O W N ER’S MAN UAL
Thank you, and congratulations on your choice of the Roland XV-3080.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUC-
TIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p. 8). These
sections provide important information concerning the proper operation of the unit. Addi-
tionally, in order to feel assured that you have gained a good grasp of every feature provided
by your new unit, Owner’s Manual and Quick Start should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
N o ta tio n Use d in Th is O w n e r’s Ma n u a l
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] the ENTER button.
An asterisk (*) at the beginning of a paragraph indicates a note or precaution.
(p. **) refers to pages within the manual.
* The display screens printed in this owner’s manual are based on the factory settings.
However, please be aware that in some cases they may differ from the actual factory settings.
* SmartMedia is a trademark of Toshiba Corporation.
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.
Download from Www.Somanuals.com. All Manuals Search And Download.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a damp cloth.
11. Only use attachments/accessories specified by the
manufacturer.
12. Use only with a cart, stand, tripod, bracket,
or table specified by the manufacturer, or
7. Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. When the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
sold with the apparatus. When a cart is used,
use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
WARNING:
THIS APPARATUS MUST BE EARTHED
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
2
Download from Www.Somanuals.com. All Manuals Search And Download.
U
N
G
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.
H
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
U
N
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.
A
Y
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.
•
Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
•
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.
..........................................................................................................
•
Do not open or perform any internal modifica-
tions 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. 3.)
..........................................................................................................
•
Always turn the unit off and unplug the power
cord before attempting installation of the circuit
board (SRX series, SR-JV80 series; Quick Start p.
11).
..........................................................................................................
•
..........................................................................................................
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.
•
Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
•
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.
..........................................................................................................
•
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!
..........................................................................................................
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
•
..........................................................................................................
•
Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
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.
..........................................................................................................
•
Before moving the unit, disconnect the power
plug from the outlet, and pull out all cords from
external devices.
..........................................................................................................
•
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
..........................................................................................................
•
Before cleaning the unit, turn off the power and
•
Do not force the unit’s 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
cord’s 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.
unplug the power cord from the outlet .
..........................................................................................................
•
Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
•
Install only the specified circuit board(s) (SRX
series, SR-JV80 series). Remove only the specified
screws (Quick Start p. 3).
..........................................................................................................
..........................................................................................................
3
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Contents ..................................................................................................4
Main Features..........................................................................................9
High-Performance Built-In Effects ............................................................................................... 9
Create Amazingly Expressive Tones............................................................................................ 9
Supports General MIDI system Level 2....................................................................................... 9
Greater Expansion Possibilities with the New-Format Wave Expansion Boards ................. 9
Featuring the Patch Finder and Phrase Preview Functions...................................................... 9
Registering a Patch in the FAVORITE LIST................................................................................ 9
Front Panel................................................................................................................................................. 10
Auditioning Sounds on the XV-3080 (Phrase Preview)...................................................................... 13
Setting the Way In Which Sounds Are Previewed................................................................... 13
Playing a Patch on the XV-3080 from External MIDI Devices (MIDI Keyboard) ........................... 14
Setting the XV-3080’s MIDI Reception Channels ..................................................................... 14
Choosing a Sound Library ...................................................................................................................... 15
Basic Procedure for Selecting a Patch......................................................................................... 16
Selecting Patches by Category (Patch Finder) .......................................................................... 16
Selecting Patches and Rhythm Sets from an External MIDI Device...................................... 17
Setting a Patch’s Pitch in Octave Steps (Octave Shift) ........................................................................ 20
Selecting How a Patch Will Play (Polyphonic/ Monophonic) ........................................................... 20
Chapter 2 Using the XV-3080 Effects..................................................21
Turning Effects On/ Off........................................................................................................................... 21
Adjusting Effect Settings in Patch mode ([PATCH]-[EFFECTS])...................................................... 21
Making Multi-Effects Settings..................................................................................................... 22
Making Chorus Settings............................................................................................................... 23
Adjusting Effects Settings in Performance Mode ([PERFORM]-[EFFECTS]).................................. 26
Adjusting Multi-Effects Settings ................................................................................................. 27
Making Chorus Settings............................................................................................................... 28
Adjusting Effect Settings in Rhythm Set Mode ([RHYTHM]-[EFFECTS]) ...................................... 31
Setting the Output for Each Tone in a Rhythm Set .................................................................. 31
Making Multi-Effects Settings..................................................................................................... 31
Making Chorus Settings............................................................................................................... 32
Settings in General MIDI Mode ([GM]-[EFFECTS])............................................................................ 35
Parameters for Each Multi-Effect (MFX TYPE).................................................................................... 36
Patch Mode Settings................................................................................................................................. 72
Signal (TONE) Flow ...................................................................................................................... 72
4
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Signal(PART) Flow ....................................................................................................................... 75
Rhythm Set Mode Settings...................................................................................................................... 78
Signal(RHYTHM TONE) Flow ................................................................................................... 78
Signal(PART) Flow ....................................................................................................................... 81
How a Patch Is Organized ...................................................................................................................... 83
How a Tone Is Organized ............................................................................................................ 83
Tips for Creating a Patch ......................................................................................................................... 84
Selecting the Tones That Will Sound (Tone On/ Off).......................................................................... 84
Settings Common to the Entire Patch (COMMON)............................................................................ 84
Tips for Selecting a Waveform .................................................................................................... 90
Modifying a Waveform (WAVE)................................................................................................ 91
Modifying Pitch (PITCH)............................................................................................................. 92
Modifying the Brightness of a Sound with a Filter (TVF)....................................................... 93
Applying Vibrato or Tremolo (LFO).......................................................................................... 97
Saving Patches You Create.................................................................................................................... 100
Copying the Settings of Another Patch (Patch Tone Copy)............................................................. 100
Basic Ways to Use Performances ......................................................................................................... 102
Playing Multiple Patches Together (Layer)............................................................................. 102
Using the XV-3080 as a Multitimbral Sound Generator ........................................................ 102
Establishing Settings for an Entire Performance (COMMON)........................................................ 103
Selecting a Part’s Patch or Rhythm Set ([PART]-[PART PATCH])...................................... 104
Establishing a Part’s MIDI Settings (MIDI)............................................................................. 106
Confirming MIDI Information for Each Part (INFO)........................................................................ 107
Saving Performances You Create......................................................................................................... 108
Editing a Patch or Rhythm Set in the Performance Mode................................................................ 109
How Percussion Instruments Are Organized .................................................................................... 110
5
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Settings Common to an Entire Rhythm Set ........................................................................................ 111
Tips for Selecting Rhythm Tone Waveforms .......................................................................... 112
Modifying a Rhythm Tone’s Waveform and Panning (WAVE) .......................................... 113
Modifying a Rhythm Tone’s Pitch (PITCH)............................................................................ 115
Modifying the Brightness of a Sound with a Filter (TVF)..................................................... 116
Other Settings (CONTROL)....................................................................................................... 118
Saving Patches You Create.................................................................................................................... 119
Copying the Settings of Another Rhythm Tone (Rhythm Key Copy)............................................ 119
Registering Favorite Patches in the FAVORITE LIST....................................................................... 121
Saving Edits to the XV-3080’s Internal Memory ................................................................................ 122
Saving a Rhythm Set................................................................................................................... 122
Transmitting Sound Settings ................................................................................................................ 125
Other Memory Card-Related Settings (CARD) ...................................................................... 126
Transmitting Data to an External MIDI Device (XFER) ........................................................ 127
Adjusting the Overall Tuning of the XV-3080.................................................................................... 130
Master Tune and Master Key Shift ........................................................................................... 130
Scale Tune..................................................................................................................................... 130
Making MIDI-Related Settings............................................................................................................. 131
Specifying the Reception Status for Each Tone ...................................................................... 132
Connecting Two or More XV-3080s to Increase Polyphony ................................................. 133
Adjusting the Display Brightness ............................................................................................. 134
Setting the State of the XV-3080 When Its Power Is Turned On .......................................... 134
Controlling the XV-3080 in Realtime With an External MIDI Device ............................................ 135
Modifying Tone Settings............................................................................................................ 135
Applications for Patches........................................................................................................................ 137
Syncing the LFO Cycle to System Tempo ............................................................................... 137
Modifying Multi-Effects to Match the System’s Tempo........................................................ 137
Making a Tone’s Delay Time Match the System Tempo....................................................... 137
Playing Phrase Loops at a System’s Tempo............................................................................ 138
Controlling the TMT with the LFO and Changing the Tone’s Cycle Time ................................... 140
6
Download from Www.Somanuals.com. All Manuals Search And Download.
Co n te n ts
Using the XV-3080 as a General MIDI Sound Module ..................................................................... 141
Turning Effects On/ Off.............................................................................................................. 141
Modifying GM Mode Settings................................................................................................... 142
Troubleshooting..................................................................................148
Can’t select Patches ................................................................................................................................ 148
Can’t select Performances ..................................................................................................................... 148
Can’t select the Part for which to make settings................................................................................ 148
Effects do not apply................................................................................................................................ 149
Memory Card cannot be used .............................................................................................................. 149
Song data does not playback correctly................................................................................................ 149
Error Messages...................................................................................150
Parameter List.....................................................................................151
Patch Parameters......................................................................................................................... 151
Performance Parameters ............................................................................................................ 155
Rhythm Set Parameters .............................................................................................................. 157
GM Mode Parameters................................................................................................................. 159
MFX Prameters ............................................................................................................................ 160
System Parameters...................................................................................................................... 167
MIDI Implementation Chart ................................................................195
Specifications......................................................................................196
Index.....................................................................................................197
7
Download from Www.Somanuals.com. All Manuals Search And Download.
IMPO RTAN T N O TES
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:
Po w e r Su p p ly
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 unit’s memory a memory card.
Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s 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 unit’s
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 itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
Po w e r Su p p ly : Use o f
Ba tte rie s
•
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.
•
•
•
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.
Ma in te n a n ce
To avoid disturbing your neighbors, try to keep the unit’s
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.
•
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 Ca rd s
Re p a irs a n d Da ta
Usin g DATA Ca rd s
•
Carefully insert the DATA card all the way in—until it is
•
Please be aware that all data contained in the unit’s
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.
firmly in place.
Me m o ry Ba ck u p
•
This unit contains a battery which powers the unit’s
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 “Information” page.
•
Never touch the terminals of the DATA card. Also, avoid
getting the terminals dirty.
“Battery Low”
8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ma in Fe a tu re s
● 1 2 8 -Vo ice Po ly p h o n y a n d 1 6 -Pa rt Mu ltitim b ra lity
The XV-3080 is a 16-part multitimbral sound generator that produces up to 128 simultaneous polyphonic voices. It provides
ample polyphony, even with Patches containing multiple Tones.
● Hig h -Pe rfo rm a n ce Bu ilt-In Effe cts
Advanced DSP (Digital Signal Processor) technology provides a wide array of studio-quality effects. The XV-3080 offers three
internal effect units: Multi-Effects, featuring 63 different effect types, Chorus and Reverb.
● Cre a te Am a zin g ly Ex p re ssive To n e s
With Patches containing four stereo Tones, as well as four-Tone instruments in Rhythm Sets -- you can use up to a total of eight
wave types -- the XV-3080 takes you the next step beyond Roland's previous generation of JV-Series modules, providing even
more precise control and allowing you to create lusher, more expressive sounds.
● Su p p o rts Ge n e ra l MIDI sy ste m Le ve l 2
The XV-3080 provides a mode compatible with General MIDI System Level 2, the standard format for desktop music (DTM)
systems. The upwardly compatible General MIDI 2 standards pick up where the original General MIDI standard left off, offering
enhanced expressive capabilities and even greater compatibility. You can play back commercially available General MIDI-
compatible song data (p. 141).
● Gre a te r Ex p a n sio n Po ssib ilitie s w ith th e N e w -Fo rm a t W a ve
Ex p a n sio n Bo a rd s
The XV-3080 accepts up to two of Roland's new-format Wave Expansion Boards (SRX Series, sold separately). In addition, you can
add four previous-generation Wave Expansion Boards (SR-JV Series, sold separately). (Quick Start p. 2)
All of this provides you unprecedented power in creating sounds from a massive amount of waveform data.
● Fe a tu rin g th e Pa tch Fin d e r a n d Ph ra se Pre vie w Fu n ctio n s
The XV-3080 provides a Patch Finder function that allows you to quickly find Patches of a specified type or category. (Patch
Finder function p. 16)
Press the XV-3080's [PHRASE PREVIEW] button to preview the selected Patch with a musically appropriate Phrase. (Phrase
Preview function p. 13)
● Re g iste rin g a Pa tch in th e FAVO RITE LIST
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, whether they are in the XV-3080 itself, on Wave
Expansion Boards, or on memory cards. You can register up to 64 Patches in this list. (p. 121)
9
Download from Www.Somanuals.com. All Manuals Search And Download.
Fro n t a n d Re a r Pa n e ls
Fro n t Pa n e l
G
F
H
B
I
C
E
L
D
J
K
A
selected mode.
A
The blue labels show what the buttons do in Performance
mode, orange in Patch/ Rhythm Set mode, and gray in
System mode. These buttons, in each case, provide access to
relevant settings, or "parameters."
VO LUME Kn o b (PHRASE PREVIEW )
This adjusts the volume from the A(MIX) OUTPUT jacks and
PHONES jacks. The volume from the OUTPUT B and C jacks
cannot be adjusted.
You can press the knob to listen to the XV-3080 without
using any external devices. (Phrase Preview function p. 13)
E
[PALETTE]
PHO N ES Ja ck
Press this button when you wish to use the Palette display to
modify Patch or Performance settings.
Headphones are plugged in here. (Quick Start p. 10)
[EXIT]
B
Press this button when you wish to return to a mode's PLAY
display, or to cancel an operation before executing it.
Disp la y
The display presents a variety of information about the
operation being performed.
Hold [EXIT] and press [
songs. (Quick Start p. 14)
] to hear the XV-3080 demo
C
F
[SYSTEM]
VALUE Dia l (SO UN D LIST)
Selects System mode.
Turn this dial to modify a parameter's setting, or "value." If
you hold down [SHIFT] as you turn the VALUE dial, the
parameter's value will change by larger increments.
This allows you to make settings that affect the entire XV-
3080.
Press this dial in Patch/ Rhythm Set mode to display a list
showing the collection of your favorite sounds. (p. 121)
[UTILITY]
Selects Utility mode.
[PATCH FIN DER]
This button allows you to perform operations such as saving,
copying, initializing, transferring data, write-protecting data,
memory card management, and factory reset operations.
You can select a Patch using the Patch Finder function. (p. 16)
[IN C]/ [DEC]
Use these buttons to modify a parameter's value. If you hold
down one button and press the other, values change more
quickly. If you press one of these buttons while holding
down [SHIFT], the value will change by larger increments.
D
Fu n ctio n Se le ct Bu tto n s
The functions of these buttons change depending on the
1 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Fro n t a n d Re a r Pa n e ls
[
], [
]
TO N E SW ITCH [1 ]–[4 ]
Move the cursor (underline) with these.
This switches each Tone on or off. (p. 84)
TO N E SELECT [1 ]–[4 ]
[
], [
]
This selects a Tone whose settings you wish to change. (p. 89)
When the left edge of the display shows a
or
symbol,
[A]–[H]
use these buttons to move to other parameter screens.
This selects a sound from the SOUND LIBRARY. (p. 15)
Hold [EXIT] and press [
] to hear the demo songs.
J
G (MO DE)
[SHIFT]
[PERFO RM]
Use [SHIFT] in combination with other buttons. Holding
down this button changes the functions of other buttons.
Press this button to enter Performance mode. (p. 14)
Press this button while holding down [SHIFT] to switch to
Part Play mode, enabling you to make changes to the settings
for the Patch and Rhythm Set assigned to each Part (p. 109).
[EN TER]
operation.
[PATCH]
Press this to enter Patch mode. (p. 14)
[UN DO ]
Use this to restore a modified parameter value to its original
setting.
[RHYTHM]
Press this to enter Rhythm Set mode. (p. 14)
[EFFECTS O N / O FF]
[GM]
Use this to turn the internal effects (Multi-Effects, Chorus,
Reverb) on or off. (p. 21)
Press this to enter General MIDI 2 mode. (p. 14)
H (SO UN D LIBRARY)
K
[USER]
MEMO RY CARD
This selects a sound from the USER library. (p. 15)
A commercially available SmartMedia memory card can be
inserted here. (p. 125)
[CARD]
This selects a sound from an installed memory card, sold
separately. (p. 15)
L
[MIDI MESSAGE/ RX]
[PRESET]
MIDI MESSAGE: This will light when a MIDI message is
This selects a sound from the PRESET library. (p. 15)
received.
[EXP]
RX: This turns Parts on and off in Performance mode and
This selects a sound from a wave expansion board, sold
separately. (p. 15, Quick Start p. 2)
GM mode. (p. ??)
[1 -8 / 9 -1 6 ]
This specifies whether the PART SELECT [1/ 9]–[8/ 16]
I
buttons will select Parts 1–8 or Parts 9–16.
PART SELECT [1 / 9 ]–[8 / 1 6 ]
When this button is lit, Parts 9–16 can be selected.
This selects a Part whose settings you wish to change. (p.
103)
Po w e r Sw itch
This switches each Part on or off. (p. 102)
1 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Fro n t a n d Re a r Pa n e ls
Re a r Pa n e l
M
P
O
Q
N
M
Q (O UTPUT)
AC In le t
IN DIVIDUAL 1 –6 O UTPUT Ja ck s
Connect the included power cable here. (Quick Start p. 10)
These jacks output audio signals in mono from the XV-3080
to an amp or mixer. (Quick Start p. 10)
N (MIDI)
MIDI Co n n e cto rs (IN , O UT, THRU)
These connectors connect the XV-3080 with other MIDI
devices, enabling the sending and receiving of MIDI
messages. (Quick Start p. 10)
IN: This connector receives messages from another MIDI
device.
Out: This connector transmits messages to a MIDI device.
Thru: MIDI messages received at the MIDI IN connector will
be retransmitted from this connector without being changed
by the XV-3080.
O (O UTPUT)
A(MIX) O UTPUT Ja ck s (L (MO N O ), R)
These jacks send audio signals in stereo (L/ R) from the XV-
3080 to an amp or mixer. For a mono output, use only the L
jack. (Quick Start p. 10)
These jacks are used when the SYSTEM SETUP Mix/ Parallel
parameter is set to MIX. (p. 73, p. 76, p. 79, p. 81)
* The XV-3080, as shipped from the factory, routes the output
of all PRESET Patches to these jacks.
P (O UTPUT)
B, C O UTPUT Ja ck s (L, R)
These jacks send audio signals in stereo (L/ R) from the XV-
3080 to an amp or mixer. (Quick Start p. 10)
1 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla yin g a So un d
fig.1-3.e
Au d itio n in g So u n d s o n th e
XV-3 0 8 0 (Ph ra se Pre vie w )
fig.1-4.e
The Phrase Preview feature allows you to audition Patches
on the XV-3080 even when it’s not connected to a MIDI
keyboard or sequencer. You can preview a Patch using a
Phrase that’s appropriate to the Patch’s type or category.
4 . Turn the VALUE dial or press [INC]/ [DEC] to select the
1 . Press [PATCH] to make its indicator light.
desired setting.
2 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
5 . Press [EXIT] to return to the PLAY page.
desired Patch.
Pre vie w Mo d e
3 . Press and hold the VOLUME knob.
PHRASE: The Phrase associated with the Patch’s type/
The Patch plays its preview Phrase for as long as the knob is
held down.
category is played.
CHORD: The notes specified by PREVIEW KEY will play
* When you preview a Rhythm Set, the XV-3080 plays a
percussion Phrase. Phrase Preview also allows you to audition
a Performance – when you preview a Performance, you hear a
Phrase appropriate to the currently selected Part.
together as a chord.
SINGLE: The notes specified by PREVIEW KEY will sound
one after another.
* A USER Patch or a Patch from an optional Wave Expansion
Board (SRX/SR-JV80 series) may not preview in its normal
PREVIEW KEY N o te 1 –4
Specifies the four notes (C -1–G9) that will be heard during a
preview when “SINGLE” or “CHORD” is selected for
Preview Mode.
pitch range. If this occurs, press [
] or [
] (Octave Shift
* If “PHRASE” is selected for Preview Mode, these settings will
have no effect.
* If the pitch range of a Phrase is wider than the range of the
fall outside that range will not be heard.
PREVIEW VELO CITY N O TE1 –4
Specifies the volume (0–127) of the four notes that will sound
when “SINGLE” or “CHORD” is selected for Preview Mode.
Se ttin g th e W a y In W h ich So u n d s
Are Pre vie w e d
* If “PHRASE” is selected for Preview Mode, these settings will
have no effect.
You can preview a Patch in any of three ways: “PHRASE”
(the Patch plays a Phrase), “CHORD” (the Patch plays a
chord), or “SINGLE” (the Patch plays a series of notes).
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [PREVIEW] function select button.
fig.1-1.e
3 . Use [
]/ [
] to choose the setting page for Preview
Mode.
fig.1-2.e
Press [
] to display the setting page for PREVIEW KEY and
PREVIEW VELOCITY.
1 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
6 . Press [EXIT].
Pla y in g a Pa tch o n th e XV-
3 0 8 0 fro m Ex te rn a l MIDI
De vice s (MIDI Ke y b o a rd )
Se le ctin g a Mo d e (Pa tch ,
Pe rfo rm a n ce , o r Rh y th m Se t)
The XV-3080 produces sound in response to MIDI messages
that it receives from an external MIDI device such as a MIDI
keyboard or sequencer. In order for this to occur, the MIDI
transmission channels of the external device must match the
MIDI reception channels of the XV-3080.
In addition to Patch mode, the XV-3080 also features three
other modes: Performance mode, Rhythm Set mode, and
GM2 mode.
You can easily select any of these modes by pressing the
* For details on setting the MIDI transmission channels of your
external MIDI device, refer to its owner’s manual.
corresponding MODE button: PERFORM, PATCH,
RHYTHM or GM.
fig.1-7.e
Se ttin g th e XV-3 0 8 0 ’s MIDI
Re ce p tio n Ch a n n e ls
In Pa tch m o d e
PERFO RM (Pe rfo rm a n ce Mo d e )
In order to play single Patches, set the XV-3080’s MIDI
In Performance mode, the XV-3080 functions as a
reception channel as follows.
multitimbral sound module when used with an external
MIDI controller. An entire multitimbral setup is called a
“Performance.” Performances can be customized as needed,
including their effects. Each of the sounds used in a
Performance is assigned to one of the Performance’s 16 Parts.
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [MIDI] function select button.
3 . Press [
] or [
] to move the cursor to the number
underneath Patch/ Rhy Rx Ch.
PATCH (Pa tch Mo d e )
4 . Use the VALUE dial or [INC]/ [DEC] to select the desired
In Patch mode, the entire XV-3080 is dedicated to the playing
of a single Patch when controlled by an external MIDI device.
You can also modify Patch settings in this mode, as well as
their effects.
MIDI channel.
5 . Press [EXIT].
Pa rts o f a Pe rfo rm a n ce
In order to play any of the 16 Parts in a Performance, you
must set the MIDI reception channel for the Part.
RHYTHM (Rh y th m Se t Mo d e )
In Rhythm Set mode, the entire XV-3080 is dedicated to the
playing of a single Rhythm Set when controlled by an
external MIDI device. You can also modify Rhythm Sets in
this mode, as well as their effects. XV-3080 Rhythm Sets can
also be used for any Part in a Performance when in
Performance mode.
1 . Select the Performance.
2 . Press the [MIDI] function select button.
3 . Press one of the [1/ 9]–[8/ 16] buttons to select the Part
you want to set up. To select Part 9–16, press PART
SELECT [1-8/ 9-16] to light its indicator, and then press
the desired [1/ 9]–[8/ 16] button.
GM(Ge n e ra l MIDI2 Mo d e )
The button’s indicator will light, and the selected Part
In this mode, the XV-3080 functions as a General MIDI 2-
compatible sound generator.
number will appear at the left in the display.
fig.1-5.e
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
4 . Press [
]/ [
] to move the cursor to “Channel.”
5 . Use the VALUE dial or [INC]/ [DEC] to select the desired
logo (
). Music files bearing the General MIDI logo can be
MIDI reception channel.
played back using any General MIDI sound generating unit
1 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
to produce essentially the same musical performance.
The upwardly compatible General MIDI 2 (
USER
You can store your own Patches, Rhythm Sets and
Performances in the SOUND LIBRARY’s USER group. When
shipped from the factory, this group contains Patches with
modified octave settings from the PRESET group’s Bank E
(PR-E).
)
recommendations pick up where the original General MIDI
left off, offering enhanced expressive capabilities, and even
greater compatibility.
Issues that were not covered by the original General MIDI
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
CARD
This library uses sounds from a commercially available
memory card (SmartMedia) inserted into the MEMORY
CARD slot.
expanded. General MIDI 2 compliant sound generators are
capable of reliably playing back music files that carry either
the General MIDI or General MIDI 2 logo. In some cases, the
conventional form of General MIDI, which does not include
the new enhancements, is referred to as “General MIDI 1” as
a way of distinguishing it from General MIDI 2.
When saving a file to the card, you can directly select Tones
contained on the card – even without loading the files into
the USER memory – by specifying the group (CD-A through
CD-H). (Transmitting to a Memory Card (Save) p. 125)
PRESET
Patches, Rhythm Sets and Performances can be stored in the
following memory locations within each library group.
The PRESET library group contains the sounds that are
permanently stored in the XV-3080’s memory. You can
modify PRESET sounds and save them in the USER or CARD
groups. PRESET Banks A and B (PR-A, PR-B) contain all of
the XV-3080’s built-in Performances.
PATCH
RHYTHM
PERFORM
USER
CARD
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
PR-G
PR-H
XP-A
:
1–128
*
1, 2, 3, 4
*
1–64
*
1–128
1–128
1–128
1–128
1–128
1–128
---
1, 2
1, 2
1, 2
1, 2
1, 2
1, 2
---
1–32
1–32
---
EXP (Ex p a n sio n )
This group contains sounds from any wave expansion
boards – SRX and SR-JV80 series, sold separately – installed
in slots EXP A-F. You cannot alter the contents of the EXP
group, though you can modify its sounds and save them as
new sounds in the USER or CARD group. The number of
Patches and Rhythm Sets in the EXP group depends on the
specific wave expansion boards installed. The EXP group
contains no Performances. (Precautions When Installing
Wave Expansion Board (Quick Start p. 2))
---
---
---
---
1–256
*
1–9
*
---
---
:
:
:
XP-F
–: None
*
*
---
* It is not possible to select an EXP Patch unless a wave
expansion board is inserted into the corresponding slot.
*: Differs by type
* CARD sounds can be selected only if a SmartMedia card is
inserted into the MEMORY CARD slot.
Ch o o sin g a So u n d Lib ra ry
XV-3080 Sound data is stored in the SOUND LIBRARY. The
SOUND LIBRARY is divided into four “groups”: USER,
CARD, PRESET, and EXP. The PRESET and EXP groups are
further divided into “banks.”
You can select any of the groups by pressing the
corresponding SOUND LIBRARY button: USER, CARD,
PRESET or EXP.
fig.1-6.e
1 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
* If you press VALUE dial after Step 3, the CATEGORY
SELECT page appears.
Se le ctin g a Pa tch
fig.1-9.e
Ba sic Pro ce d u re fo r Se le ctin g a
Pa tch
•
•
You can change the selected category by holding down
Turn the VALUE dial or press [INC]/ [DEC] to select the
desired Patch.
[SHIFT] and pressing [INC]/ [DEC].
Turn VALUE dial or press [INC]/ [DEC] to select a
category, and then press [ENTER] to confirm the
selection. To find the desired Patch, follow Steps 4 and 5
above.
VALUE Dia l
To move quickly through the available Patches:
Turn the VALUE dial while pressing it or, if you prefer, turn
the VALUE dial while pressing [SHIFT].
[IN C]/ [DEC]
To move quickly upward through the available Patches:
Hold down [INC] and press [DEC] or, if you prefer, hold
down [SHIFT] and press [INC].
To move quickly downward through the available
Patches:
Hold down [DEC] and press [INC] or, if you prefer, hold
down [SHIFT] and press [DEC].
When you hold down [INC] or [DEC], you may eventually
arrive at the beginning (001) of the selected group or bank.
To continue selecting Patches, release and then press the
desired [INC] or [DEC] button again.
Se le ctin g Pa tch e s b y Ca te g o ry
(Pa tch Fin d e r)
The XV-3080’s “Patch Finder” allows you to quickly find any
Patch.
1 . Press [PATCH] to make its indicator light.
2 . Press [PATCH FINDER] to make its indicator light.
On the display, the Patch’s number is replaced by its
category.
fig.1-8.e
Category
3 . Use [
]/ [
] to select the desired category.
4 . Turn the VALUE dial or press [INC]/ [DEC] to choose a
Patch in the currently selected category.
5 . Press [PATCH FINDER] to return to the PATCH PLAY
page.
1 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
The following categories can be selected.
Se le ctin g Pa tch e s a n d Rh y th m
Se ts fro m a n Ex te rn a l MIDI
De vice
Category
Group
Category
Contents
—
NO ASSIGN
No assign
You can select XV-3080 Patches and Rhythm Sets – including
those used by Parts in a Performance – from an external
MIDI device.
Piano
PNO
EP
AC.PIANO
EL.PIANO
Acoustic Piano
Electric Piano
Keys&Organ
KEY
KEYBOARDS
Other Keyboards
(Clav, Harpsichord etc.)
Bell, Bell Pad
In Pa tch o r Rh y th m Se t m o d e s
BEL
MLT
BELL
1 . Press [PATCH] – or [RHYTHM] if you wish to select a
MALLET
Mallet
Rhythm Set – to make the button’s indicator light.
ORG ORGAN
Electric and Church
Organ
2 . Set the transmission channel of your external MIDI
device to match Patch/ Rhy Rx Ch, the XV-3080’s MIDI
reception channel.
ACD
HRM
ACCORDION
HARMONICA
Accordion
Harmonica, Blues Harp
Guitar
AGT
EGT
DGT
AC.GUITAR
EL.GUITAR
DIST.GUITAR
Acoustic Guitar
Electric Guitar
Distortion Guitar
To learn about the MIDI settings of your external MIDI
device, see its owner’s manual.
Bass
3 . Transmit a Bank Select MSB (Controller #0) message to
the XV-3080 with a value corresponding to the group in
which the desired Patch – or Rhythm Set – is stored.
BS
BASS
Acoustic & Electric
Bass
SBS
SYNTH BASS
Synth Bass
Orchestral
If the value is “87,” a Patch is selected. If the value is “86,” a
STR
ORC
HIT
STRINGS
Strings
Rhythm Set is selected.
ORCHESTRA
HIT&STAB
Orchestra Ensemble
Orchestra Hit, Hit
Winds
4 . Transmit a Bank Select LSB (Controller #32) message to
the XV-3080 with a value corresponding to the bank in
which the desired Patch – or Rhythm Set – is stored.
WND WIND
(Oboe, Clarinet etc.)
Flute, Piccolo
FLT
FLUTE
Brass
Synth
5 . Transmit the Program Change value corresponding to
BRS
SBR
SAX
AC.BRASS
SYNTH BRASS
SAX
Acoustic Brass
Synth Brass
Sax
the Patch or Rhythm Set.
The desired Patch or Rhythm Set will be selected on the XV-
3080.
HLD
SLD
TEK
PLS
FX
HARD LEAD
SOFT LEAD
Hard Synth Lead
Soft Synth Lead
Techno Synth
* When the XV-3080 receives only Program Change messages
without receiving Bank Select messages, it will switch to the
corresponding Patch or Rhythm Set from the currently
selected group or bank.
TECHNO SYNTH
PULSATING
SYNTH FX
Pulsating Synth
Synth FX (Noise etc.)
Poly Synth
SYN
OTHER SYNTH
Pad
BPD
SPD
VOX
BRIGHT PAD
SOFT PAD
VOX
Bright Pad Synth
Soft Pad Synth
Vox, Choir
Ethnic
PLK
ETH
FRT
PLUCKED
ETHNIC
Plucked (Harp etc.)
Other Ethnic
FRETTED
Fretted Inst
(Mandolin etc.)
Rhythm&SFX
PRC
SFX
BTS
PERCUSSION
SOUND FX
Percussion
Sound FX
BEAT&GROOVE
Beat and Groove
Drum Set
DRM DRUMS
CMB COMBINATION
Other Patches which
use Split and Layer
1 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
The Patches and Rhythm Sets in each library correspond to
Bank Select numbers as follows.
Rh y th m Se t
Rhythm Set Rhythm Set
Bank Select Number Program
group
number
MSB LSB
number
Pa tch
USER
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
CD-A
:
1, 2, 3, 4
001, 002
001, 002
001, 002
001, 002
001, 002
001, 002
1, 2, 3, 4
:
86
86
86
86
86
86
86
86
:
00
64
65
66
67
68
69
32
:
1, 2, 3, 4
001, 002
001, 002
001, 002
001, 002
001, 002
001, 002
1, 2, 3, 4
:
Patch
group
Patch
Bank Select Number Program
number
MSB LSB
number
USER
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
CD-A
:
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
:
87
87
87
87
87
87
87
87
:
00
64
65
66
67
68
69
32
:
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
:
CD-H
XP-A
:
1, 2, 3, 4
*1
86
39
*1
:
1, 2, 3, 4
*1
*1
:
:
:
CD-H
XP-A
:
001–128
*1
87
39
*1
:
001–128
*1
XP-F
*1
*1
*1
*1
*1
:
:
:
SR-JV80
Series
Rhythm Set
Bank Select number
XP-F
*1
*1
*1
*1
number
MSB
LSB
SR-JV80-01
SR-JV80-01
SR-JV80-02
SR-JV80-02
:
001-128
129-256
001-128
129-256
:
88
88
88
88
:
00
01
02
03
:
SR-JV80
Series
Patch
Bank Select number
number
MSB
LSB
SR-JV80-01
SR-JV80-01
SR-JV80-02
SR-JV80-02
:
001-128
129-256
001-128
129-256
:
89
89
89
89
:
00
01
02
03
:
SR-JV80-65
SR-JV80-65
001-128
129-256
90
90
00
01
SR-JV80-65
SR-JV80-65
001-128
129-256
91
91
00
01
*1 Depends on the Wave Expansion Board installed.
Fixed Bank Select numbers are assigned to the Wave
Expansion Board itself.
*1 Depends on the Wave Expansion Board installed.
Fixed Bank Select numbers are assigned to the Wave
Expansion Board itself.
* For more about SRX series, refer to the Owner' s Manual of
SRX.
* For more about SRX series, refer to the Owner' s Manual of
SRX.
1 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
In Pe rfo rm a n ce m o d e
Usin g MIDI to Sw itch b e tw e e n Pa tch ,
Pe rfo rm a n ce a n d Ge n e ra l MIDI 2
Mo d e s
1 . Press [PERFORM] to make its indicator light.
2 . Set the transmission channel on the external MIDI device
to match the Performance Ctrl Ch(p. 131) setting on the
XV-3080.
You can switch between Patch, Performance, and General
MIDI 2 modes by transmitting the appropriate System
Exclusive (Sys Ex) message to the XV-3080, as listed below.
(Sys Ex messages are constructed using hexadecimal
notation.)
To learn about the MIDI settings of your external MIDI
device, see its owner’s manual.
3 . Transmit the appropriate Bank Select MSB (Controller
Sy s Ex m e ssa g e fo r sw itch in g to Pa tch m o d e
#0) value to the XV-3080.
F0 41 10 00 10 12 00 00 00 00 01 7F F7
4 . Transmit the appropriate Bank Select LSB (Controller
#32) value to the XV-3080.
Sy s Ex m e ssa g e fo r sw itch in g to Pe rfo rm a n ce
m o d e
5 . Transmit the Program Change message value
F0 41 10 00 10 12 00 00 00 00 00 00 F7
corresponding to the Performance.
The desired Performance will be selected.
Sy s Ex m e ssa g e fo r sw itch in g to Ge n e ra l MIDI
2 m o d e
* When the XV-3080 receives a Program Change message
without Bank Select messages, the corresponding Performance
in the currently selected group or bank will be chosen.
F0 41 10 00 10 12 00 00 00 00 03 7F F7
* The third byte of the MIDI message indicates the device ID
number, and the factory setting is “10”. (This is “10” in
hexadecimal notation; in decimal this would be 16.) (This
device ID number will appear as 17 in the display of the XV-
3080. The transmitted messages will use a value of one less
than this (16).) If you have modified the device ID number (p.
transmitting the above exclusive message.
You can select any Performance Part’s Patch or Rhythm Set
via MIDI. To learn how, refer to “Assigning a different Patch
to Part (P. 25)” in the XV-3080 QUICK START.
The Performances in each group correspond to the Bank
Select numbers as follows.
Pe rfo rm a n ce
PerformancePerformance
Bank Select Number Program
group
number
MSB LSB
number
USER
PR-A
PR-B
CD-A
:
001–064
001–032
001–032
001–064
:
85
85
85
85
:
00
64
65
32
:
001–064
001–032
001–032
001–064
:
CD-H
001–064
85
39
001–064
* When Patch/Rhy Rx Ch and Perform Ctrl Ch are set to the
same channel, both Bank Select and Program Change are sent,
making it possible to switch among Patches, Rhythm Sets, and
Performances.
1 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
Se ttin g a Pa tch ’s Pitch in
O cta ve Ste p s (O cta ve Sh ift)
In Patch mode, you can easily change the pitch of an entire
Patch.
Each time you press [
]/ [
], the pitch will change in one-
octave steps. You can adjust a Patch’s pitch by as much as +/
- 3 octaves.
fig.1-10.e
Se le ctin g Ho w a Pa tch W ill
Pla y (Po ly p h o n ic/
Mo n o p h o n ic)
You can set whether a Patch will play multiple notes at the
same time (Polyphonic) – for example, when you play a
chord or legato line – or whether only the last-played note
will be heard (Monophonic).
1 . Select the Patch you wish to set up. (p. 16)
2 . Press the [CONTROL] function select button.
3 . Use [
]/ [
] to select the PATCH KEY MODE page.
fig.1-11.e
4 . Press [
]/ [
] to move the cursor beneath
“Assign.”
5 . Press [INC] to select “POLY” (Polyphonic) or [DEC] to
select “MONO” (Monophonic).
6 . Press [EXIT].
2 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
The XV-3080 has three built-in effect units: Multi-Effects,
Ad ju stin g Effe ct Se ttin g s in
Chorus and Reverb. You can independently edit each unit’s
Pa tch m o d e ([PATCH]-
settings.
[EFFECTS])
Multi-Effects (MFX)
The Multi-Effects unit offers 63 effects ranging from single
The Multi-Effects, Chorus and Reverb effects can be set up
effects – such as distortion and delay – to powerful
individually for each Patch. You can adjust the amount of
combination effects. The Multi-Effects unit also includes its
effect to be applied to the Tones in a Patch by adjusting their
own chorus and reverb effects independent of the dedicated
Send Levels to each of the effect units.
Chorus and Reverb effects described below.
fig.2-01a.e
Chorus
Patch
Chorus adds depth and spaciousness to the sound.
Reverb
TONE
Multi-Effects
Chorus
Reverb adds ambience – such as the sound of a concert hall
or auditorium – to sounds.
Tu rn in g Effe cts O n / O ff
Reverb
You can turn any of the XV-3080’s effect units – Multi-effects,
Chorus and Reverb – on or off using a single procedure.
1 . Press [EFFECTS ON/ OFF] to make its indicator light.
fig.2-01.e
Se ttin g Pro ce d u re :
1 . Select the Patch you wish to work with.
2 . Press [EFFECTS] to make its indicator light.
2 . Use [
]/ [
] to move the cursor beneath the effect
3 . Press [
] / [
] / [
] to select the page you wish to display.
] to move the cursor to the
that you wish to turn on/ or off.
4 . Press [
3 . Pressing [INC] turns the selected effect unit on, while
parameter that you wish to adjust.
pressing [DEC] turns it off.
5 . Turn the VALUE dial or press [INC] / [DEC] to select the
You might, for example, want to turn effects off when
creating a new Patch so that you can hear what it sounds like
without effects. You may also want to turn off the XV-3080’s
effects when you wish to use external effect devices instead
of the built-in effects.
desired value.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the parameter to its original value.
6 . Repeat Steps 3 to 5 to set the Effect.
7 . Press [EXIT] to return to the PATCH PLAY page.
A “*” symbol will appear at the left of the Patch name,
indicating that its settings have been modified.
fig.2-02.e
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
you wish to preserve them, save the modified Patch using the
Write operation. (p. 122)
2 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Co n tro l 1 –4 (MFX Co n tro l 1 –4 So u rce )
OFF: No controller is used.
Ro u tin g To n e s to Effe cts
O u tp u t (To n e O u tp u t)
CC01–95: Controller numbers 1–95 (except for 32)
BENDER: Pitch Bend
This page allows you to route each Tone to the Multi-Effects
or to the desired rear-panel output jacks. It also lets you set
its output level and its send level to the Chorus and Reverb.
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: System control (Control 1–4)
O u tp u t Assig n
De stin a tio n
MFX: The Tone is sent into the Multi-Effects. The Multi-
Effects unit has its own settings that route its output to
OUTPUT jacks.
This selects the Multi-Effects parameter to be controlled
using the MFX Control 1–4 source.
Se n s (MFX Co n tro l Se n s) -6 3 – +6 3
OUTPUT A–C: The Tone is sent to one of the three output-
jack stereo pairs, OUTPUTS A–C.
If you wish to modify the selected parameter in a positive (+)
direction – i.e., a higher value, toward the right, or faster etc.
– from its current setting, select a positive (+) value. If you
wish to modify the selected parameter in a negative (-)
direction – i.e., a lower value, toward the left, or slower etc. –
from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
INDIVIDUAL 1–6: The Tone is sent to the INDIVIDUAL
mono output jacks 1–6.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets how much of the Tone is sent to the Chorus.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
This sets how much of the Tone is sent to the Reverb.
PATCH MFX O UT (Pa tch MFX O u tp u t)
O u tp u t (O u tp u t Assig n ) A/ B/ C
Ma k in g Mu lti-Effe cts Se ttin g s
This setting specifies the stereo pair of OUTPUT jacks to
which the stereo output of the Multi-Effects unit is routed.
This page allows you to establish various settings for the
Multi-Effects unit, including its parameters and output-jack
assignment.
Dry (Dry O u tp u t Le ve l) 0 –1 2 7
This sets the Multi-Effects unit’s output level to the selected
jacks.
PATCH MFX TYPE
Use this parameter to select from among the 63 available
Multi-Effects. For a description of these effects, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 36).
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effect unit’s output to be
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
PATCH MFX PRM (Pa tch MFX
Pa ra m e te r)
This sets the amount of the Multi-Effect unit’s output to be
sent to the Reverb.
These parameters allow you to customize the selected Multi-
Effect. For a description of the parameters, check out
“Parameters for Each Multi-Effect (MFX TYPE)”p. 36.
* You cannot select this page when “Type” on the PATCH
MFX TYPE page is set to THROUGH.
PATCH MFX CTRL (Pa tch MFX Co n tro l)
Select the Control Source to be used for changing the Multi-
Effects parameters, and set the Sens and parameters to be
changed by that Control Source.
* You cannot select this page when “Type” on the PATCH
MFX TYPE page is set to THROUGH.
2 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Cu to ff Fre q (Cu to ff Fre q u e n cy ) *1
Ma k in g Ch o ru s Se ttin g s
This sets the cutoff frequency at which the LPF or HPF begin
to work.
The XV-3080’s Chorus effect unit can also be used as a stereo
delay unit.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
These settings allow you to select chorus or delay, the
characteristics of the selected effect type, and the Chorus
output routing.
●Fo r De la y
De la y C (De la y Ce n te r) 2 0 0 –1 0 0 0 m s
PATCH CHO TYPE (Pa tch Ch o ru s Ty p e )
This sets the delay time for the delay located at the center of
the stereo field.
This selects either Chorus or Delay.
Ty p e
De la y L (De la y Le ft) 2 0 0 –1 0 0 0 m s
OFF: Neither Chorus or Delay is used.
CHORUS: Chorus is used.
DELAY: Delay is used.
This sets the delay time for the delay located at the left side of
the stereo field.
De la y R (De la y Rig h t) 2 0 0 –1 0 0 0 m s
PATCH CHO PRM (Pa tch Ch o ru s
Pa ra m e te r)
This sets the delay time for the delay located at the right side
of the stereo field.
●Fo r Ch o ru s
Fb k (Fe e d b a ck ) -9 8 – +9 8 %
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.
Ra te (Ch o ru s Ra te ) 0 .0 5 –1 0 .0 0 Hz
This specifies the modulation frequency of the chorus effect.
De p th (Ch o ru s De p th ) 0 –1 2 7
This specifies the modulation depth of the chorus effect.
Le ve l C (De la y Ce n te r Le ve l) 0 –1 2 7
This sets the volume level of the delay located at the center of
the stereo field.
Pre Dly (Ch o ru s Pre De la y ) 0 .0 –1 0 0 m s
This specifies the delay between when the original sound is
heard and when chorusing begins.
Le ve l L (De la y Le ft Le ve l) 0 –1 2 7
This sets the volume level of the delay located at the left side
of the stereo field.
Fb k (Ch o ru s Fe e d b a ck ) 0 –1 2 7
This specifies the amount of the chorus effect’s output to be
returned – fed back – to its input. Higher settings create more
complex chorusing.
Le ve l R (De la y Rig h t Le ve l) 0 –1 2 7
This sets the volume level of the delay located at the right
side of the stereo field.
Ph a se 0 –1 8 0 d e g re e
This specifies the spaciousness of the chorus effect.
HF Da m p *1
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays – frequencies 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.
Filte r Ty p e
This specifies the type of filter to be used by the chorus effect.
OFF: No filter is used.
LPF: Frequencies higher than the selected cutoff frequency
value are eliminated.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
HPF: Frequencies lower than the selected cutoff frequency
value are eliminated.
2 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
PATCH CHO O UT (Pa tch Ch o ru s
O u tp u t)
Ma k in g Re ve rb Se ttin g s
These settings allow you to select the desired type of Reverb,
its characteristics, and the pair of OUTPUT jacks to which the
Reverb unit’s stereo output is routed.
O u tp u t Assig n (Ch o ru s O u tp u t Assig n ) A/ B/ C
This setting selects the pair of OUTPUT jacks to which the
Chorus unit’s stereo output is routed when Chorus Output
Select is set to “MAIN” or “MAIN+R.”
PATCH REV TYPE (Pa tch Re ve rb Ty p e )
You can choose from a variety of reverb types.
Le ve l (Ch o ru s Le ve l) 0 –1 2 7
Ty p e (Re ve rb Ty p e )
This setting determines the Chorus output level.
REVERB: Normal Reverb
Se le ct (Ch o ru s O u tp u t Se le ct)
BRIGHT ROOM:This reverb simulates typical room acoustic
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
reflections.
BRIGHT HALL:This reverb simulates typical concert hall
acoustic reflections.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
fig.2-03x.e
BRIGHT 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 BRIGHT PLATE.
OUTPUT
REV: The Chorus output is sent only to the Reverb.
fig.2-03y.e
PATCH REV PRM (Pa tch Re ve rb
Pa ra m e te r)
Chorus Input
Chorus
OUTPUT
Reverb
Fo r REVERB
MAIN+R: The Chorus output is sent to the OUTPUT jacks
Ty p e (Re ve rb / De la y Ty p e )
and to the Reverb.
fig.2-03z.e
This selects a type of reverb or delay.
Chorus Input
ROOM1: This is a short reverb with high density
ROOM2: This is a short reverb with low density.
STAGE1: This is a long reverb.
Chorus
Reverb
OUTPUT
OUTPUT
Reverb Input
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.
PAN-DLY: This is a delay effect with echoes that pan left and
right.
Tim e (Re ve rb / De la y Tim e )
When the Type setting is ROOM1–HALL2, this adjusts the
length of reverberation. When the Type setting is DELAY or
PAN-DLY, this adjusts the delay time.
Higher settings produce a more spacious ambience.
HF d a m p (Re ve rb / De la y HF Da m p ) *1
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.
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
2 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Fb k
HF Da m p Fre q u e n cy *3
When the Type setting is DELAY or PAN-DLY, this adjust
the amount of delay feedback, controlling the number of
delay repeats.
This specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
HF Da m p Ga in -3 6 –0 d B
Higher values result in more repeats.
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 reverb’s high-frequency content.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600,
2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500 Hz,
BYPASS
Fo r BRIGHT RO O M/ BRIGHT HALL/
BRIGHT PLATE
Pre De la y (Pre De la y Tim e ) 0 .0 –1 0 0 m s
*2 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800,
1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz
This specifies the time between when the original sound is
heard and the moment at which the reverb is first heard.
*3 4000, 5000, 6400, 8000, 10000, 12500 Hz
Tim e (Re ve rb Tim e ) 0 –1 2 7
PATCH REV O UT (Pa tch Re ve rb O u tp u t)
This sets the reverb length.
O u tp u t Assig n (Re ve rb O u tp u t Assig n ) A/ B/ C
Size 1 –8
This setting allows you to specify the pair of OUTPUT jacks
to which the stereo output of the Reverb is routed.
This adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
Le ve l (Re ve rb Le ve l) 0 –1 2 7
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1
This specifies the output level of the Reverb.
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.
De n sity (Re ve rb De n sity ) 0 –1 2 7
This adjusts the density of reverb. Higher values result in
greater density.
Diffu sio n (Re ve rb Diffu sio n ) 0 –1 2 7
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.
LF Da m p Fre q u e n cy *2
This specifies the frequency below which the low-frequency
content of the reverb sound will be reduced, or “damped.”
LF Da m p Ga in -3 6 –0 d B
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 reverb’s low-frequency content.
2 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
restore the parameter to its original value.
Ad ju stin g Effe cts Se ttin g s in
Pe rfo rm a n ce Mo d e
([PERFO RM]-[EFFECTS])
6 . Repeat Steps 3 to 5 to set the Effect.
7 . Press [EXIT] to return to the PERFORM PLAY page.
A “*” symbol will appear at the left of the Performance name,
Each Part can use the Multi-Effects, Chorus and Reverb
programmed for the Performance. You can control the
amount of effect applied to each Part by adjusting the Part’s
Send Level to the effect units.(Fig. 1)
indicating that its settings have been modified.
fig.2-02.e
The Send Level setting for each Tone can also influence effect
* If you turn off the power or select another Performance while
the “*” symbol is displayed, your new Performance settings
will be lost. If you wish to preserve them, save the modified
Performance using the Write operation. (p. 122)
intensity (Fig. 2).
fig.2-03b.e
Fig.1 – When Output Assign is set to “MFX” in the Performance
mode (the output settings for Tone are ignored)
Performance
Part 1
Patch
Ro u tin g Pa rt O u tp u ts
Part16
TONE
Multi-Effects
PART O UTPUT
Chorus
Reverb
You can set the output destination and level for each
Performance Part. You can also set its send level to the
Chorus and Reverb.
O u tp u t Assig n
MFX: The Part’s sound is sent into the Multi-Effects. The
sound’s final destination is determined by the Multi-Effects
output setting.
fig.2-03a.e
Fig.2 – When Output Assign is set to “PATCH” in the Performance
mode (the output settings for Tone are valid)
Performance
OUTPUT A–C: The sound is sent to one of the three output-
Part 1
jack pairs, OUTPUTs A–C.
Patch
INDIVIDUAL 1–6: The sound is sent to one of the six
Part16
INDIVIDUAL 1–6 jacks.
TONE
Multi-Effects
PATCH: The output routing is determined by the settings of
Chorus
Reverb
the Patch or Rhythm Set assigned to the Part.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets how much of the Part’s sound is sent to the Chorus.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
This sets how much of the Part’s sound is sent to the Reverb.
Se ttin g Pro ce d u re :
1 . Select the Performance you wish to work with.
2 . Press [EFFECTS] to make its indicator light.
3 . Press [
] / [
] / [
] to select the page you wish to display.
] to move the cursor to the
4 . Press [
parameter that you wish to adjust.
5 . Turn the VALUE dial or press [INC] / [DEC] to select the
desired value.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
2 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
PERFO RM MFX O UT
Ad ju stin g Mu lti-Effe cts Se ttin g s
These parameters allow you to route the output of the Multi-
Effects to the desired OUTPUT jacks, and to set the final level
of the Multi-Effects.
PERFO RM MFX TYPE
Ty p e (MFX Ty p e )
Use this parameter to select from among the 63 available
Multi-Effects. For a description of these effects, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 36).
O u tp u t (MFX O u tp u t Assig n ) A/ B/ C
This selects the pair of OUTPUT jacks to which the Multi-
So u rce (MFX So u rce )
Dry (MFX Dry Se n d Le ve l) 0 –1 2 7
Select the MFX parameter settings that will be used by the
Performance. If you wish to use the MFX parameter settings
of the Performance, select PERFORM. If you wish to use the
MFX parameter settings of the Patch assigned to one of the
Parts, select the Part number.
This sets the Multi-Effects unit’s output level to the selected
OUTPUT jacks.
Ch o ru s (MFX Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effects output to be sent to
the Chorus.
PERFO RM MFX PRM
Re ve rb (MFX Re ve rb Se n d Le ve l) 0 –1 2 7
These parameters allow you to customize the selected Multi-
Effect. For a description of the parameters, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 36).
This sets the amount of the Multi-Effects output to be sent to
the Reverb.
* You cannot select this page when “Type” on the PERFORM
MFX TYPE page is set to THROUGH.
PERFO RM MFX CTRL
Select the Control Source to be used for changing the Multi-
Effects parameters, and set the Sens and parameters to be
changed by that Control Source.
* You cannot select this page when “Type” on the PERFORM
MFX TYPE page is set to THROUGH.
Co n tro l 1 –4 (MFX Co n tro l 1 –4 So u rce )
OFF: No controller is used.
CC01–95: Controller numbers 1–95 (except for 32)
BENDER: Pitch Bend
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: System control (Control 1–4)
De stin a tio n
This selects the Multi-Effects parameter to be controlled
using the MFX Control 1–4 source.
Se n s (MFX Co n tro l Se n s) -6 3 – +6 3
If you wish to modify the selected parameter in a positive (+)
direction – i.e., a higher value, toward the right, or faster etc.
– from its current setting, select a positive (+) value. If you
wish to modify the selected parameter in a negative (-)
direction – i.e., a lower value, toward the left, or slower etc. –
from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
2 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
value are eliminated.
Ma k in g Ch o ru s Se ttin g s
The XV-3080’s Chorus effect unit can also be used as a stereo
Cu to ff Fre q (Cu to ff Fre q u e n cy ) *1
delay unit.
This sets the cutoff frequency at which the LPF or HPF begin
to work.
These settings allow you to select chorus or delay, the
characteristics of the selected effect type, and the Chorus
output routing.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
●Fo r De la y
PERFO RM CHO TYPE (Pe rfo rm a n ce
Ch o ru s Ty p e )
De la y C (De la y Ce n te r) 2 0 0 –1 0 0 0 m s
This selects either Chorus or Delay.
This sets the delay time for the delay located at the center of
the stereo field.
Ty p e (Ch o ru s Ty p e )
De la y L (De la y Le ft) 2 0 0 –1 0 0 0 m s
OFF: Neither Chorus or Delay is used.
CHORUS: Chorus is used.
DELAY: Delay is used.
This sets the delay time for the delay located at the left side of
the stereo field.
De la y R (De la y Rig h t) 2 0 0 –1 0 0 0 m s
So u rce (Ch o ru s So u rce ) PERFO RM/ PART 1 –1 6
This sets the delay time for the delay located at the right side
of the stereo field.
Set this when assigning chorus settings that are used by
another part. Select PERFORM when using the
Performance's chorus settings. When using the chorus
settings assigned to one of the parts, select the part number.
Fb k (Fe e d b a ck ) -9 8 – +9 8 %
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.
PERFO RM CHO PRM (Pe rfo rm a n ce
Ch o ru s Pa ra m e te r)
●Fo r Ch o ru s
Le ve l C (De la y Ce n te r Le ve l) 0 –1 2 7
Ra te (Ch o ru s Ra te ) 0 .0 5 –1 0 .0 0 Hz
This sets the volume level of the delay located at the center of
the stereo field.
This specifies the modulation frequency of the chorus effect.
De p th (Ch o ru s De p th ) 0 –1 2 7
Le ve l L (De la y Le ft Le ve l) 0 –1 2 7
This specifies the modulation depth of the chorus effect.
This sets the volume level of the delay located at the left side
of the stereo field.
Pre Dly (Ch o ru s Pre De la y ) 0 .0 –1 0 0 m s
Le ve l R (De la y Rig h t Le ve l) 0 –1 2 7
This specifies the delay between when the original sound is
heard and when chorusing begins.
This sets the volume level of the delay located at the right
side of the stereo field.
Fb k (Ch o ru s Fe e d b a ck ) 0 –1 2 7
HF Da m p *1
This specifies the amount of the chorus effect’s output to be
returned – fed back – to its input. Higher settings create more
complex chorusing.
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays – frequencies 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.
Ph a se 0 –1 8 0 d e g re e
This specifies the spaciousness of the chorus effect.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Filte r Ty p e
This specifies the type of filter to be used by the chorus effect.
OFF: No filter is used.
LPF: Frequencies higher than the selected cutoff frequency
value are eliminated.
HPF: Frequencies lower than the selected cutoff frequency
2 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
PERFO RM CHO O UT (Pe rfo rm a n ce
Ch o ru s O u tp u t)
Ma k in g Re ve rb Se ttin g s
These settings allow you to select the desired type of Reverb,
its characteristics, and the pair of OUTPUT jacks to which the
Reverb unit’s stereo output is routed.
O u tp u t Assig n (Ch o ru s O u tp u t Assig n ) A/ B/ C
This setting selects the pair of OUTPUT jacks to which the
Chorus unit’s stereo output is routed when Chorus Output
Select is set to “MAIN” or “MAIN+R.”
PERFO RM REV TYPE (Pe rfo rm a n ce
Re ve rb Ty p e )
Le ve l (Ch o ru s Le ve l) 0 –1 2 7
You can choose from a variety of reverb types.
This setting determines the Chorus output level.
Ty p e (Re ve rb Ty p e )
Se le ct (Ch o ru s O u tp u t Se le ct)
REVERB: Normal Reverb
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
BRIGHT ROOM:This reverb simulates typical room acoustic
reflections.
BRIGHT HALL:This reverb simulates typical concert hall
MAIN: The Chorus output is sent only to the OUTPUT jacks.
fig.2-03x.e
acoustic reflections.
BRIGHT 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 BRIGHT PLATE.
OUTPUT
REV: The Chorus output is sent only to the Reverb.
fig.2-03y.e
So u rce (Re ve rb So u rce ) PERFO RM/ PART 1 –1 6
Chorus Input
Chorus
OUTPUT
Reverb
Set this when assigning reverb settings that are used by
another part. Select PERFORM when using the
MAIN+R: The Chorus output is sent to the OUTPUT jacks
Performance's reverb settings. When using the reverb
settings assigned to one of the parts, select the part number.
and to the Reverb.
fig.2-03z.e
Chorus Input
PERFO RM REV PRM (Pe rfo rm a n ce
Re ve rb Pa ra m e te r)
Chorus
Reverb
OUTPUT
OUTPUT
Fo r REVERB
Reverb Input
Ty p e (Re ve rb / De la y Ty p e )
This selects a type of reverb or delay.
ROOM1: This is a short reverb with high density
ROOM2: This is a short reverb with low density.
STAGE1: This is a long reverb.
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.
PAN-DLY: This is a delay effect with echoes that pan left and
right.
Tim e (Re ve rb / De la y Tim e )
When the Type setting is ROOM1–HALL2, this adjusts the
length of reverberation. When the Type setting is DELAY or
PAN-DLY, this adjusts the delay time.
Higher settings produce a more spacious ambience.
2 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
range selected with LF Damp. With a setting of “0,” there
HF d a m p (Re ve rb / De la y HF Da m p ) *1
will be no reduction of the reverb’s low-frequency content.
This specifies the frequency above which the high-frequency
content of the reverb sound will be cut, or “damped.”
HF Da m p Fre q u e n cy *3
Lower values cause a greater range of high frequencies to be
cut, producing a softer reverb sound.
This specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
HF Da m p Ga in -3 6 –0 d B
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 reverb’s high-frequency content.
Fb k
When the Type setting is DELAY or PAN-DLY, this adjust
the amount of delay feedback, controlling the number of
delay repeats.
*1 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600,
2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500 Hz,
BYPASS
Higher values result in more repeats.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*2 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800,
1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz
*3 4000, 5000, 6400, 8000, 10000, 12500 Hz
Fo r BRIGHT RO O M/ BRIGHT HALL/
BRIGHT PLATE
PERFO RM REV O UT (Pe rfo rm a n ce
Re ve rb O u tp u t)
Pre De la y (Pre De la y Tim e ) 0 .0 –1 0 0 m s
This specifies the time between when the original 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 ) A/ B/ C
This setting allows you to specify the pair of OUTPUT jacks
to which the stereo output of the Reverb is routed.
Tim e (Re ve rb Tim e ) 0 –1 2 7
This sets the reverb length.
Le ve l (Re ve rb Le ve l) 0 –1 2 7
This specifies the output level of the Reverb.
Size 1 –8
This adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1
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.
De n sity (Re ve rb De n sity ) 0 –1 2 7
This adjusts the density of reverb. Higher values result in
greater density.
Diffu sio n (Re ve rb Diffu sio n ) 0 –1 2 7
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.
LF Da m p Fre q u e n cy *2
This specifies the frequency below which the low-frequency
content of the reverb sound will be reduced, or “damped.”
LF Da m p Ga in -3 6 –0 d B
This adjusts the amount of damping applied to the frequency
3 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Se ttin g th e O u tp u t fo r Ea ch To n e
in a Rh y th m Se t
Ad ju stin g Effe ct Se ttin g s in
Rh y th m Se t Mo d e
([RHYTHM]-[EFFECTS])
O UTPUT
These parameters set the output destination and level for the
currently selected Rhythm Set Tone, and allow you to set its
send levels to the Chorus and Reverb.
You can apply Multi-Effects, Chorus or Reverb to each of a
Rhythm Set’s Tones. You can control the amount of effect to
be applied to each Tone by adjusting its send level to the
Multi-Effects, Chorus and Reverb.
