: 3]
STANDARD 2
PC: 3 [CC32: 3]
STANDARD 3
PC: 9 [CC32: 3]
ROOM
PC: 10 [CC32: 3]
Hip-Hop
PC: 11 [CC32: 3]
Jungle
classic kit
---
---
---
---
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1 *
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1 *
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1 *
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1 *
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
C–1
0
2
---
---
---
---
1
3
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
7
8
---
---
---
---
9
---
---
---
---
10
---
---
---
---
11
---
---
---
---
---
---
---
---
C0 12
Mute Surdo
Open Surdo
High-Q
Mute Surdo
Open Surdo
High-Q
---
---
13
15
---
---
14
---
---
16
17
Slap
Slap
---
---
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Brush Slap1
Sticks
ScratchPush
ScratchPull
FingerSnaps2
SquareClick
Mtrnm.Click
Mtrnm. Bell
MC-500 Beep
MC-500 Beep
Brush Swirl
Brush Swirl
Brush Slap1
Brush Swirl
Snare Roll
Castanets
Concert Snr
Sticks
---
---
---
---
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
18
20
22
---
---
Voice Three
Voice Three
Voice Three
Voice Three
Voice Three
---
Voice Three
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
23
---
---
---
---
C1 24
---
---
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
25
27
---
---
Finger Snap 2
High Q
Finger Snap
Finger Snap 2
High Q
Finger Snap
Finger Snap 2
High Q
Finger Snap 2
High Q
26
---
---
High Q
High Q
28
29
---
---
Slap
Slap
Slap
Slap
Slap
Slap
---
---
Scratch Push [EXC7]
Scratch Pull [EXC7]
Sticks
Scratch Push
Scratch Push
Scratch Push
Scratch Push 2 [EXC7] Scratch Push 2 [EXC7]
---
---
Scratch Pull
Scratch Pull
Scratch Pull
Scratch Pull 2 [EXC7]
Sticks
Scratch Pull 2 [EXC7]
Sticks
30
32
34
---
---
Sticks
Sticks
Sticks
31
33
---
---
Square Click
Square Click
Square Click
Square Click
Square Click
Square Click
Jazz Kick 1
Jazz Snare 2
Mix Kick
Jazz Kick 1
Side Stick
Brush Slap1
909 HandClap
Brush Swirl
Lite Tom 4
Close HiHat2
Lite Tom 4
Pedal HiHat2
Lite Tom 4
Open HiHat2
Lite Tom 4
Lite Tom 4
Crash Cym.1
Lite Tom 4
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Jazz Kick 1
Jazz Snare 2
Concert BD
Concert BD m
Side Stick
Standard SN1
909 HandClap
LD Snare M
Real Tom 6
Close HiHat2
Real Tom 4
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 1
Real Tom 1
Concert Cym.
Real Tom 1
ConcertCymCl
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Concert Cym.
Vibraslap
ConcertCymCl
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
---
---
Metronome Click
Metronome Bell
Standard 1 Kick 2
Standard 1 Kick 1
Side Stick
Metronome Click
Metronome Bell
Standard 2 Kick 2
Standard 2 Kick 1
Side Stick
Metronome Click
Metronome Bell
Standard 3 Kick 2
[RND] Kick
Metronome Click
Metronome Bell
Room Kick 2
Metronome Click
Metronome Bell
Hip-Hop Kick 2
Hip-Hop Kick 1
TR-808 Rim Shot
Rap Snare
Metronome Click
Metronome Bell
Jungle Kick 2
Jungle Kick 1
Side Stick
---
---
35
---
---
Gt.CutNoise
Telephone 2
Room Kick 1
C2 36
Gt.CutNoise
Creaking
Side Stick
Side Stick
37
39
Dist.CutNoiz
Door
Standard 1 Snare 1
Hand Clap
Standard 2 Snare 1
TR-808 Hand Clap
Standard 2 Snare 2
Low Tom2
[RND] Snare
Room Snare 1
TR-808 Hand Clap
Room Snare 2
Room Low Tom 2 *
Jungle Snare 1
Hand Clap 2
38
String Slap
ScratchPush
[RND] Hand Clap *
Standard 3 Snare 2
Low Tom2
Hand Clap
40
41
Bass Slide
XG Scratch2
Standard 1 Snare 2
Low Tom2 *
Hip-Hop Snare 2
TR-909 Low Tom 2 *
Jungle Snare 2
TR-909 Low Tom 2
Pick Scrape
Wind Chimes
---
Telephone 2
Closed Hi-Hat [EXC1]
Low Tom1 *
Closed Hi-Hat 2 [EXC1] [RND] Closed Hi-Hat [EXC1]Closed Hi-Hat3 [EXC1]
Closed Hi-Hat 3 [EXC1] TR-606 Closed Hi-Hat [EXC1]
TR-909 Low Tom 1 * TR-909 Low Tom 1
[RND] Pedal Hi-Hat [EXC1] Room Pedal Hi-Hat [EXC1] RoomPedal Hi-Hat [EXC1]Jungle Hi-Hat [EXC1]
Mid Tom2 Room Mid Tom 2 * TR-909 Mid Tom 2 * TR-909 Mid Tom 2
[RND] Open Hi-Hat [EXC1] Open Hi-Hat 3 [EXC1] Open Hi-Hat 3 [EXC1] TR-606 Open Hi-Hat [EXC1]
42
44
46
---
---
Low Tom1
Low Tom1
Room Low Tom 1 *
43
45
---
---
Pedal Hi-Hat [EXC1]
Mid Tom2 *
Pedal Hi-Hat 2 [EXC1]
Mid Tom2
---
---
---
---
Open Hi-Hat [EXC1]
Mid Tom 1 *
Open Hi-Hat 2 [EXC1]
Mid Tom 1
47
---
---
Mid Tom 1
Room Mid Tom 1 *
Room High Tom 2 *
Crash Cymbal1
TR-909 Mid Tom 1 *
TR-909 High Tom 2 *
TR-909 Crash Cymbal
TR-909 High Tom 1 *
Ride Cymbal 1
Reverse Cymbal
Ride Bell
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-808 Crash Cymbal
TR-909 High Tom 1
Ride Cymbal 1
Reverse Cymbal
Ride Bell
---
---
High Tom 2 *
Crash Cymbal1
High Tom 1 *
Ride Cymbal 1
Chinese Cymbal
Ride Bell
High Tom 2
High Tom 2
C3 48
---
---
Crash Cymbal1
High Tom 1
[RND] Crash Cymbal
High Tom 1
49
51
---
---
Room High Tom 1 *
50
---
---
Ride Cymbal 1
Chinese Cymbal
Ride Bell
[RND] Ride Cymbal 1 * Ride Cymbal 1
52
53
Fl.KeyClick
Car-Engine
Chinese Cymbal
[RND] Ride Bell
Tambourine
Splash Cymbal
Cowbell
Chinese Cymbal
Ride Bell
---
Car-Stop
---
Car-Pass
Tambourine
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
Shake Tambourine
Splash Cymbal
TR-808 Cowbell
Crash Cymbal 2
Vibra-slap
Shake Tambourine
Splash Cymbal
TR-808 Cowbell
Crash Cymbal 2
Vibra-slap
54
56
58
---
Car-Crash
Splash Cymbal
Cowbell
55
57
---
Siren
---
Train
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
---
Jetplane
59
---
Starship
Ride Cymbal 2
High Bongo
Ride Cymbal 2
High Bongo
Low Bongo
[RND] Ride Cymbal 2 * Ride Cymbal 2
Ride Cymbal 2
High Bongo
Ride Cymbal 2
High Bongo
---
Burst Noise
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
C4 60
---
Coaster
Low Bongo
Low Bongo
Low Bongo
61
63
---
Submarine
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
62
---
---
64
65
---
---
---
---
---
---
Low Timbale
Low Timbale
66
68
70
---
---
High Agogo
High Agogo
High Agogo
67
69
Agogo
Agogo
Rain
Thunder
Wind
Stream
Bubble
Feed
---
Laughing
Low Agogo
Low Agogo
Low Agogo
Cabasa
Cabasa
Screaming
Cabasa
Cabasa
Cabasa
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Punch
Maracas
Maracas
Maracas
Maracas
TR-808 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
TR-808 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
71
Heart Beat
Short High Whistle [EXC2] Short High Whistle
Long Low Whistle [EXC2] Long Low Whistle
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Footsteps
C5 72
ApplauseWave
Short Guiro [EXC3]
Short Guiro
Long Guiro
Claves
73
75
---
Long Guiro [EXC3]
CR-78 Guiro [EXC3]
TR-808 Claves
CR-78 Guiro [EXC3]
TR-808 Claves
74
---
---
Claves
76
77
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
---
---
High Wood Block
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
---
---
Low Wood Block
---
---
Mute Cuica [EXC4]
78
80
82
---
---
Open Cuica [EXC4]
79
81
---
---
Mute Triangle [EXC5]
Electric Mute Triangle Electric Mute Triangle
Electric Open Triangle Electric Open Triangle
---
---
Open Triangle [EXC5]
---
---
Shaker
TR-626 Shaker
TR-626 Shaker
83
Jingle Bell
Bell Tree
---
Jingle Bell
Bell Tree
---
---
---
Jingle Bell
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Jingle Bell
Jingle Bell
Dog
HorseGallop
Bird 2
Kitty
Growl
Huanted
Ghost
Maou
---
Machine Gun
Bell Tree
Bell Tree
Bell Tree
C6 84
Lasergun
Castanets
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Castanets
Castanets
85
87
---
---
Explosion
Mute Surdo [EXC6]
Mute Surdo
Mute Surdo
86
---
---
Firework
Open Surdo [EXC6]
Open Surdo
Open Surdo
88
89
---
---
---
---
---
---
---
---
---
---
---
Applause 2 *
Small Club 1 *
Small Club 1 *
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
---
91
93
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
95
---
---
---
---
---
---
---
---
---
---
---
---
C7 96
242
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VA-76 – Drum Sets
PC: 9 [CC32: 3]
ROOM
PC: 10 [CC32: 3]
HipHop
PC: 41 [CC32: 119]
brush kit
PC: 49 [CC32: 119]
classic kit
PC: 121 [CC32: 122]
SFX 1 kit
PC: 122 [CC32: 122]
SFX 2 kit
3
PC: 1 [CC32: 3]
STANDARD 1
PC: 2 [CC32: 3]
STANDARD 2
PC: 3 [CC32: 3]
STANDARD 3
PC: 11 [CC32: 3]
Jungle
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
(---)
(---)
(---)
(---)
(---)
(C7) (96)
97
99
[#2] Standard 1 Snare 1
[#2] Standard 1 Snare 2
[#2] Standard 2 Snare 1
[#2] Standard 2 Snare 2
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#1] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Standard 1 Snare 1 [#2] Standard 1 Snare 1 [#2] Standard 1 Snare 1 Techno Hit
[#2] Standard 1 Snare 2 [#2] Standard 1 Snare 2 [#2] Standard 1 Snare 2 Philly Hit *
[#2] Standard 2 Snare 1 [#2] Standard 2 Snare 1 [#2] Standard 2 Snare 1 Shock Wave *
[#2] Standard 2 Snare 2 [#2] Standard 2 Snare 2 [#2] Standard 2 Snare 2 Lo-Fi Rave *
Techno Hit
98
Philly Hit *
Shock Wave *
Lo-Fi Rave *
100
101
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Jazz Snare 1
[#2] Jazz Snare 2
#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#1] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#1] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#1] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
Bam Hit
Bam Hit
102
104
106
Bim-Hit
Bim-Hit
Tape Rewind
Tape Rewind
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
103
105
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
107
C8 108
109
111
110
[#2] Electric Snare 3 * [#2] Electric Snare 3 *
112
113
TR-606 Snare
TR-606 Snare
TR-707 Snare
TR-707 Snare
114
116
118
[#2] TR-808 Snare 1
[#2] TR-808 Snare 1
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-707 Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-707 Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-707 Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-707 Snare
[#2] TR-808 Snare 2 * [#2] TR-808 Snare 2 *
115
117
TR-808 Snare 2
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 * [#2] TR-909 Snare 2 *
119
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
Rap Snare
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
C9 120
121
123
122
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
124
125
Jungle Snare 1
Jungle Snare 1
Jungle Snare 1
Jungle Snare 1
House Snare 1
House Snare 1
House Snare 1
House Snare 1
126
[#2] House Snare *
House Snare 2
[#2] House Snare *
House Snare 2
[#2] House Snare *
House Snare 2
[#2] House Snare *
House Snare 2
[#2] Slappy *
[#2] Slappy *
127
G9
PC: 12 [CC32: 3]
TECHNO
PC: 17 [CC32: 3]
POWER
PC: 25 [CC32: 3]
ELECTRONIC
PC: 26 [CC32: 3]
