Roland Electronic Keyboard XV 88 User Guide

O W N ER’S MAN UAL  
Thank you, and congratulations on your choice of the Roland XV-88 128-Voice Expandable  
Synthesizer.  
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY  
INSTRUCTIONS” (Owner’s manual p. 2), “USING THE UNIT SAFELY” (Owner’s  
manual p. 3), and “IMPORTANT NOTES” (Owner’s manual p. 5). These sections  
provide important information concerning the proper operation of the unit.  
Additionally, in order to feel assured that you have gained a good grasp of every  
feature provided by your new unit, Quick start, Owner’s manual, and Q & A should  
be read in its entirety. The manual should be saved and kept on hand as a  
convenient reference.  
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Copyright © 2000 ROLAND CORPORATION  
All rights reserved. No part of this publication may be reproduced in any form without  
the written permission of ROLAND CORPORATION.  
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The  
symbol alerts the user to important instructions  
Used for instructions intended to alert  
the user to the risk of death or severe  
injury should the unit be used  
improperly.  
or warnings.The specific meaning of the symbol is  
determined by the design contained within the  
triangle. In the case of the symbol at left, it is used for  
general cautions, warnings, or alerts to danger.  
Used for instructions intended to alert  
the user to the risk of injury or material  
damage should the unit be used  
improperly.  
The  
symbol alerts the user to items that must never  
be carried out (are forbidden). The specific thing that  
must not be done is indicated by the design contained  
within the circle. In the case of the symbol at left, it  
means that the unit must never be disassembled.  
* Material damage refers to damage or  
other adverse effects caused with  
respect to the home and all its  
furnishings, as well to domestic  
animals or pets.  
The symbol alerts the user to things that must be  
carried out. The specific thing that must be done is  
indicated by the design contained within the circle. In  
the case of the symbol at left, it means that the power-  
cord plug must be unplugged from the outlet.  
001  
015  
Before using this unit, make sure to read the  
instructions below, and the Owners Manual.  
Do not force the units power-supply cord to share  
an outlet with an unreasonable number of other  
devices. Be especially careful when using extension  
cords—the total power used by all devices you  
have connected to the extension cords outlet must  
never exceed the power rating (watts/ amperes) for  
the extension cord. Excessive loads can cause the  
insulation on the cord to heat up and eventually  
melt through.  
..........................................................................................................  
002b  
Do not open or perform any internal modifications  
on the unit. (The only exception would be where  
this manual provides specific instructions which  
should be followed in order to put in place user-  
installable options; see Quick Start; p. 4, p. 10.)  
..........................................................................................................  
016  
..........................................................................................................  
006  
Before using the unit in a foreign country, consult  
with your retailer, the nearest Roland Service  
Center, or an authorized Roland distributor, as  
listed on the “Information” page.  
When using the unit with a rack or stand recom-  
mended by Roland, the rack or stand must be  
carefully placed so it is level and sure to remain  
stable. If not using a rack or stand, you still need to  
make sure that any location you choose for placing  
the unit provides a level surface that will properly  
support the unit, and keep it from wobbling.  
..........................................................................................................  
022a  
Always turn the unit off and unplug the power  
cord before attempting installation of the circuit  
board (SR-JV80/ SRX Series; Quick Start; p. 19).  
..........................................................................................................  
008e  
..........................................................................................................  
Use only the attached power-supply cord.  
..........................................................................................................  
009  
Do not excessively twist or bend the power cord,  
nor place heavy objects on it. Doing so can damage  
the cord, producing severed elements and short  
circuits. Damaged cords are fire and shock  
hazards!  
..........................................................................................................  
013  
In households with small children, an adult should  
provide supervision until the child is capable of  
following all the rules essential for the safe  
operation of the unit.  
..........................................................................................................  
014  
Protect the unit from strong impact.  
(Do not drop it!)  
..........................................................................................................  
3
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USIN G THE UN IT SAFELY  
102a  
Always grasp only the plug on the power-supply  
cord when plugging into, or unplugging from an  
outlet.  
..........................................................................................................  
104  
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.  
..........................................................................................................  
106  
Never climb on top of, nor place heavy objects on  
the unit.  
..........................................................................................................  
107a  
Never handle the power cord or its plug with wet  
hands when plugging into, or unplugging from, an  
outlet.  
..........................................................................................................  
108a  
Before moving the unit, disconnect the power plug  
from the outlet, and pull out all cords from external  
devices.  
..........................................................................................................  
109a  
Before cleaning the unit, turn off the power and  
unplug the power cord from the outlet (Quick  
Start; p. 19).  
..........................................................................................................  
110a  
Whenever you suspect the possibility of lightning  
in your area, pull the plug on the power cord out of  
the outlet.  
..........................................................................................................  
115a  
Install only the specified circuit board(s) (SR-JV80/  
SRX Series). Remove only the specified screws  
(Quick Start; p. 4, p. 10).  
..........................................................................................................  
4
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Im p o rta n t N o te s  
In addition to the items listed under “IMPORTANT  
SAFETY INSTRUCTIONS” and “USING THE UNIT  
SAFELY” on pages 2 and 3, please read and observe the  
following:  
Ad d itio n a l Pre ca u tio n s  
Please be aware that the contents of memory can be  
irretrievably lost as a result of a malfunction, or the  
improper operation of the unit. To protect yourself against  
the risk of loosing important data, we recommend that  
you periodically save a backup copy of important data  
you have stored in the units memory on a memory card.  
Unfortunately, it may be impossible to restore the contents  
of data that was stored in the units memory, a memory  
card, or another MIDI device (e.g., a sequencer) once it has  
been lost. Roland Corporation assumes no liability  
concerning such loss of data.  
Use a reasonable amount of care when using the units  
buttons, sliders, or other controls; and when using its jacks  
and connectors. Rough handling can lead to malfunctions.  
Never strike or apply strong pressure to the display.  
When connecting / disconnecting all cables, grasp the  
connector itselfnever pull on the cable. This way you  
will avoid causing shorts, or damage to the cables  
internal elements.  
Po w e r Su p p ly  
Do not use this unit on the same power circuit with any  
device that will generate line noise (such as an electric  
motor or variable lighting system).  
Before connecting this unit to other devices, turn off the  
power to all units. This will help prevent malfunctions  
and/ or damage to speakers or other devices.  
Pla ce m e n t  
This device may interfere with radio and television  
reception. Do not use this device in the vicinity of such  
receivers.  
Do not expose the unit to direct sunlight, place it near  
devices that radiate heat, leave it inside an enclosed  
vehicle, or otherwise subject it to temperature extremes.  
Excessive heat can deform or discolor the unit.  
To avoid possible breakdown, do not use the unit in a wet  
area, such as an area exposed to rain or other moisture.  
A small amount of heat will radiate from the unit during  
normal operation.  
To avoid disturbing your neighbors, try to keep the units  
volume at reasonable levels. You may prefer to use  
headphones, so you do not need to be concerned about  
those around you (especially when it is late at night).  
When you need to transport the unit, package it in the box  
(including padding) that it came in, if possible. Otherwise,  
you will need to use equivalent packaging materials.  
Use only the specified expression pedal (EV-5; sold  
separately). By connecting any other expression pedals,  
you risk causing malfunction and/ or damage to the unit.  
Ma in te n a n ce  
For everyday cleaning wipe the unit with a soft, dry cloth  
or one that has been slightly dampened with water. To  
remove stubborn dirt, use a cloth impregnated with a  
mild, non-abrasive detergent. Afterwards, be sure to wipe  
the unit thoroughly with a soft, dry cloth.  
Never use benzine, thinners, alcohol or solvents of any  
kind, to avoid the possibility of discoloration and/ or  
deformation.  
Be fo re Usin g Me m o ry Ca rd s  
Usin g Me m o ry Ca rd s  
Carefully insert the DATA card all the way inuntil it is  
firmly in place.  
Re p a irs a n d Da ta  
fig.00-01.e  
Please be aware that all data contained in the units  
memory may be lost when the unit is sent for repairs.  
Important data should always be backed up memory card,  
or written down on paper (when possible). During  
repairs, due care is taken to avoid the loss of data.  
However, 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, and Roland assumes no  
liability concerning such loss of data.  
Me m o ry Ba ck u p  
This unit contains a battery which powers the units  
memory circuits while the main power is off. When this  
battery becomes weak, the message shown below will  
appear in the display. Once you see this message, have the  
battery replaced with a fresh one as soon as possible to  
avoid the loss of all data in memory. To have the battery  
replaced, consult with your retailer, the nearest Roland  
Service Center, or an authorized Roland distributor, as  
listed on the Informationpage.  
Insert with the surface with the gold connector facing up  
Never touch the terminals of the DATA card. Also, avoid  
getting the terminals dirty.  
Battery Low”  
5
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Ho w to Use Th is Ma n u a l  
This owners manual is organized as follows. But before you  
Ch a p te r 8 . Sa vin g So u n d s  
start reading it, wed like to suggest going through the Quick  
Start manual. The separate volume Q & A contains  
frequently asked questions about the XV-88, along with  
answers to those questions. Please refer to this booklet as  
needed.  
This chapter describes how the XV-88s memory is arranged,  
and explains how tones are saved. Read this chapter when  
you wish to save created sounds.  
Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith  
th e XV-8 8 (Sy ste m Fu n ctio n s)  
Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
This chapter describes how the System parameters that  
determine the XV-88s operation environment work and how  
these parameters are organized. Refer to it as necessary.  
This chapter covers XV-88 sound generator section  
configurations, as well as basic operation. Reading it is  
essential for understanding XV-88 operational procedures.  
Ch a p te r 1 0 . Me m o ry Se ttin g s  
(Utility Mo d e )  
Ch a p te r 2 . Pla y in g  
This chapter explains how to play in Patch, Performance, and  
Rhythm Set modes, and how to use the XV-88s many  
different performance functions. Reading it is essential for  
understanding XV-88 operational procedures.  
This chapter goes over the various Utility functions such as  
storing Patch, Performance or Rhythm Set data, clearing the  
internal memory, etc. Refer to it as necessary.  
Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM  
So u n d Mo d u le (GM Mo d e )  
Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
This chapter explains how to create Performances, and  
describes what the Performance parameters do and how they  
are composed. Read this chapter when you wish to create  
Performances.  
This chapter explains needed procedures and parameters for  
using the XV-88 as a General MIDI/ General MIDI 2 System-  
compatible sound generator. Read this chapter when you  
want to play back commercially available General MIDI  
scores (music files created for General MIDI sound  
generators).  
Ch a p te r 4 . Zo n e Se ttin g s  
This chapter explains how to make Zone settings for  
Performance mode, and describes what the Zone parameters  
do and how they are composed. Read this chapter when you  
wish to make Zone settings.  
Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f  
th e XV-8 8  
This chapter includes various techniques that expand the XV-  
88s operational scope. It includes use with external MIDI  
devices, live performance applications and others. Refer to it  
as necessary.  
Ch a p te r 5 . Cre a tin g Pa tch e s  
This chapter explains how to create Patches, and describes  
what the Patch parameters do and how they are composed.  
Read this chapter when you wish to create Patches.  
Ap p e n d ice s  
This chapter contains a troubleshooting section for use when  
the XV-88 is not functioning as expected. There is also a list  
of error messages that you can refer to if an error message  
appears on the display. A list of parameters and a MIDI  
implementation chart are also provided.  
Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
This chapter explains how to create Rhythm Sets, and  
describes what the Rhythm Set parameters do and how they  
are composed. Read this chapter when you wish to create  
Rhythm Sets.  
Ch a p te r 7 . Ad d in g Effe cts  
This chapter explains how to make settings for the XV-88s  
onboard effects, and describes the type and operation of each  
effect. Be sure to read this when adding effects to Patches  
and Performances.  
6
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Ho w to Use Th is Ma n u a l  
N o ta tio n Use d in Th is O w n e r’s  
Ma n u a l  
The display screens printed in this owners manual are  
based on the factory settings. However, please be aware  
that in some cases they may differ from the actual  
factory settings.  
To make operation procedures easy to understand, the  
following notation system is adopted:  
Characters and numbers in square brackets [ ] indicate  
buttons on the front panel. For example, [PATCH] represents  
the PATCH button and [ENTER] stands for the ENTER  
button.  
In addition, [A] + [B]indicates press [B] while holding  
down [A]; [A] [B]means press [B] after first pressing  
(and releasing) [A].”  
(p. **) refers to pages within the manual.  
In this manual, when any particular parameter is referred to,  
the name of the parameter is given, and this is then followed  
(in parenthesis) by information detailing its mode, display  
group, and display. For example: Output Assign parameter  
(PERFORM/ EFFECTS/ OUTPUT).  
Below are the meanings of the symbols preceding certain  
sentences in the text.  
These alert you to cautions or similar important  
information. Be sure to read these.  
These are reference memos. Read as needed.  
These are hints for operating the XV-88. Read as needed.  
These provide information from related reference pages.  
Read as needed.  
7
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Co n te n ts  
Using the Sliders to Modify the Sound in Realtime................................................................. 34  
Playing in Performance Mode ................................................................................................................ 34  
8
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Co n te n ts  
9
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Co n te n ts  
Checking the Installation of the Wave Expansion Board  
1 0  
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Co n te n ts  
Changing the Tone Produced with the Modulation Lever................................................... 200  
Syncing the LFO Cycle to System Tempo ............................................................................... 200  
Controlling an External MIDI Sequencer with the D Beam Controller .............................. 203  
1 1  
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Co n te n ts  
Waveform List .....................................................................................263  
1 2  
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Ma in Fe a tu re s  
1 2 8 -Vo ice Po ly p h o n y  
Eq u ip p e d w ith CO MPUTER Co n n e cto r  
A special computer cable makes it easy for you to connect the XV-88  
to your computer, so that you can enjoy ensemble playing (p. 208).  
The previous maximum number of 64 simultaneous voices has  
been expanded to 128, providing ample expression capabilities,  
even with tones composed of a number of combined tones.  
Arp e g g ia to r In clu d e d  
You can easily perform arpeggios, and use rhythm guitar,”  
simply by pressing a few chords. You can even specify the  
rhythmical feelyou want (p. 41).  
Co m p a tib le w ith th e N e w “ SRX  
Se rie s” W a ve Ex p a n sio n Bo a rd s  
The XV-88 features two expansion slots for the new SRX  
SeriesWave Expansion boards, each of which provides the  
waveform capacity of four SR-JV80boards. Of course, since  
the XV-88 is also equipped with an additional two slots for  
previous-generation SR-JV80Wave Expansion boards, you  
can also install such boards that you now may be using in the  
XV-88 as well. Thus, with a Wave Expansion board installed in  
every slot, you can get massive waveforms equaling even those  
obtainable with samplers, all of which are ready to use as soon  
as you turn on the instrument, with no loading from any  
sequencer or other external recording device required (Quick  
Start; p. 4, p. 10).  
Eq u ip p e d w ith D Be a m Co n tro lle r  
The XV-88 also comes with the D Beam Controller which allows  
you to change the sound dynamically as you perform, according  
to the position of your hand as you move it over the controller.  
By moving your hand above the panel, you can control even  
subtle changes in tones, effects, and pitches that are difficult to  
make using bender and aftertouch, all in realtime, bringing your  
live performances to a whole new level (p. 45).  
The D Beam Controller is provided under license from  
Interactive Light, Inc.  
Po w e rfu l Arra y o f Effe cts  
While including, of course, all of the algorithms of the JV-  
2080, the XV-88s effects comprise a huge collection of  
Rolands digital signal processing technology, 3D DELAY  
that makes full use of RSS (Roland Sound Space technology),  
Lo-Fi processing from Rolands MC-505 groovebox, the SRV-  
330s popular REVERB, along with a newly designed RING  
MODULATOR, and more, for a total of 63 different  
algorithms (p. 117).  
Ge n e ra l MIDI  
General MIDI is a set of recommendations which seeks  
to provide a way to go beyond the limitations of  
proprietary designs, and standardize the MIDI  
capabilities of sound generating devices. Sound  
generating devices and music files that meet the General  
MIDI standard bear the General MIDI logo (  
). Music  
files bearing the General MIDI logo can be played back  
using any General MIDI sound generating unit to  
produce essentially the same musical performance.  
Ge n e ra l MIDI- a n d Ge n e ra l MIDI 2 -  
Co m p a tib le  
The XV-88 is compatible with both General MIDI and  
General MIDI 2 standards. When working with music data  
that conforms to General MIDI and/ or General MIDI 2 (GM  
scores), you can combine the XV-88 with a computer or  
sequencer, and use the XV-88 to play back the data (p. 192).  
Ge n e ra l MIDI 2  
The upwardly compatible General MIDI 2 (  
)
recommendations pick up where the original General  
and even greater compatibility. Issues that were not  
covered by the original General MIDI recommendations,  
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.  
8 8 -Ke y Pia n o Ke y b o a rd Fe a tu re s  
Ha m m e r Actio n w ith Afte rto u ch  
The XV-88 is equipped with a full 88-key piano keyboard  
utilizing a hammer action system for rich expressiveness,  
with aftertouch provided as well. The XV-88 gives you both  
the pure, unspoiled expression you get with a piano, and the  
dynamic play of a synthesizer, all in a single instrument.  
So p h istica te d Use r In te rfa ce  
In some cases, the conventional form of General MIDI,  
which does not include the new enhancements, is  
referred to as General MIDI 1as a way of  
distinguishing it from General MIDI 2.  
The XV-88 also features the Roland XP-30s popular Patch  
Search function and Phrase Preview function. The Patch Finder  
by specifying a patch category. By pressing [PHRASE  
PREVIEW], you can then hear the selected patch play a phrase  
suitable for that type of patch (Phrase Preview, p. 32).  
1 3  
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Fro n t a n d Re a r Pa n e l  
Fro n t Pa n e l  
fig.00-02  
1
5
6
7
2
3
4
1
4
D BEAM CO N TRO LLER Se ctio n  
KEY EFFECTS Se ctio n  
You can apply a variety of effects to sounds simply by  
The buttons in this section allow you to assign various  
moving your hand. (p. 45)  
functions to the keys of the XV-88s keyboard.  
[O N ]  
[PO RTAMEN TO ]  
Switches the D Beam controller on/ off.  
Switches Portamento on/ off. (p. 33)  
[SO LO ]  
2
Specifies playing a single note at a time. (p. 33)  
Vo lu m e Slid e r  
[TRAN SPO SE]  
Adjusts the overall volume that is output from the rear panel  
Specifies transposing the keyboard in semitone steps.  
OUTPUT jacks and PHONES jack. (Quick Start; p. 18)  
(p. 48)  
[ARPEGGIO ]  
3
PALETTE Se ctio n  
Switches Arpeggiator on/ off. (p. 41)  
Use the four sliders to modify sounds in realtime.  
[+O CT], [-O CT]  
[FILTER/ EN V]  
These buttons adjust the pitch of the keyboard in octave  
Press this button ON when modifying filter and/ or envelope  
settings in realtime using the four sliders (CUTOFF/  
RESONANCE/ ATTACK/ RELEASE). (p. 34, p. 38)  
steps. (p. 47)  
Pressing either of these buttons while holding down  
[TRANSPOSE] allows you to set the desired amount of  
transposition. (p. 48)  
[LEVEL]  
Press this button ON when adjusting volume balance in  
realtime using the four sliders (1/ 2/ 3/ 4). (p. 34, p. 39)  
5
The buttons in this section select modes. The button indicator  
[CO N TRO LLER]  
of the selected mode will light/ blink. (p. 24)  
Can be switched on when you wish to assign various  
parameters to the four sliders, and modify the sound as you  
play (C1/ C2/ C3/ C4). (Quick Start; p. 66)  
[PERFO RM]/ [GM]  
Pressed to get into Performance mode. Hold down [SHIFT]  
while you press [PERFORM] to select GM mode.  
(p. 34, p. 192)  
[PATCH]/ [PART]  
Pressed to get into Patch mode. By holding down  
[PERFORM] and pressing [PATCH], you can modify the  
settings of the Patch and Rhythm Set that is assigned to each  
part of the performance. (p. 29, p. 38, p. 56)  
1 4  
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Fro n t a n d Re a r Pa n e l  
LOCAL/TX: When the indicator for this button is  
extinguished, the Local switch can be switched on/ off. When  
the indicator is lit, the Transmit switch can be switched on/  
off. Functions buttons are employed for this purpose.  
(p. 25)  
fig.00-03  
8
10  
11  
[EDIT]  
Press this button when you wish to adjust various settings.  
Use the function buttons to select the display screen for the  
parameter you wish to modify.  
9
Fu n ctio n Bu tto n s  
The function of these buttons will depend on the operational  
mode and the status of the [EDIT] indicator. (p. 25)  
[RHYTHM]  
Selects Rhythm Set mode. (p. 39)  
[1 -8 / 9 -1 6 ]  
Use this button to select the group (18/ 916) of Parts or  
[ZO N E]  
Zones to be selected by the function buttons. (p. 25)  
When the XV-88 is in Performance mode, this switches it to  
the Zone mode. (p. 57)  
[EXIT]/ [PAN IC]  
EXIT: Press this button when you wish to return to the Play  
page of each mode, or to cancel an operation without  
executing.  
[SYSTEM]  
Selects System mode. (p. 168)  
[UTILITY]  
PANIC: If for some reason notes are stuck and continue  
sounding, hold down [SHIFT] and press this button to clear  
the stuck notes. (p. 48)  
Selects Utility mode. (p. 179)  
6
EFFECTS Se ctio n  
[UN DO / CO MPARE]  
Used to switch on and off the onboard effects (Multi-effects,  
Chorus, Reverb). When on, the button indicator for the effect  
is lighted. (p. 105)  
UNDO: Press this button to restore a modified value to the  
original value. (p. 27, p. 49, p. 57, p. 67, p. 94)  
COMPARE: When saving or copying Tone settings, press  
this to check the sound at the save destination, or at the copy  
source. (p. 164, p. 181, p. 183, p. 184)  
[MULTI]  
Turns Multi-effects on/ off.  
[CHO RUS]  
8
Turns Chorus on/ off.  
VALUE Dia l  
[REVERB]  
This dial is used to modify values. If you hold down [SHIFT]  
as you turn the VALUE dial, the value will change in greater  
increments. (p. 27)  
Turns Reverb on/ off.  
7
CURSO R Bu tto n s  
Press these to switch pages and to move the cursor (the  
Disp la y  
underline). (p. 26)  
Shows various information for the currently selected  
function or operation.  
In the Play page of each mode, pressing the CURSOR buttons  
while holding down [SHIFT] allows the remote control of  
external sequencers. (p. 26, p. 204)  
[PALETTE EDIT]/ [LO CAL/ TX]  
PALETTE EDIT: Press this when you want to make changes  
to Patch or Performance settings using the Palette page.  
(p. 50, p. 58, p. 67, p. 94)  
1 5  
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Fro n t a n d Re a r Pa n e l  
9
10  
GRO UP Se ctio n  
Selects sound groups. (p. 29, p. 35, p. 39)  
[PHRASE PREVIEW ]/ [DEMO ]  
PHRASE PREVIEW: Press this when you wish to use  
[USER]  
phrases to audition a patch. (p. 32)  
Selects a sound from the user group.  
DEMO: To hear the demo playback, hold down [SHIFT] and  
[CARD]  
press this button. (Quick Start; p. 21)  
Selects a sound from a memory card.  
[PATCH FIN DER]/ [FAVO RITE LIST]  
[PRESET]  
PATCH FINDER: Selects a patch by using the Patch Finder  
function. (p. 30)  
Selects a sound from the preset group.  
FAVORITE LIST: When you press this button while holding  
down [SHIFT], you can register the favorite Patch to the list  
and choose the Patch from the list. (p. 31, p. 40, p. 165)  
[EXP]  
separately).  
[IN C/ +], [DEC/ -]  
Use these buttons to modify values. If you keep on holding  
down one button and pressing the other, the value change  
accelerates. If you press one of these buttons while holding  
down [SHIFT], the value will change in bigger increments.  
(p. 27)  
11  
BAN K Se ctio n  
Selects a bank for sounds. (p. 29, p. 35, p. 39)  
[A]–[H]  
Press these buttons to select tones from Preset Groups AF  
and H, Memory Cards AH, and Wave Expansion Boards A–  
[0 ]–[9 ] (N u m e ric Ke y s)  
D.  
Use these buttons to modify values. They can be used to  
enter numeric values as well as alphabetical characters.  
(p. 27, p. 28)  
When [PATCH FINDER] is on, this becomes the button for  
choosing a category group using the Patch Finder function.  
(p. 30)  
fig.00-04  
Press [0] while holding down [SHIFT] to turn the Digit Hold  
function on/ off. With the Digit Hold on, the 100s place and  
10s place will be fixed and only the 1s place will change.  
This means that you can select Patches simply by pressing  
the numeric key for the 1s place, without having to press  
[ENTER]. The same applies when selecting Performances or  
Rhythm sets. (p. 30)  
Pitch Be n d / Mo d u la tio n Le ve r  
This allows you to control pitch bend or apply vibrato.  
(Quick Start; p. 65)  
Depending on the settings, other specified parameters can  
also be controlled. (p. 78, p. 115, p. 173)  
[SHIFT]  
This is used in combination with other buttons. Some buttons  
on the front panel include black-printed characters. They  
indicate the buttons function when [SHIFT] is held down.  
[EN TER]/ [REGISTRY]  
ENTER: Use this button to finalize a value or execute an  
operation.  
REGISTRY: When you press this button while holding down  
[SHIFT], you can directly register the favorite Patch or  
Rhythm Set to the Favorite List. (p. 165)  
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Fro n t a n d Re a r Pa n e l  
Re a r Pa n e l  
fig.00-05  
fig.00-06  
fig.00-09  
CO MPUTER Sw itch  
Po w e r Sw itch  
Sets this switch depending on the type of computer  
connected to COMPUTER connector, or the software you are  
using. Turn the power off before changing the setting of this  
switch. If you wish to use the MIDI connectors, set this  
switch to MIDI. (p. 208, p. 209)  
Press to turn the power on/ off. (Quick Start; p. 18)  
AC In le t  
Connect the included power cord to this inlet.  
(Quick Start; p. 16)  
CO MPUTER Co n n e cto r  
A special Computer cable can be connected here. The type of  
cable required will depend on your computer. When the  
COMPUTER switch is set to MIDI, this connector cannot be  
used. (p. 209)  
With units rated for 117V operation, the AC cable is  
already connected to the unit.  
fig.00-07  
fig.00-10  
CTL 1 , CTL 2 PEDAL Ja ck  
You can connect optional expression pedals (EV-5, etc.) to  
these jacks. By assigning a desired function to a pedal, you  
can use it to select or modify sound or perform various other  
control. You can also connect optional pedal switches (DP-2,  
DP-6, etc.) to sustain sound.  
MEMO RY CARD Slo t  
A memory card (SmartMedia) can be inserted here.  
(p. 167, p. 179)  
(p. 172, Quick Start; p. 16, p. 69)  
fig.00-08  
HO LD PEDAL Ja ck  
An optional pedal switch (DP-2, DP-6, etc.) can be connected  
to this jack for use as a hold pedal. (p. 43, p. 172, Quick  
Start; p. 16, 69)  
MIDI Co n n e cto rs (IN , O UT, THRU)  
This can also be set so it supports the use of half-pedaling  
techniques. So, after connecting an optional expression pedal  
(EV-5, etc.), you can employ pedal work to achieve even finer  
control in performances in which piano tones are used.  
(p. 172)  
These connectors can be connected to other MIDI devices to  
receive and transmit MIDI messages.  
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Fro n t a n d Re a r Pa n e l  
fig.00-11  
fig.00-12  
O UTPUT A (MIX) Ja ck s (L (MO N O ), R)  
These jacks output the audio signal to the connected mixer/  
amplifier system in stereo. For mono output, use the L jack.  
(Quick Start; p. 16)  
W a ve Ex p a n sio n Bo a rd In sta lla tio n Slo t  
Remove the cover to reveal the slots for installation of  
optional Wave Expansion Boards (SR-JV80 Series, SRX  
Series). (Quick Start; p. 4, 10)  
O UTPUT B Ja ck s (L, R)  
These jacks output the audio signal to the connected mixer/  
amplifier system in stereo.  
IN DIVIDUAL 1 –4 Ja ck s  
These jacks output audio signals in mono to an amp or  
mixer.  
The setting determining whether these jacks are used as  
stereo OUTPUT jacks or monaural INDIVIDUAL jacks is  
made with the Output Assign setting (p. 70, p. 96, p. 108,  
p. 109, p. 113).  
PHO N ES Ja ck  
This is the jack for connecting headphones (sold separately).  
(Quick Start; p. 16)  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
Ab o u t th e Lo ca l Sw itch  
Ho w th e XV-8 8 Is O rg a n ize d  
The switch that connects and disconnects the MIDI  
connection between the keyboard controller section and the  
Ba sic Stru ctu re  
sound generator section is called the Local switch. Since  
essential information describing what is being played on the  
The XV-88 can be broadly divided into two sections: a  
keyboard wont reach the sound generator if the Local switch  
keyboard controller section and a sound generator  
is set to OFF, the Local switch should normally be left ON.  
section. The two sections are connected internally by means  
However, if while performing you want to send that  
performance data to an external sequencer as MIDI messages  
to be recorded, you then perform with the externally  
connected MIDI sequencer set to MIDI Thru (whereby data  
received from MIDI IN is then output from the MIDI OUT  
with no changes made to the data), the XV-88s Local switch  
to OFF, and the MIDI Transmit switch and MIDI Receive  
of MIDI.  
fig.01-01.e  
Sound  
Generator  
Section  
switch to ON.  
fig.01-02.e  
Play  
Sequencer  
Recording  
Keyboard Controller Section (controllers  
such as keyboard, pitch bend lever, etc.)  
MIDI Thru: On  
Ke y b o a rd Co n tro lle r Se ctio n  
MIDI IN  
MIDI OUT  
MIDI IN  
This section consists of the keyboard, pitch bend/ modulation  
lever, panel sliders, and D Beam controller. It also includes  
any pedals that may be connected to the rear panel. Actions  
such as pressing and releasing of keys on the keyboard,  
depressing a pedal, and so forth, are converted to MIDI  
messages and sent to the sound generator section, or to an  
external MIDI device.  
MIDI OUT  
Transmit  
Switch:  
On  
Receive Switch: On  
Sound  
Generator  
Section  
Local Switch: Off  
When playing in Performance mode, the settings for the  
MIDI connections between the keyboard controller  
section and the sound generator section or external MIDI  
device are made in Zone mode (p. 57).  
Keyboard Controller  
Section  
XV-88  
So u n d Ge n e ra to r Se ctio n  
The sound generator section produces the sound. Here, MIDI  
messages received from the keyboard controller section or  
external MIDI device are converted to musical signals, which  
are then output as analog signals from the OUTPUT and  
PHONES jacks.  
In this case, the data sent over two paths, i.e., the data sent  
directly from the keyboard controller section and the data  
sent from the keyboard controller section via the external  
sequencer, ends up being sent to the sound generator section  
simultaneously. Thus, for example, even when you play a  
Ckey only once, the note Ccannot be sounded correctly,  
as the sound is played by the sound generator section twice.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
En ve lo p e  
Cla ssifica tio n o f XV-8 8 So u n d  
Ty p e s  
You use Envelope to initiate changes to occur to a sound over  
time. There are separate envelopes for Pitch, TVF (filter), and  
TVA (volume). For example if you wish to modify the way in  
which the sound attacks or decays over time, you would  
adjust the TVA envelope.  
When using the XV-88, you will notice that a variety of  
different categories come into play when handling sounds.  
What follows is a simple explanation of each sound category.  
LFO (Lo w Fre q u e n cy O scilla to r)  
To n e s  
Use the LFO to create cyclic changes (modulation) in a  
sound. The XV-88 has two LFOs. Either one or both can be  
applied to effect the WG (pitch), TVF (filter) and/ or TVA  
(volume). When an LFO is applied to the WG pitch, a vibrato  
effect is produced. When an LFO is applied to the TVF cutoff  
frequency, a wah effect is produced. When an LFO is applied  
to the TVA volume, a tremolo effect is produced.  
In the XV-88, the Tone is the smallest class of sound.  
However, it is not possible to play a Tone by itself. The Patch  
is the unit of sound which can be played, and the Tones are  
the basic building blocks which make up the Patch.  
fig.01-03.e  
Tone  
LFO 1  
LFO 2  
LFO is not included in the Rhythm Tones (percussion  
instrument sounds).  
WG  
TVF  
TVA  
Pa tch e s  
Patches are the basic sound configurations that you play  
during a performance. Each Patch can be configured by  
combining up to four Tones. How the four Tones are  
combined is determined on the STRUCT page (PATCH/  
Pitch  
Envelope  
TVF  
Envelope  
TVA  
Envelope  
control signal  
audio signal  
COMMON) (p. 73).  
fig.01-04.e  
Tones consist of the following five components.  
Patch  
W G (W a ve Ge n e ra to r)  
Specifies the PCM waveform (wave) that is the basis of the  
sound, and determines how the pitch of the sound will  
change.  
Tone 4  
The XV-88 has 1,083 different waveforms (p. 263). All Patches  
built into the XV-88 consist of combinations of Tones which  
are created based on these waveforms.  
Tone 2  
Tone 1  
LFO 1  
LFO 2  
There are four wave generators for each Rhythm Tone  
(percussion instrument sounds).  
WG  
TVF  
TVA  
TVF (Tim e Va ria n t Filte r)  
Specifies how the frequency components of the sound will  
change.  
Pitch  
Envelope  
TVF  
Envelope  
TVA  
Envelope  
TVA (Tim e Va ria n t Am p lifie r)  
Specifies the volume changes and the sounds position in a  
stereo soundfield.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
Rh y th m Se ts  
Pe rfo rm a n ce s  
A Rhythm Set is a grouping of percussion instruments  
(Rhythm Tones). Since percussion instruments generally do  
not play melodies, there is no need for a percussion  
A Performance is a collective set of assignments of the  
sixteen different Patches and Rhythm Sets. Since a  
Performance can simultaneously handle 16 different sounds,  
it allows you to play multiple Patches simultaneously (layer)  
or to play different Patches in different areas of the keyboard  
(split), and to create ensembles.  
instrument sound to be able to play a scale on the keyboard.  
It is, however, more important that as many percussion  
instruments as possible be available to you at the same time.  
Therefore, each key (note number) of a Rhythm Set will  
Because the XV-88 sound generator can control multiple  
produce a different percussion instrument.  
fig.01-05.e  
sounds (instruments) it is called a Multi-timbral sound  
generator.  
fig.01-06.e  
Rhythm Set  
Performance  
Note Number 98 (D7)  
Note Number 97 (C#7)  
Part 16  
Note Number 36 (C2)  
Note Number 35 (B1)  
Rhythm Tone (Percussion instrument sound)  
WG  
TVF  
TVA  
Pitch  
Envelope  
TVF  
Envelope  
TVA  
Envelope  
Part 1  
Patch/  
Rhythm Set  
Percussion instrument (Rhythm Tone) consists of the  
following four elements. (For details, refer to the  
explanations for Tones.)  
W G (W a ve Ge n e ra to r)  
TVF (Tim e Va ria n t Filte r)  
TVA (Tim e Va ria n t Am p lifie r)  
En ve lo p e  
Pa rts  
Parts are the sitesto which the Patches and Rhythm Sets  
used by the XV-88 as sound material are assigned. A single  
Performance comprises sixteen Parts, with a Patch or  
Rhythm Set being assigned to each Part.  
In the relationship between Performances and Parts, the  
Performance is like an orchestra, the Parts the performers,  
and the Patches and Rhythm Sets the instruments.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
However, in this arrangement, the data for the performance  
in the right hand ends up being recorded after overlapping  
on MIDI Channels 1 and 2. Although normally there is no  
particular problem with recording overlapped data, because  
of the limit on the number of notes that can be recorded  
using an external sequencer, along with other certain issues,  
the external sequencers memory may overflow, and you  
may then be unable to record all the way to the end of your  
performance.  
Se ttin g th e MIDI Co n n e ctio n  
(Zo n e a n d Pa rt)  
Although the XV-88s keyboard controller section and sound  
generator section are connected internally using a MIDI  
connection, in Layer Performance mode, you can then make  
even more detailed settings affecting the way the connection  
works between the keyboard controller section and the  
sound generator section, as well as with an external MIDI  
device.  
Therefore, change the settings to those shown below  
At the factory settings, shown below, there is a one-to-one  
(changes indicated in underline).  
fig.01-09.e  
correspondence between the Zone, the MIDI Transmit/  
Receive channel, and the Part.  
fig.01-07.e  
Sequencer  
Zone 16 (MIDI transmit channel 16)  
Part 16 (MIDI receive channel 16)  
Zone 1 (not transmitted)  
Part 3 (MIDI receive channel 2)  
ch.2  
Zone 2 (MIDI transmit channel 2)  
Zone 1 (MIDI transmit channel 1)  
Part 2 (MIDI receive channel 2)  
Part 1 (MIDI receive channel 1)  
Bass  
Patch/  
Rhythm Set  
Zone 2 (MIDI transmit channel 2)  
Part 2 (MIDI receive channel 1)  
Strings  
Under these conditions, you could simply consider that each  
of the Zones from 1 to 16 is linked in a one-to-one  
relationship with its numerical counterpart among Parts  
1 to 16. In other words, you can use Zone 1 when controlling  
Part 1, Zone 2 is when controlling Part 2, and so on.  
L
Zone 1 (MIDI transmit channel 1)  
Part 1 (MIDI receive channel 1)  
Piano  
ch.1  
R
We recommend that under normal circumstances you  
use the default factory settings.  
In advances uses, where the factory settings would not be  
used, the following examples of settings might be employed.  
With the above settings, the data for the performance in the  
right hand is sent only on MIDI Channel 1, so there is no  
overlapping of the performance data when recording to the  
sequencer. Accordingly, even performances that cause  
overflow when factory settings are used can still be recorded  
all the way to the end.  
When recording to an external sequencer while playing the  
bass part in the left hand and the layered piano and string  
tones in the right hand, the following is what results when  
the factory settings are used.  
fig.01-08.e  
In this manner, by trying out changes in the one-to-one  
connections between the Zones, MIDI Transmit and Receive  
channels, and Parts, you can obtain even more advanced use  
of the instrument. However, you must remain aware at all  
times of the MIDI channel to which each Zone is set and the  
channel each Part is using to receive MIDI messages, lest you  
run into problems such as tones other than the intended  
tones being played or absence of sound even when the  
keys are played.  
Sequencer  
Zone 3 (MIDI transmit channel 3)  
Part 3 (MIDI receive channel 3)  
Bass  
ch.3  
ch.2  
ch.1  
L
Zone 2 (MIDI transmit channel 2)  
Part 2 (MIDI receive channel 2)  
Strings  
R
In this manual, the expression the Zone and Part are  
linkedrefers to the condition whereby a Zones MIDI  
transmit channel and a Parts MIDI receive channel are  
matched in this one-to-one relationship.  
Zone 1 (MIDI transmit channel 1)  
Part 1 (MIDI receive channel 1)  
Piano  
R
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
Vo ice Re se rve  
N u m b e r o f Vo ice s  
The XV-88 has a Voice Reserve function that lets you  
reserve a minimum number of notes that will always be  
available for each Part. For example if Voice Reserve is set to  
10 for Part 16, Part 16 will always have 10 notes of sound-  
producing capacity available to it even if a total of more than  
128 notes (total for all Parts) are being requested. When you  
make Voice Reserve settings, you need to take into account  
the number of notes you want to play on each Part as well as  
the number of Tones used by the selected Patch. (p. 53)  
The XV-88 is able to play up to 128 notes simultaneously. The  
following paragraphs discuss what this means, and what will  
happen when more than 128 simultaneous voices are  
requested from the XV-88.  
Ca lcu la tin g th e N u m b e r o f Vo ice s  
Be in g Use d  
The XV-88 is able to play up to 128 notes simultaneously. The  
polyphony, or the number of voices (sounds) does not refer  
only to the number of sounds actually being played, but  
changes according to the number of tones used in the  
Patches, and the number of Waves used in the tones. The  
following method is used to calculate the number of sounds  
used for one Patch being played.  
It is not possible to make Voice Reserve settings that  
would cause the total of all Parts to be greater than 64  
voices.  
(Number of Sounds Being Played) x (Number of Tones Used by  
Patches Being Played) x (Number of Waves Used in the Tones)  
For example, with a Patch combining four tones, each of  
which uses two Waves, the actual number of sounds being  
played comes to 16. If you are using the XV-88 in  
Performance mode to play an ensemble, count the total  
number of Tones used by all the Parts using the following  
formula.  
Ho w a Pa tch So u n d s  
When the XV-88 is requested to play more than 128 voices  
simultaneously, currently sounding notes will be turned off  
to make room for newly requested notes. The note with the  
lowest priority will be turned off first. The order of priority is  
determined by the Voice Priority setting.  
Voice Priority can be set either to LAST or LOUDEST. When  
LAST is selected, a newly requested note that exceeds the 128  
voice limit will cause the first-played of the currently  
sounding notes to be turned off. When LOUDEST is selected,  
the quietest of the currently sounding notes will be turned  
off. Normally, you will set Voice Priority to LAST.  
N o te Prio rity in Pe rfo rm a n ce Mo d e  
Since Performance mode is usually used to play an ensemble  
consisting of several Patches, it is important to decide which  
Parts take priority. Priority is specified by the Voice Reserve  
settings. When a note within a Patch needs to be turned off to  
make room for a new note, the Voice Priority setting of the  
Patch will apply.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
Zo n e Mo d e  
Ba sic O p e ra tio n s o n th e XV-8 8  
Sw itch in g Mo d e s  
This mode is used for a number of settings, such as those  
determining the way the sound generator produces sounds  
in response to the keyboard when played in a Performance  
and the way MIDI messages are sent, and for the  
The XV-88 contains a large number of functions. In order to  
organize these functions for easy access, they are grouped  
into the following modes. The mode that is selected will  
affect the way in which the sound generator operates, how  
data is shown in the display, and how the function buttons  
work.  
Arpeggiator and D Beam Controller functions.  
To switch to Zone mode, press [ZONE] while in Performance  
mode.  
Rh y th m Se t Mo d e  
This is how you can play a Rhythm Set from the keyboard  
and modify the Rhythm Set settings. In this mode, you can  
play percussion instruments (Rhythm Tones) on the  
keyboard. The XV-88 can also be used in this mode as a  
sound module for managing individual Rhythm Sets when  
controlled from an external MIDI device.  
Use the Mode buttons to select the mode. The indicator of the  
selected button will light/ blink, and the display will change  
according to the selected mode.  
fig.01-10  
GM Mo d e  
This special mode makes the XV-88 function as a GM  
compatible sound generator. You should select this mode  
when you want to play back a GM score (music files created  
for General MIDI sound generator).  
To set GM mode, hold down [SHIFT] and press [PERFORM].  
[PERFORM], [PATCH] and [RHYTHM] indicators will not  
light.  
So u n d Ge n e ra to r  
Selecting Patch mode, Performance mode, Rhythm Set mode,  
and GM mode will determine sound generator operation.  
One mode always has to be selected.  
Sy ste m Mo d e  
This mode is for determining global XV-88 settings such as  
tuning, display contrast and how MIDI messages are  
received.  
Pa tch Mo d e  
In this mode, you can play an individual Patch from the  
keyboard or modify Patch settings. If youre using an  
external MIDI device to control the XV-88 in this mode, it  
will function as a single-patch sound generator.  
Utility Mo d e  
Here you can save and transmit settings for the sound  
generator, and make settings related to memory cards.  
Pe rfo rm a n ce Mo d e  
In this mode, the XV-88 functions as a multi-timbral sound  
generator, and Performance settings can be modified. If  
youre using an external MIDI device to control the XV-88 in  
this mode, it will function as a multi-timbral sound  
generator.  
To modify the settings of a Patch or Rhythm Set thats  
assigned to a Part, hold down [PERFORM] and press  
[PATCH]. At this time, if a Patch is assigned to the Part, the  
[PERFORM] and [Patch] indicators will light. If a Rhythm Set  
is assigned to the Part, the [PERFORM] and [RHYTHM]  
indicators will light.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
In Pa tch Mo d e  
([EDIT] In d ica to r is Ex tin g u ish e d )  
Ab o u t th e Fu n ctio n Bu tto n s  
Function buttons are buttons that perform a variety of  
functions. The function they perform will depend on the  
current mode, and on whether [EDIT] is on (lit) or off  
(extinguished). [EDIT] will turn on or off each time you press  
The function buttons will act as Tone Switch buttons ([TONE  
SWITCH]) and Tone Select buttons ([TONE SELECT]).  
[TONE SWITCH] allow you to turn each Tone in the Patch  
on (lit) or off (extinguished). When a Tone is turned on, it can  
be heard.  
it.  
fig.01-11  
Use [TONE SELECT] to select the Tone you wish to modify.  
To select a Tone to modify, turn off [EDIT] indicator in the  
Tone setting page. To select two or more Tones  
simultaneously, hold down one of [TONE SELECT] and  
press the other [TONE SELECT]. In this case, the numbers of  
Tones other than the first-selected Tone will be displayed as *  
symbols.  
In Rh y th m Se t Mo d e  
([EDIT] In d ica to r is Ex tin g u ish e d )  
[EDIT] switches the function of the function buttons, but  
pressing [EDIT] will not make the display change. If you  
wish to modify a setting, press the [EDIT] to make the  
indicator light, and then press a function button to select  
the display group and switch the display. When you  
finish making settings, press [EXIT] or a mode button to  
switch the display.  
The function buttons (TONE SELECT section) will select the  
key shown in the display.  
If the [EDIT] indicator is turned off in the Rhythm Set setting  
page (the setting page for individual keys), the function  
buttons will select the key to be edited.  
TONE SELECT [1]: move to an octave lower key  
TONE SELECT [2]: move to the semitone below  
TONE SELECT [3]: move to the semitone above  
TONE SELECT [4]: move to an octave higher key  
In Pe rfo rm a n ce Mo d e  
([EDIT] In d ica to r is Ex tin g u ish e d )  
The Function buttons work as [ZONE SELECT] buttons that  
switch each Zones Local switch and Transmit switch on (lit)  
and off (extinguished).  
In GM Mo d e  
When the [LOCAL/ TX] indicator is extinguished, the switch  
has the linked Part for each Zone play (lit) or not play  
(extinguished).  
([EDIT] In d ica to r is Ex tin g u ish e d )  
The Function buttons work as [PART SELECT] buttons that  
switch the reception of Note messages on (lit) and off  
(extinguished).  
When the [LOCAL/ TX] indicator is lit, the switch allows the  
data describing all actions using the keyboard controller  
section for each Zone to be sent (lit) or prevents it from being  
sent (extinguished).  
Since 16 Parts are being controlled using only 8 buttons, use  
[1-8/ 9-16] to select the set of Parts you want to control. When  
the [1-8/ 9-16] indicator is out, you can switch Parts 18 on/  
off. When it is lit, you can switch Parts 916 on/ off.  
Since 16 Zones are being controlled using only 8 buttons, use  
[1-8/ 9-16] to select the set of Zones you want to control.  
When the [1-8/ 9-16] indicator is out, you can switch Zones  
18 on/ off. When it is lit, you can switch Zones 916 on/ off.  
If the [EDIT] indicator is turned off in the Part setting page,  
the function buttons will act as PART Select buttons ([PART  
SELECT]) that select the Part to be edited.  
If the [EDIT] indicator is turned off in the Part setting page,  
the function buttons will act as PART Select buttons ([PART  
SELECT]) that select the Part to be edited.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
W h e n [EDIT] In d ica to r is Lit  
Mo vin g th e Cu rso r (u n d e rlin e )  
Each mode contains a large number of settable items, and  
these items are organized into groups. When [EDIT]  
indicator is lit, the function buttons are used to select page  
groups. The displays that appear will depend on the current  
mode. The groups that can be selected in each mode are  
printed on the front panel above the buttons.  
When two or more items are shown in a single display page,  
move the cursor (underline) to the item whose value you  
wish to set. Press  
to move the cursor to the left, or  
to  
move it to the right.  
fig.01-14  
A
symbol appearing in the upper right of the display  
indicates that there are other items in this page that the  
screen has no room to show. Press to see these items, and  
to return to the previous page.  
Ab o u t th e Cu rso r Bu tto n s  
The Cursor buttons are pressed to switch pages and move  
the cursor, and are used for remote control of external  
press  
fig.01-15  
sequencers.  
fig.01-12  
Mo vin g Be tw e e n Disp la y Pa g e s  
Re m o te Co n tro l o f Ex te rn a l Se q u e n ce rs  
The various pages are grouped by function button, and each  
group contains several display pages. Use the cursor buttons  
to move between these display pages and groups.  
When any PLAY page is displayed, then by pressing the  
different CURSOR buttons while holding down [SHIFT], you  
can have remote start, stop, and other control functions of  
external sequencers connected to the XV-88. This is a useful  
and extremely convenient function to have in situations such  
as when playing ensemble using an external sequencer.  
Mo vin g Be tw e e n Pa g e s  
An upward-pointing arrow ( ) shown in the display  
indicates that one or more pages exist before this page. A  
downward-pointing arrow ( ) shown in the page indicates  
[SHIFT] +  
[SHIFT] +  
[SHIFT] +  
(NEXT SONG): Selects the next song.  
that one or more pages exist after this page. Press  
to  
(PREV SONG): Selects the previous song.  
(RESET): Returns to the beginning of the song.  
(START/ STOP): Starts and stops performance  
move to the previous page, or to move to the next page.  
Press  
while holding down [SHIFT] to jump to the first  
while holding down [SHIFT] to jump to the  
[SHIFT] +  
page. Press  
of the song.  
last page.  
fig.01-13  
When [SHIFT] is held down while  
(or  
) is  
pressed, the song either before (or after) the Song  
Number set with the Song Number parameter  
(SYSTEM/ INFO/ TRANSMIT SONG SEL) is selected (p.  
178).  
Mo vin g Be tw e e n Gro u p s  
In group pages that you select using the function buttons,  
you can hold down [SHIFT] and press  
to move to the  
group of the function button to the left, or hold down  
[SHIFT] and press  
button to the right.  
to move to the group of the function  
Some sequencers cannot be started or stopped without  
receiving the MIDI Clock (F8h), and settings on certain  
sequencers also cannot be changed. Please use a  
sequencer able to perform START/ STOP without  
requiring reception of the MIDI Clock (F8h). For more  
detailed information, refer to the owners manual for  
your sequencer.  
Whenever you are in any group page, you can move to  
another group even if [EDIT] indicator is out. In other words,  
this procedure allows you to move to a different group  
without having to turn on [EDIT] indicator, and is a faster  
and more efficient way to get around.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
< Example 1: To enter a value of 38 >  
Press [3] press [8] press [ENTER]  
< Example 2: To enter a value of -60 >  
Mo d ify in g a Va lu e  
To modify a value, use the VALUE dial, [INC/ +]/ [DEC/ -] or  
[0][9] (numeric keys).  
fig.01-16  
While holding down [SHIFT] press [0] press [6]  
press [0] press [ENTER]  
You can switch from a positive to negative numerical  
value anytime before you press [ENTER].  
Re sto rin g a Pre vio u s Va lu e (Un d o )  
If, after you change a value you decide that you want to go  
back to its original value (before you made the change), press  
[UNDO/ COMPARE]. You can also put your change back in  
again by pressing the button once more. The Undo function  
can be used when making changes to settings in the sound  
generator section. This is convenient when you want to undo  
changes or when you want to compare the sound before and  
after a change is made.  
Each parameter has a specific range, so you cannot set  
any value smaller than the minimum value or greater  
than the maximum value.  
VALUE Dia l  
Rotating the VALUE dial clockwise increases the value,  
counterclockwise decreases the value. Holding down  
[SHIFT] as you move the VALUE dial increases value  
increments so you can make large value changes faster.  
[IN C/ +] a n d [DEC/ -]  
Pressing [INC/ +] increases the value, and [DEC/ -] decreases  
it. Keep the button pressed for continuous adjustment. For  
faster value increases, keep [INC/ +] pressed down and press  
[DEC/ -]. For decreasing value faster, keep [DEC/ -] pressed  
down and press [INC/ +].  
If you press [INC/ +] or [DEC/ -] while holding down  
[SHIFT], the value increments will get bigger.  
[0 ]–[9 ] (N u m e ric Ke y s)  
[0][9] (Numeric Keys) lets you directly specify a numerical  
value. When you enter the number, the value will blink. This  
indicates that the value has not yet been finalized. To finalize  
the value press the ENTER button. To reverse the sign of the  
number (+/ -), hold down [SHIFT] and press [0].  
Some parameters do not require you to press [ENTER] to  
finalize the value.  
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Ch a p te r 1 . O ve rvie w o f th e XV-8 8  
Co n ve n ie n t Fu n ctio n s  
Assig n in g a N a m e  
While you are holding down [SHIFT], the screen will show  
three functions that are convenient when entering a name. To  
use each function, hold down [SHIFT] and press the  
The XV-88 lets you assign names to Patches, Performances,  
and Rhythm Sets. The procedure is the same for any type of  
data.  
appropriate function button.  
fig.01-17  
To assign a name, use  
/
to move the cursor to the  
location where you wish to input a character. Then use the  
VALUE dial or [INC/ +]/ [DEC/ -] or the Numeric Keys to  
input a character.  
Available characters/symbols:  
space, AZ, az, 09, ! " # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ]  
^ _ ` { | }  
Usin g th e N u m e ric Ke y s  
The numeric keys are used to input the numerals printed on  
each key as well as the characters assigned to each key (see  
the table below). Each time you press a numeric key, the  
display will cycle through the numeral and characters  
printed above the key. To specify a lowercase character, hold  
down [SHIFT] as you press the numeric key.  
A
a: switch between uppercase/ lowercase characters  
INS: insert a space at the cursor location  
Numeric Key  
Character  
A B C  
D E F  
DEL: delete the character at the cursor location  
[1]  
[2]  
[3]  
[4]  
[5]  
[6]  
[7]  
[8]  
[9]  
[0]  
G H I  
J K L  
M N O  
P Q R  
S T U  
V W X  
Y Z !  
space  
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Ch a p te r 2 . Pla y in g  
XP-A, B (W a ve Ex p a n sio n Bo a rd s in sta lle d in  
EXP-A, B Slo ts)  
Pla y in g in Pa tch Mo d e  
The sounds used for an ordinary performance are called  
These are the groups of Patches from Wave Expansion  
Boards (optional SR-JV80 Series) installed in the EXP-A and  
B slots, and cannot be overwritten. However, you can modify  
the settings of the currently selected Patch, and then save the  
modified settings in User memory or a memory card. The  
number of onboard Patches depends on the specific Wave  
Expansion Boards installed.  
Patches. Select a Patch before playing.  
Se le ctin g a Pa tch  
The XV-88 has eight Patch groups, including the User group  
and Preset Groups AF and H, with each group storing 128  
Patches (256 in Preset H), for a total of 1,152 Patches. In  
addition to these, you can also select Patches stored on  
memory cards (SmartMedia). Whats more, you can further  
expand your options by installing up to four optional Wave  
Expansion boards (two SR-JV80, two SRX Series), enabling  
you to select from a huge assortment of available Patches.  
XP-A, B Patches can be selected only if a Wave  
Expansion Board (SR-JV80 Series) is installed in the  
corresponding slot.  
XP-C, D (W a ve Ex p a n sio n Bo a rd s in sta lle d in  
EXP-C, D Slo ts)  
USER  
These are the groups of Patches from Wave Expansion  
Boards (optional SRX Series) installed in the EXP-C and D  
the settings of the currently selected Patch, and then save the  
modified settings in User memory or a memory card. The  
number of onboard Patches depends on the specific Wave  
Expansion Boards installed.  
This is the group inside the XV-88 which can be rewritten.  
Patches you yourself create can be stored in this group. The  
XV-88 includes 128 preset Patches (p. 253).  
CD-A–H (Me m o ry Ca rd A–H)  
This is the group to accessed when using Patches stored on  
memory cards (SmartMedia) inserted in the MEMORY  
CARD slot. You can also rewrite Patches you create. Each  
bank AH holds 128 Patches, meaning you can select from a  
maximum of 1,024 Patches.  
XP-C, D Patches can be selected only if a Wave Expansion  
Board (SRX Series) is installed in the corresponding slot.  
1 . Press [PATCH] to call up the PATCH PLAY page.  
fig.02-01.e  
Patches in CD-AH cannot be selected if no memory  
card (SmartMedia) is inserted in the MEMORY CARD  
slot.  
Patch number  
Patch group  
Patch name  
PR-A–F (Pre se t A–F)  
These are groups inside the XV-88 which cannot be  
rewritten. However, you can modify the settings of the  
currently selected Patch, and then save the modified settings  
in User memory or a memory card. Banks AF already  
contain 128 prepared Patches each, for a total of 768 Patches  
(p. 253).  
2 . Select a Patch group or a bank.  
USER  
Press [USER] to make the indicator light.  
CD-AH  
Press [CARD], and then press [A][H] to make the  
indicator light.  
PR-H (GM2 )  
PR-AF  
This is an internal group of Patches compatible with General  
MIDI 2, a system of MIDI function specifications designed to  
transcend differences between makers and types of devices;  
these Patches cannot be overwritten. Furthermore, settings of  
currently selected Patches from this group cannot be  
changed. The XV-88 includes 256 preset Patches.  
Press [PRESET], and then press [A][F] to make the  
indicator light.  
PR-H (GM2)  
Press [PRESET], and then press [H] to make the indicator  
light.  
XP-AD  
Press [EXP], and then press [A][D] to make the  
indicator light.  
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Ch a p te r 2 . Pla y in g  
3 . Select the Patch number. Rotate the VALUE dial or press  
Se le ctin g Pa tch e s b y Ca te g o ry  
(Pa tch Fin d e r)  
[INC/ +]/ [DEC/ -] to select a Patch.  
The XV-88 provides a Patch Search function(Patch Finder)  
which allows you to specify a type (category) of Patch so that  
you can quickly find the desired Patch. There are a total of 38  
categories.  
You can also select the Patch number by using the  
numeric keys. In this case, after specifying the number  
using the numeric keys, press [ENTER]. Also, Using the  
Digit Hold function, a Patch number can be selected  
simply by specifying the 1s place number.  
1 . Press [PATCH] to call up the PATCH PLAY page.  
2 . Press [PATCH FINDER] to turn the Patch Finder  
function on.  
The patch number display will change to the category  
Ex p re ss Pa tch Se le ct (Dig it Ho ld )  
display.  
fig.02-03  
With the Digit Hold function turned on, the 100s  
position and 10s position will be fixed when the  
numeric keys are used to select a Patch. This means that  
the numeric keys will only change the 1s position, and  
you wont have to press [ENTER] for each selection.  
3 . Press  
or  
to select the desired category.  
The same applies to selecting Performances and Rhythm  
Sets.  
Here, you can change the Category group by pressing  
the numeric keys.  
1 . Hold down [SHIFT] and press [0] (numeric key).  
The Digit Hold function is now turned on.  
4 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
fig.02-02  
choose a Patch in the currently selected category.  
5 . Press [PATCH FINDER] to turn the Patch Search  
The numbers in the 100s position and 10s position  
will be displayed in a smaller size to indicate Digit  
Hold is on.  
function off.  
You will return to the normal PATCH PLAY page.  
2 . When you enter a numeric key number, the 1s  
position will change immediately without having to  
press [ENTER].  
In Step 3, the CATEGORY SELECT page is displayed by  
holding down [PATCH FINDER] and pressing the  
numeric keys. In this page, you can select the desired  
Category from a list of Categories belonging to each  
3 . To turn off Digit Hold, hold down [SHIFT] and press  
[0] once again.  
Category group.  
fig.02-04  
Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
select a category, and then press [ENTER] to confirm the  
selection. You can also select a category directly by  
pressing the corresponding numeric key.  
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Ch a p te r 2 . Pla y in g  
The following categories can be selected.  
Se le ctin g Fa vo rite Pa tch e s fro m  
th e Fa vo rite List  
Category  
Group  
Category  
Contents  
On the XV-88, you can bring together your favorite and most  
frequently used Patches in one place by registering them in  
the Favorite List. The Favorite List gives you immediate  
access to your favorite Patches wherever they are stored,  
whether in the XV-88 itself, on Wave Expansion Boards, or  
on memory cards.  
--- NO ASSIGN  
No assign  
Piano  
PNO AC.PIANO  
EP EL.PIANO  
Acoustic Piano  
Electric Piano  
Keys&Organ  
KEY KEYBOARDS  
Other Keyboards  
(Clav, Harpsichord etc.)  
BEL BELL  
Bell, Bell Pad  
MLT MALLET  
ORG ORGAN  
ACD ACCORDION  
Mallet  
If you have saved Patches located on Wave Expansion  
Boards or memory cards onto the Favorite List, and then  
attempt to select one of the saved Patches without  
having the corresponding Wave Expansion Board  
installed, or the relevant memory card inserted, No  
mediaappears in the display, and the selected Patch  
cannot be played.  
Electric and Church Organ  
Accordion  
HRM HARMONICA  
Harmonica, Blues Harp  
Guitar  
AGT AC.GUITAR  
EGT EL.GUITAR  
DGT DIST.GUITAR  
Acoustic Guitar  
Electric Guitar  
Distortion Guitar  
Bass  
BS BASS  
Acoustic & Electric Bass  
Synth Bass  
SBS SYNTH BASS  
For instructions on how to register to the Favorite List,  
in the Favorite List(p. 165).  
Orchestral  
STR STRINGS  
ORC ORCHESTRA  
HIT HIT&STAB  
WND WIND  
Strings  
Orchestra Ensemble  
Orchestra Hit, Hit  
Winds (Oboe, Clarinet etc.)  
Flute, Piccolo  
1 . Press [PATCH] to call up the PATCH PLAY page.  
2 . While holding down [SHIFT], press [PATCH FINDER].  
FLT FLUTE  
The FAVORITE LIST page will appear.  
fig.02-05  
Brass  
Synth  
BRS AC.BRASS  
SBR SYNTH BRASS  
SAX SAX  
Acoustic Brass  
Synth Brass  
Sax  
3 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
HLD HARD LEAD  
SLD SOFT LEAD  
Hard Synth Lead  
Soft Synth Lead  
select a Patch.  
TEK TECHNO SYNTH Techno Synth  
4 . When you press [ENTER], the Patch is selected and you  
PLS PULSATING  
FX SYNTH FX  
Pulsating Synth  
Synth FX (Noise etc.)  
Poly Synth  
are returned to the PATCH PLAY page.  
SYN  
OTHER SYNTH  
Pad  
BPD BRIGHT PAD  
SPD SOFT PAD  
VOX VOX  
Bright Pad Synth  
Soft Pad Synth  
Vox, Choir  
Ethnic  
PLK PLUCKED  
Plucked (Harp etc.)  
Other Ethnic  
ETH  
ETHNIC  
FRT FRETTED  
Fretted Inst  
(Mandolin etc.)  
Rhythm&SFX  
PRC PERCUSSION  
SFX SOUND FX  
Percussion  
Sound FX  
BTS BEAT&GROOVE Beat and Groove  
DRM DRUMS  
Drum Set  
CMB COMBINATION  
Other Patches which  
use Split and Layer  
3 1  
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Ch a p te r 2 . Pla y in g  
7 . If you set the Preview Mode parameter to PHRASE in  
step 5, you can specify the phrase that will sound. After  
pressing [EDIT] to make the indicator light up, press the  
Usin g Ph ra se Pre vie w to Pla y  
Pa tch e s  
The XV-88 allows you to preview Patches by hearing a  
phrase appropriate for each type of Patch.  
[COMMON] function button, and press  
display the PATCH CATEGORY page.  
or  
to  
fig.05-08  
1 . Select a Patch (p. 29).  
2 . Press and hold [PHRASE PREVIEW].  
8 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
make the setting. For details on the available categories,  
refer to (p. 31).  
In Performance mode, only the Patches of the currently  
selected Part (current Part) will sound. In Rhythm Set  
mode, a drum phrase will sound.  
The Patch Finder function uses this setting.  
Patches of the USER group or from an optional Wave  
Expansion Board (SR-JV80 Series and SRX Series) may  
not sound at the appropriate pitch range. If this occurs,  
press [+OCT] or [-OCT] to select the desired pitch range  
(Octave Shift p. 47).  
Ma k in g a Pa tch So u n d Th ick o r  
Th in (Tu rn in g a To n e O n / O ff)  
Since a Patch is a combination of up to four Tones, you can  
switch unwanted (Tones out of the four) off and get just the  
If the pitch range of a Phrase is wider than the range of  
the Tones within a Patch (p. 73), or wider than the range  
of a Part within a Performance (p. 51), any notes in the  
Phrase that fall outside that range will not be heard.  
1 . Make sure that the PATCH PLAY page is displayed.  
3 . Release your finger from [PHRASE PREVIEW], and the  
2 . Make sure that [EDIT] indicator is extinguished. If it is  
phrase will stop playing.  
lit, press [EDIT].  
4 . To change the way in which the phrase is played, press  
At this time, the on/ off setting of each Tone in the  
displayed Patch will be shown by the indicators of  
TONE SWITCH [1][4]. Lit is on, and dark is off.  
[SYSTEM] to make the indicator light. Then press the  
[PREVIEW] function button, and press  
access the SYSTEM PREVIEW page.  
or  
to  
The PATCH PLAY page indicates the Tones that are on  
fig.09-21  
as follows. Tones that are off are shown as -.  
fig.02-06  
5 . Rotate the VALUE dial, or press [INC/ +]/ [DEC/ -] to  
make the setting.  
3 . Use TONE SWITCH [1][4] to switch Tones on/ off.  
Pre vie w Mo d e (Pre vie w So u n d Mo d e )  
This setting is linked with the Switch parameter  
(PATCH/ WAVE/ WAVE). If you want just one or two  
Tones to sound in a Patch, turn the others off and store  
that setting on a Patch. This cuts nonessential use of the  
XV-88s simultaneous voices.  
SINGLE: The notes specified by Note 14 parameter  
(SYSTEM/ PREVIEW/ PREVIEW KEY) will sound  
successively one by one.  
CHORD: The notes specified by Note 14 parameter  
(SYSTEM/ PREVIEW/ PREVIEW KEY) will sound  
simultaneously.  
PHRASE: The Phrase associated with the Patchs type/  
category is played.  
For details on the Note 14 parameter settings, refer to  
6 . Press [EXIT] to return to the PATCH PLAY page.  
3 2  
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Ch a p te r 2 . Pla y in g  
Pla y in g Sin g le N o te s (So lo )  
Cre a tin g Sm o o th Pitch Ch a n g e s  
(Po rta m e n to )  
Normally, the XV-88 allows you to play chords. Pressing  
[SOLO] allows performance using single notes. This function  
is effective when performing a solo using single-note Patches  
like sax and flute.  
Portamento ensures a smooth pitch changeover from one  
note to the next note played. When [SOLO] is on (indicator  
lights), you can simulate techniques like violin glissandos.  
1 . Make sure that the PATCH PLAY page is displayed.  
1 . Make sure that the PATCH PLAY page is displayed.  
2 . Press [SOLO] so its indicator lights.  
2 . Press [PORTAMENTO]. Its indicator lights.  
Now you can play a solo.  
Youre ready to play portamento.  
3 . Play the XV-88 keyboard.  
3 . To change the portamento settings, press [EDIT] to make  
the indicator light. Then press the [CONTROL] function  
button, and press  
or  
to access the PATCH  
During Layer Performance, the [SOLO] indicator goes  
out each time you change the Performance. Also, the  
[SOLO] indicator does not reflect Mono/ Poly mode-  
switching information received from an external MIDI  
device.  
PORTAMNT page.  
fig.05-34  
4 . Press the cursor buttons to move the cursor over to  
Time,” “Mode,” “Typeor Start.”  
See (p. 76) for each parameters functions.  
5 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to get  
the value you want.  
6 . Press [EXIT] to return to the PATCH PLAY page and  
play.  
During Layer Performance, the [PORTAMENTO]  
indicator goes out each time you change the  
Performance. Also, the [PORTAMENTO] indicator does  
not reflect Portamento on/ off-switching information  
received from an external MIDI device.  
3 3  
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Ch a p te r 2 . Pla y in g  
Usin g th e Slid e rs to Mo d ify th e  
So u n d in Re a ltim e  
Pla y in g in Pe rfo rm a n ce Mo d e  
There are two types of performances: Layer Performances  
and Single Performances. The upper right of the display  
will indicate LAYER p * (* is the Part number) for a Layer  
Performance, and part= * (* is the Part number) for a  
Single Performance.  
With the four sliders (Palette Slider) in the PALETTE section,  
you can create sound variations or volume changes in  
realtime.  
The sound character and volume changes created using  
the sliders can be transmitted to the external MIDI  
devices (p. 170).  
Ab o u t th e MIDI Co n n e ctio n Se ttin g s  
(Zo n e a n d Pa rt)  
Although the XV-88s keyboard controller section and  
sound generator section are connected internally using a  
MIDI connection, in Layer Performance mode, you can  
then make even more detailed settings affecting the way  
the connection works between the keyboard controller  
section and the sound generator section, as well as with  
an external MIDI device.  
Ch a n g in g So u n d Ch a ra cte rs  
1 . Make sure that the PATCH PLAY page is displayed.  
2 . Press [FILTER/ ENV] to light its indicator.  
3 . Move the sliders while you play the XV-88s keyboard to  
vary the sound.  
To modify the brightness, move the [CUTOFF] slider.  
To change resonance, move the [RESONANCE] slider.  
To change attack time, move the [ATTACK] slider.  
To change release time, move the [RELEASE] slider.  
At the factory settings, shown below, there is a one-to-  
one correspondence between the Zone, the MIDI  
Transmit/Receive channel, and the Part.  
<Layer Performance>  
fig.01-07.e  
Zone 16 (MIDI transmit channel 16)  
Part 16 (MIDI receive channel 16)  
Ch a n g in g th e Vo lu m e o f Ea ch To n e  
1 . Make sure that the PATCH PLAY page is displayed.  
2 . Press [LEVEL] to light its indicator.  
Zone 2 (MIDI transmit channel 2)  
Zone 1 (MIDI transmit channel 1)  
Part 2 (MIDI receive channel 2)  
Part 1 (MIDI receive channel 1)  
Patch/  
Rhythm Set  
3 . Move the LEVEL slider as you play the keyboard to  
adjust volume as desired.  
Sliders 1, 2, 3, and 4 are used to change the volume of  
Tones 1, 2, 3, and 4, respectively.  
Under these conditions, you could simply consider that  
each of the Zones from 1 to 16 is linked in a one-to-  
one relationship with its numerical counterpart  
among Parts 1 to 16. In other words, you can use Zone  
1 when controlling Part 1, Zone 2 is when controlling  
Part 2, and so on.  
We recommend that under normal circumstances  
you use the default factory settings.  
In this manual, the expression the Zone and Part  
are linkedrefers to the condition whereby a Zones  
MIDI transmit channel and a Parts MIDI receive  
channel are matched in this one-to-one relationship.  
The explanations in this section describe how to play  
Performances using the factory Zone settings.  
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Ch a p te r 2 . Pla y in g  
<La y e r Pe rfo rm a n ce >  
CD-A–H (Me m o ry Ca rd A–H)  
In a Layer Performance, you can select multiple Zones, and  
play those Zones and their linked Parts simultaneously.  
Select Layer Performance if you want fat, rich sounds of two  
or more Patches, or want to play different Patches in a split  
keyboards different sections.  
This is the group to accessed when using Performances  
stored on memory cards (SmartMedia) inserted in the  
MEMORY CARD slot. You can also rewrite Performances  
you create. Each bank AH holds 64 Performances, meaning  
you can select from a maximum of 512 Performances.  
<Sin g le Pe rfo rm a n ce >  
With a Single Performance, you can play the currently  
selected Part (current Part). This means that you can use it to  
do things like playing just a single part in a song that uses a  
number of instruments. Zone settings are ignored. Also, if  
another Part is set to the same MIDI Receive channel as the  
currently selected Part, that Part is also played.  
Performances in CD-AH cannot be selected if no  
memory card (SmartMedia) is inserted in the MEMORY  
CARD slot.  
PR-A, B (Pre se t A, B)  
These are groups inside the XV-88 which cannot be  
rewritten. However, you can modify the settings of the  
currently selected Performance, and then save the modified  
settings in User memory or a memory card. Banks A and B  
already contain 32 prepared Performances each, for a total of  
64 Performances (p. 252).  
The Single Performance and Layer Performance settings  
are selected with the Key Mode parameter (ZONE/  
COMMON/ ZONE COMMON). The Key Mode  
parameter determines how the XV-88 keyboard will play  
the internal sound generator. It has no effect on how the  
XV-88 sound generator is played from an external MIDI  
device.  
1 . Press [PERFORM] to call up the PERFORM PLAY page.  
fig.02-07.e  
Performance number  
Performance group  
Performance number  
You can toggle between SINGLE and LAYER directly  
from the PERFORM PLAY page by pressing [SOLO]  
while holding down [SHIFT].  
2 . Select a Performance group or Bank.  
USER  
Press [USER] to make the indicator light.  
CD-AH  
Se le ctin g a Pe rfo rm a n ce  
Press [CARD], and then press [A][H] to make the  
The XV-88 has three Performance groups, including the User  
group and Preset Groups A, B, with 64 Performances in the  
User group and 32 each in Presets A and B, for a total of 128  
Performances. In addition to these, you can also select  
Performances stored on memory cards (SmartMedia).  
indicator light.  
PR-A, B  
Press [PRESET], and then press [A] or [B] to make the  
indicator light.  
3 . Select the Performance number. Select by either rotating  
USER  
the VALUE dial or by pressing [INC/ +]/ [DEC/ -].  
This is the group inside the XV-88 which can be rewritten.  
Performances you yourself create can be stored in this group.  
The XV-88 contains 64 preset Performances (p. 252).  
numeric keys. In this case, after specifying the number  
using the numeric keys, press [ENTER]. Also, Using the  
Digit Hold function, a Performance number can be  
selected simply by specifying the 1s place number (p.  
30).  
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Ch a p te r 2 . Pla y in g  
Pla y in g Fa tte r a n d Rich e r So u n d s  
b y Co m b in in g Pa tch e s (La y e r)  
Sp littin g th e Ke y b o a rd to Pla y  
Se p a ra te Pa tch e s in Diffe re n t  
Se ctio n s (Sp lit)  
In a Layer Performance, the Zones whose Local switches are  
set to ON along with all linked Parts can be played.  
If youve selected a Layer Performance, you can split the  
keyboard to play separate Patches with different sections of  
the keyboard. As the note range that plays each Zone can be  
specified individually, you can split the keyboard into a  
maximum of 16 sections.  
Combining the Parts will produce, thicker, fatter sounds.  
fig.02-08.e  
Part 1  
Part 2  
Part 15  
Part 16  
(Rx ch.1)  
(Rx ch.2)  
(Rx ch.15)  
(Rx ch.16)  
For instance, you can play strings in the lower range, piano  
in the upper range, and both sounds in the middle range.  
fig.02-09.e  
Local Switch: On  
Part 1: Strings  
Zone 1 (Tx ch.1)  
Zone 2 (Tx ch.2)  
Part 1 + Part 2:  
(Strings + Piano)  
Part 2: Piano  
Zone 15 (Tx ch.15)  
Zone 16 (Tx ch.16)  
If a Patch key range is set in the KEY RANG page  
(PATCH/ COMMON), sounds are produced in the  
overlapping sections between the key ranges specified  
for the Patch and Performance.  
1 . Make sure the PERFORM PLAY page is displayed.  
2 . Make sure that the upper right of the display indicates  
LAYER p * (* is the Part number). If the display  
indicates part= * (* is the Part number), the  
performance is a Single Performance,so hold down  
[SHIFT] and press [SOLO] to change to a Layer  
Performance.  
fig.02-10.e  
Key range specified for Performance  
Key range specified for Patch  
The range in which notes will play  
The setting here is linked to the Key Mode parameter  
(ZONE/ COMMON/ ZONE COMMON) (p. 58).  
Although you can set the key range of each Part in the  
performing with the XV-88s keyboard, we recommend  
setting the key range of each Zone, as explained here,  
rather than setting the key range for each Part.  
3 . Confirm that the [EDIT] and [LOCAL/ TX] indicators are  
extinguished, and, press a Function button to select the  
Zone linked to the Part you want played, lighting the  
buttons indicator. When the [1-8/ 9-16] indicator is out,  
zones 18 can be selected, and when the [1-8/ 9-16]  
indicator is lit, zones 916 can be selected.  
1 . Make sure the PERFORM PLAY page is displayed.  
2 . Make sure that the upper right of the display indicates  
LAYER p * (* is the Part number). If the display  
indicates part= * (* is the Part number), the  
performance is a Single Performance,so hold down  
[SHIFT] and press [SOLO] to change to a Layer  
Performance.  
The Local Switch for the selected zone will be turned  
ON.  
At the factory settings, there is a one-to-one  
correspondence between each of the Zones 116 and  
Parts 116.  
The setting here is linked to the Key Mode parameter  
(ZONE/ COMMON/ ZONE COMMON) (p. 58).  
The setting here is linked to the setting at the Local  
parameter (ZONE/ MIDI/ MIDI) (p. 60).  
4 . Repeat Step 3 to set the Local switch to ON for all Zones  
linked to the Parts you want to have play.  
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Ch a p te r 2 . Pla y in g  
3 . Confirm that the [EDIT] and [LOCAL/ TX] indicators are  
extinguished, and, press a Function button to select the  
Zone linked to the Part you want played, lighting the  
buttons indicator. When the [1-8/ 9-16] indicator is out,  
zones 18 can be selected, and when the [1-8/ 9-16]  
indicator is lit, zones 916 can be selected.  
Pla y in g Alo n g w ith So n g  
Pla y b a ck (XV-8 8 Use d a s a  
Mu lti-tim b ra l So u n d Ge n e ra to r)  
In a Single Performance, you can sound the single specified  
Part (current Part), making this convenient in such situations  
as when performing along with songs.  
fig.02-11.e  
The Local Switch for the selected zone will be turned  
ON.  
Part 1  
Part 2  
Part 15  
Part 16  
(Rx ch.1)  
(Rx ch.2)  
(Rx ch.15)  
(Rx ch.16)  
At the factory settings, there is a one-to-one  
correspondence between each of the Zones 116 and  
Parts 116.  
The setting here is linked to the setting at the Local  
parameter (ZONE/ MIDI/ MIDI) (p. 60).  
(Tx ch.1)  
4 . Repeat Step 3 to set the Local switch to ON for all Zones  
linked to the Parts you want to have play.  
Se le ctin g a Pa rt Yo u W a n t to Pla y o n  
th e Ke y b o a rd  
5 . Press [ZONE], getting the indicator to light, and then  
press the [KEY RANGE] function button to access the  
If a Single Performance is selected, press Function button to  
select the Part you want to play. The selected Part is called  
the Current Part.  
KEY RANG page.  
fig.04-07  
1 . Make sure the PERFORM PLAY page is displayed.  
6 . Turn off the [EDIT] indicator, and press a Function  
button to select the Zone whose Local switch is set to  
ON. When the [1-8/ 9-16] indicator is out, zones 18 can  
be selected, and when the [1-8/ 9-16] indicator is lit,  
zones 916 can be selected.  
2 . Confirm that the [EDIT] indicator is extinguished, and  
press the Function button to select the Part you want to  
play using the keyboard. When the [1-8/ 9-16] indicator  
is out, Parts 18 can be selected, and when the [1-8/ 9-16]  
indicator is lit, Parts 916 can be selected.  
The Part number shown in the upper right of the display  
7 . Specifies the keyboard range for the Zone. Use the cursor  
buttons to move the cursor to Lowerand set the lowest  
note of the range. Move the cursor to Upperand set the  
highest note of the range.  
will change.  
fig.02-12  
8 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
specify the range of notes.  
You can also select the Part by pressing  
or  
.
The keyboard controllers performance data will be  
transmitted on the same MIDI channel as the MIDI  
Receive channel that is set for the current Part.  
By specifying sections for different Zones so that they  
overlap each other, you can combine two or more  
Patches only in a specific section.  
9 . When you are finished making settings, press [EXIT] to  
return to the PERFORM PLAY page, and begin playing.  
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Ch a p te r 2 . Pla y in g  
Mu tin g a Sp e cific Pa rt  
(Tu rn in g Re ce ive Sw itch O n / O ff)  
Using the Patch Finder function, you can rapidly find the  
desired Patch (p. 30).  
While you play along with the playback of a song, you can  
turn on/ off any specific Part. This allows you to turn off the  
melody Part for karaoke applications or for practicing the  
muted Part.  
By using the Phrase Preview function, you can audition  
patches by listening to a preset phrase suitable for the  
selected type of patch (p. 32).  
1 . Make sure that [EDIT] indicator is extinguished. If it is  
5 . Press [PERFORM] or [EXIT] to return to the PERFORM  
lit, press [EDIT].  
PLAY page.  
In this case, by holding down [SHIFT], you can check  
Function button indicators to see the ON/ OFF status of  
each Parts Receive switch. When [1-8/ 9-16] indicator is  
out, the function button indicators will indicate the  
status of Parts 18. When [1-8/ 9-16] indicator is lit, the  
function button indicators will indicate the status of  
Parts 916. Lit is on, and dark is off.  
By pressing [RHYTHM] in Step 4, you can substitute a  
Rhythm Set for the Patch assigned to the Part.  
Usin g th e Slid e rs to Mo d ify th e  
So u n d in Re a ltim e  
2 . Hold down [SHIFT] and press the function button to  
With the four sliders in the PALETTE section (the Palette  
sliders), you can change the sound qualities of the Patches  
assigned to the Parts and adjust the volume level of each  
Part.  
switch the Receive switch on/ off.  
This setting is linked with the Rx Sw parameter  
(PERFORM/ MIDI/ MIDI) (p. 52).  
The sound character and volume changes created using  
the sliders can be transmitted to the external MIDI  
devices (p. 59).  
Assig n in g a Diffe re n t Pa tch to a  
Pa rt  
The Patch assigned to each Part can be stored as a  
Performance parameter.  
Ch a n g in g So u n d Ch a ra cte rs  
1 . Make sure the PERFORM PLAY page is displayed.  
When selecting a Single Performance, the effect is  
applied to the single specified Part (current Part). When  
a Layer Performance is selected, the effect is applied to  
all Zones with Local switches set to ON and their linked  
Parts.  
2 . While holding down [PERFORM], press [PATCH] to call  
up the PLAY page (PART PLAY) of the Patch assigned to  
a specific Part.  
fig.02-13  
1 . Make sure the PERFORM PLAY page is displayed.  
The upper right of the display will indicate the number  
of the currently selected part.  
2 . Press [FILTER/ ENV] and its indicator lights.  
3 . Move the sliders while you play the XV-88s keyboard to  
3 . Press  
or  
to choose the Part to which the selected  
vary the sound.  
Patch is assigned.  
To modify the brightness, move the [CUTOFF] slider.  
To change resonance, move the [RESONANCE] slider.  
To change attack time, move the [ATTACK] slider.  
To change release time, move the [RELEASE] slider.  
4 . Use the same procedure as in Patch mode to select a  
Patch (p. 29).  
This setting is linked with the Group and Number  
parameter (PERFORM/ PART/ PATCH) (p. 53).  
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Ch a p te r 2 . Pla y in g  
Ad ju stin g th e Vo lu m e Ba la n ce  
Be tw e e n Pa rts  
Pla y in g in Rh y th m Se t Mo d e  
In Rhythm Set mode, you can play percussion instruments  
(Rhythm Tones) on the keyboard. As the Rhythm Tone  
assigned to each key varies by the Rhythm Set selected, you  
can play a wide range of percussion instruments.  
1 . Make sure the PERFORM PLAY page is displayed.  
2 . Press [LEVEL] and its indicator lights.  
3 . Press  
or  
to select the Part whose volume you  
want to change.  
If youve selected any of Parts 1-4, sliders [1], [2], [3], and  
Se le ctin g a Rh y th m Se t  
[4] adjust Parts 1, 2, 3, and 4, respectively.  
The XV-88 has eight Rhythm Set groups, including the User  
group and Preset Groups AF and H, with 4 Rhythm Sets in  
the User group, 2 each in Presets AF, and 9 Rhythm Sets in  
Preset H, for a total of 25 Rhythm Sets. In addition to these,  
you can also select Rhythm Sets stored on memory cards  
(SmartMedia). Whats more, you can further expand your  
options by installing up to four optional Wave Expansion  
boards (two SR-JV80, two SRX Series), enabling you to select  
from a large selection of Rhythm Sets.  
If youve selected any of Parts 5-8, sliders [1], [2], [3], and  
[4] adjust Parts 5, 6, 7, and 8, respectively.  
If youve selected any of Parts 9-12, sliders [1], [2], [3],  
and [4] adjust Parts 9, 10, 11, and 12, respectively.  
If youve selected any of Parts 13-16, sliders [1], [2], [3],  
and [4] adjust Parts 13, 14, 15, and 16, respectively.  
4 . Move the slider as you play to adjust the level (volume)  
of each Part as desired.  
USER  
This is the group inside the XV-88 which can be rewritten.  
Rhythm Sets you yourself create can be stored in this group.  
The XV-88 includes four preset Rhythm Sets (p. 258).  
If the MIDI Receive channels for multiple Parts are set to  
the same value, the volume levels of several Parts could  
change at the same time.  
CD-A–H (Me m o ry Ca rd A–H)  
This is the group to accessed when using Rhythm Sets stored  
on memory cards (SmartMedia) inserted in the MEMORY  
CARD slot. You can also rewrite Rhythm Sets you create.  
Each bank AH holds 4 Rhythm Sets, meaning you can select  
from a maximum of 32 Rhythm Sets.  
Rhythm Sets in CD-AH cannot be selected if no  
memory card (SmartMedia) is inserted in the MEMORY  
CARD slot.  
PR-A–F (Pre se ts A–F)  
These are groups inside the XV-88 which cannot be  
rewritten. However, you can modify the settings of the  
currently selected Rhythm Set, and then save the modified  
settings in User memory or a memory card. Banks AF  
already contain 2 prepared Rhythm Sets each, for a total of 12  
Rhythm Sets (p. 258).  
PR-H (GM2 )  
This is an internal group of Rhythm Sets compatible with  
General MIDI 2, a system of MIDI function specifications  
designed to transcend differences between makers and types  
of devices; these Rhythm Sets cannot be overwritten.  
Furthermore, settings of currently selected Rhythm Sets from  
this group cannot be changed. The XV-88 includes 9 preset  
Rhythm Sets.  
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Ch a p te r 2 . Pla y in g  
XP-AD  
XP-A, B (W a ve Ex p a n sio n Bo a rd s in sta lle d in  
EXP-A, B Slo ts)  
Press [EXP], and then press [A][D] to make the  
These are the groups of Rhythm Sets from Wave Expansion  
Boards (optional SR-JV80 Series) installed in the EXP-A and  
B slots, and cannot be overwritten. However, you can modify  
the settings of the currently selected Rhythm Set, and then  
save the modified settings in User memory or a memory  
card. The number of onboard Rhythm Sets depends on the  
specific Wave Expansion Boards installed.  
indicator light.  
3 . Select the Rhythm Set number. Rotate the VALUE dial or  
press [INC/ +]/ [DEC/ -] to select the number.  
You can also select the Rhythm Set number by using the  
numeric keys. In this case, after specifying the number  
using the numeric keys, press [ENTER]. Also, Using the  
Digit Hold function, a Rhythm Set number can be  
selected simply by specifying the 1s place number (p.  
30).  
XP-A, B Rhythm Sets can be selected only if a Wave  
Expansion Board (SR-JV80 Series) is installed in the  
corresponding slot.  
XP-C, D (W a ve Ex p a n sio n Bo a rd s in sta lle d in  
EXP-C, D Slo ts)  
Se le ctin g Fa vo rite Rh y th m Se ts  
fro m th e Fa vo rite List  
These are the groups of Rhythm Sets from Wave Expansion  
Boards (optional SRX Series) installed in the EXP-C and D  
slots, and cannot be overwritten. However, you can modify  
the settings of the currently selected Rhythm Set, and then  
save the modified settings in User memory or a memory  
card. The number of onboard Rhythm Sets depends on the  
specific Wave Expansion Boards installed.  
On the XV-88, you can bring together your favorite and most  
frequently used Rhythm Sets in one place by registering  
them in the Favorite List. The Favorite List gives you  
immediate access to your favorite Rhythm Sets wherever  
they are stored, whether in the XV-88 itself, on Wave  
Expansion Boards, or on memory cards.  
If you have saved Rhythm Sets located on Wave  
Expansion Boards or memory cards onto the Favorite  
List, and then attempt to select one of the saved Rhythm  
Sets without having the corresponding Wave Expansion  
Board installed, or the relevant memory card inserted,  
No mediaappears in the display, and the selected  
Rhythm Set cannot be played.  
XP-C, D Rhythm Sets can be selected only if a Wave  
Expansion Board (SRX Series) is installed in the  
corresponding slot.  
1 . Press [RHYTHM] to call up the RHYTHM PLAY page.  
fig.02-14.e  
Rhythm Set number  
Rhythm Set group  
Rhythm Set name  
For instructions on how to register to the Favorite List,  
in the Favorite List(p. 165).  
2 . Select a Rhythm Set group or Bank.  
USER  
1 . Press [PATCH] to call up the RHYTHM PLAY page.  
Press [USER] to make the indicator light.  
2 . While holding down [SHIFT], press [PATCH FINDER].  
CD-AH  
The FAVORITE LIST page will appear.  
fig.02-05  
Press [CARD], and then press [A][H] to make the  
indicator light.  
PR-AF  
Press [PRESET], and then press [A][F] to make the  
3 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
indicator light.  
select a Rhythm Set.  
PR-H (GM2)  
4 . When you press [ENTER], the Rhythm Set is selected and  
Press [PRESET], and then press [H] to make the indicator  
light.  
you are returned to the RHYTHM PLAY page.  
4 0  
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Ch a p te r 2 . Pla y in g  
Pla y in g Pe rcu ssio n In stru m e n ts  
1 . Press [RHYTHM] to call up the RHYTHM PLAY page.  
2 . Select a desired Rhythm Set.  
Pla y in g Arp e g g io s  
(Arp e g g ia to r)  
The Arpeggiator provides for the play of the various notes in  
chords. The XV-88s Arpeggiator lets you produce an  
arpeggio (broken chord) simply by playing a chord. In  
addition to normal arpeggios, you can also accurately  
simulate rhythm guitar or strumming techniques depending  
on the Arpeggiator settings. The Arpeggiator can in fact be  
used as a handy automatic arranger.  
3 . Press a key on the keyboard to play a percussion  
instrument.  
The key (Note name) you press and its percussion  
instrument name (Rhythm Tone name) will be displayed  
below the Rhythm Set name.  
fig.02-15.e  
By pressing [ARPEGGIO], the indicator lights and allows  
playing arpeggios from the XV-88 keyboard.  
Note name  
Rhythm Tone name  
If you press [ARPEGGIO] to turn this function on when  
a Single Performance is selected, the single specified Part  
(current Part) will play arpeggios. When a Layer  
Performance is selected, an arpeggio will sound for the  
Zone specified by the Zone parameter (ZONE/  
ARPEGGIO/ ARPEGGIO).  
You can also select a key to be displayed by using TONE  
SELECT [1][4].  
TONE SELECT [1]: move to an octave lower key  
TONE SELECT [2]: move to the semitone below  
TONE SELECT [3]: move to the semitone above  
TONE SELECT [4]: move to an octave higher key  
The arpeggios played by the arpeggiator can be  
transmitted from the MIDI OUT connector to external  
MIDI devices (p. 59).  
1 . Make sure that the PLAY page of the sound generator  
mode (PERFORM, PATCH, RHYTHM, or GM) is  
displayed.  
2 . Press [ARPEGGIO] to turn the Arpeggiator on.  
3 . If you wish to change how the arpeggio is played, hold  
down [ARPEGGIO] to access the ARP SELECT page,  
move the cursor to Style,and change the setting.  
fig.02-16  
This setting is linked with the Style parameter.  
In Patch/Rhythm Set/GM Mode  
Style parameter (SYSTEM/ ARPEGGIO/ ARPEGGIO) (p.  
174)  
In Performance Mode  
Style parameter (ZONE/ ARPEGGIO/ ARPEGGIO) (p.  
61)  
4 1  
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Ch a p te r 2 . Pla y in g  
There are 45 arpeggio styles available. For selection, refer to  
the following guideline.  
5 . To change the range in which the arpeggio is played,  
hold down [ARPEGGIO] to access the ARP SELECT  
page, move the cursor to Oct,and change the setting.  
fig.02-18  
Pla y in g a n Arp e g g io Acco rd in g to th e Tim in g  
In te rva l o f a N o te  
1/ 41/ 32  
If you want the arpeggio to sound using only the notes  
that you actually play, set this to 0. With a +1 setting,  
arpeggio will take place over a range up to 1 octave  
higher than the notes you play. A -1 setting will result in  
arpeggio occurring over the range down to 1 octave  
lower than the notes you play.  
Pla y in g a Glissa n d o  
GLISSANDO  
Pla y in g a Ba ss Pa rt  
SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS  
Pla y in g a Gu ita r  
RHYTHM GTR 15, 3 FINGER, STRUM GTR DOWN,  
This setting is linked with the Octave Range parameter.  
STRUM GTR UP, STRUM GTR UP&DN  
In Patch/Rhythm Set/GM Mode  
Octave Range parameter (SYSTEM/ ARPEGGIO/  
ARPEGGIO) (p. 175)  
Pla y in g a Ke y b o a rd In stru m e n t  
PIANO BACKING, CLAVI CHORD  
In Performance Mode  
Pla y in g a W a ltz  
Octave Range parameter (ZONE/ ARPEGGIO/  
ARPEGGIO) (p. 61)  
WALTZ, SWING WALTZ  
6 . To change the tempo in which the arpeggio is played,  
hold down [ARPEGGIO] to access the ARP SELECT  
display, move the cursor to Tempo,and change the  
Pla y in g in Re g g a e Sty le  
REGGAE  
setting.  
fig.02-19  
Pla y in g Pe rcu ssio n In stru m e n ts  
PERCUSSION  
There are also other styles besides the above, including  
those used for random play and for creating your own  
styles. For details regarding each style, refer to  
This setting is linked with the Tempo parameter.  
In Patch/Rhythm Set/GM Mode  
Tempo parameter (SYSTEM/ ARPEGGIO/ ARPEGGIO)  
(p. 176)  
4 . To change the groovefeel of the arpeggio, hold down  
[ARPEGGIO] to access the ARP SELECT page, move the  
In Performance Mode  
cursor to Accent,and change the setting.  
fig.02-17  
Tempo parameter (ZONE/ ARPEGGIO/ ARPEGGIO) (p.  
63)  
7 . Play a chord to produce an arpeggio.  
A setting of 100% will produce the most pronounced  
groove feel.  
8 . To stop the arpeggio, press [ARPEGGIO], extinguishing  
the indicator.  
This setting is linked with the Accent Rate parameter.  
If you hold down [SHIFT] when you press [ARPEGGIO],  
the ARP SELECT page will continue being displayed,  
without you having to hold down [ARPEGGIO]. To go  
back to the previous display, press [EXIT].  
In Patch/Rhythm Set/GM Mode  
Accent Rate parameter (SYSTEM/ ARPEGGIO/  
ARPEGGIO) (p. 176)  
In Performance Mode  
Accent Rate parameter (ZONE/ ARPEGGIO/  
ARPEGGIO) (p. 62)  
4 2  
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Ch a p te r 2 . Pla y in g  
1 1 . Set the key range of the Zones linked to the Parts other  
than the Part for which arpeggios are played so that this  
range does not overlap with the key range over which  
the arpeggios are played.  
Pla y in g a n Arp e g g io O ve r a  
Pre se t Ke y b o a rd Are a  
As soon as you press [ARPEGGIO] to turn the Arpeggiator  
on, the keyboard will be set to play arpeggios so  
1 2 . When you are finished making settings, press [EXIT] to  
conventional keyboard playing is no longer possible.  
return to the PERFORM PLAY page, and begin playing.  
If you split the keyboard into two different areas, you can use  
one area for normal playing and the other for playing  
arpeggios. This setting, for instance, allows you to play  
arpeggios with the left hand and a melody with the right  
hand.  
If you play arpeggios using a Layer Performance  
without setting the key range, then with Parts other than  
the Part linked to the Zone specified by the Zone  
parameter (ZONE/ ARPEGGIO/ ARPEGGIO), only the  
sound for the key being pressed is played.  
1 . Press [PERFORM] to call up the PERFORM PLAY page.  
2 . If you have selected a Single Performance, set the Key  
Mode parameter (ZONE/ COMMON/ ZONE  
COMMON) to LAYER (p. 58).  
Ho ld in g a n Arp e g g io  
3 . Set the Local switch of the Zone linked to the Part you  
If you hold down [ARPEGGIO] and press [TRANSPOSE],  
and get the indicator to start blinking, the arpeggio will  
continue to be played even if you release the chord.  
want played to ON (p. 36).  
4 . After pressing [ZONE] to make the indicator light up,  
press the [ARPEGGIO] function button followed  
1 . Hold down [ARPEGGIO] and press [TRANSPOSE] to  
by  
to display the ARPEGGIO page like the one  
make the indicator blink.  
shown below.  
fig.04-14  
2 . Play a chord.  
3 . If you play a different chord or notes while the arpeggio  
is being held, the arpeggio will change accordingly.  
5 . Use the cursor buttons to move the cursor to Zone.”  
4 . To cancel Arpeggio Hold, hold down [ARPEGGIO] and  
press [TRANSPOSE] simultaneously once again.  
6 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
select the Zone linked to the Part for which arpeggios are  
to be played.  
W h e n Usin g a Ho ld Pe d a l  
If you play an arpeggio while pressing the hold pedal, the  
arpeggio will continue to be played even if you release the  
chord.  
7 . Press [KEY RANGE] in the Function buttons to display  
the KEY RANG page.  
fig.04-07  
1 . Connect an optional pedal switch (DP-2, DP-6, etc.) to the  
HOLD PEDAL jack.  
8 . Set the key range (expression range) for the Zone. Use  
the cursor buttons to move the cursor to Lowerand set  
the lowest note of the range. Move the cursor to Upper”  
and set the highest note of the range.  
2 . Press [ARPEGGIO] to turn the Arpeggiator on.  
3 . Play a chord while pressing the hold pedal.  
4 . To play another chord, release the pedal, press it again as  
9 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
you play the next chord.  
specify the range of notes.  
1 0 . Turn off the [EDIT] indicator, and press a Function  
button to select a Zone linked to a Part other than the one  
for which arpeggios are played. When the [1-8/ 9-16]  
indicator is out, you can select zones 18. When the [1-8/  
9-16] indicator is lit, you can select zones 916.  
4 3  
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Ch a p te r 2 . Pla y in g  
Sim u la tin g a Rh y th m Gu ita r  
Cre a tin g a n Arp e g g io Pa tte rn  
You can simulate a rhythm guitar by following the procedure  
below. By using the Palette Slider, it is also possible to apply  
a wah effect as you play.  
There are a total of 9 parameters that can be set for the  
Arpeggiator, but the most important is the Style parameter  
setting. The arpeggio pattern is largely determined by this  
setting.  
1 . Select a guitar Patch.  
When you set the Style parameter, the Motif, Beat Pattern,  
Accent Rate and Shuffle Rate parameters will automatically  
be set to optimum settings. After selecting the style, you can  
also set parameters such as Octave Range and Key Velocity.  
2 . Press [ARPEGGIO] to turn the Arpeggiator on.  
3 . Set the Style parameter (SYSTEM/ ARPEGGIO/  
ARPEGGIO) to one of RHYTHM GTR 25.  
If this selection does not provide the pattern you want,  
modify the settings of the Motif, Beat Pattern, Accent Rate  
and Shuffle Rate parameters to add variations to the style as  
desired.  
4 . Press [FILTER/ ENV] to make the indicator light.  
5 . Move the [CUTOFF] slider or [RESONANCE] slider  
while you play a chord.  
Pla y in g a n Arp e g g io fro m a n  
Ex te rn a l MIDI De vice  
When you make the settings in Patch/ Rhythm Set/ GM  
mode, Motif, Beat Pattern, Accent Rate and Shuffle Rate  
parameter settings will be lost if you select another style  
and then turn the power off. However, in Performance  
mode, you can save them to each Performance as the  
Performance parameters.  
The XV-88 can also produce arpeggios with incoming Note  
messages from an external MIDI device.  
1 . Use a MIDI cable to connect the MIDI IN connector of the  
XV-88 to the MIDI OUT connector of the external MIDI  
device.  
The values you can set with the Motif or Beat Pattern  
parameters are normally limited by the selected style.  
Only when the Style parameter is set to LIMITLESS will  
all values be acceptable.  
2 . Press [PATCH] to access the PATCH PLAY page.  
3 . Press [ARPEGGIO] to turn the Arpeggiator on.  
4 . Press [SYSTEM] to make the indicator lit, press the  
1 . Access the ARPEGGIO page.  
In Patch/Rhythm Set/GM Mode  
[MIDI] function button, and then press  
PATCH MIDI page.  
to access the  
Press [SYSTEM], getting the indicator to light, and then  
press the [ARPEGGIO] function button.  
fig.09-06  
In Performance Mode  
Press [ZONE], getting the indicator to light, and then  
5 . Use the cursor buttons to move the cursor to Remote.”  
press the [ARPEGGIO].  
fig.04-11  
6 . Rotate the VALUE dial or press [INC/ +]/ [DEC/ -] to  
turn the setting ON.  
7 . Play the external MIDI device.  
* Here is what appears in the first page of the ARPEGGIO page.  
For details regarding each parameter, refer to  
2 . Move the cursor to Styleand specify the style you  
want.  
3 . Move the cursor to Octave Rangeand specify the key  
range over which you want arpeggio.  
4 4  
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Ch a p te r 2 . Pla y in g  
4 . Press  
, move the cursor to Motif,and specify the  
Mo vin g Yo u r Ha n d Ab o ve  
th e D Be a m Co n tro lle r to  
Ap p ly Effe cts  
order in which the notes of the chord will be sounded.  
The available choices depend on the Style parameter  
setting. For details, refer to Arpeggio Style List(p.  
268).  
(D Be a m Co n tro lle r)  
The D Beam Controller is an easy-to-use controller you can  
operate just by moving your hand over it. By changing the  
function assigned to the controller, you can add a variety of  
different effects to the sound. The controller lets you add  
effects such as instantaneous changes in tone that are  
impossible to do with knobs and sliders.  
5 . Move the cursor to Beat Pattern,then change the  
rhythm.  
The available choices depend on the Style parameter  
setting. For details, refer to Arpeggio Style List(p.  
268).  
The D Beam Controller is provided under license from  
Interactive Light, Inc.  
6 . Press  
, move the cursor to Accent Rate,and  
specify the groove ratio.  
A setting of 100% will produce the most pronounced  
groove feel.  
When selecting a Single Performance, the effect is  
applied to the single specified Part (current Part). When  
a Layer Performance is selected, the effect is applied to  
all Zones with Local switches set to ON and their linked  
Parts.  
7 . Move the cursor to Shuffle Rateand specify the swing  
rate.  
With a setting of 50%, the notes will be spaced evenly.  
As the value increases, the note timing will have more of  
a swingfeel.  
Tone changes made with the D Beam controller can also  
be sent to an external MIDI device (p. 59).  
8 . Press  
, move the cursor to Key Velocity,and  
specify the strength with which the notes of the chord  
will be sounded.  
1 . Make sure that the PLAY page of the sound generator  
mode (PERFORM, PATCH, RHYTHM, or GM) is  
displayed.  
When REAL is selected, the velocity at which the notes  
are actually played will be used. With a setting of 1127,  
the specified velocity value will be used regardless of the  
force with which you play the chord.  
2 . Press D BEAM CONTROLLER [ON] to turn on the D  
Beam Controller.  
9 . When playing in Layer Performance, move the cursor to  
Zoneand specify the Zone linked to the part playing  
arpeggios.  
3 . When changing the function to be controlled with the D  
Beam Controller, hold down [ON] to display the D  
BEAM CONTROL page, move the cursor to Assign,”  
then make the setting.  
fig.04-16  
Arpeggios will be played only in the Zone and linked  
Part specified here. Chords will sound exactly as played  
in other Zones.  
This setting is linked with the Assign parameter.  
1 0 . Move the cursor to Tempoand specify the speed of an  
arpeggio.  
In Patch/Rhythm Set/GM Mode  
Assign parameter (SYSTEM/ D BEAM/ D BEAM  
CONTROL) (p. 176)  
1 1 . After you finish making settings, press [EXIT].  
In Performance Mode  
Assign parameter (ZONE/ D BEAM/ D BEAM  
CONTROL) (p. 63)  
For more detailed information on the functions that can  
be controlled, refer to (p. 63, p. 176).  
4 5  
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Ch a p te r 2 . Pla y in g  
4 . When changing the sound generator to be controlled  
with the D Beam Controller, hold down [ON] to display  
the D BEAM CONTROL page, move the cursor to  
It is not possible to set the lower limit value above the  
upper limit, nor can you set the upper limit value below  
the lower limit.  
Output,then make the setting.  
fig.02-20  
This setting is linked with the Lower, Upper parameter.  
Set the output to INT when controlling only the internal  
sound generator, to MIDI when controlling an external  
sound generator, or BOTH when you want to control  
both internal and external sound generators. When  
controlling neither the internal nor any external sound  
generator, set this to OFF.  
In Patch/Rhythm Set/GM Mode  
Lower, Upper parameter (SYSTEM/ D BEAM/ D BEAM  
RANGE) (p. 177)  
In Performance Mode  
Lower, Upper parameter (ZONE/ D BEAM/ D BEAM  
RANGE) (p. 64)  
7 . When changing the sensitivity of the D Beam Controller,  
This setting is linked with the Output parameter.  
hold down [ON] and press  
to display the D BEAM  
In Patch/Rhythm Set/GM Mode  
SENS page, then make the setting.  
fig.04-18  
Output parameter (SYSTEM/ D BEAM/ D BEAM  
CONTROL) (p. 176)  
In Performance Mode  
The higher the value set, the more readily the D Beam  
Controller goes into effect. Ordinarily, this is set to 5.  
Output parameter (ZONE/ D BEAM/ D BEAM  
CONTROL) (p. 63)  
5 . When changing the D Beam Controllers polarity, hold  
down [ON] to display the D BEAM CONTROL page,  
This setting is linked with the D Beam Sensitivity  
parameter.  
move the cursor to Polarity,then make the setting.  
fig.02-21  
In Patch/Rhythm Set/GM Mode  
D Beam Sensitivity parameter (SYSTEM/ D BEAM/ D  
BEAM SENS) (p. 177)  
With a setting of REVERSE, the direction of control for  
the D Beam controller will be inverted.  
In Performance Mode  
D Beam Sensitivity parameter (ZONE/ D BEAM/ D  
BEAM SENS) (p. 64)  
This setting is linked with the Polarity parameter.  
8 . You operate the D Beam Controller by moving your  
hand over it, as you produce sounds by playing the  
keyboard.  
In Patch/Rhythm Set/GM Mode  
Polarity parameter (SYSTEM/ D BEAM/ D BEAM  
CONTROL) (p. 177)  
9 . To turn off the D Beam Controller, press D BEAM  
CONTROLLER [ON] once again, extinguishing the  
indicator.  
In Performance Mode  
Polarity parameter (ZONE/ D BEAM/ D BEAM  
CONTROL) (p. 63)  
6 . When changing the range to be controlled by the D Beam  
Controller, hold down [ON] and press  
to display  
By holding down [SHIFT] and pressing D BEAM  
CONTROLLER [ON], you can display each of the  
settings pages without having to hold down [ON]. To  
return to the original window, press [EXIT].  
the D BEAM RANGE page, move the cursor to Lower”  
or Upper,then make the setting.  
fig.04-17  
Set the lower limit for the range with the Lower  
parameter, and the upper limit for the range with the  
Upper parameter.  
4 6  
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Ch a p te r 2 . Pla y in g  
Co n ve n ie n t Fu n ctio n s fo r  
Pe rfo rm a n ce  
Th e e ffe ctive ra n g e o f th e D Be a m  
Co n tro lle r  
The effective range of the D Beam Controller is as shown  
in the following diagram. Hand movement outside of  
Tra n sp o sin g th e Ke y b o a rd in  
O cta ve Un its (O cta ve Sh ift)  
this area will have no effect.  
fig.02-22  
The Octave Shift function transposes the pitch of the  
keyboard in 1 octave units (-3+3 octaves).  
For playing a bass part more easily using your right hand,  
transpose the keyboard down by 1 or 2 octaves.  
1 . Press [+OCT] or [-OCT] and its indicator will light.  
Pressing [+OCT] once will raise the keyboard 1 octave.  
Pressing [-OCT] once will lower the keyboard 1 octave.  
The specified Octave Shift setting will be shown in the  
kbd=C 4indication of each PLAY page. For example if  
you press [+OCT] once to raise the keyboard one octave,  
the display will indicate kbd=C 5.This means that  
The effective range of the D Beam controller will  
decrease in locations of strong direct sunlight. Be  
aware of this when using the D Beam controller  
outdoors.  
when you press the C4 key, the C5 note will sound.  
fig.02-23  
There is only one Octave Shift setting in the XV-88, so it  
remain valid even if you select a different Patch,  
Performance or Rhythm Set or turn power off.  
2 . To turn off the Octave Shift function, press the other  
button [+OCT] or [-OCT] of that pressed in step 1. The  
indicator will go off.  
4 7  
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Ch a p te r 2 . Pla y in g  
Tra n sp o sin g th e Ke y b o a rd in  
Se m ito n e Ste p s (Tra n sp o se )  
If “ Stu ck ” N o te s O ccu r (Pa n ic)  
If some operation causes sounds from the XV-88, or sounds  
from an external sound generator connected with a MIDI  
cable to fail to stop playing, use the Panic function.  
Transpose changes keyboard pitch in units of semitones (-5–  
+6 semitones).  
This function is useful when you play transposed  
instruments such as trumpet or clarinet following a printed  
score.  
W h e n So u n d s fro m th e XV-8 8 Do N o t  
Sto p Pla y in g  
1 . Hold down [SHIFT] and press [EXIT].  
1 . Press [TRANSPOSE] to light indicator.  
Sounds from the XV-88 stop playing.  
This turns Transpose on.  
2 . The display will indicate Panic! Now Muting.while  
the Panic function is being executed. When this message  
goes off, you can start playing.  
2 . While holding down [TRANSPOSE], press [+OCT] or [-  
OCT] to transpose the keyboard.  
Pressing [+OCT] once while holding down  
[TRANSPOSE] will raise the keyboard one semitone.  
W h a t to Do W h e n a n Ex te rn a l So u n d  
Ge n e ra to r Fa ils to Sto p So u n d in g  
Pressing [-OCT] once while holding down  
[TRANSPOSE] will lower the keyboard one semitone.  
1 . Hold down [SHIFT] and press [EXIT] for more than a  
The specified Transpose setting will be added to the  
Octave Shift value. For example, if you hold down  
[TRANSPOSE] and press [+OCT] once to raise the  
keyboard a semitone, the display will indicate  
kbd=C#4.So when C4 is pressed, the C#4 note will  
sound.  
second.  
MIDI messages for All Sounds Off, Reset All Controllers,  
Hold 1 (0), Hold 2 (0), and Sostenuto (0) will be  
transmitted to all MIDI channels (Parts).  
2 . The display will indicate Panic! Now Transmitting.”  
while the Panic function is being executed. When this  
message goes away, you can start playing.  
3 . To turn off Transpose, press [TRANSPOSE] once again  
so that its indicator goes off.  
The Transpose setting you make will be maintained.  
The Transpose setting you make here will also change  
the Transpose parameter (SYSTEM/ CONTROL/  
KEYBOARD).  
The setting you make will be maintained even if you  
select a different Patch, Performance or Rhythm Set, or  
turn the power off.  
4 8  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
With the XV-88, you have total control over a wide variety of  
settings. Each item that can be set is known as a parameter.  
When you change the values of parameters, you are doing  
what is referred to as Editing. This chapter explains the  
procedures used in creating Performances, and the functions  
of the Performance parameters.  
3 . Use the function buttons to select a display group.  
The indicator for the button of the selected display group  
begins blinking.  
fig.03-01  
Ho w a Pe rfo rm a n ce Is  
O rg a n ize d  
4 . Use  
or  
to select a display page.  
5 . If you have selected a parameter display that can be set  
independently for each Part, the number of the Part  
selected for editing will be shown in the upper left of the  
display. To edit a different Part, press [EDIT] to  
A Performance is a collective set of assignments of the  
sixteen different Patches and Rhythm Sets. Since a  
Performance can simultaneously handle 16 different sounds,  
it allows you to play multiple Patches simultaneously (layer)  
or to play different Patches in different areas of the keyboard  
temporarily turn off the indicator, and use ZONE/ PART  
SELECT [1/ 9][8/ 16] to select a Part. When the [1-8/ 9-  
16] indicator is extinguished, Parts 18 are selected, and  
when the [1-8/ 9-16] indicator is lit, Parts 916 are  
(split), and to create ensembles.  
fig.01-06.e  
selected.  
fig.03-02  
Performance  
Part 16  
6 . Use  
or  
to move the cursor to the parameter you  
wish to modify.  
7 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to modify the parameter value.  
Part 1  
Patch/  
Rhythm Set  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
8 . If you wish to move to another display group, press  
[EDIT] to make the indicator light, and use the function  
buttons.  
Ho w to Ma k e th e  
Pe rfo rm a n ce Se ttin g s  
Start with an existing Performance and edit it to create a new  
Performance. But before you do, try to envision what the  
entire Performance will sound like and decide which Patch  
or Rhythm Set to assign to each of 16 Parts.  
You can also move to another display group by holding  
down [SHIFT] and using  
or  
. Since this can be  
done even when the [EDIT] indicator is dark, it is a faster  
way to get around because you dont have to turn on the  
[EDIT] indicator each time.  
1 . Press [PERFORM] to access the PERFORM PLAY page,  
and select the Performance whose settings you wish to  
modify (p. 35).  
9 . Repeat steps 38 to complete a Performance.  
If you want to create all your Performances from the  
ground up, rather than the Performances that have  
already been prepared, carry out the Initialize operation  
(p. 185).  
2 . Press [EDIT] to make the indicator light.  
4 9  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
1 0 . When you finish making settings, press [EXIT] or  
5 . If you wish to edit other parameters,  
[PERFORM] to return to the PERFORM PLAY page.  
press  
or  
to select the parameter that you wish  
to edit.  
An asterisk * appears at the left of the Performance  
group on the display. This shows Performance settings  
6 . Repeat steps 35 to complete a Performance.  
have been modified.  
7 . To exit the Palette page, press [PALETTE EDIT], thus  
fig.03-03  
extinguishing the buttons indicator.  
Co p y in g th e Se ttin g s o f An o th e r  
Pa rt (Pa rt Co p y )  
If you select another Performance in the group with an  
asterisk *, the modified Performance settings will be lost.  
To keep these modified settings, perform the save  
operation (p. 164).  
Part settings from any desired Performance can be copied to  
any desired Part of the currently selected Performance. This  
function can help you save time.  
1 . Make sure a Performance is selected.  
Ma k in g Se ttin g s W h ile  
Co m p a rin g Pa rts (Pa le tte Ed it)  
2 . Press [UTILITY], getting its indicator to start blinking.  
3 . Press the numeric key [2], then  
or  
to call up the  
When modifying Part settings for a Performance, the values  
for eight Parts (Part 18 or Part 916) will be displayed  
together on a single display. This is called the Palette page.  
This is useful when you wish to change parameter values  
while comparing each Part settings.  
PERFORM PART CPY page.  
fig.10-09.e  
Copy source  
Performance name  
Copy source Performance  
(group, number)  
1 . When modifying a Part, use  
or  
to move the  
cursor to the parameter you wish to modify.  
Copy source Part Copy destination Part  
2 . Press [PALETTE EDIT] to call up the Palette page.  
fig.03-04  
4 . Press the cursor buttons to move the cursor to the  
parameter you wish to set.  
5 . Either rotate the VALUE dial or press [INC/ +]/ [DEC/ -]  
to set the value.  
To specify the currently selected Performance as the  
copy source, set Source to TEMP.  
When the cursor is located at Source, you can also use  
[USER], [PRESET], [A], and [B] to select a Performance  
group, and then use numeric keys to specify the  
Performance number.  
3 . Press  
or  
to choose the Part to modify.  
The Part number and the Patch or Rhythm Set name  
assigned to the Part will appear.  
When the cursor is located at Part, you can also use [1-8/  
9-16] and ZONE/ PART SELECT [1/ 9][8/ 16] to select  
the Part.  
To switch between the palette page for Parts 18 and the  
palette page for Parts 916, press [1-8/ 9-16].  
6 . Press [ENTER] to execute the Copy operation.  
4 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
When the Copy operation is executed, an * symbol will  
keys to change the parameter value.  
be displayed in front of the copy-destination Part.  
7 . Press [UTILITY] to return to the previous page.  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
Fu n ctio n s o f Pe rfo rm a n ce  
Pa ra m e te rs  
Tone in a Patch, sounds are produced in the range where  
the Key Range of each Tone and the Key Range for the  
Part overlap.  
This section explains the functions the different Performance  
parameters have, as well as the composition of these  
fig.02-10.e  
parameters.  
Key range specified for Performance  
fig.03-01  
Key range specified for Patch  
The range in which notes will play  
Se ttin g s Co m m o n to th e En tire  
Pe rfo rm a n ce (CO MMO N )  
If you attempt to raise the lower key higher than the  
upper key, or to lower the upper key below the lower  
key, the other value will be automatically modified to  
the same setting.  
Common settings include those used for naming  
Performances, Key Range, and so on.  
L.Fa d e (Ke y Fa d e W id th Lo w e r)  
U.Fa d e (Ke y Fa d e W id th Up p e r)  
PERFO RM N AME (Pe rfo rm a n ce N a m e )  
fig.03-05  
L.Fade and U.Fade set the range within which the volume  
gradually fades as the velocity approaches the limits of the  
Key Range set in the Lower and Upper parameters. Use this  
setting when, for example, you want to have adjacent Parts  
in Split mode switched smoothly. The higher the values set,  
the smoother the switch is between the Tones. When you  
You can assign a name to the Performance of up to 12  
characters.  
For details on assigning names, refer to Assigning a  
want the Tones to be switched instantly, set these to 0.  
fig.03-07.e  
Name(p. 28).  
Level  
KEY RAN G (Ke y Ra n g e )  
Pitch  
fig.03-06  
Set the keyboard range in which each Part will sound. Use  
this when you wish to play different Patches in different  
areas of the keyboard.  
Upper U.Fade  
L.Fade Lower  
PERFO RM MFX CH  
(Pe rfo rm a n ce MFX Ch a n n e l)  
fig.03-08  
Lo w e r (Ke y Ra n g e Lo w e r)  
Up p e r (Ke y Ra n g e Up p e r)  
Specify the lower (Lower) and upper (Upper) limits in which  
each Part will sound.  
MFX Co n tro l Ch a n n e l  
(Mu lti-e ffe cts Co n tro l Ch a n n e l)  
This determines the channel that will be used for reception  
when using the Multi-effects Controller to modify multi-  
effects parameters in real time, when the multi-effects Source  
parameter (PERFORM/ EFFECTS/ MFX TYPE) (p. 114) is set  
to PERFORM.  
For details on the Multi-effects Controller, refer to (p.  
115).  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
Mu te Sw (Mu te Sw itch )  
Se ttin g Effe cts fo r a Pe rfo rm a n ce  
(EFFECTS)  
Mute Sw temporarily mutes (MUTE) or releases the mute  
(OFF) for the performance of each Part.  