O u tp u t Assig n
MFX: This sends the Tone into the Multi-Effects. Its output
destination is determined by to the Multi-Effects output
settings.
Rhythm Set
B1
OUTPUT A–C: This sends the tone directly to one of the
RHYTHM
TONE
Multi-Effects
D7
OUTPUT jack pairs, A–C.
INDIV 1–6: This sends the Tone directly to one of the
Chorus
Reverb
INDIVIDUAL 1–6 jacks.
Ch o ru s (Ch o ru s Se n d Le ve l)
This sets how much of the Tone is sent to the Chorus.
Re ve rb (Re ve rb Se n d Le ve l)
This sets how much of the Tone is sent to the Reverb.
Se ttin g Pro ce d u re :
Ma k in g Mu lti-Effe cts Se ttin g s
1 . Select the Rhythm Set you wish to work with.
This page allows you to establish various settings for the
Multi-Effects unit, including its parameters and output-jack
assignment.
2 . Press [EFFECTS] to make its indicator light.
3 . Press [
] / [
] / [
] to select the page you wish to display.
] to move the cursor to the
4 . Press [
RHYTHM MFX TYPE
parameter that you wish to adjust.
Use this parameter to select from among the 63 available
Multi-Effects. For a description of these effects, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 36).
5 . Turn the VALUE dial or press [INC] / [DEC] to select the
desired value.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the parameter to its original value.
RHYTHM MFX PRM (Rh y th m MFX
Pa ra m e te r)
These parameters allow you to customize the selected Multi-
Effect. For a description of the parameters, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 36).
6 . Repeat Steps 3 to 5 to set the Effect.
7 . Press [EXIT] to return to the RHYTHM PLAY page.
A “*” symbol will appear at the left of the Rhythm Set name,
* You cannot select this page when “Type” on the PATCH
MFX TYPE page is set to THROUGH.
indicating that its settings have been modified.
fig.2-02.e
RHYTHM MFX CTRL (Rh y th m MFX
Co n tro l)
Select the Control Source to be used for changing the Multi-
Effects parameters, and set the Sens and parameters to be
changed by that Control Source.
* If you turn off the power or select another Rhythm Set while
the “*” symbol is displayed, your new Rhythm Set settings
will be lost. If you wish to preserve them, save the modified
Rhythm Set using the Write operation. (p. 122)
MFX TYPE page is set to THROUGH.
3 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Co n tro l 1 –4 (MFX Co n tro l 1 –4 So u rce )
OFF: No controller is used.
Ma k in g Ch o ru s Se ttin g s
The XV-3080’s Chorus effect unit can also be used as a stereo
CC01–95: Controller numbers 1–95 (except for 32)
BENDER: Pitch Bend
delay unit.
These settings allow you to select chorus or delay, the
characteristics of the selected effect type, and the Chorus
output routing.
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: System control (Control 1–4)
De stin a tio n
RHYTHM CHO TYPE (Rh y th m Ch o ru s
Ty p e )
This selects the Multi-Effects parameter to be controlled
using the MFX Control 1–4 source.
This selects either Chorus or Delay.
Se n s (MFX Co n tro l Se n s) -6 3 – +6 3
Ty p e
If you wish to modify the selected parameter in a positive (+)
direction – i.e., a higher value, toward the right, or faster etc.
– from its current setting, select a positive (+) value. If you
wish to modify the selected parameter in a negative (-)
direction – i.e., a lower value, toward the left, or slower etc. –
from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
OFF: Neither Chorus or Delay is used.
CHORUS: Chorus is used.
DELAY: Delay is used.
RHYTHM CHO PRM (Rh y th m Ch o ru s
Pa ra m e te r)
●Fo r Ch o ru s
RHYTHM MFX O UT (Rh y th m MFX
O u tp u t)
Ra te (Ch o ru s Ra te ) 0 .0 5 –1 0 .0 0 Hz
This specifies the modulation frequency of the chorus effect.
Output (Output Assign) A/ B/ C
This setting specifies the stereo pair of OUTPUT jacks to
which the stereo output of the Multi-Effects unit is routed.
De p th (Ch o ru s De p th ) 0 –1 2 7
This specifies the modulation depth of the chorus effect.
Dry (Dry O u tp u t Le ve l) 0 –1 2 7
Pre Dly (Ch o ru s Pre De la y ) 0 .0 –1 0 0 m s
This sets the Multi-Effects unit’s output level to the selected
This specifies the delay between when the original sound is
heard and when chorusing begins.
jacks.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
Fb k (Ch o ru s Fe e d b a ck ) 0 –1 2 7
This sets the amount of the Multi-Effect unit’s output to be
This specifies the amount of the chorus effect’s output to be
returned – fed back – to its input. Higher settings create more
complex chorusing.
sent to the Chorus.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effect unit’s output to be
Ph a se 0 –1 8 0 d e g re e
sent to the Reverb.
This specifies the spaciousness of the chorus effect.
Filte r Ty p e
This specifies the type of filter to be used by the chorus effect.
OFF: No filter is used.
LPF: Frequencies higher than the selected cutoff frequency
value are eliminated.
HPF: Frequencies lower than the selected cutoff frequency
value are eliminated.
3 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Chorus unit’s stereo output is routed when Chorus Output
Cu to ff Fre q (Cu to ff Fre q u e n cy ) *1
Select is set to “MAIN” or “MAIN+R.”
This sets the cutoff frequency at which the LPF or HPF begin
to work.
Le ve l (Ch o ru s Le ve l) 0 –1 2 7
* 1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
This setting determines the Chorus output level.
Se le ct (Ch o ru s O u tp u t Se le ct)
●Fo r De la y
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
De la y C (De la y Ce n te r) 2 0 0 –1 0 0 0 m s
This sets the delay time for the delay located at the center of
the stereo field.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
fig.2-03x.e
De la y L (De la y Le ft) 2 0 0 –1 0 0 0 m s
OUTPUT
This sets the delay time for the delay located at the left side of
the stereo field.
REV: The Chorus output is sent only to the Reverb.
fig.2-03y.e
De la y R (De la y Rig h t) 2 0 0 –1 0 0 0 m s
This sets the delay time for the delay located at the right side
of the stereo field.
Chorus Input
Chorus
OUTPUT
Reverb
MAIN+R: The Chorus output is sent to the OUTPUT jacks
Fb k (Fe e d b a ck ) -9 8 – +9 8 %
and to the Reverb.
fig.2-03z.e
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.
Chorus Input
Chorus
Reverb
OUTPUT
OUTPUT
Le ve l C (De la y Ce n te r Le ve l) 0 –1 2 7
Reverb Input
This sets the volume level of the delay located at the center of
the stereo field.
Le ve l L (De la y Le ft Le ve l) 0 –1 2 7
This sets the volume level of the delay located at the left side
of the stereo field.
Le ve l R (De la y Rig h t Le ve l) 0 –1 2 7
This sets the volume level of the delay located at the right
side of the stereo field.
HF Da m p *1
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays – frequencies 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.
* 1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
RHYTHM CHO O UT (Rh y th m Ch o ru s
O u tp u t)
O u tp u t Assig n (Ch o ru s O u tp u t Assig n ) A/ B/ C
This setting selects the pair of OUTPUT jacks to which the
3 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
parameter to BYPASS.
Ma k in g Re ve rb Se ttin g s
These settings allow you to select the desired type of Reverb,
its characteristics, and the pair of OUTPUT jacks to which the
Reverb unit’s stereo output is routed.
Fb k
When the Type setting is DELAY or PAN-DLY, this adjust
the amount of delay feedback, controlling the number of
delay repeats.
RHYTHM REV TYPE (Rh y th m Re ve rb
Ty p e )
Higher values result in more repeats.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
You can choose from a variety of reverb types.
Ty p e (Re ve rb Ty p e )
Fo r BRIGHT RO O M/ BRIGHT HALL/
BRIGHT PLATE
REVERB: Normal Reverb
BRIGHT ROOM:This reverb simulates typical room acoustic
Pre De la y (Pre De la y Tim e ) 0 .0 –1 0 0 m s
reflections.
This specifies the time between when the original sound is
heard and the moment at which the reverb is first heard.
BRIGHT HALL:This reverb simulates typical concert hall
acoustic reflections.
BRIGHT 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 BRIGHT PLATE.
Tim e (Re ve rb Tim e ) 0 –1 2 7
This sets the reverb length.
Size 1 –8
This adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
RHYTHM REV PRM (Rh y th m Re ve rb
Pa ra m e te r)
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1
Fo r REVERB
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.
Ty p e (Re ve rb / De la y Ty p e )
This selects a type of reverb or delay.
ROOM1: This is a short reverb with high density
ROOM2: This is a short reverb with low density.
STAGE1: This is a long reverb.
De n sity (Re ve rb De n sity ) 0 –1 2 7
This adjusts the density of reverb. Higher values result in
greater density.
STAGE2: This is a reverb with strong early reflections.
HALL1: This is a very clear-sounding reverb.
HALL2: This is a rich reverb.
Diffu sio n (Re ve rb Diffu sio n ) 0 –1 2 7
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.
DELAY: This is a conventional delay effect.
PAN-DLY: This is a delay effect with echoes that pan left and
right.
LF Da m p Fre q u e n cy *2
Tim e (Re ve rb / De la y Tim e )
This specifies the frequency below which the low-frequency
When the Type setting is ROOM1–HALL2, this adjusts the
length of reverberation. When the Type setting is DELAY or
PAN-DLY, this adjusts the delay time.
content of the reverb sound will be reduced, or “damped.”
LF Da m p Ga in -3 6 –0 d B
Higher settings produce a more spacious ambience.
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 reverb’s low-frequency content.
HF d a m p (Re ve rb / De la y HF Da m p ) *1
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.
If you do not want to damp the high frequencies, set this
3 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
HF Da m p Fre q u e n cy *3
This specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
HF Da m p Ga in -3 6 –0 d B
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 reverb’s high-frequency content.
*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, 400, 500, 640, 800,
1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz
*3 4000, 5000, 6400, 8000, 10000, 12500 Hz
RHYTHM REV O UT (Rh y th m Re ve rb
O u tp u t)
O u tp u t Assig n (Re ve rb O u tp u t Assig n ) A/ B/ C
This setting allows you to specify the pair of OUTPUT jacks
to which the stereo output of the Reverb is routed.
Le ve l (Re ve rb Le ve l) 0 –1 2 7
This specifies the output level of the Reverb.
Se ttin g s in Ge n e ra l MIDI
Mo d e ([GM]-[EFFECTS])
For details refer to “Making Effects Settings(EFFECTS) p.
143.”
3 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
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:
CHORUS/ DELAY
FLANGER/ DELAY
CHORUS/ FLANGER
STEREO PHASER
KEYSYNC FLANGER
FORMANT FILTER
RING MODULATOR
MULTI TAP DELAY
(p. 57)
(p. 57)
(p. 57)
(p. 57)
(p. 58)
(p. 59)
(p. 60)
(p. 60)
(p. 61)
(p. 62)
(p. 62)
(p. 63)
(p. 64)
(p. 64)
(p. 65)
(p. 65)
(p. 66)
(p. 66)
(p. 66)
(p. 67)
(p. 67)
(p. 68)
(p. 68)
(p. 69)
(p. 70)
(p. 70)
Pa ra m e te rs fo r Ea ch Mu lti-
Effe ct (MFX TYPE)
Multi-Effects provides 63 types of effect. Some of these
consist of two different effects connected in series or parallel.
Parameters marked with a sharp “#” can be controlled using
a specified controller (Two setting items will change
simultaneously for “#1” and “#2”).
1:
STEREO-EQ
(p. 38)
(p. 38)
(p. 39)
(p. 39)
(p. 40)
(p. 40)
(p. 40)
(p. 41)
(p. 42)
(p. 42)
(p. 42)
(p. 43)
(p. 43)
(p. 44)
(p. 44)
(p. 45)
(p. 46)
(p. 47)
(p. 48)
(p. 48)
(p. 49)
(p. 50)
(p. 50)
(p. 51)
(p. 52)
(p. 52)
(p. 52)
(p. 53)
(p. 53)
(p. 54)
(p. 54)
(p. 54)
(p. 54)
(p. 55)
(p. 55)
(p. 56)
(p. 56)
2:
OVERDRIVE
3:
DISTORTION
4:
PHASER
5:
SPECTRUM
6:
ENHANCER
7:
AUTO WAH
8:
ROTARY
9:
COMPRESSOR
10:
11:
12:
13:
14:
15:
16:
17:
18:
19:
20:
21:
22:
23:
24:
25:
26:
27:
28:
29:
30:
31:
32:
33:
34:
35:
36:
37:
LIMITER
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
STEREO DELAY
MODULATION DELAY
TRIPLE TAP DELAY
QUADRUPLE TAP DELAY
TIME CONTROL DELAY
2VOICE PITCH SHIFTER
FBK PITCH SHIFTER
REVERB
To have the types displayed according to category (as shown
below), press [PATCH FINDER] in the MFX TYPE page.
GATED REVERB
OVERDRIVE→CHORUS
OVERDRIVE→FLANGER
OVERDRIVE→DELAY
DISTORTION→CHORUS
DISTORTION→FLANGER
DISTORTION→DELAY
ENHANCER→CHORUS
ENHANCER→FLANGER
ENHANCER→DELAY
CHORUS→DELAY
FLANGER→DELAY
CHORUS→FLANGER
4:
7:
41:
42:
43:
44:
3 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
●●De la y (Effe cts th a t d e la y th e so u n d )
●●Ch o ru s (Effe cts th a t b ro a d e n th e so u n d )
7:
STEREO DELAY
11:
12:
13:
14:
15:
16:
32:
33:
35:
36:
37:
38:
39:
40:
60:
61:
HEXA-CHORUS
18:
19:
20:
21:
22:
23:
34:
45:
46:
47:
48:
49:
MODULATION DELAY
TRIPLE TAP DELAY
QUADRUPLE TAP DELAY
TIME CONTROL DELAY
2VOICE PITCH SHIFTER
FBK PITCH SHIFTER
ENHANCER→DELAY
MULTI TAP DELAY
REVERSE DELAY
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
ENHANCER→CHORUS
ENHANCER→FLANGER
CHORUS→DELAY
FLANGER→DELAY
CHORUS→FLANGER
CHORUS/ DELAY
FLANGER/ DELAY
CHORUS/ FLANGER
3D CHORUS
SHUFFLE DELAY
3D DELAY
PITCH SHIFTER
●●Ke y b o a rd (Effe cts u se fu l fo r th e k e y b o a rd )
8:
ROTARY
3D FLANGER
●●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 )
●●Dim e n sio n (Effe cts th a t co n tro l th e lo ca tio n
o f th e so u n d )
50:
51:
LOFI COMPRESS
LOFI NOISE
62:
63:
TREMOLO
AUTO PAN
●●Gu ita r a n d Ba ss (Effe cts u se fu l fo r th e Gu ita r
a n d Ba ss)
●●Filte r (Effe cts th a t m o d ify th e so u n d
ch a ra cte r)
2:
OVERDRIVE
1:
STEREO EQ
SPECTRUM
ENHANCER
ISOLATOR
3:
DISTORTION
5:
26:
27:
28:
29:
30:
31:
52:
53:
54:
OVERDRIVE→CHORUS
OVERDRIVE→FLANGER
OVERDRIVE→DELAY
DISTORTION→CHORUS
DISTORTION→FLANGER
DISTORTION→DELAY
SPEAKER SIMULATOR
OVERDRIVE 2
6:
59:
●●Re ve rb (Effe cts th a t re ve rb e ra te th e so u n d )
24:
25:
REVERB
GATE REVERB
DISTORTION 2
●●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 )
9:
COMPRESSOR
LIMITER
10:
55:
56:
57:
58:
STEREO COMPRESSOR
STEREO LIMITER
GATE
SLICER
3 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
1 : STEREO -EQ (Ste re o Eq u a lize r)
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.2-04
by vacuum tube amplifiers.
fig.2-05
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 ve l (O u tp u t Le ve l) #
Adjust the output level.
3 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
3 : DISTO RTIO N
4 : PHASER
This effect produces a more intense distortion than
A phaser adds a phase-shifted sound to the original sound,
producing a twisting modulation that creates spaciousness
Overdrive.
fig.2-06
and depth.
L in
L out
fig.2-07
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.
3 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
5 : SPECTRUM
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.2-09
locations most suitable for adding character to the sound.
fig.2-08
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 )
7 : AUTO -W AH
Adjust the 3150 Hz level.
The Auto Wah cyclically controls a filter to create cyclic
change in timbre.
fig.2-10
Ba n d 7 (Ba n d 7 Ga in )
Adjust the 4000 Hz level.
L in
L out
R out
Ba n d 8 (Ba n d 8 Ga in )
Auto Wah
Adjust the 8000 Hz level.
R in
Q
Filte r (Filte r Ty p e )
Simultaneously adjust the width of the adjusted areas for all
the frequency bands.
Select the type of filter.
LPF:The wah effect will be applied over a wide frequency
range.
Pa n (O u tp u t Pa n ) #
BPF:The wah effect will be applied over a narrow frequency
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
range.
Se n s
Le ve l (O u tp u t Le ve l) #
Adjust the sensitivity with which the filter is controlled.
Adjust the output level.
Ma n u a l #
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
4 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
in a more narrow range.
Se p a ra tio n
Adjust the spatial dispersion of the sound.
Ra te #
Adjust the frequency of the modulation.
Sp e e d #
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
De p th
Adjust the depth of the modulation.
SLOW:Slow down the rotation to the specified speed (the
Low Slow / Hi Slow values).
Le ve l (O u tp u t Le ve l)
FAST:Speed up the rotation to the specified speed (the Low
Adjust the output level.
Fast / Hi Fast values).
8 : RO TARY
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
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
most suitable for electric organ Patches.
fig.2-11
L in
L out
R out
Rotary
R in
Lo w Slo w (Lo w Fre q u e n cy Slo w Ra te )
Adjust the slow speed (SLOW) of the low frequency rotor.
Lo w Fa st (Lo w Fre q u e n cy Fa st Ra te )
Adjust the fast speed (FAST) of the low frequency rotor.
Lo w Accl (Lo w Fre q u e n cy Acce le ra tio n )
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.
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.
Hi Fa st (Hig h Fre q u e n cy Fa st Ra te )
Adjust the fast speed (FAST) of the high frequency rotor.
Hi Accl (Hig h Fre q u e n cy Acce le ra tio n )
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.
Hi Lvl (Hig h Fre q u e n cy Le ve l)
Adjust the volume of the high frequency rotor.
4 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Lo w Ga in
9 : CO MPRESSO R
Adjust the low frequency gain.
The Compressor flattens out high levels and boosts low
levels, smoothing out unevenness in volume.
fig.2-12
Hi Ga in
Adjust the high frequency gain.
L in
L out
Pan L
2-Band
EQ
Compressor
Pa n (O u tp u t Pa n ) #
Pan R
R in
R out
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Atta ck
Adjust the attack time of an input sound.
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
Su sta in
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
1 1 : HEXA-CHO RUS
Hexa-chorus uses a six-phase chorus (six layers of chorused
Po st Ga in
sound) to give richness and spatial spread to the sound.
fig.2-14
Adjust the output gain.
L in
L out
Balance D
Lo w Ga in
Balance W
Hexa Chorus
Adjust the low frequency gain.
Balance W
Hi Ga in
R in
R out
Balance D
Adjust the high frequency gain.
Pre Dly (Pre De la y Tim e )
Pa n (O u tp u t Pa n ) #
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Ra te #
Le ve l (O u tp u t Le ve l) #
Adjust the rate of modulation.
Adjust the output level.
De p th
Adjust the depth of modulation.
1 0 : LIMITER
The Limiter compresses signals that exceed a specified
Dly De v (Pre De la y De via tio n )
volume level, preventing distortion from occurring.
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.
fig.2-13
L in
L out
Pan L
2-Band
EQ
Limiter
Pan R
R in
R out
Dp t De v (De p th De via tio n )
Th re sh (Th re sh o ld Le ve l)
Adjust the difference in modulation depth between each
chorus sound.
Adjust the volume at which compression will begin.
Ra tio (Co m p re ssio n Ra tio )
Pa n De v (Pa n De via tio n )
Adjust the compression ratio.
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.
Re le a se (Re le a se Tim e )
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Ba la n ce (Effe ct Ba la n ce ) #
Ga in (Po st Ga in )
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
Adjust the output gain.
4 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
1 3 : SPACE-D
Space-D is a multiple chorus that applies two-phase
modulation in stereo. It gives no impression of modulation,
Le ve l (O u tp u t Le ve l)
but produces a transparent chorus effect.
fig.2-16
Adjust the output level.
Balance D
2-Band
L in
L out
R out
1 2 : TREMO LO CHO RUS
EQ
Balance W
Space D
Space D
Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
fig.2-15
Balance W
2-Band
EQ
R in
L in
L out
Balance D
Balance D
Balance W
Pre Dly (Pre De la y Tim e )
Tremolo Chorus
Balance W
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
R in
R out
Balance D
Ra te #
Pre Dly (Pre De la y Tim e )
Adjust the rate of modulation.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
De p th
Adjust the depth of modulation.
Ch o Ra te (Ch o ru s Ra te )
Adjust the modulation speed of the chorus effect.
Ph a se
Adjust the spatial spread of the sound.
Ch o Dp t (Ch o ru s De p th )
Adjust the modulation depth of the chorus effect.
Lo w Ga in
Adjust the gain of the low frequency range.
Ph a se (Tre m o lo Ph a se )
Adjust the spread of the tremolo effect.
Hi Ga in
Adjust the gain of the high frequency range.
Trm Ra te (Tre m o lo Ra te ) #
Adjust the modulation speed of the tremolo effect.
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.
Trm Se p (Tre m o lo Se p a ra tio n )
Adjust the spread of the tremolo effect.
Ba la n ce (Effe ct Ba la n ce ) #
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.
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.
4 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
1 4 : STEREO CHO RUS
1 5 : STEREO FLAN GER
This is a stereo chorus. A filter is provided so that you can
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
adjust the timbre of the chorus sound.
fig.2-17
Balance D
2-Band
L in
L out
R out
EQ
sound.
fig.2-18
Balance W
Chorus
Chorus
Balance D
2-Band
Balance W
L in
L out
EQ
2-Band
EQ
R in
Flanger
Balance W
Balance D
Feedback
Feedback
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Balance W
Flanger
2-Band
EQ
R in
R out
Balance D
Ra te #
Adjust the rate of modulation.
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
De p th
Adjust the depth of modulation.
Ra te #
Ph a se
Adjust the rate of modulation.
Adjust the spatial spread of the sound.
De p th
Filte r (Filte r Ty p e )
Adjust the depth of modulation.
Select the type of filter.
Fb k (Fe e d b a ck Le ve l) #
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
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.
Cu to ff (Cu to ff Fre q u e n cy )
Adjust the basic frequency of the filter.
Ph a se
Lo w Ga in
Adjust the spatial spread of the sound.
Adjust the gain of the low frequency range.
Filte r Ty p e
Hi Ga in
Select the type of filter.
Adjust the gain of the high 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
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.
Cu to ff (Cu to ff Fre q u e n cy )
Adjust the basic frequency of the filter.
Lo w Ga in
Le ve l (O u tp u t Le ve l)
Adjust the gain of the low frequency range.
Adjust the output level.
Hi 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
4 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
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.
Hi Ga in
Adjust the gain of the high frequency range.
Ba la n ce (Effe ct Ba la n ce )
Le ve l (O u tp u t Le ve l)
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.
Adjust the output level.
1 6 : STEP FLAN GER
The Step Flanger effect is a flanger in which the flanger pitch
changes in steps. The speed at which the pitch changes can
also be specified in terms of a note-value of a specified
Le ve l (O u tp u t Le ve l)
Adjust the output level.
tempo.
fig.2-19
Balance D
2-Band
L in
L out
EQ
Step Flanger
Balance W
Feedback
Feedback
Balance W
Step Flanger
2-Band
EQ
R in
R out
Balance D
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Ra te
Adjust the rate of modulation.
De p th
Adjust the depth of modulation.
Fbk (Feedback Level) #
Adjust the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Ph a se
Adjust the spatial spread of the sound.
Ste p Ra te #
Adjust the rate (period) of pitch change. This parameter 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 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
Tempo or the tempo clock of the XV-3080’s system.
Lo w Ga in
Adjust the gain of the low frequency range.
4 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
INVERT:Phase is inverted.
1 7 : STEREO DELAY
This is a stereo delay.
HF Da m p
When Feedback Mode is NORMAL:
fig.2-20
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 D
2-Band
L in
L out
EQ
Balance W
Delay
Lo w Ga in
Feedback
Feedback
Adjust the gain of the low frequency range.
Hi Ga in
Balance W
Delay
Adjust the gain of the high frequency range.
2-Band
EQ
R in
R out
L out
Balance D
Ba la n ce (Effe ct Ba la n ce ) #
When Feedback Mode is CROSS:
fig.2-21
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 D
2-Band
EQ
L in
Balance W
Delay
Feedback
Feedback
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Balance W
Delay
2-Band
EQ
R in
R out
Balance D
De la y L (De la y Tim e Le ft)
Adjust the time from the original 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 original 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.
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.
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.
4 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
HF Da m p
1 8 : MO DULATIO N 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.
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
When Feedback Mode is NORMAL:
fig.2-22
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
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.2-23
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 original 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 original 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.
4 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
1 9 : TRIPLE TAP DELAY
will be output, and with a setting of D0:100W only the delay
sound will be output.
The Triple Tap Delay produces three delay sounds; center,
left and right. The center delay time can be specified as a note
Le ve l (O u tp u t Le ve l)
value of a specified tempo.
fig.2-24
Adjust the output level.
Balance D
2-Band
L in
L out
EQ
Balance W
Left Tap
2 0 : Q UADRUPLE TAP DELAY
Triple Tap Delay
Feedback
Center Tap
The Quadruple Tap Delay has four delays. Each of the Delay
Time parameters can be specified as a note length of the
Balance W
Right Tap
2-Band
EQ
selected tempo.
fig.2-25
R in
R out
Balance D
Balance D
De la y C (De la y Tim e Ce n te r)
De la y L (De la y Tim e Le ft)
De la y R (De la y Tim e Rig h t)
L in
L out
Delay 1
Delay 2
Balance W
Feedback
Quadruple Tap Delay
Delay 3
Adjust the time delay from the direct sound until when the
delay sound is heard. This parameter can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
Balance W
R out
Delay 4
R in
Balance D
The stereo location of each delay sound is as follows.
fig.2-26
2
3
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
Tempo or the tempo clock of the XV-3080’s system.
4
1
R
L
De la y 1 (De la y Tim e 1 )
De la y 2 (De la y Tim e 2 )
De la y 3 (De la y Tim e 3 )
De la y 4 (De la y Tim e 4 )
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)
Le ve l L (Le ft Le ve l)
Adjust the time delay from the direct sound until when each
delay sound is heard. These 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 R (Rig h t Le ve l)
Adjust the volume of each delay sound.
HF Da m p
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
Tempo or the tempo clock of the XV-3080’s system.
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.
Le ve l 1
Le ve l 2
Le ve l 3
Lo w Ga in
Adjust the gain of the low frequency range.
Hi Ga in
Adjust the gain of the high frequency range.
Le ve l 4
Adjust the volume of each delay sound.
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
Fb k (Fe e d b a ck Le ve l) #
Adjust the proportion (%) of the delay sound that is fed back
4 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
into the effect. Negative (-) settings will invert the phase.
Lo w Ga in
Adjust the gain of the low frequency range.
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.
Hi Ga in
Adjust the gain of the high frequency range.
Ba la n ce (Effe ct Ba la n ce )
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.
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.
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.
2 1 : TIME CO N TRO L DELAY
This effect allows you to use a specified controller (the
controller selected in EFX Control Source) to control the
delay time and pitch in realtime. Lengthening the delay will
lower the pitch, and shortening it will raise the pitch.
fig.2-27
2-Band
EQ
Balance W
L in
L out
R out
Balance D
Time Control Delay
Balance W
Feedback
Balance D
2-Band
EQ
R in
De la y (De la y tim e ) #
Adjust the time delay from the direct sound until when each
delay sound is heard.
Acce l (Acce le ra tio n )
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.
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.
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.
Pa n (O u tp u t Pa n )
Adjust the stereo location of the delay sound. L64 is far left, 0
is center, and 63R is far right.
4 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
2 2 : 2 VO ICE PITCH SHIFTER
Lvl Ba l (Le ve l Ba la n ce )
Adjust the volume balance between the Pitch Shift A and
Pitch Shift B sounds.
A Pitch Shifter shifts the pitch of the original sound. This 2-
voice pitch shifter has two pitch shifters, and can add two
pitch shifted sounds to the original sound.
fig.2-28
Ba la n ce (Effe ct Ba la n ce )
Balance D
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.
L in
L out
Level Balance A
PanA L
PanA R
Balance W
2Voice Pitch Shifter
Level Balance B
PanB L
Le ve l (O u tp u t Le ve l)
Balance W
R out
PanB R
Adjust the output level.
R in
Balance D
2 3 : FBK PITCH SHIFTER
Co a rse A (Co a rse Pitch A) # 1
(Feedback Pitch Shifter)
Adjust the pitch of Pitch Shift A in semitone steps (-2-+1
octaves).
This pitch shifter allows the pitch shifted sound to be fed
back into the effect.
Fin e A (Fin e Pitch A) # 1
fig.2-29
2-Band
EQ
Balance W
Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100-+100 cents).
L in
L out
R out
Balance D
Pitch Shifter
One cent is 1/ 100th of a semitone.
Balance W
Feedback
Balance D
2-Band
EQ
Pa n A (O u tp u t Pa n A)
R in
Adjust the stereo location of the Pitch Shift A sound. L64 is
far left, 0 is center, and 63R is far right.
Co a rse (Co a rse Pitch ) # 1
Adjust the pitch of the pitch shifted sound in semitone steps
(-2-+1 octaves).
Pre Dly A (Pre De la y Tim e A)
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Fin e (Fin e Pitch ) # 1
Make fine adjustments to the pitch of the pitch shifted sound
in 2-cent @5 Fbk (Feedback Level) #
Co a rse B (Co a rse Pitch B) # 2
Adjust the pitch of Pitch Shift B in semitone steps (-2-+1
octaves).
Adjust the proportion (%) of the processed sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Fin e B (Fin e Pitch B) # 2
Make fine adjustments to the pitch of Pitch Shift B in 2-cent
steps (-100-+100 cents).
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.
One cent is 1/ 100th of a semitone.
Pa n B (O u tp u t Pa n B)
Mo d e (Pitch Sh ifte r Mo d e )
Adjust the stereo location of the Pitch Shift B sound. L64 is
far left, 0 is center, and 63R is far right.
Higher settings of this parameter will result in slower
response, but steadier pitch.
Pre Dly B (Pre De la y Tim e B)
Pa n (O u tp u t Pa n )
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Adjust the stereo location of the pitch shifted sound. L64 is
far left, 0 is center, and 63R is far right.
Mo d e (Pitch Sh ifte r Mo d e )
Lo w Ga in
Higher settings of this parameter will result in slower
response, but steadier pitch.
Adjust the gain of the low frequency range.
Hi Ga in
Adjust the gain of the high frequency range.
5 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
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.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
2 4 : REVERB
The Reverb effect adds reverberation to the sound,
simulating an acoustic space.
fig.2-30
2-Band
EQ
Balance W
L in
L out
R out
Balance D
Reverb
Balance W
2-Band
EQ
R in
Balance D
Ty p e (Re ve rb Ty p e )
Select the type of Reverb effect.
ROOM1:dense reverb with short decay
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
Pre Dly (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the reverb sound is heard.
Tim e (Re ve rb Tim e ) #
Adjust the time length of reverberation.
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.
Lo w Ga in
Adjust the gain of the low frequency range.
Hi 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
5 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
change together with the degree of distortion.
2 5 : GATED REVERB
Gate Reverb is a special type of reverb in which the
O D Pa n (O ve rd rive Pa n ) #
reverberant sound is cut off before its natural length.
fig.2-31
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
2-Band
EQ
Balance W
L in
L out
R out
Balance D
Ch o Dly (Ch o ru s Pre De la y Tim e )
Gate Reverb
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Balance W
2-Band
EQ
R in
Balance D
Ch o Ra te (Ch o ru s Ra te )
Ty p e (Ga te Re ve rb Ty p e )
Select the type of reverb.
Adjust the modulation speed of the chorus effect.
Ch o ru s De p th
NORMAL:conventional gate reverb
REVERSE:backwards reverb
Adjust the modulation depth of the chorus effect.
SWEEP1:the reverberant sound moves from right to left
Ch o ru s Ba la n ce #
SWEEP2:the reverberant sound moves from left to right
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.
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.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Lo w Ga in
2 7 : O VERDRIVE→FLAN GER
Adjust the gain of the low frequency range.
This effect connects an overdrive and a flanger in series.
fig.2-33
Hi Ga in
Balance D
Adjust the gain of the high frequency range.
L out
L in
Feedback
Flanger
Balance W
Ba la n ce (Effe ct Ba la n ce ) #
Overdrive
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.
Balance W
R out
R in
Balance D
O D Drive
Le ve l (O u tp u t Le ve l) #
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Adjust the output level.
O D Pa n (O ve rd rive Pa n ) #
2 6 : O VERDRIVE→CHO RUS
This effect connects an overdrive and a chorus in series.
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
fig.2-32
L out
L in
Flg Dly (Fla n g e r Pre De la y Tim e )
Balance D
Chorus
Balance W
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Overdrive
Balance W
R out
R in
Balance D
Flg Ra te (Fla n g e r Ra te )
Adjust the modulation speed of the flanger effect.
O D Drive
Adjust the degree of overdrive distortion. The volume will
5 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
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.
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)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Fla n g e r Ba la n ce #
2 9 : DISTO RTIO N →CHO RUS
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.
This effect connects distortion and chorus in series. The
parameters are essentially the same as “26:
OVERDRIVE?CHORUS,” with the exception of the following
two.
OD Drive → Dist Drive (Specify the amount of distortion.)
OD Pan → Dist Pan (Specify the stereo location of the
distortion sound.)
fig.2-35
Le ve l (O u tp u t Le ve l)
Adjust the output level.
L out
L in
Balance D
Chorus
Balance W
2 8 : O VERDRIVE→DELAY
This effect connects an overdrive and a delay in series.
Distortion
Balance W
R out
fig.2-34
R in
Balance D
L out
L in
Balance D
Delay
Balance W
Overdrive
Balance W
R out
Feedback
Balance D
R in
O D Drive
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 ) #
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
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)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
De la y HF Da m p
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.
De la y Ba la n ce (De la y Ba la n ce ) #
Adjust the volume balance between the overdrive sound that
is sent through the delay and the overdrive sound that is not
5 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Ch o Ra te (Ch o ru s Ra te )
3 0 : DISTO RTIO N →FLAN GER
Adjust the modulation speed of the chorus effect.
This effect connects distortion and flanger in series. The
parameters are essentially the same as in “27:
OVERDRIVE?FLANGER,” with the exception of the
following two.
Ch o ru s De p th
Adjust the modulation depth of the chorus effect.
OD Drive → Dist Drive (Specify the amount of distortion.)
Ch o ru s Ba la n ce #
OD Pan → Dist Pan (Specify the stereo location of the
distortion sound.)
fig.2-36
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.
Balance D
L out
L in
Feedback
Flanger
Balance W
Distortion
Balance W
R out
Le ve l (O u tp u t Le ve l)
R in
Balance D
Adjust the output level.
3 1 : DISTO RTIO N →DELAY
3 3 : EN HAN CER→FLAN GER
This effect connects distortion and delay in series. The
parameters are essentially the same as in “28:
OVERDRIVE?DELAY,” with the exception of the following
two.
This effect connects an enhancer and a flanger in series.
fig.2-39
Balance D
L in
L out
Enhancer
Enhancer
Mix
Feedback
Flanger
Balance W
OD Drive → Dist Drive (Specify the amount of distortion.)
Balance W
R out
OD Pan → Dist Pan (Specify the stereo location of the
distortion sound.)
R in
Balance D
Mix
fig.2-37
L out
L in
En h a n ce r Se n s #
Balance D
Delay
Balance W
Adjust the sensitivity of the enhancer.
Distortion
Balance W
R out
En h a n ce r Mix (En h a n ce r Mix Le ve l)
Feedback
Balance D
R in
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
3 2 : EN HAN CER→CHO RUS
Flg Dly (Fla n g e r Pre De la y Tim e )
This effect connects an enhancer and a chorus in series.
fig.2-38
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
L in
L out
Enhancer
Balance D
Chorus
Mix
Mix
Balance W
Flg Ra te (Fla n g e r Ra te )
Adjust the modulation speed of the flanger effect.
Balance W
R out
R in
Enhancer
Flg Dp t (Fla n g e r De p th )
Balance D
Adjust the modulation depth of the flanger effect.
En h a n ce r Se n s #
Flg Fb k (Fla n g e r Fe e d b a ck Le ve l)
Adjust the sensitivity of the enhancer.
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
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.
Fla n g e r Ba la n ce #
Ch o Dly (Ch o ru s Pre De la y Tim e )
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
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
5 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
fig.2-41
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.
Balance D
L in
L out
Balance D
Balance W
Chorus
Balance W
Balance W
Delay
Feedback
Balance D
Le ve l (O u tp u t Le ve l)
Balance W
R out
Adjust the output level.
R in
Balance D
3 4 : EN HAN CER→DELAY
Ch o Dly (Ch o ru s Pre De la y Tim e )
This effect connects an enhancer and a delay in series.
fig.2-40
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
L in
L out
Enhancer
Balance D
Mix
Mix
Ch o Ra te (Ch o ru s Ra te )
Balance W
Delay
Feedback
Balance D
Adjust the modulation speed of the chorus effect.
Balance W
R out
R in
Ch o Dp t (Ch o ru s De p th )
Enhancer
Adjust the modulation depth of the chorus effect.
En h a n ce r Se n s #
Ch o Ba l (Ch o ru s Ba la n ce ) #
Adjust the sensitivity of the enhancer.
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.
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.
Dly Tim e (De la y Tim e )
Dly Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
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)
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.
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
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.
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.
De la y Ba la n ce #
De la y Ba la n ce #
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.
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.
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.
3 5 : CHO RUS→DELAY
This effect connects a chorus and a delay unit in series.
5 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Le ve l (O u tp u t Le ve l)
3 6 : FLAN GER→DELAY
This effect connects a flanger and a delay in series.
Adjust the output level.
fig.2-42
Balance D
3 7 : CHO RUS→FLAN GER
This effect connects a chorus and a flanger in series.
L in
L out
Balance D
Feedback
Flanger
Balance W
Balance W
Balance W
fig.2-43
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.
5 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
4 0 : CHO RUS/ FLAN GER
3 8 : CHO RUS/ DELAY
This effect connects a chorus and a delay in parallel. The
parameters are the same as for “35: CHORUS→DELAY.”
However, the Delay Balance parameter adjusts the volume
This effect connects a chorus and a flanger in parallel. The
parameters are the same as for “37: CHORUS→FLANGER.”
However, the Flanger Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
balance between the direct sound and the flanger sound.
fig.2-44
fig.2-46
Balance D
Balance D
L in
L out
L in
L out
Balance W
Balance W
Chorus
Chorus
Feedback
Feedback
Balance W
Balance W
Delay
Flanger
R in
R out
R in
R out
Balance D
Balance D
3 9 : FLAN GER/ DELAY
4 1 :STEREO PHASER
This effect connects a flanger and a delay in parallel. The
parameters are the same as for “36: FLANGER→DELAY.”
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.2-51
balance between the direct sound and the delay sound.
fig.2-45
2-Band
EQ
Balance D
L in
L out
R out
Phaser
Phaser
L in
L out
Mix
Mix
Balance W
Flanger
2-Band
EQ
R in
Feedback
Feedback
Balance W
Delay
Ty p e (Ph a se r Ty p e )
R in
R out
Selects the type of Phaser.
Balance D
Type 2 adds more of the Phaser effect to the high frequencies
than Type 1.
Mo d e
Selects the number of stages in the phaser (4/ 8).
Po l (Po la rity )
Selects whether the left and right phase of the modulation
will be the same or the opposite.
INVERSE:The left and right phase will be opposite. When
using a mono source, this spreads the sound.
SYNCHRO:The left and right phase will be the same. Select
this when inputting a stereo source.
Ma n (Ma n u a l) #
Adjusts the center frequency to which the phase effect is
applied.
Ra te (Ph a se r Ra te ) #
Adjust the frequency of modulation.
De p th (Ph a se r De p th )
Adjust the depth of modulation.
5 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Re s (Ph a se r Re so n a n ce )
4 2 :KEYSYN C FLAN GER
Adjust the amount of feedback for the phaser. Higher
settings will give the sound a stronger character.
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.
X-Fb k (Cro ss Fe e d b a ck Le ve l)
This parameter lets your playing dynamics on the keyboard
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.
control the flanger effect.
fig.2-52
2-Band
EQ
L in
L out
Flanger
Ste p Ra te (Ste p Ra te Sw itct/ Ste p Ra te # )
Feedback
Feedback
Adjust the frequency of pitch change.
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
Flanger
2-Band
EQ
R in
R out
Mix (Mix Le ve l)
Pre Dly (Pre De la y Tim e )
Adjust the volume of the phase-shifted sound, relative to the
direct sound.
Adjust the time delay from the original sound until the
flanger sound is heard.
Lo w Ga in
Ra te (LFO Ra te ) #
Adjust the low frequency gain (amount of boost or cut).
Adjust the modulation frequency of the flanger sound.
Positive (+) settings will emphasize (boost) the low
frequency range.
De p th (LFO De p th )
Adjust the modulation depth of the flanger sound.
Hi Ga in
Adjust the high frequency gain (amount of boost or cut).
Fb k (Fe e d b a ck ) #
Positive (+) settings will emphasize (boost) the high
frequency range.
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.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Ph a se 0 –1 8 0 [d e g ]
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.
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.
Ste p Ra te (Ste p Ra te Sw itct/ Ste p Ra te # )
Adjust the frequency of pitch change.
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
5 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Ke y sy n c (Ke y sy n c Sw itch )
Vo w e l
Determines whether the Flanger LFO is reset according to the
input sound (ON) or not (OFF).
Selects the vowel. The left setting is the vowel 1. The right
setting is the vowel 2.
Thre (Keysync Threshold)
Ra te
Adjust the volume level for which reset will be applied.
Sets the frequency at which the two vowels will be switched.
Ke y sy n c Ph a se
De p th
Sets the LFO phase when the LFO is reset.
Sets the effect depth.
Lo w Ga in
Ke y sy n c Sw (Ke y Sy n c Sw itch )
Adjust the low frequency range gain (amount of boost or
cut).
Determines whether the LFO for switching the vowels is
reset according to the input sound (ON) or not (OFF).
Positive (+) settings will emphasize (boost) the low
frequency range.
Th re sh o ld (Ke y sy n c Th re sh o ld )
Specifies the volume level for which reset will be applied.
Hi Ga in
Adjust the high frequency gain (amount of boost or cut).
Ma n u a l
Positive (+) settings will emphasize (boost) the high
frequency range.
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.
Ba la n ce #
Adjusts the volume balance between the direct sound and
the flanger sound.
Lo w Ga in
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.
Specifies the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Le ve l (O u tp u t Le ve l) 0 –1 2 7
Hi Ga in
Adjust the output level.
Specifies the high frequency gain (amount of boost or cut).
4 3 :FO RMAN T FILTER
Positive (+) settings will emphasize (boost) the high
frequency range.
This adds a vowel character to the sound, making it similar
to a human voice.
Pa n (O u tp u t Pa n )
Specifies the stereo location of the output sound. L64 is far
left, 0 is center, and 63R is far right.
L in
L out
Pan L
2-Band
EQ
Overdrive
Formant
Pan R
R out
Le ve l (O u tp u t Le ve l)
R in
Specifies the output volume.
Drive
Turns Drive on/ off.
Specifies the depth of distortion. The volume will change
together with the degree of distortion.
5 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
4 4 :RIN G MO DULATO R
4 5 :MULTI TAP DELAY
Ring Modulator is an effect which applies amplitude
modulation (AM) to the input signal, producing bell-like
sounds.
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
sound.
fig.2-55
You can also change the modulation frequency according to
the volume of the sound input to the effects device.
Balance D
2-Band
fig.2-54
L in
L out
EQ
Feed
back
Delay 1
Delay 3
L in
L out
R out
Ring Mod
Ring Mod
2-Band EQ
2-Band EQ
Balance W
Multi Tap Delay
Delay 4
R in
Balance W
Delay 2
Fre q (Fre q u e n cy ) #
2-Band
EQ
R in
R out
Balance D
Sets the frequency at which modulation will be applied.
De la y 1 (De la y Tim e 1 )
Mo d (Mo d u la to r)
Adjust the delay time from the original sound until the delay
1 sound is heard.
Selects the input of the source sound for the envelope
controlling the modulation.
When set to Source, the frequency is modulated according to
the envelope of the sound input to the multi-effects.
De la y 2 (De la y Tim e 2 )
Adjust the delay time from the original sound until the delay
2 sound is heard.
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).
De la y 3 (De la y Tim e 3 )
Adjust the delay time from the original sound until the delay
3 sound is heard.
Se n s #
Sets the amount of frequency modulation applied.
De la y 4 (De la y Tim e 4 )
Adjust the delay time from the original sound until the delay
4 sound is heard.
Po l (Po la rity )
Determines whether the frequency modulation moves
towards higher frequencies (UP) or lower frequencies
(DOWN).
Pa n 1 (O u tp u t Pa n 1 )
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.
Lo w Ga in
Adjust the low frequency gain (amount of boost or cut).
Pa n 2 (O u tp u t Pa n 2 )
Positive (+) settings will emphasize (boost) the low
frequency range.
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.
Hi Ga in
Pa n 3 (O u tp u t Pa n 3 )
Adjust the high frequency gain (amount of boost or cut).
Sets the stereo position of the delay sound (Delay 3). A
setting of L64 is far left, 0 is center, and 63R is far right.
Positive (+) settings will emphasize (boost) the high
frequency range.
a n 4 (O u tp u t Pa n 4 )
Ba la n ce (Effe ct Ba la n ce ) #
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.
Sets the volume balance between the source sound and the
effect sound.
Le ve l 1
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.
Adjust the output level of delay 1.
Le ve l 2
Le ve l (O u tp u t Le ve l)
Adjust the output level of delay 2.
Adjust the output level.
6 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Le ve l 3
4 6 :REVERSE DELAY
Adjust the output level of delay 3.
Reverse Delay is a delay effect that adds the reverse of the
input sound as the delay sound.
fig.2-56
Le ve l 4
Adjust the output level of delay 4.
2-Band
EQ
L ou
L in
Feedback
D1
1
D2
Fb k (Fe e d b a ck ) #
Rev. Delay
Delay
2
3
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.
D3
D4
2-Band
EQ
R in
R o
De la y 1 (De la y Tim e 1 )
HF Da m p
Adjust the delay time from the original sound until the delay
1 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 2 (De la y Tim e 2 )
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Adjust the delay time from the original sound until the delay
2 sound is heard.
Lo G (Lo w Ga in )
De la y 3 (De la y Tim e 3 )
Adjust the low frequency gain (amount of boost or cut).
Adjust the delay time from the original sound until the delay
3 sound is heard.
Positive (+) settings will emphasize (boost) the low
frequency range.
De la y 4 (De la y Tim e 4 )
HiG (Hig h Ga in )
Adjust the delay time from the original sound until the delay
4 sound is heard.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
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.
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source 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 only the effect sound
will be output.
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.
Le v (O u tp u t Le ve l)
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Adjust the output level.
Th r (Th re sh o ld Le ve l)
Specify the volume level at which the reverse delay will
begin to apply.
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )
Adjust the pan of delay sound (Delay 1, 2, 3). A setting of L64
is far left, 0 is center, and 63R is far right.
Le ve l 1 :2 :3
Adjust the output level of delay 1, 2 and 3.
6 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Ba la n ce (Effe ct Ba la n ce ) #
HF Da m p
Sets the volume balance between the source sound and the
effect sound.
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
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.
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Pa n A
Lo w Ga in
Adjust the pan of the delay A sound.
Adjust the low frequency gain (amount of boost or cut).
Pa n B
Positive (+) settings will emphasize (boost) the low
frequency range.
Adjust the pan of the delay B sound.
Le ve l Ba la n ce
Hi Ga in
Sets the balance for the levels of the delay A and the delay B.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Lo w Ga in
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Hi Ga in
4 7 :SHUFFLE DELAY
Adjust the high frequency gain (amount of boost or cut).
Shuffle Delay adds a shuffle to the delay sound, giving the
Positive (+) settings will emphasize (boost) the high
frequency range.
sound a bouncy delay effect with a swing feel.
fig.2-57
2-Band
EQ
L ou
Ba la n ce (Effe ct Ba la n ce ) #
L in
Feedback
Delay
Delay 1
Delay 2
1
2
Sets the volume balance between the source 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 only the effect sound
will be output.
2-Band
EQ
R in
R o
De la y (De la y Tim e ) #
Le ve l (O u tp u t Le ve l)
Adjust the delay time from the original sound until the delay
sound is heard.
Adjust the output level.
Sh u ffle (Sh u ffle Ra te ) #
4 8 :3 D DELAY
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.
This applies a 3D effect to the delay sound. The delay sound
will be positioned 90 degrees left and 90 degrees right.
fig.2-58
2-Band
L
EQ
Level
Acce l (Acce le ra tio n )
3D Delay L
3D Delay C
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.
3D Delay R
2-Band
EQ
R
Fb k (Fe e d b a ck ) #
De la y C (De la y Tim e Ce n te r)
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.
Adjust the delay time from the original sound until the
center delay sound is heard.
6 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
De la y L (De la y Tim e Le ft)
Le v (O u tp u t Le ve l)
Adjust the delay time from the original sound until the left
delay sound is heard.
Adjust the output level.
4 9 :3 VO ICE PITCH SHIFTER
De la y R (De la y Tim e Rig h t)
A Pitch Shifter shifts the pitch of the original sound. This 3-
voice pitch shifter has three pitch shifters, and can add three
Adjust the delay time from the original sound until the right
delay sound is heard.
pitch shifted sounds to the original sound.
fig.2-58
Fb k (Fe e d b a ck ) #
L out
L
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.
Pitch 1
Pitch 2
1
2
Pitch 3
3
Le ve l C (Le ve l Ce n te r)
R
R out
Adjust the volume of the left delay sound.
Co a rse 1 :2 :3 (Co a rse Pitch 1 :2 :3 )
Le ve l L (Le ve l Le ft)
Specify the pitch in semitones for pitch shift 1–3.
Adjust the volume of the center delay sound.
Fin e 1 :2 :3 (Fin e Pitch 1 :2 :3 )
Le ve l R (Le ve l Rig h t)
Make fine adjustments to the pitch of the pitch shift 1–3 in 2-
Adjust the volume of the right delay sound.
cent steps.
HF Da m p
Pre De la y 1 :2 :3 (Pre De la y Tim e 1 :2 :3 )
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
Specify the time delay from the original sound until the pitch
shift 1–3 sound is heard.
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Fb k 1 :2 :3 (Fe e d b a ck Le ve l 1 :2 :3 )
O u t (O u tp u t Mo d e )
Adjust the proportion (%) of the pitch shift 1–3 sound that is
fed back into the effect.
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.
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )
Specify the stereo location of the pitch shift 1–3 sound. L64 is
far left, 0 is center, and 63R is far right.
Lo G (Lo w Ga in )
Le ve l 1 :2 :3 (Le ve l 1 :2 :3 )
Adjust the low frequency gain (amount of boost or cut).
Specify the volume of the pitch shift 1--3.
Positive (+) settings will emphasize (boost) the low
frequency range.
Ba la n ce (Effe ct Ba la n ce )
Hi G (Hig h Ga in )
Sets the volume balance between the source sound and the
effect sound.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
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.
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source 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 only the effect sound
will be output.
6 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
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.
5 0 :LO FI CO MPRESS
Le ve l (O u tp u t Le ve l)
This is an effect that intentionally degrades the sound
Adjust the output level.
quality.
fig.2-60
5 1 :LO FI N O ISE
L in
L out
Pan L
2-Band
EQ
In addition to a Lo-Fi effect, this effect also generates various
Lo-Fi
Pan R
types of noise, such as radio noise and disc noise.
fig.2-61
R in
R out
2-Band
EQ
Ty p e (Lo Fi Ty p e )
L in
L out
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
Lo-Fi
Noise Gen.
Lo-Fi
Radio
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.
2-Band
EQ
R in
R out
Po st Filte r 1 (Po st Filte r 1 Ty p e )
Ty p e (Lo Fi Ty p e )
Adjust the type of filter that will be applied after the sound
passes through the Lo-Fi effect.
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
Po st Filte r 2 (Po st Filte r 2 Ty p e / Cu to ff
Fre q u e n cy )
Po st Fltr (Po st Filte r Ty p e / Cu to ff Fre q u e n cy )
OFF:A filter will not be used.
OFF:A post filter 2 will not be used.
LPF:The frequency region above the Cutoff Freq setting will
LPF:The frequency region above the Cutoff Freq setting will
be cut.
be cut.
HPF:The frequency region below the Cutoff Freq setting will
HPF:The frequency region below the Cutoff Freq setting will
be cut.
be cut.
And adjust the frequency at which the filter will begin
cutting.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Ra d io De tu n e (Ra d io De tu n e # / Ra d io N o ise
Le ve l)
Lo w Ga in
Adjust the low frequency gain (amount of boost or cut).
Simulates the tuning noise of a radio. As this value is raised,
the tuning will drift further.
Positive (+) settings will emphasize (boost) the low
frequency range.
And adjust the volume of the radio noise.
Hi Ga in
Disc:LPF:Le v(Disc N o ise Ty p e :Disc N o ise
LPF:Disc N o ise Le ve l)
Adjust the high frequency gain (amount of boost or cut).
Disc:Selects the type of record noise. The frequency at which
Positive (+) settings will emphasize (boost) the high
frequency range.
the noise is heard will depend on the selected type.
LPF:Adjust the cutoff frequency of the low pass filter that is
Ba la n ce (Effe ct Ba la n ce ) #
applied to the record noise.
Sets the volume balance between the source sound and the
effect sound.
Level:Adjust the volume of the record noise.
Lo w Ga in
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.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
6 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Hi Ga in
Mic Se t (Mic Se ttin g )
Adjust the high frequency gain (amount of boost or cut).
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.
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.
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source 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 only the effect sound
will be output.
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
Pa n (O u tp u t Pa n )
5 3 :O VERDRIVE 2
Adjust the stereo position of the delay sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
This is an overdrive that provides heavy distortion.
fig.2-63
L in
L out
Le ve l (O u tp u t Le ve l)
Pan L
Amp
Simulator
2-Band
EQ
Overdrive
Adjust the output level.
Pan R
R in
R out
5 2 :SPEAKER SIMULATO R
Drive #
Speaker Simulator is an effect that simulates the speaker type
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
and mic settings used to record the speaker sound.
fig.2-62
Le ve l (O u tp u t Le ve l)
L in
L out
R out
Speaker
Speaker
Adjust the output level.
R in
Lo w Ga in
Adjust the low frequency gain (amount of boost or cut).
Sp e a k e r Ty p e
Positive (+) settings will emphasize (boost) the low
frequency range.
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.
Hi Ga in
Type
Cabinet
Speaker Microphone
Adjust the high frequency gain (amount of boost or cut).
SMALL 1
small open-back enclosure 10
small open-back enclosure 10
dynamic mic
dynamic mic
Positive (+) settings will emphasize (boost) the high
frequency range.
SMALL 2
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
JC-120
Am p Ty p e (Am p Sim u la to r Sw itch / Ty p e )
Turns the Amp Simulator on/ off.
And djust the type of guitar amp.
SMALL : small amp
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
BUILT-IN : single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
large sealed enclosure
large sealed enclosure
large sealed enclosure
METAL STACK large double stack
2-STACK
3-STACK
large sealed enclosure
large sealed enclosure
6 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
To n e
5 5 :STEREO CO MPRESSO R
fig.2-65
Adjust the sound quality of the Overdrive effect.
L in
L out
R out
Compressor
Compressor
2-Band EQ
2-Band EQ
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.
R in
Su sta in
5 4 :DISTO RTIO N 2
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
This is a distortion effect that provides heavy distortion.
fig.2-64
L in
L out
Pan L
Atta ck
Amp
Simulator
2-Band
EQ
Distortion
Adjust the attack time of an input sound.
Pan R
R in
R out
Po st Ga in
Drive #
Adjust the output gain.
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
Lo w Ga in
Adjust the low frequency gain.
Le ve l (O u tp u t Le ve l)
Hi Ga in
Adjust the output level.
Adjust the high frequency gain.
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.
5 6 :STEREO LIMITER
fig.2-66
Hi Ga in
Adjust the high frequency gain (amount of boost or cut).
L in
L out
R out
Limiter
Limiter
2-Band EQ
Positive (+) settings will emphasize (boost) the high
frequency range.
R in
2-Band EQ
Am p Ty p e (Am p Sim u la to r Sw itch / Ty p e )
Turns the Amp Simulator on/ off.
And djust the type of guitar amp.
SMALL : small amp
Th re (Th re sh o ld Le ve l)
Adjust the volume at which compression will begin.
Re le a se (Re le a se Tim e )
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
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 ) #
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
6 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Ra tio (Co m p re ssio n Ra tio )
Atk (Atta ck Tim e )
Adjust the compression ratio.
Sets the time it takes the gate fully opens after being
triggered.
Ga in (Po st Ga in )
Ho ld (Ho ld Tim e )
Adjust the output gain.
Sets the time it takes the gate starts closing after the instant
the source sound goes under the threshold level.
Lo w Ga in
Adjust the low frequency gain.
Re l (Re le a se Tim e )
Hi Ga in
Sets the time it takes the gate fully closes after passes by the
hold time.
Adjust the high frequency gain.
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.
Sets the volume balance between the source sound and the
effect sound.
5 7 :GATE
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.
The Gate effect cuts the reverb’s 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
Le ve l (O u tp u t Le ve l)
decay sound.
Adjust the output level.
fig.2-67
L in
L out
R out
Gate
Gate
5 8 :SLICER
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
R in
Ke y
sustain-type sounds.
fig.2-68
Selects the input of the sound that acts as the trigger closing
the gate.
L in
L out
R out
Slicer
Slicer
When set to Source, the gate is closed by the sound input to
the Multi-effects.
R in
Th re (Ke y Th re sh o ld )
Be a t 1 -1 –4 -4
Sets the volume level at which the gate begins to close.
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.
Mo n ite r (Ke y Mo n ito r)
Determines whether the sound used as the gate trigger is
output (ON) or not (OFF).
Ra te #
Mo d e
Determines the cycle for one measure.
GATE (Gate Reverb):
Atta ck
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.
Sets the speed at which the volume changes between beats.
The higher the value, the faster the volume changes.
DUCK (Ducking Reverb):
Re se t #
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.
Selects the input of the sound that acts as the trigger resetting
the one-measure pattern.
When set to OFF, the pattern is not reset, even if the input is
present.
When set to Source, the pattern is reset by the sound input to
the multi-effects.
6 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Th re (Re se t Th re sh o ld )
An ti Ph a se Mid (An ti Ph a se Mid d le Sw itch /
Le ve l)
Sets the volume level at which the reset begins.
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.)
Mo n (Re se t Mo n ito r)
Determines whether the sound used as the reset trigger is
output (ON) or not (OFF). This parameter is disabled when
Reset is set to OFF or Source.
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 beat’s 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.
Sh u ffle #
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.)
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)
Adjust the output level.
6 0 :3 D CHO RUS
This applies a 3D effect to the chorus sound. The chorus
5 9 :ISO LATO R
sound will be positioned 90 degrees left and 90 degrees right.
fig.2-70
An equalizer which cuts the volume greatly, allowing you to
add a special effect to the sound by cutting the volume in
2-Band
EQ
L
L out
R out
varying ranges.
fig.2-69
3D Chorus
2-Band
EQ
R
L in
L out
R out
Isolater
Low Boost
Low Boost
Pre Dly (Pre De la y Tim e )
R in
Isolater
Adjust the delay time from the original sound until when the
chorus sound is heard.
Level High #
Level Middle #
Level Low #
Ra te (LFO Ra te ) #
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.
De p th (LFO De p th )
Adjust the modulation depth of the chorus sound.
6 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
sound is heard.
Ph a se
Adjust the spaciousness of the chorus sound.
Ra te (LFO Ra te ) #
Adjust the modulation speed of the flanger sound.
Filte r Ty p e
OFF:A filter will not be used.
De p th (LFO De p th )
LPF:The frequency region above the Cutoff Freq setting will
Adjust the modulation depth of the flanger sound.
be cut.
Fb k (Fe e d b a ck ) #
HPF:The frequency region below the Cutoff Freq setting will
be cut.
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.
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.
O u t (O u tp u t Mo d e )
Ph a se
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.
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
Lo G (Lo w Ga in )
be cut.
Adjust the low frequency gain (amount of boost or cut).
HPF:The frequency region below the Cutoff Freq setting will
Positive (+) settings will emphasize (boost) the low
frequency range.
be cut.
Cu to ff (Cu to ff Fre q u e n cy )
Hi G (Hig h Ga in )
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Ste p Ra te (Ste p Ra te Sw itct/ Ste p Ra te # )
Determines whether the pitch is changed in a stepped
fashion (ON) or not (OFF).
Ba la n ce #
Adjust the volume balance between the original sound and
the flanger sound.
And adjust the rate at which the pitch will change.
O u t (O u tp u t Mo d e )
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.
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.
Le v (O u tp u t Le ve l)
Adjust the output level.
Lo G (Lo w Ga in )
6 1 :3 D FLAN GER
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
This applies a 3D effect to the flanger sound. The flanger
sound will be positioned 90 degrees left and 90 degrees right.
fig.2-71
Hi G (Hig h Ga in )
2-Band
EQ
L
L out
R out
Adjust the high frequency gain (amount of boost or cut).
3D Flanger
Positive (+) settings will emphasize (boost) the high
frequency range.
2-Band
EQ
R
Pre Dly (Pre De la y Tim e )
Adjust the time delay from the direct sound until the flanger
6 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
Ba la n ce #
6 3 :AUTO PAN
Adjust the volume balance between the original sound and
the flanger sound.
