Roland Musical Instrument XV 5080 User Guide

O W N ER’S MAN UAL  
Thank you, and congratulations on your choice of the Roland XV-5080.  
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. 5). 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.  
* Microsoft and MS-DOS are registered trademarks of Microsoft Corporation.  
* Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation.  
* Windows® 3.1 is known officially as: “Microsoft® Windows® operating system Version 3.1.”  
* Windows® 95 is known officially as: “Microsoft® Windows® 95 operating system.”  
* Windows® 98 is known officially as: “Microsoft® Windows® 98 operating system.”  
* MacOS is a trademark of Apple Computer, Inc.  
* Zip is a trademark of Iomega Corporation.  
* SmartMedia is a trademark of Toshiba Corporation.  
* All product names mentioned in this document are trademarks or registered trademarks of their  
respective owners.  
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 voltagewithin the  
products 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.  
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.  
11. Only use attachments/accessories specified by the  
manufacturer.  
12. Never use with a cart, stand, tripod, bracket,  
or table except as specified by the  
manufacturer, or sold with the apparatus.  
When a cart is used, use caution when  
moving the cart/apparatus combination to  
avoid injury from tip-over.  
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.  
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.  
USIN G THE UN IT SAFELY  
The  
symbol alerts the user to important instructions  
Used for instructions intended to alert  
the user to the risk of death or severe  
injury should the unit be used  
improperly.  
or warnings.The specific meaning of the symbol is  
determined by the design contained within the  
triangle. In the case of the symbol at left, it is used for  
general cautions, warnings, or alerts to danger.  
Used for instructions intended to alert  
the user to the risk of injury or material  
damage should the unit be used  
improperly.  
The  
symbol alerts the user to items that must never  
be carried out (are forbidden). The specific thing that  
must not be done is indicated by the design contained  
within the circle. In the case of the symbol at left, it  
means that the unit must never be disassembled.  
* Material damage refers to damage or  
other adverse effects caused with  
respect to the home and all its  
furnishings, as well to domestic  
animals or pets.  
The symbol alerts the user to things that must be  
carried out. The specific thing that must be done is  
indicated by the design contained within the circle. In  
the case of the symbol at left, it means that the power-  
cord plug must be unplugged from the outlet.  
The unit should be connected to a power supply  
only of the type described in the operating instruc-  
tions, or as marked on the unit.  
Before using this unit, make sure to read the  
instructions below, and the Owners Manual.  
..........................................................................................................  
..........................................................................................................  
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 QuickStart (p. 3, p.  
34), Reference Manual (p. 181).)  
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!  
..........................................................................................................  
..........................................................................................................  
Do not attempt to repair the unit, or replace parts  
This unit, either alone or in combination with an  
amplifier and headphones or speakers, may be  
capable of producing sound levels that could  
cause permanent hearing loss. Do not operate for  
a long period of time at a high volume level, or at  
a level that is uncomfortable. If you experience  
any hearing loss or ringing in the ears, you should  
immediately stop using the unit, and consult an  
audiologist.  
within it (except when this manual provides  
specific instructions directing you to do so). Refer  
all servicing to your retailer, the nearest Roland  
Service Center, or an authorized Roland  
distributor, as listed on the "Information" page.  
..........................................................................................................  
Never use or store the unit in places that are:  
• Subject to temperature extremes (e.g., direct  
sunlight in an enclosed vehicle, near a heating  
duct, on top of heat-generating equipment); or  
are  
..........................................................................................................  
Do not allow any objects (e.g., flammable material,  
coins, pins); or liquids of any kind (water, soft  
drinks, etc.) to penetrate the unit.  
• Damp (e.g., baths, washrooms, on wet floors);  
or are  
Humid; or are  
..........................................................................................................  
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.  
• Exposed to rain; or are  
• Dusty; or are  
• Subject to high levels of vibration.  
..........................................................................................................  
..........................................................................................................  
This unit should be used only with a rack or stand  
that is recommended by Roland.  
Protect the unit from strong impact.  
(Do not drop it!)  
..........................................................................................................  
..........................................................................................................  
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.  
..........................................................................................................  
3
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Do not force the units power-supply cord to share  
an outlet with an unreasonable number of other  
devices. Be especially careful when using  
extension cordsthe total power used by all  
devices you have connected to the extension  
cords outlet must never exceed the power rating  
(watts/ amperes) for the extension cord. Excessive  
loads can cause the insulation on the cord to heat  
up and eventually melt through.  
..........................................................................................................  
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.  
..........................................................................................................  
Always turn the unit off and unplug the power  
cord (QuickStart p. 8) before attempting instal-  
lation of the circuit board (SRX series, SR-JV80  
series ; QuickStart p. 3).  
The unit should be located so that its location or  
position does not interfere with its proper venti-  
lation.  
..........................................................................................................  
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.  
..........................................................................................................  
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.  
..........................................................................................................  
Before moving the unit, disconnect the power  
plug from the outlet, and pull out all cords from  
external devices.  
..........................................................................................................  
Before cleaning the unit, turn off the power and  
unplug the power cord from the outlet (QuickStart  
p. 12).  
..........................................................................................................  
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. 4).  
..........................................................................................................  
Should you remove the optical connector caps,  
make sure to put them in a safe place out of  
children's reach, so there is no chance of them  
being swallowed accidentally.  
..........................................................................................................  
4
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  
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).  
Please be aware that the contents of memory can be  
irretrievably lost as a result of a malfunction, or the  
improper operation of the unit. To protect yourself against  
the risk of loosing important data, we recommend that  
you periodically save a backup copy of important data  
you have stored in the units memory, a memory card.  
Unfortunately, it may be impossible to restore the contents  
of data that was stored in the units memory, a memory  
card, or another MIDI device (e.g., a sequencer) once it has  
been lost. Roland Corporation assumes no liability  
concerning such loss of data.  
Use a reasonable amount of care when using the units  
buttons, sliders, or other controls; and when using its jacks  
and connectors. Rough handling can lead to malfunctions.  
Never strike or apply strong pressure to the display.  
When connecting / disconnecting all cables, grasp the  
connector itselfnever pull on the cable. This way you  
will avoid causing shorts, or damage to the cables  
internal elements.  
Before connecting this unit to other devices, turn off the  
power to all units. This will help prevent malfunctions  
and/ or damage to speakers or other devices.  
Pla ce m e n t  
This device may interfere with radio and television  
reception. Do not use this device in the vicinity of such  
receivers.  
Do not expose the unit to direct sunlight, place it near  
devices that radiate heat, leave it inside an enclosed  
vehicle, or otherwise subject it to temperature extremes.  
Excessive heat can deform or discolor the unit.  
To avoid possible breakdown, do not use the unit in a wet  
area, such as an area exposed to rain or other moisture.  
A small amount of heat will radiate from the unit during  
normal operation.  
Ma in te n a n ce  
To avoid disturbing your neighbors, try to keep the units  
volume at reasonable levels. You may prefer to use  
headphones, so you do not need to be concerned about  
those around you (especially when it is late at night).  
When you need to transport the unit, package it in the box  
(including padding) that it came in, if possible. Otherwise,  
you will need to use equivalent packaging materials.  
The display screens printed in this owners manual are based  
on the factory settings. However, please be aware that in  
some cases they may differ from the actual factory settings.  
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.  
Re p a irs a n d Da ta  
Be fo re Usin g Ca rd s  
Please be aware that all data contained in the units  
memory may be lost when the unit is sent for repairs.  
Important data should always be backed up Memory  
Card, or written down on paper (when possible). During  
repairs, due care is taken to avoid the loss of data.  
However, in certain cases (such as when circuitry related  
to memory itself is out of order), we regret that it may not  
be possible to restore the data, and Roland assumes no  
liability concerning such loss of data.  
Usin g DATA Ca rd s  
Carefully insert the DATA card all the way inuntil it is  
firmly in place.  
Me m o ry Ba ck u p  
This unit contains a battery which powers the units  
memory circuits while the main power is off. When this  
battery becomes weak, the message shown below will  
appear in the display. Once you see this message, have the  
battery replaced with a fresh one as soon as possible to  
avoid the loss of all data in memory. To have the battery  
replaced, consult with your retailer, the nearest Roland  
Service Center, or an authorized Roland distributor, as  
listed on the Informationpage.  
Insert memory cards with the gold contacts facing  
downwards.  
Never touch the terminals of the DATA card. Also, avoid  
getting the terminals dirty.  
Battery Low”  
5
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
USING THE UNIT SAFELY......................................................................3  
Rhythm Set Mode Settings...................................................................................................................... 36  
Making Reverb Settings ............................................................................................................... 39  
Settings in General MIDI Mode.............................................................................................................. 41  
6
Download from Www.Somanuals.com. All Manuals Search And Download.  
Settings for the Digital Interface ([SYSTEM/ UTILITY] - [F2 (Output)]) ............................ 119  
Selecting the Patch, and Setting the Volume, Pan, Pitch, and Polyphony.......................... 162  
Editing the Attack and Release of the Sound and Changing the Way the Sound is Played ..  
163  
Confirming MIDI Information for Each MIDI Channel........................................................ 166  
7
Download from Www.Somanuals.com. All Manuals Search And Download.  
a Part in a Performance .............................................................................................................. 195  
8
Download from Www.Somanuals.com. All Manuals Search And Download.  
Changing the Part Settings from an External MIDI Device ............................................................. 221  
9
Download from Www.Somanuals.com. All Manuals Search And Download.  
1 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Fe a tu re s  
1 2 8 -Vo ice Po ly p h o n y a n d 3 2 -  
Pa rt Mu ltitim b ra lity  
Dig ita l O u t a n d R-BUS fo r  
Co m p le te Co m p a tib ility w ith  
Dig ita l Sy ste m s  
The XV-5080 is a 32-part multitimbral sound generator that  
produces up to 128 simultaneous polyphonic voices. It provides  
ample polyphony, even with Patches containing multiple Tones.  
The XV-5080s output systems not only include eight parallel  
analog outs that can also be used as four stereo pairs, but also S/  
P DIF digital outputs (optical and coaxial) and R-BUS digital out  
as well. Using R-BUS lets you simply output eight analog  
outputs as eight-channel digital audio. And you can connect the  
XV-5080 to Rolands VM-3100Pro or VM-7000 Series with just  
one cable.  
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 Setsyou can use up to a total of eight  
wave typesthe XV-5080 takes you the next step beyond  
Rolands previous generation of JV-Series modules, providing  
even more precise control and allowing you to create lusher,  
more expressive sounds.  
Furthermore, the XV-5080 includes a Word Clock In as a  
standard feature.  
Su p p o rts Ge n e ra l MIDI sy ste m  
Le ve l 2  
The XV-5080 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.  
Po w e rfu l In te rn a l Effe cts,  
In clu d in g CO SM Effe cts  
The internal effects have been completely rethought and  
improved. The reverb, the XV-5080s most central effect,  
incorporates the high-quality SRV-3030 DSP, allowing the  
instrument itself to give great spatial definition with superior,  
clear sound.  
In addition, the XV-5080 features Multi-effects (MFX) with 90  
kinds of effects, including RSS and 3D Delay, Slicer, and  
Formant Filter. Whats more, the XV-5080 also features a variety  
of combinations of different effects, such as the Guitar Amp  
Simulator, made possible with COSM technology; Guitar Multi,  
which lets you get just the right guitar, bass, and keyboard  
sounds; Bass Multi, and Keyboard Multi, all of which let you  
create even more powerful sounds. Furthermore, you can use  
three different MFX systems when in Performance mode, and  
use each MFX on any Part you select.  
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-5080 accepts up to four of Rolands new-format Wave  
Expansion Boards (SRX Series). In addition, you can add four  
previous-generation Wave Expansion Boards (SR-JV Series).  
All of this provides you unprecedented power in creating  
sounds from a massive amount of waveform data.  
On top of all this, each output is supplied with two-band EQ.  
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  
Sa m p le Pla y b a ck Fu n ctio n Le ts  
Yo u Ad d W a ve s  
The XV-5080 provides a Patch Finder function that allows you to  
quickly find Patches of a specified type or category.  
By expanding with SIMM (72-pin, 64/ 32/ 16 MB) memory  
modules, you can add the sample playback function to the XV-  
5080. With a CD-ROM drive connected to the SCSI connector,  
you can then load Rolands S-700 Series and other CD-ROM  
libraries. You of course can perform using existing sampled  
tones just as they are, but you can also synthesize internal  
Patches into a single Wave. Additionally, since you can also save  
the wave data of loaded samples to SmartMedia cards, you can  
easily take pre-existing samples for use in your live  
performances, even with no CD-ROM drives or hard disks  
connected.  
Press the XV-5080s [PHRASE PREVIEW] button to preview the  
selected Patch with a musically appropriate Phrase.  
Re g iste rin g a Pa tch in th e  
FAVO RITE LIST  
You can keep the Patches that you like to use all in one place by  
registering them on the Favorite List. The FAVORITE LIST gives  
you immediate access to your favorite Patches, whether they are  
in the XV-5080 itself, on Wave Expansion Boards, or on memory  
cards. You can register up to 64 Patches in this list.  
1 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Pa n e l De scrip tio n s  
Fro n t Pa n e l  
fig.0-001  
E
D
F
B
G
J
C
H
I
A  
The function name is shown in the display.  
When “ ” appears next to the function name in the lower row  
A
of the screen, it means that there are one or more further pages.  
Press the corresponding [F1]-[F6] buttons to switch to such  
pages.  
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, C and D jacks  
cannot be adjusted.  
[EXIT]  
You can press the knob to listen to the XV-5080 without using  
any external devices. (Phrase Preview function; p. 16)  
to cancel an operation before executing it.  
Hold [EXIT] and press [  
Start; p. 14)  
] to hear the demo songs. (Quick  
PHO N ES Ja ck  
Headphones are plugged in here. (Quick Start; p. 11)  
D
B
VALUE Dia l (SO UN D LIST)  
Disp la y  
Use this to modify the values of a setting. If you hold down  
[SHIFT] as you turn the VALUE dial, the parameters value will  
change by larger increments.  
The display presents a variety of information about the  
operation being performed.  
Press this dial in Patch/ Rhythm Set mode to display a list  
showing the collection of your favorite sounds. (p. 207)  
C
Pressing the VALUE dial while “  
appears in the upper right  
of the screen displays the list for the screen.  
[SYSTEM/ UTILITY]  
The screen displayed switches each time the button is pressed,  
rotating through the System mode, Utility mode, and original  
screens.  
[PATCH FIN DER]  
You can select a Patch using the Patch Finder function. (p. 19)  
System Mode (the indicator is lit)  
This allows you to make settings that affect the entire XV-5080.  
Utility Mode (the indicator is blinking)  
[IN C]/ [DEC] (In cre m e n t/ De cre m e n t)  
Use these to modify the values of a setting. If you keep on holding  
down one button while pressing the other, the value change  
accelerates. If you press one of these buttons while holding down  
[SHIFT], the value will change in bigger increments.  
This allows you to perform operations such as saving, copying,  
initializing, transferring data, write-protecting data, and factory  
reset operations.  
[F1 ]–[F6 ]  
[
] [  
] [ ] [  
]
The functions of these buttons change depending on the selected  
page.  
Use these buttons to move the cursor.  
1 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Pa n e l De scrip tio n s  
E (MO DE)  
H
[PERFO RM] (Pe rfo rm a n ce )  
[SHIFT]  
Pressed to get into Performance mode. (p. 17)  
this button changes the functions of other buttons.  
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. 167)  
Use this to restore a modified parameter value to its original  
setting.  
[PATCH]  
Pressed to get into Patch mode. (p. 17)  
[DISK]  
[RHYTHM] (Rh y th m Se t)  
Selects Disk mode.  
Selects Rhythm Set mode. (p. 17)  
[EFFECTS O N / O FF]  
[GM]  
Use this to turn the internal effects (Multi-effects, Chorus,  
Press this to enter General MIDI mode. (p. 17)  
I
F (SO UN D LIBRARY)  
MEMO RY CARD Slo t  
[USER]  
Selects a sound from the USER library. (p. 18)  
[CARD]  
J
Selects a sound from an installed memory card, sold separately.  
(p. 18)  
[MIDI MESSAGE/ RX] (MIDI Me ssa g e  
In d ica to r/ Re ce ive Sw itch )  
[PRESET]  
MIDI MESSAGE: This will light when a MIDI message is  
Selects a sound from the PRESET library. (p. 18)  
RX: This turns Parts on and off in Performance mode and GM  
mode. (p. 159)  
[EXP]  
Selects a sound from a Wave Expansion Board (sold separately).  
(p. 18, Quick Start; p. 22)  
[1 -1 6 / 1 7 -3 2 ]  
This specifies whether the PART SELECT [1/ 17][16/ 32] buttons  
will select Parts 116 or Parts 1732.  
G
When this button is lit, Parts 1732 can be selected.  
PART SELECT [1 / 1 7 ][1 6 / 3 2 ]  
PO W ER Sw itch  
Selects a Part whose settings you wish to change. (p. 160)  
Switches each Part on or off. (p. 159)  
Turns the XV-5080s power on and off. (Quick Start; p. 12)  
TO N E SW ITCH [1 ][4 ]  
Switches each Tone on or off. (p. 126)  
TO N E SELECT [1 ][4 ]  
Selects a Tone whose settings you wish to change. (p. 134)  
[A][H]  
Selects a sound from the Sound Library.  
1 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa n e l De scrip tio n s  
Re a r Pa n e l  
fig.0-002  
L
K
N
M
O
Q
P
K
O (O UTPUT)  
AC IN (AC In le t)  
1 8 IN DIVIDUAL O UTPUT Ja ck s  
Connect the included power cable here. (Quick Start; p. 11)  
These jacks output audio signals in mono to an amp or  
mixer. (Quick Start; p. 11)  
L (MIDI)  
P (DIGITAL AUDIO O UT)  
MIDI Co n n e cto rs (IN 1 / 2 , O UT, THRU)  
R-BUS (RMDB 2 ) Co n n e cto r (O UTPUT A-  
D/ 1 -8 )  
These connectors connect the XV-5080 with other MIDI  
devices, enabling the sending and receiving of MIDI  
messages. (Quick Start; p. 11)  
8-out 24 bit digital audio connector. Use this for connecting  
to the device such as Roland VM-3100Pro and DIF-AT.  
IN 1, 2: Receive messages from other MIDI devices.  
OUT: Transmits messages to a MIDI device.  
THRU: MIDI messages received at MIDI IN 1 are re-  
Only the R-BUS devices listed in the Owners Manual may be  
connected to the R-BUS (RMDB2) connector. Be careful not to  
connect any other devices (such as SCSI-type devices, RS-  
232C-type devices, parallel-type devices, etc.) even though  
they have similar-looking connectors. Use only a specially  
designed R-BUS (RMDB2) cable to make connections.  
transmitted without change from this connector.  
M (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-  
5080 to an amp or mixer. For mono output, use the L jack.  
(Quick Start; p. 11)  
RMDB II, RMDB 2, and R-BUS refer to the same Roland  
standard.  
These jacks are used when the SYSTEM SETUP Mix/ Parallel  
parameter is set to MIX.(p. 109, p. 112, p. 116, p. 118)  
k Hz)  
* The XV-5080, as shipped from the factory, routes the output of  
all PRESET Patches to these jacks.  
This is a connector for input of the word clock used for  
synchronizing external digital devices (BNC type). (p. 124)  
N (O UTPUT)  
* The XV-5080’s digital out is not compatible with sampling  
frequencies (word clock) other than 44.1 or 48 kHz.  
B, C, D O UTPUT Ja ck s (L, R)  
These jacks send audio signals in stereo (L/ R) from the XV-  
5080 to an amp or mixer. (Quick Start; p. 11)  
1 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Pa n e l De scrip tio n s  
S/ P DIF O UT Co n n e cto r  
The XV-5080 features both optical and coaxial digital out  
connectors (conforming to S/ P DIF).  
S/P DIF: This is a digital interface format used for consumer  
digital audio devices.  
* About the Optical Connector Protecting Cap  
If you remove the protecting cap, be sure to keep in a  
safe place to prevent loss.  
Always place the protecting cap on the optical connector  
when the connector is not in use.  
If you use the optical connector, be sure that the  
connector cover you removed is placed out of the reach  
of children.  
Q
SCSI Co n n e cto r  
This is a DB-25 type SCSI connector for connecting SCSI  
devices such as a CD-ROM drive, a Zip disk drive or a hard  
disk drive.  
Rotate the ID switch to set the SCSI ID numbers so that none  
of the devices have the same ID number. (p. 239)  
* On the XV-5080, “8” and “9” of the ID switch are not used.  
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  
4 . Either by rotating the VALUE dial or by pressing [INC]/  
Au d itio n in g So u n d s o n th e  
[DEC], set the value.  
XV-5 0 8 0 (Ph ra se Pre vie w )  
5 . Press [EXIT] to return to the previous page.  
The Phrase Preview feature allows you to audition Patches  
on the XV-5080 even when its not connected to a MIDI  
Pre vie w Mo d e  
keyboard or sequencer. You can preview a Patch using a  
PHRASE: The Phrase associated with the Patchs type/  
Phrase thats appropriate to the Patchs type or category.  
category is played.  
1 . Press [PATCH], getting its indicator to light.  
CHORD: The notes specified by PREVIEW KEY will play  
together as a chord.  
2 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
SINGLE: The notes specified by PREVIEW KEY will sound  
desired Patch.  
one after another.  
3 . Press and hold the VOLUME knob.  
The phrase prepared for the Patch will play while the knob is  
pushed.  
Pre vie w 1 4 N o te N u m b e r  
Specifies the four notes (C -1G9) that will be heard during a  
preview when SINGLEor CHORDis selected for  
Preview Mode.  
* When you preview a Rhythm Set, the XV-5080 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.  
* If “PHRASE” is selected for Preview Mode, these settings will  
have no effect.  
* A USER Patch or a Patch from an optional Wave Expansion  
Board (SRX/SR-JV80 series) may not preview in its normal  
Pre vie w 1 4 Ve lo city  
pitch range. If this occurs, press [  
] or [  
] (Octave Shift  
Specifies the volume (0127) of the four notes that will sound  
when SINGLEor CHORDis selected for Preview Mode.  
* If the pitch range of a Phrase is wider than the range of the  
Part within a Performance (p. 161), any notes in the Phrase  
that fall outside that range will not be heard.  
* If “PHRASE” is selected for Preview Mode, these settings will  
have no effect.  
Se ttin g th e W a y In W h ich So u n d s  
Are Pre vie w e d  
fig.01-000.e_70  
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/ UTILITY], getting the indicator to light.  
The System page will appear.  
* If the indicator is blinking, you are in UTILITY mode. In this  
case, press [SYSTEM/UTILITY] once again to make its  
indicator light.  
2 . Press [F5 (Preview)].  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
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  
6 . After making the setting, press [EXIT].  
Pla y in g a Pa tch o n th e XV-  
5 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-5080 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-5080.  
In addition to Patch mode, the XV-5080 also features three  
other modes: Performance mode, Rhythm Set mode, and  
GM2 mode.  
You can easily switch modes simply by pressing the MODE  
For details on setting the MIDI transmission channels of your  
button (PERFORM/ PATCH/ RHYTHM/ GM) for each mode.  
fig.01-001.e  
external MIDI device, refer to its owners manual.  
Se ttin g th e XV-5 0 8 0 s MIDI  
Re ce p tio n Ch a n n e ls  
PERFO RM (Pe rfo rm a n ce Mo d e )  
In Pa tch m o d e  
In this mode, the XV-5080 functions as a multi-timbral sound  
generator, and Performance settings can be modified.  
In order to play single Patches, set the XV-5080s MIDI  
reception channel as follows.  
1 . Press [SYSTEM], getting the indicator to light.  
PATCH (Pa tch Mo d e )  
In this mode, you can play an individual Patch from the  
keyboard or modify Patch settings.  
* If the indicator is blinking, you are in UTILITY mode. In this  
case, press [SYSTEM/UTILITY] once again to make its  
indicator light.  
RHYTHM (Rh y th m Se t Mo d e )  
2 . Press [F3 (MIDI)].  
This is how you can play a Rhythm Set from the keyboard  
and modify the Rhythm Set settings. XV-5080 Rhythm Sets  
can also be used for any Part in a Performance when in  
Performance mode.  
3 . Use the [  
]/ [  
] button to move the cursor to Patch  
Receive Channel.”  
4 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
GM (Ge n e ra l MIDI2 Mo d e )  
5 . After making the setting, press [EXIT].  
In this mode, the XV-5080 functions as a General MIDI 2-  
compatible sound generator.  
Pa rts o f a Pe rfo rm a n ce  
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  
In order to play any of the 16 Parts in a Performance, you  
must set the MIDI reception channel for the Part.  
1 . Select the Performance you wish to use.  
2 . Press [F4 (MIDI)].  
logo (  
). Music files bearing the General MIDI logo can  
3 . Press one of the [1/ 17][16/ 32] buttons to select the Part  
you want to set. To select Parts 1732, press [1-16/ 17-32],  
getting its indicator to light, and then press the desired  
PART SELECT [1/ 17][16/ 32] button.  
be played back using any General MIDI sound generating  
unit to produce essentially the same musical performance.  
The upwardly compatible General MIDI 2 (  
)
recommendations pick up where the original General MIDI  
left off, offering enhanced expressive capabilities, and even  
greater compatibility. Issues that were not covered by the  
original General MIDI recommendations, such as how  
sounds are to be edited, and how effects should be handled,  
have now been precisely defined. Moreover, the available  
sounds have been expanded. General MIDI 2 compliant  
The indicator will light, and the Part number will appear in  
the upper right of the screen.  
4 . Press [  
]/ [  
] to move the cursor to Channel.”  
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the  
desired value.  
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  
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 1as a way of distinguishing it from  
General MIDI 2.  
You can directly select Tones contained on the card even  
without loading the files into the USER memory by  
assigning banks (CD-A through CD-H) to the files on the  
card.  
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-5080s memory. Performances  
are found only in PR-A and B. However, you can modify its  
sounds and save them as new sounds in the USER group.  
PATCH  
RHYTHM  
PERFORM  
USER  
CARD  
PR-A  
PR-B  
PR-C  
PR-D  
PR-E  
PR-F  
PR-G  
PR-H  
XP-A  
:
1128  
*
1, 2, 3, 4  
164  
*
EXP (Ex p a n sio n )  
*
Select this group to use the tones stored on wave expansion  
boards (SRX Series, SR-JV80 Series; sold separately) inserted  
in the EXP-A through -H slots. You cannot alter the contents  
of the EXP group, though you can modify its sounds and  
save them as new sounds in the USER 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. 3))  
1128  
1128  
1128  
1128  
1128  
1128  
1128  
1256  
*
1, 2  
1, 2  
1, 2  
1, 2  
1, 2  
1, 2  
1, 2  
1, 2, 3, 4  
*
132  
132  
*
It is not possible to select an EXP Patch unless a wave  
expansion board is inserted into the corresponding slot.  
:
:
:
* CARD sounds can be selected only if a SmartMedia card is  
inserted into the MEMORY CARD slot.  
XP-H  
*
*
: None  
*: Differs by type  
Se le ctin g So u n d Lib ra rie s  
On the XV-5080, tone data is stored in what are called  
SOUND LIBRARY.The SOUND LIBRARY is divided into  
four groups: USER, CARD, PRESET, and EXP.  
You can easily select the desired group simply by pressing  
the SOUND LIBRARY button (USER/ CARD/ PRESET/ EXP)  
for each group.  
fig.01-002.e  
USER  
You can store your own Patches, Rhythm Sets and  
Performances in the SOUND LIBRARYs USER group. Save  
the tones that you create to this library.  
CARD  
This library uses sounds from a commercially available  
memory card (SmartMedia) inserted into the MEMORY  
CARD slot.  
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  
If you want to get even more information, carry out the  
following operation.  
Se le ctin g a Pa tch  
3 . Press the VALUE dial.  
Ba sic Pro ce d u re fo r Se le ctin g a  
Pa tch  
The Group List window will appear.  
4 . Rotate the VALUE dial to select a group.  
Turn the VALUE dial or press [INC]/ [DEC] to select the  
desired Patch.  
5 . Press [F6 (Select)] to call up the Category List window.  
6 . By rotating the VALUE dial, move the cursor to the  
desired Patch, and then press [F6 (Select)].  
VALUE Dia l  
The Patches of the selected category will be displayed in  
To move quickly through the available Patches:  
sets of 10.  
ig.01-003a.e_70  
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]. Alternatively, hold down  
[SHIFT] and press [INC].  
7 . Pressing the [VOLUME] knob (PHRASE PREVIEW)  
To move quickly downward through the available  
Patches:  
allows you to audition the selected Patch.  
8 . Press the VALUE dial (SOUND LIST) to return to the  
Hold down [DEC] and press [INC]. Alternatively, hold down  
[SHIFT] and press [DEC].  
PATCH PLAY page.  
When you hold down [INC] or [DEC], you may eventually  
arrive at the beginning (001) of the selected bank (AH). 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-5080s Patch Finderallows you to quickly find any  
Patch.  
1 . Press the [PATCH] button, lighting the indicator.  
2 . Press the [PATCH FINDER] button, lighting the  
indicator.  
The categories will appear in the PATCH PLAY page.  
fig.01-003.e_70  
You can press [  
]/ [  
] to select the desired category.  
At this point, you can select patches within the currently  
selected category, either by rotating the VALUE dial, or by  
using the [INC]/ [DEC] button.  
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  
Rhythm&SFX  
The following categories can be selected.  
Category  
PRC  
SFX  
BTS  
PERCUSSION  
Percussion  
SOUND FX  
Sound FX  
BEAT&GROOVE  
Beat and Groove  
Drum Set  
Group  
Category  
Contents  
DRM DRUMS  
NO ASSIGN  
No assign  
CMB COMBINATION  
Other Patches which use  
Split and Layer  
Piano  
PNO AC.PIANO  
Acoustic Piano  
Electric Piano  
EP  
EL.PIANO  
In te rn a l o rg a n iza tio n  
Keys&Organ  
When you select a sound, the sound data is loaded into a  
temporary part of memory known as the Temporary  
Area. The XV-5080 will produce sound according to the  
data in this temporary area.  
KEY KEYBOARDS  
Other Keyboards  
(Clav, Harpsichord etc.)  
Bell, Bell Pad  
BEL  
BELL  
MLT MALLET  
Mallet  
ORG ORGAN  
Electric and Church Organ  
Accordion  
The data in the temporary area will  
ACD ACCORDION  
HRM HARMONICA  
Harmonica, Blues Harp  
change whenever you select a different sound.  
be lost when the power is turned off.  
Guitar  
AGT AC.GUITAR  
EGT EL.GUITAR  
DGT DIST.GUITAR  
Acoustic Guitar  
Electric Guitar  
Distortion Guitar  
In te rn a l Me m o ry  
Rewritable memory  
USER  
Non-rewritable memory  
Bass  
PR-A, B, C, E  
PR-D (General MIDI)  
BS  
BASS  
Acoustic & Electric Bass  
Synth Bass  
SBS  
SYNTH BASS  
Select  
Write  
Select  
Orchestral  
STR  
STRINGS  
Strings  
Te m p o ra ry Are a  
ORC ORCHESTRA  
HIT HIT&STAB  
WND WIND  
Orchestra Ensemble  
Orchestra Hit, Hit  
Winds (Oboe, Clarinet etc.)  
Flute, Piccolo  
Patch  
Rhythm Set  
Performance  
FLT  
FLUTE  
Brass  
BRS  
SBR  
SAX  
AC.BRASS  
SYNTH BRASS  
SAX  
Acoustic Brass  
Synth Brass  
Sax  
Select  
Write  
Select  
XP-A, B, C, D, E, F, G, H  
W a ve Ex p a n sio n Bo a rd  
Synth  
HLD HARD LEAD  
DATA Ca rd  
Hard Synth Lead  
Soft Synth Lead  
Techno Synth  
SLD  
TEK  
PLS  
FX  
SOFT LEAD  
TECHNO SYNTH  
PULSATING  
SYNTH FX  
When you edit a Performance, Patch or Rhythm Set,  
your modifications affect only the data that was loaded  
into the temporary area. Since the data in the temporary  
area is temporary, you will need to use the Write  
operation if you wish to keep the modified data. (p. 194)  
Pulsating Synth  
Synth FX (Noise etc.)  
Poly Synth  
SYN  
OTHER SYNTH  
Pad  
BPD  
SPD  
BRIGHT PAD  
SOFT PAD  
Bright Pad Synth  
Soft Pad Synth  
Vox, Choir  
VOX VOX  
Ethnic  
PLK  
PLUCKED  
ETHNIC  
Plucked (Harp etc.)  
Other Ethnic  
ETH  
FRT  
FRETTED  
Fretted Inst (Mandolin etc.)  
2 0  
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.  
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  
Pa tch e s  
Patch  
Patch  
Bank Select Program  
By receiving MIDI messages, the XV-5080 can switch Patches  
(including the Patches for each Part of a Performance) or  
Rhythm Sets.  
Group  
Number Number  
MSB  
Number  
LSB  
USER  
PR-A  
PR-B  
PR-C  
PR-D  
PR-E  
PR-F  
PR-G  
CD-A  
001128  
001128  
001128  
001128  
001128  
001128  
001128  
001128  
001128  
:
87  
87  
87  
87  
87  
87  
87  
87  
87  
:
00  
64  
65  
66  
67  
68  
69  
70  
32  
:
001128  
In Pa tch o r Rh y th m Se t m o d e s  
001128  
001128  
001128  
001128  
001128  
001128  
001128  
001128  
::  
1 . Press [PATCH] or [RHYTHM] if you wish to select a  
Rhythm Set to make the buttons indicator light.  
2 . Set the transmission channel of your external MIDI  
device to match Patch Receive Channel (p. 212), the XV-  
5080s MIDI reception channel.  
To learn about the MIDI settings of your external MIDI  
device, see its owners manual.  
3 . Transmit the appropriate Bank Select MSB (Controller  
#0) value to the XV-5080.  
CD-H  
XP-A  
:
001128  
*1  
87  
*1  
:
39  
*1  
:
001128  
*1  
If the value is 87,a Patch is selected. If the value is 86,a  
Rhythm Set is selected.  
:
:
4 . Transmit the appropriate Bank Select LSB (Controller  
XP-H  
*1  
*1  
*1  
*1  
#32) value to the XV-5080.  
* 1 Depends on the Wave Expansion Board installed.  
5 . Transmit the Program Change value corresponding to  
Fixed Bank Select numbers are assigned to the Wave  
Expansion Board itself.  
the Patch or Rhythm Set.  
The desired Patch or Rhythm Set will be selected on the XV-  
5080.  
Patch  
Patch  
Bank Select  
Number  
Group  
Number  
* When the XV-5080 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.  
MSB LSB  
SR-JV80-01 001128  
SR-JV80-01 129256  
SR-JV80-02 001128  
SR-JV80-02 129256  
:
89  
89  
89  
89  
00  
01  
02  
03  
SR-JV80-65 001128  
SR-JV80-65 129256  
91  
91  
00  
01  
2 1  
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  
5 . Transmit the Program Change value.  
Rh y th m Se ts  
The desired Performance will be selected.  
Rhythm Set Rhythm Set Bank Select Program  
Group  
Number  
Number  
Number  
* When the XV-5080 receives a Program Change message  
without Bank Select messages, the corresponding Performance  
in the currently selected group or bank will be chosen.  
MSB LSB  
USER  
PR-A  
PR-B  
PR-C  
PR-D  
PR-E  
PR-F  
PR-G  
CD-A  
1, 2, 3, 4  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
1, 2, 3, 4  
:
86  
86  
86  
86  
86  
86  
86  
86  
86  
:
00  
64  
65  
66  
67  
68  
69  
70  
32  
:
1, 2, 3 , 4  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
001, 002  
1, 2, 3, 4  
::  
You can select any Performance Parts Patch or Rhythm Set  
via MIDI. To learn how, refer to Assigning a different Patch  
to Part (p. 162)in the XV-5080 QUICK START.  
The Performances in each group correspond to the Bank  
Select numbers as follows.  
Pe rfo rm a n ce s  
Performance Performance Bank Select Program  
Group  
Number  
Number  
Number  
MSB LSB  
CD-H  
XP-A  
1, 2, 3, 4  
*1  
86  
*1  
:
39  
*1  
:
1, 2, 3, 4  
*1  
USER  
PR-A  
PR-B  
CD-A  
001064  
001032  
001032  
001064  
:
85  
85  
85  
85  
:
00  
64  
65  
32  
:
001064  
001032  
001032  
001064  
::  
:
::  
XP-H  
*1  
*1  
*1  
*1  
* 1 Depends on the Wave Expansion Board installed.  
Fixed Bank Select numbers are assigned to the Wave  
Expansion Board itself.  
CD-H  
001064  
85  
39  
001064  
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.  
Rhythm Set Rhythm Set Bank Select  
Group  
Number  
Number  
MSB  
LSB  
SR-JV80-01 001128  
SR-JV80-01 129256  
SR-JV80-02 001128  
SR-JV80-02 129256  
:
88  
88  
88  
88  
00  
01  
02  
03  
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  
You can switch between Patch, Performance, and General  
MIDI 2 modes by transmitting the appropriate System  
Exclusive (Sys Ex) message to the XV-5080, as listed below.  
(Sys Ex messages are constructed using hexadecimal  
notation.)  
SR-JV80-65 001128  
SR-JV80-65 129256  
90  
90  
00  
01  
In Pe rfo rm a n ce m o d e  
To switch to Patch/Rhythm Set (Sys Ex.)  
F0 41 10 00 10 12 00 00 00 00 01 7F F7  
To switch to Performance  
1 . Press [PERFORM], getting its indicator to light.  
2 . Set the transmission channel of your external MIDI  
device to match the XV-5080s Performance Control  
Channel (p. 212).  
F0 41 10 00 10 12 00 00 00 00 00 00 F7  
To switch to GM2 mode  
F0 41 10 00 10 12 00 00 00 00 03 7F F7  
To learn about the MIDI settings of your external MIDI  
device, see its owners manual.  
The third byte of the MIDI message indicates the device ID  
number, and the factory setting is 10.(This is 10in  
hexadecimal notation; in decimal this would be 16.) (This  
device ID number will appear as 17 in the display of the XV-  
5080. The transmitted messages will use a value of one less  
than this (16).) If you have modified the device ID number (p.  
3 . Transmit the appropriate Bank Select MSB (Controller  
#0) value to the XV-5080.  
4 . Transmit the appropriate Bank Select LSB (Controller  
#32) value to the XV-5080.  
2 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 y in g a So u n d  
transmitting the above exclusive message.  
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 Patchs pitch by as much as +/  
- 3 octaves.  
fig.01-004.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 use. (p. 19)  
2 . Press [F1 (Common)].  
3 . Press [F2 (Control)].  
fig.01-005.e  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Mono/ Poly.”  
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
desired value.  
6 . After making the setting, press [EXIT].  
2 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
The XV-5080 contains four independent effects units.  
Pa tch Mo d e Se ttin g s  
Multi-effects  
You can make separate Multi-effects, chorus, and reverb  
The Multi-effects offers 90 different effects. In addition to  
settings to each Four-Tone Patch and Multi-Partial Patch,  
effects consisting of only one effect, such as distortion and  
with the same effects applied to each Tone or Partial. You can  
delay, the 90 types also include a number of compound  
control the amount of effect to be applied to each Tone or  
effects, which are formed by combining a number of effects.  
Partial by adjusting its send level with respect to the Multi-  
Furthermore, the multi-effects effect types also include  
effects, Chorus and Reverb.  
fig.02-002.e  
chorus and reverb, although the chorus and reverb described  
below can be applied as separate effects systems. The XV-  
4 TONE Patch  
5080 features three Multi-effects systems in Performance  
mode, with each multi-effect independently controllable.  
TONE  
Multi-Effects  
Chorus  
Chorus  
Chorus adds depth and spaciousness to the sound.  
Reverb  
Reverb adds ambience such as the sound of a concert hall  
or auditoriumto sounds.  
Reverb  
Equalizer  
An equalizer lets you boost or cut specified frequency ranges  
of a sound to adjust the tone.  
* Equalizer is set in System mode (p. 211).  
Multi-Partial Patch  
A0  
Tu rn in g Effe cts O n / O ff  
Multi-Effects  
Chorus  
Partial  
C8  
You can turn any of the XV-5080s effect unitsMulti-effects,  
Chorus, Reverb, and EQon or off using a single procedure.  
1 . Press the [EFFECTS ON/ OFF] button.  
The EFFECTS On/ Off window will appear.  
Reverb  
fig.02-001.e_70  
88 Partials  
Preliminarily, the settings for effects involves determining  
Tone Output Assign for Four-Tone Patches, and Split Key  
Output Assign for Multi-Partial Patches.  
2 . ress the [F2][F5] button corresponding to the effect to  
In keeping with the intended usage, choose from the  
following setting values for Tone Output Assign.  
switch that effect on or off.  
The display of the setting will be turned on and off.  
MFX: Selected when the Multi-effects, chorus, and reverb are  
3 . Press the [EFFECTS ON/ OFF] button, getting its  
used.  
indicator light to go out.  
A-D: Selected when outputting in stereo without use of the  
Multi-effects. Chorus and reverb can be used.  
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-5080s  
effects when you wish to use external effect devices instead  
of the built-in effects.  
1-8: Selected when outputting in mono without Multi-  
effects. Chorus and reverb can be used. When this setting is  
used, chorus and reverb sounds are output in stereo  
according to the Chorus Output Assign and Reverb Output  
Assign settings.  
2 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                 
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
fig.02-008.e_70  
The screen appears as shown below, according to the settings  
values.  
For MFX  
fig.02-004.e_70  
* 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 keep them, perform the Write operation. (p. 194)  
For AD  
* With Multi-Partial Patches, pressing [F6 (MIDISel)] allows  
you to select the Partial to be edited from the MIDI keyboard.  
fig.02-005.e_70  
* When [MFX], [CHO], or [REV] are turned off, effects  
processors that are turned off will be indicated by a dashed  
outline in the General page.  
* When the General page is accessed, you can press [F6  
(Palette)] to view the settings for all four Tones together in a  
single screen. This allows you to compare the settings of each  
Tone as you make settings. When you press [F6 (Tone 1)],  
the General page will reappear. [F6] will display the Tone  
number to which you will return.  
For 18  
fig.02-006.e_70  
The following shows the basic setting procedure.  
Sp lit Ke y Ed it Mo d e  
When editing Multi-Partial Patches, this sets the key ranges  
to which settings are applied.  
1 . Select the Patch you wish to work with.  
2 . Press [F6 (Effects)].  
Settings Values  
The Patch Effect page appears.  
1KEY: Settings are made for each key individually.  
3 . Press [F1 (General)].  
PTL: Settings are applied to all keys to which corresponding  
The General page will appear.  
fig.02-007.e_70  
Partials are assigned.  
ALL: Settings are applied to all keys to which all Partials are  
assigned.  
Ro u tin g To n e s to Effe cts  
This sets the output destination and level for the currently  
selected Tone and Partial, as well as its send level with  
respect to the Chorus and Reverb.  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
On the Effects General page, set the following parameters.  
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
desired value.  
O u tp u t Assig n  
* 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 value the parameter originally had.  
MFX: The Tone is sent into the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
AD: The Tone is sent to one of the four output-jack stereo  
6 . Repeat Steps 3 to 5 to set the Effect.  
pairs, OUTPUTS AD.  
7 . Press [EXIT] to return to the PATCH Play page.  
18: The Tone is sent to the INDIVIDUAL output jacks 18.  
A *symbol will appear at the left of the Patch name,  
indicating that its settings have been modified.  
2 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pressing [F3 (MFX Ctl)] in the Effects General page calls up  
the MFX Control page, in which you can make the following  
settings.  
Dry Se n d Le ve l  
Range: 0127  
This sets the level of the signal sent to the output destination  
set with Output Assign.  
MFX Co n tro l 1 4 So u rce  
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.  
Ch o ru s Se n d Le ve l 0 1 2 7  
Sets how much of the Tone is sent to the Chorus.  
Re ve rb Se n d Le ve l 0 1 2 7  
OFF: No controller is used.  
Sets how much of the Tone is sent to the Reverb.  
CC0195: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
Ma k in g Mu lti-Effe cts Se ttin g s  
SYS-CTRL 14: System control 14  
This page allows you to establish various settings for the  
Multi-effects processor, including its parameters and output-  
jack assignment.  
MFX Co n tro l De stin a tio n 1 4  
Selects the Multi-effects parameter to be controlled using the  
MFX Control 14 source. The parameters that can be selected  
depend on which type of Multi-effects is set to MFX Type.  
On the Effects General page, set the following parameters.  
MFX Ty p e (Mu lti-e ffe cts Ty p e )  
Use this parameter to select from among the 90 available  
Multi-effects. For a description of these effects, check out  
Parameters for Each Multi-Effect (MFX TYPE)(p. 41).  
MFX Co n tro l 1 4 Se n s -6 3 +6 3  
If you wish to modify the selected parameter in a positive (+)  
etc.from its current setting, select a positive (+) value. If  
you wish to modify the selected parameter in a negative (-)  
directioni.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.  
MFX Dry Se n d Le ve l 0 1 2 7  
Determines the level of the Multi-effects processors output  
to the OUTPUT jacks.  
MFX Ch o ru s Se n d Le ve l 0 1 2 7  
Determines the level of the post-Multi-effects processor  
signal sent to Chorus.  
Ma k in g Ch o ru s Se ttin g s  
The XV-5080s Chorus effect unit can also be used as a stereo  
MFX Re ve rb Se n d Le ve l 0 1 2 7  
delay unit.  
Determines the level of the post-Multi-effects processor  
signal sent to Reverb.  
These settings allow you to select chorus or delay, the  
characteristics of the selected effect type, and the Chorus  
output routing.  
MFX O u tp u t Assig n AD  
Specifies the OUTPUT jacks to which the signal, after it has  
passed through the Multi-effects, is to be routed.  
On the Effects General page, set the following parameters.  
Ch o ru s Ty p e  
0 (Off): Neither Chorus or Delay is used.  
1 (Chrus): Chorus is used.  
2 (Delay): Delay is used.  
Pressing [F2 (MFX Prm)] in the Effects General page calls up  
the MFX Param page, in which you can make the following  
settings.  
Ch o ru s O u tp u t Se le ct  
MFX AD Pa ra m e te r  
This parameter allows you to send the Chorus output  
directly to the currently selected OUTPUT jacks, to the  
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. 41).  
MAIN: The Chorus output is sent only to the OUTPUT jacks.  
fig.02-009.e  
OUTPUT  
2 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
             
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
REV: The Chorus output is sent only to the Reverb.  
HPF: Frequencies lower than the selected cutoff frequency  
fig.02-010.e  
value are eliminated.  
Chorus Input  
Chorus  
Reverb  
Cu to ff fre q (Cu to ff Fre q u e n cy ) *1  
OUTPUT  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
M+R: The Chorus output is sent to the OUTPUT jacks and to  
the Reverb.  
fig.02-011.e  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz  
Chorus Input  
Chorus  
Reverb  
OUTPUT  
OUTPUT  
Fo r Ty p e : 2 (DELAY)  
Ce n te r (De la y Ce n te r) 2 0 0 1 0 0 0 m s, N o te  
Reverb Input  
Sets the delay time for the delay located at the center of the  
stereo field.  
Ch o ru s Le ve l 0 1 2 7  
Le ft (De la y Le ft) 2 0 0 1 0 0 0 m s, N o te  
Determines the Chorus output level.  
Sets the delay time for the delay located at the left side of the  
stereo field.  
Ch o ru s O u tp u t Assig n AD  
Selects the pair of OUTPUT jacks to which the Chorus units  
stereo output is routed when Chorus Output Select is set to  
MAINor M+R.”  
Rig h t (De la y Rig h t) 2 0 0 1 0 0 0 m s, N o te  
Sets the delay time for the delay located at the right side of  
the stereo field.  
HF Da m p *1  
Pressing [F4 (Chorus)] in the General page calls up the  
This allows you to reduce, or damp,the high-frequency  
content of the repeated feedback delaysfrequencies above  
the selected value will be damped. If you do not want to cut  
the high frequencies of the feedback, set this parameter to  
BYPASS.  
Chorus page, in which you can make the following settings.  
Fo r Ty p e : 1 (CHO RUS)  
Ra te (Ch o ru s Ra te ) 0 .0 5 1 0 .0 0 Hz  
Adjusts the modulation speed of the chorus effect.  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS  
De p th (Ch o ru s De p th ) 0 1 2 7  
Adjusts the modulation depth of the chorus effect.  
Fe e d b a ck -9 8 +9 8 %  
Adjusts the amount of delay feedback, controlling the  
number of times the delay repeats. With negative (-) values,  
the phase of the repeated delays is inverted.  
Fe e d b a ck (Ch o ru s Fe e d b a ck ) 0 1 2 7  
Specifies the amount of the chorus effects output to be  
returned - fed back - to its input. Higher settings will create a  
more complex Chorus effect.  
Ce n te r (De la y Ce n te r Le ve l) 0 1 2 7  
Sets the volume level of the delay located at the center of the  
stereo field.  
Ph a se 0 1 8 0 d e g re e  
Adjusts the spatial spread of the sound.  
Le ft (De la y Le ft Le ve l) 0 1 2 7  
Pre De la y (Ch o ru s Pre De la y ) 0 .0 1 0 0 m s  
Sets the volume level of the delay located at the left side of  
the stereo field.  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
Higher settings will make the sound more spacious.  
Rig h t (De la y Rig h t Le ve l) 0 1 2 7  
Sets the volume level of the delay located at the right side of  
the stereo field.  
Ty p e (Filte r Ty p e )  
Selects the type of filter.  
OFF: No filter is used.  
LPF: Frequencies higher than the selected cutoff frequency  
value are eliminated.  
2 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
HF Da m p (Re ve rb / De la y HF Da m p ) *1  
Ma k in g Re ve rb Se ttin g s  
Specifies the frequency above which the high-frequency  
These settings allow you to select the desired type of Reverb,  
its characteristics, and the pair of OUTPUT jacks to which the  
Reverb units stereo output is routed.  
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  
cut the high frequencies of the feedback, set this parameter to  
BYPASS.  
On the Effects General page, set the following parameters.  
Re ve rb Ty p e  
Selects the type of Reverb.  
0 (Off): Reverb is not used.  
1 (Revrb): Normal Reverb  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS  
Fe e d b a ck (De la y Fe e d b a ck )  
2 (Room): This reverb simulates typical room acoustic  
When the Type setting is DELAY or PAN-DELAY, this adjust  
the amount of delay feedback, controlling the number of  
delay repeats.  
reflections.  
3 (Hall): This reverb simulates typical concert hall acoustic  
reflections.  
Higher settings will produce more delay repeats.  
4 (Plate): This reverb simulates a reverb plate, a popular  
type of artificial reverb unit that derives its sound from the  
vibration of a metallic plate. You can also achieve unusual  
metallic-sounding reverbs using SRV PLATE.  
Fo r Ty p e : 2 (SRV RO O M)/ 3 (SRV  
HALL)/ 4 (SRV PLATE)  
Pre De la y (Pre De la y Tim e ) 0 .0 1 0 0 m s  
Re ve rb Le ve l 0 1 2 7  
Adjusts the time delay from when the direct sound begins  
until the reverb sound is heard.  
Specifies the output level of the Reverb.  
Re ve rb O u tp u t Assig n AD  
Tim e (Re ve rb Tim e ) 0 1 2 7  
Selects the OUTPUT jacks to which the Reverb units stereo  
Adjusts the time length of reverberation.  
output is routed.  
Size 1 8  
Adjusts the size of the simulated room or hall. The size  
becomes bigger as the value increases.  
Pressing [F5 (Reverb)] in the General page calls up the  
Reverb page, in which you can make the following settings.  
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1  
Fo r Ty p e : 1 (REVERB)  
Sets the frequency above which the high-frequency content  
of the reverb will be reduced. If you do not want to damp the  
high frequencies, set this parameter to BYPASS.  
Ty p e (Re ve rb / De la y Ty p e )  
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 reverb with greater late reverberation.  
STAGE2: This is a reverb with strong early reflections.  
HALL1: This is a very clear-sounding reverb.  
HALL2: This is a rich reverb.  
De n sity (Re ve rb De n sity ) 0 1 2 7  
Adjusts the density of reverb. Higher values result in greater  
density.  
Diffu sio n (Re ve rb Diffu sio n ) 0 1 2 7  
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-DELAY: This is a delay effect with echoes that pan left  
and right.  
LF Da m p Fre q (LF Da m p Fre q u e n cy ) *2  
Tim e (Re ve rb / De la y Tim e ) 0 1 2 7  
Specifies the frequency below which the low-frequency  
When the Type setting is ROOM1HALL2, this adjusts the  
length of reverberation. When the Type setting is DELAY or  
PAN-DELAY, this adjusts the delay time.  
content of the reverb sound will be reduced, or damped.”  
Higher settings produce a more spacious ambience.  
2 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
LF Da m p Ga in -3 6 0 d B  
Adjusts the amount of damping applied to the frequency  
range selected with LF Damp. With a setting of 0,there  
will be no reduction of the reverbs low-frequency content.  
HF Da m p Fre q (LF Da m p Fre q u e n cy ) *3  
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  
Adjusts the amount of damping applied to the frequency  
range selected with HF Damp. With a setting of 0,there  
will be no reduction of the reverbs high-frequency content.  
*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  
2 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
used, chorus and reverb sounds are output in stereo  
according to the Chorus Output Assign and Reverb Output  
Assign settings.  
Pe rfo rm a n ce Mo d e Se ttin g s  
Three different Multi-effects can be used in a Performance.  
PAT: The Parts output destination is determined by the  
Select which of these three Multi-effects to use with Part  
Output MFX Select. With this parameter, the same Multi-  
effects are applied to all selected Parts. You can adjust the  
amount of effect to be applied to the Parts by adjusting their  
Send Levels to each of the effect units. (Fig. 1)  
settings of the Patch or Rhythm Set assigned to the Part.  
The screen appears as shown below, according to the settings  
values.  
For MFX  
fig.02-014.e_70  
The Send Level setting for each Tone can also influence effect  
intensity (Fig. 2).  
Furthermore, you can take the Multi-effects you have applied  
to a Patch in a Part and apply them to the entire  
Performance, or just part of the Performance.  
fig.02-012.e  
For AD  
Fig.1 When Output Assign is set to MFXin the Performance  
mode (the output settings for Tone are ignored)  
fig.02-015.e_70  
Performance  
Part 1  
Patch  
Part32  
TONE  
Multi-Effects  
For 18  
Chorus  
Reverb  
fig.02-016.e_70  
fig.02-013.e  
The following shows the basic setting procedure.  
Fig.2 When Output Assign is set to PATCHin the Performance  
mode (the output settings for Tone are valid)  
1 . Select the Performance you wish to use.  
Performance  
2 . Press [F5 (Effects)].  
Part 1  
The Perform Effect page will appear.  
Patch  
Part32  
3 . Press [F1 (General)].  
TONE  
Multi-Effects  
The General page will appear.  
fig.02-017.e_70  
Chorus  
Reverb  
The primary role of the effect settings is to determine the Part  
Output Assign.  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
You can select from the following Part Output Assign  
settings values to suit your purposes.  
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
desired value.  
MFX: Selected when Multi-effects, chorus, and reverb are  
* 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 value the parameter originally had.  
used.  
A-D: Selected when outputting in stereo without use of the  
Multi-effects. Chorus and reverb can be used.  
1-8: Selected when outputting in mono without Multi-  
6 . Repeat Steps 3 to 5 to set the Effect.  
effects. Chorus and reverb can be used. When this setting is  
7 . Press [EXIT] to return to the PERFORM Play page.  
3 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
A *symbol will appear at the left of the Performance name,  
Pa rt Re ve rb Se n d Le ve l 0 1 2 7  
indicating that its settings have been modified.  
fig.02-018.e_70  
Sets how much of the Parts sound is sent to the Reverb.  
Ma k in g Mu lti-Effe cts Se ttin g s  
This page allows you to make various settings for the Multi-  
effects, including the type, the parameters, and the output  
assignments.  
* 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 keep these settings, perform the Save  
operation. (p. 194)  
On the Effects General page, set the following parameters.  
MFX Ty p e (Mu lti-e ffe cts Ty p e )  
Use this parameter to select from among the 90 available  
Multi-effects. For a description of these effects, check out  
Parameters for Each Multi-Effect (MFX TYPE)(p. 41).  
* When [MFX], [CHO], or [REV] are turned off, effects  
processors that are turned off will be indicated by a dashed  
outline in the General page.  
MFX Dry Se n d Le ve l 0 1 2 7  
* When the General page is accessed, you can press [F6  
(Palette)] to view the values for eight Parts (Parts 1–8, Parts  
9–16, Parts 17–24, or Parts 25–32) in a single screen. This  
allows you to compare the settings of each Part as you make  
settings. Each time you press [F1], the Part Palette page will  
switch between Parts 1–8, Parts 9–16, Parts 17–24, and Parts  
25–32. When you press [F6 (Part 1)], the General page will  
reappear. [F6] will display the Part number to which you will  
return.  
Determines the level of the signal that is to be sent to the  
output jacks, after passing through the Multi-effects.  
MFX Ch o ru s Se n d Le ve l 0 1 2 7  
Determines the level of the signal that is to be sent to Chorus,  
after passing through the Multi-effects.  
MFX Re ve rb Se n d Le ve l 0 1 2 7  
Determines the level of the signal that is to be sent to Reverb,  
after passing through the Multi-effects.  
Ro u tin g Pa rt O u tp u ts  
MFX O u tp u t Assig n AD  
Sets the output destination and level for the selected Part, as  
well as its send level with respect to the Chorus and Reverb.  
Selects the OUTPUT jacks to which the Multi-effects stereo  
output is routed.  
On the Effects General page, set the following parameters.  
MFX AC So u rce  
Pa rt O u tp u t Assig n  
Assigns the MFX settings being used to Multi-effects AC. If  
you wish to use the MFX parameter settings of the  
Performance, select PRF. If you wish to use the MFX  
parameter settings of the Patch assigned to one of the Parts,  
select the Part number (P132).  
MFX: The Parts sound is sent into the Multi-effects. Its  
output destination is determined by the Multi-effects output  
settings.  
OUTPUT AD: The Part is sent to the selected pair of  
OUTPUT AD jacks.  
INDIVIDUAL 18: The Part is sent to the selected  
Pressing [F2 (MFX)] in the Effects General page calls up the  
MFX Param page, in which you can make the following  
settings.  
INDIVIDUAL 18 jack.  
PATCH:  
Conforms to the Patch settings.  
* When you press [F2 (MFX)] once again on this page, the  
MFX Control page appears. When you press [F2 (MFX)] once  
again, the MFX Param page will reappear.  
Pa rt O u tp u t MFX Se le ct AC  
Selects which of the three Multi-effects is to be used.  
Pa rt Dry Se n d Le ve l  
MFX AC Pa ra m e te r  
Range: 0127  
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. 41).  
This sets the level of the signal sent to the output destination  
set with Part Output Assign.  
Pressing [F2 (MFX)] in the MFX Param page calls up the MFX  
Control page, in which you can make the following settings.  
Pa rt Ch o ru s Se n d Le ve l 0 1 2 7  
Sets how much of the Parts sound is sent to the Chorus.  
3 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
               
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
* When you press [F2 (MFX)] once again, the MFX Param page  
will reappear.  
Ma k in g Ch o ru s Se ttin g s  
The XV-5080s Chorus effect unit can also be used as a stereo  
delay unit.  
MFXAC Co n tro l 1 4 So u rce  
These settings allow you to select chorus or delay, the  
characteristics of the selected effect type, and the Chorus  
output routing.  
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.  
On the Effects General page, set the following parameters.  
OFF: No controller is used.  
CC0195: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
Ch o ru s Ty p e  
0 (Off): Neither Chorus or Delay is used.  
1 (Chrus): Chorus is used.  
2 (Delay): Delay is used.  
AFTERTOUCH: Aftertouch  
SYS-CTRL 14: System control 14  
MFXAC Co n tro l De stin a tio n 1 4  
Ch o ru s So u rce PRF/ P1 3 2  
Selects the Multi-effects parameter to be controlled using the  
MFX Control 14 source. The parameters that can be selected  
depend on which type of Multi-effects is set to MFX Type.  
Set this when assigning chorus settings that are used by  
another part. Select PRF when using the Performance's  
chorus settings. When using the chorus settings assigned to  
one of the parts, select the part number (P132).  
MFXAC Co n tro l 1 4 Se n s -6 3 +6 3  
If you wish to modify the selected parameter in a positive (+)  
directioni.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 (-)  
directioni.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.  
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.  
fig.02-019.e  
OUTPUT  
REV: The Chorus output is sent only to the Reverb.  
fig.02-020.e  
Chorus Input  
Chorus  
OUTPUT  
Reverb  
M+R: The Chorus output is sent to the OUTPUT jacks and to  
the Reverb.  
fig.02-021.e  
Chorus Input  
Chorus  
Reverb  
OUTPUT  
OUTPUT  
Reverb Input  
Ch o ru s Le ve l 0 1 2 7  
Determines the Chorus output level.  
Ch o ru s O u tp u t Assig n AD  
Selects the pair of OUTPUT jacks to which the Chorus units  
stereo output is routed when Chorus Output Select is set to  
MAINor M+R.”  
3 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pressing [F4 (Chorus)] in the General page calls up the  
Fo r Ty p e : 2 (DELAY)  
Chorus page, in which you can make the following settings.  
Ce n te r (De la y Ce n te r) 2 0 0 1 0 0 0 m s, N o te  
Sets the delay time for the delay located at the center of the  
stereo field.  
Fo r Ty p e : 1 (CHO RUS)  
Ra te (Ch o ru s Ra te ) 0 .0 5 1 0 .0 0 Hz  
Le ft (De la y Le ft) 2 0 0 1 0 0 0 m s, N o te  
Adjusts the modulation speed of the chorus effect.  
Sets the delay time for the delay located at the left side of the  
stereo field.  
De p th (Ch o ru s De p th ) 0 1 2 7  
Adjusts the modulation depth of the chorus effect.  
Rig h t (De la y Rig h t) 2 0 0 1 0 0 0 m s, N o te  
Fe e d b a ck (Ch o ru s Fe e d b a ck ) 0 1 2 7  
Sets the delay time for the delay located at the right side of  
the stereo field.  
Specifies the amount of the chorus effects output to be  
returned - fed back - to its input. Higher settings will create a  
more complex Chorus effect.  
HF Da m p *1  
This allows you to reduce, or damp,the high-frequency  
content of the repeated feedback delaysfrequencies above  
the selected value will be damped. If you do not want to cut  
the high frequencies of the feedback, set this parameter to  
BYPASS.  
Ph a se 0 1 8 0 d e g re e  
Adjusts the spatial spread of the sound.  
Pre De la y (Ch o ru s Pre De la y ) 0 .0 1 0 0 m s  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS  
Higher settings will make the sound more spacious.  
Fe e d b a ck -9 8 +9 8 %  
Ty p e (Filte r Ty p e )  
Selects the type of filter.  
OFF: No filter is used.  
Adjusts the amount of delay feedback, controlling the  
number of times the delay repeats. With negative (-) values,  
the phase of the repeated delays is inverted.  
LPF: Frequencies higher than the selected cutoff frequency  
Ce n te r (De la y Ce n te r Le ve l) 0 1 2 7  
value are eliminated.  
Sets the volume level of the delay located at the center of the  
stereo field.  
HPF: Frequencies lower than the selected cutoff frequency  
value are eliminated.  
Le ft (De la y Le ft Le ve l) 0 1 2 7  
Cu to ff fre q (Cu to ff Fre q u e n cy ) *1  
Sets the volume level of the delay located at the left side of  
the stereo field.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz  
Rig h t (De la y Rig h t Le ve l) 0 1 2 7  
Sets the volume level of the delay located at the right side of  
the stereo field.  
3 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pressing [F5 (Reverb)] in the General page calls up the  
Ma k in g Re ve rb Se ttin g s  
Reverb page, in which you can make the following settings.  
These settings allow you to select the desired type of Reverb,  
its characteristics, and the pair of OUTPUT jacks to which the  
Reverb units stereo output is routed.  
Fo r Ty p e : 1 (REVERB)  
Ty p e (Re ve rb / De la y Ty p e )  
On the Effects General page, set the following parameters.  
Selects a type of reverb or delay.  
Re ve rb Ty p e  
ROOM1: This is a short reverb with high density.  
ROOM2: This is a short reverb with low density.  
STAGE1: This is a reverb with greater late reverberation.  
STAGE2: This is a reverb with strong early reflections.  
HALL1: This is a very clear-sounding reverb.  
HALL2: This is a rich reverb.  
Selects the type of Reverb.  
0 (Off): Reverb is not used.  
1 (Revrb): Normal Reverb  
2 (Room): This reverb simulates typical room acoustic  
reflections.  
3 (Hall): This reverb simulates typical concert hall acoustic  
DELAY: This is a conventional delay effect.  
reflections.  
PAN-DELAY: This is a delay effect with echoes that pan left  
4 (Plate): This reverb simulates a reverb plate, a popular  
type of artificial reverb unit that derives its sound from the  
vibration of a metallic plate. You can also achieve unusual  
metallic-sounding reverbs using SRV PLATE.  
and right.  
Tim e (Re ve rb / De la y Tim e ) 0 1 2 7  
When the Type setting is ROOM1HALL2, this adjusts the  
length of reverberation. When the Type setting is DELAY or  
PAN-DELAY, this adjusts the delay time.  
Re ve rb So u rce  
Set this when assigning reverb settings that are used by  
another part. Select PRF when using the Performance's  
reverb settings. When using the reverb settings assigned to  
one of the parts, select the part number (P132).  
Higher settings produce a more spacious ambience.  
HF Da m p (Re ve rb / De la y HF Da m p ) *1  
Specifies the frequency above which the high-frequency  
Re ve rb Le ve l 0 1 2 7  
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  
cut the high frequencies of the feedback, set this parameter to  
BYPASS.  
Specifies the output level of the Reverb.  
Re ve rb O u tp u t Assig n AD  
Selects the OUTPUT jacks to which the Reverb units stereo  
output is routed.  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS  
Fe e d b a ck (De la y Fe e d b a ck )  
When the Type setting is DELAY or PAN-DELAY, this adjust  
the amount of delay feedback, controlling the number of  
delay repeats.  
Higher settings will produce more delay repeats.  
3 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Fo r Ty p e : 2 (SRV RO O M)/ 3 (SRV  
HALL)/ 4 (SRV PLATE)  
Pre De la y (Pre De la y Tim e ) 0 .0 1 0 0 m s  
Adjusts the time delay from when the direct sound begins  
until the reverb sound is heard.  
Tim e (Re ve rb Tim e ) 0 1 2 7  
Adjusts the time length of reverberation.  
Size 1 8  
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  
Sets the frequency above which the high-frequency content  
of the reverb will be reduced. If you do not want to damp the  
high frequencies, set this parameter to BYPASS.  
De n sity (Re ve rb De n sity ) 0 1 2 7  
Adjusts the density of reverb. Higher values result in greater  
density.  
Diffu sio n (Re ve rb Diffu sio n ) 0 1 2 7  
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 (LF Da m p Fre q u e n cy ) *2  
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  
Adjusts the amount of damping applied to the frequency  
range selected with LF Damp. With a setting of 0,there  
will be no reduction of the reverbs low-frequency content.  
HF Da m p Fre q (LF Da m p Fre q u e n cy ) *3  
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  
Adjusts the amount of damping applied to the frequency  
range selected with HF Damp. With a setting of 0,there  
will be no reduction of the reverbs high-frequency content.  
*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  
3 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
For 18  
Rh y th m Se t Mo d e Se ttin g s  
fig.02-025.e_70  
You can apply Multi-effects, Chorus or Reverb to each of a  
Rhythm Sets Tones. You can control the amount of effect to  
be applied to each Rhythm Tone by adjusting its send level to  
the Multi-effects, Chorus and Reverb.  
fig.02-022.e  
The following shows the basic setting procedure.  
Rhythm Set  
B1  
1 . Select the Rhythm Tone you wish to set.  
RHYTHM  
TONE  
2 . Press [F6 (Effects)].  
Multi-Effects  
D7  
The Patch Effect page appears.  
Chorus  
Reverb  
3 . Press [F1 (General)].  
The General page will appear.  
fig.02-026.e_70  
The primary role of the effect settings is to determine the  
Rhythm Tone Output Assign.  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
You can select from the following Rhythm Tone Output  
Assign settings values to suit your purposes.  
the parameter you want to set.  
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the  
MFX: Selected when Multi-effects, chorus, and reverb are  
desired value.  
used.  
* 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 value the parameter originally had.  
A-D: Selected when outputting in stereo without use of the  
Multi-effects. Chorus and reverb can be used.  
1-8: Selected when outputting in mono without Multi-  
effects. Chorus and reverb can be used. When this setting is  
used, chorus and reverb sounds are output in stereo  
according to the Chorus Output Assign and Reverb Output  
Assign settings.  
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,  
indicating that its settings have been modified.  
fig.02-027.e_70  
The screen appears as shown below, according to the settings  
values.  
For MFX  
fig.02-023.e_70  
* 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 keep them, perform the Write  
operation. (p. 194)  
For AD  
fig.02-024.e_70  
* When [MFX], [CHO], or [REV] are turned off, effects  
processors that are turned off will be indicated by a dashed  
outline in the General page.  
3 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
MFX O u tp u t Assig n AD  
Ro u tin g To n e s to Effe cts  
Specifies the OUTPUT jacks to which the signal, after it has  
passed through the Multi-effects, is to be routed.  
This sets the output destination and level for the currently  
selected Tone, as well as its send level with respect to the  
Chorus and Reverb.  
Pressing [F2 (MFX Prm)] in the Effects General page calls up  
the MFX Param page, in which you can make the following  
settings.  
On the Effects General page, set the following parameters.  
Rh y th m To n e O u tp u t Assig n  
MFX: The Tone is sent into the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
MFX AC Pa ra m e te rs  
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. 41).  
AD: The Tone is sent to one of the four output-jack stereo  
pairs, OUTPUTS AD.  
18: The Tone is sent to the INDIVIDUAL output jacks 18.  
Pressing [F3 (MFX Ctl)] in the Effects General page calls up  
the MFX Control page, in which you can make the following  
settings.  
Rh y th m To n e Dry Se n d Le ve l  
Range: 0127  
This sets the level of the signal sent to the output destination  
set with Rhythm Output Assign.  
MFX Co n tro l 1 4 So u rce  
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.  
Rh y th m To n e Ch o ru s Se n d Le ve l 0 1 2 7  
Sets how much of the Tone is sent to the Chorus.  
OFF: No controller is used.  
Rh y th m To n e Re ve rb Se n d Le ve l 0 1 2 7  
CC0195: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
Sets how much of the Tone is sent to the Reverb.  
AFTERTOUCH: Aftertouch  
Ma k in g Mu lti-Effe cts Se ttin g s  
SYS-CTRL 14: System control 14  
This page allows you to make various settings for the Multi-  
effects, including the type, the parameters, and the output  
assignments  
MFX Co n tro l De stin a tio n 1 4  
Selects the Multi-effects parameter to be controlled using the  
MFX Control 14 source. The parameters that can be selected  
depend on which type of Multi-effects is set to MFX Type.  
On the Effects General page, set the following parameters.  
MFX Ty p e (Mu lti-e ffe cts Ty p e )  
MFX Co n tro l 1 4 Se n s -6 3 +6 3  
Use this parameter to select from among the 90 available  
Multi-effects. For a description of these effects, check out  
Parameters for Each Multi-Effect (MFX TYPE)(p. 41).  
If you wish to modify the selected parameter in a positive (+)  
directioni.e., a higher value, toward the right, or faster,  
you wish to modify the selected parameter in a negative (-)  
directioni.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.  
MFX Dry Se n d Le ve l 0 1 2 7  
Determines the level of the signal that is to be sent to the  
output jacks, after passing through the Multi-effects.  
MFX Ch o ru s Se n d Le ve l 0 1 2 7  
Determines the level of the signal that is to be sent to Chorus,  
after passing through the Multi-effects.  
MFX Re ve rb Se n d Le ve l 0 1 2 7  
Determines the level of the signal that is to be sent to Reverb,  
after passing through the Multi-effects.  
3 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
               
