Instruction/ maintenance manual of the product SC-88 Pro Roland
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MIDI SOUND GENERATOR OWNER'S MANUAL MIDI IN B POWER VOLUME PHONES INSTRUMENT PA RT LEVEL PA N REVERB CHORUS KEY SHIFT MIDI CH SELECT EFX EFX ON/OFF ON/OFF USER INST VIB RA TE AT TA C K VIB DEPTH .
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION : RISQUE DE CHOC ELECTRIQUE NE PAS QUVRIR CAUTION : TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
Copyright 1996 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND COR- PORATION. • Before using this unit, make sure to read the instructions below, and the Owner's Manual.
Intr oduction Main features of this unit ● This unit is a sound module compatible with the General MIDI system. It can be used to play- back any song data (General MIDI scores) bearing the General MIDI logo. This unit is also compatible with the Roland GS format.
IMPOR T ANT NO TES In addition to the items listed under "IMPORTANT SAFETY INSTRUCTIONS" and "USING THE UNIT SAFELY", please read and observe the following: Power Supply ● 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).
4 CONTENTS USING THE UNIT SAFELY .................................1 Introduction ..........................................................2 IMPORTANT NOTES ..........................................3 CONTENTS .........................................
5 Chapter 5. Con venient functions ■ Create and save a sound (User Instrument) ..96 ■ Creating and saving an Instrument effect (User Effect) ..................................99 ■ Creating and saving a Patch(User Patch) ....100 ■ Saving a Drum Set you created (User Drum) .
Fr ont and rear panel ■ Fr ont panel ■ Rear panel MIDI IN B POWER VOLUME PHONES PA R T INSTRUMENT PA R T INSTRUMENT LEVEL PA N REVERB CHORUS KEY SHIFT MIDI CH SELECT EFX ON/OFF USER INST VIB RA TE.
Chapter 1 T ry out the unit (Quic k star t) Chapter 1.
■ Connect a MIDI keyboar d and play the sounds ● Making connections * This section explains how to connect this unit to a MIDI keyboard and play the sounds.
● T urning the power on or off Once the connections have been completed , turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing mal- function and/or damage to speakers and other devices.
Chapter 1. Try out the unit 10 ■ T ry out the v arious sounds This unit contains a wide variety of sounds, including not only musical instruments such as piano, organ and guitar, but also sound effects such as birds and telephone rings. In this unit, each of these sounds is called an “ Instrument ” .
■ T ry out the b uttons of the unit ● Previe w the sound (Pre view) When you press the Volume knob, the currently selected instrument will sound. You can specify the pitch and volume at which this preview note will be sounded (p.
● T ranspose the pitch You can transpose the pitch of the sound in semitone steps. Pressing KEY SHIFT [ l ] will lower the key (pitch), and pressing KEY SHIFT [ r ] will raise the key (pitch). * The area of the screen where the Key Shift setting is displayed is shared with the Delay display.
■ Apply eff ects to the sound Effects are used to electrically process the sound in various ways to add a different character to the sound. The effects of this unit can be classified either as System effects (p.48) or as Insertion effects (p.56). System effects include 8 types each of reverb and chorus, 10 types of delay, and 2-band equalizer.
■ T uning to other instruments (T uning) ❍ M. Tune (Master Tune) 415.3 — 466.2 Hz When you are playing in an ensemble with other instruments or need to set this unit to match the pitch of another instrument, adjust the Master Tune setting. The displayed value (e.
Chapter 1. Try out the unit 15 ■ Headphones Use headphones of 8 — 150 ohms impedance. Sound will be output from the audio output jacks even when headphones are connected. * The headphone jack will output the sound of OUTPUT1.This means that the sound of Parts assigned to OUTPUT2 will not be heard from the headphone jack.
Chapter 1. Try out the unit 16.
Chapter 2 P ar ts and parameters Chapter 2.
■ P ar ts and sounds This unit is able to produce 32 different types of sound at once. An instrument such as this unit, which can simultaneously produce many sounds from a single unit's is called a multi-timbral sound generator. A Timbre is an instrumental sound.
❍ T o select the same sounds as the SC-55/SC-55mk II 4-1. Press [SC-55 MAP], and the sound for that Part will be almost the same as the SC-55/55mk II . At this time “ " ” will be displayed in front of that Instrument name. * It is also possible to select the CM-64 Instrument layout.
● Selecting V ariation sounds Each of the three sound maps of this unit contains Capital sounds (basic sounds) and Variation sounds (sounds with different nuances). The procedure explained on the pre- vious page selects Capital sounds (128 sounds; Instrument list, p.
A symbol will be displayed in front of the sound name to indicate the type of sounds you are selecting. blank Capital sounds (Variation number 000) “ + ” Variation sounds (Variation number 001 —.
● P art Channels To each of this unit's 32 Parts, there is assigned an instrument and also a Channel. Channels are a concept used in MIDI to distinguish notes that should be played by dif- ferent instruments in an ensemble. Normally, there is no need to change the channel of a Part when using this unit.
● Which MIDI IN will be used b y each P ar t? This unit has two MIDI IN jacks. This is because since there are only 16 MIDI chan- nels, it is necessary to have two MIDI jacks in order to play 32 Parts. Parts are classified into Group A (A01 — A16) and Group B (B01 — B16), with six- teen in each group.
● How sim ultaneous note number s and V oices are related The sounds of this unit consist of units called “ Voices ” . There is a limit to how many of these “ Voices ” can sound at once, and in the case of this unit, up to 64 simultaneous voices can be used.
■ P ar t parameters f or performance These parameters determine how each Part behaves when it receives MIDI mes- sages. The way in which the sound changes in response to messages such as velocity, pitch bend, modulation and aftertouch will be determined by the settings of these para- meters.
[2] P arameter s that must be selected fr om the menu The following parameters can be selected. Chapter 2. Parts and paramters 26 Part EQ (Part Equalizer) Part Mode (Part Mode) M/P Mode (Mono/Poly Mod.
● What each parameter does ❍ LEVEL (Volume level): 0 — 127 This parameter adjusts the volume of each Part. Higher values result in a louder sound.
The Drum1 and Drum2 Parts allow you to simultane- ously use two drum sets. For example if Drum Parts are set as shown below, when you change the STAN- DARD1 drum set of Part A10 to the TR-808, the selec- tion for Part A12 will also change to TR-808. For details on how to assign a drum set to a Part, refer to p.
For example, if you assign two Parts to the same MIDI channel and set the Keyboard Range of one to C-1 — B3 and the other to C4 — G9. Then you could assign different sounds to each Part, and play two different sounds on either side of C4. Or, you could set the key- board ranges of two Parts to overlap, and layer the two sounds.
Bnd ~ (Bend ~ ) When you move the pitch bend lever or pitch wheel of a MIDI keyboard, pitch bend messages are transmit- ted, modifying the sound. The Bnd ~ parameters spec- ify the way in which the sound will change when these messages are received. With the factory settings of these parameters, the pitch will be modified.
■ P ar t parameters f or sound editing On this unit, you can modify the values of a variety of parameters in order to create the sound most suitable for your playing. A “ parameter ” is something that affects the sound. The process of modifying parameter values is called “ editing.