The Auto Pan effect cyclically modulates the stereo location
of the sound.
fig.2-73
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.
L in
L out
R out
Auto Pan
Auto Pan
2-Band EQ
2-Band EQ
R in
Le ve l (O u tp u t Le ve l)
Adjust the output level.
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.
6 2 :TREMO LO
Tremolo cyclically modulates the volume to add tremolo
effect to the sound.
fig.2-72
The teeth in Saw1 and Saw2 point at opposite directions.
fig.2-73a
L in
L out
R out
Tremolo
Tremolo
2-Band EQ
2-Band EQ
Saw1
Saw2
R in
Mo d W a ve (Mo d u la tio n W a ve )
Ra te #
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.
Adjust the frequency (speed) of the change.
De p th #
Sets the depth to which the effect is applied.
The teeth in Saw1 and Saw2 point at opposite directions.
fig.2-72a
Lo w Ga in
Saw1
Saw2
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Ra te #
Hi Ga in
Adjust the frequency (speed) of the change.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
De p th #
Sets the depth to which the effect is applied.
Le ve l (O u tp u t Le ve l)
Lo w Ga in
Adjust the output level.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Hi 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.
7 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 2 Usin g th e XV-3 0 8 0 Effe cts
5 . Press [
] / [
] to select the FX COPY page.
fig.patch
When using 3D effects
The following three 3D effects utilize RSS (Roland Sound
Space) technology to create a spaciousness that cannot be
produced by delay, reverb, chorus, etc.
Copy Source
Copy source Patch/Performance/
Rhythm Set
(group, number, name)
48: 3D DELAY
fig.perform
60: 3D CHORUS
61: 3D FLANGER
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
fig.gm
either side.
fig.RSS
6 . Press [
] / [
] to move the cursor to the
parameter that you wish to set.
Press [ ] to move to the next display, and then select the
contents of the effect that you wish to copy.
30˚ 30˚
fig.xp112
Copy Type
ALL:Multi-effects, chorus, and reverb settings
MFX:Multi-effects settings
If the left and right speakers are too far apart, or if there
is too much reverberation, the full 3D effect may not
appear.
CHORUS:Chorus settings
REVERB:Reverb settings
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.
CHO&REV:Chorus and reverb settings
7 . Turn the VALUE dial or press [DEC] / [INC] to select the
desired value.
8 . Press [ENTER] to execute the Copy operation.
9 . Press [EXIT] two times to return to the applicable PLAY
page.
Co p y in g Effe ct Se ttin g s
You can copy the effect settings from any Patch,
Performance, or Rhythm Set into the currently selected
Patch, Performance, or Rhythm Set. This can save a great
deal of time and effort when setting up effects.
1 . Make sure that a Patch, Performance, or the GM
System[RB12] is selected.
2 . Press [UTILITY] to make its indicator light.
3 . Press [
] / [
] / [
] to select the UTIL 1 page.
4 . Use [
] to make “COPY” blink, and then
press [ENTER].
7 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
The XV-3080 has three sets of stereo outputs.
These outputs allow you to separate sounds – or groups of sounds – from the XV-3080’s overall stereo mix, and to send them to
their own external destinations. For example, you could route a stereo Rhythm Set to a pair of output jacks connected to an
external effects device. You can also use the three pairs of jacks as six independent output jacks to which you can route Tones,
Rhythm Tones or Patches.
This chapter describes the signal paths in the XV-3080’s various modes, along with the associated parameters. Please refer to this
section when selecting your outputs.
Pa tch Mo d e Se ttin g s
Sig n a l (TO N E) Flo w
fig.3-01
Output Assign (OUTPUT)
A
OUTPUT A
B
TONE
OUTPUT B
OUTPUT C
C
Output Assign
(PATCH MFX OUT)
M-FX
Output Assign
(PATCH CHO OUT)
CHO
REV
Output Assign
(PATCH REV OUT)
jacks.
Pa ra m e te rs
INDIV 1–6: The Tone is routed to the INDIVIDUAL 1–6 jacks.
The parameters related to Patch output settings are shown
below.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets the Tone’s send level to the Chorus. Its final output
1 –4 O UTPUT (To n e O u tp u t) ([PATCH]-
[EFFECTS])
destination is determined by the Chorus output setting.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
This sets the output destination and level for the currently
selected Tone as well as its send level to the Chorus and
Reverb.
This sets the Tone’s send level to the Reverb. Its final output
destination is determined by the Reverb output setting.
O u tp u t Assig n
PATCH LVL&PAN (Pa tch le ve l & Pa n )
([PATCH]-[CO MMO N ])
MFX: The Tone is sent to the Multi-Effects. The Tone’s final
output destination is determined by the Multi-Effects output
setting.
Le ve l (Pa tch Le ve l)0 –1 2 7
This sets the volume of the Patch.
OUTPUT A–C: The Tone is routed to the OUTPUT A–C
7 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
* You can specify the level for each Tone using the Tone Level
parameter (TVA p. 95).
PATCH CHO O UT (Pa tch Ch o ru s
O u tp u t) ([PATCH]-[EFFECTS])
Pa n (Pa tch p a n )L6 4 –0 –6 3 R
O u tp u t Assig n (Ch o ru s O u tp u t Assig n ) A/ B/ C
This determines the stereo positioning of the Patch. A setting
of L64 places the Patch at the far left, 0 in the center, and 63R
at the far right.
This setting selects the pair of OUTPUT jacks to which the
Chorus unit’s stereo output is routed when Chorus Output
Select is set to “MAIN” or “MAIN+R.”
* You can set each Tone’s pan position using the Tone Pan
parameter (TVA p. 95).
Le ve l (Ch o ru s Le ve l) 0 –1 2 7
This setting determines the Chorus output level.
* While each Tone in a Patch has its own Pan position, the
Patch pan setting shifts the entire Patch – including all of its
Tones – leftward or rightward.
Se le ct (Ch o ru s O u tp u t Se le ct)
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
PATCH CO MMO N ([PATCH]-
[CO MMO N ])
MAIN: The Chorus output is sent only to the OUTPUT jacks.
REV: The Chorus output is sent only to the Reverb.
O u tp u t Assig n
MAIN+R: The Chorus output is sent to the OUTPUT jacks
This specifies the output destination for the Patch.
and to the Reverb.
MFX: The Patch is sent into the Multi-Effects. Its final output
destination is determined by the Multi-Effects output
settings.
PATCH REV O UT (Pa tch Re ve rb O u tp u t)
([PATCH]-[EFFECTS])
OUTPUT A–C: The Patch is sent to the selected pair of
OUTPUT A–C jacks.
O u tp u t Assig n (Re ve rb O u tp u t Assig n ) A/ B/ C
INDIV 1–6: The Patch is sent to the selected INDIVIDUAL 1–
This setting selects the OUTPUT jacks to which the Reverb
6 jack.
unit’s stereo output is routed.
TONE: Each Tone in the Patch is sent to its programmed
Le ve l (Re ve rb Le ve l) 0 –1 2 7
output destination.
This setting determines the Reverb output level.
PATCH MFX O UT (Pa tch MFX O u tp u t)
([PATCH]-[EFFECTS])
SYSTEM SETUP ([SYSTEM]-[CO MMO N ])
Ma ste r Le ve l 0 –1 2 7
O u tp u t (O u tp u t Assig n ) A/ B/ C
This adjusts the volume of the entire XV-3080.
This specifies the pair of OUTPUT jacks to which the stereo
Multi-Effects output is routed.
Mix / Pa ra lle l
Dry (Dry O u tp u t Le ve l) 0 –1 2 7
MIX: All sounds – including those routed to OUTPUTs B/ C
or INDIVIDUAL 3–6 – are mixed together and routed to the
A(MIX) OUTPUT jacks.
This sets the Multi-Effects output level to the selected
OUTPUT jacks.
This setting allows you to quickly route everything through
headphones when you are creating sounds, or to combine all
of your sounds into two outputs when sending the XV-3080’s
signal to a mixer that has only two channels.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effects output to be sent to
the Chorus.
The final output-jack destination is determined by the
Chorus output settings.
* When MIX is selected, sounds routed to the INDIVIDUAL 3/
5 jacks are sent to the left A(MIX) OUTPUT jack, and sounds
routed to the INDIVIDUAL 4/6 jacks are sent to the right
A(MIX) OUTPUT jack.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effects output to be sent to
the Reverb.
The final output-jack destination is determined by the Reverb
output settings.
7 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
PARALLEL: Sounds are routed to output jacks according to
7 . Use [
] / [
] / [
] to select the PATCH COMMON page.
] to move the cursor to Output
their output settings.
8 . Press [
* The XV-3080’s Master Level and Mix/Parallel settings are
each established using a single global parameter.
Assign.
9 . Turn the VALUE dial or press [INC] / [DEC] to select
TONE.
Ex a m p le o f Se ttin g s
Next, select the Chorus output destination and set its
overall level.
Assig n in g Diffe re n t O u tp u t
De stin a tio n s fo r th e To n e s in a Pa tch
1 . Press [EFFECTS] so that its indicator lights.
In this example, let’s suppose we have a Patch composed of
four Tones, and we are outputting Tone 1 from the A
OUTPUT jacks, Tone 2 from the B OUTPUT jacks, Tone 3
from the INDIVIDUAL 5 jack, and Tone 4 from the
INDIVIDUAL 6 jack.
2 . Press [
] / [
] / [
] to select the PATCH CHO OUT page.
] to move the cursor to Output
3 . Press [
Assign.
4 . Turn the VALUE dial or press [INC] / [DEC] to select B.
5 . Press [ ] / [ ] to move the cursor to Level.
6 . Turn the VALUE dial to select 100.
7 . Press [ ] / [ ] to move the cursor to Select.
The Chorus and Reverb are output from the B OUTPUT
jacks.
First, set the output destination for each Tone.
1 . Select the Patch you wish to use.
2 . Press [EFFECTS] so that its indicator lights.
8 . Either rotate the VALUE dial or press [INC] / [DEC] to
set it to MAIN.
3 . Press [
] / [
] to choose the OUTPUT page.
Finally, select the Reverb output destination and set its
overall level.
4 . Use TONE SELECT [1]–[4] to select the Tone you wish to
set up.
1 . Press [
] / [
] / [
] to select the PATCH REV OUT page.
] to move the cursor to Output
5 . Press [
] / [
] to move the cursor to the
parameter you wish to set, and turn the VALUE dial or
press [INC] / [DEC] to select the following values.
2 . Press [
Assign.
Output Assign Chorus
Reverb
3 . Turn the VALUE dial or press [INC] / [DEC] to select B.
4 . Press [ ] / [ ] to move the cursor to Level.
Tone 1
Tone 2
Tone 3
Tone 4
OUTPUT A:127
OUTPUT B:127
INDIV 5:127
100
100
100
100
100
100
100
100
5 . Turn the VALUE dial to select 100.
6 . Press [EXIT] to return to the PATCH PLAY page.
INDIV 6:127
The Chorus and Reverb send levels can be set to any value
you wish other than 0.
6 . Press [COMMON] to make its indicator light.
7 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Pe rfo rm a n ce Mo d e Se ttin g s
Sig n a l(PART) Flo w
fig.3-02
Output Assign (PART OUTPUT)
A
OUTPUT A
OUTPUT B
OUTPUT C
B
PART
C
Output Assign
(PART MFX OUT)
M-FX
Output Assign
(PART CHO OUT)
CHO
REV
Output Assign
(PART REV OUT)
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
Pa ra m e te rs
This sets the Part’s send level sent to the Reverb. Its final
output destination is determined by the Reverb output
setting.
The parameters related to Part output settings are shown
below.
PART 1 –1 6 O UTPUT ([PERFO RM]-
[EFFECTS])
PERFO RM MFX O UT ([PERFO RM]-
[EFFECTS])
This sets the output destination and level for the selected
Part as well as its send level to the Chorus and Reverb.
O u tp u t (O u tp u t Assig n ) A/ B/ C
This specifies the OUTPUT jacks to which the Multi-Effects
O u tp u t Assig n
unit’s stereo output is routed.
MFX: The signal is sent into the Multi-Effects. Its final output
Dry (Dry O u tp u t Le ve l) 0 –1 2 7
destination is determined by the Multi-Effects output setting.
This sets the Multi-Effects output level to the selected jacks.
OUTPUT A–C: The Part is sent to the selected pair of
OUTPUT A–C jacks.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
INDIVIDUAL 1–6: The Part is sent to the selected
This sets the amount of the Multi-Effect unit’s output to be
sent to the Chorus. Its final output destination is determined
by the Chorus output setting.
INDIVIDUAL 1–6 jack.
PATCH: The Part’s output destination is determined by the
settings of the Patch or Rhythm Set assigned to the Part.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effect unit’s output to be
sent to the Reverb. Its final output destination is determined
by the Reverb output setting.
This sets the Part’s send level sent to the Chorus. Its final
output destination is determined by the Chorus output
setting.
7 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
PARALLEL: Sounds are routed to output jacks according to
PERFO RM CHO O UT ([PERFO RM]-
[EFFECTS])
their output settings.
* The XV-3080’s Master Level and Mix/Parallel settings are
each established using a single global parameter.
O u tp u t Assig n (Ch o ru s O u tp u t Assig n ) A/ B/ C
This setting selects the pair of OUTPUT jacks to which the
Chorus unit’s stereo output is routed when Chorus Output
Select is set to “MAIN” or “MAIN+R.”
Ex a m p le o f Se ttin g s
Le ve l (Ch o ru s Le ve l) 0 –1 2 7
Se le ctin g Diffe re n t O u tp u t De stin a tio n s
fo r Pa rts in a Pe rfo rm a n ce
This setting determines the Chorus output level.
This example describes the procedure for outputting Part 1
from the A(MIX) OUTPUT jacks without sending it through
any internal effects, sending Part 2 through the Multi-Effects
and then outputting it from the B OUTPUT jack, and
outputting Part 3 from the INDIVIDUAL 5 OUTPUT jack
without sending it through any internal effects.
Se le ct (Ch o ru s O u tp u t Se le ct)
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
REV: The Chorus output is sent only to the Reverb.
First, set Part 1.
MAIN+R: The Chorus output is sent to the OUTPUT jacks
1 . Select the Performance you wish to use.
2 . Press [EFFECTS] so that its indicator lights.
and to the Reverb.
PERFO RM REV O UT ([PERFO RM]-
[EFFECTS])
3 . Press [
] / [
] to select the PART OUTPUT page.
4 . Press PART SELECT [1/ 9] to make its indicator light.
O u tp u t Assig n (Re ve rb O u tp u t Assig n ) A/ B/ C
* Make sure that the [1-8/9-16] button’s indicator is not lit. If
the indicator is lit, press [1-8/9-16] to turn it off.
This specifies the OUTPUT jacks to which the Reverb unit’s
stereo output is routed.
5 . Press [
] / [
] to move the cursor to Output
Le ve l (Re ve rb Le ve l) 0 –1 2 7
Assign.
This setting determines the Reverb output level.
6 . Turn the VALUE dial or press [INC] / [DEC] to select
OUTPUT A.
SYSTEM SETUP ([SYSTEM]-[CO MMO N ])
7 . Press [
] /
[
] to move the cursor to Chorus.
Ma ste r Le ve l 0 –1 2 7
This adjusts the volume of the entire XV-3080.
8 . Turn the VALUE dial to select 0.
9 . Set the Part’s Reverb send to 0 by repeating Steps 7 and 8,
Mix / Pa ra lle l
selecting Reverb in Step 7.
MIX: All Parts – including those routed to OUTPUTs B/ C or
INDIVIDUAL 3–6 – are mixed together and routed to the
A(MIX) OUTPUT jacks.
Next, set up Part 2.
1 . Press PART SELECT [2/ 10] to make its indicator light.
This setting allows you to quickly route everything through
headphones when you are creating sounds, or to combine all
of your sounds into two outputs when sending the XV-3080’s
signal to a mixer that has only two channels.
* When MIX is selected, sounds routed to the INDIVIDUAL 3/
5 jacks are sent to the left A(MIX) OUTPUT jack, and sounds
routed to the INDIVIDUAL 4/6 jacks are sent to the right
A(MIX) OUTPUT jack.
7 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
* Make sure that the [1-8/9-16] button’s indicator is not lit. If
the indicator is lit, press [1-8/9-16] to turn it off.
2 . Press [
] or [
] to move the cursor to the
parameter you wish to set, and turn the VALUE dial or
press [INC] or [DEC] to select the following values.
Output Assign Chorus Reverb
MFX: 100
0
0
The output level can be set to any value you wish other than
0.
3 . Press [
] / [
] / [
] to choose the MFX OUT page.
] to move the cursor to the
4 . Press [
parameter you wish to set, and turn the VALUE dial or
press [INC] / [DEC] to select the following values.
Output
Dry
Chorus
Reverb
OUTPUT B
100
0
0
Finally, set up Part 3.
1 . Press [ ] / [ ] to select the PART OUTPUT page.
2 . Press PART SELECT [3/ 11] to make its indicator light.
* Make sure that the [1-8/9-16] button’s indicator is not lit. If
the indicator is lit, press [1-8/9-16] to turn it off.
3 . Press [
] / [
] to move the cursor to the
parameter you wish to set, and turn the VALUE dial or
press [INC] / [DEC] to select the following values.
Output Assign Chorus Reverb
INDIV 5: 100
0
0
The output level can be set to any value you wish other than
0.
4 . Press [EXIT] to return to the PERFORM PLAY page.
7 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Rh y th m Se t Mo d e Se ttin g s
Sig n a l(RHYTHM TO N E) Flo w
fig.3-03
Output Assign (OUTPUT)
A
OUTPUT A
OUTPUT B
OUTPUT C
B
C
RHYTHM
TONE
Output Assign
(RHYTHM MFX OUT)
M-FX
Output Assign
(RHYTHM CHO OUT)
CHO
REV
Output Assign
(RHYTHM REV OUT)
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
Pa ra m e te rs
This sets the Rhythm Tone’s send level into the Reverb. Its
final output destination is determined by the Reverb output
setting.
The parameters related to Rhythm Set output settings are
shown below.
A0 –C8 O UTPUT ([RHYTHM]-[EFFECTS])
RHYTHM CO MMO N ([RHYTHM]-
[CO MMO N ])
This sets the output destination and level for each Rhythm
Tone, as well as the Tone’s send level to the Chorus and
Reverb.
Le ve l (Rh y th m le ve l)0 –1 2 7
This sets the volume of the entire Rhythm Set.
O u tp u t Assig n
O u tp u t Assig n
MFX: The Rhythm Tone is sent into the Multi-Effects. Its final
output destination is determined according by the Multi-
Effects output setting.
This specifies the output destination of the entire Rhythm
Set.
OUTPUT A–C: The Rhythm Tone is sent to the selected
MFX: This sends all of the Rhythm Set’s Rhythm Tones into
the Multi-Effects. Their final output destination is
determined by the Multi-Effects output setting.
OUTPUT A–C jacks.
INDIVIDUAL 1–6: The Rhythm Tone is sent to the selected
INDIVIDUAL 1–6 jack.
OUTPUT A–C: The Rhythm Set’s Rhythm Tones are sent to
the selected OUTPUT A–C jacks.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
INDIV 1–6: The Rhythm Set’s Rhythm Tones are sent to the
This sets the Rhythm Tone’s send level into the Chorus. Its
final output destination is determined by the Chorus output
setting.
selected INDIVIDUAL 1–6 jack.
TONE: The Rhythm Tones are routed to jacks according to
their output settings.
7 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Le ve l (Re ve rb Le ve l) 0 –1 2 7
RHYTHM MFX O UT ([RHYTHM]-
[EFFECTS])
This specifies the overall volume of the Reverb.
O u tp u t (O u tp u t Assig n ) A/ B/ C
SYSTEM SETUP ([SYSTEM]-[CO MMO N ])
This specifies the OUTPUT jacks to which the stereo Multi-
Ma ste r Le ve l 0 –1 2 7
Effects unit’s output is routed.
This adjusts the volume of the entire XV-3080.
Dry (Dry O u tp u t Le ve l) 0 –1 2 7
Mix / Pa ra lle l
This sets the output level of the Multi-Effects to the selected
OUTPUT jacks.
MIX: All Rhythm Tones – including those routed to
OUTPUTs B/ C or INDIVIDUAL 3–6 – are mixed together
and routed to the A(MIX) OUTPUT jacks.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
This sets the amount of the Multi-Effect unit’s output to be
sent to the Chorus. Its final output destination is determined
by the Chorus output setting.
This setting allows you to quickly route everything through
headphones when you are creating sounds, or to combine all
of your Rhythm Tones into two outputs when sending the
XV-3080’s signal to a mixer that has only two channels.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
* When MIX is selected, Rhythm Tones routed to the
INDIVIDUAL 3/5 jacks are sent to the left A(MIX)
OUTPUT jack, and Rhythm Tones routed to the
INDIVIDUAL 4/6 jacks are sent to the right A(MIX)
OUTPUT jack.
This sets the amount of the Multi-Effect unit’s output to be
sent to the Reverb. Its final output destination is determined
by the Reverb output setting.
RHYTHM CHO O UT ([RHYTHM]-
[EFFECTS])
PARALLEL: Rhythm Tones are routed to output jacks
according to their output settings.
O u tp u t Assig n (Ch o ru s O u tp u t Assig n ) A/ B/ C
* The XV-3080’s Master Level and Mix/Parallel settings are
each established using a single global parameter.
This setting selects the pair of OUTPUT jacks to which the
Chorus unit’s stereo output is routed when Chorus Output
Select is set to “MAIN” or “MAIN+R.”
Ex a m p le o f Se ttin g s
Le ve l (Ch o ru s Le ve l) 0 –1 2 7
This setting determines the Chorus output level.
Se ttin g th e O u tp u t De stin a tio n o f a
Sp e cific Rh y th m To n e
Se le ct (Ch o ru s O u tp u t Se le ct)
This example explains the procedure for outputting the
Rhythm Tone assigned to C4 from the INDIVIDUAL 5 jack
without sending it through any internal effects.
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
1 . Select the Rhythm Set you wish to use.
REV: The Chorus output is sent only to the Reverb.
2 . Press [EFFECTS] so that its indicator lights.
MAIN+R: The Chorus output is sent to the OUTPUT jacks
and to the Reverb.
3 . Press [
] / [
] to choose the OUTPUT page.
4 . Press [E]-[H] and select C4 in the upper left corner of the
RHYTHM REV O UT ([RHYTHM]-
[EFFECTS])
display.
If a MIDI keyboard is connected, you can select C4 by
pressing the C4 key on the keyboard.
O u tp u t Assig n (Re ve rb O u tp u t Assig n ) A/ B/ C
This specifies the OUTPUT jacks to which the Reverb unit’s
5 . Press [
] / [
] to move the cursor to Output
stereo output is routed.
Assign.
7 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
6 . Turn the VALUE dial or press [DEC] / [INC] to select
INDIV 3.
7 . Press [
] / [
] to move the cursor to Chorus.
8 . Turn the VALUE dial to select 0.
9 . Set Reverb to 0 by repeating Steps 7 and 8, selecting
Reverb in Step 7.
1 0 . Press [COMMON] to make its indicator light.
1 1 . Press [
] / [
] to select the RHYTHM COMMON
page.
1 2 . Press [
] / [ ] to move the cursor to Output
Assign.
1 3 . Turn the VALUE dial or press [INC] / [DEC] to select
TONE.
1 4 . Press [EXIT] to return to the RHYTHM PLAY page.
8 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Se ttin g s in Ge n e ra l MIDI
Mo d e
Sig n a l(PART) Flo w
fig.3-04
Output Assign (PART OUTPUT)
A
B
C
OUTPUT A
OUTPUT B
OUTPUT C
PART
Out (GM CHORUS)
CHO
Rev (GM CHORUS)
REV
Out (GM REVERB)
O u t (Ch o ru s O u tp u t Assig n ) O UTPUT A–C
Pa ra m e te rs
Sets the output destination for Chorus.
The parameters related to Part(General MIDI Mode) output
settings are shown below.
GM REVERB
PART O UTPUT
O u t (Re ve rb O u tp u t Assig n ) O UTPUT A–C
Sets the output destination of the chorus sound.
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)
Sets the output destination for each Part.
SYSTEM SETUP ([SYSTEM]-[CO MMO N ])
The Output Level parameter adjusts the volume of each Part.
Ma ste r Le ve l 0 –1 2 7
Ch o ru s (Ch o ru s Se n d Le ve l)
This adjusts the volume of the entire XV-3080.
Adjusts the amount of Chorus for each Part.
Mix / Pa ra lle l
Re ve rb (Re ve rb Se n d Le ve l)
MIX: All Rhythm Tones – including those routed to
OUTPUTs B/ C or INDIVIDUAL 3–6 – are mixed together
and routed to the A(MIX) OUTPUT jacks.
Adjusts the amount of Reverb for each Part.
GM CHO RUS
This setting allows you to quickly route everything through
headphones when you are creating sounds, or to combine all
of your Rhythm Tones into two outputs when sending the
XV-3080’s signal to a mixer that has only two channels.
Re v (Re ve rb Se n d Le ve l)
Sets the send level to Reverb.
* When MIX is selected, Rhythm Tones routed to the
INDIVIDUAL 3/5 jacks are sent to the left A(MIX)
8 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
OUTPUT jack, and Rhythm Tones routed to the
INDIVIDUAL 4/6 jacks are sent to the right A(MIX)
OUTPUT jack.
PARALLEL: Rhythm Tones are routed to output jacks
according to their output settings.
* The XV-3080’s Master Level and Mix/Parallel settings are
each established using a single global parameter.
8 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
Tones 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-3080 is
This specifies how the frequency components of the Tone
will change.
called a Patch. Each Patch can contain up to four Tones.
fig.4-01.e
TVA (Tim e Va ria n t Am p lifie r)
This determines how the volume and panning of the Tone
will change.
Tone
4
Tone
1
Tone
2
Tone
3
En ve lo p e
Example 1:A Patch consisting of only one Tone
(Tones 2–4 are turned off).
An envelope applies changes to the Tone over time. There
are separate envelopes for pitch, TVF (filter) and TVA
(volume). For example, you would use the TVA Envelope to
modify the way in which the Tone attacks and decays.
Tone
1
Tone
2
Tone
3
Tone
4
LFO (Lo w Fre q u e n cy O scilla to r)
Use the LFO to create cyclical changes – or cyclical
Example 2: A Patch consisting of four Tones.
“modulation” – in a Tone. Each Tone has two LFOs. An LFO
can be applied to the Tone’s pitch settings, TVF (filter), and
TVA (volume). When an LFO is applied to pitch, a vibrato
effect is produced. When an LFO is applied to the TVF cutoff
frequency, a wah-wah effect is produced. When an LFO is
applied to the TVA volume, a tremolo effect is produced.
You can turn the Tones in a Patch on or off. Only Tones that
are turned on are heard when you play the Patch. (p. 84)
You can also specify how Tones 1 and 2 and Tones 3 and 4
will be combined (Structure). (p. 88)
Ho w a To n e Is O rg a n ize d
Tones are the smallest programmable unit of sound on the
XV-3080, and are the basic building blocks that make up a
Patch. You can’t play a Tone by itself – it can only be played
as part of a Patch or Rhythm Set. A Tone consists of the
following five components.
fig.4-02.e
To n e
LFO 1
LFO 2
WG
TVF
TVA
Pitch
TVF
TVA
Envelope
Envelope
Envelope
control signal
audio signal
W G (W a ve Ge n e ra to r)
This selects the PCM waveform material that provides the
basis of the Tone. Two waveforms can be assigned to each
Tone.
The XV-3080 has 1083 different waveforms. (See Waveform
List p. 168.)
All Patches built into the XV-3080 consist of combinations of
8 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
Tip s fo r Cre a tin g a Pa tch
Se ttin g s Co m m o n to th e
En tire Pa tch (CO MMO N )
•
Select a Patch that is similar to the sound you wish to
create.
How to adjust a Patch setting, or “parameter”:
When you want to create a new sound, it’s a good idea to
begin with a Patch that is close to the sound that you
have in mind. Starting with a Patch that bears no
resemblance to the one you want to create is likely to
result in much more programming work for you.
(Selecting a Patch (p. 16))
1 . Select the Patch you wish to use.
2 . Press the [COMMON] function select button.
3 . Use [
]/ [
] to select the page containing the
parameter you want to set.
•
•
•
Decide which Tones will sound
4 . Use [
]/ [
] to move the cursor to the parameter.
When creating a Patch, it is important to decide which
Tones you are going to use. It is also important to turn
off unused Tones to avoid wasting voices, unnecessarily
reducing the number of simultaneous notes you can
play. (Selecting the Tones That Will Sound)
5 . Either turn the VALUE dial or press [INC]/ [DEC] to
select the desired value.
6 . Press [EXIT] to return to the PATCH PLAY page.
A “*” symbol will appear at the left of the Patch name,
Check the way in which the Tones are combined
indicating that its settings have been modified.
fig.4-05.e
Structure Type 1&2 and 3&4 are important parameters
that determine how the four Tones are combined. Before
you select new Tones, make sure you understand how
the currently selected Tones are affecting each other. (p.
88)
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
you wish to preserve them, save the modified Patch using the
Write operation. (p. 122)
Turn off effects
Since the XV-3080 effects have such a profound impact
on its sounds, turn off a Patch’s effects during
programming so you can more clearly hear the changes
you’re making. Actually, sometimes just changing effects
settings can give you the sound you want. (p. 21)
PATCH N AME
You can give a Patch a name of up to 12 characters.
Use [
]/ [
] to move the cursor to a character position,
Se le ctin g th e To n e s Th a t W ill
So u n d (To n e O n / O ff)
and then turn the [VALUE] knob or press [INC]/ [DEC] to
select the desired character.
Ava ila b le ch a ra cte rs/ sy m b o ls:
Here’s how to turn on the Tones that you want to hear in a
Patch. You can also use the on/ off technique described in
this section to audition an individual Tone by turning off all
the other Tones in a Patch.
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ? |
Press [SHIFT] to display the following in the bottom right
corner of the page.
fig.4-06.e
1 . Select the Patch you wish to work with.
2 . Make sure that the PATCH PLAY page is displayed.
3 . Hold down [SHIFT] and press TONE SW [1]–[4] to
switch the corresponding Tone on so that its indicator
lights, or off so that its indicator goes dark.
A
a: This switches between upper and lower cases.
INS: This inserts a space at the cursor position, shifting the
The PATCH PLAY page indicates the Tones that are on as
remaining characters one space to the right.
follows. Tones that are off are shown as “-.”
fig.4-04.e
DEL: This deletes the character at the cursor position,
shifting the remaining characters one space to the left.
Press each of the buttons to execute the corresponding
function (refer to the figure).
8 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
fig.4-07.e
Co a rse (Co a rse tu n e )-4 8 –+4 8
This adjusts the pitch of all of the Patch’s Tones
simultaneously in semitone steps over a range of +/ -4
octaves.
Fin e (Fin e tu n e )-5 0 –+5 0
This adjusts the pitch of all of the Patch’s Tones
simultaneously in 1-cent steps (1/ 100th of a semitone) over a
range of 1/ 2 semitone up or down.
PATCH CATEGO RY
Stre tch (Stre tch tu n e d e p th )O FF/ 1 / 2 / 3
Ca te g o ry (Pa tch ca te g o ry )
This setting allows you to apply “stretched tuning” to the
Patch. Acoustic pianos typically use stretch tuning, with their
lower range slightly flatter and their higher range slightly
sharper than the actual mathematical tuning ratios dictate.
Stretch is therefore useful when programming a Patch
the Patch’s tuning will be equal temperament. A setting of 3
will produce the greatest difference in the pitch of the low
and high ranges.
This specifies the type, or “category” of the Patch.
The Patch Finder uses this setting. It also determines the
phrase that will be heard when you audition the Patch using
the Phrase Preview feature.
For details on the possible category names, refer to p. 17.
PATCH LVL&PAN (Pa tch le ve l & Pa n )
Le ve l (Pa tch le ve l)0 –1 2 7
This diagram shows the pitch change relative to equal
temperament that will occur in the low and high ranges.
Stretch will have a subtle effect on the way in which chords
This specifies the volume of the Patch.
* You can specify the level of each Tone in a Patch using the
Tone Level parameter (TVA p. 95).
resonate.
fig.4-08.e
Pa n (Pa tch p a n )L6 4 –0 –6 3 R
Pitch difference from
equal temperament
Parameter value
This sets the stereo position of the Patch. L64 pans the Patch
all the way to the left, 0 is center and 63R pans it hard right.
3
2
1
* You can specify the pan setting for each Tone in a Patch using
the Tone Pan parameter (TVA p. 95).
* While each Tone in a Patch has its own Pan position, the
Patch pan setting shifts the entire Patch – including all of its
Tones – leftward or rightward.
OFF
OFF
1
2
An a lo g Fe e l (An a lo g Fe e l De p th )0 –1 2 7
Traditional analog synthesizers often exhibited a degree of
instability in their tuning. The XV-3080’s Analog Feel feature
can simulate this characteristic. This setting specifies the
depth of Analog Feel that is applied to the Patch.
3
Low note range
High note range
PATCH CO MMO N
Prio rity (Vo ice p rio rity )
PATCH O CT&TUN E (Pa tch o cta ve &
Tu n e )
This determines how notes will be managed when the XV-
3080’s maximum polyphony limit is exceeded (128 voices).
O cta ve (O cta ve sh ift)-3 –0 –+3
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.
This sets the pitch of the Patch in units of an octave (+/ -3
octaves).
LOUDEST: The voices with the loudest volume will be given
priority, and currently-sounding notes will be turned off
beginning with the lowest-volume voice.
* This setting can also be adjusted from the PATCH PLAY
page.(p. 20)
8 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
O u tp u t Assig n
Ve lo city Se n s
This specifies the output destination for the Patch.
This simultaneously lowers or raises the individual TVF
VELOCITY V-Cutoff and TVA V-Sens values of the Tones in
the Patch.
MFX: The Patch is sent into the Multi-Effects. The output
destination is determined by the Multi-Effects output setting.
OUTPUT A–C: The Patch is sent to the selected pair of
TMT VELO CO N TRO L (TMT ve lo city
co n tro l)
OUTPUTs, A–C.
INDIV 1–6:: The Patch is sent to the selected INDIVIDUAL
With the XV-3080, you can set the expression range (key
range) and the way a Tone is played according to the force
with which the key is pressed (velocity) for each Tone
individually. These settings are collectively referred to as the
TMT (Tone Mix Table).
output jack, 1–6.
TONE: Each Tone in the Patch is sent to its programmed
output destination.
PATCH TEMPO
TMT Ve lo city Co n tro l (TMT ve lo city co n tro l)O N /
O FF/ RAN DO M
Clo ck So u rce (Pa tch clo ck so u rce )
The LFO cycle, M-FX changes, phrase loop (break beats), and
Tone delay time can be synchronized to a clock, or tempo.
The Clock Source setting selects the timing reference to be
used by the Patch.
This determines whether Velocity messages from a MIDI
keyboard or
sequencer will be recognized (ON), or ignored (OFF).
When set to RANDOM, the Patch’s constituent Tones will
PATCH: The Patch Tempo will be used.
sound randomly, regardless of any Velocity messages.
SYSTEM: The global System Tempo or clock messages
received from an external sequencer will be used.
TMT VEL RAN G (TMT Ve lo city ra n g e )
Te m p o (Pa tch te m p o )2 0 –2 5 0
L.Fa d e (TMT ve lo city fa d e w id th lo w e r)0 –1 2 7
When Clock Source is set to “PATCH,” this setting
This determines what will happen to the Tone’s level when
the Tone is played at a velocity lower than its specified
velocity range. Higher settings produce a more gradual
change in volume. If you don’t want notes played below the
establishes the Patch’s tempo.
* Clock messages for the Patch Tempo are not transmitted from
the MIDI OUT jack.
specified velocity range to be heard at all, set this to 0.
fig.4-09.e
PATCH MO DIFY
Level
Cu to ff (Cu to ff O ffse t)-6 3 –0 –+6 3
This simultaneously lowers or raises the individual TVF
cutoff frequency values of the Tones in the Patch.
Re so n a n ce (Re so n a n ce o ffse t)-6 3 –0 –+6 3
Lower
Upper
Velocity
This simultaneously lowers or raises the individual TVF
Resonance values of the Tones in the Patch.
1
L.Fade value
U.Fade value
Atta ck (Atta ck tim e o ffse t)
Lo w e r (TMT Ve lo city ra n g e lo w e r)C-1 to G9
This simultaneously lowers or raises the individual TVA
ENVELOPE T1 values of the Tones in the Patch.
This sets the lowest velocity at which the Tone will sound.
Up p e r (TMT ve lo city u p p e r)C-1 to G9
Re le a se (Re le a se o ffse t)
This sets the highest velocity at which the Tone will sound.
This simultaneously lowers or raises the individual TVA
ENVELOPE T4 values of the Tones in the Patch.
* It is not possible to set the Lower value higher than the Upper
value, or the Upper value below the Lower value. If you
attempt to do so, the two values will change simultaneously.
8 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
U.Fa d e (TMT ve lo city fa d e w id th u p p e r)0 –1 2 7
This determines what will happen to the Tone’s level when
the Tone is played at a velocity greater than its specified
velocity range. Higher settings result in a more gradual
change in volume. If you don’t want notes played above the
specified velocity range to be heard at all, set this to 0.
TMT KEY RAN G (TMT k e y ra n g e )
L.Fa d e (TMT k e y b o a rd fa d e w id th lo w e r)0 –
1 2 7
This determines what will happen to the Tone’s level when a
note that’s lower than the Tone’s specified keyboard range is
played. Higher settings result in a more gradual change in
volume. If you don’t want the Tone to sound at all when a
note below the keyboard range is played, set this parameter
to 0.
fig.4-10.e
Level
Key number
0
Lower
127
Upper
L.Fade value
U.Fade value
Lo w e r (TMT k e y b o a rd ra n g e lo w e r)C-1 to G9
This specifies the lowest note that will cause the Tone to
sound.
Up p e r (TMT k e y b o a rd ra n g e u p p e r)C-1 to G9
This specifies the highest note that will cause the Tone to
sound.
* The Lower value cannot be set to a value greater than Upper
value, or vice versa. If you attempt to do this, the two values
will change simultaneously.
U.Fa d e (TMT k e y b o a rd fa d e w id th u p p e r)0 –
1 2 7
This determines what will happen to the Tone’s level when a
note that’s higher than the Tone’s specified keyboard range is
played. Higher settings result in a more gradual change in
volume. If you don’t want the Tone to sound at all when a
note above the keyboard range is played, set this parameter
to 0.
8 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
STRUCT (Stru ctu re )
fig.4-11f
TYPE 7
Each of the above two parameters determines how Tone 1
and 2, and Tone 3 and 4 are connected.
TONE 1 (3) WG
TONE 2 (4) WG
TVF TVA
Ty p e (Stru ctu re ty p e )1 –1 0
R
fig.4-11
TVF TVA
TVF TVA
TVA
TYPE 1
fig.4-11g
TONE 1 (3) WG
TONE 2 (4) WG
TVF
TVF
TVA
TVA
TYPE 8
TONE 1 (3) WG
TVF TVA
R
fig.4-11a
TONE 2 (4) WG
TYPE 2
fig.4-11h
TONE 1 (3) WG
TVA
TVA
TVA
TVA
TVA
TVF
TYPE 9
TONE 1 (3) WG
TVF TVA
TVF
TONE 2 (4) WG
TVF TVA
TVF TVA
TVF TVA
TVF TVA
TVF TVA
R
fig.4-11b
TONE 2 (4) WG
TYPE 3
fig.4-11i
TONE 1 (3) WG
TVF
TYPE 10
B
TONE 1 (3) WG
TVF TVA
TVF
TONE 2 (4) WG
R
fig.4-11c
TONE 2 (4) WG
TVA
TYPE 4
The display will graphically show the selected Structure. The
displayed symbols have the following meanings.
TONE 1 (3) WG
TVF
TVF
TVF
B
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1), A2
(TVA2), B (booster), R (ring modulator)
TONE 2 (4) WG
* If you select a Tone while on the STRUCT page, the Tone
paired with the selected Tone will also be selected.
fig.4-11d
TYPE 5
* If Type 2–10 is selected, turning off one Tone will cause the
other Tone to be connected in the simple order of WG/TVF/
TVA.
TONE 1 (3) WG
R
Bo o ste r (Bo o ste r g a in )0 / +6 / +1 2 / +1 8
TONE 2 (4) WG
The Booster amplifies the incoming signal, causing it to
distort. This creates an effect similar to the distortion often
used on an electric guitar. If the “Type” parameter has been
set to 3 or 4, you can set the Booster strength.
fig.4-11e
TYPE 6
TONE 1 (3) WG
R
TONE 2 (4) WG
8 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
Mo re Ad va n ce d Ed itin g o f
To n e s
What is a Ring Modulator?
A Ring Modulator mathematically multiplies two Tones,
creating a new sound that includes inharmonic
overtones that were not present in either of the two
original Tones.
You can use a tremendous amount of detail when you edit
the Tones in a Patch. Each Tone’s editable parameters are
assigned to the function select buttons as follows.
Since the difference in pitch between the two Tones
changes the overtone structure, an un-pitched “metallic”
sound often results. Ring modulation is therefore
especially suitable for creating bells and other metallic
[CO N TRO L]
Using Controllers to Change How Sounds Are Played (p. 98)
[W AVE]
sounds.
fig.4-12
Modifying a Waveform (p. 91)
[LFO ]
Applying Vibrato or Tremolo (p. 97)
[PITCH]
Modifying Pitch (p. 92)
[TVF]
Modifying the Brightness of a Sound with a Filter (p. 93)
[TVA]
Making the Volume Change (p. 95)
The following shows the basic setting procedure. For
descriptions of each parameter, refer to the reference page
given in the above.
1 . Select the Patch you wish to set up.
2 . Press the function select button that accesses the
parameter you wish to adjust, causing the button’s
indicator to light.
3 . Press [
] / [
] to select the page containing the
parameter.
4 . Use TONE SELECT [1]–[4] to select the Tone you wish to
set up.
Its indicator will blink, and the selected Tone’s number will
appear in the upper left of the display.
* When adjusting settings for parameters that apply to all Tones
– parameters other than EFFECTS OUTPUT, CONTROL
CTRL Rx MIDI, and MATRIX CONTROL – individual
Tones need not, and cannot, be selected.
5 . Press [
] / [
] to move the cursor to the
parameter that you wish to adjust.
6 . Turn the VALUE dial or press [INC] / [DEC] to select the
desired value.
* If you make a mistake when selecting a value, or if you do not
like the change you have made, press [UNDO] to restore the
parameter to its original value.
8 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
7 . Repeat Steps 2–6 to finish setting up the Patch.
6 . To leave the Palette page, press [PALETTE] to turn off its
indicator.
8 . Press [EXIT] to return to the PATCH PLAY page.
7 . Press [EXIT] to return to the PATCH PLAY page.
A “*” symbol will appear at the left of the Patch name,
indicating that its settings have been modified.
fig.4-14.e
Tip s fo r Se le ctin g a W a ve fo rm
Because the XV-3080 is designed to create completely
realistic sounds, the editing process depends heavily on the
complex PCM waveforms upon which Tones are based.
Therefore, if you try to create a sound that is totally different
from the waveform(s) you’re working with, the desired
result may be difficult or impossible to achieve.
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
you wish to preserve them, save the modified Patch using the
Write operation. (p. 122)
The XV-3080’s internal waveforms fall into the following two
Pa le tte Fu n ctio n
groups.
One-shot:
These waveforms contain sounds that have
When editing a Tone, you can simultaneously view the
settings of all four of its Tones by pressing [PALETTE].
short decays. A one-shot waveform records the initial rise
and fall of its sound. Some of the XV-3080’s one-shot
waveforms are sounds that are complete in themselves, such
as percussive instrument sounds. The XV-3080 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.
1 . When editing a Tone, press [PALETTE] to make its
indicator light.
The Palette page appears.
fig.4-15.e
Looped:
These waveforms include sounds with long
decays as well as sustained sounds. With looped waveforms,
the latter part of the sound plays over and over for as long as
the note is held, allowing wave memory to be used more
efficiently. The XV-3080’s looped waveforms also include
components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.
2 . Press a TONE SELECT [1]–[4] button, [
] / [
] to
choose the Tone you wish to modify.
The button indicator for the selected Tone lights, and the
Tone’s number and wave name appear in the display.
To simultaneously modify the same parameter in two or
more Tones, hold down one Tone’s TONE SELECT [1]–[4]
button, press the next desired TONE SELECT [1]–[4] button,
and then another if desired, and so on.
The following diagram shows an example of a sound – an
electric organ – that combines one-shot and looped
waveforms.
fig.4-16.e
3 . Turn the VALUE dial or press [INC] / [DEC] to raise or
lower the parameter’s current value to the desired
setting.
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key-
click waveform (attack portion)
Resulting TVA ENV change
If you have selected two or more Tones, the change you
make will raise or lower the parameter’s value for all selected
Tones by the same amount.
+
=
Key-off
Key-off
If you wish to set all selected Tones to the same value, move
the cursor to the Tone that already has the desired value by
N o te s fo r e d itin g o n e -sh o t w a ve fo rm s
pressing [
] / [
], and while holding down [SHIFT],
You cannot give a one-shot waveform a longer decay – or
make it into a sustaining sound – by using an envelope. If
you were to program such an envelope, you would be
attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
press the VALUE dial.
* If you make a mistake when selecting a parameter value, or if
you do not like a change you have made, press [UNDO] to
restore the parameter to its original value.
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s
4 . If you wish to edit other parameters, press [
] / [
]
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
to select the desired parameter.
5 . Repeat Steps 2–4 to adjust the parameter’s value.
9 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
instrument’s character. The XV-3080 provides a variety of
waveforms containing realistic acoustic instrument attacks.
To obtain the maximum realism when using these
and right channels.
The selected wave’s name will appear to the right of the
wave number parameter.
waveforms, it is best to leave the filter wide-open during the
attack so that all of these important timbral changes are
heard. If you use an envelope to modify the attack portion,
you may not achieve the result you want. Use enveloping to
produce the desired changes in the decay portion of the
Gain (Wave gain)16/ 0/ +6/ +12
This specifies the gain (or amplitude) of the waveform. The
value changes in 6 dB (decibel) steps – an increase of 6 dB
doubles the waveform’s gain. If you intend to use the Booster
to distort the waveform’s sound, set this parameter to its
maximum value.
sound.
fig.4-17.e
Sw itch (TMT to n e sw itch )O N / O FF
Looped Portion
Tone change stored
with the wave
This 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.
* When TONE SW [1]–[4] are turned on or off, this setting will
also change.
Envelope
for the TVF filter
* You can also turn Tones on and off on the PATCH PLAY
page. (p. 84)
W a ve Te m p o Sy n cO N / O FF
Resulting tone change
This determines whether the waveform is synchronized
(ON) or not synchronized (OFF) to the Patch’s tempo.
If you try to make a waveform’s attack brighter by lowering
the high-frequency content of its decay using the TVF filter,
consider the original timbral character of the waveform. If
you’re making a part of the sound brighter than the original
waveform, you should first generate new upper harmonics
not present in the original waveform using the Color and
Depth parameters (FXM page) before filtering. This will help
you achieve the desired result. To make an entire waveform
brighter, try applying effects such as an enhancer and
equalizer before modifying the TVF parameter.
FXM (Fre q u e n cy Cro ss Mo d u la tio n )
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.
Sw itch (W a ve FXM sw itch )O N / O FF
This sets whether FXM will be used (ON) or not (OFF).
Co lo r (W a ve FXM co lo r)1 –4
Mo d ify in g a W a ve fo rm (W AVE)
This specifies how FXM will perform its frequency
modulation. Higher settings result in a grainier sound, while
lower settings result in a more metallic sound.
This set of parameters allows you to select the PCM
waveform that serves as the basis for the currently selected
Tone, apply effects to the waveform, and control its pitch.
De p th (W a ve FXM d e p th )0 –1 6
This specifies the depth of the modulation produced by FXM.
W AVE
Gro u p (W a ve g ro u p ty p e )
This selects the desired waveform’s group.
INT:Internal
TO N E DELAY
This produces a time delay between the moment a key is
pressed (or released) and the moment the Tone actually
begins to sound. Since you can adjust the timing of each Tone
in a Patch, you can create effects in which pressing a single
key produces two or more sounds occurring at different
times.
XP-A–F:Wave Expansion Boards A–F
* It is not possible to select XP-A–F unless a wave expansion
board is inserted into the corresponding slot.
N u m b e r (W a ve N u m b e r)
If you do not wish to use Tone Delay, set Mode to NORMAL
and Delay Time to 0.
This selects the desired waveform by its number. You can
choose a separate waveform for each of the XV-3080’s left
9 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
* For more information on the types of notes, refer to the
Parameter List. (p. 151)
Mo d e (To n e d e la y m o d e )
This sets the manner in which the Tone will sound.
NORMAL:
The Tone will sound after the specified Delay
Time.
fig.4-18.e
Mo d ify in g Pitch (PITCH)
These settings allow you to set the currently selected Tone’s
pitch.
Delay Time
PITCH
press key
HOLD:
release key
Th e se p a ra m e te rs se t th e b a sic p itch o f e a ch
To n e .
The Tone will only sound if the key is held for
longer than the specified Delay Time. If the key is released
Coarse (Tone coarse tune)-48–+48
before the Delay Time has elapsed, the Tone will not sound.
This setting adjusts the pitch of the Tone in semitone steps
over a range of +/ -4 octaves.
fig.4-19.e
Delay
Time
Fin e (To n e fin e tu n e )-5 0 –+5 0
Delay Time
press key
Tone does
not sound
This adjusts the pitch of the Tone in 1-cent steps (1/ 100th of a
semitone) over a range of half a semitone up or down.
release key press key release key
KEY-OFF-NORMAL:The Tone will not sound while the key
Ra n d o m (To n e Ra n d o m p itch d e p th )0 –1 2 0 0
is being pressed, but will sound – after the specified Delay
This specifies the width of random pitch deviation that will
occur each time a key is pressed. If you do not want a
random pitch change, set this parameter to 0. The setting is
adjustable in units of 1 cent (1/ 100th of a semitone).
Time – when the key is released.
fig.4-20.e
Delay
Time
Ke y fo llo w (W a ve p itch k e y fo llo w )-2 0 0 –+2 0 0
This sets the amount of pitch change that will occur per
octave on the keyboard.
press key
release key
KEY-OFF-DECAY:The Tone will not sound while the key is
being pressed, but will sound after the specified Delay Time
when the key is released. However, for this setting – unlike
KEY-OFF-N – the TVA envelope of the Tone will begin when
the key is first pressed. As a result, in most cases, only the
If you want the pitch to change by one octave for each 12
keys on the keyboard – as on normal keyboard instruments –
set this parameter to +100. For a two-octave pitch change
over the span of 12 keys, set this parameter to +200. Negative
(-) values cause the Tone’s pitch to go down as you go up the
keyboard. If you want the same pitch to sound regardless of
decay portion of the sound will be heard.
fig.4-21.e
what key is pressed, set this parameter to 0.
fig.4-22.e
Delay
Time
+200 +150
+120
Pitch
+100
press key
release key
+70
+50
+40
+30
+20
+10
0
If you have selected a Wave 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.
–10
–30
–50
–70
–100
Tim e (To n e d e la y tim e ) 1 –1 2 7 / n o te
C2
C3
C4
C5
C6
C7
This specifies the time after which the Tone will sound when
using Tone Delay.
Keyboard position
When the Type parameter (STRUCT page) has a setting of 2–
10, the outputs of Tones 1 (3) and 2 (4) will be combined with
Tone 2 (4). Tone 1 (or 3) settings will be ignored.
9 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
dynamics (velocity) to affect T4 (Time 4) of the pitch
envelope. With higher settings, the T4 value will change
more significantly depending on whether you play softly or
with greater force. For positive (+) settings, keyboard
velocity will reduce the T4 setting. For negative (-) settings,
keyboard velocity will increase the T4 setting.
PCH EN VELO PE (Pitch e n ve lo p e )
These parameters determine the amount of pitch enveloping
– changes to your basic pitch settings that occur over time –
the effect of velocity on the pitch envelope, and the basic
characteristics of the pitch envelope itself.
fig.4-23.e
T1
T2
T3
T4
L0 (Pitch En ve lo p e Le ve l 0 )-6 3 –+6 3
L1
* **** (change )This sets the amount of change applied to the
Tone’s basic pitch when a key is first pressed.
L0
L3
T1 –T4 (Pitch e n ve lo p e tim e 1 –4 )0 –1 2 7
These settings determine the times over which the basic pitch
settings will change from one pitch envelope level (L1–L4) to
the next.
Pitch
Time
key is
pressed
key is
released
L2
L4
L1 –L4 (Pitch e n ve lo p e le ve l 1 –4 )-6 3 –+6 3
Each pitch envelope level value determines an amount of
change to be applied to the Tone’s basic pitch.
De p th (Pitch e n ve lo p e d e p th )-1 2 –+1 2
This determines the amount of pitch enveloping to be used –
higher settings result in more extreme enveloping. Negative
(-) settings invert the direction of the changes made by the
Pitch Envelope.
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)
V-Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )-
6 3 –+6 3
The settings for the TVF (Time Variant Filter) allow you to
change a Tone’s timbral content by altering its brightness or
thickness.
Adjust this parameter when you want your keyboard
playing dynamics (velocity) to affect the amount of pitch
enveloping. With higher settings, there will be a greater
difference in the amount of enveloping when notes are
played softly or when they’re played hard. Negative (-)
settings will reverse the direction of change.
TVF FILTER
Ty p e (TVF filte r ty p e )
This selects a filter type. A filter typically reduces, or
attenuates, a specific frequency range within a Tone in order
to accentuate its other frequencies.
Tim e Ke y fo llo w (Pitch e n ve lo p e tim e
k e y fo llo w )-1 0 0 –+1 0 0
Use this parameter when you want the keyboard location of
notes to affect times T2–T4 of the pitch envelope. Higher
values for this parameter will cause more extreme changes to
the T2–T4 settings as you play further away from Middle C
(C4) – at Middle C itself, your original T2–T4 settings are in
effect. Positive (+) settings cause the times to be shortened for
notes above Middle C. Negative (-) settings cause the times
to be lengthened for notes above Middle C.
OFF: No filter is used.
LPF: A Low Pass Filter reduces the volume of frequencies
above the cutoff frequency 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 is most
effective when creating sounds with strong characteristics
since it can accentuate a desired range of frequencies
anywhere in the sound.
V-T1 (Pitch e n ve lo p e tim e 1 ve lo city
se n sitivity )-6 3 –+6 3
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the pitch
envelope. With higher settings, the T1 value will change
more significantly depending on whether you play softly or
with greater force. With positive (+) settings, greater
keyboard velocity will reduce the T1 setting. With negative (-
) settings, greater keyboard velocity will increase the T1
setting.
HPF: A High Pass Filter reduces the volume of the
frequencies below the cutoff frequency. This is suitable for
creating percussive sounds by rolling of their lower
frequencies, thus 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.
LPF2: Low Pass Filter 2. This reduces the volume of all
frequencies above the cutoff frequency. This differs from LPF
in that you can control the amount of the reduction using the
V-T4 (Pitch e n ve lo p e tim e 4 ve lo city
se n sitivity )-6 3 –+6 3
Use this parameter when you want keyboard playing
9 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
TVF ENVELOPE settings while still maintaining a fixed
cutoff frequency.
(C4), the original Cutoff value is used. Positive (+) settings
cause the cutoff frequency to rise for notes higher than
Middle C, and negative (-) settings cause the cutoff frequency
to fall for notes higher than Middle C. Higher settings
produce greater amounts of change to the original Cutoff
setting.
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
* This disables the Resonance setting.
LPF3: Low Pass Filter 3 reduces the volume of frequencies
above the cutoff frequency. While similar to LPF2, it filter
reduces the frequencies more gently than LPF2.
TVF VELO CITY
This sets the amount of change to the original cutoff
frequency produced in response to differences in velocity, as
well as the velocity response curve and velocity’s effect on
Resonance.
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
* This disables the Resonance setting.
V-Cu to ff (TVF Cu to ff Ve lo city Se n sitivity )-6 3 –
+6 3
Cu to ff (TVF cu to ff fre q u e n cy )0 –1 2 7
This sets the amount of change to the Cutoff setting to be
applied as a result of changes in playing velocity. With
higher settings, there is a greater amount of change between
softly and strongly played notes. Negative (-) settings reverse
the direction of change.
This selects the frequency at which the filter begins to have
an effect on the waveform’s frequency components.
With LPF/ LPF2/ LPF3 selected for the Filter Type parameter,
lower cutoff frequency settings reduce a Tone’s upper
harmonics for a more rounded, warmer sound. Higher
settings make it sound brighter.
V-Cu rve (TVF cu to ff ve lo city cu rve )FIXED/ 1 –7
This selects one of seven curves that determine how
keyboard playing dynamics (velocity) influence the Tone’s
cutoff frequency. The selected curve is displayed graphically
to the right of its value.
When Filter Type 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.
When V-Curve is set to “FIXED,” the cutoff frequency
remains unchanged regardless of how hard or soft the keys
are played.
When Filter Type is HPF, higher settings of the cutoff
frequency decrease the level of the Tone’s low frequencies,
preserving its brighter qualities.
V-Re so n a n ce (TVF re so n a n ce ve lo city
se n sitivity )-6 3 –+6 3
When Filter Type is PKG, the cutoff frequency setting
determines the range of frequencies to be emphasized.
Use this parameter when you want velocity to affect the
amount of Resonance. With higher settings, there is a greater
difference in the amount of Resonance between softly and
strongly played notes. Negative (-) values reverse the
direction of the change.
Re so n a n ce (TVF re so n a n ce )0 –1 2 7
This increases the level of the cutoff frequency to add a
popular classic synth character to the sound. Excessively
high settings can produce oscillation, causing the sound to
distort.
fig.4-24.e
TVF EN VELO PE
LPF
BPF
HPF
PKG
Level
High
These parameters determine the amount of filter enveloping
– changes to your original cutoff frequency setting that occur
over time – the effect of velocity on the TVF envelope, and
the basic characteristics of the TVF envelope itself.
Frequency
Cutoff frequency
De p th (TVF e n ve lo p e d e p th )-6 3 –+6 3
This adjusts the amount of filter enveloping. Higher settings
produce more change. Negative (-) values invert the effect of
the TVF envelope.
V-Se n s (TVF e n ve lo p e ve lo city se n sitivity )-6 3 –
+6 3
Low
Use this parameter when you want keyboard playing
dynamics (velocity) to affect the depth of the TVF Envelope.
With higher settings, there is a greater difference in the TVF
Ke y fo llo w (TVF cu to ff k e y fo llo w )-2 0 0 –+2 0 0
Use this parameter if you want the cutoff frequency to
change according to the key that is pressed. At Middle C
9 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
envelope depth when you play softly or hard. Negative (-)
settings reverse the direction of change.
T1 –T4 (TVF e n ve lo p e tim e 1 –4 )0 –1 2 7
These settings determine the times over which the cutoff
frequency setting will change from one TVF envelope level
(L1–L4) to the next.
V-Cu rve (TVF e n ve lo p e ve lo city cu rve )FIXED/ 1 –
7
This selects one of seven velocity curves that determine how
velocity will affect the depth of the TVF Envelope. The
selected curve is displayed graphically to the right of its
value.When set to “FIXED,” the TVF envelope depth remains
unchanged, regardless of how hard or soft you play.
L1 –L4 (TVF e n ve lo p e le ve l 1 –4 )0 –1 2 7
Each TVF envelope level value determines an amount of
change to be applied to the original cutoff frequency setting.
Ma k in g th e Vo lu m e Ch a n g e
(TVA)
Tim e KF (TVF e n ve lo p e tim e k e y fo llo w )-1 0 0 –
+1 0 0
The TVA (Time Variant Amplifier) controls volume changes
Use this parameter when you want a note’s keyboard
position to affect times T2–T4 of the TVF envelope. Higher
settings change the times by a greater amount as you move
away from Middle C (C4) – at Middle C, the original T1–T4
settings are in effect. Positive (+) settings cause the times to
shorten as you play above Middle C. Negative (-) settings
cause the times to lengthen as you play above Middle C.
to the Tone as well as its stereo positioning.
TVA
Le ve l (To n e le ve l)0 –1 2 7
This sets the Tone’s basic volume. This setting is useful
primarily for adjusting the volume balance between Tones in
a Patch.
VT-1 (TVF e n ve lo p e tim e 1 ve lo city se n sitivity )-
6 3 –+6 3
* The overall volume of the Patch is set by the Patch Level
(PATCH LVL&PAN page) setting, raising or lowering the
Tone level settings of its individual Tones by the selected
amount. (p. 85)
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVF envelope.
With higher settings, the T1 value will change more
significantly depending on whether you play softly or with
greater force. With positive (+) settings, greater keyboard
velocity will reduce the T1 setting. With negative (-) settings,
greater keyboard velocity will increase the T1 setting.
Pa n (To n e Pa n )L6 4 –0 –6 3 R
This specifies the stereo position of the Tone. L64 places the
Tone hard left, 0 puts it dead-center and 63R pans it hard
right.
* The overall panning of the entire Patch is set by the Patch Pan
parameter (PATCH LVL&PAN page), shifting the Tone Pan
values of its individual Tones leftward or rightward by the
selected amount. (p. 85)
VT-4 (TVF e n ve lo p e tim e 4 ve lo city se n sitivity )-
6 3 –+6 3
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVF envelope.
With higher settings, the T1 value will change more
significantly depending on whether you play softly or with
greater force. With positive (+) settings, greater keyboard
velocity will reduce the T4 setting. With negative (-) settings,
V-Se n s (TVA le ve l ve lo city se n sitivity )-6 3 –+6 3
Use this setting when you want keyboard touch (velocity) to
affect the Tone volume. Set this to a positive value to have
the changes in tone volume increase the more forcefully the
keys are played; to make the Tone play more softly as you
play harder, set this to a negative value.
greater keyboard velocity will increase the T4 setting.
fig.4-25.e
T1
T2
T3
T4
V-Cu rve (TVA le ve l ve lo city cu rve )FIXED/ 1 –7
This setting allows you to select from seven velocity curves
that determine how the force with which the keyboard is
played is to affect the Tone’s volume. The selected curve is
displayed to the right of its parameter value.