Use this setting when, for example, you want to use the  
instrument for karaoke by muting the Part playing the  
melody, or when you want to play something using a  
For details regarding effect settings, refer to the pages  
shown below.  
Making Chorus Settings(p. 156)  
The Mute Sw parameter does not turn the Part off, but  
rather mutes the sound by setting the volume to 0.  
Therefore, MIDI messages are still received.  
Making Reverb Settings(p. 158)  
Ma k in g Se ttin g s fo r Re ce ivin g  
MIDI (MIDI)  
Rx SW ITCH (Re ce ive Sw itch )  
fig.03-10  
These parameters determine how each Part will transmit and  
receive MIDI messages.  
fig.03-11  
MIDI  
fig.03-09  
RxSWITCH determines whether MIDI messages for the  
following parameters in each MIDI channel are received  
(ON), or not received (OFF).  
Ch a n n e l (MIDI Re ce ive Ch a n n e l)  
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )  
Sets the MIDI receive channel for each Part.  
Pro g ra m Ch a n g e  
(Re ce ive Pro g ra m Ch a n g e Sw itch )  
If this is set to the same channel as the Control Channel  
parameter (SYSTEM/ MIDI/ PERFORM MIDI),  
attempting to use MIDI messages (Program Change and  
Bank Select) from an external device to select Patches  
will select Performances instead. If you want to select  
Patches, change the Control Channel parameter to a  
different setting (p. 169).  
Vo l (Re ce ive Vo lu m e Sw itch )  
Pa n (Re ce ive Pa n Sw itch )  
Ex p (Re ce ive Ex p re ssio n Sw itch )  
Hld (Re ce ive Ho ld 1 Sw itch )  
Bn d (Re ce ive Pitch Be n d Sw itch )  
Mo d (Re ce ive Mo d u la tio n Sw itch )  
Ca f (Re ce ive Ch a n n e l Afte rto u ch Sw itch )  
Pa f (Re ce ive Po ly p h o n ic Afte rto u ch Sw itch )  
Rx Sw (Re ce ive Sw itch )  
Specifies whether each Part will receive MIDI messages  
(ON), or not (OFF) from external MIDI devices.  
When set to OFF, the Part will respond to the keyboard, but  
not to the external MIDI devices. Normally, you should leave  
this ON, but you can turn it OFF when you do not want a  
specific Part to be playing during song playback.  
You can also set the Rx Sw parameter on the PERFORM  
PLAY page. Hold down [SHIFT] and press ZONE/  
PART SELECT [1/ 9][8/ 16]; Rx Sw is on when the  
indicator is lit, and off when the indicator is  
extinguished. When the [1-8/ 9-16] indicator is  
extinguished, Parts 18 are switched on and off, and  
when the [1-8/ 9-16] indicator is lit, Parts 916 are  
switched on and off (p. 38).  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
XP-AD: Wave Expansion Board AD  
VELO CRV (Ve lo city Cu rve )  
fig.03-12  
Patches/ Rhythm Sets of CD-AH cannot be accessed  
unless a memory card (SmartMedia) is inserted into the  
MEMORY CARD slot.  
Ve lo city Cu rve  
Velocity Curve selects for each MIDI channel one of the four  
following Velocity Curve types that best matches the touch  
of the connected MIDI keyboard. Set this to OFF if you are  
XP-A, B Patches/ Rhythm Sets can be selected only if a  
Wave Expansion Board (SR-JV80 Series) is installed in  
the corresponding slot.  
using the MIDI keyboards own velocity curve.  
fig.03-13  
XP-C, D Patches/ Rhythm Sets can be selected only if a  
Wave Expansion Board (SRX Series) is installed in the  
corresponding slot.  
1
2
3
4
N u m b e r (Pa tch / Rh y th m Se t N u m b e r)  
Ph a se Lo ck (Ph a se Lo ck Sw itch )  
Selects the desired Patch or Rhythm Set by its number. The  
name of the selected Patch/ Rhythm Set appears in  
parentheses.  
Set Phase Lock to ON when you want to suppress  
discrepancies in timing of Parts played on the same MIDI  
channel, or to OFF when you want to leave the expression  
timing unchanged.  
SETTIN G  
fig.03-15  
When the Phase Lock parameter is set to ON, Parts on  
the same MIDI channel are put in a condition in which  
their timing is matched, enabling them to be played at  
the same time. Accordingly, a certain amount of time  
may elapse between reception of the Note messages and  
playing of the sounds. Turn this setting to ON only as  
needed.  
Le ve l (Pa rt Le ve l)  
Adjusts the volume of an individual Part. This settings main  
purpose is to adjust the volume balance between Parts.  
Pa n (Pa rt Pa n )  
Adjusts the pan of each Part. L64 is far left, 0 is center, and  
63R is far right.  
Ma k in g Se ttin g s fo r Ea ch Pa rt  
(PART)  
When the Pan is set for each Patch or Rhythm Set, this  
Pan setting moves the position only in reference to those  
settings values made in the respective Patch or Rhythm  
Set.  
Here you can select the Patch/ Rhythm Set assigned to each  
Part, and set the volume, pan, pitch, and polyphony of each  
Part.  
PATCH  
Vo ice Re se rve  
fig.03-14  
This setting specifies the number of voices that will be  
reserved for each Part when more than 128 voices are played  
simultaneously.  
Ty p e (Pa rt Ty p e )  
Sets the assignment of a Patch (PAT) or Rhythm Set (RHY) to  
each of the Parts.  
It is not possible for the settings of all Parts to total an  
amount greater than 64. The remaining number of  
available voices will be displayed at (rest= ). Pay  
attention to this readout as you make set the Voice  
Reserve parameter.  
Gro u p (Pa tch / Rh y th m Se t Gro u p )  
Selects the group to which the desired Patch or Rhythm Set  
belongs.  
USER: User  
CD-AH: Memory card AH  
PR-AF, GM: Preset AF, GM  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
Patches also contain the Attack Time Offset setting (p.  
therefore the sum of the Tones TVA Envelope T1  
setting, the Patchs Attack Time Offset, and the Parts  
Attack Time Offset. If the Tones T1 parameter is already  
set to 127 (maximum), there will be no change produced  
by setting the Attack Time Offset to a positive value.  
Ca lcu la tin g th e N u m b e r o f Vo ice s Be in g  
Use d  
The XV-88 is able to play up to 128 notes simultaneously.  
The polyphony, or the number of voices (sounds) does  
not refer only to the number of sounds actually being  
played, but changes according to the number of tones  
used in the Patches, and the number of Waves used in  
the tones. The following method is used to calculate the  
number of sounds used for one Patch being played.  
Re l (Pa rt Re le a se Tim e O ffse t)  
Adjusts the TVA Envelope Release Time for the Patch or  
Rhythm Set assigned to a Part.  
(Number of Sounds Being Played) x (Number of Tones  
Used by Patches Being Played) x (Number of Waves  
Used in the Tones)  
Patches also contain a Release Time Offset setting (p. 72).  
The final TVA Envelope release time value is therefore  
the sum of the Tones TVA Envelope T4 setting, the  
Patchs Release Time Offset, and the Parts Release Time  
Offset. If the tones T4 parameter is set to 127  
MO DIFY  
fig.03-16  
(maximum), there will be no change in the Release Time  
Offset, even when this is set to a positive value.  
Cu t (Pa rt Cu to ff Fre q u e n cy O ffse t)  
Adjusts the cutoff frequency for the Patch or Rhythm Set  
assigned to a Part.  
Ve lo city Se n s (Pa rt ve lo city Se n sitivity O ffse t)  
This changes the volume and cutoff frequency for each part  
according to the velocity with which the keys are pressed. If  
frequency, set this parameter to positive (+) settings. If you  
want strongly played notes to lower the volume/ cutoff  
frequency, use negative (-) settings. Set Velocity Sensitivity to  
0 when you want sounds played at a fixed volume and cutoff  
frequency, regardless of the force with which the keys are  
played.  
Patches also have a Cutoff Frequency Offset setting (p.  
Tone Cutoff Frequency value and the Patch and Part  
Cutoff Frequency Offset values. If the Tones cutoff  
frequency is already set to 127 (maximum), there will be  
no change produced by setting the Cutoff Frequency  
Offset to a positive value.  
Re s (Pa rt Re so n a n ce O ffse t)  
Patches also contain a Velocity Sensitivity Offset setting  
the sum of the parts and the Patchs Velocity Sensitivity  
Offsets. Accordingly, if the Patchs Velocity Sensitivity  
be no change in the parts Velocity Sensitivity Offset,  
even when this is set to a positive value.  
Adjusts the Resonance for the Patch or Rhythm Set assigned  
to a Part.  
Patches also have a Resonance Offset setting (p. 71). The  
final Resonance value is the sum of the Tone Resonance  
value and the Patch and Part Resonance Offset values. If  
the Tones resonance is already set to 127 (maximum),  
there will be no change produced by setting the  
resonance offset to a positive value.  
PITCH  
fig.03-17  
Atk (Pa rt Atta ck Tim e O ffse t)  
Adjusts the TVA Envelope Attack Time for the Patch or  
Rhythm Set assigned to a Part.  
O cta ve (Pa rt O cta ve Sh ift)  
Adjusts the pitch of the Parts sound up or down in units of  
an octave (+/ -3 octaves).  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
Co a rse (Pa rt Co a rse Tu n e )  
MO N O / PO L (Mo n o / Po ly )  
fig.03-18  
Adjusts the pitch of the Parts sound up or down in semitone  
steps (+/ -4 octaves).  
Fin e (Pa rt Fin e Tu n e )  
Mn o / Po l (Pa rt Mo n o / Po ly )  
Adjusts the pitch of the Parts sound up or down in 1-cent  
Set Mno/ Pol to MONO when the Patch assigned to the Part  
is to be played monophonically, or to POLY when the Patch  
is to be played polyphonically. When using the setting of the  
Patch assigned to each Part (p. 76), set this to PATCH.  
steps (+/ -50 cents).  
One cent is 1/ 100th of a semitone.  
Co a rse Tu n e a n d O cta ve Sh ift  
For the Part to which the Rhythm Set is assigned, this  
setting is ignored.  
The Coarse and Fine parameters, along with the Octave  
parameter, can all be seen as doing the same thing to the  
sound, i.e., changing the pitch of the sound. For example,  
if C4 (Middle C) is played with the Coarse parameter set  
to +12, the note produced is C5 (one octave above C4).  
However, if C4 (Middle C) is played with the Octave  
parameter set to +1, again, the note produced is C5 (one  
octave above C4).  
Le g a to (Pa rt Le g a to Sw itch )  
You can add legato when performing monophonically.  
Legato is a playing style in which the spaces between notes  
are smoothed, creating a flowing feel with no borders  
between the notes. This allows you to simulate the  
hammering-on and pulling-off playing techniques of a  
guitarist.  
However, internally these function very differently.  
When the Coarse parameter is set to +12, the pitch itself  
is raised one octave. On the other hand, when the Octave  
parameter is set to +1, it is the same as pressing the keys  
one octave up. In other words, use the Coarse parameter  
when changing the pitch, and the Octave parameter  
when you want to shift the entire keyboard, for example,  
when the number of keys is insufficient.  
Turn this parameter ON when you want to use the Legato  
feature and OFF when you dont. When using the setting of  
the Patch assigned to each Part (p. 76), set this to PATCH.  
For the Part to which the Rhythm Set is assigned, this  
setting is ignored.  
Po rta m e n t Sw :Tm  
(Pa rt Po rta m e n to Sw itch :Tim e )  
Note that when a Rhythm Set is assigned to a Part, if  
the Octave parameter is set, the Rhythm Tone that is  
played also changes.  
Portamento makes a smooth pitch transition from one note to  
the next note played. Also, when playing monophonically,  
you can apply portamento to simulate the slide performance  
technique sometimes used on instruments such as violin.  
Be n d Rn g (Be n d Ra n g e )  
You can determine whether the Portamento effect will be  
applied or not using Portamento switch (Sw). Turn this  
parameter ON when you want to apply Portamento and OFF  
when you dont. When using the setting of the Patch  
assigned to each Part (p. 76), set this to PATCH.  
Specifies the amount of pitch change in semitones (2 octaves)  
that will occur when the Pitch Bend Lever is moved. The  
amount of change when the lever is tilted is set to the same  
value for both left and right sides. When using the setting of  
the Patch assigned to each Part (p. 78), set this to PATCH.  
The Portamento Time (Tm) setting adjusts the time over  
which the pitch will change. Higher settings will cause the  
pitch change to the next note to take more time. When using  
the setting of the Patch assigned to each Part (p. 76), set this  
to PATCH.  
For the Part to which the Rhythm Set is assigned, this  
setting is ignored.  
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Ch a p te r 3 . Cre a tin g Pe rfo rm a n ce s  
Co n firm in g MIDI In fo rm a tio n fo r  
Ea ch Pa rt (IN FO )  
Ch a n g in g th e Se ttin g s o f th e  
Pa tch / Rh y th m Se t Assig n e d  
to a Pa rt  
IN FO (Pa rt In fo rm a tio n )  
fig.03-19  
When using Patches in Performance mode, some settings  
such as effects settings will be affected by Performance  
settings. If you wish to edit a Patch/ Rhythm Set while  
hearing how it will sound in the Performance, use this  
procedure:  
fig.03-20  
The displays allow you to check various settings such as  
MIDI message reception status for each Part. This is  
convenient when you need to check that the sound generator  
is responding correctly to messages from the keyboard or  
external MIDI controller.  
* Here we explain how to change the setting of a Patch assigned  
to a Part. The procedure for changing the settings of Rhythm  
Sets is the same. Substitute “Rhythm Set” wherever “Patch”  
appears in a sentence.  
1 . Make sure the PERFORM PLAY page is displayed.  
Mo d (Mo d u la tio n In fo rm a tio n )  
Bre a th (Bre a th In fo rm a tio n )  
Fo o t (Fo o t In fo rm a tio n )  
2 . While holding down [PERFORM], press [PATCH].  
Both button indicators will light. This will call up the  
PLAY page of the Patch assigned to the currently  
selected Part.  
fig.03-21  
Vo l (Vo lu m e In fo rm a tio n )  
Pa n (Pa n In fo rm a tio n )  
Ex p (Ex p re ssio n In fo rm a tio n )  
Hld (Ho ld 1 In fo rm a tio n )  
3 . Press  
or  
to select the Part to which the selected  
Patch is assigned.  
4 . The following steps are the same as when you modify a  
Bn d (Pitch Be n d In fo rm a tio n )  
Aft (Afte rto u ch In fo rm a tio n )  
Sy 1 –4 (Sy ste m Co n tro l 1 –4 In fo rm a tio n )  
Patch in Patch mode.  
5 . When you finish making settings, press [EXIT] to call up  
the Play page of the Patch assigned to the Part.  
An asterisk * will be displayed at the left of the Patch  
group. This indicates the Patch settings have been  
modified.  
The MIDI message specified as the Control 14 parameter  
(SYSTEM/ CONTROL/ SYS CTRL ASSIGN 1, 2)  
Vo (Vo ice In fo rm a tio n )  
The number of voices used  
If you select another Patch or Performance in the group  
with an asterisk *, the modified Patch settings will be  
lost. To keep these modified settings, perform the save  
operation (p. 164).  
When a value (except Vo) is changed in the INFO page, a  
MIDI message for the changed value is sent to the  
internal sound generator and the external MIDI device  
over the MIDI channel set for that Part.  
6 . To return to the PERFORM PLAY page, press  
[PERFORM] or [EXIT].  
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Ch a p te r 4 . Zo n e Se ttin g s  
Pressing [ZONE] while in Performance mode switches you  
to Zone mode. In Zone mode, you can make settings  
affecting the way the sound module plays sounds in  
response to Performances played on the keyboard, the way  
MIDI messages are sent, the Arpeggiator and D Beam  
functions, and more.  
7 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to modify the parameter value.  
If youve made a mistake in setting a parameter value,  
press [UNDO/ COMPARE] to restore the value to what  
it was.  
8 . If you wish to move to another display group, press  
[EDIT] to make the indicator light, and use the function  
buttons.  
You cannot switch to Zone mode from any mode other  
than Performance mode.  
This section explains the procedures for making Zone  
settings and describes the functions of the different Zone  
parameters.  
You can also move to another display group by holding  
down [SHIFT] and using  
or  
. Since this can be  
done even when the [EDIT] indicator is dark, it is a faster  
way to get around because you dont have to turn on the  
[EDIT] indicator each time.  
Ho w to Ma k e th e Zo n e  
Se ttin g s  
9 . Repeat steps 38 to make settings for the Zone.  
1 . Press [PERFORM] to display the PERFORM PLAY page,  
and select the Performance with Zone settings you want  
to change (p. 35).  
1 0 . When you finish making settings, press [EXIT] or  
[PERFORM] to return to the PERFORM PLAY page.  
An asterisk * appears at the left of the Performance  
2 . Press [ZONE] to make the indicator light.  
group on the display. This shows Performance settings  
The [EDIT] indicator lights simultaneously, and the XV-  
88 is put into Zone mode. If the [EDIT] indicator is not  
lit, press [EDIT] to get the indicator to light.  
have been modified.  
fig.03-03  
3 . Use the function buttons to select a display group.  
The indicator for the button of the selected display group  
Zone settings can be saved individually for each  
Performance, as part of the Performance settings.  
begins blinking.  
fig.04-01  
If you select another Performance in the group with an  
asterisk *, the modified Zone settings will be lost. To  
keep these modified settings, perform the save operation  
(p. 164).  
4 . Use  
or  
to select a display page.  
5 . If you have selected a parameter display that can be set  
independently for each Zone, the number of the Zone  
selected for editing will be shown in the upper left of the  
display. To edit a different Zone, press [EDIT] to  
temporarily turn off the indicator, and use ZONE/ PART  
SELECT [1/ 9][8/ 16] to select a Zone. When the [1-8/ 9-  
16] indicator is extinguished, Zones 18 are selected, and  
when the [1-8/ 9-16] indicator is lit, Zones 916 are  
selected.  
fig.04-02  
6 . Use  
or  
to move the cursor to the parameter you  
wish to modify.  
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Ch a p te r 4 . Zo n e Se ttin g s  
Ma k in g Se ttin g s W h ile  
Co m p a rin g Zo n e s (Pa le tte Ed it)  
Fu n ctio n s o f Zo n e Pa ra m e te rs  
This section explains the functions the different Zone  
parameters have, as well as the composition of these  
When modifying Zone settings for a Performance, the values  
for eight Zones (Zone 18 or Zone 916) will be displayed  
together on a single display. This is called the Palette page.  
This is useful when you wish to change parameter values  
while comparing each Zone settings.  
parameters.  
fig.04-01  
1 . When editing parameters that can be set individually in  
each Zone, press  
or  
to move the cursor to the  
parameter to be edited.  
Se ttin g s Co m m o n to th e En tire  
Zo n e (CO MMO N )  
2 . Press [PALETTE EDIT] to call up the Palette page.  
fig.04-03  
ZO N E CO MMO N  
fig.04-04  
Ke y Mo d e  
The Key Mode determines how the XV-88 will sound when  
its keyboard is played.  
3 . Press  
or  
to choose the Zone to modify.  
When the Zone number is displayed, and that Zones  
Local Switch is set to ON, you can check which Parts are  
linked. Parts 116 are shown in order from left to right,  
and Parts for which the Zones MIDI transmit channel  
and the Parts MIDI receive channel are matched are  
indicated by a o for the Part.  
LAYER: When the keys are pressed, all Zones whose Local  
switches (Local parameter) are set to ON and the sounds for  
the linked (where the MIDI channels coincide) Parts are  
played. Transmission of MIDI messages from the keyboard  
controller section to external MIDI devices will be  
determined by the Transmit switch (Tx parameter) setting of  
each Zone.  
fig.04-05.e  
To switch between the palette page for Zones 18 and  
Part 1  
(Rx ch.1)  
Part 2  
(Rx ch.2)  
Part 15  
(Rx ch.15)  
Part 16  
(Rx ch.16)  
the palette page for Zones 916, press [1-8/ 9-16].  
4 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to change the parameter value.  
If youve made a mistake in setting the parameter value,  
press [UNDO/ COMPARE] to restore the value to what  
it was.  
Local Switch  
Transmit Switch  
MIDI OUT  
5 . If you wish to edit other parameters,  
Zone 1 (Tx ch.1)  
Zone 2 (Tx ch.2)  
press  
or  
to select the parameter that you wish  
to edit.  
Zone 15 (Tx ch.15)  
Zone 16 (Tx ch.16)  
6 . Repeat steps 35 to make the settings for the Zone.  
7 . To exit the Palette page, press [PALETTE EDIT], thus  
extinguishing the buttons indicator.  
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Ch a p te r 4 . Zo n e Se ttin g s  
SINGLE: When the keys are pressed, the single specified Part  
(current Part) are played. Zone settings are ignored.  
Tone in a Patch, sounds are produced in the range where  
the Key Range of each Tone and the Key Range for the  
Zone overlap.  
Transmission of MIDI messages from the keyboard controller  
section to external MIDI devices will be determined by the  
Receive switch (Rx Sw parameter) setting for the current Part  
fig.04-06.e  
fig.02-10.e  
Part 1  
(Rx ch.1)  
Part 2  
(Rx ch.2)  
Part 15  
(Rx ch.15)  
Part 16  
(Rx ch.16)  
Key range specified for Performance  
Key range specified for Patch  
The range in which notes will play  
MIDI OUT  
If you attempt to raise the lower key higher than the  
upper key, or to lower the upper key below the lower  
key, the other value will be automatically modified to  
the same setting.  
(Tx ch.1)  
If you have selected a LAYER-type Performance, the  
upper right of the PERFORM PLAY page will indicate  
LAYER p *(* is the Part number). If you have selected  
a SINGLE-type Performance, part= *(* is the Part  
number) will be displayed.  
Ma k in g Se ttin g s fo r Tra n sm ittin g  
MIDI (MIDI)  
These parameters determine how each Zone will transmit  
MIDI messages.  
You can also set the Key Mode parameter on the  
PERFORM PLAY page. By holding down [SHIFT] and  
pressing [SOLO], you can switch between SINGLE and  
LAYER.  
When a Single Performance is selected, this setting is  
disabled.  
MIDI  
fig.04-08  
Se ttin g th e Ke y b o a rd Ra n g e  
(KEY RAN GE)  
Ch a n n e l (MIDI Tra n sm it Ch a n n e l)  
When a Single Performance is selected, this setting is  
disabled.  
Specifies the MIDI transmit channel for each Zone.  
Tx (Tra n sm it Sw itch )  
KEY RAN G (Ke y Ra n g e )  
fig.04-07  
Determines, for each Zone, whether or not data generated by  
the keyboard controller section is sent as MIDI messages  
from the MIDI OUT connector.  
Normally you will leave this ON, but you can turn it OFF  
when you do not want the XV-88 to control external sound  
generators.  
These parameters set the key range that will be transmitted  
from the keyboard for each Zone. Use this when you wish to  
play different Patches in different areas of the keyboard.  
Lo w e r (Ke y Ra n g e Lo w e r)  
Specify the lower limit of the range.  
Up p e r (Ke y Ra n g e Up p e r)  
Specify the upper limit of the range.  
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Ch a p te r 4 . Zo n e Se ttin g s  
P.C# (Ex te rn a l Pro g ra m Ch a n g e N u m b e r)  
Selects the Program Change number you wish to transmit. If  
you do not want this message to be transmitted, set this to  
NO-SEND.  
You can also set the transmit switch settings on the  
PERFORM PLAY page. When the [EDIT] indicator is  
extinguished and the [LOCAL/ TX] indicator is lit, press  
ZONE/ PART SELECT [1/ 9][8/ 16] to make settings. A  
Layer Performance is on when the indicator is lit, and off  
when the indicator is extinguished. When the [1-8/ 9-16]  
indicator is extinguished, Zones 18 are switched on and  
off, and when the [1-8/ 9-16] indicator is lit, Zones 916  
are switched on and off.  
Ba n k Se le ct MSB/ LSB  
(Ex te rn a l Ba n k Se le ct MSB/ LSB)  
Selects the Bank Select number MSB (Controller number 0)  
and LSB (Controller number 32) you want to transmit.  
Information on the XV-88 Tone Group/ Bank  
corresponding to the Bank Select message sent is  
displayed in parentheses.  
Lo ca l (Lo ca l Sw itch )  
Specifies, for each Zone, whether or not the keyboard  
controller section will be connected to the internal sound  
generator.  
EXT CTRL (Ex te rn a l Co n tro l)  
fig.04-10  
Normally you will leave this ON, but you can turn it OFF  
when you want to use the XV-88 only to control an external  
sound generator.  
Vo lu m e (Ex te rn a l Vo lu m e )  
You can also set the Local switch setting on the  
PERFORM PLAY page. When the [EDIT] indicator and  
the [LOCAL/ TX] indicator is extinguished, press  
ZONE/ PART SELECT [1/ 9][8/ 16] to make settings. A  
Layer Performance is on when the indicator is lit, and off  
when the indicator is extinguished. When the [1-8/ 9-16]  
indicator is extinguished, Zones 18 are switched on and  
off, and when the [1-8/ 9-16] indicator is lit, Zones 916  
are switched on and off.  
If you want Volume messages to also be transmitted when  
you select a Performance, specify the desired value (0127)  
for the Zone. Turn this parameter NO-SEND if you do not  
want this data to be transmitted.  
The data of the Zone for which the Transmit switch is  
turned off will not be transmitted.  
Pa n (Ex te rn a l Pa n )  
If you want Pan messages to also be transmitted when you  
select a Performance, specify the desired value (0127) for the  
Zone. Turn this parameter NO-SEND if you do not want this  
data to be transmitted.  
Co n tro llin g Ex te rn a l So u n d  
Mo d u le (EXT CO N TRO L)  
When a Single Performance is selected, this setting is  
disabled.  
The data of the Zone for which the Transmit switch is  
turned off will not be transmitted.  
EXT P.C (Ex te rn a l Pro g ra m Ch a n g e )  
fig.04-09  
When switching Performances, send MIDI messages  
(Program Change/ Bank Select) to each Zone to switch the  
Tones corresponding to the external sound module.  
After setting each value, you can transmit it by pressing  
[ENTER].  
The data of the Zone for which the Transmit switch is  
turned off will not be transmitted.  
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Ch a p te r 4 . Zo n e Se ttin g s  
HARP: A style simulating harp playing.  
Arp e g g ia to r Se ttin g s (ARPEGGIO )  
SHAMISEN: The playing style of a Shamisen.  
This is where the settings used in performing arpeggios in  
Performance mode are made.  
BOUND BALL: A style suggestive of a bouncing ball.  
RANDOM: A style in which the notes sound in random  
order.  
When arpeggios are performed in Patch/ Rhythm Set/  
GM mode, the arpeggio settings are made in System  
mode (p. 174).  
BOSSA NOVA: A style with bossanova rhythm guitar. Hold  
34 notes for best results. You can increase the tempo and use  
this as a Samba.  
SALSA: Typical salsa style. Hold 34 notes for best results.  
ARPEGGIO  
fig.04-11  
MAMBO: Typical mambo style. Hold 34 notes for best  
results.  
LATIN PERCUSSION: A rhythm style with Latin percussion  
instruments such as Clave, Cowbell, Clap, Bongo, Conga,  
Agogo etc.  
fig.04-12  
fig.04-13  
fig.04-14  
SAMBA: Typical samba style. Use for rhythm patterns or  
bass lines.  
TANGO: Typical tango rhythm style. Hold the root, 3rd and  
5th of a triad etc. for best results.  
HOUSE: A style for house piano backing. Hold 34 notes for  
best results.  
Sty le (Arp e g g io Sty le )  
LIMITLESS: The settings of all parameters can be freely  
combined without restriction.  
Specifies the basic way in which the arpeggio will be played.  
Select one of the following 45 types.  
1/4: The rhythm will be divided in quarter notes.  
1/6: The rhythm will be divided in quarter note triplets.  
1/8: The rhythm will be divided in eighth notes.  
1/12: The rhythm will be divided in eighth note triplets.  
1/16: The rhythm will be divided in 16th notes.  
1/32: The rhythm will be divided in 32nd notes.  
PORTAMENTO A, B: A style using the portamento effect.  
GLISSANDO: A glissando style.  
Choices can be set for the Motif, Beat Pattern, Shuffle  
Rate and Accent Rate parameters for each style. Refer to  
the Arpeggio Style List(p. 268).  
O cta ve Ra n g e  
Sets the key range in octaves over which arpeggio will take  
place. If you want the arpeggio to sound using only the notes  
that you actually play, set this parameter to 0. To have the  
arpeggio sound using the notes you play and notes 1 octave  
higher, set this parameter to +1. A setting of -1 will make the  
arpeggio sound using the notes you play and notes 1 octave  
lower.  
SEQUENCE AD: Styles for sequenced patterns.  
ECHO: An echo-like style.  
SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS:  
Styles appropriate for bass playing.  
RHYTHM GTR 15: Styles for rhythm guitar. Styles 25 are  
effective when 34 notes are held.  
3 FINGER: Three-finger guitar style.  
STRUM GTR UP, STRUM GTR DOWN, STRUM GTR  
UP&DW: Guitar chords strummed both up and down.  
Effective when five or six notes are held.  
PIANO BACKING, CLAVI CHORD: Styles for keyboard  
instrument backing.  
WALTZ, SWING WALTZ: Styles in triple meter.  
REGGAE: A reggae-type style. Effective when three notes  
are held.  
PERCUSSION: A style suitable for percussive instrument.  
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Ch a p te r 4 . Zo n e Se ttin g s  
TOP+UP 16: The highest of the notes you play will sound,  
Mo tif  
and the remaining notes will be arpeggiated.  
Sets the order in which notes of the chord will sound.  
BASS+UP+TOP: The highest and the lowest of the notes you  
play will sound, and the remaining notes will be arpeggiated.  
Some settings will not be available depending on the  
Style parameter setting. For details on the possible  
values, refer to Arpeggio Style List(p. 268).  
Be a t Pa tte rn  
will affect the location of the accent and length of the notes to  
determine the beat (rhythm).  
SINGLE UP: Notes you press will be sounded individually,  
beginning from low to high.  
SINGLE DOWN: Notes you press will be sounded  
individually, from high to low.  
Some settings will not be available depending on the  
Style parameter setting. For details on the possible  
values, refer to Arpeggio Style List(p. 268).  
SINGLE UP&DOWN: Notes you press will be sounded  
individually, from low to high, and then back down from  
high to low.  
1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111,  
PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 1, 2,  
SEQ-D 18, ECHO 13, MUTE 0116, STRUM 18,  
REGGAE 1, 2, REFRAIN 1, 2, PERC 14, WALKBS, HARP,  
BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO  
12, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO  
14, HOUSE 1, 2  
SINGLE RANDOM: Notes you press will be sounded  
individually, in random order.  
DUAL UP: Notes you press will be sounded two at a time,  
beginning from low to high.  
DUAL DOWN: Notes you press will be sounded two at a  
time, beginning from high to low.  
DUAL UP&DOWN: Notes you press will be sounded two at a  
time, from low to high, and then back down from high to  
low.  
If PORTA-A 0111, PORTA-B 0115is selected as the  
Beat Pattern, the Time parameter (PATCH/ CONTROL/  
PATCH PORTAMNT) will control the speed of  
appropriate for the playback tempo. (It is not necessary  
to turn portamento switch on.)  
DUAL RANDOM: Notes you press will be sounded two at a  
time, in random order.  
TRIPLE UP: Notes you press will sound three at a time, from  
low to high.  
TRIPLE DOWN: Notes you press will sound three at a time,  
Acce n t Ra te  
from high to low.  
Modifies the strength of accents and the length of the notes to  
adjust the groovefeel of the arpeggio. A 100% setting will  
result in the most pronounced groovefeel.  
TRIPLE UP&DOWN: Notes you press will sound three at a  
time, from low to high and then back down from high to low.  
TRIPLE RANDOM: Notes you press will sound three at a  
time, in random order.  
Sh u ffle Ra te  
NOTE ORDER: Notes you press will be sounded in the order  
in which you pressed them. By pressing the notes in the  
appropriate order you can produce melody lines. Up to 128  
notes will be remembered.  
This setting lets you modify the note timing to create shuffle  
rhythms.  
With a setting of 50%, the notes will sound at equal spacing.  
As this value is increased, the notes will become more  
GLISSANDO: Each chromatic step between the highest and  
lowest notes you press will sound in succession, repeating  
upward and downward. Press only the lowest and the  
highest notes.  
bouncy,as if they were dotted notes.  
fig.04-15  
Shuffle Rate = 50%  
Shuffle Rate = 90%  
CHORD: All notes you press will sound simultaneously.  
50  
50  
50  
50  
90  
10  
90  
10  
BASS+CHORD 15: The lowest of the notes you play will  
sound, and the remaining notes will sound as a chord.  
If the Beat Pattern setting is 1/ 4, shuffle will not be  
applied even if you increase the Shuffle Rate setting.  
BASS+UP 18: The lowest of the notes you play will sound,  
and the remaining notes will be arpeggiated.  
BASS+RND 13: The lowest of the notes you play will  
sound, and the remaining notes will sound in random order.  
6 2  
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Ch a p te r 4 . Zo n e Se ttin g s  
Ke y Ve lo city  
Se ttin g th e D Be a m Co n tro lle r  
(D BEAM)  
Specifies the loudness of the notes that you play.  
If you want the velocity value to change according to how  
strongly you played each note, set this to REAL. If you want  
each note to have a fixed velocity regardless of how strongly  
you play the keyboard, set this parameter to the desired  
value (1127).  
This is where the settings are made for applying effects to the  
sound by moving your hand over the D Beam controller in  
Performance mode.  
When using the D Beam controller in Patch/ Rhythm  
Set/ GM mode, the settings are made in System mode (p.  
176).  
Zo n e (Arp e g g io Zo n e )  
Arpeggio Zone sets the Zone for playing an Arpeggio  
performance when a Layer Performance is being selected.  
The Arpeggio performance corresponding to the Part  
connected to the Zone set here is played.  
D BEAM CO N TRO L  
fig.04-16  
When a Single Performance is selected, this setting is  
disabled, and the single specified Part (current Part) will  
play arpeggios.  
Assig n (D Be a m Assig n )  
Specifies the function controlled by the D Beam controller.  
CC0131, 3395: Controller numbers 131, 3395  
Te m p o (Arp e g g io Te m p o )  
Sets the speed of the arpeggio.  
For more information about Control Change messages,  
When the Clock Source parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to INT, the display will indicate  
Tempo(=SYS), and this will be the same value as the system  
tempo. With a setting of MIDI, the display will indicate  
Tempo(=EXT), and you will be synchronized to the clock of  
the external MIDI device.  
please refer to MIDI Implementation(p. 270).  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
OCT UP: Raises the key range in octave steps (up to 3 octaves  
higher).  
OCT DOWN: Lowers the key range in octave steps (up to 3  
octaves lower).  
START/STOP: Starts/ Stops the external sequencer.  
TAP TEMPO: Tap tempo (a tempo specified by the interval  
at which you move your hand over the D Beam controller).  
O u tp u t (D Be a m O u tp u t)  
Selects the sound generator(s) (the internal sound generator  
and/ or external sound generators connected to MIDI OUT  
connector) to be controlled by the D Beam controller.  
OFF: Neither will be controlled.  
INT: Only the internal sound generator will be controlled.  
MIDI: Only external sound generators will be controlled.  
BOTH: Both the internal sound generator and external sound  
generators will be controlled.  
Po la rity (D Be a m Po la rity )  
Switches the polarity of the D Beam controller.  
With a setting of REVERSE, the direction of control for the D  
Beam controller will be inverted.  
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Ch a p te r 4 . Zo n e Se ttin g s  
D BEAM RAN GE  
fig.04-17  
Co n firm in g th e Se ttin g s fo r Ea ch  
Zo n e (IN FO )  
When a Single Performance is selected, this information  
is disabled.  
Lo w e r (D Be a m Ra n g e Lo w e r)  
Specifies the lower limit of the range of the D Beam  
controller. Values below this setting will not be output.  
IN FO (Zo n e In fo rm a tio n )  
Up p e r (D Be a m Ra n g e Up p e r)  
fig.04-19  
Specifies the upper limit of the range of the D Beam  
controller. Values above this setting will not be output.  
In this screen, you can check the following information for  
each Zone.  
It is not possible to set the lower limit value above the  
upper limit, nor can you set the upper limit value below  
the lower limit.  
MIDI transmit channel (ch): 116  
Transmit switch status (tx): On/ Off  
Part connection status (part):  
When the Local switch for the currently selected Zone is  
set to ON, you can check that Zone and the linked Part.  
Parts 116 are shown in order from left to right, and  
Parts for which the Zones MIDI transmit channel and  
the Parts MIDI receive channel coincide are indicated by  
a o or a *. For Parts indicated by a *, you can check the  
group, number, and name of the Patch or Rhythm Set  
assigned to that Part in the lower part of the display.  
D BEAM SEN S  
fig.04-18  
D Be a m Se n sitivity  
This sets the D Beam Controllers sensitivity. The higher the  
value set, the more readily the D Beam Controller goes into  
effect. Ordinarily, this is set to 5.  
When linked to multiple Parts, by pressing  
or  
,
you can move the * and change the Part being checked.  
The D Beam Controller sensitivity is a System setting,  
and as such cannot be saved as a Performance setting.  
6 4  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
With the XV-88, you have total control over a wide variety of  
settings. Each item that can be set is known as a parameter.  
When you change the values of parameters, you are doing  
what is referred to as Editing. This chapter explains the  
procedures used in creating Patches, and the functions of the  
Patch parameters.  
Tones consist of the following five components.  
W G (W a ve Ge n e ra to r)  
Specifies the PCM waveform (wave) that is the basis of the  
sound, and determines how the pitch of the sound will  
change.  
The XV-88 has 1,083 different waveforms (p. 263). All Patches  
built into the XV-88 consist of combinations of Tones which  
are created based on these waveforms.  
Ho w a Pa tch Is O rg a n ize d  
TVF (Tim e Va ria n t Filte r)  
The type of sound most commonly played on the XV-88 is  
called a Patch. Each Patch can be configured by combining  
Specifies how the frequency components of the sound will  
change.  
up to four Tones.  
fig.01-04.e  
TVA (Tim e Va ria n t Am p lifie r)  
Patch  
Specifies the volume changes and the sounds position in a  
stereo soundfield.  
En ve lo p e  
Tone 4  
Tone 3  
You use Envelope to initiate changes to occur to a sound over  
time. There are separate envelopes for Pitch, TVF (filter), and  
TVA (volume). For example if you wish to modify the way in  
which the sound attacks or decays over time, you would  
adjust the TVA envelope.  
Tone 2  
Tone 1  
LFO 1  
LFO 2  
LFO (Lo w Fre q u e n cy O scilla to r)  
WG  
TVF  
TVA  
Use the LFO to create cyclic changes (modulation) in a  
sound. The XV-88 has two LFOs. Either one or both can be  
applied to effect the WG (pitch), TVF (filter) and/ or TVA  
(volume). When an LFO is applied to the WG pitch, a vibrato  
effect is produced. When an LFO is applied to the TVF cutoff  
frequency, a wah effect is produced. When an LFO is applied  
to the TVA volume, a tremolo effect is produced.  
Pitch  
Envelope  
TVF  
Envelope  
TVA  
Envelope  
Ho w a To n e Is O rg a n ize d  
In the XV-88, the Tone is the smallest class of sound.  
However, it is not possible to play a Tone by itself. The Patch  
is the unit of sound which can be played, and the Tones are  
the basic building blocks which make up the Patch.  
fig.01-03.e  
Tone  
LFO 1  
LFO 2  
WG  
TVF  
TVA  
Pitch  
TVF  
TVA  
Envelope  
Envelope  
Envelope  
control signal  
audio signal  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
1 . Press [PATCH] to access the PATCH PLAY page, and  
select the Patch whose settings you wish to modify (p.  
29).  
Ho w to Ma k e th e Pa tch  
Se ttin g s  
Start with an existing Patch and edit it to create a new Patch.  
Each Patch can contain up to four Tones. you should listen to  
how the individual Tones sound before you edit.  
You cannot edit the Patches in the PR-H (GM2) group.  
If you want to create all your Patches from the ground  
up, rather than the Patches that have already been  
prepared, carry out the Initialize operation (p. 185).  
Fo u r Tip s fo r Ed itin g Pa tch e s  
Select a Patch that is similar to the sound you wish  
to create (p. 29).  
2 . Press [EDIT] to make the indicator light.  
Its hard to create a new sound thats exactly what you  
want if you just select a Patch and modify its parameters  
at random. It makes sense to start with a Patch whose  
sound is related to what you have in mind.  
3 . Use the function buttons to select a display group.  
The indicator for the button of the selected display group  
begins blinking.  
fig.05-01  
Decide which Tones will sound (p. 32, p. 81).  
When creating a Patch, it is important to decide which  
Tones you are going to use. For each Tone, use the TONE  
SWITCH [1][4] to decide whether to turn it on (have it  
sound) or off. It is also important to turn off unused  
Tones to avoid wasting voices, unnecessarily reducing  
the number of simultaneous notes you can play. A Tone  
switches on/ off each time its respective button is  
pressed. When a Tones indicator lights, itll sound.  
4 . Use  
or  
to select a display page.  
5 . If you have selected a parameter display that can be set  
independently for each Tone, the number of the Tone  
selected for editing will be shown in the upper left of the  
display. To edit a different Tone, press [EDIT] to  
Check the Structure setting (p. 73).  
temporarily turn off the indicator, and use TONE  
The important Type parameter (PATCH/ COMMON/  
STRUCT) determines how the four Tones combine.  
Before you select new Tones, make sure you understand  
how the currently selected Tones are affecting each  
other.  
SELECT [1][4] to select a Tone.  
fig.05-02  
Turn Effects off (p. 105).  
For simultaneously modifying the same parameter for  
two or more Tones, hold down one of the TONE  
SELECT [1][4] buttons and press another TONE  
SELECT [1][4] button, then another if so desired. Tone  
numbers other than the first-specified one will be  
indicated by an * symbol.  
Since the XV-88 effects have such a profound impact on  
its sounds. Turn them off to listen to the sound itself so  
you can better evaluate the changes youre making. Since  
you will hear the original sound of the Patch itself when  
the effects are turned off, the results of your  
modifications will be easier to hear. Actually, sometimes  
just changing effects settings can give you the sound you  
want.  
To switch Tones on/ off, turn off the [EDIT] indicator  
and then press TONE SWITCH [1][4].  
6 . Use  
or  
to move the cursor to the parameter you  
wish to modify.  
7 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to modify the parameter value.  
If youve selected two or more Tones, your editing will  
modify the parameter values for all selected Tones by the  
same amount.  
6 6  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Ma k in g Se ttin g s W h ile  
Co m p a rin g To n e s (Pa le tte Ed it)  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
When modifying Tone settings for a Patch, the values for  
four Tones will be displayed together on a single display.  
This is called the Palette page. Use it when you want to  
modify parameter values as you compare the settings of the  
four Tones.  
8 . If you wish to move to another display group, press  
[EDIT] to make the indicator light, and use the function  
buttons.  
1 . When modifying a Tone, use  
or  
to move the  
cursor to the parameter you wish to modify.  
You can also move to another display group by holding  
2 . Press [PALETTE EDIT] to call up the Palette page.  
down [SHIFT] and using  
or  
. Since this can be  
fig.05-04  
done even when the [EDIT] indicator is dark, it is a faster  
way to get around because you dont have to turn on the  
[EDIT] indicator each time.  
9 . Repeat steps 38 to complete a Patch.  
1 0 . When you finish making settings, press [EXIT] or  
[PATCH] to return to the PATCH PLAY page.  
An asterisk * will be displayed at the left of the Patch  
group. This shows patch settings have been modified.  
3 . Press TONE SELECT [1][4],  
or  
to choose the  
Tone to modify.  
The button indicator for the selected Tone will light, and  
the Tone number and Wave name appear in the display.  
If you select another Patch in the group with an asterisk  
*, the modified Patch settings will be lost. To keep these  
modified settings, perform the save operation (p. 164).  
fig.05-03  
For modifying the same parameter of two or more Tones  
simultaneously, hold down one of the TONE SELECT  
[1][4] buttons and press another.  
4 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to change the parameter value.  
If youve selected two or more Tones, your editing will  
modify the parameter values for all selected Tones by the  
same amount. If you want to set all selected Tones to the  
same value, select the Tone having that value by  
pressing  
or  
, and while holding down [SHIFT],  
press [ENTER].  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
5 . If you wish to edit other parameters,  
press  
or  
to select the parameter that you wish  
to edit.  
6 . Repeat steps 35 to complete a Patch.  
7 . To exit the Palette page, press [PALETTE EDIT], thus  
extinguishing the buttons indicator.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Co p y in g th e Se ttin g s o f An o th e r  
To n e (To n e Co p y )  
Ca u tio n s W h e n Se le ctin g a  
W a ve fo rm  
Tone settings from any desired Patch can be copied to any  
desired Tone of the currently selected Patch. This function  
can help you save time.  
The sounds of the XV-88 are based on complex PCM  
waveforms, and if you attempt to make settings that are  
contrary to the type of the original waveform, the results will  
not be as you expect.  
1 . Make sure that a Patch is selected.  
The XV-88s internal waveforms fall into the following two  
2 . Press [UTILITY], getting its indicator to start blinking.  
groups.  
One-shot: These waveforms contain sounds that have short  
decays. A one-shot waveform records the initial rise and fall  
of the sound. Some of the XV-88s one-shot waveforms are  
sounds that are complete in themselves, such as percussive  
instrument sounds. The XV-88 also contains many other one-  
shot waveforms that are elements of other sounds. These  
include attack components such as piano-hammer sounds  
and guitar fret noises.  
3 . Press the numeric key [2], then  
or  
to call up the  
PATCH TONE CPY page.  
fig.10-13.e  
Copy source Patch  
(group, number)  
Copy source Patch name  
Copy destination Tone  
Copy source Tone  
Looped: These waveforms include sounds with long decays  
as well as sustained sounds. Loop waveforms repeatedly  
play back (loop) the portion of the waveform after the sound  
has reached a relatively steady state. The XV-88s looped  
waveforms also include components of other sounds, such as  
piano-string resonant vibrations and the hollow sounds of  
brass instruments.  
4 . Press the cursor buttons to move the cursor to the  
parameter you wish to set.  
5 . Either rotate the VALUE dial or press [INC/ +]/ [DEC/ -]  
to set the value.  
To specify the currently selected Patch as the copy  
source, set Source to TEMP.  
The following diagram shows an example of sound (electric  
organ) that combines one-shot and looped waveforms.  
fig.05-05.e  
When the cursor is located at Source, you can also use  
[USER], [PRESET], and [A][F] to select a Patch group,  
and then use numeric keys to specify the Patch number.  
TVA ENV for looped Organ  
waveform (sustain portion)  
TVA ENV for one-shot Key  
-click waveform (attack portion)  
Resulting TVA ENV  
change  
Level  
By using TONE SWITCH [1][4], you can also select the  
copy source Tone. By using TONE SELECT [1][4], you  
can select the copy destination Tone.  
+
=
Time  
6 . Press [ENTER] to execute the Copy operation.  
Note off  
Note off  
When the Copy operation is executed, an * symbol will  
be displayed in front of the copy-destination Tone.  
7 . Press [UTILITY] to return to the previous page.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Ca u tio n s W h e n Usin g a O n e -sh o t  
W a ve fo rm  
Fu n ctio n s o f Pa tch  
Pa ra m e te rs  
It is not possible to use the envelope to modify a one-shot  
waveform to create a decay that is longer than the original  
waveform, or to turn it into a sustaining sound. If you were  
to program such an envelope, you would be attempting to  
shape a portion of the sound that simply doesnt exist, and  
the envelope would have no effect.  
This section explains the functions the different Patch  
parameters have, as well as the composition of these  
parameters.  
fig.05-01  
Ca u tio n s W h e n Usin g a Lo o p  
W a ve fo rm  
With many acoustic instruments such as piano and sax,  
extreme timbral changes occur during the first few moments  
of each note. This initial attack is what defines much of the  
instruments character. For such waveforms, it is best to use  
the complex tonal changes of the attack portion of the  
waveform just as they are, and to use the envelope only to  
modify the decay portion. If you attempt to use the envelope  
to modify the attack portion as well, the characteristics of the  
original waveform may prevent you from getting the sound  
Parameters marked with a can be controlled using  
specified MIDI messages (Matrix Controller). Settings in  
the Matrix Control page will determine how these  
parameters are controlled (p. 78, p. 79).  
Se ttin g s Co m m o n to th e En tire  
Pa tch (CO MMO N )  
that you intend.  
fig.05-06.e  
On this display you can assign a name to a Patch and set the  
volume and pan of the entire Patch.  
Level  
Looped portion  
Tone change stored  
with the wave  
PATCH N AME  
fig.05-07  
Time  
Envelope  
for the TVF filter  
You can assign a name of up to 12 characters to the Patch.  
For details on assigning names, refer to Assigning a  
Name(p. 28).  
Resulting  
tone change  
PATCH CATEGO RY  
fig.05-08  
Ca te g o ry (Pa tch Ca te g o ry )  
Specifies the type (category) of the Patch.  
The Patch Finder function uses this setting. It also determines  
the phrase that will be sounded when using the Phrase  
Preview function.  
For details on the possible category names, refer to (p.  
31).  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
PATCH LVL&PAN (Pa tch le ve l & Pa n )  
fig.05-09  
You can specify the fine tune of each Tone using the Fine  
parameter (PATCH/ PITCH/ PITCH) (p. 86).  
Stre tch (Stre tch Tu n in g De p th )  
Le ve l (Pa tch Le ve l)  
This setting allows you to apply stretched tuningto the Patch.  
(Stretched tuning is a system by which acoustic pianos are  
normally tuned, causing the lower range to be lower and the  
higher range to be higher than the mathematical tuning ratios  
would otherwise dictate.) With a setting of OFF, the Patchs  
tuning will be equal temperament. A setting of 3 will produce  
the greatest difference in the pitch of the low and high ranges.  
Specifies the volume of the Patch.  
You can specify the level of each Tone in a Patch using  
the Level parameter (PATCH/ TVA/ TVA) (p. 90).  
Pa n (Pa tch Pa n )  
The diagram shows the pitch change relative to equal  
temperament that will occur in the low and high ranges. This  
setting will have a subtle effect on the way in which chords  
Specifies the pan of the Patch. A setting of L64 is far left, 0 is  
center, and 63R is far right.  
resonate.  
fig.05-11.e  
You can specify the pan setting for each Tone using the  
Pan parameter (PATCH/ TVA/ TVA) (p. 90).  
equal temperament  
Parameter value  
An a lo g Fe e l (An a lo g Fe e l De p th )  
3
2
1
Specifies the depth of 1/ f modulation that is to be applied to  
the Patch. (1/ f modulation is a pleasant and naturally-  
occurring ratio of modulation that occurs in a babbling brook  
or rustling wind.)  
OFF  
OFF  
1
By adding this 1/ f modulation,you can simulate the  
natural instability characteristic of an analog synthesizer.  
2
PATCH O CT&TUN E  
(Pa tch O cta ve & Tu n e )  
fig.05-10  
3
High note range  
Low note range  
PATCH CO MMO N  
fig.05-12  
O cta ve (O cta ve Sh ift)  
Adjusts the pitch of the Patchs sound up or down in units of  
an octave (+/ -3 octaves).  
Prio rity (Vo ice Prio rity )  
Co a rse (Co a rse Tu n e )  
This determines how notes will be managed when the XV-  
Adjusts the pitch of the Patchs sound up or down in  
88s maximum polyphony limit is exceeded (128 voices).  
semitone steps (+/ -4 octaves).  
LAST: The last-played voices will be given priority, and  
currently sounding notes will be turned off in order,  
beginning with the first-played note.  
You can specify the coarse tune of each Tone using the  
Coarse parameter (PATCH/ PITCH/ PITCH) (p. 86).  
priority, and currently sounding notes will be turned off,  
beginning with the lowest-volume voice.  
Fin e (Fin e Tu n e )  
Adjusts the pitch of the Patchs sound up or down in 1-cent  
O u tp u t Assig n  
steps (+/ -50 cents).  
Specifies for each Patch how the direct sound will be output.  
MFX: Output in stereo through Multi-Effects. You can also  
apply Chorus or Reverb to the sound that passes through  
Multi-effects.  
One cent is 1/ 100th of a semitone.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo  
PATCH MO DIFY  
fig.05-14  
without passing through Multi-effects.  
OUTPUT B: Output to the OUTPUT B (MIX) jacks in stereo  
without passing through Multi-effects.  
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without  
Cu t (Cu to ff Fre q u e n cy O ffse t)  
passing through Multi-effects.  
Cutoff Frequency Offset alters the cutoff frequency of the  
overall Patch, while preserving the relative differences  
between the cutoff frequency values set for each Tone in the  
Cutoff parameters (PATCH/ TVF/ TVF FILTER) (p. 88).  
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without  
passing through Multi-effects.  
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without  
passing through Multi-effects.  
* Cutoff Frequency: the frequency at which the filter begins  
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without  
to have an effect on the waveform’s frequency components.  
passing through Multi-effects.  
TONE: Outputs according to the settings for each Tone.  
Since the values for the Cutoff parameters for each Tone  
are added to the values made in this setting, if the Cutoff  
parameters are set to 127 (maximum), then no further  
changes are made, even when a positive value is used for  
this setting.  
When outputting in mono, the Pan setting is disabled.  
When the settings are such that signals are split and  
output from the INDIVIDUAL 1 jack and INDIVIDUAL  
2 jack, and no plug is inserted in the INDIVIDUAL 2  
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL  
2 are mixed together, then output from the  
Re s (Re so n a n ce O ffse t)  
Resonance Offset alters the resonance of the overall Patch,  
while preserving the relative differences between the  
resonance values set for each Tone in the Resonance  
parameter (PATCH/ TVF/ TVF FILTER) (p. 88).  
INDIVIDUAL 1 jack. This sound comprises the sounds  
from the INDIVIDUAL 1 and 2 jacks.  
* Resonance: emphasizes the overtones in the region of the  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
cutoff frequency, adding character to the sound.  
Since the values for the Resonance parameters for each  
Tone are added to the values made in this setting, if the  
Resonance parameters are set to 127 (maximum), then no  
further changes are made, even when a positive value is  
used for this setting.  
PATCH TEMPO  
fig.05-13  
Clo ck So u rce (Pa tch Clo ck So u rce )  
Atk (Atta ck Tim e O ffse t)  
The LFO cycle, Multi-effects changes, Phrase Loop, and Tone  
Delay time can be synchronized to a clock (tempo). When  
this is used by the Patch, this Clock Source setting  
determines the clock which will be used.  
Attack Time Offset alters the attack time of the overall Patch,  
while preserving the relative differences between the attack  
time values set for each Tone in the T1 parameters (PATCH/  
TVA/ TVA ENVELOPE) (p. 92).  
PATCH: Synchronize to the Patch Tempo setting.  
SYSTEM: The global System Tempo or clock messages  
* Attack Time: The time it takes for a sound to reach maximum  
received from an external sequencer will be used.  
volume after the key is pressed and sound begun  
For details on using clock (tempo), refer to (p. 200).  
Since the values for the T1 parameters for each Tone are  
added to the values made in this setting, if the T1  
parameters are set to 127 (maximum), then no further  
changes are made, even when a positive value is used for  
this setting.  
Te m p o (Pa tch Te m p o )  
When Clock Source (Patch Clock Source) is set to PATCH,  
this setting value is effective.  
The Patch Tempo Clock does not transmit clock  
messages from the MIDI OUT connector.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Re l (Re le a se Tim e O ffse t)  
Release Time Offset alters the release time of the overall  
Patch, while preserving the relative differences between the  
release time values set for each Tone in the T4 parameters  
(PATCH/ TVA/ TVA ENVELOPE) (p. 92).  
Instead of using Velocity, you can also have Tones  
substituted using the Matrix Controller (p. 80). However,  
the keyboard velocity and the Matrix Controller cannot  
be used simultaneously to switch Tones. When using the  
Matrix Controller to switch Tones, set the TMT Velocity  
Control to OFF.  
* Release Time: The time from when you take your finger off  
the key until the sound disappears  
TMT VEL RAN G (TMT Ve lo city Ra n g e )  
fig.05-16  
Since the values for the T4 parameters for each Tone are  
added to the values made in this setting, if the T4 parameters  
are set to 127 (maximum), then no further changes are made,  
even when a positive value is used for this setting.  
Specifies the range of playing dynamics (key velocity) which  
will sound the Tone. Make these settings when you want  
different Tones to sound in response to notes played at  
different strengths.  
Ve lo city Se n s (Ve lo city Se n sitivity O ffse t)  
Velocity Sensitivity Offset alters the Velocity Sensitivity of  
the overall Patch while preserving the relative differences  
between the Velocity Sensitivity values set for each Tone in  
the parameters below.  
When the TMT Velocity Control parameter (PATCH/  
cannot change the tone that is played according to the  
V-Cutoff parameter (PATCH/ TVF/ TVF VELOCITY) (p.  
89)  
V-Sens parameter (PATCH/ TVA/ TVA) (p. 90)  
* Velocity: Pressure with which the key is pressed  
When using the Matrix Controller to have different  
Tones played, set the range within which the Tone is to  
be sounded according to the value of the MIDI message  
used.  
Since this settings value is added to the V-Cutoff and V-  
Sens parameter values for each Tone, if the V-Cutoff and  
V-Sens parameter values are set to +63 (maximum), then  
no further changes are made, even when a positive value  
is used for this setting.  
Lo w e r (Ve lo city Ra n g e Lo w e r)  
Up p e r (Ve lo city Ra n g e Up p e r)  
For each Tone, specify the lower (Lower) and upper (Upper)  
limit of the key velocities that will sound the Tone. When a  
key is played more softly than the lower limit, or more  
strongly than the upper limit, the sound will either not be  
heard at all or will be extremely weak.  
TMT VELO CO N TRO L  
(TMT Ve lo city Co n tro l)  
fig.05-15  
If you attempt to set the Lower velocity limit above the  
Upper, or the Upper below the Lower, the other value  
will automatically be adjusted to the same setting.  
You can have the XV-88s keyboard produce different  
tones according to the register, the force with which the  
keys are played, or a variety of different MIDI messages.  
The group of settings affecting this is called the TMT  
(Tone Mix Table).  
When using the Matrix Controller to have different  
Tones played, set the lowest value (Lower) and highest  
value (Upper) of the value of the MIDI message used.  
TMT Ve lo city Co n tro l  
(TMT Ve lo city Co n tro l Sw itch )  
TMT Velocity Control determines whether a different Tone is  
played (ON) or not (OFF) depending on the force with which  
the key is played (velocity).  
When set to RANDOM, the Patchs constituent Tones will  
sound randomly, regardless of any Velocity messages.  
7 2  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
L.Fa d e (Ve lo city Fa d e W id th Lo w e r)  
U.Fa d e (Ve lo city Fa d e W id th Up p e r)  
STRUCT (Stru ctu re )  
fig.05-19  
L.Fade and U.Fade set the range within which the volume  
gradually fades as the velocity approaches the limits of the  
Velocity Range as set by the Lower and Upper parameters.  
Use this setting when, for example, you want to have  
adjacent Tones in Split mode switched smoothly (Velocity  
Crossfade). The higher the values set, the smoother the  
switch is between the Tones. When you want the Tones to be  
Ty p e (Stru ctu re Ty p e )  
Determines how Tone 1 and 2, or Tone 3 and 4 are connected.  
The following 10 different Types of combination are  
available.  
switched instantly, set these to 0.  
fig.05-17.e  
The display will show how the Tones are combined. The  
displayed symbols have the following meanings.  
Level  
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1),  
Velocity  
A2 (TVA2), B (booster), R (ring modulator)  
fig.05-20  
Upper U.Fade  
L.Fade Lower  
TYPE 1  
TMT KEY RAN G (TMT Ke y Ra n g e )  
fig.05-18  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVF  
TVF  
TVA  
TVA  
These parameters specify the range of notes that will play the  
Tone. This can be used to make notes in different areas of the  
keyboard play different Tones.  
With this type, Tones 1 and 2 (or 3 and 4) are independent.  
Use this type when you want to preserve PCM sounds or  
create and combine sounds for each Tone.  
fig.05-21  
Lo w e r (Ke y Ra n g e Lo w e r)  
Up p e r (Ke y Ra n g e Up p e r)  
TYPE 2  
Specify the lower (Lower) and upper (Upper) limits in which  
each Tone will sound.  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVA  
TVF  
TVF TVA  
If you attempt to raise the lower key higher than the upper  
key, or to lower the upper key below the lower key, the other  
value will be automatically modified to the same setting.  
This type stacks the two filters together to intensify the  
characteristics of the filters. The TVA for Tone 1 (or 3)  
controls the volume balance between the two Tones.  
fig.05-22  
L.Fa d e (Ke y Fa d e W id th Lo w e r)  
U.Fa d e (Ke y Fa d e W id th Up p e r)  
TYPE 3  
L.Fade and U.Fade set the range within which the volume  
gradually fades as the velocity approaches the limits of the  
Key Range set in the Lower and Upper parameters. Use this  
setting when, for example, you want to have adjacent Tones  
in Split mode switched smoothly. The higher the values set,  
the smoother the switch is between the Tones. When you  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVA  
TVF  
B
TVF TVA  
This type mixes the sound of tone 1 (3) and tone 2 (4), applies  
a filter, and then applies a booster to distort the waveform.  
want the Tones to be switched instantly, set these to 0.  
fig.03-07.e  
Level  
Pitch  
Upper U.Fade  
L.Fade Lower  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
fig.05-23  
fig.05-27  
TYPE 4  
TYPE 8  
TONE 1 (3) WG  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVA  
TVF  
TVF TVA  
R
B
TONE 2 (4) WG  
TVF TVA  
TVF TVA  
This type applies a booster to distort the waveform, and then  
combines the two filters. The TVA for Tone 1 (or 3) controls  
the volume balance between the two Tones and adjusts  
This type sends the filtered Tone 1 (3) and Tone 2 (4) through  
a ring modulator, and then mixes in the sound of Tone 2 (4)  
and applies a filter to the result.  
fig.05-28  
booster level.  
fig.05-24  
TYPE 9  
TYPE 5  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVF TVA  
TVF  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVA  
TVF  
R
R
TVA  
TVF TVA  
This type passes the filtered sound of each tone through a  
ring modulator to create new overtones. The TVA for Tone 1  
(or 3) controls the volume balance between the two Tones  
This type uses a ring modulator to create new overtones, and  
combines the two filters. The Tone 1 (3) TVA will control the  
volume balance of the two Tones, adjusting the depth of ring  
and adjusts ring modulation depth.  
fig.05-29  
modulator.  
fig.05-25  
TYPE 10  
TYPE 6  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVF TVA  
TVF  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVA  
TVF  
R
R
TVA  
TVF TVA  
This type passes the filtered sound of each tone through a  
ring modulator to create new overtones, and also mixes in  
the sound of tone 2 (4). Since the ring-modulated sound can  
be mixed with Tone 2 (4), Tone 1 (3) TVA can adjust the  
amount of the ring-modulated sound.  
This type uses a ring modulator to create new overtones, and  
in addition mixes in the sound of tone 2 (4) and stacks the  
two filters. Since the ring-modulated sound can be mixed  
with Tone 2 (4), Tone 1 (3) TVA can adjust the amount of the  
ring-modulated sound.  
fig.05-26  
If you select a Tone while on the STRUCT page, the Tone  
paired with the selected Tone will also be selected.  
TYPE 7  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVF TVA  
When TYPE 210 is selected and one Tone of a pair is  
turned off, the other Tone will be sounded as TYPE 1  
regardless of the displayed setting.  
R
TVF TVA  
If you limit the keyboard area in which a Tone will  
for which it will sound (Velocity Range p. 72), the result  
in areas or ranges where the Tone does not sound is just  
as if the Tone had been turned off. This means that if  
TYPE 210 is selected and you create a keyboard area or  
velocity range in which one Tone of a pair does not  
sound, notes played in that area or range will be  
sounded by the other Tone as TYPE 1 regardless of the  
displayed setting.  
This type applies a filter to tone 1 (3) and ring-modulates it  
with tone 2 (4) to create new overtones.  
7 4  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Bo o ste r (Bo o ste r Ga in )  
When a Structure Type of TYPE 3 or TYPE 4 is selected, you  
can adjust the depth of the booster. The booster increases the  
input signal in order to distort the sound. This creates the  
distortion effect frequently used with electric guitars. Higher  
settings will produce more distortion.  
W h a t is a Rin g Mo d u la to r?  
A ring modulator multiplies the waveforms of two  
Tones with each other, generating many new overtones  
(inharmonic partials) which were not present in either  
waveform. (Unless one of the waveforms is a sine wave,  
evenly-spaced frequency components will not usually be  
generated.)  
W h a t is a Bo o ste r?  
As the pitch difference between the two waveforms  
changes the harmonic structure, the result will be an  
unpitched metallic sound. This function is suitable for  
The Booster is used to distort the incoming signal.  
fig.05-30.e  
Booster level  
creating metallic sounds such as bells.  
fig.05-32  
In addition to using this to create distortion, you can use  
the waveform (WG1) of one of the Tones as an LFO  
which shifts the other waveform (WG2) upward or  
downward to create modulation similar to PWM (pulse  
width modulation). This parameter works best when  
you use it in conjunction with the Gain parameter  
Se ttin g Effe cts fo r a Pa tch  
(EFFECTS)  
(PATCH/ WAVE/ WAVE) (p. 81).  
fig.05-31.e  
Uses WG1 as LFO  
Adjusts WG1 output  
For details regarding effect settings, refer to the pages  
shown below.  
WG1  
TVA  
Booster  
Mode(p. 106)  
Making Chorus Settings(p. 156)  
Making Reverb Settings(p. 158)  
WG2  
WG2  
Adds to WG1  
Distorted area of the  
Waveform changes  
Shift in waveform by WG1  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
PATCH PO RTAMN T (Pa tch Po rta m e n to )  
fig.05-34  
Usin g Co n tro lle rs to Ch a n g e Ho w  
So u n d s Are Pla y e d (CO N TRO L)  
The parameters in this group determine how various  
controllers will affect the Patch and its Tones.  
W h a t is Po rta m e n to ?  
PATCH KEY MO DE  
(Pa tch Ke y Assig n Mo d e )  
fig.05-33  
Portamento is a function that causes the Patchs pitch to  
change smoothly from one note to the next note played.  
With the Assign parameter set to MONO, portamento is  
especially effective when simulating playing techniques  
such as a violin glissandos. Portamento can also be  
applied when Key Assign is polyphonic (POLY).  
Assig n (Ke y Assig n )  
Specifies whether the Patch will play polyphonically (POLY)  
or monophonically (MONO). The MONO setting is effective  
when playing a solo instrument Patch such as sax or flute.  
Sw (Po rta m e n to Sw itch )  
Specifies whether the portamento effect will be applied (ON)  
or not (OFF).  
POLY: Two or more notes can be played simultaneously.  
MONO: Only the last-played note will sound.  
Le g a to (So lo Le g a to Sw itch )  
When the Sw parameter is set to OFF, all of the following  
Portamento settings are disabled.  
Solo Legato is valid when the Assign parameter is set to  
MONO. This setting specifies whether the Solo Legato  
function will be used (ON) or not (OFF).  
Tim e (Po rta m e n to Tim e )  
When the Legato parameter is ON, pressing one key when  
another is already pressed causes the currently playing  
notes pitch to change to that of the newly pressed key while  
continuing to sound. This can be effective when you wish to  
simulate performance techniques such as a guitarists  
hammering on and pulling off strings.  
When portamento is used, this specifies the time over which  
the pitch will change. Higher settings will cause the pitch  
change to the next note to take more time.  
Mo d e (Po rta m e n to Mo d e )  
Specifies the performance conditions for which portamento  
will be applied.  
Le g a to Re trig g e r (Le g a to Re trig g e r Sw itch )  
NORMAL: Portamento will always be applied.  
Legato Retrigger is enabled when the Assign parameter is set  
to MONO, and the Legato parameter to ON. The setting  
determines whether sounds are replayed (ON) or not (OFF)  
when performing legato. This is normally set to ON. When  
OFF, when one key is held down and another key is then  
pressed, only the pitch changes, without the attack of the  
latter key being played. Set this to OFF when performing  
wind and string phrases or when using modulation with the  
mono synth keyboard sound.  
LEGATO: Portamento will be applied only for notes played  
legato (i.e., when you press a second key before releasing the  
first.  
Ty p e (Po rta m e n to Ty p e )  
Specifies the type of portamento effect.  
RATE: The time it takes will depend on the distance between  
the two pitches.  
TIME: The time it takes will be constant, regardless of how  
far apart in pitch the notes are.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Sta rt (Po rta m e n to Sta rt Pitch )  
Portamento will begin anew if you press another key during  
a pitch movement. This setting specifies the pitch at which  
the change will begin.  
Generally, pitch bend messages control the pitch of the  
currently sounding note, expression messages control  
the volume. In addition to this, the XV-88 allows these  
MIDI messages to be used to control Tone settings or  
Multi-effects settings as well (p. 78, p. 115). If you are  
using this capability, turn reception of these MIDI  
messages OFF. If the receive switch is ON for these  
messages, they will control their usual function (in  
addition to their special function).  
PITCH: When another key is pressed while the pitch is  
moving, portamento will begin anew from the pitch that had  
been reached at that moment.  
fig.05-35.e  
Pitch  
C5  
When assigning (and playing) a Patch to a Part in a  
Performance, check the MIDI message settings for each  
are set not to receive MIDI messages, then the MIDI  
messages will not be received.  
D4  
C4  
Time  
Be n d e r (Re ce ive Pitch Be n d Sw itch )  
press D4 key  
press C5 key  
press C4 key  
Specifies whether Pitch Bend messages will be received (ON)  
or not (OFF).  
NOTE: Portamento will begin anew from the pitch where the  
Ex p re ssio n (Re ce ive Ex p re ssio n Sw itch )  
current change would end.  
fig.05-36.e  
Specifies whether Expression messages will be received (ON)  
or not (OFF).  
Pitch  
C5  
Pa n Mo d e (Re ce ive Pa n Mo d e )  
Specifies how Pan messages will be received.  
CONTINUOUS: Whenever Pan messages are received, the  
stereo position of the Tone will be changed.  
D4  
C4  
KEY-ON: The pan of the Tone will be changed only when the  
next note is played. If a pan message is received while a note  
is sounding, the panning will not change until the next key is  
pressed.  
Time  
press D4 key  
press C5 key  
press C4 key  
The channels cannot be set so as not to receive Pan  
messages.  
CTRL Rx MIDI (Co n tro l Re ce ive MIDI)  
fig.05-37  
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )  
Specifies whether Hold 1 messages will be received (ON) or  
not (OFF).  
fig.05-38  
Here you can specify for each Tone how MIDI messages such  
as pitch bend, expression and pan will be received.  
If NO SUSTAIN is selected for Envelope Mode  
parameter (PATCH/ CONTROL/ CTRL Rx MIDI), this  
setting will have no effect.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Re d a m p e r (Re d a m p e r Sw itch )  
MATRIX CTRL SRC  
(Ma trix Co n tro l So u rce )  
fig.05-40  
When a Hold 1 message is received after a key was released  
but before the sound has completely decayed, this setting  
specifies whether or not the sound will be sustained at that  
level. If you want to sustain the sound, set this ON. When  
using this function, also set the Hold-1 parameter ON. This  
function is effective for piano sounds.  
W h a t is th e Ma trix Co n tro lle r?  
En ve lo p e Mo d e  
Ordinarily, if you wanted to change Tone parameters  
using an external MIDI device, you would need to send  
System Exclusive messagesMIDI messages  
designed exclusively for the XV-88. However, System  
Exclusive messages tend to be complicated, and the  
amount of data that needs to be transmitted can get quite  
large.  
When a loop-type waveform (p. 68) is selected, it will  
normally continue to sound as long as a key is pressed. If you  
want a note to decay naturally even when the key remains  
pressed, set this to NO SUSTAIN.  
If a one-shot type Wave (p. 68) is selected, it will not  
sustain even if this parameter is set to SUSTAIN.  
For that reason, a number of the more typical of the XV-  
88s Tone parameters have been designed so they accept  
the use of Control Change (or other) MIDI messages for  
the purpose of making changes in their values. This  
provides you with a variety of means of changing the  
way Patches are played. For example, you can use the  
Pitch Bend lever to change the LFO cycle rate, or use the  
keyboards touch to open and close a filter.  
TMT CTRL&BEN DER  
(TMT Co n tro l & Be n d e r)  
fig.05-39  
The function which allows you use MIDI messages to  
make these changes in realtime to the Tone parameters is  
called the Matrix Controller. Up to four Matrix  
Controllers can be used in a single Patch.  
TMT Ctrl Sw (TMT Co n tro l Sw itch )  
Use the Matrix Controller to enable (ON), or disable (OFF)  
sounding of different tones.  
When the Matrix Controller is used, you can select the  
amount of control (Sns parameter) applied, the  
You can also cause different tones to sound in response  
to notes played at different strengths (velocity) on the  
keyboard. However, the Matrix Controller and the  
keyboard velocity cannot be used simultaneously to  
make different Tones to sound. When you want to make  
the different Tones to sound, set the TMT Velocity  
Control parameter (PATCH/ COMMON/ TMT VELO  
CONTROL) to OFF.  
parameter selected (Dest parameter), the MIDI message  
used to transmit the effect (Control 14 parameter), and  
the Tone to which the effect is applied (Tone parameter).  
Co n tro l 1 –4 (Ma trix Co n tro l So u rce 1 –4 )  
Sets the MIDI message used to change the Tone parameter  
with the Matrix Controller. Set this to OFF when the Matrix  
Controller is not being used.  
Be n d Ra n g e  
The following are MIDI messages that can be used as Matrix  
Controllers.  
Specifies the amount of pitch change (in semitones) that will  
occur when the Pitch Bend Lever is moved (-4+4 octaves).  
The left value specifies the pitch change that will occur when  
the lever is moved fully left. The right value specifies the  
pitch change that will occur when the lever is moved fully  
right. For example, if the right value is set to 12, the pitch will  
rise one octave when the bender lever is moved to the right-  
most position.  
Controller Numbers 0131, 3395 (CC01CC31, CC33–  
CC95)  
For more information about Control Change messages,  
please refer to MIDI Implementation(p. 270).  
Pitch Bend (PITCH BEND)  
Aftertouch (AFTERTOUCH)  
System Controller 14 (SYS-CTRL1SYS-CTRL4): MIDI  
messages used as global Matrix Controllers  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Velocity (VELOCITY): Pressure you press a key with  
Keyfollow (KEYFOLLOW): Keyboard position with C4  
as 0  
There are parameters that determine whether or not  
Pitch Bend, Controller Number 11 (Expression) and  
Controller Number 64 (Hold 1) are received (p. 77).  
When these settings are ON, and the MIDI messages are  
received, then when any change is made in the settings  
of the desired parameter, the Pitch Bend, Expression,  
and Hold 1 settings also change simultaneously. If you  
want to change the targeted parameters only, then set  
these to OFF.  
Tempo (TEMPO): The specified tempo (Patch Tempo/  
System Tempo) or MIDI sequencers tempo (external  
tempo)  
LFO 1 (LFO1): LFO 1 cycle rate  
LFO 2 (LFO2): LFO 2 cycle rate  
Pitch Envelope (PITCH ENV)  
TVF Envelope (TVF ENV)  
There are parameters that determine whether or not  
specific MIDI messages are received for each MIDI  
settings is assigned to a part, confirm that any MIDI  
messages used for the Matrix Controller will be received.  
If the XV-88 is set up such that reception of MIDI  
messages is disabled, then the Matrix Controller will not  
function.  
TVA Envelope (TVA ENV)  
Velocity and Keyfollow correspond to Note messages.  
You can use the tempo as a Matrix Controller. This lets  
you change the Tone settings in realtime according to  
changes in the Tempo.  
When synchronizing to the Patch tempo, set the Clock  
Source parameter (PATCH/ COMMON/ PATCH  
TEMPO) to PATCH, and specify the Patch tempo with  
the TEMPO parameter (PATCH/ COMMON/ PATCH  
TEMPO).  
MATRIX CO N TRO L 1 –4  
fig.05-41  
De st (Ma trix Co n tro l De stin a tio n )  
When synchronizing to the System tempo, set the Clock  
Source parameter (PATCH/ COMMON/ PATCH  
TEMPO) to SYSTEM, set the Clock Source parameter  
(SYSTEM/ COMMON/ SYSTEM SETUP) to INT, and  
specify the System tempo with the System Tempo  
parameter (SYSTEM/ COMMON/ SYSTEM SETUP).  
Matrix Control Destination selects the Tone parameter that is  
to be controlled when using the Matrix Controller. The  
following parameters can be controlled. When not  
controlling parameters with the Matrix Controller, set this to  
OFF. Up to four parameters (DEST14) can be specified for  
each Matrix Controller, and controlled simultaneously.  
When synchronizing to the tempo of the connected MIDI  
sequencer, set the Clock Source parameter (PATCH/  
COMMON/ PATCH TEMPO) to SYSTEM, and set the  
Clock Source parameter (SYSTEM/ COMMON/ SYSTEM  
SETUP) to MIDI.  
In this manual, Parameters that can be controlled using  
the Matrix Controller are marked with a .  
O p e n in g a n d Clo sin g th e Filte r  
Although there are no MIDI messages for LFO 1 through  
TVA Envelope, they can be used as Matrix Controllers.  
In this case, you can change the Tone settings in realtime  
by playing Patches.  
CUTOFF: Changes the cutoff frequency.  
RESONANCE: Emphasizes the overtones in the region of the  
cutoff frequency, adding character to the sound.  
Select SYS-CTRL14 if you want to use the controllers  
globally for the entire XV-88. MIDI messages used as  
System Controllers 14 are set with the Control 14  
parameters (SYSTEM/ CONTROL/ SYS CTRL ASSIGN 1,  
2) (p. 173).  
Ch a n g in g th e Vo lu m e , Pa n , a n d Pitch  
LEVEL: Changes the volume level.  
PAN: Changes the pan.  
PITCH: Changes the pitch.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
When you want to use the Matrix Controller to make the  
switch between Tones more smoothly, set the L.Fade and  
U.Fade parameters (PATCH/ COMMON/ TMT VELO  
the switch is between the Tones.  
Ch a n g in g Ho w th e Effe cts Are Ap p lie d  
DRY LEVEL: Changes the volume of dry sounds.  
CHORUS SEND: Changes the amount of Chorus.  
REVERB SEND: Changes the amount of Reverb.  
Ap p ly in g LFO to Mo d u la te So u n d s  
LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.  
LFO1/LFO2 TVF DEPTH: Changes the wah depth.  
LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.  
Ch a n g in g th e De p th o f Fre q u e n cy  
Mo d u la tio n fo r FXM  
FXM DEPTH  
Ch a n g in g Sp e cific Mu lti-Effe cts Pa ra m e te rs  
LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO  
MFX CTRL1: The specified parameter is changed by the MFX  
will have on pan.  
CTRL1 Destination parameter.  
LFO1/LFO2 RATE: Changes the speed of the LFO cycles.  
MFX CTRL2: The specified parameter is changed by the MFX  
Ch a n g in g th e Pitch En ve lo p e  
CTRL2 Destination parameter.  
PIT ENV A-TIME: Changes the T1 parameter of the pitch  
MFX CTRL3: The specified parameter is changed by the MFX  
envelope.  
CTRL3 Destination parameter.  
PIT ENV D-TIME: Changes the T2 and T3 parameters of the  
MFX CTRL4: The specified parameter is changed by the MFX  
pitch envelope.  
CTRL4 Destination parameter.  
PIT ENV R-TIME: Changes the T4 parameter of the pitch  
envelope.  
No effects are available, even with the Matrix Controller,  
when the settings are such that no Multi-effects are  
applied.  
Ch a n g in g th e TVF En ve lo p e  
TVF ENV A-TIME: Changes the T1 parameter of the TVF  
envelope.  
Sn s (Ma trix Co n tro l Se n sitivity )  
TVF ENV D-TIME: Changes the T2 and T3 parameters of the  
Sets the amount of the Matrix Controllers effect that is  
applied. To make an increase in the currently selected value  
(to get higher values, move to the right, increase rates, and so  
on), select a positive value; to make a decrease in the  
TVF envelope.  
TVF ENV R-TIME: Changes the T4 parameter of the TVF  
envelope.  
currently selected value (to get lower values, move to the left,  
decrease rates, and so on), select a negative value. When both  
positive and negative are selected, the changes are greater as  
the value increases. To have no effect applied, select 0.  
Ch a n g in g th e TVA En ve lo p e  
TVA ENV A-TIME: Changes the T1 parameter of the TVA  
envelope.  
TVA ENV D-TIME: Changes the T2 and T3 parameters of the  
TVA envelope.  
To n e (Ma trix Co n tro l To n e )  
TVA ENV R-TIME: Changes the T4 parameter of the TVA  
Matrix Control Tone selects the Tone to which the effect is  
applied when using the Matrix Controller.  
envelope.  
Indicated from left to right are Tones 1, 2, 3, and 4. Tones to  
which effects are applied are indicated by a circle (o) for the  
setting; Tones to which no effects are applied are indicated  
by an underline (_). With a setting of R, the effect will be  
inverted.  
Sp littin g To n e s Th a t Are Pla y e d  
TMT  
If the Matrix Controller is used to split Tones, set the  
TMT Velocity Control parameter (PATCH/ COMMON/  
TMT VELO CONTROL) to OFF, and the TMT Ctrl Sw  
parameter (PATCH/ CONTROL/ CONTROL&BENDER)  
to ON (p. 72, p. 78).  
If the Matrix Controller is used to split Tones, we  
recommend setting the Sns to +63. Selecting a lower  
value may prevent switching of the Tones. Furthermore,  
if you want to reverse the effect, set the value to -63.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
W a ve Te m p o Sy n c  
Mo d ify in g W a ve fo rm s (W AVE)  
When you wish to synchronize a Phrase Loop to the clock  
(tempo), set this to ON. This is valid only when an optional  
Wave Expansion Board, such as SR-JV80-10:  
Select the PCM waveform that is to be the basis of the Tone,  
and apply effects to the waveform.  
BASS&DRUMS,is installed, and you have selected a Tone  
which uses a waveform that displays tempo (BPM). For  
System Tempo(p. 201).  
W AVE  
fig.05-42  
fig.05-43  
When the Wave Tempo Sync parameter is set to ON,  
settings related to Pitch (p. 86) and FXM (p. 81) are  
disabled.  
Gro u p (W a ve Gro u p )  
Selects the group for the waveform that is to be the basis of  
the Tone.  
When the Wave Tempo Sync parameter is set to ON, set  
the Time parameter (PATCH/ WAVE/ TONE DELAY) to  
0. With other settings, a delay effect will be applied, and  
you will be not be able to play as you expect.  
INT: Waveforms stored in internal memory  
XP-AD: Waveform stored in a Wave Expansion Board  
installed in EXP AD slots.  
W h a t is a Ph ra se Lo o p ?  
You cannot select a waveform group of a Wave  
Expansion Board that is not installed.  
A Phrase Loop is a portion of a song that is excerpted  
with a sampler or by other means, and then played back  
repeatedly. One technique involving the use of Phrase  
Loops is the excerpting of a Phrase from a pre-existing  
song in a certain genre, for example dance music, and  
then creating a new song with that Phrase used as the  
basic motif. This is referred to as Break Beats.”  
N u m b e r (W a ve N u m b e r)  
Selects the basic waveform for a Tone. Along with the Wave  
number, the Wave name appears at the right of the display.  
When in monaural mode, only the left side (L) is specified.  
When in stereo, the right side (R) is also specified.  
FXM (Fre q u e n cy Cro ss Mo d u la tio n )  
The Wave numbers can be divided and set in the first  
two and last two digits.  
fig.05-44  
Ga in (W a ve Ga in )  
FXM (Frequency Cross Modulation) uses a specified  
waveform to apply frequency modulation to the currently  
selected waveform, creating complex overtones. This can be  
useful when creating wilder sounds or sound effects.  
Specifies the gain (amplitude) of the waveform. The value  
changes in 6 dB (decibel) stepsan increase of 6 dB doubles  
the waveforms gain. If you intend to use the Booster to  
distort the waveforms sound, set this parameter to its  
maximum value (p. 75).  
Sw itch (FXM Sw itch )  
This sets whether FXM will be used (ON) or not (OFF).  
Sw itch (To n e Sw itch )  
Co lo r (FXM Co lo r)  
Determines whether or not the Tone will be heard in the  
Patch. In order to make best use of the available number of  
simultaneous voices, unused Tones should be turned off.  
Specifies how FXM will perform frequency modulation.  
Higher settings result in a grainier sound, while lower  
settings result in a more metallic sound.  
De p th (FXM De p th ) ★  
You can also set the Switch parameter on the PATCH  
PLAY page. Press TONE SWITCH [1][4] to switch the  
setting to ON (indicator lighted), or OFF (indicator  
extinguished) (p. 32).  
Specifies the depth of the modulation produced by FXM.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
HOLD: Although the Tone begins to play after the time  
specified in the Time parameter has elapsed, if the key is  
released before the time specified in the Time parameter has  
TO N E DELAY  
fig.05-45  
elapsed, the Tone is not played.  
fig.05-48.e  
This produces a time delay between the moment a key is  
pressed (or released), and the moment the Tone actually  
begins to sound. You can also make settings that shift the  
timing at which each Tone is sounded. This differs from the  
Delay in the internal effects, in that by changing the sound  
qualities of the delayed Tones and changing the pitch for  
each Tone, you can also perform arpeggio-like passages just  
by pressing one key.  
HOLD  
No sound  
played  
Delay time  
In addition, you can synchronize the tempo that specifies the  
Tone Delay time and the tempo set in a connected sequencer  
(external tempo).  
Note on  
Note off  
KEY-OFF-NORMAL: Rather than being played while the key  
is pressed, the Tone begins to play once the period of time  
specified in the Time parameter has elapsed after release of  
the key. This is effective in situations such as when  
If you are not going to use Tone Delay, set the Mode  
parameter (discussed below) to NORMAL and Time  
parameter to 0.  
simulating noises from guitars and other instruments.  
fig.05-49.e  
When the Type parameter (PATCH/ COMMON/  
STRUCT) has a setting of Type 210, the outputs of  
Tones 1 and 2 will be combined with Tone 2, and the  
outputs of Tones 3 and 4 will be combined with Tone 4.  
For this reason, Tone 1 will follow the settings of Tone 2,  
and Tone 3 will follow the settings of Tone 4 (p. 73).  
KEY-OFF-NORMAL  
Delay time  
Mo d e (To n e De la y Mo d e )  
Note on  
Note off  
Selects the type of tone delay.  
fig.05-46.e  
KEY-OFF-DECAY: Rather than being played while the key is  
pressed, the Tone begins to play as soon as the period of time  
specified for the Time parameter has elapsed after release of  
the key. Here, however, changes in the TVA Envelope begin  
while the key is pressed, which in many cases means that  
only the sound from the release portion of the envelope is  
No Tone Delay  
Note on  
Note off  
heard.  
fig.05-50.e  
NORMAL: The Tone begins to play after the time specified in  
the Time parameter has elapsed.  
fig.05-47.e  
KEY-OFF-DECAY  
Delay time  
NORMAL  
Note on  
Note off  
If you have selected a waveform that is a decay-type  
sound (i.e., a sound that fades away naturally even if the  
key is not released), selecting KEY-OFF-NORMAL or  
KEY-OFF-DECAY may result in no sound being heard.  
Delay time  
Note on  
Note off  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Tim e (To n e De la y Tim e )  
: Once the decay of the waveform output by the LFO  
is allowed to develop in standard fashion, the waveform then  
continues without further change.  
Specifies the time from when the key is pressed (or if the  
Mode parameter is set to KEY-OFF-NORMAL or KEY-OFF-  
DECAY, the time from when the key is released) until when  
the Tone will sound.  
: Trapezoidal wave  
: Sample and Hold wave (LFO value is changed  
one time per cycle)  
Tone Delay Time specifies the beat length for the  
synchronized tempo when the tempo that specifies the  
elapsed time until the Tone is sounded (Patch Tempo) is  
synchronized with the tempo set in a connected sequencer  
(external tempo).  
: Chaos wave  
When setting  
or  
, set the KeySync  
<Example>  
parameter to ON. If this is OFF, it will have no effect.  
For a tempo of 120 (120 quarter notes occur in 1 minute (60  
seconds))  
O fse t (LFO Le ve l O ffse t)  
Adjusts the LFO waveform up or down from the center value  
(pitch or cutoff frequency). Positive (+) settings will move the  
waveform up from the center value. Negative (-) settings will  
move it down from the center value.  
Setting  
(half note)  
Delay time  
1 second (60 / 60 =1 (second))  
(quarter note)  
(eighth note)  
0.5 seconds (60 / 120= 0.5 (seconds))  
0.25 seconds (60 / 240= 0.25 (seconds))  
Ra te (LFO Ra te ) ★  
Adjusts the modulation rate, or speed, of the LFO.  
LFO Rate sets the beat length for the synchronized tempo  
when the tempo that specifies the LFO cycle (Patch Tempo) is  
synchronized with the tempo set in a connected sequencer  
(external tempo).  
Mo d u la tin g So u n d s (LFO )  
An LFO (Low Frequency Oscillator) causes change over a  
cycle in a sound. Each Tone has two LFOs (LFO1/ LFO2), and  
these can be used to cyclically change the pitch, cutoff  
frequency and volume to create modulation-type effects such  
as vibrato, wah and tremolo. Since both LFOs have the same  
parameters, the following explanation will cover both of  
them.  
<Example>  
For a tempo of 120 (120 quarter notes occur in 1 minute (60  
seconds))  
Setting  
(half note)  
Delay time  
1 second (60 / 60 =1 (second))  
LFO 1 / LFO 2 W AVE  
fig.05-51  
(quarter note)  
(eighth note)  
0.5 seconds (60 / 120= 0.5 (seconds))  
0.25 seconds (60 / 240= 0.25 (seconds))  
Fo rm (LFO W a ve fo rm )  
Specifies the LFO waveform.  
When  
is selected for the Form parameter, this  
setting will be ignored.  
: Sine wave  
: Triangle wave  
De tu n e (LFO Ra te De tu n e )  
LFO Part Detune makes subtle changes in the LFO cycle rate  
(Rate parameter) each time a key is pressed. Higher settings  
will cause greater change.  
: Sawtooth wave  
: Sawtooth wave (negative polarity)  
: Square wave  
Ke y Sy n c (LFO Ke y Sy n c)  
: Random wave  
Sets whether you want the LFO cycle to start in sync with the  
timing of a key press (ON) or not (OFF).  
: Once the attack of the waveform output by the LFO  
is allowed to develop in standard fashion, the waveform then  
continues without further change.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
De la y Ke y fo llo w (LFO De la y Tim e Ke y fo llo w )  
LFO 1 / LFO 2 FADE  
fig.05-52  
Adjusts the value for the Delay Time parameter depending  
on the key position, relative to the C4 key (center C). To  
decrease the time that elapses before the LFO effect is applied  
(the effect is continuous) with each higher key that is pressed  
in the upper registers, select a positive value; to increase the  
elapsed time, select a negative value. Higher settings  
Fa d e Mo d e (LFO Fa d e Mo d e )  
Specifies how the LFO will be applied.  
produce more change. If you do not want the elapsed time  
After referring to How to Apply the LFO(p. 84),  
change the setting until the desired effect is achieved.  
change according to the key pressed, set this to 0.  
fig.05-54.e  
Fa d e Tim e (LFO Fa d e Tim e )  
Time  
Specifies the time over which the LFO amplitude will reach  
the maximum (minimum).  
+100  
+50  
0
After referring to How to Apply the LFO(p. 84),  
change the setting until the desired effect is achieved.  
-50  
LFO 1 / LFO 2 DELAY  
fig.05-53  
-100  
Key  
C7  
C1  
C2  
C3  
C4  
C5  
C6  
De la y Tim e (LFO De la y Tim e )  
Ho w to Ap p ly th e LFO  
Delay Time (LFO Delay Time) specifies the time elapsed  
before the LFO effect is applied (the effect continues) after  
the key is pressed (or released).  
LFO is g ra d u a lly a d d e d a fte r th e k e y is  
p re sse d .  
fig.05-55.e  
Delay  
Time  
high (more)  
Fade Time  
After referring to How to Apply the LFO(p. 84),  
Pitch  
Cutoff Frequency  
Level  
change the setting until the desired effect is achieved.  
Depth  
Note on  
Pan  
low (less)  
When using violin, wind, or certain other instrument  
sounds in a performance, rather than having vibrato  
added immediately after the sounds are played, it can be  
effective to add the vibrato after the note is drawn out  
somewhat. When the Delay Time parameter is set  
together with other parameters such as the Pitch  
Fade Mode: ON-IN  
Fade Time: The time over which the LFO amplitude will  
reach the maximum after the Delay Time has elapsed.  
Delay Time: The time from when the keyboard is played  
until the LFO begins to be applied.  
parameter (PATCH/ LFO/ LFO DEPTH1:2) and the Rate  
parameter (PATCH/ LFO/ LFO1, 2 WAVE), vibrato is  
added automatically once a fixed time has elapsed after  
the key is pressed. This effect is called Delay Vibrato.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
LFO is im m e d ia te ly a d d e d a fte r th e k e y is  
p re sse d , a fte r w h ich th e e ffe ct g ra d u a lly  
fa d e s.  
LFO DEPTH 1 :2  
fig.05-59  
fig.05-56.e  
high (more)  
Delay Time  
Fade Time  
For each item, specify the amount of the LFO effect.  
Pitch  
Cutoff Frequency  
Level  
The effect produced by modulating the pitch is known as  
Depth  
vibrato.  
Note on  
Pan  
The effect produced by modulating the cutoff frequency  
low (less)  
is known as wah.  
Fade Mode: ON-OUT  
The effect produced by modulating the volume is known  
Fade Time: The time over which the LFO amplitude will  
as tremolo.  
reach the minimum after the Delay Time has elapsed.  
Delay Time The time that the LFO will continue after the  
Two values are displayed for each parameter listed  
below. The left one is for LFO1, and the right one is for  
LFO2.  
keyboard is played.  
LFO is g ra d u a lly a d d e d a fte r th e k e y is  
re le a se d .  
fig.05-57.e  
Pitch (Pitch LFO De p th 1 , 2 ) ★  
Delay  
Time  
high (more)  
Specifies how deeply the LFO will affect pitch.  
Fade Time  
Pitch  
Cutoff Frequency  
Level  
Depth  
TVF (TVF LFO De p th 1 , 2 ) ★  
Pan  
Specifies how deeply the LFO will affect the cutoff  
frequency.  
Note  
on  
Note  
off  
low (less)  
Fade Mode: OFF-IN  
TVA (TVA LFO De p th 1 , 2 ) ★  
Fade Time: The time over which the LFO amplitude will  
Specifies how deeply the LFO will affect the volume.  
reach the maximum after the Delay Time has elapsed.  
Pa n (Pa n LFO De p th 1 , 2 ) ★  
Delay Time: The time from when the keyboard is released  
Specifies how deeply the LFO will affect the pan.  
until the LFO begins to be applied.  
LFO is a d d e d fro m th e tim e th e k e y is  
p re sse d to th e tim e it is re le a se d , a fte r  
w h ich th e e ffe ct g ra d u a lly fa d e s.  
Positive (+) and negative (-) settings for the Depth  
parameter result in differing kinds of change in pitch  
and volume. For example, if you set the Depth  
parameter to a positive (+) value for one Tone, and set  
another Tone to the same numerical value, but make it  
negative (-), the modulation phase for the two Tones will  
be the reverse of each other. This allows you to shift back  
and forth between two different Tones, or combine it  
with the Pan setting to cyclically change the location of  
the sound image.  
fig.05-58.e  
Delay  
Time  
high (more)  
Fade Time  
Pitch  
Cutoff Frequency  
Level  
Depth  
Pan  
low (less)  
Note on  
Note off  
Fade Mode: OFF-OUT  
Fade Time: The time over which the LFO amplitude will  
reach the minimum after the Delay Time has elapsed.  
Delay Time: The time that the LFO will continue after the  
When any value from Type 210 is selected for the Type  
parameter (PATCH/ COMMON/ STRUCT) in the Pan  
parameter settings, the output of Tones 1 and 2 are  
joined in Tone 2, and the output of Tones 3 and 4 are  
joined in Tone 4. For this reason, the setting of Tone 1  
will follow the setting of Tone 2, and the setting of Tone  
3 will follow the setting of Tone 4 (p. 73).  
keyboard is released.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Ke y fo llo w (Pitch Ke y fo llo w )  
Mo d ify in g Pitch (PITCH)  
Sets the amount of pitch change that will occur per octave on  
the keyboard.  
You can set the WG pitch of each Tone.  
For a conventional keyboard pitch change of 1 octave when  
keyboard position goes up 1 octave, set this parameter to  
+100. For a 2 octave pitch changes when keyboard position  
goes up 1 octave, set this parameter to +200. Negative (-)  
values will lower pitch even as you go up the keyboard. If  
you want the same pitch to sound regardless of what key is  
PITCH  
fig.05-60  
Co a rse (Co a rse Tu n e ) ★  
pressed, set this parameter to 0.  
Adjusts the pitch of the Tones sound up or down in  
fig.05-61.e  
semitone steps (+/ -4 octaves).  
Pitch  
+200  
+100  
The overall coarse tune of the Patch is set by the Coarse  
parameter (PATCH/ COMMON/ PATCH OCT&TUNE)  
(p. 70).  
+50  
0
Fin e (Fin e Tu n e ) ★  
-50  
Adjusts the pitch of the Tones sound up or down in 1-cent  
steps (+/ -50 cents).  
-200  
C6  
-100  
C7  
Key  
C1  
C2  
C3  
C4  
C5  
One cent is 1/ 100th of a semitone.  
PCH EN VELO PE (Pitch En ve lo p e )  
fig.05-62  
The overall fine tune of the Patch is set by the Fine  
parameter (PATCH/ COMMON/ PATCH OCT&TUNE)  
(p. 70).  
fig.05-63  
fig.05-64  
Ra n d o m (Ra n d o m Pitch De p th )  
Specifies the width of random pitch deviation that will occur  
each time a key is pressed. If you do not want the pitch to  
change randomly, set this to 0. The setting is adjustable in  
units of 1 cent (1/ 100th of a semitone).  
Here you can make pitch envelope settings (changes in pitch  
over time).  
De p th (Pitch En ve lo p e De p th )  
Adjusts the effect of the Pitch Envelope. Higher settings will  
cause the pitch envelope to produce greater change.  
Negative (-) settings will invert the shape of the envelope.  
V-Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )  
Keyboard playing dynamics can be used to control the depth  
of the pitch envelope. If you want the pitch envelope to have  
more effect for strongly played notes, set this parameter to a  
positive (+) value. If you want the pitch envelope to have less  
effect for strongly played notes, set this to a negative (-)  
value.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
Tim e Ke y fo llo w  
L1 L4 (Pitch En ve lo p e Le ve l 1 4 )  
(Pitch En ve lo p e Tim e Ke y fo llo w )  
Set the level (L1L4) for the Pitch Envelope. It determines  
how much the pitch changes from the reference pitch (the  
value set with Coarse Tune or Fine Tune on the PITCH page)  
at each point. Positive (+) settings will cause the pitch to be  
higher than the standard pitch, and negative (-) settings will  
Use this parameter when you want the keyboard location of  
notes to affect times T2T4 of the pitch envelope. Based on  
the pitch envelope times for the C4 key, positive (+) settings  
will cause notes higher than C4 to have increasingly shorter  
times, and negative (-) settings will cause them to have  
increasingly longer times. Higher settings result in more  
cause it to be lower.  
fig.05-65.e  
T1  
T2  
T3  
T4  
change.  
fig.05-54.e  
Time  
+100  
+50  
0
Pitch  
L0  
Time  
L1  
L3  
Note off  
Note on  
L2  
L4  
-50  
Mo d ify in g th e Brig h tn e ss o f a  
So u n d w ith a Filte r (TVF)  
-100  
Key  
C7  
C1  
C2  
C3  
C4  
C5  
C6  
Here you can make settings for the TVF (Time Variant Filter).  
This allows you to modify the brightness or thickness of the  
sound, changing the timbre of the Tone.  
V-T1  
(Pitch En ve lo p e Tim e 1 Ve lo city Se n sitivity )  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the pitch  
envelope. Positive (+) settings will cause T1 to speed up for  
strongly played notes, and negative (-) settings will cause it  
to slow down.  
TVF FILTER  
fig.05-66  
Ty p e (Filte r Ty p e )  
V-T4  
Selects the filter type. A filter is a function that cuts off a  
specific frequency band to change a sounds brightness,  
thickness, and other qualities.  
(Pitch En ve lo p e Tim e 4 Ve lo city Se n sitivity )  
Use this parameter when you want key release speed to  
impact on T4 (Time 4) value of the pitch envelope. If you  
want T4 time to be speeded up for quickly released notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
OFF: No filter is used.  
LPF: A Low Pass Filter reduces the volume of frequencies  
above the Cutoff frequency (Cutoff parameter) in order to  
round off, or un-brighten, the sound. This is the most  
common filter used in synthesizers.  
L0 (Pitch En ve lo p e Le ve l 0 )  
BPF: A Band pass filter reduces the volume of frequencies  
below and above the cutoff frequency range. This can be  
useful when creating distinctive sounds.  
Specifies the pitch envelope level (L0). Pitch Envelope Level  
0 determines the degree to which the pitch of the sound at  
the instant the key is pressed is altered relative to the  
reference pitch (the Coarse Tune or Fine Tune value set in the  
PITCH page). Positive (+) settings will cause the pitch to be  
higher than the standard pitch, and negative (-) settings will  
cause it to be lower.  
HPF: A High Pass Filter reduces the volume of the  
frequencies below the cutoff frequency. This is suitable for  
creating percussive sounds emphasizing their higher ones.  
PKG: A Peaking Filter emphasizes frequencies around the  
cutoff frequency by raising their level. You can use this to  
create wah-wah effects by employing an LFO to change the  
cutoff frequency cyclically.  
T1 –T4 (Pitch En ve lo p e Tim e 1 –4 ) ★  
Specify the pitch envelope times (T1T4). Larger values  
result in longer times until the next pitch is reached (for  
instance, T2 controls the time from L1 until L2 is reached).  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
fig.05-67.e  
LPF2: Low Pass Filter 2. Although frequency components  
above the Cutoff frequency (Cutoff parameter) are cut, the  
sensitivity of this filter is half that of the LPF. This makes it a  
comparatively warmer low pass filter. This filter is good for  
use with simulated instrument sounds such as the acoustic  
piano.  
LPF  
BPF  
HPF  
PKG  
Level  
High  
Frequency  
Cutoff frequency  
LPF3: Low Pass Filter 3. Although frequency components  
above the Cutoff frequency (Cutoff parameter) are cut, the  
sensitivity of this filter changes according to the Cutoff  
frequency. While this filter is also good for use with  
simulated acoustic instrument sounds, the nuance it exhibits  
differs from that of the LPF2, even with the same TVF  
Envelope settings.  
Low  
Ke y fo llo w (Cu to ff Fre q u e n cy Ke y fo llo w )  
Use this parameter if you want the cutoff frequency to  
change according to the key that is pressed. Relative to the  
cutoff frequency at the C4 key (center C), positive (+) settings  
will cause the cutoff frequency to rise for notes higher than  
C4, and negative (-) settings will cause the cutoff frequency  
to fall for notes higher than C4. Higher settings produce  
If you set LPF2 or LPF3, the setting for the Resonance  
parameter will be ignored.  
Cu to ff (Cu to ff Fre q u e n cy ) ★  
Selects the frequency at which the filter begins to have an  
more change.  
fig.05-68.e  
effect on the waveforms frequency components.  
With LPF/ LPF2/ LPF3 selected for the Type parameter,  
lower cutoff frequency settings reduce a Tones upper  
harmonics for a more rounded, warmer sound. Higher  
settings make it sound brighter.  
Cutoff frequency  
(Octave)  
+200  
+100  
+2  
When the Type parameter is BPF, the cutoff frequency  
setting determines the range of frequencies within the Tone  
that will be heard. This can be useful when creating  
distinctive sounds.  
+50  
+1  
o
0
-1  
-2  
-50  
When the Type parameter is HPF, higher settings of the  
cutoff frequency decrease the level of the Tones low  
frequencies, preserving its brighter qualities.  
-200  
C6  
-100  
C7  
C1  
C2  
C3  
C4  
C5  
Key  
With PKG selected, the harmonics to be emphasized will  
vary depending on Cutoff Frequency setting.  
To edit the overall Patch while preserving the relative  
differences in the Cutoff Frequency values set for each  
Tone, set the Cut parameter (PATCH/ COMMON/  
PATCH MODIFY) (p. 71).  
Re so n a n ce ★  
Emphasizes the portion of the sound in the region of the cutoff  
frequency, adding character to the sound. Excessively high  
settings can produce oscillation, causing the sound to distort.  
To edit the overall Patch while preserving the relative  
differences in the Resonance values set for each Tone, set  
the Res parameter (PATCH/ COMMON/ PATCH  
MODIFY) (p. 71).  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
De p th (TVF En ve lo p e De p th )  
TVF VELO CITY  
fig.05-69  
Specifies the depth of the TVF envelope. Higher settings will  
cause the TVF envelope to produce greater change. Negative  
(-) settings will invert the shape of the envelope.  
V-Cu to ff (Cu to ff Fre q u e n cy Ve lo city Se n sitivity )  
V-Se n s (TVF En ve lo p e Ve lo city Se n sitivity )  
Use this parameter when changing the cutoff frequency to be  
applied as a result of changes in playing velocity. If you want  
strongly played notes to raise the cutoff frequency, set this  
parameter to positive (+) settings. If you want strongly  
played notes to lower the cutoff frequency, use negative (-)  
settings.  
Specifies how keyboard playing dynamics will affect the  
depth of the TVF envelope. Positive (+) settings will cause  
the TVF envelope to have a greater effect for strongly played  
notes, and negative (-) settings will cause the effect to be less.  
V-Cu rve (TVF En ve lo p e Ve lo city Cu rve )  
Selects one of the following 7 curves that will determine how  
keyboard playing dynamics will affect the TVF envelope. Set  
this to FIXED when the amount of TVF Envelope applied is  
not to be changed according to the force with which the keys  
To edit the overall Patch while preserving the relative  
differences in the Cutoff Frequency Velocity Sensitivity  
values set for each Tone, set the Velocity Sens parameter  
(PATCH/ COMMON/ PATCH MODIFY) (p. 72).  
However, this setting is shared by the V-Sens parameter  
(PATCH/ TVA/ TVA) (p. 90).  
are pressed.  
fig.05-70  
1
2
3
4
5
6
7
V-Cu rve (Cu to ff Fre q u e n cy Ve lo city Cu rve )  
Tim e KF (TVF En ve lo p e Tim e Ke y fo llo w )  
Selects one of the following seven curves that determine how  
keyboard playing dynamics (velocity) influence the cutoff  
frequency. Set this to FIXED when the Cutoff frequency is  
not to be changed according to the force with which the keys  
Use this parameter when you want the keyboard location of  
notes to affect times T2T4 of the TVF envelope. Based on the  
TVF envelope times for the C4 key (center C), positive (+)  
settings will cause notes higher than C4 to have increasingly  
shorter times, and negative (-) settings will cause them to  
have increasingly longer times. Higher settings produce  
are pressed.  
fig.05-70  
more change.  
fig.05-54.e  
1
2
3
4
5
6
7
Time  
V-Re so n a n ce (Re so n a n ce Ve lo city Se n sitivity )  
+100  
+50  
0
This allows keyboard velocity to modify the amount of  
Resonance. If you want strongly played notes to have a  
greater Resonance effect, set this parameter to positive (+)  
settings. If you want strongly played notes to have less  
Resonance, use negative (-) settings.  
-50  
TVF EN VELO PE  
fig.05-71  
-100  
Key  
C7  
C1  
C2  
C3  
C4  
C5  
C6  
fig.05-72  
fig.05-73  
V-T1 (TVF En ve lo p e Tim e 1 Ve lo city Se n sitivity )  
Use this parameter when you want velocity to affect T1  
(Time 1) of the TVF envelope. If you want T1 time to be  
speeded up for strongly played notes, set this parameter to a  
positive (+) value. If you want it to be slowed down, set this  
to a negative (-) value.  
This is used for setting TVF envelope (how cutoff frequency  
changes over time).  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
V-T4 (TVF En ve lo p e Tim e 4 Ve lo city Se n sitivity )  
Ad ju stin g th e Vo lu m e a n d Pa n  
(TVA)  
The parameter to use when you want key release speed to  
control the T4 (Time 4) value of the TVF envelope. If you  
want T4 time to be speeded up for quickly released notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
Here you can make settings for the TVA (Time Variant  
Amplifier). This specifies the volume change and pan of the  
Tone.  
L0 (TVF En ve lo p e Le ve l 0 )  
TVA  
fig.05-75  
Sets the TVF envelope level (L0). TVF Envelope Level 0  
determines the degree to which the Cutoff frequency for the  
sound at the instant the key is pressed is altered relative to  
the reference Cutoff frequency (the Cutoff frequency value  
set in the TVF FILTER page).  
Le ve l (To n e Le ve l) ★  
Sets the volume of the Tone. This setting is useful primarily  
for adjusting the volume balance between Tones.  
T1 –T4 (TVF En ve lo p e Tim e 1 –4 ) ★  
Specify the TVF envelope times (T1T4). Larger values result  
in longer times until the next cutoff frequency is reached (for  
instance, T2 controls the time from L1 until L2 is reached).  
The overall volume of the Patch is set by the Level  
parameter (PATCH/ COMMON/ PATCH LVL&PAN),  
and the Tone level setting is multiplied to this setting (p.  
70).  
L1 L4 (TVF En ve lo p e Le ve l 1 4 )  
Specify the TVF envelope levels (L1L4). These settings  
specify how the cutoff frequency will change at each point,  
relative to the standard cutoff frequency (the cutoff  
Pa n (To n e Pa n ) ★  
Sets the pan of the Tone. A setting of L64 is far left, 0 is  
center, and 63R is far right.  
frequency value specified in the TVF FILTER page).  
fig.05-74.e  
T1  
T2  
T3  
T4  
The overall panning of the entire Patch is set by the Pan  
parameter (PATCH/ COMMON/ PATCH LVL&PAN),  
and the Tone Pan setting is added to this setting (p. 70).  
Cutoff  
Frequency  
L0  
Time  
L2  
L3  
L4  
L1  
Note on  
Note off  
When any value from Type 210 is selected for the Type  
parameter (PATCH/ COMMON/ STRUCT) in the Pan  
parameter settings, the output of Tones 1 and 2 are  
joined in Tone 2, and the output of Tones 3 and 4 are  
joined in Tone 4. This means that the setting of Tone 1  
will follow the setting of Tone 2, and the setting of Tone  
3 will follow the setting of Tone 4 (p. 73).  
V-Se n s (TVA En ve lo p e Ve lo city Se n sitivity )  
Specifies how keyboard playing dynamics will affect the  
depth of the TVA envelope. Positive (+) settings will cause  
the TVA envelope to have a greater effect for strongly played  
notes, and negative (-) settings will cause the effect to be less.  
To edit the overall Patch while preserving the relative  
differences in the TVA Envelope Velocity Sensitivity  
values set for each Tone, set the Velocity Sens parameter  
(PATCH/ COMMON/ PATCH MODIFY) (p. 72).  
However, this setting is shared by the V-Cutoff  
parameter (PATCH/ TVF/ TVF VELOCITY) (p. 89).  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
V-Cu rve (TVA En ve lo p e Ve lo city Cu rve )  
PAN MO DULATE  
fig.05-78  
Selects one of the following seven curves to specify how  
keyboard dynamics will affect the TVA envelope. Set this to  
FIXED when the amount of TVA Envelope applied is not to be  
changed according to the force with which the keys are pressed.  
fig.05-70  
Ke y fo llo w (Pa n Ke y fo llo w )  
Use this parameter if you want key position to affect  
panning. Positive (+) settings will cause notes higher than C4  
key (center C) to be panned increasingly further toward the  
right, and negative (-) settings will cause notes higher than  
C4 key (center C) to be panned toward the left. Higher  
1
2
3
4
5
6
7
BIAS  
fig.05-76  
settings result in more change.  
fig.05-79.e  
Pan  
Bias causes the volume to be affected by the keyboard  
position. This is useful for changing volume through  
R
o
+100  
+50  
0
keyboard position (pitch) when playing acoustic instruments.  
fig.05-77.e  
LOWER  
Level  
UPPER  
Level  
+
0
+
0
-50  
Key  
Key  
C-1  
G9  
C-1  
G9  
-100  
C7  
L
Bias Point  
Bias Point  
Key  
C1  
C2  
C3  
C4  
C5  
C6  
LOWER&UPPER  
ALL  
0
+
+
0
+
0
Level  
Level  
Ra n d o m (Ra n d o m Pa n De p th )  
0
Use this parameter when you want the stereo location to  
change randomly each time you press a key. Higher values  
will result in a greater width of change.  
+
Key  
Key  
C-1  
G9  
C-1  
G9  
Bias Point  
Bias Point  
Alte rn a te (Alte rn a te Pa n De p th )  
Bia s (Bia s Le ve l)  
This setting causes panning to be alternated between left and  
right each time a key is pressed. Higher values will result in a  
greater width of change. This can be set either to L or R,  
which will invert the order in which the panning is moved  
between left and right. For example if two Tones are set to L  
and R respectively, the panning of the two Tones will  
alternate each time they are played.  
Adjusts the angle of the volume change that will occur in the  
selected Bias Direction. Higher values will result in more  
change. Negative (-) values will invert the change direction.  
Po in t (Bia s Po in t)  
Specifies the key relative to which the volume will be  
modified.  
Dire ctio n (Bia s Dire ctio n )  
When any value from Type 210 is selected for the Type  
parameter (PATCH/ COMMON/ STRUCT) in the  
Keyfollow, Random, Alternate parameter settings, the  
output of Tones 1 and 2 are joined in Tone 2, and the  
output of Tones 3 and 4 are joined in Tone 4. For this  
reason, Tone 1 will follow the settings of Tone 2, and  
Tone 3 will follow the settings of Tone 4 (p. 73).  
Selects the direction in which change will occur starting from  
the Bias Point.  
LOWER: The volume will be modified for the keyboard area  
below the Bias Point.  
UPPER: The volume will be modified for the keyboard area  
above the Bias Point.  
LOWER&UPPER: The volume will be modified  
symmetrically toward the left and right of the Bias Point.  
ALL: The volume changes linearly with the bias point at the  
center.  
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Ch a p te r 5 . Cre a tin g Pa tch e s  
TVA TIME EN V (TVA Tim e En ve lo p e )  
TVA EN VELO PE  
fig.05-80  
fig.05-81  
Here you can make settings for the TVA envelope (time-  
variant changes in volume).  
T1 –T4 (TVA En ve lo p e Tim e 1 –4 ) ★  
Specify the TVA envelope times (T1T4). Larger values result  
in longer times until the next volume is reached (for instance,  
T2 controls the time from L1 until L2 is reached).  
V-T1 (TVA En ve lo p e Tim e 1 Ve lo city Se n sitivity )  
Use this parameter when you want keyboard playing  
(velocity) to affect T1 (Time 1) of the TVA envelope. If you  
want T1 time to be speeded up for strongly played notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
To edit the overall Patch while preserving the relative  
differences in the T1 parameter (Attack Time) values set  
for each Tone, set the Atk parameter (PATCH/  
COMMON/ PATCH MODIFY) (p. 71). Similarly, to edit  
the overall Patch while preserving the relative  
differences in the T4 parameter (Release Time) values set  
for each Tone, set the Rel parameter (PATCH/  
COMMON/ PATCH MODIFY) (p. 72).  
V-T4 (TVA En ve lo p e Tim e 4 Ve lo city Se n sitivity )  
Use this parameter when you want key-release speed to  
influence the T4 (Time 4) value of the TVA envelope. If you  
want T4 time to be speeded up for quickly released notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
L1 L3 (TVA En ve lo p e Le ve l 1 3 )  
Tim e Ke y fo llo w  
(TVA En ve lo p e Tim e Ke y fo llo w )  
Specify the TVA envelope levels (L1L3). These settings  
specify how the volume will change at each point, relative to  
the standard volume (the Tone Level value specified in the  
Use this parameter when you want keyboard position to  
affect TVA envelope times (T2T4). Based on the TVA  
envelope times for the C4 key (center C), positive (+) settings  
will cause notes higher than C4 to have increasingly shorter  
times, and negative (-) settings will cause them to have  
increasingly longer times. Higher values will cause more  
TVA page).  
fig.05-82.e  
T1  
T2  
T3  
T4  
change.  
fig.05-54.e  
Time  
Level  
Time  
L3  
L2  
L1  
+100  
+50  
0
Note on  
Note off  
-50  
-100  
Key  
C7  
C1  
C2  
C3  
C4  
C5  
C6  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
With the XV-88, you have total control over a wide variety of  
Ho w to Ma k e th e Rh y th m  
Se t Se ttin g s  
settings. Each item that can be set is known as a parameter.  
When you change the values of parameters, you are doing  
what is referred to as Editing. This chapter explains the  
procedures used in creating Rhythm Sets, and the functions  
of the Rhythm Set parameters.  
Start with an existing Rhythm Set and edit it to create a new  
Rhythm Set. Rhythm Sets are created from a collection of  
multiple Rhythm Tones (percussion instruments). You can  
change the assignments of the Rhythm Tones for each key  
with Rhythm Set Edit.  
Ho w a Rh y th m Se t Is  
O rg a n ize d  
1 . Press [RHYTHM] to access the RHYTHM PLAY page,  
and select the Rhythm Set whose settings you wish to  
modify (p. 39).  
A Rhythm Set is a grouping of percussion instruments  
(Rhythm Tones).  
fig.01-05.e  
You cannot edit the Rhythm Sets in the PR-H (GM2) group.  
Rhythm Set  
Note Number 98 (D7)  
Note Number 97 (C#7)  
If you want to create all your Rhythm Sets from the  
ground up, rather than the Rhythm Sets that have already  
been prepared, carry out the Initialize operation (p. 185).  
Note Number 36 (C2)  
Note Number 35 (B1)  
2 . Press [EDIT] to make its indicator light.  
Rhythm Tone (Percussion instrument sound)  
WG  
TVF  
TVA  
3 . Use the function buttons to select a display group.  
The indicator for the button of the selected display group  
Pitch  
Envelope  
TVF  
Envelope  
TVA  
Envelope  
begins blinking.  
fig.06-01  
A percussion instrument (Rhythm Tones) consists of the  
following four elements.  
W G (W a ve Ge n e ra to r)  
Specifies the PCM waveform (wave) that is the basis of the  
sound, and determines how the pitch of the sound will change.  
The XV-88 has 1,083 different waveforms (p. 263). All  
Rhythm Sets built into the XV-88 consist of combinations of  
Rhythm Tones based on these waveforms.  
possible to select the LFO group.  
4 . Use  
or  
to select a display page.  
5 . If you have selected a parameter display that can be set  
independently for each key (Rhythm Tone), the key  
selected for editing will be shown in the upper left of the  
display. To select a different key (Rhythm Tone), play the  
A Rhythm Tone (percussion instrument) has four wave  
generators.  
TVF (Tim e Va ria n t Filte r)  
desired key on the keyboard.  
fig.06-02  
Specifies how the frequency components of the sound will  
change.  
TVA (Tim e Va ria n t Am p lifie r)  
Specifies the volume changes and the sounds position in a  
stereo soundfield.  