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pressing [F4 (Chorus)] in the General page calls up the  
Ma k in g Ch o ru s Se ttin g s  
Chorus page, in which you can make the following settings.  
The XV-5080s Chorus effect unit can also be used as a stereo  
delay unit.  
Fo r Ty p e : 1 (CHO RUS)  
These settings allow you to select chorus or delay, the  
characteristics of the selected effect type, and the Chorus  
output routing.  
Ra te (Ch o ru s Ra te ) 0 .0 5 1 0 .0 0 Hz  
Adjusts the modulation speed of the chorus effect.  
On the Effects General page, set the following parameters.  
De p th (Ch o ru s De p th ) 0 1 2 7  
Ch o ru s Ty p e  
Adjusts the modulation depth of the chorus effect.  
0 (Off): Neither Chorus or Delay is used.  
1 (Chrus): Chorus is used.  
2 (Delay): Delay is used.  
Fe e d b a ck (Ch o ru s Fe e d b a ck ) 0 1 2 7  
Specifies the amount of the chorus effects output to be  
returned - fed back - to its input. Higher settings will create a  
more complex Chorus effect.  
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.  
Ph a se 0 1 8 0 d e g re e  
Adjusts the spatial spread of the sound.  
Pre De la y (Ch o ru s Pre De la y ) 0 .0 1 0 0 m s  
MAIN: The Chorus output is sent only to the OUTPUT jacks.  
fig.02-028.e  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
OUTPUT  
Higher settings will make the sound more spacious.  
REV: The Chorus output is sent only to the Reverb.  
fig.02-029.e  
Ty p e (Filte r Ty p e )  
Selects the type of filter.  
OFF: No filter is used.  
Chorus Input  
Chorus  
OUTPUT  
Reverb  
LPF: Frequencies higher than the selected cutoff frequency  
M+R: The Chorus output is sent to the OUTPUT jacks and to  
value are eliminated.  
the Reverb.  
fig.02-030.e  
HPF: Frequencies lower than the selected cutoff frequency  
value are eliminated.  
Chorus Input  
Chorus  
Reverb  
OUTPUT  
OUTPUT  
Cu to ff fre q (Cu to ff Fre q u e n cy ) *1  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Reverb Input  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz  
Ch o ru s Le ve l 0 1 2 7  
Determines the Chorus output level.  
Ch o ru s O u tp u t Assig n AD  
Selects the pair of OUTPUT jacks to which the Chorus units  
stereo output is routed when Chorus Output Select is set to  
MAINor M+R.”  
3 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Fo r Ty p e : 2 (DELAY)  
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 units stereo output is routed.  
Ce n te r (De la y Ce n te r) 2 0 0 1 0 0 0 m s, N o te  
Sets the delay time for the delay located at the center of the  
stereo field.  
On the Effects General page, set the following parameters.  
Le ft (De la y Le ft) 2 0 0 1 0 0 0 m s, N o te  
Re ve rb Ty p e  
Sets the delay time for the delay located at the left side of the  
stereo field.  
Selects the type of Reverb.  
0 (Off): Reverb is not used.  
1 (Revrb): Normal Reverb  
Rig h t (De la y Rig h t) 2 0 0 1 0 0 0 m s, N o te  
Sets the delay time for the delay located at the right side of  
the stereo field.  
2 (Room): This reverb simulates typical room acoustic  
reflections.  
3 (Hall): This reverb simulates typical concert hall acoustic  
HF Da m p *1  
reflections.  
This allows you to reduce, or damp,the high-frequency  
content of the repeated feedback delaysfrequencies above  
the selected value will be damped. If you do not want to cut  
the high frequencies of the feedback, set this parameter to  
BYPASS.  
4 (Plate): This reverb simulates a reverb plate, a popular  
type of artificial reverb unit that derives its sound from the  
vibration of a metallic plate. You can also achieve unusual  
metallic-sounding reverbs using SRV PLATE.  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS  
Re ve rb Le ve l 0 1 2 7  
Specifies the output level of the Reverb.  
Fe e d b a ck -9 8 +9 8 %  
Re ve rb O u tp u t Assig n AD  
Adjusts the amount of delay feedback, controlling the  
number of times the delay repeats. With negative (-) values,  
the phase of the repeated delays is inverted.  
Selects the OUTPUT jacks to which the Reverb units stereo  
output is routed.  
Ce n te r (De la y Ce n te r Le ve l) 0 1 2 7  
Pressing [F5 (Reverb)] in the General page calls up the  
Reverb page, in which you can make the following settings.  
Sets the volume level of the delay located at the center of the  
stereo field.  
Le ft (De la y Le ft Le ve l) 0 1 2 7  
Sets the volume level of the delay located at the left side of  
the stereo field.  
Rig h t (De la y Rig h t Le ve l) 0 1 2 7  
Sets the volume level of the delay located at the right side of  
the stereo field.  
3 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Fo r Ty p e : 1 (REVERB)  
Fo r Ty p e : 2 (SRV RO O M)/ 3 (SRV  
HALL)/ 4 (SRV PLATE)  
Ty p e (Re ve rb / De la y Ty p e )  
Pre De la y (Pre De la y Tim e ) 0 .0 1 0 0 m s  
Selects a type of reverb or delay.  
Adjusts the time delay from when the direct sound begins  
until the reverb sound is heard.  
ROOM1: This is a short reverb with high density.  
ROOM2: This is a short reverb with low density.  
STAGE1: This is a reverb with greater late reverberation.  
STAGE2: This is a reverb with strong early reflections.  
HALL1: This is a very clear-sounding reverb.  
HALL2: This is a rich reverb.  
Tim e (Re ve rb Tim e ) 0 1 2 7  
Adjusts the time length of reverberation.  
Size 1 8  
Adjusts the size of the simulated room or hall. The size  
becomes bigger as the value increases.  
DELAY: This is a conventional delay effect.  
PAN-DELAY: This is a delay effect with echoes that pan left  
and right.  
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1  
Sets the frequency above which the high-frequency content  
of the reverb will be reduced. If you do not want to damp the  
high frequencies, set this parameter to BYPASS.  
Tim e (Re ve rb / De la y Tim e ) 0 1 2 7  
When the Type setting is ROOM1HALL2, this adjusts the  
length of reverberation. When the Type setting is DELAY or  
PAN-DELAY, this adjusts the delay time.  
De n sity (Re ve rb De n sity ) 0 1 2 7  
Higher settings produce a more spacious ambience.  
Adjusts the density of reverb. Higher values result in greater  
density.  
HF Da m p (Re ve rb / De la y HF Da m p ) *1  
Specifies the frequency above which the high-frequency  
Diffu sio n (Re ve rb Diffu sio n ) 0 1 2 7  
content of the reverb sound will be cut, or damped.”  
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.)  
Lower values cause a greater range of high frequencies to be  
cut, producing a softer reverb sound. If you do not want to  
cut the high frequencies of the feedback, set this parameter to  
BYPASS.  
LF Da m p Fre q (LF Da m p Fre q u e n cy ) *2  
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,  
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS  
Specifies the frequency below which the low-frequency  
content of the reverb sound will be reduced, or damped.”  
Fe e d b a ck (De la y Fe e d b a ck )  
LF Da m p Ga in -3 6 0 d B  
When the Type setting is DELAY or PAN-DELAY, this adjust  
the amount of delay feedback, controlling the number of  
delay repeats.  
Adjusts the amount of damping applied to the frequency  
range selected with LF Damp. With a setting of 0,there  
will be no reduction of the reverbs low-frequency content.  
Higher settings will produce more delay repeats.  
HF Da m p Fre q (LF Da m p Fre q u e n cy ) *3  
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  
Adjusts the amount of damping applied to the frequency  
range selected with HF Damp. With a setting of 0,there  
will be no reduction of the reverbs high-frequency content.  
*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  
4 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Se ttin g s in Ge n e ra l MIDI  
Mo d e  
Pa ra m e te rs fo r Ea ch Mu lti-  
Effe cts  
the effects consist of two or more different effects connected  
in series or in parallel.  
227).  
Parameters marked with a sharp #can be controlled using  
a specified controller (Two setting items will change  
simultaneously for #1and #2). (p. 26, p. 32, p. 37)  
1:  
STEREO EQ (p. 44)  
OVERDRIVE (p. 44)  
DISTORTION(p. 45)  
2:  
3:  
4:  
PHASER  
(p. 45)  
5:  
SPECTRUM (p. 46)  
ENHANCER (p. 46)  
AUTO WAH (p. 47)  
6:  
7:  
8:  
ROTARY  
COMPRESSOR(p. 48)  
LIMITER (p. 48)  
(p. 47)  
9:  
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:  
HEXA-CHORUS(p. 49)  
TREMOLO CHORUS(p. 49)  
SPACE-D  
(p. 50)  
STEREO CHORUS(p. 50)  
STEREO FLANGER(p. 51)  
STEP FLANGER(p. 52)  
STEREO DELAY(p. 52)  
MODULATION DELAY(p. 53)  
TRIPLE TAP DELAY(p. 54)  
QUADRUPLE TAP DELAY(p. 55)  
TIME CONTROL DELAY(p. 56)  
2VOICE PITCH SHIFTER(p. 56)  
FBK PITCH SHIFTER(p. 57)  
REVERB  
(p. 58)  
GATED REVERB(p. 58)  
OVERDRIVE -> CHORUS(p. 59)  
OVERDRIVE -> FLANGER(p. 59)  
OVERDRIVE -> DELAY(p. 60)  
DISTORTION -> CHORUS(p. 60)  
DISTORTION -> FLANGER(p. 60)  
DISTORTION -> DELAY(p. 60)  
ENHANCER -> CHORUS(p. 61)  
ENHANCER -> FLANGER(p. 61)  
ENHANCER -> DELAY(p. 62)  
CHORUS -> DELAY(p. 62)  
FLANGER -> DELAY(p. 63)  
4 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
37:  
CHORUS -> FLANGER(p. 63)  
CHORUS/ DELAY(p. 64)  
FLANGER/ DELAY(p. 64)  
CHORUS/ FLANGER(p. 64)  
STEREO PHASER(p. 65)  
KEYSYNC FLANGER(p. 65)  
FORMANT FILTER(p. 66)  
RING MODULATOR(p. 67)  
MULTI TAP DELAY(p. 68)  
REVERSE DELAY(p. 69)  
SHUFFLE DELAY(p. 70)  
3D DELAY (p. 70)  
GUITAR MULTI B(p. 96)  
GUITAR MULTI C(p. 98)  
CLEAN GUITAR MULTI A(p. 99)  
CLEAN GUITAR MULTI B(p. 101)  
BASS MULTI (p. 102)  
38:  
39:  
40:  
41:  
42:  
43:  
44:  
45:  
46:  
47:  
48:  
49:  
50:  
51:  
52:  
53:  
54:  
55:  
56:  
57:  
58:  
59:  
60:  
61:  
62:  
63:  
64:  
65:  
66:  
67:  
68:  
69:  
70:  
71:  
72:  
73:  
74:  
75:  
76:  
77:  
78:  
79:  
80:  
81:  
ISOLATOR 2 (p. 104)  
STEREO SPECTRUM(p. 104)  
3D AUTO SPIN(p. 105)  
3D MANUAL(p. 105)  
To have the types displayed according to category (as shown  
3VOICE PITCH SHIFTER(p. 71)  
LOFI COMPRESS(p. 72)  
LOFI NOISE (p. 72)  
Modulation (Effects that modulate the sound)  
4:  
PHASER  
SPEAKER SIMULATOR(p. 73)  
OVERDRIVE 2(p. 74)  
7:  
AUTO WAH  
41:  
42:  
64:  
65:  
66:  
STEREO PHASER  
KEYSYNC FLANGER  
FORMANT FILTER  
RING MODULATOR  
STEREO PHASER 2  
STEREO AUTO WAH  
ST FORMANT FILTER  
DISTORTION 2(p. 74)  
STEREO COMPRESSOR(p. 75)  
STEREO LIMITER(p. 75)  
GATE  
(p. 76)  
(p. 76)  
SLICER  
ISOLATOR (p. 77)  
3D CHORUS (p. 77)  
Delay (Effects that delay the sound)  
3D FLANGER(p. 78)  
17:  
18:  
19:  
46:  
47:  
48:  
67:  
68:  
69:  
STEREO DELAY  
TREMOLO (p. 79)  
MODULATION DELAY  
TRIPLE TAP DELAY  
QUADRUPLE TAP DELAY  
TIME CONTROL DELAY  
2VOICE PITCH SHIFTER  
FBK PITCH SHIFTER  
ENHANCER -> DELAY  
MULTI TAP DELAY  
REVERSE DELAY  
AUTO PAN (p. 79)  
STEREO PHASER 2(p. 80)  
STEREO AUTO WAH(p. 81)  
ST FORMANT FILTER(p. 81)  
MULTI TAP DELAY 2(p. 82)  
REVERSE DELAY 2(p. 83)  
SHUFFLE DELAY 2(p. 83)  
3D DELAY 2 (p. 84)  
ROTARY 2 (p. 85)  
SHUFFLE DELAY  
ROTARY MULTI(p. 86)  
KEYBOARD MULTI(p. 87)  
RHODES MULTI(p. 89)  
3D DELAY  
3VOICE PITCH SHIFTER  
MULTI TAP DELAY 2  
REVERSE DELAY 2  
SHUFFLE DELAY 2  
3D DELAY 2  
JD MULTI  
(p. 90)  
STEREO LOFI COMPRESS(p. 91)  
STEREO LOFI NOISE(p. 92)  
GUITAR AMP SIMULATOR(p. 93)  
STEREO OVERDRIVE(p. 94)  
STEREO DISTORTION(p. 94)  
GUITAR MULTI A(p. 95)  
ROTARY  
ROTARY 2  
ROTARY MULTI  
4 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
73:  
74:  
75:  
KEYBOARD MULTI  
RHODES MULTI  
JD MULTI  
32:  
ENHANCER -> CHORUS  
ENHANCER -> FLANGER  
CHORUS -> DELAY  
FLANGER -> DELAY  
CHORUS -> FLANGER  
CHORUS/ DELAY  
33:  
35:  
36:  
37:  
38:  
39:  
40:  
60:  
61:  
LoFi (Effects that intentionally degrades the sound  
quality)  
50:  
51:  
76:  
77:  
LOFI COMPRESS  
LOFI NOISE  
FLANGER/ DELAY  
CHORUS/ FLANGER  
3D CHORUS  
STEREO LOFI COMPRESS  
STEREO LOFI NOISE  
Guitar and Bass (Effects useful for the Guitar and Bass)  
3D FLANGER  
2:  
OVERDRIVE  
Dimension (Effects that control the location of the  
sound)  
3:  
DISTORTION  
26:  
27:  
28:  
29:  
30:  
31:  
52:  
53:  
54:  
78:  
79:  
80:  
81:  
82:  
83:  
84:  
85:  
86:  
OVERDRIVE -> CHORUS  
OVERDRIVE -> FLANGER  
OVERDRIVE -> DELAY  
DISTORTION -> CHORUS  
DISTORTION -> FLANGER  
DISTORTION -> DELAY  
SPEAKER SIMULATOR  
OVERDRIVE 2  
62:  
63:  
89:  
90:  
TREMOLO  
AUTO PAN  
3D AUTO SPIN  
3D MANUAL  
Filter (Effects that modify the sound character)  
1:  
STEREO EQ  
5:  
SPECTRUM  
6:  
ENHANCER  
ISOLATOR  
DISTORTION 2  
59:  
87:  
88:  
GUITAR AMP SIMULATOR  
STEREO OVERDRIVE  
STEREO DISTORTION  
GUITAR MULTI A  
ISOLATOR 2  
STEREO SPECTRUM  
Reverb (Effects that reverberate the sound)  
24:  
25:  
REVERB  
GUITAR MULTI B  
GATED REVERB  
GUITAR MULTI C  
CLEAN GUITAR MULTI A  
CLEAN GUITAR MULTI B  
BASS MULTI  
Compressor (Effects in which the loudness becomes  
difficult to change)  
9:  
COMPRESSOR  
LIMITER  
10:  
55:  
56:  
57:  
58:  
STEREO COMPRESSOR  
STEREO LIMITER  
GATE  
SLICER  
Chorus (Effects that broaden the sound)  
11:  
12:  
13:  
14:  
15:  
16:  
HEXA-CHORUS  
TREMOLO CHORUS  
SPACE-D  
STEREO CHORUS  
STEREO FLANGER  
STEP FLANGER  
4 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
1 : STEREO EQ (Ste re o Eq u a lize r)  
Output  
This is a four-band stereo equalizer (low, mid x 2, high).  
fig.2-04  
Le ve l (O u tp u t Le ve l) #  
Adjust the output level.  
L in  
L out  
R out  
4-Band EQ  
4-Band EQ  
2 : O VERDRIVE  
R in  
This effect creates a soft distortion similar to that produced  
by vacuum tube amplifiers.  
fig.2-05  
Freq/Gain  
L in  
L out  
Pan L  
Lo w Fre q (Lo w Fre q u e n cy )  
Over  
drive  
Amp  
Simulator  
2-Band  
EQ  
Select the frequency of the low range (200 Hz/ 400 Hz).  
Pan R  
R in  
R out  
Lo w Ga in  
Adjust the gain of the low frequency.  
Overdrive  
Mid 1 Fre q (Mid d le 1 Fre q u e n cy )  
Drive #  
Adjust the frequency of Middle 1 (mid range).  
Adjust the degree of distortion. The volume will change  
together with the degree of distortion.  
Mid 1 Ga in (Mid d le 1 Ga in )  
Adjust the gain for the area specified by the Middle 1  
Frequency and Q settings.  
Amp Simulator  
Ty p e (Am p Sim u la to r Ty p e )  
Select the type of guitar amp.  
SMALL:small amp  
Mid 2 Fre q (Mid d le 2 Fre q u e n cy )  
Adjust the frequency of Middle 2 (mid range).  
BUILT-IN:single-unit type amp  
2-STACK:large double stack amp  
3-STACK:large triple stack amp  
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.  
Hig h Fre q (Hig h Fre q u e n cy )  
EQ Gain  
Select the frequency of the high range (4000 Hz/ 8000 Hz).  
Lo w (Lo w Ga in )  
Hig h Ga in  
Adjust the gain of the low frequency range.  
Adjust the gain of the high frequency.  
Hig h (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Band Width  
Mid 1 Q (Mid d le 1 Q )  
Output  
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.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Pa n (O u tp u t Pa n ) #  
Mid 2 Q (Mid d le 2 Q )  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
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.  
4 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 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  
Distortion  
Phaser  
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.  
Amp Simulator  
Ra te #  
Ty p e (Am p Sim u la to r Ty p e )  
Select the type of guitar amp.  
SMALL:small amp  
Adjust the frequency (period) of modulation.  
De p th  
Adjust the depth of modulation.  
BUILT-IN:single-unit type amp  
2-STACK:large double stack amp  
3-STACK:large triple stack amp  
Re so n a n ce  
Adjust the amount of feedback for the phaser.  
Mix Le ve l  
EQ Gain  
Adjust the ratio with which the phase-shifted sound is  
combined with the direct sound.  
Lo w (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Output  
Hig h (Hig h Ga in )  
Le ve l (O u tp u t Le ve l)  
Adjust the gain of the high frequency range.  
Adjust the output level.  
Output  
Pa n (O u tp u t Pa n )  
Le ve l (O u tp u t Le ve l)  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
Adjust the output level.  
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.  
4 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 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  
Enhancer  
Gain  
Se n s (Se n sitivity ) #  
2 5 0 Hz (Ba n d 1 Ga in )  
Adjust the sensitivity of the enhancer.  
Adjust the 250 Hz level.  
Mix Le ve l #  
5 0 0 Hz (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.  
1 0 0 0 Hz (Ba n d 3 Ga in )  
EQ Gain  
Adjust the 1000 Hz level.  
Lo w (Lo w Ga in )  
1 2 5 0 Hz (Ba n d 4 Ga in )  
Adjust the gain of the low frequency range.  
Adjust the 1250 Hz level.  
Hig h (Hig h Ga in )  
2 0 0 0 Hz (Ba n d 5 Ga in )  
Adjust the gain of the high frequency range.  
Adjust the 2000 Hz level.  
Output  
3 1 5 0 Hz (Ba n d 6 Ga in )  
Le ve l (O u tp u t Le ve l)  
Adjust the 3150 Hz level.  
Adjust the output level.  
4 0 0 0 Hz (Ba n d 7 Ga in )  
Adjust the 4000 Hz level.  
8 0 0 0 Hz (Ba n d 8 Ga in )  
Adjust the 8000 Hz level.  
Band Width  
Q
Simultaneously adjust the width of the adjusted areas for all  
the frequency bands.  
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 ) #  
Adjust the stereo location of the output sound. L64 is far left,  
0 is center, and 63R is far right.  
4 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
fig.2-11  
7 : AUTO W AH  
L in  
L out  
R out  
The Auto Wah cyclically controls a filter to create cyclic  
Rotary  
change in timbre.  
fig.2-10  
R in  
L in  
L out  
R out  
Rotary  
Auto Wah  
R in  
Sp e e d #  
Simultaneously switch the rotational speed of the low  
frequency rotor and high frequency rotor.  
Auto Wah  
SLOW:Slow down the rotation to the specified speed (the  
Filte r (Filte r Ty p e )  
Low Slow / Hi Slow values).  
Select the type of filter.  
FAST:Speed up the rotation to the specified speed (the Low  
LPF:The wah effect will be applied over a wide frequency  
Fast / Hi Fast values).  
range.  
BPF:The wah effect will be applied over a narrow frequency  
range.  
Se n s  
Woofer  
Adjust the sensitivity with which the filter is controlled.  
Slo w Ra te (Lo w Fre q u e n cy Slo w Ra te )  
Ma n u a l #  
Adjust the slow speed (SLOW) of the low frequency rotor.  
Adjust the center frequency from which the effect is applied.  
Fa st Ra te (Lo w Fre q u e n cy Fa st Ra te )  
Pe a k  
Adjust the fast speed (FAST) of the low frequency rotor.  
Adjust the amount of the wah effect that will occur in the  
area of the center frequency. Lower settings will cause the  
effect to be applied in a broad area around the center  
frequency. Higher settings will cause the effect to be applied  
in a more narrow range.  
Acce le ra tio n (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.  
Le ve l (Lo w Fre q u e n cy Le ve l)  
Ra te (LFO Ra te )#  
Adjust the volume of the low frequency rotor.  
Adjust the frequency of the modulation.  
De p th (LFO De p th )  
Separation  
Adjust the depth of the modulation.  
Se p a ra tio n  
Adjust the spatial dispersion of the sound.  
Output  
Le ve l (O u tp u t Le ve l)  
Tweeter  
Adjust the output level.  
Slo w Ra te (Hig h Fre q u e n cy Slo w Ra te )  
Adjust the slow speed (SLOW) of the high frequency rotor.  
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  
most suitable for electric organ Patches.  
Fa st Ra te (Hig h Fre q u e n cy Fa st Ra te )  
Adjust the fast speed (FAST) of the high frequency rotor.  
Acce le ra tio n (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.  
4 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Le ve l (Hig h Fre q u e n cy Le ve l)  
1 0 : LIMITER  
Adjust the volume of the high frequency rotor.  
The Limiter compresses signals that exceed a specified  
volume level, preventing distortion from occurring.  
fig.2-13  
Output  
L in  
L out  
Pan L  
Le ve l (O u tp u t Le ve l) #  
2-Band  
EQ  
Limiter  
Pan R  
Adjust the output level.  
R in  
R out  
9 : CO MPRESSO R  
Limiter  
The Compressor flattens out high levels and boosts low  
Th re sh o ld (Th re sh o ld Le ve l)  
levels, smoothing out unevenness in volume.  
fig.2-12  
Adjust the volume at which compression will begin.  
L in  
L out  
Pan L  
Ra tio (Co m p re ssio n Ra tio )  
2-Band  
EQ  
Compressor  
Pan R  
Adjust the compression ratio.  
R in  
R out  
Re le a se (Re le a se Tim e )  
Compressor  
Adjust the time from when the volume falls below the  
Threshold Level until compression is no longer applied.  
Atta ck  
Adjust the attack time of an input sound.  
Po st Ga in  
Adjust the output gain.  
Su sta in  
Adjust the time over which low level sounds are boosted  
until they reach the specified volume.  
EQ Gain  
Lo w (Lo w Ga in )  
Po st Ga in  
Adjust the low frequency gain.  
Adjust the output gain.  
Hig h (Hig h Ga in )  
EQ Gain  
Adjust the high frequency gain.  
Lo w (Lo w Ga in )  
Output  
Adjust the low frequency gain.  
Le ve l (O u tp u t Le ve l) #  
Hig h (Hig h Ga in )  
Adjust the output level.  
Adjust the high frequency gain.  
Pa n (O u tp u t Pa n ) #  
Output  
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.  
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.  
4 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
1 1 : HEXA-CHO RUS  
1 2 : TREMO LO CHO RUS  
Hexa-chorus uses a six-phase chorus (six layers of chorused  
Tremolo Chorus is a chorus effect with added Tremolo  
sound) to give richness and spatial spread to the sound.  
(cyclic modulation of volume).  
fig.2-14  
fig.2-15  
L in  
L out  
L in  
L out  
Balance D  
Balance D  
Balance W  
Balance W  
Tremolo Chorus  
Hexa Chorus  
Balance W  
Balance W  
R in  
R out  
R in  
R out  
Balance D  
Balance D  
Hexa Chorus  
Chorus  
Ra te #  
Ra te (Ch o ru s Ra te )  
Adjust the rate of modulation.  
Adjust the modulation speed of the chorus effect.  
De p th  
De p th (Ch o ru s De p th )  
Adjust the depth of modulation.  
Adjust the modulation depth of the chorus effect.  
De p th De v (De p th De via tio n )  
Pre De la y (Pre De la y Tim e )  
Adjust the difference in modulation depth between each  
chorus sound.  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Pre De la y (Pre De la y Tim e )  
Tremolo  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Ra te (Tre m o lo Ra te ) #  
Adjust the modulation speed of the tremolo effect.  
Pre De la y De v (Pre De la y De via tio n )  
Ph a se (Tre m o lo Ph a se )  
Pre Delay determines the time from when the direct sound  
begins until the processed sound is heard. Pre Delay  
Deviation adjusts the differences in Pre Delay between each  
chorus sound.  
Adjust the spread of the tremolo effect.  
Se p a ra tio n (Tre m o lo Se p a ra tio n )  
Adjust the spread of the tremolo effect.  
Pa n De v (Pa n De via tio n )  
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.  
Balance  
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.  
Balance  
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.  
Output  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Output  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
4 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
1 3 : SPACE-D  
1 4 : STEREO CHO RUS  
Space-D is a multiple chorus that applies two-phase  
This is a stereo chorus. A filter is provided so that you can  
modulation in stereo. It gives no impression of modulation,  
adjust the timbre of the chorus sound.  
fig.2-17  
but produces a transparent chorus effect.  
Balance D  
2-Band  
fig.2-16  
L in  
L out  
R out  
Balance D  
2-Band  
EQ  
L in  
L out  
R out  
Balance W  
Chorus  
Chorus  
EQ  
Balance W  
Space D  
Space D  
Balance W  
Balance W  
2-Band  
EQ  
R in  
Balance D  
2-Band  
EQ  
R in  
Balance D  
Chorus  
Chorus  
Ra te #  
Ra te #  
Adjust the rate of modulation.  
Adjust the rate of modulation.  
De p th  
De p th  
Adjust the depth of modulation.  
Adjust the depth of modulation.  
Ph a se  
Ph a se  
Adjust the spatial spread of the sound.  
Pre De la y (Pre De la y Tim e )  
Adjust the spatial spread of the sound.  
Pre De la y (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the processed sound is heard.  
Adjust the time delay from when the direct sound begins  
until the processed sound is heard.  
Filter  
EQ Gain  
Ty p e (Filte r Ty p e )  
Lo w (Lo w Ga in )  
Select the type of filter.  
Adjust the gain of the low frequency range.  
OFF:a filter will not be used  
LPF:cut the frequency range above the cutoff frequency  
HPF:cut the frequency range below the cutoff frequency  
Hig h (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Cu to ff (Cu to ff Fre q u e n cy )  
Balance  
Adjust the basic frequency of the filter.  
Ba la n ce (Effe ct Ba la n ce ) #  
EQ Gain  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
chorus sound will be output.  
Lo w (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Hig h (Hig h Ga in )  
Output  
Adjust the gain of the high frequency range.  
Le ve l (O u tp u t Le ve l)  
Balance  
Adjust the output level.  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
chorus sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
chorus sound will be output.  
5 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Output  
EQ Gain  
Le ve l (O u tp u t Le ve l)  
Lo w (Lo w Ga in )  
Adjust the output level.  
Adjust the gain of the low frequency range.  
Hig h (Hig h Ga in )  
1 5 : STEREO FLAN GER  
Adjust the gain of the high frequency range.  
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  
Balance  
Ba la n ce (Effe ct Ba la n ce )  
sound.  
fig.2-18  
Adjust the volume balance between the direct sound and the  
flanger sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
flanger sound will be output.  
Balance D  
2-Band  
L in  
L out  
EQ  
Flanger  
Balance W  
Feedback  
Feedback  
Output  
Le ve l (O u tp u t Le ve l)  
Balance W  
Flanger  
2-Band  
EQ  
Adjust the output level.  
R in  
R out  
Balance D  
Flanger  
Ra te (LFO Ra te ) #  
Adjust the rate of modulation.  
De p th (LFO De p th )  
Adjust the depth of modulation.  
Fe e d b a ck (Fe e d b a ck Le ve l) #  
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.  
Ph a se  
Adjust the spatial spread of the sound.  
Pre De la y (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Filter  
Ty p e  
Select the type of filter.  
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  
Cu to ff (Cu to ff Fre q u e n cy )  
Adjust the basic frequency of the filter.  
5 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
1 6 : STEP FLAN GER  
Hig h (Hig h Ga in )  
Adjust the gain of the high frequency range.  
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  
Balance  
tempo.  
fig.2-19  
Ba la n ce (Effe ct Ba la n ce )  
Balance D  
2-Band  
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.  
L in  
L out  
EQ  
Step Flanger  
Balance W  
Feedback  
Feedback  
Output  
Balance W  
Step Flanger  
2-Band  
EQ  
R in  
R out  
Le ve l (O u tp u t Le ve l)  
Balance D  
Adjust the output level.  
Flanger  
1 7 : STEREO DELAY  
Ra te (LFO Ra te )  
This is a stereo delay.  
Adjust the rate of modulation.  
When Feedback Mode is NORMAL:  
fig.2-20  
De p th (LFO Ra te )  
Balance D  
2-Band  
Adjust the depth of modulation.  
Fbk (Feedback Level) #  
L in  
L out  
EQ  
Balance W  
Delay  
Adjust the amount (%) of the flanger sound that is returned  
(fed back) into the input. Negative (-) settings will invert the  
phase.  
Feedback  
Feedback  
Balance W  
Delay  
2-Band  
EQ  
Fe e d b a ck #  
R in  
R out  
L out  
Balance D  
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.  
When Feedback Mode is CROSS:  
fig.2-21  
Balance D  
2-Band  
EQ  
L in  
Balance W  
Delay  
Ph a se  
Feedback  
Feedback  
Adjust the spatial spread of the sound.  
Balance W  
Delay  
Pre De la y (Pre De la y Tim e )  
2-Band  
EQ  
R in  
R out  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Balance D  
Delay  
Step Rate  
Le ft (De la y Tim e Le ft)  
Ste p Ra te #  
Adjust the time from the original sound until when the left  
delay sound is heard.  
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.  
Rig h t (De la y Tim e Rig h t)  
Adjust the time from the original sound until when the right  
delay sound is heard.  
EQ Gain  
Lo w (Lo w Ga in )  
HF Da m p  
Adjust the gain of the low frequency range.  
Adjust the frequency above which sound fed back to the  
effect will be cut. If you do not want to cut the high  
5 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
1 8 : MO DULATIO N DELAY  
frequencies of the feedback, set this parameter to BYPASS.  
This effect adds modulation to the delayed sound, producing  
an effect similar to a flanger.  
Fe e d b a ck #  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
When Feedback Mode is NORMAL:  
fig.2-22  
Balance D  
2-Band  
FBK Mo d e (Fe e d b a ck Mo d e )  
L in  
L out  
EQ  
Select the way in which delay sound is fed back into the  
effect.  
Balance W  
Delay  
Modulation  
Feedback  
Feedback  
NORMAL:The left delay sound will be fed back into the left  
delay, and the right delay sound into the right delay.  
Balance W  
Delay  
Modulation  
Balance D  
CROSS:The left delay sound will be fed back into the right  
2-Band  
EQ  
R in  
R out  
L out  
delay, and the right delay sound into the left delay.  
When Feedback Mode is CROSS:  
fig.2-23  
Phase  
Balance D  
2-Band  
EQ  
Ph a se Le ft  
L in  
Select the phase of the left delay sound.  
NORMAL:Phase is not changed.  
INVERT:Phase is inverted.  
Delay  
Modulation  
Balance W  
Feedback  
Feedback  
Delay  
Modulation  
Balance D  
Balance W  
Ph a se Rig h t  
2-Band  
EQ  
R in  
R out  
Select the phase of the right delay sound.  
NORMAL:Phase is not changed.  
INVERT:Phase is inverted.  
Delay  
Le ft (De la y Tim e Le ft)  
EQ Gain  
Adjust the time from the original sound until when the left  
delay sound is heard.  
Lo w (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Rig h t (De la y Tim e Rig h t)  
Hig h (Hig h Ga in )  
Adjust the time from the original sound until when the right  
delay sound is heard.  
Adjust the gain of the high frequency range.  
HF Da m p  
Balance  
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.  
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.  
Fe e d b a ck (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.  
Output  
FBK 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.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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.  
5 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Modulation  
1 9 : TRIPLE TAP DELAY  
The Triple Tap Delay produces three delay sounds; center,  
left and right. The center delay time can be specified as a note  
Ra te #  
Adjust the speed of the modulation.  
value of a specified tempo.  
fig.2-24  
De p th  
Balance D  
2-Band  
Adjust the depth of the modulation.  
L in  
L out  
EQ  
Balance W  
Left Tap  
Ph a se  
Triple Tap Delay  
Feedback  
Center Tap  
Adjust the spatial spread of the sound.  
Balance W  
Right Tap  
EQ Gain  
2-Band  
EQ  
R in  
R out  
Balance D  
Lo w (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Delay  
Hig h (Hig h Ga in )  
Ce n te r (De la y Tim e Ce n te r)  
Le ft (De la y Tim e Le ft)  
Adjust the gain of the high frequency range.  
Balance  
Rig h t (De la y Tim e Rig h t)  
Ba la n ce (Effe ct Ba la n ce ) #  
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.  
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.  
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.  
Output  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Fe e d b a ck #  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Delay Level  
Ce n te r (Ce n te r Le ve l)  
Le ft (Le ft Le ve l)  
Rig h t (Rig h t Le ve l)  
Adjust the volume of each delay sound.  
EQ Gain  
Lo w (Lo w Ga in )  
Adjust the gain of the low frequency range.  
Hig h (Hig h Ga in )  
Adjust the gain of the high frequency range.  
5 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Fe e d b a ck (Fe e d b a ck Le ve l) #  
Balance  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
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.  
Delay Level  
Le ve l 1  
Le ve l 2  
Output  
Le ve l 3  
Le ve l (O u tp u t Le ve l)  
Le ve l 4  
Adjust the output level.  
Adjust the volume of each delay sound.  
2 0 : Q UADRUPLE TAP DELAY  
Balance  
The Quadruple Tap Delay has four delays. Each of the Delay  
Time parameters can be specified as a note length of the  
Ba la n ce (Effe ct Ba la n ce ) #  
selected tempo.  
fig.2-25  
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  
L in  
L out  
Delay 1  
Delay 2  
Balance W  
Feedback  
Quadruple Tap Delay  
Delay 3  
Output  
Le ve l (O u tp u t Le ve l)  
Balance W  
R out  
Delay 4  
Adjust the output level.  
R in  
Balance D  
The stereo location of each delay sound is as follows.  
fig.2-26  
2
3
4
1
R
L
Delay  
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 )  
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.  
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.  
5 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
2 1 : TIME CO N TRO L DELAY  
Output  
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.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Pa n (O u tp u t Pa n )  
fig.2-27  
2-Band  
EQ  
Balance W  
2 2 : 2 VO ICE PITCH SHIFTER  
L in  
L out  
R out  
Balance D  
A Pitch Shifter shifts the pitch of the original sound. This 2-  
voice pitch shifter has two pitch shifters, and can add two  
Time Control Delay  
Balance W  
Feedback  
Balance D  
pitch shifted sounds to the original sound.  
fig.2-28  
2-Band  
EQ  
R in  
Balance D  
L in  
L out  
Level Balance A  
Delay  
PanA L  
PanA R  
Balance W  
Tim e (De la y tim e ) #  
2Voice Pitch Shifter  
Level Balance B  
PanB L  
Adjust the time delay from the direct sound until when each  
delay sound is heard.  
Balance W  
R out  
PanB R  
R in  
Acce le ra tio n  
Balance D  
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.  
Pitch A  
Co a rse (Co a rse Pitch A) # 1  
Adjust the pitch of Pitch Shift A in semitone steps (-2-+1  
octaves).  
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.  
Fin e (Fin e Pitch A) # 1  
Make fine adjustments to the pitch of Pitch Shift A in 2-cent  
steps (-100-+100 cents).  
Fe e d b a ck #  
One cent is 1/ 100th of a semitone.  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
Pa n (O u tp u t Pa n A)  
Adjust the stereo location of the Pitch Shift A sound. L64 is  
far left, 0 is center, and 63R is far right.  
EQ Gain  
Lo w (Lo w Ga in )  
Pre De la y (Pre De la y Tim e A)  
Adjust the gain of the low frequency range.  
Adjust the time delay from when the direct sound begins  
until the Pitch Shift A sound is heard.  
Hig h (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Pitch shift  
Mo d e (Pitch Sh ifte r Mo d e )  
Balance  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
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.  
5 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pitch B  
Pitch  
Co a rse (Co a rse Pitch B) # 2  
Co a rse (Co a rse Pitch ) # 1  
Adjust the pitch of Pitch Shift B in semitone steps (-2-+1  
octaves).  
Adjust the pitch of the pitch shifted sound in semitone steps  
(-2-+1 octaves).  
Fin e (Fin e Pitch B) # 2  
Fin e (Fin e Pitch ) # 1  
Make fine adjustments to the pitch of Pitch Shift B in 2-cent  
steps (-100-+100 cents).  
Make fine adjustments to the pitch of the pitch shifted sound  
in 2-cent steps (-100-+100 cents).  
One cent is 1/ 100th of a semitone.  
One cent is 1/ 100th of a semitone.  
Pa n (O u tp u t Pa n B)  
Pre De la y (Pre De la y Tim e )  
Adjust the stereo location of the Pitch Shift B sound. L64 is  
far left, 0 is center, and 63R is far right.  
Adjust the time delay from when the direct sound begins  
until the pitch shifted sound is heard.  
Pre De la y (Pre De la y Tim e B)  
Mo d e (Pitch Sh ifte r Mo d e )  
Adjust the time delay from when the direct sound begins  
until the Pitch Shift A sound is heard.  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
Fe e d b a ck (Fe e d b a ck Le ve l) #  
Level Balance  
Adjust the proportion (%) of the pitch shift sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Le ve l Ba la n ce  
Adjust the volume balance between the Pitch Shift A and  
Pitch Shift B sounds.  
EQ Gain  
Balance  
Lo w (Lo w Ga in )  
Ba la n ce (Effe ct Ba la n ce )  
Adjust the gain of the low frequency range.  
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.  
Hig h (Hig h Ga in )  
Adjust the gain of the high frequency range.  
Balance  
Output  
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  
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.  
Adjust the output level.  
2 3 : FBK PITCH SHIFTER  
(Feedback Pitch Shifter)  
Output  
This pitch shifter allows the pitch shifted sound to be fed  
Le ve l (O u tp u t Le ve l)  
back into the effect.  
fig.2-29  
Adjust the output level.  
2-Band  
EQ  
Balance W  
L in  
L out  
R out  
Pa n (O u tp u t Pa n )  
Balance D  
Adjust the stereo location of the pitch shifted sound. L64 is  
far left, 0 is center, and 63R is far right.  
Pitch Shifter  
Balance W  
Feedback  
Balance D  
2-Band  
EQ  
R in  
5 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
2 4 : REVERB  
Output  
The Reverb effect adds reverberation to the sound,  
Le ve l (O u tp u t Le ve l)  
simulating an acoustic space.  
fig.2-30  
Adjust the output level.  
2-Band  
EQ  
Balance W  
L in  
L out  
R out  
2 5 : GATED REVERB  
Balance D  
Reverb  
Gate Reverb is a special type of reverb in which the  
reverberant sound is cut off before its natural length.  
fig.2-31  
Balance W  
2-Band  
EQ  
R in  
Balance D  
2-Band  
EQ  
L in  
L out  
R out  
Balance D  
Balance W  
Reverb  
Gate Reverb  
Balance W  
Ty p e (Re ve rb Ty p e )  
2-Band  
EQ  
R in  
Balance D  
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  
Reverb  
Ty p e (Ga te Re ve rb Ty p e )  
Select the type of reverb.  
NORMAL:  
conventional gate reverb  
REVERSE: backwards reverb  
SWEEP1:  
SWEEP2:  
the reverberant sound moves from right to left  
the reverberant sound moves from left to right  
Pre De la y (Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the reverb sound is heard.  
Pre De la y (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.  
Ga te Tim e  
HF Da m p  
Adjust the time from when the reverb is heard until when it  
disappears.  
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.  
EQ Gain  
Lo w (Lo w Ga in )  
Adjust the gain of the low frequency range.  
EQ Gain  
Hig h (Hig h Ga in )  
Lo w (Lo w Ga in )  
Adjust the gain of the high frequency range.  
Adjust the gain of the low frequency range.  
Hig h (Hig h Ga in )  
Balance  
Adjust the gain of the high frequency range.  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
reverb sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
reverb sound will be output.  
Balance  
Ba la n ce (Effe ct Ba la n ce ) #  
Adjust the volume balance between the direct sound and the  
reverb sound. With a setting of D100:0W only the direct  
sound will be output, and with a setting of D0:100W only the  
reverb sound will be output.  
5 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Output  
2 7 : O VERDRIVEFLAN GER  
This effect connects an overdrive and a flanger in series.  
fig.2-33  
Le ve l (O u tp u t Le ve l) #  
Adjust the output level.  
Balance D  
L out  
L in  
Feedback  
Flanger  
2 6 : O VERDRIVECHO RUS  
This effect connects an overdrive and a chorus in series.  
Balance W  
Overdrive  
Balance W  
R out  
fig.2-32  
R in  
L out  
L in  
Balance D  
Balance D  
Chorus  
Balance W  
Overdrive  
Overdrive  
Balance W  
R out  
R in  
Drive  
Balance D  
Adjust the degree of overdrive distortion. The volume will  
change together with the degree of distortion.  
Overdrive  
Pa n (O ve rd rive Pa n ) #  
Drive  
Adjust the stereo location of the overdrive sound. L64 is far  
left, 0 is center, and 63R is far right.  
Adjust the degree of overdrive distortion. The volume will  
change together with the degree of distortion.  
Pa n (O ve rd rive Pa n ) #  
Flanger  
Adjust the stereo location of the overdrive sound. L64 is far  
left, 0 is center, and 63R is far right.  
Pre De la y (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.  
Chorus  
Ra te (Fla n g e r Ra te )  
Pre De la y (Ch o ru s Pre De la y Tim e )  
Adjust the modulation speed of the flanger effect.  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
De p th (Fla n g e r De p th )  
Ra te (Ch o ru s Ra te )  
Adjust the modulation depth of the flanger effect.  
Adjust the modulation speed of the chorus effect.  
Fe e d b a ck (Fla n g e r Fe e d b a ck )  
De p th (De p th Ra te )  
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.  
Ba la n ce (Ch o ru s Ba la n ce ) #  
Ba la n ce (Fla n g e r Ba la n ce ) #  
Adjust the volume balance between the overdrive sound that  
is sent through the chorus and the overdrive sound that is  
not sent through the chorus. With a setting of D100: 0W,”  
only the overdrive sound will be output. With a setting of  
D0: 100W,only the overdrive sound that is sent through  
the chorus will be output.  
Adjust the 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.  
Output  
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.  
5 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
2 8 : O VERDRIVEDELAY  
2 9 : DISTO RTIO N CHO RUS  
This effect connects an overdrive and a delay in series.  
fig.2-34  
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.  
L out  
L in  
Balance D  
Balance W  
Overdrive  
Delay  
Drive Specify the amount of distortion.  
Balance W  
R out  
Pan Specify the stereo location of the distortion sound.  
fig.2-35  
Feedback  
R in  
Balance D  
L out  
L in  
Balance D  
Chorus  
Balance W  
Overdrive  
Distortion  
Balance W  
R out  
Drive  
R in  
Balance D  
Adjust the degree of overdrive distortion. The volume will  
change together with the degree of distortion.  
3 0 : DISTO RTIO N FLAN GER  
Pa n (O ve rd rive Pa n ) #  
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.  
Adjust the stereo location of the overdrive sound. L64 is far  
left, 0 is center, and 63R is far right.  
Delay  
Drive Specify the amount of distortion.  
Pan Specify the stereo location of the distortion sound.  
fig.2-36  
Tim e (De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Balance D  
L out  
L in  
Feedback  
Flanger  
Balance W  
Fe e d b a ck (De la y Fe e d b a ck )  
Distortion  
Balance W  
R out  
Adjust the proportion (%) of the delay sound that is fed back  
into the effect. Negative (-) settings will invert the phase.  
R in  
Balance D  
HF Da m p (De la y HF Da m p )  
3 1 : DISTO RTIO N DELAY  
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.  
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.  
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  
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.  
Drive Specify the amount of distortion.  
Pan Specify the stereo location of the distortion sound.  
fig.2-37  
L out  
L in  
Balance D  
Delay  
Balance W  
Distortion  
Balance W  
R out  
Feedback  
Balance D  
Output  
R in  
Le ve l (O u tp u t Le ve l)  
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-5 0 8 0 Effe cts  
3 2 : EN HAN CERCHO RUS  
3 3 : EN HAN CERFLAN GER  
This effect connects an enhancer and a chorus in series.  
This effect connects an enhancer and a flanger in series.  
fig.2-38  
fig.2-39  
Balance D  
L in  
L out  
Enhancer  
Balance D  
Chorus  
L in  
L out  
Enhancer  
Mix  
Mix  
Mix  
Mix  
Feedback  
Flanger  
Balance W  
Balance W  
Balance W  
R out  
Balance W  
R out  
R in  
Enhancer  
Balance D  
R in  
Enhancer  
Balance D  
Enhancer  
Enhancer  
Se n s (En h a n ce r Se n s) #  
Se n s #  
Adjust the sensitivity of the enhancer.  
Adjust the sensitivity of the enhancer.  
Mix Le ve l (En h a n ce r Mix Le ve l)  
Mix Le ve l (En h a n ce r Mix Le ve l)  
Adjust the ratio with which the overtones generated by the  
enhancer are combined with the direct sound.  
Adjust the ratio with which the overtones generated by the  
enhancer are combined with the direct sound.  
Chorus  
Flanger  
Pre De la y (Ch o ru s Pre De la y Tim e )  
Pre De la y (Fla n g e r Pre De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
Ra te (Ch o ru s Ra te )  
Ra te (Fla n g e r Ra te )  
Adjust the modulation speed of the chorus effect.  
Adjust the modulation speed of the flanger effect.  
De p th (Ch o ru s De p th )  
De p th (Fla n g e r De p th )  
Adjust the modulation depth of the chorus effect.  
Adjust the modulation depth of the flanger effect.  
Ba la n ce (Ch o ru s Ba la n ce ) #  
Fe e d b a ck (Fla n g e r Fe e d b a ck Le ve l)  
Adjust the volume balance between the enhancer sound that  
is sent through the chorus and the enhancer sound that is not  
sent through the chorus. With a setting of D100: 0W,only  
the enhancer sound will be output. With a setting of D0:  
100W,only the enhancer sound that is sent through the  
chorus will be output.  
Adjust the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Ba la n ce (Fla n g e r Ba la n ce ) #  
Adjust the volume balance between the enhancer sound that  
is sent through the flanger and the enhancer sound that is not  
sent through the flanger. With a setting of D100: 0W,only  
the enhancer sound will be output. With a setting of D0:  
100W,only the enhancer sound that is sent through the  
flanger will be output.  
Output  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Output  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
6 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
3 4 : EN HAN CERDELAY  
3 5 : CHO RUSDELAY  
This effect connects an enhancer and a delay in series.  
This effect connects a chorus and a delay unit in series.  
fig.2-40  
fig.2-41  
Balance D  
L in  
L out  
Enhancer  
L in  
L out  
Balance D  
Mix  
Mix  
Balance D  
Balance W  
Balance W  
Balance W  
Delay  
Feedback  
Balance D  
Chorus  
Balance W  
Delay  
Feedback  
Balance D  
Balance W  
R out  
Balance W  
R out  
R in  
Enhancer  
R in  
Balance D  
Enhancer  
Chorus  
Se n s #  
Pre De la y (Ch o ru s Pre De la y Tim e )  
Adjust the sensitivity of the enhancer.  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Mix Le ve l (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.  
Ra te (Ch o ru s Ra te )  
Adjust the modulation speed of the chorus effect.  
De p th (Ch o ru s De p th )  
Delay  
Adjust the modulation depth of the chorus effect.  
Tim e (De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Ba la n ce (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.  
Fe e d b a ck (De la y Fe e d b a ck )  
Adjust the proportion (%) of the delay sound that is fed back  
into the delay input. Negative (-) settings will invert the  
phase.  
Delay  
HF Da m p (De la y HF Da m p )  
Tim e (De la y Tim e )  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut. If you do not want to cut the high  
frequencies of the delay feedback, set this parameter to  
BYPASS.  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Fe e d b a ck (De la y Fe e d b a ck )  
Adjust the proportion (%) of the delay sound that is fed back  
into the delay input. Negative (-) settings will invert the  
phase.  
Ba la n ce (De la y Ba la n ce ) #  
Adjust the volume balance between the enhancer sound that  
is sent through the delay and the enhancer sound that is not  
sent through the delay. With a setting of D100: 0W,only  
the enhancer sound will be output. With a setting of D0:  
100W,only the enhancer sound that is sent through the  
delay will be output.  
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.  
Ba la n ce (De la y Ba la n ce ) #  
Output  
Adjust the volume balance between the chorus sound that is  
sent through the delay and the chorus sound that is not sent  
through the delay. With a setting of D100: 0W,only the  
chorus sound will be output. With a setting of D0: 100W,”  
only the chorus sound that is sent through the delay will be  
output.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
6 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
BYPASS.  
Output  
Ba la n ce #  
Le ve l (O u tp u t Le ve l)  
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.  
Adjust the output level.  
3 6 : FLAN GERDELAY  
This effect connects a flanger and a delay in series.  
fig.2-42  
Balance D  
L in  
L out  
Balance D  
Feedback  
Balance W  
Output  
Balance W  
Balance W  
Flanger  
Delay  
Feedback  
Balance D  
Balance W  
R out  
Le ve l (O u tp u t Le ve l)  
R in  
Adjust the output level.  
Balance D  
3 7 : CHO RUSFLAN GER  
Flanger  
This effect connects a chorus and a flanger in series.  
fig.2-43  
Pre De la y (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.  
Balance D  
Feedback  
Flanger  
Balance D  
L in  
L out  
Balance W  
Chorus  
Balance W  
Ra te (Fla n g e r Ra te )  
Balance W  
R out  
Balance W  
Adjust the modulation speed of the flanger effect.  
R in  
Balance D  
Balance D  
De p th (Fla n g e r De p th )  
Adjust the modulation depth of the flanger effect.  
Chorus  
Fe e d b a ck (Fla n g e r Fe e d b a ck )  
Pre De la y (Ch o ru s Pre De la y Tim e )  
Adjust the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Adjust the time delay from when the direct sound begins  
until the chorus sound is heard.  
Ra te (Ch o ru s Ra te )  
Ba la n ce (Fla n g e r Ba la n ce ) #  
Adjust the modulation speed of the chorus effect.  
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.  
De p th (Ch o ru s De p th )  
Adjust the modulation depth of the chorus effect.  
Ba la n ce (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.  
Delay  
Tim e (De la y Tim e )  
Adjust the time delay from when the direct sound begins  
until the delay sound is heard.  
Flanger  
Fe e d b a ck (De la y Fe e d b a ck )  
Pre De la y (Fla n g e r Pre De la y Tim e )  
Adjust the proportion (%) of the delay sound that is fed back  
into the delay input. Negative (-) settings will invert the  
phase.  
Adjust the time delay from when the direct sound begins  
until the flanger sound is heard.  
HF Da m p (De la y HF Da m p )  
Ra te (Fla n g e r Ra te )  
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  
Adjust the modulation speed of the flanger effect.  
6 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
De p th (Fla n g e r De p th )  
4 0 : CHO RUS/ FLAN GER  
Adjust the modulation depth of the flanger effect.  
This effect connects a chorus and a flanger in parallel. The  
parameters are the same as for 37: CHORUSFLANGER.”  
However, the Flanger Balance parameter adjusts the volume  
Fe e d b a ck (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.  
balance between the direct sound and the flanger sound.  
fig.2-46  
Balance D  
L in  
L out  
Ba la n ce (Fla n g e r Ba la n ce ) #  
Balance W  
Chorus  
Feedback  
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.  
Balance W  
Flanger  
R in  
R out  
Balance D  
Output  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
3 8 : CHO RUS/ DELAY  
This effect connects a chorus and a delay in parallel. The  
parameters are the same as for 35: CHORUSDELAY.”  
However, the Delay Balance parameter adjusts the volume  
balance between the direct sound and the delay sound.  
fig.2-44  
Balance D  
L in  
L out  
Balance W  
Chorus  
Feedback  
Balance W  
Delay  
R in  
R out  
Balance D  
3 9 : FLAN GER/ DELAY  
This effect connects a flanger and a delay in parallel. The  
parameters are the same as for 36: FLANGERDELAY.”  
However, the Delay Balance parameter adjusts the volume  
balance between the direct sound and the delay sound.  
fig.2-45  
Balance D  
L in  
L out  
Balance W  
Flanger  
Feedback  
Feedback  
Balance W  
Delay  
R in  
R out  
Balance D  
6 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                 
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
direct sound.  
4 1 :STEREO PHASER  
This is a stereo phaser. With the Step effects, you can also  
make stepped changes in the pitch of sounds to which the  
Step Rate  
Phaser effect is applied.  
fig.2-51  
Sw itch  
This setting determines whether the pitch is changed in a  
stepped fashion (ON) or not (OFF).  
2-Band  
EQ  
L in  
L out  
R out  
Phaser  
Phaser  
Mix  
Mix  
Ra te (Ste p Ra te ) #  
Adjust the frequency of pitch change.  
2-Band  
EQ  
R in  
EQ Gain  
Lo w (Lo w Ga in )  
Phaser  
Adjust the low frequency gain (amount of boost or cut).  
Ty p e (Ph a se r Ty p e )  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Selects the type of Phaser.  
Type 2 adds more of the Phaser effect to the high frequencies  
than Type 1.  
Hig h (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Mo d e  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Selects the number of stages in the phaser (4/ 8-STAGE).  
Po la rity  
Output  
Selects whether the left and right phase of the modulation  
will be the same or the opposite.  
Le ve l (O u tp u t Le ve l)  
INVERSE:The left and right phase will be opposite. When  
Adjust the output level.  
using a mono source, this spreads the sound.  
SYNCHRO:The left and right phase will be the same. Select  
4 2 :KEYSYN C FLAN GER  
this when inputting a stereo source.  
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.  
Ma n u a l #  
Adjusts the center frequency to which the phase effect is  
applied.  
This parameter lets your playing dynamics on the keyboard  
control the flanger effect.  
fig.2-52  
Ra te (Ph a se r Ra te ) #  
2-Band  
EQ  
L in  
Adjust the frequency of modulation.  
L out  
Flanger  
De p th (Ph a se r De p th )  
Feedback  
Feedback  
Adjust the depth of modulation.  
Re so n a n ce (Ph a se r Re so n a n ce )  
Flanger  
2-Band  
EQ  
Adjust the amount of feedback for the phaser. Higher  
settings will give the sound a stronger character.  
R in  
R out  
Flanger  
X-Fe e d b a ck (Cro ss Fe e d b a ck Le ve l)  
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.  
PrDly (Pre De la y Tim e )  
Adjust the time delay from the original sound until the  
flanger sound is heard.  
Ra te (LFO Ra te ) #  
Mix Le ve l  
Adjust the modulation frequency of the flanger sound.  
Adjust the volume of the phase-shifted sound, relative to the  
6 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
De p th (LFO De p th )  
EQ Gain  
Adjust the modulation depth of the flanger sound.  
Lo w (Lo w Ga in )  
Adjust the low frequency range gain (amount of boost or  
cut).  
Fb k #  
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.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Hig h (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Ph a se  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Adjust the spaciousness of the flanger sound.  
Filter  
Balance  
Ty p e  
Ba la n ce #  
OFF:A filter will not be used.  
Adjusts the volume balance between the direct sound and  
the flanger sound.  
LPF:he frequency region above the Cutoff Freq setting 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 flanger sound  
will be output.  
HPF:The frequency region below the Cutoff Freq setting will  
be cut.  
Cu to ff (Cu to ff Fre q u e n cy )  
Output  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Le ve l (O u tp u t Le ve l) 0 1 2 7  
Adjust the output level.  
Step Rate  
4 3 :FO RMAN T FILTER  
Sw itch  
This adds a vowel character to the sound, making it similar  
to a human voice.  
This setting determines whether the pitch is changed in a  
stepped fashion (ON) or not (OFF).  
L in  
L out  
Pan L  
Ra te (Ste p Ra te ) #  
2-Band  
EQ  
Overdrive  
Formant  
Adjust the frequency of pitch change.  
Pan R  
R out  
R in  
Keysync  
Sw itch (Ke y sy n c Sw itch )  
Overdrive  
Determines whether the Flanger LFO is reset according to the  
input sound (ON) or not (OFF).  
Sw itch  
Determines whether the Overdrive is reset according to the  
input sound (ON) or not (OFF).  
Thre (Keysync Threshold)  
Adjust the volume level for which reset will be applied.  
Drive  
Th re s (Ke y sy n c Th re s)  
Turns Drive on/ off.  
Sets the LFO phase when the LFO is reset.  
Specifies the depth of distortion. The volume will change  
together with the degree of distortion.  
Ph a se (Ke y sy n c Ph a se )  
Sets the LFO phase when the LFO is reset.  
Filter  
Vo w e l 1 , 2  
Selects the vowel. The left setting is the vowel 1. The right  
6 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
fig.2-54  
setting is the vowel 2.  
L in  
L out  
R out  
Ring Mod  
Ring Mod  
2-Band EQ  
2-Band EQ  
Ra te  
Sets the frequency at which the two vowels will be switched.  
R in  
De p th  
Ring Modulator  
Sets the effect depth.  
Fre q (Fre q u e n cy ) #  
Ma n u a l  
Sets the frequency at which modulation will be applied.  
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.  
Mo d u la to r (Mo d u la to r So u rce )  
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.  
Keysync  
Mo d u la to r Mo n ito r  
Sw itch (Ke y sy n c Sw itch )  
Determines whether the input sound used as the modulator  
is output (ON) or not (OFF).  
Determines whether the LFO for switching the vowels is  
reset according to the input sound (ON) or not (OFF).  
Se n s #  
Th re s (Ke y sy n c Th re sh o ld )  
Sets the amount of frequency modulation applied.  
Specifies the volume level for which reset will be applied.  
Po la rity  
EQ Gain  
Determines whether the frequency modulation moves  
towards higher frequencies (UP) or lower frequencies  
(DOWN).  
Lo w (Lo w Ga in )  
Specifies the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
EQ Gain  
Lo w (Lo w Ga in )  
Hig h (Hig h Ga in )  
Specifies the low frequency gain (amount of boost or cut).  
Specifies the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Hig h (Hig h Ga in )  
Output  
Specifies the high frequency gain (amount of boost or cut).  
Le ve l (O u tp u t Le ve l)  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Specifies the output volume.  
Pa n (O u tp u t Pa n )  
Balance  
Specifies the stereo location of the output sound. L64 is far  
left, 0 is center, and 63R is far right.  
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 the effect sound will  
be output.  
4 4 :RIN G MO DULATO R  
Ring Modulator is an effect which applies amplitude  
modulation (AM) to the input signal, producing bell-like  
sounds.  
You can also change the modulation frequency according to  
the volume of the sound input to the effects device.  
6 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Output  
Level  
Le ve l (O u tp u t Le ve l)  
1 (Le ve l 1 )  
Adjust the output level.  
Adjust the output level of delay 1.  
2 (Le ve l 2 )  
4 5 :MULTI TAP DELAY  
Adjust the output level of delay 2.  
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  
3 (Le ve l 3 )  
Adjust the output level of delay 3.  
sound.  
fig.2-55  
4 (Le ve l 4 )  
Balance D  
2-Band  
Adjust the output level of delay 4.  
L in  
L out  
EQ  
Feed  
back  
Delay 1  
Delay 3  
Balance W  
Pan  
Multi Tap Delay  
Delay 4  
1 (O u tp u t Pa n 1 )  
Balance W  
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.  
Delay 2  
2-Band  
EQ  
R in  
R out  
Balance D  
2 (O u tp u t Pa n 2 )  
Delay  
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.  
1 (De la y Tim e 1 )  
Adjust the delay time from the original sound until the delay  
1 sound is heard.  
3 (O u tp u t Pa n 3 )  
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.  
2 (De la y Tim e 2 )  
Adjust the delay time from the original sound until the delay  
2 sound is heard.  
4 (O u tp u t Pa n 4 )  
Sets the stereo position of the delay sound (Delay 4). A  
setting of L64 is far left, 0 is center, and 63R is far right.  
3 (De la y Tim e 3 )  
Adjust the delay time from the original sound until the delay  
3 sound is heard.  
EQ Gain  
Lo w (Lo w Ga in )  
4 (De la y Tim e 4 )  
Adjust the low frequency gain (amount of boost or cut).  
Adjust the delay time from the original sound until the delay  
4 sound is heard.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Fe e d b a ck #  
Hig h (Hig h Ga in )  
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 high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
HF Da m p  
Balance  
Adjust the frequency at which the high frequency range of  
the delayed sound returned to the input will be cut.  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the source sound and the  
effect sound.  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
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 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )  
Output  
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 (O u tp u t Le ve l)  
Adjust the output level.  
Threshold  
4 6 :REVERSE DELAY  
Th re sh (Th re sh o ld Le ve l)  
Reverse Delay is a delay effect that adds the reverse of the  
Specify the volume level at which the reverse delay will  
begin to apply.  
input sound as the delay sound.  
fig.2-56  
2-Band  
EQ  
L out  
L in  
Feedback  
D1  
1
EQ Gain  
D2  
Rev. Delay  
Delay  
2
3
Lo w (Lo w Ga in )  
D3  
D4  
Adjust the low frequency gain (amount of boost or cut).  
2-Band  
EQ  
R in  
R out  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Delay  
Hig h (Hig h Ga in )  
1 (De la y Tim e 1 )  
Adjust the high frequency gain (amount of boost or cut).  
Adjust the delay time from the original sound until the delay  
1 sound is heard.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
2 (De la y Tim e 2 )  
Balance  
Adjust the delay time from the original sound until the delay  
2 sound is heard.  
Ba la n ce (Effe ct Ba la n ce ) #  
3 (De la y Tim e 3 )  
Sets the volume balance between the source sound and the  
effect sound.  
Adjust the delay time from the original sound until the delay  
3 sound is heard.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
4 (De la y Tim e 4 )  
Adjust the delay time from the original sound until the delay  
4 sound is heard.  
Output  
Le ve l (O u tp u t Le ve l)  
Feedback  
Adjust the output level.  
Fe e d b a ck 1 :4 #  
Adjust the proportion (%) of the delay 1 and 4 sound that is  
fed back into the effect. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
HF Damp  
HF Da m p 1 :4  
Adjust the frequency above which delayed sound (Delay 1,  
4) fed back to the delay input will be cut.  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
Le ve l 1 :2 :3  
Adjust the output level of delay 1, 2 and 3.  
6 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
4 7 :SHUFFLE DELAY  
EQ Gain  
Shuffle Delay adds a shuffle to the delay sound, giving the  
Lo w (Lo w Ga in )  
sound a bouncy delay effect with a swing feel.  
fig.2-57  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
2-Band  
EQ  
L out  
R out  
L in  
Feedback  
Delay  
Delay 1  
Delay 2  
1
2
Hig h (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
2-Band  
EQ  
R in  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Delay  
Balance  
Tim e (De la y Tim e ) #  
Adjust the delay time from the original sound until the delay  
sound is heard.  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the source sound and the  
effect sound.  
Sh u ffle Ra te #  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Sets the 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.  
Output  
Acce le ra tio n  
Le ve l (O u tp u t Le ve l)  
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.  
Adjust the output level.  
4 8 :3 D DELAY  
This applies a 3D effect to the delay sound. The delay sound  
Fe e d b a ck #  
will be positioned 90 degrees left and 90 degrees right.  
fig.2-58  
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.  
2-Band  
EQ  
L
L out  
Level  
3D Delay L  
3D Delay C  
HF Da m p  
3D Delay R  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut.  
2-Band  
EQ  
R
R out  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
Delay  
Ce n te r (De la y Tim e Ce n te r)  
Pan  
Adjust the delay time from the original sound until the  
center delay sound is heard.  
A (Pa n A)  
Adjust the pan of the delay A sound.  
Le ft (De la y Tim e Le ft)  
B (Pa n B)  
Adjust the delay time from the original sound until the left  
delay sound is heard.  
Adjust the pan of the delay B sound.  
Rig h t (De la y Tim e Rig h t)  
Balance  
Adjust the delay time from the original sound until the right  
delay sound is heard.  
Ba la n ce (Le ve l Ba la n ce )  
Sets the balance for the levels of the delay A and the delay B.  
7 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
HF Da m p  
Le ve l (O u tp u t Le ve l)  
Adjust the frequency above which delayed sound fed back to  
the delay input will be cut.  
Adjust the output level.  
4 9 :3 VO ICE PITCH SHIFTER  
If you do not want to cut the high frequencies of the  
feedback, set this parameter to BYPASS.  
A Pitch Shifter shifts the pitch of the original sound. This 3-  
voice pitch shifter has three pitch shifters, and can add three  
Fe e d b a ck #  
pitch shifted sounds to the original sound.  
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.  
fig.2-58  
L out  
L
Pitch 1  
Pitch 2  
1
2
Delay Level  
Pitch 3  
3
Ce n te r (Le ve l Ce n te r)  
R
R out  
Adjust the volume of the left delay sound.  
Pch Coarse  
Le ft (Le ve l Le ft)  
Adjust the volume of the center delay sound.  
1 :2 :3 (Co a rse Pitch 1 :2 :3 ) # 1  
Specify the pitch in semitones for pitch shift 13.  
Rig h t (Le ve l Rig h t)  
Adjust the volume of the right delay sound.  
Pch Fine  
1 :2 :3 (Fin e Pitch 1 :2 :3 ) # 1  
EQ Gain  
Make fine adjustments to the pitch of the pitch shift 13 in 2-  
Lo w (Lo w Ga in )  
cent steps.  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Pitch Shift  
Mo d e (Pitch Sh ifte r Mo d e )  
Hig h (Hig h Ga in )  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Fb k 1 :2 :3 (Fe e d b a ck Le ve l 1 :2 :3 )  
Adjust the proportion (%) of the pitch shift 13 sound that is  
fed back into the effect.  
Balance  
Pre De la y 1 :2 :3 (Pre De la y Tim e 1 :2 :3 )  
Ba la n ce (Effe ct Ba la n ce ) #  
Specify the time delay from the original sound until the pitch  
Sets the volume balance between the source sound and the  
effect sound.  
shift 13 sound is heard.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
Balance  
Ba la n ce (Effe ct Ba la n ce )  
Sets the volume balance between the source sound and the  
effect sound.  
Output  
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.  
O u t (O u tp u t Mo d e )  
Adjust the method that will be used to hear the sound that is  
output to the OUTPUT jacks. The optimal 3D effect will be  
achieved if you select SPEAKER when using speakers, or  
PHONES when using headphones.  
Le ve l (O u tp u t Le ve l)  
Specifies the output volume.  
7 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )  
EQ Gain  
Specify the stereo location of the pitch shift 13 sound. L64 is  
Lo w (Lo w Ga in )  
far left, 0 is center, and 63R is far right.  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Output  
Le ve l (O u tp u t Le ve l)  
Hig h (Hig h Ga in )  
Adjust the output level.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
5 0 :LO FI CO MPRESS  
This is an effect that intentionally degrades the sound  
Balance  
quality.  
fig.2-60  
Ba la n ce (Effe ct Ba la n ce ) #  
L in  
L out  
Pan L  
Sets the volume balance between the source sound and the  
effect sound.  
2-Band  
EQ  
Lo-Fi  
Pan R  
R 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.  
R out  
Lo-Fi  
Ty p e (Lo Fi Ty p e )  
Output  
Lowers the audio quality. The audio quality will worsen as  
this setting is increased.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
Pre Filter  
Pa n (O u tp u t Pa n )  
Ty p e (Pre Filte r Ty p e )  
Adjust the stereo location of the output sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
Adjust the type of filter that will be applied before the sound  
passes through the Lo-Fi effect.  
5 1 :LO FI N O ISE  
Post Filter 1  
In addition to a Lo-Fi effect, this effect also generates various  
types of noise, such as radio noise and disc noise.  
fig.2-61  
Ty p e (Po st Filte r 1 Ty p e )  
Adjust the type of filter that will be applied after the sound  
passes through the Lo-Fi effect.  
L in  
L out  
Pan L  
2-Band  
EQ  
Lo-Fi  
Pan R  
Post Filter 2  
R in  
R out  
Radio  
Noise Gen.  
Ty p e (Po st Filte r 2 Ty p e )  
OFF: A post filter 2 will not be used.  
Lo-Fi  
LPF: The frequency region above the Cutoff Freq setting will  
Ty p e (Lo Fi Ty p e )  
be cut.  
Lowers the audio quality. The audio quality will worsen as  
this setting is increased.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Post Filter  
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.  
Ty p e (Po st Filte r Ty p e )  
OFF:A filter will not be used.  
LPF:The frequency region above the Cutoff Freq setting will  
be cut.  
7 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
HPF:The frequency region below the Cutoff Freq setting will  
Pa n (O u tp u t Pa n )  
be cut.  
Adjust the stereo position of the delay sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
Cu to ff (Cu to ff Fre q u e n cy )  
Adjust the frequency at which the filter will begin cutting.  
5 2 :SPEAKER SIMULATO R  
Speaker Simulator is an effect that simulates the speaker type  
Radio Noise  
and mic settings used to record the speaker sound.  
fig.2-62  
De tu n e #  
Simulates the tuning noise of a radio. As this value is raised,  
the tuning will drift further.  
L in  
L out  
R out  
Speaker  
Speaker  
Le ve l  
R in  
Adjust the volume of the radio noise.  
Speaker  
Disc Noise  
Ty p e (Sp e a k e r Ty p e )  
Ty p e (Disc N o ise Ty p e )  
Select the type of speaker. The specifications of each type are  
as follows. The speaker column indicates the diameter of  
each speaker unit (in inches) and the number of units.  
Selects the type of record noise. The frequency at which the  
noise is heard will depend on the selected type.  
LPF  
Type  
Cabinet  
Speaker Microphone  
Adjust the cutoff frequency of the low pass filter that is  
applied to the record noise.  
SMALL 1  
small open-back enclosure 10  
small open-back enclosure 10  
dynamic mic  
dynamic mic  
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  
Le ve l (Disc N o ise Le ve l)  
JC-120  
Adjust the volume of the record noise.  
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  
EQ Gain  
Lo w (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
large sealed enclosure  
large sealed enclosure  
large sealed enclosure  
Hig h (Hig h Ga in )  
METAL STACK large double stack  
Adjust the high frequency gain (amount of boost or cut).  
2-STACK  
3-STACK  
large sealed enclosure  
large sealed enclosure  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Mic  
Balance  
Se ttin g (Mic Se ttin g )  
Ba la n ce (Effe ct Ba la n ce ) #  
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.  
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 #  
Adjust the volume of the microphone.  
Dire ct Le ve l #  
Output  
Adjust the volume of the direct sound.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
7 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Output  
5 4 :DISTO RTIO N 2  
This is a distortion effect that provides heavy distortion.  
fig.2-64  
Le ve l (O u tp u t Le ve l) #  
Adjust the output level.  
L in  
L out  
Pan L  
Amp  
Simulator  
2-Band  
EQ  
Distortion  
5 3 :O VERDRIVE 2  
Pan R  
R in  
R out  
This is an overdrive that provides heavy distortion.  
fig.2-63  
Distortion  
L in  
L out  
Pan L  
Amp  
Simulator  
2-Band  
EQ  
Drive #  
Overdrive  
Pan R  
Adjust the amount of distortion. The volume will change  
together with the degree of distortion.  
R in  
R out  
Overdrive  
To n e  
Drive #  
Adjust the sound quality of the Overdrive effect.  
Adjust the amount of distortion. The volume will change  
together with the degree of distortion.  
Amp Simulator  
Sw itch  
To n e  
Turns the Amp Simulator on/ off.  
Adjust the sound quality of the Overdrive effect.  
Ty p e (Am p Sim u la to r Ty p e )  
Ajust the type of guitar amp.  
SMALL : small amp  
Amp Simulator  
Sw itch  
Turns the Amp Simulator on/ off.  
BUILT-IN : single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
Ty p e (Am p Sim u la to r Ty p e )  
Ajust the type of guitar amp.  
SMALL : small amp  
EQ Gain  
BUILT-IN : single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
Lo w (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
EQ Gain  
Lo w (Lo w Ga in )  
Hig h (Hig h Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Hig h (Hig h Ga in )  
Output  
Adjust the high frequency gain (amount of boost or cut).  
Le ve l (O u tp u t Le ve l)  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Adjust the output level.  
Pa n (O u tp u t Pa n ) #  
Output  
Adjust the stereo location of the output sound. A setting of  
L64 is far left, 0 is center, and 63R is far right.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
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.  
7 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
5 5 :STEREO CO MPRESSO R  
5 6 :STEREO LIMITER  
fig.2-65  
fig.2-66  
L in  
L out  
R out  
L in  
L out  
R out  
Compressor  
Compressor  
2-Band EQ  
2-Band EQ  
Limiter  
Limiter  
2-Band EQ  
2-Band EQ  
R in  
R in  
Compressor  
Limiter  
Atta ck  
Th re sh o ld (Th re sh o ld Le ve l)  
Adjust the attack time of an input sound.  
Adjust the volume at which compression will begin.  
Su sta in  
Ra tio (Co m p re ssio n Ra tio )  
Adjust the time over which low level sounds are boosted  
until they reach the specified volume.  
Adjust the compression ratio.  
Re le a se (Re le a se Tim e )  
Po st Ga in  
Adjust the time from when the volume falls below the  
Threshold Level until compression is no longer applied.  
Adjust the output gain.  
Po st Ga in  
EQ Gain  
Adjust the output gain.  
Lo w (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
EQ Gain  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Lo w (Lo w Ga in )  
Adjust the low frequency gain.  
Hig h (Hig h Ga in )  
Hig h (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Adjust the high frequency gain.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Output  
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.  
7 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
5 7 :GATE  
Balance  
The Gate effect cuts the reverbs delay according to the  
volume of the sound input to the effects device. Use this in  
situations such as when you want to force a decrease in the  
Ba la n ce (Effe ct Ba la n ce ) #  
Sets the volume balance between the source sound and the  
effect sound.  
decay 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.  
fig.2-67  
L in  
L out  
R out  
Gate  
Gate  
R in  
Output  
Le ve l (O u tp u t Le ve l)  
Gate  
Adjust the output level.  
Mo d e  
GATE (Gate Reverb):  
5 8 :SLICER  
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.  
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  
DUCK (Ducking Reverb):  
sustain-type sounds.  
fig.2-68  
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.  
L in  
L out  
R out  
Slicer  
Slicer  
R in  
Atta ck Tim e  
Level 1–4  
Sets the time it takes the gate fully opens after being  
triggered.  
Be a t 1 4  
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.  
Ho ld Tim e  
Sets the time it takes the gate starts closing after the instant  
the source sound goes under the threshold level.  
Rate  
Re le a se Tim e  
Ra te #  
Sets the time it takes the gate fully closes after passes by the  
hold time.  
Determines the cycle for one measure.  
Gate Key  
Attack  
Ke y  
Atta ck  
Selects the input of the sound that acts as the trigger closing  
the gate.  
Sets the speed at which the volume changes between beats.  
The higher the value, the faster the volume changes.  
When set to SOURCE, the gate is closed by the sound input  
to the Multi-effects.  
Reset  
Trig g e r #  
Th re sh o ld (Ke y Th re sh o ld )  
Selects the input of the sound that acts as the trigger resetting  
the one-measure pattern.  
Sets the volume level at which the gate begins to close.  
Mo n ite r (Ke y Mo n ito r)  
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. When RESET is selected as the  
MFX Control parameter, you can then use an external MIDI  
device to reset the pattern.  
Determines whether the sound used as the gate trigger is  
output (ON) or not (OFF).  
7 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Th re sh o ld (Re se t Th re sh o ld )  
Anti Phase Low  
Sets the volume level at which the reset begins.  
Sw itch (An ti Ph a se Lo w Sw itch )  
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.  
Mo n ito r (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.  
Le ve l (An ti Ph a se Lo w Le ve l)  
Beat Change  
Adjusting these levels for certain frequencies allows you to  
lend emphasis to specific parts. (This is effective only for  
stereo source.)  
Mo d e  
Sets the manner in which the volume changes as one beat  
progresses to the next.  
Anti Phase Mid  
LEGATO:The change in volume from one beats level to the  
next remains unaltered. If the level of a following beat is the  
same as the one preceding it, then there is no change in  
volume.  
Sw itch (An ti Ph a se Mid d le Sw itch )  
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.  
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.  
Le ve l (An ti Ph a se Mid d le Le ve l)  
Adjusting these levels for certain frequencies allows you to  
lend emphasis to specific parts. (This is effective only for  
stereo source.)  
Sh u ffle #  
Sets the timing of volume changes in levels for even-  
numbered Beats (Beat 1-2/ Beat 1-4/ Beat 2-2/ ...). The higher  
the value selected, the later the timing with which the beat  
progresses.  
Low Boost  
Sw itch (Lo w Bo o ste r Sw itch )  
Output  
Adjust whether Low Booster will be used (ON) or not (OFF).  
This emphasizes the bottom to create a heavy bass sound.  
Le ve l (O u tp u t Le ve l)  
Increasing this value gives you a heavier low end.  
(Depending on the Isolator and filter settings this effect may  
be hard to distinguish.)  
Adjust the output level.  
5 9 :ISO LATO R  
Le ve l (Lo w Bo o ste r Le ve l)  
An equalizer which cuts the volume greatly, allowing you to  
add a special effect to the sound by cutting the volume in  
Adjust the level.  
varying ranges.  
Output  
fig.2-69  
L in  
L out  
R out  
Isolater  
Isolater  
Low Boost  
Low Boost  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
R in  
6 0 :3 D CHO RUS  
Bo o st/ Cu t  
This applies a 3D effect to the chorus sound. The chorus  
Low (Level Low) #  
Mid (Level Middle) #  
High (Level High) #  
sound will be positioned 90 degrees left and 90 degrees right.  
fig.2-70  
2-Band  
EQ  
L
L out  
R out  
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.  
3D Chorus  
2-Band  
EQ  
R
7 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
output to the OUTPUT jacks. The optimal 3D effect will be  
achieved if you select SPEAKER when using speakers, or  
PHONES when using headphones.  
Chorus  
Ra te (LFO Ra te ) #  
Adjust the modulation frequency of the chorus sound.  
Le ve l (O u tp u t Le ve l)  
De p th (LFO De p th )  
Adjust the output level.  
Adjust the modulation depth of the chorus sound.  
6 1 :3 D FLAN GER  
Ph a se  
This applies a 3D effect to the flanger sound. The flanger  
Adjust the spaciousness of the chorus sound.  
sound will be positioned 90 degrees left and 90 degrees right.  
fig.2-71  
Pre De la y (Pre De la y Tim e )  
2-Band  
EQ  
L
L out  
R out  
Adjust the delay time from the original sound until when the  
chorus sound is heard.  
3D Flanger  
2-Band  
EQ  
R
Filter  
Ty p e  
Flanger  
OFF:A filter will not be used.  
Ra te (LFO Ra te ) #  
LPF:The frequency region above the Cutoff Freq setting will  
Adjust the modulation speed of the flanger sound.  
be cut.  
HPF:The frequency region below the Cutoff Freq setting will  
De p th (LFO De p th )  
be cut.  
Adjust the modulation depth of the flanger sound.  
Cu to ff (Cu to ff Fre q u e n cy )  
Fe e d b a ck #  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
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.  
EQ Gain  
Lo w (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Ph a se  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Adjust the spaciousness of the flanger sound.  
PrDly (Pre De la y Tim e )  
Hig h (Hig h Ga in )  
Adjust the time delay from the direct sound until the flanger  
sound is heard.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Filter  
Ty p e  
Balance  
OFF:No filter is used.  
Ba la n ce #  
LPF:The frequency region above the Cutoff Freq setting will  
Adjust the volume balance between the original sound and  
the flanger sound.  
be cut.  
HPF:The frequency region below the Cutoff Freq setting will  
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.  
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.  
Output  
O u t (O u tp u t Mo d e )  
Adjust the method that will be used to hear the sound that is  
7 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Step Rate  
Tremolo  
Sw itch (Ste p Ra te Sw itct)  
Mo d W a ve (Mo d u la tio n W a ve )  
Determines whether the pitch is changed in a stepped  
fashion (ON) or not (OFF).  
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.  
Ste p Ra te (Ste p Ra te ) #  
And adjust the rate at which the pitch will change.  
The teeth in SAW1 and SAW2 point at opposite directions.  
fig.2-72a  
EQ Gain  
Saw1  
Saw2  
Lo w (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Ra te #  
Adjust the frequency (speed) of the change.  
Hig h (Hig h Ga in )  
De p th #  
Adjust the high frequency gain (amount of boost or cut).  
Sets the depth to which the effect is applied.  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
EQ Gain  
Balance  
Lo w (Lo w Ga in )  
Adjust the low frequency gain (amount of boost or cut).  
Ba la n ce #  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
Adjust the volume balance between the original sound and  
the flanger sound.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the flanger sound  
will be output.  
Hig h (Hig h Ga in )  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Output  
Output  
O u tp u t (O u tp u t Mo d e )  
Adjust the method that will be used to hear the sound that is  
output to the OUTPUT jacks. The optimal 3D effect will be  
achieved if you select SPEAKER when using speakers, or  
PHONES when using headphones.  
Le ve l (O u tp u t Le ve l)  
Adjust the output level.  
6 3 :AUTO PAN  
Le ve l (O u tp u t Le ve l)  
The Auto Pan effect cyclically modulates the stereo location  
Adjust the output level.  
of the sound.  
fig.2-73  
L in  
L out  
R out  
Auto Pan  
Auto Pan  
2-Band EQ  
2-Band EQ  
6 2 :TREMO LO  
Tremolo cyclically modulates the volume to add tremolo  
effect to the sound.  
R in  
fig.2-72  
L in  
L out  
R out  
Tremolo  
Tremolo  
2-Band EQ  
2-Band EQ  
Auto Pan  
Mo d W a ve (Mo d u la tio n W a ve )  
R in  
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.  
7 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
The teeth in SAW1 and SAW2 point at opposite directions.  
fig.2-73a  
INVERSE: The left and right phase will be opposite. When  
using a mono source, this spreads the sound.  
Saw1  
Saw2  
SYNCHRO: The left and right phase will be the same. Select  
this when inputting a stereo source.  
Ma n u a l #  
Adjusts the center frequency to which the phase effect is  
applied.  
Ra te #  
Adjust the frequency (speed) of the change.  
Ra te (Ph a se r Ra te ) #  
De p th #  
Specifies the frequency of modulation.  
Sets the depth to which the effect is applied.  
De p th (Ph a se r De p th )  
EQ Gain  
Adjusts the depth of modulation.  
Lo w (Lo w Ga in )  
Re so n a n ce (Ph a se r Re so n a n ce )  
Adjust the low frequency gain (amount of boost or cut).  
Adjusts the amount of feedback for the phaser. Higher  
settings will give the sound a stronger character.  
Positive (+) settings will emphasize (boost) the low  
frequency range.  
X-Fe e d b a ck (Cro ss Fe e d b a ck Le ve l)  
Hig h (Hig h Ga in )  
Adjusts 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.  
Adjust the high frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize (boost) the high  
frequency range.  
Output  
Mix Le ve l (Mix Le ve l)  
Le ve l (O u tp u t Le ve l)  
Specifies the volume of the phase-shifted sound, relative to  
the direct sound.  
Adjust the output level.  
Step Rate  
6 4 : STEREO PHASER 2  
This is a stereo phaser.  
fig.02-064m.e  
Sw itch (Ste p Sw itch )  
Determines whether the pitch is changed in a stepped  
fashion (ON) or not (OFF).  
2-Band  
EQ  
L in  
L out  
R out  
Phaser  
Phaser  
Mix  
Mix  
Ra te (Ste p Ra te ) #  
Adjusts the rate (period) of pitch change.  
2-Band  
EQ  
R in  
EQ Gain  
Lo w (Lo w Ga in )  
Phaser  
Adjusts the gain of the low frequency range.  
Ty p e (Ph a se r Ty p e )  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Selects the type of Phaser.  
Type 2 adds more of the Phaser effect to the high frequencies  
than Type 1.  
Hig h (Hig h Ga in )  
Adjusts the gain of the high frequency range.  
Mo d e  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Selects the number of stages in the phaser (4/ 8/ 12/ 16).  
Po la rity  
Selects whether the left and right phase of the modulation  
will be the same or the opposite.  
8 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Output  
EQ Gain  
Le ve l (O u tp u t Le ve l)  
Lo w  
Adjusts the output level.  
Adjusts the gain of the low frequency range.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
6 5 : STEREO AUTO W AH  
This is a stereo auto wah.  
fig.02-065m.e  
Hig h  
Adjusts the gain of the high frequency range.  
L in  
L out  
R out  
Auto Wah  
Auto Wah  
2-Band EQ  
2-Band EQ  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
R in  
Output  
Auto Wah  
Le ve l (O u tp u t Le ve l)  
Filte r Ty p e  
Adjusts the output level.  
Selects the type of filter.  
LPF: The wah effect will be applied over a wide frequency  
range.  
6 6 : ST FO RMAN T FILTER (Ste re o  
Fo rm a n t Filte r)  
BPF: The wah effect will be applied over a narrow frequency  
range.  
This is a stereo formant filter.  
fig.02-066m.e  
L in  
L out  
R out  
Overdrive  
Overdrive  
Formant  
Formant  
2-Band EQ  
2-Band EQ  
Se n s #  
Adjusts the sensitivity with which the filter is controlled.  
R in  
Ma n u a l #  
Adjusts the center frequency from which the wah effect is  
applied.  
Overdrive  
Sw itch (Drive Sw itch )  
Pe a k  
Turns Drive on/ off.  
Adjusts the amount of the wah effect that will occur in the  
area of the center frequency.  
Drive #  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
Lower settings will cause the effect to be applied in a broad  
area around the center frequency. Higher settings will cause  
the effect to be applied in a more narrow range.  
Filter  
Ra te (LFO Ra te ) #  
Vo w e l1  
Adjusts the frequency of the modulation.  
Selects vowel 1.  
De p th (LFO De p th ) #  
Vo w e l2  
Adjusts the depth of the modulation.  
Selects vowel 2.  
Po la rity (Au to W a h Po la rity )  
Ra te #  
Sets the direction in which the frequency will change when  
the auto-wah filter is modulated. With a setting of Up, the  
filter will change toward a higher frequency. With a setting  
of Down, it will change toward a lower frequency.  
Sets the frequency at which the two vowels will be switched.  
De p th #  
Sets the effect depth.  
Ph a se #  
Ma n u a l #  
Sets the degree of phase shift of the left and right sounds  
when the wah effect is applied.  
Sets the point at which the two vowels will be switched.  
When set to 50, Vowels 1 and 2 are switched after the same  
8 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
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.  
Fe e d b a ck #  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
Ph a se #  
Sets the phase shift of the left and right sounds when the two  
vowels are switched.  
HF Da m p  
Adjusts the frequency above which delayed sound fed back  
to the delay input will be cut.  
Keysync  
If you do not want to damp the high frequencies, set this  
parameter to BYPASS.  
Sw itch (Ke y sy n c Sw itch )  
Determines whether the LFO for switching the vowels is  
reset according to the input sound (ON) or not (OFF).  
Level  
Th re s  
1 4 (De la y Le ve l 1 4 )  
Adjusts the volume level at which reset will be applied.  
Adjusts the output level of delay 1 4.  
EQ Gain  
Pan  
Lo w  
1 4 (O u tp u t Pa n 1 4 )  
Adjusts the gain of the low frequency range.  
Sets the stereo position of the delay sound (Delay 1 4). L64  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
is far left, 0 is center, and 63R is far right.  
EQ Gain  
Hig h  
Adjusts the gain of the high frequency range.  
Lo w (Lo w Ga in )  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Adjusts the gain of the low frequency range.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Output  
Hig h (Hig h Ga in )  
Le ve l (O u tp u t Le ve l)  
Adjusts the gain of the high frequency range.  
Adjusts the output level.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
6 7 : MULTI TAP DELAY 2  
This allows you to set even longer delay times (max. 3000  
Balance  
ms) for the Multi-Tap Delay function.  
fig.02-067m.e  
Ba la n ce (Effe ct Ba la n ce ) #  
Balance D  
2-Band  
Sets the volume balance between the direct sound and the  
effect sound.  
L in  
L out  
EQ  
Feed  
back  
Delay 1  
Delay 3  
Balance W  
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.  
Multi Tap Delay  
Delay 4  
Balance W  
Delay 2  
2-Band  
EQ  
R in  
R out  
Output  
Balance D  
Le ve l (O u tp u t Le ve l)  
Delay  
Adjusts the output level.  
1 4 (De la y Tim e 1 4 )  
Adjusts the delay time from the direct sound until the delay 1  
4sound is heard.  
8 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
6 8 : REVERSE DELAY 2  
EQ Gain  
This allows you to set even longer delay times (max. 1500  
Lo w (Lo w Ga in )  
ms) for the Multi-Tap Delay function.  
fig.02-068m.e  
Adjusts the gain of the low frequency range.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
2-Band  
EQ  
L out  
R out  
L in  
Feedback  
D1  
1
D2  
Rev. Delay  
Delay  
2
3
Hig h (Hig h Ga in )  
D3  
D4  
Adjusts the gain of the high frequency range.  
2-Band  
EQ  
R in  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Delay  
Balance  
1 4 (De la y Tim e 1 4 )  
Adjusts the delay time from the direct sound until the delay  
Ba la n ce (Effe ct Ba la n ce ) #  
1 4 sound is heard.  
Sets the volume balance between the direct sound and the  
effect sound.  
Feedback  
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.  
1 , 4 (Fe e d b a ck 1 , 4 ) #  
Adjusts the proportion (%) of the delay 1 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.  
Output  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
HF Damp  
6 9 : SHUFFLE DELAY 2  
1 , 4 (HF Da m p 1 , 4 )  
This allows you to set even longer delay times (max. 3000  
ms) for the Shuffle Delay function.  
fig.02-069m.e  
Adjusts the frequency above which delayed sound (delay 1,  
4) fed back to the delay input will be cut.  
2-Band  
EQ  
L out  
R out  
L in  
If you do not want to damp the high frequencies, set this  
parameter to BYPASS.  
Feedback  
Delay  
Delay 1  
Delay 2  
1
2
Level  
2-Band  
EQ  
R in  
1 3 (De la y Le ve l 1 3 )  
Sets the volume level of the delay sound (Delay 1 3).  
Delay  
Pan  
Tim e (De la y Tim e ) #  
Adjusts the delay time from the direct sound until the delay  
sound is heard.  
1 3 (O u tp u t Pa n 1 3 )  
Sets the stereo position of the delay sound (Delay 1). L64 is  
far left, 0 is center, and 63R is far right.  
Sh u ffle Ra te #  
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.  
Threshold  
Va lu e  
Specifies the volume level at which the reverse delay will  
begin to apply.  
Acce le ra tio n  
Adjusts the time over which the Delay Time will change  
from the current setting to a newly specified setting.  
8 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
fig.02-070m.e  
Fe e d b a ck #  
2-Band  
EQ  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
L
L out  
Level  
3D Delay L  
3D Delay C  
3D Delay R  
HF Da m p  
2-Band  
EQ  
R
R out  
Adjusts the frequency above which delayed sound fed back  
to the delay input will be cut.  
Delay  
If you do not want to damp the high frequencies, set this  
parameter to BYPASS.  
Ce n te r (De la y Tim e Ce n te r)  
Adjusts the delay time from the direct sound until the center  
delay sound is heard.  
Pan  
A, B (Pa n A, B)  
Le ft (De la y Tim e Le ft)  
Adjusts the pan of the delay A, B sound.  
Balance  
Adjust the delay time from the original sound until the left  
delay sound is heard.  
Ba la n ce (Le ve l Ba la n ce )  
Rig h t (De la y Tim e Rig h t)  
Sets the balance for the levels of the delay A and the delay B.  
Adjust the delay time from the direct sound until the right  
delay sound is heard.  
EQ Gain  
HF Da m p  
Lo w (Lo w Ga in )  
Adjusts the frequency above which delayed sound fed back  
to the delay input will be cut.  
Adjusts the gain of the low frequency range.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
If you do not want to damp the high frequencies, set this  
parameter to BYPASS.  
Hig h (Hig h Ga in )  
Fe e d b a ck #  
Adjusts the gain of the high frequency range.  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input. Positive (+) settings will return the  
signal to the input with the original phase, while negative (-)  
settings produce an inverted phase.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Balance  
Delay Level  
Ba la n ce (Effe ct Ba la n ce )  
Ce n te r (De la y Le ve l Ce n te r)  
Sets the volume balance between the direct sound and the  
effect sound.  
Adjusts the volume of the center delay 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 ft (De la y Le ve l Le ft)  
Adjusts the volume of the left delay sound.  
Rig h t (De la y Le ve l Rig h t)  
Output  
Adjusts the volume of the right delay sound.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
EQ Gain  
Lo w (Lo w Ga in )  
7 0 : 3 D DELAY 2  
Adjusts the gain of the low frequency range.  
This allows you to set even longer delay times (max. 3000  
ms) for the 3D Delay function.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
8 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Hig h (Hig h Ga in )  
Spread  
Adjusts the gain of the high frequency range.  
Va lu e  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Sets the rotary speaker stereo image. The higher the value  
set, the wider the sound is spread out.  
Balance  
Woofer  
Ba la n ce (Effe ct Ba la n ce ) #  
Slo w (W o o fe r Slo w Ra te )  
Sets the volume balance between the direct sound and the  
effect sound.  
Specifies the low-speed rotation speed of the woofer.  
Fa st (W o o fe r Fa st Ra te )  
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.  
Specifies the high-speed rotation speed of the woofer.  
Le ve l (W o o fe r Le ve l)  
Sets the volume of the woofer.  
Output  
O u t (O u tp u t Mo d e )  
Tra n s Up (W o o fe r Tra n sitio n Up )  
Specifies the method that will be used to reproduce 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.  
Sets the rate at which the woofer rotation speeds up when  
the rotation is switched from Slow to Fast. The higher the  
value, the faster the transition occurs.  
Tra n s Do w n (W o o fe r Tra n sitio n Do w n )  
Le ve l (O u tp u t Le ve l)  
Sets the rate at which the woofer rotation speeds up when  
the rotation is switched from Fast to Slow. The higher the  
value, the faster the transition occurs.  
Adjusts the output level.  
7 1 : RO TARY 2  
Tweeter  
This type provides modified response for the rotary speaker,  
with the low end boosted further.  
Slo w (Tw e e te r Slo w Ra te )  
This effect features the same specifications as the VK-7s  
Specifies the low-speed rotation speed of the tweeter.  
built-in rotary speaker.  
fig.02-071m.e  
Fa st (Tw e e te r Fa st Ra te )  
L in  
2-Band EQ  
2-Band EQ  
L out  
R out  
Specifies the high-speed rotation speed of the tweeter.  
Rotary  
Tw e e te r (Tw e e te r Le ve l)  
R in  
Specifies the volume of the tweeter.  
Tra n s Up (Tw e e te r Tra n sitio n Up )  
Rotary  
Sets the rate at which the tweeter rotation speeds up when  
the rotation is switched from Slow to Fast. The higher the  
value, the faster the transition occurs.  
Sp e e d #  
Switches the rotational speed of the rotating speaker.  
SLOW: The woofer rotates at the speed determined by the  
Woofer Speed Slow setting, and the tweeter rotates at the  
speed determined by the Tweeter Speed Slow setting.  
Tra n s Do w n (Tw e e te r Tra n sitio n Do w n )  
Sets the rate at which the tweeter rotation speeds up when  
the rotation is switched from Fast to Slow. The higher the  
value, the faster the transition occurs.  
FAST: The woofer rotates at the speed determined by the  
Woofer Speed Fast setting, and the tweeter rotates at the  
speed determined by the Tweeter Speed Fast setting.  
Bra k e #  
Switches the rotation of the rotary speaker.  
When this is turned off, the rotation will gradually stop.  
When it is turned on, the rotation will gradually resume.  
8 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
To n e  
EQ Gain  
Adjusts the sound quality of the Overdrive/ Distortion effect.  
Lo w (Lo w Ga in )  
Adjusts the gain of the low frequency range.  
Le ve l  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Adjusts the Overdrive/ Distortion output level.  
Amp Simulator  
Hig h (Hig h Ga in )  
Ty p e (Am p Ty p e )  
Adjusts the gain of the high frequency range.  
Selects the type of guitar amp.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
EQ Gain  
Output  
Lo w (EQ Lo w Ga in )  
Le ve l (O u tp u t Le ve l) #  
Adjusts the low-range gain of the equalizer.  
Adjusts the output level.  
Mid (EQ Mid Ga in )  
Adjusts the gain of the area specified by the EQ M Fq  
parameter and the EQ M Q parameter.  
7 2 : RO TARY MULTI  
This connects Overdrive/ Distortion (ODDS), 3-band  
equalizer (EQ), and Rotary (RT) effects in series.  
fig.02-072m.e  
Hig h (EQ Hig h Ga in )  
Adjusts the high-range gain of the equalizer.  
L in  
Overdrive/  
Distortion  
Amp  
Simulator  
3-Band EQ  
Mid  
R in  
Mid Fre q (EQ Mid Fre q u e n cy )  
Sets the center frequency for the equalizer mid-range.  
L out  
R out  
Mid Q (EQ Mid Q )  
Rotary  
Pan  
Adjusts the width of the area centered at the EQ M Fq setting  
in which the gain will be affected. Higher values of Q will  
result in a narrower area being affected.  
Sequence  
O D/ Dist (O ve rd rive / Disto rtio n Sw itch )  
Rotary  
Turns the Overdrive or Distortion on/ off.  
Sp e e d #  
Simultaneously switch the rotational speed of both the low-  
range and the high-range rotors.  
Am p Sim (Am p Sim u la to r Sw itch )  
Turns the Amp Simulator on/ off.  
Slow: Slow down the rotation to the specified speeds (RT L  
Slow parameter/ RT H Slow parameter values).  
3 Ba n d EQ (3 Ba n d EQ Sw itch )  
Turns the 3 Band EQ on/ off.  
Fast: Speed up the rotation to the specified speeds (RT L Fast  
parameter/ RT H Fast parameter values).  
Ro ta ry (Ro ta ry Sw itch )  
Se p a ra tio n  
Turns the Rotary on/ off.  
Adjusts the spatial spread of the rotary sound.  
Overdrive/Distortion  
Woofer  
Ty p e  
Slo w (Lo w Fre q u e n cy Slo w Ra te )  
Selects whether to use Overdrive or Distortion.  
Adjusts the speed of the low-range rotor for the slow-speed  
setting.  
Drive #  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
8 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
7 3 : KEYBO ARD MULTI  
Fa st (Lo w Fre q u e n cy Fa st Ra te )  
Adjusts the speed of the low-range rotor for the fast-speed  
setting.  
Keyboard Multi provides Ring Modulator (RM), Equalizer  
(EQ), Pitch Shifter (PS), Phaser (PH) and Delay (Dly) effects  
connected in series.  
Acce l (Lo w Fre q u e n cy Acce le ra tio n )  
Ring Modulator is an effect that applies amplitude  
Adjusts the time over which the rotation speed of the low-  
range rotor will change from slow-speed to fast-speed (or  
fast-speed to slow-speed) rotation. Lower values will require  
longer times.  
modulation (AM) to the input signal, producing bell-like  
sounds.  
fig.02-073m.e  
L in  
Ring Mod  
Ring Mod  
3-Band EQ  
3-Band EQ  
Le ve l (Lo w Fre q u e n cy Le ve l)  
Pitch  
Shifter  
Adjusts the volume of the low-range rotor.  
Feedback  
R in  
Tweeter  
Slo w (Hig h Fre q u e n cy Slo w Ra te )  
L out  
R out  
Feedback  
Delay  
Adjusts the speed of the high-range rotor for the slow-speed  
setting.  
Phaser  
Resonance  
Mix  
Fa st (Hig h Fre q u e n cy Fa st Ra te )  
Adjusts the speed of the high-range rotor for the fast-speed  
setting.  
Sequence  
Acce l (Hig h Fre q u e n cy Acce le ra tio n )  
Rin g Mo d (Rin g Mo d u ra to r Sw itch )  
Adjusts the time over which the rotation speed of the high-  
range rotor will change from slow-speed to fast-speed (or  
fast-speed to slow-speed) rotation. Lower values will require  
longer times.  
Turns the Ring Modulator on/ off.  
3 Ba n d EQ Sw (3 Ba n d EQ Sw itch )  
Turns the equalizer on/ off.  
Le ve l (RT Hig h Fre q u e n cy Le ve l)  
Pch Sh ift (Pitch Sh ifte r Sw itch )  
Adjusts the volume of the high-range rotor.  
Turns the Pitch Shifter on/ off.  
Ph a se r (Ph a se r Sw itch )  
Output  
Turns the Phaser on/ off.  
Le ve l (O u tp u t Le ve l)  
De la y (De la y Sw itch )  
Adjusts the output level.  
Turns the delay on/ off.  
Pa n (O u tp u t Pa n ) #  
* After turning the VALUE dial to select the effect, you can  
press [F1] or [F2] to rearrange the order in which effects are  
connected.  
Adjusts the stereo location of the output sound.  
Ring Modulator  
Fre q (RM Fre q u e n cy ) #  
Sets the frequency at which modulation will be applied.  
Ba la n ce (RM Ba la n ce ) #  
Adjusts the balance between the direct and the ring  
modulated sound.  
8 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
modulated.  
EQ Gain  
Ra te (Ph a se r Ra te ) #  
Lo w (EQ Lo w Ga in )  
Adjusts the frequency of modulation.  
Adjusts the low-range gain of the equalizer.  
De p th (Ph a se r De p th )  
Mid (EQ Mid Ga in )  
Specifies the depth of modulation.  
Adjusts the gain of the area specified by the EQ M Fq  
parameter and the EQ M Q parameter.  
Re so n a n ce (Ph a se r Re so n a n ce )  
Hig h (EQ Hig h Ga in )  
Adjusts the emphasis for the region around the center  
frequency specified by the PH Man parameter.  
Adjusts the high-range gain of the equalizer.  
Mix Le ve l(Ph a se r Mix )  
Mid (EQ Mid Fre q u e n cy )  
Adjusts the proportion by which the phase-shifted sound is  
combined with the direct sound.  
Sets the center frequency for the equalizer mid-range.  
Mid Q (EQ Mid Q )  
Adjusts the width of the area centered at the EQ M Fq setting  
in which the gain will be affected. Higher values of Q will  
result in a narrower area being affected.  
Delay  
Le ft Tim e (De la y Tim e Le ft)  
Adjusts the delay time from the original sound until the left  
delay sound is heard.  
Pitch Shifter  
Rig h t Tim e (De la y Tim e Rig h t)  
Mo d e (PS Sh ifte r Mo d e )  
Adjusts the delay time from the direct sound until the right  
delay sound is heard.  
Higher settings of this parameter will result in slower  
response, but steadier pitch.  
Fe e d b a ck (De la y Fe e d b a ck Le ve l)  
Co a rse Tu n e (PS Co a rse Pitch ) # *1  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input.  
Adjusts the pitch of the pitch-shifted sound in semitone steps  
(-2+1 octaves).  
HF Da m p  
Fin e Tu n e (PS Fin e Pitch ) # *1  
Adjusts the frequency above which sound fed back to the  
effect will be cut. If you do not want to damp the high  
frequencies, set this parameter to BYPASS.  
Makes fine adjustments to the pitch of the pitch shifted  
sound in 2-cent steps (-100+100 cents).  
De la y (PS Pre De la y )  
Ba la n ce (De la y Ba la n ce ) #  
Adjusts the time delay from when the direct sound begins  
until the pitch-shifted sound is heard.  
Adjusts the volume balance between the direct sound and  
the delay sound.  
Fe e d b a ck (PS Fe e d b a ck )  
Adjusts the proportion (%) of the processed sound that is fed  
back into the effect.  
Output  
Le ve l (O u tp u t Le ve l)  
Ba la n ce (PS Ba la n ce )  
Adjusts the output level.  
Adjusts the volume balance between the direct sound and  
the pitch shifted sound.  
* 1 In Realtime Control, the selected pitch is controlled with  
these parameters.  
Phaser  
Mo d e (Ph a se r Mo d e )  
Selects the number of stages in the phaser.  
Ma n u a l (Ph a se r Ma n u a l) #  
Sets the center frequency at which the phaser sound will be  
8 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Mix Le ve l (Ph a se r Mix )  
7 4 : RHO DES MULTI  
Adjusts the proportion by which the phase-shifted sound is  
combined with the direct sound.  
Rhodes Multi provides Enhancer (EH), Phaser (PH), Chorus  
or Flanger (CF), and Tremolo or Pan (TP) effects connected in  
series.  
fig.02-074m.e  
Ra te (Ph a se r Ra te ) #  
Specifies the frequency of modulation.  
L in  
Enhancer  
Enhancer  
Mix  
Mix  
Resonance  
Phaser  
De p th (Ph a se r De p th )  
Mix  
Adjusts the depth of modulation.  
R in  
Re so n a n ce (Ph a se r Re so n a n ce )  
Adjusts the emphasis for the region around the center  
frequency specified by the PH Man parameter.  
Tremolo/  
Pan  
L out  
Chorus/  
Flanger  
Chorus/Flanger  
Ty p e  
Feedback  
Selects either Chorus or Flanger.  
Chorus/  
Flanger  
Tremolo/  
Pan  
R out  
Ra te  
Specifies the rate of modulation.  
Sequence  
De p th  
En h a n ce r (En h a n ce r Sw itch )  
Specifies the depth of modulation.  
Turns the Enhancer on/ off.  
Fe e d b a ck (Fe e d b a ck Le ve l)  
Ph a se r (Ph a se r Sw itch )  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Turns the Phaser on/ off.  
CF Sw (CF Sw itch )  
Pre Dly (Pre De la y )  
Turns the chorus/ flanger on/ off.  
Adjusts the time from the direct sound until when the chorus  
or flanger sound is heard.  
TP Sw (TP Sw itch )  
Turns tremolo or pan on/ off.  
Ba la n ce #  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Enhancer  
Se n s (En h a n ce r Se n s) #  
Ty p e (Filte r Ty p e )  
Selects the type of filter.  
OFF: No filter is used.  
Adjusts the sensitivity of the enhancer.  
Mix Le ve l (En h a n ce r Mix Le ve l)  
Adjusts the proportion by which the overtones generated by  
the enhancer are combined with the direct sound.  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Phaser  
Mo d e (Ph a se r Mo d e )  
Cu to ff (Cu to ff Fre q u e n cy )  
Selects the number of stages in the phaser.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Ma n u a l (Ph a se r Ma n u a l) #  
Sets the center frequency at which the phaser sound will be  
modulated.  
8 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
En h a n ce r Sw (En h a n ce r Sw itch )  
Tremolo/Pan  
Turns the Enhancer on/ off.  
Ty p e  
* After turning the VALUE dial to select the effect, you can hold  
down [SHIFT] and press [F1] or [F2] to rearrange the order in  
which effects are connected.  
Selects either Tremolo or Pan.  
Mo d W a ve (Mo d u la tio n W a ve )  
Selects the way in which tremolo or pan will be modulated.  
Distortion  
Tri:  
The sound will be modulated like a triangle  
wave.  
Ty p e (Disto rtio n Ty p e )  
Sqr:  
The sound will be modulated like a square  
Specifies the type of the distortion.  
wave.  
MELLOW DRIVE: A soft, mellow distortion; somewhat dark  
sounding.  
Sin:  
The sound will be modulated like a sine wave.  
The sound will be modulated like a sawtooth  
Saw1,2:  
wave.  
OVERDRIVE: The classic sound of an overdriven tube amp.  
CRY DRIVE: Distortion with a high-frequency boost.  
The teeth in SAW1 and SAW2 point at opposite directions.  
MELLOW DIST: Sounds like the distortion youd get from a  
really big amp.  
Ra te (Mo d u la tio n Ra te ) #  
LIGHT DIST: A distortion with an intense, brilliant feel.  
Specifies the rate of modulation.  
FAT DIST: Boosted lows and highs gives this one a thick, fat  
sound.  
De p th (Mo d u la tio n De p th ) #  
Specifies the depth of modulation.  
FUZZ DIST: Like FAT DIST, but with even more distortion.  
Drive (Disto rtio n Drive ) #  
Output  
Adjusts the degree of distortion.  
Le ve l (O u tp u t Le ve l)  
Le ve l (Disto rtio n Le ve l)  
Adjusts the output level.  
Sets the distortion output level.  
7 5 : JD MULTI  
Phaser  
This allows the Distortion (DS), Phaser (PH), Spectrum (SP),  
and Enhancer (EH) effects to be connected in series in any  
Ma n u a l (Ph a se r Ma n u a l) #  
desired order.  
fig.02-075m.e  
Specifies the center frequency at which the sound is  
modulated.  
L in  
Distortion  
Spectrum  
Phaser  
Mix Le ve l #  
R in  
Specifies the volume of the phase-shifted sound, relative to  
the direct sound.  
L out  
R out  
Ra te (Ph a se r Ra te ) #  
Enhancer  
Specifies the frequency of modulation.  
De p th (Ph a se r De p th ) #  
SEQUENCE  
Adjusts the depth of modulation.  
Dist (Disto rtio n Sw itch )  
Re so n a n ce (Ph a se r Re so n a n ce ) #  
Turns the Distortion on/ off.  
Adjusts the amount of feedback for the phaser. Higher  
settings will give the sound a stronger character.  
Ph a se r (Ph a se r Sw itch )  
Turns the phaser on/ off.  
Spectrum  
Sp e ctru m (Sp e ctru m Sw itch )  
Ba n d W id th  
Turns the Spectrum on/ off.  
Specifies the range of all bands in which the level will be  
9 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
modified.  
Pre Filter  
2 5 0 Hz (2 5 0 Hz Ga in )  
Ty p e  
Specifies the gain (amount of boost or cut) at 250 Hz.  
Specifies the type of filter that will be applied before the  
sound passes through the Lo-Fi effect.  
5 0 0 Hz (5 0 0 Hz Ga in )  
Specifies the gain (amount of boost or cut) at 500 Hz.  
Post Filter 1  
1 0 0 0 Hz (1 0 0 0 Hz Ga in )  
Ty p e  
Specifies the gain (amount of boost or cut) at 1000 Hz.  
Specifies the type of filter that will be applied after the sound  
passes through the Lo-Fi effect.  
2 0 0 0 Hz (2 0 0 0 Hz Ga in )  
Specifies the gain (amount of boost or cut) at 2000 Hz.  
Post Filter 2  
4 0 0 0 Hz (4 0 0 0 Hz Ga in )  
Ty p e  
Specifies the gain (amount of boost or cut) at 4000 Hz.  
OFF: A post filter 2 will not be used.  
8 0 0 0 Hz (8 0 0 0 Hz Ga in )  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
Specifies the gain (amount of boost or cut) at 8000 Hz.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Enhancer  
Se n s (En h a n ce r Se n s)  
Cu to ff (Cu to ff Fre q u e n cy )  
Adjusts the sensitivity of the enhancer.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Mix Le ve l #  
Determines the proportion at which the overtones generated  
by the enhancer will be mixed with the original sound.  
EQ Gain  
Lo w (Lo w Ga in )  
Adjusts the gain of the low frequency range.  
Output  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
Hig h (Hig h Ga in )  
Pa n (O u tp u t Pa n )  
Adjusts the gain of the high frequency range.  
Adjusts the stereo location of the output sound.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
7 6 : STEREO LO FI CO MPRESS  
This is a stereo Lo-Fi compress. This is an effect that  
Balance  
intentionally degrades the sound quality.  
Ba la n ce #  
fig.02-076m.e  
L in  
L out  
R out  
Lo-Fi  
Lo-Fi  
2-Band EQ  
2-Band EQ  
Sets the volume balance between the direct sound and the  
effect sound.  
With a setting of D100:0W only the direct sound will be  
output, and with a setting of D0:100W only the effect sound  
will be output.  
R in  
Lo-Fi  
Ty p e (Lo Fi Ty p e )  
Output  
Degrades the sound quality. The sound quality will become  
poorer as this value is increased.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
9 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
7 7 : STEREO LO -FI N O ISE  
Disc N o ise LPF  
Specifies the cutoff frequency of the low pass filter that is  
applied to the record noise.  
This is a stereo Lo-Fi noise. In addition to a Lo-Fi effect, this  
effect also generates various types of noise such as radio  
noise and disc noise.  
fig.02-077m.e  
Disc N o ise Le ve l  
Specifies the volume of the record noise.  
2-Band  
EQ  
L in  
L out  
Lo-Fi  
Noise Gen.  
Lo-Fi  
Radio Noise  
Radio  
De tu n e (Ra d io De tu n e ) #  
Simulates the tuning noise of a radio. As this value is raised,  
the tuning will drift further.  
2-Band  
EQ  
R in  
R out  
Le ve l (Ra d io N o ise Le ve l)  
Lo-Fi  
Specifies the volume of the radio noise.  
Ty p e  
Noise  
Degrades the sound quality. The sound quality will become  
poorer as this value is increased.  
N o ise Ty p e  
Selects either white noise or pink noise.  
Hum  
LPF (W h ite / Pin k N o ise LPF)  
Ty p e (Hu m N o ise Ty p e )  
Specifies the cutoff frequency of the low pass filter that is  
applied to the white noise or pink noise.  
Selects the type of hum noise.  
LPF (Hu m N o ise LPF)  
Le ve l (W h ite / Pin k N o ise Le ve l)  
Specifies the cutoff frequency of the low pass filter that is  
applied to the hum noise.  
Specifies the volume of the white noise or pink noise.  
EQ Gain  
Le ve l (Hu m N o ise Le ve l)  
Lo w (Lo w Ga in )  
Specifies the volume of the hum noise.  
Adjusts the gain of the low frequency range.  
Post Filter  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Ty p e (Po st Filte r Ty p e )  
OFF: No filter is used.  
Hig h (Hig h Ga in )  
LPF: Frequencies higher than the selected cutoff frequency  
value are eliminated.  
Adjusts the gain of the high frequency range.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
HPF: Frequencies lower than the selected cutoff frequency  
value are eliminated.  
Balance  
Cu to ff (Po st Filte r Cu to ff Fre q u e n cy )  
Ba la n ce #  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Sets the volume balance between the direct sound and the  
effect sound.  
Disc Noise  
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.  
Disc N o ise Ty p e  
Selects the type of record noise. The frequency at which the  
noise is heard will depend on the selected type.  
9 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Tre b le (Pre Am p Tre b le )  
Output  
Sets the treble sound quality.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
Speaker  
Sw itch (Sp e a k e r Sw itch )  
7 8 : GUITAR AMP SIMULATO R  
Determines whether the signal passes through the speaker  
(ON), or not (OFF).  
This is an effect that simulates an amp.  
fig.02-078m.e  
L in  
L out  
Pan L  
Sp e a k e r Ty p e  
Pre Amp  
Speaker  
Selects the type of speaker. The specifications of each type  
are as follows. The Speakercolumn lists the diameter of  
the speakers (in inches) along with the number of speakers  
there are.  
Pan R  
R in  
R out  
Amp Simulator  
Type  
Cabinet  
Speaker Microphone  
Sw itch (Pre Am p Sw itch )  
Small 1  
Small open-back enclosure 10  
Small open-back enclosure 10  
dynamic  
Turns the amp switch on/ off.  
Small 2  
dynamic  
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  
Ty p e (Pre Am p Ty p e )  
JC-120  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
dynamic  
Selects the type of guitar 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  
dynamic  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
Amp Level  
Vo lu m e (Pre Am p Vo lu m e ) #  
Adjusts the volume and the amount of distortion of the amp.  
large sealed enclosure  
large sealed enclosure  
large sealed enclosure  
Ma ste r (Pre Am p Ma ste r Vo lu m e ) #  
Adjusts the volume of the entire pre-amp.  
Metal Stack large double stack  
Ga in (Pre Am p Ga in )  
2 Stack  
3 Stack  
large double stack  
large triple stack  
Selects the degree of pre-amp distortion between three levels  
of Low, Middle and High.  
Mic  
Amp Tone  
Se ttin g  
Pre se n ce (Pre Am p Pre se n ce )  
Specifies 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.  
Adjusts the tone for the ultra high frequency range.  
Normally the range will be 0127, but when Match Driveis  
selected for the Pre-amp Type parameter, the range will be -  
1270.  
Le ve l (Mic Le ve l)  
Adjusts the volume of the microphone.  
Brig h t (Pre Am p Brig h tn e ss)  
Turning this Onwill produce a sharper and brighter  
sound. This parameter can be set if the Pre-amp Type is set to  
JC-120,” “Clean Twin,or BG Lead.”  
Dire ct (Dire ct Le ve l)  
Specifies the volume of the direct sound.  
Output  
Ba ss (Pre Am p Ba ss)  
Sets the bass sound quality.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
Mid d le (Pre Am p Mid d le )  
Adjusts the tone of the mid range. If MAtch Driveis  
selected for the Pre-amp type parameter, this parameter  
cannot be set.  
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.  
9 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
7 9 : STEREO O VERDRIVE  
8 0 : STEREO DISTO RTIO N  
This is a stereo overdrive.  
This is a stereo distortion.  
fig.02-079m.e  
fig.02-080m.e  
Amp  
Simulator  
2-Band  
EQ  
Amp  
Simulator  
2-Band  
EQ  
Overdrive  
Overdrive  
Distortion  
Distortion  
L in  
L out  
R out  
L in  
L out  
R out  
Amp  
Simulator  
2-Band  
EQ  
Amp  
Simulator  
2-Band  
EQ  
R in  
R in  
Overdrive  
Distortion  
Drive #  
Drive #  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
To n e  
To n e  
Specifies the sound quality of the Overdrive effect.  
Amp Simulator  
Adjusts the sound quality of the Distortion effect.  
Amp Simulator  
Sw itch (Am p Sim u la to r Sw itch )  
Sw itch (Am p Sim u la to r Sw itch )  
Turns the Amp Simulator switch on/ off.  
Turns the Amp Simulator switch on/ off.  
Ty p e (Am p Sim u la to r Ty p e )  
Selects the type of guitar amp.  
SMALL: small amp  
Ty p e (Am p Sim u la to r Ty p e )  
Selects the type of guitar amp.  
SMALL: small amp  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
EQ Gain  
EQ Gain  
Lo w (Lo w Ga in )  
Lo w (Lo w Ga in )  
Adjusts the gain of the low frequency range.  
Adjusts the gain of the low frequency range.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Positive (+) settings will emphasize (boost) the low-  
frequency range.  
Hig h (Hig h Ga in )  
Hig h (Hig h Ga in )  
Adjusts the gain of the high frequency range.  
Adjusts the gain of the high frequency range.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Positive (+) settings will emphasize (boost) the high-  
frequency range.  
Output  
Output  
Le ve l (O u tp u t Le ve l)  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
Adjusts the output level.  
fig.02-080ms.e  
You can use the Output Level setting to even out the volume  
difference between the sound with and without Overdrive.  
9 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
8 1 : GUITAR MULTI A  
Sequence  
Guitar Multi 1 connects Compressor (Cmp), Overdrive or  
Distortion (ODDS), Amp Simulator (Amp), Delay (Dly), and  
Chorus or Flanger (CF) effects in series.  
Co m p (Co m p re sso r Sw itch )  
Turns the Compressor on/ off.  
O D/ Dist (O ve rd rive / Disto rtio n Sw itch )  
Turns the Overdrive/ Distortion on/ off.  
L in  
Overdrive/  
Distortion  
Amp  
Simulator  
Compressor  
Am p Sim (Am p sim u la to r Sw itch )  
R in  
Turns the Compressor on/ off.  
De la y (De la y Sw itch )  
L out  
Turns the Delay on/ off.  
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )  
Chorus/  
Flanger  
Pan  
Delay  
Turns the Chorus/ Flanger on/ off.  
R out  
Compressor  
Atta ck (Co m p re sso r Atta ck )  
Specifies the duration of the attack when sound is input.  
Su sta in (Co m p re sso r Su sta in )  
Feedback  
Delay  
Specifies the time over which low-level sounds will be  
boosted to reach the specified volume. Increasing the value  
will shorten the time. When the value is modified, the level  
will also change.  
Le ve l (Co m p re sso r Le ve l) #  
Sets the volume of the compressor sound.  
Delay  
Overdrive/Distortion  
Ty p e  
Selects either Overdrive or Distortion.  
Drive #  
Chorus/  
Flanger  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
L out  
R out  
Feedback  
Chorus/  
Flanger  
To n e (O ve rd rive / Disto rtio n To n e )  
Adjusts the sound quality of the Overdrive/ Distortion effect.  
Le ve l  
Adjusts the Overdrive/ Distortion output level.  
Chorus/  
Flanger  
* In this section, the Delay and Chorus/Flanger are depicted in  
diagrams. When these same effects are discussed later, these  
diagrams are used.  
9 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Ba la n ce #  
Amp Simulator  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Am p Ty p e (Am p Sim u la to r Ty p e )  
Selects the type of guitar amp.  
Small:  
BltIn:  
2-Stk:  
3-Stk:  
small amp  
Filter  
built-in type amp  
large double stack amp  
large triple stack amp  
Ty p e  
Selects the type of filter.  
OFF: No filter is used.  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
Delay  
Le ft Tim e (De la y Tim e Le ft)  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Adjust the delay time from the original sound until the left  
delay sound is heard.  
Cu to ff (Cu to ff Fre q u e n cy )  
Rig h t Tim e (De la y Tim e Rig h t)  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Adjust the delay time from the direct sound until the right  
delay sound is heard.  
Output  
Fe e d b a ck (De la y Fe e d b a ck Le ve l)  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
HF Da m p  
Pa n (O u tp u t Pa n ) #  
Adjusts the frequency above which sound fed back to the  
effect will be cut. If you do not want to damp the high  
frequencies, set this parameter to BYPASS.  
Adjusts the stereo location of the output sound.  
8 2 : GUITAR MULTI B  
Guitar Multi 2 provides Compressor (Cmp), Overdrive or  
Distortion (ODDS), Amp Simulator (Amp), Equalizer (EQ),  
Ba la n ce (De la y Ba la n ce ) #  
Adjusts the volume balance between the direct sound and  
the delay sound.  
and Chorus or Flanger (CF) effects connected in series.  
fig.02-082m.e  
L in  
Chorus/Flanger  
Overdrive/  
Distortion  
Amp  
Simulator  
Compressor  
Ty p e  
R in  
Selects either Chorus or Flanger.  
Ra te  
Specifies the rate of modulation.  
L out  
R out  
Chorus/  
Flanger  
De p th  
3-Band EQ  
Specifies the depth of modulation.  
Fe e d b a ck (CF Fe e d b a ck )  
Sequence  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Co m p (Co m p re sso r Sw itch )  
Turns the Compressor on/ off.  
Pre De la y (Ch o ru s/ Fla n g e r Pre De la y Tim e )  
O D/ Dist (O D/ Dist Sw itch )  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
Turns Overdrive or Distortion on/ off.  
9 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Am p Sim (Am p Sim u la to r Sw itch )  
Mid (EQ Mid Ga in )  
Turns the Amp Simulator on/ off.  
Adjusts the gain of the area specified by the EQ M Fq  
parameter and the EQ M Q parameter.  
3 Ba n d EQ (3 Ba n d EQ Sw itch )  
Hig h (EQ Hig h Ga in )  
Turns the equalizer on/ off.  
Adjusts the high-range gain of the equalizer.  
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )  
Turns the chorus/ flanger on/ off.  
Mid  
Mid (EQ Mid Fre q u e n cy )  
Compressor  
Sets the center frequency for the equalizer mid-range.  
Atta ck (Co m p re sso r Atta ck )  
Mid Q (EQ Mid Q )  
Specifies the duration of the attack when sound is input.  
Adjusts the width of the area centered at the EQ M Fq setting  
in which the gain will be affected. Higher values of Q will  
result in a narrower area being affected.  
Su sta in (Co m p re sso r Su sta in )  
Specifies the time over which low-level sounds will be  
boosted to reach the specified volume. Increasing the value  
will shorten the time. When the value is modified, the level  
will also change.  
Chorus/Flanger  
Ty p e  
Le ve l (Co m p re sso r Le ve l) #  
Selects either Chorus or Flanger.  
Sets the volume of the compressor sound.  
Ra te  
Sets the modulation speed for the chorus or flanger.  
Overdrive/Distortion  
Ty p e  
De p th  
Selects either Overdrive or Distortion.  
Sets the modulation depth for the chorus or flanger.  
Drive #  
Fe e d b a ck  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
To n e (O ve rd rive / Disto rtio n To n e )  
Pre De la y (Ch o ru s/ Fla n g e r Pre De la y Tim e )  
Adjusts the sound quality of the Overdrive/ Distortion effect.  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
Le ve l  
Sets the volume of the overdrive sound.  
Ba la n ce #  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Amp Simulator  
Ty p e (Am p Sim u la to r Ty p e )  
Selects the type of guitar amp.  
Filter  
Small:  
BltIn:  
2-Stk:  
3-Stk:  
small amp  
Ty p e (Filte r Ty p e )  
Selects the type of filter.  
OFF: No filter is used.  
built-in type amp  
large double stack amp  
large triple stack amp  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
EQ Gain  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Lo w (EQ Lo w Ga in )  
Adjusts the low-range gain of the equalizer.  
9 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Cu to ff (Cu to ff Fre q u e n cy )  
To n e  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Adjusts the sound quality of the Overdrive/ Distortion effect.  
Le ve l  
Adjusts the Overdrive (or Distortion) output level.  
Output  
Le ve l (O u tp u t Le ve l)  
Wah  
Adjusts the output level.  
Filte r Ty p e (W a h FIlte r Ty p e )  
Pa n (O u tp u t Pa n )  
Selects the filter type.  
Adjusts the stereo location of the output sound.  
LPF: The wah effect will be applied over a wide frequency  
range.  
8 3 : GUITAR MULTI C  
BPF: The wah effect will be applied over a narrow frequency  
range.  
Guitar Multi C connects Overdrive or Distortion (ODDS),  
Wah (Wah), Amp Simulator (Amp), Delay (Dly), and Chorus  
Ra te  
or Flanger (CF) effects in series.  
Adjusts the frequency of the modulation.  
fig.02-083m.e  
L in  
De p th  
Overdrive/  
Distortion  
Amp  
Simulator  
Wah  
Adjusts the depth of the modulation.  
R in  
Se n s  
L out  
R out  
Specifies the sensitivity with which the filter will be affected.  
Chorus/  
Flanger  
Delay  
Pan  
Ma n u a l #  
Sets the center frequency from which the effect is applied.  
Sequence  
Pe a k  
Adjusts the amount of the wah effect that will occur in the  
area of the center frequency. Lower settings will produce a  
wah effect in a broad area around the center frequency, and  
higher settings will produce a wah effect in a narrower area  
around the center frequency.  
W a h Sw (W a h Sw itch )  
Turns the wah on/ off.  
Am p Sim (Am p Sim u la to r Sw itch )  
Turns the Amp Simulator on/ off.  
W a h (W a h Sw itch )  
Amp Simulator  
Turns the wah on/ off.  
Ty p e (Am p Sim u la to r Ty p e )  
De la y (De la y Sw itch )  
Selects the type of guitar amp.  
Turns the Delay on/ off.  
Small:  
BltIn:  
2-Stk:  
3-Stk:  
small amp  
built-in type amp  
large double stack amp  
large triple stack amp  
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )  
Turns the wah on/ off.  
Overdrive/Distortion  
Delay  
Ty p e  
Le ft Tim e (De la y Tim e Le ft)  
Selects either Overdrive or Distortion.  
Adjust the delay time from the original sound until the left  
delay sound is heard.  
Drive #  
Adjusts the degree of distortion. The volume will change  
together with the degree of distortion.  
Rig h t Tim e (De la y Tim e Rig h t)  
Adjust the delay time from the direct sound until the right  
delay sound is heard.  
9 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Fe e d b a ck (De la y Fe e d b a ck Le ve l)  
Output  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
HF Da m p  
Pa n (O u tp u t Pa n ) #  
Adjusts the frequency above which sound fed back to the  
effect will be cut. If you do not want to damp the high  
frequencies, set this parameter to BYPASS.  
Adjusts the stereo location of the output sound.  
8 4 : CLEAN GUITAR MULTI A  
Ba la n ce (De la y Ba la n ce ) #  
Clean Guitar Multi 1 connects Compressor (Cmp), Equalizer  
(EQ), Delay (Dly), and Chorus or Flanger (CF) effects in  
Adjusts the volume balance between the direct sound and  
the delay sound.  
series.  
fig.02-084m.e  
L in  
Chorus/Flanger  
Compressor  
3-Band EQ  
Ty p e  
R in  
Selects either Chorus or Flanger.  
L out  
R out  
Ra te  
Chorus/  
Flanger  
Delay  
Pan  
Sets the modulation speed for the chorus or flanger.  
De p th  
Sets the modulation depth for the chorus or flanger.  
Sequence  
Fe e d b a ck (CF Fe e d b a ck )  
Co m p (Co m p re sso r Sw itch )  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Turns the Compressor on/ off.  
3 Ba n d EQ (3 Ba n d EQ Sw itch )  
Turns the equalizer on/ off.  
Pre De la y (Ch o ru s/ Fla n g e r Pre De la y Tim e )  
De la y (De la y Sw itch )  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
Turns the Delay on/ off.  
Ba la n ce #  
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Turns the wah on/ off.  
Compressor  
Filter  
Atta ck (Co m p re sso r Atta ck )  
Ty p e  
Specifies the duration of the attack when sound is input.  
Selects the type of filter.  
OFF: No filter is used.  
Su sta in (Co m p re sso r Su sta in )  
Specifies the time over which low-level sounds will be  
boosted to reach the specified volume. Increasing the value  
will shorten the time.  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
* When the value is modified, the level will also change.  
Le ve l (Co m p re sso r Le ve l) #  
Cu to ff (Cu to ff Fre q u e n cy )  
Sets the volume of the compressor sound.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
9 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
De p th  
EQ Gain  
Sets the modulation depth for the chorus or flanger.  
Lo w (EQ Lo w Ga in )  
Adjusts the low-range gain of the equalizer.  
Fe e d b a ck (CF Fe e d b a ck )  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
EQ M Ga in (EQ Mid Ga in )  
Adjusts the gain of the area specified by the EQ M Fq  
parameter and the EQ M Q parameter.  
Pre Dly (Ch o ru s/ Fla n g e r Pre De la y Tim e )  
Hig h (EQ Hig h Ga in )  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
Adjusts the high-range gain of the equalizer.  
Ba la n ce #  
Mid  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Mid Fre q (EQ Mid Fre q u e n cy )  
Sets the center frequency for the equalizer mid-range.  
Filter  
Mid Q (EQ Mid Q )  
Adjusts the width of the area centered at the EQ M Fq setting  
in which the gain will be affected. Higher values of Q will  
result in a narrower area being affected.  
Ty p e  
Selects the type of filter.  
OFF: No filter is used.  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
Delay  
Le ft Tim e (De la y Tim e Le ft)  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Adjust the delay time from the original sound until the left  
delay sound is heard.  
Cu to ff (Cu to ff Fre q u e n cy )  
Rig h t Tim e (De la y Tim e Rig h t)  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Adjust the delay time from the direct sound until the right  
delay sound is heard.  
Output  
Fe e d b a ck (De la y Fe e d b a ck Le ve l)  
Le ve l (O u tp u t Le ve l)  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input.  
Adjusts the output level.  
Pa n (O u tp u t Pa n )  
HF Du m p (De la y HF Da m p )  
Adjusts the stereo location of the output sound.  
Adjusts the frequency above which delayed sound fed back  
to the delay input will be cut. If you do not want the sound to  
be cut, select BYPASS.  
Ba la n ce (De la y Ba la n ce ) #  
Adjusts the volume balance between the direct sound and  
the delay sound.  
Chorus/Flanger  
Ty p e  
Selects either Chorus or Flanger.  
Ra te  
Sets the modulation speed for the chorus or flanger.  
1 0 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
area of the center frequency. Lower settings will produce a  
wah effect in a broad area around the center frequency, and  
higher settings will produce a wah effect in a narrower area  
around the center frequency.  
8 5 : CLEAN GUITAR MULTI B  
Clean Guitar Multi 2 provides Auto-wah (AW), Equalizer  
(EQ), Delay (Dly), and Chorus or Flanger (CF) effects  
connected in series.  
fig.02-085m.e  
EQ Gain  
L in  
Wah  
3-Band EQ  
Lo w (EQ Lo w Ga in )  
R in  
Adjusts the low-range gain of the equalizer.  
Mid (EQ Mid Ga in )  
L out  
R out  
Chorus/  
Flanger  
Adjusts the gain of the area specified by the EQ M Fq  
parameter and the EQ M Q parameter.  
Delay  
Pan  
Hig h (EQ Hig h Ga in )  
Seqeuence  
Adjusts the high-range gain of the equalizer.  
W a h (Au to W a h Sw itch )  
Mid  
Turns the Auto Wah on/ off.  
Mid Fre q (EQ Mid Fre q u e n cy )  
3 Ba n d EQ (3 Ba n d EQ Sw itch )  
Sets the center frequency for the equalizer mid-range.  
Turns the 3 Band EQ on/ off.  
Mid Q (EQ Mid Q )  
De la y (De la y Sw itch )  
Adjusts the width of the area centered at the EQ M Fq setting  
in which the gain will be affected. Higher values of Q will  
result in a narrower area being affected.  
Turns the Delay on/ off.  
Ch o / Flg Sw (Ch o ru s/ Fla n g e r Sw itch )  
Turns the Chorus/ Flanger on/ off.  
Delay  
Wah  
Le ft Tim e (De la y Tim e Le ft)  
Filte r Ty p e (Au to W a h Filte r Ty p e )  
Adjust the delay time from the original sound until the left  
delay sound is heard.  
Selects the type of filter for the Auto-wah.  
LPF: The wah effect will be applied over a wide frequency  
range.  
Rig h t Tim e (De la y Tim e Rig h t)  
Adjust the delay time from the direct sound until the right  
delay sound is heard.  
BPF: The wah effect will be applied over a narrow frequency  
range.  
Fe e d b a ck (De la y Fe e d b a ck Le ve l)  
Ra te (Au to W a h Ra te )  
Adjusts the proportion (%) of the delay sound that is fed  
back into the delay input.  
Sets the modulation speed of the Auto-wah.  
De p th (Au to W a h De p th )  
HF Da m p (De la y HF Da m p )  
Sets the modulation depth of the Auto-wah.  
Adjusts the frequency above which sound fed back to the  
effect will be cut. If you do not want to damp the high  
frequencies, set this parameter to BYPASS.  
Se n s  
Specifies the sensitivity with which the filter will be affected.  
Ba la n ce (De la y Ba la n ce ) #  
Ma n u a l (Au to W a h Ma n u a l) #  
Adjusts the volume balance between the direct sound and  
the delay sound.  
Sets the center frequency at which the auto-wah effect will be  
produced.  
Pe a k (Au to W a h Pe a k )  
Adjusts the amount of the wah effect that will occur in the  
1 0 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Chorus/Flanger  
8 6 : BASS MULTI  
Bass Multi provides Compressor (Comp), Overdrive or  
Distortion (OD/ Dist), Equalizer (3 Band EQ), and Chorus or  
Ty p e  
Selects either Chorus or Flanger.  
Flanger (Cho/ Flg) effects connected in series.  
fig.02-086m.e  
Ra te  
L in  
Sets the modulation speed for the chorus or flanger.  
Overdrive/  
Distortion  
Amp  
Simulator  
Compressor  
De p th  
R in  
Sets the modulation depth for the chorus or flanger.  
L out  
R out  
Fe e d b a ck (CF Fe e d b a ck )  
Chorus/  
Flanger  
3-Band  
EQ  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Sequence  
Pre Dly (Ch o ru s/ Fla n g e r Pre De la y Tim e )  
Co m p (Co m p re sso r Sw itch )  
Adjusts the delay time from the direct sound until when the  
chorus sound is heard.  
Turns the Compressor on/ off.  
O D/ Dist (O ve rd rive o r Disto rtio n Sw itch )  
Ba la n ce #  
Turns the Overdrive or Distortion on/ off.  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Am p Sim (Am p Sim u la to r)  
Turns the Amp Simulator on/ off.  
Filter  
3 Ba n d EQ (3 Ba n d EQ Sw itch )  
Ty p e (Filte r Ty p e )  
Selects the type of filter.  
OFF: No filter is used.  
Turns the 3 Band EQ on/ off.  
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )  
Turns the Chorus/ Flanger on/ off.  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
Compressor  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
Atta ck (Co m p re sso r Atta ck )  
Cu to ff (Cu to ff Fre q u e n cy )  
Specifies the duration of the attack when sound is input.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Su sta in (Co m p re sso r Su sta in )  
Specifies the time over which low-level sounds will be  
boosted to reach the specified volume. Increasing the value  
will shorten the time.  
Output  
Le ve l (O u tp u t Le ve l)  
* When the value is modified, the level will also change.  
Adjusts the output level.  
Le ve l (Co m p re sso r Le ve l) #  
Pa n (O u tp u t Pa n ) #  
Sets the volume of the compressor sound.  
Adjusts the stereo location of the output sound.  
Overdrive/Distortion  
Ty p e  
Selects either Overdrive or Distortion.  
Drive #  
Adjusts the degree of distortion. The volume will change  
1 0 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
together with the degree of distortion.  
chorus sound is heard.  
Le ve l (O ve rd rive / Disto rtio n Le ve l) #  
Ba la n ce #  
Sets the volume of the Overdrive/ Distortion sound.  
Adjusts the volume balance between the direct sound and  
the chorus/ flanger sound.  
Amp Simulator  
Filter  
Ty p e (Am p Sim u la to r Ty p e )  
Ty p e  
Selects the type of bass amp.  
Selects the type of filter.  
OFF: No filter is used.  
Small:  
BltIn:  
2-Stk:  
small amp  
built-in type amp  
large double stack amp  
LPF: The frequency region above the Cutoff Freq setting will  
be cut.  
HPF: The frequency region below the Cutoff Freq setting will  
be cut.  
3 Band EQ  
Lo w (EQ Lo w Ga in )  
Cu to ff (Cu to ff Fre q u e n cy )  
Adjusts the low-range gain of the equalizer.  
Sets the cutoff frequency when a specific frequency band is  
cut off by a filter.  
Mid (EQ Mid Ga in )  
Adjusts the gain of the area specified by the EQ M Fq  
parameter and the EQ M Q parameter.  
Output  
Hig h (EQ Hig h Ga in )  
Le ve l (O u tp u t Le ve l)  
Adjusts the high-range gain of the equalizer.  
Adjusts the output level.  
Pa n (O u tp u t Pa n ) #  
Mid  
Adjusts the stereo location of the output sound.  
Mid Fre q (EQ Mid Fre q u e n cy )  
Sets the center frequency for the equalizer mid-range.  
Mid Q (EQ Mid Q )  
Adjusts the width of the area centered at the EQ M Fq setting  
in which the gain will be affected. Higher values of Q will  
result in a narrower area being affected.  
Chorus/Flanger  
Ty p e  
Selects either Chorus or Flanger.  
Ra te  
Sets the modulation speed for the chorus or flanger.  
De p th  
Sets the modulation depth for the chorus or flanger.  
Fe e d b a ck (Fe e d b a ck Le ve l)  
Adjusts the proportion (%) of the flanger sound that is fed  
back into the effect. Negative (-) settings will invert the  
phase.  
Pre Dly (Ch o ru s/ Fla n g e r Pre De la y Tim e )  
Adjusts the delay time from the direct sound until when the  
1 0 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
8 7 : ISO LATO R 2  
Cu to ff (Filte r Cu to ff Fre q u e n cy )  
Sets the filters cutoff frequency. The closer to zero it is set,  
the lower the cutoff frequency becomes; set it closer to 127,  
and the cutoff frequency becomes higher.  
This adds a filter to the ISOLATOR effect. Isolator is an  
equalizer which cuts the volume greatly, allowing you to add  
a special effect to the sound by cutting the volume in varying  
ranges.  
fig.02-087m.e  
Re so n a n ce (Filte r Re so n a n ce )  
Sets the filters resonance level. Raising the setting increases  
resonance near the cutoff frequency, producing a uniquely  
characteristic sound.  
Low  
Boost  
Isolator  
Isolator  
Filter  
Filter  
L in  
L out  
R out  
Low  
Boost  
R in  
Slo p e (Filte r Slo p e )  
Sets the filters attenuation slope (-24 dB per octave: steep; -  
Boost/Cut  
12 dB per octave: gentle).  
Lo w (Le ve l Lo w ) #  
Mid (Le ve l Mid d le ) #  
Hig h (Le ve l Hig h ) #  
Ga in (Filte r Ga in )  
Compensates for the volume dropped in the cut frequency  
range with some filters. The level of compensation increases  
as the value is increased, and raise the volume.  
These boost and cut 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.  
Low Boost  
Sw itch (Lo w Bo o ste r Sw itch )  
Anti Phase Low  
Specifies whether Low Booster will be used (ON), or not  
(OFF). This emphasizes the bottom to create a heavy bass  
sound.  
An ti Ph a se Lo w Sw (An ti Ph a se Lo w Sw itch )  
An ti Ph a se Lo w Le ve l  
Le ve l (Lo w Bo o st Le ve l)  
Anti Phase Mid  
Increasing this value gives you a heavier low end.  
(Depending on the Isolator and filter settings this effect may  
be hard to distinguish.)  
Sw itch (An ti Ph a se Mid d le Sw itch )  
Le ve l (An ti Ph a se Mid d le Le ve l)  
Output  
This turns the Anti-Phase function on and off and sets the  
level settings for the Middle and Low frequency ranges.  
When turned on, the phases of opposite stereo channels are  
reversed and then added. Adjusting these levels for certain  
frequencies allows you to lend emphasis to specific parts.  
(This is effective only for stereo sources.)  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
8 8 : STEREO SPECTRUM  
This is a stereo spectrum. Spectrum is a type of filter which  
modifies the timbre by boosting or cutting the level at  
Post Filter  
specific frequencies.  
fig.02-088m.e  
Sw itch (Filte r Sw itch )  
Turns the filter on/ off.  
L in  
L out  
R out  
Spectrum  
Spectrum  
Ty p e (Filte r Ty p e )  
R in  
Selects the type of filter.  
LPF:  
Passes frequencies below the cutoff frequency.  
Passes frequencies near the cutoff frequency.  
Passes frequencies above the cutoff frequency.  
Passes frequencies other than those near the  
Band Gain  
BPF:  
HPF:  
2 5 0 Hz (2 5 0 Hz Ga in )  
NOTCH:  
Specifies the gain (amount of boost or cut) at 250 Hz.  
cutoff frequency.  
1 0 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
5 0 0 Hz (5 0 0 Hz Ga in )  
Tu rn #  
Specifies the gain (amount of boost or cut) at 500 Hz.  
Stops or starts the rotation. When this is turned On, the  
sound will rotate. When turned Off, rotation will stop at the  
location specified by Azimuth.  
1 0 0 0 Hz (1 0 0 0 Hz Ga in )  
Specifies the gain (amount of boost or cut) at 1000 Hz.  
Output  
1 2 5 0 Hz (1 2 5 0 Hz Ga in )  
O u t (O u tp u t Mo d e )  
Specifies the gain (amount of boost or cut) at 1250 Hz.  
Specifies the method that will be used to reproduce 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.  
2 0 0 0 Hz (2 0 0 0 Hz Ga in )  
Specifies the gain (amount of boost or cut) at 2000 Hz.  
3 1 5 0 Hz (3 1 5 0 Hz Ga in )  
Specifies the gain (amount of boost or cut) at 3150 Hz.  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
4 0 0 0 Hz (4 0 0 0 Hz Ga in )  
Specifies the gain (amount of boost or cut) at 4000 Hz.  
9 0 : 3 D MAN UAL  
8 0 0 0 Hz (8 0 0 0 Hz Ga in )  
This places the 3D effect at a desired location.  
fig.02-090m.e  
Specifies the gain (amount of boost or cut) at 8000 Hz.  
L in  
L out  
R out  
3D Manual  
Band Width  
R in  
Q
Specifies the range of all bands in which the level will be  
modified.  
Auto Spin  
Azim u th #  
Output  
Specifies the location. A setting of 0positions the sound in  
the center.  
Le ve l (O u tp u t Le ve l) #  
Adjusts the output level.  
Output  
O u t (O u tp u t Mo d e )  
8 9 : 3 D AUTO SPIN  
Specifies the method that will be used to reproduce 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.  
The 3D Auto Spin effect rotates the location of the sound.  
fig.02-089m.e  
L in  
L out  
R out  
3D Auto  
R in  
Le ve l (O u tp u t Le ve l)  
Adjusts the output level.  
Auto Spin  
Azim u th  
Sets the location at which the sound will stop when rotation  
is stopped. A setting of 0positions the sound in the center.  
Sp e e d #  
Sets the speed of rotation.  
Clo ck w ise  
Sets the direction of rotation. A setting of -produces  
counterclockwise rotation, while at +it will be clockwise.  
1 0 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts  
Co p y Ty p e  
ALL: Multi-effects, Chorus, and Reverb settings  
MFX: Multi-effects settings in the General page  
CHORUS: Chorus settings  
When Using 3D Effects  
The following 3D effects utilize RSS (Roland Sound  
Space) technology to create a spaciousness that cannot be  
produced by delay, reverb, chorus, etc.  
REVERB: Reverb settings  
CHO&REV: Chorus and Reverb settings  
48: 3D DELAY  
* If the copy source is a Performance, the contents copied for  
“MFX” will be the Multi-effects settings for the Performance  
itself (the Multi-effects setting when MFX 1–3 Source is set to  
“PERFORM” in the General page). When the MFX settings  
such as patches is copied to the Performance, the data will be  
copied as the Multi-effects settings for the Performance itself.  
60: 3D CHORUS  
61: 3D FLANGER  
70: 3D DELAY 2  
89: 3D AUTO SPIN  
90: 3D MANUAL  
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  
1 . Make sure the Patch, Performance or Rhythm Set is  
selected.  
either side.  
fig.02-031.e  
2 . Press [SYSTEM/ UTILITY] several times, getting its  
indicator to start blinking.  
The Utility Menu page appears.  
fig.02-032.e_70  
30˚ 30˚  
* When the indicator lights, you are in SYSTEM mode. In this  
case, press [SYSTEM/UTILITY] once again to get its  
indicator to start blinking.  
If the left and right speakers are too far apart, or if there  
is too much reverberation, the full 3D effect may not  
appear.  
3 . Press [F2 (Copy)].  
4 . Press [  
EFFECT.  
] to move the cursor to Type, then select  
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.  
The corresponding Effect Copy page will appear.  
fig.02-033.e_70  
Destination Temporaryindicates that the copy destination  
is the currently selected Patch, Performance, or Rhythm Set.  
Co p y in g Effe ct Se ttin g s  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
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.  
6 . Turn the VALUE dial or press [INC]/ [DEC] to select the  
desired value.  
7 . Press [F6 (Copy)] to execute the copy.  
You can select the following effect contents to be copied.  
8 . Press [EXIT] to return to the Play page.  
1 0 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  
The XV-5080 has four sets of stereo outputs.  
These outputs allow you to separate soundsor groups of soundsfrom the XV-5080s 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 four pairs of jacks as eight independent output jacks, to which you can route Tones,  
Rhythm Tones or Patches.  
Besides all this, the XV-5080 also is equipped with digital outs, including R-BUS and S/ P DIF outs.  
This section uses clear examples to describe the signal paths in each of the modes along with their related parameters and digital  
output connectors. Please refer to this section when selecting your outputs.  
The digital out (R-BUS and S/ P DIF) assignments correspond to the analog outs (OUTPUT A-D (INDIVIDUAL 1-8)) as shown  
below.  
R-BUS 18: OUTPUT AD (INDIVIDUAL 18)  
S/ P DIF:  
OUTPUT A (MIX) (INDIVIDUAL 12)  
The signals sent to each of the R-BUS OUTPUTS 18 are output from OUTPUT AD (INDIVIDUAL 18). Signals sent to S/ P DIF  
are output from OUTPUT A(MIX) (INDIVIDUAL 1-2).  
* Signals sent to PHONES (the headphones jack) are output from OUTPUT A(MIX).  
Pa tch Mo d e Se ttin g s  
Sig n a l (TO N E) Flo w  
fig.03-001.e  
Output Assign  
A
OUTPUT A  
B
OUTPUT B  
TONE  
C
OUTPUT C  
D
OUTPUT D  
M-FX  
Output Assign  
M-FX  
CHO  
Chorus  
Output Assign  
REV  
Reverb  
Output Assign  
1 0 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  
Determines the level of the post-Multi-effects processor  
signal sent to Reverb. Its final output destination is  
determined by the Reverb output setting.  
Pa ra m e te rs  
The parameters related to Patch output settings are shown  
below.  
Ch o ru s O u tp u t Se le ct  
PATCH Effe cts Ge n e ra l p a g e ([PATCH] -  
[F6 (Effe cts)] - [F1 (Ge n e ra l)])  
Specifies how the signal routed through Chorus will be  
output.  
Available Settings:  
This sets the output destination and level for the currently  
selected Tone, as well as its send level with respect to the  
Chorus and Reverb.  
MAIN: The Chorus output is sent only to the OUTPUT jacks.  
REV: The Chorus output is sent only to the Reverb.  
M+R: The Chorus output is sent to the OUTPUT jacks and to  
To n e O u tp u t Assig n  
the Reverb.  
Available Settings:  
MFX: The Tone is sent into the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
Ch o ru s Le ve l  
Range: 0127  
Determines the Chorus output level.  
OUTPUT AD: The Tone is sent to one of the four output-  
Re ve rb Le ve l  
jack stereo pairs, OUTPUTS AD.  
Range: 0127  
INDIV 18: The Tone is sent to the INDIVIDUAL OUTPUT  
jacks 18.  
Determines the Reverb output level.  
To n e Dry Se n d Le ve l  
MFX O u tp u t Assig n  
Range: 0127  
Range: AD  
Sets the level of the signal to be sent to the OUTPUT jacks,  
which is determined by Tone Output Assign.  
Specifies the OUTPUT jacks to which the signal, after it has  
passed through the Multi-effects, is to be routed.  
* As the Multi-effects are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
To n e Ch o ru s Se n d Le ve l  
Range: 0127  
Sets how much of the Tone is sent to the Chorus. Its final  
output destination is determined by the Chorus output  
setting.  
Ch o ru s O u tp u t Assig n  
Range: AD  
Selects the pair of OUTPUT jacks to which the Chorus units  
stereo output is routed when Chorus Output Select is set to  
MAINor MAIN+R.The output destination of the signal  
sent to Reverb follows the Reverb setting.  
To n e Re ve rb Se n d Le ve l  
Range: 0127  
Sets how much of the Tone is sent to the Reverb. Its final  
output destination is determined by the Reverb output  
setting.  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
Re ve rb O u tp u t Assig n  
MFX Dry Se n d Le ve l  
Range: AD  
Range: 0127  
Selects the OUTPUT jacks to which the Reverb units stereo  
Determines the level of the Multi-effects processors output  
output is routed.  
to the OUTPUT jacks.  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
MFX Ch o ru s Se n d Le ve l  
Range: 0127  
Determines the level of the post-Multi-effects processor  
signal sent to Chorus. Its final output destination is  
determined by the Chorus output setting.  
MFX Re ve rb Se n d Le ve l  
Range: 0127  
1 0 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  
R-BUS: Operation synchronized to the clock present on the  
PATCH Co m m o n Ge n e ra l # 1 p a g e  
([PATCH] - [F1 (CO MMO N )] - [F1  
(Ge n e ra l)])  
R-BUS. The XV-5080 functions as the slave.  
WORD CLOCK IN: Operation synchronized to the word  
clock. The XV-5080 functions as the slave.  
Co m m o n  
* When operating as the slave, the XV-5080 is capable of  
synchronizing to clocks running at 44.1 or 48 kHz. It cannot  
sync to clocks at other frequencies.  
Le ve l (Pa tch Le ve l)  
Range: 0127  
Sets the volume of the Patch.  
O u tp u t Mix / Pa ra lle l  
* You can specify the level for each Tone using the Tone Level  
parameter (TVA; p. 143).  
Mo d e  
Available Settings:  
Pa n (Pa tch Pa n )  
MIX: All soundsincluding those routed to OUTPUTs B/ C  
or INDIVIDUAL 38are mixed together and routed to the  
A (MIX) 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-5080s signal to a mixer that has only  
two channels.  
Range: L6463R  
Sets the stereo position of the Patch. L64 is far left, 0 is center,  
and 63R is far right.  
* You can specify the pan setting for each Tone in a Patch using  
the Tone Pan parameter (TVA; p. 143).  
* While each of the Tones forming a Patch has its own Pan  
position, the Patch Pan parameter shifts the individual stereo  
locations of the Tones by the amount set for it.  
When MIX is selected, sounds routed to the INDIVIDUAL  
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT  
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/  
8 jacks are sent to the right A (MIX) OUTPUT jack.  
O u tp u t Assig n  
PARALLEL: Sounds are routed to output jacks according to  
Specifies the output destination for the Patch.  
Available Settings:  
their output settings.  
The XV-5080s Master Level and Mix/ Parallel settings are  
MFX: The Patch is sent into the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
each established using a single global parameter.  
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -  
[F1 (Ge n e ra l)])  
OUTPUT AD: The Patch is sent to the selected pair of  
OUTPUT AD jacks.  
INDIV 18: The Patch is sent to the selected INDIVIDUAL  
Ma ste r  
OUTPUT 18 jack.  
Le ve l (Ma ste r Le ve l)  
Range: 0127  
TONE: Each Tone in the Patch is sent to its programmed  
output destination.  
Adjusts the volume of the entire XV-5080.  
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2  
(O u tP&EQ )])  
Dig ita l In te rfa ce  
Ma ste r Fre q (Ma ste r Fre q u e n cy )  
Range: 44.1/ 48 kHz  
Selects the clock used for synchronizing the digital output.  
Ma ste r Clo ck  
Selects the master clock used for synchronizing the digital  
output.  
Available Settings:  
INTERNAL: The XV-5080 itself serves as the master.  
1 0 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  
Ex a m p le o f Se ttin g s  
1 4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Chorus 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 5 . Turn the VALUE dial to select 100.”  
In this example, lets 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. The Chorus and Reverb are output  
from the B OUTPUT jacks.  
1 6 . Press [  
]/ [  
] to move the cursor to Chorus Output  
Select.  
1 7 . Turn the VALUE dial or press [INC]/ [DEC] to select  
MAIN.”  
Finally, select the Reverb output destination and set its  
overall level.  
First, set the output destination for each Tone.  
1 . Select the Patch you wish to set.  
2 . Press [F6 (Effects)].  
1 8 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Reverb Output Assign.  
1 9 . Turn the VALUE dial or press [INC]/ [DEC] to select B.”  
3 . Press [F1 (General)] to call up the PATCH Effects General  
page.  
2 0 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
4 . Use TONE SELECT [1][4] to select the Tone you wish to  
Reverb Level.  
set up.  
2 1 . Turn the VALUE dial to select 100.”  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
2 2 . Press [EXIT] to return to the PATCH PLAY page.  
the parameter you wish to set, and rotate the VALUE  
dial, or press [INC] or [DEC] to set the value as follows.  
Tone Output Tone Dry  
Tone Chorus Tone Reverb  
Assign  
Send Level Send Level Send Level  
Tone 1  
Tone 2  
Tone 3  
Tone 4  
A
B
5
127  
127  
127  
127  
100  
100  
100  
100  
100  
100  
100  
100  
6
The Chorus and Reverb send levels can be set to any value  
you wish other than 0.  
6 . Press [EXIT] to return to the PATCH PLAY page.  
7 . Press [F1 (Common)].  
8 . Press [  
]/ [  
] to move the cursor to Output Assign.  
9 . Turn the VALUE dial or press [INC]/ [DEC] to select  
TONE.”  
1 0 . Press [EXIT] to return to the PATCH PLAY page.  
Next, select the Chorus output destination and set its overall  
level.  
1 1 . Press [F6 (Effects)].  
1 2 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Chorus Output Assign.  
1 3 . Turn the VALUE dial or press [INC]/ [DEC] to select B.”  
1 1 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  
Pe rfo rm a n ce Mo d e Se ttin g s  
Sig n a l (PART) Flo w  
fig.03-002.e  
Output Assign  
A
OUTPUT A  
OUTPUT B  
OUTPUT C  
OUTPUT D  
B
PART  
C
D
M-FX  
Output Assign  
M-FX A  
M-FX B  
M-FX C  
CHO  
Chorus  
Output Assign  
REV  
Reverb  
Output Assign  
settings.  
Pa ra m e te rs  
AD: The Part is sent to the selected pair of OUTPUT AD  
The parameters related to Part output settings are shown  
below.  
jacks.  
18: The Part is sent to the INDIVIDUAL OUTPUT jacks 18.  
PAT: The Parts output destination is determined by the  
PERFO RMAN CE Effe cts Ge n e ra l p a g e  
([PERFO RM] - [F6 (Effe cts)] - [F1  
(Ge n e ra l)])  
settings of the Patch or Rhythm Set assigned to the Part.  
Pa rt O u tp u t MFX Se le ct  
Sets the output destination and level for the selected Part, as  
well as its send level with respect to the Chorus and Reverb.  
Available Settings: AC  
Selects which of the three Multi-effects is to be used.  
Pa rt O u tp u t Assig n  
Pa rt Dry Se n d Le ve l  
Available Settings:  
Range: 0127  
MFX: The Part is sent into the Multi-effects. Its output  
Sets the level of the signal to be sent to the OUTPUT jacks,  
which is determined by Part Output Assign.  
destination is determined by the Multi-effects output  
1 1 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  
* As the Multi-effects are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
Pa rt Ch o ru s Se n d Le ve l  
Range: 0127  
Sets how much of the Part is sent to the Chorus. Its final  
output destination is determined by the Chorus output  
setting.  
Ch o ru s O u tp u t Assig n  
Range: AD  
Selects the pair of OUTPUT jacks to which the Chorus units  
stereo output is routed when Chorus Output Select is set to  
MAINor M+R.The output destination setting for the  
signal sent to Reverb is determined according to the Reverb  
settings.  
Pa rt Re ve rb Se n d Le ve l  
Range: 0127  
Sets how much of the Part is sent to the Reverb. Its final  
output destination is determined by the Reverb output  
setting.  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
MFX Dry Se n d Le ve l  
Re ve rb O u tp u t Assig n  
Range: 0127  
Range: AD  
Determines the level of the signal that is to be sent to the  
output jacks, after passing through the Multi-effects.  
Selects the OUTPUT jacks to which the Reverb units stereo  
output is routed.  
MFX Ch o ru s Se n d Le ve l  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
Range: 0127  
Determines the level of the signal that is to be sent to Chorus,  
after passing through the Multi-effects. Its final output  
destination is determined by the Chorus output setting.  
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2  
(O u tP&EQ )])  
MFX Re ve rb Se n d Le ve l  
O u tp u t Mix / Pa ra lle l  
Range: 0127  
Mo d e  
Determines the level of the signal that is to be sent to Reverb,  
after passing through the Multi-effects. Its final output  
destination is determined by the Reverb output setting.  
Available Settings:  
MIX: All soundsincluding those routed to OUTPUTs B/ C  
or INDIVIDUAL 38are mixed together and routed to the  
A (MIX) 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-5080s signal to a mixer that has only  
two channels.  
Ch o ru s O u tp u t Se le ct  
Specifies how the signal routed through Chorus will be  
output.  
Available Settings:  
MAIN: The Chorus output is sent only to the OUTPUT jacks.  
REV: The Chorus output is sent only to the Reverb.  
When MIX is selected, sounds routed to the INDIVIDUAL  
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT  
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/  
8 jacks are sent to the right A (MIX) OUTPUT jack.  
M+R: The Chorus output is sent to the OUTPUT jacks and to  
the Reverb.  
Ch o ru s Le ve l  
PARALLEL: Sounds are routed to output jacks according to  
Range: 0127  
their output settings.  
Determines the Chorus output level.  
The XV-5080s Master Level and Mix/ Parallel settings are  
each established using a single global parameter.  
Re ve rb Le ve l  
Range: 0127  
Determines the Reverb output level.  
MFX O u tp u t Assig n  
Range: AD  
Selects the pair of OUTPUT jacks to which the Multi-effects  
stereo output is routed.  
1 1 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  
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -  
[F1 (Ge n e ra l)])  
1 3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you wish to set, and rotate the VALUE  
dial, or press [INC] or [DEC] to set the value as follows.  
Ma ste r  
Part Output  
Assign  
Part Dry  
Part Chorus  
Part Reverb  
Send Level  
Le ve l (Ma ste r Le ve l)  
Range: 0127  
Send Level Send Level  
MFX-A  
100  
0
0
Adjusts the volume of the entire XV-5080.  
Ex a m p le o f Se ttin g s  
The Part Dry Send Level can be set to any value you wish  
other than 0.  
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  
1 4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you wish to set, and rotate the VALUE  
dial, or press [INC] or [DEC] to set the value as follows.  
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  
A 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.  
MFX  
MFX Dry  
Level  
MFX Chorus MFX Reverb  
Output Assign  
Send Level  
Send Level  
B
100  
0
0
First, set Part 1.  
Finally, set up Part 3.  
1 . Select the Performance you wish to use.  
2 . Press [F6 (Effects)].  
1 5 . Press PART SELECT [3/ 19], getting its indicator to light.  
* Make sure that the [1-16/17-32] button’s indicator is not lit. If  
the indicator is lit, press [1-16/17-32] to turn it off.  
3 . Press [F1 (General)] several times to call up the  
Performance Effects General #1 page.  
1 6 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
4 . Press PART SELECT [1/ 17] to make its indicator light.  
the parameter you wish to set, and rotate the VALUE  
dial, or press [INC] or [DEC] to set the value as follows.  
* Make sure that the [1-16/17-32] button’s indicator is not lit. If  
the indicator is lit, press [1-16/17-32] to turn it off.  
Part Output  
Assign  
Part Chorus  
Send Level  
Part Reverb  
Send Level  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Part Output Assign.  
5
0
0
6 . Turn the VALUE dial or press [INC]/ [DEC] to select  
A.”  
The output level can be set to any value you wish other than  
0.  
7 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Part Dry Send Level.  
1 7 . Press [EXIT] to return to the PERFORM PLAY page.  
8 . Turn the VALUE dial to select 100.”  
9 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Part Chorus Send Level.  
1 0 . Turn the VALUE dial to select 0.”  
1 1 . Set the Part Reverb Send Level setting to 0in the same  
way.  
Next, set up Part 2.  
1 2 . Press PART SELECT [2/ 18], getting its indicator to light.  
* Make sure that the [1-16/17-32] button’s indicator is not lit. If  
the indicator is lit, press [1-16/17-32] to turn it off.  
1 1 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  
Rh y th m Se t Mo d e Se ttin g s  
Sig n a l (RHYTHM TO N E) Flo w  
fig.03-003.e  
Output Assign  
A
OUTPUT A  
OUTPUT B  
OUTPUT C  
OUTPUT D  
B
RHYTHM  
TONE  
C
D
M-FX  
Output Assign  
M-FX  
CHO  
Chorus  
Output Assign  
REV  
Reverb  
Output Assign  
Rh y th m To n e Dry Se n d Le ve l  
Pa ra m e te rs  
Range: 0127  
The parameters related to Patch output settings are shown  
below.  
Sets the level of the signal to be sent to the OUTPUT jacks,  
which is determined by Rhythm Tone Output Assign.  
RHYTHM Effe cts Ge n e ra l p a g e  
([RHYTHM] - [F6 (Effe cts)] - [F1  
(Ge n e ra l)])  
Rh y th m To n e Ch o ru s Se n d Le ve l  
Range: 0127  
Sets how much of the Tone is sent to the Chorus. Its final  
output destination is determined by the Chorus output  
setting.  
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.  
Rh y th m To n e Re ve rb Se n d Le ve l  
Rh y th m To n e O u tp u t Assig n  
Range: 0127  
Available Settings:  
Sets how much of the Tone is sent to the Reverb. Its final  
output destination is determined by the Reverb output  
setting.  
MFX: The Tone is sent to the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
MFX Dry Se n d Le ve l  
AD: The Tone is sent to one of the four output-jack stereo  
pairs, OUTPUTS AD.  
Range: 0127  
18: The Tone is sent to the INDIVIDUAL OUTPUT jacks 1–  
Determines the level of the Multi-effects processors output  
8.  
to the OUTPUT jacks.  
1 1 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  
* As the internal effects devices are in stereo, you cannot make  
the settings for the INDIVIDUAL OUTPUT jacks.  
MFX Ch o ru s Se n d Le ve l  
Range: 0127  
Determines the level of the post-Multi-effects processor  
signal sent to Chorus. Its final output destination is  
determined by the Chorus output setting.  
RHYTHM Co m m o n p a g e ([RHYTHM] -  
[F1 (Co m m o n )])  
MFX Re ve rb Se n d Le ve l  
Co m m o n  
Range: 0127  
Le ve l (Rh y th m Le ve l)  
Range: 0127  
Determines the level of the post-Multi-effects processor  
signal sent to Reverb. Its final output destination is  
determined by the Reverb output setting.  
Sets the volume of the Rhythm Set.  
* You can specify the level for each Rhythm Tone using the Tone  
Level parameter (p. 177).  
Ch o ru s O u tp u t Se le ct  
Specifies how the signal routed through Chorus will be  
output.  
O u tp u t Assig n (Rh y th m Se t O u tp u t Assig n )  
Available Settings:  
Available Settings:  
MFX: The Tone is sent into the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
MAIN: The Chorus output is sent only to the OUTPUT jacks.  
REV: The Chorus output is sent only to the Reverb.  
M+R: The Chorus output is sent to the OUTPUT jacks and to  
OUTPUT AD: The Rhythm Tone is sent to the selected  
the Reverb.  
OUTPUT AD jacks.  
Ch o ru s Le ve l  
INDIV 18: The Tone is sent to the INDIVIDUAL OUTPUT  
jacks 18.  
Range: 0127  
TONE: Outputs according to the settings for each Rhythm  
Determines the Chorus output level.  
Tone.  
Re ve rb Le ve l  
Range: 0127  
Determines the Reverb output level.  
MFX O u tp u t Assig n  
Range: AD  
Selects the pair of OUTPUT jacks to which the Multi-effects  
stereo output is routed.  
* As the Multi-effects are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
Ch o ru s O u tp u t Assig n  
Range: AD  
Selects the pair of OUTPUT jacks to which the Chorus units  
stereo output is routed when Chorus Output Select is set to  
MAINor M+R.The output destination setting for the  
signal sent to Reverb is determined according to the Reverb  
settings.  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
Re ve rb O u tp u t Assig n  
Range: AD  
Selects the OUTPUT jacks to which the Reverb units stereo  
output is routed.  
1 1 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  
6 . Turn the VALUE dial or press [INC]/ [DEC] to select 3.”  
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2  
(O u tP&EQ )])  
7 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Rhythm Tone Dry Send Level.  
O u tp u t Mix / Pa ra lle l  
8 . Turn the VALUE dial to select 100.”  
9 . Press [ ]/ [ ]/ [ ]/ [ ] to move the cursor to  
Mo d e  
Available Settings:  
MIX: Signals that are set to be output from jacks other than  
the A (MIX) OUTPUT jacks are mixed and output from the A  
(MIX) 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-5080s signal to a mixer that has only  
two channels.  
Rhythm Tone Chorus Send Level.  
1 0 . Turn the VALUE dial to select 0.”  
1 1 . Set the Rhythm Tone Reverb Send Level setting to 0in  
the same way.  
1 2 . Press [EXIT] to return to the RHYTHM PLAY page.  
1 3 . Press [F1 (Common)].  
When MIX is selected, sounds routed to the INDIVIDUAL  
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT  
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/  
8 jacks are sent to the right A (MIX) OUTPUT jack.  
1 4 . Press [  
]/ [  
] to move the cursor to Output Assign.  
1 5 . Turn the VALUE dial or press [INC]/ [DEC] to select  
PARALLEL: Sounds are routed to output jacks according to  
TONE.”  
their output settings.  
1 6 . Press [EXIT] to return to the RHYTHM PLAY page.  
The XV-5080s Master Level and Mix/ Parallel settings are  
each established using a single global parameter.  
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -  
[F1 (Ge n e ra l)])  
Ma ste r  
Le ve l (Ma ste r Le ve l)  
Range: 0127  
Adjusts the volume of the entire XV-5080.  
Example Settings  
Setting the Output Destination of a Specific Rhythm Tone  
This example explains the procedure for outputting the  
Rhythm Tone assigned to C4 from the INDIVIDUAL 3  
OUTPUT jack without sending it through any internal  
effects.  
1 . Select the Rhythm Set you wish to set.  
2 . Press [F6 (Effects)].  
3 . Press [F1 (General)] to call up the RHYTHM Effects  
General page.  
4 . Press TONE SELECT [1][4] and set the key at the upper  
left corner of the display to C4.”  
* If a MIDI keyboard is connected, you can select C4 by pressing  
the C4 key on the keyboard.  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Rhythm Tone Output Assign.  
1 1 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  
Se ttin g s in Ge n e ra l MIDI Mo d e  
Sig n a l (PART) Flo w  
fig.03-004.e  
Output Assign  
A
OUTPUT A  
OUTPUT B  
OUTPUT C  
OUTPUT D  
B
Part  
C
D
Out (GM CHORUS)  
CHO  
Rev (GM CHORUS)  
REV  
Out (GM REVERB)  
Pa rt Ch o ru s Se n d Le ve l  
Pa ra m e te rs  
Range: 0127  
The parameters related to Part output settings are shown  
below.  
Sets how much of the Tone is sent to the Chorus. Its final  
output destination is determined by the Chorus output  
setting.  
GM Effe cts Ge n e ra l p a g e ([GM] - [F6  
(Effe cts)] - [F1 (Ge n e ra l)])  
Pa rt Re ve rb Se n d Le ve l  
Sets the output destination and level for the selected Part, as  
well as its send level with respect to the Chorus and Reverb.  
Range: 0127  
Sets how much of the Tone is sent to the Reverb. Its final  
output destination is determined by the Reverb output  
setting.  
Pa rt O u tp u t Assig n  
Sets the output destination for each Part.  
Available Settings:  
Ch o ru s O u tp u t Assig n  
AD: The Part is sent to the selected pair of OUTPUT AD  
Range: AD  
jacks.  
Selects the OUTPUT jacks to which the Chorus units stereo  
output is routed.  
Pa rt Dry Se n d Le ve l  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
Range: 0127  
Sets the level of the signal to be sent to the OUTPUT jacks,  
which is determined by Part Output Assign.  
1 1 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  
Re ve rb Se n d Le ve l  
Range: 0127  
Sets the amount of the Chorus units output to be sent to the  
Reverb. Its final output destination is determined by the  
Reverb output setting.  
Re ve rb O u tp u t Assig n  
Range: AD  
Selects the OUTPUT jacks to which the Reverb units stereo  
output is routed.  
* As the internal effects processors are in stereo, settings for the  
INDIVIDUAL OUTPUT jacks are unavailable.  
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2  
(O u tP&EQ )])  
O u tp u t Mix / Pa ra lle l  
Mo d e  
Available Settings:  
MIX: Signals that are set to be output from jacks other than  
the A (MIX) OUTPUT jacks are mixed and output from the A  
(MIX) 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-5080s signal to a mixer that has only  
two channels.  
When MIX is selected, sounds routed to the INDIVIDUAL  
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT  
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/  
8 jacks are sent to the right A (MIX) OUTPUT jack.  
PARALLEL: Sounds are routed to output jacks according to  
their output settings.  
The XV-5080s Master Level and Mix/ Parallel settings are  
each established using a single global parameter.  
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -  
[F1 (Ge n e ra l)])  
Ma ste r  
Le ve l (Ma ste r Le ve l)  
Range: 0127  
Adjusts the volume of the entire XV-5080.  
1 1 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  
Ma ste r Fre q (Ma ste r Fre q u e n cy )  
Settings Values: 44.1/ 48 kHz  
Dig ita l Co n n e ctio n s Usin g R-  
BUS  
This sets the master clock used for the output.  
The XV-5080 comes equipped with an R-BUS connector. This  
connector allows you to make an eight-channel digital  
connection using a single R-BUS cable (RBC-1/ RBC-5;  
optional). In addition, you can connect the R-BUS connector  
to a DIF-AT, AE-7000, or other such digital device, making it  
possible for you to convert to different digital formats.  
DIF Co n tro l  
DIF-AT Clk Se le ct (DIF-AT Clo ck Se le ct)  
This selects the source of the DIF-AT synchronization signal  
when digital signals between digital devices are  
synchronized.  
* The XV-5080' s R-BUS is for output only.  
* This setting is required only when synchronizing signals with  
an ADAT or DA-88 through the DIF-AT.  
Settings Values:  
Only the R-BUS devices listed in the Owners Manual may be  
connected to the R-BUS (RMDB2) connector. Be careful not to  
connect any other devices (such as SCSI-type devices, RS-  
232C-type devices, parallel-type devices, etc.) even though  
they have similar-looking connectors. Use only a specially  
designed R-BUS (RMDB2) cable to make connections.  
R-BUS: The synchronization signal input through the DIF-  
ATs R-BUS connector is used for the master.  
ADAT: The synchronization signal input through the DIF-  
ATs ADAT connector is used for the master.  
DA-88: The synchronization signal input through the DIF-  
ATs DA-88 connector is used for the master.  
Pa ra m e te rs  
Here is the basic procedure for making the settings.  
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2  
(O u tp &EQ )])  
1 . Press [SYSTEM/ UTILITY], causing the indicator to light.  
* If the indicator is flashing, it means that the XV-5080 is in  
Utility mode. In this case, press [SYSTEM/UTILITY] once  
more so the indicator is lit, but not flashing.  
2 . Press [F2 (Outp&EQ)] to display the SYSTEM Output  
screen.  
3 . Press [  
], [  
], [  
], or [  
] to move the cursor to  
the parameter you want to set.  
Dig ita l In te rfa ce  
4 . Turn the VALUE dial or press [INC] or [DEC] to set the  
Ma ste r Clo ck  
value.  
This sets the master clock used for the output.  
Settings Values:  
* If you happen to make a mistake with a setting and press  
[UNDO], the parameter reverts to the value in effect when the  
cursor was moved to the parameter.  
INTERNAL: The XV-5080 serves as the master.  
R-BUS: Synchronizes to the clock arriving at R-BUS. The XV-  
5 . Press [EXIT] to return to the current PLAY screen  
5080 operates as the slave.  
WORD CLOCK IN: Synchronizes to the clock arriving at  
O u tp u t Ga in  
WORD CLOCK. The XV-5080 operates as the slave.  
* When the XV-5080 operates as a slave, it can be synchronized  
to clocks running at 44.1 kHz or 48 kHz. It cannot be  
synchronized to clocks running at other rates.  
Ga in  
Settings Values: -12, -6, 0, +6, +12 dB  
This adjusts the output gain from the XV-5080s Analog Out  
and Digital Out. When, for example, there are relatively few  
voices being sounded, boosting the output gain can let you  
attain the most suitable output level for recording and other  
purposes.  
* The sync status is indicated in parentheses. “Unlocked” means  
that the devices are not synchronized.  
1 1 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  
Eig h t-Ch a n n e l R-BUS Dig ita l Co n n e ctio n  
fig.RBUS-1.e  
VM-3100Pro  
XV-5080  
R-BUS  
W
W
Word Clock  
XV-5080 ——–> Device Equipped with R-BUS Connector (One Example)  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r  
XV-5080 Settings  
Master Clock: INTERNAL  
Master Freq: 44.1 or 48.0 kHz (set to match the sampling rate of the connected device)  
VM-3100 Pro R-BUS Settings  
MasterClk: RMDB-2  
VM-7100/ 7200 R-BUS Settings  
WORD CLOCK SOURCE:MULTI 1-8  
VSR-880 R-BUS Settings  
SYS:MasterClk:R-BUS  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve  
XV-5080 Settings  
Master Clock: RBUS  
VM-3100 Pro R-BUS Settings  
MasterClk: INTERNAL  
VM-7100/ 7200 R-BUS Settings  
WORD CLOCK SOURCE:INTERNAL  
VSR-880 R-BUS Settings  
SYS:MasterClk:INT  
1 2 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  
Co n ve rtin g to th e Va rio u s Dig ita l Fo rm a ts  
Dig ita l O u tp u t to a n ADAT  
Connect a DIF-AT, and youll then be able to output to an ADAT.  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r  
fig.RBUS-2.e  
XV-5080  
R-BUS  
DIF-AT  
W
POWER  
W
IN  
OUT  
OPTICAL  
OUT  
IN  
adat  
W
Word Clock  
Se ttin g s  
XV-5080 Settings  
Master Clock: INTERNAL  
Master Freq: 44.1 or 48.0 kHz (set to match the sampling rate of the connected device)  
DIF-AT Clk Select:R-BUS  
ADAT Settings  
CLOCK:  
INPUT:  
DIG  
DIGITAL  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve Se ttin g s  
XV-5080 Settings  
Master Clock: R-BUS  
DIF-AT Clk Select:ADAT  
ADAT Settings  
CLOCK:  
INT  
INPUT:  
DIGITAL  
1 2 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  
Dig ita l O u tp u t to a TASCAM DA Se rie s  
Connecting a DIF-AT then allows you to output to a TASCAM DA Series device.  
fig.RBUS-3.e  
XV-5080  
R-BUS  
DIF-AT  
W
POWER  
TDIF  
W
W
Word Clock  
TASCAM DA series  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r  
Se ttin g s  
You cannot make these settings (the DIF-AT cannot be used as Word Clock Slave with TASCAM devices).  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve  
Se ttin g s  
XV-5080 Settings  
Master Clock: R-BUS  
DIF-AT Clk Select:DA-88  
TASCAM Settings  
CLOCK:  
DIGITAL IN: ON  
INT  
1 2 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  
Dig ita l O u tp u t to a n AES/ EBU De vice  
Connecting an AE-7000 then allows you to output to an AES/ EBU device.  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve Se ttin g s  
fig.RBUS-4.e  
DIGITAL INPUT  
(AES/EBU)  
DIGITAL OUTPUT  
(AES/EBU)  
AE-7000  
XV-5080  
R-BUS  
W
W
888 I/O  
AES/EBU OUT  
AES/EBU IN  
ProTools  
W
Word Clock  
XV-5080 Settings  
Master Clock: R-BUS  
AE-7000 Settings  
CLOCK SOURCE SELECT:WORD CLOCK or INPUT A (for detailed instructions, refer to the AE-7000 manual)  
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r  
Se ttin g s  
XV-5080 Settings  
Master Clock: INTERNAL  
Master Freq: 44.1 or 48.0 kHz (set to match the sampling rate of the connected device)  
AE-7000 Settings  
CLOCK SOURCE SELECT:R-BUS  
1 2 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  
Sy n ch ro n izin g th e XV-5 0 8 0 to th e W o rd Clo ck a rrivin g a t  
W O RD CLO CK IN  
fig.RBUS-6.e  
WORD CLOCK MASTER  
VM-3100Pro  
W
WORD CLOCK OUT  
XV-5080  
R-BUS  
WORD CLOCK IN  
W
W
Word Clock  
Se ttin g s  
XV-5080 Settings  
Master Clock: WORD CLOCK IN  
Word Clock Master Device Settings  
Set the sampling rate for the device acting as Word Clock Master to 44.1 or 48.0 kHz.  
* Word Clock signals input at WORD CLOCK IN are output through R-BUS and S/P DIF.  
1 2 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-002.e  
Ty p e s o f Pa tch e s a n d Th e ir  
Co m p o sitio n  
To n e  
LFO 1  
LFO 2  
The basic unit of sound used in performances on the XV-5080  
is called a Patch; there are two types of Patches, Four-Tone  
Patches and Multi-Partial Patches.  
WG  
TVF  
TVA  
The Patch type is determined by the Tone type setting, in the  
Patch Common screen (p. 127).  
You do not need to be particularly aware of such distinctions  
when playing Patches. However, when changing Patch  
settings or creating new Patches, the parameters used differ  
depending on the Patch type.  
Pitch  
Envelope  
TVF  
Envelope  
TVA  
Envelope  
control signal  
audio signal  
WG (Wave Generator)  
Fo u r-To n e Pa tch  
Provides for the selection of PCM waveforms (waves), which  
form the basis of the sound, and provides settings that  
determine how the pitch of the sound will change.  
These correspond to the XV-5080s Preset Patches and Wave  
Expansion Board Patches.  
Each Four-Tone Patch can contain up to four Tones.  
fig.04-001.e  
The XV-5080 offers 1083 different waveforms. (See  
each Tone. (These can be assigned as a stereo pair, with one  
waveform assigned to the left, and one to the right.)  
Tone  
4
Tone  
1
Tone  
2
Tone  
3
All Patches onboard the XV-5080 consist of combinations of  
Tones, which in turn are composed of these waveforms. You  
can use the force with which keys are played, or MIDI  
messages to control the way each Tone is played. This is  
referred to as the Tone Mix Table (TMT).  
Example 1:A Patch consisting of only one Tone  
(Tones 24 are turned off).  
Additionally, you can load Wave data (samples) into the XV-  
5080 from sampler libraries and assign this data to the Tones.  
Tone  
1
Tone  
2
Tone  
3
Tone  
4
TVF (Time Variant Filter)  
Specifies how the constituent frequencies of the Tone will  
change.  
Example 2: A Patch consisting of four Tones.  
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. 126)  
TVA (Time Variant Amplifier)  
localization.  
You can also specify how Tones 1 and 2 and Tones 3 and 4  
will be combined (Structure). (p. 131)  
Envelope  
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.  
Ho w a To n e Is O rg a n ize d  
In the XV-5080, the Tone is the smallest class of sound.  
However, it is not possible to play a Tone by itself. The Patch  
is the unit of sound that can be played, and Tones are the  
basic building blocks used to form a Patch. A Tone consists  
of the following five components.  
LFO (Low Frequency Oscillator)  
Use the LFO to create cyclical changesor cyclical  
modulation”—in a Tone. Each Tone has two LFOs. An LFO  
can be applied to the Tones 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.  
1 2 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
             