(Example) Vibrato editing display ● What each parameter does On this unit, parameter settings are made for each Part. In other words, parameter values belong to Parts, and not to sounds (Instruments).
❍ Cutoff Freq (Cutoff Frequency): -64 — +63 Positive settings of Cutoff Freq will raise the cutoff fre- quency. Negative settings will lower the cutoff frequen- cy. As you set this value higher in the positive direc- tion, more overtones will be allowed to pass, and the sound will become harder (brighter).
■ Setting parameters common to all P ar ts Here's how to make settings for parameters that are common to all Parts. This procedure allows you to set the following parameters.
● How eac h parameter works * The settings made here apply to all Parts (when the [ALL] indicator is lit). If you wish to make settings independently for each Part, use the procedure of p.25. Chapter 2. Parts and paramters 35 ❍ LEVEL (Master level): 0 — 127 This parameter adjusts the volume of all the Parts.
■ System parameter settings This section explains how to make settings for parameters that affect this entire unit. These parameters are called System parameters.
● How eac h System parameter works ❍ Prevw Note (Preview Note Name): C-1 — G9 When you press the PREVIEW knob, the instrument shown in the display will sound. The Prevw Note para- meter determines the note that will be sounded at this time. The A note in the center of the keyboard is A4.
❍ LCD Contrast: 1 — 16 Depending on the angle at which this unit is placed, the display can sometimes be difficult to read. If so, adjust the contrast of the display.
■ Using P atches On this unit, the instrument and effect parameters are collectively referred to as a Patch. This unit provides 128 Preset Patches in which these parameters are already set to ideal settings.
● Loading a P atch 1. Press the [ALL] button to make the button indicator light. 2. Use INSTRUMENT [ l l l l ] [ r r r r ] to select the Patch that you wish to load. The Patch name will appear, and the [ALL] button and [MUTE] button will blink. 3. Press the [ALL] button to load the Patch.
● Using MIDI messages to select P atches Normally when a MIDI program change message is received, the Instrument of a Part will change. However if you set the MIDI channel for the Patch, the Patch will change when a program change message is received (p.
■ Creating a Drum Set (Drum Edit) A Drum Part has assigned to it a group of various percussion instrument sounds which are called a Drum Set. Unlike a Normal Part, a Drum Part sounds a different instrument for each note number.
* The Note name is the name of each note (key) on the keyboard, and corresponds to the MIDI Note Number. The Drum instrument is assigned to note number. 5. Use the INSTRUMENT [ l l l l ] [ r r r r ] buttons select the Drum Instrument you wish to edit.
● Using Chorus and Delay In the case of a Drum Instrument, it is not possible to simultaneously use both chorus and delay. Chorus will not be applied to a Drum Instrument for which “ d ” and “ D ” is dis- played in the CHORUS column (Fig.2).
Chapter 3 System Effects Chapter 3.
■ How the eff ect section of the unit is or ganized The effects of this unit can be categorized into System effects (p.48) and Insertion effects (p.56). System effects include 8 types of reverb and chorus, 10 types of delay, and 2-band equalizer. Insertion effects include a variety of 64 different effect types.
Part group A Part A1 - A16 Part group B Part B1 - B16 OUTPUT L R Reverb Level Chorus Level Delay Level Reverb Send Level Chorus Send Level Delay Send Level Reverb Send Level Chorus Send Level Delay Se.
■ System Effect settings The System effects of this unit include 8 types of reverb and chorus, and 10 types of delay. In addition, for each of these effects you can specify parameter values such as character, depth, rate and time. Reverb is an effect that adds reverberation to a sound, as you would hear in a concert hall.
4. Use the EFX PARAM [ l l l l ] [ r r r r ] buttons to adjust the EQ Gain(Low) or the Low Frequency. Use the EFX VALUE [ l l l l ] [ r r r r ] buttons to adjust the EQ Gain(High) or the High Frequency. * The equalizer settings you make here are common to all Parts.
● When y ou want to adjust the system effect f or all P ar ts 1. Press [ALL] to make the button indicator light. 2. Press the button of the effect you wish to adjust. REVERB [ l ] [ r ] : reverb level of all Parts CHORUS [ l ] [ r ] : chorus level of all Parts DELAY [ l ] [ r ] (while holding down the [SC-88 MAP]) : delay level of all Parts 3.
● Setting Reverb/Chorus/Dela y parameter s 1. Press [ALL] to make the button indicator light. 2. Simultaneously press both the PART [ l l l l ] [ r r r r ] buttons. 3. Use [ u u u u ] [ d d d d ] to select the parameter you wish to modify. While holding the [SELECT] button, press[ u ][ d ] to skip parameters.
● Reverb parameter function ❍ Reverb (Reverb Type) You can choose from 8 types of reverb. Room1 Room2 Room3 These reverbs simulate the reverberation of a room. They provide a well-defined spacious reverberation. Hall1 Hall2 These reverbs simulate the reverberation of a concert hall.
● Chorus parameter function ❍ Chorus (Chorus Type) You can choose from 8 types of chorus. Chorus1 Chorus2 Chorus3 Chorus4 These are conventional chorus effects that add spa- ciousness and depth to the sound. Feedback Chorus This is a chorus with a flanger-like effect and a soft sound.
● Delay parameter function * Delay cannot be used when Double Module Mode (p.116) is selected. ❍ Delay (Delay Type) You can choose from 10 types of delay. Delay1 Delay2 Delay3 These are conventional delays. 1, 2 and 3 have pro- gressively longer delay times.
Chapter 4 Inser tion Effects Chapter 4.
■ Inser tion effect settings This unit has two types of effects: System effects and Insertion effects. Insertion effects provide 64 effect types. Since appropriate parameters are provided for each effects, you can make fine adjustments to the sound for professional-level control.
● Different effect types Effect types can be broadly grouped into the following categories. Effects that modify the tone color (filter type) (1 - 4) Effects that distort the sound (distortion type) .
Band 1 (Band 1 gain) -12 - +12 [1] Adjust the 250 Hz level. Band 2 (Band 2 gain) -12 - +12 [2] Adjust the 500 Hz level. Band 3 (Band 3 gain) -12 - +12 [3] Adjust the 1000 Hz (1 kHz) level. Band 4 (Band 4 gain) -12 - +12 [4] Adjust the 1250 Hz level. Band 5 (Band 5 gain) -12 - +12 [5] Adjust the 2000 Hz level.
Amp Sw (Amp switch) Off/On [3] Turn the Amp Type on/off. Low Gain -12 - +12 [17] Adjust the gain of the low frequency range. Hi Gain (High gain) -12 - +12 [18] Adjust the gain of the high frequency range. #Pan (Output pan) L63 - 0 - R63 [19] Adjust the stereo location of the output sound.
Peak 0 - 127 [4] 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.
Pre Filter (Pre filter type) Off/LPF/HPF [1] Select the type of filter. Off : a filter will not be used LPF : cut the frequency range above the Cutoff parameter HPF : cut the frequency range below the Cutoff parameter Cutoff (Cutoff frequency) 250 - 8k [2] Adjust the basic frequency of the filter.