If the [EDIT] indicator is turned off, you can also use  
En ve lo p e  
TONE SELECT [1][4] to select the displayed key.  
You use Envelope to initiate changes to occur to a sound over  
time. There are separate envelopes for Pitch, TVF (filter), and  
TVA (volume). For example if you wish to modify the way in  
which the sound attacks or decays over time, you would  
adjust the TVA envelope.  
TONE SELECT [1]: move to an octave lower key  
TONE SELECT [2]: move to the semitone below  
TONE SELECT [3]: move to the semitone above  
TONE SELECT [4]: move to an octave higher key  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
6 . Use  
or  
to move the cursor to the parameter you  
Ma k in g Se ttin g s W h ile  
Co m p a rin g W a ve fo rm s  
(Pa le tte Ed it)  
wish to modify.  
7 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to modify the parameter value.  
When modifying Wave settings for a Rhythm Set, the values  
for four Waves will be displayed together on a single display.  
This is called the Palette page. Use it when you want to  
modify parameter values as you compare the settings of the  
four Waves.  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
1 . When modifying a Wave, use  
or  
to move the  
8 . If you wish to move to another display group, press  
[EDIT] to make its indicator light, and use the function  
buttons.  
cursor to the parameter you wish to modify.  
2 . Press [PALETTE EDIT] to call up the Palette page.  
fig.06-04  
You can also move to another display group by holding  
down [SHIFT] and using  
or  
. Since this can be  
done even when the [EDIT] indicator is dark, it is a faster  
way to get around because you dont have to turn on the  
[EDIT] indicator each time.  
9 . Repeat steps 38 to complete a Rhythm Set.  
3 . Press TONE SELECT [1][4],  
or  
to choose the  
1 0 . When you finish making settings, press [EXIT] or  
Wave to modify.  
[RHYTHM] to return to the RHYTHM PLAY page.  
The Wave number and Wave name appear in the  
display.  
An asterisk * will be displayed at the left of the Rhythm  
Set group. This indicates that the Rhythm Set settings  
have been modified.  
4 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
fig.06-03  
keys to change the parameter value.  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
If you select another Rhythm Set in the group with an  
asterisk *, the modified Rhythm Set settings will be lost.  
To keep these modified settings, perform the save  
operation (p. 164).  
5 . If you wish to edit other parameters,  
press  
or  
to select the parameter that you wish  
to edit.  
6 . Repeat steps 35 to complete a Rhythm Tone.  
7 . To exit the Palette page, press [PALETTE EDIT], thus  
extinguishing the buttons indicator.  
Co p y in g th e Se ttin g s o f An o th e r  
Rh y th m To n e  
(Rh y th m To n e Co p y )  
Rhythm Tone (percussion instrument) settings from any  
desired Rhythm Set can be copied to any desired key of the  
currently selected Rhythm Set. This function can help you  
save time.  
1 . Make sure a Rhythm Set is selected.  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
2 . Press [UTILITY], getting its indicator to start blinking.  
One-shot: These waveforms contain sounds that have short  
decays. A one-shot waveform records the initial rise and fall  
of the sound. Some of the XV-88s one-shot waveforms are  
sounds that are complete in themselves, such as percussive  
instrument sounds. The XV-88 also contains many other one-  
shot waveforms that are elements of other sounds. These  
include attack components such as piano-hammer sounds  
and guitar fret noises.  
3 . Press the numeric key [2], then  
or  
to call up the  
RHYTHM KEY COPY page.  
fig.10-17.e  
Copy source Rhythm Set  
Copy source  
(group, number)  
Rhythm Set name  
Looped: These waveforms include sounds with long decays  
as well as sustained sounds. Loop waveforms repeatedly  
play back (loop) the portion of the waveform after the sound  
has reached a relatively steady state. The XV-88s looped  
waveforms also include components of other sounds, such as  
piano-string resonant vibrations and the hollow sounds of  
brass instruments.  
Copy source Key Copy destination Key  
4 . Press the cursor buttons to move the cursor to the  
parameter you want to set.  
5 . Either rotate the VALUE dial or press [INC/ +]/ [DEC/ -]  
to set the value.  
To specify the currently selected Rhythm Set as the copy  
source, set Source to TEMP.  
Ca u tio n s W h e n Usin g a O n e -sh o t  
W a ve fo rm  
When the cursor is located at Source, you can also use  
[USER], [PRESET], and [A][F] to select a Rhythm Set  
group, and then use numeric keys to specify the Rhythm  
Set number.  
It is not possible to use the envelope to modify a one-shot  
waveform to create a decay that is longer than the original  
waveform, or to turn it into a sustaining sound. If you were  
to program such an envelope, you would be attempting to  
shape a portion of the sound that simply doesnt exist, and  
the envelope would have no effect.  
When the cursor is located at Key, you can also press the  
keyboard to select the key.  
By using TONE SELECT [1][4], you can also select the  
copy source key. By using TONE SWITCH [1][4], you  
can select the copy destination key.  
Ca u tio n s W h e n Usin g a Lo o p  
W a ve fo rm  
TONE SELECT/ SWITCH [1]: move to an octave lower  
key  
With many acoustic instruments such as piano and sax,  
extreme timbral changes occur during the first few moments  
of each note. This initial attack is what defines much of the  
instruments character. For such waveforms, it is best to use  
the complex tonal changes of the attack portion of the  
waveform just as they are, and to use the envelope only to  
modify the decay portion. If you attempt to use the envelope  
to modify the attack portion as well, the characteristics of the  
original waveform may prevent you from getting the sound  
TONE SELECT/ SWITCH [2]: move to the semitone  
below  
TONE SELECT/ SWITCH [3]: move to the semitone  
above  
TONE SELECT/ SWITCH [4]: move to an octave higher  
key  
6 . Press [ENTER] to execute the copy operation.  
that you intend.  
When the Copy operation is executed, an * symbol will  
fig.05-06.e  
Level  
be displayed in front of the copy-destination Part.  
Looped portion  
Tone change stored  
with the wave  
7 . Press [UTILITY] to return to the previous page.  
Time  
Ca u tio n s W h e n Se le ctin g a  
W a ve fo rm  
Envelope  
for the TVF filter  
The sounds of the XV-88 are based on complex PCM  
waveforms, and if you attempt to make settings that are  
contrary to the type of the original waveform, the results will  
not be as you expect.  
Resulting  
tone change  
The XV-88s internal waveforms fall into the following two  
groups.  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo  
Fu n ctio n s o f Rh y th m Se t  
Pa ra m e te rs  
without passing through Multi-effects.  
OUTPUT B: Output to the OUTPUT B jacks in stereo without  
passing through Multi-effects.  
This section explains the functions the different Rhythm Set  
parameters have, as well as the composition of these  
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without  
passing through Multi-effects.  
parameters.  
fig.06-01  
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without  
passing through Multi-effects.  
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without  
passing through Multi-effects.  
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without  
passing through Multi-effects.  
TONE: Outputs according to the settings for each Rhythm Tone.  
Se ttin g s Co m m o n to th e En tire  
Rh y th m Se t (CO MMO N )  
You can assign a name to a Rhythm Set and set the volume of  
the entire Rhythm Set.  
When outputting in mono, the Pan setting is disabled.  
When the settings are such that signals are split and  
output from the INDIVIDUAL 1 jack and INDIVIDUAL  
2 jack, and no plug is inserted in the INDIVIDUAL 2  
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL  
2 are mixed together, then output from the  
RHYTHM N AME (Rh y th m Se t N a m e )  
fig.06-05  
INDIVIDUAL 1 jack. This sound comprises the sounds  
from the INDIVIDUAL 1 and 2 jacks.  
You can assign a name of up to 12 characters to a Rhythm  
Set.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
For details on assigning names, refer to Assigning a  
Name(p. 28).  
RHYTHM CO MMO N  
(Rh y th m Se t Co m m o n )  
fig.06-06  
RHYTHM TEMPO (Rh y th m Se t Te m p o )  
fig.06-07  
Clo ck So u rce (Rh y th m Se t Clo ck So u rce )  
Le ve l (Rh y th m Se t Le ve l)  
The Multi-effects changes and Phrase Loop can be  
Sets the volume of the Rhythm Set.  
synchronized to a clock (tempo). The Clock Source setting  
selects the timing reference to be used by the Rhythm Set.  
RHYTHM: Synchronize to the Rhythm Set Tempo setting.  
The volume level of the overall Rhythm Tone is set with  
the Level parameter (RHYTHM/ TVA/ TVA) (p. 103); the  
volume levels of the Waves from which the Rhythm  
Tone is composed is set with the Level parameter  
(RHYTHM/ WAVE/ WMT WAVE) (p. 98).  
received from an external sequencer will be used.  
O u tp u t Assig n  
Te m p o (Rh y th m Se t Te m p o )  
Specifies for each Rhythm Set how the direct sound will be  
output.  
When Clock Source (Patch Clock Source) is set to RHYTHM,  
this setting value is effective.  
MFX: Output in stereo through Multi-effects. You can also  
apply Chorus or Reverb to the sound that passes through  
Multi-effects.  
The Rhythm Set Tempo Clock does not transmit clock  
messages from the MIDI OUT connector.  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
Mu te Gro u p  
Se ttin g Effe cts fo r a Rh y th m Se t  
(EFFECTS)  
On an actual acoustic drum set, an open hi-hat and a closed  
hi-hat sound can never occur simultaneously. To reproduce  
the reality of this situation, you can set up a Mute Group.  
For details regarding effect settings, refer to the pages  
shown below.  
The Mute Group function allows you to designate two or  
more Rhythm Tones that are not allowed to sound  
Tones that are not belong to any such group should be set to  
Mode(p. 106)  
Making Chorus Settings(p. 156)  
Making Reverb Settings(p. 158)  
Assig n Ty p e  
Assign Type sets the way sounds are played when the same  
key is pressed a number of times.  
Co n tro llin g Ho w a Rh y th m To n e  
w ill So u n d w ith Co n tro lle rs  
(CO N TRO L)  
MULTI: The sounds produced by pressing the same key are  
layered. Even with continuous sounds where the sound  
plays for an extended time, such as with crash cymbals, the  
sounds are layered, without previously played sounds being  
eliminated.  
The parameters in this group determine how the controllers  
function and how instruments in a Rhythm Set will sound.  
SINGLE: Only one sound can be played at a time when the  
same key is pressed. With continuous sounds where the  
sound plays for an extended time, the previous sound is  
stopped when the following sound is played.  
CO N TRO L  
These parameters determine how each Rhythm Tone is  
controlled.  
fig.06-08  
Rx MIDI (Re ce ive MIDI)  
These parameters determine how each Rhythm Tone will  
fig.06-09  
respond to received Expression/ Pan/ Hold 1 MIDI messages.  
fig.06-10  
Be n d Ra n g e  
Specifies the amount of pitch change in semitones (4 octaves)  
that will occur when the Pitch Bend Lever is moved. The  
amount of change when the lever is tilted is set to the same  
value for both left and right sides.  
Ex p re ssio n (Re ce ive Ex p re ssio n Sw itch )  
Specifies whether Expression messages will be received (ON)  
or not (OFF).  
Pa n (Re ce ive Pa n Mo d e )  
En ve lo p e Mo d e  
Specifies how Pan messages will be received.  
Usually when a looped Wave (p. 95) is selected, sound will  
continue as long as a key remains pressed. Select NO  
SUSTAIN if you want sound to decay naturally even if the  
key is not released.  
CONTINUOUS: Pan messages will be responded to  
immediately, instantly changing the stereo position of the  
Tone.  
KEY-ON: The stereo location of the Rhythm Tone will be  
changed only when the next note is played. If a Pan message  
is received while a note is sounding, its stereo location will  
not change.  
If a one-shot waveform (p. 95) is selected, it will not  
sustain even if this parameter is set to SUSTAIN.  
The channels cannot be set so as not to receive Pan  
messages.  
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )  
Specifies whether Hold 1 messages will be received (ON) or  
not (OFF).  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
N u m b e r (W a ve N u m b e r)  
This selects the Waves comprising the Rhythm Tone. Along  
with the Wave number, the Wave name appears at the right  
of the display.  
If NO SUSTAIN is selected for Envelope Mode  
parameter (RHYTHM/ CONTROL/ CONTROL), this  
setting will have no effect.  
When in monaural mode, only the left side (L) is specified.  
When in stereo, the right side (R) is also specified.  
Mo d ify in g W a ve fo rm o f a  
Rh y th m To n e (W AVE)  
The Wave numbers can be divided and set in the first  
two and last two digits.  
This set of parameters allows you to select the waveform that  
serves as the basis for the currently selected Rhythm Tone  
(percussion instrument), apply effects to the waveform, and  
set its pitch.  
Ga in (W a ve Ga in )  
Specifies the gain (amplitude) of the waveform. The value  
changes in 6 dB (decibel) stepsan increase of 6 dB doubles  
the waveforms gain.  
With Rhythm Tones, sounds are created by combining up to  
four Waves (eight for stereo).  
Le ve l (W a ve Le ve l)  
Tip s o n Cre a tin g a Rh y th m To n e  
You can set the volume of the waveform.  
The Waves for the bass drum, snare, hi-hat, toms, and  
other percussion instruments are each assigned to one  
Rhythm Tone. When adding 3D effects to the sound, make  
the Pan settings for each Rhythm Tone individually.  
The volume level of the overall Rhythm Tone is set with  
the Level parameter (RHYTHM/ TVA/ TVA) (p. 103); the  
volume levels of the entire Rhythm Set is set with the  
Level parameter (RHYTHM/ COMMON/ RHYTHM  
COMMON) (p. 96).  
TO N E N AME (Rh y th m To n e N a m e )  
fig.06-11  
Sw (W a ve Sw itch )  
This setting determines whether the Rhythm Tones  
constituent Waves are played (ON) or not (OFF). In order to  
make best use of the available number of simultaneous  
voices, unused waveforms should be turned off.  
You can assign a name to the Rhythm Tone of up to 12  
characters.  
For details on assigning names, refer to Assigning a  
Name(p. 28).  
When you wish to synchronize a Phrase Loop to the clock  
(tempo), set this to ON. This is valid only when an optional  
Wave Expansion Board, such as SR-JV80-10:  
W MT W AVE  
fig.06-12  
BASS&DRUMS,is installed, and you have selected a Tone  
which uses a waveform that displays tempo (BPM). For  
System Tempo(p. 201).  
fig.06-13  
Gro u p (W a ve Gro u p )  
When the Tempo Sync parameter is set to ON, settings  
Select the groups containing the Waves comprising the  
Rhythm Tone.  
INT: Waveforms stored in internal memory  
XP-AD: Waveform stored in a Wave Expansion Board  
installed in EXP AD slots.  
You cannot select a waveform group of a Wave  
Expansion Board that is not installed.  
9 8  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
VELO CO N TRO L  
(Ve lo city Co n tro l)  
fig.06-15  
W h a t is a Ph ra se Lo o p ?  
A Phrase Loop is a portion of a song that is excerpted  
with a sampler or by other means, and then played back  
repeatedly. One technique involving the use of Phrase  
Loops is the excerpting of a Phrase from a pre-existing  
song in a certain genre, for example dance music, and  
then creating a new song with that Phrase used as the  
basic motif. This is referred to as Break Beats.”  
W MT Ve lo city Co n tro l  
(W MT Ve lo city Co n tro l Sw itch )  
WMT Velocity Control determines whether a different  
Rhythm Tone is played (ON) or not (OFF) depending on the  
force with which the key is played (velocity).  
When set to RANDOM, the Rhythm Sets constituent  
Rhythm Tones will sound randomly, regardless of any  
Velocity messages.  
W MT VEL RAN G (W MT Ve lo city Ra n g e )  
fig.06-14  
W MT PAN  
fig.06-16  
Specifies the range of playing dynamics (key velocity) which  
will sound the waveform. Make these settings when you  
want different waveforms to sound in response to notes  
played at different strengths.  
Pa n (W a ve Pa n )  
Lo w e r (Ve lo city Ra n g e Lo w e r)  
Up p e r (Ve lo city Ra n g e Up p e r)  
This specifies the pan of the waveform. A setting of L64 is far  
left, 0 is center, and 63R is far right.  
Velocity Range sets the lower limit (Lower) and upper limit  
(Upper) for the velocity in each of the Waves comprising the  
Rhythm Tone. When a key is played more softly than the  
lower limit, or more strongly than the upper limit, the sound  
will either not be heard at all or will be extremely weak.  
The pan of the entire Rhythm Tone is set by the Pan  
parameter (RHYTHM/ TVA/ TVA) (p. 103).  
Ra n d o m (Ra n d o m Pa n Sw itch )  
Use this setting to cause the waveforms panning to change  
randomly each time a key is pressed (ON) or not (OFF).  
If you attempt to set the Lower velocity limit above the  
Upper, or the Upper below the Lower, the other value  
will automatically be adjusted to the same setting.  
The range of the panning change is set by the Random  
parameter (RHYTHM/ TVA/ TVA) (p. 103).  
Alte rn a te (Alte rn a te Pa n Sw itch )  
L.Fa d e (Ve lo city Fa d e W id th Lo w e r)  
U.Fa d e (Ve lo city Fa d e W id th Up p e r)  
This setting causes panning of the waveform to be alternated  
between left and right each time a key is pressed. Set  
Alternate Pan Switch to ON to pan the Wave according to the  
Alternate parameter (RHYTHM/ TVA/ TVA) (p. 103)  
settings, or to REVERSE when you want the panning  
reversed. If you do not want the panning to change each time  
a key is pressed, set this to OFF.  
L.Fade and U.Fade set the range within which the volume  
gradually fades as the velocity approaches the limits of the  
Velocity Range as set by the Lower and Upper parameters.  
Use this setting when, for example, you want to have  
adjacent waveforms in Split mode switched smoothly  
(Velocity Crossfade). The higher the values set, the smoother  
the switch is between the Tones. When you want the Tones  
to be switched instantly, set these to 0.  
fig.05-17.e  
Level  
Velocity  
Upper U.Fade  
L.Fade Lower  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
W MT TUN E (W MT Tu n e )  
fig.06-17  
Mo d ify in g Pitch o f a Rh y th m  
To n e (PITCH)  
You can set the Rhythm Tone pitch of each key.  
Co a rse (Co a rse Tu n e )  
PITCH  
fig.06-18  
Adjusts the pitch of the waveforms sound up or down in  
semitone steps (+/ -4 octaves).  
Co a rse (Co a rse Tu n e )  
The Coarse Tune of the entire Rhythm Tone is set by the  
Coarse parameter (RHYTHM/ PITCH/ PITCH) (p. 100).  
Fin e (Fin e Tu n e )  
Set the coarse tuning for Waves comprising the Rhythm  
Tones with the Coarse parameter (RHYTHM/ WAVE/  
WMT TUNE) (p. 100).  
Adjusts the pitch of the waveforms sound up or down in 1-  
cent steps (+/ -50 cents).  
Fin e (Fin e Tu n e )  
One cent is 1/ 100th of a semitone.  
Adjusts the pitch of the Rhythm Tones sound up or down in  
1-cent steps (+/ -50 cents).  
The Fine Tune of the entire Rhythm Tone is set by the  
Fine parameter (RHYTHM/ PITCH/ PITCH) (p. 100).  
One cent is 1/ 100th of a semitone.  
W MT FXM  
(W MT Fre q u e n cy Cro ss Mo d u la tio n )  
fig.06-17a  
Set the fine tuning for Waves comprising the Rhythm  
Tones with the Fine parameter (RHYTHM/ WAVE/  
WMT TUNE) (p. 100).  
FXM (Frequency Cross Modulation) uses a specified  
waveform to apply frequency modulation to the currently  
selected waveform, creating complex overtones. This can be  
useful when creating wilder sounds or sound effects.  
Ra n d o m (Ra n d o m Pitch De p th )  
Specifies the width of random pitch deviation that will occur  
each time a key is pressed. If you do not want the pitch to  
change randomly, set this to 0. The setting is adjustable in  
units of 1 cent (1/ 100th of a semitone).  
Sw itch (FXM Sw itch )  
This sets whether FXM will be used (ON) or not (OFF).  
PCH EN VELO PE (Pitch En ve lo p e )  
fig.06-19  
Co lo r (FXM Co lo r)  
Specifies how FXM will perform frequency modulation.  
Higher settings result in a grainier sound, while lower  
settings result in a more metallic sound.  
fig.06-20  
De p th (FXM De p th )  
Here you can make pitch envelope settings (changes in pitch  
over time).  
Specifies the depth of the modulation produced by FXM.  
De p th (Pitch En ve lo p e De p th )  
Adjusts the effect of the pitch envelope. Higher settings will  
cause the pitch envelope to produce greater change.  
Negative (-) settings will invert the shape of the envelope.  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
V-Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )  
Ch a n g in g th e To n e (Filte r) o f a  
Rh y th m To n e (TVF)  
Keyboard playing dynamics can be used to control the depth  
of the pitch envelope. If you want the pitch envelope to have  
more effect for strongly played notes, set this parameter to a  
positive (+) value. If you want the pitch envelope to have less  
effect for strongly played notes, set this to a negative (-) value.  
Here you can make settings for the TVF (Time Variant Filter).  
This allows you to change a Rhythm Tones timbral content  
by altering its brightness or thickness.  
V-T1  
TVF FILTER  
fig.06-21  
(Pitch En ve lo p e Tim e 1 Ve lo city Se n sitivity )  
Use this parameter when you want keyboard playing dynamics  
(velocity) to affect T1 (Time 1) of the pitch envelope. Positive (+)  
settings will cause T1 time to speed up for strongly played  
notes, and negative (-) settings will cause it to slow down.  
Ty p e (Filte r Ty p e )  
Selects the filter type. A filter is a function that cuts off a  
specific frequency band to change a sounds brightness,  
thickness, and other qualities.  
V-T4  
(Pitch En ve lo p e Tim e 4 Ve lo city Se n sitivity )  
Use this parameter when you want key release speed to  
impact on T4 (Time 4) value of the pitch envelope. If you  
want T4 time to be speeded up for quickly released notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
OFF: No filter is used.  
LPF: A Low Pass Filter reduces the volume of frequencies  
above the Cutoff frequency (Cutoff parameter) in order to  
round off, or un-brighten, the sound. This is the most  
common filter used in synthesizers.  
BPF: A Band pass filter reduces the volume of frequencies  
below and above the cutoff frequency range. This can be  
useful when creating distinctive sounds.  
L0 (Pitch En ve lo p e Le ve l 0 )  
Specifies the pitch envelope level (L0). Pitch Envelope Level  
0 determines the degree to which the pitch of the sound at  
the instant the key is pressed is altered relative to the  
reference pitch (the Coarse Tune or Fine Tune value set in the  
PITCH page). Positive (+) settings will cause the pitch to be  
higher than the standard pitch, and negative (-) settings will  
cause it to be lower.  
HPF: A High Pass Filter reduces the volume of the  
frequencies below the cutoff frequency. This is suitable for  
creating percussive sounds emphasizing their higher ones.  
PKG: A Peaking Filter emphasizes frequencies around the  
cutoff frequency by raising their level. You can use this to  
create wah-wah effects by employing an LFO to change the  
cutoff frequency cyclically.  
T1 –T4 (Pitch En ve lo p e Tim e 1 –4 )  
Specify the pitch envelope times (T1T4). Larger values  
result in longer times until the next pitch is reached (for  
instance, T2 controls the time from L1 until L2 is reached).  
LPF2: Low Pass Filter 2. Although frequency components  
above the Cutoff frequency (Cutoff parameter) are cut, the  
sensitivity of this filter is half that of the LPF. This makes it a  
comparatively warmer low pass filter. This filter is good for  
use with simulated instrument sounds such as the acoustic  
piano.  
L1 L4 (Pitch En ve lo p e Le ve l 1 4 )  
Set the level (L1L4) for the pitch envelope. It determines  
how much the pitch changes from the reference pitch (the  
value set with Coarse Tune or Fine Tune on the PITCH page)  
at each point. Positive (+) settings will cause the pitch to be  
higher than the standard pitch, and negative (-) settings will  
LPF3: Low Pass Filter 3. Although frequency components  
above the Cutoff frequency (Cutoff parameter) are cut, the  
sensitivity of this filter changes according to the Cutoff  
frequency. While this filter is also good for use with  
simulated acoustic instrument sounds, the nuance it exhibits  
differs from that of the LPF2, even with the same TVF  
Envelope settings.  
cause it to be lower.  
fig.05-65.e  
T1  
T2  
T3  
T4  
If you set LPF2 or LPF3, the setting for the Resonance  
parameter will be ignored.  
Pitch  
L0  
Time  
L1  
L3  
Note off  
Note on  
L2  
L4  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
Cu to ff (Cu to ff Fre q u e n cy )  
V-Cu rve (Cu to ff Fre q u e n cy Ve lo city Cu rve )  
Selects the frequency at which the filter begins to have an  
Selects one of the following seven curves that determine how  
keyboard playing dynamics (velocity) influence the cutoff  
frequency. Set this to FIXED when the Cutoff frequency is  
not to be changed according to the force with which the keys  
effect on the waveforms frequency components.  
With LPF/ LPF2/ LPF3 selected for the Type parameter,  
lower cutoff frequency settings reduce a Tones upper  
harmonics for a more rounded, warmer sound. Higher  
settings make it sound brighter.  
are pressed.  
fig.05-70  
When the Type parameter is BPF, the cutoff frequency  
setting determines the range of frequencies within the Tone  
that will be heard. This can be useful when creating  
distinctive sounds.  
1
2
3
4
5
6
7
V-Re so n a n ce (Re so n a n ce Ve lo city Se n sitivity )  
This allows keyboard velocity to modify the amount of  
Resonance. If you want strongly played notes to have a  
greater Resonance effect, set this parameter to positive (+)  
settings. If you want strongly played notes to have less  
Resonance, use negative (-) settings.  
When the Type parameter is HPF, higher settings of the  
cutoff frequency decrease the level of the Tones low  
frequencies, preserving its brighter qualities.  
With PKG selected, the harmonics to be emphasized will  
vary depending on Cutoff Frequency setting.  
Re so n a n ce  
TVF EN VELO PE  
fig.06-23  
Emphasizes the portion of the sound in the region of the  
cutoff frequency, adding character to the sound. Excessively  
high settings can produce oscillation, causing the sound to  
fig.06-24  
fig.06-25  
distort.  
fig.05-67.e  
LPF  
BPF  
HPF  
PKG  
Level  
High  
Frequency  
Cutoff frequency  
This is used for setting TVF envelope (how cutoff frequency  
changes over time).  
De p th (TVF En ve lo p e De p th )  
Specifies the depth of the TVF envelope. Higher settings will  
cause the TVF envelope to produce greater change. Negative  
(-) settings will invert the shape of the envelope.  
Low  
V-Se n s (TVF En ve lo p e Ve lo city Se n sitivity )  
Specifies how keyboard playing dynamics will affect the  
depth of the TVF envelope. Positive (+) settings will cause  
the TVF envelope to have a greater effect for strongly played  
notes, and negative (-) settings will cause the effect to be less.  
TVF VELO CITY  
fig.06-22  
V-Cu to ff (Cu to ff Fre q u e n cy Ve lo city Se n sitivity )  
V-Cu rve (TVF En ve lo p e Ve lo city Cu rve )  
Use this parameter when changing the cutoff frequency to be  
applied as a result of changes in playing velocity. If you want  
strongly played notes to raise the cutoff frequency, set this  
parameter to positive (+) settings. If you want strongly  
played notes to lower the cutoff frequency, use negative (-)  
settings.  
Selects one of the following 7 curves that will determine how  
keyboard playing dynamics will affect the TVF envelope. Set  
this to FIXED when the amount of TVF Envelope applied is  
not to be changed according to the force with which the keys  
are pressed.  
fig.05-70  
1
2
3
4
5
6
7
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
V-T1 (TVF En ve lo p e Tim e 1 Ve lo city Se n sitivity )  
Ad ju stin g th e Vo lu m e a n d Pa n o f  
a Rh y th m To n e (TVA)  
Use this parameter when you want velocity to affect T1  
(Time 1) of the TVF envelope. If you want T1 time to be  
speeded up for strongly played notes, set this parameter to a  
positive (+) value. If you want it to be slowed down, set this  
to a negative (-) value.  
Here you can make settings for the TVA (Time Variant  
Amplifier). This sets the volume change and pan of the  
Rhythm Tone.  
V-T4 (TVF En ve lo p e Tim e 4 Ve lo city Se n sitivity )  
TVA  
fig.06-26  
The parameter to use when you want key release speed to  
control the T4 (Time 4) value of the TVF envelope. If you  
want T4 time to be speeded up for quickly released notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
Le ve l (Rh y th m To n e Le ve l)  
Sets the volume of the Rhythm Tone. Use this parameter to  
adjust the volume balance between Rhythm Tones.  
L0 (TVF En ve lo p e Le ve l 0 )  
Sets the TVF envelope level (L0). TVF Envelope Level 0  
determines the degree to which the Cutoff frequency for the  
sound at the instant the key is pressed is altered relative to  
the reference Cutoff frequency (the Cutoff frequency value  
set in the TVF FILTER page).  
The volume level of the overall Rhythm Set is set with  
the Level parameter (RHYTHM/ COMMON/ RHYTHM  
which the Rhythm Tone is composed is set with the  
Level parameter (RHYTHM/ WAVE/ WMT WAVE) (p.  
98).  
T1 –T4 (TVF En ve lo p e Tim e 1 –4 )  
Specify the TVF envelope times (T1T4). Larger values result  
in longer times until the next cutoff frequency is reached (for  
instance, T2 controls the time from L1 until L2 is reached).  
Pa n (Rh y th m To n e Pa n )  
Sets the pan for the Rhythm Tone. A setting of L64 is far left,  
0 is center, and 63R is far right.  
L1 L4 (TVF En ve lo p e Le ve l 1 4 )  
Specify the TVF envelope levels (L1L4). These settings  
specify how the cutoff frequency will change at each point,  
relative to the standard cutoff frequency (the cutoff  
Set the Pan for Waves comprising the Rhythm Tones  
with the Pan parameter (RHYTHM/ WAVE/ WMT PAN)  
(p. 99).  
frequency value specified in the TVF FILTER page).  
fig.05-74.e  
T1  
T2  
T3  
T4  
Ra n d o m (Ra n d o m Pa n De p th )  
Use this parameter when you want the stereo location to  
change randomly each time you press a key. Higher values  
will result in a greater width of change.  
Cutoff  
Frequency  
L0  
Time  
L2  
L3  
L4  
L1  
Alte rn a te (Alte rn a te Pa n De p th )  
Note on  
Note off  
This setting causes panning to be alternated between left and  
right each time a key is pressed. Higher values will result in a  
greater width of change. This can be set either to L or R,  
which will invert the order in which the panning is moved  
between left and right. For example if two Rhythm Tones are  
set to L and R respectively, the panning of the two Rhythm  
Tones will alternate each time they are played.  
1 0 3  
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Ch a p te r 6 . Cre a tin g Rh y th m Se ts  
TVA VELO CITY  
TVA EN VELO PE  
fig.06-27  
fig.06-29  
Ve lo city Se n s  
T1 –T4 (TVA En ve lo p e Tim e 1 –4 )  
(TVA En ve lo p e Ve lo city Se n sitivity )  
Specify the TVA envelope times (T1T4). Larger values result  
in longer times until the next volume is reached (for instance,  
T2 controls the time from L1 until L2 is reached).  
Specifies how keyboard playing dynamics will affect the  
depth of the TVA envelope. Positive (+) settings will cause  
the TVA envelope to have a greater effect for strongly played  
notes, and negative (-) settings will cause the effect to be less.  
L1 L3 (TVA En ve lo p e Le ve l 1 3 )  
Specify the TVA envelope levels (L1L3). These settings  
specify how the volume will change at each point, relative to  
the standard volume (the Rhythm Tone Level value specified  
Ve lo city Cu rve (TVA En ve lo p e Ve lo city Cu rve )  
Selects one of the following seven curves to specify how  
keyboard dynamics will affect the TVA envelope. Set this to  
FIXED when the amount of TVA Envelope applied is not to  
be changed according to the force with which the keys are  
in the TVA page).  
fig.05-82.e  
T1  
T2  
T3  
T4  
pressed.  
fig.05-70  
Level  
1
2
3
4
5
6
7
Time  
L3  
L2  
L1  
Note on  
Note off  
TVA TIME EN V (TVA Tim e En ve lo p e )  
fig.06-28  
Here you can make settings for the TVA envelope (time-  
variant changes in volume).  
V-T1 (TVA En ve lo p e Tim e 1 Ve lo city Se n sitivity )  
Use this parameter when you want keyboard playing  
(velocity) to affect T1 (Time 1) of the TVA envelope. If you  
want T1 time to be speeded up for strongly played notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
V-T4 (TVA En ve lo p e Tim e 4 Ve lo city Se n sitivity )  
Use this parameter when you want key-release speed to  
influence the T4 (Time 4) value of the TVA envelope. If you  
want T4 time to be speeded up for quickly released notes, set  
this parameter to a positive (+) value. If you want it to be  
slowed down, set this to a negative (-) value.  
1 0 4  
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Ch a p te r 7 . Ad d in g Effe cts  
This chapter explains how effects are applied in Patch/  
Tu rn in g Effe cts O n / O ff  
Rhythm Set mode or Performance mode.  
The XV-88s onboard effects can be turned on/ off as a whole.  
Turn these settings OFF when you wish to listen to the  
unprocessed sound as you create a sound, or when you wish  
effects.  
For information about the application of effects in GM  
(EFFECTS)(p. 194).  
Ab o u t th e O n b o a rd Effe cts  
When the XV-88 is put in a status wherein the internal  
effects are not in use, then no effects are applied, even  
when effects settings are made. In this case, an x mark  
appears to the right of the settings screen for the effect  
set to OFF.  
Effe ct Ty p e s  
The XV-88 has the following three onboard effect processors,  
and settings can be made independently for each.  
fig.07-01  
Mu lti-Effe cts  
Effect ON/ OFF settings are global XV-88 settings. These  
The Multi-effects are multi-purpose effects that completely  
change the sound type by changing the sound itself.  
Contained are 63 different effects types; select and use the  
type that suits your aims. In addition to effects types  
composed of simple effects such as Distortion, Flanger, and  
other such effects, you can also set up a wide variety of other  
effects, even connecting effects in series or in parallel.  
Furthermore, while chorus and reverb can be found among  
the Multi-effects types, the following chorus and reverb are  
handled with a different system.  
settings cannot be made for each Patch or Performance  
individually.  
1 . Press [MULTI] [CHORUS] [REVERB] to turn the effects  
processor on (indicator lighted) or off (indicator  
extinguished).  
fig.07-02  
[MULTI]: Switches the Multi-effects on/ off.  
[CHORUS]: Switches Chorus on/ off.  
[REVERB]: Switches Reverb on/ off.  
In GM mode, you cannot use Multi-effects.  
Ch o ru s  
Chorus adds depth and spaciousness to the sound. You can  
select whether to use this as a chorus effect or a delay effect.  
Since the Multi-effects cannot be used in GM mode,  
nothing happens when [MULTI] is pressed in this mode.  
A GM-exclusive Chorus can be used in GM mode.  
Re ve rb  
Reverb adds the reverberation characteristics of halls or  
auditoriums. Four different types are offered, so you can  
select and use the type that suits your purpose.  
A GM-exclusive Reverb is used in GM mode.  
1 0 5  
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Ch a p te r 7 . Ad d in g Effe cts  
6 . Ma k in g Ch o ru s Se ttin g s  
Ap p ly in g Effe cts in Pa tch  
Mo d e o r Rh y th m Se t Mo d e  
Select the Chorus type to be used, and set each of the  
parameters for the selected Chorus. (p. 156, p. 157)  
Only one Multi-effect, Chorus, or Reverb effect can be set for  
each Patch or Rhythm Set. You cannot apply differing types  
of Multi-effects, Chorus, or Reverb to each of the Tones or  
Rhythm Tones comprising the Patch or Rhythm Set.  
7 . Se ttin g th e O u tp u t De stin a tio n a n d Vo lu m e  
fo r th e So u n d s Pa ssin g Th ro u g h th e Ch o ru s  
Select the output jack and set the output level (volume) of the  
sounds passing through the Chorus. You can also apply  
Reverb to the sound that passes through Chorus. (p. 158)  
Ba sic Pro ce ss o f Ma k in g Effe cts Se ttin g s  
8 . Ma k in g Re ve rb Se ttin g s  
When applying effects in Patch/ Rhythm Set mode, the  
following procedure is used to make the settings.  
Select the Reverb type to be used, and set each of the  
parameters for the selected Reverb. (p. 159)  
1 . Se ttin g th e O u tp u t Me th o d o f th e Dire ct  
So u n d (O u tp u t Assig n )  
9 . Se ttin g th e O u tp u t De stin a tio n a n d Vo lu m e  
fo r th e So u n d s Pa ssin g Th ro u g h th e Re ve rb  
Settings determining whether or not the signal passes  
through the Multi-effects, the jack used to output the sound,  
and the type of output (stereo or mono) are made for each  
individual Patch or Rhythm Set, or each Tone or Rhythm  
Tone. (p. 108, p. 109)  
Select the output jack and set the output level (volume) of the  
sounds passing through the Reverb. (p. 160)  
2 . Se ttin g th e Am o u n t o f Ea ch Effe ct Ap p lie d  
(Se n d Le ve l)  
Set the level (volume) of each effect signal to be sent for each  
Tone or Rhythm Tone. (p. 110)  
3 . Ma k in g Mu lti-Effe cts Se ttin g s  
Select the type of Multi-effects to be used, and set the  
parameters for the selected Multi-effect. (p. 114, p. 115)  
4 . Se ttin g th e Mu lti-Effe cts Co n tro lle r  
When using MIDI messages to change the Multi-effects  
parameters in realtime, select the Multi-effects controller. →  
(p. 115)  
5 . Se ttin g th e O u tp u t De stin a tio n a n d Vo lu m e  
fo r th e So u n d s Pa ssin g Th ro u g h th e Mu lti-  
Effe cts  
Select the output jack and set the output level (volume) of the  
sounds passing through the Multi-effects. You can also apply  
Chorus or Reverb to the sound that passes through Multi-  
effects. (p. 116)  
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Ch a p te r 7 . Ad d in g Effe cts  
Au d io Sig n a l Flo w  
The audio path of direct sounds or sounds that have been passed through the effects in Patch/ Rhythm Set mode is shown in the  
figure below.  
fig.07-03.e  
stereo signal  
mono signal  
Patch/Rhythm Set  
Tone/  
Rhythm Tone  
4
5
3
2
TONE  
MFX  
A/1/2  
B/3/4  
1
Chorus  
MFX  
A/1/2  
B/3/4  
13  
14  
REV  
1
2
3
4
5
6
7
8
9
Output Assign (p. 108)  
MAIN  
M+R  
Output Assign (p. 109)  
Output Level (p. 109)  
Multi-  
Chorus Send Level (p. 110)  
Reverb Send Level (p. 110)  
Multi-effects Output Assign (p. 116)  
Multi-effects Dry Send Level (p. 116)  
Reverb  
Effects  
11  
7
Multi-effects Chorus Send Level (p. 116)  
Multi-effects Reverb Send Level (p. 116)  
8
9
10 Reverb Output Assign (p. 160)  
11 Reverb Level (p. 160)  
12 Chorus Output Assign (p. 158)  
13 Chorus Level (p. 158)  
10  
6
12  
14 Chorus Output Select (p. 158)  
A
B
A
B
A
B
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Ch a p te r 7 . Ad d in g Effe cts  
O u tp u t Assig n  
Se le ctin g th e W a y th e Dire ct  
So u n d is O u tp u t  
Specifies for each Patch/ Rhythm Set how the direct sound  
will be output.  
Here, set the way the direct sound is output for each Patch or  
Rhythm Set. The settings made here determine whether or  
not the signal passes through the Multi-effects, the jack used  
to output the sound, and the type of output (stereo or mono).  
MFX: Output in stereo through Multi-effects. You can also  
apply Chorus or Reverb to the sound that passes through  
Multi-effects.  
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo  
without passing through Multi-effects.  
You can select the way the direct sound is output for  
each Tone or Rhythm Tone individually (p. 109).  
OUTPUT B: Output to the OUTPUT B jacks in stereo without  
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without  
passing through Multi-effects.  
Ab o u t th e O u tp u t Ja ck s  
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without  
The XV-88 is equipped with four OUTPUT jacks. Patch  
and Rhythm Set sounds are output from any of these  
jacks. Each jack can of course output sounds monaurally,  
and by using two jacks as a pair, you can output sounds  
in stereo (left/ right).  
passing through Multi-effects.  
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without  
passing through Multi-effects.  
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without  
passing through Multi-effects.  
Additionally, you can change the jacks used to output  
the sounds for each of the Tones and Rhythm Tones  
individually. For example, when playing a Rhythm Set,  
you can output the snare drum in stereo from the  
OUTPUT A (MIX) jacks, the bass drum in mono from the  
INDIVIDUAL 3 jack, and the hi-hat in mono from the  
INDIVIDUAL 4 jack. With this arrangement, you can  
process each of the Rhythm Tones with a different effect.  
TONE: Output according to the settings for each Tone/  
Rhythm Tone.  
When outputting in mono, the Pan setting is disabled.  
When the settings are such that signals are split and  
output from the INDIVIDUAL 1 jack and INDIVIDUAL  
2 jack, and no plug is inserted in the INDIVIDUAL 2  
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL  
2 are mixed together, then output from the  
1 . After confirming that you are in Patch/ Rhythm Set  
mode, select the desired Patch/ Rhythm Set (p. 29, p. 39).  
from the INDIVIDUAL 1 and 2 jacks.  
2 . After pressing [EDIT] to make the indicator light up,  
press the [COMMON] function button, and  
press  
page.  
or  
to display the PATCH COMMON  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
fig.05-12  
When setting the MFX, set the output destination with  
the Output parameter (PATCH/ EFFECTS/ PATCH MFX  
OUT)/ (RHYTHM/ EFFECTS/ RHYTHM MFX OUT) for  
the sound after it has passed through the Multi-effects  
(p. 116).  
When a Rhythm Set is selected, display the RHYTHM  
COMMON page.  
3 . Press  
or  
to move the cursor to Output Assign.”  
4 . Rotate the VALUE dial, or press [INC/ +]/ [DEC/ -] to  
When set to TONE, the Output Assign parameter  
(PATCH/ EFFECTS/ OUTPUT)/ (RHYTHM/ EFFECTS/  
OUTPUT) is set for each Tone or Rhythm Tone (p. 109).  
specify how the direct sound will be output.  
Chorus and Reverb are output in mono at all times.  
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Ch a p te r 7 . Ad d in g Effe cts  
The output destination of the signal after passing  
through the chorus is set with Output Assign parameter  
or Select parameter (PATCH/ EFFECTS/ PATCH CHO  
OUT)/ (RHYTHM/ EFFECTS/ RHYTHM CHO OUT) (p.  
158).  
Th e Se ttin g s fo r Ea ch To n e /  
Rh y th m To n e  
You can set the direct sounds output method and the  
amount of effect applied for each Tone or Rhythm Tone  
individually.  
The output destination of the signal after passing  
through the Reverb is set with the Output Assign  
parameter (PATCH/ EFFECTS/ PATCH REV OUT)/  
(RHYTHM/ EFFECTS/ RHYTHM REV OUT) (p. 160).  
1 . After confirming you are in Patch/ Rhythm Set mode,  
select the desired Patch or Rhythm Set (p. 29, p. 39).  
2 . Press [EDIT] to make the indicator light up, press the  
[EFFECTS] function button, and press  
display the OUTPUT page.  
or  
to  
For more on how to set each effect, refer to the pages  
shown below.  
fig.07-04  
Multi-effects (p. 114)  
Chorus (p. 156)  
Reverb (p. 158)  
3 . Choose the Tone/ Rhythm Tone for which you want to  
make settings.  
5 . Press [EXIT] to return to the PATCH PLAY/ RHYTHM  
W h e n Se le ctin g a To n e  
PLAY page.  
An asterisk * will be displayed at the left of the Patch/  
Rhythm Set group. This indicates that the Patch/ Rhythm  
Set settings have been modified.  
After turning off the [EDIT] indicator, use TONE SELECT  
[1][4] to select the tone.  
W h e n Se le ctin g a Rh y th m To n e  
Press the key that accesses the Rhythm Tone you wish to set.  
After turning off the [EDIT] indicator, you can also use  
TONE SELECT [1][4] to select the following setting.  
If you select another Patch/ Rhythm Set in the group  
with an asterisk *, the modified Patch/ Rhythm Set  
settings will be lost. To keep these modified settings,  
perform the save operation (p. 164).  
TONE SELECT [1]: move to an octave lower key  
TONE SELECT [3]: move to the semitone above  
TONE SELECT [4]: move to an octave higher key  
4 . Press  
or  
to move the cursor to the parameter  
youre going to modify.  
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)  
Sets the direct sounds output method and volume for each  
Tone or Rhythm Tone.  
MFX: Output in stereo through Multi-effects. You can also  
apply Chorus or Reverb to the sound that passes through  
Multi-effects.  
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo  
without passing through Multi-effects.  
OUTPUT B: Output to the OUTPUT B jacks in stereo without  
passing through Multi-effects.  
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without  
passing through Multi-effects.  
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without  
passing through Multi-effects.  
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Ch a p te r 7 . Ad d in g Effe cts  
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without  
For more on how to set each effect, refer to the pages  
shown below.  
passing through Multi-effects.  
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without  
Multi-effects (p. 114)  
Chorus (p. 156)  
Reverb (p. 158)  
passing through Multi-effects.  
The value on the right sets the volume of the Tone or Rhythm  
Tone. When Multi-effects are being applied, this sets the  
amount of the effect that is applied; when Multi-effects are  
not applied, this sets the volume of the direct sound.  
Ch o ru s (Ch o ru s Se n d Le ve l) ★  
Sets the chorus depth for individual Tone/ Rhythm Tone. If  
you dont want to add the Chorus effect, set it to 0.  
When the Output Assign parameter (PATCH/  
COMMON/ PATCH COMMON)/ (RHYTHM/  
COMMON/ RHYTHM COMMON) is set to anything  
but TONE, the setting made here has no effect (p. 108).  
Re ve rb (Re ve rb Se n d Le ve l) ★  
Sets the reverb depth for individual Tone/ Rhythm Tone. If  
When the Type parameter (PATCH/ COMMON/  
STRUCT) has a setting of Type 210, the outputs of  
Tones 1 and 2 will be combined with Tone 2, and the  
outputs of Tones 3 and 4 will be combined with Tone 4.  
For this reason, the setting of Tone 1 will follow the  
setting of Tone 2, and the setting of Tone 3 will follow  
the setting of Tone 4 (p. 73).  
5 . Either rotate the VALUE dial or press [INC/ +]/ [DEC/ -]  
to set the value.  
6 . Press [EXIT] to return to the PATCH PLAY/ RHYTHM  
PLAY page.  
An asterisk * will be displayed at the left of the Patch/  
Rhythm Set group. This indicates that the Patch/ Rhythm  
Set settings have been modified.  
When outputting in mono, the Pan setting is disabled.  
When the settings are such that signals are split and  
output from the INDIVIDUAL 1 jack and INDIVIDUAL  
2 jack, and no plug is inserted in the INDIVIDUAL 2  
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL  
2 are mixed together, then output from the  
If you select another Patch/ Rhythm Set in the group  
with an asterisk *, the modified Patch/ Rhythm Set  
settings will be lost. To keep these modified settings,  
perform the save operation (p. 164).  
INDIVIDUAL 1 jack. This sound comprises the sounds  
from the INDIVIDUAL 1 and 2 jacks.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
When setting the MFX, set the output destination with  
the Output parameter (PATCH/ EFFECTS/ PATCH MFX  
OUT)/ (RHYTHM/ EFFECTS/ RHYTHM MFX OUT) for  
the sound after it has passed through the Multi-effects  
(p. 116).  
Chorus and Reverb are output in mono at all times.  
The output destination of the signal after passing  
through the chorus is set with Output Assign parameter  
or Select parameter (PATCH/ EFFECTS/ PATCH CHO  
OUT)/ (RHYTHM/ EFFECTS/ RHYTHM CHO OUT) (p.  
158).  
The output destination of the signal after passing  
through the reverb is set with Output Assign parameter  
(PATCH/ EFFECTS/ PATCH REV OUT)/ (RHYTHM/  
EFFECTS/ RHYTHM REV OUT) (p. 160).  
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Ch a p te r 7 . Ad d in g Effe cts  
6 . Ma k in g Ch o ru s Se ttin g s  
Ap p ly in g Effe cts in  
Pe rfo rm a n ce Mo d e  
Select the Chorus type to be used, and set each of the  
parameters for the selected Chorus. (p. 156, p. 157)  
Only one Multi-effect, Chorus, or Reverb effect can be set for  
each Performance. You cannot apply differing types of Multi-  
effects, Chorus, or Reverb to each of the Parts comprising the  
Performance.  
7 . Se ttin g th e O u tp u t De stin a tio n a n d Vo lu m e  
fo r th e So u n d s Pa ssin g Th ro u g h th e Ch o ru s  
Select the output jack and set the output level (volume) of the  
sounds passing through the Chorus. You can also apply  
Reverb to the sound that passes through Chorus. (p. 158)  
When adding effects in Performance mode, the settings for  
the Patches or Rhythm Sets assigned to the Parts are  
disabled, and the effect settings for the Performance go into  
effect. Thus, the effects for the same Patch or Rhythm Set  
may differ when played in Patch/ Rhythm Set mode and in  
Performance mode. However, depending on the settings,  
you can have effect settings for a Patch or Rhythm Set  
assigned to a Part applied to the entire Performance (p. 114).  
8 . Ma k in g Re ve rb Se ttin g s  
Select the Reverb type to be used, and set each of the  
parameters for the selected Reverb. (p. 159)  
9 . Se ttin g th e O u tp u t De stin a tio n a n d Vo lu m e  
Select the output jack and set the output level (volume) of the  
sounds passing through the Reverb. (p. 160)  
Ba sic Pro ce ss o f Ma k in g Effe cts Se ttin g s  
When applying effects in Performance mode, the following  
procedure is used to make the settings.  
1 . Se ttin g th e O u tp u t Me th o d Use d b y th e  
Dire ct So u n d (O u tp u t Assig n )  
Settings determining whether or not the signal passes  
through the Multi-effects, the jack used to output the sound,  
and the type of output (stereo or mono) for each Part. You  
can also settings for a Patch or Rhythm Set assigned to a Part.  
(p. 113)  
2 . Se ttin g th e Am o u n t o f Ea ch Effe ct Ap p lie d  
(Se n d Le ve l)  
Sets the level (volume) of each effect signal to be sent for each  
Part. (p. 113)  
3 . Ma k in g Mu lti-Effe cts Se ttin g s  
Select the type of Multi-effects to be used, and set the  
parameters for the selected Multi-effect. You can also Multi-  
effects settings for a Patch or Rhythm Set assigned to a Part.  
(p. 114, p. 115)  
4 . Se ttin g th e Mu lti-Effe cts Co n tro lle r  
When using MIDI messages to change the Multi-effects  
parameters in realtime, select the Multi-effects controller. →  
(p. 115)  
5 . Se ttin g th e O u tp u t De stin a tio n a n d Vo lu m e  
fo r th e So u n d s Pa ssin g Th ro u g h th e Mu lti-  
Effe cts  
Select the output jack and set the output level (volume) of the  
sounds passing through the Multi-effects. You can also apply  
Chorus or Reverb to the sound that passes through Multi-  
effects. (p. 116)  
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Ch a p te r 7 . Ad d in g Effe cts  
Au d io Sig n a l Flo w  
The audio path of direct sounds or sounds that have been passed through the effects in Performance mode is shown in the figure  
below.  
fig.07-05.e  
stereo signal  
mono signal  
Performance  
Part  
Patch/  
Rhythm Set  
3
4
2
1
MFX  
A/1/2  
B/3/4  
PATCH  
The Output Assign settings of the Patch/Rhythm Set  
assigned to the Part will be used (p. 108).  
Chorus  
12  
1
Output Assign (p. 113)  
13  
REV  
2
3
4
5
6
7
8
9
Output Level (p. 113)  
MAIN  
M+R  
Chorus Send Level (p. 113)  
Reverb Send Level (p. 113)  
Multi-  
Multi-effects Output Assign (p. 116) *  
Multi-effects Dry Send Level (p. 116) *  
Multi-effects Chorus Send Level (p. 116) *  
Multi-effects Reverb Send Level (p. 116) *  
Reverb Output Assign (p. 160) *  
Reverb  
Effects  
10  
6
7
8
10 Reverb Level (p. 160) *  
11 Chorus Output Assign (p. 158) *  
12 Chorus Level (p. 158) *  
13 Chorus Output Select (p. 158) *  
9
5
11  
* The settings for a Patch or Rhythm Set assigned to a Part  
depends on which of the Parts 116 the Source parameter  
in each effect is set to (p. 114, p. 156, p. 159).  
A
B
A
B
A
B
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Ch a p te r 7 . Ad d in g Effe cts  
Se le ctin g th e W a y th e Dire ct  
So u n d is O u tp u t  
When outputting in mono, the Pan setting is disabled.  
When the settings are such that signals are split and  
output from the INDIVIDUAL 1 jack and INDIVIDUAL  
2 jack, and no plug is inserted in the INDIVIDUAL 2  
jack, the sounds from INDIVIDUAL 1 and INDIVIDUAL  
2 are mixed together, then output from the  
Here, set the way the direct sound is output and the amount  
of each effect to be applied. The settings made here  
determine whether or not the signal passes through the  
Multi-effects, the jack used to output the sound, and the type  
of output (stereo or mono).  
INDIVIDUAL 1 jack. This sound comprises the sounds  
from the INDIVIDUAL 1 and 2 jacks.  
The way the direct sound is output can also use the  
settings of a Patch/ Rhythm Set assigned to a Part.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
1 . After confirming that you are in Performance mode,  
select the desired Performance (p. 35).  
2 . Press [EDIT] to make the indicator light up, press the  
[EFFECTS] function button, and press  
display the OUTPUT page.  
or  
to  
When setting the MFX, set the output destination with  
the Output parameter (PERFORM/ EFFECTS/ MFX  
OUT) for the sound after it has passed through the  
Multi-effects (p. 116).  
fig.07-06  
Chorus and Reverb are output in mono at all times.  
3 . Choose the Part for which you want to make settings.  
Turn off the [EDIT] indicator, and then use [1-8/ 9-16]  
and ZONE/ PART SELECT [1/ 9][8/ 16] to select a Part.  
The output destination of the signal after passing  
through the Chorus is set with the Output Assign  
parameter and the Select parameter (PERFORM/  
EFFECTS/ CHO OUT) (p. 158).  
4 . Press  
or  
to move the cursor to the parameter  
youre going to modify.  
The output destination of the signal after passing  
through the Reverb is set with the Output Assign  
parameter (PERFORM/ EFFECTS/ REV OUT) (p. 160).  
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)  
Sets the direct sounds output method and volume for each Part.  
MFX: Output in stereo through Multi-effects. You can also  
apply Chorus or Reverb to the sound that passes through  
Multi-effects.  
For more on how to set each effect, refer to the pages  
shown below.  
Multi-effects (p. 114)  
Chorus (p. 156)  
Reverb (p. 158)  
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo  
without passing through Multi-effects.  
OUTPUT B: Output to the OUTPUT B jacks in stereo without  
passing through Multi-effects.  
Ch o ru s (Ch o ru s Se n d Le ve l)  
INDIV 1: Output to the INDIVIDUAL 1 jack in mono without  
Adjusts the amount of Chorus for each Part. If you dont  
passing through Multi-effects.  
want to add the Chorus effect, set it to 0.  
INDIV 2: Output to the INDIVIDUAL 2 jack in mono without  
passing through Multi-effects.  
Re ve rb (Re ve rb Se n d Le ve l)  
INDIV 3: Output to the INDIVIDUAL 3 jack in mono without  
Adjusts the amount of Reverb for each Part. If you dont  
passing through Multi-effects.  
want to add the Reverb effect, set it to 0.  
INDIV 4: Output to the INDIVIDUAL 4 jack in mono without  
passing through Multi-effects.  
When the Output Assign parameter is set to PATCH, the  
output level settings for the Patch or Rhythm Set as well  
as the Part go into effect. If you want the various level  
settings of the Patch/ Rhythm Set to be reflected as they  
are, set the various Part levels to 127 (maximum).  
PATCH: The Parts output destination is determined by the  
settings of the Patch or Rhythm Set assigned to the Part.  
The value on the right sets the Part volume. When Multi-  
effects are being applied, this sets the amount of the effect  
that is applied; when Multi-effects are not applied, this sets  
the volume of the direct sound.  
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Ch a p te r 7 . Ad d in g Effe cts  
5 . Either rotate the VALUE dial or press [INC/ +]/ [DEC/ -]  
Fu n ctio n s o f Pa ra m e te rs  
to set the value.  
The functions of Multi-effects parameters are explained  
according to the display arrangement.  
6 . Press [EXIT] to return to the PERFORM PLAY page.  
An asterisk * appears at the left of the Performance  
group on the display. This shows Performance settings  
have been modified.  
MFX TYPE  
fig.07-07  
If you select another Performance in the group with an  
asterisk *, the modified Performance settings will be lost.  
To keep these modified settings, perform the save  
operation (p. 164).  
Ty p e (Mu lti-Effe cts Ty p e )  
Use this parameter to select from among the 63 available  
Multi-effects. For details on Multi-effects parameters, refer to  
Multi-Effects Types(p. 117).  
So u rce (Mu lti-Effe cts So u rce )  
Ma k in g Mu lti-Effe cts Se ttin g s  
Selects the Multi-effects parameter settings that will be used  
by the Performance. If you wish to use the Performance  
settings, select PERFORM. If you wish to use the settings of  
the Patch/ Rhythm Set assigned to one of the Parts, select the  
Part number.  
You can make the settings for Multi-Effects used by Patches/  
Rhythm Sets/ Performances.  
Se ttin g Pro ce d u re  
1 . After confirming that you are in Patch/ Rhythm Set/  
Performance mode, select the desired Patch/ Rhythm  
Set/ Performance (p. 29, p. 35, p. 39).  
If you have selected the Part number here, the Part  
number will be displayed in the upper left of the MFX  
parameter setting display of Performances.  
fig.07-08  
2 . Press [EDIT], getting the indicator to light, and then  
press the [EFFECTS] function button.  
3 . Press  
or  
to display the desired Edit page.  
4 . Press  
or  
to move the cursor to the parameter  
This parameter is not available when a Patch or Rhythm  
Set is being selected.  
youre going to modify.  
5 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to change the parameter value.  
W h e n Pa tch o r Rh y th m Se t Se ttin g s Are  
Se le cte d  
6 . When you finish making settings, press [EXIT] to return  
to the previous PLAY page.  
When the Patch or Rhythm Sets Multi-effects settings  
are selected, those settings are shown in each of the  
Performances MFX settings pages, and the settings can  
be then be changed as well. Changes to Patch or Rhythm  
Set Multi-effects parameter settings are lost when  
another Patch or Rhythm Set is selected. To keep the  
modified settings, save the Patch/ Rhythm Set settings  
(p. 164).  
An asterisk * will be displayed at the left of the Patch/  
Rhythm Set/ Performance group. This indicates that the  
Patch/ Rhythm Set/ Performance settings have been  
modified.  
If you select another Patch/ Rhythm Set/ Performance in  
the group with an asterisk *, the modified Patch/  
Rhythm Set/ Performance settings will be lost. To keep  
these modified settings, perform the save operation (p.  
164).  
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Ch a p te r 7 . Ad d in g Effe cts  
MFX PRM (MFX Pa ra m e te r)  
fig.07-09  
W h a t is th e Mu lti-Effe cts Co n tro lle r?  
If you wanted to change the volume of Multi-effects  
sounds, the delay time of Delay, and the like, using an  
external MIDI device, you would need to send System  
Exclusive messagesMIDI messages designed  
exclusively for the XV-88. However, System Exclusive  
messages tend to be complicated, and the amount of  
data that needs to be transmitted can get quite large.  
MFX Parameter sets the parameters for the Multi-effects  
selected by the Multi-effects type. For more detailed  
information on the parameters that can be set in each Multi-  
effect, please refer to Multi-Effects Types(p. 117).  
For that reason, a number of the more typical of the XV-  
88s Multi-effects parameters have been designed so they  
accept the use of Control Change (or other) MIDI  
When the Type parameter in the MFX TYPE page is set  
to 00:THROUGH, the MFX PRM page will not be  
displayed.  
messages for the purpose of making changes in their  
values. For example, you can use the Pitch Bend lever to  
change the amount of distortion, or use the keyboards  
touch to change the delay time of Delay. The parameters  
that can be changed are predetermined for each type of  
multi-effect; among the parameters described in Multi-  
MFX CTRL (MFX Co n tro l)  
fig.07-10  
Use this when you want to change the Multi-effects  
parameters in realtime using the specified MIDI messages.  
The function that allows you use MIDI messages to make  
these changes in realtime to the Multi-effects parameters  
is called the Multi-effects Controller. Up to four Multi-  
effects Controllers can be used in a single Patch/ Rhythm  
Set/ Performance.  
When the Type parameter in the MFX TYPE page is set  
to 00:THROUGH, the MFX CTRL page will not be  
displayed.  
In Performance mode, when the Source parameter in the  
MFX TYPE page is set to PERFORM, you cannot use the  
Multi-effects controller if the MFX Control Channel  
parameter (PERFORM/ COMMON/ PERFORM MFX  
CH) is set to OFF (p. 51).  
When the Multi-effects Controller is used, you can select  
the amount of control (Sens parameter) applied, the  
parameter selected (Destination parameter), and the  
MIDI message used (Source parameter).  
By using the Matrix Controller instead of the Multi-  
Effects controller, you can also change the  
parameters of some popular Multi-effects in realtime  
(p. 80).  
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Ch a p te r 7 . Ad d in g Effe cts  
So u rce (Mu lti-Effe cts Co n tro l So u rce )  
De stin a tio n (Mu lti-Effe cts Co n tro l De stin a tio n )  
Sets the MIDI message used to change the Multi-effects  
parameter with the Multi-effects Controller. Set this to OFF  
when the Multi-effects Controller is not being used.  
Sets the Multi-effects parameters to be controlled with the  
Multi-effects Controller. The Multi-effects parameters  
available for control will depend on the Multi-effects type.  
For details, refer to Multi-Effects Types(p. 117).  
The following are MIDI messages that can be used as Multi-  
effects Controllers.  
Se n s (Mu lti-Effe cts Co n tro l Se n sitivity )  
Controller numbers 0131, 3395 (CC01CC31, CC33–  
Sets the amount of the Multi-effects Controllers effect that is  
applied. To make an increase in the currently selected value  
(to get higher values, move to the right, increase rates, and so  
on), select a positive value; to make a decrease in the  
CC95)  
For more detailed information about Control Change  
messages, please refer to MIDI Implementation(p.  
270).  
decrease rates, and so on), select a negative value. When both  
positive and negative are selected, the changes are greater as  
the value increases. To have no effect applied, select 0.  
Pitch Bend (PITCH BEND)  
Aftertouch (AFTERTOUCH)  
System Controller 14 (SYS-CTRL1SYS-CTRL4): MIDI  
MFX O UT (MFX O u tp u t)  
messages used as global Multi-effects Controllers  
fig.07-11  
Select SYS-CTRL14 if you want to use the controllers  
globally for the entire XV-88. MIDI messages used as  
System Controllers 14 are set with the Control 14  
parameters (SYSTEM/ CONTROL/ SYS CTRL ASSIGN 1,  
2) (p. 173).  
O u tp u t (Mu lti-Effe cts O u tp u t Assig n )  
Adjusts the output destination of the sound that has passed  
through the Multi-effects.  
A: Output to the OUTPUT A (MIX) jacks in stereo.  
B: Output to the OUTPUT B jacks in stereo.  
In Patch/ Rhythm Set mode, there are parameters that  
determine, for each Tone/ Rhythm Tone, whether or not  
Pitch Bend, Controller Number 11 (Expression) and  
Controller Number 64 (Hold 1) are received (p. 77, p. 97).  
When these settings are ON, and the MIDI messages are  
received, then when any change is made in the settings  
of the desired parameter, the Pitch Bend, Expression,  
and Hold1 settings also change simultaneously. If you  
want to change the targeted parameters only, then set  
these to OFF.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
Dry (Mu lti-Effe cts Dry Se n d Le ve l)  
Adjusts the volume of the sound that has passed through the  
Multi-effects.  
Ch o ru s (Mu lti-Effe cts Ch o ru s Se n d Le ve l)  
There are parameters that determine whether or not  
specific MIDI messages are received for each MIDI  
confirm that any MIDI messages used for the Multi-  
effects Controller will be received. If the XV-88 is set up  
such that reception of MIDI messages is disabled, then  
the Multi-effects Controller will not function.  
Adjusts the amount of Chorus for the sound that passes  
through Multi-effects. If you dont want to add the Chorus  
effect, set it to 0.  
Re ve rb (Mu lti-Effe cts Re ve rb Se n d Le ve l)  
Adjusts the amount of Reverb for the sound that passes  
through Multi-effects. If you dont want to add the Reverb  
effect, set it to 0.  
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Ch a p te r 7 . Ad d in g Effe cts  
33: ENHANCERFLANGER  
(p. 136)  
(p. 137)  
(p. 137)  
(p. 138)  
(p. 138)  
(p. 139)  
(p. 139)  
(p. 139)  
(p. 139)  
(p. 140)  
(p. 141)  
(p. 142)  
(p. 143)  
(p. 144)  
(p. 145)  
(p. 146)  
(p. 147)  
(p. 147)  
(p. 148)  
(p. 148)  
(p. 149)  
(p. 149)  
(p. 150)  
(p. 150)  
(p. 151)  
(p. 151)  
(p. 152)  
(p. 152)  
(p. 153)  
(p. 154)  
(p. 155)  
Mu lti-Effe cts Ty p e s  
34: ENHANCERDELAY  
35: CHORUSDELAY  
36: FLANGERDELAY  
37: CHORUSFLANGER  
38: CHORUS/ DELAY  
39: FLANGER/ DELAY  
40: CHORUS/ FLANGER  
41: STEREO PHASER  
43: FORMANT FILTER  
44: RING MODULATOR  
45: MULTI TAP DELAY  
Multi-Effects provides 63 types of effect. This section  
explains the features of each Multi-effects, and the functions  
of the parameters.  
Parameters marked with a # can be controlled using  
specified MIDI messages (Multi-effects Controller). (*  
Two setting items will change simultaneously for #1 and  
#2.) Settings in the MFX CTRL page will determine how  
these parameters are controlled (p. 115).  
Explanations for each Multi-effects Type are given on the  
following pages.  
01: STEREO EQ  
(p. 119)  
(p. 119)  
(p. 120)  
(p. 120)  
(p. 121)  
(p. 121)  
(p. 122)  
(p. 122)  
(p. 123)  
(p. 123)  
(p. 124)  
(p. 124)  
(p. 125)  
(p. 125)  
(p. 126)  
(p. 126)  
(p. 127)  
(p. 128)  
(p. 129)  
(p. 130)  
(p. 131)  
(p. 131)  
(p. 132)  
(p. 133)  
(p. 133)  
(p. 134)  
(p. 134)  
(p. 135)  
(p. 135)  
(p. 135)  
(p. 135)  
(p. 136)  
02: OVERDRIVE  
03: DISTORTION  
04: PHASER  
05: SPECTRUM  
06: ENHANCER  
07: AUTO WAH  
08: ROTARY  
09: COMPRESSOR  
10: LIMITER  
11: HEXA-CHORUS  
12: TREMOLO CHORUS  
13: SPACE-D  
14: STEREO CHORUS  
15: STEREO FLANGER  
16: STEP FLANGER  
17: STEREO DELAY  
18: MODULATION DELAY  
19: TRIPLE TAP DELAY  
20: QUADRUPLE TAP DELAY  
21: TIME CONTROL DELAY  
22: 2VOICE PITCH SHIFTER  
23: FBK PITCH SHIFTER  
24: REVERB  
25: GATED REVERB  
26: OVERDRIVECHORUS  
27: OVERDRIVEFLANGER  
28: OVERDRIVEDELAY  
29: DISTORTIONCHORUS  
30: DISTORTIONFLANGER  
31: DISTORTIONDELAY  
32: ENHANCERCHORUS  
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Ch a p te r 7 . Ad d in g Effe cts  
29: DISTORTIONCHORUS  
30: DISTORTIONFLANGER  
31: DISTORTIONDELAY  
52: SPEAKER SIMULATOR  
53: OVERDRIVE 2  
Se le ctin g Mu lti-Effe cts b y Ca te g o ry  
Pressing [PATCH FINDER] in the MFX TYPE page switches  
the display to the following page, where each Multi-effect  
type is displayed in order, by category (effect sound). This  
allows you to quickly select the Multi-effects you wish to use.  
fig.MFX FINDER.e  
54: DISTORTION 2  
Category  
Co m p re sso r (Effe cts in w h ich th e lo u d n e ss  
b e co m e s d ifficu lt to ch a n g e )  
09: COMPRESSOR  
10: LIMITER  
Mo d u la tio n  
(Effe cts th a t m o d u la te th e so u n d )  
55: STEREO COMPRESSOR  
56: STEREO LIMITER  
57: GATE  
04: PHASER  
07: AUTO WAH  
41: STEREO PHASER  
42: KEYSYNC FLANGER  
43: FORMANT FILTER  
44: RING MODULATOR  
58: SLICER  
Ch o ru s (Effe cts th a t b ro a d e n th e so u n d )  
11: HEXA-CHORUS  
12: TREMOLO CHORUS  
13: SPACE-D  
De la y (Effe cts th a t d e la y th e so u n d )  
17: STEREO DELAY  
14: STEREO CHORUS  
15: STEREO FLANGER  
16: STEP FLANGER  
18: MODULATION DELAY  
19: TRIPLE TAP DELAY  
20: QUADRUPLE TAP DELAY  
21: TIME CONTROL DELAY  
22: 2VOICE PITCH SHIFTER  
23: FBK PITCH SHIFTER  
34: ENHANCERDELAY  
45: MULTI TAP DELAY  
46: REVERSE DELAY  
32: ENHANCERCHORUS  
33: ENHANCERFLANGER  
35: CHORUSDELAY  
36: FLANGERDELAY  
37: CHORUSFLANGER  
38: CHORUS/ DELAY  
39: FLANGER/ DELAY  
40: CHORUS/ FLANGER  
60: 3D CHORUS  
47: SHUFFLE DELAY  
48: 3D DELAY  
49: PITCH SHIFTER  
61: 3D FLANGER  
Ke y b o a rd (Effe cts u se fu l fo r th e k e y b o a rd )  
Dim e n sio n (Effe cts th a t co n tro l th e lo ca tio n  
08: ROTARY  
o f th e so u n d )  
62: TREMOLO  
63: AUTO PAN  
Lo Fi (Effe cts th a t in te n tio n a lly d e g ra d e s th e  
so u n d q u a lity )  
50: LOFI COMPRESS  
51: LOFI NOISE  
Filte r  
(Effe cts th a t m o d ify th e so u n d ch a ra cte r)  
01: STEREO EQ  
05: SPECTRUM  
06: ENHANCER  
59: ISOLATOR  
Gu ita r&Ba ss  
(Effe cts u se fu l fo r th e Gu ita r a n d Ba ss)  
02: OVERDRIVE  
03: DISTORTION  
26: OVERDRIVECHORUS  
27: OVERDRIVEFLANGER  
28: OVERDRIVEDELAY  
Re ve rb (Effe cts th a t re ve rb e ra te th e so u n d )  
24: REVERB  
25: GATE REVERB  
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Ch a p te r 7 . Ad d in g Effe cts  
0 1 : STEREO EQ (Ste re o Eq u a lize r)  
0 2 : O VERDRIVE  
This is a four-band stereo equalizer (low, mid x 2, high).  
This effect creates a soft distortion similar to that produced  
fig.MFX-01  
by vacuum tube amplifiers.  
fig.MFX-02  
L in  
L out  
R out  
4-Band EQ  
L in  
L out  
Pan L  
Over  
drive  
Amp  
Simulator  
2-Band  
EQ  
R in  
4-Band EQ  
Pan R  
R in  
R out  
Lo w Fre q (Lo w Fre q u e n cy )  
Drive #  
Select the frequency of the low range (200 Hz/ 400 Hz).  
Adjust the degree of distortion. The volume will change  
together with the degree of distortion.  
Lo w Ga in (Lo w Ga in )  
Adjust the gain of the low frequency.  
Le ve l (O u tp u t Le ve l)  
Hi Fre q (Hig h Fre q u e n cy )  
Adjust the output level.  
Select the frequency of the high range (4000 Hz/ 8000 Hz).  
Lo w Ga in (Lo w Ga in )  
Hi Ga in (Hig h Ga in )  
Adjust the gain of the low frequency range.  
Adjust the gain of the high frequency.  
Hi Ga in (Hig h Ga in )  
Mid 1 Fre q (Mid d le 1 Fre q u e n cy )  
Adjust the gain of the high frequency range.  
Adjust the frequency of Middle 1 (mid range).  
Am p Ty p e (Am p Sim u la to r Ty p e )  
Select the type of guitar amp.  
SMALL: small amp  
Mid 1 Q (Mid d le 1 Q )  
This parameter adjusts the width of the area around the  
Middle 1 Frequency that will be affected by the Gain setting.  
Higher values of Q will result in a narrower area being  
affected.  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
Mid 1 Ga in (Mid d le 1 Ga in )  
Pa n (O u tp u t Pa n ) #  
Adjust the gain for the area specified by the Middle 1  
Frequency and Q settings.  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Mid 2 Fre q (Mid d le 2 Fre q u e n cy )  
Adjust the frequency of Middle 2 (mid range).  
Mid 2 Q (Mid d le 2 Q )  
This parameter adjusts the width of the area around the  
Middle 2 Frequency that will be affected by the Gain setting.  
Higher values of Q will result in a narrower area being  
affected.  
Mid 2 Ga in (Mid d le 2 Ga in )  
Adjust the gain for the area specified by the Middle 2  
Frequency and Q settings.  
Le v (O u tp u t Le ve l) #  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
0 3 : DISTO RTIO N  
0 4 : PHASER  
This effect produces a more intense distortion than  
A phaser adds a phase-shifted sound to the direct sound,  
producing a twisting modulation that creates spaciousness  
Overdrive.  
fig.MFX-03  
and depth.  
L in  
L out  
fig.MFX-04  
Pan L  
Amp  
Simulator  
2-Band  
EQ  
L in  
L out  
Pan L  
Distortion  
Pan R  
Phaser  
R in  
R out  
Mix  
Pan R  
R in  
Resonance  
R out  
Drive #  
Ma n u a l #  
Adjust the degree of distortion. The volume will change  
together with the degree of distortion.  
Adjust the basic frequency from which the sound will be  
modulated.  
Le ve l (O u tp u t Le ve l)  
Ra te #  
Adjust the output level.  
Adjust the frequency (period) of modulation.  
Lo w Ga in (Lo w Ga in )  
De p th  
Adjust the gain of the low frequency range.  
Adjust the depth of modulation.  
Hi Ga in (Hig h Ga in )  
Re s (Re so n a n ce )  
Adjust the gain of the high frequency range.  
Adjust the amount of feedback for the phaser.  
Am p Ty p e (Am p Sim u la to r Ty p e )  
Select the type of guitar amp.  
SMALL: small amp  
Mix (Mix Le ve l)  
Adjust the ratio with which the phase-shifted sound is  
combined with the direct sound.  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
Pa n (O u tp u t Pa n )  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Pa n (O u tp u t Pa n ) #  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 2 0  
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Ch a p te r 7 . Ad d in g Effe cts  
0 5 : SPECTRUM  
0 6 : EN HAN CER  
Spectrum is a type of filter which modifies the timbre by  
boosting or cutting the level at specific frequencies. It is  
similar to an equalizer, but has 8 frequency points fixed at  
The Enhancer controls the overtone structure of the high  
frequencies, adding sparkle and tightness to the sound.  
fig.MFX-06  
locations most suitable for adding character to the sound.  
fig.MFX-05  
2-Band  
EQ  
L in  
L out  
R out  
Enhancer  
Enhancer  
Mix  
Mix  
L in  
L out  
2-Band  
EQ  
Pan L  
R in  
Spectrum  
Pan R  
R in  
R out  
Se n s (Se n sitivity ) #  
Ba n d 1 (Ba n d 1 Ga in )  
Adjust the sensitivity of the enhancer.  
Adjust the 250 Hz level.  
Mix (Mix Le ve l) #  
Ba n d 2 (Ba n d 2 Ga in )  
Adjust the ratio with which the overtones generated by the  
enhancer are combined with the direct sound.  
Adjust the 500 Hz level.  
Lo w Ga in (Lo w Ga in )  
Ba n d 3 (Ba n d 3 Ga in )  
Adjust the gain of the low frequency range.  
Adjust the 1000 Hz level.  
Hi Ga in (Hig h Ga in )  
Ba n d 4 (Ba n d 4 Ga in )  
Adjust the gain of the high frequency range.  
Adjust the 1250 Hz level.  
Le ve l (O u tp u t Le ve l)  
Ba n d 5 (Ba n d 5 Ga in )  
Adjust the output level.  
Adjust the 2000 Hz level.  
Ba n d 6 (Ba n d 6 Ga in )  
Adjust the 3150 Hz level.  
Ba n d 7 (Ba n d 7 Ga in )  
Adjust the 4000 Hz level.  
Ba n d 8 (Ba n d 8 Ga in )  
Adjust the 8000 Hz level.  
Q
Simultaneously adjust the width of the adjusted areas for all  
the frequency bands.  
Pa n (O u tp u t Pa n ) #  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Le ve l (O u tp u t Le ve l) #  
Adjust the output level.  
1 2 1  
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Ch a p te r 7 . Ad d in g Effe cts  
0 7 : AUTO W AH  
0 8 : RO TARY  
The Auto Wah cyclically controls a filter to create cyclic  
The Rotary effect simulates the sound of the rotary speakers  
often used with the electric organs of the past. Since the  
movement of the high range and low range rotors can be set  
independently, the unique type of modulation characteristic  
of these speakers can be simulated quite closely. This effect is  
change in timbre.  
fig.MFX-07  
L in  
L out  
R out  
Auto Wah  
most suitable for electric organ Patches.  
fig.MFX-08  
R in  
L in  
L out  
R out  
Filte r (Filte r Ty p e )  
Rotary  
Select the type of filter.  
LPF: The wah effect will be applied over a wide frequency  
R in  
range.  
Lo w Slo w (Lo w Fre q u e n cy Slo w Ra te )  
BPF: The wah effect will be applied over a narrow frequency  
Adjust the slow speed (SLOW) of the low frequency rotor.  
range.  
Lo w Fa st (Lo w Fre q u e n cy Fa st Ra te )  
Se n s (Se n sitivity )  
Adjust the fast speed (FAST) of the low frequency rotor.  
Adjust the sensitivity with which the filter is controlled.  
Lo w Accl (Lo w Fre q u e n cy Acce le ra tio n )  
Ma n u a l #  
Adjust the time it takes the low frequency rotor to reach the  
newly selected speed when switching from fast to slow (or  
slow to fast) speed. Lower values will require longer times.  
Adjust the center frequency from which the effect is applied.  
Pe a k  
Adjust the amount of the wah effect that will occur in the  
area of the center frequency. Lower settings will cause the  
effect to be applied in a broad area around the center  
frequency. Higher settings will cause the effect to be applied  
in a more narrow range.  
Lo w Lvl (Lo w Fre q u e n cy Le ve l)  
Adjust the volume of the low frequency rotor.  
Hi Slo w (Hig h Fre q u e n cy Slo w Ra te )  
Adjust the slow speed (SLOW) of the high frequency rotor.  
Ra te #  
Hi Fa st (Hig h Fre q u e n cy Fa st Ra te )  
Adjust the frequency of the modulation.  
Adjust the fast speed (FAST) of the high frequency rotor.  
De p th  
Hi Accl (Hig h Fre q u e n cy Acce le ra tio n )  
Adjust the depth of the modulation.  
Adjust the time it takes the high frequency rotor to reach the  
newly selected speed when switching from fast to slow (or  
slow to fast) speed. Lower values will require longer times.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Hi Lvl (Hig h Fre q u e n cy Le ve l)  
Adjust the volume of the high frequency rotor.  
Se p a ra tio n  
Adjust the spatial dispersion of the sound.  
Sp e e d #  
Simultaneously switch the rotational speed of the low  
frequency rotor and high frequency rotor.  
SLOW: Slow down the rotation to the specified speed (the  
Low Slow/ Hi Slow values).  
FAST: Speed up the rotation to the specified speed (the Low  
Fast/ Hi Fast values).  
Speed of the Rotary Effect(p. 199).  
1 2 2  
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Ch a p te r 7 . Ad d in g Effe cts  
Le ve l (O u tp u t Le ve l) #  
1 0 : LIMITER  
Adjust the output level.  
The Limiter compresses signals that exceed a specified  
volume level, preventing distortion from occurring.  
fig.MFX-10  
0 9 : CO MPRESSO R  
L in  
L out  
The Compressor flattens out high levels and boosts low  
Pan L  
2-Band  
EQ  
Limiter  
levels, smoothing out unevenness in volume.  
Pan R  
fig.MFX-09  
R in  
R out  
L in  
L out  
Pan L  
Th re sh (Th re sh o ld Le ve l)  
2-Band  
EQ  
Compressor  
Pan R  
Adjust the volume at which compression will begin.  
R in  
R out  
Ra tio (Co m p re ssio n Ra tio )  
Atta ck  
Adjust the compression ratio.  
Adjust the attack time of an input sound.  
Re le a se (Re le a se Tim e )  
Su sta in  
Adjust the time from when the volume falls below the  
Threshold Level until compression is no longer applied.  
Adjust the time over which low level sounds are boosted  
until they reach the specified volume.  
Ga in (Po st Ga in )  
Po st Ga in  
Adjust the output gain.  
Adjust the output gain.  
Lo w Ga in (Lo w Ga in )  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain.  
Adjust the low frequency gain.  
Hi Ga in (Hig h Ga in )  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain.  
Adjust the high frequency gain.  
Pa n (O u tp u t Pa n ) #  
Pa n (O u tp u t Pa n ) #  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Le ve l (O u tp u t Le ve l) #  
Le ve l (O u tp u t Le ve l) #  
Adjust the output level.  
Adjust the output level.  
1 2 3  
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Ch a p te r 7 . Ad d in g Effe cts  
1 1 : HEXA-CHO RUS  
1 2 : TREMO LO CHO RUS  
Hexa-chorus uses a six-phase chorus (six layers of chorused  
Tremolo Chorus is a chorus effect with added Tremolo  
sound) to give richness and spatial spread to the sound.  
(cyclic modulation of volume).  
fig.MFX-11  
fig.MFX-12  
L in  
L out  
L in  
L out  
Balance D  
Balance D  
Balance W  
Balance W  
Tremolo Chorus  
Hexa-Chorus  
Balance W  
Balance W  
R in  
R out  
R in  
R out  
Balance D  
Balance D  
Pre Dly (Pre De la y Tim e )  
Pre Dly (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Ra te #  
Ch o Ra te (Ch o ru s Ra te )  
Adjust the rate of modulation.  
Adjust the modulation speed of the chorus effect.  
De p th  
Ch o Dp t (Ch o ru s De p th )  
Adjust the depth of modulation.  
Adjust the modulation depth of the chorus effect.  
Dly De v (Pre De la y De via tio n )  
Ph a se (Tre m o lo Ph a se )  
Pre Delay determines the time from when the direct sound  
begins until the processed sound is heard. Pre Delay  
Deviation adjusts the differences in Pre Delay between each  
chorus sound.  
Adjust the spread of the tremolo effect.  
Trm Ra te (Tre m o lo Ra te ) #  
Adjust the modulation speed of the tremolo effect.  
Trm Se p (Tre m o lo Se p a ra tio n )  
Dp t De v (De p th De via tio n )  
Adjust the spread of the tremolo effect.  
Adjust the difference in modulation depth between each  
chorus sound.  
Ba la n ce (Effe ct Ba la n ce ) #  
Pa n De v (Pa n De via tio n )  
Adjust the volume balance between the direct sound and the  
tremolo chorus sound. With a setting of D100:0W only the  
direct sound will be output, and with a setting of D0:100W  
only the tremolo chorus sound will be output.  
Adjust the difference in stereo location between each chorus  
sound. With a setting of 0, all chorus sounds will be in the  
center. With a setting of 20, each chorus sound will be spaced  
at 60 degree intervals relative to the center.  
Le ve l (O u tp u t Le ve l)  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the output level.  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
chorus sound will be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 2 4  
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Ch a p te r 7 . Ad d in g Effe cts  
1 3 : SPACE-D  
1 4 : STEREO CHO RUS  
Space-D is a multiple chorus that applies two-phase  
This is a stereo chorus. A filter is provided so that you can  
modulation in stereo. It gives no impression of modulation,  
adjust the timbre of the chorus sound.  
fig.MFX-14  
but produces a transparent chorus effect.  
Balance D  
2-Band  
fig.MFX-13  
L in  
L out  
R out  
Balance D  
2-Band  
EQ  
L in  
L out  
R out  
Balance W  
Chorus  
Chorus  
EQ  
Balance W  
Space-D  
Space-D  
Balance W  
Balance W  
2-Band  
EQ  
R in  
Balance D  
2-Band  
EQ  
R in  
Balance D  
Pre Dly (Pre De la y Tim e )  
Pre Dly (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the processed sound is heard.  
Adjust the time delay from when the direct sound begins  
until the processed sound is heard.  
Ra te #  
Ra te #  
Adjust the rate of modulation.  
Adjust the rate of modulation.  
De p th  
De p th  
Adjust the depth of modulation.  
Adjust the depth of modulation.  
Ph a se  
Ph a se  
Adjust the spatial spread of the sound.  
Adjust the spatial spread of the sound.  
Filte r Ty p e  
Lo w Ga in (Lo w Ga in )  
Select the type of filter.  
Adjust the gain of the low frequency range.  
OFF: a filter will not be used  
LPF: cut the frequency range above the cutoff frequency  
HPF: cut the frequency range below the cutoff frequency  
Hi Ga in (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Cu to ff (Cu to ff Fre q u e n cy )  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the basic frequency of the filter.  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
chorus sound will be output.  
Lo w Ga in (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Hi Ga in (Hig h Ga in )  
Le ve l (O u tp u t Le ve l)  
Adjust the gain of the high frequency range.  
Adjust the output level.  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
chorus sound will be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 2 5  
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Ch a p te r 7 . Ad d in g Effe cts  
1 5 : STEREO FLAN GER  
Ba la n ce (Effe ct Ba la n ce )  
Adjust the volume balance between the direct sound and the  
flanger sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
flanger sound will be output.  
This is a stereo flanger. (The LFO has the same phase for left  
and right.) It produces a metallic resonance that rises and  
falls like a jet airplane taking off or landing. A filter is  
provided so that you can adjust the timbre of the flanged  
sound.  
fig.MFX-15  
Le ve l (O u tp u t Le ve l)  
Balance D  
2-Band  
Adjust the output level.  
L in  
L out  
EQ  
Flanger  
Balance W  
1 6 : STEP FLAN GER  
Feedback  
Feedback  
The Step Flanger effect is a flanger in which the flanger pitch  
changes in steps.  
fig.MFX-16  
Balance W  
Flanger  
Balance D  
2-Band  
2-Band  
EQ  
R in  
R out  
L in  
L out  
EQ  
Balance D  
Step Flanger  
Balance W  
Pre Dly (Pre De la y Tim e )  
Feedback  
Feedback  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Balance W  
Step Flanger  
2-Band  
EQ  
Ra te #  
R in  
R out  
Balance D  
Adjust the rate of modulation.  
Pre Dly (Pre De la y Tim e )  
De p th  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Adjust the depth of modulation.  
Fb k (Fe e d b a ck Le ve l) #  
Ra te  
Adjust the amount (%) of the processed sound that is  
returned (fed back) into the input. Positive (+) settings will  
return the sound in phase, and negative (-) settings will  
return the sound in reverse phase.  
Adjust the rate of modulation.  
De p th  
Adjust the depth of modulation.  
Ph a se  
Fb k (Fe e d b a ck Le ve l) #  
Adjust the spatial spread of the sound.  
Adjust the amount (%) of the flanger sound that is returned  
(fed back) into the input. Negative (-) settings will invert the  
phase.  
Filte r Ty p e  
Select the type of filter.  
Ph a se  
OFF: a filter will not be used  
Adjust the spatial spread of the sound.  
LPF: cut the frequency range above the cutoff frequency  
HPF: cut the frequency range below the cutoff frequency  
Ste p Ra te #  
Adjust the rate (period) of pitch change.  
Cu to ff (Cu to ff Fre q u e n cy )  
Adjust the basic frequency of the filter.  
Step Rate parameter can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
Lo w Ga in (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Hi Ga in (Hig h Ga in )  
Adjust the gain of the high frequency range.  
1 2 6  
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Ch a p te r 7 . Ad d in g Effe cts  
De la y R (De la y Tim e Rig h t)  
Adjust the time from the direct sound until when the right  
delay sound is heard.  
W h e n Ste p Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
Fb k (Fe e d b a ck Le ve l) #  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Lo w Ga in (Lo w Ga in )  
Mo d e (Fe e d b a ck Mo d e )  
Adjust the gain of the low frequency range.  
Select the way in which delay sound is fed back into the  
effect.  
Hi Ga in (Hig h Ga in )  
NORMAL: The left delay sound will be fed back into the left  
Adjust the gain of the high frequency range.  
delay, and the right delay sound into the right delay.  
Ba la n ce (Effe ct Ba la n ce )  
CROSS: The left delay sound will be fed back into the right  
Adjust the volume balance between the direct sound and the  
flanger sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
chorus sound will be output.  
delay, and the right delay sound into the left delay.  
Ph a se L (Fe e d b a ck Ph a se Le ft)  
Select the phase of the left delay sound.  
NORMAL: Phase is not changed.  
INVERT: Phase is inverted.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Ph a se R (Fe e d b a ck Ph a se Rig h t)  
Select the phase of the right delay sound.  
NORMAL: Phase is not changed.  
INVERT: Phase is inverted.  
1 7 : STEREO DELAY  
This is a stereo delay.  
When Feedback Mode is NORMAL:  
fig.MFX-17a  
HF Da m p  
Balance D  
2-Band  
L in  
L out  
EQ  
Adjust the frequency above which sound fed back to the  
effect will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
Balance W  
Delay  
Feedback  
Feedback  
Lo w Ga in (Lo w Ga in )  
Balance W  
Delay  
Adjust the gain of the low frequency range.  
2-Band  
EQ  
R in  
R out  
L out  
Balance D  
Hi Ga in (Hig h Ga in )  
When Feedback Mode is CROSS:  
Adjust the gain of the high frequency range.  
fig.MFX-17b  
Balance D  
2-Band  
EQ  
Ba la n ce (Effe ct Ba la n ce ) #  
L in  
Adjust the volume balance between the direct sound and the  
delay sound. With a setting of D100:0W only the direct sound  
will be output, and with a setting of D0:100W only the delay  
sound will be output.  
Balance W  
Delay  
Feedback  
Feedback  
Balance W  
Delay  
2-Band  
EQ  
Le ve l (O u tp u t Le ve l)  
R in  
R out  
Balance D  
Adjust the output level.  
De la y L (De la y Tim e Le ft)  
Adjust the time from the direct sound until when the left  
delay sound is heard.  
1 2 7  
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Ch a p te r 7 . Ad d in g Effe cts  
1 8 : MO DULATIO N DELAY  
HF Da m p  
Adjust the frequency above which sound fed back to the  
effect will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
This effect adds modulation to the delayed sound, producing  
an effect similar to a flanger.  
When Feedback Mode is NORMAL:  
fig.MFX-18a  
Lo w Ga in (Lo w Ga in )  
Balance D  
2-Band  
L in  
L out  
Adjust the gain of the low frequency range.  
EQ  
Balance W  
Delay  
Modulation  
Hi Ga in (Hig h Ga in )  
Feedback  
Feedback  
Adjust the gain of the high frequency range.  
Balance W  
Delay  
Ba la n ce (Effe ct Ba la n ce ) #  
Modulation  
Balance D  
2-Band  
EQ  
Adjust the volume balance between the direct sound and the  
modulation delay sound. With a setting of D100:0W only the  
direct sound will be output, and with a setting of D0:100W  
only the modulation delay sound will be output.  
R in  
R out  
L out  
When Feedback Mode is CROSS:  
fig.MFX-18b  
Balance D  
2-Band  
EQ  
L in  
Le ve l (O u tp u t Le ve l)  
Delay  
Modulation  
Balance W  
Adjust the output level.  
Feedback  
Feedback  
Delay  
Modulation  
Balance D  
Balance W  
2-Band  
EQ  
R in  
R out  
De la y L (De la y Tim e Le ft)  
Adjust the time from the direct sound until when the left  
delay sound is heard.  
De la y R (De la y Tim e Rig h t)  
Adjust the time from the direct sound until when the right  
delay sound is heard.  
Fb k (Fe e d b a ck Le ve l)  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Mo d e (Fe e d b a ck Mo d e )  
Select the way in which delay sound is fed back into the  
effect.  
NORMAL: The left delay sound will be fed back into the left  
delay, and the right delay sound into the right delay.  
CROSS: The left delay sound will be fed back into the right  
delay, and the right delay sound into the left delay.  
Ra te #  
Adjust the speed of the modulation.  
De p th  
Adjust the depth of the modulation.  
Ph a se  
Adjust the spatial spread of the sound.  
1 2 8  
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Ch a p te r 7 . Ad d in g Effe cts  
HF Da m p  
1 9 : TRIPLE TAP DELAY  
Adjust the frequency above which sound fed back to the  
effect will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
The Triple Tap Delay produces three delay sounds; center,  
left and right.  
fig.MFX-19  
Balance D  
2-Band  
L in  
L out  
Lo w Ga in (Lo w Ga in )  
EQ  
Balance W  
Left Tap  
Adjust the gain of the low frequency range.  
Triple Tap Delay  
Feedback  
Center Tap  
Hi Ga in (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Balance W  
Right Tap  
2-Band  
EQ  
R in  
R out  
Ba la n ce (Effe ct Ba la n ce ) #  
Balance D  
Adjust the volume balance between the direct sound and the  
delay sound. With a setting of D100:0W only the direct sound  
will be output, and with a setting of D0:100W only the delay  
sound will be output.  
De la y C (De la y Tim e Ce n te r)  
Adjust the time delay from the direct sound until when the  
center delay sound is heard.  
De la y L (De la y Tim e Le ft)  
Le ve l (O u tp u t Le ve l)  
Adjust the time delay from the direct sound until when the  
left delay sound is heard.  
Adjust the output level.  
De la y R (De la y Tim e Rig h t)  
Adjust the time delay from the direct sound until when the  
right delay sound is heard.  
Delay C, Delay L and Delay R parameters can be set as a  
note-value of a specified tempo. In this case, specify the  
value of the desired note.  
W h e n De la y C, De la y L a n d De la y R a re Se t  
a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
Fb k (Fe e d b a ck Le ve l) #  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Le ve l C (Ce n te r Le ve l)  
Adjust the volume of the center delay sound.  
Le ve l L (Le ft Le ve l)  
Adjust the volume of the left delay sound.  
Le ve l R (Rig h t Le ve l)  
Adjust the volume of the right delay sound.  
1 2 9  
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Ch a p te r 7 . Ad d in g Effe cts  
2 0 : Q UADRUPLE TAP DELAY  
Le ve l 4  
Adjust the volume of delay 4 sound.  
The Quadruple Tap Delay has four delays.  
fig.MFX-20a  
Balance D  
L in  
Fb k (Fe e d b a ck Le ve l) #  
L out  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Delay 1  
Feedback  
Balance W  
Delay 2  
Quadruple Tap Delay  
Delay 3  
HF Da m p  
Adjust the frequency above which sound fed back to the  
effect will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
Balance W  
R out  
Delay 4  
R in  
Balance D  
The stereo location of each delay sound is as follows.  
Ba la n ce (Effe ct Ba la n ce ) #  
fig.MFX-20b  
2
3
Adjust the volume balance between the direct sound and the  
delay sound. With a setting of D100:0W only the direct sound  
will be output, and with a setting of D0:100W only the delay  
sound will be output.  
4
1
R
L
De la y 1 (De la y Tim e 1 )  
Le ve l (O u tp u t Le ve l)  
Adjust the time delay from the direct sound until when delay  
1 sound is heard.  
Adjust the output level.  
De la y 2 (De la y Tim e 2 )  
Adjust the time delay from the direct sound until when delay  
2 sound is heard.  
De la y 3 (De la y Tim e 3 )  
Adjust the time delay from the direct sound until when delay  
3 sound is heard.  
De la y 4 (De la y Tim e 4 )  
Adjust the time delay from the direct sound until when delay  
4 sound is heard.  
Delay 14 parameters can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
W h e n De la y 1 –4 a re Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
Le ve l 1  
Adjust the volume of delay 1 sound.  
Le ve l 2  
Adjust the volume of delay 2 sound.  
Le ve l 3  
Adjust the volume of delay 3 sound.  
1 3 0  
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Ch a p te r 7 . Ad d in g Effe cts  
2 1 : TIME CO N TRO L DELAY  
2 2 : 2 VO ICE PITCH SHIFTER  
This effect allows you to use a specified controller (the  
controller selected in Multi-effects Control Source) to control  
the delay time and pitch in realtime (Multi-effects Controller  
A Pitch Shifter shifts the pitch of the direct sound. This 2-  
voice pitch shifter has two pitch shifters, and can add two  
pitch shifted sounds to the direct sound.  
fig.MFX-22  
Balance D  
shortening it will raise the pitch.  
fig.MFX-21  
L in  
L out  
Level Balance A  
PanA L  
PanA R  
Balance W  
2-Band  
EQ  
Balance W  
L in  
L out  
R out  
Balance D  
2Voice Pitch Shifter  
Level Balance B  
PanB L  
Time Control Delay  
Balance W  
Balance W  
R out  
PanB R  
Feedback  
Balance D  
2-Band  
EQ  
R in  
R in  
Balance D  
De la y (De la y tim e ) #  
Co a rse A (Co a rse Pitch A) # 1  
Adjust the time delay from the direct sound until when each  
delay sound is heard.  
Adjust the pitch of Pitch Shift A in semitone steps (-2+1  
octaves).  
Acce l (Acce le ra tio n )  
Fin e A (Fin e Pitch A) # 1  
This parameter adjusts the time over which the Delay Time  
will change from the current setting to a newly specified  
setting. The rate of change for the Delay Time directly affects  
the rate of pitch change.  
Make fine adjustments to the pitch of Pitch Shift A in 2-cent  
steps (-100+100 cents).  
One cent is 1/ 100th of a semitone.  
Pa n A (O u tp u t Pa n A)  
Fb k (Fe e d b a ck Le ve l) #  
Adjust the stereo location of the Pitch Shift A sound. L64 is  
far left, 0 is center, and 63R is far right.  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Pre Dly A (Pre De la y Tim e A)  
HF Da m p  
Adjust the time delay from when the direct sound begins  
until the Pitch Shift A sound is heard.  
Adjust the frequency above which sound fed back to the  
effect will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
Co a rse B (Co a rse Pitch B) # 2  
Adjust the pitch of Pitch Shift B in semitone steps (-2+1  
Pa n (O u tp u t Pa n )  
octaves).  
Adjust the stereo location of the delay sound. L64 is far left, 0  
is center, and 63R is far right.  
Fin e B (Fin e Pitch B) # 2  
Make fine adjustments to the pitch of Pitch Shift B in 2-cent  
Lo w Ga in (Lo w Ga in )  
steps (-100+100 cents).  
Adjust the gain of the low frequency range.  
One cent is 1/ 100th of a semitone.  
Hi Ga in (Hig h Ga in )  
Pa n B (O u tp u t Pa n B)  
Adjust the gain of the high frequency range.  
Adjust the stereo location of the Pitch Shift B sound. L64 is  
far left, 0 is center, and 63R is far right.  
Ba la n ce (Effe ct Ba la n ce )  
Adjust the volume balance between the direct sound and the  
delay sound. With a setting of D100:0W only the direct sound  
will be output, and with a setting of D0:100W only the delay  
sound will be output.  
Pre Dly B (Pre De la y Tim e B)  
Adjust the time delay from when the direct sound begins  
until the Pitch Shift A sound is heard.  
Mo d e (Pitch Sh ifte r Mo d e )  
Le ve l (O u tp u t Le ve l)  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
Adjust the output level.  
1 3 1  
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Ch a p te r 7 . Ad d in g Effe cts  
Lvl Ba l (Le ve l Ba la n ce )  
2 3 : FBK PITCH SHIFTER  
(Fe e d b a ck Pitch Sh ifte r)  
Adjust the volume balance between the Pitch Shift A and  
Pitch Shift B sounds.  
This pitch shifter allows the pitch shifted sound to be fed  
back into the effect.  
fig.MFX-23  
Ba la n ce (Effe ct Ba la n ce )  
Adjust the volume balance between the direct sound and the  
pitch shift sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
pitch shift sound will be output.  
2-Band  
EQ  
Balance W  
L in  
L out  
R out  
Balance D  
Pitch Shifter  
Balance W  
Feedback  
Balance D  
2-Band  
EQ  
R in  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Co a rse (Co a rse Pitch ) # 1  
Adjust the pitch of the pitch shifted sound in semitone steps  
(-2+1 octaves).  
Fin e (Fin e Pitch ) # 1  
Make fine adjustments to the pitch of the pitch shifted sound  
in 2-cent steps (-2+1 octaves).  
Fb k (Fe e d b a ck Le ve l) #  
Adjust the proportion (%) of the processed sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Pre Dly (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the pitch shifted sound is heard.  
Mo d e (Pitch Sh ifte r Mo d e )  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
Pa n (O u tp u t Pa n )  
Adjust the stereo location of the pitch shifted sound. L64 is  
far left, 0 is center, and 63R is far right.  
Lo w Ga in (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Hi Ga in (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Ba la n ce (Effe ct Ba la n ce )  
Adjust the volume balance between the direct sound and the  
pitch shift sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
pitch shift sound will be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 3 2  
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Ch a p te r 7 . Ad d in g Effe cts  
2 4 : REVERB  
2 5 : GATED REVERB  
The Reverb effect adds reverberation to the sound,  
Gate Reverb is a special type of reverb in which the  
simulating an acoustic space.  
reverberant sound is cut off before its natural length.  
fig.MFX-24  
fig.MFX-25  
2-Band  
EQ  
Balance W  
2-Band  
EQ  
Balance W  
L in  
L out  
R out  
L in  
L out  
Balance D  
Reverb  
Balance D  
Gated Reverb  
Balance W  
Balance W  
2-Band  
EQ  
2-Band  
EQ  
R in  
R in  
R out  
Balance D  
Balance D  
Ty p e (Re ve rb Ty p e )  
Ty p e (Ga te d Re ve rb Ty p e )  
Select the type of reverb.  
Select the type of Reverb effect.  
ROOM1: dense reverb with short decay  
NORMAL: conventional gate reverb  
REVERSE: backwards reverb  
ROOM2: sparse reverb with short decay  
STAGE1: reverb with greater late reverberation  
STAGE2: reverb with strong early reflections  
HALL1: reverb with clear reverberance  
HALL2: reverb with rich reverberance  
SWEEP1: the reverberant sound moves from right to left  
SWEEP2: the reverberant sound moves from left to right  
Pre Dly (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the reverb sound is heard.  
Pre Dly (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the reverb sound is heard.  
Ga te Tim e  
Adjust the time from when the reverb is heard until when it  
disappears.  
Tim e (Re ve rb Tim e ) #  
Adjust the time length of reverberation.  
Lo w Ga in (Lo w Ga in )  
Adjust the gain of the low frequency range.  
HF Da m p  
Adjust the frequency above which the reverberant sound will  
be cut. As the frequency is set lower, more of the high  
frequencies will be cut, resulting in a softer and more muted  
reverberance. If you do not want the high frequencies to be  
cut, set this parameter to BYPASS.  
Hi Ga in (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
reverb sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
reverb sound will be output.  
Lo w Ga in (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Hi Ga in (Hig h Ga in )  
Le ve l (O u tp u t Le ve l) #  
Adjust the gain of the high frequency range.  
Adjust the output level.  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
reverb sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
reverb sound will be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 3 3  
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Ch a p te r 7 . Ad d in g Effe cts  
2 6 : O VERDRIVECHO RUS  
2 7 : O VERDRIVEFLAN GER  
This effect connects an overdrive and a chorus in series.  
This effect connects an overdrive and a flanger in series.  
fig.MFX-26  
fig.MFX-27  
Balance D  
L out  
L in  
Balance D  
Chorus  
L out  
L in  
Balance W  
Feedback  
Flanger  
Balance W  
Overdrive  
Balance W  
R out  
Overdrive  
Balance W  
R out  
R in  
Balance D  
R in  
Balance D  
O D Drive  
O D Drive  
Adjust the degree of overdrive distortion. The volume will  
change together with the degree of distortion.  
Adjust the degree of overdrive distortion. The volume will  
change together with the degree of distortion.  
O D Pa n (O ve rd rive Pa n ) #  
O D Pa n (O ve rd rive Pa n ) #  
Adjust the stereo location of the overdrive sound. L64 is far  
left, 0 is center, and 63R is far right.  
Adjust the stereo location of the overdrive sound. L64 is far  
left, 0 is center, and 63R is far right.  
Ch o Dly (Ch o ru s Pre De la y Tim e )  
Flg Dly (Fla n g e r Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Ch o Ra te (Ch o ru s Ra te )  
Flg Ra te (Fla n g e r Ra te )  
Adjust the modulation speed of the chorus effect.  
Adjust the modulation speed of the flanger effect.  
Ch o ru s De p th  
Flg Dp t (Fla n g e r De p th )  
Adjust the modulation depth of the chorus effect.  
Adjust the modulation depth of the flanger effect.  
Ch o ru s Ba la n ce #  
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)  
Adjust the volume balance between the overdrive sound that  
is sent through the chorus and the overdrive sound that is  
not sent through the chorus. With a setting of D100:0W,”  
only the overdrive sound will be output. With a setting of  
D0:100W,only the overdrive sound that is sent through  
the chorus will be output.  
Adjust the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Fla n g e r Ba la n ce #  
Adjust the volume balance between the overdrive sound that  
is sent through the flanger and the overdrive sound that is  
not sent through the flanger. With a setting of D100:0W,”  
only the overdrive sound will be output. With a setting of  
D0:100W,only the overdrive sound that is sent through  
the flanger will be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 3 4  
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Ch a p te r 7 . Ad d in g Effe cts  
2 8 : O VERDRIVEDELAY  
2 9 : DISTO RTIO N CHO RUS  
This effect connects an overdrive and a delay in series.  
fig.MFX-28  
This effect connects distortion and chorus in series. The  
parameters are essentially the same as 26:  
OVERDRIVECHORUS,with the exception of the  
following two.  
L out  
L in  
Balance D  
Delay  
Balance W  
Overdrive  
OD Drive Dist Drive (Specify the amount of distortion.)  
Balance W  
R out  
Feedback  
Balance D  
OD Pan Dist Pan (Specify the stereo location of the  
R in  
distortion sound.)  
fig.MFX-29  
O D Drive  
L out  
L in  
Balance D  
Chorus  
Adjust the degree of overdrive distortion. The volume will  
change together with the degree of distortion.  
Balance W  
Distortion  
Balance W  
R out  
O D Pa n (O ve rd rive Pa n ) #  
R in  
Balance D  
Adjust the stereo location of the overdrive sound. L64 is far  
left, 0 is center, and 63R is far right.  
3 0 : DISTO RTIO N FLAN GER  
This effect connects distortion and flanger in series. The  
parameters are essentially the same as in 27:  
OVERDRIVEFLANGER,with the exception of the  
following two.  
Dly Tim e (De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Dly Fb k (De la y Fe e d b a ck Le ve l)  
OD Drive Dist Drive (Specify the amount of distortion.)  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
OD Pan Dist Pan (Specify the stereo location of the  
distortion sound.)  
fig.MFX-30  
De la y HF Da m p  
Balance D  
L out  
L in  
Adjust the frequency above which delayed sound fed back to  
the effect will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
Feedback  
Flanger  
Balance W  
Distortion  
Balance W  
R out  
De la y Ba la n ce (De la y Ba la n ce ) #  
R in  
Balance D  
Adjust the volume balance between the overdrive sound that  
is sent through the delay and the overdrive sound that is not  
sent through the delay. With a setting of D100:0W,only the  
overdrive sound will be output. With a setting of D0:100W,”  
only the overdrive sound that is sent through the delay will  
be output.  
3 1 : DISTO RTIO N DELAY  
This effect connects distortion and delay in series. The  
parameters are essentially the same as in 28:  
OVERDRIVEDELAY,with the exception of the following  
two.  
Le ve l (O u tp u t Le ve l)  
OD Drive Dist Drive (Specify the amount of distortion.)  
Adjust the output level.  
OD Pan Dist Pan (Specify the stereo location of the  
distortion sound.)  
fig.MFX-31  
L out  
L in  
Balance D  
Delay  
Balance W  
Distortion  
Balance W  
R out  
Feedback  
Balance D  
R in  
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Ch a p te r 7 . Ad d in g Effe cts  
3 2 : EN HAN CERCHO RUS  
3 3 : EN HAN CERFLAN GER  
This effect connects an enhancer and a chorus in series.  
This effect connects an enhancer and a flanger in series.  
fig.MFX-32  
fig.MFX-33  
Balance D  
L in  
L out  
Enhancer  
Balance D  
Chorus  
L in  
L out  
Enhancer  
Enhancer  
Mix  
Mix  
Mix  
Mix  
Feedback  
Flanger  
Balance W  
Balance W  
Balance W  
R out  
Balance W  
R out  
R in  
Enhancer  
Balance D  
R in  
Balance D  
En h a n ce r Se n s (En h a n ce r Se n sitivity ) #  
En h a n ce r Se n s (En h a n ce r Se n sitivity ) #  
Adjust the sensitivity of the enhancer.  
Adjust the sensitivity of the enhancer.  
En h a n ce r Mix (En h a n ce r Mix Le ve l)  
En h a n ce r Mix (En h a n ce r Mix Le ve l)  
Adjust the ratio with which the overtones generated by the  
enhancer are combined with the direct sound.  
Adjust the ratio with which the overtones generated by the  
enhancer are combined with the direct sound.  
Ch o Dly (Ch o ru s Pre De la y Tim e )  
Flg Dly (Fla n g e r Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Ch o Ra te (Ch o ru s Ra te )  
Flg Ra te (Fla n g e r Ra te )  
Adjust the modulation speed of the chorus effect.  
Adjust the modulation speed of the flanger effect.  
Ch o ru s De p th  
Flg Dp t (Fla n g e r De p th )  
Adjust the modulation depth of the chorus effect.  
Adjust the modulation depth of the flanger effect.  
Ch o ru s Ba la n ce #  
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)  
Adjust the volume balance between the enhancer sound that  
is sent through the chorus and the enhancer sound that is not  
sent through the chorus. With a setting of D100:0W,only  
the enhancer sound will be output. With a setting of  
D0:100W,only the enhancer sound that is sent through the  
chorus will be output.  
Adjust the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Fla n g e r Ba la n ce #  
Adjust the volume balance between the enhancer sound that  
is sent through the flanger and the enhancer sound that is not  
sent through the flanger. With a setting of D100:0W,only  
the enhancer sound will be output. With a setting of  
D0:100W,only the enhancer sound that is sent through the  
flanger will be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 3 6  
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Ch a p te r 7 . Ad d in g Effe cts  
3 4 : EN HAN CERDELAY  
3 5 : CHO RUSDELAY  
This effect connects an enhancer and a delay in series.  
This effect connects a chorus and a delay unit in series.  
fig.MFX-34  
fig.MFX-35  
Balance D  
L in  
L out  
Enhancer  
Balance D  
L in  
L out  
Mix  
Mix  
Balance D  
Balance W  
Balance W  
Balance W  
Delay  
Feedback  
Balance D  
Chorus  
Balance W  
Delay  
Feedback  
Balance D  
Balance W  
R out  
Balance W  
R out  
R in  
Enhancer  
R in  
Balance D  
En h a n ce r Se n s (En h a n ce r Se n sitivity ) #  
Ch o Dly (Ch o ru s Pre De la y Tim e )  
Adjust the sensitivity of the enhancer.  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
En h a n ce r Mix (En h a n ce r Mix Le ve l)  
Adjust the ratio with which the overtones generated by the  
enhancer are combined with the direct sound.  
Ch o Ra te (Ch o ru s Ra te )  
Adjust the modulation speed of the chorus effect.  
Dly Tim e (De la y Tim e )  
Ch o Dp t (Ch o ru s De p th )  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Adjust the modulation depth of the chorus effect.  
Ch o Ba l (Ch o ru s Ba la n ce ) #  
Dly Fb k (De la y Fe e d b a ck Le ve l)  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W,only the direct  
sound will be output. With a setting of D0:100W,only the  
chorus sound will be output.  
Adjust the proportion (%) of the delay sound that is fed back  
into the delay input. Negative (-) settings will invert the  
phase.  
De la y HF Da m p  
Dly Tim e (De la y Tim e )  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut. If you do not want to cut the high  
frequencies of the delay feedback, set this parameter to  
BYPASS.  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Dly Fb k (De la y Fe e d b a ck Le ve l)  
Adjust the proportion (%) of the delay sound that is fed back  
into the delay input. Negative (-) settings will invert the  
phase.  
De la y Ba la n ce #  
Adjust the volume balance between the enhancer sound that  
is sent through the delay and the enhancer sound that is not  
sent through the delay. With a setting of D100:0W,only the  
enhancer sound will be output. With a setting of D0:100W,”  
only the enhancer sound that is sent through the delay will  
be output.  
De la y HF Da m p  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut. If you do not want to cut the high  
frequencies of the feedback, set this parameter to BYPASS.  
Le ve l (O u tp u t Le ve l)  
De la y Ba la n ce #  
Adjust the output level.  
Adjust the volume balance between the chorus sound that is  
sent through the delay and the chorus sound that is not sent  
through the delay. With a setting of D100:0W,only the  
chorus sound will be output. With a setting of D0:100W,”  
only the chorus sound that is sent through the delay will be  
output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 3 7  
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Ch a p te r 7 . Ad d in g Effe cts  
Le ve l (O u tp u t Le ve l)  
3 6 : FLAN GERDELAY  
This effect connects a flanger and a delay in series.  
Adjust the output level.  
fig.MFX-36  
Balance D  
L in  
3 7 : CHO RUSFLAN GER  
This effect connects a chorus and a flanger in series.  
L out  
Balance D  
Feedback  
Balance W  
Balance W  
Balance W  
fig.MFX-37  
Flanger  
Delay  
Feedback  
Balance D  
Balance D  
Feedback  
Flanger  
Balance D  
Balance W  
R out  
L in  
L out  
R in  
Balance D  
Balance W  
Chorus  
Balance W  
Balance W  
R out  
Flg Dly (Fla n g e r Pre De la y Tim e )  
Balance W  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
R in  
Balance D  
Balance D  
Ch o Dly (Ch o ru s Pre De la y Tim e )  
Flg Ra te (Fla n g e r Ra te )  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Adjust the modulation speed of the flanger effect.  
Flg Dp t (Fla n g e r De p th )  
Ch o Ra te (Ch o ru s Ra te )  
Adjust the modulation depth of the flanger effect.  
Adjust the modulation speed of the chorus effect.  
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)  
Ch o Dp t (Ch o ru s De p th )  
Adjust the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Adjust the modulation depth of the chorus effect.  
Ch o Ba l (Ch o ru s Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W,only the direct  
sound will be output. With a setting of D0:100W,only the  
chorus sound will be output.  
Flg Ba l (Fla n g e r Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
flanger sound. With a setting of D100:0W,only the direct  
sound will be output. With a setting of D0:100W,only the  
flanger sound will be output.  
Flg Dly (Fla n g e r Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Dly Tim e (De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Flg Ra te (Fla n g e r Ra te )  
Adjust the modulation speed of the flanger effect.  
Dly Fb k (De la y Fe e d b a ck Le ve l)  
Adjust the proportion (%) of the delay sound that is fed back  
into the delay input. Negative (-) settings will invert the  
phase.  
Flg Dp t (Fla n g e r De p th )  
Adjust the modulation depth of the flanger effect.  
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)  
HF Da m p  
Adjust the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut. If you do not want to cut the high  
frequencies of the delay feedback, set this parameter to  
BYPASS.  
Fla n g e r Ba la n ce #  
Adjust the volume balance between the chorus sound and  
the chorus sound that is passed through the flanger. With a  
setting of D100:0W,only the chorus sound will be output.  
With a setting of D0:100W,only the chorus sound that  
passes through the flanger will be output.  
De la y Ba la n ce #  
Adjust the volume balance between the flanger sound that is  
sent through the delay and the flanger sound that is not sent  
through the delay. With a setting of D100:0W,only the  
flanger sound will be output. With a setting of D0:100W,”  
only the flanger sound that is sent through the delay will be  
output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
1 3 8  
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Ch a p te r 7 . Ad d in g Effe cts  
3 8 : CHO RUS/ DELAY  
4 1 : STEREO PHASER  
This effect connects a chorus and a delay in parallel. The  
parameters are the same as for 35: CHORUSDELAY.”  
However, the Delay Balance parameter adjusts the volume  
This is a stereo phaser. With the Step effects, you can also  
make stepped changes in the pitch of sounds to which the  
Phaser effect is applied.  
fig.MFX-41  
balance between the direct sound and the delay sound.  
fig.MFX-38  
2-Band  
EQ  
Balance D  
L in  
L out  
R out  
Phaser  
Phaser  
L in  
L out  
Mix  
Mix  
Balance W  
Chorus  
Feedback  
2-Band  
EQ  
R in  
Balance W  
Delay  
R in  
R out  
Ty p e (Ph a se r Ty p e )  
Balance D  
Selects the type of Phaser.  
3 9 : FLAN GER/ DELAY  
Type 2 adds more of the Phaser effect to the high frequencies  
than Type 1.  
This effect connects a flanger and a delay in parallel. The  
parameters are the same as for 36: FLANGERDELAY.”  
However, the Delay Balance parameter adjusts the volume  
Mo d e  
Selects the number of stages in the phaser (4/ 8).  
balance between the direct sound and the delay sound.  
fig.MFX-39  
Po l (Po la rity )  
Balance D  
L in  
L out  
Selects whether the left and right phase of the modulation  
will be the same or the opposite.  
Balance W  
Flanger  
INVERSE: The left and right phase will be opposite. When  
Feedback  
Feedback  
using a mono source, this spreads the sound.  
SYNCHRO: The left and right phase will be the same. Select  
Balance W  
Delay  
this when inputting a stereo source.  
R in  
R out  
Balance D  
Ma n (Ma n u a l) #  
Adjusts the center frequency to which the phase effect is  
applied.  
4 0 : CHO RUS/ FLAN GER  
This effect connects a chorus and a flanger in parallel. The  
parameters are the same as for 37: CHORUSFLANGER.”  
However, the Flanger Balance parameter adjusts the volume  
Ra te (Ph a se r Ra te ) #  
Adjust the frequency of modulation.  
balance between the direct sound and the flanger sound.  
fig.MFX-40  
Balance D  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
L in  
L out  
Balance W  
Chorus  
Feedback  
Balance W  
W h e n Ra te is Se t a s a N o te Va lu e  
Flanger  
As the specified tempo, you may use either the Patch  
(p. 169).  