Ch a p te r 4 Cre a tin g Pa tch e s  
TVF (Time Variant Filter)  
Mu lti-p a rtia l Pa tch  
Patches using data loaded into the XV-5080 from sampler  
Multi-Partial Patch  
Specifies how the constituent frequencies of the Tone will  
change.  
TVA (Time Variant Amplifier)  
B1  
Partial  
Specifies how the volume will change, and controls the  
localization.  
Sample 1  
Sample 2  
Sample 3  
Sample 4  
D7  
Envelope  
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.  
The TVF envelope can be used to change not only the cutoff  
frequency, but also the pitch.  
88 Partials  
LFO (Low Frequency Oscillator)  
Use the LFO to create cyclical changes—or cyclical  
libraries are of this type.  
“modulation”—in a Tone. Each Tone has an LFO. An LFO  
can be applied to the Tones 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.  
Multi-Partial Patches are created by assigning the constituent  
sounds, called Partials, to the keys on the keyboard, with up  
to 88 Partials being assignable.  
One difference between Tones and Partials is that whereas  
Tones are composed of two waveforms, Partials may contain  
up to four samples (Wave data).  
* Multi-Partial Patches are created using samples (Wave data)  
loaded into the SIMM (memory module) (internal Waves  
cannot be used). To do this, you need a separate device to load  
the samples from a sampler library or other source to the XV-  
5080. (p. 181)  
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)  
Heres 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.  
Ho w a Pa rtia l Is O rg a n ize d  
The sounds from which Multi-Partial Patches are composed  
Select the Patch you wish to use.  
Pa rtia l  
LFO  
1 . Make sure that the PATCH PLAY page is displayed.  
2 . 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.  
3 . The PATCH PLAY page indicates the Tones that are on  
SMT  
TVF  
TVA  
as follows. Tones that are off are shown as “-.”  
fig.04-003.e  
TVF  
TVA  
Envelope  
Envelope  
control signal  
audio signal  
are called Partials. Partials may comprise up to four samples,  
and are composed using the following five elements.  
SMT (Sample Mix Table)  
Selects the sample to be used as the source of the sound.  
You can use the key touch and MIDI messages to control the  
way each sample is played.  
1 2 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 4 Cre a tin g Pa tch e s  
name by turning the VALUE dial or pressing the [INC] or  
[DEC] buttons to select the desired characters.  
Se ttin g s Co m m o n to th e  
En tire Pa tch  
Available characters/symbols:  
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^  
Setting Procedure:  
_ ` { | } → ←  
1 . Select the Patch youre going to use.  
2 . Press [F1 (COMMON)].  
* Pressing the VALUE dial displays the Patch Name window,  
in which you can use the following functions.  
[F2 (Prev)]: Move back one character.  
3 . Use [F1][F5] to select the page containing the parameter  
[F3 (Next)]: Move forward one character.  
[F4 (Insert)]: Insert a blank space at the cursor position.  
[F5 (Delete)]: Delete the character at the cursor position.  
[F6 (OK)]: Confirm the selected name.  
you wish to set.  
* When the setting pages are displayed, you can press TONE  
SWITCH [1]–[4] to turn each Tone on/off.  
4 . Use [  
]/ [  
]/ [  
]/ [  
] to move the cursor to the  
Ca te g o ry (Pa tch Ca te g o ry )  
parameter you want to set.  
Specifies the type (category) of the Patch.  
5 . Either turn the VALUE dial, or press [INC]/ [DEC] to  
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.  
select the desired value.  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
For details on the possible category names, refer to p. 19.  
Pa tch Ty p e  
6 . Press [EXIT] to return to the PATCH PLAY page.  
Range: 4TONES/ MULTI-PARTIAL  
Sets the Patch type (Four-Tone Patch, or Multi-partial Patch).  
A *symbol will appear at the left of the Patch name,  
indicating that the settings have been modified.  
fig.04-004.e_70  
Le ve l (Pa tch Le ve l)  
Range: 0127  
Sets the volume of the Patch.  
* The volume of each Tone/Partial is set by the Tone Level  
* 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. 194)  
Pa n (Pa tch Pa n )  
Range: L64063R  
Sets the stereo position of the Patch. L64 is far left, 0 is center,  
and 63R is far right.  
Co m m o n (Pa tch Co m m o n )  
* The pan of each Tone/Partial is set by the Tone Pan (TVA; p.  
PATCH Co m m o n Ge n e ra l # 1 p a g e  
([PATCH] - [F1 (Ge n e ra l)])  
fig.04-005.e_70  
* While each Tone/Partial in a Patch has its own Pan position,  
the Patch pan setting shifts the entire Patch – including all of  
its Tones/Partials – leftward or rightward.  
O u tp u t Assig n (Pa tch O u tp u t Assig n )  
Specifies the output destination for the Patch.  
Range:  
MFX: The Patch is sent into the Multi-effects. Its output  
destination is determined by the Multi-effects output  
settings.  
Co m m o n  
n a m e (Pa tch N a m e )  
OUTPUT AD: The Patch is sent to the selected pair of  
You can give a Patch a name using up to 12 characters.  
OUTPUT AD jacks. (Stereo output)  
Press [  
] or [  
] to move the cursor, and then create the  
1 2 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
               
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-006.e  
INDIV 18: The Patch is sent to the selected INDIVIDUAL 1–  
Pitch difference from  
equal temperament  
8 jack. (Mono output)  
Parameter value  
TONE/KEY: The output routing is determined by the settings  
3
2
1
of each Tone/ Partial.  
O cta ve &Tu n e (Pa tch O cta ve & Tu n e )  
O cta ve Sh ift  
OFF  
OFF  
Range: -3+3  
Sets the pitch of the Patch in units of an octave (+/ -3  
octaves).  
1
2
* This setting can also be adjusted from the PATCH PLAY  
page. (p. 17)  
3
Low note range  
High note range  
Co a rse Tu n e  
An a lo g Fe e l (An a lo g Fe e l De p th )  
Range: -48+48  
Range: 0127  
Adjusts the pitch of Tone/ Partial in semitone steps (-4+4  
Specifies the depth of 1/ f modulation that is to be applied to  
the Patch. (1/ f modulation is a pleasant and naturally-  
occurring ratio of modulation that occurs in a babbling brook  
or rustling wind.)  
octaves).  
Fin e Tu n e  
Range: -50+50  
By adding this 1/ f modulation,you can simulate the  
Adjusts the pitch of the Tone/ Partial in 1-cent steps (1/ 100th  
of a semitone) over a range of half a semitone up or down.  
natural instability characteristic of an analog synthesizer.  
Stre tch Tu n e De p th  
PATCH Co m m o n Ge n e ra l # 2 p a g e  
([PATCH] - [F1 (Ge n e ra l)])  
fig.04-007.e_70  
Range: OFF/ 1/ 2/ 3  
This setting allows you to apply stretched tuningto 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  
intended to sound like a real piano. With a setting of OFF,  
the Patchs tuning will be equal temperament. A setting of 3  
will produce the greatest difference in the pitch of the low  
and high ranges.  
Mo d ify (Pa tch Mo d ify )  
Cu to ff O ffse t  
Range: -63+63  
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  
resonate.  
This simultaneously lowers or raises the individual TVF  
cutoff frequency values of the Tones/ Partials in the Patch.  
Re so n a n ce O ffse t  
Range: -63+63  
This simultaneously lowers or raises the individual TVF  
resonance values of the Tones/ Partials in the Patch.  
Atta ck O ffse t (Atta ck Tim e O ffse t)  
Range: -63+63  
This simultaneously lowers or raises the individual TVA  
ENVELOPE T1 values of the Tones/ Partials in the Patch.  
With Multi-Partial Patches, only TVA changes.  
1 2 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 4 Cre a tin g Pa tch e s  
Re le a se O ffse t  
Co n tro l (Pa tch Co n tro l)  
Range: -63+63  
PATCH Co m m o n Co n tro l p a g e ([PATCH]  
- [F2 (Co n tro l)])  
This simultaneously lowers or raises the individual TVA  
ENVELOPE T4 values of the Tones/ Partials in the Patch.  
fig.04-008.e_70  
With Multi-Partial Patches, only TVA changes.  
Ve lo Se n s O ffse t (Ve lo city Se n sitivity O ffse t)  
Range: -63+63  
Sets the relative ratio of change of the TVF VELOCITY V-  
Cutoff and TVA V-Sens values set in each of the Tones/  
Partials comprising the Patch.  
Ke y Mo d e (Ke y Assig n Mo d e )  
Ke y Assig n (Pa tch Ke y Assig n )  
Te m p o (Pa tch Te m p o )  
This sets how the Patchs notes will be played. The SOLO  
setting is effective when playing a solo instrument Patch  
such as sax or flute.  
Clo ck So u rce (Pa tch Clo ck So u rce )  
The LFO cycle, M-FX changes, phrase loop (break beats), and  
Tone/ Partial delay time can be synchronized to a clock, or  
tempo. The Clock Source setting selects the timing reference  
to be used by the Patch.  
MONO:Only one note will sound at a time.  
POLY:Two or more notes can be played simultaneously.  
Available Settings:  
Le g a to Sw itch  
PATCH: The Patch Tempo will be used.  
Range: OFF/ ON  
SYSTEM: The global System Tempo or clock messages  
Turn this parameter on when you want to use the Legato  
feature and off when you dont. 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 notes pitch to change to  
that of the newly pressed key while continuing to sound.  
This can be effective when you wish to simulate performance  
techniques such as a guitarists hammering on and pulling  
off strings.  
received from an external sequencer will be used.  
Te m p o (Pa tch Te m p o )  
Range: 20250  
When Clock Source is set to PATCH,this setting  
establishes the Patchs tempo.  
* Clock messages for the Patch Tempo are not transmitted from  
the MIDI OUT jack.  
Le g a to Re trig g e r  
Vo ice Prio rity  
Range: OFF/ ON  
This determines how notes will be managed when the XV-  
The setting determines whether sounds are replayed or 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 OFFwhen performing wind  
and string phrases or when using modulation with the mono  
synth keyboard sound.  
5080s maximum polyphony limit is exceeded (128 voices).  
Available Settings:  
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.  
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.  
* If the Legato Switch is “OFF,” this setting is ignored.  
* Lets say you have the Legato Switch set to “ON,” and the  
Legato Retrigger set to “OFF.” When you try to sound a  
legato (by pressing a higher key while a lower key is held  
down), the pitch may sometimes not be able to rise all the way  
to the intended pitch (stopping instead at an intermediate  
pitch). This can occur because the limit of pitch rise, as  
determined at the wave level, has been exceeded. Additionally,  
if differing upper pitch limits are used for the waves of a Patch  
O n e Sh o t Mo d e  
Range: OFF/ ON  
This causes all the samples assigned to a selected Patch in  
* This function cannot be used with internal waves, and waves  
on Wave Expansion Boards.  
* Loop mode settings cannot be changed for individual samples.  
1 2 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
that uses multiple tones, it may stop being heard in MONO.  
When making large pitch changes, set the Legato Retrigger to  
“ON.”  
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.  
Be n d e r  
Sets the bend range.  
Available Settings:  
Be n d Ra n g e Up  
PITCH: The pitch will begin changing immediately to the  
Range: 048  
new notes pitch when its key is pressed.  
fig.04-009.e  
Specifies the amount (in semitones) of pitch bend that will  
occur when the bender lever of a connected MIDI keyboard  
is moved to the far right position (or for a wheel, the fully  
upward position). For example, with a setting of 12, moving  
the pitch bend lever to the far right position will raise the  
pitch 1 octave.  
Pitch  
C5  
Be n d Ra n g e Do w n  
D4  
C4  
Range: 048  
Specifies the amount (in semitones) of pitch bend that will  
occur when the bender lever of a connected MIDI keyboard  
is moved to the far left position (or for a wheel, the fully  
downward position). For example, with a setting of 48,  
moving the pitch bend lever to the far left position will raise  
the pitch 4 octave.  
Time  
press D4 key  
press C5 key  
press C4 key  
NOTE: The pitch will begin changing to the new notes pitch  
only after it has first reached its original pitch destination.  
fig.04-010.e  
Pitch  
Po rta m e n t (Pa tch Po rta m e n to )  
Portamento is a function that causes the Patchs 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 violinists  
glissando.  
C5  
D4  
C4  
Sw itch (Po rta m e n to Sw itch )  
Range: ON/ OFF  
Time  
press D4 key  
press C5 key  
press C4 key  
Turn this switch on when you wish to use Portamento.  
Mo d e (Po rta m e n to Mo d e )  
Tim e (Po rta m e n to Tim e )  
Range: 0127  
Selects the way in which Portamento will be applied.  
Available Settings:  
Sets the time over which one pitch will glide to the next.  
NORMAL: Portamento will always be applied.  
LEGATO: Portamento will be applied for notes played legato  
(i.e., notes played before the previous note is released).  
Ty p e (Po rta m e n to Ty p e )  
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.  
Available Settings:  
RATE: The time it takes will depend on the distance between  
the two pitches.  
1 3 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-016.e  
Stru ctu re (Pa tch Stru ctu re )  
TYPE 5  
These parameters can be set only for Four-Tone Patches.  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVA  
TVF  
PATCH Co m m o n Stru ctu re p a g e  
([PATCH] - [F3 (Stru ct)])  
fig.04-011.e_70  
R
TVF TVA  
TVF TVA  
TVF TVA  
TVF TVA  
TVA  
fig.04-017.e  
TYPE 6  
TONE 1 (3) WG  
TVA  
TVF  
R
To n e 1 &2 / To n e 3 &4  
TONE 2 (4) WG  
Determines how Tone 1 and 2, or Tone 3 and 4 are connected.  
fig.04-018.e  
Ty p e (Stru ctu re Ty p e )  
TYPE 7  
Range: 110  
fig.04-012.e  
TONE 1 (3) WG  
TVF TVA  
TYPE 1  
R
TONE 2 (4) WG  
TONE 1 (3) WG  
TONE 2 (4) WG  
TVF  
TVF  
TVA  
TVA  
fig.04-019.e  
TYPE 8  
fig.04-013.e  
TONE 1 (3) WG  
TVF TVA  
TYPE 2  
R
TONE 2 (4) WG  
TONE 1 (3) WG  
TVA  
TVA  
TVA  
TVF  
fig.04-020.e  
TONE 2 (4) WG  
TYPE 9  
TVF TVA  
TVF TVA  
TVF TVA  
fig.04-014.e  
TONE 1 (3) WG  
TVF TVA  
TVF  
TYPE 3  
R
TONE 2 (4) WG  
TONE 1 (3) WG  
TVF  
B
fig.04-021.e  
TONE 2 (4) WG  
TYPE 10  
fig.04-015.e  
TONE 1 (3) WG  
TVF TVA  
TVF  
TYPE 4  
R
TONE 2 (4) WG  
TVA  
TONE 1 (3) WG  
TVF  
B
The display will graphically show the selected Structure. The  
displayed symbols have the following meanings.  
TONE 2 (4) WG  
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1), A2  
(TVA2), B (booster), R (ring modulator)  
* If you select a Tone while on the STRUCT page, the Tone  
paired with the selected Tone will also be selected.  
* If Type 2–10 is selected, turning off one Tone will cause the  
1 3 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
other Tone to be connected in the simple order of WG/TVF/  
TVA.  
K. Ra n g e (Pa tch Ke y Ra n g e )  
These parameters can be set only for Four-Tone Patches.  
Bo o ste r (Bo o ste r Ga in )  
* When using Multi-partial Patches, this setting page doesn’t  
appear.  
Range: 0/ +6/ +12/ +18  
If the Typeparameter has been set to 3 or 4, you can set the  
Booster strength. The Booster amplifies the incoming signal,  
causing it to distort. This creates an effect similar to the  
distortion often used on an electric guitar.  
PATCH Co m m o n TMT Ke y Ra n g e p a g e  
([PATCH] - [F4 (K.Ra n g e )])  
fig.04-023.e_70  
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.  
L.F (TMT Ke y b o a rd Fa d e W id th Lo w e r)  
Range: 0127  
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  
Determines what will happen to the Tones level when a note  
thats lower than the Tones specified keyboard range is  
played. Higher settings produce a more gradual change in  
volume. If you dont want the Tone to sound at all when a  
note below the keyboard range is played, set this parameter  
sounds.  
fig.04-022.e  
to 0.  
fig.04-024.e  
Level  
Key number  
0
127  
Lower  
Upper  
L.Fade value  
U.Fade value  
K.L (TMT Ke y b o a rd Ra n g e Lo w e r)  
Range: C -1UPPER  
Specifies the lowest note that will cause the Tone to sound.  
K.U (TMT Ke y b o a rd Ra n g e Up p e r)  
Range: LOWER G9  
Specifies the highest note that will cause the Tone to sound.  
* 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.  
1 3 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 4 Cre a tin g Pa tch e s  
U.F (TMT Ke y b o a rd Fa d e W id th Up p e r)  
Ma trix -Ctrl (TMT Ma trix Co n tro l  
Sw itch )  
Range: 0127  
Range: OFF/ ON  
Determines what will happen to the Tones level when a note  
thats higher than the Tones specified keyboard range is  
played. Higher settings result in a more gradual change in  
volume. If you dont want the Tone to sound at all when a  
note above the keyboard range is played, set this parameter  
to 0.  
This setting determines whether or not the TMT is controlled  
by the Matrix Control. When Velo (TMT Velocity Control  
Switch) 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.  
* When using Multi-partial Patches, this setting page doesn’t  
appear.  
To n e  
Displays the Tone number.  
V. Ra n g e (Pa tch Ve lo city Ra n g e )  
These parameters can be set only for Four-Tone Patches.  
L.F (TMT Ve lo city Fa d e W id th Lo w e r)  
* When using Multi-partial Patches, this setting page doesn’t  
appear.  
Range: 0127  
Determines what will happen to the Tones level when the  
Tone is played at a velocity lower than its specified velocity  
range. Higher settings result in a more gradual change in  
volume. If you dont want notes played outside the specified  
PATCH Co m m o n TMT Ve l Ra n g e p a g e  
([PATCH] - [F5 (V.Ra n g e )])  
fig.04-025.e_70  
velocity range to be heard at all, set this to 0.  
fig.04-026.e  
Level  
Co n tro l (TMT Ve lo city Co n tro l)  
Lower  
Upper  
Velocity  
1
With the XV-5080, 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).  
L.Fade value  
U.Fade value  
V.L (TMT Ve lo city Ra n g e Lo w e r)  
Range: 1127  
Specifies the highest limit of playing dynamics (key velocity)  
which will sound the Tone. Make these settings when you  
want different Tones to sound in response to notes played at  
different strengths.  
Ve lo city -Ctrl (TMT Ve lo city Co n tro l  
Sw itch )  
Range: OFF/ ON/ RANDOM  
Determines whether Velocity messages from a MIDI  
keyboard or sequencer will be recognized (ON), or ignored  
(OFF).  
V.U (TMT Ve lo city Ra n g e Up p e r)  
Range: C -1G9  
When set to RANDOM, the Patchs constituent Tones will  
Specifies the highest limit of playing dynamics (key velocity)  
which will sound the Tone. Make these settings when you  
want different Tones to sound in response to notes played at  
different strengths.  
sound randomly, regardless of any Velocity messages.  
* 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.  
1 3 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
             