L1
L0
L3
L2
L4
Cutoff
Frequency
Time
When set to “FIXED,” the Tone’s volume will not be affected
key is
key is
pressed
released
by the force with which the keyboard is played.
BIAS
L0 (TVF e n ve lo p e le ve l 0 )0 –1 2 7
Use the Bias parameter when you want the position of notes
* *** chaaaange This sets the amount of change applied to the
cutoff frequency setting when the key is first pressed.
on a keyboard to affect the TVA level.
9 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
fig.4-26.e
Alte rn a te (To n e a lte rn a te p a n d e p th )
LOWER
Level
UPPER
Level
This setting causes panning to be alternated between left and
right each time a key is pressed. Higher values result in a
greater left/ right width. You can select the stereo placement
of the first key using this parameter – its opposite will be
used for the second note, and so on back and forth. If you
want to alternate the pan position of two Tones, set them to
the exact opposite L and R settings.
+
0
–
+
0
–
Key
Key
C-1
G9
C-1
G9
Bias Point
Bias Point
LOWER&UPPER
ALL
–
+
+
0
–
+
0
–
Level
Level
0
TVA TIME EN V (TVA Tim e En ve lo p e )
This specifies the manner in which keyboard velocity will
affect the times of the TVA envelope.
0
–
+
Key
Key
C-1
G9
C-1
G9
Bias Point
Bias Point
V-T1 (TVA e n 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 TVA
envelope. With higher settings, the T1 value will change
more significantly depending on whether you play softly or
with greater force. With positive (+) settings, greater
keyboard velocity will reduce the T1 setting. With negative (-
) settings, greater keyboard velocity will increase the T1
setting.
Bia s (TVA b ia s le ve l)-1 0 0 –+1 0 0
This adjusts the slope of the volume change that will occur in
the selected Bias Direction. Higher settings produce greater
amounts of change to the Tone’s volume. Negative (-)
settings reverse the direction of the change.
Po in t (TVA b ia s p o in t)C-1 to G9
This selects the MIDI key at which the Tone’s volume will
begin to change.
V-T4 (TVA e n ve lo p e tim e 4 ve lo city se n sitivity )
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVA
envelope. With higher settings, the T4 value will change
more significantly depending on whether you play softly or
with greater force. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
Dire ctio n (TVA b ia s d ire ctio n )
This determines whether the volume of notes above or below
the Bias point – or both – will change according to their
distance from the Bias Point.
LOWER: Notes below the Bias Point will be affected.
UPPER: Notes above the Bias Point will be affected.
LOWER&UPPER: Notes below and above the Bias Point will
Tim e Ke y fo llo w (TVA e n ve lo p e tim e k e y
fo llo w )
be affected.
ALL: The volume of notes across the entire keyboard will be
biased according to the Bias Level slope, based on their
distance from the Bias Point.
Use this parameter when you want a note’s keyboard
position to affect times T2–T4 of the TVA envelope. Higher
settings change the times by a greater amount as you move
away from Middle C (C4) – at Middle C, the original T1–T4
settings are in effect. Positive (+) settings cause the times to
shorten as you play above Middle C. Negative (-) settings
cause the times to lengthen as you play above Middle C.
PAN MO DULATE (To n e p a n m o d u la te )
Use these parameters to dynamically alter the Tone’s stereo
position as set by the TVA Pan.
Ke y fo llo w (To n e p a n k e y fo llo w )
TVA EN VELO PE
These parameters set the characteristics of the TVA envelope,
Use this parameter when you want each note’s keyboard
position to affect its stereo location. Higher settings cause a
greater shifting of the Tone’s original pan position as you
move further away from Middle C (C4), where the original
stereo TVA Pan value remains in effect. Positive (+) settings
cause notes above Middle C to be panned rightward.
Negative (-) settings cause them to be panned leftward.
which applies changes over time to the Tone’s Tone level
setting.
Level
T1
T2
T3
T4
L1
L2
L3
Ra n d o m (To n e ra n d o m p a n d e p th ) 0 –6 3
Use this parameter to activate random panning, note-by-
note. Higher values result in more extreme fluctuations in
the Tone’s stereo placement.
Time
key is released
key is pressed
9 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
continues without further change.
T1 –T4 (TVA e n ve lo p e tim e 1 –4 )
TRP:trapezoidal wave
These settings determine the times over which the Tone level
setting will change from one TVA envelope level to the next.
S&H:sample & hold wave (LFO value is changed one time
per cycle)
L1 –L3 (TVA e n ve lo p e le ve l 1 –3 )
CHS:chaos wave
Each TVA envelope level value determines an amount of
change to be applied to the original Tone level setting.
* When setting “UP” or “DW,” set the Key Sync parameter to
“ON.” If this is “OFF,” it will have no effect.
Ap p ly in g Vib ra to o r Tre m o lo
(LFO )
Ra te (LFO ra te ) 0 –1 2 7 / n o te
This adjusts the basic modulation rate, or speed, of the LFO.
The LFO (Low Frequency Oscillator) can alter various Tone
settings in a back-and-forth, cyclic manner. Each Tone has
two LFOs, and each can apply the desired amount of
repetitive change to the Tone’s Pitch, TVF cutoff frequency,
TVA Level and TVA Pan settings. This can be used as the
Matrix Control source (p. 100, p. 140).
* The Chaos waveform has no wavelength. When the Chaos
waveform is selected, the Rate setting has no effect.
* For more information on the types of notes, refer to the
Parameter List. (p. 151)
De tu n e (LFO ra te d e tu n e ) 0 –1 2 7
This setting allows you to adjust the tuning of the LFO
waveform.[RB2]
Ho w to Use th e LFO
Applying an LFO to the Tone’s Pitch settings creates vibrato,
applying it to its TVF cutoff frequency creates a wah-wah,
and applying it to its TVA Level creates tremolo. When an
LFO is applied to the Tone’s TVA Pan, the sound moves back
and forth, from one side to another, in the stereo field.
Ke y Sy n c (LFO k e y sy n c) O FF/ O N
This sets whether you want the LFO cycle to start in sync
with the timing of a key press (ON) or not (OFF).
LFO 1 (LFO 2 ) FADE (LFO fa d e )
Depending on your settings, an LFO can also be used to
cyclically exchange two Tones. For example, if you wish to
shift back and forth between Tones 1 and 2, select the same
LFO settings for both, but set their LFO TVA Depth settings
to opposite polarities – set one to a + value, and the other to a
- value.
Fa d e Mo d e (LFO fa d e m o d e )
This sets how the LFO will be applied.
ON-IN:The LFO will fade in after the key is pressed.
fig.4-28.e
Delay
Time
Fade
Time
high (more)
Depth
LFO 1 (LFO 2 ) W AVE
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Since both LFOs have the same parameters, the following
explanations applies to both.
key is
pressed
low (less)
Fo rm (LFO fo rm )
ON-OUT:The LFO will be immediately applied when the key
is pressed, and will then fade out.
fig.4-29.e
This selects the waveform the LFO is to use.
Offset (LFO offset)
high (more)
Delay Time
Fade Time
This adjusts the basic width of the LFO waveform.
SIN:sine wave
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Depth
TRI:triangle wave
key is
pressed
SAW-UP:sawtooth wave
SAW-DW:sawtooth wave (negative polarity)
SQR:square wave
low (less)
OFF-IN:The LFO will fade in after the key is released.
fig.4-30.e
Delay
Time
Fade
Time
RND:random wave
high (more)
UP:Once the attack of the waveform output by the LFO is
allowed to develop in standard fashion, the waveform then
continues without further change.
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
key is
key is
pressed released
low (less)
DW:Once the decay of the waveform output by the LFO is
OFF-OUT:he LFO will be immediately applied when the key
allowed to develop in standard fashion, the waveform then
9 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
is pressed, and will begin fading out when the key is
Pan.
released.
fig.4-31.e
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)
Delay
Time
Fade
Time
high (more)
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
The parameters in this group determine how various
controllers will affect the Patch and its Tones.
key is
pressed
key is
released
low (less)
KEY MO DE (Ke y Assig n Mo d e )
Fa d e Tim e (LFO fa d e tim e )
Assig n (Ke y Assig n Mo d e )
This adjusts the time over which the LFO rises to its full
effect or fades away. (Refer to the diagrams for Fade Mode.)
This sets how the Patch’s notes will be played. The SOLO
setting is effective when playing a solo instrument Patch
such as sax or flute.
LFO 1 (LFO 2 ) DELAY (LFO d e la y )
MONO:Only one note will sound at a time.
De la y Tim e (LFO d e la y tim e )
* While only a single note will sound, that note may, as usual,
consist of multiple Tones.
This sets the time interval between the moment when a key is
pressed (or released) and the moment the LFO begins to take
effect. (Refer to the diagrams for Fade Mode.)
POLY:Two or more notes can be played simultaneously.
Le g a to (Le g a to Sw itch ) O FF/ O N
De la y Ke y fo llo w (LFO De la y Ke y fo llo w )
Turn this parameter on when you want to use the Legato
feature and off when you don’t. Legato is a function that
works only when the Key Assign Mode is MONO. When
Legato is ON, pressing one key when another is already
pressed causes the currently playing note’s 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 guitarist’s hammering on and pulling
off strings.
Adjusts the value for the LFO1/ LFO2 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
values will result in greater change. If you do not want the
elapsed time before the LFO effect is applied (the effect is
continuous) to change according to the key pressed, set this
to “0.”
Le g a to Re trig g e r O FF/ O N
The setting determines whether sounds are replayedor not
when performing legato. Normally you will leave this
parameter “ON.” When Delay Keyfollow is set to OFF, if one
key is pressed while another key is held down, only the pitch
changes, which with some waveforms may result in
unnatural sound. Set this to “OFF” when performing wind
and string phrases or when using modulation with the mono
synth keyboard sound.
LFO DEPTH 1 :2
These parameters adjust the degree to which the LFO affects
its target parameters. Two values are displayed for each
parameter that can be modulated by the LFO: the left one sets
the amount of LFO1 to be applied, and the right one sets the
amount of LFO2.
Pitch (Pitch LFO De p th 1 , 2 )
* If the Legato Switch is “OFF,” this setting is ignored.
This adjusts how much the LFO will affect the Tone’s pitch.
TVF (TVF LFO De p th 1 , 2 )
PATCH PO RTAMEN TO
This adjusts how much the LFO will affect the Tone’s TVF
Portamento is a function that causes the Patch’s pitch to
change smoothly from one note to the next note played.
When the Key Assign Mode is MONO, this can be effective
in simulating performance techniques such as a violinist’s
glissando.
cutoff frequency.
TVA (TVA LFO De p th 1 , 2 )
This adjusts how much the LFO will affect the Tone’s TVA
Level.
Pa n (Pa n LFO De p th 1 , 2 )
This adjusts how much the LFO will affect the Tone’s TVA
9 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
Sw (Po rta m e n to sw itch ) O N / O FF
Turn this switch on when you wish to use Portamento.
CTRL Rx MIDI (To n e co n tro l re ce ive
MIDI)
These settings determine each Tone’s response to received
Pitch Bend, Expression, Pan, Hold1, Damper, and Envelope
Mode MIDI messages.
Tim e (Po rta m e n to tim e ) 0 –1 2 7
This sets the time over which one pitch will glide to the next.
Mo d e (Po rta m e n to m o d e )
Ths selects the way in which Portamento will be applied.
Be n d e r (To n e re ce ive b e n d e r) O FF/ O N
If you want the Tone to respond to Pitch Bend messages, turn
this parameter on. If not, turn it off.
NORMAL:Portamento will always be applied.
LEGATO:Portamento will be applied only for notes played
legato (i.e., when you press a second key before releasing the
first.
Ex p re ssio n (To n e re ce ive e x p re ssio n ) O FF/ O N
If you want the Tone to respond to Expression messages,
turn this on. If not, turn it off.
Ty p e (Po rta m e n to ty p e )
This determines the way in which the pitch difference
between the two notes will affect the time it takes to glide
from one note to the next.
Pa n Mo d e (To n e re ce ive p a n m o d e )
CONTINUOUS:Pan messages will be responded to
immediately, instantly changing the stereo position of the
Tone.
RATE:The time it takes will depend on the distance between
the two pitches.
KEY-ON:The stereo location of the 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.
TIME:The time it takes will be constant, regardless of how far
apart in pitch the notes are.
Sta rt (Po rta m e n to sta rt)
Portamento will begin anew if you press another key during
a pitch movement. This setting specifies how the new
portamento will start.
Ho ld -1 (To n e re ce ive h o ld 1 ) O FF/ O N
Set this to ON if you wish the tone to respond to Hold1
messages – these messages cause sounds to continue playing
when a sustain/ damper pedal is pressed. Set this to OFF
when you do not want the Tone to respond to Hold1
messages.
PITCH:The pitch will begin changing immediately to the
new note’s pitch when its key is pressed.
fig.4-32.e
Pitch
C5
Re d a m p e r (To n e re d a m p e r sw itch ) O FF/ O N
If a Hold 1 message is received during the time between a
note-off – when you release the key – and the time at which
the note actually disappears, any currently sounding notes
will be sustained if Redamper is set to ON. To take
advantage of this feature, you must also turn on the Tone
Receive Hold 1 setting.
D4
C4
Time
press D4 key
press C5 key
press C4 key
En ve lo p e Mo d e (To n e e n ve lo p e m o d e ) N O -
SUSTAIN / SUSTAIN
NOTE:The pitch will begin changing to the new note’s pitch
only after it has first reached its original pitch destination.
fig.4-33.e
When a loop-type waveform 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.”
Pitch
C5
* If a one-shot type Wave is selected, it will not sustain even if
this parameter is set to “SUSTAIN.”
D4
C4
CO N TRO L&BEN DER (TMT co n tro l &
Be n d e r)
Time
press D4 key
This sets the TMT control switch and the bend range.
press C5 key
press C4 key
9 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
TMT Ctrl Sw (TMT co n tro l sw itch ) O FF/ O N
MATRIX CTR1 –4 (Ma trix co n tro l 1 –4 )
This setting determines whether or not the TMT is controlled
by the Matrix Control. When TMT Velocity Control is set to
OFF, turning this parameter on and off is a simple way to
switch between playing all Tones or controlling them with
the Matrix Control, making this an effective tool for
auditioning Tones.
This selects the parameters to be controlled by Matrix
Control Source 1–4 and the Sens settings, as well as the
specific Tones whose parameters you wish to control. Up to
four destination parameters can be selected for each
controller and controlled simultaneously.
The upper line of the display shows the Control Source
selected in the MATRIX CTRL SRC page.
Be n d Ra n g e (Pitch b e n d ra n g e ) 0 –4 8
This sets the amount of pitch change that will occur when
you move the Pitch Bend lever. The left value specifies the
amount of pitch change that will be applied to the Patch’s
pitch when the lever is moved fully left (or down on some
MIDI controllers). The right value specifies the pitch change
that will occur when the lever is moved fully to the right (or
up). The left value has a range of -48–0 (-4–0 octaves), and the
right value has a range of 0–+48 (0–4 octaves).
DEST1 –4 (De stin a tio n 1 –4 )
Dest: This selects a parameter to be controlled.
Sns: This adjusts the amount of change that will occur in
response to controller changes. Negative (-) values invert the
change. For LFO rates, negative (-) values slow down the
LFO, and positive (+) values will speed it up.
Tone: This selects the Tone to which the two previous
parameter settings are applied. “o” turns signifies that the
Tone is selected for control, “_” that it is not selected, and
“R” that the change being applied is inverted when applied
to this Tone.
MATRIX CTRL SRC (Ma trix co n tro l
so u rce )
If you wish to use controllers to control a specific Tone
parameter, you can select the desired controller in this page.
Four control sources can be assigned to each Patch.
Effe ct Se ttin g s (EFFECTS)
Co n tro l 1 –4 (Ma trix co n tro l 1 –4 so u rce )
Refer to “Adjusting Effect Settings in Patch mode” (p. 21).
Assign one of the following controllers to Control Source 1–4.
If you wish to use a controller that will apply to all Patches,
or a controller that cannot be directly selected here, select
SYS-CTRL1–4, and then select the controller using the
Control Source 1–4 parameters (SYS CTRL ASSIGN page).
Sa vin g Pa tch e s Yo u Cre a te
Refer to “Saving Patches” (p. 122).
OFF: a controller will not be used
CC01–CC95: Contoroller number 1–95 (except CC32)
BENDER
Co p y in g th e Se ttin g s o f
An o th e r Pa tch (Pa tch To n e
Co p y )
AFTERTOUCH
SYS-CTRL1: System Control 1
SYS-CTRL2: System Control 2
SYS-CTRL3: System Control 3
SYS-CTRL4: System Control 4
VELOCITY
Tone settings from a Patch can be copied to the currently
selected Patch. You can use this feature to make the Patch
editing process faster and easier.
1 . Make sure that a Patch is selected.
KEYFOLLOW
2 . Press [UTILITY] to make its indicator light.
TEMPO
LFO1
3 . Press [
] / [
] to select the UTIL 1 page.
LFO2
PITCH-ENV:Pitch Envelope
TVF-ENV:TVF-Envelope
TVA-ENV:TVA-Envelope
1 0 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 4 Cre a tin g a Pa tch
4 . Use [
] / [
] to make “COPY” blink, and then
press [ENTER].
Patch Name Copy
The Patch TONE CPY page will appear.
You can copy the name of a Patch to the current Patch.
fig.4-34.e
fig.4-37.e
Copy source Patch
(group, number)
Copy source Patch name
Copy source Patch (group, number, name)
Copy destination Tone
Copy source Tone
1 . Select the Patch you want to copy.
5 . Press [
] / [
] to move the cursor to the
2 . Press [UTILITY] to make its indicator light.
parameter that you wish to set.
3 . Press [
] / [
] / [
] to select the UTIL 1 page.
6 . Turn the VALUE dial or press [INC] [DEC] to select the
desired value.
4 . Use [
] to make “COPY” blink, and then
press [ENTER].
7 . Press [ENTER] to execute the Copy – an asterisk (“*”)
appears before the copy destination Tone in the display.
fig.4-35.e
5 . Press [
page.
] / [
] to select the PATCH NAME CPY
6 . Turn the VALUE dial or press [INC] / [DEC] to
select the desired source Patch.
8 . Press [EXIT] to return to the PATCH PLAY page.
7 . Press [ENTER] to execute the Copy operation.
* To specify the currently selected Patch as the copy source, set
Source to “TEMP.”
Compare Function
You can use the Compare function during the Patch
Tone Copy operation to play the source Patch. To do so,
press [UNDO] to access the PATCH COMPARE page. A
new source Patch can be selected from the PATCH
COMPARE page as well – however, it is not possible to
select Patches from XP-A–F. After selecting the desired
Patch, return to the previous page by pressing [UNDO]
or [EXIT].
fig.4-36.e
Copy source Patch (group, number, name)
* The Compare function cannot be used with Patch Tone
Copy if TEMP patch is selected as the copy-source Patch.
* Please be aware that when the Compare function plays a
Patch, it may sound somewhat different than when it is
played normally.
1 0 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
•
•
Selecting A Patches to the Parts (p. 104)
Cre a tin g Pe rfo rm a n ce s
setting the Parts’ MIDI reception channels (p. 106).
In the XV-3080’s Performance mode, you can play and
control up to 16 instrument sounds at the same time,
including Patches and/ or Rhythm Sets. Such a set of sounds,
as well as an effect setup, can be saved as a “Performance.”
Each Performance is comprised of 16 “Parts,” each of which
controls one of its sounds. Because the XV-3080 sound
generator can play multiple sounds at the same time, it’s
After you have completed setting up your Performance, try
playing a sequence from your computer or sequencer using
the Performance’s sounds.
Ch o o sin g th e Pa rts to Pla y
called a “multitimbral sound generator.”
Turn on each Part you wish to use.
fig.5-01.e
1 . Select the Performance you wish to use.
2 . Press [RX] to make the indicator light.
Performance
Part 16
3 . Use PART SELECT [1/ 9]–[8/ 16] to switch each Part on –
so that its indicator lights – or off so that its indicator
goes dark.
Part11
Patch/
Rhythm set
Part10
Patch/
Rhythm set
To turn Parts 9–16 on or off, press [1-8/ 9-16] to make the
indicator light, and then press PART SELECT [1/ 9]–[8/ 16].
Part 9
4 . Press [RX] to make its indicator turn off.
Part 1
* This setting is linked with the Rx Sw setting (PART MIDI
page).
Patch/
Rhythm set
* If the [RX] indicator is lit when an active Part receives a MIDI
message, the Part’s indicator will blink.
Ba sic W a y s to Use
Pe rfo rm a n ce s
There are three basic ways to use Performances.
Pla y in g Mu ltip le Pa tch e s
To g e th e r (La y e r)
Refer to “QUICK START” (p. 23).
Pla y in g Se p a ra te Pa tch e s in
Diffe re n t Are a s o f th e Ke y b o a rd
(Sp lit)
Refer to “QUICK START” (p. 27).
Usin g th e XV-3 0 8 0 a s a
Mu ltitim b ra l So u n d Ge n e ra to r
In Performance mode, you can use the XV-3080 as a 16-part
multitimbral sound generator. Let’s try selecting some Parts
and sounds, and then play the multiple Parts together as a
Performance.
The basic steps for doing this include:
•
Choosing the Parts to Play (p. 102)
1 0 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
Esta b lish in g Se ttin g s fo r a n
En tire Pe rfo rm a n ce
(CO MMO N )
Se ttin g s fo r Ea ch Pa rt
The parameters that can be set for each Part in the current
Performance are assigned to the function select buttons as
follows.
PERFO RM N AME (Pe rfo rm a n ce N a m e )
[CO MMO N ]
You can give a Performance a name of up to 12 characters in
length.
Setting the Keyboard Range (p. 104)
[EFFECTS]
Use [
]/ [
] to move the cursor, and then turn the
Effect Settings (p. 26)
[VALUE] knob or press [INC]/ [DEC] to select the desired
character.
[MIDI]
Ava ila b le ch a ra cte rs/ sy m b o ls:
Establishing a Part's MIDI Settings (MIDI) (p. 106)
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ? @ [ \ ]
[PART]
^ _ ? |
Selecting a Part's Patch or Rhythm Set (p. 104)
Specifying the Volume/ Pan/ Number of Notes (p. 104)
Editing Sounds' Attack and Release Time (p. 105)
Changing the Pitch (p. 106)
Press [SHIFT] to display the following in the bottom right
corner of the screen.
fig.5-02
Changing the way in which a Part will sound (p. 106)
A
a: Switches between uppercase and lowercase
[IN FO ]
characters.
Confirming MIDI Information for Each Part (p. 107)
INS: Inserts a space at the cursor location and shifts the
remaining text to the right by one character position.
How to Set Performance Parameters:
DEL: Deletes the character at the cursor and shifts the
1 . Select the desired Performance.
remaining text one character position to the left.
Press each of these buttons in order to execute its
2 . Press the function select button for the type of parameter
corresponding function (refer to the figure).
fig.5-03
to be set.
3 . Use [
]/ [
] to select the page containing the
parameter you wish to set.
4 . Press PART SELECT [1/ 9]–[8/ 16] to select the Part you
want to set up.
To select a Part 9–16, press [1-8/ 9-16] so that its indicator
lights, and press PART SELECT [1/ 9]–[8/ 16].
5 . Use [
]/ [
] to move the cursor to the parameter
PERFO RM MFX CH
you want to set.
MFX Co n tro l Ch a n n e l 1 –1 6 / O FF
6 . Turn the VALUE dial or press [INC]/ [DEC] to select the
Sets the channel which will control Multi-effects assigned to
the Performance.
desired value.
7 . Press [EXIT] to return to the PATCH PLAY page.
1 0 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
to each Part.
Se ttin g th e Ke y b o a rd Ra n g e
([CO MMO N ]-[PART KEY RAN G])
PART PATCH
You can set each Part’s keyboard range (Key Range), the area
on the keyboard that will cause the Part to sound. Adjust
Part Key Ranges when you wish to divide the keyboard into
areas with a different Patch in each area – this is called a
“split.”
Ty p e (Pa rt Ty p e ) PAT/ RHY
This selects the Patch (PAT) or Rhythm Set (RHY) the Part
will play.
Gro u p (Pa rt g ro u p )
Selects the group to which the desired Patch or Rhythm Set
belongs.
PART KEY RAN G (Pa rt k e y ra n g e )
L.Fa d e (TMT k e y b o a rd fa d e w id th lo w e r)0 –
1 2 7
* You can also use the Patch Finder feature. (p. 16)
* You can also select from the FAVORLITE LIST. (p. 121)
This determines what will happen to the Part’s level when a
note that’s lower than its specified keyboard range is played.
Higher settings result in a more gradual change in volume. If
you don’t want the Part to sound at all when a note below
* It is not possible to select XP-A–H unless a wave expansion
board is inserted into the corresponding slot. (Quick Start p.
2)
the keyboard range is played, set this parameter to 0.
fig.5-04.e
* It is not possible to select CARD unless a SmartMedia card is
inserted into the XV-3080 CARD slot. (p. 125)
Level
N u m b e r
This selects the desired Patch or Rhythm Set by its number.
* You can also use the Patch Finder feature. (p. 16)
* You can also select from the FAVORLITE LIST. (p. 121)
Key number
0
Lower
127
Upper
L.Fade value
U.Fade value
Sp e cify in g th e Vo lu m e / Pa n /
N u m b e r o f N o te s ([PART]-[PART
SETTIN G])
Lo w e r (TMT k e y b o a rd ra n g e lo w e r)C -1 –G9
This specifies the lowest note that will cause the Part to play
its sound.
You can determine settings for a Part’s volume, panning, and
the number of notes it can play simultaneously.
Up p e r (TMT k e y b o a rd ra n g e u p p e r)C -1 –G9
This specifies the highest note that will cause the Part to play
its sound.
PART SETTIN G
Le ve l (Pa rt Le ve l)
* It is not possible to set Lower to a value greater than the Upper
value, or Upper to a value less than the Lower value. If you
attempt to do so, the two values will change together.
This sets the volume of the Part. This setting’s main purpose
is to adjust the volume balance between Parts.
U.Fa d e (TMT k e y b o a rd fa d e w id th u p p e r)0 –
1 2 7
Pa n (Pa rt Pa n )
This specifies the stereo position of the Part’s sound. L64
pans the sound hard left, 0 puts it dead-center and 63R pans
it hard right.
This determines what will happen to the Part’s level when a
note that’s higher than its specified keyboard range is played.
Higher settings result in a more gradual change in volume. If
you don’t want the Part to sound at all when a note above the
keyboard range is played, set this parameter to 0.
Vo ice Re se rve
This setting specifies the number of voices that will be
reserved for each Part when more than 128 voices are played
simultaneously.
Se le ctin g a Pa rt’s Pa tch o r
Rh y th m Se t ([PART]-[PART
PATCH])
You can select the Patch or Rhythm Set that will be assigned
1 0 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
* It is not possible for the settings of all Parts to total an amount
greater than 128. The remaining number of available voices
will be displayed to the left of this value (Rest=). Pay attention
to this readout as you make set the Voice Reserve parameter.
Tone’s TVF/TVA ENVELOPE T1 setting, the Patch’s Atk
time offset, and the Part’s Atk time offset. If the Patch’s Atk
time offset is already set to 127, there will be no change
produced by setting the Part’s Atk time offset to a positive
value.
Re l (Pa rt re le a se tim e o ffse t)
Calculating the Number of Voices Being Used
This raises or lowers the TVF/ TVA release time (T4) settings
The number of notes that the XV-3080 can sound
simultaneously depends on the number of Tones in the
Patches you are using and the number of keys being
pressed. For example, if you play one note using a Patch
that consists of only one Tone, you will use up one voice
of polyphony. XV-3080 tones may use two Waves, and
when Patches are composed of these tones, this doubles
the two sounds. When two keys are pressed, and the
Patch for each key pressed uses four tones each having
two Waves, a total of sixteen voices is used.
for each of the Tones in the Part’s sound.
* Patches also contain a Rel time offset setting. The final TVF/
TVA Envelope release time value is therefore the sum of the
Tone’s TVF/TVA ENVELOPE T4 setting, the Patch’s Rel
time offset, and the Part’s Rel time offset. If the Patch’s Rel
time offset is already set to 127, there will be no change
produced by setting the Part’s Rel time offset to a positive
value.
Ve lo city Se n s (Pa rt ve lo city se n sitivity o ffse t)
This number is obtained by figuring (the number of
tones with one Wave + the number of tones with two
Waves x 2) x the number of keys pressed.
This raises or lowers the VELOCITY V-Cutoff and the TVA
V-Sens settings for each of the Tones in the Part’s sound.
* Patches also contain a Velocity Sens offset setting.
The XV-3080 is able to play up to 128 Tones
simultaneously. When you are using the XV-3080
multitimbrally, keep this in mind, and adjust your Voice
Reserve settings so that each Part is guaranteed at least
the minimum number of voices it requires.
A Tone’s ultimate TVF V-Cutoff and TVA V-Sens values are
therefore the sum of the Tone’s TVF V-Cutoff and TVA V-
Sens settings, the Patch’s Velocity Sens offset and the Part’s
Velocity Sens offset . If the Patch’s Velocity Sens offset is
already set to 127, there will be no change produced by
setting the Part’s Velocity Sens Offset to a positive value.
Ed itin g So u n d s’ Atta ck a n d
Re le a se Tim e ([PART]-[PART
MO DIFY])
You can determine how a Part will pay a sound by setting it
to modify the sound’s programmed cutoff frequency,
Resonance, Velocity Sense, and TVF and TVA Envelope
attack and release time settings.
PART MO DIFY
Cu t (Pa rt cu to ff o ffse t)-6 3 –0 –+6 3
This raises or lowers the TVF cutoff frequency settings for
each of the Tones in the Part’s sound.
Re s (Pa rt re so n a n ce o ffse t)-6 3 –0 –+6 3
This raises or lowers the TVF Resonance settings for each of
the Tones in the Part’s sound.
Atk (Pa rt a tta ck tim e o ffse t)
This raises or lowers the TVF/ TVA attack time (T1) settings
for each of the Tones in the Part’s sound.
* Patches also contain an Atk time offset setting. The final TVF/
TVA Envelope attack time value is therefore the sum of the
1 0 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
Legato is ON, pressing one key when another is already
pressed causes the currently playing note’s 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 guitarist’s hammering on and pulling
off strings.
Ch a n g in g th e Pitch ([PART]-[PART
PITCH])
You can set the pitch and bend range each Part will use when
playing its sound.
PART PITCH
When a PATCH is selected, the settings for the assigned
Patch will have effect.
O cta ve (O cta ve sh ift) -3 –0 –+3
This adjusts the pitch of the Part’s sound up or down in units
Po rta Sw :Tim e (Po rta m e n t Sw itch :Tim e )
of an octave (+/ -3 octaves).
Specify whether the portament effect will be applied (ON) or
not (OFF).
Co a rse (Co a rse tu n e ) -4 8 –+4 8
And when portament 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.
This adjusts the pitch of the Part’s sound up or down in
semitone steps over a range of +/ -4 octaves.
Fin e (Fin e tu n e ) -5 0 –+5 0
This adjusts the pitch of the Part’s sound up or down in 1-
cent steps (1/ 100th of a semitone) over a range of half a
semitone up or down.
What is Portament?
Portamento is an effect which smoothly changes the
pitch from the first-played key to the next-played key.
When Key Assign is SOLO, applying portamento will
produce an effect similar to the slide performance
technique of a violinist. Portamento can also be applied
when Key Assign is polyphonic (POLY).
Be n d Rn g (Pitch b e n d ra n g e ) 0 –2 4 / PATCH
This specifies the amount of pitch change that will occur
when you move the Pitch Bend Lever. It overrides the
sound’s pitch-bend settings.
The amount of pitch change downward or upward that
occurs when the lever is tilted is the same for both its left and
right directions (or down and up on some MIDI controllers).
Esta b lish in g a Pa rt’s MIDI
Se ttin g s (MIDI)
When a PATCH is selected, the bend range settings for the
assigned Patch will have effect.
PART MIDI
Ch a n g in g th e w a y in w h ich a
Pa rt w ill so u n d ([PART]-[PART
MO N O / PO L])
Ch a n n e l (MIDI ch a n n e l) 1 –1 6
This sets the MIDI channel to which the Part will respond.
Rx Sw (Re ce ive sw itch ) O FF/ O N
You can set the MONO/ POLY, Legato and Portament each
Part will use when playing its sound.
This enables (ON) or disables (OFF) the Part’s response to
received MIDI messages.
Mn o / Po l (Pa rt Mo n o / Po ly )
Mu te Sw (Mu te sw itch ) O FF/ O N
This sets how the Patch’s notes will be played. The SOLO
setting is effective when playing a solo instrument Patch
such as sax or flute.
This silences, or “mutes,” the Part when set to ON.
* Although the Part’s sound is muted, the Part still receives
MIDI messages. Thus, even when the Part’s sound is switched
on or off during playback a song, the Part continues to keep up
with the latest received MIDI data.
MONO:Only one note will sound at a time.
* While only a single note will sound, that note may, as usual,
consist of multiple Tones.
POLY:Two or more notes can be played simultaneously.
CH Rx SW ITCH (CH re ce ive sw itch )
Le g a to (Le g a to Sw itch ) O FF/ O N / PATCH
Ba n k Se le ct (Re ce ive b a n k se le ct sw itch )
Turn this parameter on when you want to use the Legato
feature and off when you don’t. Legato is a function that
works only when the Key Assign Mode is MONO. When
This sets whether the Part will respond to received MIDI
Bank Select messages (ON) or not (OFF).
1 0 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
Pro g ra m Ch a n g e (Pro g ra m ch a n g e sw itch )
Ph a se Lo ck O FF/ O N
This sets whether the Part will respond to received MIDI
Program Change messages (ON) or not (OFF).
This setting activates (ON) or de-activates (OFF)
synchronization of the timing of Parts that share a common
MIDI channel.
Vo l (Re ce ive vo lu m e sw itch )
* When Part sounds are layered on top of each other as a result
of sharing a MIDI channel, there may be a discrepancy in their
timing. The Phase Lock feature can synchronize the sounds so
that they start precisely at the same time. However, since this
delays the sounds slightly to line them up, turn this feature off
when it is not needed.
This sets whether the Part will respond to received MIDI
Volume messages (ON) or not (OFF).
Pa n (Re ce ive p a n sw itch )
This sets whether the Part will respond to received MIDI Pan
messages (ON) or not (OFF).
Ex p (Re ce ive e x p re ssio n sw itch )
Co n firm in g MIDI In fo rm a tio n
fo r Ea ch Pa rt (IN FO )
This sets whether the Part will respond to received MIDI
Expression messages (ON) or not (OFF).
Hld (Re ce ive h o ld 1 sw itch )
In this display you can check the receive status of various
types of MIDI message for each Part. This is a convenient
way to check that the sound generator is responding
correctly to messages from the keyboard or external MIDI
controllers.
This sets whether the Part will respond to received MIDI
Hold 1 messages (ON) or not (OFF).
Bn d (Re ce ive b e n d e r sw itch )
This sets whether the Part will respond to received MIDI
Bender messages (ON) or not (OFF).
For items other than Voice, you may modify the values.
When you do so, a MIDI message will be transmitted, and
can be recorded on the sequencer, etc.
Mo d (Re ce ive m o d u la tio n sw itch )
This sets whether the Part will respond to received MIDI
Modulation messages (ON) or not (OFF).
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 )
Ca f (Re ce ive ch a n n e l a fte rto u ch sw itch )
This sets whether the Part will respond to received MIDI
Aftertouch messages (ON) or not (OFF).
Vo l (Vo lu m e In fo rm a tio n )
Pa n (Pa n In fo rm a tio n )
Pa f (Re ce ive p o ly p h o n ic a fte rto u ch sw itch )
Ex p (Ex p re ssio n In fo rm a tio n )
Ho ld (Ho ld 1 In fo rm a tio n )
This sets whether the Part will respond to received MIDI
Polyphonic Aftertouch messages (ON) or not (OFF).
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 )
Sy s1 (Sy ste m Co n tro l 1 In fo rm a tio n )
Sy s2 (Sy ste m Co n tro l 2 In fo rm a tio n )
Vo ice s (Vo ice In fo rm a tio n )
CH VELO CRV (CH ve lo city cu rve )
Ve lo city Cu rve O FF/ 1 / 2 / 3 / 4
For each Part, you can select from among four velocity
curves to find the one that best matches the touch of the
MIDI keyboard connected to the XV-3080. Set this to “OFF” if
you are using the MIDI keyboard’s own velocity curve.
1 0 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
* To specify the currently selected Part as the copy source, set
Source to TEMP.
Effe ct Se ttin g s
Refer to “Adjusting Effect Settings in Performance mode” (p.
26).
Performance Name Copy
You can copy the name from a Performance to the
current Performance.
fig.5-05c
Sa vin g Pe rfo rm a n ce s Yo u
Cre a te
Refer to “Saving Performances” (p. 122).
Copy source Performance (group, number, name)
1 . Select the Performance whose name you wish to
Co p y in g th e Se ttin g s o f
An o th e r Pa rt (Pe rfo rm a n ce
Pa rt Co p y )
copy.
2 . Press [UTILITY] to make its indicator light.
3 . Press [u] / [d] to select the UTIL 1 page.
Part settings from any Performance can be copied to the
currently selected Part. This can save you time when setting
up Parts.
4 . Use [l] / [r] to make “COPY” blink, and then press
[ENTER].
5 . Press [u] / [d] to select the PATCH NAME CPY
1 . Make sure that a Part is selected.
page.
2 . Press [UTILITY] to make its indicator light.
6 . Turn the VALUE dial, or press [INC]/ [DEC] to select
the copy-source Performance.
3 . Press [
] / [
] / [
] to select the UTIL 1 page.
7 . Press [ENTER] to execute the Copy operation.
4 . Use [
] to make “COPY” blink, and then
press [ENTER].
The PERFORM PART CPY page will appear.
fig.5-05.e
Copy source Performance
Copy source Performance
name
Copy source Part
(group, number)
Copy destination Part
5 . Press [
] / [
] to move the cursor to the
parameter that you wish to set.
6 . Turn the VALUE dial or press [INC] / [DEC] to select the
desired value.
7 . Press [ENTER] to execute the Copy – an asterisk (“*”) is
placed before the copy destination Tone in the display.
fig.5-05a
8 . Press [EXIT] to return to the PERFORM PLAY page.
1 0 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
Ed itin g a Pa tch o r Rh y th m
Se t in th e Pe rfo rm a n ce Mo d e
1 . Hold down [SHIFT] and press [PERFORM].
2 . Press [PATCH] if you wish to edit a Patch, or [RHYTHM]
to edit a Rhythm Set, lighting the respective indicator.
3 . Press the function select button for the parameter you
want to set.
4 . Use [
]/ [
] to select the page containing the
parameter you want to set.
5 . Use [
]/ [
] to move the cursor to the parameter.
6 . Turn the VALUE dial or press [INC] / [DEC], to select
the desired value.
7 . Repeat Steps 3 to 6 to edit.
8 . Press [PERFORM] to return to the PERFORM PLAY
page.
Pa le tte Fu n ctio n
When editing a Part, you can simultaneously view the
settings of all eight of its Parts by pressing [PALETTE].
1 . When editing a Part, press [PALETTE] to make its
indicator light.
2 . Press a PART SELECT [1/ 9]–[8/ 16] button, [
] to choose the Tone you wish to modify.
] /
[
1 0 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
Ho w Pe rcu ssio n In stru m e n ts
Are O rg a n ize d
Usin g MIDI to Se le ct a
Pe rcu ssio n In stru m e n t fo r
Ed itin g
A Rhythm Set is a collection of Rhythm Tones, each of which
represents a percussion instrument played on a single key.
You can set whether you’ll be able to select percussion
instruments for editing only by operating the XV-3080’s
front-panel controls or also by pressing keys on a connected
MIDI keyboard.
An instrument consists of the following four elements.
fig.6-01.e
Rhythm Set
1 . Press [SYSTEM] to make its indicator light.
Note Number 98 (D7)
Note Number 97 (C#7)
2 . Press [SETUP] to make its indicator light.
Note Number 36 (C2)
3 . Use [
]/ [
] to select the Rhythm Edit Key setting
Note Number 35 (B1)
page.
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select
the desired value.
Pitch
Envelope
TVF
Envelope
TVA
Envelope
PANEL:
Percussion instrument sounds can be selected
only by using the XV-3080’s [E]–[H] buttons.
PANEL&MIDI: Percussion instrument sounds can be selected
using the XV-3080’s [E]–[H] buttons and by
pressing a key on a connected MIDI
keyboard.
W G (W a ve Ge n e ra to r)
This specifies the PCM waveform (or “wave”) that forms the
basis of the Rhythm Tone – four waveforms can be assigned
to each Rhythm Tone. You can also determine how the pitch
of the Rhythm Tone will change.
5 . Press [EXIT] to return to the RHYTHM PLAY page.
The XV-3080 has 1083 different waveforms. (See Waveform
List p. 168.)
If you’d like to select percussion instruments using the XV-
3080’s [E]–[H] buttons while playing the sounds on a MIDI
keyboard, select “PANEL.”
All Rhythm Sets built into the XV-3080 consist of Rhythm
Tones based on these waveforms.
TVF (Tim e Va ria n t Filte r)
This sets how the frequency characteristics of the Rhythm
Tone will change.
TVA (Tim e Va ria n t Am p lifie r)
This sets how the Rhythm Tone’s volume and stereo
positioning will change.
En ve lo p e
An envelope applies changes to the Rhythm Tone over time.
There are separate envelopes for pitch, TVF (filter) and TVA
(volume). For example, you would use the TVA Envelope to
modify the way in which the Rhythm Tone attacks and
decays.
1 1 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
RHYTHM CO MMO N
Se ttin g s Co m m o n to a n
En tire Rh y th m Se t
Le ve l (Rh y th m le ve l) 0 –1 2 7
This sets the overall volume of the Rhythm Set.
Setting Procedure:
* To set the volume of each Rhythm Tone, use the Tone Level
(TVA p. ???).
1 . Select the Rhythm Set you wish to edit.
2 . Press the [COMMON] function select button.
O u tp u t Assig n (Rh y th m o u tp u t a ssig n )
This sets the output destination of the Rhythm Set.
MFX: The Rhythm Set is sent into the Multi-Effects.
3 . Use [
]/ [
] to select the page containing the
parameter you want to set.
OUTPUT A–C: The Rhythm Set is sent to the selected pair of
4 . Use [
]/ [
] to move the cursor to the parameter.
OUTPUTs, A–C.
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
INDIV 1–6: The Rhythm Set is sent to the selected
desired value.
INDIVIDUAL output jack, 1–6.
6 . Press [EXIT] to return to the RHYTHM PLAY page.
TONE: Each Rhythm Tone in the Rhythm Set is sent to its
programmed output destination.
RHYTHM N AME
RHYTHM TEMPO
You can name a Rhythm Set using up to 12 alphanumeric
characters.
Clo ck So u rce (Rh y th m clo ck so u rce )
Use [
]/ [
] to move the cursor, and then turn the
The LFO cycle, M-FX changes, phrase loop (break beats), and
Tone delay time can be synchronized to a clock, or tempo.
The Clock Source setting selects the timing reference to be
used by the Rhythm Set.
[VALUE] knob or press [INC]/ [DEC] to select the desired
character.
Ava ila b le ch a ra cte rs/ sy m b o ls:
PATCH: The Rhythm Set Tempo will be used.
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ? @ [ \ ]
SYSTEM: The global System Tempo or clock messages
^ _ ? |
received from an external sequencer will be used.
Press [SHIFT] to display the following in the bottom right
corner of the screen.
fig.6-02
Te m p o (Rh y th m Te m p o )
When Clock Source is set to “RHYTHM,” this setting
establishes the Patch’s tempo.
* Clock messages for the Rhythm Tempo are not transmitted
from the MIDI OUT jack.
A
a: Switches between uppercase and lowercase
characters.
INS: Inserts a space at the cursor location and shifts the
remaining text to the right by one character position.
DEL: Deletes the character at the cursor and shifts the
remaining text one character position to the left.
Press each of these buttons in order to execute its
corresponding function (refer to the figure).
fig.6-03.e
1 1 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
Pa le tte Fu n ctio n
Se ttin g u p In d ivid u a l Rh y th m
To n e s
When editing a Rhythm Tone, you can simultaneously view
the settings of all four of its Tones by pressing [PALETTE].
The parameters which can be set for each Rhythm Tone of
the Rhythm Set are assigned to the function select buttons as
follows.
1 . When editing a Tone, press [PALETTE] to make its
indicator light.
The Palette page appears.
fig.6-03a
[CONTROL]
Other Settings (p. 118)
[WAVE]
Modifying a Rhythm Tone’s Waveform and Panning (p. 113)
2 . Press [
] / [
] to choose the Tone you wish to
[PITCH]
modify.
Modifying a Rhythm Tone’s Pitch (p. 115)
[TVF]
3 . Turn the VALUE dial or press [INC] / [DEC] to raise or
setting.
Modifying the Brightness of a Sound with a Filter (p. 116)
[TVA]
* If you make a mistake when selecting a parameter value, or if
you do not like a change you have made, press [UNDO] to
restore the parameter to its original value.
Making the Volume Change (p. 117)
Editing Procedure:
1 . Select the Rhythm Set you wish to set.
4 . If you wish to edit other parameters, press [
] / [
]
to select the desired parameter.
2 . Press the function select button for the parameter you
want to set.
5 . Repeat Steps 2–4 to adjust the parameter’s value.
6 . To leave the Palette page, press [PALETTE] to turn off its
3 . Use [
]/ [
] to select the page containing the
indicator.
parameter you want to set.
7 . Press [EXIT] to return to the RHYTHM PLAY page.
4 . Use [E]–[H] to select the percussion instrument sound
you wish to edit according to the key that plays it.
Tip s fo r Se le ctin g Rh y th m To n e
W a ve fo rm s
[E]: Selects the key one octave below the currently selected
key.
[F]; Selects the key a semitone below the currently selected
Because the XV-3080 is designed to create completely
realistic sounds, the editing process depends heavily on the
complex PCM waveforms upon which Tones are based.
Therefore, if you try to create a sound that is totally different
from the waveform(s) you’re working with, the desired
result may be difficult or impossible to achieve.
key.
[G]: Selects the key a semitone above the currently selected
key.
[H]: Selects the key one octave above the currently selected
key.
The XV-3080’s internal waveforms fall into the following two
* You can also press a key on a connected MIDI keyboard to
select the desired percussion instrument sound (key). (p. 110)
groups.
One-shot:These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise and fall
of its sound. Some of the XV-3080’s one-shot waveforms are
sounds that are complete in themselves, such as percussive
instrument sounds. The XV-3080 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.
5 . Use [
]/ [
] to move the cursor to the parameter
you want to set.
6 . Turn the VALUE dial or by press [INC]/ [DEC], to select
the desired value.
7 . Press [EXIT] to return to the RHYTHM PLAY page.
Looped:These waveforms include sounds with long decays
as well as sustained sounds. With looped waveforms, the
latter part of the sound plays over and over for as long as the
1 1 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
note is held, allowing wave memory to be used more
efficiently. The XV-3080’s looped waveforms also include
components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.
waveform, you should first generate new upper harmonics
not present in the original waveform using the Color and
Depth parameters (FXM) before filtering. This will help you
achieve the desired result. To make an entire waveform
brighter, try applying effects such as an enhancer and
equalizer before modifying the TVF parameter (RHYTHM/
TVF).
The following diagram shows an example of a sound – an
electric organ – that combines one-shot and looped
waveforms.
fig.6-04.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key-
click waveform (attack portion)
Resulting TVA ENV change
Mo d ify in g a Rh y th m To n e ’s
W a ve fo rm a n d Pa n n in g (W AVE)
+
=
TO N E N AME
Key-off
Key-off
You can name a Rhythm Tone using up to 12 alphanumeric
characters.
N o te s fo r Ed itin g O n e -Sh o t W a ve fo rm s
Use [
]/ [
] to move the cursor, and then turn the
You cannot give a one-shot waveform a longer decay – or
make it into a sustaining sound – by using an envelope. If
you were to program such an envelope, you would be
attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
[VALUE] knob or press [INC]/ [DEC] to select the desired
character.
Ava ila b le ch a ra cte rs/ sy m b o ls:
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ? |
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s
Press [SHIFT] to display the following in the bottom right
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
instrument’s character. The XV-3080 provides a variety of
waveforms containing realistic acoustic instrument attacks.
To obtain the maximum realism when using these
corner of the screen.
fig.6-06
A
a: Switches between uppercase and lowercase
waveforms, it is best to leave the filter wide-open during the
attack so that all of these important timbral changes are
heard. If you use an envelope to modify the attack portion,
you may not achieve the result you want. Use enveloping to
produce the desired changes in the decay portion of the
characters.
INS: Inserts a space at the cursor location and shifts the
remaining text to the right by one character position.
DEL: Deletes the character at the cursor and shifts the
remaining text one character position to the left.
sound.
fig.6-05.e
Press each of these buttons in order to execute its
corresponding function (refer to the figure).
fig.6-07
Looped Portion
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting tone change
W MT W AVE
With the XV-3080, up to four stereo Waves can be assigned to
a single Rhythm Tone. You can select the way tones sound
according to the force with which the keys are played, thus
allowing you to create Rhythm Tones featuring great
expressive power. This function is called WMT (Wave Mix
If you try to make a waveform’s attack brighter by lowering
the high-frequency content of its decay using the TVF filter,
consider the original timbral character of the waveform. If
you’re making a part of the sound brighter than the original
1 1 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
Table).
play the Rhythm Set.
* It is not possible to set the Lower value higher than the Upper
value, or the Upper value below the Lower value. If you
attempt to do so, the two values will change simultaneously.
Gro u p (W a ve g ro u p )
This selects the desired waveform’s group.
N u m b e r (W a ve n u m b e r)
VELO CO N TRO L
This selects the desired waveform by its number. You can
choose a separate waveform for each of the XV-3080’s left
and right channels.
W MT Ve lo city Co n tro l Sw itch
This determines whether Velocity messages from a MIDI
keyboard or sequencer will be recognized (ON), or ignored
(OFF).
The selected wave’s name will appear to the right of the
wave number parameter.
When set to RANDOM, the Patch’s constituent Tones will
Ga in (W a ve g a in )
sound randomly, regardless of any Velocity messages.
This specifies the gain (or amplitude) of the waveform. The
value changes in 6 dB (decibel) steps – an increase of 6 dB
doubles the waveform’s gain. If you intend to use the Booster
to distort the waveform’s sound, set this parameter to its
maximum value.
W MT PAN (W MT W a ve Pa n )
Pa n (W a ve p a n )L6 4 –0 –6 3 R
This establishes the stereo location of the waveform. L64
places it hard left, 0 outs it dead-center and 63R pans it hard
right.
Le ve l (W a ve le ve l) 0 –1 2 7
This adjusts the volume of each of the Rhythm Tone’s
waveforms to establish the desired volume balance between
the waves.
* The overall panning of the entire Rhythm Tone is set by the
Tone Pan parameter (TVA page), offsetting the WMT Wave
Pan value. (p. 117)
* The overall volume of each waveform is determined by the
Tone Level setting (TVA page) combined with the WMT
Wave Tone Level setting. (p. 117)
Rn d Pa n (W a ve ra n d o m p a n sw itch )
Use this setting to cause the waveform’s panning to change
randomly each time a key is pressed (ON) or not (OFF).
Sw itch (W a ve sw itch )
The range of the panning change is set by the Tone Rhythm
Pan Depth setting (TVA page). (p. 117)
This specifies whether the Rhythm Tone will sound (ON) or
not (OFF). In order to make best use of the available number
of simultaneous voices, unused Rhythm Tones should be
turned off.
Alt Pa n (W a ve a lte rn a te p a n sw itch )
Use this setting to cause the waveform’s stereo position to
flip from the left to the right each time a key is pressed (ON)
or not (OFF).
W a ve Te m p o Sy n c
This determines whether the waveform is synchronized
The stereo width of the change is set by the Tone Rhythm
Pan Depth setting (TVA page). (p. 118)
(ON) or not synchronized (OFF) to the Patch’s tempo.
W MT VEL RAN G (W MT Ve lo city Ra n g e )
W MT TUN E
Lo w e r/ Up p e r (Ve lo city ra n g e lo w e r/ u p p e r)
Co a rse (W a ve co a rse tu n e ) -4 8 –+4 8
This determines what will happen to the waveform’s level
when it is played at a velocity lower or higher than its
specified velocity range. Higher settings produce a more
gradual change in volume. If you don’t want notes played
outside the specified velocity range to be heard at all, set this
to 0.
This adjusts the pitch of Rhythm Tone in semitone steps (-4–
+4 octaves).
Fin e (W a ve fin e tu n e ) -5 0 –+5 0
This adjusts the pitch of the Rhythm Tone in 1-cent steps (1/
100th of a semitone) over a range of half a semitone up or
down.
L.Fa d e / U.Fa d e (Ve lo city fa d e w id th lo w e r/
u p p e r)
This sets the lowest and highest velocities at which the
waveform will sound. This feature is useful when you want
different waveforms to be heard depending on how hard you
W MT FXM (W MT Fre q u e n cy Cro ss
Mo d u la tio n )
FXM (Frequency Cross Modulation) uses a specified
1 1 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
waveform to apply frequency modulation to the currently
selected waveform, creating complex overtones. This can be
useful when creating wilder sounds or sound effects.
higher settings result in more extreme enveloping. Negative
(-) settings invert the direction of the changes made by the
Pitch Envelope.
Sw itch (W a ve FXM sw itch 1 –4 )
V-Se n s (Pitch e n ve lo p e ve lo city se n sitivity )-6 3 –
+6 3
This sets whether FXM will be used (ON) or not (OFF).
Adjust this parameter when you want your keyboard
playing dynamics (velocity) to affect the amount of pitch
enveloping. With higher settings, there will be a greater
difference in the amount of enveloping when notes are
played softly or when they’re played hard. Negative (-)
settings will reverse the direction of change.
Co lo r (W a ve FXM co lo r)
This specifies how FXM will perform its frequency
modulation. Higher settings result in a grainier sound, while
lower settings result in a more metallic sound.
De p th (W a ve FXM d e p th )
V-T1 (Pitch e n ve lo p e tim e 1 ve lo city
This specifies the depth of the modulation produced by FXM.
se n sitivity ) -6 3 –+6 3
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the pitch
envelope. With higher settings, the T1 value will change
more significantly depending on whether you play softly or
with greater force. With positive (+) settings, greater
keyboard velocity will reduce the T1 setting. With negative (-
) settings, greater keyboard velocity will increase the T1
setting.
Mo d ify in g a Rh y th m To n e ’s Pitch
(PITCH)
PITCH (To n e p itch )
Co a rse (To n e co a rse tu n e ) C-1 to G9
This selects the basic pitch at which the percussion
instrument sound will play.
V-T4 (Pitch e n ve lo p e tim e 4 ve lo city
se n sitivity ) -6 3 –+6 3
Fin e (To n e fin e tu n e ) -5 0 –+5 0
This adjusts the pitch of the percussion instrument sound in
1-cent steps (1/ 100th of a semitone) over a range of half a
semitone up or down.
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the pitch
envelope. With higher settings, the T4 value will change
more significantly depending on whether you play softly or
with greater force. For positive (+) settings, keyboard
velocity will reduce the T4 setting. For negative (-) settings,
keyboard velocity will increase the T4 setting.
Ra n d o m (To n e ra n d o m p itch d e p th ) 0 –1 2 0 0
This specifies the width of random pitch deviation that will
occur each time a key is pressed. If you don’t want random
pitch changes, set it to 0. The parameter can be adjusted in
units of 1 cent (1/ 100th of a semitone).
L0 (Pitch envelope level 0) -63–+63
This sets the amount of change applied to the Rhythm Tone’s
basic pitch when a key is first pressed.
PCH EN VELO PE (Pitch En ve lo p e )
T1 –T4 (Pitch e n ve lo p e tim e 1 –4 ) 0 –1 2 7
These parameters determine the amount of pitch enveloping
– changes to your basic pitch settings that occur over time –
the effect of velocity on the pitch envelope, and the basic
These settings determine the times over which the basic pitch
settings will change from one pitch envelope level (L1–L4) to
the next.
characteristics of the pitch envelope itself.
fig.6-08.e
L1 –L4 (Pitch e n ve lo p e le ve l 1 –4 ) -6 3 –+6 3
T1
T2
T3
T4
Each pitch envelope level value determines an amount of
L1
change to be applied to the Rhythm Tone’s basic pitch.
L0
L3
Pitch
Time
key is
key is
pressed
L2
released
L4
De p th (Pitch e n ve lo p e d e p th ) -1 2 –+1 2
This determines the amount of pitch enveloping to be used –
1 1 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
lower cutoff frequency settings reduce a Rhythm Tone’s
upper harmonics for a more rounded, warmer sound. Higher
settings make it sound brighter.
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)
The settings for the TVF (Time Variant Filter) allow you to
change a Rhythm Tone’s timbral content by altering its
brightness or thickness.
When Filter Type is BPF, the cutoff frequency setting
determines the range of frequencies within the Rhythm Tone
that will be heard. This can be useful when creating
distinctive sounds.
TVF FILTER
When Filter Type is HPF, higher settings of the cutoff
frequency decrease the level of the Rhythm Tone’s low
frequencies, preserving its brighter qualities.
Ty p e (TVF filte r ty p e )
This selects a filter type. A filter typically reduces, or
attenuates, a specific frequency range within a Tone in order
to accentuate its other frequencies.
When Filter Type is PKG, the cutoff frequency setting
determines the range of frequencies to be emphasized.
OFF: No filter is used.
Re so n a n ce (TVF re so n a n ce ) 0 –1 2 7
LPF: A Low Pass Filter reduces the volume of frequencies
above the cutoff frequency in order to round off, or un-
brighten, the sound. This is the most common filter used in
synthesizers.
This increases the level of the cutoff frequency to add a
popular classic synth character to the sound. Excessively
high settings can produce oscillation, causing the sound to
distort.
fig.6-09.e
BPF: A Band Pass Filter reduces the volume of frequencies
below and above the cutoff frequency range. This is most
effective when creating sounds with strong characteristics
since it can accentuate a desired range of frequencies
anywhere in the sound.
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
HPF: A High Pass Filter reduces the volume of the
frequencies below the cutoff frequency. This is suitable for
creating percussive sounds by rolling of their lower
frequencies, thus 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.
Low
LPF2: Low Pass Filter 2. This reduces the volume of all
frequencies above the cutoff frequency. This differs from LPF
in that you can control the amount of the reduction using the
TVF ENVELOPE settings while still maintaining a fixed
cutoff frequency.
TVF VELO CITY
This sets the amount of change to the original cutoff
frequency in response to differences in velocity, as well as the
velocity response curve and velocity’s effect on Resonance.
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
V-Cu to ff (TVF cu to ff ve lo city se n sitivity ) -6 3 –
+6 3
This sets the amount of change to the Cutoff setting to be
applied as a result of changes in playing velocity. With
higher settings, there is a greater amount of change between
softly and strongly played notes. Negative (-) settings reverse
the direction of change.
* This disables the Resonance setting.
LPF3: Low Pass Filter 3 reduces the volume of frequencies
above the cutoff frequency. While similar to LPF2, it filter
reduces the frequencies more gently than LPF2.
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
V-Cu rve (TVF cu to ff ve lo city cu rve ) FIXED/ 1 –7
This selects one of seven curves that determine how
keyboard playing dynamics (velocity) influence the Rhythm
Tone’s cutoff frequency. The selected curve is displayed
graphically to the right of its value.
* This disables the Resonance setting.
Cu to ff (TVF cu to ff fre q u e n cy ) 0 –1 2 7
This selects the frequency at which the filter begins to have
When V-Curve is set to “FIXED,” the cutoff frequency
remains unchanged regardless of how hard or soft the keys
are played.
an effect on the waveform’s frequency components.
With LPF/ LPF2/ LPF3 selected for the Filter Type parameter,
1 1 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
dynamics (velocity) to affect T4 (Time 4) of the TVF envelope.
With higher settings, the T1 value will change more
V-Re so n a n ce (TVF re so n a n ce ve lo city
se n sitivity ) -6 3 –+6 3
Use this parameter when you want velocity to affect the
amount of Resonance. With higher settings, there is a greater
difference in the amount of Resonance between softly and
strongly played notes. Negative (-) values reverse the
direction of the change.
significantly depending on whether you play softly or with
greater force. With positive (+) settings, greater keyboard
velocity will reduce the T4 setting. With negative (-) settings,
greater keyboard velocity will increase the T4 setting.
fig.6-10.e
T1
T2
T3
T4
TVF EN VELO PE
L1
These parameters determine the amount of filter enveloping
– changes to your original cutoff frequency setting that occur
over time – the effect of velocity on the TVF envelope, and
the basic characteristics of the TVF envelope itself.
L0
L3
L2
L4
Cutoff
Frequency
Time
key is
key is
De p th (TVF e n ve lo p e d e p th ) -6 3 –+6 3
This adjusts the amount of filter enveloping. Higher settings
produce more change. Negative (-) values invert the effect of
the TVF envelope.
pressed
released
L0 (TVF e n ve lo p e le ve l 0 ) 0 –1 2 7
This sets the amount of change applied to the cutoff
frequency setting when the key is first pressed.
V-Se n s (TVF e n ve lo p e ve lo city se n sitivity ) -6 3 –
+6 3
T1 –4 (TVA e n ve lo p e tim e 1 –4 ) 0 –1 2 7
Use this parameter when you want keyboard playing
dynamics (velocity) to affect the depth of the TVF Envelope.
With higher settings, there is a greater difference in the TVF
envelope depth when you play softly or hard. Negative (-)
settings reverse the direction of change.
These settings determine the times over which the cutoff
frequency setting will change from one TVF envelope level
(L1–L4) to the next.
L1 –L4 (TVF e n ve lo p e le ve l 1 –4 ) 0 –1 2 7
Each TVF envelope level value determines an amount of
change to be applied to the original cutoff frequency setting.
V-Cu rve (TVF e n ve lo p e ve lo city cu rve ) FIXED/
1 –7
This selects one of seven velocity curves that determine how
velocity will affect the depth of the TVF Envelope. The
selected curve is displayed graphically to the right of its
value.