R in  
R out  
Balance D  
De p th (Ph a se r De p th )  
Adjust the depth of modulation.  
Re s (Ph a se r Re so n a n ce )  
Adjust the amount of feedback for the phaser. Higher  
settings will give the sound a stronger character.  
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Ch a p te r 7 . Ad d in g Effe cts  
X-Fb k (Cro ss Fe e d b a ck Le ve l)  
4 2 : KEYSYN C FLAN GER  
Adjust the proportion (%) of the phaser sound that is to be  
returned to the input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
Keysync FLanger controls the Flanger by resetting the effect  
at the volume of the sound input to the effects device,  
restarting from the same pitch each time the Flanger is reset.  
This parameter lets your playing dynamics on the keyboard  
control the flanger effect.  
fig.MFX-42  
Ste p Ra te (Ste p Ra te Sw itch / Ste p Ra te # )  
Adjust the frequency of pitch change.  
2-Band  
EQ  
L in  
L out  
This setting determines whether the pitch is changed in a  
stepped fashion (ON) or not (OFF).  
Flanger  
Feedback  
Feedback  
Step Rate parameter can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
Flanger  
2-Band  
EQ  
R in  
R out  
Pre Dly (Pre De la y Tim e )  
W h e n Ste p Ra te is Se t a s a N o te Va lu e  
Adjust the time delay from the direct sound until the flanger  
sound is heard.  
As the specified tempo, you may use either the Patch  
(p. 169).  
Ra te (LFO Ra te ) #  
Adjust the modulation frequency of the flanger sound.  
Mix (Mix Le ve l)  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Adjust the volume of the phase-shifted sound, relative to the  
direct sound.  
Lo w Ga in (Lo w Ga in )  
W h e n Ra te is Se t a s a N o te Va lu e  
Adjust the low frequency gain (amount of boost or cut).  
As the specified tempo, you may use either the Patch  
(p. 169).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
De p th (LFO De p th )  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Adjust the modulation depth of the flanger sound.  
Fb k (Fe e d b a ck ) #  
Le ve l (O u tp u t Le ve l)  
Adjust the proportion (%) of the flanger sound that is to be  
returned to the input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase. Higher settings will  
produce a more distinctive sound.  
Adjust the output level.  
Ph a se  
Adjust the spaciousness of the flanger sound.  
Filte r (Filte r Ty p e )  
OFF: A filter will not be used.  
LPF: he frequency region above the Cutoff Freq setting will  
be cut.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
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Ch a p te r 7 . Ad d in g Effe cts  
Cu to ff (Cu to ff Fre q u e n cy )  
4 3 : FO RMAN T FILTER  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
This adds a vowel character to the sound, making it similar  
to a human voice.  
fig.MFX-43  
Ste p Ra te (Ste p Ra te Sw itch / Ste p Ra te # )  
L in  
L out  
Pan L  
Adjust the frequency of pitch change.  
2-Band  
EQ  
Overdrive  
Formant  
Pan R  
This setting determines whether the pitch is changed in a  
stepped fashion (ON) or not (OFF).  
R in  
R out  
Drive #  
Turns Drive on/ off.  
Step Rate parameter can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
Specifies the depth of distortion. The volume will change  
together with the degree of distortion.  
Vo w e l  
Selects the vowel. The left setting is the vowel 1. The right  
setting is the vowel 2.  
W h e n Ste p Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
Ra te #  
Sets the frequency at which the two vowels will be switched.  
Ke y sy n c (Ke y sy n c Sw itch )  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Determines whether the Flanger LFO is reset according to the  
input sound (ON) or not (OFF).  
Th re (Ke y sy n c Th re sh o ld )  
W h e n Ra te is Se t a s a N o te Va lu e  
Adjust the volume level for which reset will be applied.  
As the specified tempo, you may use either the Patch  
(p. 169).  
Ke y sy n c Ph a se  
Sets the LFO phase when the LFO is reset.  
Lo w Ga in (Lo w Ga in )  
De p th #  
Adjust the low frequency range gain (amount of boost or  
cut).  
Sets the effect depth.  
Ke y sy n c (Ke y Sy n c Sw itch )  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Determines whether the LFO for switching the vowels is  
reset according to the input sound (ON) or not (OFF).  
Hi Ga in (Hig h Ga in )  
Th re sh o ld (Ke y sy n c Th re sh o ld )  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Specifies the volume level for which reset will be applied.  
Ma n u a l #  
Ba la n ce #  
Sets the point at which the two vowels will be switched.  
When set to 50, Vowels 1 and 2 switched in the same amount  
of time. Setting this higher than 50 increases the time for  
Vowel 1; setting this lower than 50 decreases the time for  
Vowel 1.  
Adjusts the volume balance between the direct sound and  
the flanger sound.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W the flanger sound will  
be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
Lo w Ga in (Lo w Ga in )  
4 4 : RIN G MO DULATO R  
Specifies the low frequency gain (amount of boost or cut).  
Ring Modulator is an effect which applies amplitude  
modulation (AM) to the input signal, producing bell-like  
sounds.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
You can also change the modulation frequency according to  
Hi Ga in (Hig h Ga in )  
the volume of the sound input to the effects device.  
Specifies the high frequency gain (amount of boost or cut).  
fig.MFX-44  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
L in  
L out  
R out  
Ring Mod  
2-Band EQ  
2-Band EQ  
R in  
Pa n (O u tp u t Pa n )  
Ring Mod  
Specifies the stereo location of the output sound. L64 is far  
left, 0 is center, and 63R is far right.  
Fre q (Fre q u e n cy ) #  
Sets the frequency at which modulation will be applied.  
Le ve l (O u tp u t Le ve l)  
Mo d (Mo d u la to r)  
Specifies the output volume.  
Selects the input of the direct sound for the envelope  
controlling the modulation.  
When set to SRC, the frequency is modulated according to  
the envelope of the sound input to the multi-effects.  
Mo n (Mo d u la to r Mo n ito r)  
Determines whether the input sound used as the modulator  
is output (ON) or not (OFF).  
Se n s (Se n sitivity ) #  
Sets the amount of frequency modulation applied.  
Po l (Po la rity )  
Determines whether the frequency modulation moves  
towards higher frequencies (UP) or lower frequencies  
(DOWN).  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the direct sound and the  
effect sound.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W the effect sound will  
be output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
setting of L64 is far left, 0 is center, and 63R is far right.  
4 5 : MULTI TAP DELAY  
The Multi Tap Delay has four delays. Each of the Delay Time  
parameters can be specified as a note length of the selected  
tempo. You can also set the panning and level of each delay  
Pa n 4 (O u tp u t Pa n 4 )  
Sets the stereo position of the delay sound (Delay 4). A  
setting of L64 is far left, 0 is center, and 63R is far right.  
sound.  
fig.MFX-45  
Le ve l 1  
Balance D  
2-Band  
Adjust the output level of delay 1.  
L in  
L out  
EQ  
Feed  
back  
Delay 1  
Delay 3  
Balance W  
Le ve l 2  
Multi Tap Delay  
Delay 4  
Adjust the output level of delay 2.  
Balance W  
Le ve l 3  
Delay 2  
2-Band  
EQ  
R in  
R out  
Adjust the output level of delay 3.  
Balance D  
Le ve l 4  
De la y 1 (De la y Tim e 1 )  
Adjust the output level of delay 4.  
Adjust the delay time from the direct sound until the delay 1  
sound is heard.  
Fb k (Fe e d b a ck ) #  
Adjust the proportion (%) of the delay sound that is to be  
returned to the input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
De la y 2 (De la y Tim e 2 )  
Adjust the delay time from the direct sound until the delay 2  
sound is heard.  
De la y 3 (De la y Tim e 3 )  
HF Da m p  
Adjust the delay time from the direct sound until the delay 3  
sound is heard.  
Adjust the frequency at which the high frequency range of  
the delayed sound returned to the input will be cut.  
De la y 4 (De la y Tim e 4 )  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
Adjust the delay time from the direct sound until the delay 4  
sound is heard.  
Lo G (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Delay 14 parameters can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
HiG (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
W h e n De la y 1 –4 a re Se t a s a N o te Va lu e  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
As the specified tempo, you may use either the Patch  
(p. 169).  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the direct sound and the  
effect sound.  
Pa n 1 (O u tp u t Pa n 1 )  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Sets the stereo position of the delay sound (Delay 1). A  
setting of L64 is far left, 0 is center, and 63R is far right.  
Pa n 2 (O u tp u t Pa n 2 )  
Le v (O u tp u t Le ve l)  
Sets the stereo position of the delay sound (Delay 2). A  
setting of L64 is far left, 0 is center, and 63R is far right.  
Adjust the output level.  
Pa n 3 (O u tp u t Pa n 3 )  
Sets the stereo position of the delay sound (Delay 3). A  
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Ch a p te r 7 . Ad d in g Effe cts  
Th r (Th re sh o ld Le ve l)  
4 6 : REVERSE DELAY  
Specify the volume level at which the reverse delay will  
begin to apply.  
Reverse Delay is a delay effect that adds the reverse of the  
input sound as the delay sound.  
fig.MFX-46  
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )  
2-Band  
EQ  
L out  
L in  
Feedback  
D1  
1
Adjust the pan of delay sound (Delay 13). A setting of L64 is  
D2  
far left, 0 is center, and 63R is far right.  
Rev. Delay  
Delay  
2
3
D3  
D4  
Le ve l 1 :2 :3  
2-Band  
EQ  
R in  
R out  
Adjust the output level of delay 1, 2 and 3.  
De la y 1 (De la y Tim e 1 )  
Lo w Ga in (Lo w Ga in )  
Adjust the delay time from the direct sound until the delay 1  
sound is heard.  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
De la y 2 (De la y Tim e 2 )  
Adjust the delay time from the direct sound until the delay 2  
sound is heard.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
De la y 3 (De la y Tim e 3 )  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Adjust the delay time from the direct sound until the delay 3  
sound is heard.  
Ba la n ce (Effe ct Ba la n ce ) #  
De la y 4 (De la y Tim e 4 )  
Sets the volume balance between the direct sound and the  
effect sound.  
Adjust the delay time from the direct sound until the delay 4  
sound is heard.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Delay 14 parameters can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
W h e n De la y 1 –4 a re Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
Fe e d b a ck 1 :4 #  
Adjust the proportion (%) of the delay 1 and 4 sound that is  
fed back into the effect. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
HF Da m p 1 :4  
Adjust the frequency above which delayed sound (Delay 1,  
4) fed back to the delay input will be cut.  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
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Ch a p te r 7 . Ad d in g Effe cts  
Pa n A  
4 7 : SHUFFLE DELAY  
Adjust the pan of the delay A sound.  
Shuffle Delay adds a shuffle to the delay sound, giving the  
sound a bouncy delay effect with a swing feel.  
fig.MFX-47  
Pa n B  
2-Band  
EQ  
Adjust the pan of the delay B sound.  
L out  
L in  
Feedback  
Delay  
Delay 1  
Delay 2  
1
2
Le ve l Ba la n ce  
Sets the balance for the levels of the delay A and the delay B.  
2-Band  
EQ  
R in  
R out  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
De la y (De la y Tim e ) #  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Adjust the delay time from the direct sound until the delay  
sound is heard.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Delay parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Ba la n ce (Effe ct Ba la n ce ) #  
W h e n De la y is Se t a s a N o te Va lu e  
Sets the volume balance between the direct sound and the  
effect sound.  
As the specified tempo, you may use either the Patch  
(p. 169).  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Sh u ffle (Sh u ffle Ra te ) #  
Le ve l (O u tp u t Le ve l)  
Sets the ratio (as a percentage) of the time that elapses before  
the sound plays in Delay B relative to the time that elapses  
before the sound plays in Delay A. When set to 100%, the  
delay times are the same.  
Adjust the output level.  
Acce l (Acce le ra tio n )  
Adjust the time over which the Delay Time will change from  
the current setting to a newly specified setting. The rate of  
change for the Delay Time directly affects the rate of pitch  
change.  
Fb k (Fe e d b a ck ) #  
Adjust the proportion (%) of the delay sound that is to be  
returned to the input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
HF Da m p  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut.  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
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Ch a p te r 7 . Ad d in g Effe cts  
HF Da m p  
4 8 : 3 D DELAY  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut.  
This applies a 3D effect to the delay sound. The delay sound  
will be positioned 90 degrees left and 90 degrees right.  
fig.MFX-48  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
2-Band  
L
EQ  
Level  
3D Delay L  
3D Delay C  
O u t (O u tp u t Mo d e )  
Adjust the method that will be used to hear the sound that is  
output to the OUTPUT jacks. The optimal 3D effect will be  
achieved if you select SPEAKER when using speakers, or  
PHONES when using headphones.  
3D Delay R  
2-Band  
EQ  
R
Lo G (Lo w Ga in )  
De la y C (De la y Tim e Ce n te r)  
Adjust the low frequency gain (amount of boost or cut).  
Adjust the delay time from the direct sound until the center  
delay sound is heard.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
De la y L (De la y Tim e Le ft)  
Hi G (Hig h Ga in )  
Adjust the delay time from the direct sound until the left  
delay sound is heard.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
De la y R (De la y Tim e Rig h t)  
Adjust the delay time from the direct sound until the right  
delay sound is heard.  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the direct sound and the  
effect sound.  
Delay C, Delay L and Delay R parameters can be set as a  
note-value of a specified tempo. In this case, specify the  
value of the desired note.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Le ve l (O u tp u t Le ve l)  
W h e n De la y C, De la y L a n d De la y R a re Se t  
a s a N o te Va lu e  
Adjust the output level.  
As the specified tempo, you may use either the Patch  
(p. 169).  
Fb k (Fe e d b a ck ) #  
Adjust the proportion (%) of the delay sound that is to be  
returned to the input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
Le ve l C (Le ve l Ce n te r)  
Adjust the volume of the center delay sound.  
Le ve l L (Le ve l Le ft)  
Adjust the volume of the left delay sound.  
Le ve l R (Le ve l Rig h t)  
Adjust the volume of the right delay sound.  
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Ch a p te r 7 . Ad d in g Effe cts  
4 9 : PITCH SHIFTER  
5 0 : LO FI CO MPRESS  
A Pitch Shifter shifts the pitch of the direct sound. This 3-  
voice pitch shifter has three pitch shifters, and can add three  
This is an effect that intentionally degrades the sound quality.  
fig.MFX-50  
L in  
L out  
pitch shifted sounds to the direct sound.  
fig.MFX-49  
Pan L  
2-Band  
EQ  
Lo-Fi  
Pan R  
L out  
L
R in  
R out  
1
2
Pitch 1  
Pitch 2  
Ty p e (Lo Fi Ty p e )  
Lowers the audio quality. The audio quality will worsen as  
this setting is increased.  
3
Pitch 3  
R
R out  
Pre Filte r (Pre Filte r Ty p e )  
Adjust the type of filter that will be applied before the sound  
passes through the Lo-Fi effect.  
Co a rse 1 :2 :3 (Co a rse Pitch 1 :2 :3 )  
Specify the pitch in semitones for pitch shift 13.  
Po st Filte r 1 (Po st Filte r 1 Ty p e )  
Fin e 1 :2 :3 (Fin e Pitch 1 :2 :3 )  
Adjust the type of filter that will be applied after the sound  
passes through the Lo-Fi effect.  
Make fine adjustments to the pitch of the pitch shift 13 in 2-  
cent steps.  
Po st Filte r 2 (Po st Filte r 2 Ty p e / Cu to ff Fre q u e n cy )  
Pre De la y 1 :2 :3 (Pre De la y Tim e 1 :2 :3 )  
OFF: A post filter 2 will not be used.  
Specify the time delay from the direct sound until the pitch  
LPF: The frequency region above the Cutoff Freq setting will  
shift 13 sound is heard.  
be cut.  
Fb k 1 :2 :3 (Fe e d b a ck Le ve l 1 :2 :3 )  
HPF: The frequency region below the Cutoff Freq setting will  
Adjust the proportion (%) of the pitch shift 13 sound that is  
be cut.  
fed back into the effect.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )  
Specify the stereo location of the pitch shift 13 sound. L64 is  
Lo w Ga in (Lo w Ga in )  
far left, 0 is center, and 63R is far right.  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Le ve l 1 :2 :3 (Le ve l 1 :2 :3 )  
Specify the volume of the pitch shift 13.  
Hi Ga in (Hig h Ga in )  
Mo d e (Pitch Sh ifte r Mo d e )  
Adjust the high frequency gain (amount of boost or cut).  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Ba la n ce (Effe ct Ba la n ce )  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the direct sound and the  
effect sound.  
Sets the volume balance between the direct sound and the  
effect sound.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W the effect sound will  
be output.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Le ve l (O u tp u t Le ve l)  
Pa n (O u tp u t Pa n )  
Specifies the output volume.  
Adjust the stereo location of the output sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
Ba la n ce (Effe ct Ba la n ce ) #  
5 1 : LO FI N O ISE  
Sets the volume balance between the direct sound and the  
effect sound.  
In addition to a Lo-Fi effect, this effect also generates various  
types of noise, such as radio noise and disc noise.  
fig.MFX-51  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
2-Band  
EQ  
L in  
L out  
Lo-Fi  
Noise Gen.  
Lo-Fi  
Pa n (O u tp u t Pa n )  
Radio  
Adjust the stereo position of the delay sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
2-Band  
EQ  
R in  
R out  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Ty p e (Lo Fi Ty p e )  
Lowers the audio quality. The audio quality will worsen as  
this setting is increased.  
5 2 : SPEAKER SIMULATO R  
Speaker Simulator is an effect that simulates the speaker type  
Post Fltr (Post Filter Type/ Cutoff Frequency)  
and mic settings used to record the speaker sound.  
fig.MFX-52  
OFF: A filter will not be used.  
LPF: The frequency region above the Cutoff Freq setting will  
L in  
L out  
R out  
Speaker  
be cut.  
HPF: The frequency region below the Cutoff Freq setting will  
R in  
Speaker  
be cut.  
And adjust the frequency at which the filter will begin  
cutting.  
Sp e a k e r Ty p e  
Select the type of speaker. The specifications of each type are  
as follows. The speaker column indicates the diameter of  
each speaker unit (in inches) and the number of units.  
Ra d io De tu n e  
(Ra d io De tu n e # / Ra d io N o ise Le ve l)  
Simulates the tuning noise of a radio. As this value is raised,  
the tuning will drift further.  
Type  
Cabinet  
Speaker Microphone  
SMALL 1  
small open-back enclosure 10  
small open-back enclosure 10  
dynamic mic  
dynamic mic  
SMALL 2  
And adjust the volume of the radio noise.  
MIDDLE  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
sealed enclosure  
12 x 1 dynamic mic  
12 x 2 dynamic mic  
12 x 2 dynamic mic  
12 x 2 condenser mic  
12 x 2 condenser mic  
12 x 2 condenser mic  
12 x 2 condenser mic  
12 x 4 condenser mic  
12 x 4 condenser mic  
12 x 4 condenser mic  
12 x 4 condenser mic  
12 x 4 condenser mic  
12 x 4 condenser mic  
12 x 4 condenser mic  
Disc:LPF:Le v (Disc N o ise Ty p e :Disc N o ise  
LPF:Disc N o ise Le ve l)  
JC-120  
BUILT IN 1  
BUILT IN 2  
BUILT IN 3  
BUILT IN 4  
BUILT IN 5  
BG STACK 1  
BG STACK 2  
MS STACK 1  
MS STACK 2  
Disc: Selects the type of record noise. The frequency at which  
the noise is heard will depend on the selected type.  
LPF: Adjust the cutoff frequency of the low pass filter that is  
applied to the record noise.  
Level: Adjust the volume of the record noise.  
large sealed enclosure  
large sealed enclosure  
large sealed enclosure  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
METAL STACK large double stack  
2-STACK  
3-STACK  
large sealed enclosure  
large sealed enclosure  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Mic Se t (Mic Se ttin g )  
Hi Ga in (Hig h Ga in )  
Adjust the location of the mic that is recording the sound of  
the speaker. This can be adjusted in three steps, with the mic  
becoming more distant in the order of 1, 2, and 3.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Mic:Dir (Mic Le ve l:Dire ct Le ve l) #  
Mic: Adjust the volume of the microphone.  
Dir: Adjust the volume of the direct sound.  
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Ch a p te r 7 . Ad d in g Effe cts  
Le ve l (O u tp u t Le ve l) #  
5 4 : DISTO RTIO N 2  
Adjust the output level.  
This is a distortion effect that provides heavy distortion.  
fig.MFX-54  
L in  
L out  
Pan L  
5 3 : O VERDRIVE 2  
Amp  
Simulator  
2-Band  
EQ  
Distortion  
This is an overdrive that provides heavy distortion.  
fig.MFX-53  
Pan R  
R in  
R out  
L in  
L out  
Pan L  
Drive #  
Amp  
Simulator  
2-Band  
EQ  
Overdrive  
Pan R  
Adjust the amount of distortion. The volume will change  
together with the degree of distortion.  
R in  
R out  
Drive #  
Le ve l (O u tp u t Le ve l)  
Adjust the amount of distortion. The volume will change  
together with the degree of distortion.  
Adjust the output level.  
Lo w Ga in (Lo w Ga in )  
Le ve l (O u tp u t Le ve l)  
Adjust the low frequency gain (amount of boost or cut).  
Adjust the output level.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Hi Ga in (Hig h Ga in )  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Am p Ty p e (Am p Sim u la to r Sw itch / Ty p e )  
Turns the Amp Simulator on/ off.  
And adjust the type of guitar amp.  
SMALL: small amp  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Am p Ty p e (Am p Sim u la to r Sw itch / Ty p e )  
Turns the Amp Simulator on/ off.  
And adjust the type of guitar amp.  
SMALL: small amp  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
To n e  
Adjust the sound quality of the Overdrive effect.  
Pa n (O u tp u t Pa n ) #  
To n e  
Adjust the stereo location of the output sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
Adjust the sound quality of the Overdrive effect.  
Pa n (O u tp u t Pa n ) #  
Adjust the stereo location of the output sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
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Ch a p te r 7 . Ad d in g Effe cts  
5 5 : STEREO CO MPRESSO R  
5 6 : STEREO LIMITER  
fig.MFX-55  
fig.MFX-56  
L in  
L out  
R out  
L in  
L out  
R out  
Compressor  
2-Band EQ  
2-Band EQ  
Limiter  
2-Band EQ  
R in  
R in  
Compressor  
Limiter  
2-Band EQ  
Su sta in  
Th re (Th re sh o ld Le ve l)  
Adjust the time over which low level sounds are boosted  
until they reach the specified volume.  
Adjust the volume at which compression will begin.  
Re le a se (Re le a se Tim e )  
Atta ck (Atta ck Tim e )  
Adjust the time from when the volume falls below the  
Threshold Level until compression is no longer applied.  
Adjust the attack time of an input sound.  
Po st Ga in  
Ra tio (Co m p re ssio n Ra tio )  
Adjust the output gain.  
Adjust the compression ratio.  
Lo w Ga in (Lo w Ga in )  
Ga in (Po st Ga in )  
Adjust the low frequency gain.  
Adjust the output gain.  
Hi Ga in (Hig h Ga in )  
Lo w Ga in (Lo w Ga in )  
Adjust the high frequency gain.  
Adjust the low frequency gain.  
Le ve l (O u tp u t Le ve l) #  
Hi Ga in (Hig h Ga in )  
Adjust the output level.  
Adjust the high frequency gain.  
Le ve l (O u tp u t Le ve l) #  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
Le ve l (O u tp u t Le ve l)  
5 7 : GATE  
Adjust the output level.  
The Gate effect cuts the reverbs delay according to the  
volume of the sound input to the effects device. Use this in  
situations such as when you want to force a decrease in the  
5 8 : SLICER  
decay sound.  
fig.MFX-57  
By applying successive cuts to the sound, this effect turns a  
conventional sound into a sound that appears to be played as  
a backing phrase. This is especially effective when applied to  
L in  
L out  
R out  
Gate  
Gate  
sustain-type sounds.  
fig.MFX-58  
R in  
L in  
L out  
R out  
Slicer  
Slicer  
Ke y  
Selects the input of the sound that acts as the trigger closing  
the gate.  
R in  
Be a t 1 -1 –4 -4  
When set to SOURCE, the gate is closed by the sound input  
to the Multi-effects.  
For a single measure containing four quarter notes, this sets  
the level of each sixteenth-note when the measure is divided  
into sixteenth notes. When set to 0, no sound is output.  
Th re (Ke y Th re sh o ld )  
Sets the volume level at which the gate begins to close.  
Ra te #  
Mo n ito r (Ke y Mo n ito r)  
Determines the cycle for one measure.  
Determines whether the sound used as the gate trigger is  
output (ON) or not (OFF).  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Mo d e  
GATE: Gate Reverb. When the source volume falls below a  
certain level, the gate closes, giving the effect of the reverb  
sound being cut with a gate reverb.  
W h e n Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
DUCK: Ducking Reverb. When the source volume gets high  
enough, the gate closes, which gives a ducking reverb-type  
effect. Stop the reverb sound only when input loud sound so  
that prevent the play sound become unclear.  
Atta ck  
Atk (Atta ck Tim e )  
Sets the speed at which the volume changes between beats.  
The higher the value, the faster the volume changes.  
Sets the time it takes the gate fully opens after being  
triggered.  
Re se t #  
Ho ld (Ho ld Tim e )  
Selects the input of the sound that acts as the trigger resetting  
the one-measure pattern.  
Sets the time it takes the gate starts closing after the instant  
the direct sound goes under the threshold level.  
When set to OFF, the pattern is not reset, even if the input is  
present.  
Re l (Re le a se Tim e )  
Sets the time it takes the gate fully closes after passes by the  
hold time.  
When set to SRC, the pattern is reset by the sound input to  
the multi-effects.  
Ba la n ce (Effe ct Ba la n ce ) #  
Th re (Re se t Th re sh o ld )  
Sets the volume balance between the direct sound and the  
effect sound.  
Sets the volume level at which the reset begins.  
Mo n (Re se t Mo n ito r Sw itch )  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Determines whether the sound used as the reset trigger is  
output (ON) or not (OFF). This parameter is disabled when  
Reset parameter is set to OFF or SRC.  
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Ch a p te r 7 . Ad d in g Effe cts  
Mo d e  
An ti Ph a se Lo w (An ti Ph a se Lo w Sw itch / Le ve l)  
Sets the manner in which the volume changes as one beat  
progresses to the next.  
This turns the Anti-Phase function on and off and sets the  
level settings for the Low frequency ranges. When turned on,  
the counter-channel of stereo sound is inverted and added to  
the signal. Adjusting these levels for certain frequencies  
allows you to lend emphasis to specific parts. (This is  
effective only for stereo source.)  
LEGATO: The change in volume from one beats level to the  
next remains unaltered. If the level of a following beat is the  
same as the one preceding it, then there is no change in  
volume.  
SLASH: The level is momentarily set to 0 before progressing  
to the level for the next beat. This change in volume occurs  
even if the level of a following beat is the same as the one  
preceding it.  
Lo w Bo o st (Lo w Bo o ste r Sw itch / Le ve l)  
Adjust whether Low Booster will be used (ON) or not (OFF).  
This emphasizes the bottom to create a heavy bass sound.  
And adjust the level. Increasing this value gives you a  
heavier low end. (Depending on the Isolator and filter  
settings this effect may be hard to distinguish.)  
Sh u ffle #  
Sets the timing of volume changes in levels for even-  
numbered Beats (Beat 1-2/ Beat 1-4/ Beat 2-2/ ...). The higher  
the value selected, the later the timing with which the beat  
progresses.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Le ve l (O u tp u t Le ve l)  
6 0 : 3 D CHO RUS  
Adjust the output level.  
This applies a 3D effect to the chorus sound. The chorus  
sound will be positioned 90 degrees left and 90 degrees right.  
fig.MFX-60  
5 9 : ISO LATO R  
2-Band  
EQ  
L
L out  
R out  
An equalizer which cuts the volume greatly, allowing you to  
add a special effect to the sound by cutting the volume in  
3D Chorus  
varying ranges.  
fig.MFX-59  
2-Band  
EQ  
R
L in  
L out  
R out  
Isolator  
Low Boost  
Low Boost  
Pre Dly (Pre De la y Tim e )  
Adjust the delay time from the direct sound until when the  
chorus sound is heard.  
R in  
Isolator  
Hig h (Le ve l Hig h ) #  
Ra te (LFO Ra te ) #  
Mid d le (Le ve l Mid d le ) #  
Lo w (Le ve l Lo w ) #  
Adjust the modulation frequency of the chorus sound.  
These boost and cut each of the High, Middle, and Low  
frequency ranges. At -60 dB, the sound becomes inaudible. 0  
dB is equivalent to the input level of the sound.  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
An ti Ph a se Mid  
(An ti Ph a se Mid d le Sw itch / Le ve l)  
W h e n Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
This turns the Anti-Phase function on and off and sets the  
level settings for the Middle frequency ranges. When turned  
on, the counter-channel of stereo sound is inverted and  
added to the signal. Adjusting these levels for certain  
frequencies allows you to lend emphasis to specific parts.  
(This is effective only for stereo source.)  
De p th (LFO De p th )  
Adjust the modulation depth of the chorus sound.  
Ph a se  
Adjust the spaciousness of the chorus sound.  
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Ch a p te r 7 . Ad d in g Effe cts  
Filte r Ty p e  
6 1 : 3 D FLAN GER  
OFF: A filter will not be used.  
This applies a 3D effect to the flanger sound. The flanger  
LPF: The frequency region above the Cutoff Freq setting will  
sound will be positioned 90 degrees left and 90 degrees right.  
fig.MFX-61  
be cut.  
2-Band  
EQ  
L
L out  
R out  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
3D Flanger  
2-Band  
EQ  
R
Cu to ff (Cu to ff Fre q u e n cy )  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Pre Dly (Pre De la y Tim e )  
Adjust the time delay from the direct sound until the flanger  
sound is heard.  
O u t (O u tp u t Mo d e )  
Adjust the method that will be used to hear the sound that is  
output to the OUTPUT jacks. The optimal 3D effect will be  
achieved if you select SPEAKER when using speakers, or  
PHONES when using headphones.  
Ra te (LFO Ra te ) #  
Adjust the modulation speed of the flanger sound.  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Lo G (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
W h e n Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
Hi G (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
De p th (LFO De p th )  
Ba la n ce #  
Adjust the modulation depth of the flanger sound.  
Adjust the volume balance between the direct sound and the  
flanger sound.  
Fb k (Fe e d b a ck ) #  
Adjust the proportion (%) of the flanger sound that is to be  
returned to the input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase. Higher settings will  
produce a more distinctive sound.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the flanger sound  
will be output.  
Le v (O u tp u t Le ve l)  
Adjust the output level.  
Ph a se  
Adjust the spaciousness of the flanger sound.  
Filte r (Filte r Ty p e )  
OFF: No filter is used.  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Cu to ff (Cu to ff Fre q u e n cy )  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
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Ch a p te r 7 . Ad d in g Effe cts  
Ste p Ra te (Ste p Ra te Sw itch / Ste p Ra te # )  
6 2 : TREMO LO  
Determines whether the pitch is changed in a stepped  
fashion (ON) or not (OFF).  
Tremolo cyclically modulates the volume to add tremolo  
effect to the sound.  
fig.MFX-62a  
And adjust the rate at which the pitch will change.  
L in  
L out  
R out  
Tremolo  
2-Band EQ  
2-Band EQ  
Step Rate parameter can be set as a note-value of a  
specified tempo. In this case, specify the value of the  
desired note.  
R in  
Tremolo  
Mo d W a ve (Mo d u la tio n W a ve )  
TRI: The sound will be modulated like a triangle wave.  
SQR: The sound will be modulated like a square wave.  
SIN: The sound will be modulated like a sine wave.  
SAW1/2: The sound will be modulated like a sawtooth wave.  
W h e n Ste p Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
The teeth in SAW1 and SAW2 point at opposite directions.  
fig.MFX-62b  
SAW1  
SAW2  
O u t (O u tp u t Mo d e )  
Adjust the method that will be used to hear the sound that is  
output to the OUTPUT jacks. The optimal 3D effect will be  
achieved if you select SPEAKER when using speakers, or  
PHONES when using headphones.  
Ra te #  
Adjust the frequency (speed) of the change.  
Lo G (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Hi G (Hig h Ga in )  
W h e n Ra te is Se t a s a N o te Va lu e  
Adjust the high frequency gain (amount of boost or cut).  
As the specified tempo, you may use either the Patch  
(p. 169).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Ba la n ce #  
De p th #  
Adjust the volume balance between the direct sound and the  
flanger sound.  
Sets the depth to which the effect is applied.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the flanger sound  
will be output.  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Le v (O u tp u t Le ve l)  
Adjust the output level.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
6 3 : AUTO PAN  
The Auto Pan effect cyclically modulates the stereo location  
W h e n Usin g 3 D Effe cts  
of the sound.  
fig.MFX-63  
The following three 3D effects utilize RSS (Roland Sound  
Space) technology to create a spaciousness that cannot be  
produced by delay, reverb, chorus, etc.  
L in  
L out  
R out  
Auto Pan  
2-Band EQ  
2-Band EQ  
48: 3D DELAY  
R in  
Auto Pan  
60: 3D CHORUS  
61: 3D FLANGER  
Mo d W a ve (Mo d u la tio n W a ve )  
When using these effects, we recommend that you place  
your speakers as follows. Also, make sure that the  
speakers are at a sufficient distance from the walls on  
TRI: The sound will be modulated like a triangle wave.  
SQR: The sound will be modulated like a square wave.  
SIN: The sound will be modulated like a sine wave.  
SAW1/2: The sound will be modulated like a sawtooth wave.  
either side.  
fig.RSS  
The teeth in SAW1 and SAW2 point at opposite directions.  
fig.MFX-62b  
SAW1  
SAW2  
30˚ 30˚  
Ra te #  
Adjust the frequency (speed) of the change.  
If the left and right speakers are too far apart, or if there  
is too much reverberation, the full 3D effect may not  
appear.  
Rate parameter can be set as a note-value of a specified  
tempo. In this case, specify the value of the desired note.  
Each of these effects has an Out (Output Mode)  
parameter. If the sound from the OUTPUT jacks is to be  
heard through speakers, set this parameter to SPEAKER.  
If the sound is to be heard through headphones, set it to  
PHONES. This will ensure that the optimal 3D effect will  
be heard. If this parameter is not set correctly, the full 3D  
effect may not appear.  
W h e n Ra te is Se t a s a N o te Va lu e  
As the specified tempo, you may use either the Patch  
(p. 169).  
De p th #  
Sets the depth to which the effect is applied.  
Lo w Ga in (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Hi Ga in (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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Ch a p te r 7 . Ad d in g Effe cts  
Fu n ctio n s o f Pa ra m e te rs  
Ma k in g Ch o ru s Se ttin g s  
The functions of Chorus parameters are explained according  
to the display arrangement.  
You can make the settings for Chorus used by Patches/  
Rhythm Sets/ Performances.  
CHO TYPE  
fig.07-12  
Se ttin g Pro ce d u re  
1 . After confirming that you are in Patch/ Rhythm Set/  
Performance mode, select the desired Patch/ Rhythm  
Set/ Performance (p. 29, p. 35, p. 39).  
Selects either Chorus or Delay.  
OFF: Neither Chorus or Delay is used.  
CHORUS: Chorus is used.  
DELAY: Delay is used.  
2 . Press [EDIT], getting the indicator to light, and then  
press the [EFFECTS] function button.  
3 . Press  
or  
to display the desired Edit page.  
4 . Press  
or  
to move the cursor to the parameter  
youre going to modify.  
So u rce (Ch o ru s So u rce )  
Selects the Chorus parameter settings that will be used by the  
Performance. If you wish to use the Performance settings,  
select PERFORM. If you wish to use the settings of the  
Patch/ Rhythm Set assigned to one of the Parts, select the  
Part number.  
5 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to change the parameter value.  
6 . When you finish making settings, press [EXIT] to return  
to the previous PLAY page.  
An asterisk * will be displayed at the left of the Patch/  
Rhythm Set/ Performance group. This indicates that the  
Patch/ Rhythm Set/ Performance settings have been  
modified.  
If you have selected the Part number here, the Part  
number will be displayed in the upper left of the CHO  
parameter setting display of Performances.  
fig.07-13  
If you select another Patch/ Rhythm Set/ Performance in  
the group with an asterisk *, the modified Patch/  
Rhythm Set/ Performance settings will be lost. To keep  
these modified settings, perform the save operation (p.  
164).  
Set is being selected.  
W h e n Pa tch o r Rh y th m Se t Se ttin g s Are  
Se le cte d  
When the Patch or Rhythm Sets Chorus settings are  
selected, those settings are shown in each of the  
Performances CHO settings pages, and the settings can  
be then be changed as well. Changes to Patch or Rhythm  
Set Chorus parameter settings are lost when another  
Patch or Rhythm Set is selected. To keep the modified  
settings, save the Patch/ Rhythm Set settings (p. 164).  
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Ch a p te r 7 . Ad d in g Effe cts  
Fo r Ty p e : DELAY  
CHO PRM (CHO Pa ra m e te r)  
fig.07-14  
De la y C (De la y Ce n te r)  
This sets the delay time for the delay located at the center of  
the stereo field.  
Sets the parameter for the Chorus selected by the Chorus  
type. The parameters that can be set differ according to  
whether chorus or delay is used.  
De la y L (De la y Le ft)  
This sets the delay time for the delay located at the left side of  
the stereo field.  
When the Type parameter in the CHO TYPE page is set  
to 00:OFF, the CHO PRM page will not be displayed.  
De la y R (De la y Rig h t)  
This sets the delay time for the delay located at the right side  
of the stereo field.  
Fo r Ty p e : CHO RUS  
Pre Dly (Ch o ru s Pre De la y )  
Delay C, Delay L and Delay R parameters can be set as a  
note-value of a specified tempo. In this case, specify the  
value of the desired note.  
This specifies the delay between when the direct sound is  
heard and when chorusing begins.  
Ra te (Ch o ru s Ra te )  
This specifies the modulation frequency of the chorus effect.  
W h e n De la y C, De la y L a n d De la y R a re Se t  
a s a N o te Va lu e  
De p th (Ch o ru s De p th )  
As the specified tempo, you may use either the Patch  
(p. 169).  
This specifies the modulation depth of the chorus effect.  
Fb k (Ch o ru s Fe e d b a ck )  
This specifies the amount of the chorus effects output to be  
returned - fed back - to its input. Higher settings create more  
complex chorusing.  
Fb k (Fe e d b a ck )  
This adjusts the amount of delay feedback, controlling the  
number of times the delay repeats. Higher values result in  
more repeats. With negative (-) values, the phase of the  
repeated delays is inverted.  
Ph a se  
This specifies the spaciousness of the chorus effect.  
Filte r Ty p e  
Le ve l C (De la y Ce n te r Le ve l)  
This specifies the type of filter to be used by the chorus effect.  
OFF: No filter is used.  
This sets the volume level of the delay located at the center of  
the stereo field.  
LPF: Frequencies higher than the selected cutoff frequency  
value are eliminated.  
Le ve l L (De la y Le ft Le ve l)  
HPF: Frequencies lower than the selected cutoff frequency  
This sets the volume level of the delay located at the left side  
of the stereo field.  
value are eliminated.  
Cu to ff (Cu to ff Fre q u e n cy )  
Le ve l R (De la y Rig h t Le ve l)  
This sets the cutoff frequency at which the LPF or HPF begin  
to work.  
This sets the volume level of the delay located at the right  
side of the stereo field.  
HF Da m p  
This allows you to reduce, or damp,the high-frequency  
content of the repeated feedback delaysfrequencies above  
the selected value will be damped. If you do not wish to  
damp the high-frequency content of the feedback delays, set  
this parameter to BYPASS.  
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Ch a p te r 7 . Ad d in g Effe cts  
CHO O UT (Ch o ru s O u tp u t)  
fig.07-15  
Ma k in g Re ve rb Se ttin g s  
You can make the settings for Reverb used by Patches/  
Rhythm Sets/ Performances.  
O u tp u t Assig n (Ch o ru s O u tp u t Assig n )  
Se ttin g Pro ce d u re  
Selects the pair of OUTPUT jacks to which the Chorus sound  
is routed when Chorus Output Select is set to MAIN or  
MAIN+REV.  
1 . After confirming that you are in Patch/ Rhythm Set/  
Performance mode, select the desired Patch/ Rhythm  
Set/ Performance (p. 29, p. 35, p. 39).  
A: Output to the OUTPUT A (MIX) jacks in stereo.  
B: Output to the OUTPUT B jacks in stereo.  
2 . Press [EDIT], getting the indicator to light, and then  
press the [EFFECTS] function button.  
3 . Press  
or  
to display the desired Edit page.  
When Chorus Output Select is set to REV, this setting  
will have no effect.  
4 . Press  
or  
to move the cursor to the parameter  
youre going to modify.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
5 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to change the parameter value.  
6 . When you finish making settings, press [EXIT] to return  
Le ve l (Ch o ru s Le ve l)  
to the previous PLAY page.  
An asterisk * will be displayed at the left of the Patch/  
Rhythm Set/ Performance group. This indicates that the  
Patch/ Rhythm Set/ Performance settings have been  
modified.  
Adjusts the volume of the sound that has passed through  
chorus.  
Se le ct (Ch o ru s O u tp u t Se le ct)  
Specifies how the sound routed through Chorus will be  
output.  
If you select another Patch/ Rhythm Set/ Performance in  
the group with an asterisk *, the modified Patch/  
Rhythm Set/ Performance settings will be lost. To keep  
these modified settings, perform the save operation (p.  
164).  
MAIN: Output to the OUTPUT jacks in stereo.  
REV: Output to Reverb in mono.  
MAIN+REV: Output to the OUTPUT jacks in stereo, and to  
Reverb in mono.  
When set to MAIN or MAIN+REV, the OUTPUT jack  
from which the sound is output is set in Chorus Output  
Assign.  
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Ch a p te r 7 . Ad d in g Effe cts  
REV PRM (REV Pa ra m e te r)  
fig.07-18  
Fu n ctio n s o f Pa ra m e te rs  
The functions of Reverb parameters are explained according  
to the display arrangement.  
Sets the parameter for the Reverb selected by the Reverb  
type. The parameters that can be set depend on Reverb  
youve selected.  
REV TYPE  
fig.07-16  
When the Type parameter in the REV TYPE page is set to  
00:OFF, the REV PRM page will not be displayed.  
Ty p e (Re ve rb Ty p e )  
Selects the type of Reverb.  
OFF: Reverb is not used.  
REVERB: Normal Reverb  
Fo r Ty p e : REVERB  
Ty p e (Re ve rb / De la y Ty p e )  
SRV ROOM: This reverb simulates typical room acoustic  
This selects a type of reverb or delay.  
reflections.  
ROOM1: This is a short reverb with high density  
ROOM2: This is a short reverb with low density.  
STAGE1: This is a long reverb.  
SRV HALL: This reverb simulates typical concert hall  
acoustic reflections.  
SRV PLATE: This reverb simulates a reverb plate, a popular  
type of artificial reverb unit that derives its sound from the  
vibration of a metallic plate. You can also achieve unusual  
metallic-sounding reverbs using SRV PLATE.  
STAGE2: This is a reverb with strong early reflections.  
HALL1: This is a very clear-sounding reverb.  
HALL2: This is a rich reverb.  
DELAY: This is a conventional delay effect.  
So u rce (Re ve rb So u rce )  
PAN-DLY: This is a delay effect with echoes that pan left and  
Selects the Reverb parameter settings that will be used by the  
Performance. If you wish to use the Performance settings,  
select PERFORM. If you wish to use the settings of the  
Patch/ Rhythm Set assigned to one of the Parts, select the  
Part number.  
right.  
Tim e (Re ve rb / De la y Tim e )  
When the Type parameter setting is ROOM1HALL2, this  
adjusts the length of reverberation. When the Type  
parameter setting is DELAY or PAN-DLY, this adjusts the  
delay time.  
If you have selected the Part number here, the Part  
number will be displayed in the upper left of the REV  
Higher settings produce a more spacious ambience.  
parameter setting display of Performances.  
fig.07-17  
HF Da m p (Re ve rb / De la y HF Da m p )  
This specifies the frequency above which the high-frequency  
content of the reverb sound will be cut, or damped.”  
Lower values cause a greater range of high frequencies to be  
cut, producing a softer reverb sound.  
This parameter is not available when a Patch or Rhythm  
Set is being selected.  
If you do not want to damp the high frequencies, set this  
parameter to BYPASS.  
Fb k (De la y Fe e d b a ck )  
W h e n Pa tch o r Rh y th m Se t Se ttin g s Are  
Se le cte d  
When the Type parameter setting is DELAY or PAN-DLY,  
this adjust the amount of delay feedback, controlling the  
number of delay repeats.  
When the Patch or Rhythm Sets Reverb settings are  
selected, those settings are shown in each of the  
Higher values result in more repeats.  
Performances REV settings pages, and the settings can  
be then be changed as well. Changes to Patch or Rhythm  
Set Reverb parameter settings are lost when another  
Patch or Rhythm Set is selected. To keep the modified  
settings, save the Patch/ Rhythm Set settings (p. 164).  
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Ch a p te r 7 . Ad d in g Effe cts  
Fo r Ty p e : SRV RO O M/ SRV HALL/ SRV PLATE  
REV O UT (REV O u tp u t)  
fig.07-19  
Pre De la y (Pre De la y Tim e )  
This specifies the time between when the direct sound is  
heard and the moment at which the reverb is first heard.  
O u tp u t Assig n (Re ve rb O u tp u t Assig n )  
Tim e (Re ve rb Tim e )  
Specifies how the sound routed through Reverb will be  
output.  
This sets the reverb length.  
A: Output to the OUTPUT A (MIX) jacks in stereo.  
Size  
B: Output to the OUTPUT B jacks in stereo.  
This adjusts the size of the simulated room or hall. The size  
becomes bigger as the value increases.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
Hig h Cu t (Hig h Cu t Fre q u e n cy )  
This sets the frequency above which the high-frequency  
content of the reverb will be reduced. If you do not want to  
reduce the brightness of the reverb, set this parameter to  
BYPASS.  
Le ve l (Re ve rb Le ve l)  
Adjusts the volume of the sound that has passed through  
Reverb.  
Diffu sio n (Re ve rb Diffu sio n )  
This adjusts the change in the density of the reverb over time.  
The higher the value, the more the density increases with  
time. The effect of this setting is most pronounced with long  
reverb times.  
De n sity (Re ve rb De n sity )  
This adjusts the density of reverb. Higher values result in  
greater density.  
LF Da m p (LF Da m p Fre q u e n cy )  
This specifies the frequency below which the low-frequency  
content of the reverb sound will be reduced, or damped.”  
LF Ga in (LF Da m p Ga in )  
This adjusts the amount of damping applied to the frequency  
range selected with LF Damp. With a setting of 0, there will  
be no reduction of the reverbs low-frequency content.  
HF Da m p (HF Da m p Fre q u e n cy )  
This specifies the frequency above which the high-frequency  
content of the reverb sound will be reduced, or damped.”  
HF Ga in (HF Da m p Ga in )  
This adjusts the amount of damping applied to the frequency  
range selected with HF Damp. With a setting of 0, there will  
be no reduction of the reverbs high-frequency content.  
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Ch a p te r 7 . Ad d in g Effe cts  
Co p y in g An o th e r Effe ct  
Se ttin g (Effe cts Co p y )  
This function lets you copy data of any Performance, Patch,  
or Rhythm Set into the currently selected Performance,  
Patch, or Rhythm Set. This function can help you save time.  
1 . Make sure that a Patch, Rhythm Set, or Performance is  
selected.  
2 . Press [UTILITY], getting its indicator to start blinking.  
3 . Press the numeric key [2], then  
or  
to call up the  
PATCH/ RHYTHM/ PERFORM FX COPY page.  
fig.10-14.e  
Copy source  
Copy source Performance/  
Patch/Rhythm Set  
(group, number, name)  
4 . Press the cursor buttons to move the cursor to the  
parameter you wish to set.  
5 . Either rotate the VALUE dial or press [INC/ +]/ [DEC/ -]  
to set the value.  
When the cursor is located at Number, you can also use  
[USER], [PRESET], and [A][F] to select a group, and  
then use the numeric keys to choose the number.  
6 . Press  
to move to the next display, and then select the  
contents of the effect that you wish to copy.  
fig.10-15.e  
Copy type  
7 . Either by rotating the VALUE dial or by pressing [INC/  
+]/ [DEC/ -], set the value.  
ALL: Multi-effects, Chorus, and Reverb settings  
MFX: Multi-effects settings  
CHORUS: Chorus settings  
REVERB: Reverb settings  
CHO&REV: Chorus and Reverb settings  
8 . Press [ENTER] to execute the Copy operation.  
9 . Press [UTILITY] to return to the previous page.  
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Ch a p te r 8 . Sa vin g So u n d s  
Modifications you make to a sound are temporary, and will  
Ab o u t Me m o ry  
be lost when the power is turned off, or when another  
Performance, Patch or Rhythm Set is selected. If you wish to  
keep the modified Tones, perform the Save operation.  
Patch and Performance settings are stored in what is referred  
to as memory. There are three kind of memory: temporary,  
rewritable, and non-rewritable.  
fig.08-01.e  
If the settings of a Performance, Patch, or Rhythm Set have  
been modified, a * symbol will appear at the left of the group  
in the corresponding PLAY page, indicating that the data has  
been modified. After you save the data to the XV-88 (user  
XV-88  
Preset F (PR-F)  
System  
Preset E (PR-E)  
memory), the * symbol will disappear.  
fig.03-03  
Preset D (PR-D)  
Preset C (PR-C)  
Preset B (PR-B)  
Preset A (PR-A)  
User (USER)  
Performance  
Performance  
64  
There are three methods for saving Tones.  
Preset H (GM2)  
32  
* 1  
Patch  
128  
Patch  
256  
Patch  
128  
Sa vin g to In te rn a l Me m o ry (p . 1 6 4 )  
Rhythm Set  
2
Rhythm Set  
9
Rhythm Set  
4
Sa vin g to a n Ex te rn a l MIDI De vice →  
(p . 1 6 6 )  
* 2  
Select  
Select  
Select  
Write  
Temporary Area  
Sa vin g a Gro u p o f To n e s to a Me m o ry  
Ca rd (p . 1 6 7 )  
* 3  
Select  
Select  
EXP D Slot (XP-D)  
EXP C Slot (XP-C)  
EXP B Slot (XP-B)  
Data File (.SVD)  
Performance  
64  
Load  
Save  
EXP A Slot (XP-A)  
Patch  
128  
Patch  
Rhythm Set  
4
Rhythm Set  
System  
Expansion Board  
Memory Card  
* 1 Only in PR-A and B  
* 2 The selected Patches/Rhythm Sets cannot be changed.  
* 3 Only the Performances/Patches/Rhythm Sets in the CD-A--H  
group can be selected.  
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Ch a p te r 8 . Sa vin g So u n d s  
Te m p o ra ry Me m o ry  
N o n -Re w rita b le Me m o ry  
Te m p o ra ry Are a  
Pre se t Me m o ry  
This area holds data for the Performance, Patch, and Rhythm  
Set you select using the front panel buttons.  
Data in Preset memory (Patch: PR-AF, H, Performance: PR-  
A, B, Rhythm Set: PR-AF, H) cannot be rewritten. However,  
you can call up settings from preset memory into the  
temporary area, modify them and then store the modified  
data in rewritable memory (except PR-H).  
When you play the keyboard or play back an external  
sequence, sound is produced based on data in the temporary  
area. When you modify a Performance, Patch, or Rhythm Set,  
you are modifying the data that has been called into the  
temporary area instead of the data in memory.  
W a ve Ex p a n sio n Bo a rd s  
(o p tio n a l: SR-JV8 0 / SRX Se rie s)  
Settings in the temporary area are temporary, and will be lost  
when the power is turned off or when you select another  
Performance/ Patch/ Rhythm Set. To keep the settings you  
have modified, you must write them into rewritable  
memory.  
The XV-88 can be equipped with up to four Wave Expansion  
Boards (two SR-JV80 Series, two SRX Series). Wave  
Expansion Boards contain Wave data, as well as Patches and  
Rhythm Sets that use this Wave data, which can be called  
directly into the temporary area and played.  
Re w rita b le Me m o ry  
Sy ste m Me m o ry  
System memory stores system parameter settings that  
determine how the XV-88 functions. Any time you make  
changes in the system parameters, such changes are  
automatically stored in system memory (you dont need to  
perform a save). These settings are non-volatile, so they are  
retained even while the power is turned off.  
Use r Me m o ry  
User memory is where you normally store the data you need.  
User memory is capable of storing the data for 64  
Performances, 128 Patches, and four Rhythm Sets.  
Me m o ry Ca rd (Sm a rtMe d ia )  
Memory cards are read/ write cards that allow you to save  
the Patch, Performance, Rhythm Set, System and Favorite  
List settings stored in the internal memory as one file (Save),  
and return them as needed to the XV-88 (Load). You can use  
memory cards to store data for which there is no room in  
internal user memory, or data which you wish to use on  
another XV-88.  
Memory cards are not included. They are available from  
your retailer.  
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Ch a p te r 8 . Sa vin g So u n d s  
6 . If Internal Write Protect (p. 188) is turned on, the  
following display will appear. Change the ON setting to  
OFF, and press [ENTER]. Internal Write Protect will be  
turned off, and you will return to the display of step 3.  
Sa vin g to In te rn a l Me m o ry  
This function writes sound settings youve modified into  
internal USER group (user memory).  
Press [ENTER] once again to execute the save operation.  
fig.10-03  
When you perform the save procedure, the data that  
previously occupied the save destination will be lost.  
However, the factory setting data can be recovered by  
performing the Initialization procedure (p. 185).  
the XV-88s power is turned on.  
1 . Make sure the Performance, Patch or Rhythm Set that  
you wish to save is selected.  
2 . Press [UTILITY], getting its indicator to start blinking.  
W h e n Ch a n g in g th e Se ttin g s fo r th e Pa tch  
o r Rh y th m Se t Assig n e d to a Pa rt in a  
Pe rfo rm a n ce  
The UTIL 1 page will appear.  
fig.10-01  
After changing the settings for the Patch or Rhythm Set  
assigned to a Part in a Performance, if you then try to  
save the Performance without first saving the changes in  
the settings, the following display appears.  
fig.08-02a  
If the UTIL 2 page appears, press  
UTIL 1 page.  
to display the  
3 . Use  
or  
to get 1. WRITEto start blinking, then  
If you want to keep the Patch or Rhythm Set settings,  
press [ENTER] (the PATCH WRITE or RHYTHM WRITE  
page is displayed), then after saving the Patch or  
Rhythm Set (the PERFORM WRITE page is displayed),  
save the Performance.  
press [ENTER].  
The WRITE page for each mode appears.  
fig.08-02.e  
Writing destination  
Co m p a rin g w ith th e Sa ve  
De stin a tio n Pa tch  
(Co m p a re Fu n ctio n )  
By holding down [SHIFT] and pressing [UTILITY], you  
can move directly to the WRITE page.  
4 . Use the VALUE dial, [INC/ +]/ [DEC/ -] or numeric keys  
to specify the Performance Patch, or Rhythm Set number  
of the destination of writing.  
Before you save a Patch, you can audition the Patch which  
currently occupies the save destination to make sure that it is  
one you dont mind overwriting. This can help prevent  
important Patches from being accidentally overwritten and  
lost.  
When saving the Patch or Rhythm Set, you can check the  
save destination Patch or Rhythm Set (the Compare  
function p. 164).  
When saving the Rhythm Set, you can use the Compare  
function in the same way.  
5 . Press [ENTER].  
1 . Follow the procedure Saving to Internal Memoryup to  
If Internal Write Protect is turned off, the save operation  
will be executed.  
step 4 to select the save destination.  
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Ch a p te r 8 . Sa vin g So u n d s  
2 . Press [UNDO/ COMPARE].  
You can press  
number.  
or  
to search for a registered  
The PATCH COMPARE page appears, making it  
possible to sound the save destination Patch.  
By holding down [SHIFT] and pressing  
or  
,
fig.08-03.e  
you can find the empty number to which no data is  
registered. If no empty number can be found, Favorite  
List Fullappears in the display.  
Writing destination  
4 . Continue holding down [SHIFT], and the following  
display will appear.  
fig.08-05  
3 . Play the keyboard to sound the save destination Patch,  
then check whether you really want to overwrite it.  
5 . Hold down [SHIFT] and press [ENTER] to execute the  
The Patch auditioned using the Compare function may  
sound slightly different than when it is played normally.  
registration.  
4 . If you want to change the save destination, use the  
VALUE dial, [INC/ +]/ [DEC/ -] or numeric keys to  
specify the save destination Patch number.  
Re g iste rin g Da ta W ith o u t Disp la y in g th e  
Fa vo rite List  
You can register data to the Favorite List directly from  
the PATCH PLAY and RHYTHM PLAY pages. This  
makes it simple to register data, without having to bring  
up the FAVORITE LIST page or specify a destination  
number for the registration.  
5 . Press [UNDO/ COMPARE] once again to return to the  
PATCH WRITE page.  
6 . Press [ENTER] to execute the save operation.  
Re g iste rin g Fa vo rite Pa tch e s/  
Rh y th m Se ts in th e Fa vo rite List  
1 . Make sure that the Patch or Rhythm Set you wish to  
save is selected.  
You can keep the Patches and Rhythm Sets that you like to  
use all in one place by registering them on the Favorite List.  
This list allows you immediate access to your favorite  
Patches and Rhythm Sets, whether they are stored internally,  
on Wave Expansion Boards, or on memory cards. Up to a  
total of 64 Patches and Rhythm Sets can be registered on the  
Favorite List.  
2 . Continue holding down [SHIFT], and the following  
display will appear.  
fig.08-06  
3 . Hold down [SHIFT] and press [ENTER] to execute  
the registration and the display will briefly indicate  
COMPLETED.”  
1 . Make sure that the Patch or Rhythm Set you wish to  
Here, the data is registered to the lowest of the  
empty numbers to which no data is registered.  
register is selected.  
2 . Hold down [SHIFT] and press [PATCH FINDER].  
The FAVORITE LIST page will appear.  
fig.08-04  
If there is no empty number to which data can be  
registered, Favorite List Fullappears in the  
display, and the data cannot be registered.  
3 . Use the VALUE dial, [INC/ +]/ [DEC/ -] or numeric keys  
and specify the save-destination number.  
No data is registered at the factory settings.  
By holding down [SHIFT] and pressing [UNDO/  
COMPARE], you can cancel the registration of the Patch  
and Rhythm Set that is registered to the currently  
specified number.  
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Ch a p te r 8 . Sa vin g So u n d s  
W h e n Sa vin g a Pe rfo rm a n ce  
fig.08-08  
Sa vin g to a n Ex te rn a l MIDI  
De vice  
You can save data by transmitting it to an external MIDI  
device (MIDI sequencer, etc.).  
Connect the XV-88 and external MIDI device as shown in the  
If you have modified the settings of a Patch or Rhythm  
diagram.  
fig.08-07.e  
Set assigned to a Part, select +PATCH.”  
W h e n Sa vin g a Pa tch  
fig.08-09  
MIDI IN  
W h e n Sa vin g a Rh y th m Se t  
fig.08-10  
MIDI Sequencer  
MIDI OUT  
TEMPindicates the temporary area, meaning that the  
currently selected data will be transmitted.  
4 . Get the external MIDI device ready for the reception of  
data, then press [ENTER] to initiate the data  
transmission.  
XV-88  
1 . Press [UTILITY], getting its indicator to start blinking.  
While the data is being transmitted, the display will  
indicate Executing...When COMPLETEDis  
displayed, the transmission has been completed.  
The UTIL 1 page will appear.  
fig.10-01  
To halt during transmission, press [EXIT].  
If the UTIL 2 page appears, press  
UTIL 1 page.  
to display the  
Before data that was saved on an external MIDI device  
can be transmitted back to the XV-88, the Device ID  
parameter (SYSTEM/ MIDI/ SYSTEM MIDI) must be set  
to the value that it had when the data was saved, and the  
Rx Sys.Excl parameter (SYSTEM/ MIDI/ SYSTEM MIDI)  
Device ID parameter is set to 17 and the Rx Sys.Excl  
parameter is set to ON.  
2 . Use  
or  
to get 4. XFERto start blinking, then  
press [ENTER].  
The TRANSFER TO MIDI page will appear.  
fig.10-25.e  
Data type  
Source block  
Destination  
If the TRANSFER TO USER page appears, press  
display the TRANSFER TO MIDI page.  
to  
3 . Press  
or  
to move the cursor to the item for which  
you wish to make settings, and either rotate the VALUE  
dial or use [INC/ +]/ [DEC/ -] to set the value as follows.  
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Ch a p te r 8 . Sa vin g So u n d s  
5 . When saving to a new memory card, the data is saved to  
File Number: 01, Bank: A. Afterwards, up to File  
Number: 08, the next saved file is assigned automatically  
to the subsequent Bank BH.  
Sa vin g a Gro u p o f To n e s to  
a Me m o ry Ca rd  
The Performances, Patches, Rhythm Sets, System and  
Favorite List settings in internal memory can be saved as a  
single file onto a memory card.  
To overwrite a previously existing file, select the file  
number of that file.  
The Banks AH assigned here correspond to the Card  
Group Banks AH, but in this case you can select  
Performances, Patches, and Rhythm Sets directly, rather  
than having to use the Load operation to read files on  
memory cards into the XV-88 (p. 190).  
Data files contain an entire set of parameter settings for  
the sound generator. It is not possible to save individual  
Patches or Performances to a memory card.  
In order to use a memory card, you must first turn off  
the power, and then insert a memory card into the  
MEMORY CARD slot as follows.  
fig.00-01.e  
To change and delete assignments to the Banks AH, use  
the CARD INFO page (p. 190).  
6 . When necessary, change the file name. You can assign  
the file a name of up to eight characters.  
For details on assigning names, refer to Assigning a  
Name(p. 28).  
7 . Press [ENTER] to execute the save operation.  
Insert with the surface with the gold connector facing up  
The number of files that can be saved on a card will  
depend on the memory capacity of the card itself.  
Before a memory card can be used, it must be formatted  
(p. 189).  
1 . Make sure that the write protect seal has been removed  
from the memory card being inserted into the MEMORY  
CARD slot.  
If you attempt to save to a memory card that still has the  
write protect seal affixed to it, the message Memory  
Card Write Protectedappears in the display. First turn  
off the XV-88s power, then after peeling off the write  
You cannot save data to a memory card to which the  
write protect seal is still affixed.  
protect seal, try saving the data once more.  
fig.err10  
2 . Press [UTILITY], getting its indicator to start blinking.  
The UTIL 1 page will appear.  
3 . Press  
fig.10-02  
to call up the UTIL 2 page.  
Load data saved to memory cards back to the XV-88 in  
page (p. 186).  
4 . Press  
or  
to get 3. SAVEto start blinking, then  
press [ENTER].  
The SAVE page will appear.  
fig.08-11.e  
File name  
File number  
Bank  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
Functions related to the XV-88s overall operating  
Fu n ctio n s o f Sy ste m  
environment, including the display contrast, tuning, the way  
Pa ra m e te rs  
MIDI messages are received, and so on, are called System  
functions. This section explains how to make settings for the  
This section explains what the different System parameters  
System functions and describes the functions of the different  
do, and also how these parameters are organized.  
fig.09-01  
System parameters.  
Ho w to Ma k e th e Sy ste m  
Fu n ctio n Se ttin g s  
1 . Press [SYSTEM] to make the indicator light.  
Disp la y Scre e n Co n tra st a n d  
The [EDIT] indicator lights simultaneously, and the XV-  
Clo ck Se ttin g s (SETUP)  
88 is put into System mode.  
2 . Use the function buttons to select a display group.  
SYSTEM SETUP  
fig.09-02  
The indicator for the button of the selected display group  
begins blinking.  
fig.09-01  
fig.09-03  
fig.09-04  
3 . Use  
or  
or  
to select a display page.  
4 . Use  
to move the cursor to the parameter you  
LCD (LCD Co n tra st)  
wish to modify.  
Adjusts the contrast (brightness) of the display. Increasing  
this value will increase the contrast of the display.  
5 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to modify the parameter value.  
Po w e r Up Mo d e  
Specifies the condition that the XV-88 will be in when the  
power is turned on.  
If youve made a mistake in setting the parameter value,  
press [UNDO/ COMPARE] to restore the value to what  
it was.  
LAST-SET: Reinstates the Patch and Performance selected at  
the time the XV-88 was last turned off.  
DEFAULT: The XV-88 will be ready to play Patch  
6 . Repeat steps 25 to make the settings for the System  
USER:001.”  
function.  
Ma ste r Le ve l  
7 . When you finish making settings, press [EXIT] or  
[SYSTEM] to return to the previous page.  
Adjusts the volume of the entire XV-88.  
Clo ck So u rce (Sy ste m Clo ck So u rce )  
System function settings are saved the instant a change is  
made in any of the parameter values. Therefore, no  
changes to the settings are lost, even when the power is  
turned off, and no other save procedures are necessary.  
The LFO cycle, Multi-effects changes, Phrase Loop, and Tone  
Delay time can be synchronized to a clock (tempo). When  
synchronizing these to the Systems Tempo Clock, either  
synchronize to the internal clock (INT) or to an external clock  
(MIDI).  
For details on using clock (tempo), refer to (p. 200).  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
Sy ste m Te m p o  
MIDI Se ttin g s (MIDI)  
System Tempo sets the tempo value when the System Tempo  
Clock is set to the internal clock (INT).  
These parameters determine the MIDI channel settings, and  
how exclusive messages are handled.  
When Clock Source (System Clock Source) is set to MIDI,  
the tempo will synchronize to the clock messages  
received from an external MIDI device, so this setting is  
disabled.  
The first display of the MIDI group will be different  
depending on the mode you were in when you pressed  
[SYSTEM] (Performance mode, Patch/ Rhythm Set  
mode, or GM mode).  
Mix / Pa ra lle l  
PERFO RM MIDI (Pe rfo rm a n ce MIDI)  
fig.09-05  
Specifies how the sound of the entire XV-88 will be output.  
MIX: Set this to have the collective output of all sounds  
output from the OUTPUT A (MIX) jacks. When you want to  
check the final overall sound being output, set to MIX.  
Make MIDI settings for Performance mode. To make these  
settings, press [SYSTEM] when you are in Performance  
mode, and then press [MIDI] located in the row of function  
buttons.  
Sounds which are set in the respective Output Assign to  
be output from the INDIVIDUAL 3 jack are output from  
the left OUTPUT A (MIX) jack; sounds which are set to  
be output from the INDIVIDUAL 4 jack are output from  
the right OUTPUT A (MIX) jack.  
Co n tro l Ch a n n e l  
(Pe rfo rm a n ce Co n tro l Ch a n n e l)  
Performance Control Channel selects the MIDI receive  
channel used during switching of Performances when MIDI  
messages (Program Change/ Bank Select) are sent from an  
external MIDI device. Set this to OFF if Performances are not  
to be switched from an external MIDI device.  
Sounds output from the PHONES jack are the same as  
those output from the OUTPUT A (MIX) jacks.  
Therefore, any sounds set with Output Assign to be  
output from the OUTPUT B jacks is not output from the  
PHONES jack. Be sure to have any sound you want to  
hear through the headphones set to MIX.  
For more details, refer to Selecting XV-88 Sounds from an  
External MIDI Device(p. 206).  
PARALLEL: Output according to each Output Assign  
If the Control Channel parameter settings overlap with a  
Parts MIDI receive channel, switching of the  
Performance is given priority.  
settings.  
Pa tch Re m a in (Pa tch Re m a in Sw itch )  
Specifies whether currently sounding notes will continue  
sounding when another Patch or Rhythm Set is selected  
(ON), or not (OFF).  
Lo ca l (Lo ca l Sw itch )  
The Local Switch determines whether the internal sound  
generator is disconnected (OFF) from the keyboard controller  
section (keyboard, pitch bend/ modulation lever, sliders, D  
Beam controller, pedal, and so on); or not disconnected (ON).  
Normally this is left ON, but if you wish to use the XV-88s  
keyboard and controllers to control only external sound  
generators, set it to OFF.  
In addition, when ON is selected, the Volume and Pan data,  
and the Key Mode and other settings received via MIDI (CC  
5, 7, 10, 65, 68, 7174, RPN 0, 1, 2, MONO ON, POLY ON),  
and the sound character and volume changes created using  
the Palette Sliders are passed on.  
Effects settings change as soon as you switch to a new  
Patch or Rhythm Set, without being influenced by the  
Patch Remain setting. Because of this, certain effects  
settings can cause notes that were until then sounding to  
no longer be heard, even though Patch Remain has been  
set to on.  
When a Layer Performance is selected, if you want the  
keyboard controller section to be disconnected only from  
a specific Part or Parts, use the Local parameter (ZONE/  
MIDI/ MIDI) (p. 60).  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
Re m o te (Re m o te Ke y b o a rd Sw itch )  
GM MIDI  
fig.09-07  
Set this parameter ON when you want to use an external  
MIDI keyboard instead of the XV-88s keyboard. In this case,  
the MIDI transmit channel of the external MIDI keyboard can  
be set to any channel. Normally you will leave this parameter  
OFF.  
Make MIDI settings for GM mode. To make these settings,  
press [SYSTEM] when you are in GM mode, and then press  
[MIDI] located in the row of function buttons.  
Lo ca l Sw itch  
Set this parameter ON if you want performance using  
the Arpeggiator to be controlled by an external MIDI  
device (p. 44).  
The Local Switch determines whether the internal sound  
generator is disconnected (OFF) from the keyboard controller  
section (keyboard, pitch bend/ modulation lever, sliders, D  
Beam controller, pedal, and so on); or not disconnected (ON).  
Normally this is left ON, but if you wish to use the XV-88s  
keyboard and controllers to control only external sound  
generators, set it to OFF.  
PATCH MIDI  
fig.09-06  
Make MIDI settings for Patch/ Rhythm Set mode. To make  
these settings, press [SYSTEM] when you are in Patch/  
Rhythm Set mode, and then press [MIDI] located in the row  
of function buttons.  
Re m o te (Re m o te Ke y b o a rd Sw itch )  
Set this parameter ON when you want to use an external  
MIDI keyboard instead of the XV-88s keyboard. In this case,  
the MIDI transmit channel of the external MIDI keyboard can  
be set to any channel. Normally you will leave this parameter  
OFF.  
Rx Ch (Pa tch / Rh y th m Se t Re ce ive Ch a n n e l)  
Specifies the receive channel of MIDI messages in Patch/  
Rhythm Set mode.  
Set this parameter ON if you want performance using  
the Arpeggiator to be controlled by an external MIDI  
device (p. 44).  
Tx Ch (Pa tch / Rh y th m Se t Tra n sm it Ch a n n e l)  
Specifies the transmit channel of MIDI messages in Patch/  
Rhythm Set mode. If you do not want to transmit MIDI  
messages to external MIDI devices, turn this parameter OFF.  
If you want the transmit channel to always match the Patch  
Receive Channel, set this parameter to Rx Ch.  
RECEIVE MIDI  
fig.09-08  
Lo ca l (Lo ca l Sw itch )  
The Local Switch determines whether the internal sound  
generator is disconnected (OFF) from the keyboard controller  
section (keyboard, pitch bend/ modulation lever, sliders, D  
Beam controller, pedal, and so on); or not disconnected (ON).  
Normally this is left ON, but if you wish to use the XV-88s  
keyboard and controllers to control only external sound  
generators, set it to OFF.  
Select whether or not to receive MIDI messages to select  
Performances, Patches, or Rhythm Sets.  
Pro g ra m Ch a n g e  
(Re ce ive Pro g ra m Ch a n g e Sw itch )  
Specifies whether Program Change messages will be  
received (ON) or not (OFF).  
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )  
Re m o te (Re m o te Ke y b o a rd Sw itch )  
Specifies whether Bank Select messages will be received  
(ON) or not (OFF).  
Set this parameter ON when you want to use an external  
MIDI keyboard instead of the XV-88s keyboard. In this case,  
the MIDI transmit channel of the external MIDI keyboard can  
be set to any channel. Normally you will leave this parameter  
OFF.  
Set this parameter ON if you want performance using  
the Arpeggiator to be controlled by an external MIDI  
device (p. 44).  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
Tx Ed it (Tra n sm it Ed it Da ta Sw itch )  
TRAN SMIT MIDI  
fig.09-09  
When Performance, Patch or Rhythm Set settings are  
modified, specify whether the modified settings will be  
transmitted as system exclusive messages (ON) or not (OFF).  
Specify how MIDI messages will be transmitted.  
Pro g ra m (Tra n sm it Pro g ra m Ch a n g e Sw itch )  
Ke y b o a rd a n d Co n tro lle rs  
Se ttin g s (CO N TRO L)  
Specifies whether Program Change messages will be  
transmitted (ON) or not (OFF).  
KEYBO ARD  
fig.09-12  
Ba n k Se l (Tra n sm it Ba n k Se le ct Sw itch )  
Specifies whether Bank Select messages will be transmitted  
(ON) or not (OFF).  
Active Se n sin g  
Tra n sp o se (Tra n sp o se Sw itch / Va lu e )  
(Tra n sm it Active Se n sin g Sw itch )  
If you wish to transpose the range of the keyboard, turn this  
switch ON and set the desired amount of transposition (in  
semitone steps). Tonic is indicated in parentheses ( ).  
Specifies whether Active Sensing messages will be  
transmitted (ON) or not (OFF).  
SYSTEM MIDI  
fig.09-10  
The transposed note name will be shown in the lower  
right of the Performance/ Patch/ Rhythm Set PLAY  
display.  
fig.09-11  
When transposing the keyboard range on a PLAY  
display, press [TRANSPOSE] and indicator lights.  
Specify how Exclusive messages will be transmitted and  
received.  
To change transpose amount on a PLAY display, hold  
down [TRANSPOSE] and press [-OCT] or [+OCT].  
Rx GM O n  
(Re ce ive Ge n e ra l MIDI Sy ste m O n Sw itch )  
Se n s (Ke y b o a rd Se n sitivity )  
Adjusts the keyboards touch.  
Specifies whether General MIDI System On messages will be  
received (ON) or not (OFF).  
LIGHT: Light weight synthesizer keyboard like  
MEDIUM: Standard  
Rx GM2 O n  
(Re ce ive Ge n e ra l MIDI 2 Sy ste m O n Sw itch )  
HEAVY: Acoustic piano simulation  
FULL: Full concert ground piano simulation  
Specifies whether General MIDI 2 System On messages will  
be received (ON) or not (OFF).  
Ve l (Ke y b o a rd Ve lo city )  
Rx GS Re se t (Re ce ive GS Re se t Sw itch )  
Specifies the velocity value that will be transmitted when  
you play the keyboard. If you want actual keyboard velocity  
to be transmitted, set this to REAL. If you want a fixed  
velocity value to be transmitted regardless of how you play,  
specify the desired value (1127).  
Specifies whether GS Reset messages will be received (ON)  
or not (OFF).  
De vice ID (De vice ID N u m b e r)  
When you want to transmit or receive System Exclusive  
messages, set this parameter to match the Device ID number  
of the other MIDI device.  
Aft (Afte rto u ch Se n sitivity )  
Specifies the Aftertouch sensitivity. Higher values will allow  
Aftertouch to be applied more easily. Normally you should  
leave this set to 100.  
Rx Sy s.Ex cl (Re ce ive Sy ste m Ex clu sive Sw itch )  
Specifies whether System Exclusive messages will be  
received (ON) or not (OFF).  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
OCT UP: Each pedal press raises the key range in octave  
HO LD PEDAL  
fig.09-13  
steps (up to 3 octaves higher).  
OCT DOWN: Each pedal press lowers the key range in octave  
steps (up to 3 octaves lower).  
Sets the function of the pedal connected to the HOLD  
PEDAL jack.  
START/STOP: Starts/ Stops the external sequencer.  
TAP TEMPO: Tap tempo (a tempo specified by the interval  
at which you press the pedal).  
Co n tin u o u s (Co n tin u o u s Sw itch )  
PROG UP: Every press of the pedal selects the next  
This setting determines whether the HOLD PEDAL jack will  
provide support for half-pedaling (ON), or not (OFF). When  
this is set to support use of half-pedaling techniques, you can  
then connect an optional expression pedal (EV-5, etc.), and  
employ pedal work to achieve even finer control in  
performances in which piano tones are used.  
Performance number, Patch number, or Rhythm Set number.  
PROG DOWN: Every press of the pedal selects the previous  
Performance number, Patch number, or Rhythm Set number.  
O u tp u t (Pe d a l 1 , 2 O u tp u t)  
Selects the sound generator(s) (the internal sound generator  
and/ or external sound generators connected to MIDI OUT  
connector) which will be controlled by the pedals.  
O u tp u t (Pe d a l O u tp u t)  
Selects the sound generator(s) (the internal sound generator  
and/ or external sound generators connected to MIDI OUT  
connector) to be controlled by the pedal.  
OFF: Neither will be controlled.  
INT: Only the internal sound generator will be controlled.  
MIDI: Only external sound generators will be controlled.  
OFF: Neither will be controlled.  
INT: Only the internal sound generator will be controlled.  
MIDI: Only external sound generators will be controlled.  
BOTH: Both the internal sound generator and external sound  
generators will be controlled.  
BOTH: Both the internal sound generator and external sound  
Po la rity (Pe d a l 1 , 2 Po la rity )  
generators will be controlled.  
Selects the polarity of the pedal. On some pedals, the  
electrical signal output by the pedal when it is pressed or  
released is the opposite of other pedals. If your pedal has an  
effect opposite of what you expect, set this parameter to  
REVERSE. If you are using a Roland pedal (that has no  
polarity switch), set this parameter to STANDARD.  
Po la rity (Pe d a l Po la rity )  
Select the polarity of the pedal. On some pedals, the electrical  
signal output by the pedal when it is pressed or released is  
the opposite of other pedals. If your pedal has an effect  
opposite of what you expect, set this parameter to REVERSE.  
If you are using a Roland pedal (that has no polarity switch),  
set this parameter to STANDARD.  
C1 –C4 ASSIGN (C1 –C4 Slid e r Assig n )  
fig.09-14a  
CO N TRO L PEDAL 1 , 2  
fig.09-14  
These parameters set the functions controlled by the C1C4  
sliders.  
This specifies the function of each pedal connected to the  
CTL 1, CTL 2 PEDAL jacks.  
Assig n (C1 –C4 Slid e r Assig n )  
Specifies the function controlled by each slider.  
CC0131, 3395: Controller numbers 131, 3395  
Assig n (Pe d a l 1 , 2 Assig n )  
Specifies the function controlled by the pedal.  
CC0131, 3395: Controller numbers 131, 3395  
For more detailed information about Control Change  
messages, please refer to MIDI Implementation(p.  
270).  
For more detailed information about Control Change  
messages, please refer to MIDI Implementation(p.  
270).  
AFTERTOUCH: Aftertouch  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
C1 –C4 O u tp u t (C1 –C4 Slid e r O u tp u t)  
Ad ju stin g Tu n in g (TUN E)  
Selects the sound generator(s) (the internal sound generator  
and/ or external sound generators connected to MIDI OUT  
connector) to be controlled by each slider.  
Parameters in this group adjust the tuning of the internal  
sound generator, or change the temperament of the  
keyboard.  
OFF: Neither will be controlled.  
INT: Only the internal sound generator will be controlled.  
MIDI: Only external sound generators will be controlled.  
SYSTEM TUN E  
fig.09-16  
BOTH: Both the internal sound generator and external sound  
generators will be controlled.  
Ma ste r (Ma ste r Tu n e )  
SYS CTRL ASSIGN 1 , 2  
(Sy ste m Co n tro l Assig n 1 , 2 )  
fig.09-15  
Adjusts the overall tuning of the XV-88. The display shows  
the frequency of the A4 note (center A).  
Ke y Sh ift (Ma ste r Ke y Sh ift)  
Shifts the overall pitch of the XV-88 in semitone steps.  
This function, which departs from previously used methods,  
and instead allows you to use MIDI messages to change Tone  
settings in realtime, is called the Matrix Controller (p. 78).  
Similarly, the function allowing you to use MIDI messages to  
change Multi-effects settings in realtime is called the Multi-  
effects Controller (p. 115).  
Sca le Tu n e (Sca le Tu n e Sw itch )  
equal temperament.  
One set of Scale Tune settings can be created in Patch mode.  
In Performance mode and GM mode, each Part can have its  
own Scale Tune settings.  
Normally, the Matrix Controller is used for making Patch  
settings, and the Multi-effects Controller for making settings  
to Performances, Patches, and Rhythm Sets. However, if the  
MIDI messages used as Matrix Controllers or Multi-effects  
Controllers need not be changed for each individual  
Performance, Patch, or Rhythm Set, or if you want to use  
specific MIDI messages for Matrix Controllers or Multi-  
effects Controllers, make the settings for the System  
Controller. In other words, you could call the System  
Controllers global Matrix Controllers/ Multi-effects  
Controllers for the entire XV-88.  
The XV-88 allows you to play the keyboard using  
temperaments other than equal temperament. The pitch is  
specified in one-cent units relative to the equal tempered pitch.  
One-cent is 1/ 100th of a semitone.  
The selected scale applies to MIDI messages received  
from an external MIDI device.  
The SCALE page, in which the tuning settings are made,  
varies depending on the mode selected before [SYSTEM]  
is pressed.  
You can use up to four System Controllers.  
Co n tro l 1 –4 (Sy ste m Co n tro l Assig n 1 –4 )  
System Control Assign selects the MIDI message used as the  
System Controller.  
PATCH SCALE  
fig.09-17  
CC0131, 3395: Controller numbers 131, 3395  
For more detailed information about Control Change  
messages, please refer to MIDI Implementation(p.  
270).  
fig.09-18  
If you wish to define a scale for use in Patch mode, press  
[SYSTEM] while in Patch mode, and then press [TUNE]  
located in the row of function buttons to access the PATCH  
SCALE page.  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
In Patch mode there are separate screens for the white keys  
and black keys, and the settings for one octave (CB) will  
determine the tuning for all octaves.  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
KEY SCALE  
fig.09-19  
Arp e g g ia to r Se ttin g s (ARPEGGIO )  
This is where the settings used in performing arpeggios in  
Patch/ Rhythm Set/ GM mode are made.  
If you wish to define a scale for use in Performance mode/  
GM mode, press [SYSTEM] while in Performance mode, and  
then press [TUNE] located in the row of function buttons to  
access the KEY SCALE page.  
When arpeggios are performed in Performance mode,  
the arpeggio settings are made in Zone mode (p. 61).  
In Performance mode/ GM mode, make the scale settings for  
each key in each Part. To make settings for another Part, use  
the cursor buttons to select the desired Part.  
ARPEGGIO  
fig.04-11  
fig.04-12  
fig.04-13  
fig.09-20  
Eq u a l Te m p e ra m e n t  
This scale divides an octave into 12 equal parts using the  
tuning system that is most widely used in Western  
music. The XV-88 employs equal temperament when the  
Scale Tune Switch is set to OFF.  
Ju st Te m p e ra m e n t (To n ic o f C)  
With this tuning, the three fundamental chords sound  
richer compared to equal temperament. This effect only  
applies to one key, and transposition can produce less-  
pleasing results.  
Sty le (Arp e g g io Sty le )  
Specifies the basic way in which the arpeggio will be played.  
Select one of the following 45 types.  
1/4: The rhythm will be divided in quarter notes.  
1/6: The rhythm will be divided in quarter note triplets.  
1/8: The rhythm will be divided in eighth notes.  
1/12: The rhythm will be divided in eighth note triplets.  
1/16: The rhythm will be divided in 16th notes.  
1/32: The rhythm will be divided in 32nd notes.  
PORTAMENTO A, B: A style using the portamento effect.  
GLISSANDO: A glissando style.  
Ara b ia n Sca le  
In this scale, E and B are a quarter note lower and C#, F#  
and G# are a quarter-note higher compared to equal  
temperament. The intervals between G and B, C and E, F  
and G#, Bb and C#, and Eb and F# have a natural third—  
the interval between a major third and a minor third. On  
the XV-88, you can use Arabian temperament in the  
three keys of G, C and F.  
<Examples>  
SEQUENCE AD: Styles for sequenced patterns.  
ECHO: An echo-like style.  
Note  
Equal  
Just Temperament Arabian Scale  
(tonic C)  
name temperament  
C
SYNTH BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS:  
0
0
0
0
0
0
0
0
0
0
0
0
0
-6  
+45  
-2  
Styles appropriate for bass playing.  
C#  
D
-8  
RHYTHM GTR 15: Styles for rhythm guitar. Styles 25 are  
+4  
effective when 34 notes are held.  
Eb  
E
+16  
-14  
-2  
-12  
-51  
-8  
3 FINGER: Three-finger guitar style.  
F
STRUM GTR UP, STRUM GTR DOWN, STRUM GTR  
UP&DW: Guitar chords strummed both up and down.  
Effective when five or six notes are held.  
F#  
G
-10  
+2  
+43  
-4  
G#  
A
+14  
-16  
+14  
-12  
+47  
0
PIANO BACKING, CLAVI CHORD: Styles for keyboard  
instrument backing.  
Bb  
B
-10  
-49  
WALTZ, SWING WALTZ: Styles in triple meter.  
REGGAE: A reggae-type style. Effective when three notes  
are held.  
PERCUSSION: A style suitable for percussive instrument.  
HARP: A style simulating harp playing.  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
SHAMISEN: The playing style of a Shamisen.  
SINGLE RANDOM: Notes you press will be sounded  
individually, in random order.  
BOUND BALL: A style suggestive of a bouncing ball.  
DUAL UP: Notes you press will be sounded two at a time,  
RANDOM: A style in which the notes sound in random  
beginning from low to high.  
order.  
DUAL DOWN: Notes you press will be sounded two at a  
BOSSA NOVA: A style with bossanova rhythm guitar. Hold  
34 notes for best results. You can increase the tempo and use  
this as a Samba.  
time, beginning from high to low.  
DUAL UP&DOWN: Notes you press will be sounded two at a  
time, from low to high, and then back down from high to  
low.  
SALSA: Typical salsa style. Hold 34 notes for best results.  
MAMBO: Typical mambo style. Hold 34 notes for best  
DUAL RANDOM: Notes you press will be sounded two at a  
results.  
time, in random order.  
LATIN PERCUSSION: A rhythm style with Latin percussion  
instruments such as Clave, Cowbell, Clap, Bongo, Conga,  
Agogo etc.  
TRIPLE UP: Notes you press will sound three at a time, from  
low to high.  
TRIPLE DOWN: Notes you press will sound three at a time,  
SAMBA: Typical samba style. Use for rhythm patterns or  
from high to low.  
bass lines.  
TRIPLE UP&DOWN: Notes you press will sound three at a  
TANGO: Typical tango rhythm style. Hold the root, 3rd and  
time, from low to high and then back down from high to low.  
5th of a triad etc. for best results.  
TRIPLE RANDOM: Notes you press will sound three at a  
HOUSE: A style for house piano backing. Hold 34 notes for  
time, in random order.  
best results.  
NOTE ORDER: Notes you press will be sounded in the order  
in which you pressed them. By pressing the notes in the  
appropriate order you can produce melody lines. Up to 128  
notes will be remembered.  
LIMITLESS: The settings of all parameters can be freely  
combined without restriction.  
Choices can be set for the Motif, Beat Pattern, Shuffle  
Rate and Accent Rate parameters for each style. Refer to  
the Arpeggio Style List(p. 268).  
GLISSANDO: Each chromatic step between the highest and  
lowest notes you press will sound in succession, repeating  
upward and downward. Press only the lowest and the  
highest notes.  
O cta ve Ra n g e  
CHORD: All notes you press will sound simultaneously.  
Sets the key range in octaves over which arpeggio will take  
place. If you want the arpeggio to sound using only the notes  
that you actually play, set this parameter to 0. To have the  
arpeggio sound using the notes you play and notes 1 octave  
higher, set this parameter to +1. A setting of -1 will make the  
arpeggio sound using the notes you play and notes 1 octave  
lower.  
BASS+CHORD 15: The lowest of the notes you play will  
sound, and the remaining notes will sound as a chord.  
BASS+UP 18: The lowest of the notes you play will sound,  
and the remaining notes will be arpeggiated.  
BASS+RND 13: The lowest of the notes you play will  
sound, and the remaining notes will sound in random order.  
TOP+UP 16: The highest of the notes you play will sound,  
Mo tif  
and the remaining notes will be arpeggiated.  
Sets the order in which notes of the chord will sound.  
BASS+UP+TOP: The highest and the lowest of the notes you  
play will sound, and the remaining notes will be arpeggiated.  
Some settings will not be available depending on the  
Style parameter setting. For details on the possible  
values, refer to Arpeggio Style List(p. 268).  
SINGLE UP: Notes you press will be sounded individually,  
beginning from low to high.  
SINGLE DOWN: Notes you press will be sounded  
individually, from high to low.  
SINGLE UP&DOWN: Notes you press will be sounded  
individually, from low to high, and then back down from  
high to low.  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
Be a t Pa tte rn  
Te m p o (Arp e g g io Te m p o )  
Select the beat pattern from the choices below. This setting  
will affect the location of the accent and length of the notes to  
determine the beat (rhythm).  
Sets the speed of the arpeggio.  
When the Clock Source parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to INT, the display will indicate  
Tempo(=SYS), and this will be the same value as the system  
tempo. With a setting of MIDI, the display will indicate  
Tempo(=EXT), and you will be synchronized to the clock of  
the external MIDI device.  
Some settings will not be available depending on the  
Style parameter setting. For details on the possible  
values, refer to Arpeggio Style List(p. 268).  
1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111,  
PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 1, 2,  
SEQ-D 18, ECHO 13, MUTE 0116, STRUM 18,  
REGGAE 1, 2, REFRAIN 1, 2, PERC 14, WALKBS, HARP,  
BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO  
12, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO  
14, HOUSE 1, 2  
Se ttin g th e D Be a m Co n tro lle r  
(D BEAM)  
This is where the settings are made for applying effects to the  
sound by moving your hand over the D Beam controller in  
Patch/ Rhythm Set/ GM mode.  
When using the D Beam controller in Performance  
mode, the settings are made in Zone mode (p. 63).  
If PORTA-A 0111, PORTA-B 0115is selected as the  
Beat Pattern, the Time parameter (PATCH/ CONTROL/  
PATCH PORTAMNT) will control the speed of  
appropriate for the playback tempo. (It is not necessary  
to turn portamento switch on.)  
D BEAM CO N TRO L  
fig.04-16  
Assig n (D Be a m Assig n )  
Acce n t Ra te  
Specifies the function controlled by the D Beam controller.  
CC0131, 3395: Controller numbers 131, 3395  
Modifies the strength of accents and the length of the notes to  
adjust the groovefeel of the arpeggio. A 100% setting will  
result in the most pronounced groovefeel.  
For more information about Control Change messages,  
Sh u ffle Ra te  
please refer to MIDI Implementation(p. 270).  
This setting lets you modify the note timing to create shuffle  
rhythms.  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
With a setting of 50%, the notes will sound at equal spacing.  
As this value is increased, the notes will become more  
OCT UP: Raises the key range in octave steps (up to 3 octaves  
higher).  
bouncy,as if they were dotted notes.  
fig.04-15  
OCT DOWN: Lowers the key range in octave steps (up to 3  
Shuffle Rate = 50%  
Shuffle Rate = 90%  
octaves lower).  
START/STOP: Starts/ Stops the external sequencer.  
50  
50  
50  
50  
90  
10  
90  
10  
TAP TEMPO: Tap tempo (a tempo specified by the interval  
at which you move your hand over the D Beam controller).  
If the Beat Pattern setting is 1/ 4, shuffle will not be  
applied even if you increase the Shuffle Rate setting.  
O u tp u t (D Be a m O u tp u t)  
Selects the sound generator(s) (the internal sound generator  
and/ or external sound generators connected to MIDI OUT  
connector) to be controlled by the D Beam controller.  
Ke y Ve lo city  
Specifies the loudness of the notes that you play.  
OFF: Neither will be controlled.  
If you want the velocity value to change according to how  
strongly you played each note, set this to REAL. If you want  
each note to have a fixed velocity regardless of how strongly  
you play the keyboard, set this parameter to the desired  
value (1127).  
INT: Only the internal sound generator will be controlled.  
MIDI: Only external sound generators will be controlled.  
BOTH: Both the internal sound generator and external sound  
generators will be controlled.  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
Po la rity (D Be a m Po la rity )  
Ph ra se Pre vie w Se ttin g s  
(PREVIEW )  
Switches the polarity of the D Beam controller.  
With a setting of REVERSE, the direction of control for the D  
Beam controller will be inverted.  
Specifies how the phrase will play when you press [PHRASE  
PREVIEW].  
D BEAM RAN GE  
fig.04-17  
SYSTEM PREVIEW  
fig.09-21  
Lo w e r (D Be a m Ra n g e Lo w e r)  
Pre vie w Mo d e (Pre vie w So u n d Mo d e )  
Specifies the lower limit of the range of the D Beam  
controller. Values below this setting will not be output.  
SINGLE: The notes specified by Note 14 will sound  
successively one by one.  
CHORD: The notes specified by Note 14 will sound  
Up p e r (D Be a m Ra n g e Up p e r)  
simultaneously.  
Specifies the upper limit of the range of the D Beam  
controller. Values above this setting will not be output.  
PHRASE: The Phrase associated with the Patchs type/  
category is played.  
It is not possible to set the lower limit value above the  
upper limit, nor can you set the upper limit value below  
the lower limit.  
PREVIEW KEY  
fig.09-22  
D BEAM SEN S  
fig.04-18  
N o te 1 –4 (Pre vie w N o te Se t 1 –4 )  
Specify the pitch (C-1G9) of the four notes that will sound  
when the Preview Mode parameter is set to either SINGLE or  
CHORD.  
D Be a m Se n sitivity  
This sets the D Beam Controllers sensitivity. The higher the  
value set, the more readily the D Beam Controller goes into  
effect. Ordinarily, this is set to 5.  
If PHRASE is selected for the Preview Mode parameter,  
these settings will have no effect.  
PREVIEW VELO CITY  
fig.09-23  
N o te 1 –4 (Pre vie w Ve lo city )  
Specify the velocity (0127) of the four notes that will sound  
when the Preview Mode parameter is set to either SINGLE or  
CHORD.  
If PHRASE is selected for the Preview Mode parameter,  
these settings will have no effect.  
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Ch a p te r 9 . Ge ttin g Mo re Fa m ilia r w ith th e XV-8 8 (Sy ste m Fu n ctio n s)  
TRAN SMIT SO N G SEL  
(Tra n sm it So n g Se le ct)  
fig.09-27  
Ch e ck in g th e In sta lla tio n o f th e  
W a ve Ex p a n sio n Bo a rd a n d  
Co n tro llin g Ex te rn a l MIDI De vice s  
(IN FO )  
This transmits a MIDI message (Song Select) to the external  
MIDI device in order to change the song.  
IN FO EXP  
(In fo rm a tio n Ex p a n sio n Bo a rd )  
So n g N u m b e r (Tra n sm it So n g Se le ct N u m b e r)  
fig.09-24  
Selects the Song Select number you wish to transmit.  
The display shows the names of Wave Expansion Boards  
Holding down [SHIFT] while pressing  
(or  
) in  
installed in slots EXP AD.  
a PLAY page selects the song before (or after) the Song  
Number set with the Song Number parameter.  
Slots without any boards installed are shown as ----------------.”  
BATTERY CHECK  
fig.09-25  
The XV-88 contains a battery that retains the data in its  
internal memory when the units power is turned off. This  
display allows you to check the battery voltage. If the display  
says OK,there is sufficient voltage. If the display says  
LOW,the batterys voltage is getting low. Contact the  
nearest Roland Service Center as soon as possible, and have  
the battery replaced.  
TRAN SMIT P.C  
(Tra n sm it Pro g ra m Ch a n g e )  
fig.09-26  
When you want to transmit MIDI messages (Program Change  
and Bank Select) to select sounds on an external MIDI device,  
make settings in this display and then press [ENTER].  
Ch (Tra n sm it MIDI Ch a n n e l)  
Selects the channel on which the MIDI message will be  
transmitted.  
P.C# (Tra n sm it Pro g ra m Ch a n g e N u m b e r)  
Selects the Program Change number you wish to transmit.  
Ba n k Se le ct MSB/ LSB  
(Tra n sm it Ba n k Se le ct MSB/ LSB)  
Selects the Bank Select number MSB (Controller number 0)  
and LSB (Controller number 32) you want to transmit.  
Information on the XV-88 Tone Group/ Bank  
corresponding to the Bank Select message sent is  
displayed in parentheses.  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
The Utility mode allows you to store Performance/ Patch/  
UTIL 2 (Utility 2 )  
fig.10-02  
Rhythm Set settings (Write), and transmit data (Data  
Transfer), as well as other global XV-88 memory settings.  
CARD  
Ab o u t Utility Mo d e  
Here you can make settings related to memory cards. (p.  
The XV-88 goes into Utility mode if you press [UTILITY].  
The indicator will blink.  
188)  
LO AD  
Utility mode offers nine functions categorized into two  
This function loads data from memory card into the XV-88s  
groupsUTIL 1 and UTIL 2.  
memory. (p. 190)  
UTIL 1 (Utility 1 )  
fig.10-01  
SAVE  
This function saves data to memory card. (p. 190)  
FACTO RY RESET  
This function resets all the XV-88s settings to their factory  
W RITE  
default values. (p. 191)  
This function writes Performance, Patch or Rhythm Set  
settings youve modified into internal memory (user  
memory). (p. 180)  
Ba sic Pro ce d u re in Utility  
Mo d e  
CO PY  
This function copies data from a Performance, Patch or  
Rhythm Set into the current Performance, Patch or Rhythm  
Set. (p. 182)  
In order to use a memory card, you must first turn off  
the power, and then insert a memory card into the  
IN IT (In itia lize )  
MEMORY CARD slot as follows.  
fig.00-01.e  
This resets parameters of the current Performance, Patch or  
Rhythm Set to default factory settings. (p. 185)  
XFER (Da ta Tra n sfe r)  
This function transmits Performance, Patch, Rhythm Set or  
System settings to an external MIDI device. (p. 185)  
PRO TECT (Use r Me m o ry Pro te ct)  
This function prevents internal memory (user memory) from  
being accidentally rewritten. (p. 188)  
Insert with the surface with the gold connector facing up  
1 . Press [UTILITY], getting its indicator to start blinking.  
The XV-88 will switch to Utility mode.  
The data handled in the Save, Copy, and Initialize  
procedures differs depending on the sound generator  
mode. Press [UTILITY] from within the desired sound  
generator mode.  
2 . Press  
or  
to select the group (UTIL 1, UTIL 2)  
containing the function you want.  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
3 . Use  
or  
to select the desired function (the function  
Sto rin g So u n d Da ta in Use r  
Me m o ry (W RITE)  
name will blink), and press [ENTER].  
The display for the desired function will appear.  
If you turn the power off or select another Performance,  
Patch, or Rhythm Set after you have modified a Performance,  
Patch, or Rhythm Set, the changes you have made will be  
lost. If you wish to keep the data, store it into internal  
memory (user memory).  
You can also access the desired function page by using  
the numeric keys or function buttons to specify the  
number of the function.  
If you selected the UTIL 2 group function 1. CARD,”  
the CARD page will appear. Here you can once again  
select the desired function.  
In te rn a l W rite Pro te ct  
The Internal Write Protect setting is provided to help  
prevent the accidental overwriting of data in the user  
memory. When saving new data to the user memory,  
you must turn off Internal Write Protect. If you attempt  
to save data when it is on, the following display will  
4 . When parameters in the different function page are to be  
set, you can use the VALUE dial, [INC/ +]/ [DEC/ -], or  
the numeric keys to make the settings.  
appear.  
To cancel the operation, press [EXIT].  
fig.10-03  
5 . Press [ENTER] to execute the function.  
When the operation is completed, the display will briefly  
Change the displayed ON to OFF and press [ENTER] to  
turn Internal Write Protect off. Press [ENTER] once  
again, and the data will be written into the user memory.  
indicate COMPLETED.”  
When certain functions are executed, you are then  
returned to the original mode page.  
Once you disable Internal Write Protect, it will remain  
disabled until the XV-88s power is turned off. When the  
power is turned on once again, it will be reset to ON.  
6 . To return to the UTIL 1 or UTIL 2 page, press [EXIT]. To  
return to the display of the previous mode, press  
[UTILITY] to make the indicator go dark.  
Sa vin g a Pe rfo rm a n ce  
The settings of the current Performance will be written into  
user memory. Press [UTILITY] in Performance mode, and  
perform Write operation.  
fig.10-04.e  
Writing destination Performance (group, number, name)  
By holding down [SHIFT] and pressing [UTILITY], you  
can move directly to the PERFORM WRITE page.  
For more detailed information and instructions for this  
procedure, refer to Saving to Internal Memory(p.  
164).  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Sa vin g a Pa tch  
Sa vin g a Rh y th m Se t  
The settings of the current Patch will be written into user  
memory. Press [UTILITY] in Patch mode, then perform Write  
The settings of the current Rhythm Set will be written into  
user memory. Press [UTILITY] in Rhythm Set mode, then  
operation.  
perform Write operation.  
fig.10-05.e  
fig.10-07.e  
Writing destination Patch (group, number, name)  
Writing destination Rhythm Set (group, number, name)  
By holding down [SHIFT] and pressing [UTILITY], you  
can move directly to the PATCH WRITE page.  
By holding down [SHIFT] and pressing [UTILITY], you  
can move directly to the RHYTHM WRITE page.  
For more detailed information and instructions for this  
procedure, refer to Saving to Internal Memory(p.  
164).  
For more detailed information and instructions for this  
procedure, refer to Saving to Internal Memory(p.  
164).  
Th e Co m p a re Fu n ctio n  
Th e Co m p a re Fu n ctio n  
The Compare function allows you to play the Patch  
currently stored in the selected memory location so that  
you can make sure you really want to overwrite it. To  
play the Patch of the writing destination, press [UNDO/  
COMPARE] to access the PATCH COMPARE page. You  
can select the writing destination Patch in this display as  
well. After selecting the desired Patch, return to the  
previous page by pressing [UNDO/ COMPARE] or  
The Compare function allows you to play the Rhythm  
Set currently stored in the selected memory location so  
that you can make sure you really want to overwrite it.  
To play the Rhythm Set of the writing destination, press  
[UNDO/ COMPARE] to access the RHYTHM  
COMPARE page. You can select the writing destination  
Rhythm Set in this display as well. After selecting the  
Rhythm Set, return to the previous page by pressing  
[EXIT].  
[UNDO/ COMPARE] or [EXIT].  
fig.10-06.e  
fig.10-08.e  
Writing destination Rhythm Set (group, number, name)  
Writing destination Patch (group, number, name)  
The Patch auditioned using the Compare function  
may sound slightly different than when it is played  
normally.  
The Rhythm Set auditioned using the Compare  
function may sound slightly different than when it is  
played normally.  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Pe rfo rm a n ce Effe cts Co p y  
Co p y in g So u n d Ge n e ra to r  
Se ttin g s (CO PY)  
You can copy the effect settings from any Performance, Patch  
or Rhythm Set into the currently selected Performance.  
fig.10-10.e  
This function lets you copy data of any Performance, Patch,  
or Rhythm Set into the current Performance, Patch, or  
Rhythm Set. You can use this feature to make the editing  
process faster and easier.  
Copy source  
Copy source Performance/  
Patch/Rhythm Set  
(group, number, name)  
Co p y in g a Pe rfo rm a n ce  
Press  
to move to the next display, and then select the  
To copy the settings of a Performance, press [UTILITY] in  
Performance mode, then perform Copy operation.  
contents of the effect that you wish to copy.  
fig.10-11.e  
Pe rfo rm a n ce Pa rt Co p y  
The Part settings of a Performance will be copied to the Part  
Copy type  
you specify of the current Performance.  
fig.10-09.e  
ALL: Multi-effects, Chorus, and Reverb settings  
MFX: Multi-effects settings  
CHORUS: Chorus settings  
REVERB: Reverb settings  
Copy source  
Performance name  
Copy source Performance  
(group, number)  
CHO&REV: Chorus and Reverb settings  
Copy source Part  
Copy destination Part  
For more detailed information and instructions for this  
procedure, refer to Copying Another Effect Setting  
(Effects Copy)(p. 161).  
To specify the currently selected Performance as the  
copy source, set Source to TEMP.  
When the Copy operation is executed, an * symbol will be  
Pe rfo rm a n ce N a m e Co p y  
displayed in front of the copy-destination Part.  
You can copy the name from a Performance to the current  
Performance.  
fig.10-12.e  
For more detailed information and instructions for this  
procedure, refer to Copying the Settings of Another  
Part (Part Copy)(p. 50).  
Copy source Performance (group, number, name)  
1 8 2  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Co p y in g a Pa tch  
Th e Co m p a re Fu n ctio n  
To copy the settings of a Patch, press [UTILITY] in Patch  
mode, then perform Copy operation.  
For the Patch Tone Copy and Patch Effect Copy  
operations, you can use the Compare function.  
Pa tch To n e Co p y  
The Compare function allows you to play the copy-  
source Patch. To play the Patch of the copy source, press  
[UNDO/ COMPARE] to access the PATCH COMPARE  
page. The new Patch can also be selected from this  
pagehowever, it is not possible to select Patches from  
CD-AH or XP-AD. After selecting the desired Patch,  
return to the previous page by pressing [UNDO/  
Tone settings of a Patch will be copied to the Tone you  
specify of the current Patch.  
fig.10-13.e  
Copy source Patch  
(group, number)  
Copy source Patch name  
Copy destination Tone  
COMPARE] or [EXIT].  
fig.10-06a.e  
Copy source Tone  
To specify the currently selected Patch as the copy  
source, set Source to TEMP.  
Copy source Patch (group, number, name)  
When the Copy operation is executed, an * symbol will be  
The Compare function cannot be used with Patch  
Tone Copy if either TEMP, a CD-AH or XP-AD  
patch is selected as the copy-source Patch.  
displayed in front of the copy-destination Tone.  
For more detailed information and instructions for this  
procedure, refer to Copying the Settings of Another  
Tone (Tone Copy)(p. 68).  
The Compare function cannot be used with Patch  
Effect Copy if PERFORM is selected as the copy  
source.  
The Patch auditioned using the Compare function  
may sound slightly different than when it is played  
normally.  
Pa tch Effe cts Co p y  
You can copy the effect settings from any Performance, Patch  
or Rhythm Set into the currently selected Patch.  
fig.10-14.e  
Pa tch N a m e Co p y  
You can copy the name of a Patch to the current Patch.  
fig.10-16.e  
Copy source  
Copy source Performance/  
Patch/Rhythm Set  
(group, number, name)  
Press  
to move to the next display, and then select the  
contents of the effect that you wish to copy.  
fig.10-15.e  
Copy source Patch (group, number, name)  
Copy type  
ALL: Multi-effects, Chorus, and Reverb settings  
MFX: Multi-effects settings  
CHORUS: Chorus settings  
REVERB: Reverb settings  
CHO&REV: Chorus and Reverb settings  
For more detailed information and instructions for this  
procedure, refer to Copying Another Effect Setting  
(Effects Copy)(p. 161).  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Co p y in g a Rh y th m Se t  
For more detailed information and instructions for this  
procedure, refer to Copying Another Effect Setting  
(Effects Copy)(p. 161).  
To copy the Rhythm Set settings, press [UTILITY] in Rhythm  
Set mode and perform Copy operation.  
Rh y th m To n e Co p y  
Th e Co m p a re Fu n ctio n  
Individual Rhythm Tone (percussion sound) settings  
For the Rhythm Tone Copy and Rhythm Set Effect Copy  
operations, you can use the Compare function.  
assigned to each key will be copied to each key in the current  
Rhythm Set.  
fig.10-17.e  
The Compare function allows you to play the copy-  
source Rhythm Set. To play the Rhythm Set of the copy  
source, press [UNDO/ COMPARE] to access the  
RHYTHM COMPARE page. The new Rhythm Set can  
also be selected from this pagehowever, it is not  
possible to select patches from CD-AH or XP-AD.  
After selecting the Rhythm Set, return to the previous  
Copy source Rhythm Set  
(group, number)  
Copy source  
Rhythm Set name  
Copy source Key  
Copy destination Key  
page by pressing [UNDO/ COMPARE] or [EXIT].  
fig.10-08a.e  
The copy source and copy destination Key parameters  
can also be set by pressing a key on the keyboard.  
When the Copy operation is executed, an * symbol will be  
displayed in front of the copy-destination key.  
Copy source Rhythm Set (group, number, name)  
For more detailed information and instructions for this  
procedure, refer to Copying the Settings of Another  
Rhythm Set is selected as the copy-source Rhythm  
Set.  
Rh y th m Se t Effe cts Co p y  
The Compare function cannot be used with Rhythm  
Set Effect Copy if PERFORM is selected as the copy  
source.  
You can copy the effect settings from any Performance, Patch  
or Rhythm Set into the currently selected Rhythm Set.  
fig.10-18.e  
The Rhythm Set auditioned using the Compare  
function may sound slightly different than when it is  
played normally.  
Copy source  
Copy source Performance/  
Patch/Rhythm Set  
(group, number, name)  
Rh y th m Se t N a m e Co p y  
Press  
to move to the next display, and then select the  
You can copy the name of a Rhythm Set to the current  
contents of the effect that you wish to copy.  
fig.10-19.e  
Rhythm Set.  
fig.10-20.e  
Copy type  
Copy source Rhythm Set (group, number, name)  
ALL: Multi-effects, Chorus, and Reverb settings  
MFX: Multi-effects settings  
CHORUS: Chorus settings  
REVERB: Reverb settings  
CHO&REV: Chorus and Reverb settings  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
In itia lizin g a Rh y th m Se t  
In itia lizin g So u n d Ge n e ra to r  
Se ttin g s (IN IT)  
To initialize Rhythm Set settings, press [UTILITY] in Rhythm  
Set mode and execute initialization.  
This function resets settings of the current Performance,  
Patch, or Rhythm Set to a standard value or to factory default  
settings.  
The Rhythm Set Initialize operation can also be used to  
initialize the settings of only an individual Rhythm Tone  
(percussion instrument sound) that you specify. In this case,  
move the cursor to Key,and select the Rhythm Tone that  
you wish to initialize. You can specify the key (Rhythm  
Tone) to be initialized via the keyboard or by pressing TONE  
SELECT [1][4].  
The Initialize operation affects only the currently  
selected data; no data stored in the user memory is  
initialized. If you wish to restore all of the XV-88s  
settings to their factory values, perform a Factory Reset  
(p. 191).  
W h e n In itia lizin g a Rh y th m To n e  
fig.10-23  
Mo d e (In itia lize Mo d e )  
There are two initialize methods. Select either of them  
depending on the application.  
W h e n In itia lizin g a Rh y th m Se t  
fig.10-24  
DEFAULT: Resets the current data to the standard values  
called Initial data(INIT PATCH, INIT PERFORM or INIT  
RHYTHM). Use this setting when you wish to create a sound  
from scratch.  
PRESET: Resets the current data in user memory to the  
Tra n sm ittin g So u n d Se ttin g s  
(XFER)  
factory settings.  
You can transmit sound generator or System settings that are  
in the XV-88s memory, or are stored on a memory card to an  
external MIDI device or to the XV-88s user memory.  
If the current data is a Performance, Patch or Rhythm Set  
in preset memory (PR-AF), and initialization is  
performed with PRESET specified, the data will be reset  
to the value of the correspondingly numbered user  
memory.  
Tra n sm ittin g Da ta to a n Ex te rn a l  
MIDI De vice  
The process of transmitting Performance, Patch, Rhythm Set  
or System data to an external MIDI device is called a bulk  
dump. You can perform a bulk dump when two XV-88s are  
connected to each other, or when you wish to store Patch,  
Performance, Rhythm Set or System data on an external  
In itia lizin g a Pe rfo rm a n ce  
To initialize Performance settings, press [UTILITY] in  
Performance mode and execute initialization.  
fig.10-21  
MIDI device as a safety backup of your XV-88 data.  
fig.10-25.e  
In itia lizin g a Pa tch  
To initialize Patch settings, press [UTILITY] in Patch mode  
Data type  
Source block  
Destination  
and execute initialization.  
fig.10-22  
While data is being transmitted, the following display will  
appear.  
fig.10-26  
To interrupt the transmission of data, press [EXIT].  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
You can specify the data to be transmitted by selecting the  
appropriate combination shown below.  
Tra n sm ittin g Da ta to th e XV-8 8  
You can transmit Performance, Patch or Rhythm Set settings  
to the user memory and System settings to the System  
memory. By loading sound data from a memory card or  
Wave Expansion Boards to user memory, you can bring new  
For example, if you wish to transmit the USER group Patches  
001-020, you would specify PATCH USER:001-020.”  
Type  
Block  
sounds into a Performance.  
fig.10-27.e  
ALL  
USER  
TEMP  
PERFORM  
USER  
TEMP  
0164  
-PATCH  
+PATCH  
*1  
*2  
Data type  
Source block  
Destination  
CTRL  
PATCH  
USER  
TEMP  
001128  
If the XV-88 internal memory already contains important  
data that you have created, this operation will cause all  
of this data to be lost. If you wish to keep the data, you  
must save it on a memory card (p. 190) or on an external  
MIDI device (p. 185).  
RHYTHM  
USER  
TEMP  
001004  
SYSTEM  
USER  
If Internal Write Protect is turned ON, the following  
display will appear, and the Data Transfer operation will  
not be executed.  
*1 Only the current Performance settings will be transmitted.  
*2 The current Performance settings and the setting of a Patch  
or Rhythm Set assigned to the Part will be transmitted.  
fig.10-03  
Ty p e (Da ta Ty p e )  
Specifies the type of data to be transmitted.  
ALL: Performance, Patch, and Rhythm Set  
PERFORM: Performance  
PATCH: Patch  
Change the displayed ON to OFF and press [ENTER] to  
turn Internal Write Protect off. Press [ENTER] once  
again.  
RHYTHM: Rhythm Set  
SYSTEM: System  
Blo ck (So u rce Blo ck )  
Specifies the source of the data to be transmitted.  
USER: Data from user memory will be transmitted.  
TEMP: Data in Temporary area will be transmitted.  
CTRL: The status of Performances, including Performance  
Bank Selects and Program Changes, are not sent as Exclusive  
messages, but rather as MIDI Channel messages.  
For more on the messages that are transmitted, refer to  
MIDI Implementation(p. 270).  
De stin a tio n  
This is the Transmission destination. It is set with MIDI.  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
You can specify the data to be transmitted by selecting the  
appropriate combination shown below.  
Ty p e (Da ta Ty p e )  
Specifies the type of data to be transmitted.  
ALL: Performance, Patch, and Rhythm Set  
PERFORM: Performance  
PATCH: Patch  
For example, if you wish to transmit only the PR-A group  
Patch 001, specify PATCH PR-A:001-001.”  
RHYTHM: Rhythm Set  
If the selected data is too large to fit completely into the  
transmission destination, as much of the data as will fit  
will be transmitted, starting at the first number of the  
specified transmission destination.  
SYSTEM: System  
F-LIST: Favorite List  
Blo ck (So u rce Blo ck )  
(Example)  
Specifies the source of the data to be transmitted.  
USER: Data from user memory will be transmitted.  
PR-AF: Preset AF data will be transmitted.  
Type  
Block  
PATCH  
PR-A:001005  
Destination User:127  
XP-AD: Data from an Wave Expansion Board will be  
If the above settings are made and transmission is  
executed, only the two PR-A group Patches 01 and 02  
will be transmitted to USER group Patches 127 and 128.  
transmitted.  
Type  
Block  
XP-AD can be selected only if the corresponding Wave  
ALL  
PR-A, B  
USER  
*1  
Expansion Board is installed.  
PERFORM  
0164  
0132  
**  
*2  
*1  
*3  
CARD: Performance/ Patch/ Rhythm Set/ Favorite List data  
stored on memory card will be transmitted.  
fig.10-28.e  
PR-A, B  
CARD  
PATCH  
USER  
001128  
001128  
001***  
**  
*2  
*4  
*5  
*3  
PR-AF  
XP-AD  
CARD  
File number  
File name  
De stin a tio n  
This is the Transmission destination. It is set with User.  
RHYTHM  
USER  
001004  
001002  
001***  
**  
*2  
*4  
*5  
*3  
PR-AF  
XP-AD  
CARD  
If the Type parameter has been set to PERFORM,  
PATCH, or RHYTHM, you must specify the first  
memory location number of the transmission  
destination.  
SYSTEM  
F-LIST  
Card  
Card  
**  
**  
*6  
*6  
*1 There are no Performances except in PR-A and B; no  
selection is available.  
*2 Data is moved within the User Memory as a block, and  
Performances, Patches, and Rhythm Sets are overwritten.  
*3 After specifying a file number, set the range of the block to be  
transmitted.  
*4 Data in PR-H is GM data, and so cannot be transmitted.  
*5 Depends on the Wave Expansion Board installed.  
*6 Specify a file number.  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Pro te ctin g th e In te rn a l  
Me m o ry (PRO TECT)  
Me m o ry Ca rd -Re la te d  
Se ttin g s (CARD)  
This feature helps prevent the accidental overwriting of user  
memory to ensure that Performance, Patch or Rhythm Set  
The XV-88 can use memory cards (SmartMedia).  
Use memory cards when you wish to save data for which  
there is no more room in the internal USER group, or so that  
the data can be loaded into another XV-88.  
data is not accidentally erased.  
fig.10-29  
When you select 1. CARDin the UTIL 2 group, the  
following CARD page will appear. Select the function you  
In te rn a l (In te rn a l W rite Pro te ct)  
wish to execute.  
fig.10-30  
The Internal Write Protect setting prevents the Write  
operation from accidentally overwriting user memory  
locations. When this is set to ON, the data cannot be  
rewritten. Data can be rewritten when it is at OFF. When the  
XV-88s power is turned on, this setting is automatically  
turned on. You will need to turn it off before writing data to  
the user memory. It is also possible to turn this setting off  
during the Write procedure.  
Be fo re Usin g a Me m o ry Ca rd  
The XV-88 can use either the 3.3 or 5 V memory cards  
(SmartMedia).  
SmartMedia can be purchased at computer stores and  
vendors handling digital cameras.  
Except while performing the File Copy operation (p.  
removing a card. If a memory card is inserted when the  
power is turned on, the data in the memory card may be  
destroyed, or the memory card may become unusable.  
Be aware that if Exclusive Protect is set to OFF, User  
memory can be overwritten by System Exclusive  
messages received from an external MIDI device, even if  
Internal Write Protect is set to ON. To prevent  
inadvertent overwriting of User memory, it is  
recommended that both Internal Write Protect and  
Exclusive Protect be set to ON.  
Insert memory cards completely and securely, with the  
side showing the gold contacts facing upward.  
Do not touch the contacts of the memory card, or allow  
them to become soiled.  
Ex clu sive (Ex clu sive Pro te ct)  
Never remove the memory card or turn off the power  
while any operation involving the memory card (such as  
loading or saving data, or formatting) is in process.  
Doing so can destroy the data on the memory card and/  
or render the memory card itself unusable.  
The Exclusive Protect setting prevents System Exclusive  
messages received from an external MIDI device from  
rewriting user memory settings. When this setting is ON, the  
data cannot be rewritten.  
If you affix the write protect seal to the write protect area  
of the memory card, you will not be able to format the  
card or save data to it. If you wish to format the card or  
save data to it, do so without the seal affixed. For details  
on the write protect seal, refer to the instructions  
included with your memory card.  