Low Gain -12 - +12 [17] Adjust the gain of the low frequency range. Hi Gain (High gain) -12 - +12 [18] Adjust the gain of the high frequency range. Level (Output level) 0 - 127 [20] Adjust the output level. 13: Auto Pan [01H, 26H] The Auto Pan effect cyclically modulates the stereo location of the sound.
+Pan (Output pan) L63 - 0 - R63 [19] Adjust the stereo location of the output sound. L63 is far left, 0 is center, and R63 is far right. #Level (Output level) 0 - 127 [20] Adjust the output level.
Cutoff (Cutoff frequency) 250 - 8k [2] Adjust the center frequency of the filter for the cho- rus sound for the chorus sound. Pre Dly (Pre delay time) 0 - 100m [3] Adjust the time delay from when the direct sound begins until the processed sound is heard.
Fb Mode is Norm: Fb Mode is Cross: Dly Tm L (Delay time left) 0 - 500m [1] Adjust the time from the original sound until when the left delay sound is heard. Dly Tm R (Delay time right) 0 - 500m [2] Adjust the time from the original sound until when the right delay sound is heard.
HF Damp 315 - 8k/Bypass [8] Adjust the frequency above which sound fed back to the effect will be cut. If you do not wish to cut the high frequencies of the feedback, set this parameter to Bypass. #Balance (Effect balance) D> 0E - D 0<E [16] Adjust the volume balance between the direct and the processed sound.
+Feedback (Feedback level) -98% - +98% [9] Adjust the proportion (%) of the Dlay 1 sound that is fed back into the effect. Negative (-) settings will invert the phase. HF Damp 315 - 8k/Bypass [10] This adjusts the frequency at which the high range is cut when the Delay 1 sound is returned to the input.
Low Gain -12 - +12 [17] Adjust the gain of the low frequency range. Hi Gain (High gain) -12 - +12 [18] Adjust the gain of the high frequency range. Level (Output level) 0 - 127 [20] Adjust the output level. 27: Gate Reverb [01H, 56H] Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.
❍ Effects that modify the pitch (pitch shift type) 29: 2 Pitch Shifter ( 2-voice pitch shifter) [01H, 60H] A Pitch Shifter shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.
❍ Others 31: 3D Auto [01H, 70H] The 3D Auto effect rotates the location of the sound. Azimuth 180/L168 - 0 - R168 [1] Set the location at which the sound will stop when rotation is stopped. A setting of 0 positions the sound in the center. +Speed 0.
Cutoff (Cutoff Frequency) 250 - 8 k [3] Specify the cutoff frequency of the filter that is applied after the sound passes through the Lo-Fi effect. +R.Detune (Radio Detune) 0 - 127 [4] This simulates the tuning noise of a radio. As this value is raised, the tuning will drift further.
Level (Output level ) 0 - 127 [20] Adjust the output level. 36: OD → Flanger (Overdrive → Flanger) [02H, 01H] This effect connects an overdrive and a flanger in series. OD Drive (Overdrive drive ) 0 - 127 [1] Adjust the degree of overdrive distortion.
Low Gain -12 - +12 [17] Adjust the low frequency gain. Hi Gain (High gain ) -12 - +12 [18] Adjust the high frequency gain. Level (Output level ) 0 - 127 [20] Adjust the output level. 38: DS → Chorus (Distortion → Chorus) [02H, 03H] This effect connects a distortion and a chorus in series.
#FL Bal (Flanger balance) D> 0E - D 0<E [10] Adjust the volume balance between the sound which passes through the flanger and the sound which does not. With a setting of D>0E, only the distortion sound will be output, and with a setting of D 0<E, the distortion sound which passes through the flanger will be output.
Hi Gain (High gain ) -12 - +12 [18] Adjust the high frequency gain. Level (Output level ) 0 - 127 [20] Adjust the output level. 42: EH → Flanger (Enhancer → Flanger) [02H, 07H] This effect connects an enhancer and a flanger in series. +EH Sens (Enhancer Sensitivity ) 0 - 127 [1] Adjust the sensitivity of the enhancer.
Cho Rate (Chorus rate ) 0.05 - 10.0 [2] Adjust the modulation speed of the chorus effect. Cho Depth (Chorus depth ) 0 - 127 [3] Adjust the modulation depth of the chorus effect. +Cho Bal (Chorus balance ) D> 0E - D 0<E [5] Adjust the volume balance between the direct sound and the chorus sound.
Cho Dly (Chorus pre delay ) 0 - 100m [1] Adjust the time delay from when the direct sound begins until the chorus sound is heard. Cho Rate (Chorus rate ) 0.05 - 10.0 [2] Adjust the modulation speed of the chorus effect. Cho Depth (Chorus depth ) 0 - 127 [3] Adjust the modulation depth of the chorus effect.
RT H Fast (RTRT High Frequency Fast Rate) 0.05 - 10.0 [13] Adjust the speed of the high-range rotor for the high-speed (Fast) setting. RT Hi Accl (RT High Frequency Accelaration) 0 - 15 [14] Adjust the time over which the rotation speed of the high-range rotor will change from low-speed to high-speed (or high-speed to low-speed) rotation.
49: GTR Multi 2 (Guitar Multi2) [04H, 01H] Guitar Multi 2 provides Compressor (Cmp), Overdrive or Distortion (OD), Equalizer (EQ), and Chorus or Flanger (CF) effects connected in series. <Cmp (Compressor)> Cmp Atck (Compressor Attack) 0 - 127 [1] Adjust the time over which the sound will rise after it is input.
Wah Peak 0 - 127 [3] Adjust the way in which the wah effect will be applied to the region 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.
EQ M Gain (EQ Mid Gain) -12 - +12 [8] Adjust the gain of the area specified by the EQ M Fq parameter and the EQ M Q parameter. EQ H Gain (EQ High Gain) -12 - +12 [9] Adjust the high-range gain of the equalizer. <CF (Chorus/Flanger)> CF Sel (CF Select) Chorus/Flangr [10] Select either Chorus or Flanger.
CF Depth 0 - 127 [14] Adjust the depth of modulation for the chorus or flanger. CF Fb (CF Feedback) -98% - +98% [15] Adjust the amount (%) of the flanger sound that will be returned to the input. Negative (-) values will invert the phase. In the case of Chorus, this will have no effect.
#CF Mix 0 - 127 [19] Adjust the volume of the chorus or flanger sound. Level (Output level ) 0 - 127 [20] Adjust the output level. 54: Rhodes Multi [04H, 06H] Rhodes Multi provides Enhancer (EH), Phaser (PH), Chorus or Flanger (CF), and Tremolo or Pan (TP) effects connected in series.
<RM (Ring Modulator)> +RM Mod Freq (RM Modulation Frequency) 0 - 127 [1] Set the frequency at which modulation will be applied. #RM Bal (RM Balance) D> 0E - D 0<E [2] Adjust the balance between the direct and the ring modulated sound.
56: Cho / Delay (Chorus / Delay) [11H, 00H] This effect connects a chorus and a delay in parallel. Cho Dly (Chorus pre delay ) 0 - 100m [1] Adjust the time delay from when the direct sound begins until the chorus sound is heard. Cho Rate (Chorus rate ) 0.