TR-808
PC: 27 [CC32: 3]
DANCE
PC: 28 [CC32: 3]
CR-78
PC: 29 [CC32: 3]
TR-606
PC: 30 [CC32: 3]
TR-707
PC: 31 [CC32: 3]
TR-909
PC: 33 [CC32: 3]
JAZZ
(---)
(---)
(---)
(---)
(---)
(---)
(---)
(---)
(---)
(---)
(C7) (96)
97
99
Techno Hit
[#2] Standard 1 Snare 1 Techno Hit
[#2] Standard 1 Snare 2 Philly Hit *
[#2] Standard 2 Snare 1 Shock Wave *
[#2] Standard 2 Snare 2 Lo-Fi Rave *
Techno Hit
Techno Hit
Techno Hit
Techno Hit
Techno Hit
Techno Hit
---
98
Philly Hit *
Philly Hit *
Philly Hit *
Philly Hit *
Philly Hit *
Philly Hit *
Philly Hit *
---
Shock Wave *
Lo-Fi Rave *
Shock Wave *
Lo-Fi Rave *
Shock Wave *
Lo-Fi Rave *
Shock Wave *
Lo-Fi Rave *
Shock Wave *
Lo-Fi Rave *
Shock Wave *
Lo-Fi Rave *
Shock Wave *
Lo-Fi Rave *
---
100
101
[#2] Brush Tap 1
[#2] Brush Tap 2
[#2] Brush Slap 1
[#2] Brush Slap 2
[#2] Brush Slap 3
[#2] Brush Swirl 1
[#2] Brush Swirl 2
[#2] Brush Long Swirl
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Standard 1 Snare1
[#2] Standard 1 Snare2
[#2] Standard 2 Snare1
[#2] Standard 2 Snare2
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#2] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#2] Electric Snare 3 *
Bam Hit
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#1] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
Bam Hit
Bam Hit
Bam Hit
Bam Hit
Bam Hit
Bam Hit
Bam Hit
102
104
106
Bim-Hit
Bim-Hit
Bim-Hit
Bim-Hit
Bim-Hit
Bim-Hit
Bim-Hit
Bim-Hit
Tape Rewind
Tape Rewind
Tape Rewind
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
Tape Rewind
Tape Rewind
Tape Rewind
Tape Rewind
Tape Rewind
103
105
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-606 Snare
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-606 Snare
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-606 Snare
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-606 Snare
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-606 Snare
Phonograph Noise
[#2] Power Snare 1
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-606 Snare
107
C8 108
109
111
110
[#2] Electric Snare 3 * [#2] Electric Snare 3 *
112
113
TR-606 Snare
TR-606 Snare
TR-707 Snare
TR-707 Snare
TR-707 Snare
TR-707 Snare
TR-707 Snare
TR-707 Snare
TR-707 Snare
TR-707 Snare
114
116
118
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 1
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
[#2] Electric Snare 2
[#1] Electric Snare
[#2] Electric Snare 3 *
TR-707 Snare
[#2] TR-808 Snare 2 * [#2] TR-808 Snare 2 *
115
117
TR-808 Snare 2
TR-808 Snare 2
[#2] TR-909 Snare 1
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 * [#2] TR-909 Snare 2 *
119
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
Rap Snare
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
C9 120
121
123
122
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
Jungle Snare 1
House Snare 1
[#2] House Snare *
House Snare 2
Voice Tah
124
125
Jungle Snare 1
House Snare 1
126
[#2] House Snare *
House Snare 2
[#2] Slappy *
[#2] Slappy *
[#2] Slappy *
[#2] Slappy *
[#2] Slappy *
[#2] Slappy *
[#2] Slappy *
[#2] Slappy *
127
G9
243
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VA-76 Owner’s Manual—Reference
Tone Map 3
PC: 12 [CC32: 3]
TECHNO
PC: 17 [CC32: 3]
POWER
PC: 25 [CC32: 3]
ELECTRONIC
PC: 26 [CC32: 3]
TR-808
PC: 27 [CC32: 3]
DANCE
PC: 28 [CC32: 3]
CR-78
PC: 29 [CC32: 3]
TR-606
PC: 30 [CC32: 3]
TR-707
PC: 31 [CC32: 3]
TR-909
PC: 33 [CC32: 3]
JAZZ
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1 *
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
[#2] Electric Kick 2
[#2] Electric Kick 1 *
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
Voice One
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
C–1
0
2
1
3
CR-78 Kick 2
4
5
TR-606 Kick 1
TR-707 Kick 1
[#1] TR-808 Kick
[#2] TR-808 Kick
TR-808 Kick 2
[#2] TR-909 Kick
[#2] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1 *
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
6
7
9
8
10
11
C0 12
13
15
14
16
17
Voice One
Voice One
Voice One
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
Voice Two
18
20
22
Voice Three
Voice Three
Voice Three
---
Voice Three
---
Voice Three
---
Voice Three
Voice Three
Voice Three
Voice Three
Voice Three
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
23
C1 24
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
Snare Roll
25
27
Finger Snap 2
High Q
Finger Snap 2
High Q
Finger Snap
High Q
Finger Snap 2
High Q
Finger Snap
High Q
Finger Snap 2
High Q
Finger Snap 2
High Q
Finger Snap 2
High Q
Finger Snap 2
High Q
Finger Snap
26
High Q
28
29
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Scratch Push 2 [EXC7]
Scratch Pull 2 [EXC7]
Sticks
Scratch Push [EXC7]
Scratch Pull [EXC7]
Sticks
Scratch Push 2 [EXC7] Scratch Push 2 [EXC7] Scratch Push 2 [EXC7]
Scratch Push 2 [EXC7]
Scratch Pull 2 [EXC7]
Sticks
Scratch Push 2 [EXC7]
Scratch Pull 2 [EXC7]
Sticks
Scratch Push 2 [EXC7]
Scratch Pull 2 [EXC7]
Sticks
Scratch Push 2 [EXC7]
Scratch Pull 2 [EXC7]
Sticks
Scratch Push
Scratch Pull
Scratch Pull 2 [EXC7]
Sticks
Scratch Pull 2 [EXC7]
Sticks
Scratch Pull 2 [EXC7]
Sticks
30
32
34
Sticks
31
33
Square Click
Square Click
Square Click
Square Click
Square Click
Square Click
Metronome Click
Metronome Bell
CR-78 Kick 2
CR-78 Kick 1
CR-78 Rim Shot
CR-78 Snare 1
TR-707 Hand Clap
CR-78 Snare 2
CR-78 Low Tom 2 *
Square Click
Square Click
Square Click
Metronome Click
Metronome Bell
Techno Kick 2
TR-909 Kick 1 *
TR-909 Rim
Square Click
Metronome Click
Metronome Bell
Techno Kick 2
Techno Kick 1
TR-808 Rim Shot
Techno Snare 1
TR-707 Hand Clap
Techno Snare 2
TR-808 Low Tom 2 *
Metronome Click
Metronome Bell
Power Kick 2
Metronome Click
Metronome Bell
Electric Kick 2
Electric Kick 1
Side Stick
Metronome Click
Metronome Bell
TR-808 Kick 2
Metronome Click
Metronome Bell
TR-909 Kick 1
Electric Kick 2
Side Stick
Metronome Click
Metronome Bell
CR-78 Kick 2
TR-606 Kick 1
CR-78 Rim Shot
TR-606 Snare 1
TR-707 Hand Clap
TR-606 Snare 2
TR-606 Low Tom 2
Metronome Click
Metronome Bell
TR-707 Kick 2
TR-707 Kick 1
TR-707 Rim Shot
TR-707 Snare 1
TR-707 Hand Clap
TR-707 Snare 2
TR-707 Low Tom 2 *
Metronome Click
Metronome Bell
Jazz Kick 2
35
Power Kick 1
TR-808 Kick 1
Jazz Kick 1
C2 36
Side Stick
TR-808 Rim Shot
TR-808 Snare 1
TR-808 Hand Clap
TR-808 Snare 2
Side Stick
37
39
Power Snare 1
TR-808 Hand Clap
Power Snare 2
Power Low Tom 2 *
Electric Snare 1
TR-808 Hand Clap
Electric Snare 2
House Snare 1
Hand Clap
TR-909 Snare 1
Hand Clap
Jazz Snare 1
38
Hand Clap 2
40
41
Dance Snare 2
Electric Low Tom 2 *
TR-909 Snare2
TR-909 Low Tom 2
Jazz Snare 2
Electric Low Tom 2 * TR-808 Low Tom 2
*
Low Tom2
TR-707 Closed Hi-Hat [EXC1] Closed Hi-Hat
Closed Hi-Hat 2 [EXC1] TR-808 Closed Hi-Hat [EXC1] CR-78 Closed Hi-Hat[EXC1] CR-78 Closed Hi-Hat[EXC1] TR-606 ClosedHiHat[EXC1] TR-707 ClosedHiHat[EXC1] TR-707 ClosedHiHat[EXC1] Closed Hi-Hat 2 [EXC1]
Electric Low Tom 1 * TR-808 Low Tom 1 Electric Low Tom 1 * CR-78 Low Tom 1 * TR-606 Low Tom 1 TR-707 Low Tom 1 * TR-909 Low Tom 1 Low Tom1
Pedal Hi-Hat 2 [EXC1] TR-808 Closed Hi-Hat2[EXC1]TR-808 Closed HiHat 2[EXC1] TR-606Closed HiHat[EXC1] TR-606 ClosedHiHat[EXC1] TR-707 ClosedHiHat[EXC1] TR-707 ClosedHiHat[EXC1] Pedal Hi-Hat 2 [EXC1]
Electric Mid Tom 2 TR-808 Mid Tom 2 Electric Mid Tom 2 * CR-78 Mid Tom 2 * TR-606 Mid Tom 2 TR-707 Mid Tom 2 * TR-909 Mid Tom 2 Mid Tom2
Open Hi-Hat 2 [EXC1] TR-808 Open Hi-Hat [EXC1] CR-78 Open Hi-Hat[EXC1] CR-78 Open Hi-Hat[EXC1] TR-606 OpenHiHat [EXC1] TR-707 OpenHiHat[EXC1] TR-909 OpenHiHat[EXC1]Open Hi-Hat 2 [EXC1]
42
44
46
TR-808 Low Tom 1 *
Power Low Tom 1 *
*
43
45
CR-78 Closed Hi-Hat [EXC1] Pedal Hi-Hat
TR-808 Mid Tom 2 *
Power Mid Tom 2 *
*
TR-909 Open Hi-Hat [EXC1] Open Hi-Hat
47
TR-808 Mid Tom 1 *
TR-808 High Tom 2 *
TR-909 Crash Cymbal
TR-808 High Tom 1 *
Ride Cymbal 1
Power Mid Tom 1 *
Electric Mid Tom 1
Electric High Tom 2 * TR-808 High Tom 2
Crash Cymbal1 TR-808 Crash Cymbal
Electric High Tom 1 * TR-808 High Tom 1 *
TR-808 Mid Tom 1
*
Electric Mid Tom 1 *
Electric High Tom 2 *
TR-808 Crash Cymbal
Electric High Tom 1 *
TR-606 Ride Cymbal
Reverse Cymbal
Ride Bell
CR-78 Mid Tom 1 *
CR-78 High Tom 2 *
TR-808 Crash Cymbal
CR-78 High Tom 1 *
TR-606 Ride Cymbal
Chinese Cymbal
Ride Bell
TR-606 Mid Tom 1
TR-606 High Tom 2
TR-808 Crash Cymbal
TR-606 High Tom 1
TR-606 Ride Cymbal
Chinese Cymbal
Ride Bell
TR-707 Mid Tom 1 *
TR-707 High Tom 2 *
TR-909 Crash Cymbal
TR-707 High Tom 1 *
TR-909 Ride Cymbal
Chinese Cymbal
Ride Bell
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-909 Crash Cymbal
TR-909 High Tom 1
TR-909 Ride Cymbal
Chinese Cymbal
Ride Bell
Mid Tom 1
High Tom 2
Crash Cymbal1
High Tom 1
Ride Cymbal Inner
Chinese Cymbal
Ride Bell
Power High Tom 2 *
Crash Cymbal1
Power High Tom 1 *
Ride Cymbal 1
Chinese Cymbal
Ride Bell
*
C3 48
49
51
50
Ride Cymbal 1
Reverse Cymbal
Ride Bell
TR-606 Ride Cymbal
Chinese Cymbal
Ride Bell
52
53
Reverse Cymbal
Ride Bell
Shake Tambourine
Splash Cymbal
Tambourine
Tambourine
Splash Cymbal
Cowbell
CR-78 Tambourine
Splash Cymbal
Shake Tambourine
Splash Cymbal
CR-78 Tambourine
Splash Cymbal
CR-78 Tambourine
Splash Cymbal
Tambourine 2
Tambourine 2
Splash Cymbal
TR-808 Cowbell
Crash Cymbal 2
Vibra-slap
Tambourine
Splash Cymbal
Cowbell
54
56
58
Splash Cymbal
Cowbell
Splash Cymbal
55
57
TR-808 Cowbell
TR-909 Crash Cymbal
Vibra-slap
TR-808 Cowbell
TR-909 Crash Cymbal
Vibra-slap
TR-808 Cowbell
Crash Cymbal 2
Vibra-slap
CR-78 Cowbell
CR-78 Cowbell
TR-808 Cowbell
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
TR-909 Crash Cymbal
Vibra-slap
TR-909 Crash Cymbal
Vibra-slap
Crash Cymbal 2
Vibra-slap
Ride Cymbal Edge
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
59
Ride Cymbal 2
Ride Cymbal 2
High Bongo
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
Ride Cymbal 2
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
Ride Cymbal Edge
High Bongo
Ride Cymbal Edge
High Bongo
Low Bongo
CR-78 High Bongo
CR-78 Low Bongo
High Bongo
C4 60
Low Bongo
Low Bongo
Low Bongo
61
63
TR-808 Mute High Conga Mute High Conga
TR-808 Open High Conga Open High Conga
TR-808 Open Low Conga Open Low Conga
TR-808 Mute High Conga Mute High Conga
TR-808 Open High Conga Open High Conga
TR-808 Open Low Conga Open Low Conga
TR-808 Mute High CongaTR-808 Mute HighConga Mute High Conga
TR-808 Open High CongaTR-808 Open HighConga Open High Conga