Ch a p te r 4 Cre a tin g Pa tch e s  
U.F (TMT Ve lo city Fa d e W id th Up p e r)  
Mo re Ad va n ce d Ed itin g o f To n e s  
Range: 0127  
You can use a tremendous amount of detail when you edit  
the Tones in a Patch.  
This determines what will happen to the Tones 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 dont want notes played outside the  
specified velocity range to be heard at all, set this to 0.  
The parameters which can be set for each Tone are assigned  
to [F2][F5] as follows.  
[F2 (W G)]  
[F1 (WG Prm)] Selecting waveforms, FXM, Tone delay  
(p. 136)  
Cre a tin g Fo u r-To n e Pa tch e s  
[F2 (Pitch)] Pitch (p. 138)  
[F3 (Pch Env)] Pitch Envelope (p. 138)  
[F4 (Sample)] Sample Edit (p. 139)  
Tip s fo r Cre a tin g a Pa tch  
Select a Patch that is similar to the sound you wish to  
create.  
[F3 (TVF)]  
When you want to create a new sound, its 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. 19)  
[F1 (TVF Prm)] modifies the brightness using the filter  
(p. 140)  
[F2 (TVF Env)] TVF envelope (p. 142)  
Decide which Tones will sound  
[F1 (TVA Prm)] Changes the volume and stereo location  
(p. 143)  
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 p. 126)  
[F2 (TVA Env)] TVA envelope (p. 144)  
[F5 (LFO &CTL)]  
[F1 (LFO1)] Applies vibrato or tremolo (p. 145)  
[F2 (LFO2)] Applies vibrato or tremolo (p. 145)  
[F3 (Control)] Matrix control) (p. 146)  
[F4 (Ctrl Sw)] receives MIDI messages (p. 147)  
Check the way in which the Tones are combined  
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. 131)  
* Do not change the Patch type (Patch Type, p. 127) while using  
Patch Edit. Since the composition of sounds and parameters  
used differ for each type, unless you go back and redo these  
settings, no sound will be produced.*  
Turn off effects  
Since the XV-5080 effects have such a profound impact on its  
sounds. The effects have a very great influence on the sound,  
and simply turning off the effects may make the sound quite  
different. Since you will hear the original sound of the Patch  
itself when the effects are turned off, the results of your  
modifications will be easier to hear. Actually, sometimes just  
changing effects settings can give you the sound you want.  
(The settings in Patch mode (p. 24))  
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 youre going to use.  
2 . Press [F2][F5], whichever has the parameter you wish to  
set assigned to it, and select the display group.  
3 . Then press [F1][F4] to access the desired page.  
4 . Use TONE SELECT [1][4] to select the Tone you wish to  
set.  
Its indicator will blink, and the selected Tones number will  
appear in the upper right of the display.  
1 3 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-027.e  
3 . Press [  
to be set.  
] or [  
] to move the cursor to the parameter  
4 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
If you have selected two or more Tones, the change you  
make will raise or lower the parameters value for all selected  
Tones by the same amount.  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
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  
6 . Turn the VALUE dial or press [INC]/ [DEC] to select the  
desired value.  
pressing [  
]/ [  
], and while holding down [SHIFT],  
* 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 original value of the parameter.  
press the VALUE dial.  
* 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 original value of the parameter.  
7 . Repeat Steps 26 to finish setting up the Patch.  
8 . Press [EXIT] to return to the PATCH PLAY page.  
5 . If you wish to edit other parameters, press [  
]/ [  
] to  
A *symbol will appear at the left of the Patch name,  
select the desired parameter.  
indicating that its settings have been modified.  
fig.04-028.e_70  
6 . Repeat Steps 25 to adjust the parameters value.  
7 . To exit the Palette page, press [F6].  
[F6] will display the Tone number to which you will return  
when pressing the button.  
8 . Press [EXIT] to return to the PATCH PLAY page.  
* 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 keep these settings, perform the Save operation. (p.  
194)  
Because the XV-5080 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) youre working with, the desired  
result may be difficult or impossible to achieve.  
Pa le tte Fu n ctio n  
When editing a Tone, you can simultaneously view the  
settings of all four of its Tones by pressing [F6 (Palette)].  
1 . When modifying a Tone, press [F6 (Palette)] to call up  
The XV-5080s internal waveforms fall into the following two  
the Tone Palette page.  
fig.04-029.e_70  
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-5080s one-shot waveforms are  
sounds that are complete in themselves, such as percussive  
instrument sounds. The XV-5080 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.  
2 . Press a TONE SELECT [1][4] button, [  
]/ [  
] to  
choose the Tone you wish to modify.  
The buttons indicator of the Tone for editing starts blinking.  
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-5080s looped waveforms also include  
components of other sounds, such as piano-string resonant  
vibrations and the hollow sounds of brass instruments.  
To simultaneously modify the same parameter in two or  
more Tones, hold down one Tones TONE SELECT [1][4]  
button, press the next desired TONE SELECT [1][4] button,  
and then another if desired, and so on.  
1 3 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
The following diagram shows an example of a sound an  
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.  
electric organ that combines one-shot and looped  
waveforms.  
fig.04-030.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 th e W a ve fo rm a n d  
Pitch ([F2 ] (W G))  
+
=
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.  
Key-off  
Key-off  
N o te s fo r Ed itin g O n e -Sh o t W a ve fo rm s  
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  
doesnt exist, and the envelope would have no effect.  
PATCH W G Pa ra m e te r p a g e ([PATCH] -  
[F2 (W G)] - [F1 (W G Prm )])  
fig.04-032.e_70  
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s  
With many acoustic instruments such as piano and sax,  
extreme timbral changes occur during the first few moments  
of each note. This initial attack is what defines much of the  
instruments character. The XV-5080 provides a variety of  
waveforms containing realistic acoustic instrument attacks.  
To obtain the maximum realism when using these  
W AVE  
Gro u p (W a ve Gro u p )  
Selects the group for the waveform that is to be the basis of  
the Tone.  
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  
Available Settings:  
INT: Waveform stored in the XV-5080s memory.  
XP-AH: Waveform on the wave expansion boards AH.  
* It is not possible to select XP-A–F unless a wave expansion  
board is inserted into the corresponding slot.  
sound.  
fig.04-031.e  
SAMPLE: Samples (Wave data) loaded into the SIMM  
(memory module) from a sampler library or other source.  
Looped Portion  
Tone change stored  
with the wave  
L (W a ve N u m b e r L)  
Range: 11083  
Selects the desired waveform by its number.  
Envelope  
for the TVF filter  
The name of the wave will be displayed in square brackets [  
].  
R (W a ve N u m b e r R)  
Range: 11083  
Resulting tone change  
Selects the desired waveform by its number.  
The name of the wave will be displayed in square brackets [  
].  
If you try to make a waveforms attack brighter by lowering  
the high-frequency content of its decay using the TVF filter,  
consider the original timbral character of the waveform. If  
youre 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 parameter in the Patch WG Prm  
* When Wave Number R is set to "----," the tone being edited  
goes to MONO.  
* By holding down [SHIFT] and pressing [F6], you can rapidly  
switch between STEREO and MONO tones.  
1 3 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-033.e  
Ga in (W a ve Ga in )  
NORMAL  
Range: -6/ 0/ +6/ +12  
Specifies the gain (amplitude) of the waveform. The value  
changes in 6 dB (decibel) stepsan increase of 6 dB doubles  
the waveforms gain. If you intend to use the Booster to  
distort the waveforms sound, set this parameter to its  
maximum value.  
Delay time  
Te m p o Sy n c (W a ve Te m p o Sy n c)  
Range: ON/ OFF  
Note on  
Note off  
Determines whether the waveform is synchronized (ON) or  
HOLD: The Tone will only sound if the key is held for longer  
not synchronized (OFF) to the Patchs tempo.  
than the specified Delay Time. If the key is released before  
the Delay Time has elapsed, the Tone will not sound.  
fig.04-034.e  
FXM (Fre q u e n cy Cro ss Mo d u la tio n )  
HOLD  
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 )  
Range: ON/ OFF  
No sound  
played  
Delay time  
Sets whether FXM will be used (ON) or not (OFF).  
Note on  
Note off  
Co lo r (W a ve FXM Co lo r)  
KEY-OFF-NORMAL: The Tone will not sound while the key  
Range: 14  
is being pressed, but will sound after the specified Delay  
Specifies how FXM will perform its frequency modulation.  
Higher settings result in a grainier sound, while lower  
settings result in a more metallic sound.  
Time when the key is released.  
fig.04-035.e  
KEY-OFF-NORMAL  
De p th (W a ve FXM De p th )  
Range: 016  
Specifies the depth of the modulation produced by FXM.  
Delay time  
To n e De la y  
Note on  
Note off  
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.  
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 decay portion of the sound will be heard.  
fig.04-036.e  
If you do not wish to use Tone Delay, set Mode to NORMAL  
and Delay Time to 0.  
KEY-OFF-DECAY  
Mo d e (To n e De la y Mo d e )  
Sets the manner in which the Tone will sound.  
Available Settings:  
Delay time  
Note on  
Note off  
NORMAL: The Tone will sound after the specified Delay  
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.  
Time.  
1 3 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 4 Cre a tin g Pa tch e s  
Tim e (To n e De la y Tim e )  
Pitch Ke y fo llo w (W a ve Pitch  
Ke y fo llo w )  
Range: 0127/ Note  
Specifies the time after which the Tone will sound when  
using Tone Delay.  
Range: -200+200  
Sets the amount of pitch change that will occur per octave on  
the keyboard.  
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.  
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 Tones pitch to go down as you go up the  
keyboard. If you want the same pitch to sound regardless of  
For more information on the types of notes, refer to the  
Parameter List (p. 241).  
PATCH W G Pitch p a g e ([PATCH] - [F2  
(W G)] - [F2 (Pitch )])  
fig.04-037.e_70  
what key is pressed, set this parameter to 0.  
fig.04-038.e  
+200 +150  
+120  
Pitch  
+100  
+70  
+50  
+40  
+30  
+20  
+10  
0
10  
Pitch  
30  
50  
These parameters set the basic pitch of each Tone.  
70  
100  
Co a rse Tu n e (To n e Co a rse Tu n e )  
C2  
C3  
C4  
C5  
C6  
C7  
Keyboard position  
Range: -48+48  
Adjusts the pitch of the Tones simultaneously in semitone  
steps over a range of +/ -4 octaves.  
PATCH W G Pitch En ve lo p e p a g e  
([PATCH] - [F2 (W G)] - [F3 (Pch En v)])  
fig.04-039.e_70  
Fin e Tu n e (To n e Fin e Tu n e )  
Range: -50+50  
Adjusts the pitch of the Tone in one-cent steps (1/ 100th of a  
semitone) over a range of half a semitone up or down.  
Ra n d o m Pitch (To n e Ra n d o m Pitch )  
De p th  
Pitch En ve lo p e  
Range: 01200  
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  
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).  
characteristics of the pitch envelope itself.  
fig.04-040.e  
T1  
T2  
T3  
T4  
L1  
L0  
L3  
Pitch  
Time  
key is  
key is  
pressed  
L2  
released  
L4  
1 3 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 4 Cre a tin g Pa tch e s  
De p th (Pitch En ve lo p e De p th )  
Tim e 4 (Pitch En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
Range: -12+12  
Range: -63+63  
Determines the amount of pitch enveloping to be used.  
Higher values will cause greater change. Negative (-) settings  
invert the direction of the changes made by the Pitch  
Envelope.  
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 release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
setting.  
Tim e Ke y fo llo w (Pitch En ve lo p e Tim e  
Ke y fo llo w )  
Range: -100+100  
Use this parameter when you want the keyboard location of  
notes to affect times T2T4 of the pitch envelope. Higher  
settings of this parameter will cause greater time change  
relative to the envelope time at middle C (C4). Positive (+)  
settings cause the times to shorten as you play above Middle  
C. Negative (-) settings will extend time.  
PATCH W G Sa m p le p a g e ([PATCH] -  
[F2 (W G)] - [F4 (Sa m p le )])  
You can edit the Sample loaded into the SIMM (memory  
module).  
Tim e (Pitch En ve lo p e Tim e 1 4 )  
* These settings cannot be made unless a sample is being used.  
fig.04-041.e_70  
Range: 0127  
These settings determine the times over which the basic pitch  
settings will change from one pitch envelope level (L1L4) to  
the next.  
Le ve l (Pitch En ve lo p e Le ve l 0 4 )  
Range: -63+63  
Sa m p le  
Each pitch envelope level value determines an amount of  
Sa m p lin g Fre q . (Sa m p lin g Fre q u e n cy )  
change to be applied to the Tones basic pitch.  
Displays the original sampling frequency of the loaded  
Sample.  
Ve lo city Se n s (Pitch En ve lo p e Ve lo city  
Se n sitivity )  
O rig in a l Ke y  
Am o u n t (Pitch En ve lo p e Tim e Am o u n t  
Se n sitivity )  
Set the Note Number for the pitch used for playing the  
sample when it was sampled.  
Range: -63+63  
Lo o p  
Adjust this parameter when you want your keyboard  
playing dynamics (velocity) to affect the amount of pitch  
enveloping. For higher settings, there will be a greater  
difference between softly and strongly played notes.  
Negative (-) values invert the change.  
Mo d e (Lo o p Mo d e )  
Displays the loop mode of the loaded Sample.  
Available Settings:  
FWD (Forward):  
Tim e 1 (Pitch En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
After the sample played back from the Start point to the  
Loop End point, it will then be repeatedly played back in the  
forward direction, from the Loop Start point to the Loop End  
point.  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the pitch  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
ONE-SHOT:  
The sample will be played back only once, from the Start  
point to the Loop End point.  
ALT (Alternate):  
When the sample has been played back from the Start point  
to the Loop End point, playback will repeat to the Loop Start  
1 3 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
point, then go back and forth between the Loop Start point  
and the Loop End point.  
Usin g th e Filte r to Mo d ify th e  
Brig h tn e ss ([F3 (TVF)])  
REV-ONE (Reverse One-shot)  
The settings for the TVF (Time Variant Filter) allow you to  
change a Tones timbral content by altering its brightness or  
thickness.  
The sample will be played back only once from the Loop End  
point to the Start point in the reverse direction.  
REV (Reverse):  
When the sample has been played back from the Loop End  
point to the Start point, it will be repeatedly played back in  
the reverse direction, from the Loop Start point to the Start  
point.  
PATCH TVF Pa ra m e te r p a g e ([PATCH] -  
[F3 (TVF)] - [F1 (TVF Prm )])  
fig.04-042.e_70  
Tu n e (Lo o p Tu n in g )  
Range: -5050  
Determines the fine pitch setting within the loop, in one-cent  
steps (1/ 100 of a semitone).  
TVF  
Sta rt-Fin e (Sta rt Po in t - Sta rt Po in t  
Fin e )  
Filte r Ty p e (TVF Filte r Ty p e )  
Selects the filter type. A filter typically reduces, or attenuates,  
a specific frequency range within a Tone in order to  
accentuate its other frequencies.  
Start Point  
Range: 0–  
Specifies the point in the sample from which data will be  
read.  
Available Settings:  
OFF: No filter is used.  
Start Point Fine  
LPF: Low Pass Filter. This reduces the volume of all  
frequencies above the cutoff frequency. Since the high  
frequency range is cut, the sound will become more mellow.  
This is the most frequently-used type of filter.  
Range: 0255  
This is a fine adjustment of the Start Point.  
Lo o p Po in t Sta rt-Fin e (Lo o p Sta rt Po in t  
- Lo o p Sta rt Po in t Fin e )  
BPF: Band Pass Filter. This type of filter leaves only the  
region in the vicinity of the cutoff frequency, and cuts the  
rest. It is useful for making distinctive sounds.  
Loop Start Point  
HPF: High Pass Filter. This type of filter cuts the portion that  
lies below the cutoff frequency. It is useful for making  
percussive or other sounds. that have a distinctive high  
range.  
Range: 0–  
Specifies the point in the sample from which the loop will be  
started.  
Loop Start Point Fine  
PKG: Peaking Filter. This 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.  
Range: 0255  
This is a fine adjustment of the Loop Start Point.  
En d -Fin e (En d Po in t - En d Po in t Fin e )  
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.  
End Point  
Range: 0–  
Specifies the point to which the loop will be read.  
End Point Fine  
This can be very effective with acoustic-instrument-based  
Tones, since nothing is done to weaken the power and  
energy of the sound.  
Range: 0255  
This is a fine adjustment of the End Point.  
* This disables the Resonance setting.  
LPF3: Low Pass Filter 3. This type of filter cuts the portion  
that lies above the cutoff frequency. While similar to LPF2, it  
1 4 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 4 Cre a tin g Pa tch e s  
filter reduces the frequencies more gently than LPF2.  
Negative (-) values invert the change.  
This can be very effective with acoustic-instrument-based  
Tones, since nothing is done to weaken the power and  
energy of the sound.  
Cu to ff Ke y fo llo w (TVF Cu to ff  
Ke y fo llo w )  
Range: -200+200  
* This disables the Resonance setting.  
Use this parameter if you want the cutoff frequency to  
change according to the key that is pressed. At Middle C  
(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 values will  
cause greater change.  
Cu to ff Fre q (TVF Cu to ff Fre q u e n cy )  
Range: 0127  
Specifies the frequency (cutoff frequency) at which the filter  
will begin to affect the frequency characteristics of the  
waveform.  
With LPF/ LPF2/ LPF3 selected for the Filter Type parameter,  
lower cutoff frequency settings reduce a Tones upper  
harmonics for a more rounded, warmer sound. Higher  
settings make it sound brighter.  
Cu to ff Ve lo (TVF Cu to ff Ve lo city )  
Cu rv (TVF Cu to ff Ve lo city Cu rve )  
When Filter Type is BPF, the cutoff frequency setting  
determines the range of frequencies within the Tone that will  
be heard. It is useful for making distinctive sounds.  
Range: FIXED/ 17  
Selects one of seven curves that determine how keyboard  
playing dynamics (velocity) influence the Tones cutoff  
frequency. The selected curve is displayed graphically to the  
below of its value.  
When Filter Type is HPF, higher settings of the cutoff  
frequency decrease the level of the Tones low frequencies,  
preserving its brighter qualities.  
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 PKG, the cutoff frequency setting  
determines the range of frequencies to be emphasized.  
Re so n a n ce (TVF Re so n a n ce )  
Se n s (TVF Cu to ff Ve lo city Se n s)  
Range: 0127  
Range: -63+63  
Increases the level of the cutoff frequency, adding character  
to the sound. Excessively high settings can produce  
Sets the amount of change produced when the keyboard  
touch is used to change the cutoff frequency. For higher  
settings, there will be a greater difference between softly and  
strongly played notes. Negative (-) values invert the change.  
oscillation, causing the sound to distort.  
fig.04-043.e  
LPF  
BPF  
HPF  
PKG  
Level  
High  
Frequency  
Cutoff frequency  
Low  
Re so n a n ce Ve lo (TVF Re so n a n ce  
Ve lo city )  
Se n s (TVF Re so n a n ce Ve lo city Se n s)  
Range: -63+63  
Use this parameter when you want velocity to affect the  
amount of Resonance. For higher settings, there will be a  
greater difference between softly and strongly played notes.  
1 4 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 4 Cre a tin g Pa tch e s  
PATCH TVF En ve lo p e p a g e ([PATCH] -  
[F3 (TVF)] - [F2 (TVF En v)])  
fig.04-044.e_70  
Ve lo Se n s (TVF En ve lo p e Ve lo city  
Se n sitivity )  
Am o u n t (TVF En ve lo p e Ve lo city Se n sitivity )  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect the depth of the TVF envelope.  
For higher settings, there will be a greater difference between  
softly and strongly played notes. Negative (-) values invert  
the change.  
TVF En ve lo p e  
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  
Tim e 1 (TVF En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
Range: -63+63  
the basic characteristics of the TVF envelope itself.  
fig.04-045.e  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the TVF  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
T1  
T2  
T3  
T4  
L1  
L0  
L3  
L2  
L4  
Cutoff  
Frequency  
Time  
key is  
key is  
pressed  
released  
Tim e 4 (TVF En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
De p th (TVF En ve lo p e De p th )  
Range: -63+63  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T4 (Time 4) of the TVF  
envelope. With higher settings, the T4 value will change  
more significantly depending on whether you release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
setting.  
Adjusts the amount of filter enveloping. Higher values will  
cause greater change. Negative (-) values invert the effect of  
the TVF envelope.  
Tim e Ke y fo llo w (TVF En ve lo p e Tim e  
Ke y fo llo w )  
Range: -100+100  
Use this parameter when you want a notes keyboard  
position to affect times T2T4 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 T1T4  
settings are in effect. Positive (+) settings cause the times to  
shorten as you play above Middle C. Negative (-) settings  
will extend time.  
Ve lo Cu rve (TVF En ve lo p e Ve lo city  
Cu rve )  
Range: FIXED/ 17  
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.  
Tim e 1 4 (TVF En ve lo p e Tim e 1 4 )  
Range: 0127  
These settings determine the times over which the cutoff  
frequency setting will change from one TVF envelope level  
(L1L4) to the next.  
Le ve l1 4 (TVF En ve lo p e Le ve l 1 4 )  
Range: 0127  
Each TVF envelope level value determines an amount of  
change to be applied to the original cutoff frequency setting.  
1 4 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-047.e  
Ch a n g in g th e Vo lu m e a n d Ste re o  
Lo ca tio n ([F4 (TVA)])  
LOWER  
Level  
UPPER  
Level  
+
+
0
0
The TVA (Time Variant Amplifier) controls volume changes  
to the Tone as well as its stereo positioning.  
Key  
Key  
C-1  
G9  
C-1  
G9  
Bias Point  
Bias Point  
PATCH TVA Pa ra m e te r p a g e ([PATCH] -  
[F4 (TVA)] - [F1 (TVA Prm )])  
fig.04-046.e_70  
LOWER&UPPER  
ALL  
Level  
+
+
0
+
0
Level  
0
0
+
Key  
Key  
C-1  
G9  
C-1  
G9  
Bias Point  
Bias Point  
Le ve l (TVA Bia s Le ve l)  
TVA  
Range: -100+100  
Adjusts the slope of the volume change that will occur in the  
selected Bias Direction. Higher values will cause greater  
change. Negative (-) values invert the change.  
Le ve l (To n e Le ve l)  
Range: 0127  
Sets the volume of the Tone. This setting is useful primarily  
for adjusting the volume balance between Tones.  
Po sitio n (TVA Bia s Po sitio n )  
The overall volume of the Patch is set by the Level (PATCH  
Common General page) setting, raising or lowering the Tone  
level settings of its individual Tones by the selected amount.  
(p. 127)  
Range: C -1G9  
Selects the MIDI key at which the Tones volume will begin  
to change.  
Dire ctio n (TVA Bia s Dire ctio n )  
V-Cu rve (TVA Le ve l Ve lo city Cu rve )  
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.  
Range: FIXED/ 17  
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 Tones volume. The selected curve is  
displayed to the below of its parameter value.  
Available Settings:  
LOWER: Notes below the Bias Point will be affected.  
UPPER: Notes above the Bias Point will be affected.  
When set to FIXED,the Tones volume will not be affected  
LOWER&UPPER: Notes below and above the Bias Point will  
by the force with which the keyboard is played.  
be affected.  
V-Se n s (TVA Le ve l Ve lo city Se n s)  
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.  
Range: -63+63  
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.  
Pa n (TVA Pa n )  
Use these parameters to dynamically alter the Tones stereo  
position as set by the TVA Pan.  
Pa n (To n e Pa n )  
Bia s  
Range: L64063R  
Use the Bias parameter when you want the position of notes  
on a keyboard to affect the TVA level.  
Specifies the stereo position of the Tone. L64 is far left, 0 is  
center, and 63R is far right.  
The overall panning of the entire Patch is set by the Pan  
parameter (Patch Common General page), and the Pan (Tone  
Pan) setting is added to this setting. (p. 127)  
1 4 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 4 Cre a tin g Pa tch e s  
Ke y fo llo w (To n e Pa n Ke y fo llo w )  
De p th  
Range: -100+100  
Tim e Ke y fo llo w (TVA En ve lo p e Tim e  
Ke y fo llo w )  
Use this parameter when you want each notes keyboard  
position to affect its stereo location. Higher values for this  
parameter will cause more extreme changes to the T2T4  
settings as you play further away from Middle C (C4) at  
Middle C itself, your original T2T4 settings are in effect.  
Positive (+) settings cause notes above Middle C to be  
panned rightward. Negative (-) settings cause them to be  
panned leftward.  
Range: -100+100  
Use this parameter when you want a notes keyboard  
position to affect times T2T4 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 T1T4  
settings are in effect. Positive (+) settings cause the times to  
be shortened for notes above Middle C. Negative (-) settings  
will extend time.  
Ra n d o m (To n e Ra n d o m Pa n De p th )  
Range: 063  
Tim e (TVA En ve lo p e Tim e 1 4 )  
Use this parameter to activate random panning, note-by-  
note. Higher values will result in a greater width of change.  
Range: 0127  
These settings determine the times over which the Tone level  
setting will change from one TVA envelope level to the next.  
Alte rn a te (To n e Alte rn a te Pa n De p th )  
Range: L63R63  
Le ve l (TVA En ve lo p e Le ve l 1 3 )  
This setting causes panning to be alternated between left and  
right each time a key is pressed. Higher values will result in a  
greater width of change. 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.  
Range: 0127  
Each TVA envelope level value determines an amount of  
change to be applied to the original Tone level setting.  
Ve lo city Se n s (TVA En ve lo p e Ve lo city  
Se n sitivity )  
Tim e 1 (TVA En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
PATCH TVA En ve lo p e p a g e ([PATCH] -  
[F4 (TVA)] - [F2 (TVA En v)])  
fig.04-048.e_70  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the TVA  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
TVA En ve lo p e  
Tim e 4 (TVA En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
These parameters set the characteristics of the TVA envelope,  
which applies changes over time to the Tones Tone level  
setting.  
Range: -63+63  
fig.04-049.e  
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 release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
setting.  
Level  
T1  
T2  
T3  
T4  
L1  
L2  
L3  
Time  
key is pressed  
key is released  
1 4 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
S&H: sample & hold wave (one time per cycle, LFO value is  
Ap p ly in g Vib ra to o r Tre m o lo ([F5  
(LFO &CTL)])  
changed)  
CHAOS: chaos wave  
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 Tones Pitch, TVF cutoff frequency,  
TVA Level and TVA Pan settings. This can be used as the  
Matrix Control source (p. 146).  
* When setting “BEND-UP” or “BEND-DW,” set the Key  
Sync parameter to “ON.” If this is “OFF,” it will have no  
effect.  
O ffse t (LFO O ffse t)  
Range: -100+100  
How to Use the LFO  
Adjusts the basic value of the LFO waveform upward or  
downward.  
Applying an LFO to the Tones 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 Tones TVA Pan, the sound moves back  
and forth, from one side to another, in the stereo field.  
Ra te (LFO Ra te )  
Range: 0127/ Note  
Adjusts the basic modulation rate, or speed, of the LFO.  
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.  
* 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. 241).  
De tu n e (LFO Ra te De tu n e )  
PATCH LFO &Ctrl LFO 1 / 2 p a g e ([PATCH]  
Range: 0127  
- [F5 (LFO &CTL)] - [F1 (LFO 1 )]/ [F2 (LFO  
2 )])  
This setting allows you to adjust the tuning of the LFO  
waveform.  
fig.04-050.e_70  
De la y (LFO De la y )  
Tim e (LFO De la y Tim e )  
Range: 0127  
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.)  
W a ve (LFO W a ve )  
Fo rm (LFO Fo rm )  
Ke y fo lw (LFO De la y Ke y fo llo w )  
Available Settings:  
Range: -100+100  
Selects the waveform of the LFO.  
SIN: sine wave  
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 cause 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.”  
TRI: triangle wave  
SAW-UP: sawtooth wave  
SAW-DW: sawtooth wave (negative polarity)  
SQR: square wave  
RND: random wave  
BEND-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.  
BEND-DW: Once the decay of the waveform output by the  
LFO is allowed to develop in standard fashion, the waveform  
then continues without further change.  
TRP: trapezoidal wave  
1 4 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
Fa d e (LFO Fa d e )  
De p th (LFO De p th )  
Mo d e (LFO Fa d e Mo d e )  
Sets how the LFO will be applied.  
Available Settings:  
Pitch (Pitch LFO De p th )  
Range: -63+63  
Adjusts how much the LFO will affect the WG Pitch.  
ON-IN: The LFO will fade in after the key is pressed.  
fig.04-051.e  
TVF (TVF LFO De p th )  
Range: -63+63  
Delay  
Time  
Fade  
Time  
high (more)  
Adjusts how much the LFO will affect the Tones TVF cutoff  
Depth  
frequency.  
WG Pitch /  
TVF Cutoff Frequency /  
TVA Level / TVA Pan  
TVA (TVA LFO De p th )  
key is  
pressed  
low (less)  
Range: -63+63  
Adjusts how much the LFO will affect the Tones TVA Level.  
ON-OUT: The LFO will be immediately applied when the  
key is pressed, and will then fade out.  
fig.04-052.e  
Pa n (Pa n LFO De p th )  
Range: -63+63  
high (more)  
Delay Time  
Fade Time  
Depth  
Adjusts how much the LFO will affect the Tones TVA Pan.  
WG Pitch /  
TVF Cutoff Frequency /  
TVA Level / TVA Pan  
PATCH LFO &Ctrl # 1 / # 2 p a g e ([PATCH]  
- [F5 (LFO &Ctl)] - [F3 (Co n tro l)])  
fig.04-055.e_70  
key is  
pressed  
low (less)  
OFF-IN: The LFO will fade in after the key is released.  
fig.04-053.e  
Delay  
Time  
Fade  
Time  
high (more)  
Depth  
WG Pitch /  
TVF Cutoff Frequency /  
TVA Level / TVA Pan  
key is  
key is  
pressed released  
low (less)  
Ma trix Co n tro l 1 4  
OFF-OUT: The LFO will be immediately applied when the  
So u rce (Ma trix Co n tro l So u rce )  
key is pressed, and will begin fading out when the key is  
Assign one of the following controllers to Matrix Control  
Source. If you wish to use a controller that will apply to all  
Patches, or a controller that cannot be directly selected here,  
select SYS-CTRL14, and then select the controller using the  
System Control Source parameters (System Control Screen).  
released.  
fig.04-054.e  
Delay  
Time  
Fade  
Time  
high (more)  
Depth  
WG Pitch /  
TVF Cutoff Frequency /  
TVA Level / TVA Pan  
Available Settings:  
key is  
pressed  
key is  
released  
OFF: No controller is used.  
CC01CC95: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
SYS-CTRL1: System controller 1  
SYS-CTRL2: System controller 2  
SYS-CTRL3: System controller 3  
SYS-CTRL4: System controller 4  
VELOCITY: Velocity  
low (less)  
Tim e (LFO Fa d e Tim e )  
Range: 0127  
This adjusts the time over which the LFO rises to its full  
effect or fades away. (Refer to the diagrams for Fade Mode.)  
Ke y Sy n c (LFO Ke y Sy n c)  
Range: OFF/ ON  
Specifies whether you want the LFO cycle to start in sync  
with the timing of a key press (ON), or not (OFF).  
KEYFOLLOW: Keyfollow  
TEMPO: Tempo  
LFO1  
LFO2  
1 4 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
PITCH ENV: Pitch envelope  
TVF ENV: TVF envelope  
TVA ENV: TVA envelope  
Re d a m p e r (To n e Re d a m p e r Sw itch )  
Range: OFF/ ON  
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  
advantage of this feature, you must also turn on the Tone  
Receive Hold 1 setting.  
De stin a tio n  
Selects the parameters to be controlled. (p. 218)  
Se n s (Se n sitivity )  
Range: -63+63  
Pa n Mo d e (To n e Re ce ive Pa n Mo d e )  
Adjusts the amount of change that will occur in response to  
controller changes. Negative (-) values invert the change.  
Negative (-) settings will invert the phase. For LFO rates,  
negative (-) values slow down the LFO, and positive (+)  
values will speed it up.  
Available Settings:  
CONT: Pan messages will be responded to immediately,  
instantly changing the stereo position of the Rhythm Tone.  
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. In this case, the stereo location will change only for  
the note played later, and the currently sounding note will  
not move.  
To n e  
Selects the Tone to which the two previous parameter  
settings are applied. oturns signifies that the Tone is  
selected for control, _that it is not selected, and Rthat  
the change being applied is inverted when applied to this  
Tone.  
To n e En v Mo d e (To n e En ve lo p e Mo d e )  
Range: NO-SUS/ SUSTAIN  
PATCH LFO &Ctrl Co n tro l Sw p a g e  
([PATCH] - [F5 (LFO &CTL)] - [F4 (Ctrl  
Sw )])  
fig.04-056.e_70  
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-SUS.”  
* If a one-shot type Wave is selected, it will not sustain even if  
this parameter is set to “SUSTAIN.”  
MIDI Rx Sw itch (MIDI Re ce ive Sw itch )  
Be n d e r Sw (To n e Re ce ive Be n d e r)  
Range: OFF/ ON  
If you want the Tone to respond to Pitch Bend messages, turn  
this parameter on. If not, turn it off.  
Ex p re ssio n Sw (To n e Re ce ive Ex p re ssio n )  
Range: OFF/ ON  
If you want the Tone to respond to Expression messages,  
turn this on. If not, turn it off.  
Ho ld -1 Sw (To n e Re ce ive Ho ld 1 )  
Range: OFF/ ON  
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.  
1 4 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
you wish to preserve them, save the modified Patch using the  
Write operation. (p. 194)  
Cre a tin g Mu lti-Pa rtia l  
Pa tch e s  
When creating and playing Multi-Partial Patches, you must  
have a separate device to load samples from a sampler  
library or other source to the XV-5080.  
Assig n in g Pa rtia ls  
PATCH Co m m o n Sp lit p a g e ([PATCH] -  
[F2 (W G)] - [F3 (Sp lit)])  
fig.04-059.e_70  
First, load a Patch or Performance from the sound library  
(such as the optional L-CDX Series). Then, if needed, make  
changes to the parameter settings.  
Applying the XV-5080s internal effects is also effective.  
* When editing or playing Multi-Partial Patches, you must  
have a separate device to load samples from a sampler library  
or other source to the XV-5080.  
* Press [F5] to select the mode when using the split settings.  
Each time you press this button, the display will change as  
follows. Press [F6 (Set)] to execute.  
* Another way is to automatically create a Patch from the  
Sample, .WAV., or .AIF wave data loaded from the sampler  
library.  
O.W: The specified area will be overwritten.  
Move: The split area that is already split will be modified.  
1Key: The split will consist only of the specified key.  
* Do not change the Patch type (Patch Type, p. 125) while using  
Patch Edit. Since the composition of sounds and parameters  
used differ for each type, unless you go back and redo these  
settings, no sound will be produced.  
N o te (N o te N u m b e r)  
Range: A0C8  
Sets the key you wish to assign to the Partial.  
The following shows the basic setting procedure.  
1 . Select the Patch youre going to use.  
N o . (Pa rtia l N u m b e r)  
2 . Press [F2][F5], whichever has the parameter you wish to  
Selects the Partial to be assigned.  
set assigned to it, and select the display group.  
Pa rtia l N a m e  
3 . Then press [F1][F4] to access the desired page.  
The Partial name is displayed.  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
L.P (Lo w e r Ke y Po in t)  
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the  
Range: A0C8  
desired value.  
Specifies the lowest note at which the Partial can be sounded.  
* 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 original value of the parameter.  
U.P (Up p e r Ke y Po in t)  
Range: A0C8  
6 . Repeat Steps 25 to finish setting up the Patch.  
Specifies the highest note at which the Partial can be  
sounded.  
7 . Press [EXIT] to return to the PATCH PLAY page.  
A *symbol will appear at the left of the Patch name,  
Mu te (Mu te Gro u p )  
indicating that its settings have been modified.  
fig.04-058.e_70  
Range: OFF/ 131  
Allows you to specify certain Partials that will be prevented  
from playing at the same time. Whichever Partials that you  
assign to the same Mute Group will not be played at the  
same time.  
* This works only for the most recently played tones, since last  
note priority is used for playing the sounds.  
* If you turn off the power or select another Patch while the “*”  
symbol is displayed, your new Patch settings will be lost. If  
1 4 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
Assig n (Assig n Ty p e )  
Selects the range over which the Split settings are applied.  
MULTI: The settings affect all Partials.  
Press [F6 (MIDISel)], causing "" to appear at the left of the  
function name. The Partials assigned to each key can be  
selected from the MIDI keyboard or other such controller.  
SINGLE: The settings affect a single selected Partial.  
MIDI (MIDI Sw itch )  
Range: OFF/ SELECT/ SET  
Determines whether or not selections and settings are be  
made with a MIDI keyboard.  
OFF: MIDI messages are not received.  
SELECT: This setting allows note numbers to be selected  
from a MIDI keyboard.  
* Press [F6 (Set)] to enable the settings.  
SET: This sets the value selected with the MIDI keyboard.  
Ed itin g Pa rtia ls  
PATCH W G Pa ra m e te r p a g e ([PATCH] -  
[F2 (W G)] - [F1 (W G Prm )])  
fig.04-060.e_70  
Pa rtia l  
N a m e (Pa rtia l N a m e )  
You can name a Partial (up to 15 characters).  
* Names are given to Partials in the same manner as that  
described for Patch Names (p. 127).  
Co a rse Tu n e (Pa rtia l Co a rse Tu n e )  
Range: -48+48  
Adjusts the pitch of the Partials sound up or down in  
semitone steps over a range of +/ -4 octaves.  
Fin e Tu n e (Pa rtia l Fin e Tu n e )  
Range: -50+50  
Adjusts the pitch of the Partial in one-cent steps (1/ 100th of a  
semitone) over a range of half a semitone up or down.  
Press [F5 (Global)] to turn Global on and display the to  
the left of the function name; the same settings are applied to  
all Partials used in the Patch being edited. When Global is set  
to OFF, then only the currently selected Partial (the Partial  
appearing on the screen) is edited.  
1 4 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
C.T (Sa m p le Co a rse Tu n e )  
Ed itin g Sa m p le s  
Range: -48+48  
PATCH W G SMT# 1 p a g e ([PATCH] - [F2  
(W G)] - [F2 (SMT)])  
Adjusts the pitch of the sample to be used in semitone steps  
over a range of +/ -4 octaves.  
fig.04-061.e_70  
F.T (Sa m p le Fin e Tu n e )  
Range: -50+50  
Determines the fine pitch setting of the sample to be used, in  
one-cent steps (1/ 100 of a semitone).  
SMT (Sa m p le Mix Ta b le )  
P.KF (Pitch Ke y fo llo w )  
The SMT number is displayed.  
Range: -16+16  
Sets the relationship between the note number (key position)  
of the Partial to be used and the pitch that actually sounds.  
N o . (Sa m p le N u m b e r)  
Specify the number of the Sample to be assigned.  
* The pitch of the Sample is changed relative to the original key  
of each Sample.  
N a m e (Sa m p le N a m e )  
16/8: When the note number is increased by one octave, the  
actual pitch increases by two octaves.  
The name of the assigned sample will be displayed.  
Norm (8/8): When the note number is increased by one  
octave, the pitch increases by one octave (the normal pitch  
change in semitone units).  
Le ve l (Sa m p le Le ve l)  
Range: 0127  
Off (0/8): The pitch doesnt change even though the note  
Determines the sound volume of each sample.  
number is changed.  
-8/8: When the note number is increased by one octave, the  
Pa n (Sa m p le Pa n )  
actual pitch decreases by one octave.  
Range: L3232R/ RANDOM/ Key+/ Key-  
-16/8: When the note number is increased by one octave, the  
Determines the pan setting for each sample. The stereo  
position is fixed at the center at 0, the far left at L32, and far  
right at 32R. The stereo position changes irregularly at  
random (RANDOM).  
pitch decreases by two octaves.  
fig.04-062.e  
Pitch  
8
8
The stereo position changes according to the notes played on  
the keyboard (note number) when it is set to Key+or  
Key-.When this is set to Key+,the higher up on the  
keyboard that you play, the further the sound is shifted to  
the right; when set to Key-,the higher the notes played on  
the keyboard, the further left the sound is shifted.  
Off  
8
8
Keyboard  
position  
With LFO+and LFO-,the settings value is set to 0  
(center), and the pan shifts between the left and right sides  
based on the LFO. The depth of the swing in the pan is  
determined by the Pan TVA Depth setting. With LFO-,the  
LFO phase is the reverse of LFO+.”  
Original Key  
With Alt,the pan alternates back and forth between the left  
and right sides.  
1 5 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
PATCH W G SMT# 2 p a g e ([PATCH] - [F2  
(W G)] - [F2 (SMT)])  
PATCH W G Sa m p le p a g e ([PATCH] -  
[F2 (W G)] - [F3 (Sa m p le )])  
fig.04-065.e_70  
fig.04-063.e_70  
SMT Ve lo city Co n tro l (SMT Ve lo city  
Co n tro l Sw itch )  
Sa m p le  
Sa m p le  
Range: OFF/ ON  
Select the sample to be edited.  
Determines whether Velocity messages from a MIDI  
keyboard or sequencer will be recognized (ON), or ignored  
(OFF).  
Sa m p lin g Fre q . (Sa m p lin g Fre q u e n cy )  
Displays the original sampling frequency of the loaded  
Sample.  
L.F (SMT Ve lo city Fa d e W id th Lo w e r)  
O rig in a l Ke y  
Range: 0125  
Displays the original key of the loaded Sample.  
Determines the extent over which the sound level is faded  
after SMT Velocity Range Upper.  
Lo o p  
V.L (SMT Ve lo city Ra n g e Lo w e r)  
Mo d e (Lo o p Mo d e )  
Displays the loop mode of the loaded Sample.  
Available Settings:  
Range: 1126  
Specifies the highest limit of playing dynamics (key velocity)  
which will sound the Tone. Make these settings when you  
want different Tones to sound in response to notes played at  
different strengths.  
FORWARD:  
After the Sample played back from the Start point to the  
Loop End point, it will then be repeatedly played back in the  
forward direction, from the Loop Start point to the Loop End  
point.  
V.U (SMT Ve lo city Ra n g e Up p e r)  
Range: 2127  
Loop  
Loop  
Start  
Start P.  
End P.  
Specifies the highest limit of playing dynamics (key velocity)  
which will sound the Tone. Make these settings when you  
want different Tones to sound in response to notes played at  
different strengths.  
* 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.  
U.F (SMT Ve lo city Fa d e W id th Up p e r)  
Range: 0125  
Determines the extent over which the sound level is faded  
after SMT Velocity Range Upper.  
1 5 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 4 Cre a tin g Pa tch e s  
ONE SHOT:  
steps (1/ 100 of a semitone).  
The sample will be played back only once, from the Start  
point to the Loop End point.  
Sta rt-Fin e (Sta rt Po in t - Sta rt Po in t  
Fin e )  
Loop  
Loop  
Start  
Start P.  
End P.  
Start Point  
Range: 0–  
Specifies the point in the sample from which data will be  
read.  
Start Point Fine  
Range: 0255  
ALT (Alternate):  
This is a fine adjustment of the Start Point.  
When the sample has been played back from the Start point  
to the Loop End point, playback will repeat to the Loop Start  
point, then go back and forth between the Loop Start point  
and the Loop End point.  
Lo o p Po in t Sta rt-Fin e (Lo o p Sta rt Po in t  
- Lo o p Sta rt Po in t Fin e )  
Loop Start Point  
Loop  
Loop  
Range: 0–  
Start  
Start P.  
End P.  
Specifies the point in the sample from which the loop will be  
started.  
Loop Start Point Fine  
Range: 0255  
This is a fine adjustment of the Loop Start Point.  
REV ONE (Reverse One-shot)  
En d -Fin e (En d Po in t - En d Po in t Fin e )  
The sample will be played back only once from the Loop End  
point to the Start point in the reverse direction.  
End Point  
Range: 0–  
Loop  
Loop  
Start  
Start P.  
End P.  
Specifies the point to which the loop will be read.  
End Point Fine  
Range: 0255  
This is a fine adjustment of the End Point.  
Usin g th e Filte r to Mo d ify th e  
Brig h tn e ss ([F3 (TVF)])  
REVERSE:  
When the sample has been played back from the Loop End  
point to the Start point, it will be repeatedly played back in  
the reverse direction, from the Loop Start point to the Start  
point.  
The settings for the TVF (Time Variant Filter) allow you to  
change a Tones timbral content by altering its brightness or  
thickness.  
Loop  
Loop  
Start  
Start P.  
End P.  
Press [F5 (Global)] to turn Global on and display the "" to  
the left of the function name; the same settings are applied to  
all Partials used in the Patch being edited. When Global is set  
to OFF, then only the currently selected Partial (the Partial  
appearing on the screen) is edited.  
Tu n e (Lo o p Tu n in g )  
Press [F6 (MIDISel)] to display the "" to the left of the  
Range: -5050  
function name; You can also press a key on a connected MIDI  
Determines the fine pitch setting within the loop, in one-cent  
1 5 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 4 Cre a tin g Pa tch e s  
fig.04-067.e_70  
keyboard to select the pertial.  
LPF  
BPF  
HPF  
PKG  
Level  
High  
PATCH TVF Pa ra m e te r p a g e ([PATCH] -  
[F3 (TVF)] - [F1 (TVF Prm )])  
fig.04-066.e_70  
Frequency  
Cutoff frequency  
TVF  
Low  
Filte r Ty p e (TVF Filter Type)  
Cu to ff  
Selects the filter type. A filter typically reduces, or attenuates,  
a specific frequency range within a Tone in order to  
accentuate its other frequencies.  
Ke y fo llo w Po in t  
Range: A0C8  
Available Settings:  
Determines the key used for the center of the key follow  
effect. The two independent parameters controlled by key  
follow (cutoff frequency and envelope time) are both affected  
by the Key Follow Point set here.  
OFF: No filter is used.  
LPF: Low Pass Filter. This reduces the volume of all  
frequencies above the cutoff frequency. Since the high  
frequency range is cut, the sound will become more mellow.  
This is the most frequently-used type of filter.  
Ke y fo llo w (Cu to ff Fre q u e n cy Ke y fo llo w )  
Range: -63+63  
BPF: Band Pass Filter. This type of filter leaves only the  
region in the vicinity of the cutoff frequency, and cuts the  
rest. It is useful for making distinctive sounds.  
Changes the cutoff frequency relative to the key follow point.  
Positive (+) settings cause the cutoff frequency to rise for  
notes higher than the key follow point, and negative (-)  
settings cause the cutoff frequency to fall for notes higher  
than the key follow point. Higher values will cause greater  
change.  
HPF: High Pass Filter. This type of filter cuts the portion that  
lies below the cutoff frequency. It is useful for making  
percussive or other sounds. that have a distinctive high  
range.  
Cu to ff Fre q (TVF Cu to ff Fre q u e n cy )  
TVF Ve lo (TVF Ve lo city )  
Range: 0127  
Cu rve (Ve lo city Cu rve )  
Specifies the frequency (cutoff frequency) at which the filter  
will begin to affect the frequency characteristics of the  
waveform.  
Range: 14  
Selects the curve which corresponds to the velocity value and  
the cutoff frequency. The selected curve is displayed  
graphically to the right of its value. When this is set to 1,”  
velocity has no effect on the cutoff frequency.  
Re so n a n ce (TVF Re so n a n ce )  
Range: 0127  
Increases the level of the cutoff frequency, adding character  
to the sound. Excessively high settings can produce  
oscillation, causing the sound to distort.  
Se n s (Ve lo city Cu rve Se n s)  
Range: -63+63  
Determines the depth and polarity (positive/ negative) of the  
velocity curve.  
A curve effect can be gained by setting the velocity curve to  
higher values close to 63. Setting this close to 0 results in little  
change in the cutoff frequency. With negative values, the  
effect becomes reversed.  
1 5 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 4 Cre a tin g Pa tch e s  
PATCH TVF En ve lo p e p a g e ([PATCH] -  
[F3 (TVF)] - [F2 (TVF En v)])  
Ve lo Se n s  
Am o u n t (TVF En ve lo p e Ve lo city Se n sitivity )  
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  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect the depth of the TVF envelope.  
For higher settings, there will be a greater difference between  
softly and strongly played notes. Negative (-) values invert  
the change.  
the basic characteristics of the TVF envelope itself.  
fig.04-068.e_70  
Tim e 1 (TVF En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
Range: -63+63  
TVF En ve lo p e  
fig.04-069.e  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the TVF  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
T1  
T2  
T3  
T4  
L1  
L0  
L3  
L2  
L4  
Cutoff  
Frequency  
Time  
Tim e 4 (TVF En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
key is  
pressed  
key is  
released  
Range: -63+63  
De p th (TVF En ve lo p e De p th )  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T4 (Time 4) of the TVF  
envelope. With higher settings, the T4 value will change  
more significantly depending on whether you release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
setting.  
Range: -63+63  
Determines the depth of the envelope when changing the  
TVF cutoff frequency by the envelope. Higher settings will  
cause the envelope to produce greater effect. With a setting  
of zero, there will be no effect. With negative values, the  
effect is reversed.  
Tim e Ke y fo llo w (En ve lo p e Tim e Ke y fo llo w )  
Range: -63+63  
Pitch De p th (En ve lo p e Pitch De p th )  
Changes the envelope time (from Time 1 to 4) relative to the  
key follow point. Higher settings produce greater change.  
Positive (+) settings will reduce the time when higher keys  
are pressed. Negative (-) settings will extend time.  
Range: -63+63  
The TVF envelope can be used to change not only the cutoff  
frequency, but also the pitch. Set the effect depth using this  
parameter when modifying the pitch with the TVF envelope.  
Higher settings will cause the envelope to produce greater  
effect. With a setting of zero, there will be no effect. With  
negative values, the effect is reversed.  
Tim e (TVF En ve lo p e Tim e 1 4 )  
Range: 0127  
These settings determine the times over which the cutoff  
frequency setting will change from one TVF envelope level  
(L1L4) to the next.  
Le ve l (TVF En ve lo p e Le ve l 0 3 )  
Range: 0127  
Each TVF envelope level value determines an amount of  
change to be applied to the original cutoff frequency  
setting.The Level during Note On is linked to L4.  
1 5 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 4 Cre a tin g Pa tch e s  
TVA Ve lo (TVA Ve lo city )  
Ma k in g th e Vo lu m e Ch a n g e ([F4  
(TVA)])  
Cu rve (Ve lo city Cu rve )  
Range: 03  
Selects the curve which corresponds to the velocity value and  
the volume level. When this is set to 1,velocity has no  
effect on the volume level.  
Press [F5 (Global)] to turn Global on and display the "" to  
the left of the function name; the same settings are applied to  
all Partials used in the Patch being edited. When Global is set  
to OFF, then only the currently selected Partial (the Partial  
appearing on the screen) is edited.  
Se n s (Ve lo city Cu rve Se n s)  
Range: -63+63  
Determines the depth of the velocity curve.  
The curve effect which was set in the Velocity Curve  
parameter can be gained with a setting of 0here. The effect  
is emphasized for positive values, and becomes weaker for  
negative values. When this is set to -63, velocity has no effect  
on the volume level.  
Press [F6 (MIDISel)] to display the "" to the left of the  
function name; You can also press a key on a connected MIDI  
keyboard to select the pertial.  
PATCH TVA Pa ra m e te r p a g e (PATCH] -  
[F4 (TVA)] - [F1 (TVF Prm )])  
fig.04-070.e_70  
PATCH TVA En ve lo p e p a g e ([PATCH] -  
[F4 (TVA)] - [F2 (TVA En v)])  
fig.04-071.e_70  
TVA  
TVA En ve lo p e  
Le ve l (Pa rtia l Le ve l)  
These parameters set the characteristics of the TVA envelope,  
Range: 0127  
which applies changes over time to the Tones Tone level  
Adjusts the sound volume of the entire Partial.  
setting.  
fig.04-072.e  
Pa n (Pa rtia l Pa n )  
Level  
T1  
T2  
T3  
T4  
Range: L64063R  
L1  
Adjusts the pan setting for the entire Partial.  
L2  
L3  
Le ve l  
Ke y fo llo w Po in t  
Time  
key is pressed  
Range: A0C8  
key is released  
Determines the key used for the center of the key follow  
effect. The two independent parameters controlled by key  
follow (level and envelope time) are both affected by the Key  
Follow Point set here.  
Tim e Ke y fo llo w (En ve lo p e Tim e Ke y fo llo w )  
Range: -63+63  
Changes the envelope time (from Time 1 to 4) relative to the  
key follow point. Higher settings produce greater change.  
Positive (+) settings will reduce the time when higher keys  
are pressed. Negative (-) settings will extend time.  
Le ve l (Le ve l Ke y fo llo w )  
Range: -63+63  
Changes the volume level relative to the key follow point.  
Higher settings will produce more change. Positive (+)  
settings will increase the volume level when higher keys are  
pressed. Negative (-) settings will decrease the volume level.  
Tim e (TVA En ve lo p e Tim e 1 4 )  
Range: 0127  
These settings determine the times over which the Tone level  
setting will change from one TVA envelope level to the next.  
1 5 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 4 Cre a tin g Pa tch e s  
Le ve l (TVA En ve lo p e Le ve l 1 3 )  
Ap p ly in g Vib ra to o r Tre m o lo ([F5  
(LFO &CTL)])  
Range: 0127  
Each TVA envelope level value determines an amount of  
change to be applied to the original Tone level setting.  
Press [F5 (Global)] to turn Global on and display the "" to  
the left of the function name; the same settings are applied to  
all Partials used in the Patch being edited. When Global is set  
to OFF, then only the currently selected Partial (the Partial  
appearing on the screen) is edited.  
Ve lo city Se n s (TVA En ve lo p e Ve lo city  
Se n sitivity )  
Tim e 1 (TVA En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the TVA  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
Press [F6 (MIDISel)] to display the "" to the left of the  
function name; You can also press a key on a connected MIDI  
keyboard to select the pertial.  
PATCH LFO &Ctrl LFO p a g e ([PATCH] -  
[F5 (LFO &Ctl)] - [F1 (LFO )])  
fig.04-073.e_70  
Tim e 4 (TVA En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
Range: -63+63  
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 release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
setting.  
W a ve (LFO W a ve )  
Fo rm (LFO Fo rm )  
Available Settings:  
Selects the waveform of the LFO.  
SIN: sine wave  
TRI: triangle wave  
SAW-UP: sawtooth wave  
SAW-DW: sawtooth wave (negative polarity)  
SQR: square wave  
RND: random wave  
BEND-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.  
BEND-DW: Once the decay of the waveform output by the  
LFO is allowed to develop in standard fashion, the waveform  
then continues without further change.  
* When setting “BEND-UP” or “BEND-DW,” set the Key  
Sync parameter to “ON.” If this is “OFF,” it will have no  
effect.  
1 5 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 4 Cre a tin g Pa tch e s  
Pa n (Pa n LFO De p th )  
Ra te (LFO Ra te )  
Range: -63+63  
Range: 0127  
Adjusts how much the LFO will affect the Tones TVA Pan.  
Adjusts the basic modulation rate, or speed, of the LFO.  
De tu n e (LFO Ra te De tu n e )  
Range: 0127  
PATCH LFO &Ctrl Co n tro l # 1 / # 2 p a g e  
([PATCH] - [F5 (LFO &Ctl)] - [F2  
(Co n tro l)])  
Changes the rate of the LFO.  
fig.04-074.e_70  
De la y (LFO De la y )  
Tim e (LFO De la y Tim e )  
Range: 0127  
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.)  
Ma trix Co n tro l 1 4  
So u rce (Ma trix Co n tro l So u rce )  
Ke y fo lw (LFO De la y Ke y fo llo w )  
Assign one of the following controllers to Matrix Control  
Source. If you wish to use a controller that will apply to all  
Patches, or a controller that cannot be directly selected here,  
select SYS-CTRL14, and then select the controller using the  
System Control Source parameters (System Control screen).  
Range: -63+63  
Adjusts the value for the LFO1 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 cause 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.”  
Available Settings:  
OFF: No controller is used.  
CC01CC95: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
SYS-CTRL1: System controller 1  
SYS-CTRL2: System controller 2  
SYS-CTRL3: System controller 3  
SYS-CTRL4: System controller 4  
VELOCITY: Velocity  
Ke y Sy n c  
Range: OFF/ ON  
Specifies whether you want the LFO cycle to start in sync  
with the timing of a key press (ON), or not (OFF).  
KEYFOLLOW: Keyfollow  
TEMPO: Tempo  
De p th (LFO De p th )  
LFO1  
Pitch (Pitch LFO De p th )  
LFO2 *1  
Range: -63+63  
PITCH ENV: Pitch envelope *1  
TVF ENV: TVF envelope  
TVA ENV: TVA envelope  
Adjusts how much the LFO will affect the WG Pitch.  
TVF (TVF LFO De p th )  
* Parameters with a "*1" are disabled in Multi-Partial Patches.  
Range: -63+63  
Adjusts how much the LFO will affect the Tones TVF cutoff  
frequency.  
TVA (TVA LFO De p th )  
Range: -63+63  
Adjusts how much the LFO will affect the Tones TVA Level.  
1 5 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 4 Cre a tin g Pa tch e s  
De stin a tio n  
Selects the parameters to be controlled. (p. 218)  
You can copy the Patch name by setting the value to  
Se n s (Se n sitivity )  
NAMEin Step 6 above.  
Range: -63+63  
Adjusts the amount of change that will occur in response to  
controller changes. Negative (-) values invert the change.  
Negative (-) settings will invert the phase. For LFO rates,  
negative (-) values slow down the LFO, and positive (+)  
values will speed it up.  
Compare Function  
You can use the Compare function during the Patch  
Tone Copy operation.The Compare function allows you  
to play the Patch currently occupying the copy source.  
To play the Patch of the copy source, press [F1  
(Compare)] 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-AH. After selecting the patch, press  
[F1] again to return to the previous page.  
Ma k in g Effe ct Se ttin g s  
Refer to Settings in the Patch Mode(p. 24).  
* The Compare function cannot be used if a Patch of the  
temporary area (Temporary Patch) is selected as the copy-  
source Patch.  
Sa vin g Pa tch e s Yo u Cre a te  
Refer to Saving Patches(p. 194).  
* Please be aware that when you use the Compare function  
to play Patches, they may sound slightly different than  
when played normally.  
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 )  
Tone settings from any desired Patch can be copied to the  
currently selected Patch. Use this feature whenever you want  
to save time in creating Patchesits easier to modify an  
existing one, rather than starting from scratch.  
1 . Make sure the copy-destination Patch is selected.  
2 . Press [SYSTEM/ UTILITY], and confirm that its indicator  
has started blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
3 . Press [F6 (Menu)] to select Menu 1.  
4 . Press [F2 (Copy)].  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Type.”  
6 . Turn the VALUE dial to select TONE.”  
7 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
8 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
9 . Press [F6 (Copy)] to copy.  
1 5 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  
(p. 164)  
Ho w a Pe rfo rm a n ce Is  
O rg a n ize d  
Setting the MIDI connector that receives MIDI messages  
for each Part (Part MIDI Receive Switch) (p. 164)  
After you have completed setting up your Performance, try  
playing a sequence from your computer or sequencer using  
the Performances sounds.  
With Performances, you can combine a total of up to 32  
separate Patches and Rhythm Sets to enjoy ensemble  
performances featuring rich tones. In other words, using  
Performances allows you to control 32 separate tones with a  
single XV-5080. A sound module that can simultaneously  
produce multiple sounds is called a multitimbral sound  
Common tips for creating Performances can be listed as  
follows.  
module.  
fig.05-001.e  
A Performance can use up to three Multi-effects. (p. 30)  
You can modify the Patch (Tone) settings of each Part  
while still in Performance mode. (p. 167)  
Performance  
Part 32  
Part11  
Part10  
Ch o o sin g th e Pa rts to Pla y  
4Tone Patch,  
Multi Percial Patch  
or Rhythm set  
Turn on each Part you wish to use.  
Part 9  
1 . Select the Performance you wish to use.  
2 . Press [RX] to make the indicator light.  
Part 1  
4Tone Patch,  
Multi Percial Patch  
or Rhythm set  
3 . Use PART SELECT [1/ 17][16/ 32] to switch each Part  
onso its indicator lightsor off, so its indicator is  
extinguished.  
To turn Parts 1732 on or off, press [1-16/ 17-32], getting its  
indicator to light, and then press the desired PART SELECT  
[1/ 17][16/ 32] button.  
Ba sic W a y s to Use  
Pe rfo rm a n ce s  
4 . Press [RX], getting its indicator light to go out.  
There are three basic ways to use Performances.  
* This setting is linked to the setting for the Part MIDI Receive  
Switch parameter (Performance MIDI #1 page; p. 164).  
Pla y in g Mu ltip le Pa tch e s To g e th e r  
(La y e r)  
After Step 2 is carried out, the following screen appears.  
fig.  
Refer to QUICK START(p. 21).  
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. 25).  
Usin g th e XV-5 0 8 0 a s a Mu ltitim b ra l  
So u n d Ge n e ra to r  
After using [  
], [  
], [  
], or [  
] to move the cursor  
to the desired part, you can press [INC] to switch it on, or  
[DEC] to switch it off.  
In Performance mode, you can use the XV-5080 as a 32-part  
multitimbral sound generator. Try selecting some Parts and  
sounds, and then play the multiple Parts together as a  
Performance.  
You can switch all parts off or on by pressing [F5 (All Off)],  
or [F6 (All On)].  
Additionally, by pressing [F1 (#Solo)] and switching Solo  
Part to ON,the XV-5080 enters Solo mode, whereby only  
Solo Part OFF.”  
The basic steps for doing this include:  
Choosing the Parts to Play (p. 159)  
Selecting a Parts Patch or Rhythm Set (Patch) (p. 162)  
Setting the Parts MIDI reception channels (Part MIDI)  
1 5 9  
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  
* This setting is linked to the setting for the Solo Part Select  
parameter (Performance Common page; p. 160).  
So lo Pa rt Se le ct  
* Even with Solo Part specified here, no sound will be produced  
if the MIDI Rx (Performance MIDI #1 page) for the selected  
part is switched to “OFF.”  
You can make the setting for listening to only a specific Part.  
Se ttin g s fo r Ea ch Pa rt  
Esta b lish in g Se ttin g s fo r a n  
En tire Pe rfo rm a n ce  
(CO MMO N )  
The parameters that can be set for each Part in the current  
Performance are assigned to [F2][F5] as follows.  
[F2 (K.Ra n g e )]  
Sets the keyboard range (p. 161).  
The following shows the setting procedure.  
1 . Select the Performance you wish to use.  
2 . Press [F1 (Common)].  
[F3 (Pa rt)]  
Selects the Patch, and sets the volume, pan, pitch, and  
polyphony (p. 162).  
Edit the sounds attack time, release time, and the way  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the sound is output (p. 163).  
the parameter you want to set.  
[F4 (MIDI)]  
4 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
Makes the settings for MIDI (p. 164).  
5 . Press [EXIT] to return to the PERFORMANCE PLAY  
[F5 (Effe ct)]  
page.  
Makes the effect settings (p. 30).  
PERFO RMAN CE Co m m o n p a g e  
([PERFO RM] - [F1 (Co m m o n )])  
fig.05-002.e_70  
[F6 (In fo )]  
Confirms MIDI information for each Part (p. 166)  
The following shows the setting procedure.  
1 . Select the Performance you wish to use.  
2 . Press [F2][F5], whichever has the parameter you wish to  
set assigned to it, and select the display group.  
N a m e (Pe rfo rm a n ce N a m e )  
In some screens, pressing the same button yet again switches  
the screen.  
You can give a Performance a name of up to 12 characters in  
length.  
3 . Press PART SELECT [1/ 17][16/ 32] to select the Part  
Use [  
]/ [  
] to move the cursor to a character position,  
you want to set.  
and then turn the [VALUE] knob, or press [INC]/ [DEC] to  
select the desired character.  
To select Parts 1732, press [1-16/ 17-32], getting its indicator  
to light, and then press the desired PART SELECT [1/ 17]–  
[16/ 32] button.  
Available characters/symbols:  
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^  
* By holding down [SHIFT] and pressing [  
], you can have  
_ ` { | } → ←  
the cursor jump to the number indicating the part in the upper  
left of the screen. Here, you can switch parts by turning the  
VALUE dial, or by pressing [INC] or [DEC].  
* Pressing the VALUE dial displays the Patch Name window,  
in which you can use the following functions.  
[F2 (Prev)]: Move back one character.  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
[F3 (Next)]: Move forward one character.  
[F4 (Insert)]: Insert a blank space at the cursor position.  
[F5 (Delete)]: Delete the character at the cursor position.  
[F6 (OK)]: Confirm the selected name.  
the parameter you want to set.  
1 6 0  
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  
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the  
Press [  
] while holding down [SHIFT] to move the cursor  
desired value.  
to the top settings parameter; press [  
] while holding  
down [SHIFT] to move the cursor to the bottom settings  
parameter.  
* 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 original value of the parameter.  
4 . Either by rotating the VALUE dial or by pressing [INC]/  
6 . Repeat steps 25 to complete a Performance.  
[DEC], set the value.  
7 . Press [EXIT] to return to the PERFORMANCE PLAY  
* 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 original value of the parameter.  
page.  
A *symbol will appear at the left of the Performance name,  
indicating that its settings have been modified.  
fig.05-003.e_70  
5 . Repeat steps 14 to complete settings for the  
Performance.  
6 . To exit the Part Palette page, press [F6].  
The Part number to which you will return will be displayed  
in [F6].  
* 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. 194)  
Se ttin g th e Ke y b o a rd Ra n g e  
([PERFO RM] - [F2 (K.Ra n g e )])  
fig.05-005.e_70  
Co m p a rin g th e Se ttin g s o f Ea ch  
Pa rt a s Yo u Ma k e Se ttin g s  
The values for eight Parts (Parts 18, Parts 916, Parts 1724,  
2532) can be displayed together in the same screen.  
1 . When you are making settings for an individual Part,  
press [F6 (Palette)] to access the Part Palette page.  
F.L (Pa rt Ke y b o a rd Fa d e W id th Lo w e r)  
* [F6 (Palette)] will be displayed only when you have the option  
Range: 0127  
of selecting the Part Palette page.  
Determines what will happen to the Parts level when a note  
thats lower than its specified keyboard range is played.  
Higher settings produce a more gradual change in volume. If  
you dont want the Tone to sound at all when a note below  
fig.05-004.e_70  
the keyboard range is played, set this parameter to 0.  
fig.05-006.e  
Level  
2 . Press PART SELECT [1/ 17][16/ 32] to select the Part  
you want to set.  
To select Parts 1732, press [1-16/ 17-32], getting its indicator  
to light, and then press the desired PART SELECT [1/ 17]–  
[16/ 32] button.  
Key number  
You can also use [  
make settings.  
]/ [  
] to select the Part for which to  
0
127  
Lower  
Upper  
L.Fade value  
U.Fade value  
Each time you press [F1], the Part Palette page will switch  
between Parts 18, Parts 916, Parts 1724, and Parts 2532.  
3 . Press [  
] or [  
] to move the cursor to the parameter  
you wish to set.  
1 6 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  
* It is not possible to select XP-A–H unless a wave expansion  
K.L (Pa rt Ke y b o a rd Ra n g e Lo w e r)  
board is inserted into the corresponding slot. (Quick Start; p.  
3)  
Range: C -1G9  
Specifies the lowest note that will cause the Part to play its  
sound.  
* It is not possible to select CARD unless a SmartMedia card is  
inserted into the XV-5080 CARD slot.  
K.U (Pa rt Ke y b o a rd Ra n g e Up p e r)  
N u m b e r  
Range: C -1G9  
Selects the desired Patch or Rhythm Set by its number.  
* You can also use the Patch Finder feature. (p. 19)  
* You can also select from the FAVORITE LIST. (p. 207)  
Specifies the highest note that will cause the Part to play its  
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.  
Le ve l&Pa n (Pa rt Le ve l&Pa n )  
Pa rt Le ve l  
U.F (Pa rt Ke y b o a rd Fa d e W id th Up p e r)  
Available Settings:  
Range: 0127  
Sets the volume of the Part. This settings main purpose is to  
This determines what will happen to the Parts level when a  
note thats higher than its specified keyboard range is  
played. Higher settings produce a more gradual change in  
volume. If you dont want the Tone to sound at all when a  
note above the keyboard range is played, set this parameter  
to 0.  
adjust the volume balance between Parts.  
Pa rt Pa n  
Available Settings:  
Specifies the stereo position of the Parts sound. L64 is far  
left, 0 is center, and 63R is far right.  
Tu n e (Pa rt Tu n e )  
Se le ctin g th e Pa tch , a n d Se ttin g  
th e Vo lu m e , Pa n , Pitch , a n d  
Po ly p h o n y  
O cta ve Sh ift (Pa rt O cta ve Sh ift)  
Range: -3+3  
Adjusts the pitch of the Parts sound up or down in units of  
PERFO RMAN CE Pa rt # 1 p a g e  
([PERFO RM] - [F3 (Pa rt)])  
fig.05-007.e_70  
an octave (+/ -3 octaves).  
Co a rse (Pa rt Co a rse Tu n e )  
Range: -48+48  
Adjusts the pitch of the Parts sound up or down in semitone  
steps over a range of +/ -4 octaves.  
Fin e (Pa rt Fin e Tu n e )  
Range: -50+50  
Pa tch (Pa rt Pa tch )  
Adjusts the pitch of the Parts sound up or down in one-cent  
steps (1/ 100th of a semitone) over a range of half a semitone  
up or down.  
Ty p e (Pa rt Ty p e )  
Range: PAT/ RHY  
Selects the Patch (PAT) or Rhythm Set (RHY) the Part will  
play.  
Gro u p (Pa rt Gro u p )  
Available Settings:  
Selects the group to which the desired Patch or Rhythm Set  
belongs.  
* You can also use the Patch Finder feature. (p. 19)  
* You can also select from the FAVORITE LIST. (p. 207)  
1 6 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  
Be n d Ra n g e (Pa rt Pitch Be n d Ra n g e )  
Ed itin g th e Atta ck a n d Re le a se o f  
th e So u n d a n d Ch a n g in g th e  
W a y th e So u n d is Pla y e d  
Range: 048/ PATCH  
Sets the amount of pitch change that will occur when you  
move the Pitch Bend lever. The amount of change when the  
lever is tilted is set to the same value for both left and right  
sides.  
PERFO RMAN CE Pa rt # 2 p a g e  
([PERFO RM] - [F3 (Pa rt)])  
fig.05-008.e_70  
When set to PATCH, the bend range settings for the assigned  
Patch will be put in effect.  
Vo ice Re se rve (Pa rt Vo ice Re se rve )  
This setting specifies the number of voices that will be  
reserved for specific Parts when more than 128 voices are  
played simultaneously.  
Mo d ify (Pa rt Mo d ify )  
* 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=). You should  
check this readout as you set the Voice Reserve parameter.  
Cu to ff O ffse t (Pa rt Cu to ff O ffse t)  
Range: -64+63  
This simultaneously lowers or raises the individual TVF  
cutoff frequency values of the Tones in the Patch.  
Re so n a n ce O ffse t (Pa rt Re so n a n ce O ffse t)  
Calculating the Number of Voices Being Used  
Range: -64+63  
The number of notes that the XV-5080 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-5080 tones can 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.  
Sets the relative proportion of change in the individual TVF  
Resonance values of the Tones in the Patch.  
Atta ck Tim e O ffse t (Pa rt Atta ck Tim e O ffse t)  
Range: -64+63  
Sets the relative proportion of change in the TVF/ TVA  
Envelope value set for each tone comprising the Patch or  
Rhythm Set assigned to the part.  
* Patches also contain an Attack Time Offset setting. The final  
TVF/TVA Envelope attack time value is therefore the sum of  
the Tone’s TVF/TVA ENVELOPE T1 setting, the Patch’s Atk  
time offset, and the Part’s Atk time offset. Accordingly, if the  
tone’s T1 parameter is set to 127, there will be no change in  
the Attack Time Offset, even when this is set to a positive  
value.  
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.  
The XV-5080 is able to play up to 128 Tones  
simultaneously. When you are using the XV-5080  
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.  
1 6 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  
When a PATCHis selected, the settings for the assigned  
Re le a se O ffse t (Pa rt Re le a se Tim e O ffse t)  
Patch will have effect.  
Range: -64+63  
Sets the relative proportion of change in the TVF/ TVA  
Envelope T4 value set for each tone comprising the Patch or  
Rhythm Set assigned to the part.  
Po rta m e n to (Pa rt Po rta m e n to )  
Sw itch (Pa rt Po rta m e n to Sw itch )  
* Patches also contain a Release 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 Release  
Time Offset, and the Part’s Release Time Offset. Accordingly,  
if the tone’s T4 parameter is set to 127, there will be no change  
in the Release Time Offset, even when this is set to a positive  
value.  
Range: OFF/ ON/ PATCH  
Specifies whether the portamento effect will be applied (ON)  
or not (OFF).  
When a PATCHis selected, the settings for the assigned  
Patch will have effect.  
Tim e (Pa rt Po rta m e n to Tim e )  
Range: 0127/ PATCH  
Ve lo city Se n s O ffse t (Pa rt Ve lo city Se n sitivity  
O ffse t)  
When portamento is used, this specifies the time over which  
the pitch will change. Higher settings will cause the pitch  
change to the next note to take more time.  
Range: -63+63  
This changes the volume and cutoff frequency for each part  
according to the velocity with which the keys are played.  
This simultaneously lowers or raises the individual TVF  
VELOCITY V-Cutoff and TVA V-Sens values of the Tones in  
the Patch.  
When a PATCHis selected, the settings for the assigned  
Patch will have effect.  
Esta b lish in g a Pa rts MIDI  
* Patches also contain a Velocity Sens Offset setting. The final,  
resulting Velocity Sensitivity Offset value is the sum of the  
part’s and the Patch’s Velocity Sensitivity Offsets. 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.  
Se ttin g s  
PERFO RMAN CE MIDI # 1 p a g e  
([PERFO RM] - [F4 (MIDI)])  
fig.05-009.e_70  
Ke y Mo d e (Pa rt Ke y Mo d e )  
Mo n o / Po ly (Pa rt Mo n o / Po ly )  
Range: MONO/ POLY  
Pa rt MIDI  
Sets how the Patchs notes will be played. The SOLO setting  
is effective when playing a solo instrument Patch such as sax  
or flute.  
Re ce ive Ch a n n e l (Pa rt Re ce ive Ch a n n e l)  
Range: 116  
MONO: Only one note will sound at a time.  
Sets the MIDI channel to which the Part will respond.  
POLY: Two or more notes can be played simultaneously.  
PATCH: This follows the Patch settings assigned to the Part.  
Pa rt MIDI Re ce ive Sw itch  
Le g a to Sw itch (Pa rt Le g a to Sw itch )  
MIDI Rx (Pa rt MIDI Re ce ive Sw itch )  
Range: OFF/ ON/ PATCH  
Range: OFF/ ON  
Turn this parameter on when you want to use the Legato  
feature and off when you dont. 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 notes pitch to change to  
that of the newly pressed key while continuing to sound.  
This can be effective when you wish to simulate performance  
techniques such as a guitarists hammering on and pulling  
off strings.  
Enables (ON) or disables (OFF) the Parts response to  
received MIDI messages.  
1 6 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  
MIDI IN 1 (Pa rt MIDI IN 1 Re ce ive Sw itch )  
Pitch Be n d (Re ce ive Pitch Be n d Sw itch )  
Range: OFF/ ON  
Range: OFF/ ON  
Sets whether each Part will receive MIDI messages (ON) or  
not (OFF) from the MIDI IN 1 connector.  
Sets whether the MIDI channel will receive MIDI Pitch Bend  
messages (ON) or not (OFF).  
MIDI IN 2 (Pa rt MIDI IN 2 Re ce ive Sw itch )  
Ch a n n e l Pre ssu re (Re ce ive Ch a n n e l Pre ssu re  
Sw itch )  
Range: OFF/ ON  
Range: OFF/ ON  
Sets whether each Part will receive MIDI messages (ON) or  
not (OFF) from the MIDI IN 2 connector.  
Sets whether the MIDI channel will receive MIDI Channel  
Pressure messages (ON) or not (OFF).  
Pa rt Mu te  
Po ly Ke y Pre ssu re (Re ce ive Po ly p h o n ic Ke y  
Pre ssu re Sw itch )  
Sw itch (Pa rt Mu te Sw itch )  
Range: OFF/ MUTE  
Range: OFF/ ON  
Sets whether the MIDI channel will receive MIDI Polyphonic  
Key Pressure messages (ON) or not (OFF).  
Turns muting of each part on (MUTE) or off (OFF).  
* 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.  
Mo d u la tio n (Re ce ive Mo d u la tio n Sw itch )  
Range: OFF/ ON  
Sets whether the MIDI channel will receive MIDI Modulation  
messages (ON) or not (OFF).  
PERFO RMAN CE MIDI # 2 MIDI Filte r  
p a g e ([PERFO RM] - [F4 (MIDI)])  
fig.05-010.e_70  
PERFO RMAN CE MIDI # 3 MIDI Filte r  
p a g e ([PERFO RM] - [F4 (MIDI)])  
fig.05-011.e_70  
MIDI Me ssa g e  
You can determine whether the MIDI channel (116) will  
MIDI Me ssa g e  
receive the following MIDI messages (ON), or not (OFF).  
You can determine whether the MIDI channel (116) will  
receive the following MIDI messages (ON), or not (OFF).  
Pro g ra m Ch a n g e (Pro g ra m Ch a n g e Sw itch )  
Range: OFF/ ON  
Vo lu m e (Re ce ive Vo lu m e Sw itch )  
Sets whether the MIDI channel will receive MIDI Program  
Change messages (ON) or not (OFF).  
Range: OFF/ ON  
Sets whether the MIDI channel will receive MIDI Volume  
messages (ON) or not (OFF).  
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )  
Range: OFF/ ON  
Pa n (Re ce ive Pa n Sw itch )  
Sets whether the MIDI channel will receive MIDI Bank Select  
messages (ON) or not (OFF).  
Range: OFF/ ON  
Sets whether the MIDI channel will receive MIDI Pan  
messages (ON) or not (OFF).  
1 6 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  
The Part Info screen is split into three menus. Press [F6  
(Menu)] to switch the menus.  
Ex p re ssio n (Re ce ive Ex p re ssio n Sw itch )  
Range: OFF/ ON  
Sets whether the MIDI channel will receive MIDI Expression  
messages (ON) or not (OFF).  
Menu 1  
[F1] Mod (Modulation Information)  
[F2] Breath (Breath Information)  
[F3] Foot (Foot Information)  
[F4] Vol (Volume Information)  
[F5] Pan (Pan Information)  
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )  
Range: OFF/ ON  
Sets whether the MIDI channel will receive MIDI Hold 1  
messages (ON) or not (OFF).  
Ph a se Lo ck  
Menu 2  
Range: OFF/ ON  
[F1] Exp (Expression Information)  
This setting activates (ON) or de-activates (OFF)  
synchronization of the timing of Parts that share a common  
MIDI channel.  
[F2] Hold (Hold 1 Information)  
[F3] Bend (Pitch Bend Information)  
[F4] Aft (Aftertouch Information)  
[F5] Voices (Voice Information)  
* 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.  
Menu 3  
[F1] Sys1 (System Control 1 Information)  
[F2] Sys2 (System Control 2 Information)  
[F3] Sys3 (System Control 2 Information)  
[F4] Sys4 (System Control 2 Information)  
Ve lo city Cu rve  
Range: OFF/ 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-5080. Set this to OFFif  
you are using the MIDI keyboards own velocity curve.  
Ma k in g Effe ct Se ttin g s  
Refer to Settings in the Performance Mode(p. 30).  
Sa vin g Pe rfo rm a n ce s Yo u  
Cre a te  
Co n firm in g MIDI In fo rm a tio n fo r  
Ea ch MIDI Ch a n n e l  
Refer to Saving Performances(p. 194).  
PERFO RMAN CE Pa rt In fo rm a tio n p a g e  
([PERFO RM] - [F6 (In fo )])  
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 )  
In this display you can check the receive status of various  
types of MIDI message for each MIDI channel. This is a  
convenient way to check that the sound generator is  
responding correctly to messages from the keyboard or  
external MIDI controllers.  
1 . Make sure that the copy-destination Performance is  
selected.  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
3 . Press [F6 (Menu)] to select Menu 1.  
4 . Press [F2 (Copy)].  
1 6 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  
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  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Type.”  
6 . Turn the VALUE dial to select PART.”  
While creating a Performance, you can call up the Patches  
and Rhythm Sets assigned to each part and change their  
settings.  
7 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
1 . Make sure that the PERFORM PLAY page is displayed.  
8 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
2 . Select the Part to which the Patch/ Rhythm Set you wish  
to modify is assigned.  
9 . Press [F6 (Copy)] to initiate the copy procedure.  
3 . While holding down [SHIFT], press [PERFORM].  
4 . Press [PATCH] if you wish to edit a Patch, or [RHYTHM]  
Performance Name Copy  
to edit a Rhythm Set, lighting the respective indicator.  
You can copy the Patch name by setting the value to  
The Play page for the Patch/ Rhythm Set assigned to the Part  
will appear.  
NAMEin Step 6 above.  
5 . These are changed using the same procedure used in  
regular editing of Patches and Rhythm Sets. (Creating a  
6 . When you finish making settings, press [EXIT] to return  
to the PLAY page.  
A *symbol will appear at the left of the bank to indicate  
that the settings have been modified.  
* If you want to keep the changes made in the settings, save  
them here. (p. 194)  
7 . Press [PERFORM] to return to the PERFORM PLAY  
page.  
* If you do not save the Patch or Rhythm Set, then even if you  
save a Performance, changes in the Patch or Rhythm Set  
settings are not saved. If you want to keep settings for the  
Patch or Rhythm Set, be sure to save the changed settings after  
carrying out Step 6.  
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 6 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
Ho w Pe rcu ssio n In stru m e n ts  
Are O rg a n ize d  
Usin g a MIDI Ke y b o a rd to  
Se le ct a Pe rcu ssio n  
In stru m e n t fo r Ed itin g  
Rhythm sets are groups of a number of different percussion  
instrument sounds. An instrument consists of the following  
When setting up Individual Rhythm Tones, you can set  
whether youll be able to select percussion instruments for  
editing only by operating the XV-5080s front-panel controls  
or also by pressing keys on a connected MIDI keyboard.  
four elements.  
fig.06-001.e  
Rhythm Set  
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.  
Note Number 98 (D7)  
Note Number 97 (C#7)  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to make its indicator light.  
Note Number 36 (C2)  
2 . Press [F1 (General)] several times to call up the SYSTEM  
Note Number 35 (B1)  
General #1 page.  
Rhythm Tone (Percussion instrument sound)  
WG  
TVF  
TVA  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Pitch  
TVF  
TVA  
Envelope  
Envelope  
Envelope  
Rhythm Edit Key.”  
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select  
WG (Wave Generator)  
the desired value.  
Specifies the PCM waveform (wave) that is the basis of the  
sound, and determines how the pitch of the sound will  
change.  
PANEL: Percussion instrument sounds can be selected only  
by using the XV-5080s TONE SELECT [1][4] buttons.  
PNL&MIDI: Percussion instrument sounds can be selected  
using the XV-5080s [E][H] buttons and by pressing a key on  
a connected MIDI keyboard.  
The XV-5080 has 1083 different waveforms. (See Waveform  
Tone.  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
All Rhythm Tones built into the XV-5080 consist of  
combinations of Tones which are created based on these  
waveforms.  
5 . Press [EXIT] to return to the RHYTHM PLAY page.  
TVF (Time Variant Filter)  
Specifies how the frequency components of the Tone will  
change.  
If youd like to select percussion instruments using the XV-  
5080s [E][H] buttons while playing the sounds on a MIDI  
keyboard, select PANEL.”  
TVA (Time Variant Amplifier)  
Sets how the Rhythm Tones volume and stereo positioning  
will change.  
Envelope  
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 Tone attacks and decays.  
1 6 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
[F2 (Prev)]: Move back one character.  
Se ttin g s Co m m o n to a n  
En tire Rh y th m Se t  
[F3 (Next)]: Move forward one character.  
[F4 (Insert)]: Insert a blank space at the cursor position.  
[F5 (Delete)]: Delete the character at the cursor position.  
[F6 (OK)]: Confirm the selected name.  
Setting Procedure:  
1 . Select the Rhythm Set you wish to use.  
2 . Press [F1 (Common)].  
Le ve l (Rh y th m Le ve l)  
Range: 0127  
Sets the volume of the Rhythm Set.  
3 . Use [  
]/ [  
]/ [  
]/ [  
] to move the cursor to the  
parameter you want to set.  
* You can specify the level for each using the Tone Level  
parameter (p. 177).  
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select  
the desired value.  
O u tp u t Assig n (Rh y th m O u tp u t Assig n )  
Specifies the output destination of the entire Rhythm Set.  
Available Settings:  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
MFX: The Tone is sent into the Multi-effects.  
5 . Press [EXIT] to return to the RHYTHM PLAY page.  
OUTPUT AD: The Tone is sent to the selected pair of  
A *symbol will appear at the left of the Rhythm Set name,  
OUTPUT AD jacks.  
indicating that the settings have been modified.  
fig.06-002.e_70  
INDIV 18: The Tone is sent to the selected INDIVIDUAL 18  
jack.  
TONE: Outputs according to the settings for each Rhythm  
Tone.  
Te m p o  
* 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 keep these settings, perform the Save  
operation. (p. 194)  
Clo ck So u rce (Rh y th m Clo ck So u rce )  
The M-FX changes and phrase loop (break beats) can be  
synchronized to a clock, or tempo. The Clock Source setting  
selects the timing reference to be used by the Rhythm Set.  
Available Settings:  
RHYTHM Co m m o n p a g e ([RHYTHM] -  
[F1 (Co m m o n )])  
RHYTHM: The Rhythm Set Tempo will be used.  
SYSTEM: The global System Tempo or clock messages  
fig.06-002a.e_70  
received from an external sequencer will be used.  
Te m p o (Rh y th m Te m p o )  
Range: 20250  
When Clock Source (Rhythm Clock Source) is set to  
RHYTHM,this setting value is effective.  
Co m m o n  
* Clock messages for the Rhythm Tempo are not transmitted  
from the MIDI OUT connector.  
N a m e (Rh y th m N a m e )  
You can name a Rhythm Set using up to 12 characters.  
O n e Sh o t Mo d e  
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.  
Sw itch (O n e Sh o t Mo d e Sw itch )  
Range: OFF/ ON  
Available characters/symbols:  
This causes all the samples assigned to a selected Rhythm  
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^  
_ ` { | } → ←  
* This function cannot be used with internal waves, and waves  
on Wave Expansion Boards.  
* Pressing the VALUE dial displays the Patch Name window,  
in which you can use the following functions.  
* Loop mode settings cannot be changed for individual samples.  
1 6 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
the cursor jump to the number indicating the part in the upper  
left of the screen. Here, you can switch parts by turning the  
VALUE dial, or by pressing [INC] or [DEC].  
Se ttin g u p In d ivid u a l Rh y th m  
To n e s  
The parameters that can be set for each Rhythm Tone of the  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Rhythm Set are assigned to [F2][F5] as follows.  
the parameter you want to set.  
5 . Either turn the VALUE dial, or press [INC]/ [DEC] to  
[F2 (Ke y W G)]  
select the desired value.  
[F1 (WG Prm)] Selecting waveforms, FXM, Pan, or  
Tuning (p. 171)  
* 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 value the parameter originally had.  
[F2 (Pitch)] Pitch (p. 173)  
[F3 (Pch Env)] Pitch Envelope (p. 173)  
[F4 (V.Range)] WMT Velocity Range (p. 174)  
[F5 (Sample)] Sample Edit (p. 174)  
6 . Repeat steps 25 to complete a Rhythm Set.  
7 . Press [EXIT] to return to the RHYTHM PLAY page.  
A *symbol will appear at the left of the Rhythm Set name,  
indicating that its settings have been modified.  
fig.06-003.e_70  
[F3 (Ke y TVF)]  
[F1 (TVF Prm)] modifies the brightness using the filter  
(p. 175)  
[F2 (TVF Env)] TVF envelope (p. 177)  
[F4 (Ke y TVA)]  
[F1 (TVA Prm)] Changes the volume (p. 177)  
[F2 (TVA Env)] TVA envelope (p. 178)  
the “*symbol is displayed, your new Rhythm Set settings  
will be lost. If you wish to keep these settings, perform the Save  
operation. (p. 194)  
[F5 (Ke y Ctl)]  
Other Settings (p. 179)  
Tip s fo r Se le ctin g a W a ve fo rm  
Setting Procedure:  
Because the XV-5080 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) youre working with, the desired  
result may be difficult or impossible to achieve.  
1 . Select the Rhythm Set you wish to set.  
2 . Press [F2][F5], whichever has the parameter you wish to  
set assigned to it, and select the display group.  
With some display groups, you then press [F1][F4] to access  
the desired page.  
The XV-5080s internal waveforms fall into the following two  
3 . Press Tone Select [1][4] to select the percussion  
instrument sound you wish to edit, according to the key  
that plays it.  
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-5080s one-shot waveforms are  
sounds that are complete in themselves, such as percussive  
instrument sounds. The XV-5080 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.  
TONE SELECT [1]: Selects the key one octave below the  
currently selected key.  
TONE SELECT [2]: Selects the key a semitone below the  
currently selected key.  
TONE SELECT [3]: Selects the key a semitone above the  
currently selected key.  
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-5080s looped waveforms also include  
components of other sounds, such as piano-string resonant  
TONE SELECT [4]: Selects the key one octave above the  
currently selected key.  
* You can also press a key on a connected MIDI keyboard to  
select the desired percussion instrument sound (key). (p. 168)  
* By holding down [SHIFT] and pressing [  
], you can have  
1 7 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
vibrations and the hollow sounds of brass instruments.  
Depth parameters (the FXM parameter in the RHYTHM WG  
WgPrm 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.  
The following diagram shows an example of a sound an  
electric organ that combines one-shot and looped  
waveforms.  
fig.06-005.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 th e W a ve fo rm , Pa n  
a n d Pitch ([F2 (Ke y W G)])  
+
=
Key-off  
Key-off  
RHYTHM W G Pa ra m e te r p a g e  
([RHYTHM] - [F2 (W G)] - [F1 (W G Prm )])  
fig.06-007.e_70  
N o te s fo r Ed itin g O n e -Sh o t W a ve fo rm s  
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  
doesnt exist, and the envelope would have no effect.  
Rh y th m To n e  
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s  
N a m e (To n e N a m e )  
With many acoustic instruments such as piano and sax,  
extreme timbral changes occur during the first few moments  
of each note. This initial attack is what defines much of the  
instruments character. The XV-5080 provides a variety of  
waveforms containing realistic acoustic instrument attacks.  
To obtain the maximum realism when using these  
You can name a Rhythm Tone using up to 12 characters.  
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.  
Available characters/symbols:  
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  
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^  
_ ` { | } → ←  
* Pressing the VALUE dial displays the Patch Name window,  
in which you can use the following functions.  
[F2 (Prev)]: Move back one character.  
sound.  
[F3 (Next)]: Move forward one character.  
[F4 (Insert)]: Insert a blank space at the cursor position.  
[F5 (Delete)]: Delete the character at the cursor position.  
[F6 (OK)]: Confirm the selected name.  
fig.06-006.e  
Looped Portion  
Tone change stored  
with the wave  
With the XV-5080, 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  
Table).  
Envelope  
for the TVF filter  
Resulting tone change  
If you try to make a waveforms attack brighter by lowering  
the high-frequency content of its decay using the TVF filter,  
consider the original timbral character of the waveform. If  
youre 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  
1 7 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
Pa n  
W AVE  
Range: L6463R  
Gro u p (W a ve Gro u p )  
Establishes the stereo location of the waveform. L64 is far  
left, 0 is center, and 63R is far right.  
Selects the group for the waveform that is to be the basis of  
the Rhythm Tone.  
The pan of the Rhythm Tone is set by the Tone Pan setting  
(Rhythm TVA Parameter page), and the Wave Pan setting is  
added to this setting. (p. 178)  
Available Settings:  
INT: Waveform stored in the XV-5080s memory.  
XP-AH: Waveform on the wave expansion boards AH.  
Ra n d o m (W a ve Ra n d o m Pa n Sw itch )  
* It is not possible to select a Group of a Wave Expansion Board  
that is not installed.  
Use this setting to cause the waveforms panning to change  
randomly each time a key is pressed (ON) or not (OFF).  
SAMPLE: Samples (Wave data) loaded into the SIMM  
The stereo width of the change is set by the Random Pan  
Depth setting (Rhythm TVA Parameter page). (p. 178)  
(memory module) from a sampler library or other source.  
L (W a ve N u m b e r L)  
Alte rn a te (W a ve Alte rn a te Pa n Sw itch )  
Range: 1****  
Use this setting to cause the waveforms stereo position to  
flip from the left to the right each time a key is pressed (ON)  
or not (OFF).  
Selects the waveform that forms the basis of a Rhythm Tone.  
You can choose a separate waveform for each of the XV-  
5080s left channel.  
The stereo width of the change is set by the Alternate Pan  
Depth setting (Rhythm TVA Parameter page). (p. 178)  
R (W a ve N u m b e r R)  
Range: 1****  
Selects the waveform that forms the basis of a Rhythm Tone.  
You can choose a separate waveform for each of the XV-  
5080s right channel.  
Tu n e  
Co a rse (W a ve Co a rse Tu n e )  
Range: -48+48  
* By holding down [SHIFT] and pressing [F6], you can rapidly  
switch between STEREO and MONO tones.  
Adjusts the Wave pitch in semitone steps over a range of +/ -  
4 octaves.  
Te m p o Sy n c  
Fin e (W a ve Fin e Tu n e )  
Determines whether the waveform is synchronized (ON) or  
not synchronized (OFF) to the Rhythms tempo.  
Range: -50+50  
Adjusts the pitch of the Wave in one-cent steps (1/ 100th of a  
semitone) over a range of half a semitone up or down.  
Ga in & Le ve l  
Ga in (W a ve Ga in )  
FXM  
Range: -6+12  
Specifies the gain (amplitude) of the waveform. The value  
changes in 6 dB (decibel) stepsan increase of 6 dB doubles  
the waveforms gain. If you intend to use the Booster to  
distort the waveforms sound, set this parameter to its  
maximum value.  
Sw itch (W a ve FXM Sw itch )  
Range: ON/ OFF  
Sets whether FXM will be used (ON) or not (OFF).  
Co lo r (W a ve FXM Co lo r)  
Range: 14  
Le ve l (W a ve Le ve l)  
Specifies how FXM will perform its frequency modulation.  
Higher settings result in a grainier sound, while lower  
settings result in a more metallic sound.  
Range: 0127  
Adjusts the volume of each of the Rhythm Tones waveforms  
to establish the desired volume balance between the waves.  
* The volume of the Rhythm Tone is set by the Tone Level  
setting (Rhythm TVA Parameter page), and the Wave Level  
setting is multiplied to this setting. (p. 177)  
De p th (W a ve FXM De p th )  
Range: 016  
1 7 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
fig.06-010.e  
RHYTHM W G Pitch p a g e ([RHYTHM] -  
[F2 (W G)] - [F2 (Pitch )])  
fig.06-008.e_70  
T1  
T2  
T3  
T4  
L1  
L0  
L3  
Pitch  
Time  
key is  
key is  
pressed  
L2  
released  
L4  
Pitch (Rh y th m To n e Pitch )  
De p th (Pitch En ve lo p e De p th )  
Co a rse Tu n e (Rh y th m To n e Co a rse Tu n e )  
Range: -12+12  
Range: C-1G9  
Determines the amount of pitch enveloping to be used.  
Higher values will cause greater change. Negative (-) settings  
invert the direction of the changes made by the Pitch  
Envelope.  
Adjusts the pitch of the Tones in semitone steps over a range  
of +/ -4 octaves.  
Fin e Tu n e (Rh y th m To n e Fin e Tu n e )  
Tim e 1 4 (Pitch En ve lo p e Tim e 1 4 )  
Range: -50+50  
Range: 0127  
Adjusts the pitch of the Tone in one-cent steps (1/ 100th of a  
semitone) over a range of half a semitone up or down.  
Determine the times over which the basic pitch settings will  
change from one pitch envelope level (L1L4) to the next.  
Ra n d o m Pitch (Rh y th m To n e Ra n d o m  
Pitch )  
Le ve l 0 4 (Pitch En ve lo p e Le ve l 0 4 )  
Range: -63+63  
De p th (Rh y th m To n e Ra n d o m Pitch De p th )  
Each pitch envelope level value determines an amount of  
Range: 01200  
change to be applied to the Tones basic pitch.  
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).  
Ve lo city Se n s (Pitch En ve lo p e Ve lo city  
Se n sitivity )  
Am o u n t (Pitch En ve lo p e Tim e Am o u n t  
Se n sitivity )  
RHYTHM W G Pitch En ve lo p e p a g e  
([RHYTHM] - [F2 (W G)] - [F3 (Pch En v)])  
fig.06-009.e_70  
Range: -63+63  
Adjust this parameter when you want your keyboard  
playing dynamics (velocity) to affect the amount of pitch  
enveloping. For higher settings, there will be a greater  
difference between softly and strongly played notes.  
Negative (-) values invert the change.  
Tim e 1 (Pitch En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
Pitch En ve lo p e  
Range: -63+63  
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.  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the pitch  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
1 7 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
Tim e 4 (Pitch En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
V.U (W MT Ve lo city Ra n g e Up p e r)  
Range: LOWER127  
Range: -63+63  
Specifies the highest limit of playing dynamics (key velocity)  
which will sound the Tone. Make these settings when you  
want different Tones to sound in response to notes played at  
different strengths.  
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 release the key slowly  
or quickly. With positive (+) settings, greater keyboard  
velocity will reduce the T4 setting. With negative (-) settings,  
greater keyboard velocity will increase the T4 setting.  
* 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.  
U.F (W MT Ve lo city Fa d e W id th Up p e r)  
RHYTHM W G W MT Ve l Ra n g e p a g e  
([RHYTHM] - [F2 (W G)] - [F4 (V.Ra n g e )])  
fig.06-011.e_70  
Range: 0127  
Determines what will happen to the Tones 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 dont want notes played outside the specified  
velocity range to be heard at all, set this to 0.  
Ve lo city Ra n g e  
Ve lo city Co n tro l  
Sw itch  
Status of these settings will be displayed.  
RHYTHM W G Sa m p le p a g e ([RHYTHM]  
- [F2 (W G)] - [F5 (Sa m p le )])  
Determines whether Velocity range will be recognized (ON),  
or ignored (OFF). When set to RANDOM, the Wave will  
sound randomly, regardless of any Velocity messages.  
You can edit the Sample (Wave data) loaded into the SIMM  
(memory module).  
* These settings cannot be made unless a Sample is being used.  
fig.06-013.e_70  
L.F (W MT Ve lo city Fa d e W id th Lo w e r)  
Range: 0127  
Determines what will happen to the Tones level when the  
Tone is played at a velocity lower than its specified velocity  
range. Higher settings result in a more gradual change in  
volume. If you dont want notes played outside the specified  
velocity range to be heard at all, set this to 0.  
fig.06-012.e  
Sa m p le  
Level  
Sa m p lin g Fre q . (Sa m p lin g Fre q u e n cy )  
Displays the original sampling frequency of the loaded  
Sample.  
O rig in a l Ke y  
Lower  
Upper  
Velocity  
1
Displays the original key of the loaded Sample.  
L.Fade value  
U.Fade value  
V.L (W MT Ve lo city Ra n g e Lo w e r)  
Range: 1UPPER  
Specifies the highest limit of playing dynamics (key velocity)  
which will sound the Tone. Make these settings when you  
want different Tones to sound in response to notes played at  
different strengths.  
1 7 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                 
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
Loop Start Point Fine  
Lo o p  
Range: 0255  
Mo d e (Lo o p Mo d e )  
Displays the loop mode of the loaded Sample.  
Available Settings:  
This is a fine adjustment of the Loop Start Point.  
En d -Fin e (En d Po in t - En d Po in t Fin e )  
FWD (Forward):  
End Point  
After the Sample played back from the Start point to the  
Loop End point, it will then be repeatedly played back in the  
forward direction, from the Loop Start point to the Loop End  
point.  
Range: 0–  
Specifies the point to which the loop will be read.  
End Point Fine  
Range: 0255  
ONE-SHOT:  
This is a fine adjustment of the End Point.  
The sample will be played back only once, from the Start  
point to the Loop End point.  
ALT (Alternate):  
Usin g th e Filte r to Mo d ify th e  
Brig h tn e ss ([F3 (Ke y TVF)])  
When the sample has been played back from the Start point  
to the Loop End point, playback will repeat to the Loop Start  
point, then go back and forth between the Loop Start point  
and the Loop End point.  
The settings for the TVF (Time Variant Filter) allow you to  
change a Rhythm Tones timbral content by altering its  
brightness or thickness.  
REV-ONE (Reverse One-shot)  
The sample will be played back only once from the Loop End  
point to the Start point in the reverse direction.  
RHYTHM TVF Pa ra m e te r p a g e  
([RHYTHM] - [F3 (Ke y TVF)] - [F1 (TVF  
Prm )])  
fig.06-014.e_70  
REV (Reverse):  
When the sample has been played back from the Loop End  
point to the Start point, it will be repeatedly played back in  
the reverse direction, from the Loop Start point to the Start  
point.  
Tu n e (Lo o p Tu n in g )  
Range: -5050  
TVF  
Determines the fine pitch setting within the loop, in one-cent  
steps (1/ 100 of a semitone).  
Filte r Ty p e (TVF Filte r Ty p e )  
Selects the filter type. A filter typically reduces, or attenuates,  
a specific frequency range within a Tone in order to  
accentuate its other frequencies.  
Sta rt-Fin e (Sta rt Po in t - Sta rt Po in t  
Fin e )  
Start Point  
Range:  
Range: 0–  
OFF: No filter is used.  
Specifies the point in the sample from which data will be  
read.  
LPF: Low Pass Filter. This reduces the volume of all  
frequencies above the cutoff frequency. Since the high  
frequency range is cut, the sound will become more mellow.  
This is the most frequently-used type of filter.  
Start Point Fine  
Range: 0255  
This is a fine adjustment of the Start Point.  
BPF: Band Pass Filter. This type of filter leaves only the  
region in the vicinity of the cutoff frequency, and cuts the  
rest. It is useful for making distinctive sounds.  
Lo o p Po in t Sta rt-Fin e (Lo o p Sta rt Po in t  
- Lo o p Sta rt Po in t Fin e )  
HPF: High Pass Filter. This type of filter cuts the portion that  
lies below the cutoff frequency. It is useful for making  
percussive or other sounds. that have a distinctive high  
range.  
Loop Start Point  
Range: 0–  
Specifies the point in the sample from which the loop will be  
started.  
PKG: Peaking Filter. This emphasizes frequencies around the  
1 7 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
fig.06-015.e  
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.  
LPF  
BPF  
HPF  
PKG  
Level  
High  
Frequency  
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.  
Cutoff frequency  
This can be very effective with acoustic-instrument-based  
Tones, since nothing is done to weaken the power and  
energy of the sound.  
Low  
This disables the Resonance setting.  
LPF3: Low Pass Filter 3. This reduces the volume of all  
frequencies above the cutoff frequency. While similar to  
LPF2, it filter reduces the frequencies more gently than LPF2.  
Re so n a n ce Ve lo (TVF Re so n a n ce  
Ve lo city )  
Se n s (TVF Re so n a n ce Ve lo city Se n s)  
This can be very effective with acoustic-instrument-based  
Tones, since nothing is done to weaken the power and  
energy of the sound.  
Range: -6363  
Use this parameter when you want velocity to affect the  
amount of Resonance. For higher settings, there will be a  
greater difference between softly and strongly played notes.  
Negative (-) values invert the change.  
This disables the Resonance setting.  
Cu to ff Fre q (TVF Cu to ff Fre q u e n cy )  
Range: 0127  
Specifies the frequency (cutoff frequency) at which the filter  
will begin to affect the frequency characteristics of the  
waveform.  
Cu to ff Ve lo (TVF Cu to ff Ve lo city )  
Cu rv (TVF Cu to ff Ve lo city Cu rve )  
Range: FIXED/ 17  
With LPF/ LPF2/ LPF3 selected for the Filter Type parameter,  
lower cutoff frequency settings reduce a Tones upper  
harmonics for a more rounded, warmer sound. Higher  
settings make it sound brighter.  
Selects one of seven curves that determine how keyboard  
playing dynamics (velocity) influence the Tones 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. It is useful for making 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 Tones low frequencies,  
preserving its brighter qualities.  
Se n s (TVF Cu to ff Ve lo city Se n s)  
Range: -63+63  
When Filter Type is PKG, the cutoff frequency setting  
determines the range of frequencies to be emphasized.  
Sets the amount of change produced when the keyboard  
touch is used to change the cutoff frequency. For higher  
settings, there will be a greater difference between softly and  
strongly played notes. Negative (-) values invert the change.  
Re so n a n ce (TVF Re so n a n ce )  
Range: 0127  
Increases the level of the cutoff frequency, adding character  
to the sound. Excessively high settings can produce  
oscillation, causing the sound to distort.  
1 7 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
the T1 setting. With negative (-) settings, greater keyboard  
velocity will increase the T1 setting.  
RHYTHM TVF En ve lo p e p a g e ([RHYTHM]  
- [F3 (Ke y TVF)] - [F2 (TVF En v)])  
fig.06-016.e_70  
Tim e 4 (TVF En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T4 (Time 4) of the TVF  
envelope. With higher settings, the T4 value will change  
more significantly depending on whether you release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
setting.  
TVF En ve lo p e  
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.  
De p th (TVF En ve lo p e De p th )  
Am o u n t V-Crv (TVF En ve lo p e Ve lo city  
Cu rve )  
Range: -63+63  
Adjusts the amount of filter enveloping. Higher values will  
cause greater change. Negative (-) settings invert the  
direction of the changes made by the Pitch Envelope.  
Range: FIXED/ 17  
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.  
Tim e 1 4 (TVF En ve lo p e Tim e 1 4 )  
Range: 0127  
When set to FIXED,the TVF envelope depth remains  
These settings determine the times over which the cutoff  
frequency setting will change from one TVF envelope level  
(L1L4) to the next.  
unchanged, regardless of how hard or soft you play.  
Ma k in g th e Vo lu m e Ch a n g e ([F4  
(Ke y TVA)])  
Le ve l 0 4 (TVF En ve lo p e Le ve l 0 4 )  
Range: 0127  
Each TVF envelope level value determines an amount of  
change to be applied to the original cutoff frequency setting.  
RHYTHM TVA Pa ra m e te r p a g e  
([RHYTHM] - [F4 (Ke y TVA)] - [F1 (TVA  
Prm )])  
fig.06-017.e_70  
Ve lo Se n s (TVF En ve lo p e Ve lo city  
Se n sitivity )  
Am o u n t  
Range: -63+63  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect the depth of the TVF Envelope.  
For higher settings, there will be a greater difference between  
softly and strongly played notes. Negative (-) values invert  
the change.  
TVA  
The TVA (Time Variant Amplifier) controls volume changes  
to the Tone as well as its stereo positioning.  
Tim e 1 (TVF En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
Le ve l (To n e Le ve l)  
Range: 0127  
Range: -63+63  
Sets the volume of the Rhythm Tone. Use this parameter to  
adjust the volume balance between Rhythm Tones.  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the TVF  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. With  
positive (+) settings, greater keyboard velocity will reduce  
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. 169)  
1 7 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
             