Ma k in g th e Vo lu m e Ch a n g e
(TVA)
The TVA (Time Variant Amplifier) controls the Rhythm
When set to “FIXED,” the TVF envelope depth remains
Tone’s volume changes and stereo positioning.
unchanged, regardless of how hard or soft you play.
TVA
VT-1 (TVF e n ve lo p e tim e 1 ve lo city se n sitivity )
-6 3 –+6 3
Le ve l 0 –1 2 7
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVF envelope.
With higher settings, the T1 value will change more
significantly depending on whether you play softly or with
greater force. With positive (+) settings, greater keyboard
velocity will reduce the T1 setting. With negative (-) settings,
greater keyboard velocity will increase the T1 setting.
This sets the Rhythm Tone’s basic volume. This setting is
useful primarily for adjusting the volume balance between
Rhythm Tones in a Rhythm Set.
* The overall volume of the Rhythm Set is set by the Rhythm
Level (RHYTHM COMMON page) setting, raising or
lowering the Tone level settings of its individual Rhythm
Tones by the selected amount. (p. 111)
Use this parameter when you want velocity to affect T1
(time) of the TVF envelope. For higher settings, there will be
a greater difference between softly and strongly played
notes. For positive (+) settings, keyboard velocity will speed
up the T1 time. For negative (-) settings, keyboard velocity
will slow down the T1 time.
Pa n (Pa n )L6 4 –0 –6 3 R
This specifies the stereo position of the Rhythm Tone. L64
places the Rhythm Tone hard left, 0 puts it dead-center and
63R pans it hard right.
Ra n d o m (Ra n d o m p a n d e p th ) 0 –6 3
Use this parameter to activate random panning, note-by-
note. Higher values result in more extreme fluctuations in
VT-4 (TVF e n ve lo p e tim e 4 ve lo city se n sitivity )
-6 3 –+6 3
Use this parameter when you want keyboard playing
1 1 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
the Rhythm Tone’s stereo placement.
TVA EN VELO PE
These parameters set the characteristics of the TVA envelope,
Alte rn a te (Alte rn a te p a n d e p th ) L6 4 –6 3 R
which applies changes over time to the Rhythm Tone’s TVA
This setting causes panning to be alternated between left and
right each time a key is pressed. Higher values result in a
greater left/ right width. You can select the stereo placement
of the first key using this parameter – its opposite will be
used for the second note, and so on back and forth. If you
want to alternate the pan position of two Rhythm Tones, set
them to the exact opposite L and R settings.
level setting.
fig.6-1z.e
Level
T1
T2
T3
T4
L1
L2
L3
Time
key is released
TVA VELO CITY
key is pressed
Ve lo city Se n s (TVA le ve l ve lo city se n sitivity ) -
6 3 –+6 3
T1 –T4 (TVA e n ve lo p e tim e 1 –4 )
Use this setting when you want keyboard touch (velocity) to
affect the Rhythm Tone volume. Set this to a positive value to
have the changes in tone volume increase the more forcefully
the keys are played; to make the Rhythm Tone play more
softly as you play harder, set this to a negative value.
These settings determine the times over which the Rhythm
Tone level setting will change from one TVA envelope level
(L1–L4) to the next.
L1 –L3 (TVA e n ve lo p e le ve l 1 –3 )
Each TVA envelope level value determines an amount of
change to be applied to the original Rhythm Tone level
setting.
Ve lo city Cu rve (TVA le ve l ve lo city cu rve )
FIXED/ 1 –7
This setting allows you to select from seven velocity curves
that determine how the force with which the keyboard is
played is to affect the Rhythm Tone’s volume. The selected
curve is displayed to the right of its parameter value.
O th e r Se ttin g s (CO N TRO L)
CO N TRO L
When set to “FIXED,” the Rhythm Tone’s volume will not be
affected by the force with which the keyboard is played.
Be n d Ra n g e (To n e p itch b e n d ra n g e ) 0 –4 8
Specifies the amount of pitch change that will occur when
you move the Pitch Bend Lever. The left value specifies the
pitch change that will occur when the lever is moved fully
left (or down on some MIDI controllers). The right value
specifies the pitch change that will occur when the lever is
moved fully right (or up). The left value has a range of -48–0
(-4–0 octaves), and the right value has a range of 0–+48 (0–4
octaves).
TVA TIME EN V (TVA tim e e n ve lo p e )
This specifies the manner in which keyboard velocity will
affect the times of the TVA envelope.
V-T1 (TVA e n 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 TVA
envelope. With higher settings, the T1 value will change
more significantly depending on whether you play softly or
with greater force. With positive (+) settings, greater
keyboard velocity will reduce the T1 setting. With negative (-
) settings, greater keyboard velocity will increase the T1
setting.
En ve lo p e Mo d e (To n e e n ve lo p e m o d e ) N O -
SUSTAIN / SUSTAIN
When a loop-type waveform 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.”
V-T4 (TVA e n ve lo p e tim e 4 ve lo city se n sitivity )
* If a one-shot type Wave is selected, it will not sustain even if
this parameter is set to “SUSTAIN.”
Use this parameter when you want key-off velocity – the
speed at which you release a key – to affect T4 (Time 4) of the
TVA envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, faster key-off
velocity will reduce the T4 setting. With negative (-) settings,
faster key-off velocity will increase the T4 setting.
Mu te Gro u p O FF/ 1 –3 1
The Mute Group function allows you to designate two or
more Rhythm Tones that are not allowed to sound
simultaneously. For example, in a real-world acoustic drum
1 1 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
set, an open hi-hat and a closed hi-hat sound will never occur
simultaneously, since they’re produced by the same
instrument – the hi-hat is either open or closed, but not both
at the same time. To simulate this behavior on the XV-3080,
you can set the open and closed hi-hat Rhythm Tones to the
same Mute Group, thus preventing them from being heard at
the same time. If, for example, the open hi-hat Rhythm Tone
is playing and the closed hi-hat’s key is struck, the closed hi-
hat Rhythm Tone will turn off the open hi-hat before
sounding.
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 Ke y Co p y )
Rhythm Tone settings from any Rhythm Set can be copied to
any key of the currently selected Rhythm Set. This function
can save time and effort when creating a Rhythm Set.
1 . Make sure that a Rhythm Tone(destination) is selected.
2 . Press [UTILITY] to make its indicator light.
3 . Press [u] / [d] to select the UTIL 1 page.
You can have up to 31 Mute Groups per Rhythm Set. If you
do not want a Rhythm Tone to use a Mute Group, turn the
feature off.
4 . Use [l] / [r] to make “COPY” blink, and then press
[ENTER].
Assig n Ty p e MULTI/ SIN GLE
The RHYTHM KEY CPY page will appear.
fig.6-11.e
This setting determines whether a Rhythm Tone note that is
playing is stopped when the same note is played again
(SINGLE), or whether it will continue to play, layered with
the new note.
Copy source Rhythm Set
(group, number)
Copy source Rhythm Set
name
Rx MIDI (Re ce ive MIDI)
Copy source Key
Copy destination Key
These parameters determine how each Rhythm Tone in a
Rhythm Set will respond to received Expression/ Pan/ Hold
1 MIDI messages.
5 . Press [l] / [r] to move the cursor to the parameter that
you wish to set.
6 . Turn the VALUE dial or press [INC] / [DEC] to select the
Ex p re ssio n (To n e re ce ive e x p re ssio n ) O FF/ O N
desired value.
If you want the Rhythm Tone to respond to Expression
messages, turn this parameter on. If not, turn it off.
You can also select the desired key setting by pressing [E]–
[H].
Pa n (To n e re ce ive p a n m o d e )
[E]: This selects the key one octave below the currently
CONT:Pan messages will be responded to immediately,
selected key.
instantly changing the stereo position of the Rhythm Tone.
[F]: This selects the key a semitone below the currently
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.
selected key.
[G]: This selects the key a semitone above the currently
selected key.
[H]: This selects the key one octave above the currently
selected key.
Ho ld -1 (To n e re ce ive h o ld 1 ) O FF/ O N
* If a MIDI keyboard is connected, you can select a Rhythm Set
key by pressing the corresponding key on the MIDI keyboard.
If you want the Tone to respond to Hold 1 messages, turn
this parameter on. If not, turn it off.
7 . Press [ENTER] to execute the Copy – an asterisk (“*”) is
placed before the destination Rhythm Tone in the
Effe cts Se ttin g s (EFFECTS)
display.
fig.6-12
Refer to “Adjusting Effect Settings in Rhythm Set mode” (p.
31).
8 . Press [EXIT] to return to the RHYTHM PLAY page.
Sa vin g Pa tch e s Yo u Cre a te
* To specify the currently selected Patch as the copy source, set
Source to TEMP.
Refer to “Saving a Rhythm Set” (p. 122).
1 1 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 6 . Cre a tin g a Rh y th m Se t
Compare Function
You can use the Compare function during the Rhythm
Key Copy operation. The Compare function allows you
to play the Rhythm Set currently occupying the copy
source.
To do so, press [UNDO] to access the RHYTHM
COMPARE page. The new Rhythm Set can also be
selected from the RHYTHM COMPARE page – however,
it is not possible to select patches from XP-A–F. After
selecting the desired Rhythm Set, return to the previous
page by pressing [UNDO] or [EXIT].
fig.6-13.e
Copy source Rhythm Set (group, number, name)
* If one of the TEMP Rhythm Sets is selected as the source
Rhythm Set (Source), the Compare function is not
available.
* Please be aware that when the Compare function plays a
Rhythm Set, it may sound slightly different than when it
is played normally.
Rhythm Set Name Copy
You can copy the name of a Rhythm Set to the current
Rhythm Set.
fig.6-14.e
Copy source Rhythm Set (group, number, name)
1 . Select the Rhythm Set(destination) whose name you
wish to copy.
2 . Press [UTILITY] to make its indicator light.
3 . Press [u] / [d] to select the UTIL 1 page.
4 . Use [l] / [r] to make “COPY” blink, and then press
[ENTER].
5 . Press [u] / [d] to select the PATCH NAME CPY
page.
6 . Turn the VALUE dial or press [INC] / [DEC] to
select the source Rhythm Set.
7 . Press [ENTER] to execute the Copy operation.
1 2 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
Re g iste rin g Fa vo rite Pa tch e s
in th e FAVO RITE LIST
Directly registering to the list on the PATCH/
RHYTHM PLAY page
You can bring together your favorite and most frequently
The following display appears when [SHIFT] is pressed
used Patches in one place by registering them in the
while on the PATCH/ RHYTHM PLAY page.
FAVORITE LIST. The FAVORITE LIST gives you immediate
fig.7.02a
access to your favorite Patches wherever they are stored,
whether in the XV-3080 itself, on Wave Expansion Boards, or
on memory cards. You can register up to 64 Patches in this
If [ENTER] is pressed at this stage, the data is registered
to the lowest-numbered opening on the list.
list.
Although the message “COMPLETED” instantly
appears in the display when the registration is executed,
if the registration cannot be carried out because the list is
full, the message “Favorite List Full” is displayed
instead.
If a Patch on a Wave Expansion Board or memory card is
registered in the list and selected, no sound will be produced
for the Patch unless the required Wave Expansion Board or
memory card is inserted.
1 . On the PATCH PLAY page, choose the Patch you want
to register.
Se le ctin g Pa tch e s fro m th e
FAVO RITE LIST
2 . Press VALUE dial.
The FAVORITE LIST page appears.
fig.7-01
1 . Press VALUE dial.
The FAVORITE LIST page appears.
2 . Turn the VALUE dial or press [INC]/ [DEC] to select the
desired Patch.
3 . Turn the VALUE dial or press the [INC] or [DEC]
3 . When you press [ENTER], the Patch is selected and you
buttons to select the desired registration number.
will be returned to the previous page.
* No data is registered at the factory settings.
* To cancel the selection, press [EXIT].
You can press VOLUME dial to check the sound of the Patch
currently being registered.
4 . Hold down [SHIFT] and press [ENTER] to execute the
registration and return to the PATCH PLAY page.
Pressing [SHIFT] switches the display to the Registration
page shown in the figure below.
fig.7-02
To cancel the registration, press the [EXIT] button.
* To cancel the regstration, select the file you want to cancel,
and then hold down [SHIFT] and press [UNDO].
1 2 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
* By holding down [SHIFT] and pressing [UTILITY], you can
move directly to the PATCH WRITE page.
Sa vin g Ed its to th e XV-
3 0 8 0 ’s In te rn a l Me m o ry
If you turn the power off or select another Patch,
Performance, or Rhythm Set after you have modified a Patch,
Performance or Rhythm Set, the changes you have made will
be lost. If you wish to preserve the data, store it into the XV-
3080’s USER memory.
Compare Function (PATCH)
The Compare function allows you to play the Patch
currently occupying the writing destination, so that you
can check whether you really want to overwrite it. To
play the Patch of the writing destination, press [UNDO]
to access the PATCH COMPARE page. You can select
the writing destination Patch in this display as well.
* Patch, Performance, and Rhythm Set settings cannot be saved
directly to memory cards. To save on a memory card, refer to
“Transmitting to a Memory Card” (p. 125).
pressing [UNDO] or [EXIT].
fig.7-04.e
Internal Write Protect
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 write data when it is on, the following display will
Writing destination Patch (group, number, name)
* Please be aware that when the Compare function plays a
Patch, the Patch may sound slightly different than when
it is played normally.
appear.
fig.7-03
Sa vin g a Pe rfo rm a n ce
1 . Make sure that Performance you wish to save is selected.
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.
2 . Press [UTILITY] to make its indicator light.
3 . Press [
] or [
] or [
] to select the UTIL 1 page.
Once you disable Internal Write Protect, it will remain
4 . Use [
] to make “WRITE” blink, and then
disabled until the XV-3080’s power is turned off.
press [ENTER].
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
number of the memory location in which you wish to
save the Performance (USER area).
Sa vin g Pa tch e s (PATCH W RITE)
1 . Make sure that the Patch you wish to save is selected.
2 . Press [UTILITY] to make its indicator light.
6 . Press [ENTER] to save the Performance and return to the
PERFORM PLAY page.
To cancel the procedure, press [EXIT].
3 . Press [
] or [
] or [
] to select the UTIL 1 page.
* By holding down [SHIFT] and pressing [UTILITY], you can
move directly to the PERFORM WRITE page.
4 . Use [
] to make “WRITE” blink, and then
press [ENTER].
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
number of the memory location in which you wish to
save the Patch (USER area).
Sa vin g a Rh y th m Se t
1 . Make sure that the Rhythm Set you wish to save is
selected.
6 . Press [ENTER] to save the Patch and return to the
2 . Press [UTILITY] to make its indicator light.
PATCH PLAY page.
To cancel the procedure, press [EXIT].
3 . Press [
] or [
] or [
] to select the UTIL 1 page.
4 . Use [
] to make “WRITE” blink, and then
press [ENTER].
1 2 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
of the memory location in which you wish to save the
Rhythm Set (USER area).
PRESET:This copies the factory settings of the memory
location in which the Patch, Performance, Rhythm Set or
Rhythm Tone is stored into the Temporary memory.
* If the current data is a Patch, Performance or Rhythm Set from
PRESET memory (PR-A–F or PR-H(GM)), the factory
settings from the same-numbered USER memory location will
be copied into the Temporary memory.
6 . Press [ENTER] to save the Rhythm Set and return to the
RHYTHM PLAY page.
To cancel the procedure, press [EXIT].
* By holding down [SHIFT] and pressing [UTILITY], you can
move directly to the RHYTHM WRITE page.
1 . Select the Performance, Patch or Rhythm Set you wish to
initialize.
2 . Press [UTILITY] to make its indicator light.
Compare Function (RHYTHM SET)
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 listen to the stored Rhythm Set, press [UNDO] to
display the RHYTHM COMPARE page. On this display,
you can also hear a Patch stored in a memory location
you are thinking of overwriting. After listening to the
Rhythm Set (or Patch), return to the previous page by
3 . Press [
] or [
] or [
] to select the UTIL 2 page.
4 . Press [
] to make “INIT” blink.
5 . Press [ENTER].
The INIT page appropriate to the currently selected data
appears in the display.
Patch initialize
fig.7-06 (patch init)
pressing [UNDO] or [EXIT].
fig.7-05.e
Performance initialize
fig.7-07 (perform init)
Writing destination Rhythm Set (group, number, name)
* Please be aware that when the Compare function plays a
Patch, it may sound somewhat different than when it is
played normally.
Rhythm Set initialize
fig.7-08 (rhythm init)
In itia lizin g a So u n d
6 . Press [ENTER].
This function resets all of the parameters in the current Patch,
Performance, Rhythm Set or Rhythm Tone to their standard
or factory default settings.
When the initialization is finished, “COMPLETED” appears
momentarily in the display, and you are returned to the
PATCH PLAY page.
* When you play a Patch, Performance, Rhythm Set or Rhythm
Tone, you’re actually playing it from the XV-3080’s
Temporary memory – the Patch, Performance, Rhythm Set or
Rhythm Tone is instantly copied into the Temporary memory
when you select it. During initialization, only the copy is
affected, not the version saved in memory. If you wish to
restore all of the XV-3080’s settings to their factory values,
including the memory locations in its SOUND LIBRARY,
perform a Factory Reset. (p. 124)
* The name of the Performance/Patch/Rhythm Set will be
displayed as “INIT PERFORM/PATCH/RHYTHM.”
Mo d e (In itia lize m o d e )
DEFAULT:This resets the data currently in the Temporary
memory to the standard values called “initial data”: INIT
PATCH, INIT PERFORM or INIT SET. Use this setting when
you wish to create a sound from scratch.
1 2 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
5 . Press [INC] to switch the parameter on; press [DEC] to
switch it off.
The Rhythm Set Initialize operation can also be used to
initialize the settings of only an individual percussion
instrument sound (key) that you specify. In this case,
move the cursor to Key, and select the percussion
instrument sound that you wish to initialize. You can
specify the percussion instrument sound by pressing [E]-
6 . Press [EXIT] to return to the previous page.
Re sto rin g All Se ttin g s to
Th e ir De fa u lts
[H]. (p. 112)
fig.7-08
This function resets all the XV-3080’s settings to their factory
default values.
This operation clears the contents of the USER memory. If
you wish to preserve any of its contents, you must save them
on a commercially available memory card (p. 125) or to an
performing the Factory Reset.
Pro te ctin g th e In te rn a l
Me m o ry (PRO TECT)
1 . Press [UTILITY] to make its indicator light.
This feature helps prevent the accidental overwriting of
USER memory to ensure that Patch, Performance or Rhythm
2 . Press [
] or [
] or [
] to select the UTIL 2 page.
Set data is not accidentally erased.
fig.7-10
3 . Use [
] to make “FACTORY RESET” blink.
4 . Press [ENTER].
The FACTORY RESET page appears.
Internal (Internal Write Protect)
5 . Press [ENTER].
The Internal Write Protect setting prevents the Write
operation from accidentally overwriting USER memory
locations. When this is set ON, the data cannot be written.
Data can be only written when Internal Write Protect is off.
When the XV-3080’s 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.
“Are You Sure?” appears.
6 . If you’re ready to proceed, press [ENTER], and the
Factory Reset operation will be executed.
“Executing...” appears in the display, followed by
“COMPLETED.” You are then returned to the PATCH PLAY
page.
* If you wish to cancel the Factory Reset, press [EXIT] in Step 6.
Exclusive (Exclusive Protect)
* If Internal Write Protect is turned ON, the following display
will appear, and the Factory Reset operation will not be
The Exclusive Protect setting prevents System Exclusive
messages received from an external MIDI device from
rewriting USER memory settings. When this feature is on,
the data cannot be rewritten by System Exclusive messages.
When it is off, data can be rewritten, even if the Internal
Write Protect setting is set to ON.
executed.
fig.7-11
Change the displayed ON to OFF and press [ENTER] to turn
Internal Write Protect off.
1 . Press [UTILITY] to make its indicator light.
“Are You Sure?” will be displayed. Press [ENTER].
2 . Press [
] or [
] or [
] to select the UTIL 1 page.
3 . Use [
] to make “PROTECT” blink, and
then press [ENTER].
4 . Press [
] or [
] to move the cursor beneath the
parameter you wish to set.
1 2 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
1 . Press [UTILITY] to make its indicator light.
Tra n sm ittin g So u n d Se ttin g s
2 . Press [
] or [
] or [
] to select the UTIL 2 page.
Da ta Tra n sm issio n to a Me m o ry
Ca rd
3 . Use [
] to make “SAVE” blink, and then
press [ENTER].
XV-3080 can use a commercially available memory
card.(SmartMedia; Both 3.3 V and 5 V are supported.)
4 . Press [ ] or [
] to move the cursor, and then
create the name by turning the VALUE dial or pressing
the [INC] or [DEC] buttons to select the desired
characters (up to 8 characters).
Use this card when you wish to save data for which there is
no more space in the internal USER group, or so that the data
you created can be used on another XV-3080.
Pressing [SHIFT] displays the following in the bottom right
corner of the page.
Memory card must be formatted before they can be used.
fig.7-14
●●Before Using a Memory Card
* Insert memory cards with the gold contacts facing downwards.
* Be sure to insert the memory card all the way into the slot.
INS:This inserts a space at the cursor position, shifting the
* Do not touch the contacts of the memory card or allow them to
become soiled.
remaining characters one space to the right.
DEL:This deletes the character at the cursor position, shifting
* Never remove the memory card or turn off the power while an
operation – such as reading or writing data, or formatting – is
being performed on the memory card. Doing so can destroy the
data in the memory card and/or render the memory card itself
unusable.
the remaining characters one space to the left.
Press each of the buttons to execute the corresponding
function (refer to the figure).
fig.7-15
* If you affix the write-protect label to the write-protect area of
the memory card, you will not be able to format the card or
write data to it. If you wish to format the card or write data to
it, do so without the label affixed. For details on the write-
protect sticker, refer to the owner’s manual for your memory
card.
* If you attempt to format a card or write data to it when the
write-protect label is affixed, the following message will
* To overwrite a previously saved file on the memory card, select
its file number.
appear.
fig.7-12
5 . Press [ENTER] to execute the save operation.
* 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.
Tra n sm ittin g to a Me m o ry Ca rd (SAVE)
* The number of files that can be saved on a card will depend on
the memory capacity of the card itself.
The Patch, Performance, Rhythm Set, and System settings in
internal memory can be saved as a single file to a memory
card, with the name you specify.
Changes in the registration of the groups (CD-A through CD-
H) are made in the CARD INFO page (p. 127).
Saved files are registered to the Sound Library CARD A-H,
and can be managed just like those in PRESET.
fig.7-13
Tra n sm ittin g Da ta In to th e XV-3 0 8 0
Me m o ry (Lo a d )
A data file containing Patch, Performance, Rhythm Set and
System settings can be loaded into the XV-3080.
Loading a file will overwrite data currently resident in the
Temporary memory. To preserve the existing data, save it to
1 2 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
a memory card before loading new data.
memory card so that you can save XV-3080 data on it.
fig.7-16
* Please be aware that formatting will erase all the data
currently stored on the memory card.
fig.7-18
1 . Press [UTILITY] to make its indicator light.
2 . Press [
] or [
] or [
] to select the UTIL 2 page.
Press [ENTER], and the Format operation will be executed.
* To cancel the operation, press [EXIT].
3 . Use [
] to make “LOAD” blink, and then
press [ENTER].
Re n a m in g a File (REN AME)
4 . Turn the VALUE dial or press [INC]/ [DEC] to select the
This operation allows you to change the name of a file
already stored on the memory card.
data file you wish to load.
5 . Press [ENTER], and the data will be loaded into the XV-
You can assign the file a name of up to eight characters. For
more detailed information, refer to Step 4 of “Transmitting to
a Memory Card (Save)” (p. 125).
3080.
* If you wish to load only a specific portion of the data file, refer
to “Transmitting To User Memory” (p. 128).
fig.7-19
Although Patches, Performances, and Rhythm Sets stored on
memory cards can be called up directly for use by using
Program Change messages or with the panel controls, they
cannot be edited if called up directly using the panel controls
or MIDI Exclusive messages. If you want to edit these, first
send them to the internal memory before editing.
De le tin g Un w a n te d File s (DELETE)
Use this operation to delete unwanted files from a memory
card.
fig.7-20
O th e r Me m o ry Ca rd -Re la te d
Se ttin g s (CARD)
Turn the VALUE dial to select the unwanted file, and then
press [ENTER] to delete it from the card.
The CARD page has the following five functions.
fig.7-17
* Press [EXIT] to cancel the operation.
Co p y in g File s o n O n e Me m o ry Ca rd to An o th e r
Ca rd (File Co p y )
The following steps describe the basic procedure.
You can take files stored on one memory card and copy them
to another memory card.
1 . Press [UTILITY] to make its indicator light.
* The copy destination memory card must already be formatted.
2 . Press [
] or [
] or [
] to select the UTIL 2 page.
3 . Use [
] to make “CARD” blink, and then
press [ENTER].
Always be sure to follow the on-screen instructions when
inserting and removing cards during File Copy. Using other
procedures in this operation may result in damage to the
card.
4 . Select the operation – FORMAT, RENAME, DELETE, or
INFO – that you want to perform.
For additional instructions, please refer to each item’s
description in the manual.
Fo rm a ttin g th e Me m o ry Ca rd fo r th e XV-3 0 8 0
(FO RMAT)
Before a newly purchased memory card or a memory card
used with another device can be used in the XV-3080, it must
be formatted on the XV-3080. Formatting initializes a
1 2 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
1 . Insert the memory card containing the files you want to
Pressing [SHIFT] switches the display to the display shown
copy into the slot, then press [Enter].
in the figure below.
fig.7-20a
fig.7-22
The registerd group will be indicated as “*.”
2 . Rotate the VALUE dial to select the file that will be
•
Changing Groups
copied, and then press [ENTER].
fig.7-20b
Rotate the VALUE dial to select the source file to be
changed. Hold down [SHIFT] and press one of the
buttons [A]–[H] to substitute the files for the files
registered in the applicable group.
3 . When the display shown above appears, insert the copy
•
Deleting Groups
destination card and press [ENTER].
Rotate the VALUE dial to select the file to be deleted.
Hold down [SHIFT] and press [UNDO] to execute the
deletion of the group.
4 . Press [
] or [
] to move the cursor, and then
create the name by turning the VALUE dial or pressing
the [INC] or [DEC] buttons to select the desired
characters (up to 8 characters). For more detailed
information, refer to Step 4 of “Transmitting to a
Memory Card (Save)” (p. 125).
Tra n sm ittin g Da ta to a n Ex te rn a l
MIDI De vice (XFER)
fig.7-20c
You can transmit sound generator or System settings that are
in the XV-3080’s memory – or stored on a memory card – to
an external MIDI device or to the XV-3080’s USER memory.
5 . Press [ENTER] to execute the File Copy, and the
Tra n sm ittin g to a n Ex te rn a l MIDI
De vice
following display will appear.
fig.7-20d
The act of transmitting Patch, Performance, Rhythm Set or
System data to an external MIDI device is called a “bulk
dump.” You can perform a bulk dump when two XV-3080s
are connected to each other, or when you wish to store Patch,
Performance, Rhythm Set or System data on an external
When repeating the copy procedure with another file or
other data, press [ENTER]. To exit the operation, press
[EXIT].
MIDI device as a safety backup of your XV-3080 data.
fig.7-23.e
Ch e ck in g th e Co n te n ts o f Me m o ry Ca rd (IN FO )
You can view the number of files on a memory card, its
remaining free memory, and the size of each file. You can
also change and delete registration of groups (CD-A through
Data type
Destination
Source block
CD-H).
fig.7-21
While data is being transmitted, the following display will
appear.
fig.7-24
Pressing [A]–[H] in this window displays the files registered
to the applicable group. The display does not change if there
is no data registered to the group corresponding to the
button pressed.
To cancel data transmission, press [EXIT].
1 2 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
Select the data to be transmitted by choosing one of the
combinations shown below.
4 . Press [ENTER].
5 . Press [ ] / [
] to move the cursor to the
For example, if you wish to transmit the USER group Patches
Destination position, and then select MIDI by turning the
VALUE dial.
001–020, you would specify “PATCH USER:001–020.”
Type
Block
6 . Press [
] / [
] to move the cursor to any other
ALL
USER
TEMP
USER
TEMP
desired parameter.
7 . Turn by the VALUE dial or by press [INC]/ [DEC], select
PERFORM
01–64
the desired value.
-PATCH
+PATCH
*1
*2
8 . Press [ENTER] to execute the data transmission.
* To interrupt the transmission of data, press [EXIT].
CTRL
USER
TEMP
USER
TEMP
USER
PATCH
001–128
9 . Press [EXIT] to return to the previous page.
Tra n sm ittin g to Use r Me m o ry
RHYTHM
SYSTEM
001–002
You can transmit Patch, Performance 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
* 1 The current Performance
* 2 The current Performance and the Patch or Rhythm Set
assigned to each Part of the Performance
new sounds into a Performance.
fig.7-25
Ty p e (Da ta Ty p e )
This specifies the type of data to be transmitted.
Data type
Destination
ALL
: Performance, Patch, and Rhythm Set
Source block
PERFORM : Performance
You can specify the data to be transmitted by selecting the
appropriate combination shown below.
PATCH
: Patch
RHYTHM
SYSTEM
: Rhythm Set
: System
For example, if you wish to transmit only the PR-A group
Patch 001, specify “PATCH PR-A:001–001.”
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.
Blo ck (So u rce Blo ck )
This specifies the source of the data to be transmitted.
USER: Data from USER memory will be transmitted.
TEMP: Data in Temporary memory will be transmitted.
(Example)
CTRL: Transmit messages for Performance Bank Select,
Performance Program Change, and Volume and Pan
messages for the Parts whose Rx parameter
Block
PATCH PR-A:001–005
Destination User:127
If data is transmitted with the above settings, only the two
PR-A group Patches 01 and 02 will be successfully
transmitted – to USER group Patches 127 and 128 – since you
will have attempted to send five Patches to the last two USER
memory locations: 127 and 128. Had you selected 124 as a
destination, memory locations 124–128 would have
accommodated all five Patches.
(PERFORM/ MIDI/ MIDI) is turned on.
De stin a tio n
This sets the MIDI transmission destination.
1 . Press [UTILITY] to make its indicator light.
2 . Press [
] / [
] / [
] to select the UTIL 1 page.
3 . Press [
] to make “XFER” blink.
1 2 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 7 Sa vin g a So u n d Yo u Cre a te
Type
Block
*
XP-A–F can be selected only if the corresponding Wave
Expansion Board is installed.
ALL
PR-A, B
USER *2
PR-A, B *3
CARD
*1
*6
CARD: Performance/ Patch/ Rhythm Set/ Favorite List/
PERFORM
01–64
System data stored on a memory card will be
01–32
transmitted.
01–64
fig.7-26.e
PATCH
USER *2
PR-A–F *3
CARD
001–128
001–128
001–128
*5
*4
File number File name
XP-A–F
USER *2
PR-A–F*3
CARD
De stin a tio n
RHYTHM
1–4
1–2
1–4
This sets the transmission destination to USER.
If the Type parameter has been set to PERFORM, PATCH, or
RHYTHM, you must specify the first memory location
number of the transmission destination.
*5
*4
*6
*6
XP-A–F
CARD
SYSTEM
F-LIST
1 . Press [UTILITY] to make its indicator light.
CARD
*1 Since there are no others, Performances other than PR-A/B
cannot be selected.
2 . Press [
] / [
] / [
] to select the UTIL 1 page.
3 . Press [
] to make “XFER” blink.
*2 Move data within the User Memory in block units. The Move
destination Patch is overwritten.
4 . Press [ENTER].
*3 PR-H uses GM data, and cannot be transmitted.
*4 Depends on the Wave Expansion Board installed
5 . Press [
] / [
] to select the TRANSFER TO MIDI
page.
*5 After designating the file, set the range specifications for the
block being transmitted.
6 . Press [
] / [ ] to move the cursor to the next
desired parameter.
*6 Specify the file.
7 . Turn the VALUE dial or by press [INC]/ [DEC], select the
* If the number sent exceeds the capacity of the User memory,
then transmission of the data stops the moment the memory is
filled.
desired value.
8 . Press [ENTER] to execute the data transmission.
* To interrupt the transmission of data, press [EXIT].
Ty p e (Da ta Ty p e )
9 . Press [EXIT] to return to the previous page.
This specifies the type of data to be transmitted.
ALL
:Performance, Patch, and Rhythm Set
PERFORM :Performance
PATCH
RHYTHM
SYSTEM
F-LIST
:Patch
:Rhythm Set
:System
:Favorite List
Blo ck (So u rce Blo ck )
This specifies the source of the data to be transmitted.
USER:Data from USER memory will be transmitted.
PR-A–F:Preset A–F data will be transmitted.
XP-A–F: Data from a Wave Expansion Board will be
transmitted.
1 2 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 8 O th e r Se ttin g s a n d Ch e ck in g
Sta tu s
Sca le Tu n e (Sca le Tu n e Sw itch )
Ad ju stin g th e O ve ra ll Tu n in g
o f th e XV-3 0 8 0
Turn this on when you wish to use a tuning scale other than
equal temperament.
●The settings in Patch mode (PATCH SCALE)
Ma ste r Tu n e a n d Ma ste r Ke y
1 . Press [PATCH] to make its indicator light.
Sh ift
2 . Press [SYSTEM] to make its indicator light.
The Master Tune and Master Key Shift settings are common
3 . Press the [TUNE] function select button to make its
to all Patches, Performances, Rhythm Sets, and the GM
indicator light.
Mode.
4 . Use [
]/ [
]/ [
] to select the SYSTEM TUNE page.
Ma ste r Tu n e
This adjusts the overall tuning of the XV-3080. The setting is
expressed as the frequency played by the A4 key.
5 . Use [
] to move the cursor to “Scale Tune.”
6 . Press [Inc] to turn the parameter on.
Ke y Sh ift (Ma ste r Ke y Sh ift)
7 . Use [
]/ [
] to select the PATCH SCALE page.
]/ [ ] to move the cursor to the number
This shifts the overall pitch of the XV-3080 in semitone steps.
8 . Press [
1 . Press [SYSTEM] to make its indicator light.
underneath the note you wish to re-tune.
2 . Press the [TUNE] function select button (displayed in
9 . Use the VALUE dial or [INC] / [DEC] to select the
gray) to make its button indicator light.
desired value.
3 . Use [
]/ [
] to select the SYSTEM TUNE page.
]/ [ ] to move the cursor to the number
* If you made a mistake in setting the parameter value, press
[UNDO] to restore the parameter to its original value.
4 . Press [
underneath the item you wish to set.
1 0 . Press [EXIT] to return to the PATCH PLAY page.
●The Setting In Performance mode/GM mode (KEY
5 . Turn the VALUE dial or press [INC] / [DEC] to select the
SCALE)
desired value.
1 . Press [PERFORM] or [GM] to make its indicator light.
* If making a mistake requires you to press [UNDO], the
current parameter’s value will return to the setting that was
in effect when the cursor was first moved to the parameter.
Press [UNDO] again to restore the new setting value.
2 . Press [SYSTEM] to make its indicator light.
3 . Press the [TUNE] function select button to make its
indicator light.
6 . Press [EXIT] to return to the previous page.
4 . Use [
]/ [
]/ [
] to select the SYSTEM TUNE page.
Sca le Tu n e
5 . Use [
] to move the cursor to “Scale Tune.”
The XV-3080 allows you to use temperaments other than
equal temperament. The pitch of each note can be adjusted in
1-cent steps (1/ 100th of a semitone) relative to its equal-
tempered pitch.
6 . Press [Inc] to turn the parameter on.
7 . Use [
]/ [
] to select the KEY SCALE page
corresponding to the note you wish to set.
One set of Scale Tune settings can be created in Patch mode.
In Performance mode and GM system mode, each Part can
have its own Scale Tune settings.
8 . Use [
]/ [
] to select the Part for which you wish
to make settings.
9 . Use the VALUE dial or [INC] / [DEC] to select the
* The selected scale applies to MIDI messages received from an
external MIDI device as well as to local sound generation.
desired value.
* If you make a mistake in setting the parameter value, you can
press [UNDO] to restore the parameter to its original value.
1 3 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 8 O th e r Se ttin g s a n d Ch e ck in g Sta tu s
1 0 . Press [EXIT] to return to the PERFORM/ GM PLAY page.
Ma k in g MIDI-Re la te d
Se ttin g s
<Equal Temperament>
This scale divides an octave into 12 equal parts using the
tuning system that is most widely used in Western
music.
Se ttin g th e MIDI Ch a n n e l
The XV-3080 produces sound and can change its internal
settings in response to MIDI messages that it receives from
other devices. In order for this to occur, it is necessary to
match the MIDI channels of the transmitting device (MIDI
keyboard etc.) to the XV-3080’s MIDI reception channels.
<Pure Temperament (Tonic is 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.
Pa tch / Rh y th m Se t
<Arabian Scale>
When using an external MIDI device – such as a MIDI
keyboard – to play a Patch or Rhythm Set, use the following
procedure to set up the XV-3080 so that it can switch Patches
or Rhythm Sets in response to received MIDI messages.
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-3080, you can use Arabian temperament in the
three keys of G, C and F.
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [MIDI] function select button (displayed in
gray) to make its button indicator light.
Example:
Note
Equal
Pure
Arabian scale
3 . Use [
Rx Ch.”
]/ [
] to select the setting page for “Patch/ Rhy
name
temperament
temperament
(tonic C)
4 . Press [
]/ [
] to move the cursor to the number
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
-6
+45
-2
underneath “Patch/ Rhy Rx Ch.”
C#
D
5 . Use the VALUE dial or [INC] / [DEC] to select the
+4
desired MIDI reception channel.
Eb
E
+16
-14
-2
-12
-51
-8
6 . Press [EXIT] to return to the previous page.
F
Pa rts o f a Pe rfo rm a n ce
F#
G
-10
+2
+43
-4
106).”
G#
A
+14
-16
+14
-12
+47
0
Se le ctin g Pe rfo rm a n ce s Usin g MIDI
Me ssa g e s
Bb
B
-10
-49
If you wish to use MIDI messages from an external device to
select Performances on the XV-3080, you must set the
transmission channel of the external device to match the XV-
3080’s Perform Ctrl Ch – the Performance Control channel.
* When you perform a Factory Reset operation, Perform Ctrl
Ch is reset to “16.” If you wish to change this, use the
following procedure.
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [MIDI] function select button (displayed in
gray) to make its button indicator light.
1 3 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 8 O th e r Se ttin g s a n d Ch e ck in g Sta tu s
Rx GM O n (Re ce ive GM-O N Ex clu sive Sw itch )
3 . Use [
]/ [
] to select the setting page for Perform Ctrl
]/ [ ] to move the cursor to the number
This specifies whether GM-ON (General MIDI System On)
messages will be received (ON) or not (OFF).
Ch.
4 . Press [
Rx GM2 O n (Re ce ive GM2 -O N Ex clu sive
Sw itch )
underneath “Perform Ctrl Ch.”
5 . Use the VALUE dial or [INC] / [DEC] to select the
This specifies whether GM Level2-ON (General MIDI Level 2
System On) messages will be received (ON) or not (OFF).
desired Performance Control channel.
6 . Press [EXIT] to return to the previous page.
Rx GS Re se t (Re ce ive GS Re se t Ex clu sive
Sw itch )
Ma k in g Glo b a l Se ttin g s
This specifies whether GS Reset messages will be received
(ON) or not (OFF).
De vice ID N u m b e r Se ttin g
Rx Ex cl (Re ce ive Sy ste m Ex clu sive Sw itch )
When transmitting or receiving System Exclusive messages,
set this parameter to match the device ID number of the other
MIDI device.
This specifies whether System Exclusive messages will be
received (ON) or not (OFF).
1 . Press [SYSTEM] to make its indicator light.
Tx Ed it (Tra n sm it Ed it Da ta Sw itch )
When Patch, Performance or Rhythm Set settings are
modified, you can specify whether the modified settings will
be transmitted as System Exclusive data (ON) or not (OFF).
2 . Press the [MIDI] function select button (displayed in
gray) to make its button indicator light.
3 . Use [
]/ [
] to select the setting page for Device ID.
fig.8-01
Sp e cify in g th e Re ce p tio n Sta tu s
fo r Ea ch To n e
You can enable or disable the response to received MIDI
messages for each Part of a Performance, each Tone of a
Patch, and each Rhythm Tone of a Rhythm Set.
4 . Press [
]/ [
] to move the cursor to the number
underneath “Device ID.”
For more information about setting the MIDI response of
Parts in a Performance, check out “Establishing a Part’s
MIDI Settings (MIDI) (p. 106).”
5 . Use the VALUE dial or [INC] / [DEC] to select the
desired device ID number.
6 . Press [EXIT] to return to the previous page.
For more about setting the MIDI response of Tones in a
(p. 99).”
MIDI Tra n sm it/ Re ce ive Sw itch Se ttin g s
(SYSTEM MIDI)
For more about setting the MIDI response of Rhythm Tones
in a Rhythm Set, refer to “Other Settings (CONTROL)/ Rx
MIDI (Receive MIDI)” (p. 119).
You can set the following parameters by pressing [SYSTEM]
– lighting its indicator – and then pressing the [MIDI]
function select button.
Rx Pro g ra m Ch g (Re ce ive Pro g ra m Ch a n g e
Sw itch )
This specifies whether Program Change messages will be
received (ON) or not (OFF).
Rx Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
This specifies whether Bank Select messages will be received
(ON) or not (OFF).
1 3 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 8 O th e r Se ttin g s a n d Ch e ck in g Sta tu s
4 . Use [
]/ [
] to move the cursor to “Stack Mode.”
Co n n e ctin g Tw o o r Mo re XV-
3 0 8 0 s to In cre a se Po ly p h o n y
5 . Rotate the VALUE dial or press [INC] / [DEC] to set the
number of units.
The Stack function allows you to combine two or more XV-
3080 units to increase the number of voices that can be
played simultaneously. You can connect and use up to eight
6 . Use [
Number.”
]/ [
] to move the cursor to “Stack
XV-3080s.
fig.8-02.e
7 . Turn the VALUE dial or press [INC] / [DEC] to
designate the first XV-3080.
Usage with Three Connected Units
8 . Press [EXIT] to return to the previous page.
Keyboard
MIDI OUT
MIDI IN
THRU
IN
XV-3080 (2 of 3) XV-3080 (3 of 3)
Stack Mode: 3 Stack Mode: 3
THRU
IN
Se le ctin g Co m m o n Co n tro lle rs
XV-3080 (1 of 3)
These settings allow you to choose four MIDI controllers for
global use when controlling the parameters of any Patch or
Performance. The settings in each Patch or Performance will
determine whether the two controllers you choose here will
actually be used. In each Patch or Performance, you will also
need to specify the parameters to be controlled.
Stack Mode: 3
Stack Number: 1 Stack Number: 2 Stack Number: 3
Setting value
Sequence of sound played
1
4
7
2
5
8
3
6
9
10
SYS CTRL ASSIGN 1 / 2 (Sy ste m Co n tro l
Assig n )
Sta ck Mo d e O FF/ 2 –8
When using more than one XV-3080, set this parameter to 2–
8. When not using the Stack feature, set the parameter to
OFF.
Co n tro l 1 –4 (Co n tro l So u rce )
OFF: No Controller is used.
CC01–95: Controller numbers 1–95 (except for 32).
BENDER: Bender
If Stack mode is turned off, the Stack function will not
operate, and each XV-3080 will attempt to sound all of the
note messages which it receives.
AFTERTOUCH: Aftertouch
1 . Press [SYSTEM] to make its indicator light.
Sta ck N u m b e r 1 –8
2 . Press the [CONTROL] function select button (displayed
When the Stack feature is enabled, this parameter selects the
XV-3080 that is to function as the primary/ first unit – this is
the XV-3080 that will sound the first 128 voices.
in gray) to make its button indicator light.
3 . Use [
]/ [
] to select the setting page for SYS CTRL
* The Stack function will not operate when using Patches in
which KEY MODE Assign is set to MONO or whose
PORTAMNT (Portamento) Switch is on (PATCH KEY
MODE page), or for Rhythm Sets. Patches for which the KEY
MODE Assign is MONO or whose PORTAMNT
(Portamento) Switch is on will be sounded by the first XV-
3080, and Rhythm Sets will be sounded by the second XV-
3080.
ASSIGN1/ 2.
4 . Use [
]/ [ ] to move the cursor to
“Control(Control Source).”
5 . Use the VALUE dial or [INC]/ [DEC] to select the desired
MIDI controller.
6 . Press [EXIT] to return to the previous page.
* The functions normally performed by many of the MIDI
control-change messages are defined in the MIDI specification.
The XV-3080 allows you to use control-change messages
without regard to their officially defined function, so consider
carefully the ramifications when choosing controllers.
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [MIDI] function select button (displayed in
gray) to make its button indicator light.
3 . Use [
]/ [
] to select the setting page for Stack Mode.
fig.8-03
1 3 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 8 O th e r Se ttin g s a n d Ch e ck in g Sta tu s
Ma k in g O ve ra ll Se ttin g s
Co n firm in g th e Cu rre n t
Co n d itio n s (IN FO )
The following three overall settings can be made.
On this display, you can view the names of the installed
Wave Expansion Boards and check the status of the XV-
3080’s internal battery.
Ad ju stin g th e Disp la y Brig h tn e ss
LCD (LCD Co n tra st) 1 –1 0
This adjusts the contrast/ brightness of the display. Higher
values will make the characters darker.
IN FO EXP (In fo rm a tio n Ex p a n sio n
Bo a rd )
The display shows the names of Wave Expansion Boards
installed in slots EXP A–F.
Se ttin g th e Sta te o f th e XV-3 0 8 0
W h e n Its Po w e r Is Tu rn e d O n
Slots without any boards installed are shown as “----------------.”
Po w e rUp (Po w e r Up Mo d e )
BATTERY CHECK
This sets the condition of the XV-3080 when its power is
turned on.
The XV-3080 contains a battery that retains the data in its
internal memory when the unit’s 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 battery voltage has run down. Contact your
nearby Roland service station as soon as possible to have the
battery replaced.
DEFAULT: The XV-3080 will be ready to play Patch
USER:001.
LAST:The XV-3080 will power up exactly as it was when it
was turned off.
Se ttin g W h a t Ha p p e n s to N o te s
W h e n a N e w Pa tch o r Rh y th m
Se t is Se le cte d
The following procedure is used for both purposes.
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [INFO] function select button (displayed in
Pa tch Re m a in (Pa tch re m a in sw itch )
gray) to make its button indicator light.
This specifies whether you want the notes that are sounding
to remain (ON) or turn off (OFF) when you select a new
Patch or Rhythm Set in Patch mode.
3 . Press [
] / [
] to select the screen containing the
parameter you want to check.
In addition, when “ON” is selected, the Volume and Pan
data, and the PATCH KEY MODE and other settings
received via MID are passed on. For details, refer to the
“MIDI Implementation (p. 173).”
4 . Press [EXIT] to return to the previous page.
Use the following procedure to perform the three actions
listed above.
1 . Press [SYSTEM] to make its indicator light.
2 . Press the [SETUP] function select button (displayed in
gray) to make its button indicator light.
3 . Use [
]/ [
] to select the page containing the
parameter you wish to set.
4 . Use [
]/ [
] to move the cursor to the parameter.
5 . Use the VALUE dial or [INC] / [DEC] to select the
desired value.
6 . Press [EXIT] to return to the previous page.
1 3 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s
Usin g th e XV-3 0 8 0
De stin a tio n
Co n tro llin g th e XV-3 0 8 0 in
Re a ltim e W ith a n Ex te rn a l
This selects the Multi-Effects parameter to be controlled
using the MFX Control 1–4 source.
MIDI De vice
Se n s (MFX Co n tro l Se n s) -6 3 – +6 3
External MIDI controllers (modulation lever, foot switch,
If you wish to modify the selected parameter in a positive (+)
expression pedal etc.) can be used to modify Multi-Effects
direction – i.e., a higher value, toward the right, or faster etc.
settings or Tone settings in realtime.
– from its current setting, select a positive (+) value. If you
wish to modify the selected parameter in a negative (-)
direction – i.e., a lower value, toward the left, or slower etc. –
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
from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
The parameters that can be changed via MIDI are
Mo d ify in g To n e Se ttin g s
predetermined according to the selected Multi-Effects (MFX)
You can use the Matrix Control parameter to control Tone
settings in realtime.
Type.
This applies to the MFX Type parameters described in pages
36 to 70 that have an appended “#” mark.
Se le ctin g th e MIDI Me ssa g e s Use d fo r
Co n tro l a n d th e Pa ra m e te rs to Be
Ch a n g e d
1 . Select the Patch or Performance you wish to use.
2 . Press [EFFECTS] to make its indicator light.
1 . Select the Patch you wish to use.
3 . Press [
] / [
] to select the MFX TYPE page, and
2 . Press [CONTROL] to make its indicator light.
select the type of Multi-Effect you wish to use.
In a Performance, you can select the Multi-Effects for a Part
using the Source parameter.
3 . Press [
] / [
] to select the MATRIX CTRL SRC page.
4 . Turn the VALUE dial or press [INC] / [DEC] to set
4 . Use [
] / [
] to select the PATCH MFX CTRL page
Control 1–4.
for a Patch, or select the PERFORM MFX CTRL page for
a Performance Part.
5 . Press [
] / [
] to select the MATRIX CONTROL page
containing the control source destination you want to set.
* You cannot select these pages when the Type is set to
“THROUGH.”
6 . Press [
] / [
] to move the cursor to the
parameter you wish to set.
5 . Press [
] / [
] to move the cursor to the
parameter that you wish to adjust.
7 . Turn the VALUE dial or press [INC] / [DEC] to specify
the parameter to be controlled (Dest), the control
sensitivity (Sns) and the desired Tone (Tone).
6 . Turn the VALUE dial or press [INC] / [DEC] to select the
desired value.
PATCH MFX CTRL (Pa tch MFX Co n tro l)
Co n tro l 1 –4 (MFX Co n tro l 1 –4 So u rce )
OFF: No controller is used.
CC01–95: Controller numbers 1–95 (except for 32)
BENDER: Pitch Bend
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: System control (Control 1–4)
1 3 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
DEST1 –4 (De stin a tio n 1 –4 )
MATRIX CTRL SRC (Ma trix co n tro l
so u rce )
Dest: This selects the parameters to be controlled.
OFF:
No control
If you wish to use controllers to control a specific Tone
parameter, select the controller on this page. Four control
sources are assigned to each Patch.
PITCH
TMT
EFFECTS parameters ([PATCH]-[EFFECTS] p. 21)
DRY LEVEL
Co n tro l 1 –4 (Ma trix co n tro l 1 –4 so u rce )
Assign one of the following controllers to Control Source 1–4.
If you wish to use a controller that will apply to all Patches,
or a controller that cannot be directly specified here, select
SYS-CTRL1–4, and then select the controller using the
Control Source 1–4 parameters (SYS CTRL ASSIGN page).
CHORUS SEND
REVERB SEND
MFX CTRL1
MFX CTRL2
OFF:
No controller is used.
MFX CTRL3
CC01–95:
BEND:
Controller numbers 1–95 (except for 32)
Pitch bend
MFX CTRL4
WAVE parameter ([PATCH]-[WAVE] p. 91)
FXM DEPTH
AFTERTOUCH
SYS-CTRL1: Syetem Control 1
SYS-CTRL2: Syetem Control 2
SYS-CTRL3: Syetem Control 3
SYS-CTRL4: Syetem Control 4
VELOCITY
LFO parameters ([PATCH]-[LFO] p. 97)
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
KEYFOLLOW
TEMPO
LFO1
LFO2
PITCH-ENV: Pitch Envelope
TVF-ENV:
TVA-ENV:
TVF Envelope
TVA Envelope
LFO2 RETE
PITCH parameters ([PATCH]-[PITCH] p. 92)
PIT ENV A-TIME
MATRIX CTR1 –4 (Ma trix co n tro l 1 –4 )
PIT ENV D-TIME
This selects the parameters controlled in Matrix Control
Source 1–4 and the Sens settings, as well as the Tone to which
they are applied. Up to four parameters can be specified for
each controller and controlled simultaneously.
PIT ENV R-TIME
TVF parameters ([PATCH]-[TVF] p. 93)
CUTOFF
RESONANCE
The upper line of the display shows the name of the Control
Source selected on the MATRIX CTRL SRC page.
TVF ENV A-TIME
TVF ENV D-TIME
TVF ENV R-TIME
TVA parameters ([PATCH]-[TVA] p. 95)
LEVEL
PAN
TVA ENV A-TIME
TVA ENV D-TIME
TVA ENV R-TIME
1 3 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
Sns: This adjusts the amount of change that will occur in
Here is an example in which STEP-FLANGER is used for the
Multi-Effects.
response to controller movements. Negative (-) values invert
the change. For example, with LFO Depth, the phase is
reversed when a negative Sens value is selected. With LFO
Rate, setting Sens to a negative value increases the cycle
length, slowing down the LFO, while setting it to positive
value shortens the cycle, speeding it up.
1 . Select a Patch on the PATCH PLAY page.
2 . Set its Clock Source (PATCH TEMPO page ([PATCH]-
[COMMON])) to SYSTEM.
3 . Make sure that Type (PATCH MFX TYPE page
([PATCH]-[EFFECTS])) is set to STEP-FLANGER. If not,
reset it so that it is.
Tone: This selects the Tone to be controlled using the two
previous parameter settings. “*” activates the control of a
Tone, “*” de-activates it, and “R” reverses the (+) or (-)
characteristic of the change being applied.
4 . Make sure that Step Rate (PATCH MFX TYPE page
([PATCH]-[EFFECTS])) is set to a note – not a numerical
– value. If necessary, reset it so that it is.
Ap p lica tio n s fo r Pa tch e s
5 . Set Clock Source (SYSTEM SETUP page (SYSTEM]-
[SETUP)) to INT.
* When Clock Source is set to MIDI, you can synchronize the
Multi-Effect to the tempo of an external MIDI device.
Sy n cin g th e LFO Cy cle to Sy ste m
Te m p o
6 . When the System Tempo (SYSTEM SETUP page
(SYSTEM]-[SETUP)) changes, the STEP-FLANGER’s
Step Rate will change along with it.
1 . Select the Patch you wish to synchronize on the PATCH
PLAY page.
2 . Set the Clock Source parameter (PATCH TEMPO page
([PATCH]-[COMMON])) to SYSTEM.
Ma k in g a To n e ’s De la y Tim e
Ma tch th e Sy ste m Te m p o
3 . Set the beat length of the RATE (LFO 1, 2 WAVE page
([PATCH]-[LFO)) of each Tone to match the System
Tempo. This establishes a 1:1 relationship between the
LFO Rate and System Tempo. If, for example, you
wanted the LFO Rate to always be twice the speed of the
System Tempo, you would set its Rate to a value that is
twice the value of the System Tempo.
1 . Select a Patch on the PATCH PLAY page.
2 . Set Clock Source (PATCH TEMPO page ([PATCH]-
[COMMON])) to SYSTEM.
3 . Set Time (PATCH/ WAVE/ TONE DELAY) to a note
length – not a numerical value – in relation to the
synchronization tempo.
4 . Set the Clock Source parameter (SYSTEM SETUP page
(SYSTEM]-[SETUP)) to INT.
4 . Set Clock Source (SYSTEM SETUP page (SYSTEM]-
* When the Clock Source parameter is set to MIDI, you can
synchronize the LFO cycle to an external MIDI device.
[SETUP)) to INT.
* When Clock Source is set to MIDI, you can synchronize the
Tone’s delay to the tempo of an external MIDI device.
5 . If the System Tempo (SYSTEM SETUP page (SYSTEM]-
[SETUP)) changes, the LFO Rate changes along with it.
5 . When the System Tempo (SYSTEM SETUP page
(SYSTEM]-[SETUP)) changes, the Tone’s delay time
changes along with it.
6 . Set the modulation depth as desired using LFO
DEPTH1:2 page ([PATCH]-[LFO]) for each Tone.
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
the System Tempo when you have selected the following
values for the Type MFX parameter.
Type
MFX Parameter
Step Rate
16: STEP-FLANGER
19: TRIPLE-TAP-DELAY
20: QUADRUPLE-TAP-DELAY
Delay L–R
Delay 1–4
1 3 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
6 . Set Clock Source (SYSTEM SETUP page ([SYSTEM]-
Usin g a Pe d a l Sw itch to Mo d ify
th e Ro ta ry Sp e e d o f th e Ro ta ry
Effe ct
[SETUP])) to INT.
* When Clock Source is set to MIDI, you can synchronize the
phrase loop to the tempo of an external MIDI device.
1 . Connect a pedal switch (DP-2, DP-6, etc.) to your external
7 . When the System Tempo (SYSTEM SETUP page
([SYSTEM]-[SETUP])) changes, the speed of the phrase
loop changes along with it.
device (MIDI keyboard, etc.).
2 . Set the pedal switch of the external MIDI device to
generate FOOT-TYPE (CC4) control-change messages.
* The phrase loop will sound at the system’s tempo regardless of
which key you press. The settings for pitch and FXM will be
ignored.
* To learn how to set up the pedal switch, refer to the external
MIDI device’s owner’s manual.
3 . Select PR-A:050 Perky B on the PATCH PLAY page.
This Patch uses ROTARY as its Multi-Effect.
Ch a n g in g th e Pa rt Se ttin g s
fro m a n Ex te rn a l MIDI
De vice
4 . Go to the PATCH MFX CTRL page ([PATCH]-
[EFFECTS]) and set 1:Source to FOOT-TYPE.
5 . Set Destination to SPEED, and Sens to +63.
By sending Control Change messages for different Part
settings, including volume, panning, and pitch, you can
change these settings from an external MIDI device
connected to the XV-3080. This lets you control fade-ins and
fade-outs, open and close filters, and exercise other controls
in real time from the external MIDI device.
6 . When you wish to speed up the rotary effect, press the
pedal switch. Release the pedal switch to slow down the
rotary effect.
Pla y in g Ph ra se Lo o p s a t a
Sy ste m ’s Te m p o
The parameters that can be used for changing the settings
and the Control Change messages that can be used to change
the values are shown below.
An optional Wave Expansion Board can contain Patches
based on waveforms that are timed – in BPM – phrase loops.
You can play these phrase loops in sync with the System
Tempo.
* For more detailed information about Control Change
messages, please refer to “MIDI Implementation” p. 173).
* To changing multi-effects, reverb, or chorus effects from an
external MIDI device, send a “System Exclusive message” (p.
176).
1 . On the PATCH PLAY page, select a Patch that uses a
phrase loop.
2 . Set Clock Source (PATCH TEMPO page ([PATCH]-
[COMMON])) to SYSTEM.
Ma k in g th e Vo lu m e Ch a n g e (p . 1 7 3 )
•
Level: Controller number 7
3 . Call up the WAVE page ([PATCH]-[WAVE]).
Press TONE SELECT [1]–[4] to find the Tone that uses
Ch a n g in g th e Ste re o Lo ca tio n (p . 1 7 4 )
phrase-loop waveforms.
•
Pan: Controller number 10
The waveform name appears at the right side of the display
(the upper line shows the left side of the stereo wave; the
lower line shows its right side). Waveform names that have a
BPM number in the first part of the name (such as
Ap p ly in g Po rta m e n to (p . 1 7 4 )
•
Portament: Controller number 65 (Portamento switch),
Controller number 5 (Portamento time)
“132:WAVE NAME”) are phrase loop waveforms.
Ch a n g in g So u n d s’ Atta ck a n d Re le a se Tim e (p .
1 7 4 )
4 . Go to the TONE DELAY page ([PATCH]-[WAVE]).
5 . Set Time to 0.
•
•
Rel: Controller number 72
Atk: Controller number 73
If you select a value other than 0, a delay will be applied, and
you will not be able to play the Patch normally.
1 3 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
owner’s manual for your external MIDI device.
Ch a n g in g th e Cu to ff Fre q u e n cy (p . 1 7 4 )
•
Cut: Controller number 74
2 . Operate the external MIDI device (adjust the controls,
Ch a n g in g th e Re so n a n ce (p . 1 7 4 )
play back using the sequencer, etc.) to send the settings.
•
Res: Controller number 71
* Not only is the actual sound played changed, but the values
appearing in the display are changed as well.
Ch a n g in g th e Am o u n t o f In te rn a l Ch o ru s/
Re ve rb (p . 1 7 5 )
•
•
Chorus: Controller number 93
Reverb: Controller number 91
About RPN
“RPN” (Registered Parameter Number) is an extension
Ch a n g in g th e Pitch (p . 1 7 5 )
message prepared by Control Change message.
•
•
Coarse: Controller number 100 (value is 0), Controller
number 101 (value is 2), Controller number 6 (value is
16–112)
Use RPN when using an external MIDI device to change
the XV-3080’s Pitch or Pitch Bend range settings. An
RPN has an superior part (RPN MSB) and a subordinate
part (RPN LSB). The RPN MSB (Control Number 101)
informs the XV-3080 that a setting using RPN is to
follow, and the RPN LSB (Control Number 100) value
tells the which parameter is to be set. Lastly, the Data
Entry (Control Change 6) value sets the degree of
change.
Fine: Controller number 100 (value is 0), Controller
number 101 (value is 1), Controller number 6 (value is
32–96), Controller number 38 (value is 0–127)
* When changing the Coarse parameter, set the amount of
change in pitch with the Control Number 6 (Data Entry
MSB) value. There is no change in pitch when the value is set
to “64.” The pitch is raised as the value increases from 64, and
is lowered the more the value decreases below 64.
Once the XV-3080 has been received an RPN parameter,
all further Data Entry messages on that MIDI channel are
considered to apply to that parameter. In order to
prevent accidents, when the desired setting has been
made for the parameter, it is recommended that RPN be
set to Null.
* When changing the Fine parameter, set the amount of change
in pitch with the Control Number 6 (Data Entry MSB) and
Control Number 38 (Data Entry LSB) settings. There is no
change in pitch when Data Entry MSB is set to “64” and
Data Entry LSB to “0.” The pitch is raised as the respective
values increase, and lowered as the respective values decrease.
For example, to raise the pitch of a certain Part by one
half-step (semitone) send the following Control Change
message from the external MIDI device.
Sp e cify in g th e Ra n g e o f Pitch Be n d (p . 1 7 5 )
•
•
•
•
•
•
BendRng: Controller number 100 (value is 0), Controller
Controller number 101: value “2”
number 101 (value is 0), Controller number 6 (value is 0–
Controller number 6: value “65”
12)
Controller number 100: value “127” ← RPN null
Controller number 101: value “127” ← RPN null
Procedure
1 . Enable the external MIDI device to send a Control
For more detailed information about RPN, please refer to
Change message.
the “MIDI Implementation” (p. 173).