If you attempt to format a card, or save data to it when  
the write protect seal is affixed, the Memory Card Write  
Protectedmessage will appear.  
fig.err10  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Fo rm a ttin g th e Me m o ry Ca rd fo r  
th e XV-8 8 (FO RMAT)  
Co p y in g File s Be tw e e n Me m o ry  
Ca rd s (FILE CO PY)  
This function initializes (formats) a memory card so that XV-  
88 data can be saved to it. Before a new memory card or a  
memory card used on another device can be used on the XV-  
Use FILE COPY to copy files stored on one memory card to  
another memory card.  
88, it must be formatted on the XV-88.  
fig.10-31  
The copy destination memory card must already be  
formatted (p. 189).  
Insert and remove memory cards used in the FILE COPY  
procedure only as directed by the on-display  
instructions. Using other procedures can damage the  
memory cards, rendering them unusable.  
Please be aware that formatting will erase all the data  
currently stored on the memory card.  
1 . Select 4. FILE COPYin the CARD page to display a  
screen like the following.  
fig.10-34  
Re n a m in g a File (REN AME)  
This operation allows you to change the name of a file  
already stored on the memory card.  
fig.10-32.e  
2 . Insert the memory card containing the file you want to  
Original file name  
copy in the MEMORY CARD slot and press [ENTER].  
3 . Use the VALUE dial, [INC/ +]/ [DEC/ -] or numeric keys  
to select the file you want to copy, then press [ENTER].  
The following display will appear.  
fig.10-35  
New file name  
You can assign the file a name of up to eight characters.  
For details on assigning names, refer to Assigning a  
Name(p. 28).  
The following display will appear.  
fig.10-36.e  
Copy source (file number : file name)  
The file name extension (.SVD) cannot be changed.  
De le tin g Un w a n te d File s (DELETE)  
Copy destination (file number : file name)  
Use this operation to delete unwanted files from a memory  
card.  
fig.10-33  
5 . Specify the number of copy destination file. When  
necessary, change the name of copy destination file. You  
can assign the file a name of up to eight characters.  
For details on assigning names, refer to Assigning a  
Name(p. 28).  
6 . Press [ENTER] to execute the File Copy, and the  
following display will appear.  
fig.10-37  
To continue on, and copy more files, press [ENTER]. To  
exit the operation, press [EXIT].  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Ch e ck in g th e Co n te n ts o f a  
Me m o ry Ca rd (IN FO )  
Lo a d in g a File fro m Me m o ry  
Ca rd in to th e XV-8 8 (LO AD)  
You can view the number of files on a memory card, its  
remaining free memory, and the size of each file. In addition,  
you can also change and delete assignments to the CARD  
This function loads data files from memory card into the XV-  
88s memory. A data file contains a set of data for  
Performances, Patches, Rhythm Sets, System, and Favorite  
Group Banks AH.  
fig.10-38.e  
List settings.  
fig.10-40  
File name  
File number  
Bank  
File size  
If the XV-88 internal memory already contains important  
data that you have created, this operation will cause all  
of this data to be lost. If you wish to keep the data, you  
must save it on a memory card (p. 190) or on an external  
MIDI device (p. 185).  
Free area  
Number of files on memory card  
Pressing [A][H] in this page displays the files to which the  
applicable bank AH is assigned. The display does not  
change if there is no data assigned to the bank corresponding  
to the button pressed.  
If you wish to load only a specific portion of the data file,  
Press [SHIFT] to display the following page.  
fig.10-39  
Sa vin g Da ta to Me m o ry Ca rd  
(SAVE)  
When changing the Bank assignment, select that file,  
then hold down [SHIFT] and press one of the buttons  
[A][H].  
The Performances, Patches, Rhythm Sets, System, and  
Favorite List settings in internal memory can be saved as a  
single file onto a memory card.  
To delete the Bank assignment, select that file, hold  
down [SHIFT] and press [UNDO/ COMPARE].  
To overwrite a previously saved file on the memory card,  
The assigned bank will be indicated by an * symbol.  
select its file number.  
fig.10-41  
Data files contain an entire set of parameter settings for  
the sound generator. It is not possible to save individual  
Patches or Performances to a memory card.  
The number of files that can be saved on a card will  
depend on the memory capacity of the card itself.  
For more detailed information and instructions for this  
procedure, refer to Saving a Group of Tones to a  
Memory Card(p. 167).  
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Ch a p te r 1 0 . Me m o ry Se ttin g s (Utility Mo d e )  
Re ca llin g Fa cto ry De fa u lt  
Se ttin g s (FACTO RY RESET)  
You can restore all settings stored in the XV-88 to their  
factory values (Factory Reset).  
fig.10-42  
If the XV-88 internal memory already contains important  
data that you have created, this operation will cause all  
of this data to be lost. If you wish to keep the data, you  
must save it on a memory card (p. 190) or on an external  
MIDI device (p. 185).  
If Internal Write Protect is turned ON, the following  
display will appear, and the Factory Reset operation will  
not be executed.  
fig.10-03  
Change the displayed ON to OFF and press [ENTER] to  
turn Internal Write Protect off. Are You Sure?will be  
displayed, press [ENTER].  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
The XV-88 features a GM modea convenient way to play  
back or create GM score data (music files for General MIDI  
Ge n e ra l MIDI/ Ge n e ra l MIDI 2 Sy ste m O n  
Me ssa g e  
sound module). Youre able to play back commercial GM  
score data releases and even modify various parameter  
The General MIDI/ General MIDI 2 System On messages  
settings for enhanced musical expression.  
put the unit in a state that conforms to the General MIDI  
System and initializes a General MIDI-compatible sound  
generator.  
En te rin g GM Mo d e  
GM mode can be likened to a Performance for which the  
If the Rx GM On/ Rx GM2 On parameter (SYSTEM/  
sound generator has been set to comply with General MIDI  
MIDI/ SYSTEM MIDI) is set OFF, General MIDI/  
system, and to which GM-compliant Patches and Rhythm  
General MIDI 2 System On messages cannot be  
Sets have been assigned.  
received.  
fig.11-01.e  
GM Patch/Rhythm Set (number, group)  
Part number  
Pla y in g Ba ck GM Sco re s  
When the XV-88 is in GM mode, it plays back GM scores  
The GM PLAY page shows the Patch or Rhythm Set assigned  
correctly. But beyond this, the XV-88 provides extended  
to each Part.  
features not defined in General MIDI specifications, and if  
Each time you enter GM mode, the GM2 STANDARD is  
you create music files using these extended features, your  
assigned to Part 10, and Piano 1 is assigned to other Parts.  
song may not play back correctly on other General MIDI-  
You can also select other GM Patches and GM Drum Sets for  
compatible sound modules.  
each Part to match the performance.  
1 . Hold down [SHIFT] and press [PERFORM] to call up the  
General MIDI/ General MIDI 2 System On messages are  
GM PLAY page.  
normally placed at the beginning of a GM score. This  
When you switch the XV-88 into GM mode, the sound  
means that if a GM score is played back from the middle  
generator initializes itself for basic General MIDI  
of the song, the XV-88 will not switch to GM mode, and  
settings.  
playback may not be correct. So to be safe, its  
2 . To change the current Part, press  
or  
.
recommended to manually set the XV-88 to GM mode  
before playing back a GM score.  
3 . To change the GM Patch or GM Rhythm Set assigned to  
the Part, perform the same procedure as you do when  
you select a Patch or Rhythm Set.  
When the XV-88 receives a GS Reset message, the XV-88  
is enabled for the GS format (a shared set of  
specifications proposed by Roland for standardization of  
multi-timbral sound modules). This permits playback of  
music data bearing the GS logo (GS music data).  
However, Rolands Sound Canvas Series (including the  
SC-8850 and SC-8820 models) feature a different sound  
module format and expanded tone map, so data created  
exclusively for the Sound Canvas Series may not play  
back properly on the XV-88.  
In itia lizin g th e So u n d Ge n e ra to r fo r  
Ge n e ra l MIDI Sy ste m Ba sic Se ttin g s  
To play back a GM score correctly, the sound generator must  
first be initialized to basic General MIDI system settings. The  
XV-88s sound generator is initialized in the General MIDI  
settings.  
When Switching to GM Mode  
When it receives a General MIDI/ General MIDI 2  
System On message from an external MIDI device  
When the music data being played back on an external  
MIDI device contains a General MIDI/ General MIDI 2  
System On message  
When the XV-88s power is turned on  
When you execute the GM/ GM2 Initialize function (p. 198)  
1 9 2  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
5 . If you have selected a parameter display that can be set  
independently for each Part, the number of the Part  
selected for editing will be shown in the upper left of the  
display. To edit a different Part, press [EDIT] to  
Mu tin g a Sp e cific Pa rt  
When you switch over to GM mode, all Parts will be set to  
receive MIDI messages. To turn off a specific Part so that it  
will not sound, set the Receive Switch to OFF for the Part.  
temporarily turn off the indicator, and use ZONE/ PART  
SELECT [1/ 9][8/ 16] to select a Part. When the [1-8/ 9-  
16] indicator is extinguished, Parts 18 are selected, and  
when the [1-8/ 9-16] indicator is lit, Parts 916 are  
1 . Make sure the [EDIT] indicator is extinguished. If it is lit,  
press [EDIT].  
At this time, the function button indicators will indicate  
the on/ off status of each Part. When the [1-8/ 9-16]  
indicator is out, the function button indicators will  
indicate the status of Parts 18. When the [1-8/ 9-16]  
indicator is lit, the function button indicators will  
indicate the status of Parts 916. Lit is on, and dark is off.  
selected.  
fig.11-02a  
6 . Use  
or  
to move the cursor to the parameter you  
wish to modify.  
2 . Press the function button to switch Parts on/ off.  
7 . Use the VALUE dial, [INC/ +]/ [DEC/ -], or the numeric  
keys to modify the parameter value.  
Mo d ify in g GM Mo d e Se ttin g s  
GM mode also offers parameters that you can modify for  
each Part. You can modify settings like effects, pan, and level  
to customize the playback of GM scores to your liking.  
If youve made a mistake in setting a parameter value, or  
you have second thoughts about the changes, press  
[UNDO/ COMPARE] to restore the value to what it was.  
8 . If you wish to move to another display group, press  
[EDIT] to make the indicator light, and use the function  
buttons.  
When GM mode is initialized (p. 198), all these settings  
will be lost.  
You cannot store GM mode settings in internal memory  
(user memory). If you want to preserve the GM mode  
settings, save the settings to an external MIDI device by  
transmitting them as MIDI messages (p. 198).  
You can also move to another display group by holding  
down [SHIFT] and using  
or  
. Since this can be  
way to get around because you dont have to turn on the  
[EDIT] indicator each time.  
1 . Hold down [SHIFT] and press [PERFORM] to call up the  
GM PLAY page.  
9 . Repeat steps 38 to make settings for GM mode.  
2 . Press [EDIT] to make the indicator light.  
1 0 . When you finish making settings, press [EXIT] to return  
3 . Use the function buttons to select a display group.  
to the GM PLAY page.  
The indicator for the button of the selected display group  
begins blinking.  
fig.11-02  
You can also use the Palette display in the same manner  
when you edit in Performance mode (p. 50).  
In GM mode, you can press the function buttons [2/ 10  
(EFFECTS)], [3/ 11 (MIDI)], [4/ 12 (PART)], and [8/ 16  
(INFO)].  
4 . Use  
or  
to select a display page.  
1 9 3  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
O UTPUT  
fig.11-03  
Ma k in g Effe cts Se ttin g s in GM  
Mo d e (EFFECTS)  
In GM mode, a GM-exclusive Chorus and Reverb can be  
used. Chorus and Reverb can be set independently.  
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)  
Chorus: Adds depth and spaciousness to the sound.  
Sets the direct sounds output method and volume for each  
Reverb: Adds the reverberation characteristics of halls or  
Part.  
auditoriums.  
OUTPUT A: Output to the OUTPUT A (MIX) jacks in stereo.  
OUTPUT B: Output to the OUTPUT B jacks in stereo.  
The value on the right sets the Part volume.  
In GM mode, you cannot use Multi-effects.  
The XV-88s onboard effects can be turned on/ off as a  
whole. For details, refer to Turning Effects On/Off(p.  
105).  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
Ba sic Pro ce ss o f Ma k in g Effe cts Se ttin g s  
Chorus and Reverb are output in mono at all times.  
When applying effects in GM mode, the following procedure  
is used to make the settings.  
The output destination of the signal after passing  
through the Chorus is set with the Out parameter (GM/  
EFFECTS/ GM CHORUS) (p. 195).  
1 . Se ttin g th e O u tp u t Me th o d o f th e Dire ct  
So u n d (O u tp u t Assig n )  
The output destination of the signal after passing  
through the Reverb is set with the Out parameter (GM/  
EFFECTS/ GM REVERB) (p. 195).  
The settings made here determine for each Part whether or  
not the jack used to output the sound, and the type of output  
(stereo or mono). (p. 194)  
Ch o ru s (Ch o ru s Se n d Le ve l)  
2 . Se ttin g th e Am o u n t o f Ea ch Effe ct Ap p lie d  
(Se n d Le ve l)  
Adjusts the amount of Chorus for each Part. If you dont  
want to add the Chorus effect, set it to 0.  
Sets the level (volume) of each effect signal to be sent for each  
Part. (p. 194)  
Re ve rb (Re ve rb Se n d Le ve l)  
Adjusts the amount of Reverb for each Part. If you dont  
3 . Ma k in g Ch o ru s Se ttin g s  
want to add the Reverb effect, set it to 0.  
Select the Chorus type to be used, and set each of the  
parameters for the selected Chorus. (p. 195)  
4 . Se ttin g th e O u tp u t De stin a tio n fo r th e  
So u n d s Pa ssin g Th ro u g h th e Ch o ru s  
Select the output jack from which the sounds passing  
through the Chorus will be output. You can also apply  
Reverb to the sound that passes through Chorus. (p. 195)  
5 . Ma k in g Re ve rb Se ttin g s  
Select the Reverb type to be used, and set each of the  
parameters for the selected Reverb. (p. 195)  
6 . Se ttin g th e O u tp u t De stin a tio n fo r th e  
So u n d s Pa ssin g Th ro u g h th e Re ve rb  
Select the output jack from which the sounds passing  
through the Reverb will be output. (p. 195)  
1 9 4  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
GM CHO RUS  
GM REVERB  
fig.11-04  
fig.11-05  
Ty p e (Ch o ru s Ty p e )  
Selects the type of Chorus.  
CHORUS 14: Chorus 14  
FB CHORUS: Feedback Chorus  
FLANGER: Flanger  
Ty p e (Re ve rb Ty p e )  
Selects the type of Reverb.  
SMALL ROOM: Reverb resembling that obtained in a small  
room.  
MEDIUM ROOM: Reverb resembling that obtained in a  
somewhat larger room.  
Ra te (Ch o ru s Ra te )  
LARGE ROOM: Reverb resembling that obtained in a large  
Specifies the modulation frequency of the Chorus sound.  
room.  
MEDIUM HALL: Reverb resembling that obtained in a  
Dp th (Ch o ru s De p th )  
medium-sized concert hall.  
Sets the depth of the undulations of the Chorus sound.  
LARGE HALL: Reverb resembling that obtained in a large  
concert hall.  
Fb k (Ch o ru s Fe e d b a ck Le ve l)  
PLATE: Plate-type reverb effect.  
Adjusts the amount of Chorus sound that is returned (fed  
back) to the Chorus. Higher settings will create a more  
complex Chorus effect.  
Tim e (Re ve rb Tim e )  
Adjusts the length of the Reverb time.  
Re v (Ch o ru s Re ve rb Se n d Le ve l)  
O u t (Re ve rb O u tp u t Assig n )  
Adjusts the amount of Reverb to be applied to the sound  
routed through Chorus. If you dont want to add the Reverb  
effect, set it to 0.  
Specifies how the sound routed through Reverb will be  
output.  
A: Output to the OUTPUT A (MIX) jacks in stereo.  
O u t (Ch o ru s O u tp u t Assig n )  
B: Output to the OUTPUT B jacks in stereo.  
Specifies how the sound routed through Chorus will be  
output.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
A: Output to the OUTPUT A (MIX) jacks in stereo.  
B: Output to the OUTPUT B jacks in stereo.  
If the Mix/ Parallel parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) is set to MIX, all sounds are output  
from the OUTPUT A (MIX) jacks in stereo (p. 169).  
Ma k in g Se ttin g s fo r Re ce ivin g  
MIDI (MIDI)  
These parameters determine how each Part will transmit and  
receive MIDI messages.  
MIDI  
fig.11-06  
Ch a n n e l (MIDI Re ce ive Ch a n n e l)  
Sets the MIDI receive channel for each Part. If you do not  
want to receive MIDI messages, turn this parameter OFF.  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
Rx Sw (Re ce ive Sw itch )  
SETTIN G  
fig.11-08  
Specifies whether each Part will receive Note messages (ON),  
or not (OFF).  
Vo lu m e (Pa rt Vo lu m e )  
You can also set the Rx Sw parameter on the GM PLAY  
page. Press ZONE/ PART SELECT [1/ 9][8/ 16] to  
switch the setting to ON (indicator lighted), or OFF  
(indicator extinguished). When the [1-8/ 9-16] indicator  
is extinguished, Parts 18 are switched on and off, and  
when the [1-8/ 9-16] indicator is lit, Parts 916 are  
switched on and off (p. 25).  
Adjusts the volume of an individual Part. This settings main  
purpose is to adjust the volume balance between Parts.  
Pa n (Pa rt Pa n )  
Adjusts the pan of each Part. L64 is far left, 0 is center, and  
63R is far right.  
Mu te Sw (Mu te Sw itch )  
If you modify the settings of the Volume parameter or  
Pan parameter, they will be reflected in the INFO page  
(p. 197).  
Mute Sw temporarily mutes (ON) or releases the mute (OFF)  
for the performance of each Part.  
Use this setting when, for example, you want to use the  
instrument for karaoke by muting the Part playing the  
melody, or when you want to play something using a  
separate sound module.  
Co a rse (Pa rt Co a rse Tu n e )  
Adjusts the pitch of the Parts sound up or down in semitone  
steps (+/ -4 octaves).  
Fin e (Pa rt Fin e Tu n e )  
The Mute Sw parameter does not turn the Part off, but  
rather mutes the sound by setting the volume to 0.  
Therefore, MIDI messages are still received.  
Adjusts the pitch of the Parts sound up or down in 1-cent  
steps (+/ -50 cents).  
One cent is 1/ 100th of a semitone.  
Ma k in g Se ttin g s fo r Ea ch Pa rt  
(PART)  
MO DIFY  
fig.11-09  
Here you can select the GM Patch/ Rhythm Set assigned to  
each Part, and set the volume, pan, and pitch of each Part.  
PATCH  
Cu to ff (Pa rt Cu to ff Fre q u e n cy O ffse t)  
fig.11-07  
Adjusts the cutoff frequency for the GM Patch or Rhythm Set  
assigned to a Part.  
Re so n a n ce (Pa rt Re so n a n ce O ffse t)  
Ty p e (Pa rt Ty p e )  
Adjusts the Resonance for the GM Patch or Rhythm Set  
assigned to a Part.  
Sets the assignment of a GM Patch (PAT) or GM Rhythm Set  
(RHY) to each of the Parts.  
Atta ck (Pa rt Atta ck Tim e O ffse t)  
N u m b e r (GM Pa tch / Rh y th m Se t N u m b e r)  
Adjusts the TVA Envelope Attack Time for the GM Patch or  
Rhythm Set assigned to a Part.  
Selects the desired GM Patch or Rhythm Set by its number.  
The name of the selected GM Patch/ Rhythm Set appears in  
parentheses.  
Re le a se (Pa rt Re le a se Tim e O ffse t)  
Adjusts the TVA Envelope Release Time for the GM Patch or  
Rhythm Set assigned to a Part.  
In GM mode, Patches or Rhythm Sets other than the GM  
Patches and Rhythm Sets in PR-H cannot be selected.  
Furthermore, GM Patches and Rhythm Sets cannot be  
edited.  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
CO N TRO L  
fig.11-10  
Co n firm in g MIDI In fo rm a tio n fo r  
Ea ch Pa rt (IN FO )  
IN FO (Pa rt In fo rm a tio n )  
fig.11-11  
Be n d Rn g (Be n d Ra n g e )  
Specifies the amount of pitch change in semitones (2 octaves)  
that will occur when the Pitch Bend Lever is moved. The  
amount of change when the lever is tilted is set to the same  
value for both left and right sides.  
fig.11-12  
The displays allow you to check various settings such as  
MIDI message reception status for each Part. This is  
convenient when you need to check that the sound generator  
is responding correctly to messages from the keyboard or  
external MIDI controller.  
Mn o / Po ly (Pa rt Mo n o / Po ly )  
Set Mno/ Pol to MONO when the GM Patch assigned to the  
Part is to be played monophonically, or to MONO when the  
GM Patch is to be played polyphonically.  
For items other than Voices, you can modify the values.  
When you do so, MIDI messages will be transmitted, and  
they can be recorded by a sequencer or other device.  
For the Part to which the GM Rhythm Set is assigned,  
this setting will be ignored.  
Mo d (Mo d u la tio n In fo rm a tio n )  
Bre a th (Bre a th In fo rm a tio n )  
Fo o t (Fo o t In fo rm a tio n )  
Po rta Sw :Tim e (Pa rt Po rta m e n to Sw itch :Tim e )  
Portamento makes a smooth pitch transition from one note to  
the next note played. Also, when playing monophonically,  
you can apply portamento to simulate the slide performance  
technique sometimes used on instruments such as violin.  
Vo l (Vo lu m e In fo rm a tio n )  
Pa n (Pa n In fo rm a tio n )  
You can determine whether the Portamento effect will be  
applied or not using Portamento switch (Sw). Turn this  
parameter ON when you want to apply Portamento and OFF  
when you dont.  
Ex p (Ex p re ssio n In fo rm a tio n )  
Ho ld (Ho ld 1 In fo rm a tio n )  
Be n d (Pitch Be n d In fo rm a tio n )  
Afte rto u ch (Afte rto u ch In fo rm a tio n )  
The Portamento Time (Time) setting adjusts the time over  
which the pitch will change. Higher settings will cause the  
pitch change to the next note to take more time.  
Vo ice s (Vo ice In fo rm a tio n )  
The number of voices used  
For the Part to which the GM Rhythm Set is assigned,  
this setting is ignored.  
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Ch a p te r 1 1 . Usin g th e XV-8 8 a s a GM So u n d Mo d u le (GM Mo d e )  
In itia lizin g GM Mo d e (IN IT)  
Co n ve n ie n t Fu n ctio n s in GM  
Mo d e (GM Utility )  
fig.11-14  
In the GM mode, you can initialize GM mode, and transmit  
GM mode settings, using the Utility functions.  
The GM Initialize operation affects only GM mode data;  
no data stored in the user memory is initialized. If you  
wish to restore all of the XV-88s settings to their factory  
values, perform a Factory Reset (p. 191).  
Ba sic Pro ce d u re  
1 . In the GM mode, press [UTILITY] so its indicator blinks.  
The XV-88 will switch to Utility mode.  
2 . Press  
fig.11-13  
or  
to select the UTIL 1 group.  
Mo d e (In itia lize Mo d e )  
There are two initialize methods. Select either of them  
depending on the application.  
GM: Makes the basic General MIDI system settings using a  
General MIDI System On message.  
The functions of the UTIL 2 group can also be executed  
from GM mode. The operation is the same as in other  
modes (p. 179).  
GM2: Makes the basic General MIDI 2 system settings using  
a General MIDI 2 System On message.  
3 . Use  
or  
to select the desired function (the function  
Tra n sm ittin g GM Mo d e Se ttin g s  
name will blink), and press [ENTER].  
(XFER)  
The display for the desired function will appear.  
fig.11-15  
You can also access the desired function page by using  
the numeric keys or function buttons to specify the  
number of the function.  
You cannot store GM mode settings in internal memory (user  
memory). If you wish to keep your GM mode settings, you  
can transmit them as a MIDI message to an external MIDI  
device.  
4 . When parameters in the different function page are to be  
set, you can use the VALUE dial, [INC/ +]/ [DEC/ -], or  
the numeric keys to make the settings.  
Prepare the external MIDI device to record data, and press  
[ENTER].  
To cancel the operation, press [EXIT].  
For more on GM mode settings to be transmitted, refer to  
MIDI Implementation(p. 270).  
5 . Press [ENTER] to execute the function.  
When the operation is completed, the display will briefly  
indicate COMPLETED.”  
If you do not want the settings of a specific Part to be  
transmitted, turn off the Receive Switch for that Part (p.  
196).  
When certain functions are executed, you are then  
returned to the original mode page.  
6 . To return to the UTIL 1 page, press [EXIT]. To return to  
the GM PLAY page, press [UTILITY] to make the  
indicator go dark.  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
This section discusses various techniques for effectively  
using the XV-88 for specific applications. The more you use  
If you hold down [CONTROLLER] and move the C1  
the XV-88, the faster youll appreciate the real power of this  
slider in the PATCH PLAY page, you can go to the C1  
unit.  
ASSIGN page directly. There you can make settings for  
the Assign parameter.  
4 . Move the C1 slider while you play the keyboard.  
Te ch n iq u e s fo r Usin g Pa tch e s  
Youll notice that sound will pan right and left.  
Re in fo rcin g Filte r Ch a ra cte ristics  
If the result is difficult to hear, turn off each effect unit  
If you want to reinforce filter characteristics, set Structure  
(Multi-effects, Chorus, Reverb) (p. 105).  
Type to 2, and series-connect the TVFs of Tones 1 and 2. This  
example shows how to boost the effectiveness of the filter for  
the Patch PR-C: 014 MKS-80 Brass.  
Usin g a Pe d a l Sw itch to Mo d ify  
th e Sp e e d o f th e Ro ta ry Effe ct  
1 . Select the Patch PR-C: 014 MKS-80 Brass on the  
PATCH PLAY page.  
The function that allows you use MIDI messages to make  
these changes in realtime to the Multi-effects parameters is  
called the Multi-effects Controller (p. 115). Here, using an  
effects controller, try using a pedal switch to switch the  
speed of the rotary effect.  
2 . Press [FILTER/ ENV], getting its indicator to light.  
3 . Move the CUTOFF and RESONANCE sliders while you  
play notes and hear how sound changes.  
4 . Set the Type parameter (PATCH/ COMMON/ STRUCT)  
1 . Connect an optional pedal switch (DP-2, DP-6, etc.) to the  
to 2 (p. 73).  
CTL 1 PEDAL jack.  
5 . Again, move the CUTOFF and RESONANCE sliders and  
2 . Select the Patch PR-A: 054 Rocker Spin on the PATCH  
hear how the sound changes.  
PLAY page.  
Notice the effectiveness of the filter has changed.  
This Patch uses ROTARY as the Multi-effects type.  
3 . Set the Assign parameter (SYSTEM/ CONTROL/  
If the result is difficult to hear, turn off each effect unit  
(Multi-effects, Chorus, Reverb) (p. 105).  
CONTROL PEDAL 1) to CC04:FOOT TYPE (p. 172).  
EFFECTS), then set the parameters as follows (p. 115).  
Usin g th e Slid e r to Ch a n g e th e  
Pa n in Re a ltim e  
Source: FOOT TYPE  
Destination: SPEED  
Sens: +63  
You can assign the C1C4 sliders to a variety of the functions  
to change sounds in realtime. In this example, the pan (stereo  
location) will change by moving the C1 slider up or down.  
5 . Press the pedal switch while you play the keyboard.  
This will speed up the rotary effect. Releasing the pedal  
switch will slow down the rotary effect.  
At the factory default settings, the C1 through C4 sliders  
are assigned to the functions described below.  
C1 slider: AFTERTOUCH  
C2 slider: BREATH  
C3 slider: PORTA TIME (Portamento time)  
C4 slider: MODULATION  
1 . Select a Patch on the PATCH PLAY page.  
2 . Press [CONTROLLER], getting the indicator to light.  
3 . Set the Assign parameter (SYSTEM/ CONTROL/ C1  
ASSIGN) to CC10:PANPOT (p. 172).  
1 9 9  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Ch a n g in g th e Sp e e d o f th e  
Ro ta ry Effe ct to Sy n ch ro n ize It to  
th e LFO Cy cle  
When you want to switch between Tones more  
smoothly, set the L.Fade or U.Fade parameters. The  
higher the values set, the smoother the switch is between  
the Tones.  
Instead of using an effects controller, you can use the Matrix  
try changing the speed of the rotary effect to synchronize it to  
the LFO cycle.  
5 . Set the TMT Ctrl Sw parameter (PATCH/ CONTROL/  
CONTROL&BENDER) to ON (p. 78).  
6 . Set the Control 1 parameter (PATCH/ CONTROL/  
1 . Select the Patch PR-A: 054 Rocker Spin on the PATCH  
MATRIX CTRL SRC) to CC01:MODULATION (p. 78).  
PLAY page.  
This Patch uses ROTARY as the Multi-effects type.  
7 . Call up the MATRIX CONTROL1 page (PATCH/  
CONTROL), then set the parameters as follows (p. 79).  
2 . Call up the PATCH MFX CTRL page (PATCH/  
EFFECTS), then set the parameters as follows (p. 115).  
Sns: +63  
Source: OFF  
Destination: SPEED  
Sens: 0  
Tone: oo_ _ (applied to Tone 1 and 2)  
8 . While playing the keyboard, move the Modulation lever.  
By moving the Modulation lever to the other side, you  
3 . Set the Control 1 parameter (PATCH/ CONTROL/  
MATRIX CTRL SRC) to 105:LFO1 (p. 78).  
4 . Call up the MATRIX CONTROL1 page (PATCH/  
CONTROL), then set the parameters as follows (p. 79).  
Te m p o  
Dest: MFX CTRL1  
Sns: +63  
You can synchronize the LFO cycle to a specified tempo or an  
external MIDI device. In the following example, we will  
synchronize the LFO cycle to the system tempo.  
Tone: ooo_ (applied to Tone 13)  
5 . Play the keyboard.  
The speed of the rotary effect is synchronized to the LFO  
cycle.  
1 . Select the Patch PR-B: 052 Blade Racer on the PATCH  
PLAY page.  
2 . Set the Clock Source parameter (PATCH/ COMMON/  
PATCH TEMPO) to SYSTEM (p. 71).  
Ch a n g in g th e To n e Pro d u ce d  
w ith th e Mo d u la tio n Le ve r  
3 . Set the Rate parameter (PATCH/ LFO/ LFO 1, 2 WAVE)  
of each Tone to the beat length for the tempo you are  
synchronizing (p. 83).  
While using the Matrix Controller check out how you can get  
sounds of two different Tones by moving the Modulation  
lever to the left and right.  
4 . At the LFO DEPTH1:2 page (PATCH/ LFO), set the  
modulation depth for each Tone (p. 85).  
1 . Select a Patch on the PATCH PLAY page.  
5 . Set the Clock Source parameter (SYSTEM/ SETUP/  
2 . On the WAVE page (PATCH/ WAVE), select the  
waveforms for the two Tones (Tone 1 and Tone 2) you  
want to have played (p. 81).  
SYSTEM SETUP) to INT (p. 168).  
3 . Set the TMT Velocity Control parameter (PATCH/  
When the Clock Source parameter is set to MIDI, you can  
MIDI device.  
COMMON/ TMT VELO CONTROL) to OFF (p. 72).  
4 . Call up the TMT VEL RANG page (PATCH/  
COMMON), then set the parameters for Tone 1 and Tone  
2 as follows (p. 72).  
6 . Try playing the keyboard while you change the System  
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)  
to various values (p. 169).  
Tone 1  
Tone 2  
64  
Youll notice that the tempo of the Patchs modulation  
changes in accordance to the tempo clock of the XV-88s  
system.  
Lower:  
Upper:  
1
63  
127  
2 0 0  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Mo d ify in g Mu lti-Effe cts to Ma tch  
th e Sy ste m ’s Te m p o  
You can modify Multi-effects parameter values in time  
with a specified tempo or the tempo of an external MIDI  
device when you have selected the following values for  
the Type parameter of Multi-effects (PATCH/ EFFECTS/  
PATCH MFX TYPE).  
In the following example, we will synchronize the Step Rate  
parameter of STEP FLANGER to the system tempo.  
1 . Select the Patch PR-C: 094 Albion on the PATCH PLAY  
page.  
Multi-effects Type  
Parametersynchronized  
to tempo  
This Patch uses STEP FLANGER as the Multi-effects  
type.  
16: STEP FLANGER  
19: TRIPLE TAP DELAY  
20: QUADRUPLE TAP DELAY  
42: KEYSYNC FLANGER  
43: FORMANT FILTER  
45: MULTI TAP DELAY  
46: REVERSE DELAY  
47: SHUFFLE DELAY  
48: 3D DELAY  
Step Rate parameter  
Delay C, L, R parameter  
Delay14 parameter  
Rate, Step Rate parameter  
Rate, Step Rate parameter  
Rate parameter  
2 . Set the Clock Source parameter (PATCH/ COMMON/  
PATCH TEMPO) to SYSTEM (p. 71).  
3 . Set the Step Rate parameter (PATCH/ EFFECTS/ PATCH  
MFX PRM) of each Tone to the beat length for the tempo  
you are synchronizing (p. 126).  
Delay14 parameter  
Delay14 parameter  
Delay parameter  
4 . Set the Clock Source parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) to INT (p. 168).  
Delay C, L, R parameter  
Rate parameter  
58: SLICER  
60: 3D CHORUS  
Rate parameter  
When the Clock Source parameter is set to MIDI, you can  
achieve synchronization with the tempo of an external  
MIDI device.  
61: 3D FLANGER  
Rate, Step Rate parameter  
Rate parameter  
62: TREMOLO  
63: AUTO PAN  
Rate parameter  
5 . Try playing the keyboard while you change the System  
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)  
to various values (p. 169).  
Pla y in g Ph ra se Lo o p s in Sy n c  
w ith th e Sy ste m Te m p o  
Youll notice that the tempo of the Patchs modulation  
changes in accordance to the tempo clock of the XV-88s  
system.  
Samples of drum, percussion, or other such phrases are  
called Phrase Loops. Normally, to play a Phrase Loop at an  
altered tempo, the pitch has to be adjusted. This is because of  
the nature of Phrase Loops, that is, when the tempo of a  
Phrase Loop is increased, the pitch rises, and the pitch falls  
when the tempo is decreased. To give an example, if a record  
is spun faster than normal, the pitch is higher than when  
normally played, and if spun more slowly than normal, the  
pitch is lower than when played normally. Such adjustments  
in pitch when playing a Phrase Loop at a changed tempo  
consumes a lot of time and effort.  
Certain Patches on SR-JV80-10: BASS&DRUMSand other  
commercially available Wave Expansion Boards use Waves  
(Phrase Loops) for which the tempo (BPM) is indicated. With  
the XV-88, you can synchronize performances to a  
designated tempo in a Phrase Loop or the tempo set by an  
external MIDI device merely with a simple setting. Here, lets  
synchronize a Phrase Loop to the System tempo.  
2 0 1  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
1 . On the PATCH PLAY page, select a Patch that uses a  
2 . Set the Clock Source parameter (PATCH/ COMMON/  
Phrase Loop.  
PATCH TEMPO) to SYSTEM (p. 71).  
2 . Set the Clock Source parameter (PATCH/ COMMON/  
3 . Set the Time parameter (PATCH/ WAVE/ TONE  
DELAY) of Tone 1 to the beat length for the tempo you  
are synchronizing (p. 83).  
PATCH TEMPO) to SYSTEM (p. 71).  
3 . Call up the WAVE page (PATCH/ WAVE) (p. 81).  
4 . Set the Clock Source parameter (SYSTEM/ SETUP/  
4 . Press a TONE SELECT [1][4] button, and choose the  
SYSTEM SETUP) to INT (p. 168).  
Tone that uses Phrase Loops.  
The Phrase Loop is the Wave indicated by the Wave  
name along with the tempo (BPM) to the right of the  
Wave number.  
When the Clock Source parameter is set to MIDI, you can  
achieve synchronization with the tempo of an external  
MIDI device.  
5 . Set the Wave Tempo Sync parameter (PATCH/ WAVE/  
WAVE) to ON (p. 81).  
5 . Try playing the keyboard while you change the System  
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)  
to various values (p. 169).  
6 . Set the Time parameter (PATCH/ WAVE/ TONE  
DELAY) to 0 (p. 83).  
The Tone Delay time will change in accordance to the  
systems tempo clock.  
If you select a value other than 0, a delay will be applied,  
and you will not be able to play the Patch normally.  
Usin g th e XV-8 8 to Pla y Live  
7 . Set the Clock Source parameter (SYSTEM/ SETUP/  
SYSTEM SETUP) to INT (p. 168).  
Ch a n g in g Mu ltip le So u n d s o f a n  
Ex te rn a l MIDI De vice  
Sim u lta n e o u sly  
When the Clock Source parameter is set to MIDI, you can  
achieve synchronization with the tempo of an external  
MIDI device.  
When a different Performance is selected, the sound  
corresponding to the Bank Select number and Program  
Change number of the selected Performance will usually be  
chosen on the external MIDI device.  
8 . Try playing the keyboard while you change the System  
Tempo parameter (SYSTEM/ SETUP/ SYSTEM SETUP)  
to various values (p. 169).  
The Phrase Loop speed will change in accordance to the  
With the XV-88, you can set the Bank Select and Program  
Change number for each individual Zone so as to match the  
Tones of the desired external MIDI device. This way, you can  
switch Tones on multiple external MIDI devices all at once  
just by switching the Performance.  
systems tempo clock.  
The Phrase Loop will sound with the systems tempo  
regardless of which key you press. In this case, the pitch  
ignored.  
1 . Select the Zone to be used to control the external MIDI  
device.  
2 . Set the receive channel on the external MIDI device to  
match the transmit channel for the Zone to be used. Set  
the transmit channel of the Zone with the Channel  
parameter (ZONE/ MIDI/ MIDI) (p. 59).  
Sy n ch ro n izin g th e Tim in g a t W h ich  
To n e s Pla y to th e Sy ste m Te m p o  
Setting back the time at which a Tone is played is referred to  
as Tone Delay. The length of time for this Tone Delay can be  
synchronized to a specified tempo or to the System tempo.  
Here, lets synchronize the Tone Delay time to a specified  
System tempo.  
3 . Set the Tx parameter (ZONE/ MIDI/ MIDI) of the Zone to  
be used to ON (p. 59).  
4 . Call up the EXT P.C page (ZONE/ EXT CONTROL) (p.  
60).  
5 . Set the Bank Select MSB/ LSB parameter to match the  
1 . Select the Patch PR-D: 073 Cyber Swing on the PATCH  
Bank Select of the external MIDI device.  
PLAY page.  
2 0 2  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
6 . Set the P.C# parameter to match the Program Change  
number for the Tone you want the external MIDI device  
to select.  
Usin g Ex te rn a l MIDI De vice s  
Pla y in g a n Ex te rn a l MIDI So u n d  
Mo d u le fro m th e XV-8 8  
7 . Save the Performance (p. 164).  
8 . Try changing from another Performance to the  
Performance just saved, and see if the sound of the  
external MIDI device changes to what you want. If not,  
check your settings and the external MIDI device.  
1 . Set the COMPUTER switch on the XV-88s rear panel to  
MIDI.  
The new setting of the COMPUTER switch will take  
effect when the power is turned on. Before changing the  
setting of the COMPUTER switch, you must first turn off  
the power on the XV-88.  
Ch a n g in g So u n d s w ith a Pe d a l  
Sw itch  
You can change the sounds such as a Patch in succession  
using a pedal switch.  
2 . Use a MIDI cable to connect the MIDI OUT connector of  
the XV-88 to the MIDI IN connector of the external MIDI  
1 . Connect an optional pedal switch (DP-2, DP-6, etc.) to the  
device.  
fig.12-01.e  
CTL 1 PEDAL jack.  
2 . Set the Assign parameter (SYSTEM/ CONTROL/  
CONTROL PEDAL 1) to 102:PROG UP (p. 172).  
MIDI IN  
3 . Call up the PLAY page of the sound generator mode  
(PERFORM, PATCH, RHYTHM, GM).  
MIDI Sound Module  
4 . Each time you press the pedal, you call up the next  
MIDI OUT  
number of Performance, Patch, or Rhythm Set.  
Co n tro llin g a n Ex te rn a l MIDI  
Se q u e n ce r w ith th e D Be a m  
Co n tro lle r  
XV-88  
You can start and stop an external MIDI sequencer by  
placing your hand above the D Beam controller.  
3 . Set the XV-88s transmit channel to match the external  
MIDI sound modules receive channel.  
1 . Use a MIDI cable to connect the XV-88s MIDI OUT  
connector to the MIDI IN connector of the external MIDI  
sequencer.  
The XV-88s transmit channel is determined by the  
following parameters.  
In Patch/Rhythm Set Mode  
2 . Set the D Beam Controllers Assign parameter setting to  
Tx Ch parameter (SYSTEM/ MIDI/ PATCH MIDI) (p.  
170)  
100:START/ STOP.  
In Patch/Rhythm Set Mode  
In Performance Mode  
Assign parameter (SYSTEM/ D BEAM/ D BEAM  
CONTROL) (p. 176)  
Channel parameter (ZONE/ MIDI/ MIDI) (p. 59)  
Set the Tx parameter (ZONE/ MIDI/ MIDI) to ON (p. 59).  
In Performance Mode  
Assign parameter (ZONE/ D BEAM/ D BEAM  
CONTROL) (p. 63)  
For instructions on how to set the receive channel of the  
external MIDI sound module, refer to the owners  
manual for your external MIDI sound module.  
3 . Press D BEAM CONTROLLER [ON] to turn on the D  
Beam Controller.  
4 . When you place your hand over the D Beam Controller,  
the external MIDI sequencer begins playing. Moving  
your hand over the controller again stops the external  
MIDI sequencer.  
2 0 3  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
4 . If you wish to play only the external MIDI sound  
module, set the Local Switch to off.  
The new setting of the COMPUTER switch will take  
effect when the power is turned on. Before changing the  
setting of the COMPUTER switch, you must first turn off  
the power on the XV-88.  
The Local Switch is determined by the following  
parameters.  
In Patch/Rhythm Set Mode  
Local parameter (SYSTEM/ MIDI/ PATCH MIDI) (p.  
170)  
connector to the MIDI IN connector of the external MIDI  
In Performance Mode  
sequencer.  
Local parameter (SYSTEM/ MIDI/ PERFORM MIDI) (p.  
169)  
fig.08-07.e  
MIDI IN  
5 . When playing the XV-88s keyboard, the external MIDI  
sound module will sound.  
When you want to connect two or more external MIDI  
devices, use the MIDI THRU connector of the external  
MIDI Sequencer  
MIDI devices.  
MIDI OUT  
fig.12-02.e  
MIDI  
THRU  
MIDI IN  
XV-88  
MIDI Keyboard  
MIDI IN  
3 . Call up the PLAY page of the sound generator mode  
(PERFORM, PATCH, RHYTHM, GM).  
4 . Pressing the following buttons allows the remote control  
of external sequencers.  
[SHIFT] +  
[SHIFT] +  
(NEXT SONG): Selects the next song.  
(PREV SONG): Selects the previous song.  
(RESET): Returns to the beginning of the  
MIDI Keyboard  
MIDI OUT  
[SHIFT] +  
song.  
[SHIFT] +  
(START/ STOP): Starts and stops  
performance of the song.  
XV-88  
Holding down [SHIFT] while pressing  
(or  
) in  
If you daisy-chainthree or more MIDI devices using  
INTHRUINTHRU ..., the MIDI signal may become  
garbled, and data errors may occur. In such cases, use a MIDI  
Thru Box. MIDI Thru Boxes are devices that allow a single  
stream of MIDI data to be sent to a large number of MIDI  
devices without causing data errors.  
a PLAY page selects the song before (or after) the Song  
Number set with the Song Number parameter (p. 178).  
Some sequencers cannot be started or stopped without  
receiving the MIDI Clock (F8h), and settings on certain  
sequencers also cannot be changed. Please use a  
sequencer able to perform START/ STOP without  
requiring reception of the MIDI Clock (F8h). For more  
detailed information, refer to the owners manual for  
your sequencer.  
Co n tro llin g a n Ex te rn a l MIDI  
Se q u e n ce r fro m th e XV-8 8  
1 . Set the COMPUTER switch on the XV-88s rear panel to  
MIDI.  
2 0 4  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Pla y in g th e XV-8 8 ’s So u n d  
Ge n e ra to r fro m a n Ex te rn a l MIDI  
De vice  
For instructions on how to set the transmit channel of the  
external MIDI device, refer to the owners manual for  
your external MIDI device.  
1 . Set the COMPUTER switch on the XV-88s rear panel to  
4 . When playing the external MIDI device, the XV-88s  
MIDI.  
sound generator will sound.  
The new setting of the COMPUTER switch will take  
effect when the power is turned on. Before changing the  
setting of the COMPUTER switch, you must first turn off  
the power on the XV-88.  
Ch a n g in g th e To n e Se ttin g s fro m  
a n Ex te rn a l MIDI De vice in  
Re a ltim e  
The Tone settings can be controlled using specified MIDI  
messages from an external MIDI device (Matrix Controller;  
p. 78).  
2 . Use a MIDI cable to connect the MIDI IN connector of the  
XV-88 to the MIDI OUT connector of the external MIDI  
device.  
fig.12-03.e  
In this manual, Parameters that can be controlled using  
the Matrix Controller are marked with a .  
MIDI OUT  
For instructions on how to connect up, and set the MIDI  
receive channel, refer to Playing the XV-88s Sound  
MIDI Keyboard  
MIDI IN  
1 . Select the Patch you wish to use.  
2 . Use the Control 14 parameters (PATCH/ CONTROL/  
MATRIX CTRL SRC) to specify which MIDI message  
will be used for control (p. 78).  
3 . Call up the MATRIX CONTROL 14 pages (PATCH/  
XV-88  
CONTROL), then set the following parameters (p. 79).  
3 . Set the XV-88s receive channel to match the external  
Dest: Sets which parameter is controlled.  
MIDI devices transmit channel.  
Sns: Specifies how deeply the parameter is to be  
controlled.  
The XV-88s receive channel is determined by the  
following parameters.  
Tone: Sets the Tone you wish to apply the effect.  
In Patch/Rhythm Set Mode  
parameter is sent from an external MIDI device to the  
XV-88, the Tone parameter set with the Dest parameter  
changes according to the Tone set in the Tone parameter  
when at the same level as that set in the Sns parameter.  
Rx Ch parameter (SYSTEM/ MIDI/ PATCH MIDI) (p.  
170)  
In Performance Mode  
Channel parameter (PERFORM/ MIDI/ MIDI) (p. 52)  
Set the Rx Sw parameter (PERFORM/ MIDI/ MIDI) to  
ON (p. 52).  
In GM Mode  
Channel parameter (GM/ MIDI/ MIDI) (p. 195)  
When the Remote parameter (SYSTEM/ MIDI/ PATCH  
MIDI, PERFORM MIDI, GM MIDI) is ON, it makes no  
difference what transmit channel is selected for the MIDI  
keyboard (p. 170).  
2 0 5  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Ch a n g in g th e Mu lti-Effe cts  
Se ttin g s Fro m a n Ex te rn a l MIDI  
De vice in Re a ltim e  
Se le ctin g XV-8 8 So u n d s fro m a n  
Ex te rn a l MIDI De vice  
By transmitting Bank Select messages (controller number 0  
and 32) and Program Change messages from the external  
MIDI device to the XV-88, you can select Performances,  
Patches, or Rhythm Sets. In other words, when you select  
sounds on an external MIDI device, the corresponding MIDI  
message will be transmitted to the XV-88, causing the XV-88  
to select the appropriate Patch, etc.  
The Multi-effects settings can be controlled using specified  
MIDI messages from an external MIDI device in realtime  
(Multi-effects Controller; p. 115).  
The parameters that can be changed are predetermined  
for each type of Multi-effects; among the parameters  
described in Multi-Effects Types(p. 117), these are  
indicated by a #.  
For instructions on how to connect up, and set the MIDI  
receive channel in Patch/ Rhythm Set mode, refer to  
Playing the XV-88s Sound Generator from an  
External MIDI Device(p. 205).  
For instructions on how to connect up, and set the MIDI  
receive channel in Patch/ Rhythm Set mode, refer to  
Playing the XV-88s Sound Generator from an  
External MIDI Device(p. 205).  
If the Program Change numbers on your external MIDI  
device are referenced as values from 0 to 127, find the  
appropriate number by subtracting 1 from the number in  
the following correspondence chart.  
1 . Select the Patch, Rhythm Set or Performance you wish to  
use.  
2 . When a Performance is selected, and the Source  
parameter (PERFORM/ EFFECTS/ MFX TYPE) (p. 114) is  
set to PERFORM, the MIDI receive channel is set with the  
MFX Control Channel parameter (PERFORM/  
COMMON/ PERFORM MFX CH) (p. 51).  
On the XV-88, when just a Program Change message is  
sounds within a group (such as USER or PR-A) are  
changed.  
3 . Call up the MFX CTRL page (PATCH, RHYTHM,  
PERFORM/ EFFECTS), then set the following parameters  
(p. 115).  
Se le ctin g Pe rfo rm a n ce s  
The MIDI messages transmitted by the external MIDI device  
will be received by the XV-88 to select Performances as  
shown in the following table.  
Source: Specifies the MIDI message which is used for  
control.  
Group  
Number  
Bank Select ProgramChange  
MSB LSB  
Number  
Destination: Sets which parameter is controlled.  
Sens: Specifies how deeply the parameter is to be  
controlled.  
USER  
CD-A  
:
001064  
001064  
:
85  
85  
:
00  
32  
:
001064  
001064  
:
4 . When the MIDI message set by the Source parameter is  
sent from the external MIDI device to the XV-88, the  
Multi-Effects parameter set with the Destination  
CD-H  
PR-A  
PR-B  
001064  
001032  
001032  
85  
85  
85  
39  
64  
65  
001064  
001032  
001032  
parameter changes at the level set in the Sns parameter.  
In order to select a Performance, the MIDI channel of the  
transmitting device must match the XV-88s Control Channel  
parameter (SYSTEM/ MIDI/ PERFORM MIDI) (p. 169). In  
order to select the Patch or Rhythm Set of a Part, the transmit  
channel must match the receive channel of the Part. However  
if the Control Channel parameter and the receive channel of  
a Part have the same setting, the Control Channel parameter  
setting will take priority so that messages received on this  
channel will select Performances.  
2 0 6  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Se le ctin g Rh y th m Se ts  
Se le ctin g Pa tch e s  
The MIDI messages transmitted by the external MIDI device  
will be received by the XV-88 to select Patches as shown in  
the following table.  
The MIDI messages transmitted by the external MIDI device  
will be received by the XV-88 to select Rhythm Sets as shown  
in the following table.  
Group  
Number  
Bank Select ProgramChange  
Group  
Number  
Bank Select ProgramChange  
MSB LSB  
Number  
MSB LSB  
Number  
USER  
CD-A  
:
001128  
001128  
:
87  
87  
:
00  
32  
:
001128  
001128  
:
USER  
CD-A  
:
001004  
001004  
:
86  
86  
:
00  
32  
:
001004  
001004  
:
CD-H  
PR-A  
PR-B  
PR-C  
PR-D  
PR-E  
PR-F  
XP-A  
:
001128  
001128  
001128  
001128  
001128  
001128  
001128  
*1  
87  
87  
87  
87  
87  
87  
87  
39  
64  
65  
66  
67  
68  
69  
001128  
001128  
001128  
001128  
001128  
001128  
001128  
*1  
CD-H  
PR-A  
PR-B  
PR-C  
PR-D  
PR-E  
PR-F  
XP-A  
:
001004  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
*1  
86  
86  
86  
86  
86  
86  
86  
39  
64  
65  
66  
67  
68  
69  
001004  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
*1  
*2  
:
*2  
:
:
:
:
:
XP-D  
*1  
*2  
*1  
XP-D  
*1  
*2  
*1  
*1 Depends on the Wave Expansion Board installed.  
*1 Depends on the Wave Expansion Board installed.  
*2 Fixed Bank Select numbers are assigned to the Wave  
Expansion Board itself.  
*2 Fixed Bank Select numbers are assigned to the Wave  
Expansion Board itself.  
SR-JV80 Number  
Series  
Bank Select ProgramChange  
SR-JV80 Number  
Series  
Bank Select ProgramChange  
MSB LSB  
Number  
MSB LSB  
Number  
SR-JV80-01 001128  
SR-JV80-01 129256  
SR-JV80-02 001128  
SR-JV80-02 129256  
89  
89  
89  
89  
:
00  
01  
02  
03  
:
001128  
001128  
001128  
001128  
:
SR-JV80-01 001128  
SR-JV80-01 129256  
SR-JV80-02 001128  
SR-JV80-02 129256  
88  
88  
88  
88  
:
00  
01  
02  
03  
:
001128  
001128  
001128  
001128  
:
:
:
:
:
SR-JV80-65 001128  
91  
91  
:
00  
01  
:
001128  
001128  
:
SR-JV80-65 001128  
90  
90  
:
00  
01  
:
001128  
001128  
:
SR-JV80-65 129256  
SR-JV80-65 129256  
:
:
:
:
SR-JV80-99 001128  
91  
91  
68  
69  
001128  
001128  
SR-JV80-99 001128  
90  
90  
68  
69  
001128  
001128  
SR-JV80-99 129256  
SR-JV80-99 129256  
For details on the SRX Series, refer to the owners  
For details on the SRX Series, refer to the owners  
manual for the SRX Series Wave Expansion Board.  
manual for the SRX Series Wave Expansion Board.  
<Example>  
Selecting PR-B Patch number 10 from an external MIDI  
device  
Transmit data to the XV-88 in the following order.  
(Numbers are given in decimal.)  
Controller number 0 (Bank Select MSB) value: 87  
Controller number 32 (Bank Select LSB) value: 65  
Program Change number: 10  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Co n n e ctin g w ith CO MPUTER Co n n e cto r  
En jo y in g De sk to p Mu sic  
1 . Turn off the XV-88, your computer and all peripheral  
The XV-88 can be controlled by music software running on a  
computer. This will allow you to create your own songs, and  
also to select sounds or edit sounds from the computer  
display. This type of system is know as DTM (desktop  
music). The features available to you when using a computer  
will vary greatly, depending on the software you use, so it is  
important that you choose software suited to your needs.  
devices.  
To prevent malfunction and/ or damage to speakers or  
other devices, always turn down the volume, and turn  
off the power on all devices before making any  
connections.  
2 . Set the COMPUTER switch on the XV-88s rear panel to  
match the type of computer to be connected as described  
below.  
Co n n e ctin g to Yo u r Co m p u te r  
Tw o Co n n e ctio n Me th o d s  
In general, set the switch to Mac for Apple Macintosh  
series, and to PC for PC.  
fig.12-04.e  
There are two methods that can be used to connect the XV-88  
to a computer, connecting to the COMPUTER connector  
and connecting with MIDI connectors.  
Apple Macintosh series  
PC  
To make connections via the COMPUTER connector, use a  
Computer cable to connect the serial port (RS-232C  
connector) of your computer to the COMPUTER connector of  
the XV-88.  
The new setting of the COMPUTER switch will take  
effect when the power is turned on. Before changing the  
setting of the COMPUTER switch, you must first turn off  
the power on the XV-88.  
To make connections via MIDI, you will need a MIDI  
interface (such as the Roland Super MPU64, etc.). In this case,  
the MIDI interface is connected to the computer, and a MIDI  
cable is used to connect the MIDI connectors of the MIDI  
interface to the XV-88s MIDI connectors.  
This setting determines the transmission speed (baud  
rate) between your computer and the MIDI sound  
generator (the XV-88), and the setting used by the  
computer must match the setting on the XV-88. This  
setting determines the baud rate for the XV-88. When  
setting your computer, it may be necessary to make  
Windows, settings may be different than the above,  
depending on your driver settings. In such cases,  
carefully read the manual included with the driver, and  
then make the necessary settings.  
Connect the XV-88 to your computer using the method that  
is appropriate for your setup.  
If connecting using the MIDI connectors, please read the  
related information starting on (p. 209).  
The PC baud rate is 38.4 (kbit/ sec). You cannot use the  
computer which the baud rate can be set to only 31.25  
(kbit/ sec).  
3 . If youre using an Apple Macintosh computer, connect  
the computer cable to the modem port or printer port on  
the rear of the computer. If youre using a PC, connect  
the computer cable to the serial port (RS-232C) connector  
on the rear of the computer.  
For the Computer cable, refer to Computer Cable  
cable for your computer.  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
4 . Connect the other end of the Computer cable to the COMPUTER connector on the left side of the  
XV-88.  
fig.12-05.e  
Apple Macintosh series  
Modem Port or  
Printer Port  
PC  
Computer cable  
XV-88 Rear Panel  
Serial Port  
Computer cable  
When you record the performance data of the keyboard controller section to sequence software,  
you need to set the Local Switch to off, and set the Thru function of your software to on (p. 211).  
Co n n e ctin g w ith MIDI Co n n e cto rs  
If a MIDI interface (Roland Super MPU64, etc.) or a MIDI interface adaptor is connected to your  
computer, you can use the MIDI connectors to make connections.  
For details on how to install the MIDI interface, refer to the owners manual for your MIDI  
interface.  
1 . Turn off the XV-88, your computer and all peripheral devices.  
To prevent malfunction and/ or damage to speakers or other devices, always turn down the  
volume, and turn off the power on all devices before making any connections.  
2 . Set the COMPUTER switch on the XV-88s rear panel to MIDI.  
fig.12-06  
The new setting of the COMPUTER switch will take effect when the power is turned on. Before  
changing the setting of the COMPUTER switch, you must first turn off the power on the XV-88.  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
3 . Use a MIDI cable to connect the MIDI OUT connector of the MIDI interface to the MIDI IN  
connector of the XV-88.  
4 . Use a MIDI cable to connect the MIDI IN connector of the MIDI interface with the XV-88s MIDI  
OUT connector.  
fig.12-07.e  
Apple Macintosh series  
XV-88 Rear Panel  
Modem or  
T
U
Printer Port  
O
MIDI  
IN  
The setting  
is MIDI  
MIDI Interface Adapter  
PC  
Super MPU64  
XV-88 Rear Panel  
USB  
Connector  
The setting  
is MIDI  
USB  
Cable  
The connection in Step 4 is not required when producing sounds only with the sound generator  
section of the XV-88, such as when playing back song data. This connection does become  
necessary when performance data from the XV-88s keyboard controller section is to be recorded  
with sequencer software. However, in this case you must also turn the XV-88s Local switch to  
OFF, and the Thru function of your software to ON (p. 211).  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
Tu rn o n th e MIDI Th ru Fu n ctio n o f Yo u r  
Se q u e n ce r So ftw a re  
Disco n n e ctin g th e Ke y b o a rd fro m  
th e In te rn a l So u n d Ge n e ra to r  
(Lo ca l O FF)  
In order for the musical data received by the computer from  
the XV-88 to be transmitted back to the XV-88, the MIDI Thru  
function of the sequencing program must be turned on.  
When the MIDI Thru function of the sequencing program is  
turned on, MIDI messages received at MIDI IN will be re-  
transmitted without change from MIDI OUT.  
The XV-88 contains a keyboard controller section and sound  
generating section, packaged as a single unit. This means that  
you can make a setting (Local Switch on/ off) that specifies  
whether or not the performance data from the XV-88s  
keyboard will be transmitted directly to the sound generator.  
When you use the XV-88 by itself, you will normally set the  
Local Switch to ON. However, when you use it with a  
computer, you should set the Local Switch to OFF so that the  
performance data of the keyboard controller section will be  
disconnected from the internal sound generator section.  
For details on whether or not your sequencing program  
has a MIDI Thru function, and how to set the MIDI Thru  
function, refer to the owners manual for your  
sequencing program.  
In this case, the data sent over two paths, i.e., the data sent  
directly from the keyboard controller section and the data  
sent from the keyboard controller section via the computer,  
ends up being sent to the sound generator section  
If your sequencing program does not have a MIDI Thru  
function, set the XV-88s Local Switch to ON.  
For some sequencing programs, System Exclusive  
messages are not transmitted by the Thru function. If  
you are using such software and wish to record System  
Exclusive messages, turn the XV-88s Local Control  
setting ON.  
simultaneously. Thus, for example, even when you play a  
Ckey only once, the note Ccannot be sounded correctly,  
as the sound is played by the sound generator section twice.  
fig.01-02.e  
Sequencer  
Recording  
MIDI Thru: On  
MIDI IN  
MIDI OUT  
MIDI IN  
MIDI OUT  
Transmit  
Switch:  
On  
Receive Switch: On  
Sound  
Generator  
Section  
Local Switch: Off  
Keyboard Controller  
Section  
XV-88  
Turn the Local Switch on/ off by the following parameters.  
In Patch/Rhythm Set Mode  
Local parameter (SYSTEM/ MIDI/ PATCH MIDI) (p. 170)  
In Performance Mode  
Local parameter (SYSTEM/ MIDI/ PERFORM MIDI) (p. 169)  
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Ch a p te r 1 2 . Re a lizin g th e Po te n tia l o f th e XV-8 8  
W h e n th e CO MPUTER Sw itch Is Se t to  
MIDI  
Ho w MIDI Me ssa g e s Are  
Ex ch a n g e d w ith a Co m p u te r  
fig.12-09.e  
Depending on the setting of the COMPUTER switch, MIDI  
data flow will be different as follows.  
MIDI Thru Function: On  
W h e n th e CO MPUTER Sw itch Is Se t to  
Ma c o r PC  
fig.12-08.e  
MIDI Thru Function: On  
MIDI OUT  
MIDI IN  
COMPUTER  
MIDI OUT  
MIDI IN  
COMPUTER  
Sound  
Generator  
Section  
Keyboard Controller  
Section  
Sound  
Generator  
Section  
Local Switch: Off  
XV-88  
Keyboard Controller  
Section  
Local Switch: Off  
XV-88  
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Ap p e n d ice s  
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Tro u b le sh o o tin g  
If the this unit does not function in the way you expect, first  
check the following points. If this does not resolve the  
problem, consult your dealer or a nearby Roland Service  
Station.  
In La y e r Pe rfo rm a n ce m o d e , d o e s th e MIDI  
tra n sm it ch a n n e l m a tch th e MIDI re ce ive  
ch a n n e l?  
Check that the MIDI transmit channel (Channel  
parameter (ZONE/ MIDI/ MIDI)) of the Zone matches  
the MIDI receive channel (Channel parameter  
(PERFORM/ MIDI/ MIDI)) of the Part (p. 52, p. 59).  
* If a message appears during operation, consult the following  
section “Error Messages” (p. 218).  
Ha ve a ll to n e s in th e p a tch b e e n tu rn e d o ff?  
Ca n n o t Tu rn th e Po w e r O n  
Press TONE SWITCH [1][4], getting the indicators to  
Is th e XV-8 8 ’s AC co rd p ro p e rly co n n e cte d to  
th e AC o u tle t a n d th e XV-8 8 ? (Q u ick Sta rt; p .  
1 6 )  
light (p. 32).  
Are th e To n e , Pa tch a n d Pa rt le ve l se ttin g s  
e x ce ssive ly lo w ?  
Check the level settings of each Tone, Patch and Part  
with the following parameters.  
N o So u n d  
Is th e p o w e r tu rn e d o n fo r th e o th e r d e vice s  
co n n e cte d to th e th is u n it? Is th e vo lu m e le ve l  
tu rn e d d o w n ?  
Tone level  
Level parameter (PATCH/ TVA/ TVA) (p. 90)  
Patch level  
Is th e VO LUME slid e r tu rn e d a ll th e w a y  
d o w n ?  
Level parameter (PATCH/ COMMON/ PATCH  
LVL&PAN) (p. 70)  
Ha ve co n n e ctio n s b e e n m a d e co rre ctly ?  
Part level  
When using the XV-88 by itself, connect audio cables or  
headphones (Quick Start; p. 16).  
Level parameter (PERFORM/ PART/ SETTING) (p. 53)  
Are th e e ffe ct se ttin g s co rre ct?  
If using the XV-88 connected to a computer, use a  
computer cable or MIDI cable to make the connection to  
headphones (Quick Start; p. 16).  
Check the Effect settings ON or OFF (p. 105), in the  
Effect Balance or Level.  
Are th e o u tp u t d e stin a tio n se ttin g s co rre ct?  
Ca n y o u h e a r so u n d th ro u g h h e a d p h o n e s?  
Check the Output Assign settings (p. 108, p. 109, p. 113,  
If there is sound in the headphones, it is possible that the  
connection cables are broken, or that the amp or mixer is  
malfunctioning. Check the connection cables and other  
devices once again.  
Is th e W a ve Ex p a n sio n Bo a rd p ro p e rly  
in sta lle d ?  
When selecting the settings that stipulate the use of XP-  
AD waves, Patches, or Rhythm Sets, check that the  
specified Wave Expansion Board is installed properly in  
the specified slot (Quick Start; p. 4, p. 10).  
If y o u d o n o t h e a r so u n d w h e n y o u p la y th e  
k e y b o a rd , ch e ck w h e th e r th e Lo ca l Sw itch is  
tu rn e d O FF.  
Turn the Local Switch on by the following parameter.  
Ha s th e vo lu m e b e e n lo w e re d b y p e d a l  
o p e ra tio n s o r b y MIDI m e ssa g e s (vo lu m e  
fro m a n e x te rn a l MIDI d e vice ?  
In Patch/Rhythm Set Mode  
Local parameter (SYSTEM/ MIDI/ PATCH MIDI) (p.  
170)  
In Performance Mode  
Use the Panic function to raise the volume (p. 48).  
Local parameter (SYSTEM/ MIDI/ PERFORM MIDI) (p.  
169)  
(PERFORM/ INFO) to check the settings of the Volume  
Local parameter (ZONE/ MIDI/ MIDI) (p. 60)  
parameters, and make the appropriate settings (p. 56).  
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Tro u b le sh o o tin g  
Is th e re a r p a n e l CO MPUTER sw itch se t to th e  
co rre ct p o sitio n ?  
Do e s th e MIDI Re ce ive ch a n n e l o f th e Pa rt  
m a tch th e MIDI Tra n sm it ch a n n e l o f th e  
co n n e cte d MIDI d e vice ?  
If you are using the XV-88 while connected to a  
computer, make settings as appropriate for the  
connection method, the type of computer, and the  
settings of the driver (p. 208).  
Set the Channel parameter (PERFORM/ MIDI/ MIDI) to  
specify the MIDI receive channel of the Part (p. 52).  
* Before changing the setting of the Computer switch, you must  
first turn off the power on the XV-88.  
N o So u n d fro m Co n n e cte d MIDI  
De vice  
Is th e in stru m e n t se t to tra n sm it MIDI  
m e ssa g e s?  
So n g Da ta Do e s N o t Pla y Ba ck  
Co rre ctly  
In the Patch/ Rhythm Set mode, set the Tx Ch parameter  
(SYSTEM/ MIDI/ PATCH MIDI) (p. 170).  
W h e n p la y in g b a ck a GM sco re , is th e so u n d  
g e n e ra to r se t to GM m o d e ?  
In the Performance mode, set the Tx parameter (ZONE/  
MIDI/ MIDI) to ON (p. 59).  
Switch to GM mode (p. 192).  
Do e s th e MIDI tra n sm it ch a n n e l fo r th e XV-  
8 8 ’s k e y b o a rd co n tro lle r se ctio n m a tch th e  
MIDI re ce ive ch a n n e l fo r th e co n n e cte d MIDI  
d e vice ?  
Ha s th e Re ce ive Ge n e ra l MIDI/ Ge n e ra l MIDI 2  
Sy ste m O n Sw itch b e e n tu rn e d O N ?  
Set the Rx GM On/ Rx GM2 On parameter (SYSTEM/  
MIDI/ SYSTEM MIDI) to ON (p. 171).  
In the Patch/ Rhythm Set mode, set the Tx Ch parameter  
(SYSTEM/ MIDI/ PATCH MIDI) (p. 170).  
Are y o u p la y in g b a ck fro m th e m id d le o f th e  
so n g ?  
In the Performance mode, set the MIDI transmit channel  
with the Channel parameter (Zone/ MIDI/ MIDI) (p. 59).  
The beginning of a GM score song contains a General  
MIDI/ General MIDI 2 System On message. In some  
cases, a GM Score cannot be played back correctly unless  
this message is received.  
A Sp e cific Ke y b o a rd Are a Do e s  
N o t So u n d  
Are y o u p la y in g b a ck GS fo rm a t so n g d a ta ?  
Ha s a re stricte d ra n g e o f n o te s b e e n se t?  
When the XV-88 receives a GS Reset message, the XV-88 is  
enabled for the GS format. This permits playback of music  
data bearing the GS logo (GS music data). However, data  
created exclusively for the Sound Canvas Series may not play  
back properly on the XV-88.  
If a specific range of notes does not sound, check the Key  
Range settings for the Patch Tone, the Performance Part,  
and the Zone in the following KEY RANG pages.  
Tone Key Range  
TMT KEY RANG page (PATCH/ COMMON) (p. 73)  
Part Key Range  
A Sp e cific Pa rt Do e s N o t So u n d  
KEY RANG page (PERFORM/ COMMON) (p. 51)  
Zone Key Range  
Ha s th e vo lu m e le ve l o f th e p a rt b e e n  
lo w e re d ?  
KEY RANG page (ZONE/ KEY RANGE) (p. 59)  
Adjust the Level parameter (PERFORM/ PART/ SETTING) to  
raise the volume of the part that is not heard (p. 53).  
Is th e in stru m e n t se t to re ce ive MIDI  
m e ssa g e s?  
Set the Rx Sw parameter (PERFORM/ MIDI/ MIDI) to  
ON (p. 52).  
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Tro u b le sh o o tin g  
So u n d Is Disto rte d  
So u n d s Are In te rru p te d  
Is an effect which distorts the sound being applied? (p.  
117)  
o n ce , so u n d s w ill b e in te rru p te d (p . 2 3 ).  
If the sound is distorted for specific Patches or parts, lower  
the volume level of those Patches or Parts (p. 70, p. 53).  
Reduce the number of Tones that you are using (p. 32, p.  
81).  
If all sounds are distorted, use the VOLUME slider to  
lower the volume level.  
Increase the Voice Reserve setting for Parts that must not  
drop out (p. 53).  
Pitch Is In co rre ct  
W h e n Yo u Pla y th e Ke y b o a rd ,  
N o te s Do N o t Sto p  
Is th e tu n in g o f th e XV-8 8 in co rre ct?  
Check the Master parameter (SYSTEM/ TUNE/ SYSTEM  
TUNE) setting (p. 173).  
Is th e p e d a l p o la rity o f th e Ho ld Pe d a l  
re ve rse d ?  
Check the Polarity parameter (SYSTEM/ CONTROL/  
HOLD PEDAL) setting (p. 172).  
Ha s th e p itch b e e n ch a n g e d b y p e d a l  
o p e ra tio n s o r b y Pitch Be n d m e ssa g e s  
re ce ive d fro m a n e x te rn a l MIDI d e vice ?  
Use the Panic function to reset the original values (p. 48).  
Re ce ive d  
If you are in Performance mode, access the INFO display  
(PERFORM/ INFO) to check the settings of the Pitch  
Bend Message parameter (Bnd), and make the  
appropriate settings (p. 56).  
Is th e in stru m e n t se t to re ce ive Ex clu sive  
m e ssa g e s?  
Set the Rx Sys.Excl parameter (SYSTEM/ MIDI/ SYSTEM  
MIDI) to ON (p. 171).  
Ha ve th e Co a rse Tu n e o r Fin e Tu n e  
p a ra m e te rs b e e n se t fo r sp e cific Pa rts?  
Do e s th e De vice ID n u m b e r o f th e tra n sm ittin g  
d e vice m a tch th e De vice ID n u m b e r o f th e XV-  
8 8 ?  
Check the Coarse parameter and Fine parameter  
(PERFORM/ PART/ PITCH) settings (p. 55).  
Check the Device ID parameter (SYSTEM/ MIDI/  
SYSTEM MIDI) (p. 171).  
Effe cts Do N o t Ap p ly  
* If you wish to rewrite the User memory settings by System  
Exclusive messages, turn Exclusive Protect off (p. 188).  
Are [MULTI], [CHO RUS], a n d [REVERB] tu rn e d  
o ff?  
Press each button, getting the indicator to light (p. 105).  
Th e XV-8 8 Do e s N o t Tra n sm it  
MIDI Da ta  
Are th e va rio u s e ffe ct se ttin g s co rre ct?  
If the send levels to each effect are at 0, effects are not  
applied. Check each setting (p. 110, p. 113, p. 116, p. 194).  
co rre ct p o sitio n ?  
Even with send levels to each effect set at 0, effects are  
not applied if the Multi-effects Dry Send Level (p. 116),  
set to 0. Check each setting.  
Mac or PC, depending on the computer or software you  
are using (p. 208).  
If Output Assign is set to other than MFX, the Multi-  
effects sound will not be output (p. 108, p. 109, p. 113).  
will not transmit data from the COMPUTER connector.  
In this case, data will be transmitted from the MIDI OUT  
connector.  
If Output Assign is set to PATCH for each Part of the  
Performance, the sound will be output according to the  
Output Assign settings of the Patch (for each Tone)  
which is assigned to those Parts (p. 113). This means that  
if Output Assign for the Patch (each Tone) is set to other  
than MFX, the Multi-effects sound will not be output (p.  
109).  
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Tro u b le sh o o tin g  
W h e n Usin g Se q u e n cin g  
So ftw a re , O p e ra tin g th e Slid e rs  
o r O th e r Co n tro ls Do e s N o t Affe ct  
th e So u n d  
For some sequencing programs, System Exclusive  
messages are not transmitted by the Thru function. If  
you are using such software and wish to record System  
Exclusive messages, turn the XV-88s Local Control  
switch ON by the following parameter.  
In Patch/Rhythm Set Mode  
Local parameter (SYSTEM/ MIDI/ PATCH MIDI) (p.  
170)  
In Performance Mode  
Local parameter (SYSTEM/ MIDI/ PERFORM MIDI) (p.  
169)  
Local parameter (ZONE/ MIDI/ MIDI) (p. 60)  
Ca n n o t Use Me m o ry Ca rd s  
Is th e m e m o ry ca rd (Sm a rtMe d ia ) fo rm a tte d ?  
You cannot use an unformatted memory card. Perform  
the Format procedure (p. 189).  
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Erro r Me ssa g e s  
fig.err07  
If there has been a mistake in operation, or if the XV-88 is  
unable to continue processing as you directed, an error  
message will appear in the display. Take the appropriate  
action for the displayed error message.  
Situation: There is insufficient space available on the  
memory card to save the data.  
Action:  
Either insert a different memory card, or delete  
unnecessary data and try the operation once  
again.  
fig.err01  
Situation: The internal backup battery of the XV-88 (a  
battery that maintains data in the user memory)  
has run down.  
fig.err08  
Action:  
Consult your dealer or a nearby Roland service  
station to have the battery replaced.  
Situation: It is possible that the memory card has been  
scratched or otherwise damaged.  
Action:  
If the memory card has been damaged, do not  
use that memory card. If the same error message  
appears repeatedly, consult your dealer or a  
nearby Roland service station.  
fig.err02  
Situation: The XV-88 cannot handle this file.  
fig.err09  
fig.err03  
Situation: A memory card is not inserted in the MEMORY  
Situation: It was not possible to save/ load a file.  
CARD slot.  
Action:  
Try the operation once again. If the same  
message appears, that file has been damaged.  
Delete the damaged file.  
Action:  
Turn off the power, and insert a memory card.  
fig.err10  
fig.err04  
Situation: Since a write protect seal is affixed to the  
memory card, data cannot be saved to the card  
bank.  
Situation: A file of the same name exists on the memory  
card.  
Action:  
Remove the write protect seal from the memory  
card.  
Action:  
Use a different file name.  
fig.err05  
fig.err11  
Situation: A file name has not been assigned.  
Situation: Due to an inordinate volume of MIDI messages  
received, the XV-88 has failed to process them  
properly.  
Action:  
Assign a file name.  
fig.err06  
Action:  
Reduce the amount of MIDI messages to be  
transmitted.  
Situation: The specified file was not found.  
Action:  
Insert the memory card that contains the  
specified file, and try the operation once again.  
2 1 8  
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Erro r Me ssa g e s  
fig.err12  
fig.err17  
Situation: A problem has occurred with the MIDI cable  
Situation: The PR-H (GM2) group Patch/ Rhythm Set  
connections.  
cannot be edited.  
Action:  
Check that MIDI cables are not broken or pulled  
out.  
Action:  
Select a Patch/ Rhythm Set from another group  
(USER, CD-AH, PR-AF, XP-AD) and edit.  
fig.err13  
Situation: A MIDI message was received incorrectly.  
Action:  
If the same error message is displayed  
repeatedly, there is a problem with the MIDI  
messages that are being transmitted to the XV-  
88.  
fig.err14  
Situation: This memory card cannot be used by the XV-88.  
Action:  
Format the memory card on the XV-88.  
fig.err15  
Situation: The data in user memory has been lost.  
Action:  
Use the Factor Reset function (UTILITY/ UTIL  
2/ FACTORY RESET) to initialize the memory to  
the factory settings.  
fig.err16  
Situation 1: The Internal parameter (UTILITY/ UTIL 1/  
PROTECT/ WRITE PROTECT) is turned ON.  
Action 1: Turn the Internal parameter OFF.  
Situation 2: The Exclusive parameter (UTILITY/ UTIL 1/  
PROTECT/ WRITE PROTECT) is turned ON,  
and Exclusive messages cannot be received.  
Action 2: Turn the Exclusive parameter OFF.  
2 1 9  
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Q u ick Re fe re n ce o f Pro ce d u re s  
The XV-88 has a large number of functions. This section gives the procedures for using some of the  
frequently-used functions. For functions that are used simply by setting the applicable parameter,  
only the Parameter name (mode/ display group/ display)is listed.  
* “[A] + [B]” indicates “press [B] while holding down [A]”; “[A] [B]” means “press [B] after first  
pressing (and releasing) [A].”  
Pe rfo rm a n ce Mo d e  
Press [PERFORM].  
Se le ctin g th e Pe rfo rm a n ce  
Mo d e PLAY Pa g e  
Use the VALUE dial, [INC/ +], [DEC/ -], or numeric keys to  
select.  
Se le ctin g a Pe rfo rm a n ce  
USER: Press [USER].  
Se le ctin g a Pe rfo rm a n ce  
Gro u p  
CD-AH: Press [CARD] [A][H].  
PR-A, B: Press [PRESET] [A], [B].  
1 . Press [SHIFT] + numeric key [0] (turn on the Digit Hold  
Se le ctin g Pe rfo rm a n ce s  
Usin g th e Dig it Ho ld  
Fu n ctio n  
function).  
2 . Use the numeric keys to specify the number of the ones  
place.  
* To turn off the Digit Hold function, press [SHIFT] + [0] once  
again.  
1 . Press [PERFORM] + [PATCH].  
Ch a n g in g th e Pa tch /  
Rh y th m Se t Assig n e d to  
a Pa rt  
2 . Use  
/
to select a Part.  
3 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to select a Patch or Rhythm Set.  
1 . Turn on the [EDIT] indicator.  
Mo d ify in g Pe rfo rm a n ce  
Se ttin g s  
(b a sic p ro ce d u re )  
2 . Use the function buttons to select the display group.  
3 . Use  
/
to select the desired setting page.  
4 . Turn off the [EDIT] indicator.  
5 . Use [ZONE/ PART SELECT] (function button) to select  
the Part.  
6 . Use  
/
to select a Parameter.  
7 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to modify the value.  
* If you wish to move to a different display group, turn on the  
[EDIT] indicator.  
Level parameter (PERFORM/ PART/ SETTING)  
Ad ju stin g th e Vo lu m e o f  
Ea ch Pa rt  
Pan parameter (PERFORM/ PART/ SETTING)  
Ad ju stin g th e Pa n o f  
Ea ch Pa rt  
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Q u ick Re fe re n ce o f Pro ce d u re s  
1 . Turn on the [ZONE] indicator.  
2 . Use the function buttons to select the display group.  
3 . Use to select the desired setting page.  
Mo d ify in g Zo n e Se ttin g s  
(b a sic p ro ce d u re )  
/
4 . Turn off the [EDIT] indicator.  
5 . Use [ZONE/ PART SELECT] (function button) to select  
the Zone.  
6 . Use  
/
to select a Parameter.  
7 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to modify the value.  
* If you wish to move to a different display group, turn on the  
[EDIT] indicator.  
Pa tch Mo d e  
Press [PATCH].  
Se le ctin g th e Pa tch  
Mo d e PLAY Pa g e  
Use the VALUE dial, [INC/ +], [DEC/ -], or numeric keys to  
select.  
Se le ctin g a Pa tch  
USER: Press [USER].  
Se le ctin g a Pa tch Gro u p  
CD-AH: Press [CARD] [A][H].  
PR-AF, H: Press [PRESET] [A][F], [H].  
XP-AD: Press [EXP] [A][D].  
1 . Press [SHIFT] + numeric key [0] (turn on the Digit Hold  
Se le ctin g Pa tch e s Usin g  
th e Dig it Ho ld Fu n ctio n  
function).  
2 . Use the numeric keys to specify the number of the ones  
place.  
* To turn off the Digit Hold function, press [SHIFT] + [0] once  
again.  
Press [-OCT] or [+OCT].  
Tra n sp o sin g th e  
Ke y b o a rd b y O cta ve  
Transpose on/ off:Press [TRANSPOSE].  
Tra n sp o sin g th e  
Ke y b o a rd in Se m ito n e  
Ste p s  
Lower the keyboard:Press [TRANSPOSE] + [-OCT].  
Raise the keyboard:press [TRANSPOSE] + [+OCT]  
2 2 1  
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Q u ick Re fe re n ce o f Pro ce d u re s  
1 . Turn on the [EDIT] indicator.  
Mo d ify in g Pa tch Se ttin g s  
(b a sic p ro ce d u re )  
2 . Use the function buttons to select the display group.  
3 . Use  
/
to select the desired setting page.  
4 . Turn off the [EDIT] indicator.  
5 . Use TONE SELECT [1][4] (function buttons) to select the  
Tone.  
6 . Use  
/
to select a Parameter.  
7 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to modify the value.  
* If you wish to move to a different display group, turn on the  
[EDIT] indicator.  
1 . Press [PERFORM] + [PATCH].  
Ch a n g in g th e Pa tch  
Assig n e d to a  
Pe rfo rm a n ce Pa rt  
2 . Use  
/
to select a Part.  
3 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to choose the Patch.  
The rest procedure is the same as for the basic procedure listed  
above.  
In a Tone setting display, hold down the TONE SELECT [1]–  
[4] (function button) for one Tone, and press the button(s) for  
the other Tone(s) you want to edit.  
Sim u lta n e o u sly  
Mo d ify in g th e Va lu e s o f  
Tw o o r Mo re To n e s  
Level parameter (PATCH/ COMMON/ PATCH LVL&PAN)  
Ad ju stin g th e Vo lu m e o f  
a Pa tch  
Pan parameter (PATCH/ COMMON/ PATCH LVL&PAN)  
Ad ju stin g th e Pa n o f a  
Pa tch  
Rh y th m Se t Mo d e  
Press [RHYTHM].  
Se le ctin g th e Rh y th m Se t  
Mo d e PLAY Pa g e  
Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric keys  
to choose a Rhythm Set.  
Se le ctin g a Rh y th m Se t  
USER: Press [USER].  
Se le ctin g a Rh y th m Se t  
Gro u p  
CD-AH: Press [CARD] [A][H].  
PR-AF, H: Press [PRESET] [A][F], [H].  
XP-AD: Press [EXP] [A][D].  
1 . Press [SHIFT] + numeric key [0] (turn on the Digit Hold  
Se le ctin g Rh y th m Se ts  
Usin g th e Dig it Ho ld  
Fu n ctio n  
function).  
2 . Use the numeric keys to specify the number of the ones  
place.  
* To turn off the Digit Hold function, press [SHIFT] + [0] once  
again.  
2 2 2  
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Q u ick Re fe re n ce o f Pro ce d u re s  
1 . Turn on the [EDIT] indicator.  
2 . Use the function buttons to select the display group.  
3 . Use to select the desired setting page.  
Mo d ify in g Rh y th m Se t  
Se ttin g s  
(b a sic p ro ce d u re )  
/
4 . Use the keyboard to choose a Rhythm Tone (percussion  
sound).  
5 . Use  
/
to select a Parameter.  
6 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to modify the value.  
1 . Press [PERFORM] + [PATCH].  
Ch a n g in g th e Rh y th m  
Se t Assig n e d to a  
Pe rfo rm a n ce Pa rt  
2 . Use  
/
to select a Part.  
3 . Use the VALUE dial, [INC/ +], [DEC/ -], or the numeric  
keys to choose the Rhythm Set.  
The rest procedure is the same as for the basic procedure listed  
above.  
Level parameter (RHYTHM/ COMMON/ RHYTHM  
COMMON)  
Ad ju stin g th e Vo lu m e o f  
Rh y th m Se ts  
Co n tro lle r Se ttin g s  
Bend Range parameter (PATCH/ CONTROL/ TMT  
CTRL&BENDER)  
Ch a n g in g th e Ra n g e o f  
th e Pitch Be n d Le ve r  
(fo r e a ch Pa tch )  
Assign parameters (SYSTEM/ CONTROL/ C1C4 ASSIGN)  
Se le ctin g th e MIDI  
Me ssa g e s Co n tro lle d b y  
th e C1 –C4 Slid e rs  
Assign parameter (SYSTEM/ CONTROL/ CONTROL PEDAL  
1, 2)  
Se le ctin g th e MIDI  
Me ssa g e s Co n tro lle d b y  
th e Co n tro l Pe d a l  
Polarity parameter (SYSTEM/ CONTROL/ CONTROL PEDAL  
1, 2)  
Re ve rsin g th e Po la rity o f  
Co n tro l Pe d a l (w h e n  
u sin g a p e d a l o f a n o th e r  
m a n u fa ctu re r w h o se  
p o la rity is re ve rse d )  
In Performance Mode  
Se le ctin g th e MIDI  
Me ssa g e s Co n tro lle d b y  
th e D Be a m Co n tro lle r  
Assign parameter (ZONE/ D BEAM/ D BEAM CONTROL)  
In Patch/Rhythm Set Mode  
Assign parameter (SYSTEM/ D BEAM/ D BEAM CONTROL)  
2 2 3  
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Q u ick Re fe re n ce o f Pro ce d u re s  
For each Patch, you can specify up to four control sources  
(MIDI messages for controlling). For each control source, you  
can specify up to four control destinations (parameters to be  
controlled).  
Co n tro llin g To n e  
Pa ra m e te rs o f th e Pa tch  
b y th e Slid e r o r Pe d a l  
(Ma trix Co n tro lle r)  
1 . Specify the MIDI messages to be controlled by each  
controller (the C1C4 slider, control pedal etc.) (see  
previous).  
2 . Choose a control source (MIDI messages used for control).  
Control 14 parameters (PATCH/ CONTROL/ MATRIX  
CTRL SRC)  
* If you do not need to set different control sources for each Patch,  
select SYS-CTRL 1–4, and use the Control 1–4 parameters  
(SYSTEM/CONTROL/SYS CTRL ASSIGN 1–4) to choose the  
MIDI messages that you wish to use for control.  
3 . Specify the control destination (the parameter to be  
controlled).  
Dest parameter (PATCH/ CONTROL/ MATRIX  
CONTROL 14)  
4 . Set the Control Sensitivity (the amount of the effect that is  
applied).  
Sns parameter (PATCH/ CONTROL/ MATRIX  
CONTROL 14)  
5 . Select the Control Tone (the Tone to which the effect is  
applied).  
Tone parameter (PATCH/ CONTROL/ MATRIX  
CONTROL 14)  
2 2 4  
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Q u ick Re fe re n ce o f Pro ce d u re s  
Up to four Multi-effects Controllers can be used in a single  
Performance/ Patch/ Rhythm Set.  
Co n tro llin g Mu lti-e ffe cts  
Pa ra m e te rs b y th e Slid e r  
o r Pe d a l  
1 . Specify the MIDI messages to be controlled by each  
controller (the C1C4 slider, control pedal etc.) (see  
previous).  
(Mu lti-e ffe cts Co n tro lle r)  
2 . The multi-effects Source parameter (PERFORM/  
EFFECTS/ MFX TYPE) is set to PERFORM, set the Control  
channel (the receive channel of control destination) (only  
Performance).  
MFX Control Channel parameter (PERFORM/  
COMMON/ PERFORM MFX CH)  
3 . Choose a control source (MIDI messages used for control).  
Source parameter (PERFORM, PATCH, RHYTHM/  
EFFECTS/ MFX CTRL 14)  
* If you do not need to set different control sources for each  
Performance/Patch/Rhythm Set, select SYS-CTRL 1–4, and use  
the Control 1–4 parameters (SYSTEM/CONTROL/SYS CTRL  
ASSIGN 1–4) to choose the MIDI messages that you wish to  
use for control.  
4 . Specify the control destination (the parameter to be  
controlled).  
Destination parameter (PERFORM, PATCH, RHYTHM/  
EFFECTS/ MFX CTRL 14)  
5 . Set the Control Sensitivity (the amount of the effect that is  
applied).  
Sens parameter (PERFORM, PATCH, RHYTHM/  
EFFECTS/ MFX CTRL 14)  
Sens parameter (SYSTEM/ CONTROL/ KEYBOARD)  
Ad ju stin g th e Ke y b o a rd  
Re sp o n se  
Vel parameter (SYSTEM/ CONTROL/ KEYBOARD)  
Se t th e Ke y b o a rd to  
Pro d u ce a Fix e d Ve lo city  
Sa vin g a n d Lo a d in g Da ta  
1 . In Performance mode, press [UTILITY].  
2 . Select 1. WRITEon the UTIL 1 page.  
3 . Specify the writing destination.  
4 . Press [ENTER].  
Sa vin g Pe rfo rm a n ce  
Se ttin g s  
If a message of Internal Write Protect= ONappears,  
change it to OFF and press [ENTER] twice.  
2 2 5  
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Q u ick Re fe re n ce o f Pro ce d u re s  
1 . In Patch mode, press [UTILITY].  
2 . Select 1. WRITEon the UTIL 1 page.  
3 . Specify the writing destination.  
4 . Press [ENTER].  
Sa vin g Pa tch Se ttin g s  
If a message of Internal Write Protect= ONappears,  
change it to OFF and press [ENTER] twice.  
* If you wish to hear the sound of the Patch in the selected writing  
destination, press [UNDO/COMPARE]. Press it once again to  
return to the previous page.  
1 . In Rhythm Set mode, press [UTILITY].  
2 . Select 1. WRITEon the UTIL 1 page.  
3 . Specify the writing destination.  
4 . Press [ENTER].  
Sa vin g Rh y th m Se t  
Se ttin g s  
If a message of Internal Write Protect= ONappears,  
change it to OFF and press [ENTER] twice.  
* If you wish to hear the sound of the Rhythm Set in the selected  
writing destination, press [UNDO/COMPARE]. Press it once  
again to return to the previous page.  
1 . Select the Patch or Rhythm Set you wish to save.  
2 . Hold down [SHIFT] and press [PATCH FINDER].  
3 . Specify the number of saving destination.  
4 . Press [SHIFT] + [ENTER].  
1 . Press [UTILITY].  
Sa vin g Pa tch e s a n d  
Rh y th m Se ts Yo u Lik e o n  
th e Fa vo rite List  
Fo rm a ttin g a Me m o ry  
Ca rd  
2 . Select 1. CARDon the UTIL 2 page.  
3 . Select 1. FORMAT.”  
4 . Press [ENTER].  
1 . Press [UTILITY].  
Sa vin g Use r Me m o ry  
Se ttin g s a n d Sy ste m  
Se ttin g s to Me m o ry Ca rd  
a s a Un it  
2 . Select 3. SAVEon the UTIL 2 page.  
3 . Assign a file name.  
4 . Press [ENTER].  
1 . Press [UTILITY].  
Lo a d in g a File fro m  
Me m o ry Ca rd in to th e  
XV-8 8  
2 . Select 2. LOADon the UTIL 2 page.  
3 . Select the file you want to load.  
4 . Press [ENTER].  
2 2 6  
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Q u ick Re fe re n ce o f Pro ce d u re s  
1 . Press [UTILITY].  
De le tin g a File fro m  
Me m o ry Ca rd  
2 . Select 1. CARDon the UTIL 2 page.  
3 . Select 3. DELETE.”  
4 . Select the file that you wish to delete.  
5 . Press [ENTER].  
1 . Press [UTILITY].  
Ch e ck in g th e Fre e Are a  
o f a Me m o ry Ca rd , e tc.  
2 . Select 1. CARDon the UTIL 2 page.  
3 . Select 5. INFO.”  
Co n tro llin g Ex te rn a l MIDI De vice s  
Channel parameter (ZONE/ MIDI/ MIDI)  
Se ttin g th e MIDI  
Tra n sm it Ch a n n e l fo r  
Pe rfo rm a n ce Mo d e  
(fo r e a ch Zo n e )  
Tx parameter (ZONE/ MIDI/ MIDI)  
Tu rn in g th e MIDI  
Tra n sm it Sw itch O n / O ff  
fo r Pe rfo rm a n ce Mo d e  
(fo r e a ch Zo n e )  
Tx Ch parameter (SYSTEM/ MIDI/ PATCH MIDI)  
Se ttin g th e MIDI  
Tra n sm it Ch a n n e l fo r  
Pa tch / Rh y th m Se t Mo d e  
Program parameter (SYSTEM/ MIDI/ TRANSMIT MIDI)  
Tu rn in g O n / O ff th e  
Tra n sm it Sw itch o f  
Pro g ra m Ch a n g e  
Me ssa g e  
Bank Sel parameter (SYSTEM/ MIDI/ TRANSMIT MIDI)  
Tu rn in g O n / O ff th e  
Tra n sm it Sw itch o f Ba n k  
Se le ct Me ssa g e s  
1 . Set the Tx parameter (ZONE/ MIDI/ MIDI) of the Zone to  
Sw itch in g Mu ltip le To n e s  
o n Ex te rn a l MIDI De vice s  
a t O n ce W h e n Sw itch in g  
th e Pe rfo rm a n ce  
be used to ON.  
2 . Set the Bank Select MSB/ LSB parameter (ZONE/ EXT  
CONTROL/ EXT PC) to match the Bank Select of the  
external MIDI device.  
3 . Set the P.C# parameter (ZONE/ EXT CONTROL/ EXT  
P.C) to match the Program Change number for the Tone  
you want the external MIDI device to select.  
4 . Save the Performance.  
5 . Switch to the saved Performance from other  
Performances.  
2 2 7  
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Q u ick Re fe re n ce o f Pro ce d u re s  
Co n tro llin g th e XV-8 8 fro m a n Ex te rn a l MIDI De vice  
Channel parameter (PERFORM/ MIDI/ MIDI)  
Se ttin g th e MIDI Re ce ive  
Ch a n n e l fo r  
Pe rfo rm a n ce Mo d e  
(fo r e a ch Pa rt)  
Rx Sw parameter (PERFORM/ MIDI/ MIDI)  
Tu rn in g O n / O ff th e MIDI  
Re ce ive Sw itch in  
Pe rfo rm a n ce Mo d e  
(fo r e a ch Pa rt)  
Control Channel parameter (SYSTEM/ MIDI/ PERFORM  
MIDI)  
Se ttin g th e Re ce ive  
Ch a n n e l o n w h ich  
Pe rfo rm a n ce s w ill b e  
Se le cte d  
RxSWITCH page (PERFORM/ MIDI)  
INFO page (PERFORM/ INFO)  
Tu rn in g O n / O ff th e  
Re ce ive Sw itch o f th e  
MIDI Me ssa g e s in  
Pe rfo rm a n ce Mo d e  
(fo r e a ch Pa rt)  
Co n firm in g th e Re ce ive  
Sta tu s o f MIDI Me ssa g e s  
in Pe rfo rm a n ce Mo d e  
(fo r e a ch Pa rt)  
Rx Ch parameter (SYSTEM/ MIDI/ PATCH MIDI)  
Se ttin g th e MIDI Re ce ive  
Ch a n n e l fo r Pa tch /  
Rh y th m Se t Mo d e  
Program Change parameter (SYSTEM/ MIDI/ RECEIVE MIDI)  
Tu rn in g O n / O ff th e  
Re ce ive Sw itch o f  
Pro g ra m Ch a n g e  
Me ssa g e  
Bank Select parameter (SYSTEM/ MIDI/ RECEIVE MIDI)  
CTRL Rx MIDI page (PATCH/ CONTROL)  
Tu rn in g O n / O ff th e  
Re ce ive Sw itch o f Ba n k  
Se le ct Me ssa g e s  
Tu rn in g O n / O ff th e  
Re ce ive Sw itch o f th e  
MIDI Me ssa g e s in Pa tch /  
Rh y th m Se t Mo d e  
(fo r e a ch To n e )  
2 2 8  
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Q u ick Re fe re n ce o f Pro ce d u re s  
O th e rs  
Press [SHIFT] + [EXIT].  
Usin g th e Pa n ic Fu n ctio n  
Master parameter (SYSTEM/ TUNE/ SYSTEM TUNE)  
LCD parameter (SYSTEM/ SETUP/ SYSTEM SETUP)  
Ad ju stin g th e Tu n in g  
Ad ju stin g th e Disp la y  
Co n tra st  
1 . Select a Performance, Patch, or Rhythm Set.  
2 . Press [UTILITY].  
Re sto rin g th e Te m p o ra ry  
Pe rfo rm a n ce / Pa tch /  
Rh y th m Se t to th e  
Fa cto ry Se ttin g  
3 . Select 3. INITon the UTIL 1 page.  
4 . Select PRESET.”  
5 . Press [ENTER].  
1 . Press [UTILITY].  
Re sto rin g th e XV-8 8 to  
th e Fa cto ry Se ttin g s  
2 . Select 4. FACTORY RESETon the UTIL 2page.  
3 . Press [ENTER].  
If a message of Internal Write Protect= ONappears,  
change it to OFF and press [ENTER] three times.  
2 2 9  
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Pa ra m e te r List  
Pe rfo rm a n ce Pa ra m e te rs  
* Parameters that can be set independently for each Part are indicated by “P.”  
CO MMO N Gro u p (p . 5 1 )  
Display  
Parameter  
Value  
PERFORM NAME  
PART KEY RANG  
----  
Performance name  
Key fade width lower  
Key range lower  
ASCII Characters (max. 12)  
L.Fade  
Lower  
Upper  
U.Fade  
0127  
P
P
P
P
P
C-1G9  
C-1G9  
0127  
Key range upper  
Key fade width upper  
PERFORM MFX CH  
MFX Control Channel Multi-effects control channel  
116, OFF  
EFFECTS Gro u p (p . 5 2 )  
Display  
Parameter  
Value  
OUTPUT  
Output Assign  
Output assign  
MFX, OUTPUT A/B, INDIV 14, PATCH  
P
P
P
P
Output level  
0127  
Chorus  
Reverb  
Chorus send level  
0127  
Reverb send level  
0127  
PERFORM MFX TYPE Type  
Source  
Multi-effects type  
(*1)  
Multi-effects source  
Multi-effects parameters  
Multi-effects control source 1, 2, 3, 4  
Multi-effects control destination 1, 2, 3, 4  
Multi-effects control sensitivity 1, 2, 3, 4  
Multi-effects output assign  
Multi-effects dry send level  
Multi-effects chorus send level  
Multi-effects reverb send level  
Chorus type  
PERFORM, PART 116  
PERFORM MFX PRM (*1)  
PERFORM MFX CTRL Source  
(*2)  
Destination  
(*3)  
Sens  
-63+63  
PERFORM MFX OUT  
Output  
Dry  
A, B  
0127  
Chorus  
Reverb  
0127  
0127  
PERFORM CHO TYPE Type  
Source  
OFF, CHORUS, DELAY  
PERFORM, PART 116  
Chorus source  
PERFORM CHO PRM (*4)  
Chorus parameters  
PERFORM CHO OUT Output Assign  
Chorus output assign  
Chorus level  
A, B  
Level  
Select  
0127  
Chorus output select  
Reverb type  
MAIN, REV, MAIN+REV  
PERFORM REV TYPE Type  
Source  
OFF, REVERB, SRV ROOM, SRV HALL, SRV PLATE  
PERFORM, PART 116  
Reverb source  
PERFORM REV PRM  
PERFORM REV OUT  
(*5)  
Reverb parameters  
Output Assign  
Level  
Reverb output assign  
Reverb level  
A, B  
0127  
*1: Refer to Multi-Effects Parameters(p. 241).  
*2: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4  
*3: Refer to Multi-Effects Types(p. 117).  
*4: Refer to Chorus Parameters(p. 248).  
*5: Refer to Reverb Parameters(p. 249).  
2 3 0  
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Pa ra m e te r List  
MIDI Gro u p (p . 5 2 )  
Display  
Parameter  
Value  
MIDI  
Channel  
Rx Sw  
MIDI receive channel  
116  
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
Receive switch  
OFF, ON  
OFF, MUTE  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, 1, 2, 3, 4  
OFF, ON  
Mute Sw  
Bank Select  
Program Change  
Vol  
Mute switch  
RxSWITCH  
Receive bank select switch  
Receive program change switch  
Receive volume switch  
Receive pan switch  
Pan  
Exp  
Receive expression switch  
Receive hold 1 switch  
Receive pitch bend switch  
Receive modulation switch  
Receive channel aftertouch switch  
Receive polyphonic aftertouch switch  
Velocity curve  
Hld  
Bnd  
Mod  
Caf  
Paf  
VELO CRV  
Velocity Curve  
Phase Lock  
Phase lock switch  
PART Gro u p (p . 5 3 )  
Display  
Parameter  
Value  
PATCH  
Type  
type  
PAT, RHY  
P
P
Group  
Patch/Rhythm Set group  
USER, CD-A, CD-B, CD-C, CD-D, CD-E, CD-F,  
CD-G, CD-H, PR-A, PR-B, PR-C, PR-D, PR-E, PR-F,  
GM, XP-A, XP-B, XP-C, XP-D  
001***  
Number  
Level  
Patch/Rhythm Set number  
Part level  
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
SETTING  
MODIFY  
0127  
Pan  
Part pan  
L64063R  
Voice Reserve  
Cut  
Voice reserve  
063, FULL  
Part cutoff frequency offset  
Part resonance offset  
Part attack time offset  
Part release time offset  
Part velocity sensitivity offset  
Part octave shift  
-64+63  
Res  
-64+63  
Atk  
-64+63  
Rel  
-64+63  
Velocity Sens  
Octave  
Coarse  
Fine  
-63+63  
PITCH  
-3+3  
Part coarse tune  
Part fine tune  
-48+48 semitone  
-50+50 cent  
024, PATCH  
MONO, POLY, PATCH  
OFF, ON, PATCH  
OFF, ON:0127, PATCH  
BendRng  
Mno/Pol  
Legato  
Portament Sw:Tm  
Bend range  
MONO/POL  
Part mono/poly  
Legato switch  
Portamento switch:time  
IN FO RMATIO N Gro u p (p . 5 6 )  
Display  
Parameter  
Value  
INFO  
Mod  
Breath  
Foot  
Vol  
Modulation information  
Breath information  
0127  
P
P
P
P
P
P
P
P
P
P
P
P
P
P
0127  
Foot information  
0127  
Volume information  
0127  
Pan  
Exp  
Hld  
Pan information  
L64063R  
0127  
Expression information  
Hold 1 information  
0127  
Bnd  
Aft  
Pitch bend information  
Aftertouch information  
System control 1 information  
System control 2 information  
System control 3 information  
System control 4 information  
Voice information  
-128+127  
0127  
Sy1  
Sy2  
Sy3  
Sy4  
Vo  
0127/-128+127  
0127/-128+127  
0127/-128+127  
0127/-128+127  
0128  
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Pa ra m e te r List  
Zo n e Pa ra m e te rs  
* Parameters that can be set independently for each Tone are indicated by “Z.”  
CO MMO N Gro u p (p . 5 8 )  
Display  
Parameter  
Value  
ZONE COMMON  
Key Mode  
Key mode  
LAYER, SINGLE  
KEY RAN GE Gro u p (p . 5 9 )  
Display  
Parameter  
Value  
KEY RANG  
Lower  
Upper  
Key range lower  
Key range upper  
C-1G9  
Z
Z
C-1G9  
MIDI Gro u p (p . 5 9 )  
Display  
Parameter  
Value  
MIDI  
Channel  
Tx  
MIDI transmit channel  
Transmit switch  
Local switch  
116  
Z
Z
Z
OFF, ON  
OFF, ON  
Local  
EXT CO N TRO L Gro u p (p . 6 0 )  
Display  
Parameter  
Value  
EXT P.C  
P.C#  
External program change number  
External bank select MSB  
External bank select LSB  
External volume  
1128, NO-SEND  
0127  
Z
Z
Z
Z
Z
Bank Select MSB  
Bank Select LSB  
Volume  
0127  
EXT CTRL  
0127, NO-SEND  
0127, NO-SEND  
Pan  
External pan  
ARPEGGIO Gro u p (p . 6 1 )  
Display  
Parameter  
Value  
ARPEGGIO  
Style  
Arpeggio style  
Octave range  
Motif  
(*1)  
Octave Range  
Motif  
-3+3  
(*2)  
Beat Pattern  
Accent Rate  
Shuffle Rate  
Key Velocity  
Zone  
Beat pattern  
Accent rate  
Shuffle rate  
Key velocity  
Arpeggio zone  
Arpeggio tempo  
(*3)  
0100%  
5090%  
REAL, 1127  
116  
Tempo  
20250  
*1: 1/4, 1/6, 1/8, 1/12, 1/16, 1/32, PORTAMENTO A, PORTAMENTO B, GLISSANDO, SEQUENCE A, SEQUENCE B, SEQUENCE C, SEQUENCE D, ECHO, SYNTH  
BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS, RHYTHM GTR 1, RHYTHM GTR 2, RHYTHM GTR 3, RHYTHM GTR 4, RHYTHM GTR 5, 3 FINGER, STRUM  
GTR UP, STRUM GTR DOWN, STRUM GTR UP&DW, PIANO BACKING, CLAVI CHORD, WALTZ, SWING WALTZ, REGGAE, PERCUSSION, HARP,  
SHAMISEN, BOUND BALL, RANDOM, BOSSA NOVA, SALSA, MAMBO, LATIN PERCUSSION, SAMBA, TANGO, HOUSE, LIMITLESS  
*2: SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, TRIPLE UP, TRIPLE  
DOWN, TRIPLE UP&DOWN, TRIPLE RANDOM, NOTE ORDER, GLISSANDO, CHORD, BASS+CHORD15, BASS+UP18, BASS+RND13, TOP+UP16,  
BASS+UP+TOP  
*3: 1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111, PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 1, 2, SEQ-D 18, ECHO 13, MUTE 0116, STRUM  
18, REGGAE 12, REFRAIN 12, PERC 14, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO 12, CLAVE, REV CLA, GUILO,  
AGOGO, SAMBA, TANGO 14, HOUSE 12  
2 3 2  
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D BEAM Gro u p (p . 6 3 )  
Display  
Parameter  
Value  
D BEAM CONTROL  
Assign  
D Beam assign  
(*1)  
Output  
D Beam output  
OFF, INT, MIDI, BOTH  
Polarity  
D Beam polarity  
STANDARD, REVERSE  
D BEAM RANGE  
D BEAM SENS  
Lower  
D Beam range lower  
D Beam range upper  
D Beam sensitivity  
0127  
0127  
110  
Upper  
D Beam Sensitivity  
*1: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, TAP TEMPO  
IN FO Gro u p (p . 6 4 )  
Display  
Parameter  
Value  
INFO  
ch  
MIDI transmit channel  
Transmit switch status  
Part connection status  
----  
----  
----  
tx  
part  
Pa tch Pa ra m e te rs  
* Parameters that can be set independently for each Tone are indicated by “T.”  
CO MMO N Gro u p (p . 6 9 )  
Display  
Parameter  
Value  
PATCH NAME  
----  
Patch name  
ASCII Characters (max. 12)  
PATCH CATEGORY  
PATCH LVL&PAN  
Category  
Level  
Patch category  
(*1)  
Patch level  
0127  
Pan  
Patch pan  
L64063R  
Analog Feel  
Octave  
Coarse  
Fine  
Analog feel depth  
Octave shift  
0127  
PATCH OCT&TUNE  
-3+3  
Coarse tune  
-48+48  
Fine tune  
-50+50  
Stretch  
Priority  
Output Assign  
Clock Source  
Tempo  
Cut  
Stretch tuning depth  
Voice priority  
OFF, 1, 2, 3  
PATCH COMMON  
PATCH TEMPO  
PATCH MODIFY  
LAST, LOUDEST  
Output assign  
MFX, OUTPUT A/B, INDIV 14, TONE  
Patch clock source  
Patch tempo  
PATCH, SYSTEM  
20250  
Cutoff frequency offset  
Resonance offset  
Attack time offset  
Release time offset  
Velocity sensitivity offset  
TMT Velocity control switch  
Velocity fade width lower  
Velocity range lower  
Velocity range upper  
Velocity fade width upper  
Key fade width lower  
Key range lower  
Key range upper  
Key fade width upper  
Structure type  
-63+63  
-63+63  
-63+63  
-63+63  
-63+63  
OFF, ON, RANDOM  
0127  
Res  
Atk  
Rel  
Velocity Sens  
TMT VELO CONTROL TMT Velocity Control  
TMT VEL RANG  
TMT KEY RANG  
STRUCT  
L.Fade  
Lower  
Upper  
U.Fade  
L.Fade  
Lower  
Upper  
U.Fade  
Type  
T
T
T
T
T
T
T
T
T
T
1127  
1127  
0127  
0127  
C-1G9  
C-1G9  
0127  
110  
Booster  
Booster gain  
0, +6, +12, +18 dB  
*1: NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS,  
SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH,  
PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE,  
DRUMS, COMBINATION  
2 3 3  
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EFFECTS Gro u p (p . 7 5 )  
Display  
Parameter  
Value  
OUTPUT  
Output Assign  
Output assign  
MFX, OUTPUT A/B, INDIV 14  
T
T
T
T
Output level  
0127  
0127  
0127  
(*1)  
Chorus  
Reverb  
Type  
Chorus send level  
Reverb send level  
PATCH MFX TYPE  
PATCH MFX PRM  
PATCH MFX CTRL  
Multi-effects type  
(*1)  
Multi-effects parameters  
Multi-effects control source 1, 2, 3, 4  
Multi-effects control destination 1, 2, 3, 4  
Multi-effects control sensitivity 1, 2, 3, 4  
Multi-effects output assign  
Multi-effects dry send level  
Multi-effects chorus send level  
Multi-effects reverb send level  
Chorus type  
Source  
Destination  
Sens  
(*2)  
(*3)  
-63+63  
PATCH MFX OUT  
Output  
Dry  
A, B  
0127  
Chorus  
Reverb  
Type  
0127  
0127  
PATCH CHO TYPE  
PATCH CHO PRM  
PATCH CHO OUT  
OFF, CHORUS, DELAY  
(*4)  
Chorus parameters  
Output Assign  
Level  
Chorus output assign  
Chorus level  
A, B  
0127  
Select  
Type  
Chorus output select  
Reverb type  
MAIN, REV, MAIN+REV  
PATCH REV TYPE  
PATCH REV PRM  
PATCH REV OUT  
OFF, REVERB, SRV ROOM, SRV HALL, SRV PLATE  
(*5)  
Reverb parameters  
Output Assign  
Level  
Reverb output assign  
Reverb level  
A, B  
0127  
*1: Refer to Multi-Effects Parameters(p. 241).  
*2: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4  
*3: Refer to Multi-Effects Types(p. 117).  
*4: Refer to Chorus Parameters(p. 248).  
*5: Refer to Reverb Parameters(p. 249).  
2 3 4  
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CO N TRO L Gro u p (p . 7 6 )  
Display  
Parameter  
Value  
PATCH KEY MODE  
Assign  
Key assign  
POLY, MONO  
OFF, ON  
Legato  
Solo legato switch  
Legato Retrigger  
Sw  
Legato retrigger switch  
Portamento switch  
OFF, ON  
PATCH PORTAMNT  
CTRL Rx MIDI  
OFF, ON  
Time  
Portamento time  
0127  
Mode  
Portamento mode  
NORMAL, LEGATO  
RATE, TIME  
PITCH, NOTE  
OFF, ON  
Type  
Portamento type  
Start  
Portamento start pitch  
Bender  
Receive pitch bend switch  
Receive expression switch  
Receive pan mode  
T
T
T
T
T
T
Expression  
Pan Mode  
Hold-1  
OFF, ON  
CONTINUOUS, KEY-ON  
OFF, ON  
Receive hold 1 switch  
Redamper  
Envelope Mode  
TMT Ctrl Sw  
Bend Range  
Redamper switch  
OFF, ON  
Envelope mode  
NO SUSTAIN, SUSTAIN  
OFF, ON  
TMT CTRL&BENDER  
MATRIX CTRL SRC  
TMT control switch  
Bend range down  
-480 semitone  
0+48 semitone  
(*1)  
Bend range up  
Control 1  
Control 2  
Control 3  
Control 4  
Dest  
Matrix control source 1  
Matrix control source 2  
Matrix control source 3  
Matrix control source 4  
Matrix control 1 destination 1, 2, 3, 4  
Matrix control 1 sensitivity 1, 2, 3, 4  
Matrix Control 1 tone 1, 2, 3, 4  
Matrix control 2 destination 1, 2, 3, 4  
Matrix control 2 sensitivity 1, 2, 3, 4  
Matrix Control 2 tone 1, 2, 3, 4  
Matrix control 3 destination 1, 2, 3, 4  
Matrix control 3 sensitivity 1, 2, 3, 4  
Matrix Control 3 tone 1, 2, 3, 4  
Matrix control 4 destination 1, 2, 3, 4  
Matrix control 4 sensitivity 1, 2, 3, 4  
Matrix Control 4 tone 1, 2, 3, 4  
(*1)  
(*1)  
(*1)  
MATRIX CONTROL1  
MATRIX CONTROL2  
MATRIX CONTROL3  
MATRIX CONTROL4  
(*2)  
Sns  
-63+63  
Tone  
OFF, ON, R  
(*2)  
T
T
T
T
Dest  
Sns  
-63+63  
Tone  
OFF, ON, R  
(*2)  
Dest  
Sns  
-63+63  
Tone  
OFF, ON, R  
(*2)  
Dest  
Sns  
-63+63  
Tone  
OFF, ON, R  
*1: OFF, CC01-95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1,  
LFO2, PITCH ENV, TVF ENV, TVA ENV  
*2: OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, LFO2 PCH DEPTH, LFO1 TVF DEPTH,  
LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT ENV D-TIME,  
PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM DEPTH, MFX  
CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4  
W AVE Gro u p (p . 8 1 )  
Display  
Parameter  
Value  
WAVE  
Group  
Wave group  
INT, XP-A, XP-B, XP-C, XP-D  
T
T
T
T
T
T
T
T
Number  
Gain  
Wave number (L, R)  
Wave gain  
00011083  
-6, 0, +6, +12 dB  
Switch  
Tone switch  
OFF, ON  
Wave Tempo Sync  
Switch  
Wave tempo sync  
FXM switch  
OFF, ON  
FXM  
OFF, ON  
Color  
FXM color  
14  
Depth  
FXM depth  
117  
TONE DELAY  
Mode  
Tone delay mode  
NORMAL, HOLD, KEY-OFF-NORMAL,  
KEY-OFF-DECAY  
T
T
Time  
Tone delay time  
0127(*1)  
*1: It can also be set in terms of notes.  
fig.note value.e  
(Sixty-fourth-note triplet),  
(Sixty-fourth note),  
(Thirty-second-note triplet),  
(Thirty-second note),  
(Quarter-note triplet),  
(Whole note), (Double-note triplet),  
(Sixteenth-note triplet),  
(Dotted eighth note),  
(Dotted whole note),  
(Dotted thirty-second note),  
(Quarter note), (Half-note triplet),  
(Double note)  
(Sixteenth note),  
(Eighth-note triplet),  
(Half note),  
(Dotted sixteenth note),  
(Eighth note),  
(Dotted quarter note),  
(Whole-note triplet), (Dotted half note),  
2 3 5  
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LFO Gro u p (p . 8 3 )  
Display  
Parameter  
Value  
LFO1 WAVE  
Form  
LFO waveform  
SIN,TRI, SAW-UP, SAW-DW, SQR, RND, UP, DW,  
TRP, S&H, CHS  
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Ofset  
LFO Level offset  
LFO rate  
-100, -50, 0, +50, +100  
Rate  
0127(*1)  
Detune  
KeySync  
Fade Mode  
Fade Time  
Delay Time  
Delay Keyfollow  
(*3)  
LFO rate detune  
LFO key sync  
0127  
OFF, ON  
LFO1 FADE  
LFO fade mode  
LFO fade time  
ON-IN, ON-OUT, OFF-IN, OFF-OUT  
0127  
LFO1 DELAY  
LFO delay time  
LFO delay time keyfollow  
0127  
-100+100(*2)  
LFO2  
LFO DEPTH1:2  
Pitch  
Pitch LFO depth1, 2  
TVF LFO depth 1, 2  
TVA LFO depth 1, 2  
Pan LFO depth 1, 2  
-63+63  
-63+63  
-63+63  
-63+63  
TVF  
TVA  
Pan  
*1: It can also be set in terms of notes.  
fig.note value.e  
(Sixty-fourth-note triplet),  
(Sixty-fourth note),  
(Thirty-second-note triplet),  
(Thirty-second note),  
(Quarter-note triplet),  
(Whole note), (Double-note triplet),  
(Sixteenth-note triplet),  
(Dotted eighth note),  
(Dotted whole note),  
(Dotted thirty-second note),  
(Quarter note), (Half-note triplet),  
(Double note)  
(Sixteenth note),  
(Eighth-note triplet),  
(Dotted sixteenth note),  
(Eighth note),  
(Dotted quarter note),  
(Half note),  
(Whole-note triplet), (Dotted half note),  
*2: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
*3: Same as LFO1.  