#Dly Bal (Delay balance ) D> 0E - D 0<E [10] Adjust the volume balance between the direct and the delay sound. “ D ” or “ E ” on the display respectively means D(direct sound) or E(effect sound) values of 100. Dly Pan (Delay Output Pan) L63 - 0 - R63 [18] Adjust the stereo position of the delay sound.
OD1 Amp Sw (OD1 Amp Switch) Off/On [4] Turn OD1 Amp on/off. OD1 Pan (OD1 Output Pan) L63 - 0 - R63 [16] Set the stereo location of the overdrive or distortion sound for set 1. L63 is far left, 0 is center, and R63 is far right. OD1 Level 0 - 127 [17] Adjust the overdrive or distortion volume for set 1.
RT H Slow (RT High Frequency Slow Rate) 0.05 - 10.0 [10] Adjust the speed of the high-range rotor for the low- speed (Slow) setting. RT H Fast (RT High Frequency Fast Rate) 0.05 - 10.0 [11] Adjust the speed of the high-range rotor for the high-speed (Fast) setting.
<OD (Overdrive/Distortion)> OD Sel (OD Select) Odrv/Dist [1] Select either Overdrive or Distortion. +OD Drive (OD Drive) 0 - 127 [2] Adjust the depth of overdrive or distortion.
<RT (Rotary)> RT L Slow (RT Low Frequency Slow Rate) 0.05 - 10.0 [6] Adjust the speed of the low-range rotor for the low- speed (Slow) setting. RT L Fast (RT Low Frequency Fast Rate) 0.05 - 10.0 [7] Adjust the speed of the low-range rotor for the high- speed (Fast) setting.
#AW Man (Auto-wah Manual) 0 - 127 [8] Set the center frequency at which the auto-wah effect will be produced. AW Peak (Auto-wah Peak) 0 - 127 [9] Adjust the way in which the wah effect will be applied to the region of the center frequency.
Controllers can be used to modify the values of Insertion effect parameters. Using MIDI messages to modify effect parameters during a song would require a large amount of data if you were to use only Exclusive messages. Thus, this unit allows you to use controllers to set the main effect parameters.
● How eac h parameter works ❍ EFX C.Src1, 2 (Effect Control Source) Off/CC1 - 95/CAf/Bend Specify the controllers that you wish to use. EFX C.Src1 will control the parameter marked with a “ + ” at the left of the parameter name. EFX C.Src2 will control the parameter marked with a “ # ” at the left of the parameter name.
< Modifying values > Since the Speed parameter has only two values, Slow and Fast, the lower half of the range (00H -- 3FH) will select Slow, and the upper half (40H--7FH) will select Fast.
Chapter 5 Con venient functions Chapter 5.
■ Create and save a sound (User Instrument) You can modify the parameters of this unit sound to your taste, and save your new settings in Variation numbers 64 or 65 of the Native map / SC-88 map (p.98). A sound saved in this way is called a User Instrument, and this procedure is called User Editing.
● Procedure f or creating and storing a sound 1. Make sure that the [ALL] indicator is dark. If it is lit, press the [ALL] button to turn it off. 2. Use PART [ l l l l ] [ r r r r ] to select a normal Part, then use the INSTRUMENT [ l l l l ] [ r r r r ] buttons to select the sound you wish to start from.
5. Simultaneously press [USER INST] and [SELECT]. The display will ask “ Write UI 64/001? ”. Simultaneously pressing both INSTRU- MENT [ l ] and [ r ] will move between the two numbers. Use INSTRUMENT [ l ] [ r ] to select instrument number (001-128) and the variation number (64 or 65) in which an original sound stored.
■ Creating and saving an Insertion effect (User Effect) Insertion effect parameter settings that you make can be saved in memory. An Insertion effect that you save in this way is referred to as a User Effect. 64 User Effects can be stored. * For the function of each parameter, refer to the applicable page.
■ Creating and saving a P atch (User P atch) You can modify the parameter values of Parts A01 and A02 as desired, assign a Patch name, and save it. A Patch saved in this way is referred to as a User Patch. 16 Patches can be saved in the Patch number locations U01 - U16.
● Saving a User P atch 1. Make the desired settings for the parameters of Parts A01 and A02. 2. Press the [ALL] button to make the button indicator light. 3. Simultaneously press [USER INST] and [SELECT]. The display will ask “ Write U.Patch01? ” .
■ Saving a Drum Set y ou created (User Drum) You can modify drum instrument parameters to your liking, and save this data as a Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up to two Drum Sets, and since each set contains 128 instrumental sounds, this provides a total of 256 instrumental sounds (Drum Instruments).
● Storing a Drum instrument 1. Select a Drum Part and Drum Set, and create a drum instrument (“Drum edit- ing procedure” p.42). If the above screen is displayed after you create a drum instrument, you can use the follow- ing procedure to save your data as a User Drum Set.
There are two ways to store an edited drum instrument. The first is to store each Drum Instrument individually (procedure 1). The second is to store an entire set of Drum Instruments as a Drum Set (procedure 2).
❍ Storing an entire Drum Set (procedure 2) The following procedure will store all the Drum Instruments for the entire currently selected Drum Set. 4-2.
■ Copying or Exc hanging settings between P ar ts / Initializing P ar t settings The settings of the selected Part can be copied to another Part or initialized, and you can exchange settings between parts. By using these functions, you can create sounds more efficiently.
■ Recor ding all settings on a sequencer This unit can transmit the contents of its sound source memory as MIDI data. The data can be transmitted in two ways: Bulk Dump which transmits multiple parameters as a group, and Individual Data which allows parameters to be transmitted individually.
● T ransmitting Individual Data This data can be transmitted in one of three ways: Part parameters can be selected from a menu and transmitted, parameters common to all Parts can be selected from a menu and transmitted, or Insertion Effect parameters can be transmitted.
❍ Transmission procedure for Insertion Effect parameters 1. Press the [EFX] button to make the indicator light orange. 2. Use the EFX TYPE and EFX PARAM buttons to select the parameter you wish to transmit, and use EFX VALUE to set the value. 3. Press EFX TYPE [ l l l l ] or [ r r r r ], and the Effect Type will be displayed.
■ Draw pictures or c haracter s in the displa y (Frame Dra w) You can use the square dots of this unit display to draw pictures or characters. This is called the Frame Draw function. Ten picture screens can be stored. Each of the ten screens is called a “ Page.
If you wish to display animated pictures (1) Use the LEVEL and PAN buttons in step 3 to move the picture and copy it to the next page to create each frame of the animation. (2) Then in step 3. (INSTRUMENT [ l ] * [ r ]) transmit the data for each frame and save it in a sequencer (p.
■ Creating compatible data f or the unit / SC-88 This unit has a SC-88-compatibility mode which is convenient when you wish to cre- ate data that will be compatible with both this unit and the SC-88.
● Setting procedure 1. Hold down [SELECT], and press [ALL]. The [ALL] button will blink, and the SC-88-compatibility mode will be turned on. At this time if you press the [SC-88 MAP] button, the [SC-88 MAP] button will light and the SC-88 map will be selected.