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
V-Cu rve (TVA Le ve l Ve lo city Cu rve )  
TVA En ve lo p e  
Range: FIXED/ 17  
Tim e 1 4 (TVA En ve lo p e Tim e 1 4 )  
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 Tones volume. The selected curve is  
displayed to the below of its parameter value.  
Range: 0127  
These settings determine the times over which the Tone level  
setting will change from one TVA envelope level to the next.  
When set to FIXED,the Tones volume will not be affected  
Le ve l 1 3 (TVA En ve lo p e Le ve l 1 3 )  
by the force with which the keyboard is played.  
Range: 0127  
Each TVA envelope level value determines an amount of  
change to be applied to the original Rhythm Tone level  
setting.  
V-Se n s (TVA Le ve l Ve lo city Se n s)  
Range: -63+63  
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.  
Ve lo city Se n s  
Tim e 1 (TVA En ve lo p e Tim e 1 Ve lo city  
Se n sitivity )  
Range: -63+63  
Pa n  
Use this parameter when you want keyboard playing  
dynamics (velocity) to affect T1 (Time 1) of the TVA  
envelope. For higher settings, there will be a greater  
difference between softly and strongly played notes. 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 )  
Range: L6463R  
Specifies the stereo position of the Tone. L64 is far left, 0 is  
center, and 63R is far right.  
Ra n d o m (Ra n d o m Pa n De p th )  
Range: 063  
Tim e 4 (TVA En ve lo p e Tim e 4 Ve lo city  
Se n sitivity )  
Use this parameter to activate random panning, note-by-  
note. Higher values will result in a greater width of change.  
Range: -63+63  
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 release the key  
slowly or quickly. With positive (+) settings, greater  
keyboard velocity will reduce the T4 setting. With negative (-  
) settings, greater keyboard velocity will increase the T4  
Alte rn a te (Alte rn a te Pa n De p th )  
Range: L6363R  
This setting causes panning to be alternated between left and  
right each time a key is pressed. Higher values will result in a  
greater width of change. 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.  
setting.  
fig.06-019.e  
Level  
T1  
T2  
T3  
T4  
L1  
RHYTHM TVA En ve lo p e p a g e  
([RHYTHM] - [F4 (Ke y TVA)] - [F2 (TVA  
L2  
L3  
En v)])  
fig.06-018.e_70  
Time  
key is pressed  
key is released  
1 7 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
* If a one-shot type Wave is selected, it will not sustain even if  
this parameter is set to “SUSTAIN.”  
O th e r Se ttin g s ([F5 (Ke y Ctl)])  
RHYTHM Ke y Co n tro l p a g e ([RHYTHM]  
- [F5 (Ke y Ctl)])  
MIDI Rx Sw itch (MIDI Re ce ive Sw itch )  
These parameters determine how each Rhythm Tone in a  
Rhythm Set will respond to received Expression/ Hold 1/  
Pan MIDI messages.  
fig.06-020.e_70  
Ex p re ssio n Sw (Ex p re ssio n Re ce ive Sw itch )  
Range: OFF/ ON  
If you want the Rhythm Tone to respond to Expression  
messages, turn this parameter on. If not, turn it off.  
Co n tro l  
Be n d Ra n g e (To n e Pitch Be n d Ra n g e )  
Ho ld -1 Sw (Ho ld 1 Re ce ive Sw itch )  
Range: 048  
Range: OFF/ ON  
Sets the amount of pitch change that will occur when you  
move the Pitch Bend lever. The settings value affects the  
Bend Range in both the upper and lower directions.  
Set this ON when you want each Tone to receive Hold1  
messages. If not, set OFF.  
Pa n Mo d e (Pa n Mo d e Re ce ive Sw itch )  
* Depending on the wave being used, the pitch may not be able  
to rise as far as expected, and could stop rising at a certain  
pitch.  
Range: CONT/ KEY-ON  
CONTINUOUS: Pan messages will be responded to  
immediately, instantly changing the stereo position of the  
Rhythm Tone.  
Mu te Gro u p  
Range: OFF/ 131  
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.  
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  
set, an open hi-hat and a closed hi-hat sound will never occur  
simultaneously, since theyre 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-5080,  
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.  
Ma k in g Effe ct Se ttin g s  
Refer to Settings in the Rhythm Set Mode(p. 36).  
Sa vin g th e Rh y th m Se t Yo u  
Cre a te  
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 it  
OFF.”  
Refer to Saving a Rhythm Set(p. 194).  
Assig n Ty p e  
Range: MULTI/ SINGLE  
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.  
En ve lo p e Mo d e (Rh y th m To n e En ve lo p e Mo d e )  
Range: NO SUS/ 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 SUS.”  
1 7 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 6 Cre a tin g Rh y th m Se ts  
Co p y in g Se ttin g s fro m So m e  
O th e r Rh y th m To n e  
Compare Function  
You can use the Compare function during the Rhythm  
Key Copy operation.  
The Rhythm Tone settings in a Rhythm Set you select can be  
copied to the current Rhythm tone. This can save you a great  
deal of time and effort when editing sounds.  
The Compare function allows you to play the Rhythm  
Tone currently occupying the copy source. To do so,  
press [F1 (Compare)] to access the Rhythm Compare  
page. The new Rhythm Tone can also be selected from  
the Rhythm Compare page. However, it is not possible  
to select patches from XP-A through F. After selecting a  
rhythm tone, press [F1] again to return to the previous  
page.  
1 . Confirm that the copy-destination Rhythm Tone is  
currently selected.  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
* The Compare function cannot be used if a Rhythm Tone  
of the temporary area (Temporary Patch) is selected as the  
copy-source Rhythm Tone.  
3 . Press [F6 (Menu)] to select Menu 1.  
4 . Press [F2 (Copy)].  
* Please be aware that when the Compare function plays a  
Rhythm Tone, it may sound slightly different than when  
it is played normally.  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Type.”  
6 . Turn the VALUE dial to select Key.”  
7 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
8 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
9 . Press [F6 (Copy)] to initiate the copy.  
* Press TONE SELECT [1] - [4] in the Key Selection parameter  
to select the percussion instrument (key) you want to set.  
TONE SELECT [1]: Selects the key one octave below the  
currently selected key.  
TONE SELECT [2]: Selects the key a semitone below the  
currently selected key.  
TONE SELECT [3]: Selects the key a semitone above the  
currently selected key.  
TONE SELECT [4]: Selects the key one octave above the  
currently selected key.  
* You can also press a key on a connected MIDI keyboard to  
select the percussion instrument sound (key). (p. 168)  
Patch Name Copy  
You can copy the Patch name by setting the value to  
NAMEin Step 6 above.  
1 8 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
Use a Philips screwdriver that is suitable for the size of the  
Lo a d in g Sa m p le r Lib ra rie s  
screw. If an unsuitable screwdriver is used, the head of the  
(CD-RO M)  
screw may be stripped.  
To remove a screw, rotate the screwdriver counter-clockwise.  
Now lets try loading a sampler library (such as the optional  
To tighten the screws, rotate the screwdriver clockwise.  
fig.07-001.e  
L-CDX Series) into the XV-5080 and playing some sounds.  
Playing sampler libraries with the XV-5080 requires a SCSI-  
type CD-ROM drive (the optional CDR-88RW-2), and  
commercially available SIMMs (memory modules).  
loosen  
tighten  
Be careful not to cut your hands on the edges of the  
opening while removing the cover.  
* At least 16 MB (32 MB or more recommended) of additional  
memory is required.  
When adding SIMMs, remove only the specified screws.  
Be careful that the screws you remove do not drop into  
the interior of the XV-5080.  
The AKAI S1000/ 3000 CD-ROM sound libraries can also be  
loaded. (p. 187)  
Do not touch any of the printed circuit pathways or  
connection terminals.  
Never use excessive force when installing a circuit  
board. If it doesnt fit properly on the first attempt,  
remove the board and try again.  
In sta llin g th e SIMM (Me m o ry  
Mo d u le )  
Loading commercial sampler libraries into the XV-5080  
requires installation of a SIMM memory module. The XV-  
5080 is equipped with two slots for SIMMs, allowing you to  
expand memory capacity by 128 MB (with two 64-megabyte  
SIMMs installed).  
When circuit board installation is complete, double-  
check your work.  
Do not leave the cover removed. Be sure to reattach it  
after the SIMM has been installed.  
SIMMs for use with the XV-5080 must match the  
following specifications.  
Number of pins: 72  
Access time:  
60 ns or faster  
Access protocol: FPM or EDO  
Voltage:  
5 V  
Capacity:  
64 MB/ 32 MB/ 16 MB (can be mixed)  
*Both parity and non-parity are supported.  
SIMM height: 36 mm or less  
Ca u tio n s W h e n In sta llin g SIMM  
To avoid the risk of damage to internal components that can  
be caused by static electricity, please carefully observe the  
following whenever you handle the board.  
Before you touch the board, always first grasp a metal  
object (such as a water pipe), so you are sure that any  
static electricity you might have been carrying has been  
discharged.  
When handling the board, grasp it only by its edges.  
Avoid touching any of the electronic components or  
connectors.  
Save the bag in which the board was originally shipped,  
and put the board back into it whenever you need to  
store or transport it.  
1 8 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                 
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
1 . Turn off the power on the XV-5080 and any connected  
devices, and disconnect any cables connected to the XV-  
5080.  
7 . Return the XV-5080s top cover to its original position.  
This completes installation of the SIMM or SIMMs.  
2 . Detach the cover on the top of the XV-5080.  
fig.07-002.e  
Re m o vin g SIMMs  
Remove SIMMs in the reverse order of that used for  
installation.  
Screws to be removed  
Before beginning this procedure, turn off the power to the  
XV-5080 and all connected devices.  
1 . Simultaneously push the silver-colored latches on both  
sides of the slot outwards.  
The SIMM is released from the latches, and remains in the  
slot, at an angle.  
fig.07-004.e  
2 . Pull the SIMM out of the slot.  
3 . The order in which the slots are used when installing the  
SIMMs depends on the number of SIMMs added. Refer  
to the table below.  
Co n firm in g Th a t th e SIMM Is Pro p e rly  
In sta lle d  
SIMM Slot Installation Order  
1 . Press the [SYSTEM/ UTILITY] button, getting its  
indicator to light.  
Two cards: A, then B  
One card:  
A
* If the indicator is blinking, you are in UTILITY mode. Press  
the [SYSTEM/UTILITY] button again, so the indicator lights  
steadily.  
4 . After confirming the position of the SIMMs notch and its  
orientation, insert the SIMM at an angle into the slot.  
2 . Press the [F6 (Info)] button.  
5 . Using your fingers, push up on the SIMM until it stands  
The SYSTEM Info page will appear.  
upright in the slot.  
The SIMM is then held in place with the silver-colored  
3 . Confirm that the capacity of the SIMM appears next to  
latches on both sides of the slot.  
fig.07-003.e  
the slot in which it is placed.  
* If no SIMM has been installed, or if the installed SIMM is not  
being recognized properly, “—–” appears in the display.  
* If the SIMM is not properly recognized, or if the capacity  
indicated for the installed SIMM differs from its actual  
capacity, turn off the power, and carry out the procedure once  
more. Check again, and if you get the same result, it means  
that that particular SIMM cannot be used in the XV-5080.  
6 . When installing more than one SIMM, repeat Steps 4 and  
5.  
1 8 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
Pour installer une carte d'extension (vendue en option dans  
les séries SR-JV80 et SRX), détacher la plaque du dessus. La  
carte de série SRX s'installe dans l'emplacement EXP-E,F et la  
carte de série SR-JV80, dans l'emplacement EXP-AD.  
In sta lla tio n d e la ca rte  
d 'e x te n sio n W a ve  
(Fre n ch la n g u a g e fo r Ca n a d ia n Sa fe ty Sta n d a rd )  
Les cartes d'exten-sion Wave contiennent des donnees  
Wave, aussi bien que des morceaux musicaux et des  
ensembles rythmiques utilisant ces donnees, auxquelles on  
peut directement acceder dans la zone temporaire et les faire  
jouer.  
Precautions lors de l'installation de la carte d'extension Wave  
Pour éviter tout dommage des composants internes  
pouvant provenir de l’électricité statique, veuillez suivre  
les conseils suivants quand vous installez la carte.  
* Avant de toucher la carte, saisissez toujours un objet  
métallique (tuyau d’eau ou autre) pour être sûr que  
l’électricité statique se décharge.  
* Quand vous saisissez la carte, prenez-la par les bords. Evitez  
de toucher les composants électroniques ou les connecteurs.  
* Conservez le sac dans lequel la carte était emballée et remettez  
la carte dedans pour l’expédier ou l’entreposer.  
Utiliser un tournevis cruciforme correspondant à la taille  
de la vis (un tournevis numéro 2). En cas dutilisation  
dun tournevis inapproprié, la tête de la vis pourrait être  
endommagée.  
Pour enlever les vis, tourner le tournevis dans le sens  
contraire des aiguilles dune montre. Pour resserrer,  
tourner dans le sens des aiguilles dune montre.  
desserrer  
resserrer  
Lors de linsertion de la carte dextension Wave, enlevez  
seulement les vis indiquées dans les instructions.  
Veillez à ne pas laisser tomber de vis dans le châssis du  
XV-5080.  
Ne pas laisser le panneau de protection avant détaché.  
Sassurer de lavoir rattacher après avoir installé le  
disque dur.  
Ne touchez aucun des circuits imprimés ni les bornes de  
connexion.  
Veillez à ne pas vous couper les doitgs sur le bord de  
louverture dinstallation.  
Ne jamais forcer quand vous installez une carte de  
circuits. Si la carte ne rentre pas correctement, ressortez-  
la et ressayez.  
Quand la carte est installée, vérifiez si linstallation est  
correcte.  
1 8 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
1 . Éteindre le XV-5080 et tout l’équipement qui y est relié.  
Ensuite, déconnecter tous les câbles qui sont reliés au  
XV-5080.  
6 . Pour ajouter plus dune carte mémoire, répéter les étapes  
4 et 5.  
7 . Replacer la plaque du dessus du XV-5080.  
2 . Enlever la plaque protectrice du dessus du XV-5080.  
Ceci complète les procédures dinstallation pour augmenter  
la mémoire.  
Vis à enlever  
En le ve r u n e ca rte m é m o ire W a ve  
Enlever les cartes de mémoire des emplacements dans  
lordre inverse que celui effectué lors de linstallation.  
1 . Pousser simultanément vers lextérieur les ressorts  
argentés aux deux extrémités des emplacements.  
Cette manipulation détache la carte des ressorts et la laisse de  
biais dans lemplacement.  
2 . Retirer la carte de lemplacement  
3 . Lemplacement et lordre dinstallation sont déterminés  
par le nombre de cartes que vous désirez ajouter. Se  
référer au tableau ci-dessous pour procéder à  
linstallation:  
Assu re z-vo u s q u e le s m o d u le s SIMM  
so n t in sta llé s co rre cte m e n t  
1 . Appuyez sur le bouton [SYSTEM/ UTILITY] pour que le  
voyant lumineux sallume.  
Nombre de cartes mémoireWaveEmplacement et ordre  
* Si le voyant clignote, l’appareil est en mode « Utilitaire ».  
Appuyez à nouveau sur le bouton [SYSTEM/UTILITY] pour  
que le voyant lumineux reste allumé sans clignoter.  
dinstallation  
2
1
A et B dans cet ordre  
A
2 . Appuyez sur le bouton [F6 (Info)].  
4 . Vérifier la position des encoches sur la carte mémoire et  
L’écran Information Système apparaît.  
leur orientation puis, insérer la carte de biais.  
3 . Assurez-vous que la taille du module SIMM est affichée  
5 . Orienter la carte en position verticale avec vos doigts.  
à côté du nom de la fente dans laquelle il est installé.  
La carte mémoire est fixée dans les ressorts argentés à chaque  
« —– » saffiche à côté du nom de la fente si aucun module  
SIMM ny est installé ou si un module SIMM y est installé  
incorrectement.  
extrémité de lemplacement.  
1 8 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
fig.07-007.e_70  
Co n n e ctin g a CD-RO M Drive  
fig.07-005.e  
XV-5080  
CD-ROM drive  
The SCSI ID and Volume Label of the connected SCSI device  
appear in the window.  
SCSI  
Cable  
6 . Turn the VALUE dial to select the SCSI ID that was set  
1 . Turn off the power of the XV-5080 and any connected  
when the CD-ROM drive was connected.  
external devices.  
7 . Press [F6 (OK)].  
2 . Connect the XV-5080 and the CD-ROM drive with a SCSI  
cable (one equipped with a 25-pin D-sub type connector  
at the XV-5080 end).  
The CD-ROMs contents are displayed.  
* Items enclosed by <> indicate folders. Folders cannot be  
loaded.  
3 . Set the SCSI ID with the SCSI switch on the rear panel.  
Any number is acceptable, as long as each device has a  
different SCSI ID.  
* The types of folders displayed vary depending on the library  
being loaded. “Refer to “About the Sampler Library Folder  
Types (Indication)” (p. 187).  
* For more on the CD-ROM drive SCSI ID settings, please refer  
to the owner’s manual for the device you are using.  
[F5 (Refresh)]  
Pressing this button clears the XV-5080s internal cache.  
When sharing a Zip Drive with another XV-5080 (or  
other device), be sure to press this button whenever  
loading data from the other device concurrently being  
used.  
The SCSI ID switch settings 8and 9cannot be used with  
the XV-5080.  
4 . Set the CD-ROM drives terminator to ON.  
* For more on the CD-ROM drive terminator settings, please  
refer to the owner’s manual for the device you are using.  
* For more on making SCSI connections, please refer to p. 239 of  
the Owner’s Manual.  
8 . Turn the VALUE dial or press [  
] or [  
] to select the  
folder containing the file to be loaded.  
9 . Press [  
displayed.  
* Press [  
], and the files available for loading will be  
W ith Sa m p le r Lib ra rie s  
1 . Turn on the power to the CD-ROM drive and the XV-  
] to move up one level in the hierarchy.  
5080.  
2 . Place the CD-ROM (sampler library) that you want to  
load in the CD-ROM drive.  
By pressing [F2 (View)], you can specify the category for files  
to be displayed.  
3 . Press [DISK].  
fig.07-008.e_70  
The Disk Menu page will appear.  
4 . Press [F1 (Load)].  
The Load page will appear.  
fig.07-006.e_70  
Turn the VALUE dial or press [  
] or [  
] to select the  
category you want to load, and then press [F5 (On/ Off)].  
Press [F4 (All)] if you want to set markers in all files. Press  
this once more to remove all markers. And then press [F6  
(OK)] to finalize the category.  
5 . Press [F1 (Drive)].  
The Drive window will appear.  
For more on category contents, refer to p. 188.  
1 8 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
1 4 . A window appears, in which you can select either to  
overwrite the data (Partial or wave) on the SIMM (OK),  
or add to the data (Append).  
1 0 . Turn the VALUE dial or press [  
] or [  
] to select the  
file to be loaded and press [F5 (Mark)]; a is added.  
* Press [F4 (Mk All) if you want to set markers for all files.  
Press it again to remove all markers.  
* To cancel the operation, press [EXIT].  
* If there is no available free space open in the SIMM, then press  
[F4 (JumpDel) to display the Delete page; you can then delete  
an unneeded Partial or wave.  
The files can also be sorted. Press [F3 (Sort)] to open the  
window for selecting the sorting preferences. Turn the  
* You can load a maximum of 4,096 Partials and 8,192 samples  
(if this does not exceed the capacity of the installed SIMM).  
VALUE dial or press [  
then press [F6 (OK)].  
] or [  
] to select the sort type,  
1 5 . When loading has been completed, the File Selection  
page will reappear.  
fig.07-010.e_70  
Without: Files are displayed in the order in which they  
have been saved.  
Name:  
Size  
Files are sorted by file name, in ascending order.  
: Files are sorted in ascending order of file size.  
: Files are sorted in descending order of file size.  
Size  
You can check the tone of sample, .wav, .aif, and other such  
wave data files by pressing the VOLUME knob when  
selecting them.  
1 1 . Press [F6 (Select)]  
The total memory used by the marked files is displayed.  
* After checking the amount of memory, if you find you cannot  
load to the SIMM, follow the procedure in Step 10 to reset the  
markers once more.  
* When loading Volume, Performance, Patch, Partial, and  
Program data, the lowermost file is loaded with it.  
1 2 . Press [F6 (Load)].  
Fre e Are a  
When selecting Volume, Performance, or Patch files, a  
message asking Overwrite in User Group. OK?appears  
with a window in which the number and name of the User  
SIMM  
This displays the amount of free space in the SIMM.  
Group Patch or Performance is shown.  
fig.07-009.e_70  
Disk  
This displays the free disk space remaining in the connected  
SCSI device.  
Ma rk e d  
* To cancel the operation, press [EXIT].  
The number and size of marked files to be processed are  
displayed.  
* When loading Patches or Performances, you can specify the  
load-destination Patch or Performance number in this  
window.  
1 3 . To overwrite while loading, press [F6 (OK)]. If you want  
to load to an empty location in the User Group, press [F5  
(NxtUsr)].  
* If there is no space available in the User Group, “User  
Performances (Patches) Full Choose User location and OK to  
overwrite” is displayed.  
In this case, press [F4 (JmpDel) to display the Delete screen,  
then proceed to delete a Performance or Patch.  
1 8 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
Ab o u t Ea ch Sa m p le r Lib ra ry  
Fo ld e r Ty p e (Disp la y )  
Procedure for Deleting a Patch or Performance  
After selecting Noin Step 12 of Loading Sampler  
In th e ca se o f th e S-7 0 0 se rie s  
Libraries,press [F4 (JumpDel)] to display the Delete  
<Volume>: This indicates Volume folders.  
screen.  
fig.07-01.e_65  
<Performance>:This indicates Performance folders.  
<Patch>:  
<Partial>:  
This indicates Patch folders.  
This indicates Partial folders.  
<Sample>: This indicates Sample folders.  
W h e n Lo a d in g Lib ra rie s fo r th e AKAI  
S1 0 0 0 / 3 0 0 0  
1 . Turn the VALUE dial or press [  
] or [  
] to select  
the Patch or Performance to be deleted, then press  
[F5 (Mark)]. To place a marker on all Patches and  
Performances, press [F4 (Mk All)]. Press this once  
more to remove all markers.  
<Partition A-?>:This indicates Partition folders.  
<Volume>: This indicates Volume folders. Actually, the  
name may be set as desired. Check the reference material  
included with the CD-ROM to be loaded.  
2 . Press [F6 (Delete)] to delete the selected Patch or  
* Program files are loaded to the User Area as Patches. When  
files are displayed, as when shown in the File Select screen, the  
extension “.AKP” is added. In addition, sample files are loaded  
to SIMMs. When these files are displayed, as when shown in  
the File Select screen, the extension “.AKS” is added.  
Performance.  
* To cancel the operation, press [EXIT].  
* When a Patch is deleted, the Partials and samples used in  
that Patch are deleted simultaneously. However, Partials  
and samples are not deleted when they are also being used  
in another Patch.  
W h e n Lo a d in g AIFF/ W AV Lib ra rie s  
The folder display and level varies according to the library  
(CD-ROM) type.  
By pressing [F3 (View)], you can specify the category of  
patches to be displayed.  
Check the reference material included with the CD-ROM to  
be loaded.  
When the View Switch window appears, turn the  
VALUE dial or press [  
] or [  
] to select the category  
to be displayed, then press [F5 (On/ Off)]. To place a  
marker on all categories, press [F4 (All)]. Press this once  
more to remove all markers. And then press [F6 (OK)] to  
finalize the category.  
* Partials and samples can also be deleted in much the same  
way as Patches—simply move the cursor to Type and  
select the type to delete.  
* You can also display the Delete screen by pressing  
[SYSTEM/UTILITY], causing the indicator to flash, then  
pressing [F4 (Delete)].  
1 8 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
Ab o u t th e Disp la y o f Fo ld e r  
Sa m p le Lo a d  
Ca te g o rie s in Sa m p le r Lib ra rie s  
All samples (wave data) stored on the memory card are  
loaded to the XV-5080s SIMM. When switching to a memory  
card containing Patches or Performances that use samples,  
the samples in the card are used after being loaded to the  
SIMM.  
S-700 Series files have the category indicated.  
The following categories can be selected.  
other: No Assign  
BEL: Bell(Bell, Bell Pad)  
BRS: Brass(Synth Brass)  
BS : Bass(Acoustic Bass, Electric Bass)  
BTS: Beats(Beat, Groove)  
CMB: Combination(Splitted/ Layerd Patch)  
CYM: Cymbals  
* Patches and Performances may not sound properly if samples  
in the inserted card are not loaded to the SIMM.  
fig.07-02.e_70  
DRM: Drums  
FLT: Flute  
1 . Press [DISK], getting the indicator to light.  
GTR: Guitar(Acoustic Guitar, Electric uitar  
HAT: Hi Hats  
2 . Press [F3 (SampLd)].  
3 . A message asking you if you want to overwrite the  
HIT: Hits(Orchestra Hit)  
KEY: Keyboards  
Partials and Samples in the SIMM appears.  
KIK: Kick Drums  
4 . Press [F6 (Load)] to begin loading the data.  
KIT: Drum Kits  
Once the data has been loaded successfully, the display will  
indicate Completed!”  
MLT: Mallets  
ORC: Symphony Orchestra  
ORG: Organ(Electric Organ, Pipe Organ)  
PAD: Synth Pads(Pad Synth)  
PNO: Piano(Acoustic Piano)  
PRC: Percussion  
5 . Press [DISK] to return to the previous page.  
Fre e Are a  
SIMM  
This displays the amount of free space in the SIMM.  
SAX: Saxophones  
Disk  
SFX: Sound Effects  
This displays the free disk space remaining on the connected  
SCSI device.  
SNR: Snare Drum  
STR: Strings  
TOM: Toms  
To ta l  
VOX: Voices(Vox, Choir)  
WND: Winds  
This indicates the total size of the contents of the SIMM and  
samples on the memory card.  
In addition to the S-700 Series, there is also the following.  
SVD: (XV-5080's settings files)  
AIFF: AIFF file  
WAV: WAV file  
AS: AKAI sample  
AP: AKAI patch  
1 8 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
6 . Display the sample you want to load, then press [F6  
Au to Lo a d  
(SELECT)].  
This selects the folder (<Sample>) to which samples are  
* If you want to delete the settings, press [F5 (OFF)].  
automatically loaded when the XV-5080s power is turned  
The path name showing the media used for the Auto Load  
on.  
appears below Auto Load Path.  
fig.07-03.e  
* If you select Auto Load, the display will show a message for  
ten seconds, informing you that “Samples for automatic  
loading were found. Execute automatic loading?” If you wish  
to load the samples, press [F6 (Yes)]. If you do not wish to  
load, press [EXIT]. If you do nothing while the message is  
displayed (ten seconds), the samples will be loaded  
automatically.  
7 . Press [DISK] to return to the previous page.  
1 . Press [DISK], getting the indicator to light.  
Fre e Are a  
2 . Press [F4 (Auto Ld)].  
SIMM  
3 . Press [F1 (Drive)].  
This displays the amount of free space in the SIMM.  
The Drive window will appear.  
The SCSI ID and Volume Label of the connected SCSI device  
appear in the window.  
Disk  
This displays the free disk space remaining on the connected  
SCSI device.  
4 . Turn the VALUE dial to select the SCSI ID for the drive  
you want to load.  
To ta l  
5 . Press [F6 (OK)].  
SIMM  
This shows the total memory of the installed SIMM.  
By pressing [F2 (View)], you can specify the category of files  
to be displayed.  
Ta rg e t  
This shows the total size of all samples in the selected Sample  
folder.  
Turn the VALUE dial or press [  
] or [  
] to select the  
category to be loaded, then press [F5 (On/ Off)]. Press [F4  
(All) if you want to set markers for all files. Press this once  
more to remove all markers. And then press [F6 (OK)] to  
finalize the category.  
* The category designations are displayed in the upper right of  
the screen with the View function. When categories are  
specified, “View(Filterd)” appears. If no category is specified,  
“View(All)” appears.  
The files can also be sorted. Press [F3 (Sort)] to open the  
window for selecting the sorting preferences. Turn the  
VALUE dial or press [  
then press [F6 (OK)].  
] or [  
] to select the sort type,  
Without: Files are displayed in the order in which they have  
been saved.  
Name: Files are sorted by file name, in ascending order.  
Size  
Size  
: Files are sorted in ascending order of file size.  
: Files are sorted in descending order of file size.  
1 8 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
fig.07-012.e_70  
Pla y in g Ba ck Lo a d e d  
Sa m p le r Lib ra rie s  
Patches and Performances loaded from CD-ROMs are  
recorded in the USER Group.  
The SCSI ID and Volume Label of the connected SCSI device  
appears in the window.  
After selecting a Patch or Performance in the USER Group,  
you can then play the sounds.  
6 . Turn the VALUE dial to select the SCSI ID for the drive  
1 . Press [USER], getting the indicator to light.  
you want to load.  
2 . Press [PATCH] or [PERFORM] to make its indicator  
7 . Press [F6 (OK)].  
light.  
The contents of the disk drive appear.  
3 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
* Items enclosed by <> indicate folders. Folders cannot be  
loaded.  
Patch or Performance you want to play.  
You can play the sounds using a connected MIDI keyboard  
or other such device.  
8 . Turn the VALUE dial or press [  
] or [  
] to select the  
* You can also press the VOLUME knob to listen to the sound.  
When a Performance is selected, this plays the Patch phrase of  
the currently selected part.  
folder containing the file to be loaded.  
9 . Press [  
], and the files (.SVD) available for loading  
will be displayed.  
* Press [  
] to move up one level in the hierarchy.  
Lo a d in g Da ta Sa ve d o n a Zip  
Disk  
1 0 . Move the cursor to the file to be loaded (.SVD) and press  
[F6 (Select)].  
Files containing the collected Patch, Performance, Rhythm  
Set, System, and Favorites List settings (.SVD), as well as the  
wave data (.WAV/ .AIF) that use them, are saved to Zip  
Disks. (p. 200)  
1 1 . Press [F6 (Load)].  
All of the XV-5080s settings in effect at the time the  
particular file was saved are loaded.  
* All data in the User Area is overwritten.  
These files are loaded to the internal memory (All wave data  
in the Sample folder is also loaded to the SIMM.).  
In d ivid u a lly Lo a d in g Pa tch e s,  
Pe rfo rm a n ce s, o r Rh y th m Se ts  
* A disk that can be used by Windows 98/95/3.1 or MS-DOS  
can be used as is.  
You can load data for Patches, Performances, or Rhythm Sets  
separately.  
* A Mac OS format disk cannot be used.  
1 . Turn on the power to the Zip disk drive and the XV-5080.  
2 . Insert the disk containing the data you want to load.  
Use the following procedure.  
1 . Move the cursor to the file (.SVD) that appears in Step 9  
3 . Press [DISK].  
in the preceding operation and press [  
].  
The Disk Menu page will appear.  
The Patch, Performance, and Rhythm Set folders are  
displayed.  
4 . Press [F1 (Load)].  
The Load page will appear.  
2 . Move the cursor to the type of tone you want to load and  
fig.07-011.e_70  
press [  
].  
The files that can be loaded are displayed.  
3 . Turn the VALUE dial or press [  
] or [  
] to select the  
file to be loaded, then press [F5 (Mark)] to place a ”  
marker.  
5 . Press [F1 (Drive)].  
* If you want to place a marker on all files, press [F4 (Mk ALL)].  
Press this once more to remove all markers.  
The Drive window will appear.  
1 9 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
All of the XV-5080 settings for the selected file, with values as  
they were when saved, are loaded.  
You can also sort files. When you press [F3 (Sort)] the  
* If any samples are used in the file being loaded, a confirmation  
message appears, asking whether or not you want to overwrite  
the data (Partials/Waves) already contained in the SIMM.  
Press [F6 (OK)] to proceed with the load. To cancel, press  
[EXIT].  
window for selecting the type of sort is displayed. Turn the  
VALUE dial or press [  
] or [  
] to select the way you  
want the files to be sorted, then press [F6 (OK)].  
Without:  
Name:  
Files appear in the order saved.  
* If you want to load only a part of the data in the file, refer to  
"Individually Loading Patches, Performances, or Rhythm Sets  
Files are sorted according to the file names.  
Size  
Size  
: Files are sorted in ascending order of file size.  
:
Files are sorted in descending order of file size.  
* Although you can directly call up Patches, Performances, and  
Rhythm Sets on a memory card using Program Change  
messages, panel controls or MIDI Exclusive messages cannot  
be used to perform editing. For editing, you need to transfer  
the data to internal memory first.  
4 . Press [F6 (Load)].  
A message saying, Overwriting to the User Group. OK?”  
appears, and a window showing the User Group Patch and  
Performance numbers to be overwritten is displayed.  
* If you want to cancel, press [EXIT].  
* When Patches/Performances/Rhythm Sets are loaded  
individually, only the lower-level data essential to production  
of the sound will be loaded at the same time.  
Sa m p le -Re la te d Utilitie s  
Se n d in g a n d Re ce ivin g Sa m p le s  
(Sa m p le Du m p )  
This is convenient when creating an overall XV-5080 settings  
file (.SVD) that fits the capacity of the SIMMs you actually  
have installed.  
You can transmit and receive wave data using the Sample  
Dump MIDI Universal Exclusive Message. Samples (wave  
data) including loop points and loop modes can be  
exchanged with samplers supporting the Sample Dump  
Standard.  
Lo a d in g Da ta Sto re d o n  
Me m o ry Ca rd s  
* Sample name and key-range data is not transmitted. Set this  
separately on the receiving sampler.  
Data (.SVD) files stored on memory cards holding the Patch,  
Performance, Rhythm Set, and system settings are loaded to  
the internal memory. The memory is overwritten when the  
file is loaded (all wave data in the Sample folder is loaded  
into the SIMM as well). Should there be any data in internal  
memory you want to keep, be sure to save it onto a memory  
card before you begin the load procedure.  
* Data received by the XV-5080 automatically has  
“MIDI******” added to the name.  
Tra n sm ittin g Sa m p le s  
1 . Connect the XV-5080 and the receiving sampler with a  
MIDI cable.  
1 . Press [DISK].  
For instructions on making settings for the receiving  
sampler, refer to the owners manual for the connected  
device.  
2 . Press [F1 (Load)].  
3 . Press [F1 (Drive)].  
4 . Turn the VALUE dial and select "CARD."  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
5 . Press [F6 (OK)].  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
The contents of the card are displayed.  
6 . Turn the VALUE dial and select the file you want to load.  
3 . Press [F6 (Menu)] to select Menu 2.  
7 . Move the cursor to the file to be loaded (.SVD) and press  
4 . Press the [F2 (S-Dump)] button.  
[F6 (Select)].  
The Sample Dump Standard page appears.  
8 . Press [F6 (Load)].  
1 9 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
fig.07-04.e_70  
Em p h a sizin g a n d Su p p re ssin g  
th e Hig h En d o f Lo a d e d Sa m p le s  
(Em p h a sis)  
Emphasizing the high range frequencies in data received in a  
Sample Dump from another manufacturers sampler may  
improve the sound quality of the samples. Furthermore,  
when samples (wave data) are transmitted to another  
manufacturers sampler, the high end of the samples may be  
boosted in the destination device. In such instances, by  
suppressing the high frequencies prior to transmission, you  
can minimize the changes in sound quality that could occur  
as a result of the transmission.  
f
5 . Turn the VALUE dial or press [  
] or [  
] to select the  
Sample to be transmitted, then press [F5 (Mark)]. Press  
[F4 (Mk All) if you want to set markers in all samples.  
Press this once more to remove all markers.  
* This displays the number and size of marked samples on the  
display.  
6 . Press [F6 (Trans)] to initiate the transmission.  
1 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
The following message appears on the display:  
Transmitting....”  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
* Reception using Sample Dump Standard can only be done in  
this mode.  
2 . Press [F6 (Menu)] to select Menu 2.  
3 . Press [F4 (Emphasis)].  
Re ce ivin g Sa m p le s  
The Emphasis page will appear.  
ig.07-05.e_70  
1 . Connect the XV-5080 and the transmitting sampler with  
a MIDI cable.  
For instructions on making the transmitting sampler settings,  
refer to the owners manual for the connected device.  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
f
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
4 . Turn the VALUE dial or press [  
] or [  
] to select the  
sample whose high end is to be emphasized or  
suppressed, then press [F4 (Mark)]. Press [F3 (Mk All) if  
you want to set markers in all samples. Press this once  
more to remove all markers.  
3 . Press [F6 (Menu)] to select Menu 2.  
4 . Press the [F2 (S-Dump)] button.  
The Sample Dump Standard page appears.  
This completes the preparations needed for reception.  
5 . If emphasizing the high end, press [F6 (+Emphas)]. If  
suppressing the high end, press [F5 (-Emphas)].  
5 . Transmit the Sample from the transmitting device.  
The following message appears in the display: Receiving....”  
Fre e Are a  
SIMM  
Fre e Are a  
This displays the amount of free space in the SIMM.  
SIMM  
This displays the amount of free space in the SIMM.  
Ma rk e d  
The number and size of marked files to be processed are  
displayed.  
Ma rk e d  
The number and size of marked files to be processed are  
displayed.  
Pro ce ssin g  
This indicates the approximate time required for processing  
Emphasis.  
1 9 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta  
Au to m a tica lly Cre a tin g Mu lti-  
Pa rtia l Pa tch e s (Cre a te Pa tch )  
This creates Partials from samples loaded to the SIMM,  
assigns the samples to the original key, and automatically  
creates a Multi-Partial Patch.  
* If any of the loaded samples have the same original key, the  
sample assigned latest is given priority (assignments are made  
in order of file name).  
* Patches are created in the Temporary Area. If any Patch is  
being edited, save it before continuing.  
1 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
2 . Press [F6 (Menu)] to select Menu 2.  
3 . Press [F5 (Create)].  
The Create Patch page appears in the display.  
ig.07-06.e_70  
4 . Turn the VALUE dial or press [  
] or [  
] to select the  
samples composing the Patch, then press [F5 (Mark)].  
Press [F4 (Mk All) if you want to set markers in all  
samples. Press this once more to remove all markers.  
5 . Press [F6 (Create)]. The message Creates a Patch in  
Temporary area. Sure?appears.  
6 . Press [F6 (OK)] to proceed; the Patch is created.  
7 . After creating this, edit the Split settings as needed.  
Fre e Are a  
SIMM  
This displays the amount of free space in the SIMM.  
Ma rk e d  
The number and size of marked files to be processed are  
displayed.  
1 9 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 8  
Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
7 . If you wish to cancel the save procedure, press [EXIT].  
Sa vin g Ed its to th e XV-  
5 0 8 0 s In te rn a l Me m o ry  
(W rite )  
The message Write Protect ONmay appear in a window. If  
you want to continue with the save, press [DEC] to set Write  
Protect to OFF,and press [F6 (OK)] to close the window.  
Then press [F6 (Execute)] once more to execute the save.  
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-  
5080s USER memory.  
Once set to OFF,Write Protect remains disabled until the  
power to the instrument is turned off.  
The following number of Patches, Performances, and  
Rhythm Sets can be saved in internal memory:  
* In step 5, you can press the VALUE dial (SOUND LIST) and  
select the save destination from the list.  
fig.08-002.e_70  
128 Patches, 64 Performances, and 4 Rhythm Sets  
* When saving tones that use samples loaded to the SIMM, you  
must carry out the Write operation, then save all the data,  
including the data in the SIMM, to the memory card or Zip  
disk (p. 195, p. 200).  
* By selecting a file (.SVD) with CARD or XV-5080 settings  
saved in Step 5, you can then save directly to the memory card.  
Press [F5 (-10)] or [F6 (+10)] to change the indication in  
steps of 10.  
1 . Make sure the Patch, Performance, or Rhythm Set that  
When a memory card is inserted in the slot, press [F2] to  
display Sound List (Card), then press [-Bank] or [+Bank]  
to switch the bank.  
you wish to save is selected.  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
Press the VALUE dial (SOUND LIST) or [F6 (Execute)] to  
execute saving. Press [EXIT] to return to the normal  
display.  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
3 . Press [F6 (Menu)] to select Menu 1.  
Compare Function (Patch/Rhythm Set)  
4 . Press [F1 (Write)].  
The Compare function allows you to play the Patch/  
Rhythm Set currently stored in the selected memory  
location so that you can make sure you really want to  
overwrite it. To play the stored Patch/ Rhythm Set, press  
[F1 (Compare)] to display the Patch Compare/ Rhythm  
The Write page will appear.  
fig.08-001.e_70  
Compare page.  
fig.08-003.e_65  
5 . Either by rotating the VALUE dial, or by pressing [INC]/  
[DEC], select the save destination.  
* When saving a Patch or Rhythm Set, you can use the Compare  
function to check the sound of the Patch or Rhythm Set at the  
save destination. (p. 194)  
You can select the write destination in this display as  
well. After selecting the write-destination Patch/ Rhythm  
Set, press [F1 (Write)] or [EXIT] to return to the Write  
page.  
* If saving to a CARD, select the save destination file. In this  
case, the Patch, Performance, or Rhythm Set is overwritten on  
the card. If there is no file, use the SAVE procedure (p. 195, p.  
* Please be aware that when the Compare function is used  
to play a Patch/Rhythm Set, it may sound slightly  
different than when it is played normally.  
* Files (.SVD) created on devices or instruments other than the  
XV-5080 are not displayed when data is being written.  
6 . Press [F6 (Execute)], and the material will be saved. You  
are then returned to the PLAY page.  
1 9 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
               
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
When Changing the Settings for the  
Patch or Rhythm Set Assigned to a  
Part in a Performance  
Sa vin g All Da ta to Me m o ry  
Ca rd ([DISK] - [F2 (SAVE)])  
After changing the settings for the Patch or Rhythm Set  
assigned to a Part in a Performance, if you then try to save  
the Performance without first saving the changes in the  
The Patch, Performance, Rhythm Set, and System settings in  
internal memory can be saved as a single file to a  
commercially available memory card (SmartMedia 3.3/ 5 V),  
with the name you specify.Samples (wave data) loaded to the  
SIMM are also saved at the same time.  
settings, the following display appears.  
fig.08-004.e_65  
Use cards when you wish to save data for which there is no  
more space internally, or so that data youve created can be  
used on another XV-5080.  
A *is indicated for Patches/ Rhythm Sets that havent been  
saved.  
* If there are any samples on the card that you don’t want to  
lose, be sure to save them to another card beforehand, since  
existing samples on the card will be overwritten during the  
save process.  
* If you do not need to save the Patch settings, press [F5 (OK)].  
A message will ask for confirmation, so press [F5 (OK)] once  
again to save the Performance.  
* If you press [F6 (Cancel)], you will return to the Perform  
Write page.  
Be fo re Usin g a Me m o ry Ca rd  
* Insert memory cards with the gold contacts facing downwards.  
* Be sure to insert the memory card all the way into the slot.  
If you want to keep the Patch or Rhythm Set settings, you  
will first need to follow the procedure below to save the  
Patch or Rhythm Set before you go on to save the  
Performance.  
* Do not touch the contacts of the memory card, or allow them to  
become soiled.  
* 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 on the memory card and/or render the memory card itself  
unusable. (The CARD indicator flashes when the memory card  
is being accessed.)  
1 . Press [F3 (Patch)] or [F4 (Rhythm)].  
The page for saving Patches or Rhythm Sets will appear.  
fig.08-005.e_70  
* 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.  
2 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
number of the save destination.  
* When saving Patches or Rhythm Sets, you can check the  
sound of the save-destination Patch or Rhythm Set. (p. 194)  
3 . Press [F6 (Execute)] to carry out the save procedure.  
* If you attempt to format a card or write data to it when the  
write-protect label is affixed, the following message will  
appear.  
The *indication changes to -.”  
If more than one Patch/ Rhythm Set needs to be saved, the  
Source will automatically change to the next Part.  
Memory Card Write Protected  
* You can also move the cursor to Source and freely select Parts  
of the Patch to be saved.  
4 . Repeat steps 2 and 3 to save the Patch/ Rhythm Set.  
To return to the Perform Write page without completing the  
process, press [EXIT].  
When you have finished saving the Patch/ Rhythm Set, you  
will automatically return to the Perform Write page.  
5 . Press [F6 (Execute)] to carry out the save procedure.  
1 9 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
5 . Press [F6 (OK)].  
Fo rm a ttin g a Me m o ry Ca rd  
6 . Press [F6 (SAVE)].  
This function initializes (formats) a memory card so that XV-  
The Save File window will appear.  
fig.08-03.e_70  
5080 data can be saved onto it. Before a new memory card or  
a memory card used on another device can be used on the  
XV-5080, it must be formatted on the XV-5080.  
* Please be aware that formatting will erase all the data  
currently stored on the memory card.  
Here, give the file a name, and press [F6 (OK)].  
1 . Press [DISK], lighting the indicator.  
2 . Press [F5 (Tool)].  
When naming the file, turn the VALUE dial or press [  
],  
[
], [  
], or [  
] to move the cursor and select the  
characters for the name, then press [F3 (Next)].  
[F2 (Prev)]: To move back one character.  
[F4 (Insert)]: To insert a _.  
3 . Press [F1 (Format)].  
4 . Press [F1 (Drive)].  
5 . Turn the VALUE dial or press [  
] or [  
] to select  
[F5 (Delete)]: To delete the character at the cursor position.  
CARD.”  
The Save what from SIMM? window will appear.  
6 . Press [F6 (OK)].  
* If desired, you can change the Volume Label by pressing [F4  
(V.Label)].  
WAV + PARAMETERS: All of the XV-5080s settings are  
saved. In addition, samples loaded to the SIMM are saved in  
WAV format.  
7 . Press [F6 (Quick)]. The message Format, OK?appears.  
8 . When you press [F6 (OK)], the format is executed.  
* To cancel the operation, press [EXIT].  
AIFF + PARAMETERS: All of the XV-5080s settings are  
saved. In addition, samples loaded to the SIMM are saved in  
AIFF format.  
When formatting the memory card, you can accomplish the  
same result by executing [F5 (Full)].  
PARAMETERS ONLY: All of the XV-5080s settings other  
than those for sample wave data loaded to the SIMM are  
saved.  
Sa vin g Da ta  
* When saving with “PARAMETERS ONLY” selected, the  
wave data itself is not saved. After first performing a save  
using “WAV + PARAMETERS” or “AIFF +  
Patch, Performance, Rhythm Set, System, and Favorites List  
settings in internal memory can be saved as a single file to a  
commercially available memory card (SmartMedia), with the  
name you specify. Saved files are registered to the Sound  
Library CARD A-H, and can be managed just like preset  
sounds.  
PARAMETERS,” which save the waveforms as well, you can  
save time during tone editing or other operations on the XV-  
5080 by thereafter carrying out saves (if saving to the same  
media) using the “PARAMETERS ONLY” option.  
If you later load data from a CD-ROM or other source, you  
will need to save the waveforms themselves using the “WAV  
+ PARAMETERS” or “AIFF + PARAMETERS” option.  
* The Sample folder is created and saved automatically if any  
wave data is used in the Patch or other data.  
* If you are saving files containing many Patches, which make  
extensive use of samples (wave data), then you will need a high  
capacity card. In such cases, we recommend that you save the  
data to a Zip disk or other such external SCSI device.  
7 . When you are finished making settings, press [F5 (Full)]  
or [F6 (Quick)].  
The save is executed.  
[F5 (Full)]: All samples loaded into SIMM will be saved. The  
1 . Press [DISK].  
saved data will overwrite all samples in the memory card.  
2 . Press [F2 (Save)].  
3 . Press [F1 (Drive)].  
[F6 (Quick)]: Only the changes relative to the contents of the  
memory card will be saved. The samples in the memory card  
will be compared (by name and size) with the samples  
loaded into the SIMM memory of the XV-5080, and only the  
newly added samples or replaced samples will be saved.  
4 . Rotate the VALUE dial, or press [  
]/ [  
] to select  
CARD.”  
1 9 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
If samples not loaded into the SIMM memory are found in  
the save destination memory card, those samples will be  
deleted from the memory card.  
The files can also be sorted. Press [F3 (Sort)] to open the  
window for selecting the sorting preferences. Turn the  
The sample is automatically registered to an empty bank in  
CARD A-H.  
VALUE dial or press [  
then press [F6 (OK)].  
] or [  
] to select the sort type,  
* To cancel the operation, press [EXIT].  
Without: Files are displayed in the order in which they have  
been saved.  
Fre e Are a  
Name: Files are sorted by file name, in ascending order.  
SIMM  
Size  
Size  
: Files are sorted in ascending order of file size.  
This displays the amount of free space in the SIMM.  
: Files are sorted in descending order of file size.  
Disk  
8 . Press [F6 (Rename)].  
This displays the free disk space remaining on the connected  
SCSI device.  
The Rename window will appear.  
fig.08-04.e_70  
The type of disk is indicated within square brackets ([]).  
Furthermore, if there are any Partials, those numbers are  
shown as well.  
O rg a n izin g th e Co n te n ts o f  
Me m o ry Ca rd s  
9 . Turn the VALUE dial or press [  
], [  
], [  
], or  
[
] to move the cursor and select the characters for  
the name, then press [F3 (Next)].  
[F2 (Prev)]: To move back one character.  
[F4 (Insert)]: To insert a _.  
<Re n a m in g a File (REN AME)>  
1 . Press [DISK], lighting the indicator.  
2 . Press [F5 (Tool)] .  
[F5 (Delete)]: To delete the character at the cursor position.  
1 0 . When you are finished naming the song, press [F6 (OK)].  
3 . Press [F2 (Rename)].  
* To cancel the operation, press [EXIT].  
The Card&Disk Rename page appears.  
4 . Press [F1 (Drive)].  
De le tin g File s (De le te )  
1 . Press [DISK], lighting the indicator.  
2 . Press [F5 (Tool)].  
5 . Rotate the VALUE dial, or press [  
]/ [  
] to select  
CARD.”  
6 . Press [F6 (OK)].  
3 . Press [F2 (Delete)].  
7 . Rotate the VALUE dial to select the file to be changed.  
The Card&Disk Delete page appears.  
4 . Press [F1 (Drive)].  
5 . Rotate the VALUE dial, or press [INC]/ [DEC] to select  
By pressing [F2 (View)], you can specify the category of files  
to be displayed.  
CARD.”  
6 . Press [F6 (OK)].  
Turn the VALUE dial or press [  
] or [  
] to select the  
category to be loaded, then press [F5 (Mark)]. Press [F4 (Mk  
All) if you want to set markers for all files. Press this once  
more to remove all markers.  
7 . Turn the VALUE dial or press [  
] or [  
] to select the  
files to be deleted, then press [F5 (Mark)]. Press [F4 (Mk  
All) if you want to set markers for all files. Press this once  
more to remove all markers.  
* After moving the cursor to the folder, you can open the folder  
by pressing [  
], and close the folder by pressing [  
].  
* Markers on folders are removed when folders are moved.  
1 9 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
4 . Press [F1 (Drive)].  
5 . Rotate the VALUE dial, or press [  
]/ [  
] to select  
By pressing [F2 (View)], you can specify the category of files  
to be displayed.  
CARD.”  
6 . Press [F6 (OK)].  
Turn the VALUE dial or press [  
] or [  
] to select the  
category to be loaded, then press [F5 (Mark)]. Press [F4 (Mk  
All) if you want to set markers for all files. Press this once  
more to remove all markers.  
7 . Turn the VALUE dial or press [  
] or [  
] to select the  
files to be copied or moved, then press [F5 (Mark)]. Press  
[F4 (Mk All) if you want to set markers for all files. Press  
this once more to remove all markers.  
The files can also be sorted. Press [F3 (Sort)] to open the  
window for selecting the sorting preferences. Turn the  
By pressing [F2 (View)], you can specify the category of files  
to be displayed.  
VALUE dial or press [  
then press [F6 (OK)].  
] or [  
] to select the sort type,  
Turn the VALUE dial or press [  
] or [  
] to select the  
category to be loaded, then press [F5 (Mark)].Press [F4 (Mk  
All) if you want to set markers for all files. Press this once  
more to remove all markers.  
Without: Files are displayed in the order in which they have  
been saved.  
Name: Files are sorted by file name, in ascending order.  
The files can also be sorted.Press [F3 (Sort)] to open the  
window for selecting the sorting preferences. Turn the  
Size  
Size  
: Files are sorted in ascending order of file size.  
: Files are sorted in descending order of file size.  
VALUE dial or press [  
then press [F6 (OK)].  
] or [  
] to select the sort type,  
8 . Press [F6 (Delete)].  
The confirmation message Delete Sure?appears in the  
Without: Files are displayed in the order in which they have  
display.  
been saved.  
9 . When you press [F6 (OK)], the delete is executed.  
Name: Files are sorted by file name, in ascending order.  
* To cancel the operation, press [EXIT].  
Size  
Size  
: Files are sorted in ascending order of file size.  
: Files are sorted in descending order of file size.  
* You cannot delete individual Patches or Performances within  
a file (.SVD).  
8 . Press [F6 (Select)].  
The Card&Disk Copy Destination page appears.  
Fre e Are a  
* The amount of space available on the media at the copy/move  
destination is displayed. This allows you to check whether or  
not marked files can be copied/moved.  
SIMM  
This displays the amount of free space in the SIMM.  
9 . After pressing [F1 (Drive)], turn the VALUE dial or press  
Disk  
This displays the free disk space remaining on the connected  
SCSI device.  
[
] or [  
] to select the media you want to be the  
copy/ move destination.  
When copying or moving to a folder, press [  
select the move destination folder, then press [  
the folder.  
] or [  
] to  
Ma rk e d  
] to close  
This displays the number and size of marked samples being  
transmitted.  
1 0 . Press [F6 (OK)].  
1 1 . Press [F6 (Copy)] to initiate the copy.  
<Co p y in g / Mo vin g File s (Cp / Mo ve )>  
1 . Press [DISK], lighting the indicator.  
2 . Press [F1 (Crd&Dsk)].  
Here, when you press [F5 (Move)], the move is executed.  
* To cancel the operation, press [EXIT].  
* You cannot copy or move individual Patches or Performances  
within a file (.SVD).  
3 . Press [F5 (Tool)].  
The Card&Disk Copy Source page appears.  
1 9 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
4 . After the page indicated in Step 4 appears, insert the card  
<Re g iste rin g to Ba n k s (Re g stry )>  
containing the file you want to copy, then press [F6  
(OK)].  
1 . Press [DISK], lighting the indicator.  
2 . Press [F5 (Tool)].  
5 . Turn the VALUE dial to select the file you want to copy,  
3 . Press [F5 (Regstry)].  
then press [F6 (Select)].  
The Card&Disk Card Registration page appears.  
The following screen appears.  
fig.08-05.e_70  
fig.08-07.e_70  
* The amount of memory available in installed SIMMs, and the  
size of samples on the card are displayed.  
6 . When the screen shown above appears, insert the copy-  
destination card and press [F6 (OK)].  
fig.08-08.e_70  
4 . Press [  
], [  
], [  
], or [  
] to move the cursor to  
the bank to be used for registering.  
5 . Press [F1 (List)] to display the Sound File List page.  
6 . Turn the VALUE dial to select the file you want to  
The contents of the copy destination card are displayed. Files  
in the copy destination with "+" appearing before the file  
names are shown at the top.  
register, then press [F6 (OK)].  
The registration is carried out.  
* To cancel the operation, press [EXIT].  
When you execute the copy after selecting the files with the  
VALUE dial, then only the contents are overwrittem, with  
the copy destination name remaining the same.  
If no bank is available, you can select the files of a bank you  
intend to erase, and press [F5 (Cancel)]. The registrations are  
cancelled, and the bank is thus made empty and available.  
You can change the file name by pressing [F5 (Name)].  
For details on assigning names, refer to <Renaming a File/  
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 (Ca rd Cp y )  
Folder (RENAME)> (p. 201).  
* After naming the file, pressing [F6 (OK)] the executes the  
copy.  
You can take files stored on one memory card and copy them  
to another memory card.  
7 . Press [F6 (Copy)] to execute the File Copy, and the  
* The copy destination memory card must already be formatted.  
following screen will appear.  
* To cancel the copy, press [EXIT].  
Always be sure to follow the on-screen instructions when  
inserting and removing cards during File Copy. Using a  
different procedure or sequence may damage the card.  
09.e_70  
1 . Press [DISK], lighting the indicator.  
2 . Press [F5 (Tool)].  
8 . fIf you want to go on to copy any further files or other  
3 . Press [F6 (CardCpy)].  
data, press [F6 (Yes)]. To exit the operation, press [EXIT].  
The Card&Disk Card Card File Copy page appears.  
fig.08-06.e_70  
* No samples on the memory card are copied in this operation.  
To copy samples, use the Sample Load procedure (p. 188) to  
load the samples to the SIMM, then save them onto the card  
(p. 196).  
1 9 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
1 . Prepare the media to be formatted.  
Sa vin g All Da ta to Zip Disk  
([DISK] - [F2 (SAVE)])  
2 . Press [DISK], lighting the indicator.  
3 . Press [F5 (Tool)].  
By connecting a SCSI-compatible Zip drive (optional ZIP-  
EXT-2S), you can take all of the Patch, Performance, Rhythm  
Set, System, and Favorites List settings that are stored in the  
internal memory, put them in one single file, name the file,  
then save it onto a Zip disk. Use Zip disks when you want to  
save data for which there is no more space available  
internally, or so the data youve created can be used on  
another XV-5080.  
4 . Press [F1 (Format)].  
5 . Press [F1 (Drive)].  
6 . Turn the VALUE dial or press [  
] or [  
] to select the  
drive or partition.  
If the disk is one that has been partitioned, the indication  
SCSI1:PO*******is used for the partitions.  
* The Sample folder is created and saved automatically if any  
wave data is used in the Patch or other data.  
7 . Press [F6 (OK)].  
* If desired, you can change the Volume Label by pressing [F4  
(V.Label)].  
Fo rm a ttin g a Zip Disk / Ha rd Disk  
(Fo rm a t)  
8 . Press [F5 (Full)] or [F6 (Quick)]. The message Format.  
OK?appears.  
This function initializes (formats) a Zip disk or a hard disk so  
that XV-5080 data can be saved onto it. Formatting is  
required whenever a new disk is used with the XV-5080.  
* If you press “Full” with a partition selected, the entire  
partition is formatted.  
9 . When you press [F6 (OK)], the format is executed.  
* Please be aware that formatting will erase any data that may  
already be residing on the disk.  
* To cancel the operation, press [EXIT].  
There are two types of formatting, Quickand Full.  
1 0 . Press [EXIT] to return to the previous page.  
With the Zip disk, first try formatting using Quick.If  
unable to format, then a message suggesting the Full”  
format appears in the screen. Press [F6 (OK)] to continue  
with formatting; to cancel, press [EXIT].  
Sa vin g Da ta  
1 . Press [DISK].  
When reformatting a disk that has already been formatted,  
carry out the format according to the following.  
2 . Press [F2 (Save)].  
3 . Press [F1 (Drive)].  
If the hard disk has not been partitioned  
Use the Quick format.  
4 . Rotate the VALUE dial, or press [  
]/ [  
] to select  
If the hard disk has been partitioned into a number of  
separate partitions, and you are formatting a specified  
partition  
SCSI *: *******.”  
* When copying to a folder, press [  
move destination folder, then press [  
] or [  
] to select the  
] to open the folder.  
Select the partition number, then use the Quick format.  
If the hard disk has been partitioned into a number of  
separate partitions, and you want to format the entire  
hard disk  
5 . Press [F6 (OK)].  
6 . Press [F6 (SAVE)].  
The Save File window will appear.  
fig.08-03.e_70  
Use the Full format (partitions are eliminated).  
* Storage devices that offer a write protect function may have  
the write protect settings selected. If you try formatting such  
devices using the “Quick” format, a message suggesting you  
use the “Full” format appears. Press [F6 (OK)] to continue  
with formatting; to cancel, press [EXIT].  
Here, give the file a name, and press [F6 (OK)].  
* A disk that can be used by Windows 98/95/3.1 or MS-DOS  
can be used as is.  
When naming the file, turn the VALUE dial or press [  
],  
[
], [  
], or [  
] to move the cursor and select the  
* A Mac OS format disk cannot be used.  
characters for the name, then press [F3 (Next)].  
* Partitioning of hard disks cannot be done with the XV-5080.  
2 0 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
[F2 (Prev)]: To move back one character.  
[F4 (Insert)]: To insert a space.  
Creating a Folder  
[F5 (Delete)]: To delete the character at the cursor position.  
The Save what from SIMM? window will appear.  
You can create folders when saving data to Zip drives or  
other similar external SCSI devices.  
Saving all of the XV-5080's settings using a separate  
folder for the contents of each sample allows you to  
efficiently manage Patches and other such data that use  
samples contained in the SIMM.  
WAV + PARAMETERS: All of the XV-5080s settings are  
saved. In addition, samples loaded to the SIMM are saved in  
WAV format.  
Pressing [F2 (New)] takes you to the Create New Folder  
window.  
fig.08-011.e_70  
AIFF + PARAMETERS: All of the XV-5080s settings are  
saved. In addition, samples loaded to the SIMM are saved in  
AIFF format.  
PARAMETERS ONLY: All of the XV-5080s settings other  
than those for sample wave data loaded to the SIMM are  
saved.  
Here, after the name is applied, pressing [F6 (OK)]  
creates the folder.  
* When saving with “PARAMETERS ONLY” selected, the  
wave data itself is not saved. After first performing a save  
using “WAV + PARAMETERS” or “AIFF +  
For instructions on supplying a name, refer to Step 9 of  
PARAMETERS,” which save the waveforms as well, you can  
save time during tone editing or other operations on the XV-  
5080 by thereafter carrying out saves (if saving to the same  
media) using the “PARAMETERS ONLY” option.  
Fre e Are a  
If you later load data from a CD-ROM or other source, you  
will need to save the waveforms themselves using the “WAV  
+ PARAMETERS” or “AIFF + PARAMETERS” option.  
SIMM  
This displays the amount of free space in the SIMM.  
Disk  
7 . When you are finished making settings, press [F5 (Full)]  
This displays the free disk space remaining on the connected  
SCSI device.  
or [F6 (Quick)].  
The save is executed.  
[F5 (Full)]: All samples loaded into SIMM will be saved. The  
saved data will overwrite all samples in the storage device.  
O rg a n izin g a Zip Disk  
[F6 (Quick)]: Only the changes relative to the contents of the  
storage device will be saved. The samples in the folder on the  
external storage device (e.g., Zip) will be compared (by name  
and size) with the samples loaded into the SIMM memory of  
the XV-5080, and only the newly added samples or replaced  
samples will be saved. If samples not loaded into the SIMM  
memory are found in the folder on the save destination  
external device, those samples will be deleted from the  
storage device.  
<Re n a m in g a File / Fo ld e r (REN AME)>  
This is exactly the same as with memory cards. Refer to  
Organizing the Contents of Memory Cards(p. 197).  
<De le tin g a File / Fo ld e r (De le te )>  
This is exactly the same as with memory cards. Refer to  
Organizing the Contents of Memory Cards(p. 197).  
* To cancel the operation, press [EXIT].  
<Co p y in g / Mo vin g a File / Fo ld e r (Cp /  
Mo ve )>  
8 . Press [DISK] to return to the previous page.  
This is exactly the same as with memory cards. Refer to  
Organizing the Contents of Memory Cards(p. 197).  
2 0 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
5 . Either rotate the VALUE dial, or press [INC]/ [DEC] to  
In itia lizin g a So u n d  
choose DEFAULTor PRESET.”  
This function resets all of the parameters in the current Patch,  
Performance, Rhythm Set or Rhythm Tone to their standard  
or factory default settings.  
6 . Press [F6 (Execute)] to execute initializing and return to  
the PLAY page.  
If you used DEFAULTto initialize, the name will be either  
* Only current data (data in the temproary memory) will be  
initialized, and data resident in user memory will not be  
rewritten. If you want to restore all settings to their factory  
values, carry out Factory Reset. (p. 206)  
INIT PATCHor INIT PERFORM.”  
* A *symbol will appear at the left of the group name,  
indicating that the settings have been modified. If you wish to  
keep the settings, you need to store them. (p. 194)  
* To initialize the General MIDI System, refer to Initializing  
GM Settings (Init) (p. 229).  
Fo r Rh y th m Se ts  
Ty p e (In itia lize Ty p e )  
1 . Select a Rhythm Set that you wish to initialize.  
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.  
If you will be using PRESETfor the initialization, select the  
USER group Rhythm Set number whose data you wish to  
restore.  
* If you will be using “DEFAULT” for the initialization, it does  
not matter which Rhythm Set is selected.  
PRESET: Resets the current data to the factory user group  
settings.  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
If the current data is a Performance, Patch or Rhythm Set  
from PRESET memory (PR-AG), and initialization is  
performed with PRESETspecified, the data will be reset to  
the value of the correspondingly numbered user group.  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
3 . Press [F6 (Menu)] to select Menu 1.  
Fo r Pa tch e s o r Pe rfo rm a n ce s  
4 . Press [F3 (Initialize)].  
1 . Select the Patch/ Performance you wish to initialize.  
The Initialize page will appear.  
If you will be using PRESETfor the initialization, select the  
USER group Performance/ Patch number whose data you  
wish to restore.  
5 . Carry out the following operation for the Rhythm Set to  
be initialized.  
To Initialize a Rhythm Tone  
* If you will be using “DEFAULT” for the initialization, it does  
not matter which Patch or Performance is selected.  
Press [F1 (Key)]. The Rhythm Initialize Key page will appear.  
fig.08-007.e_70  
* You can select “DEFAULT (4 TONES)“or “DEFAULT  
(MULTI-PARTIAL)“ in a Patch Mode.  
2 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
To Initialize a Rhythm Set  
Press [F2 (All)]. The Rhythm Initialize All page will appear.  
fig.08-008.e_70  
3 . Press [F6 (Menu)] to select Menu 1.  
4 . Press [F3 (Initialize)].  
The corresponding Initialize page will appear.  
fig.08-006.e_70  
6 . Either rotate the VALUE dial, or press [INC]/ [DEC] to  
choose DEFAULTor PRESET.”  
In the case of Rhythm Tone (Key), you must also specify the  
percussion instrument (key) that you wish to initialize.  
2 0 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
Ch a n g in g th e W a y MIDI Sig n a ls  
Use [  
] [  
] to move the cursor to Key, and either rotate  
Arrivin g a t MIDI IN 2 Are  
Ha n d le d  
the VALUE dial, or press [INC] [DEC] to select the key.  
You can also use TONE SELECT [1][4] to select the  
percussion instrument sound you wish to edit, according to  
the key that plays it.  
By pressing [F2 (MIDIIN2)] in the Initialization screen, you  
can change the setting that determines how the MIDI signals  
that arrive at MIDI IN 2 will be handled.  
TONE SELECT [1]: Selects the key one octave below the  
currently selected key.  
Use the VALUE dial to select the parameter, and press [F6  
(Init)] to make the setting.  
TONE SELECT [2]: Selects the key a semitone below the  
currently selected key.  
TONE SELECT [3]: Selects the key a semitone above the  
MIDI IN 2  
currently selected key.  
Mo d e  
TONE SELECT [4]: Selects the key one octave above the  
GM OFF:  
controlled, in combination with the signals from MIDI IN 1.  
GM: Instates the GM System basic settings.  
Performances, Patches, and Rhythm Sets are  
currently selected key.  
* You can also press a key on a connected MIDI keyboard to  
select the desired percussion instrument sound (key). (p. 168)  
Arriving MIDI signals will control a separate GM sound  
generator, independent of the Performances, Patches, and  
Rhythm Sets controlled through MIDI IN 1.  
7 . Press [F6 (Execute)] to proceed with the initialization.  
Afterwards, youre returned to the RHYTHM PLAY  
page.  
GM2:  
Instates the GM2 System basic settings.  
If you used DEFAULTto initialize the Rhythm Set, the  
Arriving MIDI signals will control a separate GM sound  
generator, independent of the Performances, Patches, and  
Rhythm Sets controlled through MIDI IN 1.  
name will be INIT SET.”  
* A *symbol will appear at the left of the group name,  
indicating that the settings have been modified. If you wish to  
keep the settings, you need to store them. (p. 194)  
Points to Note When Writing Data  
Tra n sm ittin g Da ta to a n  
Ex te rn a l MIDI De vice (Da ta  
Tra n sfe r)  
You can transmit sound generator or System settings that are  
in the XV-5080s memoryor stored on a memory cardto  
an external MIDI device or to the XV-5080s USER memory.  
Tra n sm ittin g to a n Ex te rn a l MIDI  
De vice  
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-5080s  
are connected to each other, or when you wish to store Patch,  
Performance, Rhythm Set or System data on an external  
MIDI device as a safety backup of your XV-5080 data.  
fig.08-009.e_70  
2 0 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
So u rce  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
2 . Press [F6 (Menu)] to select Menu 2.  
3 . Press [F1 (Xfer)].  
You can specify the data to be transmitted by selecting the  
appropriate combination shown below.  
For example, if you wish to transmit the USER group Patches  
001020, you would specify PATCH USER: 001020.”  
4 . Press [F1 (To MIDI)].  
TYPE  
ALL  
BLOCK  
USER  
TEMP  
USER  
TEMP  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
6 . Turn the VALUE dial or press [INC] / [DEC] to select the  
PERFORM  
0164  
desired value.  
-PATCH  
+PATCH  
*1  
*2  
7 . Press [F6 (Trans)] to execute the transmission.  
CTRL  
USER  
TEMP  
USER  
TEMP  
USER  
* To cancel the operation, press [EXIT].  
PATCH  
001128  
Tra n sm ittin g to Use r Me m o ry  
RHYTHM  
SYSTEM  
001004  
You can transmit Patch, Performance or Rhythm Set settings  
to the USER memory and System settings to the System  
memory.  
fig.08-010.e_70  
* 1 The current Performance  
* 2 The current Performance and the Patch or Rhythm Set  
assigned to each Part of the Performance  
* ALL indicates all of the Patches, Performances, and Rhythm  
Sets in the following settings (USER or TEMP).  
You can specify the data to be transmitted by selecting the  
appropriate combination shown below.  
* When set to TEMP, data in the temporary area will be  
transmitted.  
For example, if you wish to transmit only the PR-A group  
* When set to CTRL, the status of Performances, including  
Performance Bank Selects and Program Changes, are not sent  
as Exclusive messages, but rather as MIDI Channel messages.  
For more on the transmitted MIDI channel messages, refer to  
“MIDI Implementation.” (p. 282)  
Patch 001, specify PATCH PR-A: 001001.”  
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.  
* It is not possible to transmit GM system settings.  
(Example)  
Source  
De stin a tio n  
Type:  
PATCH  
As shown in the diagram, connect the XV-5080 to the  
external MIDI device before performing the procedure.  
Block  
PR-A:001005  
fig.08-012.e_70  
Destination  
User:127  
XV-5080  
MIDI OUT  
MIDI IN  
If the above settings are made and transmission is executed,  
only the two PR-A group Patches 01 and 02 will be  
transmitted to USER group Patches 127 and 128.  
Sequencer, etc.  
1 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
2 0 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
TYPE  
BLOCK  
PR-A, B  
USER *2  
PR-A, B  
CARD  
7 . Press [F6 (Trans)] to execute the transmission.  
ALL  
*1  
*6  
* To cancel the operation, press [EXIT].  
PERFORM  
0164  
0132  
Pro te ctin g th e In te rn a l  
Me m o ry (Pro te ct)  
0164  
PATCH  
USER *2  
PR-AG *3  
CARD  
001128  
001128  
001128  
This feature helps prevent the accidental overwriting of  
USER memory to ensure that Patch, Performance or Rhythm  
Set data is not accidentally erased.  
*5  
*4  
XP-AH  
USER *2  
PR-AG *3  
CARD  
RHYTHM  
14  
12  
14  
In te rn a l W rite Pro te ct  
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 set to  
OFF.When the XV-5080s 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.  
*5  
*4  
*6  
*6  
XP-AH  
CARD  
SYSTEM  
F-LIST  
CARD  
* 1 Since there are no others, Performances other than PR-A/B  
cannot be selected.  
* 2 Move data within the User Memory in block units. The  
Move destination Patch is overwritten.  
Ex clu sive Pro te ct  
* 3 PR-H uses GM data, and cannot be transmitted.  
* 4 Depends on the Wave Expansion Board installed  
The Exclusive Protect setting prevents System Exclusive  
messages received from an external MIDI device from  
rewriting USER memory settings. When this is set ON,the  
data cannot be written. Data can be only written when  
Internal Write Protect is set to OFF.When it is set to  
OFF,data can be rewritten, even if the Internal Write  
Protect setting is set to ON.”  
* 5 After designating the file, set the range specifications for the  
block being transmitted.  
* 6 Specify the file.  
* If the number sent exceeds the capacity of the User memory,  
then transmission of the data stops the moment the memory is  
filled.  
The following shows the setting procedure.  
1 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
De stin a tio n  
Set the number at the transfer-destination in "User."  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
* You cannot select ALL, SYSTEM, or F-LIST.  
The following shows the setting procedure.  
2 . Press [F6 (Menu)] to select Menu 1.  
1 . Press [SYSTEM/ UTILITY], getting its indicator to start  
3 . Press [F5 (Protect)].  
blinking.  
The User Memory Protect page will appear.  
fig.08-011.e_70  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
2 . Press [F6 (Menu)] to select Menu 2.  
3 . Press [F2 (Xfer)].  
4 . Press [F2 (to USER)].  
4 . Press [  
]/ [  
] to move the cursor to the parameter  
you wish to set.  
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
5 . Either by rotating the VALUE dial, or by pressing [INC]/  
the parameter you want to set.  
[DEC], select the save destination.  
6 . Turn the VALUE dial or press [INC] / [DEC] to select the  
desired value.  
2 0 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
6 . Press [EXIT] several times to return to the applicable  
Re se ttin g All Se ttin g s to  
PLAY page.  
De fa u lt Fa cto ry Se ttin g s  
(Fa cto ry )  
* Even if the Internal Write Protect setting is “ON” (write  
prohibit), incoming System Exclusive messages can rewrite  
the User memory data if the Exclusive Protect setting is set to  
“OFF” (write permit).  
This function resets all the XV-5080s settings to their factory  
default values.  
If the XV-5080 internal memory already contains important  
data that you have created, this operation will cause all of  
this data to be lost. If you wish to preserve any of its  
contents, you must save them on a commercially available  
storage device before performing the Factory Reset.  
The following shows the setting procedure.  
1 . Press [SYSTEM/ UTILITY], getting its indicator to start  
blinking.  
* If the indicator is steadily lit, you are in SYSTEM mode. Press  
[SYSTEM/UTILITY] once again, so the indicator is blinking.  
2 . Press [F6 (Menu)] to select Menu 3.  
3 . Press [F5 (Factory)].  
The Factory Reset page appears.  
fig.08-012.e_70  
4 . Press [F6 (Execute)] to execute Factory Reset.  
To cancel the Factory Reset, press [EXIT].  
After the Factory Reset operation has been executed, the  
PATCH PLAY page will appear.  
The message Write Protect ONmay appear in a window. If  
you want to continue with the Factory Reset, press [DEC] to  
set Write Protect to OFF,and press [F6 (OK)] to close the  
window. Then press [F6 (Factory)] once more to execute the  
Factory Reset.  
Once set to OFF,Write Protect remains disabled until the  
power to the instrument is turned off.  
2 0 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ve Cre a te d  
Re g iste rin g Fa vo rite Pa tch e s  
in th e FAVO RITE LIST  
Dire ctly re g iste rin g to th e list o n th e  
PATCH/ RHYTHM PLAY p a g e  
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-  
5080 itself, on Wave Expansion Boards, or on memory cards.  
You can register up to 64 Patches in this list.  
The following display appears when [SHIFT] is pressed  
while on the PATCH/ RHYTHM PLAY page.  
fig.08-13.e_65  
If [F6 (Register)] is pressed at this stage, the data is  
registered to the lowest-numbered opening on the list.  
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.  
Although the message "COMPLETED" instantly appears  
in the display when the registration is executed, if the  
registration cannot be carried out  
1 . At the PATCH PLAY page, choose the Patch you want to  
register.  
2 . Press the VALUE dial.  
The Sound List window will appear.  
Se le ctin g Pa tch e s fro m th e  
FAVO RITE LIST  
* When the SOUND LIST is displayed, press the [F2 (Favorit)]  
button.  
1 . Press the VALUE dial.  
3 . Turn the VALUE dial or press the [INC]/ [DEC] button to  
The Sound List or Favorite window will appear.  
select the desired registration destination number.  
* If the Sound List window will appear, Press the [F2 (F-List)]  
button.  
* No data is registered at the factory settings.  
2 . Turn the VALUE dial or press the [INC]/ [DEC] button to  
On this page, pressing the VOLUME knob allows you to  
audition the Patch being registered.  
select the desired Patch.  
* If you want to cancel the selection, simply press the [UNDO]  
button. The value of the parameter will be restored to what it  
was when you first positioned the cursor there.  
4 . Press the [F3 (Register)] button.  
The Patch will be registered to the Favorite List.  
To cancel the registration, press the [EXIT] button.  
3 . Press the [F6 (Select)] button to return to the previous  
* To cancel the registration, select the file you want to cancel,  
and then press the [F4 (Remove)] button.  
page.  
5 . Press the [EXIT] button or the VALUE dial to return to  
the PATCH PLAY page.  
You can also register the Rhythm Set in the same way.  
2 0 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
Po w e ru p Mo d e  
Se ttin g s Co m m o n to th e  
En tire XV-5 0 8 0 ([SYSTEM/  
Sets the condition of the XV-5080 when its power is turned  
on.  
UTILITY] - [F1 (Ge n e ra l)])  
Available Settings:  
fig.09-001.e_70  
DEFAULT: The XV-5080 will be ready to play Patch  
USER:001.”  
LAST: The XV-5080 will power up exactly as it was when it  
was turned off.  
Ch a ra cte r Sty le  
Setting Procedure:  
Select the style of the large characters that are displayed in  
the various Play pages (number and name display).  
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.  
TYPE 1: Bold mono-spaced characters  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to make its indicator light.  
TYPE 2: Light mono-spaced characters  
TYPE 3: Bold proportionally-spaced characters  
TYPE 4: Light proportionally-spaced characters  
2 . Press [F1 (General)] several times to call up the SYSTEM  
General #1 page.  
Rh y th m Ed it Ke y  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
You can set whether youll be able to select percussion  
instruments for editing only by operating the XV-5080s  
front-panel controls or also by pressing keys on a connected  
MIDI keyboard.  
the parameter you want to set.  
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select  
the desired value.  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
Available Settings:  
PANEL: Percussion instrument sounds can be selected only  
by using the XV-5080s TONE SELECT [1][4].  
PANEL&MIDI: Percussion instrument sounds can be selected  
using the XV-5080s TONE SELECT [1][4] and by pressing a  
key on a connected MIDI keyboard.  
5 . Press [EXIT] to return to the applicable PLAY page.  
Ma k in g O ve ra ll Se ttin g s  
Se tu p  
If youd like to select percussion instruments using the XV-  
5080s [E][H] buttons while playing the sounds on a MIDI  
keyboard, select PANEL.”  
LCD Co n tra st  
Range: 110  
This adjusts the contrast/ brightness of the display. Higher  
values will make the characters darker.  
SCSI Pro b e Tim e  
This sets the time spent in recognizing connected SCSI  
devices. The higher the value set, the longer the time  
allowed. Ordinarily, this is set to 1.”  
Pa tch Re m a in (Pa tch Re m a in Sw itch )  
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.  
Settings values: 1-10  
* If the connected SCSI device is not being recognized, set a  
higher value, then following the instructions in “Turning Off  
the Power” in Quick Start (P.12), turn off the XV-5080’s  
power. After this, follow the instructions in “Turning On the  
Power” in Quick Start (P.12) to turn on the power in the  
proper sequence.  
In addition, when ONis selected, the Volume and Pan  
data, and the Key Mode and other settings received via MIDI  
(CC 5, 7, 10, 65, 68, 7174, RPN 0, 1, 2, MONO ON, POLY  
ON) are passed on.  
2 0 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
Se ttin g th e Tu n in g a n d Vo lu m e  
Se ttin g s  
Ma k in g Sca le Tu n e Se ttin g s  
([SYSTEM/ UTILITY] - [F1  
(Ge n e ra l)])  
Ma ste r  
fig.09-002.e_70  
The Master Tune and Master Key Shift settings are common  
to all Patches, Performances, Rhythm Sets, and the GM  
Mode.  
Le ve l (Ma ste r Le ve l)  
Range: 0–127  
Adjusts the volume of the entire XV-5080.  
Sca le Tu n e  
Tu n e (Ma ste r Tu n e )  
The XV-5080 allows you to use temperaments other than  
equal temperament. The pitch of each note can be adjusted in  
one-cent steps (1/ 100th of a semitone) relative to its equal-  
tempered pitch.  
Range: 415.3–466.2 kHz  
Adjusts the overall tuning of the XV-5080. The setting is  
expressed as the frequency played by the A4 key.  
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.  
Ke y Sh ift (Ma ste r Ke y Sh ift)  
Range: -24– +24  
Shifts the overall pitch of the XV-5080 in semitone steps.  
* The selected scale applies to MIDI messages received from an  
external MIDI device as well as to local sound generation.  
* When a Multi-partial Patch or Rhythm Set is selected, this  
setting is disabled.  
Sw itch (Sca le Tu n e Sw itch )  
Turn this on when you wish to use a tuning scale other than  
equal temperament.  
Se ttin g th e Sy ste m Te m p o  
Pa tch Sca le C–B  
Sy ste m Te m p o  
Range: -64– +63  
Clo ck So u rce (Sy ste m Clo ck So u rce )  
Specifies the tempo clock of the system.  
Available Settings:  
Ke y Sca le C–B  
Range: -64– +63  
INT: The internal clock will be the tempo clock for the  
Th e Se ttin g s in Pa tch Mo d e (Pa tch  
Sca le )  
system.  
MIDI: An external clock will be the tempo clock for the  
system.  
* The Patch’s scale tune settings share the same settings as those  
for Part 1 of the Performance.  
Te m p o (Sy ste m Te m p o )  
1 . Press [PATCH], getting its indicator to light.  
Range: 20–250  
2 . Press [SYSTEM/ UTILITY], and confirm that its indicator  
Sets the system tempo.  
has lighted.  
* When Clock Source is set to “MIDI,” the tempo will  
synchronize to the clock messages received from an external  
MIDI device, so the tempo value will be ignored.  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to get the indicator to light  
steadily.  
3 . Press [F1 (General)] several times to call up the SYSTEM  
General #2 page.  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the note name you want to set.  
2 0 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
5 . Either turn the VALUE dial, or press [INC]/ [DEC] to  
select the desired value.  
<Equal Temperament>  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
This scale divides an octave into 12 equal parts using the  
tuning system that is most widely used in Western  
music.  
6 . Press [EXIT] to return to the applicable PLAY page.  
<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.  
Th e Se ttin g In Pe rfo rm a n ce / GM m o d e  
(Ke y Sca le )  
1 . Press [PERFORM] or [GM] to make its indicator light.  
<Arabian Scale>  
2 . Press [SYSTEM/ UTILITY], and confirm that its indicator  
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  
thirdthe interval between a major third and a minor  
third. On the XV-5080, you can use Arabian  
has lighted.  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to get the indicator to light  
steadily.  
3 . Press [F1 (General)] several times to call up the SYSTEM  
General #2 page.  
temperament in the three keys of G, C and F.  
4 . Press PART SELECT [1/ 17][16/ 32] to select the Part  
Example:  
you want to set.  
Note name  
Equal  
Pure  
Arabian scale  
To select Parts 1732, press [1-16/ 17-32], getting its indicator  
to light, and then press the desired PART SELECT [1/ 17]–  
[16/ 32] button.  
temperament  
(tonic C) temperament  
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-8  
-6  
+45  
-2  
C#  
D
5 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
+4  
the note name you want to set.  
Eb  
E
+16  
-14  
-2  
-12  
-51  
-8  
6 . Either turn the VALUE dial, or press [INC]/ [DEC] to  
select the desired value.  
F
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
F#  
G
-10  
+2  
+43  
-4  
G#  
A
+14  
-16  
+14  
-12  
+47  
0
7 . Press [EXIT] to return to the applicable PLAY page.  
Bb  
B
-10  
-49  
2 1 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
Ma k in g th e Eq u a lize r  
Se ttin g s ([SYSTEM/ UTILITY] -  
[F2 (O u tp &EQ )] - [F2 (EQ )])  
5 . Press [EXIT] to return to the applicable PLAY page.  
You can set the equalization for each of the output jacks.  
* ON and OFF are applied to all of the equalizers as a group. (p.  
Se ttin g s ([SYSTEM/ UTILITY] -  
[F3 (MIDI)])  
24)  
fig.09-003.e_70  
fig.09-004.e_70  
O u tp u t-A (1 / 2 )D (7 / 8 )  
Setting Procedure:  
L.F (Lo w Fre q u e n cy )  
Range: 200/ 400 Hz  
1 . Press [SYSTEM/ UTILITY], and confirm that its indicator  
has lighted.  
Selects the frequency of the low range.  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to get the indicator to light  
steadily.  
L.G (Lo w Ga in )  
Range: -15+15  
Specifies the low-frequency gain (amount of boost or cut).  
Positive (+) settings will emphasize the low-frequency range.  
2 . Press [F3 (MIDI)] to call up the SYSTEM MIDI page.  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
H.F (Hig h Fre q u e n cy )  
Range: 2000/ 4000/ 8000 Hz  
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select  
the desired value.  
Selects the frequency of the high range.  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
H.G (Hig h Ga in )  
Range: -15+15  
Specifies the high-frequency gain (amount of boost or cut).  
5 . Press [EXIT] to return to the applicable PLAY page.  
Positive (+) settings will emphasize the high-frequency  
range.  
Setting Procedure:  
1 . Press [SYSTEM/ UTILITY], and confirm that its indicator  
has lighted.  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to get the indicator to light  
steadily.  
2 . Press [F2 (Outp&EQ)] to call up the SYSTEM EQ page.  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
4 . Turn the VALUE dial or by press [INC]/ [DEC] to select  
the desired value.  
2 1 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                 
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
GM Sy ste m O N (Re ce ive GM-O N Ex clu sive  
Sw itch )  
Se ttin g th e MIDI Ch a n n e l  
The XV-5080 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, the MIDI  
transmission channels of the external device must match the  
MIDI reception channels of the XV-5080.  
Specifies whether GM-ON (General MIDI System On)  
messages will be received (ON), or not (OFF).  
GM2 Sy ste m O N (Re ce ive GM2 -O N Ex clu sive  
Sw itch )  
Specifies whether GM Level2-ON (General MIDI Level 2  
System On) messages will be received (ON), or not (OFF).  
MIDI Re ce ive Ch (MIDI Re ce ive  
Ch a n n e l)  
GS Re se t (Re ce ive GS Re se t Ex clu sive Sw itch )  
Pe rf Ctl Ch (Pe rfo rm a n ce Co n tro l Ch a n n e l)  
This specifies whether GS Reset messages will be received  
(ON), or not (OFF).  
When changing Performances by MIDI messages from the  
external device, set the transmit channel of the external  
device and this channel to the same channel.  
Ma k in g th e Sy ste m Ex clu sive  
Se ttin g s  
* When you perform a Factory Reset operation, Perform Ctrl Ch  
is reset to “16.”  
Pa tch / Rh y Rx Ch (Pa tch / Rh y th m Se t Re ce ive  
Ch a n n e l)  
Sy ste m Ex clu sive  
De vice ID (De vice ID N u m b e r)  
Set this channel to use an external MIDI device (such as a  
MIDI keyboard) for playing Patches and Rhythm Sets, or to  
have Patches or Rhythm Sets changed as the result of MIDI  
messages.  
Range: 1732  
When transmitting or receiving System Exclusive messages,  
set this parameter to match the device ID number of the other  
MIDI device.  
Re ce ive Sw (Re ce ive Sy ste m Ex clu sive Sw itch )  
Se ttin g th e MIDI Tra n sm it/  
Re ce ive Sw itch  
Specifies whether System Exclusive messages will be  
received (ON), or not (OFF).  
MIDI Tx (MIDI Tra n sm it)  
Sp e cify in g th e Re ce p tio n Sta tu s  
fo r Ea ch To n e  
Ed it Da ta (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).  
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.  
Rx Sw itch (Re ce ive Sw itch )  
For more information about setting the MIDI response of  
Parts in a Performance, check out Establishing a Parts MIDI  
Settings (MIDI) (p. 164).”  
Pro g ra m Ch g (Re ce ive Pro g ra m Ch a n g e  
Sw itch )  
For more information about the settings for a Patch, refer to  
Specifies whether Program Change messages will be  
received (ON), or not (OFF).  
MIDI Rx Switch (MIDI Receive Switch)(p. 147).  
For more about setting the MIDI response of Rhythm Tones  
in a Rhythm Set, refer to Other Settings (CONTROL)/ Rx  
MIDI (Receive MIDI)(p. 179).  
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )  
Specifies whether Bank Select messages will be received  
(ON), or not (OFF).  
2 1 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                       
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
The MIDI messages from both MIDI IN 1 and 2 are received  
MIDI IN co n n e cto rs  
as 16 GM2 parts.  
The XV-5080 has two MIDI IN connectors. By providing for  
the use of two MIDI IN connectors, the XV-5080 readily  
accommodates a broad variety of performance situations.  
fig.09-MIDI IN-3.e  
IN 1  
IN 2  
The XV-5080s MIDI IN 1 connector is usually used for  
keyboard performances and the like, whereas the MIDI IN 2  
connector is designed as an auxiliary connector, convenient  
for using a connected sequencer or other device playing  
accompaniment.  
* If using only one of the MIDI IN connectors, we recommend  
that you use MIDI IN 1.  
GM2 16Part  
In Pa tch / Rh y th m Se t Mo d e  
Both MIDI IN 1 and 2 will be received.  
fig.09-MIDI IN-1.e  
Reception of GM ON or GS Reset at MIDI IN  
The status of the XV-5080 changes as follows, depending on  
the connector through which a GM ON or GS Reset has been  
received.  
IN 1  
IN 2  
W h e n GM O N o r GS Re se t is re ce ive d a t MIDI  
IN 1 :  
Instates the same status as that which would be entered if the  
GM button on the panel were pressed to switch to GM mode.  
fig.09-MIDI IN-4.e  
IN 1  
IN 2  
Patch  
In Pe rfo rm a n ce Mo d e  
The MIDI messages from MIDI IN 1 and 2 are received, for  
32 Parts.  
Furthermore, you can set the MIDI IN 1/ 2 reception switch  
you can play Parts 116 with the messages from MIDI IN 1  
GM2 16Part  
and Parts 1732 using the messages from MIDI IN 2.  
fig.09-MIDI IN-2.e  
* When GM ON or GS Reset is received at MIDI IN 2:  
IN 1  
IN 2  
In Pa tch / Rh y th m Se t Mo d e  
The instrument plays XV-5080 Patches while functioning as a  
16-part GM2 sound module.  
Part IN1  
Part IN2  
RX Switch  
RX Switch  
You cannot use the panel to select GM2 sound module tones  
from MIDI IN 2, nor can you edit these tones. They can only  
be controlled with an external MIDI device.  
Performance  
W h e n Usin g th e XV-5 0 8 0 a s a GM So u n d  
Mo d u le  
When switching to GM mode by pressing the GM button  
on the panel:  
2 1 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
fig.09-MIDI IN-5.e  
the status to "GM OFF" in the Initialize screen ([UTILITY] -  
[Init] - [MIDI In2]).  
IN 1  
IN 2  
Co n n e ctin g Tw o o r Mo re XV-  
5 0 8 0 s to In cre a se Po ly p h o n y  
The Stack function allows you to combine two or more XV-  
5080 units to increase the number of voices that can be  
played simultaneously. You can connect and use up to eight  
XV-5080s.  
fig.09-005.e  
Patch  
GM2 16part  
Usage with Three Connected Units  
Keyboard  
MIDI OUT  
In Pe rfo rm a n ce Mo d e  
The instrument operates as a Performance (32-part) sound  
module and a 16-part GM2 sound module (for a total of 48  
parts). In this case, the MIDI IN 2 Receive switch settings for  
the Performances parts are disabled (always OFF).  
MIDI IN  
THRU  
IN  
XV-5080 (2 of 3) XV-5080 (3 of 3)  
Stack Mode: 3 Stack Mode: 3  
THRU  
IN  
XV-5080 (1 of 3)  
Stack Mode: 3  
Stack Number: 1 Stack Number: 2 Stack Number: 3  
You cannot use the panel to select GM2 sound module tones  
from MIDI IN 2, nor can you edit these tones. They can only  
Setting value  
Sequence of sound played  
be controlled with an external MIDI device.  
1
4
7
2
5
8
3
6
9
fig.09-MIDI IN-6.e  
IN 1  
IN 2  
10  
Sta ck  
Mo d e (Sta ck Mo d e )  
Range: OFF/ 28  
When using more than one XV-5080, set this parameter to 2–  
8. When not using the Stack feature, set the parameter to  
OFF.  
Performance GM2 16part  
If Stack mode is turned off, the Stack function will not  
operate, and each XV-5080 will attempt to sound all of the  
note messages that it receives.  
GM Mo d e  
The instrument functions as two independent 16-part GM2  
N u m b e r (Sta ck N u m b e r)  
sound modules, one for each of the MIDI IN connectors.  
fig.09-MIDI IN-7.e  
Range: 18  
When the Stack feature is enabled, this parameter selects the  
XV-5080 that is to function as the primary/ first unitthis is  
the XV-5080 that will sound the first 128 voices.  
IN 1  
IN 2  
The Stack function will not operate when using Patches in  
which Key Assign of Key Mode is set to MONOor whose  
Portamento Switch is ON(Patch Common Control #1  
page), or for Rhythm Sets. Patches for which the KEY MODE  
Key Assign is MONOor whose Portamento Switch is  
ONwill be sounded by the first XV-5080, and Rhythm Sets  
will be sounded by the second XV-5080.  
GM2 16part  
GM2 16part  
* The Multi-Partial Patches are sounded by the first XV-5080.  
You can initialize the MIDI IN2 GM sound generator and set  
2 1 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
Se le ctin g Co m m o n  
Co n tro lle rs ([SYSTEM/  
UTILITY] - [F4 (Co n tro l)])  
Co n firm in g th e Cu rre n t  
Sta tu s ([SYSTEM/ UTILITY] -  
[F6 (In fo )])  
fig.09-007.e_70  
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.  
fig.09-006.e_70  
The basic steps needed to carry out the procedure are as  
follows:  
1 . Press [SYSTEM/ UTILITY], and confirm that its indicator  
has lighted.  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to get the indicator to light  
steadily.  
Sy ste m Co n tro l 1 4 (Sy ste m Co n tro l  
So u rce 1 4 )  
2 . Press [F6 (Info)] to call up the SYSTEM Info page.  
Available Settings:  
3 . Press [EXIT] to return to the Play page.  
OFF: No controller is used.  
CC0195: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
W a ve Ex p a n sio n AD (W a ve  
Ex p a n sio n Bo a rd N a m e AD)  
AFTERTOUCH: Aftertouch  
Setting Procedure:  
The display shows the names of Wave Expansion Boards  
(SR-JV80 Series) installed in slots EXP AD.  
Slots without any boards installed are shown as ---------.”  
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to make its indicator light.  
SRX (SRX Bo a rd N a m e EH)  
The display shows the names of Wave Expansion Boards  
2 . Press [F4 (Control)] to call up the SYSTEM Control page.  
(SRX Series) installed in slots EXP EH.  
Slots without any boards installed are shown as ---------.”  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the System Control (System Control Source) you wish to  
set.  
SIMM  
This displays the installation status of any memory modules  
(SIMMs), used for Wave data.  
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select  
the desired value.  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
BATTERY CHECK  
The XV-5080 contains a battery that retains the data in its  
internal memory when the units power is turned off. This  
displays the status of the battery. 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.  
5 . Press [EXIT] to return to the applicable PLAY page.  
2 1 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s  
SCSI ID  
XV-5 0 8 0 Se lf  
The current SCSI ID number of the XV-5080 will be  
displayed.  
2 1 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 1 0  
Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
Co n tro llin g th e XV-5 0 8 0 in  
Re a l Tim e Usin g a n Ex te rn a l  
MIDI De vice  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
* Hold down [SHIFT] and press [  
parameter furthest to the left.  
] to move to the  
External MIDI controllers (modulation lever, foot switch,  
expression pedal, etc.) can be used to modify Multi-effects  
settings or Tone settings in real time.  
4 . Either by rotating the VALUE dial or by pressing [INC]/  
[DEC], set the value.  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
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  
5 . Press [EXIT] to return to the PLAY page.  
* A *symbol will appear at the left of the group name,  
indicating that the settings have been modified. If you wish to  
keep the settings, you need to store them. (p. 194)  
The parameters that can be changed via MIDI are  
predetermined according to the selected Multi-effects.  
This applies to the Multi-effects parameters described on p.  
32, the Part name will appear in the upper right of the display.  
This indicates that the parameters below are the parameters for  
the Patch assigned to the Part.  
Settings can be made for each Patch, Performance, and  
Rhythm Set.  
1 . Select the Multi-effects you wish to use.  
MFX Co n tro l p a g e ([PATCH] - [F6  
(Effe cts)] - [F3 (MFX Ctl)]/  
[PERFO RM] - [F5 (Effe cts)] - [F3 (MFX  
Ctl)])  
Make the settings in the Effects General page. For the setting  
procedure, refer to Chapter 2 (p. 25).  
2 . From the various Play pages, press buttons in the  
following order to access the Effects MFX #2 page.  
MFX Co n tro l So u rce  
For Patches or Rhythm Sets  
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.  
[F6 (Effects)] - [F3 (MFX Ctl)]  
fig.10-001.e_70  
OFF: No controller is used.  
CC0195: Controller numbers 195 (except for 32)  
PITCH BEND: Pitch Bend  
AFTERTOUCH: Aftertouch  
For Performances or GM System  
SYS-CTRL 14: System control 14  
[F5 (Effects)] - [F3 (MFX Ctl)]  
fig.10-002.e_70  
MFX Co n tro l Se n s -6 3 +6 3  
If you wish to modify the selected parameter in a positive (+)  
directioni.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 (-)  
directioni.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.  
Three different Multi-effects can be set for a Performance.  
Press [F3 (MFX Ctl)] to switch among the MFX-A, MFX-B,  
and MFX-C pages.  
The MIDI channel used for controlling the three multi-effects  
is determined according to the MFX Source setting (p. 31).  
Setting MFX Source to "PERF" selects the Performance MFX  
Ctrl Channel, and when set to "Part 1-32," the Receive  
Channel settings for each part are used.  
2 1 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
LFO2  
MFX Co n tro l De stin a tio n  
PITCH-ENV: Pitch envelope  
TVF-ENV: TVF envelope  
TVA-ENV: TVA envelope  
Selects the Multi-effects parameter to be controlled using the  
MFX Control 14 source. The parameters that can be selected  
depend on which type of Multi-effects is set to MFX Type.  
De stin a tio n  
Mo d ify in g To n e Se ttin g s  
Selects the parameters to be controlled.  
You can use the Matrix Control parameter to control Tone  
settings in realtime.  
OFF: No control  
PITCH  
TMT  
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  
Effects parameters ([PATCH] - [F6 (Effects)] (p. 26))  
DRY LEVEL  
CHORUS SEND  
REVERB SEND  
MFX CTRL1  
MFX CTRL2  
MFX CTRL3  
MFX CTRL4  
1 . Select the Patch youre going to use.  
2 . Press [F5 (LFO&CTL)].  
3 . Press [F3 (Control)].  
4 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
the parameter you want to set.  
WG parameters ([PATCH] - [F2 (WG)] - [F1 (WG Prm)] (p.  
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the  
136))  
desired value.  
FXM DEPTH  
* If you’ve made a mistake, simply press [UNDO]. The value of  
the parameter will be restored to what it was when you first  
positioned the cursor there.  
LFO parameters ([PATCH] - [F5 (LFO&CTL)] p. 145)  
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  
6 . Press [EXIT] to return to the PATCH PLAY page.  
Ma trix Co n tro l 1 4  
So u rce (Ma trix Co n tro l So u rce )  
Assign one of the following controllers to Matrix Control  
Source. If you wish to use a controller that will apply to all  
Patches, or a controller that cannot be directly selected here,  
select SYS-CTRL14, and then select the controller using the  
System Control Source parameters (SYSTEM Control screen).  
LFO2 RATE  
PITCH parameters ([PATCH] - [F2 (WG)] - [F1 (Pch Env)]  
Available Settings:  
p. 138)  
OFF: No controller is used.  
CC01CC95: Controller numbers 195 (except for 32)  
BENDER: Bender  
PIT ENV A-TIME  
PIT ENV D-TIME  
PIT ENV R-TIME  
AFTERTOUCH: Aftertouch  
SYS-CTRL1: System controller 1  
SYS-CTRL2: System controller 2  
SYS-CTRL3: System controller 3  
SYS-CTRL4: System controller 4  
VELOCITY: Velocity  
TVF parameters ([PATCH] - [F3 (TVF)] (p. 140))  
CUTOFF  
RESONANCE  
TVF ENV A-TIME  
TVF ENV D-TIME  
TVF ENV R-TIME  
KEYFOLLOW: Keyfollow  
TEMPO: Tempo  
TVA parameters ([PATCH] - [F4 (TVA)] (p. 143))  
LEVEL  
LFO1  
2 1 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
PAN  
Ap p lica tio n s fo r Pa tch e s  
TVA ENV A-TIME  
TVA ENV D-TIME  
TVA ENV R-TIME  
Sy n cin g th e LFO Cy cle to Sy ste m  
Te m p o  
Se n s  
1 . Select the Patch you wish to synchronize on the PATCH  
Range: -63+63  
PLAY page.  
Adjusts the amount of change that will occur in response to  
controller changes. Negative (-) values invert the change.  
Negative (-) settings will invert the phase. For LFO rates,  
negative (-) values slow down the LFO, and positive (+)  
values will speed it up.  
2 . Set the Patch Clock Source parameter (PATCH Common  
General #2 page) to SYSTEM.”  
3 . Set the beat length of the Rate (PATCH LFO&TL LFO 1, 2  
page) of each Tone to match the System Tempo.  
To n e  
4 . Set the System Clock Source parameter (SYSTEM  
General #1 page) to INT.”  
Selects the Tone to which the two previous parameter  
settings are applied. oturns signifies that the Tone is  
selected for control, _that it is not selected, and Rthat  
the change being applied is inverted when applied to this  
Tone.  
* When System Clock Source is set to “MIDI,” you can  
synchronize the Multi-effect to the tempo of an external MIDI  
device.  
5 . If the System Tempo (SYSTEM General #1 page)  
changes, the LFO Rate changes along with it.  
6 . Set the modulation depth as desired using LFO Depth  
(PATCH LFO&CTL LFO 1, 2 page) for each Tone.  
* Tempo synchronization is not available with Multi-Partial  
Patches.  
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  
Multi-effects.  
MFX Type  
MFX parameter  
Step Rate  
16:STEP FLANGER  
19:TRIPLE TAP DELAY  
Delay L-R  
20:QUADRUPLE TAP DELAY Delay1-4  
41:STEREO PHASER  
42:KEYSYNC FLANGER  
43:FORMANT FILTER  
45:MULTI TAP DELAY  
46:REVERSE DELAY  
47:SHUFFLE DELAY  
48:3D DELAY  
Rate,Step Rate  
Rate,Step Rate  
Rate  
Delay1-4  
Delay1-4  
Delay  
Delay Left/ Right/ Center  
58:SLICER  
Rate  
60:3D CHORUS  
Rate  
61:3D FLANGER  
62:TREMOLO  
Rate,Step Rate  
Rate  
63:AUTO PAN  
Rate  
2 1 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
64:STEREO PHASER2  
65:STEREO AUTO WAH  
66:ST FORMANT FILTER  
67:MULTI TAP DELAY 2  
68:REVERSE DELAY 2  
69:SHUFFLE DELAY 2  
70:3D DELAY 2  
Rate,Step Rate  
Rate  
6 . If the System Tempo (SYSTEM General #1 page)  
changes, the LFO Rate changes along with it.  
Rate  
Delay1-4  
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  
Delay1-4  
Delay  
* You can use the Tone Delay only with Four-Tone Patches.  
Delay Left/ Right/ Center  
Woofer Speed Slow/  
Fast,Tweeter Speed Slow/  
Fast  
1 . Select a Patch on the PATCH PLAY page.  
71:ROTARY 2  
2 . Set the Patch Clock Source parameter (PATCH Common  
General #2 page) to SYSTEM.”  
72:ROTARY MULTI  
Rotary High/ Low Slow  
Rate,Rotary High/ Low Fast  
Rate  
3 . Set the Time parameter (PATCH WG Parameter page) of  
Tone Delay to the beat length for the tempo you are  
synchronizing.  
If not, reset it so that it is.  
73:KEYBOARD MULTI  
Phaser Rate,Delay Time  
Left/ Right  
4 . Set the System Clock Source parameter (SYSTEM  
General #1 page) to INT.”  
74:RHODES MULTI  
81:GUITAR MULTI A  
Phaser Rate,CF Rate,TP Rate  
Delay Time Left/ Right,CF  
Rate  
* When System Clock Source is set to “MIDI,” you can  
synchronize the Multi-effect to the tempo of an external MIDI  
device.  
82:GUITAR MULTI B  
83:GUITAR MULTI C  
CF Rate  
AW Rate,Delay Time Left/  
Right,CF Rate  
5 . If the System Tempo (SYSTEM General #1 page)  
changes, the LFO Rate changes along with it.  
84:CLEAN GUITAR MULTI A Delay Left/ Right,CF Rate  
85:CLEAN GUITAR MULTI B AW Rate,Delay Left/ Right,  
CF Rate  
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  
86:BASS MULTI  
CF Rate  
Speed  
89:3D AUTO SPIN  
1 . Connect a pedal switch (DP-2, DP-6, etc.) to your  
external device (MIDI keyboard, etc.).  
Here is an example in which STEP FLANGER is used for the  
Multi-effects.  
2 . Set the pedal switch of the external MIDI device to  
generate FOOT TYPE (CC4) control-change messages.  
1 . Select a Patch on the PATCH PLAY page.  
To learn how to set up the pedal switch, refer to the external  
MIDI devices owners manual.  
2 . Set the Patch Clock Source parameter (PATCH Common  
General #2 page) to SYSTEM.”  
3 . Select PR-A: 050 Perky Bon the PATCH PLAY page.  
3 . Make sure that MFX Type (PATCH Effects General page)  
This Patch uses ROTARY as its Multi-effect.  
is set to STEP FLANGER.  
4 . Go to the PATCH Effects MFX Control page and set  
If not, reset it so that it is.  
Source of MFX Control 1 to FOOT TYPE.”  
4 . Make sure that Step Rate (PATCH Effects MFX page) is  
5 . Set Destination to SPEED,and Sens to +63.”  
set to a notenot a numericalvalue.  
When you wish to speed up the rotary effect, press the pedal  
switch. Release the pedal switch to slow down the rotary  
effect.  
If not, reset using a note value.  
5 . Set the System Clock Source parameter (SYSTEM  
General #1 page) to INT.”  
* When System Clock Source is set to “MIDI,” you can  
synchronize the Multi-effect to the tempo of an external MIDI  
device.  
Pla y in g Ph ra se Lo o p s a t a  
Sy ste m s Te m p o  
An optional Wave Expansion Board can contain Patches  
based on waveforms that are timedin BPMphrase loops.  
2 2 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
                 