PITCH Gro u p (p . 8 6 )  
Display  
Parameter  
Value  
PITCH  
Coarse  
Coarse tune  
-48+48 semitone  
-50+50 cent  
01200 cent (*1)  
-200+200 (*2)  
-12+12  
T
T
T
T
T
T
T
T
T
T
T
T
Fine  
Fine tune  
Random  
Keyfollow  
Depth  
Random pitch depth  
Pitch keyfollow  
PCH ENVELOPE  
Pitch envelope depth  
V-Sens  
Pitch envelope velocity sensitivity  
Pitch envelope time keyfollow  
Pitch envelope time 1 velocity sensitivity  
Pitch envelope time 4 velocity sensitivity  
Pitch envelope level 0  
-63+63  
Time Keyfollow  
V-T1  
-100+100 (*3)  
-63+63  
V-T4  
-63+63  
L0  
-63+63  
T1, T2, T3, T4  
L1, L2, L3, L4  
Pitch envelope time 1, 2, 3, 4  
Pitch envelope level 1, 2, 3, 4  
0127  
-63+63  
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200  
*2: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110,  
+120, +130, +140, +150, +160, +170, +180, +190, +200  
*3: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
2 3 6  
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Pa ra m e te r List  
TVF Gro u p (p . 8 7 )  
Display  
Parameter  
Value  
TVF FILTER  
Type  
Filter type  
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3  
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Cutoff  
Cutoff frequency  
0127  
Resonance  
Keyfollow  
V-Cutoff  
V-Curve  
V-Resonance  
Depth  
Resonance  
0127  
Cutoff frequency keyfollow  
Cutoff frequency velocity sensitivity  
Cutoff frequency velocity curve  
Resonance velocity sensitivity  
TVF envelope depth  
-200+200 (*1)  
-63+63  
FIXED, 17  
-63+63  
-63+63  
-63+63  
FIXED, 17  
-100+100 (*2)  
-63+63  
-63+63  
0127  
TVF VELOCITY  
TVF ENVELOPE  
V-Sens  
TVF envelope velocity sensitivity  
TVF envelope velocity curve  
TVF envelope time keyfollow  
TVF envelope time 1 velocity sensitivity  
TVF envelope time 4 velocity sensitivity  
TVF envelope level 0  
V-Curve  
Time KF  
V-T1  
V-T4  
L0  
T1, T2, T3, T4  
L1, L2, L3, L4  
TVF envelope time 1, 2, 3, 4  
TVF envelope level 1, 2, 3, 4  
0127  
0127  
*1: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110,  
+120, +130, +140, +150, +160, +170, +180, +190, +200  
*2: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
TVA Gro u p (p . 9 0 )  
Display  
Parameter  
Value  
TVA  
Level  
Tone level  
0127  
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Pan  
Tone pan  
L64063R  
V-Sens  
V-Curve  
Bias  
TVA envelope velocity sensitivity  
TVA envelope velocity curve  
Bias level  
-63+63  
FIXED, 17  
BIAS  
-100+100 (*1)  
Point  
Bias point  
C-1G9  
Direction  
Keyfollow  
Random  
Alternate  
V-T1  
Bias direction  
LOWER, UPPER, LOWER&UPPER, ALL  
PAN MODULATE  
TVA TIME ENV  
TVA ENVELOPE  
Pan keyfollow  
-100+100 (*1)  
063  
Random pan depth  
Alternate pan depth  
L63063R  
-63+63  
-63+63  
-100+100 (*1)  
0127  
TVA envelope time 1 velocity sensitivity  
TVA envelope time 4 velocity sensitivity  
TVA envelope time keyfollow  
TVA envelope time 1, 2, 3, 4  
TVA envelope level 1, 2, 3  
V-T4  
Time Keyfollow  
T1, T2, T3, T4  
L1, L2, L3  
0127  
*1: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
Rh y th m Se t Pa ra m e te rs  
* Parameters that can be set independently for each Rhythm Tone are indicated by “T.”  
* Parameters that can be set independently for each Wave comprising the Rhythm Tone are indicated by “W.”  
CO MMO N Gro u p (p . 9 6 )  
Display  
Parameter  
Value  
RHYTHM NAME  
----  
Rhythm set name  
Rhythm set level  
Output assign  
ASCII Characters (max. 12)  
0127  
RHYTHM COMMON  
Level  
Output Assign  
Clock Source  
Tempo  
MFX, OUTPUT A/B, INDIV 14, TONE  
RHYTHM, SYSTEM  
20250  
RHYTHM TEMPO  
Rhythm set clock source  
Rhythm set tempo  
2 3 7  
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Pa ra m e te r List  
EFFECTS Gro u p (p . 9 7 )  
Display  
Parameter  
Value  
OUTPUT  
Output Assign  
Output assign  
MFX, OUTPUT A/B, INDIV 14  
T
T
T
T
Output level  
0127  
0127  
0127  
(*1)  
Chorus  
Reverb  
Type  
Chorus send level  
Reverb send level  
RHYTHM MFX TYPE  
RHYTHM MFX PRM  
RHYTHM MFX CTRL  
Multi-effects type  
(*1)  
Multi-effects parameters  
Multi-effects control source 1, 2, 3, 4  
Multi-effects control destination 1, 2, 3, 4  
Multi-effects control sensitivity 1, 2, 3, 4  
Multi-effects output assign  
Multi-effects dry send level  
Multi-effects chorus send level  
Multi-effects reverb send level  
Chorus type  
Source  
Destination  
Sens  
(*2)  
(*3)  
-63+63  
RHYTHM MFX OUT  
Output  
Dry  
A, B  
0127  
Chorus  
Reverb  
Type  
0127  
0127  
RHYTHM CHO TYPE  
RHYTHM CHO PRM  
RHYTHM CHO OUT  
OFF, CHORUS, DELAY  
(*4)  
Chorus parameters  
Output Assign  
Level  
Chorus output assign  
Chorus level  
A, B  
0127  
Select  
Type  
Chorus output select  
Reverb type  
MAIN, REV, MAIN+REV  
RHYTHM REV TYPE  
RHYTHM REV PRM  
RHYTHM REV OUT  
OFF, REVERB, SRV ROOM, SRV HALL, SRV PLATE  
(*5)  
Reverb parameters  
Output Assign  
Level  
Reverb output assign  
Reverb level  
A, B  
0127  
*1: Refer to Multi-Effects Parameters(p. 241).  
*2: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4  
*3: Refer to Multi-Effects Types(p. 117).  
*4: Refer to Chorus Parameters(p. 248).  
*5: Refer to Reverb Parameters(p. 249).  
CO N TRO L Gro u p (p . 9 7 )  
Display  
Parameter  
Value  
CONTROL  
Bend Range  
Envelope Mode  
Mute Group  
Assign Type  
Expression  
Pan  
Bend range  
048  
T
T
T
T
T
T
T
Envelope mode  
Mute group  
NO-SUS, SUSTAIN  
OFF, 131  
Assign type  
MULTI, SINGLE  
OFF, ON  
Rx MIDI  
Receive expression switch  
Receive pan mode  
Receive hold 1 switch  
CONTINUOUS, KEY-ON  
OFF, ON  
Hold-1  
W AVE Gro u p (p . 9 8 )  
Display  
Parameter  
Value  
TONE NAME  
WMT WAVE  
----  
Tone name  
ASCII Characters (max. 12)  
INT, XP-A, XP-B, XP-C, XP-D  
00011083  
-6, 0, 6, 12 dB  
0127  
T
T
Group  
Number  
Gain  
Wave group  
Wave number (L, R)  
Wave gain  
W
W
W
W
W
W
W
W
W
T
Level  
Wave level  
Sw  
Wave switch  
OFF, ON  
Tempo Sync  
L.Fade  
Lower  
Upper  
U.Fade  
Wave tempo sync  
Velocity fade width lower  
Velocity range lower  
Velocity range upper  
Velocity fade width upper  
OFF, ON  
WMT VEL RANG  
0127  
1127  
1127  
0127  
VELO CONTROL  
WMT PAN  
WMT Velocity Control WMT velocity control switch  
OFF, ON, RANDOM  
L64063R  
OFF, ON  
Pan  
Wave pan  
W
W
W
W
W
W
W
W
Random  
Alternate  
Coarse  
Fine  
Random pan switch  
Alternate pan switch  
Coarse tune  
Fine tune  
OFF, ON  
WMT TUNE  
WMT FXM  
-48+48 semitone  
-50+50 cent  
OFF, ON  
Switch  
Color  
FXM switch  
FXM color  
14  
Depth  
FXM depth  
117  
2 3 8  
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Pa ra m e te r List  
PITCH Gro u p (p . 1 0 0 )  
Display  
Parameter  
Value  
PITCH  
Coarse  
Fine  
Coarse tune  
-48+48 semitone  
-50+50 cent  
01200 cent (*1)  
-12+12  
T
T
T
T
T
T
T
T
T
T
Fine tune  
Random  
Depth  
Random pitch depth  
PCH ENVELOPE  
Pitch envelope depth  
V-Sens  
V-T1  
Pitch envelope velocity sensitivity  
Pitch envelope time 1 velocity sensitivity  
Pitch envelope time 4 velocity sensitivity  
Pitch envelope level 0  
-63+63  
-63+63  
V-T4  
-63+63  
L0  
-63+63  
T1, T2, T3, T4  
L1, L2, L3, L4  
Pitch envelope time 1, 2, 3, 4  
Pitch envelope level 1, 2, 3, 4  
0127  
-63+63  
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200  
TVF Gro u p (p . 1 0 1 )  
Display  
Parameter  
Value  
TVF FILTER  
Type  
Filter type  
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3  
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Cutoff  
Cutoff frequency  
0127  
Resonance  
V-Cutoff  
V-Curve  
V-Resonance  
Depth  
Resonance  
0127  
TVF VELOCITY  
TVF ENVELOPE  
Cutoff frequency velocity sensitivity  
Cutoff frequency velocity curve  
Resonance velocity sensitivity  
TVF Envelope depth  
-63+63  
FIXED, 17  
-63+63  
-63+63  
-63+63  
FIXED, 17  
-63+63  
-63+63  
0127  
V-Sens  
TVF envelope velocity sensitivity  
TVF envelope velocity curve  
TVF envelope time 1 velocity sensitivity  
TVF envelope time 4 velocity sensitivity  
TVF envelope level 0  
V-Curve  
V-T1  
V-T4  
L0  
T1, T2, T3, T4  
L1, L2, L3, L4  
TVF envelope time 1, 2, 3, 4  
TVF envelope level 1, 2, 3, 4  
0127  
0127  
TVA Gro u p (p . 1 0 3 )  
Display  
Parameter  
Value  
TVA  
Level  
Rhythm tone level  
0127  
T
T
T
T
T
T
T
T
T
T
Pan  
Rhythm tone pan  
L64063R  
063  
Random  
Alternate  
Velocity Sens  
Velocity Curve  
V-T1  
Random pan depth  
Alternate pan depth  
L63063R  
-63+63  
FIXED, 17  
-63+63  
-63+63  
0127  
TVA VELOCITY  
TVA TIME ENV  
TVA ENVELOPE  
TVA envelope velocity sensitivity  
TVA envelope velocity curve  
TVA envelope time 1 velocity sensitivity  
TVA envelope time 4 velocity sensitivity  
TVA envelope time 1, 2, 3, 4  
TVA envelope level 1, 2, 3  
V-T4  
T1, T2, T3, T4  
L1, L2, L3  
0127  
2 3 9  
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Pa ra m e te r List  
GM Mo d e Pa ra m e te rs  
* Parameters that can be set independently for each Part are indicated by “P.”  
EFFECTS Gro u p (p . 1 9 4 )  
Display  
Parameter  
Value  
PART OUTPUT  
Output Assign  
Output assign  
OUTPUT A/B  
P
P
P
P
Output level  
0127  
Chorus  
Reverb  
Type  
Rate  
Dpth  
Fbk  
Chorus send level  
Reverb send level  
Chorus type  
0127  
0127  
GM CHORUS  
GM REVERB  
CHORUS 14, FB CHORUS, FLANGER  
Chorus rate  
0127  
Chorus depth  
0127  
Chorus feedback level  
Chorus reverb send level  
Chorus output assign  
Reverb type  
0127  
Rev  
0127  
Out  
A, B  
Type  
SMALL ROOM, MEDIUM ROOM, LARGE ROOM,  
MEDIUM HALL, LARGE HALL, PLATE  
Time  
Out  
Reverb time  
0127  
Reverb output assign  
A, B  
MIDI Gro u p (p . 1 9 5 )  
Display  
Parameter  
Value  
PART MIDI  
Channel  
Rx Sw  
MIDI receive channel  
Receive switch  
Mute switch  
116, OFF  
OFF, ON  
P
P
P
Mute Sw  
OFF, MUTE  
PART Gro u p (p . 1 9 6 )  
Display  
Parameter  
Value  
PATCH  
Type  
Part type  
PAT, RHY  
Number  
Volume  
Pan  
GM patch/rhythm set number  
Part volume  
001256/001009  
0127  
P
P
P
P
P
P
P
P
P
P
P
P
SETTING  
MODIFY  
Part pan  
L64063R  
-48+48 semitone  
-50+50 cent  
-64+63  
Coarse  
Fine  
Part coarse tune  
Part fine tune  
Cutoff  
Part cutoff frequency offset  
Part resonance offset  
Part attack time offset  
Part release time offset  
Bend range  
Resonance  
Attack  
-64+63  
-64+63  
Release  
BendRng  
Mono/Poly  
Porta Sw:Time  
-64+63  
CONTROL  
024  
Part mono/poly  
MONO, POLY  
OFF, ON : 0127  
Part portamento switch:time  
IN FO Gro u p (p . 1 9 7 )  
Display  
Parameter  
Value  
INFO  
Mod  
Modulation information  
Breath information  
Foot information  
0127  
P
P
P
P
P
P
P
P
P
P
Breath  
Foot  
0127  
0127  
Vol  
Volume information  
Pan information  
0127  
Pan  
L64063R  
0127  
Exp  
Expression information  
Hold 1 information  
Pitch bend information  
Aftertouch information  
Voice information  
Hold  
0127  
Bend  
Aftertouch  
Voices  
-128+127  
0127  
0128  
2 4 0  
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Pa ra m e te r List  
0 6 : EN HAN CER (p . 1 2 1 )  
Mu lti-Effe cts Pa ra m e te rs  
Parameter  
Value  
Sens  
Sensitivity  
Mix level  
0127  
0 1 : STEREO EQ (p . 1 1 9 )  
Mix  
0127  
Parameter  
Value  
LowGain  
Hi Gain  
Level  
Low gain  
High gain  
Output level  
-15+15 dB  
-15+15 dB  
0127  
LowFreq  
LowGain  
Hi Freq  
Low frequency  
Low gain  
200, 400 Hz  
-15+15 dB  
High frequency  
High gain  
4000, 8000 Hz  
-15+15 dB  
Hi Gain  
0 7 : AUTO W AH (p . 1 2 2 )  
Mid1 Freq  
Mid1 Q  
Middle 1 frequency  
Middle 1 Q  
2008000Hz (*1)  
0.5, 1.0, 2.0, 4.0, 8.0  
-15+15 dB  
Parameter  
Value  
Mid1 Gain  
Mid2 Freq  
Mid2 Q  
Middle 1 gain  
Middle 2 frequency  
Middle 2 Q  
Filter  
Filter type  
Sensitivity  
Manual  
Peak  
LPF, BPF  
0127  
200-8000 Hz (*1)  
0.5, 1.0, 2.0, 4.0, 8.0  
-15+15 dB  
Sens  
Manual  
Peak  
Rate  
0127  
Mid2 Gain  
Lev  
Middle 2 gain  
Output level  
0127  
0127  
Rate  
0.0510.00 Hz  
0127  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Depth  
Level  
Depth  
Output level  
0127  
0 2 : O VERDRIVE (p . 1 1 9 )  
0 8 : RO TARY (p . 1 2 2 )  
Parameter  
Value  
Parameter  
Value  
Drive  
Drive  
0127  
LowSlow  
LowFast  
LowAccl  
Low Lvl  
Hi Slow  
Hi Fast  
Hi Accl  
Hi Lvl  
Low frequency slow rate  
Low frequency fast rate  
Low frequency acceleration  
Low frequency level  
High frequency slow rate  
High frequency fast rate  
High frequency acceleration  
High frequency level  
Separation  
0.0510.00 Hz  
0.0510.00 Hz  
015  
Level  
Output level  
Low gain  
0127  
LowGain  
Hi Gain  
Amp Type  
-15+15 dB  
-15+15 dB  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
L64063R  
High gain  
0127  
Amp simulator type  
0.0510.00 Hz  
0.0510.00 Hz  
015  
Pan  
Output pan  
0127  
Speed  
0127  
0 3 : DISTO RTIO N (p . 1 2 0 )  
Speed  
SLOW, FAST  
0127  
Parameter  
Value  
Level  
Output level  
Drive  
Drive  
0127  
Level  
Output level  
Low gain  
0127  
0 9 : CO MPRESSO R (p . 1 2 3 )  
LowGain  
Hi Gain  
Amp Type  
-15+15 dB  
-15+15 dB  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
L64063R  
High gain  
Parameter  
Value  
Amp simulator type  
Attack  
Attack time  
Sustain  
0127  
Sustain  
Post Gain  
LowGain  
Hi Gain  
Pan  
0127  
Pan  
Output pan  
Post gain  
Low gain  
0, +6, +12, +18 dB  
-15+15 dB  
-15+15 dB  
L64063R  
0127  
High gain  
Output pan  
Output level  
0 4 : PHASER (p . 1 2 0 )  
Parameter  
Value  
Level  
Manual  
Rate  
Depth  
Res  
Manual  
1008000 Hz  
0.0510.00 Hz  
0127  
Rate  
Depth  
Resonance  
Mix level  
Output pan  
Output level  
0127  
Mix  
0127  
Pan  
L64063R  
0127  
Level  
0 5 : SPECTRUM (p . 1 2 1 )  
Parameter  
Value  
Band 1  
Band 2  
Band 3  
Band 4  
Band 5  
Band 6  
Band 7  
Band 8  
Q
Band 1 gain  
Band 2 gain  
Band 3 gain  
Band 4 gain  
Band 5 gain  
Band 6 gain  
Band 7 gain  
Band 8 gain  
Q
-15+15 dB  
-15+15 dB  
-15+15 dB  
-15+15 dB  
-15+15 dB  
-15+15 dB  
-15+15 dB  
-15+15 dB  
0.5, 1.0, 2.0, 4.0, 8.0  
L64063R  
0127  
Pan  
Output pan  
Output level  
Level  
2 4 1  
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Pa ra m e te r List  
1 0 : LIMITER (p . 1 2 3 )  
1 5 : STEREO FLAN GER (p . 1 2 6 )  
Parameter  
Value  
Parameter  
Value  
Thresh  
Ratio  
Threshold level  
Compression ratio  
Release time  
Post gain  
0127  
Pre Dly  
Rate  
Pre delay time  
Rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
1.5:1, 2:1, 4:1, 100:1  
0127  
Release  
Gain  
Depth  
Depth  
0, +6, +12, +18 dB  
-15+15 dB  
-15+15 dB  
L64063R  
0127  
Fbk  
Feedback level  
Phase  
-98+98%  
LowGain  
Hi Gain  
Pan  
Low gain  
Phase  
Filter Type  
Cutoff  
0180 degree  
OFF, LPF, HPF  
2008000 Hz (*1)  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
High gain  
Filter type  
Cutoff frequency  
Low gain  
Output pan  
Output level  
Level  
LowGain  
Hi Gain  
Balance  
High gain  
Effect balance  
Output level  
1 1 : HEXA-CHO RUS (p . 1 2 4 )  
Parameter  
Value  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Pre Dly  
Rate  
Pre delay time  
Rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Depth  
Depth  
1 6 : STEP FLAN GER (p . 1 2 6 )  
Dly Dev  
Dpt Dev  
Pan Dev  
Balance  
Level  
Pre delay deviation  
Depth deviation  
Pan deviation  
Effect balance  
Output level  
020  
-20+20  
Parameter  
Value  
0-20  
Pre Dly  
Rate  
Pre delay time  
Rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
D100:0WD0:100W  
0127  
Depth  
Depth  
Fbk  
Feedback level  
Phase  
-98+98%  
Phase  
Step Rate  
LowGain  
Hi Gain  
Balance  
Level  
0180 degree  
0.1020.00 Hz, note  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
1 2 : TREMO LO CHO RUS (p . 1 2 4 )  
Step rate  
Parameter  
Value  
Low gain  
High gain  
Effect balance  
Output level  
Pre Dly  
ChoRate  
Cho Dpt  
Phase  
Pre delay time  
Chorus rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Chorus depth  
Tremolo phase  
Tremolo rate  
0180 degree  
0.0510.00 Hz  
0127  
TrmRate  
Trm Sep  
Balance  
Level  
1 7 : STEREO DELAY (p . 1 2 7 )  
Tremolo separation  
Effect balance  
Output level  
D100:0WD0:100W  
0127  
Parameter  
Value  
Delay L  
Delay R  
Fbk  
Delay time left  
0.0500.0 ms  
0.0500.0 ms  
-98+98%  
Delay time right  
Feedback level  
Feedback mode  
Feedback phase left  
Feedback phase right  
HF damp  
1 3 : SPACE-D (p . 1 2 5 )  
Mode  
NORMAL, CROSS  
NORMAL, INVERT  
NORMAL, INVERT  
2008000 Hz,  
BYPASS (*1)  
-15+15 dB  
Parameter  
Value  
Phase L  
Phase R  
HF Damp  
Pre Dly  
Rate  
Pre delay time  
Rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Depth  
Depth  
LowGain  
Hi Gain  
Balance  
Level  
Low gain  
Phase  
LowGain  
Hi Gain  
Balance  
Level  
Phase  
0180 degree  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
High gain  
-15+15 dB  
Low gain  
High gain  
Effect balance  
Output level  
Effect balance  
Output level  
D100:0WD0:100W  
0127  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
1 4 : STEREO CHO RUS (p . 1 2 5 )  
Parameter  
Value  
Pre Dly  
Rate  
Pre delay time  
Rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Depth  
Depth  
Phase  
Phase  
0180 degree  
OFF, LPF, HPF  
2008000 Hz (*1)  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
Filter Type  
Cutoff  
Filter type  
Cutoff frequency  
Low gain  
LowGain  
Hi Gain  
Balance  
Level  
High gain  
Effect balance  
Output level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
2 4 2  
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1 8 : MO DULATIO N DELAY (p . 1 2 8 )  
Parameter  
Value  
Parameter  
Value  
Delay L  
Delay R  
Fbk  
Delay time left  
Delay time right  
Feedback level  
Feedback mode  
Rate  
0.0500.0 ms  
0.0500.0 ms  
-98+98%  
Delay  
Accel  
Delay time  
2001000 ms  
015  
Acceleration  
Feedback level  
HF damp  
Fbk  
-98+98%  
2008000 Hz,  
BYPASS (*1)  
L64063R  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
Mode  
NORMAL, CROSS  
0.0510.00 Hz  
0127  
HF Damp  
Rate  
Depth  
Phase  
HF Damp  
Depth  
Pan  
Output pan  
Low gain  
Phase  
0180 degree  
2008000 Hz,  
BYPASS (*1)  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
LowGain  
Hi Gain  
Balance  
Level  
HF damp  
High gain  
Effect balance  
Output level  
LowGain  
Hi Gain  
Balance  
Level  
Low gain  
High gain  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Effect balance  
Output level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
2 2 : 2 VO ICE PITCH SHIFTER (p . 1 3 1 )  
Parameter  
Value  
Fine A  
Pan A  
Coarse pitch A  
Fine pitch A  
-24+12 semitone  
-100+100 cent  
L64063R  
1 9 : TRIPLE TAP DELAY (p . 1 2 9 )  
Parameter  
Value  
Output pan A  
Pre delay time A  
Coarse pitch B  
Fine pitch B  
Delay C  
Delay L  
Delay R  
Fbk  
Delay time center  
Delay time left  
Delay time right  
Feedback level  
Center level  
Left level  
2001000 ms, note  
2001000 ms, note  
2001000 ms, note  
-98+98%  
PreDlyA  
CoarseB  
Fine B  
Pan B  
0.0500.0 ms  
-24+12 semitone  
-100+100 cent  
L64063R  
Output pan B  
Pre delay time B  
Pitch shifter mode  
Level balance  
Effect balance  
Output level  
Level C  
Level L  
Level R  
HF Damp  
0127  
PreDlyB  
Mode  
0.0500.0 ms  
1, 2, 3, 4, 5  
0127  
Right level  
0127  
Lvl Bal  
Balance  
Level  
A100:0BA0:100B  
D100:0WD0:100W  
0127  
HF damp  
2008000 Hz,  
BYPASS (*1)  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
LowGain  
Hi Gain  
Balance  
Level  
Low gain  
High gain  
2 3 : FBK PITCH SHIFTER (p . 1 3 2 )  
Effect balance  
Output level  
Parameter  
Value  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Coarse  
Fine  
Coarse pitch  
Fine pitch  
-24+12 semitone  
-100+100 cent  
-98+98%  
Fbk  
Feedback level  
Pre delay time  
Pitch shifter mode  
Output pan  
Pre Dly  
Mode  
0.0-500.0 ms  
1, 2, 3, 4, 5  
2 0 : Q UADRUPLE TAP DELAY (p . 1 3 0 )  
Pan  
L64063R  
Parameter  
Value  
LowGain  
Hi Gain  
Balance  
Level  
Low gain  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
Delay 1  
Delay 2  
Delay 3  
Delay 4  
Level 1  
Level 2  
Level 3  
Level 4  
Fbk  
Delay time 1  
Delay time 2  
Delay time 3  
Delay time 4  
Level 1  
2001000 ms, note  
2001000 ms, note  
2001000 ms, note  
2001000 ms, note  
0127  
High gain  
Effect balance  
Output level  
Level 2  
0127  
2 4 : REVERB (p . 1 3 3 )  
Level 3  
0127  
Level 4  
0127  
Parameter  
Value  
Feedback level  
HF damp  
-98+98%  
Type  
Reverb type  
ROOM1, ROOM2,  
STAGE1, STAGE2,  
HALL1, HALL2  
0.0100.0 ms  
0127  
HF Damp  
2008000 Hz,  
BYPASS (*1)  
D100:0WD0:100W  
0127  
Balance  
Level  
Effect balance  
Output level  
Pre Dly  
Time  
Pre delay time  
Reverb time  
HF damp  
HF Damp  
2008000 Hz,  
BYPASS (*1)  
-15+15 dB  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
LowGain  
Hi Gain  
Balance  
Level  
Low gain  
High gain  
-15+15 dB  
Effect balance  
Output level  
D100:0WD0:100W  
0127  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
2 4 3  
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2 5 : GATED REVERB (p . 1 3 3 )  
3 1 : DISTO RTIO N DELAY (p . 1 3 5 )  
Parameter  
Value  
The parameters are essentially the same as 28: OVERDRIVEDELAY,with  
the exception of the following two.  
Type  
Gated Reverb type  
NORMAL, REVERSE,  
SWEEP1, SWEEP2  
0.0100.0 ms  
5500 ms  
OD DriveDist Drive, OD PanDist Pan  
OD DriveDist Drive, OD PanDist Pan  
Pre Dly  
Gate Time  
LowGain  
Hi Gain  
Balance  
Level  
Pre delay time  
Gate time  
Low gain  
-15+15 dB  
3 2 : EN HAN SERCHO RUS (p . 1 3 6 )  
Parameter  
High gain  
-15+15 dB  
Effect balance  
Output level  
D100:0WD0:100W  
0127  
Value  
Enhancer Sens Enhancer sensitivity  
0127  
Enhancer Mix  
Cho Dly  
Enhancer mix level  
Chorus pre delay time  
Chorus rate  
0127  
0.0-100.0 ms  
0.0510.00 Hz  
0127  
2 6 : O VERDRIVECHO RUS (p . 1 3 4 )  
ChoRate  
Parameter  
Value  
Chorus Depth  
Chorus depth  
Chorus Balance Chorus balance  
Level Output level  
D100:0WD0:100W  
0127  
OD Drive  
OD Pan  
Drive  
0127  
Overdrive pan  
Chorus pre delay time  
Chorus Rate  
Chorus depth  
L64063R  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Cho Dly  
ChoRate  
Chorus Depth  
3 3 : EN HAN SERFLAN GER (p . 1 3 6 )  
Chorus Balance Chorus balance  
Level Output level  
D100:0W-D0:100W  
0127  
Parameter  
Value  
Enhancer Sens Enhancer sensitivity  
0127  
Enhancer Mix  
Flg Dly  
Enhancer mix level  
Flanger pre delay time  
Flanger rate  
0127  
0.0100.0 ms  
0.0510.00 Hz  
0127  
2 7 : O VERDRIVEFLAN GER (p . 1 3 4 )  
FlgRate  
Parameter  
Value  
Flg Dpt  
Flanger depth  
Flg Fbk  
Flanger feedback level  
-98+98%  
D100:0WD0:100W  
0127  
OD Drive  
OD Pan  
Flg Dly  
Drive  
0127  
Flanger Balance Flanger balance  
Level Output level  
Overdrive pan  
Flanger pre delay time  
Flanger rate  
L64063R  
0.0100.0 ms  
0.0510.00 Hz  
0127  
FlgRate  
Flg Dpt  
Flg Fbk  
Flanger depth  
Flanger feedback level  
3 4 : EN HAN SERDELAY (p . 1 3 7 )  
Parameter  
-98+98%  
D100:0WD0:100W  
0127  
Flanger Balance Flanger balance  
Level Output level  
Value  
Enhancer Sens Enhancer sensitivity  
0127  
Enhancer Mix  
Delay  
Enhancer mix level  
Delay time  
0127  
0.0500.0 ms  
-98+98%  
2008000 Hz,  
BYPASS (*1)  
D100:0WD0:100W  
0127  
2 8 : O VERDRIVEDELAY (p . 1 3 5 )  
Dly Fbk  
Delay feedback level  
Parameter  
Value  
Delay HF Damp Delay HF damp  
OD Drive  
OD Pan  
DlyTime  
Dly Fbk  
Drive  
0127  
Delay Balance  
Level  
Delay balance  
Output level  
Overdrive pan  
Delay time  
L64063R  
0.0-500.0 ms  
-98+98%  
2008000 Hz,  
BYPASS (*1)  
D100:0WD0:100W  
0127  
Delay feedback level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Delay HF Damp Delay HF damp  
Delay Balance  
Level  
Delay balance  
Output level  
3 5 : CHO RUSDELAY (p . 1 3 7 )  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Parameter  
Value  
Cho Dly  
ChoRate  
Cho Dpt  
Cho Bal  
DlyTime  
Dly Fbk  
Chorus pre delay time  
Chorus rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Chorus depth  
2 9 : DISTO RTIO N CHO RUS (p . 1 3 5 )  
The parameters are essentially the same as 26: OVERDRIVECHORUS,”  
Chorus balance  
Delay time  
D100:0WD0:100W  
0.0500.0 ms  
-98+98%  
with the exception of the following two.  
Delay Feedback level  
OD DriveDist Drive, OD PanDist Pan  
OD DriveDist Drive, OD PanDist Pan  
Delay HF Damp Delay HF damp  
2008000 Hz,  
BYPASS (*1)  
D100:0WD0:100W  
0127  
Delay Balance  
Level  
Delay balance  
Output level  
3 0 : DISTO RTIO N FLAN GER (p . 1 3 5 )  
The parameters are essentially the same as 27: OVERDRIVEFLANGER,”  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
with the exception of the following two.  
OD DriveDist Drive, OD PanDist Pan  
OD DriveDist Drive, OD PanDist Pan  
2 4 4  
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3 6 : FLAN GERDELAY (p . 1 3 8 )  
Parameter  
Value  
Parameter  
Value  
Flg Dly  
Flanger pre delay time  
Flanger rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Pre Dly  
Rate  
Pre delay time  
LFO rate  
0.0100 ms  
0.0510.00 Hz, note  
0127  
FlgRate  
Flg Dpt  
Flg Fbk  
Flg Bal  
Flanger depth  
Depth  
Fbk  
LFO depth  
Flanger feedback level  
Flanger balance  
Delay time  
-98+98%  
Feedback  
-98+98%  
D100:0WD0:100W  
0.0500.0 ms  
-98+98%  
Phase  
Filter  
Phase  
0180 degree  
OFF, LPF, HPF  
2008000 Hz (*1)  
OFF, ON:0.120.0 Hz,  
note  
DlyTime  
Dly Fbk  
HF Damp  
Filter type  
Delay feedback level  
HF damp  
Cutoff  
Step Rate  
Cutoff frequency  
Step rate switch:Step rate  
2008000 Hz,  
BYPASS (*1)  
D100:0WD0:100W  
0127  
Delay Balance  
Level  
Delay balance  
Output level  
Keysync  
Thre  
Keysync switch  
OFF, ON  
Keysync threshold  
0127  
Keysync Phase Keysync phase  
0360 degree  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
LowGain  
Hi Gain  
Balance  
Low gain  
High gain  
Balance  
3 7 : CHO RUSFLAN GER (p . 1 3 8 )  
Output level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Parameter  
Value  
Cho Dly  
ChoRate  
Cho Dpt  
Cho Bal  
Flg Dly  
Chorus pre delay time  
Chorus rate  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Chorus depth  
4 3 : FO RMAN T FILTER (p . 1 4 1 )  
Chorus balance  
Flanger pre delay time  
Flanger rate  
D100:0WD0:100W  
0.0100.0 ms  
0.0510.00 Hz  
0127  
Parameter  
Value  
FlgRate  
Flg Dpt  
Flg Fbk  
Drive  
Drive  
OFF, ON:0127  
a, e, i, o, u  
0.0510.00 Hz, note  
0127  
Flanger depth  
Vowel  
Rate  
Vowel 1:2  
Rate  
Flanger feedback level  
-98+98%  
Flanger Balance Flanger balance  
Level Output level  
D100:0WD0:100W  
0127  
Depth  
Depth  
Keysync  
Threshold  
Manual  
Hi Gain  
Pan  
Keysync switch  
Keysync threshold  
Manual  
OFF, ON  
0127  
0100  
3 8 : CHO RUS/ DELAY (p . 1 3 9 )  
Low gain  
High gain  
Output pan  
Output level  
-15+15 dB  
-15+15 dB  
L6463R  
Refer to 35: CHORUSDELAY.”  
Level  
0127  
3 9 : FLAN GER/ DELAY (p . 1 3 9 )  
Refer to 36: FLANGERDELAY.”  
4 4 : RIN G MO DULATO R (p . 1 4 2 )  
Parameter  
Value  
4 0 : CHO RUS/ FLAN GER (p . 1 3 9 )  
Frequency  
Modulator  
0127  
Mod  
OFF, SRC, A, B  
OFF, ON  
Refer to 37: CHORUSFLANGER.”  
Mon  
Modulator monitor  
Sensitivity  
Sens  
0127  
4 1 : STEREO PHASER (p . 1 3 9 )  
Polarity  
UP, DOWN  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
LowGain  
Hi Gain  
Balance  
Level  
Low gain  
Parameter  
Value  
High gain  
Type  
Mode  
Pol  
Phaser type  
1, 2  
Effect balance  
Output level  
Mode  
4-STAGE, 8-STAGE  
INVERSE, SYNCHRO  
0127  
Polarity  
Man  
Manual  
Rate  
Phaser rate  
0.0510.00 Hz, note  
0127  
Depth  
Res  
Phaser depth  
Phaser resonance  
Cross feedback level  
Step rate switch:Step rate  
0127  
X-Fbk  
Step Rate  
-98+98%  
OFF, ON:0.120.0 Hz,  
note  
Mix  
Mix level  
0127  
LowGain  
Hi Gain  
Level  
Low gain  
High gain  
Output level  
-15+15 dB  
-15+15 dB  
0127  
2 4 5  
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4 5 : MULTI TAP DELAY (p . 1 4 3 )  
Parameter  
Value  
Parameter  
Value  
Delay 1  
Delay 2  
Delay 3  
Delay 4  
Pan 1  
Delay time 1  
Delay time 2  
Delay time 3  
Delay time 4  
Output pan 1  
Output pan 2  
Output pan 3  
Output pan 4  
Level 1  
01800 ms, note  
01800 ms, note  
01800 ms, note  
01800 ms, note  
L6463R  
Delay C  
Delay L  
Delay R  
Fbk  
Delay time center  
Delay time left  
Delay time right  
Feedback  
01800 ms, note  
01800 ms, note  
01800 ms, note  
-98+98%  
Level C  
Level L  
Level R  
HF Damp  
Level center  
Level left  
0127  
Pan 2  
L6463R  
0127  
Pan 3  
L6463R  
Level right  
0127  
Pan 4  
L6463R  
HF Damp  
2008000 Hz,  
BYPASS (*1)  
SPEAKER, PHONES  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
Level 1  
Level 2  
Level 3  
Level 4  
Fbk  
0127  
Level 2  
0127  
Out  
Output mode  
Low gain  
Level 3  
0127  
Lo G  
Hi G  
Level 4  
0127  
High gain  
Feedback  
HF Damp  
-98+98%  
2008000 Hz,  
BYPASS (*1)  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
Balance  
Lev  
Effect balance  
Output level  
HF Damp  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
LoG  
Low gain  
HiG  
High gain  
Balance  
Lev  
Effect balance  
Output level  
4 9 : PITCH SHIFTER (p . 1 4 7 )  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Parameter  
Value  
Coarse 1:2:3  
Fine 1:2:3  
Coarse pitch 1:2:3  
Fine pitch 1:2:3  
-24+12  
-100+100 cent  
0.0500 ms  
-98+98%  
L6463R  
Pre Delay 1:2:3 Pre Delay time 1:2:3  
4 6 : REVERSE DELAY (p . 1 4 4 )  
Fbk 1:2:3  
Pan 1:2:3  
Level 1:2:3  
Mode  
Feedback level1:2:3  
Output pan 1:2:3  
Level 1:2:3  
Parameter  
Value  
Delay 1  
Delay time 1  
Delay time 2  
Delay time 3  
Delay time 4  
Feedback 1:4  
HF Damp 1:4  
0900 ms, note  
0900 ms, note  
0900 ms, note  
0900 ms, note  
-98+98%  
0127  
Delay 2  
Pitch shifter mode  
Effect balance  
Output level  
1, 2, 3, 4, 5  
D100:0WD0:100W  
0127  
Delay 3  
Balance  
Level  
Delay 4  
Feedback 1:4  
HF Damp 1:4  
2008000 Hz,  
BYPASS (*1)  
0127  
5 0 : LO FI CO MPRESS (p . 1 4 7 )  
Thr  
Threshold level  
Output pan 1:2:3  
Level 1:2:3  
Parameter  
Value  
Pan 1:2:3  
Level 1:2:3  
LowGain  
Hi Gain  
Balance  
Level  
L6463R  
Type  
LoFi type  
19  
0127  
Pre Filter  
Pre filter type  
TYPE16  
Low gain  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
Post Filter 1 Post filter 1 type  
Post Filter 2 Post filter 2 type  
TYPE16  
High gain  
OFF, LPF, HPF:(*1)  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
L6463R  
Effect balance  
Output level  
LowGain  
Hi Gain  
Balance  
Pan  
Low gain  
High gain  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Effect balance  
Output pan  
Output level  
Level  
0127  
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz  
4 7 : SHUFFLE DELAY (p . 1 4 5 )  
Parameter  
Value  
Delay  
Delay time  
Shuffle rate  
Acceleration  
Feedback  
HF Damp  
01800 ms, note  
0100%  
Shuffle  
Accel  
015  
Fbk  
-98+98%  
2008000 Hz,  
BYPASS (*1)  
L6463R  
HF Damp  
Pan A  
Pan A  
Pan B  
Pan B  
L6463R  
Level Balance  
LowGain  
Hi Gain  
Balance  
Level  
Level balance  
Low gain  
A100:0BA0:100B  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
0127  
High gain  
Effect balance  
Output level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
2 4 6  
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5 1 : LO FI N O ISE (p . 1 4 8 )  
5 5 : STEREO CO MPRESSO R (p . 1 5 0 )  
Parameter  
Value  
Parameter  
Value  
Type  
LoFi type  
19  
Sustain  
Attack  
Sustain  
0127  
Post Fltr  
Radio Detune  
Disc:LPF:Lev  
LowGain  
Hi Gain  
Post Filter type  
Radio detune  
Disc:LPF:Level  
Low gain  
OFF, LPF, HPF:(*1)  
0127:0127 (*2)  
*3:*4:*5  
Attack time  
Post gain  
Low gain  
High gain  
Output level  
0127  
Post Gain  
LowGain  
Hi Gain  
Level  
0, +6, +12, +18  
-15+15  
-15+15  
0127  
-15+15 dB  
-15+15 dB  
D100:0WD0:100W  
L6463R  
High gain  
Balance  
Pan  
Effect balance  
Output pan  
Output level  
5 6 : STEREO LIMITER (p . 1 5 0 )  
Level  
0127  
*1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000, 1250,  
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz  
Parameter  
Value  
Thre  
Threshold level  
Release time  
Compression ratio  
Post gain  
0127  
Release  
Ratio  
0127  
*2: Radio detune:Radio noise level  
*3: Disc noise type:LP, EP, SP, RND  
1.5:1, 2:1, 4:1, 100:1  
0, +6, +12, +18  
-15+15  
Gain  
*4: Disc noise LPF:200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPS  
LowGain  
Hi Gain  
Level  
Low gain  
High gain  
-15+15  
*5: Disc noise level:0127  
Output level  
0127  
5 2 : SPEAKER SIMULATO R (p . 1 4 8 )  
Parameter  
Value  
Parameter  
Value  
Speaker Type  
Mic Set  
Speaker type  
Mic setting  
(*1)  
Key  
Key  
SOURCE, A, B  
0127  
1, 2, 3  
Thre  
Key threshold  
Key monitor  
Mode  
Mic:Dir  
Mic level:Direct level  
Output level  
0127:0127  
0127  
Monitor  
Mode  
Atk  
OFF, ON  
GATE, DUCK  
0127  
Level  
*1: SMALL 1, SMALL 2, MIDDLE, JC-120, BUILT IN 1, BUILT IN 2, BUILT IN  
3, BUILT IN 4, BUILT IN 5, BG STACK 1, BG STACK 2, MS STACK 1, MS  
STACK 2, METAL STACK, 2-STACK, 3-STACK  
Attack time  
Hold time  
Hold  
0127  
Rel  
Release time  
Effect balance  
Output level  
0127  
Balance  
Level  
D100:0WD0:100W  
0127  
5 3 : O VERDRIVE 2 (p . 1 4 9 )  
Parameter  
Value  
5 8 : SLICER (p . 1 5 1 )  
Drive  
Drive  
0127  
Level  
Output level  
Low gain  
0127  
Parameter  
Value  
LowGain  
Hi Gain  
Amp Type  
-15+15 dB  
-15+15 dB  
OFF, ON:  
Beat 1-14-4  
Rate  
Beat 1-14-4  
Rate  
0127  
High gain  
0.0510.0 Hz, note  
0127  
Amp simulator switch:  
Amp simulator type  
Attack  
Reset  
Thre  
Attack  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
0127  
Reset  
OFF, SRC, A, B  
0127  
Reset threshold  
Reset monitor switch  
Mode  
Tone  
Pan  
Tone  
Mon  
OFF, ON  
Output pan  
L6463R  
Mode  
LEGATO, SLASH  
0127  
Shuffle  
Level  
Shuffle  
Output level  
0127  
5 4 : DISTO RTIO N 2 (p . 1 4 9 )  
Parameter  
Value  
5 9 : ISO LATO R (p . 1 5 2 )  
Drive  
Drive  
0127  
Level  
Output level  
Low gain  
0127  
Parameter  
Value  
LowGain  
Hi Gain  
Amp Type  
-15+15 dB  
-15+15 dB  
OFF, ON:  
High  
Level high  
Level middle  
Level low  
-60+4 dB  
High gain  
Middle  
Low  
-60+4 dB  
Amp simulator switch:  
Amp simulator type  
-60+4 dB  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
0127  
Anti Phase Mid Anti phase middle switch:level  
Anti Phase Low Anti phase low switch:level  
OFF, ON:0127  
OFF, ON:0127  
OFF, ON:0127  
0127  
Tone  
Pan  
Tone  
Low Boost  
Level  
Low Booster switch:level  
Output level  
Output pan  
L6463R  
2 4 7  
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Pa ra m e te r List  
6 0 : 3 D CHO RUS (p . 1 5 2 )  
Ch o ru s Pa ra m e te rs  
Parameter  
Value  
Pre Dly  
Rate  
Pre delay time  
LFO rate  
0.0100 ms  
CHO RUS (p . 1 5 7 )  
0.0510.00 Hz, note  
0127  
Parameter  
Value  
Depth  
Phase  
Filter Type  
Cutoff  
Out  
LFO depth  
Phase  
Pre Dly  
Rate  
Chorus pre delay  
Chorus rate  
0.0100 ms  
0.0510.00 Hz  
0127  
0180 degree  
OFF, LPF, HPF  
2008000 Hz (*1)  
SPEAKER, PHONES  
-15+15 dB  
Filter Type  
Cutoff frequency  
Output mode  
Low gain  
Depth  
Fbk  
Chorus depth  
Chorus Feedback  
Phase  
0127  
Phase  
Filter Type  
Cutoff  
0180 degree  
OFF, LPF, HPF  
2008000 Hz (*1)  
Lo G  
Filter type  
Hi G  
High gain  
-15+15 dB  
Cutoff frequency  
Balance  
Lev  
Balance  
D100:0WD0:100W  
0127  
Output level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
DELAY (p . 1 5 7 )  
6 1 : 3 D FLAN GER (p . 1 5 3 )  
Parameter  
Value  
Parameter  
Value  
Delay C  
Delay L  
Delay R  
Fbk  
Delay center  
Delay left  
2001000 ms, note  
2001000 ms, note  
2001000 ms, note  
-98+98%  
Pre Dly  
Rate  
Pre delay time  
LFO rate  
0.0100 ms  
Delay right  
0.0510.00 Hz, note  
0127  
Feedback  
Depth  
Fbk  
LFO depth  
Level C  
Level L  
Level R  
HF Damp  
Delay center level  
Delay left level  
(Delay right level  
HF damp  
0127  
Feedback  
-98+98%  
0127  
Phase  
Filter  
Phase  
0180 degree  
OFF, LPF, HPF  
200-8000 Hz (*1)  
OFF, ON:0.120.0 Hz,  
note  
0127  
Filter Type  
2008000 Hz,  
BYPASS (*1)  
Cutoff  
Step Rate  
Cutoff frequency  
Step rate switch:Step rate  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Out  
Output mode  
Low gain  
SPEAKER, PHONES  
-15+15 dB  
Lo G  
Hi G  
High gain  
Balance  
-15+15 dB  
Balance  
Lev  
D100:0WD0:100W  
0127  
Output level  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
6 2 : TREMO LO (p . 1 5 4 )  
Parameter  
Value  
Mod Wave  
Modulation wave  
TRI, SQR, SIN, SAW1,  
SAW2  
Rate  
Rate  
0.0510.0 Hz, note  
0127  
Depth  
LowGain  
Hi Gain  
Level  
Depth  
Low gain  
High gain  
Output level  
-15+15 dB  
-15+15 dB  
0127  
6 3 : AUTO PAN (p . 1 5 5 )  
Parameter  
Value  
Mod Wave  
Modulation wave  
TRI, SQR, SIN, SAW1,  
SAW2  
Rate  
Rate  
0.0510.0 Hz, note  
0127  
Depth  
LowGain  
Hi Gain  
Level  
Depth  
Low gain  
High gain  
Output level  
-15+15 dB  
-15+15 dB  
0127  
2 4 8  
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Pa ra m e te r List  
Re ve rb Pa ra m e te rs  
REVERB (p . 1 5 9 )  
Parameter  
Value  
Type  
Reverb/Delay type  
ROOM1, ROOM2,  
STAGE1, STAGE2,  
HALL1, HALL2  
DELAY, PAN-DLY  
0127  
Time  
Reverb/Delay time  
HF Damp  
Reverb/Delay HF damp  
2008000 Hz,  
BYPASS (*1)  
0127  
Fbk  
Delay feedback  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
SRV RO O M/ SRV HALL/ SRV PLATE  
(p . 1 6 0 )  
Parameter  
Value  
Pre Delay  
Time  
Pre delay time  
Reverb time  
Size  
0.0100.0 ms  
0127  
Size  
18  
High Cut  
High cut frequency  
16012500 Hz,  
BYPASS (*1)  
0127  
Diffusion  
Density  
Reverb diffusion  
Reverb density  
0127  
LF Damp  
LF Gain  
HF Damp  
LF damp frequency  
LF damp gain  
504000 Hz (*2)  
-360 dB  
HF damp frequency  
4000, 5000, 6400,  
8000, 10000, 12500 Hz  
-360 dB  
HF Gain  
HF damp gain  
*1: 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500,  
3200, 4000, 5000, 6400, 8000, 10000, 12500 Hz, BYPASS  
*2: 50, 64, 80, 100, 125, 160, 200, 250, 320, 1600, 2000, 2500, 3200, 4000 Hz  
2 4 9  
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Pa ra m e te r List  
Sy ste m Pa ra m e te rs  
SETUP Gro u p (p . 1 6 8 )  
Display  
Parameter  
Value  
SYSTEM SETUP  
LCD  
LCD contrast  
110  
Power Up Mode  
Master Level  
Clock Source  
System Tempo  
Mix/Parallel  
Patch Remain  
Power up mode  
Master level  
LAST-SET, DEFAULT  
0127  
System clock source  
System tempo  
Mix/Parallel  
INT, MIDI  
20250  
MIX, PARALLEL  
OFF, ON  
Patch remain switch  
MIDI Gro u p (p . 1 6 9 )  
Display  
Parameter  
Value  
PERFORM MIDI  
Control Channel  
Local  
Performance control channel  
Local switch  
116, OFF  
OFF, ON  
OFF, ON  
116  
Remote  
Remote keyboard switch  
Patch/Rhythm set receive channel  
Patch/Rhythm set transmit channel  
Local switch  
PATCH MIDI  
Rx Ch  
Tx Ch  
116, Rx Ch, OFF  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
1732  
Local  
Remote  
Remote keyboard switch  
Local switch  
GM MIDI  
Local Switch  
Remote  
Remote keyboard switch  
Receive program change switch  
Receive bank select switch  
Transmit program change switch  
Transmit bank select switch  
Transmit active sensing switch  
Receive general MIDI system on switch  
Receive general MIDI 2 system on switch  
Receive GS reset switch  
Device ID number  
RECEIVE MIDI  
TRANSMIT MIDI  
Program Change  
Bank Select  
Program  
Bank Sel  
Active Sensing  
Rx GM On  
Rx GM2 On  
Rx GS Reset  
Device ID  
Rx Sys.Excl  
Tx Edit  
SYSTEM MIDI  
Receive system exclusive switch  
Transmit edit data switch  
OFF, ON  
OFF, ON  
CO N TRO L Gro u p (p . 1 7 1 )  
Display  
Parameter  
Value  
KEYBOARD  
Transpose  
Transpose switch  
Transpose value  
Keyboard sensitivity  
Keyboard velocity  
Aftertouch sensitivity  
Continuous switch  
Pedal output  
OFF, ON  
-5 (G)+6 (F#)  
Sens  
LIGHT, MEDIUM, HEAVY, FULL  
Vel  
REAL, 1127  
Aft  
0100  
HOLD PEDAL  
Continuous  
Output  
Polarity  
Assign  
Output  
Polarity  
Assign  
Output  
Polarity  
Assign  
Output  
Assign  
Output  
Assign  
Output  
Assign  
Output  
Control 1, 2  
Control 3, 4  
OFF, ON  
OFF, INT, MIDI, BOTH  
Pedal polarity  
STANDARD, REVERSE  
CONTROL PEDAL 1  
CONTROL PEDAL 2  
Pedal 1 assign  
(*1)  
Pedal 1 output  
OFF, INT, MIDI, BOTH  
Pedal 1 polarity  
Pedal 2 assign  
STANDARD, REVERSE  
(*1)  
Pedal 2 output  
OFF, INT, MIDI, BOTH  
Pedal 2 polarity  
C1 slider assign  
C1 slider output  
C2 slider assign  
C2 slider output  
C3 slider assign  
C3 slider output  
C4 slider assign  
C4 slider output  
System control assign 1, 2  
System control assign 3, 4  
STANDARD, REVERSE  
C1 ASSIGN  
C2 ASSIGN  
C3 ASSIGN  
C4 ASSIGN  
(*2)  
OFF, INT, MIDI, BOTH  
(*2)  
OFF, INT, MIDI, BOTH  
(*2)  
OFF, INT, MIDI, BOTH  
(*2)  
OFF, INT, MIDI, BOTH  
SYS CTRL ASSIGN 1  
SYS CTRL ASSIGN 2  
(*2)  
(*2)  
*1: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, TAP TEMPO, PROG UP, PROG DOWN  
*2: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH  
2 5 0  
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Pa ra m e te r List  
TUN E Gro u p (p . 1 7 3 )  
Display  
Parameter  
Value  
SYSTEM TUNE  
Master  
Key Shift  
Scale Tune  
CB  
Master tune  
415.3466.2 Hz  
-24+24 semitone  
OFF, ON  
Master key shift  
Scale tune switch  
Scale tune CB  
Scale tune CB  
PATCH SCALE  
KEY SCALE  
-64+63 cent  
-64+63 cent  
CB  
ARPEGGIO Gro u p (p . 1 7 4 )  
Display  
Parameter  
Value  
ARPEGGIO  
Style  
Arpeggio style  
Octave range  
Motif  
(*1)  
Octave Range  
Motif  
-3+3  
(*2)  
Beat Pattern  
Accent Rate  
Shuffle Rate  
Key Velocity  
Tempo  
Beat pattern  
Accent rate  
Shuffle rate  
Key velocity  
Arpeggio tempo  
(*3)  
0100%  
5090%  
REAL, 1127  
20250  
*1: 1/4, 1/6, 1/8, 1/12, 1/16, 1/32, PORTAMENTO A, PORTAMENTO B, GLISSANDO, SEQUENCE A, SEQUENCE B, SEQUENCE C, SEQUENCE D, ECHO, SYNTH  
BASS, HEAVY SLAP, LIGHT SLAP, WALK BASS, RHYTHM GTR 1, RHYTHM GTR 2, RHYTHM GTR 3, RHYTHM GTR 4, RHYTHM GTR 5, 3 FINGER, STRUM  
GTR UP, STRUM GTR DOWN, STRUM GTR UP&DW, PIANO BACKING, CLAVI CHORD, WALTZ, SWING WALTZ, REGGAE, PERCUSSION, HARP,  
SHAMISEN, BOUND BALL, RANDOM, BOSSA NOVA, SALSA, MAMBO, LATIN PERCUSSION, SAMBA, TANGO, HOUSE, LIMITLESS  
*2: SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, TRIPLE UP, TRIPLE  
DOWN, TRIPLE UP&DOWN, TRIPLE RANDOM, NOTE ORDER, GLISSANDO, CHORD, BASS+CHORD15, BASS+UP18, BASS+RND13, TOP+UP16,  
BASS+UP+TOP  
*3: 1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111, PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 1, 2, SEQ-D 18, ECHO 13, MUTE 0116, STRUM  
18, REGGAE 12, REFRAIN 12, PERC 14, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO 12, CLAVE, REV CLA, GUILO,  
AGOGO, SAMBA, TANGO 14, HOUSE 12  
D BEAM Gro u p (p . 1 7 6 )  
Display  
Parameter  
Value  
D BEAM CONTROL  
Assign  
D Beam assign  
(*1)  
Output  
D Beam output  
OFF, INT, MIDI, BOTH  
Polarity  
D Beam polarity  
STANDARD, REVERSE  
D BEAM RANGE  
D BEAM SENS  
Lower  
D Beam range lower  
D Beam range upper  
D Beam sensitivity  
0127  
0127  
110  
Upper  
D Beam Sensitivity  
*1: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, START/STOP, TAP TEMPO  
PREVIEW Gro u p (p . 1 7 7 )  
Display  
Parameter  
Value  
SYSTEM PREVIEW  
PREVIEW KEY  
Preview Mode  
Note 1, 2, 3, 4  
Note 1, 2, 3, 4  
Preview sound mode  
Preview note set 1, 2, 3, 4  
Preview velocity  
SINGLE, CHORD, PHRASE  
C-1G9  
PREVIEW VELOCITY  
0127  
IN FO Gro u p (p . 1 7 8 )  
Display  
Parameter  
Value  
INFO EXP  
Expansion A  
Expansion B  
Expansion C  
Expansion D  
Internal Battery  
Ch  
Wave expansion board name A  
Wave expansion board name B  
Wave expansion board name C  
Wave expansion board name D  
Battery check  
----  
----  
----  
----  
BATTERY CHECK  
TRANSMIT P.C  
116  
LOW, OK  
1128  
0127  
0127  
Transmit MIDI channel  
P.C#  
Transmit program change number  
Bank Select MSB/LSB Transmit bank select MSB/LSB  
TRANSMIT SONG SEL Song Number Transmit song select number  
2 5 1  
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Pe rfo rm a n ce List  
USER  
PR-A  
PR-B  
(Use r Gro u p )  
(Pre se t A Gro u p )  
(Pre se t B Gro u p )  
No.  
Name  
Key Mode  
No.  
Name  
Key Mode  
No.  
Name  
Key Mode  
No.  
Name  
Key Mode  
01  
02  
03  
04  
05  
06  
07  
08  
09  
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
Andreas Cave  
XV Piano&Bs  
BigOrchestra  
SlicingSvox+  
Arp BellsPad  
Soaring Saws  
Heirborne XV  
BrassBand 1+  
MIDI Rhodes1  
SweepPad 88  
Humanizer  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
33  
34  
35  
36  
37  
38  
39  
40  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
BellPad 88  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
SINGLE  
01  
02  
03  
04  
05  
06  
07  
08  
09  
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
Seq:Template  
Seq:Pop  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
SINGLE  
01  
02  
03  
04  
05  
06  
07  
08  
09  
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
Dulcimar&Gtr  
DulcitarStk  
Tekno Loop 2  
Rave Attack  
SpaceCarrier  
Terminator  
Symphony JV  
Nebular Vox  
Humming Vox  
Cosmic Dawn  
Labyrinth  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
LAYER  
Chamber Str  
Slicing Saws  
Orcstrl Brs  
Seq:LABallad  
Seq:Fusion  
Seq:FunkRock  
Seq:HardRock  
Seq:H.Metal  
Seq:Blues  
Lo-Fi Lead  
Jet Flanger  
SabbathDay  
OrganSplit 1  
Orc.Ensemble  
Blue Sky 88  
MIDI Rhodes2  
LoFiTrance88  
6 x Hits  
Seq:Cont.Jz  
Seq:Ac.Jazz  
Seq:Country  
Seq:Folk  
FullStrings1  
SearingLd/Bs  
80s Sample88  
PianoRhodes  
Blistering88  
SuiteCombo+  
Springy 88  
Sweeper  
Seq:Dixie  
Stack Pad  
Mix Piano  
Seq:BigBand  
Seq:Latin  
Strobe Pad 2  
Rhythmatic  
Voyage  
FullStrings2  
XV Pipe  
Seq:Africa  
MIDI Strings  
BlowPad 88  
BrassBand 2  
Lo-Fi Str  
Seq:World  
S&H Pad  
Seq:Zydeco  
Seq:60's  
Cyclic Pad  
Jupiter2000  
Cultivate 88  
XV SyncLead+  
SlicingPad88  
Synth Brs 88  
Arp Bells  
White Hole  
EasternSplit  
Tekno Asia  
TeknoSplit 1  
TeknoSplit 2  
TknoPopSplit  
ChildrenSplt  
Purple Split  
PulsingSplit  
Pad / Lead  
Organ / Lead  
Bass / Lead  
S&H / Pad  
Seq:Gospel  
Seq:PopDance  
Seq:TeknoPop  
Seq:House  
Seq:Hip Hop  
Seq:HardCore  
Seq:Acid  
DynoRhs&Bs  
PhsDyno&Bs  
PhsClavi&Bs  
SynClavi&Bs  
XV StlGtr&Bs  
Nylocato&Bs  
OrganSplit 2  
OrganSplit 3  
XV Pop Kit  
MinIncidnt88  
Windy  
RevDlySaws88  
Predator+  
Seq:Ambient  
Seq:New Age  
Seq:Orch  
XV Rust Kit  
SlicedTrance  
CrystalVoxXV  
Pumping/Ld  
XV Jazz Kit  
XV Rock Kit  
Seq:Temp XV  
Seq:Film  
Seq:Chamber  
Seq:Baroque  
Drone / Pipe  
The PR-B groups contain split and layered Performances.  
The PR-A group contains Performances designed for use  
when creating songs.  
In particular, PR-A: 01 Seq:Template has the following  
settings to make it easy for you to create your own desired  
settings.  
Parts 1, 39, 1116: PR-A: 001 128voicePno  
Part 2:  
PR-B: 013 Finger Bass  
PR-A: 001 PopDrumSet1  
Part 10:  
2 5 2  
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Pa tch List  
USER (Use r Gro u p )  
PR-A (Pre se t A Gro u p )  
No. Name  
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No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
001 Y2K Concerto  
002 XV SteelGt 1  
003 Shapeshifter  
004 Trance Fair  
005 MOVE!  
8
4
4
8
6
3
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4
5
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065 Wurlie  
2
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001 128voicePno  
002 Bright Piano  
003 Classique  
1
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065 Dual Profs  
066 Saw Mass  
067 Poly Split  
3
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MONO  
MONO  
066 TB Squelch  
067 The Ganges  
068 British B  
004 Nice Piano  
005 Piano Thang  
006 Power Grand  
007 House Piano  
008 E.Grand  
068 Poly Brass  
069 Stackoid  
069 Power Stack  
070 Predator 2  
071 Moonchimes  
072 Ooh)Aah Mod  
073 PercInterval  
074 Vocals: Boys  
075 Fat Strings  
076 Str&Brs Orch  
077 ChamberPlyrs  
078 Glass Orbit  
079 The Andes  
080 ClassicJPpad  
081 FullSt Brass  
082 Punker  
006 VoyagerBrass  
007 Rholitzer  
070 Poly Rock  
071 D-50 Stack  
072 Fantasia JV  
073 Jimmee Dee  
074 Heavenals  
075 Mallet Pad  
076 Huff N Stuff  
077 Puff 1080  
078 BellVox 1080  
079 Fantasy Vox  
080 Square Keys  
081 Childlike  
008 Grand XV  
009 Pianomonics  
010 Nylozzicato  
011 Searing Lead  
012 Square Roots  
013 Winky  
009 MIDIed Grand  
010 Piano Blend  
011 West Coast  
012 PianoStrings  
013 Bs/Pno+Brs  
014 Waterhodes  
015 S.A.E.P.  
014 Atmospherics  
015 Soft Perky  
016 NewR&RBrass 8  
017 Lunar Strngs  
018 LegatoBamboo 4  
016 SA Rhodes 1  
017 SA Rhodes 2  
018 Stiky Rhodes  
019 Dig Rhodes  
020 Nylon EPiano  
021 Nylon Rhodes  
022 Rhodes Mix  
4
082 Music Box  
083 Toy Box  
019 West End Bs  
020 Marcato Str  
021 Henry VIII  
022 Chime Bells  
023 Morph Pad  
024 Dirty Hit  
5
4
8
4
8
4
6
4
2
4
2
3
3
3
6
3
2
083 Pop Bass  
084 Solo SoprSax  
085 Fat Rhodes  
086 X-mod Sweep  
084 Wave Bells  
085 Tria Bells  
086 Beauty Bells  
087 Music Bells  
088 Pretty Bells  
089 Pulse Key  
090 Wide Tubular  
091 AmbienceVibe  
092 Warm Vibes  
093 Dyna Marimba  
094 Bass Marimba  
095 Nomad Perc  
096 Ethno Metals  
097 Islands Mlt  
098 Steelin Keys  
099 Steel Drums  
100 Voicey Pizz  
101 Sitar  
087 XV DynoTenor 3  
088 Hybrid Nylon  
089 SquareBounce 3  
023 PsychoRhodes 2  
024 Tremo Rhodes 4  
025 MK-80 Rhodes 1  
3
025 Soaring Hrns  
026 XV Ac.Bass  
027 Grounded Bs  
028 Severe Ow Bs  
029 Celtic Harp  
030 XV Strings  
031 Air Pad  
090 8-str F'less  
091 Big Bubbles  
2
3
026 MK-80 Phaser  
027 Delicate EP  
028 Octa Rhodes1  
029 Octa Rhodes2  
030 JV Rhodes+  
031 EP+Mod Pad  
032 Mr.Mellow  
1
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1
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2
1
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092 SampleThe80s 2  
093 BOG  
3
1
094 96 Years  
095 LookMaNoFret 3  
032 Hit Rhodes  
033 The Beast  
034 SteppingPhsr  
035 LivingInSync  
096 X-mod Reso  
097 SkinnyBounce  
098 Tap Bass  
1
2
1
4
4
2
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1
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7
033 Comp Clav  
034 Klavinet  
099 Brite Vox 1  
100 Brass Tubes  
101 80s Retrosyn  
102 MountainFolk  
103 Soaring Sync  
104 Analogical  
105 MinorIncidnt  
106 Slap Timps  
107 Comp'Steel  
108 Reel Slam  
109 Adrenaline  
110 Choir Bounce  
111 Jet Voxs  
035 Winger Clav  
036 Phaze Clav 1  
037 Phaze Clav 2  
038 Phuzz Clav  
039 Chorus Clav  
040 Claviduck  
036 PhazeWahClav 6  
037 Rippling  
1
2
6
038 Rhodes Trem  
039 Rocker Org  
102 Drone Split  
103 Ethnopluck  
104 Jamisen  
040 Cutter>ModWh 2  
041 Queen V  
6
3
4
8
3
4
8
3
4
4
2
7
2
4
2
2
6
2
3
4
041 Velo-Rez Clv  
042 Clavicembalo  
043 Analog Clav1  
044 Analog Clav2  
045 Metal Clav  
046 Full Stops  
105 Dulcimer  
042 Flyin' High  
043 Soft Nylon  
044 Don't Jump  
045 RockPiano Ch  
046 St. Choir  
106 East Melody  
107 MandolinTrem  
108 Nylon Gtr  
109 Gtr Strings  
110 Steel Away  
111 Heavenly Gtr  
112 12str Gtr 1  
113 12str Gtr 2  
114 Jz Gtr Hall  
115 LetterFrmPat  
116 Jazz Scat  
117 Lounge Gig  
118 JC Strat  
047 Galactic  
047 Ballad B  
048 Phaser Dyno  
049 Andreas Cave  
050 ChmbrQuartet  
051 Plug n' Play  
052 Agent X  
112 Halographix  
113 3PartInventn  
114 Retro Rhodes  
115 Slap Bass 3  
116 Guttural  
048 Mellow Bars  
049 AugerMentive  
050 Perky B  
051 The Big Spin  
052 Gospel Spin  
053 Roller Spin  
054 Rocker Spin  
055 Tone Wh.Solo  
056 Purple Spin  
053 Lo-fi Sweep  
054 2ndRateChord  
055 Creamy Bass  
056 Phunky DC  
057 Suite Combo  
058 JupiterHorns  
059 Talking Box  
060 Piano+SftPad  
117 Blades  
118 Nasal Spray  
119 Synergistic  
120 Dragnet  
119 Twin Strats  
120 JV Strat  
121 5th Atm /Aft  
122 AmbiPizza  
123 GR700 Pad  
124 Tape Strings  
125 Soaring Saws  
126 Temple of JV  
127 Alternative  
128 Sun Dive  
057 60's LeadORG 2  
121 Syn Strat  
058 Assalt Organ  
059 D-50 Organ  
060 Cathedral  
061 Church Pipes  
062 Poly Key  
3
2
4
4
3
4
4
122 Rotary Gtr  
123 Muted Gtr  
124 SwitchOnMute  
125 Power Trip  
126 Crunch Split  
127 Rezodrive  
061 8VCO MonoSyn8  
062 Double Steel  
063 Cutter Clav  
064 Prelude  
8
2
4
063 Poly Saws  
064 Poly Pulse  
128 RockYurSocks 4  
Voice: number of voice  
2 5 3  
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Pa tch List  
PR-B (Pre se t B Gro u p )  
PR-C (Pre se t C Gro u p )  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
001 Dist Gtr 1  
3
3
4
1
3
4
1
2
1
2
3
2
1
2
1
1
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2
1
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065 Analog Seq  
066 Impact Vox  
067 TeknoSoloVox  
068 X-Mod Man  
069 Paz <==> Zap  
070 4 Hits 4 You  
071 Impact  
2
4
2
2
1
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001 Harmon Mute  
002 Tp&Sax Sect  
003 Sax+Tp+Tb  
004 Brass Sect  
005 Trombone  
1
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3
4
1
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065 Harmonicum  
066 D-50 Heaven  
067 Afro Horns  
068 Pop Pad  
2
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4
4
4
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2
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002 Dist Gtr 2  
003 R&R Chunk  
004 Phripphuzz  
005 Grungeroni  
006 Black Widow  
007 Velo-Wah Gtr  
008 Mod-Wah Gtr  
009 Pick Bass  
069 Dreamesque  
070 Square Pad  
071 JP-8 Hollow  
072 JP-8Haunting  
073 Heirborne  
074 Hush Pad  
075 Jet Pad 1  
006 Hybrid Bones  
007 Noble Horns  
008 Massed Horns  
009 Horn Swell  
010 Brass It!  
072 Phase Hit  
073 Tekno Hit 1  
074 Tekno Hit 2  
075 Tekno Hit 3  
076 Reverse Hit  
077 SquareLead 1  
078 SquareLead 2  
079 You and Luck  
080 Belly Lead  
081 WhistlinAtom  
082 Edye Boost  
083 MG Solo  
010 Hip Bass  
011 Perc.Bass  
012 Homey Bass  
013 Finger Bass  
014 Nylon Bass  
015 Ac.Upright  
016 Wet Fretls  
017 Fretls Dry  
011 Brass Attack  
012 Archimede  
013 Rugby Horn  
014 MKS-80 Brass  
015 True ANALOG  
016 Dark Vox  
076 Jet Pad 2  
077 Phaze Pad  
078 Phaze Str  
079 Jet Str Ens  
080 Pivotal Pad  
081 3D Flanged  
082 Fantawine  
083 Glassy Pad  
084 Moving Glass  
085 Glasswaves  
086 Shiny Pad  
087 ShiftedGlass  
088 Chime Pad  
089 Spin Pad  
017 RandomVowels 4  
018 Slap Bass 1  
019 Slap Bass 2  
020 Slap Bass 3  
021 Slap Bass 4  
022 4 Pole Bass  
023 Tick Bass  
018 Angels Sing  
019 Pvox Oooze  
020 Longing...  
2
3
3
4
3
084 FXM Saw Lead 4  
085 Sawteeth  
086 Smoothe  
3
2
2
4
3
4
4
4
2
2
2
1
4
2
2
4
1
3
1
2
1
2
4
021 Arasian Morn  
022 Beauty Vox  
087 MG Lead  
088 MG Interval  
089 Pulse Lead 1  
090 Pulse Lead 2  
091 Little Devil  
092 Loud SynLead  
093 Analog Lead  
094 5th Lead  
023 Mary-AnneVox 4  
024 House Bass  
025 Mondo Bass  
026 Clk AnalogBs  
027 Bass In Face  
028 101 Bass  
029 Noiz Bass  
030 Super Jup Bs  
031 Occitan Bass  
032 Hugo Bass  
033 Multi Bass  
034 Moist Bass  
035 BritelowBass  
024 Belltree Vox  
025 Vox Panner  
026 Spaced Voxx  
027 Glass Voices  
028 Tubular Vox  
029 Velo Voxx  
030 Wavox  
4
2
4
3
4
2
3
1
090 Rotary Pad  
091 Dawn 2 Dusk  
092 Aurora  
093 Strobe Mode  
094 Albion  
095 Flute  
031 Doos  
095 Running Pad  
096 Stepped Pad  
097 Random Pad  
096 Piccolo  
032 Synvox Comps 4  
097 VOX Flute  
098 Air Lead  
033 Vocal Oohz  
034 LFO Vox  
3
1
2
4
4
2
2
4
2
3
4
4
4
4
4
3
3
2
2
3
4
4
4
3
4
3
2
2
2
4
4
4
098 SoundtrkDANC 4  
099 Pan Pipes  
100 Airplaaane  
101 Taj Mahal  
102 Raya Shaku  
103 Oboe mf  
035 St.Strings  
036 Warm Strings  
037 Somber Str  
038 Marcato  
099 Flying Waltz  
100 Vanishing  
101 5th Sweep  
102 Phazweep  
103 Big BPF  
4
1
4
4
4
4
036 Untamed Bass 3  
037 Rubber Bass  
038 Stereoww Bs  
039 Wonder Bass  
040 Deep Bass  
041 Super JX Bs  
3
3
3
2
2
039 Bright Str  
040 String Ens  
041 TremoloStrng  
042 Chambers  
043 ViolinCello  
044 Symphonique  
045 Film Octaves  
046 Film Layers  
047 Bass Pizz  
048 Real Pizz  
049 Harp On It  
050 Harp  
104 Oboe Express  
105 Clarinet mp  
106 ClariExpress  
107 Mitzva Split  
104 MG Sweep  
105 CeremonyTimp 3  
042 W<RED>-Bass 4  
106 Dyno Toms  
107 Sands ofTime  
108 Inertia  
4
4
4
4
4
043 HI-Ring Bass  
044 Euro Bass  
045 SinusoidRave  
046 Alternative  
047 Acid Line  
3
2
1
2
1
3
2
3
4
4
1
3
1
3
2
4
4
4
3
2
3
3
108 ChamberWinds 4  
109 ChamberWoods3  
109 Vektogram  
110 Crash Pad  
110 Film Orch  
4
2
3
3
3
3
4
4
4
2
2
1
4
4
1
2
2
4
4
111 Sop.Sax mf  
112 Alto Sax  
111 Feedback VOX 4  
048 Auto TB-303  
049 Hihat Tekno  
050 Velo Tekno 1  
051 Raggatronic  
052 Blade Racer  
053 S&H Pad  
112 Cascade  
1
2
2
1
4
4
4
4
4
1
3
2
4
2
113 AltoLead Sax  
114 Tenor Sax  
115 Baritone Sax  
116 Take A Tenor  
117 Sax Section  
118 Bigband Sax  
119 Harmonica  
120 Harmo Blues  
121 BluesHarp  
122 Hillbillys  
113 Shattered  
114 NextFrontier  
115 Pure Tibet  
116 Chime Wash  
117 Night Shade  
118 Tortured  
051 JP-8 Str 1  
052 JP-8 Str 2  
053 E-Motion Pad  
054 JP-8 Str 3  
055 Vintage Orch  
056 JUNO Strings  
057 Gigantalog  
058 PWM Strings  
059 Warmth  
054 Syncrosonix  
055 Fooled Again  
056 Alive  
119 Dissimilate  
120 Dunes  
057 Velo Tekno 2  
058 Rezoid  
121 Ocean Floor  
122 Cyber Space  
123 Biosphere  
124 Variable Run  
125 Ice Hall  
059 Raverborg  
060 Blow Hit  
123 French Bags  
124 Majestic Tpt  
125 Voluntare  
060 ORBit Pad  
061 Deep Strings  
062 Pulsify  
061 Hammer Bell  
062 Seq Mallet  
063 Intentions  
064 Pick It  
126 2Trumpets  
127 Tpt Sect  
126 ComputerRoom4  
063 Pulse Pad  
064 Greek Power  
127 Inverted  
4
3
128 Mute TP mod  
128 Terminate  
Voice: number of voice  
2 5 4  
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Pa tch List  
PR-D (Pre se t D Gro u p )  
PR-E (Pre se t E Gro u p )  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
001 Echo Piano  
002 Upright Pno  
003 RD-1000  
3
3
3
2
4
2
4
3
3
4
1
3
2
3
POLY  
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065 Civilization  
066 Mental Chord  
067 House Chord  
068 Sequalog  
3
4
4
4
2
4
2
POLY  
MONO  
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001 Grand XV  
4
2
2
3
4
4
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065 St. Choir  
4
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002 Contemplate  
003 Rock Piano  
004 RockPiano Ch  
005 Pianomonics  
006 Piano+SftPad  
066 SampleThe80s 2  
067 Sacred Tree  
068 VP330 OctEko 2  
2
004 Player's EP  
005 D-50 Rhodes  
006 Innocent EP  
007 Echo Rhodes  
008 See-Thru EP  
009 FM BellPiano  
010 Ring E.Piano  
011 Soap Opera  
012 Dirty Organ  
013 Surf's Up!  
069 Booster Bips  
070 VintagePlunk  
071 Plik-Plok  
069 XV Strings  
070 Fat Strings  
071 Dolce p/m/f  
072 Sad Strings  
073 Lush Strings  
074 Strings4Film  
075 Marcato Str  
076 End Titles  
3
3
6
6
4
6
4
4
4
4
6
2
8
4
7
5
4
4
2
3
3
2
007 WarmVoxPiano 4  
072 RingSequence 4  
008 Y2K Concerto  
009 Piano+AirPad  
010 ChoraLeader  
011 SparklePiano  
012 Retro Rhodes  
013 Fat Rhodes  
014 Rhodes Trem  
015 Phaser Dyno  
016 Hit Rhodes  
017 Sweet Tynes  
018 Pluk Rhodes  
019 Rhodes Trip  
020 AmbiRhodes  
021 Rholitzer  
8
5
8
6
3
3
2
3
3
4
3
2
4
3
2
2
2
3
073 Cyber Swing  
074 Keep :-)  
4
2
2
3
2
4
4
3
2
3
3
1
2
2
3
3
4
4
4
3
2
2
2
2
3
4
2
3
075 Resojuice  
076 B'on d'moov!  
077 Dist TB-303  
078 Temple of JV  
079 Planet Asia  
080 Afterlife  
077 ChmbrQuartet  
078 ChamberSect.  
079 FullChmbrStr  
080 Tape Strings  
081 Henry VIII  
014 Organesque  
015 pp Harmonium 1  
016 PieceOfCheez  
017 Harpsy Clav  
018 Exotic Velo  
019 HolidayCheer  
020 Morning Lite  
021 Prefab Chime  
022 Belfry Chime  
023 Stacc.Heaven  
024 2.2 Bell Pad  
025 Far East  
1
2
4
4
2
3
3
4
4
4
3
2
3
2
4
4
3
3
4
2
2
2
2
3
2
4
4
4
2
2
2
2
2
1
4
4
2
2
4
4
4
4
2
3
3
2
3
081 Trancing Pad  
082 Pulsatronic  
083 Cyber Dreams  
084 Warm Pipe  
085 Pure Pipe  
082 Prelude  
083 Str&Brs Orch  
084 Hornz  
085 TudorFanfare  
086 ChamberPlyrs  
087 Flute/Clari  
088 Orch Reeds  
089 Dual Flutes  
090 Jazzer Flute  
086 SH-2000  
022 Wurlie  
087 X..? Whistle  
088 Jay Vee Solo  
089 Progresso Ld  
090 Adrenaline  
091 Enlighten  
023 FM Delight  
024 Cutter Clav  
025 Mute Clav D6  
026 Wire Pad  
026 PhazeWahClav 6  
027 PhaseBlipper  
028 Sweep Clav  
029 Glider  
027 St.Harpsichd  
028 3PartInventn  
029 Soft Perky  
030 Fullness  
4
4
5
5
2
4
2
4
6
6
8
2
1
2
4
5
8
3
2
2
2
2
4
3
3
3
4
2
4
4
4
7
4
4
4
4
6
6
091 LegatoBamboo 4  
092 Glass Blower  
093 Earth Blow  
094 JX SqrCarpet  
095 Dimensional  
096 Jupiterings  
097 Analog Drama  
098 Rich Dynapad  
099 Silky Way  
092 Ambience Flt  
093 The Andes  
094 Deja Vlute  
095 Simply Brass  
096 FullSt Brass  
097 Dragnet  
4
1
4
2
5
4
030 Solo Steel  
031 DesertCrystl  
032 Clear Guitar  
033 Solo Strat  
034 Feed Me!  
031 Paleface 1  
032 Paleface 2  
033 Soft B  
034 British B  
098 NewR&RBrass 8  
035 Tube Smoke  
036 Creamy  
035 Rocker Org  
036 Split B  
099 Tower Trumps  
100 BigBrassBand  
101 Lil'BigHornz  
5
5
6
3
3
100 Gluey Pad  
037 Blusey OD  
038 Grindstone  
039 OD 5ths  
101 BandPass Mod 2  
037 PercInterval  
038 Happy 60s  
039 96 Years  
102 Soundtraque  
103 Translucence  
104 Darkshine  
105 D'light  
2
4
4
2
102 VoyagerBrass  
103 Symph Horns  
040 East Europe  
041 Dulcitar  
040 Glory Us Rok  
041 Church Harmn  
042 Cathdr Harmn  
043 Morph Pad  
044 Air Pad  
104 Trombone Atm 3  
105 XV Trombone  
106 XV Trumpet  
107 JupiterHorns  
108 Solo SoprSax  
109 Solo AltoSax  
2
3
2
1
2
042 Atmos Harp  
043 Pilgrimage  
044 202 Rude Bs  
045 2pole Bass  
046 4pole Bass  
047 Phaser MC  
048 Miniphaser  
049 Acid TB  
106 December Sky 4  
107 Octapad  
3
4
4
3
108 JUNO Power!  
109 Spectrum Mod  
110 Stringsheen  
045 Soft Padding  
046 Warmth Pad  
047 ClassicJPpad  
048 Jupiter Str  
049 Fat Pad  
110 XV DynoTenor 3  
111 GR500 TmpDly 2  
111 Honker Bari  
112 Full Saxz  
2
7
6
3
2
2
4
4
2
4
4
4
112 Mod DirtyWav  
113 Silicon Str  
114 D50FantaPerc  
115 Rotodreams  
116 Blue Notes  
117 RiversOfTime  
118 Phobos  
3
4
3
3
4
4
2
4
4
4
3
4
4
1
3
3
4
113 Soaring Hrns  
114 Glass Orbit  
115 5th Atm /Aft  
116 Lo-fi Sweep  
117 Modular Life  
118 Oscillations  
119 Combing  
050 Full Orchest  
051 Str + Winds  
052 Flute 2080  
053 Scat Flute  
054 Sax Choir  
055 Ballad Trump  
056 Sm.Brass Grp  
057 Royale  
050 GR700 Pad  
051 Paradise  
052 Moonchimes  
053 SusPed Swap  
054 PhasingPad  
055 Ethereal Str  
056 Velcropad  
057 NothrnLights  
058 Sun Dive  
119 2 0 8 0  
120 Unearthly  
121 Glistening  
122 Sci-Fi Str  
120 Rolling 5ths  
121 Analogue Str  
122 Lunar Strngs  
058 Brass Mutes  
059 Breathy Brs  
060 3 Osc Brass  
061 P5 Polymod  
062 Triumph Brs  
123 Shadows  
059 Brite Vox 1  
060 Brite Vox 2  
061 Ooh)Aah Mod  
062 Vocals: Ooh  
063 Vocals: Scat  
064 Vocals: Boys  
123 BPFsweep Mod3  
124 Helium Queen  
125 Sci-Fi FX x4  
126 Perky Noize  
127 Droplet  
124 Queen V  
6
2
125 SkinnyBounce  
126 SquareBounce 3  
063 Techno Dream 3  
064 Organizer  
127 Galactic  
8
3
3
128 Rain Forest  
128 Powerwiggle  
Voice: number of voice  
2 5 5  
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PR-F (Pre se t F Gro u p )  
No. Name  
Voice Key Assign  
No. Name  
Voice Key Assign  
001 80s Retrosyn  
002 Power Stack  
003 Don't Jump  
004 Big Bubbles  
005 X-mod Sweep  
006 Bag O' Bones  
007 AirSoThin  
2
3
8
3
1
6
2
4
2
6
2
3
3
2
2
4
2
1
2
8
3
2
4
4
2
2
2
4
4
3
3
3
4
4
4
8
4
5
2
4
3
2
3
1
4
POLY  
POLY  
POLY  
POLY  
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POLY  
POLY  
POLY  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
POLY  
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MONO  
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MONO  
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MONO  
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MONO  
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MONO  
MONO  
POLY  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
MONO  
065 Kickin' Bass  
066 Sub Zero  
2
4
2
2
4
4
1
4
3
2
4
5
3
3
2
2
3
2
4
8
3
4
4
6
3
4
6
4
4
4
3
4
2
7
8
8
2
2
4
4
4
1
3
8
MONO  
MONO  
MONO  
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MONO  
POLY  
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MONO  
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MONO  
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MONO  
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067 Liquid Bass  
068 Hefty Bass  
069 Severe Ow Bs  
070 Chime Bells  
071 Celestabox  
072 Brass Tubes  
073 Dreams East  
074 Synergistic  
075 Andreas Cave  
076 AmbiPizza  
077 Voxy Nylon  
078 EastrnEurope  
079 Celtic Harp  
080 Reso Sitar  
081 The Ganges  
082 MountainFolk  
083 Byzantine  
008 Analogical  
009 Waspy Pulse  
010 Soaring Saws  
011 Square Roots  
012 BOG  
013 Talking Box  
014 Retro Lead  
015 LivingInSync  
016 Leads United  
017 Dirty Sync  
018 DistortaSync  
019 Blistering  
020 Guttural  
084 AsiaPlectrum  
085 VelHarp)Harm  
086 Pluckaphone  
087 Slap Timps  
088 Suite Combo  
089 Jet Voxs  
021 Flyin' High  
022 Soft Tooth  
023 Soaring Sqr  
024 Soaring Sync  
025 Nasal Spray  
026 Lamb Lead  
027 Creamer  
090 Dirty Hit  
091 MOVE!  
028 Sine System  
029 Soft Nylon  
030 Nylozzicato  
031 Mutezzicato  
032 Hybrid Nylon  
033 XV SteelGt 1  
034 XV SteelGt 2  
035 Comp'Steel  
036 Double Steel  
037 Folk Guitar  
038 SpanishNight  
039 Plug n' Play  
040 Fab 4 Guitar  
041 Searing Lead  
042 Punker  
092 Reel Slam  
093 OffTheRecord  
094 2ndRateChord  
095 RageInYouth  
096 MinorIncidnt  
097 Phunky DC  
098 Agent X  
099 Winky  
100 Looney 2nz  
101 Shortrave  
102 DeeperBeeper  
103 Percolator  
104 Filter Morph  
105 Choir Bounce  
106 Rippling  
043 LouderPlease  
044 XV Upright  
045 XV Ac.Bass  
107 SteppingPhsr  
108 Trance Fair  
109 GermanBounce 4  
110 Acid JaZZ  
111 Cutter>ModWh 2  
046 LookMaNoFret 3  
5
047 XV Fretless  
048 Basic F'less  
049 8-str F'less  
050 Tap Bass  
1
1
2
1
1
4
2
2
2
2
4
2
2
5
2
3
112 Blades  
4
6
4
8
8
8
6
1
7
8
2
8
5
4
4
8
4
113 Mad Bender  
114 Shapeshifter  
115 ForestMoon  
116 Predator 2  
117 Dark Side  
118 The Beast  
119 X-mod Reso  
120 Planet Meta  
121 Nexus  
051 Pop Bass  
052 P.Bs Chorus  
053 TremCho Bs  
054 Creamy Bass  
055 Buster Bass  
056 TB Squelch  
057 Ticker Bass  
058 Muscle Bass  
059 Grounded Bs  
060 West End Bs  
061 Snap Bass  
062 700 Bassboy  
122 Halographix  
123 Moon Rise  
124 Gruvacious  
125 Windy Dunes  
126 Ice Blasts  
127 Ringy Thingy  
128 Atmospherics  
063 8VCO MonoSyn8  
064 ResoMoist Bs  
4
Voice: number of voice  
2 5 6  
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Pa tch List  
PR-H (GM2 Gro u p )  
No. Name  
Voice LSB PC  
No. Name  
Voice LSB PC  
No. Name  
Voice LSB PC  
No. Name  
Voice LSB PC  
001 Piano 1  
4
2
1
4
1
1
1
2
2
2
2
2
2
2
2
2
2
2
1
2
1
2
1
1
1
1
1
2
2
1
1
1
1
1
1
1
2
2
1
2
2
2
2
2
1
2
2
1
2
2
2
1
2
1
1
2
2
1
2
2
2
1
1
1
0
1
2
0
1
0
1
0
1
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
1
0
1
0
0
1
2
0
0
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
0
1
2
3
0
1
2
3
0
1
0
1
065 Chorus Gt.  
066 Mid Tone GTR  
067 Muted Gt.  
068 Funk Pop  
069 Funk Gt.2  
070 Jazz Man  
071 Overdrive Gt  
072 Guitar Pinch  
073 DistortionGt  
074 Feedback Gt.  
075 Dist Rtm GTR  
076 Gt.Harmonics  
077 Gt. Feedback  
078 Acoustic Bs.  
079 Fingered Bs.  
080 Finger Slap  
081 Picked Bass  
082 Fretless Bs.  
083 Slap Bass 1  
084 Slap Bass 2  
085 Synth Bass 1  
086 SynthBass101  
087 Acid Bass  
088 Clavi Bass  
089 Hammer  
2
1
1
1
2
2
2
2
2
2
2
1
1
1
1
2
1
1
1
2
1
1
1
2
2
2
2
2
1
1
1
1
1
1
1
1
1
2
1
2
3
2
1
2
2
2
2
2
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
1
2
0
1
2
3
0
1
0
1
2
0
1
0
0
1
0
0
0
0
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
0
0
1
0
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
0
1
0
1
2
0
0
1
129 French Horns  
130 Fr.Horn 2  
131 Brass 1  
2
2
3
2
2
2
2
3
2
2
2
1
1
2
1
2
1
1
1
1
1
1
1
2
2
1
2
2
1
1
2
1
2
2
0
1
0
1
0
1
2
3
0
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
0
0
1
0
0
1
0
0
0
0
0
0
0
1
0
0
0
0
1
2
0
61  
62  
63  
193 Sitar  
1
2
1
1
2
1
1
2
1
1
3
1
1
1
1
3
2
1
1
2
2
1
1
1
1
1
1
1
1
1
1
1
2
2
2
1
1
1
1
1
1
1
2
2
2
1
1
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
2
0
1
0
0
0
1
0
0
0
0
0
0
0
0
1
0
1
0
1
0
1
2
0
0
1
2
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
105  
002 Piano 1w  
003 European Pf  
004 Piano 2  
194 Sitar 2  
29  
195 Banjo  
106  
107  
108  
2
3
4
5
132 Brass 2  
196 Shamisen  
197 Koto  
005 Piano 2w  
006 Piano 3  
133 Synth Brass1  
134 Pro Brass  
135 Oct SynBrass  
136 Jump Brass  
137 Synth Brass2  
138 SynBrass sfz  
139 Velo Brass 1  
140 Soprano Sax  
141 Alto Sax  
198 Taisho Koto  
199 Kalimba  
200 Bagpipe  
201 Fiddle  
007 Piano 3w  
008 Honky-tonk  
009 Honky-tonk 2  
010 E.Piano 1  
011 St.Soft EP  
012 FM+SA EP  
013 Wurly  
30  
31  
109  
110  
111  
112  
113  
114  
115  
116  
64  
202 Shanai  
203 Tinkle Bell  
204 Agogo  
32  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
205 Steel Drums  
206 Woodblock  
207 Castanets  
208 Taiko  
014 E.Piano 2  
015 Detuned EP 2  
016 St.FM EP  
017 EP Legend  
018 EP Phase  
019 Harpsichord  
020 Coupled Hps.  
021 Harpsi.w  
6
33  
34  
142 Tenor Sax  
143 Baritone Sax  
144 Oboe  
117  
118  
119  
35  
36  
37  
38  
39  
145 English Horn  
146 Bassoon  
209 Concert BD  
210 Melo. Tom 1  
211 Melo. Tom 2  
212 Synth Drum  
213 808 Tom  
214 Elec Perc  
215 Reverse Cym.  
216 Gt.FretNoise  
217 Gt.Cut Noise  
218 String Slap  
219 Breath Noise  
220 Fl.Key Click  
221 Seashore  
222 Rain  
7
8
147 Clarinet  
148 Piccolo  
149 Flute  
022 Harpsi.o  
150 Recorder  
151 Pan Flute  
152 Bottle Blow  
153 Shakuhachi  
154 Whistle  
023 Clav.  
120  
121  
024 Pulse Clav  
025 Celesta  
9
10  
11  
12  
026 Glockenspiel  
027 Music Box  
028 Vibraphone  
029 Vibraphone w  
030 Marimba  
090 Synth Bass 2  
091 Beef FM Bass  
092 RubberBass 2  
093 Attack Pulse  
094 Violin  
40  
41  
155 Ocarina  
122  
123  
156 Square Wave  
157 MG Square  
158 2600 Sine  
159 Saw Wave  
160 OB2 Saw  
161 Doctor Solo  
162 Natural Lead  
13  
031 Marimba w  
032 Xylophone  
033 Tubular-bell  
034 Church Bell  
035 Carillon  
095 Slow Violin  
096 Viola  
82  
223 Thunder  
224 Wind  
14  
15  
42  
43  
44  
45  
46  
47  
097 Cello  
225 Stream  
098 Contrabass  
099 Tremolo Str  
100 PizzicatoStr  
101 Harp  
226 Bubble  
163 SequencedSaw 2  
227 Bird  
124  
125  
036 Santur  
16  
17  
164 Syn.Calliope  
165 Chiffer Lead  
166 Charang  
2
2
2
2
2
2
2
2
2
1
2
2
2
2
3
3
2
1
2
2
2
1
2
2
2
1
2
2
2
83  
84  
85  
228 Dog  
037 Organ 1  
229 Horse-Gallop  
230 Bird 2  
038 Trem. Organ  
039 60's Organ 1  
040 70's E.Organ  
041 Organ 2  
102 Yang Qin  
103 Timpani  
48  
49  
167 Wire Lead  
168 Solo Vox  
231 Telephone 1  
232 Telephone 2  
233 DoorCreaking  
234 Door  
104 Strings  
86  
87  
88  
18  
105 Orchestra  
106 60s Strings  
107 Slow Strings  
108 Syn.Strings1  
109 Syn.Strings3  
110 Syn.Strings2  
111 Choir Aahs  
112 Chorus Aahs  
113 Voice Oohs  
114 Humming  
115 SynVox  
169 5th Saw Wave  
170 Bass & Lead  
171 Delayed Lead  
172 Fantasia  
042 Chorus Or.2  
043 Perc. Organ  
044 Organ 3  
50  
51  
235 Scratch  
19  
20  
89  
90  
236 Wind Chimes  
237 Helicopter  
238 Car-Engine  
239 Car-Stop  
240 Car-Pass  
241 Car-Crash  
242 Siren  
045 Church Org.1  
046 Church Org.2  
047 Church Org.3  
048 Reed Organ  
049 Puff Organ  
050 Accordion Fr  
051 Accordion It  
052 Harmonica  
053 Bandoneon  
054 Nylon-str.Gt  
055 Ukulele  
173 Warm Pad  
174 Sine Pad  
175 Polysynth  
176 Space Voice  
177 Itopia  
126  
52  
53  
91  
92  
21  
22  
54  
55  
56  
178 Bowed Glass  
179 Metal Pad  
180 Halo Pad  
181 Sweep Pad  
182 Ice Rain  
93  
94  
95  
96  
97  
98  
99  
243 Train  
23  
24  
25  
116 Analog Voice  
117 OrchestraHit  
118 Bass Hit  
244 Jetplane  
245 Starship  
246 Burst Noise  
247 Applause  
248 Laughing  
249 Screaming  
250 Punch  
119 6th Hit  
183 Soundtrack  
184 Crystal  
127  
128  
056 Nylon Gt.o  
057 Nylon Gt.2  
058 Steel-str.Gt  
059 12-str.Gt  
120 Euro Hit  
121 Trumpet  
57  
58  
185 Syn Mallet  
186 Atmosphere  
187 Brightness  
188 Goblin  
26  
122 Dark Trumpet  
123 Trombone  
124 Trombone 2  
125 Bright Tb  
100  
101  
102  
103  
251 Heart Beat  
252 Footsteps  
253 Gun Shot  
254 Machine Gun  
255 Lasergun  
256 Explosion  
060 Mandolin  
061 Steel + Body  
062 Jazz Gt.  
189 Echo Drops  
190 Echo Bell  
191 Echo Pan  
192 Star Theme  
27  
28  
126 Tuba  
59  
60  
063 Pedal Steel  
064 Clean Gt.  
127 MutedTrumpet  
128 MuteTrumpet2  
104  
Voice: number of voice  
LSB: Bank Select LSB, MSB is all 121  
PC: Program Change Number  
Key Assign: all POLY  
2 5 7  
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Rh y th m Se t List  
USER (Use r Gro u p )  
PR-A (Pre se t A Gro u p )  
001  
002  
003  
004  
001  
002  
XV Pop Kit  
XV Rock Kit  
XV Jazz Kit  
XV Rust Kit  
PopDrumSet 1  
PopDrumSet 2  
Note No.  
28  
Dance Kick  
Dry Kick  
Rock Roll  
Hybrid Kick  
Rock PdHH  
Round Kick  
Hand Claps  
Hybrid Kick2  
Old Kick  
Dance Kick  
Round Kick  
Rock Roll  
Jazz Kick  
Rock PdHH  
Verb Kick  
Hand Claps  
Maple Kick  
Rock Kick  
RockStick  
Rock SN  
JazzDry Kick  
Pillow Kick  
Jazz Swish  
Hybrid Kick2  
Jazz PdHH  
MplLmtr Kick  
Hand Claps  
JazzDry Kick  
Jazz Kick  
Dry Stick 2  
Jazz SN  
Snare Ghost  
Jazz Rim  
Jazz Tom L  
Jazz ClHH1  
Jazz Flm L  
Jazz ClHH2  
Jazz Tom M  
Jazz OpHH  
Jazz Flm M  
Jazz Tom H  
Jazz CrCym  
Jazz Flm H  
Jazz RdCym  
Rock RdCym1  
Rock RdCym2  
Tambourine 1  
Crash 1  
70s Kick 2  
Old Kick  
Rock Roll  
909 Kick 2  
Rock PdHH  
909 Kick 1  
808 Claps  
808 Kick  
Dance Kick  
RockStick  
Old Fill SN  
Rock Gst  
Rock SN  
Elec.Tom L2  
Rock ClHH1  
Elec.Tom L1  
Rock ClHH2  
Elec.Tom M  
Rock OpHH  
Elec.Tom M  
Elec.Tom H  
Rock CrCym1  
Elec.Tom H  
Rock RdCym1  
Rock CrCym2  
Rock RdCym2  
Tambourine 1  
Rock Splash  
Cowbell  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
Verb Kick  
Hybrid Kick  
Side Stick  
Natural SN2  
808 Claps  
SN Roll  
Verb Tom Lo  
Cl HiHat 4  
Verb Tom Lo  
Cl HiHat 5  
Verb Tom Hi  
Op HiHat 2  
Verb Tom Hi  
Verb Tom Hi  
Crash 1  
Verb Tom Hi  
Ride 2  
China Cym  
Ride Bell  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
Cowbell  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
Cga Open Hi  
Cga Open Lo  
Timbale  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
Hybrid Kick  
Round Kick  
Dry Stick 2  
Piccolo SN  
Hand Claps  
Piccolo SN  
Verb Tom Lo  
Cl HiHat 4  
Verb Tom Lo  
Cl HiHat 5  
Verb Tom Hi  
Op HiHat 2  
Verb Tom Hi  
Verb Tom Hi  
Crash 1  
Verb Tom Hi  
Ride 1  
China Cym  
Ride Bell  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
Cowbell  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
Cga Open Hi  
Cga Open Lo  
Timbale  
29  
30  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
C2  
Side Stick  
Wet SN  
Snare Ghost  
AmbientSN  
Maple Tom 3  
Rock ClHH2  
Rock Flm L2  
Rock ClHH1  
Maple Tom 2  
Rock OpHH  
Rock Flm M  
Maple Tom 1  
Crash Cymbal  
Rock Flm H  
Rock RdCym1  
Crash 1  
Rock RdCym2  
Tambourine 2  
Rock CrCym2  
Cowbell Lo  
Crash 1  
Cowbell Hi  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
Cga Open Hi  
Cga Open Lo  
Timbale Hi  
Timbale Lo  
AgogoBellsHi  
AgogoBellsLo  
Cabasa Up  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
WoodBlock Hi  
WoodBlock Lo  
Mute Cuica  
Open Cuica  
Mute Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Wind Chimes  
Wood Block  
Mute Surdo  
Open Surdo  
Lite Kick  
Rock Gst  
Rock Rim  
Rock TomL2  
Rock ClHH2  
Rock Flm L2  
Rock ClHH1  
Rock Tom M  
Rock OpHH  
Rock Flm M  
Rock Tom H  
Rock CrCym1  
Rock Flm H  
Rock RdCym1  
Rock China  
Rock RdCym2  
Tambourine 2  
Rock CrCym2  
Cowbell Lo  
Crash 1  
41  
42  
43  
44  
45  
46  
47  
C3 48  
50  
49  
51  
52  
53  
54  
56  
58  
55  
Cowbell Lo  
Crash 2  
Cowbell Hi  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
57  
China Cym  
Vibraslap  
70s Kick 2  
70s Kick 1  
Dry Stick  
Cowbell Hi  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
59  
C4 60  
62  
61  
63  
70s SN  
Cga Open Hi  
Cga Open Lo  
Timbale Hi  
Timbale Lo  
AgogoBellsHi  
AgogoBellsLo  
Cabasa Up  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
WoodBlock Hi  
WoodBlock Lo  
Mute Cuica  
Open Cuica  
Mute Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Wind Chimes  
Wood Block  
Mute Surdo  
Open Surdo  
Lite Kick  
Cga Open Hi  
Cga Open Lo  
Timbale Hi  
Timbale Lo  
AgogoBellsHi  
AgogoBellsLo  
Cabasa Up  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
WoodBlock Hi  
WoodBlock Lo  
Mute Cuica  
Open Cuica  
Mute Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Wind Chimes  
Wood Block  
Mute Surdo  
Open Surdo  
Lite Kick  
Finger Snaps  
HumanClapsEQ  
JD Cowbell  
70s Cl HiHat  
AgogoBells  
70s Cl HiHat  
909 NZ HiHat  
70s Op HiHat  
Cabasa Up  
Long Whistle  
REV RkOpHH f  
Tambourine 2  
REV JzOpHH f  
Scratch 2  
Mute Triangl  
909 Cl HiHat  
Open Triangl  
909 Cl HiHat  
Cabasa  
909 Op HiHat  
Spectrum  
Maple Kick  
Woody Stick  
Maple SN  
64  
65  
Timbale  
Timbale  
66  
68  
70  
AgogoBells  
AgogoBells  
Cabasa Up  
Maracas  
Soft Pad A  
Soft Pad B  
Long Guiro  
Long Guiro  
Claves  
AgogoBells  
AgogoBells  
Cabasa Up  
Maracas  
Cabasa Down  
Cabasa Cut  
808 Kick  
808 SN  
DIGI Bell 1  
808 SN  
808 Kick  
Spectrum  
808 Kick  
Spectrum  
808 Kick  
Spectrum  
808 Kick  
67  
69  
71  
C5 72  
74  
73  
75  
76  
Wood Block  
Wood Block  
Cuica  
77  
78  
80  
82  
Cuica  
79  
Open Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Wind Chimes  
Wood Block  
Cga Slap  
Dry Tom Lo  
Lite Kick  
81  
83  
808 Kick  
Feedbackwave  
808 Kick  
C6 84  
86  
85  
87  
SN Roll  
Feedbackwave  
Pop Voice  
Pop Voice  
Wind Agogo  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
88  
Maple Tom 3  
909 Kick 1  
Old Kick  
808 Kick  
909 SN 2  
Hybrid Kick2  
Old Kick  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
Hybrid Kick2  
Old Kick  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
Hybrid Kick2  
Old Kick  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
Hybrid Kick2  
Old Kick  
89  
90  
92  
94  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
91  
909 SN 1  
808 SN  
93  
95  
Dance Kick  
REV Timp3  
R8 Click  
Metronome 2  
Finger Snaps  
C7 96  
98  
97  
99  
Metronome 1  
Finger Snaps  
Metronome 1  
Finger Snaps  
Metronome 1  
Finger Snaps  
Metronome 1  
-----  
Metronome 1  
-----  
2 5 8  
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Rh y th m Se t List  
PR-B (Pre se t B Gro u p )  
PR-C (Pre se t C Gro u p )  
PR-D (Pre se t D Gro u p )  
001  
002  
001  
002  
001  
002  
PowerDrumSet  
RaveDrumSet  
JazzDrumSet2  
OrchDrumSet  
PowerDrmSet2  
PowerRaveSet  
Note No.  
28  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
29  
30  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
31  
32  
33  
-----  
-----  
-----  
-----  
-----  
-----  
34  
35  
-----  
-----  
808 Kick  
-----  
Round Kick  
Old Kick  
-----  
-----  
-----  
Verb Kick  
Round Kick  
Dry Stick 2  
Piccolo SN  
808 Claps  
Natural SN2  
Verb Tom Lo  
Cl HiHat 4  
Verb Tom Lo  
Pedal HiHat2  
Verb Tom Lo  
Op HiHat 2  
Verb Tom Lo  
Verb Tom Hi  
Crash 1  
Verb Tom Hi  
Ride 1  
China Cym  
Ride Bell  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
Vibraslap  
Ride 1  
Old Kick  
Round Kick  
Side Stick  
Ballad SN  
808 Claps  
SN Roll  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Timpani  
Verb Kick  
Round Kick  
Dry Stick 2  
Piccolo SN  
808 Claps  
SN Roll  
Verb Tom Lo  
Cl HiHat 4  
Verb Tom Lo  
Pedal HiHat2  
Verb Tom Lo  
Op HiHat 2  
Verb Tom Lo  
Verb Tom Hi  
Crash 1  
Verb Tom Hi  
Ride 1  
China Cym  
Ride Bell  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
Vibraslap  
Ride 1  
Verb Kick  
Round Kick  
Dry Stick 2  
Piccolo SN  
808 Claps  
Natural SN2  
Verb Tom Lo  
Cl HiHat 4  
Verb Tom Lo  
Pedal HiHat2  
Verb Tom Lo  
Op HiHat 2  
Verb Tom Lo  
Verb Tom Hi  
Crash 1  
Verb Tom Hi  
Ride 1  
China Cym  
Ride Bell  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
Vibraslap  
Ride 1  
Round Kick  
Side Stick  
808 SN  
808 Claps  
808 SN  
36  
37  
38  
39  
40  
C2  
Side Stick  
Ballad SN  
Hand Claps  
SN Roll  
Verb Tom Lo  
Cl HiHat 5  
Dry Tom Lo  
Pedal HiHat2  
Verb Tom Lo  
Op HiHat 2  
Dry Tom Lo  
Verb Tom Hi  
Crash 1  
Dry Tom Hi  
Ride 2  
China Cym  
Ride Bell  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
Vibraslap  
Ride 2  
Bongo Hi  
Bongo Lo  
Cga Mute Hi  
Cga Open Hi  
Cga Open Lo  
Timbale  
808 Kick  
41  
42  
606 Cl HiHat  
Tekno Hit  
606 Cl HiHat  
808 Kick  
606 Op HiHat  
Tekno Hit  
808 Kick  
43  
44  
45  
46  
47  
C3 48  
50  
Crash 1  
49  
51  
Tekno Hit  
Voice Breath  
MC500 Beep 1  
MC500 Beep 2  
R8 Click  
Pizz  
DIGI Bell 1  
Rattles  
52  
Timpani  
Tambourine 1  
Crash 1  
Cowbell  
Crash 1  
53  
54  
56  
58  
55  
57  
Ride Bell  
Ride 1  
Ride 2  
59  
REV Tamb 1  
2.2 Vibwave  
Low Pink NZ  
Kalimba  
Metal Wind  
Lead Wave  
Tin Wave  
AgogoBells  
Lite Kick  
Bongo Hi  
Bongo Lo  
Cga Mute Hi  
Cga Open Hi  
Cga Open Lo  
Timbale  
Bongo Hi  
Bongo Lo  
Cga Mute Hi  
Cga Open Hi  
Cga Open Lo  
Timbale  
Bongo Hi  
Bongo Lo  
Cga Mute Hi  
Cga Open Hi  
Cga Open Lo  
Timbale  
Bongo Hi  
Bongo Lo  
Cga Mute Hi  
Cga Open Hi  
Cga Open Lo  
Timbale  
C4 60  
62  
61  
63  
64  
65  
Timbale  
Timbale  
Timbale  
Timbale  
Timbale  
66  
68  
70  
AgogoBells  
AgogoBells  
Cabasa Up  
Maracas  
Soft Pad A  
Soft Pad B  
Long Guiro  
Long Guiro  
Claves  
AgogoBells  
AgogoBells  
Cabasa Up  
Maracas  
Soft Pad A  
Brush Swish  
Long Guiro  
Long Guiro  
Claves  
AgogoBells  
AgogoBells  
Cabasa Up  
Maracas  
Soft Pad A  
Soft Pad B  
Long Guiro  
Long Guiro  
Claves  
AgogoBells  
AgogoBells  
Cabasa Up  
Maracas  
Soft Pad A  
Soft Pad B  
Long Guiro  
Long Guiro  
Claves  
AgogoBells  
AgogoBells  
AgogoBells  
Maracas  
606 Cl HiHat  
606 Cl HiHat  
606 Op HiHat  
Long Guiro  
Claves  
Wood Block  
Wood Block  
Pizz  
Syn Vox 1  
Voice Aahs A  
Voice Oohs2A  
Male Ooh A  
Ice Rain  
67  
AgogoBells  
Lite Kick  
69  
AgogoBells  
Gtr Harm A  
Gtr Harm A  
Piano Thump  
Natural SN1  
Hand Claps  
Natural SN1  
808 SN  
PowerChord B  
Hybrid Kick2  
PowerChord B  
Gt.FretNoise  
Banjo B  
71  
C5 72  
74  
73  
75  
76  
Wood Block  
Wood Block  
Cuica  
Wood Block  
Metronome 2  
Cuica  
Wood Block  
Wood Block  
Cuica  
Wood Block  
Wood Block  
Cuica  
77  
78  
80  
82  
Cuica  
Cuica  
Cuica  
Cuica  
79  
Open Triangl  
Open Triangl  
Maracas  
Ice Rain  
Wind Chimes  
Claves  
Open Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Wind Chimes  
Wood Block  
Cga Slap  
Dry Tom Lo  
Lite Kick  
Open Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Wind Chimes  
Wood Block  
Cga Slap  
Dry Tom Lo  
Applause  
Hybrid Kick2  
Cl HiHat 4  
Round Kick  
Pedal HiHat2  
Natural SN2  
Op HiHat 2  
Brush Slap  
Brush Swish  
Brush Roll  
SN Roll  
Open Triangl  
Open Triangl  
Maracas  
Ice Rain  
Wind Chimes  
Claves  
81  
83  
Slap Bass 1  
Oboe mf A  
Shakuhachi  
Pizz  
808 SN  
808 SN  
808 SN  
C6 84  
86  
85  
87  
808 SN  
808 SN  
Verb Tom Hi  
Piccolo SN  
Scratch 3  
Tin Wave  
Spectrum  
REV Steel DR  
REV Tin Wave  
REV PiccloSN  
REV Crash 1  
Metronome 2  
R8 Click  
Syn Vox 1  
Voice Aahs A  
Voice Oohs2A  
Pop Voice  
Male Ooh A  
Voice Breath  
Org Vox C  
Vox Noise  
Vox Noise  
Applause  
R8 Click  
Verb Tom Hi  
Piccolo SN  
Scratch 3  
Tin Wave  
Spectrum  
REV Steel DR  
REV Tin Wave  
REV PiccloSN  
REV Crash 1  
Metronome 2  
R8 Click  
Hand Claps  
Voice Breath  
Scratch 3  
Tin Wave  
Crash 1  
Ride Bell  
REV Tin Wave  
DIGI Bell 1  
Metal Wind  
Applause  
R8 Click  
88  
Hybrid Kick2  
Old Kick  
89  
90  
92  
94  
Natural SN2  
Natural SN1  
Brush Swish  
Brush Roll  
Brush Slap  
Metronome 2  
R8 Click  
91  
93  
95  
C7 96  
98  
97  
99  
Metronome 1  
-----  
Metronome 2  
-----  
Metronome 1  
-----  
Metronome 1  
-----  
Metronome 1  
-----  
-----  
2 5 9  
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Rh y th m Se t List  
PR-E (Pre se t E Gro u p )  
PR-F (Pre se t F Gro u p )  
001  
002  
001  
002  
XV Pop Kit  
XV Rock Kit  
XV Jazz Kit  
XV Rust Kit  
Note No.  
28  
Dance Kick  
Dry Kick  
Rock Roll  
Hybrid Kick  
Snare Ghost  
Round Kick  
Rock PdHH  
Hybrid Kick2  
Old Kick  
Dance Kick  
Round Kick  
Rock Roll  
Jazz Kick  
Rock Gst  
JazzDry Kick  
Pillow Kick  
Jazz Swish  
Hybrid Kick2  
Snare Ghost  
MplLmtr Kick  
Jazz PdHH  
JazzDry Kick  
Jazz Kick  
Dry Stick 2  
Jazz SN  
Snare Ghost  
Jazz Rim  
Jazz Tom L  
Jazz ClHH1  
Jazz Flm L  
Jazz ClHH2  
Jazz Tom M  
Jazz OpHH  
Jazz Flm M  
Jazz Tom H  
Jazz CrCym  
Jazz Flm H  
Jazz RdCym  
Rock RdCym1  
Rock RdCym2  
Tambourine 1  
Crash 1  
70s Kick 2  
Old Kick  
Rock Roll  
909 Kick 2  
Rock Gst  
909 Kick 1  
Rock PdHH  
808 Kick  
Dance Kick  
RockStick  
Old Fill SN  
Rock Gst  
29  
30  
31  
32  
33  
34  
35  
Verb Kick  
Rock PdHH  
Maple Kick  
Rock Kick  
RockStick  
Rock SN  
36  
37  
38  
39  
40  
C2  
Side Stick  
Wet SN  
Snare Ghost  
AmbientSN  
Maple Tom 3  
Rock ClHH2  
Rock Flm L2  
Rock ClHH1  
Maple Tom 2  
Rock OpHH  
Rock Flm M  
Maple Tom 1  
Crash Cymbal  
Rock Flm H  
Rock RdCym1  
Crash 1  
Rock RdCym2  
Tambourine 2  
Rock CrCym2  
Cowbell Lo  
Crash 1  
Cowbell Hi  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
Cga Open Hi  
Cga Open Lo  
Timbale Hi  
Timbale Lo  
AgogoBellsHi  
AgogoBellsLo  
Cabasa Up  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
WoodBlock Hi  
WoodBlock Lo  
Mute Cuica  
Open Cuica  
Mute Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Rock Gst  
Rock Rim  
Rock SN  
Rock TomL2  
Rock ClHH2  
Rock Flm L2  
Rock ClHH1  
Rock Tom M  
Rock OpHH  
Rock Flm M  
Rock Tom H  
Rock CrCym1  
Rock Flm H  
Rock RdCym1  
Rock China  
Rock RdCym2  
Tambourine 2  
Rock CrCym2  
Cowbell Lo  
Crash 1  
Elec.Tom L2  
Rock ClHH1  
Elec.Tom L1  
Rock ClHH2  
Elec.Tom M  
Rock OpHH  
Elec.Tom M  
Elec.Tom H  
Rock CrCym1  
Elec.Tom H  
Rock RdCym1  
Rock CrCym2  
Rock RdCym2  
Tambourine 1  
Rock Splash  
Cowbell  
41  
42  
43  
44  
45  
46  
47  
C3 48  
50  
49  
51  
52  
53  
54  
56  
58  
55  
Cowbell Lo  
Crash 2  
Cowbell Hi  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
57  
China Cym  
Vibraslap  
70s Kick 2  
70s Kick 1  
Dry Stick  
Cowbell Hi  
Ride Bell  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
59  
C4 60  
62  
61  
63  
70s SN  
Cga Open Hi  
Cga Open Lo  
Timbale Hi  
Timbale Lo  
AgogoBellsHi  
AgogoBellsLo  
Cabasa Up  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
WoodBlock Hi  
WoodBlock Lo  
Mute Cuica  
Open Cuica  
Mute Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Cga Open Hi  
Cga Open Lo  
Timbale Hi  
Timbale Lo  
AgogoBellsHi  
AgogoBellsLo  
Cabasa Up  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
WoodBlock Hi  
WoodBlock Lo  
Mute Cuica  
Open Cuica  
Mute Triangl  
Open Triangl  
Cabasa Cut  
Spectrum  
Finger Snaps  
HumanClapsEQ  
JD Cowbell  
70s Cl HiHat  
AgogoBells  
70s Cl HiHat  
909 NZ HiHat  
70s Op HiHat  
Cabasa Up  
Long Whistle  
REV RkOpHH f  
Tambourine 2  
REV JzOpHH f  
Scratch 2  
64  
65  
66  
68  
70  
67  
69  
71  
C5 72  
74  
73  
75  
76  
Mute Triangl  
909 Cl HiHat  
Open Triangl  
909 Cl HiHat  
Cabasa  
77  
78  
80  
82  
79  
81  
909 Op HiHat  
Spectrum  
83  
Wind Chimes  
Wood Block  
Mute Surdo  
Open Surdo  
Lite Kick  
Hybrid Kick2  
Old Kick  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
Wind Chimes  
Wood Block  
Mute Surdo  
Open Surdo  
Lite Kick  
Hybrid Kick2  
Old Kick  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
Wind Chimes  
Wood Block  
Mute Surdo  
Open Surdo  
Lite Kick  
Hybrid Kick2  
Old Kick  
Pop Voice  
Wind Agogo  
Op HiHat 2  
Anklungs  
Op HiHat 2  
Metronome 2  
R8 Click  
Maple Kick  
Woody Stick  
Maple SN  
C6 84  
86  
85  
87  
SN Roll  
88  
Maple Tom 3  
909 Kick 1  
Old Kick  
808 Kick  
909 SN 2  
89  
90  
92  
94  
91  
909 SN 1  
808 SN  
93  
95  
Dance Kick  
REV Timp3  
R8 Click  
Metronome 2  
808 Claps  
C7 96  
98  
97  
99  
Metronome 1  
Hand Claps  
Metronome 1  
Hand Claps  
Metronome 1  
Hand Claps  
2 6 0  
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Rh y th m Se t List  
PR-H (GM2 Gro u p )  
001  
(PC: 1)  
002  
(PC: 9)  
003  
(PC: 17)  
004  
(PC: 25)  
005  
(PC: 26)  
006  
(PC: 33)  
GM2 STANDARD  
GM2 ROOM  
GM2 POWER  
GM2 ELECTRIC  
GM2 ANALOG  
GM2 JAZZ  
Note No.  
27  
High-Q  
High-Q  
High-Q  
High-Q  
High-Q  
High-Q  
28  
Slap  
Slap  
Slap  
Slap  
Slap  
Slap  
ScratchPush  
ScratchPull  
Sticks  
SquareClick  
Mtrnm.Click  
Mtrnm. Bell  
Mix Kick  
ScratchPush  
ScratchPull  
Sticks  
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  
ScratchPush  
ScratchPull  
Sticks  
SquareClick  
Mtrnm.Click  
Mtrnm. Bell  
Mix Kick  
ScratchPush  
ScratchPull  
Sticks  
SquareClick  
Mtrnm.Click  
Mtrnm. Bell  
Mix Kick  
ScratchPush  
ScratchPull  
Sticks  
SquareClick  
Mtrnm.Click  
Mtrnm. Bell  
Mix Kick  
ScratchPush  
ScratchPull  
Sticks  
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  
29  
30  
31  
32  
33  
34  
35  
Standard KK1  
Side Stick  
Power Kick1  
Side Stick  
Elec Kick 1  
Side Stick  
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  
36  
37  
38  
39  
40  
C2  
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  
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  
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  
41  
42  
43  
44  
45  
46  
47  
C3 48  
50  
49  
51  
52  
53  
54  
56  
58  
55  
57  
59  
C4 60  
62  
61  
63  
808 Conga  
808 Conga  
808 Conga  
High Timbale  
Low Timbale  
Agogo  
64  
65  
66  
68  
70  
67  
Agogo  
Cabasa  
Maracas  
Agogo  
Cabasa  
Maracas  
Agogo  
Cabasa  
Maracas  
Agogo  
Cabasa  
Maracas  
Agogo  
Cabasa  
Agogo  
Cabasa  
Maracas  
69  
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  
-----  
71  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
C5 72  
74  
73  
75  
76  
77  
78  
80  
82  
79  
81  
83  
C6 84  
86  
85  
87  
88  
PC: Program Change Number  
Bank Select MSB is all 120, LSB is all 0  
2 6 1  
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Rh y th m Se t List  
PR-H (GM2 Gro u p )  
007  
(PC: 41)  
008  
(PC: 49)  
009  
(PC: 57)  
GM2 BRUSH  
GM2 ORCHSTRA  
GM2 SFX  
Note No.  