For example, if you want to change the volume level, set the
external MIDI device to send Control Number 7 (Volume
message). In this case, the MIDI channel is matched to the
MIDI channel of the Part the volume of which you want to
change.
1 3 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
Control are disabled, and the two Tones play
Co n tro llin g th e TMT w ith th e
LFO a n d Ch a n g in g th e
To n e ’s Cy cle Tim e
simultaneously, regardless of the velocity data received from
the MIDI keyboard or sequencer.
(4): TMT Matrix Control is enabled, and the timing of the
Tones changes according to the Control Source controller
data.
When TMT (Tone Mix Table) is selected as the Matrix
Control destination, you can use the Control Source
controller to change the time at which Tones in a Patch are
played.
* The TMT Velocity Control settings are given priority when
both TMT Velocity Control and TMT Ctrl Sw are set to ON.
fig.9-01
6 . Select LFO1 as the Control1 source in the MATRIX CTRL
Here is an example of a Patch using LFO1 as a Control
SRC page (PATCH-CONTROL, p. 100).
Source. The time at which the Tone is played is based on the
LFO1’s amplitude value.
7 . In the MATRIX CONTROL1 page (PATCH-CONTROL),
set DEST1 as shown below.
1 . Select “PR-E:043 Morph Pad” on the PATCH PLAY page.
Dest: TMT
2 . In the TMT VEL RANGE page (PATCH-COMMON, p.
Tones 1 and 2.
Sns:
+63
Tone: o o _ _ (applied to Tone 1 and 2)
8 . In each Tone’s LFO1 WAVE page (PATCH-CONTROL),
set the Form and Rate for each of the Tones as shown
below.
* In this case, you can use the Palette function (p. 90) to display
the Velocity Range settings of four Tones in one screen,
making it easier to adjust these settings.
tone=1
SIN
tone=2
SIN
Set the Velocity Range for both of the tones as follows.
Form:
Rate:
L
:
U
tone = 1
tone = 2
1
:
64
64
127
65 : 127
9 . Select the Number for Tones 1 and 2 on the WAVE page
3 . In the TMT VEL RANGE page (PATCH-COMMON, set
the Velocity Fade L.Fade and U.Fade settings to 10 for
Tones 1 and 2.
([PATCH]-[WAVE], p. 91).
* You can use the Palette function (p. 90) to display the Number
for four Tones in one window, making it easier to make these
settings.
This makes the Tones fade in and out smoothly outside their
velocity ranges.
1 0 . Press [EXIT] to return to the PATCH PLAY page.
4 . On the TMT VELO CONTROL page (PATCH-
Other possible applications include synchronizing the
Control Source LFO rate to the tempo, assigning Modulation
and other parameters to the Control Source, and changing
the Tone in realtime from a MIDI keyboard or other such
device.
COMMON), set the TMT Velocity Control to OFF.
This setting disables the Velocity Range settings made in
Step 2 and causes the two Tones to sound simultaneously,
regardless of the velocity – the force with which keys are
played – received from your MIDI keyboard or sequencer.
5 . In the CTRL&BENDER page (PATCH-MIDI, p. 99), set
TMT Ctrl Sw to ON.
This setting allows the TMT to be controlled by the Matrix
Control Controller. The following chart shows all the
relationships between the TMT Velocity Control and TMT
Ctrl Sw.
(1)
(2)
(3)
(4)
[TMT Velocity Control] ON
OFF ON
OFF
ON
[TMT Ctrl Sw]
OFF OFF ON
(1)(3): The Velocity Control settings are enabled, and the two
Tones are switched on or off according to the velocity data
received from the MIDI keyboard or sequencer.
(2): The Velocity Control settings and TMT control by Matrix
1 4 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
•
When you execute the GM Initialize function (p. 145).
Usin g th e XV-3 0 8 0 a s a
Ge n e ra l MIDI So u n d Mo d u le
Pla y in g Ba ck a GM Sco re
When the XV-3080 is in GM mode, it plays back GM scores
correctly. But beyond this, the XV-3080 provides many
extended features not defined in GM System specifications,
and if you create music files using these extended features,
your song may not play back correctly on other GM-
compatible sound modules.
The XV-3080 features a GM mode—a convenient way to play
back or create GM score data (music files for General MIDI
sound module). You’re able to play back commercial GM
score data releases and even modify various parameter
settings for enhanced musical expression.
In addition, although the XV-3080 can also be compatible
with the GS format by receiving a GS Reset MIDI message,
Roland’s Sound Canvas Series (including the SC-8850 and
SC-8820) features a different sound module system and
extended tone map, you may be unable to get MIDI data (GS
music data) created especially for use only with the Sound
Canvas series of devices to play back properly.
En te rin g GM Mo d e
Basically GM mode is similar to a special kind of
Performance in which a General MIDI System Rhythm Set is
assigned to Part 10, and General MIDI System Patches are
assigned to other Parts.
But however, you can’t store GM mode settings in user
memory.
fig.9-02
The beginning of a GM score normally contains a GM System
On message. So if you play back a GM score starting in the
top of a song, XV-3080 will switch itself to GM mode. But if
you play back a GM score starting in the middle of a song,
XV-3080 may not switch itself to GM mode, and the GM
score may not play back correctly. So to be safe, it’s
recommended to manually set the XV-3080 to GM mode
before playing back a GM score.
The GM PLAY page shows a Patch or Rhythm Set assigned
to each Part.
Each time you enter GM mode, the GM Drum Set is assigned
to Part 10, and Piano 1 is assigned to other Parts. You can
also select other GM Patches and GM Drum Sets for each
Part to match the performance.
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.
1 . Press [GM] in MODE to call up the GM PLAY page.
When you switch the XV-3080 into GM mode, the sound
generator initializes itself for basic GM System settings.
First, press [RX] to make its indicator light.
2 . To change the current Part, press [
] or [
].
At this time, the on/ off setting of each Part will be shown by
the indicators of PART SELECT [1/ 9]–[8–16]. When the [1-8/
9-16] indicator is dark, the function button indicators will
indicate the status of Parts 1–8. When the [1-8/ 9-16] indicator
is lit, the function button indicators will indicate the status of
Parts 9–16. Lit is on, and dark is off.
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.
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
Press PART SELECT [1/ 9]–[8/ 16] to turn the Part on/ off.
To play back a GM score correctly, the sound generator must
first be initialized to basic GM system settings. The XV-3080’s
sound generator is initialized in the following situations:
Tu rn in g Effe cts O n / O ff
fig.9-02a
•
•
When the XV-3080 is switched to GM mode
When it receives a GM System On message from an
external MIDI device
1 . Press [EFFECTS ON/ OFF].
•
•
When a GM System On message is encountered in the
song data being played back
When the XV-3080’s power is turned on.
1 4 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
* You can also use the Palette display in the same manner when
you edit in Performance mode (p. 109).
2 . Use [
] or [
] to select the effect that you wish to
turn on/ off.
3 . Pressing [INC] turns it on and pressing [DEC] turns it
●Ma k in g Se ttin g s fo r Ea ch Pa rt (PART)
off.
Chorus
PART PATCH
fig.9-03a
Chorus adds depth and spaciousness to the sound.
Reverb
Reverb adds reverberation characteristics of hall or
auditorium ambiences.
You can select the Patch or Rhythm Set that will be assigned
to each Part.
Mo d ify in g GM Mo d e Se ttin g s
Ty p e (Pa rt Ty p e ) PAT/ RHY
GM mode also offers parameters that you can modify for
each Part. You can modify settings like effects, pan and level
to customize a GM score playback to your preference.
Selects the Patch (PAT) or Rhythm Set (RHY) the Part will
play.
* When GM mode is initialized (p. 145), all these settings will
be lost.
Specifies the number of the Patches (1–256) or Rhythm Set
(1–4) that is assigned to each Part.
1 . Press [GM] to enter GM mode.
2 . Press the FUNCTION SELECT buttons to choose the
PART SETTIN G
fig.9-03b
page group you want to set.
fig.9-03
Make volume, pan, and pitch settings for each Part.
3 . Press [
] or [
] to choose the page.
4 . 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 display. To
select a different Part, use [1-8/ 9-16] and [1/ 9]–[8/ 16] to
select a Part.
Vo lu m e 0 –1 2 7
Specifies the volume of each Part.
Pa n RAN DO M/ L6 3 –6 3 R
Specifies the stereo location of the sound of each Part. L63 is
hard left, 0 is center, and 63R is hard right.
5 . Use [
] or [
] to move the cursor to the parameter
If you modify the settings of the Volume parameter or Pan
parameter, they will be reflected in the following INFO
group displays.
you wish to modify.
6 . Use the VALUE dial or [INC] / [DEC] to modify the
value.
Co a rse (Co a rse Tu n e ) -4 8 – +4 8
* If you’ve made a mistake in setting the parameter value or you
don’t like the changes, just press [UNDO] to restore the value
to what it was.
Adjusts the pitch of the Part’s sound up or down in semitone
steps over a range of +/ -4 octaves.
7 . If you wish to move to another page group, use the
Fin e (Fin e Tu n e ) -5 0 –+5 0
desired Function Select button to choose a group.
Make fine adjustments in 1-cent steps to the pitch specified in
Coarse Tune.
* You can also move to another display group by holding down
[SHIFT] and using [
] or [
].
One cent is 1/ 100th of a semitone.
8 . Repeat steps 2–8 to complete a GM mode settings.
9 . When you finish making settings, press [EXIT] to return
to the GM PLAY page.
1 4 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
Mo n o / Po ly (Pa rt Mo n o / Po ly ) MO N O / PO LY
PART MO DIFY
fig.9-03c
Specifies whether the Part will play polyphonically (POLY)
or monophonically (MONO). The MONO setting is effective
when playing a solo instrument Patch such as sax or flute.
Po rta Sw :Tim e (Po rta m e n to Sw itch : Tim e )
You can determine how a Part will pay a sound by setting it
to modify the sound’s programmed cutoff frequency,
Resonance, Velocity Sense, and TVF and TVA Envelope
attack and release time settings.
Determines whether the Portamento effect will be applied
(ON) or not (OFF). When portamento is used, this also
specifies the time over which the pitch will change. Higher
settings will cause the pitch change to the next note to take
more time.
Cu to ff (Pa rt Cu to ff O ffse t) -6 4 –+6 3
This sets ratio by which the relative change in the TVF cutoff
frequency value for the tone selected for the part is
determined.
What is Portamento?
Portamento is an effect which smoothly changes the
pitch from the first-played key to the next-played key.
With the Mono/ Poly parameter set to MONO,
portamento is especially effective when simulating
playing techniques such as a violin glissandos.
Portamento can also be applied when this parameter is
polyphonic (POLY).
Re so n a n ce (Pa rt Re so n a n ce O ffse t) -6 4 –+6 3
This sets ratio by which the relative change in the TVF
Resonance value for the tone selected for the part is
determined.
Atta ck (Pa rt Atta ck Tim e O ffse t) -6 4 –+6 3
This sets ratio by which the relative change in the TVF/ TVA
envelope attack time value for the tone selected for the part is
determined.
●Ma k in g Effe cts Se ttin g s (EFFECTS)
* Depending on the tone, there may be less change in some cases.
Make settings for the Chorus/ Reverb effects used in GM
mode.
Re le a se (Pa rt Re le a se Tim e O ffse t) -6 4 –+6 3
If an “x” mark is displayed at the right of the display name,
the effect for that display has been turned off. Turn the
corresponding effect on before you make settings (p. 141).
This sets ratio by which the relative change in the TVF/ TVA
envelope release time value for the tone selected for the part
is determined.
* Depending on the tone, there may be less change in some cases.
PART O UTPUT
fig.9-04
PART CO N TRO L
fig.9-03d
This specifies how each Part will be output.
This sets the Bend Range, voicing method (MONO/ POLY),
and Portamento for each Part.
O u tp u t Assig n (O u tp u t Assig n / O u tp u t Le ve l)
Sets the output destination for each Part.
The Output Level parameter adjusts the volume of each Part.
Be n d Rn g (Pitch Be n d Ra n g e ) 0 –2 4
Specifies the amount of pitch change that will occur when
you move the Pitch Bend Lever.
Ch o ru s (Ch o ru s Se n d Le ve l) 0 –1 2 7
Adjusts the amount of Chorus for each Part.
The amount of change when the lever is tilted is set to the
same value for both left and right sides.
Re ve rb (Re ve rb Se n d Le ve l) 0 –1 2 7
Adjusts the amount of Reverb for each Part.
1 4 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
Large Room: Large room reverb.
GM CHO RUS
Medium Hall: Reverb sound found in a medium sized
fig.9-05
concert hall.
Large Hall: Reverb sound found in a large concert hall.
Plate: Plate reverb effect
Make settings for the Chorus effect used in GM mode.
Tim e (Re ve rb Tim e ) 0 –1 2 7
In GM mode, the Chorus effect settings for the GM Patch
assigned to each Part will be ignored (except for the Send
Level parameter).
Adjusts the time over which the reverberation will continue.
O u t (Re ve rb O u tp u t Assig n ) O UTPUT A–C
Ty p e (Ch o ru s Ty p e )
Selects the type of Chorus.
Chorus 1–4
Sets the output destination of the chorus sound.
●Ma k in g MIDI Se ttin g s fo r Ea ch Pa rt
(MIDI)
fig. 9-07
FB Chorus: Feedback Chorus
Flanger: Flanger
Ra te (Ch o ru s Ra te ) 0 –1 2 7
Sets the modulation speed of the Chorus.
PART MIDI
De p th (Ch o ru s De p th ) 0 –1 2 7
Adjusts modulation depth for the Chorus.
You can make MIDI settings.
Fb k (Ch o ru s Fe e d b a ck Le ve l) 0 –1 2 7
Ch a n n e l (MIDI Ch a n n e l)
Adjusts the amount of chorus sound that is returned (fed
back) to the chorus. Higher settings will result in a more
intense effect.
Specifies the MIDI channel for each Part.
Rx Sw (Re ce ive Sw itch )
Sets whether each Part will respond to received MIDI
messages (ON) or not (OFF) from external MIDI devices.
Re v (Re ve rb Se n d Le ve l) 0 –1 2 7
Sets the send level to Reverb.
Mu te Sw (Mu te Sw itch )
O u t (Ch o ru s O u tp u t Assig n ) O UTPUT A–C
Turns muting of each part on (ON) or off (OFF).
Sets the output destination for Chorus.
●Co n firm in g MIDI In fo rm a tio n fo r Ea ch
Pa rt (IN FO )
GM REVERB
fig.9-06
fig.9-08
fig.9-08a
Make GM mode reverb settings.
In GM mode, the reverb effect settings for the GM Patch
assigned to each Part will be ignored (except for the Send
Level parameter).
* Press [
]/[
] to select page.
Ty p e (Re ve rb Ty p e )
In this display you can check the receive status of various
types of MIDI message for each Part. This is a convenient
way to check that the sound generator is responding
correctly to messages from the keyboard or external MIDI
controllers.
Selects the type of Reverb effect.
Small Room: Reverb obtained in a small sized room.
Medium Room: Reverb obtained in a somewhat larger room.
1 4 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Ch a p te r 9 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-3 0 8 0
For items other than Voice, you may modify the values.
5 . Press [ENTER] to execute the function.
When you do so, a MIDI message will be transmitted, and
can be recorded on the sequencer, etc.
When the write operation is finished, “COMPLETED” will
appear in the display just for a moment before the GM PLAY
page returns.
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 )
In itia lizin g GM Mo d e (IN IT)
fig.9-10
Vo l (Vo lu m e In fo rm a tio n )
Pa n (Pa n In fo rm a tio n )
* As GM Initialize initializes only GM mode data, data stored
in user memory will not be initialized. If you want to restore
all settings to their factory values, carry out Factory Reset (p.
124).
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 )
Vo ice s (Vo ice In fo rm a tio n )
There are two initialize methods.
GM: Makes the basic General MIDI system settings using a
GM System On message.
GM2: Makes the basic General MIDI 2 system settings using
a GM2 System On message.
Utility Fu n ctio n s in GM Mo d e
In the GM mode, you can initialize GM mode, and transmit
GM mode settings, using the Utility functions.
Tra n sm ittin g GM Mo d e Se ttin g s (XFER)
fig.9-11
Setting Procedure:
1 . In the GM mode, press [UTILITY] so its indicator blinks.
The XV-3080 will switch to Utility mode.
GM mode settings cannot be stored in user memory. If you
wish to keep your GM mode settings, you can transmit them
as a MIDI message to an external MIDI device.
2 . Press [
] or [
] to select the UTIL 1 page.
fig.9-09
Prepare the external MIDI device to record data, and press
[ENTER].
For more on the transmitted settings, refer to “MIDI
* The functions of the UTIL 2 group can also be executed from
GM mode. The operation is the same as in other modes.
Implementation” (p. 173).
* If you do not want the settings of a specific Part to be
3 . Use [
] or [
] to make the desired function blink,
transmitted, turn off the Receive Switch for that Part (p. 144).
and then press [ENTER].
The display of the function you’ve selected will appear.
4 . Set parameters as necessary on each function’s display.
* To cancel the operation, press [EXIT]. To return to the GM
PLAY display, press [UTILITY] to make the indicator go dark.
1 4 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Ap p e n d ice s
1 4 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Tro u b le sh o o tin g
If no sound can be heard, or if the unit does not perform as
you expect, check the following points first. If this does not
resolve the problem, contact your dealer or a nearby Roland
service station.
Are th e o u tp u t d e stin a tio n se ttin g s
co rre ct?
•
Check the Output Assign and MFX Output Assign
settings. (p. 72—81)
* If a message appears during operation, consult the following
section Error Messages (p. 150).
Ca n ’t se le ct Pe rfo rm a n ce s
N o so u n d
Is [RX] o n ?
•
When [RX] is on in the PERFORM PLAY page, [A]—[H]
(PART SELECT [1/ 9]—[8/ 16]) act as buttons which turn
Parts on/ off. (p. 102) Turn [RX] off.
Is th e VO LUME lo w e re d ?
•
Check the VOLUME knob, and the volume settings on
the connected amp/ mixer etc.
Ha ve co n n e ctio n s b e e n m a d e
co rre ctly ?
Ca n ’t se le ct th e Pa rt fo r
w h ich to m a k e se ttin g s
•
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 [RX] o n ?
•
When [RX] is on in the various Performance setting
pages, PART SELECT [1/ 9]—[8/ 16] function as buttons
to switch each Part on/ off. (p. 102) Turn [RX] off.
Is th e MIDI re ce ive ch a n n e l co rre ct?
•
Make sure that the MIDI transmit channel of the
connected device matches the receive channel of theXV-
(p. 14))
Pitch is w ro n g
Is th e Ma ste r Tu n e se ttin g co rre ct?
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 setting. (p. 130)
Is Sca le Tu n e se le cte d ?
•
Check the level settings of each Tone, Patch and each
Part. (Tone p. 95, Patch p. 85, Part p. 104)
Are th e p itch se ttin g s fo r e a ch To n e
a n d e a ch Pa rt co rre ct?
Are To n e s o r Pa rts tu rn e d o ff?
•
Check the on/ off settings of each Tone and each Part.
•
’Check each setting. (Tone p. 92, Part p. 106)
(Tone p. 84, Part p. 102)
Ha ve p itch b e n d m e ssa g e s re ce ive d
fro m a n e x te rn a l d e vice ca u se d th e
p itch to “ stick ” ?
Are th e k e y ra n g e se ttin g s co rre ct?
•
Check the key range settings of each Tone and each Part.
(Tone p. 87, Part p. 104)
•
The pitch will return to normal when the power is
turned on. If a Performance or Rhythm Set is selected,
the PART INFO page allows you to check the reception
status of each type of messages. (p. 107)
Ha s th e vo lu m e b e e n lo w e re d b y
vo lu m e / e x p re ssio n m e ssa g e s
re ce ive d fro m a n e x te rn a l d e vice ?
•
The volume will return to normal when the power is
turned on once again. When a Performance or Rhythm
Set is selected, the reception status for each type of
message can be viewed in the PART INFO page. (p. 107)
Are th e e ffe ct se ttin g s co rre ct?
•
Check settings such as Effect On/ Off (p. 21), and Effect
Balance and Level (p. 22—34).
1 4 8
Download from Www.Somanuals.com. All Manuals Search And Download.
Tro u b le sh o o tin g
Effe cts d o n o t a p p ly
Me m o ry Ca rd ca n n o t b e
u se d
Are [MFX], [CHO RUS], a n d [REVERB]
tu rn e d o ff?
Ha s th e Me m o ry Ca rd (Sm a rtMe d ia )
b e e n in itia lize d ?
•
Press the corresponding button to turn on the indicator. (
p. 21)
•
An uninitialized Memory Card cannot be used. Perform
the initialize operation. (p. 126)
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 will not
Are y o u u sin g a ca rd w h ich th e XV-
apply. Check each setting. (p. 22, p. 26, p. 31)
•
Even if the send level to each effect is above 0, effects will
not apply if the MFX Output Level, Chorus Level, and
Reverb Level are set to 0. Check each setting. (p. 22, p. 26,
p. 31)
•
It is not possible to read the contents of a card which is
for the XV-3080. Also, it is not possible to write data to a
than the XV-3080.
•
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. This means that if the
Output Assign of (each Tone in) the Patch is set to
PATCH, the MFX sound will not be output. (p. 86)
So n g d a ta d o e s n o t
p la y b a ck co rre ctly
o f th e so n g ?
•
The beginning of a GM score song contains a GM System
On message. In some cases, a GM Score cannot be played
back correctly unless this message is received.
MIDI m e ssa g e s a re n o t
re ce ive d co rre ctly
Are th e re ce ive ch a n n e l a n d re ce ive
sw itch se ttin g s co rre ct?
Are y o u p la y in g b a ck GS fo rm a t so n g
d a ta ?
•
Check the settings for the MIDI receive channel (p. 14)
and the various switches for reception of MIDI messages
(p. 132).
•
source, there may be cases in which GS format song data
will not playback correctly.
Are th e e x clu sive re ce ive se ttin g s
co rre ct?
•
In order for system exclusive messages to be received,
the Device ID Number must match that of the
transmitting device, and the System Exclusive receive
data in the USER group, the System Exclusive message
Protect Switch must be turned off as well. (p. 124)
Is th e DEMO PLAY p a g e d isp la y e d ?
•
When the DEMOPLAY page is displayed, MIDI
messages received from an external device will be
ignored.
1 4 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Erro r Me ssa g e s
If there has been a mistake in operation, or if the XV-3080 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. This section gives the
error messages in alphabetical order.
CARD slot.
Action:
Turn off the power, and insert a memory card.
Me m o ry Ca rd W rite Pro te cte d
Situation: Since a write protect sticker is affixed to the
memory card, data cannot be saved to the card
bank.
Ba tte ry Lo w
Situation: The internal backup battery that is preserving
Action:
Remove the write protect sticker from the
memory card.
the contents of user memory has run down.
Action:
Consult your dealer or a nearby Roland service
station to have the battery replaced.
MIDI Bu ffe r Fu ll
Situation: Due to an inordinate volume of MIDI messages
received, the XV-3080 has failed to process them
properly.
File Fo rm a t Erro r
Situation: The XV-3080 cannot handle this file.
Action:
Reduce the amount of MIDI messages to be
transmitted.
File I/ O Erro r
Situation: It was not possible to save/ load a file.
MIDI Co m m u n ica tio n Erro r
Situation: A problem has occurred with the MIDI cable
connections.
Action:
Try the operation once again. If the same
message appears, that file has been damaged.
Delete the damaged file.
Action:
Check that MIDI cables are not broken or pulled
out.
File N a m e Du p lica te
Situation: A file of the same name exists on the memory
Re ce ive Da ta Erro r
card.
Action:
Use a different file name.
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-
3080.
File N a m e Fo rm a t Erro r
Situation: A file name has not been assigned.
Action:
Assign a file name.
File n o t Fo u n d
Situation: The specified file was not found.
Un fo rm a tte d Me m o ry Ca rd
Situation: This memory card cannot be used by the XV-
3080.
Action:
Insert the memory card that contains the
specified file, and try the operation once again.
Action:
Format the memory card on the XV-3080.
Me m o ry Ca rd Fu ll
Use r Me m o ry Da m a g e d
Situation: There is insufficient space available on the
Situation: The data in user memory has been lost.
memory card to save the data.
Action:
Use the Factor Reset function (UTILITY/ UTIL
2/ FACTORY RESET) to initialize the memory to
the factory settings.
Action:
Either insert a different memory card, or delete
unnecessary data and try the operation once
again.
Use r Me m o ry W rite Pro te cte d
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.
Me m o ry Ca rd I/ O Erro r
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.
Action 2: Turn the Exclusive parameter OFF.
Me m o ry Ca rd n o t Re a d y
Situation: A memory card is not inserted in the MEMORY
1 5 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
●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 . 8 4 )
Display
Parameter
Value
PATCH NAME
----
Patch name
ASCII Characters (max. 12)
PATCH CATEGORY
PATCH LVL&PAN
Category
Level
Patch category
Level
(*1)
0–127
Pan
Pan
L64–0–63R
0–127
Analog Feel
Octave
Coarce
Fine
Analog feel depth
Octave shift
PATCH OCT&TUNE
-3–0–+3
Coarce tune
-48–+48
Fine tune
-50–+50
Stretch
Priority
Output Assign
Clock Source
Tempo
Cut
Stretch tune depth
Voice priority
OFF, 1, 2, 3
LAST, LOUDEST
MFX, OUTPUT A–C, INDIV 1–6, TONE
PATCH, SYSETEM
20–250
PATCH COMMON
PATCH TEMPO
PATCH MODIFY
Patch output assign
Patch clock source
Patch tempo
Patch cutoff offset
Patch resonance offset
Patch attack time offset
Patch release time offset
Patch velocity sens
-63–+63
Res
-63–+63
Atk
-63–+63
Rel
-63–+63
Velocity Sens
-63–+63
TMT VELO CONTROL TMT Velocity Control TMT Velocity control
OFF, ON, RANDOM
0–127
TMT VEL RANG
TMT KEY RANG
STRUCT
L.Fade
Lower
Upper
U.Fade
L.Fade
Lower
Upper
U.Fade
Type
Velocity fade width lower
Velocity range lower
Velocity range upper
Velocity fade width upper
Key fade width lower
Key range lower
T
T
T
T
T
T
T
T
T
T
1–UPPER
LOWER–127
0–127
0–127
C-1–UPPER
LOWER–G9
0–127
Key range upper
Key fade width upper
Structure type1&2, 3&4
Booster gain1&2, 3&4
1–10
Booster
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
EFFECTS Gro u p (p . 2 1 )
Display
Parameter
Value
OUTPUT
Output Assign
Output assign
MFX, OUTPUT A–C, INDIV1–6
T
T
T
T
Output level
0–127
0–127
0–127
(*1)
Chorus
Reverb
Type
Chorus send level
Reverb send level
MFX type
PATCH MFX TYPE
PATCH MFX PRM
PATCH MFX CTRL
(*1)
MFX parameters
MFX control source1, 2, 3, 4
Destination1, 2, 3, 4
MFX control sens1, 2, 3, 4
Output assign
Source
Destination
Sens
(*2)
(*1)
-63–+63
PATCH MFX OUT
Output
Dry
A, B, C
MFX output level
Chorus send level
Reverb send level
Chorus type
0–127
Chorus
Reverb
Type
0–127
0–127
PATCH CHO TYPE
PATCH CHO PRM
PATCH CHO OUT
OFF, CHORUS, DELAY
(*3)
Chorus parameters
Chorus output assign
Chorus level
Output Assign
Level
A, B, C
0–127
Select
Type
Chorus output select
Reverb type
MAIN, REV, M+R
OFF, CHORUS, DELAY
PATCH REV TYPE
PATCH REV PRM
PATCH REV OUT
(*4)
Reverb parameters
Reverb output assign
Reverb level
Output Assign
Level
A, B, C
0–127
1:Refer to MFX parameters.
2:OFF, CC01–95(except 32), BENDER, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4
3:Refer to Chorus parameters.
4:Refer to Reverb parameters.
1 5 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
CO N TRO L Gro u p (p . 9 8 )
Display
Parameter
Value
PATCH KEY MODE
Assign
Legato
Key assign mode
Legato switch
POLY, MONO
OFF, ON
Legato Retrigger Legato retrigger switch
OFF, ON
PATCH PORTAMENTO Sw
Time
Portament switch
Portament time
OFF, ON
0–127
Mode
Portament mode
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
OFF, ON
Type
Portament type
Start
Portament start pitch
Recieve pitch bend switch
Recieve expression switch
Recieve pan mode switch
Recieve hold-1 switch
Recieve redamper switch
Envelope mode
CTRL Rx MIDI
Bender
T
T
T
T
T
T
Expression
Pan Mode
Hold-1
OFF, ON
CONTINUOUS, KEY-ON
OFF, ON
Redamper
Envelope Mode
OFF, ON
NO SUSTAIN, SUSTAIN
OFF, ON
TMT CTRL &BENDER TMT Ctrl Sw
Bend Range
TMT control switch
Bend range down
Bend range up
-48–0 semitone
0–+12 semitone
(*1)
MATRIX CTRL SRC
Control 1
Control 2
Control 3
Control 4
Destination
Sns
Control source1
Control source2
(*1)
Control source3
(*1)
Control source4
(*1)
MATRIX CONTROL 1
MATRIX CONTROL 2
MATRIX CONTROL 3
MATRIX CONTROL 4
Control1 Destination1–4
Control1 sens1–4
Tone select1–4
(*2)
-63–+63
Tone
OFF, ON, R
(*2)
T
T
T
T
Destination
Sns
Control2 Destination1–4
Control2 sens1–4
Tone select1–4
-63–+63
Tone
OFF, ON, R
(*2)
Destination
Sns
Control3 Destination1–4
Control3 sens1–4
Tone select1–4
-63–+63
Tone
OFF, ON, R
(*2)
Destination
Sns
Control4 Destination1–4
Control4 sens1–4
Tone select1–4
-63–+63
Tone
OFF, ON, R
1:OFF, CC01–95(except 32), BENDER, 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 . 9 1 )
Display
Parameter
Value
WAVE
Group
Number
Gain
Wave group
INT, XP-A, XP-B, XP-C, XP-D, XP-E, XP-F
T
T
T
T
T
T
T
T
T
T
Wave number(L, R)
Wave gain
0001–1083
-6, 0, +6, +12 dB
OFF, ON
OFF, ON
OFF, ON
1–4
Switch
Tone switch
Wave Tempo Sync Wave tempo sync
FXM
Switch
Color
Depth
Mode
Time
Frequency cross modulation switch
Frequency cross modulation color
Frequency cross modulation depth
Tone delay mode
1–17
TONE DELAY
(*1)
Tone delay time
0–127(*2)
1:NORMAL, HOLD, KEY-OFF-NORMAL, KEY-OFF-DECAY
2:It can also be set in terms of notes.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Eighth-note triplet), (Dotted sixteenth note),
(Half note), (Whole-note triplet), (Dotted half note),
(Thirty-second-note triplet),
(Thirty-second note),
(Quarter-note triplet),
(Whole note),
(Sixteenth-note triplet),
(Dotted thirty-second note),
(Sixteenth note),
(Eighth note),
(Dotted eighth note),
(Quarter note),
(Half-note triplet),
(Double note)
(Dotted quarter note),
(Double-note triplet),
(Dotted whole note),
1 5 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
LFO Gro u p (p . 9 7 )
Display
Parameter
Value
LFO1 WAVE
Form
LFO form
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 offset
-100, -50, 0, +50, +100
Rate
LFO rate
0–127(*1)
Detune
Key Sync
Fade Mode
Time
LFO detune
0–127
LFO key sync
LFO fade mode
LFO fade time
LFO delay time
LFO delay keyfollow
OFF, ON
LFO1 FADE
ON-IN, ON-OUT, OFF-IN, OFF-OUT
0–127
LFO1 DELAY
Delay Time
Delay Keyfollow
(*2)
0–127
-100–+100
LFO2
LFO DEPTH1:2
Pitch
Pitch LFO depth1, 2
TVF LFO depth 1, 2
TVA LFO depth 1, 2
Pan LFO depth1, 2
-63–+63
-63–+63
-63–+63
-63–+63
TVF
TVA
Pan
1:It can also be set in terms of notes.
2:Same as LFO1.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Dotted sixteenth note), (Eighth note),
(Dotted half note),
(Thirty-second note),
(Sixteenth-note triplet),
(Dotted thirty-second note),
(Quarter note), (Half-note triplet),
(Dotted whole note), (Double note)
(Sixteenth note),
(Eighth-note triplet),
(Half note),
(Quarter-note triplet),
(Dotted eighth note),
(Dotted quarter note),
(Whole-note triplet),
(Whole note),
(Double-note triplet),
PITCH Gro u p (p . 9 2 )
Display
Parameter
Value
PITCH
Coarse
Coarse tune
-48–+48 semitone
-50–+50 cent
0–1200 cent(*1)
-200–+200(*2)
-12–+12
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 sens-63–+63
Pitch envelope time keyfollow
Pitch envelope time1 velocity sens
Pitch envelope time4 velocity sens
Pitch envelope level 0
Pitch envelope time 1–4
Pitch envelope level 1–4
T
Time Keyfollow
V-T1
-100–+100(*3)
-63–+63
T
T
T
T
T
T
V-T4
-63–+63
L0
-63–+63
T1, T2, T3, T4
L1, L2, L3, L4
0–127
-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
TVF Gro u p (p . 9 3 )
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
0–127
Resonance
Keyfollow
V-Cutoff
V-Curve
V-Resonance
Depth
Resonance
0–127
Cutoff frequency keyfollow
TVF cutoff velocity sens
TVF cutoff velocity curve
TVF resonance velocity sens
TVF envelope depth
-200–+200(*1)
-63–+63
FIXED, 1–7
-63–+63
-63–+63
-63–+63
FIXED, 1–7
-100–+100(*2)
-63–+63
-63–+63
0–127
TVF VELOCITY
TVF ENVELOPE
V-Sens
TVF envelope velocity sens
TVF envelope velocity curve
TVF envelope time keyfollow
TVF envelope time1 velocity sens
TVF envelope time4 velocity sens
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
0–127
0–127
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
1 5 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
TVA Gro u p (p . 9 5 )
Display
Parameter
Value
TVA
Level
Level
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Pan
Pan
L64–0–63R
V-Sens
V-Curve
Bias
TVA envelope velocity sens
TVA envelope velocity curve
TVA Bias level
-63–+63
FIXED, 1–7
BIAS
-100–+100(*1)
Point
TVA Bias point
C-1–G9
Direction
Keyfollow
Random
Alternate
V-T1
TVA Bias direction
LOWER, UPPER, LOWER&UPPER, ALL
PAN MODULATE
TVA TIME ENV
TVA ENVELOPE
Pan keyfollow
-100–+100(*1)
0–63
Random pan depth
Alternate pan depth
TVA envelope time1 velocity sens
TVA envelope time4 velocity sens
TVA envelope time keyfollow
TVA envelope time 1, 2, 3, 4
TVA envelope level 1, 2, 3
L63–0–63R
-63–+63
V-T4
-63–+63
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3
-100–+100(*1)
0–127
0–127
1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
1 5 4
Download from Www.Somanuals.com. All Manuals Search And Download.
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 . 1 0 3 )
Display
Parameter
Value
PERFORM NAME
PART KEY RANG
----
Performance name
Part fade width lower
Key range lower
ASCII Characters (max. 12)
L.Fade
Lower
Upper
U.Fade
0–127
P
P
P
P
P
C-1–G9
C-1–G9
0–127
Key range upper
Part fade width upper
PERFORM MFX CH
MFX Control Channel MFX control channel
1–16, OFF
EFFECTS Gro u p (p . 2 6 )
Display
Parameter
Value
PART OUTPUT
Output Assign
Output assign
MFX, OUTPUT A–C, INDIV 1–6, PATCH
P
P
P
P
Output level
0–127
Chorus
Reverb
Chorus send level
Reverb send level
MFX type
0–127
0–127
PERFORM MFX TYPE Type
Source
(*1)
MFX source
1–16, PERFORM
PERFORM MFX PRM (*1)
MFX parameters
MFX control source 1, 2, 3, 4
Destination 1, 2, 3, 4
MFX control sens 1, 2, 3, 4
Output Assign
PERFORM MFX CTRL Source
(*2)
Destination
(*1)
Sens
-63–+63
PERFORM MFX OUT
Output
Dry
A, B, C
MFX Output level
Chorus send level
Reverb send level
Chorus type
0–127
Chorus
Reverb
0–127
0–127
PERFORM CHO TYPE Type
Source
OFF, CHORUS, DELAY
1–16, PERFORM
Chorus source
PERFORM CHO PRM (*3)
Chorus parameters
Chorus output assign
Chorus level
PERFORM CHO OUT Output Assign
A, B, C
Level
Select
0–127
Chorus output select
Reverb type
MAIN, REV, M+R
OFF, CHORUS, DELAY
1–16, PERFORM
PERFORM REV TYPE Type
Source
Reverb source
PERFORM REV PRM
PERFORM REV OUT
(*4)
Reverb parameters
Reverb output assign
Reverb level
Output Assign
Level
A, B, C
0–127
1:Refer to MFX parameters.
2:OFF, CC01–95(except 32), BENDER, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4
3:Refer to Chorus parameters.
4:Refer to Reverb parameters.
MIDI Gro u p (p . 1 0 6 )
Display
Parameter
Value
MIDI
Channel
Rx Sw
MIDI channel
1–16
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
Receive switch
OFF, ON
OFF, ON
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
BankSelect
Mute switch
CH RxSWITCH
Transmit bank select switch
Program Change Receive program change switch
Vol
Receive volume switch
Receive pan switch
Pan
Exp
Receive expression switch
Receive hold-1 switch
Receive bend switch
Hld
Bnd
Mod
Receive modulation switch
Receive channel aftertouch switch
Receive polyphonic aftertouch switch
Velocity curve
Caf
Paf
CH VELO CRV
Velocity Curve
Phase Lock
Phase lock
1 5 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
PART Gro u p (p . 1 0 3 )
Display
Parameter
Value
PART PATCH
Type
Part type
PAT/RHY
Group
Patch group
USER, PR-A, PR-B, PR-C, PR-D, PR-E,
XP-A, XP-B, XP-C, XP-D, XP-E, XP-F, CD-A–H
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
Number
Level
Patch number
Level
001–128
PART SETTING
PART MODIFY
0–127
Pan
ÉpÉì
L64–0–63R
0–128
Voice Reserve
Cut
Voice reserve
Part cutoff offset
Part resonance offset
Part attack time offset
Part release time offset
Part velocity sens offset
Octave shift
-64–+63
Res
-64–+63
Atk
-64–+63
Rel
-64–+63
Velocity Sens
Octave
Coarse
Fine
-63–+63
PART PITCH
-3–+3
Coarse tune
-48–+48 semitone
-50–+50 cent
0–48, PATCH
MONO, POLY, PATCH
OFF, ON, PATCH
OFF, ON:0–127, PATCH
Fine tune
BendRng
Mno/Pol
Legato
Pitch bend range
Part MONO/POLY
Legato switch
PART MONO/POL
Portament Sw:Tm Portament switch:time
IN FO RMATIO N Gro u p (p . 1 0 7 )
Display
Parameter
Value
INFO
Mod
Breath
Foot
Vol
Modulation information
Breath information
Foot information
0–127
P
P
P
P
P
P
P
P
P
0–127
0–127
Volume information
Pan information
0–127
Pan
Exp
L64–0–63R
0–127
Expression information
Hold1 information
Hold
Bend
Aft
0–127
Pitch bend information
Aftertouch information
-128–+127
0–127
Sys1System control 1 information0–127/-128–+127
P
Sys2
Sys3
Sys4
Voices
System control 2 information
System control 3 information
System control 4 information
Voice information
0–127/-128–+127
0–127/-128–+127
0–127/-128–+127
0–64
P
P
P
P
1 5 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
●Rh y th m Se t Pa ra m e te rs
* Parameters that can be set independently for each Tone are indicated by "T." COMMON Group(P.**)
CO MMO N Gro u p (p . 1 1 1 )
Display
Parameter
Value
RHYTHM NAME
----
Rhythm set name
Rhythm level
ASCII Characters (max. 12)
0–127
RHYTHM COMMON
Level
Output Assign
Clock Source
Tempo
Rhythm output assign
Rhythm clock source
Rhythm tempo
MFX, A–C, 1–6, TONE
RHYTHM, SYSETEM
20–250
RHYTHM TEMPO
EFFECTS Gro u p (p . 3 1 )
Display
Parameter
Value
OUTPUT
Output Assign
Output assign
MFX, OUTPUT A–C, INDIV1–6
Output level
0–127
0–127
0–127
(*1)
Chorus
Reverb
Type
Chorus send level
Reverb send level
MFX type
RHYTHM MFX TYPE
RHYTHM MFX PRM
RHYTHM MFX CTRL
(*1)
MFX parameters
MFX control source1, 2, 3, 4
Destination 1, 2, 3, 4
MFX control sens 1, 2, 3, 4
Output assign
Source
Destination
Sens
(*2)
(*1)
-63–+63
RHYTHM MFX OUT
Output
Dry
A, B, C
MFX Output level
Chorus send level
Reverb send level
Chorus type
0–127
Chorus
Reverb
Type
0–127
0–127
RHYTHM CHO TYPE
RHYTHM CHO PRM
RHYTHM CHO OUT
OFF, CHORUS, DELAY
(*3)
Chorus parameters
Chorus output assign
Chorus level
Output Assign
Level
A, B, C
0–127
Select
Type
Chorus output select
Reverb type
MAIN, REV, M+R
OFF, CHORUS, DELAY
RHYTHM REV TYPE
RHYTHM REV PRM
RHYTHM REV OUT
(*4)
Reverb parameters
Reverb output assign
Reverb level
Output Assign
Level
A, B, C
0–127
1:Refer to MFX parameters.
2:OFF, CC01–95(except 32), BENDER, AFERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4
3:Refer to Chorus parameters.
4:Refer to Reverb parameters.
CO N TRO L Gro u p (p . 1 1 8 )
Display
Parameter
Value
CONTROL
Bend Range
Envelope Mode
Mute Group
Assign Type
Expression
Pan
Bend range
0–48
Envelope mode
NO-SUS, SUSTAIN
OFF, 1–31
Mute group
Assign type
MULTI, SINGLE
OFF, ON
Rx MIDI
Receive expression switch
Receive pan control switch
Receive hold-1 switch
CONTINUOUS, KEY-ON
OFF, ON
Hold-1
1 5 7
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
W AVE Gro u p (p . 1 1 3 )
Display
Parameter
Value
TONE NAME
WMT WAVE
----
Tone name
ASCII Characters (max. 12)
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Group
Number
Gain
Wave group
Wave number(L, R)
Wave gain
INT, XP-A, XP-B, XP-C, XP-D, XP-E
001–255
-6, 0, 6, 12 dB
OFF, ON
OFF, ON
0–127
Switch
Key switch
Wave Tempo Sync Wave tempo sync
WMT LVL&PAN
Level
Level
Pan
Pan
L64–0–63R
OFF, ON
OFF, ON
-48–+48 semitone
-50–+50 cent
OFF, ON
1–4
Rnd Pan
Alt Pan
Coarse
Fine
Random pan switch
Alternate pan switch
Coarse tune
WMT TUNE
WMT FXM
Fine tune
Switch
Color
FXM switch
FXM color
Depth
L.Fade
Lower
Upper
U.Fade
FXM depth
1–17
WMT VEL RANG
VELO CONTROL
Velocity fade width lower
Velocity range lower
Velocity range upper
Velocity fade width upper
0–127
1–127
1–127
0–127
WMT Velocity Control WMT velocity control
OFF, ON, RANDOM
PITCH Gro u p (p . 1 1 5 )
Display
Parameter
Value
PITCH
Coarse
Fine
Coarse tune
-48–+48 semitone
-50–+50 cent
0–1200 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 sens
Pitch envelope time 1 velocity sens
Pitch envelope time 4 velocity sens
Pitch envelope level 0
Pitch envelope time 1–4
Pitch envelope level 1–4
-63–+63
-63–+63
V-T4
-63–+63
L0
-63–+63
T1, T2, T3, T4
L1, L2, L3, L4
0–127
-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 1 6 )
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
0–127
Resonance
V-Cutoff
V-Curve
V-Resonance
Depth
Resonance
0–127
TVF VELOCITY
TVF ENVELOPE
TVF cutoff velocity sens
TVF cutoff velocity curve
TVF resonance velocity sens
TVF Envelope depth
-63–+63
FIXED, 1–7
-63–+63
-63–+63
-63–+63
FIXED, 1–7
-63–+63
-63–+63
0–127
V-Sens
TVF envelope velocity sens
TVF envelope velocity curve
TVF envelope time 1 velocity sens
TVF envelope time 4 velocity sens
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
0–127
0–127
TVA Gro u p (p . 1 1 7 )
Display
Parameter
Value
TVA
Level
Level
0–127
Pan
Pan
L64–0–63R
0–63
Random
Alternate
Velocity Sens
Velocity Curve
V-T1
Random pan depth
Alternate pan depth
L63–0–63R
-63–+63
FIXED, 1–7
-63–+63
-63–+63
0–127
TVA VELOCITY
TVA TIME ENV
TVA ENVELOPE
TVA envelope velocity sens
TVA envelope velocity curve
TVA envelope time 1 velocity sens
TVA envelope time 4 velocity sens
TVA envelope time 1–4
TVA envelope level 1–3
V-T4
T1–4
L1–3
0–127
1 5 8
Download from Www.Somanuals.com. All Manuals Search And Download.
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 4 3 )
Display
Parameter
Value
PART OUTPUT
Output Assign
Output assign
OUTPUT A–C, INDIV 1–6
P
P
P
P
Output level
0–127
0–127
0–127
Chorus
Reverb
Type
Rate
Depth
Fbk
Chorus send level
Reverb send level
Chorus type
GM CHORUS
Chorus1–4, FB Chorus, Flanger
Chorus rate
0–127
Chorus depth
0–127
Chorus feedback level
Reverb send level
Chorus output assign
Reverb/Delay type
0–127
Rev
0–127
Out
OUTPUT A–C
GM REVERB
Type
Small Room, Medium Room, Large Room, Medium Hall,
Large Hall, Plate
Time
Out
Reverb/Delay time
0–127
Reverb output assign
OUTPUT A–C
MIDI Gro u p (p . 1 4 4 )
Display
Parameter
Value
PART MIDI
Channel
Rx Sw
MIDI channel
Receive switch
Mute switch
1–16
P
P
P
OFF, ON
OFF, ON
Mute Sw
PART Gro u p (p . 1 4 2 )
Display
Parameter
Value
PART PATCH
Type
Part type
PAT, RHY
001–256
Number
Volume
Pan
GM patch number
Volume
P
P
P
P
P
P
P
P
P
P
P
P
PART SETTING
PART MODIFY
PART CONTROL
0–127
Pan
L64–0–63R
-48–+48 semitone
-50–+50 cent
-64–+63
Coarse
Fine
Coarse tune
Fine tune
Cutoff
Cutoff offset
Resonance
Attack
Resonance offset
Attack time offset
Release time offset
Pitch bend range
MONO/POLY
Portament switch:time
-64–+63
-64–+63
Release
BendRng
Mono/Poly
Porta Sw:Time
-64–+63
0–48
MONO, POLY
OFF, ON : -0–127
IN FO Gro u p (p . 1 4 4 )
Display
Parameter
Value
INFO
Mod
Modulation information
Breath information
Foot information
0–127
P
P
P
P
P
P
P
P
P
P
Breath
Foot
0–127
0–127
Vol
Volume information
Pan information
0–127
Pan
L64–0–63R
0–127
Exp
Expression information
Hold1 information
Hold
0–127
Bend
Aftertouch
Voices
Pitch bend information
Aftertouch information
Voice information
-128–+127
0–127
0–64
1 5 9
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
6 :EN HAN CER(p . 4 0 )
Parameter
●MFX Pra m e te rs
Value
Sens
Sens
0-127
1 :STEREO EQ (p . 3 8 )
Mix
Mix level
Low gain
High gain
Output level
0-127
Parameter
Value
Low Gain
Hi Gain
Level
-15-+15 dB
-15-+15 dB
0-127
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
7 :AUTO W AH(p . 4 0 )
Mid1 Freq
Mid1 Q
Middle 1 frequency
Q
200–8000Hz(*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
Q
Filter
Filter type
Sens
LPF, BPF
0-127
200–8000 Hz(*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
Sens
Manual
Peak
Rate
Manual
Peak
0-127
Mid2 Gain
Level
Middle 2 gain
Output level
0-127
0–127
Rate
0.05-10.00 Hz
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Depth
Level
Depth
Output level
0-127
2 :O VERDRIVE(p . 3 8 )
Parameter
8 :RO TARY(p . 4 1 )
Parameter
Value
Value
Drive
Drive
0-127
LowSlow
LowFast
LowAccl
Low Lvl
Hi Slow
Hi Fast
Hi Accl
Hi Lvl
Low frequency slow rate
0.05-10.00 Hz
0.05-10.00 Hz
0-15
Level
Output level
Low gain
0-127
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
LowGain
Hi Gain
AmpType
-15-+15 dB
-15-+15 dB
SMALL, BUILT-IN,
2-STACK, 3-STACK
L64-0-63R
High gain
0-127
Amp simulator type
0.05-10.00 Hz
0.05-10.00 Hz
0-15
Pan
Output pan
0-127
Separation
Speed
0-127
3 :DISTO RTIO N (p . 3 9 )
Parameter
Speed
SLOW, FAST
0-127
Value
Level
Output level
Drive
Drive
0-127
Level
Output level
Low gain
0-127
9 :CO MPRESSO R(p . 4 2 )
LowGain
Hi Gain
AmpType
-15-+15 dB
-15-+15 dB
SMALL, BUILT-IN,
2-STACK, 3-STACK
L64-0-63R
Parameter
Value
High gain
Amp simulator type
Attack
Attack
0-127
Sustain
Post Gain
LowGain
Hi Gain
Pan
Sustain
0-127
Pan
Output pan
Post gain
Low gain
High gain
Output pan
Output level
0, +6, +12, +18 dB
-15-+15 dB
-15-+15 dB
L64-0-63R
0-127
4 :PHASER(p . 3 9 )
Parameter
Value
Level
Manual
Rate
Depth
Res
Manual
100-8000 Hz
0.05-10.00 Hz
0-127
Rate
1 0 :LIMITER(p . 4 2 )
Parameter
Depth
Value
Resonance
Mix level
Output pan
Output level
0-127
Mix
0-127
Thresh
Ratio
Threshold level
Compression ratio
Release time
Post gain
0-127
Pan
L64-0-63R
0-127
1.5:1, 2:1, 4:1, 100:1
0-127
Level
Release
Gain
0, +6, +12, +18 dB
-15-+15 dB
-15-+15 dB
L64-0-63R
0-127
LowGain
Hi Gain
Pan
Low gain
5 :SPECTRUM(p . 4 0 )
High gain
Parameter
Value
Output pan
Output level
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Q
Band1 gain
Band2 gain
Band3 gain
Band4 gain
Band5 gain
Band6 gain
Band7 gain
Band8 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
L64-0-63R
0-127
Level
1 1 :HEXA-CHO RUS(p . 4 2 )
Parameter
Value
Pre Dly
Rate
Pre delay time
Rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Depth
Depth
Dly Dev
Dpt Dev
Pan Dev
Balance
Level
Pre delay deviation
Depth deviation
Pan deviation
Effect balance
Output level
0-20
Pan
Output pan
Output level
-20-+20
Level
0-20
D100:0W-D0:100W
0-127
1 6 0
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
1 2 :TREMO LO CHO RUS(p . 4 3 )
Parameter
Parameter
Value
Value
Pre Dly
ChoRate
Cho Dpt
Phase
Pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Delay L
Delay R
Fbk
Delay time left
0.0-500.0 ms
0.0-500.0 ms
-98-+98%
Delay time right
Feedback level
Feedback mode
Feedback phase left
Feedback phase right
HF damp
Chorus depth
Tremolo phase
Tremolo rate
0-180 degree
0.05-10.00 Hz
0-127
Mode
NORMAL, CROSS
NORMAL, INVERT
NORMAL, INVERT
200-8000 Hz,
BYPASS (*1)
-15-+15 dB
TrmRate
Trm Sep
Balance
Level
Phase L
Phase R
HF Damp
Tremolo separation
Effect balance
Output level
D100:0W-D0:100W
0-127
LowGain
Hi Gain
Balance
Level
Low gain
High gain
-15-+15 dB
1 3 :SPACE-D(p . 4 3 )
Parameter
Effect balance
Output level
D100:0W-D0:100W
0-127
Value
Pre Dly
Rate
Pre delay time
Rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Depth
Depth
Phase
LowGain
Hi Gain
Balance
Level
Phase
0-180 degree
-15-+15 dB
-15-+15 dB
D100:0W-D0:100W
0-127
1 8 :MO DULATIO N DELAY(p . 4 7 )
Low gain
High gain
Effect balance
Output level
Parameter
Value
Delay L
Delay R
Fbk
Delay time left
Delay time right
Feedback level
Feedback mode
Rate
0.0-500.0 ms
0.0-500.0 ms
-98-+98%
NORMAL, CROSS
0.05-10.00 Hz
0-127
1 4 :STEREO CHO RUS(p . 4 4 )
Parameter
Rate
Value
Depth
Phase
HF Damp
Depth
Pre Dly
Rate
Pre delay time
Rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Phase
0-180 degree
200-8000 Hz,
BYPASS (*1)
-15-+15 dB
HF damp
Depth
Depth
Phase
Phase
0-180 degree
OFF, LPF, HPF
200-8000 Hz (*1)
-15-+15 dB
LowGain
Hi Gain
Balance
Level
Low gain
Filter Type
Cutoff
Filter type
Cutoff frequency
Low gain
High gain
-15-+15 dB
Effect balance
Output level
D100:0W-D0:100W
0-127
LowGain
Hi Gain
Balance
Level
High gain
Effect balance
Output level
-15-+15 dB
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
D100:0W-D0:100W
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
1 9 :TRIPLE TAP DELAY(p . 4 8 )
Parameter
Value
Delay L
Delay R
Fbk
Delay time center
Delay time left
Delay time right
Feedback level
Center level
Left level
200-1000 ms, note
200-1000 ms, note
200-1000 ms, note
-98-+98%
1 5 :STEREO FLAN GER(p . 4 4 )
Parameter
Value
Pre Dly
Rate
Pre delay time
Rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Level C
Level L
Level R
HF Damp
0-127
Depth
Fbk
Depth
0-127
Feedback level
Phase
-98-+98%
Right level
0-127
Phase
Filter Type
Cutoff
LowGain
Hi Gain
Balance
Level
0-180 degree
OFF, LPF, HPF
200-8000 Hz (*1)
-15-+15 dB
HF damp
200-8000 Hz,
BYPASS (*1)
-15-+15 dB
-15-+15 dB
D100:0W-D0:100W
0-127
Filter type
Cutoff frequency
Low gain
LowGain
Hi Gain
Balance
Level
Low gain
High gain
High gain
-15-+15 dB
Effect balance
Output level
Effect balance
Output level
D100:0W-D0:100W
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1:
200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
1 6 :STEP FLAN GER(p . 4 5 )
Parameter
Value
Pre Dly
Rate
Pre delay time
Rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Depth
Depth
Fbk
Feedback level
Phase
-98-+98%
Phase
Step Rate
LowGain
Hi Gain
Balance
Level
0-180 degree
0.10-20.00 Hz, note
-15-+15 dB
Step rate
Low gain
High gain
Effect balance
Output level
-15-+15 dB
D100:0W-D0:100W
0-127
1 6 1
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
2 0 :Q UADRUPLE TAP DELAY(p . 4 8 )
Parameter
Parameter
Value
Value
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
200-1000 ms, note
200-1000 ms, note
200-1000 ms, note
200-1000 ms, note
0-127
Type
Reverb type
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
0.0-100.0 ms
0-127
Pre Dly
Time
Pre delay time
Gate time
Level 2
0-127
HF Damp
HF damp
200-8000 Hz,
BYPASS (*1)
-15-+15 dB
Level 3
0-127
Level 4
0-127
LowGain
Hi Gain
Balance
Level
Low gain
Feedback level
HF damp
-98-+98%
High gain
-15-+15 dB
HF Damp
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
0-127
Effect balance
Output level
D100:0W-D0:100W
0-127
Balance
Level
Effect balance
Output level
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
2 5 :GATED REVERB(p . 5 2 )
Parameter
Value
2 1 :TIME CO N TRO L DELAY(p . 4 9 )
Type
Gated Reverb type
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0-100.0 ms
5-500 ms
Parameter
Value
Delay
Accel
Delay time
200-1000 ms
0-15
Pre Dly
Gate Time
LowGain
Hi Gain
Balance
Level
Pre delay time
Gate time
Acceleration
Feedback level
HF damp
Fbk
-98-+98%
Low gain
-15-+15 dB
HF Damp
200-8000 Hz,
BYPASS (*1)
L64-0-63R
-15-+15 dB
-15-+15 dB
D100:0W-D0:100W
0-127
High gain
-15-+15 dB
Effect balance
Output level
D100:0W-D0:100W
0-127
Pan
Output pan
Low gain
LowGain
Hi Gain
Balance
Level
High gain
2 6 :O VERDRIVE→CHO RUS(p . 5 2 )
Effect balance
Output level
Parameter
Value
OD Drive
OD Pan
Drive
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Over drive pan
Chorus pre delay time
Chorus Rate
Chorus depth
L64-0-63R
0.0-100.0 ms
0.05-10.00 Hz
0-127
Cho Dly
ChoRate
Chorus Depth
2 2 :2 VO ICE PITCH SHIFTER(p . 5 0 )
Parameter
Value
Chorus Balance Chorus balance
Level Output level
D100:0W-D0:100W
0-127
CoarseA
Fine A
Pan A
Coarse pitch A
Fine pitch A
-24-+12 semitone
-100-+100 cent
L64-0-63R
Output pan A
Pre delay time A
Coarse pitch B
Fine pitch B
2 7 :O VERDRIVE→FLAN GER(p . 5 2 )
PreDlyA
CoarseB
Fine B
Pan B
0.0-500.0 ms
-24-+12 semitone
-100-+100 cent
L64-0-63R
Parameter
Value
OD Drive
OD Pan
Flg Dly
Drive
0-127
Over drive pan
Flanger pre delay time
Flanger rate
L64-0-63R
0.0-100.0 ms
0.05-10.00 Hz
0-127
Output pan B
Pre delay time B
Pitch shifter mode
Level balance
Effect balance
Output level
PreDlyB
Mode
0.0-500.0 ms
1, 2, 3, 4, 5
FlgRate
Flg Dpt
Flg Fbk
Flanger depth
Flanger feedback level
Lvl Bal
Balance
Level
A100:0B-A0:100B
D100:0W-D0:100W
0-127
-98-+98%
D100:0W-D0:100W
0-127
Flanger Balance Flanger balance
Level Output level
2 3 :FBK PITCH SHIFTER(p . 5 0 )
Parameter
Value
Parameter
Value
Coarse
Fine
Coarse pitch
Fine pitch
-24-+12 semitone
-100-+100 cent
-98-+98%
OD Drive
OD Pan
DlyTime
Dly Fbk
Drive
0-127
Over drive pan
Delay time
L64-0-63R
0.0-500.0 ms
-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
Delay feedback level
Delay HF Damp Delay HF damp
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
0-127
Pan
L64-0-63R
LowGain
Hi Gain
Balance
Level
Low gain
-15-+15 dB
Delay Balance Delay balance
High gain
-15-+15 dB
Level
Output level
Effect balance
Output level
D100:0W-D0:100W
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1 6 2
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
2 9 :DISTO RTIO N →CHO RUS(p . 5 3 )
The parameters are essentially the same as "26: OVERDRIVE→CHORUS,"
with the exception of the following two.
Parameter
Value
Flg Dly
Flanger pre delay time
Flanger rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
OD Drive→Dist Drive, OD Pan→Dist Pan
OD Drive→Dist Drive, OD Pan→Dist Pan
FlgRate
Flg Dpt
Flg Fbk
Flg Bal
Flanger depth
Flanger feedback level
Flanger balance
Delay time
-98-+98%
3 0 :DISTO RTIO N →FLAN GER(p . 5 4 )
The parameters are essentially the same as "27: OVERDRIVE→FLANGER,"
with the exception of the following two.
D100:0W-D0:100W
0.0-500.0 ms
-98-+98%
DlyTime
Dly Fbk
HF Damp
Delay feedback level
HF damp
OD Drive→Dist Drive, OD Pan→Dist Pan
OD Drive→Dist Drive, OD Pan→Dist Pan
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
0-127
Delay Balance Delay balance
Level Output level
3 1 :DISTO RTIO N →DELAY(p . 5 4 )
The parameters are essentially the same as "28: OVERDRIVE→DELAY," with
the exception of the following two.
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
OD Drive→Dist Drive, OD Pan→Dist Pan
OD Drive→Dist Drive, OD Pan→Dist Pan
3 7 :CHO RUS→FLAN GER(p . 5 6 )
Parameter
Value
3 2 :EN HAN SER→CHO RUS(p . 5 4 )
Cho Dly
ChoRate
Cho Dpt
Cho Bal
Flg Dly
Chorus pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Parameter
Value
Enhancer Sens Enhancer sens
0-127
Chorus depth
Enhancer Mix
Cho Dly
Enhancer mix level
Chorus pre delay time
Chorus rate
0-127
Chorus balance
Flanger pre delay time
Flanger rate
D100:0W-D0:100W
0.0-100.0 ms
0.05-10.00 Hz
0-127
0.0-100.0 ms
0.05-10.00 Hz
0-127
ChoRate
FlgRate
Flg Dpt
Flg Fbk
Chorus Depth
Chorus depth
Flanger depth
Chorus Balance Chorus balance
Level Output level
D100:0W-D0:100W
0-127
Flanger feedback level
-98-+98%
Flanger Balance Flanger balance
Level Output level
D100:0W-D0:100W
0-127
3 3 :EN HAN SER→FLAN GER(p . 5 4 )
Parameter
Value
3 8 :CHO RUS/ DELAY(p . 5 7 )
Refer to "35: CHORUS?DELAY."