■ Selecting the CM-64 sound map This unit can be set to the sound map of the Roland CM-64 (Multi-timbre Sound Module). When you wish to play song data that was created for the CM-64, use the fol- lowing procedure. * Be aware that if you select the CM-64 sound map, all previous settings will be lost.
When the CM-64 sound map is selected, the settings of each Part (group A, B) will be as follows. Part settings Part name Rx.Channel Tone LEVEL PAN REVERB CHORUS KEY SHIFT (VARIATION/INSTRUMENT NO) 1 1.
■ Using the unit as tw o sound modules This unit has two system modes: Single Module Mode (Mode 1) and Double Module Mode (Mode 2). When Double Module Mode is selected, two types of system effect can be used simultaneously. For example, you could use different types of reverb on Drum Parts than on Normal Parts.
In both Single Module Mode and Double Module Mode, MIDI messages received at MIDI IN A are sent to Group A Parts, and MIDI messages received at MIDI IN B are sent to Group B Parts (p.23). Be aware that the route by which data is passed between the two MIDI IN connectors and each Part is determined by the System parameter In Mode.
■ Initialize ● Initialize all Parts to the factory settings This procedure will initialize all the settings of this unit to the factory settings. This will also initialize System parameters (p.36) and User parameters (p.96). 1. While holding down [SELECT], simultaneously press both the INSTRU- MENT [ l l l l ] [ r r r r ] buttons.
Chapter 6 Using the unit with a per sonal computer Chapter 6.
■ Connections with y our computer This unit can be controlled by music software running on a personal computer. This will allow you to create your own songs, and also to select sounds or edit sounds from the computer display. This type of system is known as a Desk Top Music System (DTMS).
1. Turn power of this unit off, and set the COMPUTER switch located on the back of this unit. Note The Computer switch will be validated when the power is turned off and then on after the setting has been made. * The setting will depend on the type of computer you have and the software you use.
● Connections with MIDI connectors * Set the Computer select switch located on the back of this unit to MIDI. INT ADDRESS PORT OUT IN SMPTE 5 6 4 1 2 3 7 8 9 0 1 2 3 4 5 6 INTELLIGENT MIDI PROCESSIN.
● MIDI data transfer with the computer Depending on the setting of the computer switch, MIDI data flow will be different as follows (with the factory settings).
❍ When the computer switch is set to MIDI * Be aware that when the computer switch located on the back of this unit is set to MIDI, data will not be exchanged via the computer connector. * If you wish to use the MIDI IN B located on the front panel, you must make the appropriate set- tings for IN B Select (p.
● Connecting another MIDI sound source to the unit If you wish to connect another MIDI sound source to this unit's MIDI OUT/THRU con- nector, be aware of the following points. ❍ When using another sound source to play data received at the computer connector In this situation, set MIDI OUT/THRU Select (p.
■ Using MIDI messages to select sounds By sending MIDI messages from a MIDI keyboard or sequencer, you can remotely select the sound (Instrument) for each Part. When you press a sound select button on a MIDI keyboard, a MIDI message selecting a sound will be transmitted You can also use your personal computer to select this unit sounds.
Chapter 6. Using the unit with a personal computer 127 The example above can be expressed in hexadecimal as follows. 1. BnH 00H 08H 2. BnH 20H 00H 3. CnH 02H * H indicates that the value is expressed as a hexadecimal number. Decimal 32 is written as hexadecimal 20H.
● Using MIDI messages to select Drum Sets You can select Drum Sets by transmitting MIDI messages from a MIDI keyboard or sequencer, in the same way as you can select Instruments. When a Program Change message is received, the Drum Set will change. Transmit a Program Change message on the channel being received by the Drum Part.
Chapter 7 Chapter 7 MIDI and the unit.
MIDI stands for Musical Instrument Digital Interface. MIDI devices can transmit musically related data such as performance data or data to select sounds. Since MIDI is a world-wide standard, musical data can be sent and received between devices even if they are of different types and were made by differ- ent manufacturers.
MIDI uses many different types of message to transmit musical performance data, and there are many types of MIDI message. For example, infor- mation indicating “ which key was played how strongly ” is transmitted as a Note message. The way that a device responds when it receives each type of MIDI message (i.
Hold (1) (control change number 64) ✩ This message conveys the up/down movements of the damper pedal, causing the currently sounding notes to be sustained. When a message of Hold On is received, notes will be sustained. In the case of decay-type instruments such as a piano, the sound will decay gradually until a Hold Off message is received.
❍ All Sounds Off This message completely turns off the sound of all currently-sounding notes. The sound of the speci- fied channel will be forcibly turned off. ❍ All Notes Off ✩ This message causes a Note Off to be sent to each note of the specified channel that is currently on.
■ Device ID n umber settings The Device ID number is an identification number used when transmitting and receiv- ing exclusive messages (p.133). This unit receives exclusive messages only if its own device ID number matches the device ID number of the message.
■ MIDI message r outing settings and s witches This unit provides various parameters that determine how incoming MIDI messages are passed to the Parts.
❍ OUT/THRU (MIDI OUT/THRU Select) OUT/THRU The MIDI OUT/THRU connector on the rear panel of this unit can function either as a MIDI OUT or a MIDI THRU. When the OUT/THRU sellect is set to OUT the connector will function as MIDI OUT, and when set to THRU it will function as MIDI THRU.
❍ In Mode (Input Modes) Standard, X-connect, Merge → A, Merge → B, A only With the factory settings, MIDI messages received at MIDI IN A are passed to Group A Parts, and MIDI messages received at MIDI IN B are passed to Group B Parts.
MIDI IN B (Front) MIDI IN B (Rear) MIDI IN A COMPUTER MIDI OUT/THRU MIDI IN B (Front) MIDI IN B (Rear) MIDI IN A COMPUTER MIDI OUT/THRU MIDI IN B (Front) MIDI IN B (Rear) MIDI IN A COMPUTER MIDI OUT/T.
[2] Switches which appl y to all P ar ts (B) MUTE Lock (Mute Lock) On/Off EQ Lock (Equalizer Lock) On/Off Rx GM On (GM System On Receive Switch) On/Off Rx GS On (GS Reset Receive Switch) On/Off ● Procedure 1. Press [ALL] to make the button indicator light.
● How eac h switc hes w orks ❍ MUTE Lock (Mute Lock) On/Off When you once again playback a song that was previously played back, Part Mute settings (p.27) are sometimes defeated. This is because the beginning of the song data contains a message that causes this unit to reset to initial values (GM System On / GS Reset p.
[3] Switches which can be set individuall y f or each P ar t ❍ Rx Bank Sel (Bank Select Receive Switch) On/Off To remotely select this unit sounds from another MIDI device, you can send Bank Select messages and Program Change messages to this unit. If Rx Bank Sel is turned on, these MIDI messages can select Variation sounds (p.
Chapter 7. MIDI and the unit 142 ● Using NRPNs with GS Sound Modules Included within the various types of Control Changes (often abbreviated as “ CC ” ) is an extended range known as NRPNs (non-registered parameter numbers).
● When song data plays back with the wrong sounds When song data created using the SC-55 or the SC-155 is played back by this unit, the sounds that were intended may not be selected.