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
You can play these phrase loops in sync with the System  
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  
Tempo.  
1 . On the PATCH PLAY page, select a Patch that uses a  
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-5080. 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.  
phrase loop.  
2 . Set the Patch Clock Source parameter (PATCH Common  
General #2 page) to SYSTEM.”  
3 . Call up the PATCH WG Parameter page.  
4 . Press TONE SELECT [1][4] to choose the Tone that uses  
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.  
waveforms with BPM indication.  
Waveform names that have a BPM number in the first part of  
the name (such as 132: WAVE NAME) are phrase loop  
waveforms.  
For more detailed information about Control Change  
messages, please refer to MIDI Implementation(p. 282).  
5 . Confirm that Wave Tempo Sync is set to "ON."  
To changing multi-effects, reverb, or chorus effects from an  
external MIDI device, send a System Exclusive message(p.  
285).  
6 . Set the Time parameter (PATCH WG Parameter page) of  
Tone Delay to 0.”  
If you select a value other than 0, a delay will be applied, and  
you will not be able to play the Patch normally.  
Making the Volume Change (p. 282)  
Volume: Controller number 7  
Changing the Stereo Location (p. 282)  
Pan: Controller number 10  
Applying Portamento (p. 283, p. 288)  
7 . Set the System Clock Source parameter (SYSTEM  
General #1 page) to INT.”  
* When System Clock Source is set to “MIDI,” you can  
synchronize the Multi-effect to the tempo of an external MIDI  
device.  
Portament: Controller number 65 (Portamento switch),  
Controller number 5 (Portamento time)  
Changing SoundsAttack and Release Time (p. 283)  
8 . When the System Tempo (SYSTEM General #1 page)  
Rel: Controller number 72  
Atk: Controller number 73  
changes, the speed of the phrase loop changes along with  
it.  
Changing the Cutoff Frequency (p. 283)  
Cut: Controller number 74  
Changing the Resonance (p. 283)  
Res: Controller number 71  
Changing the Amount of Internal Chorus/ Reverb (p. 284)  
* 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.  
Chorus: Controller number 93  
Reverb: Controller number 91  
Changing the Pitch (p. 285)  
Coarse: Controller number 100 (value is 2), Controller  
number 101 (value is 0), Controller number 6 (value is  
16112)  
Fine: Controller number 100 (value is 1), Controller  
number 101 (value is 0), Controller number 6 (value is  
3296), Controller number 38 (value is 0127)  
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.  
When changing the Fine parameter, set the amount of change  
2 2 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
in pitch with the Control Number 6 (Data Entry MSB) and  
Control Number 38 (Data Entry LSB) settings. There is no  
What is RPN?  
change in pitch when Data Entry MSB is set to 64and Data  
RPN(Registered Parameter Number) is an extension  
Entry LSB to 0.The pitch is raised as the respective values  
message prepared by Control Change message. Use RPN  
when using an external MIDI device to change the XV-  
5080s 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-5080 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.  
increase, and lowered as the respective values decrease.  
Specifying the Range of Pitch Bend (p. 284)  
BendRng: Controller number 100 (value is 0), Controller  
number 101 (value is 0), Controller number 6 (value is 0–  
12)  
<Procedure>  
Enable the external MIDI device to send a Control Change  
message.  
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.  
Once the XV-5080 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.  
For information on how to make the settings, refer to the  
owners manual for your external MIDI device.  
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.  
Operate the external MIDI device (adjust the controls, play  
back using the sequencer, etc.) to send the settings.  
Not only is the actual sound played changed, but the values  
appearing in the display are changed as well.  
Controller number 100: value 2”  
Controller number 101: value 0”  
Controller number 6: value 65”  
Controller number 100: value 127<- RPN null  
Controller number 101: value 127<- RPN null  
For more detailed information about RPN, please refer to  
the MIDI Implementation(p. 282).  
2 2 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
Control are disabled, and the two Tones play  
Ap p lica tio n s fo r Ma trix  
Co n tro l  
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.  
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 Pla y s  
* The Velocity-Ctrl settings are given priority when both  
Velocity-Ctrl and Matrix-Ctrl are set to “ON.”  
When TMT (Tone Mix Table) is selected as the Matrix  
Control destination, you can change the timing at which  
tones used in Patches are played with the Control Source  
controller.  
6 . Select LFO1as the Matrix Control1 source in the  
PATCH LFO&Ctrl #1 page (p. 146).  
7 . Set one of Destination:SnsTone of Matrix Control1 as  
shown below.  
Here is an example of a Patch with LFO1 set to Control  
Source, which changes the timing at which the tone is played  
based on the LFO1s amplitude value.  
Destination: TMT  
Sns:  
+63  
Tone:  
o o _ _ (applied to Tone 1 and 2)  
1 . Select PR-E: 043 Morph Padon the PATCH PLAY  
page.  
8 . In the PATCH LFO&Ctrl LFO1 page (p. 145), set the  
2 . In the PATCH Common TMT Vel Range page (p. 133),  
set the Velocity Range V.L (Lower) and V.U. (Upper)  
settings for Tone 1 and 2.  
tone=1  
tone=2  
Form:  
Value:  
SIN  
64  
SIN  
127  
Set the Velocity Range for both of the tones as follows.  
V.L  
:
V.U  
tone = 1  
tone = 2  
0
:
:
64  
To change the wave, specify the wave for Tone 1 and 2 in the  
PATCH WG Parameter page (p. 136).  
65  
127  
3 . In the PATCH Common TMT Vel Range page, set the  
Velocity Fade L.F and U.F settings to 10for Tones 1  
and 2.  
In this case, you can use the Palette function (p. 135) to  
display the parameters of four Tones in one screen, making it  
easier to adjust these settings.  
This makes the Tones fade in and out smoothly outside their  
velocity ranges.  
9 . Press [EXIT] to return to the PATCH PLAY page.  
4 . Set TMT Control Switch Velocity-Ctrl to OFF.”  
This setting disables the Velocity Range settings made in  
Step 2 and causes the two Tones to sound simultaneously,  
regardless of the velocitythe force with which keys are  
playedreceived from your MIDI keyboard or sequencer.  
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.  
5 . Set TMT Control Switch Matrix-Ctrl to ON.”  
This setting allows the TMT to be controlled by the Matrix  
Control Controller. The following chart shows all the  
relationships between Velocity-Ctrl of TMT Control Switch  
and Matrix-Ctrl.  
(1)  
(2)  
(3)  
(4)  
[Velocity-Ctrl]  
[Matrix-Ctrl]  
ON  
OFF  
OFF  
ON  
ON  
OFF  
ON  
OFF  
(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  
2 2 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
Pla y in g Ba ck a GM Sco re  
Usin g th e XV-5 0 8 0 a s a  
When the XV-5080 is in GM mode, it plays back GM scores  
correctly. But beyond this, the XV-5080 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.  
Ge n e ra l MIDI So u n d Mo d u le  
The XV-5080 features a GM mode (GM2)a convenient way  
to play back or create GM score data (music files for General  
MIDI sound module). Youre able to play back commercial  
GM score data releases and even modify various parameter  
settings for enhanced musical expression.  
In addition, although the XV-5080 can also be compatible  
with the GS format by receiving a GS Reset MIDI message,  
Rolands 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.  
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-5080 will switch itself to GM mode. But if  
you play back a GM score starting in the middle of a song,  
XV-5080 may not switch itself to GM mode, and the GM  
score may not play back correctly. So to be safe, its  
recommended to manually set the XV-5080 to GM mode  
before playing back a GM score.  
But however, you cant store GM mode settings in user  
memory.  
fig.10-003.e_70  
The GM PLAY page shows a Patch or Rhythm Set assigned  
to each Part.  
Mu tin g a Sp e cific Pa rt  
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.  
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.  
First, press [RX] to make its indicator light.  
At this time, the on/ off setting of each Part will be shown by  
the indicators of PART SELECT [1/ 17][16/ 32]. Lit is on, and  
dark is off.  
1 . Press [GM] in MODE to call up the GM PLAY page.  
When you switch the XV-5080 into GM mode, the sound  
generator initializes itself for basic GM System settings.  
Press PART SELECT [1/ 17][16/ 32] to turn the Part on/ off.  
2 . To change the current Part, press [  
] or [  
].  
* In GM mode, [1-16/17-32] will be ignored.  
3 . To change the GM Patch or GM Rhythm Set assigned to  
the Part, perform the same procedure as you usually 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  
To play back a GM score correctly, the sound generator must  
first be initialized to basic GM system settings. The XV-5080s  
sound generator is initialized in the General MIDI settings.  
When Switching to GM Mode  
When it receives a GM System On message from an  
external MIDI device  
When a GM System On message is encountered in the  
song data being played back  
When the XV-5080s power is turned on.  
When you execute the GM Initialize function (p. 229).  
2 2 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
5 . If you wish to move to another page group, use [F2][F5]  
Tu rn in g Effe cts O n / O ff  
to choose a group.  
fig.10-004.e_70  
* You can also move to another display group by holding down  
[SHIFT] and using [  
] or [  
].  
6 . Repeat steps 25 to complete a GM mode settings.  
7 . When you finish making settings, press [EXIT] to return  
to the GM PLAY page.  
1 . Press [EFFECTS ON/ OFF].  
* You can also use the Palette display in the same manner when  
you edit in Performance mode (p. 135).  
2 . Use [  
] or [  
] to select the effects device to be  
turned on or off.  
3 . Pressing [INC] turns it on and pressing [DEC] turns it  
Se ttin g s fo r Pla y in g So u n d s ([F2  
(Co n tro l)])  
off.  
fig.10-005.e_70  
EQ  
An equalizer lets you boost or cut specified frequency ranges  
of a sound to adjust the tone.  
* Although you can add equalization to each of the XV-5080’s  
output jacks, this operation turns the EQ for all of the outputs  
on and off simultaneously.  
Mo d ify (Pa rt Mo d ify )  
Ch o ru s  
You can determine how a Part will pay a sound by setting it  
to modify the sounds programmed cutoff frequency,  
Resonance, and TVF and TVA Envelope attack and release  
time settings.  
Chorus is an effect that add fatness and breadth to the sound.  
Re ve rb  
Reverb is an effect that adds reverberation resembling that  
created when sounds are played in a hall.  
Cu to ff O ffse t (Pa rt Cu to ff O ffse t)  
Range: -64+63  
Mo d ify in g GM Mo d e Se ttin g s  
Sets ratio by which the relative change in the TVF cutoff  
frequency value for the tone selected for the part is  
determined.  
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.  
Re so n a n ce O ffse t (Pa rt Re so n a n ce O ffse t)  
When GM mode is initialized (p. 229), all these settings will  
be lost.  
Range: -64+63  
Sets ratio by which the relative change in the TVF Resonance  
value for the tone selected for the part is determined.  
1 . Press [GM] to enter GM mode.  
2 . Press [F2][F5] to choose the page group you want to set.  
Atta ck Tim e O ffse t (Pa rt Atta ck Tim e O ffse t)  
Range: -64+63  
3 . Press [  
]/ [  
]/ [  
]/ [  
] to move the cursor to  
Sets ratio by which the relative change in the TVF/ TVA  
envelope attack time value for the tone selected for the part is  
determined.  
the parameter you want to set.  
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/ 17][16/ 32] to select a Part.  
Re le a se O ffse t (Pa rt Re le a se Tim e O ffse t)  
Range: -64+63  
4 . Use the VALUE dial or [INC] / [DEC] to modify the  
Sets ratio by which the relative change in the TVF/ TVA  
envelope release time value for the tone selected for the part  
is determined.  
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.  
2 2 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
Specifies the stereo location of the sound of each Part. L63 is  
Ke y Mo d e  
far left, 0 is center, and 63R is far right.  
Mo n o / Po ly (Pa rt Mo n o / Po ly )  
* If you modify the settings for Part Volume or Part Pan, they  
will be reflected in the Part Information page.  
Range: MONO/ POLY  
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.  
Tu n e  
Sets the pitch for each Part.  
Po rta m e n t (Po rta m e n to )  
Co a rse (Co a rse Tu n e )  
Range: -48+48  
Sw itch (Po rta m e n to Sw itch )  
Adjusts the pitch of the Parts sound up or down in semitone  
Specifies whether the portamento effect will be applied (ON)  
or not (OFF).  
steps over a range of +/ -4 octaves.  
Fin e (Fin e Tu n e )  
Tim e (Po rta m e n to Tim e )  
Range: -50+50  
Range: 0127  
Makes fine adjustments in 1-cent steps to the pitch specified  
in Coarse Tune.  
When portamento is used, this specifies the time over which  
the pitch will change. Higher settings will cause the pitch  
change to the next note to take more time.  
One cent is 1/ 100th of a semitone.  
Be n d Ra n g e  
Th e Pa tch Se le ctio n / Vo lu m e / Pa n / Pitch  
Se ttin g s ([F3 (Pa rt)])  
fig.10-006.e_70  
Va lu e  
Range: 024  
Sets the amount of pitch change that will occur when you  
move the Pitch Bend lever.  
The amount of change when the lever is tilted is set to the  
same value for both left and right sides.  
Pa tch (Pa rt Pa tch )  
You can select the Patch or Rhythm Set that will be assigned  
to each Part.  
Ty p e  
Range: PATCH/ RHYTHM  
Selects the Patch (PATCH) or Rhythm Set (RHYTHM) the  
Part will play.  
N u m b e r  
Specifies the number of the Patches (1256) or Rhythm Set  
(14) that is assigned to each Part.  
Le ve l&Pa n  
Sets the volume and pan for each Part.  
Pa rt Vo lu m e  
Range: 0127  
Sets the volume of the Part.  
Pa rt Pa n  
Range: RANDOM/ L6363R  
2 2 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
Pa rt Re ve rb Se n d Le ve l  
Ma k in g MIDI Se ttin g s fo r Ea ch Pa rt  
([F4 (MIDI)])  
Range: 0127  
fig.10-007.e_70  
Adjusts the amount of Reverb for each Part.  
Re ve rb Se n d Le ve l  
Range: 0127  
Determines the level of the signal sent from Chorus to  
Reverb.  
PART MIDI  
Ch o ru s O u tp u t Assig n  
Range: AD  
Re ce ive Ch a n n e l (MIDI Ch a n n e l)  
Range: 116/ OFF  
Sets the output destination for Chorus.  
Specifies the MIDI channel for each Part.  
Re ve rb O u tp u t Assig n  
Range: AD  
Pa rt MIDI Re ce ive Sw itch  
Sets the output destination of the reverb sound.  
Re ce ive Sw itch  
GM Effects Chorus page ([F5 (Effects)] - [F2  
(Chorus)])  
Sets whether each Part will respond to received MIDI  
messages (ON) or not (OFF) from external MIDI devices.  
Here, settings for the chorus effect used in GM mode are  
made.  
Pa rt Mu te  
In GM mode, the Chorus effect settings for the GM Patch  
assigned to each Part will be ignored (except for the Send  
Sw itch (Pa rt Mu te Sw itch )  
Level parameter).  
fig.10-009.e_70  
Turns muting of each part on (MUTE) or off (OFF).  
Ma k in g Effe cts Se ttin g s ([F5 (Effe cts)])  
Here, settings for the Chorus/ Reverb effects used in GM  
mode are made.  
When the effect name in the upper right of the screen  
appears in dashed lines, it indicates that the corresponding  
effect for the screen is set to OFF. Turn the corresponding  
effect on before you make settings (p. 225).  
Ty p e (Ch o ru s Ty p e )  
Selects the type of Chorus.  
Available Settings:  
GM Effects General page ([F5 (Effects)] - [F1 (General)])  
CHORUS 14: Chorus 14  
FB CHORUS: Feedback Chorus  
FLANGER: Flanger  
fig.10-008.e_70  
Ra te (Ch o ru s Ra te )  
Range: 0127  
Sets the modulation speed of the Chorus.  
Pa rt O u tp u t Assig n  
Range: AD  
De p th (Ch o ru s De p th )  
Range: 0127  
Sets the output destination for each Part.  
Adjusts the modulation depth for the Chorus.  
Pa rt Dry Se n d Le ve l  
Range: 0127  
Fe e d b a ck (Ch o ru s Fe e d b a ck Le ve l)  
Sets the volume level of the Part.  
Range: 0127  
Adjusts the amount of chorus sound that is returned (fed  
back) to the chorus. Higher settings will result in a more  
intense effect.  
Pa rt Ch o ru s Se n d Le ve l  
Range: 0127  
Adjusts the amount of Chorus for each Part.  
2 2 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
GM Effects Reverb page ([F5 (Effects)] -  
[F3 (Reverb)])  
Ch e ck in g MIDI In fo rm a tio n fo r Ea ch  
Pa rt ([F6 (In fo )])  
GM mode reverb settings are made here.  
In this screen, you can check the reception status of the  
various types of MIDI messages, on an individual Part basis.  
This is a convenient way to check that the sound generator is  
responding correctly to messages from a keyboard or  
external MIDI controllers.  
In GM mode, the reverb effect settings for the GM Patch  
assigned to each Part will be ignored (except for the Send  
Level parameter).  
fig.10-010.e_70  
* Use [  
] or [  
] to select a display page.  
Mod (Modulation Information)  
Breath (Breath Information)  
Foot (Foot Information)  
Ty p e (Re ve rb Ty p e )  
Vol (Volume Information)  
Pan (Pan Information)  
Selects the type of Reverb.  
Available Settings:  
Exp (Expression Information)  
Hold (Hold 1 Information)  
Bend (Pitch Bend Information)  
Aftertouch (Aftertouch Information)  
Voices (Voice Information)  
SMALL ROOM: Reverb obtained in a small sized room.  
MEDIUM ROOM: Reverb obtained in a somewhat larger  
room.  
LARGE ROOM: Large room reverb.  
MEDIUM HALL: Reverb sound found in a medium sized  
concert hall.  
Utility Fu n ctio n s in GM Mo d e  
LARGE HALL: Reverb sound found in a large concert hall.  
In the GM mode, you can initialize GM mode, and transmit  
GM mode settings, using the Utility functions.  
PLATE: Plate reverb effect  
Tim e (Re ve rb Tim e )  
Setting Procedure:  
Range: 0127  
1 . In GM mode, press [SYSTEM/ UTILITY], getting the  
Adjusts the time over which the reverberation will continue.  
indicator to light.  
The unit should now be in Utility mode.  
2 . Press [F6 (Menu)] to select the function.  
3 . Press F button.  
4 . Press [SYSTEm/ UTILITY] to return to the GM PLAY  
page.  
The functions of the UTIL 2 group can also be executed from  
GM mode. The operation is the same as in other modes.  
Press [] or [] until the desired function is blinking, then press  
[ENTER].  
The page for the function youve selected will appear.  
Set parameters as necessary on each functions page.  
To cancel the operation, press [EXIT]. To return to the GM  
PLAY page, press [UTILITY], extinguishing the indicator.  
Press [ENTER] to execute the function.  
Once the write operation is finished, COMPLETEDwill  
momentarily appear in the display, then youre returned to  
the GM PLAY page.  
2 2 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
Once the external MIDI device is ready to record data, you  
In itia lizin g GM Se ttin g s (In it)  
can press [ENTER].  
For details of the settings that are transmitted, refer to MIDI  
Implementation(p. 282).  
If you do not want the settings of a specific Part to be  
transmitted, turn off the Receive Switch for that Part (p. 227).  
Pro te ctin g th e In te rn a l  
Me m o ry (PRO TECT)  
This feature helps prevent the accidental overwriting of  
USER memory to ensure that Patch, Performance or Rhythm  
Set data is not accidentally erased.  
As GM Initialize initializes only GM mode settings, data  
stored in user memory will not be initialized. If you want to  
restore the factory values of all settings, carry out Factory  
Reset (p. 206).  
Internal (Internal Write Protect)  
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-5080s 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.  
With the XV-5080, you can operate two separate, 16-part GM  
sound generators, one for each of the two MIDI IN jacks,  
each of which can be can be initialized separately.  
In itia lizin g th e GM So u n d Ge n e ra to r Use d in  
GM Mo d e (F1 (GM)]  
Mo d e  
GM:  
Instates the GM System basic settings.  
Instates the GM2 System basic settings.  
Exclusive (Exclusive Protect)  
GM2:  
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.  
In itia lizin g th e GM So u n d Ge n e ra to r Use d  
O n ly fo r MIDI IN 2 (F2 (MIDI In 2 )]  
Mo d e  
GM:  
Instates the GM System basic settings.  
Instates the GM2 System basic settings.  
The MIDI IN 2-specific GM sound generator is  
GM2:  
1 . Press [SYSTEM/ UTILITY] to make its indicator blink.  
GM OFF:  
* If the indicator is blinking, you are in UTILITY mode. Press  
[SYSTEM/UTILITY] once again to make its indicator light.  
turned off. When GM OFFis selected, the data for both  
MIDI IN 1 and 2 is received by the GM sound generator  
using GM mode.  
2 . Press [F6 (Menu)], then select Menu1.  
After the parameters have been set, pressing [F6 (Init)]  
executes the initialization.  
3 . Press [F5 (Protect].  
User Memory Protectscreen appears.  
Tra n sm ittin g GM Mo d e Se ttin g s (XFER)  
fig.10-014.e_70  
4 . Press [  
]/ [  
] to move the cursor to the parameter  
GM mode settings cannot be stored in user memory. If you  
wish to keep your GM mode settings, you can transmit them  
as MIDI messages to an external MIDI device, where they  
can be saved.  
you want to set.  
5 . Turn the VALUE dial or press the [INC]/ [DEC] button to  
select the destination.  
2 2 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
           
Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0  
6 . Press [EXIT] several times to return to the applicable  
PLAY page.  
* Even if the Internal Write Protect setting is “ON” (write  
prohibit), incoming System Exclusive messages can rewrite  
the User memory data if the Exclusive Protect setting is set to  
“OFF” (write permit).  
2 3 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ap p e n d ice s  
2 3 1  
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.  
* If a message appears during operation, consult the following  
section (p. 235).  
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. 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. 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-  
5080.  
Pitch is w ro n g  
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 ?  
Is th e Ma ste r Tu n e se ttin g co rre ct?  
Check the setting. (p. 209)  
Check the level settings of each Tone, Patch and each  
Is Sca le Tu n e se le cte d ?  
Part.  
Check the setting. (p. 209)  
Are To n e s o r Pa rts tu rn e d o ff?  
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?  
Check the on/ off settings of each Tone and each Part.  
Are th e k e y ra n g e se ttin g s co rre ct?  
Check each setting.  
Check the key range settings of each Tone and each Part.  
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 ?  
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 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. 166, p. 228)  
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. 166,  
p. 228)  
Are th e e ffe ct se ttin g s co rre ct?  
Check settings such as Effect On/ Off, and Effect Balance  
and Level.  
2 3 2  
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.  
An uninitialized Memory Card cannot be used. Perform  
Are th e va rio u s e ffe ct se ttin g s co rre ct?  
the initialize operation. (p. 196)  
If the send levels to each effect are at 0, effects will not  
apply. Check each setting.  
Are y o u u sin g a ca rd w h ich th e XV-  
5 0 8 0 d o e s n o t su p p o rt?  
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.  
It is not possible to read the contents of a card which is  
for the XV-5080. Also, it is not possible to write data to a  
Memory Card which was formatted on a device other  
than the XV-5080.  
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.  
So n g d a ta d o e s n o t  
p la y b a ck co rre ctly  
Are y o u p la y in g b a ck fro m th e m id d le  
o f th e so n g ?  
MIDI m e ssa g e s a re n o t  
re ce ive d co rre ctly  
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.  
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 and the  
various switches for reception of MIDI messages.  
Since the XV-5080 is a GM system compatible sound  
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. 205)  
Th e SCSI d e vice is n o t b e in g  
re co g n ize d .  
in th e w ro n g o rd e r?  
Is th e DEMO PLAY p a g e d isp la y e d ?  
Read Turning On the Powerin Quick Start (P. 12),  
then turn on the power to the devices in the correct  
order.  
When the DEMOPLAY page is displayed, MIDI  
messages received from an external device will be  
ignored.  
W ith so m e SCSI d e vice s, it ca n ta k e  
lo n g e r th a n u su a l b e fo re th e y a re  
re co g n ize d  
Should this be the case, set a higher value for the SCSI  
following the instructions in Turning Off the Powerin  
Quick Start (P. 12). Then, following the instructions in  
Turning On the Powerin Quick Start (P. 12), turn on  
2 3 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
         
Tro u b le sh o o tin g  
the power in the proper sequence. If the device is still not  
being recognized, even with the setting at the maximum  
value, then that SCSI device cannot be used with the XV-  
5080.  
Is a n y SCSI ID b e in g u se d fo r m o re  
th a n o n e d e vice ?  
If more than one device shares the same SCSI ID, then  
connected devices will not be correctly recognized.  
Follow the procedure described on p. 185 to set the SCSI  
IDs so that none is shared by any other device.  
Co m m e rcia l sa m p le r d a ta fo r o th e r  
d e vice s ca n n o t b e lo a d e d .  
The XV-5080 is capable of loading S-700 Series and AKAI  
S-1000/ 3000 data. Other formats are not compatible.  
Please confirm the compatibility of any commercial data  
CD-ROM or other media you are using.  
AKAI S-1000/ 3000 data is converted when loaded to the  
XV-5080. There may be differences in the data compared  
to when it is played on the AKAI S-1000/ 3000.  
Th e re is n o so u n d fro m th e d ig ita l o u t,  
o r th e re is n o ise .  
The XV-5080s digital out is not compatible with  
sampling frequencies (word clock) other than 44.1 or 48  
kHz. When using the XV-5080 with the digital outs  
synchronized to an external device, check the sampling  
frequency (word clock) of the external device.  
When the sampling frequency (word clock) of the XV-  
5080s digital outs is synchronized to an external device,  
noise can sometimes be introduced as a result of the  
manner in which the cables carrying the signal have  
been run. Consequently, noise can be added to the audio  
signal, or in some cases, sound may not be heard. In such  
instances, you may be able to alleviate problems by  
rearranging the cables used to connect the devices.  
2 3 4  
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-5080 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.  
De st Disk In co rre ct!  
Cause:  
The media is of a format that cannot be written  
by the XV-5080.  
Action:  
Prepare media of a format that the XV-5080 is  
able to write.  
All Da ta o n th e Drive W ill Be Lo st.It  
W ill Ta k e a Lo n g Tim e .Are Yo u Su re ?  
Disk Fu ll!  
Cause:  
The media is full.  
Condition: When you execute a Full Format, all data on the  
disk will be lost. Also, a substantial length of  
time is required for a full format. Is it OK to  
execute the operation?  
Action:  
Either delete unneeded files (p. 198), or prepare  
another media.  
Disk N o t Re a d y !  
Cause:  
Action:  
To cancel the operation, press [F1 (CANCEL)].  
To execute the full format, press [F6 (FORMAT)].  
The media is not ready.  
Action:  
Insert another media.  
All Da ta o n th e Drive W ill Be Lo st.Are  
Yo u Su re ?  
DISK, Re a d Erro r!  
Situation:  
An error occurred during read of the disk.  
Condition: When you execute a Quick Format, all data on  
the disk will be lost. Is it OK to execute the  
operation?  
Action:  
This disk cannot be used.  
DISK, W rite Erro r!  
Situation:  
Action:  
To cancel the operation, press [F1 (CANCEL)].  
To execute the full format, press [F6 (FORMAT)].  
An error occurred during writing to the disk.  
Action:  
This disk cannot be used.  
Ba tte ry Lo w  
Situation: The internal backup battery that is preserving  
File Fo rm a t Erro r  
Situation: The XV-5080 cannot handle this file.  
the contents of user memory has run down.  
Action:  
Consult your dealer or a nearby Roland service  
station to have the battery replaced.  
File I/ O Erro r  
Situation: It was not possible to save/ load a file.  
Action:  
Try the operation once again. If the same  
message appears, that file has been damaged.  
Delete the damaged file.  
Ca n n o t Fin d Ta rg e t File !  
Condition: The performance specified for Auto Load was  
not found.  
Action 1: Make sure that the drive you specified for Auto  
FILE N AME DUPLICATE, File (file n a m e )  
Alre a d y Ex ists!  
Performance Load is connected.  
Action 2: In the case of a Zip disk, insert it into the drive.  
Situation: A folder with the same name already exists.  
Action:  
Delete the file bearing the same name from the  
disk, and if overwriting and saving the data,  
merely save the file. If you do not want to delete  
the file with the same name from the disk, either  
save the file with a different name or save it to a  
different disk.  
2 3 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
Erro r Me ssa g e s  
File N a m e (Fo ld e r, Vo lu m e )Fo rm a t  
Erro r  
IMPRO PER DISK, Th is Disk is n o t fo r  
th e XV-5 0 8 0 .  
Situation: A file name has not been assigned.  
Situation: The disk format is not one that can be used by  
Action:  
Assign a file name.  
the XV-5080.  
Action:  
Exchange the disk with one in a format that the  
XV-5080 can use, or initialize the disk for use  
with the XV-5080.  
File n o t Fo u n d  
Situation: The specified file was not found.  
Action:  
Insert the memory card that contains the  
Ille g a l Fo rm a t!  
specified file, and try the operation once again.  
Cause:  
Since the format of this file is incorrect, it cannot  
File Re a d Erro r!  
be loaded.  
Cause 1: The data is damaged, and cannot be loaded.  
Action:  
Do not use this file.  
Action 1: Do not use this file.  
Ille g a l PCM W a ve ! Ca n n o t Lo a d Th is  
W a ve .  
Cause 2: A problem has occurred with the connected SCSI  
device.  
Cause:  
This file uses a type of compression that the XV-  
5080 is unable to read.  
Action 2: Check the connections and power supply of the  
SCSI device.  
Action:  
Use the device that created the file to convert the  
data into an 8 bit or 16 bit wave.  
File W rite Erro r!  
Cause 1: The media is of a format to which the XV-5080  
Me m o ry Ca rd Fu ll  
cannot write.  
Situation: There is insufficient space available on the  
Action 1: Prepare a media that is of a format to which the  
memory card to save the data.  
XV-5080 is able to write.  
Action:  
Either insert a different memory card, or delete  
unnecessary data and try the operation once  
again.  
Cause 2: A problem has occurred with the connected SCSI  
device.  
Action 2: Check the connections and power supply of the  
SCSI device.  
Me m o ry Ca rd I/ O Erro r  
Situation: It is possible that the memory card has been  
Fo ld e r Le ve l To o De e p !  
scratched or otherwise damaged.  
Cause:  
You have exceeded the allowable depth to which  
folders can be created.  
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:  
Create the folder at a shallower level of the  
folder hierarchy.  
Fo rm a t Co m p le te d !  
Condition: Formatting has been completed.  
Me m o ry Ca rd n o t Re a d y  
Situation: A memory card is not inserted in the MEMORY  
CARD slot.  
Action:  
Press [F6 (ACCEPT)] to erase the message.  
Action:  
Turn off the power, and insert a memory card.  
2 3 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Erro r Me ssa g e s  
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.  
PASSW O RD PRO TECTED, Th is Zip Disk  
is Pro te cte d b y Pa ssw o rd !  
Situation: This disk is write-protected by password. The  
write protection cannot be removed with the  
XV-5080.  
Action:  
Remove the write protect sticker from the  
memory card.  
Action:  
Either use the device with which the password  
protection was applied to remove the  
protection, or prepare a Zip disk that is not  
write-protected.  
Me m o ry Erro r!  
Cause:  
For some reason, wave memory cannot be read  
or written.  
Pa th Du p lica te !  
Action:  
The SIMM may be damaged. If the same message  
appears even after reinstallation, use a different  
SIMM.  
Cause:  
You are attempting to write to the same  
hierarchical level.  
Action:  
Change the writing destination.  
Me m o ry Fu ll!  
Cause:  
Due to insufficient wave memory, Reading is not  
Pa th N a m e To o Lo n g !  
possible.  
Cause:  
The path name is too long.  
Action:  
Delete unwanted samples from the XV-5080s  
Action:  
Shorten the names of each folder. Alternatively,  
move the entire folder to a shallower level of the  
hierarchy (p. 201).  
memory (p. 197).  
MIDI Bu ffe r Fu ll  
* The “path” indicates the hierarchical level at which the file is  
located. It is given together with the folder name.  
Situation: Due to an inordinate volume of MIDI messages  
received, the XV-5080 has failed to process them  
properly.  
Pe rfo rm a n ce (Pa tch / Pa rtia l/ Sa m p le )  
Fu ll!  
Situation: Although the specified data was loaded, the  
required free space for the Performance (Patch/  
Partial/ Sample) is not available.  
Action:  
Reduce the amount of MIDI messages to be  
transmitted.  
MIDI Co m m u n ica tio n Erro r  
Situation: A problem has occurred with the MIDI cable  
connections.  
Action:  
Try loading again after deleting any unneeded  
Performances (Patches/ Partials/ Samples).  
Action:  
Check that MIDI cables are not broken or pulled  
out.  
Re ce ive Da ta Erro r  
Situation: A MIDI message was received incorrectly.  
N u m b e r ****W ill Be De le te d . Are  
Yo u Su re ?  
Action:  
If the same error message is displayed  
repeatedly, there is a problem with the MIDI  
messages that are being transmitted to the XV-  
5080.  
Condition: The sample at internal sample number ****will  
be deleted. Is it OK to execute?  
Action:  
To cancel the operation, press [F1 (CANCEL)].  
To execute the deletion, press [F6 (DELETE)].  
2 3 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Erro r Me ssa g e s  
So u rce Disk In co rre ct!  
Use r Me m o ry Da m a g e d  
Situation: The data in user memory has been lost.  
Cause:  
The operation you are attempting to execute  
does not support this media.  
Action:  
Use the Factor Reset function (UTILITY/ UTIL  
2/ FACTORY RESET) to initialize the memory to  
the factory settings.  
Action:  
Do not select this media as the object of the  
operation.  
Th is W ill Cle a r th e File (s)/ Fo ld e r(s).Are  
Yo u Su re ?  
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.  
Condition: The file(s) or folder(s) will be deleted from the  
disk. Is it OK to execute?  
Action:  
To cancel the operation, press [F1 (CANCEL)].  
To execute the operation, press [F6 (DELETE)].  
To o Ma n y File s!  
Action 2: Turn the Exclusive parameter OFF.  
Cause:  
The maximum number of files that can be  
Use r Pe rfo rm a n ce s (Pa tch e s/ Rh y th m )  
Ch o o se Use r lo ca tio n a n d O K to  
o ve rw rite  
Situation: Although the specified data was loaded, the  
required free space for the Performance (Patch/  
Rhythm) is not available.  
created in a folder has been exceeded.  
Action:  
Either delete unneeded files (p. 197), or write the  
file to a different folder.  
To o Ma n y Fo ld e rs!  
Cause:  
The maximum number of folders that can be  
created in a folder has been exceeded.  
Action:  
Either delete unneeded folders (p. 201), or create  
the folder in a different folder.  
unneeded Performance (Patch/ Rhythm) data  
and load again.  
Un fo rm a tte d Me m o ry Ca rd  
Situation: This memory card cannot be used by the XV-  
5080.  
W rite Pro te cte d !  
Cause:  
The Zip disk is write protected.  
Action:  
Format the memory card on the XV-5080.  
Action:  
Provide a different media that can be written.  
Un k n o w n Disk Erro r!  
Yo u Ca n n o t Use Th is De vice !  
Cause:  
A disk error of unknown causes has occurred.  
Cause:  
The operation you attempted to execute does not  
Action:  
Contact your dealer or a nearby Roland service  
center for service.  
support this media  
Action:  
Do not select this media for this operation.  
2 3 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Ab o u t SCSI  
Co n n e ctin g a SCSI d e vice  
W h a t y o u n e e d to k n o w  
b e fo re m a k in g co n n e ctio n s  
In order to load wave data from a sound library (a CD-ROM  
containing sounds or phrases) into the XV-5080, or to save  
data on a removable disk or hard disk, you will need to  
connect a separately available SCSI device.  
Ty p e s o f SCSI ca b le s a n d SCSI  
co n n e cto rs  
SCSI devices are delicate. Incorrect connections or operation  
may not only cause the device to malfunction, but may even  
destroy the data on the disk, or permanently damage the  
SCSI device itself. Please read the owners manual for your  
SCSI device together with this manual.  
The XV-5080 provides the SCSI connector (DB 25-pin type  
(SCSI-A)).  
fig.scsi-001.e  
SCSI De vice s Th a t Ca n Be Use d  
The following types of SCSI device can be used with the XV-  
5080.  
Use a SCSI cable to connect to XV-5080 to a SCSI device.  
Check the connector type and number of pins on the SCSI  
device you wish to connect, and purchase the appropriate  
cable.  
Zip Drive  
This is a removable disk drive that features high-speed  
reading and writing of data, and is resistant to physical  
shock and dust.  
Use a SCSI cable that is as short as possible, that is  
completely shielded, and that has an impedance compatible  
with the SCSI standard (110 ohms, +/ -10%).  
MO Drive  
This removable disk utilizes MO (magneto-optical) storage  
media, which uses both laser light and magnetism for high-  
precision data storage.  
The total length of SCSI cables for all connected SCSI devices  
must not exceed 6.5 meters.  
Hard Disk  
Ab o u t SCSI Ch a in s  
This is the storage media with the fastest data read/ write  
time. It has a high capacity, and is able to store an extremely  
large amount of data. However, since the disk cannot be  
removed, hard disks are not convenient when you need to  
exchange or transport data.  
A maximum of seven SCSI devices can be connected to the  
XV-5080. Use SCSI cables to connect SCSI devices as follows.  
SCSI connectors make no distinction between input and  
output, so you may use either one. This type of connection is  
called a SCSI chain or a daisy chain.  
fig.scsi-002.e  
* If you share a single hard disk between two XV-5080 units,  
never allow both XV-5080 units to read from, or write to the  
hard disk simultaneously. Doing so may damage the data or  
the connected devices.  
* Do not share a single hard disk between the XV-5080 and a  
computer. Doing so may damage the data or the connected  
devices. Some computers automatically access the disk at  
regular intervals, which may cause both the XV-5080 and the  
computer to access the hard disk simultaneously.  
XV-5080  
Disk Drive1  
(Zip Drive, etc) (CD-ROM Drive, etc)  
Disk Drive7  
Ab o u t Te rm in a to rs  
CD-ROM Drive  
To prevent malfunctions caused by aliasing noise, a  
terminating resistor must be attached to the devices at either  
end of a SCSI chain. This is called the terminator. Some  
terminators are internal,and can be switched on/ off by a  
switch. Other terminators are external,and can be attached  
to the SCSI connector. The XV-5080 features a built-in  
terminator.  
This is a device for loading wave data from a sound library.  
As an external terminator, we recommend that you use an  
active terminator. In this case, if you are using a SCSI device  
that allows you to switch the terminator power on/ off, be  
2 3 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
               
Ab o u t SCSI  
sure to turn it on. For details on attaching an active  
Co n n e ctin g tw o o r m o re SCSI d e vice s  
terminator, refer to the owners manual of your SCSI device.  
fig.scsi-005.e  
Terminator ON Terminator OFF Terminator ON  
* On some SCSI devices, the terminator switch is always on  
(i.e., the terminator is always active). Attach such devices at  
the end of the SCSI chain.  
* Do not double” terminators. For example, do not attach an  
external terminator to a SCSI device that has an internal  
terminator.  
XV-5080  
Disk Drive1  
Disk Drive2  
Ab o u t SCSI ID N u m b e rs  
SCSI devices are distinguished by a SCSI ID number (07).  
Thus, when connecting two or more SCSI devices, you must  
set the SCSI ID number of each connected SCSI device so that  
they do not conflict. If any SCSI ID numbers conflict, the XV-  
5080 will not detect the SCSI devices correctly. When the XV-  
5080 is shipped, its SCSI ID number is set to 7.Set the SCSI  
ID numbers of the connected SCSI devices to a setting other  
than 7.”  
fig.scsi-003.e  
If it is not possible to set the SCSI ID number of a connected  
SCSI device to something other than 7,you will have to  
change the SCSI ID number of the XV-5080. To do so, rotate  
the ID knob located on the rear panel.  
Ma k in g Co n n e ctio n s  
When you understand the material given in What you need  
to know before making connections,refer to the connection  
examples and connect your SCSI device accordingly.  
Be sure to turn off the power of all devices before you do any  
of the following three things.  
Connect/ disconnect a SCSI cable  
Turn a terminator on/ off  
Set a SCSI ID number  
* For the procedure of turning on the power, refer to p. 12.  
Co n n e ctio n Ex a m p le s  
Co n n e ctin g o n e SCSI d e vice  
fig.scsi-004.e  
Terminator ON Terminator ON  
XV-5080  
Disk Drive1  
2 4 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  
PATCH Co m m o n Ge n e ra l # 1 ([PATCH]-[F1 (Co m m o n )]-[F1 (Ge n e ra l)])(p . 1 2 7 )  
Group  
Parameter  
Value  
Common  
Name  
Patch name  
ASCII Characters (max. 12)  
Category  
Patch Type  
Level  
Patch category  
Patch Type  
(*1)  
4 TONES, MULTI-PARTIAL  
0127  
Patch Level  
Pan  
Patch Pan  
L64063R  
Output Assign  
Patch output assign  
MFX, OUTPUT AD, INDIV 18, TONE  
Octave & Tune  
Octave shift  
Coarce Tune  
Fine Tune  
Octave shift  
Coarce tune  
Fine tune  
-30+3  
-48+48  
-50+50  
OFF, 1, 2, 3  
0127  
Stretch Tune Depth Stretch tune depth  
Analog Feel Analog feel depth  
*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  
PATCH Co m m o n Ge n e ra l # 2 ([PATCH]-[F1 (Co m m o n )]-[F1 (Ge n e ra l)])(p . 1 2 8 )  
Group  
Parameter  
Value  
Modify  
Cutoff offset  
Patch cutoff offset  
-63+63  
-63+63  
-63+63  
-63+63  
-63+63  
Resonance offset  
Attack offset  
Patch resonance offset  
Patch attack time offset  
Patch release time offset  
Patch velocity sens  
Release offset  
Velo Sens offset  
Tempo  
Clock Source  
Tempo  
Patch clock source  
Patch tempo  
PATCH, SYSETEM  
20250  
Voice priority  
Mode  
Voice priority mode  
Switch  
LAST, LOUDEST  
OFF, ON  
One shot Mode  
Switch  
PATCH Co m m o n Co n tro l ([PATCH]-[F1 (Co m m o n )]-[F2 (Co n tro l)])(p . 1 2 9 )  
Group  
Parameter  
Value  
Key Mode  
Key Assign  
Key assign mode  
Legato switch  
POLY, MONO  
OFF, ON  
Legato Switch  
Legato Retrigger Legato retrigger switch  
OFF, ON  
Bender  
Bend Range  
Bend range up  
0+48  
Bend range down  
Portament switch  
Portament mode  
Portament type  
-480  
Portamento  
Switch  
Mode  
Type  
Start  
OFF, ON  
NORMAL, LEGATO  
RATE, TIME  
PITCH, NOTE  
0127  
Portament start pitch  
Portament time  
Time  
PATCH Co m m o n Stru ctu re ([PATCH]-[F1 (Co m m o n )]-[F3 (Stru ct)])(p . 1 3 1 )  
Group  
Parameter  
Value  
Tone 1 & 2  
Tone 3 & 4  
Type  
Structure type1&2, 3&4  
Structure type1&2, 3&4  
Booster gain1&2, 3&4  
110  
Type  
110  
Booster  
0, +6, +12, +18 dB  
PATCH Co m m o n TMT Ke y Ra n g e ([PATCH]-[F1 (Co m m o n )]-[F4 (K.Ra n g e )])(p . 1 3 2 )  
Group  
Parameter  
Value  
F.L  
K.L  
K.U  
F.U  
Key fade width lower  
Key range lower  
0127  
C-1UPPER  
LOWERG9  
0127  
Key range upper  
Key fade width upper  
2 4 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
     
Pa ra m e te r List  
PATCH Co m m o n TMT Ve l Ra n g e ([PATCH]-[F1 (Co m m o n )]-[F5 (V.Ra n g e )])(p . 1 3 3 )  
Group  
Parameter  
Value  
TMT Velocity Control  
TMT Matrix Control  
TMT VEL RANG  
Switch  
Switch  
L.F  
TMT Velocity control switch  
TMT Matrix control switch  
Velocity fade width lower  
Velocity range lower  
OFF, ON, RANDOM  
OFF, ON  
0–127  
V.L  
1–UPPER  
LOWER–127  
0–127  
V.U  
Velocity range upper  
U.F  
Velocity fade width upper  
PATCH W G Pa ra m e te r ([PATCH]-[F2 (W G)]-[F1 (W G Prm )])(p . 1 3 6 )  
Group  
Parameter  
Value  
Wave  
Group  
Number  
Gain  
Wave group  
INT, XP-A–H, SMPL  
0001–1083  
-6, 0, +6, +12 dB  
OFF, ON  
OFF, ON  
1–4  
Wave number(L, R)  
Wave gain  
Tempo Sync  
Switch  
Color  
Wave tempo sync  
FXM  
Frequency cross modulation switch  
Frequency cross modulation color  
Frequency cross modulation depth  
Tone delay mode  
Depth  
0–16  
Tone Delay  
Mode  
(*1)  
Time  
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),  
(Whole note),  
(Sixteenth-note triplet),  
(Dotted eighth note),  
(Dotted thirty-second note),  
(Sixteenth note),  
(Eighth note),  
(Quarter-note triplet),  
(Quarter note),  
(Half-note triplet),  
(Double note)  
(Dotted quarter note),  
(Double-note triplet),  
(Dotted whole note),  
PATCH W G Pitch ([PATCH]-[F2 (W G)]-[F2 (Pitch )])(p . 1 3 8 )  
Group  
Parameter  
Value  
Pitch  
Coarse Tune  
Fine Tune  
Depth  
Coarse tune  
-48–+48 semitone  
-50–+50 cent  
Fine tune  
Random pitch  
Keyfollow  
Random pitch depth  
Pitch keyfollow  
0–1200 cent(*1)  
-200–+200(*2)  
Value  
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  
PATCH W G Pitch En ve lo p e ([PATCH]-[F2 (W G)]-[F3 (Pch En v)])(p . 1 3 8 )  
Group  
Parameter  
Value  
Pitch Envelope  
Depth  
Pitch envelope depth  
-12–+12  
-100–+100(*1)  
0–127  
Time Keyfollow  
T1, T2, T3, T4  
Pitch envelope time keyfollow  
Pitch envelope time 1–4  
L0, L1, L2, L3, L4 Pitch envelope level 0–4  
-63–+63  
-63–+63  
-63–+63  
-63–+63  
V-Sens  
Amount  
Time1  
Pitch envelope velocity sens  
Pitch envelope time1 velocity sens  
Pitch envelope time4 velocity sens  
Time 4  
*1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
PATCH W G Sa m p le ([PATCH]-[F2 (W G)]-[F4 (Sa m p le )])(p . 1 3 9 )  
Group  
Parameter  
Value  
Sample  
Original Key  
Original Key  
C-1–G9  
Loop Mode  
Loop Mode  
FORWARD, ONE SHOT, ALT, REV ONE, REVERSE  
Loop Tune  
Loop Tune  
-50–50  
Start-Fine  
---  
---  
---  
Start Point -Start Point Fine  
Loop Point Start Point -Loop Point Start Point Fine  
End Point - End Point Fine  
0–/0–255  
0–/0–255  
0–/0–255  
Loop Point Start Fine  
End-Fine  
2 4 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
PATCH TVF Pa ra m e te r ([PATCH]-[F3 (TVF)]-[F1 (TVF Prm )])(p . 1 4 0 )  
Group  
Parameter  
Value  
TVF  
Filter type  
Cutoff freq  
Resonance  
Sens  
Filter type  
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3  
Cutoff frequency  
0127  
Resonance  
0127  
Resonance Velo  
Cutoff keyfollow  
Cutoff Velo  
Resonance Velocity Sens  
Cutoff frequency keyfollow  
TVF cutoff velocity curve  
Resonance Velocity Sens  
0127  
Keyfollow  
Curve  
-200+200(*1)  
FIXED, 17  
-63+63  
Sens  
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  
PATCH TVF En ve lo p e ([PATCH]-[F3 (TVF)]-[F2 (TVF En v)])(p . 1 4 2 )  
Group  
Parameter  
Value  
TVF Envelope  
Depth  
TVF envelope depth  
-63+63  
-100+100(*1)  
0127  
Time Keyfollow  
T1, T2, T3, T4  
TVF envelope time keyfollow  
TVF envelope time 1, 2, 3, 4  
L0, L1, L2, L3, L4 TVF envelope level 0, 1, 2, 3, 4  
0127  
Velo Sens  
Velo Curve  
Amount  
Time 1  
Time 4  
Amount  
TVF envelope velocity amount  
TVF envelope time1 velocity sens  
TVF envelope time4 velocity sens  
TVF envelope velocity curve  
-63+63  
-63+63  
-63+63  
FIXED, 17  
*1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
PATCH TVA Pa ra m e te r ([PATCH]-[F4 (TVA)]-[F1 (TVA Prm )])(p . 1 4 3 )  
Group  
Parameter  
Value  
TVA  
Level  
Level  
0127  
V-Curve  
V-Sens  
Level  
TVA envelope velocity curve  
TVA envelope velocity sens  
TVA Bias level  
FIXED, 17  
-63+63  
Bias  
Pan  
-100+100(*1)  
Position  
Direction  
Pan  
TVA Bias position  
TVA Bias direction  
Tone Pan  
C-1G9  
LOWER, UPPER, LOWER&UPPER, ALL  
L64063R  
-100+100(*1)  
063  
Keyfollow  
Random  
Alternate  
Tone Pan keyfollow  
Tone Random pan depth  
Tone Alternate pan depth  
L63063R  
PATCH TVA En ve lo p e ([PATCH]-[F4 (TVA)]-[F2 (TVA En v)])(p . 1 4 4 )  
Group  
Parameter  
Value  
TVA Envelope  
Time Keyfollow  
T1, T2, T3, T4  
L1, L2, L3  
Time 1  
TVA envelope time keyfollow  
TVA envelope time 1, 2, 3, 4  
TVA envelope level 1, 2, 3  
-100+100(*1)  
0127  
0127  
Velocity Sens  
TVA envelope time1 velocity sens  
TVA envelope time4 velocity sens  
-63+63  
-63+63  
Time 4  
1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100  
2 4 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
PATCH LFO &Ctrl LFO 1 , LFO 2 ([PATCH]-[F5 (LFO &CTL)]-[F1 (LFO 1 )])(p . 1 4 5 )  
Group  
Parameter  
Value  
Wave  
Form  
LFO form  
SIN,TRI, SAW-UP, SAW-DW, SQR, RND,  
BEND-UP, BEND-DW, TRP, S&H, CHAOS  
Offset  
Value  
Detune  
Time  
LFO offset  
-100, -50, 0, +50, +100  
Rate  
Delay  
Fade  
LFO rate  
0–127(*1)  
LFO detune  
0–127  
LFO delay time  
LFO delay keyfollow  
LFO fade mode  
LFO fade time  
0–127  
Keyfollow  
Mode  
Time  
-100–+100  
ON-IN, ON-OUT, OFF-IN, OFF-OUT  
0–127  
Key Sync  
Depth  
Switch  
Pitch  
LFO key sync switch  
Pitch LFO depth1, 2  
TVF LFO depth 1, 2  
TVA LFO depth 1, 2  
Pan LFO depth1, 2  
OFF, ON  
-63–+63  
-63–+63  
-63–+63  
-63–+63  
TVF  
TVA  
Pan  
1:It can also be set in terms of notes.  
(Sixty-fourth-note triplet),  
(Sixty-fourth note),  
(Thirty-second-note triplet),  
(Dotted sixteenth note), (Eighth note),  
(Whole-note triplet), (Dotted half note),  
(Thirty-second note),  
(Quarter-note triplet),  
(Whole note),  
(Sixteenth-note triplet),  
(Dotted thirty-second note),  
(Sixteenth note),  
(Eighth-note triplet),  
(Half note),  
(Dotted eighth note),  
(Quarter note),  
(Half-note triplet),  
(Double note)  
(Dotted quarter note),  
(Double-note triplet),  
(Dotted whole note),  
PATCH LFO &Ctrl # 1 ([PATCH]-[F5 (LFO &CTL)]-[F3 (Co n tro l)])(p . 1 4 6 )  
Group  
Parameter  
Value  
Matrix Control 1  
Destination  
Source  
Destination  
Sns  
Control source1  
(*1)  
Control1 Destination1–4  
Control1 sens1–4  
Tone select1–4  
(*2)  
-63–+63  
OFF, ON, R  
(*1)  
Tone  
Matrix Control 2  
Destination  
Source  
Destination  
Sns  
Control source2  
Control2 Destination1–4  
Control2 sens1–4  
Tone select1–4  
(*2)  
-63–+63  
OFF, ON, R  
Tone  
PATCH LFO &Ctrl # 2 ([PATCH]-[F5 (LFO &CTL)]-[F3 (Co n tro l)])(p . 1 4 6 )  
Group  
Parameter  
Value  
Matrix Control 3  
Destination  
Source  
Destination  
Sns  
Control source3  
(*1)  
Control3 Destination1–4  
Control3 sens1–4  
Tone select1–4  
(*2)  
-63–+63  
OFF, ON, R  
(*1)  
Tone  
Matrix Control 4  
Destination  
Source  
Destination  
Sns  
Control source4  
Control4 Destination1–4  
Control4 sens1–4  
Tone select1–4  
(*2)  
-63–+63  
OFF, ON, R  
Tone  
*1:OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1,  
LFO2, PITCH ENV, TVF ENV, TVA ENV  
*2:OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, LFO2 PCH DEPTH, LFO1 TVF  
DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT  
ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM  
DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4  
PATCH LFO &Ctrl Co n tro l Sw ([PATCH]-[F5 (LFO &CTL)]-[F4 (Ctrl Sw )])(p . 1 4 7 )  
Group  
Parameter  
Value  
MIDI Rx Switch  
Bender Sw  
Recieve pitch bend switch  
Recieve expression switch  
Recieve hold-1 switch  
Recieve redamper switch  
Recieve pan mode switch  
Envelope mode  
OFF, ON  
Expression Sw  
Hold-1 Sw  
OFF, ON  
OFF, ON  
Redamper  
OFF, ON  
Pan Mode  
CONTINUOUS, KEY-ON  
NO SUSTAIN, SUSTAIN  
Tone Env Mode  
2 4 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
PATCH Effe cts Ge n e ra l ([PATCH]-[F6 (Effe cts)]-[F1 (Ge n e ra l)])(p . 2 5 )  
Group  
Parameter  
Value  
Patch Output Assign  
Tone Output Assign  
Tone Dry Send Level  
Tone Chorus Send Level  
(non MFX/MFX)  
MFX, AD, 18, TONE  
MFX, OUTPUT AD, INDIV18  
0127  
0127  
Tone Reverb Send Level  
(non MFX/MFX)  
0127  
MFX Type  
090  
MFX Dry Send Level  
MFX Chorus Send Level  
MFX Reverb Send Level  
Chorus Type  
0127  
0127  
0127  
OFF, Chrus, Delay  
MAIN, REV, M+R  
0127  
Chorus Output Select  
Chorus Level  
Reverb Type  
OFF, Revrb, Room, Hall, Plate  
0127  
Reverb Level  
MFX Output Assign  
Chorus Output Assign  
Reverb Output Assign  
A, B, C, D  
A, B, C, D  
A, B, C, D  
PATCH Effe cts MFX Co n tro l ([PATCH]-[F6 (Effe cts)]-[F2 (MFX Prm )])(p . 2 6 )  
* Refer to MFX Parameters (p. 41)  
PATCH Effe cts MFX Co n tro l ([PATCH]-[F6 (Effe cts)]-[F3 (MFX Ctl)])(p . 2 6 )  
Group  
Parameter  
Value  
MFX CTRL  
Source  
Destination  
Sens  
MFX Control Source 1, 2, 3, 4  
MFX Control Destination 1, 2, 3, 4  
MFX Control Sens 1, 2, 3, 4  
(*1)  
(*2)  
-63+63  
*1: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4  
*2: Refer to MFX Parameters (p. 41)  
PATCH Effe cts Ch o ru s ([PATCH]-[F6 (Effe cts)]-[F4 (Ch o ru s)])(p . 2 7 )  
* Refer to Chorus Parameters (p. 27)  
PATCH Effe cts Re ve rb ([PATCH]-[F6 (Effe cts)]-[F2 (Re ve rb )])(p . 2 8 )  
* Refer to Reverb Parameters (p. 28)  
2 4 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
Mu lti Pa rtia l Pa tch Pa ra m e te rs  
PATCH Co m m o n Sp lit ([PATCH]-[F1 (Co m m o n )]-[F3 (Sp lit)])(p . 1 4 8 )  
Group  
Parameter  
Value  
Note  
---  
---  
---  
---  
---  
---  
---  
---  
Note Number  
Partial Number  
Partial Name  
Lower Key Point  
Upper Key Point  
Mute Group  
A0C8  
No.  
---  
Partial Name  
L.P  
---  
A0C8  
U.P  
A0C8  
Mute  
OFF, 131  
Mute, Single  
OFF, Select, Set  
Assign  
MIDI  
Assign Type  
MIDI Switch  
PATCH W G Pa rtia l ([PATCH]-[F2 (W G)]-[F1 (W G Prm )])(p . 1 4 9 )  
Group  
Parameter  
Value  
Partial  
Name  
Partial Name  
ASCII Character (max 12 Characters)  
Course Tune  
Fine Tune  
Partial Course Tune  
Partial Fine Tune  
-48+48  
-50+50  
PATCH W G SMT # 1 ([PATCH]-[F2 (W G)]-[F2 (SMT)])(p . 1 5 0 )  
Group  
Parameter  
Value  
No.  
---  
---  
---  
---  
---  
---  
---  
Sample Number  
Sample Name  
---  
Name  
Level  
Pan  
---  
Sample Level  
0127  
Sample Pan  
L3232R, RANDOM, Key+, Key-, LFO+, LFO-, ALT  
C.T  
Sample Course Tune  
Sample Fine Tune  
Pitch Keyfollow  
-48+48  
-50+50  
-16+16  
F.T  
P.KF  
PATCH W G SMT # 2 ([PATCH]-[F2 (W G)]-[F2 (SMT)])(p . 1 5 1 )  
Group  
Parameter  
Value  
SMT Vel Control  
Switch  
---  
SMT Velocity Control Switch  
Velocity Fade width Lower  
Velocity Range Lower  
OFF, ON  
0127  
L.F  
L.F  
L.F  
U.F  
---  
1Upper  
Lower127  
0127  
---  
Velocity Range Upper  
---  
Velocity Fade width Upper  
PATCH W G Sa m p le ([PATCH]-[F2 (W G)]-[F3 (SMT)]-[F3 (Sa m p le )])(p . 1 5 1 )  
Group  
Parameter  
Value  
Sample  
Original Key  
Original Key  
C-1G9  
Loop Mode  
Loop Mode  
FORWARD, ONE SHOT, ALT, REV ONE, REVERSE  
Loop Tune  
Loop Tune  
-5050  
Start-Fine  
---  
---  
---  
Start Point - Start Point Fine  
Loop Point Start Point - Loop Point StartPoint Fine  
End Point - End Point Fine  
0-/0255  
0-/0255  
0-/0255  
Loop Point Start Fine  
End - Fine  
PATCH TVF Pa ra m e te r ([PATCH]-[F3 (TVF)]-[F1 (TVF Prm )])(p . 1 5 3 )  
Group  
Parameter  
Value  
TVF  
Filter type  
Cutoff freq  
Resonance  
Keyfollow Point  
Keyfollow  
Curve  
Filter type  
OFF, LPF, BPF, HPF  
0127  
Cutoff frequency  
Resonance  
0127  
Cutoff  
Cutoff frequency keyfollow Point  
Cutoff frequency keyfollow  
TVF cutoff velocity curve  
Resonance Velocity Sens  
A0C8  
-63+63  
14  
TVF Velo  
Sens  
0127  
2 4 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
PATCH TVF En ve lo p e ([PATCH]-[F3 (TVF)]-[F2 (TVF En v)])(p . 1 5 4 )  
Group  
Parameter  
Value  
TVF Envelope  
Depth  
TVF envelope depth  
-63+63  
-63+63  
0127  
Time Keyfollow  
T1, T2, T3, T4  
L0, L1, L2, L3  
Amount  
TVF envelope time keyfollow  
TVF envelope time 1, 2, 3, 4  
TVF envelope level 0, 1, 2, 3  
TVF envelope velocity sens  
TVF envelope time1 velocity sens  
TVF envelope time4 velocity sens  
TVF envelope pitch Depth  
0127  
Velo Sens  
-63+63  
-63+63  
-63+63  
-63+63  
Time 1  
Time 4  
Pitch Depth  
PATCH TVA Pa ra m e te r ([PATCH]-[F4 (TVA)]-[F1 (TVA Prm )])(p . 1 5 5 )  
Group  
Parameter  
Value  
TVA  
Level  
Partial Level  
0127  
Pan  
Partial Pan  
-64+63  
A0C8  
Level  
Key follow Point  
Key follow  
Curve  
Key follow Point  
Level Key follow  
TVA velocity curve  
TVA velocity curve sens  
-63+63  
FIXED, 17  
-63+63  
TVA Velo  
Sens  
PATCH TVA En ve lo p e ([PATCH]-[F4 (TVA)]-[F2 (TVA En v)])(p . 1 5 5 )  
Group  
Parameter  
Value  
TVA Envelope  
Time Keyfollow  
T1, T2, T3, T4  
L1, L2, L3  
Time 1  
TVA envelope time keyfollow  
TVA envelope time 1, 2, 3, 4  
TVA envelope level 1, 2, 3  
-63+63  
0127  
0127  
Velocity Sens  
TVA envelope time1 velocity sens  
TVA envelope time4 velocity sens  
-63+63  
-63+63  
Time 4  
PATCH LFO &Ctrl LFO ([PATCH]-[F5 (LFO &Ctl)]-[F1 (LFO 1 )])(p . 1 5 6 )  
Group  
Parameter  
Value  
Wave  
Form  
LFO form  
SIN,TRI, SAW-UP, SAW-DW, SQR, RND,  
BEND-UP, BEND-DW  
0127  
Rate  
Value  
Detune  
Time  
LFO rate  
LFO detune  
0127  
Delay  
LFO delay time  
0127  
Keyfollow  
Switch  
Pitch  
LFO delay keyfollow  
LFO key sync switch  
Pitch LFO depth1, 2  
TVF LFO depth 1, 2  
TVA LFO depth 1, 2  
Pan LFO depth1, 2  
-63+63  
Key Sync  
Depth  
OFF, ON  
-63+63  
TVF  
-63+63  
TVA  
-63+63  
Pan  
-63+63  
PATCH LFO &Ctrl Co n tro l # 1 ([PATCH]-[F5 (LFO &Ctl)]-[F2 (Co n tro l)])(p . 1 5 7 )  
Group  
Parameter  
Value  
Matrix Control 1  
Destination  
Source  
Destination  
Sens  
Control source1  
(*1)  
Control1 Destination14  
Control1 sens14  
Control source2  
(*2)  
-63+63  
(*1)  
Matrix Control 2  
Destination  
Source  
Destination  
Sens  
Control2 Destination14  
Control2 sens14  
(*2)  
-63+63  
2 4 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
PATCH LFO &Ctrl Co n tro l # 2 ([PATCH]-[F5 (LFO &Ctl)]-[F2 (Co n tro l)])(p . 1 5 7 )  
Group  
Parameter  
Value  
Matrix Control 3  
Destination  
Source  
Destination  
Sens  
Control source3  
(*1)  
Control3 Destination14  
Control3 sens14  
Control source4  
(*2)  
-63+63  
(*1)  
Matrix Control 4  
Destination  
Source  
Destination  
Sens  
Control4 Destination14  
Control4 sens14  
(*2)  
-63+63  
*1:OFF, CC0195(except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1,  
LFO2, PITCH ENV, TVF ENV, TVA ENV  
*2:OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, LFO2 PCH DEPTH, LFO1 TVF  
DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT  
ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM  
DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4  
2 4 8  
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  
PERFO RMAN CE Co m m o n ([PERFO RMAN CE]-[F1 (Co m m o n )])(p . 1 6 0 )  
Group  
Parameter  
Value  
Performance Name  
Solo Part Select  
Name  
Performance Name  
Solo Part Number  
ASCII Character (12 characters max)  
OFF, PART1-32  
Number  
PERFO RMAN CE Ke y Ra n g e ([PERFO RMAN CE]-[F2 (K.Ra n g e )])(p . 1 6 1 )  
Group  
Parameter  
Value  
F.L  
K.L  
K.U  
F.U  
Key fade width lower  
Key range lower  
0127  
C-1UPPER  
LOWERG9  
0127  
Key range upper  
Key fade width upper  
PERFO RMAN CE Pa rt # 1 ([PERFO RMAN CE]-[F3 (Pa rt)])(p . 1 6 2 )  
Group  
Parameter  
Value  
Patch  
Type  
Part type  
PATCH/RHYTHM  
Group  
Patch group  
USER, PR-A, PR-B, PR-C, PR-D, PR-E, PR-F, PR-G, GM  
XP-AH, CD-AH  
001256  
Number  
Level  
Pan  
Patch number  
Part Level  
Part Pan  
Level & Pan  
0127  
L64063R  
024, PATCH  
-3+3  
Bend Range  
Tune  
Value  
Octave  
Coarse  
Fine  
Pitch bend range  
Octave shift  
Coarse tune  
Fine tune  
-48+48 semitone  
-50+50 cent  
063, FULL  
Voice Reserve  
---  
---  
PERFO RMAN CE Pa rt # 2 ([PERFO RMAN CE]-[F3 (Pa rt)])(p . 1 6 3 )  
Group  
Parameter  
Value  
Modify  
Cutoff Offset  
Part cutoff offset  
-64+63  
Resonance Offset Part resonance offset  
Attack Time Offset Part attack time offset  
-64+63  
-64+63  
Release Offset  
Part release time offset  
-64+63  
Velocity Sens OffsetPart velocity sens offset  
-64+63  
Key Mode  
Mono/Poly  
Legato Switch  
Switch  
Part MONO/POLY  
Legato switch  
MONO, POLY, PATCH  
OFF, ON, PATCH  
OFF, ON, PATCH  
0127, PATCH  
Portamento  
Portamento switch  
Portamento Time  
Time  
PERFO RMAN CE MIDI # 1 ([PERFO RMAN CE]-[F4 (MIDI)])(p . 1 6 4 )  
Group  
Parameter  
Value  
Part MIDI  
Part Mute  
Receive Channel MIDI Receive Channel  
116  
Switch  
Part Mute switch  
OFF, MUTE  
OFF, ON  
OFF, ON  
OFF, ON  
Part MIDI Receive SwitchMIDI Rx  
MIDI IN 1  
Receive switch  
MIDI IN 1 Receive switch  
MIDI IN 2 Receive switch  
MIDI IN 2  
2 4 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Pa ra m e te r List  
PERFO RMAN CE MIDI # 2 MIDI Filte r ([PERFO RMAN CE]-[F4 (MIDI)])(p . 1 6 5 )  
Group  
Parameter  
Value  
MIDI Message  
Program Change Receive program change switch  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
Bank Select  
Pitch Bend  
Receive bank select switch  
Receive bend switch  
Channel Pressure Receive channel pressure switch  
Poly Key Pressure Receive polyphonic key pressure switch  
Modulation  
Receive modulation switch  
PERFO RMAN CE MIDI # 3 MIDI Filte r ([PERFO RMAN CE]-[F4 (MIDI)])(p . 1 6 5 )  
Group  
Parameter  
Value  
MIDI Message  
Volume  
Receive volume switch  
Receive pan switch  
Receive expression switch  
Receive hold-1 switch  
Phase lock  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, 1, 2, 3, 4  
Pan  
Expression  
Hold-1  
Phase Lock  
Velocity Curve  
Velocity curve  
PERFO RMAN CE Effe cts Ge n e ra l # 1 ([PERFO RMAN CE]-[F5 (Effe cts)]-[F1 (Ge n e ra l)])(p .  
3 1 )  
Group  
Parameter  
Value  
Part Output Assign  
Part Output MFX Select  
Part Dry Send Level  
Part Chorus Send Level  
(non MFX/MFX)  
MFX, AD, 18, PAT  
AC  
0127  
0127  
Part Reverb Send Level  
(non MFX/MFX)  
0127  
MFX Type  
090  
MFX Source  
PRF, P132  
0127  
MFX Dry Send Level  
MFX Chorus Send Level  
MFX Reverb Send Level  
Chorus Type  
0127  
0127  
OFF, Chrus, Delay  
PRF, P132  
MAIN, REV, M+R  
0127  
Chorus Source  
Chorus Output Select  
Chorus Level  
Reverb Type  
OFF, Revrb, Room, Hall, Plate  
PRF, P132  
0127  
Reverb Source  
Reverb Level  
MFX Output Assign  
Chorus Output Assign  
Reverb Output Assign  
A, B, C, D  
A, B, C, D  
A, B, C, D  
PERFO RMAN CE Effe cts Ge n e ra l # 2 ([PERFO RMAN CE]-[F5 (Effe cts)]-[F1 (Ge n e ra l)])(p .  
3 1 )  
Group  
Parameter  
Value  
Output Assign  
Output MFX Select  
MFX Source  
Output  
MFX  
Output assign  
Output MFX select  
MFX-A source  
MFX-B source  
MFX-C source  
MFX-A type  
MFX, AD, 18, PAT  
MFX-AC  
MFX-A  
MFX-B  
MFX-C  
MFX-A  
MFX-B  
MFX-C  
PERFORM, PART 116  
PERFORM, PART 116  
PERFORM, PART 116  
090  
MFX Type  
MFX-B type  
090  
MFX-C type  
090  
2 5 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
PERFO RMAN CE Effe cts MFX Co n tro l # 2 ([PERFO RMAN CE]-[F5 (Effe cts)]-[F3 (MFX  
Ctl)])(p . 3 1 )  
Group  
Parameter  
Value  
Source  
Control 1  
Control 2  
Control 3  
Control 4  
Control 1  
Control 2  
Control 3  
Control 4  
Control 1  
Control 2  
Control 3  
Control 4  
MFX control source 1  
MFX control source 2  
MFX control source 3  
MFX control source 4  
MFX control Destination 1  
MFX control Destination 2  
MFX control Destination 3  
MFX control Destination 4  
MFX control sens 1  
(*1)  
(*1)  
(*1)  
(*1)  
Destination  
Sens  
(*2)  
(*2)  
(*2)  
(*2)  
-63+63  
-63+63  
-63+63  
-63+63  
MFX control sens 2  
MFX control sens 3  
MFX control sens 4  
Performance MFX  
Ctrl Channel  
MIDI Channel  
Switch  
MFX control channel  
116, OFF  
OFF, ON  
OFF, ON  
Receive MIDI IN1  
Receive MIDI IN2  
Receive MIDI IN1 Switch  
Receive MIDI IN2 Switch  
Switch  
*1: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4  
*2: Refer to MFX Parameters (p. 41)  
PERFO RMAN CE Effe cts Ch o ru s ([PERFO RMAN CE]-[F5 (Effe ct)]-[F4 (Ch o ru s)])(p . 3 3 )  
* Refer to Chorus Parameters (p. 33)  
PERFO RMAN CE Effe cts Re ve rb ([PERFO RMAN CE]-[F5 (Effe ct)]-[F5 (Re ve rb )])(p . 3 4 )  
* Refer to Reverb Parameters (p. 34)  
PERFO RMAN CE Pa rt In fo rm a tio n ([PERFO RMAN CE]-[F6 (In fo )])(P. 1 6 6 )  
Group  
Parameter  
Value  
INFO  
Mod  
Modulation information  
Breath information  
0127  
Breath  
Foot  
0127  
Foot information  
0127  
Volume  
Pan  
Volume information  
0127  
Pan information  
L64063R  
0127  
Exp  
Expression information  
Hold1 information  
Hold  
0127  
Bend  
Aft  
Pitch bend information  
Aftertouch information  
Voice information  
-128+127  
0127  
Voices  
Sys 1  
Sys 2  
Sys 3  
Sys 4  
064  
System control 1 information  
System control 2 information  
System control 3 information  
System control 4 information  
0127/-128+127  
0127/-128+127  
0127/-128+127  
0127/-128+127  
2 5 1  
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  
RHYTHM Co m m o n ([RHYTHM]-[F1 (Co m m o n )])(p . 1 6 9 )  
Group  
Parameter  
Value  
Common  
Name  
Rhythm set name  
Rhythm level  
ASCII Characters (max. 12)  
Level  
0127  
Output Assign  
Clock Source  
Tempo  
Rhythm output assign  
Rhythm clock source  
Rhythm tempo  
MFX, OUTPUT AD, INDIV 18, TONE  
Tempo  
RHYTHM, SYSETEM  
20250  
One Shot Mode  
Switch  
One Shot Mode  
OFF, ON  
RHYTHM W G Pa ra m e te r ([RHYTHM]-[F2 (Ke y W G)]-[F1 (W G Prm )])(p . 1 7 1 )  
Group  
Parameter  
Value  
Rhythm Tone  
----  
Tone name  
ASCII Characters (max. 12)  
OFF, ON  
Tempo Sync  
Group  
L, R  
Wave tempo sync  
Wave group  
Wave number(L, R)  
Wave gain  
Wave  
INT, XP-AH, SAMPLE  
1****  
Gain&Level  
Pan  
Gain  
-6, 0, 6, 12 dB  
0127  
Level  
Level  
Value  
Value  
L64063R  
OFF, ON  
Random  
Alternate  
Course  
Fine  
Random pan switch  
Alternate pan switch  
Course Tune  
Fine Tune  
OFF, ON  
Tune  
FXM  
-48+48  
-50+50  
Switch  
Color  
FXM switch  
FXM color  
OFF, ON  
14  
Depth  
FXM depth  
016  
RHYTHM W G Pitch ([RHYTHM]-[F2 (Ke y W G)]-[F2 (Pitch )])(p . 1 7 3 )  
Group  
Parameter  
Value  
Pitch  
Coarse Tune  
Fine Tune  
Depth  
Coarse tune  
C-1G9  
Fine tune  
-50+50 cent  
01200 cent(*1)  
Random Pitch  
Random pitch depth  
*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  
RHYTHM W G Pitch En ve lo p e ([RHYTHM]-[F2 (Ke y W G)]-[F3 (Pch En v)])(p . 1 7 3 )  
Group  
Parameter  
Value  
Pitch Envelope  
Depth  
Pitch envelope depth  
-12+12  
-63+63  
0127  
L0  
Pitch envelope level 0  
T1, T2, T3, T4  
L1, L2, L3, L4  
Amount  
Time1  
Pitch envelope time 14  
Pitch envelope level 14  
-63+63  
-63+63  
-63+63  
-63+63  
Velocity Sens  
Pitch envelope velocity sens  
Pitch envelope time 1 velocity sens  
Pitch envelope time 4 velocity sens  
Time 4  
2 5 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Pa ra m e te r List  
RHYTHM W G W MT Ve l Ra n g e ([RHYTHM]-[F2 (Ke y W G)]-[F4 (V.Ra n g e )])(p . 1 7 4 )  
Group  
Parameter  
Value  
Velocity Control  
Switch  
L.F  
Velocity Control Switch  
Velocity fade width lower  
Velocity range lower  
OFF, ON, RANDOM  
0127  
V.L  
1UPPER  
V.U  
Velocity range upper  
LOWER127  
0127  
U.F  
Velocity fade width upper  
RHYTHM W G Sa m p le ([RHYTHM]-[F2 (Ke y W G)]-[F5 (Sa m p le )])(p . 1 7 4 )  
Group  
Parameter  
Value  
Sample  
Original Key  
Original Key  
C-1G9  
Loop Mode  
Loop Mode  
FORWARD, ONE SHOT, ALT, REV ONE, REVERSE  
Loop Tune  
Loop Tune  
-5050  
Start-Fine  
---  
---  
---  
Start Point -Start Point Fine  
Loop Point Start Point -Loop Point Start Point Fine  
End Point - End Point Fine  
0/0255  
0/0255  
0/0255  
Loop Point Start Fine  
End-Fine  
RHYTHM TVF Pa ra m e te r ([RHYTHM]-[F3 (Ke y TVF)]-[F1 (TVF Prm )])(p . 1 7 5 )  
Group  
Parameter  
Value  
TVF FILTER  
Type  
Filter type  
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3  
Cutoff  
Cutoff frequency  
0127  
Resonance  
V-Cutoff  
V-Curve  
V-Resonance  
Resonance  
0127  
TVF VELOCITY  
TVF cutoff velocity sens  
TVF cutoff velocity curve  
TVF resonance velocity sens  
-63+63  
FIXED, 17  
-63+63  
RHYTHM TVF En ve lo p e ([RHYTHM]-[F3 (Ke y TVF)]-[F2 (TVF En v)])(p . 1 7 7 )  
Group  
Parameter  
Value  
TVF ENVELOPE  
Depth  
TVF Envelope depth  
-63+63  
-63+63  
FIXED, 17  
-63+63  
-63+63  
0127  
V-Sens  
V-Curve  
V-T1  
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-T4  
L0  
T1, T2, T3, T4  
L1, L2, L3, L4  
TVF envelope time 1, 2, 3, 4  
TVF envelope level 1, 2, 3, 4  
0127  
0127  
RHYTHM TVA Pa ra m e te r ([RHYTHM]-[F4 (Ke y TVA)]-[F1 (TVA Prm )])(p . 1 7 7 )  
Group  
Parameter  
Value  
TVA  
Level  
Level  
0127  
Pan  
Pan  
L64063R  
063  
Random  
Alternate  
Velocity Sens  
Velocity Curve  
Random pan depth  
Alternate pan depth  
TVA envelope velocity sens  
TVA envelope velocity curve  
L63063R  
-63+63  
FIXED, 17  
TVA VELOCITY  
RHYTHM TVA En ve lo p e ([RHYTHM]-[F4 (Ke y TVA)]-[F2 (TVA En v)])(p . 1 7 8 )  
Group  
Parameter  
Value  
TVA TIME ENV  
V-T1  
V-T4  
T14  
L13  
TVA envelope time 1 velocity sens  
TVA envelope time 4 velocity sens  
TVA envelope time 14  
-63+63  
-63+63  
0127  
TVA ENVELOPE  
TVA envelope level 13  
0127  
2 5 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
RHYTHM Ke y Co n tro l ([RHYTHM]-[F5 (Ke y Ctl)])(p . 1 7 9 )  
Group  
Parameter  
Value  
CONTROL  
Bend Range  
Envelope Mode  
Mute Group  
Assign Type  
Expression  
Pan  
Bend range  
048  
Envelope mode  
NO SUS, SUSTAIN  
OFF, 131  
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  
RHYTHM Effe cts Ge n e ra l ([RHYTHM]-[F6 (Effe cts)]-[F1 (Ge n e ra l)])(p . 3 7 )  
Group  
Parameter  
Value  
Rhythm Output Assign  
Rhythm Tone Output Assign  
Rhythm Tone Dry Send Level  
Rhythm Tone Chorus Send Level  
(non MFX/MFX)  
MFX, AD, 18, TONE  
MFX, AD, 18  
0127  
0127  
Rhythm Tone Reverb Send Level  
(non MFX/MFX)  
0127  
MFX Type  
090  
MFX Dry Send Level  
MFX Chorus Send Level  
MFX Reverb Send Level  
Chorus Type  
0127  
0127  
0127  
OFF, Chrus, Delay  
MAIN, REV, M+R  
0127  
Chorus Output Select  
Chorus Level  
Reverb Type  
OFF, Revrb, Room, Hall, Plate  
0127  
Reverb Level  
MFX Output Assign  
Chorus Output Assign  
Reverb Output Assign  
A, B, C, D  
A, B, C, D  
A, B, C, D  
RHYTHM Effe cts MFX ([RHYTHM]-[F6 (Effe cts)]-[F2 (MFX Prm )])(p . 3 7 )  
Group  
Parameter  
Value  
(Refer to MFX parameters)  
RHYTHM Effe cts MFX Co n tro l ([RHYTHM]-[F6 (Effe cts)]-[F3 (MFX Ctl)])(p . 3 7 )  
Group  
Parameter  
Value  
MFX CTRL  
Source  
Destination  
Sens  
MFX Control Source 1, 2, 3, 4  
Destination 1, 2, 3, 4  
(*1)  
(*2)  
MFX Control Sens 1, 2, 3, 4  
-63+63  
*1: OFF, CC0195 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4  
*2: Refer to MFX Parameters  
RHYTHM Effe cts Ch o ru s ([RHYTHM]-[F6 (Effe cts)]-[F3 (Ch o ru s)])(p . 3 8 )  
* Refer to Chorus Parameters (p. 38)  
RHYTHM Effe cts Re ve rb ([RHYTHM]-[F6 (Effe cts)]-[F4 (Re ve rb )])(p . 4 0 )  
* Refer to Reverb parameters (p. 40)  
2 5 4  
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  
GM Co n tro l ([GM]-[F2 (Co n tro l)])(p . 2 2 5 )  
Group  
Parameter  
Value  
Modify  
Cutoff offset  
Cutoff offset  
-64+63  
-64+63  
-64+63  
-64+63  
MONO, POLY  
OFF, ON  
0127  
Resonance offset Resonance offset  
Attack time offset Attack time offset  
Release time offset Release time offset  
Key Mode  
Mono/Poly  
Switch  
MONO/POLY  
Portamento  
Portament Switch  
Portament Time  
Time  
GM Pa rt ([GM]-[F3 (Pa rt)])(p . 2 2 7 )  
Group  
Parameter  
Value  
Patch  
Type  
Part Type  
PATCH, RHYTHM  
001256  
Number  
Value  
GM patch number  
Pitch bend range value  
Part Volume  
Part Pan  
Bend Range  
Level & Pan  
024  
Part Volume  
Part Pan  
Coarse  
Fine  
0127  
RND, L63063R  
-48+48 semitone  
-50+50 cent  
Tune  
Coarse tune  
Fine tune  
GM MIDI ([GM]-[F4 (MIDI)])(p . 2 2 7 )  
Group  
Parameter  
Value  
Part MIDI  
Part Mute  
Part MIDI  
Receive Channel MIDI channel  
116, OFF  
OFF, MUTE  
OFF, ON  
Switch  
Mute switch  
Receive Switch  
MIDI receive switch  
GM Effe cts Ge n e ra l ([GM]-[F5 (Effe cts)])(p . 2 2 7 )  
Group  
Parameter  
Value  
Part Output Assign  
Part Dry Send Level  
Part Chorus Send Level  
Part Reverb Send Level  
Chorus Type  
AD  
0127  
0127  
0127  
Cho14, FBCho, Flang  
Chorus Output Assign  
Reverb Send Level  
Reverb Type  
AD  
0127  
SRoom, MRoom, LRoom, MHall, LHall, Plate  
Reverb Output Assign  
AD  
GM Effe cts Ch o ru s ([GM]-[F5 (Effe ct)]-[F2 (Ch o ru s)])(p . 2 2 7 )  
Group  
Parameter  
Value  
GM Effect Chorus  
Chorus  
Type  
Chorus type  
CHORUS 14, FB CHORUS, FLANGER  
Rate  
Chorus rate  
0127  
0127  
0127  
Depth  
Feedback  
Chorus depth  
Chorus feedback level  
GM Effe cts Re ve rb ([GM]-[F5 (Effe ct)]-[F3 (Re ve rb )])(p . 2 2 8 )  
Group  
Parameter  
Value  
GM Effect Reverb  
Type  
Reverb type  
Reverb time  
SMALL ROOM, MEDIUM ROOM, LARGE ROOM,  
MEDIUM HALL, LARGE HALL, PLATE  
0127  
Reverb  
Time  
2 5 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Pa ra m e te r List  
GM Effe cts Ge n e ra l ([GM]-[F6 (In fo )])(p . 2 2 8 )  
Group  
Parameter  
Value  
Infometion  
Mod  
Modulation information  
Breath information  
Foot information  
0127  
Breath  
Foot  
0127  
0127  
Volume  
Pan  
Volume information  
Pan information  
0127  
L64063R  
0127  
Exp  
Expression information  
Hold1 information  
Hold  
Bend  
Aft  
0127  
Pitch bend information  
Aftertouch information  
Voice information  
-128+127  
0127  
Voices  
064  
2 5 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
4 :PHASER(p . 4 5 )  
Parameter  
MFX Pra m e te rs  
Value  
1 :STEREO EQ (p . 4 4 )  
Parameter  
Phaser  
Manual  
Value  
Manual  
Rate  
100-8000 Hz  
0.05-10.00 Hz  
0-127  
Rate  
Freq/Gain  
LowFreq  
Depth  
Depth  
Low frequency  
Low gain  
200, 400 Hz  
Resonance  
Mix Level  
Resonance  
Mix level  
0-127  
LowGain  
-15+15 dB  
0-127  
Mid1 Freq  
Mid1 Gain  
Mid2 Freq  
Mid2 Gain  
High Freq  
High Gain  
Middle 1 frequency  
Middle 1 gain  
Middle 2 frequency  
Middle 2 gain  
High frequency  
High gain  
2008000Hz(*1)  
-15+15 dB  
Output  
Level  
2008000 Hz(*1)  
-15+15 dB  
Output level  
Output pan  
0-127  
Pan  
L64-0-63R  
4000, 8000 Hz  
-15+15 dB  
5 :SPECTRUM(p . 4 6 )  
Parameter  
Value  
Band Width  
Mid1 Q  
Mid1 Q  
Mid2 Q  
0.5, 1.0, 2.0, 4.0, 8.0  
0.5, 1.0, 2.0, 4.0, 8.0  
Gain  
Mid2 Q  
250Hz  
250Hz gain  
500Hz gain  
1000Hz gain  
1250Hz gain  
2000Hz gain  
3150Hz gain  
4000Hz gain  
8000Hz gain  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
Output  
500Hz  
Level  
Output level  
0127  
1000Hz  
1250Hz  
2000Hz  
3150Hz  
4000Hz  
8000Hz  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
2 :O VERDRIVE(p . 4 4 )  
Parameter  
Value  
Band Width  
Q
Q
0.5, 1.0, 2.0, 4.0, 8.0  
Overdrive  
Output  
Level  
Drive  
Drive  
0-127  
Output level  
Output pan  
0-127  
Amp simulator  
Type  
Pan  
L64-0-63R  
Amp simulator type  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
6 :EN HAN CER(p . 4 6 )  
Parameter  
EQ Gain  
Low  
Value  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
Enhancer  
Sens  
Sens  
0-127  
0-127  
Output  
Level  
Mix Level  
Mix level  
Output level  
Output pan  
0-127  
Pan  
L64-0-63R  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
3 :DISTO RTIO N (p . 4 5 )  
Parameter  
Value  
Output  
Level  
Output level  
0-127  
Overdrive  
Drive  
Drive  
0-127  
7 :AUTO W AH(p . 4 7 )  
Amp simulator  
Type  
Parameter  
Value  
Amp simulator type  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
Auto Wah  
Filter type  
Filter type  
Sens  
LPF, BPF  
0-127  
EQ Gain  
Low  
Sens  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Manual  
Peak  
Manual  
Peak  
0-127  
High  
0-127  
Rate  
Rate  
0.05-10.00 Hz  
0-127  
Output  
Level  
Depth  
Depth  
Output level  
Output pan  
0-127  
Pan  
L64-0-63R  
Output  
Level  
Output level  
0-127  
2 5 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
Pa ra m e te r List  
Output  
Level  
8 :RO TARY(p . 4 7 )  
Parameter  
Output level  
0-127  
Value  
1 2 :TREMO LO CHO RUS(p . 4 9 )  
Rotary  
Speed  
Speed  
SLOW, FAST  
Parameter  
Value  
Woofer  
Slow Rate  
Fast Rate  
Acceleration  
Level  
Chorus  
Rate  
Low frequency slow rate  
Low frequency fast rate  
Low frequency acceleration  
Low frequency level  
0.05-10.00 Hz  
0.05-10.00 Hz  
0-15  
Chorus rate  
0.05-10.00 Hz  
0-127  
Depth  
Chorus depth  
Pre delay time  
Pre Delay  
0.0-100.0 ms  
0-127  
Tremolo  
Rate  
Separation  
Tremolo rate  
0.05-10.00 Hz  
0-180 degree  
0-127  
Separation  
0-127  
Phase  
Tremolo phase  
Tremolo separation  
Separation  
Tweeter  
Slow Rate  
Fast Rate  
Accelerationl  
Level  
High frequency slow rate  
High frequency fast rate  
High frequency acceleration  
High frequency level  
0.05-10.00 Hz  
0.05-10.00 Hz  
0-15  
Balance  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
0-127  
Output  
Level  
Output  
Level  
Output level  
0-127  
1 3 :SPACE-D(p . 5 0 )  
Parameter  
Value  
9 :CO MPRESSO R(p . 4 8 )  
Parameter  
Value  
Chorus  
Rate  
Rate  
0.05-10.00 Hz  
0-127  
Compressor  
Attack  
Depth  
Depth  
Attack  
0-127  
Phase  
Pre Delay  
Phase  
0-180 degree  
0.0-100.0 ms  
Sustain  
Post Gain  
Sustain  
Post gain  
0-127  
Pre delay time  
0, +6, +12, +18 dB  
EQ Gain  
Low  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
High  
Balance  
Output  
Level  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Output level  
Output pan  
0-127  
Pan  
L64-0-63R  
Output  
Level  
1 0 :LIMITER(p . 4 8 )  
Parameter  
1 4 :STEREO CHO RUS(p . 5 0 )  
Parameter  
Value  
Value  
Limiter  
Threshold  
Threshold level  
Compression ratio  
Release time  
Post gain  
0-127  
Chorus  
Rate  
Ratio  
1.5:1, 2:1, 4:1, 100:1  
0-127  
Rate  
0.05-10.00 Hz  
0-127  
Release  
Post gain  
Depth  
Depth  
0, +6, +12, +18 dB  
Phase  
Pre Delay  
Phase  
0-180 degree  
0.0-100.0 ms  
Pre delay time  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Filter  
Type  
High  
Filter type  
OFF, LPF, HPF  
200-8000 Hz (*1)  
Cutoff  
Cutoff frequency  
Output  
Level  
Output level  
Output pan  
0-127  
EQ Gain  
Low  
Pan  
L64-0-63R  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
1 1 :HEXA-CHO RUS(p . 4 9 )  
Parameter  
Value  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Output  
Level  
Hexa Chorus  
Rate  
Rate  
0.05-10.00 Hz  
0-127  
Depth  
Depth  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Depth Dev  
Pre Delay  
Depth deviation  
Pre delay time  
-20-+20  
0.0-100.0 ms  
0-127  
Pre Delay Dev Pre delay deviation  
Pan Dev  
Pan deviation  
0-127  
Balance  
Effect balance  
D100:0W-D0:100W  
2 5 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
Level  
1 5 :STEREO FLAN GER(p . 5 1 )  
Parameter  
Output level  
0-127  
Value  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Flanger  
Rate  
Rate  
0.05-10.00 Hz  
0-127  
Depth  
Depth  
1 8 :MO DULATIO N DELAY(p . 5 3 )  
Feedback  
Phase  
Feedback level  
Phase  
-98-+98%  
0-180 degree  
0.0-100.0 ms  
Parameter  
Value  
Pre Delay  
Pre delay time  
Delay  
Left  
Filter  
Type  
Delay time left  
Delay time right  
HF damp  
0.0-500.0 ms  
0.0-500.0 ms  
200-8000 Hz,  
-98-+98%  
Filter type  
OFF, LPF, HPF  
200-8000 Hz (*1)  
Right  
Cutoff  
Cutoff frequency  
HF Damp  
Feedback  
FBK Mode  
Feedback level  
Feedback mode  
EQ Gain  
Low  
NORMAL, CROSS  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
Modulation  
Rate  
Rate  
0.05-10.00 Hz  
0-127  
Balance  
Depth  
Depth  
Phase  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Phase  
0-180 degree  
BYPASS (*1)  
Output  
Level  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
High  
Balance  
1 6 :STEP FLAN GER(p . 5 1 )  
Parameter  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Value  
Level  
Level  
Flanger  
Rate  
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, BYPASS  
Depth  
Depth  
Feedback  
Phase  
Feedback level  
Phase  
-98-+98%  
0-180 degree  
0.0-100.0 ms  
Pre Delay  
Pre delay time  
1 9 :TRIPLE TAP DELAY(p . 5 4 )  
Parameter  
Value  
Step Rate  
Step rate  
0.10-20.00 Hz, note *1  
Delay  
Center  
Left  
Delay time center  
Delay time left  
Delay time right  
HF damp  
200-1000 ms, note *1  
200-1000 ms, note *1  
200-1000 ms, note *1  
200-8000 Hz,  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
Right  
HF Damp  
Balance  
BYPASS (*1)  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Feedback  
Feedback level  
-98-+98%  
Output  
Level  
Delay Level  
Center  
Center level  
Left level  
0-127  
0-127  
0-127  
Left  
1 7 :STEREO DELAY(p . 5 2 )  
Parameter  
Right  
Right level  
Value  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Delay  
Left  
High  
Delay time left  
Delay time right  
HF damp  
0.0-500.0 ms  
0.0-500.0 ms  
200-8000 Hz,  
-98-+98%  
Right  
Balance  
HF Damp  
Feedback  
FBK Mode  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Feedback level  
Feedback mode  
Level  
Level  
NORMAL, CROSS  
Phase  
Phase Left  
Feedback phase left  
Feedback phase right  
NORMAL, INVERT  
NORMAL, INVERT  
BYPASS (*1)  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Phase Right  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
Balance  
Effect balance  
D100:0W-D0:100W  
2 5 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
Level  
2 0 :Q UADRUPLE TAP DELAY(p . 5 5 )  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Parameter  
Value  
Delay  
Delay 1  
Delay 2  
Delay 3  
Delay 4  
HF Damp  
Delay time 1  
Delay time 2  
Delay time 3  
Delay time 4  
HF damp  
200-1000 ms, note *1  
200-1000 ms, note *1  
200-1000 ms, note *1  
200-1000 ms, note *1  
200-8000 Hz,  
2 3 :FBK PITCH SHIFTER(p . 5 7 )  
Parameter  
Value  
Pitch  
BYPASS (*1)  
Coarse  
Coarse pitch  
-24-+12 semitone  
-100-+100 cent  
0.0-500.0 ms  
1, 2, 3, 4, 5  
Feedback  
Feedback level  
-98-+98%  
Fine  
Fine pitch  
Pre Delay  
Mode  
Pre delay time  
Pitch shifter mode  
Feedback level  
Delay Level  
Level 1  
Level 1  
Level 2  
Level 3  
Level 4  
0-127  
0-127  
0-127  
0-127  
Level 2  
Feedback  
-98-+98%  
Level 3  
EQ Gain  
Low  
Level 4  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
Balance  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Balance  
Effect balance  
D100:0W-D0:100W  
Level  
Level  
Output  
Level  
Output level  
Output pan  
0-127  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Pan  
L64-0-63R  
2 1 :TIME CO N TRO L DELAY(p . 5 6 )  
Parameter  
Parameter  
Value  
Value  
Delay  
Time  
Reverb  
Type  
Delay time  
Acceleration  
HF damp  
200-1000 ms  
0-15  
Reverb type  
ROOM1, ROOM2,  
STAGE1, STAGE2,  
HALL1, HALL2  
0.0-100.0 ms  
0-127  
Acceleration  
HF Damp  
200-8000 Hz,  
BYPASS (*1)  
-98-+98%  
Pre Delay  
Time  
Pre delay time  
Gate time  
Feedback  
Feedback level  
HF Damp  
HF damp  
200-8000 Hz,  
BYPASS (*1)  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Balance  
High  
Effect balance  
D100:0W-D0:100W  
Balance  
Output  
Level  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Output level  
Output pan  
0-127  
Pan  
L64-0-63R  
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 2 :2 VO ICE PITCH SHIFTER(p . 5 6 )  
Parameter  
Value  
2 5 :GATED REVERB(p . 5 8 )  
Parameter  
Value  
Pitch A  
Coarse  
Fine  
Coarse pitch  
Fine pitch  
-24-+12 semitone  
-100-+100 cent  
L64-0-63R  
Reverb  
Type  
Gated Reverb type  
NORMAL, REVERSE,  
SWEEP1, SWEEP2  
0.0-100.0 ms  
Pan  
Output pan  
Pre delay time  
Pre Delay  
0.0-500.0 ms  
Pre Delay  
Gate Time  
Pre delay time  
Gate time  
5-500 ms  
Pitch Shift  
Mode  
Pitch shifter mode  
1, 2, 3, 4, 5  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Pitch B  
Coarse  
Fine  
Coarse pitch  
Fine pitch  
-24-+12 semitone  
-100-+100 cent  
L64-0-63R  
High  
Balance  
Pan  
Output pan  
Pre delay time  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Pre Delay  
0.0-500.0 ms  
Output  
Level  
Level Balance  
Level balance  
A100:0B-A0:100B  
2 6 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
2 6 :O VERDRIVECHO RUS(p . 5 9 )  
3 2 :EN HAN SERCHO RUS(p . 6 1 )  
Parameter Value  
Parameter  
Value  
Enhanser  
Sens  
Overdrive  
Drive  
Enhancer sens  
0-127  
0-127  
Drive  
Pan  
0-127  
Mix Level  
Enhancer mix level  
Pan  
L64-0-63R  
Chorus  
Pre delay  
Rate  
Chorus  
Pre Delay  
Rate  
Chorus pre delay time  
Chorus rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Chorus pre delay time  
Chorus Rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Depth  
Chorus depth  
Depth  
Chorus depth  
Balance  
Chorus balance  
D100:0W-D0:100W  
Balance  
Chorus balance  
D100:0W-D0:100W  
Output  
Level  
Output  
Level  
Output level  
0-127  
Output level  
0-127  
3 3 :EN HAN SERFLAN GER(p . 6 1 )  
2 7 :O VERDRIVEFLAN GER(p . 5 9 )  
Parameter  
Value  
Parameter  
Value  
Enhanser  
Sens  
Overdrive  
Drive  
Enhancer sens  
0-127  
0-127  
Drive  
Pan  
0-127  
Mix Level  
Enhancer mix level  
Pan  
L64-0-63R  
Flanger  
Pre Delay  
Rate  
Flanger  
Pre Delay  
Rate  
Flanger pre delay time  
Flanger rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Flanger pre delay time  
Flanger rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Depth  
Flanger depth  
Depth  
Flanger depth  
Feedback  
Balance  
Flanger feedback level  
Flanger balance  
-98-+98%  
Feedback  
Balance  
Flanger feedback level  
Flanger balance  
-98-+98%  
D100:0W-D0:100W  
D100:0W-D0:100W  
Output  
Level  
Output  
Level  
Output level  
0-127  
Output level  
0-127  
3 4 :EN HAN SERDELAY(p . 6 2 )  
2 8 :O VERDRIVEDELAY(p . 6 0 )  
Value  
Parameter  
Value  
Enhanser  
Sens  
Enhancer sens  
0-127  
0-127  
Overdrive  
Drive  
Drive  
Pan  
0-127  
Mix Level  
Enhancer mix level  
Pan  
L64-0-63R  
Delay  
Time  
Delay time  
0.0-500.0 ms  
-98-+98%  
Delay  
Time  
Delay time  
0.0-500.0 ms  
-98-+98%  
Feedback  
HF Damp  
Delay feedback level  
Delay HF damp  
Feedback  
HF Damp  
Delay feedback level  
Delay HF damp  
200-8000 Hz,  
BYPASS (*1)  
D100:0W-D0:100W  
200-8000 Hz,  
BYPASS (*1)  
D100:0W-D0:100W  
Balance  
Delay balance  
Output level  
Balance  
Delay balance  
Output level  
Output  
Level  
0-127  
Output  
Level  
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, BYPASS  
2 9 :DISTO RTIO N CHO RUS(p . 6 0 )  
The parameters are essentially the same as "26: OVERDRIVECHORUS,"  
with the exception of the following two.  
3 0 :DISTO RTIO N FLAN GER(p . 6 0 )  
The parameters are essentially the same as "27: OVERDRIVEFLANGER,"  
with the exception of the following two.  
3 1 :DISTO RTIO N DELAY(p . 6 0 )  
The parameters are essentially the same as "28: OVERDRIVEDELAY," with  
the exception of the following two.  
2 6 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
3 5 :CHO RUSDELAY(p . 6 2 )  
Refer to "37: CHORUS/FLANGER."  
Parameter  
Value  
Chorus  
Pre Delay  
4 1 :STEREO PHASER(p . 6 5 )  
Chorus pre delay time  
Chorus rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Parameter  
Value  
Rate  
Depth  
Chorus depth  
Phaser  
Type  
Balance  
Chorus balance  
D100:0W-D0:100W  
Phaser type  
Mode  
1, 2  
Mode  
4-STAGE, 8-STAGE  
INVERSE, SYNCHRO  
0 127  
Delay  
Time  
Delay time  
0.0-500.0 ms  
-98-+98%  
Polarity  
Manual  
Rate  
Polarity  
Feedback  
HF Damp  
Delay Feedback level  
Delay HF damp  
Manual  
200-8000 Hz,  
BYPASS (*1)  
D100:0W-D0:100W  
Phaser rate  
0.05 10.00 Hz , note  
*2  
Balance  
Delay balance  
Output level  
Depth  
Phaser depth  
0 127  
Resonance  
X-Feedback  
Mix Level  
Phaser resonance  
Cross feedback level  
Mix level  
0 127  
Output  
Level  
-98 +98 %  
0 127  
0-127  
Step Rate  
Switch  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Switch  
OFF, ON  
Rate  
Step rate  
0.120.0 Hz , note *2  
3 6 :FLAN GERDELAY(p . 6 3 )  
Low  
Low gain  
High gain  
-15 +15 dB  
Parameter  
Value  
High  
-15 +15 dB  
Flanger  
Pre Delay  
Rate  
Output  
Level  
Chorus pre delay time  
Chorus rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Output level  
0 127  
Depth  
Chorus depth  
4 2 :KEYSYN C FLAN GER(p . 6 5 )  
Feedback  
Balance  
Delay Feedback level  
Chorus balance  
-98-+98%  
D100:0W-D0:100W  
Parameter  
Value  
Delay  
Time  
Flanger  
PrDly  
Delay time  
0.0-500.0 ms  
-98-+98%  
Pre delay time  
LFO rate  
0.0 100 ms  
0.05 10.00 Hz , note  
*2  
Feedback  
HF Damp  
Delay Feedback level  
Delay HF damp  
Rate  
200-8000 Hz,  
BYPASS (*1)  
D100:0W-D0:100W  
Depth  
Fbk  
LFO depth  
Feedback  
Phase  
0 127  
Balance  
Delay balance  
Output level  
-98 +98 %  
0 180 degree  
Phase  
Output  
Level  
0-127  
Filter  
Type  
Filter type  
OFF, LPF, HPF  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Cutoff  
Cutoff frequency  
2008000 H(*1)  
Step Rate  
Switch  
Switch  
OFF, ON  
3 7 :CHO RUSFLAN GER(p . 6 3 )  
Rate  
Step rate (*2)  
0.120.0 Hz , note *2  
Parameter  
Value  
Keysync  
Switch  
Switch  
OFF, ON  
Chorus  
Pre Delay  
Rate  
Thres  
Keysync threshold  
Keysync phase  
0 127  
Chorus pre delay time  
Chorus rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Phase  
0 360 degree  
Depth  
Chorus depth  
EQ Gain  
Low  
Balance  
Chorus balance  
D100:0W-D0:100W  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Flanger  
Pre Delay  
Rate  
Flanger pre delay time  
Flanger rate  
0.0-100.0 ms  
0.05-10.00 Hz  
0-127  
Balance  
Balance  
D100:0W D0:100W  
Depth  
Flanger depth  
Feedback  
Balance  
Flanger feedback level  
Flanger balance  
-98-+98%  
Output  
Level  
D100:0W-D0:100W  
Output level  
0 127  
Output  
Level  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Output level  
0-127  
3 8 :CHO RUS/ DELAY(p . 6 4 )  
Refer to "35: CHORUS/DELAY."  
3 9 :FLAN GER/ DELAY(p . 6 4 )  
Refer to "36: FLANGER/DELAY."  
2 6 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
Low  
4 3 :FO RMAN T FILTER(p . 6 6 )  
Parameter  
Low gain  
High gain  
-15 +15 dB  
Value  
High  
-15 +15 dB  
Overdrive  
Switch  
Balance  
Switch  
Drive  
OFF, ON  
Effect balance  
Output level  
D100:0W D0:100W  
Drive  
0 127  
Level  
Level  
Filter  
Vowel 1  
Vowel 2  
Rate  
0 127  
Vowel 1  
Vowel 2  
Rate  
a, e, i, o, u  
a, e, i, o, u  
0.05 10.00 Hz , note  
*2  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Depth  
Depth  
0 127  
4 6 :REVERSE DELAY(p . 6 9 )  
Parameter  
Manual  
Manual  
0 100  
Value  
Keysync  
Switch  
Keysync switch  
OFF, ON  
Delay  
Thres  
Keysync threshold  
0 127  
1
2
3
4
Delay time 1  
Delay time 2  
Delay time 3  
Delay time 4  
0 900 ms , note *2  
0 900 ms , note *2  
0 900 ms , note *2  
0 900 ms , note *2  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Feedback  
1
Output  
Level  
Feedback 1  
Feedback 4  
-98 +98 %  
Output level  
Output pan  
0 127  
4
-98 +98 %  
Pan  
L64 63R  
HF Damp  
HF Damp 1  
HF Damp 4  
2008000 Hz,  
BYPASS(*1)  
2008000 Hz,  
BYPASS(*1)  
4 4 :RIN G MO DULATO R(p . 6 7 )  
Parameter  
Value  
4
Ring Modulator  
Freq  
Frequency  
0 127  
Level  
Modulator  
Modulator source  
OFF, SOURCE, A, B,  
C, D  
1
2
3
Level 1  
Level 2  
Level 3  
0 127  
0 127  
0 127  
Modulator Monitor  
Sens  
Modulator monitor  
Sens  
OFF, ON  
0 127  
Pan  
Polarity  
Polarity  
UP, DOWN  
1
2
3
Output pan 1  
Output pan 2  
Output pan 3  
L64 63R  
L64 63R  
L64 63R  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Threshold  
Balance  
Threshold level  
0 127  
Effect balance  
Output level  
D100:0W D0:100W  
Output  
Level  
EQ Gain  
Low  
0 127  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
4 5 :MULTI TAP DELAY(p . 6 8 )  
Balance  
Parameter  
Value  
Effect balance  
Output level  
D100:0W D0:100W  
Output  
Level  
Delay  
1
0 127  
Delay time 1  
Delay time 2  
Delay time 3  
Delay time 4  
Feedback  
0 1800 ms , note *2  
0 1800 ms , note *2  
0 1800 ms , note *2  
0 1800 ms , note *2  
-98 +98 %  
2
3
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
4
Feedback  
HF Damp  
HF Damp  
2008000 Hz,  
BYPASS(*1)  
Level  
1
2
3
4
Level 1  
Level 2  
Level 3  
Level 4  
0 127  
0 127  
0 127  
0 127  
Pan  
1
2
3
4
Output pan 1  
Output pan 2  
Output pan 3  
Output pan 4  
L64 63R  
L64 63R  
L64 63R  
L64 63R  
2 6 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
4 7 :SHUFFLE DELAY(p . 7 0 )  
Parameter  
Value  
Parameter  
Value  
Delay  
Pch Coarse  
Time  
Delay time  
Shuffle rate  
Acceleration  
Feedback  
HF Damp  
0 1800 ms , note *2  
0 100 %  
1-3  
Coarse pitch 1-3  
Fine pitch 1-3  
-24 +12  
Shuffle Rate  
Acceleration  
Feedback  
HF Damp  
Pch Fine  
1-3  
0 15  
-100 +100 [cent]  
1, 2, 3, 4, 5  
-98 +98 %  
2008000 Hz,  
BYPASS(*1)  
Pitch Shift  
Mode  
Pitch shifter mode  
Feedback level 1-3  
Pre Delay time 1-3  
Pan  
A
Fbk  
1-3  
Pan A  
Pan B  
L64 63R  
-98 +98 %  
0.0 500 [ms]  
B
L64 63R  
Pre Delay  
1-3  
Balance  
Level balance  
A100:0B A0:100B  
Balance  
EQ Gain  
Low  
Effect balance  
Level 1-3  
D100:0E D0:100W  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Level  
1-3  
0 127  
Balance  
Effect balance  
Output level  
D100:0E D0:100W  
Pan  
1-3  
Output pan 1-3  
Output level  
L64 63R  
Output  
Level  
0 127  
Output  
0 127  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
5 0 :LO FI CO MPRESS(p . 7 2 )  
Parameter  
Value  
4 8 :3 D DELAY(p . 7 0 )  
Parameter  
Lo-Fi  
Value  
Type  
LOFI type  
1 9  
1 6  
1 6  
Delay  
Center  
Left  
Pre Filter  
Type  
Delay time center  
Delay time left  
Delay time right  
HF Damp  
0 1800 ms, note *2  
0 1800 ms, note *2  
0 1800 ms, note *2  
2008000 Hz,  
Pre Filter type  
Post Filter 1 type  
Right  
Post Filter 1  
Type  
HF Damp  
BYPASS(*1)  
Post Filter 2  
Type  
Feedback  
Feedback  
-98 +98 %  
Post Filter 2 type  
Cutoff Frequency  
OFF, LPF, HPF:(*1)  
(*1)  
Delay Level  
Center  
Cutoff  
Level center  
Level left  
0 127  
0 127  
0 127  
EQ Gain  
Low  
Left  
Low gain  
High gain  
-15 +15 dB  
Right  
Level right  
High  
-15 +15 dB  
EQ Gain  
Low  
Balance  
Low gain  
-15 +15 dB  
Effect balance  
D100:0E D0:100W  
High  
High gain -15 +15 dB  
Output  
Level  
Balance  
Output level  
Output pan  
0 127  
Effect balance  
D100:0E D0:100W  
Pan  
L64 63R  
Output  
Out  
Output mode  
Output level  
SPEAKER, PHONES  
1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000,  
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz  
Level  
0 127  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
2 6 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
5 1 :LO FI N O ISE(p . 7 2 )  
Parameter  
5 3 :O VERDRIVE 2 (p . 7 4 )  
Parameter  
Value  
Value  
Lo-Fi  
Overdrive  
Type  
LOFI type  
1 9  
Drive  
Drive  
Tone  
0 127  
Tone  
0 127  
Post Filter  
Type  
Post Filter Type  
Cutoff Frequency  
OFF, LPF, HPF  
(*1)  
Amp simulator  
Amp Type  
Cutoff  
Amp. simulator type  
OFF,ON:SMALL,  
BUILT-IN, 2-STACK,  
3-STACK  
Radio Noise  
Detune  
Radio detune  
Output level  
0 127:0 127 (*2)  
Level  
0 127  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
Disk Noise  
Type  
High  
-15 +15 dB  
Disc noise type  
Disc noise LPF  
Level  
(*3)  
(*4)  
(*5)  
LPF  
Output  
Level  
Level  
Output level  
Output pan  
0 127  
Pan  
L64 63R  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
5 4 :DISTO RTIO N 2 (p . 7 4 )  
Parameter  
High  
-15 +15 dB  
Value  
Balance  
Effect balance  
D100:0E D0:100W  
Distortion  
Drive  
Drive  
Tone  
0 127  
Output  
Level  
Tone  
0 127  
Output level  
Output pan  
0 127  
Pan  
L64 63R  
Amp simulator  
Amp Type  
Amp. simulator type  
OFF,ON:SMALL,  
BUILT-IN, 2-STACK,  
3-STACK  
*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  
EQ Gain  
Low  
*3: Disc noise type:LP, EP, SP, RND  
Low gain  
High gain  
-15 +15 dB  
*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  
High  
-15 +15 dB  
Output  
Level  
Output level  
Output pan  
0 127  
L64 63R  
5 2 :SPEAKER SIMULATO R(p . 7 3 )  
Parameter  
Value  
5 5 :STEREO CO MPRESSO R(p . 7 5 )  
Speaker  
Parameter  
Value  
Type  
Speaker type  
(*1)  
Compressor  
Attack  
Mic  
Setting  
Attack time  
Sustain  
0 127  
Mic setting  
Mic level  
1, 2, 3  
Sustain  
0 127  
Level  
0 127  
0 127  
Post Gain  
Post gain  
0, +6, +12, +18  
Direct Level  
Direct level  
EQ Gain  
Low  
Output  
Level  
Low gain  
High gain  
-15 +15 dB  
Output level  
0 127  
High  
-15 +15 dB  
1: Small 1, Small 2, Middle, JC-120, Built In 1, Built In 2, Built In 3, Built In 4,  
Built In 5, BG Stack 1, BG Stack 2, MS Stack 1, MS Stack 2, Metal Stack, 2  
Stack, 3 Stack  
Output  
Level  
Output level  
0 127  
5 6 :STEREO LIMITER(p . 7 5 )  
Parameter  
Value  
Limiter  
Threshold  
Threshold level  
Compression ratio  
Release time  
Post gain  
0 127  
Ratio  
1.5:1, 2:1, 4:1, 100:1  
0 127  
Release  
Post Gain  
0, +6, +12, +18  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Output  
Level  
Output level  
0 127  
2 6 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
5 7 :GATE(p . 7 6 )  
Parameter  
6 0 :3 D CHO RUS(p . 7 7 )  
Parameter  
Value  
Value  
Gate  
Chorus  
Mode  
Mode  
GATE, DUCK  
0 127  
Rate  
LFO rate  
0.05 10.00 Hz,  
note *1  
Attack Time  
Hold Time  
Release Time  
Attack time  
Hold time  
Release time  
0 127  
Depth  
LFO depth  
Phase  
0 127  
0 127  
Phase  
0 180 degree  
0.0 100 ms  
Pre Delay  
Pre delay time  
Gate  
Key Key  
Threshold  
Monitor  
Key  
SOURCE, A, B, C, D  
0 127  
Filter  
Type  
Key threshold  
Key monitor  
Filter Type  
OFF, LPF, HPF  
OFF, ON  
Cutoff  
Cutoff frequency  
2008000 Hz (*1)  
Balance  
EQ Gain  
Low  
Effect balance  
Output level  
D100:0E D0:100W  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Output  
Level  
0 127  
Balance  
Effect balance  
D100:0W D0:100W  
5 8 :SLICER(p . 7 6 )  
Parameter  
Output  
Value  
Output mode  
Output level  
SPEAKER, PHONES  
Level  
0 127  
Level 1, 2, 3, 4  
Beat 14  
Beat 14  
Rate  
0 127  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Rate  
0.05 10.0 , note *2  
0 127  
6 1 :3 D FLAN GER(p . 7 8 )  
Attack  
Parameter  
Value  
Attack  
Flanger  
Rate  
Reset  
Trigger  
LFO rate  
0.05 10.00 Hz,  
note *1  
Trigger  
OFF, Source, A, B, C,  
D
Depth  
LFO depth  
Feedback  
Phase  
0 127  
Threshold  
Monitor  
Reset threshold  
0 127  
OFF, ON  
Feedback  
Phase  
PrDly  
-98 +98 %  
0 180 degree  
0.0 100 ms  
Reset monitor switch  
Beat Change  
Mode  
Pre delay time  
Mode  
LEGATO, SLASH  
Filter  
Type  
Shuffle  
Shuffle  
0 127  
Filter Type  
OFF, LPF, HPF  
Output  
Level  
Cutoff  
Cutoff frequency  
2008000 Hz (*1)  
Output level  
0 127  
Step Rate  
Switch  
Switch  
OFF, ON  
5 9 :ISO LATO R(p . 7 7 )  
Parameter  
Rate  
Step Rate (*2)  
0.120.0 Hz, note *2  
Value  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
Boost/Cut  
Low  
Level low  
-60 +4 dB  
-60 +4 dB  
-60 +4 dB  
High  
-15 +15 dB  
Mid  
Level middle  
Level high  
Balance  
High  
Effect balance  
D100:0W D0:100W  
Anti Phase Low  
Output  
Out  
Switch  
Switch  
OFF, ON  
Output mode  
Output level  
SPEAKER, PHONES  
Level  
Level  
0 127  
Level  
0 127  
Anti Phase Mid  
Switch  
Switch  
OFF, ON  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Level  
Level  
0 127  
Low Boost  
Switch  
Switch  
Level  
OFF, ON  
Level  
0 127  
Output  
Level  
Output level  
0 127  
1: Anti phase middle switch:level  
2: Anti phase low switch:level  
2 6 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
EQ Gain  
Low  
6 2 :TREMO LO (p . 7 9 )  
Parameter  
Low gain  
High gain  
-15 +15 dB  
Value  
High  
-15 +15 dB  
Tremolo  
Mod Wave  
Output  
Level  
Modulation wave  
TRI, SQR, SIN, SAW1,  
SAW2  
Output level  
0-127  
Rate  
Rate  
0.05 10.0 Hz, note *2  
0 127  
6 6 :ST FO RMAN T FILTER(p . 8 1 )  
Depth  
Depth  
Parameter  
Value  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
Overdrive  
Switch  
High  
-15 +15 dB  
Switch  
Drive  
OFF, ON  
Drive  
0 127  
Output  
Level  
Output level  
0 127  
Filter  
Vowel 1  
Vowel 2  
Rate  
Vowel 1  
Vowel 2  
Rate  
a, e, i, o, u  
a, e, i, o, u  
0.05 10.00 Hz, note*2  
0 127  
6 3 :AUTO PAN (p . 7 9 )  
Parameter  
Value  
Depth  
Depth  
Manual  
Phase  
Manual  
0 100  
Auto Pan  
Mod Wave  
Formant phase  
0-180 degree  
Modulation wave  
TRI, SQR, SIN, SAW1,  
SAW2  
Keysync  
Switch  
Rate  
Rate  
0.05 10.0 Hz, note *2  
0 127  
Keysync switch  
OFF, ON  
Depth  
Depth  
Thres  
Keysync threshold  
0 127  
EQ Gain  
Low  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
High  
-15 +15 dB  
Output  
Level  
Output  
Level  
Output level  
0 127  
Output level  
0 127  
6 4 :STEREO PHASER 2 (p . 8 0 )  
Parameter  
Parameter  
Value  
Value  
Phaser  
Type  
Delay  
1-4  
Type  
1, 2  
Delay time 1-4  
Feedback level  
HF damp  
0-3000 ms, note *2  
-98-+98%  
Mode  
Mode  
4 stage, 8 stage,  
12 stage, 16 stage  
INVERSE, SYNCHRO  
0 - 127  
Feedback  
HF Damp  
200-8000 Hz,  
BYPASS (*1)  
Polarity  
Polarity  
Manual  
Manual  
Level  
1-4  
Rate  
Rate  
0.05-10.00 Hz, note *2  
0-127  
Level 1-4  
Pan 1-4  
0-127  
Depth  
Depth  
Resonance  
X-Feedback  
Mix Level  
Resonance  
Cross Feedback  
Mix level  
0-127  
Pan  
1-4  
-98 - +98 [%]  
0-127  
L64-0-R63  
Step Rate  
Switch  
EQ Gain  
Low  
Switch  
OFF, ON  
Low gain  
High gain  
-15 +15 dB  
Rate  
Step rate  
0.120.0 Hz, note *2  
High  
-15 +15 dB  
EQ Gain  
Low  
Balance  
Low gain  
High gain  
-15 +15 dB  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
High  
-15 +15 dB  
Level  
Level  
Output  
Level  
Output level  
0-127  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
6 5 :STEREO AUTO W AH(p . 8 1 )  
Parameter  
Value  
Auto Wah  
Filter type  
Sens  
Filter type  
Sens  
LPF, BPF  
0-127  
Manual  
Peak  
Manual  
Peak  
0-127  
0-127  
Rate  
Rate  
0.05-10.00 Hz, note *2  
0-127  
Depth  
Depth  
Polarity  
Phase  
Polarity  
Phase  
UP, DOWN  
0 - 180  
2 6 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
6 8 :REVERSE DELAY 2 (p . 8 2 )  
Parameter  
Parameter  
Value  
Value  
Delay  
Delay  
1-4  
Delay time 1-4  
Feedback level 1, 4  
HF damp 1, 4  
0-1500 ms, note *2  
-98-+98%  
Center  
Delay time center  
Delay time left  
Delay time right  
HF damp  
0-3000 ms, note *2  
0-3000 ms, note *2  
0-3000 ms, note *2  
200-8000 Hz,  
Left  
Feedback  
1, 4  
Right  
HF Damp  
BYPASS (*1)  
HF Damp  
1, 4  
Feedback  
Feedback level  
-98-+98%  
200-8000 Hz, BYPASS  
(*1)  
Delay Level  
Center  
Center level  
Left level  
0-127  
0-127  
0-127  
Level  
1-3  
Left  
Level 1-3  
Pan 1-3  
Value  
0-127  
Right  
Right level  
Pan  
1-3  
EQ Gain  
Low  
L64-0-R63  
0-127  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Threshold  
Value  
High  
Balance  
EQ Gain  
Low  
Effect balance  
D100:0W-D0:100W  
Low gain  
High gain  
-15 +15 dB  
Level  
Out  
High  
-15 +15 dB  
Output mode  
Output level  
SPEAKER, PHONES  
0-127  
Balance  
Level  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
7 1 :RO TARY 2 (p . 8 5 )  
Parameter  
Output  
Level  
Value  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Rotary  
Speed  
Speed  
Brake  
SLOW, FAST  
OFF,ON  
Brake  
6 9 :SHUFFLE DELAY 2 (p . 8 3 )  
Parameter  
Value  
Value  
0-127  
Value  
Woofer  
Slow  
Delay  
Time  
Woofer slow rate  
Woofer fast rate  
0.05-10.00 Hz, note *2  
Delay time  
0-3000 ms, note *2  
0-100%  
Fast  
0.05-10.00 Hz, note *2  
Shuffle Rate  
Acceleration  
Feedback  
HF Damp  
Shuffle Rate  
Acceleration  
Feedback level  
HF damp  
Level  
Woofer level  
0-127  
0-127  
0-127  
0-15  
Trans Up  
Trans Down  
Woofer transition up  
Woofer transition down  
-98-+98%  
200-8000 Hz,  
BYPASS (*1)  
Tweeter  
Slow  
Tweeter slow rate  
Tweeter fast rate  
0.05-10.00 Hz, note *2  
Delay Pan  
A, B  
Fast  
0.05-10.00 Hz, note *2  
Pan A, B  
L64-0-R63  
Level  
Tweeter level  
0-127  
0-127  
0-127  
Balance  
Trans Up  
Trans Down  
Tweeter transition up  
Tweeter transition down  
Level Balance  
A100:0B-A0:100B  
EQ Gain  
Low  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
-15 +15 dB  
High  
Balance  
Output  
Effect balance  
Output level  
D100:0W-D0:100W  
0-127  
Level  
Output level  
0-127  
Output  
Level  
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
2 6 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
7 2 :RO TARY MULTI(p . 8 6 )  
Parameter  
7 3 :KEYBO ARD MULTI(p . 8 7 )  
Value  
Parameter  
Value  
Sequence  
Sequence  
Ring Mod  
3 Band EQ  
Pch Shft  
Phaser  
OD/Dist  
Amp Sim  
3 Band EQ  
Rotary  
Overdrive/Distortion Switch  
Amp Simulator Switch  
3 Band EQ Switch  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
Ring Mod. Sw  
EQ Sw  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
Pitch Shifter Sw  
Phaser Sw  
Delay Sw  
Rotary Switch  
Delay  
Overdrive/Distortion  
Type  
Drive  
Tone  
Level  
Type  
Drive  
Tone  
Level  
Overdrive, Distortion  
Ring Modulator  
0-127  
0-127  
0-127  
Freq  
Ring Mod. Freq  
0 - 127  
Balance  
Ring Mod. Balance  
D100:0W - D0:100W  
EQ Gain  
Low  
EQ Low Gain  
EQ Mid Gain  
EQ High Gain  
-15 - +15  
-15 - +15  
-15 - +15  
Amp Simulator  
Type  
Type  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
Mid  
High  
EQ Gain  
Low  
Mid  
Mid Freq  
EQ Low Gain  
EQ Mid Gain  
EQ High Gain  
-15 - +15  
-15 - +15  
-15 - +15  
EQ Mid Freq  
EQ Mid Q  
(*1)  
Mid  
Mid Q  
0.5, 1.0, 2.0, 4.0, 8.0  
High  
Pitch Shifter  
Mode  
Mode  
1, 2, 3, 4, 5  
-24 - +12  
Mid  
Mid Freq  
EQ Mid Freq  
EQ Mid Q  
(*1)  
Coarse Tune  
Fine Tune  
Delay  
Coarse Tune  
Fine Tune  
Delay  
Mid Q  
0.5, 1.0, 2.0, 4.0, 8.0  
-100 - +100  
0.0 - 500  
Rotary  
Speed  
Feedback  
Balance  
Feedback  
Balance  
-98 - +98  
Speed  
SLOW, FAST  
0-127  
D100:0W - D0:100W  
Separation  
Separation  
Phaser  
Mode  
Woofer  
Slow  
Mode  
4 stage, 8 stage  
0 - 127  
Low frequency slow rate  
Low frequency fast rate  
Low frequency acceleration  
Low frequency level  
0.05-10.00 Hz, note *2  
0.05-10.00 Hz, note *2  
0-15  
Manual  
Rate  
Manual  
Rate  
Fast  
0.05 - 10.0, note *2  
0 - 127  
Accel  
Level  
Depth  
Depth  
0-127  
Resonance  
Mix Level  
Resonance  
Mix Level  
0 - 127  
0 - 127  
Tweeter  
Slow  
High frequency slow rate  
High frequency fast rate  
High frequency acceleration  
High frequency level  
0.05-10.00 Hz, note *2  
0.05-10.00 Hz, note *2  
0-15  
Delay  
Fast  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
0 - 3000, note *2  
0 - 3000, note *2  
-98 - +98  
Accel  
Level  
0-127  
(*2)  
EQ Gain  
Low  
D100:0W - D0:100W  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
High  
Output  
Level  
Output  
Level  
Output level  
0-127  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000, BYPASS  
2 6 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
7 4 :RHO DES MULTI(p . 8 9 )  
Parameter  
Parameter  
Value  
Value  
Sequence  
Sequence  
Enhancer  
Enhancer Switch  
Phaser Switch  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
Dist  
Distortion Switch  
Phaser Switch  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
Phaser  
Phaser  
Spectrum  
Enhancer  
Cho/Flg  
Tre/Pan  
Chorus/Flanger Switch  
Tremolo/Pan Switch  
Spectrum Switch  
Enhancer Switch  
Enhancer  
Sens  
Distortion  
Type  
Sens  
0 - 127  
0 - 127  
Type  
Drive  
Level  
*1  
Mix Level  
Mix Level  
Drive  
0 - 100  
0 - 100  
Level  
Phaser  
Mode  
Mode  
4 stage, 8 stage  
0 - 127  
Phaser  
Manual  
Mix Level  
Rate  
Manual  
Mix Level  
Rate  
Manual  
Mix Level  
Rate  
Manual  
Mix Level  
Rate  
50 - 15000 Hz  
0 - 100  
0 - 127  
0.05 - 10.0, note *2  
0 - 127  
0.1 - 10.0 Hz  
0 - 100  
Depth  
Depth  
Depth  
Depth  
Resonance  
Resonance  
0 - 127  
Resonance  
Resonance  
0 - 100  
Chorus/Flanger  
Spectrum  
Type  
Type  
CHORUS,FLANGER  
0.05 - 10.0, note *2  
0 - 127  
Band Width  
Band Width  
1, 2, 3, 4, 5  
Rate  
Rate  
Band Gain  
250Hz  
Depth  
Depth  
Band1  
Band2  
Band3  
Band4  
Band5  
Band6  
-15 - +15  
-15 - +15  
-15 - +15  
-15 - +15  
-15 - +15  
-15 - +15  
Feedback  
PreDly  
Balance  
Feedback  
PreDelay  
Balance  
-98 - +98  
500Hz  
0.0 - 100  
1000Hz  
2000Hz  
4000Hz  
8000Hz  
D100:0W - D0:100W  
Filter  
Type  
Type  
OFF, LPF, HPF  
(*1)  
Cutoff  
Cutoff Frequency  
Enhancer  
Sens  
Sens  
0 - 100  
0 - 100  
Tremolo/Auto Pan  
Type  
Type  
TREMOLO, PAN  
TRI, SQU, SIN, SAW1,  
SAW2  
Mix Level  
Mix Level  
ModWave  
ModWave  
Output  
Level  
Output level  
Output pan  
0 127  
Rate  
Rate  
0.05 - 10.0, note *2  
0 - 127  
Pan  
L64 63R  
Depth  
Depth  
*1: MELLOW DRIVE, OVERDRIVE, CRY DRIVE, MELLOW DIST, LIGHT  
DIST, FAT DIST, FUZZ DIST  
Output  
Level  
Output level  
0 127  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
7 6 :STEREO LO FI CO MPRESS(p . 9 1 )  
Parameter  
Value  
Lo-Fi  
Type  
LOFI type  
1 9  
1 6  
1 6  
Pre Filter  
Type  
Pre Filter type  
Post Filter 1 type  
Post Filter 1  
Type  
Post Filter 2  
Type  
Post Filter 2 type  
Cutoff Frequency  
OFF, LPF, HPF:(*1)  
(*1)  
Cutoff  
EQ Gain  
Low  
Low gain  
High gain  
-15 +15 dB  
High  
-15 +15 dB  
Balance  
Effect balance  
Output level  
D100:0W D0:100W  
Output  
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 7 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
Level  
7 7 :STEREO LO FI N O ISE(p . 9 2 )  
Output level  
Output pan  
0 127  
Parameter  
Value  
Pan  
L64 63R  
Lo-Fi  
Type  
*1: JC-120,Clean Twin,Match Drive, BG Lead,MS1959I,MS1959II,  
MS1959I+II,SLDN Lead,Metal 5150, Metal Lead,OD-1,OD-2 Turbo,  
Distortion,Fuzz  
LOFI type  
1 9  
Hum  
Type  
LPF  
Hum Type  
Hum LPF  
Hum Level  
50, 60 [Hz]  
(*1)  
*2: Small1,Small2,Middle,JC-120, Built In 1,Built In 2,Built In 3, Built In 4, Built  
In 5, BG Stack 1,BG Stack 2, MS Stack 1,MS Stack 2, Metal Stack, 2 Stack, 3  
Stack  
Level  
0 127  
Post Filter  
Type  
Post Filter Type  
Cutoff Frequency  
OFF, LPF, HPF  
(*2)  
7 9 :STEREO O VERDRIVE(p . 9 4 )  
Cutoff  
Parameter  
Value  
Disc Noise  
Type  
Disc noise type  
Disc noise LPF  
Disc noise Level  
WHITE, PINK  
(*1)  
Overdrive  
Drive  
LPF  
Drive  
Tone  
0-127  
0-127  
Level  
0 127  
Tone  
Radio Noise  
Detune  
Amp simulator  
Radio detune  
0 127  
Switch  
Amp Switch  
OFF, ON  
Level  
Radio Noise Level  
0 127  
Type  
Amp simulator type  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
Noise  
Type  
LPF  
White/Pink Noise Type  
White/Pink Noise LPF  
White/Pink Noise Level  
(*3)  
EQ Gain  
Low  
(*1)  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Level  
0 127  
High  
EQ Gain  
Low  
Output  
Level  
Low gain  
High gain  
-15 +15 dB  
Output level  
0-127  
High  
-15 +15 dB  
8 0 :STEREO DISTO RTIO N (p . 9 4 )  
Balance  
Effect balance  
Output level  
D100:0W D0:100W  
Parameter  
Value  
Output  
Level  
Distortion  
Drive  
0 127  
Drive  
Tone  
0-127  
0-127  
Tone  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz, BYPASS  
Amp simulator  
Switch  
Amp Switch  
OFF, ON  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 Hz  
Type  
Amp simulator type  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
7 8 :GUITAR AMP SIMULATO R(p . 9 3 )  
EQ Gain  
Low  
Low gain  
High gain  
-15-+15 dB  
-15-+15 dB  
Parameter  
Value  
High  
Amp Simulator  
Output  
Level  
Switch  
Switch  
OFF, ON  
(*1)  
Output level  
0-127  
Type  
Pre Amp Type  
Amp Level  
Volume  
Master  
Pre Amp Volume  
Pre Amp Master  
Pre Amp Gain  
0-127  
0-127  
Gain  
LOW, MID, HIGH  
Amp Tone  
Presence  
Pre Amp Presence  
0 - 127  
(Match Drive -127 - 0)  
OFF,ON  
Bright  
Bass  
Pre Amp Bright  
Pre Amp Bass  
Pre Amp Middle  
Pre Amp Treble  
0 - 127  
Middle  
Treble  
0 - 127  
0 - 127  
Speaker  
Switch  
Switch  
OFF, ON  
(*2)  
Speaker Type Speaker Type  
Mic  
Setting  
Mic Setting  
Mic Level  
1,2,3  
Level  
0 127  
0 127  
Direct  
Output level  
2 7 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
8 1 :GUITAR MULTI A(p . 9 5 )  
Parameter  
Parameter  
Value  
Value  
Sequence  
Sequence  
Comp  
Cmp Switch  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
Comp  
Compressor Switch  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
OD/Dist  
Amp Sim  
Delay  
Overdrive/Distortion Switch  
Amp Simulator Switch  
Delay Switch  
OD/Dist  
Amp Sim  
3 Band EQ  
Cho/Flg  
Overdrive/Distortion Switch  
Amp Simulator Switch  
3 Band EQ Switch  
Cho/Flg  
Chorus/FlangerF Switch  
Chorus/Flanger Switch  
Compressor  
Attack  
Compressor  
Attack  
Attack  
Sustain  
Level  
0 - 127  
0 - 127  
0 - 127  
Attack  
Sustain  
Level  
0 - 127  
0 - 127  
0 - 127  
Sustain  
Sustain  
Level  
Level  
Overdrive/Distortion  
Overdrive/Distortion  
Type  
Type  
OVERDRIVE,  
DISTORTION  
0 - 127  
Type  
Type  
OVERDRIVE,  
DISTORTION  
0 - 127  
Drive  
Tone  
Level  
Drive  
Tone  
Level  
Drive  
Tone  
Level  
Drive  
Tone  
Level  
0 - 127  
0 - 127  
0 - 127  
0 - 127  
Amp Simulator  
Amp Simulator  
Type  
Type  
SMALL, BUILT-IN,  
2STACK, 3STACK  
Type  
Type  
SMALL, BUILT-IN,  
2STACK, 3STACK  
Delay  
EQ Gain  
Low  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
0 - 3000 [ms], note *2  
0 - 3000 [ms], note *2  
-98 - +98 [%]  
Low gain  
Mid gain  
High gain  
-15 +15 dB  
-15 +15 dB  
-15 +15 dB  
Mid  
High  
(*1)  
Mid  
Mid Freq  
D100:0W - D0:100W  
Mid Freq  
Mid Q  
(*1)  
Mid Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Chorus/Flanger  
Type  
Type  
CHORUS,FLANGER  
0.05 - 10.0 [Hz], note *2  
0 - 127  
Chorus/Flanger  
Rate  
Rate  
Type  
Type  
CHORUS,FLANGER  
0.0 - 100 [ms]  
Depth  
Depth  
Pre Delay  
Rate  
Pre Delay  
Rate  
Feedback  
Pre Delay  
Balance  
Feedback  
Pre Delay  
Balance  
-98 - +98 [%]  
0.05 - 10.0 [Hz], note *2  
0 - 127  
0.0 - 100 [ms]  
Depth  
Depth  
D100:0W - D0:100W  
Feedback  
Balance  
Feedback  
Balance  
-98 - +98 [%]  
D100:0W - D0:100W  
Filter  
Type  
Filter Type  
Cutoff Freq  
OFF, LPF, HPF  
(*2)  
Filter  
Type  
Cutoff  
Filter Type  
Cutoff Freq  
OFF, LPF, HPF  
(*2)  
Cutoff  
Output  
Level  
Level  
Pan  
0 - 127  
Output  
Level  
Pan  
L64 - 63R  
Level  
Pan  
0 - 127  
Pan  
L64 - 63R  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000, BYPASS  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
2 7 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
8 3 :GUITAR MULTI C(p . 9 8 )  
Parameter  
Value  
Parameter  
Value  
Sequence  
OD/Dist  
Sequence  
Comp  
Overdrive/Distortion Switch  
Wah Switch  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
OFF,ON  
Compressor Sw  
3 Band EQ Sw  
Delay Sw  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
Wah  
3 Band EQ  
Delay  
Amp Sim  
Delay  
Amp Simulator Switch  
Delay Switch  
Cho/Flg  
Chorus/Flanger Sw  
Cho/Flg  
Chorus/FlangerF Switch  
Compressor  
Attack  
Attack  
Sustain  
Level  
0 - 127  
0 - 127  
0 - 127  
Overdrive/Distortion  
Type  
Type  
OVERDRIVE,  
DISTORTION  
0 - 127  
Sustain  
Level  
Drive  
Tone  
Level  
Drive  
Tone  
Level  
EQ Gain  
Low  
0 - 127  
Low gain  
Mid gain  
High gain  
-15 +15 dB  
-15 +15 dB  
-15 +15 dB  
0 - 127  
Mid  
High  
Wah  
Filter type  
Filter type  
Rate  
LPF, BPF  
Mid  
Mid Freq  
Rate  
0.05-10.00 Hz, note *2  
Mid Freq  
Mid Q  
(*1)  
Depth  
Sens  
Depth  
Sens  
0-127  
0-127  
0-127  
0-127  
Mid Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Manual  
Peak  
Manual  
Peak  
Delay  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
0 - 3000 [ms], note *2  
0 - 3000 [ms], note *2  
-98 - +98 [%]  
Amp Simulator  
Type  
Type  
SMALL, BUILT-IN,  
2STACK, 3STACK  
(*2)  
D100:0E - D0:100E  
Delay  
Chorus/Flanger  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
0 - 3000 [ms], note *2  
0 - 3000 [ms], note *2  
-98 - +98 [%]  
Type  
Type  
CHORUS,FLANGER  
0.0 - 100 [ms]  
0.05 - 10.0 [Hz]  
0 - 127  
Pre Delay  
Rate  
Pre Delay  
Rate  
(*1)  
Depth  
Depth  
D100:0W - D0:100W  
Feedback  
Balance  
Feedback  
Balance  
-98 - +98 [%]  
D100:0E - D0:100E  
Chorus/Flanger  
Type  
Type  
CHORUS,FLANGER  
0.05 - 10.0 [Hz], note *2  
0 - 127  
Filter  
Type  
Rate  
Rate  
Type  
OFF, LPF, HPF  
(*1)  
Depth  
Depth  
Cutoff  
Cutoff Frequency  
Feedback  
Pre Delay  
Balance  
Feedback  
Pre Delay  
Balance  
-98 - +98 [%]  
0.0 - 100 [ms]  
Output  
Level  
D100:0W - D0:100W  
Level  
Pan  
0 - 127  
Pan  
L64 - 63R  
Filter  
Type  
Filter Type  
Cutoff Freq  
OFF, LPF, HPF  
(*2)  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
Cutoff  
Output  
Level  
Level  
Pan  
0 - 127  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000, BYPASS  
Pan  
L64 - 63R  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000, BYPASS  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
2 7 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
8 5 :CLEAN GUITAR MULTI B(p . 1 0 1 )  
Type  
Drive  
Tone  
Level  
Type  
Drive  
Tone  
Level  
OVERDRIVE, DISTORTION  
Parameter  
Value  
0 - 127  
0 - 127  
0 - 127  
Sequence  
Wah  
Wah Switch  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
3 Band EQ  
Delay  
3 Band EQ Switch  
Delay Switch  
Amp Simulator  
Type  
Type  
SMALL, BUILT-IN, 2-STACK  
Cho/Flg  
Chorus/Flanger Switch  
EQ Gain  
Low  
Wah  
Filter type  
Low gain  
Mid gain  
High gain  
-15 +15 dB  
-15 +15 dB  
-15 +15 dB  
Filter type  
Rate  
LPF, BPF  
Mid  
Rate  
0.05-10.00 Hz, note *2  
High  
Depth  
Sens  
Depth  
Sens  
0-127  
0-127  
0-127  
0-127  
Mid  
Mid Freq  
Mid Freq  
Mid Q  
(*1)  
Manual  
Peak  
Manual  
Peak  
Mid Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Chorus/Flanger  
EQ Gain  
Low  
Type  
Type  
CHORUS,FLANGER  
0.05 - 10.0 [Hz], note *2  
0 - 127  
Low gain  
Mid gain  
High gain  
-15 +15 dB  
-15 +15 dB  
-15 +15 dB  
Rate  
Rate  
Mid  
Depth  
Depth  
High  
Feedback  
Pre Delay  
Balance  
Feedback  
Pre Delay  
Balance  
-98 - +98 [%]  
Mid  
Mid Freq  
0.0 - 100 [ms]  
Mid Freq  
Mid Q  
(*1)  
D100:0W - D0:100W  
Mid Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Filter  
Type  
Delay  
Type  
OFF, LPF, HPF  
(*1)  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
Left Time  
Right Time  
Feedback  
HF Damp  
Balance  
0 - 3000 [ms], note *2  
0 - 3000 [ms], note *2  
-98 - +98 [%]  
Cutoff  
Cutoff Frequency  
Output  
Level  
Level  
Pan  
0 - 127  
(*2)  
Pan  
L64 - 63R  
D100:0W - D0:100W  
Chorus/Flanger  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
Select  
Select  
CHORUS,FLANGER  
0.0 - 100 [ms]  
Pre Delay  
Rate  
Pre Delay  
Rate  
0.05 - 10.0 [Hz], note *2  
0 - 127  
8 7 :ISO LATO R 2 (p . 1 0 4 )  
Parameter  
Depth  
Depth  
Value  
Feedback  
Balance  
Feedback  
Balance  
-98 - +98 [%]  
D100:0E - D0:100E  
Boost/Cut  
Low  
Level low  
-60 +4 dB  
-60 +4 dB  
-60 +4 dB  
Filter  
Type  
Type  
OFF, LPF, HPF  
(*1)  
Mid  
Level middle  
Level high  
Cutoff  
Cutoff Frequency  
High  
Output  
Level  
Anti Phase Low  
Level  
Pan  
0 - 127  
Switch  
Switch  
OFF, ON  
Pan  
L64 - 63R  
Level  
Level  
0 127  
Anti Phase Mid  
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000 [Hz]  
Switch  
Switch  
OFF, ON  
Level  
Level  
0 127  
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,  
4000, 5000, 6300, 8000, BYPASS  
Post Filter  
Switch  
Switch  
OFF, ON  
OFF, LPF, HPF  
0-127  
Type  
Filter type  
Cutoff frequency  
Resonance  
Slope  
Cutoff  
8 6 :BASS MULTI(p . 1 0 2 )  
Parameter  
Resonance  
Slope  
0-127  
Value  
-12, -24 dB  
0-24 dB  
Gain  
Gain  
Sequence  
Comp  
Compressor Switch  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
Low Boost  
Switch  
OD/Dist  
Overdrive/Distortion Switch  
Amp Simulator Switch  
3 Band EQSwitch  
Switch  
Level  
OFF, ON  
Amp Sim  
3 Band EQ  
Cho/Flg  
Level  
0 127  
Chorus/Flanger Switch  
Output  
Level  
Output level  
0 127  
Compressor  
Attack  
Attack  
Sustain  
Level  
0 - 127  
0 - 127  
0 - 127  
Sustain  
Level  
2 7 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Pa ra m e te r List  
8 8 :STEREO SPECTRUM(p . 1 0 4 )  
Parameter  
Value  
(Eighth-note triplet),  
(Sixteenth note),  
(Dotted sixteenth note), (Eighth note),  
Band Gain  
250Hz  
250Hz gain  
500Hz gain  
1000Hz gain  
1250Hz gain  
2000Hz gain  
3150Hz gain  
4000Hz gain  
8000Hz gain  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
-15-+15 dB  
(Half-note triplet), (Dotted eighth note), (Quarter note),  
(Dotted quarter note), (Half note),  
(Half-note triplet),  
500Hz  
1000Hz  
1250Hz  
2000Hz  
3150Hz  
4000Hz  
8000Hz  
note *2:  
Band Width  
Q
(Sixty-fourth-note triplet),  
(Thirty-second note),  
(Sixty-fourth note),  
(Thirty-second-note triplet),  
(Dotted thirty-second note),  
(Dotted sixteenth note),  
Q
0.5, 1.0, 2.0, 4.0, 8.0  
0-127  
Output  
Level  
(Sixteenth-note triplet),  
Output level  
(Eighth-note triplet),  
(Quarter-note triplet),  
(Half-note triplet),  
(Sixteenth note),  
(Eighth note),  
8 9 :3 D AUTO SPIN (p . 1 0 5 )  
Parameter  
(Dotted eighth note),  
Value  
(Quarter note),  
(Dotted quarter note),  
(Half note),  
Auto Spin  
Azimuth  
(Whole-note triplet),  
(Double-note triplet),  
(Dotted half note),  
(Whole note),  
(Double note)  
Azimuth  
Speed  
(*1)  
Speed  
0.05 - 10.0 [Hz], note *2  
(Dotted whole note),  
Clockwise  
Turn  
Clockwise  
Turn  
-, +  
OFF, ON  
Output  
Out  
Output mode  
Output level  
SPEAKER, PHONES  
Level  
0 127  
*1, *2: L180, L168, L156, L144, L132, L120, L108, L96, L84, L72, L60, L48,  
L36, L24, L12, 0, R12, R24, R36, R48, R60, R72, R84, R96, R108, R120,  
R132, R144, R156, R168, R180  
9 0 :3 D MAN UAL(p . 1 0 5 )  
Parameter  
Value  
Auto Spin  
Azimuth  
Azimuth  
(*1)  
Output  
Out  
Output mode  
Output level  
SPEAKER, PHONES  
Level  
0 127  
*1: L180, L168, L156, L144, L132, L120, L108, L96, L84, L72, L60, L48, L36,  
L24, L12, 0, R12, R24, R36, R48, R60, R72, R84, R96, R108, R120, R132,  
R144, R156, R168, R180  
2 7 5  
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  
SYSTEM Ge n e ra l # 1 ([SYSTEM/ UTILITY]-[F1 (Ge n e ra l)])(p . 2 0 9 )  
Group  
Parameter  
Value  
Setup  
LCD Contrast  
Patch Remain  
Powerup Mode  
Character Style  
LCD contrast  
110  
Patch remain switch  
Power up mode  
Character Style  
OFF, ON  
LAST-SET, DEFAULT  
TYPE14  
Rhythm Edit Key Rhythm edit key  
SCSI Probe Time SCSI probe time  
PANEL, PANEL&MIDI  
110  
Master  
Level  
Master level  
Master Tune  
Key Shift  
0127  
Tune  
415.3466.2Hz  
-24+24 semitones  
INT, MID  
Key Shift  
Clock Source  
Tempo  
System Tempo  
Clock source  
System tempo  
20250  
SYSTEM Ge n e ra l # 2 ([SYSTEM/ UTILITY]-[F1 (Ge n e ra l)])(p . 2 1 1 )  
Group  
Parameter  
Value  
Scale Tune  
Switch  
CB  
Scale tune switch  
Scale tune CB  
Scale tune CB  
OFF, ON  
-64+63  
-64+63  
PATCH SCALE  
KEY SCALE  
CB  
SYSTEM O u tp u t ([SYSTEM/ UTILITY]-[F2 (O u tp &EQ )-[F2 (O u tp u t)])(p . 2 1 1 )  
Group  
Parameter  
Value  
Digital Interface  
Master Clock  
Master Freq  
Master Clock  
INTERNAL/R-BUS/WORD CLOCK IN  
44.1/48.0kHz  
Master Frequency  
DIF Control  
DIF-AT Clk Select DIF-AT Clock select  
R-BUS/ADAT/DA-88  
MIX, PARALLEL  
Output Mix/Parallel  
Output Gain  
Mode  
Gain  
Mix/Parallel  
Output Gain  
-12, -6, 0, +6, +12 dB  
SYSTEM EQ ([SYSTEM/ UTILITY]-[F2 (O u tp &EQ )-[F2 (EQ )])(p . 2 1 1 )  
Group  
Parameter  
Value  
Output-AD  
L.F  
Low Frequency  
Low Gain  
200/400Hz  
-15+15  
L.G  
H.F  
H.G  
High Frequency  
High Gain  
2000/4000/8000Hz  
-15+15  
SYSTEM MIDI ([SYSTEM/ UTILITY]-[F3 (MIDI)])(p . 2 1 1 )  
Group  
Parameter  
Value  
MIDI Receive Ch  
Perform Ctrl Ch  
Performance control channel  
116, OFF  
116  
Patch/Rhy Rx Ch Patch/Rhythm set receive channel  
System Exclusive  
Device ID  
Device ID number  
1732  
Receive Sw  
Receive exclusive switch  
OFF, ON  
OFF, ON  
OFF, 28  
18  
MIDI Tx  
Stack  
Transmit Edit Data Transmit edit data switch  
Mode  
Stack mode  
Number  
Stack number  
Rx Switch  
Program Chg  
Bank Select  
GM System ON  
Program Change  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
OFF, ON  
Receive bank select switch  
Receive GM-ON exclusive switch  
GM2 System ON Receive GM2-ON exclusive switch  
GS Reset Receive GS Reset exclusive switch  
SYSTEM Co n tro l ([SYSTEM/ UTILITY]-[F4 (Co n tro l)])(p . 2 1 5 )  
Group  
Parameter  
Value  
System Control 1-4  
Source  
System control assign 1-4  
OFF, CC0195(except 32), PITCH BEND, AFTERTOUCH  
2 7 6  
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  
2 7 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  
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  
2 7 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  
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  
2 7 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  
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  
2 8 0  
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  
2 8 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
Model  
Date  
XV-5080  
087 | 000  
| 032  
| 033  
| :  
| 001 - 128 | User Patch  
| 001 - 128 | Card Patch A  
| 001 - 128 | Card Patch B  
| 001 - 128  
| 001 - 128  
| 001 - 128  
|
| 001 - 128  
| 001 - 128  
|
| 001 - 256  
| 001 - 256  
|
| 001 - 256  
| 001 - 256  
|
| 001 -  
|
| 001 -  
|
| 001 - 009  
| 001 - 256  
May. 20, 2000  
Version  
1.00  
|
| :  
| 064  
| 065  
| :  
| 001 - 128 | Preset Patch A  
| 001 - 128 | Preset Patch B  
|
| :  
1. Receive data  
088 | 000 - 001 | 001 - 128 | SR-JV80-01 Rhythm  
| 002 - 003 | 001 - 128 | SR-JV80-02 Rhythm  
| :  
|
| :  
089 | 000 - 001 | 001 - 128 | SR-JV80-01 Patch  
| 002 - 003 | 001 - 128 | SR-JV80-02 Patch  
Channel Voice Messages  
| :  
092 | 000 -  
| :  
093 | 000 -  
| :  
120 |  
|
| :  
| 001 -  
| SRX Rhythm  
| :  
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/  
PART) is OFF.  
|
| 001 -  
|
| SRX Patch  
| :  
| 001 - 057 | GM Rhythm  
121 | 000 - 009 | 001 - 128 | GM Patch  
Note off  
Status  
2nd byte  
kkH  
3rd byte  
vvH  
Modulation (Controller number 1)  
8nH  
Status  
BnH  
2nd byte  
01H  
3rd byte  
vvH  
9nH  
kkH  
00H  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
kk = note number: 00H - 7FH (0 - 127)  
vv = note off velocity:00H - 7FH (0 - 127)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Modulation depth:00H - 7FH (0 - 127)  
*
Not received in Performance mode when the Receive Modulation (PERFORM/ MIDI) is  
OFF.  
*
Not received when the Envelope Mode parameter (PATCH/ TONE and RHYTHM/  
TONE) is NO-SUS.  
Breath type (Controller number 2)  
Note on  
Status  
BnH  
2nd byte  
02H  
3rd byte  
vvH  
Status  
2nd byte  
kkH  
3rd byte  
vvH  
9nH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
kk = note number: 00H - 7FH (0 - 127)  
vv = note on velocity:01H - 7FH (1 - 127)  
Foot type (Controller number 4)  
Status  
BnH  
2nd byte  
04H  
3rd byte  
vvH  
Polyphonic Key Pressure  
Status  
2nd byte  
3rd byte  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
AnHkkH  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
kk = note number: 00H - 7FH (0 - 127)  
Portamento Time (Controller number 5)  
vv = Polyphonic Key Pressure:00H - 7FH (0 - 127)  
Status  
BnH  
2nd byte  
05H  
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 = Portamento Time:00H - 7FH (0 - 127)  
Control Change  
*
In Performance mode the Part Portamento Time parameter (PERFORM/ PART) will  
change.  
*
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or  
4 parameter (PATCH COMMON), the corresponding effect will occur.  
Data Entry (Controller number 6, 38)  
*
If a Controller number that corresponds to the System Control Source 1, 2, 3 or  
4
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.  
Status  
BnH  
2nd byte  
06H  
3rd byte  
mmH  
llH  
BnH  
26H  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
mm, ll = the value of the parameter specified by RPN/ NRPN  
mm = MSB, ll = LSB  
Bank Select (Controller number 0, 32)  
Status  
BnH  
2nd byte  
00H  
3rd byte  
mmH  
llH  
Volume (Controller number 7)  
BnH  
20H  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Status  
BnH  
2nd byte  
07H  
3rd byte  
vvH  
mm, ll = Bank nunber:00 00H - 7F 7FH (bank.1 - bank.16384)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Volume: 00H - 7FH (0 - 127)  
*
*
*
Not received in Performance mode when the Receive Bank Select (PERFORM/ MIDI) is  
OFF.  
The Performances, Rhythms, and Patches corresponding to each Bank Select are as  
*
*
Not received in Performance mode when the Receive Volume parameter (PERFORM/  
follows.  
MIDI) is OFF.  
The SRX series corresponding to each Bank Select are to see the SRX series owner's  
manual.  
In Performance mode the Part Level parameter (PERFORM/ PART) will change.  
Balance (Controller number 8)  
BANK SELECT  
MSB | LSB  
| PROGRAM  
| NUMBER  
| GROUP  
|
| NUMBER  
|
Status  
BnH  
2nd byte  
08H  
3rd byte  
vvH  
-----+-----------+-----------+----------------------+-----------  
000 |  
: |  
032 |  
085 | 000  
| 032  
| 033  
| :  
| 001 - 128 | GM Patch  
|
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Balance: 00H - 7FH (0 - 127)  
|
|
|
| 001 - 128 | GM Patch  
|
| 001 - 064 | User Performance  
| 001 - 064 | Card Performance A  
| 001 - 064 | Card Performance B  
| 001 - 064  
| 001 - 064  
| 001 - 064  
|
Panpot (Controller number 10)  
|
| :  
Status  
BnH  
2nd byte  
0AH  
3rd byte  
vvH  
| 064  
| 065  
| :  
| 001 - 032 | Preset Performance A | 001 - 032  
| 001 - 032 | Preset Performance B | 001 - 032  
|
| :  
|
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Panpot: 00H - 40H - 7FH (Left - Center - Right),  
086 | 000  
| 032  
| 033  
| :  
| 001 - 004 | User Rhythm  
| 001 - 004 | Card Rhythm A  
| 001 - 004 | Card Rhythm B  
| 001 - 004  
| 001 - 004  
| 001 - 004  
|
|
| :  
| 064  
| 065  
| :  
| 001 - 002 | Preset Rhythm A  
| 001 - 002 | Preset Rhythm B  
| 001 - 002  
| 001 - 002  
|
*
Not received in Performance mode when the Receive Pan parameter (PERFORM/ MIDI)  
is OFF.  
|
| :  
2 8 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
MIDI Im p le m e n ta tio n  
*
In Performance mode the Part pan parameter (PERFORM/ PART) will change.  
*
In Performance mode the Part Release Time Offset parameter (PERFORM/ PART) will  
change.  
Expression (Controller number 11)  
Attack time (Controller number 73)  
Status  
BnH  
2nd byte  
0BH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
49H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Expression: 00H - 7FH (0 - 127)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Attack time value (relative change):00H - 7FH (-64 - 0 - +63),  
*
*
Not received when Tone Receive Expression parameter (PATCH/ TONE or RHYTHM/  
TONE) is OFF.  
*
In Performance mode the Part Attack Time Offset parameter (PERFORM/ PART) will  
change.  
Not received in Performance mode when Receive Expression parameter (PERFORM/  
MIDI) is OFF.  
Cutoff (Controller number 74)  
Hold 1 (Controller number 64)  
Status  
BnH  
2nd byte  
4AH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
40H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Cutoff value (relative change):00H - 7FH (-64 - 0 - +63)  
vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON  
*
In Performance mode the Part Cutoff Offset parameter (PERFORM/ PART) will change.  
*
*
Not received when Tone Receive Hold-1 parameter (PATCH/ TONE or RHYTHM/  
TONE) is OFF.  
Decay Time (Controller number 75)  
Not received in Performance mode when Receive Hold-1 parameter (PERFORM/ MIDI)  
is OFF.  
Status  
BnH  
2nd byte  
4BH  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Portamento (Controller number 65)  
vv = Decay Time value (relative change):00H - 7FH (-64 - 0 - +63)  
Status  
BnH  
2nd byte  
41H  
3rd byte  
vvH  
*
The decay time will change in GM mode.  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
Vibrato Rate (Controller number 76)  
Status  
BnH  
2nd byte  
4CH  
3rd byte  
vvH  
*
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)  
Sostenuto (Controller number 66)  
Status  
BnH  
2nd byte  
42H  
3rd byte  
vvH  
*
The vibrato rate will change in GM mode.  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Vibrato Depth (Controller number 77)  
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
Status  
BnH  
2nd byte  
4DH  
3rd byte  
vvH  
Soft (Controller number 67)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Status  
BnH  
2nd byte  
43H  
3rd byte  
vvH  
vv = Vibrato Depth Value (relative change):00H - 7FH (-64 - 0 - +63)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
*
The vibrato depth will change in GM mode.  
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
Vibrato Delay (Controller number 78)  
Legato Foot Switch (Controller number 68)  
Status  
BnH  
2nd byte  
4EH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
44H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Vibrato Delay value (relative change):00H - 7FH (-64 - 0 - +63)  
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
*
The vibrato delay will change in GM mode.  
*
In Performance mode the Part Legato Switch parameter (PERFORM/ PART) will change.  
General Purpose Controller 5 (Controller number 80)  
Hold-2 (Controller number 69)  
Status  
BnH  
2nd byte  
50H  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
45H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
*
The Tone Level parameter (PATCH/ TONE) of Tone 1 will change.  
*
A hold movement isn't done.  
General Purpose Controller 6 (Controller number 81)  
Resonance (Controller number 71)  
Status  
BnH  
2nd byte  
51H  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
47H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv= Resonance value (relative change):00H - 7FH (-64 - 0 - +63),  
*
The Tone Level parameter (PATCH/ TONE) of Tone 2 will change.  
*
In Performance mode the Part Resonance Offset parameter (PERFORM/ PART) will  
change.  
General Purpose Controller 7 (Controller number 82)  
Status  
BnH  
2nd byte  
52H  
3rd byte  
vvH  
Release Time (Controller number 72)  
Status  
BnH  
2nd byte  
48H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Release Time value (relative change):00H - 7FH (-64 - 0 - +63),  
*
The Tone Level parameter (PATCH/ TONE) of Tone 3 will change.  
2 8 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
       