TR-808 Open Low Conga TR-808 Open LowConga Open Low Conga
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
62
64
65
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
High Timbale
High Timbale
Low Timbale
High Agogo
Low Agogo
High Timbale
Low Timbale
High Timbale
Low Timbale
High Timbale
Low Timbale
High Agogo
Low Timbale
66
68
70
High Agogo
High Agogo
High Agogo
67
69
Low Agogo
Low Agogo
Low Agogo
Low Agogo
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
Cabasa
TR-808 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
CR-78 Guiro [EXC3]
TR-808 Claves
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
Jingle Bell
Maracas
Maracas
TR-808 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
Maracas
CR-78 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
CR-78 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
TR-808 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
TR-808 Maracas
Short High Whistle
Long Low Whistle
Short Guiro
Maracas
71
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
C5 72
73
75
CR-78 Guiro [EXC3]
TR-808 Claves
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
Long Guiro
CR-78 Guiro [EXC3]
CR-78 Claves
CR-78 Guiro [EXC3]
CR-78 Claves
Long Guiro
CR-78 Guiro [EXC3]
CR-78 Claves
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
Jingle Bell
74
Claves
Claves
76
77
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
78
80
82
79
81
Electric Mute Triangle Electric Mute Triangle
Electric Open Triangle Electric Open Triangle
CR-78 Low Beat [EXC5] CR-78 Low Beat [EXC5] Electric Mute Triangle
CR-78 High Beat [EXC5] CR-78 High Beat [EXC5] Electric Open Triangle
TR-626 Shaker
TR-626 Shaker
TR-626 Shaker
TR-626 Shaker
TR-626 Shaker
83
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause 2
---
Jingle Bell
Bell Tree
Jingle Bell
Jingle Bell
Jingle Bell
Jingle Bell
Jingle Bell
Jingle Bell
Bell Tree
Bell Tree
Bell Tree
Bell Tree
Bell Tree
Bell Tree
Bell Tree
Bell Tree
C6 84
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
85
87
Mute Surdo
Open Surdo
Applause 2
---
Mute Surdo
Open Surdo
Small Club 1
---
Mute Surdo
Mute Surdo
Mute Surdo
Mute Surdo
Mute Surdo
Mute Surdo
Open Surdo
Applause 2
Mute Surdo
Open Surdo
Applause *
---
86
Open Surdo
Open Surdo
Open Surdo
Open Surdo
Open Surdo
88
89
Small Club 1
Small Club 1 *
Small Club 1 *
Small Club 1 *
Small Club 1 *
---
---
---
---
---
---
---
---
---
---
---
---
---
---
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---
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---
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---
---
---
---
---
---
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---
---
---
---
---
---
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
---
91
93
---
---
---
---
---
---
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---
---
---
---
---
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95
---
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C7 96
244
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VA-76 – Drum Sets
Tone Map 3
PC: 41 [CC32: 3]
BRUSH
PC: 49 [CC32: 3]
ORCHESTRA
PC: 50 [CC32: 3]
ETHNIC
PC: 51 [CC32: 3]
KICK & SNARE
PC: 53 [CC32: 3]
ASIA
PC: 54 [CC32: 3]
Cymbal & Claps
PC: 57 [CC32: 3]
SFX
PC: 58 [CC32: 3]
Rhythm FX
PC: 59 [CC32: 3]
Rhythm FX 2
PC: 128 [CC32: 3]
CM-64/32L
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
[#2] Standard 1 Kick 1
[#2] Standard 1 Kick 2
[#2] Standard 2 Kick 1
[#2] Standard 2 Kick 2
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Voice One
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
---
---
---
1
3
---
---
---
---
---
---
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
---
---
---
7
9
8
---
---
---
---
---
---
---
---
---
---
---
---
---
---
10
---
---
---
---
---
---
---
11
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C0 12
---
---
---
---
---
---
---
13
15
---
---
---
---
---
---
---
14
---
---
---
---
---
---
---
16
17
---
---
---
---
---
---
---
---
---
---
---
---
---
---
Voice Two
Voice Two
---
---
---
---
---
---
---
18
20
22
Voice Three
Voice Three
---
---
---
---
---
---
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
MC-500 Beep 1
MC-500 Beep 2
Concert SD
MC-500 Beep 1
MC-500 Beep 2
Concert SD
---
---
---
---
MC-500 Beep 2
Guitar Slide
Guitar Wah
Guitar Slap
Chord Stroke Down
Chord Stroke Up
Biwa *
---
---
23
---
---
---
---
---
---
---
---
---
---
---
---
C1 24
Snare Roll
Snare Roll
Finger Snap
Tambourine
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick 1
TR-707 Kick
TR-808 Kick
Hi-Hop Kick 2
TR-909 Kick 1 *
Hi-Hop Kick 3
Hi-Hop Kick 1
Jungle Kick 2
Jungle Kick 1
Techno Kick 2
Techno Kick 1
Standard 1 Kick 2
Standard 1 Kick 1
Gamelan Gong C#
Gamelan Gong D#
Gamelan Gong G
Gamelan Gong A#
Gamelan Gong c
Gamelan Gong c#
Gamelan Gong d#
Gamelan Gong g
Gamelan Gong a#
Gamelan Gong C
Gender C#
Gender D#
Gender G
---
---
---
25
27
Finger Snap
Finger Snap
---
---
---
26
High Q
Closed Hi-Hat 2 [EXC1] Castanets
---
---
---
28
29
Slap
Pedal Hi-Hat [EXC1]
Open Hi-Hat 2 [EXC1]
Ride Cymbal 1
Sticks
Crash Cymbal 1
---
---
---
Scratch Push
Snare Roll
---
Phonograph Noise
Tape Rewind
Scratch Push 2 [EXC1]
Scratch Pull 2 [EXC1]
---
---
Scratch Pull
Concert SD
Concert Cymbal
Concert BD 1
Jingle Bell
---
---
---
30
32
34
Sticks
---
---
---
31
33
Square Click
Square Click
Metronome Click
Metronome Bell
Jazz Kick 1
Reverse Open Hi-Hat
---
---
Metronome Click
Metronome Bell
Jazz Kick 2
Reverse Closed Hi-Hat 1 Cutting Noise 2 Up
Reverse Closed Hi-Hat 2 Cutting Noise 2 Down
---
---
Bell Tree
---
---
35
Bar Chimes
Wadaiko *
Wadaiko Rim *
Shime Taiko
Atarigane
Jungle Hi-Hat [EXC1]
Distortion GuitarCutting ---
---
Kick 1
Kick 1
Side Stick
Fat Snare
Hand Clap
Elec. Snare
Jazz Kick 1
Concert BD 1
Side Stick
[#1] Closed HiHat[EXC1] Distortion GuitarCutting Reverse Kick 1
Reverse TR-707 Kick 1
Reverse TR-909 Kick 1
Reverse Hi-Hop Kick 1
Reverse Jungle Kick 2
Reverse Techno Kick 2
C2 36
Side Stick
[#2] Clsd Hi-Hat 2 [EXC1] Bass Slide
[#2] Clsd HiHat 3[EXC1] Pick Scrape
Closed Hi-Hat 4 [EXC1] High Q
Reverse Concert Bass
37
39
Brush Snare 1
Brush Slap
Concert SD
Gender A#
Gender c
Reverse Power Kick 1
Reverse Electric Kick 1
Reverse Snare 1
38
Castanets
40
41
Brush Snare 2
Brush Low Tom 2 *
Concert SD
Hyoushigi
[#2] Standard 1 Kick 1 Bonang C#
[#2] Standard 1 Kick 2 Bonang D#
[#2] Standard 2 Kick 1 Bonang G
[#2] Standard 2 Kick 2 Bonang A#
Closed Hi-Hat [EXC1]
Slap
Timpani F
Ohkawa
TR-707 Clsd HiHat[EXC1] Scratch Push [EXC7]
TR-606 Clsd HiHat[EXC1] Scratch Pull [EXC7]
[#2] TR-808 Closed[EXC1] Sticks
Reverse Snare 2
Reverse TR-606 Snare 2 Tom
Brush Closed Hi-Hat[EXC1] Timpani F#
High Kotsuzumi
Low Kotsuzumi
Ban Gu
Reverse Standard 1
Reverse Snare Drum 2
Reverse Tight Snare
Reverse 808 Snare
Reverse Tom 1
Reverse CR-78 Snare 1
Reverse CR-78 Snare 2
Close HiHat
Tom
42
44
46
Brush Low Tom 1 *
Pedal Hi-Hat [EXC1]
Brush Mid Tom 2 *
Timpani G
Timpani G#
Timpani A
43
45
[#1] Kick Drum 1
[#1] Kick Drum 2
[#2] Soft Kick
Bonang c
TR-808 Clsd HiHat[EXC1] Square Click
CR-78 ClsdHiHat 3[EXC1] Metronome Click
[#1] Pedal Hi-Hat [EXC1] Metronome Bell
[#2] Pedal Hi-Hat [EXC1] Guitar Fret Noise
Reverse Jungle Snare 2 Open HiHat2
Reverse Techno Snare 2 Tom
Big Gong
Thai Gong
Rama Cymbal
Sagat Open
Sagat Closed
Jaws Harp
Brush Open Hi-Hat[EXC1] Timpani A#
Small Gong
Bend Gong
Thai Gong
Rama Cymbal
Gamelan Gong
Udo Short [EXC1]
Udo Long [EXC1]
Udo Slap
Reverse TR-707 Snare
Open Hi Hat
47
Brush Mid Tom 1 *
Brush High Tom 2 *
Brush Crash Cymbal
Brush High Tom 1 *
Ride Cymbal Inner
Chinese Cymbal
Brush Ride Bell
Tambourine
Splash Cymbal
Cowbell
Timpani B
Timpani c
Timpani c#
Timpani d
Timpani d#
Timpani e
Timpani f
[#2] Jazz Kick 1
[#2] Jazz Kick 2
[#1] Concert BD 1
[#2] Room Kick 1
[#2] Room Kick 2
[#2] Power Kick 1
[#2] Power Kick 2
[#2] Electric Kick 2
[#2] Electric Kick 1 *
[#1] Electric Kick
[#2] TR-808 Kick
[#2] TR-909 Kick
[#2] Dance Kick
Reverse Tom 2
Reverse TR-606 Snare 1 Tom
Reverse TR-909 Snare 1 Tom
Reverse Hi-Hop Snare 2 GS Crash
Reverse Jungle Snare 1 Tom
Pedal Hi-Hat [EXC1]
Guitar Cutting Noise Up Reverse Sticks
C3 48
Half-Open HiHat 1[EXC1] Guitar Cutting Noise
Half-Open HiHat 2[EXC1] String Slap of Double
[#1] Open HiHat [EXC1] Flute Key Click Noise
[#2] Open HiHat 2[EXC1] Laughing
[#2] Open HiHat 3[EXC1] Screaming
Reverse Slap
Reverse Cymbal 1
Reverse Cymbal 2
Reverse Open Hi-Hat
Reverse Ride Cymbal
Reverse CR-78 Open
Reverse Closed Hi-Hat
Reverse Gong
Reverse Bell Tree
Reverse Guiro
Reverse Bendir
Reverse Gun Shot
Reverse Scratch
Reverse Laser Gun
Key Click
49
51
Wadaiko *
Wadaiko Rim *
Taiko
50
Reverse House Snare
Reverse Closed Hi-Hat
Reverse TR-606 Closed
Reverse TR-707 Closed
Reverse TR-808 Closed
Reverse Jungle Hi-Hat
Reverse Tambourine 2
Reverse Shake
Reverse TR-808 Open
Reverse TR-707 Open
Reverse Open Hi-Hat
Reverse TR-606 Open
Reverse Hu Yin Luo
Reverse TR-707 Crash
Voice One
Ride Cymbal
52
53
---
Shimedaiko
Atarigane
---
Tambourine
Splash Cymbal
Cowbell
Bendir
Open Hi-Hat [EXC1]
Punch
Tambourine
---
54
56
58
Req Dum
Hyoushigi
TR-909 OpHiHat[EXC1] Heart Beat
TR-707 OpHiHat [EXC1] Footsteps 1
TR-606OpHiHat [EXC1] Footsteps 2
[#2] TR-808OpHiHat[EXC1] Applause
TR-808 Open HiHat[EXC1] Door Creaking
CR-78 Open HiHat[EXC1] Door
55
57
Req Tik
Ohkawa
Cowbell
---
Crash Cymbal 2
Vibra-slap
Concert Cymbal 2
Vibra-slap
Concert Cymbal 1
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Tabla Te
High Kotsuzumi
Low Kotsuzumi
Yyoo Dude
Tabla Na
---
59
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Tabla Tun
---
Tabla Ge
[#2] Standard 1 Snare 1 Buk
High Bongo
Low Bongo
Mute Conga
Conga
C4 60
Tabla Ge Hi
Talking Drum *
[#2] Standard 1 Snare 2 Buk Rim
[#2] Standard 2 Snare 1 Gengari p
Crash Cymbal 1 [EXC3] Scratch
Crash Cymbal 2 [EXC4] Wind Chimes
61
63
62
Bend Talking Drum * [#2] Standard 2 Snare 2 Gengari Mute Low
Crash Cymbal 3
Car Engine
Car Stop
Car Passing
Car Crash
Siren
64
65
Caxixi
[#1] Snare Drum 2
[#1] Concert Snare
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#1] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
Gengari f
Brush Crash Cymbal
Hard Crash Cymbal
TR-909 Crash Cymbal
TR-808 Crash Cymbal
Tekno Thip
Pop Drop
*
Conga
Djembe
Gengari Mute High
Gengari Samll
Jang-Gu Che
Jang-Gu Kun