Enhancer Sens Enhancer sens
0-127
Enhancer Mix
Flg Dly
Enhancer mix level
Flanger pre delay time
Flanger rate
0-127
0.0-100.0 ms
0.05-10.00 Hz
0-127
3 9 :FLAN GER/ DELAY(p . 5 7 )
Refer to "36: FLANGER?DELAY."
FlgRate
Flg Dpt
Flanger depth
Flg Fbk
Flanger feedback level
-98-+98%
D100:0W-D0:100W
0-127
Flanger Balance Flanger balance
Level Output level
4 0 :CHO RUS/ FLAN GER(p . 5 7 )
Refer to "37: CHORUS?FLANGER."
3 4 :EN HAN SER→DELAY(p . 5 5 )
4 1 :STEREO PHASER(p . 5 7 )
Parameter
Parameter
Value
Value
Enhancer Sens Enhancer sens
0-127
Enhancer Mix
Delay
Enhancer mix level
Delay time
0-127
Type
Phaser type
Mode
1, 2
0.0-500.0 ms
-98-+98%
Mode
Pol
4 stage, 8 stage
INVERSE, SYNCHRO
0 – 127
Dly Fbk
Delay feedback level
Polarity
Delay HF Damp Delay HF damp
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
0-127
Man
Manual
Rate
Phaser rate
Phaser depth
Phaser resonance
Cross feedback level
Step rate (*1)
Mix level
0.05 – 10.00 Hz
0 – 127
Delay Balance Delay balance
Depth
Res
Level
Output level
0 – 127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
X-Fbk
Step Rate
Mix
-98 – +98 %
OFF, ON:0.1–20.0 Hz
0 – 127
3 5 :CHO RUS→DELAY(p . 5 5 )
Hi Gain
Level
Low gain
-15 – +15 dB
-15 – +15 dB
0 – 127
High gain
Parameter
Value
Output level
Cho Dly
ChoRate
Cho Dpt
Cho Bal
DlyTime
Dly Fbk
Chorus pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
1: Step switch:Step rate
Chorus depth
Chorus balance
Delay time
D100:0W-D0:100W
0.0-500.0 ms
-98-+98%
Delay Feedback level
Delay HF Damp Delay HF damp
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
0-127
Delay Balance Delay balance
Level
Output level
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1 6 3
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
4 2 :KEYSYN C FLAN GER(p . 5 8 )
Parameter
Value
Parameter
Value
Pre Dly
Rate
Pre delay time
LFO rate
0.0 – 100 ms
0.05 – 10.00 Hz
0 – 127
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 ÇP
0 – 1800 ms
0 – 1800 ms
0 – 1800 ms
0 – 1800 ms
L64 – 63R
L64 – 63R
L64 – 63R
L64 – 63R
0 – 127
Depth
Fbk
LFO depth
Feedback
-98 – +98 %
Phase
Filter
Phase
0 – 180 degree
OFF, LPF, HPF
200–8000 H(*1)
OFF, ON:0.1–20.0 Hz
OFF, ON
Filter type
Pan 2
Cutoff
Step Rate
Keysync
Thres
Cutoff frequency
Step rate (*2)
Keysync switch
Keysync threshold
Pan 3
Pan 4
Level 1
Level 2
Level 3
Level 4
Fbk
0 – 127
Level 2
0 – 127
Keysync Phase Keysync phase
0 – 360 degree
-15 – +15 dB
-15 – +15 dB
D100:0W – D0:100W
0 – 127
Level 3
0 – 127
LowGain
Hi Gain
Balance
Level
Low gain
High gain
Balance
Level 4
0 – 127
Feedback
-98 – +98 %
200–8000 Hz,
BYPASS(*1)
-15 – +15 dB
-15 – +15 dB
D100:0E – D0:100E
0 – 127
HF Damp
HF Damp
Output level
LoG
Low gain
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
HiG
High gain
Balance
Lev
Effect balance
Output level
2: Step switch:Step rate
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
4 3 :FO RMAN T FILTER(p . 5 9 )
Parameter
Value
Drive
Drive
OFF, ON:0 – 127
a, e, i, o, u
0.05 – 10.00 Hz
0 – 127
4 6 :REVERSE DELAY(p . 6 1 )
Vowel
Rate
Vowel 1:2
Rate
Parameter
Value
Delay 1
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Feedback 1:4
HF Damp
0 – 900 ms
0 – 900 ms
0 – 900 ms
0 – 900 ms
-98 – +98 %
200–8000 Hz,
BYPASS(*1)
0 – 127
Depth
Depth
Delay 2
Keysync
Threshold
Manual
LowGain
Hi Gain
Pan
Keysync switch
Keysync threshold
Manual
OFF, ON
Delay 3
0 – 127
Delay 4
0 – 100
Feedback 1:4
HF Damp
Low gain
High gain
Output pan
Output level
-15 – +15 dB
-15 – +15 dB
L64 – 63R
0 – 127
Thr
Threshold level
Output pan 1:2:3
Level ÇP:2:3
Effect balance
Low gain
Level
Pan 1:2:3
Level 1:2:3
Balance
LowGain
Hi Gain
Level
L64 – 63R
0 – 127
4 4 :RIN G MO DULATO R(p . 6 0 )
Parameter
D100:0E – D0:100E
-15 – +15 dB
-15 – +15 dB
0 – 127
Value
Freq
Frequency
Modulator
Modulator monitor
Sens
0 – 127
High gain
Mod
OFF, Source, A, B, C
OFF, ON
Output level
Mon
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Sens
0 – 127
Pol
Polarity
UP, DOWN
-15 – +15 dB
-15 – +15 dB
D100:0E – D0:100E
0 – 127
LowGain
Hi Gain
Balance
Level
Low gain
4 7 :SHUFFLE DELAY(p . 6 2 )
Parameter
High gain
Value
Effect balance
Output level
Delay
Delay time
Shuffle rate
Acceleration
Feedback
HF Damp
0 – 1800 ms
0 – 100 %
Shuffle
Accel
0 – 15
Fbk
-98 – +98 %
200–8000 Hz,
BYPASS(*1)
L64 – 63R
HF Damp
Pan A
Pan B
Pan A
Pan B
L64 – 63R
Level Balance Level balance
A100:0B – A0:100B
-15 – +15 dB
-15 – +15 dB
D100:0E – D0:100E
0 – 127
LowGain
Hi Gain
Balance
Level
Low gain
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
1 6 4
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
4 8 :3 D DELAY(p . 6 2 )
Parameter
5 2 :SPEAKER SIMULATO R(p . 6 5 )
Value
Parameter
Value
Delay C
Delay L
Delay R
Fbk
Delay time center
Delay time left
Delay time right
Feedback
0 – 1800 ms
0 – 1800 ms
0 – 1800 ms
-98 – +98 %
0 – 127
Speaker Type Speaker type
(*1)
Mic Set
Mic:Dir
Level
1:
Mic setting
1, 2, 3
Mic level:Direct level
Output level
0 – 127:0 – 127 (*2)
0 – 127
Level C
Level L
Level R
HF Damp
Level center
Level left
Small 1, Small 2, Middle, JC-120, Built In 1, Built In 2, Built In
0 – 127
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
Level right
0 – 127
HF Damp
200–8000 Hz,
BYPASS(*1)
5 3 :O VERDRIVE 2 (p . 6 5 )
Parameter
Out
Output mode Speaker, Phones
Low gain
Value
Lo G
Hi G
-15 – +15 dB
Drive
Drive
0 – 127
High gain -15 – +15 dB
Effect balance
Level
Output level
Low gain
0 – 127
Balance
Level
D100:0E – D0:100E
LowGain
Hi Gain
Amp Type
-15 – +15 dB
-15 – +15 dB
OFF,ON:SMALL,
BUILT-IN, 2-STACK,
3-STACK (*1)
0 – 127
Output level
0 – 127
High gain
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Amp. simulator type
4 9 :3 VO ICE PITCH SHIFTER(p . 6 3 )
Parameter
Tone
Pan
Tone
Value
Output pan
L64 – 63R
Coarse 1:2:3
Fine 1:2:3
Coarse pitch ÇP:2:3
-24 – +12
*1: Amp. simulator switch:Amp. simulator type
Fine pitch 1:2:3
-100 – +100 [cent]
0.0 – 500 [ms]
-98 – +98 %
L64 – 63R
Pre Delay 1:2:3 Pre Delay time 1:2:3
5 4 :DISTO RTIO N 2 (p . 6 6 )
Parameter
Fbk 1:2:3
Pan 1:2:3
Level 1:2:3
Balance
Level
Feedback level1:2:3
Output pan 1:2:3
Level 1:2:3
Value
Drive
Drive
0 – 127
0 – 127
Level
Output level
Low gain
0 – 127
Effect balance
Output level
D100:0E – D0:100E
0 – 127
LowGain
Hi Gain
Amp Type
-15 – +15 dB
-15 – +15 dB
OFF,ON:SMALL,
BUILT-IN, 2-STACK,
3-STACK (*1)
0 – 127
High gain
Amp. simulator type
5 0 :LO FI CO MPRESS(p . 6 4 )
Parameter
Value
Type
LOFI type
1 – 9
Tone
Pan
Tone
Pre Filter
Post Filter 1
Post Filter 2
LowGain
Hi Gain
Balance
Pan
Pre Filter type
Post Filter 1 type
Post Filter 2 type
Low gain
1 – 6
Output pan
L64 – 63R
1 – 6
*1: Amp. simulator switch:Amp. simulator type
OFF, LPF, HPF:(*1)
-15 – +15 dB
-15 – +15 dB
D100:0E – D0:100E
L64 – 63R
0 – 127
5 5 :STEREO CO MPRESSO R(p . 6 6 )
High gain
Parameter
Value
Effect balance
Output pan
Sustain
Attack
Sustain
0 – 127
Attack time
Post gain
Low gain
High gain
Output level
0 – 127
Level
Output level
Post Gain
LowGain
Hi Gain
Level
0, +6, +12, +18
-15 – +15
-15 – +15
0 – 127
1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
5 1 :LO FI N O ISE(p . 6 4 )
Parameter
Value
5 6 :STEREO LIMITER(p . 6 6 )
Parameter
Type
LOFI type
1 – 9
Value
Post Fltr
Radio Detune
Disc:LPF:Lev
LowGain
Hi Gain
Post Filter type
Radio detune
Disc:LPF:Level
Low gain
OFF, LPF, HPF:(*1)
0 – 127:0 – 127 (*2)
*3:*4:*5
Thre
Threshold level
Release time
Compression ratio
Post gain
0 – 127
Release
Ratio
0 – 127
1.5:1, 2:1, 4:1, 100:1
0, +6, +12, +18
-15 – +15
-15 – +15 dB
-15 – +15 dB
D100:0E – D0:100E
L64 – 63R
Gain
High gain
LowGain
Hi Gain
Level
Low gain
Balance
Pan
Effect balance
Output pan
Output level
High gain
-15 – +15
Output level
0 – 127
Level
0 – 127
*1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
*2: Radio detune:Radio noise level
*3: Disc noise type:LP, EP, SP, RND
*4: Disc noise LPF:200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600,
2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*5: Disc noise level:0 – 127
1 6 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
5 7 :GATE(p . 6 7 )
Parameter
6 1 :3 D FLAN GER(p . 6 9 )
Parameter
Value
Value
Key
Key
Source, A, B, C
0 – 127
Pre Dly
Rate
Pre delay time
LFO rate
0.0 – 100 ms
Thre
Key threshold
Key monitor
Mode
0.05 – 10.00 Hz
0 – 127
Monitor
Mode
Atk
OFF, ON
Depth
Fbk
LFO depth
Feedback
GATE, DUCK
0 – 127
-98 – +98 %
Attack time
Hold time
Phase
Filter
Phase
0 – 180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
OFF, ON:0.1–20.0 Hz
Speaker, Phones
-15 – +15 dB
Hold
0 – 127
Filter Type
Cutoff frequency
Step rate (*2)
Output mode
Low gain
Rel
Release time
Effect balance
Output level
0 – 127
Cutoff
Step Rate
Out
Balance
Level
D100:0E – D0:100E
0 – 127
LoG
Hi G
High gain
-15 – +15 dB
5 8 :SLICER(p . 6 7 )
Parameter
Balance
Level
Effect balance
Output level
D100:0W – D0:100W
0 – 127
Value
Beat 1-1–4-4
Rate
Beat 1-1– 4-4
Rate
0 –127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
0.05 – 10.0
0 – 127
Attack
Reset
Thre
Attack
2: Step switch:Step rate
Reset
OFF, Source, A, B, C
0 – 127
Reset threshold
Reset monitor switch
Mode
6 2 :TREMO LO (p . 7 0 )
Parameter
Mon
OFF, ON
Value
Mode
LEGATO, SLASH
0 – 127
Shuffle
Level
Shuffle
Mod Wave
Modulation wave
TRI, SQU, SIN, SAW1,
SAW2
Output level
0 – 127
Rate
Rate
0.05 – 10.0 Hz
0 – 127
Depth
LowGain
Hi Gain
Level
Depth
5 9 :ISO LATO R(p . 6 8 )
Parameter
Low gain
High gain
Output level
-15 – +15 dB
-15 – +15 dB
0 – 127
Value
High
Level high
Level middle
Level low
-60 – +4 dB
Middle
Low
-60 – +4 dB
-60 – +4 dB
6 3 :AUTO PAN (p . 7 0 )
Anti Phase Mid (*1)
Anti Phase Low (*2)
OFF, ON:0 – 127
OFF, ON:0 – 127
OFF, ON:0 – 127
0 – 127
Parameter
Value
Low Boost
Level
Low Booster switch/level
Output level
Mod Wave
Modulation wave
TRI, SQU, SIN, SAW1,
SAW2
1: Anti phase middle switch:level
2: Anti phase low switch:level
Rate
Rate
0.05 – 10.0 Hz
0 – 127
Depth
LowGain
Hi Gain
Level
Depth
Low gain
High gain
Output level
-15 – +15 dB
-15 – +15 dB
0 – 127
6 0 :3 D CHO RUS(p . 6 8 )
Parameter
Value
Pre Dly
Rate
Pre delay time
LFO rate
0.0 – 100 ms
0.05 – 10.00 Hz
0 – 127
Depth
Phase
Filter Type
Cutoff
Out
LFO depth
Phase
0 – 180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
Speaker, Phones
-15 – +15 dB
Filter Type
Cutoff frequency
Output mode
Low gain
Lo G
Hi G
High gain
-15 – +15 dB
Balance
Lev
Effect balance
Output level
D100:0W – D0:100W
0 – 127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
1 6 6
Download from Www.Somanuals.com. All Manuals Search And Download.
Pa ra m e te r List
●Sy ste m Pa ra m e te rs
SETUP Gro u p (p . 1 3 4 )
Display
Parameter
Value
SYSTEM SETUP
LCD
LCD contrast
Power up mode
Master level
1–10
Power Up Mode
Master Level
Clock Source
System Tempo
Mix/Parallel
Patch Remain
LAST-SET, DEFAULT
0–127
Clock source
INT, MIDI
System tempo
Mix/Parallel
20–250
MIX, PARALLEL
OFF, ON
Patch remain switch
Rhythm Edit Key Rhythm edit key
PANEL, PANEL&MIDI
CO N TRO L Gro u p (p . 1 3 3 )
Display
Parameter
Value
SYS CTRL ASSIGN1
SYS CTRL ASSIGN2
Control 1/2
Control 3/4
System control assign 1/2
System control assign 3/4
(*1)
(*1)
1:CC01–95(except 32), BENDER, AFTERTOUCH
MIDI Gro u p (p . 1 3 1 )
Display
Parameter
Value
SYSTEM MIDI
Control Channel
Patch/Rhy Ch
Performance control channel
1–16, OFF
1–16
Patch/Rhythm set receive channel
Rx Program Chg Receive program change switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
17–32
Rx Bank Select
Rx GM1 On
Rx GM2 On
Rx GS Reset
Device ID
Receive bank select switch
Receive GM1-ON switch
Receive GM2-ON switch
Receive GS Reset switch
Device ID number
Rx Sys. Excl
Receive exclusive switch
OFF, ON
OFF, ON
OFF, 2–8
1–8
Transmit Edit Data Transmit edit data switch
Stack Mode
Stack mode
Stack Number
Stack number
PREVIEW Gro u p (p . 1 3 )
Display
Parameter
Value
PREVIEW MODE
PREVIEW KEY
Mode
Preview sound mode
Preview Note Set 1–4
Preview velocity 1–4
SINGLE, CHORD, PHRASE
Note 1–4
Note 1–4
C-1–G9
PREVIEW VELOCITY
0–127
TUN E Gro u p (p . 1 3 0 )
Display
Parameter
Value
SYSTEM TUNE
Master
Key Shift
Scale Tune
C–B
Master tune
427.4–452.6 Hz
-12–+12 semitone
OFF, ON
Key shift
Scale tune switch
Scale tune C–B
Scale tune C–B
PATCH SCALE
KEY SCALE
-64–+63ÉZÉìÉg
-64–+63ÉZÉìÉg
C–B
IN FO Gro u p (p . 1 3 4 )
Display
Parameter
Value
INFO EXP
Expansion A–F
Expansion board name A–F
----
BATTERY CHECK
Internal Battery
Battery check
LOW, OK
1 6 7
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
1
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
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
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
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
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
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
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
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
Syn Gtr B
Syn Gtr C
Harp 1A
2
3
4
Harp 1B
5
Harp 1C
6
Harp Harm
Pluck Harp
Banjo A
7
8
9
Banjo B
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
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
1 6 8
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
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
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
Oboe mf A
Oboe mf B
Oboe mf C
Oboe f A
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
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
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
Violin 2 B
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
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
1 6 9
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
DIGI Bell 1+
JD Cowbell
Bell Wave
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
DualSquare A
DualSquare C
DualSquareA+
JD SynPulse1
JD SynPulse2
JD SynPulse3
JD SynPulse4
Synth Pulse1
Synth Pulse2
JD SynPulse5
Sync Sweep
Triangle
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
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
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
Thunder 2
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
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
1 7 0
Download from Www.Somanuals.com. All Manuals Search And Download.
W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
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
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
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
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
Cabasa Down
Cabasa Cut
Maracas
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
REV Wet SNfR
REV Dry SN
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
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
1 7 1
Download from Www.Somanuals.com. All Manuals Search And Download.
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
1 7 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
Model
Date
:XV-3080
BANK SELECT
MSB | LSB
| PROGRAM
| NUMBER
| GROUP
|
| NUMBER
|
:Dec. 18, 1999
—————+———————————+———————————+——————————————————————+———————————
Version :1.0
000 |
: |
032 |
085 | 000
| 032
| 033
| :
| 001 - 128 | GM Patch
|
|
|
|
| 001 - 128 | GM Patch
|
| 001 - 064 | User Performance
| 001 - 064 | Card Performance A
| 001 - 064 | Card Performance B
| 001 - 064
| 001 - 064
| 001 - 064
|
1. Receive data
|
| :
| 064
| 065
| :
| 001 - 032 | Preset Performance A | 001 - 032
| 001 - 032 | Preset Performance B | 001 - 032
●Channel Voice Messages
|
| :
|
086 | 000
| 032
| 033
| :
| 001 - 004 | User Rhythm
| 001 - 004 | Card Rhythm A
| 001 - 004 | Card Rhythm B
| 001 - 004
| 001 - 004
| 001 - 004
|
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
PART) is OFF.
|
| :
| 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
|
| :
●Note off
Status
087 | 000
| 032
| 033
| :
| 001 - 128 | User Patch
| 001 - 128 | Card Patch A
| 001 - 128 | Card Patch B
2nd byte
kkH
3rd byte
|
| :
8nH
vvH
00H
| 064
| 065
| :
| 001 - 128 | Preset Patch A
| 001 - 128 | Preset Patch B
9nH
kkH
|
| :
n = MIDI channel number:
kk = note number:
vv = note off velocity: 00H - 7FH (0 - 127)
0H - FH (Ch.1 - 16)
088 | 000 - 001 | 001 - 128 | SR-JV80-01 Rhythm
| 002 - 003 | 001 - 128 | SR-JV80-02 Rhythm
00H - 7FH (0 - 127)
| :
|
| :
089 | 000 - 001 | 001 - 128 | SR-JV80-01 Patch
| 002 - 003 | 001 - 128 | SR-JV80-02 Patch
| :
092 | 000 -
| :
|
| :
*
Not received when the Envelope Mode parameter (PATCH/ TONE and RHYTHM/
TONE) is NO-SUS.
| 001 -
| SRX Rhythm
| :
|
093 | 000 -
| :
| 001 -
|
| SRX Patch
| :
●Note on
Status
120 |
| 001 - 057 | GM Rhythm
| 001 - 128 | GM Patch
121 | 000 -
2nd byte
kkH
3rd byte
vvH
9nH
●Modulation (Controller number 1)
n = MIDI channel number:
kk = note number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
01H
3rd byte
vvH
00H - 7FH (0 - 127)
vv = note on velocity: 01H - 7FH (1 - 127)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Modulation depth: 00H - 7FH (0 - 127)
●Polyphonic Key Pressure
Status
2nd byte
3rd byte
*
Not received in Performance mode when the Receive Modulation (PERFORM/ MIDI) is
OFF.
AnH
kkH
vvH
n = MIDI channel number:
kk = note number:
vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)
0H - FH (Ch.1 - 16)
00H - 7FH (0 - 127)
●Breath type (Controller number 2)
Status
BnH
2nd byte
02H
3rd byte
vvH
*
Not received in Performance mode when the Receive Polyphonic Key Pressure
parameter (PERFORM/ MIDI) is OFF.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
●Control Change
●Foot type (Controller number 4)
*
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
Status
BnH
2nd byte
04H
3rd byte
vvH
4 parameter (PATCH COMMON), the corresponding effect will occur.
*
If a Controller number that corresponds to the System Control Source 1, 2, 3 or
4
n = MIDI channel number:
0H - FH (Ch.1 - 16)
parameter (SYSTEM/ COMMON) is selected, the specified effect will apply if Patch
Control Source 1, 2, 3 or 4 parameter (PATCH/ COMMON) is set to SYS-CTRL1, CTRL-2,
CTRL-3 or CTRL-4.
vv = Control value: 00H - 7FH (0 - 127)
●Portamento Time (Controller number 5)
Status
BnH
2nd byte
05H
3rd byte
vvH
●Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
mmH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Portamento Time: 00H - 7FH (0 - 127)
BnH
20H
llH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
*
In Performance mode the Part Portamento Time parameter (PERFORM/ PART) will
change.
mm, ll= Bank nunber: 00 00H - 7F 7FH (bank.1 - bank.16384)
*
*
*
Not received in Performance mode when the Receive Bank Select (PERFORM/ MIDI) is
●Data Entry (Controller number 6, 38)
OFF.
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
The Performances, Rhythms, and Patches corresponding to each Bank Select are as
follows.
BnH
26H
The SRX series corresponding to each Bank Select are to see the SRX series owner's
manual.
n = MIDI channel number: 0H - FH (Ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
●Volume (Controller number 7)
Status
BnH
2nd byte
07H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Volume: 00H - 7FH (0 - 127)
*
*
Not received in Performance mode when the Receive Volume parameter (PERFORM/
MIDI) is OFF.
In Performance mode the Part Level parameter (PERFORM/ PART) will change.
1 7 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
n = MIDI channel number:
0H - FH (Ch.1 - 16)
●Balance (Controller number 8)
vv= Resonance value (relative change): 00H - 7FH (-64 - 0 - +63),
Status
BnH
2nd byte
08H
3rd byte
vvH
*
In Performance mode the Part Resonance Offset parameter (PERFORM/ PART) will
change.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Balance: 00H - 7FH (0 - 127)
●Release Time (Controller number 72)
●Panpot (Controller number 10)
Status
BnH
2nd byte
48H
3rd byte
vvH
Status
BnH
2nd byte
0AH
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Release Time value (relative change): 00H - 7FH (-64 - 0 - +63),
vv = Panpot: 00H - 40H - 7FH (Left - Center - Right),
*
In Performance mode the Part Release Time Offset parameter (PERFORM/ PART) will
change.
*
*
Not received in Performance mode when the Receive Pan parameter (PERFORM/ MIDI)
is OFF.
In Performance mode the Part pan parameter (PERFORM/ PART) will change.
●Attack time (Controller number 73)
Status
BnH
2nd byte
49H
3rd byte
vvH
●Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Attack time value (relative change):
00H - 7FH (-64 - 0 - +63),
n = MIDI channel number:
vv = Expression:
0H - FH (Ch.1 - 16)
00H - 7FH (0 - 127)
*
In Performance mode the Part Attack Time Offset parameter (PERFORM/ PART) will
change.
*
*
Not received when Tone Receive Expression parameter (PATCH/ TONE or RHYTHM/
TONE) is OFF.
●Cutoff (Controller number 74)
Not received in Performance mode when Receive Expression parameter (PERFORM/
MIDI) is OFF.
Status
BnH
2nd byte
4AH
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
●Hold 1 (Controller number 64)
vv = Cutoff value (relative change): 00H - 7FH (-64 - 0 - +63)
Status
BnH
2nd byte
40H
3rd byte
vvH
*
In Performance mode the Part Cutoff Offset parameter (PERFORM/ PART) will change.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON
●Decay Time (Controller number 75)
*
*
Not received when Tone Receive Hold-1 parameter (PATCH/ TONE or RHYTHM/
Status
BnH
2nd byte
4BH
3rd byte
vvH
TONE) is OFF.
Not received in Performance mode when Receive Hold-1 parameter (PERFORM/ MIDI)
is OFF.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Decay Time value (relative change):
00H - 7FH (-64 - 0 - +63)
*
The decay time will change in GM mode.
●Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte
vvH
●Vibrato Rate (Controller number 76)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
4CH
3rd byte
vvH
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
In Performance mode the Part Portamento Switch parameter (PERFORM/ PART) will
change.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Vibrato Rate value (relative change): 00H - 7FH (-64 - 0 - +63)
*
The vibrato rate will change in GM mode.
●Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
vvH
●Vibrato Depth (Controller number 77)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
4DH
3rd byte
vvH
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Vibrato Depth Value (relative change): 00H - 7FH (-64 - 0 - +63)
●Soft (Controller number 67)
Status
BnH
2nd byte
43H
3rd byte
vvH
*
The vibrato depth will change in GM mode.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
●Vibrato Delay (Controller number 78)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Status
BnH
2nd byte
4EH
3rd byte
vvH
●Legato Foot Switch (Controller number 68)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
44H
3rd byte
vvH
vv = Vibrato Delay value (relative change): 00H - 7FH (-64 - 0 - +63)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
*
The vibrato delay will change in GM mode.
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
●General Purpose Controller 5 (Controller number 80)
*
In Performance mode the Part Legato Switch parameter (PERFORM/ PART) will change.
Status
BnH
2nd byte
50H
3rd byte
vvH
●Hold-2 (Controller number 69)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
45H
3rd byte
vvH
vv = Control value: 00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
*
The Tone Level parameter (PATCH/ TONE) of Tone 1 will change.
vv = Control value: 00H - 7FH (0 - 127)
●General Purpose Controller 6 (Controller number 81)
*
A hold movement isn't done.
Status
BnH
2nd byte
51H
3rd byte
vvH
●Resonance (Controller number 71)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
47H
3rd byte
vvH
vv = Control value: 00H - 7FH (0 - 127)
1 7 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
*
The Tone Level parameter (PATCH/ TONE) of Tone 2 will change.
00H, 01H
00H, 02H
7FH, 7FH
mmH, llH
mmH, llH
---, ---
Master Fine Tuning
mm, ll: 20 00H - 40 00H - 60 00H (-8192 x 50 /
8192 - 0 - +8192 x 50 / 8192 cent)
●General Purpose Controller 7 (Controller number 82)
* In Performance mode, the Part Fine Tune
parameter (PERFORM/ PART) will change.
Status
BnH
2nd byte
52H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Master Coarse Tuning
vv = Control value: 00H - 7FH (0 - 127)
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
*
The Tone Level parameter (PATCH/ TONE) of Tone 3 will change.
* In Performance mode, the Part Coarse Tune
parameter (PERFORM/ PART) will change.
●General Purpose Controller 8 (Controller number 83)
Status
BnH
2nd byte
53H
3rd byte
vvH
RPN null
n = MIDI channel number:
0H - FH (Ch.1 - 16)
RPN and NRPN will be set as "unspecified".
Once this setting has been made, subsequent
Parameter values that were previously set will
not change.
vv = Control value: 00H - 7FH (0 - 127)
*
The Tone Level parameter (PATCH/ TONE) of Tone 4 will change.
mm, ll: ignored
●Portamento control (Controller number 84)
Status
BnH
2nd byte
54H
3rd byte
kkH
●Program Change
Status
2nd byte
n = MIDI channel number:
kk = source note number:
0H - FH (Ch.1 - 16)
00H - 7FH (0 - 127)
CnH
ppH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
pp = Program number: 00H - 7FH (prog.1 - prog.128)
*
*
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.
*
Not received in Performance mode when the Receive Program parameter (PERFORM/
MIDI) is OFF.
*
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
●Channel Pressure
Status
2nd byte
DnH
vvH
●Effect 1 (Reverb Send Level) (Controller number 91)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
5BH
3rd byte
vvH
vv = Channel Pressure: 00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
*
Not received in Performance mode when the Receive Channel Pressure parameter
(PERFORM/ MIDI) is OFF.
vv = Reverb Send Level: 00H - 7FH (0 - 127)
*
In Performance mode the Part Part Reverb Send Level parameter (PERFORM/ PART)
will change.
●Pitch Bend Change
Status
2nd byte
3rd byte
mmH
EnH
llH
●Effect 3 (Chorus Send Level) (Controller number 93)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
5DH
3rd byte
vvH
mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
*
*
Not received when the Tone Receive Bender parameter (PATCH/ TONE) is OFF.
Not received in Performance mode when the Receive Bender parameter (PERFORM/
MIDI) is OFF.
vv = Chorus Send Level: 00H - 7FH (0 - 127)
*
In Performance mode the Part Part Chorus Send Level parameter (PERFORM/ PART)
will change.
●Channel Mode Messages
●RPN MSB/LSB (Controller number 100, 101)
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
Status
BnH
2nd byte
65H
3rd byte
mmH
BnH
64H
llH
●All Sounds Off (Controller number 120)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Status
2nd byte
3rd byte
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
BnH
78H
00H
n = MIDI channel number: 0H - FH (Ch.1 - 16)
<<< RPN >>>
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
Control Changes include RPN (Registered Parameter Numbers), which are extended
When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any
This device receives the following RPNs.
RPN Data entry
●Reset All Controllers (Controller number 121)
Status
2nd byte
3rd byte
BnH
79H
00H
MSB, LSB
00H, 00H
MSB, LSB
mmH, llH
Notes
n = MIDI channel number: 0H - FH (Ch.1 - 16)
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
* In Performance mode, the Part Pitch Bend
Range parameter (PERFORM/ PART) will
change.
*
When this message is received, the following controllers will be set to their reset values.
1 7 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
Controller
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
Breath Type
Expression
Hold 1
Reset value
●System Exclusive Message
+/ -0 (center)
Status
Data byte
Status
0 (off)
F0H
iiH, ddH, ......,eeH
F7H
0 (off)
0 (off)
F0H: System Exclusive Message status
0 (min)
ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland's manufacturer ID is 41H.
127 (max)
0 (off)
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)
dd,...,ee = data:
00H - 7FH (0 - 127)
Hold 2
0 (off)
F7H: EOX (End Of Exclusive)
RPN
unset; previously set data will not change
unset; previously set data will not change
NRPN
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.
●All Notes Off (Controller number 123)
Status
2nd byte
3rd byte
BnH
7BH
00H
●Universal Non-realtime System Exclusive Messages
n = MIDI channel number: 0H - FH (Ch.1 - 16)
●Identity Request Message
*
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.
Status
F0H
Data byte
Status
7EH, dev, 06H, 01H F7H
Byte Explanation
●OMNI OFF (Controller number 124)
F0H Exclusive status
Status
2nd byte
3rd byte
7EH ID number (Universal Non-realtime Message)
dev Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
06H Sub ID#1 (General Information)
01H Sub ID#2 (Identity Request)
BnH
7CH
00H
n = MIDI channel number:
0H - FH (Ch.1 - 16)
*
The same processing will be carried out as when All Notes Off is received.
F7H EOX (End Of Exclusive)
●MNI ON (Controller number 125)
*
When this message is received, Identity Reply message (p.$$$) will be transmitted.
Status
2nd byte
3rd byte
BnH
7DH
00H
●GM1 System On
n = MIDI channel number: 0H - FH (Ch.1 - 16)
Status
F0H
Data byte
Status
7EH, 7FH, 09H, 01H F7H
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
Byte Explanation
F0H Exclusive status
7EH ID number (Universal Non-realtime Message)
7FH Device ID (Broadcast)
●MONO (Controller number 126)
Status
2nd byte
3rd byte
09H Sub ID#1 (General MIDI Message)
01H Sub ID#2 (General MIDI 1 On)
F7H EOX (End Of Exclusive)
BnH
7EH
mmH
n = MIDI channel number:
mm = mono number:
0H - FH (Ch.1 - 16)
00H - 10H (0 - 16)
*
*
When this messages is received, this instrument will turn to the GM1 mode.
*
*
The same processing will be carried out as when All Notes Off is received.
Not received when the Receive GM1 System On parameter (SYSTEM/ COMMON) is
OFF.
In Performance mode, the Part Mono/ Poly parameter (PERFORM/ PART) will change.
●POLY (Controller number 127)
●GM2 System On
Status
2nd byte
3rd byte
Status
F0H
Data byte
Status
BnH
7FH
00H
7EH 7FH 09H 03H F7H
n = MIDI channel number: 0H - FH (Ch.1 - 16)
Byte Explanation
*
*
The same processing will be carried out as when All Notes Off is received.
F0H Exclusive status
In Performance mode, the Part Mono/ Poly parameter (PERFORM/ PART) will change.
7EH ID number (Universal Non-realtime Message)
7FH Device ID (Broadcast)
●System Realtime Message
09H Sub ID#1 (General MIDI Message)
03H Sub ID#2 (General MIDI 2 On)
F7H EOX (End Of Exclusive)
●Timing Clock
Status
*
*
When this messages is received, this instrument will turn to the GM2 mode.
F8H
Not received when the Receive GM2 System On parameter (SYSTEM/ COMMON) is
OFF.
*
This message will be received if the Clock Source parameter (SYSTEM/ COMMON) is
MIDI.
●GM System Off
Status
F0H
Data byte
Status
F7H
●Active Sensing
Status
7EH,7F,09H,02H
FEH
Byte Explanation
F0H
7EH
Exclusive status
ID number (Universal Non-realtime Message)
*
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.
1 7 6
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
7FH
09H
02H
F7H
Device ID (Broadcast)
7FH Device ID (Broadcast)
04H Sub ID#1 (Device Control)
05H Sub ID#2 (Global Parameter Control)
01H Slot path length
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
01H Parameter ID width
01H Value width
*
When this messages is received, this instrument will return to the Performance mode.
01H Slot path MSB
01H Slot path LSB (Effect 0101: Reverb)
ppH Parameter to be controlled.
vvH Value for the parameter.
pp=0 Reverb Type
●Universal Realtime System Exclusive Messages
●Master Volume
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 04H, 01H, llH, mmH
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
Byte Explanation
F0H Exclusive status
vv = 03H Medium Hall
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
vv = 04H Large Hall
vv = 08H Plate
04H Sub ID#1 (Device Control messages)
01H Sub ID#2 (Master Volume)
llH Master Volume lower byte
mmH Master Volume upper byte
F7H EOX (End Of Exclusive)
pp=1 Reverb Time
vv = 00H - 7FH 0 - 127
F7H EOX (End Of Exclusive)
●Chorus Parameters
Status
F0H
Data byte
Status
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (SYSTEM/ COMMON) will change.
7FH,7FH,04H,05H,01H,01H,01H,01H,
02H,ppH,vvH
F7H
●Master Fine Tuning
Byte Explanation
F0H Exclusive status
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
04H Sub ID#1 (Device Control)
05H Sub ID#2 (Global Parameter Control)
01H Slot path length
01H Parameter width
01H Value width
Status
F0H
Data byte
7FH,7FH,04H,03H,llH,mmH
Status
F7H
Byte Explanation
F0H Exclusive status
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
04H Sub ID#1 (Device Control)
03H Sub ID#2 (Master Fine Tuning)
llH Master Fine Tuning LSB
mmH Master Fine Tuning MSB
F7H EOX (End Of Exclusive)
01H Slot path MSB
02H Slot path LSB (Effect 0102: Chorus)
ppH Parameter to be controlled.
vvH Value for the parameter.
pp=0 Chorus Type
vv=0 Chorus1
mm, ll : 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
vv=1 Chorus2
vv=2 Chorus3
*
The Master Tune parameter (SYSTEM/ COMMON) will change.
vv=3 Chorus4
vv=4 FB Chorus
●Master Coarse Tuning
vv=5 Flanger
pp=1 Mod Rate
Status
F0H
Data byte
Status
F7
vv= 00H - 7FH 0 - 127
pp=2 Mod Depth
7FH,7FH,04H,04H,llH,mmH
vv = 00H - 7FH 0 - 127
pp=3 Feedback
Byte Explanation
F0H Exclusive status
vv = 00H - 7FH 0 - 127
pp=4 Send To Reverb
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
vv = 00H - 7FH 0 - 127
F7H EOX (End Of Exclusive)
04H Sub ID#1 (Device Control)
04H Sub ID#2 (Master Coarse Tuning)
llH Master Coarse Tuning LSB
mmH Master Coarse Tuning MSB
F7H EOX (End Of Exclusive)
●Channel Pressure
Status
F0H
Data byte
Status
7FH,7FH,09H,01H,0nH,ppH,rrHF7H
llH : ignored (processed as 00H)
Byte Explanation
mmH : 28H - 40H - 58H (-24 - 0 - +24 [semitones])
F0H Exclusive status
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
*
The Master Key Shift parameter (SYSTEM/ COMMON) will change.
09H Sub ID#1 (Controller Destination Setting)
01H Sub ID#2 (Channel Pressure)
0nH MIDI Channel (00 - 0F)
●Global Parameter Control
*
Not received in Performance mode and Patch mode.
ppH Controlled parameter
●Reverb Parameters
rrH
Controlled range
Status
F0H
Data byte
Status
F7H
pp=0 Pitch Control
7FH,7FH,04H,05H,01H,01H,01H,01H,
01H,ppH,vvH
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 Explanation
F0H Exclusive status
7FH ID number (universal realtime message)
1 7 7
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
pp=3 LFO Pitch Depth
rr = 00H - 7FH 0 - 600[cents]
pp=4 LFO Filter Depth
nn=07H Level
vv = 00H - 7FH 0 - 200% (Relative)
nn=0AH Pan
rr = 00H - 7FH 0 - 2400[cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
vv = 00H - 7FH Left - Right (Absolute)
nn=5BH Reverb Send
vv = 00H - 7FH 0 - 127 (Absolute)
nn=5D Chorus Send
F7H EOX (End Of Exclusive)
vv = 00H - 7FH 0 - 127 (Absolute)
●Controller
F7H
EOX (End Of Exclusive)
Status
F0H
Data byte
Status
F7H
FH,7FH,09H,03H,0nH,ccH,ppH,rrH
*
This parameter affects drum instruments only.
Byte Explanation
F0H Exclusive status
●Data Transmission
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
09H Sub ID#1 (Controller Destination Setting)
03H Sub ID#2 (Control Change)
0nH MIDI Channel (00 - 0F)
he model ID of the exclusive messages used by this instrument is 00H 10H.
●Data Request 1
RQ1 (11H)
ccH
Controller number (01 - 1F, 40 - 5F)
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
ppH Controlled parameter
rrH
Controlled range
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.
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%
status
F0H
data byte
status
F7H
41H, dev, 00H, 10H, 11H, aaH, bbH,
ccH, ddH, ssH, ttH, uuH, vvH, sum
pp=3 LFO Pitch Depth
rr = 00H - 7FH 0 - 600[cents]
pp=4 LFO Filter Depth
Byte Explanation
F0H Exclusive status
rr = 00H - 7FH 0 - 2400[cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100 %
41H ID number (Roland)
dev devdevice ID (dev: 10H - 1FH, 7FH)
00H model ID #1 (XV-3080)
10H model ID #2 (XV-3080)
11H commandID (RQ1)
aaH address MSB
F7H EOX (End Of Exclusive)
●Scale/Octave Tuning Adjust
Status
F0H
Data byte
Status
F7H
bbH address
7EH,7FH,08H,08H,ffH,ggH,hhH,ssH...
ccH
address
ddH address LSB
Byte Explanation
ssH
ttH
size MSB
size
F0H Exclusive status
7EH ID number (Universal Non-realtime Message)
7FH Device ID (Broadcast)
uuH size
vvH size LSB
08H Sub ID#1 (MIDI Tuning Standard)
08H Sub ID#2 (scale/ octave tuning 1-byte form)
sum checksum
F7H EOX (End Of Exclusive)
ffH
Channel/ Option byte1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
*
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.$$$)".
ggH Channel byte2
bits 0 to 6 = channel 8 to 14
hhH Channel byte3
bits 0 to 6 = channel 1 to 7
*
*
For the checksum, refer to (p.$$$).
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.
ssH
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
●Data set 1 DT1 (12H)
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
Status
F0H
Data byte
Status
F7H EOX (End Of Exclusive)
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, F7H
ddH, eeH, ... ffH, sum
●Key-Based Instrument Controllers
Status
F0H
Data byte
Status
Byte Explanation
7FH,7FH,0AH,01H,0nH,kkH,nnH,vvH ... F7H
F0H Exclusive status
41H ID number (Roland)
Byte Explanation
dev Device ID (dev: 00H - 1FH, Initial value is 10H)
00H Model ID #1 (XV-3080)
F0H Exclusive status
7FH ID number (universal realtime message)
7FH Device ID (Broadcast)
0AH Sub ID#1 (Key-Based Instrument Control)
01H Sub ID#2 (Controller)
0nH MIDI Channel (00 - 0F)
kkH Key Number
10H Model ID #2 (XV-3080)
12H Command ID (DT1)
aaH Address MSB: upper byte of the starting address of the data to be sent
bbH Address: upper middle byte of the starting address of the data to be sent
ccH
Address: lower middle byte of the starting address of the data to be sent
ddH Address LSB: lower byte of the starting address of the data to be sent.
nnH Control Number
vvH Value
1 7 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
eeH
Data: the actual data to be sent. Multiple bytes of data are transmitted in order
2. Data transmission
section)
●Channel Voice Messages
When execute the GM Data Transfer, the following Program Change and Control Change
(sound source
starting from the address.
:
:
ffH Data
sum Checksum
F7H EOX (End Of Exclusive)
will transmit.
*
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 Section 3, “Parameter address map.
●Control Change
●Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
mmH
*
*
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.
BnH
20H
llH
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
mm, ll= Bank nunber: 00 00H - 7F 7FH (bank.1 - bank.16384)
Status
F0H
Data byte
Status
F7H
●Portamento Time (Controller number 5)
41H, dev, 42H, 12H, aaH, bbH, ccH,
ddH, ... eeH, sum
Status
BnH
2nd byte
05H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
Byte Explanation
vv = Portamento Time: 00H - 7FH (0 - 127)
F0H Exclusive status
41H ID number (Roland)
dev Device ID (dev: 10H)
●Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
42H Model ID
(GS)
(DT1)
12H Command ID
BnH
26H
aaH Address MSB: upper byte of the starting address of the transmitted data
bbH Address: middle byte of the starting address of the transmitted data
n = MIDI channel number: 0H - FH (Ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
ccH Address LSB: lower byte of the starting address of the transmitted data
ddH Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting
from the address.
●Volume (Controller number 7)
:
:
Status
BnH
2nd byte
07H
3rd byte
vvH
eeH Data
sum Checksum
n = MIDI channel number:
0H - FH (Ch.1 - 16)
F7H EOX (End Of Exclusive)
vv = Volume: 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 Section 3, “Parameter address map.
●Panpot (Controller number 10)
Status
BnH
2nd byte
0AH
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:
0H - FH (Ch.1 - 16)
vv = Panpot: 00H - 40H - 7FH (Left - Center - Right),
Initial value = 40H (Center)
*
*
Regarding the checksum, please refer to (p.$$$)
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.
●Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
●Resonance (Controller number 71)
Status
BnH
2nd byte
47H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv= Resonance value (relative change): 00H - 7FH (-64 - 0 - +63)
●Release Time (Controller number 72)
Status
BnH
2nd byte
48H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Release Time value (relative change): 00H - 7FH (-64 - 0 - +63)
●Attack time (Controller number 73)
Status
BnH
2nd byte
49H
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Attack time value (relative change):
00H - 7FH (-64 - 0 - +63)
●Cutoff (Controller number 74)
Status
BnH
2nd byte
4AH
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Cutoff value (relative change): 00H - 7FH (-64 - 0 - +63)
●Decay Time (Controller number 75)
Status
BnH
2nd byte
4BH
3rd byte
vvH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Decay Time value (relative change):
00H - 7FH (-64 - 0 - +63)
1 7 9
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
●Program Change
●Vibrato Rate (Controller number 76)
Status
2nd byte
Status
BnH
2nd byte
4CH
3rd byte
vvH
CnH
ppH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
n = MIDI channel number:
0H - FH (Ch.1 - 16)
pp = Program number: 00H - 7FH (prog.1 - prog.128)
vv = Vibrato Rate value (relative change): 00H - 7FH (-64 - 0 - +63)
●System Exclusive messages
●Vibrato Depth (Controller number 77)
Status
BnH
2nd byte
4DH
3rd byte
vvH
Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the XV-3080.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Vibrato Depth Value (relative change): 00H - 7FH (-64 - 0 - +63)
●Universal Non-realtime System Exclusive Message
●Identity Reply Message
●Vibrato Delay (Controller number 78)
Status
BnH
2nd byte
4EH
3rd byte
vvH
Receiving Identity Request Message, the XV-3080 send this message.
n = MIDI channel number:
0H - FH (Ch.1 - 16)
vv = Vibrato Delay value (relative change): 00H - 7FH (-64 - 0 - +63)
Status
F0H
Data byte
Status
7EH, dev, 06H, 02H, 41H, 10H, 01H, 00H, 00H, 00H, 00H, 00H, 00H
●Effect 1 (Reverb Send Level) (Controller number 91)
F7H
Status
BnH
2nd byte
5BH
3rd byte
vvH
Byte
Explanation
n = MIDI channel number:
0H - FH (Ch.1 - 16)
FOH
7EH
Exclusive status
vv = Reverb Send Level: 00H - 7FH (0 - 127)
ID number (Universal Non-realtime Message)
Device ID (use the same as the device ID of Roland)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
dev
●Effect 3 (Chorus Send Level) (Controller number 93)
06H
Status
BnH
2nd byte
5DH
3rd byte
vvH
02H
41H
n = MIDI channel number:
0H - FH (Ch.1 - 16)
10H 01H
00H 00H
Device family code
vv = Chorus Send Level: 00H - 7FH (0 - 127)
Device family number code
00H 00H 00H 00H Software revision level
F7H EOX (End of Exclusive)
●RPN MSB/LSB (Controller number 100, 101)
Status
BnH
2nd byte
65H
3rd byte
mmH
●Data Transmission
BnH
64H
llH
n = MIDI channel number:
0H - FH (Ch.1 - 16)
●Data set 1 DT1 (12H)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
Status
Data byte
Status
F0H 41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum F7H
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended
When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any
Byte Explanation
F0H Exclusive status
41H ID number (Roland)
This device receives the following RPNs.
dev Device ID (dev: 00H - 1FH, Initial value is 10H)
00H Model ID #1 (XV-3080)
RPN
Data entry
MSB, LSB
mmH, llH
10H Model ID #2 (XV-3080)
MSB, LSB
00H, 00H
Notes
12H Command ID (DT1)
Pitch Bend Sensitivity
aaH Address MSB: upper byte of the starting address of the data to be sent
bbH Address: upper middle byte of the starting address of the data to be sent
ccH Address: lower middle byte of the starting address of the data to be sent
ddH Address LSB: lower byte of the starting address of the data to be sent.
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
* In Performance mode, the Part Pitch Bend
Range parameter (PERFORM/ PART) will
change.
eeH
Data: the actual data to be sent. Multiple bytes of data are transmitted in order
starting from the address.
:
:
ffH Data
00H, 01H
00H, 02H
7FH, 7FH
mmH, llH
mmH, llH
---, ---
Master Fine Tuning
sum Checksum
mm, ll: 20 00H - 40 00H - 60 00H (-8192 x 50 /
8192 - 0 - +8192 x50 / 8192 cent)
F7H EOX (End Of Exclusive)
*
In Performance mode, the Part Fine Tune
*
*
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 Section 3, “Parameter address map.”
parameter (PERFORM/ PART) will change.
Master Coarse Tuning
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.
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
* In Performance mode, the Part Coarse Tune
parameter (PERFORM/ PART) will change.
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.
mm, ll: ignored
1 8 0
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|
3. Parameter address map
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
-100.0 - 100.0 [cent]
|
00 05 | 00aa aaaa | Master Key Shift
(40 - 88) |
|
|
-24 - +24
|
*
Transmission of “#” marked address is devided to some packets. For example, ABH in
hexadecimal notation will be devided to 0AH and 0BH, and is sent/ recieved in this
order.
00 06 | 0aaa aaaa | Master Level
(0 - 127) |
(0 - 1) |
00 07 | 0000 000a | Scale Tune Switch
|
|
OFF, ON
|
00 08 | 0000 000a | Patch Remain
(0 - 1) |
OFF, ON
(0 - 1) |
MIX, PARALLEL |
|
|
|
00 09 | 0000 000a | Mix/Parallel
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
1. XV-3080 (Model ID=00H 10H)
|
|
|
|
|
|
00 0A | 0000 000a | MFX Switch
(0 - 1) |
|
|
BYPASS, ON
|
00 0B | 0000 000a | Chorus Switch
(0 - 1) |
|
|
OFF, ON
|
*
“<>” marked address, valid on the XV-5080, are ignored when the XV-3080 receive
00 0C | 0000 000a | Reverb Switch
(0 - 1) |
OFF, ON |
|
|
them.