MIDI Im p le m e n ta tio n  
RPN and NRPN will be set as "unspecified". Once this setting has been  
General Purpose Controller 8 (Controller number 83)  
made, subsequent  
Status  
BnH  
2nd byte  
53H  
3rd byte  
vvH  
Parameter values that were previously set will not change.  
mm, ll: ignored  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127)  
Program Change  
*
The Tone Level parameter (PATCH/ TONE) of Tone 4 will change.  
Status  
2nd byte  
CnH  
ppH  
Portamento control (Controller number 84)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Status  
BnH  
2nd byte  
54H  
3rd byte  
kkH  
pp = Program number:00H - 7FH (prog.1 - prog.128)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
kk = source note number:00H - 7FH (0 - 127)  
*
Not received in Performance mode when the Receive Program parameter (PERFORM/  
MIDI) is OFF.  
*
*
A
Note-on received immediately after  
a
Portamento Control message will change  
Channel Pressure  
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.  
Status  
2nd byte  
DnH  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Channel Pressure:00H - 7FH (0 - 127)  
*
The rate of the pitch change caused by Portamento Control is determined by the  
Portamento Time value.  
*
Not received in Performance mode when the Receive Channel Pressure parameter  
(PERFORM/ MIDI) is OFF.  
Effect 1 (Reverb Send Level) (Controller number 91)  
Status  
BnH  
2nd byte  
5BH  
3rd byte  
vvH  
Pitch Bend Change  
Status  
2nd byte  
3rd byte  
mmH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Reverb Send Level:00H - 7FH (0 - 127)  
EnH  
llH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
mm, ll = Pitch Bend value:00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)  
*
In Performance mode the Part Part Reverb Send Level parameter (PERFORM/ PART)  
will change.  
*
*
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.  
Effect 3 (Chorus Send Level) (Controller number 93)  
Status  
BnH  
2nd byte  
5DH  
3rd byte  
vvH  
Channel Mode Messages  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Chorus Send Level:00H - 7FH (0 - 127)  
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/  
MIDI) is OFF.  
*
In Performance mode the Part Part Chorus Send Level parameter (PERFORM/ PART)  
will change.  
All Sounds Off (Controller number 120)  
RPN MSB/LSB (Controller number 100, 101)  
Status  
2nd byte  
3rd byte  
BnH  
78H  
00H  
Status  
BnH  
2nd byte  
65H  
3rd byte  
mmH  
llH  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
BnH  
64H  
*
When this message is received, all notes currently sounding on the corresponding  
channel will be turned off.  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
mm = upper byte (MSB) of parameter number specified by RPN  
ll = lower byte (LSB) of parameter number specified by RPN  
Reset All Controllers (Controller number 121)  
<<< RPN >>>  
Status  
2nd byte  
3rd byte  
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  
BnH  
79H  
00H  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
When this message is received, the following controllers will be set to their reset values.  
This device receives the following RPNs.  
*
RPN  
Data entry  
MSB, LSB  
mmH, llH  
mm:  
Controller  
Pitch Bend Change  
Polyphonic Key Pressure  
Channel Pressure  
Modulation  
Breath Type  
Expression  
Hold 1  
Reset value  
MSB, LSB  
00H, 00H  
Notes  
+/ -0 (center)  
Pitch Bend Sensitivity  
00H - 18H (0 - 24 semitones)  
ignored (processed as 00H)  
0 (off)  
0 (off)  
ll:  
0 (off)  
Up to 2 octave can be specified in semitone steps.  
In Performance mode, the Part Pitch Bend Range parameter  
(PERFORM/ PART) will change.  
0 (min)  
*
127 (max)  
0 (off)  
Sostenuto  
0 (off)  
00H, 01H  
mmH, llH  
mm, ll:  
Master Fine Tuning  
Soft  
0 (off)  
20 00H - 40 00H - 60 00H (-8192 - 50/ 8192 - 0 -  
+8192*50/ 8192 cent)  
Hold 2  
0 (off)  
RPN  
unset; previously set data will not change  
unset; previously set data will not change  
* In Performance mode, the Part Fine Tune parameter (PERFORM/  
PART) will change.  
NRPN  
All Notes Off (Controller number 123)  
00H, 02H  
mmH, llH  
mm:  
Master Coarse Tuning  
Status  
2nd byte  
3rd byte  
10H - 40H - 70H (-48 - 0 - +48 semitones)  
ignored (processed as 00H)  
BnH  
7BH  
00H  
ll:  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
* In Performance mode, the Part Coarse Tune parameter (PERFORM/  
PART) will change.  
7FH, 7FH  
*
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.  
---, ---  
RPN null  
2 8 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
MIDI Im p le m e n ta tio n  
7EH  
dev  
06H  
01H  
F7H  
ID number (Universal Non-realtime Message)  
OMNI OFF (Controller number 124)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
Sub ID#1 (General Information)  
Status  
2nd byte  
3rd byte  
BnH  
7CH  
00H  
Sub ID#2 (Identity Request)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
The same processing will be carried out as when All Notes Off is received.  
EOX (End Of Exclusive)  
*
*
When this message is received, Identity Reply message (p. 289) will be transmitted.  
MNI ON (Controller number 125)  
GM1 System On  
Status  
2nd byte  
3rd byte  
Status  
F0H  
Data byte  
Status  
BnH  
7DH  
00H  
7EH, 7FH, 09H, 01H F7H  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
Byte  
F0H  
7EH  
7FH  
09H  
01H  
F7H  
Explanation  
*
The same processing will be carried out as when All Notes Off is received. OMNI ON  
will not be turned on.  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
MONO (Controller number 126)  
Status  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI 1 On)  
EOX (End Of Exclusive)  
2nd byte  
3rd byte  
BnH  
7EH  
mmH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
mm = mono number:00H - 10H (0 - 16)  
*
*
When this messages is received, this instrument will turn to the GM1 mode.  
Not received when the Receive GM1 System On parameter (SYSTEM/ COMMON) is  
OFF.  
*
*
The same processing will be carried out as when All Notes Off is received.  
In Performance mode, the Part Mono/ Poly parameter (PERFORM/ PART) will change.  
GM2 System On  
POLY (Controller number 127)  
Status  
F0H  
Data byte  
Status  
Status  
2nd byte  
3rd byte  
7EH 7FH 09H 03H F7H  
BnH  
7FH  
00H  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
Byte  
F0H  
7EH  
7FH  
09H  
03H  
F7H  
Explanation  
Exclusive status  
*
*
The same processing will be carried out as when All Notes Off is received.  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
In Performance mode, the Part Mono/ Poly parameter (PERFORM/ PART) will change.  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI 2 On)  
EOX (End Of Exclusive)  
System Realtime Message  
Timing Clock  
*
*
When this messages is received, this instrument will turn to the GM2 mode.  
Status  
Not received when the Receive GM2 System On parameter (SYSTEM/ COMMON) is  
OFF.  
F8H  
*
This message will be received if the Clock Source parameter (SYSTEM/ COMMON) is  
MIDI.  
GM System Off  
Status  
F0H  
Data byte  
Status  
F7H  
7EH,7F,09H,02H  
Active Sensing  
Status  
Byte  
F0H  
7EH  
7FH  
09H  
02H  
F7H  
Explanation  
FEH  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
*
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.  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI Off)  
EOX (End Of Exclusive)  
*
When this messages is received, this instrument will return to the Performance mode.  
System Exclusive Message  
Status  
Data byte  
Status  
Universal Realtime System Exclusive Messages  
F0H  
iiH, ddH, ......,eeH  
F7H  
Master Volume  
F0H:  
System Exclusive Message status  
Status  
F0H  
Data byte  
Status  
F7H  
ii = ID number:  
an ID number (manufacturer ID) to indicate the manufacturer whose  
7FH, 7FH, 04H, 01H, llH, mmH  
Exclusive message this is. Roland's manufacturer ID is 41H.  
ID numbers 7EH and 7FH are extensions of the MIDI standard;  
Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH).  
Byte  
F0H  
7FH  
7FH  
04H  
01H  
llH  
Explanation  
Exclusive status  
dd,...,ee = data:  
F7H:  
00H - 7FH (0 - 127)  
ID number (universal realtime message)  
Device ID (Broadcast)  
EOX (End Of Exclusive)  
Sub ID#1 (Device Control messages)  
Sub ID#2 (Master Volume)  
Master Volume lower byte  
Master Volume upper byte  
EOX (End Of Exclusive)  
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.  
mmH  
F7H  
Universal Non-realtime System Exclusive Messages  
*
*
The lower byte (llH) of Master Volume will be handled as 00H.  
The Master Level parameter (SYSTEM/ COMMON) will change.  
Identity Request Message  
Status  
F0H  
Data byte  
Status  
Master Fine Tuning  
7EH, dev, 06H, 01H F7H  
Status  
F0H  
Data byte  
7FH,7FH,04H,03H,llH,mmH  
Status  
F7H  
Byte  
F0H  
Explanation  
Exclusive status  
2 8 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
   