Chapter 7. MIDI and the unit 144 CAf Range / CAf Cutoff / CAf Amp / CAf LFO Rate / CAf LFO Pitch / CAf LFO TVF / CAf LFO TVA The other parameters (CAf: 7 types / PAf: 11 types) can be set by transmitting exclusive messages from a sequencer or com- puter.
Chapter 8 Appendix Chapter 8 ■ Troubleshooting............................................146 ■ If a message appears ...................................148 ■ Computer cable wiring diagrams ..................149 ■ Parameter list and operations .
■ T roub leshooting If the this unit does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station (listed at the end of this manual). * If a message appears during operation, consult the following section "If a message appears.
Chapter 8. Appendix 147 ● Sound is distorted • Is an effect which distorts the sound being applied? (p.56) • If a specific sound or Part is distorted, lower the volume level of that Part. (p.25) • If all sounds are distorted, lower the overall volume level of all Parts (p.
■ If a message appears If operation is incorrect or if the data cannot be processed correctly, an error mes- sage will appear in the display. Consult the following list and take the appropriate action. Battery Low Cause : The memory backup battery inside this unit has run down.
Chapter 8. Appendix 149 ■ Computer cable wiring dia grams 67 8 34 5 12 67 8 34 5 12 67 8 34 5 12 mini DIN, 8-pin, male mini DIN, 8-pin, male mini DIN, 8-pin, male D-sub, 25-pin, female mini DIN, 8-p.
■ P arameter list and operations ● Switching between the ALL displa y and P ART displa y ● Overall P art settings([ALL]lit ) ● Individual P art settings([ALL]dark.
Chapter 8. Appendix 151 ● Effects P.26 P.31 CAf Range CAf Cutoff CAf Amp CAf LFO Rate CAf LFO Pch CAf LFO TVF CAf LFO TVA CC1 Range CC1 Cutoff CC1 Amp CC1 LFO Rate CC1 LFO Pch CC1 LFO TVF CC1 LFO TV.
● Drum edit ● User edit ● MIDI-related ● System functions P.42 Level Pan Reverb Chorus Key Shift Delay Assign Group 0 - 127 Rnd, L63 - R63 0 - 127 0 - 127 0 - 127 0 - 127 Non, 1 - 127 LEVEL[ l ][ r ] PAN[ l ][ r ] REVERB[ l ][ r ] CHORUS[ l ][ r ] KEY SHIFT[ l ][ r ] EFX TYPE[ l ][ r ] MIDI CH[ l ][ r ] PART[ l ][ r ]:select a Drum Part.
● Other functions (Notes)...: continue to the next step [A]*[B]: simultaneously press both buttons [A] and [B] Boldface indicates the factory setting value. [A]+[B]: while holding button [A], press button [B] *: Parameters which can be set in a Patch (p.
Piano PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices 001 000 Piano 1 1 Piano 1 1 Piano 1 1 008 Piano 1w 1 Piano 1w 1 Piano 1w 1 016 European Pf 1 Piano 1d 1 Piano 1d 1 024 Piano + Str.
Chapter 8. Appendix 155 PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices 021 000 Reed Organ 1 # Reed Organ 1 * Reed Organ 1 008 Wind Organ 2 ----- ----- 022 000 Accordion Fr 1 AccordionFr 1 Accordion F 2 008 Accordion It 1 AccordionIt 2 Accordion I 2 009 Dist.
PC : program number(Instrument number) CC00 : value of controller number 0 (Bank number, Variation number) : : legato-enabled sounds Voices : number of voices used by the Instrument Remark # : same sounds as SC-88 map Remark * : same sound as SC-55 map Remark + : a percussive sound which cannot be played melodically.
Chapter 8. Appendix 157 PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices 009 Philly Hit 2 # Philly Hit 2 ----- 010 Double Hit 2 # Double Hit 2 ----- 011 Perc.Hit 1 ----- ----- 012 Shock Wave 2 ----- ----- 016 Lo Fi Rave 2 # Lo Fi Rave 2 ----- 017 Techno Hit 1 ----- ----- 018 Dist.
PC : program number(Instrument number) CC00 : value of controller number 0 (Bank number, Variation number) : : legato-enabled sounds Voices : number of voices used by the Instrument Remark # : same sounds as SC-88 map Remark * : same sound as SC-55 map Remark + : a percussive sound which cannot be played melodically.
Chapter 8. Appendix 159 PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices 011 Vocorderman 2 ----- ----- 093 000 Bowed Glass 2 # Bowed Glass 2 * Bowed Glass 2 001 SoftBellPad 2 ----- ----- 002 .
PC : program number(Instrument number) CC00 : value of controller number 0 (Bank number, Variation number) : : legato-enabled sounds Voices : number of voices used by the Instrument Remark # : same sounds as SC-88 map Remark * : same sound as SC-55 map Remark + : a percussive sound which cannot be played melodically.
Chapter 8. Appendix 161 PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices 005 Wind Chimes 2 # + Wind Chimes 2 * + Wind Chimes 2 + 007 Scratch 2 1 # + Scratch 2 1 + ----- 008 ScratchKey 2 + ---.
Chapter 8. Appendix 162 CM-64 PC CC00 Instrument No. of voices 001 126 Piano 2 1 002 126 Piano 2 1 003 126 Piano 2 1 004 126 Honky-tonk 2 005 126 Piano 1 1 006 126 Piano 2 1 007 126 Piano 2 1 008 126 E.Piano 1 1 009 126 Detuned EP1 2 010 126 E.Piano 2 1 011 126 Steel Gt.
■ Drum set list Chapter 8. Appendix 163 The drum sets of this unit are organized as follows. The Native map has 25 types, the SC-88 map has 14 types, and the SC-55 map has 10 types.
Chapter 8. Appendix 164 PC1 PC2 PC3 PC9 PC10 STANDARD 1 STANDARD 2 # STANDARD 3 ROOM # Hip-Hop MC-500 Beep 1 ←←←← MC-500 Beep 2 ←←←← Concert SD ←←←← Snare Roll ←←←← Fin.
Chapter 8. Appendix 165 PC 11 PC 12 PC 17 PC 25 PC 26 JUNGLE TECHNO POWER ELECTRONIC # TR-808 ←←←←← ←←←←← ←←←←← ←←←←← ←←← Finger Snap 2 ← ←←←←.
Chapter 8. Appendix 166 PC 27 PC 28 PC 29 PC 30 DANCE CR-78 TR-606 TR-707 ←←←← ←←←← ←←←← ←←←← Finger Snap 2 ←←← ←←←← ←←←← Scratch Push 2 [EXC7] Sc.
Chapter 8. Appendix 167 PC 31 PC 33 PC 41 PC 49 TR-909 JAZZ BRUSH ORCHESTRA # ←←←← ←←←← ←←←← ←←←← ← Finger Snap 2 Finger Snap 2 Finger Snap ←←← Closed Hi-Hat 2 .
Chapter 8. Appendix 168 PC 50 PC 51 PC 53 PC 54 ETHNIC # KICK & SNARE # ASIA CYMBAL&CLAPS Finger Snap CR-78 Kick 1 Gamelan Gong 1 --- Tambourine CR-78 Kick 2 Gamelan Gong 2 --- Castanets TR-60.