Jang-Gu Rim
Jing p
Timbales
Timbales
Agogo
Djembe Rim
Woody Slap
Distortion Kick *
Syn. Drops
Reverse Hi Q
Pipe
Reverse Voice One
Voice Two
66
68
70
Timbales Low
Timbales Paila
Timbales High
Cowbell
67
69
MuteCrashCymbal1[EXC3] Train
Reverse Voice Two
Voice Thre
Agogo
MuteCrashCymbal2[EXC4] Jetplane
Reverse Crash Cymbal 1 Helicopter
Reverse Crash Cymbal 2 Starship
Reverse Crash Cymbal 3 Gun Shot
Cabasa
Maracas
Maracas
Reverse Voice Three
Voice Tah
Maracas
ShrtWhistle
LongWhistle
Vibraslap
---
71
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
High Bongo
Jing f *
Ice Block
Low Bongo
Jing Mute
Digital Tambourine *
Alias
Reverse Voice Tah
Voice Ou
C5 72
Mute High Conga
Open High Conga
Mute Low Conga
Conga Slap
Asian Gong 1
Big Gong
Reverse TR-909 Crash
[#1] Splash Cymbal
Splash Cymbal
Machine Gun
Laser Gun
Explosion
Dog
73
75
Modulated Bell
Spark
Voice Au
74
Small Gong
Pai Ban
Voice Whey
Claves
76
77
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
[#2] Electric Snare 2
[#2] House Snare *
[#1] Electric Snare 1
[#2] Electric Snare 3 *
[#2] TR-808 Snare 1
[#2] TR-808 Snare 2 *
[#2] TR-909 Snare 1
[#2] TR-909 Snare 2 *
[#2] Brush Tap 1
[#2] Ride Bell
Metallic Percussion
Velocity Noise FX
Stereo Noise Clap *
Swish
Frog Vpoce *
Reverse Yyoo Dude
Douby
Laughing
Screaming
Punch
Open Low Conga
Conga Slide *
Mute Pandiero
Open Pandiero
Open Surdo [EXC2]
Mute Surdo [EXC2]
Tamborim
Ban Gu
[#2] Brush Ride Bell
[#2] Ride Cymbal 1
[#2] Ride Cymbal 2
Horse-Gallop
Birds
Tang Gu
78
80
82
Tang Gu Mute
Shou Luo *
Bend Gong
HuYin Luo Low *
HuYin Luo Mid
Rain
Reverse Douby
Baert High
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
79
81
[#2] Brush Ride Cymbal Thunder
Ride Cymbal Low Inner Wind
Ride Cymbal Mid Inner Seashore
Ride Cymbal High Inner Stream
Slappy *
Voice Ou
Baert Low
Voice Au
Bounce
83
Jingle Bell
Jingle Bell
Bell Tree
Hoo
Reverse Bounce
Distortion Knock
Guitar Slide
Bell Tree
High Agogo
HuYin LuoMid Mute[EXC5] Ride Cymbal Low Edge Bubble
HuYin LuoHigh Ride Cymbal Mid Edge Kitty
HuYin LuoHighMute[EXC6] Ride Cymbal High Edge Bird 2
Tape Stop 1 *
Tape Stop 2 *
Missile *
C6 84
Castanets
Castanets
Low Agogo
[#2] Brush Tap 2
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
85
87
Mute Surdo
Open Surdo
Applause *
---
Mute Surdo
Open Surdo
Applause *
---
Shaker
[#2] Brush Slap 1
[#2] Brush Slap 2
[#2] Brush Slap 3
[#2] Brush Swirl 1
[#2] Brush Swirl 2
Sub Marine
86
High Whistle [EXC3]
Long Whistle [EXC3]
Mute Cuica [EXC4]
Open Cuica [EXC4]
Nao Bo
TR-606 Ride Cymbal
TR-808 Ride Cymbal
Chinese Cymbal 1
Chinese Cymbal 2
[#1] Hand Clap
[#2] Hand Clap 2
[#2] Hand Clap
Hand Clap
Growl
Space Birds
Flying Monster
---
Noise Attack
88
89
Xiao Bo
---
Applause 2
Telephone 1
Telephone 2
Small Club 1
Small Club 2
Applause Wave
Eruption
Space Worms
Emergency ! *
Calculating... *
Saw LFO Saw
---
---
---
---
---
90
92
94
---
---
Mute Triangle [EXC5] [#2] Brush Long Swirl
Open Triangle [EXC5] Standard 1 Snare 1
---
---
91
93
---
---
---
---
Train
---
---
Short Guiro [EXC6]
Long Guiro [EXC6]
Cabasa Up
Standard 1 Snare 2
Standard Snare 3
Rap Snare
---
---
---
Jetplane
Helicopter
Starship
Gun Shot
---
---
---
---
---
95
---
---
---
Hand Clap 2
Big Shot
---
---
---
---
Cabasa Down
Hip-Hop Snare 2
---
TR-707 Hand Clap
Percussion Bang
---
---
C7 96
245
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VA-76 Owner’s Manual—Reference
PC: 41 [CC32: 3]
BRUSH
PC: 49 [CC32: 3]
ORCHESTRA
PC: 50 [CC32: 3]
ETHNIC
PC: 51 [CC32: 3]
KICK & SNARE
PC: 53 [CC32: 3]
ASIA
PC: 54 [CC32: 3]
Cymbal & Claps
PC: 57 [CC32: 3]
SFX
PC: 58 [CC32: 3]
RHYTHM FX
PC: 59 [CC32: 3]
Rhythm FX 2
PC: 128 [CC32: 3]
CM-64/32L
(---)
(---)
(Cabasa Down)
(---)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(TR-707 Hand Clap)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(Gun Shot)
(C7) (96)
97
99
---
Applause 2 *
Claves
Jungle Snare 1
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
Machine Gun
98
---
Small Club 1 *
High Wood Block
Jungle Snare 2
Lasergun
---
[#1] Timpani D#
Low Wood Block
Techno Snare 1
Explosion
100
101
[#2] Brush Tap 1
[#2] Brush Tap 2
[#2] Brush Slap 1
[#2] Brush Slap 2
[#2] Brush Slap 3
[#2] Brush Swirl 1
[#2] Brush Swirl 2
[#2] Brush Long Swirl
[#2] Jazz Snare 1
[#2] Jazz Snare 2
[#2] Standard 1 Snare1
[#2] Standard 1 Snare2
[#2] Standard 2 Snare1
[#2] Standard 2 Snare2
[#1] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard Snare 3
[#2] Room Snare 1
[#2] Room Snare 2
[#2] Power Snare 1
[#2] Power Snare 2
[#2] Gated Snare
[#2] Dance Snare 1
[#2] Dance Snare 2
[#2] Disco Snare
[#2] Electric Snare 2
[#2] Electric Snare 3 *
[#1] Timpani E
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
Techno Snare 2
Dog
[#1] Timpani F
House Snare 2
HorseGallop
102
104
106
[#1] Timpani F#
CR-78 Snare 1
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
---
[#1] Timpani G
CR-78 Snare 2
103
105
[#1] Timpani G#
TR-606 Snare 1
[#1] Timpani A
TR-606 Snare 2
[#1] Timpani A#
TR-707 Snare 1
107
[#1] Timpani B
TR-707 Snare 2
[#1] Timpani c
Standard 3 Snare 2
C8 108
109
111
[#1] Timpani c#
TR-808 Snare 2
110
[#1] Timpani d
TR-909 Snare 1
---
[#1] Timpani d#
TR-909 Snare 2
---
112
113
[#1] Timpani e
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
[#1] Timpani f
---
114
116
118
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
115
117
---
---
---
119
---
---
C9 120
121
123
---
122
---
---
124
125
---
---
126
---
---
127
G9
246
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VA-76 – Drum Sets
Tone Map 2
PC: 1 [CC32: 2]
Standard 1
PC: 2 [CC32: 2]
Standard 2
PC: 9 [CC32: 2]
Room
PC: 17 [CC32: 2]
Power
PC: 25 [CC32: 2]
Electronic
PC: 26 [CC32: 2]
TR-808/909
PC: 27 [CC32: 2]
Dance
PC: 33 [CC32: 2]
Jazz
PC: 41 [CC32: 2]
Brush
PC: 49 [CC32: 2]
Orchestra
---
---
---
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
---
---
---
---
---
---
1
3
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
---
---
---
---
---
---
7
9
8
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
10
---
---
---
---
---
---
---
---
---
---
11
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C0 12
---
---
---
---
---
---
---
---
---
---
13
15
---
---
---
---
---
---
---
---
---
---
14
---
---
---
---
---
---
---
---
---
---
16
17
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
18
20
22
---
---
---
---
---
---
---
---
---
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
23
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C1 24
Snare Roll
Finger Snap
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
High Q
Snare Roll
Finger Snap 2
Closed Hi-hat2 [EXC1]
Pedal Hi-hat [EXC1]
Open Hi-hat2 [EXC1]
Ride Cymbal1
Sticks
25
27
26
28
29
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Slap
Scratch Push [EXC7]
Scratch Pull [EXC7]
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push2 [EXC7]
Scratch Pull2 [EXC7]
Sticks
Scratch Push2 [EXC7]
Scratch Pull2 [EXC7]
Sticks
Scratch Push2 [EXC7]
Scratch Pull2 [EXC7]
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
30
32
34
31
33
Square Click
Metronome Click
Metronome Bell
Standard 1 Kick 2
Standard 1 Kick 1
Side Stick
Standard 1 Snare 1
Hand Clap
Standard 1 Snare 2
Low Tom2 *
Closed Hi-hat1 [EXC1]
Low Tom1 *
Pedal Hi-hat [EXC1]
Mid Tom2 *
Open Hi-hat1 [EXC1]
Mid Tom1 *
High Tom2 *
Crash Cymbal1
High Tom1 *
Ride Cymbal1
Chinese Cymbal
Ride Bell
Square Click
Metronome Click
Metronome Bell
Standard 2 Kick 2
Standard 2 Kick 1
Side Stick
Standard 2 Snare 1
Hand Clap
Standard 2 Snare 2
Low Tom2
Square Click
Metronome Click
Metronome Bell
Room Kick 2
Room Kick 1
Side Stick
Room Snare 1
Hand Clap
Room Snare 2
Room Low Tom2 *
Square Click
Metronome Click
Metronome Bell
Power Kick 2
Power Kick 1
Side Stick
Power Snare 1
Hand Clap
Power Snare 2
Power Low Tom2 *
Square Click
Metronome Click
Metronome Bell
Electric Kick 2
Electric Kick 1
Side Stick
Electric Snare 1
Hand Clap
Electric Snare 2
Electric Low Tom2 *
Square Click
Metronome Click
Metronome Bell
909 Bass Drum
808 Bass Drum
808 Rim Shot
808 Snare 1
Hand Clap
909 Snare 1
Square Click
Metronome Click
Metronome Bell
Dance Kick
Electric Kick 2
Side Stick
Dance Snare 1
Hand Clap
Dance Snare 2
Electric Low Tom2 *
CR-78 CHH [EXC1]
Electric Low Tom1 *
808 CHH [EXC1]
Electric Mid Tom2 *
CR-78 OHH [EXC1]
Electric Mid Tom1 *
Electric High Tom2 *
Crash Cymbal1
Electric High Tom1 *
Ride Cymbal 1
Reverse Cymbal
Ride Bell
Square Click
Metronome Click
Metronome Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Jazz Snare 1
Hand Clap2
Jazz Snare 2
Low Tom2
Closed Hi-hat2 [EXC1]
Low Tom1
Pedal Hi-Hat
Mid Tom2
Open Hi-hat2 [EXC1]
Mid Tom 1
High Tom 2
Crash Cymbal1
High Tom 1
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Square Click
Metronome Click
Metronome Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Tap1
Brush Slap1
Brush Swirl1
Brush Low Tom2 *
Brush Closed Hi-hat
Brush Low Tom1 *
Pedal Hi-Hat
Brush Mid Tom2 *
Square Click
Metronome Click
Metronome Bell
Jazz Kick 1
Concert BD1
Side Stick
Concert SD
Castanets
Concert SD
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
35
C2 36
37
39
38
40
41
808 Low Tom2
*
Closed Hi-hat2 [EXC1] Closed Hi-hat3 [EXC1] Closed Hi-hat3 [EXC1] Closed Hi-hat2 [EXC1]
808 CHH [EXC1]
42
44
46
Low Tom1
Room Low Tom1 *
Pedal Hi-Hat
Power Low Tom1 *
Pedal Hi-Hat
Electric Low Tom1 *
Pedal Hi-Hat
Electric Mid Tom2 *
Open Hi-hat2 [EXC1]
Electric Mid Tom1 *
Electric Hi Tom2 *
Crash Cymbal1
Electric Hi Tom1 *
Ride Cymbal 1
Reverse Cymbal
Ride Bell
808 Low Tom1
*
43
45
Pedal Hi-Hat
Mid Tom2
808 CHH [EXC1]
Room Mid Tom2 *
Power Mid Tom2 *
808 Mid Tom2
*
Open Hi-hat2 [EXC1]
Mid Tom 1
Open Hi-hat3 [EXC1] Open Hi-hat3 [EXC1]
808 OHH [EXC1]
Brush Open HiHat[EXC1] Timpani A#
47
Room Mid Tom1 *
Room Hi Tom2 *
Crash Cymbal1
Room Hi Tom1 *
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Power Mid Tom1 *
Power Hi Tom2 *
Crash Cymbal1
Power Hi Tom1 *
Ride Cymbal 1
Chinese Cymbal
Ride Bell
808 Mid Tom1
808 High Tom2
808 Cymbal
*
Brush Mid Tom1 *
Brush Hi Tom2 *
Brush Crash Cymbal
Brush Hi Tom1 *
Brush Ride Cymbal
Chinese Cymbal
Brush Ride Bell
Tambourine
Splash Cymbal
Cowbell
Timpani B
Timpani c
Timpani c#
Timpani d
Timpani d#
Timpani e
Timpani f
High Tom 2
*
C3 48
Crash Cymbal1
High Tom 1
49
51
808 Hi Tom1
Ride Cymbal 1
50
Ride Cymbal 1
Chinese Cymbal
Ride Bell