MIDI Im p le m e n ta tio n  
Byte  
Explanation  
01H  
01H  
01H  
02H  
ppH  
vvH  
Parameter width  
F0H  
7FH  
7FH  
04H  
03H  
llH  
Exclusive status  
Value width  
ID number (universal realtime message)  
Device ID (Broadcast)  
Slot path MSB  
Slot path LSB (Effect 0102: Chorus)  
Parameter to be controlled.  
Value for the parameter.  
pp=0 Chorus Type  
vv=0 Chorus1  
Sub ID#1 (Device Control)  
Sub ID#2 (Master Fine Tuning)  
Master Fine Tuning LSB  
Master Fine Tuning MSB  
EOX (End Of Exclusive)  
mmH  
F7H  
vv=1 Chorus2  
vv=2 Chorus3  
mm, ll : 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])  
The Master Tune parameter (SYSTEM/ COMMON) will change.  
vv=3 Chorus4  
vv=4 FB Chorus  
*
vv=5 Flanger  
pp=1 Mod Rate  
vv= 00H - 7FH 0 - 127  
pp=2 Mod Depth  
Master Coarse Tuning  
vv = 00H - 7FH 0 - 127  
pp=3 Feedback  
Status  
F0H  
Data byte  
Status  
F7  
7FH,7FH,04H,04H,llH,mmH  
vv = 00H - 7FH 0 - 127  
pp=4 Send To Reverb  
vv = 00H - 7FH 0 - 127  
EOX (End Of Exclusive)  
Byte  
F0H  
7FH  
7FH  
04H  
04H  
llH  
Explanation  
Exclusive status  
F7H  
ID number (universal realtime message)  
Device ID (Broadcast)  
Channel Pressure  
Sub ID#1 (Device Control)  
Sub ID#2 (Master Coarse Tuning)  
Master Coarse Tuning LSB  
Master Coarse Tuning MSB  
EOX (End Of Exclusive)  
Status  
F0H  
Data byte  
Status  
F7H  
7FH,7FH,09H,01H,0nH,ppH,rrH  
mmH  
F7H  
Byte  
F0H  
7FH  
7FH  
09H  
01H  
0nH  
ppH  
rrH  
Explanation  
Exclusive status  
llH :  
ignored (processed as 00H)  
ID number (universal realtime message)  
Device ID (Broadcast)  
mmH :  
28H - 40H - 58H (-24 - 0 - +24 [semitones])  
Sub ID#1 (Controller Destination Setting)  
Sub ID#2 (Channel Pressure)  
MIDI Channel (00 - 0F)  
*
The Master Key Shift parameter (SYSTEM/ COMMON) will change.  
Controlled parameter  
Global Parameter Control  
Controlled range  
*
Not received in Performance mode and Patch mode.  
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%  
pp=3 LFO Pitch Depth  
Reverb Parameters  
Status  
F0H  
Data byte  
Status  
F7H  
7FH,7FH,04H,05H,01H,01H,01H,01H,01H,ppH,vvH  
Byte  
F0H  
7FH  
7FH  
04H  
05H  
01H  
01H  
01H  
01H  
01H  
ppH  
vvH  
Explanation  
Exclusive status  
rr = 00H - 7FH 0 - 600[cents]  
pp=4 LFO Filter Depth  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Device Control)  
Sub ID#2 (Global Parameter Control)  
Slot path length  
rr = 00H - 7FH 0 - 2400[cents]  
pp=5 LFO Amplitude Depth  
rr = 00H - 7FH 0 - 100%  
EOX (End Of Exclusive)  
F7H  
Parameter ID width  
Value width  
Controller  
Status  
Slot path MSB  
Data byte  
Status  
F7H  
Slot path LSB (Effect 0101: Reverb)  
Parameter to be controlled.  
Value for the parameter.  
pp=0 Reverb Type  
F0H  
7FH,7FH,09H,03H,0nH,ccH,ppH,rrH  
Byte  
F0H  
7FH  
7FH  
09H  
03H  
0nH  
ccH  
ppH  
rrH  
Explanation  
Exclusive status  
vv = 00H Small Room  
vv = 01H Medium Room  
vv = 02H Large Room  
vv = 03H Medium Hall  
vv = 04H Large Hall  
vv = 08H Plate  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Controller Destination Setting)  
Sub ID#2 (Control Change)  
MIDI Channel (00 - 0F)  
Controller number (01 - 1F, 40 - 5F)  
Controlled parameter  
pp=1 Reverb Time  
vv = 00H - 7FH 0 - 127  
EOX (End Of Exclusive)  
Controlled range  
F7H  
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%  
Chorus Parameters  
Status  
F0H  
Data byte  
Status  
F7H  
7FH,7FH,04H,05H,01H,01H,01H,01H,02H,ppH,vvH  
Byte  
F0H  
7FH  
7FH  
04H  
05H  
01H  
Explanation  
pp=3 LFO Pitch Depth  
Exclusive status  
rr = 00H - 7FH 0 - 600[cents]  
pp=4 LFO Filter Depth  
ID number (universal realtime message)  
Device ID (Broadcast)  
rr = 00H - 7FH 0 - 2400[cents]  
pp=5 LFO Amplitude Depth  
rr = 00H - 7FH 0 - 100 %  
EOX (End Of Exclusive)  
Sub ID#1 (Device Control)  
Sub ID#2 (Global Parameter Control)  
Slot path length  
F7H  
2 8 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
ssH  
ssH  
eeH  
ffH  
Sample number lower byte  
Scale/Octave Tuning Adjust  
Sample number upper byte  
Sample format  
Status  
F0H  
Data byte  
Status  
F7H  
7EH,7FH,08H,08H,ffH,ggH,hhH,ssH...  
Sample period lower byte  
Sample period middle byte  
Sample period upper byte  
Sample length lower byte  
Sample length middle byte  
Sample length upper byte  
Loop start point lower byte  
Loop start point middle byte  
Loop start point upper byte  
Loop end point lower byte  
Loop end point middle byte  
Loop end point upper byte  
Loop type  
ffH  
Byte  
F0H  
7EH  
7FH  
08H  
08H  
ffH  
Explanation  
ffH  
Exclusive status  
ggH  
ggH  
ggH  
hhH  
hhH  
hhH  
iiH  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (MIDI Tuning Standard)  
Sub ID#2 (scale/ octave tuning 1-byte form)  
Channel/ Option byte1  
bits 0 to 1 = channel 15 to 16  
bit 2 to 6 = Undefined  
iiH  
ggH  
hhH  
ssH  
Channel byte2  
iiH  
bits 0 to 6 = channel 8 to 14  
Channel byte3  
jjH  
F7  
EOX (End Of Exclusive)  
bits 0 to 6 = channel 1 to 7  
12 byte tuning offset of 12 semitones from C to B  
00H = -64 [cents]  
Data Packet  
Status  
40H = 0 [cents] (equal temperament)  
7FH = +63 [cents]  
Data byte  
Status  
F7H  
F0H  
7EH, dev, 02H, kkH, aaH, ... bbH, sum  
F7H  
EOX (End Of Exclusive)  
Byte  
F0H  
7EH  
dev  
02H  
kkH  
aaH  
:
Explanation  
Exclusive status  
Key-Based Instrument Controllers  
ID number (Universal Non-realtime Message)  
Status  
F0H  
Data byte  
Status  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
7FH,7FH,0AH,01H,0nH,kkH,nnH,vvH... F7H  
ID number (Data Packet)  
Packet number  
Data (120 byte)  
:
Byte  
F0H  
7FH  
7FH  
0AH  
01H  
0nH  
kkH  
nnH  
vvH  
F7  
Explanation  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Key-Based Instrument Control)  
Sub ID#2 (Controller)  
MIDI Channel (00 - 0F)  
Key Number  
bbH  
sum  
F7H  
Data  
checksum  
EOX (End Of Exclusive)  
ACK  
Status  
F0H  
Control Number  
Data byte  
Status  
F7H  
Value  
7EH, dev, 7FH, ppH  
EOX (End Of Exclusive)  
Byte  
F0H  
7EH  
dev  
Explanation  
nn=07H  
nn=0AH  
nn=5BH  
nn=5D  
Level  
Exclusive status  
vv = 00H - 7FH  
Pan  
0 - 200% (Relative)  
Left - Right (Absolute)  
0 - 127 (Absolute)  
0 - 127 (Absolute)  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (ACK)  
vv = 00H - 7FH  
Reverb Send  
vv = 00H - 7FH  
Chorus Send  
vv = 00H - 7FH  
7FH  
ppH  
F7H  
Packet number  
EOX (End Of Exclusive)  
NAK  
Status  
F0H  
Data byte  
Status  
F7H  
*
This parameter affects drum instruments only.  
7EH, dev, 7EH, ppH  
Byte  
F0H  
7EH  
dev  
Explanation  
Sample Dump Standard  
Exclusive status  
*
Received only in Sample Dump mode.  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (NAK)  
Dump Request  
7EH  
ppH  
F7H  
Status  
F0H  
Data byte  
Status  
F7H  
Packet number  
7EH, dev, 03H, ssH, ssH  
EOX (End Of Exclusive)  
Byte  
F0H  
7EH  
dev  
03H  
ssH  
ssH  
F7  
Explanation  
Cancel  
Status  
Exclusive status  
Data byte  
Status  
F7H  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
Sub ID (Dump Request)  
F0H  
7EH, dev, 7DH, ppH  
Byte  
F0H  
7EH  
dev  
Explanation  
Requested sample lower byte  
Exclusive status  
Requested sample upper byte  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (Cancel)  
EOX (End Of Exclusive)  
7DH  
ppH  
F7H  
Dump Header  
Packet number  
Status  
F0H  
Data byte  
Status  
F7H  
EOX (End Of Exclusive)  
7EH, dev, 01H, ssH, ssH, eeH, ffH, ffH, ffH, ggH,  
ggH, ggH, hhH, hhH, hhH, iiH, iiH, iiH, jjH  
Wait  
Status  
F0H  
Data byte  
Status  
F7H  
Byte  
F0H  
7EH  
dev  
Explanation  
7EH, dev, 7CH, ppH  
Exclusive status  
ID number (Universal Non-realtime Message)  
Byte  
F0H  
Explanation  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
Sub ID (Dump Header)  
Exclusive status  
01H  
2 8 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
7EH  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (Wait)  
*
*
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.  
dev  
7CH  
ppH  
F7H  
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.  
Packet number  
EOX (End Of Exclusive)  
Status  
F0H  
Data byte  
Status  
F7H  
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum  
Data Transmission  
This instrument can use exclusive messages to exchange many varieties of internal settings  
Byte  
Explanation  
with other devices.  
F0H  
Exclusive status  
ID number (Roland)  
Device ID (dev: 10H)  
he model ID of the exclusive messages used by this instrument is 00H 10H.  
41H  
dev  
Data Request 1RQ1 (11H)  
42H  
Model ID  
(GS)  
This message requests the other device to transmit data. The address and size indicate the  
type and amount of data that is requested.  
12H  
Command ID  
Address MSB:  
(DT1)  
aaH  
upper byte of the starting address of the  
middle byte of the starting address of the  
lower byte of the starting address of the  
the actual data to be transmitted. Multiple bytes  
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.  
transmitted data  
bbH  
Address:  
Address LSB:  
Data:  
transmitted data  
ccH  
Status  
F0H  
Data Byte  
Status  
F7H  
transmitted data  
ddH  
41H, dev, 00H, 10H, 11H, aaH, bbH, ccH, ddH, ssH,  
ttH, uuH, vvH, sum  
of data are transmitted starting from the address.  
:
:
Byte  
F0H  
41H  
dev  
00H  
10H  
11H  
aaH  
bbH  
ccH  
ddH  
ssH  
Remarks  
eeH  
sum  
F7H  
Data  
Exclusive status  
ID number (Roland)  
device ID (dev: 10H - 1FH, 7FH)  
model ID #1 (XV-5080)  
model ID #2 (XV-5080)  
commandID (RQ1)  
address MSB  
address  
Checksum  
EOX  
(End Of Exclusive)  
*
*
The amount of data that can be transmitted at one time depends on the type of data, and  
data will be transmitted from the specified starting address and size. Refer to the  
Address and Size given in Section 3, "Parameter address map.  
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.  
address  
*
*
Regarding the checksum, please refer to p. 303 .  
address LSB  
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.  
size MSB  
ttH  
size  
2. Data transmission  
section)  
(sound source  
uuH  
vvH  
sum  
F7H  
size  
size LSB  
checksum  
EOX (End Of Exclusive)  
Channel Voice Messages  
*
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. 290)".  
When execute the GM Data Transfer, the following Program Change and Control Change  
will transmit.  
*
*
checksum (p. 303).  
Control Change  
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.  
Bank Select (Controller number 0, 32)  
Status  
BnH  
2nd byte  
00H  
3rd byte  
mmH  
llH  
Data set 1DT1 (12H)  
BnH  
20H  
Status  
F0H  
Data byte  
Status  
F7H  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH,  
eeH, ... ffH, sum  
mm, ll = Bank nunber:00 00H - 7F 7FH (bank.1 - bank.16384)  
Byte  
F0H  
41H  
dev  
Explanation  
Portamento Time (Controller number 5)  
Exclusive status  
Status  
BnH  
2nd byte  
05H  
3rd byte  
vvH  
ID number (Roland)  
Device ID (dev: 00H - 1FH, Initial value is 10H)  
Model ID #1 (XV-5080)  
Model ID #2 (XV-5080)  
Command ID (DT1)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Portamento Time:00H - 7FH (0 - 127)  
00H  
10H  
12H  
aaH  
bbH  
sent  
ccH  
sent  
ddH  
eeH  
Data Entry (Controller number 6, 38)  
Address MSB: upper byte of the starting address of the data to be sent  
Address: upper middle byte of the starting address of the data to be  
Status  
BnH  
2nd byte  
06H  
3rd byte  
mmH  
llH  
BnH  
26H  
Address: lower middle byte of the starting address of the data to be  
n = MIDI channel number: 0H - FH (Ch.1 - 16)  
mm, ll = the value of the parameter specified by RPN/ NRPN  
mm = MSB, ll = LSB  
Address LSB: lower byte of the starting address of the data to be sent.  
Data: the actual data to be sent. Multiple bytes of data are transmitted  
in order starting from the address.  
:
:
Volume (Controller number 7)  
ffH  
sum  
F7H  
Data  
Status  
BnH  
2nd byte  
07H  
3rd byte  
vvH  
Checksum  
EOX (End Of Exclusive)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
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.  
2 8 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
MIDI Im p le m e n ta tio n  
Panpot (Controller number 10)  
RPN MSB/LSB (Controller number 100, 101)  
Status  
BnH  
2nd byte  
0AH  
3rd byte  
vvH  
Status  
BnH  
2nd byte  
65H  
3rd byte  
mmH  
llH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
BnH  
64H  
vv = Panpot:  
00H - 40H - 7FH (Left - Center - Right),  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Initial value = 40H (Center)  
mm = upper byte (MSB) of parameter number specified by RPN  
ll = lower byte (LSB) of parameter number specified by RPN  
Portamento (Controller number 65)  
<<< RPN >>>  
Status  
BnH  
2nd byte  
41H  
3rd byte  
vvH  
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  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON  
This device receives the following RPNs.  
Resonance (Controller number 71)  
RPN  
Data entry  
MSB, LSB  
mmH, llH  
mm:  
Status  
BnH  
2nd byte  
47H  
3rd byte  
vvH  
MSB, LSB  
00H, 00H  
Notes  
Pitch Bend Sensitivity  
00H - 18H (0 - 24 semitones)  
ignored (processed as 00H)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv= Resonance value (relative change):00H - 7FH (-64 - 0 - +63)  
ll:  
Up to 2 octave can be specified in semitone steps.  
In Performance mode, the Part Pitch Bend Range parameter  
(PERFORM/ PART) will change.  
Release Time (Controller number 72)  
*
Status  
BnH  
2nd byte  
48H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
00H, 01H  
mmH, llH  
mm, ll:  
Master Fine Tuning  
vv = Release Time value (relative change):00H - 7FH (-64 - 0 - +63)  
20 00H - 40 00H - 60 00H (-8192*50/ 8192 - 0 -  
+8192 *50/ 8192 cent)  
Attack time (Controller number 73)  
* In Performance mode, the Part Fine Tune parameter (PERFORM/  
PART) will change.  
Status  
BnH  
2nd byte  
49H  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
00H, 02H  
mmH, llH  
mm:  
Master Coarse Tuning  
vv = Attack time value (relative change):00H - 7FH (-64 - 0 - +63)  
10H - 40H - 70H (-48 - 0 - +48 semitones)  
ignored (processed as 00H)  
ll:  
Cutoff (Controller number 74)  
* In Performance mode, the Part Coarse Tune parameter (PERFORM/  
Status  
BnH  
2nd byte  
4AH  
3rd byte  
vvH  
PART) will change.  
7FH, 7FH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
---, ---  
RPN null  
vv = Cutoff value (relative change):00H - 7FH (-64 - 0 - +63)  
RPN and NRPN will be set as "unspecified". Once this setting has been  
made, subsequent  
Decay Time (Controller number 75)  
Status  
BnH  
2nd byte  
4BH  
3rd byte  
vvH  
Parameter values that were previously set will not change.  
mm, ll: ignored  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Decay Time value (relative change):00H - 7FH (-64 - 0 - +63)  
Program Change  
Status  
2nd byte  
Vibrato Rate (Controller number 76)  
CnH  
ppH  
Status  
BnH  
2nd byte  
4CH  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
pp = Program number:00H - 7FH (prog.1 - prog.128)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Vibrato Rate value (relative change):00H - 7FH (-64 - 0 - +63)  
System Exclusive messages  
Vibrato Depth (Controller number 77)  
Universal Non-realtime System Exclusive Message" and Data Set 1 (DT1) are the only  
System Exclusive messages transmitted by the XV-5080.  
Status  
BnH  
2nd byte  
4DH  
3rd byte  
vvH  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Universal Non-realtime System Exclusive Message  
Identity Reply Message  
vv = Vibrato Depth Value (relative change):00H - 7FH (-64 - 0 - +63)  
Vibrato Delay (Controller number 78)  
Status  
BnH  
2nd byte  
4EH  
3rd byte  
vvH  
Receiving Identity Request Message, the XV-5080 send this message.  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
Status  
F0H  
Data byte  
Status  
vv = Vibrato Delay value (relative change):00H - 7FH (-64 - 0 - +63)  
7EH, dev, 06H, 02H, 41H, 10H, 01H, 00H, F7H  
00H, 00H, 00H, 00H, 00H  
Effect 1 (Reverb Send Level) (Controller number 91)  
Byte  
Explanation  
Status  
BnH  
2nd byte  
5BH  
3rd byte  
vvH  
FOH  
7EH  
Exclusive status  
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)  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Reverb Send Level:00H - 7FH (0 - 127)  
dev  
06H  
02H  
Effect 3 (Chorus Send Level) (Controller number 93)  
41H  
ID number (Roland)  
Status  
BnH  
2nd byte  
5DH  
3rd byte  
vvH  
10H 01H  
00H 00H  
Device family code  
Device family number code  
n = MIDI channel number:0H - FH (Ch.1 - 16)  
vv = Chorus Send Level:00H - 7FH (0 - 127)  
00H 00H 00H 00H Software revision level  
F7H EOX (End of Exclusive)  
2 8 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
MIDI Im p le m e n ta tio n  
F0H  
7EH  
dev  
Exclusive status  
Sample Dump Standard  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (Cancel)  
*
Transmitted only in Sample Dump mode.  
7DH  
ppH  
F7H  
Dump Header  
Packet number  
Status  
F0H  
Data byte  
Status  
F7H  
EOX (End Of Exclusive)  
7EH, dev, 01H, ssH, ssH, eeH, ffH, ffH, ffH, ggH,  
ggH, ggH, hhH, hhH, hhH, iiH, iiH, iiH, jjH  
Data Transmission  
Byte  
F0H  
7EH  
dev  
01H  
ssH  
ssH  
eeH  
ffH  
Explanation  
Data set 1DT1 (12H)  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
Sub ID (Dump Header)  
Status  
F0H  
Data byte  
Status  
F7H  
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH,  
eeH, ... ffH, sum  
Sample number lower byte  
Sample number upper byte  
Sample format  
Byte  
F0H  
41H  
dev  
Explanation  
Exclusive status  
Sample period lower byte  
Sample period middle byte  
Sample period upper byte  
Sample length lower byte  
Sample length middle byte  
Sample length upper byte  
Loop start point lower byte  
Loop start point middle byte  
Loop start point upper byte  
Loop end point lower byte  
Loop end point middle byte  
Loop end point upper byte  
Loop type  
ID number (Roland)  
ffH  
Device ID (dev: 00H - 1FH, Initial value is 10H)  
Model ID #1 (XV-5080)  
Model ID #2 (XV-5080)  
Command ID (DT1)  
ffH  
00H  
10H  
12H  
aaH  
bbH  
sent  
ccH  
sent  
ddH  
eeH  
ggH  
ggH  
ggH  
hhH  
hhH  
hhH  
iiH  
Address MSB: upper byte of the starting address of the data to be sent  
Address: upper middle byte of the starting address of the data to be  
Address: lower middle byte of the starting address of the data to be  
iiH  
Address LSB: lower byte of the starting address of the data to be sent.  
Data: the actual data to be sent. Multiple bytes of data are transmitted  
iiH  
jjH  
in order starting from the address.  
F7  
EOX (End Of Exclusive)  
:
:
ffH  
sum  
F7H  
Data  
Checksum  
Data Packet  
Status  
EOX (End Of Exclusive)  
Data byte  
Status  
F7H  
F0H  
7EH, dev, 02H, kkH, aaH, ... bbH, sum  
*
*
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."  
Byte  
F0H  
7EH  
dev  
02H  
kkH  
aaH  
:
Explanation  
Exclusive status  
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.  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (Data Packet)  
Packet number  
Data (120 byte)  
:
3. Parameter address map  
bbH  
sum  
F7H  
Data  
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.  
checksum  
EOX (End Of Exclusive)  
1. XV-5080 (Model ID: 00H 10H)  
ACK  
Status  
F0H  
Data byte  
Status  
F7H  
+——————————————————————————————————————————————————————————————————————————————+  
7EH, dev, 7FH, ppH  
| Start  
|
|
|
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
Byte  
F0H  
7EH  
dev  
Explanation  
| 00 00 00 00 | System  
*1-1|  
|—————————————+————————————————————————————————————————————————————————————————|  
Exclusive status  
| 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)  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (ACK)  
|
|
|
|
|
:
|
| 18 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 32)  
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode)  
7FH  
ppH  
F7H  
|—————————————+————————————————————————————————————————————————————————————————|  
| 20 00 00 00 | User Performance (01)  
| 20 01 00 00 | User Performance (02)  
Packet number  
*1-2|  
|
|
|
EOX (End Of Exclusive)  
|
:
|
| 20 3F 00 00 | User Performance (64)  
|—————————————+————————————————————————————————————————————————————————————————|  
| 30 00 00 00 | User Patch (001)  
| 30 01 00 00 | User Patch (002)  
*1-3-1|  
NAK  
Status  
F0H  
|
|
|
|
:
|
Data byte  
Status  
F7H  
| 30 7F 00 00 | User Patch (128)  
|—————————————+————————————————————————————————————————————————————————————————|  
7EH, dev, 7EH, ppH  
| 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|  
|
|
|
Byte  
F0H  
7EH  
dev  
Explanation  
+——————————————————————————————————————————————————————————————————————————————+  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)  
ID number (NAK)  
*1-1 System  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
Address |  
Description  
7EH  
ppH  
F7H  
|—————————————+————————————————————————————————————————————————————————————————|  
Packet number  
|
|
|
|
|
|
00 00 00 | System Common  
*1-1-1|  
00 02 00 | System EQ  
*1-1-2|  
EOX (End Of Exclusive)  
00 10 00 | System Part (Part 1)  
00 11 00 | System Part (Part 2)  
*1-1-3|  
|
|
|
:
|
00 2F 00 | System Part (Part 32)  
+——————————————————————————————————————————————————————————————————————————————+  
Cancel  
Status  
Data byte  
Status  
F7H  
*1-3 Temporary Patch/ Rhythm  
F0H  
7EH, dev, 7DH, ppH  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
Address |  
Description  
Byte  
Explanation  
|—————————————+————————————————————————————————————————————————————————————————|  
2 9 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
MIDI Im p le m e n ta tio n  
|
|
00 00 00 | Temporary Patch  
10 00 00 | Temporary Rhythm  
*1-3-1|  
*1-3-2|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 000a aaaa | EQ1 Low Gain  
(0 - 30) |  
-15 - +15 |  
|
|
+——————————————————————————————————————————————————————————————————————————————+  
00 03 | 0000 00aa | EQ1 High Frequency  
(0 - 2) |  
|
|
2000, 4000, 8000 [Hz]  
|
00 04 | 000a aaaa | EQ1 High Gain  
(0 - 30) |  
*1-2 Performance  
|
|
-15 - +15  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 05 | 0000 000a | EQ2 Low Frequency  
(0 - 1) |  
| Offset  
|
|
|
|
|
200, 400 [Hz]  
|
|
Address |  
Description  
00 06 | 000a aaaa | EQ2 Low Gain  
(0 - 30) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
-15 - +15  
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 00 | Performance Common  
*1-2-1|  
00 07 | 0000 00aa | EQ2 High Frequency  
(0 - 2) |  
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|  
|
|
2000, 4000, 8000 [Hz]  
|
*1-2-3|  
00 08 | 000a aaaa | EQ2 High Gain  
(0 - 30) |  
*1-2-4|  
|
|
-15 - +15  
|
*1-2-5|  
00 09 | 0000 000a | EQ3 Low Frequency  
(0 - 1) |  
|
|
|
|
200, 400 [Hz]  
|
:
|
00 0A | 000a aaaa | EQ3 Low Gain  
(0 - 30) |  
00 1F 00 | Performance MIDI (Channel 16)  
00 20 00 | Performance Part (Part 1)  
00 21 00 | Performance Part (Part 2)  
*1-2-6|  
|
|
-15 - +15  
|
|
|
|
|
00 0B | 0000 00aa | EQ3 High Frequency  
(0 - 2) |  
|
|
2000, 4000, 8000 [Hz]  
|
:
|
00 0C | 000a aaaa | EQ3 High Gain  
(0 - 30) |  
00 3F 00 | Performance Part (Part 32)  
|
|
-15 - +15  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 0D | 0000 000a | EQ4 Low Frequency  
(0 - 1) |  
|
|
200, 400 [Hz]  
|
00 0E | 000a aaaa | EQ4 Low Gain  
(0 - 30) |  
*1-3-1 Patch  
|
|
-15 - +15  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 0F | 0000 00aa | EQ4 High Frequency  
(0 - 2) |  
| Offset  
|
|
|
|
|
2000, 4000, 8000 [Hz]  
|
|
Address |  
Description  
00 10 | 000a aaaa | EQ4 High Gain  
(0 - 30) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
-15 - +15  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 00 | Patch Common  
00 02 00 | Patch Common MFX  
*1-3-1-1|  
00 11 | 0000 000a | EQ5 Low Frequency  
(0 - 1) |  
*1-3-1-2|  
|
|
200, 400 [Hz]  
|
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 30 00 | Patch Split Key (Key # 21)  
00 30 20 | Patch Split Key (Key # 22)  
*1-3-1-3|  
00 12 | 000a aaaa | EQ5 Low Gain  
(0 - 30) |  
*1-3-1-4|  
|
|
-15 - +15  
|
*1-3-1-5|  
00 13 | 0000 00aa | EQ5 High Frequency  
(0 - 2) |  
*1-3-1-6|  
|
|
2000, 4000, 8000 [Hz]  
|
|
00 14 | 000a aaaa | EQ5 High Gain  
(0 - 30) |  
|
|
|
-15 - +15  
|
|
00 15 | 0000 000a | EQ6 Low Frequency  
(0 - 1) |  
*1-3-1-7|  
|
|
200, 400 [Hz]  
|
|
|
|
00 16 | 000a aaaa | EQ6 Low Gain  
(0 - 30) |  
:
|
|
|
-15 - +15  
|
00 45 60 | Patch Split Key (Key # 108)  
00 17 | 0000 00aa | EQ6 High Frequency  
(0 - 2) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
2000, 4000, 8000 [Hz]  
|
00 18 | 000a aaaa | EQ6 High Gain  
(0 - 30) |  
*1-3-2 Rhythm  
|
|
-15 - +15  
|
00 19 | 0000 000a | EQ7 Low Frequency  
(0 - 1) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
200, 400 [Hz]  
|
| Offset  
|
|
|
00 1A | 000a aaaa | EQ7 Low Gain  
(0 - 30) |  
|
Address |  
Description  
|
|
-15 - +15  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 1B | 0000 00aa | EQ7 High Frequency  
(0 - 2) |  
|
|
|
|
|
|
|
|
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|  
|
|
|
2000, 4000, 8000 [Hz]  
|
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 1C | 000a aaaa | EQ7 High Gain  
(0 - 30) |  
|
|
-15 - +15  
|
00 1D | 0000 000a | EQ8 Low Frequency  
(0 - 1) |  
|
|
200, 400 [Hz]  
|
00 1E | 000a aaaa | EQ8 Low Gain  
(0 - 30) |  
:
|
|
|
|
|
-15 - +15  
|
01 3E 00 | Rhythm Tone (Key # 108)  
00 1F | 0000 00aa | EQ8 High Frequency  
(0 - 2) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
2000, 4000, 8000 [Hz]  
|
00 20 | 000a aaaa | EQ8 High Gain  
(0 - 30) |  
*1-1-1 System Common  
|
|
-15 - +15  
|
|—————————————+————————————————————————————————————————————————————————————————|  
+——————————————————————————————————————————————————————————————————————————————+  
| 00 00 00 21 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
| Offset  
|
|
|
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 0aaa | Sound Mode  
(0 - 4) |  
*1-1-3 System Part  
|
|
PERFORM, PATCH, GM1, GM2, GS  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 01 | 0000 aaaa |  
| 0000 bbbb |  
|
| Offset  
|
|
|
|
|
|
Address |  
Description  
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
| 0000 dddd | Master Tune  
(24 - 2024) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
-100.0 - 100.0 [cent]  
|
|
|
|
00 05 | 00aa aaaa | Master Key Shift  
(40 - 88) |  
00 01 | 0aaa aaaa | Scale Tune for C#  
|
|
-24 - +24  
|
|
|
|
00 06 | 0aaa aaaa | Master Level  
(0 - 127) |  
(0 - 1) |  
00 02 | 0aaa aaaa | Scale Tune for D  
00 07 | 0000 000a | Scale Tune Switch  
|
|
|
|
|
OFF, ON  
|
00 03 | 0aaa aaaa | Scale Tune for D#  
00 08 | 0000 000a | Patch Remain  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
MIX, PARALLEL |  
|
|
|
|
|
|
00 04 | 0aaa aaaa | Scale Tune for E  
00 09 | 0000 000a | Mix/Parallel  
|
|
|
|
|
00 05 | 0aaa aaaa | Scale Tune for F  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
00 0A | 0000 000a | MFX Switch  
(0 - 1) |  
00 06 | 0aaa aaaa | Scale Tune for F#  
|
|
BYPASS, ON  
|
|
|
|
00 0B | 0000 000a | Chorus Switch  
(0 - 1) |  
00 07 | 0aaa aaaa | Scale Tune for G  
|
|
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
|
|
|
00 0C | 0000 000a | Reverb Switch  
00 08 | 0aaa aaaa | Scale Tune for G#  
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 09 | 0aaa aaaa | Scale Tune for A  
|
|
|
|
|
00 0D | 000a aaaa | Performance Control Channel  
(0 - 16) |  
|
|
|
|
|
1 - 16, OFF  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
00 0A | 0aaa aaaa | Scale Tune for A#  
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)  
|
|
|
00 0B | 0aaa aaaa | Scale Tune for B  
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
00 11 | 0000 aaaa | Patch Receive Channel  
(0 - 15) |  
1 - 16 |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
| 00 00 00 0C | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
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)  
*1-2-1 Performance Common  
|—————————————+———————————+————————————————————————————————————————————————————|  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
00 15 | 0000 000a | System Clock Source  
(0 - 1) |  
| Offset  
|
|
|
|
|
INT, MIDI  
|
|
|
Address |  
Description  
|#  
|
00 16 | 0000 aaaa |  
| 0000 bbbb | System Tempo  
|—————————————+————————————————————————————————————————————————————————————————|  
(20 - 250) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Performance Name 1  
(32 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
32 - 127 [ASCII]  
|
|
|
|
|
|
|
|
|
|
|
|
|
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  
00 01 | 0aaa aaaa | Performance Name 2  
(32 - 127) |  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|
00 02 | 0aaa aaaa | Performance Name 3  
(32 - 127) |  
00 19 | 0aaa aaaa | System Control 2 Source  
|
|
32 - 127 [ASCII]  
|
|
|
|
|
00 03 | 0aaa aaaa | Performance Name 4  
(32 - 127) |  
|
|
|
32 - 127 [ASCII]  
|
00 1A | 0aaa aaaa | System Control 3 Source  
00 04 | 0aaa aaaa | Performance Name 5  
(32 - 127) |  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|
00 05 | 0aaa aaaa | Performance Name 6  
(32 - 127) |  
00 1B | 0aaa aaaa | System Control 4 Source  
|
|
32 - 127 [ASCII]  
|
|
|
|
|
00 06 | 0aaa aaaa | Performance Name 7  
(32 - 127) |  
|
|
|
32 - 127 [ASCII]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 07 | 0aaa aaaa | Performance Name 8  
(32 - 127) |  
|
|
|
|
00 1C | 0000 000a | Receive Program Change  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
|
32 - 127 [ASCII]  
|
|
|
|
00 08 | 0aaa aaaa | Performance Name 9  
(32 - 127) |  
00 1D | 0000 000a | Receive Bank Select  
|
|
32 - 127 [ASCII]  
|
|
|
00 09 | 0aaa aaaa | Performance Name 10  
(32 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
32 - 127 [ASCII]  
|
| 00 00 00 1E | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
00 0A | 0aaa aaaa | Performance Name 11  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 0B | 0aaa aaaa | Performance Name 12  
(32 - 127) |  
*1-1-2 System EQ  
|
|
32 - 127 [ASCII]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
|
00 0C | 00aa aaaa | Solo Part Select  
(0 - 32) |  
| Offset  
|
|
|
|
|
OFF, 1 - 32  
|
|
Address |  
Description  
00 0D | 000a aaaa | MFX Control Channel  
(0 - 16) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
1 - 16, OFF  
|
|
|
|
|
00 00 | 0000 000a | EQ Switch  
(0 - 1) |  
00 0E | 0000 000a | MFX Control MIDI1  
(0 - 1) |  
|
|
BYPASS, ON  
|
|
|
OFF, ON  
|
00 01 | 0000 000a | EQ1 Low Frequency  
(0 - 1) |  
00 0F | 0000 000a | MFX Control MIDI2  
(0 - 1) |  
OFF, ON |  
|
|
200, 400 [Hz]  
|
|
|
2 9 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 10 | 0aaa aaaa | Voice Reserve 1  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 4  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 11 | 0aaa aaaa | Voice Reserve 2  
(0 - 64) |  
|#  
|
00 21 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
00 12 | 0aaa aaaa | Voice Reserve 3  
(0 - 64) |  
|
| 0000 cccc |  
|
|
0 - 63, FULL  
|
|
| 0000 dddd | MFX Parameter 5  
(12768 - 52768) |  
00 13 | 0aaa aaaa | Voice Reserve 4  
(0 - 64) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 63, FULL  
|
|#  
|
00 25 | 0000 aaaa |  
| 0000 bbbb |  
00 14 | 0aaa aaaa | Voice Reserve 5  
(0 - 64) |  
|
|
0 - 63, FULL  
|
|
| 0000 cccc |  
00 15 | 0aaa aaaa | Voice Reserve 6  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 6  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 16 | 0aaa aaaa | Voice Reserve 7  
(0 - 64) |  
|#  
|
00 29 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
00 17 | 0aaa aaaa | Voice Reserve 8  
(0 - 64) |  
|
| 0000 cccc |  
|
|
0 - 63, FULL  
|
|
| 0000 dddd | MFX Parameter 7  
(12768 - 52768) |  
00 18 | 0aaa aaaa | Voice Reserve 9  
(0 - 64) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 63, FULL  
|
|#  
|
00 2D | 0000 aaaa |  
| 0000 bbbb |  
00 19 | 0aaa aaaa | Voice Reserve 10  
(0 - 64) |  
|
|
0 - 63, FULL  
|
|
| 0000 cccc |  
00 1A | 0aaa aaaa | Voice Reserve 11  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 8  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 1B | 0aaa aaaa | Voice Reserve 12  
(0 - 64) |  
|#  
|
00 31 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
00 1C | 0aaa aaaa | Voice Reserve 13  
(0 - 64) |  
|
| 0000 cccc |  
|
|
0 - 63, FULL  
|
|
| 0000 dddd | MFX Parameter 9  
(12768 - 52768) |  
00 1D | 0aaa aaaa | Voice Reserve 14  
(0 - 64) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 63, FULL  
|
|#  
|
00 35 | 0000 aaaa |  
| 0000 bbbb |  
00 1E | 0aaa aaaa | Voice Reserve 15  
(0 - 64) |  
|
|
0 - 63, FULL  
|
|
| 0000 cccc |  
00 1F | 0aaa aaaa | Voice Reserve 16  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 10  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 20 | 0aaa aaaa | Voice Reserve 17  
(0 - 64) |  
|#  
|
00 39 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
00 21 | 0aaa aaaa | Voice Reserve 18  
(0 - 64) |  
|
| 0000 cccc |  
|
|
0 - 63, FULL  
|
|
| 0000 dddd | MFX Parameter 11  
(12768 - 52768) |  
00 22 | 0aaa aaaa | Voice Reserve 19  
(0 - 64) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 63, FULL  
|
|#  
|
00 3D | 0000 aaaa |  
| 0000 bbbb |  
00 23 | 0aaa aaaa | Voice Reserve 20  
(0 - 64) |  
|
|
0 - 63, FULL  
|
|
| 0000 cccc |  
00 24 | 0aaa aaaa | Voice Reserve 21  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 12  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 25 | 0aaa aaaa | Voice Reserve 22  
(0 - 64) |  
|#  
|
00 41 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
00 26 | 0aaa aaaa | Voice Reserve 23  
(0 - 64) |  
|
| 0000 cccc |  
|
|
0 - 63, FULL  
|
|
| 0000 dddd | MFX Parameter 13  
(12768 - 52768) |  
00 27 | 0aaa aaaa | Voice Reserve 24  
(0 - 64) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 63, FULL  
|
|#  
|
00 45 | 0000 aaaa |  
| 0000 bbbb |  
00 28 | 0aaa aaaa | Voice Reserve 25  
(0 - 64) |  
|
|
0 - 63, FULL  
|
|
| 0000 cccc |  
00 29 | 0aaa aaaa | Voice Reserve 26  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 14  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 2A | 0aaa aaaa | Voice Reserve 27  
(0 - 64) |  
|#  
|
00 49 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
00 2B | 0aaa aaaa | Voice Reserve 28  
(0 - 64) |  
|
| 0000 cccc |  
|
|
0 - 63, FULL  
|
|
| 0000 dddd | MFX Parameter 15  
(12768 - 52768) |  
00 2C | 0aaa aaaa | Voice Reserve 29  
(0 - 64) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
0 - 63, FULL  
|
|#  
|
00 4D | 0000 aaaa |  
| 0000 bbbb |  
00 2D | 0aaa aaaa | Voice Reserve 30  
(0 - 64) |  
|
|
0 - 63, FULL  
|
|
| 0000 cccc |  
00 2E | 0aaa aaaa | Voice Reserve 31  
(0 - 64) |  
|
| 0000 dddd | MFX Parameter 16  
(12768 - 52768) |  
|
|
0 - 63, FULL  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 2F | 0aaa aaaa | Voice Reserve 32  
(0 - 64) |  
|#  
|
00 51 | 0000 aaaa |  
| 0000 bbbb |  
|
|
0 - 63, FULL  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
00 30 | 00aa aaaa | MFX1 Source  
(0 - 32) |  
|
| 0000 dddd | MFX Parameter 17  
(12768 - 52768) |  
|
|
PERFORM, 1 - 32  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 31 | 00aa aaaa | MFX2 Source  
(0 - 32) |  
|#  
|
00 55 | 0000 aaaa |  
| 0000 bbbb |  
|
|
PERFORM, 1 - 32  
|
00 32 | 00aa aaaa | MFX3 Source  
(0 - 32) |  
|
| 0000 cccc |  
|
|
PERFORM, 1 - 32  
|
|
| 0000 dddd | MFX Parameter 18  
(12768 - 52768) |  
00 33 | 00aa aaaa | Chorus Source  
(0 - 32) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
PERFORM, 1 - 32  
|
|#  
|
00 59 | 0000 aaaa |  
| 0000 bbbb |  
00 34 | 00aa aaaa | Reverb Source  
(0 - 32) |  
|
|
PERFORM, 1 - 32  
|
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 19  
(12768 - 52768) |  
| 00 00 00 35 | Total Size  
|
|
|
|
-20000 - +20000  
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
|#  
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
*1-2-2 Performance Common MFX  
|
| 0000 dddd | MFX Parameter 20  
(12768 - 52768) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
-20000 - +20000  
|
|
|
|
| Offset  
|
|
|
|#  
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 dddd | MFX Parameter 21  
(12768 - 52768) |  
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  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
A, B, C, D  
|
|
| 0000 dddd | MFX Parameter 22  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source  
(0 - 101) |  
|#  
|
00 69 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 06 | 0aaa aaaa | MFX Control 1 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 23  
(12768 - 52768) |  
|
|
-63 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 07 | 0aaa aaaa | MFX Control 2 Source  
(0 - 101) |  
|#  
|
00 6D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 08 | 0aaa aaaa | MFX Control 2 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 24  
(12768 - 52768) |  
|
|
-63 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source  
(0 - 101) |  
|#  
|
00 71 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 0A | 0aaa aaaa | MFX Control 3 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 25  
(12768 - 52768) |  
|
|
-63 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source  
(0 - 101) |  
|#  
|
00 75 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 0C | 0aaa aaaa | MFX Control 4 Sens  
(1 - 127) |  
-63 - +63 |  
|
| 0000 dddd | MFX Parameter 26  
(12768 - 52768) |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 79 | 0000 aaaa |  
| 0000 bbbb |  
|
00 0D | 000a aaaa | MFX Control Assign 1  
(0 - 16) |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 cccc |  
|
00 0E | 000a aaaa | MFX Control Assign 2  
(0 - 16) |  
|
| 0000 dddd | MFX Parameter 27  
(12768 - 52768) |  
|
|
|
OFF, 1 - 16  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
00 0F | 000a aaaa | MFX Control Assign 3  
(0 - 16) |  
|#  
|
00 7D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
OFF, 1 - 16  
|
|
00 10 | 000a aaaa | MFX Control Assign 4  
(0 - 16) |  
|
| 0000 cccc |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 dddd | MFX Parameter 28  
(12768 - 52768) |  
|#  
|
00 11 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
01 01 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 29  
(12768 - 52768) |  
|#  
|
00 15 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 05 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 2  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 30  
(12768 - 52768) |  
|#  
|
00 19 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 09 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 3  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
| 0000 dddd | MFX Parameter 31  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 1D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
2 9 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
|
01 0D | 0000 aaaa |  
| 0000 bbbb |  
|
|
| 0000 cccc |  
|
|
|
|
| 0000 dddd | Reverb Parameter 9  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 32  
(12768 - 52768) |  
|#  
|
00 27 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 01 11 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Reverb Parameter 10  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 2B | 0000 aaaa |  
| 0000 bbbb |  
*1-2-3 Performance Common Chorus  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | Reverb Parameter 11  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 2F | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type  
(0 - 2) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Chorus Level  
00 02 | 0000 00aa | Chorus Output Assign  
|
| 0000 dddd | Reverb Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
A, B, C, D  
(0 - 2) |  
MAIN, REV, MAIN+REV |  
|
|#  
|
00 33 | 0000 aaaa |  
| 0000 bbbb |  
00 03 | 0000 00aa | Chorus Output Select  
|
|
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 13  
(12768 - 52768) |  
|#  
|
00 04 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 37 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 14  
(12768 - 52768) |  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 2  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15  
(12768 - 52768) |  
|#  
|
00 0C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 3  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 16  
(12768 - 52768) |  
|#  
|
00 10 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 43 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 4  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 17  
(12768 - 52768) |  
|#  
|
00 14 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 47 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 5  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18  
(12768 - 52768) |  
|#  
|
00 18 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 6  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19  
(12768 - 52768) |  
|#  
|
00 1C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 7  
(12768 - 52768) |  
|
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
| 0000 dddd | Reverb Parameter 20  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 20 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 00 53 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Chorus Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 24 | 0000 aaaa |  
| 0000 bbbb |  
*1-2-5 Performance MIDI  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | Chorus Parameter 9  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 cccc |  
|
|
|
|
| 0000 dddd | Chorus Parameter 10  
(12768 - 52768) |  
00 01 | 0000 000a | Receive Bank Select  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
00 02 | 0000 000a | Receive Bender  
|
|
|
|
| 0000 cccc |  
00 03 | 0000 000a | Receive Polyphonic Key Pressure  
|
| 0000 dddd | Chorus Parameter 11  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 04 | 0000 000a | Receive Channel Pressure  
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 05 | 0000 000a | Receive Modulation  
|
|
| 0000 cccc |  
|
|
|
| 0000 dddd | Chorus Parameter 12  
(12768 - 52768) |  
-20000 - +20000  
00 06 | 0000 000a | Receive Volume  
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 07 | 0000 000a | Receive Pan  
| 00 00 00 34 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
00 08 | 0000 000a | Receive Expression  
|
|
|
00 09 | 0000 000a | Receive Hold-1  
*1-2-4 Performance Common Reverb  
|
|
|
+——————————————————————————————————————————————————————————————————————————————+  
|—————————————+———————————+————————————————————————————————————————————————————|  
| Offset  
|
|
|
|
|
|
|
00 0A | 0000 000a | Phase Lock  
(0 - 1) |  
OFF, ON  
(0 - 4) |  
OFF, 1 - 4 |  
|
Address |  
Description  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 0B | 0000 0aaa | Velocity Curve Type  
|
|
|
|
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  
|—————————————+————————————————————————————————————————————————————————————————|  
| 00 00 00 0C | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
A, B, C, D  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
*1-2-6 Performance Part  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | Reverb Parameter 1  
(12768 - 52768) |  
| Offset  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|
Address |  
Description  
|#  
|
00 07 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Receive Channel  
(0 - 15) |  
1 - 16  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
|
| 0000 cccc |  
|
|
|
|
| 0000 dddd | Reverb Parameter 2  
(12768 - 52768) |  
00 01 | 0000 000a | Receive Switch  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 0B | 0000 aaaa |  
| 0000 bbbb |  
00 02 | 0000 000a | Receive MIDI1  
|
|
|
|
| 0000 cccc |  
00 03 | 0000 000a | Receive MIDI2  
|
| 0000 dddd | Reverb Parameter 3  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 0F | 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 4  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Part Level (CC# 7)  
00 08 | 0aaa aaaa | Part Pan (CC# 10)  
(0 - 127) |  
(0 - 127) |  
|#  
|
00 13 | 0000 aaaa |  
| 0000 bbbb |  
|
|
L64 - 63R  
|
|
| 0000 cccc |  
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50 |  
|
| 0000 dddd | Reverb Parameter 5  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)  
|#  
|
00 17 | 0000 aaaa |  
| 0000 bbbb |  
|
|
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)  
(0 - 2) |  
|
| 0000 cccc |  
|
|
MONO, POLY, PATCH  
|
|
| 0000 dddd | Reverb Parameter 6  
(12768 - 52768) |  
00 0C | 0000 00aa | Part Legato Switch (CC# 68)  
(0 - 2) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
OFF, ON, PATCH  
|
|#  
|
00 1B | 0000 aaaa |  
| 0000 bbbb |  
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)  
(0 - 25) |  
|
|
0 - 24, PATCH  
|
|
| 0000 cccc |  
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)  
(0 - 2) |  
|
| 0000 dddd | Reverb Parameter 7  
(12768 - 52768) |  
|
|
OFF, ON, PATCH  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0F | 0000 aaaa |  
| 0000 bbbb | Part Portamento Time (CC# 5)  
|#  
|
00 1F | 0000 aaaa |  
| 0000 bbbb |  
(0 - 128) |  
|
|
0 - 127, PATCH  
|
|
| 0000 cccc |  
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 8  
(12768 - 52768) |  
|
|
-64 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)  
(0 - 127) |  
|#  
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
|
|
-64 - +63  
|
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)  
(0 - 127) |  
2 9 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
|
|
|
-64 - +63  
(0 - 127) |  
-64 - +63 |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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, |  
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)  
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
00 15 | 0aaa aaaa | Part Octave Shift  
(61 - 67) |  
-3 - +3  
(1 - 127) |  
-63 - +63  
|
|
|
00 16 | 0aaa aaaa | Part Velocity Sens Offset  
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
00 17 | 0aaa aaaa | Keyboard Range Lower  
(0 - 127) |  
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2  
(1 - 127) |  
|
|
C-1 - UPPER  
|
|
|
-63 - +63  
|
00 18 | 0aaa aaaa | Keyboard Range Upper  
(0 - 127) |  
00 30 | 00aa aaaa | Matrix Control 1 Destination 3  
(0 - 33) |  
|
|
LOWER - G9  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
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) |  
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, MUTE  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level  
(0 - 127) |  
(0 - 127) |  
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  
(0 - 127) |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
(0 - 13) |  
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3  
(1 - 127) |  
|
|
|
|
MFX, A, B, C, D, |  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
1, 2, 3, 4, 5, 6, 7, 8, PATCH  
|
00 32 | 00aa aaaa | Matrix Control 1 Destination 4  
00 20 | 0000 00aa | Part Output MFX Select  
(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  
+——————————————————————————————————————————————————————————————————————————————+  
|
*1-3-1-1 Patch Common  
+——————————————————————————————————————————————————————————————————————————————+  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
| Offset  
|
|
|
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4  
(1 - 127) |  
|
Address |  
Description  
|
|
-63 - +63  
|
|—————————————+————————————————————————————————————————————————————————————————|  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Patch Name 1  
(32 - 127) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4, VELOCITY, |  
KEYFOLLOW, TEMPO, LFO1, LFO2, |  
00 01 | 0aaa aaaa | Patch Name 2  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 02 | 0aaa aaaa | Patch Name 3  
(32 - 127) |  
PIT-ENV, TVF-ENV, TVA-ENV  
|
|
|
32 - 127 [ASCII]  
|
00 35 | 00aa aaaa | Matrix Control 2 Destination 1  
(0 - 33) |  
00 03 | 0aaa aaaa | Patch Name 4  
(32 - 127) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
|
32 - 127 [ASCII]  
|
00 04 | 0aaa aaaa | Patch Name 5  
(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 05 | 0aaa aaaa | Patch Name 6  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 06 | 0aaa aaaa | Patch Name 7  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 07 | 0aaa aaaa | Patch Name 8  
(32 - 127) |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|
|
32 - 127 [ASCII]  
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1  
(1 - 127) |  
00 08 | 0aaa aaaa | Patch Name 9  
(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 09 | 0aaa aaaa | Patch Name 10  
(32 - 127) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]  
|
00 0A | 0aaa aaaa | Patch Name 11  
(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 0B | 0aaa aaaa | Patch Name 12  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 0C | 0aaa aaaa | Patch Category  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
00 0D | 0000 000a | Tone Type  
(0 - 1) |  
4TONES, MULTI-PARTIAL |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|
|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2  
(1 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
|
|
00 0E | 0aaa aaaa | Patch Level  
00 0F | 0aaa aaaa | Patch Pan  
(0 - 127) |  
(0 - 127) |  
00 39 | 00aa aaaa | Matrix Control 2 Destination 3  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
L64 - 63R  
|
00 10 | 0000 000a | Patch Priority  
(0 - 1) |  
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, |  
|
|
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) |  
|
|
|
00 13 | 0000 0aaa | Octave Shift  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|
|
|
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3  
(1 - 127) |  
00 14 | 0000 00aa | Stretch Tune Depth  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
|
|
OFF, 1 - 3  
|
(0 - 127) |  
(0 - 1) |  
00 3B | 00aa aaaa | Matrix Control 2 Destination 4  
00 15 | 0aaa aaaa | Analog Feel  
00 16 | 0000 000a | Mono/Poly  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
MONO, POLY  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
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 17 | 0000 000a | Legato Switch  
|
|
|
00 18 | 0000 000a | Legato Retrigger  
|
|
|
00 19 | 0000 000a | Portamento Switch  
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
00 1A | 0000 000a | Portamento Mode  
(0 - 1) |  
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4  
(1 - 127) |  
|
|
NORMAL, LEGATO  
|
|
|
-63 - +63  
|
00 1B | 0000 000a | Portamento Type  
(0 - 1) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |  
|
|
RATE, TIME  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 1C | 0000 000a | Portamento Start  
(0 - 1) |  
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4, VELOCITY, |  
KEYFOLLOW, TEMPO, LFO1, LFO2, |  
|
|
PITCH, NOTE  
|
(0 - 127) |  
(0 - 1) |  
00 1D | 0aaa aaaa | Portamento Time  
00 1E | 0000 000a | Patch Clock Source  
PIT-ENV, TVF-ENV, TVA-ENV  
|
|
|
PATCH, SYSTEM  
|
|
00 3E | 00aa aaaa | Matrix Control 3 Destination 1  
(0 - 33) |  
00 1F | 0000 aaaa |  
| 0000 bbbb | Patch Tempo  
00 21 | 0000 000a | One Shot Mode  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
(20 - 250) |  
(0 - 1) |  
OFF, ON  
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 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  
|
|
|
00 23 | 0aaa aaaa | Resonance Offset  
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
00 24 | 0aaa aaaa | Attack Time 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 25 | 0aaa aaaa | Release Time Offset  
00 40 | 00aa aaaa | Matrix Control 3 Destination 2  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 26 | 0aaa aaaa | Velocity Sens 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 27 | 0000 aaaa | Patch Output Assign  
(0 - 13) |  
|
|
|
|
MFX, A, B, C, D, |  
1, 2, 3, 4, 5, 6, 7, 8, TONE  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
00 28 | 0000 000a | TMT Control Switch  
(0 - 1) |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|
|
OFF, ON  
|
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2  
(1 - 127) |  
00 29 | 00aa aaaa | Pitch Bend Range Up  
00 2A | 00aa aaaa | Pitch Bend Range Down  
(0 - 48) |  
(0 - 48) |  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
00 42 | 00aa aaaa | Matrix Control 3 Destination 3  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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-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-ENV, TVF-ENV, TVA-ENV  
|
00 2C | 00aa aaaa | Matrix Control 1 Destination 1  
(0 - 33) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
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 43 | 0aaa aaaa | Matrix Control 3 Sens 3  
(1 - 127) |  
|
|
-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, |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1  
(1 - 127) |  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2  
|
|
2 9 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
|
|
|
|
|
|
TVA-ATK, TVA-DCY, TVA-REL, |  
|#  
|
00 2D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4  
(1 - 127) |  
|
| 0000 cccc |  
|
|
-63 - +63  
|
|
|
| 0000 dddd | MFX Parameter 8  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) |  
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
00 31 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4, VELOCITY, |  
KEYFOLLOW, TEMPO, LFO1, LFO2, |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 9  
(12768 - 52768) |  
PIT-ENV, TVF-ENV, TVA-ENV  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 47 | 00aa aaaa | Matrix Control 4 Destination 1  
(0 - 33) |  
|#  
|
00 35 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
| 0000 cccc |  
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 dddd | MFX Parameter 10  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 39 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 11  
(12768 - 52768) |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1  
(1 - 127) |  
|#  
|
00 3D | 0000 aaaa |  
| 0000 bbbb |  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
00 49 | 00aa aaaa | Matrix Control 4 Destination 2  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 12  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
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 41 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 13  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 45 | 0000 aaaa |  
| 0000 bbbb |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2  
(1 - 127) |  
|
| 0000 cccc |  
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
|
| 0000 dddd | MFX Parameter 14  
(12768 - 52768) |  
00 4B | 00aa aaaa | Matrix Control 4 Destination 3  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
00 49 | 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 15  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|
| 0000 dddd | MFX Parameter 16  
(12768 - 52768) |  
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3  
(1 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
-63 - +63  
(0 - 33) |  
OFF, PCH, CUT, RES, LEV, PAN, |  
DRY, CHO, REV, PIT-LFO1, |  
|
|#  
|
00 51 | 0000 aaaa |  
| 0000 bbbb |  
00 4D | 00aa aaaa | Matrix Control 4 Destination 4  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 17  
(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 55 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 18  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4  
|
|#  
|
00 59 | 0000 aaaa |  
| 0000 bbbb |  
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4  
(1 - 127) |  
|
|
-63 - +63  
|
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 19  
(12768 - 52768) |  
| 00 00 00 4F | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
*1-3-1-2 Patch Common MFX  
|
| 0000 dddd | MFX Parameter 20  
(12768 - 52768) |  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
-20000 - +20000  
|
|
|
|
| Offset  
|
|
|
|#  
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 dddd | MFX Parameter 21  
(12768 - 52768) |  
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  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
A, B, C, D  
|
|
| 0000 dddd | MFX Parameter 22  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source  
(0 - 101) |  
OFF, CC01 - CC31, CC33 - CC95, |  
|#  
|
00 69 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 06 | 0aaa aaaa | MFX Control 1 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 23  
(12768 - 52768) |  
|
|
-63 - +63  
(0 - 101) |  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 07 | 0aaa aaaa | MFX Control 2 Source  
|#  
|
00 6D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 08 | 0aaa aaaa | MFX Control 2 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 24  
(12768 - 52768) |  
|
|
-63 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source  
(0 - 101) |  
|#  
|
00 71 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 0A | 0aaa aaaa | MFX Control 3 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 25  
(12768 - 52768) |  
|
|
-63 - +63  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source  
(0 - 101) |  
|#  
|
00 75 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 0C | 0aaa aaaa | MFX Control 4 Sens  
(1 - 127) |  
-63 - +63 |  
|
| 0000 dddd | MFX Parameter 26  
(12768 - 52768) |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 79 | 0000 aaaa |  
| 0000 bbbb |  
|
00 0D | 000a aaaa | MFX Control Assign 1  
(0 - 16) |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 cccc |  
|
00 0E | 000a aaaa | MFX Control Assign 2  
(0 - 16) |  
|
| 0000 dddd | MFX Parameter 27  
(12768 - 52768) |  
|
|
|
OFF, 1 - 16  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
00 0F | 000a aaaa | MFX Control Assign 3  
(0 - 16) |  
|#  
|
00 7D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
OFF, 1 - 16  
|
|
00 10 | 000a aaaa | MFX Control Assign 4  
(0 - 16) |  
|
| 0000 cccc |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 dddd | MFX Parameter 28  
(12768 - 52768) |  
|#  
|
00 11 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
01 01 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 1  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 29  
(12768 - 52768) |  
|#  
|
00 15 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 05 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 2  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 30  
(12768 - 52768) |  
|#  
|
00 19 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 09 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 3  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 31  
(12768 - 52768) |  
|#  
|
00 1D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
01 0D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 4  
(12768 - 52768) |  
-20000 - +20000  
|
|
| 0000 cccc |  
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 32  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 21 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 01 11 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | MFX Parameter 5  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 25 | 0000 aaaa |  
| 0000 bbbb |  
*1-3-1-3 Patch Common Chorus  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | MFX Parameter 6  
(12768 - 52768) |  
-20000 - +20000  
| Offset  
|
|
|
|
|
|
|
|
|
|
|
Address |  
Description  
|#  
|
00 29 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
00 00 | 0000 aaaa | Chorus Type  
(0 - 2) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Chorus Level  
00 02 | 0000 00aa | Chorus Output Assign  
|
| 0000 dddd | MFX Parameter 7  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
A, B, C, D  
|
2 9 5  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
00 03 | 0000 00aa | Chorus Output Select  
(0 - 2) |  
MAIN, REV, MAIN+REV  
|
| 0000 bbbb |  
|
|
|
|
|
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
| 0000 dddd | Reverb Parameter 13  
(12768 - 52768) |  
|#  
|
00 04 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 37 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 14  
(12768 - 52768) |  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 2  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15  
(12768 - 52768) |  
|#  
|
00 0C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 3F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 3  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 16  
(12768 - 52768) |  
|#  
|
00 10 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 43 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 4  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 17  
(12768 - 52768) |  
|#  
|
00 14 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 47 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 5  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18  
(12768 - 52768) |  
|#  
|
00 18 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 6  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19  
(12768 - 52768) |  
|#  
|
00 1C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 4F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 7  
(12768 - 52768) |  
-20000 - +20000  
|
|
| 0000 cccc |  
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 20  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 20 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 00 53 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Chorus Parameter 8  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 24 | 0000 aaaa |  
| 0000 bbbb |  
*1-3-1-5 Patch TMT (Tone Mix Table)  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 cccc |  
| Offset  
|
|
|
|
| 0000 dddd | Chorus Parameter 9  
(12768 - 52768) |  
-20000 - +20000  
|
Address |  
Description  
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2  
(0 - 9) |  
1 - 10 |  
|
|
|
| 0000 cccc |  
00 01 | 0000 00aa | Booster 1 & 2  
(0 - 3) |  
|
| 0000 dddd | Chorus Parameter 10  
(12768 - 52768) |  
-20000 - +20000  
|
|
0, +6, +12, +18 [dB]  
|
|
|
|
|
|
|
|
00 02 | 0000 aaaa | Structure Type 3 & 4  
(0 - 9) |  
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
|
|
1 - 10  
|
00 03 | 0000 00aa | Booster 3 & 4  
(0 - 3) |  
0, +6, +12, +18 [dB] |  
|
| 0000 cccc |  
|
|
|
| 0000 dddd | Chorus Parameter 11  
(12768 - 52768) |  
-20000 - +20000  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
00 04 | 0000 00aa | TMT Velocity Control  
(0 - 2) |  
OFF, ON, RANDOM |  
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0000 000a | TMT1 Tone Switch  
(0 - 1) |  
OFF, ON |  
| 0000 dddd | Chorus Parameter 12  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
|
|
|
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower  
(0 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
C-1 - UPPER  
|
| 00 00 00 34 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
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) |  
*1-3-1-4 Patch Common Reverb  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
|
1 - UPPER  
|
|
Address |  
Description  
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper  
(1 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|
|
|
|
00 00 | 0000 aaaa | Reverb Type  
(0 - 4) |  
(0 - 127) |  
(0 - 3) |  
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower  
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper  
00 01 | 0aaa aaaa | Reverb Level  
00 02 | 0000 00aa | Reverb Output Assign  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
A, B, C, D  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | TMT2 Tone Switch  
(0 - 1) |  
OFF, ON |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower  
(0 - 127) |  
|
|
C-1 - UPPER  
|
|
| 0000 cccc |  
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 1  
(12768 - 52768) |  
|
|
LOWER - G9  
|
|
|
|
-20000 - +20000  
|
|
|
|
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) |  
|#  
|
00 07 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
1 - UPPER  
|
|
| 0000 dddd | Reverb Parameter 2  
(12768 - 52768) |  
-20000 - +20000  
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper  
(1 - 127) |  
|
|
|
|
|
|
|
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|#  
|
00 0B | 0000 aaaa |  
| 0000 bbbb |  
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower  
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper  
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 3  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch  
(0 - 1) |  
OFF, ON |  
|
|
|
|
|
|
|
|
|
|#  
|
00 0F | 0000 aaaa |  
| 0000 bbbb |  
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower  
(0 - 127) |  
|
|
C-1 - UPPER  
|
|
| 0000 cccc |  
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 4  
(12768 - 52768) |  
-20000 - +20000  
|
|
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) |  
|#  
|
00 13 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
1 - UPPER  
|
|
| 0000 dddd | Reverb Parameter 5  
(12768 - 52768) |  
-20000 - +20000  
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper  
(1 - 127) |  
|
|
|
|
|
|
|
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|#  
|
00 17 | 0000 aaaa |  
| 0000 bbbb |  
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower  
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper  
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 6  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch  
(0 - 1) |  
OFF, ON |  
|
|
|
|
|
|
|
|
|
|#  
|
00 1B | 0000 aaaa |  
| 0000 bbbb |  
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower  
(0 - 127) |  
|
|
C-1 - UPPER  
|
|
| 0000 cccc |  
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 7  
(12768 - 52768) |  
-20000 - +20000  
|
|
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) |  
|#  
|
00 1F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
1 - UPPER  
|
|
| 0000 dddd | Reverb Parameter 8  
(12768 - 52768) |  
-20000 - +20000  
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper  
(1 - 127) |  
|
|
|
|
|
|
|
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|#  
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower  
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper  
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | Reverb Parameter 9  
(12768 - 52768) |  
-20000 - +20000  
| 00 00 00 29 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
|
|#  
|
00 27 | 0000 aaaa |  
| 0000 bbbb |  
*1-3-1-6 Patch Tone  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | Reverb Parameter 10  
(12768 - 52768) |  
-20000 - +20000  
| Offset  
|
|
|
|
|
|
|
|
|
|
|
Address |  
Description  
|#  
|
00 2B | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Level  
(0 - 127) |  
(16 - 112) |  
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Tone Coarse Tune  
|
| 0000 dddd | Reverb Parameter 11  
(12768 - 52768) |  
-20000 - +20000  
|
|
-48 - +48  
|
|
|
|
|
|
|
|
00 02 | 0aaa aaaa | Tone Fine Tune  
(14 - 114) |  
-50 - +50  
(0 - 30) |  
|#  
|
00 2F | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 03 | 000a aaaa | Tone Random Pitch Depth  
|
| 0000 cccc |  
| 0000 dddd | Reverb Parameter 12  
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |  
10, 20, 30, 40, 50, 60, 70, 80, |  
90, 100, 200, 300, 400, 500, |  
|
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|#  
00 33 | 0000 aaaa |  
2 9 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
|
|
|
|
|
600, 700, 800, 900, 1000, 1100, |  
1200  
(0 - 127) |  
L64 - 63R  
(54 - 74) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-63 - +63  
|
|
00 4F | 0aaa aaaa | TVF Env Depth  
(1 - 127) |  
00 04 | 0aaa aaaa | Tone Pan  
|
|
-63 - +63  
|
|
|
|
00 50 | 0000 0aaa | TVF Env Velocity Curve  
(0 - 7) |  
00 05 | 000a aaaa | Tone Pan Keyfollow  
|
|
FIXED, 1 - 7  
|
|
|
-100 - +100  
|
(0 - 63) |  
(1 - 127) |  
00 51 | 0aaa aaaa | TVF Env Velocity Sens  
(1 - 127) |  
00 06 | 00aa aaaa | Tone Random Pan Depth  
00 07 | 0aaa aaaa | Tone Alternate Pan Depth  
|
|
-63 - +63  
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(54 - 74) |  
|
|
L63 - 63R  
|
|
|
|
00 08 | 0000 000a | Tone Env Mode  
(0 - 1) |  
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens  
|
|
NO-SUS, SUSTAIN  
|
|
|
|
00 09 | 0000 00aa | Tone Delay Mode  
(0 - 3) |  
00 54 | 000a aaaa | TVF Env Time Keyfollow  
|
|
|
|
NORMAL, HOLD, KEY-OFF-NORMAL, |  
|
|
-100 - +100  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
KEY-OFF-DECAY  
|
|
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  
00 0A | 0000 aaaa |  
| 0000 bbbb | Tone Delay Time  
(0 - 149) |  
0 - 127, MUSICAL-NOTES  
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Tone Dry Send Level  
(0 - 127) |  
(0 - 127) |  
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  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
(0 - 12) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level  
(54 - 74) |  
|
|
|
|
MFX, A, B, C, D, |  
|
|
-100 - +100  
|
1, 2, 3, 4, 5, 6, 7, 8  
|
00 5F | 0aaa aaaa | Bias Position  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
C-1 - G9  
|
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
00 60 | 0000 00aa | Bias Direction  
(0 - 3) |  
|
|
|
|
|
LOWER, UPPER, LOWER&UPPER, ALL  
|
00 13 | 0000 000a | Tone Receive Expression  
00 61 | 0000 0aaa | TVA Level Velocity Curve  
(0 - 7) |  
|
|
|
|
|
FIXED, 1 - 7  
|
00 14 | 0000 000a | Tone Receive Hold-1  
00 62 | 0aaa aaaa | TVA Level Velocity Sens  
(1 - 127) |  
|
|
|
|
|
-63 - +63  
|
00 15 | 0000 000a | Tone Receive Pan Mode  
(0 - 1) |  
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(54 - 74) |  
|
|
CONTINUOUS, KEY-ON  
|
|
|
|
00 16 | 0000 000a | Tone Redamper Switch  
(0 - 1) |  
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens  
|
|
OFF, ON  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 65 | 000a aaaa | TVA Env Time Keyfollow  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1  
(0 - 2) |  
|
|
-100 - +100  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|
|
OFF, ON, REVERSE  
|
00 66 | 0aaa aaaa | TVA Env Time 1  
00 67 | 0aaa aaaa | TVA Env Time 2  
00 68 | 0aaa aaaa | TVA Env Time 3  
00 69 | 0aaa aaaa | TVA Env Time 4  
00 6A | 0aaa aaaa | TVA Env Level 1  
00 6B | 0aaa aaaa | TVA Env Level 2  
00 6C | 0aaa aaaa | TVA Env Level 3  
00 18 | 0000 00aa | Tone Control 1 Switch 2  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 19 | 0000 00aa | Tone Control 1 Switch 3  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 1A | 0000 00aa | Tone Control 1 Switch 4  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 1B | 0000 00aa | Tone Control 2 Switch 1  
(0 - 2) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
OFF, ON, REVERSE  
|
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Wave Form  
(0 - 10) |  
00 1C | 0000 00aa | Tone Control 2 Switch 2  
(0 - 2) |  
|
|
|
|
|
|
SIN, TRI, SAW-UP, SAW-DW, SQR, |  
|
|
OFF, ON, REVERSE  
|
RND, BEND-UP, BEND-DW, TRP, S&H  
CHS  
|
|
|
00 1D | 0000 00aa | Tone Control 2 Switch 3  
(0 - 2) |  
|
|
OFF, ON, REVERSE  
|
00 6E | 0000 aaaa |  
| 0000 bbbb | LFO1 Rate  
00 1E | 0000 00aa | Tone Control 2 Switch 4  
(0 - 2) |  
(0 - 149) |  
|
|
OFF, ON, REVERSE  
|
|
|
0 - 127, MUSICAL-NOTES  
|
00 1F | 0000 00aa | Tone Control 3 Switch 1  
(0 - 2) |  
00 70 | 0000 0aaa | LFO1 Offset  
(0 - 4) |  
|
|
OFF, ON, REVERSE  
|
|
|
-100, -50, 0, +50, +100  
|
(0 - 127) |  
(0 - 127) |  
(54 - 74) |  
00 20 | 0000 00aa | Tone Control 3 Switch 2  
(0 - 2) |  
00 71 | 0aaa aaaa | LFO1 Rate Detune  
00 72 | 0aaa aaaa | LFO1 Delay Time  
|
|
OFF, ON, REVERSE  
|
00 21 | 0000 00aa | Tone Control 3 Switch 3  
(0 - 2) |  
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow  
|
|
OFF, ON, REVERSE  
|
|
|
-100 - +100  
|
00 22 | 0000 00aa | Tone Control 3 Switch 4  
(0 - 2) |  
00 74 | 0000 00aa | LFO1 Fade Mode  
(0 - 3) |  
|
|
OFF, ON, REVERSE  
|
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT  
|
(0 - 127) |  
(0 - 1) |  
00 23 | 0000 00aa | Tone Control 4 Switch 1  
(0 - 2) |  
00 75 | 0aaa aaaa | LFO1 Fade Time  
00 76 | 0000 000a | LFO1 Key Trigger  
|
|
OFF, ON, REVERSE  
|
00 24 | 0000 00aa | Tone Control 4 Switch 2  
(0 - 2) |  
|
|
OFF, ON  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
|
|
|
OFF, ON, REVERSE  
|
00 77 | 0aaa aaaa | LFO1 Pitch Depth  
00 25 | 0000 00aa | Tone Control 4 Switch 3  
(0 - 2) |  
|
|
|
|
|
OFF, ON, REVERSE  
|
00 78 | 0aaa aaaa | LFO1 TVF Depth  
00 26 | 0000 00aa | Tone Control 4 Switch 4  
(0 - 2) |  
|
|
|
|
|
OFF, ON, REVERSE  
|
00 79 | 0aaa aaaa | LFO1 TVA Depth  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
00 27 | 0000 00aa | Wave Group Type  
(0 - 3) |  
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
00 7A | 0aaa aaaa | LFO1 Pan Depth  
|
|
|
|
|
|
|
|
|
SAMPLE  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 7B | 0000 aaaa | LFO2 Wave Form  
(0 - 10) |  
|
|
|
|
|
|
SIN, TRI, SAW-UP, SAW-DW, SQR, |  
|
| 0000 cccc |  
RND, BEND-UP, BEND-DW, TRP, S&H  
CHS  
|
|
|
|
| 0000 dddd | Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
|
00 7C | 0000 aaaa |  
| 0000 bbbb | LFO2 Rate  
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
(0 - 149) |  
|
|
0 - 127, MUSICAL-NOTES  
|
|
| 0000 cccc |  
00 7E | 0000 0aaa | LFO2 Offset  
(0 - 4) |  
|
| 0000 dddd | Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
-100, -50, 0, +50, +100  
|
(0 - 127) |  
(0 - 127) |  
(54 - 74) |  
|
|
|
|
|
|
|
00 7F | 0aaa aaaa | LFO2 Rate Detune  
01 00 | 0aaa aaaa | LFO2 Delay Time  
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow  
|
| 0000 cccc |  
|
|
-100 - +100  
|
|
| 0000 dddd | Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384  
01 02 | 0000 00aa | LFO2 Fade Mode  
(0 - 3) |  
|
|
|
|
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT  
|
(0 - 127) |  
(0 - 1) |  
|
00 34 | 0000 00aa | Wave Gain  
(0 - 3) |  
01 03 | 0aaa aaaa | LFO2 Fade Time  
01 04 | 0000 000a | LFO2 Key Trigger  
|
|
|
-6, 0, +6, +12 [dB]  
|
|
00 35 | 0000 000a | Wave FXM Switch  
(0 - 1) |  
|
|
OFF, ON  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
OFF, ON  
|
01 05 | 0aaa aaaa | LFO2 Pitch Depth  
|
00 36 | 0000 00aa | Wave FXM Color  
(0 - 3) |  
|
|
|
|
|
|
1 - 4  
|
01 06 | 0aaa aaaa | LFO2 TVF Depth  
|
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  
|
|
|
|
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow  
(44 - 84) |  
-200 - +200  
01 08 | 0aaa aaaa | LFO2 Pan Depth  
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3A | 000a aaaa | Pitch Env Depth  
(52 - 76) |  
-12 - +12  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(54 - 74) |  
| 00 00 01 09 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
00 3B | 0aaa aaaa | Pitch Env Velocity Sens  
|
|
|
*1-3-1-7 Patch Split Key  
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens  
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
|
|
|
|
|
|
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens  
|
Address |  
Description  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 3E | 000a aaaa | Pitch Env Time Keyfollow  
|#  
|
00 00 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
-100 - +100  
|
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
00 3F | 0aaa aaaa | Pitch Env Time 1  
00 40 | 0aaa aaaa | Pitch Env Time 2  
00 41 | 0aaa aaaa | Pitch Env Time 3  
00 42 | 0aaa aaaa | Pitch Env Time 4  
00 43 | 0aaa aaaa | Pitch Env Level 0  
|
| 0000 cccc |  
|
| 0000 dddd | Partial Number  
(0 - 4096) |  
|
|
|
OFF, 1 - 4096  
|
|
00 04 | 0000 000a | Assign Type  
(0 - 1) |  
|
|
|
MULTI, SINGLE  
|
|
|
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
|
|
00 05 | 000a aaaa | Mute Group  
(0 - 31) |  
00 44 | 0aaa aaaa | Pitch Env Level 1  
|
|
|
OFF, 1 - 31  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 45 | 0aaa aaaa | Pitch Env Level 2  
|
|
|
|
|
|
|
|
00 06 | 0aaa aaaa | Split Dry Send Level  
(0 - 127) |  
(0 - 127) |  
|
|
|
00 07 | 0aaa aaaa | Split Chorus Send Level (MFX)  
00 08 | 0aaa aaaa | Split Reverb Send Level (MFX)  
00 09 | 0aaa aaaa | Split Chorus Send Level (non MFX)  
00 0A | 0aaa aaaa | Split Reverb Send Level (non MFX)  
00 0B | 0000 aaaa | Split Output Assign  
00 46 | 0aaa aaaa | Pitch Env Level 3  
(0 - 127) |  
|
|
|
(0 - 127) |  
00 47 | 0aaa aaaa | Pitch Env Level 4  
(0 - 127) |  
|
|
|
(0 - 12) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
MFX, A, B, C, D, |  
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type  
(0 - 6) |  
1, 2, 3, 4, 5, 6, 7, 8  
|
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |  
|—————————————+————————————————————————————————————————————————————————————————|  
LPF3  
|
| 00 00 00 0C | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
00 49 | 0aaa aaaa | TVF Cutoff Frequency  
00 4A | 00aa aaaa | TVF Cutoff Keyfollow  
(0 - 127) |  
(44 - 84) |  
|
|
-200 - +200  
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve  
(0 - 7) |  
*1-3-2-1 Rhythm Common  
|
|
FIXED, 1 - 7  
|
+——————————————————————————————————————————————————————————————————————————————+  
| Offset  
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens  
(1 - 127) |  
|
|
|
|
|
-63 - +63  
|
|
Address |  
Description  
00 4D | 0aaa aaaa | TVF Resonance  
(0 - 127) |  
(1 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens  
|
00 00 | 0aaa aaaa | Rhythm Name 1  
(32 - 127) |  
2 9 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | MFX Parameter 12  
(12768 - 52768) |  
00 01 | 0aaa aaaa | Rhythm Name 2  
(32 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 41 | 0000 aaaa |  
| 0000 bbbb |  
00 02 | 0aaa aaaa | Rhythm Name 3  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 cccc |  
00 03 | 0aaa aaaa | Rhythm Name 4  
(32 - 127) |  
|
| 0000 dddd | MFX Parameter 13  
(12768 - 52768) |  
|
|
32 - 127 [ASCII]  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 04 | 0aaa aaaa | Rhythm Name 5  
(32 - 127) |  
|#  
|
00 45 | 0000 aaaa |  
| 0000 bbbb |  
|
|
32 - 127 [ASCII]  
|
00 05 | 0aaa aaaa | Rhythm Name 6  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | MFX Parameter 14  
(12768 - 52768) |  
-20000 - +20000  
00 06 | 0aaa aaaa | Rhythm Name 7  
(32 - 127) |  
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 49 | 0000 aaaa |  
| 0000 bbbb |  
00 07 | 0aaa aaaa | Rhythm Name 8  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 cccc |  
00 08 | 0aaa aaaa | Rhythm Name 9  
(32 - 127) |  
|
| 0000 dddd | MFX Parameter 15  
(12768 - 52768) |  
-20000 - +20000  
|
|
32 - 127 [ASCII]  
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | Rhythm Name 10  
(32 - 127) |  
|#  
|
00 4D | 0000 aaaa |  
| 0000 bbbb |  
|
|
32 - 127 [ASCII]  
|
00 0A | 0aaa aaaa | Rhythm Name 11  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | MFX Parameter 16  
(12768 - 52768) |  
-20000 - +20000  
00 0B | 0aaa aaaa | Rhythm Name 12  
(32 - 127) |  
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 51 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
00 0C | 0aaa aaaa | Rhythm Level  
(0 - 127) |  
(0 - 1) |  
RHYTHM, SYSTEM  
|
| 0000 cccc |  
|
00 0D | 0000 000a | Rhythm Clock Source  
|
| 0000 dddd | MFX Parameter 17  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
|
|#  
|
00 0E | 0000 aaaa |  
| 0000 bbbb | Rhythm Tempo  
00 10 | 0000 000a | One Shot Mode  
|#  
|
00 55 | 0000 aaaa |  
| 0000 bbbb |  
(20 - 250) |  
(0 - 1) |  
OFF, ON  
|
|
| 0000 cccc |  
|
|
|
|
|
| 0000 dddd | MFX Parameter 18  
(12768 - 52768) |  
-20000 - +20000  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign  
(0 - 13) |  
|#  
|
00 59 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
MFX, A, B, C, D, |  
1, 2, 3, 4, 5, 6, 7, 8, TONE  
|
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 19  
(12768 - 52768) |  
-20000 - +20000  
| 00 00 00 12 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
|
|#  
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
*1-3-2-2 Rhythm Common MFX  
|
| 0000 dddd | MFX Parameter 20  
(12768 - 52768) |  
-20000 - +20000  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
|
|
|
|
| Offset  
|
|
|
|#  
|
00 61 | 0000 aaaa |  
| 0000 bbbb |  
|
Address |  
Description  
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 dddd | MFX Parameter 21  
(12768 - 52768) |  
-20000 - +20000  
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  
|
|
|
|
|
|
|
|#  
|
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
A, B, C, D  
|
|
| 0000 dddd | MFX Parameter 22  
(12768 - 52768) |  
-20000 - +20000  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source  
(0 - 101) |  
|#  
|
00 69 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 06 | 0aaa aaaa | MFX Control 1 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 23  
(12768 - 52768) |  
-20000 - +20000  
|
|
-63 - +63  
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | MFX Control 2 Source  
(0 - 101) |  
|#  
|
00 6D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 08 | 0aaa aaaa | MFX Control 2 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 24  
(12768 - 52768) |  
-20000 - +20000  
|
|
-63 - +63  
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source  
(0 - 101) |  
|#  
|
00 71 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 0A | 0aaa aaaa | MFX Control 3 Sens  
(1 - 127) |  
|
| 0000 dddd | MFX Parameter 25  
(12768 - 52768) |  
-20000 - +20000  
|
|
-63 - +63  
|
|
|
|
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source  
(0 - 101) |  
|#  
|
00 75 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |  
BEND, AFT, SYS1 - SYS4  
|
|
| 0000 cccc |  
00 0C | 0aaa aaaa | MFX Control 4 Sens  
(1 - 127) |  
-63 - +63 |  
|
| 0000 dddd | MFX Parameter 26  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 79 | 0000 aaaa |  
| 0000 bbbb |  
|
00 0D | 000a aaaa | MFX Control Assign 1  
(0 - 16) |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 cccc |  
|
00 0E | 000a aaaa | MFX Control Assign 2  
(0 - 16) |  
|
| 0000 dddd | MFX Parameter 27  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
OFF, 1 - 16  
|
|
|
|
|
|
|
|
|
00 0F | 000a aaaa | MFX Control Assign 3  
(0 - 16) |  
|#  
|
00 7D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
OFF, 1 - 16  
|
|
00 10 | 000a aaaa | MFX Control Assign 4  
(0 - 16) |  
|
| 0000 cccc |  
|
|
|
OFF, 1 - 16  
|
|
| 0000 dddd | MFX Parameter 28  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 11 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|#  
|
01 01 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 1  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 29  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 15 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
01 05 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 2  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 30  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 19 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
01 09 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 3  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 31  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 1D | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
01 0D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | MFX Parameter 4  
(12768 - 52768) |  
-20000 - +20000  
|
|
| 0000 cccc |  
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 32  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 21 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 01 11 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | MFX Parameter 5  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 25 | 0000 aaaa |  
| 0000 bbbb |  
*1-3-2-3 Rhythm Common Chorus  
|
| 0000 cccc |  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 dddd | MFX Parameter 6  
(12768 - 52768) |  
-20000 - +20000  
| Offset  
|
|
|
|
|
|
|
|
|
|
|
Address |  
Description  
|#  
|
00 29 | 0000 aaaa |  
| 0000 bbbb |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type  
(0 - 2) |  
(0 - 127) |  
(0 - 3) |  
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Chorus Level  
00 02 | 0000 00aa | Chorus Output Assign  
|
| 0000 dddd | MFX Parameter 7  
(12768 - 52768) |  
-20000 - +20000  
|
|
|
|
|
|
|
|
|
A, B, C, D  
(0 - 2) |  
MAIN, REV, MAIN+REV |  
|
|#  
|
00 2D | 0000 aaaa |  
| 0000 bbbb |  
00 03 | 0000 00aa | Chorus Output Select  
|
|
|
| 0000 cccc |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 dddd | MFX Parameter 8  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 04 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|#  
|
00 31 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 1  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | MFX Parameter 9  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 08 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
00 35 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 2  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 10  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 0C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
00 39 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 3  
(12768 - 52768) |  
-20000 - +20000  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 11  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 10 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
00 3D | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 4  
(12768 - 52768) |  
-20000 - +20000 |  
|
| 0000 cccc |  
|
|
|
2 9 8  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|#  
|
00 14 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
00 47 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
|
| 0000 dddd | Chorus Parameter 5  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 18 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
00 4B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 6  
(12768 - 52768) |  
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19  
(12768 - 52768) |  
-20000 - +20000  
|#  
|
00 1C | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|#  
|
00 4F | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
|
| 0000 dddd | Chorus Parameter 7  
(12768 - 52768) |  
|
|
| 0000 cccc |  
|
|
|
-20000 - +20000  
|
|
|
|
| 0000 dddd | Reverb Parameter 20  
(12768 - 52768) |  
-20000 - +20000 |  
|#  
|
00 20 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|
| 0000 cccc |  
| 00 00 00 53 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
| 0000 dddd | Chorus Parameter 8  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 24 | 0000 aaaa |  
| 0000 bbbb |  
*1-3-2-5 Rhythm Tone  
+——————————————————————————————————————————————————————————————————————————————+  
|
| 0000 cccc |  
| Offset  
|
|
|
|
| 0000 dddd | Chorus Parameter 9  
(12768 - 52768) |  
|
Address |  
Description  
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
|#  
|
00 28 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 cccc |  
00 01 | 0aaa aaaa | Tone Name 2  
(32 - 127) |  
|
| 0000 dddd | Chorus Parameter 10  
(12768 - 52768) |  
|
|
32 - 127 [ASCII]  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 02 | 0aaa aaaa | Tone Name 3  
(32 - 127) |  
|#  
|
00 2C | 0000 aaaa |  
| 0000 bbbb |  
|
|
32 - 127 [ASCII]  
|
00 03 | 0aaa aaaa | Tone Name 4  
(32 - 127) |  
|
| 0000 cccc |  
|
|
32 - 127 [ASCII]  
|
|
| 0000 dddd | Chorus Parameter 11  
(12768 - 52768) |  
00 04 | 0aaa aaaa | Tone Name 5  
(32 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
32 - 127 [ASCII]  
|
|#  
|
00 30 | 0000 aaaa |  
| 0000 bbbb |  
00 05 | 0aaa aaaa | Tone Name 6  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
|
|
| 0000 cccc |  
00 06 | 0aaa aaaa | Tone Name 7  
(32 - 127) |  
| 0000 dddd | Chorus Parameter 12  
(12768 - 52768) |  
-20000 - +20000 |  
|
|
32 - 127 [ASCII]  
|
|
|
|
00 07 | 0aaa aaaa | Tone Name 8  
(32 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
32 - 127 [ASCII]  
|
| 00 00 00 34 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
00 08 | 0aaa aaaa | Tone Name 9  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
00 09 | 0aaa aaaa | Tone Name 10  
(32 - 127) |  
*1-3-2-4 Rhythm Common Reverb  
|
|
32 - 127 [ASCII]  
|
+——————————————————————————————————————————————————————————————————————————————+  
00 0A | 0aaa aaaa | Tone Name 11  
(32 - 127) |  
| Offset  
|
|
|
|
|
32 - 127 [ASCII]  
|
|
Address |  
Description  
00 0B | 0aaa aaaa | Tone Name 12  
(32 - 127) |  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
32 - 127 [ASCII]  
|
|
|
|
|
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  
|
|
|
|
00 0C | 0000 000a | Assign Type  
(0 - 1) |  
|
|
MULTI, SINGLE  
|
|
|
A, B, C, D  
|
00 0D | 000a aaaa | Mute Group  
(0 - 31) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
OFF, 1 - 31  
|
|#  
|
00 03 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level  
(0 - 127) |  
(0 - 127) |  
C-1 - G9  
(14 - 114) |  
-50 - +50  
(0 - 30) |  
|
| 0000 cccc |  
00 0F | 0aaa aaaa | Tone Coarse Tune  
|
| 0000 dddd | Reverb Parameter 1  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 10 | 0aaa aaaa | Tone Fine Tune  
|#  
|
00 07 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 11 | 000a aaaa | Tone Random Pitch Depth  
|
| 0000 cccc |  
|
|
|
|
|
|
|
|
|
|
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, |  
|
| 0000 dddd | Reverb Parameter 2  
(12768 - 52768) |  
|
|
|
-20000 - +20000  
|
|
|
|
|#  
|
00 0B | 0000 aaaa |  
| 0000 bbbb |  
1200  
|
|
| 0000 cccc |  
00 12 | 0aaa aaaa | Tone Pan  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 3  
(12768 - 52768) |  
|
|
L64 - 63R  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 13 | 00aa aaaa | Tone Random Pan Depth  
00 14 | 0aaa aaaa | Tone Alternate Pan Depth  
(0 - 63) |  
(1 - 127) |  
|#  
|
00 0F | 0000 aaaa |  
| 0000 bbbb |  
|
|
L63 - 63R  
|
|
| 0000 cccc |  
00 15 | 0000 000a | Tone Env Mode  
(0 - 1) |  
NO-SUS, SUSTAIN |  
|
| 0000 dddd | Reverb Parameter 4  
(12768 - 52768) |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 13 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Tone Dry Send Level  
(0 - 127) |  
(0 - 127) |  
00 17 | 0aaa aaaa | Tone Chorus Send Level  
00 18 | 0aaa aaaa | Tone Reverb Send Level  
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)  
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)  
00 1B | 0000 aaaa | Tone Output Assign  
|
| 0000 cccc |  
(0 - 127) |  
|
| 0000 dddd | Reverb Parameter 5  
(12768 - 52768) |  
(0 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
(0 - 127) |  
|#  
|
00 17 | 0000 aaaa |  
| 0000 bbbb |  
(0 - 12) |  
|
|
|
|
MFX, A, B, C, D, |  
|
| 0000 cccc |  
1, 2, 3, 4, 5, 6, 7, 8  
|
|
| 0000 dddd | Reverb Parameter 6  
(12768 - 52768) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range  
00 1D | 0000 000a | Tone Receive Expression  
(0 - 48) |  
(0 - 1) |  
OFF, ON  
|#  
|
00 1B | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
| 0000 cccc |  
00 1E | 0000 000a | Tone Receive Hold-1  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
CONTINUOUS, KEY-ON |  
|
| 0000 dddd | Reverb Parameter 7  
(12768 - 52768) |  
|
|
|
|
|
|
-20000 - +20000  
|
|
|
|
00 1F | 0000 000a | Tone Receive Pan Mode  
|#  
|
00 1F | 0000 aaaa |  
| 0000 bbbb |  
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|
| 0000 cccc |  
|
|
00 20 | 0000 00aa | WMT Velocity Control  
(0 - 2) |  
OFF, ON, RANDOM |  
|
| 0000 dddd | Reverb Parameter 8  
(12768 - 52768) |  
|
|
|
|
|
-20000 - +20000  
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
|#  
|
00 23 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 21 | 0000 000a | WMT1 Wave Switch  
(0 - 1) |  
|
|
OFF, ON  
|
|
| 0000 cccc |  
00 22 | 0000 00aa | WMT1 Wave Group Type  
(0 - 3) |  
|
| 0000 dddd | Reverb Parameter 9  
(12768 - 52768) |  
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
|
|
|
-20000 - +20000  
|
|
|
|
SAMPLE  
|
|
|
|
|#  
|
00 27 | 0000 aaaa |  
| 0000 bbbb |  
00 23 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 10  
(12768 - 52768) |  
| 0000 dddd | WMT1 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|#  
|
00 2B | 0000 aaaa |  
| 0000 bbbb |  
00 27 | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 11  
(12768 - 52768) |  
| 0000 dddd | WMT1 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|
|
|
|#  
|
00 2F | 0000 aaaa |  
| 0000 bbbb |  
00 2B | 0000 aaaa |  
| 0000 bbbb |  
|
| 0000 cccc |  
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 12  
(12768 - 52768) |  
| 0000 dddd | WMT1 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384 |  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|#  
|
00 33 | 0000 aaaa |  
| 0000 bbbb |  
00 2F | 0000 00aa | WMT1 Wave Gain  
(0 - 3) |  
|
|
-6, 0, +6, +12 [dB]  
|
|
| 0000 cccc |  
00 30 | 0000 000a | WMT1 Wave FXM Switch  
(0 - 1) |  
|
| 0000 dddd | Reverb Parameter 13  
(12768 - 52768) |  
|
|
OFF, ON  
|
|
|
|
-20000 - +20000  
|
|
|
|
00 31 | 0000 00aa | WMT1 Wave FXM Color  
(0 - 3) |  
|#  
|
00 37 | 0000 aaaa |  
| 0000 bbbb |  
|
|
1 - 4  
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth  
00 33 | 0000 000a | WMT1 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
|
| 0000 cccc |  
|
| 0000 dddd | Reverb Parameter 14  
(12768 - 52768) |  
|
|
OFF, ON  
|
|
|
|
-20000 - +20000  
|
|
|
|
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) |  
|#  
|
00 3B | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune  
|
| 0000 cccc |  
|
|
|
|
| 0000 dddd | Reverb Parameter 15  
(12768 - 52768) |  
00 36 | 0aaa aaaa | WMT1 Wave Pan  
|
|
|
-20000 - +20000  
|
|
|
|
|
|
|
|#  
|
00 3F | 0000 aaaa |  
| 0000 bbbb |  
00 37 | 0000 000a | WMT1 Wave Random Pan Switch  
|
|
|
|
| 0000 cccc |  
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch  
|
| 0000 dddd | Reverb Parameter 16  
(12768 - 52768) |  
|
|
OFF, ON, REVERSE  
|
(0 - 127) |  
(1 - 127) |  
|
|
|
-20000 - +20000  
|
|
|
|
00 39 | 0aaa aaaa | WMT1 Wave Level  
|#  
|
00 43 | 0000 aaaa |  
| 0000 bbbb |  
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower  
|
|
1 - UPPER  
|
|
|
| 0000 cccc |  
| 0000 dddd | Reverb Parameter 17  
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper  
(1 - 127) |  
(12768 - 52768) |  
|
|
LOWER - 127  
|
2 9 9  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower  
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper  
(0 - 127) |  
(0 - 127) |  
|
|
|
|
|
|
|
1 - UPPER  
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper  
(1 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3E | 0000 000a | WMT2 Wave Switch  
(0 - 1) |  
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower  
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper  
|
|
OFF, ON  
|
00 3F | 0000 00aa | WMT2 Wave Group Type  
(0 - 3) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 15 | 000a aaaa | Pitch Env Depth  
(52 - 76) |  
-12 - +12  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63  
SAMPLE  
|
|
|
|
|
|
|
00 40 | 0000 aaaa |  
| 0000 bbbb |  
01 16 | 0aaa aaaa | Pitch Env Velocity Sens  
|
|
|
| 0000 cccc |  
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens  
| 0000 dddd | WMT2 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
|
|
|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens  
00 44 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
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  
| 0000 cccc |  
| 0000 dddd | WMT2 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
00 48 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
| 0000 cccc |  
01 1E | 0aaa aaaa | Pitch Env Level 1  
| 0000 dddd | WMT2 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
01 1F | 0aaa aaaa | Pitch Env Level 2  
00 4C | 0000 00aa | WMT2 Wave Gain  
(0 - 3) |  
|
|
|
|
|
-6, 0, +6, +12 [dB]  
|
01 20 | 0aaa aaaa | Pitch Env Level 3  
00 4D | 0000 000a | WMT2 Wave FXM Switch  
(0 - 1) |  
|
|
|
|
|
OFF, ON  
|
01 21 | 0aaa aaaa | Pitch Env Level 4  
00 4E | 0000 00aa | WMT2 Wave FXM Color  
(0 - 3) |  
|
|
|
|
|
1 - 4  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 4F | 000a aaaa | WMT2 Wave FXM Depth  
00 50 | 0000 000a | WMT2 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 22 | 0000 0aaa | TVF Filter Type  
(0 - 6) |  
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |  
|
|
OFF, ON  
|
LPF3  
|
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) |  
01 23 | 0aaa aaaa | TVF Cutoff Frequency  
(0 - 127) |  
(0 - 7) |  
|
|
|
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve  
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune  
|
|
FIXED, 1 - 7  
|
|
|
|
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens  
(1 - 127) |  
00 53 | 0aaa aaaa | WMT2 Wave Pan  
|
|
-63 - +63  
|
|
|
|
01 26 | 0aaa aaaa | TVF Resonance  
(0 - 127) |  
(1 - 127) |  
00 54 | 0000 000a | WMT2 Wave Random Pan Switch  
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens  
|
|
|
|
|
-63 - +63  
|
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch  
01 28 | 0aaa aaaa | TVF Env Depth  
(1 - 127) |  
-63 - +63 |  
|
|
OFF, ON, REVERSE  
|
(0 - 127) |  
(1 - 127) |  
|
|
00 56 | 0aaa aaaa | WMT2 Wave Level  
01 29 | 0000 0aaa | TVF Env Velocity Curve Type  
(0 - 7) |  
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower  
|
|
FIXED, 1 - 7  
|
|
|
1 - UPPER  
|
01 2A | 0aaa aaaa | TVF Env Velocity Sens  
(1 - 127) |  
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper  
(1 - 127) |  
|
|
-63 - +63  
|
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63 |  
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower  
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper  
|
|
|
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5B | 0000 000a | WMT3 Wave Switch  
(0 - 1) |  
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) |  
|
|
OFF, ON  
|
00 5C | 0000 00aa | WMT3 Wave Group Type  
(0 - 3) |  
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
SAMPLE  
|
|
|
|
00 5D | 0000 aaaa |  
| 0000 bbbb |  
| 0000 cccc |  
| 0000 dddd | WMT3 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|  
00 61 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 36 | 0000 0aaa | TVA Level Velocity Curve  
(0 - 7) |  
|
|
FIXED, 1 - 7  
|
| 0000 cccc |  
01 37 | 0aaa aaaa | TVA Level Velocity Sens  
(1 - 127) |  
| 0000 dddd | WMT3 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
-63 - +63  
|
|
|
|
|
|
|
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens  
(1 - 127) |  
-63 - +63  
(1 - 127) |  
-63 - +63 |  
00 65 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens  
| 0000 cccc |  
|
|
| 0000 dddd | WMT3 Wave Number R  
(0 - 16384) |  
OFF, 1 - 16384 |  
01 3A | 0aaa aaaa | TVA Env Time 1  
01 3B | 0aaa aaaa | TVA Env Time 2  
01 3C | 0aaa aaaa | TVA Env Time 3  
01 3D | 0aaa aaaa | TVA Env Time 4  
01 3E | 0aaa aaaa | TVA Env Level 1  
01 3F | 0aaa aaaa | TVA Env Level 2  
01 40 | 0aaa aaaa | TVA Env Level 3  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|
|
00 69 | 0000 00aa | WMT3 Wave Gain  
(0 - 3) |  
|
|
-6, 0, +6, +12 [dB]  
|
00 6A | 0000 000a | WMT3 Wave FXM Switch  
(0 - 1) |  
|
|
OFF, ON  
|
00 6B | 0000 00aa | WMT3 Wave FXM Color  
(0 - 3) |  
|
|
1 - 4  
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 6C | 000a aaaa | WMT3 Wave FXM Depth  
00 6D | 0000 000a | WMT3 Wave Tempo Sync  
(0 - 16) |  
(0 - 1) |  
| 00 00 01 41 | Total Size  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
|
OFF, ON  
|
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune  
(16 - 112) |  
-48 - +48  
(14 - 114) |  
-50 - +50  
(0 - 127) |  
L64 - 63R  
(0 - 1) |  
OFF, ON  
(0 - 2) |  
|
|
|
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  
+——————————————————————————————————————————————————————————————————————————————+  
|
|
OFF, ON, REVERSE  
|
(0 - 127) |  
(1 - 127) |  
| Start  
|
|
|
00 73 | 0aaa aaaa | WMT3 Wave Level  
|
Address |  
Description  
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
1 - UPPER  
|
|#  
|
|
|
|
|
|
|
|
|
40 00 00 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper  
(1 - 127) |  
|
|
LOWER - 127  
|
(0 - 127) |  
(0 - 127) |  
| 0000 cccc |  
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower  
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper  
| 0000 dddd | Master Tune  
(24 - 2024) |  
|
|
-100.0 - 100.0 [cent]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
40 00 04 | 0aaa aaaa | Master Volume  
40 00 05 | 0aaa aaaa | Master Key Shift  
(0 - 127) |  
(40 - 88) |  
|
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 78 | 0000 000a | WMT4 Wave Switch  
(0 - 1) |  
|
|
OFF, ON  
|
|
|
-24 - +24 [semitone]  
|
00 79 | 0000 00aa | WMT4 Wave Group Type  
(0 - 3) |  
40 00 06 | 0aaa aaaa | Master Pan  
(1 - 127) |  
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |  
|
|
L63 - 63R  
|
SAMPLE  
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
00 7A | 0000 aaaa |  
| 0000 bbbb |  
|
|
40 00 7F | 0aaa aaaa | Mode Set  
(0, 127) |  
GS-RESET, GS-EXIT |  
|
|
| 0000 cccc |  
|—————————————+————————————————————————————————————————————————————————————————|  
| 0000 dddd | WMT4 Wave Group ID  
(0 - 16384) |  
OFF, 1 - 16384  
|
|
|
|
|
|
*
Common Parameter  
00 7E | 0000 aaaa |  
| 0000 bbbb |  
+——————————————————————————————————————————————————————————————————————————————+  
| 0000 cccc |  
| Start  
|
|
|
| 0000 dddd | WMT4 Wave Number L (Mono)  
(0 - 16384) |  
OFF, 1 - 16384  
|
Address |  
Description  
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|  
01 02 | 0000 aaaa |  
| 0000 bbbb |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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) |  
| 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) |  
01 0D | 0aaa aaaa | WMT4 Wave Pan  
40 01 31 | 0aaa aaaa | Reverb Character  
40 01 32 | 0aaa aaaa | Reverb Pre-LPF  
40 01 33 | 0aaa aaaa | Reverb Level  
|
|
|
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  
|—————————————+———————————+————————————————————————————————————————————————————|  
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower  
|
40 01 38 | 0aaa aaaa | Chorus Macro  
(0 - 7) |  
3 0 0  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
|
|
|
|
|
|
|
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  
(0 - 7) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
|
|
|
|
|
|
|
|
|
|
|
0 - 100.0 [%]  
|
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control  
(0 - 127) |  
|
|
-10.0 - +10.0 [Hz]  
|
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control  
(0 - 127) |  
|
|
0 - 600 [cent]  
|
40 01 3E | 0aaa aaaa | Chorus Depth  
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb  
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth  
(0 - 127) |  
|
|
0 - 2400 [cent]  
|
|—————————————+————————————————————————————————————————————————————————————————|  
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth  
(0 - 127) |  
|
|
0 - 100.0 [%]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
*
Part Parameter  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 10 | 0aaa aaaa | Bend Pitch Control  
(64 - 88) |  
+——————————————————————————————————————————————————————————————————————————————+  
| Start  
|
|
0 - 24 [semitone]  
|
|
|
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control  
(0 - 127) |  
|
Address |  
Description  
|
|
-9600 - +9600 [cent]  
|
|—————————————+————————————————————————————————————————————————————————————————|  
40 2x 12 | 0aaa aaaa | Bend Amplitude Control  
(0 - 127) |  
|#  
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value  
| 0aaa aaaa | Tone Number PC Value  
(0 - 127) |  
(0 - 127) |  
|
|
-100.0 - +100.0 [%]  
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 02 | 0aaa aaaa | Rx. Channel  
(0 - 16) |  
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control  
(0 - 127) |  
|
|
1 - 16, OFF  
|
|
|
0 - 600 [cent]  
|
40 1x 03 | 0000 000a | Rx. Pitch Bend  
(0 - 1) |  
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth  
(0 - 127) |  
|
|
OFF, ON  
|
|
|
0 - 2400 [cent]  
|
40 1x 04 | 0000 000a | Rx. Channel Pressure  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON  
|—————————————+———————————+————————————————————————————————————————————————————|  
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth  
(0 - 127) |  
|
|
|
|
|
0 - 100.0 [%]  
|
40 1x 05 | 0000 000a | Rx. Program Change  
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control  
(0 - 127) |  
|
|
|
|
|
-10.0 - +10.0 [Hz]  
|
40 1x 06 | 0000 000a | Rx. Control Change  
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control  
(0 - 127) |  
|
|
|
|
|
0 - 600 [cent]  
|
40 1x 07 | 0000 000a | Rx. Poly Pressure  
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth  
(0 - 127) |  
|
|
|
|
|
0 - 2400 [cent]  
|
40 1x 08 | 0000 000a | Rx. Note Message  
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth  
(0 - 127) |  
|
|
|
|
|
0 - 100.0 [%]  
|
40 1x 09 | 0000 000a | Rx. RPN  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 20 | 0aaa aaaa | CAf Pitch Control  
(40 - 88) |  
40 1x 0A | 0000 000a | Rx. NRPN  
|
|
-24 - +24 [semitone]  
|
|
|
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control  
(0 - 127) |  
40 1x 0B | 0000 000a | Rx. Modulation  
|
|
-9600 - +9600 [cent]  
|
|
|
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control  
(0 - 127) |  
40 1x 0C | 0000 000a | Rx. Volume  
|
|
-100.0 - +100.0 [%]  
|
|
|
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control  
(0 - 127) |  
40 1x 0D | 0000 000a | Rx. Panpot  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control  
(0 - 127) |  
40 1x 0E | 0000 000a | Rx. Expression  
|
|
0 - 600 [cent]  
|
|
|
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth  
(0 - 127) |  
40 1x 0F | 0000 000a | Rx. Hold-1  
|
|
0 - 2400 [cent]  
|
|
|
|
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth  
(0 - 127) |  
40 1x 10 | 0000 000a | Rx. Portamento  
|
|
0 - 100.0 [%]  
|
|
|
|
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control  
(0 - 127) |  
40 1x 11 | 0000 000a | Rx. Sostenuto  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control  
(0 - 127) |  
40 1x 12 | 0000 000a | Rx. Soft  
|
|
0 - 600 [cent]  
|
|
|
|
40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth  
(0 - 127) |  
|
|
0 - 2400 [cent]  
|
|
|
|
|
|
|
|
40 1x 13 | 0aaa aaaa | Mono / Poly Mode  
(0 - 1) |  
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth  
(0 - 127) |  
|
|
MODE, POLY  
|
|
|
0 - 100.0 [%]  
|
40 1x 14 | 0aaa aaaa | Assign Mode  
(0 - 2) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
SINGLE, LIMITED-MULTI, |  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 30 | 0aaa aaaa | PAf Pitch Control  
(40 - 88) |  
FULL-MULTI  
|
|
|
-24 - +24 [semitone]  
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part  
(0 - 2) |  
OFF, MAP1, MAP2 |  
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control  
(0 - 127) |  
|
|
|
|
-9600 - +9600 [cent]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
40 2x 32 | 0aaa aaaa | PAf Amplitude Control  
(0 - 127) |  
|
|
|#  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 16 | 0aaa aaaa | Pitch Key Shift  
(40 - 88) |  
|
|
-100.0 - +100.0 [%]  
|
|
|
-24 - +24 [semitone]  
|
|
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control  
(0 - 127) |  
40 1x 17 | 0000 aaaa |  
| 0000 bbbb | Pitch Offset Fine  
|
|
-10.0 - +10.0 [Hz]  
|
(8 - 248) |  
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control  
(0 - 127) |  
|
|
-12.0 - +12.0 [Hz]  
|
(0 - 127) |  
(0 - 127) |  
|
|
0 - 600 [cent]  
|
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)  
40 1x 1A | 0aaa aaaa | Velocity Sens Depth  
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth  
(0 - 127) |  
|
|
0 - 2400 [cent]  
|
|
|
-64 - +63  
(0 - 127) |  
-64 - +63  
(0 - 127) |  
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth  
(0 - 127) |  
40 1x 1B | 0aaa aaaa | Velocity Sens Offset  
|
|
0 - 100.0 [%]  
|
|
|
|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control  
(0 - 127) |  
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
RANDOM, L63 - 63R  
|
(0 - 127) |  
(0 - 127) |  
(0 - 95) |  
(0 - 95) |  
(0 - 127) |  
(0 - 127) |  
(0 - 1) |  
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control  
(0 - 127) |  
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  
|
|
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) |  
|
|
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
|
|
-24 - +24 [semitone]  
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB  
40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control  
(0 - 127) |  
|
|
|
|
-9600 - +9600 [cent]  
|
|—————————————+———————————+————————————————————————————————————————————————————|  
40 2x 42 | 0aaa aaaa | CC1 Amplitude 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  
|
|
-100.0 - +100.0 [%]  
|
|
|
|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control  
(0 - 127) |  
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control  
(0 - 127) |  
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)  
|
|
0 - 600 [cent]  
|
|
|
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth  
(0 - 127) |  
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)  
|
|
0 - 2400 [cent]  
|
|
|
|
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth  
(0 - 127) |  
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)  
|
|
0 - 100.0 [%]  
|
|
|
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control  
(0 - 127) |  
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
|
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control  
(0 - 127) |  
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)  
|
|
0 - 600 [cent]  
|
|
|
|
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth  
(0 - 127) |  
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)  
|
|
0 - 2400 [cent]  
|
|
|
|
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
0 - 100.0 [%]  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 40 | 0aaa aaaa | Scale Tuning C  
(0 - 127) |  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
-64 - +63 [cent]  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 50 | 0aaa aaaa | CC2 Pitch Control  
(40 - 88) |  
40 1x 41 | 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 42 | 0aaa aaaa | Scale Tuning D  
(0 - 127) |  
|
|
-9600 - +9600 [cent]  
|
|
|
-64 - +63 [cent]  
|
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control  
(0 - 127) |  
40 1x 43 | 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 44 | 0aaa aaaa | Scale Tuning E  
(0 - 127) |  
|
|
-10.0 - +10.0 [Hz]  
|
|
|
-64 - +63 [cent]  
|
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control  
(0 - 127) |  
40 1x 45 | 0aaa aaaa | Scale Tuning F  
(0 - 127) |  
|
|
0 - 600 [cent]  
|
|
|
-64 - +63 [cent]  
|
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth  
(0 - 127) |  
40 1x 46 | 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 47 | 0aaa aaaa | Scale Tuning G  
(0 - 127) |  
|
|
0 - 100.0 [%]  
|
|
|
-64 - +63 [cent]  
|
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control  
(0 - 127) |  
40 1x 48 | 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 49 | 0aaa aaaa | Scale Tuning A  
(0 - 127) |  
|
|
0 - 600 [cent]  
|
|
|
-64 - +63 [cent]  
|
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth  
(0 - 127) |  
40 1x 4A | 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 4B | 0aaa aaaa | Scale Tuning B  
(0 - 127) |  
|
|
0 - 100.0 [%]  
|
|
|
-64 - +63 [cent]  
|
+——————————————————————————————————————————————————————————————————————————————+  
|—————————————+———————————+————————————————————————————————————————————————————|  
x: BLOCK NUMBER (0-F)  
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 00 | 0aaa aaaa | Mod Pitch Control  
(40 - 88) |  
Part 1 (MIDI ch = 1) x = 1  
Part 2 (MIDI ch = 2) x = 2  
|
|
-24 - +24 [semitone]  
|
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control  
(0 - 127) |  
|
|
-9600 - +9600 [cent]  
|
:
:
:
40 2x 02 | 0aaa aaaa | Mod Amplitude 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  
|
|
-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]  
|
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth  
(0 - 127) |  
:
:
:
|
|
0 - 2400 [cent]  
|
Part16 (MIDI ch = 16) x = F  
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth  
(0 - 127) |  
3 0 1  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
*
Drum Setup Parameter  
<Example 2> What is the decimal expression of the value 12 34H given as hexadecimal for  
+——————————————————————————————————————————————————————————————————————————————+  
each 7 bits?  
| Start  
|
|
|
|
Address |  
Description  
From the preceding table, since 12H = 18 and 34H = 52  
18 x 128+52 = 2356  
|—————————————+————————————————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
41 m0 00 | 0aaa aaaa | Drum Map Name 1  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
41 m0 01 | 0aaa aaaa | Drum Map Name 2  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
<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  
41 m0 02 | 0aaa aaaa | Drum Map Name 3  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
41 m0 03 | 0aaa aaaa | Drum Map Name 4  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
41 m0 04 | 0aaa aaaa | Drum Map Name 5  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
41 m0 05 | 0aaa aaaa | Drum Map Name 6  
(32 - 127) |  
<Example 4> What is the nibbled expression of the decimal value 1258?  
|
|
32 - 127 [ASCII]  
|
41 m0 06 | 0aaa aaaa | Drum Map Name 7  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
41 m0 07 | 0aaa aaaa | Drum Map Name 8  
(32 - 127) |  
16) 1258  
|
|
32 - 127 [ASCII]  
|
41 m0 08 | 0aaa aaaa | Drum Map Name 9  
(32 - 127) |  
16) 78 ... 10  
|
|
32 - 127 [ASCII]  
|
41 m0 09 | 0aaa aaaa | Drum Map Name 10  
(32 - 127) |  
16)  
4 ... 14  
0 ... 4  
|
|
32 - 127 [ASCII]  
|
41 m0 0A | 0aaa aaaa | Drum Map Name 11  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
41 m0 0B | 0aaa aaaa | Drum Map Name 12  
(32 - 127) |  
|
|
32 - 127 [ASCII]  
|
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E  
0AH.  
|—————————————+———————————+————————————————————————————————————————————————————|  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
41 m1 rr | 0aaa aaaa | Play Note Number  
41 m2 rr | 0aaa aaaa | Level  
(0 - 127) |  
(0 - 127) |  
(0 - 127) |  
41 m3 rr | 0aaa aaaa | Assign Group Number  
|
|
NON, 1 - 127  
|
41 m4 rr | 0aaa aaaa | Panpot  
(0 - 127) |  
|
|
RAMDOM, L63 - 63R  
|
41 m5 rr | 0aaa aaaa | Reverb Send Level  
(0 - 127) |  
|
|
0.0 - 1.0  
|
Examples of actual MIDI messages  
41 m6 rr | 0aaa aaaa | Chorus Send Level  
(0 - 127) |  
0.0 - 1.0  
(0 - 1) |  
OFF, ON  
(0 - 1) |  
OFF, ON |  
|
|
|
41 m7 rr | 0000 000a | Rx. Note Off  
|
|
|
<Example 1> 92 3E 5F  
41 m8 rr | 0000 000a | Rx. Note On  
|
|
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.  
|—————————————+————————————————————————————————————————————————————————————————|  
m: Map number (0 = MAP1, 1 = MAP2)  
rr: drum part note number (00H-7FH)  
Decimal and Hexadecimal table  
(An "H" is appended to the end of numbers in hexadecimal notation.)  
<Example 2> CE 49  
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and  
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute  
in GS).  
In MIDI documentation, data values and addresses/ sizes of Exclusive messages, etc. are  
expressed as hexadecimal values for each 7 bits.  
The following table shows how these correspond to decimal numbers.  
<Example 3> EA 00 28  
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  
00H  
MIDI ch.4, lower byte of RPN parameter  
(MIDI ch.4) upper byte of RPN parameter  
number:  
(B3)  
65 00  
00H  
number:  
(B3)  
06 0C  
26 00  
64 7F  
7FH  
(MIDI ch.4) upper byte of parameter value:0CH  
(MIDI ch.4) lower byte of parameter value:00H  
(MIDI ch.4) lower byte of RPN parameter  
(B3)  
(B3)  
number:  
(B3)  
65 7F  
7FH  
(MIDI ch.4) upper byte of RPN parameter  
+——————+——————++——————+——————++——————+——————++——————+——————+  
D:decimal  
number:  
H:hexadecimal  
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.  
*
*
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.  
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates  
semitone units, so  
a
value of 0CH = 12 sets the maximum pitch bend range to +/ -12  
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,  
but the LSB should be transmitted anyway (with a value of 0) so that operation will be  
correct on any device.)  
*
*
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.  
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 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  
3 0 2  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Im p le m e n ta tio n  
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.  
(1) Exclusive Status,  
(2) ID (Roland),  
(3) Device ID (17),  
(4) Model ID (XV-5080), (5) Command ID(RQ1),  
(6) End of Exclusive  
Then calculate the checksum.  
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).  
20H + 02H + 22H + 00H + 00H + 00H + 00H + 21H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 33 = 101  
(sum)  
101 (sum) ÷ 128 = 0 (quotient) ... 101 (remainder)  
checksum = 128 - 101 (remainder) = 27 = 1BH  
*
TPQN: Ticks Per Quarter Note  
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.  
<Example 3> Getting Temporary Performance data (RQ1);  
Example of an Exclusive message and calculating a  
checksum  
cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM"  
(Type parameter) and "TEMP: -PATCH" (Source parameter) options.  
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.  
According to the "Parameter Address Map (p. 290)", the start address of Temporary  
Performance is assinged as following:  
How to calculate the checksum (hexadecimal numbers are indicated by  
10 00 00 00H  
Temporary Performance Common  
Temporary Performance Part 1  
Temporary Performance Part 32  
"H")  
:
The checksum is a value derived by adding the address, size, and checksum itself and  
inverting the lower 7 bits.  
10 00 20 00H  
:
Here's an example of how the checksum is calculated. We will assume that in the Exclusive  
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ffH.  
10 00 3F 00H  
As the data size of Performance Part is 00 00 00 21H, summation of the size and the start  
address of Part 32 at Temporay Performance will be;  
aa + bb + cc + dd + ee + ff = sum  
sum ÷ 128 = quotient ... remainder  
128 - remainder = checksum  
10 00 3F 00H  
+) 00 00 00 21H  
10 00 3F 21H  
<Example 1> Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1).  
According to the "Parameter Address Map (p. 290)", 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;  
And the size that have to be got should be;  
10 00 3F 21H  
-) 10 00 00 00H  
00 00 3F 21H  
10 00 00 00H  
04 00H  
Therefore the system exclusive message should be sent is;  
+)  
00 00H  
10 00 04 00H  
F0 41 10 00 10  
(1) (2) (3) (4)  
11  
10 00 00 00  
address  
00 00 3F 21 ??  
F7  
(5)  
data checksum (6)  
DELAY has the value of 02H.  
So the system exclusive message should be sent is;  
(1) Exclusive Status,  
(2) ID (Roland),  
(3) Device ID (17),  
(4) Model ID (XV-5080), (5) Command ID (RQ1),  
(6) End of Exclusive  
F0 41 10 00 10  
(1) (2) (3) (4)  
(1) Exclusive Status,  
12  
(5)  
(2) ID (Roland),  
10 00 04 00  
address  
02  
??  
F7  
data  
checksum  
(6)  
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11  
10 00 00 00 00 00 3F 21 10 F7 to be transmitted.  
(3) Device ID (17),  
(4) Model ID (XV-5080), (5) Command ID (DT1),  
(6) End of Exclusive  
<Example 4> Getting data (RQ1) at once;  
Then calculate the checksum.  
Tempory Performance data,  
Temporary Patch data of whole part in Performance mode,  
Temporary Rhythm data of whole part in Performance mode.  
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)  
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)  
checksum = 128 - 22 (remainder) = 106 = 6AH  
cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM"  
(Type parameter) and "TEMP: +PATCH" (Source parameter) options.  
This means that F0 41 10 00 10 12 10 00 04 00 02 6A F7 is the message should be sent.  
<Example 2> Getting the data (RQ1) of Performance Part 3 in USER:03.  
According to the "Parameter Address Map (p. 290)", the start address of the  
above all parameters is assinged as following:  
10 00 00 00H  
11 20 00 00H  
11 30 00 00H  
:
Temporary Performance  
00H, and the offset address of Performance Part 3 is 00 22 00H.  
Temporary Patch (Performance Mode Part 1)  
Temporary Rhythm (Performance Mode Part 1)  
Therefore the start address of Performance Part 3 in USER:03 is;  
14 60 00 00H  
14 70 00 00H  
Temporary Patch (Performance Mode Part 16)  
Temporary Rhythm (Performance Mode Part 16)  
20 02 00 00H  
+) 00 22 00H  
20 02 22 00H  
The offset address of Rhythm is also assigned as follows:  
As the size of Performance Part is 00 00 00 21H, the system exclusive message should be  
sent is;  
00 00 00H  
Rhythm Common  
Rhythm Tone 1  
Rhythm Tone 4  
:
00 10 00H  
:
F0 41 10 00 10  
(1) (2) (3) (4)  
11  
20 02 22 00  
address  
00 00 00 21 ??  
F7  
(5)  
data checksum (6)  
01 3E 00H  
3 0 3  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
MIDI Im p le m e n ta tio n  
As the data size of Rhythm Tone is 00 00 01 41H, summation of the size and the  
ASCII code table  
start address of Tone 4 of Part 16 at Temporay Patch in Performance mode will  
be;  
Patch Name and Performance Name, etc, of MIDI data are described the ASCII  
code in the table below.  
14 70 00 00H  
01 3E 00H  
(HEX) = hexadecimal  
(DEC) = decimal  
+) 00 00 01 41H  
14 71 3F 41H  
+—————————+—————+—————+  
|Character|(HEX)|(DEC)|  
+—————————+—————+—————+  
+—————————+—————+—————+  
|Character|(HEX)|(DEC)|  
+—————————+—————+—————+  
+—————————+—————+—————+  
|Character|(HEX)|(DEC)|  
+—————————+—————+—————+  
And the size that have to be got should be;  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 |  
14 71 3F 41H  
-) 10 00 00 00H  
04 71 3F 41H  
Therefore the system exclusive message should be sent is;  
F0 41 10 00 10  
(1) (2) (3) (4)  
11  
10 00 00 00  
address  
04 71 3F 41 ??  
F7  
(5)  
data checksum (6)  
(1) Exclusive Status,  
(2) ID (Roland),  
(3) Device ID (17),  
(4) Model ID (XV-5080), (5) Command ID (RQ1),  
(6) End of Exclusive  
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11  
10 00 00 00 04 71 3F 41 7B F7 to be transmitted.  
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.  
+—————————+—————+—————+  
+—————————+—————+—————+  
NOTE : "SP" is space.  
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-5080, the default settings for  
the Scale Tune feature produce equal temperament.  
*GS (  
) is a registered trademark of Roland Corporation.  
Just Temperament (Tonic of C)  
The principal triads resound much more beautifully than with equal temperament, but this  
benefit can only be obtained in one key. If transposed, the chords tend to become  
ambiguous. The example given involves settings for a key in which C is the keynote.  
Arabian Scale  
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for  
ethnic music. For example, the settings introduced below will set the unit to use the Arabian  
Scale.  
Example Settings  
Note name  
Equal  
Just Temperament  
Arabian Scale  
Temperament  
(Keytone C)  
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-8  
-6  
+45  
-2  
C#  
D
+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  
??? 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  
3 0 4  
Download from Www.Somanuals.com. All Manuals Search And Download.  
SYNTHESIZER MODULE  
Model XV-5080  
Date : May. 20, 2000  
Version : 1.00  
MIDI Implementation Chart  
Function...  
Transmitted  
Recognized  
Remarks  
Basic  
Channel Changed  
Default  
X
X
116  
116  
Default  
Messages  
Altered  
X
X
Mode 3  
Mode 3, 4 (M = 1)  
* 2  
Mode  
**************  
Note  
X
0127  
Number :  
0127  
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)  
15, 731, 6495 *3  
15, 731, 6495 *3  
98, 99  
O
O
X
100, 101  
*4  
O
Program  
Change  
O
*4  
O
0127  
*1  
*1  
**************  
: True Number  
Program No. 1128  
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 (123127)  
*1  
O
X
* 1 O X is selectable.  
* 2 Recognized as M=1 even if M1.  
* 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  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Sp e cifica tio n s  
XV-5080 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)  
32  
D Output (L, R)  
Ma x im u m Po ly p h o n y  
(or Individual 1 - 8)  
128 voices  
Digital Audio Out S/ P DIF 44.1/ 48kHz  
(COAXIAL 1, OPTICAL 1)  
Word Clock In (BNC)  
W a ve m e m o ry  
64MB (16-bit linear format)  
SCSI Connector (D-SUB 25pin)  
R-BUS Connector (Output Only)  
MIDI connector (IN, OUT, THRU)  
Phones Jack (Stereo)  
Ex p a n sio n slo ts  
Wave Expansion Board SR-JV80 Series: 4slots  
New Wave Expansion Board SRX Series: 4slots  
Two SIMM Slots (Compatible with 72-pin FP/ EDO 16/ 32/ 64  
MB SIMMs for a maximum expansion of 128 MB)  
Po w e r su p p ly  
AC117, 230, 240 V  
Pre se t m e m o ry  
Po w e r Co n su m p tio n  
Patch: 896 (128 x 7 banks) + GM Level 2 Patch: 256  
Performance: 64 (32 x 2 banks)  
25 W  
Rhythm Sets: 14 (2 x 7 banks) + GMLevel 2 Rhythm Set: 9  
Dim e n sio n s  
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)  
Use r m e m o ry  
Patch:  
128  
64  
4
Performance:  
Rhythm Set:  
W e ig h t  
4.9 kg / 10lbs 13oz  
Ex te rn a l m e m o ry  
SmartMedia card  
1slot  
Acce sso rie s  
Quickstart manual  
Owner's manual  
Q&A, Sound List  
Power cord  
( 2 - 128 MB, 5 or 3.3 V)  
Effe cts  
Multi Effects (MFX): 90 type  
(Three different multi-effects can be used simultaneously in  
Performance mode)  
O p tio n s  
Reverb:  
Chorus:  
4 type  
2 type  
Wave Expansion Board (SRX series, SR-JV80 series)  
2 Band EQ (can be sent to eight separate outputs when used  
as system EQ)  
* In the interest of product improvement, the specifications  
and/ or appearance of this unit are subject to change without  
prior notice.  
Disp la y  
320 x 80 dot Graphic LCD (with Backlit )  
3 0 6  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
In d e x  
Numerics  
A
B
C
J
D
E
3 0 7  
Download from Www.Somanuals.com. All Manuals Search And Download.  
M
MIDI Channel .......................................................166, 212  
O
P
Q
R
3 0 8  
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  
ITALY  
ISRAEL  
SIN GAPO RE  
AFRICA  
SUPRO MUNDIAL, S.A.  
Boulevard Andrews, Albrook,  
Panama City, REP. DE PANAMA  
TEL: 315-0101  
Roland Italy S. p. A.  
Viale delle Industrie 8,  
20020 Arese, Milano, ITALY  
TEL: (02) 937-78300  
Halilit P. Greenspoon &  
Swee Lee Company  
150 Sims Drive,  
Sons Ltd.  
SINGAPORE 387381  
TEL: 6846-3676  
8 Retzif Ha'aliya Hashnya St.  
Tel-Aviv-Yafo ISRAEL  
TEL: (03) 6823666  
EGYPT  
Al Fanny Trading Office  
9, EBN Hagar A1 Askalany Street,  
ARD E1 Golf, Heliopolis,  
Cairo 11341, EGYPT  
CRISTOFORI MUSIC PTE  
LTD  
Blk 3014, Bedok Industrial Park E,  
#02-2148, SINGAPORE 489980  
TEL: 6243-9555  
N O RW AY  
Roland Scandinavia Avd.  
Kontor Norge  
Lilleakerveien 2 Postboks 95  
Lilleaker N-0216 Oslo  
NORWAY  
PARAGUAY  
Distribuidora De  
Instrumentos Musicales  
J.E. Olear y ESQ. Manduvira  
Asuncion PARAGUAY  
TEL: (021) 492-124  
JO RDAN  
AMMAN Trading Agency  
245 Prince Mohammad St.,  
Amman 1118, JORDAN  
TEL: (06) 464-1200  
TEL: 20-2-417-1828  
REUN IO N  
Maison FO - YAM Marcel  
25 Rue Jules Hermann,  
Chaudron - BP79 97 491  
Ste Clotilde Cedex,  
TAIW AN  
ROLAND TAIWAN  
ENTERPRISE CO., LTD.  
Room 5, 9fl. No. 112 Chung Shan  
N.Road Sec.2, Taipei, TAIWAN,  
R.O.C.  
TEL: 273 0074  
KUW AIT  
Easa Husain Al-Yousifi  
Abdullah Salem Street,  
Safat, KUWAIT  
PO LAN D  
P. P. H. Brzostowicz  
UL. Gibraltarska 4.  
PL-03664 Warszawa POLAND  
TEL: (022) 679 44 19  
URUGUAY  
Todo Musica S.A.  
Francisco Acuna de Figueroa 1771  
C.P.: 11.800  
Montevideo, URUGUAY  
TEL: (02) 924-2335  
REUNION ISLAND  
TEL: (0262) 218-429  
TEL: 243-6399  
TEL: (02) 2561 3339  
SO UTH AFRICA  
That Other Music Shop  
(PTY) Ltd.  
11 Melle St., Braamfontein,  
Johannesbourg, SOUTH AFRICA  
LEBAN O N  
Chahine S.A.L.  
Gerge Zeidan St., Chahine Bldg.,  
Achrafieh, P.O.Box: 16-5857  
Beirut, LEBANON  
PO RTUGAL  
THAILAN D  
VEN EZUELA  
Tecnologias Musica e Audio,  
Roland Portugal, S.A.  
Cais Das Pedras, 8/ 9-1 Dto  
4050-465 PORTO  
Theera Music Co. , Ltd.  
330 Verng NakornKasem, Soi 2,  
Bangkok 10100, THAILAND  
TEL: (02) 2248821  
Musicland Digital C.A.  
Av. Francisco de Miranda,  
Centro Parque de Cristal, Nivel  
C2 Local 20 Caracas  
TEL: (01) 20-1441  
P.O.Box 32918, Braamfontein 2017  
Johannesbourg, SOUTH AFRICA  
TEL: (011) 403 4105  
PORTUGAL  
TEL: (022) 608 00 60  
Q ATAR  
Al Emadi Co. (Badie Studio  
& Stores)  
P.O. Box 62,  
Doha, QATAR  
TEL: 4423-554  
VENEZUELA  
TEL: (212) 285-8586  
VIETN AM  
Saigon Music  
138 Tran Quang Khai St.,  
District 1  
Ho Chi Minh City  
VIETNAM  
TEL: (08) 844-4068  
Paul Bothner (PTY) Ltd.  
17 Werdmuller Centre,  
Main Road, Claremont 7708  
SOUTH AFRICA  
RO MAN IA  
FBS LINES  
Piata Libertatii 1,  
RO-4200 Gheorghehi  
TEL: (095) 169-5043  
EURO PE  
P.O.BOX 23032, Claremont 7735,  
SOUTH AFRICA  
TEL: (021) 674 4030  
AUSTRIA  
Roland Austria GES.M.B.H.  
Siemensstrasse 4, P.O. Box 74,  
A-6063 RUM, AUSTRIA  
SAUDI ARABIA  
aDawliah Universal  
Electronics APL  
Corniche Road, Aldossary Bldg.,  
1st Floor, Alkhobar,  
SAUDI ARABIA  
RUSSIA  
MuTek  
3-Bogatyrskaya Str. 1.k.l  
107 564 Moscow, RUSSIA  
TEL: (095) 169 5043  
AUSTRALIA/  
N EW ZEALAN D  
TEL: (0512) 26 44 260  
ASIA  
AUSTRALIA  
BELGIUM/ HOLLAND/  
LUXEMBO URG  
Roland Benelux N. V.  
Houtstraat 3, B-2260, Oevel  
(Westerlo) BELGIUM  
TEL: (014) 575811  
CHIN A  
Roland Shanghai Electronics  
Co.,Ltd.  
5F. No.1500 Pingliang Road  
Shanghai, CHINA  
TEL: (021) 5580-0800  
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  
SYRIA  
Technical Light & Sound  
TEL: (93) 308 1000  
TEL: (02) 9982 8266  
Center  
DEN MARK  
SW EDEN  
Roland Shanghai Electronics  
Co.,Ltd.  
(BEIJING OFFICE)  
10F. No.18 Anhuaxili  
Chaoyang District, Beijing,  
CHINA  
Khaled Ebn Al Walid St.  
Bldg. No. 47, P.O.BOX 13520,  
Damascus, SYRIA  
TEL: (011) 223-5384  
N EW ZEALAN D  
Roland Scandinavia A/S  
Nordhavnsvej 7, Postbox 880,  
DK-2100 Copenhagen  
DENMARK  
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  
TEL: (039)16 6200  
TURKEY  
Barkat muzik aletleri ithalat  
ve ihracat Ltd Sti  
Siraselviler Caddesi Siraselviler  
Pasaji No:74/ 20  
TEL: (010) 6426-5050  
FRAN CE  
Roland France SA  
4, Rue Paul Henri SPAAK,  
Parc de l'Esplanade, F 77 462 St.  
Thibault, Lagny Cedex FRANCE  
TEL: 01 600 73 500  
CEN TRAL/ LATIN  
AMERICA  
SW ITZERLAN D  
Roland (Switzerland) AG  
Musitronic AG  
Gerberstrasse 5, Postfach,  
CH-4410 Liestal, SWITZERLAND  
TEL: (061) 927-8383  
HO N G KO N G  
Tom Lee Music Co., Ltd.  
Service Division  
22-32 Pun Shan Street, Tsuen  
Wan, New Territories,  
HONG KONG  
Taksim - Istanbul, TURKEY  
TEL: (0212) 2499324  
ARGEN TIN A  
Instrumentos Musicales S.A.  
Av.Santa Fe 2055  
(1123) Buenos Aires  
ARGENTINA  
TEL: (011) 4508-2700  
U.A.E.  
Zak Electronics & Musical  
Instruments Co. L.L.C.  
Zabeel Road, Al Sherooq Bldg.,  
No. 14, Grand Floor, Dubai, U.A.E.  
TEL: (04) 3360715  
FIN LAN D  
Roland Scandinavia As,  
Filial Finland  
Lauttasaarentie 54 B  
Fin-00201 Helsinki, FINLAND  
TEL: (9) 682 4020  
UKRAIN E  
TEL: 2415 0911  
TIC-TAC  
Mira Str. 19/ 108  
IN DIA  
P.O. Box 180  
295400 Munkachevo, UKRAINE  
TEL: (03131) 414-40  
Rivera Digitec (India) Pvt. Ltd.  
409, Nirman Kendra Mahalaxmi  
Flats Compound Off. Dr. Edwin  
Moses Road, Mumbai-400011,  
INDIA  
BRAZIL  
Roland Brasil Ltda  
Rua San Jose, 780 Sala B  
Parque Industrial San Jose  
Cotia - Sao Paulo - SP, BRAZIL  
TEL: (011) 4615 5666  
GERMAN Y  
Roland Elektronische  
Musikinstrumente HmbH.  
Oststrasse 96, 22844 Norderstedt,  
GERMANY  
UN ITED KIN GDO M  
N O RTH AMERICA  
Roland (U.K.) Ltd.  
Atlantic Close, Swansea  
Enterprise Park, SWANSEA  
SA7 9FJ,  
TEL: (022) 493 9051  
IN DO N ESIA  
PT Citra IntiRama  
J1. Cideng Timur No. 15J-150  
Jakarta Pusat  
INDONESIA  
TEL: (021) 6324170  
CAN ADA  
Roland Canada Music Ltd.  
(Head Office)  
5480 Parkwood Way Richmond  
B. C., V6V 2M4 CANADA  
TEL: (604) 270 6626  
CO STA RICA  
JUAN Bansbach  
Instrumentos Musicales  
Ave.1. Calle 11, Apartado 10237,  
San Jose, COSTA RICA  
TEL: 258-0211  
TEL: (040) 52 60090  
UNITED KINGDOM  
TEL: (01792) 700139  
GREECE  
STOLLAS S.A.  
Music Sound Light  
155, New National Road  
Patras 26442, GREECE  
TEL: (061) 043-5400  
MIDDLE EAST  
KO REA  
Roland Canada Music Ltd.  
Cosmos Corporation  
1461-9, Seocho-Dong,  
Seocho Ku, Seoul, KOREA  
TEL: (02) 3486-8855  
CHILE  
Comercial Fancy S.A.  
Rut.: 96.919.420-1  
Nataniel Cox #739, 4th Floor  
Santiago - Centro, CHILE  
TEL: (02) 688-9540  
(Toronto Office)  
170 Admiral Boulevard  
Mississauga On L5T 2N6  
CANADA  
BAHRAIN  
Moon Stores  
No.16, Bab Al Bahrain Avenue,  
P.O.Box 247, Manama 304,  
State of BAHRAIN  
HUN GARY  
Intermusica Ltd.  
TEL: (905) 362 9707  
Warehouse Area DEPO’ Pf.83  
H-2046 Torokbalint, HUNGARY  
TEL: (23) 511011  
MALAYSIA  
BENTLEY MUSIC SDN BHD  
140 & 142, Jalan Bukit Bintang  
55100 Kuala Lumpur,MALAYSIA  
TEL: (03) 2144-3333  
TEL: 211 005  
U. S. A.  
EL SALVADO R  
Roland Corporation U.S.  
5100 S. Eastern Avenue  
Los Angeles, CA 90040-2938,  
U. S. A.  
CYPRUS  
Radex Sound Equipment Ltd.  
17, Diagorou Street, Nicosia,  
CYPRUS  
OMNI MUSIC  
IRELAN D  
Roland Ireland  
Audio House, Belmont Court,  
Donnybrook, Dublin 4.  
Republic of IRELAND  
TEL: (01) 2603501  
75 Avenida Norte y Final  
Alameda Juan Pablo  
,
PHILIPPIN ES  
Edificio No.4010 San Salvador,  
EL SALVADOR  
TEL: 262-0788  
TEL: (323) 890 3700  
G.A. Yupangco & Co. Inc.  
339 Gil J. Puyat Avenue  
Makati, Metro Manila 1200,  
PHILIPPINES  
TEL: (02) 66-9426  
IRAN  
MOCO, INC.  
No.41 Nike St., Dr.Shariyati Ave.,  
Roberoye Cerahe Mirdamad  
Tehran, IRAN  
MEXICO  
TEL: (02) 899 9801  
Casa Veerkamp, s.a. de c.v.  
Av. Toluca No. 323, Col. Olivar  
de los Padres 01780 Mexico D.F.  
MEXICO  
TEL: (021) 285-4169  
As of June 1, 2002 (Roland)  
TEL: (55) 5668-6699  
Download from Www.Somanuals.com. All Manuals Search And Download.  
For EU Countries  
CAUTION  
Danger of explosion if battery is  
incorrectly replaced.  
Replace only with the same or  
equivalent type recommended by the  
manufacturer.  
Apparatus containing  
Lithium batteries  
Discard used batteries according to the  
manufacturers instructions.  
ADVARSEL!  
Lithiumbatteri - Eksplosionsfare ved  
fejlagtig håndtering.  
Udskiftning må kun ske med batteri af  
samme fabrikat og type.  
VARNING  
Explosionsfara vid felaktigt batteribyte.  
Använd samma batterityp eller en  
ekvivalent typ som rekommenderas av  
apparattillverkaren.  
Levér det brugte batteri tilbage til  
leverandøren.  
Kassera använt batteri enligt  
fabrikantens instruktion.  
ADVARSEL  
Eksplosjonsfare ved feilaktig skifte av  
batteri.  
VAROITUS  
Paristo voi räjähtää, jos se on  
virheellisesti asennettu.  
Benytt samme batteritype eller en  
tilsvarende type anbefalt av  
apparatfabrikanten.  
Brukte batterier kasseres i henhold til  
fabrikantens instruks joner.  
Vaihda paristo ainoastaan  
laitevalmistajan suosittelemaan  
tyyppiin. Hävitä käytetty paristo  
valmistajan ohjeiden mukaisesti.  
For EU Countries  
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.  
For the USA  
FEDERAL COMMUNICATIONS COMMISSION  
RADIO FREQUENCY INTERFERENCE STATEMENT  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the  
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in  
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee  
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or  
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  
Consult the dealer or an experienced radio/TV technician for help.  
Unauthorized changes or modification to this system can void the users authority to operate this equipment.  
This equipment requires shielded interface cables in order to meet FCC class B Limit.  
For Canada  
NOTICE  
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.  
AVIS  
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.  
Download from Www.Somanuals.com. All Manuals Search And Download.  
02019812  
’02-6-F2-61K  
Download from Www.Somanuals.com. All Manuals Search And Download.  

Radio Shack Headphones 33 1187 User Guide
RCA CRT Television 27F634T User Guide
Safety 1st Baby Furniture 21021 User Guide
Sakar Digital Camera 87480 User Guide
Samsung Air Conditioner SC18ZV User Guide
Samsung CRT Television TXJ1366 User Guide
Samsung Microwave Oven CE101K User Guide
Samsung Portable DVD Player AK68 00102A User Guide
Samsung Refrigerator RF217ABWP User Guide
Samsung Security Camera SCC B2335 User Guide