27  
High-Q  
Slap  
ScratchPush  
ScratchPull  
Sticks  
Close HiHat2  
Pedal HiHat2  
Open HiHat2  
Ride Cymbal  
Sticks  
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  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
High-Q  
Slap  
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  
28  
29  
30  
31  
32  
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  
33  
34  
35  
36  
37  
C2  
38  
39  
40  
41  
42  
43  
44  
45  
46  
47  
C3 48  
50  
49  
51  
Timpani  
Timpani  
Timpani  
Timpani  
52  
53  
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  
54  
56  
58  
55  
57  
59  
C4 60  
62  
Scratch  
61  
63  
Wind Chimes  
Car-Engine  
Car-Stop  
Car-Pass  
Car-Crash  
Siren  
64  
65  
66  
68  
70  
67  
Agogo  
Cabasa  
Maracas  
Agogo  
Cabasa  
Maracas  
Train  
Jetplane  
Helicopter  
Starship  
Gun Shot  
Machine Gun  
Lasergun  
Explosion  
Dog  
HorseGallop  
Bird  
Rain  
Thunder  
Wind  
Seashore  
Stream  
Bubble  
69  
71  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShrtWhistle  
LongWhistle  
Short Guiro  
Long Guiro  
Claves  
Woodblock  
Woodblock  
Mute Cuica  
Open Cuica  
MuteTriangl  
OpenTriangl  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
Applause  
C5 72  
74  
73  
75  
76  
77  
78  
80  
82  
79  
81  
83  
C6 84  
86  
-----  
-----  
-----  
-----  
85  
87  
88  
PC: Program Change Number  
Bank Select MSB is all 120, LSB is all 0  
2 6 2  
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W a ve fo rm List  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
0001  
0002  
0003  
0004  
0005  
0006  
0007  
0008  
0009  
0010  
0011  
0012  
0013  
0014  
0015  
0016  
0017  
0018  
0019  
0020  
0021  
0022  
0023  
0024  
0025  
0026  
0027  
0028  
0029  
0030  
0031  
0032  
0033  
0034  
0035  
0036  
0037  
0038  
0039  
0040  
0041  
0042  
0043  
0044  
0045  
0046  
0047  
0048  
0049  
0050  
StGrand pA L  
StGrand pA R  
StGrand pB L  
StGrand pB R  
StGrand pC L  
StGrand pC R  
StGrand fA L  
StGrand fA R  
StGrand fB L  
StGrand fB R  
StGrand fC L  
StGrand fC R  
Ac Piano2 pA  
Ac Piano2 pB  
Ac Piano2 pC  
Ac Piano2 fA  
Ac Piano2 fB  
Ac Piano2 fC  
Ac Piano1 A  
Ac Piano1 B  
Ac Piano1 C  
Piano Thump  
Piano Up TH  
Piano Atk  
0051  
0052  
0053  
0054  
0055  
0056  
0057  
0058  
0059  
0060  
0061  
0062  
0063  
0064  
0065  
0066  
0067  
0068  
0069  
0070  
0071  
0072  
0073  
0074  
0075  
0076  
0077  
0078  
0079  
0080  
0081  
0082  
0083  
0084  
0085  
0086  
0087  
0088  
0089  
0090  
0091  
0092  
0093  
0094  
0095  
0096  
0097  
0098  
0099  
0100  
E.Piano 1C  
E.Piano 2A  
E.Piano 2B  
E.Piano 2C  
E.Piano 3A  
E.Piano 3B  
E.Piano 3C  
MK-80 EP A  
MK-80 EP B  
MK-80 EP C  
EP Hard  
0101  
0102  
0103  
0104  
0105  
0106  
0107  
0108  
0109  
0110  
0111  
0112  
0113  
0114  
0115  
0116  
0117  
0118  
0119  
0120  
0121  
0122  
0123  
0124  
0125  
0126  
0127  
0128  
0129  
0130  
0131  
0132  
0133  
0134  
0135  
0136  
0137  
0138  
0139  
0140  
0141  
0142  
0143  
0144  
0145  
0146  
0147  
0148  
0149  
0150  
RockOrg1 A R  
RockOrg1 B L  
RockOrg1 B R  
RockOrg1 C L  
RockOrg1 C R  
RockOrg2 A L  
RockOrg2 A R  
RockOrg2 B L  
RockOrg2 B R  
RockOrg2 C L  
RockOrg2 C R  
RockOrg3 A L  
RockOrg3 A R  
RockOrg3 B L  
RockOrg3 B R  
RockOrg3 C L  
RockOrg3 C R  
Dist. Organ  
Rot.Org Slw  
Rot.Org Fst  
Pipe Organ  
Soft Nylon A  
Soft Nylon B  
Soft Nylon C  
Nylon Gtr A  
Nylon Gtr B  
Nylon Gtr C  
Nylon Str  
0151  
0152  
0153  
0154  
0155  
0156  
0157  
0158  
0159  
0160  
0161  
0162  
0163  
0164  
0165  
0166  
0167  
0168  
0169  
0170  
0171  
0172  
0173  
0174  
0175  
0176  
0177  
0178  
0179  
0180  
0181  
0182  
0183  
0184  
0185  
0186  
0187  
0188  
0189  
0190  
0191  
0192  
0193  
0194  
0195  
0196  
0197  
0198  
0199  
0200  
Jazz Gtr B  
Jazz Gtr C  
LP Rear A  
LP Rear B  
LP Rear C  
Rock lead 1  
Rock lead 2  
Comp Gtr A  
Comp Gtr B  
Comp Gtr C  
Comp Gtr A+  
Mute Gtr 1  
Mute Gtr 2A  
Mute Gtr 2B  
Mute Gtr 2C  
Muters  
0201  
0202  
0203  
0204  
0205  
0206  
0207  
0208  
0209  
0210  
0211  
0212  
0213  
0214  
0215  
0216  
0217  
0218  
0219  
0220  
0221  
0222  
0223  
0224  
0225  
0226  
0227  
0228  
0229  
0230  
0231  
0232  
0233  
0234  
0235  
0236  
0237  
0238  
0239  
0240  
0241  
0242  
0243  
0244  
0245  
0246  
0247  
0248  
0249  
0250  
Syn Gtr B  
Syn Gtr C  
Harp 1A  
Harp 1B  
Harp 1C  
Harp Harm  
Pluck Harp  
Banjo A  
Banjo B  
Banjo C  
Sitar A  
EP Distone  
Clear Keys  
D-50 EP A  
D-50 EP B  
D-50 EP C  
Celesta  
Sitar B  
Sitar C  
E.Sitar A  
E.Sitar B  
E.Sitar C  
Pop Strat A  
Pop Strat B  
Pop Strat C  
JC Strat A  
Santur A  
Music Box  
Music Box 2  
Clav 1A  
Santur B  
Santur C  
Dulcimer A  
Dulcimer B  
Dulcimer C  
Shamisen A  
Shamisen B  
Shamisen C  
Koto A  
Clav 1B  
JC Strat B  
Clav 1C  
JC Strat C  
JC Strat A+  
JC Strat B+  
JC Strat C+  
Clean Gtr A  
Clean Gtr B  
Clean Gtr C  
Stratus A  
Clav 2A  
Clav 2B  
MKS-20 P3 A  
MKS-20 P3 B  
MKS-20 P3 C  
SA Rhodes 1A  
SA Rhodes 1B  
SA Rhodes 1C  
SA Rhodes 2A  
SA Rhodes 2B  
SA Rhodes 2C  
Dyn Rhd mp A  
Dyn Rhd mp B  
Dyn Rhd mp C  
Dyn Rhd mf A  
Dyn Rhd mf B  
Dyn Rhd mf C  
Dyn Rhd ff A  
Dyn Rhd ff B  
Dyn Rhd ff C  
Wurly soft A  
Clav 2C  
Clav 3A  
Clav 3B  
Koto B  
Clav 3C  
Koto C  
Clav 4A  
6-Str Gtr A  
Taishokoto A  
Taishokoto B  
Taishokoto C  
Pick Bass A  
Pick Bass B  
Pick Bass C  
Fingerd Bs A  
Fingerd Bs B  
Fingerd Bs C  
E.Bass  
Clav 4B  
6-Str Gtr B  
Stratus B  
Clav 4C  
6-Str Gtr C  
Stratus C  
Clav Wave  
MIDI Clav  
HarpsiWave A  
HarpsiWave B  
HarpsiWave C  
Jazz Organ 1  
Jazz Organ 2  
Organ 1  
StlGtr mp A  
StlGtr mp B  
StlGtr mp C  
StlGtr mf A  
Scrape Gut  
Strat Sust  
Strat Atk  
OD Gtr A  
StlGtr mf B  
OD Gtr B  
StlGtr mf C  
OD Gtr C  
StlGtr ff A  
OD Gtr A+  
Heavy Gtr A  
Heavy Gtr B  
Heavy Gtr C  
Heavy Gtr A+  
Heavy Gtr B+  
Heavy Gtr C+  
PowerChord A  
PowerChord B  
PowerChord C  
EG Harm  
StlGtr ff B  
P.Bass 1  
Organ 2  
StlGtr ff C  
P.Bass 2  
Organ 3  
StlGtr sld A  
StlGtr sld B  
StlGtr sld C  
StlGtr Hrm A  
StlGtr Hrm B  
StlGtr Hrm C  
Gtr Harm A  
Gtr Harm B  
Gtr Harm C  
Jazz Gtr A  
Stick  
Organ 4  
Fretless A  
Fretless B  
Fretless C  
Fretless 2A  
Fretless 2B  
Fretless 2C  
UprightBs 1  
UprightBs 2A  
UprightBs 2B  
60's Organ1  
60's Organ2  
60's Organ3  
60's Organ4  
Full Organ  
Full Draw  
Wurly soft B  
Wurly soft C  
Wurly hard A  
Wurly hard B  
Wurly hard C  
E.Piano 1A  
Rock Organ  
RockOrg1 A L  
Gt.FretNoise  
Syn Gtr A  
E.Piano 1B  
2 6 3  
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W a ve fo rm List  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
0251  
0252  
0253  
0254  
0255  
0256  
0257  
0258  
0259  
0260  
0261  
0262  
0263  
0264  
0265  
0266  
0267  
0268  
0269  
0270  
0271  
0272  
0273  
0274  
0275  
0276  
0277  
0278  
0279  
0280  
0281  
0282  
0283  
0284  
0285  
0286  
0287  
0288  
0289  
0290  
0291  
0292  
0293  
0294  
0295  
0296  
0297  
0298  
0299  
0300  
UprightBs 2C  
Ac.Bass A  
Ac.Bass B  
Ac.Bass C  
Slap Bass 1  
Slap & Pop  
Slap Bass 2  
Slap Bass 3  
Jz.Bs Thumb  
Jz.Bs Slap 1  
Jz.Bs Slap 2  
Jz.Bs Slap 3  
Jz.Bs Pop  
Funk Bass1  
Funk Bass2  
Syn Bass A  
Syn Bass C  
Syn Bass  
0301  
0302  
0303  
0304  
0305  
0306  
0307  
0308  
0309  
0310  
0311  
0312  
0313  
0314  
0315  
0316  
0317  
0318  
0319  
0320  
0321  
0322  
0323  
0324  
0325  
0326  
0327  
0328  
0329  
0330  
0331  
0332  
0333  
0334  
0335  
0336  
0337  
0338  
0339  
0340  
0341  
0342  
0343  
0344  
0345  
0346  
0347  
0348  
0349  
0350  
Oboe mf A  
Oboe mf B  
Oboe mf C  
Oboe f A  
0351  
0352  
0353  
0354  
0355  
0356  
0357  
0358  
0359  
0360  
0361  
0362  
0363  
0364  
0365  
0366  
0367  
0368  
0369  
0370  
0371  
0372  
0373  
0374  
0375  
0376  
0377  
0378  
0379  
0380  
0381  
0382  
0383  
0384  
0385  
0386  
0387  
0388  
0389  
0390  
0391  
0392  
0393  
0394  
0395  
0396  
0397  
0398  
0399  
0400  
OrcUnisonA L  
OrcUnisonA R  
OrcUnisonB L  
OrcUnisonB R  
OrcUnisonC L  
OrcUnisonC R  
BrassSectA L  
BrassSectA R  
BrassSectB L  
BrassSectB R  
BrassSectC L  
BrassSectC R  
Tpt Sect. A  
Tpt Sect. B  
Tpt Sect. C  
Tb Sect A  
0401  
0402  
0403  
0404  
0405  
0406  
0407  
0408  
0409  
0410  
0411  
0412  
0413  
0414  
0415  
0416  
0417  
0418  
0419  
0420  
0421  
0422  
0423  
0424  
0425  
0426  
0427  
0428  
0429  
0430  
0431  
0432  
0433  
0434  
0435  
0436  
0437  
0438  
0439  
0440  
0441  
0442  
0443  
0444  
0445  
0446  
0447  
0448  
0449  
0450  
Violin 2 B  
0451  
0452  
0453  
0454  
0455  
0456  
0457  
0458  
0459  
0460  
0461  
0462  
0463  
0464  
0465  
0466  
0467  
0468  
0469  
0470  
0471  
0472  
0473  
0474  
0475  
0476  
0477  
0478  
0479  
0480  
0481  
0482  
0483  
0484  
0485  
0486  
0487  
0488  
0489  
0490  
0491  
0492  
0493  
0494  
0495  
0496  
0497  
0498  
0499  
0500  
Voice Aahs B  
Voice Aahs C  
Voice Oohs1A  
Voice Oohs1B  
Voice Oohs1C  
Voice Oohs2A  
Voice Oohs2B  
Voice Oohs2C  
Choir 1A  
Violin 2 C  
Cello A  
Cello B  
Oboe f B  
Cello C  
Oboe f C  
Cello 2 A  
E.Horn A  
Cello 2 B  
E.Horn B  
Cello 2 C  
E.Horn C  
Cello Wave  
Pizz  
Bassoon A  
Bassoon B  
Bassoon C  
T_Recorder A  
T_Recorder B  
T_Recorder C  
Sop.Sax A  
Sop.Sax B  
Sop.Sax C  
Sop.Sax mf A  
Sop.Sax mf B  
Sop.Sax mf C  
Alto mp A  
Choir 1B  
STR Attack A  
STR Attack B  
STR Attack C  
DolceStr.A L  
DolceStr.A R  
DolceStr.B L  
DolceStr.B R  
DolceStr.C L  
DolceStr.C R  
JV Strings L  
JV Strings R  
JV Strings A  
JV Strings C  
JP Strings1A  
JP Strings1B  
JP Strings1C  
JP Strings2A  
JP Strings2B  
JP Strings2C  
PWM  
Choir 1C  
Oohs Chord L  
Oohs Chord R  
Male Ooh A  
Male Ooh B  
Male Ooh C  
Org Vox A  
Org Vox B  
Org Vox C  
Org Vox  
Tb Sect B  
Tb Sect C  
Syn Bass 2 A  
Syn Bass 2 B  
Syn Bass 2 C  
Mini Bs 1A  
Mini Bs 1B  
Mini Bs 1C  
Mini Bs 2  
T.Sax Sect A  
T.Sax Sect B  
T.Sax Sect C  
Flugel A  
ZZZ Vox  
Bell VOX  
Alto mp B  
Flugel B  
Kalimba  
Alto mp C  
Flugel C  
JD Kalimba  
Klmba Atk  
Wood Crak  
Block  
Alto Sax 1A  
Alto Sax 1B  
Alto Sax 1C  
T.Breathy A  
T.Breathy B  
T.Breathy C  
SoloSax A  
SoloSax B  
SoloSax C  
Tenor Sax A  
Tenor Sax B  
Tenor Sax C  
T.Sax mf A  
T.Sax mf B  
T.Sax mf C  
Bari.Sax f A  
Bari.Sax f B  
Bari.Sax f C  
Bari.Sax A  
Bari.Sax B  
Bari.Sax C  
Syn Sax  
FlugelWave  
Trumpet 1A  
Trumpet 1B  
Trumpet 1C  
Trumpet 2A  
Trumpet 2B  
Trumpet 2C  
HarmonMute1A  
HarmonMute1B  
HarmonMute1C  
Trombone 1  
Trombone 2 A  
Trombone 2 B  
Trombone 2 C  
Tuba A  
Mini Bs 2+  
MC-202 Bs A  
MC-202 Bs B  
MC-202 Bs C  
Hollow Bs  
Gamelan 1  
Gamelan 2  
Gamelan 3  
Log Drum  
Hooky  
Flute 1A  
Pulse Mod  
Soft Pad A  
Soft Pad B  
Soft Pad C  
Fantasynth A  
Fantasynth B  
Fantasynth C  
D-50 HeavenA  
D-50 HeavenB  
D-50 HeavenC  
Fine Wine  
Flute 1B  
Flute 1C  
Tabla  
Jazz Flute A  
Jazz Flute B  
Jazz Flute C  
Flute Tone  
Piccolo A  
Marimba Wave  
Xylo  
Xylophone  
Vibes  
Bottle Hit  
Piccolo B  
Glockenspiel  
Tubular  
Piccolo C  
Tuba B  
Blow Pipe  
Tuba C  
Steel Drums  
Pole lp  
Pan Pipe  
French 1A  
D-50 Brass A  
D-50 Brass B  
D-50 Brass C  
D-50 BrassA+  
Doo  
BottleBlow  
Rad Hose  
French 1C  
Fanta Bell A  
Fanta Bell B  
Fanta Bell C  
FantaBell A+  
Org Bell  
F.Horns A  
Shakuhachi  
Shaku Atk  
Flute Push  
Clarinet A  
F.Horns B  
F.Horns C  
Chanter  
Violin A  
Pop Voice  
Harmonica A  
Harmonica B  
Harmonica C  
Violin B  
Syn Vox 1  
AgogoBells  
FingerBell  
DIGI Bell 1  
Clarinet B  
Violin C  
Syn Vox 2  
Clarinet C  
Violin 2 A  
Voice Aahs A  
2 6 4  
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W a ve fo rm List  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
0501  
0502  
0503  
0504  
0505  
0506  
0507  
0508  
0509  
0510  
0511  
0512  
0513  
0514  
0515  
0516  
0517  
0518  
0519  
0520  
0521  
0522  
0523  
0524  
0525  
0526  
0527  
0528  
0529  
0530  
0531  
0532  
0533  
0534  
0535  
0536  
0537  
0538  
0539  
0540  
0541  
0542  
0543  
0544  
0545  
0546  
0547  
0548  
0549  
0550  
DIGI Bell 1+  
JD Cowbell  
Bell Wave  
0551  
0552  
0553  
0554  
0555  
0556  
0557  
0558  
0559  
0560  
0561  
0562  
0563  
0564  
0565  
0566  
0567  
0568  
0569  
0570  
0571  
0572  
0573  
0574  
0575  
0576  
0577  
0578  
0579  
0580  
0581  
0582  
0583  
0584  
0585  
0586  
0587  
0588  
0589  
0590  
0591  
0592  
0593  
0594  
0595  
0596  
0597  
0598  
0599  
0600  
DualSquare A  
DualSquare C  
DualSquareA+  
JD SynPulse1  
JD SynPulse2  
JD SynPulse3  
JD SynPulse4  
Synth Pulse1  
Synth Pulse2  
JD SynPulse5  
Sync Sweep  
Triangle  
0601  
0602  
0603  
0604  
0605  
0606  
0607  
0608  
0609  
0610  
0611  
0612  
0613  
0614  
0615  
0616  
0617  
0618  
0619  
0620  
0621  
0622  
0623  
0624  
0625  
0626  
0627  
0628  
0629  
0630  
0631  
0632  
0633  
0634  
0635  
0636  
0637  
0638  
0639  
0640  
0641  
0642  
0643  
0644  
0645  
0646  
0647  
0648  
0649  
0650  
TVF_Trig  
Org Click  
Cut Noiz  
Bass Body  
Flute Click  
Gt&BsNz MENU  
Ac.BassNz 1  
Ac.BassNz 2  
El.BassNz 1  
El.BassNz 2  
DistGtrNz 1  
DistGtrNz 2  
DistGtrNz 3  
DistGtrNz 4  
SteelGtrNz 1  
SteelGtrNz 2  
SteelGtrNz 3  
SteelGtrNz 4  
SteelGtrNz 5  
SteelGtrNz 6  
SteelGtrNz 7  
Sea  
0651  
0652  
0653  
0654  
0655  
0656  
0657  
0658  
0659  
0660  
0661  
0662  
0663  
0664  
0665  
0666  
0667  
0668  
0669  
0670  
0671  
0672  
0673  
0674  
0675  
0676  
0677  
0678  
0679  
0680  
0681  
0682  
0683  
0684  
0685  
0686  
0687  
0688  
0689  
0690  
0691  
0692  
0693  
0694  
0695  
0696  
0697  
0698  
0699  
0700  
Thunder 2  
0701  
0702  
0703  
0704  
0705  
0706  
0707  
0708  
0709  
0710  
0711  
0712  
0713  
0714  
0715  
0716  
0717  
0718  
0719  
0720  
0721  
0722  
0723  
0724  
0725  
0726  
0727  
0728  
0729  
0730  
0731  
0732  
0733  
0734  
0735  
0736  
0737  
0738  
0739  
0740  
0741  
0742  
0743  
0744  
0745  
0746  
0747  
0748  
0749  
0750  
Jazz Rim ffR  
Brush Slap  
Brush Swish  
Jazz Swish p  
Jazz Swish f  
909 SN 1  
AmbientSN pL  
AmbientSN pR  
AmbientSN fL  
AmbientSN fR  
Wet SN p L  
Wet SN p R  
Wet SN f L  
Chime  
Crystal  
2.2 Bellwave  
2.2 Vibwave  
Digiwave  
909 SN 2  
808 SN  
DIGI Chime  
JD DIGIChime  
BrightDigi  
Wet SN f R  
Dry SN p  
Rock Roll L  
Rock Roll R  
Jazz Roll  
Dry SN f  
Can Wave 1  
Can Wave 2  
Vocal Wave  
Wally Wave  
Brusky lp  
Sharp SN  
Brush Roll  
JD Triangle  
Sine  
Piccolo SN  
Dry Stick  
Maple SN  
Dry Stick 2  
Side Stick  
Metal Wind  
Wind Agogo  
Feedbackwave  
Spectrum  
CrunchWind  
ThroatWind  
Pitch Wind  
JD Vox Noise  
Vox Noise  
BreathNoise  
Voice Breath  
White Noise  
Pink Noise  
Rattles  
Old Fill SN  
70s SN  
Woody Stick  
RockStick pL  
RockStick pR  
RockStick fL  
RockStick fR  
Dry Kick  
Wave Scan  
Wire String  
Nasty  
SN Roll  
Natural SN1  
Natural SN2  
Ballad SN  
Wave Table  
Klack Wave  
Spark VOX  
JD Spark VOX  
Cutters  
Rock SN p L  
Rock SN p R  
Rock SN mf L  
Rock SN mf R  
Rock SN f L  
Rock SN f R  
Rock Rim p L  
Rock Rim p R  
Rock Rim mfL  
Rock Rim mfR  
Rock Rim f L  
Rock Rim f R  
Rock Gst L  
Rock Gst R  
Snare Ghost  
Jazz SN p L  
Jazz SN p R  
Jazz SN mf L  
Jazz SN mf R  
Jazz SN f L  
Jazz SN f R  
Jazz SN ff L  
Jazz SN ff R  
Jazz Rim p L  
Jazz Rim p R  
Jazz Rim mfL  
Jazz Rim mfR  
Jazz Rim f L  
Jazz Rim f R  
Jazz Rim ffL  
Maple Kick  
Rock Kick p  
Rock Kick mf  
Rock Kick f  
Jazz Kick p  
Jazz Kick mf  
Jazz Kick f  
Jazz Kick  
Thunder  
Windy  
EML 5th  
Stream  
MMM VOX  
Lead Wave  
Synth Reed  
Synth Saw 1  
Synth Saw 2  
Syn Saw 2inv  
Synth Saw 3  
JD Syn Saw 2  
FAT Saw  
Bubble  
Bird  
Dog Bark  
Horse  
Ice Rain  
Tin Wave  
Telephone 1  
Telephone 2  
Creak  
Pillow Kick  
JazzDry Kick  
Lite Kick  
Anklungs  
Wind Chimes  
Orch. Hit  
Door Slam  
Engine  
Old Kick  
Tekno Hit  
Back Hit  
Hybrid Kick  
Hybrid Kick2  
Verb Kick  
JP-8 Saw A  
JP-8 Saw B  
JP-8 Saw C  
P5 Saw A  
Car Stop  
Car Pass  
Crash  
Philly Hit  
Scratch 1  
Round Kick  
MplLmtr Kick  
70s Kick 1  
Scratch 2  
Gun Shot  
Siren  
P5 Saw B  
Scratch 3  
P5 Saw C  
Shami  
Train  
70s Kick 2  
P5 Saw2 A  
P5 Saw2 B  
P5 Saw2 C  
D-50 Saw A  
D-50 Saw B  
D-50 Saw C  
Synth Square  
JP-8 SquareA  
JP-8 SquareB  
JP-8 SquareC  
Org Atk 1  
Jetplane  
Dance Kick  
808 Kick  
Org Atk 2  
Starship  
Sm Metal  
Breath  
909 Kick 1  
909 Kick 2  
Rock TomL1 p  
Rock TomL2 p  
Rock Tom M p  
Rock Tom H p  
Rock TomL1 f  
Rock TomL2 f  
StrikePole  
Thrill  
Laugh  
Scream  
Switch  
Punch  
Tuba Slap  
Plink  
Heart  
Steps  
Plunk  
Machine Gun  
Laser  
EP Atk  
2 6 5  
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W a ve fo rm List  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
No.  
Wave Name  
0751  
0752  
0753  
0754  
0755  
0756  
0757  
0758  
0759  
0760  
0761  
0762  
0763  
0764  
0765  
0766  
0767  
0768  
0769  
0770  
0771  
0772  
0773  
0774  
0775  
0776  
0777  
0778  
0779  
0780  
0781  
0782  
0783  
0784  
0785  
0786  
0787  
0788  
0789  
0790  
0791  
0792  
0793  
0794  
0795  
0796  
0797  
0798  
0799  
0800  
Rock Tom M f  
Rock Tom H f  
Rock Flm L1  
Rock Flm L2  
Rock Flm M  
Rock Flm H  
Jazz Tom L p  
Jazz Tom M p  
Jazz Tom H p  
Jazz Tom L f  
Jazz Tom M f  
Jazz Tom H f  
Jazz Flm L  
0801  
0802  
0803  
0804  
0805  
0806  
0807  
0808  
0809  
0810  
0811  
0812  
0813  
0814  
0815  
0816  
0817  
0818  
0819  
0820  
0821  
0822  
0823  
0824  
0825  
0826  
0827  
0828  
0829  
0830  
0831  
0832  
0833  
0834  
0835  
0836  
0837  
0838  
0839  
0840  
0841  
0842  
0843  
0844  
0845  
0846  
0847  
0848  
0849  
0850  
Jazz PdHH p  
Jazz PdHH f  
Pedal HiHat  
Pedal HiHat2  
Dance Cl HH  
909 NZ HiHat  
70s Cl HiHat  
70s Op HiHat  
606 Cl HiHat  
606 Op HiHat  
909 Cl HiHat  
909 Op HiHat  
808 Claps  
0851  
0852  
0853  
0854  
0855  
0856  
0857  
0858  
0859  
0860  
0861  
0862  
0863  
0864  
0865  
0866  
0867  
0868  
0869  
0870  
0871  
0872  
0873  
0874  
0875  
0876  
0877  
0878  
0879  
0880  
0881  
0882  
0883  
0884  
0885  
0886  
0887  
0888  
0889  
0890  
0891  
0892  
0893  
0894  
0895  
0896  
0897  
0898  
0899  
0900  
Cabasa Down  
Cabasa Cut  
Maracas  
0901  
0902  
0903  
0904  
0905  
0906  
0907  
0908  
0909  
0910  
0911  
0912  
0913  
0914  
0915  
0916  
0917  
0918  
0919  
0920  
0921  
0922  
0923  
0924  
0925  
0926  
0927  
0928  
0929  
0930  
0931  
0932  
0933  
0934  
0935  
0936  
0937  
0938  
0939  
0940  
0941  
0942  
0943  
0944  
0945  
0946  
0947  
0948  
0949  
0950  
REV Wet SNfR  
REV Dry SN  
0951  
0952  
0953  
0954  
0955  
0956  
0957  
0958  
0959  
0960  
0961  
0962  
0963  
0964  
0965  
0966  
0967  
0968  
0969  
0970  
0971  
0972  
0973  
0974  
0975  
0976  
0977  
0978  
0979  
0980  
0981  
0982  
0983  
0984  
0985  
0986  
0987  
0988  
0989  
0990  
0991  
0992  
0993  
0994  
0995  
0996  
0997  
0998  
0999  
1000  
REV JzRoll  
REV Dry Stk  
REV PiccloSN  
REV Maple SN  
REV OldFilSN  
REV 70s SN  
REV DrySick  
REV Side Stk  
REV Wdy Stk  
REV RkStk1L  
REV RkStk1R  
REV RkStk2L  
REV RkStk2R  
REV Thrill  
Long Guiro  
Tambourine 1  
Tambourine 2  
Open Triangl  
Cuica  
REV SN Roll  
REV NatrlSN1  
REV NatrlSN2  
REV BalladSN  
REV RkSNpL  
REV RkSNpR  
REV RkSNmfL  
REV RkSNmfR  
REV RkSNfL  
REV RkSNfR  
REV RkRimpL  
REV RkRimpR  
REV RkRimmfL  
REV RkRimmfR  
REV RkRimfL  
REV RkRimfR  
REV RkGstL  
Vibraslap  
Timpani  
Timp3 pp  
REV Dry Kick  
REV Mpl Kick  
REV RkKik p  
REV RkKik mf  
REV RkKik f  
Timp3 mp  
Applause  
Jazz Flm M  
HumanClapsEQ  
Tight Claps  
Hand Claps  
Finger Snaps  
Rock RdCym1p  
Rock RdCym1f  
Rock RdCym2p  
Rock RdCym2f  
Jazz RdCym p  
Jazz RdCymmf  
Jazz RdCym f  
Ride 1  
Syn FX Loop  
Loop 1  
Jazz Flm H  
Maple Tom 1  
Maple Tom 2  
Maple Tom 3  
Maple Tom 4  
808 Tom  
Loop 2  
REV JzKik p  
Loop 3  
REV JzKik mf  
REV JzKik f  
Loop 4  
Loop 5  
REV Jaz Kick  
REV Pillow K  
REV Jz Dry K  
REV LiteKick  
REV Old Kick  
REV Hybrid K  
REV HybridK2  
REV 70s K 1  
REV 70s K 2  
REV Dance K  
REV 909 K 2  
REV RkTomL1p  
REV RkTomL2p  
REV RkTomM p  
REV RkTomH p  
REV RkTomL1f  
REV RkTomL2f  
REV RkTomM f  
REV RkTomH f  
REV RkFlmL1  
REV RkFlmL2  
REV RkFlm M  
REV RkFlm H  
REV JzTomL p  
REV JzTomM p  
REV JzTomH p  
REV JzTomL f  
REV JzTomM f  
REV JzTomH f  
REV JzFlm L  
REV JzFlm M  
REV JzFlm H  
Loop 6  
Verb Tom Hi  
Verb Tom Lo  
Dry Tom Hi  
Loop 7  
R8 Click  
Metronome 1  
Metronome 2  
MC500 Beep 1  
MC500 Beep 2  
Low Saw  
Dry Tom Lo  
Rock ClHH1 p  
Rock ClHH1mf  
Rock ClHH1 f  
Rock ClHH2 p  
Rock ClHH2mf  
Rock ClHH2 f  
Jazz ClHH1 p  
Jazz ClHH1mf  
Jazz ClHH1 f  
Jazz ClHH2 p  
Jazz ClHH2mf  
Jazz ClHH2 f  
Cl HiHat 1  
REV RkGstR  
REV SnareGst  
REV JzSNpL  
REV JzSNpR  
REV JzSNmfL  
REV JzSNmfR  
REV JzSNfL  
Ride 2  
Ride Bell  
Rock CrCym1p  
Rock CrCym1f  
Rock CrCym2p  
Rock CrCym2f  
Rock Splash  
Jazz CrCym p  
Jazz CrCym f  
Crash Cymbal  
Crash 1  
Low Saw inv  
Low P5 Saw  
Low Pulse 1  
Low Pulse 2  
Low Square  
Low Sine  
REV JzSNfR  
REV JzSNffL  
REV JzSNffR  
REV JzRimpL  
REV JzRimpR  
REV JzRimmfL  
REV JzRimmfR  
REV JzRimfL  
REV JzRimfR  
REV JzRimffL  
REV JzRimffR  
REV Brush 1  
REV Brush 2  
REV Brush 3  
REV JzSwish1  
REV JzSwish2  
REV 909 SN 1  
REV 909 SN 2  
REV RkRoll L  
REV RkRoll R  
Low Triangle  
Low White NZ  
Low Pink NZ  
DC  
Rock China  
China Cym  
Cl HiHat 2  
REV Orch.Hit  
REV TeknoHit  
REV Back Hit  
REV PhillHit  
REV Steel DR  
REV Tin Wave  
REV AmbiSNpL  
REV AmbiSNpR  
REV AmbiSNfL  
REV AmbiSNfR  
REV Wet SNpL  
REV Wet SNpR  
REV Wet SNfL  
Cl HiHat 3  
Cowbell  
Cl HiHat 4  
Wood Block  
Claves  
Cl HiHat 5  
Rock OpHH p  
Rock OpHH f  
Jazz OpHH p  
Jazz OpHH mf  
Jazz OpHH f  
Op HiHat  
Bongo Hi  
Bongo Lo  
Cga Open Hi  
Cga Open Lo  
Cga Mute Hi  
Cga Mute Lo  
Cga Slap  
Op HiHat 2  
Rock PdHH p  
Rock PdHH f  
Timbale  
Cabasa Up  
2 6 6  
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W a ve fo rm List  
No.  
Wave Name  
No.  
Wave Name  
1001  
1002  
1003  
1004  
1005  
1006  
1007  
1008  
1009  
1010  
1011  
1012  
1013  
1014  
1015  
1016  
1017  
1018  
1019  
1020  
1021  
1022  
1023  
1024  
1025  
1026  
1027  
1028  
1029  
1030  
1031  
1032  
1033  
1034  
1035  
1036  
1037  
1038  
1039  
1040  
1041  
1042  
1043  
1044  
1045  
1046  
1047  
1048  
1049  
1050  
REV MplTom2  
REV MplTom4  
REV 808Tom  
1051  
1052  
1053  
1054  
1055  
1056  
1057  
1058  
1059  
1060  
1061  
1062  
1063  
1064  
1065  
1066  
1067  
1068  
1069  
1070  
1071  
1072  
1073  
1074  
1075  
1076  
1077  
1078  
1079  
1080  
1081  
1082  
1083  
REV RkRCym2p  
REV RkRCym2f  
REV JzRCym p  
REV JzRCymmf  
REV JzRCym f  
REV Ride 1  
REV VerbTomH  
REV VerbTomL  
REV DryTom H  
REV DryTom M  
REV RkClH1 p  
REV RkClH1mf  
REV RkClH1 f  
REV RkClH2 p  
REV RkClH2mf  
REV RkClH2 f  
REV JzClH1 p  
REV JzClH1mf  
REV JzClH1 f  
REV JzClH2 p  
REV JzClH2mf  
REV JzClH2 f  
REV Cl HH 1  
REV Ride 2  
REV RideBell  
REV RkCCym1p  
REV RkCCym1f  
REV RkCCym2p  
REV RkCCym2f  
REV RkSplash  
REV JzCCym p  
REV JzCCym f  
REV CrashCym  
REV Crash 1  
REV RkChina  
REV China  
REV Cowbell  
REV WoodBlck  
REV Claves  
REV Cl HH 2  
REV Cl HH 3  
REV Cl HH 4  
REV Conga  
REV Cl HH 5  
REV Timbale  
REV Maracas  
REV Guiro  
REV RkOpHH p  
REV RkOpHH f  
REV JzOpHH p  
REV JzOpHHmf  
REV JzOpHH f  
REV Op HiHat  
REV OpHiHat2  
REV RkPdHH p  
REV RkPdHH f  
REV JzPdHH p  
REV JzPdHH f  
REV PedalHH  
REV PedalHH2  
REV Dance HH  
REV 70s ClHH  
REV 70s OpHH  
REV 606 ClHH  
REV 606 OpHH  
REV 909 NZHH  
REV 909 OpHH  
REV HClapsEQ  
REV TghtClps  
REV FingSnap  
REV RealCLP  
REV RkRCym1p  
REV RkRCym1f  
REV Tamb 1  
REV Tamb 2  
REV Cuica  
REV Timpani  
REV Timp3 pp  
REV Timp3 mp  
REV Metro  
2 6 7  
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Arp e g g io Sty le List  
Style  
Motif  
Beat Pattern  
Accent Rate Shuffle Rate  
1/4  
all  
1/ 4  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
1/6  
all  
1/ 6  
1/8  
all  
1/ 8  
1/12  
1/16  
1/32  
all  
1/12  
all  
1/16 13  
1/32 13  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 18,  
BASS+RND 13, TOP+UP 16  
PORTAMENTO A  
PORTAMENTO B  
GLISSANDO  
all  
PORTA-A 0111  
PORTA-B 0115  
1/16 13, 1/32 13  
SEQ-A 17  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
all  
GLISSANDO  
SEQUENCE A  
SEQUENCE B  
SEQUENCE C  
all  
all  
SEQ-B 15  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 18,  
BASS+RND 13, TOP+UP 16  
SEQ-C 12  
SEQUENCE D  
ECHO  
all  
SEQ-D 18  
0100%  
5090%  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER  
BASS+UP 2  
ECHO 13  
0100%  
5090%  
SYNTH BASS  
HEAVY SLAP  
LIGHT SLAP  
WALK BASS  
SEQ-A 1, SEQ-C 1  
MUTE 02, 03  
0100%  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
5090%  
BASS+UP 5, TOP+UP 5  
BASS+UP 5, TOP+UP 5  
MUTE 02, 03  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, NOTE ORDER, GLISSANDO  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER, BASS+UP 18,  
BASS+RND 13, TOP+UP 16  
WALKBS, REFRAIN 1  
RHYTHM GTR 1  
MUTE 01, 04  
0100%  
5090%  
RHYTHM GTR 2  
RHYTHM GTR 3  
RHYTHM GTR 4  
RHYTHM GTR 5  
3 FINGER GTR  
STRUM GTR UP  
STRUM GTR DOWN  
STRUM GTR UP&DW  
PIANO BACKING  
CLAVI CHORD  
WALTZ  
CHORD  
MUTE 07, 13, 14  
MUTE 08, 12, 15  
MUTE 09, 10, 11, 16  
STRUM 16  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
5090%  
CHORD  
CHORD  
SINGLE UP, SINGLE DOWN  
BASS+UP+TOP  
SEQ-A 7  
SINGLE UP  
STRUM 78  
SINGLE DOWN  
STRUM 78  
SINGLE UP&DOWN  
STRUM 78  
CHORD  
MUTE 12, REFRAIN 2  
MUTE 05, 06  
1/ 6, 1/12  
BASS+CHORD 4, BASS+CHORD 5  
BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2  
BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2  
CHORD, BASS+CHORD 1  
SWING WALTZ  
REGGAE  
1/16 13  
REGGAE 12  
PERC 14  
PERCUSSION  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER, BASS+UP 18,  
BASS+RND 13, TOP+UP 16  
HARP  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO  
TOP+UP 46  
HARP  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
SHAMISEN  
BOUND BALL  
SEQ-A 2  
BOUND  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER, GLISSANDO  
SINGLE RANDOM, DUAL RANDOM, BASS+RND 13  
RANDOM  
1/ 4, 1/6, 1/8, 1/12, 1/16 13,  
1/32 13, RANDOM  
BOSSA NOVA  
0100%  
5090%  
BOSSA NOVA  
SALSA  
all  
0100%  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
5090%  
all  
SALSA 14  
MAMBO  
all  
MAMBO 12  
LATIN PERCUSSION  
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,  
CLAVE, REV CLA, GUIRO, AGOGO  
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,  
DUAL RANDOM, NOTE ORDER, GLISSANDO  
SAMBA  
all  
all  
all  
all  
SAMBA  
0100%  
0100%  
0100%  
0100%  
5090%  
5090%  
5090%  
5090%  
TANGO  
TANGO 14  
HOUSE 12  
all  
HOUSE  
LIMITLESS  
all: there is no restriction on the value which can be set  
2 6 8  
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Ab o u t MIDI  
MIDI (Musical Instruments Digital Interface) is a standard  
specification that allows musical data to be exchanged  
between electronic musical instruments and computers.  
MIDI With a MIDI cable connecting MIDI devices that are  
equipped with MIDI connectors, you can play multiple  
instruments with a single keyboard, have multiple MIDI  
instruments perform in ensemble, program the settings to  
change automatically to match the performance as the song  
progresses, and more.  
MIDI Ch a n n e ls a n d Mu lti-tim b ra l  
So u n d Ge n e ra to rs  
MIDI transmits many types of data over a single MIDI cable.  
This is made possible by the concept of MIDI channels. MIDI  
channels allow messages intended for a given instrument to  
be distinguished from messages intended for another  
instrument. In some ways, MIDI channels are similar to  
television channels. By changing the channel on a television  
set, you can view the programs that are being broadcast by  
different stations. In the same way, MIDI also allows a device  
to select the information intended for that device out of the  
If you mainly use the XV-88 as a standalone keyboard  
instrument, you may really not need to know much at all  
about MIDI.  
variety of information that is being transmitted to it.  
fig.midi-01.e  
However, the following MIDI-related information is  
provided so you can play the XV-88 using an external MIDI  
device, or master other advanced techniques.  
The cable from the antenna carries the TV  
signals from many broadcast stations.  
Station A  
Station B  
Station C  
Ab o u t MIDI Co n n e cto rs  
The XV-88 is equipped with the three types of MIDI  
connectors, each which works differently.  
fig.00-08  
The TV is set to the channel of the station  
you wish to watch.  
MIDI uses sixteen channels; 1 through 16. Set the receiving  
device so that it will receive only the channel that it needs to  
receive.  
Example:  
MIDI IN Co n n e cto r  
Set the XV-88 to send Channel 1 and Channel 2, then set  
sound module A to receive only Channel 1 and sound  
module B only Channel 2. With this setup, you can get an  
ensemble performance, with, for example, a guitar sound  
This connector receives MIDI messages that are transmitted  
from external MIDI devices. The XV-88 can receive these  
messages to play notes or select sounds, etc.  
from sound module A and bass from sound module B.  
fig.midi-01.e  
MIDI O UT Co n n e cto r  
MIDI OUT  
MIDI IN  
MIDI THRU  
This connector transmits MIDI messages to external MIDI  
devices. The XV-88s MIDI OUT connector is used for  
sending the performance data of the keyboard controller  
section as well as data used for saving various settings and  
patterns (Bulk Dump; p. 185).  
Transmit channel: 1, 2  
Receive channel: 1  
Sound  
Module  
A
Receive channel: 2  
MIDI IN  
MIDI keyboard  
Sound  
Module  
B
When used as a sound module, the XV-88 can receive on up  
to sixteen MIDI channels. Sound modules like the XV-88  
which can receive multiple MIDI channels simultaneously to  
play different sounds on each channel are called multi-  
timbral sound modules.  
MIDI THRU Co n n e cto r  
MIDI messages received at MIDI IN are re-transmitted  
without change from this connector to an external MIDI  
device. Use this in situations such as when you use multiple  
MIDI devices simultaneously.  
2 6 9  
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MIDI Im p le m e n ta tio n  
Model:  
Date:  
XV-88 (128-Voice Expandable Synthesizer)  
Feb. 15, 2000  
*
*
The Performances, Rhythms, and Patches corresponding to each Bank Select are as  
follows.  
Version: 1.00  
The SRX series corresponding to each Bank Select are to see the SRX series owner's  
manual.  
BANK SELECT  
MSB | LSB  
| PROGRAM  
| NUMBER  
| GROUP  
|
| NUMBER  
|
1. Receive data  
—————+———————————+———————————+——————————————————————+———————————  
000 |  
: |  
032 |  
085 | 000  
| 032  
| 033  
| :  
| 001 - 128 | GM Patch  
|
|
|
|
Channel Voice Messages  
| 001 - 128 | GM Patch  
|
| 001 - 064 | User Performance  
| 001 - 064 | Card Performance A  
| 001 - 064 | Card Performance B  
| 001 - 064  
| 001 - 064  
| 001 - 064  
|
*
Not received in Performance mode when the Rx Sw parameter (PERFORM/ MIDI/  
MIDI) is OFF.  
|
| :  
| 064  
| 065  
| :  
| 001 - 032 | Preset Performance A | 001 - 032  
| 001 - 032 | Preset Performance B | 001 - 032  
|
| :  
|
Note off  
086 | 000  
| 032  
| 033  
| :  
| 001 - 004 | User Rhythm  
| 001 - 004 | Card Rhythm A  
| 001 - 004 | Card Rhythm B  
| 001 - 004  
| 001 - 004  
| 001 - 004  
|
Status  
2nd byte  
kkH  
3rd byte  
vvH  
8nH  
|
| :  
| 064  
| 065  
| :  
| 001 - 002 | Preset Rhythm A  
| 001 - 002 | Preset Rhythm B  
| 001 - 002  
| 001 - 002  
|
| 001 - 128  
| 001 - 128  
| 001 - 128  
|
| 001 - 128  
| 001 - 128  
|
| 001 - 256  
| 001 - 256  
|
| 001 - 256  
| 001 - 256  
|
| 001 -  
|
| 001 -  
|
| 001 - 009  
| 001 - 256  
9nH  
kkH  
00H  
n = MIDI channel number:  
kk = note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
00H - 7FH (0 - 127)  
|
| :  
087 | 000  
| 032  
| 033  
| :  
| 001 - 128 | User Patch  
| 001 - 128 | Card Patch A  
| 001 - 128 | Card Patch B  
vv = note off velocity:  
|
| :  
| 064  
| 065  
| :  
| 001 - 128 | Preset Patch A  
| 001 - 128 | Preset Patch B  
*
Not received when the Envelope Mode parameter (PATCH/ CONTROL/ CTRL RxMIDI  
and RHYTHM/ CONTROL/ CONTROL) is NO-SUS.  
|
| :  
088 | 000 - 001 | 001 - 128 | SR-JV80-01 Rhythm  
| 002 - 003 | 001 - 128 | SR-JV80-02 Rhythm  
| :  
|
| :  
Note on  
089 | 000 - 001 | 001 - 128 | SR-JV80-01 Patch  
| 002 - 003 | 001 - 128 | SR-JV80-02 Patch  
Status  
2nd byte  
kkH  
3rd byte  
vvH  
| :  
092 | 000 -  
| :  
093 | 000 -  
| :  
120 |  
|
| :  
9nH  
| 001 -  
| SRX Rhythm  
| :  
|
n = MIDI channel number:  
kk = note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
01H - 7FH (1 - 127)  
| 001 -  
|
| SRX Patch  
| :  
| 001 - 057 | GM Rhythm  
vv = note on velocity:  
121 | 000 - 009 | 001 - 128 | GM Patch  
Polyphonic Key Pressure  
Modulation (Controller number 1)  
Status  
2nd byte  
3rd byte  
Status  
BnH  
2nd byte  
01H  
3rd byte  
vvH  
AnH  
kkH  
vvH  
n = MIDI channel number:  
kk = note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
n = MIDI channel number:  
vv = Modulation depth:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)  
*
Not received in Performance mode when the Mod parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
*
Not received in Performance mode when the Paf parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
Breath type (Controller number 2)  
Control Change  
Status  
BnH  
2nd byte  
02H  
3rd byte  
vvH  
*
If the corresponding Controller number is selected for the Control 1, 2, 3 or 4 parameter  
(PATCH/ CONTROL/ MATRIX CTRL SRC), the corresponding effect will occur.  
If a Controller number that corresponds to the Control 1, 2, 3 or 4 parameter (SYSTEM/  
CONTROL/ SYS CTRL ASSIGN 1, 2, 3, 4) is selected, the specified effect will apply if  
Control 1, 2, 3 or 4 parameter (PATCH/ CONTROL/ MATRIX CTRL SRC) is set to SYS-  
CTRL1, SYS-CTRL2, SYS-CTRL3 or SYS-CTRL4.  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
Foot type (Controller number 4)  
Status  
BnH  
2nd byte  
04H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
Bank Select (Controller number 0, 32)  
Status  
BnH  
2nd byte  
00H  
3rd byte  
mmH  
Portamento Time (Controller number 5)  
BnH  
20H  
llH  
n = MIDI channel number:  
mm, ll = Bank number:  
0H - FH (ch.1 - 16)  
Status  
BnH  
2nd byte  
05H  
3rd byte  
vvH  
00 00H - 7F 7FH (bank.1 - bank.16384)  
n = MIDI channel number:  
vv = Portamento Time:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
Not received in Performance mode when the BankSelect (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
*
In Performance mode the Portament Tm parameter (PERFORM/ PART/ MONO/ POL)  
will change.  
Data Entry (Controller number 6, 38)  
Status  
BnH  
2nd byte  
06H  
3rd byte  
mmH  
llH  
BnH  
26H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
mm, ll = the value of the parameter specified by RPN/ NRPN  
mm = MSB, ll = LSB  
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MIDI Im p le m e n ta tio n  
Volume (Controller number 7)  
Legato Foot Switch (Controller number 68)  
Status  
BnH  
2nd byte  
07H  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
44H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (ch.1 - 16)  
vv = Volume: 00H - 7FH (0 - 127)  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
*
*
Not received in Performance mode when the Vol parameter (PERFORM/ MIDI/  
*
In Performance mode the Legato parameter (PERFORM/ PART/ MONO/ POL) will  
change.  
RxSWITCH) is OFF.  
In Performance mode the Level parameter (PERFORM/ PART/ SETTING) will change.  
Hold-2 (Controller number 69)  
Balance (Controller number 8)  
Status  
BnH  
2nd byte  
45H  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
08H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
n = MIDI channel number:  
vv = Balance:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
A hold movement isn't done.  
Panpot (Controller number 10)  
Resonance (Controller number 71)  
Status  
BnH  
2nd byte  
0AH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
47H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Panpot:  
0H - FH (ch.1 - 16)  
00H - 40H - 7FH (Left - Center - Right),  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63),  
vv= Resonance value (relative change):  
*
*
Not received in Performance mode when the Pan parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
*
In Performance mode the Res parameter (PERFORM/ PART/ MODIFY) will change.  
In Performance mode the pan parameter (PERFORM/ PART/ SETTING) will change.  
Release Time (Controller number 72)  
Expression (Controller number 11)  
Status  
BnH  
2nd byte  
48H  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
0BH  
3rd byte  
vvH  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
n = MIDI channel number:  
vv = Expression:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
vv = Release Time value (relative change):  
00H - 7FH (-64 - 0 - +63),  
*
In Performance mode the Rel parameter (PERFORM/ PART/ MODIFY) will change.  
*
*
Not received when Expression parameter (PATCH/ CONTROL/ CTRL Rx MIDI or  
RHYTHM/ CONTROL/ Rx MIDI) is OFF.  
Attack time (Controller number 73)  
Not received in Performance mode when Exp parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
Status  
BnH  
2nd byte  
49H  
3rd byte  
vvH  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63),  
Hold 1 (Controller number 64)  
vv = Attack time value (relative change):  
Status  
BnH  
2nd byte  
40H  
3rd byte  
vvH  
*
In Performance mode the Atk parameter (PERFORM/ PART/ MODIFY) will change.  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON  
Cutoff (Controller number 74)  
Status  
BnH  
2nd byte  
4AH  
3rd byte  
vvH  
*
*
Not received when Hold-1 parameter (PATCH/ CONTROL/ CTRL Rx MIDI or  
RHYTHM/ CONTROL/ Rx MIDI) is OFF.  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
Not received in Performance mode when Hld parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
vv = Cutoff value (relative change):  
00H - 7FH (-64 - 0 - +63)  
*
In Performance mode the Cut parameter (PERFORM/ PART/ MODIFY) will change.  
Portamento (Controller number 65)  
Status  
BnH  
2nd byte  
41H  
3rd byte  
Decay Time (Controller number 75)  
vvH  
Status  
BnH  
2nd byte  
4BH  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63)  
vv = Decay Time value (relative change):  
*
In Performance mode the Portamento Sw parameter (PERFORM/ PART/ MONO/ POL)  
will change.  
*
The decay time will change in GM mode.  
Sostenuto (Controller number 66)  
Vibrato Rate (Controller number 76)  
Status  
BnH  
2nd byte  
42H  
3rd byte  
Status  
BnH  
2nd byte  
4CH  
3rd byte  
vvH  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
vv = Vibrato Rate value (relative change):  
00H - 7FH (-64 - 0 - +63)  
Soft (Controller number 67)  
*
The vibrato rate will change in GM mode.  
Status  
BnH  
2nd byte  
43H  
3rd byte  
vvH  
Vibrato Depth (Controller number 77)  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
Status  
BnH  
2nd byte  
4DH  
3rd byte  
vvH  
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
n = MIDI channel number:  
vv = Vibrato Depth Value (relative change):  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63)  
*
The vibrato depth will change in GM mode.  
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MIDI Im p le m e n ta tio n  
Vibrato Delay (Controller number 78)  
RPN MSB/LSB (Controller number 100, 101)  
Status  
BnH  
2nd byte  
4EH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
65H  
3rd byte  
mmH  
llH  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63)  
BnH  
64H  
vv = Vibrato Delay value (relative change):  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
mm = upper byte (MSB) of parameter number specified by RPN  
ll = lower byte (LSB) of parameter number specified by RPN  
*
The vibrato delay will change in GM mode.  
<<< RPN >>>  
General Purpose Controller 5 (Controller number 80)  
Control Changes include RPN (Registered Parameter Numbers), which are extended.  
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any  
order) should be sent in order to select the parameter, then  
Status  
BnH  
2nd byte  
50H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN  
messages are received, Data Entry messages that is received at the same MIDI channel after  
that are recognized as changing toward the value of the RPN messages. In order not to  
make any mistakes, transmitting RPN Null is recommended after setting parameters you  
need.  
*
The Level parameter (PATCH/ TVA/ TVA) of Tone 1 will change.  
General Purpose Controller 6 (Controller number 81)  
Status  
BnH  
2nd byte  
51H  
3rd byte  
vvH  
This device receives the following RPNs.  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
RPN  
Data entry  
MSB, LSB  
mmH, llH  
MSB, LSB  
00H, 00H  
Notes  
Pitch Bend Sensitivity  
*
The Level parameter (PATCH/ TVA/ TVA) of Tone 2 will change.  
mm: 00H - 18H (0 - 24 semitones)  
ll: ignored (processed as 00H)  
Up to 2 octave can be specified in semitone steps.  
General Purpose Controller 7 (Controller number 82)  
Status  
BnH  
2nd byte  
52H  
3rd byte  
vvH  
*
In Performance mode, the BendRng parameter  
(PERFORM/ PART/ PITCH) will change.  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
00H, 01H  
00H, 02H  
00H, 05H  
7FH, 7FH  
mmH, llH  
mmH, llH  
mmH, llH  
---, ---  
Channel Fine Tuning  
mm, ll: 20 00H - 40 00H - 60 00H  
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)  
*
The Level parameter (PATCH/ TVA/ TVA) of Tone 3 will change.  
*
In Performance mode, the Fine parameter  
(PERFORM/ PART/ PITCH) will change.  
General Purpose Controller 8 (Controller number 83)  
Status  
BnH  
2nd byte  
53H  
3rd byte  
vvH  
Channel Coarse Tuning  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)  
ll: ignored (processed as 00H)  
*
In Performance mode, the Coarse parameter  
(PERFORM/ PART/ PITCH) will change.  
*
The Level parameter (PATCH/ TVA/ TVA) of Tone 4 will change.  
Portamento control (Controller number 84)  
Modularion Depth Range  
mm: 00 00H - 06 00H  
Status  
BnH  
2nd byte  
54H  
3rd byte  
kkH  
(0 - 16384 x 600 / 16384 cent)  
n = MIDI channel number:  
kk = source note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
Not received in Performance mode or Patch  
mode.  
*
*
A Note-on received immediately after a Portamento Control message will change  
continuously in pitch, starting from the pitch of the Source Note Number.  
If a voice is already sounding for a note number identical to the Source Note Number,  
this voice will continue sounding (i.e., legato) and will, when the next Note-on is  
received, smoothly change to the pitch of that Note-on.  
RPN null  
RPN and NRPN will be set as “unspecified.”  
Once this setting has been made, subsequent  
Parameter values that were previously set will  
not change.  
*
The rate of the pitch change caused by Portamento Control is determined by the  
Portamento Time value.  
mm, ll: ignored  
Program Change  
Effect 1 (Reverb Send Level) (Controller number 91)  
Status  
2nd byte  
Status  
BnH  
2nd byte  
5BH  
3rd byte  
vvH  
CnH  
ppH  
n = MIDI channel number:  
pp = Program number:  
0H - FH (ch.1 - 16)  
00H - 7FH (prog.1 - prog.128)  
n = MIDI channel number:  
vv = Reverb Send Level:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
Not received in Performance mode when the Program Change parameter (PERFORM/  
MIDI/ RxSWITCH) is OFF.  
*
In Performance mode the Reverb parameter (PERFORM/ EFFECTS/ OUTPUT) will  
change.  
Channel Pressure  
Effect 3 (Chorus Send Level) (Controller number 93)  
Status  
2nd byte  
Status  
BnH  
2nd byte  
5DH  
3rd byte  
vvH  
DnH  
vvH  
n = MIDI channel number:  
vv = Channel Pressure:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
n = MIDI channel number:  
vv = Chorus Send Level:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
Not received in Performance mode when the Caf parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
*
In Performance mode the Chorus parameter (PERFORM/ EFFECTS/ OUTPUT) will  
change.  
Pitch Bend Change  
Status  
2nd byte  
3rd byte  
mmH  
EnH  
llH  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
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MIDI Im p le m e n ta tio n  
mm, ll = Pitch Bend value:  
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)  
POLY (Controller number 127)  
*
*
Not received when the Bender parameter (PATCH/ CONTROL/ CTRL RxMIDI) is OFF.  
Status  
2nd byte  
3rd byte  
Not received in Performance mode when the Bnd parameter (PERFORM/ MIDI/  
RxSWITCH) is OFF.  
BnH  
7FH  
00H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
Channel Mode Messages  
*
*
The same processing will be carried out as when All Notes Off is received.  
In Performance mode, the Mno/ Pol parameter (PERFORM/ PART/ MONO/ POL) will  
change.  
*
Not received in Performance mode when the Rx Sw parameter (PERFORM/ MIDI/  
MIDI) is OFF.  
System Realtime Message  
All Sounds Off (Controller number 120)  
Status  
2nd byte  
3rd byte  
Timing Clock  
Status  
BnH  
78H  
00H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
F8H  
*
When this message is received, all notes currently sounding on the corresponding  
channel will be turned off.  
*
This message will be received if the Clock Source parameter (SYSTEM/ SETUP/ SYSTEM  
SETUP) is MIDI.  
Reset All Controllers (Controller number 121)  
Active Sensing  
Status  
2nd byte  
3rd byte  
Status  
BnH  
79H  
00H  
FEH  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
When this message is received, the following controllers will be set to their reset values.  
*
When Active Sensing is received, the unit will begin monitoring the intervals of all  
further messages. While monitoring, if the interval between messages exceeds 420 ms,  
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset  
All Controllers are received, and message interval monitoring will be halted.  
*
Controller  
Pitch Bend Change  
Polyphonic Key Pressure  
Channel Pressure  
Modulation  
Breath Type  
Expression  
Hold 1  
Reset value  
+/ -0 (center)  
0 (off)  
System Exclusive Message  
Status  
0 (off)  
Data byte  
Status  
0 (off)  
F0H  
iiH, ddH, ......,eeH  
F7H  
0 (min)  
127 (max)  
F0H:  
System Exclusive Message status  
0 (off)  
ii = ID number:  
an ID number (manufacturer ID) to indicate the manufacturer whose  
Exclusive message this is. Roland's manufacturer ID is 41H.  
ID numbers 7EH and 7FH are extensions of the MIDI standard;  
Universal Non-realtime Messages (7EH) and Universal Realtime  
Messages (7FH).  
Sostenuto  
0 (off)  
Soft  
0 (off)  
Hold 2  
0 (off)  
RPN  
unset; previously set data will not change  
unset; previously set data will not change  
NRPN  
dd,...,ee = data:  
F7H:  
00H - 7FH (0 - 127)  
EOX (End Of Exclusive)  
All Notes Off (Controller number 123)  
Status  
2nd byte  
3rd byte  
Of the System Exclusive messages received by this device, the Universal Non-realtime  
messages and the Universal Realtime messages and the Data Request (RQ1) messages and  
the Data Set (DT1) messages will be set automatically.  
BnH  
7BH  
00H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
*
When All Notes Off is received, all notes on the corresponding channel will be turned  
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are  
turned off.  
Universal Non-realtime System Exclusive Messages  
Identity Request Message  
Status  
F0H  
Data byte  
Status  
OMNI OFF (Controller number 124)  
7EH, dev, 06H, 01H F7H  
Status  
2nd byte  
3rd byte  
BnH  
7CH  
00H  
Byte  
F0H  
7EH  
dev  
Explanation  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
The same processing will be carried out as when All Notes Off is received.  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
Sub ID#1 (General Information)  
Sub ID#2 (Identity Request)  
*
06H  
01H  
F7H  
OMNI ON (Controller number 125)  
Status  
2nd byte  
3rd byte  
EOX (End Of Exclusive)  
BnH  
7DH  
00H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
*
When this message is received, Identity Reply message (p. 278) will be transmitted.  
*
The same processing will be carried out as when All Notes Off is received. OMNI ON  
will not be turned on.  
GM1 System On  
Status  
F0H  
Data byte  
Status  
7EH, 7FH, 09H, 01H F7H  
MONO (Controller number 126)  
Status  
2nd byte  
3rd byte  
Byte  
F0H  
7EH  
7FH  
09H  
01H  
F7H  
Explanation  
BnH  
7EH  
mmH  
Exclusive status  
n = MIDI channel number:  
mm = mono number:  
0H - FH (ch.1 - 16)  
00H - 10H (0 - 16)  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI 1 On)  
EOX (End Of Exclusive)  
*
*
The same processing will be carried out as when All Notes Off is received.  
In Performance mode, the Mno/ Pol parameter (PERFORM/ PART/ MONO/ POL) will  
change.  
*
*
When this messages is received, this instrument will turn to the GM1 mode.  
Not received when the Rx GM On parameter (SYSTEM/ MIDI/ SYSTEM MIDI) is OFF.  
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mmH  
F7H  
Master Coarse Tuning MSB  
EOX (End Of Exclusive)  
GM2 System On  
Status  
F0H  
Data byte  
Status  
7EH 7FH 09H 03H F7H  
llH:  
ignored (processed as 00H)  
mmH:  
28H - 40H - 58H (-24 - 0 - +24 [semitones])  
Byte  
F0H  
7EH  
7FH  
09H  
03H  
F7H  
Explanation  
Exclusive status  
*
The Key Shift parameter (SYSTEM/ TUNE/ SYSTEM TUNE) will change.  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI 2 On)  
EOX (End Of Exclusive)  
Global Parameter Control  
*
Not received in Performance mode and Patch mode.  
Reverb Parameters  
*
*
When this messages is received, this instrument will turn to the GM2 mode.  
Status  
F0H  
Data byte  
Status  
F7H  
Not received when the Rx GM2 On parameter (SYSTEM/ MIDI/ SYSTEM MIDI) is OFF.  
7FH, 7FH, 04H, 05H, 01H, 01H,  
01H, 01H, 01H, ppH, vvH  
GM System Off  
Status  
F0H  
Data byte  
Status  
Byte  
F0H  
7FH  
7FH  
04H  
05H  
01H  
01H  
01H  
01H  
01H  
ppH  
vvH  
Explanation  
7EH, 7F, 09H, 02H F7H  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Device Control)  
Sub ID#2 (Global Parameter Control)  
Slot path length  
Byte  
F0H  
7EH  
7FH  
09H  
02H  
F7H  
Explanation  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI Off)  
EOX (End Of Exclusive)  
Parameter ID width  
Value width  
Slot path MSB  
Slot path LSB (Effect 0101: Reverb)  
Parameter to be controlled.  
Value for the parameter.  
pp=0 Reverb Type  
*
When this messages is received, this instrument will return to the Performance mode.  
Universal Realtime System Exclusive Messages  
vv = 00H Small Room  
vv = 01H Medium Room  
vv = 02H Large Room  
vv = 03H Medium Hall  
vv = 04H Large Hall  
vv = 08H Plate  
Master Volume  
Status  
F0H  
Data byte  
Status  
F7H  
7FH, 7FH, 04H, 01H, llH, mmH  
Byte  
F0H  
7FH  
7FH  
04H  
01H  
llH  
Explanation  
Exclusive status  
pp=1 Reverb Time  
ID number (universal realtime message)  
Device ID (Broadcast)  
vv = 00H - 7FH 0 - 127  
EOX (End Of Exclusive)  
F7H  
Sub ID#1 (Device Control messages)  
Sub ID#2 (Master Volume)  
Master Volume lower byte  
Master Volume upper byte  
EOX (End Of Exclusive)  
Chorus Parameters  
Status  
F0H  
Data byte  
Status  
F7H  
mmH  
F7H  
7FH, 7FH, 04H, 05H, 01H, 01H,  
01H, 01H, 02H, ppH, vvH  
*
*
The lower byte (llH) of Master Volume will be handled as 00H.  
Byte  
F0H  
7FH  
7FH  
04H  
05H  
01H  
01H  
01H  
01H  
02H  
ppH  
vvH  
Explanation  
The Master Level parameter (SYSTEM/ SETUP/ SYSTEM SETUP) will change.  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Device Control)  
Sub ID#2 (Global Parameter Control)  
Slot path length  
Master Fine Tuning  
Status  
F0H  
Data byte  
Status  
F7H  
7FH, 7FH, 04H, 03H, llH, mmH  
Byte  
F0H  
7FH  
7FH  
04H  
03H  
llH  
Explanation  
Parameter ID width  
Value width  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
Slot path MSB  
Slot path LSB (Effect 0102: Chorus)  
Parameter to be controlled.  
Value for the parameter.  
pp=0 Chorus Type  
vv=0 Chorus1  
Sub ID#1 (Device Control)  
Sub ID#2 (Master Fine Tuning)  
Master Fine Tuning LSB  
Master Fine Tuning MSB  
EOX (End Of Exclusive)  
mmH  
F7H  
vv=1 Chorus2  
vv=2 Chorus3  
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])  
The Master parameter (SYSTEM/ TUNE/ SYSTEM TUNE) will change.  
vv=3 Chorus4  
vv=4 FB Chorus  
*
vv=5 Flanger  
pp=1 Mod Rate  
Master Coarse Tuning  
vv= 00H - 7FH 0 - 127  
pp=2 Mod Depth  
Status  
F0H  
Data byte  
Status  
F7  
7FH, 7FH, 04H, 04H, llH, mmH  
vv = 00H - 7FH 0 - 127  
pp=3 Feedback  
Byte  
F0H  
7FH  
7FH  
04H  
04H  
llH  
Explanation  
vv = 00H - 7FH 0 - 127  
pp=4 Send To Reverb  
vv = 00H - 7FH 0 - 127  
EOX (End Of Exclusive)  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
F7H  
Sub ID#1 (Device Control)  
Sub ID#2 (Master Coarse Tuning)  
Master Coarse Tuning LSB  
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Channel Pressure  
Key-based Instrument Controllers  
Status  
F0H  
Data byte  
Status  
F7H  
Status  
F0H  
Data byte  
Status  
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH  
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH F7H  
Byte  
F0H  
7FH  
7FH  
09H  
01H  
0nH  
ppH  
rrH  
Explanation  
Byte  
F0H  
7FH  
7FH  
0AH  
01H  
0nH  
kkH  
nnH  
vvH  
Explanation  
Exclusive status  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Key-Based Instrument Control)  
Sub ID#2 (Controller)  
MIDI Channel (00 - 0F)  
Key Number  
Sub ID#1 (Controller Destination Setting)  
Sub ID#2 (Channel Pressure)  
MIDI Channel (00 - 0F)  
Controlled parameter  
Controlled range  
Control Number  
pp=0 Pitch Control  
Value  
rr = 28H - 58H -24 - +24 [semitones]  
pp=1 Filter Cutoff Control  
rr = 00H - 7FH -9600 - +9450 [cents]  
pp=2 Amplitude Control  
rr = 00H - 7FH 0 - 200%  
pp=3 LFO Pitch Depth  
nn=07H Level  
vv = 00H - 7FH  
nn=0AH  
0 - 200% (Relative)  
Pan  
vv = 00H - 7FH  
nn=5BH  
Left - Right (Absolute)  
Reverb Send  
vv = 00H - 7FH  
nn=5D  
0 - 127 (Absolute)  
Chorus Send  
rr = 00H - 7FH 0 - 600 [cents]  
pp=4 LFO Filter Depth  
vv = 00H - 7FH  
:
0 - 127 (Absolute)  
rr = 00H - 7FH 0 - 2400 [cents]  
pp=5 LFO Amplitude Depth  
rr = 00H - 7FH 0 - 100%  
EOX (End Of Exclusive)  
:
F7  
EOX (End Of Exclusive)  
F7H  
*
This parameter affects drum instruments only.  
Controller  
Status  
Data Transmission  
This instrument can use exclusive messages to exchange many varieties of internal settings  
Data byte  
Status  
F0H  
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H  
with other devices.  
The model ID of the exclusive messages used by this instrument is 00H 10H.  
Byte  
F0H  
7FH  
7FH  
09H  
03H  
0nH  
ccH  
ppH  
rrH  
Explanation  
Exclusive status  
Data Request 1RQ1 (11H)  
ID number (universal realtime message)  
Device ID (Broadcast)  
This message requests the other device to transmit data. The address and size indicate the  
type and amount of data that is requested.  
Sub ID#1 (Controller Destination Setting)  
Sub ID#2 (Control Change)  
MIDI Channel (00 - 0F)  
When a Data Request message is received, if the device is in a state in which it is able to  
transmit data, and if the address and size are appropriate, the requested data is transmitted  
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.  
Controller number (01 - 1F, 40 - 5F)  
Controlled parameter  
status  
F0H  
data byte  
status  
Controlled range  
41H, dev, 00H, 10H, 11H, aaH, bbH, ccH, F7H  
ddH, ssH, ttH, uuH, vvH, sum  
pp=0 Pitch Control  
rr = 28H - 58H -24 - +24 [semitones]  
pp=1 Filter Cutoff Control  
rr = 00H - 7FH -9600 - +9450 [cents]  
pp=2 Amplitude Control  
rr = 00H - 7FH 0 - 200%  
Byte  
F0H  
41H  
dev  
00H  
10H  
11H  
aaH  
bbH  
ccH  
ddH  
ssH  
Remarks  
Exclusive status  
ID number (Roland)  
devdevice ID (dev: 10H - 1FH, 7FH)  
model ID #1 (XV-88)  
model ID #2 (XV-88)  
command ID (RQ1)  
address MSB  
address  
pp=3 LFO Pitch Depth  
rr = 00H - 7FH 0 - 600 [cents]  
pp=4 LFO Filter Depth  
rr = 00H - 7FH 0 - 2400 [cents]  
pp=5 LFO Amplitude Depth  
rr = 00H - 7FH 0 - 100%  
address  
F7H  
EOX (End Of Exclusive)  
address LSB  
size MSB  
Scale/Octave Tuning Adjust  
ttH  
size  
Status  
F0H  
Data byte  
Status  
uuH  
vvH  
sum  
F7H  
size  
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7  
size LSB  
checksum  
Byte  
F0H  
7EH  
7FH  
08H  
08H  
ffH  
Explanation  
EOX (End Of Exclusive)  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
*
The size of data that can be transmitted at one time is fixed for each type of data. And  
data requests must be made with a fixed starting address and size. Refer to the address  
and size given in Parameter Address Map(p. 279).  
Sub ID#1 (MIDI Tuning Standard)  
Sub ID#2 (scale/ octave tuning 1-byte form)  
Channel/ Option byte 1  
*
*
For the checksum, refer to (p. 294).  
Not received when the Rx Sys.Excl parameter (SYSTEM/ MIDI/ SYSTEM MIDI) is OFF.  
bits 0 to 1 = channel 15 to 16  
bit 2 to 6 = Undefined  
ggH  
hhH  
ssH  
Channel byte 2  
bits 0 to 6 = channel 8 to 14  
Channel byte 3  
bits 0 to 6 = channel 1 to 7  
12 byte tuning offset of 12 semitones from C to B  
00H = -64 [cents]  
40H = 0 [cents] (equal temperament)  
7FH = +63 [cents]  
F7H  
EOX (End Of Exclusive)  
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Data set 1DT1 (12H)  
2. Data Transmission  
Channel Voice Messages  
Note off  
Status  
F0H  
Data byte  
Status  
F7H  
41H, dev, 00H, 10H, 12H, aaH, bbH,  
ccH, ddH, eeH, ... ffH, sum  
Byte  
F0H  
41H  
dev  
Explanation  
Exclusive status  
ID number (Roland)  
Status  
2nd byte  
3rd byte  
8nH  
kkH  
vvH  
Device ID (dev: 00H - 1FH, Initial value is 10H)  
9nH  
kkH  
00H  
00H  
10H  
12H  
aaH  
bbH  
Model ID #1 (XV-88)  
n = MIDI channel number:  
kk = note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
00H - 7FH (0 - 127)  
Model ID #2 (XV-88)  
Command ID (DT1)  
vv = note off velocity:  
Address MSB: upper byte of the starting address of the data to be sent  
Address: upper middle byte of the starting address of the data to be  
Note on  
sent  
Status  
2nd byte  
kkH  
3rd byte  
vvH  
ccH  
Address: lower middle byte of the starting address of the data to be  
9nH  
sent  
n = MIDI channel number:  
kk = note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
01H - 7FH (1 - 127)  
ddH  
eeH  
Address LSB: lower byte of the starting address of the data to be sent.  
Data: the actual data to be sent. Multiple bytes of data are transmitted  
vv = note on velocity:  
in order starting from the address.  
:
:
Control Change  
ffH  
sum  
F7H  
Data  
Checksum  
*
By selecting a controller number that corresponds to the setting of parameters of  
controllers (C1C4 Assign, and so on), the XV-88 can transmit any control change  
message.  
EOX (End Of Exclusive)  
*
*
The amount of data that can be transmitted at one time depends on the type of data, and  
data will be transmitted from the specified starting address and size. Refer to the address  
and size given in Parameter Address Map(p. 279).  
Bank Select (Controller number 0, 32)  
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each  
packet will be sent at an interval of about 20 ms.  
Status  
BnH  
2nd byte  
00H  
3rd byte  
mmH  
*
*
Regarding the checksum, please refer to (p. 294)  
BnH  
20H  
llH  
Not received when the Rx Sys.Excl parameter (SYSTEM/ MIDI/ SYSTEM MIDI) is OFF.  
n = MIDI channel number:  
mm, ll = Bank number:  
0H - FH (ch.1 - 16)  
00 00H - 7F 7FH (bank.1 - bank.16384)  
Status  
F0H  
Data byte  
Status  
F7H  
41H, dev, 42H, 12H, aaH, bbH, ccH,  
ddH, ... eeH, sum  
*
These messages are transmitted when Performance, Patch or Rhythm set is selected. But  
not transmitted when Program or Bank Sel parameter (SYSTEM/ MIDI/ TRANSMIT  
MIDI) is OFF.  
Byte  
F0H  
41H  
dev  
42H  
12H  
aaH  
Explanation  
*
*
In Performance (Zone) mode, these messages are not transmitted when Bank Select MSB  
or P.C# parameter (ZONE/ EXT CONTROL/ EXT P.C) is NO-SEND.  
Although with the XV-88 you can select the Bank Select messages to be transmitted, be  
sure to refer to the Program Change Map on (p. 270) for the Bank Select messages  
transmitted when the XV-88 is select a Performance, Patch, or Rhythm Set.  
The Bank Select Numbers corresponding to SRX series should be referred to the SRX  
series owner's manual.  
Exclusive status  
ID number (Roland)  
Device ID (dev: 10H)  
Model ID (GS)  
Command ID (DT1)  
*
Address MSB:  
upper byte of the starting address of the  
transmitted data  
bbH  
ccH  
Address:  
middle byte of the starting address of the  
transmitted data  
Modulation (Controller number 1)  
Status  
BnH  
2nd byte  
01H  
3rd byte  
vvH  
Address LSB:  
Data:  
lower byte of the starting address of the  
transmitted data  
n = MIDI channel number:  
vv = Modulation depth:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
ddH  
the actual data to be transmitted. Multiple bytes  
of data are transmitted starting from the address.  
:
:
Breath type (Controller number 2)  
eeH  
sum  
F7H  
Data  
Status  
BnH  
2nd byte  
02H  
3rd byte  
vvH  
Checksum  
EOX (End Of Exclusive)  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
*
The amount of data that can be transmitted at one time depends on the type of data, and  
data will be transmitted from the specified starting address and size. Refer to the address  
and size given in Parameter Address Map(p. 279).  
Portamento Time (Controller number 5)  
Status  
BnH  
2nd byte  
05H  
3rd byte  
vvH  
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each  
packet will be sent at an interval of about 20 ms.  
n = MIDI channel number:  
vv = Portamento Time:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
*
Regarding the checksum, please refer to (p. 294)  
Not received when the Rx Sys.Excl parameter (SYSTEM/ MIDI/ SYSTEM MIDI) is OFF.  
Data Entry (Controller number 6, 38)  
Status  
BnH  
2nd byte  
06H  
3rd byte  
mmH  
llH  
BnH  
26H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
mm, ll = the value of the parameter specified by RPN/ NRPN  
mm = MSB, ll = LSB  
*
When execute the GM Data Transfer, Data Entry messages will transmit.  
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Volume (Controller number 7)  
General Purpose Controller 7 (Controller number 82)  
Status  
BnH  
2nd byte  
07H  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
52H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Volume:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
In Performance (Zone) mode, these messages are not transmitted when Volume  
parameter (ZONE/ EXT CONTROL/ EXT CTRL) is NO-SEND.  
General Purpose Controller 8 (Controller number 83)  
Status  
BnH  
2nd byte  
53H  
3rd byte  
vvH  
Panpot (Controller number 10)  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
Status  
BnH  
2nd byte  
0AH  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Panpot:  
0H - FH (ch.1 - 16)  
00H - 40H - 7FH (Left - Center - Right),  
Portamento control (Controller number 84)  
Status  
BnH  
2nd byte  
54H  
3rd byte  
kkH  
*
In Performance (Zone) mode, these messages are not transmitted when Pan parameter  
(ZONE/ EXT CONTROL/ EXT CTRL) is NO-SEND.  
n = MIDI channel number:  
kk = source note number:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
Expression (Controller number 11)  
RPN MSB/LSB (Controller number 100, 101)  
Status  
BnH  
2nd byte  
0BH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
65H  
3rd byte  
mmH  
llH  
n = MIDI channel number:  
vv = Expression:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
BnH  
64H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
mm = upper byte (MSB) of parameter number specified by RPN  
ll = lower byte (LSB) of parameter number specified by RPN  
Hold 1 (Controller number 64)  
Status  
BnH  
2nd byte  
40H  
3rd byte  
vvH  
<<< RPN >>>  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
When execute the GM Data Transfer, Program Change, Data Entry, and following RPN  
messages will transmit.  
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON  
*
When Continuous parameter (SYSTEM/ CONTROL/ HOLD PEDAL) is OFF, just only  
00H (0FF) and 40H (0N) can be send as the control value.  
Control Changes include RPN (Registered Parameter Numbers), which are extended.  
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any  
order) should be sent in order to select the parameter, then  
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN  
messages are received, Data Entry messages that is received at the same MIDI channel after  
that are recognized as changing toward the value of the RPN messages. In order not to  
make any mistakes, transmitting RPN Null is recommended after setting parameters you  
need.  
Portamento (Controller number 65)  
Status  
BnH  
2nd byte  
41H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
This device transmits the following RPNs.  
Resonance (Controller number 71)  
Status  
BnH  
2nd byte  
47H  
3rd byte  
vvH  
RPN  
Data entry  
MSB, LSB  
mmH, llH  
MSB, LSB  
00H, 00H  
Notes  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63)  
Pitch Bend Sensitivity  
mm: 00H - 18H (0 - 24 semitones)  
ll: ignored (processed as 00H)  
vv= Resonance value (relative change):  
Release Time (Controller number 72)  
Status  
BnH  
2nd byte  
48H  
3rd byte  
vvH  
00H, 01H  
00H, 02H  
00H, 05H  
7FH, 7FH  
mmH, llH  
mmH, llH  
mmH, llH  
---, ---  
Channel Fine Tuning  
mm, ll: 20 00H - 40 00H - 60 00H  
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
vv = Release Time value (relative change):  
00H - 7FH (-64 - 0 - +63)  
Channel Coarse Tuning  
Attack time (Controller number 73)  
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)  
ll: ignored (processed as 00H)  
Status  
BnH  
2nd byte  
49H  
3rd byte  
vvH  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
Modulation Depth Range  
mm, ll: 00 00H - 06 00H  
(0 - 16384 x 600 / 16384 cent)  
vv = Attack time value (relative change):  
00H - 7FH (-64 - 0 - +63)  
Cutoff (Controller number 74)  
Status  
BnH  
2nd byte  
4AH  
3rd byte  
vvH  
RPN null  
RPN and NRPN will be set as “unspecified.”  
Once this setting has been made, subsequent  
n = MIDI channel number:  
0H - FH (ch.1 - 16)  
00H - 7FH (-64 - 0 - +63)  
vv = Cutoff value (relative change):  
Program Change  
General Purpose Controller 5 (Controller number 80)  
Status  
2nd byte  
Status  
BnH  
2nd byte  
50H  
3rd byte  
vvH  
CnH  
ppH  
n = MIDI channel number:  
pp = Program number:  
0H - FH (ch.1 - 16)  
00H - 7FH (prog.1 - prog.128)  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
*
These messages are transmitted when Performance, Patch or Rhythm set is selected. But  
General Purpose Controller 6 (Controller number 81)  
not transmitted when Program parameter (SYSTEM/ MIDI/ TRANSMIT MIDI) is OFF.  
In Performance (Zone) mode, these messages are not transmitted when P.C# parameter  
(ZONE/ EXT CONTROL/ EXT P.C) is NO-SEND.  
Status  
BnH  
2nd byte  
51H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
2 7 7  
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MIDI Im p le m e n ta tio n  
Channel Pressure  
Active Sensing  
Status  
Status  
2nd byte  
DnH  
vvH  
FEH  
n = MIDI channel number:  
vv = Channel Pressure:  
0H - FH (ch.1 - 16)  
00H - 7FH (0 - 127)  
*
*
This message is transmitted at intervals of approximately 250 msec.  
This message is not sent when Active Sensing parameter (SYSTEM/ MIDI/ TRANSMIT  
MIDI) is OFF.  
Pitch Bend Change  
Status  
2nd byte  
3rd byte  
System Exclusive Messages  
EnH  
llH  
mmH  
n = MIDI channel number:  
mm, ll = Pitch Bend value:  
0H - FH (ch.1 - 16)  
Universal Non-realtime System Exclusive Messageand Data Set 1 (DT1) are the only  
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)  
System Exclusive messages transmitted by the XV-88.  
Universal Non-realtime System Exclusive Message  
Channel Mode Messages  
Identity Reply Message  
Receiving Identity Request Message, the XV-88 send this message.  
All Sounds Off (Controller number 120)  
Status  
2nd byte  
3rd byte  
Status  
F0H  
Data byte  
Status  
F7H  
BnH  
78H  
00H  
7EH, dev, 06H, 02H, 41H, 10H, 01H,  
00H, 00H, 00H, 00H, 00H, 00H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
This message is sent on Panic operation.  
*
Byte  
Explanation  
F0H  
Exclusive status  
Reset All Controllers (Controller number 121)  
7EH  
ID number (Universal Non-realtime Message)  
Device ID (use the same as the device ID of Roland)  
Sub ID#1 (General Information)  
Status  
2nd byte  
3rd byte  
dev  
BnH  
79H  
00H  
06H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
This message is sent on Panic operation.  
02H  
Sub ID#2 (Identity Reply)  
41H  
ID number (Roland)  
*
10H 01H  
00H 00H  
Device family code (XV-3080/ 5080/ 88)  
Device family number code (XV-3080/ 88)  
MONO (Controller number 126)  
01H 01H 00H 00H Software revision level  
F7H EOX (End of Exclusive)  
Status  
2nd byte  
3rd byte  
BnH  
7EH  
mmH  
n = MIDI channel number:  
mm = mono number:  
0H - FH (ch.1 - 16)  
00H - 10H (0 - 16)  
Data Transmission  
Data set 1DT1 (12H)  
POLY (Controller number 127)  
Status  
F0H  
Data byte  
Status  
F7H  
Status  
2nd byte  
3rd byte  
41H, dev, 00H, 10H, 12H, aaH, bbH,  
ccH, ddH, eeH, ... ffH, sum  
BnH  
7FH  
00H  
n = MIDI channel number: 0H - FH (ch.1 - 16)  
System Common Messages  
Song Position Pointer  
Byte  
F0H  
41H  
dev  
00H  
10H  
12H  
aaH  
Explanation  
Exclusive status  
ID number (Roland)  
Device ID (dev: 00H - 1FH, Initial value is 10H)  
Model ID #1 (XV-88)  
Status  
2nd byte  
3rd byte  
Model ID #2 (XV-88)  
F2H  
00H  
00H  
Command ID (DT1)  
Address MSB:  
upper byte of the starting address of the data to  
*
This message is sent on NEXT, PREV, or RESET operation in the external sequencer  
control function.  
be sent  
bbH  
ccH  
ddH  
eeH  
Address:  
upper middle byte of the starting address of the  
data to be sent  
Song Select  
Address:  
lower middle byte of the starting address of the  
data to be sent  
Status  
2nd byte  
F3H  
ssH  
Address LSB:  
Data:  
lower byte of the starting address of the data to  
be sent.  
ss = Song number: 0H - 7FH (0 - 127)  
the actual data to be sent. Multiple bytes of data  
are transmitted in order starting from the  
address.  
*
This message is sent on NEXT, or PREV operation in the external sequencer control  
function.  
:
:
ffH  
sum  
F7H  
Data  
System Realtime Messages  
Checksum  
EOX (End Of Exclusive)  
Continue  
Status  
*
*
The amount of data that can be transmitted at one time depends on the type of data, and  
data will be transmitted from the specified starting address and size. Refer to the address  
and size given in Parameter Address Map(p. 279).  
FBH  
*
This message is sent on START operation in the external sequencer control function.  
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each  
packet will be sent at an interval of about 20 ms.  
Stop  
Status  
FCH  
*
This message is sent on STOP operation in the external sequencer control function.  