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
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)
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
|
Address |
Description
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 11 | 0000 aaaa | Patch Receive Channel
(0 - 15) |
1 - 16 |
(0 - 127) |
(0 - 127) |
(0 - 127) |
| 00 00 00 00 | System
*1-1|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
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)
| 10 00 00 00 | Temporary Performance
*1-2|
*1-3|
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
:
|
|
|
00 15 | 0000 000a | System Clock Source
(0 - 1) |
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16)
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode)
|
|
INT, MIDI
|
|
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb | System Tempo
|—————————————+————————————————————————————————————————————————————————————————|
| 20 00 00 00 | User Performance (01)
| 20 01 00 00 | User Performance (02)
(20 - 250) |
*1-2|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 18 | 0aaa aaaa | System Control 1 Source
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
|
:
|
|
|
|
|
| 20 3F 00 00 | User Performance (64)
|
|—————————————+————————————————————————————————————————————————————————————————|
00 19 | 0aaa aaaa | System Control 2 Source
| 30 00 00 00 | User Patch (001)
| 30 01 00 00 | User Patch (002)
*1-3-1|
|
|
|
|
|
|
|
|
|
:
|
00 1A | 0aaa aaaa | System Control 3 Source
| 30 7F 00 00 | User Patch (128)
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 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 1B | 0aaa aaaa | System Control 4 Source
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 1C | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
|
*1-1 System
00 1D | 0000 000a | Receive Bank Select
+——————————————————————————————————————————————————————————————————————————————+
|
|
| Offset
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
Address |
Description
| 00 00 00 1E | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 00 00 | System Common
*1-1-1|
*1-1-2|
00 10 00 | System Part (Part 1)
00 11 00 | System Part (Part 2)
*1-1-2 System Part
|
|
|
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
:
|
| Offset
|
|
|
00 1F 00 | System Part (Part 16)
00 20 00 | System Part (Part 17) <XV-5080>
00 21 00 | System Part (Part 18) <XV-5080>
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 2F 00 | System Part (Part 32) <XV-5080>
+——————————————————————————————————————————————————————————————————————————————+
00 01 | 0aaa aaaa | Scale Tune for C#
|
|
|
00 02 | 0aaa aaaa | Scale Tune for D
*1-3 Temporary Patch/ Rhythm
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
00 03 | 0aaa aaaa | Scale Tune for D#
| Offset
|
|
|
|
|
|
|
Address |
Description
00 04 | 0aaa aaaa | Scale Tune for E
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
00 00 00 | Temporary Patch
10 00 00 | Temporary Rhythm
*1-3-1|
*1-3-2|
00 05 | 0aaa aaaa | Scale Tune for F
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 06 | 0aaa aaaa | Scale Tune for F#
|
|
|
*1-2 Performance
00 07 | 0aaa aaaa | Scale Tune for G
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
| Offset
|
|
|
00 08 | 0aaa aaaa | Scale Tune for G#
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 09 | 0aaa aaaa | Scale Tune for A
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
00 0A | 0aaa aaaa | Scale Tune for A#
*1-2-3|
|
|
|
*1-2-4|
00 0B | 0aaa aaaa | Scale Tune for B
*1-2-5|
|
|
|
|
:
|
|
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 1F 00 | Performance MIDI (Channel 16)
00 20 00 | Performance Part (Part 1)
00 21 00 | Performance Part (Part 2)
|
*1-2-6|
|
|
|
|
|
|
|
*1-2-1 Performance Common
:
|
+——————————————————————————————————————————————————————————————————————————————+
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>
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
:
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Performance Name 1
(32 - 127) |
00 3F 00 | Performance Part (Part 32) <XV-5080>
+——————————————————————————————————————————————————————————————————————————————+
|
|
32 - 127 [ASCII]
|
00 01 | 0aaa aaaa | Performance Name 2
(32 - 127) |
|
|
32 - 127 [ASCII]
|
*1-3-1 Patch
00 02 | 0aaa aaaa | Performance Name 3
(32 - 127) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
32 - 127 [ASCII]
|
| Offset
|
|
|
00 03 | 0aaa aaaa | Performance Name 4
(32 - 127) |
|
Address |
Description
|
|
32 - 127 [ASCII]
|
|—————————————+————————————————————————————————————————————————————————————————|
00 04 | 0aaa aaaa | Performance Name 5
(32 - 127) |
|
|
|
|
|
|
|
|
|
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|
|
|
|
32 - 127 [ASCII]
|
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)
00 05 | 0aaa aaaa | Performance Name 6
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 06 | 0aaa aaaa | Performance Name 7
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 07 | 0aaa aaaa | Performance Name 8
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
00 08 | 0aaa aaaa | Performance Name 9
(32 - 127) |
|
|
32 - 127 [ASCII]
|
+——————————————————————————————————————————————————————————————————————————————+
00 09 | 0aaa aaaa | Performance Name 10
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 0A | 0aaa aaaa | Performance Name 11
(32 - 127) |
*1-3-2 Rhythm
|
|
32 - 127 [ASCII]
|
+——————————————————————————————————————————————————————————————————————————————+
00 0B | 0aaa aaaa | Performance Name 12
(32 - 127) |
| Offset
|
|
|
|
|
32 - 127 [ASCII]
|
|
Address |
Description
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 0C | 00aa aaaa | Solo Part Select
(0 - 32) |
|
|
|
|
|
|
|
|
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|
|
|
|
OFF, 1 - 16, 17 - 32<XV-5080>
|
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)
00 0D | 000a aaaa | MFX Control Channel
(0 - 16) |
|
|
1 - 16, OFF
|
00 0E | 0000 000a | MFX Control MIDI1 <XV-5080>
(0 - 1) |
|
|
OFF, ON
|
00 0F | 0000 000a | MFX Control MIDI2 <XV-5080>
(0 - 1) |
OFF, ON |
:
|
|
|
|
|
01 3E 00 | Rhythm Tone (Key # 108)
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
00 10 | 0aaa aaaa | Voice Reserve 1
(0 - 64) |
|
|
0 - 63, FULL-VOICE
|
*1-1-1 System Common
00 11 | 0aaa aaaa | Voice Reserve 2
(0 - 64) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
0 - 63, FULL-VOICE
|
| Offset
|
|
|
00 12 | 0aaa aaaa | Voice Reserve 3
(0 - 64) |
|
Address |
Description
|
|
0 - 63, FULL-VOICE
|
|—————————————+————————————————————————————————————————————————————————————————|
00 13 | 0aaa aaaa | Voice Reserve 4
(0 - 64) |
|
|
|#
|
00 00 | 0000 0aaa | Sound Mode
(0 - 4) |
|
|
0 - 63, FULL-VOICE
|
|
|
PERFORM, PATCH, GM1, GM2, GS
|
|
|
00 14 | 0aaa aaaa | Voice Reserve 5
(0 - 64) |
00 01 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL-VOICE
|
1 8 1
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 15 | 0aaa aaaa | Voice Reserve 6
(0 - 64) |
|
| 0000 bbbb |
|
|
|
|
0 - 63, FULL-VOICE
|
|
| 0000 cccc |
00 16 | 0aaa aaaa | Voice Reserve 7
(0 - 64) |
|
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
|
|
0 - 63, FULL-VOICE
|
|
|
-20000 - +20000
|
|
|
|
00 17 | 0aaa aaaa | Voice Reserve 8
(0 - 64) |
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL-VOICE
|
00 18 | 0aaa aaaa | Voice Reserve 9
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
00 19 | 0aaa aaaa | Voice Reserve 10
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL-VOICE
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
00 1A | 0aaa aaaa | Voice Reserve 11
(0 - 64) |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 cccc |
00 1B | 0aaa aaaa | Voice Reserve 12
(0 - 64) |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
|
|
0 - 63, FULL-VOICE
|
|
|
|
-20000 - +20000
|
|
|
|
00 1C | 0aaa aaaa | Voice Reserve 13
(0 - 64) |
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL-VOICE
|
00 1D | 0aaa aaaa | Voice Reserve 14
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
00 1E | 0aaa aaaa | Voice Reserve 15
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL-VOICE
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
00 1F | 0aaa aaaa | Voice Reserve 16
(0 - 64) |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 cccc |
00 20 | 0aaa aaaa | Voice Reserve 17 <XV-5080>
(0 - 64) |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
|
|
0 - 63, FULL-VOICE
|
|
|
|
-20000 - +20000
|
|
|
|
00 21 | 0aaa aaaa | Voice Reserve 18 <XV-5080>
(0 - 64) |
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL-VOICE
|
00 22 | 0aaa aaaa | Voice Reserve 19 <XV-5080>
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
00 23 | 0aaa aaaa | Voice Reserve 20 <XV-5080>
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL-VOICE
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
00 24 | 0aaa aaaa | Voice Reserve 21 <XV-5080>
(0 - 64) |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 cccc |
00 25 | 0aaa aaaa | Voice Reserve 22 <XV-5080>
(0 - 64) |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
|
|
0 - 63, FULL-VOICE
|
|
|
|
-20000 - +20000
|
|
|
|
00 26 | 0aaa aaaa | Voice Reserve 23 <XV-5080>
(0 - 64) |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL-VOICE
|
00 27 | 0aaa aaaa | Voice Reserve 24 <XV-5080>
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
00 28 | 0aaa aaaa | Voice Reserve 25 <XV-5080>
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL-VOICE
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
00 29 | 0aaa aaaa | Voice Reserve 26 <XV-5080>
(0 - 64) |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 cccc |
00 2A | 0aaa aaaa | Voice Reserve 27 <XV-5080>
(0 - 64) |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
|
|
0 - 63, FULL-VOICE
|
|
|
|
-20000 - +20000
|
|
|
|
00 2B | 0aaa aaaa | Voice Reserve 28 <XV-5080>
(0 - 64) |
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL-VOICE
|
00 2C | 0aaa aaaa | Voice Reserve 29 <XV-5080>
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
00 2D | 0aaa aaaa | Voice Reserve 30 <XV-5080>
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL-VOICE
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
00 2E | 0aaa aaaa | Voice Reserve 31 <XV-5080>
(0 - 64) |
|
|
0 - 63, FULL-VOICE
|
|
| 0000 cccc |
00 2F | 0aaa aaaa | Voice Reserve 32 <XV-5080>
(0 - 64) |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
0 - 63, FULL-VOICE
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
00 30 | 00aa aaaa | MFX(1) Source
(0 - 32) |
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>
|
|
| 0000 cccc |
00 31 | 00aa aaaa | MFX2 Source <XV-5080>
(0 - 32) |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>
|
|
|
|
-20000 - +20000
|
|
|
|
00 32 | 00aa aaaa | MFX3 Source <XV-5080>
(0 - 32) |
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>
|
00 33 | 00aa aaaa | Chorus Source
(0 - 32) |
|
| 0000 cccc |
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>
|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
00 34 | 00aa aaaa | Reverb Source
(0 - 32) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
PERFORM, 1 - 16, 17 - 32<XV-5080>
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 35 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
*1-2-2 Performance Common MFX
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
| Offset
|
|
|
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
|
Address |
Description
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
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
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, C, D<XV-5080>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
OFF, CC01 - CC31, CC33 - CC95, |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
-63 - +63
(0 - 101) |
|
|
| 0000 cccc |
00 07 | 0aaa aaaa | MFX Control 2 Source
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
-63 - +63
|
|
| 0000 cccc |
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
-63 - +63
|
|
| 0000 cccc |
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
-63 - +63 |
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
OFF, 1 - 16
|
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
| 0000 cccc |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
|
OFF, 1 - 16
|
|
|
|
-20000 - +20000
|
|
|
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-2-3 Performance Common Chorus
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
| Offset
|
|
|
|
Address |
Description
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 6
|—————————————+————————————————————————————————————————————————————————————————|
|
(12768 - 52768) |
-20000 - +20000
|
|
|
00 00 | 0000 aaaa | Chorus Type
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
(0 - 2) |
(0 - 127) |
(0 - 3) |
|
|
|
|
|
|#
00 29 | 0000 aaaa |
1 8 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
A, B, C, D<XV-5080>
(0 - 2) |
MAIN, REV, MAIN+REV
|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
00 03 | 0000 00aa | Chorus Output Select
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
-20000 - +20000
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
-20000 - +20000
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
-20000 - +20000
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
-20000 - +20000
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
-20000 - +20000
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-2-5 Performance MIDI
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
-20000 - +20000
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
| Offset
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 01 | 0000 000a | Receive Bank Select
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 02 | 0000 000a | Receive Bender
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
-20000 - +20000
00 03 | 0000 000a | Receive Polyphonic Key Pressure
|
|
|
|
|
|
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
00 04 | 0000 000a | Receive Channel Pressure
|
|
|
|
| 0000 cccc |
00 05 | 0000 000a | Receive Modulation
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 06 | 0000 000a | Receive Volume
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 07 | 0000 000a | Receive Pan
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000 |
00 08 | 0000 000a | Receive Expression
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 09 | 0000 000a | Receive Hold-1
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 0A | 0000 000a | Phase Lock
(0 - 1) |
OFF, ON
(0 - 4) |
OFF, 1 - 4 |
*1-2-4 Performance Common Reverb
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 0B | 0000 0aaa | Velocity Curve Type
| Offset
|
|
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
(0 - 127) |
(0 - 3) |
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
*1-2-6 Performance Part
|
|
A, B, C, D<XV-5080>
|
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
| Offset
|
|
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Receive Channel
(0 - 15) |
1 - 16
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 01 | 0000 000a | Receive Switch
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 02 | 0000 000a | Receive MIDI1 <XV-5080>
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
-20000 - +20000
00 03 | 0000 000a | Receive MIDI2 <XV-5080>
|
|
|
|
|
|
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
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) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Part Level (CC# 7)
00 08 | 0aaa aaaa | Part Pan (CC# 10)
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
|
|
L64 - 63R
|
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
-20000 - +20000
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50 |
|
|
|
|
|
|
|
|
|
|
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)
|
|
|
| 0000 cccc |
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)
(0 - 2) |
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
MONO, POLY, PATCH
|
|
|
|
|
|
|
|
00 0C | 0000 00aa | Part Legato Switch (CC# 68)
(0 - 2) |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON, PATCH
|
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)
(0 - 25) |
|
| 0000 cccc |
|
|
0 - 24, PATCH
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
-20000 - +20000
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)
(0 - 2) |
|
|
|
|
|
|
|
|
|
OFF, ON, PATCH
|
|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
00 0F | 0000 aaaa |
| 0000 bbbb | Part Portamento Time (CC# 5)
(0 - 128) |
|
| 0000 cccc |
|
|
0 - 127, PATCH
|
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
-20000 - +20000
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)
(0 - 127) |
|
|
|
|
|
|
|
|
|
-64 - +63
|
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
| 0000 cccc |
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
00 15 | 0000 0aaa | Part Octave Shift
(61 - 67) |
-3 - +3
(1 - 127) |
-63 - +63 |
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Part Velocity Sens Offset
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
|
00 17 | 0aaa aaaa | Keyboard Range Lower
(0 - 127) |
|
| 0000 cccc |
|
|
C-1 - UPPER
|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
-20000 - +20000
00 18 | 0aaa aaaa | Keyboard Range Upper
(0 - 127) |
|
|
|
|
|
|
|
|
|
LOWER - G9
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
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 cccc |
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
OFF, MUTE
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 13) |
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
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
MFX, A, B, C, D<XV-5080>, |
1, 2, 3, 4, 5, 6, |
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
7<XV-5080>, 8<XV-5080>, PATCH
|
|
| 0000 cccc |
1 8 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
00 20 | 0000 00aa | Part Output MFX Select <XV-5080>
(0 - 2) |
MFX1, MFX2, MFX3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 21 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
*1-3-1-1 Patch Common
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4
(1 - 127) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
-63 - +63
|
| Offset
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |
|
Address |
Description
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Patch Name 1
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 01 | 0aaa aaaa | Patch Name 2
(32 - 127) |
PIT-ENV, TVF-ENV, TVA-ENV
|
|
|
32 - 127 [ASCII]
|
00 35 | 00aa aaaa | Matrix Control 2 Destination 1
(0 - 33) |
00 02 | 0aaa aaaa | Patch Name 3
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
32 - 127 [ASCII]
|
00 03 | 0aaa aaaa | Patch Name 4
(32 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
32 - 127 [ASCII]
|
00 04 | 0aaa aaaa | Patch Name 5
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 05 | 0aaa aaaa | Patch Name 6
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 06 | 0aaa aaaa | Patch Name 7
(32 - 127) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
32 - 127 [ASCII]
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1
(1 - 127) |
00 07 | 0aaa aaaa | Patch Name 8
(32 - 127) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
32 - 127 [ASCII]
|
00 37 | 00aa aaaa | Matrix Control 2 Destination 2
00 08 | 0aaa aaaa | Patch Name 9
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
00 09 | 0aaa aaaa | Patch Name 10
(32 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
32 - 127 [ASCII]
|
00 0A | 0aaa aaaa | Patch Name 11
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 0B | 0aaa aaaa | Patch Name 12
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 0C | 0aaa aaaa | Patch Category
(0 - 127) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2
(1 - 127) |
|
|
00 0D | 0000 000a | Tone Type <XV-5080>
(0 - 1) |
4TONES, MULTI-PARTIAL |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
00 39 | 00aa aaaa | Matrix Control 2 Destination 3
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
00 0E | 0aaa aaaa | Patch Level
00 0F | 0aaa aaaa | Patch Pan
(0 - 127) |
(0 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
L64 - 63R
|
00 10 | 0000 000a | Patch Priority
(0 - 1) |
|
|
LAST, LOUDEST
|
00 11 | 0aaa aaaa | Patch Coarse Tune
(16 - 112) |
|
|
-48 - +48
|
00 12 | 0aaa aaaa | Patch Fine Tune
(14 - 114) |
-50 - +50
(61 - 67) |
-3 - +3
(0 - 3) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
|
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3
(1 - 127) |
00 13 | 0000 0aaa | Octave Shift
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
00 3B | 00aa aaaa | Matrix Control 2 Destination 4
00 14 | 0000 00aa | Stretch Tune Depth
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, 1 - 3
|
(0 - 127) |
(0 - 1) |
00 15 | 0aaa aaaa | Analog Feel
00 16 | 0000 000a | Mono/Poly
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
MONO, POLY
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
00 17 | 0000 000a | Legato Switch
|
|
|
00 18 | 0000 000a | Legato Retrigger
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 19 | 0000 000a | Portamento Switch
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4
(1 - 127) |
|
|
|
|
-63 - +63
|
00 1A | 0000 000a | Portamento Mode
(0 - 1) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |
|
|
NORMAL, LEGATO
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 1B | 0000 000a | Portamento Type
(0 - 1) |
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
RATE, TIME
|
00 1C | 0000 000a | Portamento Start
(0 - 1) |
|
|
PITCH, NOTE
|
(0 - 127) |
(0 - 1) |
PIT-ENV, TVF-ENV, TVA-ENV
|
00 1D | 0aaa aaaa | Portamento Time
00 1E | 0000 000a | Patch Clock Source
00 3E | 00aa aaaa | Matrix Control 3 Destination 1
(0 - 33) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
PATCH, SYSTEM
|
|
00 1F | 0000 aaaa |
| 0000 bbbb | Patch Tempo
00 21 | 0000 000a | One Shot Mode <XV-5080>
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
(20 - 250) |
(0 - 1) |
OFF, ON
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
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
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 23 | 0aaa aaaa | Resonance Offset
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1
(1 - 127) |
|
|
|
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 24 | 0aaa aaaa | Attack Time Offset
00 40 | 00aa aaaa | Matrix Control 3 Destination 2
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 25 | 0aaa aaaa | Release Time Offset
|
|
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
00 26 | 0aaa aaaa | Velocity Sens Offset
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 27 | 0000 aaaa | Patch Output Assign
(0 - 13) |
MFX, A, B, C, D<XV-5080>, |
1, 2, 3, 4, 5, 6, |
|
|
|
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
7<XV-5080>, 8<XV-5080>, TONE
|
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2
(1 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
|
00 28 | 0000 000a | TMT Control Switch
(0 - 1) |
00 42 | 00aa aaaa | Matrix Control 3 Destination 3
|
|
OFF, ON
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 29 | 00aa aaaa | Pitch Bend Range Up
00 2A | 00aa aaaa | Pitch Bend Range Down
(0 - 48) |
(0 - 48) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 2B | 0aaa aaaa | Matrix Control 1 Source
(0 - 109) |
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT-ENV, TVF-ENV, TVA-ENV
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 2C | 00aa aaaa | Matrix Control 1 Destination 1
(0 - 33) |
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3
(1 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 44 | 00aa aaaa | Matrix Control 3 Destination 4
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1
(1 - 127) |
|
|
-63 - +63
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2
(0 - 33) |
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4
(1 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
-63 - +63
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT-ENV, TVF-ENV, TVA-ENV
|
00 47 | 00aa aaaa | Matrix Control 4 Destination 1
(0 - 33) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2
(1 - 127) |
|
|
-63 - +63
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
00 30 | 00aa aaaa | Matrix Control 1 Destination 3
(0 - 33) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1
(1 - 127) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 49 | 00aa aaaa | Matrix Control 4 Destination 2
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
|
|
|
|
|
|
|
|
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3
(1 - 127) |
|
|
-63 - +63
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
00 32 | 00aa aaaa | Matrix Control 1 Destination 4
(0 - 33) |
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
1 8 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2
(1 - 127) |
|
|
-20000 - +20000
|
|
|
|
|
|
-63 - +63
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
00 4B | 00aa aaaa | Matrix Control 4 Destination 3
(0 - 33) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3
(1 - 127) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
| 0000 cccc |
00 4D | 00aa aaaa | Matrix Control 4 Destination 4
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
| 0000 cccc |
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4
(1 - 127) |
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
|
|
-63 - +63
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 4F | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
*1-3-1-2 Patch Common MFX
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
0 - 72 |
|#
|
00 65 | 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 22
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, C, D<XV-5080>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
OFF, CC01 - CC31, CC33 - CC95, |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
-63 - +63
(0 - 101) |
|
|
| 0000 cccc |
00 07 | 0aaa aaaa | MFX Control 2 Source
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
-63 - +63
|
|
| 0000 cccc |
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
-63 - +63
|
|
| 0000 cccc |
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
-20000 - +20000
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
-63 - +63 |
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
OFF, 1 - 16
|
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
| 0000 cccc |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
|
OFF, 1 - 16
|
|
|
|
-20000 - +20000
|
|
|
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-3-1-3 Patch Common Chorus
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
| Offset
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
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
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, C, D<XV-5080>
|
|
| 0000 cccc |
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
MAIN, REV, MAIN+REV
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
|
|
|
1 8 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
|
| 0000 cccc |
|
|
-20000 - +20000
|
|
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-20000 - +20000
|
|
|
|
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-3-1-5 Patch TMT (Tone Mix Table)
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
-20000 - +20000
|
|
|
|
| Offset
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2
(0 - 9) |
1 - 10 |
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 01 | 0000 00aa | Booster 1 & 2
(0 - 3) |
|#
|
00 28 | 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 10
(12768 - 52768) |
00 03 | 0000 00aa | Booster 3 & 4
(0 - 3) |
0, +6, +12, +18 [dB] |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 04 | 0000 00aa | TMT Velocity Control
(0 - 2) |
OFF, ON, RANDOM |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0000 000a | TMT1 Tone Switch
(0 - 1) |
OFF, ON |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower
(0 - 127) |
|
|
| 0000 cccc |
|
|
C-1 - UPPER
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000 |
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper
(0 - 127) |
|
|
|
|
|
LOWER - G9
|
|—————————————+————————————————————————————————————————————————————————————————|
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) |
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
1 - UPPER
|
*1-3-1-4 Patch Common Reverb
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper
(1 - 127) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
| Offset
|
|
|
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
(0 - 127) |
(0 - 3) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | TMT2 Tone Switch
(0 - 1) |
OFF, ON |
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
|
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower
(0 - 127) |
|
|
A, B, C, D<XV-5080>
|
|
|
C-1 - UPPER
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper
(0 - 127) |
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
LOWER - G9
|
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 1
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
1 - UPPER
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch
(0 - 1) |
OFF, ON |
|
|
|
| 0000 cccc |
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
C-1 - UPPER
|
|
|
|
-20000 - +20000
|
|
|
|
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper
(0 - 127) |
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
LOWER - G9
|
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 4
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
1 - UPPER
|
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch
(0 - 1) |
OFF, ON |
|
|
|
| 0000 cccc |
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
C-1 - UPPER
|
|
|
|
-20000 - +20000
|
|
|
|
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper
(0 - 127) |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
|
LOWER - G9
|
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 7
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
1 - UPPER
|
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 29 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
*1-3-1-6 Patch Tone
|
|
|
-20000 - +20000
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
| Offset
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
00 00 | 0aaa aaaa | Tone Level
(0 - 127) |
(16 - 112) |
|
|
|
-20000 - +20000
|
|
|
|
00 01 | 0aaa aaaa | Tone Coarse Tune
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
|
-48 - +48
|
00 02 | 0aaa aaaa | Tone Fine Tune
(14 - 114) |
-50 - +50
(0 - 30) |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
00 03 | 000a aaaa | Tone Random Pitch Depth
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 2F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
1200
(0 - 127) |
L64 - 63R
(54 - 74) |
|
|
|
|
-20000 - +20000
|
|
|
|
00 04 | 0aaa aaaa | Tone Pan
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 05 | 000a aaaa | Tone Pan Keyfollow
|
| 0000 cccc |
|
|
-100 - +100
|
(0 - 63) |
(1 - 127) |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
00 06 | 00aa aaaa | Tone Random Pan Depth
00 07 | 0aaa aaaa | Tone Alternate Pan Depth
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
L63 - 63R
|
00 08 | 0000 000a | Tone Env Mode
(0 - 1) |
|
| 0000 cccc |
|
|
NO-SUS, SUSTAIN
|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
00 09 | 0000 00aa | Tone Delay Mode
(0 - 3) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
NORMAL, HOLD, KEY-OFF-N, |
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
KEY-OFF-D
|
|
00 0A | 0000 aaaa |
|
| 0000 cccc |
| 0000 bbbb | Tone Delay Time
(0 - 149) |
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
|
0 - 127, MUSICAL-NOTES
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
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
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
MFX, A, B, C, D<XV-5080>, |
1, 2, 3, 4, 5, 6, |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
7<XV-5080>, 8<XV-5080>
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
|
|
| 0000 cccc |
00 13 | 0000 000a | Tone Receive Expression
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 14 | 0000 000a | Tone Receive Hold-1
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
00 15 | 0000 000a | Tone Receive Pan Mode
(0 - 1) |
|
| 0000 cccc |
|
|
CONTINUOUS, KEY-ON
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
00 16 | 0000 000a | Tone Redamper Switch
(0 - 1) |
|
|
|
-20000 - +20000
|
|
|
|
|
OFF, ON
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
1 8 6
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1
(0 - 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
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
OFF, ON, REVERSE
|
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) |
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Wave Form
(0 - 10) |
SIN, TRI, SAW-UP, SAW-DW, SQR, |
|
|
OFF, ON, REVERSE
|
|
|
|
|
|
|
00 1B | 0000 00aa | Tone Control 2 Switch 1
(0 - 2) |
RND, BEND-UP, BEND-DW, TRP, S&H
CHS
|
|
|
|
|
OFF, ON, REVERSE
|
00 1C | 0000 00aa | Tone Control 2 Switch 2
(0 - 2) |
00 6E | 0000 aaaa |
| 0000 bbbb | LFO1 Rate
|
|
OFF, ON, REVERSE
|
(0 - 149) |
00 1D | 0000 00aa | Tone Control 2 Switch 3
(0 - 2) |
|
|
0 - 127, MUSICAL-NOTES
|
|
|
OFF, ON, REVERSE
|
00 70 | 0000 0aaa | LFO1 Offset
(0 - 4) |
00 1E | 0000 00aa | Tone Control 2 Switch 4
(0 - 2) |
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
|
|
OFF, ON, REVERSE
|
00 71 | 0aaa aaaa | LFO1 Rate Detune
00 72 | 0aaa aaaa | LFO1 Delay Time
00 1F | 0000 00aa | Tone Control 3 Switch 1
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow
00 20 | 0000 00aa | Tone Control 3 Switch 2
(0 - 2) |
|
|
-100 - +100
|
|
|
OFF, ON, REVERSE
|
00 74 | 0000 00aa | LFO1 Fade Mode
(0 - 3) |
00 21 | 0000 00aa | Tone Control 3 Switch 3
(0 - 2) |
|
|
|
|
KEY-ON-IN, KEY-ON-OUT, |
|
|
OFF, ON, REVERSE
|
KEY-OFF-IN, KEY-OFF-OUT
|
00 22 | 0000 00aa | Tone Control 3 Switch 4
(0 - 2) |
00 75 | 0aaa aaaa | LFO1 Fade Time
00 76 | 0000 000a | LFO1 Key Trigger
(0 - 127) |
(0 - 1) |
OFF, ON
|
|
OFF, ON, REVERSE
|
00 23 | 0000 00aa | Tone Control 4 Switch 1
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 77 | 0aaa aaaa | LFO1 Pitch Depth
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
00 24 | 0000 00aa | Tone Control 4 Switch 2
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 78 | 0aaa aaaa | LFO1 TVF Depth
00 25 | 0000 00aa | Tone Control 4 Switch 3
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 79 | 0aaa aaaa | LFO1 TVA Depth
00 26 | 0000 00aa | Tone Control 4 Switch 4
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 7A | 0aaa aaaa | LFO1 Pan Depth
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 27 | 0000 00aa | Wave Group Type
(0 - 3) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 7B | 0000 aaaa | LFO2 Wave Form
(0 - 10) |
SIN, TRI, SAW-UP, SAW-DW, SQR, |
|
SAMPLE<XV-5080>
|
|
|
|
|
|
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
RND, BEND-UP, BEND-DW, TRP, S&H
CHS
|
|
|
|
| 0000 cccc |
00 7C | 0000 aaaa |
| 0000 bbbb | LFO2 Rate
|
| 0000 dddd | Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
(0 - 149) |
|
|
|
|
|
|
|
|
|
0 - 127, MUSICAL-NOTES
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
00 7E | 0000 0aaa | LFO2 Offset
(0 - 4) |
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
|
| 0000 cccc |
00 7F | 0aaa aaaa | LFO2 Rate Detune
01 00 | 0aaa aaaa | LFO2 Delay Time
|
| 0000 dddd | Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
-100 - +100
|
01 02 | 0000 00aa | LFO2 Fade Mode
(0 - 3) |
|
| 0000 cccc |
| 0000 dddd | Wave Number R
|
|
|
|
KEY-ON-IN, KEY-ON-OUT, |
|
(0 - 16384) |
OFF, 1 - 16384
KEY-OFF-IN, KEY-OFF-OUT
|
|
|
|
|
01 03 | 0aaa aaaa | LFO2 Fade Time
01 04 | 0000 000a | LFO2 Key Trigger
(0 - 127) |
(0 - 1) |
OFF, ON
|
00 34 | 0000 00aa | Wave Gain
(0 - 3) |
|
|
|
-6, 0, +6, +12 [dB]
|
|
|
|
|
00 35 | 0000 000a | Wave FXM Switch
(0 - 1) |
01 05 | 0aaa aaaa | LFO2 Pitch Depth
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
OFF, ON
|
|
|
|
|
00 36 | 0000 00aa | Wave FXM Color
(0 - 3) |
01 06 | 0aaa aaaa | LFO2 TVF Depth
|
|
|
1 - 4
|
|
|
|
|
00 37 | 000a aaaa | Wave FXM Depth
00 38 | 0000 000a | Wave Tempo Sync
(0 - 16) |
(0 - 1) |
01 07 | 0aaa aaaa | LFO2 TVA Depth
|
|
|
|
|
|
|
OFF, ON
|
01 08 | 0aaa aaaa | LFO2 Pan Depth
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow
(44 - 84) |
-200 - +200 |
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 00 01 09 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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
*1-3-2-1 Rhythm Common
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
| Offset
|
|
|
|
|
|
|
Address |
Description
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Rhythm Name 1
(32 - 127) |
00 3E | 000a aaaa | Pitch Env Time Keyfollow
|
|
32 - 127 [ASCII]
|
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
00 01 | 0aaa aaaa | Rhythm Name 2
(32 - 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
|
|
32 - 127 [ASCII]
|
00 02 | 0aaa aaaa | Rhythm Name 3
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 03 | 0aaa aaaa | Rhythm Name 4
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
00 04 | 0aaa aaaa | Rhythm Name 5
(32 - 127) |
00 44 | 0aaa aaaa | Pitch Env Level 1
|
|
32 - 127 [ASCII]
|
|
|
|
00 05 | 0aaa aaaa | Rhythm Name 6
(32 - 127) |
00 45 | 0aaa aaaa | Pitch Env Level 2
|
|
32 - 127 [ASCII]
|
|
|
|
00 06 | 0aaa aaaa | Rhythm Name 7
(32 - 127) |
00 46 | 0aaa aaaa | Pitch Env Level 3
|
|
32 - 127 [ASCII]
|
|
|
|
00 07 | 0aaa aaaa | Rhythm Name 8
(32 - 127) |
00 47 | 0aaa aaaa | Pitch Env Level 4
|
|
32 - 127 [ASCII]
|
|
|
|
00 08 | 0aaa aaaa | Rhythm Name 9
(32 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type
(0 - 6) |
00 09 | 0aaa aaaa | Rhythm Name 10
(32 - 127) |
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
|
32 - 127 [ASCII]
|
LPF3
|
00 0A | 0aaa aaaa | Rhythm Name 11
(32 - 127) |
00 49 | 0aaa aaaa | TVF Cutoff Frequency
00 4A | 00aa aaaa | TVF Cutoff Keyfollow
(0 - 127) |
(44 - 84) |
|
|
32 - 127 [ASCII]
|
00 0B | 0aaa aaaa | Rhythm Name 12
(32 - 127) |
|
|
-200 - +200
|
|
|
32 - 127 [ASCII]
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve
(0 - 7) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
FIXED, 1 - 7
|
|
00 0C | 0aaa aaaa | Rhythm Level
(0 - 127) |
(0 - 1) |
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
|
00 0D | 0000 000a | Rhythm Clock Source
|
|
-63 - +63
|
|
|
|
RHYTHM, SYSTEM
|
|
00 4D | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb | Rhythm Tempo
00 10 | 0000 000a | One Shot Mode <XV-5080>
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens
(20 - 250) |
(0 - 1) |
OFF, ON
|
|
-63 - +63
|
|
00 4F | 0aaa aaaa | TVF Env Depth
(1 - 127) |
-63 - +63 |
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 50 | 0000 0aaa | TVF Env Velocity Curve
(0 - 7) |
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign
(0 - 13) |
MFX, A, B, C, D<XV-5080>, |
1, 2, 3, 4, 5, 6, |
|
|
FIXED, 1 - 7
|
|
|
|
|
|
|
00 51 | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
-63 - +63
|
7<XV-5080>, 8<XV-5080>, TONE
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens
|
|
|
00 54 | 000a aaaa | TVF Env Time Keyfollow
*1-3-2-2 Rhythm Common MFX
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
+——————————————————————————————————————————————————————————————————————————————+
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
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
0 - 72 |
|
|
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) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
A, B, C, D<XV-5080>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level
(54 - 74) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
-100 - +100
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
OFF, CC01 - CC31, CC33 - CC95, |
00 5F | 0aaa aaaa | Bias Position
(0 - 127) |
|
|
|
|
|
|
C-1 - G9
(0 - 3) |
|
BEND, AFT, SYS1 - SYS4
|
00 60 | 0000 00aa | Bias Direction
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
LOWER, UPPER, LOW&UP, ALL
|
|
|
-63 - +63
(0 - 101) |
|
00 61 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
00 07 | 0aaa aaaa | MFX Control 2 Source
|
|
FIXED, 1 - 7
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
00 62 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
BEND, AFT, SYS1 - SYS4
|
|
|
-63 - +63
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
-63 - +63
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
BEND, AFT, SYS1 - SYS4
|
00 65 | 000a aaaa | TVA Env Time Keyfollow
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
|
|
-63 - +63
|
00 66 | 0aaa aaaa | TVA Env Time 1
00 67 | 0aaa aaaa | TVA Env Time 2
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
1 8 7
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63 |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
|
-20000 - +20000
|
|
|
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
|
|
OFF, 1 - 16
|
|
|
|
-20000 - +20000
|
|
|
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|#
|
00 7D | 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 28
(12768 - 52768) |
-20000 - +20000
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
|
|
|
|
|
|
|
OFF, 1 - 16
|
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
*1-3-2-3 Rhythm Common Chorus
|
|
|
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
| Offset
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
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
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, C, D<XV-5080>
|
|
| 0000 cccc |
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
MAIN, REV, MAIN+REV
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
-20000 - +20000
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
|
|
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
*1-3-2-4 Rhythm Common Reverb
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
(0 - 127) |
(0 - 3) |
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
| 0000 cccc |
|
|
A, B, C, D<XV-5080>
|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
-20000 - +20000
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
1 8 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
|
|
|
|
|
00 17 | 0aaa aaaa | Tone Chorus Send Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 12) |
|
|
|
-20000 - +20000
|
|
|
|
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
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
|
|
|
MFX, A, B, C, D<XV-5080>, |
1, 2, 3, 4, 5, 6, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
7<XV-5080>, 8<XV-5080>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range
00 1D | 0000 000a | Tone Receive Expression
(0 - 48) |
(0 - 1) |
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
OFF, ON
|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
00 1E | 0000 000a | Tone Receive Hold-1
(0 - 1) |
OFF, ON
(0 - 1) |
CONTINUOUS, KEY-ON |
|
|
|
|
| 0000 cccc |
00 1F | 0000 000a | Tone Receive Pan Mode
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
|
00 20 | 0000 00aa | WMT Velocity Control
(0 - 2) |
OFF, ON, RANDOM |
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 21 | 0000 000a | WMT1 Wave Switch
(0 - 1) |
|
|
|
|
|
|
|
|
|
OFF, ON
|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
00 22 | 0000 00aa | WMT1 Wave Group Type
(0 - 3) |
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
| 0000 cccc |
SAMPLE<XV-5080>
|
|
|
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
-20000 - +20000
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT1 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
| 0000 cccc |
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
-20000 - +20000
00 27 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT1 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
| 0000 cccc |
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
-20000 - +20000
00 2B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT1 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
-20000 - +20000
00 2F | 0000 00aa | WMT1 Wave Gain
(0 - 3) |
|
|
|
|
|
|
|
|
|
-6, 0, +6, +12 [dB]
|
|#
|
00 33 | 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 | Reverb Parameter 13
(12768 - 52768) |
-20000 - +20000
|
|
1 - 4
|
|
|
|
|
|
|
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth
00 33 | 0000 000a | WMT1 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON
|
|
| 0000 cccc |
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) |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 36 | 0aaa aaaa | WMT1 Wave Pan
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
-20000 - +20000
00 37 | 0000 000a | WMT1 Wave Random Pan Switch
|
|
|
|
|
|
|
|
|
|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|
| 0000 cccc |
00 39 | 0aaa aaaa | WMT1 Wave Level
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
-20000 - +20000
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower
|
|
|
|
|
|
|
|
|
1 - UPPER
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3E | 0000 000a | WMT2 Wave Switch
(0 - 1) |
|
|
OFF, ON
|
|
| 0000 cccc |
00 3F | 0000 00aa | WMT2 Wave Group Type
(0 - 3) |
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
-20000 - +20000
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
|
|
|
|
SAMPLE<XV-5080>
|
|
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
00 40 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
-20000 - +20000
| 0000 dddd | WMT2 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
00 44 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 cccc |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000
| 0000 dddd | WMT2 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 48 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
| 0000 dddd | WMT2 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
*1-3-2-5 Rhythm Tone
00 4C | 0000 00aa | WMT2 Wave Gain
(0 - 3) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
-6, 0, +6, +12 [dB]
|
| Offset
|
|
|
00 4D | 0000 000a | WMT2 Wave FXM Switch
(0 - 1) |
|
Address |
Description
|
|
OFF, ON
|
|—————————————+————————————————————————————————————————————————————————————————|
00 4E | 0000 00aa | WMT2 Wave FXM Color
(0 - 3) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1
(32 - 127) |
|
|
1 - 4
|
|
|
32 - 127 [ASCII]
|
00 4F | 000a aaaa | WMT2 Wave FXM Depth
00 50 | 0000 000a | WMT2 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
00 01 | 0aaa aaaa | Tone Name 2
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
OFF, ON
|
00 02 | 0aaa aaaa | Tone Name 3
(32 - 127) |
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) |
|
|
32 - 127 [ASCII]
|
|
|
|
00 03 | 0aaa aaaa | Tone Name 4
(32 - 127) |
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune
|
|
32 - 127 [ASCII]
|
|
|
|
00 04 | 0aaa aaaa | Tone Name 5
(32 - 127) |
00 53 | 0aaa aaaa | WMT2 Wave Pan
|
|
32 - 127 [ASCII]
|
|
|
|
00 05 | 0aaa aaaa | Tone Name 6
(32 - 127) |
00 54 | 0000 000a | WMT2 Wave Random Pan Switch
|
|
32 - 127 [ASCII]
|
|
|
|
00 06 | 0aaa aaaa | Tone Name 7
(32 - 127) |
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch
|
|
32 - 127 [ASCII]
|
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
00 07 | 0aaa aaaa | Tone Name 8
(32 - 127) |
00 56 | 0aaa aaaa | WMT2 Wave Level
|
|
32 - 127 [ASCII]
|
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower
00 08 | 0aaa aaaa | Tone Name 9
(32 - 127) |
|
|
1 - UPPER
|
|
|
32 - 127 [ASCII]
|
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper
(1 - 127) |
00 09 | 0aaa aaaa | Tone Name 10
(32 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
|
32 - 127 [ASCII]
|
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper
00 0A | 0aaa aaaa | Tone Name 11
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 0B | 0aaa aaaa | Tone Name 12
(32 - 127) |
|
00 5B | 0000 000a | WMT3 Wave Switch
(0 - 1) |
|
|
32 - 127 [ASCII]
|
|
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 5C | 0000 00aa | WMT3 Wave Group Type
(0 - 3) |
|
|
|
|
00 0C | 0000 000a | Assign Type
(0 - 1) |
|
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
MULTI, SINGLE
|
|
SAMPLE<XV-5080>
|
|
|
|
00 0D | 000a aaaa | Mute Group
(0 - 31) |
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, 1 - 31
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level
(0 - 127) |
(0 - 127) |
|
| 0000 dddd | WMT3 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
00 0F | 0aaa aaaa | Tone Coarse Tune
|
|
|
|
|
|
|
|
|
C-1 - G9
|
|#
|
00 61 | 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 | WMT3 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|
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 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
1200
|
|
| 0000 dddd | WMT3 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
00 12 | 0aaa aaaa | Tone Pan
(0 - 127) |
|
|
|
|
|
L64 - 63R
|
|
00 69 | 0000 00aa | WMT3 Wave Gain
(0 - 3) |
00 13 | 00aa aaaa | Tone Random Pan Depth
00 14 | 0aaa aaaa | Tone Alternate Pan Depth
(0 - 63) |
(1 - 127) |
|
|
|
-6, 0, +6, +12 [dB]
|
|
00 6A | 0000 000a | WMT3 Wave FXM Switch
(0 - 1) |
|
|
L63 - 63R
|
|
|
|
OFF, ON
|
00 15 | 0000 000a | Tone Env Mode
(0 - 1) |
NO-SUS, SUSTAIN |
|
00 6B | 0000 00aa | WMT3 Wave FXM Color
(0 - 3) |
|
|
|
|
|
1 - 4
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 16 | 0aaa aaaa | Tone Dry Send Level (0 - 127) |
|
00 6C | 000a aaaa | WMT3 Wave FXM Depth
(0 - 16) |
|
1 8 9
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 000a | WMT3 Wave Tempo Sync
(0 - 1) |
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
|
|
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune
|
|
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune
2. GS (Model ID=42H)
|
|
|
00 70 | 0aaa aaaa | WMT3 Wave Pan
|
|
|
00 71 | 0000 000a | WMT3 Wave Random Pan Switch
*
System Parameter
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch
| Start
|
|
|
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|
Address |
Description
00 73 | 0aaa aaaa | WMT3 Wave Level
|—————————————+————————————————————————————————————————————————————————————————|
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower
|#
|
|
|
|
|
|
|
|
|
40 00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
1 - UPPER
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper
(1 - 127) |
| 0000 cccc |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
| 0000 dddd | Master Tune
(24 - 2024) |
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper
|
|
-100.0 - 100.0 [cent]
|
40 00 04 | 0aaa aaaa | Master Volume
40 00 05 | 0aaa aaaa | Master Key Shift
(0 - 127) |
(40 - 88) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 78 | 0000 000a | WMT4 Wave Switch
(0 - 1) |
|
|
-24 - +24 [semitone]
|
|
|
OFF, ON
|
40 00 06 | 0aaa aaaa | Master Pan
(1 - 127) |
00 79 | 0000 00aa | WMT4 Wave Group Type
(0 - 3) |
|
|
L63 - 63R
|
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|—————————————+————————————————————————————————————————————————————————————————|
SAMPLE<XV-5080>
|
|
|
|
|
|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
GS-RESET, GS-EXIT |
00 7A | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+————————————————————————————————————————————————————————————————|
| 0000 cccc |
| 0000 dddd | WMT4 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
*
Common Parameter
00 7E | 0000 aaaa |
| 0000 bbbb |
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
| 0000 cccc |
|
Address |
Description
| 0000 dddd | WMT4 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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) |
01 02 | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT4 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
01 06 | 0000 00aa | WMT4 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
01 07 | 0000 000a | WMT4 Wave FXM Switch
(0 - 1) |
|
|
OFF, ON
|
01 08 | 0000 00aa | WMT4 Wave FXM Color
(0 - 3) |
|
|
1 - 4
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth
01 0A | 0000 000a | WMT4 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
OFF, ON
|
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) |
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 - 7) |
(0 - 7) |
(0 - 7) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
|
40 01 31 | 0aaa aaaa | Reverb Character
40 01 32 | 0aaa aaaa | Reverb Pre-LPF
40 01 33 | 0aaa aaaa | Reverb Level
01 0D | 0aaa aaaa | WMT4 Wave Pan
|
|
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch
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
|
|
|
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
01 10 | 0aaa aaaa | WMT4 Wave Level
|
|
|
|
|
|
|
|
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) |
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower
|
|
1 - UPPER
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 15 | 000a aaaa | Pitch Env Depth
(52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
01 16 | 0aaa aaaa | Pitch Env Velocity Sens
|
|
|
* Part Parameter
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
| Start
|
|
|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
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) |
|#
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
| 0aaa aaaa | Tone Number PC Value
(0 - 127) |
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 02 | 0aaa aaaa | Rx. Channel
(0 - 16) |
|
|
1 - 16, OFF
|
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 - 1) |
01 1E | 0aaa aaaa | Pitch Env Level 1
|
|
OFF, ON
|
|
|
|
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
|—————————————+———————————+————————————————————————————————————————————————————|
01 1F | 0aaa aaaa | Pitch Env Level 2
|
|
|
|
|
|
40 1x 05 | 0000 000a | Rx. Program Change
01 20 | 0aaa aaaa | Pitch Env Level 3
|
|
|
|
|
|
40 1x 06 | 0000 000a | Rx. Control Change
01 21 | 0aaa aaaa | Pitch Env Level 4
|
|
|
|
|
|
40 1x 07 | 0000 000a | Rx. Poly Pressure
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 22 | 0000 0aaa | TVF Filter Type
(0 - 6) |
40 1x 08 | 0000 000a | Rx. Note Message
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
|
|
LPF3
|
40 1x 09 | 0000 000a | Rx. RPN
01 23 | 0aaa aaaa | TVF Cutoff Frequency
(0 - 127) |
(0 - 7) |
|
|
|
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve
40 1x 0A | 0000 000a | Rx. NRPN
|
|
FIXED, 1 - 7
|
|
|
|
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
40 1x 0B | 0000 000a | Rx. Modulation
|
|
-63 - +63
|
|
|
|
01 26 | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
40 1x 0C | 0000 000a | Rx. Volume
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens
|
|
|
|
|
-63 - +63
|
40 1x 0D | 0000 000a | Rx. Panpot
01 28 | 0aaa aaaa | TVF Env Depth
(1 - 127) |
-63 - +63 |
|
|
|
|
|
40 1x 0E | 0000 000a | Rx. Expression
01 29 | 0000 0aaa | TVF Env Velocity Curve Type
(0 - 7) |
|
|
|
|
|
FIXED, 1 - 7
|
40 1x 0F | 0000 000a | Rx. Hold-1
01 2A | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
|
40 1x 10 | 0000 000a | Rx. Portamento
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63 |
|
|
|
|
|
|
40 1x 11 | 0000 000a | Rx. Sostenuto
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens
|
|
|
|
|
40 1x 12 | 0000 000a | Rx. Soft
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) |
|
|
|
|
|
|
|
|
|
|
40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 - 1) |
|
|
MODE, POLY
|
40 1x 14 | 0aaa aaaa | Assign Mode
(0 - 2) |
|
|
|
|
SINGLE, LIMITED-MULTI, |
FULL-MULTI
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
(0 - 2) |
OFF, MAP1, MAP2 |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 36 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 16 | 0aaa aaaa | Pitch Key Shift
(40 - 88) |
|
|
FIXED, 1 - 7
|
|
|
-24 - +24 [semitone]
|
|
01 37 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
40 1x 17 | 0000 aaaa |
| 0000 bbbb | Pitch Offset Fine
|
|
-63 - +63
|
(8 - 248) |
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63 |
|
|
-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
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
|
|
|
|
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
|
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) |
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
|
|
|
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) |
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
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 41 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
OFF, ON
|
1 9 0
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB
(0 - 1) |
OFF, ON
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 - 127) |
|
|
|
|
|
-100.0 - +100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 - 127) |
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
|
|
0 - 600 [cent]
|
|
|
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 - 127) |
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
|
|
0 - 2400 [cent]
|
|
|
|
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 - 127) |
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
|
|
0 - 100.0 [%]
|
|
|
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 - 127) |
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 - 127) |
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
|
|
0 - 600 [cent]
|
|
|
|
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 - 127) |
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)
|
|
0 - 2400 [cent]
|
|
|
|
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 - 127) |
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
|
|
0 - 100.0 [%]
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 - 88) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 - 127) |
|
|
-24 - +24 [semitone]
|
|
|
-64 - +63 [cent]
|
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 - 127) |
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 - 127) |
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
|
|
-64 - +63 [cent]
|
40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 - 127) |
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
|
|
-64 - +63 [cent]
|
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 - 127) |
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 - 127) |
|
|
0 - 600 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 - 127) |
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
(0 - 127) |
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 - 127) |
|
|
0 - 100.0 [%]
|
|
|
-64 - +63 [cent]
|
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 - 127) |
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
|
|
-64 - +63 [cent]
|
40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 - 127) |
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 - 127) |
|
|
0 - 600 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 - 127) |
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 - 127) |
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 - 127) |
|
|
0 - 100.0 [%]
|
|
|
-64 - +63 [cent]
|
+——————————————————————————————————————————————————————————————————————————————+
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 - 127) |
x: BLOCK NUMBER (0-F)
|
|
-64 - +63 [cent]
|
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
|
|
-9600 - +9600 [cent]
|
40 2x 02 | 0aaa aaaa | Mod Amplitude Control
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control
(0 - 127) |
:
:
:
|
|
0 - 600 [cent]
|
Part16 (MIDI ch = 16) x = F
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth
(0 - 127) |
*
Drum Setup Parameter
|
|
0 - 100.0 [%]
|
+——————————————————————————————————————————————————————————————————————————————+
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control
(0 - 127) |
| Start
|
|
|
|
|
-10.0 - +10.0 [Hz]
|
|
Address |
Description
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
0 - 600 [cent]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
41 m0 00 | 0aaa aaaa | Drum Map Name 1
(32 - 127) |
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth
(0 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
0 - 2400 [cent]
|
41 m0 01 | 0aaa aaaa | Drum Map Name 2
(32 - 127) |
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth
(0 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
0 - 100.0 [%]
|
41 m0 02 | 0aaa aaaa | Drum Map Name 3
(32 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 - 88) |
41 m0 03 | 0aaa aaaa | Drum Map Name 4
(32 - 127) |
|
|
0 - 24 [semitone]
|
|
|
32 - 127 [ASCII]
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 - 127) |
41 m0 04 | 0aaa aaaa | Drum Map Name 5
(32 - 127) |
|
|
-9600 - +9600 [cent]
|
|
|
32 - 127 [ASCII]
|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 - 127) |
41 m0 05 | 0aaa aaaa | Drum Map Name 6
(32 - 127) |
|
|
-100.0 - +100.0 [%]
|
|
|
32 - 127 [ASCII]
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 - 127) |
41 m0 06 | 0aaa aaaa | Drum Map Name 7
(32 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
|
|
32 - 127 [ASCII]
|
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 - 127) |
41 m0 07 | 0aaa aaaa | Drum Map Name 8
(32 - 127) |
|
|
0 - 600 [cent]
|
|
|
32 - 127 [ASCII]
|
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 - 127) |
41 m0 08 | 0aaa aaaa | Drum Map Name 9
(32 - 127) |
|
|
0 - 2400 [cent]
|
|
|
32 - 127 [ASCII]
|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 - 127) |
41 m0 09 | 0aaa aaaa | Drum Map Name 10
(32 - 127) |
|
|
0 - 100.0 [%]
|
|
|
32 - 127 [ASCII]
|
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 - 127) |
41 m0 0A | 0aaa aaaa | Drum Map Name 11
(32 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
|
|
32 - 127 [ASCII]
|
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 - 127) |
41 m0 0B | 0aaa aaaa | Drum Map Name 12
(32 - 127) |
|
|
0 - 600 [cent]
|
|
|
32 - 127 [ASCII]
|
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
0 - 2400 [cent]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
41 m1 rr | 0aaa aaaa | Play Note Number
41 m2 rr | 0aaa aaaa | Level
41 m3 rr | 0aaa aaaa | Assign Group Number
(0 - 127) |
(0 - 127) |
(0 - 127) |
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
NON, 1 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 - 88) |
41 m4 rr | 0aaa aaaa | Panpot
(0 - 127) |
|
|
-24 - +24 [semitone]
|
|
|
RAMDOM, L63 - 63R
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 - 127) |
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
|
|
0.0 - 1.0
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 - 127) |
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 - 127) |
0.0 - 1.0
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
-100.0 - +100.0 [%]
|
|
|
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 - 127) |
41 m7 rr | 0000 000a | Rx. Note Off
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 - 127) |
41 m8 rr | 0000 000a | Rx. Note On
|
|
0 - 600 [cent]
|
|
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
0 - 2400 [cent]
|
m: Map number (0 = MAP1, 1 = MAP2)
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
rr: drum part note number (00H-7FH)
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 30 | 0aaa aaaa | PAf Pitch Control
(40 - 88) |
|
|
-24 - +24 [semitone]
|
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
40 2x 32 | 0aaa aaaa | PAf Amplitude Control
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 - 88) |
|
|
-24 - +24 [semitone]
|
40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
1 9 1
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
<Example 2> CE 49
●Decimal and Hexadecimal table
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).
(An “H” is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/ sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
<Example 3> EA 00 28
The following table shows how these correspond to decimal numbers.
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
+——————+——————++——————+——————++——————+——————++——————+——————+
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 |
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.
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 |
<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 status” which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H
(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H
(B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH
(B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H
(B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH
(B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH
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.
+——————+——————++——————+——————++——————+——————++——————+——————+
D:decimal
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
H:hexadecimal
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.)
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
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.
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.
*
*
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.
Data marked “Use nibbled data” is 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.
<Example 1> What is the decimal expression of 5AH ?
From the preceding table, 5AH = 90
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 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
*
TPQN: Ticks Per Quarter Note
<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
<Example 4> What is the nibbled expression of the decimal value 1258?
16) 1258
16) 78 ... 10
16)
4 ... 14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
●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.
1 9 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
As the data size of Performance Part is 00 00 00 21H, summation of the size and the start
address of Part 16 at Temporay Performance will be;
●Example of an Exclusive message and 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.
●How to calculate the checksum (hexadecimal numbers are indicated by
10 00 2F 00H
+) 00 00 00 21H
10 00 2F 21H
“H”)
And the size that have to be got should be;
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
10 00 2F 21H
-) 10 00 00 00H
00 00 2F 21H
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.
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
Therefore the system exclusive message should be sent is;
128 - remainder = checksum
F0 41 10 00 10
(1) (2) (3) (4)
11 10 00 00 00
(5) address
00 00 2F 21
data
??
F7
6)
<Example 1> Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1).
According to the “Parameter Address Map (p. 181),” 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;
checksum
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
(4) Model ID (XV-3080), (5) Command ID (RQ1),
(6) End of Exclusive
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 01 10 11
10 00 00 00 00 00 2F 21 20 F7 to be transmitted.
10 00 00 00H
04 00H
+)
00 00H
<Example 4> Getting data (RQ1) at once;
10 00 04 00H
Tempory Performance data,
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.
DELAY has the value of 02H.
So the system exclusive message should be sent is;
F0 41 10 00 10
(1) (2) (3) (4)
12 10 00 04 00
(5) address
02 ??
F7
data checksum
(6)
According to the “Parameter Address Map (p. 181),” the start address of the above all
parameters is assinged as following:
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
10 00 00 00H
11 20 00 00H
11 30 00 00H
:
Temporary Performance
(4) Model ID (XV-3080), (5) Command ID (DT1),
(6) End of Exclusive
Temporary Patch (Performance Mode Part 1)
Temporary Rhythm (Performance Mode Part 1)
Then calculate the checksum.
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)
14 60 00 00H
14 70 00 00H
Temporary Patch (Performance Mode Part 16)
Temporary Rhythm (Performance Mode Part 16)
checksum = 128 - 22 (remainder) = 106 = 6AH
This means that F0 41 10 00 10 12 10 00 04 00 02 6A F7 is the message should be sent.
The offset address of Rhythm is also assigned as follows:
00 00 00H
Rhythm Common
Rhythm Tone 1
Rhythm Tone 4
<Example 2> Getting the data (RQ1) of Performance Part 3 in USER:03.
According to the “Parameter Address Map (p. 181),” the start address of USER:03 is 20 02 00
00H, and the offset address of Performance Part 3 is 00 22 00H.
:
00 10 00H
:
Therefore the start address of Performance Part 3 in USER:03 is;
01 3E 00H
20 02 00 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 Temporay Patch in Performance mode will be;
+)
00 22 00H
20 02 22 00H
14 70 00 00H
01 3E 00H
As the size of Performance Part is 00 00 00 21H, the system exclusive message should be
sent is;
+) 00 00 01 41H
14 71 3F 41H
F0 41 10 00 10
(1) (2) (3) (4)
11 20 02 22 00
(5) address
00 00 00 21
data
??
F7
checksum
(6)
And the size that have to be got should be;
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
14 71 3F 41H
-) 10 00 00 00H
04 71 3F 41H
(4) Model ID (XV-3080), (5) Command ID(RQ1),
(6) End of Exclusive
Then calculate the checksum.
20H + 02H + 22H + 00H + 00H + 00H + 00H + 21H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 33 = 101
(sum)
Therefore the system exclusive message should be sent is;
101 (sum) ÷ 128 = 0 (quotient) ... 101 (remainder)
F0 41 10 00 10
(1) (2) (3) (4)
11 10 00 00 00
(5) address
04 71 3F 41
data
??
F7
checksum = 128 - 101 (remainder) = 27 = 1BH
checksum
(6)
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.
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
<Example 3> Getting Temporary Performance data (RQ1);
(4) Model ID (XV-3080), (5) Command ID (RQ1),
(6) End of Exclusive
cf.) This operation is the same as Data Transfer function in Utility mode with “PERFORM”
(Type parameter) and “TEMP: -PATCH” (Source parameter) options.
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.
According to the “Parameter Address Map (p. 181),” the start address of Temporary
Performance is assinged as following:
10 00 00 00H
Temporary Performance Common
Temporary Performance Part 1
Temporary Performance Part 16
:
10 00 20 00H
:
10 00 2F 00H
1 9 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
●The Scale Tune Feature (address: 40 1x 40)
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.
●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-3080, the default settings for
the Scale Tune feature produce equal temperament.
●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
C
Equal
Just Temperament
Arabian
Scale
-6
Temperament
(Keytone C)
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
C#
D
+45
-2
+4
D#
E
+16
-14
-2
-12
-51
-8
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
A#
B
-10
-49
The values in the table are given in cents. Refer to the explanation of Scale Tuning on page
130 to convert these values to hexadecimal, and transmit them as Exclusive data.
For example, to set the tune (C-B) of the Part1 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
●ASCII code table
Patch Name and Performance Name, etc, of MIDI data are described the ASCII
code in the table below.
(HEX) = hexadecimal
(DEC) = decimal
+—————————+—————+—————+
|Character|(HEX)|(DEC)|
+—————————+—————+—————+
+—————————+—————+—————+
|Character|(HEX)|(DEC)|
+—————————+—————+—————+
+—————————+—————+—————+
|Character|(HEX)|(DEC)|
+—————————+—————+—————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
SP | 20H | 32 |
! | 21H | 33 |
" | 22H | 34 |
# | 23H | 35 |
$ | 24H | 36 |
% | 25H | 37 |
& | 26H | 38 |
' | 27H | 39 |
( | 28H | 40 |
) | 29H | 41 |
* | 2AH | 42 |
+ | 2BH | 43 |
, | 2CH | 44 |
- | 2DH | 45 |
. | 2EH | 46 |
/ | 2FH | 47 |
0 | 30H | 48 |
1 | 31H | 49 |
2 | 32H | 50 |
3 | 33H | 51 |
4 | 34H | 52 |
5 | 35H | 53 |
6 | 36H | 54 |
7 | 37H | 55 |
8 | 38H | 56 |
9 | 39H | 57 |
: | 3AH | 58 |
; | 3BH | 59 |
< | 3CH | 60 |
= | 3DH | 61 |
> | 3EH | 62 |
? | 3FH | 63 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
@ | 40H | 64 |
A | 41H | 65 |
B | 42H | 66 |
C | 43H | 67 |
D | 44H | 68 |
E | 45H | 69 |
F | 46H | 70 |
G | 47H | 71 |
H | 48H | 72 |
I | 49H | 73 |
J | 4AH | 74 |
K | 4BH | 75 |
L | 4CH | 76 |
M | 4DH | 77 |
N | 4EH | 78 |
O | 4FH | 79 |
P | 50H | 80 |
Q | 51H | 81 |
R | 52H | 82 |
S | 53H | 83 |
T | 54H | 84 |
U | 55H | 85 |
V | 56H | 86 |
W | 57H | 87 |
X | 58H | 88 |
Y | 59H | 89 |
Z | 5AH | 90 |
[ | 5BH | 91 |
\ | 5CH | 92 |
] | 5CH | 93 |
^ | 5CH | 94 |
_ | 5CH | 95 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
` | 20H | 96 |
a | 61H | 97 |
b | 62H | 98 |
c | 63H | 99 |
d | 64H | 100 |
e | 65H | 101 |
f | 66H | 102 |
g | 67H | 103 |
h | 68H | 104 |
i | 69H | 105 |
j | 6AH | 106 |
k | 6BH | 107 |
l | 6CH | 108 |
m | 6DH | 109 |
n | 6EH | 110 |
o | 6FH | 111 |
p | 70H | 112 |
q | 71H | 113 |
r | 72H | 114 |
s | 73H | 115 |
t | 74H | 116 |
u | 75H | 117 |
v | 76H | 118 |
w | 77H | 119 |
x | 78H | 120 |
y | 79H | 121 |
z | 7AH | 122 |
{ | 7BH | 123 |
| | 7CH | 124 |
} | 7CH | 125 |
+—————————+—————+—————+
+—————————+—————+—————+
+—————————+—————+—————+
NOTE : "SP" is space.
1 9 4
Download from Www.Somanuals.com. All Manuals Search And Download.
SYNTHESIZER MODULE
Model XV-3080
Date : Dec. 18, 1999
Version : 1.00
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
X
X
1–16
1–16
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M = 1)
* 2
Mode
**************
Note
X
0–127
Number :
0–127
True Voice
**************
Note On
Note Off
X
X
O
O
Velocity
After
Touch
Key's
Channel's
X
O
O
O
*1
*1
*7
*7
Pitch Bend
O
O
*1
Bank select
0, 32
1
O
O
O
O
O
O
O
O
X
X
O
X
X
X
X
O
O
O
O
O
O
O
O
X
X
X
X
X
O
O
X
X
X
O
*4
O
*1
*1
Modulation
*7
O
Breath type
Foot type
2
*7
O
4
5
6, 38
7
*7
O
Portamento time
Data entry
*4
O
*4
O
Volume
*4, *7
*4, *7
O
*1
*1
*1
*1
Panpot
10
11
64
65
66
67
68
69
71
72
73
74
75
76
77
78
80
81
82
83
84
91
93
O
Expression
O
Hold 1
O
Control
Change
Portamento
*4
O
Sostenuto
O
Soft
O
Legato Foot Switch
Hold 2
O
O
Resonance
*4
*4
*4
*4
*4
*4
*4
*4
O
Release Time
O
Attack Time
O
Cutoff
O
Decay Time
O
*6
*6
*6
*6
Vibrato Rate
O
Vibrato Depth
O
Vibrato Delay
O
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General purpose effects 1
General purpose effects 3
CC1, 2 (General purpose controller 1, 2)
CC3, 4 (General purpose controller 3, 4)
NRPN LSB, MSB
RPN LSB, MSB
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
*4
*4
O (Reverb)
O (Chorus)
1–5, 7–31, 64–95 *3
1–5, 7–31, 64–95 *3
98, 99
O
O
X
100, 101
*4
O
Program
Change
O
*4
O
0–127
*1
*1
**************
: True Number
Program No. 1–128
System Exclusive
O
O
*5
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
*1
System
Real Time : Commands
: Clock
X
X
X
X
X
X
X
O
X
O (120, 126, 127)
: All Sound Off
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O (123–127)
*1
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 Can be changed settings.
* 5 Transmits when Data Transfer is excuted or RQ1
received.
* 6 GM Mode only.
Notes
* 4 Transmits when GM Data Transfer is excuted .
* 7 Transmits when Part Information value changed.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
1 9 5
Download from Www.Somanuals.com. All Manuals Search And Download.
Sp e cifica tio n s
XV-3080 128 voice sound module
GM Level 2 system Compatible
● Co n n e cto rs
A (MIX) Output (L(MONO), R)
B Output (L, R)
● Pa rts
C Output (L, R)
16
(Individual 1 - 6)
● Ma x im u m Po ly p h o n y
Phones Jack (Stereo)
MIDI connector (IN, OUT, THRU)
128 voices
● W a ve m e m o ry
● Po w e r su p p ly
64MB (16-bit linear format)
AC117, 230, 240 V
● Ex p a n sio n slo ts
● Po w e r Co n su m p tio n
Wave Expansion Board SR-JV80 Series: 4slots
New Wave Expansion Board SRX Series: 2slots
13 W
● Dim e n sio n s
● Pre se t m e m o ry
482 (W) x 281 (D) x 88 (H) mm
19 (W) x 11-1/ 16 (D) x 3-1/ 2 (H) inches
(EIA-2U rack mount type)
Patch: 768 (128 x 6 banks) + GM Level 2 Patch: 256
Performance: 64 (32 x 2 banks)
Rhythm Sets: 12 (2 x 6 banks) + GMLevel 2 Rhythm Set: 4
● W e ig h t
● Use r m e m o ry
4.4 kg / 9lbs 12oz
Patch:
128
64
4
● Acce sso rie s
Quickstart manual
Owner's manual
Q&A, Sound List
Power cord
Performance:
Rhythm Set:
● Ex te rn a l m e m o ry
SmartMedia card
1slot
( 2 - 128 MB, 5 or 3.3 V)
● O p tio n s
● Effe cts
Wave Expansion Board (SRX series, SR-JV80 series)
Multi Effects (MFX): 63 type
Reverb:
Chorus:
4 type
2 type
* In the interest of product improvement, the specifications
and/ or appearance of this unit are subject to change without
prior notice.
● Disp la y
40 characters, 2 lines (Backlit LCD)
1 9 6
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
Numerics
F
3D effects .........................................................................71
A
G
B
C
D
LFO1(LFO2) WAVE .......................................................97
E
Matrix control source ...................................................100
1 9 7
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
MATRIX CTRL SRC .............................................100, 136
MODULATION DELAY ...............................................47
MULTI TAP DELAY ......................................................60
PERFORM MFX OUT ..............................................27, 75
O
P
Palette Function(PATCH) .............................................90
PART OUTPUT(GM) .............................................81, 143
PATCH CATEGORY .....................................................85
PATCH LVL&PAN ..................................................72, 85
PATCH OCT&TUNE .....................................................85
PATCH PORTAMENTO ...............................................98
1 9 8
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
S
SmartMedia....................................................................125
STEREO COMPRESSOR ...............................................66
STEREO LIMITER ..........................................................66
T
TIME CONTROL DELAY .............................................49
TMT VELO CONTROL .................................................86
TREMOLO CHORUS ....................................................43
TRIPLE TAP DELAY .....................................................48
U
V
1 9 9
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
MEMO
2 0 0
Download from Www.Somanuals.com. All Manuals Search And Download.
In d e x
MEMO
2 0 1
Download from Www.Somanuals.com. All Manuals Search And Download.
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
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City,
REP. DE PANAMA
TEL: (507) 315-0101
ITALY
ISRAEL
SIN GAPO RE
AFRICA
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: 846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
P.O. Box 2904,
El Horrieh Heliopolos, Cairo,
EGYPT
TEL: (02) 4185531
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 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
Edeficio, El Dorado Planta Baja
Asuncion PARAGUAY
JO RDAN
AMMAN Trading Agency
Prince Mohammed St. P.O. Box
825 Amman 11118 JORDAN
TEL: (06) 4641200
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
TEL: 595-21-492147
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
PERU
VIDEO Broadcast S.A.
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: 51-14-758226
REUNION ISLAND
TEL: 28 29 16
TEL: 5719499
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg
LEBAN O N
A. Chahine & Fils
P.O. Box 16-5857 Gergi Zeidan St.
Chahine Building, Achrafieh
Beirut, LEBANON
PO RTUGAL
THAILAN D
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
URUGUAY
Todo Musica S.A.
Cuareim 1844, Montevideo,
URUGUAY, CP11200
TEL: 5982-924-2335
Republic of SOUTH AFRICA
TEL: (01) 335799
PORTUGAL
TEL: (022) 608 00 60
P.O.Box 32918, Braamfontein 2017
Republic of SOUTH AFRICA
TEL: (011) 403 4105
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
DOHA QATAR
TEL: 4423-554
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
VEN EZUELA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (066) 164-609
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre Claremont
7700
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
Republic of SOUTH AFRICA
VENEZUELA
TEL: (02) 285 9218
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor
P.O. Box 23032
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: 095 169 5043
Claremont, Cape Town
SOUTH AFRICA, 7735
TEL: (021) 674 4030
AUSTRALIA/
N EW ZEALAN D
EURO PE
SAUDI ARABIA
AUSTRALIA
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
ASIA
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
TEL: (0512) 26 44 260
SYRIA
Technical Light & Sound
Center
Khaled Ibn Al Walid St.
P.O. Box 13520
Damascus - SYRIA
TEL: (011) 2235 384
TEL: (93) 308 1000
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
TEL: (02) 9982 8266
SW EDEN
N EW ZEALAN D
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
Shanghai Xingtong Acoustics
Equipment CO.,Ltd.
Rm.1108, No.2240 Pudong South
Road Shanghai, CHINA
TEL: (021) 6873 4123
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler cad.Guney is hani 84-
86/ 6, Taksim. Istanbul. TURKEY
TEL: (0212) 2499324
DEN MARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 921 1615
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: (039)16 6200
ARGEN TIN A
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor DUBAI
U.A.E.
Instrumentos Musicales S.A.
Florida 656 2nd Floor
Office Number 206A
Buenos Aires
ARGENTINA, CP1005
TEL: (54-11) 4- 393-6057
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
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
TEL: (04) 3360715
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
N O RTH AMERICA
UN ITED KIN GDO M
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 498 3079
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
UNITED KINGDOM
TEL: (01792) 700139
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: (506)258-0211
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
MIDDLE EAST
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
KO REA
TEL: (040) 52 60090
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
BAHRAIN
Moon Stores
Bab Al Bahrain Road,
P.O. Box 20077
State of BAHRAIN
TEL: 211 005
CHILE
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
26422 Patras, GREECE
TEL: 061-435400
Comercial Fancy ΙΙ S.A.
Avenida Rancagua #0330
Providencia Santiago, CHILE
TEL: 56-2-373-9100
MALAYSIA
U. S. A.
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
EL SALVADO R
OMNI MUSIC
75 Avenida Notre YY Alameda,
Juan Pablo 2, No. 4010
San Salvador, EL SALVADOR
TEL: (503) 262-0788
CYPRUS
Radex Sound Equipment Ltd.
17 Diagorou St., P.O. Box 2046,
Nicosia CYPRUS
HUN GARY
Intermusica Ltd.
TEL: (323) 890 3700
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
PHILIPPIN ES
TEL: (02) 453 426
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
IRAN
MOCO, INC.
No.41 Nike St.Dr.Shariyati Ave.
Roberoye Cerahe Mirdamad
Tehran, IRAN
MEXICO
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (02) 899 9801
TEL: 285 4169
TEL: (525) 668 04 80
As of May 15, 2001 (Roland)
2 0 2
Download from Www.Somanuals.com. All Manuals Search And Download.
02014489
’01-9-A2-51T
Download from Www.Somanuals.com. All Manuals Search And Download.
|
Radio Shack Caller ID Box CID 2903 User Guide
Roberts Radio Clock Radio CR9922 User Guide
Rockford Fosgate Stereo Amplifier 53x User Guide
Samsung Car Video System 955DF AN19JS User Guide
Samsung Cell Phone Accessories SmartCam mobile User Guide
Samsung Microwave Oven M1D33 User Guide
Sanyo Portable Radio RP 5200 User Guide
Sanyo Rice Cooker ECJ M100S User Guide
Sears Washer 134474100 User Guide
Sennheiser Headphones HDC 451 User Guide