52
53
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
808 Cowbell
Crash Cymbal 2
Vibra-slap
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
54
56
58
55
57
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Crash Cymbal 2
Vibra-slap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Crash Cymbal 2
Vibra-slap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Crash Cymbal 2
Vibra-slap
Concert Cymbal2
Vibra-slap
Concert Cymbal1
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
59
Ride Cymbal 2
High Bongo
Low Bongo
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Ride Cymbal 2
High Bongo
Low Bongo
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
C4 60
61
63
Mute High Conga
Open High Conga
Open Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
62
64
65
66
68
70
67
69
Cabasa
Cabasa
Maracas
Maracas
Maracas
Maracas
Maracas
808 Maracas
Maracas
Maracas
Maracas
Maracas
71
Short Hi Whistle [EXC2]
Short High Whistle
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
808 Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Long Low Whistle [EXC2] Long Low Whistle
C5 72
Short Guiro [EXC3]
Short Guiro
Long Guiro
Claves
73
75
Long Guiro [EXC3]
74
Claves
76
77
High Wood Block
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
High Hoo [EXC4]
Low Hoo [EXC4]
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Low Wood Block
Mute Cuica [EXC4]
78
80
82
Open Cuica [EXC4]
79
81
Mute Triangle [EXC5]
ElectricMteTriangle[EXC5] Mute Triangle
ElectricOpnTriangle[EXC5] Open Triangle
Open Triangle [EXC5]
Shaker
Shaker
Shaker
83
Jingle Bell
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Jingle Bell
Bell Tree
Jingle Bell
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Jingle Bell
Jingle Bell
Jingle Bell
Bell Tree
Bell Tree
Bell Tree
Bar Chimes
Bell Tree
Bell Tree
C6 84
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
Castanets
85
87
Mute Surdo [EXC6]
Mute Surdo
Open Surdo
---
Mute Surdo
Open Surdo
---
Mute Surdo
Open Surdo
---
Mute Surdo
Mute Surdo
Mute Surdo
Open Surdo
---
Mute Surdo
Open Surdo
Applause *
---
86
Open Surdo [EXC6]
Open Surdo
Open Surdo
88
89
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
---
---
---
91
93
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
95
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C7 96
247
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VA-76 Owner’s Manual—Reference
Tone Map 2
PC: 50 [CC32: 2]
Ethnic
PC: 51 [CC32: 2]
Kick & Snare
PC: 52 [CC32: 2]
E-40 Modified
PC: 57 [CC32: 2]
SFX
PC: 58 [CC32: 2]
Rhythm FX
PC: 128 [CC32: 2]
CM-64/32L
1
PC: 1 [CC32: 1]
Standard
PC: 9 [CC32: 1]
Room
PC: 17 [CC32: 1]
Power
PC: 25 [CC32: 1]
Electronic
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
---
---
---
---
---
1
3
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
---
---
---
---
---
7
9
8
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
10
---
---
---
---
---
---
---
---
---
11
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C0 12
---
---
---
---
---
---
---
---
---
13
15
---
---
---
---
---
---
---
---
---
14
---
---
---
---
---
---
---
---
---
16
17
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
18
20
22
---
---
---
---
---
---
---
---
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
23
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C1 24
Finger Snap
Tambourine
Castanets
Crash Cymbal1
Snare Roll
Concert Snare Drum
Concert Cymbal
Concert BD1
Jingle Bell
Bell Tree
---
---
---
---
---
---
---
---
25
27
---
---
---
---
---
---
---
---
26
---
---
---
---
High Q
High Q
High Q
High Q
28
29
---
---
---
---
Slap
Slap
Slap
Slap
---
---
---
---
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
---
---
---
---
30
32
34
---
---
Scratch Push2 [EXC1]
Scratch Pull2 [EXC1]
Cutting Noise 2 Up
---
31
33
---
---
---
Square Click
Metronome Click
Metronome Bell
Kick Drum2 / Jazz DB2
Kick Drum1 / Jazz DB1
Side Stick
Snare Drum1
Hand Clap
Snare Drum2
Low Tom2
Closed Hi-hat1 [EXC1]
Low Tom1
Pedal Hi-hat [EXC1]
Mid Tom2
Open Hi-hat1 [EXC1]
Mid Tom1
High Tom2
Crash Cymbal1
High Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Square Click
Metronome Click
Metronome Bell
Kick Drum2 / Jazz DB2
Kick Drum1 / Jazz DB1
Side Stick
Snare Drum1
Hand Clap
Snare Drum2
Room Low Tom2
Closed Hi-hat1
Room Low Tom1
Pedal Hi-hat
Room Mid Tom2
Open Hi-hat1
Room Mid Tom1
Room Hi Tom2
Crash Cymbal1
Room Hi Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Square Click
Metronome Click
Metronome Bell
Kick Drum2 / Jazz DB2
MONDO Kick
Side Stick
Gated SD
Hand Clap
Snare Drum2
Room Low Tom2
Closed Hi-hat1
Room Low Tom1
Pedal Hi-hat
Room Mid Tom2
Open Hi-hat1
Room Mid Tom1
Room Hi Tom2
Crash Cymbal1
Room Hi Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Square Click
Metronome Click
Metronome Bell
Kick Drum2 / Jazz DB2
Elec BD
---
---
---
---
---
Cutting Noise 2 Down ---
---
35
Bar Chimes
Wadaiko *
Wadaiko Rim *
Shime Taiko
Atarigane
Hyoushigi
Ohkawa
---
TR-707 BD
TR-707 BD
TR-707 Rim
TR-707 SD
Hand Clap 22
TR-707 SD
Tom
DistortionGuitarCutting ---
Kick 1
Kick 1
Side Stick
Fat Snare
Hand Clap
Elec. Snare
Tom
---
DistortionGuitarCutting Reverse Kick 1
C2 36
---
Bass Slide
Reverse Concert BD1
Side Stick
Elec SD
37
39
---
Pick Scrape
Reverse Power Kick 1
Reverse Electric Kick 1
Reverse Snare 1
38
---
High Q
Hand Clap
Gated SD
Elec Low Tom2
Closed Hi-hat1
Elec Low Tom1
Pedal Hi-hat
Elec Mid Tom2
Open Hi-hat1
Elec Mid Tom1
Elec Hi Tom2
Crash Cymbal1
Elec Hi Tom1
Ride Cymbal1
Reverse Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
40
41
Standard 1 Kick 1
Standard 1 Kick 2
Standard 2 Kick 1
Standard 2 Kick 2
Kick 1
Slap
Scratch Push [EXC7]
Scratch Pull [EXC7]
Sticks
Reverse Snare 2
High Kotsuzumi
Low Kotsuzumi
Ban Gu
TR-707 HH-c
Tom
Reverse Standard set1
Reverse Tight Snare
Reverse Dance Snare
Reverse 808 Snare
Reverse Tom1
Close HiHat
Tom
42
44
46
43
45
TR-707 HH-c
Tom
Square Click
Metronome Click
Metronome Bell
Guitar Fret Noise
Open HiHat2
Tom
Big Gong
Small Gong
Bend Gong
Thai Gong
Rama Cymbal
Gamelan Gong
Udo Short [EXC1]
Udo Long [EXC1]
Udo Slap
Kick 2
Soft Kick
Jazz Kick 1
Jazz Kick 2
Concert BD
Room Kick 1
Room Kick 2
Power Kick 1
Power Kick 2
Electric Kick 2
Electric Kick 1 *
Electric Kick
808 Bass Drum
909 Bass Drum
Dance Kick
Standard 1 Snare 1
Standard 1 Snare 2
Standard 2 Snare 1
Standard 2 Snare 2
Tight Snare
Concert Snare
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Power Snare 1
Power Snare 2
Gated Snare
Dance Snare 1
Dance Snare 2
Disco Snare
Electric Snare2
House Snare *
Electric Snare 1
Electric Snare 3 *
808 Snare 1
808 Snare 2 *
909 Snare 1
909 Snare 2 *
Brush Tap1
Brush Tap2
Brush Slap1
Brush Slap2
Brush Slap3
Brush Swirl1
Brush Swirl2
Brush Long Swirl
---
TR-707 HH-o
Tom
Open Hi Hat
Tom
47
Reverse Tom2
Tom
Guitar Cutting NoiseUp Reverse Sticks
Tom
C3 48
TR-707 Crash
Tom
Guitar Cutting Noise
String Slap of Double
Fl. Key Click
Laughing
Scream
Reverse Slap
Reverse Cymbal1
Reverse Cymbal2
Reverse Open Hi-hat
Reverse Ride Cymbal
Reverse CR-78 OHH
Reverse Closed Hi-hat
Reverse Gong
Reverse Bell Tree
Reverse Guiro
Reverse Bendir
Reverse Gun Shot
Reverse Scratch
Reverse Laser
Key Click
GS Crash
Tom
49
51
50
Ride Cymbal
Dholla2 Dom2
Dholla 2 Sak
Tambourine
Dholla2 Rim1
Cowbell
Dholla2 RimC
Cabasa
Ride Cymbal
---
52
53
---
Bendir
Punch
Tambourine
---
54
56
58
Req Dum
Heart Beat
Footsteps1
Footsteps2
Applause *
Door Creaking
Door
55
57
Req Tik
Cowbell
---
Tabla Te
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Tabla Na
---
59
Tabla Tun
Tabla Ge
Doff 2 Dom 2
Doff2 Sak 1B
Low Bongo
Doff 2 Sak 2
High Bongo
Doff 2 Rim 3
Tabla1 Dom 2
Tabla Roll
Tabla 2 Sak
Tabla Fx
Tabla2 Tak1D
Tabla 2 Tik
Tabla2 Rim 2
Rek 2 Dom 1B
Rek 2 Rim 2
Rek Dom 1
Rek 2 Tak 1
Rek 2 Tak 2C
Rek 2 Sak 1
Hager 2
Rek2Khan Cl2
Zir 2
---
High Bongo
Low Bongo
Mute Conga
Conga
Conga
Timbales
Timbales
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Vibraslap
---
C4 60
Tabla Ge Hi
Talking Drum *
Bend Talking Drum *
Caxixi
Scratch
61
63
Wind Chimes *
Car-Engine
Car-Stop
Car-Pass
Car-Crash *
Siren
62
64
65
Tekno Thip
Pop Drop
Djembe
Djembe Rim
Timbales Low
Timbales Paila
Timbales High
Cowbell
Woody Slap
Distortion Kick *
Syn. Drop
66
68
70
67
69
Train
Jetplane *
Helicopter
Starship *
Gun Shot
Machine Gun
Lasergun
Explosion *
Dog
Reverse High Q
Pipe
Maracas
Maracas
Maracas
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
Maracas
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
71
Hi Bongo
Low Bongo
Mute Hi Conga
Open Hi Conga
Mute Low Conga
Conga Slap
Open Low Conga
Conga Slide *
Mute Pandiero
Open Pandiero
Open Surdo [EXC2]
Mute Surdo [EXC2]
Tamborim
High Agogo
Low Agogo
Shaker
Ice Block
Short Hi Whistle [EXC2] Short Hi Whistle
Long Low Whistle [EXC2] Long Low Whistle
Digital Tambourine *
Alias
C5 72
Short Guiro
Short Guiro
Long Guiro
Claves
73
75
Modulated Bell
Spark
Long Guiro
74
Claves
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
Claves
76
77
Metalic Percussion
Velocity Noise FX
Stereo Noise Clap *
Swish
High Wood Block
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Horse-Gallop
Birds *
Low Wood Block
Mute Cuica [EXC4]
78
80
82
Rain
Open Cuica [EXC4]
79
81
Thunder
Wind
Slappy *
Mute Triangle [EXC5]
Rek2Khan Op2
Rek 2 Roll
Rek 2 Sak 1
Sagat Mid
Sagat Hi
Sagat Sak
Jingle Bell L
ZaghroutaSm3
ZaghroutaEd3
TablaNurDom3
Nakrazhan 1
TablaNurRim2
Nakrazhan 2
TablaNurTak3
TR-707 BD
Hand Clap 1
Voice Ou
Open Triangle [EXC5]
Seashore
Stream *
Bubble *
Kitty
Voice Au
Shaker
83
Hoo
Jingle Bell
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Tape Stop1 *
Tape Stop2 *
Missile *
Bell Tree
C6 84
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Castanets
85
87
Bird2
Mute Surdo [EXC6]
86
High Whistle [EXC3]
Low Whistle [EXC3]
Mute Cuica [EXC4]
Open Cuica [EXC4]
Mute Triangle [EXC5]
Open Triangle [EXC5]
Short Guiro [EXC6]
Long Guiro [EXC6]
Cabasa Up
Cabasa Down
Growl
Space Bird
Flying Monster
---
Open Surdo [EXC6]
88
89
Applause2 *
Telephone1
Telephone2
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
90
92
94
---
---
---
---
91
93
---
---
Train
---
---
---
---
---
---
Jetplane
Helicopter
Starship
Gun Shot
---
---
---
---
---
---
---
---
---
95
---
---
---
---
---
---
---
---
---
---
---
---
C7 96
248
Download from Www.Somanuals.com. All Manuals Search And Download.