2 7 8  
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MIDI Im p le m e n ta tio n  
1-3-2 Rhythm  
3. Parameter Address Map  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
Address |  
Description  
*
Transmission of #marked address is divided to some packets. For example, ABH in  
hexadecimal notation will be divided to 0AH and 0BH, and is sent/ received in this  
order.  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
00 00 00 | Rhythm Common  
1-3-2-1 |  
1-3-2-2 |  
1-3-2-3 |  
1-3-2-4 |  
1-3-2-5 |  
|
00 02 00 | Rhythm Common MFX  
00 04 00 | Rhythm Common Chorus  
00 06 00 | Rhythm Common Reverb  
00 10 00 | Rhythm Tone (Key # 21)  
00 12 00 | Rhythm Tone (Key # 22)  
:
|
|
|
1. XV-88 (Model ID = 00H 10H)  
01 3E 00 | Rhythm Tone (Key # 108)  
+——————————————————————————————————————————————————————————————————————————————+  
*
< >marked address, valid on the XV-3080/ 5080, are ignored when the XV-88 receive  
1-1-1 System Common  
them.  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
Address |  
Description  
+——————————————————————————————————————————————————————————————————————————————+  
| Start  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|#  
|
|
|
|
|
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|
|
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|
00 00 | 0000 0aaa | Sound Mode  
(0 - 4) |  
|
Address |  
Description  
|
|
PERFORM, PATCH, GM1, GM2, GS  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 01 | 0000 aaaa |  
| 0000 bbbb |  
|
| 00 00 00 00 | System  
1-1 |  
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
| 0000 cccc |  
| 10 00 00 00 | Temporary Performance  
1-2 |  
1-3 |  
| 0000 dddd | Master Tune  
(24 - 2024) |  
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)  
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)  
|
|
-100.0 - 100.0 [cent]  
|
|
|
|
|
00 05 | 00aa aaaa | Master Key Shift  
(40 - 88) |  
|
:
|
|
|
-24 - +24  
|
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16)  
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode)  
00 06 | 0aaa aaaa | Master Level  
(0 - 127) |  
(0 - 1) |  
00 07 | 0000 000a | Scale Tune Switch  
|—————————————+————————————————————————————————————————————————————————————————|  
| 20 00 00 00 | User Performance (01)  
| 20 01 00 00 | User Performance (02)  
|
|
OFF, ON  
|
1-2 |  
00 08 | 0000 000a | Patch Remain  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
MIX, PARALLEL |  
|
|
|
|
|
|
|
:
|
00 09 | 0000 000a | Mix/Parallel  
| 20 3F 00 00 | User Performance (64)  
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|—————————————+———————————+————————————————————————————————————————————————————|  
| 30 00 00 00 | User Patch (001)  
| 30 01 00 00 | User Patch (002)  
1-3-1 |  
|
|
|
|
|
|
00 0A | 0000 000a | MFX Switch  
(0 - 1) |  
|
|
|
|
|
BYPASS, ON  
|
|
:
|
00 0B | 0000 000a | Chorus Switch  
(0 - 1) |  
| 30 7F 00 00 | User Patch (128)  
|
|
OFF, ON  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 0C | 0000 000a | Reverb Switch  
(0 - 1) |  
OFF, ON |  
| 40 00 00 00 | User Rhythm (001)  
| 40 10 00 00 | User Rhythm (002)  
| 40 20 00 00 | User Rhythm (003)  
| 40 30 00 00 | User Rhythm (004)  
1-3-2 |  
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
00 0D | 000a aaaa | Performance Control Channel  
(0 - 16) |  
|
|
1 - 16, OFF  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
+——————————————————————————————————————————————————————————————————————————————+  
00 0E | 0aaa aaaa | Performance Bank Select MSB (CC# 0)  
00 0F | 0aaa aaaa | Performance Bank Select LSB (CC# 32)  
00 10 | 0aaa aaaa | Performance Program Number (PC)  
1-1 System  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
00 11 | 0000 aaaa | Patch Receive Channel  
(0 - 15) |  
1 - 16 |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| Offset  
|
|
|
00 12 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)  
00 13 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)  
00 14 | 0aaa aaaa | Patch Program Number (PC)  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
00 00 00 | System Common  
1-1-1 |  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 10 00 | System Part (Part 1)  
00 11 00 | System Part (Part 2)  
1-1-2 |  
|
|
00 15 | 0000 000a | System Clock Source  
(0 - 1) |  
|
|
|
INT, MIDI  
|
|
:
|
|
|#  
|
00 16 | 0000 aaaa |  
| 0000 bbbb | System Tempo  
00 1F 00 | System Part (Part 16)  
|
(20 - 250) |  
00 20 00 | System Part (Part 17) <XV-5080>  
00 21 00 | System Part (Part 18) <XV-5080>  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
00 18 | 0aaa aaaa | System Control 1 Source  
(0 - 97) |  
OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH  
(0 - 97) |  
OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH  
(0 - 97) |  
OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH  
(0 - 97) |  
OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH  
:
|
|
|
|
|
|
|
00 2F 00 | System Part (Part 32) <XV-5080>  
00 40 00 | System Keyboard  
|
1-1-3 |  
00 19 | 0aaa aaaa | System Control 2 Source  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
00 1A | 0aaa aaaa | System Control 3 Source  
1-3 Temporary Patch/Rhythm  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
|
00 1B | 0aaa aaaa | System Control 4 Source  
|
|
|
|
|
|
|
|
Address |  
Description  
|
|—————————————+————————————————————————————————————————————————————————————————|  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
00 00 00 | Temporary Patch  
10 00 00 | Temporary Rhythm  
1-3-1 |  
1-3-2 |  
|
|
|
|
00 1C | 0000 000a | Receive Program Change  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
00 1D | 0000 000a | Receive Bank Select  
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
1-2 Performance  
| 00 00 00 1E | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
Address |  
Description  
1-1-2 System Part  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
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|
|
|
|
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|
|
00 00 00 | Performance Common  
1-2-1 |  
+——————————————————————————————————————————————————————————————————————————————+  
00 02 00 | Performance Common MFX  
00 04 00 | Performance Common Chorus  
00 06 00 | Performance Common Reverb  
00 10 00 | Performance MIDI (Channel 1)  
00 11 00 | Performance MIDI (Channel 2)  
1-2-2 |  
| Offset  
|
|
|
1-2-3 |  
|
Address |  
Description  
1-2-4 |  
|—————————————+————————————————————————————————————————————————————————————————|  
1-2-5 |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
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|
|
00 00 | 0aaa aaaa | Scale Tune for C  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
:
|
|
00 01 | 0aaa aaaa | Scale Tune for C#  
00 1F 00 | Performance MIDI (Channel 16)  
00 20 00 | Performance Part (Part 1)  
00 21 00 | Performance Part (Part 2)  
|
|
|
|
1-2-6 |  
00 02 | 0aaa aaaa | Scale Tune for D  
|
|
|
|
:
|
|
00 03 | 0aaa aaaa | Scale Tune for D#  
00 2F 00 | Performance Part (Part 16)  
|
|
|
|
00 30 00 | Performance Part (Part 17) <XV-5080>  
00 31 00 | Performance Part (Part 18) <XV-5080>  
|
00 04 | 0aaa aaaa | Scale Tune for E  
|
|
|
|
:
|
|
00 05 | 0aaa aaaa | Scale Tune for F  
00 3F 00 | Performance Part (Part 32) <XV-5080>  
00 40 00 | Performance Keyboard  
|
|
|
|
1-2-7 |  
00 06 | 0aaa aaaa | Scale Tune for F#  
00 50 00 | Performance Zone (Channel 1)  
00 51 00 | Performance Zone (Channel 2)  
1-2-8 |  
|
|
|
|
|
|
00 07 | 0aaa aaaa | Scale Tune for G  
:
|
|
|
|
00 5F 00 | Performance Zone (Channel 16)  
00 08 | 0aaa aaaa | Scale Tune for G#  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
00 09 | 0aaa aaaa | Scale Tune for A  
|
|
|
1-3-1 Patch  
00 0A | 0aaa aaaa | Scale Tune for A#  
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
00 0B | 0aaa aaaa | Scale Tune for B  
| Offset  
|
|
|
|
|
|
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
| 00 00 00 0C | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
|
|
|
00 00 00 | Patch Common  
1-3-1-1 |  
1-3-1-2 |  
1-3-1-3 |  
1-3-1-4 |  
1-3-1-5 |  
1-3-1-6 |  
|
00 02 00 | Patch Common MFX  
00 04 00 | Patch Common Chorus  
00 06 00 | Patch Common Reverb  
00 10 00 | Patch TMT (Tone Mix Table)  
00 20 00 | Patch Tone (Tone 1)  
00 22 00 | Patch Tone (Tone 2)  
00 24 00 | Patch Tone (Tone 3)  
00 26 00 | Patch Tone (Tone 4)  
|
|
+——————————————————————————————————————————————————————————————————————————————+  
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MIDI Im p le m e n ta tio n  
|—————————————+———————————+————————————————————————————————————————————————————|  
1-1-3 System Keyboard  
|
|
|
|
|
|
|
|
00 0C | 00aa aaaa | Solo Part Select <XV-5080>  
(0 - 32) |  
|
|
OFF, 1 - 16, 17 - 32  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 0D | 000a aaaa | MFX Control Channel  
(0 - 16) |  
| Offset  
|
|
|
|
|
1 - 16, OFF  
|
|
Address |  
Description  
00 0E | 0000 000a | MFX Control MIDI1 <XV-5080>  
(0 - 1) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
OFF, ON  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Transmit Program Change  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(59 - 70) |  
-5 - +6  
(61 - 67) |  
-3 - +3  
00 0F | 0000 000a | MFX Control MIDI2 <XV-5080>  
(0 - 1) |  
OFF, ON |  
|
|
|
|
|
00 01 | 0000 000a | Transmit Bank Select  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
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|
00 10 | 0aaa aaaa | Voice Reserve 1  
(0 - 64) |  
00 02 | 0000 000a | Transpose Switch  
|
|
0 - 63, FULL  
|
|
|
|
00 11 | 0aaa aaaa | Voice Reserve 2  
(0 - 64) |  
00 03 | 0000 aaaa | Transpose Value  
|
|
0 - 63, FULL  
|
|
|
|
00 12 | 0aaa aaaa | Voice Reserve 3  
(0 - 64) |  
00 04 | 0000 0aaa | Octave Shift  
|
|
0 - 63, FULL  
|
|
|
|
00 13 | 0aaa aaaa | Voice Reserve 4  
(0 - 64) |  
00 05 | 0aaa aaaa | Keyboard Velocity  
(0 - 127) |  
|
|
0 - 63, FULL  
|
|
|
REAL, 1 - 127  
|
00 14 | 0aaa aaaa | Voice Reserve 5  
(0 - 64) |  
00 06 | 0000 00aa | Keyboard Sens  
(0 - 3) |  
|
|
0 - 63, FULL  
|
|
|
LIGHT, MEDIUM, HEAVY, FULL  
|
00 15 | 0aaa aaaa | Voice Reserve 6  
(0 - 64) |  
00 07 | 0aaa aaaa | Aftertouch Sens  
(0 - 100) |  
|
|
0 - 63, FULL  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 16 | 0aaa aaaa | Voice Reserve 7  
(0 - 64) |  
|
|
00 08 | 000a aaaa | Patch Transmit Channel  
(0 - 17) |  
1 - 16, Rx Ch, OFF |  
|
|
0 - 63, FULL  
|
|
|
00 17 | 0aaa aaaa | Voice Reserve 8  
(0 - 64) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
0 - 63, FULL  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | Slider 1 Assign  
(0 - 97) |  
00 18 | 0aaa aaaa | Voice Reserve 9  
(0 - 64) |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
|
0 - 63, FULL  
|
PITCH BEND, AFTERTOUCH  
|
00 19 | 0aaa aaaa | Voice Reserve 10  
(0 - 64) |  
00 0A | 0000 00aa | Slider 1 Output Mode  
(0 - 3) |  
|
|
0 - 63, FULL  
|
|
|
OFF, INT, MIDI, BOTH  
|
00 1A | 0aaa aaaa | Voice Reserve 11  
(0 - 64) |  
00 0B | 0aaa aaaa | Slider 2 Assign  
(0 - 97) |  
|
|
0 - 63, FULL  
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
00 1B | 0aaa aaaa | Voice Reserve 12  
(0 - 64) |  
PITCH BEND, AFTERTOUCH  
|
|
|
0 - 63, FULL  
|
00 0C | 0000 00aa | Slider 2 Output Mode  
(0 - 3) |  
00 1C | 0aaa aaaa | Voice Reserve 13  
(0 - 64) |  
|
|
OFF, INT, MIDI, BOTH  
|
|
|
0 - 63, FULL  
|
00 0D | 0aaa aaaa | Slider 3 Assign  
(0 - 97) |  
00 1D | 0aaa aaaa | Voice Reserve 14  
(0 - 64) |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
|
0 - 63, FULL  
|
PITCH BEND, AFTERTOUCH  
|
00 1E | 0aaa aaaa | Voice Reserve 15  
(0 - 64) |  
00 0E | 0000 00aa | Slider 3 Output Mode  
(0 - 3) |  
|
|
0 - 63, FULL  
|
|
|
OFF, INT, MIDI, BOTH  
|
00 1F | 0aaa aaaa | Voice Reserve 16  
(0 - 64) |  
00 0F | 0aaa aaaa | Slider 4 Assign  
(0 - 97) |  
|
|
0 - 63, FULL  
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
00 20 | 0aaa aaaa | Voice Reserve 17 <XV-5080>  
(0 - 64) |  
PITCH BEND, AFTERTOUCH  
|
|
|
0 - 63, FULL  
|
00 10 | 0000 00aa | Slider 4 Output Mode  
(0 - 3) |  
OFF, INT, MIDI, BOTH |  
00 21 | 0aaa aaaa | Voice Reserve 18 <XV-5080>  
(0 - 64) |  
|
|
|
|
0 - 63, FULL  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 22 | 0aaa aaaa | Voice Reserve 19 <XV-5080>  
(0 - 64) |  
|
|
|
|
|
|
00 11 | 0000 00aa | Hold Pedal Output Mode  
(0 - 3) |  
|
|
0 - 63, FULL  
|
|
|
OFF, INT, MIDI, BOTH  
|
00 23 | 0aaa aaaa | Voice Reserve 20 <XV-5080>  
(0 - 64) |  
00 12 | 0000 000a | Hold Pedal Polarity  
(0 - 1) |  
|
|
0 - 63, FULL  
|
|
|
STANDARD, REVERSE  
|
00 24 | 0aaa aaaa | Voice Reserve 21 <XV-5080>  
(0 - 64) |  
00 13 | 0000 000a | Continuous Hold Pedal  
(0 - 1) |  
|
|
0 - 63, FULL  
|
|
|
OFF, ON  
|
00 25 | 0aaa aaaa | Voice Reserve 22 <XV-5080>  
(0 - 64) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
0 - 63, FULL  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 14 | 0aaa aaaa | Pedal 1 Assign  
(0 - 103) |  
OFF, CC01 - CC31, CC33 - CC95, |  
00 26 | 0aaa aaaa | Voice Reserve 23 <XV-5080>  
(0 - 64) |  
|
|
|
|
|
|
|
|
0 - 63, FULL  
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |  
00 27 | 0aaa aaaa | Voice Reserve 24 <XV-5080>  
(0 - 64) |  
START/STOP, TAP TEMPO, PROG UP, PROG DOWN  
|
|
|
0 - 63, FULL  
|
00 15 | 0000 00aa | Pedal 1 Output Mode  
(0 - 3) |  
00 28 | 0aaa aaaa | Voice Reserve 25 <XV-5080>  
(0 - 64) |  
|
|
OFF, INT, MIDI, BOTH  
|
|
|
0 - 63, FULL  
|
00 16 | 0000 000a | Pedal 1 Polarity  
(0 - 1) |  
00 29 | 0aaa aaaa | Voice Reserve 26 <XV-5080>  
(0 - 64) |  
|
|
STANDARD, REVERSE  
|
|
|
0 - 63, FULL  
|
00 17 | 0aaa aaaa | Pedal 2 Assign  
(0 - 103) |  
00 2A | 0aaa aaaa | Voice Reserve 27 <XV-5080>  
(0 - 64) |  
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |  
|
|
0 - 63, FULL  
|
00 2B | 0aaa aaaa | Voice Reserve 28 <XV-5080>  
(0 - 64) |  
START/STOP, TAP TEMPO, PROG UP, PROG DOWN  
|
|
|
0 - 63, FULL  
|
00 18 | 0000 00aa | Pedal 2 Output Mode  
(0 - 3) |  
00 2C | 0aaa aaaa | Voice Reserve 29 <XV-5080>  
(0 - 64) |  
|
|
OFF, INT, MIDI, BOTH  
|
|
|
0 - 63, FULL  
|
00 19 | 0000 000a | Pedal 2 Polarity  
(0 - 1) |  
00 2D | 0aaa aaaa | Voice Reserve 30 <XV-5080>  
(0 - 64) |  
|
|
STANDARD, REVERSE  
|
|
|
0 - 63, FULL  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 2E | 0aaa aaaa | Voice Reserve 31 <XV-5080>  
(0 - 64) |  
|
|
|
|
|
|
00 1A | 0000 000a | Arpeggio Switch  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(1 - 10) |  
1 - 10 |  
|
|
0 - 63, FULL  
|
|
|
|
00 2F | 0aaa aaaa | Voice Reserve 32 <XV-5080>  
(0 - 64) |  
00 1B | 0000 000a | Beam Switch  
|
|
0 - 63, FULL  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 1C | 0000 aaaa | Beam Sens  
|
|
|
|
|
|
|
|
|
|
00 30 | 00aa aaaa | MFX(1) Source  
(0 - 32) |  
|
|
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>  
|
|-------------+-----------+----------------------------------------------------|  
00 31 | 00aa aaaa | MFX2 Source <XV-5080>  
(0 - 32) |  
|
|
|
|
|
|
|
|
|
|
|
|
00 1D | 00aa aaaa | Arpeggio Style  
(0 - 44) |  
1 - 45  
(0 - 37) |  
1 - 38  
(0 - 114) |  
1 - 115 |  
|
|
PERFORM, 1 - 16, 17 - 32  
|
|
|
|
00 32 | 00aa aaaa | MFX3 Source <XV-5080>  
(0 - 32) |  
00 1E | 00aa aaaa | Arpeggio Motif  
|
|
PERFORM, 1 - 16, 17 - 32  
|
|
|
|
00 33 | 00aa aaaa | Chorus Source  
(0 - 32) |  
00 1F | 0aaa aaaa | Arpeggio Beat Pattern  
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>  
|
|
|
00 34 | 00aa aaaa | Reverb Source  
(0 - 32) |  
00 20 | 0aaa aaaa | Arpeggio Accent Rate  
00 21 | 0aaa aaaa | Arpeggio Shuffle Rate  
00 22 | 0aaa aaaa | Arpeggio Keyboard Velocity  
(0 - 100) |  
(50 - 90) |  
(0 - 127) |  
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>  
|
|—————————————+————————————————————————————————————————————————————————————————|  
| 00 00 00 35 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
REAL, 1 - 127  
|
00 23 | 0000 0aaa | Arpeggio Octave Range  
(61 - 67) |  
|
|
-3 - +3  
|
|-------------+-----------+----------------------------------------------------|  
1-2-2 Performance Common MFX  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
|
|
|
00 24 | 0aaa aaaa | Beam Assign  
(0 - 103) |  
OFF, CC01 - CC31, CC33 - CC95, |  
|
|
|
|
|
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |  
| Offset  
|
|
|
START/STOP, TAP TEMPO  
|
|
Address |  
Description  
00 25 | 0000 00aa | Beam Output Mode  
(0 - 3) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
OFF, INT, MIDI, BOTH  
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 3) |  
00 26 | 0000 000a | Beam Polarity  
(0 - 1) |  
00 01 | 0aaa aaaa | MFX Dry Send Level  
00 02 | 0aaa aaaa | MFX Chorus Send Level  
00 03 | 0aaa aaaa | MFX Reverb Send Level  
00 04 | 0000 00aa | MFX Output Assign  
|
|
STANDARD, REVERSE  
|
(0 - 127) |  
(0 - 127) |  
00 27 | 0aaa aaaa | Beam Range Lower  
00 28 | 0aaa aaaa | Beam Range Upper  
|-------------+----------------------------------------------------------------|  
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
| 00 00 00 29 | Total Size  
+------------------------------------------------------------------------------+  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source  
(0 - 101) |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
1-2-1 Performance Common  
00 06 | 0aaa aaaa | MFX Control 1 Sens  
(1 - 127) |  
|
|
-63 - +63  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 07 | 0aaa aaaa | MFX Control 2 Source  
(0 - 101) |  
| Offset  
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
Address |  
Description  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 08 | 0aaa aaaa | MFX Control 2 Sens  
(1 - 127) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Performance Name 1  
(32 - 127) |  
|
|
-63 - +63  
|
|
|
32 - 127 [ASCII]  
|
00 09 | 0aaa aaaa | MFX Control 3 Source  
(0 - 101) |  
00 01 | 0aaa aaaa | Performance Name 2  
(32 - 127) |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
|
32 - 127 [ASCII]  
|
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
00 02 | 0aaa aaaa | Performance Name 3  
(32 - 127) |  
00 0A | 0aaa aaaa | MFX Control 3 Sens  
(1 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
|
-63 - +63  
|
00 03 | 0aaa aaaa | Performance Name 4  
(32 - 127) |  
00 0B | 0aaa aaaa | MFX Control 4 Source  
(0 - 101) |  
|
|
32 - 127 [ASCII]  
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
00 04 | 0aaa aaaa | Performance Name 5  
(32 - 127) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
32 - 127 [ASCII]  
|
00 0C | 0aaa aaaa | MFX Control 4 Sens  
(1 - 127) |  
00 05 | 0aaa aaaa | Performance Name 6  
(32 - 127) |  
|
|
-63 - +63  
|
|
|
32 - 127 [ASCII]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 06 | 0aaa aaaa | Performance Name 7  
(32 - 127) |  
|
|
|
|
|
|
|
|
|#  
|
|
|
|
00 0D | 000a aaaa | MFX Control Assign 1  
(0 - 16) |  
|
|
32 - 127 [ASCII]  
|
|
|
OFF, 1 - 16  
|
00 07 | 0aaa aaaa | Performance Name 8  
(32 - 127) |  
00 0E | 000a aaaa | MFX Control Assign 2  
(0 - 16) |  
|
|
32 - 127 [ASCII]  
|
|
|
OFF, 1 - 16  
|
00 08 | 0aaa aaaa | Performance Name 9  
(32 - 127) |  
00 0F | 000a aaaa | MFX Control Assign 3  
(0 - 16) |  
|
|
32 - 127 [ASCII]  
|
|
|
OFF, 1 - 16  
|
00 09 | 0aaa aaaa | Performance Name 10  
(32 - 127) |  
00 10 | 000a aaaa | MFX Control Assign 4  
(0 - 16) |  
|
|
32 - 127 [ASCII]  
|
|
|
OFF, 1 - 16  
|
00 0A | 0aaa aaaa | Performance Name 11  
(32 - 127) |  
00 11 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
32 - 127 [ASCII]  
|
|
|
00 0B | 0aaa aaaa | Performance Name 12  
(32 - 127) |  
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
| 0000 dddd | MFX Parameter 1  
(12768 - 52768) |  
|
|
-20000 - +20000  
|
2 8 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
|
00 15 | 0000 aaaa |  
| 0000 bbbb |  
|
|#  
|
01 01 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
| 0000 cccc |  
|
| 0000 cccc |  
|
|
| 0000 dddd | MFX Parameter 2  
(12768 - 52768) |  
|
|
| 0000 dddd | MFX Parameter 29  
(12768 - 52768) |  
|
|
-20000 - +20000  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 19 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
01 05 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 3  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 30  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 1D | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
01 09 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 4  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 31  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 21 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
01 0D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 5  
(12768 - 52768) |  
| 0000 dddd | MFX Parameter 32  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 25 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
| 00 00 01 11 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 6  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 29 | 0000 aaaa |  
| 0000 bbbb |  
1-2-3 Performance Common Chorus  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 cccc |  
| Offset  
|
|
|
|
| 0000 dddd | MFX Parameter 7  
(12768 - 52768) |  
|
Address |  
Description  
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|#  
|
00 2D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type  
(0 - 2) |  
(0 - 127) |  
(0 - 3) |  
00 01 | 0aaa aaaa | Chorus Level  
00 02 | 0000 00aa | Chorus Output Assign  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 8  
(12768 - 52768) |  
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 03 | 0000 00aa | Chorus Output Select  
(0 - 2) |  
|#  
|
00 31 | 0000 aaaa |  
| 0000 bbbb |  
|
|
MAIN, REV, MAIN+REV  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|#  
|
00 04 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
| 0000 dddd | MFX Parameter 9  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 35 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 1  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 10  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 39 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 2  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 0C | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 11  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 3D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 3  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 10 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 41 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 4  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 14 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 13  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 45 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 5  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 18 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 14  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 49 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 6  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 1C | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 15  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 4D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 7  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 20 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 16  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 51 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 24 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 17  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 55 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 9  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 18  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 59 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 10  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 19  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | Chorus Parameter 11  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 dddd | MFX Parameter 20  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
| 0000 cccc |  
|#  
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
| 0000 dddd | Chorus Parameter 12  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 21  
(12768 - 52768) |  
| 00 00 00 34 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
1-2-4 Performance Common Reverb  
|
| 0000 dddd | MFX Parameter 22  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
|#  
|
00 69 | 0000 aaaa |  
| 0000 bbbb |  
| Offset  
|
|
|
|
Address |  
Description  
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 23  
(12768 - 52768) |  
|
|
|
|
00 00 | 0000 aaaa | Reverb Type  
(0 - 4) |  
(0 - 127) |  
(0 - 3) |  
|
|
|
-20000 - +20000  
|
|
|
|
00 01 | 0aaa aaaa | Reverb Level  
00 02 | 0000 00aa | Reverb Output Assign  
|#  
|
00 6D | 0000 aaaa |  
| 0000 bbbb |  
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 24  
(12768 - 52768) |  
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 71 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 25  
(12768 - 52768) |  
|#  
|
00 07 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 75 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 2  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 26  
(12768 - 52768) |  
|#  
|
00 0B | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 79 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 3  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 27  
(12768 - 52768) |  
|#  
|
00 0F | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 7D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 4  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 28  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 13 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 5  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
2 8 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
00 17 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50 |  
|
|
|
|
|
|
|
| 0000 cccc |  
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)  
|
| 0000 dddd | Reverb Parameter 6  
(12768 - 52768) |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)  
(0 - 2) |  
|#  
|
00 1B | 0000 aaaa |  
| 0000 bbbb |  
|
|
MONO, POLY, PATCH  
|
00 0C | 0000 00aa | Part Legato Switch (CC# 68)  
(0 - 2) |  
|
| 0000 cccc |  
|
|
OFF, ON, PATCH  
|
|
| 0000 dddd | Reverb Parameter 7  
(12768 - 52768) |  
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)  
(0 - 25) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 24, PATCH  
|
|#  
|
00 1F | 0000 aaaa |  
| 0000 bbbb |  
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)  
(0 - 2) |  
|
|
OFF, ON, PATCH  
|
|
|
| 0000 cccc |  
00 0F | 0000 aaaa |  
| 0000 bbbb | Part Portamento Time (CC# 5)  
|
| 0000 dddd | Reverb Parameter 8  
(12768 - 52768) |  
(0 - 128) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 127, PATCH  
|
|#  
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)  
(0 - 127) |  
|
|
-64 - +63  
|
|
| 0000 cccc |  
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 9  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)  
|#  
|
00 27 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)  
|
| 0000 cccc |  
|
|
|
|
| 0000 dddd | Reverb Parameter 10  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 15 | 0000 0aaa | Part Octave Shift  
(61 - 67) |  
-3 - +3  
(1 - 127) |  
-63 - +63 |  
|#  
|
00 2B | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 16 | 0aaa aaaa | Part Velocity Sens Offset  
|
| 0000 cccc |  
|
|
|
| 0000 dddd | Reverb Parameter 11  
(12768 - 52768) |  
00 17 | 0aaa aaaa | Keyboard Range Lower  
(0 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
C-1 - UPPER  
|
|#  
|
00 2F | 0000 aaaa |  
| 0000 bbbb |  
00 18 | 0aaa aaaa | Keyboard Range Upper  
(0 - 127) |  
|
|
LOWER - G9  
|
|
| 0000 cccc |  
00 19 | 0aaa aaaa | Keyboard Fade Width Lower  
00 1A | 0aaa aaaa | Keyboard Fade Width Upper  
00 1B | 0000 000a | Mute Switch  
(0 - 127) |  
(0 - 127) |  
(0 - 1) |  
|
| 0000 dddd | Reverb Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 33 | 0000 aaaa |  
| 0000 bbbb |  
|
|
OFF, MUTE  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 13) |  
|
| 0000 dddd | Reverb Parameter 13  
(12768 - 52768) |  
00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93)  
00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91)  
00 1F | 0000 aaaa | Part Output Assign  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 37 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
MFX, A, B, C<XV-3080/5080>, D<XV-5080>, |  
|
| 0000 cccc |  
1, 2, 3, 4, 5<XV-3080/5080>, 6<XV-3080/5080>, |  
|
| 0000 dddd | Reverb Parameter 14  
(12768 - 52768) |  
7<XV-5080>, 8<XV-5080>, PATCH  
00 20 | 0000 00aa | Part Output MFX Select <XV-5080>  
|
|
|
|
-20000 - +20000  
|
|
|
|
(0 - 2) |  
|#  
|
00 3B | 0000 aaaa |  
| 0000 bbbb |  
|
|
MFX1, MFX2, MFX3  
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 00 21 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Reverb Parameter 15  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3F | 0000 aaaa |  
| 0000 bbbb |  
1-2-7 Performance Keyboard  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | Reverb Parameter 16  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 43 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
00 00 | 0000 000a | Keyboard Mode  
(0 - 1) |  
|
| 0000 cccc |  
|
|
LAYER, SINGLE  
|
|
| 0000 dddd | Reverb Parameter 17  
(12768 - 52768) |  
00 01 | 0000 aaaa | Arpeggio Zone Number  
(0 - 15) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
ZONE1 - ZONE16  
|
|#  
|
00 47 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 00aa aaaa | Arpeggio Style  
(0 - 44) |  
1 - 45  
(0 - 37) |  
1 - 38  
(0 - 114) |  
1 - 115 |  
|
| 0000 cccc |  
|
|
|
|
| 0000 dddd | Reverb Parameter 18  
(12768 - 52768) |  
00 03 | 00aa aaaa | Arpeggio Motif  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 4B | 0000 aaaa |  
| 0000 bbbb |  
00 04 | 0aaa aaaa | Arpeggio Beat Pattern  
|
|
|
| 0000 cccc |  
00 05 | 0aaa aaaa | Arpeggio Accent Rate  
00 06 | 0aaa aaaa | Arpeggio Shuffle Rate  
00 07 | 0aaa aaaa | Arpeggio Keyboard Velocity  
(0 - 100) |  
(50 - 90) |  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 19  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4F | 0000 aaaa |  
| 0000 bbbb |  
|
|
REAL, 1 - 127  
|
00 08 | 0000 0aaa | Arpeggio Octave Range  
(61 - 67) |  
|
|
| 0000 cccc |  
|
|
-3 - +3  
|
| 0000 dddd | Reverb Parameter 20  
(12768 - 52768) |  
-20000 - +20000 |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | Beam Assign  
(0 - 103) |  
OFF, CC01 - CC31, CC33 - CC95, |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
| 00 00 00 53 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
PITCH BEND, AFTERTOUCH, OCT UP, OCT DOWN, |  
START/STOP, TAP TEMPO  
|
00 0A | 0000 00aa | Beam Output Mode  
(0 - 3) |  
|
|
OFF, INT, MIDI, BOTH  
|
1-2-5 Performance MIDI  
00 0B | 0000 000a | Beam Polarity  
(0 - 1) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
STANDARD, REVERSE  
|
(0 - 127) |  
(0 - 127) |  
| Offset  
|
|
|
00 0C | 0aaa aaaa | Beam Range Lower  
00 0D | 0aaa aaaa | Beam Range Upper  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Receive Program Change  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
| 00 00 00 0E | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
00 01 | 0000 000a | Receive Bank Select  
|
|
|
00 02 | 0000 000a | Receive Bender  
1-2-8 Performance Zone  
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
00 03 | 0000 000a | Receive Polyphonic Key Pressure  
| Offset  
|
|
|
|
|
|
|
Address |  
Description  
00 04 | 0000 000a | Receive Channel Pressure  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Transmit Channel  
(0 - 15) |  
1 - 16  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
00 05 | 0000 000a | Receive Modulation  
|
|
|
|
|
|
00 01 | 0000 000a | Internal Switch  
00 06 | 0000 000a | Receive Volume  
|
|
|
|
|
|
00 02 | 0000 000a | External Switch  
00 07 | 0000 000a | Receive Pan  
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 08 | 0000 000a | Receive Expression  
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb | External Bank Select MSB (CC# 0)  
|
|
|
|
(0 - 128) |  
00 09 | 0000 000a | Receive Hold-1  
|
|
|
|
0 - 127, NO-SEND  
|
(0 - 127) |  
|
|
|
|
00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32)  
00 06 | 0000 aaaa |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
|
|
|
|
00 0A | 0000 000a | Phase Lock  
(0 - 1) |  
OFF, ON  
(0 - 4) |  
OFF, 1 - 4 |  
| 0000 bbbb | External Program Number (PC)  
(0 - 128) |  
|
|
|
|
|
|
0 - 127, NO-SEND  
|
|
00 0B | 0000 0aaa | Velocity Curve Type  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb | External Volume (CC# 7)  
|
|
(0 - 128) |  
0 - 127, NO-SEND  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
| 00 00 00 0C | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|#  
|
00 0A | 0000 aaaa |  
| 0000 bbbb | External Pan (CC# 10)  
(0 - 128) |  
L64 - 63R, NO-SEND  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
1-2-6 Performance Part  
|
|
|
|
00 0C | 0aaa aaaa | Keyboard Range Lower  
(0 - 127) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
C-1 - UPPER  
|
| Offset  
|
|
|
00 0D | 0aaa aaaa | Keyboard Range Upper  
(0 - 127) |  
|
Address |  
Description  
|
|
LOWER - G9  
|
|—————————————+————————————————————————————————————————————————————————————————|  
|—————————————+————————————————————————————————————————————————————————————————|  
| 00 00 00 0E | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Receive Channel  
(0 - 15) |  
1 - 16  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
|
|
|
|
00 01 | 0000 000a | Receive Switch  
|
|
|
00 02 | 0000 000a | Receive MIDI1 <XV-5080>  
|
|
|
00 03 | 0000 000a | Receive MIDI2 <XV-5080>  
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)  
00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)  
00 06 | 0aaa aaaa | Patch Program Number (PC)  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
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00 07 | 0aaa aaaa | Part Level (CC# 7)  
00 08 | 0aaa aaaa | Part Pan (CC# 10)  
(0 - 127) |  
(0 - 127) |  
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L64 - 63R  
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2 8 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
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00 32 | 00aa aaaa | Matrix Control 1 Destination 4  
(0 - 33) |  
OFF, |  
1-3-1-1 Patch Common  
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PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
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Address |  
Description  
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00 00 | 0aaa aaaa | Patch Name 1  
(32 - 127) |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
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32 - 127 [ASCII]  
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00 01 | 0aaa aaaa | Patch Name 2  
(32 - 127) |  
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32 - 127 [ASCII]  
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00 02 | 0aaa aaaa | Patch Name 3  
(32 - 127) |  
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4  
(1 - 127) |  
-63 - +63 |  
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32 - 127 [ASCII]  
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00 03 | 0aaa aaaa | Patch Name 4  
(32 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |  
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32 - 127 [ASCII]  
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00 04 | 0aaa aaaa | Patch Name 5  
(32 - 127) |  
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OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |  
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |  
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32 - 127 [ASCII]  
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00 05 | 0aaa aaaa | Patch Name 6  
(32 - 127) |  
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32 - 127 [ASCII]  
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PITCH-ENV, TVF-ENV, TVA-ENV  
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00 06 | 0aaa aaaa | Patch Name 7  
(32 - 127) |  
00 35 | 00aa aaaa | Matrix Control 2 Destination 1  
(0 - 33) |  
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32 - 127 [ASCII]  
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OFF, |  
00 07 | 0aaa aaaa | Patch Name 8  
(32 - 127) |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
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32 - 127 [ASCII]  
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00 08 | 0aaa aaaa | Patch Name 9  
(32 - 127) |  
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32 - 127 [ASCII]  
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00 09 | 0aaa aaaa | Patch Name 10  
(32 - 127) |  
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32 - 127 [ASCII]  
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00 0A | 0aaa aaaa | Patch Name 11  
(32 - 127) |  
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32 - 127 [ASCII]  
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00 0B | 0aaa aaaa | Patch Name 12  
(32 - 127) |  
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32 - 127 [ASCII]  
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00 36 | 0aaa aaaa | Matrix Control 2 Sens 1  
(1 - 127) |  
00 0C | 0aaa aaaa | Patch Category  
(0 - 127) |  
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-63 - +63  
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|—————————————+———————————+————————————————————————————————————————————————————|  
00 37 | 00aa aaaa | Matrix Control 2 Destination 2  
(0 - 33) |  
OFF, |  
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00 0D | 0000 000a | Tone Type <XV-5080>  
(0 - 1) |  
4TONES, MULTI-PARTIAL |  
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PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
|—————————————+———————————+————————————————————————————————————————————————————|  
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|#  
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00 0E | 0aaa aaaa | Patch Level  
00 0F | 0aaa aaaa | Patch Pan  
(0 - 127) |  
(0 - 127) |  
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L64 - 63R  
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00 10 | 0000 000a | Patch Priority  
(0 - 1) |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
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LAST, LOUDEST  
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00 11 | 0aaa aaaa | Patch Coarse Tune  
(16 - 112) |  
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-48 - +48  
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00 12 | 0aaa aaaa | Patch Fine Tune  
(14 - 114) |  
-50 - +50  
(61 - 67) |  
-3 - +3  
(0 - 3) |  
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2  
(1 - 127) |  
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-63 - +63  
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00 13 | 0000 0aaa | Octave Shift  
00 39 | 00aa aaaa | Matrix Control 2 Destination 3  
(0 - 33) |  
OFF, |  
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00 14 | 0000 00aa | Stretch Tune Depth  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
|
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OFF, 1 - 3  
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(0 - 127) |  
(0 - 1) |  
00 15 | 0aaa aaaa | Analog Feel  
00 16 | 0000 000a | Mono/Poly  
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MONO, POLY  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
00 17 | 0000 000a | Legato Switch  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
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00 18 | 0000 000a | Legato Retrigger  
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00 19 | 0000 000a | Portamento Switch  
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3  
(1 - 127) |  
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-63 - +63  
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00 1A | 0000 000a | Portamento Mode  
(0 - 1) |  
00 3B | 00aa aaaa | Matrix Control 2 Destination 4  
(0 - 33) |  
OFF, |  
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NORMAL, LEGATO  
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00 1B | 0000 000a | Portamento Type  
(0 - 1) |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
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RATE, TIME  
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00 1C | 0000 000a | Portamento Start  
(0 - 1) |  
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PITCH, NOTE  
|
(0 - 127) |  
(0 - 1) |  
00 1D | 0aaa aaaa | Portamento Time  
00 1E | 0000 000a | Patch Clock Source  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
|
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PATCH, SYSTEM  
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00 1F | 0000 aaaa |  
| 0000 bbbb | Patch Tempo  
00 21 | 0000 000a | One Shot Mode <XV-5080>  
(20 - 250) |  
(0 - 1) |  
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4  
(1 - 127) |  
-63 - +63  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |  
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OFF, ON  
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|—————————————+———————————+————————————————————————————————————————————————————|  
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00 22 | 0aaa aaaa | Cutoff Offset  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
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OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |  
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |  
00 23 | 0aaa aaaa | Resonance Offset  
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00 24 | 0aaa aaaa | Attack Time Offset  
PITCH-ENV, TVF-ENV, TVA-ENV  
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00 3E | 00aa aaaa | Matrix Control 3 Destination 1  
(0 - 33) |  
00 25 | 0aaa aaaa | Release Time Offset  
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OFF, |  
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PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
00 26 | 0aaa aaaa | Velocity Sens Offset  
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|—————————————+———————————+————————————————————————————————————————————————————|  
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00 27 | 0000 aaaa | Patch Output Assign  
(0 - 13) |  
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MFX, A, B, C<XV-3080/5080>, D<XV-5080>, |  
1, 2, 3, 4, 5<XV-3080/5080>, 6<XV-3080/5080>, |  
7<XV-5080>, 8<XV-5080>, TONE  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
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00 28 | 0000 000a | TMT Control Switch  
(0 - 1) |  
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1  
(1 - 127) |  
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OFF, ON  
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-63 - +63  
|
00 29 | 00aa aaaa | Pitch Bend Range Up  
00 2A | 00aa aaaa | Pitch Bend Range Down  
(0 - 48) |  
(0 - 48) |  
00 40 | 00aa aaaa | Matrix Control 3 Destination 2  
(0 - 33) |  
OFF, |  
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|—————————————+———————————+————————————————————————————————————————————————————|  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
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00 2B | 0aaa aaaa | Matrix Control 1 Source  
(0 - 109) |  
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OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |  
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |  
PITCH ENV, TVF ENV, TVA ENV  
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
00 2C | 00aa aaaa | Matrix Control 1 Destination 1  
(0 - 33) |  
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OFF, |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2  
(1 - 127) |  
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-63 - +63  
|
00 42 | 00aa aaaa | Matrix Control 3 Destination 3  
(0 - 33) |  
OFF, |  
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PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1  
(1 - 127) |  
|
|
-63 - +63  
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
00 2E | 00aa aaaa | Matrix Control 1 Destination 2  
(0 - 33) |  
OFF, |  
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PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3  
(1 - 127) |  
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-63 - +63  
|
00 44 | 00aa aaaa | Matrix Control 3 Destination 4  
(0 - 33) |  
OFF, |  
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PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2  
(1 - 127) |  
|
|
-63 - +63  
|
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
00 30 | 00aa aaaa | Matrix Control 1 Destination 3  
(0 - 33) |  
OFF, |  
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PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4  
(1 - 127) |  
-63 - +63 |  
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PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3  
(1 - 127) |  
-63 - +63 |  
|
|
2 8 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 29 | 0000 aaaa |  
| 0000 bbbb |  
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00 46 | 0aaa aaaa | Matrix Control 4 Source  
(0 - 109) |  
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OFF, CC01 - CC31, CC33 - CC95, |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4, |  
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, |  
|
| 0000 cccc |  
|
|
| 0000 dddd | MFX Parameter 7  
(12768 - 52768) |  
|
|
-20000 - +20000  
|
|
|
|
PITCH-ENV, TVF-ENV, TVA-ENV  
|
|#  
|
00 2D | 0000 aaaa |  
| 0000 bbbb |  
00 47 | 00aa aaaa | Matrix Control 4 Destination 1  
(0 - 33) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, |  
|
| 0000 cccc |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
|
| 0000 dddd | MFX Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 31 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 9  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 35 | 0000 aaaa |  
| 0000 bbbb |  
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1  
(1 - 127) |  
|
| 0000 cccc |  
|
|
-63 - +63  
|
|
| 0000 dddd | MFX Parameter 10  
(12768 - 52768) |  
00 49 | 00aa aaaa | Matrix Control 4 Destination 2  
(0 - 33) |  
OFF, |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
00 39 | 0000 aaaa |  
| 0000 bbbb |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 11  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3D | 0000 aaaa |  
| 0000 bbbb |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2  
(1 - 127) |  
|#  
|
00 41 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 4B | 00aa aaaa | Matrix Control 4 Destination 3  
(0 - 33) |  
OFF, |  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 13  
(12768 - 52768) |  
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 45 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 14  
(12768 - 52768) |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 49 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 15  
(12768 - 52768) |  
|
|
-63 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 4D | 00aa aaaa | Matrix Control 4 Destination 4  
(0 - 33) |  
OFF, |  
|#  
|
00 4D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, |  
CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, |  
LFO2 PCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, |  
LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, |  
LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, |  
PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, |  
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, |  
TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, |  
TMT, FXM DEPTH, MFX CTRL1 - MFX CTRL4 |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 16  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 51 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 17  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 55 | 0000 aaaa |  
| 0000 bbbb |  
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4  
(1 - 127) |  
-63 - +63  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 18  
(12768 - 52768) |  
| 00 00 00 4F | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 59 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 19  
(12768 - 52768) |  
1-3-1-2 Patch Common MFX  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
| Offset  
|
|
|
|
Address |  
Description  
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 20  
(12768 - 52768) |  
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type  
(0 - 127) |  
0 - 72 |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
00 01 | 0aaa aaaa | MFX Dry Send Level  
00 02 | 0aaa aaaa | MFX Chorus Send Level  
00 03 | 0aaa aaaa | MFX Reverb Send Level  
00 04 | 0000 00aa | MFX Output Assign  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 21  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|#  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 22  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 06 | 0aaa aaaa | MFX Control 1 Sens  
(1 - 127) |  
|#  
|
00 69 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 07 | 0aaa aaaa | MFX Control 2 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 23  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 08 | 0aaa aaaa | MFX Control 2 Sens  
(1 - 127) |  
|#  
|
00 6D | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 09 | 0aaa aaaa | MFX Control 3 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 24  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0A | 0aaa aaaa | MFX Control 3 Sens  
(1 - 127) |  
|#  
|
00 71 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 0B | 0aaa aaaa | MFX Control 4 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 25  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0C | 0aaa aaaa | MFX Control 4 Sens  
(1 - 127) |  
|#  
|
00 75 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
00 0D | 000a aaaa | MFX Control Assign 1  
(0 - 16) |  
|
| 0000 dddd | MFX Parameter 26  
(12768 - 52768) |  
|
|
|
OFF, 1 - 16  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
00 0E | 000a aaaa | MFX Control Assign 2  
(0 - 16) |  
|#  
|
00 79 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
OFF, 1 - 16  
|
|
00 0F | 000a aaaa | MFX Control Assign 3  
(0 - 16) |  
|
| 0000 cccc |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 dddd | MFX Parameter 27  
(12768 - 52768) |  
|
00 10 | 000a aaaa | MFX Control Assign 4  
(0 - 16) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
OFF, 1 - 16  
|
|#  
|
00 7D | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 11 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 28  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 1  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 01 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 15 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 29  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 2  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 05 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 19 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 30  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 3  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 09 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 1D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 31  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 4  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 0D | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 21 | 0000 aaaa |  
| 0000 bbbb |  
|
|
| 0000 cccc |  
|
| 0000 cccc |  
| 0000 dddd | MFX Parameter 32  
(12768 - 52768) |  
-20000 - +20000 |  
|
| 0000 dddd | MFX Parameter 5  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|#  
|
00 25 | 0000 aaaa |  
| 0000 bbbb |  
| 00 00 01 11 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 6  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
2 8 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
|
00 2B | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
1-3-1-3 Patch Common Chorus  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 cccc |  
|
|
| 0000 dddd | Reverb Parameter 11  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 2F | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type  
(0 - 2) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Chorus Level  
00 02 | 0000 00aa | Chorus Output Assign  
|
| 0000 dddd | Reverb Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|#  
|
00 33 | 0000 aaaa |  
| 0000 bbbb |  
00 03 | 0000 00aa | Chorus Output Select  
(0 - 2) |  
|
|
MAIN, REV, MAIN+REV  
|
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 13  
(12768 - 52768) |  
|#  
|
00 04 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 37 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 14  
(12768 - 52768) |  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 2  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15  
(12768 - 52768) |  
|#  
|
00 0C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 3  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 16  
(12768 - 52768) |  
|#  
|
00 10 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 43 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 4  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 17  
(12768 - 52768) |  
|#  
|
00 14 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 47 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 5  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18  
(12768 - 52768) |  
|#  
|
00 18 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 6  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19  
(12768 - 52768) |  
|#  
|
00 1C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 7  
(12768 - 52768) |  
|
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
| 0000 dddd | Reverb Parameter 20  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 20 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 00 53 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Chorus Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 24 | 0000 aaaa |  
| 0000 bbbb |  
1-3-1-5 Patch TMT (Tone Mix Table)  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 9  
(12768 - 52768) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
-20000 - +20000  
|
|
|
|
| Offset  
|
|
|
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2  
(0 - 9) |  
1 - 10 |  
|
| 0000 dddd | Chorus Parameter 10  
(12768 - 52768) |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 01 | 0000 00aa | Booster 1 & 2  
(0 - 3) |  
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
|
|
0, +6, +12, +18 [dB]  
|
00 02 | 0000 aaaa | Structure Type 3 & 4  
(0 - 9) |  
|
| 0000 cccc |  
|
|
1 - 10  
|
|
| 0000 dddd | Chorus Parameter 11  
(12768 - 52768) |  
00 03 | 0000 00aa | Booster 3 & 4  
(0 - 3) |  
0, +6, +12, +18 [dB] |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
00 04 | 0000 00aa | TMT Velocity Control  
(0 - 2) |  
OFF, ON, RANDOM |  
|
|
| 0000 cccc |  
|
|
| 0000 dddd | Chorus Parameter 12  
(12768 - 52768) |  
-20000 - +20000 |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
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|
|
|
|
|
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|
00 05 | 0000 000a | TMT1 Tone Switch  
(0 - 1) |  
OFF, ON |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
| 00 00 00 34 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower  
(0 - 127) |  
|
|
C-1 - UPPER  
|
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper  
(0 - 127) |  
|
|
LOWER - G9  
|
1-3-1-4 Patch Common Reverb  
+——————————————————————————————————————————————————————————————————————————————+  
00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower  
00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper  
00 0A | 0aaa aaaa | TMT1 Velocity Range Lower  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
| Offset  
|
|
|
|
Address |  
Description  
|
|
1 - UPPER  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper  
(1 - 127) |  
|
|
|
|
00 00 | 0000 aaaa | Reverb Type  
(0 - 4) |  
(0 - 127) |  
(0 - 3) |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
00 01 | 0aaa aaaa | Reverb Level  
00 02 | 0000 00aa | Reverb Output Assign  
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower  
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper  
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | TMT2 Tone Switch  
(0 - 1) |  
OFF, ON |  
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower  
(0 - 127) |  
|
| 0000 cccc |  
|
|
C-1 - UPPER  
|
|
| 0000 dddd | Reverb Parameter 1  
(12768 - 52768) |  
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper  
(0 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
LOWER - G9  
|
|#  
|
00 07 | 0000 aaaa |  
| 0000 bbbb |  
00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower  
00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper  
00 13 | 0aaa aaaa | TMT2 Velocity Range Lower  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 2  
(12768 - 52768) |  
|
|
1 - UPPER  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper  
(1 - 127) |  
|#  
|
00 0B | 0000 aaaa |  
| 0000 bbbb |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower  
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 3  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch  
(0 - 1) |  
OFF, ON |  
|#  
|
00 0F | 0000 aaaa |  
| 0000 bbbb |  
|
|
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower  
(0 - 127) |  
|
| 0000 cccc |  
|
|
C-1 - UPPER  
|
|
| 0000 dddd | Reverb Parameter 4  
(12768 - 52768) |  
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper  
(0 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
LOWER - G9  
|
|#  
|
00 13 | 0000 aaaa |  
| 0000 bbbb |  
00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower  
00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper  
00 1C | 0aaa aaaa | TMT3 Velocity Range Lower  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 5  
(12768 - 52768) |  
|
|
1 - UPPER  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper  
(1 - 127) |  
|#  
|
00 17 | 0000 aaaa |  
| 0000 bbbb |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower  
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 6  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch  
(0 - 1) |  
OFF, ON |  
|#  
|
00 1B | 0000 aaaa |  
| 0000 bbbb |  
|
|
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower  
(0 - 127) |  
|
| 0000 cccc |  
|
|
C-1 - UPPER  
|
|
| 0000 dddd | Reverb Parameter 7  
(12768 - 52768) |  
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper  
(0 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
LOWER - G9  
|
|#  
|
00 1F | 0000 aaaa |  
| 0000 bbbb |  
00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower  
00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper  
00 25 | 0aaa aaaa | TMT4 Velocity Range Lower  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 8  
(12768 - 52768) |  
|
|
1 - UPPER  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper  
(1 - 127) |  
|#  
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower  
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 9  
(12768 - 52768) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
| 00 00 00 29 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|#  
|
00 27 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 10  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
2 8 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
|
|
00 46 | 0aaa aaaa | Pitch Env Level 3  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63 |  
1-3-1-6 Patch Tone  
|
|
|
00 47 | 0aaa aaaa | Pitch Env Level 4  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| Offset  
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
Address |  
Description  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type  
(0 - 6) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
|
00 00 | 0aaa aaaa | Tone Level  
(0 - 127) |  
(16 - 112) |  
LPF3  
|
00 01 | 0aaa aaaa | Tone Coarse Tune  
00 49 | 0aaa aaaa | TVF Cutoff Frequency  
00 4A | 00aa aaaa | TVF Cutoff Keyfollow  
(0 - 127) |  
(44 - 84) |  
|
|
-48 - +48  
|
00 02 | 0aaa aaaa | Tone Fine Tune  
(14 - 114) |  
-50 - +50  
(0 - 30) |  
|
|
-200 - +200  
|
|
|
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve  
(0 - 7) |  
00 03 | 000a aaaa | Tone Random Pitch Depth  
|
|
FIXED, 1 - 7  
|
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |  
10, 20, 30, 40, 50, 60, 70, 80, |  
90, 100, 200, 300, 400, 500, |  
600, 700, 800, 900, 1000, 1100, |  
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens  
(1 - 127) |  
|
|
-63 - +63  
|
00 4D | 0aaa aaaa | TVF Resonance  
(0 - 127) |  
(1 - 127) |  
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens  
1200  
(0 - 127) |  
L64 - 63R  
(54 - 74) |  
|
|
|
-63 - +63  
|
00 04 | 0aaa aaaa | Tone Pan  
00 4F | 0aaa aaaa | TVF Env Depth  
(1 - 127) |  
-63 - +63 |  
|
|
|
|
|
00 05 | 000a aaaa | Tone Pan Keyfollow  
00 50 | 0000 0aaa | TVF Env Velocity Curve  
(0 - 7) |  
|
|
-100 - +100  
|
(0 - 63) |  
(1 - 127) |  
|
|
FIXED, 1 - 7  
|
00 06 | 00aa aaaa | Tone Random Pan Depth  
00 07 | 0aaa aaaa | Tone Alternate Pan Depth  
00 51 | 0aaa aaaa | TVF Env Velocity Sens  
(1 - 127) |  
|
|
-63 - +63  
|
|
|
L63 - 63R  
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(54 - 74) |  
00 08 | 0000 000a | Tone Env Mode  
(0 - 1) |  
|
|
|
|
|
NO-SUS, SUSTAIN  
|
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens  
00 09 | 0000 00aa | Tone Delay Mode  
(0 - 3) |  
|
|
|
|
|
|
|
NORMAL, HOLD, KEY-OFF-NORMAL, |  
00 54 | 000a aaaa | TVF Env Time Keyfollow  
KEY-OFF-DECAY  
|
|
|
|
-100 - +100  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
00 0A | 0000 aaaa |  
00 55 | 0aaa aaaa | TVF Env Time 1  
00 56 | 0aaa aaaa | TVF Env Time 2  
00 57 | 0aaa aaaa | TVF Env Time 3  
00 58 | 0aaa aaaa | TVF Env Time 4  
00 59 | 0aaa aaaa | TVF Env Level 0  
00 5A | 0aaa aaaa | TVF Env Level 1  
00 5B | 0aaa aaaa | TVF Env Level 2  
00 5C | 0aaa aaaa | TVF Env Level 3  
00 5D | 0aaa aaaa | TVF Env Level 4  
| 0000 bbbb | Tone Delay Time  
(0 - 149) |  
|
|
0 - 127, MUSICAL-NOTES  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Tone Dry Send Level  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 12) |  
00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX)  
00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX)  
00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX)  
00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX)  
00 11 | 0000 aaaa | Tone Output Assign  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
MFX, A, B, C<XV-3080/5080>, D<XV-5080>, |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level  
(54 - 74) |  
1, 2, 3, 4, 5<XV-3080/5080>, 6<XV-3080/5080>, |  
|
|
-100 - +100  
|
7<XV-5080>, 8<XV-5080>  
|
00 5F | 0aaa aaaa | Bias Position  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
C-1 - G9  
(0 - 3) |  
|
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
00 60 | 0000 00aa | Bias Direction  
|
|
|
|
|
LOWER, UPPER, LOWER&UPPER, ALL  
|
00 13 | 0000 000a | Tone Receive Expression  
00 61 | 0000 0aaa | TVA Level Velocity Curve  
(0 - 7) |  
|
|
|
|
|
FIXED, 1 - 7  
|
00 14 | 0000 000a | Tone Receive Hold-1  
00 62 | 0aaa aaaa | TVA Level Velocity Sens  
(1 - 127) |  
|
|
|
|
-63 - +63  
|
00 15 | 0000 000a | Tone Receive Pan Mode  
(0 - 1) |  
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(54 - 74) |  
|
|
CONTINUOUS, KEY-ON  
|
|
|
|
00 16 | 0000 000a | Tone Redamper Switch  
(0 - 1) |  
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens  
|
|
OFF, ON  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 65 | 000a aaaa | TVA Env Time Keyfollow  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1  
(0 - 2) |  
|
|
-100 - +100  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|
|
OFF, ON, REVERSE  
|
00 66 | 0aaa aaaa | TVA Env Time 1  
00 67 | 0aaa aaaa | TVA Env Time 2  
00 68 | 0aaa aaaa | TVA Env Time 3  
00 69 | 0aaa aaaa | TVA Env Time 4  
00 6A | 0aaa aaaa | TVA Env Level 1  
00 6B | 0aaa aaaa | TVA Env Level 2  
00 6C | 0aaa aaaa | TVA Env Level 3  
00 18 | 0000 00aa | Tone Control 1 Switch 2  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 19 | 0000 00aa | Tone Control 1 Switch 3  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 1A | 0000 00aa | Tone Control 1 Switch 4  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 1B | 0000 00aa | Tone Control 2 Switch 1  
(0 - 2) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
OFF, ON, REVERSE  
|
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Wave Form  
(0 - 10) |  
SIN, TRI, SAW-UP, SAW-DW, SQR, |  
00 1C | 0000 00aa | Tone Control 2 Switch 2  
(0 - 2) |  
|
|
|
|
|
|
|
|
OFF, ON, REVERSE  
|
RND, BEND-UP, BEND-DW, TRP, S&H  
CHS  
|
|
|
00 1D | 0000 00aa | Tone Control 2 Switch 3  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 6E | 0000 aaaa |  
| 0000 bbbb | LFO1 Rate  
00 1E | 0000 00aa | Tone Control 2 Switch 4  
(0 - 2) |  
(0 - 149) |  
|
|
OFF, ON, REVERSE  
|
|
|
0 - 127, MUSICAL-NOTES  
|
00 1F | 0000 00aa | Tone Control 3 Switch 1  
(0 - 2) |  
00 70 | 0000 0aaa | LFO1 Offset  
(0 - 4) |  
|
|
OFF, ON, REVERSE  
|
|
|
-100, -50, 0, +50, +100  
|
(0 - 127) |  
(0 - 127) |  
(54 - 74) |  
00 20 | 0000 00aa | Tone Control 3 Switch 2  
(0 - 2) |  
00 71 | 0aaa aaaa | LFO1 Rate Detune  
00 72 | 0aaa aaaa | LFO1 Delay Time  
|
|
OFF, ON, REVERSE  
|
00 21 | 0000 00aa | Tone Control 3 Switch 3  
(0 - 2) |  
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow  
|
|
OFF, ON, REVERSE  
|
|
|
-100 - +100  
|
00 22 | 0000 00aa | Tone Control 3 Switch 4  
(0 - 2) |  
00 74 | 0000 00aa | LFO1 Fade Mode  
(0 - 3) |  
|
|
OFF, ON, REVERSE  
|
|
|
|
|
ON-IN, ON-OUT, |  
00 23 | 0000 00aa | Tone Control 4 Switch 1  
(0 - 2) |  
OFF-IN, OFF-OUT  
|
|
|
OFF, ON, REVERSE  
|
00 75 | 0aaa aaaa | LFO1 Fade Time  
00 76 | 0000 000a | LFO1 Key Trigger  
(0 - 127) |  
(0 - 1) |  
00 24 | 0000 00aa | Tone Control 4 Switch 2  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
|
|
OFF, ON  
|
00 25 | 0000 00aa | Tone Control 4 Switch 3  
(0 - 2) |  
00 77 | 0aaa aaaa | LFO1 Pitch Depth  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
|
|
OFF, ON, REVERSE  
|
|
|
|
00 26 | 0000 00aa | Tone Control 4 Switch 4  
(0 - 2) |  
00 78 | 0aaa aaaa | LFO1 TVF Depth  
|
|
OFF, ON, REVERSE  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 79 | 0aaa aaaa | LFO1 TVA Depth  
|
00 27 | 0000 00aa | Wave Group Type  
(0 - 3) |  
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
|
|
|
|
|
|
|
|
00 7A | 0aaa aaaa | LFO1 Pan Depth  
|
SAMPLE<XV-5080>  
|
|
|
|
|
|
|
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 7B | 0000 aaaa | LFO2 Wave Form  
(0 - 10) |  
SIN, TRI, SAW-UP, SAW-DW, SQR, |  
|
| 0000 cccc |  
|
|
|
|
|
|
|
| 0000 dddd | Wave Group ID  
(0 - 16384) |  
RND, BEND-UP, BEND-DW, TRP, S&H  
CHS  
|
|
|
|
|
|
OFF, 1 - 16384  
|
|
|
|
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
00 7C | 0000 aaaa |  
| 0000 bbbb | LFO2 Rate  
(0 - 149) |  
|
| 0000 cccc |  
|
|
0 - 127, MUSICAL-NOTES  
|
|
| 0000 dddd | Wave Number L (Mono)  
(0 - 16384) |  
00 7E | 0000 0aaa | LFO2 Offset  
(0 - 4) |  
|
|
|
OFF, 1 - 16384  
|
|
|
|
|
|
-100, -50, 0, +50, +100  
|
(0 - 127) |  
(0 - 127) |  
(54 - 74) |  
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
00 7F | 0aaa aaaa | LFO2 Rate Detune  
01 00 | 0aaa aaaa | LFO2 Delay Time  
|
| 0000 cccc |  
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow  
|
| 0000 dddd | Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384 |  
|
|
-100 - +100  
|
|
|
|
01 02 | 0000 00aa | LFO2 Fade Mode  
(0 - 3) |  
|
00 34 | 0000 00aa | Wave Gain  
(0 - 3) |  
|
|
|
|
ON-IN, ON-OUT, |  
|
|
|
-6, 0, +6, +12 [dB]  
|
OFF-IN, OFF-OUT  
|
|
00 35 | 0000 000a | Wave FXM Switch  
(0 - 1) |  
01 03 | 0aaa aaaa | LFO2 Fade Time  
01 04 | 0000 000a | LFO2 Key Trigger  
(0 - 127) |  
(0 - 1) |  
|
|
|
OFF, ON  
|
|
00 36 | 0000 00aa | Wave FXM Color  
(0 - 3) |  
|
|
OFF, ON  
|
|
|
|
1 - 4  
|
01 05 | 0aaa aaaa | LFO2 Pitch Depth  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
|—————————————+————————————————————————————————————————————————————————————————|  
| 00 00 01 09 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
00 37 | 000a aaaa | Wave FXM Depth  
00 38 | 0000 000a | Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
|
|
|
|
01 06 | 0aaa aaaa | LFO2 TVF Depth  
|
|
|
OFF, ON  
|
|
|
|
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow  
(44 - 84) |  
-200 - +200 |  
01 07 | 0aaa aaaa | LFO2 TVA Depth  
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
01 08 | 0aaa aaaa | LFO2 Pan Depth  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3A | 000a aaaa | Pitch Env Depth  
(52 - 76) |  
-12 - +12  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(54 - 74) |  
|
|
|
|
|
|
00 3B | 0aaa aaaa | Pitch Env Velocity Sens  
|
|
|
|
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens  
|
|
|
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens  
|
|
|
00 3E | 000a aaaa | Pitch Env Time Keyfollow  
|
|
-100 - +100  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
00 3F | 0aaa aaaa | Pitch Env Time 1  
00 40 | 0aaa aaaa | Pitch Env Time 2  
00 41 | 0aaa aaaa | Pitch Env Time 3  
00 42 | 0aaa aaaa | Pitch Env Time 4  
00 43 | 0aaa aaaa | Pitch Env Level 0  
|
|
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63 |  
|
00 44 | 0aaa aaaa | Pitch Env Level 1  
|
|
|
00 45 | 0aaa aaaa | Pitch Env Level 2  
|
|
2 8 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
|
00 35 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
1-3-2-1 Rhythm Common  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | MFX Parameter 10  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 39 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Rhythm Name 1  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | MFX Parameter 11  
(12768 - 52768) |  
00 01 | 0aaa aaaa | Rhythm Name 2  
(32 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 3D | 0000 aaaa |  
| 0000 bbbb |  
00 02 | 0aaa aaaa | Rhythm Name 3  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 cccc |  
00 03 | 0aaa aaaa | Rhythm Name 4  
(32 - 127) |  
|
| 0000 dddd | MFX Parameter 12  
(12768 - 52768) |  
|
|
32 - 127 [ASCII]  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 04 | 0aaa aaaa | Rhythm Name 5  
(32 - 127) |  
|#  
|
00 41 | 0000 aaaa |  
| 0000 bbbb |  
|
|
32 - 127 [ASCII]  
|
00 05 | 0aaa aaaa | Rhythm Name 6  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | MFX Parameter 13  
(12768 - 52768) |  
00 06 | 0aaa aaaa | Rhythm Name 7  
(32 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 45 | 0000 aaaa |  
| 0000 bbbb |  
00 07 | 0aaa aaaa | Rhythm Name 8  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 cccc |  
00 08 | 0aaa aaaa | Rhythm Name 9  
(32 - 127) |  
|
| 0000 dddd | MFX Parameter 14  
(12768 - 52768) |  
|
|
32 - 127 [ASCII]  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 09 | 0aaa aaaa | Rhythm Name 10  
(32 - 127) |  
|#  
|
00 49 | 0000 aaaa |  
| 0000 bbbb |  
|
|
32 - 127 [ASCII]  
|
00 0A | 0aaa aaaa | Rhythm Name 11  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | MFX Parameter 15  
(12768 - 52768) |  
00 0B | 0aaa aaaa | Rhythm Name 12  
(32 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 4D | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
00 0C | 0aaa aaaa | Rhythm Level  
(0 - 127) |  
(0 - 1) |  
|
| 0000 cccc |  
|
00 0D | 0000 000a | Rhythm Clock Source  
|
| 0000 dddd | MFX Parameter 16  
(12768 - 52768) |  
|
|
|
RHYTHM, SYSTEM  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 0E | 0000 aaaa |  
| 0000 bbbb | Rhythm Tempo  
00 10 | 0000 000a | One Shot Mode <XV-5080>  
|#  
|
00 51 | 0000 aaaa |  
| 0000 bbbb |  
(20 - 250) |  
(0 - 1) |  
|
|
| 0000 cccc |  
|
|
|
OFF, ON  
|
|
| 0000 dddd | MFX Parameter 17  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign  
(0 - 13) |  
|#  
|
00 55 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
MFX, A, B, C<XV-3080/5080>, D<XV-5080>, |  
1, 2, 3, 4, 5<XV-3080/5080>, 6<XV-3080/5080>, |  
|
| 0000 cccc |  
7<XV-5080>, 8<XV-5080>, TONE  
|
|
| 0000 dddd | MFX Parameter 18  
(12768 - 52768) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
| 00 00 00 12 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|#  
|
00 59 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 19  
(12768 - 52768) |  
1-3-2-2 Rhythm Common MFX  
|
|
|
-20000 - +20000  
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
|#  
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
| Offset  
|
|
|
|
Address |  
Description  
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 20  
(12768 - 52768) |  
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type  
(0 - 127) |  
0 - 72  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
00 01 | 0aaa aaaa | MFX Dry Send Level  
00 02 | 0aaa aaaa | MFX Chorus Send Level  
00 03 | 0aaa aaaa | MFX Reverb Send Level  
00 04 | 0000 00aa | MFX Output Assign  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 21  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|#  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 22  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 06 | 0aaa aaaa | MFX Control 1 Sens  
(1 - 127) |  
|#  
|
00 69 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 07 | 0aaa aaaa | MFX Control 2 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 23  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 08 | 0aaa aaaa | MFX Control 2 Sens  
(1 - 127) |  
|#  
|
00 6D | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 09 | 0aaa aaaa | MFX Control 3 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 24  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0A | 0aaa aaaa | MFX Control 3 Sens  
(1 - 127) |  
|#  
|
00 71 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
00 0B | 0aaa aaaa | MFX Control 4 Source  
(0 - 101) |  
|
| 0000 cccc |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
|
| 0000 dddd | MFX Parameter 25  
(12768 - 52768) |  
PITCH BEND, AFTERTOUCH, SYS-CTRL1 - SYS-CTRL4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0C | 0aaa aaaa | MFX Control 4 Sens  
(1 - 127) |  
|#  
|
00 75 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
00 0D | 000a aaaa | MFX Control Assign 1  
(0 - 16) |  
|
| 0000 dddd | MFX Parameter 26  
(12768 - 52768) |  
|
|
|
OFF, 1 - 16  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
00 0E | 000a aaaa | MFX Control Assign 2  
(0 - 16) |  
|#  
|
00 79 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
OFF, 1 - 16  
|
|
00 0F | 000a aaaa | MFX Control Assign 3  
(0 - 16) |  
|
| 0000 cccc |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 dddd | MFX Parameter 27  
(12768 - 52768) |  
|
00 10 | 000a aaaa | MFX Control Assign 4  
(0 - 16) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
OFF, 1 - 16  
|
|#  
|
00 7D | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 11 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 28  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 1  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 01 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 15 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 29  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 2  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 05 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 19 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 30  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 3  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 09 | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 1D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 31  
(12768 - 52768) |  
|
| 0000 dddd | MFX Parameter 4  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 0D | 0000 aaaa |  
| 0000 bbbb |  
|#  
|
00 21 | 0000 aaaa |  
| 0000 bbbb |  
|
|
| 0000 cccc |  
|
| 0000 cccc |  
| 0000 dddd | MFX Parameter 32  
(12768 - 52768) |  
-20000 - +20000 |  
|
| 0000 dddd | MFX Parameter 5  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|#  
|
00 25 | 0000 aaaa |  
| 0000 bbbb |  
| 00 00 01 11 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 6  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 29 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 7  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 2D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 31 | 0000 aaaa |  
| 0000 bbbb |  
|
|
| 0000 cccc |  
| 0000 dddd | MFX Parameter 9  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
2 8 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
|
00 2B | 0000 aaaa |  
| 0000 bbbb |  
|
1-3-2-3 Rhythm Common Chorus  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
| 0000 cccc |  
|
|
| 0000 dddd | Reverb Parameter 11  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 2F | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type  
(0 - 2) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Chorus Level  
00 02 | 0000 00aa | Chorus Output Assign  
|
| 0000 dddd | Reverb Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|#  
|
00 33 | 0000 aaaa |  
| 0000 bbbb |  
00 03 | 0000 00aa | Chorus Output Select  
(0 - 2) |  
|
|
MAIN, REV, MAIN+REV  
|
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 13  
(12768 - 52768) |  
|#  
|
00 04 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 37 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 14  
(12768 - 52768) |  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 2  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15  
(12768 - 52768) |  
|#  
|
00 0C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 3  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 16  
(12768 - 52768) |  
|#  
|
00 10 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 43 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 4  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 17  
(12768 - 52768) |  
|#  
|
00 14 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 47 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 5  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18  
(12768 - 52768) |  
|#  
|
00 18 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 6  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19  
(12768 - 52768) |  
|#  
|
00 1C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 7  
(12768 - 52768) |  
|
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
| 0000 dddd | Reverb Parameter 20  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 20 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 00 53 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Chorus Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 24 | 0000 aaaa |  
| 0000 bbbb |  
1-3-2-5 Rhythm Tone  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 9  
(12768 - 52768) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
-20000 - +20000  
|
|
|
|
| Offset  
|
|
|
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1  
(32 - 127) |  
|
| 0000 dddd | Chorus Parameter 10  
(12768 - 52768) |  
|
|
32 - 127 [ASCII]  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 01 | 0aaa aaaa | Tone Name 2  
(32 - 127) |  
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
|
|
32 - 127 [ASCII]  
|
00 02 | 0aaa aaaa | Tone Name 3  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | Chorus Parameter 11  
(12768 - 52768) |  
00 03 | 0aaa aaaa | Tone Name 4  
(32 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
00 04 | 0aaa aaaa | Tone Name 5  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
|
| 0000 cccc |  
00 05 | 0aaa aaaa | Tone Name 6  
(32 - 127) |  
| 0000 dddd | Chorus Parameter 12  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
32 - 127 [ASCII]  
|
|
|
|
00 06 | 0aaa aaaa | Tone Name 7  
(32 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
32 - 127 [ASCII]  
|
| 00 00 00 34 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
00 07 | 0aaa aaaa | Tone Name 8  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 08 | 0aaa aaaa | Tone Name 9  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
1-3-2-4 Rhythm Common Reverb  
+——————————————————————————————————————————————————————————————————————————————+  
00 09 | 0aaa aaaa | Tone Name 10  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
| Offset  
|
|
|
00 0A | 0aaa aaaa | Tone Name 11  
(32 - 127) |  
|
Address |  
Description  
|
|
32 - 127 [ASCII]  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 0B | 0aaa aaaa | Tone Name 12  
(32 - 127) |  
|
|
|
|
00 00 | 0000 aaaa | Reverb Type  
(0 - 4) |  
(0 - 127) |  
(0 - 3) |  
|
|
32 - 127 [ASCII]  
|
00 01 | 0aaa aaaa | Reverb Level  
00 02 | 0000 00aa | Reverb Output Assign  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
00 0C | 0000 000a | Assign Type  
(0 - 1) |  
|
|
A, B, C<XV-3080/5080>, D<XV-5080>  
|
|
|
MULTI, SINGLE  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 0D | 000a aaaa | Mute Group  
(0 - 31) |  
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
OFF, 1 - 31  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level  
(0 - 127) |  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 1  
(12768 - 52768) |  
00 0F | 0aaa aaaa | Tone Coarse Tune  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
C-1 - G9  
|
|#  
|
00 07 | 0000 aaaa |  
| 0000 bbbb |  
00 10 | 0aaa aaaa | Tone Fine Tune  
(14 - 114) |  
-50 - +50  
(0 - 30) |  
|
|
|
|
| 0000 cccc |  
00 11 | 000a aaaa | Tone Random Pitch Depth  
|
| 0000 dddd | Reverb Parameter 2  
(12768 - 52768) |  
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |  
10, 20, 30, 40, 50, 60, 70, 80, |  
90, 100, 200, 300, 400, 500, |  
600, 700, 800, 900, 1000, 1100, |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 0B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
1200  
|
|
| 0000 dddd | Reverb Parameter 3  
(12768 - 52768) |  
00 12 | 0aaa aaaa | Tone Pan  
(0 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
L64 - 63R  
|
|#  
|
00 0F | 0000 aaaa |  
| 0000 bbbb |  
00 13 | 00aa aaaa | Tone Random Pan Depth  
00 14 | 0aaa aaaa | Tone Alternate Pan Depth  
(0 - 63) |  
(1 - 127) |  
|
| 0000 cccc |  
|
|
L63 - 63R  
|
|
| 0000 dddd | Reverb Parameter 4  
(12768 - 52768) |  
00 15 | 0000 000a | Tone Env Mode  
(0 - 1) |  
NO-SUS, SUSTAIN |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
00 13 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Tone Dry Send Level  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 12) |  
|
| 0000 cccc |  
00 17 | 0aaa aaaa | Tone Chorus Send Level  
00 18 | 0aaa aaaa | Tone Reverb Send Level  
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)  
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)  
00 1B | 0000 aaaa | Tone Output Assign  
|
| 0000 dddd | Reverb Parameter 5  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 17 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
|
|
|
|
MFX, A, B, C<XV-3080/5080>, D<XV-5080>, |  
|
| 0000 dddd | Reverb Parameter 6  
(12768 - 52768) |  
1, 2, 3, 4, 5<XV-3080/5080>, 6<XV-3080/5080>, |  
|
|
|
-20000 - +20000  
|
|
|
|
7<XV-5080>, 8<XV-5080>  
|
|#  
|
00 1B | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range  
00 1D | 0000 000a | Tone Receive Expression  
(0 - 48) |  
(0 - 1) |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 7  
(12768 - 52768) |  
|
|
OFF, ON  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 1E | 0000 000a | Tone Receive Hold-1  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
CONTINUOUS, KEY-ON |  
|#  
|
00 1F | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 1F | 0000 000a | Tone Receive Pan Mode  
|
| 0000 cccc |  
|
|
|
| 0000 dddd | Reverb Parameter 8  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
00 20 | 0000 00aa | WMT Velocity Control  
(0 - 2) |  
OFF, ON, RANDOM |  
|#  
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 9  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 27 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 10  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
2 8 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 21 | 0000 000a | WMT1 Wave Switch (0 - 1) |  
|
|
|
|
|
|
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower  
(1 - 127) |  
1 - UPPER  
(1 - 127) |  
|
(0 - 127) |  
(0 - 127) |  
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, ON  
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper  
00 22 | 0000 00aa | WMT1 Wave Group Type  
(0 - 3) |  
|
|
LOWER - 127  
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower  
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper  
SAMPLE<XV-5080>  
|
|
|
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 78 | 0000 000a | WMT4 Wave Switch  
(0 - 1) |  
| 0000 cccc |  
|
|
OFF, ON  
|
| 0000 dddd | WMT1 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
00 79 | 0000 00aa | WMT4 Wave Group Type  
(0 - 3) |  
|
|
|
|
|
|
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
00 27 | 0000 aaaa |  
| 0000 bbbb |  
SAMPLE<XV-5080>  
|
|
|
|
00 7A | 0000 aaaa |  
| 0000 bbbb |  
| 0000 cccc |  
| 0000 dddd | WMT1 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
| 0000 cccc |  
|
|
|
|
|
|
| 0000 dddd | WMT4 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
00 2B | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
00 7E | 0000 aaaa |  
| 0000 bbbb |  
| 0000 cccc |  
| 0000 dddd | WMT1 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384  
| 0000 cccc |  
|
|
|
| 0000 dddd | WMT4 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
00 2F | 0000 00aa | WMT1 Wave Gain  
(0 - 3) |  
|
|
|
|
|
|
|
|
-6, 0, +6, +12 [dB]  
|
01 02 | 0000 aaaa |  
| 0000 bbbb |  
00 30 | 0000 000a | WMT1 Wave FXM Switch  
(0 - 1) |  
|
|
OFF, ON  
|
| 0000 cccc |  
00 31 | 0000 00aa | WMT1 Wave FXM Color  
(0 - 3) |  
| 0000 dddd | WMT4 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384 |  
|
|
1 - 4  
|
|
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth  
00 33 | 0000 000a | WMT1 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
01 06 | 0000 00aa | WMT4 Wave Gain  
(0 - 3) |  
|
|
-6, 0, +6, +12 [dB]  
|
|
|
OFF, ON  
|
01 07 | 0000 000a | WMT4 Wave FXM Switch  
(0 - 1) |  
00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50  
(0 - 127) |  
L64 - 63R  
(0 - 1) |  
OFF, ON  
(0 - 2) |  
|
|
OFF, ON  
|
|
|
|
01 08 | 0000 00aa | WMT4 Wave FXM Color  
(0 - 3) |  
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune  
|
|
1 - 4  
|
|
|
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth  
01 0A | 0000 000a | WMT4 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
00 36 | 0aaa aaaa | WMT1 Wave Pan  
|
|
|
|
|
OFF, ON  
|
00 37 | 0000 000a | WMT1 Wave Random Pan Switch  
01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50  
(0 - 127) |  
L64 - 63R  
(0 - 1) |  
OFF, ON  
(0 - 2) |  
|
|
|
|
|
|
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch  
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune  
|
|
OFF, ON, REVERSE  
|
(0 - 127) |  
(1 - 127) |  
|
|
|
00 39 | 0aaa aaaa | WMT1 Wave Level  
01 0D | 0aaa aaaa | WMT4 Wave Pan  
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower  
|
|
|
|
|
1 - UPPER  
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch  
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper  
(1 - 127) |  
|
|
|
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch  
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower  
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper  
|
|
OFF, ON, REVERSE  
|
(0 - 127) |  
(1 - 127) |  
01 10 | 0aaa aaaa | WMT4 Wave Level  
|—————————————+———————————+————————————————————————————————————————————————————|  
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower  
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3E | 0000 000a | WMT2 Wave Switch  
(0 - 1) |  
|
|
1 - UPPER  
|
|
|
OFF, ON  
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper  
(1 - 127) |  
00 3F | 0000 00aa | WMT2 Wave Group Type  
(0 - 3) |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower  
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper  
SAMPLE<XV-5080>  
|
|
|
|
00 40 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 15 | 000a aaaa | Pitch Env Depth  
(52 - 76) |  
-12 - +12  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
| 0000 cccc |  
|
|
|
| 0000 dddd | WMT2 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
01 16 | 0aaa aaaa | Pitch Env Velocity Sens  
|
|
|
|
|
|
|
|
|
00 44 | 0000 aaaa |  
| 0000 bbbb |  
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens  
|
|
|
| 0000 cccc |  
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens  
| 0000 dddd | WMT2 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
|
|
|
01 19 | 0aaa aaaa | Pitch Env Time 1  
01 1A | 0aaa aaaa | Pitch Env Time 2  
01 1B | 0aaa aaaa | Pitch Env Time 3  
01 1C | 0aaa aaaa | Pitch Env Time 4  
01 1D | 0aaa aaaa | Pitch Env Level 0  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
00 48 | 0000 aaaa |  
| 0000 bbbb |  
| 0000 cccc |  
| 0000 dddd | WMT2 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
|
00 4C | 0000 00aa | WMT2 Wave Gain  
(0 - 3) |  
01 1E | 0aaa aaaa | Pitch Env Level 1  
|
|
-6, 0, +6, +12 [dB]  
|
|
|
|
00 4D | 0000 000a | WMT2 Wave FXM Switch  
(0 - 1) |  
01 1F | 0aaa aaaa | Pitch Env Level 2  
|
|
OFF, ON  
|
|
|
|
00 4E | 0000 00aa | WMT2 Wave FXM Color  
(0 - 3) |  
01 20 | 0aaa aaaa | Pitch Env Level 3  
|
|
1 - 4  
|
|
|
|
00 4F | 000a aaaa | WMT2 Wave FXM Depth  
00 50 | 0000 000a | WMT2 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
01 21 | 0aaa aaaa | Pitch Env Level 4  
|
|
|
|
|
OFF, ON  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50  
(0 - 127) |  
L64 - 63R  
(0 - 1) |  
OFF, ON  
(0 - 2) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
01 22 | 0000 0aaa | TVF Filter Type  
(0 - 6) |  
|
|
|
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |  
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune  
LPF3  
|
|
|
|
01 23 | 0aaa aaaa | TVF Cutoff Frequency  
(0 - 127) |  
(0 - 7) |  
00 53 | 0aaa aaaa | WMT2 Wave Pan  
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve  
|
|
|
|
|
FIXED, 1 - 7  
|
00 54 | 0000 000a | WMT2 Wave Random Pan Switch  
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens  
(1 - 127) |  
|
|
|
|
|
-63 - +63  
|
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch  
01 26 | 0aaa aaaa | TVF Resonance  
(0 - 127) |  
(1 - 127) |  
|
|
OFF, ON, REVERSE  
|
(0 - 127) |  
(1 - 127) |  
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens  
00 56 | 0aaa aaaa | WMT2 Wave Level  
|
|
-63 - +63  
|
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower  
01 28 | 0aaa aaaa | TVF Env Depth  
(1 - 127) |  
-63 - +63 |  
|
|
1 - UPPER  
|
|
|
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper  
(1 - 127) |  
01 29 | 0000 0aaa | TVF Env Velocity Curve Type  
(0 - 7) |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|
|
FIXED, 1 - 7  
|
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower  
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper  
01 2A | 0aaa aaaa | TVF Env Velocity Sens  
(1 - 127) |  
|
|
-63 - +63  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63 |  
|
|
|
|
|
|#  
|
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|
|
|#  
|
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|#  
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|
|
00 5B | 0000 000a | WMT3 Wave Switch  
(0 - 1) |  
|
|
|
|
|
OFF, ON  
|
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens  
00 5C | 0000 00aa | WMT3 Wave Group Type  
(0 - 3) |  
|
|
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
01 2D | 0aaa aaaa | TVF Env Time 1  
01 2E | 0aaa aaaa | TVF Env Time 2  
01 2F | 0aaa aaaa | TVF Env Time 3  
01 30 | 0aaa aaaa | TVF Env Time 4  
01 31 | 0aaa aaaa | TVF Env Level 0  
01 32 | 0aaa aaaa | TVF Env Level 1  
01 33 | 0aaa aaaa | TVF Env Level 2  
01 34 | 0aaa aaaa | TVF Env Level 3  
01 35 | 0aaa aaaa | TVF Env Level 4  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
SAMPLE<XV-5080>  
|
|
|
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
| 0000 cccc |  
| 0000 dddd | WMT3 Wave Group ID  
(0 - 16384) |  
|
|
OFF, 1 - 16384  
|
|
|
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
| 0000 dddd | WMT3 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 36 | 0000 0aaa | TVA Level Velocity Curve  
(0 - 7) |  
|
|
|
|
|
|
|
|
FIXED, 1 - 7  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
01 37 | 0aaa aaaa | TVA Level Velocity Sens  
(1 - 127) |  
|
|
-63 - +63  
|
| 0000 cccc |  
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63 |  
| 0000 dddd | WMT3 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens  
00 69 | 0000 00aa | WMT3 Wave Gain  
(0 - 3) |  
|
|
|
|
-6, 0, +6, +12 [dB]  
|
01 3A | 0aaa aaaa | TVA Env Time 1  
01 3B | 0aaa aaaa | TVA Env Time 2  
01 3C | 0aaa aaaa | TVA Env Time 3  
01 3D | 0aaa aaaa | TVA Env Time 4  
01 3E | 0aaa aaaa | TVA Env Level 1  
01 3F | 0aaa aaaa | TVA Env Level 2  
01 40 | 0aaa aaaa | TVA Env Level 3  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
00 6A | 0000 000a | WMT3 Wave FXM Switch  
(0 - 1) |  
|
|
OFF, ON  
|
00 6B | 0000 00aa | WMT3 Wave FXM Color  
(0 - 3) |  
|
|
1 - 4  
|
00 6C | 000a aaaa | WMT3 Wave FXM Depth  
00 6D | 0000 000a | WMT3 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
|
|
OFF, ON  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50  
(0 - 127) |  
L64 - 63R  
(0 - 1) |  
OFF, ON  
| 00 00 01 41 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune  
|
|
|
00 70 | 0aaa aaaa | WMT3 Wave Pan  
|
|
|
00 71 | 0000 000a | WMT3 Wave Random Pan Switch  
|
|
|
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 73 | 0aaa aaaa | WMT3 Wave Level  
(0 - 127) |  
2 8 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|—————————————+———————————+————————————————————————————————————————————————————|  
2. GS (Model ID = 42H)  
|
|
|#  
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|
40 1x 16 | 0aaa aaaa | Pitch Key Shift  
(40 - 88) |  
|
|
-24 - +24 [semitone]  
|
|
40 1x 17 | 0000 aaaa |  
| 0000 bbbb | Pitch Offset Fine  
(8 - 248) |  
System Parameter  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
-12.0 - +12.0 [Hz]  
|
(0 - 127) |  
(0 - 127) |  
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)  
40 1x 1A | 0aaa aaaa | Velocity Sens Depth  
| Start  
|
|
|
|
|
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
|
|
Address |  
Description  
40 1x 1B | 0aaa aaaa | Velocity Sens Offset  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|#  
|
40 00 00 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)  
|
|
RANDOM, L63 - 63R  
|
(0 - 127) |  
(0 - 127) |  
(0 - 95) |  
(0 - 95) |  
(0 - 127) |  
(0 - 127) |  
(0 - 1) |  
|
| 0000 cccc |  
40 1x 1D | 0aaa aaaa | Keyboard Range Low  
40 1x 1E | 0aaa aaaa | Keyboard Range High  
40 1x 1F | 0aaa aaaa | CC1 Controller Number  
40 1x 20 | 0aaa aaaa | CC2 Controller Number  
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)  
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)  
40 1x 23 | 0000 000a | Rx. Bank Select  
|
| 0000 dddd | Master Tune  
(24 - 2024) |  
|
|
|
-100.0 - 100.0 [cent]  
|
|
40 00 04 | 0aaa aaaa | Master Volume  
40 00 05 | 0aaa aaaa | Master Key Shift  
(0 - 127) |  
(40 - 88) |  
|
|
|
|
-24 - +24 [semitone]  
|
|
40 00 06 | 0aaa aaaa | Master Pan  
(1 - 127) |  
|
|
|
L63 - 63R  
|
|
|
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
|—————————————+————————————————————————————————————————————————————————————————|  
40 1x 24 | 0000 000a | Rx. Bank Select LSB  
|
|
40 00 7F | 0aaa aaaa | Mode Set  
(0, 127) |  
GS-RESET, GS-EXIT |  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|—————————————+————————————————————————————————————————————————————————————————|  
|
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|
|
40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
-64 - +63  
|
|
|
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)  
Common Parameter  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)  
|
|
|
| Start  
|
|
|
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)  
|
Address |  
Description  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)  
|
|
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|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1  
40 01 11 | 0aaa aaaa | Voice Reserve 2  
40 01 12 | 0aaa aaaa | Voice Reserve 3  
40 01 13 | 0aaa aaaa | Voice Reserve 4  
40 01 14 | 0aaa aaaa | Voice Reserve 5  
40 01 15 | 0aaa aaaa | Voice Reserve 6  
40 01 16 | 0aaa aaaa | Voice Reserve 7  
40 01 17 | 0aaa aaaa | Voice Reserve 8  
40 01 18 | 0aaa aaaa | Voice Reserve 9  
40 01 19 | 0aaa aaaa | Voice Reserve 10  
40 01 1A | 0aaa aaaa | Voice Reserve 11  
40 01 1B | 0aaa aaaa | Voice Reserve 12  
40 01 1C | 0aaa aaaa | Voice Reserve 13  
40 01 1D | 0aaa aaaa | Voice Reserve 14  
40 01 1E | 0aaa aaaa | Voice Reserve 15  
40 01 1F | 0aaa aaaa | Voice Reserve 16  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
(0 - 24) |  
|
|
|
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)  
|
|
|
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)  
|
|
|
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)  
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
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|
|
40 1x 40 | 0aaa aaaa | Scale Tuning C  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 1x 41 | 0aaa aaaa | Scale Tuning C#  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 1x 42 | 0aaa aaaa | Scale Tuning D  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 1x 43 | 0aaa aaaa | Scale Tuning D#  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
40 1x 44 | 0aaa aaaa | Scale Tuning E  
(0 - 127) |  
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro  
(0 - 7) |  
(0 - 7) |  
(0 - 7) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 01 31 | 0aaa aaaa | Reverb Character  
40 01 32 | 0aaa aaaa | Reverb Pre-LPF  
40 01 33 | 0aaa aaaa | Reverb Level  
40 1x 45 | 0aaa aaaa | Scale Tuning F  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 1x 46 | 0aaa aaaa | Scale Tuning F#  
(0 - 127) |  
40 01 34 | 0aaa aaaa | Reverb Time  
40 01 35 | 0aaa aaaa | Reverb Delay Feedback  
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus  
|
|
-64 - +63 [cent]  
|
40 1x 47 | 0aaa aaaa | Scale Tuning G  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
40 1x 48 | 0aaa aaaa | Scale Tuning G#  
(0 - 127) |  
|
|
|
|
|
|
|
|
40 01 38 | 0aaa aaaa | Chorus Macro  
40 01 39 | 0aaa aaaa | Chorus Pre-LPF  
40 01 3A | 0aaa aaaa | Chorus Level  
40 01 3B | 0aaa aaaa | Chorus Feedback  
40 01 3C | 0aaa aaaa | Chorus Delay  
40 01 3D | 0aaa aaaa | Chorus Rate  
40 01 3E | 0aaa aaaa | Chorus Depth  
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb  
(0 - 7) |  
(0 - 7) |  
|
|
-64 - +63 [cent]  
|
40 1x 49 | 0aaa aaaa | Scale Tuning A  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 1x 4A | 0aaa aaaa | Scale Tuning A#  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
40 1x 4B | 0aaa aaaa | Scale Tuning B  
(0 - 127) |  
|
|
-64 - +63 [cent]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|—————————————+————————————————————————————————————————————————————————————————|  
|
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|
|
40 2x 00 | 0aaa aaaa | Mod Pitch Control  
(40 - 88) |  
|
|
-24 - +24 [semitone]  
|
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control  
(0 - 127) |  
Part Parameter  
|
|
-9600 - +9600 [cent]  
|
40 2x 02 | 0aaa aaaa | Mod Amplitude Control  
(0 - 127) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
-100.0 - +100.0 [%]  
|
| Start  
|
|
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control  
(0 - 127) |  
|
Address |  
Description  
|
|
-10.0 - +10.0 [Hz]  
|
|—————————————+————————————————————————————————————————————————————————————————|  
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control  
(0 - 127) |  
|#  
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value  
| 0aaa aaaa | Tone Number PC Value  
(0 - 127) |  
(0 - 127) |  
|
|
0 - 600 [cent]  
|
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
0 - 2400 [cent]  
|
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|
40 1x 02 | 0aaa aaaa | Rx. Channel  
(0 - 16) |  
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth  
(0 - 127) |  
|
|
1 - 16, OFF  
|
|
|
0 - 100.0 [%]  
|
40 1x 03 | 0000 000a | Rx. Pitch Bend  
(0 - 1) |  
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control  
(0 - 127) |  
|
|
OFF, ON  
|
|
|
-10.0 - +10.0 [Hz]  
|
40 1x 04 | 0000 000a | Rx. Channel Pressure  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
|—————————————+———————————+————————————————————————————————————————————————————|  
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control  
(0 - 127) |  
|
|
|
|
|
0 - 600 [cent]  
|
40 1x 05 | 0000 000a | Rx. Program Change  
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth  
(0 - 127) |  
|
|
|
|
|
0 - 2400 [cent]  
|
40 1x 06 | 0000 000a | Rx. Control Change  
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth  
(0 - 127) |  
|
|
|
|
|
0 - 100.0 [%]  
|
40 1x 07 | 0000 000a | Rx. Poly Pressure  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
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|
|
40 2x 10 | 0aaa aaaa | Bend Pitch Control  
(64 - 88) |  
40 1x 08 | 0000 000a | Rx. Note Message  
|
|
0 - 24 [semitone]  
|
|
|
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control  
(0 - 127) |  
40 1x 09 | 0000 000a | Rx. RPN  
|
|
-9600 - +9600 [cent]  
|
|
|
|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control  
(0 - 127) |  
40 1x 0A | 0000 000a | Rx. NRPN  
|
|
-100.0 - +100.0 [%]  
|
|
|
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control  
(0 - 127) |  
40 1x 0B | 0000 000a | Rx. Modulation  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control  
(0 - 127) |  
40 1x 0C | 0000 000a | Rx. Volume  
|
|
0 - 600 [cent]  
|
|
|
|
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth  
(0 - 127) |  
40 1x 0D | 0000 000a | Rx. Panpot  
|
|
0 - 2400 [cent]  
|
|
|
|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth  
(0 - 127) |  
40 1x 0E | 0000 000a | Rx. Expression  
|
|
0 - 100.0 [%]  
|
|
|
|
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control  
(0 - 127) |  
40 1x 0F | 0000 000a | Rx. Hold-1  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control  
(0 - 127) |  
40 1x 10 | 0000 000a | Rx. Portamento  
|
|
0 - 600 [cent]  
|
|
|
|
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth  
(0 - 127) |  
40 1x 11 | 0000 000a | Rx. Sostenuto  
|
|
0 - 2400 [cent]  
|
|
|
|
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth  
(0 - 127) |  
40 1x 12 | 0000 000a | Rx. Soft  
|
|
0 - 100.0 [%]  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
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|
|
|
|
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|
|
|
|
|
|
|
|
40 2x 20 | 0aaa aaaa | CAf Pitch Control  
(40 - 88) |  
-24 - +24 [semitone]  
|
|
|
|
|
|
|
40 1x 13 | 0aaa aaaa | Mono / Poly Mode  
(0 - 1) |  
|
|
|
|
|
MODE, POLY  
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control  
(0 - 127) |  
40 1x 14 | 0aaa aaaa | Assign Mode  
(0 - 2) |  
|
|
-9600 - +9600 [cent]  
|
|
|
|
|
SINGLE, LIMITED-MULTI, |  
40 2x 22 | 0aaa aaaa | CAf Amplitude Control  
(0 - 127) |  
FULL-MULTI  
|
|
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-100.0 - +100.0 [%]  
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part  
(0 - 2) |  
OFF, MAP1, MAP2 |  
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control  
(0 - 127) |  
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-10.0 - +10.0 [Hz]  
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control  
(0 - 127) |  
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0 - 600 [cent]  
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40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth  
(0 - 127) |  
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0 - 2400 [cent]  
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40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth  
(0 - 127) |  
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0 - 100.0 [%]  
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40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control  
(0 - 127) |  
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-10.0 - +10.0 [Hz]  
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control  
(0 - 127) |  
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0 - 600 [cent]  
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40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth  
(0 - 127) |  
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0 - 2400 [cent]  
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40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth  
(0 - 127) |  
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0 - 100.0 [%]  
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2 9 0  
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MIDI Im p le m e n ta tio n  
|—————————————+———————————+————————————————————————————————————————————————————|  
Drum Setup Parameter  
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40 2x 30 | 0aaa aaaa | PAf Pitch Control  
(40 - 88) |  
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-24 - +24 [semitone]  
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+——————————————————————————————————————————————————————————————————————————————+  
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control  
(0 - 127) |  
| Start  
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-9600 - +9600 [cent]  
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Address |  
Description  
40 2x 32 | 0aaa aaaa | PAf Amplitude Control  
(0 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
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-100.0 - +100.0 [%]  
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41 m0 00 | 0aaa aaaa | Drum Map Name 1  
(32 - 127) |  
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control  
(0 - 127) |  
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32 - 127 [ASCII]  
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-10.0 - +10.0 [Hz]  
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41 m0 01 | 0aaa aaaa | Drum Map Name 2  
(32 - 127) |  
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control  
(0 - 127) |  
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32 - 127 [ASCII]  
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0 - 600 [cent]  
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41 m0 02 | 0aaa aaaa | Drum Map Name 3  
(32 - 127) |  
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth  
(0 - 127) |  
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32 - 127 [ASCII]  
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0 - 2400 [cent]  
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41 m0 03 | 0aaa aaaa | Drum Map Name 4  
(32 - 127) |  
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth  
(0 - 127) |  
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32 - 127 [ASCII]  
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0 - 100.0 [%]  
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41 m0 04 | 0aaa aaaa | Drum Map Name 5  
(32 - 127) |  
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control  
(0 - 127) |  
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32 - 127 [ASCII]  
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-10.0 - +10.0 [Hz]  
|
41 m0 05 | 0aaa aaaa | Drum Map Name 6  
(32 - 127) |  
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control  
(0 - 127) |  
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32 - 127 [ASCII]  
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0 - 600 [cent]  
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41 m0 06 | 0aaa aaaa | Drum Map Name 7  
(32 - 127) |  
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth  
(0 - 127) |  
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32 - 127 [ASCII]  
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0 - 2400 [cent]  
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41 m0 07 | 0aaa aaaa | Drum Map Name 8  
(32 - 127) |  
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth  
(0 - 127) |  
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32 - 127 [ASCII]  
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0 - 100.0 [%]  
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41 m0 08 | 0aaa aaaa | Drum Map Name 9  
(32 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
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32 - 127 [ASCII]  
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40 2x 40 | 0aaa aaaa | CC1 Pitch Control  
(40 - 88) |  
41 m0 09 | 0aaa aaaa | Drum Map Name 10  
(32 - 127) |  
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-24 - +24 [semitone]  
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32 - 127 [ASCII]  
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40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control  
(0 - 127) |  
41 m0 0A | 0aaa aaaa | Drum Map Name 11  
(32 - 127) |  
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-9600 - +9600 [cent]  
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32 - 127 [ASCII]  
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40 2x 42 | 0aaa aaaa | CC1 Amplitude Control  
(0 - 127) |  
41 m0 0B | 0aaa aaaa | Drum Map Name 12  
(32 - 127) |  
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-100.0 - +100.0 [%]  
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32 - 127 [ASCII]  
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40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
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-10.0 - +10.0 [Hz]  
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41 m1 rr | 0aaa aaaa | Play Note Number  
41 m2 rr | 0aaa aaaa | Level  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control  
(0 - 127) |  
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0 - 600 [cent]  
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41 m3 rr | 0aaa aaaa | Assign Group Number  
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth  
(0 - 127) |  
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NON, 1 - 127  
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0 - 2400 [cent]  
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41 m4 rr | 0aaa aaaa | Panpot  
(0 - 127) |  
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth  
(0 - 127) |  
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RANDOM, L63 - 63R  
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0 - 100.0 [%]  
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41 m5 rr | 0aaa aaaa | Reverb Send Level  
(0 - 127) |  
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control  
(0 - 127) |  
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0.0 - 1.0  
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-10.0 - +10.0 [Hz]  
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41 m6 rr | 0aaa aaaa | Chorus Send Level  
(0 - 127) |  
0.0 - 1.0  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control  
(0 - 127) |  
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0 - 600 [cent]  
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41 m7 rr | 0000 000a | Rx. Note Off  
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth  
(0 - 127) |  
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0 - 2400 [cent]  
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41 m8 rr | 0000 000a | Rx. Note On  
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth  
(0 - 127) |  
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0 - 100.0 [%]  
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+——————————————————————————————————————————————————————————————————————————————+  
|—————————————+———————————+————————————————————————————————————————————————————|  
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40 2x 50 | 0aaa aaaa | CC2 Pitch Control  
(40 - 88) |  
-24 - +24 [semitone]  
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m: Map number (0 = MAP1, 1 = MAP2)  
rr: drum part note number (00H-7FH)  
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control  
(0 - 127) |  
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-9600 - +9600 [cent]  
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40 2x 52 | 0aaa aaaa | CC2 Amplitude Control  
(0 - 127) |  
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-100.0 - +100.0 [%]  
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40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control  
(0 - 127) |  
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-10.0 - +10.0 [Hz]  
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40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control  
(0 - 127) |  
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0 - 600 [cent]  
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40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth  
(0 - 127) |  
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0 - 2400 [cent]  
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40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth  
(0 - 127) |  
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0 - 100.0 [%]  
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40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control  
(0 - 127) |  
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-10.0 - +10.0 [Hz]  
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40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control  
(0 - 127) |  
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0 - 600 [cent]  
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40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth  
(0 - 127) |  
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0 - 2400 [cent]  
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40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth  
(0 - 127) |  
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0 - 100.0 [%]  
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+——————————————————————————————————————————————————————————————————————————————+  
x: BLOCK NUMBER (0-F)  
Part 1 (MIDI ch = 1) x = 1  
Part 2 (MIDI ch = 2) x = 2  
:
:
:
Part 9 (MIDI ch = 9) x = 9  
Part10 (MIDI ch = 10) x = 0  
Part11 (MIDI ch = 11) x = A  
Part12 (MIDI ch = 12) x = B  
:
:
:
Part16 (MIDI ch = 16) x = F  
2 9 1  
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MIDI Im p le m e n ta tio n  
Arpeggio Parameter List  
Arpeggio Style  
+—————————————————————————+—————————————————————————+—————————————————————————+  
|value| parameter  
|value| parameter  
|value| parameter  
|
+—————————————————————————+—————————————————————————+—————————————————————————+  
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0 | 1/ 4  
| 15 | HEAVY SLAP  
| 16 | LIGHT SLAP  
| 17 | WALK BASS  
| 18 | RHYTHM GTR 1  
| 19 | RHYTHM GTR 2  
| 20 | RHYTHM GTR 3  
| 21 | RHYTHM GTR 4  
| 22 | RHYTHM GTR 5  
| 23 | 3 FINGER  
| 24 | STRUM GTR UP  
| 25 | STRUM GTR DOWN  
| 26 | STRUM GTR UP&DW  
| 27 | PIANO BACKING  
| 28 | CLAVI CHORD  
| 29 | WALTZ  
| 30 | SWING WALTZ  
| 31 | REGGAE  
| 32 | PERCUSSION  
| 33 | HARP  
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1 | 1/ 6  
2 | 1/ 8  
3 | 1/12  
4 | 1/16  
| 34 | SHAMISEN  
| 35 | BOUND BALL  
| 36 | RANDOM  
5 | 1/32  
6 | PORTAMENTO A  
7 | PORTAMENTO B  
8 | GLISSANDO  
9 | SEQUENCE A  
| 37 | BOSSA NOVA  
| 38 | SALSA  
| 39 | MAMBO  
| 10 | SEQUENCE B  
| 11 | SEQUENCE C  
| 12 | SEQUENCE D  
| 13 | ECHO  
| 40 | LATIN PERCUSSION |  
| 41 | SAMBA  
| 42 | TANGO  
| 43 | HOUSE  
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| 14 | SYNTH BASS  
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+—————————————————————————+—————————————————————————+—————————————————————————+  
Arpeggio Motif  
+—————————————————————————+—————————————————————————+—————————————————————————+  
|value| parameter  
|value| parameter  
|value| parameter  
|
+—————————————————————————+—————————————————————————+—————————————————————————+  
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0 | SINGLE UP  
| 13 | GLISSANDO  
| 14 | CHORD  
| 26 | BASS+UP 7  
| 27 | BASS+UP 8  
| 28 | BASS+RND 1  
| 29 | BASS+RND 2  
| 30 | BASS+RND 3  
| 31 | TOP+UP 1  
| 32 | TOP+UP 2  
| 33 | TOP+UP 3  
| 34 | TOP+UP 4  
| 35 | TOP+UP 5  
| 36 | TOP+UP 6  
| 37 | BASS+UP+TOP  
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1 | SINGLE DOWN  
2 | SINGLE UP&DOWN  
3 | SINGLE RANDOM  
4 | DUAL UP  
| 15 | BASS+CHORD 1  
| 16 | BASS+CHORD 2  
| 17 | BASS+CHORD 3  
| 18 | BASS+CHORD 4  
| 19 | BASS+CHORD 5  
| 20 | BASS+UP 1  
| 21 | BASS+UP 2  
| 22 | BASS+UP 3  
| 23 | BASS+UP 4  
| 24 | BASS+UP 5  
| 25 | BASS+UP 6  
5 | DUAL DOWN  
6 | DUAL UP&DOWN  
7 | DUAL RANDOM  
8 | TRIPLE UP  
9 | TRIPLE DOWN  
| 10 | TRIPLE UP&DOWN  
| 11 | TRIPLE RANDOM  
| 12 | NOTE ORDER  
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|
+—————————————————————————+—————————————————————————+—————————————————————————+  
Arpeggio Beat Pattern  
+—————————————————————————+—————————————————————————+—————————————————————————+  
|value| parameter  
|value| parameter  
|value| parameter  
|
+—————————————————————————+—————————————————————————+—————————————————————————+  
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0 | 1/ 4  
| 40 | SEQ-A 5  
| 41 | SEQ-A 6  
| 42 | SEQ-A 7  
| 43 | SEQ-B 1  
| 44 | SEQ-B 2  
| 45 | SEQ-B 3  
| 46 | SEQ-B 4  
| 47 | SEQ-B 5  
| 48 | SEQ-C 1  
| 49 | SEQ-C 2  
| 50 | SEQ-D 1  
| 51 | SEQ-D 2  
| 52 | SEQ-D 3  
| 53 | SEQ-D 4  
| 54 | SEQ-D 5  
| 55 | SEQ-D 6  
| 56 | SEQ-D 7  
| 57 | SEQ-D 8  
| 58 | ECHO 1  
| 59 | ECHO 2  
| 60 | ECHO 3  
| 61 | MUTE 01  
| 62 | MUTE 02  
| 63 | MUTE 03  
| 64 | MUTE 04  
| 65 | MUTE 05  
| 66 | MUTE 06  
| 67 | MUTE 07  
| 68 | MUTE 08  
| 69 | MUTE 09  
| 70 | MUTE 10  
| 71 | MUTE 11  
| 72 | MUTE 12  
| 73 | MUTE 13  
| 74 | MUTE 14  
| 75 | MUTE 15  
| 76 | MUTE 16  
| 77 | STRUM 1  
| 78 | STRUM 2  
| 79 | STRUM 3  
| 80 | STRUM 4  
| 81 | STRUM 5  
| 82 | STRUM 6  
| 83 | STRUM 7  
| 84 | STRUM 8  
| 85 | REGGAE 1  
| 86 | REGGAE 2  
| 87 | REFRAIN 1  
| 88 | REFRAIN 2  
| 89 | PERC 1  
| 90 | PERC 2  
| 91 | PERC 3  
| 92 | PERC 4  
| 93 | WALKBS  
| 94 | HARP  
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1 | 1/ 6  
2 | 1/ 8  
3 | 1/12  
4 | 1/16 1  
5 | 1/16 2  
6 | 1/16 3  
7 | 1/32 1  
8 | 1/32 2  
9 | 1/32 3  
| 10 | PORTA-A 01  
| 11 | PORTA-A 02  
| 12 | PORTA-A 03  
| 13 | PORTA-A 04  
| 14 | PORTA-A 05  
| 15 | PORTA-A 06  
| 16 | PORTA-A 07  
| 17 | PORTA-A 08  
| 18 | PORTA-A 09  
| 19 | PORTA-A 10  
| 20 | PORTA-A 11  
| 21 | PORTA-B 01  
| 22 | PORTA-B 02  
| 23 | PORTA-B 03  
| 24 | PORTA-B 04  
| 25 | PORTA-B 05  
| 26 | PORTA-B 06  
| 27 | PORTA-B 07  
| 28 | PORTA-B 08  
| 29 | PORTA-B 09  
| 30 | PORTA-B 10  
| 31 | PORTA-B 11  
| 32 | PORTA-B 12  
| 33 | PORTA-B 13  
| 34 | PORTA-B 14  
| 35 | PORTA-B 15  
| 36 | SEQ-A 1  
| 95 | BOUND  
| 96 | RANDOM  
| 97 | BOSSA NOVA  
| 98 | SALSA 1  
| 99 | SALSA 2  
| 100 | SALSA 3  
| 101 | SALSA 4  
| 102 | MAMBO 1  
| 103 | MAMBO 2  
| 104 | CLAVE  
| 105 | REV CLA  
| 106 | GUIRO  
| 107 | AGOGO  
| 108 | SAMBA  
| 109 | TANGO 1  
| 110 | TANGO 2  
| 111 | TANGO 3  
| 112 | TANGO 4  
| 113 | HOUSE 1  
| 114 | HOUSE 2  
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| 37 | SEQ-A 2  
| 38 | SEQ-A 3  
| 39 | SEQ-A 4  
+—————————————————————————+—————————————————————————+—————————————————————————+  
2 9 2  
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MIDI Im p le m e n ta tio n  
Decimal and Hexadecimal Table  
(An His appended to the end of numbers in  
hexadecimal notation.)  
Examples of Actual MIDI Messages  
<Example 1> 92 3E 5F  
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and  
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),  
and velocity 95.  
In MIDI documentation, data values and addresses/ sizes of Exclusive messages, etc. are  
expressed as hexadecimal values for each 7 bits.  
The following table shows how these correspond to decimal numbers.  
<Example 2> CE 49  
+——————+——————++——————+——————++——————+——————++——————+——————+  
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and  
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute  
in GS).  
| D  
| H  
|| D  
| H  
|| D  
| H  
|| D  
| H  
|
+——————+——————++——————+——————++——————+——————++——————+——————+  
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0 | 00H ||  
1 | 01H ||  
2 | 02H ||  
3 | 03H ||  
4 | 04H ||  
5 | 05H ||  
6 | 06H ||  
7 | 07H ||  
8 | 08H ||  
9 | 09H ||  
10 | 0AH ||  
11 | 0BH ||  
12 | 0CH ||  
13 | 0DH ||  
14 | 0EH ||  
15 | 0FH ||  
16 | 10H ||  
17 | 11H ||  
18 | 12H ||  
19 | 13H ||  
20 | 14H ||  
21 | 15H ||  
22 | 16H ||  
23 | 17H ||  
24 | 18H ||  
25 | 19H ||  
26 | 1AH ||  
27 | 1BH ||  
28 | 1CH ||  
29 | 1DH ||  
30 | 1EH ||  
31 | 1FH ||  
32 | 20H ||  
33 | 21H ||  
34 | 22H ||  
35 | 23H ||  
36 | 24H ||  
37 | 25H ||  
38 | 26H ||  
39 | 27H ||  
40 | 28H ||  
41 | 29H ||  
42 | 2AH ||  
43 | 2BH ||  
44 | 2CH ||  
45 | 2DH ||  
46 | 2EH ||  
47 | 2FH ||  
48 | 30H ||  
49 | 31H ||  
50 | 32H ||  
51 | 33H ||  
52 | 34H ||  
53 | 35H ||  
54 | 36H ||  
55 | 37H ||  
56 | 38H ||  
57 | 39H ||  
58 | 3AH ||  
59 | 3BH ||  
60 | 3CH ||  
61 | 3DH ||  
62 | 3EH ||  
63 | 3FH ||  
64 | 40H ||  
65 | 41H ||  
66 | 42H ||  
67 | 43H ||  
96 | 60H |  
97 | 61H |  
98 | 62H |  
99 | 63H |  
<Example 3> EA 00 28  
68 | 44H || 100 | 64H |  
69 | 45H || 101 | 65H |  
70 | 46H || 102 | 66H |  
71 | 47H || 103 | 67H |  
72 | 48H || 104 | 68H |  
73 | 49H || 105 | 69H |  
74 | 4AH || 106 | 6AH |  
75 | 4BH || 107 | 6BH |  
76 | 4CH || 108 | 6CH |  
77 | 4DH || 109 | 6DH |  
78 | 4EH || 110 | 6EH |  
79 | 4FH || 111 | 6FH |  
80 | 50H || 112 | 70H |  
81 | 51H || 113 | 71H |  
82 | 52H || 114 | 72H |  
83 | 53H || 115 | 73H |  
84 | 54H || 116 | 74H |  
85 | 55H || 117 | 75H |  
86 | 56H || 118 | 76H |  
87 | 57H || 119 | 77H |  
88 | 58H || 120 | 78H |  
89 | 59H || 121 | 79H |  
90 | 5AH || 122 | 7AH |  
91 | 5BH || 123 | 7BH |  
92 | 5CH || 124 | 7CH |  
93 | 5DH || 125 | 7DH |  
94 | 5EH || 126 | 7EH |  
95 | 5FH || 127 | 7FH |  
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H  
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed  
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is  
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072  
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to  
change -200 cents, so in this case -200 x (-3072) ÷ (-8192) = -75 cents of Pitch Bend is being  
applied to MIDI channel 11.  
<Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F  
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,  
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or  
more messages consecutive messages have the same status, MIDI has a provision called  
running statuswhich allows the status byte of the second and following messages to be  
omitted. Thus, the above messages have the following meaning.  
B3 64 00  
(B3) 65 00  
(B3) 06 0C  
(B3) 26 00  
(B3) 64 7F  
(B3) 65 7F  
MIDI ch.4, lower byte of RPN parameter number:  
(MIDI ch.4) upper byte of RPN parameter number:  
(MIDI ch.4) upper byte of parameter value:  
00H  
00H  
0CH  
00H  
7FH  
7FH  
+——————+——————++——————+——————++——————+——————++——————+——————+  
D: decimal  
(MIDI ch.4) lower byte of parameter value:  
H: hexadecimal  
(MIDI ch.4) lower byte of RPN parameter number:  
(MIDI ch.4) upper byte of RPN parameter number:  
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one  
greater than the values given in the above table.  
In other words, the above messages specify a value of 0C 00H for RPN parameter number  
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.  
A 7-bit byte can express data in the range of 128 steps. For data where greater precision  
is required, we must use two or more bytes. For example, two hexadecimal numbers aa  
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.  
In the case of values which have a +/ - sign, 00H = -64, 40H = +/ -0, and 7FH = +63, so  
that the decimal expression would be 64 less than the value given in the above chart. In  
the case of two types, 00 00H = -8192, 40 00H = +/ -0, and 7F 7FH = +8191. For example, if  
aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x  
128.  
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates  
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/ -12  
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,  
but the LSB should be transmitted anyway (with a value of 0) so that operation will be  
correct on any device.)  
*
*
Data marked Use nibbled datais expressed in hexadecimal in 4-bit units. A value  
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.  
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages  
transmitted on that same channel will be valid, so after the desired value has been  
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.  
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.  
<Example 1> What is the decimal expression of 5AH?  
From the preceding table, 5AH = 90  
It is not desirable for performance data (such as Standard MIDI File data) to contain many  
events with running status as given in <Example 4>. This is because if playback is halted  
during the song and then rewound or fast-forwarded, the sequencer may not be able to  
transmit the correct status, and the sound generator will then misinterpret the data. Take  
care to give each event its own status.  
<Example 2> What is the decimal expression of the value 12 34H given as  
hexadecimal for each 7 bits?  
From the preceding table, since 12H = 18 and 34H = 52  
18 x 128+52 = 2356  
<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D?  
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13  
((10 x 16+3) x 16+9) x 16+13 = 41885  
It is also necessary that the RPN or NRPN parameter number setting and the value setting  
be done in the proper order. On some sequencers, events occurring in the same (or  
consecutive) clock may be transmitted in an order different than the order in which they  
were received. For this reason it is a good idea to slightly skew the time of each event (about  
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).  
<Example 4> What is the nibbled expression of the decimal value 1258?  
16 ) 1258  
*
TPQN: Ticks Per Quarter Note  
16 )  
16 )  
78 ...10  
4 ...14  
0 ... 4  
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E  
0AH.  
2 9 3  
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MIDI Im p le m e n ta tio n  
According to the Parameter Address Map(p. 279), the start address of Temporary  
Example of an Exclusive Message and  
Performance is assigned as following:  
Calculating a Checksum  
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before  
F7) to make sure that the message was correctly received. The value of the checksum is  
determined by the address and data (or size) of the transmitted Exclusive message.  
10 00 00 00H  
Temporary Performance Common  
Temporary Performance Part 1  
Temporary Performance Part 16  
:
10 00 20 00H  
:
10 00 2F 00H  
How to calculate the checksum  
(hexadecimal numbers are indicated by H)  
The checksum is a value derived by adding the address, size, and checksum itself and  
As the data size of Performance Part is 00 00 00 21H, summation of the size and the start  
address of Part 16 at Temporary Performance will be;  
inverting the lower 7 bits.  
Here's an example of how the checksum is calculated. We will assume that in the Exclusive  
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ffH.  
10 00 2F 00H  
+) 00 00 00 21H  
10 00 2F 21H  
aa + bb + cc + dd + ee + ff = sum  
sum ÷ 128 = quotient ... remainder  
128 - remainder = checksum  
And the size that have to be got should be;  
10 00 2F 21H  
-) 10 00 00 00H  
00 00 2F 21H  
<Example 1> Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1)  
According to the Parameter Address Map(p. 279), the start address of Temporary  
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON  
is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS  
TYPE of PERFORMANCE COMMON is;  
Therefore the system exclusive message should be sent is;  
F0  
41  
10  
00 10  
11  
10 00 00 00  
data  
00 00 2F 21  
checksum  
??  
F7  
(1)(2)  
(3)  
(4)  
(5) address  
(6)  
10 00 00 00H  
04 00H  
(1) Exclusive Status  
(4) Model ID (XV-88)  
(2) ID (Roland)  
(3) Device ID (17)  
+)  
00 00H  
(5) Command ID (RQ1)  
(6) End of Exclusive  
10 00 04 00H  
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11  
10 00 00 00 00 00 2F 21 20 F7 to be transmitted.  
DELAY has the value of 02H.  
So the system exclusive message should be sent is;  
<Example 4> Getting data (RQ1) at once;  
F0  
41  
10  
00 10  
(4)  
12  
10 00 04 00  
address  
02  
??  
F7  
Temporary Performance data,  
(1)  
(2)  
(3)  
(5)  
data  
checksum  
(6)  
Temporary Patch data of whole part in Performance mode,  
Temporary Rhythm data of whole part in Performance mode.  
cf.) This operation is the same as Data Transfer function in Utility mode with PERFORM”  
(Type parameter) and TEMP: +PATCH(Source parameter) options.  
(1) Exclusive Status  
(4) Model ID (XV-88)  
(2) ID (Roland)  
(5) Command ID (DT1)  
(3) Device ID (17)  
(6) End of Exclusive  
Then calculate the checksum.  
According to the Parameter Address Map(p. 279), the start address of the  
above all parameters is assigned as following:  
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)  
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)  
10 00 00 00H  
11 20 00 00H  
11 30 00 00H  
:
Temporary Performance  
checksum = 128 - 22 (remainder) = 106 = 6AH  
Temporary Patch (Performance Mode Part 1)  
Temporary Rhythm (Performance Mode Part 1)  
This means that F0 41 10 00 10 12 10 00 04 00 02 6A F7 is the message should be sent.  
14 60 00 00H  
14 70 00 00H  
Temporary Patch (Performance Mode Part 16)  
Temporary Rhythm (Performance Mode Part 16)  
<Example 2> Getting the data (RQ1) of Performance Part 3 in USER:03  
According to the Parameter Address Map(p. 279), the start address of USER:03 is 20 02  
00 00H, and the offset address of Performance Part 3 is 00 22 00H.  
The offset address of Rhythm is also assigned as follows:  
Therefore the start address of Performance Part 3 in USER:03 is;  
00 00 00H  
Rhythm Common  
Rhythm Tone 1  
Rhythm Tone 4  
20 02 00 00H  
+)  
00 22 00H  
:
20 02 22 00H  
00 10 00H  
:
As the size of Performance Part is 00 00 00 21H, the system exclusive message should be  
sent is;  
01 3E 00H  
As the data size of Rhythm Tone is 00 00 01 41H, summation of the size and the  
start address of Tone 4 of Part 16 at Temporary Patch in Performance mode will be;  
F0  
41  
10  
00 10  
(4)  
11  
20 02 22 00  
address  
00 00 00 21  
data  
??  
F7  
(1)  
(2)  
(3)  
(5)  
checksum  
(6)  
14 70 00 00H  
01 3E 00H  
+) 00 00 01 41H  
14 71 3F 41H  
(1) Exclusive Status  
(4) Model ID (XV-88)  
(2) ID (Roland)  
(5) Command ID (RQ1)  
(3) Device ID (17)  
(6) End of Exclusive  
Then calculate the checksum.  
And the size that have to be got should be;  
20H + 02H + 22H + 00H + 00H + 00H + 00H + 21H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 33  
= 101 (sum)  
14 71 3F 41H  
-) 10 00 00 00H  
04 71 3F 41H  
101 (sum) ÷ 128 = 0 (quotient) ... 101 (remainder)  
checksum = 128 - 101 (remainder) = 27 = 1BH  
Therefore the system exclusive message should be sent is;  
This means that F0 41 10 00 10 11 20 02 22 00 00 00 00 21 1B F7 is the message should be sent.  
F0  
41  
10  
00 10  
(4)  
11  
10 00 00 00  
address  
04 71 3F 41  
data  
??  
F7  
(1)  
(2)  
(3)  
(5)  
checksum  
(6)  
<Example 3> Getting Temporary Performance data (RQ1)  
cf.) This operation is the same as Data Transfer function in Utility mode with PERFORM”  
(Type parameter) and TEMP: -PATCH(Source parameter) options.  
(1) Exclusive Status  
(4) Model ID (XV-88)  
(2) ID (Roland)  
(5) Command ID (RQ1)  
(3) Device ID (17)  
(6) End of Exclusive  
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11  
10 00 00 00 04 71 3F 41 7B F7 to be transmitted.  
2 9 4  
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MIDI Im p le m e n ta tio n  
The Scale Tune Feature (address: 40 1x 40)  
ASCII Code Table  
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C  
through B. Though the settings are made while working with one octave, the fine  
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can  
obtain a complete variety of tuning methods other than equal temperament. As examples,  
three possible types of scale setting are explained below.  
Patch Name and Performance Name, etc., of MIDI data are described the ASCII  
code in the table below.  
+——————+——————+——————++——————+——————+——————++——————+——————+——————+  
| D  
| H  
| Char || D  
| H  
| Char || D  
| H  
| Char |  
+——————+——————+——————++——————+——————+——————++——————+——————+——————+  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 | 20H | SP ||  
64 | 40H |  
65 | 41H |  
66 | 42H |  
67 | 43H |  
68 | 44H |  
69 | 45H |  
70 | 46H |  
71 | 47H |  
72 | 48H |  
73 | 49H |  
74 | 4AH |  
75 | 4BH |  
76 | 4CH |  
77 | 4DH |  
78 | 4EH |  
79 | 4FH |  
80 | 50H |  
81 | 51H |  
82 | 52H |  
83 | 53H |  
84 | 54H |  
85 | 55H |  
86 | 56H |  
87 | 57H |  
88 | 58H |  
89 | 59H |  
90 | 5AH |  
91 | 5BH |  
92 | 5CH |  
93 | 5DH |  
94 | 5EH |  
95 | 5FH |  
@ ||  
A ||  
B ||  
C ||  
96 | 60H |  
97 | 61H |  
98 | 62H |  
99 | 63H |  
` |  
a |  
b |  
c |  
d |  
e |  
f |  
g |  
h |  
i |  
j |  
k |  
l |  
m |  
n |  
o |  
p |  
q |  
r |  
s |  
t |  
u |  
v |  
w |  
x |  
y |  
z |  
{ |  
| |  
} |  
33 | 21H |  
34 | 22H |  
35 | 23H |  
36 | 24H |  
37 | 25H |  
38 | 26H |  
39 | 27H |  
40 | 28H |  
41 | 29H |  
42 | 2AH |  
43 | 2BH |  
44 | 2CH |  
45 | 2DH |  
46 | 2EH |  
47 | 2FH |  
48 | 30H |  
49 | 31H |  
50 | 32H |  
51 | 33H |  
52 | 34H |  
53 | 35H |  
54 | 36H |  
55 | 37H |  
56 | 38H |  
57 | 39H |  
58 | 3AH |  
59 | 3BH |  
60 | 3CH |  
61 | 3DH |  
62 | 3EH |  
63 | 3FH |  
! ||  
" ||  
# ||  
$ ||  
% ||  
& ||  
` ||  
( ||  
) ||  
* ||  
+ ||  
, ||  
- ||  
. ||  
/ ||  
0 ||  
1 ||  
2 ||  
3 ||  
4 ||  
5 ||  
6 ||  
7 ||  
8 ||  
9 ||  
: ||  
; ||  
< ||  
= ||  
> ||  
? ||  
Equal Temperament  
This method of tuning divides the octave into 12 equal parts. It is currently the most widely  
used form of tuning, especially in occidental music. On the XV-88, the default settings for  
the Scale Tune feature produce equal temperament.  
D || 100 | 64H |  
E || 101 | 65H |  
F || 102 | 66H |  
G || 103 | 67H |  
H || 104 | 68H |  
I || 105 | 69H |  
J || 106 | 6AH |  
K || 107 | 6BH |  
L || 108 | 6CH |  
M || 109 | 6DH |  
N || 110 | 6EH |  
O || 111 | 6FH |  
P || 112 | 70H |  
Q || 113 | 71H |  
R || 114 | 72H |  
S || 115 | 73H |  
T || 116 | 74H |  
U || 117 | 75H |  
V || 118 | 76H |  
W || 119 | 77H |  
X || 120 | 78H |  
Y || 121 | 79H |  
Z || 122 | 7AH |  
[ || 123 | 7BH |  
\ || 124 | 7CH |  
] || 125 | 7DH |  
Just Temperament (Tonic of C)  
The principal triads resound much more beautifully than with equal temperament, but this  
benefit can only be obtained in one key. If transposed, the chords tend to become  
ambiguous. The example given involves settings for a key in which C is the keynote.  
Arabian Scale  
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for  
ethnic music. For example, the settings introduced below will set the unit to use the Arabian  
Scale.  
Example Settings  
Note name  
Equal Temperament  
Just Temperament (Key-tone C)  
Arabian Scale  
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-6  
+45  
-2  
C#  
D
-8  
^ ||——————+——————+——————+  
_ |  
+4  
+——————+——————+——————++——————+——————+——————+  
Eb  
E
+16  
-14  
-2  
-12  
-51  
-8  
D: decimal  
H: hexadecimal  
F
F#  
G
-10  
+2  
+43  
-4  
*
SPis space.  
G#  
A
+14  
-16  
+14  
-12  
+47  
0
Bb  
B
-10  
-49  
The values in the table are given in cents. Convert these values to hexadecimal, and transmit  
them as Exclusive data.  
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:  
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7  
2 9 5  
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MIDI Im p le m e n ta tio n  
2 9 6  
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MIDI Im p le m e n ta tio n  
2 9 7  
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Sp e cifica tio n s  
XV-8 8 : 1 2 8 -Vo ice Ex p a n d a b le Sy n th e size r (Co n fo rm s to Ge n e ra l MIDI 2 Sy ste m )  
Ke y b o a rd  
Disp la y  
88 keys (Full-weighted with velocity and channel aftertouch)  
40 characters, 2 lines (Backlit LCD)  
Pa rt  
Co n n e cto rs  
16  
A (MIX) Output Jacks (L (MONO), R)  
B Output Jacks (L, R)  
Ma x im u m Po ly p h o n y  
(Individual Jacks 1--4)  
128 voices  
Headphones Jack  
W a ve Me m o ry  
MIDI Connectors (IN, OUT, THRU)  
Computer Connector (Mac, PC, MIDI)  
Hold Pedal Jack  
64 M bytes (16-bit linear equivalent)  
Ex p a n sio n Slo t  
Control Pedal Jacks 1/ 2  
Wave Expansion Board SR-JV80 Series: 2 slots  
Wave Expansion Board SRX Series: 2 slots  
Po w e r Su p p ly  
AC 117 V, AC 230 V, AC 240 V  
Pre se t Me m o ry  
Po w e r Co n su m p tio n  
Patches: 768 (128 x 6 banks) + 256 (General MIDI 2 Patches)  
Performances: 64 (32 x 2 banks)  
16 W  
Rhythm Sets: 12 (2 x 6 banks) + 9 (General MIDI 2 Rhythm  
Sets)  
Dim e n sio n s  
1,408 (W) x 415 (D) x 142 (H) mm  
55-7/ 16 (W) x 16-3/ 8 (D) x 5-5/ 8 (H) inches  
Use r Me m o ry  
Patches: 128  
W e ig h t  
Performances: 64  
Rhythm Sets: 4  
26 kg / 57 lbs 6 oz  
Acce sso rie s  
Quick Start  
Ex te rn a l Me m o ry  
SmartMedia Card: 1 slot  
Owner's Manual  
Q & A  
Effe cts  
Multi-Effects: 63 types  
Reverb: 4 types  
Chorus: 2 types  
Power Cable (Not included with XV-88 designed for 117 V  
power supply)  
O p tio n s  
Arp e g g ia to r  
Wave Expansion Board (SRX Series, SR-JV80 Series)  
Pedal Switch (DP-2/ 6)  
45 styles  
Foot Switch (FS-5U)  
Co n tro lle rs  
Expression Pedal (EV-5)  
D Beam Controller  
Pitch Bend/ Modulation Lever  
Control Sliders (C1/ C2/ C3/ C4)  
Channel Aftertouch  
External Sequencer Controller  
In the interest of product improvement, the  
specifications and/ or appearance of this unit are subject  
to change without prior notice.  
2 9 8  
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Co m p u te r Ca b le W irin g Dia g ra m s  
For Apple Macintosh  
mini DIN, 8-pin, male  
6 7 8  
mini DIN, 8-pin, male  
mini DIN, 8-pin, male  
mini DIN, 8-pin, male  
6 7 8  
HSKo 1  
HSKi 2  
TXD- 3  
1 HSKo  
2 HSKi  
3 TXD-  
GND  
4
4
GND  
RXD- 5  
TXD+ 6  
5 RXD-  
6 TXD+  
3 4 5  
1 2  
3 4 5  
1 2  
GPi  
7
7
GPi  
RXD+ 8  
8 RXD+  
For PC (9-pin)  
mini DIN, 8-pin, male  
6 7 8  
D-sub, 9-pin, female  
mini DIN, 8-pin, male  
D-sub, 9-pin, female  
7
8
3
5
2
RTS  
CTS  
TXD  
GND  
RXD  
HSKo 1  
HSKi 2  
TXD- 3  
5
1
GND  
4
3 4 5  
1 2  
RXD- 5  
9
6
For PC (25-pin)  
mini DIN, 8-pin, male  
6 7 8  
D-sub, 25-pin, female  
mini DIN, 8-pin, male  
4
5
2
7
3
RTS  
CTS  
TXD  
GND  
RXD  
HSKo 1  
HSKi 2  
TXD- 3  
D-sub, 25-pin, female  
13  
1
GND  
4
3 4 5  
1 2  
RXD- 5  
25  
14  
2 9 9  
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In d e x  
Attack time offset  
Symbols  
Audio signal flow  
Numerics  
B
A
Bend Range  
Accent  
Accent Rate  
Aft  
Aftertouch ............................................................................................ 197  
Alternate  
Alternate pan depth  
ARPEGGIO group  
Arpeggio style  
Arpeggio tempo  
C
Channel  
Assign  
Atk  
Attack  
3 0 0  
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In d e x  
Chorus  
Copy  
Chorus send level  
Clock Source  
Cutoff  
Coarse  
Cutoff frequency  
Coarse tune  
Color  
COMMON group  
D Beam range lower  
CONTROL  
Control 14  
CONTROL group  
D Beam Sensitivity  
3 0 1  
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In d e x  
Depth  
E
Effects  
EFFECTS group  
FXM switch  
Envelope Mode  
Exp  
Expression  
F
Favorite list  
Filter type  
3 0 2  
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In d e x  
INFO  
INFO group  
Information  
L.Fade  
Aftertouch (GM Part) ................................................................... 197  
Hold 1 (GM Part) .......................................................................... 197  
Pitch bend (GM Part) ................................................................... 197  
J
K
Key fade width lower  
Key fade width upper  
KEY RANG  
Key range lower  
Key range upper  
Key Velocity  
3 0 3  
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In d e x  
Lower  
MODIFY  
Velocity range lower (Rhythm Wave) ......................................... 99  
Multi-effects  
M
Multi-effects control channel ............................................................... 51  
Multi-effects control source ............................................................... 116  
MFX Control Channel ........................................................................... 51  
MIDI group  
MIDI receive channel  
Mod  
Mode  
3 0 4  
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In d e x  
Mute Sw  
Mute switch  
N
Note 14  
Number  
O
Oct  
Octave  
Octave Range  
Out  
Part pan  
OUTPUT  
Output  
Output Assign  
3 0 5  
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In d e x  
PCH ENVELOPE  
Performance  
3 0 6  
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In d e x  
Resonance offset  
R
Reverb  
Random  
Random pan depth  
Random pitch depth  
Reverb send level  
Rhythm Set  
Receive pan mode  
Rel  
Release  
Release time offset  
Res  
Resonance  
3 0 7  
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In d e x  
Tempo  
S
Save  
Tempo Sync ............................................................................................ 98  
Time Keyfollow  
Sens  
SETTING  
Shuffle Rate  
Source  
Multi-effects control source ........................................................ 116  
Style  
Sw  
Switch  
TVA ENVELOPE  
TVA envelope level 13  
T
T1T4  
3 0 8  
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In d e x  
TVA envelope time 4 velocity sensitivity  
U
TVA envelope velocity curve  
Velocity range upper (Rhythm Wave) ........................................ 99  
TVA envelope velocity sensitivity  
TVA group  
TVA TIME ENV  
TVF ENVELOPE  
TVF envelope depth  
TVF envelope level 0  
V-Curve  
TVF envelope level 14  
TVF envelope time 1 velocity sensitivity  
V-Cutoff  
TVF envelope time 14  
TVF envelope time 4 velocity sensitivity  
Velocity Curve  
TVF envelope velocity curve  
TVF envelope velocity sensitivity  
TVF FILTER  
TVF group  
TVF VELOCITY  
Type  
Rhythm Wave ................................................................................. 99  
Rhythm Wave ................................................................................. 99  
3 0 9  
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In d e x  
V-Resonance  
V-Sens  
V-T1  
V-T4  
W
Wave expansion board  
Wave gain  
WAVE group  
Wave group  
Wave level .............................................................................................. 99  
Wave number  
Wave Tempo Sync  
Rhythm Wave ................................................................................. 98  
Waveform list ....................................................................................... 263  
WMT VEL RANG .................................................................................. 99  
X
Z
3 1 0  
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For EU Countries  
CAUTION  
Danger of explosion if battery is  
incorrectly replaced.  
Replace only with the same or  
equivalent type recommended by the  
manufacturer.  
Apparatus containing  
Lithium batteries  
Discard used batteries according to the  
manufacturers instructions.  
ADVARSEL!  
Lithiumbatteri - Eksplosionsfare ved  
fejlagtig håndtering.  
Udskiftning må kun ske med batteri af  
samme fabrikat og type.  
VARNING  
Explosionsfara vid felaktigt batteribyte.  
Använd samma batterityp eller en  
ekvivalent typ som rekommenderas av  
apparattillverkaren.  
Levér det brugte batteri tilbage til  
leverandøren.  
Kassera använt batteri enligt  
fabrikantens instruktion.  
ADVARSEL  
Eksplosjonsfare ved feilaktig skifte av  
batteri.  
VAROITUS  
Paristo voi räjähtää, jos se on  
virheellisesti asennettu.  
Benytt samme batteritype eller en  
tilsvarende type anbefalt av  
apparatfabrikanten.  
Brukte batterier kasseres i henhold til  
fabrikantens instruks joner.  
Vaihda paristo ainoastaan  
laitevalmistajan suosittelemaan  
tyyppiin. Hävitä käytetty paristo  
valmistajan ohjeiden mukaisesti.  
For EU Countries  
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.  
For the USA  
FEDERAL COMMUNICATIONS COMMISSION  
RADIO FREQUENCY INTERFERENCE STATEMENT  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the  
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in  
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee  
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or  
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  
Consult the dealer or an experienced radio/TV technician for help.  
Unauthorized changes or modification to this system can void the users authority to operate this equipment.  
This equipment requires shielded interface cables in order to meet FCC class B Limit.  
For Canada  
NOTICE  
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.  
AVIS  
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.  
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In fo rm a tio n  
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as  
shown below.  
PAN AMA  
ITALY  
ISRAEL  
SIN GAPO RE  
AFRICA  
SUPRO MUNDIAL, S.A.  
Boulevard Andrews, Albrook,  
Panama City, REP. DE PANAMA  
TEL: 315-0101  
Roland Italy S. p. A.  
Viale delle Industrie 8,  
20020 Arese, Milano, ITALY  
TEL: (02) 937-78300  
Halilit P. Greenspoon &  
Swee Lee Company  
150 Sims Drive,  
Sons Ltd.  
SINGAPORE 387381  
TEL: 6846-3676  
8 Retzif Ha'aliya Hashnya St.  
Tel-Aviv-Yafo ISRAEL  
TEL: (03) 6823666  
EGYPT  
Al Fanny Trading Office  
9, EBN Hagar A1 Askalany Street,  
ARD E1 Golf, Heliopolis,  
Cairo 11341, EGYPT  
CRISTOFORI MUSIC PTE  
LTD  
Blk 3014, Bedok Industrial Park E,  
#02-2148, SINGAPORE 489980  
TEL: 6243-9555  
N O RW AY  
Roland Scandinavia Avd.  
Kontor Norge  
Lilleakerveien 2 Postboks 95  
Lilleaker N-0216 Oslo  
NORWAY  
PARAGUAY  
Distribuidora De  
Instrumentos Musicales  
J.E. Olear y ESQ. Manduvira  
Asuncion PARAGUAY  
TEL: (021) 492-124  
JO RDAN  
AMMAN Trading Agency  
245 Prince Mohammad St.,  
Amman 1118, JORDAN  
TEL: (06) 464-1200  
TEL: 20-2-417-1828  
REUN IO N  
Maison FO - YAM Marcel  
25 Rue Jules Hermann,  
Chaudron - BP79 97 491  
Ste Clotilde Cedex,  
TAIW AN  
ROLAND TAIWAN  
ENTERPRISE CO., LTD.  
Room 5, 9fl. No. 112 Chung Shan  
N.Road Sec.2, Taipei, TAIWAN,  
R.O.C.  
TEL: 273 0074  
KUW AIT  
Easa Husain Al-Yousifi  
Abdullah Salem Street,  
Safat, KUWAIT  
PO LAN D  
P. P. H. Brzostowicz  
UL. Gibraltarska 4.  
PL-03664 Warszawa POLAND  
TEL: (022) 679 44 19  
URUGUAY  
Todo Musica S.A.  
Francisco Acuna de Figueroa 1771  
C.P.: 11.800  
Montevideo, URUGUAY  
TEL: (02) 924-2335  
REUNION ISLAND  
TEL: (0262) 218-429  
TEL: 243-6399  
TEL: (02) 2561 3339  
SO UTH AFRICA  
That Other Music Shop  
(PTY) Ltd.  
11 Melle St., Braamfontein,  
Johannesbourg, SOUTH AFRICA  
LEBAN O N  
Chahine S.A.L.  
Gerge Zeidan St., Chahine Bldg.,  
Achrafieh, P.O.Box: 16-5857  
Beirut, LEBANON  
PO RTUGAL  
THAILAN D  
VEN EZUELA  
Tecnologias Musica e Audio,  
Roland Portugal, S.A.  
Cais Das Pedras, 8/ 9-1 Dto  
4050-465 PORTO  
Theera Music Co. , Ltd.  
330 Verng NakornKasem, Soi 2,  
Bangkok 10100, THAILAND  
TEL: (02) 2248821  
Musicland Digital C.A.  
Av. Francisco de Miranda,  
Centro Parque de Cristal, Nivel  
C2 Local 20 Caracas  
TEL: (01) 20-1441  
P.O.Box 32918, Braamfontein 2017  
Johannesbourg, SOUTH AFRICA  
TEL: (011) 403 4105  
PORTUGAL  
TEL: (022) 608 00 60  
Q ATAR  
Al Emadi Co. (Badie Studio  
& Stores)  
P.O. Box 62,  
Doha, QATAR  
TEL: 4423-554  
VENEZUELA  
TEL: (212) 285-8586  
VIETN AM  
Saigon Music  
138 Tran Quang Khai St.,  
District 1  
Ho Chi Minh City  
VIETNAM  
TEL: (08) 844-4068  
Paul Bothner (PTY) Ltd.  
17 Werdmuller Centre,  
Main Road, Claremont 7708  
SOUTH AFRICA  
RO MAN IA  
FBS LINES  
Piata Libertatii 1,  
RO-4200 Gheorghehi  
TEL: (095) 169-5043  
EURO PE  
P.O.BOX 23032, Claremont 7735,  
SOUTH AFRICA  
TEL: (021) 674 4030  
AUSTRIA  
Roland Austria GES.M.B.H.  
Siemensstrasse 4, P.O. Box 74,  
A-6063 RUM, AUSTRIA  
SAUDI ARABIA  
aDawliah Universal  
Electronics APL  
Corniche Road, Aldossary Bldg.,  
1st Floor, Alkhobar,  
SAUDI ARABIA  
RUSSIA  
MuTek  
3-Bogatyrskaya Str. 1.k.l  
107 564 Moscow, RUSSIA  
TEL: (095) 169 5043  
AUSTRALIA/  
N EW ZEALAN D  
TEL: (0512) 26 44 260  
ASIA  
AUSTRALIA  
BELGIUM/ HOLLAND/  
LUXEMBO URG  
Roland Benelux N. V.  
Houtstraat 3, B-2260, Oevel  
(Westerlo) BELGIUM  
TEL: (014) 575811  
SPAIN  
Roland Electronics  
de España, S. A.  
Calle Bolivia 239, 08020  
Barcelona, SPAIN  
Roland Corporation  
Australia Pty., Ltd.  
38 Campbell Avenue  
Dee Why West. NSW 2099  
AUSTRALIA  
P.O.Box 2154, Alkhobar 31952  
SAUDI ARABIA  
TEL: (03) 898 2081  
CHIN A  
Beijing Xinghai Musical  
Instruments Co., Ltd.  
6 Huangmuchang Chao Yang  
District, Beijing, CHINA  
TEL: (010) 6774 7491  
SYRIA  
Technical Light & Sound  
Center  
Khaled Ebn Al Walid St.  
Bldg. No. 47, P.O.BOX 13520,  
Damascus, SYRIA  
TEL: (011) 223-5384  
TEL: (93) 308 1000  
TEL: (02) 9982 8266  
DEN MARK  
SW EDEN  
N EW ZEALAN D  
Roland Scandinavia A/S  
Nordhavnsvej 7, Postbox 880,  
DK-2100 Copenhagen  
DENMARK  
Shanghai Xingtong Acoustics  
Roland Scandinavia A/S  
SWEDISH SALES OFFICE  
Danvik Center 28, 2 tr.  
S-131 30 Nacka SWEDEN  
TEL: (08) 702 0020  
Roland Corporation Ltd.  
32 Shaddock Street, Mount Eden,  
Auckland, NEW ZEALAND  
TEL: (09) 3098 715  
Equipment CO.,Ltd.  
5F. No.1500 Pingliang Road  
New East Club Plaza, Shanghai,  
CHINA  
TEL: (039)16 6200  
TURKEY  
Barkat muzik aletleri ithalat  
ve ihracat Ltd Sti  
Siraselviler Caddesi Siraselviler  
Pasaji No:74/ 20  
TEL: (021) 5580-0800  
FRAN CE  
Roland France SA  
4, Rue Paul Henri SPAAK,  
Parc de l'Esplanade, F 77 462 St.  
Thibault, Lagny Cedex FRANCE  
TEL: 01 600 73 500  
CEN TRAL/ LATIN  
AMERICA  
SW ITZERLAN D  
Roland (Switzerland) AG  
Musitronic AG  
Gerberstrasse 5, Postfach,  
CH-4410 Liestal, SWITZERLAND  
TEL: (061) 927-8383  
HO N G KO N G  
Tom Lee Music Co., Ltd.  
Service Division  
22-32 Pun Shan Street, Tsuen  
Wan, New Territories,  
HONG KONG  
Taksim - Istanbul, TURKEY  
TEL: (0212) 2499324  
ARGEN TIN A  
Instrumentos Musicales S.A.  
Av.Santa Fe 2055  
(1123) Buenos Aires  
ARGENTINA  
TEL: (011) 4508-2700  
U.A.E.  
Zak Electronics & Musical  
Instruments Co. L.L.C.  
Zabeel Road, Al Sherooq Bldg.,  
No. 14, Grand Floor, Dubai, U.A.E.  
TEL: (04) 3360715  
FIN LAN D  
Roland Scandinavia As,  
Filial Finland  
Lauttasaarentie 54 B  
Fin-00201 Helsinki, FINLAND  
TEL: (9) 682 4020  
UKRAIN E  
TEL: 2415 0911  
TIC-TAC  
Mira Str. 19/ 108  
IN DIA  
P.O. Box 180  
295400 Munkachevo, UKRAINE  
TEL: (03131) 414-40  
Rivera Digitec (India) Pvt. Ltd.  
409, Nirman Kendra Mahalaxmi  
Flats Compound Off. Dr. Edwin  
Moses Road, Mumbai-400011,  
INDIA  
BRAZIL  
Roland Brasil Ltda  
Rua San Jose, 780 Sala B  
Parque Industrial San Jose  
Cotia - Sao Paulo - SP, BRAZIL  
TEL: (011) 4615 5666  
GERMAN Y  
Roland Elektronische  
Musikinstrumente HmbH.  
Oststrasse 96, 22844 Norderstedt,  
GERMANY  
UN ITED KIN GDO M  
N O RTH AMERICA  
Roland (U.K.) Ltd.  
Atlantic Close, Swansea  
Enterprise Park, SWANSEA  
SA7 9FJ,  
TEL: (022) 493 9051  
IN DO N ESIA  
PT Citra IntiRama  
J1. Cideng Timur No. 15J-150  
Jakarta Pusat  
INDONESIA  
TEL: (021) 6324170  
CAN ADA  
Roland Canada Music Ltd.  
(Head Office)  
5480 Parkwood Way Richmond  
B. C., V6V 2M4 CANADA  
TEL: (604) 270 6626  
CO STA RICA  
JUAN Bansbach  
Instrumentos Musicales  
Ave.1. Calle 11, Apartado 10237,  
San Jose, COSTA RICA  
TEL: 258-0211  
TEL: (040) 52 60090  
UNITED KINGDOM  
TEL: (01792) 700139  
GREECE  
STOLLAS S.A.  
Music Sound Light  
155, New National Road  
Patras 26442, GREECE  
TEL: (061) 043-5400  
MIDDLE EAST  
KO REA  
Roland Canada Music Ltd.  
Cosmos Corporation  
1461-9, Seocho-Dong,  
Seocho Ku, Seoul, KOREA  
TEL: (02) 3486-8855  
CHILE  
Comercial Fancy S.A.  
Rut.: 96.919.420-1  
Nataniel Cox #739, 4th Floor  
Santiago - Centro, CHILE  
TEL: (02) 688-9540  
(Toronto Office)  
170 Admiral Boulevard  
Mississauga On L5T 2N6  
CANADA  
BAHRAIN  
Moon Stores  
No.16, Bab Al Bahrain Avenue,  
P.O.Box 247, Manama 304,  
State of BAHRAIN  
HUN GARY  
Intermusica Ltd.  
TEL: (905) 362 9707  
Warehouse Area DEPO’ Pf.83  
H-2046 Torokbalint, HUNGARY  
TEL: (23) 511011  
MALAYSIA  
BENTLEY MUSIC SDN BHD  
140 & 142, Jalan Bukit Bintang  
55100 Kuala Lumpur,MALAYSIA  
TEL: (03) 2144-3333  
TEL: 211 005  
U. S. A.  
EL SALVADO R  
Roland Corporation U.S.  
5100 S. Eastern Avenue  
Los Angeles, CA 90040-2938,  
U. S. A.  
CYPRUS  
Radex Sound Equipment Ltd.  
17, Diagorou Street, Nicosia,  
CYPRUS  
OMNI MUSIC  
IRELAN D  
Roland Ireland  
Audio House, Belmont Court,  
Donnybrook, Dublin 4.  
Republic of IRELAND  
TEL: (01) 2603501  
75 Avenida Norte y Final  
Alameda Juan Pablo  
Edificio No.4010 San Salvador,  
EL SALVADOR  
,
PHILIPPIN ES  
TEL: (323) 890 3700  
G.A. Yupangco & Co. Inc.  
339 Gil J. Puyat Avenue  
Makati, Metro Manila 1200,  
PHILIPPINES  
TEL: (02) 66-9426  
TEL: 262-0788  
IRAN  
MOCO, INC.  
No.41 Nike St., Dr.Shariyati Ave.,  
Roberoye Cerahe Mirdamad  
Tehran, IRAN  
MEXICO  
TEL: (02) 899 9801  
Casa Veerkamp, s.a. de c.v.  
Av. Toluca No. 323, Col. Olivar  
de los Padres 01780 Mexico D.F.  
MEXICO  
TEL: (021) 285-4169  
As of May 1, 2002 (Roland)  
TEL: (55) 5668-6699  
02019189  
’02-5-C2-71K  
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