Chapter 8. Appendix 169 PC 57 PC 58 PC 59 SFX RHYTHM FX # RHYTHM FX 2 MC-500 Beep 1 --- --- MC-500 Beep 2 --- --- Guitar Slide --- --- Guitar Wah --- --- Guitar Slap --- --- Chord Stroke Down --- --- .
Chapter 8. Appendix 170 Notes 0-19 and 97-127 are as follows. PC10 Hip-Hop PC 11 JUNGLE PC 12 TECHNO PC 25 ELECTRONIC PC 26 TR-808 PC1 STANDARD 1 PC 27 DANCE PC2 STANDARD 2 PC 28 CR-78 PC3 STANDARD 3 .
Chapter 8. Appendix 171 SC-88 Drum set (1) PC 1 PC 2 PC 9 PC 17 PC 25 STANDARD 1 STANDARD 2 ROOM POWER ELECTRONIC Snare Roll ←← ← ← Finger Snap ←← ← ← High Q ←← ← ← Slap ←←.
27 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 26 25 99 96 98 97 89 91 93 95 90 92 94 C7 Chapter 8.
27 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 26 25 99 96 98 97 89 91 93 95 90 92 94 C7 Chapter 8.
27 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 26 25 99 96 98 97 89 91 93 95 90 92 94 C7 Chapter 8.
35 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 99 96 98 97 89 91 93 95 90 92 94 C7 100 108 101 103 105 107 102 104 106 C8 Chapter 8.
Chapter 8. Appendix 176 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) 0 : Thru 00 00 ❍ Effects that modify the tone color (filter type) 1 : Stereo-EQ 01 00 Low Freq 200/ 400 00/01 03 Low Gain -12 - +5 - +12 34 - 4C 04 Hi Freq 4k/ 8k 00/01 05 Hi Gain -12 - +12 34 - 4C 06 M1 Freq 200 - 1.
Chapter 8. Appendix 177 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) 12 : Tremolo 01 25 Mod Wave Tri/ Sqr /Sin/Saw1/Saw2 00/01/02/03/04 03 + Mod Rate 0.
Chapter 8. Appendix 178 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) # Balance D> 0E - D>74E - D 0<E 00 - 7F 12 Low Gain -12 - 0 - +12 34 - 4C 13 Hi Gain -12 - 0 - +12 34 - 4C 14 .
Chapter 8. Appendix 179 ❍ Effects that connect two types of effect in series (series 2) Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) 35 : OD → Chorus 02 00 OD Drive 0 - 48 - 127 00 - 7F 03 + OD Pan L63 - 0 - R63 00 - 7F 04 OD Amp Small/ BltIn /2-Stk/3-Stk 00/01/02/03 05 OD Amp Sw Off /On 00/01 06 Cho Dly 0 - 1.
Chapter 8. Appendix 180 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) 46 : Cho → Flanger 02 0B Cho Dly 0 - 1.0m - 100m *1 03 Cho Rate 0.05 - 0.45 - 10.0 *6 04 Cho Depth 0 - 120 - 127 00 - 7F 05 + Cho Bal D> 0E - D=E - D 0<E 00 - 7F 07 FL Dly 0 - 1.
Chapter 8. Appendix 181 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) 52 : Clean Gt Multi2 04 04 AW Filter LPF/ BPF 00/01 03 + AW Man 0 - 55 - 127 00 - 7F 04 AW Peak 0 - 40 - 127 00 - 7F 05 AW Rate 0.05 - 1.50 - 6.40 *7 06 AW Depth 0 - 80 - 127 00 - 7F 07 AW Sw Off/ On 00/01 08 EQ L Gain -12 - +12 34 - 4C 09 EQ M Fq 200 - 1.
Chapter 8. Appendix 182 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) # OD2 Drive 0 - 76 - 127 00 - 7F 09 OD2 Amp Small/BltIn/2-Stk/ 3-Stk 00/01/02/03 0A OD2 Amp Sw Off/ On 00/01 0B OD2 Pan.
Chapter 8. Appendix 183 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Pre Delay Delay Delay Delay Delay Cutoff EQ Value(H) Time Time 1 Time 2 Time 3 Time 4 Rate1 Rate2 HF Damp Freq Freq LPF Manual Azimuth Accl (ms) (ms) (ms) (ms) (ms) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (deg) 00 0.
Chapter 8. Appendix 184 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Pre Delay Delay Delay Delay Delay Cutoff EQ Value(H) Time Time 1 Time 2 Time 3 Time 4 Rate1 Rate2 HF Damp Freq Freq LPF Manual Azimuth Accl (ms) (ms) (ms) (ms) (ms) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (deg) 40 14 520 520 14 320 3.
The following effect types are used in the table on the preceding page. Chapter 8. Appendix 185 Pre Delay Time 10: Stereo Flanger 11: Step Flanger 16: Hexa Chorus 17: Tremolo Chorus 18: Stereo Chorus 19: Space-D 20: 3D Chorus 26: Reverb 27: Gate Reverb 29: 2 Pitch Shifter 30: Fb P.
Chapter 8. Appendix 186 No. Patch Name Map PC/CC00 Instrument Effect type 001 RB STRAT [Native] 028/000 Clean Gt. 48:GTR Multi 1 002 MILD OD [Native] 028/016 TC FrontPick 48:GTR Multi 1 003 WAH! PEDAL.
Chapter 8. Appendix 187 No. Patch Name Map PC/CC00 Instrument Effect type 067 MG SAW LEAD [Native] 082/031 MG Saw Lead 23:3 Tap Delay 068 OB SAW LEAD [Native] 082/032 OB Saw Lead 23:3 Tap Delay 069 SI.
Chapter 8. Appendix 188 This unit implements additional functionality and parameters over and above the SC-88, which itself was an expansion of the GS sound source format.
Chapter 8. Appendix 189 ❍ Sostenuto (Controller number 66) Status 2nd byte 3rd byte BnH 42H vvH n = MIDI channel number : 0H-FH (ch.1-ch.16) vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON * Not received when Rx.
Chapter 8. Appendix 190 ❍ RPN MSB/LSB (Controller number 100, 101) Status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH n = MIDI channel number : 0H-FH (ch.1-ch.16) mm = upper byte of parameter number specified by RPN ll = lower byte of parameter number specified by RPN * Not received when Rx.
Chapter 8. Appendix 191 ■ System Realtime Message ● Active Sensing Status FEH * When Active Sensing is received, the unit will begin monitoring the intervals of all further messages.
Chapter 8. Appendix 192 Byte Explanation F0H Exclusive status 41H ID number (Roland) dev Device ID (dev: 00H - 1FH Initial value is 10H(17)) 42H Model ID (GS) 11H Command ID (RQ1) aaH Address MSB : up.
Chapter 8. Appendix 193 Section 3. Individual Parameter Transmission (Model ID=45H or 42H) Individual Parameter Transmission transmits data (or requests data) for one para- meter as one exclusive message (one packet of "F0 .
Chapter 8. Appendix 194 ● System Parameters [88] Parameters affecting the entire unit, such as how the two MIDI IN connectors will function, are called System Parameters.