VA-76 – Drum Sets
PC: 50 [CC32: 2]
Ethnic
PC: 51 [CC32: 2]
Kick & Snare
PC: 52 [CC32: 2]
E-40 Modified
PC: 57 [CC32: 2]
SFX
PC: 58 [CC32: 2]
Rhythm FX
PC: 128 [CC32: 2]
CM-64/32L
PC: 1 [CC32: 1]
Standard
PC: 9 [CC32: 1]
Room
PC: 17 [CC32: 1]
Power
PC: 25 [CC32: 1]
Electronic
(Cabasa Down)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(Gun Shot)
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
--
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(C7) (96)
97
99
Claves
Machine Gun
98
High Wood Block
Lasergun
Low Wood Block
Explosion
100
101
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
Dog
HorseGallop
102
104
106
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
---
103
105
107
C8 108
109
111
110
---
---
112
113
---
---
114
116
118
---
---
115
117
---
---
---
119
---
---
C9 120
121
123
---
122
---
---
124
125
---
---
126
---
---
127
G9
PC: 26 [CC32: 1]
TR-808
PC: 33 [CC32: 1]
Jazz
PC: 41 [CC32: 1]
Brush
PC: 49 [CC32: 1]
Orchestra
PC: 57 [CC32: 1]
SFX
PC: 128 [CC32: 1]
CM-64/32L
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
(---)
(C7) (96)
97
99
Machine Gun
98
Lasergun
Explosion *
100
101
Dog
Horse-Gallop
102
104
106
Birds *
Rain *
103
105
Thunder
Wind
SeaShore
107
Stream *
Bubble *
---
C8 108
109
111
110
---
---
112
113
---
---
114
116
118
---
---
115
117
---
---
---
119
---
---
C9 120
121
123
---
122
---
---
124
125
---
---
126
---
---
127
G9
249
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VA-76 Owner’s Manual—Reference
Tone Map 1
PC: 26 [CC32: 1]
TR-808
PC: 33 [CC32: 1]
Jazz
PC: 41 [CC32: 1]
Brush
PC: 49 [CC32: 1]
Orchestra
PC: 57 [CC32: 1]
SFX
PC: 128 [CC32: 1]
CM-64/32L
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
---
C–1
0
2
---
---
---
---
1
3
---
---
---
---
---
---
---
---
4
5
---
---
---
---
---
---
---
---
---
---
---
---
6
---
---
---
---
7
9
8
---
---
---
---
---
---
---
---
10
---
---
---
---
11
---
---
---
---
---
---
---
---
C0 12
---
---
---
---
13
15
---
---
---
---
14
---
---
---
---
16
17
---
---
---
---
---
---
---
---
---
---
---
---
18
20
22
---
---
---
---
19
21
---
---
---
---
---
---
---
---
---
---
---
---
23
---
---
---
---
---
---
---
---
C1 24
---
---
---
---
25
27
---
---
---
---
26
High Q
High Q
High Q
Closed Hi-hat2 [EXC1] ---
---
28
29
Slap
Slap
Slap
Pedal Hi-hat [EXC1]
Open Hi-hat2 [EXC1]
Ride Cymbal1
Sticks
---
---
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
Scratch Push
Scratch Pull
Sticks
---
---
---
---
30
32
34
---
---
31
33
Square Click
Metronome Click
Metronome Bell
Kick Drum2 / Jazz DB2
808 Bass Drum
808 Rim Shot
808 Snare Drum
Hand Clap
Snare Drum2
808 Low Tom2
808 CHH [EXC1]
808 Low Tom1
808 CHH [EXC1]
808 Mid Tom2
808 OHH [EXC1]
808 Mid Tom1
808 High Tom2
808 Cymbal
808 Hi Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
808 Cowbell
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Square Click
Metronome Click
Metronome Bell
Square Click
Metronome Click
Metronome Bell
Square Click
Metronome Click
Metronome Bell
Concert BD2
Concert BD1
Side Stick
---
---
---
---
---
---
35
Kick Drum2 / Jazz DB2 Jazz BD 2
Kick Drum1 / Jazz DB1 Jazz BD 1
---
CM Kick Drum
CM Kick Drum
CM Rim Shot
CM Snare Drum
CM Hand Clap
CM Electronic Snare
CM Acoustic Low Tom
CM Closed High Hat [EXC1]
CM Acoustic Low Tom
CM Open Hi-Hat2
CM Acoustic Middle Tom
CM Open Hi-Hat1 [EXC1]
CM M. TomAcoustic
---
C2 36
Side Stick
Side Stick
---
37
39
Snare Drum1
Hand Clap
Brush Tap
Concert SD
Castanets
---
38
Brush Slap
High Q
40
41
Snare Drum2
Low Tom2
Brush Swirl
Low Tom2
Concert SD
Timpani F
Slap
Scratch Push [EXC7]
Scratch Pull [EXC7]
Sticks
Closed Hi-hat1 [EXC1]
Low Tom1
Closed Hi-hat1
Low Tom1
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani c
42
44
46
43
45
Pedal Hi-hat [EXC1]
Mid Tom2
Pedal Hi-hat
Mid Tom2
Square Click
Metronome Click
Metronome Bell
Guitar Fret Noise
Open Hi-hat1 [EXC1]
Mid Tom1
Open Hi-hat1
Mid Tom1
47
High Tom2
Tom2
Guitar cutting noise/up CM Acoustic High Tom
C3 48
Crash Cymbal1
High Tom1
Crash Cymbal1
High Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Timpani c#
Timpani d
Timpani d#
Timpani e
Guitar cutting
String slap of double
Fl. Key Click
Laughing
Scream
Punch
CM Crash Cymbal
CM Acoustic High Tom
CM Ride Cymbal
---
49
51
50
Ride Cymbal1
Chinese Cymbal
Ride Bell
52
53
Timpani f
---
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
Tambourine
Splash Cymbal
Cowbell
CM Tambourine
---
54
56
58
Heart Beat
Footsteps1
Footsteps2
Applause *
Door Creaking
Door
55
57
CM Cowbell
---
Crash Cymbal2
Vibra-slap
Crash Cymbal2
Vibra-slap
Concert Cymbal2
Vibra-slap
Concert Cymbal1
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
---
59
Ride Cymbal2
High Bongo
Low Bongo
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
---
CM High Bongo
CM Low Bongo
CM Mute High Conga
CM High Conga
CM Low Conga
CM High Timbale
CM Low Timbale
CM High Agogo
CM Low Agogo
CM Cabasa
CM Maracas
CM Short Whistle
CM Long Whistle
CM Vibrato Slap
---
C4 60
Scratch
Wind Chimes *
Car-Engine
Car-Stop
Car-Pass
Car-Crash *
Siren
61
63
Mute High Conga
Open High Conga
Low Conga
62
64
65
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
66
68
70
67
69
Train
Jetplane *
Helicopter
Starship *
Gun Shot
Machine Gun
Lasergun
Explosion *
Dog
808 Maracas
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
808 Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Maracas
Maracas
Maracas
71
Short Hi Whistle [EXC2] Short Hi Whistle
Long Low Whistle [EXC2] Long Low Whistle
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
C5 72
Short Guiro
Short Guiro
Long Guiro
Claves
73
75
Long Guiro
74
Claves
CM Claves
Laughing
76
77
High Wood Block
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Low Wood Block
Horse-Gallop
Birds *
Scream
Mute Cuica [EXC4]
Punch
78
80
82
Open Cuica [EXC4]
Rain *
Heart Beat
Footsteps1
Footsteps2
Applause *
Creaking
79
81
Mute Triangle [EXC5]
Thunder
Wind
Open Triangle [EXC5]
Shaker
Seashore
Stream *
Bubble *
---
83
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
---
Jingle Bell
Bell Tree
Bell Tree
Door
C6 84
Castanets
Castanets
Scratch
85
87
Mute Surdo [EXC6]
Mute Surdo
Open Surdo
Applause
---
Wind Chimes *
Car-Engine
Car-Stop
86
Open Surdo [EXC6]
---
88
89
---
---
---
---
---
---
---
---
---
---
---
---
---
---
Car-Pass
---
---
---
---
Car-Crash *
Siren
90
92
94
---
---
---
---
91
93
---
---
---
---
Train
---
---
---
---
Jetplane *
Helicopter
Starship *
---
---
---
---
95
---
---
---
---
---
---
---
---
Gun Shot
C7 96
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VA-76 – Internal Music Styles
18.3 Internal Music Styles
ROCK
SWING
ZIP 1 (Disk Link)
C11 Party_1
C12 Party_2
C13 Prtyjive
C14 VSchlagr
C15 Prtyplka
C16 PartyWlz
C17 Gt'oldie
C18 Old'rock
A11 LightRk1
A12 LightRk2
A13 LightRk3
A14 PowerRk1
A15 PowerRk2
A16 PowerRk3
A17 Rock
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 86
B11 SlSwing1
B12 SlSwing2
B13 MedSwng1
B14 MedSwng2
B15 ScatSwng
B16 CoolSwng
B17 Swing
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
= 55
= 85
4/4
4/4
4/4
4/4
4/4
3/4
4/4
4/4
ꢀ
ꢀ
= 128
= 110
= 90
ꢀ
= 100
= 105
= 120
= 130
= 136
= 172
= 135
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 100
= 110
= 125
= 135
= 180
= 220
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 92
ꢀ
= 136
= 180
= 97
ꢀ
ꢀ
A18 ShRock
B18 FstSwing
ꢀ
= 120
DANCE
LATIN 1
ZIP 2 (Disk Link)
C21 D'rock
A21 House 1
A22 House 2
A23 Dance 1
A24 Dance 2
A25 Techno 1
A26 Techno 2
A27 HipHop 1
A28 HipHop 2
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 134
= 136
= 135
= 130
= 140
= 140
= 90
B21 Bossa 1
B22 Bossa 2
B23 Bossa 3
B24 Bossa 4
B25 JzLatin1
B26 JzLatin2
B27 Samba 1
B28 Samba 2
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 106
= 125
= 150
= 173
= 102
= 140
= 105
= 130
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 125
= 128
= 136
= 100
= 120
= 108
= 120
= 128
C22 Latparty
C23 Foxdance
C24 Olddisco
C25 Dcountr1
C26 Dcountr2
C27 Lgrfeuer
C28 Obrkrai2
ꢀ
ꢀ
= 110
CONTEMPORARY
A31 FunkyPop
A32 Funky
A33 70s80s 1
A34 70s80s 2
A35 ElectHop
A36 WaveJazz
A37 Contemp1
A38 Contemp2
LATIN 2
ZIP 3 (Disk Link)
C31 Mazurka1
C32 Mazurka2
C33 Polka1
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
= 108
= 103
= 114
= 122
= 94
= 95
= 93
B31 Mambo 1
B32 Mambo 2
B33 Mereng 1
B34 Mereng 2
B35 Bomba
B36 Salsa
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 89
= 92
= 106
= 155
= 90
= 98
= 120
= 168
3/4
3/4
4/4
4/4
4/4
3/4
3/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 162
= 154
= 125
= 128
= 135
= 175
= 170
= 120
ꢀ
ꢀ
ꢀ
C34 Polka2
ꢀ
ꢀ
C35 ^Quadrgl
C36 Valzer1
C37 Valzer1
C38 Beguine1
ꢀ
ꢀ
ꢀ
B37 ChaCha 1
B38 ChaCha 2
ꢀ
ꢀ
= 123
ꢀ
8 BEAT
VARIETY 1
ZIP 4 (Disk Link)
C41 Tango1
C42 Tango2
C43 PsoDoble
C44 ^Tarantl
C45 Tarantel
C46 #Saltarl
C47 Surf1
A41 Pop 1A
A42 Pop 2A
A43 Pop 3A
A44 Pop 4A
A45 Pop 5A
A46 Pop 6A
A47 Pop 7A
A48 Pop 8A
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 60
= 64
= 72
= 83
= 85
= 86
= 80
= 88
B41 Gipsy 1
B42 Gipsy 2
B43 Son 1
B44 Son 2
B45 Plena
B46 LtDance
B47 LimboRck
B48 Calypso
2/4
2/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 93
= 120
= 125
= 152
= 110
= 130
= 86
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 118
= 120
= 126
= 135
= 134
= 170
= 167
= 125
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 165
C48 HullyGul
16 BEAT
VARIETY 2
B51 Reggae
B52 Island
B53 Rhumba
B54 Mariachi
B55 Beguine
B56 ArgTango
B57 Cumbia
B58 Foxtrot
ZIP 5 (Disk Link)
C51 &HardRck
C52 &HardEdg
C53 &BritRck
C54 &Rock1
A51 Pop 1B
A52 Pop 2B
A53 Pop 3B
A54 Pop 4B
A55 Pop 5B
A56 Pop 6B
A57 Pop 7B
A58 Pop 8B
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 70
= 75
= 80
= 80
= 85
= 93
= 93
= 98
4/4
4/4
4/4
3/4
4/4
4/4
4/4
4/4
ꢀ
= 96
= 105
= 97
= 112
= 105
= 120
= 98
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 90
= 97
ꢀ
ꢀ
ꢀ
ꢀ
= 120
= 128
= 140
= 100
= 113
= 127
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
C55 &Rock2
C56 &ShRock1
C57 &ShRock2
C58 &ShRock3
ꢀ
ꢀ
= 185
50's & 60's
VARIETY 3
ZIP 6 (Disk Link)
C61 &8B Pop1
C62 &8B Pop2
C63 &8B Pop3
C64 &8B Pop4
C65 &8B Pop5
C66 &8B Pop6
C67 &8B Pop7
C68 &8BPop8S
A61 Sl Rock1
A62 Sl Rock2
A63 Sl Rock3
A64 Sl Rock4
A65 PopRock
A66 Surf
6/8
6/8
6/8
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
= 84
= 96
= 90
B61 SlWaltz1
B62 SlWaltz2
B63 JzWaltz1
B64 JzWaltz2
B65 W'Waltz
B66 March 1
B67 March 2
B68 Polka
3/4
3/4
3/4
3/4
6/4
4/4
4/4
4/4
ꢀ
= 85
= 90
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 60
= 70
= 75
= 84
= 85
= 92
= 96
= 75
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 106
= 120
= 185
= 120
= 120
= 128
= 80
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 140
= 153
= 193
= 140
ꢀ
ꢀ
ꢀ
A67 Charlest
A68 Dixie
ROCK'N
ACOUSTIC 1
ZIP 7 (Disk Link)
C71 &16BPop1
C72 &BldRock
C73 &16BPop2
C74 &16BPop3
C75 &16BPop4
C76 &16BPop5
C77 &BldRckS
C78 &16BPopS
A71 Boogie 1
A72 Boogie 2
A73 Rock'N1
A74 Rock'N2
A75 Rock'N3
A76 Rock'N4
A77 Twist 1
A78 Twist 2
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 150
= 186
= 122
= 176
= 168
= 181
= 160
= 158
B71 P Slow
B72 G Slow
B73 P Pop
B74 G FstPop
B75 P Ballad
B76 G Ballad
B77 P Night
B78 P Jazz
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 64
= 65
= 70
= 90
= 55
= 130
= 60
= 150
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
ꢀ
ꢀ
= 65
= 75
= 85
= 100
= 100
= 120
= 78
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 100
STANDARDS
ACOUSTIC 2
ZIP 8 (Disk Link)
C81 &SlSwng1
C82 &SlSwng2
C83 &SlSwng3
C84 &MedSwng
C85 &Swng1
C86 &Swng2
C87 &CoolJaz
C88 &SwCombo
A81 Sh Bald1
A82 Sh Bald2
A83 Sh Bald3
A84 Blues
A85 FstBlues
A86 R&B
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 88
= 107
= 120
= 60
= 126
= 106
= 140
= 143
B81 P Latin
B82 G Bossa
B83 G Samba
B84 P Rock'N
B85 P Shuffl
B86 P Ragtim
B87 P Waltz
B88 G Waltz
4/4
4/4
4/4
4/4
4/4
4/4
3/4
3/4
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
= 100
= 100
= 100
= 150
= 150
= 170
= 90
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
ꢀ
= 56
= 60
ꢀ
ꢀ
ꢀ
ꢀ
= 100
= 110
= 130
= 150
= 160
= 184
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
ꢀ
A87 Big Band
A88 Shuffle
ꢀ
ꢀ
= 110
251
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VA-76 Owner’s Manual—Reference
18.4 Chord Intelligence
C
C#
D
E
E
E
E
E
E
E
E
E
E
E
E
F
CM7
C#M7
DM7
M7
EM7
FM7
C7
C#7
D7
7
E7
F7
Cm
C#m
Dm
m
Em
Fm
Cm7
C#m7
Dm7
m7
Em7
Fm7
CmM7
Cdim
Cm7 ( 5 )
Caug
Csus4
C7sus4
C#mM7
C#dim
C#m7 ( 5 )
C#aug
C#sus4
C#7sus4
DmM7
Ddim
Dm7 ( 5 )
Daug
Dsus4
D7sus4
mM7
dim
EmM7
Edim
Em7 ( 5 )
Eaug
Esus4
E7sus4
FmM7
Fdim
Fm7 ( 5 )
Faug
Fsus4
F7sus4
m7 ( 5 )
aug
sus4
7sus4
252
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VA-76 – Chord Intelligence
F#
G
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
F#M7
GM7
M7
AM7
M7
BM7
F#7
G7
7
A7
7
B7
F#m
Gm
m
Am
m
Bm
F#m7
Gm7
m7
Am7
m7
Bm7
F#mM7
F#dim
F#m7 ( 5 )
F#aug
F#sus4
F#7sus4
GmM7
Gdim
Gm7 ( 5 )
Gaug
Gsus4
G7sus4
mM7
dim
AmM7
Adim
Am7 ( 5 )
Aaug
Asus4
A7sus4
mM7
dim
BmM7
Bdim
Bm7 ( 5 )
Baug
Bsus4
B7sus4
m7 ( 5 )
m7 ( 5 )
aug
aug
sus4
7sus4
sus4
7sus4
253
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VA-76 Owner’s Manual—Reference
18.5 MIDI Implementation Chart
[V-Arranger Keyboard]
Date: January 2001
Version: 1.00
Model: VA-76
Function...
Transmitted
Recognized
Remarks
32 Parts
Basic
Channel
Default
Changed
1~16
1~16, Off
1~16
1~16, Off
1 VariPhrasePart
1 Audio In Part
4 Logical Parts
*3
*3
Default
Mode 3
Mode 3
Mode
Message
Altered
Mode 3, 4 (M=1)
*****
Mode 3, 4 (M=1)
*2
Note
Number
0~127
*****
*1
*1
0~127
0~127
*1
*1
True Voice
Note ON
Note OFF
O
X
O
X
Velocity
After
Touch
Key’s
Ch’s
O
O
O
O
*1
*1
Pitch Bend
O
*1
O
*1
0,32
1
5
6, 38
7
10
11
16
17
18
19
64
65
66
67
69
84
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*1
*1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Bank Select
Modulation
Portamento Time
Data Entry
Volume
*1
*1
*1
*1
*1
*1
*1
*1
Panpot
Expression
M-FX Value 1 (VariPhr. Pitch)
M-FX Value 2 (VariPhr. Time)
VariPhrase Formant
General-purpose contr.
Hold 1
Portamento
Sostenuto
Soft
Hold 2
Portamento Control
Effect 1 Depth
Effect 3 Depth
Effect 4 Depth
NRPN LSB, MSB
RPN LSB, MSB
Control
Change
*1
*1
*1
O
91
93
94
*1
*1
*1
*1
*1
O (Reverb)
O (Chorus)
O (Delay)
O
98, 99
100, 101
O
Program
Change
O
*****
*1
O
0~127
*1
Program Number 1~128
True #
System Exclusive
O
*1
*1
O
*1
*1
Song Position Pointer
Song Sel
Tune
X
X
X
X
X
X
System
Common
System
Real Time
Clock
Commands
O
O
*1
*1
O
O
*1
*1
All Sounds Off
X
X
O
X
O
X
O (120, 126, 127)
O (121)
O
O (123-125)
O
X
Reset All Controllers
Local On/Off
All Notes Off
Active Sense
Reset
Aux
Messages
*1
*1 O X is selectable
Notes
*2 Recognized as M=1 even if M≠1
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
O:Yes
X: No
254
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19. Index
Auto 104
Chain Mode 139
Lock 115
M-FX 121
Sync 204
Controller functions 186
Converter (Style) 155
Copy 184
Disk
Format 132
Link , saving 210
Link, programming 108
Link, using 60
Mode 209
Save 67
User 61, 165
Display Contrast 18
Division 165
Numerics
00 Free Panel 128
1 Ch Limit 205
1 Channel Rx 205
1st Style 63
16-track 153
Existing Styles 172
Functions 214
Microscope 184
Mode 154, 173
Style 209
User Style 184
Count-In 56, 66
PAD function 194
User Style 171
Country 109
CPT 105, 176, 182
User Style 169
Current 181
Capturing Area 72
Drum Set 143
Tone 143
Autoload 209
Autorun 196
2 Ch Limit 205
2 Channel Rx 205
2nd Drum Track 145
2nd Style 63
2nd Trk 66
3.5", see Floppy
B
B: 135, 156
Background 30, 46
Balance 27, 113
Bank Select 197
Basic Channel 204
Bass 63
Double Speed On 84
Down 129
A
DP-2
8
A. Drums 95
A.Bass 95
Drum
Morphing 63
VariPhrase 47
Inversion 102
Beat 75
On/Off 187
A/a 68
Drum Set 44
Between 148
BPM 75, 104
VariPhrase 84
Break Mute 194
Bsc 98
A: 135, 156
Abort 168
ABs&ADr On/Off 187
Absolute 205
ACC 104
Acc 95
Acc&ABs On/Off 187
Accomp 63
Note pitch 175
Select (User Stl) 174
Drumming 42
DSP, see M-FX
Dynamic (Arranger) 103
Curve 79
Customize
Preferred Tone 40
Super Tones 85
Cut&Reso 186
Cutoff 186
BWD 31, 135
E
C
Easy Routing 22
Edit 125
Cancel
On/Off 187
Options 100
Song Chain 138
User Program 129
Capital 40
Capture 71
Field 105
Capturing Free Area 71
CC00 153
CC32 153
Chain 137
Mode 139
16-track 148
Header 161
MIDI 200
Accompaniment 95
ADrum On/Off 187
Adv 98
Aftertouch 52, 189
Arranger control 97
AIFF 70
Freq 126
D
D Beam 51, 186
VariPhrase 48
Damper 55, 190, 202
Data 49
Phrase 72
Song Chain 138
User Style 174
Effect 116
16-track 144
Parameters 117
Send (16-track) 144
VariPhrase 50, 124
EFX, see M-FX
Eject Zip 62
Encode 74
End 138
Ending 26, 95
Enter 49
Env
Attack 126
All
Parts 92
Send 162
Type 148, 149, 178
DATA (button) 49
Database 109
Dec 153
Decay 126
Default 55
Time Signature 167
Alteration 106
Alternate (PanPot) 79
Always 56
Amplitude 78, 189
Announcements 57
Arpeg(gio) 187
Arr Start/Stop 187
Arranger 95
Change
16-track 152
Microscope 181
User Style 184
Channel Aftertouch 189
Character 118
Chord
Family Assign 105
Sequencer 65, 132
Chorus 116, 118, 175
16-track 144
VariPhrase 50, 124
Chrus 149
Click track 56
Clinic 34
Clones 166, 168
Coarse
Start/End 73
Upper2 88
VariPhrase 77
Combo 23
Tempo 27
Value 118
Delay 116, 119
16-track 144
Delete 68, 213
16-track 149
Last Note 134, 140
Names 68
Numeric Pad 49
Song 139
Song Chain 139
Style 111
Aftertouch 97
Button 34
Chord 102
Decay 126
Release 126
Envelope 126
Equal (16-track) 148
Equalizer 119
Erase 178
16-track 142, 148
Record 166
Event Sense 75
Exchange 154
Execute 68
Exit 49
Expre 149
Expression 51, 175, 192, 198
16-track 147
Pedal 55
Hold 101
Operation 25
Options 104
Tempo 104
Assign
Foot Pedal 193
Lower Hold 90
Asterisk (*) 129, 161, 200
Attack 126
Audio 19
Audio In 57
Effect 124
Rev & Cho On/Off 192
Author 133
User Style 165, 185
User Type 178
Demo songs 19
Compatibility
Composer 65
Continue 203
Contrast 18
8
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Index
Genre 109
Global
Header Post Edit 161
Parameters 55, 83, 195
VariPhrase 81
Volume 113
Keyboard
Field 55
Functions 85
MIDI 201
Mode 34
Manual
Drums 42
M-FX 121
Song Chain 139
Mark A/B 156
Marker 135
Master
Page 24
Sw 79
Tune 55
User Style Composer 165
Max 91
MDR 35, 42
Measure 75
F
Factory 28, 85
Resume 196
Fade 195
Fade In/Out 78
Faders (VariPhrase control) 49
Family 105