Chapter 8. Appendix 195 Address(H) Size(H) Data(H) Parameter Description Default Value (H) Description 40 01 38 00 00 01 00 - 07 CHORUS MACRO 00: Chorus 1 02 Chorus 3 01: Chorus 2 02: Chorus 3 03: Cho.
Chapter 8. Appendix 196 Address(H) Size(H) Data(H) Parameter Default Value (H) Description 40 03 00 00 00 02 00 - 7F EFX TYPE [Pro] 00 00 00: Thru 40 03 01# 40 03 03 00 00 01 00 - 7F EFX PARAMETER 1 [.
Chapter 8. Appendix 197 40 1x 0B 00 00 01 00 - 01 Rx. MODULATION OFF / ON 01 ON 40 1x 0C 00 00 01 00 - 01 Rx. VOLUME OFF / ON 01 ON 40 1x 0D 00 00 01 00 - 01 Rx. PANPOT OFF / ON 01 ON 40 1x 0E 00 00 01 00 - 01 Rx. EXPRESSION OFF / ON 01 ON 40 1x 0F 00 00 01 00 - 01 Rx.
Chapter 8. Appendix 198 40 1x 30 00 00 01 00 - 7F TONE MODIFY1 [88] -64 - +63 40 0 Vibrato Rate (=NRPN# 8) 40 1x 31 00 00 01 00 - 7F TONE MODIFY2 [88] -64 - +63 40 0 Vibrato Depth (=NRPN# 9) 40 1x 32 00 00 01 00 - 7F TONE MODIFY3 [88] -64 - +63 40 0 TVF Cutoff Freq.
Chapter 8. Appendix 199 40 2x 40 00 00 01 28 - 58 CC1 PITCH CONTROL -24 - +24 [semitones] 40 0 [semitones] 40 2x 41 00 00 01 00 - 7F CC1 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 42 00 00 01 00 - 7F CC1 AMPLITUDE CONTROL -100.0 - +100.
Chapter 8. Appendix 200 ● User instrument You can modify the parameters of this unit sound to your taste, and save your new settings in Variation numbers 64 or 65 of the Native map / SC-88 map (page 98). A sound saved in this way is called a User Instrument.
Chapter 8. Appendix 201 Address(H) Size(H) Data(H) Parameter 23 pp 00 00 00 04 0018 - 07E8 MASTER TUNE [Pro] -100.0 - +100.0 [cent] 23 pp 01# 23 pp 02# 23 pp 03# 23 pp 04 00 00 01 00 - 7F MASTER VOLUM.
Chapter 8. Appendix 202 23 pp 40 00 00 02 00 - 7F EFX TYPE [Pro] 23 pp 41# 23 pp 43 00 00 01 00 - 7F EFX PARAMETER 1 [Pro] 23 pp 44 00 00 01 00 - 7F EFX PARAMETER 2 [Pro] 23 pp 45 00 00 01 00 - 7F EFX.
Chapter 8. Appendix 203 2a pp 30 00 00 01 00 - 7F TONE MODIFY1 [Pro] -64 - +63 Vibrato Rate 2a pp 31 00 00 01 00 - 7F TONE MODIFY2 [Pro] -64 - +63 Vibrato Depth 2a pp 32 00 00 01 00 - 7F TONE MODIFY3 .
Chapter 8. Appendix 204 2b pp 20 00 00 01 28 - 58 CC2 PITCH CONTROL [Pro] -24 - +24 [semitones] 2b pp 21 00 00 01 00 - 7F CC2 TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent] 2b pp 22 00 00 01 00 - 7F CC2 AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%] 2b pp 23 00 00 01 00 - 7F CC2 LFO1 RATE CONTROL [Pro] -10.
Chapter 8. Appendix 205 Section 4. Bulk Dump Bulk Dump allows you to transmit a large amount of data at once, and is convenient for storing settings for the entire unit on a computer or sequencer. To make this unit perform a Bulk Dump transmission, send it a "Bulk Dump Request" message.
Chapter 8. Appendix 206 ■ Dumping a list of internal sounds ● Instrument list dump ❍ Instrument list dump request (request only) [Pro] This command requests a bulk dump of a list of the preset sounds (Instruments) in internal memory, and uses "Data Request 1 (RQ1)" format.
Chapter 8. Appendix 207 Section 5. Supplementary material ● Decimal and Hexadecimal table (An 'H' is appended to the end of numbers in hexadecimal notation.) In MIDI documentation, data values and addresses/sizes of exclusive messages etc.
Chapter 8. Appendix 208 How to calculate the checksum (hexadecimal numbers are indicated by 'H') The checksum is a value derived by adding the address, size and checksum itself and inverting the lower 7 bits. Here's an example of how the checksum is calculated.
Chapter 8. Appendix 209 Function... Transmitted Recognized Remarks Basic Default ✕ 1-16 Memorized Channel Changed ✕ 1-16 Default ✕ Mode 3 Mode Message ✕ Mode 3, 4(M=1) * 2 Altered ************.
Chapter 8. Appendix 210 ■ INDEX [A—K] Active Sensing ...........................................................133 Aftertouch ............................................................33, 132 All Note Off .......................................
Chapter 8. Appendix 211 Legato-enable sound ...................................................24 Level Master Level ..........................................................35 Part Level .........................................................11, 25 Low Frequency .
As of December 10, 2005 (EDIROL-1) Information When you need repair service, call your nearest EDIROL/Roland Service Center or authorized EDIROL/Roland distributor in your country as shown below. EUROPE EDIROL (Europe) Ltd. Studio 3.4 114 Power Road London W4 5PY U.
For the USA For Canada For Nordic Countries Apparatus containing Lithium batteries ADVARSEL! Lithiumbatteri - Eksplosionsfare ved fejlagtig h å ndtering. Udskiftning m å kun ske med batteri af samme fabrikat og type. Lev é r det brugte batteri tilbage til leverand ø ren.
SC-88 Pro Roland Corporation 01127234 '97-11-B2-61D Specifications Model : Sound Canvas SC-88 Pro (General MIDI System /GS format ) ● Number of parts 32 ● Maximum P olyphon y 64 (voices) ● .
An important point after buying a device Roland SC-88 Pro (or even before the purchase) is to read its user manual. We should do this for several simple reasons:
If you have not bought Roland SC-88 Pro yet, this is a good time to familiarize yourself with the basic data on the product. First of all view first pages of the manual, you can find above. You should find there the most important technical data Roland SC-88 Pro - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Roland SC-88 Pro you will learn all the available features of the product, as well as information on its operation. The information that you get Roland SC-88 Pro will certainly help you make a decision on the purchase.
If you already are a holder of Roland SC-88 Pro, but have not read the manual yet, you should do it for the reasons described above. You will learn then if you properly used the available features, and whether you have not made any mistakes, which can shorten the lifetime Roland SC-88 Pro.
However, one of the most important roles played by the user manual is to help in solving problems with Roland SC-88 Pro. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Roland SC-88 Pro along with tips on how to solve them. Even if you fail to solve the problem, the manual will show you a further procedure – contact to the customer service center or the nearest service center