Fast 171, 181
Favorites 40
FC-7 8, 54
FDD 111, 215
Style Options 110
FFW 31, 135
File Name 109, 139
Fill 26
Half Bar 97, 194
Rit value 104
Ritardando 104
To Previous 98
To Var/Or 187
Filter 202, 204, 205
TVF Cutoff 126
User Program 129
Find 109, 133
Only 109
Part 35
GO To 109
GS Reset 199
Tone selection 37
Velocity 91
Volume 114
Keybrd Mixer 50, 114
Keyfollow 78
Pan 79
H
Half
Bar 97, 194
Speed On 84
Hall 124
L
Harmony 99
Header Post Edit 161
Headphones 19
High 202
Key Touch 91
Higher 148
Hold 182, 190, 198
Arranger 101
Footswitch 55
Lower (LWR) 90
LW2 (Lower 2 only) 192
VariPhrase 192
Layer 35
Medium 91
LCD Contrast 18
Left 101
Legato 80
Legto Lock 82
Length 167, 176
Level
16-track 144
Effect 117
Knob 57
LFO 188
Pitch 189
Rate 189
TVA 189
TVF 189
Limit 202, 205
Listen 173
Load
MIDI Set 208
Song 209
User Program Set 210
User Style 209
VariPhrase 210
Local 201
MEL INT 99
Melodic 30, 46
Melody Intelligence 99
Memorize 93
MIDI Set 207
One Touch 100
Super Tones 86
User Program 127
Merge 154, 166
16-track 142
Copy 154
Fine
I
User Style 173
Metronome 56
Mode 56
Start/End 73
Upper2 88
Import 70
Inc 153
Fine Tune, VariPhrase 78
Flamenco Roll 51
Flanger 118, 124
Floppy
Output 56
Init Value 153
Initialize 196
13th Track 146
16-track 145
Disk 213
Recording 142
Song Composer 66
User Style 171
M-FX 120
Pedal 193
Selection Mode 121
Send 123
Microphone 57
Microscope 181
MIDI
Filter 202
Macro 200
Messages 197
Mode 197
Parameters 205
Set 207
Set, Load 208
Set, Save 212
Style Select 205
Sync 203
Synchronization 203
Transpose option 53
User Program link 131
Utilities 203
Copy 214
Disk User 61
Format 68
Input 19
Over 58
FO 98
Foot 83
Insert 68, 182
16-track 149
Microscope 182
User Style 179
Insertion Effect 120
Int 206
Pedal 55, 192
Switch 55
Lock 104
Auto/Man 107, 115
Loop 135, 192
VariPhrase 82
Looped patterns 164
Low 202
Key Touch 91
Lower 35, 148
Hold 90
Lower2, arpeggios 187
LVC-1 204
LW 35
LWR Hold 90
Lyrics 134
Footswitch 191
For 150, 179
Formant
+Mid 206
A/B 172
Control 49
Explanation 48
Keyfollow 79
LFO 188
Metronome 56
Intelligent 102
Internal 53, 204
Interval (transposition) 53
Into 154
User Style 173
Intro 26, 95, 97
Intro/Ending Alteration 106
Inversion 102, 191
Sw 79
Format 68, 132, 213
Free Panel 128
Resume 196
From 153
Full 132
FV 98
Edit 157
M
K
G
Gain 57
MIDI Set
M (Master track) 141
M.Bass 35
M.Drums 35
Roll 43
KBD Mode 100
Key 156, 166
Assign 46
Touch 91
Automatic selection 207
Ignore (in User Program) 130
Link to User Program 130
Min 91
Minor 97
Minus One 32, 136, 162
Solo sound 33
Phrase 78
Garage 124
Gate 47
Gate T
16-track 151
Microscope 182
Gate Time 180, 183
General MIDI 2 8, 44
Macro 117
Settings 200
Major 97
Man 115
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VA-76 – Owner’s Manual
Mixer 113
Pan 198
Position 138
Ritardando 104
16-track 144
Delay 119
Post Edit 161
Rnd 115
User Style 175
Mode
Copy 154
LFO 188
Preferred Tone 40
Preset tempo 176
Preview 72
Proceed 181
Punch In/Out 142, 144
Footswitch 191
Robot 82
Roll
VariPhrase 79
Panel Info 24
PanPot 114, 175
16-track 147
PanPt 149
Param 117, 196, 205
Parameters (MIDI) 205
Part 161, 165
Balance 113
Button 38
Definition 35
Field 44
Mute 114
Select (for Tone selection) 38
Switch 206
Switch on/off 36
Swtc 204
Patterns 163
Pause 83
PBend 149
PC 153
PChng 149
Pedal 55
Performance Memory, see User
Program
Phrase
Ctrl 78
16-track sequencer 143
M.Drums 43
Room 124
Rotary Slow/Fast 191
RX 201
Portamento 80, 90
Recording 142
VariPhrase 82
Modul 149
Modulation 52, 125, 188, 198
Mono 46, 90
Morphing 63, 98
Move Mix 183
Music Style 95
Definiton 59
Q
Velocity 206
Quantize
S
16-track 151
Recording 142
Trigger 82
User Style 166
Quarter tone 92
Quick (format) 132
Sample 70
Save
MIDI Set 207, 212
Song 67, 145
Style 211
User Program Set 211
User Style 170
VariPhrase 76, 212
Without Lyrics 160
Scale 191
Tuning 92
Setup 155
Seventh 97
Share 176
Shared 168
Shift 205
16-track 151
User Style 180
Singing 57
Singl 176
Single 168
Part 50
Phrase 69
Slow 171, 181
SMF 67, 132
Lyrics 157
Soft 191, 194
Thru 202, 206
Solo 135
16-track 147
Song 53
Chain 137
Composer 132
Converting to Style 155
Finder 133
Header Edit 161
Link to User Program 130
List 133
MIDI 201
Options 139
Part 161
Selecting 59
Start & Stop 95
Mute
R
16-track 147
RAM 71
Arranger parts 114
Song tracks 136
User Style parts 170
M-Value 121, 193
Random Pan 79
Range, Pitch Bend 188
Rate, portamento 80
Rec (field) 142
REC (Tones, effects) 143
Recall 195
Record
16-track 142, 147
Again 66
N
Name 68, 128
Song 154
User Style 170, 185
VariPhrase 76
New 138
No Linear 124
Normal 80
Normalize 73
Note 149
To Arranger 205
NRPN 149, 198
NTA 205
Erase 166
Merge 166
Edit 72
Encode 74
Gain 78
Loop 192
Parameters 77
Set 212
Source 71
Piano
Button 34
Mode (User Stl) 166
Recording 65
Redo 169
Reference 222
Registrations 127
Relative 205
Release 126
Remote 204
Rename 216
Song 139
Replace 154, 216
Copy 154
User Style 173
Reset 125, 161, 189
Play & Search 134, 140
Recorder 135
Resonance 126
D Beam 186
Retrigger 81
Numeric Pad 49
O
Style 102
Pitch
Octave 54, 162, 205
Recording 142
User Style 166
One Touch 99
One-shot patterns 164
Bend 52, 188
Change (aftertouch) 189
Down (D Beam) 186
Drum Set Note 175
Edit (Scale Tune) 93
Keyfollow 78
Up (D Beam) 186
VariPhrase 49, 77, 190
Plate 124
Options
8
16-track 142
Arranger 104
Keyboard 43, 87
Song 139
User Style 165
Or 98
Oriental Scales 92
Original 25
Key 74
OT 100
Other 35
Retry 61
Play
Metronome 56
Song 134
Reverb 116, 118, 175
16-track 144
VariPhrase 50, 124
Revolving Bass 102
Revrb 149
Rhythmic 30, 46
Ribbon 52, 189
Right 101
RIT 104
Rit
Fill (value) 104
Tempo 104
Value 104
Play 134
Song Chain 138
Trk 147, 171
Play & Search 133, 140
Play/Stop 191
Playback 81
Poly 90
Portam Time 89
Portamento 198
Upper 1/2 89
VariPhrase 79
Position Pointer 203
Save 67, 145
Sync 204
Song Composer
Record 65
Tempo 135
Sort 110
Sostenuto 191, 194
Sound Palette 125
Sound selection 37
Sample Format 70
Output 19
Assign 115
P
P&S Input 140
Pad 54, 194
Palette 50
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Index
Source 71, 172
Source pattern 153, 185
Space 68
Specifications 218
Speed Options 171, 181
Split
Tempo 27, 169
Arranger (options) 104
Change 104
Ignore (in User Program) 130
Preset 176
VariPhrase 29
Assign to Song 146
Clinic 45
Effect 124
Faders (controllers) 49
Hold 192
Initialize Composer track 146
Link to Styles 83
Load 210
Modulation 188
Pan 79
Pitch 78
Save 76, 212
Set 210
Synchronization 84
User 69
Velocity
Change (16-track) 150
Rx/Tx 206
Sensitivity 91
Switch 91
User Style 179
Vibrato 125, 189
Virtual Band 22
Autorun 196
Vocals
U
Unpacking
Up 129
7
UP1 linked to Song 33
UP2
Split 86
to Left 88
Upper
1/2 35
1-2 Portam 89
Parts 92
Upper2 Functions 87
User 85
Super Tones 28
VariPhrase 45, 69
User Program 127
Automatic selection 131
Cancel Options 129
Filter 129
Footswitch 191
Load 210
Name 128
Program Change 204
Select 128
Set 211
Song/MIDI Set Link 130
Write 127
User Style 163
Converter 155
Copy 209
Rit 104
Song 145
Arranger 35
Keyboard Mode 36
UP2 to Left 88
Upper2 86
Standard 102
MIDI File 67, 132
Start, portamento 80
START/STOP 25
Start/Stop 95
Startup 196
MIDI Set 207
User Program 131
Status 182
Step 73, 81
Loop 192
Song Composer 135
Tap 27, 194
Up/Down 187
User Style 169
VariPhrase 75, 77
Tick 100, 130
Time
Keyfollow 79
Portamento 80
Shift 180
Signature 75, 145, 167, 177
Sw 80
Sync 81
VariPhrase 49
To 153
To Int 208
Tone
Arranger 107
Favorites 40
Field (16-track) 143
List 222
Map 41, 153
New 42
New Super Tones 86
Recall 195
Select (User Stl) 174
Selection 37
Stereo position 114
StlVolum 205
Style
Button 59
Channel 204
Converter 155
Database 109
Delete 111
Finder 109
Linked 83
MIDI 201, 205
Mixer 114
Morphing 63
Name 109
Options 110
Part 35
PC 205
Programming Users 163
Sync 204
Suitable Tempo 100
Super Tones 28, 85
Sustain 55
Switch 190
Sync 96
Adjust 84
Settings 84
Live 57
VariPhrase 45
Volume 198
16-track 144
Arranger parts 113
Expression pedal 192
Keyboard parts 113
Knob 19
Delete 185
Discard recording 169
Edit 174, 177
Microscope 181
Mode select 165
Name 170
Programming 163
Record mode 166
Save 170, 211
Tempo 169
Usr
MemPC 204
Prg 128
Utility
16-track 152
Disk 213
Super 28
Pedal 55
VariPhrase 78
Variation 40
Touch Control 52, 189
Track 163, 165, 168
Erase 178
Length 176
Transpose
16-track 150
Arranger/Keyboard 53
Octave steps 54
Song Composer/Keyboard 137
User Style 179
Tremolo 189
Trigger 47
Truncate 72
TSign 167
Tune 55
Upper2 88
TVF
Cutoff 126
Cutoff (aftertouch) 189
Resonance 126
TX 201
W
WahWah 189
WAV 70
Whole 35, 101
Words 134
Wrap 106
Write
MIDI Set 207
User Program 127
X
XG 44
User Style 184
VariPhrase 81
Synchro (Lyrics) 158
Synchronization 203
V
Z
Value 150, 152, 179, 180
Var 98
Zip
T
Disk User 61
Eject 62
Variation 25
Presets (change) 40
Tone 40
T. Quantize 82
Tap Tempo 27, 194
Eject (field) 61
Format 68
Initialize 213
Save Song 67
Song Finder 133
Style Finder 109
Style Options 110
Zone 205
Octave 205
Velocity 206
Type
Insert 183
Portamento 80
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VA-76 – Reference
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